diff --git a/unformated_scripts/Script_Paul.txt b/unformated_scripts/Script_Paul.txt new file mode 100644 index 0000000000000000000000000000000000000000..998d5f8a43539513397bce1a04f65726d95bc621 --- /dev/null +++ b/unformated_scripts/Script_Paul.txt @@ -0,0 +1 @@ + PAUL Written by Simon Pegg & Nick Frost EXT. FARMHOUSE - NIGHT Caption: Bethlehem Creek, Wyoming 10:19pm 28/07/47 The air is filled with the sounds of a warm, summer night. A light comes on in a FARMHOUSE window. The door opens, a small dog and a young girl emerge. GIRL Go on now Paul, don't be long. The dog trots out across the property. It stops to scratch. The sounds of night cease. The dog stops scratching, sniffing the air, cocking its head, sensing something. We hear a low humming sounds. The dog looks up. We see a soft orange glow reflected in its eyes. The dog whimpers Back at the farmhouse, a deep, dull thud shakes the ground, bringing the small girl back out onto the veranda. An orange glow pulsates somewhere out in the darkness. GIRL Paul... Paul? The girl draws near, illuminated by the orange glow. GIRL Paul?! The glow fades again. MUSIC: "The Boy In The Bubble"ù by Paul Simon. TITLE: PAUL EXT. SAN DIEGO STREET. PRESENT - DAY GRAHAM WILLY (32) and CLIVE GOLLINGS (33) stand in the blazing San Diego sunshine, waiting to cross the road. GRAHAM is thin but his clothes seem too small. He has long greasy hair, buck teeth and thick glasses. CLIVE is bigger and wears a long black leather coat, Red Dwarf T-shirt and boots. His hair is densely curly and shaped like a pyramid. Four people dressed as BORG from Star Trek pass by. GRAHAM and CLIVE shrug derisively. The cross-walk beeps. As the music kicks in, GRAHAM and CLIVE set off across the road towards the San Diego Convention Centre. They make their way through a throng of costumed Comic-Con attendees. INT. CONVENTION CENTRE. CONVENTION FLOOR - LATER GRAHAM and CLIVE are at a fantasy weapons stand. CLIVE is brandishing a KATANA SWORD. He test the balance, the weight, the sharpness. He closes one eye and looks down the length of the blade. He nods appreciatively. 2. CLIVE Beautiful piece. VENDER Damn straight. Practical performance. 100% Japanese, folded steel. Real hero shit. CLIVE How much? VENDER $1,349.99. CLIVE nods, puts the sword down and walks away. GRAHAM Aren't you gonna get it? CLIVE No, it's rubbish. INT. CONVENTION CENTRE. SIGNING PAVILLION - DAY We see them on an escalator, walking down a wide corridor, passing people in a variety of costumes. Finally, they join a line of people waiting to meet the actor, MICHAEL BIEHN. GRAHAM What are you going to ask? CLIVE Do you feel that the killing of Hicks and Newt in Alien 3, invalidates Ripley's struggle at the closed of the previous installment? GRAHAM I was going to ask that! CLIVE (IN KLINGON) Tough tits four eyes. SECURITY Alright, next! Suddenly nervous, GRAHAM approaches. MICHAEL BIEHN is signing pictures. He is pleasant, if business like. MICHAEL BIEHN Hey there. Who's it to? GRAHAM Graham. 3. MICHAEL BIEHN Graham. GRAHAM Uh... are you... did you? MICHAEL BIEHN There you go. SECURITY moves GRAHAM on. CLIVE approaches. MICHAEL BIEHN Hey there. Who's it to? CLIVE Clive. MICHAEL BIEHN Clive. CLIVE Uh... are you... did you? MICHAEL BIEHN There you go. SECURITY moves CLIVE on. CLIVE scrambles for his camera. CLIVE I... I need to photograph him. SECURITY You can take it from there. CLIVE and GRAHAM huddle together and try to position themselves with MICHAEL BIEHN in the background. CLIVE takes the shot. We see a frozen image of CLIVE and GRAHAM, with MICHAEL BIEHN barely visible in the background. The pair move off, looking at their spoils. GRAHAM/CLIVE (HIGH FIVING) YES! GRAHAM That was amazing. I was actually a bit nervous. CLIVE Really? I wasn't. GRAHAM Good egg, wasn't he? CLIVE Yes, very unaffected. Damn, I forgot to give him my card. CLIVE points at SECURITY. 4. GRAHAM Give it to Colossus. CLIVE Nah. Hey, Rosario Dawson's here! GRAHAM She NEEDS to call me. INT. CONVENTION CENTRE. SIGNING PAVILLION - LATER GRAHAM and CLIVE sit at a table fiddling nervously with pens. On either side of them are stacks of their new book; JELVA - ALIEN QUEEN OF THE VARVAK. A banner hangs behind, displaying the tome's cover, a muscular green woman in a gold bikini rides a blue rhino. She lashes at the beast with a laser whip. She has three tits. A lanky publicist paces up and down, making sure everything is in order. PUBLICIST Looks good, right? CLIVE Yes, it's very impressive. PUBLICIST It really does the image justice. I never noticed the third tit. CLIVE That was Graham's idea. PUBLICIST Ladies man, huh? You guys happy? You got enough pens? You wanna Snapple? You wanna a Diet Coke? CLIVE I'll have a fat Coke please? PUBLICIST A fat what? CLIVE Coke. PUBLICIST Oh you man a FAT Coke. CLIVE A what? PUBLICIST Fat coke. CLIVE Yes please. 5. GRAHAM When do we start? PUBLICIST Ten minutes ago. CLIVE Why is it so quiet? PUBLICIST Sylar's doing a Q and A in the main pavillion. CLIVE Oh man! I wanted to go to that . I wanted to find out if he actually eats the brains. PUBLICIST I can make a call. CLIVE Please. PUBLICIST It'll pick up when he's done. GRAHAM I'm nervous. CLIVE Don't be. The hard work's done, we have a great story and as usual your renderings jump from the page. PUBLICIST Yeah man. Three tits. Awesome. GRAHAM Thank you. CLIVE All we have to do now is sit back and enjoy. A child approaches. CLIVE Queen Jelva welcomes thee. CHILD Do you know where Sylar's on? CLIVE Main pavillion. CHILD Thanks. Hey, three tits. Awesome. 6. INT. CONVENTION CENTRE. SIGNING PAVILLION - LATER Caption: 50 MINUTES LATER They are sat in exactly the same position as before. CLIVE looks a little downbeat, GRAHAM fidgets with his pens. PUBLICIST Okay, that's the hour. How'd we do? CLIVE Three copies. PUBLICIST Hey, one for each tit. Maybe you should have given her four. GRAHAM That's sick. PUBLICIST Don't sweat it. It's a sleeper. CLIVE Yeah, but three copies? PUBLICIST Better than Carl Weathers. CLIVE YES! GRAHAM Would you like a copy? PUBLICIST Are you nuts? My office is full of junk. The PUBLICIST walks away chuckling. CLIVE Graham, I need a drink. INT. HOTEL. BAR - NIGHT GRAHAM and CLIVE are stood against the wall in a bar. GRAHAM drinks and elaborate blue cocktail through a straw. CLIVE sips from a Jack Daniels and Coke. Everyone else in the bar is dressed as a HOBBIT. CLIVE winks at a girl. 7. INT. HOTEL. BEDROOM - NIGHT GRAHAM and CLIVE's hotel room is filled with bags of stuff from the convention, a laptop computer and a games console plugged into the TV. GRAHAM lies on his bed. He is looking at a map. Other maps are scattered about. CLIVE (O.S.) It was like the Prancing Pony in there. GRAHAM Nasty Hobbitses. CLIVE emerges from the bathroom. He is naked but for a black towel wrapped around his waist. His hair is wet and suddenly incredibly long. Around his neck, a large animal tooth hangs on a black leather cord. CLIVE They think they're so cool. GRAHAM Hey, are you excited about going to Area 51? CLIVE Hell yes. GRAHAM 06.30 check out? CLIVE A-ffirmative. GRAHAM and CLIVE both look at their watches. CLIVE Three, two, one... GRAHAM CLIVE Beep. Beep. CLIVE Good night, Graham. GRAHAM Good night, Clive. They switch off their respective bedside lights. The room is plunged into pitch darkness. A few seconds pass. GRAHAM Are you asleep? CLIVE No. 8. GRAHAM Shall we try and storm the Citadel before we nod off? CLIVE Couldn't hurt could it? We hear some movement then the room is illuminated by the TV. The boys lie on their beds holding games controllers. CLIVE Cover me. INT. HOTEL. RECEPTION - MORNING GRAHAM and CLIVE stand at reception. Both look extremely sleepy. CLIVE's eyes close. GRAHAM lolls forward onto the reception desk. His head hits the bell. DING! EXT. HOTEL - MORNING The boys stand, waiting for their transport. We see them from across the road. A tiny old car splutters up to the curb. A valet gets out and hands the keys to CLIVE. VALET There you go. GRAHAM That's not ours. VALET No? CLIVE No, that's ours. A large RV pulls up. A 1985 Holiday Rambler, Imperial. Top of the range in its day. Still looks good. VALET Oh. GRAHAM and CLIVE run off toward the RV. The four BORG from the previous day approach the VALET and exchange the key to the car for some small change. The BORG drive off. VALET Fucking Borg. (giving the finger) Assimilate this! The RV speeds past the disgruntled VALET. GRAHAM and CLIVE can be heard whooping within. 9. INT. RV - MORNING CLIVE is seated behind the wheel of their RV, he now wears black wrap-around shades. In the back of the RV, GRAHAM fusses with maps and provisions. GRAHAM Breakfast? CLIVE Java. Straight up. GRAHAM Any solids? CLIVE No, let's punch through. Miles make the eggs taste sweeter. GRAHAM I love eggs! CLIVE I hear that. Now, get that "òJoe' on the go and jump in the Chewie seat. I need your map skills. GRAHAM Good job I pre-pared. GRAHAM flicks on the coffee and jumps into the co-pilot's (Chewie) seat. GRAHAM It's a shame I don't have some controls on this side. That way, I could take over if you needed the loo. CLIVE Yeah, I could say "take the helm."ù GRAHAM "Take the helm, number one."ù CLIVE Yeah, "take the helm, number one, I need a number two."ù They laugh heartily. Through this, GRAHAM has been taking out his laptop and setting it up on the dash board. GRAHAM "òLeast I've got Cerebro, eh? 10. CLIVE Absolutely. Real-time sat-nav multi map and advanced geo-tagging with continual info stream? GRAHAM Impressive. CLIVE Most impressive. GRAHAM And let's not forget, we've always got Analogue. GRAHAM pulls a map down. Obscuring the entire windshield. CLIVE Not when we're driving Graham. GRAHAM Sorry. GRAHAM sends the map back up into the roller. The coffee percolator gurgles in the galley. GRAHAM Sounds like coffee o'clock. CLIVE Thank god. I'm a wreck until I've had my first cup of J. GRAHAM high fives CLIVE and heads back into the kitchen. INT. DINER - DAY GRAHAM and CLIVE eat lunch. GRAHAM has finished a plate of prawns. He inspects the shells. GRAHAM Looks like a pile of dead droids. A perky waitress approaches. GRAHAM and CLIVE become shy and awkward. WAITRESS You boys all set? Can I get you anything else? GRAHAM spills his drink. CLIVE appears very uneasy. INT/EXT. RV - DAY They drive in silence, surveying the landscape. 11. CLIVE Amazing, isn't it? There are 295,734,134 people in this country and we haven't seen a soul for a hundred miles. Where is everybody? GRAHAM What about that old woman on crutches we saw hitchhiking? CLIVE Apart from her. I suppose that's why they established the Dreamland facility out here. GRAHAM Far from prying eyes. CLIVE Did you know the site was selected in the mid-1950s for testing of the U-2 spyplane, due to its remoteness, proximity to existing facilities and presence of a dry lake bad for landings? GRAHAM Yes. CLIVE Oh. GRAHAM Shall we have a bite before or after we hit the Black Mailbox? CLIVE Before. INT. THE LITTLE A'LE'INN. BAR - EVENING GRAHAM and CLIVE tuck into burgers. They are the only customers. The interior is replete with various Area 51 related memorabilia. PAT, (female, 50s) the proprietor, speaks to them from behind the counter. She holds up two bumper stickers. PAT "Watch The Skies"ù or "Alien Onboard?"ù GRAHAM and CLIVE look at each other for a few seconds before looking back at PAT. GRAHAM/CLIVE "Alien Onboard."ù 12. PAT Nice choice. So, where have you boys come from? GRAHAM (MUMBLY) San Diego. PAT Comic-Con? CLIVE How could you tell? We see GRAHAM and CLIVE looking back at PAT. They look like the most painfully obvious Comic-Con attendees ever. PAT Just a guess. My nephew launched a comic down there a couple of years ago. Sort of dramatized the accounts of some of the folk we've had in here. CLIVE Encounter Briefs? PAT That's it. You heard of it, huh? CLIVE I've got all six. PAT Well whaddya know? Small world. CLIVE Do you get a lot of UFO types round here? We see PAT looking back at CLIVE, surrounded by UFO and alien paraphernalia, a slight smile on her face. PAT Some. GRAHAM Have you ever seen one? PAT A UFO? Oh, I've seen plenty. GRAHAM Really?! You've seen more than one UFOs? 13. PAT Well, I don't know what they were. So as far as I'm concerned they're unidentified and they were definitely flying. CLIVE And objects. PAT Damn straight. Whether or not they were spaceships, I can't say. Probably not, but I'd like to think they were. Be a shame if we were the only souls in the universe. CLIVE Did you now, it's estimated that there are as many as 200 billion galaxies in the observable universe and each of those has approximately 40 billion starts, around which orbit countless planets and moons? PAT Yes. CLIVE Oh. PAT Makes you think though, don't it? CLIVE What? PAT Where is everybody? GRAHAM and CLIVE ponder this. PAT You boys all set? CLIVE I'd like a cup of coffee please. PAT Sure thing. How about you, sugar? GRAHAM Can I have an E.T. malt please? PAT You wanna sparkler in that? GRAHAM smiles coyly. 14. PAT I'll take that as a yes. She beams at the boys and disappears into the kitchen. GRAHAM and CLIVE are left alone. They take it all in. CLIVE It's nice here, isn't it? GRAHAM Absolutely. CLIVE I think I might use the loo. CLIVE walks through a door marked "òMaliens'. The adjacent toilet door (GUS and JAKE) enter. GRAHAM becomes uneasy. PAT Yes dear, what can I get you? JAKE Two beers. PAT Coming right up. INT. THE LITTLE A'LE'INN. TOILET - EVENING CLIVE washes his hands. He pumps soap from a dispenser which is shaped like an alien's head, the soap squirts out of its mouth. CLIVE is quite taken with this. CLIVE That is absolutely amazing! INT. THE LITTLE A'LE'INN. BAR - EVENING CLIVE appears out of the toilet with his hands in the air. CLIVE Hey Graham, an alien just sicked up into my palms. CLIVE doesn't see the two men sat up at the counter. He strides over to GRAHAM, full of excitement. CLIVE I'm joking, of course. They have a soap dispenser, shaped like an alien's head. When you pump his jaw, soap comes out of his mouth. GRAHAM (MUMBLING) Clive... 15. CLIVE It's hilarious. GRAHAM flicks his eyes to the counter. CLIVE What? CLIVE looks over and sees the two men. They are glaring back. CLIVE immediately loses his confident air. PAT (O.S.) Here it comes! GRAHAM closes his yes, remembering what he ordered. The two men turn to see PAT emerge from the kitchen with a tray of drinks. Two bottles of beer, one cup of coffee and an absurd looking milkshake in a tall glass with a sparkler. PAT Okay then, beers for you gentleman. A cup of Joe and a extra thick malt with a sparkler for the boys from outer space. The man snigger derisively. PAT senses the tension. PAT So, where you boys headed? JAKE We're heading into Utah. Do ourselves some hunting. GUS Deer, coon, beaver, whatever steps in front of the bangstick, right Jake? They throw a look back at GRAHAM and CLIVE. JAKE You got that right, Gus. PAT Well now, I heard Utah beaver puts up quite a fight. GUS That's what we're counting on. They nudge each other and laugh. PAT I better make you something good and hot. Long way to The Beehive. PAT give GRAHAM and CLIVE a look. CLIVE understands and fumbles for hi wallet. 16. He places a number of bills on the table. They leave. GRAHAM comes back in and retrieves the bumper sticker. PAT gives him a wink. He leaves. INT/EXT. RV - EVENING GRAHAM boards the RV. CLIVE is in the driver's seat. The engine is running. CLIVE What took you so long? GRAHAM I was putting the sticker on. CLIVE They were an odd pair, weren't they? GRAHAM Definitely didn't speak Bocci. CLIVE fires up the engine and jams it into reverse. CRUNCH. GRAHAM (CONT'D) That wasn't their truck was it? CLIVE No. EXT. THE LITTLE A'LE'INN - EVENING The RV roars off, leaving the car park and the black Lincoln Escalade, shiny, mean, dented. INT/EXT. RV - NIGHT GRAHAM looks at a map. CLIVE drives, continually checking his rear view. GRAHAM What's the matter? CLIVE Nothing. How we doing? GRAHAM We should be just about there. They scan the roadside for a few seconds. CLIVE I've found it. GRAHAM Where? 17. CLIVE THERE!!! EXT. THE EXTRA TERRESTRIAL HIGHWAY - NIGHT The RV comes to a screeching halt. It sits in the road for a moment, before it trundles onto the hard shoulder. The door opens, GRAHAM and CLIVE appear wearing head mounted torches. They wander over to a WHITE mailbox. GRAHAM/CLIVE (REVERENTIALLY) The Black Mailbox. GRAHAM and CLIVE marvel at it. The silence of the night and the size of the landscape dawns on them. They look up. CLIVE It's amazing, isn't it? We're actually here. GRAHAM Area 51. CLIVE Dreamland. GRAHAM The Groom Lake Military Test Facility. CLIVE MacArthur's Black Mile. GRAHAM Is that a real one? CLIVE No, I made it up myself. GRAHAM I like it. CLIVE Be great if we saw something. GRAHAM Yes, imagine if we got buzzed up by a craft. CLIVE That would be incredible. It just sort of stops in the air and hovers then just goes up really fast. Whoosh. 18. GRAHAM What would you do if they actually landed? CLIVE Keep it together. First contact is a big responsibility. They come in peace, we go to pieces? That's not how I roll. CLIVE looks at GRAHAM who is staring off, wide eyed. CLIVE What's wrong? GRAHAM points off into the distance. HEADLIGHTS. GRAHAM It's them. They found us. I don't know how but they found us. CLIVE Who? Who's found us? GRAHAM The Libyans! CLIVE Run for it Marty! GRAHAM and CLIVE scramble for the RV. INT. RV - NIGHT CLIVE drives, GRAHAM looks nervous. In the dashboard of the RV is a rear view monitor. They look at it intently. GRAHAM Perhaps it's not them. Perhaps whoever it was turned doff. CLIVE Of course it's them. We're dead. It's like Deliverance. They're going to rape us and break our arms. GRAHAM I don't want my arms broken! CLIVE There's only one thing for it. GRAHAM What? CLIVE I'm gonna have to fly blind. 19. CLIVE kills the headlights. They are plunged into darkness, still travelling at 65mph. The headlights come back on. CLIVE Probably best not to do that. I couldn't really see anything. They stare at the monitor. Suddenly, creeping up the rear of the RV, headlights. The front of a car becomes visible. CLIVE Oh God, oh God, oh God. GRAHAM I need the toilet. CLIVE Me too. The vehicle behind pulls out to overtake. CLIVE They're trying to overtake. GRAHAM Don't let them get past. CLIVE Should I ram them? GRAHAM What about the deposit? CLIVE gingerly jerks the wheel, causing the RV to swerve. A BLACK SEDAN car appears next to them, manoeuvering wildly to avoid the RV. GRAHAM and CLIVE stare in horror, their eyes widen as the car flips over and tumbles several times, bouncing across the asphalt and sliding to a smoking stop on its roof. GRAHAM's mouth hangs open. CLIVE blinks. CLIVE It wasn't them. The RV pulls up to the crashed vehicle and stops. GRAHAM and CLIVE peer out of the window. CLIVE We should see if they're okay. GRAHAM I still need a wee. CLIVE I can hold mine. GRAHAM goes to the back of the RV and into the toilet. CLIVE remains int he driving seat, staring out at the mangled Sedan. The toilet flushes and GRAHAM reappears. 20. GRAHAM The bulb's gone in there. EXT. THE EXTRA TERRESTRIAL HIGHWAY - NIGHT GRAHAM and CLIVE step out of the RV and approach the car. Inside are three unconscious men. One door is open. CLIVE Hello? They wait for a few seconds. Nothing. GRAHAM Maybe you should call for help. GRAHAM pulls out a cell phone and starts to dial. VOICE (O.S.) I wouldn't do that if I were you. GRAHAM and CLIVE spin round to see an indistinct figure sitting on a rock in the nearby darkness. The glow of a cigarette briefly lights up what appear to be two large, black eyes. GRAHAM and CLIVE gawp. CLIVE I rather think these men need help. Graham, give me the phone. GRAHAM passes the phone over. VOICE Seriously, I wouldn't do that. GRAHAM's mouth falls open, CLIVE continues to hold the phone to his ear. We hear the operator. OPERATOR 911 Emergency. How may I direct your call? Hello? Hello? GRAHAM and CLIVE continue to gawp. The shape stand and steps into the light. GRAHAM and CLIVE go slack. Standing in front of them, clad only in cut-off short and flip-flops... is an ALIEN. ALIEN Put - the phone - down. Without the slightest change of expression CLIVE rocks backwards in a dead faint. He hits the ground with a bump. GRAHAM looks at CLIVE then back at the ALIEN. When GRAHAM speaks his voice quivers with hysterical panic. GRAHAM What have you done to him? 21. ALIEN I didn't do anything. He fainted. GRAHAM Yes but you made him faint. ALIEN I did not. Okay I did, but it's not like i set my phaser to "òFaint'. GRAHAM You've got a phaser!? ALIEN No! Look, I need you to help. Can you get this guy back onto your wagon? GRAHAM Are you going to probe us? ALIEN No! Where does that come from? Why do people always assume we want to stick something up their ass? GRAHAM Don't you? ALIEN No. There's certainly nothing about it in the encounter manual. As a rule, we don't even abduct. Maybe people find it easier to deal with earthly transgressions if they suppress it with absurd fantasies about alien probing. GRAHAM What? ALIEN It's just a theory. Listen, focus okay? I promise you I won't hurt you, I just need your help. GRAHAM You need my help? ALIEN Yes. GRAHAM How come I can understand you? Are you using some sort of neural language router? 22. ALIEN No, I'm speaking English you prick. (off GRAHAM's expression) Sorry, I'm tense. Look, what's your name? GRAHAM Graham Willy. ALIEN What about him? GRAHAM That's the writer, Clive Gollings. ALIEN Well, let's get Clive into the RV and get going. I'll explain everything on the way. Please. GRAHAM Where are we going? ALIEN North. GRAHAM The RV's gotta be back in 2 days. ALIEN Well, then we're gonna have to hustle, aren't we? GRAHAM BUT- ALIEN Look Graham, you're just gonna have to trust me, okay? GRAHAM looks at the ALIEN. It stands at roughly 3 feet tall. His black almond shaped eye glint. His large head tilts to one side, his small mouth opens slightly, his long fingers clasp together, pleading. ALIEN Please man, I need you. GRAHAM considers the ALIEN for a moment. GRAHAM Okay then. ALIEN Great. Thank you. GRAHAM What's your name? 23. ALIEN I'm Paul. GRAHAM Paul? PAUL Yeah. Now let's get Cloverfield onto the recreational vehicle and get the fuck off MacArthur's Black Mile. They attempt to move CLIVE. PAUL senses something. PAUL (CONT'D) Oh man, has he...? GRAHAM I told him he should have gone. PAUL Could have been worse. Know what I'm saying? They drag him into the RV. The door shuts, a few seconds later, GRAHAM appears and runs round to the back of the RV. He rips the bumper sticker off and gets back on board. The RV starts up and drives off. INT/EXT. RV - NIGHT GRAHAM drives, agitated. He looks behind him a couple of times. PAUL is hunting around in the fridge. PAUL Can I have this ham? GRAHAM Uh... yes. PAUL Great! PAUL starts to dangle strips of sandwich ham into his mouth, wolfing it down hungrily. GRAHAM Paul? Where am I going again? PAUL I told you, North. Do you have a map? GRAHAM pulls the map. It obscures the wind shield. PAUL Not when we're driving, Graham. 24. The map disappears back up into the roller. GRAHAM Sorry. PAUL Just head North. We need to get as much distance as we can between us and them. GRAHAM Them? Who's them? EXT. THE EXTRA TERRESTRIAL HIGHWAY - NIGHT We hear the noise of engines, then boots on concrete as a dozen soldiers rush the area, attending the crash. A suited man gets out of a Sedan car. We don't see his face at first. The shot remains at his hip. He reaches into his pocket and pulls out a Twinkie. He unwraps it and brings it up to his mouth. We follow and see his face for the first time. Chiselled, focused, confident. This is SPECIAL AGENT ZOIL. A SOLDIER approaches. CAPTAIN Sir? ZOIL Talk to me. CAPTAIN Three survivors, company men, hurt but alive. ZOIL Anyone else? CAPTAIN No sir. ZOIL looks into the sky and breathes in the night air. CAPTAIN What's this? The CAPTAIN motions to a patch of moisture near his feet. ZOIL touches the wet patch and licks his finger. CAPTAIN What is it sir? Brake fluid? Gas? ZOIL No. It's neither of those things. He looks around, then notices tire tracks in the dust by the side of the road. ZOIL stands, full of purpose. He returns to his car and hits a button on the dash. 25. VOICE What's the situation? ZOIL We have a guest who's left the hotel without paying, sir. VOICE Damn it! Do you think he's "òleft' left? ZOIL Doubtful. NORAD would have picked up a bogie. Those guys can track Santa. No sir, he's still here. Question is, for how long? VOICE Don't you think this is all a bit of a coincidence? ZOIL How so? VOICE I signed the red document this morning, Zoil. Don't you think it's odd that he chooses today to go AWOL? How did he know? ZOIL Are you suggesting he has someone on the inside. VOICE Maybe. ZOIL Well he's definitely got someone on the outside. VOICE What? ZOIL Tire tracks, sir. Tire tracks... among other things. I'd bet my left nut that little bastard's hitched a ride. VOICE Lock down the area. Road blocks, spot checks, the whole nine yards. You're going to handle this personally, Zoil. I want this wrapped up before Letterman. 26. EXT/INT. RV. NIGHT - A FEW HOURS LATER Close on the wheel. Pull out to reveal the RV. Inside, CLIVE's eyes open. From the bathroom, CLIVE can hear the sound of someone noisily emptying their bladder. He notices his jeans have been pegged up to dry. He leans out to see GRAHAM in the driving seat, then looks back at the bathroom door. The toilet flushes. CLIVE pretends to be asleep as the door opens. A pair of skinny grey legs in cut-off shorts pass the bunk. PAUL The bulb's gone in there. CLIVE gets up silently and wraps his black towel around his middle. He creeps toward the front of the RV. GRAHAM drives, PAUL sits in the Chewie seat eating pistachios. PAUL I hate it when you get the closed ones, right? GRAHAM I usually bite them open. PAUL Are you fucking insane? You gotta tap "òem and if they don't open you throw them away. GRAHAM That's molluscs. PAUL Shut up. GRAHAM It's true. (NOTICES CLIVE) Hello Clive! How are you feeling? CLIVE I'm feeling like I've gone MENTAL MAD, Graham. If that is your name? You're happily sitting there chatting to... to... that, like it's the most natural thing in the world. The two of you laughing away like you haven't seen each other since 1990. PAUL spits a shell out into a cup. 27. CLIVE (CONT'D) So forgive me if I seem a little rattled but from where I'm standing it would appear you are trading nut knowledge with an alien life form. GRAHAM His name is Paul. CLIVE Oh, Paul is it? Paul what? Paul Verhoven? Paul Freeman? Paul Reiser? PAUL Just Paul. You know, like Madonna or Dracula. GRAHAM Paul's from a small planet in the northern spiral arm of the Andromeda Galaxy. CLIVE No he is not! PAUL I am man, seriously. CLIVE How could he possibly have travelled that distance? PAUL Wormhole. CLIVE Balls! Graham, this isn't what it seems. What about Ocham's Razor? GRAHAM The hairdressers? CLIVE Yes, the old man who owns it told me that, in unbelievable circumstances, the most plausible explanation is usually the truth. PAUL And what's the most plausible explanation, Clive? CLIVE That you're a thin midget in an alien costume. 28. PAUL There's no such thing as a thin midget? Those guys are built. Have you not seen The Station Agent? GRAHAM He's right. I think that's less believable than Paul being form a planet in the norther spiral arm of the Andromeda Galaxy. CLIVE (CONT'D) Oh really? With this CLIVE grabs at PAUL. He pulls at the alien's skin, trying to gain a hold of a mask. PAUL Ow! Get off me! CLIVE You're not real. You're not real! GRAHAM Excuse me. PAUL Get off me, you fucking psycho! GRAHAM EXCUSE ME! CLIVE releases PAUL and looks out of the RV to see the flashing lights of a road block. GRAHAM slows down. CLIVE Oh shit! CLIVE looks round to discover that PAUL has vanished. GRAHAM pulls the RV onto the hard shoulder. CLIVE Where's he gone? GRAHAM Maybe he beamed up. CLIVE As if. We would have seen the classic shimmer and hum. GRAHAM Good point. BANG, BANG, BANG! GRAHAM and CLIVE look to the door. Both terrified. 29. EXT. DESERT ROAD - NIGHT GRAHAM and CLIVE stand outside the RV being questioned by an AGENT dressed like ZOIL. We can hear noise and activity from the RV. Another AGENT is aboard the RV. AGENT 1 Where you boys from? Australia? CLIVE Britain. AGENT 1 Ah. G'day mate. The AGENT smiles. GRAHAM and CLIVE look terrified. AGENT 1 Whatcha doin' in the US fellas? CLIVE/GRAHAM Comic-con. AGENT 1 You're a long way from San Diego. CLIVE We were having a little drive. AGENT 1 Is that right? AGENT 2 (O.S.) Hey Haggard?! HAGGARD Yeah? O'REILLY appears at the door waving a 10x8"ù photograph. O'REILLY These guys have met Michael Biehn. HAGGARD No shit! How was he? CLIVE He was a good egg. GRAHAM Very unaffected. HAGGARD That's nice to hear. (TO AGENT 2) O'Reilly? Anything else? 30. O'REILLY Just some pissy jeans. HAGGARD looks down at the towel wrapped around CLIVE's waits. CLIVE look embarrassed. HAGGARD Okay, you guys can go. CLIVE Thank you. May I ask what you're searching for? HAGGARD Of course you may. There is a slight pause. GRAHAM and CLIVE board the RV. INT/EXT. RV - NIGHT GRAHAM and CLIVE pull away in silence. They are both confused and shaken. CLIVE Well, it's pretty obvious what happened there, isn't it? GRAHAM Is it? CLIVE Yes, the government used some sort of neurotoxic paint on the Black Mailbox, which was white by the way, and it caused us to suffer a shared hallucination about an alien. I mean, it's what we've always wanted, isn't it? GRAHAM I suppose so. CLIVE Than that's what happened. PAUL materializes from thin air behind them. PAUL WRONG! EXT. DESERT ROAD - NIGHT The sound of screeching tires draws the attention of the two AGENTS. They see the RV swerve across the road in the distance before righting itself and continuing on its way. 31. INT. RV - NIGHT CLIVE Where the hell did you go? PAUL Nowhere. GRAHAM What, you went invisible? PAUL It's not invisibility per so. It's more like what a chameleon does with a little light blending thrown in for good measure. GRAHAM Like Predator? PAUL Exactly. GRAHAM Can you do it whenever you want? PAUL (PREDATOR VOICE) Anytime... EXT. ROAD - NIGHT We hear GRAHAM squeal with delight. The RV guns up the road into the night. INT. RV - DAYBREAK CLIVE drives in silence. PAUL sits in the passenger seat eating nuts. Day is breaking over the horizon. GRAHAM snoozes on the sofa. PAUL offers CLIVE a nut. CLIVE No thank you. PAUL You sure? How about a cup of coffee? (sees he's tempted) Come on Hulk, I'll get you a nice cuppa J. PAUL goes back to the galley, flicking GRAHAM on the nose as he passes. GRAHAM wakes up with a start. PAUL Hey, look who's up! 32. GRAHAM Hello Paul. GRAHAM approaches CLIVE who ignores him. GRAHAM What's the matter? CLIVE Graham, there is a Grey in the galley, making me coffee. GRAHAM Did you want tea? CLIVE No, I don't want tea. GRAHAM Tea's a bit weird in America, isn't it? CLIVE No, what's wried, Graham, is that we have picked up an extra terrestrial hitch hiker and you seem completely fine with it! GRAHAM He needs our help, Clive. PAUL returns with the coffee. GRAHAM and CLIVE curtail their conversation. PAUL hand CLIVE his coffee. PAUL CLIVE You got it? Yes I've got it. PAUL CLIVE It's hot. (slightly testy) Thank you. GRAHAM looks at Paul and nods toward CLIVE. PAUL sighs and sits in the Chewie seat. GRAHAM hangs back... PAUL Look Clive, I'm gonna go out on a limb and say this is probably the weirdest thing that's ever happened to you. Am i right? CLIVE doesn't deny it. PAUL And I appreciate the fact that I have somewhat gate-crashed the party here but, truth be told, I'm in a hell of a pickle. I really need your help. 33. CLIVE Why us? PAUL Why not? CLIVE glances back at an expectant GRAHAM. CLIVE What about the RV? It has to be back in two days. GRAHAM Clive, he's an alien. A living, breathing, alien. CLIVE look at PAUL who makes a sad face and does the hand gesture from Close Encounters. CLIVE wilts. CLIVE I suppose we could phone the hire company and get an extension. PAUL looks super-pleased. CLIVE How did you get here? PAUL Crashed in "ò47. Anti-grav failure. GRAHAM Happens to the best of us. PAUL Also, I'm a shit driver. CLIVE Oh my God! Roswell?! That was you?! PAUL Roswell was a smoke-screen man, designed to distract from the truth. CLIVE They invented a fake alien crash to distract from an actual alien crash? PAUL I know, fucking stupid, isn't it? CLIVE What have you been doing here all this time? 34. PAUL Oh you know, kickin' back, shooting the shit. Advising the government. GRAHAM Not just the government. INT. ROOM - DAY CAPTION: 1980 A room lit by a single bulb, furnished with a table and chair. PAUL sits with his back to us, he is smoking a cigarette, whilst talking on the phone. We hear the voice on the other end of the line. It is strangely familiar. STEVEN SPIELBERG ...I want him to have some kind of special power, you know? Something sort of messianic... PAUL How about molecular revivification. STEVEN SPIELBERG I don't know what that is. PAUL Restoration of damaged tissue through telepathic manipulation of cellular intrinsic field memory. STEVEN SPIELBERG I...uh... PAUL Healing, Steven. STEVEN SPIELBERG Oh right yeah. Like by touch sort of thing? His little finger could light up at the end and- PAUL You know what? Sometimes, less is more. The line beeps. STEVEN SPIELBERG You got another call? PAUL Yeah I gotta take this man. It's the fucking V guys again. 35. INT. RV - DAY PAUL Right. GRAHAM You'd be surprised how much he's influenced popular culture generally over the last 60 years. CLIVE (TO GRAHAM) How come you know so much? GRAHAM We had quite a long chat while you were unconscious. CLIVE looks miffed. GRAHAM ...while you were asleep. PAUL You want a bagel Clive? CLIVE No thanks. PAUL Graham? GRAHAM Yes please. CLIVE Go on then, I'll have half. PAUL (O.S.) You want anything on it? CLIVE Jam. PAUL (O.S.) What? CLIVE Jelly. PAUL Gotcha. PAUL heads to the kitchen. The boys drive in silence. GRAHAM I gave your jeans a swill and hung them up. 36. CLIVE Thank you. So, do you know where we're going? GRAHAM Just North. He said we had to make a right at Utah. CLIVE Why can't he tell us? GRAHAM He said it was a surprise. CLIVE Do you trust him, Graham? I mean, is he Strider or Black Rider? GRAHAM Strider, definitely. CLIVE You'd better be right. I don't want to wake up and find him inserting a probe into my anus. GRAHAM It's okay, he doesn't do that. PAUL returns with three bagels on one long finger. PAUL Bagel time! The dashboard beeps. PAUL jumps throwing them into the air. GRAHAM Fuel level's critical. PAUL Sorry, I had a warning light just like that on my ship. GRAHAM For fuel? PAUL Anti-grav failure. CLIVE is looking at the sat-nav on the computer. CLIVE There's a place called Ely five miles from here. It's small but there should be a gas station. GRAHAM Roger that, number one. 37. CLIVE smiles at GRAHAM and flashes PAUL a triumphant look. PAUL coughs loudly, barely disguising the word "Geeks"ù. INT. RV - MORNING GRAHAM and CLIVE peer out at the gas station. It appears deserted. PAUL has his head in the fridge, he cracks open a V8, strolls to the front of the RV and honks the horn. An OLD MAN peers out of the gas station window and waves. CLIVE Paul, don't do that! PAUL Here's what I need. Some organic beef mince, organic pork, some veal, red onions, pine nuts, pecorino cheese, plum tomatoes, a fistful of fresh basil and 3 war ciabattas. CLIVE You know this is a gas station? PAUL looks disappointed. EXT. GAS STATION - DAY The door to the RV opens, CLIVE and GRAHAM step out onto the forecourt, trying to look as casual as they can. CLIVE Ready? GRAHAM Ready. HOOOONNNNNKKKK! GRAHAM and CLIVE jump. PAUL (O.S.) Get me some more peanut M&Ms. GRAHAM goes into the store, CLIVE to the pumps. A POLICE CRUISER pulls onto the forecourt. CLIVE goes pale and fumbles the nozzle back into the pump. He walks toward the checkout as a STATE TROOPER exits his car. No matter how hard he tries, CLIVE cannot avoid reaching the door at the same time as the STATE TROOPER. He is tall, wide and bald. STATE TROOPER After you. CLIVE Thanks. 38. EXT. DESERT ROAD - MORNING Close up on O'REILLY. He covers his face with his hands. O'REILLY Coming... ready or not! O'REILLY uncovers his eyes and comes face to face with ZOIL. ZOIL is eating an orange, he offers a segment to O'REILLY. ZOIL Orange? O'REILLY No thanks. ZOIL Nice and juicy. O'REILLY I don't want to spoil breakfast. ZOIL Do you mind telling me what's going on, Agent? O'REILLY Just keeping ourselves occupied sir. Things are pretty slow. ZOIL Where's the other one? O'REILLY I don't know, let's see. Haggard? HAGGARD steps out from behind the only man shaped cactus on the entire desert plain. O'REILLY can't help but let out a snort of delighted surprise. HAGGARD hurries over. HAGGARD Sorry, I was just... hiding. ZOIL I see. You fellas had much traffic through here? HAGGARD Just a big RV driven by a couple of nerds. ZOIL Nerds, huh? HAGGARD Yeah, they'd been to Comic-Con and met Michael Biehn. 39. ZOIL I've heard he's nice. HAGGARD Good egg. O'REILLY Very unaffected. ZOIL Did you search the vehicle thoroughly? O'REILLY Yes sir. ZOIL Find anything? O'REILLY Not really. Just Michael Biehn's autograph and some pissy jeans. Close in on ZOIL. He seems suddenly motivated. ZOIL Did you get the license plate? HAGGARD and O'REILLY look sheepish. ZOIL Make? More sheepishness. HAGGARD It was big. ZOIL I want everything you can remember. Descriptions of the occupants, height, hair, distinguishing features. We can do it on the way. HAGGARD On the way? ZOIL You're coming with me. O'REILLY What about the road block sir? ZOIL It didn't work. 40. INT. GAS STATION - MORNING GRAHAM joins CLIVE at the check out, clutching a bag of jerky, a bottle of chocolate milk, a burrito, a Coke, some mini doughnuts and a massive bag of peanut M&Ms. CLIVE Don't you think that's a bit much? Put it all back. Except the burrito... and the doughnuts... and the chocolate milk. Let's just pay for it and leave. GRAHAM We need bulb for the toilet. CLIVE Essential only, Graham! They head to the counter. So does the STATE TROOPER. STATE TROOPER Morning Chris! CHRIS Hey Dean. STATE TROOPER Who do you think I had in my office this morning? CHRIS Jeremy Piven? STATE TROOPER No. The Secret Service. GRAHAM bumps into a display of sunglasses and just stops it tumbling. CHRIS and the STATE TROOPER glance over. CHRIS They find out how you can afford a Dodge Viper on troopers pay? STATE TROOPER Not yet. They're all over this crash on the road up to Rachel. CHRIS What you think's going on? STATE TROOPER Don't know, could be Muslims. CHRIS Jesus Cheeerist! CLIVE and GRAHAM sidle up to the check-out. 41. STATE TROOPER You go right ahead. CLIVE Thank you very much, officer. STATE TROOPER Where're you guys from? GRAHAM Britain. STATE TROOPER Britain, huh? Nice place. No guns! CHRIS No guns? Jesus Cheeerist. CHRIS take the money and the boys leave. The STATE TROOPER and CHRIS watch them go. EXT. GAS STATION - MORNING The boys hurry across the forecourt past the cop car, we hear the radio spring to life as they pass. POLICE CONTROLLER All units, be on the lookout for a cream and brown Recreational Vehicle, no plate number at this time. Officers are advised to contain but not board. Dean, if you still at Gas and Go, bring back a quart a milk and a box of doughnut holes? Dean? GRAHAM and CLIVE stop and stare, listening intently. HOOOOOOONNNNNNKKKKK! INT. RV - SOMETIME LATER PAUL sit on the sofa catching M&Ms in his mouth. GRAHAM drives, CLIVE sits in the Chewie seat. CLIVE It's find for you. You'll get whisked back to whatever lab they kept you in and we'll be arrested for harbouring a fugitive and sent to Guantanamo Bay. PAUL laughs. CLIVE Why's everything so funny? They think we're Muslims. 42. PAUL That's their excuse for everything. There are worse things you can be. We had a Muslim guy at the base. Systems analyst called Yusef. We used to do karaoke on Tuesday nights. You should'a heard him do Matthew and Son. Shame I didn't get a chance to say salam alaikum. CLIVE Paul, the authorities know we're in an TV. PAUL We're hardly the only RV on the road. Trust me, if we stay off the highways, keep to the back routes, we'll have a nice uneventful journey. BANG!!! Something strikes the windshield. Everyone jumps. GRAHAM bring the RV to a halt. Silence. EXT. DESERT ROAD - DAY The door to the RV swings open, CLIVE and GRAHAM step out. The desert road is silent. We can see for miles. On the road lies a yellow and black bird, it is very dead. PAUL Fuck, that made me jump. CLIVE Ah yes, the waspish markings of a Scott's Oriole. Unmistakable. PAUL What a waste. GRAHAM Poor thing. CLIVE Nothing anyone could've done. PAUL looks at them, then scoops the bird up in his hands. GRAHAM What are you doing? PAUL closes his eyes. His skin ripples with color as he sways slightly. The bird's eyes flicker, its head lifts, it opens its beak and tweets. GRAHAM and CLIVE are astounded by what they are seeing. GRAHAM It's a miracle! 43. PAUL stuff the bird in his mouth with a grotesque crunch. PAUL I'll miss these. CLIVE Why would you do that? PAUL I'm not gonna eat a dead bird, am I? EXT. GAS STATION - DAY ZOIL and his men are parked on the forecourt of the gas station. ZOIL is talking to the STATE TROOPER and CHRIS. STATE TROOPER By the time I got the bulletin, they were long gone. Seemed like nice fellas to me. CHRIS Is it true they was Muslims? STATE TROOPER They said they were British. ZOIL I think you can be both. CHRIS Jesus Cheeeeerist! HAGGARD Agent Zoil? ZOIL Excuse me gentlemen. ZOIL leaves with the two men and returns to his vehicle. The voice of ZOIL's superior cuts the air. VOICE Report. ZOIL We've tracked them down to a gas station in Ely. VOICE So why am I not witting with my feet up, smoking a jay, watching Erin Brockovich? ZOIL We think he may be travelling in an RV with two British men sir. 44. VOICE Goddamnit, I knew we should have gone ahead with invasion in "ò44. What are they, MI6? ZOIL No, sir. Just a couple of nerds on the lamb from Comic-Con. VOICE Shit. My sister's kid went to that. Little Manga faggot. ZOIL I still think this stinks, sir. VOICE Like fat man doo-doo. It's too much of a coincidence. He sits tight for 60 years and then suddenly now he decides to take off. If he wanted to go home so bad, he could've just given us the slip when he was playing golf with J. Edgar Hoover. ZOIL Someone must have told him. We need to find the rat. VOICE Leave that to me. In the meantime, if E.T. is still M.I.A. in the P.M. then F.Y.I. I'm tearing someone a new A. O.K.? ZOIL Yes sir. INT. RV - DUSK GRAHAM is sat in the Chewie seat, PAUL is reading Jelva, Queen Of The Varvak. CLIVE drives. GRAHAM What do you think? PAUL Ask me when I've finished it. CLIDE rubs his yes. GRAHAM You tired, Sausage? CLIVE (WHISPERING) Don't call me Sausage in front of him. 45. GRAHAM Sorry. Are you tired though? CLIVE Mummy, I am bushed. GRAHAM What do you need? CLIVE Best case, I'd like a cold flannel on my neck and an honest meal. GRAHAM I hear that, Big-Rig. I can still call you Big-Rig can't I? CLIVE Sure. Just not Sausage. Any luck with an RV park? We need somewhere off the beaten track, n'est pas? GRAHAM Roger that. Cup of Joe? CLIVE You read my mind. GRAHAM head to the galley, ignoring PAUL, who jumps into the Chewie seat and stares at CLIVE. CLIVE Can I help you? PAUL You want a cigarette? CLIVE No, thank you. I don't smoke. PAUL lights a cigarette, the smoke wafts into CLIVE's face. PAUL Look, I'm sorry okay? About eating the bird. CLIVE continues to ignore PAUL. GRAHAM arrives with the coffee and a Honey Bun cake. GRAHAM Honey Bun? CLIVE Could you unwrap it for me? GRAHAM By your command. 46. GRAHAM unwraps the cake and pops it into CLIVE's gob. PAUL watches. GRAHAM disappears to the back of the RV. PAUL Let me ask you something. Are you to...? CLIVE What? PAUL You know... PAUL does a very weird, very long charade, demonstrating various "ògroup' and "òone on one' homosexual practices. CLIVE No! PAUL Okay, that's great. I just wondered. I'm cool with it. Everyone's "òbi' where I'm from. It's all about the pleasure thing, you know? We've evolved beyond paranoid notions of gender identity. I mean, procreation is only the functional aspect of sexual congress right? The human race is fairly advanced but most males still act like a cornered tiger if you imply the like "òsmoking the bone' and let's face it they probably do. Look at single sex, empirical institutions, boarding schools, prisons, pirate ships, places where the choice has been removed, everyone's banging everyone else and there isn't a whiff of socio-cultural angst. Get out into the real world and guys are getting smacked int he chops for wearing pink socks. You think you're so sophisticated because you can distinguish yourself from your own reflection but ultimately you're part of a deeply neurotic species and you'd all be a lot better off if you stopped worrying and learned to love the bum. CLIVE What are you trying to say? PAUL Maybe you should start smoking. 47. INT. RV - EVENING Later, the RV pulls up to gate at the front of an RV park. GRAHAM is now in the Chewie seat, PAUL stands behind, steadying himself on the backs of their chairs. CLIVE Great find, Graham. GRAHAM I sourced a website listing off the beaten track, North American RV parks. PAUL I really lucked out with you nerds, didn't I? GRAHAM and CLIVE look proud. CLIVE drives the RV over a speed hump into the park. PAUL loses his balance and falls over. GRAHAM and CLIVE laugh. They pull up to a gate. GRAHAM It's awfully quiet. CLIVE Just the way we like it. PAUL scrambles to his feet, reaches across CLIVE and rest on the horn. HOOOOOOONNNNK! CLIVE Stop doing that! GRAHAM Someone's coming. PAUL shimmers and disappears. GRAHAM and CLIVE yelp. VOICE Hello? CLIVE (quietly to Graham) We're just a couple of regular guys on a tour of the less touristy side of the American midwest. GRAHAM I don't think she heard you. CLIVE I was talking to you. GRAHAM Oh, sorry. 48. VOICE Hello? GRAHAM opens the door. RUTH BEHE, a young woman in her mid- twenties stands outside. She is pretty but has no idea. She wears glasses, one eye of which is blacked out. GRAHAM stares at her. We hear the slide guitar moment from Olivia Newton John's "Hopelessly Devoted To You"ù. RUTH Good evening, I'm Ruth Behe. CLIVE Hello Ruth. Do you mind if we come in? RUTH Sure. Park in Bay 9. The charge is $50 for the night, plus $10 for hook ups an I'll need to hang onto an ID too. CLIVE disappears, leaving GRAHAM and RUTH alone. GRAHAM We're just a couple of regular guys on tour of the less touristy side of the American midwest. RUTH Where you heading next? GRAHAM Uh, east... apparently. CLIVE returns with his passport. RUTH looks at it. RUTH England? CLIVE Yes. London. RUTH I love London. CLIVE Have you been? RUTH No. Did you know it was founded by the Romans in AD 43 as Londinium? GRAHAM/CLIVE Yes. RUTH Oh. I'd love to go someday. 49. GRAHAM You should. RUTH There's lots a places I wanna go. Europe. Asia. The Antipodes. The world's a big place. I need one of these though. CLIVE You don't have a passport? RUTH shakes her head forlornly. GRAHAM and CLIVE stare. MALE VOICE (O.S.) RUTH! RUTH! Get in here! I'm hungry RUTH That's my father. I'll come over and take your money in the morning. Have a pleasant night now, won't you? RUTH opens the gate to allow CLIVE to drive through. GRAHAM watches RUTH intently as they pass. CLIVE Doors to manual and cross check. Graham? Graham? GRAHAM Hmmm? PAUL re-materializes next to GRAHAM and CLIVE. PAUL BOO! EXT. RV PARK - NIGHT RUTH is walking back to a static mobile home. From the RV we hear GRAHAM and CLIVE yelp. RUTH furrows her brow, turns back, and goes inside. INT. BEHE RESIDENCE - NIGHT RUTH enters a static mobile home and heads for kitchenette. From the ad-joining room we hear the sound of someone using a police radio scanner. Garbled reports fade in and out. We perhaps even hear ZOIL's voice briefly amid the static. MOSES BEHE (O.S.) What took you so long? RUTH I was just talking. 50. RUTH stirs a pot on the stove. She surreptitiously retrieves an atlas from a drawer an starts to read. MOSES BEHE (O.S.) You talk to much. RUTH Sorry Papa. MOSES BEHE (O.S.) How long they staying? RUTH Just the night I think MOSES BEHE (O.S.) Hook ups? RUTH Uh-huh. MOSES BEHE (O.S.) Where they headed? RUTH East. MOSES BEHE (O.S.) Them California plates I saw? RUTH Yes, but they're from London. MOSES BEHE (O.S.) London, Ohio? RUTH No, London, England. MOSES BEHE (O.S.) Where?! RUTH England, Papa. It's in North Western Europe. The atlas is snatched out of RUTH's hands. Behind her stands the towering figure of MOSES BEHE. Almost as wide as he is tall, his eyes glitter with fury and menace. MOSES BEHE Europe? I'll give you Europe, missy. Now, get and make my supper. MOSES lumbers off with the atlas. RUTH looks dejected. 51. EXT. RV PARK - LATER QUICK CUTS as GRAHAM and CLIVE hook up power and water to the RV and prepare a small BBQ. INT. RV - MOMENTS LATER The door to the RV opens, GRAHAM and CLIVE jump in. PAUL lowers his book and is blinded by their headlamps. PAUL Arrghh, what the fuck?! GRAHAM Hungry? PAUL I ate already. GRAHAM and CLIVE look suddenly sad. PAUL Too soon? They nod. PAUL Hey, I'm sorry. I'd love to break bread with you guys. What are we having? GRAHAM waves a foot long hot dog around. GRAHAM Willies! PAUL gives CLIVE a "òsee what I mean?' look. CLIVE I'll flame up the BBQ pit. Fire's my forte. CLIVE sparks up his lighter and waves it around looking mysterious. He then turns and jumps down all three steps and slams the door of the RV behind him. EXT. RV PARK - NIGHT CLIVE is squirting lighter fluid over a fire. He flicks his tongue out, summoning the flames higher. PAUL materializes nearby, making CLIVE jump. He composes himself. 52. PAUL Hello Clive. From the squirting of the gas and the flicking of the tongue, am I do assume you're a Hendrix fan? CLIVE I am actually, yes. PAUL I met him once. CLIVE Really? PAUL Yeah. Nice man, really soft, He thought I was a hallucination. Shame what happened to him. CLIVE All the good ones die. PAUL Meanwhile Bryan Adams releases album seventeen. PAUL and CLIVE share a laugh. CLIVE So you've been here for 60 years? PAUL I know, right? Time flies when you're confined to a U.S. military installation. CLIVE Why did you come to earth? PAUL I'm the vanguard of a highly aggressive invading force. CLIVE What?! PAUL I'm fucking with you, man. I was on a science mission actually. Meteorological reconnaissance. We were surveying atmospheric conditions on CO2 spiking, M-Class planets. My specialist subject is tornadoes right? So I'm buzzing around the mid-west, looking for twisters and all of a sudden my A.G.G. goes offline and I crash in the middle of some field. (MORE) 53. PAUL (CONT'D) Next thing I know, this little girl is pulling me out of the wreck and then a bunch of army guys come along and cart me off to Area 52. CLIVE 51. PAUL No, it's 52. Area 51 is just full of old Pan Am jets and mini disc players and shit. It's another "clever subterfuge."ù GRAHAM joins them with the food. PAUL Just telling him about Area 52. GRAHAM Ha ha yeah. PAUL So, with my cover blown and the natives cautious but friendly, I figured we might as well indulge in a little file sharing. CLIVE Mulder was right! PAUL Mulder was my idea. They chuckle. CLIVE gives PAUL the bottle of gas. CLIVE Would you like a go? PAUL takes the bottle and squirts it on the fire, making the Hendrix face. They laugh loudly. EXT. BEHE RESIDENCE - NIGHT RUTH watches through her window. GRAHAM, CLIVE and PAUL are on the other side of the RV. Nevertheless, RUTH can see three pairs of dancing legs underneath the vehicle, silhouetted against the campfire. She frowns. MOSES BEHE (O.S.) RUTH! RUTH backs away into the shadows. 54. INT. RV - MORNING It is very early in the morning. PAUL is asleep on the sofa. There is a knock at the door. PAUL vanishes. GRAHAM and CLIVE emerge from the bedroom in dressing gowns. CLIVE Who is it? RUTH (O.S.) It's Ruth. GRAHAM and CLIVE look at each other nervously. CLIVE opens the door, as GRAHAM straightens his hair. RUTH Good morning. CLIVE Good morning. RUTH May I come in? GRAHAM Yes. CLIVE give GRAHAM a "òwhat the hell are you thinking?' Look as RUTH comes aboard. RUTH surveys the interior of the RV. RUTH Was everything to your liking? CLIVE Yes, thank you. RUTH Where's the other one? CLIVE The other one? RUTH It's okay, we don't charge by the person. That was three pairs of legs I saw last night cavorting round the camp fire, right? CLIVE Oh the other one. Um... PAUL I'm in the can. I ate a closed mollusc. PAUL blows a massive raspberry to prove his point. GRAHAM and CLIVE look embarrassed. GRAHAM changes the subject. 55. GRAHAM I like your shirt. The shirt has a picture of Jesus shooting Charles Darwin in the head. Underneath it reads, "Evolve this!"ù RUTH Thanks. I got it at my church. GRAHAM Why would Jesus want to shoot Charles Darwin? RUTH (BRIGHTLY) Because of his theories. Are you men of God? GRAHAM Would you like a coffee? CLIVE I suppose we're men of science. GRAHAM CLIVE- RUTH narrow her eye. CLIVE If we believe in anything it would be macro evolution. Cause and effect. The establishment of a biological order from the maelstrom of physical and chemical chaos. RUTH looks scandalized. GRAHAM Or it could be God. You just don't know do you? RUTH God created the earth in six days and on the seventh he rested. PAUL emits another huge raspberry from the toilet. CLIVE Did you know that the universe has been dated as being 13.5 billion years old an that the release of neutral hydrogen at the moment of the big bang has enabled scientists to do this with categorical accuracy? GRAHAM Yes. 56. CLIVE Not you! RUTH The world is 4000 years old. PAUL (O.S.) Oh come on! GRAHAM PAUL- PAUL (O.S.) Horseshit! RUTH approaches the toilet door, taking up her fight with the unseen third passenger. She bangs on the door. GRAHAM and CLIVE are bewildered by this sudden turn of events. RUTH Explain to me how something as complicated as the human eye simply comes into being. PAUL (O.S.) Oh, don't give me that old irreducible complexity crap- RUTH They eye is comprised of three interacting parts. Remove any one of them and it ceases to exist. It has the precision and delicacy of a pocket watch and, when the good Lord permits, it works in perfect harmony with its environment. Something as functionally perfect as that doesn't just occur without the intervention of a guiding hand. PAUL (O.S.) But it didn't just occur did it? It is the culmination of millions of years of development across countless species. RUTH What are you talking about? PAUL (O.S.) Evolution baby. RUTH screams and bangs the door. RUTH It'd design! 57. PAUL (O.S.) If He designed it, why didn't He just make it one part and take the whole weekend off? RUTH Nothing you can so or do can shake my belief, or faith in the sure and certain knowledge that God made Heaven and earth and created us all in His own image. PAUL Oh yeah? (stepping out of the toilet) Well then how do you explain me? RUTH's mouth hangs agape in a soundless scream, her eye rolls up, her hair turns white. She collapses. PAUL And that's Jenga. CLIVE What did you do that for? PAUL I didn't do anything, she fainted. CLIVE She saw you! PAUL Oh come on. Who's gonna believe anything she says? CLIVE The authorities will be on the look out for exactly this sort of thing. PAUL What, a delusional, one-eyed God botherer? CLIVE Paul, right now they're going to follow any lead they can get. PAUL I didn't think of that. GRAHAM We could take her with us. PAUL/CLIVE What? 58. GRAHAM We're only going to be a couple of days. We could let her go once Paul's gone home. I'm sure she'll be fine once she gets to know us. PAUL and CLIVE consider this. CLIVE How am I going to get my passport back? PAUL vanishes. PAUL (O.S.) Leave it to me. INT. BEHE RESIDENCE - DAY The door opens, seemingly by itself. PAUL materializes in the kitchenette and starts looking around for CLIVE's passport. He roots around noisily in drawers and cupboards, until he spies his quarry on the work-top. He checks the passport and finds CLIVE's absurd picture. He laughs. PAUL Hallelujah. MOSES BEHE (O.S.) Ruth, what in the Lord's name- MOSES and PAUL come face to face. They regard each other for a second. PAUL Boo? EXT. RV PARK - DAY PAUL burst out of the BEHE RESIDENCE, pursued by MOSES who is loading a shotgun. PAUL GO! GO! GO! The RV start to move forward. The door swings open and GRAHAM appears, beckoning to PAUL. PAUL reaches the door, just as MOSES levels the gun at his target. PAUL leaps into GRAHAM's arms, disappearing inside the RV, as MOSES fires off a booming shot. The BEHE mailbox explodes into pieces, as the RV careens off out of the trailer park. INT. RV - DAY Blackness. RUTH wakes up. Panic in her eyes. CLIVE drives, GRAHAM sits on the sofa, biting his nails. 59. GRAHAM Hi. RUTH Where am I? PAUL leans round from the Chewie seat and smile. PAUL Hey, look who's up. RUTH DEMON! GRAHAM Would you like a cup of tea? RUTH starts to pray furiously. GRAHAM I'm so sorry it had to be this way Ruth. We're definitely not going to hurt you and we'll let you go as son as we can. We were just a little concerned that you might call the police. RUTH You have been deceived. Deceived by an agent of Satan himself. PAUL (O.S.) You know I'm sitting right here? GRAHAM He's not a demon Ruth, he's from another world and we're helping him get home. He's not evil. He's just very rude. RUTH How can he be from another world? There is only one world. Our world, created by God the Father. PAUL sits down next to GRAHAM. RUTH whimpers. PAUL Look, if it makes you feel any better, my existence only disproves the notion of the Abrahamic, Judeo- Christian God, as well as all single earth theologies. Science still hasn't categorically rule out the notion of divinity, even though evolutionary biology suggest the non-existence of a creator by probability alone. 60. RUTH How could that possibly make me feel any better? PAUL Jesus Christ, I was just trying to be nice! GRAHAM I think what Paul's trying to say is, just because there are other inhabited planets, it's not the end of the world. RUTH This isn't happening! You're a hallucination. You're not real. You're a test. A test from God. PAUL You can't win can you? RUTH starts to pray furiously, speaking in tongues, making an awful noise. CLIVE I can't drive like this. We'll have to drop her off and take our chances. GRAHAM No! PAUL Oh, for God's sake. PAUL walks over to RUTH and places his and across her forehead. He appear to go into a trance. RUTH's eyes roll up into her head. We see a lightening montage of images. The cosmos, the surface of a planet, others like PAUL, PAUL's ship crashing into the ground. The images speed up as PAUL telepathically send his knowledge into RUTH's mind. They collapse in a heap on the floor. PAUL sparks up a cigarette. GRAHAM What did you do to her?! PAUL I broadened her horizons. GRAHAM Can you broaden mine? PAUL No, it's tiring. GRAHAM goes over to where PAUL is lying. 61. GRAHAM Oh please. PAUL Come here then. PAUL puts his hand on GRAHAM's head. GRAHAM's eyes go all fluttery. We don't see the images this time. GRAHAM falls. CLIVE Oh great! Everyone knows the secrets of the universe apart from me. He always knew what was going on in Buffy before me because his mum had cable. PAUL Can't I just tell you? CLIVE No spoilers! PAUL sighs, then with enormous effort, reaches up and zaps CLIVE who falls to the floor. Everyone lays inert. GRAHAM (WEAKLY) Maybe I should make that tea? EXT. RV PARK - DAY THREE BLACK SEDANS are parked in the BEHE RV park. MOSES BEHE (O.S.) I didn't call the government. I called the po-lice. INT. BEHE RESIDENCE - DAY ZOIL Given your description of the intruder, the police felt your call was perhaps better directed to us. MOSES BEHE And who are you? ZOIL Secret Service, sir. MOSES BEHE I knew it. You know that devil took my Ruth. ZOIL And Ruth's your daughter? 62. MOSES BEHE That's right. Her Mama died when she was born. I good as brought her up by myself. Wasn't easy either. Two mouths to feed and this place to run. ZOIL I understand. Do you have a photography of Ruth, Mr. Behe? MOSES retrieves an old cigar box and produces a tattered photograph of Ruth. She appears younger, with both eyes intact and with dark hair. ZOIL She's pretty. MOSES snorts. ZOIL Do you have a phone Mr. Behe? In case she tries to contact you. MOSES BEHE I do... ZOIL nods at HAGGARD who immediately starts dialling on his satellite phone, moving into a different room. MOSES BEHE ...and she'll call me if she can. Ruth's never really been outta Carbon County. ZOIL You say they went East? MOSES BEHE Uh-huh. They'll have to get off the 191 after Flaming Gorge if they ain't using the interstate, there's been a rig spill just South of Dutch John. ZOIL So? MOSES BEHE So that means they'll be on the 44. Only way to go. ZOIL looks at O'REILLY. ZOIL Let's go. Haggard! 63. MOSES BEHE Tell me you're gonna kill that thing, Mr. Zoil. Kill it for what it is. ZOIL We'll do our best, Mr. Behe. MOSES BEHE Watch yourself now. I seen its eyes. It's evil. ZOIL, HAGGARD and O'REILLY leave. MOSES watches them. MOSES BEHE God's speed, Mr. Zoil. EXT. RV PARK - DAY ZOIL's radio crackles to life. HAGGARD (O.S.) Man, that way was one fat freak! O'REILLY (O.S.) If I was that girl, I think I'd rather take my chances with the alien. HAGGARD and O'REILLY hoot with laughter. ZOIL Can it, you two! How many times do I have to tell you? INT. BEHE RESIDENCE - DAY MOSES is sat at his kitchen table listening to his police scanner. HAGGARD and O'REILLY's laughter rattles loudly over the radio. ZOIL (O.S.) We do not refer to the target as "òThe Alien'. MOSES's expression is mixture of fury and disbelief. He glances at something nearby. Pull focus to the shotgun, lying in the foreground on the kitchen table. We hear an engine splutter into life, revving furiously. EXT. BEHE RESIDENCE - DAY MOSES in his pick up truck, screams off in pursuit. 64. INT. RV - DAY CLOSE on PAUL. He is staring at something in wonder. PAUL Wow. Pull out to reveal him sitting next to GRAHAM and CLIVE, looking out through the RV's windshield. We see their POV. A breathtaking panorama of natural beauty. They are parked up at the summit of a mountain road, looking out across the vista. PAUL There it is, boys. Wyoming. CLIVE Is that where we're going? PAUL Maybe. I gotta tell ya. It's at times like these you winder if the intelligent design crowd aren't onto something. I mean look at it. Hey Ruth, get up here. They look round, the door of the RV is open, RUTH is gone. PAUL Ruth!? CLIVE Someone should go after her. Graham? CLIVE looks round to see GRAHAM gone. CLIVE Graham!? EXT. HIGHWAY - DAY RUTH is storming up the road. GRAHAM Ruth! RUTH Leave me alone! GRAHAM Ruth, please stop, I've got shin splints. RUTH stops. GRAHAM catches up to her. 65. GRAHAM Are you alright? RUTH He can't be from space. It's not possible. GRAHAM Ruth, you saw for yourself. It's not just possible, it's probably. There's probably millions of intelligent civilizations. RUTH So, where is everybody? GRAHAM Well, one of them is right there. RUTH and GRAHAM look back at the RV. PAUL is stood on the dashboard with his bare buttocks pressed against the window. CLIVE is trying not to laugh. RUTH Everything I've ever been told is a lie. My purpose. My truth. All false. DO you know how that feels? To suddenly have nothing? GRAHAM Just because your truth wasn't the truth, it doesn't mean there is no truth, Ruth. RUTH Huh? GRAHAM I understand you're probably feeling very confused right now. Religious belief systems are devised to give us context and security. To stop us feeling lonely and unimportant. RUTH I do feel lonely and unimportant! How can this all be an accident? It doesn't make sense. Did you know the reason we have solar eclipses is because the sun is exactly 400 times bigger than the moon and the moon is exactly 400 times closer to the earth? GRAHAM considers saying "òyes' but decides against it. RUTH How can that be an accident. 66. GRAHAM It isn't, it's a coincidence. Or it probably is. That's the beauty of the universe. RUTH But what's the point? If there's nothing afterwards, what's the point in living? GRAHAM This is the point, Ruth. Right now. This conversation. That tree, your next cheeseburger. Life is a miracle. People spend so much time focusing on rescuing the princess, they forget how much fun it is to fight the dragon. RUTH Huh? GRAHAM Carl Sagan said "òA religion, old or new, that stressed the magnificence of the universe as revealed by modern science might be able to draw forth reserves of reverence and awe hardly tapped by the conventional faiths.' RUTH Huh? GRAHAM It's okay not to know, Ruth. It's wonderful because it means we still have things to learn. We still have life to live. RUTH I'm frightened. GRAHAM So am I, but it passes, sort of. Ruth, we're on an amazing adventure and I think you should come with us. I know you feel confused and lost but if you get back on board that RV, you might just find the very thing you're looking for. RUTH I... I'm not sure. 67. GRAHAM I'm sure Ruth. I'm sure because I can honestly say, I have never talked to a woman for this long without blushing. RUTH That's so sweet. GRAHAM blushes, deep, dark, red. INT. RV - DAY GRAHAM and RUTH get back onto the RV. GRAHAM looks pleased with himself. GRAHAM She's going to be fine. I think your hair looks good by the way. You look like Storm. RUTH Who's Storm? PAUL From X-Men. GRAHAM Exactly. RUTH goes to the bathroom. RUTH (O.S.) AAARRRRGGGHHHHH! MY FREAKIN' HAIR! EXT/INT. RV - DAY The RV drives across the rugged countryside. GRAHAM, CLIVE, RUTH and PAUL appear in various combinations. GRAHAM drives with PAUL in the Chewie seat, CLIVE sleeps on the sofa, RUTH can be seen sitting on the bed at the back. CLIVE drives with GRAHAM in the Chewie seat. PAUL just behind, RUTH on the sofa. She is staring at PAUL. PAUL turns round, she looks away. PAUL drives, CLIVE sits in the Chewie seat, GRAHAM and RUTH just behind. The RV weaves from side to side. CLIVE Small corrections! Small corrections! RUTH drives. Everyone else is asleep. 68. EXT/INT. ZOIL'S CAR/HAGGARD'S CAR/O'REILLY'S CAR - DAY We see ZOIL's convoy. ZOIL drives, his eyes intent on the road, searching. He reaches down out of shot, then brings a taco to hi mouth and takes a bit. A truck passes. We see HAGGARD in his car, talking animatedly on his cell phone. The truck passes. We see O'REILLY in his car, he is asleep at the wheel. The truck passes, horn blaring. O'REILLY wakes up suddenly, looking rattled. EXT. DESERT HIGHWAY - DAY The RV is parked up. It is a little speck on an enormous landscape. Next to the highway is a sign which reads "òYOU ARE NOW LEAVING UTAH.' Underneath this a separate sign reads "òLEAVING PACIFIC TIME ZONE ENTERING MOUNTAIN TIME ZONE.' PAUL leaps back and forth over the line. PAUL 11 o'clock, 12 o'clock, 11 o'clock, 12 o'clock, 11 o'clock. Come on! It's fun. We see CLIVE, GRAHAM and RUTH standing in the middle of the road watching PAUL. RUTH This is the furthest I've ever been. EXT. HIGHWAY - DAY ZOIL's convoy pulls into an Arby's. The three AGENTS leap out of their cars and run in. After a short pause MOSES BEHE's pick up truck passes through shout; "òOnward Christian Soldiers' blares from the radio. INT. RV - NIGHT GRAHAM drives, CLIVE sits in the Chewie seat. PAUL hangs back. RUTH emerges from the bedroom. She has swapped her Darwin T-shirt for one of GRAHAM's. It's an X-files T-shirt emblazoned with a UFO and the legend, I WANT TO BELIEVE. RUTH You don't mind, do you, Graham? GRAHAM It looks nice. PAUL Hey, we should stop for something to eat. Are you hungry, Ruth? 69. RUTH What? CLIVE I'm hungry. PAUL What's new, fatty? CLIVE Hey, it's not fat, it's power. I happen to be very strong. PAUL summons a phlegm ball with a grotesque snort and spits it onto the floor of the RV. PAUL Pick that up then. CLIVE So childish. RUTH Maybe I should call Papa. PAUL/GRAHAM/CLIVE What?! RUTH Look, I've been missing for a whole day. If he's called the police, they'll be looking for us and if they find us, this "òamazing adventure' is going to come to an end real quick. I just need to tell him I'm fine and that I'll be back soon, okay? PAUL offers up a high five to RUTH. PAUL Right up top! RUTH yelps, terrified that PAUL is going to zap her again. PAUL Too soon? CLIVE reaches down and picks up PAUL's phlegm ball. CLIVE I did it! EXT. BAR. PARKING LOT - NIGHT GRAHAM, CLIVE and RUTH step out of the RV. 70. CLIVE Okay, in and out, yes? Don't talk to anyone unless you have to and try to look inconspicuous. Angle on the most conspicuous threesome in America. HOOOOOOOONNNK. CLIVE I wish he'd stop doing that! They enter the bar. Parked nearby, is a black Lincoln Escalade, shiny, mean, dented. INT. BAR - NIGHT The bar is very busy. Scantily clad waitresses serve a variety of customers. People play pool, other people dance to a small band. RUTH spies a pay phone at the back. RUTH I won't be long. CLIVE We'll order food and wait for you at the bar. RUTH Okay. CLIVE Be careful. RUTH walks through to the back, past the toilets. As she passes, MOSES BEHE steps out of the Men's, they miss each other by moments. He walks up to the bar, next to GRAHAM and CLIVE who are looking at a menu. MOSES orders. MOSES BEHE Tap water. INT. BAR. PAY PHONE - MOMENTS LATER RUTH dials. She listens nervously. Click. OPERATOR (O.S.) Ruth Behe? RUTH Yes? OPERATOR (O.S.) Please hold, your call is being diverted. 71. RUTH Wait, I... ZOIL (O.S.) Ruth Behe? RUTH Yes? ZOIL (O.S.) Agent Zoil, Secret Service. Listen very carefully. You're in great danger. RUTH How did you...? ZOIL (O.S.) We know who you're travelling with Ruth. I need you and your friend to turn yourselves in. RUTH What if we don't want to turn ourselves in? INT. HIGHWAY. ROADSIDE - NIGHT ZOIL talks on a satellite phone. HAGGARD works on a laptop nearby. O'REILLY listens in. ZOIL Where are you? Where are you headed? RUTH (O.S.) I don't know. ZOIL Look, I know you think you're doing the right thing but I promise you, I'm only thinking about you. And Paul. You care about Paul, don't you? RUTH (O.S.) I don't know how I feel about him. He's weird and also, rude. ZOIL Yes he is. RUTH (O.S.) I asked him why he wore shorts and he said if he didn't I'd see his big spaceman balls. 72. INT. BAR. PAY PHONE - NIGHT Loud giggles, followed by angry shushing from ZOIL. RUTH Who's there with you? ZOIL (O.S.) Ruth, please listen to me. Your father is worried about you. We want to get you home. I need you to tell me where you are. RUTH He showed me things. ZOIL You're not still talking about his balls, are you? RUTH I... i just want to know what's real. I'm confused. I... I... RUTH struggles. Her expression shows great conflict. HAGGARD (O.S.) WE GOT HER! ZOIL (O.S.) Damnit, Haggard! RUTH panics and slams down the phone. She realizes what she may have done and rushes back toward the bar, slamming into two men. The MEATHEADS, drunk, look down at her, amused. JAKE Hey, slow down there cyclops. RUTH I need to get to my friends. GUS Why the hurry? You know I got a friend with one eye who'd love to meet you. RUTH I happen to have two eyes actually. I just have a severe stigmatism. JAKE You should get that fixed up. Reckon you'd be kinda pretty in the right light. GUS Yeah, the dark. 73. RUTH Papa said the Lord would fix it. GUS The Lord ain't gonna fix nothing sweetheart. RUTH No shit. RUTH plants her knee firmly into the groin of GUS. He doubles up knocking his friend over. RUTH bolts. INT. BAR - MOMENTS LATER GRAHAM and CLIVE are clutching brown paper bags full of food, RUTH returns from the Phone. GRAHAM How's your dad? RUTH We need to leave now. CLIVE We're still waiting on a wet fries. The two MEATHEADS emerge from the pay phone. Angry. JAKE Holy shit! It's the space faggots that dinged the fuck-mobile! CLIVE Look, I'm terribly sorry. Perhaps we can exchange insurance details? JAKE I'm sorry I don't speak "ònerd'. GRAHAM and CLIVE look terribly offended. GUS These the "òfriends' you told us about, baby? RUTH Yes, they are. JAKE Well whaddya know? Small world. RUTH We were just leaving. GUS I don't think so. 74. JAKE grabs RUTH. GRAHAM pushes him hard in the chest. GRAHAM Leave her alone! JAKE What did you say? CLIVE (timid but resolute) He said, leave her alone. At this, JAKE pulls his fist back to hit CLIVE, knocking a tray of drinks all over a table full of men. They immediately spring up and lunge after the MEATHEADS who turn their attention to the attack. The fight spreads like fire. GRAHAM grabs RUTH's hand and follows CLIVE as he scrambles through the fracas. As they reach the door RUTH is yanked back and comes face to face with her father. MOSES BEHE RUTH?! RUTH PAPA?! CLIVE Graham? MOSES BEHE I'm taking you home. RUTH I... I can't. MOSES BEHE Don't talk back to me, girl! RUTH PAPA I- A chair smashes across MOSES's head, knocking him out. Behind him, bloodied and angry are the two MEATHEADS. EXT. BAR. PARKING LOT - NIGHT CLIVE, GRAHAM and RUTH explode out of the bar and run toward the RV. The MEATHEADS crash out after them. RUTH What about Papa?! JAKE Hey, we ain't finished with you. 75. CLIVE Graham, take Ruth into the RV and lock the door. I don't want either of you to see this. CLIVE turns back to the MEATHEADS. BANG! CLIVE is struck in the face, he falls, nose bleeding. They turn to RUTH and GRAHAM, who back up against the RV. The MEATHEADS approach ominously. The RV door bursts open. PAUL stands silhouetted against the interior lights. PAUL Yo fucknuts! The MEATHEADS freeze. PAUL vanishes, then reappears a few feet from them, their eyes bulge. PAUL So, who wants to get probed first? The MEATHEADS swoon and simultaneously hit the deck. GRAHAM Ha! Only one of us fainted! PAUL Tell me you got the food? CLIVE gets up and opens his coat revealing bags of food. Sirens wail in distance. RUTH turns white. RUTH It's them. GRAHAM Who? RUTH It wasn't my fault. They answered the phone. He knew all about us. CLIVE Who? Who are you talking about? PAUL Get in the RV! SMASH CUT. The RV roars to life, backing up at speed into the MEATHEAD's vehicle. MOSES BEHE bursts out of the bar, just as the RV passes. RUTH sees him out of the window. MOSES locks eye with his daughter. He runs to his pick up but realises he doesn't have his keys. The RV tears off into the night, leaving MOSES BEHE bellowing with anger and the Lincoln Escalade, shiny, mean, fucked. 76. INT. RV - NIGHT The RV pulls off the road into a secluded lay-by. The gang sit in silence for a while. GRAHAM Was that your dad, Ruth? RUTH nods. CLIVE He was so angry. RUTH He's always angry. GRAHAM, CLIVE and PAUL all exchange looks. GRAHAM Are you alright, Ruth? RUTH nods, still distant. PAUL I'm feeling pretty amped up. Anyone wanna take a walk? CLIVE I'm game. GRAHAM You want to come for a walk, Ruth? RUTH Thanks, but I think I'm going to turn in. It's been a long day what with meeting you guys, being abducted by and alien and having my whole belief system called into question. PAUL Sorry about that. GRAHAM It was amazing though, wasn't it? Remember when Paul said "òYo fucknuts'? That was brilliant. PAUL You gotta talk the talk, right? CLIVE What about when I got smacked in the nose? 77. PAUL Yeah yeah Snorlax, you're a real hero. Come on. Let's skedaddle. You want anything Ruth? RUTH No, you go, I'll be fine. Here Clive. RUTH hands CLIVE her handkerchief. It is embroidered with the words "òJESUS SAVES'. CLIVE Thank you. He mops his nose as they leave the RV. GRAHAM lingers. GRAHAM You can sleep in my bunk if you'd like. She smiles at him. He goes to leave but turns back. GRAHAM I'd use a pen to push the tissues off the bed. I've had a cold. EXT. DESERTED TOWN - NIGHT GRAHAM and PAUL stand outside a liquor store on the main drag of a quiet town. Next door is a Western themed clothing store. PAUL looks in the window. PAUL Hey Graham. Check this out. What d'ya think? PAUL indicates to a small cowboy outfit, big enough for a child, displayed in the window. PAUL I'd look pretty hot, right? GRAHAM Space cowboy. PAUL Steve Miller Band. I love that song. Speaking of midnight tokers, I got a littler herbal refreshment in my pants. Do you guys partake? GRAHAM No. PAUL Shame. I get it from the military. This is the shit that killed Dylan. 78. GRAHAM Bob Dylan's still alive. PAUL Is he? CLIVE comes out of the liquor store clutching bags of beer. CLIVE Let's party! EXT. WOODS - NIGHT GRAHAM, CLIVE and PAUL have made a camp fire in a woodland clearing on the other side of town. They sit round drinking beers and chatting. PAUL rolls a joint. GRAHAM So why "òPaul'? It's not very, you know, alien. CLIVE Is it spelt like, P-'-a-w-l-l or something? PAUL No. GRAHAM P-o-o-u-r-l? PAUL No, it's Paul. Like Paul Newman or the little guy from Simon and Garfunkel. CLIVE Paul Simon. PAUL Paul Simon. Paul's not my real name. It's a name I got given. GRAHAM What's your real name? PAUL You won't be able to pronounce it. CLIVE I can speak Klingon. PAUL What a geek. CLIVE Hey! 79. GRAHAM Come on, what's your real name. PAUL opens his mouth and screeches. PAUL Roooooootttchaaaaaaaaaaa. CLIVE Roooooootttttttccchhaaaa. PAUL That's pretty good. GRAHAM Rootchaa? That sounds like Roger. PAUL Fuck you! CLIVE Calm down, Rog. More laughter. Even PAUL. He lights his joint. GRAHAM You look like a poster on a student's wall. PAUL That was my gag! "òTake me to your dealer' right? Yeah, that was mine. Never saw a dime. GRAHAM You never answered my question. Why Paul? Who called you Paul? PAUL The little girl who found me when I crashed. It was terrible actually. I killed her dog. I didn't mean to! My ship sort of landed on it. When the military arrived I was delirious; I kept saying "Paul? Paul?"ù It was the only English I knew, because I'd heard the little girl saying it over and over. Spooks thought it was my name. CLIVE She called her dog Paul? PAUL Least it wasn't Mr. Muggles. GRAHAM What happened to the little girl? 80. PAUL Who knows? Never saw her again. Think about her everyday though. PAUL offers the joint round. CLIVE and GRAHAM decline. PAUL takes a deep drag. During the following exchange, GRAHAM, CLIVE and PAUL start to move simultaneously as though governed by some kind of psychic link. CLIVE It's strange, isn't it? Ordinarily in this situation Graham and I would be looking up at the stars, wondering about life on other planets but we know now, don't we? It's a bit of an anti-climax. PAUL Thanks a bunch, Hurley. CLIVE I don't mean that in a bad way. They all scratch their noses. GRAHAM Paul, can I ask you something? PAUL Shoot. GRAHAM Why are you in such a hurry to leave? PAUL I've outlived my usefulness. CLIVE How so? PAUL There's only so much knowledge I can share about the universe and quantum theory and how to make a really nice meatball sandwich. The only thing I have to offer them now are my abilities. GRAHAM So? PAUL So the only way they're going to get hold of them is by obtaining some of somatic stem cells. 81. GRAHAM So what, do they take a swab from your cheek? PAUL Negative. CLIVE Stool? PAUL Sadly, not that simple. GRAHAM Blood?! Oh my god, I hate needles. PAUL Believe me, a needle would be a picnic compared to what they had in store for me. CLIVE I don't follow. PAUL Stem cells are multipotent. GRAHAM and CLIVE look blank. PAUL Lineage defined? GRAHAM and CLIVE still look blank. PAUL (CONT'D) The camouflage response, the memory transfer, the revivification, they all originate in my cerebellum. In order to cultivate them in a laboratory they would have to... GRAHAM/CLIVE Cut your brain out. PAUL Bingo! Fortunately, someone was kind enough to give me the heads up, if you'll pardon the pun. So, when they were transferring me to the medical facility and I noticed the bumper sticker on your RV, I figured you might be sympathetic types. I zapped the spooks, grabbed the wheel and took my chance. CLIVE I thought the crash was our fault. 82. PAUL Well it was, kinda. GRAHAM So, you're saying if they catch you... PAUL draws his thumb across his neck. GRAHAM and CLIVE look at PAUL in horror. All three scratch their heads. PAUL So tell me, are you guys virgins or what? GRAHAM/CLIVE No. They all cough. PAUL Alright then, Clive, when was the last time you got laid. CLIVE Comic-Con 2005. Ewok chick. PAUL Three years ago you had sex with a midget? CLIVE She was an Ewok! Sniff. PAUL There are only two types of person small enough to fit inside an Ewok costume. CLIVE She was a midget. PAUL I can't believe you thought boning a space bear sounded less embarrassing than a person of short stature. CLIVE I know. I'm sorry. PAUL Was it nice? CLIVE WONDERFUL 83. PAUL You sly dog! PAUL rolls onto his back, clapping. GRAHAM snorts into his beer, laughing. CLIVE joins in. Before long, the three friends are rolling around in hysterics, utterly out of control. After about thirty seconds of this, they pass out. EXT. WOODS - MORNING The sun has just risen. GRAHAM, CLIVE and PAUL lie round the smoldering camp fire sleeping soundly. PAUL is very white. His eyes open. He looks around. PAUL Oh shit! Hey, wake up. Wake up. We fell asleep. CLIVE How did that happen? PAUL Sorry, I get this thing when I get high. It's called "òprojective empathy'. You feel what I feel. GRAHAM Like in E.T.? PAUL Exactly. CLIVE Oh, thank God. For a second there I thought I'd got drunk on Lite beer. The guys gather their stuff and walk to the edge of the wood. Looking through the tree line they realize that the quiet town of last night has become very busy indeed. GRAHAM Oh dear! PAUL I can't walk through there. CLIVE How are we going to get back? Close in on GRAHAM having the best idea of his life. EXT. TOWN - DAY GRAHAM and CLIVE walk down the busy main street, between them is PAUL. He is dressed in the little cowboy suit from the shop window, his hat pulled down low over his face. 84. GRAHAM Maybe we should hold hands, so that we look like a family. PAUL That's great! Two grown men who look like sex offenders holding hands with a child cowboy. CLIVE You could be a midget. PAUL You're obsessed with midgets! They continue on, trying to look as if nothing is strange. GRAHAM Seem to be working, Clive. Clive? GRAHAM notices that CLIVE is no longer with them. He looks back to see CLIVE, gawping thought the window of a COMIC SHOP, at a sword resembling the one they saw at Comic-Con. The tag reads "òGenuine "òBLADE' Katana'. $299.99. GRAHAM Clive, no. CLIVE walks into the shop. GRAHAM and PAUL follow quickly behind. As they enter the COMIC SHOP, MOSES BEHE emerges from the adjacent Drug Store. He takes a couple of pain killers and flexes his sore shoulders. He wanders up the road, scanning the passers by. INT. COMIC SHOP - DAY GRAHAM approaches CLIVE who is at the counter. GRAHAM Now's not really the time, Sausage. CLIVE I must have it. GRAHAM It's very cheap. Are you sure you don't want to save up and get a proper on? CLIVE Oh, come on, we've got time. INT/EXT. RV - DAY Close on RUTH's watch. She paces, worried. KNOCK KNOCK. 85. RUTH Where have you been? I was worried. She opens the door. AGENT ZOIL flashes his badge. ZOIL Good morning, Ma'am. Sorry to trouble you. Agent Zoil, Secret Service. Your wagon here matches the description of a recreational vehicle we're currently looking for. May I ask, are you alone? RUTH pauses a second. RUTH Yes, I'm alone. ZOIL Do you mind taking a look at these pictures? ZOIL pulls out three pictures and hands them to RUTH. CCTV shots of GRAHAM and CLIVE at the gas station and MOSES's pic of RUTH, looking younger, with dark hair and no glasses. ZOIL Do you recognise any of these people, Miss? She lingers on the picture of herself. ZOIL Miss? RUTH No, sorry I don't. ZOIL Where are you coming from, Ma'am? RUTH Christian ministry in Seattle. I've been driving for 5 days. ZOIL Going far? RUTH Austin. ZOIL Great town. RUTH Oh yes. It has an impressive bat population you know? (MORE) 86. RUTH (CONT'D) Folks gather by the rive in the evening to watch them fly out. Turn the sky black. Quite a sight. ZOIL Is that so? RUTH Uh-huh. Well, I really should be getting along. ZOIL Of course. Thanks for your time, Miss...? Beat. RUTH Darwin, Charlotte Darwin. ZOIL smiles and nods. He laves. INT. COMIC SHOP - MOMENTS LATER GRAHAM and CLIVE are at the counter. CLIVE is trying out the blade. PAUL, in cowboy guise browses the racks of comics. He picks one up. The cover features an alien that looks a lot like him. The comic is called "òEncounter Briefs: Tales From the Dreamland'. PAUL smiles and shakes his head. He suddenly realises he is being watched. Next to him is a child, (8) small enough to see under PAUL's hat. He is looking at the cover of the comic and back at PAUL. PAUL How's it going? CHILD Is that you? PAUL No. CHILD It looks like you. PAUL Suppose it does. What's your name? CHILD Keith Nash. PAUL I'm Paul. Pleased to meet you. They shake hands. PAUL You on your own here, Keith Nash? 87. KEITH NASH My Mom's shopping for some new jeans. She lets me wait in here. PAUL Sounds like a good Mum. KEITH NASH Yes and no. What're you doing here? PAUL My friend's buying a sword. He's a grown man. KEITH NASH What a nerd. PAUL laughs. So does KEITH NASH. PAUL You an M&Ms man, Keith? PAUL produces his M&Ms. He offers one to KEITH. KEITH NASH I am but I shouldn't. PAUL Strangers with candy, right? KEITH NASH Right. PAUL Well, we've got a lot in common. We both like comics and M&Ms. Guess that makes us pals. KEITH NASH Guess so. KEITH beams at PAUL and takes a few M&Ms. They turn their attention back to the racks of comics. PAUL pulls one out called "òG-Men'. On the cover it shows an agent, not unlike ZOIL, shooting an alien not unlike PAUL. PAUL You read this one? KEITH NASH No. PAUL It's a good one. Take it. Go on. It's a gift. KEITH NASH Thanks Paul. 88. KEITH stuffs it down his trousers. PAUL laughs. We hear MRS. NASH calling from the street. KEITH NASH I gotta go. PAUL Catch you later, Keith Nash. GRAHAM and CLIVE approach. CLIVE has a long sword shaped box under his arm and a big grin on his face. CLIVE Who was that? PAUL Keith Nash. How much was that? CLIVE $299.99. It's made of a low grade Turkish alloy. PAUL What did you get, speccy? GRAHAM X-Men action figure. PAUL Jesus Cheeeerist. EXT. COMIC SHOP - DAY GRAHAM, CLIVE and PAUL exit the comic shop. PAUL waves to KEITH NASH, who now sits outside, on a bench, with his MOTHER. The boys walk up the street, seconds later, HAGGARD and O'REILLY step out of a store, eating bags of candy. MRS. NASH Don't lie, Keith. KEITH NASH I'm not lying. MRS. NASH Oh, come on now, Keith. If you carry on like this, you'll have to come with me to Dress Barn. KEITH NASH Honestly Mommy, he was an alien and his name was Paul! MRS. NASH Whoever hard of an alien called Paul? 89. HAGGARD is suddenly kneeling at KEITH NASH's side. O'REILLY stands nearby. HAGGARD What did you say, kid? MRS. NASH Excuse me. Who are you? HAGGARD Agent Haggard Ma'am, Secret Service. MRS. NASH Secret Service?! HAGGARD Kid? KEITH NASH He was in the shop. HAGGARD Is he still in there? KEITH shakes his head. O'REILLY Did he say where he was going? KEITH looks at his comic. The ZOIL style agent, shooting the PAUL style alien. He looks back at HAGGARD and points him in the entirely wrong direction. HAGGARD South. Toward New Mexico, huh? KEITH nods. HAGGARD stands, his mind racing. He looks meaningfully at O'REILLY not noticing the RV rumbling up the street behind him with CLIVE at the wheel. O'REILLY We've got him man! We're going to get a fucking promotion. HAGGARD You did good kid. Want a candy? KEITH NASH No thanks. HAGGARD Let's go. The two agents rush off. O'REILLY What about Zoil? 90. HAGGARD Screw Zoil! EXT. WOODS - DAY MOSES BEHE kicks at the remains of the campfire. He bends down and picks something up. It is Ruth's handkerchief, now stained with dirt and blood. He screws it into his shaking hand. An engine roars. He looks up to see the RV rumbling up the road. It turns onto the Eastbound Highway. MOSES' pick up is parked about 200 yards away. MOSES starts to lumber towards it as fast as he can, which isn't very fast. EXT. STREET - DAY HAGGARD and O'REILLY sprint up to their vehicles. ZOIL (O.S.) Where the hell do you think you're going? HAGGARD can't hide his frustration. HAGGARD We picked up a lead, sir. Little kid in the town said he saw an alien. Said he was heading toward New Mexico. ZOIL And you were just gonna take off? HAGGARD Thought it best to take the initiative, sir. We were going to radio you. ZOIL Well now, that's mighty civil of you. We have a chain of command. I expect you to abide by it. Where d'you say he was headed? HAGGARD New Mexico sir. ZOIL Well, then let's move it. They scramble. ZOIL Oh, and Haggard? Don't go getting ideas about your station again. ZOIL gets into his car leaving HAGGARD looking pissed. 91. INT. MOSES'S PICK UP - DAY MOSES drives, Ruth's bloody handkerchief gripped between his hands and the wheel. He listens to his police scanner. VOICE (O.S.) Zoil, what the hell's going on? ZOIL (O.S.) They've double back sir. They're heading toward New Mexico. VOICE (O.S.) You better be right about this, Zoil. I'm getting a little tired of this shit. I want that little fucker's brain in a jar by sundown. MOSES smiles darkly. MOSES BEHE Looks like you're going the wrong way, Agent Zoil. That's what happens when you don't got the Lord on your side. EXT. HIGHWAY - DAY MOSES BEHE's pick up roars through shot, revealing a large roadside sign proclaiming LUCIFER'S CUT PRICE FIREWORK WAREHOUSE. Creep in on the sign. INT. RV - DAYBREAK The RV is parked outside the firework warehouse. RUTH and PAUL sit opposite each other at the dining table. RUTH is holding the X-Men action figure, Storm. PAUL watches her. PAUL He likes you, y'know? RUTH Graham? D'you think? PAUL What are you, blind? Beat. PAUL (CONT'D) Sorry. Beat. PAUL What you got there, a stigmatism? 92. RUTH nods. PAUL You know you can get on operation for that, right? RUTH Papa said the Lord would fix it. Guess that's not gonna happen, seeing as we're living in a gigantic godless universe, with no hope of salvation. PAUL Hey, I don't know categorically that it's godless. I just said "òprobably'. RUTH Oh, that's a relief. PAUL Look, the way you're feeling now, that's why religion appeared in the first place. It's like existential Prozac. Imagine being five year sold and having no adults around to tell you why it snows or what trees are for. That's how it is for much of humanity. Faith is a night- light. It illuminates the scary corners, fills the gaps, makes the universe easier to comprehend. Thing is, it's okay not to know everything. I mean, who knows what's really out there? Did you know astrophysicists recently identified the equation for the creation of matter? RUTH Yes. PAUL Oh. Well, then you get it, right? If they have the theory, who's to say at some point in the future they won't put it into practice and who's to say someone else didn't do that 13.5 Billion years ago and that's how the universe came to be? Course, then we get the eternal problem of who created the creator but that's a whole other car park. I think Shakespeare said it best. "There's more in Heaven and earth than is dreamt of in your philosophy Horatio"ù. 93. RUTH What did you call me? PAUL Horatio. It's from Hamlet. You know, the Prince of Denmark? RUTH Denmark has a municipal population of 508,691. PAUL blinks. PAUL Anyway, if there is a God, didn't he create doctors and hospitals and scalpels and shit, so he wouldn't have to go round fixing people's lazy eyeballs? RUTH I suppose so. PAUL The eye is a delicate and complex thing, Ruth. You should get it taken care of. RUTH smiles. PAUL smiles back. RUTH looks out of the window, just as PAUL reaches out to touch her face. RUTH They're back. PAUL withdraws his hand. GRAHAM and CLIVE are approaching the RV clutching a large firework. They climb aboard. PAUL Perfect. CLIVE What are you going to do with this? PAUL Phone home. INT. ZOIL'S CAR - DAY VOICE ZOIL! ZOIL jumps but gathers his composure quickly. ZOIL Yes, sir? 94. VOICE Satellite's come up with a data analysis on all the traffic coming out of Prospect in the last 5 hours. There was only one RV, and guess what, nimrod? ZOIL It wasn't going to New Mexico? VOICE That's a three pointer Agent Zoil. You better spin your ass around. You got some serious catching up to do. Don't make me come out there. ZOIL No, sir. Where are they headed? If we gun it, maybe we can get the drop on their destination. VOICE They're on the 50, heading towards Gillette. ZOIL What else is around there? VOICE Not much. Thunder Basis, Bethlehem Creek. ZOIL Bethlehem Creek? VOICE Holy shit! EXT. HIGHWAY - DAY ZOIL's motorcade pulls a spectacular U-turn and heads back up the highway in the opposite direction. INT. MOSES'S PICK UP - DAYBREAK MOSES listens intently to his scanner. VOICE (O.S.) You don't think she's sill there, do you? MOSES smiles. 95. EXT. HIGHWAY - DAY MOSES BEHE's pick-up truck pulls a similarly spectacular turn and heads in a different direction. EXT. FARMHOUSE - EVENING Caption: Bethlehem Creek, Wyoming GRAHAM, CLIVE, RUTH and PAUL stare through the window of the RV at the farmhouse glimpsed in the first scene. GRAHAM You don't think she's still there do you? PAUL That's what you're going to find out for me. CLIVE Us? PAUL I can't just knock can I? What if she's moved on and someone else answers? I'm sick of people fainting on me. I'll hang back with my buddy Ruth, you two make first contact. Just enjoy it. CLIVE What shall we say if it's her? We're here with the alien that killed your dog sixty years ago? PAUL Yes. Hurry up, there's going to be a really big storm in exactly 34 minutes. RUTH How do you know? PAUL It's my job to know. EXT. TARA'S FARMHOUSE - DAY GRAHAM knocks on the door. GRAHAM Hello? CLIVE Knock again. 96. VOICE (O.S.) Who's there? CLIVE Tara Walton? VOICE (O.S.) Leave me alone! GRAHAM Okay. GRAHAM goes to leave. CLIVE stops him. CLIVE Miss Walton, I'm the writer, Clive Gollings and this is my friend and colleague, Graham Willy. We're from England and we're here with the alien that killed your dog 60 years ago. Silence. The sound of multiple locks. The door opens to reveal a woman (68). Grey, dishevelled but with fire in her eyes. She scowls at GRAHAM and CLIVE. TARA What is this, some kind of joke? CLIVE It's no joke. PAUL materializes between GRAHAM and CLIVE. PAUL Hello Tara. TARA's faces sickens. She falls backwards into the house. PAUL Aw nuts. INT. TARA'S FARMHOUSE. FRONT ROOM - DAY GRAHAM, CLIVE, RUTH and PAUL all sit on a sofa. TARA sits opposite, staring at PAUL. RUTH Maybe I should make some tea. TARA Where are my manners? I never really have guests. Nobody comes up here. I go whole weeks without seeing a soul. 97. TARA goes to the kitchen. She can be seen from where they are sitting. She turns the gas on and strikes a cooking match. PAUL looks pained, struggling for something to say. PAUL Can I do anything to help? TARA stand in the kitchen doorway, the lit match in her hand. PAUL stands and walks toward her, she watches him. TARA I've only just stopped believing in you, y'know? Spent a very long time trying to convince folk about what happened that night. My parents, my friends. Everyone thought I was mad. They told me it was a meteor that squashed little Paul. Took me away and did tests they did, said it was for cosmic radiation. They said I was concussed, hallucinating, but I knew you were real. I pulled you from that spaceship myself. Sat with you till the men came and took you away. If Pop hadn't had to go to Casper, he would have seen you too. They kept telling me I'd imagined it but I knew different. Pop tried to understand but they filled his head with "òdelayed this' and "òpost- traumatic that'. He just used to smile and say "òthere, there Tara'. He got sick when I was seventeen and died a few years later. I inherited this place. Word got out about my story not long after it happened, so I didn't really have any friends. Kids used to throw stones at the house and call me names. I just kinda retreated into myself. I'd spend whole nights up on the roof, staring at the sky, hoping to catch a glimpse of you again. I always believed that one day you"òd come back and here you are. The match flame reaches her fingers, she shakes it out. TARA Listen to me gabbing. Milk and sugar? PAUL I'm so sorry. TARA What for? 98. PAUL For killing your dog and ruining your life. TARA That doesn't matter. Don't you see? You're real. I was right and all those folk that said I was crazy? Well, they can all go fuck themselves. PAUL It's good to see you, Tara. The tinkle of glass. Something hits the floor. A tear gas canister spins at their feet, spewing thick fog. TARA Now, where do you suppose that came from? PAUL Fuck a duck! Get out! GRAHAM/CLIVE Shit! PAUL Tara, where's the back door? TARA In back. The gang bustle out of the room just as the front door splinters inward, revealing O'REILLY in a gas mask. INT. TARA'S FARMHOUSE. BACK ROOM - DAY The gang quickly barricade the door of the next room and continue on toward the back of the house. They find the back door, just as it is opened by ZOIL. The gang freeze. PAUL vanishes, then reappears right next to ZOIL, putting his hand across ZOIL's forehead. ZOIL Paul, wait- A burst of psychic images explode into ZOIL's head. The agent and the alien fall on the ground in an exhausted heap. PAUL Clive? CLIVE Yes? PAUL A little help? 99. CLIVE picks PAUL up. HAGGARD approaches, gun drawn. HAGGARD Freeze, space monkey! GRAHAM We're cut off. TARA Storm cellar! TARA opens a nearby door and motions them down some stairs, as HAGGARD fires wildly. Crockery explodes around them. ZOIL Godammit Haggard! INT. TARA'S FARMHOUSE. CELLAR - DAY The gang descend into a dim room. It is full of UFO paraphernalia. Models, toys, books, souvenirs from every UFO hot spot in the land. One the wall is the "òTake Me To Your Dealer' poster. PAUL sees it. PAUL Not a fucking cent. INT. TARA'S FARMHOUSE. BACK ROOM - DAY ZOIL comes to. He sees HAGGARD at the cellar door. Screeching brakes draw his attention as MOSES BEHE's truck skids up. He gets out, shotgun in hand. ZOIL Oh great! EXT. TARA'S FARMHOUSE - DAY TEAM PAUL climb out of the cellar and start to run towards the RV, PAUL still in CLIVE's arms. It starts to rain. PAUL Come on! GRAHAM Ow, my shins! INT. TARA'S FARMHOUSE. BACK ROOM - DAY ZOIL sees MOSES run round to the front of the farmhouse. ZOIL Help me up! 100. INT. TARA'S FARMHOUSE. FRONT ROOM - DAY O'REILLY sees TEAM PAUL running toward the RV from the front room. He levels his pistol at PAUL and squints. EXT. TARA'S FARMHOUSE - DAY TEAM PAUL reach the RV and start to board, just as MOSES BEHE lumbers into view. MOSES BEHE RUTH! RUTH Papa? PAUL grabs RUTH's hand. PAUL Come on. MOSES BEHE (levelling his shotgun) Take your hands off her, devil! INT. TARA'S FARMHOUSE. FRONT ROOM - DAY O'REILLY find his mark. Pull back to reveal he is stood by the kitchen door, through which we see the cooker, the simmer of gas in the air. O'REILLY Ready or not. He fires. KA-BOOM!!! O'REILLY is vaporized in a ball of orange fire. EXT. TARA'S FARMHOUSE - DAY The farmhouse explodes. ZOIL and HAGGARD who are only just clear, hit the deck, covering their heads. MOSES is knocked off his feet as flaming wood and debris rain down. INT. RV - DAY CLIVE I'll drive! GRAHAM Punch it! 101. The RV roars into life, reversing out onto the road. CLIVE pulls a spectacular U-turn, sending the passengers flying. GRAHAM lands in TARA's arms, RUTH in PAUL's. RUTH and GRAHAM exchange glances. Dumb luck. TARA straightens herself and looks out of the RV at her destroyed home. TARA My weed! EXT. TARA'S FARMHOUSE - DAY ZOIL is blackened and dazed, draped over HAGGARD's shoulder. His eyes focus on a figure in the near distance. MOSES BEHE picks himself up and lumbers off towards his truck. HAGGARD drops ZOIL and runs to his car. ZOIL Damnit Haggard, wait! HAGGARD takes off. ZOIL staggers to his car and with great difficulty, takes off in pursuit, narrowly avoiding MOSES BEHE's truck. Lightening flashes. Loud thunder. INT. RV - DAY CLIVE floors it. RAIN lashes down. The sky is almost black. GRAHAM Your dad's persistent, isn't he? RUTH You have no idea. CLIVE sees their pursuers in his wing mirror. CLIVE I think we have a problem. GRAHAM What do we do? PAUL Go left. CLIVE What? PAUL GO LEFT! CLIVE hauls the wheel left. The RV leaves the road and bounces across the scrub. TEAM PAUL hang on for dear life. 102. EXT. DESERT ROAD - DAY HAGGARD, ZOIL and MOSES follow the RV across the scrub. INT. ZOIL'S CAR - EVENING ZOIL (TO HIMSELF) What the hell is he doing?! VOICE (O.S.) Zoil. Progress report! ZOIL Sir, I- INT. HAGGARD'S CAR - EVENING HAGGARD In pursuit, sir. VOICE Who the hell is this? HAGGARD Haggard, sir. Agent Zoil has been compromised. I'm assuming command. ZOIL (O.S.) Now wait a goddamn minute! VOICE I don't give a shit who's in command. Where' my fucking mooncoon?! HAGGARD Just ahead of me sir. We're heading East across scrubland just North of Mitchell Creek. VOICE I don't wanna hear from either of you jokers until that little mother fucker is under glass. HAGGARD Yes sir! HAGGARD floors it. He is manic and wild eyed. 103. EXT. DESERT ROAD - DAY We see the chase from above, the RV is in the lead, gaining behind them, is HAGGARD, followed by ZOIL, then MOSES. HAGGARD draws level. He looks up into CLIVE's eyes. INT. RV - DAY CLIVE They're trying to overtake. PAUL Don't let him get past. CLIVE Shall I ram him? RUTH/TARA/GRAHAM/PAUL YES! CLIVE wrenches the wheel hard to the left. EXT. SCRUB - EVENING The RV nudges the BLACK SEDAN which spins out of control and skids to a stop, ZOIL and MOSES scream past. HAGGARD turns the engine over. Nothing. He yells. Lightening explodes overhead, hail pings and bounces off the hood. INT. RV - EVENING CLIVE What are we doing exactly? PAUL (TO HIMSELF) Immense pressure and temperature drop. High winds, circulating in the troposphere, two opposed fronts clashing. Oh, this is going to be a good one. CLIVE A GOOD WHAT?! RUTH stares out of the window. RUTH Oh my God. 104. EXT. SCRUB - EVENING A massive black funnel extends from the sky about half a mile ahead of the chase. It rakes the ground, reducing a small farm building to a million splinters. INT. MOSES'S PICK UP - EVENING MOSES BEHE HOLY- INT. ZOIL'S CAR - DAY ZOIL is sat mouth agape. ZOIL -Shit! INT. RV - EVENING CLIVE swerves to avoid a grain silo, which comes bouncing across the ground toward them. CLIVE Are you sure you know what you're doing?! PAUL Twenty seconds. TARA Paul, we'll get sucked right up. PAUL Stay on target. A branch smacks on the windshield, cracking it. CLIVE Paul! PAUL Stay on target. EXT. SCRUB - EVENING The grain silo bounces close to ZOIL's car, he swerves to avoid it and stops. MOSES pulls up just ahead. MOSES and ZOIL get out of the vehicles, almost unable to stand against the wind and debris. They watch the RV, now a good distance in front, heading for the heart of the tornado. 105. ZOIL He's insane! MOSES BEHE RUTH! HAGGARD's car screams past. ZOIL grabs his radio. ZOIL Haggard, stand down. Stand down! HAGGARD (O.S.) He's mine. I can do this! ZOIL Haggard, it's suicide. EXT. SCRUB - EVENING CLIVE PAUL? PAUL NOW! The funnel suddenly evaporates into the sky, leaving the path ahead clear and oddly calm. GRAHAM It's gone! CLIVE Where did it go? EXT. SCRUB - EVENING ZOIL watches amazed. He almost smiles. ZOIL Son of a bitch! ZOIL looks at the sky. His face drops. ZOIL Haggard. Wait a minute! An engine revs nearby. ZOIL turns to see MOSES BEHE pull off in pursuit. ZOIL MR. BEHE! (into is radio) Damnit, hang back, hang back! 106. HAGGARD (O.S.) You're not running this show any more Zoil. You had your chance. ZOIL Haggard, he knows what he's doing. HAGGARD (O.S.) So do I. ZOIL It's a trap! INT. RV - EVENING CLIVE They're still coming! RUTH WHAT ARE WE DOING TO DO? PAUL Ruth, why don't you count back from 10? RUTH Okay. 10...9... PAUL Back where I'm from, tornadoes are part of our daily life. We've learnt how to live with them, how to understand them. CLIVE They're gaining! PAUL We've learnt to anticipate their behavior, know their personalities, know when they're playing games. RUTH 3... GRAHAM What games? RUTH 2... PAUL Hide and seek? RUTH 1... 107. CLIVE looks into his wing mirror, just as the tornado snakes down out of the sky between them and HAGGARD. CLIVE Great Caesar's ghost! RUTH How did you do that? How did you know? PAUL Evolution baby. EXT. SCRUB - EVENING The tornado touches down hear HAGGARD's car. He barely has time to scream before his is lifted into the vortex. INT. MOSES'S PICK UP - EVENING A wide eyed MOSES yanks hard on the wheel, spinning the truck round, heading back in the opposite direction. EXT. SCRUB - EVENING MOSES's truck hurtles past ZOIL's car. MOSES BEHE (O.S.) Oh Jesus! Oh Jesus! Oh Jesus! ZOIL looks back toward the no unreachable RV. INT. RV - DAY CLIVE We've lost them. TEAM PAUL erupt into cheers. PAUL jumps in the air and whoops. He high five GRAHAM and pats CLIVE on the back. GRAHAM embraces RUTH and tries to kiss her, she pulls away. GRAHAM Sorry. RUTH Wait, what about Papa? CLIVE I only saw one car following us. PAUL Where's Tara? TARA comes out of the toilet. 108. TARA The bulb's gone in there. GRAHAM That was just awesome. Amazing driving Clive. It was like G.T.A. but potentially fatal. Wasn't it, Clive? Clive? A knocking and a gurgling sound is coming from the engine. CLIVE Oh no. EXT. SMALL ROAD - EVENING The RV splutters to a halt. Steam rises from the radiator. It whines, coughs and dies. Cut to TEAM PAUL stood around surveying their fallen companion. A single bullet hold in the grill, reveals the cause of her downfall. GRAHAM There goes the deposit. CLIVE Fare thee well friend. You were a faithful and mighty steed. TARA She rode that storm with a bullet in her heart and didn't stop until we we're safe. RUTH If there is a benevolent creator watching over everything then may he, she or it bless the 1985 Holiday Rambler, Imperial. Everyone looks to PAUL for his comment but he is not there. GRAHAM Paul? PAUL (O.S.) We're here. PAUL is stood away from the RV at the foot of a small hill. He starts to climb. The others follow. Crane up as TEAM PAUL climb the hill to reveal a sight familiar to anyone who has seen Close Encounters Of The Third Kind... DEVIL's TOWER GRAHAM/CLIVE Of course! 109. INT. ZOIL'S CAR - EVENING ZOIL drives. Scanning the landscape. Searching. VOICE Zoil! What the hell is going on? ZOIL We got hit by a twister, sir. Haggard's dead. VOICE What about the other one? ZOIL I lost him when the ranch exploded. VOICE Jesus Christ, Zoil, this has been one fuck up after another. I should have handled it myself. I want that little bastard dead by midnight tonight or you'll be working security in a convention centre. Now where's that RV? ZOIL's eyes widen. Parked on the roadside is the RV. VOICE Zoil? ZOIL? ZOIL is staring at DEVIL'S TOWER. EXT. DEVIL'S TOWER - DAY TEAM PAUL hike towards the tower. RUTH What you may not know is on the outside of the tower they bolted a series of ladders, all the way to the top, put there by William Rogers in 1893. He was the first man to climb the tower. TARA I climbed up there in 1976. Thought it would make a good site for some UFO spotting. Turns out I wasn't the only one. PAUL We call them IFOs. TARA Cute. 110. PAUL I-thank-you. EXT. SMALL ROAD - DUSK ZOIL opens the trunk of his car. He pulls out a large piston, spare ammo and a webbing pack which he slings around his shoulder. He sets off up the hill. EXT. DEVIL'S TOWER. CLEARING - NIGHT TEAM PAUL are walking round the tower. As they round the corner the landscape changes, the trees give way to a piece of open pasture flanked by pine forest, the tower opens itself up slightly, a perfect natural amphitheatre. PAUL This is it. PAUL takes out the firework, Zippo and cigarettes from his back pack. He lights his last cigarette and takes a drag. PAUL I'll miss these. PAUL takes the firework a little way off and sticks it in the ground. He crouches down and lights the touch paper with the cigarette, then scampers back to the gang. Beat. The firework rises into the sky. It explodes. The star-burst is massive and bright red, it illuminates the tower. TARA Pretty. GRAHAM What now? PAUL We wait. A light appears in the sky some way off. PAUL (CONT'D) (FROWNING) That was quick. EXT. DEVIL'S TOWER. FOREST - NIGHT ZOIL runs through the bush, fast, like a wild animal. His face fixed with serious intent, gun in one hand, torch in the other. 111. EXT. DEVIL'S TOWER. CLEARING - NIGHT TEAM PAUL watch as the ethereal light draws nearer. Spotlights cut through the night, searching beneath. EXT. DEVIL'S TOWER. FOREST - NIGHT ZOIL leaps a fallen tree. Ahead, through the trees, he sees an ethereal glow. He pulls the slide back on his pistol. EXT. DEVIL'S TOWER. CLEARING - NIGHT The lights are really close now. They are accompanied by a deep rumble. A very earthly sound. Rotor blades. PAUL Wait a minute... A HELICOPTER swoops in to land, kicking dust and debris into the air. TEAM PAUL turn back to the woods but are stopped by the sight of a torch getting nearer. PAUL (CONT'D) Oh shit. Behind them, the HELICOPTER powers down. The door opens. VOICE Well, whaddya know? Small world. VOICE appears flanked by two faceless, heavily armed SOLDIERS. They level their weapons, just as ZOIL bursts through the trees behind them. ZOIL PAUL! PAUL Lorenzo?! PAUL spins round. We go into slow motion. ZOIL fires. The bullet explodes from the gun, straight at us. Angle on the bullet as it passes in ECU. The shot moves round behind the bullet to reveal PAUL, looking shocked. The bullet whizzes past him, slamming into one of the soldiers. ZOIL rolls, coming to rest on one knee. He fires a second shot into the leg of the other soldier who collapses. He leaves his gun at VOICE just as the PILOT bursts from the cockpit. The PILOT fires but misses ZOIL. ZOIL takes out his shoulder, spinning him off his feet. VOICE steps forward, holding a smoking gun. VOICE It was you! You told him. I should've known. (MORE) 112. VOICE (CONT'D) You've never made a mistake in your life. That's why I put you in charge of this fucking mission. ZOIL He's my friend! I've known him for twenty years. He introduced me to my wife damnit! VOICE You stupid son of a bitch. In five years, you could have been where I am. ZOIL I don't want to be where you are. VOICE Too bad, seeing as I'm the one hold'ng all the cards and when I say "cards"ù, I of course mean big fucking gun. VOICE points his gun at PAUL. PAUL How'd you find me? VOICE It was pretty easy once we got a fix on the geek-mobile. Wasn't hard to figure out where you were headed. You always did have a flare for the dramatic. PAUL nods, a sad smile creeping across his mouth. VOICE Let's go. TARA stands in front of PAUL, then RUTH, then GRAHAM then CLIVE, who summons every ounce of bravery in his body. CLIVE He's not going anywhere. VOICE Be honest with yourself, two scoops. What is it that you think you can possibly bring to the table at this stage in the game? CLIVE reaches beyond his back and produces his KATANA SWORD, he holds it like a proud Samurai. CLIVE Blind fury. The blade falls off. 113. CLIVE Bloody low grade Turkish alloy. VOICE Step aside, you fat nerd. CLIVE (IN KLINGON) Graham, his this man. CLIVE steps aside. GRAHAM slams his fist into the face of the unsuspecting VOICE. He staggers back but rallies quickly, blocking GRAHAM's second blow and delivering a heavy rebuke. RUTH leaps onto VOICE's back and starts pummeling his head. RUTH Leave him alone! VOICE hits out at RUTH. GRAHAM renews his attack. GRAHAM Leave her alone! VOICE throws them off and comes face to face with TARA. TARA Leave them alone. WHAM! She whacks VOICE across the face with a large stick. TARA You're not taking him away again. He staggers backwards and falls to the ground, unconscious. PAUL Thank you, Tara. TARA Don't mention it. PAUL rushes to ZOIL who lies on the ground, wounded. ZOIL The things I do for you, huh? PAUL You know I appreciate it. ZOIL Do you have any idea how difficult it was to catch you guys? PAUL (LAUGHS) Let me take a look at that. Ruth, shine the torch down here? RUTH grabs a torch and steps in behind PAUL. 114. BLAM! RUTH lurches forward, suddenly limp. Everyone turns to see MOSES BEHE, shotgun smoking in his and. His face white, his eyes wide. MOSES BEHE Oh Lord, Ruth. My little Ruth. GRAHAM Noooooooooo! GRAHAM gathers RUTH up in his arms. She coughs, flecks of blood around her mouth. MOSES BEHE I...I never meant to shoot her. I was aiming for the goblin. CLIVE He's not a goblin he's from another planet. MOSES BEHE But he can't be. He... he... GRAHAM He's an alien you stupid man! Oh Ruth, Ruth I'm sorry, I'm so sorry. I should have never persuaded you to come with us. RUTH focuses on GRAHAM. She smiles, weakly. RUTH What, and miss all this? Graham, I've lived more in the last 48 hours that I ever did in that trailer park. Isn't that what you said living was all about? Right now? This conversation? That tree? My next cheeseburger? I'm not afraid anymore Graham. I'm cold though. Hey, where is everybody? RUTH shudders and dies. TARA and ZOIL look aghast. GRAHAM buries his head in RUTH's hair. CLIVE, his eyes are filled with tears, puts his and on GRAHAM's shoulder. MOSES BEHE What have I done? I'm sorry. I'm so sorry. A shadow is cast across RUTH. Everyone looks up to see PAUL, silhouetted against the moon. His eyes glint. PAUL There is no way this thing isn't gonna end happy. 115. PAUL drops to his knee and places his hands on RUTH's chest. MOSES drops his shotgun and lumbers over, distraught. MOSES BEHE Get away from her! Don't you touch my little girl. CLIVE holds out a hand to stop MOSES. He obeys. The air hums, charged with static. PAUL's skin ripples with color. Everyone watches transfixed. RUTH's eye flickers and opens. With some difficulty, she sits up and takes off her glasses. She blinks both shining, healthy eyes. GRAHAM Ruth, are you okay? RUTH I think so. Is anyone hungry? I really feel like a cheese burger. Relief and joy spreads through group. MOSES falls to his knees and sobs. He feels a hand on his shoulder and looks up to see PAUL. MOSES BEHE Thank you. RUTH and GRAHAM hug. She smiles at him. RUTH You can kiss me now. They kiss with awkward passion. Everyone smiles then after a bit become uncomfortable and a bit grossed out. PAUL Looks like the geek shall inherit the earth. CLICK CLICK. The group turn to see VOICE, upright, pointing his gun. VOICE I wouldn't say- SPLAT. A large spaceship lands hard on top of VOICE. Everyone looks shocked. PAUL, GRAHAM and CLIVE exchange a look. PAUL Happens to the best of us. EXT. DEVIL'S TOWER. CLEARING - NIGHT Some time has passed, a number of PAUL style aliens are now present. 116. One of them uses a big hose to clean the remains of VOICE from the hull of the ship. Another two help the now healed soldier to their feet, patting them on the back and shaking their hands. The atmosphere is amiable. TEAM PAUL look at one another. ZOIL and MOSES have joined them. PAUL kisses and hugs RUTH. PAUL I'm sorry I frightened you so much your hair turned white. RUTH You didn't frighten me. You freed me. You helped me see the light. PAUL (TO MOSES) Take care of her big man. MOSES BEHE I will sir. God be with you. PAUL Whatever dude. They high five. PAUL turns to ZOIL, whose arm is in a makeshift sling and shakes his hand. PAUL (CONT'D) Lorenzo Zoil, you're a good man. Say bye to Karen for me. ZOIL Safe trip Short Round. PAUL turns to GRAHAM and CLIVE. He pulls JELVA - ALIEN QUEEN OF THE VARVAK from his pocket and hands it to them. CLIVE You can keep it. PAUL Cool. Okay. GRAHAM What did you think? PAUL Yeah. Three tits, awesome. Although you know what? Sometimes, less is more. The boys nod. PAUL (CONT'D) Thank you. GRAHAM No, thank you. 117. CLIVE You are, and always will be, our friend. PAUL Come here you fucking geeks. They hug. He takes in incandescent orb from his pocket. PAUL (CONT'D) This is a self-sustaining light orb. Might come in handy, you know, if a bulb goes. TARA is waiting for her goodbye but PAUL ignores her. He face drops as he walks to his ship. He turns to her. PAUL (CONT'D) You coming? TARA What? PAUL I ruined your life Tara. Think I owe you a new one. TARA takes PAUL's hand. TARA I don't have my toothbrush. PAUL Baby, where we're going, you won't need teeth. TARA frowns then follows PAUL aboard. PAUL and TARA stand in the doorway. One of the other ALIENS comes out of a small room behind them, speaking in a strange tongue. Subtitle: THE BULB'S GONE IN THERE. As the door slowly closes, GRAHAM and CLIVE give PAUL the CE3K salute. PAUL gives them the finger. The boys laugh, tears in their eyes. The ship lifts off into the sky. GRAHAM, CLIVE, RUTH, MOSES and ZOIL watch them go. The light form the ship gradually fades, leaving them in darkness. Pause. GRAHAM That was good, wasn't it? INT. CONVENTION CENTRE. SIGNING PAVILLION - DAY We are at Comic-Con the following year. We come to rest on a long line of people. Sat behind a table are GRAHAM and CLIVE. They look more confident, cooler. CLIVE is talking to a short woman in an EWOK costume. He pats her on the ass as she walks away. All around them are stacks of their new novel: PAUL. 118. A banner hangs behind, displaying the cover, GRAHAM's own rendering of their alien friend. They sign copies. The PUBLICIST mills around, looking very pleased. PUBLICIST Just one item per person please. He winks at the boys. RUTH rushes up to GRAHAM, she is dressed as Storm from X-Men and pushes a customized buggy, in which sits a baby dressed as Professor X. RUTH Hey. GRAHAM Hey babe. You okay? RUTH I'm just taking Tara over to the autograph pavilion. Michael Biehn's here! CLIVE Oh, say hi from us, won't you? RUTH kisses GRAHAM. Two nerds approach. MAJOR NERD 1 Uh... were you... did you? GRAHAM/CLIVE There you go. SECURITY MAN (O.S.) Next in line please. MAJOR NERD 2 Uh... were you... did you? GRAHAM/CLIVE There you go. SECURITY MAN Guys, if you've had your book signed please move on. Tilt up to reveal the security man. It is none other than former Special Agent LORENZO ZOIL. CRANE up to reveal the whole convention floor. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Pearl Harbor.txt b/unformated_scripts/Script_Pearl Harbor.txt new file mode 100644 index 0000000000000000000000000000000000000000..f46efccb4b1f889995fe23c81a99a28852eadfd9 --- /dev/null +++ b/unformated_scripts/Script_Pearl Harbor.txt @@ -0,0 +1 @@ + PEARL HARBOR by Randall Wallace EARLY DRAFT Out of BLACK we hear the sound of an airplane roaring by. EXT. POV OF AN AIRPLANE Flying over American heartland. We see the earth through the pilot's perspective as sky and ground swap positions, the plane swooping down and storming over the ground. THE PLANE is a biplane, racing over a field lush with young plants. It releases a trail of crop spray, and climbs again... Up into a crystalline blue sky where sunshine pours like honey over family farms stretching to the horizon. Maybe it's not heaven, maybe it's just Tennessee. But as long as there's been an America, men have fought and died for this place -- as volunteers. Far off, but visible from the plane is A BARN - DAY The barn is unpainted except for hand lettering that says "McCawley Crop Dusting." Another plane noise, this one made by kids, brings us to TWO BOYS, sitting in the shell of an old plane propped on crates, scavenged of it's engine, seats, and wheels. The boys sit in it's cockpit, butts crowded onto the nail keg they've replaced the seat with. They've even attached a 2x4 as propeller, as if their imaginations needed any help. They wear overalls and have bowl haircuts: RAFE and DANNY, 10 years old. RAFE Bandits at 2 o'clock. DANNY Power dive! They buzz their lips in a flying noise and work the controls, Rafe's bare feet on one pedal, Danny's on the other. RAFE It's Germans! DANNY Kill the bastards! Rafe looks at Danny in shock -- then they both laugh and go right back into their game, manufacturing their own machine gun and engine sounds. RAFE Good shooting, Danny! DANNY Good shooting, Rafe! RAFE Land of the free... DANNY Home of the brave! RAFE There's another one! Their vocal motors roar again... But a man's hand grabs Danny by the straps of his overalls and jerks him from the cockpit. It's Danny's FATHER and he's a fearsome sight; drunk, his hair uncombed, his face unshaven, his teeth -- those still left -- are rotting. He's also missing an arm; but the one that's left is potent, and he's shaking Danny with it. DANNY'S FATHER You no count boy! Johnson come lookin', said he'd pay a dime for you to shovel his pig shed, and I can't find you no place. DANNY Daddy, I told you I was comin' here. His father slaps him off his feet. Rafe is so horrified he can't get a sound out. Danny isn't even surprised. But when his father snatches him up again, twisting the overall straps so tight they choke him, he struggles. It does no good; his father starts marching across the field, dragging and strangling Danny. DANNY Da!... Dad... The father's drunken anger makes him oblivious -- until CRACK! The 2x4 propeller slams him across the back, knocking him to the ground and making him drop Danny. The father rolls over to see 10-year-old Rafe, holding the 2x4 like a bat. RAFE Let him alone! The father's eyes bulge in rage; he struggles to his feet. DANNY Rafe... Daddy... No! The man looks murderous, but Rafe draws back the board. RAFE I'll bust you open, you...German! The words ring something deep in the man's booze-broken brain. He begins to cough, convulsively; it brings a blossom of blood to his mouth. He wipes it with his hand, but blood clings to his teeth. He chokes out -- DANNY'S FATHER I fought the Germans. He looks at Danny in shame, with the realization of what he's just done. He turns and staggers away. Danny looks at Rafe -- a communication between boys joined by something deeper than blood. Then Danny runs off after his father. DANNY Daddy! Daddy! Wait. Danny catches him, takes his father's hand, and walks away with him. The crop duster we saw in the air has just landed, behind Rafe. The pilot, RAFE'S FATHER, shuts off the engine. RAFE'S FATHER What's goin' on, son? RAFE Nothing. Danny's Dad just come to get him. Rafe turns back to the ramshackle plane and replaces the 2x4 propeller. His father looks toward Danny and his father, walking away, then looks at his own son. RAFE'S FATHER Hey, boy -- you wanna go up? Rafe can't believe it; he runs to the plane and hops into his father's lap. As his father cranks the engine and tucks him into the harness, Rafe says -- RAFE Daddy, sometime will you take Danny up too? RAFE'S FATHER Sure will, son. The engine races to life...and we -- DISSOLVE TO: EXT. NEW JERSEY AIR BASE - DAY American P-40 fighters blast through the air, props screaming and wind singing by their wings. There are eight pilots in their individual seats, and we focus on two: RAFE MCCAWLEY has grown lean and handsome. And DANNY WALKER is very much the same. Their planes start swapping positions in the formation; while the other guys are flying along in a tight line, Rafe and Danny are playing, one of them gunning his engine to go high, the other diving and coming back up in his place, leapfrogging. It scares the other guys, having their planes flashing in and out, so close. The TRAINING CAPTAIN, watching through binoculars on the ground, talks into his RADIO -- TRAINING CAPTAIN McCawley! Walker! Cut that out! RAFE I thought this was a training flight. I'm just trying to give Danny some training. DANNY Not on your best day, boy! Rafe grins and guns his plane low, in the opposite direction he was moving before. Danny reacts almost instantly... leapfrogging in the opposite direction, scaring the piss out of everybody else. TRAINING CAPTAIN That's it, get into a wedge! The squadron responds, forming up into a tight V, Rafe and Danny just behind and on either side of the center. RAFE Didn't you say test the limits? DANNY Hey, you wanna test my limits, you better line up a couple dozen women on the GROUND...cause I got NO limits in the air! Rafe grins, loving the challenge. Then he and Danny do the leapfrogging maneuver laterally, swapping sides in the V. TRAINING CAPTAIN Everybody down! EXT. NEW JERSEY AIRFIELD - DAY The planes land in tight order and taxi off the runway; shut down their props, slide back the canopies and hop down. We see young pilots we'll get to know: ANTHONY, BILLY, RED. TRAINING CAPTAIN Where are McCawley and Walker? EXT. RAFE AND DANNY - STILL IN THE AIR - DAY They've circled to opposite ends of the airfield and are now heading right at each other, like two bullets playing chicken. TRAINING CAPTAIN Aw shit... INT. THE COCKPITS From Rafe and Danny's POV, the rush is awesome. THE PILOTS ON THE GROUND watch in awe as the P-40's get so close they can't possibly get out of each other's way. Billy, the most boyish-faced of the pilots, yells to drown out the sound of the collision... At the last instant, both planes snap a quarter turn so that their wings are vertical, and they shoot past each other belly to belly. IN THE COCKPITS Rafe and Danny burst out laughing. THE PILOTS ON THE GROUND laugh and congratulate each other. TRAINING CAPTAIN You know what they say... You can take the crop duster out of the country -- but don't put him in a P-40. Rafe banks to land, and Danny tucks in behind him. Danny has Rafe's plane in his sights. DANNY If I had guns I'd be chewing up your -- Rafe feints left, banks right, and appears behind Danny. RAFE If you had guns, you'd be pissin' on 'em. They're almost to the landing strip, Rafe behind Danny. But as Danny's wheels are about to touch, he guns his engine and snaps the nose of his plane straight up. THE OTHER PILOTS stop laughing. ANTHONY He's doing an inside loop! TRAINING CAPTAIN Aw, shit... Danny pulls it off, just barely making a full circle to come in behind Rafe and bounce to a stop on the runway. DANNY Yee-hawww!!! Danny taxis his plane over to join the others. He's grinning as he slides back his cockpit cover; then -- DANNY Where's Rafe? Red, tall with flaming orange hair, tips his chin toward the air. Seeing Rafe's plane still in the air, Danny starts to refasten his harness. TRAINING CAPTAIN You're down, Walker! That's an order! DANNY What about him? TRAINING CAPTAIN He's not taking my orders anymore. Danny's just about to ask what the hell that means, when he notices Rafe climbing in a deliberate spiral. DANNY He's gonna do it. BILLY Do what? DANNY It. (beat) Aw, shit. Aw shit shit shit... RAFE'S PLANE reaches two thousand feet, just a speck above them, and seems to pause in the air. DANNY I shouldn't'a done an inside loop. I shouldn't'a done an inside loop. BILLY Why? DANNY Cause now he's gonna do an outside loop. TRAINING CAPTAIN Aw shit. Aw shit shit shit... Anthony and Billy join in, like an involuntary chant -- ANTHONY & BILLY Aw shit shit shit... RAFE, IN HIS COCKPIT, is tightly controlled, yet serene. He noses the plane into a power dive. The P-40 screams toward the ground, picking up speed, going so fast it begins to shudder. THE OTHER PILOTS are transfixed. Red is so nervous he can't get the words out. RED Aw sh- sh- sh- sh- BILLY Shit. RED Yeah. DANNY You can do it, Rafe. You can do it. The P-40, hurtling toward the ground at nauseating speed, snaps into a half roll, streaking upside down over the runway. Rafe hangs inverted in his flight harness, the asphalt of the runway shooting past, ten feet beyond his head. He pushes the plane into a climb, his cockpit on the outside of the circle. The plane reaches the top of its arc, and almost stalls; but Rafe noses it over again, toward the earth, only this time he has very little altitude. The plane hurtles down, still with it belly on the inside of the curve... And makes it full circle. Rafe's head now is barely a foot off the asphalt as the plane shoots past, still inverted. THE OTHER PILOTS burst into cheers. RAFE, IN HIS COCKPIT permits himself a smile. He lands, and the guys run out to meet him...all except for the Training Captain, who stands there shaking his head. Danny jumps on the wing, as Rafe stops and slides back his canopy. Danny grabs him by the harness and shakes him. DANNY You could've killed yourself, you stupid bastard! He dives into the cockpit, hugging Rafe. DANNY That was the most beautiful thing I ever saw. INT. COLONEL DOOLITTLE'S OFFICE - DAY COLONEL JIMMY DOOLITTLE, mid-forties, is commander of the base. He's as tough as he is good in the air. And right now he's frowning at Rafe McCawley, standing at attention before him. DOOLITTLE There are some people who think the outside loop is reckless and irresponsible. RAFE How could it be irresponsible, Sir, if you were the first man in the world to do it? DOOLITTLE Don't get smart with me, son. RAFE Never, Sir. I just meant it's dangerous only for the kind of pilot who wants to show off, rather than inspire the other pilots in his unit. And all you've done for me, Sir, working out the transfer, I did it to say thanks. To honor you, Sir. What the French call a "homage." DOOLITTLE That's bullshit, son. But it's really good bullshit. RAFE Thank you, Sir. Doolittle stands, moves around his desk, and shakes Rafe's hand. DOOLITTLE Good luck over there McCawley. I admire your decision. RAFE Thank you, Sir. INT. NEW JERSEY AIRFIELD - BARRACKS - NIGHT The pilots are getting slicked up for a night on the town. Danny's at the mirrors with the others; he's putting on cologne, and looks terrific in his uniform. Anthony and Billy are combing their hair at the sinks. Billy declares to his image in the mirror -- BILLY You good-lookin' sumbitch...don't you EVER die! ANTHONY That's your line for tonight, ya know. BILLY What, good-lookin' sumbitch? ANTHONY No, numbnuts, die. You get your nurse alone, you look her in the eye, and say, "Baby, they're training me for war, and I don't know what'll happen. But if I die tomorrow, I wanna know that we lived all we could tonight." I've never known it to fail. Red finishes brushing his teeth at the sink beside them. RED He's n-never known it to work, either. The guys head out laughing, running into Rafe coming in. DANNY Doolittle didn't kill you? Attaboy! Rafe catches Danny's arm. RAFE Danny, there's something I gotta tell you... EXT. NEW JERSEY BARRACKS - NIGHT Rafe and Danny are walking on the parade ground; the other guys are already on the bus that will take them into town. Danny's upset by what Rafe just told him. DANNY How could you do this? RAFE The Colonel helped me work it out. DANNY I don't mean how'd you do the paperwork, I mean how the hell did you do it without letting me in on it? RAFE I'm sorry, Danny, but they're only accepting the best pilots. DANNY Don't make this a joke, Rafe. You're talking about war, and I know what war does to people. RAFE Danny, you know how many times I saw you come to school with a black eye or a busted nose, and couldn't do a thing about it -- for you, or for your mother... or your father, with his lungs scorched out with mustard gas, and more left of his lungs than there was of his spirit? You've made your sacrifice, Danny. It's time I made mine. BILLY (from the bus) The nurses are waiting! RAFE Let's go. DANNY Nah, you go on. RAFE I have to talk to Evelyn. And I want you to meet her. DANNY Some other time. I don't feel like a party. Danny walks away. The bus driver's ready to leave, and Red is honking the horn for Rafe to come. Rafe reluctantly lets Danny go, and heads for the bus, where the pilots are chanting -- PILOTS VOICE Nurses! Nurses! Nurses! INT. A MOVING TRAIN - DAY The trains of 1942 have their own beauty, with felt seats, shaded lamps, and paneled compartments even in the economy section. But the glow of the train is outshone by EVELYN STEWART. She's one of ten young women, Army nurses, gathered at one end of the car as it rattles along the track. The other nurses are pretty and ripe -- maybe a bit too ripe. Their lips painted bright red, their faces powdered, their spirits high. Evelyn listens in amusement to BETTY, a cute blonde with unmissable boobs, and BARBARA, a burnette equally endowed. BETTY Do you have trouble with your boobs in the uniform? BARBARA You mean hiding them? BETTY Hide them? On a date with pilots? I'm talking about how you make them show! SANDRA, another nurse, speaks up. SANDRA Loan 'em to me, I'll make 'em show. BETTY The boobs or the pilots? The girls laugh and shove each others' knees; it's a party wherever they go. But Evelyn can't keep her mind on the frivolity. She looks out the window and her thoughts drift away. BARBARA We'll ask Evelyn. Evelyn? Evelyn! BETTY Ooo, she's thinking of her date! Come on, you've been dating a pilot. We want to know what we can expect. Suddenly all the girlish faces are looking at Evelyn. EVELYN I've been dating one pilot. And only for a few weeks. But I know he's different from all the others. Sandra throws up her arms and swoons onto her friends. SANDRA True love!... BETTY Morphine, give her morphine! BARBARA Give her an enema. EVELYN But I do have a warning for you. There's one line you all need to know, and you're likely to hear it from any man in a uniform. It goes like this: "Honey, Baby... We never know what's gonna happen, and I may die tomorrow...so, let's live all we can tonight." A silence among the nurses. BARBARA I tell you. Any one of those arrogant, leather-jacketed, slick-lookin' flyboys tries that line on me...he's gonna get anything he wants. As the nurses laugh -- EXT. NEW YORK TRAIN STATION - NIGHT Our pilots -- indeed leather-jacketed and handsome -- are waiting on the platform. Among then is Rafe, holding something behind his back, as the train pulls in and shudders to a stop, clouds of steam jetting onto the platform and giving the moment a dream-like haze. INT./ EXT. TRAIN - NEW YORK TRAIN STATION - NIGHT The nurses start stepping out; both pilots and nurses pretend surprise to see each. At the door of the train, Evelyn whispers to Betty -- EVELYN Stick with me, I'll find you somebody good. Betty spot's Rafe. BETTY I'll take that one. EVELYN He's taken. But come on, I'll introduce you. They move to Rafe; he crosses the platform to meet them, his eyes holding Evelyn. RAFE Hello, Lieutenant. Good to see you. EVELYN You too, Lieutenant. Betty clears her throat. EVELYN Oh, this is Betty. RAFE Nice to meet you, Betty. He draws his hand from behind his back; he's holding two roses. He hands one to Evelyn and the second to Betty. RAFE Danny would'a brought this. He escorts them along the platform. EVELYN Danny's not coming? RAFE No, he...got some news today. He'll be okay, he just didn't feel like coming tonight. EVELYN I was hoping to meet him. BETTY I was hoping to meet him. RAFE We'll just have to find a substitute, won't we? Betty stops, and faces Rafe. BETTY I just want to tell you one thing. If you're thinking this might be your last night on earth?... I'm prepared to make it meaningful. (leaning close) Very meaningful. EVELYN At ease, Betty! INT. CITY NIGHT CLUB - NIGHT It's a party in full swing; swing music, jitterbugging, beautiful young men and women in high spirits. Rafe and Evelyn are sitting at a big table with the other pilots and nurses. Anthony's paired up with Sandra, Billy with Barbara, and Red, shyest of the group, finds himself next to Betty. Betty's already found a companion in Red Strange. RED He, I'm R-Red. Red S-Strange. BETTY Red...Strange? RED You know the football player, Red G- Grange? Well the guys called me R-Red, cause you know, I'm red...and they thought I was strange, so, you know, Red G-Grange, Red Str-Strange. BETTY But...they called you Strange? Because of Red Grange? I don't get it. Was Red Grange strange? RED How would I know. Beside her beer is an open ketchup bottle; he picks it up and swigs from that. Rafe and Evelyn see this, and try to keep from laughing. BETTY Do you always stutter? RED Only when I'm n-n-n- BETTY Nervous? RED Yeah. But if I have to get something out, I c-can always s-s-s- (he sings) SIIING! She covers his hand with hers. BETTY Don't be nervous. Red looks at Betty with love in his eyes. Under the table, Rafe and Evelyn join hands too. EVELYN There shipping us out. Hawaii. The Germans are overrunning Europe, and we're sent to paradise. How about you? Have you heard anything? He hesitates; then Evelyn is distracted by the conversation beside them, between Barbara and Billy. BILLY You're a very special woman, and...well baby, they're training me for war, and we don't know what happens tomorrow. So we gotta make tonight special. Barbara shoots a look at Evelyn, before she answers. BARBARA I hope you can back that up, flyboy. Cause you're not ever gonna forget tonight. She takes him by the hand and pulls him to his feet... They start dancing, sexy movements that won't stop till they've been in bed. Rafe pulls Evelyn to her feet, and leads her through the dancers, outside. EXT. THE NIGHT CLUB - NIGHT They find a quiet place on a balcony that overlooks the river, and Manhattan beyond. Evelyn takes in the view, breathes in the air; she still holds the rose. EVELYN Whatever you're trying to tell me isn't good, is it. Or it wouldn't be so hard to say. RAFE The only reason it's hard to say is that I keep thinking I don't have the right to say it. But I've got to because it's true. I love you. (beat) That must surprise you. EVELYN It surprises me that I'm not the only one on this balcony who feels that way. The power of hearing this from each other grips them both. RAFE There's one thing I have to say. I'm going away. EVELYN We're all going away. RAFE I'm going to the war. The real war. Hitler's taken Europe. The Brits are hanging on by their fingernails, and If they lose, there'll be more people killed than anybody can imagine. And not just there, but here. EVELYN But you're in the U.S. Army, how could you -- RAFE Colonel Doolittle pulled the strings, and put me on loan to the R.A.F. They need pilots, and we need experience. I leave tomorrow. EVELYN You waited til tonight to tell me? RAFE I had to tell you in person. Because there's something else I need to say. He studies her face, burning it into his memory. RAFE Evelyn...you know the line -- let's make tonight memorable. What I feel about you makes it impossible for me to say something like that. If I don't come back, I don't want to saddle you with regret and sadness you'll carry the rest of your life. EVELYN I don't know if you can choose that, Rafe. RAFE Maybe not. But I need you to know. I love you. And I will come back. I'll find a way. And then we'll get a chance to know if what I felt the first moment I saw you, and every minute since then, is real. EVELYN Do one thing for me, before you go. She takes his hand and leads him inside. INT. NIGHT CLUB - NIGHT She leads him onto the dance floor, and they dance, among the others, yet in a world apart from everyone else. And then they stop while all the others move around them, and kiss the kind of kiss that lasts a lifetime. EXT. HOTEL - NIGHT The nurses are entering the hotel. Pilots are going in with them. But Rafe and Evelyn stop on the street. A last kiss. Their hands touch a final time, and then part. She moves inside the lobby, and looks out the glass doors as he walks away. EXT. TRAIN STATION - DAWN Rafe and Danny stand on the platform. Rafe's got his gear packed in a bag slung over his shoulder. CONDUCTOR'S VOICE All aboard! Rafe glances once more toward the revolving doors from the station that lead onto the platform. DANNY Didn't you say you told her not to come? RAFE Yeah. DANNY Then why are you looking for her? RAFE It's a test. If I asked her to come and she came, it wouldn't tell me anything. If I tell her not to come, and she comes...then I know she loves me. VOICE ALL ABOARD! DANNY You're still a kid, ya know that? Take care of yourself. RAFE You too. Rafe sticks his hand out to Danny. Danny knocks it away, and hugs him. Rafe steps onto the train, and it pulls away. Rafe waves. Danny waves back and smiles, but he whispers like a prayer... DANNY Give 'em hell, Rafe. INT. TRAIN - DAWN Rafe finds a seat and sits down. He's the only one in the car, and he's deeply alone. EXT. TRAIN STATION - DAWN Danny walks to one of the three revolving doors back into the station. He takes the one on the far right. As he passes through it, he doesn't see Evelyn rushing through the door on the left side. She's told herself she wouldn't come, but couldn't help it, and now as she sees the last car of the train disappearing around the corner the pain of it all hits her. She stands on the empty platform, as lonely as Rafe. MONTAGE - THE JOURNEYS Rafe and Evelyn travel in opposite directions, toward opposite ends of the earth... EXT. A GRAY, COLD, CANADIAN SEAPORT - DAY as Rafe boards a Canadian naval vessel headed into the North Atlantic. EXT. TRAIN - TRAVELING THROUGH THE AMERICAN WEST - DAY Evelyn and her fellow nurses ride the train through the American southwest. The scenery outside the window is beautiful, but her thoughts are far away... EXT. NORTH ATLANTIC - DAY Rafe's ship is in a convoy through the rough gray waters. The deck is loaded with military supplies bound for Britain. Rafe stands among the drab crates and seems oblivious to the rain, his thoughts on Evelyn. He looks toward the eastern horizon, where his ship is heading. A deep, dark storm is brewing before them... EXT. PACIFIC - DAY Evelyn stands on the deck of a ship headed in the opposite direction, on another ocean, the sky is clear, the breeze is warm, the light of a glowing sunset bathes her face. The MONTAGE ENDS, with them heading to different ends of the earth. EXT. BASSINGBORNE AIRFIELD - BRITAIN - DUSK In the eternal dusk of England, everything is cold and gray. British fighter planes -- Spitfires and Hurricanes -- are surrounded by mechanics hurriedly ripping off bullet riddled fuselage panels and digging into overworked aircraft engines. Rafe walks across the tarmac, still carrying his duffel bag. He moves up behind a slim, pale BRITISH AIR COMMANDER who is surveying engine damage on one of the Spitfires. RAFE Rafe McCawley, Sir. Rafe salutes as the Air Commander turns and then returns the salute, with his left arm -- his right arm is gone. Rafe freezes at the sight, reminded of Danny's father. BRITISH AIR COMMANDER On loan from Colonel Doolittle, is it? RAFE That's me, Sir. BRITISH AIR COMMANDER Good on you, then, Rafe McCawley. We'll get you situated in some quarters, and then introduce you to the equipment you'll be flying. RAFE If you're patching up bullet holes right here on the runway, maybe we should skip the housekeeping and get right to the planes. BRITISH AIR COMMANDER Are all the Yanks as anxious as you are to get yourself killed, Lieutenant? RAFE Not anxious to die, Sir, anxious to matter. EXT. BASSINGBORNE AIRFIELD - BRITAIN - DAY A Spitfire sits on the runway, and it's badly mangled -- a string of bullet holes punched through at mid-fuselage; a shot-off chunk of wingtip; but most striking is the blood still splattered over the inside of the cockpit. BRITISH AIR COMMANDER Good lad. Didn't die till he'd landed and shut down his engine. Welcome to the war. He walks away, leaving Rafe to stare at the bloody cockpit. EXT. PEARL HARBOR - MILITARY BASE - DAY Evelyn and the nurses enter the base, riding in two jeeps. As they stop at the gate, the guards look at them, especially Evelyn in the lead jeep; one guard mumbles to the other -- GUARD I've died and gone to heaven. The guards lift the bar and smile at the nurses. The jeeps drive through. The nurses are loving this island paradise already. BARBARA You know the ratio of men to women on this island? Four-thousand...to one. Barbara slides on a new pair of sunglasses with plastic palm trees glued on the sides, and calls back to the guards as the jeeps pull away -- BARBARA See ya on the beach, boys! EXT. MILITARY BASE - NURSES' QUARTERS - OAHU - DAY As the other nurses happily unpack, Evelyn leaves and crosses the grass in the drenching sunshine. We follow her into -- INT. BASE HOSPITAL - DAY She finds a small, immaculately clean hospital, twenty beds with luminous white sheets, all empty. Then she notices the view. It's of Pearl Harbor, with the entire American Pacific fleet riding at anchor. Battleships all in a row. Aircraft carriers too, in perfect stillness on the aqua blue water with a white sand bottom. The view is expansive and beautiful. The sound of an approaching fighter plane with wing guns firing as we -- CUT TO: EXT. THE DARK SKIES OVER THE ENGLISH CHANNEL - DAY Rafe, in the middle of an aerial dogfight, throws his Spitfire into a tight turn, swinging around to fire again into a squadron of Messerschmidts; they outnumber the British planes, and they're tougher and faster. Rafe darts through their line, machine guns blazing. One of the Spitfires in Rafe's squadron has taken hits in the engine compartment and is sputtering, losing power, its pilot, NIGEL, frantic as the German planes swarm into finish him. BRITISH PILOT (NIGEL) I need help! Someone get them off me! Rafe slams his control stick hard right and goes into a power dive at one of the Messerschmidts. Rafe's bullets chew up its cockpit and the plane goes into a fast corkscrew spiral, down into the water. Rafe instantly climbs again. Nigel, in the moment of safety Rafe has bought him, bails out, his chute blossoming and carrying him toward the water. The OTHER BRITISH PILOTS are impressed. OTHER BRITISH PILOT (into radio) Nigel's out! I'll call in the position! (to himself) That Yank is bloody good. Rafe swings his plane right back at the Germans; he attacks them head on, just like he went at Danny, only this time he's firing his machine guns. And OVER THIS ferocious dogfight, we hear his letter to Evelyn... RAFE'S VOICE (LETTER) Dear Evelyn... It is cold here. So cold, in a way that goes deep into your bones. The Messerschmidt in Rafe's sights breaks apart with the stream of precise fire he pours into it, its prop flying into pieces, its disintegration accelerated by its airspeed. Before it completely comes apart, it explodes. Rafe goes into another tight turn, to get at them again. RAFE'S VOICE (LETTER) It's not easy making friends. Two nights ago I drank a beer with a couple of the R.A.F. pilots -- beer's the only thing here that isn't cold -- and yesterday both of them got killed... As Rafe starts another attack we see him in the cockpit, in the trance of battle, as other Spitfires around him are getting shot out of the sky...as we -- DISSOLVE TO: EXT. HOSPITAL - PEARL HARBOR - DAY Evelyn, receiving the letter at mail call. She sits on the grass under a palm tree, in paradise, reading his letter. RAFE'S VOICE (LETTER) There is one place I can go to find warmth, and that is to think of you. EXT. OUTDOOR RESTAURANT - OAHU - DAY Evelyn is off duty, and wears a light cotton dress. She's let her hair down, and her skin has the sheen of light sweat in the tropical heat. The restaurant is barely more than a shelter of palm wood posts with a frond roof, and it looks out over the harbor. Evelyn sits alone. She's brought writing paper. As the Hawaiian waiter serves her an icy tropical ambrosia with chunks of pineapple and a fresh plumeria flower floating at the rim of the glass, she lifts her pen. But before she can start to write, three naval officers move over to her table from the bar. They're out of uniform too, wearing garish tropical shirts. NAVY GUY 1 A woman beautiful as you shouldn't be sitting alone. Buy you a drink? EVELYN Thank you...Ensign. The guys look at each other, impressed that she could tell. NAVY GUY 1 Ensign! Smart too! NAVY GUY 2 So how about that drink? Or dinner? EVELYN Thank you, but...I really want to be alone right now. NAVY GUY 3 Want to see something long and hard? He shows her the tattoo of an anchor on his forearm. Evelyn looks away from them, toward the harbor. EVELYN I'm sorry. I've got a letter to write. NAVY GUY 3 Cold bitch. His friends start to pull him away, but Evelyn's eyes flare. EVELYN What did you say? NAVY GUY 3 I said you're cold. EVELYN Cold? No, I'm just thinking about a war. And maybe you should be too. They leave, shaking their heads. Evelyn picks up her pen, and writes. EVELYN'S VOICE (LETTER) Dear Rafe... It's strange to be so far from you in body, and so close to you in spirit. But if our spirits really give our bodies life, then you should know this: Every night I look at the sunset, and try to draw the last ounce of heat from its long day... She looks toward the sunset now; then she writes again... EXT. BASSINGBORNE AIRFIELD - BRITAIN - NIGHT Rafe brings his battered plane in for a landing... INT. BRITISH AIRFIELD BARRACKS - NIGHT Rafe sits on his cot, reading her letter. EVELYN'S VOICE (LETTER) ...and send it from my heart to yours. Rafe is startled as the Air Commander appears beside his bunk. BRITISH AIR COMMANDER Air-Sea Rescue picked up Nigel. He'll be back with us tomorrow. Rafe nods, glad to hear the news. The Commander starts to walk away, then turns back. BRITISH AIR COMMANDER Some of us look down on the Yanks for not yet joining this war. I'd just like to say that if there are many more back home like you, God help anyone who goes to war with America. The Commander salutes, with his left hand. And Rafe salutes too -- with his left hand. EXT. ESTABLISHING THE WHITE HOUSE - WASHINGTON D.C. - DAY The White House looks somehow whiter and purer in the glow of 1941. INT. PRESIDENTIAL CONFERENCE ROOM - DAY GENERALS, ADMIRALS, and other advisors sit around the polished table -- all males, in suits and in uniforms. The door opens, and the men all stand. PRESIDENT FRANKLIN ROOSEVELT appears, in a wheelchair, pushed by a huge black valet, GEORGE. The President's legs are shriveled, braced with the iron supports that attach to his shoes and are apparent beneath the cloth of his pin-striped pants. From the waist up Roosevelt is heavily muscled, powerful, and handsome even in his little spectacles. The valet rolls him to the head of the table; he's speaking even before he settles in. PRESIDENT ROOSEVELT Please be seated, gentlemen. They sit, as one. PRESIDENT ROOSEVELT Churchill and Stalin are asking me what I'm asking you: How long is America going to pretend the world is not at war? GENERAL MARSHALL We've increased supply shipments to them, Mr. President, and we're losing merchant vessels every day. PRESIDENT ROOSEVELT Shift in every destroyer and anti- aircraft weapon you can find. ADMIRAL Sir, our Pacific Fleet is already down to almost nothing. PRESIDENT ROOSEVELT Gentlemen, at this moment the nation of Hungry has a larger military then the United States. We have no choice but to draw from whatever we can. EXT. ESTABLISHING TOKYO - JAPAN - NIGHT INT. JAPANESE HIGH COMMAND - NIGHT The Conference Room is similar to that of the White House. But this table is low and all the men sit on the floor. And there are no civilians here; Japan is now a nation ruled by its warriors. The last man to enter the room and take his place is ADMIRAL YAMAMOTO. Harvard educated, Yamamoto is an object of veneration and suspicion among the men of the war council. Yamamoto bows, sits, and looks across the table at his friend Genda, who can't hide his fear. Yamamoto glances to the far end of the table where NISHIKURA, chief of the War Council, sits glowering. (Their discussion is in Japanese, with subtitles.) NISHIKURA So you join us, Admiral. Some of us thought your education at an American university would make you too weak to fight the Americans. YAMAMOTO If knowledge of opponents and careful calculation of danger is taken as weakness then I have misunderstood what it means to be Japanese. NISHIKURA The time has come to strike! Or to sit and let the Americans cut off our oil and our future. I know what you whisper to the others, Yamamoto -- that the Americans are strong. Yet look at their leader. He motions to OYAMA, an intelligence analyst, who opens a file and lays out pictures of Roosevelt. OYAMA Franklin Roosevelt. Born into great wealth. Fifteen years ago, he was stricken with polio. Now he cannot walk, or even stand without help. Photographers will not take pictures of him in his chair; Americans do not wish to know how weak their President is. Yamamoto makes a low grunt. NISHIKURA You have something to say, Yamamoto? YAMAMOTO The Council knows I have opposed fighting the Americans. No matter how great our resolve, they have resources beyond ours. If we must go to war, there is only one way -- deal them a blow from which it will take them years to recover. In that time we can conquer all of the Pacific, and they will have no choice but to ask for peace. NISHIKURA You see us as capable of such a blow? YAMAMOTO The Americans themselves have made it possible. We will annihilate them in a single attack -- at Pearl Harbor. The members of the war council are so pleased with Yamamoto that they bow to him. Only Genda keeps his eyes raised long enough to see the sadness in Yamamoto's face. EXT. PEARL HARBOR - AIR BASE - BARRACKS - DAY Danny Walker and his pilot buddies have just arrived; they enter the barracks, talking happily. RED If I ain't n-never on a b-boat again, it'll be too s-soon. BILLY Where are the women on this -- Danny has stopped before the others; now all of them see that the other pilots who inhabit this air base are still in their beds, sleeping off hangovers. They wear Hawaiian shirts; they haven't shaved. RED They're s-still asleep! Danny pauses for a moment, then shouts -- DANNY Drop your cocks and grab your socks, boys! The terror of the skies are here! The sleeping pilots groan, and cover their heads with their pillows. ANTHONY They're all drunk. One guy sits up in bed, his hair pointing every direction of the compass, his tongue working as if to wipe a terrible taste from his mouth. As his feet dangle over the side of the bunk and one of them touches the floor, a sensation reaches his sotted brain; he raises that foot to look at its bottom, and finds a new tattoo, on the sole of his foot; he blinks as if trying to remember how it got there. Danny moves over to him, and dubs him with a name, COMA. DANNY Hey. You. Mr. Coma. COMA Where's that lizard? DANNY What lizard? COMA The one that slept in my mouth last night. DANNY What the hell happened to you guys? Coma is one of those drunks who speak as if he's always about to burp. COMA Ever hear of mai-tai's? Comes in a big...pot. Like...like... RED A m-missionary? COMA No, like... Coma emits a pukey, toxic burp that has Danny and his buddies wincing back from the fumes. DANNY This is an Air Base? Where's your squad commander? The question soaks through to Coma's brain. His right hand points...and his left hand points...in different directions. His hands float around in the air until finally both of them are indicating the same direction, behind his back. In the bunk beyond Coma's is another drunk pilot in a Hawaiian shirt...and to judge by the shapely bronzed leg that protrudes from under his damp sheet, there's a woman with him too. Danny and his buddies are speechless -- except for Red Strange. RED I th-think I'm gonna like it here. COMA You guys are new? DANNY Yeah. COMA Mai-tai's. I got this to tell ya, about mai-tai's. Coma's head drifts forward slowly; they think for a moment he's looking for something under the bed. Then he pukes. Danny leaps back from the splatter, and marches out of the barracks; his friends follow. EXT. PEARL HARBOR - AIRFIELD - DAY Danny and his buddies stride up to the airfield. It's full of fighter planes -- and they're all bunched together in clusters on the field. Danny grabs a MECHANIC. DANNY Hey! What is this, the planes all bunched up like that? MECHANIC The brass is afraid of sabotage. This makes 'em easier to protect -- and easier to service. DANNY What about easier to hit in an air raid? MECHANIC Who's gonna to that? Japan is four thousand miles away. So you guys just arrived, huh? DANNY Yeah. MECHANIC We got a saying here. A-low-HA! The mechanic walks off. Danny and the guys are left standing on the tarmac. DANNY Well guys...I reckon there's just one thing to do... INT. OAHU BAR - DAY Danny and the pilots are in Hawaiian shirts, their party in full swing. A bucket-sized hollowed-out volcano sits in the middle of the table, with twelve straws emerging from the crater. It's full of booze -- or was; Danny and the other guys are pulling heartily at the straws, and they gurgle as the last liquid is sucked dry. RED More m-mai-tai's! Coma is sitting there with them, beside Red. COMA Absolutely right. Everybody's having a ball, the new arrivals fitting right in with the others. Danny's a bit off to himself, lost in his own thoughts. Billy and Anthony are doing the hula to the Hawaiian music playing. COMA No, you guys aren't doing it right. It's in the hands. They talk story. Coma stands and starts demonstrating, explaining the gestures of his hula. COMA Fish swim in ocean... Happy in the Mother Sea... Girl, beautiful girl, with big jugs, walks into water...waves lapping at her thighs... ANTHONY I never knew those dances were so sophisticated. COMA ...Fish nibble at her breasts... Coma's really into his dance, his hands over enormous imaginary breasts; but as he turns toward the windows -- COMA A more beautiful girl walks by... The guys see Evelyn passing on the other side of the street, gorgeous in the sunshine. Coma's hands start squeezing the imaginary breasts of his hula. BILLY Hey, isn't that Evelyn? Danny moves up to look. DANNY Rafe's girl, Evelyn? COMA You guys know her?! I gotta have an intro! Man, I'd like to -- Danny's hand is suddenly around Coma's larynx. DANNY A friend of mine's in love with her. So you don't even look -- not ever. Danny releases him and Coma staggers back to the table to nuzzle up to one of the straws of the mai-tai volcano. Danny looks out the window again and sees Evelyn's beautiful form disappear around the corner, on her way back to the base hospital. Danny moves back to the table, and as two burly Hawaiian waiters set another full loaded mai-tai volcano onto the center of the table, he picks up a glass and dips it full of the potent liquid. He shouts to the whole room -- DANNY I'm a better pilot than any son-of-a- bitch on this island! So I'm the one to say this! Here's to Rafe McCawley! A better pilot...and a better man...than me. The other pilots drink up -- from glasses or from straws. OTHER PILOTS To Rafe. Danny drains the whole glass at one chug, and slams it down onto the table. Then he blinks, puts a hand on his stomach, and frowns. Coma recognizes the look. COMA Uh oh. Volcanic eruption! Danny bends at the waist; his head obscured by the table. COMA Shit, he's puking on my feet! RED Well, you p-puked on his feet. COMA Yeah, but he was wearing shoes! INT. ADMIRAL KIMMEL'S OFFICE - OAHU - DAY ADMIRAL KIMMEL is Commander of the American Pacific Fleet. Two members of his staff are standing uncomfortably in front of him, having delivered a message from the Joint Chiefs of Staff. ADMIRAL KIMMEL ...transfer twelve more destroyers to Atlantic Fleet, and all the available anti-aircraft weaponry?! Washington has gone insane! Kimmel's STRATEGIC ANALYST speaks up. STRATEGIC ANALYST We've done what you ordered, Admiral, and war gamed the likely outcome of a Japanese attack against each of our major bases in the Pacific. Wake, Guam, Midway, the Philippines. In each case, we lose. ADMIRAL KIMMEL You left out Hawaii. STRATEGIC ANALYST Pearl Harbor can't be attacked effectively from the air. It's too shallow for an aerial torpedo attack. Pearl Harbor's safe. It's everywhere else that we're vulnerable. ADMIRAL KIMMEL Step up surveillance of Japanese communications. They're gonna do something somewhere. I can feel it. EXT. THE SKIES ABOVE OAHU - DAY A seaplane takes tourists on an excursion above Pearl Harbor and around the island of Oahu. One Japanese tourist shoots pictures rapidly...first of the ships as seen from overhead; then he leans to the other side of the plane and shoots pictures of the airfield below them. EXT. PEARL HARBOR - DAY Another Japanese tourist hikes through the hills above Pearl Harbor. He takes an excellent camera from his picnic basket, and shoots pictures. CLOSE - THE PICTURES, being carried down a hallway, into -- INT. JAPANESE PLANNERS OFFICE - DAY The courier places the pictures onto the table in front of Yamamoto, Genda, and the other JAPANESE OFFICERS. GENDA Look at the ships -- all grouped. Perfect targets! JAPANESE OFFICER And the planes! They are -- what is that American expression? Sitting geese? YAMAMOTO Sitting ducks. JAPANESE OFFICER How can they be so foolish? YAMAMOTO They think no one would be stupid enough to attack them at Pearl Harbor. GENDA Or perhaps they think no one is capable. Look at this... He moves to a diagram displayed on the wall -- a simple display showing water depth and ship displacement. GENDA Pearl Harbor's depth of only forty feet makes them feel safe. A torpedo dropped from an airplane plunges to one hundred feet before it can level off. That is a conventional torpedo. But we have been experimenting. From a stand beside his diagram he takes a set of wooden fins, attached to a circular metallic band. GENDA Wooden fins. We are testing them tomorrow. EXT. JAPANESE ISLAND - DAY Yamamoto and his planners have flown to a quiet Japanese island, sunlit and pleasant. They are gathered on the shore of the island's natural harbor. Wooden targets -- basically huge plank barriers -- are sunk into the water like ships at anchor. A squadron of Japanese planes zooms overhead, taking up attack positions. GENDA We have chosen this place because its depth is exactly the same as Pearl Harbor's. Genda speaks into a field radio. A lone plane drops out of formation and goes into a low-level approach, speeding up and dropping its torpedo. BELOW THE SURFACE we see the torpedo as it plunges at two hundred miles an hour into the sunlit sea. With the wooden fins the torpedo makes a sharp dip and levels off above the sea floor. ABOVE THE SURFACE the planners see the path of the torpedo; it hits the wooden barrier with a satisfying THUNK. The planners are impressed -- but Yamamoto is not satisfied. YAMAMOTO Uncharged torpedoes have different balance. GENDA I have arranged a live fire drill -- with your permission. Yamamoto nods; Genda speaks again into his radio, and another plane swoops down and drops a torpedo. Genda holds his hands to his ears, causing the others to do the same; even though they wonder at the need. The torpedo hits the barrier, and the explosion is deafening, and of shocking force; the entire barrier is blown to toothpicks. GENDA Of course against a ship the explosion will not be dissipated, and will have more force. The planners, nearly blown off their feet, nod as if they knew that all the time. INT. MILITARY BASE - PILOTS' BARRACKS - NIGHT The pilots are getting slicked up. BILLY Are you sure they're here? ANTHONY If Evelyn's here, the rest are here! Red moves up beside him to frown at the mirror. His hair is plastered down and parted, his uniform's immaculate. ANTHONY Looking good, Red. RED Shut up. Red moves away, to polish his shoes. ANTHONY What is it with Red? I've never seen him this way. BILLY He's been like that all day. Hey Danny, you coming? DANNY Nah, I'm gonna stay here. Read. Anthony and Billy look at each other; Danny's in his bunk, and he's not reading, just staring at the ceiling. INT. NURSES' BARRACKS - PEARL HARBOR - NIGHT The nurses are primping to go out; Evelyn is in her uniform getting ready to go back to work. BARBARA Now listen, it's hands off Billy. I mean, you can put your hands on him if you want to, but then my hands will break yours. BETTY He was that good? BARBARA No, I was. EXT. NURSES' QUARTERS - OAHU - NIGHT Creeping through the vegetation, Red leads Anthony and Billy to a spot outside the nurses' barracks; they can see the girls through the barracks window. BILLY Red, Peeping Tom stuff can get us court- marshaled. RED Shhh! Anthony and Billy are baffled, even more so when Red strides into the open, right outside the nurses' window. And then, Red begins to sing. RED (singing) Oh...Betty, Betty, Betty, you're the one for me, Betty, Betty, Betty, Betty, can't you see... Anthony and Billy look at each other, dumbfounded. The nurses move to the open windows. Red's singing is pretty good -- though not that good. But he doesn't stutter when he sings. RED (singing) I'll be yours for eternity, Betty, Betty, Betty, Betty, Betty! Anthony and Billy are hysterical, trying to keep their laughter hidden. But then they see the effect this is having on the women -- especially on Betty. She's smitten. Red repeats the verse, really getting into it; when he finishes, Betty runs out and hugs him, as all the nurses applaud. They move off into the darkness, arm and arm. The nurses go back to their primping. Anthony and Billy are changed men. Anthony stands up; Billy's baffled. Anthony moves out and starts singing. ANTHONY (singing) Oh Sandra...I like you...love you... He's terrible. The nurses pelt him with hairbrushes, curlers, shoes... EXT. BASSINGBORNE AIRFIELD - BRITAIN - DAY Coming out of the blustery skies at the end of another deadly day, a squadron of Spitfires chirps in for landings. The planes are shot up and battered. Rafe is one of the pilots; the fuselage below his cockpit is marked with four swastikas, symbols of his victories. He taxis to a stop, and is met by IAN, a Scottish mechanic, who is dismayed at the state of the plane. IAN Leapin' Jesus! RAFE (climbing down) The struts are loose, the hydraulics are leaking, and the electrical system's shorting out in the cockpit. IAN Well which of those three ya want fixed? RAFE All of 'em. Rafe starts away, and Ian calls to his back -- IAN If ye'd wanted a bloody Cadillac ya should'a stayed in the bloody States! RAFE And if you don't give me a plane that can handle combat, you better start learning to speak German. IAN Fook ya! RAFE Learn English, then! IAN Fook ya dooble! Rafe moves to the barracks; Ian keeps the fueling hose going, and moves to help the armorers reload the guns. INT. BRITISH AIRFIELD BARRACKS - NIGHT Rafe falls down onto his cot, exhausted. The other pilots do the same, everybody spent from the day's combat. Then they hear the SIREN. Rafe's out of his bunk, with the others, everybody running. BRITISH PILOT Bloody Krauts! Night raid! EXT. BASSINGBORNE AIRFIELD - BRITAIN - NIGHT They race across the runway. Rafe reaches his Spitfire, just as Ian is removing the fueling hose. IAN I have'na been able ta -- RAFE Crank her! Ian gives the prop a spin, and the engine roars to life. IAN God speed ya, laddie. EXT. SKIES OVER THE ENGLISH CHANNEL - NIGHT It's dark, but there are breaks in the clouds, giving way to patches of light from a full moon. The squadron of Spitfires tightens up for battle. Rafe is positioned just right of the squad leader; he sees planes breaking out of the dark clouds ahead. RAFE Here they come. The clouds break, revealing a huge attack formation. BRITISH SQUAD LEADER Alpha group, on the bombers! Beta group, take the fighters! They peel off, into action. EXT. THE AIR BATTLE OVER THE CHANNEL - NIGHT We stay with Rafe as he and the Squad Leader rush side by side at the lead bomber, blasting away with their guns. INT. GERMAN BOMBER - IN THE AIR - NIGHT The Spitfires' bullets rip into the pilot and also kill the nose gunner; the bomber dips as the copilot struggles to take control. INT. RAFE, IN HIS SPITFIRE - NIGHT As he streaks past, Rafe sees the bomber wobble in the air. RAFE We've got him hurt, stay on him! Rafe throws his plane into an ultra-tight, high speed turn, right between the tails of the leader German group and the noses of the second. His turn is so tight that the plane flexes with the g-force. Rafe comes out of his turn ahead of the Squad Leader, and races back up through the formation of German bombers, moving above them where their weapons and armaments are the weakest. He stitches a trail of bullets from tail to nose of the wounded lead bomber; it begins to smoke. The second Spitfire, the Squad Leader's, takes fire from the other German bombers, and shears off, heading through the smoke of the plane Rafe has on the ropes. RAFE We've got him going! Rafe does a half-loop and half-spin, to bring him around to face the bombers again. This time the g-force of the turn pops an oil line inside Rafe's cockpit; hot, pressurized oil begins to spray everywhere -- all over Rafe, his controls, and worst of all, over the inside of his cockpit glass. He wipes at the oil with his hands and that just smears it and makes it worse. His wingman sees him veering away from the bombers...and sees the German fighters moving up to meet him. SQUAD LEADER McCawley! Get to the clouds! Get into the clouds! RAFE, IN HIS PLANE, is flying blind. RAFE I can't see the clouds! His problems are just beginning; the fluid is dripping down onto his cockpit's corroded electrical wiring; the fluid causes an arc...a spark...and suddenly a fire is spreading through Rafe's plane. He grabs his fire extinguisher and triggers a cloud that snuffs the fire but fills the entire cockpit with choking smoke; between that and the smeared fluid on his glass, he can't see a thing. And the Messerschmidts are swarming over him. Rafe's wingman dives in, raking the German planes as he passes. Rafe tries to open his cockpit cover to clear the smoke, but it's jammed; he pulls out his .45 pistol and BLAM! BLAM! BLAM! He blows out the glass; the smoke clears enough for him to take a breath and try to see. He fights the stick, but the plane won't respond. The Messerschmidts rake him again, bullets riddling his engine. SQUAD LEADER Get out of there, McCawley! Get out of there! Rafe's plane descends, ever faster, passing through clouds, then clear air again. The Squad Leader tries to chase and cover him, but Rafe's dropping fast, and still isn't out of the plane as the Germans dive on him again, firing. Rafe's Spitfire hits the broken fog over the water -- the Squad Leader loses sight of it for a moment -- and then the plane hits, splashing and exploding all at once. The Squad Leader winces, and ducks into the clouds as he reports on his radio... SQUAD LEADER McCawley down. No 'chute. EXT. BATTLESHIP WEST VIRGINIA - PEARL HARBOR - DAY The sailors have assembled on deck for the ship's heavyweight championship fight, a contest made more interesting to the sailors because one of the combatants is white and the other is black. The battle is more toughness than technique. The guys throwing haymakers and shoving each other around the roped area, as their shipmates cheer and make wild bets. The white guy digs a punch deep into the black guy's ribs, and the black guy slams a double left hook into the white guy's belly, making him back up and say -- WHITE BOXER You hit hard -- for a cook. The black guy rushes the white guy, only to catch a right cross that wobbles his knees and makes him stagger, with a fresh cut over his right eye. The white guy now rushes in, and the black guy (his name is DORIE MILLER) throws an upper cut that drops his opponent like a sack of rocks. The sailors cheer wildly. Dorie steps back, and rubs his glove across his brow. It's really bleeding now. EXT. MILITARY BASE - DAY Evelyn is returning from church with six of her nurse friends. It's very quiet on a Sunday morning, almost nobody at the base; they walk along the path. BARBARA Let's get into civvies and find a bar. MARTHA Right after church? BARBARA You've gotta sin some, to get forgiveness. Come with us, Evelyn. You need some sin. EVELYN I've got to write some requisitions. We're undersupplied with morphine. BETTY Morphine? We've been here a month and nobody's had worse than a sunburn. Evelyn smiles softly and walks toward the base hospital. BETTY I wish she could forget him. BARBARA You don't forget love, Honey. Not ever. EXT. HOSPITAL - PEARL HARBOR - DAY Evelyn approaches the hospital and finds the black boxer peering in the window. He's in a T-shirt and navy pants. EVELYN Can I help you, sailor? As Dorie turns, she sees the cut on his head, closed only with a band-aid; it's dripping blood down his T-shirt. DORIE 'Scuse me, 'Mam. All the ship's doctors is golfing, and I couldn't find nobody to look at this. EVELYN Our doctor's gone too. DORIE Sorry to trouble you. EVELYN Wait, let me look at that... You better come in here. INT. MILITARY BASE HOSPITAL - DAY Miller is sitting on a stool; Evelyn bathes the wound. EVELYN How'd you get this? DORIE Boxin'. EVELYN Win? DORIE Yes'm. He says it without pride. She puts down the basin. EVELYN What's your name? DORIE Dorie Miller, 'Mam. EVELYN I'm Evelyn. And I'm just a nurse. But I'm not playing golf, and that cut needs sewing, or else it's gonna make a big lumpy scar. Whatta ya say? INT. HOSPITAL - PEARL HARBOR - LATER Evelyn clips the ends of her carefully applied stitches; Dorie's eyes are rolled up as if he could watch from inside his skull. EVELYN How often you fight like this? DORIE Every other Sunday. I'm heavyweight champion of the West Virginia. EVELYN What do you get for winning? DORIE Respect. She hands him a mirror. He studies her work. DORIE No doctor would'a give me that good. She walks him to the door. DORIE Thank you, 'Mam. EVELYN Tell me something, Dorie. A man as big as you -- and smart too, you knew where to come when your ship couldn't help -- do you still have to fight with your fists to get respect? DORIE I left my Mama and joined the Navy to be a man. They made me a cook -- and not even that, really -- I clean up after the other sailors eat. I shine the officer's shoes. In two years, they've never even let me fire a gun. Now Evelyn understands. EVELYN You take care, Dorie. DORIE You too, 'Mam. EXT. MILITARY BASE HOSPITAL - SUNSET Dorie walks away, down the path between the palm trees. She watches him go, and then is transfixed by someone else coming, silhouetted by the light of the setting sun. She can't make out his face, but he's wearing a pilot's dress uniform, and coming to her right out of the warm orange sunset that she has stared at so many times. Her heart slams against her ribs; she takes a few steps forward. EVELYN ...Rafe... She moves toward him, and he draws near her, walking slowly. And then she sees his face... It's Danny. His face as sad as death itself. And even before he tells her, she knows. DANNY Lieutenant... I'm Danny Walker. I'm Rafe McCawley's best friend. EVELYN Were. Isn't that what you mean? Were. Because he's dead, isn't he? And that's why you've come. EXT. A BENCH - OVERLOOKING PEARL HARBOR - SUNSET Evelyn and Danny sit on the bench, with a sweeping view of the harbor and the lights winking on all around it as the sun settles beyond the horizon. Evelyn is stoic, numb; Danny is the one who is struggling. DANNY Before Rafe left, he asked me to be the one to tell you, if it happened. EVELYN He told me about you. That he had no other friend like you. DANNY Rafe's folks had a crop dusting business, owned their own planes. Real straight, frugal. My father was the town drunk. Went to sleep one night on the railroad tracks and was still there when the Dawn Express came along. Rafe and I were the only ones at the funeral. He took me back to his house, and I never left. EVELYN You were more like brothers. DANNY I taught him to drink beer. He taught me how to fly. EVELYN He said you're the only one he ever saw who was better in the air than him. DANNY ...He said that? Evelyn nods, still staring away from Danny. This pierces Danny; he looks away, struggling not to let the emotions pull him completely under. DANNY Look, uh...Rafe's dad...he wrote me with the news, and it took me a couple of days to work up the guts to come here and tell you. I'm not as brave as Rafe, or as noble. But if there's anything I can ever do to help -- you let me know, okay? She stares into the distance. He stands and puts his hand on top of hers, as much for his comfort as for hers. DANNY I understand why Rafe loved you. You're as strong as he was. Since she's still not looking at him, he starts to move away. When he reaches the turn in the path, he looks back, and sees her figure in the gathering darkness. She's begun to break down; and as he watches, her whole body starts convulsing, and she doubles up in shattering grief. Danny can't just stand there; he moves back to her, and puts a hand on her shoulder. He sits beside her again, and suddenly she turns to him and sobs upon him. Danny wraps her gently in his arms, and then he breaks down, having found the first place he can truly grieve. EXT. JAPANESE BOMBING PRACTICE - JAPANESE ISLAND - DAY The Japanese have constructed a replica of Pearl Harbor on their practice island; erecting new target barriers and silhouettes of the various ships anchored at Pearl. Streams of Japanese planes skim overhead in practice bombing runs, dropping dummy torpedoes and bombs. From a control platform erected on the beach, Yamamoto and Genda oversee it all. YAMAMOTO Everything real except the fact that no one is shooting back at us. GENDA If we achieve surprise, they will offer little resistance. YAMAMOTO Set up teams of radio operators to send out messages the Americans will intercept, concerning every potential American target in the Pacific. Include Hawaii -- the clutter will be more confusing that way. GENDA Brilliant, Admiral. YAMAMOTO A brilliant man would find a way not to fight a war. He looks out at the planes roaring into his practice harbor at top speed... INT. PRESIDENTIAL BEDROOM - NIGHT Roosevelt's valet leans over him. Roosevelt wakes; beside the valet is a Presidential AIDE. AIDE Mr. President, we've received a message from the Argentinian ambassador to Japan. His sources tell him the Japanese are assembling their fleet to attack us. PRESIDENT ROOSEVELT We're picking up warnings for every American base in the Pacific. Does this ambassador know the target? AIDE Not for sure. But he thinks it's Pearl Harbor. PRESIDENT ROOSEVELT Tell the Pentagon. The Aide leaves quickly and Roosevelt starts to get out of bed; his valet comes to help him. PRESIDENT ROOSEVELT No, George, I need the practice, in case there's a fire. Roosevelt drags himself out of bed, crawling toward the bathroom, his powerful arms dragging his lifeless legs. INT. PENTAGON - DAY ADMIRALS and other OFFICERS are gathered around a giant map of the Pacific. ADMIRAL The attack seems inevitable. The question is where? The way to answer that question is to ask: if we were the Japanese, how would we do it? He nods to a VICE ADMIRAL, who stands over the map. VICE ADMIRAL Between America and the Far East are the sea lanes where the winds and the currents make the best route for shipping. Far above is the northern route, between Canada and Russia. Between these two is something they call the Vacant Sea. If I were the Japs, I'd send a task force there. You could hide the entire land mass of Asia in the Vacant Sea, and nobody would know. ADMIRAL So they pop out and attack where? VICE ADMIRAL That's the problem, Admiral. They could hit anywhere they want. Nobody has any solution. EXT. PACIFIC OCEAN - DAY A huge Japanese fleet steams toward Hawaii. It is an awesome sight. Carriers, battleships, destroyers, and entire battle group, traveling under complete radio silence, their hulls power through the waves. On the lower decks of the carriers are hundreds of planes -- fighters and bombers. EXT. PEARL HARBOR - DAY The American ships are lined up at anchor, calm, placid. EXT. BEACH - DAY The sailors and soldiers bask in the sun, play volleyball. The aircraft carrier Lexington steams past toward the harbor entrance. VOLLEYBALL PLAYER 1 Where's the Lexington going? VOLLEYBALL PLAYER 2 Out on maneuvers, like the Enterprise. EXT. GOLF COURSES - OAHU - DAY Men in military haircuts -- officers -- stroll the golf courses, enjoying themselves. INT. DENTIST'S OFFICE - DAY The DENTIST, an ethnic Japanese, is working on a patient with his mouth agape. The DENTIST ASSISTANT intrudes. DENTAL ASSISTANT Dr. Takanawa, you have a call from Tokyo. DENTIST Please excuse me. Just relax. Leaving his patient with a mouth full of instruments, the Dentist moves to his outer office, which looks directly out over Pearl Harbor. He speaks in Japanese. DENTIST Takanawa... Yes?... He seems confused by the call, but he responds by looking out over the harbor, then saying into the receiver -- DENTIST Yes, they are all...no wait, I see the big one moving. The one that's flat on top, what do they call it?... INT. SURVEILLANCE BASE - DAY Some tired Army Intelligence types -- A LISTENER, a TRACKER, and an INTELLIGENCE SUPERVISOR, are sitting at a bank of phones. The LISTENER is a Japanese-American. LISTENER Here's something, over the line from Tokyo. He switches on the recording equipment and looks to the TRACER, sitting at a battery of equipment. TRACER It's connected to a local dentist. His office is beside Pearl Harbor. INTELLIGENCE SUPERVISOR This dentist, is he a spy? LISTENER Sounds too innocent. His accent is from the old country. Somebody official- sounding calls, he thinks it's discourteous not to respond. INT. BARBER SHOP - DAY Admiral Kimmel is settling into the barber chair when his AIDE enters and nods for the barber to move a few paces away, so that he can speak privately. AIDE Sir, we just had an intelligence intercept. Someone from Tokyo called a local dentist whose office looks over Pearl. They wanted to know the exact location of the ships. ADMIRAL KIMMEL Someone from Tokyo asks a dentist how the ships are sitting... What are we supposed to do about that? AIDE I...don't know, Sir. But it just seemed significant. ADMIRAL KIMMEL Have intelligence keep monitoring him. The Admiral sinks back into the chair. EXT. MILITARY BASE HOSPITAL - DAY A young amateur PHOTOGRAPHER, about 16, wearing a hat with "PICTURES OF PARADISE" printed on it's crown is ready to snap a shot of Evelyn and her nurse friends having a picnic lunch on the lawn outside the hospital. PHOTOGRAPHER Closer, ladies! Closer! Now smile!... Great! Next week I'll show you a print and you can order your Pictures of Paradise! He hustles off. Betty hands out picnic baskets. BETTY Barbara, here's yours...and Evelyn, here you are. Evelyn opens her basket, and finds a lei of Hawaiian flowers stuffed in the top. Betty scoots over and puts the flowers around Evelyn's neck. BETTY It's been a month and you haven't smiled. We just want you to know we love you. Evelyn's touched -- but before she can react two P-40's zoom out of the skies, wings clipping the tops of the palm trees as they blast over head. INT. COCKPIT'S OF THE P-40'S - DAY Danny and Anthony are the pilots; as they pull up and away, they pass over some officers on the golf course, scaring the shit out of them as they putt. EXT. MILITARY BASE HOSPITAL - DAY The nurses have sprawled to the ground; now even Evelyn is smiling. BARBARA What is it with nurses and pilots? EXT. MILITARY BASE HOSPITAL - PEARL HARBOR - EVENING Evelyn walks out of the hospital. She's still wearing her lei. The sun is going down in a spectacular sunset. She stares at the orange glow at the edge of the world. She breathes in the sea air, and tries to breathe out the sadness. The water of the harbor laps close to where she stands, the sunset polishing its surface. She takes the lei from her neck, plucks a single flower, and holds it like the rose Rafe once gave her. Then she tosses the rest of the lei into the ocean and watches it float away, as the sun sinks behind the horizon. INT. MILITARY BASE HOSPITAL - NIGHT Evelyn finds her purse, and tucks the flower into it. She's alone in the hospital, everyone else has gone; she turns her mind toward work, something to lose herself in. EXT. MILITARY BASE - NEAR THE PILOTS' BARRACKS - DAY Danny is walking toward the barracks when a COLONEL hopping mad, confronts him. COLONEL You're Walker, right? DANNY Yes Sir. COLONEL That was a nice little stunt you pulled, buzzing the base. DANNY You liked that? COLONEL Oh yeah. I liked it so much I'm cutting you out of the squadron. DANNY Sir? COLONEL I don't buy that hot dog shit. So you and your buddies are gonna transfer your planes up to Haleiwa. DANNY Hale-what? COLONEL You'll love it. No base, no bars, just lots of sun and aircraft maintenance. DANNY Sir, I -- COLONEL Too late for apologies, Walker. DANNY I wasn't gonna apologize, Sir. I was just gonna say it was worth it to feel like a real pilot again, even if it was only for five seconds. The Colonel glares at him and stalks away. INT. BASE CANTEEN - NIGHT Danny and Evelyn are having coffee at the base canteen. DANNY How's everything? EVELYN We got some soldiers in traction from a jeep accident, but it's quiet. Except for the occasional fighter plane buzzing us. DANNY That might not have been such a good idea. They're making us fly out of a half-paved airfield. The real punishment is that I won't be back to the barracks till it's too late for dinner or coffee. So I guess it's goodbye for awhile. EVELYN I was just thinking that war is a series of goodbyes. Do you think that's why we're meeting. To help us say goodbye to Rafe? DANNY I swore not to talk about him tonight, but there's all this stuff I think I ought to tell you, that he didn't get a chance to. Rafe was...he was lonely. He had such high expectations of himself that he always felt empty. The week he met you he told me he felt his heart had always lived in winter, and for the first time in his life he has seen the spring. He's been lost in his own thoughts of Rafe; now he notices the tears welling up in her eyes. DANNY Sorry. EVELYN He told me he didn't want to leave me with regret. Now that's all I have. DANNY Hey, have you seen Pearl Harbor at night? EVELYN Well...sure. DANNY From the air? EXT. HALEIWA AIR FIELD - NIGHT A P-40 takes off from the remote airfield, lit only by the full moon. INT. P-40 - NIGHT Evelyn sits on Danny's lap, like Rafe sat in his Daddy's lap years before. Danny flies easily, the cockpit open, his arms slipped under hers. The sky above them is startlingly clear; a billion stars dancing around a full moon. EVELYN So beautiful! DANNY Hang on. He spins the plane in an easy half turn, inverting their heads above Pearl Harbor, gorgeous in the moonlight, the battleships aglow, the moon reflected in the peaceful water, embraced by the island of Oahu. EXT. HALEIWA AIR FIELD - NIGHT The P-40 soars easily in and settles to earth. Danny shuts down the engine. Danny carefully removes the harness around her. She looks overhead. The stars are still bright above them. EVELYN I didn't realize until tonight that I've stopped wanting to live. She turns in his lap, and looks at him. Their eyes connect. Tentatively, almost reluctantly, they kiss. EXT. MILITARY BASE HOSPITAL - NIGHT The POV of someone moving through the gathering darkness approaches the hospital. The lights from within the hospital, and the pristine white beds beneath those lights, give the place a kind of glow, where Evelyn moves alone and beautiful, like a ballerina in a giant's jewel box. Now we see the shoulders of the figure, from behind, and can tell that it is a man in uniform, but at first we can't tell who. He's standing dead still, transfixed in watching Evelyn through the windows. INT. BASE HOSPITAL - NIGHT Evelyn moves to her desk, and sits down. She looks at the calender turning back to October, where she wrote on the square of October 22, "Order supplies" -- she counts the weeks from then to today, December 6. EXT. MILITARY BASE HOSPITAL - NIGHT We see the full figure of the man watching her. And now we see his face. It is Rafe. His left hand is bandaged, but he is very much alive -- though seeing Evelyn has taken his breath, and even seems to have robbed him of the power to move. His eyes pick up every detail of her -- her face...her hands. And as Rafe watches Evelyn, he has the SUDDEN JOLTS OF SUBLIMINAL FLASHBACKS...punctuated by fragments of the letter she wrote to him, and INTERCUT with Rafe in the present, watching Evelyn. EVELYN'S VOICE Dearest Rafe -- IN SUBLIMINAL FLASHBACK, RAFE'S SPITFIRE, crippled and trailing smoke, passing through a patch of cloud as Rafe hurls himself from the cockpit and jerks the ripcord of his chute. IN THE PRESENT...Rafe's face winces with the memory, and he rivets his eyes on Evelyn, as if to force himself to know that this moment is real. SUBLIMINAL FLASHBACK...RAFE LANDS IN THE WATER, and the shock of its coldness travels up his body faster than his body sinks into the water. He's cloaked in the fog; his parachute, pushed by the wind, is pulling him along face down. He fights with the straps, flips himself over, and pulls the release... But he's still in desperate trouble; in his flying clothes, his heavy leather jacket soaking with sea-water, he's going down; his body sinks beneath the surface... EVELYN'S VOICE ...Every sunset... IN THE PRESENT, Rafe's chest trembles... Is it from the memory of the frozen water, from the emotion of seeing Evelyn again -- or both? SUBLIMINAL FLASHBACKS -- Below the surface of the North Sea, Rafe's body drifts, but he fights his way back up...he kicks off his shoes, sheds the jacket, strips off his pants and starts tying the cuffs into knots. Then, in a CUT, he is floating in the water, his pants turned into a makeshift life preserver, his body shaking convulsively from the cold. Then in another CUT we see him after he's been in the water for so long that his body no longer trembles; he's lost consciousness. He has no strength, no will to live... His face settles into the water...his body slips from his preserver, and drifts beneath the surface... EVELYN'S VOICE ...gather it's heat into my heart, and send it to you... IN FLASHBACK, Rafe beneath the surface... His eyes come open. From his POV beneath the water, he sees something above the surface. It's only in his mind, but that makes it no less real...an orange glow, the warmth of the sunset, and her face above the surface... His limbs come to life, and he fights his way up, breaking the surface. The whole sea around him is dark and empty, but he grabs his makeshift preserver and holds on for dear life...and for Evelyn. IN THE PRESENT Rafe stares through the window, at Evelyn, but he can't go in. He backs away from the window. INT. PILOT'S BARRACKS - NIGHT A Japanese-American MESSAGE BOY parks his motorbike outside and enters the barracks. MESSAGE BOY Daniel Walker?... Danny rises from his bunk and accepts the telegram. As the message boy leaves, Danny reads... The news he learns stuns him... EXT. BENCH - OUTSIDE THE HOSPITAL - NIGHT Rafe is still lost in thought. He hears steps running up -- and sees Danny -- who spots him at the same moment. DANNY Rafe! INT. MILITARY BASE HOSPITAL - NIGHT Evelyn puts away the calender. EXT. MILITARY BASE HOSPITAL - NIGHT Rafe is sitting at the bench, his head down. ANGLE - Evelyn on the path; she sees someone on the bench, his form hauntingly familiar. He hears her, and looks up. It's Rafe. From Evelyn's POV, the whole world spins. She faints. Rafe jumps to catch her before she slams to the ground. He gathers her into his arms, and she looks up into his face. He's real, very real. RAFE Evelyn. She's trembling, shaking. He lifts her to her feet, and moves her to the bench. RAFE I sent telegrams, I guess the military traffic held them up. EVELYN Why were you sitting here, instead of... RAFE I saw you, I couldn't go in, I...just stood there wondering if you knew. You looked...sad, and I had to sit down a minute. EVELYN How did you?... RAFE ...Survive? I jumped in a patch of fog, and nobody could see me. I hit the water hard. And it was so...cold. He looks toward the horizon, when the last light of day fades to black. There's something he thinks about saying, and doesn't. Then... RAFE I don't know how long I was in the water. A Norwegian freighter picked me up. They were headed to Spain. They docked in La Rota, right beside a German ship, and told me to stay hidden below. I was afraid they'd turn me in, so I stole some clothes, jumped ship, and found a church, where the priest contacted the resistance, and got me on a freighter to New York. He looks at her, then looks down again. RAFE I called my folks, then Colonel Doolittle. The Colonel sent a man to pick me up. They wanted to debrief me. I told the Colonel I needed to see somebody first, and he had a supply flight heading out in an hour. (beat) I've done a lot of talking. You haven't said anything. EVELYN I'm just...so amazed, so glad to know that you're okay. You are okay, aren't you? RAFE Nothing that won't heal. I guess. At these words, she looks at him for a long, long moment. EVELYN It's been...so different, being so sure you were dead. RAFE I'm so sorry for what you must've gone through, but I'm back. He sees the troubled look on her face. RAFE Maybe I've assumed too much. Has something changed? (beat) I'm afraid to ask what. And I'm afraid not to. (beat) Have you fallen in love? She nods; she can't even say it. Rafe's dying inside. RAFE It's all right. Danny always said I see things with my emotions instead of my eyes. EVELYN It's not your fault, Rafe. The letter I wrote you, they -- RAFE Don't worry about that. Guys away from home, lonely, good-hearted women try to cheer them up. EVELYN It's not that I didn't mean everything I wrote. It's just that -- I thought you were dead. And now -- Danny runs up, through the darkness. DANNY You're alive! Rafe and Danny stare at each other; Danny hesitates, looking from Rafe to Evelyn, wondering what they've said. Then Rafe looks at Evelyn, and picks up the look on her face. In that moment he puts it all together. RAFE Aw, God. Oh my God. Danny's speechless, and for a moment Evelyn is too. EVELYN Rafe -- He puts up a hand, to silence her, and walks away suddenly. Evelyn and Danny are left frozen. EXT. SHORE OF PEARL HARBOR - NIGHT Rafe stares out at the harbor, seeing nothing. As he stands there alone and shattered, he has one more SUBLIMINAL FLASHBACK Rafe is in the water of the North Sea; he seems dead, but his makeshift preserver is keeping his face above the surface. Something slides through the water and stops beside him; it's a dinghy, and behind it is a trawler. Hands grab Rafe and drag him onto the dinghy... In a QUICK CUT, Rafe's body is laid out on the deck of the trawler. The crewmen think he's dead. His body is stiff, his lips white; and they say so, in Norwegian... But one of the other crewmen notices a quiver in his eyelid, then quickly covers Rafe with his on wool peacoat and presses back an eyelid to see his pupils. Rafe's white lips move. The crewmen realize he's trying to say something. And Rafe does utter something, barely audible; something the Norwegian crewmen don't understand. RAFE Evelyn... IN THE PRESENT Rafe struggles to bury that memory so far that he'll never feel it again. EXT. NURSES' QUARTERS - NIGHT Danny escorts Evelyn back to her quarters. DANNY Don't worry. I'll find him. He hugs her; their embrace earnest yet tingled with guilt, and Danny leave quickly. Betty steps out of the nurses' quarters and hands Evelyn a telegram. BETTY This came while you were gone. Evelyn knows it's the telegram from Rafe, to tell her he's alive. Without opening it, she begins to cry, and hurries away from the barracks so the other nurses won't see. EXT. HICKAM FIELD - NIGHT Danny crosses the tarmac toward the clustered P-40's. He spots what he's looking for. Sitting in the cockpit of one of the P-40's is Rafe. Rafe won't look at him. Danny climbs up on the wing, and sits down there. DANNY You'd always go sit in a plane whenever you were upset. RAFE Upset? Why should I be upset? DANNY Let's go get a drink. Unless you're scared to talk about it. CLOSE - A Mai-Tai volcano clunks onto a table. INT. FUNKY OAHU BAR - DAY DANNY Drink up. Then we'll talk. Rafe takes the challenge, and takes a long pull on one of the straws. Red, Anthony, Billy, and several others enter the bar. ANTHONY Rafe?! They rush the table... INT. FUNKY OAHU BAR - LATER They're all drinking, and the whole bar is rocking. Rafe uses glasses to show his buddies tactics. RAFE They'll go under you because their planes are faster, then they run so you can't catch 'em. But then they'll come around and take you from behind -- like some Americans will. The last words bring the group to silence. The other guys drift away, to give them room. RAFE Sorry. DANNY Why be sorry? That's what you feel, it's better to come out with it. RAFE I didn't mean it. DANNY Sure you did. So come on. Say what you think. RAFE Waitress! Four beers! DANNY You don't wanna put beer over mai-tai. RAFE If you can't keep up, don't drink yours. The waitress delivers four bottles to the table. Rafe takes a slow sip, then stares at Danny. RAFE We gotta face some facts here. DANNY What facts are those? RAFE I understand how it could happen. I know why any guy would love her. And I can't blame you that it happened. You thought I was dead, she was grieving, you were trying to help her. DANNY I was grieving too. RAFE Yeah, right. Anyway, you didn't know. DANNY So what are you saying? RAFE I'm saying now you do know. So it's time for you to fuck off. DANNY You left her. How's that for a fact? RAFE How's this for a fact? I loved her first. Danny takes a long pull of beer, and Rafe does the same. DANNY You know, you're a lousy drinker. Drinking's supposed to make men feel bigger. It only makes you stupid. And weak. Rafe nods thoughtfully, and sets down his beer. RAFE How's this? BAM! He knocks Danny out of the chair, flat on his ass. Danny backhands the blood from the corner of his mouth. DANNY You want it, you got it. He kicks Rafe in the back of the knee, then mule kicks him in the chest as he goes down, and the fight is on. The bar's bouncer, a big Samoan, moves over to break them up -- but Anthony steps in his way. ANTHONY Let 'em fight, they need it. The bouncer tosses Anthony aside, but before he can move in to interrupt the fight, Red breaks a lava volcano of Mai-Tai over the bouncer's skull. The bartender picks up the phone to call the M.P.'s. Rafe and Danny are exchanging punches in the middle of the room. Sailors sitting at the bar have swung around on their stools to watch the action. The other pilots are wincing with the punches their friends exchange, and bobbing and weaving as if in the fight themselves. A SAILOR tapes Billy. SAILOR Is this a private fight or can anybody jump in? Billy hits him. The whole bar erupts. Rafe and Danny are really having at it, fueled by so much emotion that nothing hurts. They're on the floor now, trying to rip each other apart. They struggle to their feet and Rafe manages to knee Danny in the balls. Danny doubles over in pain. RAFE That hurt? I didn't think you had any balls. Without looking up, Danny lunges at Rafe, tackling him around the waist, driving him at the wall. But they don't hit the wall; they tumble through the back window of the bar -- not covered in glass, but fronds and wood -- and out into the back alley. They're lying there in the debris when they see the M.P. jeeps coming. They drag each other to their feet, and run away. EXT. PACIFIC OCEAN - NIGHT The Japanese task force rumbles through the night, the bows of the great ships blasting through the crashing waves. INT. AIRCRAFT CARRIER AKAGI - NIGHT Yamamoto's flagship. The clock reaches midnight, and a sailor tears off it's calender. It's December 7, 1941. YAMAMOTO The submarines will be reaching the harbor soon. I hope they don't set off the alarm too soon. EXT. PACIFIC OCEAN - NEAR PEARL HARBOR - NIGHT An American destroyer, the SELFRIDGE, leads a squadron of destroyers on patrol, near the entrance of Pearl Harbor. LOOKOUTS on the bridge think they spot something. INT. CONTROL ROOM - DESTROYER SELFRIDGE - NIGHT The WATCH OFFICER listens to a report on his headset and turns to the CAPTAIN. WATCH OFFICER Captain, lookouts report a sighting, two points off the starboard beam. The sonar operator looks up and nods. SELFRIDGE CAPTAIN How big? SONAR OPERATOR ...I've lost it. SELFRIDGE CAPTAIN Probably a blackfish. I've seen them look like subs. EXT. PACIFIC OCEAN - NEAR PEARL HARBOR - NIGHT Another destroyer, the RALPH TALBOT, cruises behind the Selfridge. On it's bridge, the DUTY OFFICER speaks to the CAPTAIN. DUTY OFFICER Sir, Selfridge reports a contact, then lost it. Now our sonar reports the contact. The Captain looks toward the Selfridge, then trains his binoculars on the water were the Duty Officer points. He sees something dark and black slipping along beneath the surface. He gets onto his intercom. CAPTAIN OF THE RALPH TALBOT Radio room! Raise the Selfridge. Tell the Squadron Commander we have spotted a sub and request permission to depth charge. He looks again at the black shape, passing a few hundred yards from them. CAPTAIN OF THE RALPH TALBOT We're five miles from Pearl Harbor and it's moving in from the open sea. Prepare to move to attack speed. The INTERCOM comes alive. INTERCOM Sir, the Squadron Commander on Selfridge denies permission. CAPTAIN OF THE RALPH TALBOT What? INTERCOM Denies, Sir. He says it's a blackfish. The Captain chokes back his frustration and shuts down the intercom -- but then he says to the Duty Officer, as they watch the shape disappear toward Pearl Harbor... CAPTAIN OF THE RALPH TALBOT If it's a blackfish, it has a motorboat up it's ass! EXT. OAHU - ROAD - NIGHT Danny has pulled his Buick convertible off the road; Rafe is bent over, his head out of frame; he's throwing up. Danny's banged up from the fight and still drunk himself; he waits beside Rafe, who chokes out between heaves -- RAFE How come you're not pukin'? DANNY I guess I'm used to it. I've felt like throwing up every minute since you got back. Rafe straightens up, but the waves of sickness come back over him and he bends over again. Danny looks at his friend, and the pain is written on Danny's face. DANNY Don't blame her, Rafe. It's not like you're thinking. RAFE (between heaves) Fuck you. DANNY She loves you. I know that. And part of what she loves in me is how much of you she sees in me. Rafe doesn't seem to be listening; but Danny knows he is. DANNY We were both torn up. I started dropping by to see her, because we understood what each other felt. We'd have coffee and try not to talk about you, but we always would. Rafe stands to face Danny; this is hard for Danny to say. DANNY She said I was so much like you. I said, No, I'm not. I'm like I am because of you, but I'm not you, not as good as you. Everybody else saw me as a loser with a big chip on his shoulder. But you saw the better part of me, the part of me that could be like you, and changed me. You made me who I am. RAFE How sweet. Is that when you put the move on her? Danny slams his fist into Rafe's sick gut. Rafe doubles over again, coughing, nothing left in his belly to come up. Rafe stand slowly, nodding as if he knows the punch was what he deserved. Danny's about to apologize when once more Rafe knees him in the balls. Danny folds up, drops to his knees, and starts to retch. RAFE That's better. Rafe crawls into the back seat of the car and passes out, Danny still collapsed at the side of the road. EXT. PACIFIC - NIGHT The Japanese task force storms on. INT. JAPANESE AIRCRAFT CARRIERS - NIGHT IN THE PREP DECKS, the planes are being armed with bombs and torpedoes. IN THE PILOTS' QUARTERS, the pilots individually sit before personal shrines, saying private prayers, writing letters. EXT. JAPANESE CARRIERS - FLIGHT DECKS - NIGHT The planes are brought up on the elevators; deck crewmen start rolling them into position. EXT. UNDER THE SURFACE OF THE PACIFIC - NIGHT A Japanese submarine with a midget sub attached to its hull runs silently toward Pearl Harbor. EXT. OCEAN SURFACE - NIGHT The periscope of the submarine breaks the surface. INT. JAPANESE SUB - NIGHT The sub commander looks through the periscope and sees the lights of Oahu far in the distance. SUB COMMANDER Prepare to launch midget sub. INT. BUNK AREA OF SUB, BETWEEN TORPEDOES - NIGHT The sailor who will drive the midget sub completes his ceremonial sponge bath, and places a handwritten letter on his personal shrine. SAILOR'S VOICE (LETTER) My revered father, I go now to fulfill my mission and my destiny. INT. THE LAUNCH OF THE MIDGET SUB - NIGHT We see the sub surface, and the sailor exit the main hatch of the big sub, then force himself through the tiny hatch of the midget sub. SAILOR'S VOICE (LETTER) I hope it is a destiny that will bring honor to our family, and if it requires my life I will sacrifice it gladly, if you can think of me and my hope to be a good servant of our nation, and a worthy son. With love and devotion, Kazuyoshi. EXT. FLIGHT DECK, JAPANESE CARRIER - NIGHT A single scout plane launches into the air. INT. SCOUT PLANE - NIGHT The plane climbs to a high altitude, toward the dawn and Pearl Harbor. EXT. PACIFIC OCEAN - NIGHT The Japanese carriers turn into the wind and raise combat pennants. A color guard raises the Japanese flag as the deck crew stand at attention, seeing the rising-sun flag snap potently in the wind. EXT. JAPANESE AIRCRAFT CARRIERS - NIGHT The first wave of Japanese planes begins to launch. It is a stirring sight for the Japanese; the pilots waiting in their cockpits, the officers watching from the bridge, the seamen on the flight deck. The first plane taxis along the flight deck and lifts into the sky. The seamen cheer and wave their caps. EXT. PACIFIC OCEAN - NEAR PEARL HARBOR - NIGHT The American destroyer WARD cuts through the water, moving back into port after a night patrol. It's CAPTAIN is on the bridge, and its lookouts are still scanning the waters. LOOKOUT Captain, do you see that, in our wake? The Captain raises his binoculars and looks out behind the ship. He sees something small and black there. CAPTAIN OF THE WARD That's a conning tower. OFFICER Could it be one of ours? CAPTAIN OF THE WARD He's trying to follow us through the sub nets, into the harbor. Sink the son of a bitch. EXT. DECK OF THE DESTROYER WARD - NIGHT The deck gun barks, aimed toward the conning tower of the Japanese sub in the distance. The first shot sails directly over the tower, missing. INT. THE SUB'S CONTROL ROOM - NIGHT The Japanese sub commander sees, through his periscope, the flame erupt on the Ward's deck; he's being fired upon. He snaps orders -- JAPANESE SUB CAPTAIN Dive! Dive! EXT. THE DECK OF THE WARD - NIGHT The gunners snap in another shell and fire again. It's a direct hit, the sub is ripped apart, it rolls over. INT. WARD'S BRIDGE - NIGHT The Captain watches the sub sinking and snaps an order. CAPTAIN OF THE WARD Fleet command, from destroyer Ward. Have fired upon and sunk enemy submarine seeking to enter Pearl Harbor. EXT. ESTABLISHING - RADAR STATION - PEARL HARBOR - DAWN INT. RADAR STATION - PEARL HARBOR - DAWN There are two guys left in the room, yawning over their new radar equipment. The Officer, ELLIS, checks his watch; it's a few minutes after seven a.m. ELLIS Time to shut her down. That was a good first session. You'll get the hang of this new radar soon. PRIVATE Thank you, Sir. Hey...what's this? His screen shows a huge cloud of blips, heading toward them. ELLIS I've never seen anything like that before. He gets on the telephone. INT. ARMY HEADQUARTERS - DAWN The phone rings and an officer answers. OFFICER Watch command... Coming from which direction?... Hold on. He covers the phone and tells his commander -- OFFICER Radar station has picked up a cloud of blips, coming in from the northeast. He switches on the radio, and tunes it to KGMB; hearing the Hawaiian music reassures him something... COMMANDER KGMB is on early. That means we've got a flight of B-17's coming in from the mainland, they use the radio music for a homing beacon. INT. RADAR STATION - PEARL HARBOR - DAWN Dismayed, Ellis listens to the response from the headquarters. ELLIS All right, Sir. (he hangs up) They say don't worry about it. He and the private look again at the cloud of blips -- growing ever larger, and moving in fast. EXT. THE SKIES ABOVE THE PACIFIC - DAY The Japanese formations are streaking through the sky. INT. THE COCKPITS - DAY The Japanese bombers, with three-man crews, are listening to the Hawaiian music of the radio station, using it for their homing beacon. They look out and see the sunrise -- it's beautiful, and resembles the Japanese flag. EXT. SKIES ABOVE PEARL HARBOR - DAWN The Japanese scout plane is high in the air. It radios -- SCOUT PLANE PILOT Harbor quiet. Ships in place. Carriers gone. INT. BRIDGE OF YAMAMOTO'S CARRIER - DAY Yamamoto is handed this message. YAMAMOTO We have achieved surprise, but their carriers are not in port. I don't like this. GENDA We have a fighter screen up, in case we are attacked, Admiral. YAMAMOTO We must go ahead. This is our moment. INT. ADMIRAL KIMMEL'S HOME - DAY The Admiral, dressed in his golf clothes, is leaving his home when a naval LIEUTENANT appears at his door. LIEUTENANT Admiral, one of our destroyers reports sinking a sub on its way into Pearl. ADMIRAL KIMMEL Relay that to Washington...and cancel my golf game. INT. ADMIRAL KIMMEL'S OFFICE - OAHU - DAY Kimmel enters his office, and is handed the latest dispatches. ADMIRAL KIMMEL Any response from Washington? KIMMEL'S AIDE Nothing, Sir. EXT. WESTERN UNION OFFICE - PEARL HARBOR - DAY A telegram, addressed to Admiral Kimmel, lands in the regular, not urgent, dispatch box. The messenger handles it promptly, hopping on his motorbike to deliver it. EXT. SKIES ABOVE THE PACIFIC - DAY The Japanese planes increase throttle and nose down, diving toward the surface, hurtling into attack mode. EXT. PEARL HARBOR - DAY The harbor lies quiet. It's a sleepy Sunday morning. Children are playing, officers are stepping from their houses in their shorts to get the morning paper... EXT. MOUNTAINSIDE - OAHU - DAY Hawaiian Boy Scouts are hiking on a side of one of the mountains overlooking Pearl. Suddenly booming over the mountain, barely ten feet above the summit, comes a stream of planes. The boys are awed. What is this? EXT. PEARL HARBOR - DAY QUICK INTERCUTS - Between the approach of the Japanese planes, and sleepy Pearl Harbor... -- The planes, in formation, their propellers spinning, their engines throbbing... -- Pearl Harbor, with the ships silent, their engines cold, their anchors steady on the harbor bottom. -- The Japanese submarines heading in. -- The American destroyers docking, instead of going out to search for them. -- Another formation of Japanese bombers climbing high, into attack position. -- The Japanese torpedo planes dropping down to the level of the ocean, their engines beginning to scream. -- The American planes bunched on the airfields. -- ON THE JAPANESE CARRIERS, Yamamoto and his staff huddle tensely, over their battle maps. ON THE JAPANESE CARRIER DECKS, the second wave of planes is being brought up and loaded with munitions...the Japanese flag snaps tautly in the wind... ON THE GOLD COURSE NEAR PEARL HARBOR, American officers are laughing on the putting green near the club house, where the American flag droops from the flag pole, limply at peace. -- The Japanese planes roaring down just over the wave tops of Pearl Harbor itself. -- Children playing in the early morning sun, looking up as they see the planes flash by. The children look -- they've never seen this many, flying this low...but they are not alarmed, only curious. The images come faster and faster, the collision of Japan's determination and American's innocence... EXT. DECK OF OKLAHOMA - DAY Two sailors are standing on the deck, sharing a smoke, looking out over the quiet harbor. One of them sees the first few planes streaking in. SAILOR 1 Look at that. SAILOR 2 It's the Army again, practicing on us. Something drops from the lead plane and splashes easily into the water; the plane banks away. SAILOR 2 Practice torpedoes. A white streak runs through the water at them. SAILOR 2 Now listen, you'll hear a little thud when it hits the side of the ship. They watch it rush at them...then, a MASSIVE EXPLOSION! It throws up a fifty foot wall of water, hurling the sailors and everything else on the deck into the sea. EXT. THE ATTACK ON PEARL HARBOR - DAY -- The first wave of planes drop more torpedoes; they plunge BENEATH THE SURFACE, their wooden fins working perfectly, the torpedoes speeding to their targets... We see their AWESOME BLASTS against the anchored ships as the torpedoes hit home. -- The Japanese LOW ALTITUDE BOMBERS come in; some drop their bombs directly into the ships; some skip their bombs across the water, the bombs glancing off the surface and then slamming the sides of battleships with tremendous explosions. -- INSIDE THE SHIPS, sleeping sailors are thrown from their bunks; those already awakened run for their battle stations, and try to make it up to the deck; but there's no escape there, as... -- Zero fighter planes strafe the ships, raking the decks and killing sailors with MACHINE GUN FIRE. EXT. ON THE AMERICAN SHIPS - DAY Fire and smoke are turning everything into chaos. some sailors rush to man the guns, they find the ammo boxes locked. Under the bombing and strafing, they find a wrench and start pounding on the lock, trying to break open the ammo box. Then they break open the lock -- and find the ammo box empty. SAILOR Shit! I'll get some ammo! He runs for the ladders, and is shot down before he gets there. EXT. SKIES OVER PEARL HARBOR - DAY The dive bombers scream in. EXT. DECK OF THE WEST VIRGINIA - DAY Bombs are hitting the deck. Sailors are blown into the air and out into the oily water. Nearby ships are catching fire; the flames spread out onto the oily water itself. INT. BELOW DECKS OF THE WEST VIRGINIA - DAY Dorie Miller, the boxing champion/kitchen helper, is working picking up the breakfast trays when he feels the ship shudder. The intercom comes alive -- INTERCOM Battle stations! Battle stations! This is not a drill! Men run to the ladders, and the shaking of the ship from a bomb blast tosses them off; Dorie's at the foot of the ladder when men fall back on top of him. EXT. BRIDGE OF WEST VIRGINIA - DAY The Captain of the ship has reached the command bridge, where most of his staff is lying wounded from a bomb blast. CAPTAIN OF THE WEST VIRGINIA Stay calm! Find your positions. Medics, get the wounded to sick bay! Load and -- MORE TORPEDOES and BOMBS blast into the ship. A big chunk of shrapnel tears into the Captain and rips his stomach open. The medics he was just directing to other men now run to him, as the men they were going to help have been blown apart. EXT. DECK OF THE WEST VIRGINIA - DAY Sailors run up from below and are gunned down and blasted down before they can reach their weapons. Dorie Miller emerges from below decks and sees the carnage, the confusion. A bloody OFFICER grabs him. BLOODY OFFICER Boy! We need stretcher bearers on the bridge! Dorie runs into the fire and smoke, toward the bridge. EXT. BRIDGE OF THE WEST VIRGINIA - DAY Dorie arrives to see the medics crouched over the disemboweled Captain, who is still giving orders. CAPTAIN OF THE WEST VIRGINIA Radio for air cover. Organize the other medics. Initiate fire control. Dorie helps the medic lift the Captain to take him below. INT. BELOW DECKS OF THE WEST VIRGINIA - DAY Dorie carries the Captain down the ladder by himself, using one arm to climb and one to hold the Captain like a child's teddy bear. When they reach the bottom the pain has grown too much for the Captain; he know's he's dying. CAPTAIN OF THE WEST VIRGINIA Put me down here. Dorie puts him down; the medic jumps down the ladder and reaches the Captain, who tells him -- CAPTAIN OF THE WEST VIRGINIA Find my executive officer and tell him he's in command. Tell him to fire the boilers and... He trembles in death throes... CAPTAIN OF THE WEST VIRGINIA Make sure the gunners have enough ammuni -- He's dead. The Medic runs toward the ladder, reaches the hatch, and is blasted back to the bottom by an explosion overhead. Dorie runs for the ladder, and climbs out into hell. EXT. DECK OF THE WEST VIRGINIA - DAY Dorie emerges into even greater carnage and confusion. A sailor, his body on fire, runs past and leaps into the oily water -- but it is in flames too. Then Dorie sees it: an unmanned anti-aircraft gun. He runs to it, through the strafing. The gun already has a belt of ammo in it -- apparently loaded by the gunner who lies beside it with his chest shot open. Dorie swings the business end of the gun toward the Zeros coming in out of the smoke, and he begins to fire. The Zeros keep coming and he keeps firing; nothing on earth will knock him from that gun. INT. NURSES' BARRACKS - DAY Evelyn is up, dressed; her roommates are just stirring. EXT. NURSES' QUARTERS - OAHU - DAY Evelyn has stepped to the door when she hears a distant rumble and looks across the harbor to see smoke rising, ships taking hits. EVELYN Oh my God... EVERYBODY TO THE HOSPITAL! As she runs, Japanese planes are coming toward the base. EXT. THE MESS HALL AT HICKAM FIELD - DAY The men were sitting down to breakfast, but the machine gun bullets tearing up the outer walls have them clogging the doors, and it's so clogged they can't all get out. A steel bomb crashes through the roof and slams through the room, taking out tables and chairs before bouncing off the wall and coming to a stop. TWO SOLDIERS, trapped within the mess hall, see it stop without detonating. They are bug-eyed, hearts stopped. MESS HALL SOLDIER Dud. The bomb detonated, blowing everything to bloody dust. INT. HOSPITAL - DAY Evelyn reaches the hospital first and runs to the cabinet, withdrawing supplies. Barbara and Sandra appear at the far door, both terrified. EVELYN Get everything out! Bandages, sutures -- oh God, the men in traction... Come with me! She races into the hallway, the other two following. INT. HOSPITAL - TRACTION WARD - DAY Four men from a jeep accident are lying in traction, their casted limbs roped in the air. Evelyn runs in, grabbing a razor blade from the medical cabinet -- and telling Barbara and Sandra. EVELYN Cut them down, and take cover!! Hurry! Bombs are falling outside, on the airfield this wing of the hospital faces. Evelyn slices the traction ropes of a man with both legs broken; ignoring his groans, she rolls him out of the bed and covers him with the mattress. The other nurses follow her lead. The bombs are coming toward the hospital ward; Evelyn finishes with the fourth man and covers him and herself with the mattress, just as a bomb craters outside the window. The nurses and patients look up after the explosions have passed; there's a chunk of smoking shrapnel lying on the springs of the bunk where the last man had been lying. EXT. HICKAM FIELD - DAY The Japanese low-altitude bombers, with Zero escorts, zoom in over the field, blasting the clusters of American warplanes, whole squadrons taken out with one bomb. The mechanics and pilots, caught in the open, run from the strafing. The Zeros rake them down with machine gun fire. It's carnage. EXT. PHOTOGRAPHER'S HOUSE - DAY Sammy, the amateur photographer, is leaving his house for a morning of working his "Pictures of Paradise" business, when he sees the Japanese formations rumbling toward Pearl. He races back inside. INT. PHOTOGRAPHER'S HOUSE - DAY He fishes into his drawer for a film camera, and digs out cans of film, struggling to load it as he runs back out. INT. HICKAM FIELD - BARRACKS - DAY The pilots of Danny's squadron have returned from their night of drinking and brawling and are crashed on their bunks. Red stirs and staggers toward the head; he bumps into the wall, backs up like a wind-up toy and lurches blindly forward again, into -- INT. BARRACKS - THE HEAD - DAY Red sleepwalks to the urinals and unleashes a marathon piss stream, still in his sleep. A rumble penetrates his brain, and his eyes come open a fraction. Through the window slits above the urinals, he can see a cloud of Japanese planes rushing past. He squeezes his eyes shut, and looks again; the planes start bombing the distant hangers. Red pisses along the wall as he races to the barracks, trying to get his pecker back into his drawers. He shouts to the sleeping guys -- RED Th-th-th-th-th- He slaps his face with both hands, and stomps his feet... RED Th-th-th-th-Dammit! Th-th-th- He still can't get it out, can't wake them; bursting with frustration, he suddenly blasts out singing -- RED (singing) The Jaaaps!! The Jaaaps!! He's belting it like a baritone in a bizarre opera. His friends stir; what the hell? Red points outside and tries to talk, but now he can't mutter a syllable. The guys hear the explosions, and realize... EXT. HICKAM FIELD - BARRACKS - DAY The pilots stagger out, half drunk, half dressed. Seeing what's happening, they race toward the flight line, where the clustered American planes are blowing up in groups, and the pilots are knocked to the ground. BILLY Goddamn Japs! Billy jumps to his feet and starts to run toward a cluster of fighters that hasn't gone up yet. ANTHONY Billy! Anthony tries to grab him and drag him back to earth but he misses; Billy gets a few steps before the fire from a strafing Zero catches up to him; his friends watch in horror as Billy gets shorter as he runs; the Zero's machine gun fire is sawing his legs off from the feet up. Billy falls, legless but still alive; then a bomb falls almost on top of him, sending body parts over the pilots. Their innocence, like America's, is gone in that moment. EXT. ROAD TO MAIN AIRFIELD - DAY Danny and Rafe are in Danny's Buick, hung over and asleep, Danny in front, Rafe in back, and they're a miserable sight -- their shirts ripped, blood dried in a leak trail from one side of Rafe's nose and the corner of Danny's mouth. The rumble of planes moving overhead makes them stir; the rumble grows huge, as the shadows of a massive formation makes the sunlight flicker. Danny and Rafe squint up, their heads pounding, and realize what they're seeing. Suddenly their headaches are gone, and Danny's gunning the Buick down the road, toward the base. EXT. AIR BASE - DAY Danny blasts through the main gate; the guards are too busy taking cover and haven't even closed the barrier. He races to the tarmac, where some of the planes are still undamaged. Rafe is out the door before the car stops rolling, and Danny's right behind him. They're running toward a cluster of fighters, when it goes up with a bomb blast. Rafe and Danny dive at each other; their first instinct is to cover their best friend with their own bodies. They look at each other on the ground. They see machine gun bullets thudding into the planes on the flight line, and ripping along the walls of the buildings. It's as if the whole Japanese airforce is attacking this one base, and not leaving a single plane airworthy. RAFE Get me into a plane! DANNY Come on! Danny sprints; Rafe follows. Danny reaches a phone booth, and digs a dime from his pants. RAFE You're making a phone call?! Danny dials, as waves of bullets sweep the area, and more planes blow up on the flight line. Rafe thinks he's lost his mind. DANNY (into phone) This is Walker! We're under attack! Get those planes fueled and armed RIGHT NOW! He runs back toward the car; Rafe, in the nonsense of battle, reaches in to hang up the receiver, before Danny grabs him and leads him on a sprint to the car, as the phone booth shatters behind them from the strafing. On the way to the car they dive back to the ground to avoid strafing -- and see their friends lying nearby, in shock. ANTHONY They got Billy. DANNY Come with us! He and Rafe jump up and run again. Anthony, Red, and several other pilots reach the Buick and dive in. Danny drives away, through the strafing. RAFE Where are we going? DANNY Auxiliary field at Haleiwa, ten miles north of here. RAFE What's there? DANNY Six P-40's. As the Zero pilots see the Buick moving, they go after it. Danny drives like a madman through the strafing, zigzagging and gunning the Buick's V-8. EXT. THE OKLAHOMA - STILL AT ANCHOR - DAY The number of attacking planes seems endless -- and their strategy flawless. Torpedoes hitting one ship lifts its hull with a blast, enabling the next wave of torpedoes to rush under and hit the next ship anchored behind. The American battleships are bobbing like see-saws. The OKLAHOMA takes an entire barrage of torpedoes, blowing thirty foot holes along it's hull; the ship immediately begins to list. INT. THE OKLAHOMA - DAY Doors are wedged shut by the deformation of the structure; vertical ladders are becoming horizontal, and water is pouring in. Men fight their way up against the water. INT. INNER COMPARTMENT OF THE OKLAHOMA - DAY Water is up to the trapped sailor's waists when they grab a wrench and start taking turns pounding S.O.S. in Morse code on the bulkhead. EXT. DECK OF OKLAHOMA - DAY As the listing grows more severe, sailors start jumping from the deck into the water. Still the Marines on deck are firing back at the planes; some Marines are even using handguns. But courage does not save them... THE OKLAHOMA ROLLS OVER The men still on its deck try to run, but it's not just the fires and the water they can't escape; the gun turrets' 1400 pound shells break loose with the capsizing of the ship and tumble through everything like massive wrecking balls. The sailors and marines, thrown into the water, struggle to get away from the suction as the giant battleship turns turtle. BELOW THE WATER men are sucked down with amazing force, every hair on their heads streaming behind them as they're snatched to the depths. INSIDE THE OKLAHOMA, everyone and everything is spilling upside down. The ship's generators sputter out and the lights go out. The flashlights of the few sailors who can find them cut raggedly through the darkness, and water spills in. There is no escape. BELOW THE WATER, the Oklahoma's superstructure hits bottom; some men are crushed there. For others it's salvation, as the BACKWASH blows them toward the surface. ON THE SURFACE the men are launched almost completely out of the water, before splashing back into the water and burning oil. A few feet of the steel hull and a portion of the propeller protrude above the surface, but most of the Oklahoma is under water. Men in the water swim toward a medical launch carrying wounded away from the wreckage. A bomb hits the launch and blows body parts everywhere. INT. OKLAHOMA - REAR COMPARTMENT In one compartment there are a dozen trapped men. They've survived the roll-over, and are in a chaotic world where the floor is now the ceiling. The water is up their waists. Some of the SAILORS are panicking. One sailor has a flashlight and switches it on, flashing the light from face to face. SAILOR WITH THE FLASHLIGHT Don't panic! Don't panic! PANICKED SAILOR The water's rising! It's coming up, we're all gonna drown! SAILOR WITH THE FLASHLIGHT The air pressure will equalize it! But the water keeps rising, along with their fears. Several of the sailors are still screaming... The water's already to their bellies. One of them grabs a wrench and starts slamming Morse code against the bulkhead. One sailor in the middle of the room is particularly panicked, not just yelling but crying and whimpering -- TERRIFIED SAILOR Get me out! Get me out! SAILOR WITH THE FLASHLIGHT Stop it! Come on! Save your air! TERRIFIED SAILOR MY FOOT'S CAUGHT! He's at the lower end of the compartment, where the water is deeper -- the ship's nose is lower than her stern. The water's up to the guy's neck. The man with the flashlight dives down, and finds the guys foot wedged together in the pipes of the ships ceiling -- now their floor. He pops up again. The water's up to the trapped guy's mouth; he's already gagging. SAILOR WITH THE FLASHLIGHT Is there a hacksaw in that locker?! They open it; tools spill out -- among them is a hacksaw. They hand it to him; the sailor dives down and cuts off the guy's foot. The trapped man is underwater, muffling his scream. He comes free, and surfaces gasping. His severed foot floats to the surface and then the horror really hits them. The sailor with the flashlight pops up, in the blossoming of blood. He and another sailor tie a tourniquet around the stump, to stop the bleeding. The drama of this has caused the other trapped men to stop their signaling. Now they start banging, twice as loudly as before. EXT. HALEIWA - AUXILIARY AIRFIELD - DAY Haleiwa is a tiny airfield, tucked among the green volcanic hills; its barely paved, and it's only permanent building is a quonset hut. A mechanic named EARL, is out with the P-40's; and these are spread out, not bunched. EARL AND THE P-40'S The planes here have received loving care from Earl -- which means lots of cursing; as he's wrestling to load an ammo belt, he yells. EARL Sum-bitch! The Buick, bullet holes punched through the truck, slides to a stop near the planes, and the pilots jump out. DANNY They ready, Earl? EARL They'll all fly, but -- oh, shit... What stops him is the cloud of Zeros and dive bombers, shrieking in. DANNY Cover! The guys scatter. There are sandbags around the hut, and they run there, diving into it's shelter just before the first strafing pass, when a Zero strafes one of the P-40's and a dive bomber blasts another. Earl stands up in shock and fury. EARL You absolute mother-fuckin' son of a bitch! You shot one of my planes! Danny pulls him down, as the Zeros roar overhead. DANNY This ain't a little feud, Earl, it's World War Two! RAFE They're coming around for another pass. You got extra weapons and ammo? EARL Cock-suckin' right I do!! In the gun lockers! DANNY You guys get those! Earl, Rafe, come with me! Danny, Rafe and Earl run to the planes that got hit and strip out the 20mm cannons and ammo. INT. QUONSET HUT - DAY The other pilots run in, throw open the gun locker, and start grabbing weapons -- aircraft machine guns, ammo belts, one even grabs a rifle. SANDBAGS BY THE SHED The two groups run back and start to set up. RAFE Danny, over there! We're in a canyon, they'll come straight down it, we'll get 'em in a crossfire. Danny, Rafe and Earl run to a gully opposite the shed and set up there, as the other pilots brace the machine guns against the sandbags. The Japanese planes attacks again. This time the lead plane hits a wall of steel fired from the combined guns; the bullets chew into the bomb it carries and the plane EXPLODES. The airborne debris makes the following planes shear off. Red's standing, firing; he yells at the Zeros -- RED D-don't like it when we fight back, do ya! Red runs out with his machine gun and keeps firing even when the planes have passed, trying to shoot them right up the ass. DANNY Earl! You said the planes were ready but -- but what? EARL Of the four left, only one is full of fuel. RAFE Will the others get into the air? Earl shoots a look to Rafe, then turns to Danny. EARL Danny, I don't like this fuckin' guy. DANNY Anthony, Red, stay with the guns! Coma, you cover the cannons! Joe, Theo, come with us! Earl, you get on the radio! We're gonna fight these fuckers. Two of the pilots, Joe and Theo, run to Danny. JOE How do we do it? DANNY Your call, Rafe. RAFE Get rolling as fast as you can. Stay low! We'll use the topography to separate them and then we can take 'em one on one. They race toward the planes, and the Japanese attack again. Seeing the pilots running for the P-40's, the Zeros aim for them; Rafe and Danny race for the most distant of the planes; Joe and Theo run for the closer planes, through the dusty bullet hits. Theo makes his plane and is just strapping himself in when bullets stitch his fuselage, wounding him. He still forces the plane forward. He taxis twenty feet and his cockpit gets chopped up and the plane arches into a right turn and putters to a stop, Theo dead at the controls. Joe doesn't bother to strap in; he hits the throttle hard and heads down the runway... The Zeros are on him as he gets ten feet of air at 120 M.P.H. The Zero's bullets eat his canopy and plane skin; the plane breaks apart in mid air, spilling in gouts of flame as it smashes down on the tarmac. Rafe and Danny have reaches the more distant P-40's and are revving their engines as they see Joe and Theo's fate. They throw on their radio headsets. Their way seems blocked: they've got no runway behind them, the wreckage of four P-40's scattered ahead of them, and the Zeros screaming over the low hills to attack them. Now Rafe and Danny talk through the radio. DANNY It's tight. RAFE Tighter 'n a bulls ass in fly season. Don't hit the barn. They gun their engines and roll through the grass on either side of the runway, dodging the burning planes; they lift off, clearing the quonset hut by a couple of inches. They blow right through the strafing fire, and into the sky. Eight Zeros are all over them. Earl is in the hut, on the radio and watching through binoculars. EARL I see six...seven...eight of the cocksuckers! Don't let 'em hurt my planes. Danny's swiveling in his seat, looking left, right, back. DANNY They're all over us! RAFE Bet they don't dust crops in Japan. Danny understands immediately, following Rafe's tactic as he breaks into a sharp turn and uses the hut, palm trees, and low hills to shake the Japs. They fly like crop dusters, skimming down a foot from the ground, then bobbing up, banking left and right. The Zeros have divided into two groups to chase them, their wings clipping tree tops as they try to follow the Americans. It feels like a 200 M.P.H. car chase, 20 feet off the ground, Rafe and Danny skimming and bobbing over the terrain, but there are too many Japanese. RAFE Danny! Let's play some chicken! Danny banks in one direction, Rafe in another... EXT. OVER THE LANDING STRIP - DAY The two P-40's are screaming, rushing at each other like they did at the training base back in the states, flying right into each other's propellers; the Japanese heading after them realize they're rushing headlong at the other group... EARL Oh shit, oh shit... He can't even watch. At the last instant Rafe and Danny snap a quarter spin so the planes flash by belly to belly. Two of the Zeros collide in mid-air, exploding, as the other Zeros scatter. EXT. SKIES ABOVE PEARL HARBOR - DAY Danny and Rafe rejoin each other in the open sky; they've lost the Zeros. The P-40's are flying smoothly, side by side. The two pilots look across at each other, going into battle together. They speak through their radios. RAFE You hear my okay? DANNY Yeah. So you can call me if you need help. RAFE I got a half a tank. You? DANNY Little less. He fires a short burst to see if his guns work; they do. Rafe does the same. Up ahead they see a formation of Japanese planes, headed toward Pearl. RAFE They're in strafing formation, we'll blow right through their line. They look across at each other. RAFE Land of the free. DANNY Home of the brave. Side by side the P-40's scream in. EXT. ABOVE OAHU - THE DOGFIGHT - DAY The Japanese planes are in tight, disciplined formation, their minds on the targets below them in the harbor. But their day of shooting sitting ducks changes as the two P-40's blast in, wing guns blazing, chopping into Two Zeros. Both Zeros falter and begin to lose altitude. The P-40's make almost impossible tight turns, still side-by-side, and go after the two plane they crippled on the first pass. Rafe finishes one Zero, making it explode in a ball of flame in the air. Danny finishes the other, shooting off its wing so that it spirals into the sea and crashes there. The P-40's swoop up again. RAFE They're trying to hold formation. We can chew 'em up! The P-40's dig in again, swooping down on the line of Zeros. Rafe hits first, machine gunning one plane, and Danny comes in behind it, finishing it off. The Japanese pilots are screaming at each other over their radios, but their SQUADRON COMMANDER sees Pearl Harbor ahead, and tells them -- JAPANESE SQUADRON COMMANDER Hold the line! The P-40's come through again, their guns spitting fire. EXT. ANOTHER JAPANESE FORMATION OF BOMBERS - DAY These planes are different -- high altitude bombers with three-man crews, high above the harbor. The bombardier looks through his sight and the bomb bays open. THROUGH THE BOMBARDIER'S SIGHT, the ships look like tops, far below. The bombardier is ticking off the targets as they pass, the first two he mentions already burning. JAPANESE BOMBARDIER West Virginia... Oklahoma... Ah, Arizona. He flips his bomb switch, and a HUGE STEEL BOMB falls away. EXT. THE FLIGHT OF THE BOMB - DAY We stay with the bomb as it falls through the sky. The small propeller on the bomb's nose spins in the air, running the arming mechanism into the bomb's explosive core. The bomb wobbles a bit at first, but then as it gathers speed its fins stabilize it, and it falls faster and faster, at a dizzying rate, toward the Arizona. It slams through the teak wood deck, and breaks it like matchsticks. It's tremendous weight and speed carry it through the next deck, and the next, deep into the heart of the ship...toward the powder room, where two million pounds of black powder are waiting. The bomb hits there, and the explosion is almost beyond comprehension. Over 1400 men die instantly. EXT. PEARL HARBOR - DAY The battleship Arizona leaps into the air, the ship's spine is broken, it's guts ripped open in one explosive instant. Men on the deck are thrown into the burning oil already floating on the water from the other ruptured ships, but there are almost no survivors. The concussion of the explosion blows men off the repair ship Vestal, next to the Arizona, saving Vestal, as the explosion snuffs out the fires on Vestal; it also sends tons of debris down on her decks -- parts of the ship, legs, arms and heads of men, all sorts of bodies. Debris from the Arizona also cover the Tennessee and does more damage than the two Japanese bombs that hit her. INT. HOSPITAL - HALLWAY - DAY Medics have already started bringing in the wounded. Evelyn is like a frantic traffic cop. EVELYN Put criticals in ward one, stables in two! Barbara! Fill every syringe you can find with stimulant and antibiotic -- MEDIC Where are the doctors? EVELYN On the third tee. SANDRA Evelyn! Where's the morphine? THE FRONT WARD Evelyn runs in, snaps open the cabinet, grabs a bag of morphine sticks, and is about to run out again when she sees the Arizona go up. For a moment she's frozen, then she actually sees the shock wave traveling across the bay and through the trees like an invisible wall. She's trying to cross her arms over her face, and dive to the floor, just as the windows blow out from the concussion, and glass flies over everything. INT. JAPANESE BOMBER - DAY They see the results of their bomb, and are ecstatic. EXT. AIR ABOVE OAHU - DAY The nose of Danny's plane is pointed right at the harbor and he sees the sudden devastation of the Arizona. It is a sight so awesome it freezes him for a moment. A Zero comes up behind him, firing. Danny jerks his stick to maneuver but he's caught... Rafe comes in behind the Zero, chopping it up, even as he yells at Danny over the radio -- RAFE Ain't no time for spectatin'! They turn back after the line of Zeros. There are some Japanese planes coming after them now, but the P-40's head at their noses, firing, then duck past in a double maneuver, and turn right back into the Japanese formation. Rafe has a plane in his sights, but his guns fire only a short burst before stopping. RAFE I'm out of ammo! DANNY I'm out of fuel! They head back. A single Zero is on their way. Rafe charges it and draws its fire; Danny comes in behind the Zero and rakes its cockpit; the Japanese pilot backs off. The P-40's dive back toward Haleiwa. A handful of Zeros returning from Pearl see them and follow. EXT. PACIFIC - JAPANESE CARRIERS - DAY The second wave of planes takes off from the carriers. INT. FLIGHT CONTROL CENTER - CARRIER AKAGI - DAY Genda reports to Yamamoto. GENDA Second attack wave is in the air. INT. RADIO STATION KGBM - DAY The DISC JOCKEY, handed a message by the army officer, stops playing the soothing Hawaiian music and announces... DISC JOCKEY All Army, Navy, and Marine personnel to report to duty. INT. GENERAL SHORT'S OFFICE - DAY General SHORT is in his office; he and his aides are working frantically. GENERAL SHORT Mobilize everything! We're at war! Send a message to Washington: Hostilities with Japan commenced with an air raid on Pearl Harbor. INT. WHITE HOUSE - OVAL ROOM - DAY President Roosevelt is having lunch in the Oval Room study with Harry Hopkins. The phone RINGS and Hopkins answers. HOPKINS Oval Room... Yes, he is. (to Roosevelt) It's Knox, Mr. President. ROOSEVELT (taking phone) Yes? He listens, then puts the receiver down, shaken. ROOSEVELT The Japanese have attacked Pearl Harbor. HOPKINS My God. Do we have damage estimates? ROOSEVELT Our Pacific Fleet, at anchor, unprepared? It's terrible. It has to be. And it's not over. EXT. HALEIWA - AUXILIARY AIRFIELD - DAY The two P-40's drop out of the sky and bounce to a landing; Anthony and Red have been pushing the wreckage off the field with the Buick. Danny and Rafe pull the P-40's behind the burning quonset hut, and it's like a pit stop at a race track; Earl rushes up and starts fueling the planes, their engines still running. DANNY We need ammo too! Earl shouts instructions to the pilots. EARL Strip it from the wrecks! The other pilots race to the wrecked P-40's and start pulling out ammo belts. Earl glares at the smoking engine of Danny's plane, and the bullet holes. EARL Who the fuck taught you to fly? DANNY He did. Earl looks at Rafe's plane, more shot-up and abused than Danny's. Rafe grins and waves to him. Earl mumbles a stream of guttural and unintelligible obscenities. The Zeros that followed them sweep down, strafing. One mechanic, running across the field with a belt of ammo, goes down. Coma, running behind him, picks up the fallen man's ammo and his own, bringing both to the planes behind the hut. He, Red, and Anthony reload the machine guns in Rafe and Danny's planes. Rafe and Danny gun their engines and head back into the air, the grounded pilots firing a covering barrage and Earl even coming up with a 12-gauge shotgun to fire at the Zeros as they rush past. EXT. SKIES OVER PACIFIC - DAY The Second Wave of Japanese planes is in tight formation. INT. LEAD PLANE OF SECOND WAVE - DAY Lt. Commander SHIMAZAKI, leader of the second attack wave, says calmly into his radio... SHIMAZAKI Second wave, deploy over the military bases. High level bombers to the air stations, dive bombers attack ships in harbor. Fighters strafe and cover. He leads the second wave in on their attack run... EXT. NAVAL AIR STATION - DAY The navy's planes, bunched up on the naval airfield, are destroyed without ever getting into the air. EXT. PEARL HARBOR - DAY The harbor is already a mass of destruction and panic; screaming everywhere, men trying to fight fires, move the wounded; the second wave of planes hits, and tremendous explosions now rock the secondary ships like the destroyer SHAW, blasting it apart. But the Japanese pilots are now having trouble with the thick black smoke coming out of the damaged ships, and off the oil fires along the water. One torpedo plane, its pilot flying blind, clips the superstructure of a battleship and spins to a crash. Still, even IN THE CHAOS ON THE SHIPS, the sailors struggle to survive, inventively. Men trapped on one burning ship use the severed barrel of a five-inch naval gun as a bridge to cross to the less damaged ship anchored beside them. Others jump into the water and swim through the burning oil, towing buddies too wounded to swim themselves. EXT. PEARL HARBOR - DAY Below decks, sailors have organized a line and are passing ammunition from the ammo lockers, hand to hand up to the guns on deck. Blasts from bombs hit them and ignite the ammo they're holding, setting off a chain reaction of explosions. On the deck, the sailors are out of ammo. An OFFICER grabs a SEVENTEEN YEAR OLD SAILOR. OFFICER Grab a dinghy and get ammo from the base ammo storeroom. The young sailor jumps to a dinghy and launches it through the oily waters and thick black smoke. EXT. PEARL HARBOR - DAY The sailors in the boat get strafed, the rounds cutting between them and blasting their boat in two. They jump into the oily water and swim toward shore. Other sailors are in the water with them, struggling, swallowing the vile black liquid as they battle to swim. Errant bombs and shrapnel hit beside them, killing some; other lose strength and slide beneath the surface. The sailors from the ammo boat make it ashore; it's hot there too, with bullets and bombs all around. One sailor has to stop and puke from the oil; his buddy grabs him and they run for cover; they find it in the dugout of the baseball diamond. EXT. NAVAL STATION - DAY A MARINE GUNNERY SERGEANT leads men in a race through strafing fire to the bases ammo storeroom. INT. AMMO STOREROOM - DAY The SUPPLY SERGEANT is at his post. GUNNERY SERGEANT We need weapons and ammo! SUPPLY SERGEANT You need authorization. GUNNERY SERGEANT The fuck I do! He pushes the man out of the way and starts grabbing weapons. EXT. NAVAL STATION - DAY The gunnery sergeant and his marines run with a water-cooled machine gun, across the open ground, under fire. BARRACKS The Marines set up in the windows of their already-strafed barracks, and start firing there, as the Zeros scream past. EXT. NAVAL STATION - DAY Trucks are moving dependents -- women and children -- from the dependents' housing area. The Japanese strafe the trucks, dependents diving for cover. NAVAL STATION A fire engine from the Honolulu Fire Department races up to the sight of buildings burning from the air attack. As the firemen jump out, a Zero strafes them, gunning down the firemen. As the strafing Zero starts to bank away, two P-40's come in behind it, both of them gunning away. The Zero comes apart under the barrage, and crashes in a ball of flame. It's Rafe and Danny, back in the air. INT. MILITARY BASE HOSPITAL - DAY The once-pristine hospital with its glowing white beds is now a bloody chaos. Every bed is already full; there are burned and broken people on the floor -- soldiers, sailors, civilians, firemen, all mixed in together. People are dying everywhere, and screaming in pain, or moaning and begging for help. At first we don't see Evelyn, and wonder if she survived the glass; then we see her, flecks of her own blood dotting her face and arms. The blood of soldiers on her surgical apron. A steel calm has replaced her earlier frenzy, even as the other nurses are breaking down. SANDRA I can't tell who's gotten morphine and who hasn't! EVELYN Take a grease pencil and mark an M on the forehead of everyone you stick. A young doctor is trying to give an intravenous injection to a man who's badly charred; the doctors hands are shaking. EVELYN Don't look for a vein, just poke. SANDRA My pen's dry! EVELYN Use lipstick. Use ammo belts for tourniquets, use your own nylons if you have to! Barbara! Grab anything that will hold a pint of blood and sterilize it. The doctors are amputating limbs right there in the hallway. A SENIOR DOCTOR calls -- SENIOR DOCTOR Evelyn! You have to do the triage! They're bringing them in with trucks! Evelyn moves to the door. Trucks are pulling up, loaded with the wounded, young terrified soldiers bringing them inside; Evelyn does quick triage as they pass. EVELYN Critical -- front ward!... Give him morphine, he can't wait... The next body through is a pilot, wings on his uniform, his chest riddled with bullets -- and his face shot off. For a moment Evelyn falters, then she forces herself to check the dog tags... It isn't Rafe or Danny. Evelyn sags in guilty relief. EVELYN Take him outside and cover him; he's dead. She steadies herself as the next body comes through, a woman on a stretcher, her stomach shot open, pale hands clutching at the open wound. Evelyn feels for a pulse. EVELYN She's gone too, take her -- It's Betty. And though the bombs are blasting and guns booming everywhere, the world goes silent for Evelyn. One of the sailors outside the door is pointing to the harbor, the Nevada has begun to move. EXT. PEARL HARBOR - DAY The battleship NEVADA is underway, plowing through the harbor, as the water erupts with bombs. INT. THE NEVADA'S BRIDGE - DAY The Captain is struggling to save his ship. CAPTAIN OF THE NEVADA We can save her if we make the open sea! EXT. PEARL HARBOR - POV THE ATTACKING PLANES - DAY The lead pilot in the next squad of Japanese planes spots the moving battleship, and leads his squadron on it. They come whipping in over the waves, dropping torpedoes and bombs. INT. THE NEVADA'S BRIDGE - DAY The Nevada's Captain feels the ship shudder as it takes hits amidships. CAPTAIN OF THE NEVADA We're not gonna make it -- and if we go down here we block the channel... Beach her, there! His officers relay the order to the helm, and the ship's rudder turns as more blasts rip her hull. EXT. PEARL HARBOR - DAY The Nevada swings off its course and runs aground. INT. THE NEVADA'S DYNAMO ROOM - DAY The impact jolts the boilers, already bursting with the steam pressure; gouts of steam from rupturing pipes scalds and blinds the engine room crew. EXT. THE NEVADA - DAY The Nevada, run aground at the shoreline, is now like a beast cut from the herd; the predators swarm after it with torpedoes and bombs. One torpedo, missing the Nevada, skims right up the beach itself and blasts a house on the shore to fragments. Bombs detonate along the Nevada, engulfing the entire upper deck in flames, ravaging the sailors. EXT. HOSPITAL - DAY The Nevada is grounded near the hospital; from the doorway Evelyn can see the whole ship on fire, burning sailors leaping off the decks. Her hearing, her presence of mind, returns; she lets Betty go, and grabs an ORDERLY. EVELYN Go to the base hardware store and get some of those canister spray things they use for killing bugs. ORDERLY Insecticide?... EVELYN No, just the sprayers. We'll fill them with tannic acid, it'll sterilize them and cool the burns! GO! The orderly races away. They can still hear the bombs falling outside. A sailor staggers toward the hospital from the Nevada. He is completely gray. Everyone stares at him, and then realizes he is nude, burned gray, his skin ash. Evelyn rushes to help him, shouting back over her shoulder to the other nurses -- EVELYN We're gonna need every bed. If they can breathe, make 'em get up and move someplace else! EXT. JAPANESE CARRIER - FLIGHT DECK - DAY The first wave of planes lands on the carrier. The flight leader rushes to the bridge. INT. JAPANESE CARRIER - BRIDGE - DAY Yamamoto's advisors are exultant. GENDA We have achieved complete surprise! The first wave is returning, the second is attacking now, and we have lost only a few planes. We can launch a third wave, Admiral. YAMAMOTO The second wave has not returned. And we have no idea where their carriers are. What is the damage report? COMMUNICATIONS OFFICER We have Commander Fuchida on the radio now, Admiral. Yamamoto nods and Fuchida's voice comes over the intercom. FUCHIDA'S VOICE I am over the harbor now... EXT. SKIES ABOVE PEARL HARBOR - DAY Fuchida is in a scout plane, high over Pearl. His vision is hampered by the thick black smoke, but he can tell there has been awesome devastation. He uses a diagram of the ships at anchor to note the damage to each ship. FUCHIDA (into radio) We have a tremendous victory. Many ships damaged, some totally destroyed. But the Second Wave's attack is being hindered by the smoke. INT. WAR ROOM OF THE AKAGI - DAY YAMAMOTO The more we attack, the harder it is to find targets. And we no longer have surprise. GENDA If we launch the third wave and annihilate their fuel depots, we destroy their ability to operate in the Pacific for at least a year! YAMAMOTO And if we fail, and lose our carriers, we destroy our ability to fight them at all. (beat) As soon as the second wave returns, we will withdraw. EXT. JAPANESE CARRIER AKAGI - DAY The last planes touch down, and the lead carrier and the other ships in the Japanese assault fleet turn back toward home. EXT. PEARL HARBOR - AFTERMATH - DAY The harbor is a place of shattered bodies and shattered ships. Blood, body parts, debris everywhere, and all of it made more hellish by the oil fires on the water and the choking black smoke those fires produce. Every survivor has become an emergency fireman, stretcher bearer, medic, iron worker. They fish men from the water, extract them from the tangled wreckage of the ships. Everyone is screaming and yelling -- the wounded for help, the helpers for more help. Local firemen and civilians battle heroically too; the water mains are ruptured, so they put pump water from the base swimming pool toward the burning ships. The PHOTOGRAPHER records this with his black-and-white film camera. He is shaken, and yet he understands the magnitude of what he is recording -- the loss of America's innocence. EXT. ARMY BASE - AFTERMATH - DAY In one place, outside a barracks, soldiers hit by the bombs are just becoming conscious. One of them comes to. CONSCIOUS SOLDIER Sarge?! Where are you, Sarge? He's crawling around toward the bushes; his legs are shattered, but he's spotted a body. He reaches it, turns it over -- and it's headless. He turns away in horror...and finds himself staring at the severed head. The medics appear. MEDIC We've got two more over here! EXT. GENERAL SHORT'S OFFICE - DAY The Western Union messenger, Tadao Fuchikami, delivers the telegram from Washington. INT. GENERAL SHORT'S OFFICE - DAY Short and his staff are assessing damage. SHORT I want lookouts and sentries everywhere, with orders to shoot first and ask questions later. COLONEL You think an invasion possible, General? SHORT After this morning, we better not consider anything impossible. An aide hands Short the telegram. He reads it -- SHORT From Washington. "Intelligence reports an ultimatum from Japan to be given precisely at one p.m. Washington time. Just what significance the hour set may have we do not know, but be on alert accordingly." The irony is bitter in his throat. EXT. JAPANESE EMBASSY - OAHU - DAY The Honolulu police roar up to the embassy in squad cars, and burst through the doors. INT. JAPANESE EMBASSY - OAHU - DAY The police storm through the embassy and find the Japanese there burning documents. EXT. PEARL HARBOR - AFTERMATH - DAY Divers are going down, trying to save the trapped men. But the tangle of the Arizona is horrific. One diver gets trapped, and another tries to extricate him, and the steel shifts and falls on them both. ON THE DECK OF BOMB-SHATTERED BATTLESHIP, a naval CAPTAIN oversees rescue efforts. The 17-year-old sailor he sent off for ammo now approaches him, with great concern. SEVENTEEN-YEAR-OLD SAILOR Sir, I...I lost the dinghy. The captain looks out over the wreckage, great battleships devastated in every direction. CAPTAIN Well, son, we won't worry about the dinghy today. EXT. HOSPITAL - PEARL HARBOR - NIGHT Danny and Rafe arrive at the hospital. Their fears of what they might find aren't helped when they see the stairs into the hospital covered in blood. INT. HOSPITAL - PEARL HARBOR - NIGHT Rafe and Danny enter. It's a scene from hell. Doctors are doing amputations in the hallway. The once-pristine hospital is now all red, with blood dripping through the mattresses, onto the floor... In the main ward, Evelyn and the other nurses are using the fly sprayers to spritz cooling antiseptic on the charred bodies. Evelyn looks up and sees both Rafe and Danny. Her eyes register relief, but they are the only part of her that can show emotion now; the rest of her is covered in blood. Rafe and Danny move to her. RAFE How can we help? INT. HOSPITAL - PEARL HARBOR - NIGHT Rafe and Danny sit quietly as Evelyn adjusts the tubes conducting blood from their arms into sterilized Coke bottles for transfusion. RAFE What else can we do? EVELYN There's nothing you can do here, they'll die or they won't, we just -- She stops, afraid if she says more, she'll lose grip on her emotions. She can see the wreckage out in the harbor. EVELYN There was a sailor, a black man on the West Virginia, named Dorie Miller. I'd like to know if he's alive. She goes back to her work. EXT. PEARL HARBOR - DAY Rafe and Danny hop from the ambulance in which they've hitched a ride to the harbor. They see the awful devastation. EXT. PEARL HARBOR - NIGHT Rafe and Danny reach the West Virginia's pier, but in the darkness, they can't find anything. They stop a NAVAL OFFICER. DANNY Where is the West Virginia? OFFICER There. He points; the battleship has sunk, its superstructure barely showing above the water. It looks hopeless to find a single sailor here; but then they see a powerful black sailor, pulling to the dock with a dinghy full of dead men retrieved from the water. As workers unload the bodies, the black sailor sits down, exhausted physically and emotionally, his head in his hands. Rafe and Danny approach him. DANNY We're looking for Dorie Miller. DORIE That's me, Sir. RAFE A friend of ours wanted to be sure you're alive. Evelyn. A nurse. DORIE How is she? DANNY Like we all are. Miller nods, and looks out over the harbor, a hellish place where black smoke still hangs over everything, the shattered remains of men and ships still in the harbor. It's total devastation. And yet something about that scene stirs something else in Dorie Miller. DORIE There's something out there I need to get. Will you help me? EXT. PEARL HARBOR - AFTERMATH - NIGHT Dorie pilots the dinghy through the floating debris. Rafe and Danny sit with him. He stops over a dangerous pile of superstructure wreckage. DORIE The Arizona. Hold the dinghy steady, so it doesn't bust open. Rafe and Danny brace the dinghy so it doesn't move; but they still don't see what Dorie is after as he fishes down in the water, for something barely at the surface; he works for a moment, then pulls it up. It's the oil-soaked flag of the Arizona. EXT. HULL OF OKLAHOMA - NIGHT Men are working through the night to save the sailors trapped in the hull. INT. OKLAHOMA - THE TRAPPED SAILORS are in total darkness. From it we hear GASPING, then -- SAILOR What's that? The light comes on and sweeps around the faces. The water is up to their chests, but it's stopped rising. SAILOR FLASHLIGHT Just hand on. They'll find us. SAILOR How do you know? SAILOR FLASHLIGHT Because we would find them. He switches the light off again. EXT. HULL OF OKLAHOMA - NIGHT The welders are cutting away, the torches sending showers of sparks everywhere. INT. OKLAHOMA - THE TRAPPED SAILORS They are gasping, running out of air. SAILOR FLASHLIGHT Breathe easy. Stay calm. SAILOR You hear something? Something stirs in the ship; a noise...from where? Then a point of light; sparks fly into the room; somebody's cutting through the wall. And the sparks illuminate faces suddenly filled with hope. But as the cut enlarges, the trapped air, compressed by the water, starts rushing out -- and the water starts rising again. The trapped sailors hope turns to terror. SAILOR It's letting out air, and letting in water! The steel circle pops out, and they knock the welders down in their hurry to escape. Some of the sailors who were trapped are naked. They fight their way toward the escape hole cut into the hull, assisted by rescue workers. EXT. HULL OF OKLAHOMA - NIGHT The trapped sailors emerge, and they can barely take in the devastation. Destroyed ships everywhere, the smoking wreckage... The rescued sailors gaze around them in shock. They are shivering, and other sailors put blankets around them. EXT. WHITE HOUSE - DAY The entire Washington press corps is waiting, with fresh bulbs in the flash attachments of cameras that are already as big as a shoe box. The President is wheeled out of the White House, and not a single photographer takes a picture...not yet. Aides help Roosevelt from the chair, and the press people all see the President struggle on legs that have no strength, to the podium. His aides lock the steel clasps at the knees of his braces into place, and the President stands at the microphone. And suddenly, from the front, Roosevelt looks powerful, even majestic. Now all the bulbs pop and flash. He looks into the cameras. ROOSEVELT Yesterday, December 7, 1941 -- a date which will live in infamy -- the United States of American was suddenly and deliberately attacked by naval and air forces of the Empire of Japan. OVER THIS, we see the bombing, the aftermath, the bodies being fished from the oil-soaked harbor. ROOSEVELT The distance of Hawaii from Japan makes it obvious that the attacks was planned many days or even weeks ago. During the intervening time the Japanese Government has deliberately sought to deceive the United States by false statements and expressions of hope for continued peace. EXT. PACIFIC OCEAN - DAY The Japanese fleet steams back toward Japan. The young officers are exultant...but Yamamoto is pensive. ROOSEVELT ...I regret to tell you that many American lives have been lost. EXT. PEARL HARBOR - DAY We see rows of bodies outside the hospital where Evelyn works. The mess hall has been converted to a silent morgue, with bodies on every table. ROOSEVELT Yesterday the Japanese Government also launched an attack against Malaya. Last night Japanese forces attacked Hong Kong... Guam... OVER THIS, EXT. ISLANDS - NIGHT We see Japanese planes bombing islands, and soldiers attacking amphibious landings. ROOSEVELT ...the Philippine Islands... Wake Island... And this morning the Japanese attacked Midway Island. EXT. WHITE HOUSE - DAY ROOSEVELT The facts speak for themselves. With confidence in our armed forces -- with the unbounding determination of our people -- we will gain the inevitable triumph -- so help us God. I ask that the Congress declare that since the unprovoked and dastardly attack by Japan on Sunday, December 7, 1941, a state of war -- The words echoes out across America -- ROOSEVELT'S VOICE War...war...war... It rings through the radios of farm houses, to country boys gathered round; in the pool halls of big cities; in the fire houses and high schools... THE LINES AT RECRUITING STATIONS all across America -- men line up faster than the recruiters can handle them. INT. WHITE HOUSE - DAY Roosevelt meets with his advisors. ROOSEVELT Gentlemen, the crisis we face is not the fact that our enemies believe they can defeat us -- it's the fact that our people believe it too. I want a plan -- a workable plan -- to hit the heart of Japan, to bomb them the way they have bombed us. ADMIRAL Mr. President, Pearl Harbor caught us because we didn't face facts. This isn't a time for ignoring them again. There are no planes in the entire American arsenal capable of covering the distance to Japan from any land base we control while carrying enough bombs to do any damage whatsoever. GENERAL MARSHALL He's right, Mr. President. The Army has long range bombers, but no place to launch them from. Midway's too far, China is overrun by Japanese forces, and Russia refuses to go to war with Japan and won't allow us to launch a raid from there. ADMIRAL The navy's planes are small, carry light loads, and have short range. We would have to get them within a few hundred miles of Japan, and therefore risk our carriers. And if we lose our carriers, we have no shield against invasion. ROOSEVELT What if the Japanese did invade? GENERAL MARSHALL We've done studies. We're confident we would turn them back eventually...after they'd gotten as far as Chicago. ADMIRAL Mr. President...with all respect...what you are asking can't be done. Roosevelt places his hands on the arms of his wheelchair, and struggles to lift himself. Aides jump to help him, but he waves them off. With inhuman physical effort, that has his neck veins bulging and sweat popping on his face, Roosevelt stands on his withered legs. ROOSEVELT Do not tell me...it can't be done. EXT. PEARL HARBOR - HICKAM BASE - DAY There is a mass memorial service going on, with caskets draped in flags. There are also coffins covered in Japanese flags, their drowned fliers being treated now with respect. Everyone is in their best uniforms. The pilots -- Rafe, Danny, and the other guys -- are looking at Billy's coffin; Evelyn, next to Danny, on his appropriate side is looking at one that belongs to Betty. So is Red; he's grieving. MINISTER ...Where is God in this? Our enemies believe a divine wind protects them. We see our friends laid out before us, and find it hard to believe in anything at all. Rafe and Evelyn exchange a glance, past Danny. MINISTER Though we cannot understand why our friends should die while we live, we can affirm our truest selves in our belief that any God worth divinity would choose both justice and mercy, and would take these fallen brothers and sisters into eternal peace. Amen. As the mourners disperse, Evelyn puts a lei on Betty's casket; Red does the same, then breaks down beside Danny. As Danny comforts him, Evelyn moves to Rafe. EVELYN Rafe -- RAFE I need to tell you something. I didn't know what it was to lose somebody, to see death and find how much it scares you. That you haven't lived and loved enough. I didn't understand. Forgive me. EVELYN Rafe... No. You forgive me. RAFE Of course I forgive you. I know what you feel for Danny is real. And your choice is your choice. EVELYN That's what I have to tell you, Rafe. It wasn't a choice. It -- An Army Corps MAJOR steps up and interrupts. MAJOR Lieutenant Rafe McCawley? RAFE Yes, Major. MAJOR Lieutenant Daniel Walker here too? Danny sees him and moves up. DANNY I'm Walker. MAJOR You're going Stateside. We fly out in half an hour. He hands them both orders. RAFE What for, Sir? MAJOR Ask Colonel Doolittle. Those orders are from him. EXT. HICKAM FIELD - DAY The wrecked planes have been pushed off the runway and lie in piles. A transport plane is fueling, and Rafe and Danny wait in the shade of a shelter. DANNY I told her not to come. The Major, watching the fueling, gets a wave from the ground crew and turns and motions to Rafe and Danny that they're ready. They pick up their duffel bags -- and then Evelyn comes around the corner of the shelter. Rafe sees her first, but stops and looks away as Danny moves to her. For a moment he studies her eyes, and she does not look away. DANNY This hasn't been easy for any of us. I feel awful for how it's happened. But I've seen my first spring too. Thanks for knowing that's true. He takes her into his arms, kisses her tenderly but briefly, a final time. Evelyn's eyes find Rafe, but he can't look at her until the embrace is over. Rafe and Danny move to the plane and hurry up the steps. They turn before the door closes and wave to her. Evelyn's still standing there as the plane lifts away. INT. U.S. MILITARY INSTALLATION - NIGHT The transport has landed and taxied right to the door of a low, dark bunker, mostly underground. The Major leads Rafe and Danny inside. INT. BUNKER Rafe and Danny follow the Major down a spartan corridor; the whole place reeks of secrecy. INT. BUNKER - SECRECY ROOM - NIGHT The Major opens the door for Rafe and Danny, then leaves, closing it behind him. Doolittle is alone at a desk. Rafe and Danny walk in and salute. Doolittle motions to the two chairs in front of the desk without looking up from the papers he's studying. DOOLITTLE I heard what you did. RAFE We can explain, Colonel. DOOLITTLE Explain what? DANNY Whatever is was you heard about us. DOOLITTLE You mean the hula shirts you were flying in?... Or the six planes you shot down? You're both being awarded the Silver Star, and promoted to captain. RAFE Is that the good new, Sir, or -- DOOLITTLE You're just about the only pilots in the Army with actual combat experience, so you're volunteering for a mission I've been ordered to put together. Do you know what top secret is? RAFE Well sure, Colonel -- DOOLITTLE Top secret means you help me pick the other pilots, train, and go -- without knowing where you're going until it's too late. DANNY You can count on us. DOOLITTLE There's only one other thing I can tell you. Doolittle looks up from his paperwork for the first time. His eyes are fierce. DOOLITTLE You won't need any goddamn hula shirts. EXT. ESTABLISHING EGLIN FIELD, FLORIDA - DAY Eglin Field is on the gulf coast of Florida. INT. BRIEFING ROOM - EGLIN FIELD - DAY A room full of PILOTS are assembled, with and other CREWMEN. Danny and Rafe are there; Red and Anthony too. VOICE Attention! Colonel Doolittle strides into the room as all the men snap to attention. DOOLITTLE Be seated. The mission you've volunteered for is dangerous. How dangerous? Look at the man beside you. It's a good bet that six weeks from now, either you or he will be dead. Danny and Rafe whisper to each other -- DANNY Sorry you're gonna die -- cause I'm gonna make it. RAFE What color flowers you want me to bring to your funeral? DOOLITTLE In flight school you qualified in single and in multi-engine planes. You'll be flying multi-engines here. RAFE (whispering) Bombers. DOOLITTLE I want to introduce a couple of people. Doc White is a flight surgeon; he has volunteered for gunnery training so that he can go on the mission, because we can't spare the weight of an extra man. DANNY (whispering) A long range bomber mission. DOOLITTLE ...And Ross Greening, who will oversee your equipment. Any questions? DANNY Who'll be the first one in, Colonel? I'd like to volunt -- Rafe elbows his ribs so hard it takes his breath away. DOOLITTLE I thought I'd made it clear, I'm not just putting this mission together -- I'm leading it myself. RAFE I take it back, about the flowers. We're all gonna die. EXT. EGLIN FIELD - RUNWAY - DAY CLOSE - A B-25 bomber, from different angles. The pilots look them over, liking what they see. DOOLITTLE This is what we'll fly -- the B-25. There's one thing you have to be aware of from the very beginning. You see that private? They look down the runway a few hundred feet. A private waves, and starts painting a red line across the runway. Another private, close by, paints a green line. DOOLITTLE Green means go. Red means dead. MONTAGE - THE TRAINING - EGLIN FIELD - DAY The pilots practice takeoff's. Red is Rafe's copilot; Anthony is Danny's. Nobody can get airborne before the red line. INT. EGLIN FIELD - LECTURE ROOM - DAY Doolittle is instructing the men. DOOLITTLE You're having trouble getting airborne in the shorter space because you're not revving the engines enough. You've got to push them to the limit before you ever start to move. Rafe is distracted; he's lost in though, looking at Danny -- and looks away just before Danny realizes it. MONTAGE CONTINUES - EXT. EGLIN FIELD RUNWAY - DAY Pilots practice hard, revving the engines, taking off hard...all of them crossing the red line, takeoff after takeoff. Rafe pushes his engine hard and still crosses by twenty feet; Danny pushes even harder, and misses by ten feet. Doolittle watches with Greening from the edge of the runway. DOOLITTLE We've got to get the weight down. INT. HANGER - EGLIN FIELD - DAY Greening has removed the intensely complex Norden sight from a bomber and put in on a table for Doolittle. GREENING Okay, forty pounds gone. And in it's place, this. He shows Doolittle an aluminum strip on a swivel. GREENING Weight, 3 ounces. Cost, 20 cents. DOOLITTLE Does it work? EXT. EGLIN FIELD - DAY Doolittle pilots a B-25 at treetop level onto a practice bombing range. Greening uses the makeshift sight, and drops a 500-lb sack of flour, right in the middle of the bull's-eye target chalked on the ground. EXT. FLORIDA COAST - DAY The B-25's are practicing, flying at treetop level. Red is Rafe's copilot, Anthony is Danny's. Doolittle is flying the lead bomber. DOOLITTLE Right down to the treetops. Low as you can. Rafe brings his plane down, smoothly. Then Danny's plane appears -- under him. Rafe jerks his nose up quickly. Rafe's angry; Danny's laughing -- but he scares the shit out of his crew. EXT. EGLIN FIELD - NIGHT Danny's outside, looking up at the moon. Rafe appears and moves up beside him. DANNY Fun today. Like old times. RAFE Danny, what the hell are you trying to do out there? DANNY What do you mean? I'm just doing what we've always done. RAFE No. You're trying to beat me. DANNY We've always tried to beat each other. RAFE Bullshit. We've played with each other, pushed each other. This is different. Like you want to prove that you're better than me. Who's that for -- Evelyn? Danny's anger flares for a moment -- but Rafe's hit home. DANNY Maybe just trying to measure up. RAFE What's between you and her is between you and her. But here's what's between you and me. Everybody has a hero, Danny. And you're mine. Danny's caught off-guard. RAFE When we were growing up, I had everything. You had nothing. You climbed out of a hole I couldn't even see the bottom of. I think maybe when I went off to England, I was trying to measure up to you. Measuring up's over. Let's just look out for each other. Okay? They embrace, closer now than ever. MONTAGE - INTERCUT with the planes practicing their short takeoffs, we see Roosevelt in one of his fireside chats, his voice broadcast across America... ROOSEVELT'S VOICE Good evening, America... Families all across America are gathered around radios, listening. ROOSEVELT'S VOICE I'm told that 80% of American families are listening to these fireside chats of ours, and I'm happy we can come together, as one great American family. I'd like each of you within the sound of my voice to find a map... The FAMILIES do, gathering around encyclopedias, school books, any reference they have, spread on kitchen tables, suburban living room rugs, or farmhouse hearths... And the B-25's, all sixteen of them, begin a journey in formation, flying at treetop level across America: Mississippi delta land, Texas plains, Arizona mesas... ROOSEVELT'S VOICE Look at the Pacific Ocean. It covers half the surface of the earth. And look at the great Atlantic. The oceans both divide and connect us to our enemies, and either they will come to us, or we will go to them... The formation of B-25's reaches San Francisco. EXT. SAN FRANCISCO NAVAL AIR STATION - DAY Doolittle leads the bombers to a landing. IN RAFE'S PLANE, everybody's wondering why they're here. RED N-naval station? What's g-going on? RAFE Wish I knew, Red. EXT. SAN FRANCISCO AIR FIELD - DAY The crews climb from their planes, and almost before they're out, teams of men use straps and cranes to hoist the bombers onto flatbed trucks. Doolittle walks up to Rafe and Danny, watching the baffling operation. DOOLITTLE Want to see where they're going? EXT. SAN FRANCISCO HARBOR - EVENING Cranes lift the planes from the trucks and hoist them onto the flight decks of the carrier USS HORNET. The pilots stand on the pier, watching. ANTHONY I guess that settles it. Somewhere in the Pacific. RED With a s-short r-runway. They all gather around Doolittle as he moves up to them. DOOLITTLE You have rooms at the Biltmore. I suggest a nice meal and a good night's sleep. We leave tomorrow. Doolittle walks to join a captain. INT./ EXT. SAN FRANCISCO HOTEL - NIGHT The pilots get off the bus and carry their duffels into the lobby. ANTHONY San Francisco, here we are! DANNY (grinning) I don't reckon we can get hogbrains and grits, but I hear a man can eat good in this town. RAFE I'm gonna turn in. I hate being on the water. I think this is the last sleep I'll get for awhile. INT. LOBBY - NIGHT The other guys drop their duffels with the bell hops; Rafe moves to the reception desk. RAFE McCawley. The manager hands him a key, and smiles curiously. MANAGER Have fun. INT. HOTEL ROOM - NIGHT Rafe enters his room and finds the light on...and Evelyn's there waiting. RAFE What?... EVELYN They were bringing back a ship full of wounded and needed extra nurses along. I wrote Colonel Doolittle, and told him I needed to see you before you go. RAFE It must of been a convincing letter. EVELYN It was. I couldn't have you go away, wherever it is...to war...without knowing something. You think I made a choice, of Danny over you. I didn't. I didn't have a choice. I'm pregnant. The blood drains from Rafe's heart. Yet he finds the strength to move to her. She turns away, so she won't throw her arms around him. RAFE Does Danny know? She shakes her head, refuses to cry. EVELYN I wasn't sure, until the day you turned up alive. I never had a chance to tell him. Now I can't have him thinking about this when he needs to be thinking about his mission, and how to come back from it. She turns and faces him again. EVELYN I want you thinking about that too. Just come back. (beat) Rafe, I see it in your face. You're thinking you don't have anything to live for. Don't you dare think that way. I'll never write a letter, or look at a sunset, without thinking of you. I'll love you my whole life. And I want you to live. She looks at him, her eyes bright with tears, but still she refuses to cry. They both know they can't touch, or they'll never let go. She walks past him, out of the room, closing the door softly behind her. EXT. SAN FRANCISCO HARBOR - DAY The USS HORNET clears the Golden Gate Bridge, with cruisers and destroyers rounding out its battle group. Rafe and Danny stand on the flight deck, watching the city recede behind them. Evelyn is on a hilltop watching them go. Danny can't see her, doesn't know she's there. Rafe can't see her either -- but he knows. SHIP'S INTERCOM Army pilots to the briefing room. INT. THE CARRIER HORNET - BRIEFING ROOM - DAY The pilots are gathered expectantly in the carrier's conference room. Doolittle strides in. DOOLITTLE Gentlemen, I can now tell you that the target of this mission is Tokyo. The pilots love it. The ones who have not seen battle are grinning and vocal. Rafe, Danny, Anthony, and Red are quieter, savoring the prospect of revenge. RED And where's the secret base, Sir? The one we t-takeoff from. DOOLITTLE The navy will get us to within 400 miles of the Japanese coast. We'll launch off the carriers from there. Suddenly the pilots don't like the sound of this. ANTHONY Sir, has this ever been done, launching an army bomber off a navy carrier? DOOLITTLE No. Any other questions? RED C-Colonel, we been p-practicing takeoff's, but I ain't sure we can land on these carriers d-decks. DOOLITTLE We won't have the fuel to get back to the carriers; they'll turn and run back to Hawaii the minute we're airborne. RED Then wh-where do we land? DOOLITTLE I have a phrase I want you all to memorize: "Lushu hoo megwa fugi." It means "I am an American." In Chinese. Absolute silence among the pilots. EXT. FLIGHT DECK OF THE HORNET - DAY The sailors who man the flight deck look at each other with bafflement as the worried pilots pace from one end of the deck to the other. They're in a line like ducks, Rafe in the lead and the others following, counting steps, each man measuring the distance. Shaking their heads, worrying. They stop at the end and look down at the sea far below them; it's dizzying. Anthony shoves Red for fun before grabbing his shoulder to stop him from falling. RED A-a-asshole!... Maybe it's l-longer going this way. He starts pacing back the other way, as if the ship's longer in that direction. The other pilots watch him for a moment, then follow him, counting again. Rafe and Danny are left standing alone at the end of the flight deck. Far over the surging sea. DANNY It's shorter than our practice runway. RAFE They'll turn the ship into the wind before we launch. That'll help. DANNY We'll be loaded with 2,000 pounds of bombs and 1,500 pounds of fuel. I got another Chinese phrase for Doolittle. "Mug wump rickshaw mushu pork." It means "Who the fuck thought up this shit?" Doolittle appears right beside them. DOOLITTLE He was a navy man. Doolittle walks away. RAFE Maybe we'll be lucky with the weather. SMASH TO: EXT. PACIFIC - A FEROCIOUS STORM - NIGHT The Hornet tosses, bashed by a vicious storm. INT. CARRIER HORNET - BRIEFING ROOM - DAY The ships is rolling; most of the fliers are green. Doolittle stands at the podium. DOOLITTLE Since we'll be on our own once we're in the air, I thought I had a good idea letting each crew select it's own target. He looks at a pile of paper slips in front of him. DOOLITTLE Now we have fifteen requests for the Emperor's Palace...and one for Tokyo baseball stadium. RED I d-don't think Japs ought'a be allowed to p-play baseball. DOOLITTLE I'd like to bomb their Emperor too. But I think that'd just piss 'em off. The idea here, Gentlemen, is not revenge. We're here to prove to them that they're neither invincible nor superior. So let's try this again. Military targets only. RED Colonel, to f-fight you need strategy. To have strategy, ya gotta practice. And to practice it, ya gotta play -- DOOLITTLE No baseball diamonds, Red. RED Y-Yes Sir. EXT. PACIFIC - DAY The storm is subsiding, but it's still raining. From the bridge of the Hornet, they spot the ENTERPRISE. ADMIRAL The Enterprise will ride shotgun when we launch the bombers. They wanted our carriers at Pearl, and now we've come to them. If the Japanese get us, they'll be having dinner in San Francisco next month. EXT. FLIGHT DECK - THE HORNET - DAY The preparations begin. Deck crews move the B-25's to the rear of the flight deck. Fueling teams top off the bomber's gas tanks. Ordnance men hoist four bombs into each aircraft, and the army gunners load ammunition for the machine guns. Greening checks the planes' mechanical and hydraulic systems. And once again the pilots are out pacing the deck distance. It's turned into a game for them, walking off nerves. As Rafe and Danny pass. RAFE It's not getting any longer. DANNY Longer? It's getting shorter. INT. HORNET - BRIEFING ROOM - DAY Doolittle is laying out the plan for all the pilots. DOOLITTLE We'll take off late this afternoon. I'll hit Tokyo at dusk, and drop incendiary bombs. You'll come after me at night, guided by the fires. Then it's on to China, where you'll arrive at dawn, guided to their airfields by the homing beacons the Chinese are going to switch on for us. That's if everything is perfect -- like every other military mission I've ever been involved with. Doolittle looks around the room. No one's smiling. DOOLITTLE Listen you guys. I'm the first plane -- then McCawley, Walker, the rest of you. I'll have the shortest run. If I don't make it, you don't go. RAFE Colonel...we're all going. Whether you make it or not. DOOLITTLE I know. EXT. BRIDGE OF THE CRUISER NASHVILLE - DAY The cruiser Nashville is at the perimeter of the task force. It's lookouts spot Japanese patrol boats ahead. INT. BRIDGE OF THE ENTERPRISE - DAY The message is handed to Admiral Halsey. OFFICER Sir, lookouts on the cruisers report patrol boats, ten miles away! HALSEY The Japs have set up a picket line! Order the cruisers to open fire! We've got to sink them before they get a message away. EXT. PACIFIC - DAY The cruiser NASHVILLE begins firing rounds at the Japanese patrol boat; round after round misses. INT. HORNET'S RADIO ROOM - DAY The operators hear the excited voices of Japanese radio traffic. RADIO OPERATOR They've reported our position! Tell the Admiral. EXT. HORNET - DAY Doolittle hurries up to the command bridge, with the naval officers sent by the Admiral to fetch him. Doolittle sees the cruisers next to the carrier firing its guns -- at Japanese boats in the distance. INT. BRIDGE OF THE HORNET - DAY Doolittle finds the Admiral gathered with his staff, their mood is grim. DOOLITTLE How far are we from Tokyo? ADMIRAL Seven hundred miles. INT. PILOT'S WARD ROOMS - SERIES OF DISSOLVES Rafe, Danny, and the other pilots are alone at their bunks, taking advantage of the lull before the mission. Rafe has paper and pen to write a letter, but he can't think of anything to write. Danny holds the "Picture of Paradise" that Sammy took, of Evelyn and the nurses in the sun. He tucks it inside his shirt, when he hears -- LOUDSPEAKER Army pilots, man your planes! EXT. FLIGHT DECK - THE HORNET - DAY The pilots run onto deck. The cruiser next to the Hornet is still firing away at the Japanese patrol boat. Doolittle runs onto deck, shouting orders. DOOLITTLE Load in every bit of extra gas you can carry! And strip everything you don't need out of the planes. I mean EVERYTHING! EXT. HORNET - FLIGHT DECK - STRIPPING THE PLANES - DAY It's starting to rain but the guys don't notice at all. They're stripping seats out of the planes, tossing out their own gear. Greening pulls the machine guns out of the rear of the planes and puts in broomsticks painted black. Off in the distance the Japanese patrol boat takes a hit and explodes. Rafe and Danny meet between their bombers. DANNY Broomsticks instead of tail guns. RAFE We'll get separated over the target, but you and I will rendezvous for the run to China. I'm on your wing. DANNY And I'm on yours. Land of the free. RAFE Home of the Brave. They climb into their bombers. EXT. HORNET - FLIGHT DECK - DAY The engines are revving. The tachs are showing redline. The crews are in their planes. Doolittle is first, just ahead of Rafe and Danny's B-25's. The battle pennants whip, the props blur, the wheels strain against the brakes; from the cockpits the flight deck looks impossibly short...and the American flag cracks in the wind. And now every pilot looks at Doolittle's plane... Doolittle starts the run down the flight deck...faster...the end looming. He turns the plane almost vertical, standing it on its props...and lifts away smoothly. The sailors on deck cheer, like the Japanese did before Pearl Harbor. Rafe, Danny, and the others take off too. EXT. SKIMMING OVER THE WAVES - DAY The B-25's head toward Japan. EXT. PACIFIC - THE AMERICAN TASK FORCE - DAY Admiral Halsey, on the deck of the ENTERPRISE, watches as the last plane takes off. The planes recede in the distance, racing just a few feet over the water, toward Japan. HALSEY Of all the other things this mission is doing that have never been done before... I've never sent out planes that I wasn't going to see safely home. Let's get out of here. The task force runs for home. EXT. SKIMMING OVER THE WAVES - DAY At first the planes are together; Rafe and Danny can see each other off each other's wing, and Doolittle's plane is ahead. The others are grouped after them. They maintain strict radio silence, and can communicate only with gestures, hand signals, or a flasher for Morse code. When Rafe speaks to the crew of his own plane, it's by pressing an intercom sender to his throat. RAFE What's our ETA for Tokyo? The bombardier/navigator is already working out the numbers at his plotting table in the center of the plane. NAVIGATOR Almost exactly at 12 noon. RED High n-noon. I k-kinda like that. Rafe looks over to Danny and gives him a thumbs up. INT. DANNY'S PLANE - DAY Danny calls back to his GUNNER, who is watching the fuel supply. DANNY We got a 25-mile-an-hour head wind. How we doing with fuel? GUNNER How do you think? The gunner is already pouring gas into the tanks from the extra cans. Anthony stands and moves back to the rear of the plane, pulls a piece of chalk from his pocket and writes on the nose of the bombs -- "For America," "For Pearl Harbor," "For the Arizona," "For Billy." -- Rafe flies, lost in thought... -- Evelyn is back at Pearl, struggling to keep her mind on her work. -- Danny is looking at his gauges, then at the picture in his shirt. EXT. TOKYO - VARIOUS SHOTS - DAY It's a pleasant day, and the people of Tokyo are in a confident, happy mood. They're shopping, smiling, enjoying beautiful spring weather. The Emperor is on the garden of his palace having lunch. EXT. SKIMMING OVER THE WAVES - DAY The American planes are coming. INT. DOOLITTLE'S PLANE - DAY He and his navigator confer. DOOLITTLE'S NAVIGATOR Time for the others to break off. His copilot uses the flashes to signal the other planes. They break off for their individual targets, every plane now on it's own. INT. JAPANESE AIR DEFENSE STATION - DAY This is the nerve center of Tokyo's defense. An OFFICER receives a message and reports to his supervisor. JAPANESE DEFENSE OFFICER Coastal stations report a low flying plane coming in off the sea. SUPERVISOR From the sea?... That couldn't be right, it must be part of the air raid practice this morning. EXT. SKIMMING OVER THE WAVES - DAY The planes reach the Japanese coastline, and start skimming over treetop level. EXT. TOKYO - DAY The office of an anti-aircraft battery blows its whistle; his crew mount their guns and swerves them around. The officer whistle's again and checks his watch. ANTI-AIRCRAFT OFFICER Not bad. The crew dismount their guns; just a drill. EXT. TOKYO - VARIOUS SHOTS - DAY The Japanese people are unaware of the drill. People are browsing through open-air shops, where new radios are turned on, playing music. And Tokyo Rose is talking -- in English and Japanese. TOKYO ROSE (ON THE RADIO) It is another beautiful day in Tokyo, as all of Japan basks in a new day of victory. INT. THE PLANES - DAY Coma, Danny's navigator, picks this up. COMA Listen to this -- it's Tokyo Rose. TOKYO ROSE (ON THE RADIO) Our brave sailors and soldiers, inspired by our divine Emperor, have pushed the Americans from the Pacific. These words go through the plane; and in the other planes they hear it too. TOKYO ROSE (ON THE RADIO) But hiding at home will not save them. Each time the Americans have tasted the samurai spirit, they have learned the bitter taste of defeat, while Japan is embraced by the divine wind that has protected our island for seven centuries. EXT. TOKYO - DAY The planes reach Tokyo, and flash across the rooftops. INT. DANNY'S PLANE - DAY ANTHONY We'll give that bitch something to announce. Danny and Rafe give each other a wave, and divert toward their separate targets. Each plane is on its own now. EXT. TOKYO - DAY Doolittle's plane flashes right over the Emperor's palace. The Emperor sits in the garden, meditating. EXT. TOKYO - VARIOUS SHOTS - DAY Mothers walking their children see the planes flash by overhead, and like the people at Pearl, they think they are friendlies. A toddler points up and smiles. His mother picks him up and hugs him happily. JAPANESE MOTHER Yes! So beautiful! INT. THE PLANES - DAY Rafe's bombardier works his 20-cent bombsight, as Rafe holds the plane steady, bringing it up to 200 feet. They scan for fighter or anti-aircraft fire. There isn't any. RAFE Open bomb bay doors. DANNY'S PLANE runs toward its target... DOOLITTLE'S PLANE races over Tokyo... GUNNER Bomb bay doors open, sir. RAFE It's all yours. The bombardier hits the first switch. The bomb falls toward a factory. It strikes home, right on target. The blast is shocking -- it blows debris higher than the plane. EXT. TOKYO - THE BOMBING - VARIOUS SHOTS The individual planes drop their bombs, four per plane, on shipyards, factories, oil supplies, weapons facilities. Their bombing is highly accurate. On the ground, at the open-air market, for a brief moment Radio Tokyo goes silent; then -- TOKYO ROSE (ON THE RADIO) We interrupt this broadcast... Tokyo is being bombed! EXT. THE EMPEROR'S PALACE - DAY The Emperor looks up at the sound of air raid sirens and distant explosions. EMPEROR'S ATTENDANT Surely just a drill, Divine One. INT. RAFE'S PLANE - DAY NAVIGATOR Last bomb away. It slams into a factory, blowing debris everywhere and turning the factory into an inferno. Rafe's tail gunner sees Zeros swarming in with vengeance. GUNNER We got Zeros! And they're pissed off! Rafe changes course quickly. INT. DANNY'S PLANE - DAY Anti-aircraft FLAK bursts in the sky in front of them; Danny takes evasive action. INT. RAFE'S PLANE - ABOVE TOKYO - DAY Rafe pushes the engines to top speed and changes course again; but the B-25's can't outrun the Zeros. Their fire chews into the bomber's tail, hitting the gunner. Red scrambles back to find the gunner dead. RAFE Can you get 'em off us? Red reacting to bullets coming through the rear of the fuselage, looks at the brooms protruding from the rear of the plane. RED Whatta ya want me to do, sweep 'em! As the bombardier, navigator, and Red jump onto the other machine guns, Rafe looks for a way out. He dives down toward the city. The Zeros follow. EXT. SKIES OVER TOKYO - DAY Rafe takes the B-25 right down among the buildings, sometimes even having to spin the wings to get through. The Zeros can't keep up with this... But Rafe can't keep it up long, either; they break out into open ground rail yards, where there's no place for him to hide... The Zeros come in to chew him up... But they take fire from another B-25 -- Danny's -- coming in to save Rafe's plane. Rafe now uses the radio. RAFE Danny, get the hell out of here! But Danny stays, mixing it up with the Zeros; with both B-25's together, their machine guns down one Zero and damage another. But there are too many. Rafe sees clouds coming in, and fog. RAFE Danny, run for the clouds! The bombers race toward the clouds, and make it; the Zeros lose them. EXT. SKIES - BROKEN CLOUDS - DAY Rafe and Danny keep broken contact through the clouds, and settle in for the long run to China. INT. RAFE'S COCKPIT - DAY RAFE We burned a lot of fuel back there. Flash them and ask about their supply. INT. DANNY'S PLANE - DAY Anthony reads the Morse code. ANTHONY "How's your fuel?" Danny looks across to Rafe and shakes his head. INT. ROOSEVELT'S RESIDENCE - HYDE PARK, NY - DAY Roosevelt is at his desk when General Marshall enters. GENERAL MARSHALL We have bombed Tokyo, Mr. President. Radio Tokyo interrupted it's own broadcast to make the announcement. ROOSEVELT Have the planes made it to China? GENERAL MARSHALL There've been some complications, Sir. The Chinese didn't receive our request for homing beacons until is was too late to get them set. And the planes had to take off so early they may lack fuel to make the mainland anyway. ROOSEVELT So those brave men are flying blind and running out of fuel. GENERAL MARSHALL The Chinese are sending out search parties to try to find the crews before the Jap patrols do, if any of the planes make it. ROOSEVELT God help them. EXT. SEA OF JAPAN - DUSK They've climbed above the clouds; the fliers are exhausted. The sun is beginning to set. Rafe stares at it... INT. HOSPITAL - PEARL HARBOR - DUSK The place is white again -- the white of bandages and casts. Everyone is busy, and even the wounded are looking out for each other; a man with his arms in an airplane splint holds a spoon and feeds a badly burned buddy. Evelyn and her overworked nurses are looking after the critical cases. But as she covers the windows with blackout curtains, she stops for just a moment to stare at the sun's last rays. EXT. SKIES OVER PACIFIC - NIGHT Colonel Doolittle can make out mountains below them. DOOLITTLE We'll fly till we run out of fuel, then bail out. Just then his engines start to sputter. DOOLITTLE Chute! He puts the plane on auto-pilot and the men move to the hatches. Three guys go out; it's just Doolittle and his copilot left. DOOLITTLE Nobody else is gonna make it either. If I live through this, they're gonna put me in Leavenworth Prison. They jump. INT. DANNY'S PLANE - NIGHT Coma moves up to Danny. COMA We're running out of fuel. And I can't find the beacon. Danny gestures across to Rafe that he hears nothing in his radio phones. Rafe gestures the same thing back. They look down and the entire ground is covered with clouds. RAFE I don't know if we're over sea or land. Drop flares and try to spot something. EXT. SKIES OVER PACIFIC - NIGHT They drop flares; they disappear into the cloud cover and tell them nothing. EXT. SKIES - RAFE AND DANNY'S PLANE - NIGHT Danny's engines are sputtering; his gunner pours the last drops of gas into the tanks. DANNY Flash Rafe. We're gonna bail. Red sees Anthony signal. RED They've gotta jump. RAFE Not unless we know he's over land! Rafe yells at Danny, as if he could hear -- RAFE You are not bailing out into water! RAFE'S NAVIGATOR Coastline below! Through a break in the clouds they spot a rocky shoreline. RAFE We've got coast! Signal him to climb and jump. Red signals; Danny's plane signals back. RED They don't have fuel to make altitude. He's gonna set it down in the water. Rafe looks over at Danny, who is gesturing; he gives up on the hand signals and grabs the flasher; Red reads the Morse code... RED Y-O-U... G-O. You go on. Rafe grabs the flasher and angrily flashes back two letters. RAFE N-O! We stay together! I'll go in first. Rafe turns his bomber and Danny follows, their planes arcing down toward the rocky coast; it's hairy, the clouds masking their view, as the altimeter winds down... At the last moment they see rocks looming out of the surf. INT. RAFE'S PLANE - NIGHT He's shouting to his crew -- RAFE Hang on tight! I'll put her in the smooth water and we'll swim in! INT. DANNY'S PLANE - NIGHT His engines are sputtering, catching, sputtering; he fights to stay in control. EXT. CHINA COAST - NIGHT Rafe's plane settles down toward the water; he guns the engine to level out, and the plane skims across the surface; then the propellers catch and the plane stops like it hit a wall, flipping over it's nose. DANNY'S PLANE is struggling; when he tries to add throttle, the engines sputter out. The plane drops, skips once on the surface, then hits a shoreline rock belly first. Danny and Anthony are ejected through the top of the fuselage; Coma is hurled forward right through the glass nose of the plane. INT. RAFE'S PLANE - NIGHT Rafe and Red come to in the plane inverted and sinking. They react, unbuckling, grabbing for their crewmates as the plane is quickly filling. The navigator and gunner are unconscious; the bombardier is dead. Red struggles with the hatch and can't make it budge. RAFE It won't open til the plane fills! They struggle to breath as the water envelops them. But as the water reaches the top, Rafe takes a last breath and dives to the hatch; it comes open, and they swim up, dragging the rest of the crew. EXT. CHINA COAST - NIGHT They break the surface, and struggle to shore with the unconscious navigator and gunner. Rafe's looking everywhere; he sees Danny's plane crashed against the rock. He fights his way through the surf to Danny's plane, Red following. Rafe finds Danny face up in the water. Red finds Anthony on the rock. He's face up, but as Red lifts him he finds the back of Anthony's head is gone. The rest of Danny's crew are floating in the surf, dead. Rafe and Red pull Danny to shore. RAFE Danny! DANNY! Danny's eyes flutter open; he sees Rafe and mumbles -- DANNY I've made better landings. Danny's hand gropes to his throat; Rafe finds a V shaped shard of the fuselage hooked into his neck. Rafe grabs it, trying to bend it open; the sharp metal cuts his hands, but he keeps straining. It won't work, He pulls his .45 from his jacket and tries to pry the metal. It works a bit; he tosses the pistol aside and grabs the shard again, and opens it. RAFE You hang on, Danny! You hang on! You're gonna make it! Rafe's head snaps forward, crunched with the butt of a rifle; a Japanese patrol, four men, have arrived. They're angry, scared, hyped. They knock Red down too, yelling and brandishing their rifles at the fliers on the beach, living and dead. The Japanese officer is barking orders. They find the Captain's insignia on Danny's jacket, and begin binding him to a yoke, his wrists tied to the wood like a crucifixion, a wire around his neck. They find the navigator unconscious, but alive. The officer snaps a single word and a soldier shoots the navigator. The others wire Rafe's ankles together... Rafe is emotionless. RAFE'S CONSCIOUSNESS fades in and out. He hears Danny choking, and his mind sees Danny as a boy those long years ago, being carried by the neck across the field by his father... Then Rafe sees THE PRESENT: Danny being half-carried, half- dragged by the neck by two Japanese. The officer is pulling Red along, hands bound behind him. And Rafe starts moving, being dragged on his back, pulled by his feet along the rocky sand. His hand slides by the pistol he tossed behind the rock. The whole world slows down. He clutches it, shoots one of the men towing Danny. And as the man dragging Rafe turns around, Rafe shoots him in the face. The officer spins, raising his rifle; the soldier pulling Red, shoves him onto his face in the sand and aims his rifle too. The officer is pulling the trigger to kill Rafe when Danny slams him down from behind. The fourth soldier shoots Danny in the gut, then takes aim for Rafe's heart -- and is shot through the chest from behind. The Japanese officers rises in surprise and is cut down by scythes carried by the Chinese peasant soldiers who are just arriving. Rafe struggles to Danny, moving the Chinese aside. Danny lies on his back, clutching his wound as if to hold onto his life. RAFE Danny... DANNY I can't make it. RAFE Yes you can. But Danny is silent, his eyes drifting shut, and in that moment Rafe thinks he is gone already. Then Danny's eyes drift open, finding him. DANNY Take care of Evelyn. The words almost kill Rafe, filling him with grief. From somewhere he finds the strength to say -- RAFE I will. And your baby. (beat) You're gonna be a father. Did Danny hear? His eyes are closed again. But his head comes up; Rafe takes it, and Danny pulls him closer to whisper -- DANNY No. You are. Rafe cradles Danny in his arms. Danny's eyes are open, but Rafe sees no light there. RAFE Danny... Land of the free... Land of the free... But Danny will never answer him again. Rafe hugs Danny tight, and weeps. EXT. VARIOUS SHOTS - DAY The news of the raid hits Washington...and the rest of America. If it isn't wild celebration; when people see the headline: AIR RAID ON TOKYO, and DOOLITTLE DOES MUCH; their faces change, as if finally told what they already knew -- that America would prevail. VOICE OVER The Doolittle Raid was the pivotal moment of America's war with Japan. Before it, America knew nothing but defeat; after it, nothing but victory. (beat) One crew of Doolittle's raiders made it to Vladivostok, Russia, where they were interred for much of the war. Thirteen planes crash landed in China, where the Chinese people helped the Americans escape, and had their villages destroyed and citizens executed by the Japanese forces of occupation. Two crews were captured by the Japanese and three fliers were executed without trial, called "war criminals" by the Japanese. Jimmy Doolittle was promoted to General, and given the medal of honor. We see the ceremony at the White House, as Roosevelt presents Doolittle with the metal. EXT. TENNESSEE - DAY Out by the crop dusting landing field is a memorial to Danny Walker, with an American flag flying high above it. Standing at the memorial are Rafe and Evelyn. Rafe holds a child in his arms, a boy, named Danny. FADE OUT. THE END diff --git a/unformated_scripts/Script_Peeping Tom.txt b/unformated_scripts/Script_Peeping Tom.txt new file mode 100644 index 0000000000000000000000000000000000000000..af4c994b860c6d10fb36d2993a76d1676f21f994 --- /dev/null +++ b/unformated_scripts/Script_Peeping Tom.txt @@ -0,0 +1 @@ + PEEPING TOM Screenplay by Leo Marks Shooting Draft, 1959 Copyright, 1959, Michael Powell (Theatres Ltd.) Copyright, 1959 1988 & 1998 Leo Marks The screen remains dark for a moment. In the darkness WE HEAR the film's THEME MUSIC - a gentle whirring purring noise. Nothing to be alarmed about. It might be a small contented motor. FADE IN: EXT. A DESERTED STREET - NIGHT LONG SHOT of the solitary figure of a WOMAN standing professionally alone at the end of the street. It is a bright, still night. We can HEAR the Woman whistling 'Stardust' merrily to herself. CAMERA TRACKS around her. A Man's footsteps are overlaid. We HEAR the Man start to whistle 'Stardust' under his breath - haltingly at first, then in time with the Woman. As we approach, she glances at us over her shoulder - then turns round for a better look. Her whistling stops - so, at the same moment, does the man's. CLOSE SHOT of DORA - a plump, attractive brunette - still young enough to need two glances at the customers. She smiles at us - and is pleased with the reception. She hesitates for a long moment, weighing us up carefully... and then - half defiantly, half expecting to be laughed at. DORA It'll be two quid... Evidently we have two quid. She beams with relief - throws her fur over her shoulders, jerks her head towards the right - and sets off. CAMERA TRACKS after her. Overlaid is the sound of the man's footsteps. Dora resumes her whistling. So, under his breath, does the man who is following her. EXT. A DESERTED STREET - NIGHT A wider street than the last - but just as empty. Dora sways her way towards a small house. CAMERA FOLLOWS at a respectful distance. CAMERA PANS from Dora's hips to an overflowing dustbin. CLOSE SHOT of a man's hand throwing something into the dustbin. It is an empty packet marked Kodak Film. CAMERA PANS to Dora's house. It stands next to a chemist shop. Dora climbs the few steps which lead to her front door - glances round at us encouragingly - then unlocks the door. INT. HALLWAY OF DORA'S HOUSE - NIGHT She switches on a light - and hurries up a flight of stairs. CAMERA TRACKS after her. She changes her tune to 'Goodnight Sweetheart'... and so - under his breath - does the Man who is following her. A woman with hair like a two-toned car comes down the stairs, winks at Dora - looks at us for a moment with great curiosity... winks... then passes out of camera. Dora reaches the landing - we are close behind her. INT. LANDING OF DORA'S HOUSE - NIGHT Dora unlocks the door of her room - and goes inside. INT. DORA'S ROOM - NIGHT She switches on the light, throws her fur onto a chair, lights the gas fire then turns round. CLOSE SHOT of Dora. She holds out her hand-smiling. And suddenly. There is a gentle whirring purring sound. CAMERA HOLDS ON Dora - she is staring at something with great curiosity. It turns quickly to bewilderment - and the bewilderment to fear. She steps back from CAMERA - but CAMERA won't have it. Dora is now staring at something in horror - she opens her mouth to scream - a shadow falls across her face. The sound purrs on. FADE OUT: FADE IN: BLACK AND WHITE FILM SEQUENCE The solitary figure of Dora standing professionally alone at the end of a street. WE SEE her turn towards CAMERA - and smile at us. We are watching her on a 16mm screen - projected in BLACK AND WHITE. CAMERA PULLS BACK to show the surround in natural colour. INT. MARK'S ROOM - NIGHT A darkened room in natural COLOUR. The movie screen images are in BLACK AND WHITE. We can SEE the back of a Man's head as he bends intently over a projector. He is watching Dora on the screen. He is breathing quickly. We see Dora's hips waggling their way home. The Man raises his head, so that we cannot see the screen. When he lowers it again, we see the Woman with the two- toned hair winking at Dora... then we see Dora throwing her fur onto a chair - and turning towards us. WE SEE her staring at something in bewilderment... then backing away from CAMERA in fear. WE HEAR the Man breathing as if at the end of a very long race. As Dora opens her mouth to scream, and a shadow falls across her face - the title: PEEPING TOM Blots out what is happening to her. OTHER CREDITS FOLLOW... behind them we can see Dora's hands pushing something away. Before the DIRECTOR'S CREDIT: CUT TO: EXT. A PARK - NIGHT It is very dark. CLOSE SHOT of a stack of deck chairs. Two forms behind it - a MAN'S and a WOMAN'S. They are intertwined and motionless... suddenly a brilliant shaft of light is trained onto them. Overlaid is a gentle, whirring sound. CAMERA PANS quickly to a nearby tree. CLOSE SHOT of the lens of a cine-camera - the motor purring... a blinding spotlight. CAMERA PANS to the couple - the whirring of the camera is overlaid. The Man leaps up - shielding his eyes against the light. He advances towards the tree. MAN Hey, you peeping... The spotlight goes out. There is the sound of footsteps running away ó and the night is at peace again. And now WE SEE who DIRECTED the picture. DISSOLVE TO: LONG SHOT. AMBULANCE - DAY It is standing in the roadway outside Dora's house. WE SEE it through the finder of a small cine-camera. EXT. STREETS BY DORA'S HOUSE - DAY A crowd has gathered outside the house - and we are watching them from a corner of the street (ALWAYS THROUGH THE FINDER- MATTE). WE SEE several Policemen holding back the crowd as two Ambulance Men hurry into the house, carrying an empty stretcher. Gentle, whirring sound is overlaid. WE SEE children staring curiously into the empty ambulance - and a group of Women talking excitedly to a Reporter. CLOSE SHOT of a SMALL MAN looking at us curiously as he approaches (FILLING THE SCREEN WITHIN THE MATTE). SMALL MAN What paper are you from? The finder is lowered. CLOSE SHOT of a Young Man (MARK) sighting a cine-camera. He lowers the camera - and turns politely to his interrogator. He seems to have slight difficulty informing his words. MARK I beg your pardon? SMALL MAN What paper are you from? Mark smiles at him pleasantly. MARK The Observer. The Ambulance Men come out of the house carrying the stretcher... there is a body on it covered by a sheet. Mark raises his cine-camera and photographs them. He photographs the ambulance as it drives off. He photographs the Policemen dispersing the crowd. He photographs his Interrogator, who gladly poses for him. Then he slings his camera over his shoulder, and strolls away. DISSOLVE TO: CLOSE SHOT of Dora, smiling happily. Her photograph is on the front page of a newspaper. Above it is a caption: BRUTALLY MURDERED. CAMERA PULLS BACK - to show sexy magazines alongside the newspaper. EXT. A NEWSAGENT'S SHOP - DAY Mark is staring at a newspaper in the window of a small newsagent's shop. He glances distastefully at an array of film magazines - showing actresses showing everything - then hurries into the shop. INT. NEWSAGENT'S SHOP - DAY A plump, bald-headed Man stares at Mark. MR. PETERS You're late! MARK Sorry, sir. He turns towards a small door at the end of the shop. MR. PETERS (quietly) Hold on, Mark. Mark turns round. Mr. Peters hesitates, drumming his fingers on the counter. CLOSE SHOT of Mark. He starts to drum his fingers on a shelf. MR. PETERS Mark... I've a question for you. He stops drumming his fingers. So, at that moment, does Mark. MR. PETERS Which magazines sell the most copies? MARK Those with girls on the front covers - and no front covers on the girls. MR. PETERS Exactly!... And it's just the same with the work you do for me. Overlaid is the sound of the door opening. MR. PETERS Look busy. Mark busies himself sorting some newspapers. A whole row of Doras smile up at him. CAMERA PANS to doorway of the shop. An ELDERLY GENTLEMAN is standing there. ELDERLY GENTLEMAN The Times, please. MR. PETERS Certainly, sir. ELDERLY GENTLEMAN And The Telegraph. MR. PETERS Certainly, sir - anything else? The Elderly Gentleman hesitates - glancing at Mark's back. Then: ELDERLY GENTLEMAN I... er... have been told by a friend that you... er... have some views for sale? MR. PETERS What sort of views, sir? ELDERLY GENTLEMAN Well, er... MR. PETERS This sort, sir? From under the counter he produces a thick book. Mark turns round. From his POV WE SEE the Elderly Gentleman open the book. He - er- seems - er - more than a little interested. ELDERLY GENTLEMAN I, er... how much each? MR. PETERS Five shillings, sir. ELDERLY GENTLEMAN I'll take this one... and, er... this one... and, er... how much would the lot be? MR. PETERS To you - five pounds, sir... The Elderly Gentleman hesitates. Mr. Peters turns over a page... and the Elderly Gentleman almost turns over with it. MR. PETERS Tell you what, sir. Four pounds ten - and I'll throw in The Times and Telegraph... how's that? ELDERLY GENTLEMAN Well, er... thank you very much. MR. PETERS Let me wrap it for you, sir. He puts it in a wrapper which says 'Educational Books'. MR. PETERS Shall I put you on our mailing list? ELDERLY GENTLEMAN Oh no! But I'll look in again... MR. PETERS By all means, sir. He holds open the door for the Elderly Gentleman, and watches him leave. MR. PETERS He won't be doing the crossword tonight! He turns triumphantly to Mark. MR. PETERS (counting out money from wallet) Those pictures he chose... were all yours! (handing notes) This is yours! Mark pockets them without counting them. CLOSE SHOT of Mark. MR. PETERS (in a very different tone) And this is yours too... He picks up a postcard - holds it towards Mark. MR. PETERS And that's what I want to talk to you about. It's a clever picture - because you're a clever lad... but, Mark... (pathetically) It's all face. Mark looks at the postcard in silence. MR. PETERS I don't want to hurt your feelings, son - but if people want the Mona Lisa they go to the National Gallery. MARK The Louvre. MR. PETERS Well, wherever they go, they don't come here... so no more of this fancy stuff... He pats Mark's arm. MR. PETERS ... now get upstairs - the girls are waiting... and so is a bonus if you give me what I want. MARK Thank you, sir. MR. PETERS (amused) What do you do with all your money? MARK Buy cameras. He opens a door at the far end of the room. We catch a glimpse of a winding staircase. He starts to climb it. INT. REAR OF NEWSAGENT'S SHOP - DAY At the top of the staircase is a door. Mark and his camera trudge towards it. The door opens suddenly. A vivacious young redhead - Milly - pokes her head round. She has a towel round her shoulders. MILLY Well look who's here! Cecil Beaton! From REVERSE ANGLE WE SEE Mark venture a shy smile at Milly. Milly opens the door impatiently. MILLY Come on, sonny... make us famous. Through the half-open door we catch a glimpse of a second Girl (LORRAINE). She is staring out of a window, her back to camera. She is naked except for a shawl draped round her shoulders. Mark enters the room... the door begins to close. CAMERA TRACKS towards the door. On the threshold of the room, a hood is thrown over our faces. THE SCREEN BLACKS OUT. In the darkness WE HEAR Milly's voice. MILLY (O.S.) Did you read about that girl who was murdered last night? INT. STUDIO ABOVE NEWSAGENT'S - DAY We are with Mark under the hood of an antiquated camera. Through the ground-glass of the camera WE SEE a SMALL INVERTED IMAGE of Milly. MILLY (O.S.) The same thing nearly happened to me! We hear Lorraine's voice - muffled, and very far away. LORRAINE (O.S.) When? MILLY (O.S.) Last night! I went out with my boyfriend... We're getting married next month... trouble was my fiance saw us. The SMALL INVERTED IMAGE of Milly peers anxiously into the camera. MILLY can you fix it so the bruises don't show? The ground-glass camera begins travelling slowly down Milly's back. CLOSE SHOT of Milly. She is on a couch, lying on her stomach at a slightly oblique angle. All that WE CAN SEE are her face and naked shoulders. From Milly's POV WE SEE Mark under the hood of an antiquated camera. MILLY Well, can you? Mark's voice is MUFFLED under the hood. MARK ...think so, Milly. MILLY Then be quick about it, sonny! I'm freezing. CLOSE SHOT of her naked toes. They start to wriggle. CLOSE SHOT of Mark's toes - in sandals, next to the tripod of the camera. They start to wriggle. CLOSE SHOT of Lorraine. We watch her in profile as she stares out of the window - clutching her shawl. She has outstandingly beautiful features. CLOSE SHOT of Mark. He is standing by the side of the camera, studying us thoughtfully. He is holding a remote- control switch panel in his hand. He clicks off several lights and then switches several others on... then he ducks back under the hood. MILLY There he goes again! What have you got under there? A girlfriend? We join Mark under the hood. WE SEE a small INVERTED IMAGE of Milly on the ground-glass. Her shoulders are now white and glistening, her spine caressed by shadows. She is staring into the camera. MILLY I suppose you have a girlfriend? He adjusts the focus. We can see more clearly the contempt on Milly's face. MARK No, Milly. MILLY Hear that, Lorraine? He's available. From Milly's POV WE SEE Mark come round to the front of the camera, and insert a dark slide. MARK Raise your head, please - and look at the sea. MILLY (O.S.) What sea? Mark presses a rubber bulb - the shutter clicks. MILLY What sea? Mark inserts another dark slide. MARK I just wanted that puzzled look. MILLY (O.S.) Oh, did you? Well if you want it again, I'll think of you! CAMERA PULLS BACK from Milly's viewpoint, WE SEE Mark holding the rubber bulb. cine-camera is on a ledge behind him. MILLY You're a puzzle and a half. Mark presses the rubber bulb - the shutters click. MILLY This is a spare time job for you, isn't it? MARK Yes, Milly. He inserts another slide. MILLY Well, what do you do for a living? MARK Take pictures. He presses the bulb - the shutters click. MILLY This sort? MARK No, Milly. He inserts another slide. MILLY Don't you like this sort? MARK No, Milly. He presses the bulb - the shutters click. MILLY Well what sort do you like? Mark looks at her thoughtfully for a long moment. MARK I may show you - one day. MILLY That'll be a treat, I'm sure. Mark smiles at her shyly. MARK That's all, Milly. MILLY Oh no, sonny! Now take one I can show my mother. Mark inserts another slide. MARK Think of her then. There is a gentle KNOCK at the door, and Mr. Peters enters. He carries a tray of coffee. He keeps his eyes modestly lowered. MR. PETERS On the house. He lays the tray on a table, still keeping his eyes lowered, and goes out. MILLY Some house! Hope it falls on his ruddy earhole! She glances over her shoulder. MILLY It's your turn now, love... CLOSE SHOT of Lorraine staring out of the window. She stiffens. Milly's voice is overlaid. MILLY (O.S.) (in a whisper) ... it's her first time. Lorraine clutches her shawl tightly. MILLY Come on, love. Don't be shy. Lorraine turns round. The left side of her face is classical in its beauty. She has a hare lip, which twists and distorts the whole of the right side. Her eyes are large - and beautiful - and defiant. CLOSE SHOT of Mark looking at her. CLOSE SHOT of Lorraine. LORRAINE He said... you needn't photograph my face! CLOSE SHOT of Mark. MARK I want to. CLOSE SHOT of Lorraine. Beautiful in profile. LORRAINE I suppose you'll fix my bruises too? MARK I want to... MILLY What about the customers? CLOSE SHOT of the shawl round Lorraine's shoulders. CLOSE SHOT of Mark. MARK You needn't be shy... of me... it's my first time too. CLOSE SHOT of Lorraine's eyes - puzzled. LORRAINE Yours? MARK In front of eyes... like... He tries to go on - but words are a foreign language to him. MARK ...eyes... as full of... In a sudden rush: MARK Lorraine - let my camera tell you. CLOSE SHOT of Lorraine standing very still ó looking at him in silence. Milly shrugs and reaches for the coffee pot. Overlaid is the gentle purring of a cine-camera. CAMERA LINGERS on the dark liquid being poured into a cup. DISSOLVE TO: Whisky being poured into a glass. CAMERA PULLS BACK INT. HELEN'S SITTING ROOM - EVENING - TOWARDS SUNSET The hand filling the glass is a woman's (MRS. STEPHENS). She is sitting in a high-backed chair, and we cannot see her face. Over her shoulder we watch a party in progress. A group of Young people have surrounded someone to whom they are singing: YOUNG PEOPLE (singing) Happy birthday to you, Happy birthday to you, CAMERA TRACKS towards them. CLOSE SHOT of TONY HUNTER, a well-built youngster in his middle twenties. TONY Happy birthday... dear Helen He obviously means it. TONY happy birthday to you. CLOSE SHOT of 'dear HELEN'. A sensitive, intelligent, and extremely attractive girl, who ó as the encircling youngsters now inform us in song - is: YOUNG PEOPLE Twenty-one today, She's twenty-one today, She's got the key of the door, She's never been twenty-one before. CLOSE SHOT of the glass by Mrs. Stephens' side. It is half empty. An elderly lady leans across to her. She is Mrs. Partridge, slightly high on a glass of sherry. MRS. PARTRIDGE You must be very proud of your daughter, Mrs. Stephens. Mrs. Stephens grunts. Someone switches on a gramophone and the young couples start dancing at once. Tony hurries up to Helen. TONY May I? Helen goes towards him. A YOUNG MAN calls out sharply: YOUNG MAN Look! He is pointing at something out of camera. All heads - except Mrs. Stephens' - follow the direction of his gaze. Mrs. Stephens continues to sit motionless in the high-backed chair. CAMERA PANS to the window. Mark is standing there. CLOSE SHOT of Helen looking at Mark. We watch him over her shoulder - Tony's arm encircling it. TONY (O.S.) It's that chap from upstairs. EXT. MARK'S HOUSE - EVENING - LOW SUN The chap from upstairs presses his face to the window. From his POV WE SEE Helen's eyes looking at him - the key of the door in them - looking at him, not staring. Suddenly the rest comes into focus - Tony's arm around Helen's shoulder... the high-backed chair in the foreground with the back of that motionless head... a young couple giggling as they stare at him. Mark steps away, and the CAMERA PULLS BACK with him. We catch a glimpse of the house - large, sprawling, but with a touch of quality about it, in a quiet, unpretentious street. Mark hurries towards a side entrance. INT. HELEN'S SITTING ROOM - EVENING CLOSE SHOT of Helen looking at the empty window. HELEN I'll ask him in... CLOSE SHOT of Tony - frowning. CAMERA PANS to Mrs. Stephens' glass... the hand which refills it has begun to tremble. INT. REAR OF HOUSE - NIGHT The lights are on. WE FOLLOW Mark (and his camera) along a small passage which leads to the hall. The sound of a dance record can be heard. Mark starts to whistle it under his breath. INT. HALL - NIGHT Over his shoulder we see a staircase, and beyond it the door of Helen's sitting room. The sound of Helen's party fills the hall. Mark reaches the staircase. There is the sound of a door opening. Helen's voice is overlaid: HELEN (O.S.) Excuse me! Mark hesitates, then turns round. CLOSE SHOT of Helen - smiling at him. HELEN I don't know how many times we've passed each other on the stairs? Mark looks at her as if he does. HELEN ... but tonight I'm determined at least to say hello to you! So hello! Her directness is natural, consistent and very hard to resist. CLOSE SHOT of Mark - smiling. HELEN I'm Helen Stephens. She glances with unconcealed interest at the camera over his shoulder. HELEN I'm having a party - and the other tenants are there... And a few friends. We'd like you to join us. MARK Mark... HELEN Pardon? MARK I'm Mark... HELEN Hallo, Mark. She holds out her hand... he takes it gently. HELEN Please come in... you'll meet the others who live here, and... MARK Thank you, but... work. HELEN Oh... She glances again at his camera. HELEN Well, I hope to keep it going for hours yet... so when you've finished why not look in? She realizes that this is not the happiest of phrases. HELEN ...Mark? He hesitates. CAMERA PANS to Helen's door. Tony stands there. TONY Darling, your cake - everyone's waiting. CLOSE SHOT of Mark - looking at her. MARK Thank you. He turns away. MARK Happy Birthday. He hurries up the stairs. CLOSE SHOT of Helen. She stares after him for a moment. Then returns thoughtfully to her party. FADE OUT: The screen remains dark for a moment. We are with Mark in a darkened room. He is giving a film show - and we are the screen. INT. MARK'S DARK-ROOM - NIGHT His cine-projector points straight at us. A flickering light shines in our eyes. We can see him crouching behind the projector. Mark leans forward, watching the screen intently... Perspiration trickles down his forehead. He is breathing very quickly. The sounds of the party seep up from downstairs - music, laughter, and a Girl's yelp. There is a knock on the door. Mark does not hear it. CAMERA PANS to the door of the room. It is blacked-out like a photographic dark-room. The knock is repeated. CLOSE SHOT of Mark. He switches off the projector instantly. CAMERA PANS to an open cupboard in the corner. CLOSE SHOT of the shelves. They are stacked with spools of film. CAMERA travels slowly over these spools. WE SEE Mark's hand add two more to the collection; his Voice is overlaid. MARK (O.S.) ...minute... He closes the cupboard door. INT. MARK'S SITTING ROOM - NIGHT Mark comes out of the dark-room behind him - the light is kept out by a baffle and a curtain. He has a pleasant, normally untidy bedsitting room. He wipes his handkerchief across his forehead - then hurries to the door. He opens it - Helen is standing there. HELEN I hope I'm not disturbing you? CLOSE SHOT of Mark - shaking his head, smiling shyly. CLOSE SHOT of Helen. HELEN I knew you wouldn't come down... so I've brought you this. She holds out a plate on which is a piece of birthday cake. MARK Thank you... He takes the plate. MARK ... very much... HELEN I mustn't keep you from your work She turns to go. MARK I'd like to offer you a drink. She turns round. HELEN Thank you, Mark. MARK I haven't one. HELEN I'd adore some water. She smiles. HELEN a hostess can't drink water at her own party, it looks like a hint to the guests. MARK Will you... would you... like to come in? HELEN Yes, Mark... She steps over the threshold. The door closes behind her. INT. MARK'S SITTING ROOM - NIGHT CLOSE SHOT of Helen looking round the room. Mark's voice is overlaid. MARK (O.S.) There's milk... if you'd like some? HELEN Very much... if you can spare it? MARK (O.S.) Yes. Helen glances towards the inner room. He holds out a glass of milk to her. HELEN Thank you, Mark... She drinks it with relish. He watches her in silence. HELEN This is a pleasant room... and you've another inside? MARK Yes. HELEN How long have you lived here? MARK All my life. She looks at him in surprise. MARK I was born in this house Oh? CLOSE SHOT of Mark. MARK It's my father's. HELEN Do you mean I've at last found out who our landlord is? Your father? MARK Well - no... he's dead! He hesitates. MARK I'm the landlord. She looks at him in astonishment. HELEN YOU? MARK Yes. HELEN But you walk about as if you haven't paid the rent. MARK I haven't. HELEN I meant... MARK I know. CLOSE SHOT of Mark. MARK It's his house - and I'll never sell it... but I can't afford the upkeep, so I let rooms. He looks at her anxiously. MARK ... if I charge too much, tell me and I'll tell the agents. HELEN The rent's very reasonable, but don't say anything to the others or you'll have no peace. MARK Peace...? CLOSE SHOT of Helen. HELEN Mark, what do you do? MARK (slowly) Most of the time, I work in a film studio. HELEN On the photographic side, I'll bet. MARK I hope to be a film director... very soon. HELEN How exciting. MARK I have some spare time jobs... as well. HELEN To do with photography? MARK More milk? HELEN No thank you... to do with photography? MARK Yes... to do with photography... HELEN When I came in were you looking at some films? MARK Yes. HELEN Of yours? MARK Yes. HELEN I'd like to see them... He looks at her in silence. HELEN Know I'm being rude... but I really would like to see them... (she smiles.) ...it would be a birthday present... from you to me. MARK Would it? HELEN Yes, Mark. MARK Oh... HELEN But I suppose you're too busy? She puts down the glass, turns to the door. MARK Will you... would you... like to see them now? She turns round. He is standing by the entrance to the inner room. HELEN Thank you... MARK I'll... go first. He leads the way - she follows. For a moment the screen is in darkness. A dark-room darkness. INT. THE INNER ROOM - NIGHT We can HEAR - faintly ó the dance music from downstairs. There is a click - and the walls are suddenly bathed in diffused light, throwing the room into delicate shadow. CLOSE SHOT of Helen looking round in amazement. As certain events of possible interest are to take place in this room, here, in detail, is what amazes Helen. The room is the product of three rooms which have been knocked into one. It is very large and extremely well constructed (as we are soon to learn, it was originally a laboratory). One half of the room is used for processing, and the other half for filming - and for trade shows. The two halves are lined by long shelves upon which are perched all shapes and sizes of cameras, their spectacles glinting in the light. In the processing half two benches (a 'dry' bench and a 'wet' bench) face each other against opposite walls. There are three sinks above the 'wet' bench and an outburst of equipment above the 'dry'. This part of the room is lit by two dark-room lamps frowning in the ceiling above the benches. The other part of the room has a window at the far end of it. Heavy drapes are putted across it. Mark's projector rests on a small table in front of the 16mm screen. Two banks of floods and a variety of spots light this part of the room. There is a small control panel on the wall. Some of the equipment is ancient - but none of it is old. All of it glistens with the affection of its owner. There is absolutely nothing in the room to alarm anyone except an adult... the kind who starts to wonder who paid for it all. CLOSE SHOT of Mark. He stands by the lighting panel, watching Helen. From his POV WE SEE her brushing the hair out of her eyes as she looks slowly round. He brushes the hair out of his. For a moment she turns her back to him. He presses a switch on the wall. A gentle light ripples through the back of Helen's hair. SHOT of Helen. She turns to him. She is very nearly at a loss for words. HELEN This is so... well - so many things... but above all - it's so... She takes a final look round. HELEN ...completely unexpected! She looks at him searchingly. HELEN Is all of it yours? MARK Yes. HELEN I mean... is it designed by you? Furnished by you? Tell me about this room. CLOSE SHOT of Mark. MARK It belonged to my father HELEN What was he? MARK Scientist... HELEN Then this equipment was his? MARK No... He hesitates. MARK Sold his to buy it... HELEN But it seems to be so... technical. She looks at him with renewed interest. HELEN If this is where you work, I can't wait to see what you work at. CLOSE SHOT of Mark - in difficulties. MARK Don't know what to show you? HELEN Well... what were you looking at when I interrupted you? He looks at her thoughtfully. MARK All right! He crosses to the corner cupboard - opens the door. CLOSE SHOT of the cupboard. WE SEE Mark's hand reach for a spool of film... then hesitate, poised above another spool. CLOSE SHOT of Helen - watching with interest. REVERSE ANGLE SHOT of Mark. He closes the cupboard, and turns round... there is a spool of film in his hand. He walks slowly towards his projector... he seems ó for the moment ó to have forgotten she is there. CLOSE SHOT of Helen - watching him thread the film into the projector. MARK This is the first... twenty-first birthday present... I'll ever have given. HELEN It's the first I've ever asked for... He places a chair a few feet away from the screen - and, with an oddly courteous bow, beckons her into it. She sits down. CLOSE SHOT of Mark. He looks at her intently for a moment - then turns off the lights. Over Helen's shoulder We can just make out the empty screen. Mark switches on the projector. CLOSE SHOT of Helen - the light flickering on her face. CLOSE SHOT of Mark staring at Helen's face. CLOSE SHOT of Helen. WE SEE her expression of surprise. Over Mark's shoulder WE SEE the surprise growing. Over Helen's shoulder we see the screen. We are looking at a small boy. He is lying in his bed asleep. Although the print is old, we can see that he is a remarkably handsome boy. HELEN Mark, what a beautiful child. The boy turns restlessly in his sleep... one of his pillows falls to the floor. HELEN Who is he? MARK Me HELEN Of course it is! Then who took this film? MARK (quietly) My Father. A light - as if from a small torch ó starts to shine on the child's eyes. He moves restlessly. HELEN What a wonderful idea... The light plays on the child's left eye, then on his right. It is growing brighter. HELEN You'll be able to show it to your own chi... The child wakes up suddenly. He stares at something... then starts to scream. HELEN You must have had a bad dream... CLOSE SHOT of Mark watching her in silence. HELEN ...but what was that light? ...The camera, I suppose? Mark does not answer. The small screen is filled with the face of the screaming, terrified child. (Mark's father now tries a not altogether successful dissolve:) WE NOW SEE the little boy standing in front of a garden wall. He tries hard to climb to the top of the wall, but falls over. Helen laughs. Mark watches her in silence. Small Mark tries again - and again - to scale the wall... At last he succeeds. HELEN Whatever are you after? WE SEE the little boy lying flat on the wall staring at something... rapt, motionless. The cine-camera which is taking this picture now tracks rather clumsily towards the wall. HIGH ANGLE SHOT over the wall of what is fascinating young Mark - A man and woman are lying on the ground, kissing. The CINE-CAMERA PANS - again rather clumsily - to young Mark... staring intently. HELEN Naughty boy I hope you were spanked! CLOSE SHOT of Helen. It suddenly occurs to her. HELEN ... but, Mark... what a strange thing for your father to photograph. MARK Switch off? HELEN No. She stares again at that lonely figure perched on the wall. HELEN No. The small screen begins to dissolve ...so does the large one. DISSOLVE TO: INT. HELEN'S SITTING ROOM - NIGHT Over Mrs. Stephens' shoulder WE SEE the party in progress. The glass by her side is full again. Tony is dancing with an attractive blonde. MRS. STEPHENS Tony! He turns round. TONY Me, Mrs. Stephens? The head nods. Tony advances reluctantly towards her. REVERSE ANGLE SHOT of Mrs. Stephens. Over Tony's shoulder WE SEE a powerfully built and once lovely woman. She is so perpetually drunk as almost to be sober. The few movements she makes are slow - deliberate - and give nothing away. The voice articulates so carefully that the slur scarcely shows. The fact that she is blind almost helps to conceal the fact that she is drunk. Her sightless eyes stare out the camera as Tony reaches her. MRS. STEPHENS I want a word with you. DISSOLVE TO: CLOSE SHOT of Helen's eyes. The light from the projector flickering into them. HELEN I hate people who chatter in films - but there's so much I want to ask. CAMERA PULLS BACK INT. THE INNER ROOM - NIGHT She is leaning forward, her face cupped in her hand, watching the small screen intently. CLOSE SHOT of Mark. His face is cupped in his hand as he watches her intently. Over Helen's shoulder WE SEE Mark in the making. The child is again asleep... this time he is being photographed from the head of the bed - the CAMERA POINTING STRAIGHT DOWN AT HIS FACE. A beam of light starts to shine onto his eyes, first onto the left, then onto the right. HELEN (in a whisper) Again? Mark looks at her in silence. The boy moves restlessly, then turns over onto his face, pulling the bedclothes round him. His right hand is limp on the pillow. The light shines for a moment on this hand, then goes out. Helen half turns towards Mark. HELEN Mark, this isn't some kind of jo... Her attention is suddenly riveted on the screen. MARK (in a whisper) No, Helen. Over Helen's shoulder WE SEE something drop onto the child's bed... something which stays quite still for a moment, then starts crawling towards the counterpane. It is a small lizard. HELEN Mark, whatever is that? Her voice trails away. She stares - repelled and fascinated - at the screen. WE SEE Mark reach for his cine-camera. Over Helen's shoulder WE SEE the lizard reach the counterpane. It stretches itself out on the floral design - its body is pointed towards the child's hand. WE HEAR a click - and suddenly a spotlight falls onto Helen's face. OVERLAID is the GENTLE PURRING of Mark's cine-camera. She wheels towards him - blotting out the small screen. HELEN What are you... MARK wanted to photograph you... watching... HELEN No, Mark! The camera purrs on. HELEN No! He switches off the spot... the purring of the camera dies away. She turns towards the small screen. HELEN help me to understand this... this nightmare... The small boy is sitting upright... screaming with terror... there is no sign of the lizard. A handkerchief is thrown onto the boy's bed. He continues crying - looking up into someone's face. CLOSE SHOT of Mark watching the screen. We hear a man's deep voice overlaid. MAN'S DEEP VOICE (O.S.) That'll do Mark... dry your eyes and stop being silly. Small Mark reaches for the handkerchief and wipes his eyes... his hands are trembling. The small screen trembles with them into a clumsy dissolve. Helen turns to Mark. HELEN All right... now look... Mark - what was all that about? He looks at her helplessly. HELEN ... that was a lizard, wasn't it? Or a... MARK Liz... HELEN Well how did it get there?... How did it get there Mark?... Was it a pet? MARK Not mine... HELEN Won't you try to explain? CLOSE SHOT of Mark staring at the screen. MARK You'd better go! HELEN I like to understand what I'm shown! She turns to the screen. HELEN What was your father trying to do?... Photographing you at nigh... Her voice trails away. MARK better go... From Helen's POV WE SEE the screen. Small Mark is wearing a dark suit and a black tie. He is standing at the foot of a four-poster bed, staring at something in horror and disbelief... his hands clasp the bedrail tightly. Slowly - very slowly - he walks towards the head of the bed, staring. His lips begin to quiver. He bends forward over the bed. WE CAN SEE the back of his bowed head. HELEN Mark... what is this? MARK I am saying... goodbye... my mother... We catch a glimpse of a woman's hands folded in front of her. CLOSE SHOT of Helen. HELEN (in a whisper) He... photographed... that...? CLOSE SHOT of Mark. MARK Yes. Suddenly - and healthily - his temper snaps. MARK ...and this! He pushes a lever on his projector as far forward as it will go. The film is now shown at tremendous speed - We catch a glimpse of a long line of cars. MARK ...her funeral! It speeds by. MARK ...and this! A confused picture of earth and flowers. MARK ...her burial! The briefest glimpse of a little boy with a spade. MARK ...and this! WE SEE a girl in a bikini by sand-dunes. Mark offers no comment. HELEN Mark, who is that? MARK Her successor. CLOSE SHOT of Helen. HELEN Suc-? MARK He married her... six weeks after... the previous sequence. He pulls back the lever of his projector... the film returns to its normal speed. WE SEE the same attractive young woman standing in a garden. She is holding a bewildered and defiant Mark by the hand. Suddenly the girl runs towards camera - leaving Mark standing alone. MARK She filmed... what comes now. CLOSE SHOT of Helen watching intently. It's out of focus! From Helen's POV WE SEE a tall man in a black coat walking away from camera. He hurries towards small Mark - who watches him anxiously. HELEN Is that your father? MARK The morning that he left for his honeymoon. The back of Mark's father suddenly obscures our view of small Mark... all we can see is that tall figure looking downwards standing very still. Camera wobbles - as if the person holding it is laughing. HELEN What is he doing? MARK Giving me a present... HELEN What was it? Mark stares at the blurred screen, perspiration trickling down his forehead. MARK Can't you guess? The small screen comes back into focus - and suddenly our camera rushes towards it. WE SEE a CLOSE SHOT of a CLOSE SHOT - and at the moment we see it, Mark's Voice is overlaid... A whisper which echoes round the room. MARK (O.S.) A camera... We are looking at a close shot of a camera in a small boy's hands. There is a single shrill chord of music on the sound track. CLOSE SHOT of the shelf which encircles Mark's room. We are looking at the very same camera which the small boy is holding. CLOSE SHOT of the camera in small Mark's hands. His father's finger points lo the view-finder. Small Mark stares into it. Small Mark begins to smile. CLOSE SHOT of Mark watching himself being born. CLOSE SHOT of Helen watching Mark. HELEN Switch it off! He continues to stare at the screen. HELEN Switch it off, Mark! She turns to the projector - touches the wrong switch. Small Mark and his father go rapidly backwards. Mark turns off the projector abruptly. The room is in darkness. WE CAN HEAR both of them breathing quickly. The light goes on. Mark is standing by the exit - he keeps his face averted. Helen walks slowly towards the exit. She glances round once, over her shoulder, then goes into the other room. Mark stares after her. INT. MARK'S SITTING ROOM - NIGHT She walks towards the door... turns round suddenly - almost in anger. HELEN So he was a scientist? He keeps his face averted. HELEN What kind of scientist, Mark? MARK Biologist. HELEN What was he trying to do to you? He doesn't answer. HELEN Mark!... He turns round slowly. From his POV WE SEE the willingness to understand on her face. HELEN What was he trying to do to you? MARK Watch me... grow up... She walks towards him... takes his handkerchief from his jacket pocket and wipes his forehead. MARK He wanted a record of a growing child... complete in every detail - if such a thing were possible - and he tried to make it possible by training a camera on me... at all times... CLOSE SHOT of Mark. MARK I never knew... the whole of my childhood... one moment's privacy... HELEN And those lights in your eyes?... and that - thing? MARK He was interested ... in the reactions of the nervous system... to fear... Fear? HELEN Fear? MARK Fear. CLOSE SHOT of the word 'fear'. CAMERA PULLS BACK We are looking at the spine of a book on Mark's shelf. The full title reads: The Physiology of Fear by Professor A. N. Lewis. MARK'S VOICE IS OVERLAID: MARK (O.S.) Especially fear in children - and how they react to it. CLOSE SHOT of the word 'fear' on the next book. CAMERA PULLS BACK The full title reads: FEAR AND THE NERVOUS SYSTEM, PART I. PROFESSOR A. N. LEWIS. There is a row of such books all by Professor Lewis. CLOSE SHOT of Mark. MARK I think he learned a lot... from me... I'd wake up... screaming... sometimes... and he'd be there... taking notes... and pictures... and I'm sure good came of it... for some people... He was brilliant. HELEN A scientist drops a lizard onto a child's bed - and good comes of it? MARK I don't know... if he did... but if he did... he'll have learned something of value... HELEN If only about lizards! Mark - it sounds to me as if your father was... MARK He founded clinics. HELEN He sounds completely... MARK He was famous! Professor A. N. Lewis... three clinics. HELEN Why do you still live in his house... and watch his films? MARK They helped make me... what I am. HELEN A photographer? It's no wonder, is it? But you still haven't shown me anything you've photographed! He looks at her in silence. HELEN Will you? There is a knock on the door. MARK One day... He hurries to the door, and opens it. Tony is standing there. TONY Excuse me, but... From Tony's POV WE SEE Helen looking at the door of the dark room. TONY Oh, there you are, Helen. She turns towards him. TONY The party looks like breaking up, and we were wondering if... HELEN I'm coming. She turns to Mark. HELEN I wish you'd join us. Mark shakes his head. MARK Thanks... work. HELEN I hope that you... She is suddenly aware of Tony watching her. She glances at the birthday cake on the table. HELEN ... have a sweet tooth! She smiles at him. HELEN Thank you... for my present. She goes into the passage. TONY Good night, old boy. He puts his arm round Helen, and closes the door. Mark stares after them, motionless. The CAMERA LINGERS on the birthday cake. As the light fades, a voice yells: Cut! CUT TO: INT. FILM STUDIO - DAY HIGH ANGLE SHOT of a set showing part of a large West End store. A blonde is lying unconscious in front of a lift - and a crowd of extras surround her. As the word 'cut' dies away, the extras relax - and the blonde (DIANE ASHLEY) props herself onto her elbow, looking towards the Director. CLOSE SHOT of the Director (ARTHUR BADEN) standing beside the camera. BADEN OK. Print that one! He glances at the CHIEF CAMERAMAN (PHILIP TALE), who nods his head in agreement. CLOSE SHOT of Mark standing at the back of the camera crew. He shakes his head in disagreement. The Chief Cameraman spots Mark's small mutiny and wags his finger at him. As the Chief Cameraman turns away, Mark's finger automatically wags back. CLOSE SHOT of Baden looking at his watch. He sighs, then nods to the Assistant Director who stands beside him. ASSISTANT DIRECTOR All right, everyone! Back at two! Baden walks out without a word to anyone. A hubbub of chatter breaks out. The unit downs tools and begins to disperse. CLOSE SHOT of one of the extras (VIVIAN) - a small, vivacious, brunette with delicate, attractive features. She edges towards the camera crew. CLOSE SHOT of Mark watching her. Over his shoulder WE SEE Vivian glance towards him. He nods almost imperceptibly. Vivian hurries towards the exit. Mark turns to a shelf behind him - picks up his cine-camera and a little full string bag containing his lunch. DISSOLVE TO: EXT. STUDIO GROUNDS - DAY CLOSE SHOT of Vivian munching a sandwich. CAMERA PULLS BACK She is leaning against a wall in a corner of an exterior set - a Chinese temple or a medieval castle (or a combination of each like a Pinewood drawing-room). Beside her she has a small tape-recorder, or record-player. We hear music - modem rhythms. There are several people strolling about - but no one in the immediate vicinity. No one... except Mark. CLOSE SHOT of Mark - settling down on the other side of the wall (where they can talk without being seen together). VIVIAN Mark? MARK Hallo... VIVIAN Were you spotted? MARK Don't think so. VIVIAN (switches off music) Is it tonight? CLOSE SHOT of Mark. MARK Yes. CLOSE SHOT of Vivian. VIVIAN Mark... MARK Yes? VIVIAN You're sure we won't be caught? MARK Not if you do as I tell you. VIVIAN I will, I promise. MARK You haven't... said anything... to anyone? VIVIAN Of course not. MARK Good... like some cake? VIVIAN Thank you. We see him break off a piece of birthday cake, and pass it over to her. VIVIAN Mark... I want to be quite clear about this... CLOSE SHOT of Mark staring at his cake. VIVIAN Tonight, when the studio's empty... I'm to come back-and you're going to give me a film test... right? MARK Right. VIVIAN You'll then print the film - so I can show it to my agent and anyone else who matters - right? MARK Right. VIVIAN Mark... She hesitates. VIVIAN I've been offered film tests before... but I haven't liked the terms. MARK There aren't any. VIVIAN Then why are you doing this? Risking your job and... MARK Not just for you... Viv... I have an agent too - and I want to show him what I can do... I want to direct... VIVIAN (switching on music again) There's someone coming. Mark lies motionless behind the wall. A young male EXTRA comes towards Vivian. EXTRA Hallo - lousy morning's work, wasn't it? VIVIAN Yes. EXTRA Thought I saw you talking to somebody... VIVIAN I was learning my lines. EXTRA Didn't know you had any... He glances at his watch. EXTRA Want a drink? Dutch? VIVIAN Later... perhaps. EXTRA Be seeing you He wanders off. VIVIAN Mark... MARK Yes? VIVIAN (switching off music again) You didn't mind me asking? MARK No, more cake? VIVIAN No... you want to direct... more badly than anything don't you? Mark is silent, staring at the sky. VIVIAN Don't you, Mark? MARK I want... to photograph... the impossible... VIVIAN What is impossible? MARK Something... that has never been photographed before. VIVIAN What? MARK You really want to know...? VIVIAN Very much, especially if there's a part for me. MARK I want... to photograph a murder... while it's being committed. VIVIAN No part for me then. MARK But that... isn't enough. VIVIAN Is this a new script? MARK I want... to frighten... someone... to death... and photograph... their expression of fear... VIVIAN Mark! What's this story called? MARK That is something... he never photographed... VIVIAN Who? Mark is silent. VIVIAN Who is he, Mark? MARK Anyone. VIVIAN No one could... they'd be caught! MARK I wouldn't care... if I had my picture. VIVIAN Besides, how would you frighten anyone to death? MARK There's a way. VIVIAN Well, what? MARK There's a way. VIVIAN You'd better not tell me! I'll be scared to death tonight as it is! A hooter. VIVIAN Back on the set - shall I go first? MARK Please. She rises to her feet. From behind the wall comes a gentle whirring purring sound. VIVIAN What are you doing? MARK Getting into practice. She smiles down at him. VIVIAN See you tonight! MARK See you tonight! She walks away. And the gentle purring continues. CAMERA PANS to the sun beating down on the lot. DISSOLVE TO: An arc lamp beating down on the set. INT. STUDIO - DAY Baden bears down on the Assistant Director. BADEN Would you enquire if our leading lady is ready to start leading. A cry goes up, ASSISTANT (O.S.) Miss Diane Ashley, please!... Miss Diane Ashley, please!... CLOSE SHOT of Baden turning towards the entrance. CLOSE SHOT of Mark turning towards the entrance. CLOSE SHOT of entrance. INT. STUDIO - DAY Miss. DIANE ASHLEY appears... among the many qualities she radiates is goodwill - especially towards Miss Diane Ashley. DIANE How are you, Sparks? Chippy? Bob? VOICES Hallo, Diane... DIANE How are you, Tom? Roger? VOICES Hallo, Diane... And so on, until: DIANE How are you, Phil?... Mark? CLOSE SHOT of Mark. MARK Hallo, Miss Ashley. DIANE (to a figure high in the scaffolding) How are you, Pete...? VOICE Hi, Di! She reaches Baden - and completely ignores him. BADEN Darling, you've only been playing this part for three weeks, so in case you haven't yet had a chance to read the script... She ignores this. BADEN ... may I remind you that you're a girl with an irresistible impulse! She looks at him - then at her hand - and nods. BADEN a kleptomaniac! Who cannot help stealing... Get inside her, Diane!... What - in all the world - do you most want to steal? DIANE The limelight! Baden sighs. BADEN We'll run the scene where you catch sight of the store detective and faint... Where's the girl who plays the bystander? Vivian steps forward. BADEN How are you? VIVIAN Hallo, Diane... 1ST ASSISTANT Positions, everyone! CLOSE SHOT of Vivian taking her position in front of the lift. She glances at her watch. CLOSE SHOT of Mark standing by the side of the studio camera. He glances at his watch. CAMERA TRACKS towards the lift. From Mark's POV WE SEE Diane catch sight of the Store Detective - and crumple in a faint. BADEN Hit that floor with a thud! CLOSE SHOT of door marked: DON JARVIS - MANAGING DIRECTOR. BADEN (O.S.) D.J. insists on realism! A timid knock is overlaid before we dare enter. INT. EXECUTIVE OFFICE - AFTERNOON CLOSE SHOT of a pile of scripts on a great man's desk. CAMERA PULLS BACK MR. JARVIS is immersed in reading a script... his eyes race across the page. Over his shoulder WE SEE what he is reading... a sheet of figures attached to the script. At the same time Mr. Jarvis is holding a telephone receiver to his ear - and we hear an enthusiastic VOICE FILTERED THROUGH IT: VOICE (OFF-SCREEN) VOICE (O.S. FILTERED) ...it's a wonderful subject, D.J.... Paramount wants it, M.G.M. wants it, Columbia wants it. JARVIS But is it commercial? VOICE (O.S. FILTERED) Danny Angel wants it! Still reading the script, Mr. Jarvis lays the receiver on his desk and picks up another. JARVIS Are those budgets ready? Well bring 'em in. He replaces this receiver and picks up the original. The voice is still talking - something about 'a wonderful part for Kenny or Alec'... VOICE (O.S. FILTERED) Send me a memo - we'll discuss it next week. He replaces the receiver. MISS SIMPSON enters. She hands him some folders... her smile curtsies. CLOSE SHOT of Mr. Jarvis opening a folder. Over his shoulder WE SEE a page covered with row upon row of figures. The great man's finger skims along the figures like a tailor feeling cloth. JARVIS There's an error! The total should be a hundred and fifty thousand pounds fourteen shillings and sixpence - not thirteen and ninepence... That could mean the difference between profit and loss on a first feature! MISS SIMPSON Sorry, D.J. He glowers at her - but his day is made. JARVIS Any units working late tonight? MISS SIMPSON Only one, sir. Night exteriors on the lot. The Elephant with two... JARVIS That animal needs a stick of dynamite! CLOSE SHOT of Jarvis. JARVIS Remind me to pay them a visit tonight. MISS SIMPSON Yes, D.J. She makes a note in her little book. JARVIS Now, Miss Simpson... take a memo to all department heads... Over his shoulder WE SEE an open window. CAMERA TRACKS towards it. JARVIS (O.S.) In light of the new economy drive... DISSOLVE TO: CLOSE SHOT of Clapper Boy's board. It reads: Take 49. THE CAMERA PULLS BACK INT. STUDIO - LATE AFTERNOON BADEN Again, please... and, darling... He turns to Diane, who is wearily picking herself up off the floor. BADEN ... just this once... will you please make an effort to forget that you're stunning, and try to look as if you're stunned...? DIANE Say one kind word - and I would be! ASSISTANT (hastily) Positions, everyone! DISSOLVE TO: MONTAGE SEQUENCE: Camera crew on a tracking shot. Mark is operating the Selsen motor. Baden - shaking his head. Diane - picking herself up off the floor. Clapper Boy's board ó reading: Take 57. Vivian - glancing at her watch. Mark - glancing at his. Diane - picking herself up off the floor. DIANE If I have to faint once more I shall faint! DISSOLVE TO: CLOSE SHOT of Baden - triumphant at last. BADEN Cut! How was that?... (thumbs up all round - with one exception) Mark? Mark nods perfunctorily. BADEN Print it! He glances at his watch - then nods to the Assistant Director. ASSISTANT That's it, boys and girls . . . wrap it up! Night-night everyone! Baden puts his arm round Diane's shoulder. BADEN How are you, darling? She makes a hobbling exit. CLOSE SHOT of Vivian hurrying towards the exit carrying her little recorder. In a burst of chatter, the unit starts to disperse. CLOSE SHOT of Mark picking up his cine-camera and his lunch bag. The CLAPPER BOY comes up to him. CLAPPER BOY Catching the bus? MARK Not tonight... meeting someone... for a drink. CLAPPER BOY Wanted to discuss the film at the Everyman... Tomorrow then? MARK I hope so. CLAPPER BOY Good night, Mark. MARK Good night. DISSOLVE TO: CLOSE SHOT of Vivian. She is sitting at a dressing-room table... making-up with care. INT. DRESSING ROOM - LATE AFTERNOON Three other girls share the dressing room with her. There is a knock at the door - and the Young Extra who spoke to Vivian in the grounds pokes his head round. EXTRA Greetings... lousy afternoon's work, wasn't it? Who wants a lift to town? 1ST GIRL In what? EXTRA colleague's car... there's room for two on my lap - three at a pinch. 1ST GIRL Which is what we'd get. 2ND GIRL You, Viv? VIVIAN No, thanks... I've a date... at the Local. 1ST GIRL Us two then? 2ND GIRL I'm game... might as well get pinched in a car as squeezed in a tube. EXT. THE CAR PARK - LATE AFTERNOON The cars are streaming towards the gate. CLOSE SHOT of Baden driving a small new car. CLOSE SHOT of the Chief Cameraman driving a large old one. INT. DON JARVIS' OFFICE - LATE AFTERNOON He is still immersed in his figures. Miss Simpson is walking to the door. She glances at her little book. MISS SIMPSON I'm to remind you to pay a surprise visit tonight to The Elephant with... He grunts. MISS SIMPSON Good night, D.J. Jarvis goes on reading... DISSOLVE TO: CLOSE SHOT of Vivian. INT. DRESSING ROOM Music playing. Vivian moves about nervously in front of a mirror in the deserted dressing room. She wears slacks and a shirt. She glances at her watch - her hands are trembling - looks at watch, hears the fireman coming, then switches off the music and hides in the big cupboard - INT. CORRIDOR Fireman making his rounds, turning off lights. EXT. THE CAR PARK - EARLY EVENING Only a few cars now remain. It is beginning to grow dark. INT. STUDIO CORRIDORS - EARLY EVENING The long corridors are dim and deserted. INT. PASSAGE - EARLY EVENING The fireman is making his rounds. INT. DRESSING ROOM - EARLY EVENING Vivian is standing in the cupboard - the lights are on. INT. CORRIDOR - EARLY EVENING Fireman opening the dressing-room doors - and glancing inside. INT. POWER HOUSE - EARLY EVENING Two electricians are smoking. INT. CORRIDOR - EARLY EVENING Fireman opens the door of Vivian's dressing room. INT. DRESSING ROOM - EARLY EVENING From Vivian's POV WE SEE the lights go out. WE HEAR the sound of the door closing - and the Fireman's footsteps disappearing down the corridor. INT. DON JARVIS' OFFICE - EARLY EVENING The great man closing up his folder... glancing at his watch... turning out the light. DISSOLVE TO: INT. CORRIDOR - EARLY EVENING Vivian is hurrying along a deserted corridor... and the little recorder. She pauses - and glances out of a door. She carries her case Over her shoulder WE SEE the studio lot - in a blaze of light we can see a crowd of people hanging about in solar topees and tropical kit. REVERSE SHOT of Vivian watching anxiously. She turns away - and hurries down the corridor. EXT. THE COURTYARD. EARLY EVENING Don Jarvis strides across the courtyard. We can almost hear - and perhaps we do - a cash register ringing up. One of the white-clad figures lounging indolently in the doorway glances round, sees the Inquisition approaching and freezes. His degree of terror might satisfy Mark. The great man strides on. DISSOLVE TO: INT. ENTRANCE TO STAGE E. - EARLY EVENING Vivian pauses in front of the entrance to the set. Above the note is a notice: 'NO ADMITTANCE WHILE RED LIGHT IS ON'. The light is out. Vivian looks round - there is no one in sight. Vivian slips in quietly, and closes the door behind her. INT. STUDIO - EARLY EVENING The set is in darkness. CLOSE SHOT of Vivian looking round. VIVIAN (in a whisper) Mark...? No reply. Vivian hesitates... then edges slowly forward. Ahead of her are shadowy counters full of merchandise. Beyond them is the door of the lift. CLOSE SHOT of the studio camera and the Director's empty chair beside it. CLOSE SHOT of Vivian edging forward. VIVIAN Mark...? She reaches one of the counters - and leans against it, looking around. REVERSE ANGLE shot of Vivian. She is leaning against the counter of the trunk department. Trunks and suitcases at 'greatly reduced prices' are piled behind her. CLOSE SHOT of Vivian. She starts whistling nervously under her breath. Very faintly overlaid is the sound of Mark whistling under his. Vivian stops whistling - and so does Mark. She listens intently for a moment - then peers at her watch. CLOSE SHOT of the watch on Mark's wrist. CLOSE SHOT of Vivian. She shivers suddenly... then looks at her watch again. She hesitates... then turns towards the exit, and starts to edge back. She trips over a cable and almost falls. Suddenly she is bathed in light. She wheels round. One of the big spots is beating down on her. VIVIAN Mark...? No sign of him. Overlaid is a gentle purring sound. Where are another light comes on, shining through her hair. VIVIAN Mark! The sound of his steps is overlaid. VIVIAN Listen... we must... His footsteps stop... she looks round. VIVIAN Where are you? His voice is quietly overlaid. MARK (O.S.) Here, Viv... She wheels round. CLOSE SHOT of Mark sitting in the Director's chair. He is holding in his lap his cine-camera, and a black bag. CLOSE SHOT of Vivian breathing quickly. VIVIAN You frightened me! He looks at her in silence. VIVIAN Now listen... they're working late on the lot. MARK I know. They're branched off this stage - I'm using their juice. He nods, staring at her intently. VIVIAN We must call it off... someone's bound to see us. MARK They might... (rising slowly) ... but they won't interrupt us while we're filming... I've put the red light on. INT. ENTRANCE TO SET - EARLY EVENING CLOSE SHOT of the red light - burning. CLOSE SHOT of Vivian. INT. STUDIO - EARLY EVENING VIVIAN You've what?... MARK Put the... VIVIAN Then they'll know someone's here. MARK They won't come in. VIVIAN They'll wait outside... what's the difference? MARK The difference is... a perfect film... Over his shoulder WE SEE the studio camera. MARK ... have waited... a long time... for this... and so have you ... no one... must interrupt it. She glances round at the brazenly burning lights; shakes her head despairingly. VIVIAN We'll be caught. MARK What does that matter? VIVIAN Matter! MARK You stand to lose... a job as an extra... I stand to lose... nothing. She looks at him in silence. MARK ...the results must be so perfect... that the risks don't count... CLOSE SHOT of Mark. MARK So perfect... that even he ... (he hesitates) ... even he... would say... VIVIAN Who Don Jarvis!? He looks at her, then nods. VIVIAN Oh! He'd say: (imitating the great man's voice) Sign on the dotted line, kiddies! You can use my pen, but bring your own ink! (her excitement is growing) Mark... if you're sure it's worth it? MARK It's time to find out, Viv... He walks slowly towards the studio camera. She prepares for the test by switching on music and warming up with dance movements. VIVIAN Come on! Get hot! (she accents the rhythm) Mark puts the cine-camera and the black cloth bag on the dolly, slowly mounts the platform, closes the blimp - and swings the camera. We watch him from the top of the studio, from the door of the studio, from the Director's chair. And finally WE WATCH HIM from Vivian's POV. She stops dancing but the music continues. MARK You belong there... He stares ahead of him, his mind far, far away... then bends and looks into the finder. There is a single harsh chord of music - and the screen goes dark. It remains dark for a moment. Suddenly the darkness parts like curtains - and in the centre WE SEE Vivian's face in the finder of the studio camera. (Unlike the ground-glass of the newsagent's camera, we see everything the right way up and in perfect perspective.) Mark hooks a filler-light below the camera and switches it on. He adjusts the finder until he has made of Vivian's delicate features a radiant miniature. The miniature smiles shyly at him. She has stopped dancing and is looking directly at the camera. Music continues. VIVIAN I do feel alone in front of it... (she hesitates) I suppose stars never do? MARK They feel alone without it... (he looks in the eyepiece) Through the film, we can see only her eyes - large and wistful. MARK ... and the great ones... feel alone... all the time... She becomes the uninhibited Vivian again. VIVIAN Then I'm great, boy! What is it you want me to act? (she strikes an attitude a, la Rabbins) He looks up from the camera; she smiles and starts keeping time to the rhythm again. VIVIAN Being frightened to death? MARK You remembered? VIVIAN Yes - and I'll have a go! We hear his quick breathing. VIVIAN I've been wondering all the afternoon how you'd do it! I'll bet you've thought of a wonderful twist! (she does a wonderful twist) CLOSE SHOT of Mark. He looks down - a little sadly - and peers into the finder. (The camera dolly is on tracks - he tracks forward.) Music continues - piano. In the finder WE SEE a large trunk - 'at greatly reduced prices' ó on the shelf behind Vivian. From Vivian's POV WE SEE Mark leave the studio camera ó and hurry towards the trunks. She watches him wide-eyed. VIVIAN What are you doing? MARK Building us a set. He reaches for the largest trunk. VIVIAN Why not pull the studio down while you're about it? They can only hang you once. MARK Exactly. He carries the trunk towards the studio camera, and lays it carefully on the floor. Music continues. Vivian peers into the front-glass of the studio camera ó as if it were a mirror. The rhythm of the music changes. VIVIAN If only Don Jarvis could see me now! She jumps onto the trunk and taps. VIVIAN If only I could see Don Jarvis now! She giggles again. VIVIAN I warn you, Mark - I'm hysterical... I'd rather act dying of laughter, if it's all the same to you... She jumps off the trunk onto the floor. He opens the trunk. she jumps into it. Her laughter echoes round the deserted studio. DISSOLVE TO: INT. POWER HOUSE - EARLY EVENING The two electricians are roaring with laughter. One of them is making tea. 1ST ELECTRICIAN So he did it again! Now you tell one. CAMERA PANS to a dial on the wall... one of the needles flickers slightly. 2ND ELECTRICIAN Half a mo... 1ST ELECTRICIAN (O.S.) One lump or two? 2ND ELECTRICIAN As the starlet said to the casting director... He turns away from the dials, and grasps at the outstretched mug. DISSOLVE TO: CLOSE SHOT of Vivian recording - her little recorder is twittering back at great speed. VIVIAN (to Mark, over her shoulder) What are you doing? She restarts music. INT. STUDIO - EARLY EVENING She is watching Mark curiously as he arranges the lighting. MARK Be patient, Viv... it's going to be worth it. CLOSE SHOT of the studio camera. In front of it - fixed on a small hook - is a tape measure. Mark reaches for it... then carefully measures the distance between the trunk and the camera... then he takes apiece of chalk from his pocket and makes a small cross on the floor. The music continues. VIVIAN Oh well! I've stood alone in front of a studio camera! That's more than most have. MARK Ever stood... behind one? He glances at a nearby dial - only a few feet away from the one which is flickering. VIVIAN No. MARK Help yourself. She goes around the camera out of sight - and he is out of hers. He glances into the trunk - it is deep, and very empty. VIVIAN (accenting the rhythm) I can see you, Mark... perfectly! MARK Good... VIVIAN Yes, sir! I'll bet I'm the best camerawoman in the business! . . . (beating time with her feet) Mark hurries to the side of the studio camera and picks up his cine-camera. VIVIAN (O.S.) I've lost you! MARK I'll be back. Suddenly Mark's face appears in the finder. VIVIAN Welcome, stranger! We see Mark raise his cine-camera. He seems to be pointing it straight at us. We hear a gentle purring. VIVIAN What are you doing? MARK Photographing you photographing me... High angle shot of Mark standing in front of the studio camera - photographing her photographing him. VIVIAN (in mock awe) Mark, you're brilliant... He walks slowly towards her, holding his cine-camera to his eyes. In the finder of Mark's cine-camera WE SEE Vivian at the studio camera. She comes closer and closer. VIVIAN Lost you again! MARK (O.S.) Never mind. We see him standing almost on top of her - his cine-camera trained on her. MARK I'm ready now, Viv... She looks up slowly - and a little hesitantly. Music, all drums. MARK Go and stand on that cross, will you? VIVIAN (solemnly) Yes, sir, Mr. Director, sir. He watches her in silence as she walks to the front of the studio camera and takes up her position. while the drum- beat continues. DISSOLVE TO: EXT. COURTYARD - EARLY EVENING Don Jarvis is leaving the unit working on the lot. It is now bustling with activity. A girl comes up to him... She raises her cigarette for a light - and looks into his eyes. He hands her a box of matches... and walks away. Over his shoulder we see the other stages - apparently empty. Don Jarvis hesitates, then strides towards one. INT. POWER HOUSE - EARLY EVENING CLOSE SHOT of a dial - the needle flickering slightly. Overlaid is the voice of the 1st Electrician. 1ST ELECTRICIAN (O.S.) ...and here's one of the wife and nipper... DISSOLVE TO: INT. STUDIO - EARLY EVENING CLOSE SHOT of Vivian staring at the trunk on the floor behind her. The recorded rhythm continues. VIVIAN Am I supposed to imagine someone is going to put me in there? Mark is watching her over the top of the studio camera. MARK Yes, Viv... He peers into the viewfinder. In the finder we see Vivian looking rather pathetically into camera. VIVIAN Mark - I hope I won't let you down... I know you're trying to create atmosphere for me - but... I just don't feel frightened! Wouldn't it be better if I just did my number? MARK (shaking head) Later. VIVIAN Oh all right! I could do anything - I feel so relaxed - and that's due to you... You're so at home with that camera you make me feel at home too... you have it in you, boy! From her POV WE SEE see him raise his head slightly. MARK Ready, Viv? MARK VIVIAN (great effort) Well-I'll try - In the finder we see her wrinkling her brow. MARK VIVIAN But what... would... frighten me to death? (looking appealingly into camera) Set the mood for me, Mark... MARK Well... He goes and switches off the recorder. The sudden silence is startling. MARK Imagine someone... coming towards you... who's going to kill you - regardless of consequences... VIVIAN A madman? MARK Yes - but he knows it... and you don't... and just to kill you... isn't enough for him. VIVIAN But how would he frighten me to? She stares into focusing screen - intrigued, but not frightened, not even by the silence and shadowy vastness around her. MARK Stay there, Viv... you're... just right. She stands motionless - staring into camera. INT. CORRIDOR IN STUDIO - EARLY EVENING CLOSE SHOT of Don Jarvis. He is standing motionless, staring down a corridor. What he is staring at is out of camera - and it is puzzling the great man. He walks quietly along the corridor. CLOSE SHOT of Vivian. VIVIAN I can't imagine what you've thought of! INT. STUDIO - EARLY EVENING CLOSE SHOT of Mark. He raises his head slowly - and locks the studio camera off. Then he walks slowly towards her. HIGH ANGLE SHOT of Mark walking towards Vivian. CAMERA ZOOMS DOWN to the trunk behind her. Mark's voice is overlaid: MARK (O.S.) Suppose this... were one of his weapons... CLOSE SHOT of Don Jarvis. INT. CORRIDOR - EARLY EVENING The great man is poised for the kill. He is moving forward stealthily... and suddenly breaks into a run. CAMERA PANS - and WE SEE the object of his attentions. A wisp of smoke is coming from behind an alcove. CLOSE SHOT of a Fireman - smoking a cigarette. CLOSE SHOT of Don Jarvis - smoking! CLOSE SHOT of the Fireman's terror as he sees Don Jarvis. JARVIS Smoking on duty! The Fireman opens his mouth to explain ó and smoke exudes. JARVIS Come with me! The Fireman follows him meekly. CAMERA PANS. So near - yet a lifetime away - a red light is burning above a closed door. CLOSE SHOT of Vivian - puzzled. VIVIAN That..? INT. STUDIO E. - EARLY EVENING CLOSE SHOT of Mark. He is holding his cine-camera; fixed to it is a collapsible tripod. Suddenly he pulls one leg of the tripod out. WE SEE that a very sharp spike protrudes from the end of it. From Mark's POV WE SEE Vivian looking at the spike. He raises it towards her - until the spike is only inches from her throat. VIVIAN Yes... that would be frightening! MARK But... there's something else... We can hear his heart pounding as if it will burst - and gradually Vivian, too, becomes aware of it. VIVIAN Well? What is it? Just for a moment Mark's arm moves. His back hides what he is doing. Suddenly WE SEE Vivian turn her head sharply - she is looking at something out of camera. VIVIAN (in a whisper) That...? The spike is very close to her throat - but Vivian ignores it, staring out of camera. Over Mark's shoulder we concentrate on Vivian's face. VIVIAN (in a whisper) Mark... take it... The fear on her face is rapidly growing... VIVIAN ... away! She tries to move back - but the trunk prevents her. VIVIAN MARK - YOU! It is almost a scream. We can hear Mark breathing quickly. Vivian raises her hands to push something away from her. Suddenly the screen is filled with her eyes. WE SEE them dilating with terror. There is a sudden crash as the big power switches go out in the roof. The lights go out. There is a scream in the darkness. Then silence. The darkness acquires a grey, opaque quality as if one is seeing the world through a curtain - it is the world of Mrs. Stephens. A bright light is felt, rather than seen, beating against our eyelids. It looms closer and stronger. HELEN'S VOICE (O.S.) And that, darling, is the end of the news! Unless you want the football results? CLOSE SHOT of Mrs. Stephens, a large glass of whisky - and the bottle - beside her. It is night. MRS. STEPHENS No thank you. CLOSE SHOT of Helen. 'She's Got the Key of the Door' is overlaid. HELEN What else can I read you? MRS. STEPHENS The label on this whisky bottle! Are you sure it says seventy per cent proof? HELEN Certain. MRS. STEPHENS They're bigger liars than the press! From Helen's POV WE SEE her reach for her glass with a steady hand. HELEN Is that your last tonight? MRS. STEPHENS I doubt it. HELEN Your last but one? MRS. STEPHENS Don't haggle. HELEN (producing a coin) Toss me double or nothing? MRS. STEPHENS Done! Helen spins the coin on the table Mrs. Stephens listens intently... the coin stops spinning. MRS. STEPHENS Heads. Her fingers shoot out and feel the surface of the coin. HELEN Bad luck, darling. MRS. STEPHENS Huh. She turns the coin over and carefully feels the other side. Helen watches her with a smile - then looks thoughtfully at the ceiling. MRS. STEPHENS What are you looking at? HELEN The ceiling! MRS. STEPHENS Wondering if that young man is home? HELEN Yes. MRS. STEPHENS Well he is... I heard him come in... four paragraphs ago. From Helen's POV WE SEE the sightless eyes staring at her. MRS. STEPHENS Do you like him? CLOSE SHOT of Helen. HELEN Yes, darling. MRS. STEPHENS Why? HELEN He has a quality... MRS. STEPHENS (sipping her glass) Wish this had. HELEN ... and I think he could help me. MRS. STEPHENS With your photographs? HELEN Yes... CLOSE SHOT of Mrs. Stephens. MRS. STEPHENS Helen... HELEN Yes? Mrs. Stephens hesitates - which is rare. MRS. STEPHENS (abruptly) It doesn't matter. HELEN (quickly) Mummy, what's worrying you? MRS. STEPHENS The price of whisky. HELEN What else? MRS. STEPHENS What else matters? HELEN Don't you like Mark? MRS. STEPHENS Haven't met him. HELEN You don't like him! Now why not? CLOSE SHOT of Mrs. Stephens. Again she hesitates. MRS. STEPHENS I distrust a man who walks quietly. HELEN He's shy! MRS. STEPHENS His footsteps aren't! They're stealthy... HELEN Now darling. MRS. STEPHENS Are you going up to him? HELEN May I? MRS. STEPHENS We both have the key of the door... Mine needs oiling - and yours needs exercise... Off you go. HELEN Thank you. She kisses her - and glances at the whisky glass. HELEN remember that you lost the toss. She walks to the door. MRS. STEPHENS Helen... HELEN Yes, darling? MRS. STEPHENS If you're back in five minutes... I won't even finish this. HELEN Done! She hurries out. Mrs. Stephens instantly refills her glass. CLOSE SHOT of her hand. It has begun to tremble. MARK'S DARK-ROOM CLOSE SHOT of Mark's hands, in the green light of the dark- room. He is busy unloading and winding film onto a developing rack. He puts the rack of exposed film into the tank and starts the time clock. CLOSE SHOT of the time clock ticking. A knock is heard off. Mark looks up. MARK Who is it? HELEN (O.S.) Helen... CLOSE SHOT of Mark. Faintly overlaid is 'She's Got the Key of the Door'. He looks down at the clock. MARK (calling) Come in, Helen! INT. PASSAGE - EVENING Helen opens the door of Mark's sitting room. We hear Mark call out from the inner room: MARK (O.S.) Would you... please... wait in there?... Developing. Helen goes in, closing the door behind her. INT. MARK'S SITTING ROOM - EVENING Helen enters. She speaks loudly to be heard in the dark- room. HELEN Mother heard you come in - so I guessed you wouldn't be in bed ... No reply from the inner room. HELEN Are you sure this is conven... MARK (O.S.) Won't be long! Helen glances at her watch... then looks curiously round the room. CLOSE SHOT of Vivian's recorder, placed on a chair. CLOSE SHOT of Helen. She picks it up and looks at it, curiously, fingering the stops. MARK (O.S.) Hallo. Helen turns round. Mark is standing on the threshold of the dark-room. HELEN Hallo, Mark... He walks towards her... he stops suddenly. He is staring at the recorder in her hand. HELEN I hope you don't mind - is it a tape-recorder? MARK Yes. Gently he takes it from her - as if it is a cup with which she has finished - and replaces it on the shelf. CLOSE SHOT of Helen. HELEN I'm sure I'm being a nuisance... but, Mark, I very much want to... Her voice trails away. CLOSE SHOT of Mark. He is holding out a small package. MARK Happy birthday. HELEN Mark! That's very sweet of you - but really. MARK It isn't much... I don't know anything about... presents for twenty-one... but I saw it this morning... so... please. HELEN (gently) Thank you... She takes the package, and unwraps it. Inside is a slender brooch HELEN It's beautiful... MARK I like the design... More milk? HELEN More?... No, thank you, Mark... and I really appreciate this... I'm going to put it on now. He watches her hold it against her dress. HELEN There?... Or there?... MARK The first place... HELEN I think so too!... CLOSE SHOT of Helen pinning it on. CLOSE SHOT of Mark touching his lapel. CLOSE SHOT of Helen glancing at her watch. CLOSE SHOT of Mark glancing at his. He thinks of the ticking clock in the dark-room. Helen looks up, and sees him. HELEN I am keeping you. MARK No... I promise. HELEN Mark, I'm here for some advice. MARK From me? Please... He looks as if he has just been voted the best cameraman of the year (unanimously) - and the two films he directed have both won Oscars (though Don Jarvis understood them). His delighted astonishment is such that she has to smile. HELEN ... I work in a public library - in the children's section... I'm telling you that to postpone admitting what always embarrasses me... She takes a deep breath. HELEN In my spare time... I write. MARK What's embar... HELEN I write stories for children... but so did Grimm... Hans Andersen... Lewis Carroll... MARK Had any published? HELEN Some short stories. MARK I'd like to read... HELEN I learned today... that my first book... has been accepted! ... For publication in the spring... MARK But that's wonderful... what's it about? HELEN A magic camera - and what it photographs... CLOSE SHOT of Mark. MARK Whatever made you... think of that? HELEN I'll tell you one day - I promise... MARK Well what does it photograph? HELEN I'll tell you that too - but, Mark... this is the problem... The children who read the book will want to see the pictures the camera takes - but the publishers say they're impossible to photograph, and suggest drawings... but I don't agree. MARK No - nothing's impossible. HELEN was hoping you'd say that! There must be photographs - however difficult to take - and I was wondering, Mark - if you'd... MARK Oh yes. HELEN discuss it with me. MARK take them. HELEN Mark - I can't ask you to do that... They have cancelled his Oscar. HELEN I mean... the publisher's mightn't agree. MARK I'd take them... for you. HELEN Yes but... the money. MARK There are some things... which I photograph... for nothing. HELEN I didn't mean to offend you. MARK Offend? CLOSE SHOT of Mark. MARK Helen... if you knew what it meant... for something to happen to me... that I don't have to make happen... it's like... you've given me a twenty-first birthday... CLOSE SHOT of Helen looking at him... MARK What does your camera photograph? HELEN Mark - I must go... I just wanted to know... if you'd talk it over with me. MARK When please? HELEN That's up to you. MARK Helen ... I don't know much about... dinner out... but would you come with me? HELEN Thank you. MARK Thank you. HELEN When? MARK Oh... HELEN What's the matter? MARK It had better be soon... HELEN Are you going away? MARK Almost for certain! ... HELEN Oh... well you suggest when. MARK Are you free... tomorrow night? HELEN Yes. MARK I hope I am! HELEN I'll understand if you're not. MARK I'll try to be - I'll try my hardest to be. HELEN Thank you for listening... and for my present. MARK and for mine. They look at each other in silence. HELEN Good night, Mark... (turning to the door) MARK Good night... Helen... He watches her leave, standing very still. Offstage, the time clock explodes. CLOSE SHOT - the excited clock. Mark's hand silences it. INT. DARK-ROOM - GREEN LIGHT Mark opens the developing tank, lifts out the rack of film, drops it into the fixing bath. He switches light from green to red. CLOSE SHOT - green to red dark-room lamp. Mark lifts the rack of glistening film out of the fixing bath and scans the image. CLOSE SHOT - Mark's face and the tell-tale black and white images. CLOSE SHOT - the film. A pile of trunks. In the darkness we hear a man enquire softly: MAN'S VOICE Looking for a trunk? CLOSE SHOT of a Tall Man with a severe face. He is standing in front of a familiar pile of trunks marked at 'Specially Reduced Prices'. CAMERA PULLS BACK SLOWLY - and WE SEE whom he is addressing. It is Diane. CAMERA PULLS FURTHER BACK and WE SEE that we are in a small theatre watching rushes... INT. THEATRE IN STUDIO - DAY CAMERA PANS across Baden's disgruntled face... the Chief Cameraman's bored face... the Script Girl's puzzled face... to Diane's expression of rapture as she watches herself on the screen. DIANE (O.S.) I'd like to see that one. From Diane's POV WE WATCH the screen. We see the Tall Man (SHOP ASSISTANT) reaching for a trunk and laying it on the counter. He opens it with a flourish. Vivian passes across the screen - glances casually at the trunk - and wanders off. BADEN No - no - no - we must get some comedy into this...! The Assistant Director nods. BADEN We'll retake it this morning... CAMERA LINGERS for a moment on the screen as Diane (on- screen) smiles at the Assistant. DIANE (she pockets a small item) I'll take it. The Assistant bows and closes the trunk. We dissolve to the set itself - DISSOLVE TO: INT. STUDIO - DAY The Assistant is leaning over the counter, listening intently. Diane stands in front of the counter, receiving the attentions of the Make-up Man. Baden's voice is overlaid: BADEN I want some comedy in this scene... CAMERA PULLS BACK The unit is busy preparing for a retake. The studio camera (and its crew) are off camera, and we concentrate on Baden briefing his artistes. He is clutching a script as if afraid that opening it might be indecent exposure. BADEN Instead of taking the first trunk you see, I want you, darling... to ask for a blue trunk - and when he brings it to you, to ask for a red one - and when he brings that, to ask for a white one... (turns to the Assistant) And you, Michael... get the trunks one by one - growing more and more fed up - and we'll end on a gag which I'll think of in a minute - all right? DIANE I don't feel it! BADEN Don't feel it! Do it! ASSISTANT DIRECTOR (hastily) Positions, everyone! Over Mark's shoulder - behind the camera - WE WATCH the Unit taking up positions. ASSISTANT DIRECTOR Anyone seen Vivian? BADEN Who? ASSISTANT DIRECTOR The red-headed bystander - Viv. BADEN (impatiently) Never mind - I'm cutting her out of this scene... Let's run it. ASSISTANT DIRECTOR (shouting) Quiet, everyone! From Mark's POV WE WATCH the scene being rehearsed. Diane approaches the trunk counter and the Assistant smiles at her. ASSISTANT Can I interest you in a trunk? DIANE Thank you... (pointing) I'd like to see that one... ASSISTANT Certainly, madam... He turns away. She pockets a small item from the counter. He heaves a trunk forward. ASSISTANT DIRECTOR It's beautifully fitted - (he opens it) She takes a perfunctory glance - DIANE I'd like to see one in red. ASSISTANT Certainly, madam. She pockets another item. He turns and wrestles with another trunk... brings it forward and opens it DIANE ... do you have one in white? ASSISTANT Certainly, madam. Mark walks away quietly from the back of the Camera Crew. He hurries to the shelf where he keeps his cine-camera and a lunch basket. He reaches for his camera. Diane's voice is overlaid. DIANE (O.S.) Do you have one in blue? ASSISTANT (O.S.) Certainly, madam... Mark turns towards the rehearsal and raises his cine-camera. WE SEE the Assistant try to lift a blue trunk - and half collapse with the weight of it. CLOSE SHOT of Baden - beaming. The Assistant manages to drag the trunk forward. He leans over it - exhausted - then starts to open it. Mark moves round until Diane's face is in the finder. As the lid of the trunk is opened we can see only her eyes above the rim of the lid... WE HEAR her scream. CLOSE SHOT of Baden - freezing. There is the sound of a body falling to the ground. BADEN The silly bitch! She's fainted in the wrong scene... FADE OUT: In the darkness WE HEAR a telephone ringing... and then another... and then another... then they all merge into one big blast. FADE IN: CAMERA TRACKS quickly towards a door marked PUBLICITY DEPARTMENT. INT. PUBLICITY DEPARTMENT - DAY The Head of publicity has a receiver to his ear. HEAD OF PUBLICITY is this a gag?... A girl in a trunk!... Who is she?... Well, which unit?... The walls are closing in?... What a break for them!... I mean what a heartbreak! (he is already speaking into another telephone) call a press conference. (he turns to the original telephone) I'm on my way down! EXT. LONDON - DAY A police car. There are two men seated at the back. INT. POLICE CAR - DAY CHIEF INSPECTOR GREGG is reading a file. A plain-clothes SERGEANT (MILLER) is seated next to him. The Sergeant glances at his Chief apprehensively. SERGEANT MILLER Excuse me, Chief. CHIEF INSPECTOR Mm? SERGEANT MILLER We pass my house when we reach the bypass. Would you mind if I drop off for a minute? CHIEF INSPECTOR (without raising his eyes) To collect your kid's autograph book? SERGEANT MILLER Yes, Chief!... If the nipper hears where I've been... CHIEF INSPECTOR (turns to the driver) All right, Dawson - anything to help the Sergeant... (stares down at the folder) ... and it's about time the Sergeant helped me - we're getting nowhere with this. Over his shoulder WE SEE what he is looking at - it is a photograph of Dora in her furs and finery. SERGEANT What about that man the landlady passed? CHIEF INSPECTOR She couldn't describe him - except to say that he was carrying something that she couldn't see. SERGEANT That's a help. CLOSE SHOT of the Inspector staring at the folder. CHIEF INSPECTOR Sergeant, I've been on the force thirty odd years... and I have never seen such fear on anyone's face as on this girl's... (almost to himself) What was it she saw? SERGEANT Surely, Chief... a man coming at her - with a sharp weapon. CHIEF INSPECTOR I'm familiar with that kind of terror. This is something new to me... but what? The Sergeant glances at Dora's photograph. CHIEF INSPECTOR ...now take a look at how we found her. He starts to turn the page DISSOLVE TO: A door with a sign on it: CANTEEN CLOSED TODAY. CAMERA TRACKS TOWARDS it. INT. CANTEEN - DAY Mark is sitting by an open window at the far end of the canteen. His cine-camera and lunch basket are by his side. From Mark's POV WE SEE that the unit (with the exception of Diane and Baden) is crowded into the canteen. They have formed themselves into small groups and are talking in whispers. The Assistant Director is standing with his back to the door. A GIRL calls out: GIRL (O.S.) How much longer must we wait in here? ASSISTANT DIRECTOR Till the police arrive... D.J.'s orders. Mark glances at a group in the comer. The Trunk Assistant is encircled by eager listeners. ASSISTANT and when she opened that trunk... and I saw what was inside... my dears - I nearly fainted with her - (he runs a delicate hand across a delicate forehead) and do you know what horrified me most? ASSISTANT DIRECTOR D.J. says not to discuss it. ASSISTANT Any more sauce from D.J. and I shall refuse to sign for seven years! My dears... that poor girl's expression. Mark glances out of the window. From his POV WE SEE a police car driving across the courtyard. Mark watches with great interest - then reaches for his cine-camera. He photographs the police, then puts his cine-camera on to the table and sits back... waiting. CAMERA LINGERS for a moment on the folded tripod. DISSOLVE TO: INT. SET - DAY The set is completely deserted. It is lit by a single lamp. A solitary trunk stands on the counter, its lid closed. WE SEE Don Jarvis enter, followed by the two Policemen. Baden and the Publicity man bring up the rear. Don Jarvis points towards the trunks department. The Chief Inspector nods, then he and the Sergeant approach the counter. Carefully the Inspector raises the lid of the trunk - he looks inside. CLOSE SHOT of the Inspector - over the top of the lid. His expression is mainly one of surprise. CLOSE SHOT of the Sergeant staring into the trunk. He is also surprised - but there is nausea in his face. They look up at almost the same moment... their eyes meet. SERGEANT (in a whisper) Chief, it's exactly the... INSPECTOR I know... (he closes the trunk quickly. Quietly) ... don't say anything. (he faces Don Jarvis) Well, sir... we shall probably have to interview everyone at the studio, so we'd better plan a campaign that won't interfere too much with your productions. JARVIS (warming to him at once) Thank you, Chief Inspector... if you knew what even a single day's delay could cost. INSPECTOR Oh, we do sir. (his eyes are on the trunk) DISSOLVE TO: CLOSE SHOT of Mark. INT. CANTEEN - DAY He is looking out of the window - his camera at the ready. Overlaid is the sound of a door opening... the buzz of conversation dies away. We hear Don Jarvis' voice. JARVIS (O.S.) If I may have your attention, please. A hand tugs at Mark's elbow. He turns round. The Clapper Boy looks at him waringly. From Mark's POV WE SEE Don Jarvis standing in the doorway - facing a suddenly hushed room. The great man's hands are folded in front of him - JARVIS The police wish to interview each of you individually... after which you will be at liberty to leave. From D.J.'s POV WE SEE the upturned faces - the light from the window falls upon Mark, listening to him with rapt attention. Mark's hands are folded in front of him. JARVIS There will, of course, be no shooting today... but work will be resumed, as usual, tomorrow... with, I hope, all of you present. CLOSE SHOT of Don Jarvis. JARVIS I look to you to give the police your fullest cooperation. (he turns abruptly and leaves') Sergeant Miller enters with a smile. SERGEANT MILLER Well now... let's get ourselves organized... (taking a piece of paper from his pocket) We don't want to keep you cooped up in here, so we've worked out a timetable... We'll talk to the artists first, then the technicians in this order... Mark reaches for his cine-camera... DISSOLVE TO: A SERIES OF BRIEF SHOTS of the unit being interviewed by the police. EXT. STUDIO GROUNDS - DAY The Young Extra who spoke to Vivian in the exterior set points excitedly to the wall where Vivian and Mark lay. The Inspector and Sergeant carefully examine both sides of the wall. The Inspector stoops, picks up something with a pair of tweezers and puts it in an envelope. CAMERA PANS. A few passers-by look on from a distance. One of them is watching through his cine-camera. DISSOLVE TO: INT. SMALL OFFICE - DAY The Young Extra who shared Vivian's dressing room is talking to the Chief Inspector and Sergeant. EXTRA ...she said she didn't want a lift - because she had a call to make locally. CHIEF INSPECTOR Did she say where? EXTRA No, sir... and when I left, she was still in the dressing room. CHIEF INSPECTOR I see... let's have a look at this dressing room, shall we? EXTRA Yes, sir ... INT. PASSAGE IN STUDIO - DAY The Policemen and the Extra are walking away from camera down a passage. A few members of other units pass them by without a glance. One of these (A GIRL) smiles into camera. GIRL Hallo, Mark... MARK (O.S.) Hallo. The girl walks out of picture. THE CAMERA (and Mark) TRACK after the Policemen. INT. ENTRANCE TO DRESSING ROOM - DAY As the Inspector opens the door of the dressing room, Mark hurries past. He raises his cine-camera and photographs the Sergeant. The Sergeant turns to close the door. He sees Mark. straightens his tie and looks as severe as he can. SERGEANT Hey, I don't think you ought to do that! MARK Sorry, sir. He hurries down the passage. INSPECTOR (turning round) Do what? SERGEANT Make me famous. Some chap was giving me a screen test The Extra's voice is overlaid - a hint of hysteria in it. EXTRA (O.S.) That's where she sat. Inspector. The Inspector turns away, and the Sergeant closes the door. DISSOLVE TO: INT. SMALL OFFICE - DAY The door of the small office opens - and the Chief Cameraman comes out. CAMERA PANS - On a bench at the end of the passage Mark, the Clapper Boy, and a member of the camera-crew are waiting. VOICE And whoever did it must be... CHIEF CAMERAMAN You're next. The Crew-member hurries into the office, and closes the door. The Chief Cameraman wanders off thoughtfully. Mark and the Clapper Boy are left sitting side by side. CLAPPER BOY I've been watching you... MARK Oh? CLAPPER BOY Have you been filming those policemen? MARK Yes, I've a few quite interesting shots of them - it's a chance I never expected! CLAPPER BOY A chance for what? MARK To photograph... an investigation... or as much of it as I can. CLAPPER BOY What on earth for? MARK It will complete a documentary I'm making. CLAPPER BOY documentary? Mark nods. CLAPPER BOY What's it about? MARK I'd rather not tell you till it's finished. And it soon will be ... CLAPPER BOY But suppose they catch you? MARK Oh they will - they look very efficient. CLAPPER BOY Don't you mind? MARK No. CLAPPER BOY But they might confiscate your camera. MARK I'm afraid they will! But by then... I'll have finished with it. CLAPPER BOY I don't... The door of the small room opens, and the Crew-member comes out. CREW-MEMBER You, Mark? MARK Thanks... He rises slowly... the cine-camera is over his shoulder. CLAPPER BOY Mark, hadn't you better leave that with me? MARK No, John. CLAPPER BOY I'd look after it. MARK I'm sure of that - but I'd like to photograph them while they're questioning me. The Clapper Boy looks at him in amazement. MARK I don't suppose they'll let me. CLAPPER BOY Mark, are you potty? MARK Yes, do you think they'll notice? The Clapper Boy laughs. CLAPPER BOY Don't get into any trouble for heaven's sake ó I want to discuss that film at the Everyman... MARK Yes... I'd like that... He walks slowly towards the door. The Clapper Boy takes out a copy of Sight and Sound and starts to read it. INT. SMALL OFFICE - DAY The Inspector is seated at a desk, reading some notes. The Sergeant is seated by the side of the desk, a pile of papers in front of him. There is a gentle knock on the door. The Sergeant glances at a list. SERGEANT Mark Lewis - focus-puller... Whatever that may be? The Inspector nods. SERGEANT Come in. He puts a tick on the list. There is the sound of a door opening. The Inspector looks up... From his POV WE SEE a young man with a camera over his shoulder advancing shyly towards him. INSPECTOR Mr. Lewis? MARK Yes, sir... INSPECTOR I'm Chief Inspector Gregg and this is Sergeant Miller. Grab a chair. The Sergeant glances up. SERGEANT Ah! My photographer. MARK I've brought the camera in case you want to take the film away. He holds out his camera. The Sergeant glances enquiringly at the Inspector. INSPECTOR That's all right, Mr. Lewis - as long as we don't appear at the Odeon next week in place of the cartoon. Mark smiles. MARK Thank you, sir. INSPECTOR Well now; have you anything to tell us? MARK Don't think so, sir. INSPECTOR Did you know the girl? MARK Yes, sir... INSPECTOR How well? MARK Mainly by sight. INSPECTOR When did you see her last? He picks up a pencil ó taps it idly on the desk. MARK Yesterday afternoon - when we broke... INSPECTOR Speak to her? MARK Called out good night - don't know if she heard? CLOSE SHOT of Mark's fingers... tapping on his knee in time to the pencil. INSPECTOR What did you do then? MARK Took sqme shots, sir - for a film I'm making. INSPECTOR Oh... where? MARK All over the place, sir... it's a documentary. INSPECTOR Anyone with you? MARK No, sir. Just my camera. INSPECTOR What time did you arrive home, Mr. Lewis? MARK About ten... ten-thirty... INSPECTOR Anyone see you? MARK Yes... the people downstairs. INSPECTOR I see. The telephone rings. The Sergeant promptly answers it. SERGEANT Sergeant Miller - Right, I'll tell him... He replaces the receiver, turns to the Inspector. SERGEANT The doctor's finished his examin... The Inspector rises at once. SERGEANT ...wants to see you - INSPECTOR Right. (he glances at Mark) That'll be all for the moment, Mr. Lewis - thank you. MARK (he turns to the door) Thank you, sir ... INSPECTOR Wait a minute. Mark stands very still. INSPECTOR direct me to that set of yours, will you? I'd probably end on location. MARK I'll take you there, sir. (he opens the door) INSPECTOR Thanks. (he glances at the Sergeant) Carry on with the interviews, Sergeant. SERGEANT Yes, sir. From the Sergeant's POV WE SEE Mark turn to go into the passage. The Sergeant stares at the camera on his shoulder... then the door closes. The Sergeant makes a note on a piece of paper. INT. PASSAGE - DAY The Inspector and Mark walk side by side along the passage. The Clapper Boy comes into view - still reading Sight and Sound. The Clapper Boy glances up - just in time to see the Inspector and Mark walk side by side to the end of the corridor. CLAPPER BOY (staring after them) I warned him to be careful! DISSOLVE TO: INT. ENTRANCE TO SET - DAY A Constable is standing outside the entrance to the set. From his POV WE SEE the Inspector and Mark approach. The Constable stiffens... From Mark's POV WE SEE the Constable barring the entrance. INSPECTOR I think I can find my way now... Mark smiles. INSPECTOR ...thanks for the escort The Inspector hurries towards the door of the set. The Constable opens it - and the Inspector goes inside. The Constable closes the door - and stands in front of it. Mark turns away quickly. DISSOLVE TO: EXT. COURTYARD - DAY The carpark is jammed with cars - but there is hardly anyone in sight. Mark hurries towards the large sliding doors of Stage E - they are a few feet apart. He looks round carefully, then slips inside. INT. STAGE E. - DAY Facing Mark is the darkened set of an hotel bedroom. Beyond this is another set - also in darkness - and beyond this yet another. Only in the far comer of the studio - in the furthermost set - is there a light burning. Voices can faintly be heard coming from this set. Mark walks quietly towards a long ladder which leads up to the gantry. Carefully - rung by rung - he starts to climb the ladder. At the top of the ladder is a gallery. Mark moves along the maze of bridges until he is nearly above the Policemen. Mark raises his head cautiously - and looks down. Far below WE CAN SEE the Inspector standing next to the Doctor - a tall, silver haired man - who is peering into an open trunk. Detectives are photographing the set. Mark raises his cine-camera... its gentle purring seems to echo round the studio. CLOSE SHOT of Mark's jacket pocket. A row of pencils is sticking out. As he leans forward the pencils tilt. Through the finder-matte of Mark's camera WE SEE the Inspector - very far away - peering into the trunk and nodding. A faint echo of conversation is overlaid. DOCTOR (O.S.) No doubt at all... wounds were caused by the same instrument... Mark changes lens (and alters the finder to a 75mm lens). The Doctor's face - thin and impersonal - appears in the finder over the lid of the trunk. DOCTOR (O.S.) ... both women... subjected to the most violent shock... INSPECTOR (O.S.) What sort of shock? DOCTOR ...still cannot determine - but look! He points to something in the trunk - out of the camera's eye-line. CLOSE SHOT of Mark. He balances carefully - then raises the camera above his head. As he leans forward, the pencils fall. WE SEE them shooting like small torpedoes into the darkness below. They make three separate landings. CLOSE SHOT of the Inspector. Looking up. From his POV WE SEE tiers of scaffolding deep in shadow... INSPECTOR Quiet, everyone. Please... The Detectives make as much noise to become quiet as the normal occupants of the studio - and then there is complete silence. Complete, except for the Doctor's asthmatic breathing... And then - so gently that it might almost be in our own minds - WE HEAR a purring sound from the shadows above. The Inspector listens intently. DETECTIVE I thought I heard a putty cat! There is a burst of laughter - the Inspector frowns. INSPECTOR I don't want to spoil anyone's fun, but we do have a maniac on our hands, and if we don't get him quickly there'll be a third unsolved murder to report to the Commissioner. So let's hurry things up, shall we? DETECTIVE Sorry, Chief! The 'putty cat' Detective raises his flashlamp towards the trunk counter. In the brilliant flash of light that ensues, we glimpse a shadowy figure moving towards a ladder high in the scaffolding... But then we are looking for it - no one else is. The flashlight dies away. The scene fades with it. CLOSE SHOT of a knitting-needle held upwards. Another knitting-needle scales down it like a fireman descending a ladder. CAMERA PULLS BACK INT. HELEN S SITTING ROOM - DAY Mrs. Stephens is doing her knitting. The inevitable glass stands on the table beside her. Helen is seated opposite, reading from a newspaper. HELEN she was appearing in Arthur Baden's new film The Walls Are Closing In, starring Diane Ashley. CLOSE SHOT of Mrs. Stephens listening intently. HELEN a spokesman at the studio said that her performance in the film showed such promise, that her role was to have been built up... All work at the studio ceased today as a tribute to her memory! Mrs. Stephens sips from her glass. The Prime Minister to visit Athens. MRS. STEPHENS Mark is in films, isn't he? HELEN Yes, darling... It is reliably... MRS. STEPHENS I wonder if he knew her? CLOSE SHOT of Helen looking up. HELEN I'll ask him tonight... MRS. STEPHENS Is he taking you out? HELEN If he's free. MRS. STEPHENS That's very chivalrous of him. Where's he taking you? HELEN I've no idea - and I don't suppose he has... MRS. STEPHENS Which studio does he work at? HELEN I'll ask him. MRS. STEPHENS If he's free. Behind her back we see that her fingers are crossed. HELEN I'll bring him in and introduce you if... MRS. STEPHENS I feel I know him. HELEN Now how can you? Mrs. Stephens stiffens suddenly. MRS. STEPHENS He's here. CLOSE SHOT of the window. Mark is standing outside - looking in. MRS. STEPHENS Why don't we make him a present of the window? He practically lives there! Helen beckons to Mark to come in. We see him nod eagerly - and leave the window. HELEN How did you know where he was standing? MRS. STEPHENS The back of my neck told me... the part that I talk out of! Helen hurries to the door of the sitting room. INT. HALL - DAY Mark closes the front door behind him. From his POV WE SEE the door of Helen's sitting room open - and she stands on the threshold. HELEN Hallo... MARK Free? HELEN Yes. MARK Good! So am I... HELEN I'd like you to come in for a moment - and meet my mother. MARK Yes, please... She holds open the door. He goes inside. The screen suddenly greys out into the veiled images of Mrs. Stephens' world. We hear Helen's voice. HELEN (O.S.) Darling, this is Mark... Mark, my mother. WE HEAR the sound of footsteps shuffling shyly forward - and then Mark's voice, every intake of breath magnified. MARK (O.S.) How do you do... Mrs. Stephens... WE HEAR the pounding of someone's heart - and then Mrs. Stephens' voice. MRS. STEPHENS (O.S.) Hallo, Mark. As her voice dies away. FADE IN: INT. HELEN'S SITTING ROOM CLOSE SHOT of Mark's hand clasping Mrs. Stephens'. CLOSE SHOT of Mark looking at her, fascinated. From Mark's POV WE SEE the sightless eyes turned towards his. Mrs. Stephens' other hand gently feels the surface of his. MRS. STEPHENS Have you been running, young man? MARK Yes... (he hesitates) ... didn't want to be late for Helen. HELEN Thank you, Mark - You deserve a drink for that! What would you like? MARK Nothing - thank you... very much... Mrs. Stephens grunts, and reaches for her glass. HELEN Darling, I've left your supper in the... MRS. STEPHENS Tell me young man... Which studio do you work at? The screen greys out. WE HEAR Mark's tiny intake of breath. MARK (O.S.) Chipperfield Studio . . . MRS. STEPHENS And that poor girl... where did she work? Someone's heart is pounding fast. HELEN (O.S.) At Brookwood. MRS. STEPHENS We were wondering if you knew her? MARK No - No, I didn't... MRS. STEPHENS A pity. I do like first-hand information. We hear Mark's small attempt at a laugh. MRS. STEPHENS Oh, well - I mustn't keep you gossiping after you've run all the way from - Where? Again that little intake of breath. MARK The station. FADE OUT: FADE IN: Mrs. Stephens and Mark are staring at each other as if she has sight and he hasn't. From Helen's POV WE CAN SEE only Mark's back and her mother's upturned face. HELEN Darling, may I tell you about your supper? MRS. STEPHENS No... go and be told about yours! (she takes Mark's hand) Goodbye, Mark... I expect we shall meet again. MARK I hope so - Goodbye... (He turns to the door) CLOSE SHOT of Helen kissing her mother and whispering into her ear. HELEN Darling, we forgot to toss. Mrs. Stephens grunts. HELEN Supper's laid out in the kitchen. MRS. STEPHENS If you're not back early, you'll find me laid out with it! HELEN We'll be early! Good night, darling. MRS. STEPHENS Good night... Mark holds the door open for Helen and she goes into the passage. Mark turns and takes a long look at Mrs. Stephens. She is in the middle of raising her glass. She stops suddenly, the glass poised mid-air. He goes out - closing the door. She finishes her drink as if it is her last. INT. PASSAGE - DAY Helen is waiting by the door. From her POV WE SEE Mark coming eagerly towards her, his camera over his shoulder. HELEN Mark... MARK Yes, Helen? HELEN I want to ask you something rather personal... He looks at her anxiously. HELEN How long is it since you've gone out without that? MARK Without what? HELEN Your camera... MARK Oh... CLOSE SHOT of Mark. MARK I... don't think I know? HELEN Exactly. I've never seen you without it... but are you going to need it tonight? He looks at her in silence. HELEN Well are you? And if so... shall I bring some work with me too? MARK I'm not going to need it tonight! HELEN Good - then give it to me! She holds out her hand. He looks at her, appalled. HELEN ...It'll be quite safe - I'll put it away for you. MARK (in a whisper) No! HELEN Then take it upstairs - if you can't trust me with it... CLOSE SHOT of Mark. MARK I trust you. HELEN Then look... She opens the door of her bedroom - and turns on the light. HELEN ...let's put it in here. INT. HELEN'S BEDROOM She crosses to a cupboard and unlocks it, then turns round. He is standing hesitantly on the threshold. HELEN Come in - and see for yourself. He looks slowly round the room, stares for a moment at the bed in the comer, but he won't cross the threshold. He stays outside. HELEN We'll put it in here - and lock it. MARK This... was my mother's room. HELEN Was it, Mark?... Again he stares at the bed. HELEN I am being tactless, aren't I? ... It's just that... I thought it was growing into an extra limb, and - but you bring it with you if you want to. He takes off his camera - and holds it out to her. HELEN Thank you... She takes it from him, puts it into the cupboard, and locks it. Then offers him the key. MARK You... HELEN Thank you. CLOSE SHOT of Mark. MARK I feel... HELEN Yes? MARK Can't describe it! Could only photograph it - She laughs. HELEN Shall I tell you what I feel? MARK Yes. HELEN Famished! MARK Good! They hurry towards the door. DISSOLVE TO: EXT. MARK'S HOUSE - DAY They walk down the steps of the house. MARK There's a small place round the corner... It's awfully good on Christmas Day. HELEN Is it? MARK Yes... there aren't too many open then. HELEN No - it sounds fun. MARK This way. CLOSE SHOT of Mark and Helen walking along by the side of the house. HELEN I adore new restaurants... Suddenly Mark stands motionless. He is staring at something off camera. Especially when - Her voice trails away... she is staring at Mark staring at something. In the shadows, at the mouth of an alley, a young couple are kissing. Mark stands motionless, staring at them. Automatically his hand reaches for his camera. Helen starts to speak - then looks at him in silence. The man glances round. Mark hurries away and Helen stares after him. CLOSE SHOT of Mark. He turns back - waiting for Helen. From his POV WE SEE Helen come slowly towards him. She looks at him searchingly for a long moment. He manages - but only just - to meet her eyes. HELEN Where is this restaurant? MARK Round the corner... MRS. STEPHENS Know much about films? HELEN Come on then... CLOSE SHOT of Mark. MARK Thank you. They walk slowly down the street. DISSOLVE TO: CLOSE SHOT of Mrs. Stephens. MRS. STEPHENS Sorry, young man, Helen's out. CAMERA PULLS BACK INT. SITTING ROOM - EVENING Tony is standing unhappily opposite Mrs. Stephens. TONY Oh! MRS. STEPHENS With Mark - from upstairs. TONY Oh! MRS. STEPHENS You can stay and talk to me - if you like? TONY Well I... MRS. STEPHENS Know much about films? TONY Well... MRS. STEPHENS Or film studios? TONY No, I... MRS. STEPHENS Where's Chipperfield Studios? TONY Chipperfield, I suppose... MRS. STEPHENS There's a phone book outside... Look up the number, will you? And see if you can get it. TONY Certainly... and then I must go to my room. MRS. STEPHENS Granted. She lifts her glass, and sits, waiting as he crosses the room. DISSOLVE TO: INT. RESTAURANT - NIGHT A small and very pleasant restaurant, almost full. Helen and Mark have a corner table. They are dining by candlelight, and there is a bottle of wine in the middle of the table. As CAMERA TRACKS TOWARDS them, Helen is laughing. HELEN I like this place! And this dinner! CLOSE SHOT of Mark. He has again won the Academy Award. HELEN ...thank you, Mark... MARK Are you ready to talk about your book? HELEN I'm ready to talk about you... His face falls. HELEN It won't take a second - and it's best to have it said. Mark looks. HELEN Carrying a camera is only one of your habits, isn't it, Mark? He looks at her in silence. CLOSE SHOT of Helen. HELEN ... when you stared at that couple, you were like the little boy on that film you showed me... looking over the wall at something he shouldn't see. But Mark - you're strong enough now to lift that child off the wall... aren't you? He hesitates. HELEN ... aren't you? MARK I'll try to be. HELEN Will you, Mark?... Will you really? MARK Yes... HELEN Lecture finished... A pause. MARK When your book's published - will you go on working in a library? HELEN Yes, Mark... in case, one day, a child comes in and asks for it! MARK I'll come in. HELEN I'm not popular with my customers! They ask me for horror comics - and I take their sticky hands and drag them to where there are books! CLOSE SHOT of Helen. HELEN ... and do you know, Mark, waiting for them to come in next time and ask for books... is as exciting... as a horror comic... MARK What does your magic camera photograph? HELEN People... MARK Yes?... HELEN It's owned by a little boy who is terrified of grown-ups... but when he looks in his magic camera he sees grown-ups as they were when they were children... and he isn't frightened any longer. CLOSE SHOT of Mark listening, engrossed. HELEN ... and one day he gives his camera away to a little boy who is even more frightened of grown-ups than he was - and do you know what he finds? The little boy opposite her shakes his head. HELEN ... that when he looks at grown- ups without his camera he can still see them as they were when they were children! And that means that he's grown up himself... A moment's pause. She drinks her wine - shy, awaiting his reaction. MARK What made you think of this story? HELEN You did! CLOSE SHOT of Mark. HELEN ... I looked out of my window - and saw you going off to work carrying that camera like a little boy with a satchel... and an idea came... so thank you... MARK I'd like to think... I was responsible... in some way... HELEN Now what do I do about the photographs? MARK Take 'em! He slams the table so violently that a lady nearby looks around... then reaches for his camera. MARK Oh! Helen smiles. MARK There isn't a single face that doesn't look like a child's - not a single one - if you catch it at the right moment. He turns around excitedly and sees her watching him. MARK It would be a challenge!... Unlike anything I've photographed! HELEN What have you photographed, Mark? MARK Everything. But nothing I'd want children to see. She looks at him curiously. MARK But this would belong to them - and they'd know if it wasn't right... Oh, Helen... I would like to find those faces for you... with you... HELEN Very well! Let's try! He laughs excitedly... She looks regretfully at her watch. At once he looks at his. MARK You made a promise to your mother - HELEN (gently) Yes, Mark... MARK You'd better keep it. HELEN Thank you... He signals to the head waiter... and pays his first bill for two. DISSOLVE TO: EXT.STREET - NIGHT They walk along the street very close together, but not quite touching. Above them a light is shining on a blind revealing a shadow of a woman undressing. Mark glances at the blind - then looks away quickly. He stares ahead of him... and continues to stare ahead of him. Suddenly Helen tucks her arm through his, and smiles up at him... they walk on in silence. DISSOLVE TO: INT. HALL OF MARK'S HOUSE - NIGHT Helen and Mark come in quietly, and close the door. She glances round the dimly lit hall. There is no light under any of the doors, except one at the end of the passage. HELEN Mother must have gone to bed. (she turns to find him looking at her) Mark, it was a wonderful evening... MARK That's what I was going to say... a wonderful evening... HELEN (gently) And you made it wonderful... without your camera. A shadow passes over his face. HELEN (gently) I'll get it for you. He stands motionless as she goes into her room... From his POV WE SEE the half-opened door - and the bed in the comer. CLOSE SHOT of Mark forcing himself to look away. Helen reappears on the threshold - the camera in her hand. He looks down at it - then slowly stretches out his hand. HELEN wonder how this sees grown-ups? (she turns the camera round) ...me, for instance... now that I am one. (she looks at herself in the lens) MARK Not you! (he takes the camera from her) HELEN Mark. MARK It never will... see you! HELEN Why not? He hesitates. MARK Whatever I photograph - HELEN Yes? MARK I always - lose... HELEN I don't understand. The door at the end of the passage opens and Tony emerges in his dressing-gown, carrying a towel. He avoids looking at them - goes into the bathroom opposite, and slams the door. HELEN He'll wake Mother! There is the sound of running water. HELEN ... thank you, again, for my evening. (she is standing very close to him, smiling up into his face) Will you go to bed now - and not stop up watching those films? MARK Well... I've a little work to do... then I'll go to bed... and think of how to find faces for you... He looks down at the face which he has found for himself. She raises her head slowly. MARK ...faces which - are faces which... She kisses him very gently on the mouth. The bathroom begins to sound like a small waterfall. HELEN Good night, Mark... He watches her as she goes into the room, and doses the door. A light goes on beneath the door. He stands very still for a moment... then turns the camera round and points the lens towards his lips. Then he turns abruptly, and hurries up the stairs. The waterfall cascades on. The screen grows dark - and the dark-room grows out of it. INT. DARK-ROOM - NIGHT The big drying drum is turning, feeding the dry print into a box. A small motor drives it. CLOSE SHOT of the box. Mark is spooling up the film as it comes off the drier. Once or twice he can't help glancing at an image. CLOSE UP of Vivian's face, in the image. Mark stops the motor and the drum, loosens the end of the film, spools up with a snap, slides the spool off and hurries out with it. Mark hurries to his projector, threads the film and starts the projector. He flicks it on, as if it were a gramophone, then looks eagerly at the 16mm screen. Behind him something moves in the shadows REVERSE SHOT of Mark. Over the shoulder of someone who is standing deep in the shadows WE SEE Mark. His head obscures what he is watching on the screen. HE TURNS ROUND SUDDENLY - From Mark's POV WE SEE the processing sinks deep in shadow. He starts to move towards them, then suddenly stares at the shadows at the back of the room. Silence - except for the whirring of the 16mm projector. CLOSE SHOT of Mark's hand - switching on the light. Mark turns round... he is as astonished at what he sees as he can be. CAMERA PANS in its own good time to the back of the room. Mrs. Stephens is standing in the shadows... a heavy hand rests on a heavy stick... the sightless eyes stare unerringly towards the light switch. MRS. STEPHENS Good evening, Mark... MARK ...how did you? MRS. STEPHENS The young man bathing himself brought me to your door... I managed the rest of the adventure alone... He stands motionless, staring at her standing motionless. Above her head an ancient, half-blind camera also stares at her. The only movement in the room is her smile. MRS. STEPHENS This is one room I expected to find locked. MARK I was never allowed a key..., can't get used to them. Mrs. Stephens' sightless eyes stare at him. MARK I brought her home early. CLOSE SHOT of her hand - tightening on the heavy stick. MRS. STEPHENS Thank you... MARK Is there something you... MRS. STEPHENS ... a talk. MARK Next door would be more... MRS. STEPHENS I'm at home here... I visit this room every night. MARK Visit? MRS. STEPHENS The blind always live in the rooms they live under... Mark nods. MRS. STEPHENS Every night you pace for hours above my head! Why? MARK I've no one to talk to... in the rooms I live over... Mrs. Stephens nods. Her hand touches the black cloth loading bag, lying on the table. MRS. STEPHENS I'm told that you stare too much... so do I. CLOSE SHOT of her hand - touching the black cloth bag. CLOSE SHOT of Mark - walking slowly towards her. At once she raises the heavy stick - pointing it towards him. CLOSE SHOT of the stick. It is a shooting stick - with a sharp spike on the end of it, similar to the tripod on Mark's camera. Mark stares at the stick, fascinated. CLOSE SHOT of Mrs. Stephens - exploring the inside of the black cloth bag with her free hand. MRS. STEPHENS Cloth... with something hard inside it... MARK It's a changing bag... we put films in it - so that the light won't spoil them... MRS. STEPHENS How odd - that the light can spoil anything... The screen greys out. In Mrs. Stephens' own dark-room we hear the hum of Mark's projector - and the pounding of Mark's heart - and, very faintly, the sounds of Tony bathing himself. MRS. STEPHENS Every night you switch on that film machine. We hear his tiny intake of breath. MRS. STEPHENS What are these films you can't wait to look at? The sound of his footsteps softly approaching. Like a chair? MARK (O.S.) Like a chair? MRS. STEPHENS (O.S.) What is the film you're showing now? Very faintly we hear Tony singing in his bath. FADE IN: The singing dies away, and the sound returns to normal. Over Mark's shoulder WE SEE Mrs. Stephens holding her stick in front of her. MRS. STEPHENS Why don't you lie to me? I'd never know... MARK You'd know at once - Mrs. Stephens smiles - then turns her head towards the 16mm screen. MRS. STEPHENS Take me to your cinema. MARK Yes. He takes her arm gently and guides her towards us. Both of them stare at the 16mm screen... She leans forward - her face only inches from the screen - the light from the projector flickering on to her. REVERSE ANGLE SHOT of Mrs. Stephens. Slowly she stretches out her hands and touches the screen. MRS. STEPHENS What am I seeing, Mark? Her head and shoulders blot out most of the screen - but between her outspread fingers WE CATCH A GLIMPSE of a girl's terrified eyes. MRS. STEPHENS Why don't you answer? CLOSE SHOT of Mark and Mrs. Stephens. MARK (staring at the screen) It's no good - I was afraid it wouldn't be. MRS. STEPHENS What? MARK The lights failed too soon. MRS. STEPHENS (pause) They always do. MARK I'll have to try again. He hurries to his cine-camera. MRS. STEPHENS I've yet to meet an artist who could judge his own work... Mark slips a new spool of film into his cine-camera. MRS. STEPHENS What do you think you've spoiled? MARK An opportunity... now I must find another. He looks at her thoughtfully, then presses a light switch. A spotlight falls blindingly on to her eyes. He presses another switch, and then another, until the whole of her face is shining with light. MRS. STEPHENS Why are you putting those lights on my face? He walks towards her. She starts to back away. The shadow of Mark's head appears on the 16mm screen. WE SEE him raise his camera - then pull down the tripod. Black out into the grey darkness of Mrs. Stephens' world. WE HEAR the purring of Mark's camera - more clearly than we have yet heard it. (There is the faint rasp of a cog which needs oiling.) The sound of footsteps approaching... the purring changes direction. MRS. STEPHENS (O.S.) Mark... MARK (O.S.) It's almost over... The purring is on top of her. There is a sudden thud. FADE IN: Mrs. Stephens is leaning against the wall... she has dropped her heavy stick. It lies on the floor a few feet away from her. Mark is kneeling in front of her - the tripod firmly on the floor. The cine-camera is pointing upwards into her face. He peers excitedly into the viewfinder. MARK Please let me finish! It's for Helen! She edges towards her stick. He hurries forward and picks it up. He looks at the spike on the end of it - then carefully gives it to her by the handle. She grasps it tightly. MRS. STEPHENS What do you mean? It's for Helen? MARK She wants to see something I've photographed! He returns excitedly to his camera. MRS. STEPHENS My daughter sees enough of my face without photographs... On Mark's focusing screen WE SEE the fear on her face. Her hand trembles as she wipes away the perspiration. MARK (O.S.) Please... don't be frightened. MRS. STEPHENS Not frightened! Hot! But it is fear that we are looking at. MRS. STEPHENS So put that camera away... On the focusing screen we see her moisten her lips nervously. MARK Yes! He switches off the camera abruptly, and folds up the tripod. He turns away without looking at her - and hurries to the door. CLOSE SHOT of Mrs. Stephens listening to his movements - puzzled. MRS. STEPHENS In rather a hurry, aren't you? He glances towards her. From his POV WE SEE the fear in her eyes. He looks away at once, staring into the darkened room. MARK It's late. From her POV (shooting over her shoulder with a large CLOSE SHOT of her ear in the foreground) WE SEE Mark standing in the doorway - and hear, very clearly, his quick, uneasy breathing. MARK You must be tired... MRS. STEPHENS You're anxious to get rid of me all of a sudden. We hear his quick intake of breath. MRS. STEPHENS I won't be selfish... You can take some more pictures - if you want to... MARK No... thank you. MRS. STEPHENS (quietly) Why not, Mark? MARK Run out of film. MRS. STEPHENS Can't you find some - to please Helen? He glances towards her - then hurries into the next room. MRS. STEPHENS You don't trust yourself to take any more, do you? INT. MARK'S SITTING ROOM - NIGHT The tapping of her stick is overlaid. Mark hurries to the door and opens it - staring into the dimly lit passage. Over his shoulder WE SEE her tapping her way towards him from the dark-room. MRS. STEPHENS Instinct's a wonderful thing, isn't it Mark? A pity it can't be photographed. Over her shoulder we follow the stick towards him. MRS. STEPHENS if I'd listened to it years ago, I might have kept my sight. (she approaches the door) I wouldn't have let a man operate I had no faith in... so I'm listening to it now... (she puts her face close to him) It says all this filming isn't healthy - and that you need help... His face is averted... his eyes are closed. MRS. STEPHENS ... get it, Mark... get it quickly... and until you've got it... I don't want you and Helen to see each... MARK I'll never photograph her... I promise you that. MRS. STEPHENS I'd rather you don't have the chance. He turns towards her - a small boy who suddenly understands what contagious means... MRS. STEPHENS I mean it, Mark. And if you don't listen to me... one of us will move from this house - which would be a pity, because we'd never find a cheaper... MARK You'll never have to move... because of me... I promise you. MRS. STEPHENS Good boy. (she takes his hand) The stairs are the difficult part... They go into the passage. INT. PASSAGE - NIGHT He guides her gently down the stairs. Over their shoulders WE CAN SEE the door of Helen's room. MRS. STEPHENS Far enough, Mark... He stares at Helen's room - then looks quickly away. Suddenly she raises her hands - and runs them gently over his face... MARK taking my picture? MRS. STEPHENS Yes ... We can see his eyes through her outstretched fingers. MARK It's been a long time... since anyone did... MRS. STEPHENS Mark... what's troubling you? MARK Good night, Mrs. Stephens. He turns away abruptly and hurries up the stairs. MRS. STEPHENS ...you'll have to! She looks towards Helen's room - then turns slowly towards her own. HIGH ANGLE SHOT of Mrs. Stephens opening the door of her room - and Mark opening the door of his. DISSOLVE TO: CLOSE SHOT of a bottle of whisky standing by a bedside. INT. MRS. STEPHENS' BEDROOM - NIGHT She is lying in bed, staring at the ceiling. WE HEAR footsteps moving overhead. CAMERA PANS to the window. It is dark. DISSOLVE TO: CLOSE SHOT of the same bottle of whisky - now almost empty. Mrs. Stephens' heavy breathing is overlaid. CAMERA PANS to the window. It is daybreak. The footsteps are still moving about above; things are being dragged across the floor. DISSOLVE TO: CLOSE SHOT of Helen in a dressing-gown looking out of a window. INT. HELEN'S ROOM - MORNING From Helen's POV WE SEE Mark hurrying down the street, his camera over his shoulder. DISSOLVE TO: CLOSE SHOT of the Inspector looking out of a window. INT. DON JARVIS' OFFICE. MORNING From his POV WE SEE Mark hurrying along the studio quadrangle, his camera over his shoulder. He is one of a crowd of people scurrying towards their jobs. Camera pulls back - Don Jarvis is seated at his desk. Arthur Baden and the Chief Publicity Man are seated in front of him. The Sergeant stands by the door. JARVIS Have you any suspicions, Chief Inspector? INSPECTOR It could be any of them... SERGEANT That's the trouble with film people - they're all peculiar... (hastily) ... present company excepted. He catches a glare from the great man. PUBLICITY MAN Speaking of peculiar people. The Inspector turns round. PUBLICITY MAN We've a psychiatrist coming down today. Dr Rosen - INSPECTOR I know him. PUBLICITY MAN It's pure publicity - and I promise he won't do any work. INSPECTOR What will he do? PUBLICITY MAN Get himself photographed... We're telling the press he's here to help the case - and to see if he can spot the murderer. SERGEANT And the best of luck! JARVIS Do you object. Chief Inspector? INSPECTOR No... The Publicity Man sighs with relief. INSPECTOR I'll be frank. I'd welcome anyone's help... I don't know how this maniac kills - or why he kills - or who he'll kill next, but if he isn't caught quickly... (he shrugs') BADEN Inspector, have you convinced yourself he's a member of my unit? INSPECTOR No, sir ... but a few things seem to point to it... No one outside your unit admits to knowing the girl... There was a trunk all ready for her... and with the risks he was running, I think he'd have to use surroundings he was familiar with... Where is your unit now? BADEN Waiting for me on the set. INSPECTOR I'd like to watch them at their jobs, sir. It may tell me more than a hundred interviews. BADEN But, Inspector, the strain on them is already... JARVIS Come now, Arthur, if that's what the Inspector wants. INSPECTOR I'm afraid it is, sir... now where could I get the best view? BADEN (sulkily) On the dolly... the camera... You can watch everyone and everything from there... including me! INSPECTOR Very well, sir ... I'll become a member of your camera crew... BADEN (to Don Jarvis) ... if the unions don't object! DISSOLVE TO: INT. STAGE A member of the camera crew places his cine-camera and lunch bag on a shelf. Snatches of whispered conversations are overlaid. VOICE 1 I hear they're making an arrest today. VOICE 2 hope it's D.J. It's about time they caught up with him! Mark turns round and walks towards the small group of people assembled round the studio camera - DISSOLVE TO: CLOSE SHOT of a book entitled The Art of Fly Fishing. INT. CAR - DAY Through the windscreen WE SEE the entrance to the studio. The driver glances round at his passenger whose face is completely obscured by the book. All WE CAN SEE is a shock of white hair protruding above DRIVER We're there, Doctor. DOCTOR (to Sergeant on gate) Dr Rosen! What a pity. He continues reading. The car enters the studio. DISSOLVE TO: INT. STAGE E. - DAY The (studio) camera is ready for a tracking shot. The set is redressed as the Hat Department of the store. The Inspector stands on the dolly, looking round with interest. The Doctor is sitting in a chair watching everything like an excited schoolboy. The Sergeant has positioned himself near the sound crew. Baden walks on to the set, his arm round Diane's shoulder. He is talking to her softly. She keeps her eyes on the floor; he leads her to the front of the studio camera. BADEN Try it, darling... We'll all be with you. He pats her arm reassuringly. The Chief Cameraman nods to Mark. From the Inspector's POV WE SEE Mark pull a tape measure from the front of the camera and hold it to Diane's forehead. From Mark's POV WE SEE the Inspector watching him over the top of the studio camera. A man with a shock of white hair is also watching him... and the Sergeant stares at him from the other side of the set. The tape measure in Mark's hand remains steady. From the Inspector's POV WE SEE Mark replace the tape measure and take up his position on a small stool by the side of the camera. ASSISTANT DIRECTOR (shouting) Quiet, everyone. Let's run it! The Doctor sneezes violently - and all heads turn towards him. DOCTOR Terribly sorry. In the nervous laughter that follows, the Assistant Cameraman whispers to the Chief Cameraman. ASSISTANT CAMERAMAN That sneezer geezer's a psychiatrist!... Heard it on the grapevine. CLOSE SHOT of Mark turning round to look at the Doctor - a hint of hope in his face. CLOSE SHOT of the Inspector following Mark's glance. ASSISTANT DIRECTOR (shouting) All right, everyone - let's run it... Over the Inspector's shoulder WE TRACK towards the rehearsal. WE SEE Mark swing out into space on his stool, turning the handle of the focus-puller. Diane approaches the hat counter. The Assistant smiles at her. DIANE I'd like to see... that one... The Assistant hands her a hat. Diane tries it on. DIANE ... have you it... in red...? ASSISTANT Certainly, madam. DIANE ... in... red (suddenly she covers her face in her hands') I can't! I can't, Arthur! She bursts into tears and runs off the set. From the Inspector's POV WE SEE Baden whisper to the Assistant Director - then hurry after Diane. ASSISTANT DIRECTOR Ten minutes break, everyone! The unit dissolves into small, chattering groups. The Assistant Director hurries up to the Doctor. ASSISTANT DIRECTOR Can you suggest anything, Doctor? DOCTOR No. It looked jolly interesting to me. ASSISTANT DIRECTOR I mean to help her psychologically... DOCTOR Yes. Give the girl a proper rest... Ten minutes is useless! ASSISTANT DIRECTOR (hastily) Thank you, Doctor. He bustles off and the Doctor is left alone. He glances round thoughtfully. From the Doctor's POV WE SEE the small, chattering groups. Then we see Mark standing a few yards away, watching him. The Doctor smiles at him pleasantly. DOCTOR What's your job? MARK I'm a focus-puller... DOCTOR Oh... so am I, in a way. MARK I was wondering if you knew my father - Professor Lewis... DOCTOR Professor... but of course I knew him. He lectured to me. He looks at Mark with renewed interest. So does the Inspector. From his POV WE SEE Mark and the Doctor talking. The Doctor is fidgeting with his watch chain. Mark fidgets with his jacket button. The Inspector then glances towards the Hat Salesman, who is holding court in the comer. We return to Mark and the Doctor. DOCTOR He was an extraordinary man - quite brilliant! MARK You know what he was interested in before he died? DOCTOR No? Tell me... Mark puts his hands behind his back. MARK I don't remember what he called it... It was something to do with what causes people to be... peeping Toms... DOCTOR Scoptophilia!... That would interest him! A most fertile mind. MARK Scopto...? DOCTOR philia... The morbid urge to gaze... Coined since his day... Have you any manuscripts of his which I could...? MARK He thought... it could be cured... DOCTOR Usually. Now about his manuscripts - MARK Quickly? DOCTOR The cure? Very quick... A couple of years analysis - three times a week - an hour a time - and it's soon up-rooted... CLOSE SHOT of Mark - his last hope gone. DOCTOR ... if you've any of his papers on the subject? MARK Yes, Doctor... DOCTOR I'd like to see them - I'll give you my address, young man. From the Sergeant's POV WE SEE the Doctor hand Mark a card, and pat him jovially on the shoulder. The Sergeant edges up to the Inspector. SERGEANT Wonder what all that's about? INSPECTOR We'll find out afterwards... Now, listen... I want you to watch who brings their own lunches... Someone ate homemade cakes and sandwiches by the side of those bushes - and we may get a lead. SERGEANT Right, sir. CAMERA PANS to a shelf in the comer. A lunch basket stands next to a cine-camera. DISSOLVE TO: WE HEAR the Assistant Director call out: ASSISTANT DIRECTOR We're stopping at four today - so have a quick lunch, everyone! Back at two sharp! FADE IN on the lunch basket. Overlaid is the noise of the unit dispersing. Mark picks up his camera - then reaches for the lunch basket. An urgent voice whispers behind him. VOICE Hey, Mark! He turns round. The Clapper Boy is standing there. The Clapper Boy glances round carefully. The Inspector and Sergeant are wandering casually towards the door. CLAPPER BOY Can't wait to show you this! (bringing out a small postcard) I ought to charge you! He winks at Mark, gives him the postcard. CLOSE SHOT of the postcard. We see Milly's face and naked shoulders framed between Mark's hands. CLAPPER BOY (O.S.) You don't get that in Sight and Sound - Isn't she terrific? Got some more - if you're interested? Mark hands it back. MARK You've given me... an idea... CLAPPER BOY I'll bet I have! Mark turns towards the exit. CLAPPER BOY Hey! Where are you going? MARK Phone - may be my last chance - and... thanks. CLAPPER BOY But your lunch? MARK You have it! He hurries excitedly towards the exit... CLOSE SHOT of the Clapper Boy staring at his photograph. CLAPPER BOY ... some photograph! Well lit too! He reaches for the lunch basket, then walks towards the exit where the Sergeant is waiting casually. CUT TO: INT. CAMERA ROOM Mark is talking at a coin-box telephone. MARK Can't manage Saturday, sir, but they're letting us off early today! This afternoon - after work - may be my last chance! While Mark is talking he is scribbling on a form. He has some more pennies ready for the coin-box. CROSS CUT TO: INT. NEWSAGENT'S SHOP - DAY MR. PETERS ... be here at six o'clock. Milly'll be waiting. MARK Six o'clock... MR. PETERS On the dot, Mark, or she'll go. MARK I'll be there, sir. MR. PETERS You'd better be! INT. CAMERA ROOM Mark rings off. He is smiling. He puts in another 4d (Four Pence) and dials a number. His pen is poised over the form he is filling in. MARK Hallo? Is that the Public Library? ... You have a Miss Helen Stephens employed there? Yes... can you tell me if her name is spelt with a V or a PH, I want to send her a tic-PH? ... Thank you. We see the form is a last will and testament. I, Mark Lewis, etc., etc., leave, etc., etc., to Miss Helen Ste- ens all my worldly goods, etc. He fills in PH. INT. CAMERA ROOM The door bursts open and the Clapper Boy appears. CLAPPER BOY They're waiting! CUT TO: THE SET - DAY CLOSE SHOT of Dr. Rosen smiling. DOCTOR ROSEN He asked if I knew his father... which I did... a brilliant man! EXT. GROUNDS OF STUDIO - DAY The Inspector and Doctor are standing by the bushes where Mark and Vivian met. INSPECTOR Is that all he wanted? DOCTOR think so... we had a little chat about scoptophilia - and he's going to show me... INSPECTOR About what? DOCTOR Voyeurism. INSPECTOR Eh? DOCTOR What makes people into Peeping Toms, one of his father's subjects, apparently. INSPECTOR (slowly) Peeping Toms... DOCTOR An interesting boy... he has his father's eyes... you don't suspect him, do you? INSPECTOR I suspect 'em all - what about you? DOCTOR I'm interested in that chap with the bald head and hatchet face... there's something on his mind! INSPECTOR No wonder... he's the director! He turns away thoughtfully. DISSOLVE TO: CLOSE SHOT of Mark glancing impatiently at his watch. INT. STUDIO - DAY CLOSE SHOT of Baden glancing at his watch... He whispers to the Assistant Director. ASSISTANT DIRECTOR All right, everyone. This is the last shot... Make it a good one! CAMERA PANS to a comer of the studio. The Inspector and Sergeant stand in the shadows. INSPECTOR (quietly) Got your list, Sergeant? SERGEANT (he produces if) YES, SIR. INSPECTOR I want to see how some of them spend their spare time... SERGEANT Which ones, sir? INSPECTOR Exactly, Sergeant... (he looks round thoughtfully) ... which ones? DISSOLVE TO: CLOSE SHOT of sign: PUBLIC LIBRARY. EXT. PUBLIC LIBRARY - DAY LONG SHOT of very modern, glass-walled building. Helen comes out with a manuscript in a parcel under her arm. EXT. PUBLIC LIBRARY - DAY Mark watches her. Beyond him stands an insignificant-looking man in a raincoat. EXT. LIBRARY Helen looks at her watch. EXT. LIBRARY Mark looks at his. INSERT: 5.45. EXT. LIBRARY Helen hurries homeward. EXT. LIBRARY Mark slowly turns his back and walks away, gradually gathering speed. The man in the raincoat follows him. EXT. NEWSAGENT'S SHOP. LATE AFTERNOON Mark hurries towards the shop... ahead of him a street clock stands at just on six. Mark unslings his cine-camera and photographs this clock... then he hurries into the shop. The man in the raincoat walks into camera. He looks at the clock, puzzled, then glances at the newsagent's window. He gazes with interest at Mark's photograph of Milly, then walks thoughtfully down the street. All the clocks in the kingdom chime the hour of six. INT. NEWSAGENT'S SHOP - LATE AFTERNOON Mr. Peters is behind the counter. MR. PETERS Don't make a habit of this! MARK I won't, sir. MR. PETERS Milly's upstairs. MARK Right, sir. He turns to the door. MR. PETERS I've got to go out... If you finish before I'm back, lock up and put this through the letter-box... (he holds out a key) CLOSE SHOT of Mark staring at the key. MR. PETERS What's the matter? Haven't you ever seen a key before? Mark takes the key. He starts to smile. MR. PETERS The till will be empty - if that's what you're smiling about. Mark turns to the door. MR. PETERS You know what I want now! No fancy stuff... Mark goes into the inner room; he is still smiling. DISSOLVE TO: EXT. NEWSAGENT'S SHOP - LATE AFTERNOON From the opposite side of the street, we see Mr. Peters locking the door of the shop, and hurrying down the road. The man in the raincoat watches him, puzzled. CLOSE SHOT of Milly - very angry, in a dressing-gown. MILLY You've spoiled my whole evening, you have! INT. NEWSAGENT'S STUDIO - LATE AFTERNOON Mark closes the door behind him. MARK Sorry, Milly. MILLY What's the idea? MARK I shan't be here tomorrow. (he hurries to the window) MILLY Why? Going on manoeuvres with the boy scouts? He starts to draw the curtains - and stops suddenly. Over his shoulder WE SEE the man in the raincoat standing on the opposite side of the street. MARK I thought so! Mark raises his cine-camera and carefully photographs the Detective through a chink in the curtains. MILLY Have you gone absolutely... MARK I'm just... completing a documentary. MILLY You're a document and a half, you are. Is it safe to be alone with you? He draws the curtains - and turns round. MILLY ... might be more fun if it wasn't... He turns round and walks slowly - and a little sadly - towards her BLACK OUT: The screen remains dark for a moment. FADE TO: AN HOUR LATER - EARLY EVENING From the Detective's POV, WE SEE the chink of light between the curtains of a window above the newsagent's shop go out. CAMERA TRACKS TOWARDS the door of the shop. Mark comes out, his cine-camera over his shoulder. He has a key in his hand. He closes the door of the shop... then looks at the key. He fits it into the lock - then slips it through the letter-box. He turns and hails a taxi. CLOSE SHOT of the Detective. He looks at the shop, hesitates, decides to follow Mark - hails another cab. EXT.STREET Mark gets into his taxi. As the driver pulls down the flag... CUT TO: Mrs. Stephens' head falling on to her chest. INT. MRS. STEPHENS' BEDROOM - EARLY EVENING She is lying in bed - completely drunk - snoring lustily. A hand smooths her forehead. CAMERA PULLS BACK Helen is leaning over the bed. She has her coat on. HELEN Darling... She shakes her mother's shoulders. Mrs. Stephens snores on. HELEN Darling. She shakes her again ó but it is hopeless. Helen pulls the bedclothes round her mother, then turns away. She picks up a large envelope and her handbag, and hurries to the door. INT. PASSAGE. MARK'S HOUSE - EARLY EVENING Helen walks towards the stairs. The door of Tony's room opens, and he pokes his head round. TONY Hallo. HELEN Hallo, Tony... TONY Where are you going? HELEN To leave something for Mark... TONY You haven't much time for me these days. HELEN Tony... TONY It's all right - I'll be here - if you want me. (he turns to his room) ... by the way... your mother was yelling out something before you came in... about Mark photographing her. HELEN Photographing Mother? You must be mistaken! TONY Of course. See you sometime. He goes into his room, closing the door. She stares after him for a moment, then hurries up the stairs. INT. PASSAGE BY MARK'S ROOM - DAY Helen knocks on the door. HELEN Mark...? No answer. She knocks again, then opens the door and goes inside. INT. MARK'S SITTING ROOM - EARLY EVENING Helen enters and glances towards the door of the dark-room. HELEN Mark? No answer. She looks thoughtfully at the envelope in her hand - then goes in to the dark-room. INT. MARK'S DARK-ROOM Helen fumbles for a switch... she finds one and presses it. A spotlight falls on Mark's projector, throwing its shadow on to the dazzling white screen. Helen smiles, and walks towards the projector. EXT. HOUSE - DAY Taxi arrives and Mark gets out. INT. POLICE PHONE BOOTH - EARLY EVENING DETECTIVE ... don't know what to make of it, sir ... He went to a library, a solicitor's office, and a newsagent's shop - private photography there, if you ask me. Shall I hang around outside the house, sir? Don't think so, either... All right, sir, I'll give you the details when I get back... Bye, sir. (he replaces the receiver) CLOSE SHOT of Helen. She is standing by the projector, holding her envelope thoughtfully. INT. MARK'S DARK-ROOM She smiles suddenly and opens her envelope. She takes out a bound manuscript. We see a label on the manuscript: The Magic Camera by Helen Stephens. She takes a pencil from her pocket, and opens the manuscript. Then she sits at Mark's table and writes a note on the flyleaf. The projector is at her elbow. DISSOLVE TO: A telephone by a man's elbow. It rings. INT. SCOTLAND YARD - EVENING The Chief Inspector snatches up the telephone. CHIEF INSPECTOR Chief Inspector Gregg! What? Put him on the line... CROSS CUT TO: Mr. Peters - looking very sick - on the telephone. MR. PETERS went up to look around - found her. CLOSE SHOT of the Chief Inspector. CHIEF INSPECTOR Yes, yes... What's the address? ... Newsagent's shop? ... Did you say news...? He slams down the receiver, and jumps to his feet. DISSOLVE TO: EXT. ROAD - EVENING An empty taxi cruising down the street. It passes the Detective in the raincoat walking away from Mark's house. DISSOLVE TO: CLOSE SHOT of a note on a flyleaf which reads 'From one Magic Camera - which needs the help of Another'. INT. MARK'S DARK-ROOM - NIGHT Helen closes the manuscript and lays it carefully by the side of the projector. She turns to leave - then looks curiously at the projector. CLOSE SHOT of Helen - hesitating. Like a small girl in front of her mother's make-up box, she touches the projector tentatively, hesitates again, then presses a switch. A beam of light shoots out. We watch Helen's face as she looks at the screen. Nothing seems wrong for a few seconds - then something starts to happen to the comers of her mouth... and then her eyes become locked... and cannot stop watching. Some kind of sound comes from the back of her throat. Her hands dig into the table and she tries to stand up. She cannot manage it the first time - and keeps on watching, then, like a child waking from a nightmare, she jerks herself away from the table, and stumbles towards the door. CLOSE SHOT of Mark standing there - watching her. CLOSE SHOT of Helen staring at him... again we hear that sound from the back of her throat. He looks away from her at once. MARK Don't let me see you... frightened... (he pushes the door wide open...) Leave! (he looks at her - then looks quickly away) Hurry, Helen! HELEN Not... MARK Leave! HELEN Not... (she turns away from him and forces the words out) ... till I know... MARK Now! She stands with her back to him. From REVERSE ANGLE we see her struggling for breath. Over her shoulder WE SEE him staring at the 16mm screen. HELEN That film... Over her shoulder we see him hurry towards the projector. HELEN That film... The sound of him switching it off. HELEN ... is ... just a film... She wheels round towards him. HELEN ... isn't it? From REVERSE ANGLE we see her looking at him. HELEN ... horrible ... horrible... but... just a film... isn't it? CLOSE SHOT of Mark. MARK No... (he walks towards the door) I killed them... (he locks the door with a hint of sadness) And now that you know... I want you with me... a while. CLOSE SHOT of Helen ó not enough breath to scream... hardly enough to breathe. MARK You'll be safe - as long as I can't see you frightened - so stand in the shadows, Helen... please... She stands motionless. MARK ... please... From her POV WE SEE him standing in front of the door, looking ahead of him. She backs slowly away into the shadows at the back of the room. HELEN She's right... your mother... must tell someone everything... sorry... has to be you! CLOSE SHOT of Helen standing in the shadows where her mother stood. HELEN This was his laboratory... and you know some of what he did... but not all. The room is suddenly filled with the terrified screaming of a small boy. Helen wheels round. The screaming seems to be coming from the walls. Mark's hand is on a switch - one of a number on a panel. MARK ... aged five... He presses another switch. There is a click, and the screaming stops, to be replaced by a low sobbing. MARK ... aged seven... He presses another switch. There is a moment's silence. MARK All the rooms were wired for sound... and... still are. WE SUDDENLY HEAR the ticking of a clock. MARK Your room. CLOSE SHOT of Helen - listening. MARK Your mother's . The click of a switch - and we hear a loud snoring. MARK Tony's. The click of a switch - and we hear Tony's voice. TONY (O.S.) No one will come in... honestly, darling... GIRL'S VOICE (O.S.) I don't care! TONY But darling... GIRL'S VOICE (O.S.) Stop it, Tony! Mark listens with interest. HELEN (quietly) Turn it off! He does so - at once. She walks towards him. He turns away from her. HELEN Look at me, Mark! MARK Not if you're frightened... HELEN Look at me! Slowly he faces her. HELEN What did you do... to those girls? MARK No. HELEN What did you do, Mark...? He tries to turn away - but she follows him. HELEN If you want to torment me... for the rest of my life... then make me imagine! CLOSE SHOT of Mark - his eyes closed. HELEN What did you do ... to those girls? MARK Can't... HELEN Show me, Mark... MARK But if you're frightened... HELEN Show me - or I'll remain frightened... for the rest of my life. Show me! He turns to his cine-camera, and picks it up. He releases the tripod. CAMERA HOLDS on Helen. She stands very still against the wall. Mark's voice is overlaid. MARK (O.S.) Do you know... what the most frightening thing in the world is?... She is looking at something, puzzled. MARK It's fear. The sound of his footsteps approaching... MARK So I did something... very simple... WE SEE a look of fear spring into her eyes. MARK Very simple. WE SEE the spike approaching her throat... but she is looking at something else. MARK When they felt the spike... touching their throats... and knew I was going to kill them... The spike is touching her throat. MARK ... I made them - watch their own deaths! CLOSE SHOT of Helen's face several times its natural size. She is looking at herself in a large circular magnifying mirror which has been fitted over the camera's face. The mirror entirely obscures both Mark and the camera. There is a small hole in the mirror through which the lens of the camera winks. As Helen looks at her terrified distorted face this small hole gives her an extra eye in the middle of her forehead. MARK Made them see their own terror as the spike went in... and if death has a face, they saw that too! CLOSE SHOT of Mark - crouching behind the mirror, sweat pouring down his forehead... his finger on the trigger of the camera. MARK Not you! Not you! I'll never photograph you! I promised - I promised - Not you! Helen's eyes are closed. The spike is still touching her throat. CLOSE SHOT of Mark ó his face turned away from the viewfinder. HELEN ... frightened ... for you... There's the sound of a car pulling up. He hurries to the other room. EXT. HOUSE - NIGHT The Police arrive: three cars. Mark appears at an upstairs window with his camera. SERGEANT Look out! He thinks Mark has a gun. They all duck. Mark raises his camera and photographs them. The Police recover and charge for the house. Mark disappears. INT. DARK-ROOM - NIGHT Mark hurries back into the room carrying his camera. He knows exactly what he has to do. HELEN Mark! Mark! Give yourself up! MARK I've been ready for this... for such a long time... Rapidly he fixes his camera on to a hook on the wall. Then he adjusts the tripod so that the spikes protrude towards him... HELEN What are you... MARK It'll be all right. He makes chalk marks on the floor in front of the camera, then switches on all the floodlights. WE CAN HEAR the Policemen pounding on the door. MARK I can beat that! He crosses to a switch - presses it. The room is filled with a small boy's screaming. HELEN Give yourself up... Mark! He stands next to her, and looks at his long array of cameras. WE SEE that each one of them has been fitted with a small metal disc (a delayed release), and that some of the older cameras have flashlights attached. MARK Watch them, Helen... Watch them say goodbye - one by one - (he presses a master switch on the wait) I've timed this... so often... Slowly he walks past his cameras. As he does, the metallic disc on each one explodes with a little plop - and the eye of each camera winks once as if in salute. Some go off with flashlights on either side of the room. The sound of footsteps hurrying up the stairs. Ahead of Mark - coming steadily closer ó are the spikes of the tripod. The mirror on the cine-camera reflects the approach - and Helen's terrified face. HELEN No - No! The child's screaming reaches its peak as Mark approaches the spikes... Ahead of him, on the small table where his projector stands, is Helen's book The Magic Camera. MARK I wish... I could have found your faces for you... The Policemen are now rattling on the dark-room door. MARK Helen - I'm afraid! We see his face, terrified, in the magnifying mirror. The spikes are against his throat. The eye of the camera is winking rapidly. MARK I'm glad I'm afraid! Heavy shoulders are pressing against the dark-room door... as it breaks in, Mark lunges forward against the spikes. The cine-camera is wrenched away from the wall as he falls back. He crashes against the small table, which falls over. He is not parted from his camera - it is fixed to him by the tripod, and falls back with him, covering his face like a canopy. WE SEE his face in the lens of the cine- camera. and WE SEE his hand - lying limp on the cover of The Magic Camera. The Policemen hurry into the room. They stare motionless at what they see. CLOSE SHOT of Helen - her face buried in her hands. The child's screaming stops suddenly... and in the absolute silence which follows WE HEAR the voice of Mark's father: FATHER'S VOICE (O.S.) Don't be a silly boy... there's nothing to be afraid of... And a small voice answers. CHILD'S VOICE (O.S.) Good night, Daddy... The spotlights begin to dim... The dazzling white of the 16mm screen fades slowly into greyness... The room is filled with the gentle breathing of a small child. FADE OUT: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Peggy Sue Got Married.txt b/unformated_scripts/Script_Peggy Sue Got Married.txt new file mode 100644 index 0000000000000000000000000000000000000000..94414f45487c4e1cb3b01f81255c678c69318bd3 --- /dev/null +++ b/unformated_scripts/Script_Peggy Sue Got Married.txt @@ -0,0 +1 @@ +PEGGY SUE GOT MARRIED An Original Screenplay by Jerry Leichtling and Arlene Sarner REHEARSAL DRAFT - These changes are August 14, 1985 Over BLACK, we HEAR the sounds of an old TAPE RECORDING. Young VOICES are filtered amid a noticeable hum, hiss and crackle. We HEAR giggling and then someone named Charlie making vows of love to someone named Peggy Sue. CHARLIE (0.S). Hi this is Charlie and... Come on, say your name. PEGGY (O.S.) Peggy Sue. CHARLIE (O.S.) And we're here on the couch... PEGGY (0.S.) Don't say that... EXT. PEGGY'S NEIGHBORHOOD — DAY A split—level house on a slight grade of lawn. A red Honda the driveway. CHARLIE (O.S.) We're here on the sofa bed... PEGGY (0.S.) Charlie... CHARLIE (O.S.) ...to record how much we love each other. Sitting beside me is the cutest majorette in the history of the world. And she would Like to say something. A real estate agent, a WOMAN, carries a "For Sale" sign to the center of the lawn and begins driving it in with a hammer. CHARLIE (O.S.) Come on Peggy. Say what we rehearsed. PEGGY (O.S.) I can't. I'm too embarrassed. INT. BODELL HOUSE MOVING VIEW, revealing the empty house. We HEAR the RECORDING LOUDER. CHARLIE (O.S.) But you love me don't you? PEGGY (0.S.) Yeah. Come on Charlie, turn it off. CHARLIE (O.S.) And nothing will ever change that. Charlie starts giggling. We HEAR fumbling and tickling. CLOSE VIEW INTO THE KITCHEN - First we see a woman's hand, on the floor. It is partially covered with flour. MOVING VIEW reveals PEGGY BODELL, in her early 40's, fainted from heartbreak while baking a cake. Flour is scattered on the floor. She recovers from her faint. Confused, she steadies herself and brushes the flour from her dress. INT. GARAGE -- DAY Peggy's son, SCOTT, 16, is playing an old reel to reel tape recorder. There are stacks of boxes filled with personal things and records. His sister, BETH, 23, is packing. SCOTT Boy, have they changed. Who gets it? BETH I don't know, just put it back. CHARLIE (O.S.) Oh, gotta go. Here's a little make—out music. A record starts: "You Belong to Me" by the Duprees. INT. CHARLIE'S APARTMENT CHARLIE BODELL, early 40's, singing the same song. He can't hit a high note, turns off the water and steps out of the shower. JANET, his young, buxom girlfriend is in the bedroom. CHARLIE Goddamnit, I just can't hit those high notes anymore. JANET You know Charlie, if you're serious about this, I know a great vocal coach. Charlie's perplexed reaction. EXT. BODELL HOUSE - DAY "Crazy Charlie's Discount Appliances" truck has parked in front of the house. WORKMEN are loading boxes of records, tapes, etc. Charlie pulls up, waves to workmen. INT. KITCHEN/HALLWAY Peggy is loading the odd—shaped cakes into boxes. We note the grandfather clock tolling nine. VIEW IN HALLWAY Beth meets her father at the door. BETH Hi Dad, can I have 100 dollars for a brake job? CHARLIE Did I hear 70 dollars? What do you need 50 dollars for? How's your Mom? Peggy comes out of the kitchen. Charlie has stopped conspicuously at the threshold. A workman comes from behind Peggy. WORKER Coming through. CHARLIE Frank, watch the clock. Peggy looks outside. EXT. HOUSE — PEGGY'S POV Janet is seated in Charlie's car. INT. HOUSE PEGGY There's something pathetic parked in front of my house. CHARLIE Come off it, Peggy. And what do you mean your house? This is my house. I paid for it, I'm still paying for it. PEGGY I'm still waiting for the mortgage check. CHARLIE I mailed it to you on Wednesday. PEGGY Well, today's Saturday and it's still not here. CHARLIE Jesus, Peggy. Take it easy. I'm not used to that stuff. You always did the bills. Blame the damn post office. A workman approaches carrying an old mono record player: black and white, a real fifties artifact. For a moment their mutual resentment melts, as they look at each other. PEGGY That stays. The workman looks to Charlie for approval. Charlie nods. The workman shrugs, and heads back to the basement. CHARLIE You got a Tab? PEGGY I don't buy them anymore. You were the only one who drank them. INT. REC ROOM Peggy leads the way. At the far end, she flips a light switch that turns on a wall sculpture of lava lamps. CHARLIE You don't want them? They're going to make a big comeback any minute. Mark my words, these lamps are going to... PEGGY I know. Put Scott through college. CHARLIE I'll think of a way to sell, them. (beat) One day. Peggy opens a box filled with records. She closes it and moves to another. Charlie checks the contents of another box on the other side of the room. PEGGY Are you taking Janet to the reunion tonight? CHARLIE I'm not going. Scott calls from the top of the stairs. SCOTT Come on Dad! CHARLIE Be right there. I'll go through the rest of this stuff next weekend. SCOTT Bye Mom. PEGGY Bye sweetheart. Peggy and Charlie look at each other as Scott leaves. CHARLIE (with real, regret) I never thought it would go this far. Charlie exits. Peggy looks around. She slaps the flap of a box down, to close it, but it jumps back up. DISSOLVE: EXT. PEGGY'S DRIVEWAY Peggy and Beth carry the cake boxes into the car A NEIGHBOR trimming the hedge watches them lasciviously. Peggy and Beth drive off. EXT. STREET Peggy's car rounds a corner into the business section of town. EXT. LOVIN' OVEN BAKE SHOP Peggy pulls up to the front door of The Lovin' Oven, her bake shop. Bags of bread and rolls lean against the door. Beth jumps out and opens the door of the shop. Peggy stacks the boxes in Beth's arms and opens the door for her. PEGGY If the pastries aren't here by nine thirty, call Monica and threaten her life. Peggy gets into the car, and blows a kiss to Beth. PEGGY I'll be back by noon. Peggy drives off as MONICA drives up. She exits her car and begins to unpack cake boxes. BETH Hi Monica. You just missed Mom. MONICA Sorry I'm late. My Bobo's back in town. EXT. KRISTIN'S COIFFURES HAIR SALON INSERT: Sign: KRISTIN'S COIFFURES Peggy exits with a fifties flip. From a distance she looks like a fifties teenager. She nervously looks at her reflection. Maybe this was a mistake. Too late now. INT. PEGGY'S CAR — DRIVING Peggy is driving. On her car radio, we HEAR a local PHONE—IN TALK SHOW. WOMAN'S VOICE (V.O.) Hi. I'm Dolores Dodge. We're taking calls today on surrogate mothers. Wombs for rent. I want to know how you feel.. PEGGY Oh, Dolores. Peggy switches stations until she finds the news. EXT. STREET CORNER Peggy stops for a red light. Her eye is caught by a Mercedes stopped next to her. Behind the wheel is a striking woman of her age, CAROL HEATH. They stare curiously for a beat, then: PEGGY Carol! CAROL Peggy Sue! They pull over to the side of the road. EXT. SIDE OF ROAD Exiting the cars, they hug. CAROL I haven't seen you in years. In all that time, haven't you at least tried another hair style? Peggy tries to laugh off her embarrassment. PEGGY 1 just did it for the reunion. I thought it would be fun. CAROL You're probably the only one who could carry it off. INT. LOVIN' OVEN — DAY Peggy and Carol enter as Beth finishes up with a customer. Peggy walks behind the counter as the customer exits. BETH Where were you? You said you'd be back at twelve. PEGGY This is my old friend Carol.. I told you about her. Beth and Carol exchange hellos. BETH r was worried about you You didn't even call. You're always on my case if I don't call.. PEGGY How do you like my hair? BETH It looks great. Don't change the subject. You know how busy Saturdays are. And I can't do the icing. I always mess up the roses. You're not being very responsible. Peggy takes over the work of decorating the large pennant shaped cake in silver icing: 25th Reunion — Buchanan High.' CAROL Who's the mother around here? BETH Sometimes I wonder. INT. TELEVISION STUDIO A television studio set made up of platforms covered with black cloth. Placed around the platforms on different levels are projection TVs, regular TVs, microwave ovens and other expensive, futuristic appliances. Charlie sits at one of them (or a table) as a CHINESE WAITER rushes in and puts a tray of fortune cookies down. WAITER Here Charlie, extra fortune cookies. Good luck. CHARLIE Thanks. Charlie grabs a cookie and puts it on the table in front of him, smashing it with his fist. He picks up and reads the fortune: CHARLIE (manic) Next week you'll be selling Sanyo remote control VCRs for three hundred and ninety—nine dollars? Oh no! (sings) Crazy Charlie... He grabs and smashes another fortune cookie. CHARLIE You'll give away Mitsubishi giant screen TVs for twelve hundred and ninety—five dollars! Oh no! I'll go broke! (sings) Crazy Charlie... He grabs and smashes another cookie. CHARLIE You won't be undersold on stereos, videos, microwaves or blenders! (sings) Crazy Charlie, Crazy Charlie, I'm not breaking cookies, I'm smashing prices. (rolling his eyes like Fabian) Crazy Charlie, he insane. The waiter hits a big gong. Beth laughs. PEGGY (0.S.) Turn that off. INT. PEGGY'S BEDROOM — NIGHT CAMERA PULLS BACK from the TV into Peggy's bedroom. Beth gets up from the bed and turns off the TV. Peggy enters from the adjoining bathroom, wearing a robe, and bobby socks with saddle shoes. She picks up a gold Locket from the dresser, and puts it on. BETS When are you going to stop being so mad at Dad? How do you think that makes me feel? PEGGY I have a lot of unresolved feelings about him. I don't trust him. Besides, I hate those commercials. BETH I'm sorry I asked. We don't have time for another heart—to— heart. Here, try on the dress. Peggy tries on the fifties dress lying on the bed. PEGGY But I want you and Scott to understand. (beat) Do you think he loves Janet? Maybe he's smashed too many fortune cookies. BETH Come on Mom. Give him a break. He's missing the reunion because of you. You know he wants to go. PEGGY Then we'd both have a miserable time. What do you think? She looks exactly like a sixties teenager. BETH Hey, you're a hip chick. You look like you stepped right out of Life magazine. Any time you want to borrow it again, just ask. PEGGY Borrow?! This was my dress. (beat) Maybe it's a mistake. What if I'm the only one? I don't even want to go. Everybody's just going to say... (imitating commercial) Hi.. Where's Crazy Charlie? BETH Mom, lots of people are separated and divorced. PEGGY Not from the guy with the lowest prices in town. EXT. HIGH SCHOOL ENTRANCE - NIGHT Couples are walking up the stairs into the school. Peggy and Beth are at the bottom of the stairs, staring at the banner hung across the entrance.. It reads: WELCOME CLASS OF '60. PEGGY I feel ridiculous. Maybe I should go home and change. BETH Why are you so nervous? What is the matter with you today? PEGGY I don't know. Reunions do funny things to people. At that moment they're joined by MADDY.(Madeline) and ARTHUR NAGLE, coming up behind them. A typical polyester couple. Hellos all around and hugs. Arthur puts his arms around Beth and Peggy and leads them up the stairs. MADDY You two look like that soap commercial. Which one's the daughter and which one's the mother? ARTHUR You took this seriously. You're a real blast from the past. PEGGY It was Beth's idea. MADDY I wish I had the nerve. And the figure. ARTHUR You always were a crazy little gal, Peg. PEGGY Arthur, please don't call me Peg. INT. SCHOOL HALLWAY — NIGHT A large table in the lobby holds plastic nametags. A sign reads: LADIES IF YOU CAN'T FIND TOUR TAG, LOOK UNDER YOUR MAIDEN NAME. Several people are bending over the table looking for their tags. A HOSTESS is sitting behind the table. Peggy, Beth, Maddy and Arthur enter. Hellos all around. PEGGY Beth's boyfriend is playing in the band. MADDY It must run in the family. BETH What does? ARTHUR You and your mother both seem to fall for musicians. Maddy and Arthur laugh. Peggy is not amused. The hostess hands them their name tags and turns to welcome new arrivals. As they proceed down the hallway, Peggy SEES a distinguished man enter, RICHARD NORVIK. With him is his pregnant wife SHARON. Richard smiles at Peggy. She can't place him. Peggy turns back to her group and continues down the hall. The fifties MUSIC GETS LOUDER AND LOUDER. INT. GYM The gym is packed with people dancing, chatting, greeting lost friends. A bar is set up at one end. On the walls are black and white blow—ups of the 1960 yearbook. On a table is a buffet and Peggy' s cake. The BAND is PLAYING and SINGING old rock and roll songs. Couples slow dance, jive and stroll. Peggy, Beth, Maddy and Arthur enter. Beth leaves the group. ARTHUR Hey, there's Terry and Leon. MADDY Peggy, would you find a table? We'll see you in a little while. PEGGY Okay. They walk away into the crowd, leaving Peggy alone. INT. GYM NEAR WALL CL0SE VIEW — A photo of the majorettes. Peggy is in the middle, twirling her baton. Her reverie is interrupted by: RICHARD (0.S.) Are you Peggy Sue Kelcher? PEGGY I was once. Richard!? Richard Norvik? I didn't recognize you. RICHARD You look exactly the same. PEGGY I just did it for tonight. I don't normally dress like this. SHARON It's adorable. RICHARD Oh, I'm sorry.. Peggy Sue Kelcher, my wife Sharon. PEGGY Hello. Nice to meet you. Please call me Peggy. I'm Peggy Bodell now. RICHARD Where's Charlie? I was in town about a year ago and caught one of his commercials. Really made me laugh. PEGGY He's not here. We're getting divorced. RICHARD Gee. I'm sorry to hear that. NEW VIEW — A large, beefy HAND is THRUST INTO FRAME. MAN'S VOICE (0.S.) Mr. Norvik. CAMERA PULLS BACK TO INCLUDE DOUG SNELL, a paunchy, overbearing man, shaking Richard's hand. DOUG Or, uhh, Richard? David Snell, Merrill Lynch. I read about the Cordex deal in Business Week. Congratulations. RICHARD Thank you, Doug. DOUG Hi Peggy. How are you? How's Char1ie? INT. GYM VIEWS ON Carol and Walter. They play a standoffish game, each noticing the other, but pretending not to. We HEAR and SEE bits of conversations: SANDY (gleeful) I can't believe how she let herself go. She was so beautiful in high school. CAROL Everyone's got a gold Rolex. I had this one specially made in platinum. Richard is standing with three men. They hang on his every word. Beside them, a very DRUNK MAN overhears: RICHARD ...fifth generation core capacities are going to cause another shake—out in the smaller companies. DRUNK MAN (to Richard) Your damn computers put me out of business. You're a billionaire, and I'm a goddamn failure. Another man gently restrains the drunk and leads him away. Richard is shaken. NEW VIEW Carol and Peggy. CAROL (chuckling) Welcome to the singles scene. PEGGY I don't know how you do it. I've never even dated anybody but Charlie. CAROL You just have to remember... men are like houses and trade upwards... I thought you had a pretty good marriage. PEGGY We did for a long time. We just got married too young, and ended up blaming each other for missing out on things. CAROL So he started having affairs, and you got depressed. Peggy nods. CAROL (CONT'D.) You should have left here years ago, like I did. PEGGY It's not the place. I don't buy that. (melodramatic) Trapped in the same town forever. The price she would pay for her teenage lust. CAROL After you got knocked up, my mother didn't want me to talk to you. She thought it was contagious. PEGGY Oh, it's not so bad. I have two wonderful kids, my own business. (beat) Still, knowing what I know now, if I had the chance to do it all over again, I'd sure do things a lot differently. CAROL Wouldn't we all. INT. GYM OFFICE (ADJACENT TO GYM) DOLORES DODGE is about to interview Maddy and Arthur; she turns on the tape machine and holds up the microphone. DOLORES Madeline Hutton and Arthur Nagle were high school sweethearts. Married right after graduation, they're still together. In this day and age, that's remarkable... Maddy, Arthur, how does it feel to have missed the sexual revolution? MADDY (incensed) What kind of question is that? It has nothing to do with the reunion. ARTHUR (thoughtfully — into mike) I'm glad you asked, Dolores. Four years ago Maddy and I found Jesus... DOLORES Spiritual renewal.. That's what reunions are all about. Familiar faces, forgotten memories, ancient dance steps and music...the great time machine. INT. GYM CAMERA PANS the gym and FINDS: Carol dancing with WALTER GETZ, slim, handsome, with a big toothy grin. Carol's old high school boyfriend, he's now a dentist and a fabulous dancer. They make a great team. Couples dancing around them react appreciatively. CAROL I never could keep up with you. WALTER (with a quick tap step) Just call me Walter the dancing dentist. Taps and caps. My specialty. INT. GYM — ANOTHER AREA PEGGY'S TABLE. Peggy sits with Richard, Sharon, and two other couples, TERRY and LISA and LEON and SANDY. A hand gently touches Peggy on the shoulder. Peggy turns around and sees ROSALIE TESTA, a small woman with close cropped hair. She's in a wheelchair. She wears a plastic badge: REUNION COMMITTEE. ROSALIE I remember that dress. PEGGY Rosalie Testa! 'HELLOS' all, around. Peggy helps Rosalie position her wheelchair at the table. ROSALIE I remember when you got that locket, too. You were so excited I think you showed it to the whole school. PEGGY You have an incredible memory. SHARON It's beautiful. Does it open? PEGGY Yes. These are my children. But they're not babies anymore. INSERT - LOCKET Inside are photos of Beth and Scott as babies. ROSALIE (laughing) I think you got married when you were three. INT. GYM OFFICE Dolores interviewing Walter and Carol. DOLORES Carol Pritchard Heath and Walter Getz were high school steadies who went their separate ways. After twenty years and four divorces between them, they meet again — Walter a successful dentist, Carol a mature career woman. Carol, why did you really come back for this reunion? CAROL Curiosity mostly. I heard you finally found a man of your own. Too bad he's married. WALTER (cracking up) Whoa! Cat fight! Purse war! INT. GYM — PEGGY'S TABLE THEIR POV: Dolores walks resolutely towards their table. Maddy and. Arthur leave the table as Dolores approaches, putting her tape machine on the table. She ignores everyone, focusing on Richard. DOLORES Hello everyone. Richard Norvik? I'm Dolores Dodge with KARP Radio. Could I have a minute of your time? RICHARD Sure. I remember you. INT. GYM — SERIES OF SHOTS The BAND is PLAYING and SINGING the SONG "GOOD OLD ROCK AND ROLL." Peggy and Sharon walk through the gym looking at the photo blowups on the wall. Peggy is stopped and hugged by several people. Maddy and Arthur are dancing. Despite the frantic beat, they are slow dancing. Seth is hanging around the stage, bringing a drink to the guitar player. Walter is dancing with Rosalie in her wheelchair. OVERWEIGHT, BEARDED MAN Turns out I love business. Every morning I wake up, thank God I'm alive, and say Who am I gonna screw today? LEON Let's play "Rate the Moment". I give tonight an eighty—seven. Better than sex, not as good as racquetball. INT. GYM OFFICE Dolores has left. Walter lays out lines of cocaine on the back of the clipboard, as Carol watches. WALTER The best thing about being a dentist. Pure pharmaceutical grade. A couple of lines of this, I can drill my own teeth... (looks at her for a moment) Hi. CAROL Hi. INT. GYM — INTERCUT - SERIES OF SHOTS SERIOUS MAN (to his wife) Joe would have enjoyed this. God, I still miss him. MADDY (to Carol) Peggy was a mess right after they separated, but I think she's coming out of it... It seems to be pretty friendly now.. CAROL Sometimes it's easier when you hate them. GREASY DRUNK CREEP I can't remember. Did I make it with you in high school? LISA Doesn't it feel like it was yesterday? TERRY Youth is like an amputated leg. Long after it's gone, you still feel it. SAME BEARDED MAN My wife's a cow, my son has shit for brains, and my daughter's in India with Mother Teresa. WOMAN My husband's a pig. But my son's in social work and my daughter, God bless her, is in India with Mother Teresa. LEON For the fitness generation, we've sure got a lot of porkers. SANDY I don't remember anything about the seventies. LISA Breaking up was horrible. I said we had a very special attachment, he said, so does a Hoover. LEON I don't know why I came back. I hated high school. The group around him all answer "So did I" or "Me too." ROSALIE I enjoyed it. INT. GYM NEAR WALL Peggy (loose, holding a drink) and Sharon stand in front of a PHOTO of the 1960 Cross Country Team. VIEW ON PHOTO - off to one side stands MICHAEL FITZSIMMONS. His hair is longer, his gaze intense and non—smiling. SHARON Who's the one with the hair? PEGGY Michael Fitzsimmons. I had such a crush on him. Carol and Maddy join them, still panting from dancing. CAROL Hi, Peggy. God, that Walter Getz can still dance. PEGGY Your first boyfriend. What do you think? Any sparks left? CAROL Who knows. Remember... (a beat) Whatever Walter wants... CAROL, PEGGY AND MADDY (laughing) Walter Getz. PEGGY Sharon Norvik this is Carol Heath, and Maddy Nagle. My oldest and dearest friends. Sharon's married to Richard. CAROL Lucky lady. Hi. MADDY (looking at the photo) Michael Fitzsimmons! Is he here? PEGGY No. I asked Rosalie. She couldn't track him down. CAROL. Too bad. SHARON He must have been quite a guy. PEGGY He was the only one in high school I wished I'd gone to bed with. CAROL The only one? PEGGY Well, besides Charlie, of course. We HOLD on the photo of Michael and... DISSOLVE: INT. GYM — LATER The BAND is PLAYING AND SINGING the SONG, "JUST BECAUSE." Couples axe slow dancing. Dolores is still interviewing Richard. Peggy, Sharon and Carol walk back to their table. SHARON Peggy, would you please rescue Richard? Ask him to dance. RICHARD Are we through Dolores? Good. DOLORES Well... Richard stands and helps Sharon to a chair. RICHARD (to Sharon) You'll be okay? SHARON Yes. You go ahead. Peggy and Richard head onto the crowded floor, and begin to dance. RICHARD The only time people like Dolores used to pay any attention to me was to laugh at me or insult me. That guy, Doug Snell, who shook my hand when we walked in, he used to call me a four—eyed worm. PEGGY Well, you showed them. You're rich and famous and successful. And you have a beautiful wife. RICHARD You were always friendly to me. I appreciated that. (beat) You know, this used to be a fantasy of mine. PEGGY What was? RICHARD Dancing with you. PEGGY You're a sweet man, Richard. RICHARD I guess part of us never really leaves high school. PEGGY You know, I never told anybody this, but I always had a feeling that when you die, before you go to heaven, you get a chance to fly around high school for a while. CAMERA PULLS BACK SLOWLY as Peggy and Richard become part of the sea of dancers, all Lost in nostalgic reverie. BY DOOR Charlie enters and stands by the door. He's tentative, looking around for his friends. Almost immediately he is joined by Arthur, Walter, Terry and Leon. They shake hands, glad to see each other. TERRY Here comes the life of the party. LEON. I knew you couldn't stay away. Everyone's happy to see Charlie. His eyes meet Peggy's he gives her a tentative, sheepish wave. Terry looks at the band. TERRY You know, they could've at least asked us to sing. We'd refuse, of course, but they could've asked us. CLOSE ON PEGGY Looking at Charlie. BY STAGE Arthur walks onstage, placing a hatbox on the amplifier. He's a Chamber—of—Commerce type. ARTHUR (into microphone) Hello. Can I have your attention, please. The BUZZ in the room DIMS, Peggy and Richard head back to their table. ARTHUR I know it's getting kind of late, and some of you have a long drive home, so the reunion committee decided it was time for the moment you've all been waiting for. You don't know what you've been waiting for because we didn't tell you, but the committee has selected a King and Queen. Now don't worry, I took care of it so the band's gonna keep playing for at least another hour, and my old pal Judge Crystal said that the bar can stay open as long as we want. Everyone applauds. VIEW ON PEGGY AND CHARLIE At opposite ends of the reunion, but aware of each other. ARTHUR (CONT'D.) And while you're at it, let's have a nice big hand for the Little Lady that did such a great job supervising all the decorations, Rosalie Testa. More applause. VIEW on Rosalie in her wheelchair. ARTHUR Now back to business. The members of the committee have given this a lot of thought and decided on the two people who best represent the spirit of Buchanan High's Class of '60. The king is someone who, in more ways than one, has come a long, long way since he left here. ANGLE - PEGGY'S TABLE They all look to Richard, knowing he's the obvious choice. ARTHUR We're proud to welcome him back, Richard Norvik! Come on up here, King Richard! The band PLAYS a FANFARE and DRUM ROLL. Richard gets up, and walks to the stage as everyone APPLAUDS. The band PLAYS a chorus of "Get a Job." VIEW ON WALTER WALTER (kidding) I demand a recount. (laughs) VIEW ON STAGE Arthur places the gold cardboard crown on Richard's head as they shake hands. RICHARD Sharon and I thank you all for making us feel so welcome. It's good to be back. MORE APPLAUSE as Richard steps back. ARTHUR Every king deserves a queen. Now, we had a Lot at worthwhile candidates. And I don't want any of you ladies to feel left out, 'cause you're all beautiful. But when we sent out the invitations, we didn't mention anything about this being a costume party. Peggy's embarrassed reaction, realizing everyone's looking at her. ARTHUR Maybe we should have, 'cause just looking at her brings it all back for us. Ladies and gentlemen, I give you our queen, Peggy Sue Kelcher Bodell. Come on up here, Peggy Sue. The band begins the song PEGGY SUE. Peggy looks pained. She doesn't move. CAROL They're waiting. Come on. PEGGY (close to tears) I can't. It's all too much. CAROL Go on. You can do it. Charlie and Beth stand together: Beth is worried about Peggy. CAMERA TRACKS Peggy as she haltingly makes her way to the stage. As she does, she notices another blow-up on the wall: Peggy and Charlie, as King and Queen of the 1960 prom. Arthur gives the crown to Richard who places it on Peggy's head. He kisses her cheek and stands back, beaming. PEGGY (into mike, overwhelmed) Thank you.. Thank you very much. The lights dim, leaving Peggy in the spotlight. Continued APPLAUSE as the singer steps up to his mike and begins to SING the song PEGGY SUE. PEGGY ON STAGE — INTERCUT WITH HER POV People starting to clap and sing along. Carol and Carol's POV: a blow—up on the wall of Carol in the senior play. Walter and. Walter's POV: a photo of Walter on the basketball team. People leaving their tables, surging towards the stage, drawn by the music. Maddy and Maddy's POV: a photo of Maddy and friends mugging for the camera in the cafeteria. Charlie talking to Carol. Peggy begins to cry softly. The images begin to melt together, pulsing to the music. Peggy is the focus of everyone's nostalgia. A wave of time washes over them. She remains onstage, looking past the crowd to the photo of her and Charlie. Peggy onstage, eyes closed, swaying to the music. Walter and Carol join hands, walking towards the stage. Rosalie in her wheelchair, doing the hand jive, crying. The entire crowd swaying to the music, looking to Peggy, repeating the chorus over and over. Beth notices her mother's state of emotion. Peggy collapses onstage. We hear SHOUTS and SCREAMS. Richard, Arthur and several others crowd over Peggy. Beth rushes to the stage, reaching out to her mother. Charlie too. MUSIC STOPS. INT. GYM - ECU A THIN TUBE FILLED WITH BLOOD INSERTED INTO PEGGY'S ARM - DAY CAMERA PULLS BACK to INCLUDE Peggy lying on a cot. She wears the same dress she had on at the reunion. She's terrified. We NEAR a smattering of background noises: NAMES are CALLED, NURSES helping, etc. Looking up she sees: The IV. The NURSE taking the IV out of her arm, and placing a vial of blood on a tray with several others. Peggy sits up slowly, dazed and frightened. She looks at the nurse. NURSE Would you like your Twinkie now? Peggy takes the Twinkie, staring at it blankly. Looking around she SEES students giving blood to the Red Cross. Several have tubes in their arms. Nurses attend to them. Carol sits up drinking a cup of juice, waving weakly at Peggy. Maddy, now a brunette, slowly rolls down her sleeve. Arthur, Dolores, Walter and several others from the reunion. Everyone is younger but instantly recognizable.. Charlie walks over to Peggy. He grins at her, revealing wax vampire fangs in his mouth, hair Brylcreemed to death. CHARLIE I vant to suck your blood. I also vant to suck your Twinkie. PEGGY Charlie! Am I dead? CHARLIE No. You are the undead. You will live forever if you give me your Twinkie. (normal voice) Come on, let's have it. You hate them anyway. Mechanically, Peggy hands over the Twinkie. Charlie bends over to nuzzle her neck. The nurse's hand COMES INTO FRAME and grabs Charlie by the scruff of the neck, pulling him up. NURSE Young man, stop that. The SCHOOL BELL RINGS. CHARLIE Hey! I just made a deposit in your blood bank. Now I want to make a withdrawal. NURSE I think it's time for your next class - CHARLIE I'm changing banks! Charlie walks away towards Walter and Arthur. Peggy gazes after him, his body blocking her view of a portion of a banner hung on the wall. It reads: "Support the Buchanan High Blood Drive..." As Charlie exits, the final words come into view: "Spring 1960." Peggy gasps. She begins to tremble. NURSE Lie back down and take a deep breath. PEGGY What's going on? Where am I? NURSE You passed out for a moment. Nothing to worry about. PEGGY How did I get here? Maddy and Carol approach, carrying their books. NURSE Why don't you let your friends help you? (to Maddy and Carol) Take her into the washroom and splash some cold water on her face. That should perk her up. MADDY Yes, ma' am. They help Peggy up and lead her across the gym. INT. GIRLS' WASHROOM — ADJACENT TO GYM The girls enter. Carol immediately lights up a cigarette. Peggy crosses to the mirror. CAROL (to Peggy) Wanna smoke? That's the worst thing for her. PEGGY No thanks. I gave them up years ago. Maddy and Carol react as Peggy takes a closer look at herself and the girls' reflections. She places a hand to her throat, noticing the locket is gone. PEGGY Where is it? CAROL Were taking you back to the nurse. PEGGY Maddy, what did you do to your hair? Maddy looks in the mirror. INT. SCHOOL HALLWAY - NURSE'S OFFICE Maddy and Carol are waiting. Peggy exits the office, clutching a note which she hands blankly to Maddy. They walk towards the exit, Peggy glued to the wall for support. CAROL We're going to take you home. PEGGY That's okay. I'm sure I'll remember the way. EXT. SCHOOL — SIDE DOOR The girls walk outside. Peggy looks around at the old cars i~ the parking lot. The most noticeable — a blue Chevrolet Impala convertible. Peggy stares at it for a beat, shivering with recognition, as she follows Carol and Maddy to a 1955 Ford. Maddy helps Peggy into the back seat. EXT. STREET — DRIVING Carol drives and chats with Maddy, while in the back seat Peggy looks out at the world as it she were on a ride at Disneyland. She says things like "That's not here anymore". EXT. SUBURBAN STREET - KELCHER HOUSE The car pulls up to the curb. Peggy gets out of the car. Maddy hands her the note and her books; she twirls her finger next to her head. CAROL I'll call you Later. PEGGY Yes. Let's stay in touch. Peggy walks up to the door, a sleepwalker in suspended animation. She waits a beat and knocks softly. WOMAN'S VOICE (O.S.) Who is it? PEGGY Peggy. (shuddering) Peggy Sue. WOMAN'S VOICE (0.5.) Come on in. It's open. Peggy slowly opens the door. INT. HALLWAY — KELCHER HOUSE Peggy enters and looks down the hallway into the kitchen. EVELYN KELCHER is a lovely woman in her mid—forties. She turns around from the sink and approaches Peggy. PEGGY (helplessly) Mom! MRS. KELCHER The nurse called and said you'd be coming home. Peggy stares blankly at her for a beat, then holds up the note, as she moves towards her mother. PEGGY I have a note. MRS. KELCHER How do you feel? PEGGY I'm excused. MRS. KELCHER Why don't you go lie down for a while. PEGGY Mom! Peggy embraces her mother, holding on for dear life, inhaling her scent. PEGGY Chanel Number Five. That always reminds me of home. MRS. KELCHER Of course, dear. You're home now. PEGGY I'm home now. INT. PEGGY'S ROOM Peggy enters warily, looking around, a fifties museum of teenage artifacts. She walks around the room gently touching her old belongings including the record player from opening scene. She looks in the mirror to make sure she's still there. Suddenly, she turns around. PEGGY Okay, I'm alone now. Is anyone here? She opens the closet door expectantly, then closes it shaking her head. PEGGY No. This is crazy. Is somebody going to tell me what's going on? Why me? What happened? You don't have to show up. I don't have to see you. Just send me a sign. (beat) Thanks a lot. 1 guess I'm on my own. NANCY, Peggy's twelve—year—old sister, peeks in the room. PEGGY Nancy! Come here. Nancy tentatively approaches. Peggy hugs her. NANCY What are you doing? PEGGY I'm just happy to see you. NANCY Come on! Mom said you were sick. You're never happy to see me. PEGGY I'm sorry about that. I really want us to be closer. I have enough unresolved relationships in my... life. NANCY Teenagers are weird. And you're the weirdest. PEGGY Let's do something together.. Do you want to play Monopoly? Or Careers... Clue... Snakes and Ladders? NANCY (suspicious) Okay, what do you want? What dumb favor do you want me to do? INT. LIVING ROOM On a small black and white TV, Dick Clark introduces a spotlight dance. Peggy and Nancy are sitting on the sofa, watching. Nancy is eating small candies, like M&M's. PEGGY It's unbelievable. The man never ages. NANCY Look at Kenny Rossi. Isn't he dreamy? I wish he'd break up with Arlene. She thinks she's so great. PEGGY Don't eat the red ones. NANCY Why not? They're my favorite. PEGGY They're bad for you. They cause...red lips. (red dye *2) Nancy react, as Peggy stands. CAMERA TRACKS HER to the den. DEN Peggy opens the liquor cabinet and takes out a bottle of Scotch and a glass, noticing the family photos on the wall.. PEGGY Can't hurt. I'm already dead. She belts down several drinks. NANCY (Q.S.) Peggy Sue! Hurry up. Fabian! Peggy steadies herself as CAMERA TRACKS her back into the living room. LIVING ROOM Peggy collapses on the naugahyde recliner. Unexpectedly, it leans back, shooting Peggy's legs up. MRS. KELCHER (from the kitchen) I put your laundry on your beds. Don't forget to put it away. NANCY What's for dinner? MRS. KELCHER Meatloaf. NANCY Yeech, not again. Peggy leans forward in the recliner eating the candies. Bemused, she looks at Nancy watching TV and into the kitchen where her mother is slapping together meatloaf. ANGLE - HALLWAY - THE FRONT DOOR OPENS JACK KELCHER Peggy's father, enters the hallway. MR. KELCHER Girls? Evelyn? Who left this thing outside? He turns and heads back outside. MRS. KELCHER What is it? Mrs. Kelcher and Nancy follow him outside. Peggy staggers to the front door and leans against the door jamb looking out at the family. EXT. DRIVEWAY PEGGY'S POV: The family admires a new red and white Edsel. MR. KELCHER What do you think? MRS KELCHER (disturbed) Oh, Jack. NANCY Like wow! Wait till I tell Diane. She's always bragging about her father's Cadillac. MR. KELCHER Peggy Sue, what do you think? PEGGY Oh, Daddy. You were always doing things like that. (cracking up) That's funny! That's really funny. She staggers over to the car and falls against it laughing. Mr. Kelcher crosses to her and catches a whiff of her breath. MR. KELCHER Young lady, you're drunk! PEGGY (laughing) Just a little. I've had a tough day. MR. KELCHER I don't see the humor in this. Go to your room immediately. You're grounded. PEGGY (tipsy) Grounded? Ha! The story of my life. I don't wanna go to my room. I wanna import Japanese cars. I wanna go to Liverpool and discover the Beatles. MRS. KELCHER Jack, take it easy. She gave blood at school today. Maybe she's just a little light—headed. MR. KELCHER This is not giving blood. This is drunk. PEGGY Dad, I never knew you had a sense of humor. MR. KELCHER Evelyn, put her to bed. INT. PEGGY'S BEDROOM Peggy lies in bed, her mother tucking her in. MRS. KELCHER My little baby. Don't try to grow up so fast. PEGGY Oh Mom, I forgot you were ever so young. CLOSE ON PEGGY She hears her mother walk down the stairs. MRS. KELCHER (O.S.) A new car. We can't afford a new car. MR. KELCHER (O.S.) Don't worry, it's just a seasonal slump. MRS. KELCHER (O.S.) You have four seasons, you have four slumps. INT. PEGGY'S BEDROOM - MORNING Peggy emerges from the bathroom wearing a towel. VIEW FROM BACK At a full length mirror she drops the towel and happily appraises her eighteen year old body. PEGGY Let's get physical!... Let's get metaphysical! Nancy comes in dressed for school. PEGGY Good morning. Nancy goes to Peggy's closet. NANCY Can I borrow this sweater? PEGGY~ Yeah, but take good care of it. I'm saving it for my daughter.. She loves this stuff. INT. KITCHEN - MORNING Mr. Kelcher and Nancy sit at the table eating breakfast. Mrs. Kelcher stands at the sink scraping toast. Peggy bounces her hair in her adult, natural look. "GOOD MORNINGS" all around. MRS. KELCHER What happened to your hair? You have such a pretty face. Why are you always trying to cover it up? PEGGY Oh. I forgot. Mrs. Kelcher takes an elastic band from around the faucet and hands it to Peggy as she sits at the table. Peggy makes a ponytail. MRS. KELCHER You're looking pretty chipper this morning. PEGGY I'm still here, aren't I? I may as well enjoy myself. I'm going to go to school today. (beat) Dad, I want to apologize for yesterday. The car is a classic. Use it in the best of health. MR. KELCHER Thank you.. I accept your apology with the hope that what went on yesterday will never happen again. PEGGY That would be impossible. MR. KELCHER You're so young, this is not the time to start acquiring bad habits. PEGGY Mom, is there any coffee left? Mrs. Kelcher begins to pour the coffee, then pulls back, spilling some on Mr. Kelcher. MRS. KELCHER When did you start drinking coffee? PEGGY Oh. Ah...recently. All the kids drink it. MR. KELCHER If all the kids jumped off a bridge, would you do that too? PEGGY I think I'm way ahead of them. NANCY Pass the toast, please. Peggy passes Nancy the toast. NANCY And the butter. PEGGY You know, you two are wonderful parents. I'm really going to try to behave myself. MR. KELCHER Well, at least you stopped calling me Daddy—O. NANCY (correcting him) DADDY—o. PEGGY Mom, sit down for a minute. This is so nice, all of us being together again like this. NANCY Can I tell Diane that Peggy Sue got drunk or is that a deep family secret? (silence) Well? MRS. KELCHER How does Diane like her braces? R31.NCY She hates them. Nobody likes braces. Thy just call you junkyard face and Miss Metal Mouth. I gotta go. Nancy jumps up, grabbing her lunch on the counter, as she exits. "GOOD—BYES' all around. We HEAR a HORN HONKING outside —— a five—note musical phrase —— BE—BOP—A—LU—BOP. PEGGY Oh yeah. Charlie. How am I going to handle him? MRS. KELCHER What's the matter? Did you two have a fight?. PEGGY Sort of. MRS. KELCHER What about? PEGGY The house payments. EXT. KELCHER HOUSE Peggy exits the house wincing at the sight of Charlie's car, the blue Impala she'd seen the day before. Charlie sits, one arm on the wheel, the other over the back of the seat. CHARLIE How do you feel? PEGGY Pretty strange. Peggy hesitates, unsure how to handle her accumulated ambivalence towards Charlie. CHARLIE Come on. Get in. I can take care of that. Peggy warily gets in. Charlie leans over to kiss her, but she pushes him away. No dice. PEGGY Not now, Charlie. I've got a headache. Get used to the word. Roll it around your tongue for a years. CHARLIE Hey, I can take a hint. You look great today. Charlie starts the car, burns rubber and peels out. PEGGY You drive like a maniac! CHARLIE I call this the staccato. (does tricks) INT. CHARLIE'S CAR — DAY - DRIVING CHARLIE (earnest) Not that I'm glad you were sick, but I had a chance to do some thinking last night. PEGGY Oh yeah? CHARLIE You know. About what we said on Tuesday. It makes a lot of sense. PEGGY Refresh my memory. CHARLIE How could you forget? We talk about seeing other people and you forget? PEGGY Maybe I blocked it out. CHARLIE I can understand that.. But please don't start crying again. EXT. SCHOOL PARKING LOT Charlie's car pulls up. CHARLIE It's not going to be forever. I figure three years is long enough. I can see it the music pans out. (more tentative) And right after graduation we should start seeing other people. Kind of comparison shop before we settle down and get married. Know what I mean? PEGGY Why wait? CHARLIE (surprised) Well, we got the prom coming up, all these parties. We shouldn't upset our parents? PEGGY They'll learn to live with it. Peggy exits the car and heads towards the school. Charlie sits, stunned. EXT. HIGH SCHOOL LOT They are surrounded by friends as they head into school. Near the door Walter and Leon are having a contest, hoisting themselves onto the sign pole, trying to get their bodies parallel to the ground. A crowd urges them on. We SEE taps on the bottom of Walter's shoes. INT. SCHOOL HALLWAY Peggy stands bewildered in the hallway. Charlie walks back, takes her by the hand and leads her to a locker. CHARLIE You're more shook up than you want to admit. You'll get used to it, we'll still see each other 2, 3 times a week. Charlie opens the locker. Peggy watches carefully, memorizing tho combination. He takes out a few books as Peggy notices her schedule on the locker door. CHARLIE Want me to drive you home later? PEGGY Would you? CHARLIE (growling) Would I?!! Why I oughta... Unaccountably, this cracks Charlie up. He walks away laughing. Peggy looks completely puzzled. She is surrounded by a sea of people, who say hello. She can't remember their names. INT. CLASSROOM - MORNING We SEE Peggy, Maddy, Dolores, Arthur and Carol, singing MY COUNTRY TIS OF THEE. They all mumble, except for Peggy who delivers a stirring rendition. The class thinks she's crazy. Peggy's decided to have a good time. Announcements begin over the PA system. No one pays attention, except Peggy. MAN'S VOICE (V.0.) Good morning, students. This is Mr. Mosey. Our girls diving team is competing today in the county finals at Commander Beck High School. We know they'll put forth a splendid effort — so let's wish them luck. PEGGY Where's Rosalie Testa? CAROL Probably at the diving meet. MAN'S VOICE (V.0.) Finally, congratulations go to Richard Norvik for placing first in the Statewide Math Contest. We're proud of you, Richard....That's all, students. Several students boo Richard's name. The BELL RINGS. INT. ANOTHER CLASSROOM Maddy, Dolores and Peggy enter the room. Peggy stands at the door till most are seated. She sees an empty seat between Maddy and Dolores and, assuming it's hers, sits down. DOLORES Did you study for the test? PEGGY (horrified) Test? INT. CLASSROOM - TWENTY MINUTES LATER MR. SNELGROVE, an officious little creep, is standing by his desk. SNELGROVE All right, class. Time's up. He walks along the aisles collecting the papers. When he gets to Peggy he picks up her blank sheet. SNELGROVE What's the meaning of this, Peggy Sue? PEGGY (patiently) Mr. Snelgrove, I happen to know that in the future, I will never have the slightest use for algebra. And I speak from experience. The class gasps, a few students APPLAUD, and Mr. Snelgrove's jaw drops. INT. ANOTHER CLASSROOM — DAY MR. GILFOND is teaching The Old Man and the Sea. MICHAEL FITZSIMMONS (from reunion cross—country photo) is speaking. He always wears black. MICHAEL Santiago comes back, with nothing — there's no meat on the bone. It's Hemingway's ego defending itself again; he's trying to prove he can still perform. GILFOND ...What Hemingway's saying, Michael, is that we are alone — that when we go out too far we're vulnerable. The irony, that Santiago is beaten by the sharks, doesn't make him less of a hero. THE BELL RINGS. The class begins to exit. GILFOND Over the weekend read the first four chapters of The Great Gatsbv. I hope you enjoy it. Peggy hesitates. She walks up to Gilfond. PEGGY Mr. Gilfond, can I talk to you? GILFOND Sure, Peggy Sue. What's on your mind? PEGGY I just wanted to tell you how much I enjoy your class. You taught me a lot and... you're a very fine teacher. GILFOND That's very kind of you. Thank you. PEGGY Thank you. Um, I also think you're underpaid. LUNCH AREA Walter, Charlie and Arthur sit at a long table. WALTER Why does your father take inventory on Sunday night? That's poker night. You always got out of it before. CHARLIE I've got to string him along for a while. It's for his own good. ARTHUR But you're not going into his business. When're you going to tell him? CHARLIE Soon. I can't tall everybody everything all at once. Peggy, Carol and Maddy walk over and sit down with trays. Peggy deliberately avoids the empty sear next to Charlie. They're uneasy with each other. Peggy looks with disgust at the slop on the tray. WALTER Strange rumors are sweeping the school about you. PEGGY (wary) What do you mean? WALTER Prom what I hear, you really gave it to old Smellgrove. MADDY I was there. She told the creep off right to his face. ARTHUR Atta girl, Peg. PEGGY Arthur, please don't call me Peg. ARTHUR Why I oughta... Charlie, Walter and Arthur crack up. PEGGY I don't get it. CAROL That's because you' re not a total moron like they are. MADDY It's some stupid old movie thing they just started. WALTER That's enough out of you, little lady. CHARLIE I'll throw the book at you! ARTHUR Why I oughta... The boys crack up again. The girls think they're hopeless. Peggy SEES Michael Fitzsimmons, buried in a book. He looks at Peggy with a penetrating gaze, then back down. Richard Norvik, also sitting alone, working with a slide ruler on a book of mathematical puzzles, dressed in early Nerd. Peggy gets up from the table. She looks back to Charlie and the table. PEGGY I'll be right back. CAMERA TRACKS PEGGY TO RICHARD ANOTHER ANGLE WALTER She's not wasting any time. Peggy Sue and Mr. Square Root? CHARLIE He's a nice guy. You know he's writing a book? WALTER Oh, a book... Excuse me for a second. (fakes gagging) ANOTHER ANGLE Peggy stands over Richard. He looks up nervously, pushing his glasses up the bridge of his nose, a constant habit. PEGGY Congratulations on the math contest, Richard. RICHARD It really wasn't that difficult. Doug Snell (of Merrill—Lynch, at the reunion) walks past. DOUG What're you doing, Peggy Sue? Fishing for four—eyed worms? PEGGY Get lost you macho shmuck. Doug and Richard react. PEGGY I have to talk to you. It's very important. RICHARD I'm not doing any tutoring this year. I'm too busy. PEGGY It's not that. Can we meet after school? Please? RICHARD All right. I'll be in the physics lab. Make it four—thirty. I have a rocket club meeting. INT. CLASSROOM - A FAMILY LIVING CLASS On the walls are several charts: Basic Food Groups, Tips on Grooming, and prominently displayed, The Happy Home Corporation, i.e. husband as president, wife, vice—president, children, employees, grandparents as board members. MISS OTTO stands by her desk. Standing in the front of the room is: MADDY Therefore, the key to a successful children's party can be summed up in one word — planning.. With proper planning, a successful, inexpensive happy birthday party can be had by all. Including the mother. She walks back to her seat. MISS OTTO That was very comprehensive, Madeline. Thank you.. Now... (beat) Peggy Sue, your topic was 'How To Choose A Nursery School.' Are you prepared? PEGGY All.... Okay. Sure. Peggy walks to the front and faces the class, smiling primly. PEGGY Choosing a good nursery school can be one of the most important decisions you can make. It will often determine your child's attitude towards education and schooling. (proud of herself) Of course, the lessons learned are primarily social —— sharing, being considerate of others. (remembering) And they're so cute when they're little. They bring you back their Little masterpieces every day and you put 'em on the refrigerator door. They're so proud, and their names are all misspelled. Scott would always print his S backwards, and Beth would make her sweet little flowers... Peggy wipes away a tear. At the stunned reaction of the class and Miss Otto. EXT. PLAYING' FIELD The baseball team practices. Michael Fitzsimmons runs laps with the track team. One lone boy kicks a soccer ball. CLOSE - A BATON TWIRLING IN THE AIR WIDEN to INCLUDE the baton spinning down, falling into the hands of a uniformed majorette who deftly passes it through her legs and twirls it back into the air. Another baton — it rises, spinning awkwardly and falls through Peggy's hands onto the ground. Six MAJORETTES in uniform are practicing. Dolores is one of them. DOLORES (to Peggy) What a girl. What a twirl. You know, Peg—Leggy, you're gonna get demoted to hall monitor - HEAD MAJORETTE Come on, Peggy Sue.. Try it again. You haven't been practicing. Peggy gamely tries it again and manages at least to catch the baton and continue twirling. She continues, enjoying herself. Michael runs by, the lonely long distance runner. EXT. PLAYING FIELD — LATER The group of majorettes heads toward the school. Peggy sees Charlie leaning against the car, waving her over. CHARLIE Looking good out there. PEGGY Thanks. CHARLIE I noticed you were giving me the silent treatment at lunch. I guess I deserved it. I've been thinking about my three year plan and I think it's unworkable. I must have been delirious. PEGGY I thought it had a lot of merit. CHARLIE In the abstract maybe. Get a grip on yourself! But when I imagine you going out with other guys, I feel... ah... PEGGY Rejected, worthless, miserable. CHARLIE Yeah. Like that. PEGGY Good. Peggy turns, and walks away. Charlie looks miserable. INT. PHYSICS LAB Peggy enters and approaches Richard. He is too engrossed constructing an elaborate kite to notice her. PEGGY What a great kite. RICHARD I'm writing a book on kite construction. What did you want to talk about? PEGGY I want to ask you a question. (beat) Do you think...time travel is possible? RICHARD Are you doing some kind of science project? PEGGY Sort of. RICHARD Well... in a Newtonian framework, the possibilities were limited, but with the advent of relativity theory, the idea of absolute time can no longer be reasonably affirmed. Peggy hasn't understood a word. RICHARD And then, there's Richard's Burrito. PEGGY What's that? RICHARD That's my own theory based on a Mexican food called the burrito. I had it once when my parents took me to Disneyland. PEGGY I know what a burrito is. RICHARD Well, I think time is like a burrito. Sometimes it just folds over on itself and one part touches the other. PEGGY What's inside? RICHARD You can till it with whatever you want. From illusions to memory, from experience to innocence, from happiness to the entire universes PEGGY So you think time travel is possible? For people? RICHARD Absolutely. People, dogs, elephants. PEGGY Listen, you've gotta keep this a secret. You can't tell a soul. Promise? RICHARD Okay. I promise. PEGGY This is serious. Nobody can know. Ah, I've returned from the future. I traveled back here 25 years. RICHARD You probably are crazy. Wait a minute. Is this some kind of joke? I know what you all, think of me. PEGGY. No. Really. You're the smartest person I know. It sounds unbelievable. But I can prove it. RICHARD Oh yeah? PEGGY You have a blind grandfather. One day you're going to invent a machine that reads books for blind people. I read about it. You're going to be famous. You're going to invent a lot of things. RICHARD How, did you know about my grandfather? PEGGY Because I'm telling you the truth. I know what's going to happen. There's going to be test tube babies and heart transplants. And an American named Neil Armstrong is going to walk on the moon. On July 20, 1969. RICHARD Holy Toledo! That's six years ahead of schedule! EXT. STREET Peggy and Richard are walking, carrying their books. RICHARD But when did you leave? Are you here until then? Were you there until now? What direction are you going in? Are you a moving point on an infinite line extending into the past? Can anyone do it? PEGGY I don't know. Oblivious, Peggy and Richard walk by Shower's Cafe. Inside, Dolores and Carol see them. EXT. ANOTHER STREET — APPROACHING RICHARD'S HOUSE RICHARD I'd be very careful if I were you. You don' t want to fall into the clutches of some madman with plans to manipulate your brain. PEGGY That's why I was getting a divorce.. (beat) What I really think is that I had a heart attack at the reunion and died. EXT. RICHARD'S DRIVEWAY RICHARD You look pretty good for a corpse. PEGGY Come on, Richard, I'm serious. RICHARD You're giving me the creeps. PEGGY Am I dead or not? RICHARD There's one way to find out. Richard stops and throws down his books. He steps in front of Peggy, throwing down her books, dragging her to the curb. PEGGY What're you doing? RICHARD Confucious says, The way out is through the door. There's a truck. There's your door. A large truck speeds towards them. RICHARD Step in front of the truck! If you're dead, it won't matter. The truck'll go right through you. Go ahead! You're dead! Peggy takes one step off the curb. The truck is getting closer. The truck BLOWS A LOUD SUSTAINED WAIL. PEGGY No! I don't want to die! INT. RICHARD'S GARAGE A completely outfitted laboratory, kites decorate the walls. RICHARD Okay, you're not dead, but according to every law of science what you say happened to you is impossible. PEGGY What if it's beyond science? What it it's God? RI CHARD Einstein said "God doesn't play dice with the universe." I'm a scientist. I believe that there's an order to things. Why would God bring you back as a high school girl? PEGGY I don't know. RICHARD You're a molecule in chaos, a discontinuent aberration. Maybe you've just got powers of precognition. Well, maybe you're just out of whack. PEGGY I told you, I've already lived my life. I don't know how or why I'm here, but you have to help me get back. I want to get back to my real life! RICHARD All right, I'll work on it, I'll, do some research. But in the meantime, don't get crazy. PEGGY I'm trying. I'll see you tomorrow. (heads out the door) RICHARD What if you're not here tomorrow? INT. KELCHER HALLWAY Peggy comes home, enters hallway. MRS. KELCHER (O.S.) This necklace is sapphire, it was my Grandmother's. Peggy Looks into the living room. PEGGY'S POV: Her mother is sitting on the sofa with a strange MAN in a suit. She's served him tea. There are several, pieces of old jewelry spread on a cloth on the coffee table. The man is examining one of the pieces. Mrs. Kelcher seems surprised that Peggy's home from school. Peggy moves on into the kitchen. INT. KELCHER KITCHEN Peggy hears her mother let the man out. She enters the kitchen. PEGGY Who was that man? MRS. KELCHER It was nobody. Ah... he's a poll, taker. I'm thinking of voting Democrat this year. But don't mention it to your father. How was school today? PEGGY It was great to see everybody again. But it's so boring and regimented. Most of what they teach is useless. The worst thing was lunch. The TELEPHONE RINGS. MRS. KELCHER Would you get that, dear? PEGGY Sure, Mom. (picking up the phone) Hello. Peggy gasps. Mrs. Kelcher turns to her. MRS. KELCHER Peggy! What's the matter? Who is it? PEGGY (shaken) It's Grandma. I can't talk to her now. (into phone) I'm sorry, Grandma. Peggy hands the receiver to her mother and runs out of the room sobbing. Her first confrontation with mortality. INT. HALLWAY Peggy climbs the stairs, in tears. MRS. KELCHER (O.S.) Peggy Sue! What is it? Forcing herself to regain her composure, she sits down at the top of the landing as Mrs. Kelcher joins her. MRS. KELCHER What happened to you? PEGGY I had a dream that Grandma died. MRS. KELCHER Well, she is getting on, but she's fine. I told her you weren't feeling well yesterday. She called to find out how you are. PEGGY She did? I love her so much, and I haven't seen her in such a long time. And Grandpa Barney. Is he all, right? MRS. KELCHER Yes, he's fine, too. You saw them at Easter. PEGGY I'm sorry, Mom. I'll call Grandma back and apologize. MRS. KELCHER That's a good girl... I hate to see you so upset. (beat) Tell me, sweetheart. Are you having problems with Charlie? You mentioned something this morning. PEGGY I'm confused about a lot of things right now. Charlie's only one of them. Two beats. MRS. KELCHER Is Charlie pressuring you to do things you don't think you should be doing? PEGGY What do you mean? MRS. KELCHER Peggy, do you know what a penis is? (Peggy's jaw drops) Stay away from it. EXT. KELCHER HOUSE — NIGHT Charlie pulls up to the curb, opens the glove compartment, extracts a can of Old Spice aerosol, sprays the seat; and exits his car, throwing a kiss to it as he walks up to the door. CLOSER VIEW He's wearing a hideous orange and turquoise sweater. INT. KELCHER HOUSE — HALLWAY Mr. Kelcher opens the door, Charlie enters. MR. KELCHER Hello, Charlie. CHARLIE Hello, sir. How are things at the hat store? MR. KELCHER Fine, thanks. Come on in. I want to talk to you. CAMERA TRACKS Charlie and Mr. Kelcher into the living room. Mr. Kelcher sits on his recliner, Charlie, nervous, on the couch. Nancy is on the rug, studying. MR. KELCHER You may have noticed that Peggy Sue's been acting a little strange lately. NANCY She's distorted. CHARLIE Yes, sir. MR. KELCHER She seems confused, irresponsible, overemotional. My wife says that's the way girls act sometimes. NANCY She's almost a juvenile delinquent. Mr. Kelcher gives Nancy a look and points to the door. Without her father noticing, Nancy creeps up behind him and makes rabbit ears behind his head. Charlie tries hard not to laugh. Nancy continues to clown. CHARLIE Yes, sir. But that's what I like about her. She's not like all the other girls at school. MR. KELCHER Charles, in spite of your adolescent infatuation with music, we've always regarded you a a fine young man. We've trusted you with our daughter. CHARLIE Yes, sir. Trust is a two—way street. In the past two years I've been pleased to note that you and Mrs. Kelcher have, uh, fulfilled your sacred trust of being good parents to the, uh, woman I plan to take off your hands. Mr. Kelcher looks as if he's witnessing the latest attack of teenage weirdness. INT. PEGGY'S BEDROOM Peggy is changing a record. She sees the dress she was wearing the day before (and at the reunion) slung across a chair. As Peggy picks it up, a book of matches falls out. Peggy picks it up, excited. INSERT: MATCHBOOK which reads: FINISH HIGH SCHOOL IN YOUR SPARE TIME. Peggy frantically searches the dress pockets and slowly draws out two joints. She stares at them for a beat. PEGGY (worrying) Oh, Beth. There's a knock at the door. Peggy quickly hides the joints. Mrs. Kelcher opens the door. MRS. KELCHER Charlie's downstairs. Why aren't you ready? PEGGY For what? MRS. KELCHER Maddy's party. PEGGY I don't feel very festive. MRS. KELCHER You accepted an invitation, Maddy's one of your best friends, and I baked the Rice Krispie squares. Peggy laughs. MRS. KELCHER Enjoy yourself! This is the best time of your life. And the sooner you learn to handle Charlie the better. Get dressed. Mrs. Kelcher closes the door. INT. LIVING ROOM MR. KELCHER We think this party might cheer her up. Just make sure you know what's expected of you. CHARLIE What would that be, sir? MR. KELCHER Show her a good time, but for God's sake restrain yourself. CHARLIE (surprised) Of course. ANGLE ON PEGGY walking downstairs, surprised by Charlie and Dad talking. EXT. KELCHER HOUSE - NIGHT Peggy and Charlie exit and walk towards his car. Peggy's holding a pan of Rice Krispie squares. Charlie slips Peggy's sweater back on her shoulder. He's trying hard to make up. PEGGY Where did you get that sweater? CHARLIE Great, isn't it? PEGGY It's really Fifties. You sort of clash with the world. CHARLIE Hey! What's the fun of being a teenager if you can't dress weird? And we're going to have fun tonight, right? PEGGY Right. I promised my mother. INT. CHARLIE'S CAR — NIGHT - DRIVING CHARLIE Is this slow enough for you? PEGGY (serious) Charlie, how are you? CHARLIE I'm fine Peggy Sue. And how are you? Are we talking on the phone? Are we pen pals? PEGGY Seriously. What's it like to be eighteen? Charlie looks thoughtful, then guns the engine. CHARLIE It's great. I cleaned the car, do you like it? Oh, I got tickets for Fabian on your birthday, you like him, right? He's cool. Eighteen is half of thirty six. It's "Gentlemen start your engines", vroom, like I'm gassed up ready for the race. I've got the girl, I've got the car, I've got the talent, but I don't know. Do I date, get married, join the army, cut a record, go to college? I got a million choices, but nobody teaches you how to choose. But it's different for a girl. You're Lucky. You just have to wait for me. INT. MADDY'S HOUSE — BASEMENT Thirty kids are dancing, talking, snacking. One couple makes out. Walter, Leon, Terry and Doug Snell are crowded around a TV, watching an old western with Eugene Pallette or Edgar Buchanan. The boys laugh as Pallette or Buchanan growls a western cliche. DOUG Gol'darnit, dag nab it, dad burn it, dad blame it. INT. MADDY'S HOUSE — HALLWAY TO BASEMENT Charlie and Peggy are poised at the door. CHARLIE Here comes the life of the party. INT. MADDY'S HOUSE — BASEMENT Arthur and a few others stand by the bar, where bottles of Coke are lined up. Arthur carefully pours rum from a hip flask directly into the bottles. Peggy and Charlie enter. LEON Goes down, smooth. Hey, look what the cat dragged in. CHARLIE Have no fear. Charlie's here. WALTER Oh, it's you is it. TERRY Jumping Jehosophat! DOUG It's a miracle! PEGGY Hi, guys. ARTHUR Now that's a purty little heifer. CHARLIE Why Pete's the best darn cook on the Panhandle! PEGGY Why I oughta! The boys all crack up. THE PARTY — LATER Walter, Leon, Charlie and Terry crowd around Arthur who has an open, wide—mouthed bottle of beer in his hand. CHARLIE Ready. Set. Go - Arthur rapidly chug—a—lugs the entire beer and immediately recites from memory as the boys urge him on: ARTHUR (going: for speed) Hi—Yo Silver! A cloud of dust, a galloping horse with the speed of light, a hearty Hi-Yo Silver! The Lone Ranger! With his faithful Indian companion Tonto, the daring and resourceful Masked Rider of the Plains came to Earth with powers- and abilities far beyond those of mortal men. Return with us now to those thrilling days of yesteryear - from out of the... Arthur lets out a huge belch. Everybody cracks up. LEON You doorknob! You threw in Superman! CHARLIE Too bad. Close to a record. ARTHUR (foaming at the nose) I hate it when the beer comes out my nose. ANOTHER AREA Peggy, Carol and Maddy bemusedly watching the boys. MADDY Can you believe I want to marry that dork. CAROL Why do guys do such stupid things? PEGGY You know, I never could figure that one out. INT. BASEMENT - ANOTHER ANGLE Maddy, Arthur, Walter, Carol, Charlie and Peggy sit on a couch. Maddy and Carol sit in their boyfriends' laps. Peggy sits distractedly on the couch arm. They cross talk — boys to boys — girls to girls. MADDY I was thinking of four ushers and four bridesmaids. WALTER The Yanks got the hitting but the Sox got the defense. CAROL What are your colors, going to be? ARTHUR I'l1 take Kubek and Richardson over Fox and Aparicio. MADDY I'm thinking of pink and green. ANOTHER ANGLE Dolores and Terry standing in a corner kissing passionately. MADDY (CONT'D.) Look at Dolores. What a tramp. CHARLIE Pitching wins pennants. The Tigers got four potential twenty game winners. CAROL You'd be surprised at how many girls in school aren't virgins. WALTER AND ARTHUR (to Carol) Like who? CHARLIE Don Mossi, Frank Lary, Jim Sunning and Paul Foytack. INT. BASEMENT — LATER ARTHUR And now, direct from three weeks of rehearsal in Walter's garage, four guys who have dedicated their lives to becoming the greatest singing group in the world... (beat) Charlie, Walter, Leon and Terry. The Definitions. Applause as the group enters from the furnace room. They all wear black pants and iridescent sharkskin jackets. Charlie is in the center of the group as they position themselves. CHARLIE One, two, three-... The group begins to SING an A CAPELLA version of RAMA LAMA DING DONG (or I WONDER WHY). Charlie sings lead, backed up by the other three. Walter dances insane, Temptation—like steps. The crowd huddles around them, clapping and grooving. Peggy is on the planet of lost innocence, removed and melancholy. CAROL Charlie really has a great voice. MADDY Maybe they'll be the next Dion and the Belmonts. PEGGY Don't get your hopes up. MADDY Come on, where's your enthusiasm? Charlie SINGS directly to Peggy, grinning at her. In spite of herself, she smiles back at him. She's starting to realize why she fell in love with him. He's irresistible. PEGGY He is kind of cute, isn't he? CAROL Yeah. You're so lucky. He really loves you, too. He's always telling Walter how wonderful you are. PEGGY He does? The group finishes the song. Charlie blows Peggy a kiss. The crowd APPLAUDS, including Peggy. Dolores joins Peggy, Carol and Maddy. DOLORES Carol and I saw you with that creep, Richard, today. PEGGY First of all, Richard is not a creep. He happens to be an exceptional person. If any of you gave him half a chance, you'd find that out. DOLORES God, Peggy, you're so unformed you're practically fetal. You're just taking pity on him 'cause he has no friends. PEGGY Dolores, can't you be a little kinder to people? You don't even know the boy. If you weren't so neurotic and insecure, maybe you'd shut up for a while and show some compassion. DOLORES Are you for real? PEGGY Touchy, touchy! Dolores storms away. MADDY (to Peggy) I don't know what you said to her, but I wish I'd said it. Charlie and Walter walk over and accept "BRAVOS" from the girls. Walter does his James Dean imitation. PEGGY Charlie, what do you think of Richard Norvik? CHARLIE Is he gonna help you with that physics stuff? PEGGY He's trying. CHARLIE Hey! Who needs physics when we've got chemistry? PEGGY (charmed) Come on, let's dance. WALTER Put on some make—out music, and kill the lights. We HEAR a RECORD SCRATCH. A slow song begins. The lights are dimmed. Coupler begin to slow dance. Charlie holds Peggy close, barely moving. Peggy is misty—eyed, moved by being in Charlie's arms again. CHARLIE There isn't a girl in school that can hold a candle to you.. PEGGY You're pretty charming when you want to be. CHARLIE Yeah I know. But I don't have to flatter you. It just feels right. You're the perfect girl for me. As in is, was and always will be. I'm glad dancing was invented. You know the first dances were rituals. Like fertility rites. As they dance Charlie gets embarrassed by an erection, and moves his hips away from Peggy. She surprises him by grabbing his tush and pulling him into her. INT. MADDY'S BASEMENT - LATER MUSIC FADES INTO the song "PARTY DOLL" by Buddy Knox. Peggy is doing the Twist, showing Charlie and several others. Walter gets the hang of it, twisting on one leg. Carol tries to keep up. Maddy and Arthur are always a beat behind. DOLORES Hey Terry, what is that? Did Peggy make it up? I've never seen that on Bandstand. TERRY What if we're witnessing the end of touch dancing? INT. CHARLIE'S CAR - DESERTED LANE - NIGHT The windows are fogged. Peggy and Charlie kiss tenderly. PEGGY Mmm. This is nice. I always loved the way you kiss. I missed you. CHARLIE Your eyes look like silver pools of moonlight. And the tide rushes in. PEGGY You really love me, don't you? CHARLIE You know I do. I even wrote you into my will. PEGGY (tentatively) Charlie, let's make love. CHARLIE What?! You mean sex?! Intercourse? (non—believing) You want to have intercourse! Last weekend you said... What time is it? PEGGY A lot's happened since last weekend. CHARLIE But you're the one who wanted to wait till we got married. And you were right. We should wait. PEGGY (f1ustered) I probably meant it when I said it. (beat; coyly) Doesn't Lucky Chuckie want to come out? CHARLIE Who? Peggy starts to GIGGLE, realizing the absurdity of the situation. The more she GIGGLES, the more agitated Charlie gets. Peggy starts to unbutton Charlie's shirt. PEGGY You know. Your love machine... the throbbing thrill hammer... your thing! CHARLIE You mean my wang? Listen, it's running real late. Charlie pushes her away, angry.. CHARLIE What is this? What the hell is going on? One week you say, "If you love me you won't", now you say "If you love me you will". (beat) Excuse me. That's a guy's line! Peggy realizes she's blown it. Charlie isn't ready for this. PEGGY This is a mistake. We better forget it. CHARLIE You're damn right! Jesus! Peggy! You sure know how to spoil a mood. Charlie straightens himself up, starts the car and burns out. EXT. KELCHER HOUSE — NIGHT Charlie drops her off. PEGGY I'm sorry Charlie. CHARLIE Save it. Peggy watches him go. Looking at her darkened house, she turns and walks down the street. EXT. STREET — SHOWER'S CAFE Peggy peeks in the window. The kids from the party are eating and laughing. Rosalie Testa is dancing. Shaken by Rosalie, she turns away. In the distance she SEES the lights of: ART'S DONUT HOLE. OPEN 24 HOURS. INT. ART'S DONUT HOLE A few people linger over coffee. The waitress serving them is Monica (the same but younger woman from LOVIN' OVEN). In a corner, Michael Fitzsimmons, in a red leather jacket, sits alone, reading. He looks up to check on his motorcycle parked outside. He's splendid in his isolation. Peggy enters, taking a seat at the counter, startled to see Monica, who doesn't know her. MONICA What would you like? PEGGY Monica? Aren't you Monica Hines? MONICA Yes. Who are you? PEGGY Ah... never mind. Can I have a coffee, please? And a cinnamon cruller. (sotto) How's Bobo? Peggy notices Michael staring at her. Peggy smiles, Michael doesn't. Monica brings Peggy her coffee and donut. MONICA Twenty cents, please. PEGGY You're kidding? Picking up her donut and coffee, she walks over to Michael's table and sits opposite him. PEGGY I was impressed with what you said in English class today. MICHAEL Gilfond's okay, except he thinks Hemingway's great Literature. PEGGY You don't? MICHAEL (contemptuously) He's a fisherman! The most overrated writer of the century. I mean, he's the perfect American author — fat, violent, drunk... PEGGY Maybe you're confusing his life with his work. MICHAEL A writer's life is his work. Jack Kerouac doesn't have to kill a bull to have something to write about. He's out there feeling, burning... grooving on life! Michael leans back in his chair. He's said his piece. Peggy studies him for a beat. PEGGY The young man leaned back in his chair. No bulls would die today. MICHAEL What're you doing here anyway? PEGGY Coffee and a donut. MICHAEL I thought chicks like you traveled in packs. PEGGY Hey, man, I'm a hip chick. EXT. ART'S DONUT HOLE Long shot of the brightly lit donut shop. Michael and Peggy are clearly visible. INT. CAR Dolores and Terry are driving by. DOLORES Terry, slow down. TERRY Okay. DOLORES Terry! Slow down. TERRY What, why? EXT. ART'S DONUT HOLE — DOLORES'S POV: Peggy and Michael leave the donut shop, get on Michael's motorcycle. DOLORES There's Peggy with Michael Fitzsimmons. TERRY That commie beatnik? What's she doing with him? Wait'll I tell Charlie. DOLORES First a nerd and then a weirdo. What a bunch of nose pickers. I'll tell Charlie. EXT. STREET - NIGHT — DRIVING Peggy on Michael's bike, clasped around him. Her eyes closed, enjoying the wind blowing in her hair. They head out of town. EXT. GAS STATION Michael pumps gas. Peggy walks to the washrooms. Looking around she waits a beat, then enters the men's. INT. MEN'S WASHROOM With all the aplomb of a divorcee, Peggy takes a quarter and deposits it in a condom machine. She puts the packet in her skirt pocket, pulls out the joints and stares at them for a beat. She checks her hair in the mirror and exits. EXT. GAS STATION Michael pumps air into the tires, bunched against a building. Peggy approaches him, holding up a joint, smiling conspiratorially. She lights it, inhales deeply, then passes it to him. He smiles back at her, a bit surprised, but still takes the joint and inhales. EXT. MOUNTAIN ROAD They drive up to a mountain top, Peggy wearing the leather jacket. She directs Michael with one arm. The motorcycle is parked. Peggy and Michael lie on the grass, staring down at the town lights below. Michael inhales the joint, then passes it to Peggy. MICHAEL This is great reefer. PEGGY Yeah. I'm surprised. It's really old... (inhales) Travels well though. (beat) You know, the world looks a lot better from up here. MICHAEL The world is fantastic. It's the ultimate absurd circus. I am shot from a cannon into the energy. PEGGY What are you shooting for? MICHAEL Maximum intensity. Yeah. I can't wait to get out of here. I'm gonna write. I'm gonna check out of this bourgeois motel. Push myself away from the dinner table and say 'No more Jell—O for me, Mom.' PEGGY Don't you get along with your parents? MICHAEL The only thing my father digs is cold, green money. All my mother cares about is her standing at the country club. PEGGY They care about you. They're just a different generation. MICHAEL Hey what's with you? I thought you were cool. You rode my bike. You blew some pot. (beat) What's your scene Miss Majorette? You gonna marry Mr. Blue Impala and graze around with all the other sheep for the rest of your life? PEGGY I already did that. I want to be a dancer, I want to dance. Peggy takes off her sweater, kicks off her shoes and begins to dance. Her eyes are closed, her body silhouetted by the moon. Michael is transfixed. After a few beats, he walks over to her. He stretches out his arms and places them around her neck. They sway together for several beats, their bodies touching. Peggy opens her eyes and sees Michael gazing at her tenderly. MICHAEL You know, I had you pegged all wrong. Michael kisses Peggy. She responds passionately. MICHAEL A ray of oneness piercing the solitude. Falling bodies in the ecstasy of flesh. You'll be a chapter in my memoirs of desire. PEGGY Is that one of your poems? MICHAEL No, I just made that up. Do you want to hear one? PEGGY I'd love to. MICHAEL (eyes ablaze) Okay. Here's a new one. It's called Tenderness. (beat) I couldn't sleep so I thought I'd scream Betrayed by a kiss, sucking pods of bitterness. In the madhouse of Dr. Dread Razor shreds of rat puke fall On my bare arms (sees Peggy grimace; he calms down) I'm sorry. I guess I was trying to impress you. (kisses her) Peggy is falling for it. He fumbles with her bra straps. PEGGY Michael... you're as good as you looked. His other hand reaches to undo her skirt. MICHAEL I'll respect you for eternity. (reciting tenderly) 'When you are old and gray, and full of sleep, And nodding by the fire, Take down this book, and slowly read, And dream of the soft look your eyes had once." (beat) I didn't write that. That's Yeats. Peggy is moved by the beauty of the poem. She sits up, leans over Michael, runs her hand through his hair, almost motherly. PEGGY I envy you. You have your whole life ahead of you and you know exactly what you want to do. (beat) But forget the rat puke; write something beautiful. Peggy lies back down on the ground. Michael takes her hand and kisses it. PEGGY You know, this isn't really happening. CAMERA PULLS BACK to include the entire, perfect tableau: the starry night, the motorcycle, the clouds racing across the moon and the two lovers on the mountaintop. EXT. STREET — DAWN Michael stops at the corner of Peggy's street. She gets off the bike and kisses Michael goodbye. He takes off. EXT. KELCHER HOUSE Peggy walks up the path as the MILKMAN approaches. MILKMAN Your parents are waiting up. You know, I see a lot of this in the spring. Good luck. PEGGY Thanks, Ralph. INT. KELCHER HOUSE Peggy enters, trying to be quiet. Mr. Kelcher stands in the kitchen doorway in his bathrobe waiting for her, steaming. CAMERA TRACKS Peggy into kitchen. She grabs a cup of coffee before sitting down. MRS. KELCHER Where have you been? PEGGY I went for a drive. Up in the hills. MR. KELCHER Damn that Charlie I PEGGY It's not Charlie. It's me. MR. KELCHER (nervously) Peggy, let me ask you something. (beat) You're not... expecting are you? PEGGY At my age? Don't be silly. MR. KELCHER Thank God for that. PEGGY Dad.. it's not a big deal. Didn't you ever stay out all night when you were young? MR. KELCHER Yes but I was a boy. And I still had hell to pay. PEGGY Calm down. Just listen for a minute.. Please. MR. KELCHER All right. But this better be good. PEGGY I want to help with the family finances. I want you to buy some stocks. And gold. By 1980 gold is going to be worth eight hundred dollars an ounce. Then you sell. MR. KELCHER Do you know how ridiculous you sound? First of all, it's illegal for U.S. citizens to buy gold. And in the second place, the price of gold is regulated by the government. PEGGY I think they're going to deregulate it. MR. KELCHER That's your problems The more women think, the more trouble they get into. PEGGY Oh boy, that's another thing that's going to change. Who's going to think for us? Our husbands? You know, you treat Mom like a maid. It's not entirely your fault. Those were the attitudes in the fifties, and that's the way you raised me. But give Nancy a break, encourage her to go to art school. MR. KELCHER I've heard just about enough of this lunacy! Go to your room! PEGGY Listen Dad, please. Buy IBM, buy Polaroid, buy Apple Computer. No, no. Not yet. Buy Xerox! MR. KELCHER Evelyn, take her to her room! Peggy stalks out of the kitchen to the front door. MRS. KELCHER I'm not the maid! PEGGY Way to go, Mom! The Kelchers glare at each other~. We HEAR the DOOR SLAM. INT. SHOWER'S CAFE — DAY Peggy and Richard sit in a booth. Richard's kite is hung on a coat rack. RICHARD The way I see it, you have an unparalleled opportunity to become the richest woman in the world. PEGGY I'm just not the type. Besides, I want to get out of here. RICHARD But you have a vision. Don't you want to help your parents? PEGGY I tried to tell them, but they wouldn't listen to me. RICHARD I'm talking about invention, no investment. I know what people think of me. Mr. Spasmatician. Dick the Square Root. I'll show them. You said I was going to be a millionaire. And you're gonna help! PEGGY Richard, take it easy. RICHARD No offense, but for a person who says she's lived an extra lifetime, you certainly are thick. Money is power.. Money makes people respect you... PEGGY How come you never ask me any important questions? Don't you wonder if there's going to be a nuclear war? Or a cure for cancer? What about your family? What about people? RICHARD I'm curious, but I don't want to know. Jeez, I hope you haven't been telling people what's going to happen to them. PEGGY Give me some credit, will you? RICHARD Good. You're discreet. I like that in a partner. PEGGY Wbat're you talking about? RICHARD Look it's very simple. You tell me everything that hasn't been invented yet, and I'll invent it. We'll be partners. Fifty—fifty. PEGGY Sixty—forty. RI CHARD That's not fair. PEGGY Okay, find yourself another vision. RICHARD You're taking advantage of a minor. PEGGY When do we start? A WAITRESS approaches their table. WAITRESS Do you know what you want? RICHARD A Ton on a Bun, with fries. WAITRESS And you? PEGGY Quiche Lorraine, spinach salad and a Perrier. EXT. DOWNTOWN STREET The street is filled with Saturday shoppers. Peggy holds the kite, Richard takes notes as they windowshop. They stop in front of a dry cleaners. PEGGY Dry cleaners. No real change. Just higher prices. They move next door to a shoe store. PEGGY Ah. This is a biggie. Forget sneakers. Running shoes, jogging shoes, tennis shoes. Fifty to two hundred dollars a pair. RICHARD Come on. You can't be serious. PEGGY There are major fortunes to be made here. Leisure time and life—styles. RICHARD Are you talking ~about exercise? Like gym? PEGGY Not for you. Okay, there's lots more. They move along to the next window, an appliance store. The window is filled with old televisions, record players, large rotisserie—broilers, etc. The store sign reads: BODELL'S TV AND APPLIANCES. Another sign reads: COME IN AND LISTEN TO STEREOPHONIC SOUND. PEGGY Look at that stuff. It's like the dark ages. This is more your speed. And boy, do I know this business. Peggy peers into the store again and catches a g1impse of Charlie serving a customer. EXT. STREET — BUS STOP Peggy and Richard sit on the bench next to TWO OLD. LADIES. Richard reads from his list. RICHARD Let's see... (looking around) icrowavemays, ocketpay alculatorcays... The two ladies react. PEGGY You don't have to use pig Latin! Nobody could possibly know what we're talking about. RICHARD All right. These are the choices: microwave ovens, pocket calculators, Walkmans, digital watches and miniature TV's. PEGGY Oh. And huge portable radios. Everything else gets small, but for some reason, portable radios get enormous. Peggy looks up and sees a lingerie store across the street. She heads towards it, calling: PEGGY I'll be right back. Peggy enters the Lingerie store. After a beat, Peggy emerges from the store, excited and empty handed. Dodging traffic, she hurries back to Richard. PEGGY Richard! They don't have any! They never heard of them! Isn't that wonderful? RICHARD What are you talking about? PEGGY The wave of the future! I've decided on our first fortune! I'll see you later. You just think high tech. RICHARD High tech. I like the sound of that. EXT. APPLIANCE STORE — DUSK At the back is a small record department, complete with a listening booth. Charlie is waiting on a customer. Peggy enters. CHARLIE'S FATHER is waiting on a buxom YOUNG WOMAN, his arm around her shoulder. He turns around as she enters. She has a shock of recognition. MR. BODELL (to young woman) Look at that freezer chest. What capacity. (to Peggy, embarrassed) Hello Peggy Sue. PEGGY Woody! How ya doing? MR. BODELL Fine, just fine. Peggy gives him a big hug and a kiss on the cheek. PEGGY Nice to see you. MR. BODELL Charlie's in the back. Peggy walks towards the back as Mr. Bodell explains: MR. BODELL My future daughter—in—law. Very affectionate girl. INT. RECORD DEPT. — APPLIANCE STORE Charlie talks to on ELDERLY GENTLEMAN. GENTLEMAN I'll just take the Ravel. CHARLIE Take the Shostakovich home and listen to it. Let it grow on you. Everyone that's bought it has come back and said, "This is definitive Shostakovich. Thank you for encouraging me to investigate it." GENTLEMAN Well, I did enjoy the Dvorak you suggested. Young man, you talked me into it. Charlie points Peggy to the listening booth. CHARLIE You'll like it. I kid you not. INT. LISTENING BOOTH Peggy sits on the chair. A turntable sits on a small desk. Record covers decorate the walls. Charlie enters and sits on the desk, his feet resting on Peggy's chair. PEGGY What do you know about classical music? CHARLIE Nothing.. Selling is selling. PEGGY Charlie. About last nights.. CHARLIE Forget it. I've been thinking. Girls must go through that stuff too. Sometimes when I look at you I feel like an animal. Maybe my dad's right. Teenagers are nuts. PEGGY But I'm not. I'm a grown woman with a lifetime of emotional experiences you couldn't possibly understand. CHARLIE Yeah, I know. Girls mature faster than guys. But last night, I was the one who put on the brakes. And you know why? PEGGY Why? Charlie cups her face in his hands, pouring out his heart. CHARLIE Because nothing else matters. That's the great thing about love. Every time we argue, every time something goes wrong, and I know that I'm not perfect either, things just work out better in the end. Cause you're my baby and I love you. PEGGY What am I going to do with you? CHARLIE Don't be cruel to a heart that's true. INT. KELCHER HAT STORE KELCHER'S HATS - LATE AFTERNOON Alone in the store, Mr. Kelcher is going through some receipts. Peggy enters carrying a shopping bag. PEGGY Hi, Dad. MR. KELCHER Doing some shopping? Peggy reaches into the shopping bag and pulls out a small wrapped box. MR. KELCHER For me? PEGGY Open it. He opens the present. Inside are a pair of miniature golf ball cufflinks. MR. KELCHER Sweetheart, they're beautiful. But they must've been expensive. Across the street an ice cream truck pulls up. Mothers, fathers and children crowd around the back as the driver exit the cab. PEGGY I closed my Christmas club. MR. KELCHER Good, you got your money out of that greedy bank. PEGGY I wanted to apologize for this morning. MR. KELCHER It's hard to believe you're going to be eighteen. (looks out the window) Want an eskimo pie? Or a creamsicle? I'd come home from the store and there's little you running up to me. I'd give you a dime and you'd promise never to grow up. PEGGY Quiet today? MR. KELCHER This morning was good. PEGGY The hat business is in trouble. MR. KELCHER I, that what all that nonsense was about this morning? You're worried about my business? PEGGY Yes. MR. KELCHER That's very thoughtful, honey. It's just a slump. Things will pick up. PEGGY But when John F. Kennedy's elected President, men'1l stop wearing hats. MR. KELCHER Kennedy's a Catholic. He'll never win. PEGGY (gravely; closing her eyes) He'll win. MR. KELCHER Richard Nixon's going to be President. Nixon wears hats. INT. NANCY'S ROOM Peggy is helping her sister Nancy with an art project. NANCY You think this'll cheer Dad up? PEGGY Of course, he'll love it. You're a terrific artist. We HEAR Mr. Kelcher arguing loudly from downstairs. The two girls freeze. MR. KELCHER (O.S.) I don't need your charity. I don't need your grandmother's jewelry or your parents money -—how could you do that? MRS. KELCHER Please don't shout. Peggy opens the door, Nancy cautiously behind. MR. KELCHER (O.S.) I'm not shouting. Have we ever starved? Have we ever missed a mea1? INT. DOWNSTAIRS — PEGGY'S POV: Mrs. Kelcher moves around the room, closing the windows. MRS. KELCHER Does everybody have to hear? MR. KELCHER I want everybody to hear because I don't have anything to be ashamed of. Mr. Kelcher collapses into his barcalounger, red as a beet. MRS. KELCHER Jack, I was just trying to help. MR. KELCHER We'll make it, we'll be fine. INT. NANCY'S ROOM Nancy is frightened. NANCY Does this mean we're going to be poor? Peggy leads her back into her room without letting her parents know they were there. INT. PEGGY'S ROOM We HEAR the song "Stranger in Paradise" from Kismet on the old black and white record player from opening scene. Peggy sits on the floor, surrounded by stockings, leotards and a sewing basket. She cuts the legs oft a pair of leotards. In one hand she holds up the top half of the leotards, in the other hand, a pair of nylon stockings. We HEAR a KNOCK on the bedroom door. Peggy pushes everything under the bed as Maddy and Carol enter. CAROL All right. What's the scoop? PEGGY On what? MADDY How come we're your best friends and we had to find out about you and Michael Fitzsimmons from Dolores? PEGGY She's unbelievable. Who needs satellites when we've got Dolores's mouth? CAROL I hear she does more than talk with her mouth. MADDY That's disgusting! CAROL (brushing her hair) ) Oh, Maddy, grow up. It says in LOVE WITHOUT FEAR that "the tongue kiss as a means of genital stimulation is widely practiced and has much to commend it". Page eighty—six. PEGGY Did you memorize the whole book or only the good parts? CAROL Just what you underlined. PEGGY You're kidding...? Carol, you have beautiful hair. CAROL Come on. What's with you and Michael? MADDY Yeah. He's so cool and mysterious. PEGGY He's very interesting. For all his pretending to be a tough guy, he's really got the soul of a poet. CAROL I bet Dolores told Charlie. PEGGY That loud—mouthed little bitch~ MADDY Peggy Sue! CAROL You better watch out for her. She's after Charlie. PEGGY Cool it kids. He's free to see other girls, if he wants. MADDY But I always thought that you would marry Charlie, Carol would marry Walter, and I would marry Arthur. We'd all live on the same street and take our kids to the park together and have barbecues every Sunday. It'll spoil everything if you and Charlie break up. That Michael doesn't look like the barbecue type. PEGGY I'm not going to marry him. I just went out with him once. (beat) I know! Why don't we go to the movies tonight. Just us girls. It'll be fun. CAROL Don't be silly. It's Saturday. Date night! MADDY Yeah. I've gotta go. Arthur's picking me up soon. PEGGY Okay. But let's have a girls night soon. Maybe a pajama party. CAROL Aren't we a little old for that? MADDY Sometimes you're so immature. INT. KELCHER LIVING ROOM - NIGHT Peggy turns to face her parents, holding up her home—made pantyhose with a flourish. PEGGY Ta da! Pantyhose! The death of the garter belt! Of course, once they're manufactured they'll look better than this. What do you think? MR. KELCHER This is your great invention? (to Mrs. Kelcher) Would you wear those things? MRS. KELCHER Would they go over my girdle or under? PEGGY Instead of a girdle. And light as a feather. MRS. KELCHER. Jack, I think she's got something there. PEGGY And we won't just sell them in department stores. We'll market them in drug stores and supermarkets. MR. KELCHER That's all well and good, but we don't have the money to manufacture them. PEGGY You need a partner. There's a friend of mine at school whose father makes seat covers for cars, Mr. Fitzsimmons. I've invited him and his family over for dinner tomorrow night. MRS. KELCHER Isn't that awfully forward? PEGGY We've got to move fast. This is an idea whose time has come. MR. KELCHER You mean to tell me that you invited this Mr. Fitzsimmons over to talk about investing his money in your cockamamie idea? PEGGY Wrong, Dad. Your idea. INT. PEGGY'S BEDROOM — NIGHT A breeze blows through the open window Peggy sleeps fitfully, tossing off the covers. We HEAR NOISES from outside her window. A figure appears outside and silently climbs into the bedroom. Peggy mumbles Charlie's name. The man walks over to her bed as Peggy reaches out for him, tenderly, as if they were still married. PEGGY Charlie. I just had the strangest dream. CHARLIE (whispering) I have to talk to you.. Through her sleep—clouded eyes, Peggy begins to focus on the face of the younger Charlie. Suddenly, she remembers. PEGGY What are you doing here? CHARLIE (angry) Let's go down to the basement. INT. BASEMENT Peggy enters, flicks on the light and leads Charlie in. Peggy senses Charlie's anger, and steels herself for the inevitable confrontation. CHARLIE I want to know what's going on. Dolores told me that you and that scuzzball Michael Fitzsimmons... PEGGY I bumped into him after you dropped me off Last night. I didn't feel like going home, so we went for a ride. CHARLIE (furious) Then it's true, dammit! I had a miserable time tonight 'cause of you. When the Monotones did "Book of Love —— Chapter Four you break up, won't you give it just one more chance..." I'm thinking Did we break up? 'Cause if we did, I don't even know about it!. I thought we cleared all that up yesterday. Did that Maynard G. Beatnik give you what you wanted? PEGGY You know I never could stand your sarcasm. CHARLIE You're going to blow it, Peggy Sue. Nobody treats Charlie Bodell like this. PEGGY And why do you always refer to yourself in the third person, like Napoleon? How come it always turns into an argument with you? CHARLIE Look, I've got the hair, got the eyes, got the teeth, I got the car. I'm the lead singer, I'm the man. PEGGY Charlie,. I've been trying to postpone this. But what's the point? It's over. (crying) I don't want to hurt you. This is very hard for me. I'm doing this for both of us. I really want you to be happy. CHARLIE I will be happy if I have you. I love you. PEGGY That won't make any difference. We just can't live together. And you had the nerve to drive up with that bimbo Janet. CHARLIE What are you talking about? Who's Janet? PEGGY I just can't trust you anymore. CHARLIE What about everything I said to you this afternoon... PEGGY That's just it. You can always get to me. There's this window in my heart and every time I leave it open, you climb in. Unless I close it now, nothing's ever going to be different! CHARLIE But what has to be different? PEGGY Everything. I have a good head for business, I should be franchising the bakery. And I want you to give me your word that whatever happens, you'll go to college. And finish. CHARLIE What! What about the group and my singing career? What about me? PEGGY I'm trying to save you years of frustration... waiting for a big break... no. Waiting for that big disappointment so you could blame it all on me. CHARLIE You don't know zip! You think I'm going to end up selling appliances like my father? Chasing women around the store. I've got to give it a shot. Why are you trying to kill the two things that mean the most to me? Until yesterday you loved me and you loved us. (opening the door) ) What the hell has changed? For two years I've done nothing but love you. I'll show you, I'm going to be just like Fabian! Charlie exits. Peggy slumps back, drained. Getting up, she crosses to the mounted swordfish. Standing on a chair she reaches into the mouth of the fish and pulls out a package of Pall Malls. She puts a cigarette in her mouth and picks up a table lighter and flicks it. As it lights, the tiny music box inside PLAYS SMOKE GETS IN YOUR EYES. INT. KELCHER KITCHEN - MORNING We HEAR distant CHURCH BELLS. Peggy sits down to scan the large Sunday newspaper. Seeing her mother's phone book, she finds the number she needs and picks up the phone. She dials slowly. PEGGY (very nervous) Hello, Grandma. It's Peggy Sue. Much better. How are you? I'm very sorry about the other day. EXT. STREET — APPROACHING RICHARD'S HOUSE Peggy jogs towards Richard. He is watering the front lawn. PEGGY (breathless) Hi, Richard. RICHARD What are you doing? PEGGY Jogging. I was running, now I'm jogging. RICHARD That's what you were talking about yesterday? Everybody does that in the future? PEGGY Yep. It's going to be a law. (beat) I broke up with Charlie last night. RICHARD That's terrific. You did it. You really changed the course of your destiny. PEGGY It was an unfair fight. He didn't have a chance. I'm taking a real gamble. I loved him for a long, long time. RICHARD Cheer up. Now you can give some other guy a shot. Make it up to him later and buy him a yacht. PEGGY For God's sake, forget the money! I'm going crazy! I'm a walking anachronism. I'm a puddle of deja I'm worried about my kids, Scott must be scared to death, I think my daughter's doing drugs again. I can't have any fun here, I don't have that innocence any more. I can't keep all this in anymore. I feel Like I'm going to explode. RICHARD Look, the best scientific mind in this country is working on your case. May I make a suggestion? PEGGY Like what? RICHARD (excited) Suggestion! Hypnotic suggestion! Why didn't I think o~ that before? PEGGY What do you know about hypnosis? RICHARD Everything. This is perfect. The subconscious mind remembers all. You can give me more information on microchips and then pinpoint what happened at the reunion. Maybe that'll give us a clue on how to get you back. PEGGY Look, I'm desperate. I'll try anything. But what if you can't snap me out of it? RICHARD No offense, but you're pretty out of it now. INT. RICHARD'S GARAGE Peggy sits in an old recliner. Richard holds a small, battery—operated revolving disc up in front of Peggy's closed eyes, then puts it down and picks up a notepad and pen. RICHARD You are completely relaxed. When I count to three, you will open your eyes. One... two... three. (Peggy's eyes flutter open) We'll start with something easy. What is your name? PEGGY (trance—like) Peggy Sue Kelcher. (beat) Or, Peggy Bodell. (beat) I'm not sure. RICHARD Oh boy. Peggy, what are microchips? PEGGY Ah..... they're very tiny... they look like a fingernail made out of an erector set... RICHARD What will they be made of? PEGGY I think it's called silicon. Charlie told me that. RICHARD Silicon is from sand. PEGGY We were lying in the sand. It was my eighteenth birthday... We were so awkward... I would have married him anyway... Peggy starts to shift in the chair. Her shorts hike up, her legs spread slightly. This is not lost on Richard. Weird, guttural sounds begin to emanate from his throat. RICHARD In the future, will you have to marry a girl before you have sex with her? PEGGY No. The Pill will change all that. Then he wouldn't have blamed me. We were just too young. RICHARD You mean you'll give a girl a pill and she'll want to have sex? PEGGY No. The Pill will be for birth control. But girls do like sex. Maybe not the first time. RICHARD Will you take of f your blouse? PEGGY Yes, every day. (taking her blouse off — getting spaced) Maybe I shouldn't have worn that dress? I told Beth it was a bad idea. That's why they made me Queen. Peggy's meandering makes Richard nervous. MAN'S VOICE (O.S.) Richard, are you in there? Richard frantically tries to put Peggy's blouse back on. She's limp and unresponsive. RICHARD (shouting) No! Yes! I'll be right out, Dad. (urgent) Oh shit! Peggy, I'm going to snap you out of it. PEGGY I couldn't help it —— I loved him. RICHARD One... two... three. (claps twice) You are now awake. Richard kneels on top of Peggy as she wakes up, fumbling the buttons at her breasts. Peggy comes to, as Richard jumps off. She buttons her blouse, furious. PEGGY Richard! You should be ashamed of yourself. RICHARD Me? You went crazy! You started taking your clothes off. I was putting them back on for you. PEGGY That's just perfect isn't it? Did it work? Did you find out why I came back? RICHARD I think it has something to do with your birthday. You were rambling. I didn't understand the rest. PEGGY God dammit! How'm I gonna got out of here? Peggy grabs a glass beaker and hurls it against the wall. RICHARD Hey! Do you have any idea how much those beakers cost? I usually charge for hypnosis. PEGGY Oh, go feel up your hamsters! I hear rodents put out. Peggy storms out. INT. KELCHER HOUSE Mrs. Kelcher stands at the counter preparing a pot roast. Peggy's making a chocolate mousse. MRS. KELCHER You know, dear, I think the pantyhose is a wonderful idea, but the next time you come up with something, please don't stay out all night. Just tell us. We'll believe you. PEGGY Mom, how about a machine that's like your blender, only it slices vegetables, kneads dough, chops meat and even make fresh pasta? MRS KELCHER What's pasta? INT. KELCHER DINING ROOM Peggy and Mrs. Kelcher are setting the table, taking the good china out of the cabinet. A dozen red roses grace the table. MRS. KELCHER These roses are beautiful. And so romantic'. Who is this Michael? Is he a friend of Charlie's? She moves the Jell-O mold. PEGGY No, just a friend of mine. I don't think he Likes Jell—O. MRS. KELCHER What does Charlie think about that? PEGGY You know Mom, it's okay to have male friends. Besides, it's over with me and Charlie. MRS. KELCHER (shocked) What? When did it happen? Your dad and I always expected you two to get married. PEGGY Yeah, I know Peggy Sue gets married. Case closed. Period. Mom, if you could live your life over again, would you do the same thing? Get married and settle down after high school? MRS KELCHER Of course I loved your Lather. I remember once being offered a scholarship to art school. But I turned it down. PEGGY Why? MRS. KELCHER All the college girls I knew were so well, dressed. I was worried that I wouldn't fit in. I didn't have the right clothes. I was so silly. But, I don't have many regrets, and besides, r don't have time to worry about the past. But Charlie. I hope you know what you're doing. INT. DINING ROOM — TWO HOURS LATER Michael, DORIS and ED FITZSIMMONS sit at the table with the Kelchers. They have just finished dessert. MR. FITZSIMMONS Moose? I never thought I'd have moose for desert. The adults laugh. Michael looks bored. MR. KELCHER Peggy Sue cooked the whole dinner. NANCY But Mom helped. MR. FITZSIMMONS You know, you should open a restaurant. PEGGY It's incredibly difficult to make money in the restaurant business. You have to get up at five in the morning to go to the market, you have problems with spoilage, employee pilferage, and just try and collect from the credit card companies. They take months to pay. The whole table is astonished. MR. FITZSIMMONS How does a young gal like you know so much about business? PEGGY Oh, I just picked it up from my dad. He's a wonderful businessman. MR. FITZSIMMONS Really? Peggy gives her father a go get him look. Michael's writing in a pocket notebook. MR. KELCHER Ah, Ed, why don't you and I adjourn to the den for a while? EXT. KELCHER HOUSE Peggy~ and Michael stand by Michael's motorcycle, passing a cigarette. MICHAEL That was quite an evening. Bourgeois, phony, decadent, stupid. PEGGY I shouldn't have put you through that. It must have been agony. Let's do something. Michael makes a move towards Peggy, with lust in his eyes. PEGGY No. Something else. I'm too full. Besides, it's a school night. EXT. GHETTO STREET - NIGHT Michael and Peggy pull up on the motorcycle in front of Lena's Lounge, a seedy bar in the town's black ghetto. Half a dozen blacks are banging around outside. They eye Peggy and Michael suspiciously. INT. LENA'S LOUNGE The room has a bar at one side, booths and tables in the rest of the room. A stage is at the far end. On stage, an all black group, The Four—Mations, is performing the song GOOD TIMIN' The people in the club are dancing the Twist. Peggy and Michael sit in the last booth. Several people wave hello to Michael.. Although Peggy and Michael can see the stage, their booth is not visible from the stage. MICHAEL Five more weeks of school. And ten minutes past graduation I'm gone. (he raises his glass) To freedom. PEGGY (looking around at the crowd — clinking glasses) For everyone. MICHAEL Now listen, this is the plan. As soon as school is finished we go to Utah and... PEGGY Utah? I thought you'd be going to New York or Paris. What's in Utah? MICHAEL Rita. I met her last summer. She's cool. You'll really dig her. She's got this great little cabin in the hills, just outside of Provo where she raises chickens. I'll write and the two of you can take care of the chickens to support us. PEGGY (astounded) I can't do that. MICHAEL Why not? Polygamy's legal in Utah. PEGGY I hate chickens. ANGLE — THE STAGE On stage, the Four—Nations have concluded their song. We HEAR APPLAUSE. SINGER Thank you. Now we're happy to introduce, a friend of ours. He's one damn fine singer, Mr. Charlie Dell! We HEAR the GROVE BEGIN the SONG SEA OF LOVE. MICHAEL But what about the other night? We were like two stars in the same constellation. PEGGY Michael, you and I are light years apart. You should go, but not with me. MICHAEL But we had heat baby. Passion! Fire! We owe it to ourselves to fuse together. (beat) At least one more time. PEGGY That's a terrific line. You're going to be a wonderful writer. MICHAEL You think so? PEGGY Yes. We had a glorious night together. One day you'll remember and write about it. MICHAEL I can dig that. Bittersweet perfection. Dogs of lust on leashes of memory... yeah. Suddenly distracted by the familiar voice, Peggy looks up to the stage and sees that the lead singer, Charlie Bell, is in fact, Charlie Bodell. PEGGY'S POV: THE STAGE — CHARLIE SINGING PEGGY (0.S.) It's Charlie! MICHAEL (0.S.) What a treat. INTERCUT - CHARLIE SINGING — WITH REACTIONS OF PEGGY AND MICHAEL. Michael observes Peggy's intimate reaction to Charlie's singing. MICHAEL Now I get it. PEGGY Ssh. He's great. MICHAEL Peggy Sue's still stuck on treble without a cause. Charlie finishes the song as the audience goes wild. He beams. PEGGY I thought I knew everything about him. MICHAEL Can we split now? Peggy and Michael unobtrusively slip out of the club. Charlie leaves the stage. He's met by a greasy looking MAN. They sit down at a booth to talk. EXT. KELCHER HOUSE — NIGHT Michael and Peggy pull up. Peggy gets off the bike and gives Michael a good—night kiss. MICHAEL I can dig you being uptight about Rita and Utah. That's cool. But I've got to warn you about something. PEGGY What? MICHAEL My father. He's not just the ultimate square. He's a total crook. INT. KELCHER KITCHEN Mrs. Kelcher finishes the dishes, with rubber gloves on. Mr. Kelcher sits, cleaning his pipe. Peggy enters. PEGGY How did it go with the pantyhose? MR. KELCHER It's the darndest thing. Ed knew what they were immediately. As a matter of fact, he said he's got a product like that in development right now. PEGGY Oh no! MR. KELCHER Didn't call, them pantyhose, though. What was it, Evelyn? MRS. KELCHER Sheerotards. Catchy name, isn't it? Like leotards. PEGGY He's a liar! He has no such thing! It's my own fault. I should have had it patented first. He's a crook, damnit. MR. KELCHER Peggy Sue, watch your mouth. MRS. KELCHER Mr. Fitzsimmons is a very prominent man. PEGGY Oh, you're both so naive. MR. KELCHER Look young lady, I grew up through the depression. I fought in the second World War. Six days a week I get up and deal with the public, the bank and the bill collectors. And on the seventh day, when God rests, I don't have to listen to my daughter calling me a fool! MRS. KELCHER You have a point, dear. INT. PEGGY'S ROOM (POSS. OMIT THIS SCENE) Peggy lies in bed in the darkness, her eyes wide open. The bedside clock reads: 2:47. Peggy gets out of bed. CAMERA TRACKS Peggy into Nancy's room. Peggy looks down at Nancy sleeping. Gently pulling back the blankets, Peggy gets into bed with her. EXT. CHARLIE'S STREET — MORNING Peggy walks down a residential street, much like her parents'. She stops when she sees Charlie's car parked in a driveway, and leans against a tree next to his car. Moments later, Charlie exits his house, a dog trailing behind him. The dog runs up to Peggy. Charlie is wary and distant. CHARLIE What're you doing here? PEGGY I wanted to talk to you, and I have one last thing to take care of at school. Then I'm going to... (pats dog) Good dog, Rusty. Good dog. CHARLIE Rusty's dead. That's Ajax Charlie throws a stick. Ajax chases it, never comes back. PEGGY Oh. I guess I always liked Rusty better. (beat) Could you give me a ride to school? CHARLIE Sorry, the Blue Thunder's out of commission for a while. PEGGY Well, how about a walk, Charlie Bell.. CHARLIE How'd you know about that? PEGGY I was at Lena's last night. You were terrific. CHARLIE Not terrific enough. What were you doing in that part of town? Who were you with? PEGGY What were You doing there? You never told me you were singing with an R and B group. CHARLIE Hey. I guess there's a lot of things we don't know about each other. Charlie and Peggy walking. PEGGY I'd forgotten how much music meant to you. CHARLIE That's real big of you. PEGGY Stop being defensive. I want to help you. I wrote a song for you. CHARLIE You're kidding. You wrote a song? Is it about a guilty girl and a trusting guy... she wants to hurt him, and he wonders why? Peggy takes a piece of paper from her purse. PEGGY Not exactly, but with your great voice, it'll be a huge hit. Honest. CHARLIE Fat chance. You know, Lee Wilkins came to hear me last night. He told me to forget it. You told me to forget it. My parents tell me to forget it. PEGGY Just take a look at it. (hands him the lyric) CHARLIE If you took the trouble to write it, then sure, I'll take a look at it. But I'm beginning to think that maybe there's more to life than music. I wonder if people would still like me if I stopped being Mr. Excitement? INT. SCHOOL HALLWAY Peggy and Charlie stand by their open locker. CHARLIE Does this mean you like me again? PEGGY It means I care about you and what happens to you. CHARLIE That's all I wanted to hear. 'Cause I'm never going to give up on us. It's easy to fall apart in a crisis. It's easy to be selfish and say goodbye and good luck. But this is more than love. This is a mental decision. Just wait till tomorrow, when you see your birthday present. Then you'll understand. Charlie walks away as Peggy reaches into the locker for her books. CAROL Peggy, I have to talk to you. Peggy turns to Carol. They walk down the hallway together. PEGGY What's the matter? CAROL It's that jerk Walter. PEGGY What happened? CAROL After Charlie told Walter that he broke up with you because he wanted to play the field, Walter decided he should do the same thing. PEGGY Welcome to the singles' scene. CAROL What a I going to do for the rest of my life? I don't have a boyfriend anymore. PEGGY Look, Carol, maybe Walter's done you a big favor. You always said you wanted to get out of town. Go for it. And be happy, goddamnit, I'm rooting for you. ANOTHER ANGLE Walter walks up to Charlie. WALTER Hey Charlie, what do you think of this? Walter does a totally demented dance step, finishing by strumming his leg like a guitar. He stands there grinning. CHARLIE Walter, maybe you should be a dentist. INT. CLASSROOM Peggy sits at her desk, organizing her books. We hear the end of the ANNOUNCEMENTS over the P.A. SYSTEM. MR. MOSEY (V.0.) And finally, our heartiest congratulations to our girls diving team for placing second in the county finals last Friday. And a special accolade to Rosalie Testa who placed first in every one of her events. We're proud of you, Rosalie. Everybody turns toward Rosalie and applauds. Peggy turns to Rosalie, trembling. The BELL RINGS as the class starts to leave, still crowded around Rosalie. Peggy stares after her, frozen in her seat Dolores approaches. DOLORES What's the matter, princess? Lost your prince? Peggy looks up at Dolores and starts to seethe. She stands up slowly and faces Dolores. PEGGY You know Dolores, there's a lot of things I could say to you, but you're not worth the effort. Peggy reaches down to up her books. On the top of the pile is an open fountain pen, which she picks up, pul1ing the release lever, squirting ink all over Dolores's dress. Dolores drops her books, looks down at her dress, horrified. PEGGY Sorry. These fountain pens are so tricky. DOLORES (screams) Oh! You did that on purpose! I hate you. Go gargle with razor blades! PEGGY I beg your pardon? DOLORES Take a long walk on a short pier. PEGGY Have a nice day. INT. GIRLS' LOCKER ROOM Peggy sits disconsolate on a bench, watching the other girls changing into their swim suits. Rosalie is in the shower room, wetting down her suit. She accepts congratulations from a number of the girls. The BELL RINGS as the girls begin to exit to the pool. PEGGY Rosalie! Wait! Rosalie turns at the door, smiling. They are alone. ROSALIE What's up? PEGGY I think you should give up diving. It's dangerous. ROSALIE Don't be silly, I'm the best in the county. PEGGY I know you are, but you have to stop. I couldn't tell you before, I didn't know if I should. But you have to stop before you hurt yourself. ROSALIE I spend three hours a day practicing. I have trainers, I know what I'm doing. PEGGY But accidents can happen. ROSALIE Not to me they don't. I'm going to win the State, then the. Nationals, and then I'm going to the Olympics. PEGGY Rosalie, please, listen to me! You have to stop. ROSALIE You're sick. You should go to the nurse. I'm going to tell Miss Dennis. Rosalie exits into the pool area. Peggy feels helpless. INT. HALLWAY Peggy walks down the hall, a set of double doors, leading to the pool, just ahead of her through them she sees Rosalie diving through the air with the careless innocence of youth. Burdened with the inevitability of it all, she rushes through the hall, and is stopped by Richard. RICHARD What's the matter? PEGGY It's all, gone wrong, nothing's working out. RICHARD Not true. I think I'm making real progress on the microchip. PEGGY You were meant to. You're one of those fortunate people that good things happen to. I have to get out of here. She starts to walk away. RICHARD Peggy, I believe you. I believe everything you told me. It's wonderful. You're the exception that proves the rule. She kisses him on the forehead. PEGGY I love you too, Richard. Thanks for trying. She continues down the hallway. EXT. AUDITORIUM - DAY Peggy heads out the door, sees Charlie. CHARLIE Hey, Peggy. Wait a minute. Peggy stops on the landing. Charlie joins her, so eager. He doesn't notice how distraught she is. CHARLIE I cut shop and did some work on your song. You know, it's not half bad for your first try. Of course, I changed all the "yeahs" to "oohs". Listen to this. Charlie begins to sing an R&B version of SHE LOVES YOU. PEGGY Forget it, it'll never work. CHARLIE Okay. Listen, I cancelled the tickets for Fabian. I thought it would be better for your birthday to eat at a nice restaurant, Chez Tres. Walter, Arthur, Maddy and Carol watch as Peggy runs away. INT./EXT. BUS OR TRAIN - HIGHWAY INTERCUT the bus, Peggy looking out the window, the rural scenery: pastures, barns, etc., the other passengers. EXT. STATION Peggy's grandparents, ELIZABETH and BARNEY ALVORG , wait in the front of the station. INT. BUS Peggy sees her grandparents waiting for her. She grips the window rail tightly, trying to hold herself together. BUS DRIVER Everybody gettin' off at Dumont. Here we are. Peggy stands and reaches above to take down her suitcase. Nervous, she drops it. A MAN, getting off the bus, helps her, picking it up. PEGGY Thank you. MAN No trouble at all. The man gets off the bus. EXT. GENERAL STORE Peggy stands at the door of the bus, hesitant. Elizabeth and Barney approach the bus, waving and smiling up at her. BARNEY Hello, Lilla! ELIZABETH Peggy Sue! Peggy slowly walks down the steps, moved to tears. She approaches her grandparents and drops her suitcases. She hugs them tightly. The bus door closes and the bus pulls away behind them. INT. CAR — DRIVING Barney is behind the wheel of a 1951 Plymouth. Elizabeth is in front, Peggy curled up in the back, regressing. BARNEY Quite a bit more rain than usual this year. I hope it doesn't spoil the rhubarb. ELIZABETH I've already got some in. I was thinking of making a pie for dinner tonight. (turning around to Peggy) How would you like that? PEGGY (like a little girl) Fine. (beat) ) Grandma, would you teach me how to make strudel? ELIZABETH That's a day's work. But if that's what you want, maybe we can do it tomorrow for your birthday. INT. FARMHOUSE/KITCHEN - NIGHT Peggy and Elizabeth finish up the dishes, chatting. INT. LIVING ROOM A fire blazes in the fireplace. A grandfather clock stands prominently in the room. The clock from Peggy's house. Peggy sits with Elizabeth, learning how to knit. Barney laughs at "The Burns and Allen Show" on TV. Suddenly, Peggy places her hand over her heart and shivers with fear. BARNEY What's the matter, Lilla? Somebody jump on your grave? Peggy shivers again and shakes her head. INT. LIVING ROOM - LATER Barney reading. Elizabeth enters, carrying a tray with cups of cocoa. They each take a cup. ELIZABETH You know, Peggy Sue, your mother said you had a dream that I died. PEGGY I wish she hadn't. ELIZABETH I'm not afraid. I know exactly when I'm going to die. Peggy is perplexed by her grandmother's apparent lack of fear. BARNEY What's it going to be, Elizabeth? Seventy—five? Eighty? ELIZABETH I'm not telling. BARNEY I've been trying to drag it out of her for years. (beat) You know, dreams are fascinating business. 'Specially where you see the future. PEGGY Do you believe in all of that? BARNEY Well, I like to speculate. This book I'm reading right now, a woman in Colorado says she lived in Ireland a hundred and fifty years ago. Her name was Bridey Murphy- and she gives names and dates and where she lived. She was hypnotized. Big bestseller. PEGGY I remember that book! (beat) Grandpa, Grandma, I want to tell you something. EXT. FARMHOUSE KITCHEN — DAY Peggy and Elizabeth are making strudel. ELIZABETH If you believe it, darling, then I believe. Being young can be just as confusing as being old. The things that happened to me fifty years ago are more on my mind than what happened yesterday. PEGGY But I'm remembering the future. ELIZABETH Right now you're just browsing through time. Choose the things you'll be proud of. The things that Last. PEGGY My children make me happy. I miss them so much. (beat) Beth. Scott and Beth. (beat) I'm going to name my daughter after you. EXT. FARMHOUSE DRIVEWAY — DUSK Peggy and Barney are washing the car at a standpipe, two hundred feet from the house. BARNEY It's gonna rain again. Every time I wash the car, it rains. PEGGY That never changes. (beat) You know, when you and Grandma are gone, the family's gone. I never see the cousins anymore. BARNEY It's your grandma's strudel that's kept this family together. PEGGY Grandpa, if you had a chance to do it all again, what would you do? BARNEY (jawing) I'd take better care of my teeth. INT. LIVING ROOM Elizabeth is tying Barney's bow tie. Peggy is sitting with a jacket on. ELIZABETH What's Peggy Sue going to do at your lodge meeting? BARNEY It's her 18th birthday, I want to show her off. Barney turns and winks at Peggy. PEGGY It was my idea, Grandma. I always wondered what went on at those lodge meetings. ELIZABETH He won't tell me, but I've got my suspicions. And I don't want any of that. Don't keep her out late. BARNEY Let's go. PEGGY (hugging Elizabeth) Good—bye, Grandma. ELIZABETH Have a good time. Barney and Peggy open the door and exit. EXT. FARMHOUSE DRIVEWAY Peggy and Barney approach the car. PEGGY What does Grandma think you do at your meetings? BARNEY Stag movies. Smokers. Peggy chuckles as they get into the car. The car proceeds along the driveway and turns onto the highway. INT. CAR — DRIVING Barney is at the wheel. BARNEY I may be an old fool, but I think we can help you. PEGGY I hope so. At least I got to see you and Grandma. (beat) Has it ever worked before? BARNEY The last one was six hundred years ago. It's about time for another one. INT. LODGE - NIGHT A one—story, pitch—roof building. The sign over the entrance reads.: THE ORDER OF THE GOLDEN DAWN. Underneath the sign is a logo of a spreading sunrise. Peggy and Barney pull up to the front, exit the car and enter the building. INT. LODGE — ANTEROOM Thirty old men are congregating around the cloak room. Most are already dressed in long, purple robes with the sunrise logo over their hearts. They either wear or carry tri—corner hats. Peggy and Barney enter. Several men approach them. Peggy nervously clings to Barney' s arm. GEORGE Welcome, Peggy Sue. It's nice to have you with us. PEGGY Thank you. HENRY You know, you're a lucky girl. You could lay a bear trap in the aisle of the cathedral and never catch a better man than your grandfather. PEGGY Ah... thank you. BARNEY Let me take your jacket, Lilla. I've got, to get my robe. Peggy hands him her jacket as he heads over to the cloak, room. AL You know, this is very exciting for all of us. GEORGE We've been waiting a long time for someone like you. Barney rejoins them, wearing his hat and robe. The group begins to enter the main room. PEGGY (nervous) Do you have to wear that hat? BARNEY It wouldn't be a lodge without hats. Barney takes her hand and squeezes it. They walk slowly through the doorway. BARNEY Don't you worry. I'll be watching after you. INT. LODGE — MAIN ROOM A large meeting hall. The room is draped, and brightly lit with fluorescent lights. At one end sits a large, gold— painted wood throne. On either side are large candle holders, with lit candles. A small table serves as an altar in front of the platform. On a footstool is a potted plane with an artificial bird perched on its top. The throne and altar look like a set left over from a summer stock "Macbeth". Peggy and Barney enter. Several men lead Peggy away from Barney to the throne. One man places a go1den cape around her shoulders. They lead her up the platform to the throne. HENRY Hey, George. Get the lights. The LIGHTS are DIMMED. The room is lit by the candles. The men form a semi—circle around Peggy. Old men at the end of their lives, they are serious and passionate about the possibilities of life beyond this world. One by one, four men from either end of the line approach the altar with offerings: a cup of wine; an egg; a gold coin; and a rose. The men rejoin the line. LEO COOPER, a tall, white—haired man, takes two steps forward. The other men begin to sing a Gregorian chant. LEO (to Peggy) Are you ready, dear? PEGGY Yes, sir. Leo steps back, closes his eyes and spreads his arms. PEGGY Fasten your seat belts. Here we go. LEO Lord of the Universe, Vast and Mighty One. Ruler of Light, King of~ the sun. Creator of earth, air, fire and water. (kneeling down) We adore thee and invoke thee! Grant thine aid. Look with favor upon us as we witness the regeneration of man. We behold the innocent endeavors of single—minded men and women. For we are the company of unbodied souls and immortal angels. We ask thy intervention, that this girl may return to thee on the wings of your Love. PEGGY (sotto) This is never going to work. The old men form a circle in front of Peggy. They begin to circumambulate east to west, intoning together, their heads bowed. As Barney passes in front of Peggy, he winks at her. She smiles back. MEN Fount of life, Chariot of the Spirit, Womb of the Mother, reclaim thy child of light. We HEAR a clap of distant THUNDER. Peggy trembles. The artificial bird falls off the plant. Peggy is struck with amazement. She begins to glow, poised to take off. The men continue to chant while: LEO (O.S.) The name of your love is sacrifice. We offer up this girl, that her soul may find its home. Suddenly a door is opened, a gust of wind pours in and extinguishes the candles, plunging the hall into darkness. LEO (0.S.) Nothing to worry about. Somebody get the lights. The LIGHTS are TURNED ON. All the men look to the throne. Peggy is gone. They are speechless for a couple of beats. GEORGE (chipper) Well, the girl's gone. Let's play some poker. CLOSE ON BARNEY — He smiles, happy that she made it. George crosses to the wall, reaches behind the drapes and presses a button. The wall slides open to reveal a fully—equipped card room. The men shuffle in. EXT. BEHIND THE LODGE Charlie carries Peggy off towards his car, one hand covering her mouth. Peggy struggles. When they reach the car, he puts her down. She's still wrapped in her golden robe. PEGGY What the hell did you do that for? What are you doing here? CHARLIE I was trying to save you. They were going to vaporize you. PEGGY Don't be ridiculous! They're just a bunch of harmless old men. My grandfather was in there. CHARLIE You're going to listen to me. Charlie tries to Lead Peggy into the car. PEGGY I'm not getting in that blue monstrosity. Charlie pushes her inside, Peggy climbs back out. Charlie takes her hand and drags her up a hill behind the lodge hall. PEGGY Let me got! Where are you taking me? CHARLIE Right here. Now sit down. Charlie sits her down on the ground. She's impatient and hopping mad. CHARLIE Look. I wanna tell you. I forgive you for everything. I know what you've been going through. You're just scared. I was scared, too, but I'm not anymore. PEGGY How could you possibly know what I've been going through? Thunder and lightning. It starts to rain. CHARLIE Because I love you, damnit! I had a long talk with your father yesterday and we decided that the best thing for us to do is get married and settle down. Right away. Peggy jumps up, exploding to Charlie. PEGGY What do you mean you and my father decided? Who the hell are you to plan my life? Let's get married and live happily ever after. Bullshit. I got knocked up. I had to marry you. I never had a choice. CHARLIE What? PEGGY You betrayed me, Charlie. You were never there for me or the children. And now you come and tell me, "Peggy, you're scared." Of course I'm scared. If you knew what I knew you'd be scared shitless. CHARLIE You're crazy! You're really out of your mind! PEGGY I might be crazy, but I'm not crazy enough to marry you twice. There's a lot of things I can't change. I can't even think about them. I tried. But I couldn't even help Rosalie. (tears start) I don't want to be bitter. I'm a naturally optimistic person. But you took advantage of that. Charlie bends down to comfort her, in tears. He hugs Peggy and strokes her hair. CHARLIE Oh, Peggy. My poor Peggy. It's all my fault. I'm so sorry. I won't bother you anymore. I promise. Please stop crying. Please. Peggy starts to compose herself. PEGGY Will you take me back to my grandparents? CHARLIE Of course. Charlie helps her up. Be reaches into his pocket and takes out a small box, handing it to Peggy. CHARLIE It's almost your birthday. I wasn't sure when you were coming back, so I brought your present up here. With a slow, growing remembrance, Peggy opens the box. Inside is the gold locket Peggy was wearing at the reunion. PEGGY (anguished) Oh, Charlie. CHARLIE It opens, too. Look inside. Peggy opens the locket. She shivers with recognition. INSERT - LOCKET Two photos, one of Peggy, one of Charlie, as children. PEGGY Scott and Beth. Where did you get these? CHARM E Who's Scott and Beth? Your mother gave me our picture. That's you and me. PEGGY So are Scott and Beth. Peggy leans into Charlie, throwing her arms around him, holding on for dear life. She looks up at him, their foreheads touching. CHARLIE (tenderly) I love you. PEGGY I know. Charlie kisses her, passionately. The locket drops to the ground. HOLD on the locket, and... DISSOLVE: EXT. ON THE HILL - LATER Charlie and Peggy are lying on the ground, gazing up. A flash of lightning streaks across the sky. CHARLIE I think we should get out of here. It's going to rain. PEGGY (musing) Do you think anybody in the Fifties ever made love on a bed? CHARLIE What the hell is that? Flying high above them is an enormous, glowing, liquid neon kite. The center of the kite inscribed in lights, flashing like a marquee: HAPPY BIRTHDAY PEGGY SUE. The kite begins to descend towards them. Peggy jumps to her feet and races towards it. She grabs the tail and starts to sail away with the kite. Charlie chases after her. CHARLIE Peggy! Where're you going? Come back! PEGGY I've got to go now. CHARLIE But I love you. I'll love you forever. PEGGY I'll love you, too, Charlie. I'll love you for twenty years. CHARLIE Come back to me. PEGGY I'm trying. As Charlie watches helplessly, a huge bolt of lightning strikes his car. Peggy smiles. The men from the lodge run outside. They look up and above the blazing car and see Peggy floating away. Peggy sees her grandfather in the crowd and blows him a kiss. Charlie begins to run, following the kite cord to its source. He finds Richard, struggling to restrain the runaway kite. CHARLIE Richard, do something! RICHARD I can't! It's out of control! Suddenly the cord breaks. Peggy floats away. CHARLIE Peggy! Charlie, Richard and the old men behold Peggy, bobbing and dipping playfully in the sky. We begin to HEAR Charlie's VOICE singing "Peggy Sue" O.S. Peggy looks down with wonder at the earth, and then like a comet, soars into the blackness. In an instant she becomes a star. FINAL SCENE DISSOLVE/OPTICAL HOSPITAL ROOM - DAY Moving from two to C.U. Peggy, fragments of the reunion, the cake coming towards her, fragments of words in echo effect: 'Your heart stopped for a while..." Father's voice: 'You're a very lucky young lady...' Doctor: 'A (explain) of the head...' Mom's voice: 'But you're going to be all right now, the paramedics got there...' Mom, 'We were so worried..." Echoing of, until once voice is left. Charlie. Sitting opposite her bed, as he has been every minute of her illness. He looks wan and old, worried sick, but trying to sing 'Peggy Sue' for her. CHARLIE (singing softly). Peggy Sue, I love you, and I need you Peggy Sue... PEGGY Charlie? Was I dead? CHARLIE I thought you were...for a while. PEGGY (affectionately) You look awful, like you haven't slept in days. And so old. CHARLIE But happy. Very happy, Peggy Sue. PEGGY Charlie, I thought I knew everything about you. CHARLIE I wanted to apologize. I can't live without you. PEGGY What about Janet? CHARLIE That's over. I got tired of translating everything. She thought the Big Hopper was a hamburger. Charlie laughs uncomfortably and Peggy Sue looks around her hospital room. PEGGY Who are all the flowers from? Charlie pushes himself out of his chair and moves toward the dresser. CHARLIE Everyone. Maddie and Arthur, Carol and Walter. Richard Norvick. And here's a book, by that guy from high school, Michael Fitzsimmons. He dedicated it to you. Charlie returns to Peggy's bedside and opens the front cover of the book. ANGLE ON BOOK: the front page bears the title "The Pilgrim Soul" and the dedication reads "to Peggy Sue and a Starry Night". Peggy smiles but shakes her head. PEGGY It couldn't be me. I hardly knew him. CHARLIE I'll just set it right here. He places the book on her bedside table as he sits back down. PEGGY Charlie, I had a strange experience. I went back to high school. And I spent a lot of time with you. And you and Walter and Leon were singing "I Wonder Why". CHARLIE Oh, God, Dion. PEGGY You were terrific. And I kept trying to push you away but you wouldn't give up. CHARLIE I'll never give up. PEGGY Then hold me. He holds her hand. CHARLIE I loved you since the day I met you, and I haven't stopped. PEGGY Don't try to charm me, Charlie Bodell. CHARLIE Listen, I don't expect all the troubles between us can just vanish away. But I would do what I can... PIGGY Charlie, please, I need some time. CHARLIE Well, I'll let you get some rest...so long. The VIEW PULLS BACK past the flowers. Charlie starts to exit. Checks himself in the mirror. PEGGY Charlie, I would like to invite you to dinner at home, on Sunday, with your kids. I will make a strudel. He hurries back to her, kisses her again. They hang on to each other as Beth enters the room. FADE OUT. \ No newline at end of file diff --git a/unformated_scripts/Script_Perfect Creature.txt b/unformated_scripts/Script_Perfect Creature.txt new file mode 100644 index 0000000000000000000000000000000000000000..a78359aa944f7d5644179a86adec5305e01959d8 --- /dev/null +++ b/unformated_scripts/Script_Perfect Creature.txt @@ -0,0 +1 @@ + PERFECT CREATURE Written by Glenn Standring SHOOTING SCRIPT 14 May 2004 1A EXT: PROLOGUE ON BLACK - NIGHT The screen is black, music evoking religion and danger begins. LILLY For three hundred years the great plagues have swept the earth. Diseases created from the experiments of the Alchemists. We see death tolls appear through this graphically. The plague - 5 million souls. Virulent Small Pox - 10 million. Mutated Influenza 30 Million Souls... Lilly Thinking they had discovered Gods secret code for life, the Alchemists experimented with genetic science. They had no idea what they had unleashed. We begin to see a strange medallion sweeping through smoke, slowly revealing itself. LILLY (CONT'D) (continuing) ...but there was also a miracle. One of these plagues helped nature create a new kind of being. At first they were called Nosferatu, or Vampire and were feared. But they were not supernatural monsters, just a better version of ourselves. They were the Brothers, and their religion and science helped sustain us against the plagues and influenzas that have ravaged Europe and the rest of the colonies. For 300 years our two races have lived in harmony. Until now... FADE UP:2 INT: DOCTORS SURGERY - DAY 2 We are very close on a bespectacled eye. It stares at us and then looks down. GENETIC DOCTOR (off) See here. This is what you need to look for. Cut to the object in the Genetic Doctors hand; it is like an x-ray, yet the image looks remarkably like a DNA profile. GENETIC DOCTOR (continuing; off) A genetic mutation, we all carry it. But we now know a virus activates it. 3We reveal the genetic Doctor, sitting at his desk, smoking acigarette. The surgery and the clothes suggest the year, yetthere are small things that are different, not what you'dexpect to be around at this time. Standing next to him in thedusty haze of the room is a younger doctor; an apprentice wholooks attentive. GENETIC DOCTOR (continuing) This Virus plays some unknown role in the birth the Brothers. Of course the mutation occurs very rarely these days. And only in males.The apprentice nods and then looks up. There is someone elsein the room. A woman - who we now see is pregnant. There issomething about her that suggests more a prisoner orpsychiatric patient than a normal pregnant mother. GENETIC DOCTOR (continuing) Strange isn't? Apprentice DOCTOR Strange? GENETIC DOCTOR That God would choose such humble vehicle for a miracle. The mothers invariably come from the slums, we don't know why. (to the woman) This is your 7th isn't it? 4We see the woman; she's like a hollow person, hardly aware ofwhere she is. The Doctor shuffles papers. Finds what he wants. GENETIC DOCTOR (continuing) Yes, her first was successful, a Brother was born. Thereafter variously malformed offspring. We can only hope this one will be different. (to woman) You'll have to try harder this time.The woman now looks up. And tentatively speaks. WOMAN IN THE SURGURY Please... GENETIC DOCTOR What is it? WOMAN IN THE SURGURY Please... I want to keep my baby. They always take my babies away. GENETIC DOCTOR Don't be stupid woman!The woman drops her eyes. We see the Apprentice Doctor,almost pitying the poor woman. Apprentice DOCTOR (to woman) You won't have to worry. The Brotherhood will take him...We are closer on the woman now. Tears begin to glisten in hereyes as we drift closer to her. Apprentice DOCTOR (continuing; off) ...raise him in the church, teach him. He's special. You should be proud. It's a blessing really, he'll want for nothing. Not like the rest of us?We track in closer, closer, to the woman, then continue,right into her eye, through the fluid, to see the roomreflected upside down at the back of the retina. Thisdissolves to an upside view of... 53 INT: HOSPITAL, OPERATION ROOM - DAY 3 POV, baby's view, in an operating theatre. Cut to The woman we saw earlier with the Genetic Doctor; she has just given birth. The baby is placed on linen blankets and cleaned by a nurse. A man now enters the operating theatre; we can tell the Doctor is uneasy. The man is dressed in a perfectly cut suit. He does not wear a surgical mask. His eyes are a piercingly clear light gray. He enters with two other men who look similar to him. By his side there is also a pristine boy; perhaps 8 years old, the same piercing eyes. They both approach the baby. The man stares serenely at the baby, all bloody, lying on blankets. AUGUSTUS This is your brother Silus. You will teach him. The little boy then shares a glance with the woman who has just given birth. She seems to recognize the boy. SILUS AS A BOY Is that my mother? AUGUSTUS No, not any more. Augustus then leans forward and gently opens the baby's mouth. We see the baby close. In the otherwise baby-like mouth we see something strange. There are two tiny fangs protruding from the otherwise smooth gums. We see Augustus smile. In his mouth too, we see two perfectly pointed teeth. AUGUSTUS (continuing) Welcome to the world little Brother. Cut to We end close on the baby; its piercing eyes. DISSOLVE TO: 64 PRODUCTION TITLE: ON BLACK. 4 Perfect Creature The title fades. Then another title appears. Queen's Imperial Winter Residence, The Pacific Colony 100 years later DISSOLVE TO:4A EXT: CITYSCAPE - NIGHT 4A We see a city, seething with smoke from coal fires, steam from engines, alien distorted Victorian spires are silhouetted against the moody, moonlit sky which is literally filled with dirigibles and strange flying machines that seem Victorian, of the industrial revolution, but that are also strangely futuristic. It is 1969, but not our 1969.5 EXT: STREET - NIGHT 5 A street. The look - of the film and the night - is silver, almost metallic moonlit skies. A hazy mist hangs in the air. Wet, steel pools of water on the dark footpath where a man stands. He stares up at a zeppelin passing overhead, its shadow obscuring him briefly until it passes away. Then we see him. The man is handsome, in a perfectly cut long wool jacket; dark gray. He wears perfectly shiny black shoes and we can see the surrounding street reflected in them; Victorian, Gothic buildings. This man is Silus. He surveys the street. While the houses are beautiful, they're run down. Silus - his eyes are the purest light gray you have ever seen - takes a long long inhale through his nose, his eyes closing briefly as if trying to sense/smell something. He stops the breath and opens his eyes. They are clear, full of purpose. He bends down to the footpath, runs his hand along its surface, almost caressing it. He closes his eyes. The camera moves in, to end close on Silus' ear. As this happens the soundtrack - all the noises in the night - become amplified. We see Silus' face, see him concentrating intently. We hear several individual noises. First a very quiet pitter patter. Cut to A cat, stealthily moving between some thorny rose bushes. Cut to 7Silus again; concentrating even more. Now the distant soundof trickling water.Cut toA drain pipe, leaking.Cut toSilus once more. This time we can hear "plop, plop, plop."Cut toA pool of water. Then "plop" as a drop hits it. The drop isnot water. The drop is a red liquid, thick, now dispersing inthe water. And another drop, "plop." High speed CRANE UP fromthis pool, up up the side of a building to end on a FACE inthe shadows. We can see reflective, gleaming eyes. And amouth, with blood dripping from it.Cut toSilus again. His eyes flicking open; we see the footpathreflected in those perfect light gray eyes.Music - brooding, ancient - begins to hum as Silus slowlyrises, as if his limbs have the power to make him float, soperfect and powerful are they. A small smile has appeared onhis lips; it is the smile of a man who knows that somethingvery dark, something very dangerous, is close by.Slowly his hand slips into his jacket. He holds it there,watching, surveying the street immediately ahead of him forthe slightest movement. He sees it. On the wall of an oldGeorgian Mansion across the road, a shape on the side of thewall, almost imperceptible, hidden in the shadows andbrickwork. A CREATURE on the side of the wall.Silus begins to move forward now, everything in perfectshining silver slow motion. As he moves forward he pulls agun from his jacket - it is silver, organic and glass, artnouveaux styling - and points it ahead of him as he glidesforward.The creature on the wall senses the movement coming towardsit, moves a little and then, like a spider, scrambles alongthe side of the wall, heading away from us.Silus fires. A bullet of silver explodes from the gun, seemsalmost to hang in the air for a moment, reflecting the moonabove, before hurtling at high speed towards its target.The shell explodes the wall next to the creature, who stopssuddenly in the light so that we can see it. 8 A man. With reflective animal eyes and blood on his purple lips. And teeth; the teeth of a vampire. This creature immediately dives from the wall to the ground, just avoiding another two bullets that crash into the wall. LA as the man falls directly towards the camera. Silus now rushes forward, holding his gun out in front of him; he moves forward gracefully. He can see the man skillfully climbing up an adjacent derelict building. Silus tries to follow but his way is blocked by wire and fencing. He raises his gun towards the man once more, but he is gone. Close on Silus' enigmatic face. Those eyes. And in his mouth, two perfectly pointed fangs. Cut to6 EXT: CAFE - NIGHT 6 We are outside a cafe; the cafe is a warm glow against the cold night. We see past the fine falling rain - through the large glass window that has swirling silver art nouveaux designs lacing across it - to a table inside, by the window, where two pristinely dressed men sit. Cut to7 INT: CAFE - NIGHT 7 We are inside. Closer on the two men. One is SILUS. The other man is AUGUSTUS; the man we saw in the operation theatre before. Augustus has hardly aged at all. AUGUSTUS The girl? We see Silus. He remembers. Cut to8 INT: ROOM, FLASHBACK - NIGHT 8 Flashback from Silus' memory; a dead girl on a bed, blood splattered across her pillow. Cut to 99 INT: CAFE - NIGHT 9 Silus' face. Pull out to reveal we're back in the cafÈ. SILUS It is taken care of. AUGUSTUS This is good. SILUS Augustus. We failed this girl. We asked her to help us catch him, and then we failed her. AUGUSTUS Yes. But her death served a greater good. Every trap needs bait. Augustus lifts a beautifully designed glass and silver pipe from the onyx table at which they sit, then settles back into a fine hardwood chair. The chair's swirling, delicate back creeks as he takes a puff on the pipe. AUGUSTUS (continuing) Are you sure you won't join me? Silus shakes his head, no. The opium in the pipe crackles. SILUS Perhaps this is beyond us. Perhaps we should inform the authorities. The human beings. Augustus places the pipe down, blows a smoke ring as a Chinese woman, dressed in a sarong, brings over two finely cut crystal glasses and sets them before the men, then leaves. Silus now lifts the glass and we see what it contains. Blood; dark and red and viscous. Silus takes a sip, then looks over to the bar. There is a young woman there, sitting at the bar, being treated with great care by several of the elegantly dressed patrons; the young woman laughs, enjoying the attention. Tubes run from the young woman's arms. These tubes carry her blood into a conch shaped glass bowl. We see the Chinese waitress fill another glass from the bowl. Silus watches, blood slightly present on his ashen lips. And we see two perfectly pointed fangs hanging in his mouth. AUGUSTUS For now the Brothers feel we should deal with this ourselves. 10 SILUS If they find out we are covering up these deaths... AUGUSTUS Which is why you must find him. Silus. Silus now turns to Augustus, still looking unconvinced. AUGUSTUS (continuing) For centuries we Brothers have served mankind and them us. The great union. But remember your history. 300 years ago when our kind were first born into this world they burnt our children as monsters. They had no notion of evolution. In another world we might all have been slaughtered, only to be remembered in myth, monsters to frighten the young or a puzzle for anthropologists. We must refuse to let one aberrant individual destroy the balance between the two races. The old prejudices are still there. Human beings are paranoid creatures by nature. SILUS Perhaps they have good reason. AUGUSTUS Silus. Simply concern yourself with finding Edgar. Find your Brother so that we can help him. Before he kills again. Cut to10 EXT: JAMESTOWN SLUM, STREET - DAY 10 Close up of a NEWSPAPER. On it we see a banner headline. "Influenza Vaccine Shortages lead to Black Market Trade." We pull out to reveal the paper is lying on a foot path. Wind blows the newspaper out of shot and we tilt up to the street. The street is wet, glistening. The rain, rain rain rain. The Edwardian and Victorian buildings of the street might seem beautiful, but they are not. They are largely derelict. We see a woman standing in a doorway out of the rain. 11 She is wrapped in a black plastic jacket that she pulls about her. A man approaches her. JONES Everyone's ready Lilly. LILLY About time. They both move to one of the tall buildings; a four story, ancient tenement that looks empty, almost derelict. They quietly move up the steps of the place and then pause. There is the bleep from a strange looking valve powered Walkie Talkie; hereafter called an RT. LILLY (continuing) On three gents. One, two...11 INT: JAMESTOWN SLUM, TENEMENT, HALLWAY - DAY 11 CRASH CUT to the door of the building swinging open wildly, a hand held camera on the shoulder of Lilly and Jones. A large, grubby looking woman stands in a long, grim hallway, mop in hand. At the far end of the hall another door disconnects from its hinges and collapses inwards, two men appearing out of the rain. JONES (to the woman) Don't you move! We see a gun in Jones' hand as he moves towards the woman, who has her hands up and is getting down on her knees. The camera then pans wildly, left and right. Then Lilly's foot kicks in a door to our right, revealing a dank office and a man, half naked, reaching for a gun. A woman is lying on a cot and she's screaming. She is instantly recognizable as a prostitute. LILLY (to the slum landlord) Don't you dare. From this POV we see Lilly's hand pointing a gun at the SLUM LANDLORD, who is now slowly easing back into the scummy office. LILLY (continuing) Jones! 12 We now finally cut to see Lilly. She is around 25; an intelligent, handsome 25. The man Jones appears at her shoulder, leering. Jones is the type of guy you just know will go to seed at 40. But that's still 10 years away. Jones stares at the Slum Landlord who is trying to cover himself. JONES God help us. What an appalling sight.12 INT: JAMESTOWN SLUM, TENEMENT, HALLWAY - LATER 12 The hallway again. The other two men we saw entering at the beginning are talking to the woman with the mop. One of the men is taking notes. We pan to the office, to see Lilly and Jones standing before the Slum Landlord, who is now wrapped in a towel and sitting in a chair. SLUM LANDLORD I don't know nothing about it. I give 'em out. Make sure everyone gets 'em. JONES That's a lie! We know you've been trading influenza vaccine in the workhouses! Another man now approaches Lilly. FRANK Lil'. I think you should see this.13 INT: JAMESTOWN SLUM, TENEMENT, HALLWAY - CONTINUING 13 Halfway down the hall there is a door, Frank opens it displaying a set of stairs leading down. FRANK I'd use the mask if I were you. Lilly pulls a dark surgical-type mask over her face, then slowly moves down the steps into the oblivion below.14 INT: JAMESTOWN SLUM, TENEMENT BASEMENT - CONTINUING 14 Cut between Lilly's POV and her face, her eyes glimmering in the sub-light as she moves down the stairs very carefully. 13 And finally the horror is revealed. In this basement there are 10 or 12 people, lying on the floor. Most of them are silent, but a couple moan. One, a woman, pleads to Lilly. WOMAN IN THE BASEMENT Help me. Please help. The woman extends her arm. It is covered in sweat; grimy. The glands at the side of the woman's neck are distended and swollen, her eyes bloodshot. WOMAN IN THE BASEMENT (continuing) Please. I'm sick. Please. The room is a version of hell. Lilly's eyes glisten. Cut to15 INT: JAMESTOWN SLUM, TENEMENT OFFICE - CONTINUING 15 Jones has the Slum Landlord by the throat. JONES You're a fucking liar! SLUM LANDLORD No, no, I swear it, I gave 'em their boosters, both of 'em. I'm a responsible landlord, I swear to god. There must've been something wrong with them vaccines. Lilly stares at the Slum Landlord; shock in her face, and anger. JONES This is a civil health violation! You're going to the hell house for this. You can forget lovely Doris here where you're going. We see the woman who was screaming before, the prostitute; she makes an obscene gesture at Jones. As this is going on Frank and the other man we've seen are tearing the place apart, looking for something. They don't find it and Frank's look tells Lilly so. Lilly's face is a mask. She is watching the Slum Landlord very carefully. He keeps looking down; strangely, nervously. 14 SLUM LANDLORD I don't know what you're on about. I've done nothing, I swear to god, I've done nothing.Lilly lets her eyes drift down, all the way down to the chairlegs, which rock unevenly on the floor. Lilly is staring atthe scratched, worn floor boards which MOVE.Cut toFrank, prizing back the floor boards. Jones restrains theSlum Landlord. Lilly watches. Frank pulls the floor boardsaway easily. We see that hidden in the floor cavity arepackets of something. Frank pulls them out.Rips one of the plastic bags open. In it are packets with thewords "Jamestown Borough - Civilian Influenza Vaccination."Frank holds it up for Lilly to see.The Slum Landlord is now looking three ways at once.Lilly slowly begins to approach the Slum Landlord. LILLY It is my pleasure to inform you that you are under arrest for trafficking influenza vaccine. SLUM LANDLORD I want my lawyer. LILLY This is a violation of the 12/10 health act, whereby you have withheld borough sponsored vaccines from your tenants. SLUM LANDLORD I want a lawyer! LILLY Anything you say will be held against you as evidence and, by endangering the public good, you are not entitled to a lawyer.The Slum Landlord just stares at her. SLUM LANDLORD Fuck you then.Lilly smiles grimly. 15 LILLY There's only one other thing. Lilly gives the Slum Landlord one almighty slap across the face that stuns him. Then Jones grabs the Slum Landlord and drags him off, but we stay on Lilly. Her face. She stoops and lifts something from the landlords desk. A public health flier saying "Fight Influenza. Ask your landlord for your free vaccine now." Then from the corner of the room, the prostitute pipes up, impatiently waving a cigarette at Lilly. PROSTITUTE Oi! How about me? He promised me some of that. I earned it. Cut to16 OMITTED 1617 INT: POLICE CAR - TWILIGHT 17 Jones is in front, Frank is driving. The car has come to a lurching halt. Some kind of cart is blocking the road. FRANK (hitting the horn) Come one! Jones is eating some kind of pie that is an affront to culinary art. JONES Lil', you want some? Ensconced in the back Lilly shakes her head, no. LILLY Smells terrible. She is watching the patterns of street lights that play and flow over the wet windows of the car. Jones shrugs. JONES I'm not letting that scum put me off my food. That'd be like a moral victory. LILLY I'll get out here. FRANK You sure? 16 We see Lilly get out. Frank and Jones share a look. FRANK (continuing) What's up with her? Jones watches Lilly move off; something like compassion crosses his features. FRANK (continuing) Jones? Is she alright? JONES Yeah. Lilly's kid. It died of the influenza, didn't it. FRANK She's never said anything about a kid. JONES No. She never says anything. Jones stares after Lilly, then starts chomping into his food.18 EXT: SUBWAY STATION - CONTINUING 18 The police car pulls out leaving Lilly outside the subway station. Lilly looks exhausted, breathes in deeply. Above, power lines blow in the wind and rain and make a clacking sound. She moves off and we crane up to see the seething smoky city beyond.19 OMITTED 1920 INT: LILLY'S APARTMENT - NIGHT 20 Lilly enters her apartment. It's nice; not opulent, but a haven of sorts. She stands for a moment in the empty hallway. We see a hall, several doors run off it.20A INT: LILLY'S APARTMENT, CHILDS BEDROOM - CONTINUING 20A Lilly approaches a room and we see inside it. It is empty apart from a stripped bed and some boxes. Lilly flips the lid on one of the boxes. She picks up a toy; a pink fairy princess with wings, the paint on its face worn. 17 Lilly winds a key and the wings of the doll flutter, accompanied by the whining sound of the internal mechanics. We see Lilly's face as she stares at the doll. Emotion fights to claw its way out from under her skin, but she doesn't let it. Then in the distance we hear a child's cries. It almost sounds like memories wafting through the air, but the stamping of feet from the apartment above makes it plain that the noises come from there; the sound of children playing. Cut to21 INT: LILLY'S APARTMENT, BEDROOM - NIGHT 21 Lilly enters her bedroom. The place is a mess. She sits on the bed. She picks up a framed photo which sits on a sideboard next to the bed. It shows Lilly, a man - Lilly's age - and a child of 5 years who looks a lot like Lilly. She stares at the child. We hear the sound of rain pounding against the window of the bedroom.22 EXT: LILLY'S APARTMENT, BEDROOM - NIGHT 22 Pull out to reveal the exterior window. We can see through the window into Lilly's apartment again, see Lilly lying down, hugging the photo. The rain has become a light mist.23 EXT: JAMESTOWN SLUM, STREET - NIGHT 23 We are close on a poster. It shows a perfect face, serenely beaming out; it could be Silus or Augustus, except this man is dressed in religious regalia, like a priest. The poster says "The Brotherhood loves you. You are divine." We begin to crane off the poster which is revealed to be stuck on a lamp post. The street is seething, the slums of Jamestown. A young boy, perhaps seven; spiked up hair, face covered in grime, grime from dragging himself up in this hellish place. He carries a bag filled with the detritus he's picked from the rubbish bins of the rich. He wears a distinctive red t-shirt that is several sizes too big. He moves along the street, avoiding a disinterested passersby. As he passes an alley he hears something. An animal-like growl. He stops. Down the alley he can see two figures. One is a male. He is clutching another clothed figure; female. KID Hey?! Hey! 18 At that instant the man turns to the boy. There, half seen in the slick shadows, the most piercing eyes, a bloody mouth, with fangs, hissing. The creature drops the woman and scales the sheer wall of the alleyway; clutching various handholds, up four flights, then gone. The kid, frightened, now makes to run off but bangs into a passerby. The man grabs the kid roughly. MAN IN THE STREET Where are you going in such a hurry my little ruffian? Pilfering by the look of you? The kid struggles and the Man now sees the shape of the woman in the alleyway, slumped to the ground. MAN IN THE STREET (continuing) What's going on here? What'd you do to her? KID Don't, I didn't do nothing. It was a Brother. It was a Brother did it. The man moves forward, dragging the kid. And he sees the woman there, deathly white in the alley. Dead eyes staring. MAN IN THE STREET Oh dear god... Cut to24 INT: NATURAL HISTORY MUSEUM - DAY 24 We track past a sign that says "Museum of Spiritual Selection and Alchemistry." In the distance we can see a group of people in the hazy light. Cut to Augustus - the man we saw with Silus earlier - sitting on a chair surrounded by various objects. At his feet are a gaggle of school children, aged around ten; affluent looking, human. Augustus points to a strange, ancient looking glass apparatus. AUGUSTUS 300 years ago, with these simple instruments, the alchemist Guiseppi De Angelo discovered what we today call genetic science. 19 AUGUSTUS (continuing) He deciphered that the Brothers were a new race of beings, sent by god, to serve and protect you. We see the faces of the children, rapt. AUGUSTUS (continuing) De Angelo formed the church of the Brotherhood. He was a great great man, but there were others, bad men, who took what De Angelo had discovered and experimented without concern for the results. The science of genetics and all its power has been banned ever since. Who can tell me what came from these bad experiments? One child puts his hand up. Behind the child, in the distance, Augustus now sees Silus approaching; Silus obviously wants to talk to Augustus. Augustus points to the child while looking at Silus. AUGUSTUS (continuing) Yes. CHILD All the bad things. Like bad germs and flu. Augustus nods, watching Silus' ominous expression. AUGUSTUS Yes. That's right. Augustus looks at the child and tries to smile. AUGUSTUS (continuing) All the bad things.25 EXT: SLUM, STREET - DAY 25 The streets are wet. High above several large Zeppelins plod across the sky. We crane down to street level to find a police car pulling up through the steam. Lilly gets out, Jones beside her, wolfing down another bun. 20 There are cops everywhere. An alleyway is cordoned off. The dwellers of the slum have floated up and are baying like wolves, hassling the cops; some yell obscenities, generally along the lines of "where's the police when you need them?" Jones stares at the people. JONES Someone should flatten this cesspool and start again. Lilly and Jones move towards the police cordon. Immediately a reporter accosts them. STREET REPORTER Marm? The Tribune. Do you have any comments on the death? LILLY No. STREET REPORTER They're saying it was a Brother, is that true? Lilly stares at the reporter, pauses for thought. She whistles to one of the cops nearby, who then approaches. LILLY Arrest her. Jones and Lilly push past as the reporter protests at being manhandled. LILLY (continuing; to Jones) Find any witnesses and shut them up. Jones nods and moves over to a policeman guarding the alley. Lilly ducks under the crime scene tape, moving into the alley.26 INT: JAMESTOWN SLUM, ALLEYWAY - DAY 26 The alleyway is full of forensics personnel. Lilly moves deeper into the alleyway. We see her POV moving forward, finally revealing the body of the young woman who is surrounded by various forensics staff. Lilly talks to one. LILLY Can I step in? FORENSIC GUY With the traffic. What's it matter. 21Lilly moves forward. She can now see the woman more clearly.The woman is obviously dead; her pale white skin like wetshining alabaster in the dark alley. Flashes fromphotographic machines light the scene, almost blinding Lillyand briefly revealing the true horror of the scene.Lilly kneels and carefully begins to examine the body.Another man now walks up and kneels next to Lilly; young,good looking, obviously takes pride in himself. DOMINIC Lil'. LILLY Hello Dominic. DOMINIC Have you seen it?Dominic bends down and moves the dead woman's head,displaying the side of her neck. A bite has torn the skin onthe side of her neck. The wound extends down, the carotidartery sliced in two. DOMINIC (continuing) It's a bite. If you know what I mean?Lilly nods, then looks down at the woman's dead, cockeyedstare. Lilly closes the woman's eyes. LILLY Any identification?She is passed a bloody ID. Lilly stares at it. LILLY (continuing) Tanya Garfield.Jones now arrives. JONES (to forensics team) Where do you get a cup of tea around here?No one answers. Jones shrugs. JONES (continuing) There's a kid who saw it, down there. 22Lilly sees the red shirted street urchin in the distancebeing talked to by two uniformed policemen. JONES (continuing) Says it was a Brother. And they've got another fellow, that's all who saw it.Lilly nods. LILLY Alright, we'll close this down gents. None of you are to say a word, not even to your old mother.All the police officers stare at her; they know what shemeans alright. LILLY (continuing) Jones. Make sure.Jones shrugs and nods. Lilly gets up and moves towards thestreet kid who is being talked to by two burly, grumpypolicemen. The boy is shaking. LILLY (continuing) He saw what happened? POLICEMAN 1 Now he wont talk. Didn't see anything.Lilly looks at the boy. So young. LILLY What's your name?The kid doesn't answer and gets a whack around the ears fromone of the policemen. LILLY (continuing; to the policeman) Stop that.Lilly stares at the kid, as if the way he looks has keyed amemory in her. She squats and looks him straight in the eye. LILLY (continuing) What's your name then? 23 KID (nervous) Albert. LILLY You live around here?The kid looks nervous. Lilly moves some of the bedraggledhair out of the kid's eyes. LILLY (continuing) I grew up 3 streets from here. Matheson Lane. The Skrummers Workhouse. KID (surprised) You did? LILLY Or should I say, I crawled out of here.The kid smiles. Lilly focuses on him now. LILLY (continuing) No one else will do anything about this, you know? They just think this is a slum. No one really cares what happens to the people here. Except for you. And me.The kid stares at her; she's a magician and he's a believer. LILLY (continuing) What did you see? KID A man. LILLY What kind of man? KID A Brother. LILLY You're sure it was a Brother? KID He had teeth and everything. 24 LILLY Where did he go? The kid turns and points to the shear wall of the alley. KID He went straight up there. Lilly stares at the wall. LILLY Alright, you go with these men, they'll look after you. I promise. She rises. LILLY (continuing; to the Policemen) Get him to describe it all. And keep him away from everyone. The Policemen grunt and begin to lead the kid off. LILLY (continuing; to the Policemen) And get him some food. Jones, now standing next to Lilly, moans. JONES Now they'll all want feeding. Lilly looks at Jones's callous face; she's not amused. Cut to27 EXT: JAMESTOWN SLUM, BUILDING ABOVE ALLEYWAY - CONTINUING 27 High angle POV of Lilly and Jones moving off. Someone is watching them from the roof above. The POV belongs to Silus, who stares down at them. In particular he watches Lilly. We see Lilly pause and then look up as if feeling she's watched. We see Lilly's POV of the building above. There is no one there. HA of Lilly looking up. Cut to 2528 INT: POLICE STATION, HOWARD ANDERSON'S OFFICE - LATER 28 A device flies toward the camera, sharp needles eject from it slamming into skin. Seated at the desk is a harassed, balding man (ANDERSON)of about 55. He's just finished vaccinating himself, wincing at the needle jabs on the soft skin of his arm. There are many other needle marks on his skin. LILLY (off) I've quarantined the neighborhood. Lilly stands before the man's large desk, which is lit by only a desk lamp. LILLY (continuing) As far as anyone knows we have a new influenza outbreak. ANDERSON What about the telephonic companies? LILLY They're cooperating, closing all phone lines in and out except directly to us. Anderson nods. ANDERSON Sit, sit. She does. ANDERSON (continuing) You've done well Lilly. The reporter is more of a problem. We have 2 days by law before we have to release her. Then it's out. Anderson lays down the medi kit and stares at it as he motions for her to sit. She does. ANDERSON (continuing) I hate these things. I'm like a pin cushion. LILLY It's better than the alternative, sir. 26 Anderson stares at her; a moment of tension. ANDERSON I need you to stay with this, Lilly. You know Jamestown better than anyone, how to handle the people. Lilly acknowledges the compliment. ANDERSON (continuing) The Brothers have requested to be involved with the investigation. LILLY That's nice for them. ANDERSON You have a problem with it? LILLY Not particularly. ANDERSON Good. I think they can help. And I don't want someone working on this whose got something against the Church. LILLY How do you know I don't? ANDERSON Lilly, you're the least prejudiced person I know. In fact, you're the only one I know. That's important. The church is powerful, but more than that, people's faith in the Brotherhood is about all they've got these days. And the government knows it. Even the Queen herself is involved. This is political. Cut to29 INT: POLICE STATION, COMMUNAL OFFICE - DAY 29 Lilly enters, drinking a coffee. She begins to top it up from the coffee stand when Jones comes up to her. JONES Lil'. He's here. 27 Lilly's expression becomes taut. She peers towards her office. She can clearly see an exceptionally well dressed man in her office with his back to us. It is Silus. A young female cop - Steph - is in there and we can see her kissing a ring on Silus' hand and Silus placing his hand on her head as if blessing her. Steph then exits the office and approaches Lilly and Jones; her face is flushed with excitement. STEPH Do you know who he is? That's Brother Silus. They say one day he will lead the Brotherhood. He's a great man. JONES I think I hear choir music. Steph flashes Jones a resentful look. STEPH Do you respect anything? JONES Hey. My old mum goes to church four times a week and gives blood. She's happy as a lark. Just don't expect me to kiss him, that's all I'm telling you. Cut to30 INT: POLICE STATION, LILLY'S OFFICE - CONTINUOUS 30 Close on the enigmatic ring on Silus' finger. We see Lilly is seated on one side of her desk, Silus on the other. Lilly is staring at the ring, then she studies a Photostat in front of her. There is a picture of a man, a rather perfect looking man. LILLY Senior Brother Edgar... How long have you known about this? Silus opposite Lilly, his perfect, serene appearance an anathema in the grunge of the Jamestown police station. He watches her very carefully, listens to the way her finger taps the sheet in front of her, the sound of her chair swiveling, all the sounds very acute to him; she has a physical ease about her. 28 SILUS A matter of weeks.Lilly smiles. SILUS (continuing) Is there something wrong?Lilly stops smiling. For the first time she is still. LILLY Yes. Withholding evidence. Covering up two murders. And no one's worried. If me or one of the people in Jamestown did that they'd be in the hell house with the key thrown away. It seems the church is able to do whatever it wants.Silus nods. SILUS You're right to not like it. It is political.Lilly becomes more interested at this; at the bald honesty ofthe statement. SILUS (continuing) We thought we could find Brother Edgar ourselves. We were wrong. But now any debate is pointless.Lilly stares at him. There is already something between themeven though they stand on opposite sides of a huge gulf. Shenods, accepting his point. SILUS (continuing) The greatest danger is if this were to become public knowledge. LILLY Wouldn't want anyone criticizing the church I suppose. SILUS It's more than that Captain. This is about prejudice, or rather the nature of it. As a female surely you would understand. 29 LILLY Really. SILUS How many other Captains in this borough are female? LILLY None? SILUS How are your actions judged, the same or differently from the men. Lilly stares at Silus; he is an incredible being. LILLY Differently. SILUS Exactly. If a white man kills, then he is just a killer. If a black man kills, then all black men are suspect. That is the nature of prejudice. Those who are different are grouped together. If only one Brother does a bad thing then all Brothers are suspect, because we are different. And then what would this world be like, if there was no hope? Lilly nods, acknowledging the truth of it. LILLY Alright then. So what do you suggest? SILUS First, there is something you should hear. Cut to31 INT: POLICE STATION, BRIEFING ROOM - LATER 31 Scummy, large briefing room. There are seven cops in here, perched on desks and chairs. Jones, Dominic, Frank plus four others. Lilly is also there. So is Silus, sitting, perfectly still, calm. Several of the cops look at him suspiciously. 30 LILLY Ok, ok, quiet down.Everyone nods and shuts up as Lilly stands in front of themen. LILLY (continuing) Gentlemen, there's no other way to put it. We have only 2 days to find the suspect.There are guffaws from most of the policemen. JONES There's no chance. Not a hope in hell. FRANK He's right. We don't even know where to begin. LILLY Quiet!Lilly is angry. There is silence in the room. Lilly seemsmore angry than she should be. LILLY (continuing) What you are about to hear will not leave this room. Everyone understand? Jones?Jones shrugs. LILLY (continuing) I would suggest anyone with a weak stomach leave now.No one moves. They all stare at Lilly. LILLY (continuing) This is Brother Silus.She motions to Silus, who rises, watching the glares from thecops who eye him like a suspect. SILUS Thank you Captain. Could we have the plate? 31An old slide projector heats up as the main lights are turnedoff. The projector sprays an image up on the wall. The faceof a killer, before he became one, the serene gaze of aBrother. SILUS (continuing) Senior Brother Edgar. Until 3 weeks ago, he was a trusted and talented theologian and scientist. DOMINIC What'd he do? SILUS He was personally responsible for developing the most recent influenza antivirals. It is because of him that most of you are alive today. His behavior appeared normal. Next.3 photos come up. The victims. SILUS (continuing) The victims. John Anderson. Julie Danes. Tanya Garfield. All in their early 20's, but beyond that no obvious connection. Next.A Map. SILUS (continuing) There is no precedent for Brother Edgar's behavior. No Brother has ever taken a human life, not in the 300 years since we began. Not one. Our role has been to preserve and maintain the human life. Not take it. JONES Next he'll be wanting an fucking medal.Silus stares directly at Jones now. Their eyes lock. Siluscontinues, perfectly calm. SILUS What I am saying to you is that Brother Edgar's behavior is aberrant. We 32 SILUS (cont) don't understand it. And therefore it's difficult to predict. The only thing we know is where he will strike next. DOMINIC How do you know?Silus moves to the desk next to him. He passes something toanother cop who now sits at the desk. We see Lilly now. Thelook on her face tells us that she knows what is coming andshe's not looking forward to it.We see what Silus gave the cop. An audio tape. The cop placesthe tape in a tape deck. He then switches it on. He thenturns the volume knob on an amplifier which now directsstatic hiss to two big speakers.We see the faces of the cops, all listening in the dim lightcoming from the slide projector.Above the level of the hissing tape there is another noise.It is a wet sound. Like a cat would make if it were lappingup milk. An another sound. Like an animal, moaning withpleasure.We see the cops; some of them are beginning to twig. Andthere is another noise. It is a man; moaning. MAN ON THE TAPE (off) Please. Please don't hurt me.We see Jones and Dominic. Their glares say it all. And thenanother voice. EDGAR (off, like to a lover) Quiet. MAN ON THE TAPE (off) Please... EDGAR (off) I said shut up!Then we hear a punch and then noises which can only bedescribed as sounding like a dog killing something.Jones springs out of his seat. 33 JONES Fuck! LILLY Jones, sit down. JONES Why are we listening to this?! LILLY Quiet!Jones stands there enraged. Dominic pulls him down back intohis chair. All the cops are appalled by what they have heard.And then a voice. EDGAR (off) Good. Now you're quiet.We can hear Edgar moving around. EDGAR (continuing; off) Did you hear that Silus? I hope so.We see Silus, listening as intently as everyone else. EDGAR (continuing; off) The next one will be tomorrow. There is a square, Bridge Square it's called. I will take the next one from there. You should try harder this time. Please try harder...More moving around, then the sound on the tape cuts out. Weare left with only tape hiss. Everyone stares at Silus. FRANK He sent this to you. Specifically. SILUS We share the same mother. There is a bond.The cops all stare at Silus' emotionless response. LILLY There will be two teams. Frank, I want you and Abernathy up in the buildings around Bridge Square.Frank nods. 34 LILLY (continuing) I'll lead the other team with Dominic, Jones and Queen's Imperial Guard in support. No guns, batons only. JONES What? LILLY You heard me. He's to be taken alive.32 EXT: JAMESTOWN, BRIDGE SQUARE - NIGHT 32 It has rained. The small square is dimly lit. At it's center is a small park with distorted trees. And a rundown playground. A rusty swing creaks. We see a figure there. It is Lilly. She watches the rusty swing creak. Then she looks up to the surrounding buildings. We tilt up to one of the buildings which is perhaps eight stories high; like the others around the square it is an apartment building. There is movement at the very top. Cut to33 EXT: JAMESTOWN, BRIDGE SQUARE, ROOF - NIGHT 33 POV from the top of the building, observing Lilly below enter a black, unmarked van. Then there is buzz from an RT. We reveal POV belongs to Silus. SILUS Yes.34 INT: POLICE VAN - NIGHT 34 Lilly is in a police van. Jones and Dominic are there with her; both of them trying to come to grips with the strange stun weapons they've been given. And there are three huge, dark eyed soldiers there, dressed in the ominous black uniform of the Queen's Imperial Guard, cocking their electric batons; which fizz in the half light. LILLY Anything? We cut between Lilly in the van and Silus on the roof. 35 SILUS No. Silus surveys the scene. He can see an Imperial Guard sniper over the square on the roof of a building. Below, in the street, we can see the silhouettes of several Brothers; unmoving, watchful sentinels. LILLY It's getting late. SILUS He will come. LILLY Ok. We'll sit tight. Lilly closes the com. Jones is staring at her. JONES This is a dud. Lilly ignores Jones and talks into the RT again. LILLY Frank? Cut to35 INT: APARTMENT BUILDING, BRIDGE SQUARE - NIGHT 35 Frank is inspecting a stairwell of the building. He has Abernathy with him. He talks into his RT. FRANK Yeah Lil'. LILLY (off) Anything? FRANK Not a thing. LILLY (off) Check each floor again. Frank motions to Abernathy, who is already sighing. 36 FRANK You heard her. Once more for the empire. Low Angle from the floor of the two men beginning to climb the stairs, their guns out. The shot stays where it is. We can see the stairs and the wall. We pause. The soundtrack is almost dead quiet, apart from the buzzing flouro above us. And then the CAMERA begins to advance, like a POV, heading for the wall ahead. It reaches the corner and then advances along cables running up to the roof. As it climbs we can see a ventilation shaft in the corner with no grill. The camera approaches it and moves into the shaft, continuous.36 INT: APARTMENT BUILDING, VENTILATION SHAFT - CONTINUOUS 36 The shot continues to track through the man-sized shaft. As we move through the shaft - turning corners, going up floors - we pass grills. Some of them show light coming from the apartments within. We can hear an argument in one room. A crying child in the next. A TV blaring in another (playing porno). But mostly the rooms are dark. And as we move up and along, there is a scuttling NOISE, growing louder, as if we are approaching it. Then the NOISE stops. The camera halts, stares down the long ventilation shaft. Silence. Dead silence. The camera starts to move again and then turns a corner to run into the leering face of Edgar, the vampire, his teeth bared, his eyes reflecting in the half light. Then he smiles. EDGAR Shoo. Cut to A rat, staring back at Edgar. The rat turns and streaks off back whence it came. A slight smile appears on Edgar's face; a smile that can chill the blood in your veins. Then he begins to move forward. We hear his breathing; low, but excited. He moves with the precision and strength of an insect. His eyes glisten and reflect light like an animal's. His skin is flesh white and milky in the metal shaft. Cut to 37 His POV approaching a grill. A subdued light comes through it. The POV approaches and sees into the apartment below.37 INT: ROOM, SAME BUILDING - NIGHT 37 A woman, around 20, attractive, brushing her hair. She has just had a shower. She sits. Cut to The shaft. We see Edgar's hand enter shot. His hand grips the bottom of the grill and tries to open it. It doesn't budge. Cut to Inside the room, the woman turns and looks up at the grill. She thinks she's heard something. She stares; waits. She gets up and moves towards the grill high above on the wall. She places a chair under it, then gets up on it, standing on tip toes, trying to see if there's anything behind the grill. Her hand reaches out and tries the grill, to see if it's secure. Then she leans closer to it. Her face pressed right up against it. Closer. Closer. Cut to Edgar's white face, lurching into shot. Staring, staring. Cut to His POV. He is now looking through a different grill. This time there is a young man inside an apartment. Doing exercises. Edgar watches. And again that chilling smile. We see the man again, who gets up and preens himself in front of a mirror. Close on Edgar's eyes, devouring the sight of this pumped up flesh. The young man exits the room, going into a bathroom. We see Edgar's hand trying to open the grill. It moves. Cut to38 INT: APARTMENT BUILDING, HALL - NIGHT 38 Frank and Abernathy are on fifth floor, finishing a sweep of it. As they move they hear a CRASH. They stop. Then another crash, coming from the floor up. Then a SCREAM. 38 They look at each other, then begin to run to the stairwell, as Frank talks into his RT. FRANK Lil'! Lil'! Cut to38A INT: POLICE VAN - CONTINUING 38A LILLY Frank. FRANK (off) He's on the sixth floor! He's on the sixth floor! LILLY Let's go. Everyone fires into action and begins to exit the van.39 EXT: JAMESTOWN, BRIDGE SQUARE, ROOF - NIGHT 39 Silus watches from his vantage point. He can see Lilly and her team below rushing into the building adjacent to him. And then he sees, through one of the windows on the sixth floor, the flashes of gunfire. Cut to40 INT: APARTMENT BUILDING, STAIR WELL - NIGHT 40 Handheld camera with Lilly and her crew rushing up the stairwell; up up. Cut to41 OMITTED 4142 INT: APARTMENT BUILDING, BRIDGE SQUARE, HALL - NIGHT 42 Lilly and her crew entering the hall. They are confronted with a view of the long hall. Halfway down there is a door with blood smeared on it. We can see Abernathy, lying in a pool of blood outside the door. 39 The cops stop. A door opens close to them. A large greasy man pokes his head out the door and gets the cops guns on him immediately. Lilly motions with her hand. LILLY (whispering) Police. Get back inside. Get back. The man returns and closes the door. The Imperial Guards now swing into action. They move forward towards the room, to the closed door. Lilly and her crew follow. The Imperial Guards get ready outside the door batons ready. One of them motions for Lilly and her crew to wait. Jones is nearest them. He goes down on one knee. Dominic moves past them and positions himself on the other side. Lilly kneels where she is. Beat. Then the Imperial Guards kick open the door and enter. Lilly waits, watching. There's no sound. Dominic begins to move forward, then enter the door to the apartment, his baton raised. Jones now moves forward, keeping his eyes on the door. There is no sound coming from the room. Cut to Lilly, kneeling in the hall. Also staring at the door. Too late to realize the door next to her is opening. Before she can react, she's staring into the face of Edgar; the eyes, the bloody mouth. Edgar is on her in an instant, moving with ferocious speed, whipping her like a rag doll into the room. Meanwhile Jones is edging towards the room Dominic entered. Cut to43 INT: APARTMENT BUILDING, BRIDGE SQUARE, ROOM - NIGHT 43 Lilly, trapped, held by Edgar, who stares at her. Then, in one swift movement, he lurches down, tearing her neck with his teeth. She cries out.44 INT: APARTMENT BUILDING, BRIDGE SQUARE, HALL - NIGHT 44 In the hall, Jones is looking into the room Dominic went into. The lights come on. The room is empty. Just the cops and Frank's bloody corpse on the floor. JONES Lil'. 40 Jones turns to see Lilly, but she's not there. The hallway is empty. He sees the door Lilly was pulled through. Then looks down. Blood is seeping from under the door. JONES (continuing) Fuck! Cut to45 INT: APARTMENT BUILDING, BRIDGE SQUARE, ROOM - NIGHT 45 Lilly being embraced by Edgar, she can't do anything. Then a loud crash on the door, as if someone is trying to break in. Edgar stops feeding, stares at Lilly. Beat. EDGAR You're so strong. Then another crash on the door. Edgar drops Lilly. He propels himself towards a ventilation grill on the wall. Cut to Jones and the cops kicking the door in. It swings open to show Lilly on the floor. Jones stoops down. JONES Lilly! Jones gets close to Lilly, starts squeezing the side of her neck, trying to stop the arterial blood from squirting her life away. JONES (continuing) Oh shit shit. Dominic enters and sees the scene. He yells into his RT. DOMINIC Lilly's hurt. She's hurt! The other cops are now scanning the room. Meanwhile Dominic has found the ventilation shaft, blood smeared around the opening. DOMINIC (continuing) He's in the ventilation shaft! 41Jones then stares down at Lilly pressing one hand against thewound. Close on Lilly, going into shock. She's shivering. JONES She's dying! She's fucking dying!At that moment SILUS appears at the door.Silus stares at Lilly, bleeding to death in Jones' arms.Silus immediately bends to her. With his free hand Jonespulls out a vicious knife which he points at Silus. JONES (continuing) Get away from her!But Silus ignores the knife and moves closer to Lilly. JONES (continuing) Get away or I'll stick you! SILUS Do you want me to save her?Jones wavers. SILUS (continuing) She is dying.Jones backs the knife away. Silus whips his hand to the bladeof the knife, slashing his wrist, blood immediately issuingfrom the wound. He presses his bleeding wrist to Lilly'smouth. At first resistant, Lilly begins to suck at the wrist.Jones is appalled.Silus then leans close to Lilly and whispers in her ear. Allthe other noises in the soundtrack drop out. SILUS (continuing) Lilly. Stop fighting now. Fall back, fall back...Slowly she does. Silus removes his wrist from Lilly's mouth.She is silent, comatose.A medical team now scramble through the door, pushing pastSilus and the bloody Jones and begin to work on Lilly. For amoment Silus and Jones stare at each other. Then Silus turnsto the ventilation shaft in the corner. He closes his eyes.Listens. 42 DOMINICHe's getting away!! SILUSQuiet. 43 The cops are silent. Stare at Silus who opens his eyes. SILUS (continuing) He's going up. We move in on Silus' ear. Closer, closer. Into his ear. DISSOLVE TO:46 INT: APARTMENT BUILDING, VENTILATION SHAFT - NIGHT 46 The long shaft and in the distance Edgar approaching, his eyes reflective, moving with the speed of an insect through the shaft, his bloody mouth. Cut to Silus, now also in the shaft, his gun out, moving forward. He turns a corner. The shaft is empty. He waits, watching, listening. He hears a scuffling. Cut to Edgar, the same, turning a corner to see Silus approaching him. Silus raises his gun. A puff emits from the end of his gun. The projectile hurtles towards Edgar, who just ducks out of the way in time. Edgar turns. There is a grill next to him. He smashes it with his foot. Cut to Silus approaching the junction, turning the corner, just in time to see Edgar's legs pass through the hole.46A INT: APARTMENT BUILDING, HALL - CONTINUING 46A We see Jones move into the hall, looking at the roof, searching. Then he looks at Lilly's blood which covers his hands. He pockets his stun weapon and pulls out his own dangerous looking gun. Cut to47 INT: APARTMENT BUILDING, DIFFERENT FLOOR - NIGHT 47 A door bursts open. Edgar - in slow motion - crashes through the door and into the hall. The sound track is a huge driving slab of choral orchestral music. 44 The camera tracks back as he starts to mount the wall, his momentum carrying him diving towards the camera. Cut to Silus enters the empty hall. No Edgar. Then he sees in the roof, a manhole cover, slightly ajar. Cut to48 INT: APARTMENT BUILDING, CEILING CAVITY - NIGHT 48 Silus' POV as he climbs into the crawl space, its ceiling following the pitch of the roof. It is dark and extends for a long way. Silus squats in the sub light like a beautifully dressed animal. What he can't see are two blinking eyes above him in the rafters of the dark roof. It is Edgar. Edgar drops, Silus turns too late as the weight of Edgar drives into him, sending both of them through the floor of the ceiling cavity and down...49 INT: APARTMENT BUILDING, ANOTHER HALL - NIGHT 49 ...to fall, a dead weight, crashing down onto the floor of the hall in a hail of debris. Edgar is on top of Silus and strangling him, and then he stops and turns. He moves just in time to avoid a bullet from Jones' gun which glances Edgar's cheek, sending off a wisp of burnt colored smoke. Cut to Jones. Gun smoking, standing at the other end of the hall. Edgar screams the scream of something from the animal kingdom. Then turns and runs. Cut to Silus rising, pulling out his gun. Jones points his gun, but Silus is obscuring his view. Cut to Edgar runs away down the hall. Then on Silus. Very still, very silent. Close on his finger pressing the trigger. 45The camera zooms right into the interior of the gun to seethe projectile entering the gun's chamber and the hammerigniting it.The projectile explodes out the end of the gun.High Angle of the projectile flying towards its target, theceiling lights above streaking past on its reflectivesurface, cruel mechanical claws suddenly slide out from theside of the capsule.Then Edgar, camera tracking back at high speed.Slow move in on Silus' cool gray eyes.Then whack! The projectile stabs into Edgar's back, the clawsspringing forward to hook onto Edgar's flesh, we see thefluid within the transparent projectile flow into Edgar, seeEdgar's eyes widen, see his POV of the approaching windowthen...Crash. Edgar's head implants itself in the wall below thewindow, the dust and debris from the wall board drifting overEdgar's numb stare.In the background Silus stands. Motionless.We see Jones walking forward, gun still pointing, headingtowards Edgar. Silus turns and steps in front of him. JONES Get out of my way. SILUS No.Jones stares at Silus and contemplates firing. JONES He killed Lilly.Silus doesn't move. He stares calmly at Jones.Jones points the gun in Silus' face.Beat. JONES (continuing) Bang. 46 Jones lowers his gun. We end close on Silus' serene face. SLOW DISSOLVE50 OMITTED 50 FADE OUT:50A INT: SFX - CONTINUING 50A Black. Voices in the dark, quiet at first, then growing more frightening; then the hint of a face, in negative - Edgar - then screams, like the screams of an animal on the hunt. And another face, alternating with Edgar's. Silus. CUT TO:51 INT: HOSPITAL, LILLY'S WARD - DAY 51 High Angle of Lilly asleep, lying on a hospital bed. We drift down. Again there is rain, pounding against the window. Her body flinches; she is in a dream, a nightmare. As we drift closer to her, her eyes open, staring straight up and then to the left. Then grim recognition. Cut to Low Angle on Silus standing above her, examining the tube that runs a clear fluid into her in a slow drip. LILLY Antibiotics. They say it's like an animal bite. Silus nods. He slowly sits on the bed. LILLY (continuing) I want to thank you. SILUS We all caught Edgar. LILLY I don't mean that. The blood, they say it saved my life. Is it true that people who go to church are given your blood? SILUS Sometimes the rituals call for it. Some say they have visions from it. That it restores their health. 47Silus regards her and she him. She reaches out and toucheshis hand, almost retracts at the smooth texture of the skin. LILLY So smooth.She turns over his hand to reveal the wrist; the scars arealmost gone from where Silus cut himself. LILLY (continuing) Healed already. SILUS In some ways my body is like a human embryo. The cells regenerate quickly. It is why we live so long. Will someone come for you? Your family?She releases his hand. LILLY I don't have one. Not any more. SILUS I see. LILLY Influenza. My husband was quick. But my daughter, Mary, her little body fought it for a long time. So I just waited. Hoped. But then you realize how cruel hope is. And you just want it to end. Not to stop her suffering, but to stop my own. SILUS I am sorry. LILLY Do we seem pathetic to you? SILUS No. Fragile. Worn down by nature. But you fight back. 48 LILLY Yes. We're good at that. Lilly stares up into Silus' serene face. Silus smiles. Then stands. SILUS I think yours will be a good life to watch, Lilly. Goodbye. Lilly tries to smile as Silus turns and walks off down the ward. Close on Lilly who looks grim. Then she turns to the window. Rain again, blowing hard against the pane.52 INT: HOSPITAL,LILLY'S WARD - CONTINUOUS 52 As Silus leaves the ward he passes Jones, who's been standing there as if he's been watching them. A beat. Then Jones shoves a newspaper into Silus' hands. JONES Nicely done. You're more human than I thought. Jones unceremoniously pushes past Silus and moves into Lilly's room. Silus reads the newspaper. The story tells of the recent deaths in Jamestown, explaining that it was an insane man who thought he was a Brother. The man's picture is shown; it is actually one of the victims. Through the window in the doorway Silus watches Jones approach Lilly. We are close on his enigmatic face. DISSOLVE TO:52A EXT: BROTHERHOOD BUILDING, FOYER - DAY- Establisher 52A We tilt down a grand building. 4953 INT: BROTHERHOOD BUILDING, FOYER - DAY 53 A huge foyer, shinning marble floors. All done in perfect taste. We see Silus cross the foyer and enter an elevator. The elevator doors close.54 INT: BROTHERHOOD BUILDING, SECURITY CONTROL ROOM - DAY 54 Silus enters the room. There are several technicians at work at a console; again the organic nouveaux stylings of the Brothers. Augustus is also there. Next to him, someone who is obviously human. His lack of perfection stands out; the balding hair, dark rings under his eyes. Silus joins them. AUGUSTUS Silus. You know Professor Liepsky. Silus shakes the Professor's hand. We see the hands touching, then slide apart with a wisping sound that makes the Professor wince a little. SILUS How is he? PROFESSOR LIEPSKY See for yourself. He taps one of the men at the console on the shoulder. The man hits a button and we see that in front of the console there is a huge glass window and beyond it a room which is now lit. Edgar is in there. And Edgar is not pleased. Even from here his glowering stare penetrates everyone in the room. From this distance we can't make out much, beyond the fact that Edgar is seated in a chair, in an otherwise plain white room. Around his chair is a strange "brace" of sorts, that seems to be holding Edgar in place. SILUS Is the brace necessary? AUGUSTUS He decapitated a guard as they brought him in. Even though he was sedated. He said he will drink us all dry. SILUS Insane then. 50 PROFESSOR LIEPSKY Not quite. Silus now turns to the Professor. PROFESSOR LIEPSKY (continuing) He's become infected. SILUS With what? The Professor looks to Augustus, as if worried he's said to much. AUGUSTUS Go on, Brother Silus will soon be part of the inner circle of the Brotherhood. He should know this. Cut to55 INT: BROTHERHOOD BUILDING, LABS - CONTINUING 55 POV approaching a curved, glass and metal door. On the door we see the words "Biological Containment Area." DISSOLVE TO:56 INT: BROTHERHOOD BUILDING, BIO CONTAINMENT WARD - 56 DAY- Establisher POV continues. There are 3 beds in here. In them, strapped down, 3 young woman. They are all insane, monstrous; the whites of their eyes are blood red. We see Silus observe them, but there is no horror in his eyes, just compassion. He moves to one of the woman and slowly grasps her hand. She lurches towards him. PROFESSOR LIEPSKY If she wasn't restrained she would try to kill you. Don't worry, it's only transmissible through their blood. We designed it that way. Silus quietly turns to the Professor. SILUS Designed? 51 PROFESSOR LIEPSKY Genetically designed. Edgar was experimenting with the virus that created you. It was sanctioned by the government. SILUS Since when do they sanction such things? PROFESSOR LIEPSKY Since not one Brother has been born in 70 years. And never a female of your kind from which we could breed. And we need to breed more Brothers. You give the world hope. To the people you're like gods walking the earth. AUGUSTUS This is what Edgar was doing Silus. Trying to genetically control the birth of Brothers.Silus is now turns back to the poor creature on the bed. PROFESSOR LIEPSKY And Edgar was successful. Each of these women carried a Brother, for a time. But, the virus... changed. Most of them have died and these will die soon.Silus places his hand on the poor creature's head, blessingher. PROFESSOR LIEPSKY (continuing) And Edgar may be the first Brother to ever die. 52 PROFESSOR LIEPSKY (continuing) Before that, his brain will wither like these women. Containment will be the issue. Cut to57 INT: BROTHERHOOD BUILDING, CELL ANTEROOM - CONTINUING 57 A door slamming behind Silus, he is in a strangely, eerily lit cubicle. SILUS (off) The police officer. Lilly. Did he infect her with this? PROFESSOR LIEPSKY (off) No. She was lucky. But it is in Edgar's blood. It always will be. ...and another door in front of Silus clicks, then slides open to reveal...58 INT: BROTHERHOOD BUILDING, CELL - CONTINUING 58 Edgar, sitting in the chair. He immediately turns to the door, his eyes burrowing straight into Silus. Silus moves forward. We track, Silus' POV, toward Edgar and the reality of his predicament is revealed. There are metal rods extending from the cage around him. Two at the sides. Two from the front. They strategically pointed at Edgar's chest and sides. If he was to try to get up, they would pierce him. SILUS Hello my Brother. We can now see Edgar for the first time in something approaching a normal state. He looks similar to Silus, perhaps not quite so perfect. He radiates confident primeval power; less a man captured than an animal waiting. Edgar is smiles. He shifts a little, we see the rods piercing his flesh. 53 EDGAR Do you like what they've done for me Silus?He moves again, as if enjoying it. SILUS You are sick. We will help you if we can. EDGAR Help me? I am being what I was meant to be. How can you help me from that? Or do you want to tame me? Brainwash me? Animal or vegetable, are those the two choices, Silus?Edgar leans closer to Silus. EDGAR (continuing) I want to share the feeling with you. To feel their blood flow until every last drop is yours, until that weak, pointless little pump finally stops.They are staring at each other very intently now. Edgarsmiles gently. EDGAR (continuing) The one I had, the police woman. She was so strong. I found it hard to leave her.Edgar moves. EDGAR (continuing) Is she dead? SILUS She survived. EDGAR Good. I will have her again.For perhaps the first time, we see a real hint of anger onSilus' face. SILUS You won't touch her. 54 Edgar looks at his brother for a moment. Edgar's features are a paradox; almost sympathy for Silus followed by understanding. Then he smiles. EDGAR You've chosen to watch over her. You want her don't you? I can see it in your eyes. You are like me. Silus' control has returned now. SILUS I will pray for your cure, Brother. Silus then turns and leaves. EDGAR I wont be able to forgive you for this you know? Not ever. In fact, when I get out of here... He moves violently, blood seeping from his wounds now. EDGAR (continuing) I will make you see. I will show you the way. I will see you drink your little police woman right through. By now frightening music has hummed into existence. Silus has paused at the door to the cell. Without looking back he passes through the door, leaving Edgar to his prison. Edgar, slowly turns back to the window in front of him. He sees himself reflected in it. The Camera moves into Edgar's eyes. The lights go out. All we are left with are his strange reflective eyes. Waiting. Waiting. FADE OUT:59 OMITTED 59 5560 INT: BROTHERHOOD BUILDING, CELL - NIGHT 60 A smooth, white walled cell. Flash edits of Edgar. Standing, posing, balancing literally on his fingertips, doing sensuous, slow gymnastic yoga. His hair has changed so we know time has passed. Finally he stands there; poised tensile steel. He slowly draws his finger nails against the shining floor of the cell, it almost looks like he's sharpening them. A tube comes from his arm for taking blood samples. Then Edgar begins to run directly at the glass window of the console room and then dives for it, smashing his head against it; blood and saliva left smeared there. Behind the glass window the console operators jump.60A INT: BROTHERHOOD BUILDING, SECURITY CONTROL ROOM - CONTINUI60A CONSOLE OPERATOR 1 I don't like it when he does that. CONSOLE OPERATOR 2 (scolding Edgar; into microphone) You stop that or we'll use the gas!60B INT: BROTHERHOOD BUILDING, CELL - CONTINUING 60B We see Edgar, slowly pulling himself up, blood and bruising apparent on his face. He smiles. We zoom in close to the glass, see Edgar's infected blood run down it until it congeals a little, caught in a tiny, almost imperceptible, hairline fracture.61 EXT: JAMESTOWN CLUBLAND, STREET - NIGHT 61 Rain on the streets. A man, covered in tattoos - an affluent hood, is in a doorway snorting snuff Dominic, Jones and several other cops emerge from hiding places, pointing their guns at the man who puts his hands up. Hand held cameras follow several other cops and Lilly as they move into the building, again catching various hoods unaware. Lilly moves forward quickly, down a hallway and finds what she is looking for. In a room she discovers a harem of prostitutes, none of them older than ten years old. She stares at their doll-like faces, then lowers her gun. 56 We see Lilly, the scars from Edgar's attack now healed but still apparent on her neck. Her hair is shorter; she seems more worn down. Jones appears on her shoulder. LILLY Take them away from here. Jones nods as Lilly walks off. JONES You don't feel like a drink? But Lilly doesn't respond, she just walks off. Jones watches her leave. Then he stares at the round faces of the children in front of him, something approaching compassion there. JONES (continuing) Now my girls, anyone hungry?62 EXT: JAMESTOWN CLUBLAND, STREET - CONTINUING 62 Lilly exits the building into the rain, wrapping herself up against it. Then she stops, feels she's being watched. She looks up at the surrounding buildings. But there's nothing there. She pulls out an amulet with the symbol of the Brotherhood on it from under her jacket, and then after a beat, kisses it, a little smile comes to warms her lips against the cold. She leaves. Cut to63 EXT: JAMESTOWN CLUBLAND, BUILDING ROOFTOP - CONTINUING 63 POV looking down on Lilly as she walks away. It's Silus, watching her quietly from the shadows, his eyes reflective orbs in the night.64 OMITTED 64 5764A OMITTED 64A64B INT: BROTHERHOOD BUILDING, CELL - CONTINUING 64B Edgar's cell is very dimly lit. Edgar is in front of the glass window to the console room. He is repeatedly banging is head against it. And his fingernails slide across the shiny surface; has he simply gone insane? A voice comes over the Tannoy. CONSOLE OPERATOR (off) If you don't stop that we'll use the gas. You hear me? Edgar just continues to bang his forehead against the glass, it drums eerily. Cut to65 INT: LILLY'S APARTMENT - DAY 65 We track through Lilly's apartment, silently. We enter the lounge to see Lilly sitting on a couch watching a strange looking valve powered globular Television-like device. We track ominously up behind her. Then stop. 58 JONES (off) I knocked.Lilly turns to Jones. LILLY You nearly gave me a heart attack.Steph now emerges from the kitchen, dressed in a t-shirt andshorts and carrying some food. Jones looks at her coldly. JONES What's this then?Lilly and Steph smile at the inference Jones is beginning todraw. STEPH My apartment was condemned, keep your hair on, what's left of it.Meanwhile Lilly shushes them and turns back to the murky grayimages emitting from the television. TV PRESENTER ...the ascension through the ranks of the Church has been fast for Brother Silus. He will now be the highest ranking cardinal outside the ruling council of the Brotherhood. This is largely seen as a reward for his handling of the last influenza pandemic.Jones and Lilly watch as Silus is seen on the television inan interview. Steph stares at the screen with awe, sheinvoluntarily kisses the symbol that hangs from a chainaround her neck; it resembles a Brother's ring. STEPH Isn't he amazing?Jones sneers under his breath. JONES A saint. LILLY Quiet.We move over their shoulders to track closer to the black andwhite TV screen. 59 TV PRESENTER You have been an opponent of those who want an easing in the ban on genetic research. SILUS Yes. TV PRESENTER They would say you're denying legitimate research into a science that would change the world. SILUS The church does not deny the potential. Only the motivations of those who want to exploit it. And the fact that we understand so little of its power. TV PRESENTER With the elimination of influenza, are we approaching a new era where disease might be a thing of the past?As she is saying this we are now close on the TV's speaker.We then begin tracking out. We reveal the speaker is not partof the TV, but the speaker in Edgar's cell. Edgar, smilingcoldly as he listens. As he listens he is gently gliding hisfinger nails against a sharp edge of the chair; sharpeningthem. SILUS Disease is part of nature, it will always be a part of our lives.Close on Edgar. EDGAR How true. TV PRESENTER (off) Brother Silus' confirmation ceremony will be held today in the sacred Chapel of St. Augustine where all the Brotherhood will gather.Edgar listens, smiles. 60 66 INT: CEREMONIAL CHAPEL - DAY 66 An ornate door; ancient, with strange, beautiful dark symbols carved into the old wood, like something out of a castle in Prague. The doors open and we see a large chapel. And within the large dark interior, lit by great long candles, the Brotherhood have gathered. They all stare at the camera, which we reveal is Silus' POV. We see SILUS. Unchanged, still the perfect creature he has always been. But for now the suit has gone and instead he stands draped in fine ropes, robes that carry his life on them; achievements, his rank, which is now high. In the distance, at an alter, stands AUGUSTUS. He is also in his gowns. A gong sounds and the Brothers, in unison with the music, begin to chant; it is eerie, it sounds like Tibetan monks. 67 OMITTED 67THRU THRU 69 69 70 INT: BROTHERHOOD BUILDING, SECURITY CONTROL ROOM - 70 CONTINUING Professor Liepsky, looking more aged, worn, enters the control room. Alarms are sounding. At the console is a human male who looks terrified. CONSOLE OPERATOR I turned off the lights to try and calm him... Liepsky hits a button and it floods Edgar's cell with light. Edgar is right there, staring at them, his hands plastered over the glass window. He is covered in blood. In the background a bloody corpse on the floor. Edgar bangs his head against the glass, making Liepsky flinch. On Edgar's forehead we see scars from this kind of repeated banging. CONSOLE OPERATOR (continuing) We gassed him as usual. We waited 10 minutes. He must have held his breath. The look on Liepsky's face says it all. We see Edgar. We had thought he was looking at the Professor. But he's not, his gaze is focused past the Professor to the dimly seen back wall of the control room. On it is a schematic, showing this room, other rooms on the level, the elevator shaft. Edgar is talking it all in. 6170A INT: CEREMONIAL CHAPEL - DAY 70A Silus, on one knee before Augustus. Augustus now places a ceremonial sword at the back of Silus' neck, then draws it gently across the skin. Below, a Brother holds out a bowl to catch the drops of Silus' blood. AUGUSTUS The blood flows, through them, to us and we preserve them, preserve the blood we are bound to protect. Silus raises his head. We see his face. He takes the bowl, drinks and then stands, holding it up to the other Brothers. SILUS Let the blood be one and the two races join, as the Perfect Creature. Cut to 6271 INT: BROTHERHOOD BUILDING, CELL - DAY 71 Close on Edgar, smiling. Calm. EDGAR Today my brother enters the history books, Professor. PROFESSOR LIEPSKY (over the tannoy) Move back! After a moment, Edgar slowly walks backward in perfectly smooth movements. EDGAR Tonight all the Brothers will be with him. A perfect day for me to celebrate. From the far wall Edgar begins to glide forward, first in slow motion then ramping up to full speed, launching himself at the glass window. He bounces off it, leaving blood and saliva there. The Professor and the console operator share an unsettled glance. Edgar slowly stands. He stares very intently at the glass window in front of him. We zoom in on the glass. The small hair line fracture we saw previously now begins to lengthen before our eyes. Edgar's face. A smile. Then he is forward at high velocity before anything else can happen, smashing once more into the glass window, this time shattering it into a thousand tiny pieces.71A INT: BROTHERHOOD BUILDING, SECURITY CONTROL ROOM - CONTINUI71A Horrified the console operator begins to make an escape. But Edgar is on him before they're a few paces towards the door. Edgar's long fingers sink into his neck like the flesh and bone were clay. He screams. The Professor makes it to the door, pulls himself through and shuts it, but on Edgar's hand. Edgar doesn't flinch, but kicks the door open.72 INT: BROTHERHOOD BUILDING, HALL - DAY 72 The Professor is now scrambling, half falling in slow motion as Edgar advances. As normal motion returns he kicks Liepsky in the head; the sound of impact has a nasty fatality to it. 63 Cut to Edgar. A door further down the hall is being unbolted. Edgar immediately runs towards it, then launches himself at it, his fingers extended like knives which enter the eyes of a guard who's coming through the doorway. The guard falls back on another two guards behind him. A round from a shotgun goes off, taking a small chunk from Edgar's side, but it's nothing more than a bee sting to him. His speed and precision is that of a creature who knows he only has one chance. He kicks the second guard under the chin, instantly snapping his neck, while flicking the third in the eyes with his sharpened fingernails. This guard falls, his eyes leaking orbs. Beat. Edgar crouches like a dark god of destruction, a siren sounding, the lights all going off, then flicking to red emergency lights. Edgar's eyes reflect in the half-light. Then he bares his teeth. At the end of the hallway he can hear the elevator arriving on this floor. Edgar smiles. Cut to 73 OMITTED 73AND AND 74 7475 INT: BROTHERHOOD BUILDING, FOYER - DAY 75 The gleaming surfaces of the ground floor of the Brotherhood building. We hear the elevator begin to arrive. We pan off this to a desk where a receptionist sits. Cut to The Receptionist; she's trying desperately to place a call. We see the shadow from a figure cast over her and she turns and looks up, fear making her shake now. Cut to Edgar, staring down at her. EDGAR You won't be taking any more calls today. Cut to 6476 INT: BROTHERHOOD BUILDING, HALL - LATER 76 Slow steadicam along the underground halls. We see the bodies of Edgar's victims being cleaned up by personnel. We stop. In the distance we see the door to Edgar's cell open. Cut to Silus, observing the scene. The lighting is intermittent, flickering. Augustus is standing next to Silus, the weird light of the hallway reflecting in his eyes. AUGUSTUS Now he carries this thing out into the world. Can you imagine what will happen if he infects others? Or if the experiments were known. We are left with Silus' beautiful, reflective eyes. SILUS The question becomes what will he do next? He said he would kill us all. But especially the police officer. Lilly. Cut to77 INT: JAMESTOWN SUBWAY - SUNSET 77 Flashing lights of subway trains screaming through subway tunnels, wheels screeching as metal grinds on metal.78 INT: JAMESTOWN SUBWAY EXIT - CONTINUING 78 The streets are flooding like Bangkok in the monsoon; rain pouring off awnings that hang out over the street. The streets are full; prostitutes, drug peddlers, apothecary shops, the industrial revolution low down and dirty. There is a fight breaking out between two men who are dressed like punk rockers. Several people are alighting from a subway exit; the exit has "Jamestown/Brougham" on a nouveaux styled sign that might remind you of a Paris or Barcelona metro, only dirtier. We see Lilly in the distance, in her dark jacket, emerge from the subway. She begins the short walk to her apartment. The streets are crowded and there are plenty of Maori people in this area, so there's plenty of food stalls; the air is filled with the sound of evening prayers. Lilly stops at one of the food stalls and starts picking up vegetables. A Maori man comes out and smiles and they start talking in the local dialect. She buys a live eel. Cut to 65 Across the street, in a doorway, we see a very weedy, sick looking guy - this is Freddy. Standing next to him is a Prostitute, swaying from the effects of laudanum. PROSTITUTE Come on governor, you going to pay me or not? FREDDY Soon enough my cherub. I've not finished with you yet. He sucks on something that looks like a ventaline inhaler, then pockets it, licks his lips and begins heading off down the street, the drunk Prostitute dragged along. Cut to Again, Lilly from a distance, walking along the street which is more deserted, now carrying a bag full of groceries. As she walks we begin to hear voices; violent, arguing. Lilly approaches an alleyway, the raised voices becoming louder. She slowly places her bag on the ground and then pulls out a revolver. She edges into the alleyway.79 EXT: JAMESTOWN SLUM, ALLEYWAY - CONTINUING 79 Lilly's POV down the alleyway. It seems empty. The POV moves in a little and there in an offshoot of the alleyway we can see Freddy. He is standing over a woman who cowers; she's plainly a prostitute. Freddy points a gun at her head. FREDDY You've been ripping me off! I should blow your dirty little brains out! STEPH (off) Police! Put the gun down now! And now we see, it's not Lilly we've been watching, but Steph. She points her gun at Freddy. Freddy turns to Steph. He slowly raises his arms. FREDDY It's ok. I'm complying officer, see. STEPH Put the gun on the ground and step away! 66 FREDDY I'm doing it.Freddy puts the gun down. The Prostitute on the ground nowscrambles to her feet and heads towards Steph. PROSTITUTE He's crazy! Fucking crazy!She gives Freddy the finger then heads off. STEPH (to the prostitute) Wait! (to Freddy) Down! Right now, down on the ground!Freddy gets down. FREDDY I'm getting wet now.Low Angle on Steph approaching. Behind her a FIGURE isdescending the wall behind him. STEPH Shut up!Steph is over Freddy now. He's staring up at her. He can seethat a shape has appeared behind Steph. EDGAR, his eyesgleaming. Steph pulls out some handcuffs. STEPH (continuing) Put your hands behind your back. FREDDY Sure. Anything you say.But before Steph can move forward, Edgar has her gun hand ina vice-like grip. She cries out in pain as her wristdisintegrates. As a reflex she stamps on Edgar's foot andkicks him in the groin with her other.He does not flinch. He smashes Steph into a down pipe on thewall of the alley so that wet grit is ground into her face.We then see Edgar's face at her shoulder. EDGAR Nice to meet you again.Edgar pulls back the jacket at Steph's neck to find no scars.He pulls Steph's face towards him brutally, staring at herprofile. 67He then smashes her head against the pipe so that she fallsunconscious to the ground. FREDDY What's wrong? EDGAR You brought me the wrong one. FREDDY Does it matter, one's as good as the next?Edgar's stare makes Freddy shut up and avert his eyes. Edgarthen turns on the tube on his arm so that blood drips intothe unconscious Steph's mouth; making her gag. FREDDY (continuing) You promised me some of that.Freddy's licking his lips.Edgar studies Freddy, then raises his arm. Freddy juststares. We see the tube on Edgar's arm that connects to hisveins. And in a moment Freddy has latched onto it and issucking like some kind of human leech. EDGAR What do you see Freddy. Visions? Can you see your future?For a moment Edgar strokes Freddy's hair, then rips the tubeaway. FREDDY Hey!Freddy moves forward, but is pushed back by Edgar. EDGAR Don't be a greedy little pig Freddy. You have to earn more.Close on Edgar, his repellent features under the hood. Helooks up. Far above, through the falling rain, past the high-rise slum around them; we see the moon hanging like a pearlycrescent in the sky. The moon is slowly obscured by clouds. EDGAR (continuing) We have more to do.Cut to 6880 EXT: JAMESTOWN CLUBLAND, STREET - NIGHT 80 We see a figure exiting the subway. This time it is Lilly, following the same path that Steph took. 69Making her way through the crowded street. The rain has givenway to a fine mist.Then, as Lilly moves forward she senses something; thatfeeling again, that she is being watched. She stands for amoment as people push past, looks up at the gothic Victorianbuildings that loom out of the drifting mist. But there isnothing.Lilly begins to make her way through the drifting mist,casting glances at the odd passerby.Then, ahead of her, there is one pedestrian in particular,taller than the rest, wearing a great hooded jacket, whostands out. He is immediately suspicious to Lilly. He isslowly moving through the crowd towards her. From under thehooded jacket we see the glint of the approaching figure'seyes; an intense stare hidden in the shadows. The man nowputs his hand in his pocket as if he's reaching for something.Lilly now slowly slips her hand into her jacket, her gun acold hard presence in her hand. She stares ahead at theapproaching figure, who has now stopped, after bumping intoa pedestrian. Lilly continues forward, closer, closer. Fromunder the hooded jacket the glistening eyes of the man aheadcatches hers for a moment. The man now begins to approachher, his hand pulling something from his jacket, going forsomething. A gun.Lilly immediately pulls her gun. The mist beads on theshining barrel of her gun. The man is raising his handtowards her. LILLY Police. Put your hands where I can see them!The man now lurches forward, his hand rising towards Lilly,her finger begins to caress the trigger of her gun, as theman looms closer. And then he is gone.Cut toThe man slamming against the wet wall of a building, graspingat the hands that now threaten to throttle him.And we see Silus, his hands on the man's throat, and for onlythe second time, we see anger in Silus' eyes.People in the street scatter as more Brothers emerge withguns pointed. And Lilly, shaking, pointing her gun at the manSilus is holding. On the ground, next to the man, she seeswhat he had in his hand. A pamphlet. Asking people to come tochurch service; a picture of a Brother priest serenelybeaming out from it. 70Meanwhile the man that Silus has is gagging on the ground,Silus' hand still on his throat. He's begging. PARISHONER Holy brother, please...Lilly grabs Silus' shoulder. LILLY Let him go.She shows Silus the pamphlet. LILLY (continuing) He's harmless. Let him go.The man now pulls back his hood. He is black, his large,watery eyes stare up in awe at Silus. He grabs Silus' handwhich now relaxes and draws Silus' ring to his lips, kissingit, in tears. PARISHONER Forgive me. I've offended you...We see Silus' dark stare.A beat.Then Silus reaches out and places his hand on the man's head. SILUS No. You are divine. It is the world that offends me.Silus rises, the Parishioner just lays there in awe. Silus nowturns to Lilly who is on his shoulder. And now Lilly realizesfor the first time that it is Silus. LILLY Brother Silus. What's going on?We then hear a police siren and a car pulls up through therain. The door opens and Jones emerges, taking in both Lillyand Silus. A grim smile of realization comes to Jones' face.He pulls something from his jacket.Cut to 7181 INT: LILLY'S APARTMENT, LOUNGE - NIGHT 81 Steph's ID is tossed down on a table. JONES (off) A shopkeeper heard yelling. Went to see, found this. One witness. A prostitute. Jones tosses down a photo. It is Freddy, looking suitably scummy in a police identikit photo. JONES (continuing) She identified this lovely citizen. We thought maybe he had a grudge or was crazy. I guess we were wrong. Silus stands by the window; lights make patterns on his face. SILUS It is Edgar. LILLY And now he's got Steph. Why does he want her? SILUS She is not what he was after. We see Lilly slowly getting it. LILLY Steph was staying with me. She was wearing my coat. It was me he was after. Wasn't it? Silus now turns, slowly moves towards her, coming out of the shadows. Lilly finds it hard to return his gaze, involuntarily touches her neck where it is scarred from Edgar's attack. Jones is watching all this very carefully. SILUS Yes. He will come for you Lilly. JONES Right, then we put you somewhere safe and set up this place. Shooters on the roofs. And when he comes we blow his fucking brains out. SILUS He will know. He will see and hear it. 72 Lilly is staring at Steph's ID. LILLY It has to be me. That's what he wants. It's the only chance Steph's got. JONES What are you talking about, she's probably dead already... LILLY Jones! And we can't make it too hard. He has to be able to get in. He can't suspect anything. Jones is shaking his head. Silus just stares at Lilly. LILLY (continuing) That's the way it will be. I'm the bait. Close on Silus.82 INT: JAMESTOWN SLUM, HIDEOUT - SUNSET 82 We are in a large, derelict warehouse; detritus and stacked and smashed wooden crates. Music is playing somewhere in the distance from a phonograph. We track through the space. Daylight comes through cracks in the blacked out windows high above, creating tiny shafts of laser light that flicker from the dust. We pass through the stacks of crates that are like a high walled maze. Music emits from a stereo, loud. We continue to move down a hall. Through the detritus, towards a door. A hand opens the door.83 INT: JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING 83 In the corner of the room, huddled, chained to the floor, is Steph. She does not look good. In fact she looks very sick. There are tubes coming off her arm. Freddy stoops down and begins to check the tubes running from her arm. There are small taps on the tubes. He turns them on. Blood begins to flow from her into a cup that is already stained red. As he turns it off Steph shivers, her eyes open. The whites of her eyes are blood red; she is sick. She speaks, weakly. 73 STEPH Help me. Please, I'm sick. Help me. She reaches for Freddy, but he pulls away. Freddy's not looking too hot either. FREDDY Don't fucking touch me. He picks up the half filled cup and leaves. Steph stares after him. Tears welling in her eyes, beginning to shake now, moving against the chains that bind her. But they stay fast.84 INT: JAMESTOWN SLUM, HIDEOUT - CONTINUING 84 Freddy moves into the large warehouse space, the music still echoing. Freddy looks around, searching for Edgar. FREDDY Hey! His voice echoes through the empty space. FREDDY (continuing) Where've you gone now?85 EXT: LILLY'S APARTMENT - NIGHT 85 A POV, wavering slightly, the hint of a whispering breath. We see Lilly's apartment. The shot zooms in at high velocity, searching the windows, zooming in here to check the lock on this window, then on that. Then the shot wildly pans and twists to the street below. Again it zooms in, to the entrance of the building, to a couple walking past in the night, as if searching for any sign of something out of the ordinary. We can hear the couples voices, talking about inane things. Cut to Edgar's face in the shadows. His eyes reflective, his whole being readied and concentrating. He closes his eyes. We move around to end close on his ear, the soundtrack becoming stark as the sounds of the night become eerily separated and distinct. One sound in particular, a kind of metal sound, scratching slightly, growing louder. Edgar's eyes open. Cut to A zoom speeding towards Lilly's bedroom window, then swooping at the last minute to end on an apartment one floor down. 74 And there, gently moving in the night air, a partially open window, the latch grinding in the breeze. Cut to86 INT: LILLY'S APARTMENT - CONTINUING 86 A whiz pan POV, ending on the lounge of Lilly's apartment; as if we just caught the last part of someone turning their head, as if alerted. All the lights are out. We slowly begin to move forward, dipping and gliding silently, into the hallway. Slowly we approach a doorway and creep into...87 INT: LILLY'S APARTMENT, BEDROOM - CONTINUING 87 We can see Lilly lying on the bed, her skin alabaster in the moonlight that comes through the window blinds. Closer closer until we halt above her. Cut closer to see Lilly asleep; her hand grips her service revolver which protrudes from under her pillow. We see Silus standing above her, his eyes glisten in the sub light. As he watches, Lilly moves, as if she's having a dream, her hand grips the gun beneath her pillow. Silus slowly bends down, close to her. Watching. Then he reaches out, as if to gently wake her, then stops as Lilly stirs. She turns, curling up into the fetal position. Silus is confronted with the old scars from Edgar's attack. For a moment Silus stares at her. Stares. Then very quietly, smoothly, he moves his head down, very close to her arm. He sniffs it, as you would something very delicate, very complex. Then he closes his eyes. We see Lilly, her arm. Silus slowly enters frame, moves his face close to Lilly, moves along her arm as if taking in her scent. Slowly her arm raises, as his face moves up her body to her neck, her hand now embracing Silus' head. Closer as his face is near hers and still with eyes closed her face turns towards him, his dark lips and hers are close. Cut to Silus, back where he was, smelling her arm. His eyes open and he moves back a little, as if shocked by the daydream he has just indulged in. We see Lilly, as she was before, curled up in the fetal position. Then a sound. 75 Silus immediately pivots, his gun immediately pointed at the figure who stands silhouetted in the doorway. Jones. JONES What are you doing? The camera immediately drops, through the floor of Lilly's apartment to the apartment below to find...88 INT: APARTMENT BELOW LILLY'S - CONTINUING 88 ...Edgar, standing in the apartment below, immediately freezing. We zoom into his ear as he listens. Flash cuts of sound and image; a large man turning in his bed and groaning, a tap drips in an apartment, a fluorescent colored mosquito catcher vaporizing a mosquito with a zing, then a woman's lips; whispering... LILLY What is it? Jones? Cut to89 INT: LILLY'S APARTMENT, BEDROOM - CONTINUING 89 Silus above Lilly, his hand up to silence her, Jones stock still in the doorway. Waiting, waiting... Bang, Silus rushes to the window of the apartment, ripping it open, pointing his gun below. But there is no one there. Then Silus spots it. On the floor below the window is open, a curtain gently wafts out of the window in the breeze. Silus turns to Jones and Lilly. SILUS Stay here. Silus immediately drops out of the window. Cut to Lilly rushes to the window and looks out expecting to see Silus dead on the pavement below, but the street is empty. And then she sees it; the window below her apartment is open.90 INT: LILLY'S APARTMENT, HALLWAY - CONTINUING 90 Lilly, gun extended, moving forward towards her apartment door, Jones behind her, trying to grab her. 76 JONES Get back here, Lilly!But Lilly shoves him off, opens the door and moves into thehall and waits. 77 She hears more smashing from the other side of the building. She turns to Jones. LILLY Cover me. And she's off, smashing the apartment door in front of her with her foot and moving into the apartment, towards the window beyond. Jones can only curse, lift his gun and move after her.91 INT: APARTMENT ADJACENT TO LILLY'S - CONTINUING 91 Lilly's POV crashing through the apartment and reaching the window, pulling it open to see...92 EXT: LILLY'S APARTMENT, REAR - CONTINUING 92 ...Lilly's POV of the city below. We see her search with her eyes, and then she sees it. Cut to Lilly's POV, closer, looking down on Edgar running over a roof. Cut to Edgar running towards us as we track back, then he launches himself... Cut to Low angle, Edgar jumping from above us, to land almost on the camera, stopping himself by grabbing iron piping protruding from the side of the building. Edgar turns, smiles, thinking he's escaped; then shock comes across his face. Cut to Edgar's POV as Silus flies through the air and crashes straight into the camera. Silus' hands go straight for Edgar's throat, stopping Edgar from falling. The two Brothers eyes lock. EDGAR You saved me... Then Edgar's smile. He pushes off the wall with his legs, sending both of them tumbling over the railing. 78We see them fall, Silus hitting a railing which sends himspinning out of control, whilst Edgar manages to clasp ontoit.Cut toSilus' POV, tumbling wildly out of control, heading for theground, finally coming to a jarring stop, the view of thealleyway upside down.We now reveal Silus, only just conscious, caught in wirenetting, hanging upside down in the alleyway.And there, landing, is Edgar, poised, watching. Edgar slowlyapproaches so that he is near. He bends down to Silus. EDGAR (continuing) When will you admit it. You're just like me.Edgar's nose is bleeding. He dabs some on his fingers, thenraises his hand to Silus. EDGAR (continuing) Maybe you need some encouragement.He brings the dripping blood closer to Silus, closer...Then an explosion; the sound of bullets whistling through theair. Then Edgar is gone.Cut toLilly and Jones entering the alleyway to find Silus stillhanging from the railing. LILLY (to Jones) Get him down.Lilly then moves into the adjacent alleyway to search forEdgar. JONES Lilly, wait! Damn you. Lilly!She turns and gives him a final quick look. LILLY If he escapes then Steph is dead. Just follow me when you can, hurry!Cut to 79Lilly moving through a slick wet alleyway; water plops anddribbles from leaking pipes. She swings her gun towardsmovement; water crashing out of a pipe. Lilly's shaking,terrified, but she keeps on going. And then another sound andshe swings her gun to find Edgar, standing in the shadows,waiting. EDGAR The little policewoman. LILLY Don't move!Edgar purposely raises his hand so that she fires; the bulletgoing through the flesh of Edgar's arm; his arm now smoking. LILLY (continuing) I said don't move. Where is she, where's the girl?Edgar can only smile. EDGAR Oh, I've killed her already. Essentially.Then he moves, she fires, but he's too fast, spinning,diving, in an instant he has the gun, twisting it and Lilly'sarm behind her back. She fires, once, twice, the bullets andsmoke rising up from Edgar's side. He twists harder, the gunthen falling to the ground. Edgar is now behind her. He moveshis face close to hers. EDGAR (continuing) Has he tasted you yet, little policewoman?Lilly tries to twist out of his grasp. EDGAR (continuing) He's just the same as me, you know it, you can feel it too. LILLY He's nothing like you.Edgar's face twists into a smile. EDGAR We will see. You will be my tool. JUMP CUT: 80 A cat, hissing, screeching. Cut to Silus and Jones entering the alleyway, the cat tearing away from them in fright. Jones moves forward and we tilt down to see Lilly's gun lying on the wet cobblestones, smoke wisping from the barrel. Jones stoops down and picks up the gun, then turns to Silus. After a beat, Jones throws the gun at Silus' head. Silus dodges it easily and it clacks onto the cobblestones. JONES You happy now? Cut to93 INT: JAMESTOWN SLUM, HIDEOUT, TOILET - DAY 93 Close on Freddy's face, looking at himself in a mirror. He's pulling back his eyelid; his eyes are bloodshot and he's sweating. Freddy then pushes the mirror shut and we see Edgar, silhouetted in the bathroom doorway. FREDDY You scared the shit out of me. Hey, the police woman. She's real sick. To tell the truth I don't feel so hot myself. Edgar approaches, still silhouetted. EDGAR I want you to take her and put her where they'll find her. FREDDY But I'm sick. She's given me something... Edgar moves incredibly fast, we can't quite see what he has done but we suspect he has just buried his hand in Freddy's chest. We see Freddy's face, stunned, deathly white. EDGAR What have I said to you? Freddy falls, leaving Edgar's hand in mid air; we can't see clearly, but it likes frighteningly like he has one of Freddy's internal organs in his hand. EDGAR (continuing) I hate arguments. Cut to 8194 EXT: JAMESTOWN SLUM, ALLEYWAY - DAY 94 Close on a pendant; the symbol of the Brothers. We pull out to reveal Steph, very sick now. Edgar is has her wrapped in a sheet and is half carrying her along a decrepit alley. Ahead of him is a street; we can see several passersby. Edgar sits Steph up against the wall of the alley, propped up. She really is sick. She coughs. Edgar looks at her for a moment. Then after consideration, takes her hands and crosses them, and places an envelope in her limp hands. Happy with the composition he moves off. Cut to A close High Angle on Steph looking up, her bloodshot, dazed eyes staring blankly. We drift up and away from her. Already the rats are beginning to come out and sniff her.95 INT: HOSPITAL, HALLWAY - DAY 95 There are several nurses running towards us, they turn and move down a hallway. We reveal Jones and Dominic. They move to the nurses station and Jones flashes his ID. JONES Stephanie Richards, you just brought her in. And then a scream. Blood curdling; the sound of someone insane, screaming their lungs out, hurling abuse. We see the faces of the cops and the terrified nurse in front of them who points down the hall where the noise is coming from. The Cops move off. The nurse then sees someone else arrive. She raises the pendant that hangs around her neck and kisses it. NURSE Thank god you're here. We see who has entered. It is Silus. Near him there are several people sick. They look sick; like Steph and Freddy looked. Cut to96 INT: HOSPITAL, ISOLATION WARD - CONTINUING 96 Jones and the Dominic move through an anteroom. Nursing staff and doctors are madly running about. The screaming we heard before punctuates the noisy clutter of medical procedures. Jones approaches a door; it has the words "level 4 isolation unit" on it. A large Guard blocks his way. 82 Jones shows his ID. A figure brushes past them and enters the door; the figure is fully decked out in something like a spacesuit. Jones and Dominic are ushered sideways, to another room. This room has a glass viewing window which looks into the adjacent room. A middle aged Doctor stands there, his thumb nail in his mouth, looking thoughtful. When he turns towards Jones, we can see there is fear in his eyes. Jones shows his ID. Screaming from within the adjacent room draws his attention and that of Jones.97 INT: HOSPITAL, STEPH'S ROOM - CONTINUING 97 In the adjacent room two nurses are trying to put in a line to Steph's arms which are restrained by straps. Steph lies on a bed. She looks truly sick; her hair matted, her skin blotchy. Her eyes are also blood red, the tiny blood vessels hemorrhaging. And she is screaming abuse at the nurses and Doctors who work on her. Close of Jones, staring at the scene. Silus now enters the room. Almost immediately Steph stops screaming. She is staring directly at Silus; even this deranged, she is still in complete awe. JONES Will she recover? The Doctor turns to Jones; the Doctor looks puzzled. DOCTOR No. Containment is the issue now. She is... insane. And we've had more cases, 10 in the last hour. The Doctor leaves. Jones turns to Silus. JONES What is this? What is it? SILUS It comes from Edgar. He has shared his blood with them. JONES You're telling me that he's out there spreading this around? Jones gets close to Silus, intimidating. 83 JONES (continuing) He'll give it to Lilly! Dominic gets in between. DOMINIC Jones! Back off. Dominic pushes Jones back and then stares at Silus. DOMINIC (continuing) This is spreading. Silus doesn't speak, just stares at Steph. DOMINIC (continuing) Brother Silus? JONES That's it, Lilly's dead. SILUS No. He will keep her alive. DOMINIC Why? SILUS So that I will come for him. That's what he wants. Dominic pulls an envelope from his jacket and passes it to Silus, who opens it to discover a beautifully handwritten letter. DOMINIC It says, "Everything flows from me. My blood will change the world." What does that mean? Silus stares at the two men. Then turns to Steph, her eyes, creepy, still locked on Silus. 98 OMITTED 98THRU THRU 103 103 84103A EXT: JAMESTOWN SLUM BUILDING, ROOF - NIGHT 103A Jamestown, from above. We drift down so that we see the buildings, see fires breaking out, hear screams echoing through the night. We continue down towards the rooftop of one building in particular. We see one of the infected citizens of Jamestown standing on the roof, screaming out into the night like some crazed animal. We continue past the creature, then travel through a ventilation shaft on the roof. We hurtle down this, down, down to the depths of the building and out the shaft into a subterranean basement. We drift through a doorway in the wet stone wall, down a tunnel, to finally enter a room. And we see Lilly. She is covered in grime, her hands bound above her head with chains to an ancient, ornate pipes that twist through the place. She looks up at us. Cut to103B INT: JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING 103B Edgar, now standing above Lilly. He bends down, checking the chains that bind her. His face moves close to her so that he can smell her. Hear her heart pounding. See the scars from his previous attack. Then a noise, echoing through the tunnels. The sound of the mad infected denizens of the containment zone, screaming out into the night. Edgar smiles. EDGAR It almost sounds like children playing, don't you think? LILLY No. EDGAR I looked at your body. You have borne a child. Lilly's features tense. EDGAR (continuing) Did you abandon it? Your kind are good at that. Even though her position is impossible, Lilly won't show Edgar fear. LILLY Why don't you just kill me? Edgar just smiles. Lilly spits in his face and screams at him. 85 LILLY (continuing) Kill me!Edgar grabs her by the throat, for a moment anger boils outof Edgar, but he restrains himself. EDGAR I can see why he likes you. But I have a better use for you. To save you, Silus will take my blood. Join me. LILLY You're insane. EDGAR The world is insane. I am better than you. But they force me to serve you. Does that happen in a sane world? Forced to watch you waste the most precious thing you have. Life.Then Edgar's face changes; he stares at her with pity, for amoment we see a hint of the noble creature he used to be. EDGAR (continuing) Do you know what they do to us when we are born? They take us from our mothers. Force us into a life of loneliness, and denial. Can you imagine a life like that?Lilly senses an opening. LILLY You don't have to do this. You can change things.Edgar places his head in his hands, he seems to be weeping. EDGAR You have reminded me of something.When he looks back up at her, he is terrifying to behold. EDGAR (continuing) I must search out my mother, if she still lives. And kill her for what she did. 86 Edgar smiles quietly, rises and exits. We are left with Lilly bound to the rusty pipes. She strains, tries to pull her hands from the chains, but they won't move. Above her on the pipe there is a old rusty bracket. Lilly blinks through the sweat running into her eyes. She moves the chains that bind her hands closer to the bracket and begins rubbing the chains against the bracket in the vain hope that she may be able to cut her way through the chains. She strains harder and harder, fighting back the tears, the fear, she just grinds at the chain repetitively. Cut to104 INT: HOSPITAL, STEPH'S ROOM - DAY 104 Steph, in the hospital bed, her eyes staring up, hollow. A bed sheet is drawn over her dead face. Cut to105 INT: HOSPITAL, VARIOUS - CONTINUING 105 We see Silus. Staring through a window into an office. In there we can see Jones. Jones is talking in a very animated manner to someone who is obviously a reporter. The reporter stares, like Jones, through the window towards Silus. Jones turns away, looking guilty. Cut to Bedlam in the hospital corridors. People screaming, being restrained. What is clear is that the virus Steph had has now broken out into a plague of biblical proportions. We see a DOCTOR standing in the middle of the hospital corridor, blood over his smock, in a state of pure shock. And we see Silus there. A perfect creature observing the chaos. As he stands there he can see a small child; a girl, maybe around five. Silus stares at the child. The girl is holding her mother's hand. Her mother lies on a cot, strapped down; there are many other cots filling the crowded hallway. Her mother is dead. The girl's dirty face is stained with tears. For a moment Silus wavers. Then he moves over to the girl. She stares up at him with her tear stained grimy face. Silus goes to place his hand on her forehead as blessing, but the child cringes, then jumps up and escapes down the hallway. Silus can only stare at the horror of it all. Cut to 87106 INT: ROOM - DAY 106 On a dirty, stained valve radio. We slowly track in on the speaker, hearing an interview coming from it. REPORTER (off) Some say this plague is the result of genetic experimentation, by the Brothers. Do you have a comment? Cut to106A DELETED 106A107 EXT: JAMESTOWN SLUM, QUARANTINE ZONE - NIGHT 107 We move past road blocks. HEALTH OFFICIAL (off) We're asking everyone to stay in their homes in the sections of Jamestown now under quarantine. Armed, gas masked guards stand with their guns at the ready. Beyond the blockade is Jamestown. Fires burn, bodies lie on the streets. REPORTER (off) There are reports of residents being shot trying to escape the quarantine zone. Is that true? They say the Queen has left the city... Is this martial law? A figure is stumbling towards us. One of the guards fires and the figure drops. Cut to Two soldiers, wearing crude Victorian containment suits, surveying a map. 88 SOLDIER We've blocked off this section, and here, containing the Jamestown slums. We see the soldier outlining the Quarantine zone, marked in red.108 OMITTED 108AND AND109 109110 INT: BROTHERHOOD BUILDING, FOYER - DAY 110 There is an angry mob, banging on the locked doors of the brotherhood building. Their placards tell the tale. "Brothers have brought the plague." "No to Genetic experimentation." EDGAR (off) Do you like the world I am making for us, Silus? I haven't had your little policewoman yet. But I will soon. You'll just have to find me. You know where I am. Everything flows from me. Remember that... Human police stand ready with guns. It's a disaster. Silus is there. He watches the faces of the mob, baying for blood. He sees them burning the emblems of the brotherhood. DISSOLVE TO:111 INT: BROTHERHOOD BUILDING, AUGUSTUS' OFFICE - CONTINUING 111 We are in a beautifully ornate office. It is like a private chapel. We see Silus enter. He is grim. Augustus is kneeling in prayer. He senses Silus. AUGUSTUS The infection is spreading. Each day he shares his blood with more of them. Even though they are locked in their homes. 89 SILUS He is somewhere in the quarantine zone. I will find him.Augustus turns to Silus. Augustus moves closer to him, staresinto Silus' strange, pale eyes. AUGUSTUS Clear. So very clear your eyes. The way they were when you were born. There will be no search.Augustus moves off to his desk. Silus is shocked. SILUS No search? AUGUSTUS The Queen has instructed the government to evacuate the city around the quarantine zone. In another day they will take action. SILUS What kind of action? AUGUSTUS Eradication. Of everything within the area. They will burn it all. Including Edgar. SILUS And the innocents there, who are not infected? AUGUSTUS It is a necessary step. We cannot let this escape. SILUS No!Augustus looks up at Silus; this is perhaps the first timeSilus has refused anything that Augustus has decreed. 90 AUGUSTUS Is it the policewoman? Is this affecting your thinking? There is no love for our kind Silus. Only service. SILUS We have done this. Released this thing into the world. We have betrayed their trust in us, more than once. I won't do it again. AUGUSTUS There is no debate. They will be sacrificed, so the rest will be pure. Silus shakes his head. AUGUSTUS (continuing) This policeman, Jones. He talked to the press. Told them this came from Edgar. Silus watches Augustus very carefully. AUGUSTUS (continuing) There are members of the inner circle who question the way you have handled this. Blame you for this man's actions. I have made it clear that you will fix this. That you will silence him. Augustus moves close to Silus now. Gently touches his face. AUGUSTUS (continuing) These are hard things we do. But you must think of the greater good. And of your own future. Cut to A light bulb flickering.112 INT: JONES APARTMENT, HALL - NIGHT 112 Jones exits an elevator. The light above him flickers and dies. He stands in the dark. 91 JONES Great. Jones begins to stomp down the hall, towards the part of the hall that is lit. Then pop, that light goes out as well. Jones stops. He pulls out his big gun from his armpit holster. He checks over his shoulder, and then with the gun extended he moves slowly forward. He approaches an area that opens up a little. He pauses, then under his breath. JONES (continuing) Come on then... He launches himself around the corner and fires his gun. He's lucky that his misses his target. A small, dirty, cowering boy with his fingers on the bank of light switches. The wall next to the boy's head has exploded; dust and wall board now drift down like snow. Jones can only stare at the quivering child whose dirty face blank with fright. Then Jones turns. He can make out a figure in the dark hall. A patient, quiet sentinel.113 INT: JONES APARTMENT - NIGHT 113 Jones opens the door to his apartment and enters. Silus follows. The place is a dump. Lounge and kitchen all one area, bedroom off to one side, dishes in the sink, clothes everywhere. Jones heads into the kitchen and turns on a coffee machine, then grabs a dirty glass, pours a drink. Silus watches him. Jones comes into the lounge. He still has his gun in his hand. He stares at Silus, whose perfect outline makes Jones' life seem even more abysmal. JONES What do you want? SILUS I want to help you. They know you talked to the press. JONES They can fuck off. For that matter, so can you. Jones takes a slurp on his drink. 92 JONES (continuing) You'd be the last person I'd trust. SILUS Why? JONES I saw you. Remember. Watching Lilly, when she was asleep.Silus doesn't answer now. Jones moves forward. JONES (continuing) Maybe you're just like your Brother. Maybe you're helping him. Now there's a thought.Jones prods Silus' shoulder with the gun. JONES (continuing) Do you know where she is?Jones prods again and finds Silus' elegant steel fingersaround his wrist. The two men face off. JONES (continuing) You've changed. Not the outside. But inside. I know you. You know what, I can see myself?Jones tries to wrench his wrist free, but Silus holds ittight. Jones swings his free arm and smashes Silus on theside of the face.For a moment Silus doesn't move, then his hand is aroundJones' throat. Squeezing. Squeezing. His other hand wrenchingthe gun from Jones' hand. There is silence in the room, apartfrom Jones' choking gags. Then Silus pushes Jones back sothat he flies into a chair. Jones stares up at Silus now,fear in his eyes. Silus watches him. Then a sound attractshis attention.Cut toWater hisses from Jones' coffee machine in the kitchen. JONES (continuing; sneering) Coffee's ready.Cut to 93 Silus, turning, listening, focusing on the water dripping from the coffee machine. Silus is concentrating. Realization comes into his eyes. We zoom close to Silus' ear. The soundtrack becomes enhanced. Cut to The tap in Jones' festering sink, dripping; plop plop plop. We see the water in the bottom of the sink reflecting the room. We see Silus approaching; reflected there. His hand enters frame and touches the water. And we hear Edgar's voice, the words we heard him say in Augustus' office. EDGAR (off) You know where I am. Everything flows from me... We see Silus staring at the water. We see a giant drop of water hanging from the tap, hanging, hanging, then falling... Cut to114 INT: JAMESTOWN SLUM, HIDEOUT - NIGHT 114 We are under water, liquid drops down into the water; red liquid, blood. We can see a figure distorted in the water; the figure is bleeding himself into the water. It is Edgar. Cut to We see a subterranean water system. We see Edgar at the edge of a pool, bleeding himself into the water supply. Edgar looks up. His eyes reflect at us, blinking like an animal's. Cut to Lilly in her cell, still grinding away at the chains that bind her hands. She stops, as if she's heard something, expecting Edgar to walk through the doorway. He doesn't. She begins desperately grinding away at the chains once more. Cut to115 INT: JONES APARTMENT - CONTINUING 115 Back on Silus who now turns to Jones. SILUS Do you have a map? Cut to 94 Jones laying out a map of the city on his kitchen table; empty booze bottles roll out of the way. Jones has a pen and he's marking off an area. JONES There's the quarantine zone. It's a pit. Slums. SILUS The water supply. Where is it? Jones searches and then pin points an area in the center of the quarantine zone. JONES There, all the old suburbs are supplied by their own artesian wells. Mineral springs. That's why it hasn't broken out of Jamestown, it's the water. Jamestown's water. The two men stare at each other, both reaching the same conclusion. SILUS He is there, with Lilly. We see the Map.116 EXT: JAMESTOWN SLUM, QUARANTINE ZONE - NIGHT 116 Cut to a crane down to reveal Silus and Jones observing the guards at the blockade. JONES You'll never get in, they've circled the whole borough. Silus turns to Jones. SILUS I will get in. You must go to the press. Tell them about the water. Tell them what the government will do. JONES You're dead after this. You know that? Whatever happens. Silus smiles. SILUS Watch for me, Officer Jones. 95 Silus exits. Jones watches him leave, then Jones leaves too.117 EXT: JAMESTOWN SLUM, QUARANTINE ZONE - CONTINUOUS 117 We see Silus, close. It's as if he is meditating. We pull out to reveal he is kneeling on the roof of a building; he looks as if he's preparing himself for something. He then rises, all fluid concentration, and runs towards us and then the camera is on his shoulder as he jumps off the roof. Cut to Silus' POV falling down down, falling towards a window then smashing through it.117A EXT: OMITTED - CONTINUING 117A118 INT: APARTMENT BUILDING, QUARANTINE ZONE - CONTINUOUS 118 Silus exploding onto the floor of the apartment. For a moment there is silence, just glass tinkling, Silus poised. Then Silus turns and is gone. Cut to119 EXT: JAMESTOWN SLUM, QUARANTINE ZONE - CONTINUOUS 119 The slums are wrapped in smoke and haze from fires that burn there; an eerie dead zone, made all the stranger by the gothic spires that climb out of the haze. Then Silus hears something. It is the wailing of a new born child. Silus moves towards the cries, then up ahead he sees a figure, kneeling on the ground. As Silus moves through the haze he sees what it is. It is a Brother Priest, kneeling beside someone. The Brother is holding the hand of the person on the ground who is in the last throws of death. When Silus is next to him the Priest looks up at him. Tears wet his cheeks. For a moment they just stare at each other. PRIEST 2 Who has done this, Brother? SILUS We have. To our shame. 96 The Silus hears the babies cries again. Closer now. The Priest stares at the dying creature on the ground in front of him. Drops the limp hand he was holding. Then rises and turns squarely to Silus. PRIEST 2 I have something to show you. The Priest moves off towards a building and Silus follows. Cut to119A INT: JAMESTOWN SLUM, QUARANTINE ZONE, HOVEL - CONTINUING 119A We see Silus and the Priest enter. The Priest leads Silus into the dark place. As he moves forward Silus can hear a strange gurgling sound; not of the sick or dying, this is a more innocent sound. The sounds of a newborn. We See Silus approach a filthy, roughly made crib. In it is a baby; it's eyes stare up at Silus with wisdom beyond their years. PRIEST 2 It is a miracle my Brother. She is a female, the first of our kind. Silus watches the baby carefully. SILUS She must be protected. He then turns to the Priest. SILUS (continuing) I would ask for your help Brother. The Church can no longer be trusted...119B EXT: JAMESTOWN SLUM, HIDEOUT - CONTINUING 119B Edgar, atop the roof of the building that sits above the water treatment plant. He is watching his handiwork; the screams in the night, the burning fires, the haze rising up, cloaking the city. Then down below, he sees a figure approaching. He knows who it is. Silus is coming to him. Cut to 97120 INT: JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING 120 Lilly, in her cell. She is working the chains that bind her hands against the pipe. She's rubbing them desperately, harder, harder. Then she stops. She can hear someone approaching. Edgar appears in the doorway; still and poised. Then he turns, listening. A creaking echoes through the tunnels as if an iron door, somewhere above, has been opened. EDGAR He's coming little one. He's coming for you. Edgar takes one more blinking look at Lilly and then leaves, slamming the large iron door behind him. Lilly pulls at the chains, hoping against hope that they'll break. They don't. LILLY No. She now looks above. The pipe her chains are connected to runs up towards the roof, then takes a bend to disappear into the wall near the door. She bangs on the pipe. There is a little movement where it goes into the wall. Just enough to give her some hope. Lilly struggles now to her feet. She slides the chains up. To get the chains over the bend she'll have to jump. She does, sliding the chain over the bend. Now she hangs from the pipe, the chains cutting into her wrists viciously, making her groan. She then gets her hands on the pipe and begins sliding along the pipe until she is near the door. She then reaches up with her feet and kicks at the wall, pushing, trying to dislodge the pipe. It moves, water leaks from it. But it does not give way. A desperate beat. Then she reaches down to the door with her foot. She tries to force down the door handle, her foot wet and slippery. Finally she gets the handle down, opens the door so that it clangs against the wall. LILLY (continuing) Hello! I'm down here. Silus... Her hands slip from the pipe and again the chains bite into her wrist. She cries out in pain. Cut to 98121 INT: JAMESTOWN SLUM, HIDEOUT - CONTINUING 121 Above we see Silus, stopping. Lilly's cries echo through the place. It is a wet maze of grease and rust, ornate twisting pipes built long ago and now decrepit. Silus waits, listens. Then something. Cut to Feet, moving fast, splashing in a pool of black water. Silus turns, just catching a movement, a flash of someone moving off through the distorted piping. He moves to where he saw the figure, to catch sight of a person moving to an open iron doorway. SILUS Lilly? But when the woman turns it is not Lilly. It is one of the infected; the red eyes, mad and staring at him. And both he and the creature hear it. Cries, of someone in pain. Lilly. Cut to121A INT: JAMESTOWN SLUM, HIDEOUT, STAIRWELL - CONTINUING 121A Lilly's cries echo up the stairwell, up towards the surface. Cut to121B INT: JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING 121B Lilly twisting on the chains that bind her to the pipe, crying out in pain. Cut to121C INT: JAMESTOWN SLUM, HIDEOUT 121C The creature moving through the doorway towards the sounds of Lilly's cries. Silus now moves forward to get to the creature, flying towards the doorway. We see him approaching the doorway and then from nowhere Edgar slams into Silus, sending them both careening over a railing.121D INT: JAMESTOWN SLUM, HIDEOUT, STAIRWELL - CONTINUING 121D Low Angle looking directly up at the two Brothers fall, bouncing and crashing off the rails on the way down. 99121E INT: JAMESTOWN SLUM, HIDEOUT, STEAMROOM - CONTINUING 121E They both hit the wet stone floor. They are in the pipe room where subterranean mineral springs rise up from deep in the earth and where the boroughs water supply is sterilized. Silus is stunned, rises, blood issuing from his mouth. Silus pulls his gun from his coat, but Edgar's kick is too fast, whipping the gun away so that the glass instrument smashes against some dripping pipes. Edgar then squares off against Silus. EDGAR It is a maze down here. But given time, that thing will find her. Do things to her. I'll show you where she is, if you take some. Edgar stalks forward. He holds up his arm to Silus. Silus stares at the tube coming from Edgar's arm. Edgar moves towards Silus, twisting on the tube so that his infected blood drips onto the ground. EDGAR (continuing) You're almost there anyway. And then Silus' face, intense, a dark smile, his hand now gripping Edgar's hand; surprise in Edgar's eyes. He pulls Edgar toward him with all his might, his hand clamping onto Edgar's throat - the power of the entwined bodies immense - then Edgar whipping his body, breaking Silus' grip, smashing Silus on the side of the head, but then only to get a kick from Silus directly in the stomach that sends him smashing into several protruding pipes, ripping into his back. Edgar screams. 100122 INT: JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING 122 Lilly. Half conscious now, hanging from the pipe above her, twisting. The sound of Edgar's screams makes her groan, awaken a little, dazed. Then there is a loud clang. She cranes her head to see down the tunnel that leads to her cell. She catches sight of a shadow, movement in the tunnel. LILLY Silus... 101Then the figure moves into the tunnel, shuffling, the legsnot completely following the brains instructions, but doingenough to propel the person forward, then a stumble. And ina shaft of light Lilly can see a hand slapping at the wetwall. But it is less a hand than a claw. And the face thatfollows the hand; the red, reflective eyes of one of the halfmad, the infected. The thing catches sight of Lilly, thenpropels itself towards her.We see it's POV, approaching faster, faster.And Lilly reaching out with her foot, to the door, strugglingto hook it with her foot, trying to close it, almost catchingthe door handle, but her foot is so slippery and the thing isalmost on her. Then she stretches out with her foot, justcatching the door and slams it in the face of the thing thatis about to attack her.The thing on the other side of the door is now screamingwildly and the door handle is jerking down as the creaturetries to activate it and Lilly has her feet on it, tryingdesperately to keep the door shut, but her feet keepslipping. And then she realizes that the pipe from which shehangs is beginning to wobble - water is now coursing from thehole in the wall, beginning to flow faster and faster. Herfeet slip more and more on the door.Lilly tries to keep the door closed, but her feet are tooslippery and the thing is pushing through the door. In thedark space only its eyes and slavering mouth are clear, handsgrasping for Lilly legs, scratching at them, Lilly twisting,the creature's nails searching for purchase on her legs.Lilly hauls herself up, wrapping her legs around the pipeshe's attached to. The thing below her is groaningincoherently, reaching up, its hands grabbing at her, Lillypulling herself just out of reach, then seeing the eyes belowher, wanting her. Lilly tries to pull herself higher. Andthen she feels it. The pipe she's attached to is shifting,where it joins the wall. Water is now flooding from it, thepipe jerks down, some of the old wall giving way.The creature's fingers are now able to grasp Lilly's t-shirt,drag at it, pull at her, screaming, the pipe grinding, waterflowing and then the whole thing comes down, the pipebursting out of the wall.Lilly and the pipe falls, right on top of the creature.For a moment neither of them move, then the creature isgrabbing at Lilly's hair, pulling her head back. In a flashLilly pulls the pipe to which she is attached right into theface of the creature. This gives her time to stagger upright.She's still chained around the pipe; she can see the end ofthe pipe near the door. 102 She begins to slide the chains back as the creature begins to rise and advance towards her. Lilly desperately slides the chain along the pipe. It catches on a protrusion, while the creature advances. Lilly frees it just in time, falling backwards as the creature jumps at her, Lilly lifting the chain up to hold the creature back. The creature strains to get at Lilly. Lilly now has the chain at the creature's neck. She begins to tighten it around the creature's neck, her only hope now. The creature changes now, from frightening to pitiful as it realizes it can't breath, it's fingers desperately moving over Lilly's face, almost pleading. Tears form in Lilly's eyes as she tightens the stranglehold; there is no anger there, just desperation, and behind that, pity. The creature breathes it's last breath then collapses onto Lilly.123 OMITTED 123AND AND124 124124A INT: JAMESTOWN SLUM, HIDEOUT, STEAMROOM - CONTINUING 124A Edgar and Silus stalk each other in the steam room. Edgar launches himself towards Silus, but Silus is now too quick. Silus slams Edgar sideways into a pipe, an imprint of Edgar's face left on the pipe. 103Stunned Edgar releases his grip, stumbles back, Silus risingnow, he has him. Again, Silus slams Edgar's head into anotherpipe. And now Silus has Edgar's throat in his fist and thelook on Silus' face tells Edgar he will not escape.We see Edgar, beginning to lose consciousness now, dying.Steam now rises all around them from broken pipes. Thenbehind Silus, Edgar can make something out. An old, corrodedtank, steaming, with the words sterilizer on it. There are aseries of long shafts connected to the sterilizer via a tubeand held in position by clamps; they look like they're forsterilizing bottles.With a last effort Edgar propels Silus backwards onto one ofthe shafts, making Silus grimace and clutch his back wherehe's been pierced, then slide to the ground. The piercing hasoperated some lever so that steam now also drifts from thewound on Silus' back.Cut toSilus looking up, clutching his back with the pain of it.And now Edgar above him. He removes one of the sterilizershafts from the bracket that holds it. He clutches a lever onthe side which makes viciously hot steam pulse from the endof the shaft. Edgar moves slowly towards Silus.We see Silus, unable to rise, crawling back, until bang, he'sstopped by more pipes behind him. Nowhere to go.And Edgar ready to pounce. He does, driving the shaft towardsSilus' head. Silus manages to raise one hand to Edgar's wristto stop the shaft from piercing his skull. Now the shaft isright in Silus' face, the lightly steaming hole staring backat Silus. Edgar's finger moves to the lever on the side ofthe shaft, ready to get some steam going. EDGAR If I burn the skin from your face, I wonder how that would be. If you looked like a monster...Cut toEdgar's finger moving over the steaming lever. The steamingend of the shaft right in Silus' face.Then Edgar's face as he watches his brothers face for thelast time.The blasting sound of steam and a steaming blast from theshaft drifts into our frame.Cut to Silus. His face is not scolded. 104 Cut back to Edgar, his expression getting tighter, his face redder, the whites of his eyes becoming bloodshot. Then he goes to speak, but now words come out, only a swirling puff of steam. And then he falls and we see behind him, standing there is Lilly, one of the other sterilizing shafts in her hand; steam still rising from the sharp end of it. Cut to Edgar, prone, on the wet floor of the pipe room; steam rises from both his mouth and the back of his head. DISSOLVE TO:125 EXT: JAMESTOWN SLUM, QUARANTINE ZONE - NIGHT 125 POV steadicaming through the streets of the Quarantine zone. The POV belongs to Lilly who moves down the street, half carrying Silus who limps. Lilly takes in the devastation. Then Silus pulls up. LILLY What is it? SILUS In there. Silus is pointing to a fallen down building through the haze and the rain. LILLY Is there something wrong? SILUS No. He gently touches her mud smeared face. SILUS (continuing) There is something very precious. You must take it, keep it secret. Don't let them touch it. LILLY I don't understand. SILUS You will. 105 And then they both hear it. A wail, distorted, echoing; it sounds like a hurt animal. Lilly looks at Silus. SILUS (continuing) Hurry. Lilly turns towards the building. She slowly moves towards it, into the doorway as Silus watches her go. Silus turns to the sunrise, it reflects in his eyes. Cut to126 INT: JAMESTOWN SLUM, QUARANTINE ZONE, BUILDING, NIGHT 126 Lilly moves through the derelict place, past fallen beams. It seems empty. Then Lilly hears it again. A wail. This time she knows what it is; we can tell from the way her eyes glisten. She moves forward, closer to the sound. And finally she sees the Brother Priest we saw before, who kneels in front of a crate. He looks up at her as she approaches. As Lilly moves forward she sees what lies with the crate. Wrapped in dirty sacking, there is a baby. In the corner Lilly can see a woman - the child's mother - dead from the infection. The baby cries and Lilly can see the tiny fangs of a Brother in the baby's mouth. PRIEST 2 The first female of her kind. The first daughter given to us. Lilly moves forward. Emotional music rises in the soundtrack; evoking memory, the circle completing. Lilly reaches out, letting the baby girl grip her hand. Lilly reaches into the crate, drawing the baby into her arms, staring down into the baby's face; a face somehow already wise, already serene. Broken tears run down Lilly's cheek as she presses the baby to herself, all the pain of the past flooding over her, the baby's tiny hands reaching out, clasping onto her. PRIEST 2 (continuing) Come. Before they find her. Cut to 106127 EXT: JAMESTOWN SLUM, QUARANTINE ZONE - DAWN 127 Lilly exits the building. She looks around for Silus, but he has gone. She pauses. Through the mist and drifting smoke from the fires we can see that in the distance a tarnished sun is lighting the horizon. PRIEST 2 We must go. After a final pause Lilly moves off with the Priest, carrying the tiny bundle with her. LILLY (VO) For me, everything has changed now. Because of Silus I see the world through new eyes. FADE OUT:128 EXT: LILLY'S APARTMENT - NIGHT 128 Silus, on a fire escape, in the shadows. Gone are the clothes of the Brotherhood, rather he is dressed as someone who does not want to be seen. Cut to his POV. We see Lilly's building. We see through the window, into her apartment; a beacon of warmth in the night. In Lilly's bed we can see the baby, its hands happily making patterns before its eyes. LILLY (VO) Now I see hope, and I see a child, the first female of her kind. Silus scans the apartment. He can see the lounge. Jones is there with Lilly. Lilly is dressed to go out; to leave. Jones and Lilly hug. Then Jones picks up two suitcases and moves towards the door. Silus watches as Lilly moves into the bedroom and reaches down for the tiny baby, its tiny arms clasping onto her as she lifts it. LILLY (VO) Perhaps Edgar got what he wanted after all, because it time this child will truly change our world. 107We see Silus, closer, watching.Cut toLilly, pausing, moving to the window of her apartment,staring out into the night, almost directly toward Silus. Sheraises her hand, as if in a gesture of goodbye and then sheleaves.Cut toSilus, close, nodding. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Perfect World, A.txt b/unformated_scripts/Script_Perfect World, A.txt new file mode 100644 index 0000000000000000000000000000000000000000..4204d59b36ad65b8c9f664dea541131c601caf56 --- /dev/null +++ b/unformated_scripts/Script_Perfect World, A.txt @@ -0,0 +1 @@ +A PERFECT WORLD Written by JOHN LEE HANCOCK December 1992 Draft FOR EDUCATIONAL PURPOSES ONLY1 MUSIC UP. It's a tad eerie. If a Zydeco band died in a 1 bus crash this is the kind of music they'd play in heaven. FADE IN ON: WHITE SCREEN which transforms to a milky white and eventually into a bright high noon sun. A large black bird flies in circles overhead. As it wipes the sun a bright flare causes... CLOSEUP - PAIR OF EYES to squint, then adjust to the light and finally open. They look tired, but content, maybe even relaxed. CLOSEUP - MAN the owner of the eyes. Though we only see from his shoulders to the top of his head, we can tell he's lying in a field. His arm is propped behind his head as a pillow and he appears to be resting comfortably. MUFFLED VOICES and WHISPERS fill the air but they seem to come from another place. The man doesn't notice them. His name is BUTCH. A gust of wind blows Butch's hair a bit and a piece of straw wipes across his forehead. Then, oddly enough, it is followed by a dollar bill, which rests against his cheek, then skitters across his face. It is followed by another and another, a five, a ten, a single. Butch pays no attention. He's in another world. DISSOLVE TO:2 EXT. NEIGHBORHOOD - MADISONVILLE, TX. - DUSK 2 SUPERSCRIPT: OCTOBER, 1963. A small country town. Normally quiet at this hour, the street is tonight alive with trick or treaters dressed as witches, goblins and superheroes making their annual door to door rounds.3 EXT. PERRY HOUSE - NIGHT 3 GLADYS PERRY, 30 going on 45 due to single motherhood and having worked two fulltime minimum wage jobs the past ten years, looks out the window with disgust and pulls the curtains closed.4 INT. PERRY HOUSE - NIGHT 4 Gladys retreats from the sparsly decorated living room to the predictably drab linoleum kitchen. At the table, hands on their laps, sit her children, NAOMI and RUTH, twin girls aged 10, and PHILLIP, a quiet boy of 8. (CONTINUED) 2.4 CONTINUED: 4 Gladys sets a casserole on the table and goes to the frig for a container of milk. The children WHISPER to one another... NAOMI Judy Baumer is going as a twirler. RUTH But she's so fat. I'd go as Cinderella... or Peter Pan. NAOMI Peter Pan's a boy. Tinker Bell's a girl. Phillip could go as Peter Pan... 'cept you gotta' fly. Phillip smiles a bit at the notion. RUTH Phillip could go as a bump on a log. The girls giggle and Phillip frowns. PHILLIP Why can't we go just once? NAOMI Caus' we jus' can't, ok? Gladys sets milk and butter on the table and stares directly at her son. GLADYS Our personal beliefs lift us to a higher place. 'Sides, Halloween is nothing but the Devil's work. The DOORBELL RINGS. The kids gulp as Gladys turns and heads for the door.5 EXT. FRONT DOOR - NIGHT 5 MR. HUGHES, a 35-year-old family man is playing chaperone to prepubescent versions of SUPERMAN, TINKERBELL, and a DANCING SKELETON. KIDS (in unison) Trick or treat!!! Gladys simply stares at the children before looking to Mr. Hughes. GLADYS I'm sorry but we don't take no part in Halloween. (CONTINUED) 3.5 CONTINUED: 5 MR. HUGHES Excuse me? Phillip arrives at his mother's apron. He stares at the kids with relish. In the near window, Ruth and Naomi steal a look through the window. GLADYS We're Jehovah's Witness. Superman locks eyes with Phillip. SUPERMAN Hey, Phillip Perry. PHILLIP Hey, Billy Reeves. SUPERMAN How'd ya' know it was me? GLADYS Go eat your supper, Phillip. MR. HUGHES Come on, kids. Let's go to the next house. Sorry for the bother. Gladys closes the door firmly and locks it.6 EXT. HUNTSVILLE STATE PRISON - NIGHT 6 A green Impala pulls up to the main entrance and stops. A GUARD steps from his office to greet the driver, LARRY, a pudgy 55-year-old prison employee wearing a loud plaid jacket. GUARD Evenin', Larry. Forget somethin'? LARRY Goin' to Austin tomorrow. Gonna' take some work with me. GUARD Work, work, work. When you and me gonna' go out and grab a cold one? LARRY Sooner the better. The gate opens and the Impala passes. 4.7 INT. CELL - NIGHT 7 BUTCH HAYNES, a 38-year-old inmate who reeks with knowledge procured from the wrong side of the tracks, but whose sad, tired eyes bemoan a maximum of regret, stands on the top of a cell bunk chipping at the ceiling. JERRY PUGH, 29, rail thin, a punk who constantly licks his lips, keeps watch at the door. An OLD TIMER sits on his bunk and watches both with a cautious eye. Butch chips through to something. BUTCH Damn if the old man ain't right. Jerry smiles, turns and grabs the old man by the shirt. JERRY And this goes to the roof? OLD TIMER Used to... afore they walled it over. JERRY If it don't I'm gonna' rip your tongue out. OLD TIMER Get yer' damn hands off me! Jerry laughs and joins Butch, who is already well on his way to bending open a slot in a corrugated metal air shaft hidden behind the wall.8 EXT. NEIGHBORHOOD - NIGHT 8 Superman and Dancing Skeleton, no longer with adult super- vision, fill water balloons at an outdoor water spigot. SUPERMAN Make 'em small so you can heave 'em.9 INT. PERRY HOUSE - NIGHT 9 An assembly line at the kitchen sink as the twins wash and Phillip dries the evening dishes. Gladys sits at the kitchen table, reading religious pamphlets and keeping a watchful eye over the process. Several THUDS resound through the house. PHYLLIS What in the world? Phillip jumps down off his stool and races into the living room. 5.10 EXT. HOUSE - NIGHT 10 Superman lofts a BALLOON and grabs another as the first hits the door of the Perry house and SPLATTERS. SUPERMAN Bombs away! Dancing Skeleton does his best Warren Spahn and tosses a wet fastball at the door. SKELETON Here's your trick! At the window, Phillip, his nose pressed to the pane, stares expressionless at the onslaught. He barely flinches as a BALLOON SPLATS only inches away. Gladys arrives and pulls the curtains shut once more.11A EXT. PRISON - NIGHT 11A Butch kicks the top off a ventilator shaft and rolls onto the roof. Jerry follows as Butch shimmies to the wall. At the edge, Butch and Jerry survey the yard as a searchlight routinely bathes the walls in a circle of light.11B THEIR POV - GREEN IMPALA 11B parked almost directly below them, next to the Administration office of the prison. JERRY You'n'me must be livin' right, Butchie boy! BUTCH Let's get something straight. I don't like you. As soon as we're on our way, that's it. JERRY Who said I liked you? Butch slides down and hangs from the ledge before dropping on the roof of the building below.12 INT. ADMIN OFFICE - NIGHT 12 A SOFT THUD causes a Guard to look up, but only momentarily as he spots Larry departing, files in hand, waving goodbye. GUARD Have a safe trip now, Larry. 6.13 EXT. YARD - NIGHT 13 Just as Larry reaches the Impala, Butch and Jerry leap down and land on him. The spotlight showers them in a flash of light as it passes by. Butch cups his hand over Larry's mouth while Jerry reaches into his jacket -- Bingo -- a shiny .38. BUTCH (to Larry) Keep yer' mouth shut. JERRY (to Larry) Gawd I'd love to blow yer' head off.14 EXT. PRISON GATE - NIGHT 14 Larry, driving with his eyes straight ahead, stops at the gate and waves a palm at the Guard, who opens without hesitation. GUARD 'Night, Larry.15 INT. CAR - FLOORBOARD - NIGHT 15 stuffed and hidden half on the floor and half under the mats are Jerry and Butch. JERRY 'Night, Larry.16 OMITTED 1616A INT. SMALL, WELL-LIT DINER - NIGHT 16A A weathered finger drops a quarter in a jukebox. MAN (O.S.) B-5. Haven't heard that one in awhile. The woman, MAE, 45, a dog-tired waitress, punches in the numbers and returns to her post behind the counter. A lonesome HANK WILLIAMS tune pours forth. MAE Not since last night. How's the pie? RED GARNETT, 60, a grizzled but handsome Texas Ranger, sits at the counter slowly chewing. RED Kinda rubbery. It was better yesterday. (CONTINUED) 7.16A CONTINUED: 16A MAE Same pie as yesterday. Not much call for rhubarb. Sell one slice a day. In the background we hear a SIREN. Red turns and watches a police patrol car whiz past, lights on. MAE Yer off duty. Tell me, if I stopped bakin' 'em would you still come by every night? Red, preoccupied, takes another rubbery bite. RED I don't know. Mae smiles and turns her back to Red as she cleans the grill. MAE Naw, Red Garnett, you don't come in here for the coffee and pie. You come in here for the company. To see me. Another patrol car races past. Red's eyes follow it.16B ANGLE ON MAE 16B MAE Now that I've said that, I'll go one better. What say I cook you dinner at my place sometime? Steaks, baked taters, cold beer, the works. Well?... I'm askin' you out. She turns to face Red but he's gone. A coupla dollars lie next to the half-eaten pie. All she can do is sigh.16C INT./EXT. PATROL CAR - NIGHT 16C Red pulls up in front of a small house in a residential section of town. Police cars are everywhere and several officers are behind their vehicles, guns pointed at the house. Red steps out of the car and is greeted by a POLICE SERGEANT, about the same age as Red. SERGEANT Long time, no see. What are you doin' here, Chief? RED Couldn't sleep. Whattaya got? (CONTINUED) 8.16C CONTINUED: 16C They walk. Red arrives at a truck with a 10 gallon coffee urn roped to the tailgate. He grabs a paper cup and pours. SERGEANT Guy holdin' his family hostage. She kicked him out, served him divorce papers, he came back drunk and pulled a .38. Fired two shots but we don't think anybody's hit. Actually you might know the guy from your sheriff days. Hayden Webb. Been on suspension for awhile. Ring any bells? RED Yeah. Lemme talk to him. SERGEANT No can do. Police jurisdiction. Red tastes the coffee -- cold. He spits it out, pours the contents of the cup on the ground and walks toward the front yard. Sergeant follows. RED And how are you guys doin'? SERGEANT We got specific rules to follow in these kinda situations, Red. (gives in) He won't talk. Jus' keeps yellin', crying and waving his gun around. Red moves forward into the yard. SERGEANT At least use the megaphone, you stubborn jackass! But Red ignores and arrives at the front door. He knocks. RED Hayden, this is Red Garnett. We worked together a few years back. Mind if I come in? The YELLING inside STOPS and the door opens a crack. HAYDEN, 35, distraught, peers out. HAYDEN 'Evenin', Chief. RED Leave it to the P.D. They got a three- ring circus out there and not one cup of hot coffee. You mind? Hayden mulls it over, then opens the door. 9.16D INT. WEBB HOUSE - NIGHT 16D On the couch sits Hayden's wife, JULIE, cradling her two kids, an infant and an 8-year-old boy. Julie sobs. Her eye and temple are bruised purple. Red slowly enters, nods to Julie, takes off his hat and sets it on a lampstand. Hayden has moved away from Red against the wall. He holds the gun out at no one in particular. HAYDEN Julie, put a pot of coffee on. She slowly gets up and moves to the kitchen, still weeping. RED Appreciate it. Jus' what is it you want, Hayden? HAYDEN I dunno... I want my job. I want my family. RED What'd they suspend you for? HAYDEN I answer a call in South Austin. Girl gettin' raped, that's the word. I bust in the door, this lowlife is beatin' the shit outta her with a tire iron. 'Help me, help me,' she says. I take the guy down. He bites me. I break his arm. Case closed, right? No. She was his wife and they both sue me and the department. The guy's about to kill her and she sues me 'cause now he can't pump gas. They have chump change in the bank but they got the best lawyer in town. Three months I'm goin' crazy. No pay. Then my wife leaves me and I get served divorce papers by John Reese -- a sheriff's man. You know how embarrassin' that is? What's happenin', Chief? I mean, everybody's got a fuckin' lawyer! Julie emerges from the kitchen and retakes her seat. RED You love her? Love the kids? HAYDEN Yeah. JULIE Then why do you hit me! Hayden grips the quivering revolver tight and points it at her. Red calms the situation... (CONTINUED) 10.16D CONTINUED: 16D RED You don't wanna shoot her. HAYDEN I swear to God I think I do. RED Naw, Hayden, I don't think so. I think you love her. You know what else I think? That you'd like a way out of this whole mess... That's where I come in.16E EXT. HOUSE - NIGHT 16E Sergeant and other cops stand around and watch the house. SERGEANT Well, I'll be damned. NEW ANGLE The front door opens and Julie emerges with her two kids. She takes a few cautious steps, then runs to the police.16F INT. HOUSE - NIGHT 16F Red sits on the coffee table, unloading Hayden's gun. He opens the cylinder and drops the shells to the floor. A calmer Hayden exits the kitchen with Red's coffee. Red accepts it, takes a sip. RED Hits the spot. Hayden starts to sob a bit. Red hands over a handkerchief which Hayden accepts. HAYDEN No cuffs, huh, Chief? RED Okay. You ready? Hayden nods, they stand. Red picks up his hat, sticks it on his head, opens the door and holds it for... Hayden, transfixed by the multitude of lights outside. He gulps. RED We'll walk out together, okay? Hayden steps back, looks at Red, then reaches behind his back, underneath his shirt and pulls out a .22 pistol. (CONTINUED) 11.16F CONTINUED: 16F HAYDEN Any good officer has a back-up. Red holds his palms out and takes a step toward Hayden. RED Lemme have it, Hayden. Hayden points the gun at Red, freezing him. HAYDEN Was I a good officer, Chief? Red nods. HAYDEN Was I a good deputy? The kinda man you could depend on to do what's right? RED Yeah. Hayden smiles. HAYDEN Thank you. Then he turns the GUN on himself, swallows the barrel and BLOWS his brains out. DISSOLVE TO:16G EXT. HOUSE - NIGHT (LATER) 16G Hayden's dead, covered body is carried out the door. Julie screams and sobs, still holding her crying children. Red, looking pretty shook up, slowly exits the house. He stops and looks at Julie and the kids. His eyes lock with the little boy's. COP Got a call, Chief Garnett. They're lookin' for ya downtown. Red slowly walks away. The little boy's eyes follow him.17 INT. CONVENIENCE STORE - NIGHT 17 It's a small town version of a 7-11, kept open by an owner anxious to cash in on the later night munchies of beer drinkers. Good idea. Bad luck. (CONTINUED) 12.17 CONTINUED: 17 Jerry skims through a girly magazine, turning the pages with the gun. Butch, wearing Larry's plaid jacket, jimmies open the cash register. He looks to the floor then to... Jerry, who catches Butch's gaze, holds it, looks down at the floor, then, smiling, looks back to Butch. He returns to the skin mag. Butch holds his stare at Jerry then, in one move, grabs a wad of cash and hops over the counter and out of the store. Jerry notices Butch leaving, grabs a handful of assorted Brach's candies and hurries after. JERRY Hey, wait up! Jerry's feet scurry through a pool of blood and past a quivering hand.18 INT. D.P.S. - TEXAS RANGERS HEADQUARTERS - NIGHT 18 It's very late, after midnight, and only a handful of people, half of whom are cleanup crews, shuffle through the offices. A light from an office at the end of the hall catches our eye. A MUFFLED VOICE over the phone... RED (V.O.) I understan' your concern, Johnny.19 INT. RED'S OFFICE - NIGHT 19 Red, behind a huge ranchstyle desk covered with files and paper, sips coffee with one hand, works a buffalo nickel through magician's paces with the other and balances the phone receiver in the crook of his neck. RED (on phone) Cons are creatures o' habit. Like old coyotes, they'll crawl back into familiar holes. Uh huh... Yeah... Sure yer' right. Listen you go back to bed and I'll call you in the A.M. with an update. I'll have the files by then. Say hullo to the Mrs.. Red sighs, puts the PHONE back in the hook and stares at it until it RINGS again.20 INT. PERRY HOUSE - NIGHT (JUST BEFORE DAWN) 20 The CLANGING wind up alarm CLOCK reads 5:30 and Gladys opens her eyes and gently quiets it with a touch. She groans and rises, not happy but used to the daily ritual required of her. 13.21 INT. PERRY LIVING ROOM - NIGHT 21 As the kitchen light comes on we see that the couch has been opened up to a bed in which all three children sleep. The twins sleep soundly but Phillip tosses and turns away from the light.22 EXT. NEIGHBORHOOD - NIGHT 22 The Impala creeps through the previously seen neighborhood without its lights.23 INT. IMPALA - NIGHT 23 Butch drives while Jerry scours the block. JERRY There's a Buick. BUTCH Don't want a Buick. Want a Ford. JERRY Ford's leak oil. A car's a car. Butch puts on the brakes and brings the car to a stop. BUTCH Then take the Buick. JERRY Soon as we cross state line I'll do just that. (beat) I'm tired of riding around. I'll check down the block... for a Ford! Jerry gets out, slams the door, lights a cigarette and walks away. Butch waits a few seconds, quietly turns the key one notch and checks the gas ggauge. It reads almost empty. He taps it with his finger but it doesn't budge. He sighs, looks up and sees... JERRY as he checks one locked car, then feeling eyes on his back, turns, looks at Butch, grins and disappears around a corner. BUTCH discreetly exits the car himself, carefully closing the door without a sound.24 INT. PERRY KITCHEN - NIGHT 24 Gladys steps into a slip and snaps her bra while cracking eggs into a skillet. By rote she salts, stirs, and pops bread into the toaster. 14.25 EXT. PERRY BACKYARD - SOMEONE'S POV - NIGHT 25 FROM BEHIND a fence, THROUGH the opened, screened windows we see Gladys at work. Phillip enters, dressed in cotton briefs and a T-shirt, drags a chair from the kitchen table by the window and assists his mother by buttering the toast. POV MOVES CLOSER. GLADYS Thank you, Phillip. Go wake up your sisters. Phillip dutifully steps down and returns to the living room. Gladys works to adjust her slip, then grabs plates and silverware and takes them to the table. JERRY I take mine fried.26 INT. KITCHEN - NIGHT 26 Gladys gasps at Jerry's face pressed against the screen, but controls herself when he brandishes the pistol. He motions for her to open the back door. She does. He slides into the room and sits down at the table.27 EXT. ON STREET - NIGHT 27 A Ford sits in a driveway. In the far b.g. a back porch light glares. Butch ENTERS FRAME, looks at the light, turns to the Ford and starts to jimmie the lock. No luck. He rises and looks to the light.28 INT. KITCHEN - NIGHT 28 Jerry stuffs a piece of toast in his mouth, grins at Gladys and makes a motion to the counter. JERRY A lil' on the bland side. Gimme' that ketchup. She picks up a bottle of Heinz and inches toward him. When she gets close, he grabs her and forces her onto his lap. He holds the gun to her throat and whispers in her ear. JERRY Don't got a man around here, do ya'?29A INT. NEIGHBOR'S HOUSE - NIGHT 29A MR. CUMMINGS, 70, puts on his glasses and peers through the window. 15.29B HIS POV - PERRY KITCHEN 29B Gladys sits on Jerry's lap, thanks to .38 caliber coercion. The convict's hands move freely over the frightened woman's body.30 INT. PERRY KITCHEN - NIGHT 30 JERRY Feed me, sweet thing. Her shaking hands raise a forkful of eggs to his lips. He licks them once then gobbles with gusto. Phillip enters the room and stops dead in his tracks. JERRY Well lookie here, you do got a man! Jerry smiles at Phillip while he kisses and licks Glady's neck. At once, Phillip darts across the room at Jerry, who backhands the boy with his gunhand, sending Phillip sprawling. Butch blasts through the door in an instant. With a swift kick to the head, Jerry is knocked senseless onto the floor against the cabinets. The gun slides across the floor and lands at Phillip's feet. JERRY (holding his ear) I'm bleedin'! You happy? Butch gives Jerry an icy stare and kneels down to eye level with Phillip. Butch looks at the gun and then at Phillip. BUTCH What's your name, boy? PHILLIP (scared shitless) Ph... Phillip... BUTCH Well, okay Phillip. Reach down and pick up that pistola. JERRY Give it to me. BUTCH (to Jerry) Shut yer' mouth. (to Phillip) Pick it up and bring it over here. (CONTINUED) 16.30 CONTINUED: 30 Phillip reaches down and slowly picks up the gun by the handle. He takes one step toward Butch, then another. Gladys, petrified, sobs. Phillip arrives armslength from Butch. CLOSEUPS - PHILLIP AND BUTCH BUTCH Now say 'stick 'em up.' PHILLIP (hesitant) Stick 'em up... Butch laughs and then a NOISE from outside brings him back to reality. He grabs the gun and spins to see... MR. CUMMINGS Standing outside the screen door, gun leveled. Before the old man can utter a syllable, Butch grabs Phillip and points the gun straight at Cummings. Jerry jumps up and grabs Gladys. BUTCH Put the gun down, old timer. You couldn't hit me anyway. Probably shoot the boy. The PHONE RINGS. BUTCH Leave it be. The twins wiping sleep from their eyes, wander into the room. NAOMI Mama?... GLADYS It's all right, honey. PHONE continues to RING. Cummings can't decide what to do with the gun he's pointing at Butch. JERRY You deaf?!!! BUTCH Set it on the ground. Cummings reluctantly obeys. JERRY We gotta' get the hell outta'here! (CONTINUED) 17.30 CONTINUED: (2) 30 PHONE still RINGS... JERRY Shut up! In one fluid move he rips the phone from the wall. The silence is deafening. JERRY (re: Gladys) I vote we bring her with us. BUTCH No. JERRY How we gonna' get outta' here without a hostage, tell me that? The whole goddam neighborhood's awake. BUTCH We'll take the boy. Silence. Gladys can't believe her ears. Then... GLADYS Nooooo!!! Jerry tosses Gladys aside. She collapses onto the floor. The TWINS instantly start to CRY. Phillip winds up and hits Butch as hard as he can. Butch picks him up, directs Cummings into the kitchen with the gun and nods for Jerry to lead. BUTCH You'll get him back. I swear it.31 EXT. FRONT YARD - DAWN 31 Butch, carrying Phillip, and Jerry emerge from the back of the house and race back to the Impala. GLADYS (O.S.) Phillip!!!!... Butch flips Jerry the gun, tosses Phillip into the passenger seat, leaps over the hood and into the driver's seat. The CAR STARTS and SQUEALS away. Neighbors, aroused by the noise, exit their homes clad in robes, nighties and curlers. 18.32 INT. CAR - DAWN 32 Jerry FIRES a SHOT over their heads, sending them to the deck or scurrying for safety. JERRY Ain't you folks ever heard of sleepin' in?!!33 EXT. PERRY YARD - DAWN 33 Cummings races from behind the house with the SHOTGUN, levels it and FIRES a BLAST... A nearby station wagon WINDOW SHATTERS. Rising from their cover position, its owners look at Cummings with disgust. OWNER Nice shootin', Fred.34 INT. RED'S OFFICE - DAY 34 Garnett, still in the same clothes, rests the phone receiver in his ear while he shuffles through the files before him. Red's deputy and boy friday, TOM ADLER, 40, lank, thinning hair, with a face as soft as Red's is hard, warms up Red's coffee with a jolt from the Chief's favorite plaid Thermos. RED (into phone) Yes, Johnny, I do understand that... The jabbering on the other end of the phone line continues as Red's eyes squint to read the files. INSERT - FILES The first is Jerry's, complete with a grinning mug shot in the upper right hand corner. There are several pages in the file, but Red's fingers quickly peruse the top rap sheet before turning to... INSERT - SECOND FILE It's Butch's and again Red's fingers start to move down the page then they stop and move to the photo of Butch at the top of the page. RED'S FACE A hint of recognition. The jabbering continues... CLOSEUP - PHOTO OF BUTCH A little younger than now. A younger con with the grim facade of a man facing hard time. (CONTINUED) 19.34 CONTINUED: 34 RED keeps staring at the photo, oblivious to the phone conversa- tion he's "not having". PHONE VOICE (V.O.) Red? Red, you there? ADLER (a whisper) Red?.... RED (to Adler) Huh? ADLER (a whisper) He's talkin' to ya'. PHONE VOICE (V.O.) Have you heard a word I've said?! Red comes to... RED (into phone) Yeah, Johnny. Jus' thinkin' is all.... ADLER (another whisper) Press has been waiting almost an hour, Red. Red nods then notices someone at the door and motions her in... SALLY GERBER, 28, cute in a plain, no nonsense way, with giant curls accenting her round face in step with the latest hair fashions, enters the room, closes the door behind her. She's nervous as hell but trying to hide it. Red motions her to have a seat while he finishes his call. RED (into phone) Yeah.... Clear as a bell... Mi' sabe. Red hangs up the phone, takes a draw on the coffee mug and looks again at the file. He seems lost in time. ADLER What'd he say? RED (distracted) Who? (CONTINUED) 20.34 CONTINUED: (2) 34 ADLER The Guvner', Red. Red closes the file. RED Reminded me it's an election year. Red turns his attention to Sally. RED You drink before noon? SALLY (confused) Uh... no. RED Good. Last one I had was on a liquid diet. SALLY Last what? RED Secretary. ADLER (remembering) Penny Munroe. SALLY I believe you have me confused. I'm here from Huntsville. Assigned by Governor Connally. Red is confused. He turns a blank expression to Adler. RED Adler... what is this? Adler searches the messy desk for something. ADLER Rings a bell, Red. Believ' they sent us something about her this mornin'... RED Who sent?... ADLER ... Guvner', Red. Adler finds the telex message sheet he's looking for and hands it to Red. (CONTINUED) 21.34 CONTINUED: (3) 34 ADLER ... Here it is. SALLY (introducing) Uh, I'm Sally Gerber. Criminologist with the State Prison System. Sally offers her hand. Red, perusing the telex, ignores but Adler shakes somewhat reluctantly, not sure if he's supposed to like her or not. ADLER Tom Adler. Deputy. State Police... System. SALLY It's a relatively new procedure but I was assigned by Governor Connally... RED (reading from telex) ... 'to work with State law enforcement officials in all affairs where penal matters coincide with those of the State Police.' It don't say nuthin' about... SALLY ... It includes parole and work release programs as well as penal escape situations. The office PHONE BUZZES. Adler picks it up. ADLER (into phone) On our way, Marge. Adler hangs up the phone. ADLER Gettin' antsy, Red. You scheduled it. Adler hangs up, grabs Red's tie and coat from a brass rung on the wall and hands them over. Red puts down the telex, stares at Sally and reluctantly attempts to make himself presentable. SALLY The idea is that an understanding of the particular behavioral case histories should, in parole situations, help the subject to avoid habitual traps and, in penal escape situations could, conversely, identify those self-same traps as an aide to apprehension. (CONTINUED) 22.34 CONTINUED: (4) 34 Adler stares at Sally then turns to Red with a "never heard the like" look of amazement on his face. Red, roguishly handsome in his tan, western cut blazer, clip on tie and ten gallon hat, makes his way to the door. But, before he exits... RED In the first place, Miss Gerber. SALLY Sally, please. RED In the first place, Sally, it ain't a 'penal escape situation.' It's a manhunt. Fancy words in a circle don't help much. SALLY And what does? RED A nose like a Blue Tick, a medulla with an antenna and one helluva lot of coffee. And with that he's out the door.35 INT. PRESS ROOM - DAY 35 A throng of photogs and news writers stuff the undersized room. The clamor settles when Red enters and steps behind the lectern. RED Listen up, I'll only say it once. At approximately ten o'clock last night two inmates over to Huntsville, Robert 'Butch' Haynes and Jerry David Pugh, escaped through an air shaft, grabbed a prison employee's car and got out through the main gate. At approximately 1 A.M. we believe they robbed a market outside of Cut-n-Shoot and killed the store's owner. REPORTER #1 Is the prison employee with them? RED Was when they left the prison. Sally and Adler enter the room and stand beside the lectern observing. Red notices them. (CONTINUED) 23.35 CONTINUED: 35 REPORTER #2 What's the rap sheet on these guys like? RED Long as Christmas eve to a kid. Haynes was doin' 40 for armed robbery and Pugh was ridin' 20 hisself for manslaughter and assorted parole vios. REPORTER #3 Is there any indication of... RED ... Lemme' finish, Billy. This mornin' another hostage was taken... from a private home in Madisonville. A boy, age 8. Grabbed him out of bed. REPORTER #1 Any sex offenses on Haynes or Pugh? RED Yer' askin' if they're preverts. Well, one is. REPORTER #4 You got inter-agency cooperation on this? RED Texas Rangers as the criminal investigation arm of the D.P.S. share responsibility with the F.B.I. due to the kid being taken. But I doubt they're out of bed yet. A few chuckles. REPORTER #3 Red, how do you plan to apprehend the escapees? RED Officially I can only say we have a full manhunt team on their trail and we'll proceed with due haste. REPORTER #3 And unofficially? Red hesitates a moment, something's bothering him, then blurts out... RED Unoffically? I'm gonna' hunt 'em like the rabid dogs they are. (CONTINUED) 24.35 CONTINUED: (2) 35 Every hand in the place shoots up and Ad Lib questions fly like bullets. RED That's all I've got but I'd like to introduce ya' to Miss Sally Gerber. She's straight from the Governor's office. Knows all about psychological profiles and the like. You probably have some questions for her. Red steps back and to one side. Sally is taken aback but then warms to the idea and steps to the podium for her first press conference, ready to take on the tough questions, to show off a bit, but.... There are no questions. In fact there is utter silence as every raised hand drops. Eyes stare. Red sighs and starts to walk away. RED Look, fellas, I got work to do. And he heads out the door, followed by Sally's eyes and every reporter's in the room, who commence once again to yell out questions and mob after the Chief. Every reporter, that is, except one. He's near the back of the room and he smiles and raises his hand. Sally, unsure what to do, looks to him... SALLY You have a question? REPORTER Yes I do. Sally smiles a bit then puts on her serious face awaiting... REPORTER You doin' anything tonight? Sally, steamed, glares at the guy and stomps out of the room. REPORTER I'm serious!36 INT. IMPALA - DAY 36 Butch is driving with Phillip in the front seat beside him, still in his underwear. Jerry, in the backseat, leers at Butch, aims out the window and FIRES ONCE. 25.37 EXT. FIELD NEAR ROAD - DAY 37 An aluminum water tank spews a violent leak.38 INT./EXT. CAR - DAY 38 BUTCH We got a handful of caps and yer' shootin' water tanks. He's a smart guy, huh, Phillip? Phillip doesn't move or change expression. Jerry smiles, almost to himself, and FIRES TWICE more for the hell of it. The ROOF of the Impala EXPLODES with two holes as the car speeds off down the highway.39 EXT. PARKING LOT - DAY 39 Red is finishing up with several reporters near the door to the parking lot. Adler jumps in, holds up his hands. ADLER All right, that's it, boys. Chief's got work to do. Red and Adler move through the parking lot to SAUNDERS, 50, an aide to the Governor. Saunder's seconds are a PHOTOGRAPHER, young and energetic, and SUTTLE, 35, dark-haired, with a cowlick. Saunders shakes Red's hand and they turn to gaze upon... '60-STYLE AIRSTREAM MOBILE HOME parked in the middle of the lot hitched to the back of a new Chevy truck. The Airstream is painted in state colors and sports banners, decals and logos.40 EXT. PARKING LOT - DAY 40 Saunders follows Red as he walks around the showpiece, occasionally kicking a tire or two. SAUNDERS So whattaya' think? Saunders motions for the Photographer to come closer and take pictures. He moves in next to Red and poses as the camera clicks. SAUNDERS We are very proud of this baby. Governor Connally special ordered it so state officials and dignitaries can ride in the parade in Dallas. You know President Kennedy's comin'? (CONTINUED) 26.40 CONTINUED: 40 RED So I hear. SAUNDERS Latest technology, oversized engine, complete kitchen and sleeping quarters, gun racks, frig, stove, the works. Even got a hot line phone straight to the Governor's office. Red stops circling and nods to Adler, who scurries away. RED Fine piece of machinery. SAUNDERS What's more, as soon as it gets back from Dallas it will be at your requisitioned disposal. Perfect for lots of situations -- a headquarters on wheels. Red smiles, walks up to one of the Lone Star decals and rips it off. RED We'll take it. SAUNDERS Uh, Chief?.... Red rips off another decal. Adler and a few others start to load equipment, guns and files into the motor home. In addition they cart out unecessary items: mattresses, etc. and stack them in a pile outside the motor home. The Photographer continues to snap photos. SAUNDERS (to Red) Whattaya' doin', Red?! (to Photographer) Stop takin' pictures! Red does away with the parade banner. Saunders follows behind and tries to reinstate the decal. SAUNDERS It's jus' not possible, Red. The Governor's gonna' ride it in a campaign parade tomorrow. RED Guvner' hisself told me this manhunt was top priority. (CONTINUED) 27.40 CONTINUED: (2) 40 Adler moves through the door to the RV carrying Red's favorite desk chair. He's followed by BOBBY LEE, 20's, cocksure, wearing a plain khaki uniform and boots. ADLER (to Saunders) S'cuse me. (to Red) This here's Bobby Lee. He's a specialist with the Feds. They want him to tag along. Red stares hard at Bobby Lee, then nods. Bobby Lee steps into the Airstream. SAUNDERS Please, Red, ya' gotta' believe me... Red spots Suttle, 35, bright-eyed, with a cowlick, sitting at the wheel of the Chevy truck. RED Who are you? SUTTLE Dick Suttle, the driver. RED Not anymore. Bradley. BRADLEY, 35, glasses, moves to the truck and gets in. Suttle shrugs and steps out. Saunders stops Suttle and turns to Red. SAUNDERS This man stays with the vehicle wherever it goes, Red! RED (to Suttle) You know how to operate the gadgets? SUTTLE Yessir. RED (to Suttle) Grab a seat. Suttle sets himself in the passenger seat of the truck. Sally emerges from the building, ticked off, carrying an armload of file boxes, and makes a beeline for Red. Saunders gently touches Red's shoulders; a final plea. (CONTINUED) 28.40 CONTINUED: (3) 40 SAUNDERS Please Red, I'm beggin'. I mean, what am I suppose to tell the Governor? Sally arrives but before she can spit out a word... RED Tell John that Miss Gerber here checked me out on it. Red whistles and the ENGINE REVS. Red closes the door as the motor home pulls away. Saunders runs beside the passenger side window and yells in to Suttle, who stares out the window. SAUNDERS Not a scratch, you hear me, Suttle? Not a scratch! Saunders stops, breathing hard, next to Sally. She's pissed and overloaded with files. AIRSTREAM about 20 yards down the way, comes to a stop. A second later the door opens and the steps pop out. Sally walks toward the bus but when she arrives at the door... ... LAUGHTER filters out of the Airstream. The Airstream moves another 20 feet then stops. Sally waits a full five seconds, then she blows the hair out of her eyes and, against her better judgment, moves cautiously forward, the file boxes getting heavier by the minute. Again, when she gets close... ...the Airstream moves. Sally, boiling mad as her coiffure wilts in the Texas sun, stops, and tosses down the file box in anger. The Airstream stops. LAUGHTER from inside and a few AD LIBS, i.e. -- "Okay, Okay." More LAUGHTER. Red steps out the door, turns his gaze back inside and the laughter and comments stop on a dime. Smiling slightly he turns to Sally, moves straight for the file box, picks it up and walks back to the Airstream. When he arrives at the steps he turns, looks to Sally, who stews and holds her ground. RED You comin' or not? She hesitates only a moment before walking straight to Red, grabbing back her file box and entering in front of him. 29.41 OMITTED 4142 INT. AIRSTREAM - DAY 42 Sally enters, balancing the boxes, and glares at the faces surrounding her. A smiling Red, a grinning Adler messily gorging on a cinnamon roll, a nervous KAISER, the radio man, and, in the corner, a nasty smirk from Bobby Lee. When the Airstream takes off again, she loses her balance and drops one of the boxes. Adler and Suttle jump forward to help but she gives them the evil eye. SALLY I've got it. She kneels down to pick it up and feels eyes on her. She looks up to the men staring at... Her skirt, raised a bit, exposing a thigh. She calmly stands and looks to Adler, a piece of cinnamon roll dangling on his chin. SALLY You've got shit on your face. Red can't help but smile as Adler wipes at his face.43 EXT. RURAL ROAD - DAY 43 The IMPALA BLASTS along, kicking up dust and dispersing crows as it heads into a one light township. It slows, however, before the main part of town and slides to a stop near a pay phone booth.44 INT./EXT. IMPALA - DAY 44 JERRY Why the hell we stoppin'? BUTCH You said you had a cousin near here. JERRY So? BUTCH So give him a call. See if we can shack there til' things cool down. Jerry thinks it over, leans forward and, in one quick swipe, grabs the keys from the ignition. Then he laughs and crawls out on his way to the phone booth. (CONTINUED) 30.44 CONTINUED: 44 In the b.g. we see Jerry strut to the phone booth and pore through a thin directory. Phillip steals a glance at Butch, who watches his rear view mirror and grits his teeth. PHILLIP Why'd he take the keys? BUTCH So I won't leave him. PHILLIP (a tad hopeful) Would you leave him? BUTCH Oh yeah. In the b.g. Jerry rips the 20 page phone book in half and returns to the car, half pleased with himself. He tosses the keys to Butch, who starts the car and drives off. JERRY Musta' moved. Prolly' couldn't have heard 'em anyway. Goddam ear's still bleedin'. You ever try that shit again... BUTCH What? JERRY What? BUTCH You were in the middle of threatenin' me. JERRY (from the movies) Ain't a threat. It's a fact. Butch reaches over, takes Phillip's hand and places it on the steering wheel. BUTCH Here kid, take the wheel. Phillip, scared at the prospect, nevertheless does his best to see over the dash and keep the wheel straight. Butch turns back over the seat to confront Jerry. BUTCH In two seconds I'm gonna' break your nose. That's a threat... (CONTINUED) 31.44 CONTINUED: (2) 44 Before Jerry has time to snicker Butch hits him full in the face and grabs the gun. Blood spurts from Jerry's nose and the injured man cups his hands over the wound. Butch spins and retakes the wheel from a frightened Phillip. BUTCH ... And that's a fact. Instead of expressing outrage, Jerry slinks back down in the seat wearing a look of pure hatred. JERRY I'm gonna' kill you for that. BUTCH And that's a threat. Beginnin' to understand the difference? Somethin' catches Butch's eye and he turns and slows down and turns into...45 EXT. RURAL STORE - DAY 45 The Impala brakes to a dusty stop near the front of the store, which is bordered by a giant hay field.46 INT. IMPALA - DAY 46 BUTCH Okay, Phillip, listen up. I'm gonna' run in here and get some smokes. JERRY Get beer. Butch hands Phillip the revolver. BUTCH Here, hold it like this.... And point it right between his eyes. JERRY What the hell?... BUTCH (to Phillip) If he so much as moves you pull the trigger ... right here... Put your finger on it. Jerry snickers and then laughs maniacally. Butch reaches over and cocks the pistol. Jerry's guffaws stop on a dime. JERRY Yer' a fuckin' crazy man. (CONTINUED) 32.46 CONTINUED: 46 BUTCH And that's a fact. I believe yer gettin' the hang of this. Butch steps out of the car and heads for the market.47 INT. STORE - DAY 47 Butch enters. A short fat man with a fishing cap is sweeping up. BUTCH How-do. Where's yer' sodees? MAN Hot in the first aisle. Cold in the back, in the cooler.48 INT. IMPALA - DAY 48 Phillip's slightly shaking hands hold the pistol pointed directly at Jerry's head. JERRY You ever shot a gun before, boy? No answer. Phillip steals a glance at the store, anxious for Butch to return. JERRY Powww!!!... It'll knock you on your ass. PHILLIP Be quiet, mister. JERRY Naw. You ain't never shot no gun before. Livin' in a house with three split tails... no Daddy around. You'll prolly' grow up queer, you know that? A bead of sweat rolls down Phillip's cheek. JERRY Now I'm gonna' lean up here real slow, okay? So we can talk. Jerry raises his hands, palms up and slowly leans forward in the back seat. Phillip's hand quivers but he doesn't pull the trigger. JERRY There we go. Now we can have a 'man to man.' You are a man, ain't ya'? 33.49 INT. STORE - DAY 49 Butch dumps a six pack of RC Colas, a handful of Moon Pies, a handful of beef jerky and some gum on the counter.50 INT. IMPALA - DAY 50 Jerry's chin is on the front seat now and his arms are draped over it. JERRY Those are cute little underwears you got there, boy. Say does your mama sew yer' name in 'em, initials or anything? Jerry's hand slowly reaches down to the white briefs. He places one finger in the front elastic waistband and slowly pulls it open. JERRY Whatcha' got in there? Jerry sneaks a peek. JERRY Kinda' puny, ain't it? Phillip, diverted, looks down. In a flash Jerry grabs the gun. JERRY The hand is quicker than the eye. Jerry flicks open the revolver, spins it -- empty slots. JERRY (re: Butch) That sonofabitch. Hell's bells, no shells.51 INT. STORE - DAY 51 The Old Man puts down his broom and ambles to the register. OLD MAN This be all for ya'? BUTCH This and a carton of Chesterfields. (beat) Are those .38 shells? Gimme a box. The Old Man puts the cigs and shells on the counter and starts to tally the bill on a notepad. (CONTINUED) 34.51 CONTINUED: 51 OLD MAN With deposit comes to four dollars eighty. Butch reaches in his pocket and extracts the wad stolen from the convenience store. The Old Man takes note. Butch selects a five and places it on the counter. OLD MAN Land's sake. What line of work you in? The Old Man bags the goods, but Butch takes the shells and puts them in his coat pocket. BUTCH Used cars. Buy 'em, fix 'em up. Sold a Cadillac down in Madisonville this mornin'. OLD MAN Don't say.52 INT. IMPALA - DAY 52 Jerry puts his gun hand around Phillip's neck and pulls the sobbing boy closer. Jerry rests his face on Phillip's neck. JERRY Come over a little closer. As Jerry groans, Phillip seizes the moment and bites Jerry hard on the ear. Jerry screams and drops the gun, which Phillip picks up and carries with him as he scurries out of the car and into the hay field. Jerry, in pain, now with both ears bleeding, crawls out of the back seat and gives chase.53 EXT. FIELD - DAY 53 Phillip, still sobbing, runs for his life in the hay, which is a full foot taller than he. JERRY no longer stumbling, now grinning maniacally, gives chase, whistling as if calling for a lost puppy. JERRY I'm gonna' find you boy. You best come here. PHILLIP gun in hand, stumbles, falls, gets up, keeps running. He falls again and crawls to a stop. He wipes his tears and balls up on the ground trying to make himself invisible. 35.54 EXT. STORE - DAY 54 Butch exits with a grocery sack. When he sees the car doors open he dumps the groceries in the front seat and looks to the field. HIS POV The hay rustles as Jerry moves through the field.55 EXT. FIELD - DAY 55 Jerry, crouching, moves through the field -- eyes peeled for any sign of Phillip. Phillip lies still. He hears the hay rustling near him and he looks up, squares his body and points the revolver at... Butch, who spots him, motions for him to stay put and holds out his hand for the gun. Phillip hands it over and watches while Butch reaches into the plaid jacket pocket, extracts a few shells and loads the .38. JERRY a little frustrated now, but still moving forward. JERRY (a whisper) Hey boy. Hey boy. You better hope I don't find ya'. He spots something -- a dash of color -- and begins to crawl faster. He parts a thick batch of hay and looks up into the gun barrel and eyes of ... BUTCH squatted down, who levels the revolver and closes one eye. Jerry laughs. JERRY Whatcha' gonna' do? Hit me with it? Butch reaches into the coat pocket with his free hand and shows a shell or two. Jerry's grin drops. JERRY (pleading) Me'n you are friends!!!! BUTCH Thick as theives. PHILLIP hears a GUNSHOT and runs for his life back toward the store. 36.56 EXT. PARKED IMPALA - DAY 56 Phillip runs to the car and hides behind the tire opposite the store and field. In the b.g. we see Butch emerge from the field and walk toward the car. The Old Man, who also heard the shot, emerges from the store with a baseball bat. Butch arrives at the car, spots the Old Man and levels the revolver at him. Phillip is relieved when he hears Butch's voice instead of Jerry's. BUTCH (to Old Man) You got a phone? OLD MAN Naw. BUTCH Then go inside and lie down til' we're gone. The Old Man meekly does so. Butch goes to the car door, opens it and motions to a frozen stiff Phillip. BUTCH Well... Get in.57 EXT. HIGHWAY - DAY 57 The truck and Airstream barrel down the highway.58 INT. AIRSTREAM - DAY 58 The place is a functioning mobile headquarters now. Adler on the short wave and tacking up a map, Bobby Lee still in his corner, Red and Sally sitting across from one another at the "kitchen table". In the rear section of the Airstream Red's chair and a mini office for the Chief have been put together. ADLER Got a spot on 'em. A store right outside of Benhur. About 20 miles from here. Adler sets down the mike, sticks a tack on the map and stands back. RED All right. Push the roadblock on 288 north by 50 miles. Kaiser calls in the instructions. (NOTE: Kaiser's radio transmissions are not scripted but go on a lot of the time we're in the Airstream. In addition, his and Adler's direc- tions and missives to Bradley in the truck are not all scripted.) (CONTINUED) 37.58 CONTINUED: 58 ADLER Ya' figger' they're that far along? RED Hell, I dunno'and neither do they. They're jus' happy to be out. It's a high speed Sunday drive to them. ADLER Sunday drive. I like that. Never heard you use that one before, Red. Sally is watching Red and listening to all of this with a troubled look on her face. Red notices... RED Somethin' eatin' at you? SALLY It's... perhaps premature, but do you have an auxiliary roadblock plan for when they split up? Everyone stares. No one ever questions Red. ADLER What makes you so sure they won't stay together? Sally hesitates. Red notices... RED You got somethin' to say, spit it out. SALLY Their situation is one of accommodation. They won't be together long. Silence. Sally continues. SALLY Haynes and Pugh are opposites. Haynes is a criminal's criminal -- armed robbery, mano y mano confrontation. Pugh, on the other hand, has a rap sheet littered with molestation and petty crime. They'll split sheets soon. ADLER (still on attack) What about the hostages? They gonna' flip a coin to see who gets to keep who? Red rises and walks to the sink. He rinses a spoon. (CONTINUED) 38.58 CONTINUED: (2) 58 SALLY It's happened before. Either way it's a dilemma they'll address soon. (beat) That's why we should address it now. She looks to Red. He refuses to return her gaze. RED We don't have a dilemma. And neither do they. They'll keep one hostage... and get rid of one, if they haven't already. SALLY Okay... which one? RED If there's a SNAFU, who's John Q. Public more likely to give a rat's ass about -- an innocent boy or a goddam bureaucrat. Red wipes the water off the spoon on his shirt and walks to his office in the back. Adler, Bobby Lee and Kaiser chuckle lightly at their boss's snubbing of the female upstart in their midst. Sally's face glows a bright red.59 INT. MOTOR HOME - BACK OFFICE 59 Red sits in his office chair, pulls out the spoon and pours Geritol from a bottle into his coffee. He doesn't even look up when Sally enters, a stern look on her face. SALLY We need to talk, Chief Garnett. RED Call me Red. SALLY Red. (beat) Why are you so hell-bent on embarassing me? RED I'm hell-bent on one thing. You hang around long enough you'll find that out. Til' then a tough backside and a sense of humor will get you through a lot. SALLY I have a fine sense of humor, but the one thing I won't do is be your straight man so you can play hero to a bunch of morons who think you're some kind of hillbilly Sherlock Holmes. (CONTINUED) 39.59 CONTINUED: 59 Red sips from the mug calmly then groans, his face contorted. RED Awful. Arthur Godfrey says it keeps ya' young, but I'm not sure it's worth it. SALLY I'd like an answer. RED This yer' first time out of an office? She refuses to answer. RED Thought so. What'd ya' expect ya' signed on for? Adler, Bobby Lee and Kaiser all watch the discussion, smiles on their faces. Sally abruptly closes the door. SALLY You think I'm what? Some dumb schoolgirl who wandered into the boy's locker room? Well you're wrong. I don't mean to boast, but I happen to be one of the two most intelligent people involved in this fiasco. RED Didn't ask that. Asked what you expected. SALLY I expected to be allowed to do the job assigned to me by the Governor. RED I happen to like the Governor, hunt quail together every year. But deep down he and I know that win, lose or draw this is my ship, not his. SALLY The Governor as chief executive officer of this state bears ultimate responsibility for... RED ... Bullshit. Responsibility lies with the one that loses sleep; the one with the most ulcers. This mess turns bloody -- and it might -- all it's gonna cost the Governor is a few votes! Me, I'm the one that's... (CONTINUED) 40.59 CONTINUED: (2) 59 Red catches himself about to get too personal. He takes another swig of his coffee/geritol. Sally softens her stance. SALLY You're the one that what? But Red side-steps. RED Tell ya' what. You think I'm makin' a wrong turn you speak up. Might not agree, but I'll listen. As far as stepped on toes and wounded pride, I'll buy everyone a drink when we head for home. Not until. I got more to worry about. (beat) That sound fair to you? SALLY Yes. RED Well okay then. Sally turns, about to leave. RED So who's the other one? SALLY Other one? RED If yer' one brain, who's the other? SALLY Haynes. He was tested in prison.60 INT. IMPALA - DAY 60 Butch drives and catches an occasional glance at Phillip who sits quietly, but who, too, steals looks at his captor between swigs of RC Cola. He finishes off the bottle. Butch reaches in the sack for another, pops the top on the dashboard and hands it to Phillip. PHILLIP Thankyew. (beat) Are you gonna' shoot me? BUTCH No. Me'n you are friends. (CONTINUED) 41.60 CONTINUED: 60 Butch realizes that in Phillip's eyes he and Jerry were probably friends. BUTCH If I was choosin' a runnin' buddy, I'd take you over him any day of the week.61 EXT. RURAL STORE - DAY 61 The RV slides to a stop in the gravel parking lot which is full of state and local police. Red exits first, followed by the others. A LOCAL SHERIFF walks up to greet. RED We got a positive I.D.? LOCAL SHERIFF Yessir, with only the boy as hostage. But not five minutes ago we found something else.62 EXT. HAY FIELD - DAY 62 PAN FROM a fingertip UP an arm and TO the face of Jerry Pugh. A clean bullethole has left him with a third eye, a bloody back and an entourage of late summer flies. We hear the CLICK of a photographer's CAMERA. BOOM UP TO Red, Local Sheriff and other bystanders. RED Least now we know who's in charge.63 INT. IMPALA - DAY 63 Butch notices that Phillip is pretty somber as he tugs on another RC. BUTCH Whattaya' thinkin' about? PHILLIP Nuthin'. BUTCH If I guess you tell me? Phillip nods. BUTCH You thinkin' about yer mama? Phillip sits still. That was it. Butch brings the car to a stop. He points to the horizon. Desolate. (CONTINUED) 42.63 CONTINUED: 63 BUTCH I hear ya', Phillip, but look around. I can't very well leave you here, can I?64 EXT. RURAL ROAD - DAY 64 The Impala rests in the fork of a dirt road.65 INT. IMPALA - DAY 65 BUTCH Lemme' ask you somethin'. You right or left handed? Phillip meekly holds up his right hand. The car races forward. BUTCH Then that's the way we'll go. You ever ridden in a time machine before? Phillip shakes his head. BUTCH Sure you have. Whattaya' think this is? PHILLIP A car. BUTCH Yer' lookin' at this thing bassackwards. This is a 20th Century time machine. I'm the captain and you're the navigator. Butch points forward through the dash. BUTCH Out there... that's the future. Butch taps on the rearview mirror. BUTCH Back there... that's the past. If life's moving too slow and you wanna' project yerself into the future you step here on the gas. See? He does so and the Impala surges forward. BUTCH And if yer' enjoyin' the moment yer' in, well hell, just step on the brake here and you can slow it down. (CONTINUED) 43.65 CONTINUED: 65 Butch brings the car to a complete and dusty stop. BUTCH This is the present, Phillip. Enjoy it while it lasts. Then he laughs uproariously and steps on the gas.66 EXT. ROAD - DAY 66 The Impala spins out, kicking dirt in all directions. BUTCH (V.O.) Yessir. Time travelin' through Texas! We got to find us a Ford. My daddy always drove Fords, you know that?67 INT. AIRSTREAM - DAY 67 The Airstream sits in the parking lot of the store. Bradley and Suttle sit up front in the truck. INT. TRUCK - DAY Bradley turns the knob on an intercom speaker system next to the radio. SUTTLE It's an intercom speaker system. You can get and give instructions to and from the rear of the vehicle. BRADLEY How's it work? SUTTLE You push the power button but if you've got the volume turned up... Bradley pushes the power button. The SYSTEM SQUAWKS LOUDLY and then CREAKS TINNILY. Speakers blown. SUTTLE ... you'll blow the speakers. Sheeeit... INT. AIRSTREAM - DAY Red cringes, his ears still ringing from the squawk, and turns to stare at the front of the RV. (CONTINUED) 44.67 CONTINUED: 67 INT. TRUCK - DAY BRADLEY (quiet; to Suttle) This thing's prolly' got a warranty. You oughta' make a list of all the things that are wrong. INT. AIRSTREAM - DAY Red shakes his head and stands in front of the map, placing thumbtacks at crossroads indicated by the circle mark. ADLER That oughta' put his pecker in a sling, huh, Red? (remembers Sally) Sorry, ma'am. SALLY (ignoring Adler) Shouldn't these be roadblocked as well? She points to several other unmarked roads. RED Sooner or later he'll get on a main road. We don't got the manpower to roadblock every farm to market. ADLER In a perfect world, Miss Gerber, we'd lock arms and thrash the bush til' he turned up... SALLY In a perfect world things like this wouldn't happen in the first place. Adler hears something on his headset, turns to Red. ADLER Locals are heading out. Wanna' follow? RED Let's sit tight. He'll turn up.68 EXT. RURAL ROAD - DAY 68 The Impala travels slowly along the road until it edges to a stop by the entrance to a small farmhouse with a truck and car parked in a long dirt driveway. A farmer on a combine works a small field. 45.69 INT. PLYMOUTH - DAY 69 BUTCH Ok, Phillip, we're gonna do some car shoppin'. You ever play cowboys n' Injuns? See that Ford sedan? Now I want you to sneak on over there like an Injun and take a peek and see if the keys is in it. Phillip hesitates. BUTCH Don't have to if you don't wanna... but I'd appreciate it... You bein' the new navigator and all. Phillip thinks it over then opens the door and slips out. BUTCH Hey, Phillip, check for a radio, too.70 EXT. FARMHOUSE - DAY 70 Phillip, still in his skivvies, legs cut up and muddied from his escape from Jerry, sneaks up to the car and quietly peers into the open window. The keys dangle when his small hand touches them. Phillip closes the door, looks around and then runs pell-mell to the passenger window of the Impala. PHILLIP It's got keys and a radio. I checked. BUTCH Good man. Phillip holds his crotch and stamps his feet. PHILLIP Can we stop at a fillin' station. BUTCH What for? PHILLIP Number one. BUTCH This here's nature, Phillip. Pee in the ditch. Phillip scrambles to the ditch to relieve himself while Butch steps out of the Impala, tosses the keys into the field and walks toward the Ford. (CONTINUED) 46.70 CONTINUED: 70 The FARMER stops his tractor and notices Butch and Phillip. Phillip, despite his prior urgency, is having trouble coaxing relief. Butch slides into the Ford, pumps the gas pedal and turns the key. The ENGINE GRUMBLES and DIES. The Farmer is walking now, slowly and then at a trot as he realizes what's happening. Phillip finally starts to pee. Butch cranks again and again but the Ford is flooded. BUTCH Start, you sonofabitch! The Farmer runs faster, comes closer... FARMER Hey, that's my car! Hey!!! Butch floors the gas to clear the flood and the ENGINE finally STARTS. He throws it into reverse and peels out backwards into the road beside the ditch where Phillip continues to relieve himself. BUTCH Get in the car, Phillip! The Farmer, only 30 yards or so away, is racing toward them madder than a wet hen. Phillip tries to hurry but the RC continues to run through him. BUTCH Phillip! Get in the car! Phillip pulls his underwear up and races to the car. He leaps into the open passenger door at the same moment Butch steps on the gas and the Farmer arrives and grabs onto the door as it closes.71 INT. FORD - DAY 71 The CAR is SCREECHING down the road but the Farmer holds on for dear life and auto. He claws at Phillip, who does his best to fend off flailing hands and fingers. Butch reaches under the seat for and grasps the pistol. Phillip sees what's about to happen and bites the Farmer's hand as hard as he can. (CONTINUED) 47.71 CONTINUED: 71 FARMER Aaaaaayyyyyy!!!! The Farmer releases his grip on the door and falls backward, summersaulting into the adjacent ditch. Butch places the gun back under the seat. BUTCH Goddam, boy, how many RC's did you drink anyway? PHILLIP Four. Butch shakes his head and laughs. BUTCH One thing's for sure. You got one helluva set of chompers.72 INT. TRUCK - DAY 72 Sitting still. Bradley tries to light a cigarette with the lighter but gets no heat. BRADLEY (to Suttle) Lighter don't work. Put that on the list. INT. AIRSTREAM - DAY Bobby Lee sits alone in the back corner of the main room of the RV. He just sits and stares, occasionally smiling cynically at Sally. Adler takes the latest info off the radio while the others listen in. ADLER (into radio) Highway 16 north. Four miles south of Desdemona. Got it. (to Red) Stole a vehicle. Kaiser radios up front, the ENGINE STARTS and the Airstream moves. RED (to Adler) What kinda' shape's it in? (CONTINUED) 48.72 CONTINUED: 72 ADLER What's that? SALLY The Ford he stole. ADLER Owner told the locals they only drove it to church, but it does have a bad emergency brake. (to Sally) How'd ya' know it was a Ford? SALLY He likes Fords. Adler looks at the map. ADLER Looks like you was right, Red. He's off the farm to market and onto a spur. Whattaya' wanna' do? RED Beef up the I-20 roadblock. Adler gets more news through the headsets. ADLER What's that? (beat) Red, the locals wanna' know if they're to take a clean shot if they get one? Red stares out the window for what seems like an eternity... RED No. Adler looks quizzically at Red and pulls off the headphones... RADIO VOICE (V.O.) Come back...? Come back Mobile One. Adler, are you there...? RED Tell 'em what I said. ADLER (into mike) Uh... no. RADIO VOICE (V.O.) Was that a negative? (CONTINUED) 49.72 CONTINUED: (2) 72 ADLER No, er, yes. No means negative. Same thing. Over. Red sees Sally peering at him over the top of her file. He glances around at the other sets of eyes. RED I don't want some half-ass Sergeant York taking pot shots with a deer rifle. Adler puts the headphones back on. Bobby Lee smirks a bit. SALLY It's the only thing to do. He's got the child with him. Red gives her a look that says, "Don't defend me". BOBBY LEE (to Sally) I suppose you figger' he'll jus' give up. SALLY Maybe, maybe not. BOBBY LEE Well now there's a safe bet. SALLY I'll give you a safe bet. The boy's in better hands now than he was. RED The third eye Pugh's sportin' on the way to the morgue shouts otherwise. Sally flashes Red a look back. Bobby Lee rises and moves past Red on his way to the toilet. BOBBY LEE (casually) Then why not shoot to kill. Red just stares at Bobby Lee as the younger man moves slowly past him to the toilet. Adler on the radio... (CONTINUED) 50.72 CONTINUED: (3) 72 ADLER (to Red) They've forwarded the stolen vehicle license to the roadblocks. You still wanna' go to the farm? Red pulls out a package of Red Man chewing tobacco and mulls over the question while he slaps a wad into his cheek. RED Yeah. I gotta' hunch.73 INT. FORD - DAY 73 BUTCH You got blue eyes don'tcha', Phillip? Never met a blue-eyed Phillip before. Who you named after? PHILLIP My daddy. BUTCH You and your old man get along all right? PHILLIP Yeahsir. BUTCH Toss the ball around, play grab-ass in the yard, that sorta' thing? PHILLIP Nawsir. BUTCH Why the hell not? PHILLIP He ain't around, really. BUTCH Well he is or he ain't. When's the last time you saw him? Phillip shrugs. BUTCH Me'n you got a lot in common, Phillip. The both of us got blue eyes, we both like RC Cola and neither one of us has an old man worth a damn. (CONTINUED) 51.73 CONTINUED: 73 PHILLIP (a bit defensive) My Mama says he'll prolly' come back. Prolly' when I'm ten or so. BUTCH Well... she's lyin' to ya' pure and simple. He ain't never comin' back. Disappointment registers on the boy's face. BUTCH Guys like us, Phillip, we gotta' be on our own. Seek foolish destiny, that sorta' thing.74 EXT. GAS STATION - DAY 74 The Ford pulls off the dusty road and into the lone pump in this dilapidated petrol mirage. A BUCK TOOTH BOY, 15, in overalls steps to the window. BOY What can I do ya' for? BUTCH (to Phillip) Tell him your name. PHILLIP Phillip. BOY Fill-er-up it is. The attendant starts to pump the gas. BUTCH See there! All you gotta' do is say your name and people are waiting on you hand and foot. Like a goddam king or somethin'. Phillip can't help but smile at the notion.75 EXT. FARMHOUSE - DAY 75 Bradley and Suttle lean against the parked RV, chatting. BRADLEY You responsible for engine maintenance on this thing? SUTTLE Uh, yeah. I'm the full time driver. (CONTINUED) 52.75 CONTINUED: 75 Bradley shakes his head. "Too bad". SUTTLE What? Why? BRADLEY You notice how it keeps wanting to slip a bit goin' into second. Feels to me like somebody's been a little heavy-footed with the clutch. (beat) I'd take care of that if I was you. PAN TO: an ambulance door opens and the Farmer, strapped in, is rolled toward it as his wife, sobbing, attends to him. Several local police scour the surrounding field, walking four feet apart, looking for what they hope they won't find. Red leans on the trunk of the Impala, chews and spits on the ground. He sniffs the air. Unsavory. Adler strides up from the field. ADLER No bodies this time, thank Gawd. RED You got the keys to this thing? ADLER Uh... naw... RED Get me a crowbar. (to Sally) You might wanna' wait in the boat. SALLY No thank you.76A INT. TRUNK - DAY 76A But it's black as night. A CROWBAR CRANKS at the lock until the trunk blasts open like a bottletop. A blast of light gives way to the silhouetted faces of Red, Adler and Sally, who turns and walks away in nauseous disgust. RED Well.... THEIR POV - OPEN TRUNK In it lies the crumpled, bent, bloody remains of Larry, the prison employee, the original hostage. RED ... there's our bureaucrat. 53.76B RED 76B spits a chaw, turns and walks to the RV. Near the entrance Sally is heaving. RED (to no one in particular) It's sure nice to know the boy's in good hands. Sally straightens herself, ready to bite back, but Red's face is soft. He offers a handkerchief. She takes it. RED Gallows humor, Sally. Without it we'd all be heavin'.77 EXT. SMALL TOWN (NOODLE, TEXAS) - DAY 77 The Ford slides down the Main Street and into a side alley next to a Department Store.78 INT. FORD - DAY 78 BUTCH You ready to get out of those skivvies and into some britches? Phillip nods. BUTCH Well all right then. But first we gotta' come up with some A.K.A.'s, fake identities, ya' know. Names to call each other when we're around other folks. (beat) Go ahead and think one up. Whatever name you want. Phillip is amused by the sport of it all. PHILLIP Any name I want?79 EXT. STORE FRONT - ESTABLISHING - DAY 79 A small time Dry Goods store with a sign over the entrance proclaiming: "FRIENDLY'S - The Friendliest Store in Texas!"80 INT. FRIENDLY'S - DAY 80 A small, well-organized country dry goods store with a dozen or so aisles carrying everything from DDT to used boots. (CONTINUED) 54.80 CONTINUED: 80 A long counter at the front of the store is backed by a small office with a large glass window that gives the Manager, MR. WILLITS, 45, bespectacled, anal-retentive, a clear view of the store. A nuclear family with two kids exits the store just as Butch and Phillip enter. Butch holds the door open and smiles at them. They say "thanks" but can't help but notice Phillip, cowering behind Butch, still clad in his underwear. He hides behind a nearby display which reads: Cast Your Vote For Friendly's Friendliest Clerk! A clerk, LUCY, 30, holding a handful of shoeboxes notices their entrance. She's schoolmarmish with a smile that looks like it's painted on. LUCY Well, hello there and welcome to Friendly's. Looks like the little fella' needs some pants. BUTCH As a matter of fact. Shoes and new skivvies, too. He'll tell you his size. Go with the lady, Buzz. Phillip, still in somewhat of a daze, doesn't recognize his own "name". BUTCH Buzz! Phillip snaps to, cracks a smile at Butch and follows the lady to the children's section of the store. LUCY Buzz, what a cute name. Like a bee. BUTCH walks past the cash register, gives the clerk behind the desk a wink and proceeds to an aisle which features hardware, rope, tape, nails, etc. He stoops and grabs a shank... ... with his hands he grips the rope tight and jerks it taut. CHILDREN'S AISLE Lucy is holding jeans up to Phillip's waist. LUCY It'd be easier if I knew your size, but we'll get it right. Phillip's eye catches something... (CONTINUED) 55.80 CONTINUED: (2) 80 HALLOWEEN COSTUME DISPLAY on a circular rack with shelves. Hanging prominantly is a Casper the Friendly Ghost costume. Above it a sign reads: "MARKED DOWN - Get the Jump on Next Year!" CLOSEUP - PHILLIP mesmerized by the display. BUTCH takes a roll of electrician's tape. He tears off a strip, attaches it to the back or his hand and tugs. It holds tight. LUCY kneeling, looking for sizes, selects a pair and turns to find Phillip gone. She spins around and smiles when she sees... PHILLIP wearing the Casper mask. LUCY Why look. It's a friendly ghost. Say 'Boo.' PHILLIP (unconvincingly) Boo. LUCY Not very scary but you'll have a whole year to work on it if your Daddy lets you have it. Good price, too. What'd you go as this year? PHILLIP A bandit.81 EXT. MAIN STREET - DAY 81 A local police car cruises slowly, spots the Ford parked in the alley and comes to a halt.82 INT. POLICE CAR - DAY 82 The cop, TERRANCE, 25, who only started last month after he flunked out of Texas A&M, checks the plates against a notepad on his dash. TERRANCE (realizing his find) Aw... shit...83 INT. FRIENDLY'S - DAY 83 Butch, with a handful of supplies, including the rope and tape, makes his way to the register. (CONTINUED) 56.83 CONTINUED: 83 He's greeted there by PAULA, to whom he earlier winked. She's 25, country cute, and wears a fake smile that rivals Lucy's. Butch reaches for and tries on a pair of sunglasses. BUTCH Whattaya' think? PAULA Look good. He adds them to the pile of stuff. PAULA Will that be all for you today? Butch nods and hands over the goods. BUTCH You folks are about the grinninest bunch I ever seen. Paula laughs, then drops her grin, looks behind her to see Mr. Willits is watching, and whispers... PAULA Old Man Willits holds a contest ever' month. The friendliest clerk gets a $20 bonus. (beat) There's a ballot box at the front. BEHIND GLASS Mr. Willits adjusts his black and white TV and settles on a local news broadcast. NEWSCASTER (V.O.) (on TV) ... the hunt continues for Butch Haynes, who escaped last night from the maximum security unit over in Huntsville. Haynes, six-one, 185 pounds, with brown hair is considered armed and dangerous. He was last seen... CHECKOUT COUNTER Paula checks Butch's items as Lucy and Phillip emerge from an aisle and drop a pair of jeans and sneakers onto the counter. LUCY Here's the clothes, but Buzz has his heart set on a Halloween costume for next year. It is half off. (CONTINUED) 57.83 CONTINUED: (2) 83 MR. WILLITS pays more attention to Butch as the newscast continues. NEWSCASTER (V.O.) ... Haynes is believed to have an 8-year-old boy with him as hostage. CLOSEUPS - BUTCH AND WILLITS Each checking out the other. BUTCH (to Phillip) We'll get it next time. Go get in the car, son.84 EXT. MAIN STREET - DAY 84 Terrance pulls his black and white to one end of Main Street and parks it across the street, blocking it. TERRANCE (into radio) Okay, Pete, I'm all set down here. You? ANOTHER COP PETE, 40, probably Terrance's uncle, slides his black and white to the opposite end of the street and puts it in park. PETE (into radio) Copasetic. Let's just keep him tied up til' the state boys get here.85 INT. RV - DAY 85 Adler takes the urgent message off the radio and turns to the group... ADLER They've got him penned down in Noodle, north of Abilene.86 INT. FRIENDLY'S - AT COUNTER - DAY 86 Paula bags the items, including the jeans. CLOSEUP - WILLITS staring straight at Butch. CLOSEUP - BUTCH shakes his head at Willits -- "Don't even think about it". (CONTINUED) 58.86 CONTINUED: 86 PHILLIP walks toward the front door but stops short when he sees, once again, the Halloween display. BUTCH pays Paula, then stuffs a $20 in her blouse. BUTCH You are truly the friendliest clerk I ever met. She blushes a "thank you" as Butch makes a hasty retreat to the door. PAULA (an afterthought) Thank you for shopping Friendly's!87 EXT. MAIN STREET - DAY 87 Butch exits the store, spots the blackandwhites, and slides into the middle of a group of old-timers moving down the sidewalk at a leisurely pace.88 INT. FRIENDLY'S - DAY 88 Phillip stands at the costume display, looks around, then grabs a Casper costume carton, stuffs it under his T-shirt and walks quickly to the door.89 EXT. SIDE ALLEY - DAY 89 Butch slides away from the Old Timers and into the Ford.90A INT. FORD - DAY 90A Butch checks the back seat. No Phillip, no Buzz. He checks the rear view mirror and sees...90B IN REAR-VIEW MIRROR 90B Pete, his cherry top spinning, pulls in behind Butch, blocking his entrance to the main street.91 EXT. SIDE ALLEY - DAY 91 Butch throws the Ford into reverse and steps on the gas. Pete not expecxting this kind of pace, at least not from the get-go, leaps into his back seat. The Ford rams into the black and white pushing it backward into a lightpole and a truck. The TRUCK'S OWNER, carrying mulch from the feed store, watches as his truck slides toward him. (CONTINUED) 59.91 CONTINUED: 91 TRUCK OWNER Dammit, Pete!!!92 EXT. FRIENDLY'S - DAY 92 Phillip steps out the door. He spots the crash and watches as... The Ford blasts back into the alley in a hail of dust.93 INT. FORD - DAY 93 Butch, driving like a maniac, turns into the back alley and steps on it. All at once he mashes on the BRAKES and comes to a SQUEALING stop. HIS POV The alley is a dead end. BACK TO SCENE Butch rips the CAR into reverse and SQUEALS all the way back to the original side alley.94 EXT. FRIENDLY'S - DAY 94 Phillip stands frozen, scared, not knowing what to do but keeping a look out on the street for the Ford.95 INT. FRIENDLY'S - DAY 95 Lucy and Paula peer from behind the counter at Phillip and the fracas taking place in the street. LUCY I knew something was wrong from the get-go. They spot Phillip standing a few feet in front of the door. PAULA Look, he left his little boy. LUCY And look, the little rascal has... he's no better than... PAULA What?!... LUCY He's got that Casper costume. He stole it!96 EXT. MAIN STREET - DAY 96 The FORD emerges from the side alley once more and SQUEALS onto Main Street. (CONTINUED) 60.96 CONTINUED: 96 TERRANCE can't believe his eyes... HIS POV - FORD is COMING STRAIGHT FOR him, hell bent on destruction and picking up speed. BACK TO SCENE Terrance sticks his black and white in rapid reverse and backs down the street at 40 mph. PETE (V.O.) (on radio) Get the hell outta' there. We can't lose both vehicles! TERRANCE'S POV - FORD is GAINING ON him -- he can actually SEE Butch's grimaced face -- when suddenly it goes into a dusty fishtail, does a 180, and barrels in the OPPOSITE direction. PHILLIP antsy as hell, stuck, wondering how this whole thing is going to play out. He's suddenly aware of the peering eyes behind him. Lucy bangs on the glass. LUCY (yells) Buzz! You little shit. Shoplifting is a crime! BUTCH checks his mirror, looks ahead, spots Phillip and blasts straight for the front door of the store. He SKIDS to a halt and stares right at Phillip. BUTCH Up to you, Buzz... PHILLIP He's frozen for a second, his knees knocking, teeth chattering, the works. Lucy appears behind him and the glass door... LUCY (to Phillip) You'll never get away with this, little mister! Phillip dashes to the Ford and makes a swimmer's starting dive into the open passenger window. (CONTINUED) 61.96 CONTINUED: (2) 96 Butch pulls his GUN and FIRES once into the glass door above the clerk's heads.97 INT. FRIENDLY'S - DAY 97 The GLASS DOOR and surrounding WINDOWS SHATTER into a million pieces, sending Lucy, Paula, makeup, pantyhose, grins and all into a heap on the floor.98 EXT. STREET - DAY 98 The FORD SQUEALS out down the street. Pete crawls out from behind the seat and ducks again just as... ... the Ford sideswipes the black and white for good measure and fishtails out of town. Pete crawls over the back seat again as his radio SQUAWKS... TERRANCE (V.O.) Pete?... Pete? You okay?...99 INT. FRIENDLY'S - DAY 99 Paula emerges from behind the counter and stares at Lucy, on the ground amidst glass and mayhem. PAULA Say what you want. I'm keepin' the twenty.100 EXT. RURAL ROAD - DAY 100 Two young, country boys stand by the side of the road. One, FRANK, tosses an egg from hand to hand while he watches the horizon. The other, BILLY, approaches, crawling through a barb wire fence dragging something behind him. FRANK Hurry up. Someone's comin'. ON HORIZON Sure enough, a hail of dust signals the approach of a vehicle a mile or so away. Billy crawls into the ditch next to Frank. We see what he's dragged from the field -- a scarecrow with a floppy hat and red bandana. FRANK Stick it in the road. Hurry up. Billy does so, propping the scarecrow into a sitting position with a forked stick. Then he races back to the ditch and slides in next to Frank to divide the eggs. (CONTINUED) 62.100 CONTINUED: 100 FRANK We got seven eggs. I get four to throw and you get three... since it was my idea. Billy nods. FRANK Here they come. Aim for windows and get ready to run. The car crests the hill, followed by another, and another and a final one, all Highway Patrol, all with their lights on and SIRENS WAILING. FRANK Oh shit! The cars don't even slow at the sight of the scarecrow, blast- ing right through it, sending hay, hat, limbs and all, flying. The scarecrow, or what's left of it, lands in a ditch next to the boys. In unison they breathe a sigh of relief, look at each other, drop the eggs and hightail it for home.101 INT. FORD - DAY 101 The car is parked in a field of some sort. Butch reaches in the back seat for the bag of clothing. BUTCH Here, take them nasty skivvies off and put on yer' jeans. He spots Phillip's not so successful effort to hide the costume box. BUTCH Whatya' got there? PHILLIP A ghost suit. BUTCH From the store? You kyped it? Phillip nods, expecting the worst. BUTCH Well, hell, Phillip, put it on. PHILLIP You ain't mad? BUTCH Let's unnerstan' each other here. (MORE) (CONTINUED) 63.101 CONTINUED: 101 BUTCH (CONT'D) Stealin's wrong, ok? But if there's somethin' you need bad and you ain't got the money, then it's okay to take a loaner on the item. It's what ya' call an exception to the rule. Phillip tears into the box, rips out the costume, looks at it, starts to take off his underwear then balks. Butch notices. BUTCH What's wrong? PHILLIP Nuthin'. Butch notices Phillip's hands covering his crotch. BUTCH What? You don't wanna' get undressed, is that it? Phillip shrugs. BUTCH You embarrassed caus' I might see yer' pecker? PHILLIP It's... puny. BUTCH What? PHILLIP It's puny. BUTCH Well hell, lemme' see. Phillip still hesitates. BUTCH Go on. I'll shoot ya' straight. Phillip gingerly pulls off his underwear. Butch smiles a broad grin. BUTCH Hell no, Phillip, it's good size for a boy yer' age! Phillip, remasculated, smiles and starts to put on the costume. BUTCH Here they come. 64.102 EXT. RURAL ROAD - DAY 102 The four Highway Patrol VEHICLES from before BLAST past at 90+, sending stray dogs and roadrunners scurrying for cover. CRANE DOWN to reveal the Ford off the same roadside, but behind a burm in a field. As soon as the patrol cars pass, Butch STARTS up the ENGINE and humps it to the road and off in the opposite direction.103 INT. AIRSTREAM - DAY 103 Sally, deep in her files. She looks up from the file to... ANOTHER ANGLE Bobby Lee who sits by himself, whittling away at a stick and leering at her. Adler is at the map, holding the shortwave mike and wearing the earphones. Behind him, Red stares out the window. ADLER Haynes bought tape, rope, and some clothes for the boy. Red comes to and turns to Adler. Sally smiles almost to her- self. She was right -- Haynes is looking after the boy. Everyone knows it, but no one says anything. ADLER One puzzler though. They say the boy could have gotten away but didn't. SALLY Probably scared to death. ADLER That's not all. The kid stole a Halloween outfit. RED Holy Jeezus, they're a team. ADLER With the pit stop in Noodle looks like he's headed for the Panhandle. Red sighs and groans. Unpleasant news but somehow he knew it. He moves to the back room for another shot of Geritol. SALLY (to Red) What? ADLER There's more roads than people in the Panhandle. (CONTINUED) 65.103 CONTINUED: 103 SALLY How's that happen? KAISER (over his shoulder) Poor counties. They tend to half finish roads then start on another one. ADLER But if anybody knows them backroads it's Red. Sally lifts her head, watches Red reenter the room, then stares out the window. SALLY Okay, so... I'm Robert Haynes. Called Butch by everyone. I was born in Amarillo, but grew up in the French Quarter of New Orleans. ADLER (sotto voce) What's she doin', Red? SALLY I killed a man when I was eight. Silence. Nobody seems willing to play along. Red turns from the window to Sally. RED How'd ya' kill him? SALLY Shot him with a pistol. There was always one around the dance hall. That's what they called it but it was a whorehouse. We lived there. Red moves away from the discussion and stands at the front of the Airstream, staring out the front window. ADLER What'd the authorities do? SALLY The victim was wanted by the locals so the whole thing got shoved under the carpet Cajun-style. ADLER They didn't even stick him in juvy? (CONTINUED) 66.103 CONTINUED: (2) 103 SALLY Put me in school. Three years behind but I catch up. KAISER Sounds like things are goin' okay' now? SALLY They were. For awhile. When I'm twelve mom dies. ADLER What happened? SALLY Delilah Jane Haynes hung herself in the bathroom of the brothel. Could have saved herself the trouble. Post-mortem check uncovered last stage syphilis. KAISER Where's yer' father? Red's face tells us he's listening. SALLY Nobody knows where he is now. Ditched when I was six. He was a small-time felon. Popped up again after Mom died -- he'd just been paroled. Moved us back to Amarillo. A year later I'm in trouble again. ADLER Yeah? Kill somebody else? SALLY Took a joyride in a Ford coupe that I just couldn't resist. KAISER Hell, that's no big deal. SALLY Judge gave me four years in Gatesville, toughest juvy farm in Texas. ADLER That's where the son-of-a-bitch learned to be a criminal. Seen that before, ain't we, Red? Red doesn't answer. He seems in a faraway place. (CONTINUED) 67.103 CONTINUED: (3) 103 BOBBY LEE (smart ass) So, Butch, why don't you tell us where yer' goin', save us the trouble o' huntin' you down? SALLY Where I'm going isn't as important as 'Why am I going there?' BOBBY LEE (tired of the game) Shit. 'Caus' I'm runnin' and they're chasin' and I'd jus' as soon go north as south as east as west. It's a fun lil' parlor game, lady, but right now Butch Haynes don't have the slightest idea where he's headed!104A INT. FORD - DAY 104A Phillip, now fully-attired in his Casper outfit and mask, is looking at a folded map while Butch drives. BUTCH An inch is 24 miles. Hold yer' pointin' finger along the line of the road. You got three lines on your finger, don'tcha'? Each one's an inch. So how many inches to Childress? Phillip holds one finger to the map, then another. PHILLIP One, two... six. BUTCH Yer' a helluva' navigator, Phillip. A lot smarter than Jerry. But I guess that's not sayin' a lot. Something catches Phillip's eye. PHILLIP Lookie there!104B HIS POV - TRUCK AND AIRSTREAM 104B coming TOWARD them on the highway.105 INT. AIRSTREAM - DAY 105 Bradley, driving, tinkers with a broken windowshade. Suttle yawns, comes to, notices the broken windowshade and gives Bradley a look. Bradley, caught, just smiles. 68.106 INT. FORD - DAY 106 BUTCH (excited, too) Seen one of them in a magazine. It's called a motor home. They're new. Kinda' like a house on wheels. Butch HONKS the HORN TWICE and waits for a retort.107 INT. TRUCK - DAY 107 Bradley smiles, looks to Suttle, who nods an "okay." Johnson sits on the HORN for TWO solid BLASTS.108 INT. FORD - DAY 108 Phillip laughs and waves.109 INT. TRUCK - DAY 109 Bradley and Suttle wave back. SALLY staring out the window. She looks at the passing Ford. HER POV Butch is hard to make out, but there's no mistaking the Casper outfit Phillip wears with pride. BACK TO SCENE SALLY You said the boy stole a Halloween costume... What character? ADLER I believe it was Casper... Casper the friendly ghost. SALLY That was them. They just passed us. RED Turn this thing around! Adler jumps on the radio to the truck. ADLER (into mike) Turn it around! That was them!110 EXT. ROAD - SAME TIME 110 The Airstream slows to a grind, pulls off the narrow shoulder and begins to make a wide U-turn. (CONTINUED) 69.110 CONTINUED: 110 SUTTLE (V.O.) We'll never make it. Stop! It's a close fit but the Airstream just survives a brush with a burm. The TRUCK PEELS away with Airstream in tow.111 OMITTED 111111A INT. FORD - DAY 111A Butch checks his rear-view mirror and gets a puzzled look on his face. IN REAR-VIEW MIRROR The Airstream barreling fast behind -- catching up.111B INT. TRUCK - DAY 111B Bradley presses the pedal to the floor. The ENGINE STRAINS. Suttle nervously sneaks a peek at the speedometer. SUTTLE It's... it's not safe to go over 65 with this much load! The speedometer reaches 80. The ENGINE SCREAMS.111C INT. AIRSTREAM - DAY 111C The whole thing is shaking, twisting, bumping. All aboard try and keep their balance. BOBBY LEE (to Adler) Tell him to pull up next to 'em! Bobby Lee opens a window and leans out.111D INT. FORD - REAR-VIEW MIRROR - DAY 111D As Bobby Lee leans out the window of the Airstream some 50 yards back. NEW ANGLE Phillip turns around backward in the seat to watch. PHILLIP They're goin' fast! BUTCH Phillip, you get in the back seat and lie down on the floor. (CONTINUED) 70.111D CONTINUED: 111D PHILLIP Why? BUTCH Hell, I don't know. 'Caus' I said so!111E INT. TRUCK - DAY 111E Suttle is scared to death while Bradley is loving every minute. The ENGINE starts to STEAM. SUTTLE Yer burnin' up the engine! But Bradley pays no heed.111F INT. AIRSTREAM - DAY 111F Bobby Lee unholsters his pistol and leans back out the window. Red spots him. RED Holster that firearm and get yer ass back inside! Bobby Lee thinks it over, shakes his head in disgust and holsters his piece.111G INT. FORD - DAY 111G Butch spots an opening and... BUTCH Hold on, Phillip!111H EXT. ROAD - DAY 111H The Ford makes a sharp veer off the road into a flat scrub brush field. The car spins out a bit when it hits the dirt sending forth a dust devil, then it regains its traction and blasts ahead through the dust.111-I INT. TRUCK - DAY 111-I Bradley spots the maneuver and starts to follow. SUTTLE Don't!!!111J EXT. ROAD - DAY 111J The truck, in an attempt to enter the field, misses the flat spot, hits a burm with its front right tire and flies into the air. (CONTINUED) 71.111J CONTINUED: 111J The trailer hitch snaps as does the safety chain. The truck lands hard and continues pell-mell through the field. The AIRSTREAM, sans truck, BLASTS forward along the road at 50+ m.p.h.111K INT. AIRSTREAM - DAY 111K Bouncing like hell. Sally holds on for dear life, then glances out the window and almost jumps out of her seat when she sees... HER POV The truck, 100 or so yards away, blasting through the field toward the horizon. SALLY Shit!!!! NEW ANGLE Red spots the same but before he can cuss...111L EXT. ROAD - DAY 111L The Airstream veers off the road and into the rocky field. Trees, scrub brush and boulders are no deterrent for the sleek silverfish which seems to be moving even faster than before.111M INT. TRUCK - DAY 111M Steam, smoke pouring from the engine. Suttle, covering his eyes, sneaks a peek behind and screams when he sees no Airstream behind them. SUTTLE Ahhhh!! They're gone!!! Bradley looks in the rear-view mirror, turns around and screams, too. Without visual guidance...111N EXT. FIELD - DAY 111N The TRUCK BLASTS into a mesquite tree, runs halfway up the tree, then dies a horrible death.111-O INT. AIRSTREAM - DAY 111-O It's an anti-gravity room what with the files, coffee, maps and bodies flying around. 72.111P EXT. FIELD - DAY 111P The Airstream, now losing a bit of steam, hits a burm, almost topples and comes to a precarious stop in a dried-up watering hole.111Q INT. AIRSTREAM - DAY 111Q Adler, still wearing the headphones, rises first and goes to the radio to answer an incoming call. Red groans. Sally crawls to her feet and offers Red a helping hand, which he accepts. ADLER Uh... Red? RED What? ADLER They wanna know if the boy looked okay? SALLY He was laughing and waving. RED Don't tell 'em that.112 INT. GOVERNOR'S OFFICE (AUSTIN, TEXAS) - DAY 112 A large group of very serious advisors sit and stand in a circle around the Governor's desk. Across from GOVERNOR CONNALLY sits a nervous, near tears GLADYS PERRY. An AIDE on the telephone, turns to the Governor. AIDE They say the boy looked A-okay. Governor Connally nods, sighs, and reaches hand across the desk and touches Gladys's shoulder. GOVERNOR He'll be fine, Mrs. Perry. This whole nightmare will be over and done with very soon and you'll be home with your boy. I promise. Gladys, distraught, nods. Governor Connally discreetly nods to a photographer in the group while keeping his hand on Gladys's shoulder. A CAMERA'S FLASH causes everyone to blink in reaction. The Governor shakes it off and continues... (CONTINUED) 73.112 CONTINUED: 112 GOVERNOR I want you to know that I personally okayed the use of a brand-new high-tech mobile home from which to conduct the manhunt. It's an amazingly futuristic piece of law enforcement equipment. Another FLASH.113 OMITTED 113thru thru115 115115A EXT. FIELD - DAY 115A The Airstream, the amazingly futuristic piece of law enforcement equipment sits beat to hell and leaning to one side in the dry pond bed. All the tires are flat and dents and bruises abound. The door tries to open but is stuck. Red applies a boot to it and the whole thing comes off its hinges and flies to the ground. Red exits. He groans and shakes his head when he spots... Bradley and Suttle limping toward him across the field. Red sighs and starts slowly walking in the direction Butch and Phillip headed.115B INT. AIRSTREAM - DAY 115B Sally, her hair a bird's nest, does her best to collect her files before she sits down, takes a deep breath and glances out the window at Red in the distance.115C EXT. FIELD - CLOSEUP - RED - DAY 115C Standing in the middle of the field, staring at the horizon. He sticks a chaw in his mouth without diverting or blinking his eyes.116 EXT. ROAD - CLOSEUP - BUTCH - DAY 116 Staring at the horizon. ANOTHER ANGLE Butch sits on the hood of the Ford, which is stopped on an asphalt road which, a few feet farther, turns into dirt and a few feet farther a dirt clod field. (CONTINUED) 74.116 CONTINUED: 116 BUTCH Started this road 20 years ago and it still ain't finished. (beat) Appears to me we got a decision to make. Phillip, aka Casper, exits the car and, imitating Butch, leans against the car. BUTCH It's up to you, Phillip. We can backtrack to the highway or we can try it on foot. PHILLIP Where we goin'? Butch reaches in his back pocket and pulls out a folded postcard. He hands it over to Phillip. INSERT - CARD It's at least 20 years old, crumpled. It unfolds to reveal a beautiful green valley with a snow capped mountain behind it. BACK TO SCENE BUTCH It's Alaska, Phillip. Last of the wild frontier. PHILLIP It's pretty. BUTCH It's beautiful! PHILLIP You been there? BUTCH Naw. Just got the one postcard. But anyhoo, back to our present dilemma. You feel like a hike? PHILLIP How far? BUTCH Can't be more'n, oh, say, fifteen hundred miles. Phillip seems a tad apprehensive about the prospect. (CONTINUED) 75.116 CONTINUED: (2) 116 BUTCH Yer' prolly' right. Go give our supplies a check. Phillip returns to the car and emerges with the paper bag once full of soda, candy and jerky. Butch surveys the countryside. HIS POV - PAN COUNTRYSIDE Typical midwest Texas; flat, dusty, barren. A mile or so away sits a home -- a small ranchhouse. BACK TO SCENE Phillip returns with the bag and pores through it. BUTCH How's it look? PHILLIP A soda... some gum... half a Moon Pie. BUTCH Rations for one at best. Come on. Butch strides straight into the rocky field. Phillip lingers a moment, then sticks the half eaten moon pie in his mouth and follows, hurrying to catch up.117 OMITTED 117thru thru122 122122A EXT. FIELD - AIRSTREAM - DAY 122A Suttle limps around the broken-down silver junker, his hands covering what his eyes can't bear to see. BRADLEY Now yer sure that gooseneck had a safety chain? Suttle turns and glares. SUTTLE Yes!!! NEW ANGLE Red walks slowly toward the slumping Airstream. A PHONE RINGS from inside, then STOPS. Adler sticks his head out of the door and calls to Red... (CONTINUED) 76.122A CONTINUED: 122A ADLER Governor's hot line, Red. Governor insists that he have the mobile home back for the parade tomorrow. Red just stares at Adler, then sighs, removes his hat and scratches his head. RED (isn't it obvious?) Tell 'em to come and get it.123 EXT. DUSTY FIELD - DAY 123 Butch continues his hell-bent brisk pace in the field of dirt clods. It's all Phillip can do to keep up. PHILLIP Where we goin'? BUTCH We're goin' trick r' treatin', Phillip. Phillip stops dead in his tracks. Butch, sensing that the boy is no longer following, stops, spins and faces Phillip. BUTCH What? PHILLIP We ain't allowed to trick r' treat. BUTCH Huh? PHILLIP My mama don't allow it. BUTCH Trick r' treatin'? Why not? PHILLIP Against our religion. BUTCH Against yer' religion. What kind of foolishness is that? PHILLIP Jehovah Witness. Butch picks up a dirt clod and hurls it as far as he can. He sighs and turns to Phillip. (CONTINUED) 77.123 CONTINUED: 123 BUTCH Now, I'm askin' you, Phillip. I ain't askin' yer' mother and I ain't askin' Jehovah. Do you wanna' go trick r' treatin' or not?124 EXT. YARD OF FARMHOUSE 124 Butch and Phillip cross the dirt yard and make their way to the door. BUTCH Ok, Phillip, all ya' gotta' do is knock on the door and when they open it you say 'trick or treat.' Got it? They arrive at the door. Butch nods at Phillip who RINGS the BUZZER. BUTCH Now wait til' they come. A FARM WIFE, 65 or so, like something from a Grant Wood, only smiling, opens the door and looks out on the pair through the screen door. BUTCH (whispers) Now, Phillip. PHILLIP Trick r' treat. WOMAN (FARM WIFE) Well ain't you the cutest lil' ghost I ever did see. BUTCH (whispers) Say it again, Phillip. PHILLIP Trick r' treat, ma'am. WOMAN Well, seein' that Halloween was yesterday, I guess you'll have to trick me. You missed the caramel popcorn balls I made up special. Butch smiles, pulls up his shirt and exposes the revolver stuck in his pants. WOMAN (tune changed) Wait right here. Butch smiles and pats Phillip on the shoulder. His eyes are drawn to... (CONTINUED) 78.124 CONTINUED: 124 HIS POV - TELEPHONE WIRE which enters the house near the door. We PAN WITH the telephone line FROM the house TO a nearby pole. BACK TO SCENE The Woman returns with an armload of anything she could find in the kitchen. Phillip gratefully opens his sack and watches as the Woman drops in a loaf of bread, a jar of mustard, candies, jams, butter and anything else she could find. Empty-handed she reaches inside the door, opens her purse and dumps her money -- a couple of dollars and lots of change into the bag. Phillip smiles. PHILLIP Thankyew.125 EXT. YARD - DAY (SECONDS LATER) 125 Phillip, sack in hand, waves goodbye to the frightened old Woman, who shuts her door and locks it. Butch and Phillip make their way back across the yard. BUTCH Never underestimate the kindness of the common man, Phillip. Butch reaches up and grabs the phone line, yanks it loose and tosses it aside.126 INT. AIRSTREAM - DAY 126 The Airstream is fast becoming a pig sty. Coke bottles, coffee spills, overfull ashtrays, etc. are everywhere. Adler holds the mike and stares at the thumbtacked map. ADLER (into mike) Spur 208 northbound. And 83 at Aspermont coming and going. (to Red) That it? RED Yeah. Adler moves to set down the mike and topples a cup of coffee. It spills on the floor. Suttle grabs a towel to wipe it up but realizing the futility of keeping the Airstream clean, he simply throws it aside. 79.127 INT. FORD - LATER - DAY 127 Butch drives while Phillip digs through the sack and comes up with a jar of mustard. BUTCH You sure there's no meat in there? Spam maybe, Vienna sausages, anything like that? PHILLIP Nawsir. BUTCH Well, I bet you can make us some mustard sandwiches, can't ya'? PHILLIP Yeahsir. BUTCH Well go to it. Phillip breaks out the loaf of bread and lays out four slices on the dashboard. PHILLIP How many? BUTCH Many as you want. Phillip lays out six more slices. The dashboard is now covered with bread. Phillip pulls out the mustard but has no knife. Butch pulls out a stick of gum and hands it to Phillip to spread with. As they drive along they pass a large, happy family (Mom, Dad, girl 5, boy 7) picnicking in the dip of a long hill alongside the highway. From the look of their brand-new loaded down station wagon they are on vacation. CLOSEUP - PHILLIP Mesmerized by the family. CLOSEUP - BUTCH Ditto. He pulls his eyes back to the road, notices something.128 EXT. ROAD - DAY 128 Butch brings the car to a stop near the crest of the hill, sets the emergency brake, grabs the first completed mustard sandwich and gets out, leaving the Impala running. (CONTINUED) 80.128 CONTINUED: 128 BUTCH Be right back. Don't be stingy with that mustard now. Phillip nods and continues piling the yellow goop on each of the slices of bread. BUTCH walks ahead to the crest of the hill, the tallest hill in the county. He takes in the 360 degree view. His eyes settle on... LINE OF CARS IDLING as they wait their turn to pass a roadblock at the bottom of the hill. PHILLIP spreading even more mustard. Every so often he sneaks a peek back at the picnicing family. EMERGENCY BRAKE slips a little, then gives all at once. FORD starts to roll backwards. PHILLIP Whooaaa! Butch! Butch!!! BUTCH turns and sees the Ford rolling backwards, picking up steam back down the hill. BUTCH Step on the brake! Put your foot on the brake! The middle one!! PHILLIP panicked, slides over and grabs the wheel. Of course, he is too short to press on the brake and when he bends down... FORD swerves off the road and onto the shoulder. (CONTINUED) 81.128 CONTINUED: (2) 128 FAMILY headed by BOB, 35, their Ward Cleaverish father, looks up to see... FORD barrelling backwards toward them, swerving to and fro and followed by Butch shouting instructions. BOB (O.S.) Everybody, run! Quick! BOB makes a beeline for the station wagon. BOB'S WIFE Forget the car, Bob! BOB Are you crazy. It's only got a 1000 miles on it! He jumps in the Driver's seat of the WAGON and frantically REVS it just as... PHILLIP gains control of the wheel and steers the rapidly reversing Ford around the Wagon. FORD continues backwards to the bottom of the hill, but it has enough steam built up to head backwards up the other incline of the previous hill. BUTCH comes to a heaving halt next to Bob, who is near heart attack himself. BUTCH Bad brakes. BOB That was close. Bob gets out of the station wagon and stands next to Butch. They watch for the Ford for a second, see that it's losing momentum and smile at each other. (CONTINUED) 82.128 CONTINUED: (3) 128 BOB Bob Fielder. BUTCH Edgar Poe. PHILLIP breathes a sigh of relief as the Ford loses momentum and comes to a stop. But then, of course, ... FORD like any car on a roller coaster, starts to move downhill, slowly at first, but then picking up speed. BOB AND BUTCH BOB Had me scared silly. I've only had her two months. BUTCH She's a beaut, all right. Say, Bob, what with my brake problem and all, I sure would appreciate a lift. Me'n my boy live about five miles up the road here. I can pick up the car tomorrow. They notice the Ford coming back down the hill and squint to see... FORD coming straight for them, gaining speed, with Casper the friendly ghost behind the wheel. BUTCH AND BOB chuck the small. Bob looks for a place to hide. CLOSEUP - PHILLIP Screaming at the top of his lungs. CLOSEUP - BUTCH Staring straight ahead at Phillip. Butch doesn't even flinch, standing his ground in the middle of the road, staring straight into Phillip's oncoming face. BUTCH The brake, Phillip! Step on the brake! Hard! (CONTINUED) 83.128 CONTINUED: (4) 128 PHILLIP totally freaked, jumps down on the floorboard and pushes with both hands on the brake. SQUEALING TIRES bring... FORD to a SKIDDING halt inches from Butch's kneecaps. CLOSEUP - BUTCH smiles at Phillip. BUTCH Helluva job, Phillip! Never had a doubt. CLOSEUP - PHILLIP Smiling back. BOB crawls down from the luggage rack on top of his wagon and smiles a sigh of relief.129 EXT. ROADBLOCK - DAY 129 Two Highway Patrol officers check licenses and peek into cars at the checkpoint. In the b.g. we see the red station wagon in line.130 INT. STATION WAGON - DAY 130 It's full to the brim with the Family Bob plus two, Butch and Phillip, who ride in the back with Bob's son. As the car approaches the roadblock Butch grabs a blanket, reclines, and hides behind a stuffed animal. BOB Sorry for the inconvenience, Edgar. The kids like the back down like that so they can play. BUTCH No trouble at all, Bob.131 EXT. ROADBLOCK - DAY 131 Bob brings his precious car to a gingerly stop. He pulls out his license, shows it. BOB Why the roadblock, Officer? OFFICER Escaped convict, sir. Just a precaution. 84.132 EXT. AIRSTREAM - DAY 132 Bradley examines the gooseneck hitch. Bobby Lee sits on a nearby rock, still whittling at his stick. It's starting to resemble something.133 INT. AIRSTREAM - DAY 133 As in the old Westerns, it's quiet, too quiet. The inside of the RV is pretty much trashed now -- the product of men working in close contact. Sally stares at a file. The silence is broken as Red spits tobacco juice into an empty Coke bottle. Sally peruses a file. INSERT - FILE It's Butch's again. She's reading an addendum page with JUVENILE COURT RECORD stamped at the top. A photo of 14-year- old Butch is stapled in the corner. BACK TO SCENE Sally finds something very interesting. She looks up at Red. He returns her stare. RED What?134 EXT. AIRSTREAM - DAY 134 Bobby Lee finishes his whittling, blows away shavings, smiles at his creation, sets it on the rock, gets up and walks away. CLOSEUP - HIS CREATION A four inch long wooden replica of a high caliber shell.135 INT. AIRSTREAM - DAY 135 Adler is getting something on the shortwave. ADLER (to Red) They've got two Highway Patrol cars they can give to us now. RED Tell 'em stand by. We got the best seat in the house right here. Have the southern roadblocks call in the dogs and move north. Check every road, every farm from San Angelo to Sweetwater. (CONTINUED) 85.135 CONTINUED: 135 Adler surveys the map and sticks in a few more thumbtacks. ADLER He knows he's hemmed in. I predict we'll have him singing a different tune by nightfall.136 EXT. HIGHWAY - DAY 136 The red station wagon creeps along the highway to the whistled strains of "Old MacDonald had a Farm."137 INT. STATION WAGON - DAY 137 Butch, truly "singing a different tune," whistles "Old MacDonald." Bob joins in and soon the whole damn Family Bob is whistling the tune. Bob's daughter PATSY, 5, red hair, freckles, starts jumping up and down on the back seat, singing and spilling her drink. BOB'S SON You're spilling! You're spilling! Bob and his Wife immediately turn around. WIFE Patsy! Look at what you're doing?! BOB Ahhh noooo! Bob's wife grabs Patsy by the arm and shakes her. Butch con- tinues to whistle softly, almost eerily, but he's watching closely. BOB'S WIFE Look at what you did! It's all over the seat of your father's new car! The little girl starts to cry while Bob grabs at tissues feverishly and hands them to his Wife who, leaning over the seat is wiping hard at the stain. She grabs her daughter's arm and shakes her, staring into her face. Butch, directly behind the little girl, watches closely. BOB'S WIFE What is wrong with you?! I told you twice not to jump up and down! Didn't I!! Patsy bawls harder than ever. Bob's Wife finishes wiping and reseats herself in the front seat. (CONTINUED) 86.137 CONTINUED: 137 BOB'S WIFE (to herself) Damn that kid! The little girl is crying harder than ever now. Bob reaches back over the seat and tries to touch his daughter. BOB It's okay, sweetie. Daddy's not mad. BOB'S WIFE So much for the new car smell. The little girl muffles her tears. Butch smiles sincerely then looks to the passing landscape. BUTCH This will do fine right here, Bob. But I do have one more favor to ask.138 EXT. ROAD - DAY (FIVE MINUTES LATER) 138 The entire Family Bob is standing along the roadside, their luggage and belongings by their side. The looks on their faces say it all -- Stranded. Butch hands over the stuffed animal to Patsy, pats Bob Jr. on the head and sticks out his hand to Bob. BUTCH Just a loaner, Bob. Not to worry. You'll get her back. Bob reluctantly shakes Butch's hand in an attempt to impress upon Butch his most important concern of all... BOB Please, it's new. Hold it under 45... at least for the next 500 miles. BUTCH You know I will, Bob. Butch gives a snappy salute and is off to the wagon.139 INT. STATION WAGON - DAY 139 Butch STARTS the CAR and he and Phillip slowly pull away. BUTCH Wave, Phillip. Phillip does so. Bob's kids wave back. Phillip starts to giggle. (CONTINUED) 87.139 CONTINUED: 139 PHILLIP They look funny. BUTCH Maybe, but Bob did the right thing. What if he'd put up a fight? I mighta' had to shoot him, and where would that family be then? Naw, Bob's a fine family man and that's about the best thing a fella' can hope to be. Butch floors the wagon and the CAR SCREECHES rubber on the highway. BOB cringes as he watches his pride and joy rocket toward the horizon.140 EXT. ROADBLOCK - DAY (LATER) 140 The Highway Patrol continues to monitor cars one by one. One of the Officers sees something and nudges his partner to look at... FAMILY BOB cresting the hill carrying their hats in their hands along with their luggage and coolers.141 INT. AIRSTREAM - DAY 141 Adler drops his headphones and turns to Red. ADLER He got through! At Aspermont. BRADLEY What? ADLER Coerced a motorist. Red sighs. RED Well goddam, shout at Amarillo. Tell 'em we got a notion he's headed their way. Adler gets right to it. (CONTINUED) 88.141 CONTINUED: 141 RED (almost to himself) Truth is I wish he'd cross the border so we could turn this over to the feds. Nobody in the room expected to hear this. RED I got work to do back home. Red rises and stretches, walks to the open door and stares out at the late afternoon light. RED I'm hungry. This thing got any food? SUTTLE Well, uh... Adler jumps up and goes to the frig. ADLER Got T-bones in the frig, Red! SUTTLE Uh, uh, those were stocked for the Governor. I don't think that he would approve of... Adler finds a plastic bag in the freezer and inspects it. ADLER -- And look, Red! Tater Tots! Those kind you like! Red turns and looks. RED That so?142 INT. STATION WAGON - DAY 142 Butch fiddles with the RADIO. He settles on a Spanish station playing a BALLAD and ADJUSTS the VOLUME. BUTCH Can't find a Coonass Waltz to save my ass. (beat) Hey, Phillip, that stuff you told me 'bout not trick r' treatin' causa' Jehovah... Was you pullin' my leg? PHILLIP Nawsir. (CONTINUED) 89.142 CONTINUED: 142 BUTCH What else ain't you suppose' to do? PHILLIP We don't get Christmas. BUTCH Yer' shittin' me? PHILLIP Nawsir. No birthdays, nor parties, neither. BUTCH You ain't never been to a carnival neither, have ya'? PHILLIP Nawsir. BUTCH Not even one? PHILLIP Not even one. BUTCH Cotton candy? PHILLIP Seen that once. It's red. BUTCH Pink. PHILLIP Never ate none though. BUTCH Roller coasters? BUTCH Seen pictures. BUTCH You know, Phillip, you have a goddammed red, white and blue American right to eat cotton candy and ride roller coasters. PHILLIP I do? 90.143 EXT. STATION WAGON - EXTREME CLOSEUP - PHILLIP'S OPEN 143 MOUTH - DAY screaming. PULL BACK to reveal... CLOSEUP - PHILLIP still screaming in glee, the wind blowing his crew-cut straight up into the air. PULL BACK FARTHER to reveal that Phillip is firmly tied to the luggage rack of the station wagon, which is rocketing across the winding plains of West Texas. BOOM DOWN to reveal Butch, having almost as much fun as Phillip, hooping and hollering as he steps on the gas and weaves to and fro trying his damndest to hit every bump.144 EXT. PLAINS OF WEST TEXAS - LONG SHOT - DUSK 144 A Nehi Orange sun pours itself into the Grape-Ade Davis Mountains. PAN ALONG the horizon PAST nothing but open spaces ... Then a red neon sign, small and broken down, like the spit grill diner it advertises. The stolen station wagon sits alone beside the pressed dirt parking lot of Dottie's Cafe.145 INT. DOTTIE'S CAFE - DUSK 145 A skinny, small town WAITRESS checks her face in a bathroom mirror. She applies too much lipstick and pinches her cheeks before exiting. We FOLLOW as she exits the kitchen bathroom door, grabs two already prepared hamburger platter specials from beside the grill and moves through a swinging door into the diner. A counter, three booths, grease everywhere... She sets the two plates in front of Butch and Phillip at a booth. Butch digs in but Phillip holds for a beat. Butch notices and stops chewing while Phillip says "grace". PHILLIP (quiet as a mouse) Thankyew, Father, for yer' 'boundiful' nature and goodness. Butch and the Waitress/cook share a smile. BUTCH Amen. Now dig in, Buzz. (to Waitress) Call him that caus' he eats like a buzzard. If it's dead he'll swoop and chow. (CONTINUED) 91.145 CONTINUED: 145 She leans down to the table and flirts with her overdone eyes. BUTCH You Dottie? WAITRESS Eileen. Dottie died. Her son runs the place but... he ain't never here. BUTCH Never? EILEEN (WAITRESS) He leaves at four. Not much traffic after lunch. She brazenly stares a hole through Butch as she lifts a slice of pickle off his plate, places it in her mouth and slowly chews. Phillip, mouth full, takes note of the confusing spectacle. Eileen turns to walk away. EILEEN If you need me, I'll be right over here. She slowly sashays away to behind the counter. Butch watches her every step. Phillip chews and watches Butch's eyes. Butch turns his head and catches Phillip watching him. BUTCH Eat yer' food.146 EXT. FIELD - AIRSTREAM - DUSK 146 A SIRLOIN STEAK hits a grill beside a Tater Tot shiskabob and SIZZLES to beat the band. A homemade barbecue pit, built from nearby abundant rocks, sits square in the middle of the highway with red flares set up just in case a car did come by. Red smiles and shakes a liberal dose of Lea and Perrins onto the flesh. He's obviously a veteran of many back yard B-BQs and this is definitely one. We see Sally THROUGH the window. She's inside, still going over her files. She gets up and walks into the back room to look for something. (CONTINUED) 92.146 CONTINUED: 146 BOBBY LEE sitting outside, rises and slides into the Airstream while BACK TO SCENE Red continues to cook with Adler and Bradley looking on.147 INT. AIRSTREAM - BACKROOM - DUSK 147 Sally turns on a nightlight and looks at herself in the mirror. She splashes a little water on her face and is startled when ... Bobby Lee slides in behind her. BOBBY LEE Think yer' pretty smart now don'tcha'? She doesn't back down, instead looking him straight in the eye. SALLY Excuse me? BOBBY LEE Well yer' not smart but you are pretty. Sally stares right at Bobby Lee then moves for the door. He shifts his position and blocks her. SALLY Excuse me. Bobby Lee smiles a crooked-tooth grin, refusing to move. BOBBY LEE Work and pleasure should naturally go together don't you think? Take me, I enjoy my work. SALLY I could give a shit. BOBBY LEE You got a mouth, don't ya? RED (O.S.) How you take your steak, Sally? Bobby Lee and Sally both look up to see Red standing in the doorway. (CONTINUED) 93.147 CONTINUED: 147 SALLY (relieved) Uh.. rare. RED A woman after my own heart. She takes this opportunity to slide between Red and Bobby Lee on her way into the main room. As she goes... RED I'll just wipe its ass, herd it through and you can cut off a hunk. How'd that be? SALLY Maybe medium-rare. Bobby Lee and Red are left standing face to face. RED I don't give a damn who you work for. You're here for one reason and one reason only. BOBBY LEE Anything else, Chief? RED Yeah. Yer' in my office. The hot line PHONE RINGS... Bobby Lee flinches first and moves back into the main room. Red follows. ADLER That's the Governor's line, Red! Red calmly walks past Sally who smiles a "thanks". He gives her a one finger to the hat salute, walks to the phone, reaches down and yanks out the cord. The RINGING STOPS. RED Nuthin' as impolite as callin' at the dinner hour.148 INT. DOTTIE'S CAFE - NIGHT 148 Phillip, at the booth, plays with the parsley on his empty plate, which sits across from Butch's barely touched one. The boy looks over his shoulder and sneaks a peek at Butch, who sits at a barstool watching Eileen work behind the counter. (CONTINUED) 94.148 CONTINUED: 148 AT COUNTER Butch leans over and whispers something sexy into Eileen's ear. She giggles and licks her lips. Butch feels eyes on his back and looks at Phillip, who immediately turns away from them. When Butch returns his attention to Eileen she's moved a few feet away and is refilling ketchup bottles. BUTCH Buzz, go ahead and chew on mine if you want. PHILLIP No thankyew. Eileen slides back down toward Butch. She makes refilling condiment bottles the sexiest pasttime since the hula hoop. EILEEN Very polite. BUTCH I try hard but, ya' know, since his mama died... PHILLIP -- My mama's not dead! Butch, a tad annoyed, turns to Phillip and gives him a look. Once again, when he turns back, Eileen has moved. She's flirting with Butch, moving, bending, wiping her hands on her hips. His eyes are focused on her every squirm. BUTCH (over his shoulder) Okay now, Buzz, you go on out in the parking lot and chunk some rocks or something. BACK TO SCENE Phillip reluctantly slides down off the stool and slowly walks out the door. His eyes stay on Butch and Eileen, barely concealing confusion mixed with a hint of jealousy. EILEEN So is she dead or not? BUTCH (covering badly) Well his biological mother is alive. Gave him up for adoption to me and my wife. My dead wife, that is. She is, was Phil, er Buzz's stepmother, so she's his mom, was his mom, stepmom, but... she's dead. (CONTINUED) 95.148 CONTINUED: (2) 148 EILEEN I'm so sorry. But she's not. In fact it seems to have turned her on even more. She puts her hand behind Butch's neck and slowly pulls him close for gentle kiss.149 EXT. PARKING LOT - NIGHT 149 Phillip tosses a rock then turns to the diner. They're gone. Phillip drops his handful of rocks and walks to the front window of the diner. PHILLIP'S POV - DINER It is empty. He sees that the kitchen swinging door is still swinging on its hinges.150 INT. DINER - ADJUNCT OFFICE - NIGHT 150 A one room addition office built onto the kitchen. It has a desk against one wall, a few chairs, a fan -- pretty sparse. Two large windows throw light from the outside neon sign onto the room. A large lamp provides harsh light. Eileen leads Butch by the hand into the room, closing the door behind them. At once they are all over each other. Butch lifts her up onto the desk and starts to kiss her face and neck. Then, in an instant, he flips her over, pulls the ribbon from her hair and unzips the back of her waitress outfit to the waist. He kisses her neck, her back and suddenly, passionately, he flips up her skirt and begins kissing her voluptuous backside.151A EXT. DINER - NIGHT 151A Phillip, a bit scared, moves around the side of the front of the diner and sees something.151B PHILLIP'S POV - THROUGH WINDOW 151B In profile Butch continues to kiss Eileen's buttocks. She moans in ecstasy.151C BACK TO SCENE 151C Phillip, like a pacifist at a prizefight, doesn't want to watch but can't not watch. He moves down the wall to a window positioned right at the desk. When he stops he's right in front of the window, separated from Butch and Eileen by only a foot of air and a thin plate of glass. 96.151D PHILLIP'S POV - BUTCH AND EILEEN 151D Kissing, writhing, but FROM this ANGLE all he can really see is a mane of hair swinging to and fro. Butch is out of sight but it's obvious that his lips continue to caress Eileen's backside. She cranes her neck, arching it like a swan, moaning like a wildebeast and then... She stops and stares STRAIGHT AHEAD. Butch continues to kiss but only for a beat, sensing the locomotive he's on has stopped at an unscheduled station. He slides his face from around her rear, a la Kilroy, and he stares, too. Except for their continuing heavy breathing they could be modern art statues staring STRAIGHT AHEAD AT...152A INT. OFFICE - REVERSE - NIGHT 152A Phillip's nose is pressed to the glass. In fact if he pressed any harder there wouldn't be any glass.152B BUTCH AND EILEEN 152B hold their pose for a second until...152C PHILLIP 152C comes back to real time and bolts away into the darkness of the parking lot. EILEEN Nosy little feller'.152D BUTCH 152D races to the side window and watches as Phillip runs into the parking lot. BUTCH Phillip!... EILEEN (a last try) I keep a cot in the back. But Butch, still at the window, just keeps breathing.153 EXT. DOTTIE'S CAFE - ANGLE ON SKY - NIGHT (SECONDS 153 LATER) Nothing but stars swimming in black West Texas crude. PHILLIP stands right next to the SPUTTERING NEON SIGN, staring straight up, the neon light splashing his face in a grotesque pink light. (CONTINUED) 97.153 CONTINUED: 153 BACK TO SCENE In the b.g., over his shoulder, the cafe door opens, CLANGING a string of BELLS as Butch hastily exits and walks past Phillip. BUTCH Get in the car.154 INT. STATION WAGON - NIGHT 154 Silence. Butch drives away libidinous desires, Phillip sits quietly, staring straight ahead, now and again stealing a peek at Butch. PHILLIP You mad at me? BUTCH (curt) No. More silence. PHILLIP You kissed her, huh? BUTCH (much regret) Jus' barely. PHILLIP Why? BUTCH Caus' it feels good. Ain't you ever seen your mama kiss a man? PHILLIP No. (beat) You kissed her backside, huh? BUTCH It's, well, uh, it's kinda' hard to explain. I know how it musta' looked. (beat) Hell, I don't know how it looked.... As Butch's voice trails off silence overtakes the car. After a few seconds Butch seems happy not to have to answer any more questions. Phillip fidgits with the door handle. Several more seconds pass, then... (CONTINUED) 98.154 CONTINUED: 154 PHILLIP Do you love her? BUTCH Who? PHILLIP The lady that cooked the hamburgers? Butch ponders this, then a grin slides across his face. BUTCH Yeah, Phillip, I love her. (beat) Kissed her butt didn't I? And they both start to laugh.155 EXT. COUNTRY ROAD - NIGHT (LATER) 155 The station wagon pulls off the main dirt road and onto a smaller, private road. After 150 yards or so, it leaves the graded dirt and, shocks bouncing, crosses into a plowed field and comes to a dusty stop. BUTCH (V.O.) You wanna' drive? PHILLIP (V.O.) Yeah! BUTCH (V.O.) Jus' kiddin', Buzz. I'm just gonna' stop here for awhile and catch 40.156 INT. WAGON - NIGHT 156 Butch KILLS the ENGINE but keeps the RADIO MUSIC on low. BUTCH Things go our way we'll be in Alaska in four or five days. Get the jump on winter. Phillip looks a little sad. BUTCH What's wrong? PHILLIP I wanna' go home. BUTCH If you wanted to go home so bad, why didn't you stay at that store today? (CONTINUED) 99.156 CONTINUED: 156 PHILLIP Caus'. BUTCH Caus' why? PHILLIP 'Caus' I stole. They'd put me in jail. Prolly' go to hell. Butch chuckles at the notion. BUTCH Same difference. We'll get you home soon. I swear, okay? PHILLIP Butch? BUTCH Yeah, Phillip? PHILLIP I can drive. BUTCH Done proved that ain'tcha'? There's lots and lots of stuff you can do, Phillip. (gets an idea) Reach in that glovebox there. See if Bob's got a notepad or something. Phillip extracts a small ringed memo pad. BUTCH Good old Bob. Can you write? PHILLIP I can print. BUTCH Good enough. Now I want you to make a list of everything you ever wanted to do but wasn't allowed to. Okay? PHILLIP Like what? BUTCH Like... cotton candy. PHILLIP Cotton candy? (CONTINUED) 100.156 CONTINUED: (2) 156 BUTCH Hell I don't know. It's yer' list. Butch settles in for a catnap. Just as his eyes close... PHILLIP Butch?... BUTCH Yeah?...157 EXT. FIELD - NIGHT 157 Only the dome light and the LOW MUSIC bring attention to the car sitting lonely in the middle of the massive field. PHILLIP (V.O.) How ya' spell 'rocketship?'158 INT. AIRSTREAM - NIGHT 158 The aftermath of a full scale Texas Bar-B-Q: plates full of gristle and bone, cigarettes burning in ashtrays and swirl- ing in half-drunk bottles of Coke and mugs of coffee, men groaning and picking their teeth with toothpicks. Bradley, Adler and Suttle are dead-ass asleep and snoring. Bobby Lee, too mean to sleep, sits by himself cleaning his fingernails with a pocket knife.159 EXT. FIELD - NIGHT 159 Red leans against the Airstream and sips coffee from his thermos. Sally walks up, sipping from a mug, and leans against the bumper. Red doesn't even turn. RED Figger to give 'em another hour of shuteye, then grab the patrol cars and head for the Panhandle. SALLY Bring back any memories? RED Too many. Red turns to her. They both know he's divulged something. RED They got a file on me, too? (CONTINUED) 101.159 CONTINUED: 159 SALLY It's the 60's, Red. They've got a file on everybody. RED Just caus' it's written down don't make it true. SALLY You worked as County Sheriff in Amarillo and Austin before you became a Ranger. Right so far? (beat) Oh, and it says your name's Cecil. RED Yeah, well, that's definitely the worst of it. Red uncorks his thermos and refills Sally's mug. She takes a sip and almost chokes on it. SALLY Strong... but good. So Cecil... Red gives her a strong look. SALLY Red. What do you do when you're not at work. RED The file don't tell ya' that, too? SALLY Nope. RED I got a ranch I never visit, nieces I hardly know, a tackle box full of dry lures and a dog that figures he's the owner and I'm the pet. Could have a point, he's there more. SALLY A confirmed bachelor. Any regrets? RED Liked to have wet those lures. Maybe a new dog. (beat) How'd you get into... whatever the hell it is you do? (CONTINUED) 102.159 CONTINUED: (2) 159 SALLY My father's defense lawyer. RED That explains your mouth. Sally smiles. SALLY Instead of Home Ec, I studied Criminology. When I graduated, my father, with the Governor's help, they, he and my dad... I created a position for myself with the prison system. RED What's yer' husband think about all this? SALLY Don't own one. RED Yer' not careful you'll wind up jus' like me. Old, tired, with nobody around to love ya'. SALLY Maybe. RED It's crazy ain't it? SALLY What's that? RED Goin' without sleep chasin' after a three time loser and Casper the Friendly Ghost? SALLY Sleep? That's what retirement's for. RED Bite your tongue. SALLY You wanna' know what's really crazy? Hayne's juvenile court record lists you as Amicus Curiae. Silence save the CRICKETS. (CONTINUED) 103.159 CONTINUED: (3) 159 SALLY Friend of the court. Evidence given by a non-party with the intention of swaying the judge one way or the other. They're usually in written form, but there's no copy attached. Red doesn't flinch. SALLY Okay, then at least tell me why Haynes got four years for a joyride? What about probation? The boy had a home, a father. RED What's your file say about him? SALLY That he was a petty thief who did a little time, got out and stayed pretty clean. RED There are murderers I'd trust with my mother and petty thieves I wouldn't turn my back on. Your precious files are wrong. SALLY I'm listening. RED Hayne's old man was a career criminal with a soft spot for whores. One way or the other he beat the hell outta' every person he ever crossed, screwed or fathered. Judge sends junior home with the old man and you can bet your last dollar that within a year he'll have a rap sheet as long as yer arm. (beat) I know kids who did Gatesville, made it through, shaped up. Hell, one's even a priest. Sally realizes she's opened an old wound. SALLY Still, I don't understand from the file why... RED -- This job ain't about files and books and second guessin'. Ya get one shot and ya call 'em like you see 'em. (CONTINUED) 104.159 CONTINUED: (4) 159 SALLY I'm a bit confused... Red tosses out the rest of his coffee. RED In Texas the bottom line is who ya' know and what they owe ya. That's how I do my job and how you got yours. He turns to walk inside. SALLY (a bit ticked) What are you trying to say? Red stops, faces Sally. RED I bought the judge a T-bone and told him to send the boy up. Told him it was the right thing to do. He went along right down the line. Red disappears. Sally just stares after him, her face once again soft.160 INT. STATION WAGON - CLOSEUP - MEMO PAD - NIGHT 160 resting on Phillip's lap. BACK TO SCENE His fingers release it as he drifts to sleep. CLOSEUP - PHILLIP asleep, the way a child sleeps. Soundly. CLOSEUP - BUTCH also asleep, but only his body -- his mind works over- time... DISSOLVE TO:161 SERIES OF SHOTS - BUTCH'S DREAM 161 (NOTE: the entire dream is a series of snapshots to a strong Coonass beat) A) A baby snapshot of Butch. (CONTINUED) 105.161 CONTINUED: 161 B) A Haynes family photo -- a grizzled father standing behind a mother seated holding a baby. They stand in front of a small, white framed house. C) Extreme closeup -- The baby in the snapshot - Butch. D) Snapshot of a young Butch, age 6, with his father and another adult male, who are both holding deer rifles with one hand and with the other the antlers and head of a dead deer. E) Extreme closeup -- Butch's father from the same photo. F) Snapshot of Butch, 8, with his mother but no father. G) An establishing snapshot of a nightclub in New Orleans. The gaudy sign above the joint reads: CLUB - DANCE HALL. H) A snapshot of Butch's mother dressed in a somewhat sleazy Latino outfit. She's surrounded by 3 or 4 lounge lizard types, whose hands are all placed on parts of her body. She has a drunken sneer on her face. I) Snapshot of Butch, 8, being taught to dance in the club by his mother. He looks awkwardly into the camera. J) Snapshot of Butch, 8, sitting on the bar of the club, surrounded by a motley group of sleazy "dime dancers". K) Another snapshot of Butch being taught to dance by his drunken mother. (NOTE: A heavy MACHINE GROWL should START LOW and INCREASE IN VOLUME through the remainder of these fast-paced series of cuts.) L) Snapshot of Mom dancing very closely, too closely, to a handsy patron of the club. M) Snapshot of Mom kissing the same man. We see a tattoo on his arm. N) Extreme closeup -- the tattoo. It is of a naked girl. The words "hell-bent" in cursive frame the tattoo. O) Snapshot of Mom sitting on the tattooed man's lap at the bar. His hand is resting on the inner portion of her thigh. P) Snapshot of Butch at the bar with the club bartender. Q) Same as (K) -- Butch being taught to dance. (CONTINUED) 106.161 CONTINUED: (2) 161 R) Extreme closeup -- Butch in same photo. S) Same as (J) -- Butch in bar with dime dancers. T) Extreme closeup -- Butch in same photo. U) Same as (O). Mom with tattooed man. V) Extreme closeup -- tattooed man from same photo. W) Snapshot of crime scene in the bar. A man lies on the floor in a pool of blood. Onlookers, including some of the dime dancers and Butch's mom, express their shock at the incident while police photographers and newsmen look on. X) Extreme closeups -- Some of the onlookers faces. Y) Extreme closeup -- Butch's mom's face. As opposed to the others, her face is rather displaced. You'd think she'd witnessed a fender bender instead of a murder. Z) Extreme closeup -- The face of the victim. It's the tattooed man. AA) Extreme closeup -- The tattoo. The ROAR of the MACHINE GROWL is now DEAFENING as the image of the tattoo... FADES INTO:162 BRILLIANT WHITE LIGHT 162 that FILLS the FRAME. INT./EXT. STATION WAGON - NIGHT (PRESENT) Except it's brighter than the brightest day as a high power light shines directly at... EXTREME CLOSEUP - BUTCH who exits his dream and enters reality with a throttled shock. He squints and tries to discern the source of the light while groping for his gun under the seat. BUTCH'S POV - WHITE LIGHT It's bright as hell but getting clearer, less fuzzy. We can now see it's the headlights of a huge COMBINE which sits, ENGINE RUNNING, directly in front of the station wagon. (CONTINUED) 107.162 CONTINUED: 162 A BLACK MAN - 50 or so, KILLS the ENGINE (but leaves the lights on) steps down from the combine cab and starts toward the station wagon. BACK TO SCENE Phillip, now wide awake and scared. He notices that... Butch is fingering the gun, resting it in his hands and under his right leg. The Black Man, whose name is Mack, crosses the front of the wagon and walks to the driver's side window. MACK (BLACK MAN) Didn't mean to scare ya'. I work at night. It's cooler. Ya'lls car break down? BUTCH Me n' the boy was just catchin' some shut-eye in yer' field. MACK Oh, it ain't mine. I just works it for Mr. Andrews. Where ya'll from? BUTCH Drove from Texarkana yesterday. MACK Quite a haul. BUTCH Said a mouthful there. MACK Well, ain't no sense in ya'll sleepin' in the car. Not when I got a fold out couch sittin' empty. BUTCH Wouldn't want to put you out. 'Sides we need to get back on the road. MACK No trouble t'all. Wake you up first light, fill yer' belly and send you on yer' way.163 EXT. RURAL ROAD - FIRST LIGHT - DAY 163 A Highway Patrol car, followed by a tow truck, breeze along the highway.164 OMITTED 164 108.165 INT. HIGHWAY PATROL CAR - DAY 165 Two officers, MONTGOMERY and HALL, scan the horizon. They look like they've driven all night. Saunders wakes up in the back seat and leans forward. SAUNDERS We didn't pass it did we? Saunders spots the RV on the horizon. MONTGOMERY There it is.166 EXT. ROADSIDE - DAY 166 The patrol car stops, as does the tow truck.167 INT. PATROL CAR - DAY 167 Hall and Montgomery view the beat to hell RV while Saunders, ready to cry, jumps out and runs into the field. MONTGOMERY Good Gawd Almighty. Governor ain't gonna' like this.168 INT. AIRSTREAM - DAY 168 Suttle is asleep among the rubble. He jumps to when Saunders bursts in. Saunders gasps when he sees the shape his prize vehicle is in. SAUNDERS Where are they?! SUTTLE Uh, uh, they're gone. SAUNDERS How long?! SUTTLE I don't know, uh, four, five hours. Saunders, dejected, starts to move some of the trash from the couch. He sits down and moans... SAUNDERS Well, goddammit, did he say anything? SUTTLE Yeah. (CONTINUED) 109.168 CONTINUED: 168 SAUNDERS What?! SUTTLE Well, uh, Chief Garnett wanted me to tell you that the vehicle gets his seal of approval.... Saunders' face begins to turn red. SUTTLE And that he wants his chair back. If he was red before, now Saunders is crimson. A ther- mometer dropped into boiling water.169 EXT. AIRSTREAM - DAY 169 We hear a SCREAM and then a second later, Red's desk chair comes flying out the door. It hits a rock and splits as it bounces.170 EXT. HIGHWAY - DAY 170 Two Highway Patrol cars rocket along, one behind the other.171 INT. LEAD PATROL CAR - DAY 171 OFFICER JONES, a lean, hard-nose of 25, drives. Adler in the front seat, Red and Sally in the back. Not a word is spoken. Serious business.172 INT. SECOND PATROL CAR - DAY 172 ANOTHER OFFICER drives this car. Kaiser rides shotgun working the radio. In the back seat sit Bobby Lee and Bradley.173 INT. MACK'S HOUSE - DAY 173 A COFFEEPOT RATTLES on the stove. Two black hands move the pot and rescue overfried eggs in a skillet on the stove. Two small black feet dangle from a too-high bathroom toilet. As they hit the ground we hear a FLUSH. We FOLLOW the feet DOWN down a short hall and into the living room. As they pass the bottom of a fold-out couch we... BOOM UP to reveal Butch and Phillip asleep. Butch's arm has found its way under Phillip's head and is acting as an early morning pillow. (CONTINUED) 110.173 CONTINUED: 173 A small head pops up on the side of the bed nearest Phillip. The six-year-old eyes of CLEVELAND peer close to Phillip and watch, only inches away, as Phillip sleeps. Phillip's eyes blink a bit and then they open... PHILLIP (scared) Aaaayyyyy! CLEVE (more scared) Aaaayyyy!!! Butch jumps up like a rocket and is on the floor in an instant. BUTCH Aaaayyyyy!!!! Cleve races into the kitchen and the apron strings of his grandmother, Mack's wife, LOTTIE. LOTTIE He wake ya'll up? (to Cleve) Now I told ya not to do that. BUTCH AND PHILLIP, breathing hard, can't help but laugh. BUTCH No harm, Ma'am. LOTTIE I'm Lottie. Mack's wife. This here's my grandbaby, Cleveland. CLEVE Name's Cleve. I'm six. PHILLIP I'm eight. Mine's Buzz.174 INT. MACK'S KITCHEN - DAY 174 Butch, Cleve and Phillip finish breakfast while Lottie pours coffee. Cleve and Phillip, hitting it off well, are engaged in fervent storytelling. CLEVE We got us a creek down the way. Wanna go later? (CONTINUED) 111.174 CONTINUED: 174 PHILLIP Sure thing. Mack enters after a hard night's work. BUTCH Mornin' to ya. MACK Mornin'. Rest done ya'll some good. LOTTIE You wanna plate? MACK Not jus' yet. (to Cleve) Boy, go get my thermos from the truck. Cleve, still whispering and giggling with Phillip, isn't really listening. MACK Don't ya hear good, boy?! Mack firmly cuffs the boy's ear and Cleve jumps up and out the door, one hand holding the side of his head. Butch and Phillip both look up at Mack. MACK Boy don't got the sense Gawd gave a chicken.175 INT. LEAD PATROL CAR - HIGHWAY - DAY 175 JONES Want me to stay on Highway 70? RED Let's head on over towards Amarillo. We'll cross him there or wave goodbye at the border.176 INT. MACK'S HOUSE - LIVING ROOM - DAY 176 Phillip sits on the couch and watches as Butch shows Cleve a trick. Cleve bends over, puts his hands between his legs and Butch grabs them and pulls -- a flip. Cleve is ecstatic at the result. Phillip and Butch laugh along. CLEVE Agin'! Do it agin'! (CONTINUED) 112.176 CONTINUED: 176 LOTTIE (to Butch) Where's the boy's mother? BUTCH We left her at home this time. Boy's night out kinda thing. Butch spots an old phonograph. BUTCH Say, lookie here. He gives it a spin with his finger and searches through a stack of 78s. LOTTIE Mr. Andrews give 'em to us when he got hisself a newfangled one. Butch finds a particular favorite. BUTCH Jeezus. Now this is music. You know how long it's been since I heard this. LOTTIE That's an oldie all right. Mrs. Andrews' maiden name was Bougeois -- half-Creole herself she is, but Mr. Andrews he don't like nobody to know. 'Suppose that's why he give 'em to us.177 INT. BATHROOM - DAY 177 Mack drops his pants and sits on the throne. He reaches over and turns ON the RADIO resting on the wash basin. A FARM REPORT comes on just as...178 INT. LIVING ROOM - DAY 178 A NEEDLE DROPS on a 78, filling the room with the SCRATCHY sounds of a Coonass waltz. Butch's eyes come to life. BUTCH You dance, Lottie? LOTTIE Lawd goodness no. (CONTINUED) 113.178 CONTINUED: 178 BUTCH Here, jus' follow me. He takes her in his arms and slowly but surely adjusts her movement to his. After a few rough turns they're not too bad. Phillip can't help but smile as he and Cleve watch and giggle. Butch and Lottie dance, swirling around the room. LOTTIE Mr. Poe, you sure can move. BUTCH Oughta be able to. Was raised in a dime a dance whorehouse. LOTTIE Yer' foolin' me? BUTCH No, ma'am. My mama would dance their asses out of the fryin' pan and into the back room fire. Butch spots Phillip and Cleve, watching, giggling. BUTCH Get on yer' feet, Buzz. You'n Cleve shake a leg. LOTTIE (encouraging) Well go on! Cleve and Phillip reluctantly stand and stare at one another. BUTCH Dance, boys! The little boys do their best to emulate the adults and soon they're laughing and dancing, too. The RECORD STOPS. They all clap and laugh. Butch hears something... The RADIO in the bathroom.179 INT. BATHROOM - DAY 179 Mack sits, cleaning his fingernails with a Barlow knife as the radio announcer begins a news flash. (CONTINUED) 114.179 CONTINUED: 179 ANNOUNCER (V.O.) Update on the manhunt for the escaped convict. Haynes is armed and extremely dangerous. He is believed to have a hostage with him, an eight-year-old boy. A finger turns OFF the RADIO. We FOLLOW the finger UP an arm TO Butch's concerned face. He sits down on the edge of the tub across from Mack and takes the knife away from him. BUTCH We'll be leavin' soon enough. I'll kill all of you if you try anything stupid. Mack swallows hard.180 INT. LIVING ROOM - DAY 180 Lottie quizzes Phillip... LOTTIE What's Texarkana like? I ain't never been there. PHILLIP (through his teeth) Oh, it's real nice. I got a dog named... Phillip and a tree house and... Mack, nervous, enters the room followed by Butch. BUTCH Come on, Buzz. Time for us to hit the road. LOTTIE Whass' wrong, Mack? You look like you seen a ghost. Cleve runs up to Butch, turns around backwards and puts his hands between his legs. CLEVE Do me agin'! MACK (scared for the boy) No! Boy! Get over by yer' Mammaw! Lottie senses something is wrong. Cleve, too young to smell trouble, persists... CLEVE Come on, Mister, do me agin'! (CONTINUED) 115.180 CONTINUED: 180 Butch smiles and starts to oblige the boy, but Mack inter- venes and smacks Cleve hard, sending him sprawling to the floor bawling. Butch, instantly enraged, back-hands Mack, grabs him by the collar and tosses him onto the floor. Phillip -- frozen, sitting, watching as things go from bad to worse. Cleve -- confused, bawling, afraid. Butch pulls the gun from his pants, bends down, picks up Mack by his throat, presses the gun in his mouth and lifts him into a chair beside Lottie. He bends close to Mack -- their noses are inches apart. BUTCH Why'd ya' wanna' go and hit Cleve for? He didn't move fast enough for ya', is that it? Or maybe he gets excited sometimes and don't hear everything ya' say? You make me sick to my stomach. Butch spits in Mack's face, then rises and walks over to Phillip and hands him the revolver. BUTCH Point it at 'em. PHILLIP I don't wanna'... BUTCH Point it! Phillip does so, occasionally wiping a tear from his eye. Mack reaches down and holds Lottie's hand. Butch kneels down to a still-sobbing Cleve. BUTCH Now, son, you wanna' flip? Cleve shakes his head "no" between sobs. Butch gently takes the boy and lifts him to a standing position. BUTCH Go ahead. Put yer' hands between yer' legs. I won't hurt ya'. Cleve turns to Mack and then runs to him. Butch walks calmly over and pulls the crying child away from the old man and back to the center of the room. (CONTINUED) 116.180 CONTINUED: (2) 180 BUTCH (to Mack) He don't trust ya' no more. You gotta' earn that, ya' know? (to Cleve) Put yer' hands 'tween yer' legs, son. Cleve, still sobbing, does so. Butch reaches down and flips him, all the while staring at Mack. Each time he flips the boy, Butch reaches down, grabs Cleve's hands and flips him again. Finally he allows the frightened child to go to Mack and Lottie. Butch takes the gun from Phillip. BUTCH Buzz. Go out to the car and get that rope. Phillip stands frozen. BUTCH Phillip!... Phillip slowly rises and walks away. He stops for a moment and turns his back. EXTREME CLOSEUP - PHILLIP His eyes lock in a gaze with... EXTREME CLOSEUP - CLEVE His sobbing eyes plead for something, anything.181 EXT. HOUSE - DAY 181 Phillip exits the house, walks past an old well to the station wagon. He opens the door, stops, looks back.182 INT. HOUSE - DAY 182 Butch sits on the coffee table across from Mack, Lottie and Cleve. BUTCH (to Mack) Now you hold that boy and tell him you love him. Mack grabs Cleve and sets him in his lap. (CONTINUED) 117.182 CONTINUED: 182 MACK (scared) I love you. Butch cocks the revolver and slides forward. His nose is almost touching Mack's. BUTCH No, old man. Say it like you mean it. MACK This boy know I loves him, mistah'. BUTCH Then say it. LOTTIE Please, mistah'. I gotta' sense about you. I know you a good man. BUTCH Nome', I ain't a good man. Ain't the worst neither, jus' a different breed.183 EXT. HOUSE - DAY 183 Phillip is at the screen door looking in. He holds the bag in his hand. HIS POV Butch sits on the coffee table, which is pushed right up to Mack, Lottie and Cleve, who sit on chairs.184 INT. LIVING ROOM - DAY 184 Butch, enthralled with the episode he's directing, almost quivers with anticipation. BUTCH Say it, Mack. Don't cost nuthin'. MACK I love you, Cleve. BUTCH (serious) Gawd that's beautiful. Butch spots Phillip standing at the entrance to the living room with the bag. He takes it from the boy, empties the contents -- candy, cookies, bread, sugar and all -- and picks up the rope, takes Mack's Barlow knife from his pocket and cuts off a long shank. Butch takes the rope and begins to tie up the three. (CONTINUED) 118.184 CONTINUED: 184 Phillip stands, stares, aware that something bad is happening. Butch finishes tying, sticks the knife in his pocket and walks over to the PHONOGRAPH. He turns it back ON. The SCRATCHY RECORD plays. He turns UP the VOLUME. BUTCH (to Phillip) You can go wait in the car or you can watch. Yer' old enough to think for yer'self. Phillip, unsure what to do, stands his ground. Butch returns to his seat on the coffee table and stares at the three hostages. He appears as if he's about to cry, closes his eyes and rests his chin on the barrel of the revolver while he recites instructions... BUTCH Shut yer' eyes, Cleve. Mack, you and Lottie hold the boy tight. Shut yer' eyes, too. Phillip, awkwardly aware that he's going to witness an execution, starts to cry out, then squelches himself. Butch seems to be in another world now -- taken to another place and time. A slight smile finds its way to his face, then disappears. LOTTIE Please, mistah', ain't no use in it. MACK We'll give you ever'thing we got! But Butch doesn't even hear the words. He slowly opens his eyes, pulls his chin from the pistol barrel and points it at Mack. LOTTIE Our Father, which are in heaven, Hallo be thy name... BUTCH (to Lottie) Shhh... shhh... shhh... LOTTIE ... Thy Kingdom come, Lawd, thy will be done... here on Earth as it is in Heaven. (CONTINUED) 119.184 CONTINUED: (2) 184 BUTCH Shhh.. shhh... LOTTIE (to Mack/Cleve) Say it wif' me.... Butch looks to Phillip in a strange way, sets the gun on the floor between them, and crawls amongst the candy, gum and wrappers until he finds the electrician's tape. Phillip watches, not knowing what to do. The revolver -- cocked, resting on the floor. MACK, CLEVE & LOTTIE Giv' us this day our daily bread and forgiv' us, Lawd, our trespasses as we forgiv' those who tresspass agin' us... Butch rips tape from the roll and slaps a piece over each of their mouths, silencing their prayers one by one. Out of breath, he kneels down in front of them and stares at the three while he reaches his hand behind him for the .... pistol -- but it's not there... Butch looks up to see... Phillip -- teeth gritted, holding the pistol, pointing it directly at Butch. CLOSEUP - BUTCH His expression is blank -- then a slight smile. For a second it's as if none of this has happened, that Butch will grasp Phillip in his arms... A DEAFENING GUNBLAST turns his expression to blank. Phillip, knocked to the floor by the revolver's kick, recovers to his knees, shaking like a leaf. The MAMBO RECORD comes to an END, but SCRATCHES ON AD INFINITUM. Butch falls back to his knees, still staring at Phillip. He looks at his stomach, where a stain of brown-red gushes through his T-shirt, and back to the boy. BUTCH (as if he hasn't seen him in years) Phillip?.... (CONTINUED) 120.184 CONTINUED: (3) 184 Phillip, momentarily dazed, stares at the gun in his hand, at Butch, the blood pouring from Butch's side, and the shocked faces of Mack and his family. Then, in a flash, he runs, pell-mell, out of the house.185 EXT. HOUSE - DAY 185 Phillip blasts out the screen door and runs straight to the well. He drops the gun into the well, catches his breath and heads for the road. After a few yards he has a thought, runs back to the station wagon, grabs the keys and throws them as far into the adjacent field as he can. Then he resumes his race for the road.186 INT. HOUSE - DAY 186 Butch gropes to his feet, still in shock. He stumbles toward the door, then stops, reaches in his pocket, extracts Mack's Barlow knife, holds it up and walks toward them, staring hard. Mack, Cleve, Lottie -- Afraid they'll be killed after all. Butch, surprisingly, meekly sets the knife down on the coffee table... BUTCH Thanks for yer' hospitality. And walks away.187 EXT. HOUSE - DAY 187 Butch emerges and stumbles out. BUTCH (to the horizon) Phillip?!... No answer. He drags himself to the station wagon and, with much effort, slides himself into the seat. No keys. He opens the door, crawls out, leaving a trail of blood, looks out to the road and starts to walk. PHILLIP runs down the road, looking back every so often to see if Butch is following (CONTINUED) 121.187 CONTINUED: 187 BUTCH makes his way onto the private dirt and starts walking back toward the main road. BUTCH (yelling) Phillip?!! I won't hurt ya', I swear! PHILLIP is running out of steam on the road ahead. He stops for a blow and looks back. HIS POV A few hundred yards back, Butch struggles forward. BACK TO SCENE Phillip crawls through the ditch beside the road and squeezes through a barb wire fence. His costume hangs on a barb. He rips away from the fence leaving a foot-long strand behind. In the b.g. -- a pickup truck drives by.188 INT. TRUCK - DAY 188 ARCH ANDREWS, 50, the owner of the Ranch, slows down when he sees... ARCH What the hell?... HIS POV - PHILLIP clad in his white costume, running across a field toward a grove of trees beside the creek. BACK TO SCENE Arch continues on down the road and passes... Butch -- nearly in shock, stumbling down the road. TRUCK pulls into Mack's place, and Arch gets out, peers into the station wagon, sees blood, grimaces and walks up to the house. He notices a dripping trail of blood on the porch. 122.189 INT. HOUSE - DAY 189 Arch enters the kitchen, sees no one and starts toward the living room. The MAMBO continues to SCRATCH. ARCH Mack?... Lottie?... Arch enters the living room and stops when he sees Mack and family, still gagged and tied to the chairs.190 EXT. ROAD - DAY 190 Butch, holding his side, the pain is worse as he stumbles along. He stops when he spots something -- a piece of white costume on the fence. He crosses the ditch, steps through the fence and walks in the same direction Phillip did. BUTCH That was a helluva' thing to do, Phillip. You're a hero. Prolly' be in all the papers tomorrow, how you saved those folks. Truth is, I don't think I woulda' killed 'em. I only killed two people in my whole life. One hurt my mama and one hurt you.191 INT. LEAD PATROL CAR - DAY 191 Adler listens in on the shortwave. KAISER (V.O.) A town called Happy, over in Swisher County. RED (to Jones) How far? JONES Half-hour tops. RED (to Adler) Get on the radio and tell whoever gets there first to play it nice and easy. Sally gives him a look. KAISER (V.O.) They've got the boy's mother flyin' in on a private. You want her on standby? (CONTINUED) 123.191 CONTINUED: 191 RED Jeezus, who did that? ADLER Guvner, I assume. SALLY Not a bad idea. RED Go ahead and chopper her in. After a moment of silence, Sally turns to Red. SALLY I didn't mean to pry last night. RED Yes, ya did. SALLY Look, Red, it was 20 years ago. RED Funny thing. When the judge sent him away the kid stared at me. Like he knew. Not hard or mad like you'd expect. It was... It was like he was forgiving me. SALLY Forgiving you for what?! For looking at the facts and doing what you thought was right? RED Naw. For what's gonna happen today.192 EXT. FIELD - DAY 192 Butch follows Phillip's path through the field. BUTCH What say we talk this over? Settle things man to man. Then we can be on our way. I'll even let you drive. Knock that right off yer' list. How'd that be? PHILLIP finally arrives at the creek, looking over his shoulder all the way. He looks at the water -- deep and running swift. Where to go? He decides and heads for the nearest tree -- a big oak, and shimmies up to a branch ten feet or so above the ground. 124.193 INT./EXT. LOCAL BLACK AND WHITE - DAY 193 A country cop answering the report, drives slowly down the road, his pistol drawn and held upright in one hand. He pulls into Mack's driveway and parks. Arch walks out of the house to greet him. ARCH That's his car. Took off on foot. He's got a pistol. Mack says it looks like a .38.194 EXT. FIELD - DAY 194 Butch stops to rest. Something catches his eye. HIS POV A white figure moves slightly in the boughs of an oak tree. Phillip tries to climb higher but can't reach the next limb. BACK TO SCENE Butch walks underneath the tree without even looking at Phillip. He sits down to rest. BUTCH Alaska, Phillip. Wild and wooley. Man against nature. Me personally, I like them odds. (beat) Did I tell you my daddy lives there? He's the one that sent the picture postcard. Listen here to what he says about it... Butch pulls the postcard from his back pocket and reads... BUTCH (reading) 'Dear Robert'... that's my real name, Phillip. Robert. Jus' like old Bob the family man. 'Dear Robert, I just wanted to tell you that me leaving has nothing to do with you.' Phillip, still afraid, can't help but listen as Butch suffers through his memories. BUTCH (reading) 'Alaska is a beautiful place. Colder than hell most all the time. (MORE) 125.194 CONTINUED: 194 BUTCH (CONT'D) Someday you can come and visit and we'll maybe get to know each other better.' Short and sweet. That's the old man's style. 'Cold all the time' -- like that's a big sellin' point. He laughs to himself. BUTCH He useta' pat me on the head and tell folks 'that it's some that can live life without askin' about it and it's others has to know why, and this boy here is one of the latters.' (beat) That's why I wanted to go up there. To visit the old man, I guess. Prolly' punch him one first, but then maybe we'd end up bein' friends, sit down, have a beer, talk things over.... Butch groans. He pulls his hand from his side. Blood is oozing all over the place. He returns the postcard to his pocket. BUTCH We'll jus' rest awhile. Then you can make up yer' mind. How's that? Phillip, still clinging to the tree, can't help but feel compassion for his friend.195 EXT. MACK'S HOUSE - DAY 195 A dozen Highway Patrol cars now sit in the driveway. The Fed in charge, AGENT HENDRICKS, assigns different officers to secure the area in an incredibly organized fashion. Mack, Lottie, Cleve and Arch watch from the porch.196 EXT. CREEKSIDE - DAY 196 Butch's eyes are closed. A small puddle of blood drips and becomes a rivulet running down into the creek. Phillip, still in the tree, still watching, can't bear it any longer. He slowly climbs down and drops next to Butch, who opens his eyes to the boy and smiles. BUTCH One thing's for sure now -- I definitely believe in ghosts. (beat) Never been shot before. (CONTINUED) 126.196 CONTINUED: 196 PHILLIP I'm sorry. BUTCH I know ya' are. Truth is, if it had to happen, I'm glad it was you. As opposed to someone I don't know, I mean. All things considered, I feel pretty good, though. Could use a beer, though. PHILLIP What's beer taste like? BUTCH Oh, it's about the best thing there is. You'd better put that on the list. Phillip's eye catches something. He stands up fearfully... HIS POV - TWO MORE PATROL CARS lights spinning, rushing down the road, kicking up dust.197 INT./EXT. RED'S PATROL CAR - DAY 197 Sally watches Red. When the car comes to a stop, she reaches out and touches his arm. SALLY I think our chances of this thing ending peacefully are good. He smiles a lonesome smile, opens the door and exits.198 EXT. CREEKSIDE - DAY 198 Phillip kneels back down to Butch. PHILLIP You better run. BUTCH Naw, Phillip, I need me a time machine with a loud radio to take me where I'm goin'. Walkin's for squares.199 EXT. MACK'S HOUSE - DAY 199 Red exits his patrol car, followed by Sally. Agent Hendricks walks up. HENDRICKS Garnett, I'm Tom Hendricks, F.B.I., out of the Amarillo office. I understand you have one of our men with you? (CONTINUED) 127.199 CONTINUED: 199 RED Yeah. You got the area quadroned off? HENDRICKS Water tight. Like a frog's pussy. (notices Sally) Sorry, ma'am. SALLY No doubt an observation based on personal experience. Red can't help but smile. RED You got him spotted? HENDRICKS By the creek, half-mile down the road. I spaced officers in a circle around them 100 yards or so away. RED You got any problem with me handling this one? HENDRICKS What say we both handle it? Red sighs. RED Let's head on down there. Bradley, gimme' a megaphone. HENDRICKS One other thing, Chief. Haynes is wounded. The boy gut-shot him. RED Yer' shittin' me.200 EXT. CREEKSIDE - DAY 200 Phillip scoops a handful of water and brings it to Butch, who opens his mouth and drinks, A megaphoned voice interrupts... RED (V.O.) (through megaphone) Butch, this is Red Garnett of the Texas State Police. A thin, knowing smile crosses Butch's lips. (CONTINUED) 128.200 CONTINUED: 200 RED (V.O.) I know yer' hurt. We've got damn near 100 armed men here. Take a look around and you'll see I'm shootin' ya' straight. BUTCH (yelling back) All this for me. I'm touched, but I'm afraid ya'll gonna' have to back it up a step or two. I'm headed to Mexico. (to Phillip) Lyin' to 'em, of course.201 EXT. ROADSIDE - DAY 201 Red leans against a patrol car, accompanied closely by Adler, Sally and Hendricks. RED (into megaphone) Hate to tell ya', Butch, but yer' headed the wrong direction. Tell ya' what. You let the boy go and we'll talk about it. Discuss it over a cold beer.202 EXT. CREEKSIDE - DAY 202 BUTCH (to Phillip) Beer. What'd I tell ya'. (to Red) Appreciate the offer, Cap'n, but ya' know I can't do that. If you and yer' pals back outta' here, I'll drop the boy at the border. (beat) If you don't I'll shoot him in the head. I mean it! Phillip, betrayed beyond comprehension, stares at Butch. BUTCH (to Phillip) Don't look at me like that. I don't even have a gun. What did ya' do with the pistola' anyway? PHILLIP Threw it in the well. BUTCH Good thinkin'. 129.203 EXT. ROADSIDE - DAY 203 ADLER Ya' think he means it? Red mulls it over, replaces his old chaw with a fresh one and looks to Sally. RED What do you think? SALLY Based on what's happened the past two days I don't think he would. RED One thing's for sure. If he gets outta' here with the boy, we're right back to where we started. BRADLEY If he kills the boy he'll get the chair. ADLER Shit, he'll get the chair anyway. He's killed two in two days. SALLY We don't know that he pulled the trigger on either of the innocent victims. ADLER Well he wasn't at home in his Strat-O- Lounger. 'Sides, who killed Pugh? Casper? RED All right, both of you, that's enough! From the trail of blood I got a feelin' it ain't gonna' make any difference. Let's jus' concentrate on gettin' the boy out for now. Bobby Lee approaches with a leather case, bypasses Red and goes straight to Hendricks. BOBBY LEE Where ya' want me, sir? RED Can you shoot off a hood? Bobby Lee nods. In the b.g., a HELICOPTER circles, preparing to land. (CONTINUED) 130.203 CONTINUED: 203 ADLER That'd be the boy's mother. RED Bring her on over.204 EXT. CREEKSIDE - DAY 204 Butch and Phillip watch the helicopter land. BUTCH See, Phillip, dreams do come true. There's yer' rocketship. PHILLIP Think I'll get to ride it? BUTCH Today's the day. RED (V.O.) (megaphoned) Butch, we got the boy's Mama here. She wants to say something. Phillip is visibly stunned by the news. He crawls up to the crest of the creekside and squints, looking for his mom. BUTCH What's wrong, Phillip? PHILLIP It's my mama. Phillip still cranes his neck to see. BUTCH Now that ya' got yerself a ghost suit, do ya' think she'll let ya' trick r' treat? PHILLIP (better than none) I got to do one house. Butch smiles. He has an idea. BUTCH Put yer' mask back on.205 EXT. ROADSIDE - DAY 205 Bobby Lee carefully unsnaps the latches on his leather case and opens it on the hood of the patrol car. (CONTINUED) 131.205 CONTINUED: 205 Inside is... a high-powered military rifle in three parts. Hands unzip a velvetine bag and pull out a high-powered scope. Bobby Lee holds the lens of the scope to his mouth, blows a breath on it and wipes it clean with a piece of clean cloth. He feels eyes and turns to see... Sally, watching him at work. Bobby Lee smiles at her, cocksure. His dark role in this manhunt is now perfectly clear. Sally turns her head, disgusted. Gladys Perry, frazzled, somewhat in shock, is ushered forward. She's handed the MEGAPHONE. She fumbles with it, pushes the button. It SQUAWKS LOUDLY. RED Jus' push the button and talk normal. It SQUAWKS again. RED Here, I'll hold the damn thing. You jus' talk. GLADYS (into megaphone) Hullo... Hullo. Please, sir, he's my only son. I'll give you money, whatever I can. Please, I want to take my boy home! I want to... The MEGAPHONE SQUALKS one final dying time and SHORTS OUT. Red hands it to Bradley, who immediately sets it on the trunk and starts taking it apart. RED (to Gladys) Yer' doin' fine. We'll get another one. BRADLEY I think yer' tobacco spit shorted it out, Red.206 EXT. CREEKSIDE - DAY 206 Phillip wears the mask. Butch dusts him off and smiles. BUTCH You ready to go home? (CONTINUED) 132.206 CONTINUED: 206 PHILLIP (very sure) Yeahsir. BUTCH (yells) Hey, Cap'n, you got any candy? INTERCUT BACK and FORTH BETWEEN Butch and: RED BRADLEY (re: megaphone) This one's shot. RED Well, find another one! Red sighs and cups his hands around his mouth. RED (yells) What?! BUTCH (yells) Candy! Halloween candy! Popcorn balls, caramel apples, gum, shit like that?! RED (yells) You hungry? BUTCH (yells) You find me some candy and I'll deliver up a ghost. RED (to Adler) You heard him.207 EXT. ROADSIDE - DAY 207 Red nods to Adler who starts to gather sticks of gum, mints, anything from the surrounding officers. BRADLEY Don't have another megaphone, Chief. Red just shakes his head and sighs. Bobby Lee leans on the hood of the car and places one eye behind the scope of his rifle. (CONTINUED) 133.207 CONTINUED: 207 RED You all set? BOBBY LEE You say when, I'll say dead. Red glares at Bobby Lee for an extended moment. RED (yells; to Butch) You got yer'self a deal. Candy's waitin'.208 EXT. CREEKSIDE - DAY 208 BUTCH (yells) One more thing. His old lady has to swear to take him trick r 'treatin' every year. Phillip strains to look for his mom. He's upset, ready to leave. BUTCH Gimme' yer' list, Phillip. PHILLIP Butch?... BUTCH Gimme that list. Phillip pulls it out. Butch snatches it and reads it to himself, laughing. He's on a death roll of sorts, between losing blood and being in an impossible situation he almost seems to be enjoying the macabre scenario as it unfolds. Phillip, on the other hand, is beginning to sob. BUTCH (yells) And she's gotta promise to take him to the fair for rollercoasters and cotton candy whenever he wants... or at least once a year... PHILLIP I wanna' go home!... BUTCH (checks list; yells) And when he gets older he gets to drink beer... (CONTINUED) 134.208 CONTINUED: 208 PHILLIP I don't need beer!... BUTCH (to Phillip) Well it's on yer' list. (yells to Red) And to go out on dates with girls! (to Phillip) Not on the list, but you'll thank me later for that little addition. (checks list) Done that, got to drive, gonna' ride that rocketship. That's about it. (yells; to Red) She's gotta' promise or I won't let him go! PHILLIP I wanna' go home, Butch. My mama's not bad! She gives me those things. BUTCH Don't kid a kidder, Phillip.209 EXT. ROADSIDE -DAY 209 Red, exasperated, he can't believe how weird this has gotten. RED (yells) It's a deal! BUTCH (yells) Make her say it! Red looks to Gladys as if to say, "go ahead". She seems reluctant. Red's frustration is showing.210 EXT. CREEKSIDE - DAY 210 Phillip is near tears. He rises and starts to move for the field, but Butch grabs him with one arm, pulls him close and holds him like he's his own child. PHILLIP I jus' wanna' go home. BUTCH (sincere) Know jus' how ya' feel, Phillip. 135.211 EXT. ROADSIDE - DAY 211 GLADYS (to Red) Phillip knows those things are against our beliefs. RED (to Gladys) What kinda' foolishness is that? (yells) She promises! BUTCH (yells) Make her say it! Red gives her a look that says, "Say it or deal with me". GLADYS (yells) I promise!212 EXT. CREEKSIDE - DAY 212 BUTCH (to Phillip) Can we trust her? PHILLIP She's a real good mama. Butch reaches into his pocket, extracts the remaining wad of stolen bills, unzips the Casper outfit, stuffs them into the costume and rezips. BUTCH (to Phillip) When you get home, hide this. If she's lyin' you can buy yer' own damn beer. Phillip quiets for a moment and stares at Butch. PHILLIP Yer' not bad, are you, Butch? BUTCH Yeah. (beat) Now, Buzz, listen here. I want ya' to step out there real slow, keepin' yer' paws in the air. Then strut right over to them cops and yell 'trick r' treat.' Got it? (CONTINUED) 136.212 CONTINUED: 212 PHILLIP What are you gonna' do? BUTCH Somethin'll come to mind. Butch sticks out his hand. Phillip shakes it, afraid. BUTCH 'Bye, Phillip. It's been one helluva' ride. Butch nods and smiles. BUTCH (yells) All right, Cap'n. Make way for Casper the friendly ghost. The friendliest ghost I know. Butch nudges Phillip and the boy starts toward the field.213 EXT. ROADSIDE - DAY 213 Adler, looking through binoculars, can't help but smile. RED Gimme' them things. Adler hands over the binoculars. Red takes a look. HIS POV - PHILLIP nee Casper, walking in his full whitehood, arms reaching for the sky.214 EXT. FIELD - DAY 214 Phillip reaches level ground and for the first time sees the full strength of the amassed police forces -- at least 20 cars, swirling lights, guns everywhere, pointing at him.215 EXT. ROADSIDE - DAY 215 Red watches. RED (yells) Come on. Keep walkin'! HIS POV - THROUGH BINOCS Phillip stops walking and stands perfectly still. (CONTINUED) 137.215 CONTINUED: 215 BACK TO SCENE Red lowers his binocs. RED (to himself) Why the hell's he stoppin'? (to Gladys; direct) Call for yer' boy to come! Gladys, near shock, AD LIBS commands to Phillip. "Come on honey," "Phillip, keep walking," that kind of thing. (NOTE: Her commands become more and more shrieking and frantic and continue throughout, giving rise to even more confusion than is already present.)216 EXT. FIELD - DAY 216 Phillip turns back and sees ... Butch -- He tries to get up in an attempt to make a run for it, but his strength is gone. He collapses. Phillip, standing still, with his mother's shrieks filling the air behind him, watches Butch for a second then runs back toward him.217 EXT. ROADSIDE - DAY 217 Red sighs and lowers the binocs.218 EXT. CREEKSIDE - DAY 218 Phillip stands before a struggling Butch. BUTCH Personally I think we negotiated a pretty fair deal, but if there's somethin' else you want... PHILLIP (disbelief) Do they want to shoot you? Butch starts to lie to the boy but can't.219 EXT. ROADSIDE - DAY 219 A finger strokes the trigger of a high-powered rifle. Bobby Lee -- Smiling, ready, waiting. Red shrugs and wipes his brow. (CONTINUED) 138.219 CONTINUED: 219 HENDRICKS He thought better of releasin' the hostage. SALLY It doesn't necessarily mean that. RED (to Bobby Lee) Stay on ready.220 EXT. CREEKSIDE - DAY 220 Phillip holds his hand out and helps Butch get up. Butch stands, dusts himself off, grabs the boy's hand and to- gether they walk toward the field.221 EXT. ROADSIDE - DAY 221 Red, through the binoculars. RED I seen it all now.222 EXT. FIELD - DAY 222 Butch and Phillip, hand in hand, walking across the field.223 EXT. ROADSIDE - DAY 223 Red scratches his head. HENDRICKS What's he up to? RED Hell if I know. SALLY He's giving himself up. HENDRICKS Keep in mind -- he still has the gun. RED (yells; to Butch) Butch! Stop and let the boy go! Put yer' hands up and let the boy go!!! (NOTE: AD LIB instructions from Red continue as well.) 139.224 EXT. FIELD - DAY 224 With all the yelling, it's hard to make out what's being said. Butch and Phillip continue to walk and talk. BUTCH So I guess that's it for Alaska, Phillip.225 EXT. ROADSIDE - DAY 225 RED Stop and put your hands on your head! GLADYS Run, Phillip! Come here, Phillip! SALLY (to herself) Come on, come on... HENDRICKS (a warning) Chief, we've got an armed killer and an innocent boy out there. RED (to Bobby Lee) You clean? BOBBY LEE As a whistle. RED Keep him locked down. Don't squeeze til' I say 'when.' Red holds Bobby Lee's eyes until the young Fed nods. Then Red unstraps his holster and moves between the cars. HENDRICKS Where the hell you going? But Red's not listening, just walking, long and tall, into the field. EXT. FIELD - DAY Butch and Phillip continue to walk, Butch holding Phillip's hand. When Butch spots Red approaching he slows and then stops. Red shows his palms and keeps walking toward them. When he gets within 25 feet he stops. RED I'm unarmed. Toss your gun on the ground. (CONTINUED) 140.225 CONTINUED: 225 Butch smiles. BUTCH If I had a pistola I'd be headed the other direction. My partner here got rid of the evidence. (beat) Do I know you, friend? RED No... not really. BUTCH Hmm. Well, look I wanna' talk to the boy and then we'll take care of bidness. How's that? Only take a second. Red nods then looks over his shoulder at the patrol cars lined up like a wagon train, guns aimed, Bobby Lee peering through the scope of his rifle.226 NEW ANGLE 226 Butch and Phillip. BUTCH I wanna' give ya' somethin'.227 EXT. ROADSIDE - DAY 227 HENDRICKS He's stopped. ADLER He's gonna make a run for it. SALLY Give it a second! HENDRICKS (to Bobby Lee) Hold him! SALLY (yells) Let the boy go, Butch! HENDRICKS (to Bobby Lee) If he makes a move... 141.228 EXT. FIELD - DAY 228 Butch kneels down beside Phillip. He reaches slowly, pain- fully for his back pocket. BUTCH Mebe' someday you'll get to go...229 EXT. ROADSIDE - DAY 229 Hendricks looks through the binocs. HENDRICKS He's goin' for his weapon! THROUGH BINOCULARS Butch reaches into his back pocket... IN FIELD Red squints to make out what Butch's reaching for. HIS POV Butch smiles as he retrieves the POSTCARD from his pocket. BACK TO SCENE A look of concern crosses Red's lips... ROADSIDE Sally realizes it's not a gun that Butch is reaching for. SALLY Noooooo...!!!! FINGER ON TRIGGER squeezes -- An EXPLOSION followed by a RINGING ECHO. IN FIELD Butch's chest explodes when the bullet hits him. He rocks backwards, still on his knees... and looks at Phillip in amazement. Phillip screams, grabs Butch and holds him up. THROUGH CROSSHAIRS OF GUN Phillip is obscuring a second shot at Butch. BUTCH tastes blood and sighs. (CONTINUED) 142.229 CONTINUED: 229 BUTCH Damn, Buzz, shot twice in the same day. He collapses and falls into Phillip's arms. Phillip backs away two steps and falls to his knees. Butch wavers for a second then topples on his back. Phillip moans, sobs, as he watches Butch, the GUNSHOT still ECHOING. AT ROADSIDE Gladys runs from behind the car, followed by a host of officers. HENDRICKS Keep everybody back! Bobby Lee stands, lowers his rifle disengages and smiles at Hendricks. BOBBY LEE No need to worry. He can't hurt nobody now. IN FIELD Red stands frozen, staring, in another world. An OFFICER trots up to Butch and does a careful ground frisk. OFFICER (calls back) No weapon, Chief! Red "comes to," turns and walks toward the... ROADSIDE Red walks up to Bobby Lee, stops and stares at the grinning marksman. After a beat, Red turns then nearly jumps out of shoes with a sudden right cross that floors the younger man. Red starts to jump in for more but Hendricks, stunned, jumps in, grabs Red and, joined by four other Officers, holds the older man back. Shouting, i.e. "Hey, hey, Red, whoa, whoa!" Red settles a bit. Hendricks turns to Bobby Lee who rises to one knee and wipes at a bloody lip, and then to Red who is still breathing hard. HENDRICKS What the hell was that all about?! RED I didn't say 'when.' (CONTINUED) 143.229 CONTINUED: (2) 229 Red turns and walks away. Hendricks throws his hat to the ground, kicks it and follows Red with his eyes... HENDRICKS (to no one/everyone) Goddammit!! Adler catches up to Red. He stares at his old friend and boss as they walk along. ADLER I thought he had a gun, too, Red. There was just no way of knowin'. Red doesn't even look at Adler, just keeps walking. Adler stops, his eyes following Red. Sally, nearby, watches Red walk away. PHILLIP is helped to his feet by his mother. She holds him dearly to her chest. He hugs back just as hard, his blood-stained Casper outfit staining her blouse. She unzips the costume and dollar bills fly all around. She starts to lead Phillip off but he won't leave until... He pulls the postcard from Butch's hand. CLOSEUP - PHILLIP Staring down at Butch. CLOSEUP - BUTCH His eyes flutter a bit with recognition. AT PATROL CAR Red leans against the car. After a few seconds Sally walks up and finds a spot a few feet down from him where she, too, leans against the car. After a few more seconds. SALLY You did everything you could. You know that. Red just stares straight ahead. RED I don't know nuthin'. Not a damn thing. (CONTINUED) 144.229 CONTINUED: (3) 229 Red reaches into his pocket, pulls out his tobacco and stuffs a chunk into his mouth. IN FIELD - CLOSEUP - BUTCH He licks his lips as the MUFFLED VOICES CONTINUE around him. He squints hard and sees: HELICOPTER as it lifts off and speeds away. As it wipes the sun... CLOSEUP - BUTCH A slight smile crosses his dying face as he squints to see Phillip's flight. CLOSEUP - PHILLIP Nose pressed against the glass bubble. BUTCH His eyes don't close, still squinted but frozen. CLOSEUP - EYES We realize now, are lifeless. BUZZARD continues its flight past the sun. SUN flares, SENDING the SCREEN TO: MILKY WHITE IMAGE that opened the film. FADE TO BLACK. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Perks of Being a Wallflower, The.txt b/unformated_scripts/Script_Perks of Being a Wallflower, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..90e91a6ac13eb1de368ec5abd4e51c2aede8e2ed --- /dev/null +++ b/unformated_scripts/Script_Perks of Being a Wallflower, The.txt @@ -0,0 +1 @@ + THE PERKS OF BEING a WALLFLOWER Written by Stephen Chbosky Final Draft FADE IN:1 EXT. TUNNEL - NIGHT 1 The titles begin over black. We hear the sound of an old typewriter. Someone reaching out to us. The bell dings, announcing the end of a line, and we see our title... THE PERKS OF BEING A WALLFLOWER Music begins, picture fades up, and we are in the city. Downtown Pittsburgh. Looking out of the back window like a child in the back of a station wagon. We see lights on buildings and everything that makes us wonder. We see the bridge. And the river below. And then we enter... The Tunnel. We keep moving backwards, watching the lights. Golden, alive, and hypnotic. The music carries us as we float out of the tunnel. Onto another bridge. And over the highway. We move into the night sky, back through the trees, through a window, and into...2 INT. CHARLIE'S BEDROOM - NIGHT 2 It is a neat and tidy little room. Few posters or books. CHARLIE is 15. He is innocent, hopeful, awkward, and likable to everyone but his classmates. He sits at his desk, writing a letter in pencil as he tapes the title song through the radio on his cassette boom box. CHARLIE (V.O.) Dear Friend, I am writing to you because she said you listen and understand and didn't try to sleep with that person at that party even though you could have. Please don't try to figure out who she is because then you might figure out who I am, and I don't want you to do that. I just need to know that people like you exist. Like if you met me, you wouldn't think I was the weird kid who spent time in the hospital. And I wouldn't make you nervous.3 INT. CHARLIE'S HOUSE - MOMENTS LATER 3 Charlie anxiously walks through the hallway of his suburban split level house. 2. CHARLIE (V.O.) I hope it's okay for me to think that. You see, I haven't really talked to anyone outside of my family all summer. Charlie moves to the living room where dad watches a football game. Mom reads a page turner and sips her white wine. Charlie waits for them to notice him. And waits. And waits.4 INT. CHARLIE'S BEDROOM - NIGHT 4 Charlie sits at his desk, continuing his letter in pencil. CHARLIE (V.O.) But tomorrow is my first day of high school ever, and I really need to turn things around this year. (hopeful) So, I have a plan.5 INT. MILL GROVE HIGH SCHOOL HALLWAY - LAST DAY 5 We see it in Charlie's mind. Slow motion and wondrous. The kids clear out their lockers by throwing their old papers in the air like a New York confetti parade. CHARLIE (V.O.) As I enter the school for the first time, I will visualize what it will be like on the last day of my senior year. Charlie walks down the hall. Triumphant. Confident. Happy. CHARLIE (V.O.) (CONT'D) Unfortunately, I counted, and that's... SMASH CUT TO:6 INT. MILL GROVE HIGH SCHOOL HALLWAY - FIRST DAY 6 Reality. The bell rings, and we see the chaotic maze from Charlie's POV. A SENIOR BULLY leads the ritual, making dozens of freshmen hop down the hall. SENIOR BULLY Hop, freshman toads. Hop! Move it, boys! As seniors grab more victims, Charlie moves to the wall. CHARLIE (V.O.) ... 1,385 days from now. VARSITY FOOTBALL PLAYERS pass, wearing their letter jackets. 3. LINEBACKER Man, you got big. NOSE TACKLE Worked out all summer. Rock hard, dude. At the front of the pack is BRAD HAYS (17), the quarterback. He's good looking, charismatic, and friendly. The big man on campus. Nice guy, too. BRAD HAYS Would you guys get a room? They laugh. Charlie turns to the trophy case to avoid them. Trying to make himself as small as possible. CHARLIE (V.O.) (trying to be optimistic) Just 1,385 days.7 INT. MILL GROVE HIGH SCHOOL - CAFETERIA - LUNCH 7 Charlie moves down the lunch line with his sister. CANDACE KELMECKIS is 17 and a beautiful type A, straight A priss. CHARLIE (V.O.) In the meantime, I'd hoped that my sister Candace and her boyfriend Derek would have let me eat lunch with their earth club. CANDACE Seniors only. (barks to Derek) What are you doing with a plastic spork? Candace turns to her boyfriend, DEREK, 17. Derek is such a pussy, the most masculine thing about him is his pony-tail. DEREK I don't want to bring back silverware-- CANDACE Derek, you're Earth Club Treasurer. Derek takes the silverware like a beaten dog. Charlie watches them move into the intimidating cafeteria.8 INT. CAFETERIA - LATER 8 Charlie sits in the corner alone, observing everyone having a great time with their friends. He sees a pretty girl with blonde hair having the best first day. This is SUSAN, 14. 4. CHARLIE (V.O.) When my sister said no, I thought maybe my old friend Susan would want to have lunch with me. Charlie catches her eye and waves, but she looks away. CHARLIE (V.O.) (CONT'D) In middle school, Susan was very fun to be around, but now she doesn't like to say hi to me anymore. Charlie turns his attention to the quarterback, Brad Hays. CHARLIE (V.O.) (CONT'D) And then there's Brad Hays, who's the quarterback of our team. Before my brother went to play football for Penn State, he and Brad played together. So, I thought maybe he'd say hi to me. But Brad's a senior, and I'm me, so... who am I kidding? Brad catches Charlie staring at him. Awkward.9 INT. SHOP CLASS - DAY 9 Charlie sits by himself, watching the freshmen boys laugh as a senior paints a goatee on his face with a grease pencil. CHARLIE (V.O.) On the bright side, one senior decided to make fun of the teacher instead of the freshmen. He even drew on Mr. Callahan's legendary goatee with a grease pencil. Meet PATRICK (18), full of confidence, mischief, and so over high school. He is the class clown, performing a perfect imitation of the teacher, Mr. Callahan. PATRICK Boys, the prick punch is not a toy. I learned that in 'Nam back in '68. "Callahan," the sergeant said, "put down that prick punch and go kill some gooks." The laughter suddenly dies as the real MR. CALLAHAN (57) walks up behind the oblivious Patrick. PATRICK (CONT'D) But you know what happened? That prick punch killed my best friend in a Saigon whorehouse. 5. Patrick suddenly feels Mr. Callahan behind him. Oops. MR. CALLAHAN I heard you were going to be in my class. Are you proud being a senior taking freshman shop, Patty-Cakes? PATRICK My name is Patrick. You call me Patrick or you call me nothing. MR. CALLAHAN Okay... Nothing. The class laughs. Except Charlie. He watches Patrick take the long walk back to his seat. CHARLIE (V.O.) I felt really bad for Patrick. He wasn't saying the impersonation to be mean or anything. He was just trying to make us freshmen feel better. MR. CALLAHAN Everyone open your safety guides. Nothing... why don't you read first? Patrick opens the book. PATRICK Chapter 1. Surviving your fascist shop teacher, who needs to put kids down to feel big. (to the class) Oh, wow. This is useful guys. We should read on. Charlie smiles. He loves him already.10 INT. ENGLISH CLASS - MORNING 10 The kids pass back paperback copies of To Kill A Mockingbird. Charlie opens his Trapper Keeper, takes a pencil out of the plastic pouch, and writes... "ENGLISH CLASS... DAY ONE." CHARLIE (V.O.) My last class of the day is advanced English, and I'm excited to finally start learning with the smartest kids in the school... A SMART ASS FRESHMAN girl with braces smiles at him. 6. SMART ASS FRESHMAN (whispers) Nice Trapper Keeper, faggot.The kids around him laugh. Charlie's ears turn red. At theblackboard, the teacher writes his name... Mr. Anderson. Butyou can call him BILL (27). Bill is an idealist. BILL Shhh. I'm Mr. Anderson. And thanks to Teach for America, I'm going to be your teacher for freshman English. This semester, we're going to be learning Harper Lee's To Kill a Mockingbird. Genius book. Now, who wants to get out of the first pop quiz?All hands go up. Except Charlie's. Bill paces the rows. BILL (CONT'D) I'm shocked. Alright. You can skip the quiz if you tell me which author invented the paperback book. Anyone?As kids think, Bill confiscates contraband, removes hats. BILL (CONT'D) He's British. He also invented the serial. In fact, at the end of chapter 3 of his first novel, he had a man hanging off a cliff by his fingernails. Hence, the term cliffhanger. Anybody? FRESHMAN GIRL Shakespeare. BILL That's a great guess, but no, Shakespeare didn't write novels. Anybody else? (off their silence) The author was...Bill is about to give the answer when he notices Charlie hasalready written... Charles Dickens. BILL (CONT'D) ... Charles Dickens. However, if you and I had gone to a play in Shakespeare's time, it would have cost 4 pennies. Can you imagine that? We would have put those pennies in a metal box, which the ushers would lock in the office. And that's where we get the term... anyone? 7. KIDS (O.S.) "Office Depot!" "Office Supplies!" Charlie writes down Box Office, then looks up to find that Bill is staring at him. Waiting for him to raise his hand. BILL I'll give you a free "A" on anything but the final term paper if you get it right. Charlie looks down. He's not going to answer. BILL (CONT'D) Box office. The kids groan. They should have known. Charlie smiles to himself. He's going to like this class.11 INT. ENGLISH CLASS - LATER 11 The bell rings. The students chatter their way out of class. The last to leave is Charlie. BILL You should learn to participate. Charlie stops and turns to find Bill erasing the board. BILL (CONT'D) Why didn't you raise your hand? (off Charlie's shrug) They call you teacher's pet? Freak? (off Charlie's nod) I used to get spaz. I mean, come on, spaz? Charlie smiles. Bill takes a moment. Then... BILL (CONT'D) So, I heard you had a tough time last year. But they say if you make one friend on your first day, you're doing okay. CHARLIE Thank you, sir, but if my English teacher is the only friend I make today, that would be sort of depressing. BILL Yeah. I could see that. CHARLIE Don't worry, Mr. Anderson. I'm okay. 8. Bill nods and watches Charlie exit. He gets swallowed up by the hallway as the bell rings.12 INT. MILL GROVE HIGH SCHOOL - HALLWAY - DAY 12 Charlie looks through the thick office glass. He sees Patrick use his charms on MRS. SMALL, (58) the Principal. PATRICK (to Mrs. Small) I would happily not take shop... Out of nowhere, the SENIOR BULLY grabs Charlie's book. SENIOR BULLY Hey, Freshman Toad. The bully rips the cover. He throws it on the ground as his friends laugh and disappear down the hall. Charlie walks up and picks up his book. CHARLIE (V.O.) Well, I have 1,384 days to go. And just so I say it to someone, high school is even worse than middle school.13 EXT. CHARLIE'S HOUSE - DAY 13 Charlie walks up the path to his house. CHARLIE (V.O.) If my parents ask me about it, I probably won't tell them the truth because I don't want them to worry that I might get bad again.14 INT. CHARLIE'S HOUSE - AFTERNOON 14 Charlie tapes his book cover back together. He looks up as his dad comes home from a long day. Charlie's mom hugs him. CHARLIE (V.O.) If my Aunt Helen were still here, I could talk to her. And I know she would understand how I am both happy and sad, and I'm still trying to figure out how that could be. I just hope I make a friend soon. Love always, Charlie.15 INT. CHARLIE'S DINING ROOM - EARLY EVENING 15 Charlie stands in the kitchen, pouring his milk. 9. MOTHER (O.S.) Charlie, come on. His family is seated around the table. Candace's boyfriend, Derek, is their special guest. DEREK Mmmm. This chicken paprikash is delicious, Mrs. Kelmeckis. Charlie's father rolls his eyes, then reads his sports page. MOTHER Thank you, Derek. It's Charlie's favorite. He was a little nervous about starting high school, so I made it. FATHER You feel a little silly being nervous now, huh, champ? CHARLIE Yes, sir. I sure do. Charlie carries his milk back to the table. He quickly sits, hoping someone will change the subject. FATHER I told you. Just give 'em a smile and be yourself. That's how you-- CANDACE "--make friends in the real world." FATHER You're cruisin' for a bruisin'. DEREK Freshman year is tough, but you really find yourself. FATHER (deep eye roll) Thanks, Derek.16 INT. LIVING ROOM / ENTRY HALL - EVENING 16 Charlie's father and mother watch a local sports show. Charlie passes by them with ice cream on his way downstairs. MOTHER I think you could be a little nicer to Derek. 10. FATHER I'm sorry. The kid's a pussy. I can't stand him. Charlie moves to the entry hall. He looks through the screen door to the porch where Candace kisses Derek's cheek goodbye. As Derek walks to his mom's Mercedes, Candace joins Charlie. DEREK (waving from car) I hope you love the mix I made. The cover is hand-painted. When he gets into his car, she hands Charlie the mix tape. CANDACE Charlie, do you want this? CHARLIE Are you sure? CANDACE He gives me one every week.17 INT. CHARLIE'S BED ROOM - DUSK 17 Charlie sits on his bed, reading To Kill a Mockingbird, the cover taped back together. We see Derek's mix... Autumn Leaves... rotate in his old tape recorder. DEREK (V.O.) Hey, Babe. This next one might be a little sad, but it reminded me of your eyes. The first notes of The Smiths' "Asleep" begins. As Morrissey sings, Charlie keeps reading. And reading. CUT TO:18 INT. CHARLIE'S BEDROOM - DAY 18 The reading is done. Charlie proudly puts To Kill a Mockingbird on his newly dubbed "Shelf of Fame."19 INT. MILL GROVE HIGH SCHOOL - HALLWAY - AFTERNOON 19 The songs continues as we see glimpses of Charlie's day to day life over the next few weeks. Charlie exits his English class. FRESHMEN BULLIES wait for him, led by... SMART ASS FRESHMAN Did you already do the term paper on To 11. Silence. They grab and drag him into the boy's room. We hear the toilet flush for the swirly.20 INT. CHARLIE'S BEDROOM - DUSK 20 Charlie looks at the new bottle of prescription Wellbutrin. He puts a pill in his mouth and washes it down with RC cola.21 INT. CHARLIE'S LIVING ROOM - AFTERNOON 21 Charlie watches his brother and the Penn State Nittany Lions on TV. He looks over at his father, but his dad is too busy building Charlie's clock for shop class to notice him.22 INT. MILL GROVE HIGH SCHOOL - CAFETERIA - LUNCH 22 Charlie carries his tray through the intimidating cafeteria. Not giving up. Looking for somewhere to sit. CUT TO:23 INT. MILL GROVE HIGH SCHOOL - CAFETERIA - LUNCH 23 Charlie sits by himself in the corner. He looks around the cafeteria, wanting to break in. Not knowing how. After a moment, he returns to his book. The song ends.24 EXT. MILL GROVE HIGH SCHOOL - FOOTBALL STADIUM - NIGHT 24 Friday Night Football in Western, PA. Charlie buys his Coke and nachos and wanders to the bleachers. He sits alone, trying to blend in by cheering with the rest of students. When the Mill Grove Devils recover a fumble, he hears... PATRICK Come on Devils! Woooooo! Charlie looks up at Patrick, cheering his head off. TWIN SENIOR GIRLS pass him, taunting. TWIN SENIOR GIRLS Hey, Nothing. Hey, Nothing. PATRICK Suck it, virginity pledges! Charlie wants to go up to Patrick so badly. After driving himself crazy, sitting up and down twice, he approaches. CHARLIE Hey... Patrick. 12. PATRICK Hey! You're in my shop class, right? How's your clock coming? CHARLIE My dad's building it. PATRICK Yeah. Mine looks like a boat. (off Charlie's awkward silence) You want to sit over here, or are you waiting for your friends? CHARLIE No. I'll sit if that's okay.Patrick motions for Charlie to sit. Charlie sits. Elated. PATRICK Thanks for not calling me "Nothing" by the way. It's an endless nightmare. And these assholes actually think they're being original.Brad Hays puts on his helmet and rushes onto the field.Charlie dries his hands on his pants. So nervous. A 5second silence that feels like a year. Think of something tosay. Anything. CHARLIE So, uh... you like football? PATRICK Love it. CHARLIE Then, maybe you know my broth-- PATRICK Hey, Sam.Charlie looks up. Standing there is the prettiest girl he'sever seen. SAM (17) would make every mother proud and everyfather nervous. She is alive, adventurous, and a world classflirt. Great attitude. Great taste. Great banter. SAM Question. Could the bathrooms here be more disgusting? PATRICK Yes, they call it the men's room. 13.Sam sits down, sandwiching Charlie between her and Patrick.Charlie tries to remain casual. Hang in there, buddy. SAM Well, I finally got hold of Bob. PATRICK Party tonight? SAM No. He's still trying to shag that waitress from the Olive Garden. PATRICK He's never tossing that salad.Brad Hays marches the Devils offense down the field. Thekids clap. Sam looks at Charlie, then turns back to Patrick. SAM (about Charlie) Patrick... who's this? PATRICK This is... CHARLIE Uh... Charlie... Kelmeckis. PATRICK Kelmeckis! No shit! Your sister dates Pony Tail Derek, doesn't she? CHARLIE Is that what they call him? SAM Awww. Leave Pony Tail Derek alone. You put the "ass" in "class," Patrick. PATRICK I try, Sam. I try. SAM It's nice to meet you, Charlie. I'm Sam.Sam extends her hand to Charlie. Every nail a differentcolor. They shake. Then, Sam grabs a nacho. Zoinks! PATRICK So, what's the plan, Sam? You want to go to Mary Elizabeth's house? 14. SAM Can't. She got caught watering down her parent's brandy with iced tea. Let's just go to Kings. PATRICK (turns to Charlie) Hey... we're going to Kings after the game if you want to come. Charlie nods just as Brad Hays tosses a touchdown pass. The fans go crazy. Especially Patrick. Charlie smiles.25 INT. KINGS FAMILY RESTAURANT - NIGHT 25 The Devils' faithful cheer as Brad Hays and his guys enter! The place is packed. Patrick and Sam drink coffee while Charlie eats his brownie. They're all excited. SAM Do you have a favorite band? CHARLIE I think The Smiths are my favorite. SAM Are you kidding!? I love The Smiths! The best breakup band ever. What's your favorite song? CHARLIE Asleep. It's from Louder Than Bombs. I heard it on Pony Tail Derek's mix tape. PATRICK That works on so many levels. CHARLIE I could make a copy for you. SAM Thanks. What about Eide's? You love Eide's, right? CHARLIE (never heard of it) Yeah. They're great. PATRICK Not a band, Charlie. SAM It's an old record store downtown. 15. PATRICK I used to be popular before Sam got me some good music. So, watch out, Charlie. She'll ruin your life forever. CHARLIE That's okay.Brad Hays, the quarterback, passes with his posse. Taunting. NOSE TACKLE & LINEBACKER Hey, Nothing. Hey, Nothing. PATRICK Let it go! Jesus! It's an old joke! It's over!Sam laughs. She loves watching Patrick get riled up. SAM So, Charlie... what are you going to do when you get out of here? CHARLIE My Aunt Helen said I should be a writer, but I don't know what I'd write about. SAM You could write about us. PATRICK Yeah. Call it Slut and The Falcon. Make us solve crimes.Sam laughs. Charlie smiles. CHARLIE You guys look happy together. How long have you been boyfriend and girlfriend? (off their laughs) What? SAM He's my step-brother. My mom finally left my worthless dad and married his nice dad 3 years ago. PATRICK But Sam's not bitter. Make no mistake. SAM Absolutely. I'm not a bulimic. I'm a bulim-ist. 16. They laugh at their inside joke. Charlie has no idea what's so funny. CHARLIE I'm sorry. I don't know what that means. PATRICK She just really believes in bulimia. SAM (cracking up) I love bulimia.26 EXT. CHARLIE'S HOUSE - NIGHT 26 Charlie hops out of Sam's old truck. The music blares. PATRICK Thanks for paying, Charlie. CHARLIE (so eager) No problem. Thanks for the ride. Hey... maybe I'll see you around in school? SAM (distracted - to Patrick) God, would you turn that down? You're going to make us deaf. Bye, Charlie. PATRICK Bye, Charlie. CHARLIE Okay. Bye. Charlie waves as the truck leaves. The look on his face. The happiness from one night of company.27 INT. CHARLIE'S HOUSE - NIGHT 27 Charlie enters the house, excited to tell someone his news. He runs up the stairs to find the living room empty. He hears the TV playing downstairs in the basement.28 INT. DOORWAY TO BASEMENT - NIGHT 28 As Charlie approaches, he hears muffled sounds of fighting. DEREK (O.S.) I'm sorry. I can't do anything about it. Please talk to me. 17. CANDACE (O.S.) Maybe your mom and I should have a "drive us to our hair appointment" contest. Then, I could spend a Saturday with you. Charlie looks through a slit in the open door to find... DEREK There's nothing I can do-- CANDACE Do you always want to be a mama's boy? DEREK I am not a mama's boy-- CANDACE Yes! You are! Every time I go to your house-- DEREK Shhh. Shut u-- CANDACE -- your mom says, "Don't go to Columbia with Candace. Go to Pitt, Derek. Mommy needs you to stay at home because she can't drive herself." She's only 51. DEREK SHUT UP, CANDACE!29 INT. CHARLIE'S HOUSE - BASEMENT - CONTINUOUS 29 Charlie enters, wanting to stop the fight. Derek's neck is red. Dangerous angry. Candace keeps digging. CANDACE And you just stand there like a little bitch dog. SNAP! Out of nowhere, Derek slaps her across the face. It's not a movie slap. It's a real slap. Dead sound. And after it, silence. Candace turns and sees Charlie. It sobers her up. Charlie moves at Derek. Candace stops him. CANDACE (CONT'D) Charlie, just go. I can handle it. Just don't wake up mom and dad. She pushes him out of the room and closes the door. 18.30 INT. CHARLIE'S BEDROOM - NIGHT 30 Charlie sits at his desk. So disturbed. He hears a car start outside. He moves to his window and looks down at Derek and Candace near Derek's mother's Mercedes. Derek is crying. Candace comforts. After a beat... they kiss. Charlie stands frozen, a look creeping across his face. MOTHER (V.O.) Hey, look who's here... FLASHBACK TO:31 INT. ENTRY HALL - NIGHT (FLASHBACK) 31 The door opens to reveal Charlie's mom and AUNT HELEN entering the house. Aunt Helen carries a suitcase. The children don't know where she's been or why she looks sad. They just know they love her. Little Charlie stands at the top of the stairs with his brother and sister in their Sunday clothes. There are balloons. And streamers. LITTLE CANDACE Welcome home, Aunt Helen! AUNT HELEN Oh. Look at you all, dressed so nice. Aunt Helen smiles at Little Charlie on top of the stairs. MATCH CUT TO:32 INT. ENTRY HALL - NIGHT (PRESENT) 32 Charlie stands at the top of the stairs as Candace enters the house. She is startled when she sees Charlie. They whisper. CHARLIE What are you doing? CANDACE Look, I egged him on. You saw it. He's never hit me before. I promise he'll never hit me again. She's about to go back downstairs when... CHARLIE Like Aunt Helen's boyfriends? A silence passes between them. Then... 19. CANDACE Charlie... this is Pony Tail Derek. I can handle him. Will you trust me? Please, don't tell mom and dad. With a desperately confident nod, Candace goes downstairs. Charlie stands in the entry hall, troubled.33 INT. GYMNASIUM - NIGHT 33 The Homecoming Dance is in full swing. God bless everyone. Especially Charlie. He's alone at the wall, dressed in his Sunday suit. To us, adorable. To himself, in living hell. Charlie watches his sister, slow dancing with Derek. As happy as she looks, Charlie still isn't sure if he did the right thing by keeping quiet. The song ends to applause. After a beat, Charlie turns away. That's when he sees Sam and Patrick at the punch bowl. We hear the first notes of "Come On, Eileen" by Dexy's Midnight Runners. SAM Oh, my God. They're playing good music. PATRICK Holy shit. They are! They're playing good music! SAM (total mischief) Living room routine? PATRICK Living room routine! Charlie watches Sam and Patrick run to the center of the floor and show this stiff crowd what dancing is. It starts slow. "So over it" hand moves. A little shoulder. And then, the best of swing. 30 seconds of genius. Charlie takes a breath. Then, he tries desperately not to look like he's dancing toward them as he dances toward them. He bobs his head like a dork. And once he gets close, Patrick and Sam turn and find him. SAM & PATRICK Hey! Without a pause, they grab his hands, and move together in a circle. Their own island. After a moment, Sam moves around Charlie like a maypole as the whole gym explodes into dance. 20.34 EXT. BOB'S HOUSE - NIGHT 34 The party rages inside this mansion in the rich part of town. Patrick and Sam walk up the steps with Charlie tailing. SAM God, it's freezing. PATRICK But you wore that toasty costume. It's not like you're trying too hard to be original. SAM Piss off, Tennessee Tuxedo. CHARLIE Are you sure it's okay that I come? SAM Of course. Just remember, Charlie... Bob's not paranoid. PATRICK "He's sensitive." Sam knocks. The door opens, revealing BOB (20). Bob was the cool high school kid, who never quite left. He's stoned so often that people can't tell the difference anymore. BOB Sam... that waitress from the Olive Garden is a tease. Will you marry me? SAM Only if I have Patrick's blessing. BOB Patrick? PATRICK You're a hopeless stoner who attends the culinary institute. So, I'm going to have to say "no" on that one, but nice try. Charlie? Patrick leads Charlie inside, leaving Bob staring at Sam. BOB TouchÈ.35 INT. BOB'S BASEMENT - MOMENTS LATER 35 21. PATRICK Charlie... this is a party.The music blasts. Charlie's eyes are our guide. As theywalk through the crowd, you can smell it. Stale beer andcigarette smoke. High school parties. The room is packed *with kids playing quarters. Others pouring vodka into awatermelon. PATRICK (CONT'D) This is what fun looks like.Patrick smiles when he spots two friends. PATRICK (CONT'D) You ready to meet some desperate women?MARY ELIZABETH and ALICE (both 17) sit on the sofa together.Mary Elizabeth is smart, a little overweight, and extremelybossy. Alice will figure out that she's a lesbian incollege. Right now, she just likes movies and is MaryElizabeth's "beta female." PATRICK (CONT'D) Here, have a seat. Hey, ladies, meet Charlie. Charlie, meet ladies.They shake hands and say their hellos. PATRICK (CONT'D) This is Charlie's first party ever. So, I expect nice, meaningful, heartfelt blow jobs from both of you. MARY ELIZABETH Patrick, you're such a dick. PATRICK Where the hell did you go? MARY ELIZABETH The dance was a little boring, don't you think? PATRICK You're so selfish. We looked everywhere for you. You could have told someone. MARY ELIZABETH Cry me a river. PATRICK How is it that you got meaner since 22. MARY ELIZABETH Just lucky I guess. PATRICK I think you're doing something wrong. MARY ELIZABETH Or something very right. Patrick and Mary Elizabeth laugh at their banter, just as Sam calls out from the other side of the room. SAM (O.S.) Hey! Look who's here! The party turns, and Charlie sees Brad Hays, the quarterback, enter with Sam and Bob. Patrick approaches them. Charlie sits on the beat up couch next to the girls. He's shocked. CHARLIE Is that Brad Hays? ALICE Yeah. He comes here sometimes. CHARLIE But he's a popular kid. MARY ELIZABETH (offended) Then, what are we? Charlie tries to think of something, but he can't. The girls turn, ignoring him. Bob approaches with a tray. BOB Charlie, you look like you could use a brownie. CHARLIE Thank you. I was so hungry at the dance. I was going to go to King's, but I didn't really have any time. Thanks. Bob smiles. Mary Elizabeth gives Alice a knowing glance. Charlie bites into the brownie. The icing gushing between his teeth. The image goes up into the smoke like an inhale as he chews and chews and chews.36 INT. BOB'S BASEMENT - LATER 36 After a beat, the music changes, and the image exhales back down to Charlie, who is now... baked out of his mind. The 23.whole party surrounds him now, pissing themselves withlaughter as this shy kid talks and talks and talks. CHARLIE Have you guys felt this carpet? This carpet feels so darn good. MARY ELIZABETH (laughing) Charlie, what do you think about high school? CHARLIE High school? Bullshit. The cafeteria is called the Nutrition Center. And people wear their letter jackets even when it's 98 degrees out. And why do they give out letters for marching band? That's not a sport, and we all know it. MARY ELIZABETH This kid is crazy.Charlie looks at Mary Elizabeth with her new wave haircut. CHARLIE And Mary Elizabeth, I think you're really going to regret that haircut when you look back at old photographs. (off their laughter) I'm really sorry. That sounded like a compliment in my head. MARY ELIZABETH Oh, my God! ALICE Well, it's kind of true. MARY ELIZABETH Shut up!Sam enters the room. Takes quick stock. Then... SAM Bob, did you get him stoned? BOB Come on, Sam. He likes it. Just look at him. SAM How do you feel, Charlie? 24. CHARLIE I just really want a milkshake. The entire room explodes with laughter. Charlie loves that people find him so funny.37 INT. BOB'S KITCHEN - NIGHT 37 Sam takes the ice cream from the freezer to the blender. Charlie watches her make the perfect vanilla milkshake. CHARLIE Sam, you have such pretty brown eyes, the kind of pretty that deserves to make a big deal about itself. You know what I mean? SAM Okay, Charlie. Let me make the milkshake. CHARLIE What a great word. Milkshake. It's like when you say your name over and over again in the mirror, and after awhile, it sounds crazy. SAM I'm guessing you've never been high before? CHARLIE Me? No. My best friend Michael. His dad was a big drinker. So, he hated all that stuff. Parties, too. SAM Well, where is Michael tonight? CHARLIE Oh, he shot himself last May. Sam looks up. Shocked silent. Charlie is just stoned. CHARLIE (CONT'D) I kind of wish he'd left a note. You know what I mean? (off her sad nod) Where's the bathroom? SAM It's up the stairs. CHARLIE 25. Charlie wanders off. Sam watches him go.38 INT. HALLWAY - NIGHT 38 Charlie leaves the bathroom and stops when he sees himself in a large ornate mirror in the hallway. CHARLIE Charlie. Charlie. Weird. Charlie wanders down the hallway, a little lost. He finds the door to the master bedroom and opens it. He sees Patrick and Brad Hays... kissing. CHARLIE (CONT'D) Woah. PATRICK Charlie? BRAD HAYS (nervous) Who is that kid? PATRICK Relax. Relax. He's a friend of mine. Stay here. Patrick closes the bedroom door and follows Charlie. CHARLIE I didn't see anything. PATRICK I know you saw something, but it's okay. Patrick takes a quick peek to make sure no one is watching. PATRICK (CONT'D) Listen, Brad doesn't want anyone to know... wait, are you baked? CHARLIE "Like a cake." That's what Bob said. And how you can't have 3 on a match because they would find us. And everyone laughed, but I don't know what's funny. PATRICK Okay, Charlie, listen. I need you to promise that you're not going to say anything to anyone about me and Brad. This has to be our little secret. 26. CHARLIE Our little secret. Agreed. PATRICK Thank you. We'll talk later. CHARLIE I look forward to that big talk. Patrick laughs, goes back to the room, and closes the door.39 INT. BOB'S BASEMENT - NIGHT 39 The party has thinned. Sam watches Charlie drink his milkshake obsessively with Alice and Mary Elizabeth. CHARLIE Isn't this the best milkshake, Alice? It's even better than the first one. Patrick walks downstairs. Sam motions him over. SAM (barely audible whisper) I need to talk to you. Charlie just told me that his best friend shot himself. I don't think he has any friends. Patrick turns to look at Charlie. He feels so bad for the kid. Patrick raises his plastic cup to the remaining crowd. PATRICK Everyone. Raise your glasses to Charlie. Charlie looks up. A little paranoid. Everyone is staring. CHARLIE What did I do? PATRICK You didn't do anything. We just want to toast our new friend. (off his look) You see things. And you understand. You're a wallflower. Charlie dries his sweaty hands on his pants. He looks around the room at the nods and friendly faces. PATRICK (CONT'D) What is it? What's wrong? CHARLIE 27. PATRICK Well, we didn't think there were any cool people left to meet. So, everyone... SAM & EVERYONE To Charlie. They all drink. Sam approaches him. A knowing smile. SAM Welcome to the island of misfit toys. Charlie smiles, and the soundtrack comes rushing up loud. SMASH CUT TO:40 EXT./INT. SAM'S TRUCK - NIGHT 40 The truck speeds on Highway 376 toward the Fort Pitt Tunnel. Patrick drives. Sam cranks the radio, blaring "The Tunnel Song." The Star's anthem, "Your Ex-Lover is Dead" is our prototype for tone. SAM My God. What is this song!? PATRICK Right? I have no idea. SAM (to Charlie) Have you heard it before? CHARLIE Never. SAM (light bulb) Wait! Let's go through the tunnel! PATRICK Sam, it's freezing. SAM Patrick, it's the perfect song! PATRICK No. Mama Patrick says no. SAM Patrick, it's Sam. It's Sam talking to you, I'm begging you to drive me-- 28. PATRICK (laughing) Alright! I concede! Sam climbs through the window to the flat bed. She grips the flood lights to steady herself as she stands. CHARLIE What is she doing? PATRICK Don't worry. She does it all the time. SAM Turn it up! PATRICK You got it, your highness. Patrick turns up the volume and drums on the steering wheel, just as the truck flies into... THE TUNNEL We go behind the truck. Rising as Sam puts her arms in the air. The image moves to Charlie's point of view, rising from Sam's feet up her shivering legs. Past the band-aid on her right knee. To Sam's face as she looks down. Into the camera. Right at us. For we are now... Charlie, looking up at Sam, so in love with this free-spirit. So happy to have friends. Happy to be alive. Charlie gets this look on his face. Patrick notices and smiles. PATRICK (CONT'D) What? CHARLIE I feel infinite. The truck flies out of the Fort Pitt Tunnel onto the bridge. Patrick and Charlie laugh as Sam raises her arms. Free and young and alive on the greatest night of Charlie's life. CUT TO:41 INT. CHARLIE'S BEDROOM - AFTERNOON 41 We see Charlie proudly put a Smiths poster on his wall next to photos of his new friends. He dances to his desk, listening to Air Supply's "All Out of Love" on his Walkman. 29. CHARLIE (V.O.) Dear Friend, I'm sorry I haven't written for awhile, but I've been trying hard not to be a loser. As the lyrics begin, Charlie unabashedly lip-synchs... AIR SUPPLY I'm lying alone with my head on the phone, thinking of you 'til it hurts. Charlie sits at his desk, writing and lip-synching. CHARLIE (V.O.) For example, I am trying to participate by listening to Sam's collection of big rock ballads and thinking about love. Sam says they are kitschy and brilliant. I completely agree.42 INT. BILL'S CLASSROOM - MORNING 42 As the students file out, Charlie hands his paper to Bill in exchange for a beat up copy of The Great Gatsby. CHARLIE (V.O.) I am also studying extra books outside of class. As it turns out, Mr. Anderson is a writer. He even had a play put up in New York once, which I think is very impressive. He and his wife might go back there after this year. I know this is selfish, but I really hope he doesn't. Charlie pauses in the doorway and turns back to look at Bill.43 INT. CAFETERIA - LUNCH 43 Charlie turns from the lunch line with The Great Gatsby on his tray. He looks at the gang at their table. He sits with them as they debate the design of this month's fanzine. CHARLIE (V.O.) My favorite time, though, is lunch because I get to see Sam and Patrick. We spend the time working on Mary Elizabeth's fanzine about music and The Rocky Horror Picture Show. It's called Punk Rocky. Mary Elizabeth is really interesting because she is a Buddhist and a punk, but somehow she always acts like my father at the end of a "long day." 30.44 INT. LIBRARY - AFTERNOON 44 The xerox spits out copies of PUNK ROCKY! Halloween Issue! Alice staples while Mary Elizabeth works her like a sled dog. CHARLIE (V.O.) Her best friend Alice loves vampires and wants to go to film school. She also steals jeans from the mall. I don't know why because her family is rich, but I'm trying not to be judgemental. Especially since I know how they were all there for Patrick last year. Patrick never likes to be serious, so it took me awhile to get what happened. Sam and Alice laugh when Patrick begins stapling Mary Elizabeth's fanzines to within an inch of their life. [Note: The following sequence will come from Charlie's POV of Patrick and Brad's activities over a weekend.]45 EXT. FOOTBALL STADIUM - NIGHT 45 Brad Hays leads the football team through the banner onto the field as Charlie, Patrick, and Sam cheer. Moments later, Brad pulls his helmet on and rushes onto the field. CHARLIE When he was a junior, Patrick started seeing Brad on the weekends in secret. I guess it was hard, too, because Brad had to get drunk every time they fooled around.46 INT. CAFETERIA - LUNCH 46 Patrick whispers while the gang studies their SAT books. CHARLIE (V.O.) Then, Monday in school, Brad would say, "Man, I was so wasted. I don't remember a thing." This went on for 7 months.47 INT. ST. THOMAS MORE CATHOLIC CHURCH - MORNING 47 Charlie sits with his family in itchy church clothes. He turns to see Brad with his father and mother. Proper family. Brad's dad gives him a pat on the back. CHARLIE (V.O.) When they finally did it, Brad said he loved Patrick. Then, he started to cry. 31. CHARLIE (V.O.) (CONT'D) saying his dad would kill him. And saying he was going to hell.48 INT. LIBRARY - DAY 48 We see Patrick and Brad walking in the library. They reach the stacks, and just when it looks like they'll speak, they simply... PASS EACH OTHER WITHOUT A WORD. CHARLIE (V.O.) Patrick was eventually able to help Brad get sober. I asked Patrick if he felt sad that he had to keep it a secret, and he said no because at least now, Brad doesn't have to get drunk to love him. Brad sits down with his football pals. Patrick joins Charlie and Sam at their table. Charlie looks over at Sam, studying hard for her SAT's. CHARLIE (CONT'D) I think that I understand because I really like Sam. I asked my sister about her, and she said that when Sam was a freshman, the upper classmen used to get her drunk at parties. I guess she had a reputation. But I don't care. I'd hate for her to judge me based on what I used to be like.49 INT. CHARLIE'S BEDROOM - DUSK 49 We see Charlie making a mix tape on his boom box. CHARLIE (V.O.) So, I've been making her a mix tape so she will know how I feel. The two cassettes run. The song is just about to finish when... the side runs out of tape and snaps off. CHARLIE (CONT'D) Ah, shit!50 EXT. DORMONT HOLLYWOOD MOVIE THEATER - MIDNIGHT 50 The marquee announces it's time for the...51 INT. DORMONT HOLLYWOOD MOVIE THEATER - MIDNIGHT 51 ... Rocky Horror Picture Show! The ROCKY EMCEE, dressed as Riff Raff, whips the crowd into a frenzy. 32. ROCKY EMCEE CROWD Gimme an R! Gimme an O! R-O-C-K-Y! Rocky! Rocky! Gimme a C! Gimme a K! Gimme Rocky! a Y! What's that spell!? The crowd cheers! Charlie claps from the front row.52 INT. DORMONT HOLLYWOOD MOVIE THEATER - LATER 52 The movie is in full swing. Charlie watches Sam as Janet in the Floor Show. Sam mimics Susan Sarandon perfectly. Especially the body. She winks at Charlie as "Fanfare/Don't Dream It" begins and arriving regally as Frank 'n Furter in full drag is... Patrick. PATRICK Whatever happened to Fae Wray? That delicate, satin draped frame? As it clung to her thigh, how I started to cry 'cause I wanted to be dressed just the same. Patrick is a rock star. He approaches Charlie. Putting his ass in his face. Charlie is freaked out and laughing! Especially when he sees Brad, alone in the back, smiling. PATRICK (CONT'D) Give yourself over to absolute pleasure. Swim the warm waters of sins of the flesh. Erotic nightmares beyond any measure. And sensual daydreams to treasure forever. Can't you just see it? Woah oh oh! Charlie stops laughing when the orgy begins between Patrick, Mary Elizabeth (as Columbia), CRAIG (21), an art student with a model's body (as Rocky)... and of course... Sam. Charlie watches Sam until he can't take his lust (or guilt).53 INT. CRAIG'S LOFT APARTMENT - KITCHEN - NIGHT 53 We hear the chorus of "Don't Dream It, Be It" as Charlie watches all of the exciting cast members at the after-show party. Charlie sees a photo of Sam's naked back on the wall of Craig's loft. Very arty. Very black & white. Charlie's lust (and guilt) are now at 11. Alice looks at the photo. ALICE It's gorgeous, Craig. What did you use? Craig is impressive to high school kids. He's a little pretentious. But his art school life. His red wine. His loft. Wow. Right now, he holds court in the wine line. 33. CRAIG Color film, but black and white paper for the printing. My professor gave me an "A," but for the wrong reasons. Most of them are idiots. You'll see what I mean when you get to college. How were your SAT's by the way? ALICE (worried) 1150. I think I'll get into NYU. CRAIG Yeah, I hope so. MARY ELIZABETH (cruel to Alice) 1490. Harvard. Face!54 INT. CRAIG'S LOFT APARTMENT - MOMENTS LATER 54 Charlie sees Sam alone on the loft steps. She looks a little down. He hands Sam a plastic cup and sits next to her. CHARLIE Hey. Are you okay? SAM Yeah. Yeah. But I got my SAT results back. Oops. CHARLIE You can take them again. SAM Yeah, it's just if I'm going to Penn State main campus, I have to do much better. I wish I would have studied freshman year. I was a bit of a mess. CHARLIE I'll help you study for the next one. SAM Will you? CHARLIE Yeah, of course. SAM Thanks, Charlie. Charlie summons his courage. He hands her the mix tape. 34. SAM (CONT'D) What's this? CHARLIE Just a mix tape. No big deal. My parents have a pretty good stereo. It's all about that night in the tunnel. I couldn't find that song we were listening to, but I'm still searching for it, so-- SAM It's okay. These are great. You have really good taste, Charlie. CHARLIE Really? SAM Yeah. Way better than me as a freshman. I used to listen to the worst top 40. CHARLIE No. SAM Yeah, I did. But then I heard this old song. Pearly Dew Drops Drop. And I thought someday I would be at a party in college or something. And I'd look up and see this person across the room. And from that moment, I'd know everything was going to be okay. You know what I mean? CHARLIE (devastated in love) Yeah.55 INT. CRAIG'S LOFT APARTMENT - LATER 55 The tape revolves in the stereo, playing a beautiful ballad. Charlie watches Sam sway to his music like a serenade. Like she is dancing with him. But she isn't. A wider angle reveals that she is slow dancing with... Craig. Charlie is 15 year old CRUSHED. No filter. Just feeling. Patrick, Alice, and Mary Elizabeth watch Sam across the room. ALICE So, what do you think? PATRICK I don't know. 35. ALICE I hope it works out. Craig would be a big step up from her last boyfriend. MARY ELIZABETH No, shit. Who could forget Mr. Car Wash Loser? PATRICK I just hope she stops playing dumb with these guys. I keep telling her... don't make yourself small. You can't save anybody. Craig dips a smiling Sam as the song ends. Sam goes into the kitchen. Craig approaches Charlie. Turns off his mix tape. CRAIG Man, your mix is morbidly sad, kid. How about something a little more upbeat? Craig grabs a record from the pile and slaps it down. CRAIG (CONT'D) Sam tells me you want to be a writer. CHARLIE Yeah. ALICE Don't you write poetry, Craig? CRAIG No. Poetry writes me. You know? Charlie sighs. Craig's upbeat song begins to play. He dances over to Sam. Charlie's heart breaks as he watches Sam hug on Craig.56 INT. MILL GROVE HIGH SCHOOL - HALLWAY - DAY 56 In a mirror image, Candace hugs on Derek near the lockers. Charlie closes his own locker and moves down the hall.57 INT. ENGLISH CLASS - MORNING 57 The bell rings. Charlie sets down his On the Road paper. BILL Wow. That was fast. You want another one? 36. Charlie nods. Bill smiles and reaches into his desk. He hands Charlie a copy of A Separate Piece. Charlie takes the book and starts to walk out, but he turns back. CHARLIE Mr. Anderson... can I ask you something? BILL Yeah. CHARLIE Why do nice people choose the wrong people to date? BILL Are we talking about anyone specific? Charlie nods. Bill looks straight at him. Not preaching. Coming from a history of personal experience and pain. BILL (CONT'D) We accept the love we think we deserve. CHARLIE Can we make them know they deserve more? BILL We can try. Charlie smiles.58 INT. KINGS FAMILY RESTAURANT - MORNING 58 Charlie waits nervously at a booth. He sees Sam enter. He fixes his hair, then pretends to read his SAT PREP BOOK. SAM Hey, Charlie. CHARLIE Hey, Sam. I didn't see you come in. You want to work on probabilities and statistics? Sam nods. They open their books, and a Christmas song begins. In a quick passage of time, we see them study next to Halloween decorations. Then, Thanksgiving. And finally, Christmas decorations.59 INT. CHARLIE'S HOUSE - NIGHT 59 The song continues. Charlie's mom and sister hang the Christmas ornaments as Charlie helps his dad find that "one 37. CHARLIE Hey, dad. Can I have 30 dollars? FATHER (old joke) 20 dollars? What do you want 10 dollars for? CHARLIE Sam is doing secret santa. It's her favorite thing in the world. Please. Charlie's father reaches into his pocket and hands Charlie a bill. It's a fifty. Dad winks, in a great mood. FATHER Have fun. CHARLIE Thanks.60 INT. MILL GROVE HIGH SCHOOL - DAY 60 Lockers are opened by Charlie. Sam. Patrick. Wrapped gifts are deposited. Mischief smiles. Lockers closed. Everyone loves getting their presents except Charlie - who got socks.61 INT. BILL'S CLASSROOM - MORNING 61 Bill hands Charlie a well worn copy of The Catcher in the Rye. He smiles. BILL Charlie... this was my favorite book growing up. This is my copy, but I want you to have it. CHARLIE Thanks. BILL Have a great Christmas break. CHARLIE You too, Mr. Anderson.62 INT. SHOP CLASS - DAY 62 Mr. Callahan, the shop teacher, looks at a Sad Sack Girl's clock. He takes a moment, and then... MR. CALLAHAN Terrible stain. 38. He moves to Charlie's dad's amazing clock. He hands Charlie an A on a piece of paper. MR. CALLAHAN (CONT'D) That's pretty good, Charlie. Mr. Callahan moves to Patrick's SHITTY WOODEN CLOCK. No stain. No finish. Lop-sided. The ugliest clock you've ever seen in your life. MR. CALLAHAN (CONT'D) You've got to be kidding me. PATRICK If you fail me, you get me next semester. Mr. Callahan writes a grade and slaps it down.63 EXT. WEST END OVERLOOK - NIGHT 63 The song continues as Patrick holds up the grade. C minus! Charlie and Sam cheer as Patrick screams at the top of his lungs... PATRICK Woo! C Minus! It's over! It's over! Ladies and gentlemen, I am below average! SAM Below average! Patrick screams at the city in the distance. Below average!64 INT. DORMONT HOLLYWOOD MOVIE THEATER - GREEN ROOM - NIGHT 64 We move to find Sam, holding her SAT score up to the group. SAM Hey, guys. 1210. Everyone cheers. Sam hugs Charlie.65 INT. SAM AND PATRICK'S HOUSE - GAMES ROOM - NIGHT 65 Charlie carries Sam on his shoulders past the Christmas Tree. Sam wears a Santa Hat like a hot elf. SAM No more applications! No more SAT's! Thank you, Charlie! They pass Mary Elizabeth as she opens her final present. 39. MARY ELIZABETH Multiple pairs of blue jeans. Wow. This is a really tough one, but I'm going to have to guess... Alice.Alice smiles. Bob nudges her. Guilty as charged. MaryElizabeth pulls one last item out of the gift bag. MARY ELIZABETH (CONT'D) Wait, guys... a receipt! She actually paid! PATRICK Impossible! MARY ELIZABETH I'm so touched.Alice laughs. Patrick pours everyone brandy. The kids lookridiculous, but they don't feel ridiculous. CHARLIE Where's Craig? SAM He went home to Connecticut. He'll be back for New Year's Eve. CHARLIE I'm sorry we won't be seeing him tonight.Sam nods, then turns. Charlie is delighted. No Craig. Thekids settle in the living room in front of the fire. SAM Alright, big brother by 3 weeks. Who's your secret santa? PATRICK I'll tell you, Sam. This one's tough. I have received a harmonica, a magnetic poetry set, a book about Harvey Milk, and a mix with the song "Asleep" on it... twice.Charlie starts snickering. He can't help himself. PATRICK (CONT'D) I mean, I have no idea. This collection of presents is so gay that I think I must have given them to myself. But despite that distinct possibility, I'm going to have to go with... drum roll... Charlie. 40.Charlie holds up his hands. Yay! They all cheer. SAM Alright, Charlie... it's your turn.Charlie and Patrick switch places. Charlie stands. CHARLIE Okay. Uh, I have received socks, pants, a shirt, and a belt. I was ordered to wear them all tonight. So, I'm guessing my secret santa is Mary Elizabeth. PATRICK Huh. Now, why do you say that? CHARLIE I don't know. She bosses people around sometimes.The gang cracks up. Mary Elizabeth is pissed. MARY ELIZABETH What the hell is wrong with you? CHARLIE Sorry. PATRICK Well, you'll be surprised to know that your secret santa is actually... me. CHARLIE You got me clothes? Why? PATRICK Because all the great writers used to wear great suits. Your last present is on a towel rack in the bathroom. Delve into our facilities. Emerge a star.Charlie gives Sam a sack of presents. CHARLIE Can you hand these out while I'm gone? MARY ELIZABETH Wait a second. There's only secret santa presents. There are rules, Charlie. PATRICK Mary Elizabeth, why are you trying to eat Christmas? Hand them out, Sam. 41. Sam gives out the presents. The group rips them open. Alice looks at a book about Martin Scorsese with the inscription... ALICE "Alice, I know you'll get into NYU." Alice turns to Mary Elizabeth who holds up a card with... MARY ELIZABETH 40 dollars. (reads card) "To print Punk Rocky in color next time." Bob blows soap bubbles into the air. Stoned. Mesmerized. BOB He knows me. He really knows me. Sam looks at her present. An old 45 record of The Beatles classic "Something" with a card. She reads the card. Holds it to her chest. Very moved. SAM Come on out, Charlie. They all chime in. "Let's go, young man!" "Charlie! Charlie!" Charlie opens the door off camera, and we see his entrance play off their faces. The reverse angle reveals... Charlie dressed in his suit. Like the best of English mods in the 60's. For those of you who know the book, this is the cover. They all clap. It's magic. PATRICK Yeah! What a display of man I have ever seen! Sam and Charlie look at each and smile.66 INT. SAM'S BEDROOM - LATER 66 The door opens. Sam and Charlie walk into the dark room. CHARLIE Where are we going? SAM It's a surprise. Sam flips the switch, bathing the room in light. Sam's room is so cool. A shrine to music. A xerox that says "The Beatings Will Continue Until Morale Improves." Virgin Mary icons. Snow globes. Kitsch. 42. CHARLIE Is this your room? It's so cool. SAM Thanks.Sam points to a green box with a red ribbon on her desk. CHARLIE You got me a present? SAM With all that help on my Penn State application? Of course I did. Open it.Charlie lifts up the box to reveal an OLD MANUAL TYPEWRITER. CHARLIE I don't know what to say. SAM You don't have to say anything.Sam goes over and types. "Write about us sometime." Hesmiles and types back. "I will." They look at each other.We can hear a lovely ballad playing downstairs. SAM (CONT'D) I'm sorry we can't be here for your birthday. CHARLIE That's okay. I'm just sorry you have to go back and visit your dad. SAM I'm in such a great mood, I don't think even he could ruin it. I feel like I'm finally doing good. CHARLIE You are. SAM Me? What about you? When I met you, you were this scared freshman. And look at you in that suit. You're like a sexy English school boy. I saw Mary Elizabeth checking you out. CHARLIE (innocent laugh) No. 43. SAM Innocent. Worst kind of guys. Never see you coming. And parents love you. That's like... extra danger. CHARLIE Well, it hasn't worked so far. SAM Come on. You've never had a girlfriend? Not even a 2nd grade valentine?He shakes his head. SAM (CONT'D) Have you ever kissed a girl? CHARLIE No. What about you? SAM Have I ever kissed a girl? CHARLIE (laughs) No! Your first kiss...Sam gets this strange look in her eyes. A little haunted. SAM My first kiss? I was 11. His name was Robert. He would come over to the house all the time. CHARLIE Was he your first boyfriend? SAM He was my dad's boss.Charlie goes silent. SAM (CONT'D) You know Charlie, I used to sleep with guys who treated me like shit. And get wasted all the time. But now... I feel like I have a chance. I could even get into a real college. CHARLIE It's true. You can do it. SAM 44. CHARLIE My Aunt... she had that same thing done to her, too. And she turned her life around. SAM She must have been great. CHARLIE She was my favorite person in the world... until now. Sam smiles. She's very moved. SAM Charlie, I know that you know I like Craig. But I want to forget that for a minute. Okay? I just want to make sure that the first person who kisses you loves you. Okay? Charlie nods. And with that, Sam leans over and kisses him. It starts softly, then Sam wraps her thin arms around him. Holding on for lonely life. When the song crescendos, and they part, Charlie and Sam look at each other. Finally... SAM (CONT'D) I love you, Charlie. CHARLIE I love you, too.67 EXT. SAM AND PATRICK'S HOUSE - NIGHT 67 The porch lights are as golden as Charlie feels right now. We see the girls wave to each other and hug Sam. GANG "Merry Christmas!" "Good luck at your dad's!" "See you at New Year's!" Patrick approaches Charlie in the doorway. CHARLIE Have a good time at your mom's. PATRICK Thanks. And Charlie... since you were born on Christmas Eve, I figure you don't get a lot of birthday presents. So, I thought you should have my clock. From the heart. 45. CHARLIE Thank you, Patrick. Sam gives Charlie one last hug. Patrick and Sam watch their friends leave. PATRICK I love you guys!68 EXT. DOWNTOWN PITTSBURGH - NIGHT 68 We fly as high as Charlie feels. Above the city on Christmas Eve.69 INT. CHARLIE'S HOUSE - NIGHT 69 The front door opens, revealing Charlie's dad. FATHER Hey! Look who's here! He moves out of the way, and standing there is Charlie's older brother, CHRIS KELMECKIS (19). Chris is handsome, charismatic, and an all around winner. CHRIS Come here, little sister. CANDACE Hey, Chris. Big hug. Chris smiles big and "son flirts" with his mom. CHRIS Ma, you look so thin! MOTHER 10 pounds... Weight Watchers. Big kiss. When he lets go, he sees Charlie and smiles. CHRIS Charlie... Chris and Charlie look at each other in silence. Then, hug. As the family moves into the dining room to celebrate, Chris gives him a quiet... CHRIS (CONT'D) Happy birthday.70 INT. CHARLIE'S DINING ROOM - MOMENTS LATER 70 46. MOTHER Make a wish, honey. We move closer to Charlie as he makes his wish and blows out his 16 candles. MATCH CUT TO:71 EXT. CHARLIE'S STREET - NIGHT (PRESENT) 71 The wind blows out a candle in one of the luminaria bags. The suburb is quiet. Not a creature is stirring. Except... Charlie. He fills a brown paper bag with sand and a candle. He lights the candle, making the bag glow like a beautiful lantern. He looks down his street, where families are out with their kids, doing the same luminaria ritual. MATCH CUT TO:72 EXT. CHARLIE'S STREET - NIGHT (FLASHBACK) 72 The same street. Christmas Eve. Many years ago. Aunt Helen and the kids finish their luminaria bags. Aunt Helen lights up the candles. They glow. AUNT HELEN Can you see it, Charlie? The luminaria is a landing strip for Santa Claus. The image goes wide. All of these bags glowing. Beautiful. Aunt Helen rattles her keys. Whispers. AUNT HELEN (CONT'D) Keep an eye out for him with your brother and sister. I'll be right back. She bends down and whispers into his ear. AUNT HELEN (CONT'D) I'm going to get your birthday present. She musses his hair and gets in the car. END FLASHBACK73 EXT. CHARLIE'S STREET - NIGHT (PRESENT) 73 Charlie hovers over the glowing luminaria. Something is bothering him. He shakes it off. 47.74 INT. CHARLIE'S HOUSE - KITCHEN/DINING ROOM - NIGHT 74 Charlie wanders through the quiet house. He turns the corner where he finds Chris sitting at the table. He's lit by a couple of candles and the blinking lights of the Christmas Tree. He's surrounded by leftovers. Charlie sits. CHARLIE Hey. Chris chews and swallows. Famished. They both whisper. CHRIS Hey. God, I missed mom's cooking. You have no idea how good you have it. I'm actually beginning to hate pizza. Charlie smiles. Grabs a Hershey Kiss cookie. CHARLIE How are you liking school? CHRIS Not bad. I'm no brainiac like you or Candace. But I'm doing okay. CHARLIE Okay? You're playing in a Bowl Game. Chris laughs. Charlie smiles. A moment passes. Chris changes his tone. Cautious. CHRIS How are you feeling, Charlie? CHARLIE Good. CHRIS You know what I mean. Is it bad tonight? CHARLIE No. CHRIS No? CHARLIE I'm not picturing things anymore. And when I do, I can just shut it off. CHRIS (relieved) 48. CHRIS (CONT'D) now. And maybe if it does get bad again, you can just talk to them, yeah? CHARLIE Yeah. Especially Sam. I'm going to ask her out at New Years. I think the time is right now. Chris smiles at his kid brother. We hear the church organ.75 INT. ST. THOMAS MORE CHURCH - MORNING 75 The family moves down the line to receive Holy Communion at Christmas Mass. Charlie's father, then mother, then sister, take the sacrament. Charlie is next. The PRIEST makes the motion of the cross with the communion wafer. He places it in Charlie's hand. Charlie brings the sacrament to his mouth with his fingers... MATCH CUT TO:76 INT. BOB'S LIVING ROOM - NIGHT 76 We move in closer to Charlie's fingers in his mouth. When he takes his hand out, we see... a tab of LSD. The church organ is now a rock organ. And it's now... New Year's Eve. Charlie closes his mouth. He looks down the hall of the smoky room where Craig has his arm around Sam. Charlie turns to Mary Elizabeth, who's also dosed. CHARLIE How long does this take to work?77 EXT. BOB'S HOUSE - NIGHT 77 About 45 minutes. The sound is muted thick. Slight echoes. Charlie shovels the snow. Crunch. Fascinated by his breath making fog. Sam comes outside. She's worried about him. SAM Shoveling snow, huh? CHARLIE I have to get this driveway clean. Then, I have to congratulate you for being happy because you deserve it. SAM You said that an hour ago. CHARLIE Was that tonight? God. I was looking at this tree, but it was a dragon, and then 49. SAM Okay, Charlie. Don't freak out. Just give me the shovel. Calm down. Look up. She points. Charlie looks up. Sees the stars. SAM (CONT'D) Isn't it quiet? CHARLIE Sam, you ever think that if people knew how crazy you really were, no one would ever talk to you? SAM All the time. So, you want to put on these glasses? They'll protect you. Sam puts her arm around his shoulder. Protecting him. Charlie looks through the glasses. The sky bends like a globe. When he breathes, the sky ripples.78 INT. BOB'S HOUSE - NIGHT 78 Charlie wanders through the party, tripping out of his mind. He sits down on the sofa. The world unbends as Charlie takes off the glasses. Kids walk around the party, leaving ghosts of themselves behind. Charlie looks upstairs to find... Sam and Craig kissing. Craig leads her to the bedroom. Charlie looks back at the party as kids gather for the New Years countdown. Patrick leads the charge. PATRICK 10-9-8...79 EXT. CHARLIE'S STREET - NIGHT (FLASHBACK) 79 In a QUICK FLASH, we see 7 year old Charlie with Aunt Helen on Christmas Eve. She bends to whisper in his ear. AUNT HELEN It'll be our little secret, all right?80 INT. BOB'S HOUSE - NIGHT (PRESENT) 80 We are BACK TO PRESENT as Charlie takes a deep breath and tries to remember that he's at a New Year's party. PATRICK 7-6-5-4-3-2-1. Happy New Year! 50. The crowd cheers, leaving ghosts of themselves. Charlie gets up from the sofa and walks out of Bob's house.81 EXT. CHARLIE'S STREET - NIGHT 81 Charlie walks down the road under a streetlight. Silhouette. The road is icy. Charlie lays down and starts moving his arms in the snow. The memories begin to haunt him.82 EXT. CHARLIE'S STREET - NIGHT (FLASHBACK) 82 7 year old Charlie waves goodbye to Aunt Helen as she drives away through the landing strip for Santa Claus.83 EXT. CHARLIE'S STREET - NIGHT (PRESENT) 83 16 year old Charlie blinks. The memories come faster.84 INT. AUNT HELEN'S CAR - NIGHT (FLASHBACK) 84 Aunt Helen drives past a tall snow drift. She looks down at the 45 of The Beatles in the seat next to her. She smiles at Charlie's birthday present. Then, she looks up as the headlights of the semi truck smash the windows with a CRASH!85 INT. CHARLIE'S HOUSE - NIGHT (FLASHBACK) 85 Charlie's mother opens the door, revealing a POLICEMAN. He turns to Charlie in his party hat. 7 years old and confused.86 EXT. CHARLIE'S STREET - NIGHT (PRESENT) 86 16 year old Charlie lays on the snow, shivering, as the image goes high above to reveal he's made a snow angel.87 INT. HOSPITAL ROOM - AFTERNOON 87 The Emergency room is bustling on New Year's Day. Charlie looks up as the POLICE, DOCTORS, and his PARENTS tower over him. He is terrified and does what any kid would do. He lies his ass off. POLICEMAN Did your older friends pressure you? CHARLIE No one pressured me into anything. I would never do drugs, officer. Never. POLICEMAN Then, how did you happen to be passed out on the ground at 6 in the morning? 51. CHARLIE Well, um... I was really tired, and uh... I was feeling feverish. So, I went outside for a walk, just to get some cold air. And I started seeing things. So, I passed out. He waits to see if this worked. And then, unexpectedly... MOTHER (worried) You're seeing things again, Charlie? CHARLIE (oops) Not, uh... Not really.88 EXT. MILL GROVE HIGH SCHOOL - PARKING LOT - MORNING 88 The tires squish the grey slush puddle as the busses pull into the dreary parking lot. School is back in session.89 INT. HALLWAY - MORNING 89 Charlie shakes off the cold, then takes off his overcoat to reveal... he's wearing his suit from Secret Santa. All the kids stare. Charlie realizes he made a terrible mistake. CHARLIE It was a Christmas present.90 INT. BILL'S CLASSROOM - MORNING 90 Charlie sits as Bill hands out the book for the semester... The Great Gatsby. As the kids chatter, Bill gives Charlie his own book to start the year... The Stranger. CHARLIE Did you have fun on your break? BILL More fun than you're going to have today, Sinatra. Bill pats his shoulder and moves on. The Smart Ass Freshman looks at Charlie and whispers. SMART ASS FRESHMAN Nice look, jag off.91 EXT. DORMONT HOLLYWOOD MOVIE THEATER - NIGHT 91 The Rocky Horror faithful enter the theater. 52. SAM (O.S.) I called him 30 times.92 INT. DORMONT HOLLYWOOD MOVIE THEATER - GREEN ROOM - NIGHT 92 Mary Elizabeth and the kids get ready for the floor show. MARY ELIZABETH Well what are we supposed to do? We're going on in 10 minutes! The phone rings. Mary Elizabeth picks up. Charlie turns to Brad, sitting next to him. Charlie is freaking out. CHARLIE But they said in health class-- BRAD HAYS They say that about LSD to scare you. CHARLIE Are you sure? BRAD HAYS Charlie, you're fine, man. Mary Elizabeth hangs up the phone, frustrated. MARY ELIZABETH Guys, we have an emergency. Craig flaked out on us again. I need a Rocky. Brad? BRAD HAYS (scared) No way. There are people out here. The group is deflated. They all start thinking. After a beat, Mary Elizabeth looks at Charlie. MARY ELIZABETH Charlie... take off your clothes.93 INT. DORMONT HOLLYWOOD MOVIE THEATER - LATER 93 You know those dreams you have when you are standing in front of 200 people in your underwear? Well, this is no dream. We hear a heart beat as Charlie dances out of the Rocky gauze and finds himself standing in tight gold underwear, looking out at 200 people, cheering him on. His friends can't stop smiling. Especially Mary Elizabeth, who watches Charlie's little butt in the gold undies. She 53.94 INT. DORMONT HOLLYWOOD MOVIE THEATER - LATER 94 "Touch-A, Touch-A, Touch Me" is in full swing. Sam slinks over to Charlie dressed in her white bra and slip. SAM (as Janet) So if anything grows while you pose. I'll oil you up and drop you down. And that's just one small fraction of the main attraction. You need a friendly hand. And I need action! Sam grabs Charlie's hands and rubs them all over her chest. SAM (CONT'D) Ah! Touch a touch a touch me! I wanna be dirty! Thrill me. Chill me. Fulfill me! Creature of the night! The song continues. We see flashes of the night's performance as Charlie goes from train wreck to triumph. Charlie joins Sam in the kick line, and it feels like it's just the two of them. On the final beat, Sam gasps... SAM (CONT'D) Creature of the night! The song ends. The cast bows. Sam and Patrick push Charlie in front for his own curtain call. Everyone cheers. It's the night he'll never forget.95 EXT. DORMONT HOLLYWOOD MOVIE THEATER - NIGHT 95 The wind whips. That bracing February cold. Charlie helps Mary Elizabeth carry the costumes outside to her car. CHARLIE Maybe I could join the cast as an alternate or something? MARY ELIZABETH We're filled up now, but they'll need people after we leave for college. I could put in a good word for you. CHARLIE That'd be great. Thanks. They put the box in her trunk. Snap it closed. We can't help but notice the "Keep Your Laws Off My Body" bumper sticker as Mary Elizabeth tries her best to flirt. 54. MARY ELIZABETH Charlie... have you heard of the Sadie Hawkins dance? CHARLIE The one where the girl asks the guy. MARY ELIZABETH Yeah. Well, obviously, it's completely stupid and sexist. It's like, "Hey, thanks for the crumb." And normally, I'd just blow it off because school dances suck torture. But, you know, it's my last year, and... would you maybe want to go with me? CHARLIE You want to go with me? MARY ELIZABETH I'm sick of macho guys. And you looked really cute in your costume. So, what do you say? Charlie thinks and thinks and...96 INT. CHARLIE'S HOUSE - DUSK 96 Ding dong. Charlie's mom opens the door for MARY ELIZABETH. Charlie straightens out his church suit. So nervous. MOTHER You must be Mary Elizabeth. It's so good to meet you. MARY ELIZABETH You, too, Mrs. Kelmeckis. FATHER (shit eating grin) Charlie tells me you're a Buddhist.97 INT. CHARLIE'S HOUSE - FIREPLACE - DUSK 97 Charlie and Mary Elizabeth stand next to Candace and Derek. FATHER OK, a little closer together. That looks nice. Buddhist, I need you to smile a little bit more. There you go. Nice. Cheese! White flash. The picture of 4 kids. Smiling big. 55.98 INT. MILL GROVE HIGH SCHOOL - GYMNASIUM - NIGHT 98 Charlie and Mary Elizabeth slow dance to an 80's love song. Sweaty palms. Awkward. Hands on hips. Horror. Charlie looks around the gym. He sees Alice dancing with her date, an EFFEMINATE GOTH KID (17). We'll never meet him, but he'll make us laugh once. Charlie then watches Patrick dance with Sam. He follows Patrick's gaze across the floor to Brad, who dances with a SENIOR GIRL (18). Charlie sees the boys look at each other. For one moment, it's like they're dancing together.99 INT. MILL GROVE HIGH SCHOOL - GYMNASIUM - LATER 99 Mary Elizabeth is at the punch bowl with the gang. Charlie sees Sam, standing by the wall, looking sad. He approaches. CHARLIE Are you having a good time? SAM Not really. How about you? CHARLIE I don't know. This is my first date, so I don't know what to compare it to. SAM Don't worry. You're doing fine. Charlie joins her at the wall. Mary Elizabeth gives them a quick, jealous look. CHARLIE I'm sorry Craig didn't come. SAM Yeah. He said he didn't want to go to some stupid high school dance. Can't say I blame him. CHARLIE I don't know. If you like it, he should come. SAM Thanks, Charlie. Have a beautiful first date. You deserve it. CHARLIE I'll try not to make you too jealous. 56. He said it to cheer her up. Sam forces a smile and leaves.100 INT. MARY ELIZABETH'S DEN/LIVING ROOM - NIGHT 100 Mary Elizabeth approaches Charlie on the antique sofa. She uncorks a bottle of wine. POP! She hands him the bottle. MARY ELIZABETH Mmmm. Now, let it breathe. Mary Elizabeth walks over to the vintage turntable. She turns on the gas fireplace with a remote control. Roar! CHARLIE This is sure a nice house. MARY ELIZABETH Thanks. Mary Elizabeth drops the needle on a vinyl LP. A Doo Wop make-out classic begins to play. She dances over to Charlie. MARY ELIZABETH (CONT'D) Mmmm. Don't you just love old music? (off his nod) Good. Because I made you a mix of it. I'd love to expose you to great things. Like Billie Holiday and foreign films. She pours the wine. Charlie looks at the bottle. CHARLIE This merlot is really fancy. MARY ELIZABETH Yeah. My dad collects wine, but he doesn't drink. That's weird, isn't it? CHARLIE I guess. Where are your parents? MARY ELIZABETH Their club is hosting a cotillion or something racist. They'll be gone all night. Mary Elizabeth drops her necklace with a thud. Charlie looks around. Heart beating. CHARLIE That's sure a nice fire. 57. MARY ELIZABETH Yeah. After I'm done being a lobbyist, I want to move to a house like this in Cape Cod. That sounds nice, doesn't it? CHARLIE Yeah. She reaches out and touches his chest. MARY ELIZABETH Your heart is beating really fast. CHARLIE Is it? MARY ELIZABETH Here, feel. She puts her hand on his. Moves it to his chest. MARY ELIZABETH (CONT'D) Charlie? CHARLIE Uh-huh? MARY ELIZABETH Do you like me? CHARLIE Uh-huh. MARY ELIZABETH You know what I mean. CHARLIE I think so. MARY ELIZABETH Don't be nervous. She slowly moves his hand to her dress strap. It falls off her shoulder. She leans in for a red wine kiss. She guides his hand over her bra. He feels her breast. Wow. MATCH CUT TO:101 INT. MARY ELIZABETH'S BASEMENT - FANTASY 101 For a quick moment, Charlie imagines he is kissing Sam. Broken by... 58.102 INT. MARY ELIZABETH'S BASEMENT - MOMENTS LATER 102 Mary Elizabeth moves his hand away. Charlie blinks, taking a moment to realize Sam's not the one in the room. The song is over. The needle turns at the end of the record. MARY ELIZABETH Charlie... She gives him one last kiss. Content, she lays down on his lap. Peaceful. MARY ELIZABETH (CONT'D) I didn't know how it was going to go tonight, but it was really nice, huh? CHARLIE Yeah. MARY ELIZABETH I can't believe it. You of all people. I just can't believe you're my boyfriend. We land on Charlie's face. "What?" And then, we hear the GARAGE DOOR OPEN. MARY ELIZABETH (CONT'D) Oh, shit! My parents! The mad scramble for clothes begins. CUT TO:103 EXT. CHARLIE'S HOUSE - NIGHT 103 Mary Elizabeth's car pulls in front of Charlie's house. Charlie gets out. Wanting to say he's not her boyfriend. Not knowing how. Mary Elizabeth smiles. Smitten. MARY ELIZABETH See you Monday. With that, she backs out of the driveway. We see him from the back of her car, getting smaller and smaller. His stomach already filling with acid. CHARLIE (V.O.) Dear Friend... I'm sorry I haven't written for awhile, but things are a total disaster. 59.104 INT. CAFETERIA - LUNCH 104 Sam, Patrick, and Alice are seated around the table. Mary Elizabeth has her arms around Charlie. Smothering him. MARY ELIZABETH We're literally making out, and I'm in my bra. Hello! And the front door opens. It's my parents! I'm scrambling to get my dress on. It was crazy. Right, babe? Charlie nods, tortured. CHARLIE (V.O.) I probably should have been honest about how I didn't want to go out with Mary Elizabeth after Sadie's, but I really didn't want to hurt her feelings.105 EXT. MILL GROVE HIGH SCHOOL PARKING LOT - MORNING 105 Ash Wednesday. Charlie gets out of the school bus to immediately find Mary Elizabeth waiting for him. She sees the cross of ashes on his forehead. She thinks his ashes are a smudge. She cleans it. CHARLIE (V.O.) You see, Mary Elizabeth is a really nice person underneath the part of her that hates everyone. And since I heard that having a girlfriend makes you happy, I tried hard to love her like I love Sam. MARY ELIZABETH Can you believe it's almost our two week anniversary? CHARLIE I know.106 EXT. DORMONT HOLLYWOOD MOVIE THEATER - NIGHT 106 A double date. Craig and Sam buy the tickets to see the silent classic, The Cabinet of Dr. Caligari. CHARLIE (V.O.) So, I took her on double dates. MARY ELIZABETH (proud) Your first foreign film. CHARLIE 60. MARY ELIZABETH Vegans don't eat butter. Charlie tries not to feel Mary Elizabeth's sweaty hand. CHARLIE (V.O.) And I tried not to mind that she loves to hold hands even when her hands are sweaty.107 INT. MARY ELIZABETH'S DEN/LIVING ROOM - NIGHT 107 Just like Sadie's except... the fire in the fireplace is out. We move from the fireplace to Charlie, touching Mary Elizabeth's breasts over her sweater. CHARLIE (V.O.) And I had to admit something really upsetting. But I am tired of touching her boobs. I thought maybe if she would just let me pick the make-out music once in awhile, we might have a chance. Charlie looks at the Ani DiFranco Mix on the stereo. Sighs.108 INT. CAFETERIA - LUNCH 108 The gang is there. Walden rests on Charlie's lunch tray. CHARLIE (V.O.) And maybe if she didn't put down the books that Mr. Anderson gives me. MARY ELIZABETH Walden? I read it in 7th grade. I would have called it "On Boring Pond."109 INT. CHARLIE'S BEDROOM - AFTERNOON 109 Ring! Charlie grabs the cordless. He looks at Patrick's clock. 3:13pm. His voice can no longer hide his quiet rage. CHARLIE (V.O.) Or if she would stop calling me the minute I get home from school when I have absolutely nothing to talk about other than the bus ride home... MARY ELIZABETH (V.O.) That dairy just sits with you. It walks with you. Charlie calmly puts down the phone and leaves the room. We 61.110 INT. CHARLIE'S KITCHEN - MOMENTS LATER 110 Charlie is so miserable. His mom is sympathetic. MOTHER She's on the phone right now? Charlie, you have to break up with her. CHARLIE I can do that? Charlie's father leans back from the sofa and his newspaper. FATHER For Christ's sake... I need to use the phone!111 INT. CHARLIE'S BEDROOM - MOMENTS LATER 111 He returns. Mary Elizabeth is still talking on the cordless. MARY ELIZABETH (V.O.) I'll give you this book. It's really how I became a vegan-- CHARLIE (V.O.) I know I should have been honest, but I was getting so mad, it was starting to scare me. He looks back at the clock. 3:23pm. CHARLIE (CONT'D) Um... Mary Elizabeth. Can I talk to you-- MARY ELIZABETH (V.O.) Charlie. Please, don't interrupt. You know I hate that. Charlie goes to his quiet place. Tick. Tick. Tick. CHARLIE (V.O.) I just wish I could have found another way to break up. In hindsight, I probably could not have picked a worse way to be honest with Mary Elizabeth.112 INT. CRAIG'S LOFT APARTMENT - NIGHT 112 Truth or dare. The gang is seated in a circle, drinking from plastic cups. Charlie sits between Mary Elizabeth and Sam. BOB 62. PATRICK Who are you talking to? BOB I dare you to kiss Alice. PATRICK (licks his lips) Get ready, breeder.As Patrick approaches an apprehensive Alice... CRAIG Mary Elizabeth? Samantha told me that you got into Harvard. Congratulations. MARY ELIZABETH Thank you. (re: Charlie) This one still hasn't gotten me flowers. (to Charlie) But I forgive you.She kisses him. Charlie bites his cheeks. Sam looks alittle depressed. CRAIG (to Sam) Don't worry about Penn State. You're just wait-listed. PATRICK Excuse me, everyone, but you're missing some hot "fag on goth" action.Anticipation. Patrick is getting ready to plant the biggestkiss on Alice when she jumps him. Everyone groans. Ew!Laughter. Patrick looks for the next person. Charlie'sheart pounds. Don't pick me! Please! PATRICK (CONT'D) Okay. My turn. Um... let's think... Charlie... truth or dare?Silence. Thinking. Finally... CHARLIE Truth. PATRICK How is your first relationship going? 63. CHARLIE It's so bad that I keep fantasizing that one of us is dying of cancer, so I don't have to break up with her. PATRICK Charlie? Truth or dare? Charlie blinks. It was all fantasy. CHARLIE Dare. PATRICK I dare you to kiss the prettiest girl in the room on the lips. Notice I charitably said girl and not person because let's face it... I'd smoke all you bitches. Alice hits him. Laughter. Charlie thinks. He looks at Mary Elizabeth, then turns to Sam. Before Sam can even react... Charlie plants a kiss right on her lips. When he opens his eyes, he looks around, and realizes the magnitude of his mistake. Everyone stares. After a horrible silence... PATRICK (CONT'D) Now that's fucked up. Without a word, Mary Elizabeth just stands, dignified, and goes into the kitchen. CHARLIE Mary Elizabeth, I'm sorry. I'm-- Alice follows Mary Elizabeth. Sam is close behind. CHARLIE (CONT'D) Sam?! Sam! I'm sorry. I didn't mean anything by it. I'm sorry. Sam turns and looks at him. She doesn't even recognize him. SAM What the hell is wrong with you? Charlie is devastated.113 EXT. BOB'S HOUSE - NIGHT 113 They move to the driveway. Charlie feels awful. Panicky. CHARLIE 64. PATRICK Trust me. You don't want to go back there. CHARLIE But, I... I'm sorry... I didn't mean to do anything. PATRICK I know you didn't, but look... I hate to be the one to break this, but there's history with Mary Elizabeth and Sam. Other guys. Things that have nothing to do with you. But... it's best if you stay away for awhile. CHARLIE (crushed) Oh. Okay. How long do you think? Silence. Charlie looks over at Patrick, who wears a grave expression. It's going to be a long time. We hear the sound of the typewriter.114 INT. CHARLIE'S BEDROOM - MORNING 114 Charlie sits at his desk. It looks like he's barely slept. He begins typing. The keys up close and loud. Clak. CLOSE UP TYPING: "Dear friend, I have not seen my friends for 2 weeks now. I am starting to get bad again." Charlie stares at the typewriter. And remembers. SMASH CUT TO:115 INT. CHARLIE'S KITCHEN - NIGHT (FLASHBACK) 115 Little Charlie pops his head around the corner from the hallway. He looks at something we can't see yet. BACK TO:116 INT. CHARLIE'S BEDROOM - MORNING (PRESENT) 116 Present. Knock. Knock. Charlie's mom opens the door. MOTHER We're going to be late for Easter Mass. CHARLIE I'll... I'll be there in a minute. 65. Charlie forces a smile, then looks back at the typewriter. And tries to shake off the memory. SMASH CUT TO:117 INT. CHARLIE'S KITCHEN - NIGHT (FLASHBACK) 117 Little Charlie looks at Aunt Helen as she smokes her cigarette and sobs. BACK TO:118 INT. ST. THOMAS MORE CHURCH - MORNING 118 Charlie is lost. His family sits in the pews for Easter Mass. Charlie watches the PRIEST recite the Lord's prayer. PRIEST Our Father who art in Heaven. Hallowed be Thy name. Thy kingdom come-- MATCH CUT TO:119 INT. ST. THOMAS MORE CHURCH - MORNING (FLASHBACK) 119 7 year old Charlie watches the PRIEST recite the Lord's prayer. He looks at Aunt Helen's picture on the coffin. PRIEST Thy will be done on earth as it is in Heaven. Give us this day our daily bread. MATCH CUT TO:120 INT. ST. THOMAS MORE CHURCH - MORNING (PRESENT) 120 16 year old Charlie looks haunted by the memory. PRIEST And forgive us our trespasses as we forgive those who trespass against us-- The voices drift away and all Charlie can see is... CUT TO:121 INT. CHARLIE'S KITCHEN - NIGHT (FLASHBACK) 121 7 year old Charlie takes Aunt Helen's hand to make her stop crying. CUT TO: 66.122 INT. ST. THOMAS MORE CHURCH - MORNING (PRESENT) 122 16 year old Charlie blinks as the voices come back. PRIEST And lead us not into temptation. But deliver us from-- SMASH CUT TO:123 INT. CHARLIE'S BEDROOM - NIGHT 123 Charlie on the phone. His voice wavers a bit. Desperate. CHARLIE (V.O.) Mary Elizabeth... I... uh... I've been listening to the Billie Holiday CD every night and-- MARY ELIZABETH (V.O.) It's too late, Charlie. CHARLIE I know. I just feel really bad about what I did. I just get so messed up inside like I'm - not there or something. MARY ELIZABETH (V.O.) Tell it to someone who cares. CHARLIE I know. I'm sorry. I just. We've all become such good friends-- MARY ELIZABETH (V.O.) Good friends? You mean the people I've known since kindergarten that you've known for 6 months? Those good friends? CHARLIE Oh. Yeah. I mean I don't want to do anything to ruin our-- MARY ELIZABETH (V.O.) It's ruined. Okay? So, stop calling everyone. Stop embarrassing yourself. CHARLIE Okay. I will. Goodbye, Mar-- Dial tone. Charlie hangs up the phone. 67.124 INT. BOB'S BASEMENT - NIGHT 124 Charlie is terribly anxious. He watches Bob groom some pot. CHARLIE Something's wrong with me-- BOB Don't worry about it. Hey... you hear from Patrick? CHARLIE No. He told me to stay away. BOB Oh... you don't know? CHARLIE (concerned) Why? Why? What happened? BOB Brad's father caught them together.125 INT. MILL GROVE HIGH SCHOOL - HALLWAY - MORNING 125 As kids open lockers and move to morning period, Charlie stares at Brad. He has a black eye and cuts on his face. He look like he was beaten up badly. Students whisper gossip. GOSSIP WHISPERS (O.S.) "Some Lebo kids jumped him outside the O." "It was some kids from North Hills." "That's not what I heard." Brad moves into the arms of CHARLOTTE (18), cheerleader cute. As Brad kisses her, Charlie sees Patrick down the hall, watching them. Patrick closes his locker. Hurting. CHARLIE Are you okay? PATRICK Not now, Charlie. I'm sorry. Patrick storms off.126 INT. CAFETERIA - LUNCH 126 Charlie sits at his table, alone. He watches Patrick leave the lunch line, passing a chorus of... TWIN SENIOR GIRLS 68.Patrick says nothing. He's too sad to fight the mob today.He just moves to his table when the Nose Tackle sticks outhis leg. Patrick falls on his tray. The kids laugh. NOSE TACKLE Oops. Sorry, Nothing.Patrick smiles to himself, dusts off, and turns to Brad. PATRICK You going to do something? BRAD HAYS What are you talking about? PATRICK Your pet ape just tripped me. Are you going to say something? BRAD HAYS Why would I? PATRICK You know why.It's too far. Brad can feel people staring. BRAD HAYS This is pathetic, man. Your fixation on me.Brad's friends laugh. Patrick's eyes narrow. PATRICK Do you want your friends to know how you got those bruises? Really? BRAD HAYS I got jumped in a parking lot. PATRICK Where? In Schenley Park? Do they know about Schenley Park? (to Brad's friends) Do you guys know about Schenley Park?Brad stands and gets right in Patrick's face. BRAD HAYS I don't know what kind of sick shit you're trying to pull. (real warning) But you better walk away now... Nothing. 69. PATRICK Fine. Say hi to your dad for me.Patrick turns and leaves. And then, as an afterthought... BRAD HAYS Whatever... faggot.Brad's friends laugh. Patrick stops and turns. Last chance. PATRICK What did you call me? BRAD HAYS I called you a faggo--Smack.Before Brad can even finish, Patrick throws a vicious rightto the cheek. Brad tackles him. And the two start fighting.The cafeteria erupts in NOISE. PATRICK Say that shit again! Say that shit again!Brad's football buddies rise and peel Patrick off Brad. MaryElizabeth and Sam jump up from their corner table. MARY ELIZABETH It's Patrick!The cafeteria gets louder. The Nose Tackle holds Patrick up.More Noise. The Linebacker hits Patrick in the face. SAM No! No!Sam rushes up and the Nose Tackle pushes her down. She landson her tail bone. Thud. Patrick gets hit a couple of timesin the face. The kids cheer the fight. It's getting louderand louder with more and more noise. And then... SMASH CUT TO:Silence.Charlie comes out from a blink. He calmly looks around. Fora moment, he doesn't understand where he is. He looks up.All the kids are staring at him. Mary Elizabeth. Alice.Brad. They are all quiet. Afraid of him. Charlie looks athis hand, clenched in a fist. It is already covered with... 70. Charlie's confused until he sees the Linebacker holding his broken, bloody nose. He's looking at Charlie... Terrified. The image pans over. The Nose Tackle is on the ground. Charlie stands over them. He is disconnected. It's an out of body experience. He reaches out and helps Patrick to his feet. Then, he calmly turns and stares right through Brad. CHARLIE (icy calm) If you touch my friends again, I'll blind you. Brad is stunned. So is everyone... except Sam.127 INT. PRINCIPAL'S OFFICE - AFTERNOON 127 Charlie sits in the waiting room of the principal's office. He looks through the glass where Principal Small talks to Brad. After a beat, she pats Brad's shoulder and opens the door. Leaving Charlie and Brad alone in the waiting room. Just as Brad is about to leave... BRAD HAYS Charlie? CHARLIE Yeah? BRAD HAYS Thanks for stopping them. CHARLIE Sure, Brad. Brad doesn't look at him. He just moves on.128 EXT. MILL GROVE HIGH SCHOOL - PARKING LOT - AFTERNOON 128 Charlie exits the building. Kids stare at him. Then, look away. Charlie feels very lost until he sees... Sam. She smiles. It brings him back instantly. And then, gently... SAM How you doing, Charlie? CHARLIE I don't know. I keep trying, but... I can't really remember what I did. Sam can see he's afraid of himself. She nods, sympathetic. 71. SAM Do you want me to tell you? CHARLIE (scared) Yeah. SAM You saved my brother. That's what you did. CHARLIE So, you're not scared of me? SAM No. CHARLIE And can we be friends again? SAM Of course. The minute she hugs him, the numb goes away. She kisses the top of his head and puts her arm around his shoulder. They begin walking away. SAM (CONT'D) Come on. Let's go be psychos together.129 INT. PATRICK AND SAM'S HOUSE - KITCHEN - NIGHT 129 Mary Elizabeth looks at us because she wants us to know... MARY ELIZABETH I'm dating Peter now. She motions to PETER. College. Glasses. Good looking-ish. MARY ELIZABETH (CONT'D) He's in college with Craig. He's opinionated, and we have intellectual debates. You were very sweet, but our relationship was too one-sided. I know this is hard for you. CHARLIE I'm just glad you're happy. MARY ELIZABETH Okay. Mary Elizabeth joins Peter. Charlie looks at his friends. 72. that says, "They forget. I don't." After a beat, Patrick comes downstairs. He looks sad with his bruises. PATRICK Hey Craig, Sam will be down soon. MARY ELIZABETH We're going to miss the movie. CRAIG Yeah, I'll go put some pep in her step. As Craig moves upstairs, Patrick approaches Charlie. PATRICK Hey... you wanna get out of here? CHARLIE Sure, Patrick.130 EXT. WEST END OVERLOOK - NIGHT 130 Patrick drives Sam's truck up the hill to the overlook. PATRICK (V.O.) I'll tell you something, Charlie. I feel good. You know what I mean? Maybe tomorrow I'll take you to this karaoke place downtown. And this club off the strip. They don't card. And the Schenley Park scene. You gotta see the "fruit loop" at least one time.131 EXT. WEST END OVERLOOK - NIGHT 131 Charlie and Patrick walk the lighted path, howling at the moon. Patrick holds a thermos, filled with who knows what. PATRICK Oh, my God. My life is officially an after school special. Son of a bitch! CHARLIE (laughing) It kind of is. It so is. More laughter. They arrive at the lookout. They drink. PATRICK So, you ever hear the one about Lily Miller? CHARLIE I don't know. 73. PATRICK Really? I thought your brother would have told you. It's a classic. CHARLIE Maybe. PATRICK So, Lily comes here with this guy Parker. And this was going to be the night they were going to lose their virginity. So, she did it really proper. She packed a picnic. Stole a bottle of wine. Everything was perfect, and they're just about to 'do it' when they realize they forgot the condoms. So, what do you think happened? CHARLIE I don't know. PATRICK They did it with one of the sandwich bags.They start laughing and screaming. CHARLIE Ew! That's disgusting! PATRICK Yes! It is! Let's keep the train rolling. Suburban legends. Charlie!Patrick points to Charlie, who thinks... CHARLIE Uh. Well... there was this girl named Second Base Stace. She had boobs in the 4th grade-- PATRICK Mosquito bites. Promising. Go. CHARLIE And she let some of the boys feel them. PATRICK That's your suburban legend? Did you at least cop a feel? CHARLIE No. 74. PATRICK Of course not. You went home, listened to "Asleep," wrote a poem about her self- esteem-- CHARLIE Fine! Okay. Your turn.Patrick walks over and sits down next to Charlie. PATRICK Yeah, I've got one. Well, there was this one guy. Queer as a 3 dollar bill. Guy's father didn't know about his son. So, he comes down into the basement one night when he's supposed to be out of town. Catches his son with another boy. So, he starts beating him. But not like the slap kind. Like the real kind. And the boyfriend says, "Stop. You're killing him." And the son just yells "Get out." And eventually the boyfriend just did.Patrick stops. Gripped by sad. He can't shake. PATRICK (CONT'D) Why can't you save anybody? CHARLIE I don't know. PATRICK Forget it. I'm free now, right? I could meet the love of my life any second now. Things will be different now, and that's good. I just need to meet a good guy. CHARLIE Yeah.Patrick looks at him. Charlie has never seen him sovulnerable. After a beat... Patrick kisses Charlie on themouth. Unsure of what to do, Charlie lets it happen. Hiseyes open the whole time. A moment, then Patrick looks atCharlie. He collapses into his chest. PATRICK I'm sorry. CHARLIE It's alright. 75. Charlie holds his friend as Patrick begins to cry. And we leave them, the city lights small in the distance.132 EXT. CITY HIGHWAY - NIGHT 132 We see the truck glide down the highway. CHARLIE (V.O.) I've been spending a lot of time with Patrick. He begins every night really excited.133 EXT. SCHENLEY PARK - NIGHT 133 Patrick and Charlie are parked at the entrance of Schenley Park. Patrick speaks, very animated, until... CHARLIE (V.O.) He always says he feels free, and tonight is his destiny. But after awhile, he runs out of things to keep himself numb. ... the words leave him, and we can see how sad he really is.134 INT. SAM AND PATRICK'S HOUSE - MOMENTS LATER 134 Patrick hands Sam an envelope. Sam holds it. Pins and needles. CHARLIE (V.O.) Then, Sam got her letter from Penn State. Sam opens the letter. She reads. Tears instantly well up in her eyes. She leaves the room and walks down the hall. Patrick picks up the letter. PATRICK (reading) "We will require you to take our summer session at the main campus immediately following your high school graduation." (off Charlie's look) She got in, Charlie. Charlie turns back to Sam. She holds him with sweet relief and redemption.135 INT. CAFETERIA - DAY 135 Charlie laughs with his friends in the cafeteria. CHARLIE (V.O.) After that all Patrick could talk about 76. CHARLIE (V.O.) (CONT'D) did get into NYU Film School. Patrick is going to the University of Washington because he wants to be near the music in Seattle.136 INT. SHOP CLASS - DAY 136 Charlie and a group of students stand, looking up at the wall, which is covered with... CHARLIE (V.O.) But he wasn't going to leave without organizing the best senior prank ever. ... All The Shop Tools Painted Pink The shop teacher, Mr. Callahan stares at the wall, furious. As the students gawk, Charlie smiles to himself.137 INT. CAFETERIA - LUNCH 137 Sam and the girls chat excitedly. Summer is almost here. CHARLIE (V.O.) Sam is going to leave right after graduation. It all feels very exciting; I just wish it were happening to me.138 INT. CHARLIE'S BEDROOM - DAY 138 Charlie sits on his bed, finishing the letter. CHARLIE Especially because ever since I blacked out in the cafeteria, it's been getting worse. And I can't turn it off this time. Charlie puts down the letter.139 INT. BILL'S CLASSROOM - MORNING 139 The kids pass their copies of The Great Gatsby up to the front, where Bill collects them for next year's freshmen. The class is buzzing loud. BILL Guys, you want to pass your copies of Gatsby up to the front please? And I know it's the last day, but if we could just keep it to a dull roar, I'd appreciate it. The class quiets down. 77. BILL (CONT'D) Thank you for such a great year. I had a blast. I hope you did, too. And I hope you have a great time this summer on your vacations. Now, who here is going to be reading for pleasure this summer? Charlie looks to see if anyone is watching... then, decides to raise his hand anyway. Bill is proud. BILL (CONT'D) Very good, Charlie. Who else? Charlie looks at the Smart Ass Freshman who tormented him all year. She sighs. Nothing left to say to him.140 INT. BILL'S CLASSROOM - LATER 140 The last kids exit the classroom. Charlie walks down the aisle and stands in front of Bill. BILL Last day. CHARLIE Yeah. So, uh, I know it's none of my business, but have you decided... are you going to New York? BILL Well, my wife and I like it here, and I think I might be better at teaching than writing. Charlie is relieved. Bill is staying. BILL (CONT'D) So, uh Charlie... I was thinking maybe I could still give you books next year. CHARLIE Yeah. Yeah. BILL I think you could write one of them one day. CHARLIE (fragile belief) Really? BILL I do. 78. Charlie is quiet. Then... CHARLIE You're the best teacher I ever had. BILL Thank you. He gives Bill a shy sideways hug. The two men say nothing else. Charlie waves and leaves. Bill smiles to himself.141 INT. MILL GROVE HIGH SCHOOL - HALLWAY - AFTERNOON 141 Times Square has nothing on these seniors. Charlie watches the gang on their last day of high school. When the clock hits 10 seconds to 3pm, all the students chant... SAM & COMPANY 10-9-8-7-6-5-4-3-2... STUDENT (O.S.) Oh, my God, get me the hell out of here! ALL 1! They all cheer and hug each other. Patrick loses his mind with joy and charges down the hallway. SMASH CUT TO:142 EXT. MILL GROVE FOOTBALL STADIUM - SUNSET 142 A brilliant sunset. We see the gang. In silhouette. Running up the bleachers after the sun. CHARLIE (V.O.) Dear Friend... I wanted to tell you about us running. There was this beautiful sunset. And just a few hours before, everyone I love had their last day of high school ever. And I was happy because they were happy, even though I counted, and I have 1,095 days to go.143 INT. CHARLIE'S HOUSE - FIREPLACE - LATE AFTERNOON 143 Prom night. Charlie sees Candace posing for Dad's camera. For a moment, we think Candace went to prom with Derek. CHARLIE (V.O.) I kept thinking about what school was going to be like without them as they 79. As mom and dad move out of the way, we realize Candace is standing with her 3 best girlfriends. They look beautiful. CHARLIE (V.O.) (CONT'D) My sister finally decided to break up with Derek and go stag with her girlfriends instead.144 EXT. SAM AND PATRICK'S HOUSE - SUNSET 144 Prom night continues. The antique limo is so garish, it's great. Charlie snaps pictures with Sam's mom and Patrick's dad. Mary Elizabeth is with her boyfriend, Peter. Alice stands with Patrick, dashing in his Mod Suit Tux. CHARLIE (V.O.) And then there was Sam... The image moves to the front of the house, where Sam emerges. She wears a vintage flapper dress from the 20's. Radiant. CHARLIE (V.O.) (CONT'D) I've looked at her pictures since that night. I like to see how happy she was before she knew. Sam joins Craig. They kiss for the cameras, then run with the rest of the gang to the limosine. CHARLIE (V.O.) (CONT'D) They were in a hotel suite after prom when the truth came out... The gang poses for more pictures in front of the limo. CHARLIE (V.O.) (CONT'D) Basically, Craig has been cheating on Sam the whole time. When I heard that, I kept thinking about the happy girl in these pictures. Because she doesn't have 1,095 days to go.145 EXT. PARKING LOT - AFTERNOON 145 Graduation Day. The place is packed with graduating seniors and families. Charlie's mom and dad fawn over Candace with the video camera. Charlie finally finds... Sam. CHARLIE (V.O.) She made it. This is her time. And no one should be able to take that away. They approach each other and hug. 80. CHARLIE (CONT'D) Congratulations. PATRICK Oh, Charlie's here! Guys, group photo! We should all take a group photo. Get against the railing and try to look suave! The kids line up for the picture they will always remember. PATRICK (CONT'D) Yeah, this is the one. That's going to be a great angle. Patrick bows to reveal the top of his cap reads, "Nothing Hates You." The parents line up cameras. "Cheese!" Snap. SMASH CUT TO:146 INT. SAM AND PATRICK'S KITCHEN/LIVING ROOM - NIGHT 146 The grandfather clock reads 9:30pm. The room is festive under streamers wishing Sam luck at Penn State. The kids sign each other's yearbooks. Charlie sees Sam smile at old photos. He misses her already. CHARLIE (V.O.) At her going away party, I wanted her to know about that night we went through the tunnel. And how for the first time, I felt like I belonged somewhere. CUT TO:147 INT. SAM AND PATRICK'S KITCHEN/LIVING ROOM - LATER 147 10:28pm. Charlie doesn't know where the time keeps going. Sam opens goodbye presents from her friends. CHARLIE (V.O.) And tomorrow, she's leaving. So, I wanted to give her a part of me. Charlie watches Sam pick up his present. She carefully peels the tape to reveal that Charlie gave her all of his books. SAM Are these all your books, Charlie? He nods. They lock eyes and do not speak. 81.148 INT. SAM'S BEDROOM - NIGHT 148 The pictures are down. The dressers empty. The suitcase is open on the bed. Charlie watches Sam fold clothes and put them in her suitcase. He has promised himself he will not cry. Even when she packs away his Beatles 45 of "Something." Instead, he looks at her and tries to remember every detail. Her hair and brown eyes and sound of her voice. SAM Thanks for staying up with me. CHARLIE Sure. My brother said Penn State has a restaurant called Ye Olde College Diner. You have to get a grilled stickie on your first night. It's a tradition. SAM That sounds like fun. CHARLIE Yeah. Pretty soon, you'll have a whole new group of friends, and you won't even think about this place anymore. SAM Yes, I will. Sam moves some suitcases over to the pile in the room. They stand next to each other. Close. SAM (CONT'D) I had lunch with Craig today. CHARLIE Yeah? SAM He said he was sorry, and that I was right to break up with him. But I'm driving away, and I just felt so small. Just asking myself why do I and everyone I love pick people who treat us like we're nothing? CHARLIE We accept the love we think we deserve. He says it sober. Without judgement. Sam lets it sink in. Charlie walks over to the bed to do more packing. Then, she turns to him. 82. SAM Then, why didn't you ever ask me out?Charlie didn't expect that. He is silent. Heart pounding. CHARLIE I, uh, I just didn't think you wanted that. SAM Well, what did you want? CHARLIE I just want you to be happy. SAM Don't you get it, Charlie? I can't feel that. It's really sweet and everything, but you can't just sit there and put everybody's lives ahead of yours and think that counts as love. I don't want to be somebody's crush. I want people to like the real me. CHARLIE I know who you are, Sam.Sam waits. And Charlie finally speaks from the heart. CHARLIE (CONT'D) I know I'm quiet, and I know I should speak more, but if you knew the things that were in my head most of the time, you'd know what it really meant. How much we are alike. And how we've been through the same things. And you're not small. You're beautiful.He can't contain himself anymore. He moves to her and kissesher. They stand. Move to the bed. Kissing. Charlie'sheart pounds. They sit on the bed. Still kissing.We see her fingertips. Her hand on Charlie's knee. When shetouches him, Charlie pulls away from her. Shocked. Likehe's seen a ghost. It hits Charlie like freezing water. SAM What's wrong, Charlie? CHARLIE Oh, ah... nothing.Charlie shakes off whatever was bothering him and continues 83.149 EXT. SAM AND PATRICK'S HOUSE - MORNING 149 It's like a dream for Charlie. He watches Sam hug Alice and Mary Elizabeth goodbye. But Charlie is somewhere else. SAM I'll call all the time. MARY ELIZABETH Promise. SAM And we'll all see each other in New York. SAM'S MOM Come on, Sam. Charlie can't take it. He moves to the side of the truck and puts in the last suitcase. He looks over at Sam. SMASH CUT TO:150 INT. SAM'S BEDROOM - NIGHT 150 QUICK FLASH... Charlie remembers kissing Sam the night before. Her hand touches Charlie's knee. BACK TO PRESENT:151 EXT. SAM AND PATRICK'S HOUSE - MORNING 151 Charlie snaps himself out of it. He turns back as Mary Elizabeth and Alice part ways. Charlie locks eyes with Sam. They take a moment. And then they come together to hug. She kisses him goodbye, trying not to cry. After a moment, Sam climbs into the driver's seat of her truck with Patrick riding shotgun. Charlie looks dazed. SMASH CUT TO:152 INT. SAM'S BEDROOM - NIGHT 152 QUICK FLASH... Charlie remembers pulling away from Sam. Shocked. Like he's seen a ghost. SAM What's wrong, Charlie? BACK TO PRESENT: 84.153 EXT. SAM AND PATRICK'S HOUSE - MORNING 153 Sam starts the truck. Charlie wants to scream for her to stop. But he's frozen. She drives away. He watches her go. The truck gets smaller in the distance until it turns at the stop sign. And disappears. Charlie stands there, alone. SMASH CUT TO:154 INT. SAM'S BEDROOM - NIGHT 154 QUICK FLASH... Charlie remembers the night with Sam. We see her put her hand on his knee. The image moves up the arm. To the shoulder. To the face. And we reveal, we are not in Sam's bedroom. And it is not Sam touching Charlie. But... Aunt Helen AUNT HELEN Don't wake your sister. BACK TO REALITY:155 EXT. SAM AND PATRICK'S HOUSE - MORNING 155 The memory only registers as a small blink of his eye. Charlie sees his friends are crying. He's not. He's numb.156 EXT. SUBURBAN STREET - MORNING 156 Charlie walks down the street. His eyes far away. The images and memories are short, violent bursts. If you've never had an anxiety attack, this is how it feels.157 EXT. CHARLIE'S STREET - NIGHT (FLASHBACK) 157 QUICK FLASH. It's Christmas Eve. Aunt Helen smiles to Little Charlie. AUNT HELEN It'll be our little secret, okay? Little Charlie nods.158 EXT. SUBURBAN STREET - MORNING (PRESENT) 158 BACK TO PRESENT. Charlie walks toward us on the sidewalk. We see him through a long lens. His image fractures. We see him in different planes of the image. He's beginning to break apart. One image. Two images. 85.159 INT. CHARLIE'S LIVING ROOM - NIGHT (FLASHBACK) 159 QUICK FLASH. Little Candace is asleep on the floor. Aunt Helen sits next to Little Charlie on the sofa. AUNT HELEN Look, Charlie. She's fast asleep.160 EXT. SUBURBAN STREET - MORNING (PRESENT) 160 BACK TO PRESENT. We see Charlie fracturing. The pieces scattered. Out of focus. Lost. He's all over the frame.161 INT. CHARLIE'S LIVING ROOM - NIGHT (FLASHBACK) 161 QUICK FLASH. Aunt Helen points to Little Candace. AUNT HELEN Don't wake your sister.162 INT. CHARLIE'S HOUSE - DAY (PRESENT) 162 BACK TO PRESENT. Charlie enters his house. SMASH CUT TO:163 INT. AUNT HELEN'S CAR - NIGHT (FLASHBACK) 163 QUICK FLASH. Aunt Helen gets hit by the semi-truck.164 INT. ENTRY HALL - NIGHT (FLASHBACK) 164 QUICK FLASH. Little Charlie's mom opens the door to reveal a policeman.165 INT. CHARLIE'S HOUSE - DAY (PRESENT) 165 BACK TO PRESENT. Charlie is in the same entry hall in the same house 8 years later. Banging his head against the wall. "It's my fault. It's all my fault." He passes the photo wall on the stairs. We see the images of the family. Church. Communion. Baby pictures. Years of history staring at us. Ghosts on the wall.166 INT. CHARLIE'S BEDROOM - DAY (PRESENT) 166 BACK TO PRESENT. Charlie sits at his desk. We see him from behind. Perfectly still. Trying to keep himself calm. CHARLIE Stop crying. 86.167 INT. VARIOUS LOCATIONS - DAY (FLASHBACK) 167 QUICK FLASH. Charlie thinks everyone is staring at him. His sister and her friends. His brother and mother. Mary Elizabeth and Alice. And worst of all... Sam and Patrick the night they toasted him. A paranoid nightmare.168 INT. CHARLIE'S BEDROOM - DAY (PRESENT) 168 BACK TO PRESENT. Charlie's falling to pieces. The tears run down his face. CHARLIE Stop crying.169 INT. VARIOUS LOCATIONS - VARIOUS TIMES (FANTASY) 169 QUICK FLASH. Derek hits Candace. Patrick hits Brad. The cafeteria erupts into violence. And Charlie remembers what he's blacked out. We see him in the cafeteria. Terrifying. He thinks he sees Aunt Helen as he breaks the Linebacker's nose. Hits another in the throat. And pushes another. Charlie looks at his hand, covered in blood. The whole school staring at him.170 INT. CHARLIE'S BEDROOM - DAY (PRESENT) 170 BACK TO PRESENT. Charlie holds his head. Trying to stuff the pictures back in his brain. But he can't. They keep coming and coming, faster and faster. Sam's hand, Little Charlie on top of the stairs, the police telling him Aunt Helen is dead. CHARLIE (V.O.) It'll be our little secret. We go behind his head. The image moves closer and closer. Until it feels like we are inside Charlie's mind. SMASH CUT TO:171 EXT. HOUSE SWIMMING POOL - DAY 171 We see Candace hanging out with her girlfriends at a friend's backyard pool. Her FRIEND (18, pretty) holds the cordless. CANDACE'S FRIEND Candace... your brother's on the phone. Candace casually picks up the phone. 87. CANDACE Hello. CHARLIE (V.O.) Hey, Candace. CANDACE Charlie? CHARLIE Sam and Patrick left, and um, I just can't stop thinking something. CANDACE What? CHARLIE Candace, I killed Aunt Helen, didn't I? She died getting my birthday present, so I guess I killed her, right? I've tried to stop thinking that, but I can't. She keeps driving away and dying over and over. Candace looks like she got hit with ice water. She knows her brother. She knows this voice. Candace covers the phone. CANDACE Call the police and send them to my house. CHARLIE And I can't stop her. I'm crazy again. CANDACE No, Charlie, listen to me. Mom and dad are going to be home with Chris any second. CHARLIE I was just thinking... what if I wanted her to die, Candace? CANDACE What? Charlie... Charlie! Dial tone.172 INT. CHARLIE'S HOUSE - DAY 172 We begin in the house. It's silent. The hallway. The entry hall. The empty bedroom. Charlie's typewriter on his desk. 88. It's all so quiet. And then, we see Charlie walking down the hallway. He turns the corner and enters the... MATCH CUT TO:173 INT. CHARLIE'S KITCHEN - DAY (PAST AND PRESENT) 173 Kitchen. One room. Charlie doesn't know where he is anymore. The past and present have bled together. QUICK FLASH. We see Little Charlie turn the corner into the kitchen. BACK TO PRESENT as 16 year old Charlie stands in the same kitchen, breathing shallow. QUICK FLASH. 7 year old Charlie walks up to Aunt Helen sitting at the kitchen table. BACK TO PRESENT as 16 year old Charlie begins to have a full blown anxiety attack. QUICK FLASH. 7 year old Charlie takes Aunt Helen's hand and turns it over... to reveal her wrist scars. BACK TO PRESENT as Charlie looks from the table to the counter with the bread and the KNIVES. He stares at the knives for a moment. Just as... The Policemen break down the door. SMASH CUT TO:174 INT. HOSPITAL ROOM - NIGHT 174 We see Charlie's reflection in the window. The door opens slowly, and his psychiatrist, Dr. Burton, enters. She finds him sitting in the corner. He has been crying. DR. BURTON Charlie? I'm Dr. Burton. CHARLIE Where am I? DR. BURTON Mayview hospital. This news hits Charlie hard. He begins to panic. CHARLIE You have to let me go. My dad can't afford it. DR. BURTON Don't worry about that. 89. CHARLIE No. I saw them when I was little. And I don't want to be a Mayview kid. Just tell me how to stop it. DR. BURTON Stop what? CHARLIE Seeing it. All their lives. All the time. Just... how do you stop seeing it? DR. BURTON Seeing what, Charlie?Charlie breaks. CHARLIE There is so much pain. And I don't know how to not notice it. DR. BURTON What's hurting you? CHARLIE No! Not me. It's them. It's everyone. It never stops. Do you understand?Dr. Burton smiles, sympathetic. Charlie nods, relieved thatsomeone finally understands. Until... DR. BURTON What about your Aunt Helen?Like cold water. What was tears is now confusion and soon tobe shame. Dr. Burton is gentle to him. CHARLIE What about her? DR. BURTON Can you see her? CHARLIE Yes, she had a terrible life. But... I mean, what am I... DR. BURTON You said some things about her in your sleep. CHARLIE I don't care. 90. DR. BURTON If you want to get better, you have to-- Charlie looks at her, nodding her encouragement. CHARLIE She was... insane. The minute he says one word of truth, he feels ashamed. He stops talking. Dr. Burton does not press him. Not today. DR. BURTON Charlie, are you going to let me help you here? Charlie cries and nods. CHARLIE Okay. DR. BURTON Do you remember anything before you blacked out? CHARLIE I, uh... I remember leaving Sam's house, and walking home... We move away from them as Charlie's voice trails off.175 INT. HOSPITAL ROOM - MORNING 175 The sun creeps through the windows. We can hear birds outside. The intercom is quiet. Charlie is alone. He looks at Sam's typewriter. "Dear Friend" is already typed. CHARLIE (V.O.) I was in the hospital for awhile. I won't go into detail about all of it. But I will say there were some very bad days. And some unexpected beautiful days. Charlie picks up a get well card from Sam.176 INT. HOSPITAL HALLWAY - DAY 176 Dr. Burton walks Charlie's parents down the hallway. CHARLIE (V.O.) The worst day was the time my doctor told my mom and dad what Aunt Helen did to me. In the distance, we see Charlie's mom and dad stop. Shocked. 91.177 INT. HOSPITAL ROOM - DAY 177 Charlie looks up and sees his mom and dad in the doorway. MOTHER Honey? His mother comes to hold him. MOTHER (CONT'D) I'm so sorry. For a second, we see the emotion his father hides behind the sports page, before he chokes it down. He walks over to his son and kisses his forehead.178 INT. HOSPITAL ROOM - MORNING 178 Charlie, Chris, and Candace sit on the bed, playing cards. CHARLIE (V.O.) The best days were those when I could have visitors. My brother and sister always came for those until Chris had to go to training camp. He's going to be first string this year. And my sister told me she met a nice guy at her summer job.179 INT. HOSPITAL HALLWAY - AFTERNOON 179 Charlie leaves his room with his suitcase in hand. His mother waits in the hallway with Dr. Burton. DR. BURTON There he is. So, I'll see you Thursday at 6, right? Charlie nods and leaves the hospital with his mother. CHARLIE (V.O.) My doctor said we can't choose where we can come from, but we can choose where we go from there. I know it's not all the answers, but it was enough to start putting these pieces together. Dr. Burton smiles, then turns back into the hospital.180 INT. CHARLIE'S DINING ROOM - NIGHT 180 The family sits at the dinner table. 92. FATHER God bless this food that we are about to receive. We thank You for this bounty in the name of our Lord Jesus Christ. Amen. After they say "Amen," the room falls silent. The family is on pins and needles. No one touches their food. Until... CHARLIE How do you think the Penguins are going to do this year, dad? FATHER God damn Penguins. I think they're allergic to God damn defense. CHARLIE What do the players call a puck again? FATHER A biscuit. CANDACE Are you sure it's not a "God damn biscuit?" FATHER You're cruisin' for a bruisin'. As things return to normal, dad picks up his paper. Candace talks about the books she'll need for college. Everyone starts eating. And Charlie smiles, happy to just be home.181 INT. CHARLIE'S HOUSE - DUSK 181 Ding dong. The door opens to reveal Patrick, smiling. PATRICK Can Charlie come out and play? Charlie's mother smiles. Charlie smiles, too. Especially when he sees... Sam. Standing next to Patrick. Her hair a little different. Her eyes alive and happy.182 INT. KINGS FAMILY RESTAURANT - NIGHT 182 The gang of three sit at their booth. Sam and Patrick have their coffee. Charlie has his brownie. Like always. SAM That first night, I had grilled stickies. It was so good. You have to visit in the Fall. We'll have some. Okay? 93. CHARLIE Definitely. PATRICK Sorry, Sam. Charlie has a breakdown scheduled for October. Charlie laughs. Sam smiles. After a beat... SAM Well, can I tell you something? I've been away for two months. It's another world. And it gets better. (off Charlie's smile) And my roommate Katie has the best taste in music. Sam puts a cassette tape down on the table. SAM (CONT'D) I found the tunnel song. Charlie looks at Sam and Patrick, who smile. SAM (CONT'D) Let's drive.183 EXT. KINGS FAMILY RESTAURANT - NIGHT 183 The three leave the restaurant and jump into Sam's truck. Patrick drives. Charlie in the middle. Sam the passenger. CHARLIE (V.O.) I don't know if I will have the time to write any more letters because I might be too busy trying to participate. So, if this does end up being the last letter, I just want you to know that I was in a bad place before I started high school. And you helped me.184 INT. SAM'S TRUCK - NIGHT 184 The three friends are flying down the highway in Sam's truck. The music blaring. The wind making their hair dance. CHARLIE (V.O.) Even if you didn't know what I was talking about. Or know someone who's gone through it. It made me not feel alone. With Sam's help, Charlie climbs through the little window 94.185 EXT. HIGHWAY 376 NORTH - NIGHT 185 Charlie gets into the back of the truck. He sits down, looking back at the highway. Watching everywhere he's been. CHARLIE (V.O.) Because I know there are people who say all of these things don't happen. And there are people who forget what it's like to be 16 when they turn 17. We see Charlie in profile. The night sky behind him until...186 INT. FORT PITT TUNNEL - NIGHT 186 ... they enter the tunnel, and we realize just how fast they're driving. The white tiles of the tunnel whiz by at blinding speed. A perfect night. A perfect drive. Flying. CHARLIE (V.O.) I know these will all be stories someday. And our pictures will become old photographs. And we'll all become somebody's mom or dad. But right now, these moments are not stories. Charlie turns to face forward. To the moment. To Sam, smiling at him from the front seat. CHARLIE (V.O) (CONT'D) This is happening. I am here. And I am looking at her. And she is so beautiful. Sam kisses Charlie. Then, she turns, and all three kids look ahead to everything in front of them. Charlie begins to stand in the back of the truck. Ready to leave the tunnel. CHARLIE (V.O.) (CONT'D) I can see it. This one moment when you know you're not a sad story. You are alive. And as you stand up and see the lights on buildings and everything that makes you wonder. And you are listening to that song on that drive with the people you love most in this world. Charlie stands in the back of the truck. The wind on his face. He is free. CHARLIE (V.O.) (CONT'D) And in this moment, I swear... 95.We see the moment as Charlie sees it. The tunnel's exitgetting bigger and brighter with the lights of the citybehind it. CHARLIE (V.O.) (CONT'D) ... we are infinite.The tunnel song blasts over the speakers as the truck fliesout of the tunnel. Sam and Patrick scream with excitement.Charlie holds his arms in the air. The weight of the worldgone. If only for a moment. This one moment. We see thecity. A million lights like white stars in a glass dome. Wecrane to the sky. We are in Heaven. FADE OUT. \ No newline at end of file diff --git a/unformated_scripts/Script_Pet Sematary.txt b/unformated_scripts/Script_Pet Sematary.txt new file mode 100644 index 0000000000000000000000000000000000000000..8e43b14f4463f1bb3c20e22f3e6d29532323d453 --- /dev/null +++ b/unformated_scripts/Script_Pet Sematary.txt @@ -0,0 +1 @@ +"PET SEMATARY" by Stephen KingFADE IN ONthat most persistent summer SOUND: crickets in high grass--ree-ree-ree-ree... This in dark which slowly DISSOLVES TO:EXT. A GRAVE MARKER SUMMER DAYIt's a plywood cross leaning aslant. Written on the crossarm in black paint which has faded: SMUCKY HE WAS OBEDIENT. The letters are faded. They are also straggling and ill-formed--the work of a child.MAIN TITLES BEGIN.EXT. ANOTHER GRAVE MARKERA child's printing again, this time on a chunk of warped crating: BIFFER BIFFER A HELLUVA SNIFFER UNTIL HE DIED HE MADE US RICHER 1971-1974.MAIN TITLES CONTINUEEXT. TWO MARKERSI think all these shots are LAP DISSOLVES. All is silence but for the crickets and the wind stirring the grass. Around the markers themselves, the grass has been clipped short, and by some markers there are flowers in cheap vases. Crisco cans, Skippy peanut butter jars, etc.These two markers: IN MEMORY OF MARTA OUR PET RABIT DYED MARCH 1, 1965 (on a wide flat board) and GEN PATTON (OUR! GOOD! DOG!) APRIL 1958 (another board).MAIN TITLES CONTINUEEXT. FIVE OR SIX MARKERSWe can't read all of them; some are too faded (or the "gravestones" themselves too degenerated), but we can see now that this woodland clearing's a rather eerie -- and well-populated -- animal graveyard.We can see: POLYNESIA, 1953 and HANNAH THE BEST DOG THAT EVER LIVED. HANNAH'S tombstone is part of an old Chevrolet hood, painstakingly hammered flat.MAIN TITLES CONTINUE.EXT. ANGLE ON THE PET SEMATARYFrom here we can see most of the clearing, which is surrounded by forest pines. We can see that the graves--maybe 80 in all--are arranged in rough concentric circles. On the far side of this clearing is the end of a path which spills into this graveyard clearing. The end of the path is flanked by wooden poles which hold up a crude arch. We can see no writing on this side -- the words on the arch face those arriving along the path.MAIN TITLES CONTINUEEXT. THE ARCH, FROM THE PATH SIDE, CUMAIN TITLES CONCLUDE. Written on the arch in faded black paint is the work of some long-gone child: PET SEMATARY.THE CAMERA HOLDS ON THIS FOR A MOMENT OR TWO, THEN PANS SLOWLY DOWN to look through the arch. From this angle we are looking across to a deadfall--a tangle of weather-whitened old dead branches at the back of the graveyard. It's maybe twenty-five feet from side to side and about nine feet high. At either end are thick tangles of underbrush that look impassible.AS MAIN TITLES CONCLUDE, THE CAMERA MOVES SLOWLY IN on the deadfall. And as it does, we realize that there is a horrible snarling face in those branches. Is this an accident? Coincidence? Our imagination? Perhaps the audience will wonder. THE CAMERA HOLDS ON IT and then we DISSOLVE TO:BLACK. And a white title card: MOVING DAY.EXT. A HOUSE IN THE COUNTRY EVENINGSOUND of crickets: ree-ree-ree-ree...To the left of this house: a big empty field. Behind it: the woods. Before it: a wide two-lane road.The house is a pleasant two-story New England dwelling with a shed/garage attached. In front of it is a sign which reads QUINN REALTORS 292 HAMMOND STREET, BANGOR. A big SOLD strip, like a bumper sticker, has been plastered across it diagonally.GROWING SOUND: the rumble of a truck. A big, big truck. It belts between the CAMERA and the house -- a tanker truck with a silver body and the word ORINCO written on the side in blue letters. Its short-stack is blowing quantities of dark brown smoke. Behind it comes a Ford wagon, which slows, signals, and turns into the driveway of the house we've been looking at.EXT. REAR OF THE WAGONAs LOUIS CREED brings it to a stop we get a good look at the license plate (Illinois) and a bumper sticker (HAVE YOU HUGGED YOUR M.D. TODAY?)The ENGINE SOUND stops. For a moment or two we hear only the ree-ree-ree-ree of crickets. Then: ELLIE CREED (voice) Is this our new house, daddy? LOUIS CREED (voice) This is it.EXT. THE WAGON, A NEW ANGLEThe two front doors and one back door open. LOUIS CREED, about 32, gets out from the driver's side. RACHEL CREED, his wife, gets out from the passenger side. From the rear door comes ELLIE CREED, a girl of 6. They are staring, fascinated, at the house.They come together, the three of them, by the front of the wagon, still staring at the house. LOUIS is clearly nervous. LOUIS So...what do you think?RACHEL begins to smile. She turns to LOUIS and hugs him. RACHEL It's gorgeous! ELLIE Am I really gonna have my own room? LOUIS Yes. ELLIE Yaay!She looks toward the side lawn and sees a tire on a rope hanging down from the bough of a tree. ELLIE (to RACHEL) Is that a swing? RACHEL Yes, but the rope might be-- ELLIE Yaay!She goes running toward it. RACHEL gives LOUIS a tired smile. LOUIS Let her go. It's cool. RACHEL Louis, the house is beautiful.They kiss--gently at first, then more passionately. As he draws her more tightly against him, a baby--GAGE--begins to cry from the car. LOUIS and RACHEL break the clinch. RACHEL The Master of Disaster awakes.This SOUND is joined by the unhappy yowling of a pent-up tomcat. LOUIS And Buckaroo Banzai. RACHEL Come on--let's parole 'em.They walk to the car, RACHEL going to one of the back seat doors, LOUIS to the rear of the wagon.INT. THE FRONT SEAT, WITH RAHEL AND GAGEGAGE is sitting in his car seat, not exactly crying but certainly yelling to be let out. The seat, dash, and floorboards are littered with roadmaps, soda cans, Big Mac boxes, and similar crud. These folks have driven all the way from Chicago to Maine in this station wagon, and the wagon looks it. RACHEL Decided to wake up and see what home looks like, huh?She begins to unbuckle the straps and harnesses. GAGE is just wearing a t-shirt and a diaper. He's fifteen months old.EXT. THE REAR OF THE WAGON, WITH LOUISHe opens the doorgate and lifts out a cat carrier. We see a big tomcat inside--mostly what we're aware of are shining green eyes. ELLIE (voice) Daddy! Mommy! I see a path!LOUIS, cat carrier still in hand, turns toward:EXT. ELLIE IN THE TIRE SWINGShe's got it penduluming back and forth in long wide arcs.EXT. THE VIEW UP TOWARD THE WOODS, ELLIE'S POVWe see the field, and a clearly marked and mown path leading up its flank and into the dark woods.THE CAMERA DIPS AND PENDULUMS as ELLIE swings.EXT. RACHEL AND GAGE (FRONT OF THE CAR) RACHEL (irritated) Not so high, Ellie! You don't know how strong that rope is.She puts GAGE down. He totters a bit on his little legs and then stands there, looking at his sister.EXT. THE ROPE AND THE BRANCH, CUThe bark has rubbed off the branch--it looks like a bone peeping through decayed flesh. The rope is old, discolored. And it is fraying away as we look at it. Soon ELLIE, like Humpty Dumpty, is going to have a great fall.EXT. LOUIS (REAR OF THE CAR)He's set the cat-carrier down and is straightening up. ELLIE (raptuous voice) Wheee! LOUIS Ellie, you heard your m---His eyes widen.EXT. ELLIE ELLIE Wh--SOUND: A heavy twang! as the rope breaks. The tire swing--with ELLIE still inside it--goes crashing to the grass. ELLIE screams and begins to cry--a little hurt and a lot surprised.LOUIS and RACHEL run to her. LOUIS RACHEL Ellie! Are you all right? Honey? Are you okay?EXT. ELLIE, RACHEL, LOUIS, A CLOSER SHOTELLIE'S parents reach the tangle of tire, rope, and six-year-old girl. ELLIE Hurrts! It hurrrrts! LOUIS Anyone who can scream that loud isn't ready for intensive care just yet-- looks like she just skinned her knee.Nevertheless, he begins to rapidly disentangle his daughter from the tire. RACHEL helps.EXT. GAGEHe's standing in the driveway by the front of the car, utterly forgotten in the heat of the moment. His diaper is sagging quite a bit; the boy needs a change.He stares toward the scene of the accident for a bit, then loses interest. CAMERA FOLLOWS as he walks down the side of the station wagon, little bare feet slapping on the asphalt. He stops for a moment at the back, looking at the cat-carrier, which LOUIS never got around to opening. CHURCH is staring hopefully out through the mesh. GAGE Hi-Durch! CHURCH Waow!GAGE bends down and tries to open the cat-carrier's door. No soap. Either he can't solve the latch or his fingers don't have the strength. Anyway, he stops trying after a moment.SOUND: Growing thunder of an approaching truck - a big one.EXT. THE ROAD (GAGE'S POV)A big tanker truck--silver body, ORINCO written on the side in blue letters--blasts by.EXT. GAGE, BY THE CAT CARRIERThe windlash if the passing truck blows GAGE'S hair back from his forehead. We should be scared here--not by the truck, but by GAGE'S lack of fear. He's smiling, happy. GAGE Druck!He starts down the driveway toward the road.EXT. LOUIS, RACHEL, ELLIE (AT THE SWING)ELLIE has been disentangled from the swing. She's sitting by the wreckage at the end of the driveway, weeping hysterically (as much from tiredness as from pain, I think) as LOUIS and RACHEL examine her scraped knee. The wound doesn't look too serious. LOUIS (to RACHEL) Would you get the first aid kit? ELLIE (screaming) Not the stingy stuff! I don't want the stingy stuff, daddy!RACHEL suddenly looks around toward:EXT. THE FRONT OF THE WAGON (RACHEL'S POV)No one there.EXT. RACHEL, ELLIE, LOUIS, BY THE SWING RACHEL Gage's gone! LOUIS Jesus, the road!They get up together.EXT. GAGE, AT THE EDGE OF THE ROADA truck is coming. A great big one.EXT. ANGLE ON THE TRUCK, CUThe grille looks like a tombstone that's learned how to snarl.EXT. GAGEHe takes a step into the road...and then big, gnarled hands grab him.GAGE looks rather surprised at this, but not worried--this kid is used to being picked up and treated humanely. To GAGE strangers are as interesting as...well, as interesting as Orinco trucks.EXT. GAGE AND JUD CRANDALLThe fellow who has picked GAGE up is a man of about eighty in old blue jeans, a faded Bruce Springsteen t-shirt. Over this he wears a faded khaki vest with bright silver buttons. His face is deeply wrinkled and kindly. JUD CRANDALL (to GAGE) No you don't, my friend--not in that road.But he softens this with a grin. GAGE grins back at him. GAGE Drucks! JUD (low) No shit, Sherlock.JUD carries him up the driveway to the station wagon. Here he's joined by LOUIS and RACHEL, out of breath and really scared. ELLIE brings up the rear. She's still sniffling. RACHEL Gage! JUD (hands him to her) He was headed for the road, looked like. I corralled him for you, missus. RACHEL Thank you. Thank you so much. LOUIS Yes--thanks. I'm Louis Creed.He sticks out his hand and JUD shakes it. LOUIS takes it easy--no crushing JayCees grip, or anything like that--the old guy looks as if he might have arthritis. JUD Jud Crandall. I live just across the road. RACHEL I'm Rachel. Thanks again for saving the wandering minstrel boy, here. JUD No harm, no foul. But you want to watch out for that road. Those damn trucks go back and forth all day and most of the night.He leans over toward ELLIE. JUD Who might you be, little Miss? ELLIE I'm Ellen Creed and I live at 642 Alden Lane, Dearborn, Michigan. (Pause) At least, I used to. JUD And now you live on Route 9 in Ludlow, and your dad's gonna be the new doctor up to the college, I hear, and I think you're going to be just as happy as a clam here, Ellen Creed. ELLIE (to LOUIS) Are clams really happy?They all laugh--even GAGE. RACHEL Excuse me, Mr. Crandall--I've got to change this kid. It's nice to meet you. JUD Same here. Come over and visit when you get the chance.As RACHEL, carrying GAGE, moves away: ELLIE (worries) Daddy, do I really have to have the stingy stuff? LOUIS No-I guess not. ELLIE Yayyy!She goes belting off. JUD (amused) I guess your daughter there ain't going to die after all. LOUIS (also amused) I guess not. JUD House has stood empty for too long. It's damn good to see people in it again.SOUND: A truck engine, gearing down.EXT. A MOVING VANIt blinks and comes lumbering into the Creed's driveway.EXT. LOUIS AND JUD LOUIS Hey--they actually found the place! JUD Movin' in's mighty thirsty work. I usually sit out on my porch of an evening and pour a couple of beers over m'dinner. Come on over and join me, if you want. LOUIS Well, maybe I---- RACHEL (voice) Louis, what's this?EXT. RACHEL AND GAGEGAGE has been changed, and RACHEL is following him as he explores the nearest edges of the new homestead. They are fairly close to the wreckage of the tire swing, and here is the head of the path ELLIE has already glimpsed.EXT. LOUIS AND JUDThey cross to the van. The FIRST and SECOND MOVERS are just climbing out of the van. FIRST MOVER You Mr. Creed? LOUIS Yes. Just a second.EXT. RACHEL AND GAGE, AT THE HEAD OF THE PATHShe's holding GAGE on her hip now, and both of them are looking at that strange (and oddly enticing) path which disappears into the deepening twilight. LOUIS and JUD join them. LOUIS The movers-- RACHEL Yes--I know. This path, Louis? Where does it go? LOUIS I don't have the slightest idea. When I saw the house, this field was under four feet of snow. RACHEL (smiling) I bet Mr. Crandall knows!JUD nods. He smiles, too, but underneath the smile we sense that he is serious. JUD Oh, ayuh! I know. It's a good story, and a good walk, too. I'll take you up there sometime, and tell you the story, too-- after you get settled in.He smiles at them and they smile back--it is a look of understanding and real liking, in spite of the age difference between the CREEDS and JUD.EXT. THE CREED HOUSE NIGHTSOUND: Crickets. Ree--ree--ree-ree... There's one light upstairs, one downstairs. Perhaps we see the path, glimmering away into the field? Either by virtue of it being mown, or by virtue of some gentle optical trick? Maybe.INT. THE LIVING ROOM NIGHTThere's a light on in the kitchen, but it just casts a dim glow in here. The room has a fireplace and a lovely wooden floor. It's going to be nice, but now it's just a big bare box with movers' cartons stacked all over the place.LOUIS is drinking a can of Pepsi, and he looks pretty damned tired--anyone who's ever moved house and can remember the first night in the new place will understand.He finishes the last of the Pepsi and surveys the living room. He sits on one of the bigger boxes, takes cigarettes from his pocket, and lights one. He drops the spent match in the empty can, and taps into the can during the scene.SOUND: Feet coming down the stairs. The door on the far side of the room opens and RACHEL comes in, wearing a nightgown. RACHEL (crossing to LOUIS) Kids are asleep, doc. LOUIS Great.He hugs her. She hugs him back warmly--for a moment they are just two good people in all the big darkness of their new house. RACHEL You're not really going over to have a beer with that old guy, are you? LOUIS Well, I've got a million questions about the area, and--- RACHEL ---and you'll end up doing a free consultation on his arthritis or urinary problems and--- LOUIS Did you see his shirt? RACHEL (giggles) Sure. Bruce Springsteen. LOUIS I really do have a million questions about the area...but the thing I'm really curious about is how come this octogenarian Yankee is decorating the slumped remains of his pecs with the Boss.She laughs.EXT. THE PATH OF THE CRANDALL HOUSE NIGHTPervasive SOUND of the crickets as LOUIS comes rather hesitantly up the crazy-paved path from the road's edge. JUD (voice) That you, doc?EXT. THE SCREENED-IN PORCH OF THE CRANDALL HOUSEWe hear the SQUEAK of a rocker; we see the dim red fitful glow of JUD'S Pall Mall. We see by its glow that he is wearing Walkman earphones.EXT. LOUIS LOUIS It's me.INT. THE PORCH, WITH JUDThe Walkman is in his lap. He switches it off and puts the headphones casually around his neck, like a kid. JUD Well, come on up and have a beer.INT. THE PORCH, A SLIGHTLY WIDER SHOTLOUIS comes on up. JUD has got a pail of ice beside his chair with some cans of beer in it. He opens one and hands it to LOUIS. JUD You need a glass? LOUIS Not at all. JUD Good for you.LOUIS drinks half the can at a draught. LOUIS God, that's fine. JUD Ain't it just? The man who invented beer, Louis, that man was having a prime day for himself. LOUIS What were you listening to? JUD Allman Brothers. LOUIS What? JUD The Eat A Peach album. God, they were good before drugs and bad luck caught up with them. Listen to this, Louis.He passes the headphones over. LOUIS puts them on. JUD presses the Walkman's PLAY button.SOUND: Ramblin' Man blasts us out of our seats.LOUIS winces and rakes the spidery earphones off his head. JUD I'm sorry. Wait.He turns it down. JUD Try that.LOUIS puts the earphones back on and listens for a few moments. It's the instrumental break. Gregg and Duane Allman dueling hot Fenders. LOUIS takes the earphones off. LOUIS Nice. JUD I like rock and roll. No...I guess that's too mild. I love it. Since my ears started to die out on me, it's the only music I can really hear. And since my wife died...I dunno, some- times a little rock and roll fills up night. Not always, but sometimes. (Pause) One more time--welcome to Ludlow. Hope your time here will be a happy one. LOUIS (great sincerity) Thank you, Mr. Crandall.He drinks again--they both do. There's a moment of companionable silence here, broken by the SOUND of a big truck. They look toward:EXT/INT. THE ROAD (THROUGH THE PORCH SCREEN)One of those big tanker trucks goes rumbling by--now there are little amber running lights on top of it. It's going fast, too-- sweeps by in a blast of air.INT. THE PORCH, WITH LOUIS AND JUD LOUIS (wincing) Jesus! JUD (lights a cigarette) That's one mean road, all right--you remember that path your wife commented on? LOUIS The one that goes into the woods--sure. JUD That road--and those Orinco trucks-- are the two main reasons it's there. LOUIS What's at the end of it? JUD (smiles) Another day--after you get settled in a bit. Meantime, doc---Here JUD raises his glass in a toast. JUD (continues) Here's to your bones.LOUIS clinks his glass against JUD'S. LOUIS And yours.They drink.EXT. ROUTE 9 NIGHTLOUIS crosses from the CRANDALL side to his own, and the CAMERA FOLLOWS as he walks slowly up the driveway and past the wagon. He pauses for a moment, looking thoughtfully--hopefully--at his new house. Then something--the CRY of an OWL, perhaps--draws his attention the other way...toward the path.He walks to its head and stands looking out at it--it glimmers in a wide cut swath that's a bit ghostly in the dark.A SHAPE suddenly lurches out of the high grass at him, and LOUIS recoils with a startled, muffled cry.EXT. CHURCHThe cat, sure; who--or what--else? We see his big green eyes in the dark as he cries his strange feline hello: Waow!EXT. LOUIS AND CHURCH, AT THE HEAD OF THE PATH LOUIS Church! God, you scared the life out of me! CHURCH Waow!LOUIS bends and picks up the cat. As he does, that truck SOUND comes again and he looks toward:EXT. THE ROAD, LOUIS'S POVAnother Orinco tanker drones by, fast.EXT. LOUIS AND CHURCH LOUIS (to the cat) I know one thing that will keep you home, good buddy.He starts toward the house.BLACK. And in that blackness, we see a second title card: THE DEAD SPEAK.INT. A KITCHEN BLACKBOARD, CU DAYWritten on it is: MONDAY 1.) CHURCH SPAYED 10 A.M. QUENTIN JOLANDER, D.V.M. And below, in even bigger letters: 2.) ELLIE'S FIRST DAY OF SCHOOL!!THE CAMERA PANS LEFT, showing us the kitchen. There are still a few cardboard cartons around, but the place is getting in shape.We look out the window and see the CREEDS, led by JUD CRANDALL, climbing the path toward the woods. LOUIS has got GAGE in a Gerrypak.EXT. AT THE TOP OF THE HILL, WITH CREEDS AND JUDThey are also at the edge of the woods. JUD stops and lets them catch up. JUD Take a look behind you.They turn around, and their faces express their wonder. LOUIS My God! RACHEL It's beautiful!EXT. THE VIEWIt is indeed beautiful. The CREED house is in the f.g., Route 9 just behind it (with one of the ever-present Orinco trucks droning along), but behind that is the great sweep of the Penobscot river valley, dozing under a fall sky of clear blue.EXT. AT THE TOP OF THE HILL, WITH JUD AND THE CREEDS JUD You folks ready to go on? LOUIS Sure. ELLIE But where are we going, Mr. Crandall? JUD You'll see soon enough, hon.They go into the woods, still following the path.EXT. FOREST DAYThese are old woods indeed--huge trunks with dusty sunlight shafting through them. It looks as though man has never made his mark here.THE CAMERA PANS SLOWLY DOWN to them, on the path. Here it is carpeted with pine needles, but it is just as clearly marked.JUD stops. LOUIS looks glad of the rest; he's sweating and there are wide dark patches under his arms where the Gerrypak's straps are. LOUIS Who owns the woods up ahead? Paper companies? JUD Nope. The Micmac Indians. What's up ahead is all that's left of their tribal lands. ELLIE (giggling) Micmac, Ricmac, Kickmac, Sickmac. JUD (smiles) Ayuh, it's a funny word, ain't it? You tired of totin' that yowwen yet, doc? LOUIS Not yet...how much further is it? JUD Aw, you'll be okay. Less than a mile.He starts off again, fresh as a daisy. ELLIE scampers after him. LOUIS rolls his eyes at his wife and RACHEL rolls hers back. Then they press on.EXT. THE ARCH READING PET SEMATARYEXT. JUD AND THE CREEDS, ON THE PATH JUD (stopping) This is the place, honey.ELLIE is of course second. Se tries to read the words on the arch but can't. She whips around to look at her mother. ELLIE What's it say, mommy?A strange expression has come over RACHEL'S face--she doesn't like this. Not a bit. RACHEL It says Pet Cemetery, hon. It's misspelled, but...that's what it says.She runs for the arch. RACHEL starts; looks more uneasy than ever. RACHEL Ellen--!EXT. ELLIEShe's almost under the arch. She looks back, questioning.EXT. RACHEL, LOUIS, JUD RACHEL (a bit lame) Be careful.EXT. ELLIEShe goes racing into the Pet Sematary.EXT. RACHEL, LOUIS, JUDJUD lights a cigarette with a wooden match, using his thumbnail. JUD I told you it was a bad road, Louis--it's killed a lot of pets and made a lot of kids unhappy. But at least something good come of it. This place. ELLIE (excited voice) Mom! Dad! Y'oughtta see it!EXT. ELLIE, AT THE EDGE OF THE SEMATARYShe surveys the rude markers with puzzled delight, then runs toward the center, pausing to investigate some of the markers as she goes. We clearly see the symmetrical pattern of rings.EXT. RACHEL, LOUIS, JUDThey are walking slowly toward that rude archway. LOUIS is extremely interested in all this, but it's becoming clearer and clearer that RACHEL is troubled. They stop and look in. RACHEL How can you call it a good thing? A graveyard for pets killed in the road! Built and maintained by broken- hearted children! JUD Well, but Missus Creed! It ain't quite that way, deah! LOUIS I think it's rather extraordinary. RACHEL Extraordinarily morbid, maybe.She's growing more and more upset. JUD looks at her curiously. JUD Well...they have to learn about death somehow, now don't they, Missus Creed? The little ones? RACHEL (coldly) Why? JUD Well...well, because-- ELLIE (voice) Mommy! Daddy! Look at me!EXT. ELLIE, ON THE DEADFALLShe has begun to climb it, and this looks like an extremely dangerous proposition. ELLIE, however, is having the time of her life. A branch breaks under one of her feet and she switches nimbly to the next one up.EXT. THE GROWNUPS, AT THE ARCH JUD (alarmed) No, honey! You don't want to go climbing on that! Come on down!He hurries in.EXT. ELIIE, ON THE DEADFALLShe looks back at JUD. ELLIE It's okay, Mr. Crandall--EXT. ELLIE'S FOOT, CUThe branch she's on breaks with a dry CRRRACK. Her foot drops down suddenly.EXT. ELLIE AND JUDShe totters backward, pinwheeling her arms, and JUD catches her as she falls. Not much of a catch because she wasn't too far up.LOUIS joins JUD and ELLIE. GAGE jounces along on his back. LOUIS Have you got a death-wish, Ellen? ELLIE Well, I thought it was safe-- JUD Best never to go climbing on old blowdowns like this, Ellie--sometimes they bite. ELLIE Bite? JUD Ayuh.EXT. RACHEL, STANDING AT THE ARCHHer discomfort makes one thing very clear--she doesn't want to come in. RACHEL (calls) Is she all right, Louis?EXT. LOUIS, JUD, ELLIE LOUIS (calls back) Fine! Come and see!EXT. RACHEL, STANDING AT THE ARCH RACHEL (calling) I think I'll sit this one out, doc.EXT. LOUIS, JUD, ELLIE--BY THE DEADFALL ELLIE I want to look around, daddy-- may I? LOUIS For a little while.JUD looks toward:EXT. RACHEL AT THE ARCH (ELLEN IN F.G.)RACHEL has retreated a bit. She sits on the pine needle carpet of the path, opens her purse, and draws out cigarettes.EXT. LOUIS AND JUDJUD looks at LOUIS as if to say "What's all this about?" LOUIS looks away. ELLIE (voice) Dad! Daddy! Look! A goldfishie!EXT. ELLIEShe runs from one tombstone to the next, cheerful as maybe only a kid could be in such a place. She looks at BIFFER'S tombstone; at SMUCKY'S.EXT. LOUIS AND JUDThey are walking slowly toward her. LOUIS is looking at the tombstones. LOUIS I can hardly read these. JUD Ayuh--they get older as you go toward the middle. (Points) Pete LaVasseur's dog is buried there... (points) the Stoppard boys' racing pigeon that Missus Cowley's cat got...and I think that's the cat himself right there, although it's been so many years I can't tell for sure. (calling) Missy Ellen! Come over here just a minute!EXT. ELLENShe runs amid the tombstones--they have worked their way near to the center and there are quite a few of them--and joins the adults. JUD I see you're quite a reader for such a little girl. Can you read that?He points again, and Ellen goes over for a look-see.EXT. ELLEN, AT THE GRAVE MARKERIt is a small slate marker slanted to one side. ELLEN reads the words laboriously, tracing them with her finger. ELLEN "Spot a good fellow we love you boy." (Pause) "Owned by Judson...Judson..." Gee, I can't read the rest.EXT. JUD AND LOUIS JUD Last name's Crandall, little missy.LOUIS looks at him sharply as ELLIE rejoins them. JUD That's where I buried my dog Spot when he died of old age in 19 and 14. Dug it good and deep. By the time I finished, I had blisters all over my hands and a hell of a crick in my back. Soil's stony up here.ELLIE looks awed. LOUIS looks a little awed, too.JUD sweeps a hand around, indicating the whole sematary, but is still looking at ELLEN. JUD Do you know what this place is, Ellie? Oh, I know you know it's a boneyard, but a bone ain't nothing and even a whole pile of 'em don't amount to much. Do you know what a graveyard really is? ELLIE Well...I guess not. JUD It's a place where the dead speak, Missy.He sees her startled, uneasy expression and laughs. He ruffles her hair reassuringly. JUD No--not right out loud. Their stones speak...or their markers. Even if the marker ain't nothing but a tin can someone wrote on with a Magic Marker, it speaks. Ain't that so, Louis? LOUIS I think it is so, Ellie. ELLIE What if you can't read what's written on there anymore? JUD Well, it still says some animal got laid down here after, don't it? ELLIE Yes-- LOUIS And that someone cared enough about that animal to mark the spot. ELLIE To remember. JUD (smiles) Yes. To remember. This ain't a scary place, Ellie. It's a place of rest and speaking. Can you remember that? ELLIE (a little awed) Yes, sir.They start to walk slowly back toward the arch.EXT. RACHEL, OUTSIDE THE ARCHIt's clear she's impatient and out-of-sorts with the whole thing. RACHEL (calls) Louis, can we go? I'm tired!EXT. LOUIS, ELLIE, JUD ELLIE Mommy! This is a place where dead animals talk! Mr. Crandall said so!EXT. RACHEL AND ELLIEBut RACHEL is not amused. She doesn't like any of this. RACHEL (soft) Did he.EXT. LOUIS AND JUD LOUIS My wife is not crazy about cemeteries of any kind. As you may have noticed. JUD Me neither. But I believe in knowing your enemy.LOUIS looks at him, startled, then decides this is a joke. He laughs. JUD smiles, a trifle thinly.EXT. THE ARCH, A NEW ANGLEThe men rejoin RACHEL and ELLIE. LOUIS (voice) Did we take too long? RACHEL (curt) Well, if supper's burned, I'm not the one going out for pizza.They move away.EXT. THE DEADFALL, FROM THE ARCHThe face we saw at the beginning of the movie wasn't there when the visitors were there...but it's sure there now, leering at us.INT. THE KITCHEN TRASH CAN NIGHTThere are two greasy boxes poking out with NAPOLI PIZZA stamped on them. Guess dinner was burned.THE CAMERA PULLS BACK and we se LOUIS sitting at the kitchen table. The table is covered with newspapers. On it, LOUIS is putting together a complicated model boat, using glue and tweezers. He's wearing glasses.ELLIE comes in, wearing a nightgown. She watches him for awhile. LOUIS (not looking around) Hi, babe. ELLIE Daddy, that Pet Sematary is there because of the road, isn't it?LOUIS looks around at her, surprised. ELLIE That's what I think. I heard Missy Dandridge tell Mom when Church was fixed he wouldn't cross the road so much. LOUIS Well, it's always better to take precautions--but I'm sure Church will be all right, honey...INT. JUST OUTSIDE THE KITCHEN DOORRACHEL is coming along with some dirty dishes. She hears voices and stops, listening, her face troubled and afraid. ELLIE (voice) No he won't! Not in the end! He won't be all right in the end no matter how you fix 'im!INT. LOUIS AND ELLIEEllis has started to cry. ELLIE In the end he's gonna croak, isn't he? LOUIS Lovey...Church might be still alive when you're in a high school...and that's a very long time. ELLIE It doesn't seem long to me. It seems short. I think the whole thing about pets dying s-s-sucks!Poor kid's bawling her eyes out now. LOUIS folds her into his arms and she hugs him tightly, wanting his comfort. LOUIS If it was up to me I'd let Church live to be a hundred...but I don't make up the rules. ELLIE (muffled) Well who does? God, I suppose. But he's not God's cat! He's my cat! Let God get His own, if He wants one! Not mine! Not mine! Not--She breaks down completely, sobbing, and LOUIS rocks her back and forth.INT. THE HALLWAY OUTSIDE THE KITCHEN, WITH RACHELShe is crying silently.INT. ELLIE'S BEDROOM NIGHTShe is a dimly perceived hump in the darkness. An oblong shaft of light falls on her, illuminating her more clearly. She's asleep with her teddy encircled by one arm and her thumb corked into her mouth.INT. THE DOORWAY, WITH RACHELRACHEL looks at her daughter with infinite love and then quietly closes the door.INT. LOUIS'S AND RACHEL'S BEDROOM NIGHTLOUIS is in his pajamas, propped up on pillows on his side of the bed. There a number of medical books scattered around him and he's making notes from one as RACHEL comes in. RACHEL She's finally asleep. LOUIS She was a little over-excited, that's all. Poor kid. RACHEL It was that place. That creepy cemetery up in the woods. Whatever disease the kids in this town have got, I don't want Ellie to catch it. LOUIS Jesus, Rachel, what's got into you? RACHEL Do you think I didn't hear her tonight, crying as if her heart would break? Here she is thinking Church is going to die.It should be clear to us by now that, despite her words, RACHEL is much more upset than ELLIE was. LOUIS slowly puts his notebook aside and caps his pen. LOUIS Rachel...someday Church is going to die. RACHEL (whirls on him) That is hardly the point! Church is not going to die today, or tomorrow-- Never mind. I can see you don't have the slightest idea what I'm talking about.She stalks to the bathroom, which adjoins. LOUIS follows. She goes in and slams the door. He goes for the knob. LOUIS Rachel--!SOUND: CLICK OF THE LOCK.LOUIS stares at the door, bewildered and upset.EXT. ROUTE 9 NIGHTHere comes a big Orinco truck, droning along, headlights glaring.INT. LOUIS'S AND RACHEL'S BEDROOMThe headlights of the truck illuminate the room and we see LOUIS and RACHEL asleep, each as far over to his/her own side as he/she can get, with a big empty space in the middle.Lights and TRUCK SOUNDS slowly fade.INT. GAGE MORNINGCheerful little clots of scrambled eggs are scattered all the way across the tray of his high-chair--it looks a little like a map of the Pacific islands done by a guy who only had a yellow crayon. Now he scoops up a handful and throws them.INT. THE KITCHEN TABLE, WITH ELLIESplat! Eggs on the serving plate of toast. ELLIE Yee-uck! Gross!INT. THE KITCHEN, A WIDER SHOTRACHEL is at the sink, doing dishes (we see the blackboard with its message near her).LOUIS comes in, wearing a sport-coat and slacks, ready for his first day on the job...and ELLIE is in a pretty first day of school dress. LOUIS He can't help it, babe. Emily Post is going to be beyond him for a few years.INT. BY THE KITCHEN DOORHere is the cat-carrier with CHURCH inside it. He waows unhappily.INT. THE KITCHEN TABLE, WITH ELLIE AND GAGEELLIE gets down and goes across to the cat-carrier. ELLIE I don't want him to get his nuts cut, daddy! What if he dies?INT. RACHEL AND LOUIS, BY THE SINKLOUIS looks shocked and amused by ELLIE'S colorful choice of words. LOUIS Good God! Where'd you hear that?INT. ELLIE ELLIE Missy Dandridge. And she says it's a operation!INT. RACHEL AND LOUIS, BY THE SINKLOUIS tries to kiss RACHEL'S mouth. She turns her head slightly so he gets her cheek instead. She's still mad. LOUIS'S amusement dies. RACHEL Honey, Church will be fine.INT. ELLIE, BY THE CAT CARRIER ELLIE But what if he dies and has to go to the Pet Sematary?INT. LOUIS AND RACHEL, BY THE SINKShe gives him a look as if to say: "There! Now do you understand what you did?" RACHEL Don't be silly. Church is not going to die. LOUIS According to what Mr. Crandall says, the road's a lot more dangerous than the operation. Church will be just the same. Well--almost the same--and we won't have to worry about him getting turned into catburgers by one of those damn Orinco trucks.At this RACHEL tightens up still more in that funny way--she's actually angered by LOUIS'S reference to catburgers--but under the anger we sense she is deeply shocked, as a prudish woman might be shocked by a dirty joke. For RACHEL, that's just what death is. RACHEL That's enough of that kind of talk! LOUIS I just said-- RACHEL I know what you just said. Ellie, clear your place.ELLIE goes slowly back to the table. ELLIE (sets the plate down) I'm scared. What if school here isn't like in Chicago! I'm scared and I want to go h-h-home!ELLIE bursts into loud tears and puts her hands over her face.INT. THE KITCHEN, A NEW ANGLE (FEATURES LOUIS AND RACHEL)THE CAMERA FOLLOWS as they go to the table to comfort ELLIE. RACHEL You'll be fine, Ellie. Now you can be excused. Go and wash your face. LOUIS And Church will be fine. ELLIE (anxious) Do you promise, Daddy? LOUIS Well, honey...you know that... RACHEL Don't shilly-shally, Louis. Give the little girl her promise. LOUIS (reluctantly) Church will be fine. I promise. ELLIE Yayyyy!She runs off, cheered up. And RACHEL is cheered up, too. RACHEL Thank you, Louis. LOUIS Oh, you're welcome. Only if some- thing should go wrong while he's under the gas--it's a one-in-a-thousand shot, but it happens--you explain to her.He gets up and leaves the table. She looks after him, stunned and a little frightened.INT. GAGE GAGE (conversationally) Here, Durch!He picks up a large glob of scrambled eggs from his tray and throws it in the direction of the cat-carrier.INT. THE CAT-CARRIERCHURCH is close to the mesh, looking out. Scrambled eggs hit the mesh, driving him back, surprised.EXT. THE CREED HOUSE MORNINGThe school bus pulls up, red lights flashing. ELLIE runs toward it across the lawn, with her lunch-box.EXT. LOUIS, RACHEL, AND GAGE, IN THE FRONT DOORWAY RACHEL Have a great day!LOUIS grabs GAGE'S hand and makes him wave it. GAGE Bye-bye!EXT. THE BUSELLIE climbs aboard. The red flashers go out and the bus pulls away.EXT. THE CREED DRIVEWAY MORNINGThe station wagon is parked there. LOUIS comes out with a heavy briefcase in one hand and the cat-carrier in the other. He opens the wagon's doorgate.A small car turns into the CREED driveway and parks beside LOUIS. A rather sour-looking middle-aged woman gets out and crosses the front of her car. Her color is bad. This is MISSY DANDRIDGE. She looks at the cat-carrier. MISSY Gonna get his-- LOUIS --nuts cut, yes. Thank you, Missy, for introducing that colorful phrase into my daughter's vocabulary. MISSY Don't mention it.She opens the passenger side door of her car and we see a big neat pile of folded sheets. She reaches for them, then winces and presses her hands against her midriff for a moment, as if with an attack of indigestion. LOUIS (sees this) How's that belly-ache of yours? MISSY (gets the sheets) No better and no worse. LOUIS You ought to see a doctor about it. MISSY It'll pass. They always do.She starts toward the house with the sheets.EXT. THE SIDE YARD MORNINGRACHEL hurries past MISSY, who turns to look and then goes on into the house. LOUIS has just put the cat-carrier into the back of the wagon and closed the doorgate as RACHEL reaches him. RACHEL (anxious) Still friends, doc?LOUIS appears to consider this seriously for a moment...and then he smiles and hugs her. They kiss. RACHEL Thank God. I was a little worried there. Have a great first day at school, doc. No broken bones. LOUIS (smiles) Not so much as a sprain.EXT. VICTOR PASCOW AND FRIENDS MORNINGPASCOW is in a blanket that is being carried by three boys and one girl. They are all yelling at each other not to joggle him, not to drop him. A small knot of horrified college kids moves with the bearers.PASCOW'S head is upside down to the CAMERA, which retreats ahead of the advancing students. Fixed eyes stare. Half of his head has been shattered inward. Before the catastrophe he was a husky male of about twenty. He's dressed in a U of M muscle shirt and red jogging shorts.THE CAMERA PULLS JERKILY TO ONE SIDE, allowing the bearers to mount the steps of a brick building. The infirmary. The lookers-on break to either side. The infirmary doors open.EXT.. NURSE CHARLTON, AT THE DOORSShe's the head nurse, a tough old babe of about fifty. CHARLTON Holy Jesus. (turns) Steve! Steve! Dr. Creed! Dr. Creed, we've got a mess here! Stat!The bearers sweep past her and inside, leaving a red smear of blood across the midriff of MARCY CHARLTON'S uniform.INT. THE INFIRMARY RECEPTION AREATHE CAMERA will show us all we need to see, but its movements will seem almost random; this is like being in the hotel kitchen after Sirhan shot Bobby.As the students bring in PASCOW, LOUIS comes running, followed by STEVE MASTERTON, his P.A. Standing to one side are two student nurses in candystriper uniforms. They're boggled and horrified.LOUIS kneels. THE CAMERA RUSHES FORWARD, shoving between onlookers. LOUIS looks at the wound. There's shattered bone and pulsing brain tissue beneath.There's a scream; the girl who was carrying one corner of the blanket is having hysterics. GIRL Vic! Vic! Oh Christ! Vic! LOUIS (to CHARLTON) Get her out. Get them all out.CHARLTON puts her arms around the girl. GIRL (struggling) No! No! He can't die! He can't die!THE CAMERA MOVES BACK DOWN as LOUIS takes an opthalmascope from STEVE and shines it in PASCOW'S bulging, fixed eyes.CHARLTON is just pushing the last of them gawkers and bearers out the door. LOUIS Steve, get the ambulance over here right now. He's got to go to EMMC. STEVE The ambulance is at Sonny's Sunoco downtown, getting-- LOUIS --a new muffler, oh shit--PASCOW makes a weird gargling noise. Blood suddenly spurts out of his mouth. He begins to seizure.One of the candystripers shrieks. THE CAMERA JERKS UP TO COVER the student nurses. One turns and throws up on the wall.CHARLTON rushes over. CANDYSTRIPER I can't look at it...I can't stand it... CHARLTON (slaps her) Yes you by God can. Go get the hard stretcher!As they start away, one helping the other down the hall, and as CHARLTON starts over to where PASCOW lies dying on his blanket, THE CAMERA DROPS TO LOUIS AND STEVE. LOUIS Help me hold him.They hold PASCOW'S spasming body. STEVE It wouldn't matter if we did have the ambulance. LOUIS It wouldn't matter if we had the SST.PASCOW begins to quiet. LOUIS He's going. Steve, go call the motor- pool. Marcy, roll out the crash wagon. CHARLTON It won't-- LOUIS I know it won't! But let's for God's sake do it by the rules!She leaves. LOUIS is alone with PASCOW. CHARLTON has drawn the drapes, so the doctor and the dying man have complete if temporary privacy.INT. LOUIS AND PASCOW, A CLOSER SHOT LOIS There wasn't even supposed to be a sprain today, my friend--that's what I told her.PASCOW'S fixed eyes suddenly roll and his left hand bear-traps LOUIS'S right wrist. The dying man pulls him slowly but relentlessly down, until their faces are only inches apart. PASCOW ...Pet Sematary...LOUIS recoils, breaking the grip of the hand...but he cannot quite snap the grip of those bright dying eyes. Blood leaks from PASCOW'S mouth. LOUIS (whispers) W-What did you say...?PASCOW struggles hard to speak again. At first he can only gurgle. PASCOW It's not the real cemetery... (Long pause) The soil of a man's heart is stonier, Louis...a man grows what he can...and tends it.LOUIS leans forward again, terrified, yet needing to know. LOUIS How do you know my name? PASCOW (gurgling) I'll come...to you.LOUIS grabs PASCOW'S bloody shoulder. LOUIS (low but urgent) Dammit, how do you know my name?INT. HALLWAY ENTRANCE TO RECEPTION, WITH STEVE STEVE Louis, they're sending a--INT. LOUIS AND PASCOWPASCOW begins to spasm again. LOUIS (snaps) Help me!PASCOW spews more blood as STEVE kneels beside LOUIS.INT. THE MAIN INFIRMARY HALLWAYCHARLTON is pushing along your basic MEDCU goodie-cart, covered with emergency life-saving gear.INT. LOUIS, STEVE, PASCOWPASCOW'S spasms are weakening. LOUIS (to CHARLTON) Never mind. He's going.PASCOW'S hand comes up and paws at LOUIS'S shirt, leaving a bloody handprint. Then it falls limply back. PASCOW is dead. LOUIS Steve, will you get a sheet to cover him with?STEVE leaves the frame and LOUIS stares fixedly down at the body of VICTOR PASCOW. He closes the eyes.EXT. A COUNTRY ROAD, LATE AFTERNOONIt's the leading edge of Maine fall, sunny and wonderful. Here comes LOUIS'S station wagon. As it reaches THE CAMERA, it swivels to TRACK. RADIO (voice-over) Tragedy struck on the first day of the University of Maine's fall semester when Victor Pascow, a nineteen-year-old sophomore--INT. THE CAR, WITH LOUISHe still looks shocked by the tragedy. The dying man's bloody handprint is partly visible on LOUIS'S shirt in spite of his sport-coat.LOUIS abruptly turns off the radio and swerves over to the side of the road.EXT. THE STATION WAGONIT comes to a slueing, shuddering stop, almost going in the ditch.INT. LOUIS, BEHIND THE WHEEL LOUIS He said my name. I heard it. He said my name.He stares blankly through the windshield.EXT. THE CREED HOUSE NIGHTAll lights are off. It's late.INT. THE CREED BEDROOM NIGHTLOUIS and RACHEL are asleep, each on his/her own side of the big double. THE CAMERA MOVES IN ON LOUIS.SOUND: Loud, hollow BANG. It's very loud--loud enough to wake the dead.LOUIS sits up. Beside him, RACHEL sleeps on. LOUIS'S eyes widen in terror as he stares at:INT. THE DOORWAY, WITH PASCOWHe's exquisitely dead. Now pallid as well as smashed up. PASCOW Come on, doc. We got places to go.INT. LOUISHe is in terror...but he is also in a state of near-trance.INT. PASCOW PASCOW Come on, doc--don't make me tell you twice.INT. LOUISHe glances at RACHEL. Although PASCOW has spoken in a fairly loud voice--and the opening door was like a bomb--she's still fast asleep. LOUIS looks back toward PASCOW...and then gets out of bed. He's naked except for a pair of pajama bottoms.INT. PASCOWHe turns and leaves the doorway.INT. LOUISHe reaches the bedroom doorway himself and looks back at:INT. THE BED, LOUIS'S POVRACHEL is sleeping as before, and LOUIS himself is also in bed asleep, although his rest is uneasy...as if he's having a bad dream.INT. THE DOORWAY, WITH LOUIS LOUIS (relieved) Oh. Thank God. PASCOW (Voice) Hurry up, doc.INT. THE KITCHENLOUIS enters and crosses toward the door which gives on the shed/garage. This door stands open. LOUIS pauses by it. PASCOW (low) Come on, doc...LOUIS goes into:INT. THE SHED/GARAGEThe station wagon is a dark hulk. LOUIS crosses to it and stands, perplexed.PASCOW looms softly behind him and puts an arm around him. LOUIS turns... and suddenly his face is less than an inch from PASCOW'S mutilated face. PASCOW Let's go, doc. LOUIS (moans) I don't like this dream. PASCOW Who said you were dreaming?He begins to move toward the garage door. After a moment LOUIS follows him.EXT. THE FIELD BEHIND THE HOUSE, LONG NIGHTWe can see two shapes moving up the path toward the woods--PASCOW and, behind him, LOUIS.EXT. THE PET SEMATARY ARCHCAMERA HOLDS, THEN PANS DOWN as LOUIS passes under the arch.EXT. LOUIS, CLOSEHe looks around, obviously afraid.EXT. THE PET SEMATARY, LOUIS'S POVWe can see why. By starlight this is one scary place.EXT. LOUISHe suddenly sees something else, and now his fear is close to terror.EXT. THE DEADFALL, LOUIS'S POVThe face is back in the tumbled branches. It yawns and snarls.EXT. LOUISHe walks toward the deadfall as if hypnotized. PASCOW'S hand falls on his shoulder. LOUIS turns, terrified.EXT. PASCOW, CLOSEHe really is a dreadful mangled mess. PASCOW This is the place where the dead speak.EXT. LOUISHe closes his eyes. LOUIS I want to wake up. I want to wake up, that's all. I--EXT. LOUIS AND PASCOW PASCOW The door must not be opened. The barrier must not be crossed. Don't go on, doc. No matter how much you feel you have to. There's more power here than you know.He points at:EXT. THE DEADFALLThat grinning face--and perhaps now there are other effects as well, subtle but there? Dim red light? A misty smoke drifting through the tumbled dead branches? The director will know.After a moment there is a HUGE GRUNTING ROAR from the woods behind the deadfall--it sounds like no animal we've ever heard before. There is the sound of something huge shifting and snapping a tree like a toothpick.EXT. PASCOW AND LOUISLOUIS has crumbled to PASCOW'S feet. His eyes are squeezed tightly shut. LOUIS Please, I want to wake up. Leave me alone. It's not my fault you died; you were as good as dead when they brought you in-- PASCOW The power of this place is old and always restless. Sometimes the dead do more than speak. Remember, doc.CAMERA BEGINS MOVING SLOWLY IN ON LOUIS. LOUIS Leave me alone! PASCOW Remember.CAMERA IS TIGHT ON LOUIS. RADIO (voice) --another beautiful day in Maine! This is Michael O'Hara sayin' that the git-go ain't gonna be that bad. Temps are going all the way up to 70... We got the Ramones for Ludlow...here's "Sheena."As the Ramones start blasting "Sheena Is A Punk Rocker":INT. LOUIS, IN BEDHis eyes snap open. He's in his own bedroom. As he sits up THE CAMERA ANGLE WIDENS OUT so we can see that he's in bed alone; the covers on RACHEL'S side are thrown back.After the initial confusion and fear, LOUIS looks deeply relieved;he looks the way I suppose we all look upon waking up and realizing our worst dreams were only dreams after all. RACHEL (calls) You up, doc? LOUIS Getting there. RACHEL I got eggs down here! LOUIS Good d--He throws the covers back and freezes.INT. LOUIS'S FEET, LOUIS'S POVThey are covered with mud and pine needles. The sheets are greased with woods-muck.INT. LOUIS, CUUtter terror.INT. THE LAUNDRY CHUTE, CULOUIS'S hands enter the shot and dump a bundle of sheets into the chute.INT. LOUIS, IN THE UPSTAIRS HALLHe's naked but for a towel around his waist. He's obviously fresh from the shower.He starts down to the bedroom to dress.BLACK. And on it a third title card: CHURCH.Over this the SOUND of a RINGING TELEPHONE. LOUIS (voice) Hello?INT. THE CREED LIVING ROOM AFTERNOONThere's a bowling match on TV. LOUIS, dressed in his Saturday afternoon grubs (jeans and a Maine sweatshirt), has the phone to his ear. JUD CRANDALL (phone filter) Louis? 'Fraid you may have a spot of trouble. LOUIS (frowning) Jud? What trouble?INT. THE CRANDALL LIVING ROOM, WITH JUDHe's on the phone, looking out his window. JUD Did you tell me Rachel took the kids back to Chicago for a few days?INT. THE CREED LIVING ROOM, WITH LOUIS LOUIS For Ellie's birthday, yes. I didn't go because her old man thinks I'm a shit and the feeling is heartily re- ciprocated...they'll be back tomorrow night. Jud, what's this about?INT. THE CRANDALL LIVING ROOM, WITH JUD JUD Well, there's a dead cat over here on the edge of my lawn, Louis. I think it might be your daughter's.INT. THE CREED LIVING ROOM, WITH LOUIS LOUIS Church? Oh. Oh, Jesus.EXT. THE CRANDALL HOUSE, MEDIUM-LONGWe're looking across from the CREED lawn. LOUIS waits for one of those trucks to go blasting by and then crosses. It's cold and windy. Downed autumn leaves fly.LOUIS and JUD stand over a small furry body like mourners. JUD (voice) Well?EXT. THE CAT'S BODYIt's lying on its belly and doesn't look much damaged. Hands--LOUIS'S--come into the frame. He puts one hand under the cat's head and lifts it so the open eyes, now a dull green, stare into THE CAMERA. There's some blood on its ruff. That's all.EXT. LOUIS AND JUD, ON THE EDGE OF THE CRANDALL LAWN LOUIS It's Church. JUD I'm sorry. At least it don't look like he suffered. LOUIS Ellie will, though. She'll suffer plenty.From his jacket pocket he takes a green plastic garbage bag and hands it to JUD. JUD holds the bag's mouth open on the ground while LOUIS kind of shoves the body in. During this: JUD Loved that cat pretty well, didn't she? LOUIS Yes.LOUIS twists the bag shut and puts one of those plastic ties on it. Then he holds it up. LOUIS Bagged cat. What a mess. JUD You going to bury him in the Pet Sematary? LOUIS (a little bitter) I guess that's what it's there for, huh?During all of this JUD has grown peculiarly intense. JUD Going to tell Ellie? LOUIS I don't know. JUD Seems like you told me about a promise you made--INT. THE CREED KITCHEN MORNINGGAGE is in his high chair. ELLIE, in her first-day-of-school dress, is in her place. LOUIS is sitting at his own place staring, hypnotized, at the middle of the table, where there is a large serving dish. On the dish is scrambled eggs, strips of bacon, and CHURCH'S corpse--staring eyes, bloody ruff and all. RACHEL (impatiently) Don't shilly-shally, Louis. Give the little girl her promise.EXT. THE CRANDALL LAWN, WITH JUD AND LOUIS LOUIS (defensive) That was a mistake. But Rachel... she doesn't like to talk about death, or even think of it. Her younger sister died of spinal meningitis when Rachel was eight. Rachel was there when it happened. Alone. I guess you could say it made a complex. JUD Cat's just as dead, Louis. LOUIS (snaps) Well that's a big help! (Pause) I'm sorry, Jud. JUD No need to apologize. LOUIS Maybe when they call I'll just tell Ellie I haven't seen the damn cat around. You know? JUD (after a long pause) Maybe there's a better way.EXT. THE START OF THE PATH TO THE PET SEMATARY, LONG EVENINGLOUIS and JUD cross the road from the CRANDALL side. LOUIS is carrying the plastic bag in one hand and a flashlight in the other. JUD has a pick and shovel in one hand and a flashlight of his own in the other.Evening shadows have grown long. It's maybe an hour until dark.JUD and LOUIS stop near the replaced tire-swing.EXT. LOUIS AND JUDJUD has a Walkman clipped to the belt of his pants and earphones slung around his neck. LOUIS Jud, this is crazy. It's going to be almost dark before we get back. JUD It's going to be dark before we even get where we're going, Louis. But we can do it...and we're going to. LOUIS But-- JUD Does she love the cat? LOUIS Yes, but-- JUD Then come on.He puts the earphones on, effectively forestalling further argument, and pushes the PLAY button on the Walkman. We can hear Marshall Crenshaw singing "Crystal Girl." JUD starts away. After a moment, LOUIS follows.EXT. THE PET SEMATARY AND THE BACK OF THE ARCH LATE EVENINGThe SOUND of crickets...ree-ree-ree...The SOUND of footfalls.Faintly, the SOUND of Huey Lewis and the News, singing "Working For A Living."It's now almost twilight.JUD and LOUIS enter the Pet Sematary. LOUIS is looking around curiously. LOUIS Well, folks, here we are, in Louis Creed Dreamland.JUD snaps off the Walkman and puts the earphones around his neck again. JUD What say, Louis? LOUIS Nothing. (Pause) Do we plant him on the outer circle or start a new one? JUD We're still not where we're going.He walks past LOUIS and toward the deadfall. LOUIS follows. LOUIS What do you mean? JUD The place we're going is on the other side of that.He points at the deadfall. LOUIS We can't climb over that. We'll break our necks! JUD No. We won't. I have climbed it a time or two before, and I know all the places to step. Just follow me...move easy...don't look down...and don't stop. If you stop, you'll crash through for sure. LOUIS I'm not climbing that. JUD Give me the cat. I'll take care of it myself.He holds out his hand and LOUIS sees the old man means exactly as he says. After a moment he says: LOUIS Let's go.JUD starts up one side of the deadfall, and in spite of its snarled tangles, he mounts as easily as a man climbing a flight of stairs. After a few second, LOUIS follows. LOUIS (low) Thank God my Blue Cross is paid up.EXT. THEIR FEETFirst JUD'S pass THE CAMERA, then LOUIS'S, partly obscured by the swinging cat-bag. Their feet unerringly find the right branches and just as unerringly miss holes which look like ankle-breakers.EXT. LOUISHe's grinning, exhilarated. LOUIS God, this is amazing!EXT. JUDThere are beads of sweat on the old man's face. He looks both stern and a little scared. JUD Just don't stop and--EXT. LOUISHe looks down.EXT. LOUIS'S FEETA dead branch snaps under one of them like a gunshot and that foot plunges down maybe six inches.EXT. LOUISHe lurches to the edge of balance, then regains it. LOUIS And don't look down. Right.He continues.EXT. THE DEADFALL, REVERSE TWILIGHTJUD reaches the top and starts down the far side. LOUIS reaches the top.EXT. LOUIS LOUIS (amazed) Holy...!EXT. BIG GOD WOODS, LOUIS'S POVIn the dying glow of twilight, this should be a mystic, awe-inspiring shot. There's no more scrub underbrush and junk pines and juniper-bracken here; ancient firs rise almost like Sequoias. The sunset light shafts among them. This is a real forest... an old forest. And winding upward among the trees along that needle-carpeted floor, clearly marked by large white stones, the path goes on.EXT. LOUISHe's stopped on top of the deadfall, still surveying all this with frank amazement.EXT. JUD JUD (turns to look) Come on, Louis--don't stop!EXT. LOUIS, ATOP THE DEADFALL LOUIS (grinning) I'm all right! I'm f--EXT. LOUIS'S FEETOne of the branches snaps. LOUIS'S foot plunges. His cuff rips.EXT. LOUIS, JUD'S POVWe're looking up at a fairly steep angle as LOUIS staggers off-balance. He steps with his other foot, misses, and goes flying.EXT. LOUIS, CLOSERHe does a half-somersault in the air and hits the deadfall on his back, the green garbage bag flying out of his hand. His flashlight also goes. Branches crack. White dust puffs out from under him.EXT. JUD, AT THE BASE OF THE DEADFALLLOUIS thumps to the ground nearby. JUD kneels beside him. JUD Louis! You all right?LOUIS sits up groggily. His pants are torn. His sweatshirt is torn. His ankle is bleeding. LOUIS (dazed) Sure. I guess I just lost my happy thoughts for a second there.LOUIS gets slowly up and retrieves the bag, which is rather shredded now--and we can see catfur through some of the rents. LOUIS (continues) I shouldn't have stopped...and it does bite.He whaps the flashlight against his palm a time or two and the light comes on. Satisfied, he shuts it off. JUD No, you shouldn't have stopped. But you got away with it. Important thing is are you sure you're all right? LOUIS Yes. (Pause) Where are we going, Jud? JUD You'll see before long. Let's go.He starts off up the path. After a moment LOUIS follows, carrying the bag.EXT. LOUIS AND JUD, FROM THE DEADFALLAgain, there should be a sense of awe and mystery as they go tolling up the path into the twilight, dwarfed by those ancient firs.SOUND OF CRICKETS, LOW at first, then UP TO LOUD: Ree-ree-ree... DISSOLVE TO:EXT. LOUIS AND JUD, AT THE EDGE OF LITTLE GOD SWAMP TWILIGHTLots of undergrowth here, and creeping ground-mist, too. The SOUND OF CRICKETS is now only a part of the soundtrack: BUZZ OF CICADAS, THUMP OF FROGS. Swamp-sounds.LOUIS looks frankly doubtful. JUD This next bit's like the deadfall, Louis-- you got to walk steady and easy. Just follow me and don't look down.EXT. LITTLE GOD SWAMP, LOUIS'S AND JUD'S POV DEEP TWILIGHTMysterious...awesome...scary. Dead trees poke out of the murk like twisted hands. There's scummy water standing around tussocks covered with long grass, most of it dead. There's a lot of choking underbrush.All of this fades away into a grim, obscuring fog.EXT. LOUIS AND JUD JUD Micmacs used to call it Little God Swamp. LOUIS Is there quicksand? JUD Ayuh. LOUIS (nervous; joking) Are there ghosts?JUD looks at him expressionlessly. JUD Ayuh.JUD starts off, stepping to the first tussock. After a moment, LOUIS follows.EXT. JUD, CUHis face is set, strange. JUD There's a lot of funny things down this way, Louis.EXT. LOUIS, BEHIND JUD LOUIS You're telling me.EXT. JUD JUD (still walking) The air's heavier...more electrical... something. You might see St. Elmo's Fire...what the sailors call 'foo-lights.' It makes funny shapes, but it's nothing.EXT. LOUISHE looks up and his eyes widen as he sees:EXT. ANGLE ON LITTLE GOD SWAMP, LOUIS'S POVA faintly glowing, ethereal shape hangs in the branches of one of the dead trees. It looks a bit like a corpse. In fact, I think it looks quite a bit like PASCOW'S corpse.As we watch it fades...fades...is gone.EXT. LOUISHe's somewhere between being mystified and puzzled and being scared. Now a weakly glowing fireball rolls slowly across the surface of the standing water toward him...and then just fades into the thick mist. LOUIS It's funny, all right.EXT. JUD JUD Just don't stop, Louis. You don't ever want to stop down here in Little God. (Pause) And you don't ever want to look behind you, whatever you hear.EXT. JUD AND LOUIS, LONG ANGLE NIGHTWe see them moving through the mist like wraiths, JUD with his digging tools, LOUIS with his light and his Hefty-Bag coffin. The whole swamp is glowing dimly.EXT. THE FAR SIDE OF LITTLE GOD SWAMP NIGHTIn the extreme f.g. we can see firm ground sloping up. Ahead is a thick white mist. And here comes JUD and LOUIS slogging through it and out of it. Both of them are wet from the knees down. They head into the woods on the far side.EXT. A LOW, STONY BLUFF OR STEEP HILLIn the book this is described as being almost a cliff, but a rocky hill rising out of the woods would serve just as well. We can see steps cut into the side, and two figures--LOUIS and JUD--toiling up them.EXT. JUD AND LOUIS, A CLOSER SHOTJUD'S panting and out of breath; LOUIS is, if anything, in worse shape. JUD Almost there, Louis. LOUIS You keep saying that. JUD This time I mean it.He tops the last step and stands on a rocky level under the stars, the wind blowing his hair off his deeply lined brow. A few moments later LOUIS joins him and stares with undisguised wonder.EXT. THE MICMAC BURYING GROUND, LOUIS AND JUD'S POVThe top of this hill or bluff is rocky and bare, but there are a number of rocky piles. But for every pile of rocks we can see, there are ten littered heaps, as if the neat piles had been burst apart. There's a shape to all of this, and it is the shape of the Pet Sematary: concentric circles.SOUND: The wind, blowing ceaselessly.EXT. LOUIS AND JUD, AT THE EDGE OF THE BURYING GROUND LOUIS (awed) What is this place? JUD This was their burying ground, Louis. LOUIS Whose burying ground? JUD The Micmac Indians. I brought you here to bury Ellen's cat. LOUIS Why? For God's sake, why? JUD I had my reasons, Louis. We'll talk later. All right? LOUIS I guess so...but... JUD You want to rest a bit before you start? LOUIS No, I'm okay. Will I really be able to dig him a grave? The soil looks thin. JUD Soil's thin, all right. But you'll manage.He hands him the pick and shovel. JUD I'm going to sit over yonder and have a smoke. I'd help you, but you've got to do it yourself. Each buries his own. That's how it was done then.JUD walks away, leaving LOUIS with the digging tools in one hand and the flashlight in the other. After a minute, LOUIS walks out into the burying ground.EXT. LOOKING DOWN INTO A SHALLOW HOLE NIGHTSOUND: The wind. It blows ceaselessly up here.The hole's about two and a half feet deep. Stubby rocks protrude from the sides. The pick comes down, hits a rock at the bottom, and flashes fire.EXT. LOUISHe drops the pick and sticks his hurt hands in his armpits. Beside him we see a low pile of rocks and earth. JUD (voice) Should be deep enough.He joins LOUIS. He's got a lot of rocks in his arms. LOUIS You think so?He notices the rocks. LOUIS What are those for? JUD Your cairn.EXT. THE MICMAC BURYING GROUND, LOUIS'S POVThose tumbled piles of rock are very obvious.EXT. LOUIS AND JUD, BY CHURCH'S GRAVE LOUIS Doesn't look like they last long. JUD Don't worry about that. LOUIS Jud, why am I doing all this? JUD Because it's right.He walks off again.LOUIS looks after him for a moment, then kneels down.EXT. LOUIS, BY THE GARBAGE BAGHe opens it and looks in at CHURCH'S stiffening corpse. LOUIS Pax vobiscum, Church old buddy. You were a hell of a god cat. I doubt if you were worth all this aggravation, but you were a hell of a good cat.He tumbles the bag containing the body into the grave, and then begins pushing the stony soil over it with the spade.EXT. THE CAIRN, CU NIGHTLOUIS'S hands come into the frame and add a final two or three stones.EXT. LOUIS, BY THE CAIRNHe looks at it for a moment and stands up. JUD is right there. JUD That's fine. You did real good.LOUIS looks at him.EXT. THE CREED HOUSE NIGHTThere's a light on in the kitchen, but that's all. There's silence at first, and then the PHONE STARTS RINGING.EXT. LOUIS'S FIELD NIGHTLOUIS and JUD are coming down the path with their tools and their lights. They are both clearly fagged out.SOUND, FAINT: The telephone. LOUIS Oh, shit! Rachel!He drops the tools and sprints.EXT. THE CREED'S SIDE YARD, BY THE TIRE SWINGLOUIS runs into the side yard. SOUND of the phone is louder.EXT. THE KITCHEN DOOR OF THE CREED HOUSE, WITH LOUISHe runs to the door and inside.EXT. THE END OF THE PATH, WITH JUDHe stands there, eyes inscrutable.INT. THE LIVING ROOM, WITH THE PHONEIt stops. A beat later LOUIS enters the room. He picks it up, although he already knows it's too late. He listens to the SOUND of the dial tone and then drops it back into the cradle, disgusted.He starts to dial a number from memory. JUD (voice) Louis.INT. THE KITCHEN/LIVING ROOM DOORWAY, WITH JUD JUD When you talk to 'em, not one word about what we done tonight. 'S'far's you know, the cat's still fine.INT. LOUIS, BY THE PHONEAfter a moment he lowers it into the cradle.INT. JUD JUD You'll understand. In the meantime, keep your peace. What we did, Louis, was a secret thing. Women are supposed to be the ones who are good at keeping secrets, but any woman who knows anything at all would tell you she's never seen into a man's heart. The soil of a man's heart is stonier, Louis--like the soil up there in the old Micmac burying ground. A man grows what he can...and tends it.During this, he's come across the room to LOUIS and dropped his hand on LOUIS'S shoulder. LOUIS But-- JUD No buts! Accept what's done, Louis. What we done was right. Another time it might not be, but tonight it was... at least I hope to Christ it was. Now you make your call...but not a word about tonight.EXT. THE ROAD, WITH JUDSOUNDS: Boops and beeps of a touch-tone telephone. Ringing. Then: DORY GOLDMAN (voice) Goldman residence. LOUIS Hi, Dory...it's Louis--During this, another SOUND has been growing: an approaching truck. As JUD gains his side of the road, he looks back, and we read fear on his face--no matter what he said to LOUIS, he's sorry for tonight's piece of work.A moment later a highballing Orinco truck cuts between THE CAMERA and JUD.INT. LOUIS, IN THE LIVING ROOM NIGHTHe's on the phone, smiling and happy. RACHEL (voice) You want to talk to the birthday girl? LOUIS That'd be real fine. ELLIE (voice) Hi...daddy? LOUIS (sings) Happy birthday to you/Happy birthday to you/Happy birthday, dear Ellie/Happy birthday to you! ELLIE (voice) That was awful, daddy. LOUIS Yeah, I know...how are things out there in Chicagoland? ELLIE Fine...except when Mom was airing Gage's diaper rash, he walked away and got into Grampa's study and pooped in Grampa's favorite chair. LOUIS (grinning broadly) Way to go, Gage! ELLIE (voice) What? LOUIS I said that's too bad. What did you get for presents from Gramma and Grampa? ELLIE (voice) Lots of stuff! I got two dresses...and a Chatty Cathy doll...INT. THE GOLDMAN LIVING ROOM, WITH ELLIEShe's dressed for bed, in fuzzy pink pajamas. Her Chatty Cathy is crooked in one arm. In her lap is a Garfield transistor radio. ELLIE ...and a Garfield radio! How's Church, dad? Does he miss me?INT. THE CREED LIVING ROOM, WITH LOUISThe smile fades off his face. It's replaced with a look of combined guilt and unhappiness. He's looking at his hands, which are still dark with the dirt from CHURCH'S grave. LOUIS Well...I guess he's just fine, Ellie. I haven't seen him this evening, but--INT. THE GOLDMAN LIVING ROOM, WITH ELLIERACHEL, holding GAGE, sits on the arm of ELLIE'S chair. ELLIE Well, make sure you put him down cellar before you go to bed so he can't run out in the road and get greased. And kiss him goodnight for me. LOUIS (voice) Yuck! Kiss your own cat! ELLIE Want to talk to Gage?Before he can answer, she puts the phone in GAGE'S hand. ELLIE and RACHEL watch, amused, as GAGE gobbles into it. Perhaps RACHEL encourages him to say a few words.INT. THE CREED LVING ROOM, WITH LOUISFrom the telephone comes the sound of GAGE talking and chortling. LOUIS is not listening. His eyes--and his mind--are far away.EXT. THE CREED HOUSE MORNINGLOUIS is raking leaves on the side lawn, near the tree with the tire swing. After a moment or two of this he props the rake against the tree and starts toward the garage. He goes in.EXT. THE GARAGE, WITH LOUISIt's dim in here. LOUIS is crossing to the door which communicates to the kitchen. As he passes the station wagon, he hears a cat HISS. He turns.INT. CHURCH, ECUHe's on top of the car, but at this point we probably don't notice; THE CAMERA is so close that CHURCH looks like he's coming right down our throats. He's hissing angrily.INT. LOUISHe recoils and stumbles backward with a cry. He hits a tool-rack on the wall and a lot of them fall down with a LOUD JANGLING NOISE.INT. ON TOP OF THE STATION WAGON, WITH CHURCHHe jumps down, frightened by the noise, and the CAMERA TRACKS as he goes flying out the garage door into the sunlight.INT. LOUISHe gets slowly to his feet again. He's getting over his fright but we can see he's totally freaked out by what gave him that fright. He goes to the garage door and looks out. LOUIS (calls) Church?EXT. THE SIDE YARD, LOUIS'S POVGrass and fallen leaves. No sign of CHURCH.EXT. LOUIS'S STUNNED FACE, CUINT. THE KITCHEN, WITH LOUISHe's spooning cat-food into a dish. He goes to the door--there should be a total of three doors in the kitchen: one to the living room, one to the shed/garage, and one which leads directly outside. LOUIS uses this latter door now.EXT. THE KITCHEN STOOP, WITH LOUISHe puts the dish of food down and sits beside it. LOUIS Food, Church...food!SOUND: Miaow.EXT. THE SIDE OF THE HOUSE, LOUIS'S POVCHURCH comes slinking out of the bushes and comes slowly toward THE CAMERA. He stops, looking mistrustful.EXT. LOUIS LOUIS Come on, Church! Chow down!EXT. CHURCHHe crosses to the stoop and begins eating the food. LOUIS (to himself) Christ. I don't believe this.He picks CHURCH up. CHURCH miaows again--he wants the food. LOUIS (wincing) God, you stink, Church.CHURCH is looking at the food, trying to get out of LOUIS'S arms. LOUIS In a second.He tilts the cat's head back so he can get a look at CHURCH'S neck.EXT. CHURCH'S NECK, CU (LOUIS'S POV)There's some sort of mark here--a clear remnant of the crash. A line of white fur, or perhaps a dark red scar where no fur at all grows.EXT. LOUIS AND CHURCH, ON THE STOOPLOUIS sees something else as he lets the cat's neck go. He tweezes something out of CHURCH'S whiskers.EXT. LOUIS'S HAND, ECUIt's a shred of green plastic.EXT. LOUIS AND CHURCH LOUIS Chewed his way out. Jesus Baldheaded Christ, he ch--CHURCH suddenly claws at his face. LOUIS Ow!He claps his hand to his face. CHURCH leaps for the food. LOUIS slowly takes his hand away. There are claw marks on his cheek, welling blood. He looks at the cat.EXT. JUD CRANDALL'S GARDEN, WITH JUDThe garden is a plot of about half an acre. JUD comes trundling slowly along a row, pushing a wheelbarrow. There are several pumpkins in it. JUD is wearing old khaki gardening pants and a Ramones sweatshirt. He's wearing his headphones and we can hear the Romantics doing "What I Like About You." JUD is singing along and bopping a little--as much as his arthritis will allow, if you can dig it.He sees a real big pumpkin, stops, and bends over to get it.He takes out his pocket-knife and slits the pumpkin-vine. He gets the pumpkin in his arms and stands up. He turns...and LOUIS is right there (kind of a cheap jump, but always fun), looking totally stunned.JUD, startled, drops the pumpkin. LOUIS reaches out and slides the phones off JUD'S ears. LOUIS What did we do?INT. THE CRANDALL KITCHENLOUIS is sitting at the kitchen table. JUD is at the fridge. JUD comes back with a couple of long-necked bottles of beer and opens them. JUD I most generally don't start before noon, but this looks like an exception. LOUIS What did we do, Jud? JUD Why, saved a little girl from being unhappy...that's all. Drink up, Louis!LOUIS drinks about half the beer. LOUIS I tried to tell myself I buried him alive. You know--Edgar Allan Poe meets Felix the Cat. But... JUD Wouldn't wash? LOUIS No. I'm a doctor. I know death when I see it, and Church was dead. He smells horrible and he uses his claws, but he's alive...and I feel like I'm going crazy. It was that place, wasn't it? JUD Ayuh. It was the rag-man told me about the place--Stanley Bouchard. Us kids just called him Stanny B. He was half Micmac himself.LOUIS drains his beer. LOUIS Can I have another one? JUD I guess it wouldn't hurt.He gets up and goes to the fridge.INT. JUD, AT THE FRIDGE JUD The Micmacs used to bury their dead up there long before the whites came.He returns to the table with the beer. JUD They buried their dead and for a long time their dead stayed buried. Then something happened. Half the tribe died in a season. The rest moved on. They said a Wendigo had soured the ground. LOUIS Wendigo? JUD Spirit of the north country. Not a good spirit. Wendigos are great liars and tricksters, according to the stories. And if one touches you...JUD pauses, perhaps a flustered, and gathers his thoughts. JUD Maybe it really was a Wendigo-- I ain't the one to say it wasn't-- or maybe it was just some disease. Whatever the reason, those that were left moved on. But they left that place...the way it is now.JUD shrugs, and drinks.EXT. JUD AS A BOY, CU/SEPIA TONE DAYThe time here is about 1910. JUD is wearing short pants. He's crying, not in any big-deal histrionic way, but as if he means to keep doing it for a long time. I mean he looks really sad. JUD (voice) I loved my dog a lot, Louis. When Spot died, I thought I was gonna die.JUD is sitting on the front stoop. It's the same house JUD lives in now, but the porch hasn't been added yet, and the road is dirt rather than tar.Along this road comes a horse-drawn wagon--STANNY B.'S wagon. The wagon's full of junk, rags, bottles...stuff to sell and swap. Strung across the top are bells, and we can hear their CHIMING SOUND...but faint, like bells heard in a dream.STANNY B. is old and drunk. Dust spumes up behind the wagon as he draws up to the CRANDALL house and stops. He gets down, almost falls, takes a bottle out of his back pocket, drinks, and approaches JUD. We can see him speaking.INT. JUD'S KITCHEN, WITH JUD AND LOUIS LOUIS You and this old Indian rag-man-- JUD Stanny B. did for me what I did for you last night, Louis. Only I wasn't alone when Spot came back.EXT. THE CRANDALL BACK YARD/SEPIA TONE DAYJUD'S MOTHER is back to THE CAMERA, hanging sheets on the line. The sheets billow. And suddenly, pushing out from behind them, quite near her, is a small mongrel dog. SPOT. He's covered with graveyard dirt. His eyes are red and rolling. He splashes the sheets with the muck of his passage. JUD (voice) My mother was with me.She sees who it is--what it is--and backs away, screaming, horrified.EXT. SPOT, CLOSER/SEPIA JUD (voice) He'd got caught in bobwire that infected. You could still see the marks on him.And so we can, around his neck and along the side of his head. These marks are the counterpart of the marks we've already seen on CHURCH.SOUND of JUD'S MOM SCREAMING. Like the bells, these are screams heard in a dream.EXT. THE BACK STOOP OF THE CRANDALL HOUSE/SEPIAThe BOY JUD comes running out, dressed in a night-shirt.EXT. JUD'S MOM/SEPIA (JUD'S POV)She's cringing against the fence at the rear of the yard. SPOT stands in front of her, swaying from side to side, as if doped. JUD'S MOM (dim; far) Get your dog, Jud! He stinks of the ground you buried him in! Come here and get your dog!She is in utter terror.EXT. THE BOY JUD/SEPIAHorrified...ashamed.EXT. JUD'S MOM/SEPIA JUD'S MOM (terror) COME AND GET YOUR DOG!!INT. JUD AND LOUIS, IN JUD'S KITCHEN LOUIS How did your mother take it, Jud? How did she take it when your dog came back from the dead?JUD'S face is a complication. He's lying to LOUIS, certainly--but is he also lying to himself? Yes, I think so. JUD Well, she was a little upset at first, and that's why I thought you ought to hold your peace when you talked to your people last night...you did, didn't you, Louis? LOUIS Yes. JUD Why, then, things should be fine. LOUIS A little upset is all she was? Because I'll tell you, Jud, my brains feel a little like a nuclear reactor on the edge of a meltdown. JUD She got used to the idea. Spot lived another four years. He died peacefully in the night that second time, and I buried him in the Pet Sematary...where his bones still lie.EXT. THE ROAD BETWEEN THE TWO HOUSES, WITH LOUIS AND JUDWe see them crossing. LOUIS (voice) You still haven't told me why you did it.EXT. JUD AND LOUIS, ON THE CREED FRONT LAWN JUD A man doesn't always know why he does things, Louis. I think I did it because your daughter ain't ready for her favorite pet to die. LOUIS What? JUD Ellie's a little scared of death. And the main reason Ellie's that way is because your wife is a lot scared of death. Now you just go ahead and tell me I'm wrong.But LOUIS'S reaction tells him he's not wrong--in fact, JUD has hit the nail right on the head.INT. BATHTUB FIXTURES, CULOUIS'S hands come into the frame and turn the spigots.INT. THE BATHROOM, WITH LOUISHe starts to undress, still looking troubled. We should notice that the door behind him is firmly shut. The bathroom has no windows.INT. THE BATHTUB SPIGOTSThe hot water is steaming. LOUIS'S hands enter the frame and turn off the faucets. SOUND of LOUIS climbing in.INT. LOUIS IN THE TUBA big sigh and an expression of exquisite pleasure. He relaxes in the hot water. After a few moments he puts a wet washcloth over his face.INT. BY THE KITCHEN SINK, WITH RACHEL RACHEL Don't shilly-shally, Louis. Give the little girl her promise.INT. THE KITCHEN TABLEGAGE is in his high chair. ELLIE is at her place, crying. In RACHEL'S place sits VICTOR PASCOW, bloody and wrecked. LOUIS sits in his place. On the platter of bacon and scrambled eggs is CHURCH'S mangled body. PASCOW The door must not be opened. The barrier must not be crossed. LOUIS You don't understand--INT. THE BATHTUB, WITH LOUISThe washrag is slipping, but it still covers his face. LOUIS (mutters) --I'm a doctor.INT. THE CREED KITCHEN TABLEIn attendance: PASCOW, LOUIS, ELLIE, GAGE in his high chair. Lying in the middle of the table, clotted with dirt and blood, eyes staring, neck a gory mess of infected wounds, is SPOT. He's also dotted with clots of scrambled egg and bits of bacon. PASCOW Sometimes the dead do more than speak. Remember, doc.INT. RACHEL, AT THE KITCHEN SINK RACHEL (with great force) Don't shilly-shally, Louis. Promise me. Promise me. Promise me.INT. THE BATHTUB, WITH LOUISThe washcloth has slipped enough so we can see his eyes are closed--he's dozing. LOUIS Promise...INT. THE CREED KITCHEN TABLETo LOUIS, ELLIE, PASCOW, GAGE, and the corpse of SPOT enters JUD, his eyes shocked and staring. JUD (to LOUIS) You do it for all the best reasons, but that ain't why. You do it because it gets hold of you...you do it because you have to.INT. LOUIS, IN THE BATHTUB, CUThe washrag has worked its way down to his mouth by now. His doze is deepening; he's started to snore a little.SOUND: A splash. Something has been dropped into the bath.LOUIS opens his eyes. Looks puzzled. Looks down. Eyes widen in shock.INT. THE BATHWATER, LOUIS'S POVA very large and very mangled dead rat floats in the bath, actually brushing against LOUIS'S chest. Blood has begun to stain the water.INT. LOUISTurns his head, preparatory to leaping out.INT. THE TOILET LID, WITH CHURCHIts mouth yawns open. It hisses, showing bloodstained teeth.INT. THE BATHROOMLOUIS leaps from the tub. Grabs a towel and begins to rub himself frantically. He's grossed out. The cat tries to arch against him and he hits it. CHURCH falls to the floor, hissing.LOUIS looks at the closed door. LOUIS How the hell did you get in?He may not know that, but he knows how it's going to get out. He opens the door to the upstairs hall. If CHURCH doesn't go at once, LOUIS helps it with his foot.Then he looks down at:INT. THE BATHTUB WITH BRER RAT, LOUIS'S POVINT. LOUISStaring at the rat. Over this: THE SOUND OF JET ENGINES.EXT. A DELTA 727Its landing gear unfolds preparatory to touching down at Bangor International Airport.INT. A DEPLANING AREA DAYLots of people making their way up the jetway.INT. LOUIS, OUTSIDE THE SECURITY POINTHe's looking anxiously for his people. In one hand he's got half a dozen roses. His face lights up.INT. THE DEPLANING AREA, LOUIS'S POVHere comes LOUIS'S family. ELLIE is a little ahead. RACHEL is pushing GAGE in his stroller. ELLIE sees LOUIS and lights up. ELLIE Daddy!She runs for him.INT. JUST OUTSIDE THE SECURITY POINTELLIE comes belting up to LOUIS, weaving among the deplanees like a slalom skier. She leaps into his arms. LOUIS swings her cheerfully. LOUIS Hi, sugar!She smacks him noisily. He smacks her back just as noisily. ELLIE Daddy, is Church all right?LOUIS'S face changes. All at once he's watchful. LOUIS Yes...I guess so. He was sleeping on the front porch when I left. ELLIE Cause I had a bad dream about him. I dreamed he got hit by a car and you and Mr. Crandall buried him in the Pet Sematary. LOUIS (trying to smile) That was a silly dream, wasn't it? ELLIE Is he really all right? LOUIS Yes. ELLIE Because you promised. LOUIS I know.RACHEL reaches them. She's pretty tired. Hair hanging in her face, good travelling clothes now looking a bit wrinkled and a bit stale. RACHEL Want to take your son, doc?LOUIS does. GAGE is ecstatic.LOUIS kisses RACHEL deeply.INT. THE CREED KITCHEN, NIGHTCHURCH at the door, waiting to be let out. ELLIE does the honors. CHURCH oils out into the shed/garage. ELLIE closes the door. She looks distressed. She crosses the kitchen again.INT. THE CREED LIVING ROOM, NIGHTRACHEL, in a flannel nightgown, is watching TV. LOUIS is reading a medical tome and making notes. GAGE, zipped into a warm blanket suit, is sacking on the couch. ELLIE (entering) Can cats have shampoos? RACHEL Yes--you have to take them to someone who grooms animals, though. I think it's pretty expensive. ELLIE (still upset) I don't care. I'll save up my allowance and pay for it. Church smells bad. LOUIS I've noticed it, too. I'll cough up the money, Ellen. ELLIE I hate that smell.INT. LOUIS, CUHe looks both grim and sad--a man discovering that what you pay for you own, and what you own always comes home to you. LOUIS Yes--I hate it, too.BLACK. And on it, a fourth title card: MISSY DANDRIDGE.SOUND: A pen scratching over paper.INT. A STUDY DESK, CUA single sheet of lined paper is spotlighted by the glow of the desk-lamp. On it, MISSY'S right hand is just finishing: "Dr. says Intestinal Cancer. Cannot face this Pain. Sorry."The hand puts the pen down. It tears the paper in two, leaving just the half with the message.INT. THE DANDRIDGE CELLAR, NIGHTA light comes on and we see a hangman's noose strung over a beam. It dangles above a kitchen table which has been relegated to cellar duty.SOUND: Descending footsteps.INT. THE NOOSE, CUSOUND of MISSY climbing onto the table.Her face enters the frame. She looks very sick. She puts her head into the noose and rakes it tight at the hyoid bone.EXT. THE DANDRIDGE HOUSE, NIGHTOne light on...a cellar light.SOUND: Ree-ree-ree...then...SOUND: Kick! THUMP!SOUND: Ree-ree-ree...INT. THE CELLAR, WITH MISSY DANDRIDGEShe hangs limply, hands dangling at her sides, above the table, which now lies upon its side. We can see the note clearly. She pinned it to the bodice of her housedress.SOUND: Car engines starting up.EXT. IN FRONT OF THE GRACE METHODIST CHURCH DAYPeople are coming out and getting into their cars and turning on the headlights, even though it is only mid-morning.In the immediate f.g. is a hearse. Four pallbearers are loading a coffin into it.EXT. LOUIS AND ELLIE, ON THE CHURCH STEPS ELLIE They're all turning on their lights! Daddy, why are they all turning on their lights in the middle of the day?JUD, dressed in a rusty old black suit and a black tie, comes out and stands with them. He looks haggard and old. JUD They do it to honor the dead, Ellen. ELLIE Is that right, dad? LOUIS Yes. To honor the dead.EXT. THE CHURCH PARKING AREAMore cars start up; more lights come on; the back doors of the hearse swing closed.EXT. LUDLOW CEMETARY DAY[NOTE: In the book LOUIS finds it difficult to enter at night because of a high iron fence. Here we should see there's no such problem; there's only a low stone wall between the graveyard and the public road.]The mourners are of course gathered around the grave of MISSY DANDRIDGE. The coffin rests above it on runners. MINISTER (voice) May the Lord bless you and keep you; may the Lord make his face to shine upon you, and comfort you, and lift you up, and give you peace. Amen.EXT. LOUIS, ELLIE, JUDAs the mourners begin to break up, these three start back toward LOUIS'S car. JUD Rachel not feeling well? LOUIS Well...a touch of the flu... ELLIE She's in bed. She was throwing up. Ever since Mrs. Rogers called and said Missy-- LOUIS That's enough, Ellen.They've reached the CREED station wagon. JUD Out of the mouths of babes, Louis. LOUIS This babe has said enough.He opens the front passenger door. LOUIS Hop in, Ellie.She does, and LOUIS closes the door. JUD Poor Missy. God, I was sorry to hear. I remember when she was no older'n Ellen there, walking down to the store with her Raggedy Anne doll draggin' behind her in the dust. I don't know why God takes someone like her, who should have a bunch of years still in front of them, and lets an old shit like me just go on and on. LOUIS My father used to have a saying, Jud-- "God sees the truth, but waits." JUD Ayuh...how is your cat, Louis? LOUIS It's Ellie's cat. JUD Nope. He's your cat now.JUD opens one of the back doors as LOUIS goes around to the driver's side.INT. THE BACK SEAT OF THE WAGONJUD has tilted over in one corner and is snoring. His Walkman 'phones are on and we can hear the tinny sounds of Billy Idol. A little old man's drool trickles down from one corner of his mouth.SOUND: ELLEN< crying.INT. THE FRONT OF THE WAGON, WITH LOUIS AND ELLIETears are spilling freely down ELLIE'S face. LOUIS Ellie? What's wrong? ELLIE No more chocolate chip cookies. LOUIS Huh? ELLIE Missy made the best chocolate chip cookies in the world--even Mom said so. Now there won't be any more because she's gonna be dead forever!She cries harder. LOUIS reaches out and strokes her hair.EXT. THE STATION WAGON, DAYMoving up the country road toward home through blazing fall foliage.INT. TV SCREEN, CU NIGHTOn it is a scene from "Night of the Living Dead." NEWSCASTER Bizarre as it may seem, it now seems almost beyond doubt: the dead are returning to eat the living. ELLIE (voice) Daddy?INT. THE CREED LIVING ROOM NIGHTThere's a VCR on top of the TV; LOUIS has been watching "Night." Now he quickly uses the remote control to shut down the TV.She's dressed for bed, and comes toward him slowly. LOUIS What's up, sugar? ELLIE Daddy, do you think Missy Dandridge went to heaven? LOUIS What?INT. THE KITCHEN, WITH RACHELShe's putting away the last of the supper things. She hears this and moves toward the living room door to listen. She doesn't look at all well. Her eyes are red from crying and her face is haggard.INT. THE LIVING ROOM, WITH LOUIS AND ELLIEShe's gotten up into his lap. ELLIE At school Michael McDowell said she was gonna fry in hell. Michael McDowell says all sewersides fry in hell. LOUIS Well, I think Michael McDowell is so full of shit he probably squeaks when he walks, my dear.INT. RACHEL, AT THE DOORShe smiles a little at this.INT. LOUIS AND ELLIE, IN THE LIVING ROOM LOUIS But don't you dare say that. ELLIE I won't...is Missy in heaven, do you think? LOUIS I don't know, honey. Different people believe all sorts of different things happen to us when we die. Some believe in heaven or hell. Some think we're born again as little children-- ELLIE Sure, carnation. Like in that movie you rented, Audrey Rose. LOUIS Well, it's actually reincarnation, but you get the idea. And some people think we just wink out...like a candle flame when the wind blows hard. ELLIE Do you believe that?LOUIS looks toward:INT. THE LIVING ROOM SOFA, WITH CHURCH, LOUIS'S POVCHURCH is sleeping.INT. LOUIS AND ELLIE LOUIS I think we go on. I'm not sure what happens after we die, but yeah-- I have faith in that. ELLIE You believe in it. LOUIS Oh, faith's a little more than just believing.INT. RACHEL, AT THE KITCHEN DOORListening intently.INT. LOUIS AND ELLIE LOUIS (continues) I'll tell you what faith is--it's the evidence of the heart; the assurance of things not seen. ELLIE I don't get it. LOUIS Well, here we are, sitting in my chair. Do you think my chair will be here tomorrow? ELLIE Yeah, sure. LOUIS Then you have faith in that. But we don't know it will be; after all, some crazed chair-burglar might break in while we're away and steal it, right?ELLIE'S giggling.INT. RACHEL, AT THE DOORShe's smiling, too...but tears are running down her cheeks.INT. LOUIS AND ELLIE LOUIS But we plan on that chair. We believe in that chair. And I plan on going on somehow as Louis Creed, after I die. I believe I will. ELLIE (awed) You have faith in that. LOUIS Yes ma'am. Just like I have faith that it is now time for Ellen Creed to get ready for bed. So buzz.He gets her off his lap. ELLIE I'm not tired! LOUIS I'm sure you're not. ELLIE Then why do I have to go to bed? LOUIS Because your mother and I need the rest, sugar. Now buzz.She heads toward the stairs.INT. LOUIS AND RACHEL'S BEDROOMLOUIS is in bed, reading. RACHEL, wearing a robe over her nightgown, comes in. RACHEL I heard you tonight. LOUIS I thought maybe you did. I know you don't approve of the subject being raised-- RACHEL That's not true. The subject scares me. Because of Zelda.LOUIS puts his book down and looks at her thoughtfully. LOUIS Your sister, I know.RACHEL sits down on the end of the bed. She's clasping her hands nervously together. RACHEL Sometimes you're so good with her, Louis--so straight with her--that you make me ashamed of myself.LOUIS sits up and scoots down the bed to her. He tries to put an arm around her. She rejects it--but gently. RACHEL I'm sorry I couldn't go with you to Missy's funeral. And that I blew up when we went to that silly animal graveyard. LOUIS That's forgotten. RACHEL Not by me, it isn't. I know how badly I acted, how unfair I was. It's just that I..you know. LOUIS Yes, I guess I do.He makes a place for her beside him and hugs her. They lie silently together for awhile, taking comfort from each other. RACHEL I'm going to try to do better. LOUIS You're doing fine. DISSOLVE TO:BLACK. And on it, a fifth title card: GAGE.SOUND: An idling truck motor.EXT. THE GRILLE OF A TRUCK DAYIt looks monstrous...as high as a mountain.EXT. THE TRUCK, A NEW ANGLEIt's an Orinco tanker. The driver, a young man in khaki fatigues and a baseball cap, climbs up into the cab. He slams the door and jams the truck into gear. IRWIN GOLDMAN (voice) I knew something like this would happen.EXT. THE ORINCO SHIPPING YARD DAYThe truck comes rolling slowly toward the main gate...stops so the driver can look both ways...and then pulls slowly out onto ROUTE 9. IRWIN (voice continues) I told her when you were first married. 'You'll have all the grief you can stand, and more,' I said.INT. A FUNERAL CHAPEL, WITH IRWIN GOLDMAN AND LOUIS DAYThere are others here, but they are in the b.g., and concentrating on the scene the old man is making. He's RACHEL'S dad. LOUIS is sitting in the aisle seat of a pew-like bench. He looks terribly shattered--they both do, actually. He's staring at the old man as if he cannot in the least comprehend what he's saying. IRWIN (continues) And now look at this!He gestures toward:INT. THE FRONT OF THE FUNERAL CHAPEL DAYHere, half-buried in floral tributes, is a child-sized coffin. GAGE'S.INT. IRWIN AND LOUIS DAY IRWIN (weeping) Run over in the road like a...a chipmunk!EXT. ROUTE 9, W/TRUCK DAYGetting up to speed.EXT. A KITE, CUThere's a hand holding it--LOUIS'S. The kite begins to move and THE CAMERA TRACKS IT. It flaps and flutters.EXT. THE FIELD BESIDE THE CREED HOUSE, WITH LOUISHe runs with the kite beneath a gorgeous fall sky in which fat clouds move like airy ocean liners. ELLIE (voice) Go, daddy!EXT. A PICNIC TABLE DAYThe remains of a picnic lunch are spread here. Looks like everyone ate well. In attendance: RACHEL, ELLIE, GAGE, and JUD CRANDALL. GAGE Go, dayee!They all laugh--JUD ruffles the kid's hair.EXT. LOUIS, RUNNING WITH THE KITEHe's paying out string--and the kite is going up. LOUIS (voice) Where's Rachel?INT. THE FUNERAL CHAPEL, WITH LOUIS AND IRWINIRWIN looks toward:INT. THE BACK OF THE CHAPEL, WITH RACHEL AND DORY GOLDMANThey are by the sign-in book. Both are dressed in black. Both look haggard. But RACHEL looks more than haggard; she looks damned near insane with grief and horror.INT. LOUIS AND IRWIN IRWIN (leaning forward) With her mother! Where she should be! As for you, I hope you rot in hell! In hell, do you hear me?We should; by now he's screaming his head off.INT. THE CAB OF THE ORINCO TRUCK DAYThe driver is whistling. A transistor radio hangs from the rear-view mirror on a strap. He turns it on. The Ramones. "Sheena." Hey-ho, let's go.EXT. ROUTE 9, TRUCKER'S POVUnrolling before us at a good clip--too good, maybe.INT. THE TUCKER'S FOOTStamping the pedal closer to the metal.EXT. THE ONCOMING TRUCKBelting toward THE CAMERA. SOUND of the GROWLING ENGINE.EXT. THE SKY, WITH THE KITELOUIS has clearly gotten it up okay.EXT. LOUIS, IN THE FIELDHe's holding the string, looking up at the sky. Now he looks back at the picnic table. LOUIS Hey, Gage!EXT. THE PICNIC TABLEGAGE gets down and runs toward his father.EXT. ROUTE 9 WITH THE ORINCO TANKERBelting along fast. SOUND of the Ramones.EXT. THE FIELD, WITH LOUIS AND GAGEGAGE runs to his dad, chubby legs working. He reaches him, and LOUIS transfers thee ball of string to GAGE'S hands. GAGE Dat? LOUIS String! You're flying it, Gage--you got the hammer, my man! GAGE Gage fline it? LOUIS Bet your boots. Look--LOUIS puts his hands over GAGE'S hands and pulls them down.EXT. THE KITEIt dips in the sky.EXT. LOUIS AND GAGE LOUIS See? GAGE Gage fline it!! LOUIS (tenderly) Bet your ass, little hero.He kisses his son. They look up at:EXT. THE KITEDipping and drifting in that gorgeous fall sky. IRWIN GOLDMAN (voice) Where were you while he was playing in the road? Thinking about your stupid medical articles? You stinking shit! You killer of children!INT. THE FUNERAL CHAPEL, WITH LOUIS AND IRWIN IRWIN You--But there is no way he can express his outrage with mere words. As LOUIS sits staring numbly up at him, IRWIN punches him in the nose. LOUIS sprawls backward, falling out of the pew onto the floor.INT. THE REAR OF THE CHAPEL, FEATURING RACHEL AND DORYRACHEL screams and starts forward. DORY pulls her back. RACHEL Louis! Daddy! Stop it! STOP IT!INT. LOUIS AND IRWINLOUIS is getting up groggily. Hs nose is pouring blood. IRWIN How do you like that, you son of a bitch? I should have done it sooner!IRWIN punches him in the stomach. LOUIS "oofs" and doubles over.INT. ANGLE ON THE OTHER MOURNERSAmong them we see STEVE MASTERTON and MARCY CHARLTON. STEVE (getting up) Hey!INT. LOUIS AND IRWINLOUIS is slowly straightening up. IRWIN is in a sour frenzy of glee. IRWIN How do you like that? How do--LOUIS pushes the old man with both hands.INT. IRWIN GOLDMANHe goes stumbling and flailing backwards...strikes the coffin... knocks it off its bier. A SCREAM goes up from the mourners.INT. RACHEL AND DORYRACHEL screams. Her mother struggles to hold her but RACHEL easily breaks free and goes running down the aisle.INT. ANGLE ON MOURNERS, WITH MARCY AND STEVE MARCY Stop them. Right now.STEVE gets up and goes toward:INT. THE FRONT OF THE CHAPEL, WITH IRWINHe's picking himself out of a tangled mess of coffin and overturned floral tributes. His suit is wet from spilled water. He's weeping.LOUIS has just reached him, and that stunned look is gone. I think he intends to do the Cool Jerk all over IRWIN GOLDMAN'S puny little body. IRWIN strikes a Gentleman Jim Corbett pugilistic pose. IRWIN Come on! I'm ready for ya! I'll take y'apart!As LOUIS wades in, STEVE MASTERTON gets between them...at the last possible moment. STEVE Stop it!LOUIS swings. STEVE manages to block the punch with his body. STEVE Stop it! Jesus, what's wrong with you, Louis? It's your son's funeral, not a boxing match!That gets to LOUIS. He drops his fists. That stunned expression creeps over his face again--that look that says he doesn't have the slightest clue as to what's going on or how it could possibly have happened.INT. LOUIS PASCOW (voice) The soil of a man's heart is stonier, doc--LOUIS turns toward:INT. THE FRONT PEW, WITH PASCOW AND CHURCHPASCOW, bloody and ruined in his jogging shorts and muscle shirt, has the pew to himself...except for CHURCH, who is sitting on his lap and PURRING. PASCOW A man grows what he can...and tends it.INT. LOUIS, CUA sense of horrible awareness comes into his face...and then he covers it with his hands and begins to SOB.SOUND, COMING UP: A TRUCK MOTOR.INT. THE CAB OF THE TANKERThe trucker is singing along with the radio.INT. THE GAS PEDALIt's closer to the floorboards than ever.EXT. LOUIS AND GAGE WITH THE KITE, IN THE FIELDWe are at some distance--far enough to see that the two of them have moved quite close to the road.EXT. LOUIS AND GAGE, A NEW ANGLE (KITE'S POV)We can see their faces upturned to us--we can hear the AMPLIFIED RATTLING SOUND of the kite itself.THE CAMERA PANS TO THE LEFT--to the road. And we can see the truck, fairly close by now, and coming closer.EXT. THE PICNIC TABLE, WITH RACHEL, ELLIE, AND JUDJUD'S lighting a cigarette. His Walkman 'phones are around his neck. ELLIE I want to fly it! Can I fly it now, mommy! RACHEL In a minute, hon. Let Gage finish his turn.EXT. LOUIS AND GAGEThis is the last moment of happiness in this man's life--so let's make it very happy. As he and GAGE stare up at the kite: IRWIN (voice) Jesus. Louis. I'm sorry--INT. THE FUNERAL CHAPELThe fight has gone out of IRWIN and STEVE has backed away--but cautiously. He's ready to jump back in if one or the other goes mad again. But IRWIN is shuffling toward LOUIS, hands out--everyone else has gathered in a knot near the front of the chapel. Among them is RACHEL and her mother, weeping in each others' arms. IRWIN I don't know what happened to me. Louis, please--LOUIS brushes by him with no acknowledgement that IRWIN even exists. He kneels down slowly by the coffin and puts his head against it. LOUIS (weeping) I'm sorry, Gage--I'm so sorry, little hero.EXT. LOUIS AND GAGE, IN THE FIELDThere's a strong gust of wind. The ball of string falls out of GAGE'S hand.EXT. THE KITE, BLOWING AWAYEXT. THE PICNIC TABLE ELLIE It got away from him! That numb shit! RACHEL (outraged) Ellen Creed!EXT. THE BALL OF KITE TWINEIt is bouncing and unraveling. More importantly, it is being carried directly toward the highway.EXT. GAGEHe takes off after the ball of twine. GAGE Kite fline too fast!SOUND: The oncoming truck.EXT. THE TRUCKSlamming toward us--a brutal leviathan on eighteen wheels.EXT. LOUISHe's looking--looking toward his people at the picnic table. LOUIS (shrugs, good-humored) What can you d-TRUCK SOUND CONTINUES.EXT. THE PICNIC TABLETRUCK SOUND LOUDER.Alarm hits JUD'S face. He rises. JUD Don't let him go in the road, Louis!RACHEL looks; registers terrible alarm. RACHEL (screams) Get him, Louis!EXT. GAGEHe's still scampering after the bouncing ball of kite-twine, which has now almost reached the road.TRUCK SOUND LOUDER.EXT. LOUISThe SOUND is loud enough so he's having trouble hearing. LOUIS (cups his ear) What?EXT. THE PICNIC TABLE RACHEL (shrieks) GET THE BABY!!JUD is running toward the road, although he'll never get to GAGE in time; only LOUIS has a chance.EXT. LOUISHorrible understanding dawns on his face. He whips around and sees:EXT. GAGE, LOUIS'S POVThe kid's almost in the road; the ball of twine is in it.RISING DRONE OF THE TRUCK.EXT. THE ONCOMING TRUCKEXT. GAGE, RUNNING INTO THE ROAD GAGE (cheerful) Geddit-geddit-geddit!EXT. EVERYONE, KITE'S POVGAGE reaches the middle of the road as the truck comes around the corner. LOUIS is running across the field, getting close to the side of the road. RACHEL is clutching ELLIE by the picnic table. JUD is helplessly trying to wave the truck down as it passes him.EXT. GAGE, IN THE ROADAs he reaches the broken white line he grabs the ball of string.SOUND OF THE ONCOMING TRUCK.GAGE turns his head. GAGE (not afraid) Druck!EXT. THE ONCOMING TRUCK AND THE DRIVER, GAGE'S POVSuddenly THE DRIVER'S face turns into a Halloween mask of horror. He BLASTS THE AIR-HORN.EXT. LOUIS, ON THE VERGE OF THE ROAD LOUIS (shrieks) NO!!EXT. GAGEBLARE OF THE AIR-HORN. A shadow falls over his face. There is an audible CLICK! and we FREEZE FRAME. What we have now is a tremen-dously winning photograph of a little boy, not quite two, with a ball of string in his hand...and a shadow lying across his face.EXT. PHOTO MONTAGEa.) LOUIS is pushing RACHEL out of a hospital door. RACHEL is in a wheelchair and looks radiantly happy (so, for that matter, does LOUIS). I think we may safely assume that the small blanketed bundle in RACHEL'S arms is GAGE.b.) LOUIS, bare to the waist, is tubbing a two-month-old GAGE in a baby-tub. He's laughing. The infant looks confused but calm.c.) The whole family by the Christmas tree, following an orgy of present-opening. ELLIE, about five, has a doll in each hand. LOUIS and RACHEL are in pajamas. GAGE, about five months, is lying in a drift of wrapping paper. He looks confused but calm.d.) A child's sneaker lying in the road. It's splashed with blood.e.) GAGE--he's about nine months old in this snap--is propped up in the angle of a sofa. There's a big white rabbit in his lap. GAGE looks c. but c.f.) ELLIE and GAGE, bundled up against the Chicago winter. ELLIE is pulling a child's chair-sled. GAGE is propped up in the chair. He's about eleven months old in this snap. He's laughing.g.) The Orinco tanker, overturned on the far side of Route 9.h.) This one was taken at Gage's first birthday party. He's wearing a party-hat and looking at a birthday cake with a single candle on it while LOUIS kisses one cheek and RACHEL kisses the other.i.) LOUIS, in the road. He's holding GAGE'S jumper, which is torn, blood-soaked, and inside out. LOUIS is looking up toward the sky and screaming.j.) Here is a full-face studio portrait of GAGE. He is smiling at us, heartbreakingly lovely. CAMERA HOLDS ON THIS while: JUD (voice) Sedative finally took hold. She's asleep.INT. THE KITCHEN TABLE, WITH LOUISHe's holding the studio portrait in his hands and looking at it fixedly. The other photos (the good ones, that is; not the screamers--those, we may assume, exist only in LOUIS'S tortured memory) are scattered on the table. We only saw a few; there are actually hundreds.LOUIS puts the photo down as JUD comes in and crosses to the fridge. LOUIS'S nose is badly swelled. He also has a black eye.JUD gets a couple of beers and comes back toward the table. JUD Your father-in-law packs a wallop, for an old guy. He and his wife gone back to Chicago? LOUIS No...squatting out there at the Holiday Inn like a couple of vultures. He really thinks Rachel's going to go back with them. Her and Ellie. JUD Louis--The swing door opens. They look toward:INT. ELLIEShe looks dazed and shocked. There are brown circles under her eyes, but otherwise her complexion is much too white. She's wearing fuzzy pj's. She's carrying the picture of her pulling GAGE on the sled.INT. JUD AND LOUIS, AT THE TABLE ELLIE (coming to the table) I want to go back to my own room. I can't sleep with mommy. She keeps stealing the covers. JUD What you got there, Ellie?At first she doesn't want to show him, but JUD is very kind. JUD (studying it) Why that's real nice...you pullin' him on a sled. Bet he liked that, didn't he?ELLIE nods. She is starting to cry. JUD is also leaking at the eyes. ELLIE (crying) I used to pull 'im a lot.LOUIS, looking down at his hands, nods. ELLIE I'm going to carry this picture, Mr. Crandall, until God lets Gage come back.JUD reacts violently. And LOUIS looks up, dully curious...but hasn't the thought already passed through LOUIS'S mind? Yes--I think it has. JUD Ellie...God doesn't do things like that. I know you loved y'brother, but-- ELLIE He can if He wants to. He can do anything, just like Inspector Gadget on TV. But I have to keep things ready for him, that's what I think. I've got his picture and I'm going to sit in his chair-- LOUIS Ellie-- ELLIE And I'm going to eat his breakfast cereal, too, even though it tastes like boogers. And...and...She bursts into tears. JUD Louis, take care of your little girl...she needs you.INT. LOUIS, CUHis face is stricken.INT. ELLIE'S BEDROOM NIGHTLOUIS comes in with ELLIE in his arms. He puts her gently into her bed and pulls the covers up. She's already mostly asleep. LOUIS (kisses her) Good night, Ellie. ELLIE G'night daddy.He starts for the door.INT. ELLIE, CU ELLIE God could take it back if He wanted to, couldn't He? If He really, really wanted to? Can I have faith in that?INT. LOUIS, AT THE DOORHe stands looking at her for a long time, apparently thinking about this quite deeply. LOUIS Yes--I suppose you can. Good night, Ellie.He steps out, closing the door.INT. ELLIE, IN BEDIn some sense comforted--it may be a poison comfort but she surely doesn't know this--she turns over on her side to go to sleep. We can see the picture of GAGE under her arm.INT. THE UPSTAIRS HALL, WITH LOUISThe light here is fairly dim. LOUIS goes down and opens another door. He pokes his head in.INT. THE MASTER BEDROOM, WITH LOUISHe reacts first with surprise, then a species of horrified disgust.INT. LOUIS AND RACHEL'S BED, LOUIS'S POVCHURCH is crouched on RACHEL'S sleeping form.INT. THE BED, A NEW ANGLELOUIS comes in and swats the cat a damned good one. LOUIS (low snarl) Fuck off, hairball!!INT. CHURCH, CUIt hisses at him through a mouthful of fangs, its eyes big green balls...and then it flees. CAMERA FOLLOWS IT out the door.INT. LOUIS, BY THE BEDRACHEL stirs and mutters thickly, then lies still again...she's doped to the gills. LOUIS bends over and kisses her gently.He leaves the room and closes the door behind him.INT. THE UPSTAIRS HALL, WITH LOUISHe tries the door a couple of times to make sure it's firmly on the latch (his face wears an expression of "How'd he get in there in the first place?"). Then he walks down the hall to the stairs.INT. ON THE STAIRS, CUThe cat is on one of the risers. LOUIS trips over it.EXT. ON THE STAIRS WITH LOUIS, WIDERFor a moment he's pinwheeling madly for balance, on the verge of falling. He regains his balance as the cat goes shooting across the dining room toward the kitchen.LOUIS regains his equilibrium after a bit and continues on down.INT. THE KITCHEN, WITH JUD AND LOUIS AND CHURCHAs LOUIS enters through the swing door from the dining room, JUD is just letting CHURCH out the back door. As JUD closes the door: LOUIS (slightly antagonistic) I thought you'd be gone by now. JUD I got you a fresh beer out of the fridge, Louis.He indicates the table, where there is indeed a fresh beer. LOUIS Jud, I buried my son today and I'm very tired. I wonder if we could just-- JUD You're thinking of things best not thought of, Louis. LOUIS I'm thinking about going to bed.But he begins pouring the beer into a glass. JUD You never asked me if anyone had buried a person up there in the Micmac burying ground--LOUIS'S hand jerks. Beer goes foaming across the kitchen table. JUD --but I think the thought has crossed your mind. LOUIS Shit! Look at this mess! JUD Ayuh--it's a mess, all right.As LOUIS goes to get a cloth to wipe up the mess: JUD I know the Micmacs thought it was a holy place...and then they thought it was a cursed place. That's why they moved on. LOUIS Because something called a wendigo soured the ground. JUD And because the dead walked.LOUIS stops sopping and looks at him.INT. JUD, CU JUD Oh, ayuh. It's been done. What you've been thinking of has been done.EXT. A COUNTRY RAILROAD STATION/SEPIA DAYThe time is the late summer of 1944, although I don't believe we need to know that specifically. The sign on the station reads LUDLOW. There are a few 40s cars parked near the station--they have gas-ration coupons on the windshields. And a hearse.A train is coming.EXT. THE HEARSE, WITH UNDERTAKER AND BILL BATERMAN/SEPIAWe can see the UNDERTAKER is trying to talk to BILL BATERMAN, a man in his forties who periodically wipes his brow with a bandana. BILL walks away. He doesn't want to talk; he doesn't want comfort. He's a grief-stricken, bitter man. JUD (voice over) Timmy Baterman was on his way home from the war with his Purple Heart when he got killed in some stupid car accident down in Georgia.EXT. THE TRAIN, IN FRONT OF THE DEPOT/SEPIAThe door of the mail-car is open. The UNDERTAKER and three trainmen are unloading TIMMY BATERMAN'S coffin, which is draped in a 48-star flag. BILL BATERMAN stands by, watching balefully as they carry his son's final apartment to the back of the hearse and load it in. JUD (v-o continues) Bill was bitter--his son had been in the thick of it two years and then got shot in the leg--a clean flesh-wound. He was supposed to be coming home safe and sound. Instead, he come home in a box after all.EXT. THE REAR OF THE HEARSE/SEPIAThe doors close. The hearse pulls away. THE CAMERA PANS TO BILL BATERMAN, who stands staring balefully after it and mopping his brow. JUD (v-o continues) He wasn't able to get to the bottom of the truth, Louis.INT. THE CREED KITCHEN, WITH LOUIS AND JUD NIGHTLOUIS is now sitting down, drinking a beer, staring at JUD. LOUIS I'll bite--what's the bottom of the truth, Jud? JUD Why...that sometimes dead is better. That's all. Sometimes dead is better. LOUIS (bitter) Tell that to my wife and little girl. JUD It ain't your wife and little girl that's got me worried, Louis.EXT. THE LUDLOW CEMETARY/SEPIA DUSKWe're featuring a fresh grave...that of TIMMY BATERMAN. A truck, showing only parking lights, turns into the graveyard and drives slowly up to it. It stops, and BILL BATERMAN gets out. HE looks at the grave and then goes to the back of his truck. JUD (voice-over) Timmy was buried on July 22nd, as I remember.EXT. BILL BATERMAN AT THE BACK OF HIS TRUCK/SEPIA DUSKHe reaches in...and brings out a pick and shovel. DISSOLVE TO:EXT. MARGIE WASHBURN, ON HER PORCH/SEPIA DAYShe's a middle-aged woman dressed in mid-forties style. She's got a rug-beater in one hand; the other is up to her eyes to shade the sun. She's staring at something, horrified. JUD (v-o continues) It was four or five days later when...EXT. A COUNTRY DIRT ROAD, WITH TIMMY BATERMAN/SEPIA DAYA young man dressed in jeans and a plaid shirt is shambling up the road. His eyes are vacant. His shirt is half untucked. His hair is sticking up in a wild crow's-nest thatch. There is an ugly mess of healed scars on his neck and one side of his face. I think one of his ears may be gone--torn off in the accident. JUD (v-o continues) ...Margie Washburn seen him walking up the road toward Yorkie's Livery.EXT. MARGIE/SEPIAShe's screaming--we hear her faintly.EXT. TIMMY/SEPIAHe turns toward her and we see a green light like the St. Elmo's fire in the Little God Swamp glow dimly deep in his eyes. He grins at MARGIE.EXT. IN FRONT OF THE LUDLOW TOWN OFFICES, WITH MARGIE/SEPIAShe hesitates for a moment or two and then walks up toward the door. JUD (v.o.) Lots of people saw Timmy Baterman walking back and forth between the home place and the town line. But it was Margie...INT. THE TOWN OFFICES, WITH MARGIE/SEPIAShe's in a hallway in front of a door with LUDLOW SELECTMEN printed on the frosted glass. After a moment she opens it and goes in. JUD (v.o. continues) ...who finally got up enough guts to talk to the town fathers about it. She knew it had to be stopped, Louis.INT. THE SELECTMEN'S OFFICE/SEPIAMARGIE and four men are grouped around a desk. She's talking; they're listening. THE CAMERA LAZILY PANS the four men--one, of course, is JUD as a YOUNG MAN. JUD (v.o. continues) She knew it was an abomination. George Anderson, the town postmaster, was there...and Alan Purinton...Hannibal Benson...and me. I was there.EXT. THE BATERMAN PLACE/SEPIA SUNSETIt's a ramshackle old farm which looks remarkably like the estate of that gentleman farmer Jordy Verrill.An old Ford pulls into the driveway, and the four men get out.SOUND BLEEDS IN: Most of all the SOUND OF THE CRICKETS.They go to the door, and JUD is wordlessly elected as the prime honcho. He knocks. No answer. Again. No answer.SOUND: Crazy laughter. BILL BATERMAN (voice) Stop that, Timmy!The four men look at each other. JUD Come on.They start around to the back.EXT. THE BACK YARD, WITH BILL AND TIMMY/SEPIATIMMY BATERMAN is staring directly into the setting sun, his eyes glowing with green fire. He's laughing like Goofy gone insane. BILL, scared, is trying to make him stop, to turn away from the sun.EXT. THE BACK YARD, A NEW ANGLE/SEPIAThe four men come around the side of the house. They freeze when they see BILL and TIMMY. ALAN Oh holy Jesus lookit that.BILL whirls around and sees them. BILL You men get out of here! JUD I heard your boy was killed down Georgia. BILL (agitated) That was a mistake! HANNIBAL Was it? BILL You see him standing there, don't you? Now get out! Get the Christ off my land!Now TIMMY turns around and comes shambling forward. TIMMY (laughing) Ge ow! Ge Cwise off eye an! GEORGE (revolted) Oh Jesus, Jud! He's dead! I can smell him! BILL He ain't dead! Give him a day or two and he'll be fine! Don't you say that! JUD Bill, this ain't right--you can see that yourself-- BILL (screaming) GET OUT! YOU HEAR? GET OUT!!!EXT. TIMMY BATERMAN/SEPIA TIMMY (laughing) Dead! We love dead! Hate living!Abruptly he reaches up with both hands and scratches down his cheeks, goring deep grooves in his flesh. Blood flows sluggishly out. Very weird blood.EXT. THE ENTIRE GROUP/SEPIABILL grabs TIMMY, who's still laughing wildly, and gets him turned around. TIMMY shambles back to where he was originally standing. BILL goes with him like a man who has charge over a trained baboon. A stupid trained baboon. BILL (over his shoulder) You want to get out of here before I get my shotgun! You boys are trespassing!EXT. THE FOUR MEN/SEPIA JUD God help you, Bill.EXT. BILL AND TIMMY BATERMAN/SEPIA BILL (snarls) God never helped me. I helped myself.EXT. TIMMY BATERMAN, CU/SEPIAStaring directly into the setting sun and laughing wildly, mindlessly.INT. THE CREED KITCHEN, WITH LOUIS AND JUD LOUIS What happened?EXT. THE BATERMAN PLACE--MONTAGE NIGHTa.) A car pulls up with its lights off and stops. JUD (v.o.) There was a fire.b.) We see legs as people get out of the car, and hands holding tin cans of gasoline.c.) Hands splash gasoline from the cans along the sides of the house.EXT. THE BATERMAN PORCH NIGHTJUD (as a young man) rings the bell--an old-fashioned twist type. BILL (voice) Who's there? TIMMY (laughing, screeching voice) Ooo air? Ooo air? JUD Get out, Billy--the place is going up.He walks away. BILL BATERMAN, wearing a strappy tee-shirt, looks out the window. BILL I seen you! I seen you, Jud Crandall!EXT. THE BATERMAN PLACE--MONTAGE NIGHTa.) A match is struck...and applied to wet boards. Whoosh!b.) The other side of the house: The same.c.) In the back yard, JUD lights a torch and heaves it through the kitchen windows. Ka-PLOOM!d.) The men draw away toward the front, their faces grim and judgmental.EXT. THE BATERMAN PLACE NIGHTBurning. Going up fast.EXT. THE MEN ALAN You think Bill's gonna get out, Jud? JUD (stony) If he don't, he don't.EXT. THE FRONT DOORIt bursts open. We see two men struggling at the forefront of an inferno--correction, one man and an undead monster. TIMMY is giggling and screaming, trying to pull his father back into the flames. BILL (struggling) No! No, Timmy! Let me go! TIMME (laughing) Love dead! Hate living!He sinks his teeth into his father's arm. BILL screams.A beam falls on TIMMY, lighting him afire. BILL breaks free and runs down the porch steps.INT. THE FRONT HALL, WITH TIMMYHe's burning and laughing. TIMMY LOVE DEAD! HATE LIVING!And into the fire he goes, still shrieking and laughing.EXT. THE FRONT YARD NIGHTBILL BATERMAN is collapsed on the lawn as sparks drift down around him, his face hidden against his thighs, weeping.CAMERA MOVES SLOWLY IN on the four men, who are grouped at the end of the driveway by the road and staring with awe at:EXT. THE BLAZING FARMHOUSE NIGHT DISSOLVE TO:INT. THE KITCHEN, WITH LOUIS AND JUD JUD (softly) Sometimes dead is better, Louis.BLACK. And on it, a sixth title card: THE DEAD WALK.SOUND BLEEDS IN: JET ENGINES.EXT. BANGOR INTERNATIONAL TERMINAL DAYA jet plane rises into the sky from behind the building. GATE AGENT'S VOICE This is the final call for United's flight 61 to Chicago...INT. A BOARDING GATE, WITH LOUIS AND RACHELIn the b.g. we can see IRWIN and DORY GOLDMAN waiting by the jetway with ELLIE as the last few passengers board. RACHEL looks confused and grief-stricken. She also looks punchy, doped up. I imagine she's floating on a sea of Valium, and that makes her easier to deal with. LOUIS'S battle-scars are fading a little.The GATE AGENT is standing by the jetway with a mike in one hand and a bunch of boarding passes in the other. GATE AGENT (concludes) All passengers should now be aboard. LOUIS You better get going, hon. RACHEL Oh Louis, I just don't know about this-- LOUIS I told you last night--this can be the start of patching things up with your folks. If something good doesn't come of Gage's death, I think I'll go crazy. RACHEL Louis, are you sure? LOUIS I'm sure.INT. THE GOLDMANS, WITH ELLIE ELLIE I don't want to go to Chicago, Gramma Dory. DORY Why not, darling? ELLIE I had a bad dream last night. A nightmare. IRWIN (kindly) About what? ELLIE About Daddy. (Pause) And Gage.DORY and IRWIN exchange a knowing, sad glance over the child's head. ELLIE And someone named Paxcow.INT. RACHEL AND LOUISLOUIS guides her to the jetway. LOUIS Come on, you guys--before you miss the boat.He kisses DORY. IRWIN hugs him. IRWIN Louis, I am sorry. What can I say? That I lost my mind? It's the truth, but no good excuse. LOUIS (hugs him back) We all lost our minds, Irwin.LOUIS kisses RACHEL. Then he kneels and hugs ELLIE. LOUIS Be good to your mother, darlin'. She needs you. ELLIE Come with us, daddy. Please come with us! LOUIS I'll be there in three days--four at the most. I've got to get the electricity shut off and square things with your school so the truant officer ain't after you, and--INT. ELLIE, CU ELLIE (crying) Please, daddy! I'm scared!INT. LOUIS AND ELLIE LOUIS Of what? ELLIE (crying harder) I don't know. LOUIS (great emphasis) Everything's going to be all right, Ellie. Now go on--get aboard. ELLIE Do you swear? LOUIS I swear.The Voice of Authority has spoken. We can tell by ELLIE'S face that while things are still not all right, they are a little better. She joins her mother.The four of them--RACHEL, ELLIE, and THE GOLDMANS--start down the jetway. ELLIE looks back once, as if begging him to come...and then they're gone.INT. LOUIS, CULOUIS'S face changes. Now it is a stony and contemplative face. Not, when you get right down to it, a very nice face.He turns and strides away.INT. THE AIRPORT PARKING LOT, WITH LOUISThe family station wagon is in the f.g. We hear the SOUND OF JET ENGINES, and as LOUIS reaches the wagon he turns and watches:EXT. THE TERMINAL,, LOUIS'S POVFrom behind it a United Airlines jet lifts into view and banks away.EXT. LOUIS, IN THE PARKING LOTFace set, he gets into the wagon and drives away.EXT. ROUTE 15 IN BREWERThe CREEDmobile pulls up across from the Brewer Tru-Value Hardware and LOUIS crosses to it.INT. THE HARDWARE STORE COUNTER, CUOn it: A six-cell flashlight, Duracell D-batteries, a pick, a shovel, and a nylon drop-sheet in cellophane packaging. Now the CLERK'S hands come into the frame and drop a pair of heavy work-gloves into the pile.INT. LOUIS AND CLERK (SMALL PUN, HEE-HEE) CLERK Anything else for you today? LOUIS (after a look) I think we got it all.The CLERK starts to ring things up. CLERK Looks like heavy work. LOUIS It could be.The quality of LOUIS'S reply is somehow unnatural. The CLERK looks at him, momentarily unsure and uncertain. Then he starts ringing things up again.INT. A UNITED JETLINER, WITH ELLIE AND RACHELELLIE is in the window-seat, asleep. RACHEL is holding a paperback but not reading it. Her eyes are red. She's looking into space.CAMERA DRIFTS TO ELLIE. Her sleep is not easy. Her head turns from side to side, as if in negation. She becomes steadily more upset. She's starting to mutter. Suddenly her eyes flare open and she screams.INT. JETLINER, SLIGHTLY WIDERWe can see the GOLDMANS in the seats behind the CREEDS. They are startled. So are other passengers. A stewardess comes running. ELLIE Paxcow says it's almost too late! RACHEL Ellie...Ellie...what... ELLIE Paxcow says it's almost too late! We have to go back! Paxcow says it's almost too late!EXT. LUDLOW CEMETARY DAYThe CREED wagon turns in and drives up one of the lanes. It stops and LOUIS gets out.EXT. LOUISHe walks to a fresh grave on which the first flowers are already starting to wilt. He sits down and takes a flower. He plucks it, looking at the grave steadily. He says nothing for a long time. LOUIS It's wrong. (Pause) What happened to you is wrong.EXT. GAGE, IN THE FIELDHe runs toward THE CAMERA, happy and laughing, in SLOW MOTION.EXT. LOUIS, BY GAGE'S GRAVELOUIS is now weeping, but he seems calm just the same. PASCOW (voice) Remember, doc.LOUIS looks at:EXT. A TOMB, LOUIS'S POVPASCOW, bloody and mutilated, is standing by it. PASCOW The barrier was not meant to be crossed. The ground is sour.EXT. LOUIS, BY GAGE'S GRAVEHe is not put out of countenance in the slightest by PASCOW'S appearance; he probably knows PASCOW is just a figment of his conscience or imagination, and so do we. LOUIS I'll tell you where the ground is sour--the ground in my heart is sour. Let me tell you something else, Vic-baby: Wrong is wrong.EXT. PASCOW PASCOW Timmy Baterman. That was wrong.EXT. LOUIS, BY GAGE'S GRAVE LOUIS Don't talk like an asshole even if you are just a bit of underdone potato or a blot of mustard.EXT. PASCOW, BY THE TOMBHe stands mute, just looking.EXT. LOUIS LOUIS (weeping) He was my son! He wasn't even two and he was run down in the fucking road and he was almost in pieces, and if you don't think I'm going to try...EXT. THE TOMB, SANS PASCOWVIC has put on his boogie shoes.EXT. LOUIS, BY GAGE'S GRAVEHe's crying harder. Abruptly he reaches out at the floral tributes and knocks a bunch of them over. LOUIS If it doesn't work--if he comes back like Timmy Baterman--I'll put him to sleep. But I'm going to try. (Pause) And if it doesn't work...they don't ever need to know.EXT. THE GOLDMAN HOUSE IN LAKE FOREST, ILLINOIS NIGHTINT. UPSTAIRS HALL NIGHTTHE CAMERA MOVES LEISURELY along this hallway, which is lined with pictures of RACHEL, ELLIE...and GAGE (there may even be a couple in which LOUIS is featured, but damned few). Near the end of the hall a door is open and light spills out. RACHEL (voice) Honey, you just had a bad dream. You know that, don't you? ELLIE (voice) It wasn't a dream. It was Paxcow.THE CAMERA GOES THROUGH THE DOOR and into the room where ELLIE is staying. She's in bed, still badly upset. RACHEL is sitting on the bed beside her. There's a single lamp on the bedside table. ELLIE Paxcow says Daddy's going to do something really bad. He-- RACHEL Who is this Paxcow? Is he like the boogeyman? ELLIE He's a ghost. But he's a good ghost.RACHEL turns off the bed-lamp. RACHEL There are no ghosts, Ellie. I want you to go to sleep and forget all this nonsense. ELLIE Will you at least call and make sure daddy's okay? RACHEL Of course I will.She kisses ELLIE. RACHEL Now will you try to go to sleep? ELLIE (turns over on her side) Yes, Mom.RACHEL gets up and leaves the room.INT. THE UPSTAIRS HALLWAYPASCOW is here, halfway down the hall to the stairs, bloody as ever. RACHEL doesn't see him. She looks perplexed, a woman trying to think of something. She stops very near him. RACHEL (to herself) Paxcow, why do I know that name? PASCOW Pascow.RACHEL suddenly straightens. She looks startled and afraid. RACHEL Pascow? Was she saying Pascow?She suddenly heads for the stairs, fast.EXT. THE CREED HOME IN LUDLOW NIGHTSOUND: A car starting up.The station wagon backs out and heads down the driveway. As it passes THE CAMERA, we see LOUIS driving. The wagon turns onto Route 9 and heads off.CAMERA HOLDS ON THE HOUSE. A beat of silence. Then: the telephone starts ringing.INT. THE GOLDMAN LIVING ROOM NIGHTIRWIN and DORY are watching RACHEL with some anxiety. RACHEL is holding the phone to her ear. We can hear the FILTERED SOUND of one ring after another. She hangs up. RACHEL He's not home. DORY Why, he probably went out for a hamburger or a chicken dinner, dear. You know how men are when they're alone.Good old IRWIN'S face says that maybe LOUIS went out for a couple of grams of coke and a whore in Nazi SS boots.RACHEL is dialing another number.EXT. THE CRANDALL HOUSE NIGHTSOUND: Phone starts to ring.INT. THE CRANDALL KITCHEN, WITH JUDHe shuffles to the telephone. His Walkman 'phones are around his neck. He's got a bottle of beer in one hand. JUD (picks up) Hello--you got Judson.INT. THE GOLDMAN LIVING ROOM, WITH RACHEL RACHEL It's Rachel Creed, Jud. I'm calling from Chicago. JUD (surprised voice) Chicago! Is Louis with you? RACHEL No...we're going to be here awhile, and he wanted a few days to wind up our affairs there. I just wondered if he was with you.INT. THE CRANDALL KITCHEN, WITH JUDHis face says this is very serious. JUD No--but if he drops by, I'll tell him to call you.INT. THE GOLDMAN LIVING ROOM RACHEL Jud, do you remember the name of the student that died on Louis's first day at work? The one that was hit by a car? JUD (voice) I don't-- RACHEL Was it Pascow?INT. THE CRANDALL KITCHEN, WITH JUD JUD Ayuh, I think 'twas. If I see Louis come home before I go to bed, I'll tell him to--INT. THE GOLDMAN LIVING ROOM, WITH RACHEL RACHEL Don't bother. I'm coming home. JUD (alarmed voice) Rachel! RACHEL Thank you, Jud. Goodbye.She hangs up.INT. THE CRANDALL KITCHEN, WITH JUD JUD No! Rachel! Don't do that! Rachel--!The buzz of an open line. Connection broken. JUD slowly replaces the receiver. The man looks very grim.INT. THE FRONT HALL OF THE GOLDMAN HOUSERACHEL comes down the stairs, dressed for travelling. She's carrying a suitcase in one hand. Her parents meet her at the foot of the stairs. DORY Rachel...darling...you're upset... a night's sleep... RACHEL I have to go. The connections are tight, and I have to be at O'Hare in forty minutes. Will you drive me, daddy? IRWIN You know something's wrong, don't you? You know. And Ellie does, too. RACHEL Yes. IRWIN I'll drive you. ELLIE (voice) Mommy?They all turn to:INT. ELLIE, ON THE STAIRS ELLIE Please hurry.INT. RACHEL AND THE GOLDMANS RACHEL I will. Come and kiss me.ELLIE races into her arms.EXT. LUDLOW CEMETERY NIGHTSOUND Of a car engine, THROBBING AND LOW. It cuts off.CAMERA MOVES IN on the low stone wall between the cemetery and the road. Beyond it we can see the roof of the CREED station wagon.LOUIS appears, dressed in dark clothes. He looks both ways, then tosses a big duffle bag over the wall. Stuff clanks inside.LOUIS climbs over the wall, grabs his bag, and checks out the scene.EXT. LUDLOW CEMETERY, LOUIS'S POVA quiet city of the dead. Spooky. SOUND of crickets: Ree-ree-ree...EXT. LOUISHe heads for GAGE'S grave.INT. THE GOLDMAN CAR, WITH RACHEL AND IRWIN IRWIN I'll come with you if you want, honey. RACHEL (shakes her head) I've got three planes to catch and I got the last seats on two of them. It's like God saved them for me.EXT. O'HARE UNITED AIRLINES TERMINAL, WITH IRWIN'S CARIRWIN'S car heads for it.EXT. THE GRAVE OF GAGE CREEDLOUIS approaches it slowly and sets down his bag of grave-robbing equipment. He sets aside the remaining floral tributes and then opens the bag and takes out the spade. He looks down at the grave for a long second. LOUIS (low) Gonna bust you out, son.He starts to shovel.EXT. THE SHOVEL, CUDigging...throwing...digging again. Already the shape of the excavation is beginning to show. The work is easy; this earth is new and fresh.EXT. JETLINER, IN A LINE-UP OF JETLINERSINT. JETLINER, WITH RACHELEveryone looks impatient, but RACHEL looks half crazy. PILOT (voice) This is the Captain speaking. I'm sorry about this delay, folks, but we've got a real low ceiling tonight and air traffic control's playing it safe. Looks like it's going to be about half an hour before we get on a roll, so I'm turning off the NO SMOKING sign.SOUND: Bing!There's a general groan. CAMERA MOVES IN ON RACHEL, who has closed her eyes. I think she's praying.EXT. GAGE'S GRAVE NIGHTNow it's pretty deep. Four feet, maybe. LOUIS is standing in it. We see his feet as the shovel goes up and down, up and down.EXT. LOUIS NIGHTHe's sweating and dirt-streaked. He's tossing dirt on a big pile. Suddenly, as he takes another shovelful, we hear a SCRAPING SOUND. He tosses the shovel aside and squats.EXT. IN THE GRAVE, WITH LOUISThere's a white streak on the bottom of the grave--the top of GAGE'S coffin. LOUIS swipes his hand through the loose dirt, uncovering more, and then he begins to sweep off the top of the coffin with his hands.EXT. THE CRANDALL PORCHJUD comes out. He's wearing a light jacket. His Walkman 'phones are around his neck. He's got a six-pack. He looks at:EXT. THE CREED HOUSE, JUD'S POVIt's dark.EXT. THE CRANDALL PORCH, WITH JUDHe sits down. JUD You done it, you stupid old man... now you got to undo it.He puts his earphones on. Cracks a beer. Lights a cigarette. Pushes the PLAY button on the deck. Faint SOUNDS of The Clash buzz-sawing "Rock The Casbah."JUD begins to watch.EXT. LOUISHe climbs out of the grave and opens his duffle bag. He starts to pull out the pick.SOUND of an approaching car.LOUIS freezes.EXT. THE ROAD OUTSIDE OF THE CEMETERYA police car comes cruising slowly along. The spotlight on the driver's side comes on and runs along the graveyard's stone wall.EXT. LOUISWatching. Waiting. Hardly breathing.EXT. THE POLICE CARIt reaches the end of the wall. Everything looks jake. The spotlight goes out and the police car speeds up.EXT. LOUISHe relaxes perceptibly. He gets the pick and drops back into the grave.EXT. THE TOP OF THE COFFIN, CULOUIS inserts the tip of the pick in the flange of the coffin and levers it. CRACKING SOUND. Again. More CRACKING. Again. And the lock breaks. The coffin lid comes up a little, dirt gritting in the hinges.EXT. LOUIS, CUHere's a man on the thinnest edge between sanity and madness.EXT. JETLINER LIFTING OFF FROM O'HAREINT. RACHEL AND HER SEATMATE SEATMATE Think you'll make your connection in Boston? RACHEL I have to.EXT. LOUIS, BY GAGE'S GRAVEHe's lying on his stomach, reaching in. We hear the SOUND of dirt grating in hinges again.EXT. LOUIS, CUWe're looking up into his face. If GAGE had a POV, this would be it. LOUIS'S face fills with a terrible grief. LOUIS Oh, Gage--oh, honey.EXT. JUD CRANDALL, ON HIS PORCHHis chin slips to his chest, even though we hear Creedence on his 'phones and to him the sound must be at blastoff levels. There's a long round ash on his cigarette in the tray. A couple of empty beer cans on the table beside him.A truck blasts by, startling him out of his doze. He jerks his head up suddenly...and slaps himself. He's okay...for now.EXT. THE GRAVEYARD, WITH LOUISHe is sitting on the edge of the grave, holding his dead son in his arms, rocking him. GAGE is back to us. We see only a small limp figure in a dark suit. Hair flops limply. LOUIS It's going to be all right...I swear it's going to be all right...The canvas tarp has been spread open to the right. LOUIS begins to lay his son down on it.EXT. THE GROUND BESIDE THE TARP, CUIt's littered with flower petals. One limp hand appears among them.EXT. LOUISHe closes the tarp over GAGE, making a roll. He then produces rope from the duffle bag. He cuts the rope and begins to tie one piece around one end of the canvas roll containing the corpse of his son.EXT. JETLINER IN THE NIGHT SKY PILOT (voice) Good evening again, ladies and gentlemen...INT. THE JETLINER, WITH RACHELHer seatmate is knitting something. Across the aisle sits VICTOR PASCOW, bloody but serene, hands clasped in his lap, looking straight ahead. RACHEL looks around tensely. PILOT (continues) I'm delighted to tell you that we've got a strong tail-wind tonight and we expect to arrive at Boston's Logan Airport almost on time.PASCOW clenches his fist in a "That's one for our side!" gesture. RACHEL (softly) Thank God.Her SEATMATE looks at her a bit strangely.EXT. THE GRAVEYARD, WITH LOUISHe's got the bundle containing his son and the duffle-bag with the tools. He runs bent over. He reaches the wall and there's the SOUND of another motor. He crouches at the base of the wall.EXT. THE ROADHere comes that same police car. The spotlight runs along the wall.EXT. LOUISCrouching against his side of the wall and sweating.EXT. THE POLICE CARIt stops. The COP gets out. He walks slowly toward the wall.EXT. LOUISCrouched. Now we see the COP looking over the top. If he looks down...but he doesn't. Instead he turns around so we see his back. LOUIS looks up, miserably scared, pouring sweat.Silence. Then: SOUND of the cop taking a whiz.EXT. THE COPAh! Relief. SOUND of his fly being zipped. He looks back at the cemetery for a moment. COP I ain't afraid of no ghost.He walks back to his cruiser, gets in, and hauls ass.EXT. LOUIS, BEHIND THE WALLHe collapses with relief. Then he gets up and looks cautiously over the wall. Nothing there but his car, parked a little way down on the other side of the road.He tosses the duffle bag over the top of the wall. He puts the canvas roll containing GAGE on top of the wall. Then he vaults over.EXT. THE STREET SIDE OF THE WALL, WITH LOUISHe takes the roll, gets the duffle bag hooked over his shoulder by the string, and runs across the road like a soldier crossing enemy territory. He goes to the rear of the wagon.EXT. THE REAR OF THE WAGON, WITH LOUISHe puts the body down. He feels in his pocket for his keys. No keys. Mild consternation. He looks around, feeling exposed. The other pocket. Still no keys. More consternation. He begins to hunt feverishly through his pockets. Maybe in his jacket? Nope.SOUND: An approaching car.EXT. PASSING CARA civilian--not the ubiquitous cop.EXT. LOUISHe turns his pockets out, spilling change everywhere. Nothing. Suddenly a little light goes on in his eyes. He goes to the driver's side of the car and looks in at:INT. IGNITION, LOUIS'S POVThe keys are in the switch.EXT. LOUISHe snatches the keys and returns to the back of the wagon. He uses the key to open the doorgate. He puts GAGE'S body in gently, then the duffle bag. He closes the doorgate and returns to the front of the car. He opens the driver's door and freezes.LOUIS returns to the rear, gets his keys from the doorgate, comes back to the front, gets in, and drives away.INT. A JETWAY AT LOGAN INTERNATIONALPeople are debarking into the gate area. Through them comes RACHEL, running fast, pushing some people, excusing herself incoherently. PASCOW is walking near her. PASCOW There's just time. If you run.Without looking at PASCOW, RACHEL takes off her shoes and runs.INT. THE CONCOURSE, WITH RACHELShe's sprinting down the concourse--look out, Joanie Benoit!INT. GATE 27, WITH FEMALE GATE AGENT AND PASCOWThe FEMALE GATE AGENT is starting to close the jetway door. PASCOW Don't do that, babe.The GATE AGENT looks puzzled, as if she just had a thought (or maybe a gas pain). She stops closing the door. RACHEL runs into the area. She sees:INT./EXT. THE JET PLANE, THROUGH THE GATE WINDOWSIt is just starting to swing ponderously away from the jetway.INT. RACHEL AND FEMALE GATE AGENT (PASCOW IS GONE) RACHEL Make it come back! FEMALE GATE AGENT I can't--RACHEL bolts down the jetway. The GATE AGENT stares after her, and then runs for her stand, where we can see FLIGHT 61 and BANGOR on the slide-cards. She picks up her mike.EXT. THE JETWAY NIGHTRACHEL stands all alone at the end of it.AMPLIFIED SOUNDS OF JET ENGINES. RACHEL (screams) COME BACK, MOTHERFUCKER!!EXT. THE JET, RACHEL'S POVIt starts to swing back to pick her up.EXT. RACHELPASCOW appears behind her and puts a hand on her shoulder. PASCOW You're doing just fine.EXT. JUD CRANDALL, ON HIS PORCHHe's fast asleep with the tinny sound of Graham Parker coming out of his Walkman 'phones.SOUND: An approaching car.EXT. THE CREED HOUSEThe station wagon turns in and parks. LOUIS gets out. He opens the back, removes the body in the tarp and the duffle bag filled with tools. He manages to get everything together and walks to the edge of the path. He looks at:EXT. THE PATH TO THE PET SEMATARY, LOUIS'S POVOff it goes, glimmering in the dark.EXT. LOUISHe holds the corpse of his little boy to him. LOUIS Please God--let this work.He sets off.EXT. JUD, ON HIS PORCHZonked out. He missed the whole thing. Nice going, Jud.EXT. OUTSIDE THE ARCH TO THE PET SEMATARY, WITH LOUISLouis passes under like a ghost.EXT. THE PET SEMATARY, WITH LOUISLOUIS is crying. He crosses to the deadfall. LOUIS Ain't gonna stop, Gage. Ain't gonna look down.He begins to mount the deadfall.EXT. LOUIS, A NEW ANGLEHe reaches the top. And woven into the deadfall, behind him, facing the Pet Sematary, is that snarling face.LOUIS descends the other side.EXT. THE FOOT OF THE DEDFALL, WOODS SIDELOUIS reaches the bottom and looks at:EXT. THE WOODS, LOUIS'S POVThe path winds onward through those gigantic trees--it glows slightly.EXT. LOUIS, MOVING UP THE PATHEXT. LOUIS, AT THE EDGE OF LITTLE GOD SWAMPThat phosphorescent glow is a lot more pronounced. SOUNDS of CRICKETS and FROGS. The water is mucky and still. Hummocks stick up like knobs on the back of a creature best not seen. Fog drifts through the dead trees. LOUIS doesn't want to go in there. Smart man. I wouldn't either.But he does.INT. THE HERTZ DESK, AT BIA WITH RACHEL AND CLERK--AND PASCOWPASCOW is lounging back against the rack of folders--and getting some of them bloody. HERTZ CLERK I'm sorry...it's been very busy tonight. I really don't have anything. PASCOW What about the Aries K with the scratch on the side?The CLERK starts looking through her papers. CLERK I do have an Aries K, but it came in sort of beat up--there's a long scrape up one side-- RACHEL I'll take it.EXT. LOUIS, IN LITTLE GOD SWAMPHe comes walking toward THE CAMERA with GAGE in his arms and the duffle bag over his shoulder. Mist swirls around him. The landscape is weird, surreal. CRICKET SOUNDS, AMPLIFIED. In fact there are a lot of swampy, marshy SOUNDS--too many. It sounds almost prehistoric.SOUND: HARSH, SCREAMING LAUGHTERLOUIS stops. He looks slowly around at:EXT. MIST-FACE, LOUIS'S POVA demonic face takes shape in the mist and FLOATS SLOWLY TOWARD THE CAMERA. It runs out a tongue that's about nine feet long.Its eyes blow out. Blood and thick, gooey stuff runs from the sockets.EXT. LOUISHe closes his eyes. After a moment he opens them.EXT. LITTLE GOD SWAMP, LOUIS'S POVNothing there.EXT. LOUIS LOUIS See? Just imagination. Just--EXT. LOUIS'S FEETWe can barely see them because they are thick in mist, but he is standing on a couple of low, marshy tussocks. Suddenly a thick tentacle slimes its way out of the standing water and slithers around his ankle.EXT. LOUIS, LOOKING DOWN LOUIS Nothing...there.He turns around and begins to walk again.EXT. LOUIS'S FEETThe tentacle falls away.EXT. LOUIS, IN LITTLE GOD SWAMPMYRIAD SOUNDS, none of them pleasant--laughter, gobbling howls, screams. Sounds like the swamp has been invaded by a pack of escaped lunatics. LOUIS continues on regardless.EXT. WOODSLOUIS comes into the frame. He's obviously tiring now, but he keeps moving along.SOUND: Approaching footsteps. Big ones. Thudding ones. Something is coming which sounds approximately the size of a Tyrannosaurus Rex. And it just keeps getting louder and louder and louder. LOUIS looks plenty scared.SOUND: A falling tree.EXT. WOODS, LOUIS'S POVThose SOUNDS keep getting closer and closer. Another tree falls--we see this one. And now we see a SHAPE--just a SHAPE.EXT. LOUISHe's scared almost to death. His face turns up...up...up.EXT. THE WOODS--AND THE SHAPE, LOUIS'S POVIt is vaguely manlike: perhaps sixty feet tall, perhaps eighty. We don't see it very well, nor do we have to--I'm not even sure it's flesh and blood. But there is a clear suggestion of a head. Now it turns and looks down...looks at LOUIS CREED. We see great yellow eyes the size of lighthouse lamps.It makes a huge GRUNTING SOUND...and then walks on.EXT. LOUISThe SOUND OF FOOTFALLS is slowly diminishing. LOUIS It was the Wendigo. Dear God, I think the Wendigo just passed within sixty feet of me.Slowly he begins to walk again.EXT. LOUIS, A NEW ANGLEIn the extreme f.g. is a tree which has just fallen--it is no small tree, either, but a great big old fir.LOUIS approaches it. Stops. Looks at the tree. Looks down at:EXT. THE FOREST FLOOR, LOUIS'S POVHere is a gigantic animal track--if it was full of water, LOUIS could swim in it. It looks like no animal track we've ever seen before. Three big claws at the end of it.EXT. LOUISLooks up again. His face is set and hard. LOUIS It doesn't matter. Come on, Gage.He starts to walk again.EXT. THE MICMAC BURYING GROUNDSOUND: The wind, lonesome and keening.THE CAMERA MOVES SLOWLY toward the slope, dreaming its way over those rocky cairns...most of them burst apart.SOUND: Tortured breathing. Panting.LOUIS toils his way into view, carrying his bundle. He reaches the top. He makes his way slowly into the burying ground. He stumbles over a rock. Falls down. Slowly gathers his things together and gets up again. He goes a little further and then stops and looks at:EXT. A BROKEN CAIRN AND THE GRAVE BENEATH, LOUIS'S POVWe can also see the shredded remains of a green garbage bag.EXT. LOUISHe slowly kneels down. He puts the canvas tarp to one side and slowly takes the pick and shovel from the duffle bag. By now he is clearly a man approaching total exhaustion.EXT. A COUNTRY ROAD, WITH AN ARIES KIt tracks past THE CAMERA.INT. THE ARIES K WITH RACHEL AND PASCOWBoth of them look tense. RACHEL is bolt upright behind the wheel. Suddenly, BANG! as one of the tires blow.EXT. THE ARIES KIt goes skidding and slueing across the road, the rear tire half off the rim. IT climbs the curb and hits a tree.INT. RACHELShe lurches forward, but she's wearing her seat-belt--good girl! She unbuckles it and gets out.EXT. RACHELShe looks at the car, which now has quite a bit more wrong with it than just a scratch up the side.RACHEL slumps, near tears. LOUIS isn't the only one who's been through a lot tonight. RACHEL Now what?PASCOW comes from around the tree as RACHEL walks to the road, looking for cars, or something. He looks urgent and upset. PASCOW It's trying to stop you. Do you hear me? It's trying to stop you.RACHEL looks around uncertainly...a little afraid. As she scans the scene she looks at--and through--PASCOW. RACHEL Is anyone there?After a moment of silence she turns back to the road. Lights appear and brighten as a car approaches. RACHEL steps to the shoulder and after a moment she sticks out her thumb, surely for the first time in her life.The car sweeps by her without slowing.EXT. GAGE'S CAIRN, CULOUIS'S hands enter the shot and put a few more rocks on it. THE CAMERA PULLS BACK and we see him surveying his work. Beside him is the canvas tarp, now open and empty.Absently, LOUIS stuffs the tarp into the duffle bag (where his tools have also been replaced) and stands up with a wince. One hand goes to his lower back. He looks down at the cairn. LOUIS Come back to me, Gage. Come back to us.He turns away toward the stairs.EXT. RACHEL, ON ROUTE 9She's walking down the shoulder with her high heels in one hand. Lights. An approaching car. She turns, thumb out. The car blasts by. RACHEL (shouts) MAY THE SEWERS OF RANGOON BACK UP IN YOUR BEDROOM, ASSHOLE!She starts walking again.EXT. THE FIELD BESIDE LOUIS'S HOUSELOUIS is moving down the path. As he passes the tire swing he pushes it, setting it in motion.INT. THE GARAGELOUIS slings the duffle bag wearily to one side and goes into the kitchen. CHURCH is under the table but LOUIS Doesn't see him.INT. THE UPSTAIRS HALLSOUND of LOUIS slowly plodding up the stairs. He comes into view, dirty and exhausted, his hair hanging in his face. He walks down the hall toward the master bedroom.INT. THE BEDROOMThe clock on the bedtable reads 2:17 A.M. LOUIS falls face-first on the immaculate bedspread and lies still.In this shot we should note the closet door is standing open.EXT. THE MICMAC BURYING GROUND, FEATURING GAGE'S CAIRNTHE CAMERA MOVES IN SLOWLY. Holds. Nothing for a beat. Then:A small white hand slams up through the rocks, hopefully scaring the living shit out of us.CAMERA MOVES CLOSER as the hand begins to feel around. It takes one of the rocks and pushes it aside. Another. Another. Another.The SOUNDS are not encouraging. It is GRUNTING and GROWLING. There is nothing human here.Rocks begin to tumble as GAGE starts to come out of his grave.INT. THE CREED BEDROOM, WITH LOUISFast asleep on the coverlet in his dirty jeans and black sweater.EXT. RACHELMy babe is still takin' a hike. But here comes another vehicle.EXT. THE DEADFALL IN THE PET SEMATARYTHE CAMERA MOVES IN on that snarling face.SOUNDS: GAGE coming. Dead dry breath. Low snarling noises.Now we see small feet in dirty black shoes walking down the deadfall.EXT. RACHELSuddenly, as the lights appear, she does a Claudette Colbert, pulling her skirt up and exhibiting a very lovely leg.Lights--it's an Orinco truck, naturally--spotlight her. The truck stops.EXT. RACHEL AND THE TRUCKThe driver leans over and opens the door. DRIVER Hop in, baby. RACHEL Thank you.She does.INT. THE CREED KITCHEN, WITH CHURCHHe's under the kitchen table, green eyes gleaming. I think he loves dead, hates living.SOUND: The doorlatch. CHURCH MIAOWS.INT. THE KITCHEN, A NEW (LOW) ANGLEGAGE'S shoes grit slowly across the linoleum, leaving dirty tracks. CHURCH turns to watch GAGE'S passage, and then follows.INT. THE BEDROOM, WITH LOUISCAMERA HOLDS ON LOUIS as those gritting footsteps approach. Then we pan to the closet. On the floor is LOUIS'S little black bag. We hold on this as the footfalls near. A small white hand enters the frame and pulls the doctor-bag out of the closet. Now another hand enters the frame and opens the bag. The hands search around inside and bring out a scalpel.They hold it up. The GAGE-THING makes a contented SOUND.EXT. THE ORINCO TRUCK, ON ROUTE 9 NIGHTIt sweeps past THE CAMERAINT. THE CAB, WITH RACHEL AND DRIVER RACHEL Can't you go any faster? TRUCKER Lady, I got nine points on my license right now. RACHEL I understand. It's just that--She looks at him, pleading. The TRUCKER speeds up. RACHEL Thank you. If you only understood how important this is-- TRUCKER That's all right, babe. Only if we get stopped, next time I'll be the one hitchin' and you can give me a ride.EXT. JUD, ON HIS PORCHMore deeply asleep than ever. Suddenly, from inside, comes the sound of Quiet Riot singing/screaming "Bang Your Head." It's the stereo, and boy, is it cranked.JUD straightens up so suddenly he almost falls off his chair. His hands go first to his earphones--his first thought on waking is that it's coming from there--and then he hurries inside.CAMERA PANS DOWN to small muddy tracks on the porch floor.INT. THE LIVING ROOM, WITH JUDHe hurries in, turns on the light, and rushes across to his stereo system, which is state-of-the-art digital--it looks like a flying saucer among the more traditional furnishings of the room. He shuts it off and looks around, frowning.SOUND: Todd Rundgren, singing "Bang on the Drum All Day" at the top of his voice.JUD'S head snaps toward the SOUND.INT. A SONY RADIO, CUTHE CAMERA PULLS BACK as JUD hurries across the kitchen to the counter, where the radio is. He turns it off, looking around, more bewildered than ever. JUD (sharply) Who's here?He walks toward the door which gives on the hall.INT. THE HALL, WITH JUDIt's dimly lit by light-spill from the living room and kitchen. JUD Come on, stop playing games!SOUND: Molly Hatchet, "Flirtin' with Disaster," being played top end, from upstairs.JUD hurries up. Let me suggest that there is a certain psychology at work here--for the moment he's more concerned about waking the neighborhood with all this high-decible rock and roll than with the prowler...and he would certainly know who--or what--that prowler was, if he had time to think.INT. JUD'S BEDROOMHe enters and turns on the light. We see a portable phonograph with the record, turning. JUD rushes over and turns it off.He looks around, and we see by his face that he knows. JUD Gage? (Pause) Are you the one playing games?He goes to the window and looks out at:INT./EXT. THE CREED HOUSE, WITH THE STATION WAGON, JUD'S POVINT. THE BEDROOM, WITH JUDHe turns slowly and walks toward the bed. JUD Gage? Come on out.He reaches in his pocket and brings out a pocket-knife. He unfolds the blade. JUD I want to show you something.SOUND: Miaow!INT. THE DOORWAY, WITH CHURCH, JUD'S POVINT. JUD, BY THE BED JUD (to the cat) How did you--?!INT. JUD'S FEETA small hand holding a scalpel shoots out from beneath the skirt of the coverlet and slashes JUD'S calf,INT. JUDHe screams with pain and staggers backward.INT. JUD'S FEETThe other hand shoots out. GAGE grabs one of JUD'S ankles and pulls.INT. JUDWith a startled yell, he falls.INT. JUD AND GAGEThis one's gotta be pretty rough. George will know what to do. We finally see GAGE, but it should be clear to us that it's not really GAGE at all. Some daemonic presence is riding inside the mouldering, disfigured shell of GAGE.There is a struggle. JUD is repeatedly slashed with the scalpel. Perhaps he gets GAGE a time or two with the pocketknife.GAGE screams and gibbers--nothing intelligible here; only sounds.JUD expires.GAGE sits on top of him...and then bites into his throat.EXT. ROUTE 9, BETWEEN THE CRANDALL AND CREED HOUSESHeadlights. RACHEL'S truck has arrived. It pulls up.RACHEL opens the passenger door, which is on JUD'S side.EXT. ANGLE ON THE CABWe can see PASCOW sitting in the passenger seat where RACHEL just was. RACHEL Thank you so much. TRUCKER I didn't get a ticket, so you're welcome, lady. (And, more seriously) Whatever your problems are, I hope they work out. PASCOW It's the end of the line for me, too--I'm not allowed any further. RACHEL (to the trucker) I'm sure things will be fine. PASCOW I'm not.She closes the door and steps down.The truck starts off with a HISS OF RELEASED AIRBRAKES. As it pulls past her, RACHEL starts across the road, when: GAGE (soft voice) Mummy!She stops, startled. Her face wears a "did I hear that?" expression. She looks back toward JUD'S house. GAGE (soft voice) Mummy!RACHEL walks halfway up JUD'S paved walk and looks at:EXT. JUD'S HOUSE, RACHEL'S POVThe one place in the whole world we do not want RACHEL to go.EXT. RACHELShe goes. Up the steps to the porch. All through this she's been travelling with two bags: her handbag and a light tote with her initials on it. Now she sets the tote down on the top step and opens the porch door.She looks very uncertain. This is the wee hours of the morning, and someone else's house. But...that voice... GAGE (voice) Mummy, I need you!RACHEL looks stunned--rocked. She steps onto the porch. RACHEL Who--The door to the house swings open. After a moment CHURCH comes into the doorway and sits down. CHURCH Miaow! RACHEL Church! GAGE (voice) Mummy, I need you!She crosses to the open door. RACHEL Gage? Gage?No answer. RACHEL steps in.EXT. THE CREED HOUSE MORNINGINT. THE CREED BEDROOM, WITH LOUISHe's restless, having a very bad dream, from the look. He rolls back and forth. Closer and closer to the edge. Finally, with a wild yell, he goes over onto the floor.INT. LOUIS, ON THE FLOORHe comes awake. Sits up. Ouch! He's aches from top to bottom and side to side...but his back is worst. His hands go to it. LOUIS Jesus!He starts to get up very slowly, and this his eyes fix on:INT. GAGE'S TRACKS ON THE BEDROOM FLOOR, LOUIS'S POVThey enter the house, go to the closet, then leave again.INT. LOUIS LOUIS Gage--?He scrambles for the closet, his aches and pains forgotten. He stares in wildly.INT. THE DOCTOR-BAGIt's open.INT. LOUISHe pulls the doctor-bag out. His original hope is now tempered with the first signs of fear. He begins to go through the doctor-bag. Suddenly he brings out a case and opens it. The case is empty, but the indented shape is clear. There was a scalpel in this case...but not anymore. LOUIS Oh my God. (Pause) Gage!INT. THE HALL, WITH LOUIS LOUIS Gage!LOUIS stands there, tensely listening, for a moment or two, but there's only silence. He rushes down the hallway and opens the door to GAGE'S room.INT. GAGE'S ROOM, LOUIS'S POVEmpty.INT. LOUIS, ON THE STAIRSHe goes downstairs, yelling GAGE'S name.INT. THE KITCHEN, WITH LOUISNothing. The phone RINGS. LOUIS almost jumps out of his skin reaching for it. LOUIS Hello! IRWIN (voice) Hello, Louis--it's Irwin. I just wanted to be sure Rachel got back all right.As IRWIN says this, LOUIS'S eyes fix upon something.INT. THE FLOOR, WITH TWO SETS OF GAGE-TRACKS, LOUIS'S POVOne set comes in from the shed-garage and heads for the parlor and upstairs. The other comes out of the parlor and crosses to the kitchen door giving directly on the outside.INT. THE KITCHEN, WITH LOUISIn his eyes we suddenly see that he understands everything...or almost everything. IRWIN (voice) Louis...are you there? LOUIS (slowly) Yes--I'm here. IRWIN (voice) Did she get there all right? LOUIS Yes, she's fine. IRWIN (voice) Well, put her on at that end and I'll put Ellie on at this one. Ellie's very worried about her mother. (Pause) She's almost in hysterics. LOUIS She...Rachel's asleep. IRWIN (an edge in his voice now) Then I suggest you wake her up. Ellie...I think she had a dream that her mother was dead. LOUIS I'll call you right back. IRWIN (voice) Louis--!But LOUIS, whose last few responses have been almost trancelike, hangs up. He looks at the tracks, then goes into the parlor.INT. THE CRANDALL LIVING ROOM, WITH THE PHONETiny bloody hands lift it off the cradle. A tiny bloody finger dials.INT. THE CREED KITCHENThe phone starts to ring. After two or three ringy-dingys, LOUIS, looking extremely upset, comes out of the parlor and picks it up. LOUIS Irwin, you'll just have to-- GAGE (voice) I'm at Jud's, daddy. Will you come over and play with me?LOUIS is dumbfounded...slack-mouthed with terror. LOUIS (a bare whisper) Gage? GAGE (voice) Mommy already came. We played, daddy. First I played with Jud and then mommy came and I played with mommy. We had an awful good time. Now I want to play with you.GAGE begins to giggle...a really awful sound. LOUIS What did you do? What did you--CLICK! The GAGE-THING hangs up, still giggling.INT. THE CREED BED, CUHe puts the doctor-bag down on the bed and roots through it. He comes up with three syringes, still wrapped in paper, and puts them aside. Then he roots around some more and comes up with several ampoules. He holds one up for inspection and we can read the word MORPHINE on it very clearly.INT. THE BEDROOM, WITH LOUISHe carries the syringes and ampoules of morphine over to the window. His hair has gone partially white.He fills all three syringes with morphine (using two ampoules for each syringe--i.e., enough to kill a polar bear) and puts them in the left breast pocket of his shirt. He puts the spare ampoules in the right breast pocket of his shirt.LOUIS is slowly going insane. What remains of his rationality is like a rapidly fraying rope. LOUIS What you buy is what you own, and sooner or later what you own comes home to you. Wasn't that what you said, Jud? Wasn't that pretty much it?He leaves the room.EXT. THE FRONT DOOR OF THE CREED HOUSELOUIS comes out the door. In one hand he's got a raw pork chop. In the other he is carrying a pair of Playtex rubber gloves. He walks to the soft shoulder and waits for an Orinco truck to pass. Then he crosses.EXT. THE CRANDALL WALK, WITH LOUISHe walks most of the way to the house, then stops.EXT. CHURCH, LOUIS"S POVHe gets up, humping his back warily.EXT. LOUIS LOUIS Hi, Church. Want some grub?He tosses the pork chop onto the grass.EXT. CHURCHHe hurries down the steps, goes to the chop, sniffs it, and starts to chow up. He looks up at:EXT. LOUISHe is pulling on the rubber gloves. LOUIS Don't mind me. Eat it while you can. Eat all you want.EXT. CHURCHHe starts worrying the chop again. Smack-smack-smack.EXT. ANGLE ON LOUIS AND CHURCH LOUIS Eat all you can...all you want... that's right...today's Thanksgiving day for cats, but only if they came back from the dead...He finishes with the gloves, gets one of the loaded syringes out of his breast pocket, holds it up, squirts a drop out of the tip, then moves toward CHURCH.CHURCH looks up. LOUIS stops moving. CHURCH starts eating again, and LOUIS starts moving again as soon as he does. All the time he talks to the cat in that soothing voice. He bends down...and grabs him.CHURCH begins to squall and fight. LOUIS holds onto him. He tries to get the syringe into the cat and CHURCH almost gets away. LOUIS No, you don't!EXT. CHURCH, CUThe syringe plunges into his haunch.EXT. CHURCH AND LOUISThe needle is still dangling out of CHURCH'S haunch. The cat looks dazed. It tries to walk and falls over on its side. It tries to get up...and then falls over again. LOUIS Go on. Lie down. Play dead. Be dead.He walks to the porch steps and picks up the tote-bag.EXT. THE TOTE-BAG, LOUIS'S POVAny doubt he might have allowed himself the luxury of having is erased by the initials--R.C., same as the cola.EXT. LOUISTwang! One of the few remaining strands of sanity has now parted. He looks back at:INT. CHURCH, ON THE PATH, LOUIS'S POVDead.EXT. LOUISHe climbs the steps and goes onto the porch.EXT. LOUIS, ON THE PORCHHe strips off the rubber gloves. He tosses them onto the table beside JUD'S beer-cans as he goes inside.INT. THE FOYER OF THE CRANDALL HOME, WITH LOUISIt's dark in here, and spooky. LOUIS Rachel? (Pause) Jud? (Longer pause) Gage?No answer. He looks down and sees:INT. A SHOE, LOUIS'S POVOne of RACHEL'S shoes. It lies by the foot of the stairs.INT. LOUISHe goes over and picks up the shoe. It's a three-quarter heel, and it's pretty badly scuffed. RACHEL, after all, did some pretty hard travelling to get here.There's a spot of blood on it.SOUND: A low giggle.LOUIS looks up:INT. THE STAIRS, LOUIS'S POVMighty dark. Mighty shadowy.SOUND: Another giggle.INT. LOUIS, AT THE FOOT OF THE STAIRS LOUIS Gage?INT. THE STAIRS GAGE (voice) Let's play, daddy! Let's play hide and go seek!INT. LOUISHe takes one of the loaded syringes from his pocket. LOUIS All right, Gage...let's.He begins to climb the stairs.INT. UPSTAIRS, WITH LOUISLOUIS arrives on the landing. We begin the nerve-wracking business of checking rooms. First, the bathroom...and the shower curtain is of course pulled. LOUIS yanks it back. Nothing.He checks the linen closet. Nothing. Goes back to the hall. Looks down it. He walks slowly along it. He checks one room. It's a guest room. Shadowy and empty.Down the hall. A closet door. A bag falls off the top shelf, and a bunch of ceramics inside it SHATTER LOUDLY. LOUIS flinches back.Down the hall. Now he's at JUD'S room. He goes in.INT. JUD'S ROOM, WITH LOUISHe checks the closet. No go. He steps around the bed and sees:INT. THE FLOOR, LOUIS'S POVA bloodstain.INT. LOUISHe gets down on his hands and knees and examines the bloodstain. He sees the skirt on the bedspread. He lifts it. He is nose to nose with JUD, who is dead with his eyes open, an expression of incredible horror on his face.The DOOR SLAMS.LOUIS bolts to his feet as GIGGLES fade down the hall.Slowly, he kneels down and speaks to the skirt of the spread, which has mercifully fallen back into place. LOUIS I'm sorry, Jud. I'm so sorry. I'm--There's a SQUEAKING, SQUEALING SOUND.LOUIS turns around. He gets up again. He starts for the door. Then he turns back and speaks to JUD again. LOUIS I'm going to set things back in order. I...I know just what to do.He goes out.INT. THE HALLWAY, WITH LOUISHe takes one of the two remaining loaded syringes from his breast pocket. LOUIS Gage?Another SQUEAKING SOUND. And another GIGGLE.LOUIS starts slowly forward. He gets about halfway down the hall--and our nerves are tuned to the breaking point--when there is a SQUEALING CREAK and a GRATING THUMP from overhead.INT. CEILING TRAPDOORThis happens fast. The trap--which presumably gives on the attic with a set of folding stairs--rises, and RACHEL'S body plunges down through and then hangs, swinging: she has been bound around the armpits and as become a grotesque parody of MISSY DANDRIDGE.Half her face is gone. Eaten.INT. LOUISHe SCREAMS and backs against the wall. Twang! The last silver thread parts.INT. THE TRAPDOOR, WITH GAGEHe leaps down, crashes on the floor, and then picks himself up. He is waving the scalpel. GAGE (screeching) Allee-allee-in-free! allee-allee- in-free! Allee-allee-in-free!INT. LOUIS AND GAGEI won't choreograph all the moves, but GAGE slashes his stunned father up pretty badly with the scalpel. He's screeching the whole time. LOUIS finally begins to react. He grapples with the little critter, and tries to get the syringe into him. No good. It's batted out of his hand just before he can do it. It breaks.LOUIS and GAGE fall to the floor. LOUIS gets the other syringe out of his pocket, but it's also knocked out of his hand. Only consolation is this one isn't broken. It rolls off along the floor. LOUIS finally manages to get it again as the struggle goes on, and plunges it into GAGE'S neck. GAGE No fair! NO FAIR!He gets to his feet, clawing for the needle lolling out of his neck. He's lost all interest in his father. He goes staggering away. He's slowing down. He goes to his knees...and falls on his face.LOUIS watches this... and then his vacant, half-catatonic gaze goes to:INT. RACHEL, LOUIS'S POVShe swings slowly back and forth.EXT. THE BACK YARD OF THE CRANDALL HOUSETime has passed. It's late afternoon. LOUIS comes out with a sheet-wrapped form in his arms. RACHEL, of course.He sets the body down and goes back inside.INT. THE KITCHEN, WITH LOUISHe's splashing around a can of coal-oil. When he's got the room wetted down to his satisfaction, he goes to the door, lights a match, and tosses it.Flame runs across the floor. The fire is slow at first, but then it begins to gain rapidly.LOUIS goes out.EXT. THE BACK LAWN, WITH LOUISHe picks up the sheet-wrapped form of his wife and walks around the side of the house as flames shoot through the kitchen windows.EXT. THE FRONT OF THE CRANDALL HOUSE, FROM ACROSS THE ROADLOUIS appears with his shrouded burden and approaches the road.---PAGE 134 MISSING FROM HARD COPY---EXT. THE SMOULDERING RUINS OF THE CRANDALL HOUSE NIGHTCAMERA HOLDS FOR A MOMENT, then rises and looks toward the CREED house. There's one light on--in the kitchen.TOLLING CONTINUES: Three...four...five...INT. THE KITCHEN TABLE, WITH LOUISLOUIS is filthy, covered with dried blood. He is playing at Patience. He holds a handful of cards.TOLLING CONTINUES: Six...seven...SOUND: The back door opens.SOUND: Crickets from outside. Ree-ree-ree...SOUND: Gritting footsteps.LOUIS looks up. He doesn't look behind, at what's coming. He looks straight ahead. LOUIS And what you own always comes home to you.He flips up one card.TOLLING CONTINUES: Eight...INT. THE CARDIt's the Bitch, the Queen of Spades, she who supposedly poisoned the laddies in the Tower.LOUIS'S hand falls upon it.TOLLING CONTINUES: Nine...ten...INT. LOUIS, CUA hand clotted with grave-dirt falls on his shoulder. A woman's hand.TOLLING CONCLUDES: Eleven...twelve... RACHEL (voice) Darling.FADE OUT ON THE SOUND OF CRICKETS. \ No newline at end of file diff --git a/unformated_scripts/Script_Petulia.txt b/unformated_scripts/Script_Petulia.txt new file mode 100644 index 0000000000000000000000000000000000000000..c7dbecd6b92c87e482eb5b2a9bf6bea1502eeec8 --- /dev/null +++ b/unformated_scripts/Script_Petulia.txt @@ -0,0 +1 @@ + PETULIA Written by Larry Marcus March 30, 1967 1 ALLEY LOADING PLATFORM AND CORRIDOR OF FAIRMONT HOTEL NIGHT The story begins in this grubby alley, where two extra large ambulances screech to a stop beside a loading platform. Onlookers gather in the alley entrance to see how many people died; nobody died, the backdoors of the ambulances are opened by attendants, and six perfectly fine victims of perfectly terrible automobile accidents are lifted into wheelchairs. The cripples are beautifully dressed, the men in tuxedos, the women in splendid evening dresses. One of the women wears a neck brace which forces her always to look skyward, so she cantt see the beautiful orchid corsage pinned to her bosom. Quickly, attendants roll the wheelchairs past all the stacks of fruit and vegetables on the loading platform, past great bales of laundry, past whatever horrors one finds behind the warm, smiling face of a hotel. Watch- men, pastry cooks, valets are watching the rush of the wheelchairs without much interest. Then doors swing open, and we are in the tram It of the grand ballroom. 2 INTO GRAND BALLROOM It is a charity ball. The sign says "Shake for Highway Safety."' The wheelchairs and their occupants no longer interest us. They are the guests of honor, and people gather about them to arrange them appealingly, and we rush past the go-go band, the shakers, and the door prize, which is a little convertible, spinning endlessly on a pedestal. CAMERA reaches PETULIA, who is dancing with her husband, DAVID, but trying not to lose sight of ARCHIE. ARCHIE really wants to leave, but he is too polite to make it too obvious. As he bends over to put his punch cup on a table, he is bumped by the wheelchair of one of the guests of honor. He is not at all comfortable. 0 2 CONTINUED E It's not easy for Petulia to keep an eye on Archie; gasping faces get in the ways hunks of twisting bodies get in the way, and the dance won't end. The music stops for a second, everyone sags and thinks, "Thank God it's over," but instantly the music begins again and everyone good naturedly swears, "Those crazy kids are trying to kill us," and meanwhile Petulia sees that Archie has reached the place where you get your coat. MED. ARCHIE He is searching through his pockets for the ticket that will let him reclaim his coat. All the coats are in an incredible piles and in the semi-hysterical care of a debutante attendant. PETULIA' S VOICE You can't leave He turns and sees Petulia. PETULIA You're an official host. She nods to the ribbon and cardboard which along with 'Official Host' says Dr. A. Bollen. Archie takes the ribbon off, as though to pin it on Petulia. PETULIA Careful. Can you tell I'm not wearing a brassiere? ARCHIE No. PETULIA Don't think about it. It will only excite you. Archie finally finds the ticket for his coat, which the attendant now tries to find. On through this Petulia continues. L` 3 2 CONTINUED PETULIA That's my husband over there, ARCHIE Ahh ... PETULIA I've been married six months and I've never had an affair, ARCHIE It can happen PETULIA Don't take it so bloody well. I've just turned you down. He's looking at us. My husband, MED. DAVID WITH HIS MOTHER AND FATHER somewhere near the free whiskey table asking for Pernod, which, of course, they don't have. The father is watching the charity affair with utter disapproval. He tips a waiter by shoving a half-dozen raffle tickets into the waiter's jacket pocket, MR, DANNER I hope you win the car, sir, Mrs. Danner is charmed by her husband's generosity. She simply adores the man. David is busy not watching Archie and Petulia, PETULIA'S VOICE Isn't he gorgeous? He's a naval architect. It really zings when you say it. "My husband David is a naval architect." Actually, we're starving. You wouldn't want to buy a sixty foot sloop? David's "Momma"` and "Poppa' keep us. Look how disgusted Poppa is. He hates this sort of thing. 0 L 2 CONTINUED ARCHIEIS VOICE Poppa is too sensitive. PETULIA'S VOICE Sensitive, my ass. He's bored. Highway safety's so blah. Also, he hates amateurs. Give him something he can sink his teeth into - "Rheumatoid Arthritis" ¬Æ "Muscular Dystrophy"' -m and he's the best there is. A real pro. A little lame girl with a ribbon in her hair and a crutch under her arm, and Poppa can set the world on fire. He's really slumming tonight. BARNEY'S VOICE Hello, Archie. MED. PETULIA AND ARCHIE have been joined by BARNEY and WILMA, Archie's best friends. Barney and Wilma are taking off their coats. Barney is already beginning to move to the music. 0 Wilma is doing absolutely nothing but looking at Petulia. WILMA Everybody came late. ARCHIE I came early. G'bye Wilma. G'bye Barney. DEBUTANTE ATTENDANT Could you describe the coat? ARCHIE A. coat. A raincoat. Sleeves. Barney has begun to snap his fingers and move his shoulders, becoming part of "The Scene", about which Wilma couldn't care less. WILMA You can't go, Archie. I'd be very DISAPPOINTED 0 2 CONTINUED E Archie accepts this silently, WI LMA Alright, then. I won't tell you who I bumped into last week ARCHIE buying a well larded rib roast. WILMA Smarty. Have you seen what she's done to her hair? ARCHIE Wild, huh? WILMA I said, "Polo, for heaven's sake, you look like a teenager." Archie doesn't seem too interested and, besides, all this is said while Wilma continues to look at Petulia. ¬Ä¢ WILMA Your Mike's getting so fat. Is that much weight good for a boy his age? ARCHIE (SHRUGGING) If it's alright for a rib roast WILMA Smarty. Barney suddenly forgets the music to rescue his Vicuna coat which the debutante is smothering under other coats as she finally finds Archie's. W ILMA (to Petulia) I don't believe we've met. PETULIA Screw you, Wilma. ARCHIE Now you've met. B 2 CONTINUED Wilma moves off with Barney. Archie can't spend one more second with his coat. He simply puts it on, and turns to leave, walking toward the door. PETULIA My name is Petulia, ARCHIE Itm not surprised, PETULIA Polo's your wife, ARCHIE Ex-wife, G' night. Petulia turns to face her husband David, who has taken a few steps toward her. She whirls around to face the departing Archie. PETULIA Archie! He turns, almost at the door. PETULIA Say something warm. 0 ARCHIE Like what? PETULIA I mean it There is something goofily desperate in her voice that stops him. He looks at her for awhile. ARCHIE Your hair, It gleams. PETULIA (DISAPPOINTED) Oh, Archie... ARCHIE Left arm or right? How do you brush it? PETULIA Left. ARCHIE An hour a day. 0 PETULIA At least. 0 2 CONTINUED ARCHIE You' 11 have a problem. The bursa sheath. Very sensitive, Bursitis. It'll hurt. PETULIA I'll come to you. ARCHIE I wouldn't be able to help much. Just aspirin. PETULIA And sympathy? ARCHIE Sure. _. PETULIA Thank you, Archie. Damn it, how can I have an affair with an unmarried man. There has to be some equality of guilt. ARCHIE My divorce doesn't become final till next ¬Ä¢ month. PETULIA I'll get my purse. But in turning to do so she sees David, then the spinning car, the door prize. PETULIA ARCHIE What? PETULIA I've been told that I'll be the one to draw the winning ticket. I'm always picked for things like that. I radiate incorruptibility. Money can't buy me. She shakes her head, thoughtfully. During all this the door- man has been busily opening and closing the door for them as they keep changing their mind. PETULIA It feels so super. Suddenly, all that love. 8 3 EXT. BUS TERMINAL All we see is the wheel of a car resting on the back of a small boy, pinning him to the ground and people shocked, not knowing what to do. ARCHIE'S VOICE Well, stay then. L PETULIA'S IMAGE ENDS AND WE ARE BACK IN THE GRAND BALLROOM PETULIA Archie, why do you play this dumb game? This crappy pretense at resisting the beautiful lady? You're bloody lucky I'm even talking to you. How many kids do you have besides fat Mike? ARCHIE Six. PETULIA G'night. ARCHIE Actually, only one besides Mike. PETULIA Meet you outside. 5 EXT. DREAM MOTEL NIGHT A motel sign: "Dream Motel."' A concrete oval, spiral- ling up four floors. You drive to your room and everything is geared to get you to bed electronically. But you must have a car, and Petulia and Archie have come by cab. Archie is paying the cabbie. PETULIA (to cabbie) You mustn't take it personal. (she indicates the "No Cabs" sign) Lucky we don't have luggage. ARCHIE Does this trouble you? PETULIA A little. ARCHIE I suggested my place. PETULIA 0 I'd always imagined a tourist cabin, with paper thin walls, the sounds of a man from Tennessee in the cabin next door, sobbing endlessly, "M4ude, Maude, Maude 8 8"' 91 CONTINUED Archie sees a car moving through the processes of E registration. Grabbing Petulia's hand, he starts to what is presumably the entrance -- at least it is the bottom of the ramp. They arrive at the booth and Archie steps on the. place marked 'Stand Here.' A T.V. screen lights up. MAN ON TV Evenin'. Where's your auto? Archie nods for Petulia to see the T.V. camera which is scanning them. PETU LIA Lost in a hailstorm this side of Pocatello, Idaho. Those hailstones really came down, didn't they, Zeke? MAN ON TV No auto? ARCHIE No auto. MAN ON TV It's a problem. 0 ARCHIE Only if we make it one. PETULIA Do you have any slides or swings for children? MAN ON TV No, ma'am. You got kids? PETULIA No, no. I was told to be suspicious of motels which cater to the family trade. MAN ON TV This isn't that sort of place. No auto. WELL There is a small sound and a gadget reaches out which normally would fasten to the side of the car. On it is an electronic register, an electronic pen and a key with a great metal tag (as an example of how this might be designed, I recommend visiting a drive-in bank in Los Angeles). As Archie registers, and puts the ten dollar bill where it belongs, Petulia looks at the T.V. set. E 10 S s Continued PETULIA You've got a very nice T,V, face. MAN ON TV Thank you, ma' amp, PETULIA You have to use pancake make-up, things like that? MAN ON TV (a slight giggle) No, just be natural. Archie has finished registering and takes the keys. MAN ON TV We've got an elevator but its just for going out for the paper and the like. I mean when you don't want to take the car. You'll have to use the ramp because of the key. It lets you know when you get to your room. INT. RAMP Archie and Petulia start up ramp. It's a long dark run and they are soon winded, ARCHIE (GASPING) CHARMING PETULIA (GASPING) It shouldn't be charming. You're missing the whole point. It should be menacing .,, Another couple in a proper car, rushes by. There is a blaze of headlights, and a rush of sound. PETULIA ,..gray . terribly distraught headlights of passing cars lighting up our room .,. Archie tugs at her, and gasps. 0 11 6 CONTINUED PETULIA (CONTINUING) ... a police car careening down the highway, sirens going full blast. And I plunge madly into your arms But she is now totally winded and cannot say another word. Archie reacts to a sudden phenomena: a tiny light on the key in his hand starts flicking on and off furiously. Just ahead of him is the door of their motel room. Archie is aghast at the pulsating key. ARCHIE (PLAINTIVELY) My apartment's only four blocks from HERE 7 INT. DREAM MOTEL ROOM Stark is hardly the word but it will have to do. A control panel takes care of the drapes, T.V., stereo, announcements from the office, etc., etc., etc. There are mirrors everywhere and the first thing Petulia does is establish contact between the vanity mirror, the mirror on the bathroom door and the medicine cabinet mirror so that she is reflected endlessly. PETULIA You have 624 women in this room and I'm still counting. Archie moves behind her and begins unbuttoning the top buttons on the back of her dress. PETULIA (HARSHLY) Just wait a minute, okay? Archie plops on the bed in his coat, a most iropic smile on his face -- he is beginning to suspect he is not going to get laid. Petulia is examining all the Petulia faces in the mirrors. PETULIA My great-grandmother is ninety-one and still has a granite chin. Archie pushes a gadget beside the bed and it begins to vibrate. Petulia sees endless Archies vibrating on endless beds. 12 7 CONTINUED PETULIA What a lecherous lot ARCHIE She's ninety-ones eh? PETULIA But no fun. ARCHIE Not at ninety-one, hell PETULIA She stopped having fun at twenty-eight when her husband was killed in the first war, in a trench looking just like Cary Grant with a waxed moustache. She can't remember him but she does remember Cary Grant because he is from Bristol, too, and often in the news. If his picture is in the paper he gets a waxed moustache whether he likes it or not. She turns to face Archie. She is afraid and she is angry and she doesn-t know quite what to do from one moment to the next. But she knows he shouldn't be in an overcoat jiggling on a jiggling bed, ¬Ä¢ PETULIA Stop being so damn casual. Archie sits up but is still casual, PETULIA We're about ÔøΩtd become lovers, Did you bring an instrument, Archie? ARCHIE Eh? PETULIA Ring for room service. Ask the robot for something splendid and musical,, ARCHIE Saxophone? Electric Organ? Tuba? PETULIA A tuba. Absolutely; Bless you, Ar--hie; A tuba; Something large and twirly and pom to pom .pomX Archie, this is an event. We 0 are about to become lovers. 7 CONTINUED ARCHIE You said that. PETULIA It can't be said often enough. ARCHIE Are we? PETULIA Are we what? ARCHIE About to become lovers? PETULIA No. ARCHIE Ah, you swinging young marrieds. He leaves. 8 EXT. ROOM 0 Across from the ramp there is the elevator the man on T.V. mentioned. Archie is already there waiting for it to arrive. Petulia starts toward him angrily. PETULIA Where do you have to rush? If we were making love you would be exploring my navel about now. Time would be the last thing on your mind. An old man in a bathrobe, sadly out of contrast with the electronic motel, looks up from the open trunk of his car. The elevator doors open. Petulia and Archie enter, 9 INT. ELEVATOR The elevator doors shut and inside the elevator a loud speaker begins playing a medley of San Francisco songs. PETULIA You. look like a gargoyle. Poor, dumb Archie. I'm all mixed up sexually. Old Mum's a prostitute. The oldest professional lady in 0 all Bristol. Mavis, too, my sister. But I mean she's not a landmark yet. 9 CONTINUED During this Archie notices that the back of Petulia's dress remains unbuttoned. He moves behind her and begins rebuttoning her. At the touch of his hand, something happens to Petulia. 10 INT. FIRST AID ROOM Archie's hands are holding a little boy under the bright lights of a first aid table. The boy is a bloody mess but Archie's hands are soothing him even as they so gently prod, examining his injuries. Nurses are cutting the boy's bloody jeans off him, an expensive watch falls to the floor, they retrieve it. 11 INT. ELEVATOR Petulia's head presses against Archie's hand. She kisses it, she rubs her cheek against it. The elevator has come to a stop and the doors have opened. Archie sees Petulia's tears on his hand. ARCHIE Real honest-to-God tears, Petulia? PETULIA Tears, Archie. 0 ARCHIE Petulia, you're a kook. He exits the elevator and whistles at a cruising cab. 12 EXT. DREAM MOTEL Archie crosses to the cab and opens the door. He hustles Petulia inside the cab. ARCHIE If he gets you there in time, you can still pick the winning ticket and make somebody happy. PETULIA (very quietly) Archie, I'm going to marry you. The cab pulls away and Archie sees Petulia looking at him through the rear window. Archie allows himself the drollest of smiles. ARCHIE It's the Pepsi generation 0 He walks into the night alone. 15 E 12 Continued A jalopy full of dizzy dames with "LOVE" painted in huge awkward letters on its side almost runs him down. Archie continues in the night. Now, we can see the Golden Gate Bridge. 13 EXT. DANNER HOUSE DAWN The house is on the edge of the sea and a cliff rises behind it. Petulia is going up the open lift which climbs the cliff. It is a very different Petulia. She hurts. INT. ARCHIE'S BEDROOM MORNING Archie is sleeping. There is the SOUND of a bell ringing. After awhile Archie's hand reaches out for the phone. ARCHIE (into phone) I'm up, thanks. Then his dizzy brain realizes the ringing is continuing and is constant. He sees the alarm clock, 6:1 He stumbles and staggers to the front door. ARCHIE Yeah... yeah 000 yeah 000 He opens the door to come face to face with the large and twirly front end of a tuba. The tuba is stark white for no particular reason. 14A EXT. ARCHIE'S APARTMENT We see some of the hall, a yawning milkman, etc., but mostly Petulia and the tuba. 14B INT. ARCHIE'S APARTMENT Dazedly,.Archie steps back to make room for Petulia and the tuba. ARC HIE I'll make some coffee. Petulia blows with all her strength, emitting a sad little peep, then collapses to the floor, tuba and all. 16 14B Continued PETULIA Aren't I a kook? If you think you're SURPRISED ARCHIE (at the same time) No, I've been up for hours, waiting for the doorbell to ring, PETULIA , 0 think how surprised the-man who owns the pawnshop is going to be when he sees all that broken glass. 14C EXT. PAWN SHOP A brick smashes the glass, scattering cameras, mandolins, etc. in the midst of which is the white tuba. PETULIA'S VOICE Archie, how come the burglar alarm didn't go off? 14D INT. ARCHIE'S APT. 0 The scene continues. PETULIA Wherets it all going to end if the burglar alarms won't go off? Take me to bed, Archie, ARCHIE Get the hell out of here . please. He reaches to help Petulia to her feet but as he touches her waist to lift her, she screams and faints, 15 INT. HALLWAY OF DANNER HOUSE NIGHT But we don't know it's the Danner house. All we see is Petulia crumpling as she is struck. She hits the floor and just lies there, not making a sound. (Also SHOOT in slow motion.) 16 INT. ARCHIE' S APARTMENT Archie breaks an ammonia ampule under Petulia's nose. Her head wrenches away and she opens her eyes. Archie has begun to prod her side; she is in pain. 17 16 CONTINUED PETULIA I've got a broken rib, I think, I can feel it broken, Archie. ARCHIE Don't you know you can puncture a lunge PETULIA Hopping around with tubas and stuff -- isntt it kooky, though? Archie has begun to remove her dress. PETULIA When are we going to stop trying to undress me? ARCHIE Shut up. PETULIA Leave me alone, Archie. Archie sees she really means it, ARCHIE 0 It's just a rib to me, PETULIA That's why. Call a proper doctor, ARCHIE What do you think I am? PETULIA A hairy legged old lecher running around in pajama bottoms, ARCHIE Get your clothes off, PETULIA As a woman, not as a rib. Archie is harassed. The phone begins ringing. He grabs it angrily. ARCHIE (into phone) I'm awake! I'm awake; How many times are you gonna call?I He hangs up, then realizes this was the first wake up call. 18 16 CONTINUED E ARCHIE (to Petulia) You know what a- you'll drive me cuckoo. He sighs. and begins dialing a number. Petulia is in real pain. Like a,little child she crawls under the covers of his bed, pulling the quilt up around her as though Archie's left over warmth will make the pain go away. ARCHIE (into phone) Barney? Archie. Fine fine , , fine , I want you to look at a patient for me. Now. At my place. My apartment, Barney, it's very complicated and I haven't had my morning coffee yet. Her name is Petulia. I don't know her last name, Barney. Yes, Petulia. Barney, shut up. I have to get to the hospital. 16A BARNEY'S BEDROOM MORNING During the above we catch a glimpse of sleepy Barney sleepily asking stupid questions. 16B INT. ARCHIE'S APARTMENT Archie hangs up, goes to a medicine case which he had hastily opened for the ammonia ampule and now he takes out a couple of pills, which he gives to Petulia,. She takes them obediently, PETULIA You've got a super build for a man your age. Archie says nothing. He crosses to the bathroom and hastily begins dressing. PETULIA Where are all the family pictures? Archie is busy brushing his teeth, PETULIA (LOUDLY) The family pictures! He looks out from the bathroom blankly, PETULIA Polo and the boys. ¬Ä¢ Archie goes back to brushing his teeth electrically, with salt. 19 16B Continued ‚Ä¢ PETULIA I'll bet you named her Polo. Don't ever start mucking about with "Petulia". Archie exits from the bathroom, all the time continuing to dress, PETULIA What¬∞s her real name? ARCHIE Prudence. PETULIA And you named her Polo. That's kind of sickening, Archie. Archie stops his dressing long enough to gaze at this girl in his bed, beyond which is an overturned tuba. Archie sighs somewhat philosophically, not nearly as amused as you'd think. 17 INT. HOSPITAL We are in the examining room of the orthopedic ward. Archie is working on Oliver, the little Mexican boy of ¬Ä¢ seven whom we have seen earlier as a bloody mess in the flashback. Now, Oliver is healing nicely, but it's still not pleasant to be examined. A woman hovers in the back- ground. A nurse assists Archie. Oliver is a brave, solemn little boy, with shadows of fatigue around his eyes. He is also a tough little bastard, let me tell you. He is now wearing the broken gold watch; though to fit his skinny wrist the band has been tied in a knot, ARCHIE I want him here every day. For therapy. WOMAN Si, Yes, doctor. I do, Oliver speaks only a few words of English, mostly the necessary scatological and sexual phrases that would be necessary in his line of business. ARCHIE Every day. Tell him that. The woman says it to Oliver in Spanish. Oliver says something obviously obscene. 20 17 CONTINUED ARCHIE What'd he say? WOMAN (EMBARRASSED) He say yes. ARCHIE (dubiously, to woman) You sure? (to Oliver) Otherwise we keep you in the hospital. You're not well, just better. (to woman) Say that. The woman tells Oliver in Spanish as Archie continues examining the leg. ARCHIE Sorry, pal. Oliver says something in Spanish. WOMAN: (smiling a bit) ¬Ä¢ Where he learn such words shame on you. (then in Spanish) Shame. Archie realizes Oliver is in great pain and close to tears. He stops the examination and rubs his hand gently through the kid's hair, ARCHIE Every day. Same time. Two o'clock, right on the dot. (he hits watch on wrist. The last bit of glass falls out.) Sorry , , Oliver swears in Spanish and the woman clacks her tongue. WOMAN (EMBARRASSED) He terrible. ARCHIE (CHUCKLING) I like the way he heals. 0 21 17 CONTINUED Archie smiles and leaves. The nurse is left with Oliver who avoids her touch, NURSE Cut that out, you little spit, 18 TNT. CORRIDOR Archie stops to hear what the woman has to say. WOMAN About the bill, Doctor. Barney is passing by. ARCHIE Is she okay? BARNEY (DARKLY) Lunch. Archie looks up at the woman. ‚Ä¢ ARCHIE His leg will be fine. Don't worry too much about the bill. Just enough to pay it. WOMAN I have money to pay it, A pipe smoking public relations man leads a casually dressed group past Archie and the woman. PUBLIC RELATIONS MAN Yea, we had ABC filming a documentary here last week 19 INT. THE ROARING 20'S CAFE DAY All through the scene Barney and Archie will be served by topless waitresses while other topless waitresses slide down a big brass pole in the centre of the room. As the scene begins Barney is alone, morosely munching a corned beef sandwich. Now Archie appears, threading his way through topless fashion show. A topless ANNOUNCER is doing the fashion commentary into a chrome microphone, as the topless models majestically move about. ¬Ä¢ 22 0 19 CONTINUED ANNOUNCER (no fashion cliche untouched) Springtime in Paree. Our elegante dinner pajamas. In airy aquamarine chiffon and Mediterranean blue peau de soie. Delightfully carefree, yet formal enough for an ambassadorial reception at the Palace of Versailles. BARNEY "Screw you, Wilma." Why didn't you tell me? ARCHIE How is she? BARNEY You tell me. ARCHIE Oh, great, terrific, you wouldn't believe it. Terrific. And her rib? BARNEY I taped it. Gave her some seconal. ‚Ä¢ Should have a vertical just to be safe. A waitress hovers ARCHIE Why do we have to eat topless? BARNEY The best Irish stew in town. He is eating a corned beef sandwich. Archie is ordering the same. BARNEY She said you beat her up. Kidding, of course. Archie bites into his sandwich with small enthusiasm. Breasts with their pasties always intrude. BARNEY You must have been a little rough on her, daddy. E 23 19 CONTINUED The second model, a beautiful topless Negress, is now wandering past the tables. The announcer goes on and on. ANNOUNCER Opening Night at the Opera. Though the curtain has risen on the first act of Aida, all eyes are on the Royal Box, Mi Lady in dazzling velvet: Cardinal Richelieu Rouge. The utter simplicity of her full-length gown is subtly accented by the merest suggestion of gay abandon. Archie eats his sandwich. An off-duty topless waitress sits in the corner having lunch, holding a napkin over her bosom with one hand, while eating with the other. BARNEY Archie ? ARCHIE Barney ? BARNEY (UNEASILY) You know how long I've known you? ¬Ä¢ ARCHIE Forever? BARNEY That's how long. And Polo and the kids. That's exactly how long. Another silence. Archie is watching the brass pole. Every other girl sliding down looks like Petulia. Archie accepts his hallucination with mild pleasure. Barney will not be stopped. BARNEY'S VOICE So I have a right to my opinion; It's breaking Wilma's heart; That's all we talk about. You think you're different than anybody else? Every time I leave my house it's the last time, I'm never coming back. You're not listening to me, Archie. ARCHIE'S VOICE Barney, for Chrissake, I'm listening to you, BARNEY'S VOICE You're thinking about that hot cat in your bed, you bastard. 24 19 CONTINUED Now, in the continuous luncheon fashion show, the "Psychedelic Yvonne" has appeared, topless amid a wild pattern of lights, The dialogue between Barney and Archie continues elsewhere as the orgy of colors becomes: 20 INT. HOSPITAL The left side of a patient's face and the right shoulder and arm of the patient's body are sprayed with a special liquid which instantly dries a violent blue and then very quickly starts changing into all the colors of the rainbow. These various colors indicate physical conditions. They are watched, measured, and timed by Archie, Barney and their assistants, BARNEY'S VOICE My record is far from spotless, if you don't know that, who does? But baby, it's just not the answer, not at our age. ARCHIE'S VOICE So what's the answer, baby? BARNEY'S VOICE ‚Ä¢ Someplace you can belch without saying excuse me! ARCHIE'S VOICE I can do that in the steam room at the YMCA. BARNEY'S VOICE (going right on) And if a little monkey business comes along, whose gonna throw rocks? You and Polo were a marvellous looking couple. 21 INT. HOSPITAL LEAD ROOM The patient is in a lead room being scanned by an atomic computer. The activator moves in a rhythmic, graceful pattern over the patient's drab, withered body. In the control area Archie and Barney listen to the strange sounds emanating from the computer, each sound again indicating a physical condition. The patient's room looks like a comfy hotel room: wood paneling, couches, magazines, plants. The door leading to outside is three inches thick and solid lead. The noise from the equipment is deafening. IS 25 21 CONTINUED 10 BARNEY'S VOICE Is there something wrong with being a groovy looking couple? People turning around to stare? What was it, Archie? The sex bit? Huh? The ole sex bit ,,,? ARCHIE'S VOICE Barney, what would you say if I told you that one day I just got very tired of being married? 22 INT. A DECOMPRESSION OPERATING ROOM This is a really glorified pressure chamber where a complete atmosphere is created to suit whatever surgery is going on. The patient can no longer be seen. He is draped in plastic which creates a sub-atmosphere. The doctors and nurses are swathed in plastic, again in the atmosphere that lets them function best, (This is for real. It exists, for instance, at Mt. Sinai Hospital in New York.) The doctors and nurses communicate with each other through throat mikes and seem like other world automatons. In all this the patient simply does not exist. The colors are eerie yellows and blues with only occasionally and very impersonally the red of blood, ¬Ä¢ BARNEY'S VOICE (he never listens) It's still better than being out there in the dark, all by your goddam lonesome! Nobody has a life anymore. Quicksand, It scares me. What do you want, Archie? 23 INT. DOCTOR'S GYM Archie and Barney are in a white cubicle playing handball. Their dialogue, of course, continues, ARCHIE (GASPING) I don't know what I want. To feel something, BARNEY (GASPING) That's no answer; Archie, grow up! The ball comes whizzing at Barney who suddenly wants it to hit him, which it does, BARNEY Archie, what am I going to do about Wilma? 0 26 24 EXT. ARCHIE'S APARTMENT LATE AFTERNOON Archie has just parked his car and is going toward the entrance, when he sees Petulia sitting on a bus-stop bench, the tuba beside her. She is dozing. ARCHIE (SOFTLY) Hey, you. She opens her eyes, smiles. PETULIA I'm drunk. ARCHIE It's the stuff Barney gave you. PETULIA I'm drunk. ARCHIE I'll drive you home. PETULIA Thank you, I'll take the bus. 0 ARCHIE Don't be silly. PETULIA Don't pry, Archie. ARCHIE How'm I prying? PETULIA I'll go home by bus. ARCHIE If I were prying, I would ask you how you broke your rib. Right? PE TULIA You fall on a tuba and you break your rib. Right. ARCHIE Wrong. The rib was broken hours before your fall. L' During this the bus comes to a stop. Petulia rises shakily to board it but she can't go through the entrance with the tuba. 27 CONTINUED BUS DRIVER Anytime you're ready, Lady. ARCHIE I'll keep it for you. PETULIA It has to be returned. "Friends of the Evergreen," Archie looks blank. PETULIA It's a lodge. In Chinatown. On Grant. Ask for Mr. Howard. The bus driver really leans on his horn to make everything charming. ARCHIE (shouting above horn) Petulia, take a cab! PETULIA (shouting above horn) ¬Ä¢ Don't pry, Archie: She groggily enters the bus, leaving the tuba in Archie's arms. 25 INT. BUS Petulia takes a seat at an open window. The bus is now stopped for a moment more by the traffic light. Petulia, under the best of circumstances doesn't make much sense, and now she's quite groggy. PETULIA Will you remember that? "Friends of the Evergreen." ARCHIE Petulia, where are you going? PETULIA Mr. Howard. Tell him I'm sorry I goofed. Archie, you know something? The tuba makes you look ten years younger, and . you'know ... Thingy 0 The bus starts with a jolt and Petulia winces in pain. 28 26 INT. DANNER HOUSE KITCHEN Petulia is wincing with pain as she puts groceries on the shelf. David is watching her, concerned. DAVID Petulia? PETULIA Hi. DAVID You okay? PETULIA Uh huh. DAVID Sure? PETULIA Of course. DAVID Just before --- I PETULIA I'm fine. DAVID ... for a split second there PETULIA Ism okay. DAVID I thought maybe you PETULIA David. Somehow or other we begin to sense that madness has entered what is really a commonplace scene. Something has gone wrong and we can't for the life of us under- stand what and before we can even guess, we are: 27 INT. BUS Petulia is still in the bus and we realize she has 0 imagined the foregoing. She gets off the bus. 29 28 EXT. THE VERY. MODEST OFFICES OF THE "FRIENDS OF THE EVERGREEN" DAY. The sign on the door identifies this as a fraternal organization, founded in 1886 for the betterment of man, but the door is securely padlocked for the night. Archie stands there, holding the tuba and feeling stupid. Haplessly, he returns to his car and begins stowing the tuba inside, banging it against his nose in the process. He is a far from happy man. 29 EXT./INT. A CLUTTERED, MEAN LITTLE KITCIEN IN A SLUM HOUSE DAY Petulia is filling the noisy old electric ice box with milk, ice cream and fresh fruit. A man enters from another room. He is a big, sleepy-eyed Mexican. He has just awakened, is wearing his pajama bottoms and is hairy, sweaty and fat. Petulia obviously knows tlleiman, nods hello, to which the man answers a non-committal grunt. He squeezes past Petulia to drink from the sink. He sticks his head under the tap. 0 PETULIA (she speaks slowly because he doesn't understand English) I came by to make sure there was enough milk and things. He finds the situation amusing, reaching in past Petulia to grab an orange. There should be a feeling of a possible relationship between Petulia and this man. In the next room a screen door opens and closes. Petulia closes the ice box door and we and she see Oliver and the Woman standing in the doorway. 30 INT. ARCHIE'S APARTMENT NIGHT Archie is doing research at a desk. Working from notes, he is talking into a tape recorder about new techniques in the treatment of arthritis that would not require surgery. This is a moment to glimpse Archie as a thoughtful man. There are a couple of beer bottles nearby. The bed is still unmade. The tuba stands in the corner. 0 The front doorbell rings and Archie crosses over to let in his wife, Polo, a very attractive young matron. 30 30 CONTINUED Polo looks about the apartment dubiously, from tuba to unmade bed. She can't keep her eyes off the unmade bed. ARCHIE (after `awhile ) Hi, Polo. POLO It's very nice. Archie looks at her questioningly. POLO I've never been here before. It's very nice. ARCHIE Thanks. POLO It's strange, coming into your husband's bachelor apartment for the first time. Feels slightly illegal. Is that a tuba? 0 ARCHIE That's a tuba. POLO Make a marvelous lamp. ARCHIE You just had to say it. POLO Predictable Polo. ARCHIE "Predictable Polo." Has a certain zing. How're the kids? POLO Looking forward to the weekend. Lest I forget She opens her large handbag, takes out a cellophane bag of cookies. POLO As usual, I baked enough for an army. ARCHIE Okay. 31 0 30 CONTINUED POLO This is very strange. I didntt think I'd feel like this. Mostly sad. Archie's sad, too, therefore he is more brusque than necessary. Also he is bugged by the cookies. ARCHIE You need anything, Polo? POLO No. Well, yes. Well, yes and no. ARCHIE (SMILING) I think that covers all the possibilities. Polo laughs, suddenly they share a moment of warmth. POLO It's such a puzzle. We really got on so marvelously. Never fought. Never screamed at each other. Not once. ‚Ä¢ Something in his silence, plus that damned unmade bed, is beginning to make her angry. POLO Everybody we knew envied us. ARCHIE We were a handsome couple. This makes her so angry she can now say what she came to say. POLO I think I've fallen in love. The man is Warren Smith. He's an engineer and very good with the children, but he wants to go back to school and get his masters in hydraulics. (very long pause) Well, say something. ARCHIE (BLANDLY) I think that's fine, Polo. ‚Ä¢ POLO (MILDLY) Go to hell. 32 0 30 CONTINUED Tie phone begins ringing. Archie crosses to it. ARCHIE Hello? (no answer) Hello? POLO Were going to'be married. ARCHIE Great. (into phone) Hello? 31 INT. DANNER HOUSE NIGHT ' David is on the phone and Petulia'has just entered. David hangs up the phone. PETULIA ‚Ä¢ DAVID PETULIA She stops. She waits for a moment, wondering if the scene she imagined on the bus is now going to occur. Will David now say, "Just for a second there .?" DAVID Come on, let's eat. Morrie finally got a shipment of Dungeness crab. PETULIA About time. DAVID Well, poor guy. They had all that trouble. David crosses to the dining area. And that's that. 32 INT. ARCHIE'S APARTMENT NIGHT POLO Not right away. He's also divorced. There's alimony ... child support It looks absolutely obscene. 33 ‚Ä¢ 32 Continued Archie sees her. looking at his bed. ARCHIE (ANNOYED) So the kids like him, eh? POLO Adore him. ARCHIE How about that? POLO Don't you have maid service? ARCHIE (SUDDENLY) What the hell are you doing, bringing me cookies? He flings the bag at her, barely missing her. They are both stunned by this outburst, 'OLO ‚Ä¢ (shakily) Well ... this is a new side of your natured For two people who never fight Absently, Polo sags down on the edge of the unmade bed, which has so fascinated her. During the following, no matter what their bodies happen to be doing, Polo and Archie continue to speak in a most logical manner. ARCHIE What's so great about not fighting? POLO I came to tell you about Warren, ARCHIE You told me about Warren. He sits beside her, well not really beside her, actually as far away from her as the bed will permit. She decides she will instantly get up off the bed, but she does not. ARCHIE (CONTINUING) Warren is working for his m'tstah's in hydraulics. 34 0 32 CONTINUED Polo knows she shouldn't smile at Archie making fun of Warren, but she does. Archie touches her smile with his finger, then his hand moves across her face, to the back of her neck. It is a clumsy gesture and they clumsily sprawl on the bed. POLO Well, I'm afraid well still need all the money you pay me. And I'll be seeing him, Archie 32A INT. POLO'S BEDROOM It's a nice enough room, which makes what she says later quite absurd,' She and Warren are preparing for bed ¬Æm already in a boring ritualistic fashion; she with curlers in her hair, he hanging his trousers on a hanger, POLO IS VOICE , (continuing) ., at the house. I mean until Warren ¬Ä¢ and I get married, which won't be 32B. INT. ARCHIE'S APARTMENT By now, entirely out of habit, Archie's hand has pushed up Polo's shirt, as he continues the sex ritual. Wholly out of habit, Polo lets him. Their bodies, old friends for so long, and once having been lovers, simply ignore whatever tripe their mouths happen to be saying, POLO (CONTINUING) until he is established with some hydraulics firma I hope it won't be too long, I mean for everybody's sake. ARCHIE If he's a bright guy, he'll make out okay. POLO Needless to say there are certain problems. By now, Archie is on top of Polo, and out of habit she is adjusting her body for him. 35 32B Continued POLO He lives in such a depressing, rented room. It gives me claustrophobia. ARCHIE Poor Polo. POLO It's such an icky little room. Archie is, perhaps, two seconds away from entering Polo, when he suddenly sits up, wondering what the hell he's been doing. He walks to the far side of the room, sticks his shirt in, wipes the sleeve of his shirt across his face. Polo feels no particular rancor, the entire thing was totally unplanned, and she has no more desire to "make it" with Archie than he has with her. She pulls down her skirt and adjusts her garters. ARCHIE Tell the kids I'll come for them 0 Sunday at eight. POLO They'll be ready. I thought the decent thing was to come here and talk in a civilized manner. About the change in my situation. ARCHIE I appreciate it, Polo. POLO Good night, Archie. ARCHIE You've got a run in your stocking. Polo exits, Archie can't figure out why in the world he even thought of making love to Polo after all this time. He sits down on the unmade bed, finds one of Polo's cookies on the sheets, and pops it into his mouth. 33. EXT. TEA GARDEN DAY 0 It's a busy Saturday and everything is lovely. A 36 33 CONTINUED LARGE GUARD with a bull horn is keeping people moving on the Japanese bridge. Many soldiers on pass, a few hippies, but mostly just tourists. LARGE GUARD (with bull horn) Now you folks keep moving along that bridge. You keep moving along and give other folks a chance. There's lots of pretty things to do. You keep moving right along. You won't want to forget our Niponese souvenir pagoda where every item is the real McCoy. That's right. Keep moving, that's the ticket. Sergeant, you've been standing there some time now. During this, MAY and Archie talk. '.s 32 and pretty. Its a nice day but Archie is not happy. Polo, Warren, maybe Petulia mostly it's kind of a lousy day to be a bachelor, . and May have been sitting on the grass. Gracefully she rises to her feet, doing everything just right, even this. 0 She puts away her portable martini kit. ARCHIE Nobody in the world can sit on the grass and not wrinkle. She looks. ARCHIE No, perfect. Not even a blade of grass. Why don't I marry you, May? MAY Why don't you, Ar^hie? They walk along holding hands. Archie should feel better than he does. ARCHIE Tell me about Bobby Kennedy. She looks at him, smiling. ARCHIE (SHRUGGING) Picasso? Pickles? She smiles tolerantly as they walk along. 37 ‚Ä¢ 33 Continued) ARCHIE Choose a subject. Ice cubes. Any damn thing. Take either side. Talk for thirty seconds against ice cubes. MAY (EASILY) Why the hostility, Archie? ARCHIE That dress shop of yours. "Boutique." I've never seen one of those ... your rubber mannequins .. I've never once seen the pipe sticking out of their bottoms. Not once, not one damn time. That bothers me, May. May stops. She doesn1t know whether to be annoyed or amused. Shets a little of both. ARCHIE I'm not hostile, it's frustration. In all that perfection, how could a clumsy clot like me possibly be fitted in? I mean, without spoiling the whole effect. They have now reached the area of the stunted trees. Nuns are passing through empty benches; kids are improvising on the stage and shouting. MAY Don't worry about it. You'll be going back to Polo. ARCHIE No, she's found a fellah. MAY Oh. She watches the kids for a moment. MAY I'd just about given up on you, ARCHIE What I should do is marry you. For May this has been said once too often. She is now ¬Ä¢ thoroughly annoyed. 38 33 CONTINUED) KAY Archie, if it would please you, I'll submit a list of my faults, some of which might shake you up a bit. ARCHIE It would be a fake list. MAY Probably, It wouldn't be a fake list. Actually, I wear arch supports, my depilatory causes a nasty little rash, and I've lost 10% of my hearing in less than a year .. Okay? ARCHIE OKAY; They laugh, kiss, grab at each other, and hurry toward the parking lot for Archie's car. 34 EXT. STEPS OF ARCHIE' S APARTMENT DAY Petulia waits on the steps. When she is not being observed, when she is not "on," there are moments when Petulia seems utterly forlorn. This is such a moment. But then she sees Archie and May and instantly she is "with it." ARCHIE Well of all people. PETULIA All that crap about the humanitarian- ism of the medical profession. She darts alongside the building and begins frantically calling to a little old man in white duck pants and an "aloha" hat, May looks at Archie questioningly. ARCHIE Don't ask. Petulia and the old man are back joining Archie and May on the steps. PETULIA (ACCUSINGLY) Archie, this is Mr. Howard. 0 MR. HOWARD I was looking at the foundation. Once in a while you find one from before the earthquake. It's a thrill, believe you me. 39 0 3L1. Continued Petulia resents any sense of cordiality at this particular time. PETULIA Mr. Howard is the'watchman for the "Friends of the Evergreen." Or was. ARCHIE The tuba. PETULIA No wonder people are becoming cynical about doctors. ARCHIE I tried to return it. The place was locked. MR. HOWARD No harm done, PETULIA ‚Ä¢ I didn't expect this of you, Archie'. ARCHIE I tried to return the tuba Friday NIGHT; MR. HOWARD It's O.K. PETULIA (accusingly to ARCHIE) The "Friends of the Evergreen" are very proud of their brass band. MR. HOWARD All's well that ends well. PETULIA Stay out of this, Mr. Howard. She sees May watching all this with wry amusement. PETULIA I'm Petulia Danner. I'm sorry about this. 40 0 35 INT. ARCHIE'S APARTMENT DAY Mr. Howard is casually testing the valves on the tuba. MR . HOWARD She said there was this elderly lady whose first husband used to play tuba with John Phillip Sousa. She said it would cheer her up and make her want to live. She gave me five bucks. ARCHIE (looking at Petulia) All that broken glass MR. HOWARD (finished with the tuba) Its okay. Archie crosses to the front door and opens it. ARCHIE Goodbye, Mr. Howard. Goodbye, Petulia. Petulia crosses to Mr. Howard and presses a dollar bill into his shirt pocket. ¬Ä¢ PETULIA Take a taxi. You can at least say you're sorry, Archie. ARCHIE I'm sorry, Mr, Howard. Goodbye, Petulia. But Petulia just sits on the edge of a chair tapping her fingers in annoyance. Mr. Howard leaves. The door remains open for Petulia to leave. May watches Petulia in amused tolerance. ARCHIE What's the next move, Petulia? PETULIA I'd like to discuss your irresponsibility. People are passing in the hallway, peering in. ARCHIE Goodbye, Petulia. He advances on her, somewhat threateningly. ¬Ä¢ PETULIA My rib. Archie slams the door shut ets a bottle and a couple g of glasses, pointedly, exclu ding Petulia. 41 0 35 CONTINUED ARCHIE I should explain about Petuliaa She is a kook. We are going to be married. PETULIA Archie, when you try to sound cool and "with it," you're really pathetic. We're trying to have an intelligent conversation... ARCHIE About what? PETULIA Well, about Polo, among other things. ARCHIE Polo is none of your damned business. PETULIA That's dumb. Dumb. She's my business and she's this lady's business. I happen to hate Polo. ARCHIE (to May) Needless to say she's never even met Polo. PETULIA I look at you and I know Polo. (to Map) Explain that to him. May looks at Archie in bewilderment, she is not quite sure how to react; but when she makes up her mind it will be the exactly right reaction. Also, in all truth, Petulia is frightened by May. PETULIA How many years were you married., Archie? Eight? Ten? Anyhow, the best, Wasted. Gone down the drain. ARCHIE Oh, come on ..o PETULIA Archie, we are from two different worlds. We've got nothing to agree on. Except one thing. You're a lonely screwed up mess. 0 Archie, I'm trying to save you. You're a very special man. 42 0 35 CONTINUED ARCHIE Oh, God. PETULIA Tell him, May. Petulia doesn't like May's amused reaction. PETULIA You don't think so? MAY I won't put Archie on a pedestal. He'll do. PETULIA (ANGRY) You've got yourself another winner, Archie. MAY (to Archie) It's a joke, you're both putting me on. ARC HIE Petulia. I mean it. Tubas. All this E "I Love Lucy" jazz. It's only cute for awhile. PETULIA It's not meant to be cute. I'm fighting for your life. ARCHIE Who's trying to kill me? MAY The two million, five hundred thousand subscribers to the "Ladies Home Journal" ... right, dear? ARCHIE Petulia, go home and save what's his name. I really don't want to see you anymore. Archie's voice is cold. Petulia is suddenly defeated, mostly by May. She gets up and leaves. 36 INT. HOSPITAL NIGHT It's after 3 a.m. and Archie is hollow-eyed and drenched 0 with sweat from an emergency operation. He is with a patient in the recovery room, obviously concerned about 43 i 36 Continued the patient's chances. He crosses to a sink, bathes his face and hands with cold water. He is exhausted. As we sometimes glimpse Petulia when no one else is looking and see beyond the kookiness, so for an instant we see beyond Archie's look of professional assurance and see the fearful uncertainty. He now moves into the corridor, with each step assuming the doctor's look that is expected of him. PETULIA'S VOICE Hi. Archie turns. Petulia is in the medical library with books scattered all about her. ARCHIE You're kidding. PETULIA I think I've discovered a cure for cancer. ARCHIE Well, if you're on the brink of something. How did they let you in. ¬Ä¢ She joins him. PETULIA You look exhausted. ARCHIE Do you know it's almost three? Doesn't Mr. Danner worry at all about things like that? Petulia looks at him reverently. PETULIA (TENDERLY) Look at you. Archie is so unaccustomed to hearing a straight line from Petulia that her tone and look of tenderness stop him for a moment. Then, without a word, they fall into step beside each other, leaving the hospital. 37 EXT. PARKING LOT NIGHT At this time of night hardly a car remains. Archie's car is quite by itself. 0 37 CONTINUED ARC HIE Shall I drop you off? (she doesn't answer) It's too late for the bus. She gets in. 38 INT . CAR ARCHIE Petulia, you've got to stop following me around like this. Petulia is absolutely silent but her eyes are devouring him with infinite tenderness which Archie is finding very touching. It is a facet of Petulia he has never seen before. ARCHIE Where to? I could use a steak sandwich. There's a jazz joint that stays open all night. He reaches to start the car just as she grabs at him, ‚Ä¢ awkwardly, aggressively. ARCHIE (SURPRISED) Hey, come on ¬Æm why this sudden Petulia is relentless and voracious. Her hands and mouth are everywhere on Archie. A car is a lousy bedroom but it will have to do. Heads bump against windows, elbows jam against steering wheels, but Petulia will not be stopped. Finally, Archie grips her shoulders and forces her to stop. ARCHIE No. PETULIA Yes. ARC HIE Not here. 39 INT. SUPERMARKET PRE-DAWN Though the streets outside are deserted, the supermarket is jammed with people. Archie is pushing a market ‚Ä¢ basket already piled high with groceries while Petulia keeps finding things to buy. Archie knows that Petulia is going through this massive shopping spree simply to get even for his rejection of the moment she chose to make love. 45 ‚Ä¢ 39 Continued ARCHIE It m not really hungry. PETULIA I'm starving. ARCHIE Am I being punished? PETULIA Loganberry jam ... we'll have a case. ARCHIE I'd rather have a new plastic raincoat. PETULIA You don't save anything on plastic raincoats. ARCHIE Shall I get another cart? Polo can fill three or four when she really puts her mind to it. Petulia gets the point and instantly takes her place 0 in the long line before the cashier. WOMAN SHOPPER (as if it's Petulia's fault) You know what time it is? It's after fivB. PETULIA Ilia sorry. WOMAN SHOPPER I want to go to bed. PETULIA So do we. 40 EXT. SUPERMARKET Petulia and Archie leave the supermarket with their rolling basket of groceries. There is no one else on the street. In front of the market is a clown on a pedestal gesticu- lating with arms and mouth at people who are not there, but making no sound. Petulia quizzically looks up at the silent violent clown, while Archie waits for her at the car. Finally he taps the horn and she turns and looks at him. She starts running toward the car, suddenly wanting 0 very much to be with him. They kiss lightly. 46 9 41 INT. ARCHIE'S BEDROOM NIGH' Archie is sound asleep, breathing heavily. Petulia sits wrapped in a blanket on the floor near the window, her head resting on the sill, lonely. 42 TNT. ARCHIE'S BEDROOM NIGHT Petulia is sound asleep. Through the open bedroom door we see Archie drinking a lonesome Coke. 43 INT. ARCHIES BEDROOM NIGHT Petulia and Archie are both in the bed, asleep and somehow as far apart as two human beings can be. 44 INT. ARCHIE'S BEDROOM NIGHT In the midst of her sleep, Petulia begins jabbering in some language all her own. Archie Is eyes open and he looks at her and he smiles. Still sound asleep, Petulia finishes her statement, whatever the hell it was and settles down on the pillow. Archie looks at her. She wakes up. They look at each other so gravely that they both begin to smile. Neither one is having the best night of their life but both are aware of a sense ‚Ä¢ of tenderness that has caught them unexpectedly. 45 INT. ARCHIEtS BEDROOM MORNING Petulia wakes up suddenly. Though she is nude under the sheets, Archie is fully dressed for his day with the boys. Though his clothes are very sporty he looks anything but sporty as he talks quietly into the phone- ARCHIE (into phone) Okay. Wells why not do some slides anyhow? (in sudden anger) To satisfy myself, that's who. Okay. He hangs up the phone and sees Petulia looking at him. ARCHIE Well, we knocked off another one. Another notch in the old stethoscope. PETULIA You're a wonderful doctor, Archie. ARCHIE I keep a little black bow tie in my desk. In 0 case the services are in the morning and 1 have no time to go home. The neekband's all stained with sweat. 47 45 CONTINUED PETULIA Why are you dressed? ARCHIE Have to pick up the, kids, I'm already late. PETULIA You're not abandoning me? I mean, I wasn't all that bad, was I? ARCH IE Amateur night, He leans over and kisses her mouth. PETULIA Before I've brushed my teeth? Are you a communist, Archie? ARCHIE I guess so PETULIA Tell Mike to watch that weight. 0 ARCHIE Will you be here when I get back? PETULIA (SMILING) Dumb, Archie. Dumb. Archie starts out, then stops, troubled. PETULIA Yes? ARCHIE WELL PETULIA I'm divorcing David, if that's what you mean, ARC HIE (SHARPLY) That's none of my business. Petulia is suddenly hurt. PETULIA Phone me. 9 ARCHIE Where? 48 0 45 CONTINUED PETULIA Here. ARCHIE Listen, this worries me. Really. PETULIA Write the Number down so you won't forget. Archie grins, sighs, and starts out. Petulia will do anything to hold him one second more. PETULIA Hey,, you. Archie turns at the door. PETULIA Don't have any illusions about all those groceries. I can't cook. ARCHIE And you hate loganberry Jam. PETULIA No, as a matter of fact, I rather like it. He smiles, continues out. 46 EXT. CORRIDOR & STEPS OUTSIDE ARCHIE'S APT. He has barely gone ten steps when he is stopped by a whistle. He turns. Her head is popped out the door (or window). Anything to hold him, anything. PETULIA If somebody calls and wants medical advice on something really obscure, is it okay if I wing it on my own? He makes an amused "you nuts" gesture and leaves, but not before Petulia says: PETULIA Phone. He is gone. 47 EXT. A WHARF ON SAN FRANCISCO BAY ‚Ä¢ A cruise boat that takes tourists across the bay is ready to go. 0 47 CONTINUED Mike and Steven, Archie's sons, are anxiously waiting for their father to join them. Archie is in a phone booth next to the ramp that leads to the boat. The boys are yelling to Dad to come ono ARCHIE (into phone) Hi, (to boys) Shut up, you guys, PETULIA'S VOICE Hi. What's all the noise? ARCHIE Mike. PETULIA Fat Mike? ARCHIE He's not all that fat. During this series of dumb, ordinary telephone conversa- ¬Ä¢ tions to follow,, we begin seeing the moments which have brought on Petulia's current crisis with Oliver. 48 INT. BULL RING TIJUANA It's a hot summer afternoon. Petulia and David have driven down from San Francisco. They are members of the "San Francisco Matador Club". David has drunk too much wine from his bota bag and the sour wine and the hot sun have made him violently ill. Though there are still two bulls left to kill, David and Petulia are leaving. As she moves down the spindly stairway, Petulia becomes aware of Oliver. He is with a gang of other kids at the butcher shed where the previous bulls are being dressed for market. They are all soaking banderillos in blood so they can be sold as "the real thing" . 49 EXT. A STREET IN TIJUANA Petulia and David in their convertible. David has passed out in the back seat and Petulia is having a hell of a time trying to move the car out of the parking space. Again kids swarm about her like wild animals, trying to sell hats, cushions, gum, pottery, etc. Again she sees Oliver among them (or is it another kid who looks like 0 Oliver?) , 50 40 50 EXT. BORDER GATE AT TIJUANA LATE AFTERNOON Thousands of cars are waiting to get through. Hot, noisy, dusty, unbearable. Kids storm every car, hustling their captured audience. Among them is Oliver. Have the others been Oliver? In Petulia's exhaustion and discomfort, the heat, the flies, the blaring horny she can't be sure. (NOTE, All through the Tijuana scenes, we HEAR Archie and Petulia's telephone conversation. It is utterly banal and they know it and are amused by its banality.) PETULIA: I was dozing. ARCHIE: That's good. PETULIA: You left without having breakfast. ARCHIE: I had a cup of coffee on the way. PETULIA: A cup of coffee. You should have had eggs or waffles. ARCHIE: I'm fine. PETULIA: Me too. PAUSE PETULIA: I had a tall glass of pineapple juice. ARCHIE: Make some toast, too. And milk. Breakfast is a very important meal. PETULIA: I wish you'd remember that. ARCHIE: Well, goodbye. 0 PETULIA: Archie? ARCHIE: Yes? PETULIA: You won't forget to phone. 51 EXT. WHARF Archie hangs up the phone and starts running with his sons toward the boat. He is very pleased with his absolutely nothing phone conversation. 52 EXT. BOAT DECK Children run scurrying around the mildly crowded deck. The boat is passing Alcatraz Island. Archie and the boys are standing at the rail, ARCHIE They used to think that escape from that prison was impossible. 52A EXT. BOAT DECK Same scene, different Sunday. Warren and the boys are standing at the rail. WARREN They used to think that escape from that prison was impossible. 52B BACK TO SCENE 52 We resume with Archie and the boys. SI 52B Continued MIKE Yes, Dad. Warren told us that last week. ARCHIE Warren. Well, we could have gone somewhere else. I didn't know you had been. STEVIE (the youngest) We thought maybe you had never been, Dad. ARCHIE No - well, thanks, actually I haven't been before, Stevie. MIKE In fact, we don't call him Stevie anymore. ARCHIE Who doesn't? MIKE Mom thinks he's getting a little old for being called Stevie, in fact. ¬Ä¢ ARCHIE I called you Stevie two weeks ago -e we were all calling you Stevie two weeks ago -- I was. STEVIE Before that. MIKE Warren says that Alcatraz taught the world you can get out of anything if you want to bad enough. ARCHIE That's what Warren said, eh? MIKE Yes, Dad. 53 ANOTHER VIEW OF THE BOAT The boys are watching Archie who is in that section of the boat where the radar and electronic equipment are kept. Archie is on the ship telephone. He is trying to keep a straight face but since he is obviously talking to Petulia, it is difficult. ‚Ä¢ MIKE : (to another kid) Doctors can do things like that. Call their patients from wherever they are. Archie finishes the call and returns to them, smiling. 52 53 CONTINUED ARCHIE How about clams on the wharf when we get back? MIKE Clams make Steve vomit. ARCHIE Oh. MIKE You forgot that. ARCHIE No, it just slipped my mind. Archie really does like his kids but his thoughts are somewhere else. 54 INT. A FISH PLACE ON THE WHARF While Mike and Stevie are gorging themselves, Archie is at the wall telephone. ARCHIE ‚Ä¢ Hello there. LATE AFTERNOON 55 EXT. THE BORDER GATE AT TIJUANA During this silent scene we watch Oliver seduce Petulia into giving him a lift in her convertible. Petulia is so bored as the cars take hours to get past the gate, Oliver is an absolute scoundrel. David is such a clod, passing out in the back seat, his legs hanging out over the door of the car, one sandal missing. His beautiful face is somehow an obscene parody of itself, fiery red from the sun. Oliver mimics David, Petulia, the guard at the gate, dances, skips, romps, annoys Petulia, makes her laugh, dares her, goads her. Finally, when Petulia's car is just one away from the border guard, Oliver impudently hops into the seat beside her, expecting to be thrown out but also expecting maybe a nickel in the bargain. But the joke's on Oliver. Petulia is even kookier than he is. Is it the look of David that sickens her? Is it her annoyance at having to wait so long and do the driving while he lies collapsed and useless? Is it that "useless" that goads her? 53 55 CONTINUED Most of all Petulia is doing something of absolutely no importance; she knows Oliver will hop out of the car the moment they reach the guard. All it amounts to is two kooks having a few seconds of horsing around. The joke is on both of them -- the guard, harassed by the honking of thousands of cars and having fully inspected the car just ahead of Petulia, waves the convertible on through. Petulia stops the car a few hundred yards past the border to let Oliver climb out, but he just sits there. Petulia thinks, "okay, you little bastard . " and zooms down the highway, intending to stop at the first moment the look of superior arrogance leaves Oliver's tough little face. During this we hear Archie and Petulia's second tele- phone conversation which is as blab and loving as before. ARCHIE: Hi, there. PETULIA: Hello. ARCHIE: I'm having lunch with the boys. PETULIA: You eat a good lunch, Archie, ARCHIE: I will, I will. PETULIA: You only had a cup of coffee for breakfast. ARCHIE: I'll eat a good lunch, Petulia. PETULIA: Like what? ARCHIE: Petulia, they have a thousand different things on the menu. PETULIA: You should have a sirloin steak with french fries or baked beans. ARCHIE: Okay. PETULIA: That's easy to say, Archie, But I know you. ARCHIE: Steak with french fries or baked beans. PETULIA: Do they have fresh sea-food? ARCHIE: Yes. PETULIA: Sea bass is nice. ARCHIE: Yes, sea bass is great. PETULIA: If they grill it, ARCHIE: I'll have grilled sea bass. PETULIA: Unless they do a nice omelet. ARCHIE: I'm sure they would if I asked. PETULIA: It's such a problem. ARCHIE: Yes, I know. Goodbye, Petulia. PETULIA: Phone. 56 INT. FISH PLACE Archie laughingly hangs up. He goes back to his kids. 54 0 57 EXT. FORT WINFIELD SCOTT DAY The sign says all the dreadful penalty of being caught in the fort. Archie takes the boys in. ARCHIE Warren take you here? MIKE No. ARCHIE He would see the sign, eh? See 57A INT. FORT ROUND THE GALLERIES The boys whoop off up some stairs. STEVIE Hey, this is great. Archie chases them through the floors. Archie sees a telephone above which is a sign which says that this phone is for the military and is to be used only in emergency. Archie approaches it warily, then loses his nerve and turns back to his kids. Archie wants to get back to Petulia. 58 EXT. FORT BARRACK FLOORS DAY ARCHIE Alright? The boys look at him uncertainly. ARCHIE (CONTINUING) Its ten to two. Can you imagine that? The time really went The boys know that means he wants to take them home. ARCHIE (CONTINUING) I'm really bushed. MIKE (COLDLY) I feel okay. Stevie is willing to let his dad off the hook. STEVIE I been sneezing. 55 58 CONTINUED ARCHIE So I noticed. MIKE He's always sneezing. ARC HIE Hey, next week I want you guys over for the entire weekend. None of this three or four hour stuff. STEVIE All weekend? ARCHIE Why not? MIKE To do what? ARCHIE You 'gust wait! Stevie is instantly excited, ‚Ä¢ STEVIE Something really interesting? ARCHIE Bet your life'. MIKE What? ARCHIE Just leave it to melt MIKE Warren said something about the Roller Derby. ARCHIE Oh. STEVIE Friday night till late Sunday? ARCHIE Unless you guys don't want to. MIKE The Roller Derby's pretty darn interesting. ARCHIE Yeah. 56 58 CONTINUED MIKE We'd have to sleep over. I mean if we were going to spend the whole weekend. ARCHIE I want you to. MIKE (SUDDENLY) Well, it's fine by me. STEVIE Me toot Boy l ARCHIE Okay, it's a dealt Mike turns away. STEVIE He's going to cry I guess -- he does that. 59 INT. ARCHIE'S APARTMENT BUILDING HALLWAY DAY Archie has had a pretty good day with the boys, is thinking ‚Ä¢ about Petulia waiting in his apartment, and feels pretty damn good about the whole thing. He opens the door of his apartment. He is carrying a bag of Mexican paper flowers 60 INT. APARTMENT It is empty. Archie knows at once that Petulia is gone. All the joy goes out of him. The apartment is a mess. The television set is on: a program without sound of soldiers fighting. Archie is so disappointed that Petulia isn't here. He angrily flips the dial getting the same type of program. ARCHIE A nice, neat kid. After all the exuberance he feels so empty. Everywhere things are scattered about. 61 INT. BEDROOM The bedroom is the worst of all. The sheets and blanket have literally been stripped from the bed and flung pall mall onto the floor behind. Archie really is annoyed. Then he stops, he crosses slowly to the tangle of sheets and blanket on the floor. A lifeless arm protrudes. Archie crumples to his knees and tears at the blankets. Petulia is broken, bloodied and seemingly dead. 57 61 CONTINUED ThÔøΩ-, phone is off the hook. Archie doesn't know where to turn first. He feels Petulia's throat for a pulse, isn't sure she has one, Petulia is wearing his hooded sweatshirt from Se. 23. Archie attempts heart massage, but Petuliats so taped up from the broken rib that this is impossible. Archie presses his mouth over Petulia's to attempt to get her breathing again. He tries this only for an instant then crosses to the phone, hangs it up and dials an emergency number. Archie goes back to Petulia. He feels again for a pulse in her throat, can find no pulse. He begins trembling. As always when a crisis really happens, it isn't as easy as the Red Cross advertisements say. Her mouth won't open right. His mouth seems unable to make the connection with hers. It all looks more like very bad love-making than a life-saving procedure. 62 INT./EXT. HALLWAY & STEPS OUTSIDE ARCH IE' S APARTMENT Two special officers are moving Petulia down a hallway on 0 a stretcher. A third walks behind her pressing a rubber oxygen mask over her mouth. We feel Sunday late afternoon rudely shattered, but limp- ing along nevertheless. Television, cokes, sex, stereo, facials, isometric exercises. funny-papers, ailments; boring endless Sunday late afternoon -- suddenly bloodied. Doors are opening up and down the hallway. People come out to stare. A big friendly old sheepdog wild with enthusiasm, leaps at the stretcher and almost topples Petulia. Archie, smeared with Petulia's blood, his shirt-tails out, in a state of shock himself, whams the dog as hard as he can. This entire sequence should seem like a nightmare. The dog's owner goes berserk. DOG'S OWNER Don't you hit Lennie! Archie is too distressed about Petulia to even respond. At every door there is a tenant. A jumble of voices all spoken together. 1ST TENANT 0 That's sex for you. 2ND TENANT It could be a gas leak. 58 62 CONTINUED 0 3RD TENANT She's dead. 4TH TENANT Those rescue cops never give up. 5TH TENANT Yes'. but they're all racists. Of course, one of the officers is a Korean and the other a Negro. All through this we have also been aware of many T.V. sets, all with programs with various kinds of violence. One youbgster comes to the door holding a portable T.V. and we see on the tube war casualties being flown out of the Jungle by helicopters. Archie has crossed ahead of the special officers to lead the way down the steps. Half a dozen "hippies"' loaded down with Chinese food and a yellow guitar are coming up the steps. Everything is chaos. The officers just can't manage the stretcher down the narrow stairway. Poor Petulia is twisted and turned every which way - all in the name of saving her life. 7TH TENANT ¬Ä¢ (a rich old queen in purple Bermuda shorts) I had trouble like that with my piano. Two hundred dollars to bring it through the window. And its never been the same. A record player is playing a Herb Alpert recording and the stretcher seems to move along to its rhythm. 63 EXT. A HIGHWAY RESTAURANT NIGHT This is the stretch of highway 1 - 01 going north from.Mexico. The restaurant is a mass of neon, and does very well in,the hot coffee department as the sleepy travellers take a break on their way north. Among the cars many are filled with bull fight afficianados. It's about ten p.m. There is a general feeling of exhaustion and spent passions. People are bleary-eyed, recovering from hangovers, beginning to feel the effects of sunburns. All this we see later. First we see Oliver. Oliver is sitting in the car staring coldly at David who 0 has just awakened. David is probably just about to say "Who the hell are you" when Petulia appears carrying a cardboard carton of coffee and orange juice. 59 63 CONTINUED David takes a sip of coffee. Oliver grabs at the orange juice, toppling it, spilling some of it on the seat but saving most. He gulps it down then uses the straw to make bubbles. David looks at Oliver and then at Petulia, all through the bubbles. PETULIA Say hello to "Petulia"s Folly." David says nothing. DAVID Oh? PET ULIA (with careful wit) If, in the past, you thought me a bit odd, feast your eyes on this little goodie. DAVID What¬∞s the problem? PETULIA (to Oliver) Why can't you speak English? (to David) Why the hell don't they teach them English? This little hustler picked me up in Tijuana -- DAVID (to Oliver, very gently) What's your name? PETULIA I've got a name for him! Oliver doesn't understand what is being said, but he is getting uneasy. O LIVER Lady say "hey come on us go San Francisco ten bucks." PET UL IA You bleeding little liar! Oliver looks at Petulia innocently. PETULIA (CONTINUING) I never did! She's worried about David. 60 0 63 CONTINUED PETULIA What I said to this malicious little fink was that maybe one day if we went back to Tijuana -- DAVIT? (to Oliver) San Francisco? OLIVER San Francisco. Each says it in his own accent, and so begins a word game. DAVID (GIGGLING) San Francisco. OLIVER { GIGGLING) San Francisco. DAVID Okay. "San Francisco." 0 He pronounces it like Oliver. PET ULIA DAVID David doesn't answer her. DAVID (to Oliver) What's your name? (in bad Spanish) What are you called? OLIVER (pronouncing it Spanish) Oliver. DAVID (pronouncing it English) Oliver. OLIVER (pronouncing it Spanish) Oliver. They begin laughing again. Petulia is becoming t. completely unnerved. 61 0 63 CONTINUED PETULIA David. The San Diego bus is due at twelve fifteen. I've already bought him a ticket. DAVID We've got to get this on tape. He's really something else'. I get a real kick out of him! (imitating Oliver) "San Francisco." Unless he's a midget. Hey, sure! Oliver is a sixty-three-year-old midgets Oliver grins, not understanding but feeling he has an ally. DAVID (to Petulia) Get in. It's still a long drive. We'll never get home. PETULIA Okay. He can wait inside. The cashier's a sweet old dear. I'll have him keep an eye on the ckeeky little bugger! 0 She opens the car door to take Oliver out, tense, wanting to get past this moment but fearful that she won't. DAVID You promised "Oliver" "San Francisco." PETULIA I did not. DAVID Like hell you didn't'. David abruptly hops over the seat and sits behind the wheel. He signals for Petulia to get in beside Oliver. Petulia hesitates. DAVID I dig, bitch, I dig! She's stunned. His hand reaches out and brutally jerks her into the car. DAVID I dig. CAMERA HOLDS on Petulia's frightened face. Now suddenly 0 the face has a tube in the nose; there's another tube in her throat; and she's unconscious. 62 0 6L!. INT. EMERGENCY ROOM HOSPITAL Half a dozen people are working to keep Petulia alive. They're used to their work, it's no big deal for them. Actually the feeling should be that they're as relaxed as if they were mechanics working on a motor car. Archie sits on a white stool in a corner, watching everything, not as a doctor any more but as a"deeply involved man. When one of the doctors hits a vein by mistake and murmurs "Whoops ." Archie can take no more and leaves. 65 INT. DOCTORS' SHOWER ROOM Archie sits on a little stone shelf, just letting the water from the shower hit him. BARNEY'S VOICE Hey you. Barney is looking over the shower door at Archie with a mixture of concern and anger. BARNEY (shouting over sound of shower) 0 Did you know there's a policeman outside wanting to talk to you? Archie nods dully. BARNEY What the hell is going on? Archie nods dully. BARNEY Can you have dinner with us tonight? Archie nods dully. 66 INT. BARNEY' S DEN (LATE AFTERNOON) Barney is working the film projector showing slides of a recent holiday with Wilma and their daughter. Each slide projects an enormous colored image against an entire wall. Archie is slumped on a couch popping peanuts into his mouth. BARNS Y You like this new lens, Archie? Is this the greatest lens you ever saw? 0 63 66 CONTINUED ARCHIE Mrnmmmm? BARNEY: (ANNOYED) What am I supposed to do -- spend the money on belly dancers?i Wilma enters from another room. She's exhausted, .WI LMA (to Barney) Ask me what your daughter put in her steam inhalator, BARNEY I don't want to know, WILMA Ask.me, Cottage cheese, BARNEY Actually I'm relieved, 0 WILMA (to Archie) I'm afraid she's madly in love with your Stevie, ARCHIE (ABSENTLY Steven. Wilma looks at the pictures on the wall, WILMA Wasn't that a gorgeous week! I just adore Big Sur! BARNEY It rained every day. You kept insisting you were pregnant, WILMA (to Archie) You must take Polo and the boys -- She stops embarrassed, ¬Ä¢ BARNEY Wilma-The-Magic-Talking-Machine. Put a dime in and she talks all night. 64 66 CONTINUED 0 WILMA I'm sorry Archie. ARCHIE Forget it. WILMA (she might cry) I just can't think of you without thinking of Polo. Archie nods. BARNEY (REMINISCING) Had to drive Made me run a frog test on her. forty miles in the rain. Almost hit a truck. Could have been dead and buried three years. Through this Barney keeps changing slides. Suddenly there is a picture of Archie, Polo and Wilma on another vacation. In this slide they are posing in corny T-shirts. The T-shirts say, "Kiss me you fool" and "I love the Rolling Stones"., etc. BARNEY ¬Ä¢ Oh, hey, I'm sorry. Wilma looks very superior. WILMA I'll bet he's sorry. BARNEY There's nothing wrong with a little old-fashioned nostalgia. WI LMA Do you remember that crazy Labour Day weekend we drove to Tahoe? BARNEY (too quickly) I've got them right her Archie frowns at Wilma and Barney. But they are clumsy and obvious, and he is somewhat touched. BARNEY I keep everything. They just happen to be here. What do you think this is, a conspiracy? E 6; E 66 CONTINUED ARCHIE Yes, Really they are all good friends, and they laugh good- naturedly, WILMA Let's see them Archie. Barney starts showing different slides of the Tahoe vacation. Archie watches scratching his ear, and eating peanuts. Wilma looks like the tears are about to start, C.S. A child cries "Mommy!" WILMA (to Barney) You go this time. Barney goes, leaving the slide still showing on the wall. Wilma looks at Archie for a long moment. ARCHIE (SHRUGGING) ‚Ä¢ Wilma what do you want me to say? They were great old times, WILMA Archie what's happening to you? ARCHIE Nothing. WILMA Dontt say nothing -- the policeman even called here! ARCHIE Itm sorry. WILMA I've had a splitting earache all day. Friends have certain rights, even the right to be obnoxious. Do you love this woman? Archie shrugs. WILMA i Well you must feel something. ARCHIE Yeah I guess so. Pity. 66 66 CONTINUED 0 W I LMA Pity. Go to the dog pound. You'll find two hundred dogs ready to be gassed. Policemen. Then Wilma sighs. WI LMA Shall I tell you something? I wish I had your guts. 67 INT. INTENSE CARE UNIT DAWN Archie is in Petulia's little cubicle slumped on a chair, sound asleep. Petulia lies on the bed, tubes protruding from arms and neck. She is still unconscious. Archie is awakened by a nun entering the cubicle to hook up another pint of blood. Archie's presence disconcerts the nun. She can't show her annoyance openly, but is so disturbed she does her work badly this time. NUN Who would do such a thing to a girl like this? She's a child. Is there an orthopaedic problem, Dr. Bollen? 0 Archie doesn't answer. NUN A. doctor should get his sleep. ARCHIE You left the needle in. The nun would like to scream at Archie about the impropriety of his presence here but she can't. She is proud of the bottle of blood. NUN From the Archbishop's Fund. ARCHIE Take the needle out. 67 67 CONTINUED 0 NUN All races and creeds. Why hasn't her husband been notified? ARCHIE I suppose they've tried. NUN It would be such a nice surprise to have his picture here when she finally awakens. Wouldn't that be nice? ARCHIE Yes, NUN It would give her some small comfort, ARCHIE I would put a bit more tape around the needle, NUN I mentioned her this morning in the chapel. I mention all my criticals. ‚Ä¢ ARCHIE In the future be more careful of the needle. NUN She hardly makes a bump under the sheets. She leaves. Archie moves closer to Petulia examining her throat and eyes for vital signs. He pushes open an eyelid and Petulia's dead eye stares glassily into his living face. 68 INT. HOSPITAL DAY We spend awhile watching Archie function as a doctor, moving through the wards, examining broken legs, arms, or whatever. In one of these scenes we pass through the orthopaedic room. 69 INT. ORTHOPAEDIC ROOM Oliver is being given therapy in a whirling bath. He's only one of some twenty patients and Archie barely notices him, simply waving to him as he does to other patients who don't need his care anymore. Oliver is too frightened of the whirling bath to give a damn about the doctor. Archie goes and we stay with Oliver. 0 68 69 CONTINUED OLIVER'S ATTENDANT Come on, come on, get on with it. 70 INT. A SMALL BEDROOM IN THE DANNER HOUSE JUST BEFORE DAWN Three weeks ago. Oliver is wide awake, wolfing down a loaf.of bread that he has stolen from the Danner kitchen. As he gnaws on the bread, he listens to indistinct sounds from the master bedroom. moans and groans, a sudden cry, all of which he supposes are the sounds of love-making. He grins to himself in the dark. Abruptly a door opens and Petulia is coming down the hall. She has hastily put on a pair of slacks and a blouse, and is struggling into a coat. Her hair is tousled, her face filled with anguish. 71 INT. STAIRWAY DANNER HOUSE Petulia is hurriedly taking the hurriedly dressed Oliver down the steps. He is protesting. Before they can reach the front door, the door of the master bedroom opens. David is standing there in his pyjama pants. DAVID Hey, "San Francisco"! He pronounces it like Oliver does. He comes down the steps, three at a time. He stops before the kid. DAVID (GENTLY) I sure hope there's no hard feelings. Oliver understands none of this, and of course David knows this, but it doesn't stop him. DAVID It isn't a question of hospitality, I want you to understand that. I feel terrible. Dragging you all the way up to San Francisco and then not even showing you Fisherman's Wharf. Comprehend.? Petulia goes into the living room to find the keys to the car. DA VID 0 Hold it a minute! 69 0 71A INT. DANNER HOUSE LIVING ROOM DAWN DAVID (to Oliver) What's the rushy Whereas the fire! He stoops down beside the boy and shows him a wrist watch. DAVID You've go to have some little memento. Right? PETUL IA David, for God's sakes The wrist watch is much too big for Oliver's skinny wrist so David starts to fasten it around Oliver's biceps. Even this is too skinny so David starts fastening it around Oliver's lower leg. Oliver has no idea what is happening, but his hustler's heart tells him he is being given something very valuable. Petulia is repelled. DAVID (to Oliver) You see the basic problem is we just don't have the room for all the folks my old lady invites for a visit. Were kinda short of room. I'd give you the shirt off my back. I'm West-Texas and proud of it. But start loading up the house with make-believe kids, plus every Tom, Dick and Harry whose one and only claim to fame is that he knows how to do "it" -- 72 EXT. DANNER HOUSE DAWN Petulia begins sobbing, and trying to tug the boy toward the lift. DAVID Hands off! The watch won't fasten to the leg either. David tries to fit it around the boy's neck. David begins to cry. S 70 72 CONTINUED DA V1'D It won't fit any place. Petulia somehow gets Oliver into the lift and pushes the button. which starts it moving upward. DAVID (calling up) I don't want any hard feelings' It was nothing personals Hey, we'll look you up sometime; When we're down that way., Have a real old-fashioned fiesta; We'll have a ball; "Oliver?" During the preceding speech we CUT to Petulia and Oliver, Oliver, infuriated at Petulia, defiantly shows her that he has David's watch in his fist. OL I VER He give me! Petulia stares out toward the sea. Davis is still screaming atl.them, and his voice sounds so unlikely in all the splendor of morning coming to San Francisco. 0 73 INT, HOSPITAL'S UNDERGROUND GARAGE DAY Archie is maneuvering his car out of his parking space when he sees the nun of the Intense Care Unit cross to another car driven by another nuns There are many cars with many nuns zooming around, ARCHIE How's your patient? NUN Oh, Mrs. Danner. ARCHIE Mrs. Danner. How's Mrs. Danner? NUN She woke up awhile ago. ARCHIE She woke up? NUN Should .I have called you`d 0 Archie starts out of the car. 71 73 CONTINUED ?N She's asleep now. I'm, to buy her blue Cornflowers and a hairbrush. Sister Teresa phoned the police. Prayers help, Dr. Bollena She asked for Mr. Danner. I hope there's no orthopedic problem. But really she's not all that bad, this nun, mostly she believes that the sanctity of marriage happens to be true. She is not unmoved by the look of exhaustion on Archie's face. NUN Blue Cornflowers. They exchange a smile. NUN I'm'also to go all the way across town and deliver a message to the Mendoza family, I'm to tell them everything is okay. And give them this. ARCHIE Let me. ¬Ä¢ He takes the envelope on which the address has been written. 7. EXT. MENDOZA HOUSE DAY This is the house in which Oliver is boarding. Now, as Archie drives up, there is no sign of anybody. Archie crosses to the door, puzzled. He knocks on the door but there is no answer. He goes around to the back. There's an old car without wheels, butane tanks, other junk but no sign of life. Archie knocks on the back door and finally the door is opened. Beyond the screen door is the Mexican we have seen earlier. He has been awakened from sleep and is annoyed. ARCHIE Mr. Mendoza? Mendoza yawns sleepily. ARCHIE I'm Dr. Bollen. Do you know Mrs. Danner? Petulia Danner? MENDOZA ¬Ä¢ No hablo ingles. Lo siento. 72 74. Continued ARCHIE Petulia Danner. She gave me this address, The Mexican shakes his head in complete indifference, is already thinking about going back to sleep, and starts closing the door, ARCHIE She was beaten. Almost to death. Are you Mr. Mendoza? MEXICAN "Mendoza," si, ARCHIE (giving envelope) This is for you, MEXICAN Gracia. He starts to open the envelope. It contains a twenty dollar bill, ARCHIE Can I talk to you for a minute? Mendoza, with no idea what Archie is saying, starts closing the door and pocketing the money. ARCHIE HEYP He pounds on the door. The door opens. The Mexican says in SPANISH: MEXICAN (in Spanish) I work all night. Go away. He closes the door. Archie pounds on the door again. He hurts his hand. He sucks on the slight wound. He kicks at the door. He crosses around to the front of the house, A negro and a white teenager are passing. ARCHIE Do either of you fellows speak Spanish? a NEGRO TEENAGER I speak a lot of Polish, if it would be any help, sir. 73 ‚Ä¢ 74 Continued ARCHIE I've got to talk with this man in here. A woman was almost beaten to death. TEENAGER Here? ARCHIE Not here. TEENAGER You said here, NEGRO Almost, but not quite to death, sir? ARCHIE Yes. TEENAGER Here but not quite here? ARCHIE Listen, just find a cop, huh; ‚Ä¢ NEGRO TEENAGER He'd better speak Polish, sir. I'm on a fantastic Polish kick. The two chase each other down the street yelling "Da:" and "Paderewskii" and even "Yawohl;", etc, Archie looks at the house and then at his car and then at his bruised hand. He's furious‚Äû A police car passes'. Archie looks, but somehow can't bring himself to hail it. He wonders why he let the police car pass. He goes back to his car, 75 INTO INTENSIVE CARE UNIT DAY Archie moves swiftly to the screened cubicle that held Petulia. He goes inside. He stops short. An old man lies in the bed with a rubber stop in his mouth to keep him from swallowing his tongue until he regains consciousness. His false teeth lie on the table beside him. Archie is plunged deeper into the sense of the unreal. 76 INT. A HOSPITAL ROOM Petulia is in a two-bedded room. She has blue Cornflowers and a hairbrush. She is conscious now but looks quite wan. I In the next bed is a middle-aged lady looking at T.V. Petulia sees Archie. 7. ‚Ä¢ 76 Continued PETULIA Why weren't you there when I woke up? You better not say you were when the bill comes, Dr. Bollen. ARCHIE Who is this guy, Mendoza? Why am I always finding you in a different bed? What are you? PETULIA Avery sick girl. ARCHIE Who beat you up? PETULIA What happened to your hand? ARCHIE Nothing happened to my hand. PETULIA I love your hands. I want plaster of paris molds for bookcases. Bookends. ¬Ä¢ ARCHIE Did David beat you up? Was it Mendoza? Why did you send him money? PETULIA I'm still very sick. ARCHIE I don't care. OTHER PATIENT This man is a doctor? PETULIA The world's best, madame The patient turns her back on the two of them. ARCHIE Petulia,you're turning me into a nut. Why hasn't David been here? PETULIA Ask me questions. ¬Ä¢ ARCHIE Petulia, is it possible for you to tell the truth about anything? REIPULIA (DROWSILY) so Mendoza was looking after Oliver for nae She" s our cleaning lady s SISTER ARCHIE There was no Mrs o Mendoza Z PETULIA ' drowsily) I had to have some place for him to stay,, David would never have let e bring him home ARCHIE Bring who home? PETT LIA Iqm beginning to hurt. ARCHIE Petuliag I don't understand the kind of world you live ina Come on. For Ghri.st$s sake, a pretty young gi.rl9 what the hell is going on, who would lay a hand on you, how could you get so screwed up? Through this Petulia simply lies there, just looking a Archie. ARCHIE I cans t stand it. PETULIA Irm asleep. They gave me a pill.and I' asleep,, Really0 I am really very sleepy,, Can we talk later, Archie? When ivm asleep kiss my forehead. She closes her eyes and sleeps. Archie gives her fore- head a kiss and she giggles. He leaves. CHANGE 4/26/67 75AA 77 INTO ARCHIEBS APARTMENT NIGHT. Furniture Is pushed back and three pup tents circle the center of the room. Archie and his sons have been having a camp-in. They are all dressed in jeans and sweat shirts and Stevie even wears moccasins - as though they were in the:High Sierras. The remainders of T.V. dinners are scattered around plus. Coke bottles plus their bed rolls from last night. Actually though it :rust: have sounded. like a great idea the two bogs are very bored, Archie,,: though trying to be "with-it' is far away,, and they sense it. STEVIE. Shouldn't we police the area? ARCHIE Good idea. Police the area. MIKE This is keen, Dad. Water canteens and everything. STEVIE I'm out of water. 76 77 CONTINUED ARCHIE Always make sure you've got water. You'll find some in the kitchen. What's on T.V.? STEVIE I''m hot. In fact. ARCHIE Switch the fire off then. Stevie goes to switch the electric fireplace off. MIKE It's really keen, Dad. The bell rings and Polo is standing there, She looks around, smiling. POLO I' don't believe it. STEVIE Even canteens, Mom. 0 Polo really only has eyes for Archie. She is troubled by how haggard and worn he looks. POLO Roller Derby starts at eight. STEVIE We have to police the area. MIKE It's really been keen, Mom. Nobody ever heard of a. camp-in. The two boys now busy themselves with straightening out the place as Polo crosses to-Archie, ARCHIE It's been really keen, Mom. POLO Poor Archie. ARCHIE Not "dumb" Archie? 0 77 77 CONTINUED POLO Never. The brightest. I used to have such terrible anxiety that I would die suddenly. Before I could say thank you, Archie is very touched. STEVIE I have to go to. the latrine. Stevie goes. MIKE Is Dad allowed to come to the Roller Derby? I mean since Uncle Warren couldn't? He is so bad at matchmaking that Polo and Archie can hardly keep a straight face. 78 INT. ROLLER DERBY The place is almost empty, but the, fans are wildly enthusiastic and are placed to look ;like thousands for the T.V. camera. The women's team is on the rink, skating, 0 banging into each other with great good-natured brutality, One of the skaters bucks another clear off the rink, smashing through the rail. The kids are in heaven, but Polo is so shocked she instinc- tively turns-to Archie and buries her face in his shoulder. Out of habit, he lets her, even touching the back of her' head' comfortingly, assuring her no fatality has occurred. Mike, the ace matchmaker, watches them with satisfaction. MIKE (SCREAMING) Don't let'that old fat butt get awa with tat; POLO (SHOCKED) MICHAELE MIKE FAT BUTT; POLO (to Archie) Will you please tell.your son -- 0 78 78 CONTINUED 0 She turns to 4rchie and sees him watching the fighting intently. The women are really brutal with each other. One small blonde lady is being, pummelled unmercifully by several others. As her head twists and turns from the forest of fists she seems to become Petulia. STEVIE I want to go home. M IKE They don't mean it. STEVIE I want some popcorn. ARCHIE I'll get it. He rises quickly and moves to the refreshment counter behind the grandstand. Archie finds a telephone booth. Polo watches him at the ‚Ä¢ phone booth. Her eyes lose their warmth. The women's team races around the track. Archie returns with a box of Cracker Jacks. STEVIE I said popcorn. POLO (COLDLY) How is she? Dead I hope? Archie is stunned at Polo's abrupt coldness. ARCHIE You don't even know her. POLO (COLDLY) I just have to look at you. ,Archie stops, remembering this is approximately what Petulia had said about Polo. He does a "how odd:" without saying it. 79 78 CONTINUED ARCHIE She's not going to die. POLO What a shame. ARCHIE She has her first visitor. Mr. Danner. Polo couldn't care less. Five skaters smash into each other on the rink but Polo doesn't flinch. She wouldn't think of turning to Archie for comfort. ARCHIE "His Mastahs in'Hydraul:ics." They sit coldly wit4 their children, a million miles apart. 79 INT. PETULIA'S HOSPITAL ROOM NIGHT The Mr. Danner who is with Petulia is David's father. Petulia lies in the bed staring straight ahead at an enormous cotton giraffe, obviously a gift. The patient in the next bed has three middle-aged girl friends visiting her. They are playing bridge. Their presence frustrates Mr. ‚Ä¢ Danner. The other patient's T.V. set is on, and on the tube" we barely notice the continued violence of the outside world. MR. DANNER It's been a terrible shock to us... to Mother and me,..Our sailor boy and his pretty bride. 79A INT. FATHER DANNER'S LIVING ROOM He stands at a great eye of a window. Mother Danner is mournfully quartering apples for an apple pie. MR. DANNER'S VOICE As I told Mother, "the values we lived by just don't seem to mean anything at all anymore. Our kids can chuck out two thousand years of Western civilization ..of Christianity...as though it wasn't worth a red cent.' 80 0 79B INT. PETULIA'S HOSPITAL ROOM MR, DANNER (CONTINUING) I must say Mother's answer surprised and, well, really sort of tickled me: "It's easy to be an angel when you're old and worn out and nobody wants you anymore," You see we do try, Petulia. I mean there you were in that man's apartment. Where I come from ...in "little pockets of ignorance" I suppose you'd call it...you'll find people who still live by the unwritten law. 790 INT. FATHER DANNER'S LIVING ROOM MR. DANNER There's still many a county courthouse where the husband could kill both parties and not spend one night in jail, O.S. We hear SOUNDS of a bell ringing incessantly in short bursts. 79D INT. PETULIA'S HOSPITAL ROOM 0 The bell is still ringing signifying the end of visiting hours and the other patient's visitors sigh, put the playing cards together and prepare to leave. Mr. Danner makes no move to leave, MR. DANNER In the hospital of my dreams people won't be chased out like sheep. People are better than most of the medicines they give you. David has finally'got around to repairing that wharf. He hired a couple of boys. The three of them are really working up a sweat. He's thinking of sailing all the way down the coast to Lima. That's in Peru. All through this there's no response whatever from Petulia. Her eyes are fixed on the eyes of the giraffe. MR. DANNER They say Lima is a terrific city. If you watch out for flies and take sensible sanitary precautions. I'll tell you a secret but don't you snitch: I'm using propaganda on David so that the four of 0 us can go. Mother's a better sailor than I am. Even though I served eighteen months on a mine sweeper. Which should have prepared me for anything. 81 79D Continued A nun looks in. NUN (BRIGHTLY) Visiting hours are over. MR. DANNER (taking his turmoil out on the nun) I had lunch with your Mr. Pearl less than two weeks ago; The nun looks blank. MR. DANNER Mr. Pearl happens to be the superintendent of this Hospital; Two weeks ago at the Blue Fox Restaurants Just the six of usl The nun shrugs and leaves. Mr. Danner is really trembling now from his controlled emotion. Petulia will not take her eyes from the giraffe. The patient in the next bed is grumbling something about "what's sauce for the goose should be' sauce for the gander", etc. Mr. Danner abruptly takes a ‚Ä¢ small leather bound photograph from his pocket. It's the wedding picture of Petulia and David. Without a word he puts it on the night stand. Petulia will not look at it. 79E EXT. DAVID AND PETULIA DANNER HOUSE The end of Sc. 72 is very quickly replayed. 80 EXT. BUS STATION DAWN During Sc. 79E and 80 we continue to hear Mr. Danner:. Its a tiny bus station and hardly anyone is around this time of mo'rnin'g. Petulia waits with Oliver who is very annoyed at what has been done to him. A few other early travelers are about.- As the bus comes into sight, Oliver, grasping his last chance of freedom, suddenly darts away. IN A SERIES OF FLASHES we see Oliver; hit by a car; the look of agony on Petuliaa's face; the reaction of the spectators; and finally the ultimate image: the boy pinned under the wheel. MR.. DANNER'S VOICE (during preceding scene) David and I went at it hot and heavy. About the value of psychiatry. I mean sensible psychiatry. None of that "Sex- is-the-reason-for-everything" junk. It E won't ever replace a visit to the wood- shed and a good whack across the backside, but its late in the old ball game for that. 82 81 JN 7-1 o PETULIA'S HOSPITAL ROOM NIGHT ‚Ä¢ The nun reappears. NUN I'm sorry Sir, but it's time for the lady's medication. MR. DANNER Does anyone ever report how filthy this room is? He loses all his aplomb, He squats, he points, he finds imaginary objects on the floor. MR, DANNER Look at this'. Look at this! I personally raised fifty thousand dollars for this Hospital during the last campaign. You didn't know that did you; Well ask Mr, Pearl'. I mean if you knew what he looked like'. Filthy'. He gets up to go, The nun leaves, Mr. Danner brushes imaginary dust from his knees. He's perspiring, dis- hevelled, and still hasn¬∞t said what he came to say. He waits there a moment more, Finally in a flat voice 40 without even looking at him: PETULIA Tell David, it's alright. He can come out of the cupboard. The old man almost sobs. Instead he exclaims in a jolly voice. MR. DANNER Chin up'. 81A ROLLER DERBY This time we are with the T.V. CAMERAMAN, and we are looking through his scanner. We see all the excited people, but among them sit Archie and Polo, as cold as death. Suddenly, on the scanner, we see Polo rise and begin to leave tugging the two boys along with her, Archie makes no move to stop them. 82 INT. HOSPITAL CORRIDOR DAY Archie wearing his white doctor's smock enters Petulia's room. 83 83 INT. HOSPITAL ROOM 0 The'bed where the second patient lay is empty. In Petulia's bed is the withered old man who earlier had taken Petulia's place in the Intense Care Unit. He's quite chipper now but is in many splints and braces. OLD MAN I'm not sick! Don't waste time on me! Archie turns to face the nun in attendance. ARCHIE Where is she? NUN Mrs. Danner? They picked her up. Dr. Worthington said it was alright so long as she had proper nursing. ARCHIE Who picked her up. NUN Her husband I suppose. ARCHIE 0 DANNER NUN They had a long talk with Dr. Worthington. He seemed entirely satisfied. ARCHIE They kidnapped hero He hurries down the hall. The'nun is startled. OLD MAN Take care of the sick people! I'm in tip-top shape! 81E EXT. DANNER HOUSE DAY Archie hops off the lift as it reaches the bottom of the cliff. At the front of the house we see David and two colored men at work on the wharf. At the wharf is the yacht. Archie racies up to the nearest door and begins ringing the bell. 85 INT. THE MASTER BEDROOM Petulia couldn't be lovelier, or happier. She's in a IS special hospital bed. There are flowers everywhere. She has her own colour T.V. set which is silently showing scenes of violence. An efficient nurse is in attendance. 84 85 CONTINUED 0 The nurse is sitting at the foot of the bed, and Petulia is brushing the nurse's hair. Archie stands in the doorway overwhelmed at the normality of it all. Obviously Petulia has fixed her hair too. PETULIA Hi Archie. Dazedly Archie crosses to the night stand where there is a pitcher of tomato juice. Because he has nothing else to do he sniffs the tomato juice, PETULIA (to nurse) This is Dr. Bollen of the Hospital. He's a splendid doctor, (to Archie) This is Agnes Lillywhite. NURSE Our young lady is doing nicely. We have a few problems, but nothing serious. PETULIA ‚Ä¢ I get hiccups.` I go along merrily hiccupping for hours on end. ARCHIE Why did you leave the hospital? PETULIA I was feeling ever so much better, Archie. Mrs. Danner looks in. She is wearing an apron and stirring a batch of something. MRS. DANNER Will you be staying for lunch, sir? Goodness knows there's plenty of meatloaf. She goes and David enters. He looks extremely handsome. He wears white duck pants and a slip-over sweater. And a happy-go-lucky grin. PETULIA You two haven't met. (to David) This is Dr. Bollen. 0 85 85 CONTINUED 0 DAVID (CHEERFULLY) Yes, I thought so. Hello, there! David sees that Archie has no intention of shaking his hand, so he crosses to the bed and begins to playfully Drank Petulia up and down. ARCHIE (to Petulia) I want you to go back to the hospital. DAVID Dr. Worthington says she's doing fine. He's going to make daily house calls. PETULIA He's very good about that. ARCHIE Petulia _m¬Æ ! During this Mr. Danner has entered. He is really the only one not good at the charade. 0 PETULIA (CHEERFULLY) Well, you're finally meeting our whole family. MR. DANNER Dr. Bollen, I wouldn't exactly call this good taste. Not to mention medical ethics. DAVID Dad, you old fuddy-duddy, things happen. Archie suspects he is having a nightmare. With the exception of Mr. Danner, he has never seen so many cheerful people in one place. ARCHIE (to Petulia) You told the policeman you had a dizzy spell. PETULIA Right. I fell on my bottom. 0 86 85 CONTINUED 0 ARCHIE You were beaten up. You were somebody's punching bag. MR. DANNER won't have you cross-examining this girl. ARCHIE Your son nearly killed this girl. DAVID (FRIENDLY) Hey now listen, doe, I'll stand still for only so much. MR. DANNER (to the nurse) I want you to remember what this man just said. (to Archie) Though it's none of your business, my boy was in Baton Rouge, Louisiana. Looking at boats. PETULIA We've decided we're quite happy with the one we have. DAVID When Dad phoned me I was having dinner with a cousin of ours. Real mouth- watering Creole cooking. He and Petulia chuckle at each other as though this were some kind of private joke. Archie crosses to Petulia and just stands there looking at her. He doesn't know what to do. PETULIA (HAPPILY) I'm fine Archie. Except I burp a lot. Everybody gets dizzy spells. Archie looks incredulously from Petulia who has resumed brushing the nurse's hair; to David; to Mr. Danner who's obviously annoyed at Archie's bad taste; to Mrs. Danner who is in the dining room setting up an extra place for Archie. What can he do? Abruptly he rushes from the house. 87 86 EXT. HOUSE Archie runs toward the lift that will move him up the cliff. He can't get away fast enough. He climbs into the lift and pushes the button. The lift begins moving, but too slowly for him. He hops off the lift and begins scrambling up the side of the cliff. 87 INT. PETULIA'S BEDROOM Petulia looks out the window and sees Archie scrambling up the cliff, She fits a curler into the nurse's hair. PETULIA'S VOICE Going back to the house was the only thing I could do. scenes 87A B D .,and E occur only in Petulia's mind. 87A EXT. ATOP CLIFF DAY Petulia is waiting for Archie at the top of the cliff as he staggers toward her. Since everything is taking place in her mind, this is how Petulia really is. PETULIA (CONTINUING) Where else could I go? A lonely hotel room? I don't have a penny of my own. Mr. Danner promised me I'd never be left alone. I thought I'd try it for a few days. Don't be-angry. It was nobody's fault. Actually, if anyone is to blame, it's you, Archie. ARCHIE (GASPING) Me?I.o 87B INT. FAIRMONT HOTEL NIGHT Petulia now recreates the moment when she first met Archie. Archie is searching through his pockets for the ticket to reclaim his coat, Petulia rushes up to him, with none of the fake nonsense of the actual meeting, but with absolute desperation. Archie is dressed as he is on the hill (Scene 86). PETULIA I'm Petulia Danner . save me like you saved Oliver ... save me from David! Don't lust scramble up the hill like a ‚Ä¢ b oody fool o 88 87B Continued Archie is stunned. ARCHIE I'm looking for the ticket for my raincoat. PETULIA NOL 87C INT. PETULIA'S BEDROOM From her bedroom window Petulia watches Archie scramble up the hill. PETULIA'S VOICE Coming for me in that pokey little car. 87D EXT. A BEAUTIFUL COUNTRY ROAD DAY In Petulia's mind, a great white ambulance is moving majestically through towering trees, carrying Petulia to safety. PETULIA'S VOICE (CONTINUING) 9 Why didn't you bring a proper ambulance? As though you really meant it. ARCHIE'S VOICE I didn't know what to do. I was going from one moment to the next. PETULIA'S VOICE Spectacular entrance, lousy exit. Sounds familiar, Archie. Suddenly all the anger goes out of Petulia. PETULIA'S VOICE: No, it's not your fault. 87E THE GOLDEN GATE BRIDGE DAY Petulia dismisses the ambulance from her mind because she has something very serious to say to Archie. She is with him on the rocks below the bridge. PETULIA I went back to the house because I owed it to David. I have a brown thumb when it comes to men. I put them on the Cross and call them Jesus. And there they hang. I don't know why I do it. Not because of any high opinion of myself... oh, Archie, if you only knew... 89 87E Continued She looks up at the bridge and instantly creates David standing there. An incredibly heroic figure in a white blazer and turtle neck sweater. Yet somehow we must sense that despite how grand David looks, at any moment in Petulia's mind he may leap to his death. PETULIA Look at him. Isn't he super. A six foot three Coca Cola bottle. Empty. I did that. I'd ruin you, Archie. 87F INT. BEDROOM We are now back in visual reality with Petulia, and the playful David who is trying to make Petulia laugh, which she does. PETULIA'S VOICE David was the gentlest man I ever knew. 88 EXT. CLIFF Archie has neared the top of the cliff. His pants are ripped, his hands are scraped, he is gasping in anguish. ¬Ä¢ PETULIA'S VOICE I'd ruin you. In five weeks, I'd be running around with a black eye. By now, Archie has reached the top of the cliff and is a complete mess. He turns for one last look at the Danner house and the yacht beyond. He shakes his fist maniacally. 89 EXT0 MUIR WOODS DAY During the following SEQUENCE OF SCENES Archie is trying to get back to normality. He's having a nice sensible talk with Warren Smith, Polo's fiance. It is a pleasant sunny day and a group of Indian boys are being told about the forest by an Irish guide. In the background Archie's two children are playing with Warren's child. WARREN It's never too soon to think of the boys' education. Warren winks at him knowingly. ARCHIE Have you thought of doing something about that? 90 89 CONTINUED WARREN What ? ARCHIE ; ; ^ ^ ÔøΩÔøΩÔøΩ,, That twi Lch v v d. WARREN What twitch? I don't have a twitch. ARCHIE You do. Come and see me. Don't touch it, it'll give you a phobia. I'll fix it for free. WARREN Thanks, I will. You know, I like you more t han I ever thought I would. ARCHIE Warren, you're a beautiful human being. They turn to watch the boys at play. Nearby, the guide is explaining something to the Indians. INDIAN CHILD What happens next? GUIDE Spring. Archie smiles hoeefully. 90 INTO A MARVELOUS RESTAURANT NIGHT Beyond is the entire shockingly beautiful panorama of San Francisco. Archie and May are having champagne cocktails. They clink glasses and look at each other through candlelight. Archie spills some of his cock- tail but May doesn't spill a drop. Archie smiles hopefully. 91 INTO DISCOTHEQUE NIGHT Archie dances with many girls, some hippies, some chic, all terribly young and unsmiling. Archie smiles hopefully. 92 EXT. A SA111' For the first EQ ENCE BEGAN Archie is not smiling. He _L z ri g at Petulia. Archie and his boys are riding on ou side of a cable car. The car has stopped at the t p of the hill as has the car going the other way. in the other car is Petulia by herself. Petulia waves f.rst. Archie waves back. Petulia has shopping parcels. AR C HIE You look better. PETULIA Feel marvelous. Michael and Stevie? Archie nods, ARCHIE We?-re going to see the penguins. Everything okay with your PETULIA Oh yes, fine. The cars start down their separate ways. 93 INT. PENGUIN PLACE DAY Thirty penguins march around the rim of their pool to the music of Pomp and Circumstance. Through the Public Address System, a voice explains that the penguins represent all nations and are gathered 'here for their own Olympics which they originated two million years ago, when penguins were nine feet tall and great athletes. Archie senses someone staring at him, turns and sees Petulia sitting in the grandstand with her parcels. He tries to ignore her by concentrating on his kids, but he cannot. Actually, he doesn't want to ignore Petulia. He looks back, she is still there, smiling happily. Archie gestures for the boys to stay where they are, then starts toward Petulia. The penguins are now going through various acrobatics while the narrator is telling more about their exotic origins. Archie stumbles through laughing children, ruins a tourist's snapshot, etc., until he finally reaches Petulia. Now one penguin is pushing another penguin in a baby carriage. Everyone thinks it's adorable. Archie sits beside Petulia not really knowing what to say. He hasn't decided whether to be angry that she has followed him,- or amused, or delighted -- or all three. 92 0 93 CONTINUED Now the taped music is blaring a Loud marching song as the penguins lumberingly form into a Roman legion, The laughter,, music and applause ?make any intimate conversa- tion almost impossible. But Petulia is waiting for Archie to say something. Archie sees that Mike has turned from the penguins to stare at his father accusingly. Mike won't stop staring. Mike now tries to make Stevie turn and look accusingly with him, Archie doesn't know what to do0 Finally, Petulia rises and gathers her parcels,, still quite pleasant. She drops a parcel and Archie retrieves it for hero Its from a sportswear shop,, colorful and gay. As Archie gives Petulia the parcel, she touches his hand, running her fingers lightly over his skin, thoughtful, as though wanting to remember something. Petulia moves quickly through people toward the exit. Archie almost calls her back, but there is too much noise. 9. INT. CORRIDOR ARCHIE'S APARTMENT DAY Archie is returning from work, weighted down with books for his research, plus miscroscope. He sees his apartment door ajar. His heart stops. He kicks his door open with his foot, not daring to think who will be inside. 95 INT. ARCHIE'S APARTMENT No, you're wrong. Its not Petulia. Two elderly gentlemen in spotless dungarees are just finishing installing a portable greenhouse in Arc hie's living room. The Mexican paper flowers have been carefully moved. FIRST GENTLEMAN Oh, oho We were supposed to be out of here before you came home, Dr. Bollen. So you'd think it came from Santa Claus, The two elderly gentlemen chuckle at Archie's puzzled look. 93 95 CONTINUED FIRST GENTLEMAN Wonderful. i.sn g t - t ? They sell like hot cakes. Gives you something alive in all this stone. ARCHIE There must be some mistake. He sags down on a chair, draped in his research books. The two old gentlemen couldn't be more pleased. FIRST GENTLEMAN Mac and I get a, big kick out of people's first reaction. Its not a toy. It's a working greenhouse. You control heat and humidity with these. (he indicates dials) You've got a little bit of everything. Ornamental plants,, Zinnias, Asters. Even a little vegetable garden. The most important thing to remember is to keep the sun out. These new kind of lights work so much better, there's no comparison. ¬Ä¢ ARCHIE You've got the wrong apartment l FIRST GENTLEMAN (CHEERFULLY) No we have not s Dr. Bollen3 ARCHIE What screwball ...?I Then he stops, He knows what screwball. ARCHIE No gift card? FIRST GENTLEMAN It might come by mail. Archie starts chuckling. He crosses to the green- house, still chuckling. 9L. 95 CONTINUED ¬Ä¢ ARCHIE This one heat, and this one humidity, right? FIRST GENTLEMAN Exactly. We've left a manual of operations, and wetll check everything out in a month. Okay, Dr. Bollen? ARCHIE (still chuckling) Okay, okay! Goodbye,' He enters the greenhouse, having to stoop almost double, as the two old gentlemen exit from the apartment. 96 INT. GREENHOUSE Though extremely uncomfortable, Archie is entirely happy. Suddenly he is ripping up flowers and vegetables to make a kooky bouquet. He is positively exultant. He adds radishes and turnips to the bouquet. This is the happiest we have ever seen Archie. ¬Ä¢ 97. EXT. DANNER HOUSE DAY Archiets car is parked on the cliff. The Danner house is dark, deserted, abandoned. Archie is standing by himself on the wharf bouquet in hand. The yacht has gone. And so has Petulia. Archie feels utterly alone, and as a matter of fact, he is. He tosses the bouquet into the water. The lettuce floats. 97A EXT. THE YACHT DAY Theoretically, we should be at some flea bag port in South America. Mostly, we SEE the yacht. 40 95 0 97A Continued Petulia is sunbathing on the yacht. She looks much better now. Weeks have passed, she has a golden tan. Beside her, a transistor radio has picked up a local broadcast which would be in either Spanish or Portuguese and which consists mostly of music. David hops onto the yacht carrying a bag of groceries. He, too, is deeply tanned, marvelously healthy, but somehow uneasy. DAVID Hi. PETULIA Did you get mama on the plane all right? DAVID Sure. But what a dinky plane. Poor mamats stomach problems are far from over. He enters the cabin. Petulia sits up after a moment, looks about, sees no one else, then then in alarm peers into one of the windows that looks down into the cabin. ¬Ä¢ 97B INT. CABIN David is stowing food into the refrigerator. PETULIA You didn't leave papa alone in that horrible little town? DAVID It's not such a horrible little town. (he holds up a can) Hearts of artichokes' PETULIA (UNEASILY) David... DAVID? Take your "Vitamer Zed," you blinkint Limey. ¬Ä¢ 96 0 97B Continued He uses the English way of saying "vitamin," and then a bit too rakishly he tosses an orange up through the window. Instinctively, Petulia makes an effort to catch, misses, and it hits her lightly on the shoulder. Though it causes no damage,'David is suddenly in terror. He races up out of the cabin to Petulia. 97C EXT. YACHT DAY David rushes to Petulia. Of course the orange did no damage whatever, but there is an abrupt tension between them. He flops down beside her and begins peeling the orange, DAVID Papa went with her at the last minute. Petulia REACTS, shocked. DAVID (CONTINUING) She was so pale and seared. They aren't even pressurized. The plane. You suck on a tube and hope it's oxygen. S During this he has peeled the orange and torn it into segments, which he now tries to feed her. DAVID Open. PETULIA How could he have gone? Just like that? DAVID Where mama is concerned, papa is a very loving man. Open. Instead, Petulia jumps frightened to her feet, She seems about to leave the yacht. DAVID Please don't. PETULIA He Dromised; DAVID Honey. It'll be okay, Cross my heart. 0 PETULTA He promised. 97 0 97C Continued A middle-aged couple are passing by on their way to their luxurious yacht which is anchored close by. They are trailed by a rather tacky Mari-ache trio, W OMAN Hello there you gorgeous people. Everyone's invited for Margueritas and cha-cha-cha. PETULIA (DAZEDLY) Mr. and Mrs. Danner are gone, WOMAN (a`s corny as this) Oooh la la; Lucky you; The group goes off, toward their yacht. Petulia doesn't know what to do. David skims off his jeans and jackknifes into the water. The sun glints on his exquisite body. Confusedly, Petulia pops a segment of an orange into her mouth. David surfaces from the water laughing up at her. He looks great. 97D EXT. YACHT NIGHT Petulia and David are returning from the other yacht. They are dressed casually, but very well. David is completely happy. Petulia is uneasy -- uneasy hell, she's frightened out of her wits. From the other yacht we still hear the SOUNDS of the Mariache trio and people squealing with delight David is humming along with the music. PETULIA We didn't have to come back this early.. DAVID You're still not one hundred per cent well. They've reached the cabin. He enters. She waits outside. Suddenly his hand is around her wrist, somewhat too hard, and in a gesture he hopes is playful, he pulls her down the steps into the cabin. 97E INTO CABIN DAVID Icy hands. 0 PETULIA Warm heart. 98 97E Continued 10 DAVID So they say, Petulia says nothing. She begins undressing, DAVID (CONTINUING) I didn't tell papa to leave. She doesn't answer. DAVID (CONTINUING) He only had the clothes on his back. She doesn't answer. DAVID (CONTINUING) I didn't.want him to leave. PETULIA All right, David. ‚Ä¢ DAVID "All right, David," through chattering teeth. Petulia crawls under the sheet of a bunk. DAVID Only a crazy man hits a woman. Or a coward. T won't ever again. I'd stick my hand into a garbage disposal. I would, Petulia. I'd grind it up, Petulia lies under the sheet, silent, rigid, David abruptly crosses to a cabinet and takes out a signal flare pistol. He snaps in a flare and tosses it at Petulia. She sits up in panic. DAVID Hang on to it. If I come for you let me have a flare. Between the eyes. I'll melt in ten seconds. Petulia is touched. 0 99 97E Continued ÔøΩÔøΩ;IULÔøΩiA I couldn't do that, Youtre too beautiful to melt. DAVID (suddenly angry) Girls are beautiful, PETULIA (GRINNING) So are centaurs, unicorns, minataurs,0. DAVID (GRINNING) , ,astron.uts, short order cooks, trumpet players,,, PETULIA Cavalry officers, aging poets, men of science,,. They are enjoying the nonsense. Then on "Men of Science': 0 97F DAVID'S IMAGE: His finger is pressed against the doorbell over which is the nameplate "DR, A. BOLEN." The door finally opens and Petulia is standing there in Archie's hooded sweatshirt. Her eyes widen in terror as David enters Archie's apartment. She knows he has come here to kill her, 97G The image ends. David is abruptly withdrawn, but Petulia is carried away by memory. PETULIA The first time I saw you, you were being charming to- somebody who didn't buy a boat after all, You were wearing a light blue turtleneck sweater. Your sunglasses w¬Ære'pushed up into your hair. You had sandals, but'-no socks. Trying. to sell a forty foot yacht without socks. I had never seen anything so perfect. "He's not real. He's one of those plastic gadgets Americans do so well. Ah, but I want one." w _ has c r ` .e r.; I. u aa!= radars g 'e ;R; R 'N _ ;b.v st a t.base are rbi w s Gt A.,I., b f t' m "` ..a. '_ aH i e e Y . G eÔøΩ is' tb w y. arS 7c a , 4 ÔøΩ'‚Äûylergency Ox mi ea e, l L scent! They" re very sii ?‚Ä¢,;' erÔøΩ.}r f tma y . X47 :Lid.` Honey, yll Yarre about uha __ Ancnis and 2010 are mmarv. and , ._ r a 5 an Outsi ?5'.C F;}LO W at was their name? -.7 well mote". POLO No! exact i phy. -o ARGHT 3so Z tt: i i i¬£ " r e z niked.yt z 1:tdden-=: yrE: QU, Warres I s bein :el oat. Big will r_ot .sae w63y -nocs u ses in Wyly o Warr e jo ' in t-o .iect ng 101 98 CONTINUED Then Petulia sees Archie beside her bed. He is wearing his hospital jacket which gives him the run of the place. PETULIA They can't keep any secrets around here. ARCHIE When did you get back? PETULIA A year ago. You didn't forget me, ARCH IE How could I? All those laughs. He dabs a Kleenex on her sweat-beaded face. ARCHIE So, Things go better with Mr. and Mrs. Danner, PETULIA Obviously, They look at each other tenderly. ¬Ä¢ PETULIA Why did you let me get away? ARCHIE Bad timing. Dumb Archie. PETULIA Girls like me are very rare, Archie Archie cannot endure this, ARCHIE (SUDDENLY) I could.call an ambulance. Take you to a private hospital in Oakland. If we didn't make it in time, so what, I don't know how many babies I delivered as an intern. 98A EXT. THE AMBULANCE DAY FOR AN INSTANT WE SEE PETU LIA'S IDYLLIC AMBULANCE AGAIN CARRYING HER TO HAPPINESS, DAY 98B INT. LABOR ROOM 40 ARCHIE There's nothing to it. Especially a girl with your pelvis, You've got a very superior pelvis. 102 98B Continued She begins to ;ry. ARCHIE We'd never be apart again0 PETULIA You don't mean it. ARCHIE I do. Petulia twists in pain. The nurse looks over. NURSE That wasn't four minutes. The nurse makes a note then turns her attention to another lady who must be wheeled to the Delivery Room, PETULIA I hurt. Touch it Archie. Make it hurt less. His hand touches her belly very gently. PETULIA 0 It doesn't help. ARCHIE You see? PETULIA But your hands were magic with Oliver. ARCHIE Who? Her pain has subsided, and she looks up at Archie. PETULIA Would you really? ARCHIE Yes. PETULIA You'd call an ambulance? At this late stage? ARCHIE Say the word. PETULIA No. I'm different now. Damn it Archie, why did I go to that Motel with you? 103 98B Continued The pregnant ladies react to this. PETULIA (CONTINUING) Do you realize we were actually only a one night stand? We never even gave each other a cold, All we really did was pass each other going the other way. Have I changed you, Archie? ARCHIE You turned me into a nut. PETULIA Is that good? ARCHIE Yes, I think so, Who knows? I hope PETULIA Archie, call the ambulance. Archie crosses to the phone, picks up the receiver, then almost at once he puts it down again. ‚Ä¢ PETULIA When I lay dying -- twenty years from now -- a middle-aged old lady -- wondering what my life was all about, you won't even cross my mind. Archie winces. He starts out. He cantt even say goodbye. PETULIA Hey, wait I lied. ARCHIE About what? PETULIA I'll never forget you, Arnold. ARCHIE Arnold? He starts laughing, then she starts laughing. He crosses to her and holds her hand in his very tightly. Then he leaves. 10TH 99 INT. HOSPITAL LOBBY D Archie feels unexpectedly giddy and carefree. He meets David carrying a silly, sweet gift. David tenses for a show-down, Archie impulsively flips out David's tie and continues on his way, 100 EXT0 HOSPITAL DAY As Archie exits from the hospital a kid on a roller board almost kills him. He has an ice cream bar. He sees three pretty girls, one with blonde hair like Petulia's. But it's the dark-haired girl who feels his gaze and looks back. Archie, watching the girl, and eating his ice cream, leans against an electrical appliance shop window. Inside, among endless other items is a single T.V. tube, on which the world's violence flickers silently and unnoticed as before. As we leave Archie, we feel a sense of euphoria -- well, what do you know, it all ended rather sweetly after all. 101 INT. DELIVERY ROOM Petulia is looking up at the bright light on the ceiling. Two hands move toward her face holding an ether mask. The hands seem infinitely gentle. One hand touches Petulia's face to reassure her. PETULIA (in a whisper) Archie .? THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Philadelphia.txt b/unformated_scripts/Script_Philadelphia.txt new file mode 100644 index 0000000000000000000000000000000000000000..7709cdccd45b1e88b17af31d7f068c6933818721 --- /dev/null +++ b/unformated_scripts/Script_Philadelphia.txt @@ -0,0 +1 @@ +PHILADELPHIA by RON NYSWANERSeptember 21, 1992FADE IN:VARIOUS SHOTS OF PHILADELPHIA EXTERIORS (EXT./DAY) ...which may include the Liberty Bell, the Italian Market,scenes along the Delaware and Schuylkill Rivers,Independence Square, the Russian Orthodox neighborhood, theghettos of North Philly.MAIN TITLES PLAY OVER THIS SEQUENCE which culminates in aSHOT OF... CUT TO:PHILADELPHIA'S GLORIOUSLY ORNATE CITY HALL (EXT./DAY) ...TITLE: "Philadelphia City Hall."CITY EMPLOYEES, JUDGES, COPS, LAWYERS, CRIMINALS, TOURISTSpour into City Hall, into... TO:TWO STORY HIGH CORRIDORS THAT REEK OF HISTORY (INT-DAY).Young lawyer JAMEY COLLINS darts through the crowd, carryingan accordion file under his arm like a football.Jamey elbows his way through a JAPANESE TOUR GROUP.Jamey trots up a marble staircase, two steps at a time TO:JAMEY RUNS LIKE HELL DOWN A THIRD FLOOR CORRIDOR, FOOTSTEPSmaking a racket...Jamey rushes toward a door marked "JUDGE TATE."RAISED VOICES from inside Judge Tate's chambers: JOSEPH MILLER (OS) This construction site is causing mortal and irreparable harm to an unsuspecting public! ANDREW BECKETT (OS) My client has one of the finest and most respected safety records in the business, Your Honor!Jamey shoves open the door, REVEALING TWO LAWYERS (BACKS TOCAMERA) STANDING BEFORE JUDGE EUNICE TATE: ANDREW BECKETT(in conservative gray) and JOSEPH MILLER (in pinstripes). JUDGE TATE One at a time. Mr. Miller? JOE Your Honor, since Rockwell Corp. began construction, the surrounding residential neighborhood has been enshrouded in a cloud of foul-smelling, germ-carrying, pestilent dust. My client is being forced to breathe known carcinogens daily! Other residents are coming forth on a daily basis to add their voices of outrage! ANDREW Your Honor, I submit there were no complaints until Counselor began knocking on doors, drumming up business. And the dust, which Counselor refers to, has appeared on only three occasions. Each time it has been examined and the results...Behind his back, Andrew wiggles his fingers. Jamey stuffsa document into Andrew's hand. ANDREW (CONT.) Limestone. Messy, but innocuous.Andrew submits the report to the Judge. JOE Innocuous? ANDREW Defined by Webster's as harmless. JOE I know what it means. Your Honor, imagine how the children in this neighborhood have been made to feel. The pounding of construction ringing in their ears as this skyscraper, a tribute to mankind's greed, grows daily, casting an ominous shadow over their lives, filling them with dread even as they are surrounded in a black, toxic fog, blocking out the sun while poisoning their lungs! And Counselor calls it harmless?!His back turned momentarily to the JUDGE, Andrew mouths toJamey: "Not bad." But he whips around, serious again: ANDREW Your Honor, Counselor is attempting to portray my client as a hideous manifestation of evil and corruption. But nothing could be further from the truth. Rockwell has generously contributed ten thousand dollars to this neighborhood's schools, clinics and youth centers! Granting a restraining order on the construction site will throw hundreds of Philadelphians out of work, and will lend validation to this contemptible and groundless nuisance suit, which speaks directly to the kind of greed and treachery that today is threatening the very fabric of our society.Judge Tate looks skeptically at both lawyers. JUDGE TATE Let's not go off the deep end, gentlemen. I thought we were talking about some dust. CUT TO:A MAN ON CRUTCHES HOBBLES INTO A COURTHOUSE ELEVATOR AND ISjoined by Andrew and Joe, crowding inside (INT./DAY) ...As soon as the doors close, Andrew whips out a micro-cassette recorder, making notes, and Joe, in the oppositecorner of the elevator, does exactly the same thing. ANDREW JOE ... plaintiff seeks to re- ... whereas decedent had strain defendants from con- pre-existing asthmatic tinued improper use of trade condition and ride on name without... Ultra Loop caused sub- sequent death...Andrew and Joe stop at the same time, look at each other...And turn toward the corner, seeking privacy. ANDREW (CONT.) JOE (CONT.) ... plaintiff's permission or ... complainant seeks authorization... relief...There's a PERSISTENT BEEPING, Andrew and Joe pull out theirportable telephones at the same time.They look at each other: which phone is ringing? ANDREW You.Andrew resumes his telephone conversation. JOE Right. (into phone) Miller.The ELEVATOR OPENS: Andrew breezes past the MAN ONCRUTCHES, saying to Joe: ANDREW Client of yours? JOE Funny.Andrew hurries down the corridor. Joe waits a moment... thenpursues the MAN ON CRUTCHES. JOE (CONT.) Excuse me..? Sir? Yo! CUT TO:ANDREW EKERGES FROM CITY HALL, ONTO DILWORTH PLAZA BUSTLING withPEDESTRIANS (EXT./DAY) ...... DARTS into the street, hailing a cab. CUT TO:THE CAB PULLS UP TO A BROWNSTONE ON A RESIDENTIAL STREET,Andrew hopping out, stuffing papers into his briefcase(EXT./DAY) ...RUSHING to the door marked "Dr. Roberta Gillman, InternalMedicine."Coming out is a YOUNG ASIAN MAN with a cotton ball taped tothe inside of his elbow. CUT TO:CLASSICAL MUSIC (INT./DAY) ... AS CAMERA PANS PATIENTS(MOSTLY YOUNG MEN) in a cheerful room... some, like a UPSDELIVERY MAN, are attached to IV's, some sit with armsextended, waiting to be hooked to an IV by TYRONE, a BLACKPHYSICIAN'S AID.CAMERA FINDS ANDREW sitting quietly, with an IV drip runninginto his arm. Andrew is wearing a Walkman, the source ofthe CLASSICAL MUSIC, and he's reading a legal brief. Mostof the people in the room look SICKER than Andrew.DIALOGUE CAN BE HEARD under the CLASSICAL MUSIC (althoughMUSIC dominates the SOUNDTRACK). TYRONE (slapping a thin PATIENT'S wrist) Gonna have to start looking for veins in your feet, sweetheart.DR. ROBERTA GILLMAN, passes through, speaking to Andrew: DR. GILLMAN Andy. Can you stop at my office on your way out? ANDREW Sure.Andrew is distracted by A HISPANIC MAN across the room,rolling up his sleeve for an IV -- his bare arms, hands,face and neck are marked with PURPLE BLOTCHES.Andrew closes his eyes, concentrating for a moment on theCLASSICAL MUSIC... then goes back to work. CUT TO:ANDREW HURRIES OUT OF THE DOCTOR'S OFFICE, HAILING A CAB(EXT./DAY) ... CUT TO:ANDREW HOPS OUT OF THE CAB, IN FRONT OF AN IMPRESSIVEskyscraper in downtown Philly, at the end of the work day(EXT./DAY) ...Andrew pushes through glass doors into the plush "WheelerBuilding," pressing through the tide of WORKERS headed home. CUT TO:A BLACK PARALEGAL, ANTHEA BURTON, LEADS A YOUNG, BLACK LAWCLERK (in suit and tie) to the elevators, at the sedate,expensively appointed offices of Wyant Wheeler HellermanTetlow and Brown (INT./DAY) ... ANTHEA ... up to Tax, on fourteen, and get right back, I need you.Andrew BLASTS out of the elevator, flashing Anthea a four-star smile. They stride down the corridor together. ANDREW Just the dazzling paralegal I wanted to see. ANTHEA (friendly) I know what that means, and the answer is no. I have a class tonight. Exploit someone else. And since you've asked ...They pass a silver-haired partner, KENNETH KILLCOYNE. KILLCOYNE Solid work on the Rockwell situation, Andy. Top-notch. ANDREW Thanks, Kenneth. (to Anthea) Your exam! ANTHEA Thank you. 98. I gotta go... ANDREW Ninety-eight?! Ninety-eight!Andrew reaches the secretaries' station. A cheerfulsecretary, SHELBY, shoves documents at him. SHELBY Conference call's up. They just started the roll call. Here's the settlement agreement, the red-lined copy's on your desk. Need me in there? ANDREW No. Great. Thanks, Shelby. (checking his watch) It's 6:30, go home.Andrew passes a colleague on her way out, RACHEL SMILOW: ANDREW (CONT.) Rach. RACHEL I'm late, I have to pick up Amy from her afterschool but I want to talk to you about that Hansen thing. ANDREW Catch me later, I'll be here. And tell Amy, I love her painting, it's on my wall.Andrew SAILS toward his office. CONTINUOUS CUT TO:ANDREW ENTERS HIS OFFICE, KICKING THE DOOR SHUT (INT./DAY).... DROPPING the documents on his desk, SCANNING them.... ADMIRING a child's painting taped to the wall.... PUNCHING into the speaker phone on his desk.The SCREEN SPLITS, REVEALING A TELECONFERENCE OPERATOR: OPERATOR ... Karen Hargreave, representing Lloyd Management Corporation?The SCREEN SPLITS INTO THIRDS: Andrew, the OPERATOR, andHARGREAVE (a sharp, California lawyer.) HARGREAVE Present.As the OPERATOR continues the roll call, the SCREENCONTINUES TO SPLIT and HARGREAVE is replaced by a SERIES OFLAWYERS in offices around the country, (MOSTLY WHITE MALES)saying "Present" while in Andrew's section of the screen...... Andrew dials a number on another telephone line, OPERATOR Andrew Beckett, representing Saunders International?Andrew punches into the conference call ANDREW Present.The MULTI-IMAGE SCREEN is now joined by SARAH BECKETT, asuburban, 60ish American MOM, in her backyard garden,answering a portable phone. SARAH Hello? ANDREW Hi, Mom. It's me.The LAWYERS are into the conference, in their portions ofthe screen, (their VOICES HEARD underneath Andrew'sconversation with his mother). SARAH Andy! This is a nice surprise. How are you, hon? ANDREW I'm fine. SARAH What's Dr. Gillman say? ANDREW Hold on, Mom. (punching into the conference call) There's no way my client will go along with that. HARGREAVE Who's this? ANDREW Andrew Beckett. Hi, Karen. I'm sorry I interrupted...He punches out of the conference, back to his Mom (glancingover his shoulder to make sure the door is shut). ANDREW (CONT.) Gillman says I'm fine. My blood work is excellent. T-cells are up. Just a sec ... (conference call) Yes, I think that would alleviate most of our concerns. (back to Mom) My platelets look good too. SARAH Are you on one of those conference calls? I hate when you put me on hold. CUT ON ANDREW'S LAUGHTER TO:THE MOON ABOVE THE WHEELER BUILDING LATE AT NIGHT (EXT.)TITLE: "One-thirty a.m." CUT TO:ANDREW AT WORK IN THE FIRM'S LIBRARY (INT./NIGHT) ...Andrew's fingers FLY across the keys of a notebook computer.Needing a reference, he shoves his rolling chair away fromthe computer... opens a reference book... grabs a carton ofChinese food... (NOTE: The library may be equipped with acomputer terminal which Andrew uses for reference, ratherthan a book.)Andrew eats sauteed string beans with chopsticks, finding arelevant citation: ANDREW Ah hah! Yes! (chewing a string bean) Rentworth v. Pennsylvania... court of appeals affirms jury award of punitive damages for wrongful interference with prospective economic relations...A SHADOW falls across Andrew. He IGNORES IT.ANGLE: TWO MEN IN SILHOUETTE. WALTER KENTON says: KENTON Look at this fucking guy. He's an animal.Andrew's hands DO NOT LEAVE the keyboard. ANDREW Walter.The SECOND MAN steps forward, a silhouette becoming visibleThis is BOB SEIDMAN. He and Kenton wear tuxedos. SEIDMAN Are we interrupting, Andy? ANDREW In a word, Bob... SEIDMAN Charles is right behind me.ANOTHER SILHOUETTED FIGURE APPEARS. This image has ahorror-film feeling to it.Andrew WHIPS AROUND to face them. ANDREW I was just about to take a break. Good evening, Charles.CHARLES WHEELER, also in tuxedo, remains in shadow. WHEELER Andy? Could you step into my office for a sec? (deadpan) I feel like firing someone tonight.Andrew throws an arm over Seidman's shoulder. ANDREW We're gonna miss you around here, Bob... CUT ON LAUGHTER TO:THE RECEPTION AREA (INT./NIGHT): A DOMINO'S PIZZA DELIVERYMAN, waiting for clearance from a SECURITY GUARD, onAndrew's dim and quiet floor, WATCHES AS...Seidman, Kenton and Andrew follow Charles Wheeler up a wide,carpeted staircase. Wheeler finishes a story and everyoneLAUGHS... CUT TO:A BOX OF CIGARS BEING HANDED AROUND (INT./NIGHT) ... SEIDMAN Andy's expressed a keen interest in the Kronos Inc. situation, Charles. Is that correct, Andy?The lawyers have gathered in Wheeler's spacious office, withits floor-to-ceiling view of the Philadelphia skyline. ANDREW The fate of the participants interests me, yes sir.Wheeler, Kenton and Seidman proceed with the male ritual ofpreparing cigars to be smoked: snipping the ends with a brassclip, rolling them over their tongues to wet them, sliding thecigars in and out of their rounded mouths.Andrew, holding a cigar but NOT preparing to light it, watcheswith a not completely concealed twinkle in his eye.Wheeler leans back in his chair, swirling a brandy snifter.He exhales cigar smoke with a great deal of pleasure. KENTON It's good to be King, hey Charles? WHEELER Kings are out of fashion. I'd rather be thought of as a benevolent tyrant. (prompting Andrew) It's an anti-trust action. ANDREW It is, and it isn't, Charles. Macrosystem's new software copies all the best-known elements of Kronos' spreadsheet program. If they're allowed to sell it, Kronos will get undersold right out of business. For me, the legal principle, involved is copyright infringement. WHEELER Bearing in mind that Bill Wright, the chairman of MacroSystems, is a close, personal friend of mine... which side of this mess would you desire to be on, Andy? And don't allow my very tight, personal relationship with Bill to influence your answer in any way.Andrew knows this is a test. And he loves it. ANDREW Sorry, Charles, but...Andrew is distracted -- BY A LIGHT FALLING ACROSS HIS FACE. ANDREW (CONT.) I'd like to see Kronos win.Walter Kenton has shifted a lamp, so that its LIGHT FALLSACROSS ANDREW'S FACE, REVEALING: a faint purple blotchabout the size of a quarter, much like the blotches we sawon the HISPANIC PATIENT in Andrew's doctor's office. KENTON Why, Beckett? ANDREW Because they deserve to, Walter.Andrew lifts his hand, finding that his hair has been pushedback, revealing the blotch.He stands, nonchalantly running a hand through his hair tocover the blotch. ANDREW (CONT.) If MacroSystems wins, an energetic, young company will be destroyed, five thousand Americans will be out of work. Moreover, the laws of copyright and anti-trust were enacted to prevent exactly the kind of bullshit Macrosystems is trying to pull. SEIDMAN Andy, do you know who reps Kronos Inc.? ANDREW Bailey, Brackman. WHEELER Get with the program, Andy. As of this evening, about 8:05 this evening, right after the soup course... Kronos Incorporated is represented by Wyant Wheeler Hellerman Tetlow and Brown. Or, more specifically, senior associate Andrew Beckett.A moment before it sinks in, then: Andrew clenches his fistin a victory salute. ANDREW Yes! SEIDMAN You'll have to get right on it, Andy, we're up against the statute of limitations.An ASSOCIATE LAWYER in shirtsleeves taps on the office door. ASSOCIATE LAWYER Tokyo on four, Bob. SEIDMAN Great. Excuse me, fellas. (picking up a phone, speaking Japanese) Connichiwa. Itsumo osewa ni nari mashita. Arigato gozaimasu.Andrew offers his hand to Walter Kenton. ANDREW Thanks, Walter. KENTON What's that on your forehead, pal? ANDREW Whacked with a racquetball. (taking Wheeler's hand) I appreciate your faith in my abilities. WHEELER Faith, Andy, is the belief in something for which we have no evidence. It doesn't apply to this situation. (slapping his shoulder) Go home. I mean, get back to work.Andrew and Wheeler are eye-to-eye, an intimate moment. ANDREW (warmly, softly) Thanks, Charles. WHEELER (with a father's affection) No sweat, buddy.Smiling, Andrew exits the office.CLOSE ON WALTER KENTON, THINKING... CONTINUOUS CUT TO:ANDREW STEPPING INTO THE EMPTY CORRIDOR, TAKING A FEW STEPSaway from Wheeler's office (INT./NIGHT), then...... DOING a JOYFUL END ZONE DANCE, running in place the wayfootball players do when then score a touch down, saying"Yes! Yes! Yes!" to himself, soundlessly.The SOUND OF CLANGING METAL interrupts Andrew: HELENA, amaintenance worker is emptying a trash can. She's seen hislittle dance and starts to laugh.Smiling, Andrew puts the unlit cigar into his mouth, WINKSat Helena and says: ANDREW (in a funny, kind of medieval way) It's good to be King. CUT TO:ESTABLISHING: ANDREW'S LOFT BUILDING (EXT. DAY)TITLE: "Ten days later." CUT TO:CLOSE ON ANDREW'S FACE MARKED WITH FOUR BLOTCHES (WE'RE INAndrew's loft -- INT./DAY) It's a mirror image. The BLOTCHES vary from the size of adime, to the size of a half-dollar. He looks awful.A YOUNG, BLACK WOMAN'S FINGER applies makeup to Andrew'sface, trying to cover the blotches. This is his friendCHANDRA. CHANDRA (O.S.) You want to apply the foundation as evenly as you can, Andy. You don't want to look like you've thrown it on with a spoon. ANDREW (O.S.) Uh huh.CAMERA PULLS BACK REVEALING Andrew sitting at a table in hisloft, a towel around his neck, protecting his shirt from makeup.Chandra applies the makeup gently, supervised by another friendnamed ALAN. (Andrew's loft has been turned into a lawyer'scommand post: stacks of books, documents, etc.). A third friend,BRUNO, sits in the corner, flipping through channels on the TV. CHANDRA Okay. You try.Andrew tries applying makeup to his face. ANDREW Chandra? Don't you think this color's a little... orange for me? CHANDRA Tahitian Bronze works best on lesions. ALAN Think of it as the "I just back from Aruba" look.IN THE BACKGROUND: Andrew's fax machine receives a fax inAndrew's "work area": desk, personal computer, etc.). BRUNO I got it.Bruno removes the fax from the machine, walking it over toAndrew, handing Andrew the fax, while munching an apple. ANDREW (giving the fax a quick scan) Thanks, Bruno. (to Alan and Chandra) I've been out of the office four days. I don't want them to think I've been to the beach. (searching for something) Okay. Check this out.Andrew puts on a pair of big glasses with tortoise shellframes, meant to help conceal the blotches. ANDREW (CONT.) Hides everything, right? What do you think? CHANDRA You know who you look like, Andy? That actor, in that movie. Not the one where he was autistic, the one where he dressed up like a lady on a soap opera... ALAN Dustin Hoffman. ANDREW (horrified) Tootsie! BRUNO Right. CHANDRA You want to try Light Egyptian?Suddenly, Andrew winces, gripping his gut. CHANDRA (CONT.) What? ANDREW (clearly in pain) Excuse me a sec...Andrew starts out of the room -- suddenly HAVING TO RUN. CHANDRA Just like my cousin Fredo.CAMERA HOLDS ON Chandra, Alan and Bruno. SOUND OF BATHROOM DOORslamming shut.Bruno saunters across the room and knocks on the bathroomdoor. BRUNO You okay, Andy? CONTINUOUS CUT TO:TIGHT SHOT ON ANDREW, FACE TWISTED IN PAIN (INT./DAY) ...Andrew rests his head against the wall, sweat covering hisface. A storm of fire has passed through him, and he's hopingit's over for now. ANDREW I think I need to go to the hospital. CUT TO:MIGUEL ALVAREZ RUNS URGENTLY DOWN SPRUCE STREET, DODGINGtraffic as he crosses Eleventh Street, toward JeffersonHospital (EXT./DAY). He hustles up the ramp toward theEmergency Entrance... CUT TO:MIGUEL SHOVES THROUGH GLASS DOORS, INTO THE BUSTLINGEmergency Room (INT./DAY), FINDING ANDREW sitting on a gurney, holding a cotton ball againsthis arm, where blood has been drawn, wearing a blanket overhis shoulders, fighting chills.Chandra and Bruno are waiting with Andrew. They exchangequick hugs with Miguel and Andrew, ad libbing greetings andgoodbyes. ANDREW Thanks, you guys. MIGUEL Yeah. Thanks, guys.Miguel puts his arms around Andrew. ANDREW Gillman's out of her office today. I told her to take a day off, and she did, can you believe it? Did you get someone to cover your class?Miguel touches Andrew's face, checking for fever. MIGUEL Don't worry about it. They took blood? A specimen?Andrew holds an empty specimen cup. ANDREW Aren't you giving an exam? MIGUEL I said, don't worry about it.Miguel places a gentle kiss on Andrew's sweaty forehead. MIGUEL (CONT.) You got a fever, baby.Suddenly, the facade cracks and TEARS STING Andrew's eyes. ANDREW I almost didn't make it to the bathroom, Miguel. I almost lost control right in front of everybody. MIGUEL (holding him) So what? It's nothing to be ashamed of. You have nothing to be ashamed of, okay?Andrew pulls himself together, brushing aside tears, incontrol of his emotions once more. ANDREW Wait, here's my guy... Hey!Andrew catches the attention of a harried INTERN, whosesurgeon's greens are covered with blood. INTERN Mr. Beckett, I'm sorry... ANDREW About my blood work? INTERN We're waiting...Miguel opens a small notebook, making notes. INTERN ... meanwhile, I'd like to prepare you for a colonoscopy, so we can take a look inside. ANDREW Sounds delightful. MIGUEL Why do you need to do this? INTERN Who are you? MIGUEL Who are you? Doctor... ? ANDREW This is my partner. We keep records of hospital visits. Nothing personal. INTERN Dr. Klenstein. (to Andrew) It's not a pleasant procedure, but if the KS is causing the diarrhea, we ought to know right away. MIGUEL It could be parasites, an infection... ANDREW A reaction to AZT... KLENSTEIN That's possible, but. MIGUEL He's not going through some painful procedure until we've cancelled out everything else. INTERN I'm trying to help your "partner." You're not a member of his immediate family, I could have you removed from the ER. ANDREW (to the Intern) He's upset, he's sorry. MIGUEL Don't apologize for me. ANDREW He's not sorry, okay, fine. (the diplomat) Why don't we see what we find out from the blood work? I'll work on getting a specimen, I'm sure hospital food could help in that direction. Maybe, by then, we'll hear from my doctor, and we'll go from there. Okay? Everybody happy? INTERN Allright. I'll get on the lab about the blood work. MIGUEL (to the Intern) I'm sorry.The INTERN walks away. Andrew's BEEPER BEEPS. ANDREW That's the third time. I better call the office. (smiling at Niguel) Would you relax, please? MIGUEL I am relaxed.Andrew HOBBLES toward a pay phone, outside a VISITOR LOUNGE,where weary relatives are watching TV.Andrew drops a quarter into the phone. JOE MILLER'S VOICE "If you or someone you know..."ANDREW'S POV ON TELEVISION: Joe Miller on the screen, with thewords "Negligence... Malpractice... Auto accidents"... and inthe background, PHOTOS of MAIMED, BURNED, INJURED CLIENTS. JOE (CONT.) "... has been injured through the fault of others, you may be entitled to legal remedy...Andrew LAUGHS. Then, his call is answered: ANDREW Shelby? It's me. Jamey's been beeping me, I... Okay, okay, calm down. Put Jamey on. INTERCUT WITH:FIRST YEAR ASSOCIATE JAMEY COLLINS, SITTING AT ANDREW'S DESK(INT/DAY), GRABS THE PHONE when Andrew's intercom BUZZES... JAMEY (frantic) Andy?! This is a disaster! We can't find your revisions on the Kronos complaint! ANDREW Slow down, Jamey, for Christ's sake! JAMEY I went down to Word Processing to pick up the corrected copy, but they said you haven't delivered the corrections. I told them you've been working on it at home, and...Andrew forgets his physical pain, this is more important. ANDREW I brought it in last night, around midnight. It's in my computer. JAMEY What did you file it under?Jamey puts his hands on Andrew's computer keyboard. ANDREW K-R-O-one.Jamey types the file name. ANDREW (CONT.) Jamey, I don't have to mention, do I, that we're up against a statute of limitations on this complaint which runs out in... (checks his watch) Seventy-five minutes.Jamey stares dumbfounded at the computer monitor. JAMEY It's not here, Andy.Andrew closes his eyes. He can't believe this. ANDREW You go down to Word Processing and tell those motherfuckers they better come up with that complaint, now! Or they are fucking dead! You tell them that comes from me!Andrew SLAMS the phone into its cradle.He pauses, takes a deep breath, and says to himself: ANDREW (CONT.) Every problem has a solution. Every problem... has... a... solution.Calmer, Andrew returns to the gurney, putting on his shirt. ANDREW (CONT.) Every problem has a solution...Miguel approaches with tea purchased at the canteen. MIGUEL Why are you getting dressed? ANDREW You're not going to like this. Please try to smile...Andrew puts his arms around Miguel. ANDREW (CONT.) Thanks for leaving school, and coming here, and... (pulling back, putting on his jacket) I will be back. An hour, tops. MIGUEL You're going to the office?! ANDREW You're not smiling.Andrew rushes toward the exit doors. MIGUEL You're leaving the hospital? You're going into the office looking like that? Are you insane? ANDREW One hour! MIGUEL Drew! ANDREW I promise! CONTINUOUS CUT TO:ANDREW RUSHES TO THE STREET, HAILING A CAB (EXT./DAY) ... CUT TO:ANDREW STEPS OUT OF THE TAXI IN FRONT OF THE WHEELERBuilding, heading for the entrance (EXT./DAY) ...But he changes his mind, darting to the corner of the block.Andrew stops to buy a baseball cap from a VENDOR.He trots down an alley, past bags of garbage, entering thebuilding through a garage door. CUT TO:FROM A HIGH FLOOR, ANDREW CAN BE SEEN CLIMBING THE STEPS OFan emergency stairwell (INT./DAY) ...Andrew passes CAMERA, out of breath. He's wearing the ball capPULLED TO HIS EYEBROWS to hide blotches on his forehead. CUT TO:ANDREW OPENS THE FIRE DOOR ON HIS FLOOR AT WYANT WHEELER, removingthe ball cap, baring the purple blotches. (INT./DAY)He walks quickly down the hall. Passing a COLLEAGUE, Andrewpretends to scratch his face, attempting to hide the blotchesas nonchalantly as possible.He dashes past an office, ignoring Anthea. ANTHEA Didn't expect to see you... ?He ducks into his office. CONTINUOUS CUT TO:SECRETARY SHELBY AT ANDREW'S DESK, FRANTICALLY SEARCHINGthrough papers (INT./DAY) ...Startled when he sees Shelby, Andrew spins toward the wall. SHELBY I'm looking through the files but... ANDREW Call the messenger service, have someone standing by... (she reaches for the phone) Your phone. SHELBY Sure.Andrew keeps his face averted, until she's out of the room. Hegoes to his computer, the monitor already glowing. ANDREW Think. You brought the discs in, you transferred...Rachel comes into his office. RACHEL I thought I was supposed to be covering for you. (blurts out) God, Andy, you look awful. ANDREW Fucking Word Processing lost my Kronos complaint. Which must be filed by fucking five o'clock! If it's late, there's no case... (the mantra) Every problem has a solution. RACHEL What can I do? ANDREW Get down to Word Processing. Help Jamey look.She rushes out.Andrew begins shoving floppy discs into the slots on hiscomputer, bringing up each disc's directory. ANDREW (CONT.) No.He throws the disc to the floor. Shoves in another.Shoves in another, bending it in half. ANDREW (CONT.) No, goddammit!He pulls open a file drawer, dumping legal briefs onto thefloor, frantically spreading them around with his foot.Andrew THROWS a document across the room, takes a breath.He picks up the telephone. ANDREW (CONT.) Bob? Something's come up. With Kronos. I don't want to upset Charles, but... (letting down his guard) Oh, shit, Bob, the complaint's due in forty minutes and I can't find it. (suddenly) No, you don't have to come... (hanging up the phone) Great. Fucking great.Andrew rubs his eyes, this is a nightmare.He switches off the overhead light. He slants the windowblinds, filling the room with shadowBob Seidman comes into the office, typically cheerful. SEIDMAN C'mon, Andy, you didn't lose anything...Seidman is struck by the mess in the office, and Andrew'sdisheveled appearance. SEIDMAN (CONT.) Jesus. ANDREW I don't know what to do, Bob. SEIDMAN You'll never find it in the dark.Seidman FLIPS ON the overhead light. Andrew flinches.Seidman approaches. Andrew gives up trying to hide thepurple blotches, facing his mentor straight on. SEIDMAN (CONT.) What in God's name... ? ANDREW Bob... SEIDMAN What's wrong with your face? ANDREW What's wrong with my face? You want to know what's wrong with my face? I've got a skin condition. Next question, Bob? No more questions? Fine. Now can you help me find the complaint? SEIDMAN Allright. Calm down. ANDREW Sorry...Seidman sits in front of Andy's computer. SEIDMAN What was the file name? ANDREW K-R-O-one. SEIDMAN Maybe you mistyped the name when you were saving it. We'll try combinations of those letters...Seidman goes to work. Andrew leans over his shoulder. ANDREW You're right, I probably just misfiled... KENTON (O.S.) Andy?Walter Kenton is standing at Andrew's door. His demeanor iscasual. So casual it seems a little forced. KENTON (CONT.) Some sort of problem?Andrew has kept his face averted. But now he TURNS DIRECTLYTOWARD CAMERA, showing his face to Kenton. ANDREW Yeah, Walter. Yeah. Some sort of major problem.HOLD ON THIS CLOSE UP OF ANDREW...SOUND OF A BABY CRYING CROSSES THE CUT TO:A NEWBORN BEING LIFTED INTO A DOCTOR'S HANDS (INT./DAY) ... DOCTOR There she is, okay. You can relax now, Lisa.LISA MILLER has just given birth to a baby girl. Shecollapses on her pillow, gasping for breath, moaning inpain, quietly crying a little.TITLE: "One month later."The NURSES and the (FEMALE) DOCTOR move professionallyaround the bed, doing their jobs.At Lisa's side, Joe fumbles with a camera while dartingamazed looks back and forth between Lisa and the baby. JOE Oh my god... a girl... oh my god... Lisa... oh my god...He's frantic. JOE (CONT.) You load the film... ? No, on this side... or this side? Don't move the baby! LISA Give me the camera, Joe.Lisa pops the film into the camera, hands it back. JOE Thanks, hon. Oh my god...With wildly trembling hands, Joe begins SNAPPING PHOTOS. JOE (CONT.) Oh my god... oh my god, look at her... oh my god... CUT TO:JOE, WALKING THE HOSPITAL CORRIDOR, STILL WEARING SURGEON'Sgreens, SPEAKING INTO HIS PORTABLE PHONE (INT./DAY) ... JOE Go to Famous Fourth Street and buy a pound of Nova. No! She likes Scotch salmon better. Ah heck, get a pound of both! Get a dozen onion rolls. Get some bagels. Get a dozen. Get a bottle of champagne. Dom Peringon... A hundred bucks a bottle?! Better get a good California...Passing a PATIENT IN TRACTION, ROLLING BY ON A GURNEY, Joedrops a business card into the PATIENT'S broken hand. JOE (CONT.) (to the PATIENT) Give me a call. (into the phone) Get everything over here as soon as you can, she's starved. No, not the baby! Lisa! ... Iris, listen: any calls I should know about? ... Uh huh... Uh huh... Beckett? Who's Andrew Beckett?Turning a corner, Joe comes face to face with HIS RELATIVES,who charge at him joyfully: JOE'S MOTHER/AUNTS/UNCLES, ETC. Congratulations! How is Lisa?! When can we see the baby?! CUT TO:QUIET... JOE, LISA AND THEIR BABY CUDDLED TOGETHER INLisa's hospital bed, surrounded by debris from a party,paper plates, empty champagne bottle (INT./NIGHT) ...The relatives have gone. It's late at night.Lisa holds the baby. Joe holds them both. CUT TO:AN INTERSECTION IN THE HEART OF OLD, DOWNTOWN PHILLY: Amovie palace (now a six-plex) across the street from thePeter Pan Coffee Shop, PHILADELPHIA WORKERS going about thebusiness of the day (EXT./DAY) ...TITLE: "One week later."Above the Peter Pan Coffee Shop is a string of largewindows, each of which is painted with a question:HEART ATTACK? ACCIDENT? MEDICAL MALPRACTICE? DOG BITE?In bigger letters, across several windows:D I A L 1 8 0 0 A - L A W Y E RWe hear JOE MILLER'S VOICE-OVER: JOE (OS) How big was this hole you fell into? CONTINUOUS CUT TO:A HALLWAY BULLETIN BOARD ANNOUNCING THE VARIOUS DEPARTMENTS of"Macready and Shilts Legal Services" (INT./DAY), including"Auto/DUI/Collisions with Deer... Product liability... Medicalmalpractice... Pet bites..."The bulletin board stands at the entrance to a warehouse oflawyers' cubicles formed by office dividers and plastic ferns...PHONES JANGLING... INJURED CLIENTS LIMPING ABOUT... JOE (OS) (CONT.) And this hole was right in the middle of the street? CONTINUOUS CUT TO:JOE IS IN HIS OFFICE, A BOX OF CIGARS ON THE DESK WITH PINKbands announcing "It's a girl!" (INT./DAY). On the walls arephotos of INJURED CLIENTS (the same photos we saw in thebackground of Joe's TV commercial)...A FEMALE CLIENT (MRS. FINLEY) faces Joe, her arm in a sling. MRS. FINLEY Right. JOE Why didn't you cross at the crosswalk? MRS. FINLEY Why should I? CONTINUOUS CUT TO:ANDREW IS SEEN FROM BEHIND, SITTING ON A SOFA IN THE WAITINGarea. Very little hair shows beneath a Phillies ballcap...A MAN WEARING A NECKBRACE, sitting next to Andrew, RISES,MOVING to a seat opposite Andrew. From this new position theMAN WITH THE NECKBRACE STARES at Andrew.MAN WITH NECKBRACE'S POV:The PURPLE BLOTCHES on Andrew's face are beginning,to recede,not as angry looking as before, thanks to chemo therapy.Andrew is dressed casually, in jeans and a softball jacket(from the Wyant Wheeler team) with "Andy" embroidered over theheart.Joe's assistant, IRIS, approaches. IRIS Mr. Beckett?Andrew rises, following Iris past office dividers, HARRIEDSECRETARIES and overflowing file cabinets.Iris cannot look at Andrew as she walks beside him.(Outside Joe's door is a sign: "Beware Mad Dog" with "Mad"written by hand.) IRIS (CONT.) In here. ANDREW Thank you. CONTINUOUS CUT TO:ANDREW STEPS INTO JOE'S OFFICE (INT./DAY). ANDREW GLANCESat the photos while Joe wraps up... JOE (to the FEMALE CLIENT) Explain this to me like I'm a six year old, okay? The entire street is clear except for one small area under construction, with a huge hole that is clearly marked and blocked off, and you decide you must cross the street at this spot. You fall into the hole and you want to sue the city for negligence? ... MRS. FINLEY Yeah. Do I have a case? JOE Of course you have a case! Now, I want you to go with my assistant, Iris, and fill out some forms. She'll tell you about our fee arrangement. (as they're leaving) Mrs. Finley? Any back pain since the accident? Dizziness? Nightmares? MRS. FINLEY Now that you mention it... JOE Tell Iris all about it. (leading her out) Take good care of Mrs. Finley, Iris. (to Andrew) Beckett, come in.Joe offers his hand, getting a look at Andrew's face. JOE (CONT.) Jesus Christ, what happened to you? ANDREW I have AIDS.Joe WITHDRAWS his hand, before it touches Andrew's. JOE Whoa-oh! (beat) Sorry, I... ANDREW It's okay. Can I sit down? JOE Uh, yeah.Andrew hesitates. Joe doesn't sound sure. JOE (CONT.) Go ahead.Andrew sits, Joe returns to his desk. (Joe finds himselfacutely aware of where Andrew places his hands.) ANDREW (the cigars) New baby? JOE One week old. ANDREW Congratulations. JOE Little baby girl. ANDREW Kids are great. JOE Thanks, Beckett. I'm real excited about it. (glances at his watch) What can I do for you? ANDREW I was fired by Wyant Wheeler. I plan to bring a wrongful termination suit against Charles Wheeler and his partners. JOE You want to sue Wyant Wheeler Hellerman Tetlow and Brown? ANDREW Correct. I'm seeking representation. JOE Continue. ANDREW I misplaced an important complaint. That's their story. Want to hear mine? JOE How many lawyers did you go to, before you called me? ANDREW Nine. JOE Continue. ANDREW I was diagnosed with AIDS eight months ago. During a bout of pneumonia. I recovered quickly and was back at work in ten days. Since I was doing so well on the AZT, we decided against telling anyone about it. JOE We? ANDREW My lover and I. JOE Your... lover? ANDREW Miguel Alvarez. We've lived together for nine years. JOE Continue. ANDREW I dove back into work, everything was fine. Until the lesions started... SUDDENLY PICTURE CUTS TO:TIGHT ON ANDREW WAUKING THROUGH THE LOBBY OF THE WHEELERBuilding (INT./DAY). He's wearing MAKEUP, which sort ofcovers the blotches. (NOTE: PICTURE and ANDREW'S VOICE OVERdo NOT match up. This is no ordinary flashback) ... ANDREW (VO) (CONT.) First on my leg. Then my forearm, my back. Then... my face. For a short period, I avoided the office during the day, waiting for the chemo therapy to clear up the lesions...IMAGE: ANDREW RIDING THE CROWDED ELEVATOR ON A WORKDAY. ANDREW (VO) (CONT.) But I never let anything slide. I made all my calls from home. I worked sixteen hour days on a complaint for a 350 million dollar copyright infringement suit.IMAGE: JOE IN HIS OFFICE, ABSORBED IN ANDREW'S STORY. ANDREW (OS) (CONT.) But the day the complaint was due, it disappeared. Erased from my computer. I thought I was losing it, mentally...IMAGE: ELEVATOR DOORS OPENING, ANDREW STEPPING INTO WYANTWHEELER OFFICES. NOW HE SPEAKS DIRECTLY TO CAMERA: ANDREW (CONT.) That can happen, it's called AIDS dementia when it gets into your brain. But miraculously, a copy of the complaint was located at the last minute, and we got it to court on time...IMAGE: ANDREW'S POV OF COLLEAGUES, STAFF IN THE OFFICES,GIVING HIM LOOKS, WHISPERING. ANTHEA BURTON NODS HELLO. ANDREW (OS) (CONT.) The next morning, I was called to the office for a meeting with the managing partners. Walking down that corridor was strange. Felt like everyone was staring.REVERSE ANGLE ON ANDREW AND JOE WALKING AT ANDREW'S SIDE. JOE Hell, they are staring. What's that shit on your face? ANDREW Makeup.ANDREW'S POV: RACHEL OUTSIDE HER OFFICE, SAYS "GOOD LUCK." ANDREW (CONT.) The partners were waiting for me in the main conference room. CONTINUOUS CUT TO:CAMERA TRACKS INTO THE CONFERENCE ROOM, GIVING US ANDREW'SPOV as he enters the room where Wheeler, Kenton, Killcoyne,Bob Seidman are waiting (INT./DAY) ... WHEELER Sit down, Andy.Wheeler's secretary, LYDIA, takes notes. WHEELER (CONT.) Thanks for coming in. ANDREW Of course.Bob Seidman CANNOT look directly at Andrew. WHEELER Andy. Before we begin, I'd just like to say: everyone in this room is your friend. JOE You're in trouble.(NOTE: Joe IS SEEN IN HIS OFFICE, or LEANING AGAINST AWINDOW IN THE CONFERENCE ROOM whenever he speaks.) ANDREW I know that, Charles. WHEELER More than your friend. Family. JOE Big trouble. ANDREW Charles, I must apologize again, for the Kronos mishap. (smiling) It was a scary few minutes around here. Wow. But thank God, the complaint was found. And no damage was done. KENTON This time. What about next time? ANDREW There won't be a next time, I guarantee it. WHEELER Andy. It seems that something has come over you, lately: A kind of... stupor, a fogginess, a lack of focus... Earth to Andy. Anybody home? KENTON Helloooo... KILLCOYNE That's right, Andy. The last four, five months you've seemed really out of it... SEIDMAN At least... different, somehow. ANDREW (keeping it positive) Perhaps... you're right. I've certainly been busy. With the Kronos complaint, a preliminary injunction hearing and the Saunders trial all falling at the same time... KENTON Some people think you have an attitude problem, Beckett. ANDREW Really? Who thinks that, sir? WHEELER I do.Wheeler seems very grave. ANDREW I had no idea there was a concern in that area. Hey: (a smile) I'll get to work on it right away.NO ONE else smiles. WHEELER We've been talking it over, Andy. Your future that is... We feel that, because we respect you so much, we have to be honest with you. ANDREW Honesty is always best. SEIDMAN Do you really think so, Andy? ANDREW Yes, Bob, I do. (to the group) Excuse me? Am I being fired? WHEELER Let's put it this way, Andy: your place in the future of this firm is no longer secure. JOE In a word, yes. WHEELER We don't think it's fair to keep you here, where your future is limited. But we wish you luck, Andy, all the luck in the world.Wheeler rises, wearing a friendly smile. WHEELER (CONT.) And I hate to rush you out of here, but... JOE But he's got lots of other people's lives to ruin... WHEELER ... we've got a committee meeting. ANDREW Excuse me, Charles. With all due respect... this is... preposterous! It doesn't make any sense, it sounds as if we're talking about someone else. Pardon the lack of humility, but I've had the distinct impression I was kind of... one of the rising stars around here. And I feel that wasn't just my imagination. And I also think I deserve to know what's really going on here, Charles. KENTON Oh, you're right, Beckett, you don't have an attitude problem. WHEELER Take it easy, Walter. ANDREW If you'd lost confidence in me, why did you give me the Kronos suit? WHEELER I hoped the challenge would improve your performance. You could say it was a carrot. ANDREW A carrot?! JOE I buy that. ANDREW As in, the vegetable? SEIDMAN (suddenly emotional) Andy, you nearly blew the case, for God's sake! That alone is inexcusable. It would have been catastrophic for us. Put yourself in our shoes, Andy. There's no coming back from an error like that, regardless of who you are! (softer) I'm sorry, Andy.Andrew FREEZES -- the full nature of this situation hittinghome. He looks each of the PARTNERS in the eye... ANDREW Uh huh... Okay... I see...... at last LOOKING DIRECTLY AT Wheeler's secretary Lydia,whose pen is poised above her notebook, waiting for someoneto say something.Wheeler breaks the silence. WHEELER Good luck, Andy.Wheeler, Kenton, Killcoyne, Seidman and Lydia file out.Andrew doesn't move.A SECURITY GUARD enters the room. ANDREW Who are you? SECURITY GUARD I'm here to escort you to your office so you can organize your belongings. CUT TO:CAMERA PULLS BACK FROM ANDREW, WE'RE IN JOE'S OFFICE (DAY) ... JOE Okay. Explain to me like I'm a two year old, because there's an element to this I can't get through my thick head: Didn't you have an obligation to inform your employer you had this dreaded, deadly, infectious disease?Andrew removes his ballcap -- his hair is cut short, todisguise the effects of chemo. ANDREW The law says people with disabilities cannot be terminated, so long as they can perform the duties required by their position... JOE Okay, okay... They discover you have this horrible, disgusting, terminal illness, and they panic, for any number of perfectly valid reasons. They're frightened for themselves, their families... Maybe it's the homo angle. Maybe they don't want to rub elbows with someone who's just popped out of the closet with a terminal case of acne. And how do they explain your status to the client for Chrissake? ANDREW Joe, from the day I arrived to the day they fired me, I performed consistently, thoroughly and with absolute excellence. And if they hadn't fired me, that's what I'd be doing today. JOE Okay... They want you out. It's against the law to fire you for having AIDS, so they make you look like a fuck up. Which leads us to the mysterious, lost file. ANDREW They sabotaged me. JOE I knew you were going to say that. I don't buy it, and I don't see a case. ANDREW Look. I know I have a case. If you don't want to take it for personal reasons... JOE Correct. I don't.Andrew rises, thoroughly business-like. ANDREW Thanks for your time. JOE Beckett? I'm sorry about... what's happened to you. It's a fucking kick in the head. ANDREW (a smile) Don't send flowers, Joe. I'm not dead yet.Andrew exits. CONTINUOUS CUT TO:ANDREW LEAVES JOE'S OFFICE, MOVING DOWN THE CORRIDOR(DAY) ... IRIS (still uncomfortable, as Andrew's leaving) Have a nice day.Andrew nods, passing one of Joe's colleagues, a hustlernamed FILKO, who STARES SHAMELESSLY.Joe approaches Iris's desk. JOE Find out if Armbruster can see me this afternoon. FILKO (still staring) What the hell's wrong with him? CUT TO:THE STREET: ANDREW EMERGES FROM THE LAWYER'S BUILDING(EXT./DAY). CLOSE ON ANDREW, standing there as an endless flow ofpeople passes by. He watches them go, thinking... CUT TO:A SUBURBAN DOCTOR'S OFFICE IN A MIDDLE-CLASS NEIGHBORHOOD(EXT./DAY) ... DR. ARMBRUSTER (OS) You had contact with someone who has AIDS, and you're worried. CONTINUOUS CUT TO:A DOCTOR UNRAVELLING A BLOOD PRESSURE GAUGE (INT./DAY) JOE I'm not worried. What are you doing?Joe sits in his shirtsleeves on the examining table. DR. ARMBRUSTER Checking your blood pressure, relax.The DOCTOR wraps the blood pressure unit around Joe's arm. JOE I didn't have contact. What do you consider "contact?" We were sitting in the same room, three, four feet... What if you shake hands? Wait. I know the answer. Only sex, or sharing needles. I know that. We didn't shake hands, anyway.Dr. Armbruster squeezes the blood pressure pump, DR. ARMBRUSTER The HIV virus can only be transmitted through the exchange of bodily fluids, namely blood and semen. JOE Right.Joe begins rolling down his sleeve. DR. ARMBRUSTER Leave that. JOE Yeah, but Doc, isn't it true they keep finding out new things about this disease? So you tell me, today, there's no danger, and I go home, and I hold my baby, and six months from now I hear on the news: "whoops! We were wrong.' You can carry it on your clothes, your skin, and now I've got to worry about my kid. What are you doing?Dr. Armbruster has been preparing a syringe. DR. ARMBRUSTER We're going to draw blood. JOE Why are we going to do that? DR. ARMBRUSTER Joe. I don't care a whit about your private life. JOE You want to give me an AIDS test?!Joe HOPS off the table. JOE (CONT.) The guy sat in my office! You can't get AIDS that way, right? DR. ARMBRUSTER Right. JOE It doesn't travel through the air, by breathing, or touching, right? DR. ARMBRUSTER Not by touching, or shaking hands, or hugging, using the same toilet... Even kissing someone with AIDS is safe. But it there's something in your past you're worried about... JOE Thanks, Doc, but I don't need an AIDS test. Are you crazy? But thanks for the information. Really.Joe throws on his jacket, opens the door... then TURNS BACK: JOE (CONT.) In my past? ARMBRUSTER IV drug use.Joe shakes his head. DR. ARMBRUSTER (CONT.) A homosexual encounter. JOE Get real. DR. ARMBRUSTER Unprotected sex with a prostitute. JOE (thinking it over) Uh.... No. Not really. DR. ARMBRUSTER Or unprotected sex with someone you didn't know very well, any time during the last twelve years.A MOMENT.Joe returns to the examining table, and rolls up his sleeve. CUT TO:ESTABLISHING: JOE'S HOUSE IN THE SUBURBS (EXT./NIGHT) ... LISA (VOICE OVER) You have a problem with gays, Joe. CONTINUOUS CUT TO:JOB CRADLES HIS BABY AGAINST HIS CHEST (INT./NIGHT) ... JOE Not especially.Lisa eats standing up, at the stove, while Joe walks theBABY in their modern kitchen. LISA How many gays do you know? JOE How many do you know? LISA Lots. JOE Who? LISA Karen Berman. Aunt Teresa. My cousin Tommy who lives in Rochester. Eddie Meyers from the office. Joe Cantwell, he's one of the partners. His lover, Greg. Stanley, the guy who's putting in our kitchen cabinets.For a moment, Joe is struck dumb. Then he says: JOE Your Aunt Teresa is gay? That beautiful, sensuous woman is a... lesbian? LISA Duh... JOE Since when? LISA Probably since she was born. JOE Allright. I admit it: I'm prejudiced. I don't want to work with a homosexual. You got me. LISA Okay, Joe... JOE I mean, two guys, doing the horizontal thing? I don't get it. Don't they get confused? "Is that mine? I thought it was yours." Hey, call me old fashioned, call me conservative... I think maybe you have to be a man to get just how nauseating the whole basic idea really is. LISA Fine, Joe. JOE And the way they work out, pumping up, so they can be macho and faggot at the same time... I can't stand that shit. Now I'm being totally honest with you. LISA That's perfectly clear.CLOSE ON JOE, LOOKING DIRECTLY INTO CAMERA: JOE Would you take a client if you were constantly thinking: "I hope this guy doesn't touch me. I don't even want him to breathe on me?" CUT TO:THE STREETS OF PHILLY ARE DUSTED WITH SNOW, STORE WINDOWSdecorated for Christmas. Joe steps out of the Famous 4thSt. Deli, with a package (EXT./DAY) ...TITLE: "Two weeks later." CUT TO:JOE SITS AT A TABLE IN THE PUBLIC LAW LIBRARY, SURROUNDED BYbooks and legal pads, hard at work. He's eating a pastramisandwich which he hides behind a reference book when a LIBRARIANsaunters by (INT./DAY) ...A CHAIR SQUEAKS and Joe LOOKS UP TO SEE:Andrew taking a seat across the room (the blotches have beenreduced by chemo, but he's struggling with a cold). Andrewremoves notepads and pens from his briefcase. He takes out apackage of tissues, blowing his nose. JOE (under his breath) Shit...Joe slides to the far end of his table, stacking seven oreight HUGE REFERENCE BOOKS in front of him.JOE'S POV, PEERING THROUGH THE REFERENCE BOOKS:Andrew opens a book, taking notes. Rubs his eyes. Writessomething. Sneezes.A LIBRARIAN delivers a book to Andrew. LIBRARIAN This is the supplement. You're right, there is a section on... (lowers her voice) ... HIV related discrimination. ANDREW Thank you.Andrew takes the book from her -- but she remains. LIBRARIAN We have a private research room available. ANDREW I'm fine, thanks.Andrew BLOWS HIS NOSE. Now other PATRONS are watching. LIBRARIAN Wouldn't you be more comfortable in a research room? ANDREW (pleasantly) No. But would it make you more comfortable? LIBRARIAN Whatever, sir.The LIBRARIAN turns away, shrugging to a PATRON, indicatingshe's done all she can do.As Joe continues to watch: one of Andrew's NEIGHBORS picksup his books and moves away.Joe rises, gliding down an aisle of books, keeping one eyeon Andrew, who concentrates on his work.Joe approaches, nonchalantly, as if he just happens to besauntering by. Suddenly he "notices" Andrew. JOE Oh, Beckett. How's it goin'? ANDREW Fine.Andrew goes back to his work. JOE Who'd you get? ANDREW What? JOE Find a lawyer? ANDREW I'm a lawyer. How's your baby? JOE Huh? Oh. Great. She's great. ANDREW What's her name? JOE Rayisha. ANDREW Rayisha. Very nice.Andrew focuses on his work. Joe steps away.Joe comes back. JOE How did they find out? ANDREW (a second, then:) One of the partners spotted a lesion on my forehead.Nearby, a CHINESE PROFESSOR looks up, startled, when shehears the word "lesion." JOE Uh huh...Andrew concentrates on his work once more. JOE (CONT.) How do you get from one lawyer spotting a lesion, which could have been a bruise, to the partners deducing you had AIDS and basing a decision to terminate you on that conclusion?The CHINESE PROFESSOR moves away. ANDREW Good point.Andrew removes a legal pad with "KENTON" written in bigletters across the top, and lots of notes underneath. ANDREW (CONT.) The partner who spotted the lesion, Walter Kenton, used to work for Benton, Myers, in D.C. There's a paralegal there, Maria Torres. She's had lesions on and off for three years. She says it was common knowledge around the office that her lesions were caused by AIDS. JOE They didn't fire her? ANDREW No. They didn't fire her.Andrew goes back to his work. Joe stands there. JOE So Kenton connected the... lesion, and whatever suspicions he had about your personal life... to this woman, Maria... and blew the whistle on you. Suddenly you're losing files, and it's time to let you go. But, up to this point, you've been their Golden Boy, their rising star... Their behavior is... inconsistent. ANDREW Thank you.Andrew goes back to work. JOE There is no relevant precedent. ANDREW (not looking up) Arline decision. Supreme Court. JOE Arline?Andrew SHOVES the legal book toward Joe.CLOSE ON ANDREW'S HANDS (with one blotch) on the book's whitepages.The book is still facing Andrew. If Joe wants to read it,he'll have to turn it around.Joe looks at Andrew's hands. A MOMENT.Joe turns the book around, begins to read: JOE "The Federal Vocational Rehabilitation Act of 1973 prohibits discrimination..."CAMERA CRANES UP, TOWARD THE CEILING... JOE CONTINUESREADING IN VOICE-OVER: JOE (VO) (CONT.) "... against otherwise qualified handicapped persons who are able to perform the duties required by their employment..."CAMERA GOES HIGHER, LOOKING DOWN ON THE ROWS OF BOOKS AND THELONG TABLES DOTTED WITH PEOPLE... JOE (VO) (CONT.) "Although the ruling did not address the specific issue of HIV and AIDS discrimination..."DISSOLVE TO SAME ANGLE AN HOUR LATER: Andrew and Joe face eachother at their table, but NO ONE ELSE remains at that table,or at the table next to it... ANDREW (VO) "Subsequent decisions have held that AIDS is protected as a handicap under law, not only because of the physical limitations it imposes..."DISSOLVE TO A SAME ANGLE AN HOUR LATER (DAY IS TURNING INTONIGHT): Joe pacing, Andrew reading. Their section of thelibrary is COMPLETELY EMPTY but for Andrew and Joe. ANDREW (VO) (CONT.) "But because the prejudice surrounding AIDS exacts a social death which precedes the actual, physical one..."DISSOLVE TO SAME ANGLE, LATER: Andrew and Joe sit on thesame side of the table, reading the same book. JOE (VO) "This is the essence of discrimination: formulating opinions about others not based on their individual merits but, rather, on their membership in a group with assumed characteristics...The library is QUIET. Andrew SNEEZES.Joe scoots his chair away from Andrew by eight inches.DISCO MUSIC RISES ACCOMPANIED BY THE SOUNDS OF GRUNTING,HEAVY BREATHING AND SLAPPING FLESH AS WE... CUT TO:MUSCULAR, SWEATY MALE BODIES SLAMMING INTO EACH OTHER, sounds ofGRUNTS, skin SLAPPING against skin (INT./NIGHT) ...... Hand SLAPPING a butt under satin shorts... Sweaty armpits... the ROAR OF A CROWD...... BASKETBALL PLAYERS embracing, twirling each other around, highfiving...WIDE ANGLE REVEALS: A basketball game in progress, Sixersversus the Celtics in Philly's Spectrum Arena.ON CLOSED CIRCUIT TV: ROBERT PARISH going for a lay-up... WHEELER/KENTON/OTHERS Watch this guy! Nail him! Ouch!Charles Wheeler, Walter Kenton, Kenneth Killcoyne, Bob Seidmanand SEVERAL LAWYERS and SPOUSES watch the game from a plush,private box, complete with TV, bar, snack table. The lawyers wearRalph Lauren polos, chinos and ball caps. The place reeks ofcigar smoke. Walter Kenton has a twentyfive year old WIFE.Charles Wheeler's nine year old GRANDSON sits nearby.Wheeler turns the GRANDSON'S ballcap around, smilinglovingly at the boy.JUST BEYOND WHEELER: The door to the box is opened by a SECURITYGUARD and a well-dressed, charismatic MAN looks in. WHEELER (spotting him) Julius! KENTON Dr. J.! DR. J. Gentlemen... Ladies...JULIUS ERVING enters, greeted by the LAWYERS. LAWYERS How's it goin', Doctor?/This is an honor!/etc ...The door is opened again, by the SECURITY GUARD, REVEALINGJoe Miller (in jeans and basketball jacket) and a MARSHALL. JOE Excuse me. Charles Wheeler?Wheeler turns. Joe SLAPS a document into Wheeler's hand. JOE (CONT.) Summons. For you.NOW the box is QUIET. DR. J. Say. What's up, Chuck? CUT TO:THE BRIGHTLY LIT, RESTRICTED, INNER CORRIDOR OF SPECTRUMStadium (INT./NIGHT) where Wheeler walks beside Bob Seidman,with Walter Kenton and Kenneth Killcoyne just behind. SOUNDSOF THE GAME STILL IN PROGRESS can be heard, but FAR AWAY.Occasionally the lawyers are passed by FOOD SERVICE or LAUNDRYSERVICE EMPLOYEES... WHEELER ... interview every employee, support staff, associates, partners. Did any of them know Andy was sick? How did they know? Did he tell them? Did they notice something was wrong with his appearance? None of this information got to the managing partners. We know that. Make sure everyone else does too... And Beckett: I want to know everything about his personal life. Did he frequent those pathetic bars on Camac Street? SEIDMAN Jesus. WHEELER (ignoring Seidman) What about other homosexual facilities, whatever they are? SEIDMAN Charles... WHEELER What deviant groups or organizations did he secretly belong to? (with irritation) What is it, Bob?! SEIDMAN Let's settle with Andy and put this whole tragic mess behind us.They arrive at a quiet, semi-private cul de sac. WHEELER Andrew brought AIDS into our offices, into our men's room. He brought AIDS to our annual goddamn family picnic. KENTON We ought to be suing him. SEIDMAN For Christ's sake, where's your compassion? KENTON Compassion? Andy sucks cocks, Bob. He takes it up the ass. He's a pervert.Only Seidman shows any kind of REACTION. SEIDMAN That's kind of... extreme, Walt. Andy's private life is none of our business. WHEELER Bob. You're trying my patience. Andrew Beckett is making his private life our business. We gave him Kronos. Did he say, "I'm sick. I might not be able to see this through?" SEIDMAN He was doing a great job. WHEELER Bob. I must ask you to shut the fuck up. Did Andrew Beckett say "I might not be able to serve our clients to the best of my ability?" He said nothing. And now, Andrew Beckett proposes to haul me into a court of law, to sling accusations at me, in full view of the entire, Philadelphia, judicial establishment. My God. KILLCOYNE Beckett doesn't want to go to court, he's hoping for a quick tasty settlement. SEIDMAN A jury might decide that Andy has a case. WHEELER Wait a minute. The man was fired for incompetence, not because he has AIDS. You didn't know he was sick, did you, Bob? KENTON Holy Shit. Did you, Bob? SEIDMAN (after a moment) No. Not really.Wheeler walks away, followed by Kenton and Killcoyne.Bob Seidman stands alone in this dark place. CITY SOUNDS ON A WORK DAY AS WE CUT TO:EXTERIOR, JOE'S OFFICE BUILDING, ON A THURSDAY MORNING. CONTINUOUS CUT TO:JOB'S COLLEAGUE, FILKO, LOOKING DIRECTLY INTO CAMERA (inJoe's offices, INT./DAY): FILKO Charles Fucking Wyant Wheeler?!Joe sweeps by, just arriving for work. JOE Morning, Filko.Filko keeps pace with Joe down the corridor. ANOTHERCOLLEAGUE calls out from an office as Joe passes: COLLEAGUE Hey, it's the local chapter of the ACLU! FILKO You're a Republican, Joe! You belong to the NRA! JOE How many toilet stalls are there in the women's restroom on this floor, Filko? FILKO How many... what?!Filko follows Joe into Joe's office. JOE Two. How many toilet stalls are there in the men's room? Two, plus four urinals. How many wheelchair accessible toilets in either of those restrooms? Zero. In this entire building? Zero. Get the picture, Filko? Discrimination! You find yourself a female, paraplegic, legal assistant who is qualified to work here, except she can't take a leak... and you've got yourself a sex discrimination suit and a handicapped discrimination suit. Not handicapped. What do you call someone who can't use a normal restroom? "Gastro-intestinally challenged!"Behind Joe, out a large window: PAINTERS on a scaffold.Iris comes into the office and says: IRIS Wyant Wheeler's asking for a postponement on the prelim, Joe.Joe is dialing the phone. JOE Low-life, sleazy scumbags. Of course they want a postponement, I've got a client with a terminal disease. They're going to drag their heels every step of the way, the rotten bastards. (tapping on the window, to the PAINTERS) Is that spelled right? CONTINUOUS CUT TO:EXTERIOR, JOE'S OFFICE BUILDING, WHERE PAINTERS ARE ADDING A newquestion to the line of windows (DAY):D I S C R I M I N A T E D A G A I N S T ? JOE (VO) Hey, Beckett. This is Miller. CONTINUOUS CUT TO:JOE'S VOICE COMES THROUGH, ON THE ANSWERING MACHINE INAndrew and Miguel's loft (INT./DAY) JOE (VO) (CONT.) I just wanted to tell you...CAMERA DRIFTS THROUGH the loft, finding Andrew in the rooftopsolarium, sitting crosslegged in front of a candle. JOE (VO) (CONT.) ... we're trying to set a date for the prelim. Hang in there.Andrew's eyes are closed. Next to him rests a tape player. AWOMAN'S VOICE IS HEARD, accompanied by NEW AGE MUSIC: WOMAN'S VOICE I can heal myself. ANDREW I can heal myself. WOMAN'S VOICE I can heal myself. ANDREW I can heal myself. CUT TO:ANDREW AND MIGUEL IN THEIR BEDROOM AT NIGHT, LYING CLOSE TOeach other in bed (INT./NIGHT) ... MIGUEL I was coming out of the gym today, and I ran into Jimmy. Do you know what he asked me? "What's it like knowing your boyfriend's going to die?" ANDREW Jerk... What did you say? MIGUEL I said, "Everyone's going to die, Jimmy. But Drew's not going to die of AIDS. There's a cure around the corner, and he plans to be around to take advantage of it."Miguel strokes Andrew's hair. ANDREW You got that right, Mikey... (beat) You still believe that, don't you? MIGUEL Yes. I think it will be a simple solution. They'll put it in a syringe, inject it into your bloodstream. It'll neutralize the virus. It'll revitalize the immune system, and people with AIDS will become healthy again.HOLD ON MIGUEL AND ANDREW, ON THIS QUIET MOMENT.FADE OUT.FADE IN: ESTABLISHING, EXT. PHILADELPHIA COURT HOUSE(DAY) ...TITLE: "Three months later." CUT TO:A LONG CORRIDOR IN A CITY COURT BUILDING -- FAR DOWN THEcorridor TWO FIGURES WALK TOWARD CAMERA (INT./DAY) ...The figures APPROACHING CAMERA are Andrew and Joe, steppinginto and out of sunlight falling through tall windows.TITLE: "Pre-trial settlement conference."REVERSE ANGLE -- DOWN AN OPPOSITE CORRIDOR:A PHALANX OF LAWYERS -- at least ten -- APPROACHING CAMERA, abulwark of white shirts and dark ties.ON ANDREW AND JOE:Andrew's hair is short, but growing back, the blotches havereceded,his weight is up. He's in a stage of recovery.ON THE OTHER LAWYERS:Charles Wheeler (seeming ironic) and Walter Kenton (he'spissed) lead the battalion.Behind them, walk young lawyers BELINDA CONINE and JEROMEGREEN. Belinda is white, Jerome is black. CUT TO:HUSHED VOICES (INT./DAY) ...A JUDGE'S CHAMBERS, with couches, soft chairs scattered in aloose circle, like a casual living room.Joe and Andrew whisper to each other. The Wyant Wheeler teamtakes up several chairs. Belinda Conine and Jerome Green sitnext to Wheeler and Kenton. Some of their ASSISTANTS stand.Wheeler is looking across the room at...Andrew, who catches Wheeler's stare. WHEELER You're looking better, Andy. How do you feel?SILENCE. Everyone watches Andrew for his reaction. ANDREW Fine, thanks, Charles.JUDGE LUCAS GARNETT enters his chambers (not wearing aJudge's robe). He shakes hands with Wheeler and Kenton. JUDGE GARNETT Charles, Walter... WHEELER Congratulations on the new grandson. JUDGE GARNETT Thank you. We're very happy.The Judge brushes by Joe and Andrew without a word. The roombecomes SILENT as the Judge takes a seat. JUDGE GARNETT Attorney for the plaintiff? JOE Joseph Miller, Your Honor. Macready and Shilts Legal Services. JUDGE GARNETT I've seen your television commercials. "If you or anyone you know has been injured through the fault of others... It should say, "through the negligence of others." JOE I'll take that under consideration, Your Honor. JUDGE GARNETT On behalf of the defendants? BELINDA CONINE Belinda Conine. Of Petersen, Lehigh, Monroe and Smith. JEROME GREEN And Jerome Green.And a WASPISH lawyer wearing round glasses: DEXTER SMITH Dexter Smith.A white-haired lawyer next to Belinda: RALPH PETERSEN Ralph Petersen. JUDGE GARNETT (to Joe) You're outnumbered four to one. (to the others) Whom do I address? I can't talk to four lawyers at once. BELINDA I'm chief litigator, Your Honor. JUDGE GARNETT Fine. I've asked the litigants to be present for this conference, in the hope we can settle this matter today, among ourselves... There is nothing I hate more, than to see lawyers suing each other. If you look at the opinion polls, when Mr. John Q. Citizen is asked to rank professions according to the respect he holds for them... Where are the lawyers? Somewhere below personal fitness trainers and only slightly above child pornographers. If we keep suing each other, if we fail to settle the smallest difference among ourselves with mutual respect, if we continue to scrap like bucks in heat, we'll fall lower on that list. And when people lose respect for lawyers, they lose respect for the law. And when this society loses all respect for the law, we'll be murdered in our beds, my friends, our cherished institutions will be burned to the ground and our children and our grandchildren will live like savages. JOE If it please Your Honor, we hope to settle this matter. JUDGE GARNETT By God you will settle it! If you force this case to trial, young man, you'll regret it for the rest of your natural-born days... Now, Joseph. What would you require to settle this matter today? JOE Reinstatement at full salary. Back pay covering the period of unemployment and... JUDGE GARNETT Hold it, Joe. (to Wheeler) He wants to come back to work, Chuck. WHEELER That's impossible, Your Honor. JUDGE GARNETT That's impossible, Joe. BELINDA CONINE If it please Your Honor, we're prepared to offer a cash settlement of twenty-five thousand dollars. JOE Your generosity overwhelms me, Belinda, considering my client was earning over a hundred thou when he was terminated almost six months ago. JUDGE GARNETT Give me a break, Joe. Let's cut through these false attitudes. Give them a figure. How much do you want? ANDREW I want to go back to work, Your Honor. JUDGE GARNETT You're here at my indulgence, young man. I'm waiting for a figure, Joe.Andrew and Joe confer with each other. JOE Based on what my client would have earned over the next three years, including benefits and projected raises, and the extraordinary cost of medical care for someone with Acquired Immune Deficiency Syndrome... We would settle today for the very fair amount of one million five hundred thousand dollars. JUDGE GARNETT Very good, Joe. Now, Belinda, I've got a figure over here, of one million, five. I...Andrew WHISPERS to Joe, who interrupts the Judge: JOE One more thing, Your Honor... ANDREW (jumping in) Any settlement agreement must include, and this is critical, a letter of exoneration, making clear my termination had nothing to do with the quality of my work.Charles Wheeler WHISPERS to Belinda Conine. BELINDA CONINE Your Honor, Mr. Beckett's incompetence nearly sabotaged a 350 million dollar suit. ANDREW I was the one who was sabotaged. BELINDA CONINE We have complaints about Mr. Beckett's lack of preparation, his disorganization, his arrogant, defensive attitude... The list goes on. JEROME GREEN We have letters. JOE Why haven't you produced these letters? JUDGE GARNETT Take it easy. (to Wheeler) What's the big deal, Chuck? The boy wants a letter, to show to his mother, for her to keep after he's gone. Why are you being hard- assed about this? WHEELER I wish I could exonerate you, Andy. But I'd have to lie to do it. ANDREW (very calm) You can save it for the jury, Charles. I want to hear you say, under oath, in front of a judge and a jury, I'm a bad lawyer. (rises) Gentlemen. (to Belinda) Counselor. WHEELER Don't do this, Andy. JOE Whoa, whoa... (to Andrew) What do you expect them to say, you're Alan Dershowitz? KENTON A trial takes time, Beckett. Do you know what I'm saying? ANDREW I think I catch your subtle drift, Walter.Andrew saunters out. KENTON You'll be sorry, Beckett. WHEELER Andy, you don't want this.Joe scans the room, all eyes are on him. His frown turns intoa grin. He faces the Judge. JOE With all due respect, Your Honor, my client chooses to pursue his constitutionally guaranteed right to a trial.Joe exits. CUT TO:HAND HELD CAMERA SHOT OF: THE FRONT YARD OF A TWO-STORYColonial house in Downington, Pennsylvania (EXT./DAY) ...Andrew walks toward the house, TALKING DIRECTLY TO CAMERA. ANDREW This is the house where I grew up. In Downington, Pennsylvania. (pointing to the ground) See this... ?The CAMERA POINTS to SEVERAL PAIRS OF CHILD'S HAND PRINTS in thesidewalk, then, BACK TO ANDREW IN CLOSE UP, SMILING. ANDREW (CONT.) Those are my cute little hand prints. And my brother's and my sister's. MIGUEL'S VOICE (BEHIND CAMERA) And today is... ? ANDREW Today is my parents' fortieth wedding anniversary.Andrew goes inside, speaking to the CAMERA: ANDREW (CONT.) This is the front door. I caught a finger in this door, once... (holds it up) This one. Broke it. (stepping inside) This is the hallway, my mother calls it a foyer...INSIDE THE HOUSE (INT./DAY):CHILDREN are running through the house, while WOMEN sportingcorsages confer in the kitchen. A SIX YEAR OLD GIRL jumps intoAndrew's arms. ALEXIS Uncle Andrew! ANDREW (to CAMERA) This is my niece, Alexis. Say hello, Alexis. ALEXIS Mommy's pregnant again. ANDREW (doing Walter Cronkite) You heard it here first, folks. News as it happens.Andrew's older and very down to earth sister JILL, puts herarms around Andrew, squeezing tight. JILL Hello, darlin'. ANDREW This is my sister, Jill, the most fertile woman on the planet. She's married to Reverend Jim. JILL You feel thin. (over Andrew's shoulder) Hello, Miguel.As Jill leaves Andrew's arms, the CAMERA IS TRADED OFF TOANDREW, who SHOOTS JILL GIVING MIGUEL A HUG. MIGUEL Hey, Jill. Nice to see you, sweetheart. JILL (hugging Miguel) Handsome devil. (referring to Andrew) Is he eating? MIGUEL We don't discuss his weight. (to Andrew, behind CAMERA) Do we?CAMERA MOVES DOWN THE CORRIDOR... ANDREW (OS) And what will we find in... da duh da duh da duh... the KITCHEN!A GROUP OF LADIES SCREAM when CAMERA ENTERS KITCHEN. LADIES There he is! Hi, Andrew! Don't point that thing at me! etc...Andrew's mother Sarah wears an unpretentious flowery dress. ANDREW Hi, Mom. How do you feel on your fortieth anniversary? SARAH Ancient. How do you think I feel? Put that thing down and give me a hug. (he keeps it pointed at her) Andrew, stop! ... He still doesn't listen. ANDREW Where's Dad? SARAH He's out in his shed showing your uncle his new riding mower.One of Andrew's YOUNG NEPHEWS SHOVES HIS FACE into theCAMERA, UNTIL SCREEN GOES BLACK. CUT TO:QUIET (INT./DAY) ...Andrew and his immediate family are gathered in the den, sittingquietly, facing each other. Andrew's father, BUD, with anAmerican flag pin in his lapel, sits next to Sarah. Jill holdsthe hand of her husband, REVEREND JIM. Two of Andrew's brothers,MATT and RANDY, (big, athletic guys with mustaches) are there.Andrew sits next to Miguel. ANDREW Things might be said, at the trial, that... are not going to be easy for you to hear. Things about me, about my private life. And I want to make sure it's okay with everybody. MATT I appreciate you asking, Andy, but really, it's your call. ANDREW What do you think, Jill? JILL To be honest, I'm worried about Mommy and Daddy. They've had to go through so much already... And, we all know... (very difficult to say) There's going to be even worse things to deal with, eventually. I wonder if it's fair to put them through this.Andrew's father STARES at his folded hands. ANDREW Mom? SARAH All I know is, you got through your diagnosis fine, like a trooper. But when they fired you... you were so devastated, Andy... I don't expect any of my kids to sit in the back of the bus. Fight for your rights. ANDREW Thanks, Mom... Dad?There's a pause before Bud Beckett speaks. BUD Supposedly, the Lord doesn't give you more trouble than you can handle. But I'm having a hard time believing that these days.Andrew's construction worker brother, RANDY, wipes tearsfrom his eyes. Clearly their father is in alot of pain. BUD (CONT.) Andy, the way you've faced this whole thing, you and Miguel, with so much courage... your mother and I have been so very impressed...Andrew gazes at his father with incredible love. Miguel putsan arm around Andrew. BUD (CONT.) I can't imagine there is anything, that anyone could say, that would make us feel less proud of you. ANDREW (full of emotion) Thanks, Dad. I love you guys. How about you, Randy? RANDY Hey. You're my kid brother, Andy. That's the bottom line. I mean, what are those bastards going to say? You're gay? Shit, I knew that when you were five years old.Everyone LAUGHS. Andrew and Randy high five. MIGUEL Wait a minute... (to Andrew) You're gay?More laughter. But Jill speaks seriously: JILL What about you, Andy? You're not a militant type. You've always been so private.CLOSE ON ANDREW: ANDREW I guess... I don't have time for that any more. SARAH Jim? Will you lead us in a prayer?Everyone bows heads, holding hands in a circle. REVEREND JIM Dear Lord. Sometimes it is difficult to remember to be grateful...CAMERA PANS THE CIRCLE, THE PRAYING FACES. REVEREND JIM (CONT.) To remember, in our times of sorrow and confusion, that we have You to turn to, and each other. Bless and keep Andrew and Miguel, dear Lord, deepen and strengthen their love as they face the struggles that lay ahead. Bless and watch over all of us, fill us with Your love, Your light, and Your peace, which passeth all understanding. In Jesus' name, we pray... EVERYONE Amen.ROMANTIC MUSIC CROSSES CUT TO:BECKETTS' LIVINGROOM, SEEN THROUGH THE VIDEO CAMERA (DAY) ...A local entertainer (GUIDO PAONESSA) launches into astandard, accompanied by a single guitar player, and Bud andSarah begin to dance, surrounded by family and friends. GUIDO "After all the days of Spring have flown..."VIDEO CAMERA PANS: RELATIVES eating cake, KIDS chasing eachother, a GRANDMOTHER in a wheelchair holding a NEWBORN,watching silent, video home movies.CAMERA FINDS Andrew and Niguel eating anniversary cake(Andrew barely touches his). Playing for the camera, Migueldips his finger into icing and smears it onto Andrew's nose.Andrew tries to reach the icing with his tongue.CAMERA PANS WITH ANDREW as he comes forward to dance with hismother, while Jill dances with their father.CAMERA RETURNS TO MIGUEL. MATT (behind the camera) says: MATT (OS) Hey, Miguel, can you imagine any two people being together for forty years?ZOOM IN CLOSE ON NIGUEL (who's watching Andrew): MIGUEL Yes. I can.VIDEO CAMERA PANS to Andrew dancing with his Mom, lingering onthis IMAGE... JOE (VOICE OVER) Forget everything you've seen on TV, and in the movies... CUT TO:HELICOPTER SHOT, REVEALING ALL OF PHILADELPHIA (DAY) ...TITLE: "Eight months later." JOE (OS) (CONT.) There won't be any last minute, surprise witnesses... CUT TO:A MAN LOOKING INTO CAMERA: HE'S YOUNG, CONFIDENT, ALLAmerican, a Marine (INT./DAY) ...TITLE: "Opening statements."The MARINE is a JUROR. CAMERA PANS others: a BLACK LADYSCHOOLTEACHER, a POSTAL WORKER, an ASIAN COLLEGE STUDENT. JOE (OS) (CONT.) No one will break down on the stand with a tearful confession...REVERSE ON JOE, ADDRESSING THE JURY. JOE (CONT.) You are presented with a simple fact: Andrew Beckett was fired. You will hear two explanations for why he was fired. Ours. And theirs...Joe crosses the courtroom, coming to stand in front of...ANDREW, whose appearance has changed: thinner, paler than we'veever seen him, some blisters on his lips. But the most disturbingthing about his appearance is the way he moves, slowly, like amuch older man. He's taking notes (which he will dorelentlessly throughout the trial.) And he has a cane at hisside, which he'll use throughout the trial. JOE (CONT.) It's up to you, to sift through layer and layer of truth, and determine for yourselves the version that sounds the most true.Charles Wheeler, Walter Kenton, Bob Seidman, Kenneth Killcoynesit BEHIND their lawyers, Belinda Conine and Jerome Green, andSEVERAL ASSISTANTS at the defense table.JUDGE GARNETT presides from his bench.Among the spectators, Miguel sits next to Sarah, andAndrew's sister Jill. AIDS ACTIVISTS in the background. JOE (CONT.) There are certain points in our version, that I must prove to you... Point number one: Andrew Beckett was... is a brilliant lawyer. A great lawyer. Point number two. Andrew Beckett, afflicted with a debilitating disease, made the legal, understandable, personal choice to keep the fact of his illness to himself... Point number three: His employers discovered his illness. And ladies and gentlemen, the illness I'm referring to, is AIDS...Joe pauses, letting that sink in. JOE (CONT.) Point number four. They panicked. And, in their panic, they did what most of us would like to do with AIDS... Get it, and the people who have it, as far away from us as possible.Joe walks away from Andrew. JOE (CONT.) The behavior of Andrew Beckett's employers may seem reasonable to you. It does to me. After all, AIDS is a deadly, incurable, disease...CLOSE ON MEMBERS OF THE JURY. JOE (CONT.) But however you come to judge the behavior of Charles Wheeler and his partners in moral, ethical, human terms... When they fired Andrew Beckett because he had AIDS, they broke the law.With a swift, direct glance at the Judge, Joe speaks withconsiderable power and emotion: JOE (CONT.) And, when lawyers break the law, when this society loses respect for the law, when that day comes, our cherished institutions will be burned to the ground, and our children and grandchildren will live like savages. CUT TO:BELINDA CONINE ADDRESSING THE JURY (INT./DAY) ... BELINDA Fact. Andrew Beckett performed at a consistently mediocre level. Fact. He made a grievous error on a multi-million dollar lawsuit... Fact. He claims he is the victim of lies and deceit. Fact. Andrew Beckett lied to his employers, going to great efforts to conceal his disease from them. Fact. He was successful in his duplicity. The partners at Wyant Wheeler did not know Andrew Beckett had AIDS when they fired him...Belinda pauses in front of the plaintiff's table BELINDA (CONT.) Fact. AIDS is a tragedy...Andrew looks directly at Belinda. BELINDA (CONT.) Fact. Andrew Beckett is dying.Joe watches Andrew for his reaction. BELINDA (CONT.) Fact. Andrew Beckett is angry. Because his "lifestyle," his reckless behavior, has cut short his life... And in his anger, his rage, he's lashing out. And he wants someone to pay. CUT TO:ON THE WITNESS STAND: A SOLIDLY BUILT EXECUTIVE FROM Alarge insurance company, MR. LAIRD (INT./DAY) ... JOE Andrew Beckett represented your company in a lawsuit in 1990, is that correct? LAIRD Wyant Wheeler represented us.Andrew glances toward the jury box: the MARINE JUROR writes in atiny notebook. JOE But, Andrew Beckett was in charge of litigation for the suit. LAIRD That's correct. JOE Were you pleased with his work? LAIRD We were satisfied.Joe and Andrew exchange a LOOK -- Laird's response surprises anddisappoints them. JOE Were you satisfied, or were you pleased?Laird glances toward Charles Wheeler before answering. LAIRD We were satisfied.Joe refers to legal documents. JOE Mr. Laird, when I approached you about being a witness at this trial, and you agreed, you gave sworn testimony in a deposition. Is that correct? LAIRD That's correct. JOE According to the deposition, you said you were "thrilled, impressed, overwhelmed" by the quality of Andrew Beckett's work. Do you remember saying that? LAIRD I may have said something like that. But that's not how I feel at this moment.Joe takes on a street-tough tone: JOE Okay, Mr. Laird. Explain this to me like I'm a four year old: Did Andrew Beckett win your lawsuit for you or not? LAIRD We won. JOE Did that thrill, impress and overwhelm you? LAIRD It satisfied me.Joe STARES at the guy. JOE It's a long way between being overwhelmed and being satisfied. A cheeseburger may be satisfying whereas caviar and champagne and roast duck and baked Alaska for dessert might be considered overwhelming. Do you agree? LAIRD I might. JOE Five months ago you characterized Andrew Beckett as caviar and now you're calling him a cheeseburger. Your standards have shifted a great deal, and I'd like to know why you've changed your mind. LAIRD Since that time I've devoted more thought to the subject, and that's how I feel now. QUICK CUT TO:JEROME GREEN CROSS-EXAMINING LAIRD (INT./DAY). JEROME GREEN Partner Robert Seidman was the supervising attorney for your lawsuit? MR. LAIRD That's right. JEROME GREEN Does the supervising attorney guide the litigating attorney during the trial? MR. LAIRD Often, he does. JEROME GREEN As far as you know, in the handling of your lawsuit, Andrew Beckett was simply following orders. LAIRD That's a fair assessment of the situation.Andrew glances over his shoulder: at Robert Seidman, whomeets his gaze. CUT TO:SPECTATORS STREAM OUT OF CITY HALL INTO THE HUBBUB OF TWODISTINCT GROUPS SHOUTING AT EACH OTHER (EXT/DAY): GAY RIGHTSACTIVISTS in T-shirts with pink triangles, denouncingdiscrimination; BORN AGAIN ACTIVISTS waving placards citing AIDSas God's punishment for homosexuality; POLICEMEN keeping themapart; A MEDIA CIRCUS getting it on videotape.Joe and Miguel FLANK Andrew, who walks weakly. with a cane.Sarah and Jill follow close behind, running the gauntlet ofACTIVISTS and REPORTERS.Andrew's POV on a placard: "We Die - They Do Nothing!"Jill's POV on a placard: "AIDS Cures Homosexuality!"A TV CREW shines HOT LIGHTS on Andrew. TV REPORTER (ANGELA MEDINA) Do you see this as a gay rights issue? ANDREW I'm not political. I just want compensation for being fired. REPORTER MEDINA But you are gay, aren't you?IMAGE: ANDREW SEEN ON A TV SCREEN (INT./NIGHT): ANDREW "I don't see how that's any of your business... (a smile) But yes, I am."WIDE ANGLE: WE'RE IN A SPORTS BAR WHERE JOE WATCHES THE SIXO'CLOCK NEWS WITH FILKO, A LOCAL COP, OTHERS (INT./NIGHT) ...ON THE TV SCREEN: A microphone is shoved at Joe. REPORTER MEDINA "Do you believe that homosexuals deserve special treatment?" FILKO Hell, no! JOE (on TV) "Angela, we're standing in Philadelphia, the City of Brotherly Love, the birthplace of freedom, where our Founding Fathers authored the Declaration of Independence. And I don't remember that glorious document saying "All straight men are created equal." I could have sworn it says, "All men are created equal." CHARLIE THE COP Give me a goddamn break!ON THE TV SCREEN: The REPORTER wraps up her story. REPORTER MEDINA "This case is sending a cold chill through the legal community. One of Wyant Wheeler's key clients, the Grace Foster Foundation, which supports several AIDS charities, has taken its business to another firm until this matter is resolved..."As the TV DRONES ON, CHARLIE THE COP, OTHERS GLARE at Joe. FILKO (chuckles) Hey, Joe. (a wink to the COP) You're not starting to get a little... light on your feet here on us, are you?Joe does not laugh. JOE Yeah, Filko. I am. (stepping toward Filko) I'm on the prowl, Filko. I need a man. Not just any man. I need a hunk. A hunk like you. How about it, Filko? Want to play sailor? This time, I'll be first mate and you can be Columbus. FILKO Chill out, Joe. JOE (angry) Those people make me sick, Filko! But a law's been broken, okay? The law. Remember the law?CHARLIE THE COP has relaxed a bit. CHARLIE THE COP At least we agree on one thing, Joe... They make me sick too.HOLD ON JOE, but WE HEAR THE TV REPORTER in the BACKGROUND: TV REPORTER MEDINA "... now the public knows that your son has AIDS and he's gay. How does that make you feel?"All eyes turn to the TV: SARAH BECKETT IN CLOSE UP. SARAH "This is a world full of war, famine, poverty, homelessness... and people make a fuss because two men or two women want to live together, or make love. Seems kind of silly, doesn't it?"The bar ERUPTS with a CHORUS OF BOOS AND CATCALLS. CUT TO:JOE ADDRESSING A WITNESS IN COURT (INT./DAY) ... JOE And Walter Kenton knew the lesions on your face and arms were caused by AIDS?The witness: MARIA TORRES, Hispanic, 35, healthy-looking. MARIA Definitely. People were going around, whispering things. I figured I didn't have anything to lose, so I told all the partners. JOE How did Walter Kenton treat you, after you told him you had AIDS?CLOSE ON KENTON, looking confident. MARIA Every time he came into contact with me, he'd get this look on his face. I called it, the "Oh God" expression. As in "Oh God, here comes that woman with AIDS."Andrew LAUGHS. JOE Ms. Torres? Have your employers fired you for having AIDS? MARIA No. When I need time off, for medical reasons, we work it out. JOE Thank you. No more questions.Jerome Green rises. JEROME GREEN Miss Torres. How did you contract the AIDS virus? MARIA During a transfusion. I lost a lot of blood giving birth to my second child. JEROME GREEN In other words, in your case you happen to be an innocent victim of the AIDS tragedy. MARIA Look. I'm no different from everyone else who has this disease: I'm not guilty, I'm not innocent. I'm just trying to survive. QUICK CUT TO:JOE, APPROACHING A WITNESS (INT./DAY) ... JOE Beyond noticing the marks on his face, were there other things about his appearance that made you suspect he had AIDS?THE WITNESS: Paralegal Anthea Burton. ANTHEA He was losing weight. He looked kind of tired sometimes. But he was working so hard... Still, I felt something was wrong. (looking at Wheeler) And I can't believe they're saying they didn't notice anything. BELINDA Objection. JUDGE GARNETT Just answer the question. ANTHEA Sorry. JOE Ms. Burton. You're black. ANTHEA Is that a question? JOE No. Have you ever felt discriminated against, at Wyant Wheeler? ANTHEA Yes.Wheeler shakes his head, disgusted. Kenton fumes, outraged.Seidman looks surprised. JOE In what way? ANTHEA Well... One time, Mr. Wheeler's secretary, Lydia, told me Mr. Wheeler had a problem with my earrings. JOE Your earrings?Anthea is wearing large, dangling African-style earrings. ANTHEA Apparently, Mr. Wheeler felt they were too... "ethnic" is the word she used. She said he would like it if I wore something smaller, less garish, and... more "American." JOE What did you say? ANTHEA I said my earrings are American. They're African-American. JOE Thank you. No more questions.Belinda Conine approaches Anthea. BELINDA Miss Burton? Do you still work at Wyant Wheeler? ANTHEA Yes. BELINDA Were you recently promoted? ANTHEA Yes. I'm now in charge of the paralegal department. BELINDA Thank you. CUT TO:A PHILADELPHIA EXTERIOR, A FALL AFTERNOON (LATE DAY) ... CUT TO:JOE COMES DOWN AN AISLE OF A DRUG STORE, EXAMINING THE BABYcold medicines, carrying a box of Pampers (INT./DAY) ...A YOUNG MAN in grass-stained sweats, carrying a football underone arm, buying a tube of toothpaste, speaks to Joe: YOUNG MAN How's the trial going? It's a great case.Joe looks up surprised. The YOUNG MAN smiles. YOUNG MAN (CONT.) I saw you on television. I'm a law student. At Penn.Joe is flattered by the YOUNG MAN'S interest. JOE Good school. What year? YOUNG MAN Second. JOE Great. YOUNG MAN Would you like to have a drink with me? I just finished a game, I could use a beer. (a smile) I don't pick up people in drug stores every day. JOE Whoa, whoa, whoa, whoa... do you think... ? You think I'm... (low) ... gay? YOUNG MAN Aren't you? JOE What's the matter with you? Do I look gay to you? YOUNG MAN Do I look gay to you? Relax. JOE Relax? I ought to kick your faggoty little ass for you! YOUNG MAN Take it as a compliment. Geesh.But Joe is really upset. People are watching. JOE Don't you know this is exactly the kind of bullshit that makes people hate you guys? YOUNG MAN Fuck you! You want to kick my ass? You want to try? (walking away) Asshole. JOE You're the asshole, buddy. YOUNG MAN (going out) Get a life.Joe stands there, holding the Pampers, people STARING. CUT TO:LISA'S WORKING ON HER COMPUTER, AT HOME, WHILE JOE PACESaround her desk, really upset (One year-old Rayisha sits onthe desk playing with wooden salad spoons.) (INT./NIGHT) ... JOE But what was it?! What was this guy thinking... ?! LISA Don't know, Joe. JOE Is there some kind of expression I've picked up from Beckett?! Some kind of fairy attitude I've unconsciously adopted?! Am I walking different?! Some kind of vocal thing?! Have I picked up some kind of homo vibe?! LISA Have you changed your aftershave? JOE Very funny. I had a box of Pampers under my arm for Chrissake! CUT TO:LISA AND JOE'S DARKENED BEDROON, WHERE THEY LIE IN BED,almost completely obscured by shadow (INT./NIGHT) ...They speak softly, careful not to wake the baby. LISA Joe? JOE (sleepy) Yeah... ? LISA Two men making love... ? Now tell me again... why is that disgusting? JOE (a tired sigh) Lisa, c'mon. One guy sticking his dick in another guy's mouth? It's disgusting.They lie in silence for a moment. Then: LISA Okay, so... help me with this one, Joe... Is it disgusting for someone to put his dick into someone's mouth? Or, is it disgusting for someone to take a dick into their mouth? JOE (after a beat) Great, Lisa. Thank you. TO:EXTERIOR: CITY HALL, AN AUTUMN DAY... JOE (VO) "But, ultimately, the complaint was found, wasn't it? CONTINUOUS CUT TO:WIDE ANGLE ON COURTROOM: JAMEY COLLINS ON THE STAND (DAY). JAMEY Yes. We found a copy. It been incorrectly filed...TITLE: "Plaintiff's case, day ten." JAMEY (CONT.) We got it to court on time.ANGLE ON THE JURY: Several JURORS write in notebooks like theMarine's; he's been handing them out...Joe seems ill at ease today, a little off his game. When heglances at Andrew, it's with irritation. JOE Has a file ever disappeared like that before? Vanished into thin air, all of a sudden, only to reappear in the nick of time?Jamey answers nervously: JAMEY I've never known that to happen before. No. JOE (fires this question) Did you have something to do with this file being lost accidentally-on-purpose? BELINDA Objection! JOE I'll rephrase. (to Jamey) Did you have anything to do with this file being... misplaced? JAMEY Absolutely not.Joe stands, staring at Jamey. Too long. Jamey squirms. JOE Are you a homosexual? JAMEY What?!Joe pressing forward, toward Jamey. JOE C'mon, Mr. Collins. Are you homosexual? You know, gay?The COURTROOM ERUPTS: ACTIVISTS booing Joe, Wheeler's crowdexpressing OUTRAGE, JURORS looking confused.Andrew takes in the commotion, as the JUDGE BANGS HIS GAVEL. JUDGE GARNETT Hold it, hold it!Andrew trains his attention on Joe. BELINDA Objection! Where has this come from?! Suddenly Counsel is attacking his own witness. Mr. Collins' sexual orientation has absolutely no relevance to this case. JUDGE GARNETT I said, HOLD IT! (the courtroom QUIETS) Mr. Miller. Could you kindly share with me exactly what's going on in your brain, because I don't have a clue at the moment.Joe faces Andrew, also curious to know what Joe's up to. JOE Your Honor, everyone in this courtroom is thinking about sexual preference, sexual orientation, whatever you want to call it. They're looking at me, and wondering about it... (looking at Andrew) They're looking at Mr. Beckett, and wondering about it. They're looking at Mr. Wheeler and wondering about it. They might even be looking at you and wondering about it. So, let's get it out in the open. Let's talk about what this case is really about: the general public's hatred... our loathing, our fear of homosexuals.DEAD SILENCE while the Judge thinks it over.CLOSE ON ANDREW. ANDREW (to himself) Very good.CLOSE ON BELINDA CONINE.CLOSE ON CHARLES WHEELER.CLOSE ON MIGUEL.CLOSE ON WALTER KENTON.CLOSE ON BOB SEIDMAN.CLOSE ON THE MARINE JUROR.CLOSE ON JAMEY COLLINS, sweating bullets on the stand. JUDGE GARNETT In this courtroom, Mr. Miller, justice is blind. To matters of race, creed, color, religion. And sexual orientation. JOE With all due respect, Your Honor... We don't live in this courtroom, do we? JUDGE GARNETT No. We don't... However, as regards this witness, I'm going to sustain the defense's objection. CUT TO:COURTHOUSE MEN'S ROOM, FIVE URINALS, THREE SINKS (INT./DAY).The MARINE JUROR, the RETIRED POSTAL WORKER JUROR, and ANUPTIGHT BUSINESSMAN JUROR stand at the urinals, with an emptyurinal between each of them. The MARINE JUROR whistles whilehe pees (a classic rock tune, like "Radar Love.") TheBUSINESSMAN sighs, "Ahhhhhh."The RETIRED POSTAL WORKER JUROR jingles change.The ROCK MUSICIAN JUROR enters, stepping up to the urinalbetween the BUSINESSMAN and the MARINE. He unzips, and it seemsto take him an incredibly long time to extricate his urinaryorgan. This does not escape the MARINE'S notice. ROCK MUSICIAN JUROR (innocently, to Marine) I have some gay friends. What's the biggie?The MARINE says nothing. ROCK MUSICIAN JUROR (CONT.) Everybody has a couple of gay friends. Don't you? MARINE No, sir. I do not.The MARINE moves closer to the urinal, so that no one can seehis private parts. ROCK MUSICIAN JUROR You might have them, and just not know they're gay.The MARINE shakes, zips, flushes, turns away. He pauses to lookdirectly at the ROCK MUSICIAN JUROR. MARINE I know. CUT TO:WALTER KENTON ON THE WITNESS STAND (INT./DAY) ... JOE And how many weeks at a time would you be out to sea, without stopping at port? KENTON Anywhere from two weeks, to several months. JOE Any women on board?Kenton glances at the MARINE JUROR. KENTON Not when I was in the Navy. JOE So during those long voyages, months at a time, out to sea, no women in sight, a hundred, hardworking, robust, young men, in the prime of their life, at the peak of their natural appetites, desires, their god- given, hormonal instincts... Anything going on? KENTON Going on... like...? JOE Like... two sailors playing hide the salami.Andrew covers his face with his hands. BELINDA Objection! JUDGE GARNETT Mr. Miller! KENTON (can't resist) We had one guy like that. BELINDA You haven't ruled on my objection, Your Honor.Kenton seems eager to tell his story. Joe stands withcrossed arms, waiting. JUDGE GARNETT Let's continue. JOE (to Kenton) You had one guy "like that?" KENTON Yeah. But we took care of him. JOE How did you do that? KENTON We stuck his head in the latrine, after ten of us had used it.LAUGHTER and SOME APPLAUSE from some SPECTATORS, and someJURORS. ACTIVISTS BOO and HISS.The JUDGE POUNDS HIS GAVEL. JOE You taught him a lesson. KENTON Yes, we did. JOE Like firing Andrew Beckett taught him a lesson? BELINDA Objection! JOE I'll withdraw. (moving on quickly) You were aware, when you worked with Maria Torres, that she had AIDS, correct? KENTON She didn't try to conceal it. JOE So you are aware of the difference between a lesion and a bruise, is that correct? KENTON I know the difference. That doesn't mean I'm always able to recognize the difference. JOE But didn't you avoid contact with Ms. Torres, after you found out she had AIDS? She says you acted repulsed by her and you avoided her, is that correct? KENTON I felt, and still feel, nothing but the deepest sympathy and compassion for people like Maria, who have contracted this terrible disease through no fault of their own. CUT TO LOUD CLASSICAL MUSIC:IN THE KITCHEN OF THEIR APARTMENT, MIGUEL POURS MEDICINEinto an IV drip unit (INT./NIGHT) ...LOUD CLASSICAL MUSIC IN THE BACKGROUND.Miguel glances at a chart on the wall, in which a day isbroken into hours, with medical instructions for each hour MIGUEL (shouting over MUSIC) Drew! Are you ready? If we start at eight, we'll be done by twelve.Miguel taps the IV bag, getting the drip started.A cat jumps onto the counter. Miguel holds it. CUT TO:ANDREW SITS AT THE DININGROOM TABLE, MAKING NOTES ON A LEGALpad, holding out his left arm (INT./NIGHT). A catheter isimbedded into Andrew's arm, and Miguel is trying to get theIV drip started through the catheter. The MUSIC is lower... MIGUEL It's not going through. ANDREW (focused on his work) We'll have to flush it again.Andrew reaches for a law book. MIGUEL Hold still. Shit. (trying again) The goddamn vein's clotted. We have to go the goddamn hospital, so they can change the goddamn catheter. ANDREW I have too much work to do. Skip the treatment. MIGUEL We're not skipping this treatment. ANDREW I said, skip it, Michael. It's my treatment. MIGUEL Fuck you. ANDREW Fuck you. This shit's probably not doing me any good anyway. MIGUEL That shit's saving your life, you asshole!Miguel shoves away from the table. ANDREW What's wrong with you? MIGUEL Close the law book. ANDREW I'm not going to close the-- MIGUEL CLOSE THE FUCKING LAW BOOK!Andrew slams it SHUT. ANDREW ALLRIGHT IT'S CLOSED! (beat) Jesus! MIGUEL The least you can do is look at me, while I'm sticking this shit into your arm. Forget the fucking case, one hour a day, and give me a little of your time. ANDREW (very quiet) You don't think there's much time left, do you? MIGUEL That's not what I said. ANDREW You're scared. You think we're near the end. MIGUEL No. ANDREW Maybe I should start making plans, is that what you think? Start planning my memorial service? "Begin to prepare for the inevitable." MIGUEL (low) Maybe you should think about it. ANDREW What's that mean?! MIGUEL (very difficult) Maybe you should think about it.A MOMENT. ANDREW I'm not going to die. MIGUEL That's right. We're on the Positive Plan. You don't have a Fatal Disease, you have Manageable Illness. ANDREW You want me to give up? Let this thing turn us into victims? MIGUEL Then, what are we, Drew?! The winners? "Ladies and gentlemen, the first prize of AIDS goes to Andrew Beckett and his lover Miguel..." Excuse me, I'm not your lover. I'm your Care Partner. FUCK! ANDREW I'm not ready to die. MIGUEL Do you think I'm ready for it?! I hate this shit. I'm not a fucking martyr! I hate every goddamn part of it!Miguel slides down the wall, sitting in a heap.Andrew goes to him. They hug. Miguel holds him tight. MIGUEL (CONT.) Please don't leave me. I love you so much. Don't die, don't leave me, please...Miguel rocks in Andrew's arms. Andrew kisses the top of hishead, holding tight. ANDREW I am so scared. I am so fucking, incredibly, fucking scared...A MOMENT. Andrew stroking Miguel's hair, as he calms down. ANDREW (CONT.) You know, there's only one thing to do. (beat) We have to have a party. CUT TO:JOE AND LISA STAND OUTSIDE ANDREW'S APARTMENT -- IN COSTUME.DANCE MUSIC is playing inside (INT./NIGHT) ...Lisa is dressed as a giant sandwich. Joe's costume looks quicklythrown together: he's wearing a suit, but has pages from a legaldocument stapled all over the suit. JOE Did I ever tell you, I hate costume parties? LISA My lettuce is wilting.The DOOR IS OPENED -- by the LEAD SINGER OF WHITE SNAKE: bighair, leather, guitar. ANDREW (AS ROCKER) PARRTYY! JOE We're friends of Beckett's. ANDREW It's me, you dork. LISA I'm Lisa Miller. ANDREW Glad to finally meet you. Come on in. CONTINUOUS CUT TO:JOE AND LISA FOLLOW ANDREW INTO THE APARTMENT (HE LIMPS, relyingon his cane, but he's got A LOT OF ENERGY). The room is filledwith two Madonnas, an M.C. Hammer, three nuns, a can of soup(INT./NIGHT) ... ANDREW (to Lisa) I have to introduce you to the can of soup. You can enter the costume contest together as a lunch special.Miguel approaches, dressed as a MEMBER OF MEGA-DEATH or ANTHRAX.He strikes a pose, contorts his face and hits an air guitar riff.Andrew crosses guitars with Miguel. Then: ANDREW This is Lisa Miller. Miguel Alvarez.Miguel's sister MARIA is passing by with a GROUP OF FRIENDS.Everyone ad libs greetings. MIGUEL My sister, Maria. (to Lisa) Pastrami on rye? LISA Corned beef. MIGUEL Want to dance? LISA Sure!Miguel leads Lisa away. Joe is reluctant to give her up. JOE Beckett. You seem... better. Energized, more alive... ANDREW I had a blood transfusion today. I feel great.Andrew studies Joe, trying to figure out the costume. JOE I'm a law suit. ANDREW Not bad. JOE Get it? ANDREW Let's find you a drink.Andrew leads Joe through the crowd, greeting Rachel, skinpainted blue (SMURFETTE) her daughter AMY (BART SIMPSON),Anthea, TYRONE from Dr. Gillman's office (A COWBOY), andTYRONE'S LOVER (A HORSE) ... Some of Dr. Gillman's PATIENTSare here too, including the YOUNG ASIAN MAN who is now in awheelchair. And, one or two of ANDREW'S SIBLINGS may bepresent as well. And Alan, Bruno and Chandra, and some artyfriends and neighbors. ANDREW (CONT.) What do you want? JOE Beer. (patting his briefcase) We need to go over your Q and A. ANDREW Excuse me, I'm having a goddamn party, is that allright with you? JOE Sure. It's fine. ANDREW No, we have to do it. But later, allright? JOE Thank you.A MAN dressed as LA TOYA JACKSON (with fake snake) squeezespast Joe, reaching for a beer. LA TOYA 'Scuse me, darling.Andrew is SMILING at Joe. JOE You think I'm uncomfortable... ANDREW Correct. JOE You're right.Joe spills beer down his shirt. ANDREW Thank you. CUT TO A SERIES OF PARTY MOMENTS OVER LOUD MUSIC:--Andrew and Miguel ROCKING to HEAVY METAL MUSIC, playing abattle of the guitars. At one point, Andrew has to sitdown, but he doesn't stop "playing," while Miguel jumps allaround him.--Joe talking to a MAN DRESSED AS MARIE ANTOINETTE: MARIE ANTOINETTE I'm an accountant. What do you do? JOE I'm a lawyer. (points to Lisa) That's my wife!--Andrew's mother Sarah, as Marge Simpson, delivers a trayof hors d'oeuvres to Joe (standing next to a POLICEMAN): SARAH Have a cocktail wienie. JOE Thanks, Sarah. (to the POLICEMAN) Nice costume. POLICEMAN It's not a costume, I just got off work. You're cute. JOE (pointing to Lisa) That's my wife. Want to see a picture of my baby? POLICEMAN (reaching for his wallet) Absolutely. Want to see a picture of my baby?--Everyone SLOW DANCES to the Talking Heads tune "Heaven"(Simply Red cover version): Joe and Lisa, Andrew andMiguel, Rachel with a sleepy Amy in her arms, the POLICEMANand TYRONE, Sarah Beckett and MARIE ANTOINETTE, LA TOYA andher snake. "HEAVEN" CONTINUES OVER:A CAB IDLING IN THE STREET, LISA KISSING JOE (NIGHT). JOE I'll see you in an hour, max. LISA Night, honey.Lisa climbs into the cab which she is sharing with the NUNand MARIE ANTOINETTE and LA TOYA. NUN/MARIE ANTOINETTE/LA TOYA Night, Joe! "HEAVEN" CONTINUES OVER:QUIET IN ANDREW'S CONDO, THE PARTY LONG OVER (INT/NIGHT).Joe opens his briefcase, removing a legal pad with notes. ANDREW Congratulations, Miller.Andrew clears away party debris from the table, making spacefor his legal work. He is attached to an IV line, which isconnected to a drip bag on a rolling stand, that can movewith him. He is no longer in costume. ANDREW (CONT.) You survived your first gay party intact. JOE Let me tell you something, okay? When you're brought up, like the rest of us, in a place like where I was brought up, there's not a whole lot of discussion about... homosexuals. As a kid, you're taught right away that queers are weird, queers are funny, they're a danger to kids, they're afraid to fight, and they all want to cop your joint. And that pretty much sums up the general thinking out there, if you want to know the truth. ANDREW Thank you for sharing that with me, Joe. JOE Let's review these notes for your testimony. We have a big day on Monday.Joe begins ticking off a list of courtroom reminders: JOE (CONT.) When you refer to Wheeler, call him Charles, to show how you'd been admitted to the inner circle, you were considered one of them. ANDREW (distracted) Uh huh... JOE (CONT.) Beckett? ANDREW Charles. Okay. Miller? JOE What? ANDREW Do you... pray?Joe hesitates. They're having a personal conversation? JOE Yeah. Sure.Joe goes back to the notes: JOE (CONT.) Then we establish how Wheeler's boys recruited you after law school... ANDREW What have you prayed for? JOE For a healthy baby. For Lisa to make it through the delivery. For the Phillies to get into the playoffs. ANDREW (no self-pity) There's a possibility I won't be around for the end of this trial. JOE I've considered that. ANDREW What happens? JOE We proceed, representing your estate. ANDREW I've made provisions in my will for some charities. Miguel will need a lawyer. I know it's not your area... JOE I know a good probate lawyer. ANDREW Thanks. (a beat) Do you like opera?Andrew moves to the stereo, pulling the IV line with him. JOE Opera? ANDREW Want to hear my favorite aria? JOE Opera?SUDDENLY, AN ARIA BY MARIA CALLAS FILLS THE ROOM --startling Joe with its VOLUME. ANDREW (over the MUSIC) Andrea Chenier, by Giordano. This is Madeleine. She's telling how, during the French revolution, a mob set fire to her house. Her mother died, saving her. "I look... The place that cradled me was burning!" Do you hear the heartache in her voice? Then, here come the strings. Everything changes. The music fills with hope. Madeleine says...Andrew sways through the room to the music, pulling the IVat his side. He seems truly free and relaxed. ANDREW (CONT.) "It was during that sorrow that love came to me! A voice filled with harmony That said... Live still, I am Life!" "I am the god that descends From the heavens to the earth To make of the earth A heaven!"ANGLE ON JOE: Shifting, uncomfortable. ANDREW (CONT.) "I am Oblivion! I am Glory! I am Love, Love, Love!"The MUSIC ENDS.Joe sits there, fidgeting. He reaches for his briefcaseorganizing his notes. JOE I think I'll... I told Lisa.Andrew collects himself, as Joe rises from his chair. ANDREW Right.Andrew follows Joe to the door. ANDREW (CONT.) (businesslike) I'll look over the Q and A. JOE You're ready, don't worry.An awkward moment, both men standing with their hands attheir sides -- will one of them initiate a handshake?Joe gives a little "salute," then leaves. CONTINUOUS CUT TO:JOE COMES DOWN THE HALLWAY OF THE MODERN CONDO BUILDING(INT./NIGHT) ... JOE Jesus.Suddenly, Joe HEARS: OPERA MUSIC PLAYING AGAIN.He pauses, listening. INTERCUT WITH:ANDREW MOVES THROUGH THE ROOM, DRINKING IN THE BEAUTIFUL,passionate MUSIC (INT./NIGHT) ...The IV stand catches against the sofa, tugging the line.Andrew pulls the line out of his arm. He moves, freer now. INTERCUT WITH:JOE STANDS OUTSIDE ANDREW'S DOOR, OPERA MUSIC PLAYING(INT./NIGHT) ...Joe lifts his hand to KNOCK.He changes his mind. JOE Fucking guy...Joe moves down the corridor, rings for the elevator. INTERCUT WITH:ANDREW MOVING THROUGH SHADOWS, IN THE APARTMENT, LETTING THEMUSIC pull him along (INT./NIGHT) ... INTERCUT WITH:JOE STEPPING INTO THE ELEVATOR (INT./NIGHT).The doors closing. INTERCUT WITH:ANDREW AND THE MUSIC (INT./NIGHT). MUSIC FADING, CROSSES THE CUT TO:EXTERIOR: JOE'S SUBURBAN HOUSE LATE AT NIGHT...Joe crosses the yard to his dark house. MUSIC DISTANT, CROSSES THE CUT TO:JOE'S BABY LIES SLEEPING IN HER CRIB (INT./NIGHT).Joe looks down on the baby, adjusting the blanket. CONTINUOUS CUT TO:LISA FACES CAMERA, ASLEEP IN THE DARK BEDROOM (INT./NIGHT).Joe doffs his jacket, sinking quietly onto the edge of thebed, careful not to disturb Lisa.With his BACK TO CAMERA, Joe puts his head into his hands...And begins to weep.FADE OUT.FADE IN: PANORAMIC SHOT OF PHILADELPHIA EXTERIORS... CUT TO:HIGH, WIDE ANGLE ON THE COURTROOM, IN SILENCE (INT./DAY) ...Andrew moves very slowly with his cane across the courtroom,toward the witness stand.--JUDGE GARNETT crosses his arms, waiting.--JOE glances at some notes.--MIGUEL and SARAH BECKETT look on anxiously.--WHEELER and the others observe in silence.CAMERA HOLDS ON BIBLE BEING CARRIED IN GLOVED HANDS, ACROSSTHE COURTROOM. OVER THIS SHOT IS A...TITLE: "Plaintiff's case. day fourteen."The BAILIFF places the Bible in front of Andrew (a purpleblotch is showing in front of Andrew's ear.) BAILIFF Place your left hand on the Bible and raise your right hand.Andrew places his hand on the Bible. BAILIFF "Do you swear to tell the truth... DIALOGUE OVERLAP AND DISSOLVE TO:ANDREW ANSWERING A QUESTION AN HOUR OR SO LATER (INT./DAY). ANDREW Wyant Wheeler had aggressively recruited me. They were the most prestigious firm in Philadelphia, full of opportunity. And I was impressed by the partners. JOE Including Charles Wheeler?(Andrew frequently wipes sweat from his forehead with ahandkerchief. His voice is hoarse, raspy.) ANDREW Particularly, Charles.ANGLE ON WHEELER. JOE What impressed you about him? ANDREW He was... the kind of person I thought I wanted to be. JOE What kind of person is that? ANDREW Possessed of an encyclopedic knowledge of the law. A razor sharp litigator, a genuine leader, gifted at bringing out the very best in others. An awesome ability to illuminate the most complex of legal concepts to colleagues, courtrooms, the person on the street. (a smile) The kind of person who plays three sets of tennis but doesn't sweat. But underneath the elegant surface, was an adventurous spirit.Belinda Conine MAKES A NOTE ABOUT THAT. JOE Obviously, at this time, you weren't sick. ANDREW It's possible I was infected with the HIV virus at that time, but I wasn't diagnosed until several years later. JOE You didn't look then, the way you look now?REVERSE -- ON ANDREW IN THE WITNESS STAND, BUT NOW HE LOOKSCOMPLETELY DIFFERENT (The healthy. pre-AIDS Andrew.) ANDREW No. I was thirty pounds heavier. I was athletic. JOE A regular all-American guy? ANDREW I suppose you could say that. JOE Except... you were gay? ANDREW I still am.SPECTATORS CHUCKLE. JOE In the years you worked at Wyant Wheeler, did you ever tell Charles Wheeler you were gay? ANDREW No. I didn't. JOE Can you explain why you didn't? ANDREW You don't bring your personal life into a law firm. You're not supposed to have a personal life, really. Anyway, I did plan to tell Charles, eventually. But then, this thing happened at the tennis club...IMAGE: WHEELER. ANDREW. SEIDMAN. OTHERS IN A LOCKER ROOM OFA TENNIS CLUB, WEARING TOWELS, ENTERING A SAUNA (INT./DAY). WHEELER Longstreet's interested in the Harrisburg deal. ANDREW I'm seeing him this afternoon.INSIDE THE SAUNA: CAMERA PANS SEVERAL MEN. ANDREW (VOICE OVER) "Somebody started telling jokes." FIRST MAN What do you call a woman who has PMS and ESP at the same time?. SECOND MAN What? FIRST MAN A bitch who knows everything.LAUGHTER. Andrew keeps his eyes closed, leaning against thewall of the sauna, next to Wheeler, relaxing. CHARLES WHEELER How does a faggot fake an orgasm?Andrew opens one eye. CHARLES WHEELER (CONT.) He spits on your back. SEIDMAN Charles, that's revolting!All the men LAUGH, and Wheeler LAUGHS THE HARDEST. JOE (VOICE OVER) How did that make you feel?IMAGE: BACK TO THE COURTROOM. ANDREW IN THE WITNESS STAND (Andit's the sick, thin Andrew with AIDS). ANDREW Relieved. That I'd never told him I was gay. Very relieved.ANGLE ON CHARLES WHEELER: shakes his head, a denial. JOE Are you a good lawyer? ANDREW I'm an excellent lawyer. JOE What makes you an excellent lawyer? ANDREW I love the law. I know the law. I excel at practicing it. It's the only thing I've ever wanted to do. JOE What do you love about it? ANDREW Well... many things. But I think the thing I love the most, is that every once in a while, not that often, but occasionally... you get to be part of justice being done. It's really quite a thrill when that happens. CUT TO:BELINDA CONINE STANDS BEFORE ANDREW (INT./DAY). BELINDA You said earlier you aspired to be the kind of person who had "an adventurous spirit." Is that correct? ANDREW Something like that. BELINDA Do you take risks? ANDREW In my work? Yes. Calculated risks. You have to. BELINDA In general. Do you take risks in other areas of your life? ANDREW Not unnecessary ones. BELINDA Have you ever been to the Apollo Cinema on Sansom Street?Joe cringes a little with discomfort. ANDREW (looking Belinda right in the eye) A few times.IMAGE: FLASHING LIGHTS AT THE "APOLLO" THEATER ENTRANCE(EXT./NIGHT). BELINDA (OS) What kind of movies do they show there? ANDREW (OS) Gay movies.BACK IN COURT (INT./DAY): BELINDA Gay pornographic movies? ANDREW Yes. BELINDA Do men have sex with each other in that theater? ANDREW Yes.IMAGE: MOVING POV SHOT PAST ROWS OF GAY PORN MAGAZINES(INT./NIGHT). BELINDA (OS) How about you, Mr. Beckett?IMAGE: MOVING POV SHOT PAST FACES OF THE JURORS (INT./DAY) BELINDA (OS) (CONT.) ... Have you ever had sex with someone in that theater?IMAGE: MOVING POV SHOT PAST A GLASS COUNTER HOLDING SEXUALDEVICES, LUBRICANTS, CONDOMS (INT./NIGHT). ANDREW (OS) Yes.BACK IN COURT, ON ANDREW: ANDREW (CONT.) Once.IMAGE: MEN LURKING OUTSIDE PRIVATE SCREENING BOOTHS (THEYVARY IN AGE. TYPE. ETC. -- MOST LOOK PRETTY DAMN NORMAL)(INT./NIGHT).IMAGE: ANDREW (PRE-AIDS) SMILES AT A FRIENDLY YUPPIE, STANDINGINSIDE A PRIVATE BOOTH (INT./NIGHT). YUPPIE I'm Robert. ANDREW Andrew.Andrew steps into the booth. ANDREW (CONT.) Now what do we do?Robert laughs, closing the door of the booth. ROBERT I think we'll figure it out.BACK TO THE COURTROOM (INT./DAY):Joe sits with a stone-sober expression: this isn't easy. BELINDA When? Approximately what year did this event take place? ANDREW I guess it was 1984, 85. BELINDA Were you aware in 1984 or 1985 that there was a fatal disease out there, called AIDS, and that you could contract it through sexual activity? ANDREW It's impossible to know exactly when or how I was infected with HIV. BELINDA But you were having anonymous sex in porno theaters in 1984 and 1985? ANDREW That happened once. People weren't talking about AIDS then, the way we are now. Or safe sex. BELINDA You'd heard of AIDS in 1984, 85? ANDREW I'd heard of something. The gay plague, gay cancer, but... we didn't know how you could get it, or that it could kill you.CLOSE SHOT ON ANDREW -- losing strength. BELINDA (OS) (sounds far away) Do you need a break? ANDREW No. BELINDA While you were employed at Wyant Wheeler, you did everything you could to make sure no one knew you were an active homosexual, correct? ANDREW That is not correct. I never lied about it. BELINDA Did you keep a picture of your lover on your desk? ANDREW No. BELINDA Do other lawyers at the firm keep pictures of their spouses or fiances on their desks?IMAGE: ANDREW IN BOB SEIDMAN'S OFFICE, WORKING, SPOTTING APHOTO ON THE WALL OF BOB'S WIFE AND CHILDREN (INT./DAY). ANDREW Some do. I didn't. BELINDA As a homosexual, one is often forced to conceal one's sexuality, is that right? ANDREW In some situations. BELINDA Isn't it true you have spent your life pretending to be something you're not, so much so that the art of concealment and dishonesty has become second nature to you?! JOE Objection! BELINDA I'll withdraw it. Mr. Beckett? Were you living with Miguel Alvarez in 1984 or 1985 when you had your anonymous sexual encounter in the porn theater?ANGLE ON MIGUEL, sitting next to Sarah. ANDREW Yes. BELINDA You could have infected him, isn't that right? ANDREW Miguel has not been infected. As I said, we weren't aware of AIDS, then, or how it is spread. BELINDA Really? ANDREW Yes.Andrew wipes sweat from his forehead. BELINDA You've testified the lesions on your face were visible to the people you worked with, correct? ANDREW That's right. BELINDA And it's your contention, that when the partners were made aware of the lesions, they jumped to the conclusion you had AIDS and fired you. ANDREW Absolutely. BELINDA Do you have any lesions on your face at this time? ANDREW One. Here, in front of my ear.An ASSISTANT hands Conine a shaving mirror. She holds itbefore Andrew. BELINDA Remembering you are under oath, answering truthfully, can you see the lesion on your face, in this mirror, three feet away? Answering truthfully.Andrew looks in the mirror: the lesion is NOT very visible. ANDREW By the time I was fired, there were four lesions on my face, much bigger... BELINDA Answer the question, please. ANDREW No. I can't really see it. BELINDA Thank you.Andrew rubs his eyes. JUDGE GARNETT (OS) (far away) This would be a good time to break for the day... JOE (OS) (far away) Your Honor? May I have ten minutes in re-direct? JUDGE GARNETT (OS) (far away) Beckett?Andrew finds the Judge looking at him. JUDGE GARNETT (CONT.) Can you go on for ten minutes? ANDREW Yes sir.Joe JUMPS UP from the plaintiff's table. JOE I only need five! (to Belinda, reaching for the mirror) May I?Joe approaches Andrew, with the mirror. JOE (CONT.) Do you have any lesions on any part of your body, at this time, that resemble the lesions that were on your face at the time you were fired? ANDREW Yes. On my torso. JOE If it please the court, I'd like to ask Mr. Beckett to remove his shirt, so that the jury can have an accurate idea of what we're talking about. BELINDA We object, Your Honor. It would unfairly influence the jury. JOE Your Honor, if Mr. Beckett was forced by his illness to use a wheelchair, would the defense ask him to park it outside? We're talking about AIDS, we're talking about lesions. Let's see what we're talking about.ANGLE ON MEMBERS OF THE JURY -- LOOKING APPREHENSIVE. JUDGE GARNETT (a moment, then) I'll allow it. Would you mind removing your shirt, Mr. Beckett?ANGLE ON MIGUEL -- TENSE. ANDREW Allright.The COURTROOM TURNS SILENT.Andrew removes his suit jacket. He's weak, so the smallestgesture requires effort.ANGLE ON BOB SEIDMAN -- WATCHING.Andrew undoes his tie.ANGLE ON THE MARINE JUROR -- WATCHING.Andrew unbuttons his collar buttons, working his way down.ANGLE ON SARAH BECKETT -- WATCHING.Andrew stands, pulling his shirttails out of his trousers.ANGLE ON CHARLES WHEELER -- WATCHING.Andrew removes his shirt -- THERE ARE PURPLE BLOTCHESSPLAYED ACROSS HIS CHEST AND ABDOMEN AND ARMS.The SCHOOLTEACHER JUROR GASPS.Sarah Beckett is silently crying.The LESBIAN JUROR closes her eyes. JOE Can you see the lesions on your chest in this mirror? ANDREW Yes. JOE Thank you.CAMERA MOVES IN ON CHARLES WHEELER... CUT TO:COURTHOUSE CORRIDOR, ACTIVITY (INT./DAY) ...Charles Wheeler strides down the corridor, flanked byKenton, Killcoyne and Belinda, discussing strategy.Bob Seidman steps to Wheeler's side, keeping pace. SEIDMAN I've discovered something interesting, Charles. WHEELER (to Belinda) ... keep them from that area, on grounds of relevancy. (to Seidman) What, Bob? SEIDMAN No matter how hard I try, I can't lose a file in my computer.NOW he's got EVERYONE'S attention. SEIDMAN (CONT.) The system automatically makes a backup.Belinda holds up both hands, interrupting with: BELINDA I don't think I should hear this.She walks away, giving a glance over her shoulder as: SEIDMAN You can erase the backup... (a challenge to Wheeler) But why would you? KENTON (venomous) What's the point, Bob? WHEELER (calm) Very interesting, Bob. Let's make a note of that. Andy didn't lose the complaint in his computer. He never put it in. He lied about that, too. SEIDMAN (weary) Charles... WHEELER If you feel differently, Bob, you should say so, when you're called to the stand. After all, this isn't a conspiracy.Wheeler and the gang moves on, leaving Seidman alone in thehigh-ceilinged corridor.Belinda hesitates, before re-grouping with Wheeler and therest, casting a curious glance toward Bob Seidman. CUT TO:CAMERA PULLS BACK FROM CHARLES WHEELER -- ON THE STAND... BELINDA Why did you recruit Andrew Beckett to your firm?Andrew uses all his strength to concentrate.Charles Wheeler speaks with great sincerity. WHEELER If you're the owner of a major league ball club, you recruit the hot rookie. And Andy was tremendously promising as a young attorney. That's why we went after him, that's why we hired him, and that's why we stuck with him, year after year... waiting for the promise to be fulfilled. But it never was. BELINDA You kept giving him another chance? WHEELER Of course we did. When you've groomed someone they way we groomed Andy, nurturing him, lavishing all kinds of special treatment on him... you've made quite an investment. We were waiting for his promise to kick in, and deliver. But, ultimately, we could no longer ignore the gap between the promise and the reality... This is one of the saddest times in my life. To sit in this court, testifying to Andy's ultimate failure to make the grade. To discover that he is one of those people who wants to benefit by the system, but doesn't want to play by the system's rules. To think you know someone, only to find out... you don't know them at all. It's heartbreaking. BELINDA Thank you. That's all for now, Your Honor. JUDGE GARNETT Mr. Miller?Joe rises. Adjusts his jacket. Wheeler waits. JOE (very gentle) Explain to me, if you can, Mr. Wheeler, explain this to me like I'm a ten year-old. This trial is not about a disease, is that what you're saying? Not about your understandable, if unfounded, fear of catching AIDS through casual contact with someone who has it? You're saying, this trial is about Andrew Beckett's character. Am I getting this right? WHEELER Yes, character. To the extent that it affects a person's ability to do a great job.Andrew looks away -- face shiny with sweat, breathingdifficult. He takes in the rest of the court, whileWheeler's words THROB THROUGH THE AIR... WHEELER (CONT.) Andy worked when he wanted to work, telling us what he thought we needed to know about his lifestyle...ANDREW'S POV -- ON RACHEL, sitting among the spectators. Rachelbegins speaking, her WORDS OVERLAPPING Wheeler's (we should getthe feeling she's giving her testimony). RACHEL I didn't mind covering for Andy, but I did wonder... when was he planning to deal with his problem?Andrew blinks... what's going on?Looking back to the court: Joe presses in on Wheeler.Everything seems normal. WHEELER Sometimes it seems like society is run by these kinds of people. JOE What kind of people? WHEELER People who want to bend the rules...ANDREW'S POV -- KENNETH KILLCOYNE at the defense table: KILLCOYNE If you want to be a leader in this society, you have to make certain sacrifices.Wheeler keeps speaking: WHEELER ... to suit their personal desires, and the rest of us have to live with it.ANDREW'S POV -- WALTER KENTON: KENTON You have to make a decision: is this guy partner material? JOE Who makes the rules, Mr. Wheeler? You?ANDREW'S POV -- BOB SEIDMAN: SEIDMAN Yes, I did see the lesions. I suspected he was sick...CLOSE ON ANDREW: closing his eyes.THE VOICES GET LOUDER, FIGHTING WITH EACH OTHER: WHEELER The everyday, common person with decent values... RACHEL It seems like he wasn't willing to face the reality of his situation...Andrew slowly rises, the VOICES GETTING LOUDER: SEIDMAN I didn't tell the others, I was afraid to... WHEELER ... But now, we're standing up for ourselves... SEIDMAN ... But we shouldn't have fired him... WHEELER ... It's time to get this society back on track!Andrew OPENS HIS EYES... WE SWITCH TO HIS POV:The Judge, the Jury -- everyone silent, looking concerned.ANDREW'S POV of the courtroom floor.Andrew falls into his own POV SHOT. In slow motion.He lies on the floor, looking up.ANDREW'S POV -- Joe steps over him. ANDREW Could you call an ambulance, please? CUT TO:A CRISIS IN A HOSPITAL ROOM (INT./DAY) ... MEDICAL STAFFworking frenetically, trying to intubate Andrew, who ISHAVING SERIOUS TROUBLE BREATHING, his body HEAVING. Thetube they're trying to put in place seems to be makingmatters worse.Miguel stands to the side, furious: MIGUEL It's making it worse. Take it out. Take it out!Dr. Gillman RUSHES into the room, in street clothes,obviously having answered an emergency call. She triesassessing the situation, just as the tube is removed andAndrew GASPS for breath. A NURSE places an oxygen mask overAndrew's face and he drinks in the air. His eyes are wideopen with fear, sweat covering his face. CUT TO:PHILADELPHIA CITY HALL, A BUSINESS DAY (EXT./DAY).TITLE: "Two weeks later." LESBIAN JUROR (VO) If he was "mediocre," why did they gave him this major assignment three weeks before they fired him? POSTAL WORKER JUROR (VO) They were testing him. CUT TO:JURORS SITTING AROUND A LONG TABLE IN A ROOM WITH TALL,grimy windows (INT./DAY) ...TITLE: "Jury deliberations." WAITRESS JUROR They wanted to see if he'd rise to the challenge.An American flag hangs on the wall. SCHOOLTEACHER JUROR They wanted to give him a final chance. POSTAL WORKER JUROR Makes sense. BUSINESSMAN JUROR I'd still love to know what happened to that missing file. HOMEMAKER JUROR Wouldn't we all? POSTAL WORKER JUROR Ask the computer. COLLEGE STUDENT JUROR They say he wasn't competent. But, you heard him on the stand. ROCK MUSICIAN JUROR He sounded pretty smart to me. BUSINESSMAN JUROR Why would they fire him? Why not a medical leave, or... COLLEGE STUDENT JUROR They freaked out over the AIDS. SCHOOLTEACHER JUROR They hate homosexuals. BUSINESSMAN JUROR It's not against the law to disapprove of homosexuals. LESBIAN JUROR It is against the law to fire someone for having AIDS. That's why we're here. BUSINESSMAN JUROR You're the foreman. You haven't said anything. What do you think?ANGLE ON -- THE MARINE, sitting at the head of the table.CAMERA MOVES IN SLOWLY ON HIM: MARINE JUROR They're saying he wasn't a good lawyer. He was mediocre. And the fact that they gave him the most important lawsuit they'd ever had, for one of their most important clients... they say that doesn't prove anything, because that was just a test. What did they call it? A carrot. To see if he'd rise to the occasion... Okay... Say I've got to send a pilot into enemy territory, and he's gonna be flying a plane that cost 350 million dollars... Who am I going to put into that plane? A rookie who can't cut the grade, because I want to see if he'll rise to the challenge? Or am I going to give that assignment to my best pilot, my most experienced, my sharpest, my top gun... The very best I've got?CLOSE ON THE MARINE: MARINE JUROR (CONT.) Could somebody please explain that to me... like I'm a six year old?HOLD ON THE MARINE, AS THE JUDGE'S VOICE FADES IN: JUDGE GARNETT (VO) Members of the jury, have you reached a verdict? AND CUT TO:THE COURTROOM -- NO ONE STIRRING (INT./DAY).Joe is utterly cool. Sitting beside Andrew's empty chair.Among the spectators, Andrew's siblings, Jill, Matt, Randy, andhis parents, Bud and Sarah... Rachel, Anthea and Miguel'ssister Maria.The Marine rises to his feet. MARINE We have, Your Honor...Charles Wheeler looks the Marine in the eye. MARINE (CONT.) We find for the plaintiff, Andrew Beckett.Joe smiles, just barely, remaining calm.Charles Wheeler whispers to Belinda Conine. JUDGE GARNETT Have you awarded any damages? MARINE Yes, we have, Your Honor. (referring to a list) For back pay and loss of benefits ... one hundred fortythree thousand dollars.Joe shakes his head, disappointed, writing down the amount.Wheeler and his crew SMILE -- THIS IS THEIR VICTORY. MARINE JUROR (CONT.) For damages related to mental anguish and humiliation... we give no award.Joe is extremely disappointed. MARINE JUROR (CONT.) And punitive damages we award... Four million, eight hundred and eighty two thousand dollars.Joe throws his pen over his shoulder.COURTROOM BURSTS INTO AN UPROAR.Andrew's supporters, Joe's colleagues from his office rushforward, pounding him on the back. Andrew's family membershug each other...CAMERA CRANES AWAY FROM THIS GROUP, RISING TOWARD THECEILING AS THE SOUNDS OF THE CROWD FADE...OPERA MUSIC FADES IN, TAKING US TO...ELEVATOR DOORS OPENING... JOE STEPPING INTO THE CORRIDOR OFa hospital (INT./NIGHT), carrying two shopping bags from theFamous 4th Street deli...Joe moves down the corridor, looking for a particular room.Dr. Gillman stands outside a hospital room, talking in a lowvoice to Bud and Sarah Beckett. As Joe passes them,entering Andrew's room, he hears: DR. GILLMAN ... if he comes out of the hospital this time, you mustn't expect him to be like he was before...Joe steps into...ANDREW'S HOSPITAL ROOM (INT./NIGHT) ...A hand-painted banner is strung over Andrew's bed:"Victory."OPERA MUSIC plays on a portable CD player. ANDREW lies in ahospital bed, with a pressurized oxygen mask on his face.JILL sits on the edge of Andrew's bed, holding his hand,smiling, speaking to Andrew in low tones. With his freehand, Andrew gently strokes Jill's forearm. (Andrew has anamazing assortment of tubes and IVs running into variousparts of his body.)Andrew's brothers MATT and RANDY are sipping beers with REV.JIM, MIGUEL, Miguel's sister MARIA, Bruno and Chandra, whileMatt does a dramatic re-creation of the Marine Juror renderingthe judgment. Matt's audience is loving it.As Joe comes into the room, Jill rises to take the shopping bagsfrom him. Joe exchanges nods and greetings with the others.People KEEP THEIR VOICES LOW, but there's a certain energy, andhappiness evident in the room.ON ANDREW: Watching his friends and relatives with sparklingeyes and a weak, but grateful and peaceful smile.ON JOE: Glancing across the room, catching Andrew's look.Andrew smiles at Joe and pats his hospital bed, indicating hewants Joe to sit there.Joe crosses the room, sits on the edge of the bed.With some difficulty, Andrew removes his oxygen mask. Hisvoice is raspy, weak: ANDREW What do you call a thousand lawyers chained together at the bottom of the ocean? JOE What? ANDREW A good start.Joe smiles. ANDREW (CONT.) Excellent work, Joe. I thank you. JOE It was good working with you, Andrew. You're welcome. (sees the oxygen mask) Hey. Shouldn't you put that thing back on?Andrew begins fitting the mask back in place, but his hands areweak. Joe helps adjust the straps behind Andrew's ears. JOE (CONT.) I better get home. Lisa and I are having some friends over. ANDREW (muffled by the mask) Sure thing.Joe stands. JOE I'll see you, Beckett.Andrew nods, weakly. But he's still smiling and his eyesare dancing. ANDREW (through mask) Thanks for coming by. JOE You bet. We'll see you later.Joe heads for the door, meeting Miguel there. JOE (to Miguel) He's looking good. I wouldn't be surprised if he gets out of here soon. MIGUEL We just want to get him home. Thanks for stopping by, Joe.Miguel puts his arms around Joe and hugs him. Joe slapsMiguel's back. JOE Night.Joe leaves.Miguel begins circulating among the "guests," saying: MIGUEL He's tired. He ought to sleep. CONTINUOUS CUT TO:JOE STEPPING INTO THE HOSPITAL ELEVATOR (INT./NIGHT), ANDsaying to a GROUP OF DOCTORS and NURSES: JOE What do you call a thousand lawyers chained together at the bottom of the ocean?The elevator doors close. CONTINUOUS CUT TO:ANDREW'S HOSPITAL ROOM...Matt gives Andrew's hand a squeeze, before leaving. MATT Night, Andy. See you tomorrow, buddy.Rev. Jim pats Andrew's shoulder. REV. JIM God bless you, Andy.Bud Beckett kisses Andrew on the cheek. BUD Goodnight, son. Get some rest, okay?Sarah Beckett is strong, kissing Andrew on the forehead. SARAH Goodnight angel, my sweet boy...Randy Beckett loses control of his emotions as he bends to hughis brother. He begins to sob. RANDY Andy.Andrew puts his weak arms, with the IV lines connected,around his brother Randy, to comfort him. ANDREW (through mask) I'm okay, bro. I'll see you tomorrow.Jill hugs Andrew, giving Miguel a kiss as she leaves the room.Maria waves goodnight from the doorway, closing the door.Miguel sits on the edge of the bed, kicking off his shoes.Miguel stretches onto the bed next to Andrew, picks up theremote control, and TURNS ON THE TV.Andrew pulls aside the oxygen mask, to say: ANDREW I'm ready... MIGUEL Ready for what, baby? ANDREW Whatever. MIGUEL I hope you're ready for "Studs," because that's what's on.Andrew replaces the oxygen mask.They lie next to each other, watching television. FADE OUT/FADE IN:EXTERIOR: JOE'S HOUSE AT NIGHT, ESTABLISHING...From inside the house: the phone rings. CUT TO:JOE AND LISA'S DARK BEDROOM, QUIET (INT./NIGHT) ...Lisa is sitting up in bed, having answered the phone.Joe is just waking up. LISA (to Joe) It's Miguel.Joe sits bolt upright. JOE Miguel? CUT TO:EXTERIOR: ANDREW AND MIGUEL'S LOFT BUILDING, DAY.A TAXI ARRIVES and an elegant, well-dressed older COUPLEstep out. CUT TO:RACHEL OPENS THE DOOR OF THE LOFT, FINDING MIGUEL'S FAMILYon the other side: very dignified, handsome people who havejust arrived from Spain. They enter the apartment, where...A wake is in progress. Lots of food. People sharing storiesabout Andrew. Some people laughing. one or two softly cryingas they hug each other.Someone has set up a "memento" table, with pictures of Andrewat various stages of his life, and things that meant somethingto him, like programs from the opera, a ballcap, photos of hisfavorite cat, etc.THEME MUSIC PLAYS, but we hear BITS OF DIALOGUE under themusic ("You're Miguel's parents?" "Do you remember whenAndy..." "I went to college with Andy..." etc.)Bud Beckett sits alone, very quiet.Miguel leads his parents over to Bud. Bud looks up, rises,extending his hand to MIGUEL'S DAD. Miguel's father shakes hishead in sadness, reaches for Bud and pulls him into his arms foran embrace.CAMERA MOVES THROUGH THE CROWD, SEEMING TO SEARCH FORSOMETHING...CAMERA ZEROS IN ON THE TV SET, across the room, where BLACK ANDWHITE IMAGES ARE FLICKERING, ignored by everyone...AS CAMERA GETS CLOSER TO THE TV, it becomes apparent that theimages are BLACK AND WHITE HOME MOVIES, converted to video...THE HOME MOVIES FEATURE a bright-eyed LITTLE BOY...Andrew...Riding a bike with training wheels...Swinging wildly at a wiffle ball...AS CAMERA TRACKS INTO THE TV, PARTY SOUNDS AND THEME MUSICFADES... People are still talking, still laughing, stillcrying, but we CAN'T HEAR THEM ANY LONGER. Instead...We hear only the SOUNDTRACK from the HOME MOVIES...Andrew SHOUTING GLEEFULLY as he chases a new puppy...Andrew SQUEALING as he jumps into a tiny swimming pool...Andrew on a swing, going higher and higher...And laughing.FADE TO BLACK.ROLL END CREDITS.May we never find space so vast, planets so cold, heart and mind so empty that we cannot fill them with love and warmth... \ No newline at end of file diff --git a/unformated_scripts/Script_Phone Booth.txt b/unformated_scripts/Script_Phone Booth.txt new file mode 100644 index 0000000000000000000000000000000000000000..9e5cc10a59e6bd61ca931f954d6bf9d24db665e8 --- /dev/null +++ b/unformated_scripts/Script_Phone Booth.txt @@ -0,0 +1 @@ +PHONE BOOTH by Larry Cohen FADE IN: NEW YORK CITY - AERIAL VIEW OF DOWNTOWN MANHATTAN - DAY MULTIPLE STREET SCENES - DAY The sidewalks crowded as usual. A sea of humanity. People come and go -- always in a hurry. Oblivious of one another. A TRAFFIC JAM -- A STREET being torn up by construction workers; A SANITATION TRUCK loading up refuse; VENDORS PEDDLING nuts and salted pretzels; PANHANDLERS blocking a passerby. Intimidating. Demanding. Almost mocking. We're surrounded by the teeming life of the city as we've come to expect it -- complete with a cacophony of sound. MULTIPLE CUTS -- Phone kiosks and phone booths on the East Side and West Side -- uptown and down. One frustrated caller has lost his money in the slot and he takes it out on the equipment -- smashing the receiver violently against the coin box until the instrument splinters into a dozen pieces. NARRATOR There are 237,911 pay telephones in the five burroughs of the city of New York. Many of them are still in working order. DOZENS OF QUICK CUTS -- NEW YORKERS on the phone in extreme close up. We don't hear the words. Only the facial expressions inform us that these are human beings under tremendous pressure. Life in the city is wearing them down. MULTIPLE SHOTS - JUST MOUTHS Lips jabbering into receivers. Cross-cut against one another. NARRATOR Despite increased usage of cellular devices, an estimated four and a half million New Yorkers and two million visitors still utilize pay telephones on a regular basis. At thirty-five cents a pop... for the first three minutes. ANGLE ON CORNER IN MID-MANHATTAN - DAY There's a phone booth situated on the southeast side of the street. NARRATOR You're looking at the telephone booth at the corner of 45th Street and 8th Avenue in the heart of the Manhattan theatrical district. It has been scheduled to be removed and replaced by a kiosk. It's one of the few remaining phone booths left in the city. CAMERA MOVES IN on the irate caller in the booth -- a very well-dressed gray-haired lady -- totally conservative in appearance. WOMAN IN BOOTH (into receiver) You have lied to me for the last time, you lowlife prick bastard! I don't ever want to hear the sound of your fucking voice again. (listens) Yes, well fuck you, too! She slams down the receiver and exits. The booth remains vacant for a brief interval. NARRATOR At least three hundred calls daily originate from this booth. The coins are collected twice a day. This booth has been burglarized forty-one times in the last six months. Someone is approaching the booth, fishing in his pocket for coins. This is STUART SHEPARD, snappily dressed, his hair styled and his nails manicured. Here is a man who clearly takes excellent care of himself. He sports a Donna Karen suit and silk Armani tie. He's about to step into the booth when he's accosted by a middle-aged man in a soiled apron who's run out of a nearby restaurant and has finally caught up with him. MARIO Stu, we got to talk. STU Wish I could accommodate you, Mario, but this is my busy time of day. MARIO How come you cross the street every time you go past the restaurant? STU Why don't I stop in later for some lunch? MARIO There's no more drinks or free meals until the restaurant starts showing up in the columns like you said. STU I'm doing my level best for you people. MARIO One lousy mention in the Post and you expect to eat for six months! STU I got the food critic from the Village Voice all lined up to give you a review. MARIO That's what you tell me last July. And he never shows. STU I was allowing you time to expand the menu. Wallpaper the bathrooms, for God sakes. You get only one shot with these fucking critics and I don't want you to blow a rare opportunity. MARIO You the one blowing it. How long you think you can fuck everybody? STU Hold on right there. I've got a very excellent reputation around this town. MARIO So how come you take two nice suits of clothes from Harry and never get his daughter on David Letterman? STU Hell, I'm not an agent. I'm a publicist. MARIO Mister, you're nothing! STU Believe me, Valerie's on the waiting list to audition. Harry's got no complaints. He just let me pick out this tie the other day. MARIO That Harry's a damn fool! STU Mario, please let me make this up to you. How about I arrange for the opening night party for this new off-Broadway show I'm handling -- to be held at your place with local TV coverage on nine and eleven? I mean I had it promised to another client -- who actually pays me money. But it isn't firmed up yet. And I could throw it your way. Maybe. MARIO What is involved? STU You'd toss in the buffet for say seventy or eighty. The producers would supply their own vino, of course. I'd deliver you a truckload of celebrities. And if they like the food, they'll all come back, naturally. MARIO What celebrities? STU You want Liza Minelli? An Oscar winner. Or Douglas Fairbanks, Jr.? MARIO Is he still alive? STU I saw him last night going into the Four Seasons. I'll bring you over a whole VIP list when we come by for dinner. MARIO How come everybody wants to eat but nobody wants to pay? STU You can't think small like that. Hey, you still feature musicians Fridays and Saturdays? MARIO At least they work for their meals. STU What about Harry's daughter as an extra added attraction? She'll belt out five or six showtunes -- two sets a night -- and it won't cost you a fucking nickel. MARIO How come? STU Star Showcase! Let me handle setting that up. And when she eventually goes on Letterman, she'll announce I'm currently appearing over at Mario's fine supper club. Right over CBS she'll say that, Mario. MARIO You're full of shit. You know that? All bullshit! STU That's just a vulgar word for PR. (placing an arm around him) Mario, you can't hurt my feelings. Even when I was a kid and they hurled certain invectives my way, it never bothered me. Other kids would fall apart if anybody called them a fucking name. Me, I just loved the attention! 'Shit-for- brains' -- that's what the bigger kids named me. And I answered to it. Hey, 'shit-for brains' reporting for duty. Everybody loved me for that. I could take abuse. After a while, I kind of wore them down. There was nothing more they could say to me. So they stopped. I kind of missed it. MARIO I'm sorry I even talked to you. STU I'll bet your loving wife put you up to this. She saw me pass by and she sent you out in the street. But I don't hold it against you personally -- you still serve up superior veal chop. (entering phone booth) Now I got urgent business to conduct, Mario. He slides the booth closed in Mario's face. The frustrated restaurateur glares at him through the glass before giving up and walking off -- talking to himself as he goes up the block. INSIDE THE BOOTH, Stu inserts his thirty-five cents and dials. STU Hello, Mavis, sweet creature. MAVIS' VOICE Where have you been? Do you think I have nothing to do but wait around for you to call? STU I'm only a few minutes late, loveliest individual on earth. MAVIS' VOICE Stu, I'm so lonely. When can I see you? STU Good news in that arena. Kelly goes into rehearsal as of Monday. You know how dedicated she is. By the time she gets back from dancing her ass off, she goes right to sleep. We'll have both our days and certain nights. Not to mention when they take the show on the road. MAVIS' VOICE How long is that for? STU Four to five weeks -- minimum. MAVIS' VOICE Maybe I should quit my job so we can be together full time. STU I wouldn't do that. MAVIS' VOICE Sometimes I think if I have to give one more fucking manicure... STU That's how you met me. MAVIS' VOICE I never saw a worse set of nails. Bit right down to the quick. STU I'm much better groomed since you've been looking after me. MAVIS' VOICE I'm glad you admit it. STU Even Kelly remarked on it when I first met her. MAVIS' VOICE She could care less how you look. She's only interested in pushing her own career. Some wife you're stuck with! STU The marriage is not without its compensations. Do you imagine I could afford that apartment on what I'm earning? Not with everybody cutting back on the publicity. Not to mention a million college graduates coming into the profession trying to cut me out. And one thing you can't expect from your clients is loyalty. They get a couple of bad notices, they dump you. Goodbye. MAVIS' VOICE Don't go. STU I wasn't saying goodbye to you. I was saying how the clients try to give you the wave off without even a month's notice. A conservative businessman now stands outside the booth waiting to use it. He deliberately glances at his watch a few times to demonstrate his impatience. This bothers Stu who slides the booth open a crack. STU (yelling) What? Is your watch busted? It's twenty after eleven and I'm gonna be occupied indefinitely with my transaction. So get out of my face! He closes the booth up again and turns his back to the gentleman who gives up and departs. STU Sorry, honey. There will be no further interruption. MAVIS' VOICE Why must you always be calling me from some booth? STU On account of that phone records are regularly subpoenaed in divorce proceedings. And I don't want some entry showing up on my cellular bill either. She gets the mail. She looks these items over. Sometimes she even dials up a strange number to see who it is. MAVIS' VOICE Then she suspects something. STU It's only because her last husband, the choreographer, ran around on her. She can't get that out of her head. That's how she caught onto him. The phone bills. MAVIS' VOICE She hasn't developed much skill at holding a man. STU You know what a self-fulfilling prophecy is? She was so sure I was going to find me a woman that she finally drove me back to you. I thought I'd feel all guilty about it -- but I guess it hasn't kicked in yet. (beat) Still, I wouldn't do anything to hurt her. Basically, Kelly's a decent individual. MAVIS' VOICE What about hurting me? Like last time? STU Hurt? You were glad to be rid of me. MAVIS' VOICE For a while I was, 'til I took stock of what was around. You're the lesser of many evils. STU That's about the nicest thing you ever said. MAVIS' VOICE I'll have it engraved. STU We've been up front with each other from the beginning. Let's keep it that way. How about a drink? Say seven o'clock? The Monkey Bar? MAVIS' VOICE Meet me in front. I don't like walking in there unescorted. STU Yeah, you're great enough looking to be mistaken for one of those thousand dollar a night girls. MAVIS' VOICE It happens all the time lately. STU And wear that short black number I bought you from Bendel's. MAVIS' VOICE Again? I don't know if it's me or that dress you like. STU Have a good day. Make plenty of tips. And leave the whole evening open. She thinks I've got Knicks tickets. He hangs up. Then whips a tiny cellular phone out of his jacket pocket, flips it open and dials. Someone answers on the first ring. COLUMNIST (V.O.) Speak! STU (into cellular) It's your boy Stuart. When was the last time I called you for a favor? COLUMNIST (V.O.) The column is already full. STU I just need one line. Anybody you wanna say was seen dining out at Mario's Stromboli restaurant. COLUMNIST (V.O.) Maybe you don't hear so good? I got no space for you. STU Who's asking any favors? I'm offering reciprocal information. COLUMNIST (V.O.) Since when were you ever a reliable source? STU Check it out. Tony award-winning producer Willie Beagle tossed his wife back into rehab again following her third attempt at diving off the terrace at their plush eighteen room residence at the San Remo. I got it from the doorman. COLUMNIST (V.O.) I got it from their maid yesterday. It's in the paper today. Or don't you bother to read my shit? STU Louis, my intentions were entirely honorable. COLUMNIST (V.O.) I'll drop your item in sometime next week. If you promise not to call me for a month. He hangs up. Stu looks pleased as he folds the cell phone and tucks it away. Then he starts to vacate the booth. The phone rings. And rings. Curious, he picks up the receiver. There's a voice on the other end of the line. A DISTINCTIVE MALE VOICE. VOICE Don't even think about leaving that booth. STU What? VOICE Stay exactly where you are and listen carefully. STU I've got a heavy day, mister. VOICE You know better than to disobey me. STU I don't know you at all. VOICE Are you absolutely sure? STU Who is this? VOICE Someone who's watching you. STU Get lost! VOICE Love the gray suit. That red and black tie makes a nice combination. Stu is taken back by the accurate description of his apparel. He looks around nervously. STU Where? Where are you? VOICE Closer than you think. STU I don't see you. VOICE There are any number of windows. Check them out. Indeed that street corner is surrounded by high rise buildings and hotels. STU Okay, you had your little joke. VOICE I'm not sufficiently amused. Not yet. We have more to talk about. Stu knows he should simply hang up but something tells him not to. Perhaps it's the strange tone of the man's voice. STU Do me a favor. Call up somebody else. VOICE But it's you I'm interested in. You know how many people use that booth every day? STU Why don't you tell me? VOICE Better than two-hundred people on average. STU Is that what you do? Count them? VOICE What else do I have to do? It's interesting watching people. Trying to guess who they are. And what they're up to. STU What are you -- a shut-in of some kind? VOICE You might say that. I can't go out. I might be seen. STU Somebody's looking for you? VOICE Desperately. STU The cops? VOICE Not yet. STU The ex-wife. What'd you do -- run out on child support? VOICE What kind of man do you think I am? STU Frankly, I could care less. You had your fun. Now goodbye. VOICE It's not in your best interests to hang up on me. That would make me angry. STU Isn't that just too bad? VOICE For you. STU There's ten million names in the phonebook. Pester somebody else. VOICE I never talk to people I can't see. I need to study their reactions. STU Alright, bullshit artist, what am I doing right now? VOICE Scratching your forehead with your left hand. Now you're brushing your hair back. STU Okay, okay, you got me in your scrutiny. So what? VOICE So let's talk. STU Only I got nothing to say. VOICE Oh, you will. You'll do a lot of talking before this conversation is over. And it'll only end when I want it to. STU Is that a fact? Well if you watch closely, you will see me hang up. VOICE I don't think you will. STU Why not? VOICE I interest you. STU Why should I be interested in some creep who gets his jollies spying on strangers in phone booths? VOICE But you're not a stranger, Stu. The sound of his own name sends a chill through him. STU Who put you up to this? VOICE You were my very own selection. STU Why me in particular? VOICE Because you're so afraid. STU Ha! What've I got to be afraid of? STU Just about everything. You have so much to hide. STU How do you figure that? VOICE Why else would a man with a perfectly good cellular bother to make calls from a pay booth? STU That's my business. VOICE I've made it mine. STU All of a sudden I'm required to give explanations to you? VOICE In explicit detail. STU What is this? Some kind of candid camera gag? Or like that thing on HBO where the cab driver is taping what goes on in the back seat? VOICE This is not showbusiness, my friend. This is reality. STU Your reality. Not mine, you lowlife fuck. VOICE Stu, you'll be made to suffer for your attitude, so let's dispense with the vulgarities. STU Now you're threatening me! Fuck you. Could that be any clearer? VOICE You're only making it easier for me to do you harm. STU Oh yeah. Right. Can you see how I'm trembling? VOICE You will be. STU Shit, this is a new one. Fucking threatening calls in a goddam phone booth. When are you going to start with the heavy breathing. VOICE I'm not the degenerate. You are, Stu. STU You don't know anything about me. VOICE Infinitely more than you know about me. STU Like what? VOICE Like the number you dialed when you first entered the booth. STU How would you know that? VOICE I'm watching through a scope and I could clearly read the buttons you pushed. I have another extension here by the window. Shall I dial that same number back for you? Would that convince you? Stu nervously cranes his neck, looking around at all the tall buildings that surround the street corner. STU'S POV PANNING up at thousands of windows. The Voice could be coming from anywhere. BACK TO STU IN THE BOOTH VOICE Let's see who's on the other end of the line. STU Don't. VOICE Too late. (beat) It's already ringing. I'll hold the receiver up so you can listen in. Stu can hear the beeping as the other line rings. Then Mavis' voice can be heard answering. Stu listens helplessly. MAVIS' VOICE Hello? VOICE Well, hello. MAVIS' VOICE Who is this? VOICE Someone who's really tight with your boyfriend -- who just called you from his favorite phone booth. MAVIS' VOICE You know Stu? VOICE Stu? Oh, I know him better than anyone. What he does -- how he thinks. How he lies. MAVIS' VOICE Who the hell is this? VOICE Stu is listening in. He knows what we're both saying. MAVIS' VOICE Stu? Is that true? Are you there? VOICE He doesn't feel like talking. STU (shouts) Mavis! Just hang up the goddam phone. VOICE She can't hear you, Stu. Only me. (a pause) Mavis, I'm afraid Stu hasn't been totally honest with you. But then he can't be honest with anyone, can he? MAVIS' VOICE What's your name? To whom am I speaking? VOICE You've never heard of me, Mavis. He doesn't want you to know I exist. He wishes I didn't exist. But there isn't anything he can do about that. (beat) Still there, Stu? All you can do is listen. STU Mavis -- the guy is a fucking nutcase! Hang the fuck up. VOICE She doesn't want to. She wants to know all about us. Don't you, Mavis? MAVIS' VOICE Did his wife put you up to this? That bitch, Kelly? VOICE Oh yes, the bitch wife, Kelly. My very next call. STU (yells) He doesn't know my wife! Don't tell him anything else. Outside the booth, a huge, heavy-set black woman in a too tight dress, now appears with the clear desire to use the phone. Her name is FELICIA. She taps on the glass. FELICIA Could you hurry it along? Stu ignores her and Felicia glares at him through the glass with hostility. Stu has no inclination to deal with anybody else. He's too distracted by the madness happening over the telephone. STU Can you hear me, Mavis? Keep your big mouth shut. VOICE Is that any way to talk to a woman you love? (beat) Mavis, is he always that abusive to you? MAVIS' VOICE You're getting me all upset. I don't know who you are or how you know all this -- VOICE I find out things -- from watching people and listening to them. MAVIS' VOICE Just what is your relationship to Stu? That's all I want to know. VOICE Well, what do you think? MAVIS' VOICE Answer me, goddam it! VOICE Well alright. Stu and I are -- longtime companions. A pair. Two of a kind. Closer than close. Peas in a pod. Spoons in a drawer. MAVIS' VOICE You pervert! VOICE That, too. STU Don't believe a word of it. It's all lies. VOICE Too late, Stu. She already believes it. MAVIS' VOICE You can tell that scumbag never to bother me again. VOICE He won't care. He'll still have me. STU It's not true. I do care. From outside the booth, there's a louder rapping on the glass. Felicia really wants in. FELICIA Get done in there, mister. I got me an important call. STU Go away. FELICIA Shit I will! Finish up! She continues to rap on the glass as Stu tries to focus on the two-way phone call. VOICE Why don't you tell me what you think of us? MAVIS' VOICE You're both disgusting. VOICE That's what he said about you. Well, if Stu didn't have the balls to come out and tell you the truth, I felt it was my responsibility to clear the air. Goodbye now, Mavis. Thanks for your time. (the phone clicks off; we hear only a dial tone) Back to you again, Stu. STU You total asshole! How could you do that? VOICE Speaking of females, that woman hovering outside the booth -- may as well tell her that you'll be on the line forever. STU Like hell I will. VOICE I'm ready for you to take out your cellular and phone home. And this time, I'll listen in. STU There's no chance of that. VOICE Or should I call Kelly and make up something totally outrageous? You must realize by now I have a vivid imagination. STU You don't know our phone number! VOICE Are you absolutely sure? I may have been watching you on a regular basis. Keeping track of all the numbers I see you dial. STU And I'm supposed to believe that? VOICE I've put a great deal of preparation into this -- prior to actually saying hello. Now do you want to dial 832-7165 -- or should I? The sound of the actual number being spoken shocks him even more than the earlier mention of his name. STU What are you going to tell her? VOICE You'll do the talking. STU What am I supposed to say? VOICE Try telling her the truth. STU Look, I don't want to hurt Kelly. She's always there for me. It's just my nature to have a little 'strange' on the side. It doesn't mean shit. VOICE But you still find it necessary? STU Kind of like having a beautiful home. With everything you ever dreamed of. But you still need that vacation now and then. Some nice hotel room with a great view. Maybe a pool. Only you wouldn't want to spend more than a few days in any hotel. Eventually, you want to go back to your home and all your stuff. You're real glad to check out. VOICE Kelly is home and Mavis is a hotel? I'm sure they'll both appreciate that explanation. STU You're ruining my fucking life, you sonofabitch. VOICE Didn't I warn you about calling me names? It makes me vindictive. STU What else can you do to me? VOICE We haven't even begun. STU She's not home. She went out. VOICE I'll bet she's back. Now hold the cellular up where I can see it -- so I can be certain you don't misdial on me. (pause) A little higher and to your left. Now I have it in perfect view. Dial slowly. More violent rapping on the glass from the persistent black lady outside. FELICIA If you got you a cell phone, how come you taking up the whole fucking booth! This here's an emergency! STU There's another booth on the next block. FELICIA It's busted. Every damn phone on Eighth Avenue is busted but this one. STU Well, I'm not through! Go in a restaurant or someplace, but get away from me! FELICIA I'm gonna pull you out of that booth and snatch you ballheaded! She tries to pull open the sliding door to the booth but Stu jams it shut, right on her hand. FELICIA You assaulted my person. STU Let me hear from your lawyer! FELICIA You're hear alright. I'm coming back. And your ass better not be around. She stalks off obviously in search of assistance. VOICE Good work, Stu. Now let me see you dial. Tuck the receiver under your chin and dial your remote. STU I'm doing it. He punches in the digits. The phone rings -- and rings. STU I told you she was out. VOICE Let it ring. Then a girl's voice is heard. KELLY'S VOICE Shepard residence. VOICE Hold it close to the receiver so I can hear. KELLY'S VOICE Hello? STU Honey, it's me. KELLY'S VOICE What's taking you so long? I thought we were having some lunch at Mario's? STU Change of plan. We're not eating in that dump any more. KELLY'S VOICE How come? STU The Health Department gave them a 'C' rating -- that's how come. Here I'm trying to put the place on the map and he fucks it all up with a major roach problem. KELLY'S VOICE That's disgusting. Okay, I'll fix us a sandwich. Where are you now? STU Just in a phone booth. KELLY'S VOICE How come? The caller ID says you're on your cellular. STU Oh yeah, I am. KELLY'S VOICE But you're also in some phone booth? VOICE Explain that one, Stu. STU I only stepped in because the traffic was so loud outside. KELLY'S VOICE Well just hurry on back. VOICE Tell her you can't. STU Not for a few minutes. KELLY'S VOICE Are you sure you're alone? I hear somebody in the background. STU The guy in the next booth. He's got a bad connection and he's hollering his fool head off. VOICE You've got an answer for everything. STU I love you, baby. KELLY'S VOICE Do you? STU You know that. KELLY'S VOICE Stu -- who was that man? STU What man? KELLY'S VOICE Some person who phoned fifteen minutes ago -- just after you went out. STU I don't understand... KELLY'S VOICE This total stranger rang up and told me to wait by the phone -- because you'd be calling me in a few minutes -- from a booth. And I said what would he be doing in any phone booth? STU And what did this guy say? KELLY'S VOICE He said you'd be making phone calls. What else? STU Making calls is part of my business. KELLY'S VOICE To whom? STU Clients. People. Planting items like I do. KELLY'S VOICE Women? STU Once in a while one of them could be a woman. I just called "Elaine's" and talked to her to see who was in there last night. KELLY'S VOICE You know exactly what I mean. STU You're not going to start that shit again? KELLY'S VOICE I just feel something is wrong. STU What could be wrong? KELLY'S VOICE The way you sound. You don't sound like yourself. STU Yeah? Who do I sound like? KELLY'S VOICE Someone who's scared. There's fear in your voice like I've never heard before. VOICE See, Stu? Kelly agrees with me. KELLY'S VOICE I want you to come back home. Now! STU I told you. In a while. KELLY'S VOICE No. I want you here now. In case he calls back, I don't want to answer again. STU Why should he call back? KELLY'S VOICE I feel like he's going to. STU You're the one that sounds frightened. And of nobody. KELLY'S VOICE He's not a nobody. He knows about us. STU You're not telling me all he said. What are you holding back? KELLY'S VOICE I can't discuss it on the phone. Just get over here! CLICK! She hangs up. STU (into pay phone) Why did you do that to her? She never did you any harm. VOICE How would you know? Everybody does harm to somebody. And then they try their best to forget it. STU Maybe me -- but not her. Whatever I've done, there's no reason to take it out on her. VOICE Suppose that's the only way I can get to you? You claim you love her. STU Yeah, I do. VOICE You don't even love yourself. STU But Kelly... I would never hurt. VOICE Still you have to uphold your status as an honorary asshole. STU Listen, I've treated all my women decent. I never laid a hand on any of them, even when provoked. And I always let them down easy. (beat) I'm not ready to let Kelly go. Maybe I never will be. VOICE What if she dumps you first? What's the odds she's already taken up with somebody? One day soon you'll come home and find her gone along with the CD player and the VCR. STU I'm not gonna let you mind-fuck me all day! That's it. This call is ended. VOICE Not until I say it is. STU What happens if I hang up? VOICE You don't really want to find out. STU I'm dying to hear this!!! What the fuck can you do about it -- up in your fucking high window with your goddam binoculars? VOICE I never indicated I had binoculars. I said I had a highly magnified telescopic image of you that brought you up so close I could see where you nicked yourself under the chin shaving this morning. STU Oh -- while you're at it, have a look up my ass. VOICE I may very well do that, Stu. In the meantime, think about what kind of device has a telescopic sight mounted on it. STU What? You mean... like a rifle? VOICE A high-powered .30 calibre bolt action Remington 700 with a carbon one modification and a state of the art Henzholdt tactical sniperscope. And you're in the cross hairs, Stu. STU I'm supposed to believe that? VOICE There's only one way I can prove it to you. Hang up the receiver and find out. At this range, the exit wound ought to be about the size of a small tangerine. STU And you're just going to kill me for no reason? VOICE For plenty of reasons! Because you hung up. For years I hated people hanging up on me. Ex-girlfriends. Women I didn't even know. Prospective employers. STU I get hung up on all the time. You get used to it. VOICE Or else you don't. I worked for months getting people to switch to MCI -- being insulted at and being hung up on hundreds of times a day. The ones that cursed me out for invading their privacy never bothered me as much as those that clicked off without even bothering to reply. STU Then why didn't you go after one of them? VOICE Maybe you are one of them. STU Hey, I have worked in a boiler room myself peddling "Term Life." I Would never be rude to a fellow salesperson. VOICE Can you feel it on you now? The heat of it. I'm moving the strike zone down to your stomach area. Now I'm raising it up again. Directly above the chest cavity -- sliding up to the forehead just above the left ear. STU Shit -- I do feel it. VOICE Tell me where I'm going with it now. STU Across my forehead -- now back where it was before. VOICE I'm amazed how you can do that. You're amazingly accurate. (beat) Now I know what you're thinking. If I drop down on the floor of the booth and flatten myself out... STU No, I'm not thinking that. VOICE Oh yes you are. Can I crawl out using the booth as a shield? Can I crawl to that Chrysler illegally parked only three or four feet away? The shattering glass may cut me, but it'll only be superficial. Otherwise, this lunatic will never let me out alive. STU No. You will. I know you will. If I just cooperate. VOICE Where is it now? Think and feel for the warm spot. STU Below the shoulder? VOICE Which one? STU The right shoulder. VOICE Remarkable how we're in tune. You're doing far better than the others. STU What others? What do you mean? (no reply) You said 'others!' VOICE (finally) I'm sure you read about the Italian tourist shot dead ten days ago at the corner of Forty-fifth and Eighth? STU I saw it on the news. VOICE And where are we now? STU Oh, God. Forty-fifth and Eighth. VOICE What else do you remember about that killing? STU I don't know. VOICE Try. STU He was gunned down. And nobody was caught. And they didn't even bother to take his wallet or his watch... or anything. VOICE Now you know why. It wasn't a robbery. STU What did he do? VOICE He hung up -- so I disconnected him permanently. STU Please -- don't do it to me. You got no reason to do it to me. VOICE Don't give me reason. STU I'm not looking to. Tell me what you want! VOICE Tell me about your job. STU What's to tell? I'm in Public Relations. They used to call us "flacks." Now we're media consultants. VOICE What do you do, exactly? STU Plant items in the paper and on the tube. More important sometimes, keep stuff out. VOICE What've you kept out? STU One of my people got nailed for indecent exposure. I managed for the cops to use his real name instead of his stage name so nobody picked up on it. VOICE You saved the little deviate's ass, didn't you? STU He's in major therapy now. I swear he is. VOICE You must hang with some major celebrities. Journalists, newscasters -- those types. STU I'm real close with Larry King. And the "Hard Copy" people. VOICE Could you get him down here? Larry King? STU Why would he want to come here? VOICE Because you asked him to. STU He comes from Atlanta. VOICE Well, who could you get? STU I don't know. VOICE Wolf Blitzer? VOICE Probably not. VOICE Regis? STU Definitely no chance. VOICE You'd be offering them an exclusive newsbreak. I'm talking about more than one homicide. STU How many? VOICE I don't answer questions. I ask them. STU I gotta have the facts. They might not believe me. My record isn't too good when it comes to hard news. VOICE You're not considered a reliable source? STU On a divorce or separation, maybe. Or who's gay, or who isn't gay any more. I kind of specialize in that kind of material. I mean I could probably get you Joe Franklin. VOICE How about Cindy Adams? STU I might have a shot. Are you familiar with Liz Smith? VOICE Do you know her number? STU Want I should call her? How much can I say? VOICE Tell her you're in direct touch with a killer who's willing to speak honestly if she shows up here alone and without notifying the authorities. STU She usually likes to have a celebrity involved. If you had an actor or a sports figure held prisoner instead of me, there'd be better odds she's come. VOICE Then lie. Pick a celebrity and put them in the booth. STU Let's see. Who does she like? Who couldn't be reached to deny it? VOICE I'm anxious to see you in action. Don't keep me waiting. Stu uses his cellular again. STU (dialing) Sometimes you only get her service. (into cellular) Hi -- Stu Shepard. Put me through. I've got hard news for her. I can only talk to her directly. But say it regards -- Liza. VOICE Liza? That was imaginative. STU (into cellular) No, I can't call back. I'll have to lay in on somebody else. Alright, but I can't hang on long. (to pay phone) She's coming on. (to cellular) Liz, hello. Sure I'll make it brief. Killing two weeks ago in the theatre district? Turn out a sniper did the job. Yeah, a sniper with a rifle. Now he's got another victim lined up. Not just your anonymous New Yorker, but Liza. Now you can't call anybody or Ms. Minelli's dead meat and so am I. She's hostage in a phone booth right in the sniper's sights. But he says he'll talk to you and let her walk. I know it'll take balls to do this, but you're a fine and courageous newspaper woman... There's a click. Silence. STU Hello? Hello? (to pay phone) Either she's on her way over or she doesn't believe me. VOICE You weren't particularly convincing. STU I didn't really believe in what I was saying. VOICE Because you don't really believe my Remington is pointed at you? STU I do. VOICE You're ninety percent sure. STU At least ninety-five percent, easy. VOICE Let me erase all doubt. STU No. Don't shoot. VOICE Control yourself, Stu. Glance down at your chest. What do you see. STU Oh, my God. A dot. A fucking red dot. A tiny red dot now moves across Stu's chest. VOICE Like you've seen in the movies? STU The laser dot. Just before some poor bastard always gets blown away. VOICE Usually a supporting player. That lovely but by now generic special effect of the bullet piercing the forehead. The tiny red laser dot dances around Stu's chest and stomach -- the jumps up and remains between his eyes. VOICE This takes all the guesswork out of it. You know exactly where to expect it before I even tighten my finger on the trigger. STU Don't tighten. Don't even tickle that fucking finger. VOICE How about Geraldo? He's run his ass off to get in on this. STU You're talking about the old Geraldo. Look, I can try and reach cable NBC. They're hungry. VOICE I'm disappointed. I wanted to go first class. STU They do a great job. They'll haul a whole crew over to cover your surrender "live." VOICE I never expressed interest in giving myself up. There are so many other phone booths in the city. I'm just getting warmed up. STU That's entirely up to you. Your choice. I'm just trying to set you up with the proper communicator. (beat) I suppose Liza wasn't strong enough. I should've said Madonna. VOICE Now you're being creative. Outside the booth, the angry black woman has returned, bringing with her a gaudily dressed pimp named LEON who looks like he means business. He slams his fist against the glass, nearly shattering it. LEON Drag your baggy butt out of that booth. We got business to conduct out of there. FELICIA He been in there all day. STU I'm not through. LEON Hang up that receiver or I'll make you eat the fucking thing! STU Fuck off or I'll call a cop. LEON Do you see one around here? What you think I'm gonna be doing while you're waiting for a prowl car to get assigned? I'm about to cut you a second asshole if you don't vacate those premises. STU I can't. FELICIA He's got him a fucking cellular. What's he need to be on our booth for? STU I can't explain it. LEON I'm not interested in your explanations even if you had any. He withdraws a switchblade knife from his pocket but doesn't open it -- yet. LEON If I flick this, I use it. STU I'll make it worth your while to go away. How much do you want? LEON Make me an offer. STU Thirty dollars. It's all I've got in cash. Take it and go. LEON You're offering to rent my phone booth? For how long? STU I don't know. For as long as it takes. LEON What's so special in there? STU Do you want the money? LEON Is that a genuine Rolex you've got on? STU Come on, man. That's my good watch. LEON That's what it's gonna take. STU Then here. Take the damn thing. LEON And the thirty! STU Take it all. The pimp pockets the watch and the money. But doesn't go away. LEON Now I'm satisfied. But you still got to deal with Felicia here. I believe you spoke harshly to her. STU I apologize. LEON And did her some injury. STU An accident. I'm sorry about that, too. FELICIA The man don't sound like he means it. LEON I agree. (to Stu) Why don't you hang up a minute so we can discuss this matter at length. STU It's long distance. I can't lose the call -- I might not get them back. LEON Do I have to rip that fucking phone out of there? STU That wouldn't be a good idea. (into pay phone) Would it? VOICE Not at all. STU I gave you everything I've got. LEON That pinky ring looks attractive. Felicia might like that. FELICIA It might fit. STU You want the ring, you've got the ring. If I can get it off. LEON I can get it off you. Leon reaches in and grabs Stu's ring hand. STU Let go of me! It's coming loose. There. (he tosses it) Okay, Felicia, with my deepest apologies. Goodbye now. LEON What's really going on in that booth -- that escapes the naked eye? STU Nothing. Talk. That's all. LEON That your connection on the end of the line? Or are you dealing? STU This has nothing to do with drugs. LEON You gotta be high on something to willingly divest yourself of your valuables -- just to maintain occupancy of a fucking phone booth that the local bums piss in every night. STU I knew it smelled for some reason. LEON You look like you're ready to piss yourself. STU Because I am. LEON Maybe if the city provided decent public toilets, folks wouldn't relieve themselves in the subway stations and phone booths! STU I'll take it up with the mayor. LEON Next thing you know you're gonna claim we mugged you -- took your billfold and watch. STU No, you didn't. It was a fair and equitable deal. You had territorial rights to this booth and I paid a license fee. Fair is fair. Now leave me in peace. LEON You sure you're alright? (to Felicia) He don't look well. FELICIA Kind of pale. Even for a white man. LEON Jaundice they calls it. Probably advanced liver trouble. (to Stu) If it's cirrhosis, you better find yourself a twelve step program and quick. STU Thanks for your interest but I'm in perfect health. FELICIA So how come his hand is shaking? LEON The man is cracking up. FELICIA Lookit the sweat pouring off the sonofabitch. That's one sick mother you started up with, Leon! LEON Me? You're the one that brought me over and exposed me to all his germs. STU I'm terminal, okay? Now can I close the booth and continue my conversation? LEON I'm worried now it might be catching. All that money out of your sweaty pocket is probably crawling with some rare and incurable disease. STU Fine. Give it back. LEON What good's that? We done touched it. STU Well go wash your hands. LEON Come on now. Own up to what you're carrying. Is it some of that sexually transmitted shit? Cause in that case, we can relax. STU I'm sick of you. Now get out of my face. LEON Here we's being solicitous as to your health and you respond by heaping abuse! FELICIA Whip his arrogant ass. Leon reaches into the booth and grabs Stu's jacket. STU Touch me and I'll throw up on you. At the suggestion, Leon lets go quickly. It looks like a stalemate. Stu isn't vacating the booth and Leon and his lady are reluctant to touch him further. He does indeed look sick. STU (into pay phone) You can see what I'm up against here. VOICE Want me to get rid of him for you? STU What do you have in mind? VOICE I'll think of something. Suddenly the red dot reappears on the forehead of the pimp. Leon doesn't realize it's there. The hooker behind him has no way of seeing it. But to Stu, there's no way to miss it. He reacts. STU God -- no. (into pay phone) Don't. It's not necessary. VOICE You asked for my help. STU I'll handle it myself. VOICE You're not doing too well. I can settle it in a fraction of a second. Shall I demonstrate? STU No. (to Leon) For your own safety, mister, just walk away. LEON Now the man is turning aggressive... issuing threats upon my person. STU You're making this happen. LEON If you don't hang up and step out, I'm about to topple this booth into the gutter with you inside it. Reluctant to touch Stu again, Leon assaults the booth itself. He begins shaking it violently -- trying to rip it from its foundation. And the rickety booth is not too sturdy. It starts rocking back and forth. Stu is thrown around inside it, barely keeping his footing. STU (into pay phone) This isn't my fault. (shouts) Stop that! But Leon continues rocking the booth. It won't come loose -- so in frustration, he punches in a side pane of glass. The glass shatters all around Stu, who does his best to shield himself from the slivers. STU (into pay phone) The guy's insane! VOICE Only one way to stop a mad dog. Give me permission. STU I can't. VOICE If he forces you out of that booth, I've told you what to expect. You or him, Stu. Leon is smashing other panes of glass now -- one after another -- as Stu cowers inside. FELICIA Don't cut yourself, honey. A crowd of derelicts and street people are now gathering to watch the out of control pimp take out his wrath on the booth and its occupant. DERELICT Looks like the fucker is comin' loose. STREET PERSON Shove it out into the oncoming traffic. DERELICT What'll you bet the bus could knock that fifty feet? The booth is being decimated but Stu hangs onto the phone. STU (into pay phone) Hello? Hello? VOICE (with heavy static) You're breaking up. We're about to be cut off. STU I can't help it! VOICE That counts as a hang-up. STU No. It can't. That's not fair. VOICE I can still make him stop. Say the word. Can you hear me? STU Yes. Stu sees the red dot reappear on Leon's chest as he continues to barrage the booth with punches and kicks. Then Leon recoils, staggers a step backward. He doesn't realize he's been shot. There's been no sound of gunfire. Perhaps a silencer was used -- or the downtown traffic drowned out the solitary discharge. Leon looks confused at first. His ladyfriend has no idea he's wounded -- neither do the derelicts and street people who've assembled on the corner. Even Stu isn't sure -- until the blood starts oozing from the wound on the pimp's chest -- staining his yellow vest. He isn't assaulting the booth anymore. He's trying to keep his balance. He slumps forward, hanging onto the booth for support -- only a few inches from Stu's face. The blood runs down the side of the booth. STU (into pay phone) You did it! VOICE You said 'yes.' STU I said 'Yes, I can hear you.' Not 'Yes -- kill the motherfucker!' VOICE Don't try to renege on it. I was following orders. STU You're twisting it all around. I didn't do this! Meanwhile, Leon leans upright against the booth. Then his legs cave in and he begins to slide to his knees. Felicia runs up beside him. She sees the blood. FELICIA I warned you not to cut yourself. (to crowd) Look at all that blood. He must've hit an artery. She screams as Leon topples backwards onto the pavement. Now his chest wound is evident. FELICIA Oh, Jesus. What is that? Talk to me! What happened? The crowd tightens around the fallen body. Street people who are fascinated but not shocked. DERELICT Gunshot! STREET PERSON Yeah. Sucking chest wound right over the heart. FELICIA Somebody call an ambulance. STREET PERSON Call the meatwagon. He's fucked up. FELICIA You shut the fuck up! Her focus turns to Stu in the battered phone booth. FELICIA Why did you do that to him? STU I didn't. FELICIA (to crowd) You all saw it! He shot my man without no provocation! DERELICT Yeah. Pumped one right into him at close range. STU How could I? I don't even have a gun. Look! STREET PERSON Everybody get the fuck back! They shoot one -- then they shoot everybody in sight! Kill all the fucking witnesses! The crowd disperses to doorways and around the corner -- out of immediate range. STU Come back. You've got to see -- I'm not armed. Only Felicia remains, leaning over the pimp's body, staring helplessly. FELICIA Hang up and dial 911. Get a doctor! STU I can't hang up. That's what this is all about. FELICIA You're gonna stand there and let him die? STU (takes out cellular) I can use this. (he dials) Emergency. Yes. There's been a shooting at Forty-fifth and Eighth -- on the corner. A man is down. What's the difference who I am? I don't want to be involved. FELICIA (shouts) That's bullshit. He's the shooter. You're talking to the shooter. Stu quickly disconnects the cellular. STU That wasn't nice. FELICIA Go ahead -- make a fucking run for it. I hope they gun you down -- like you did him! STU I'm not going anyplace. I'm staying right here in this booth. (into pay phone) Unless you give me permission. VOICE You're attracting a lot of attention. I suppose when the police get there, you'll accuse me. STU What do you expect me to say? VOICE That's up to you. But any mention of me will not be appreciated. STU You mean...? VOICE You won't even get to finish your sentence. Oh look, that little red dot is dancing around all over you again. You saw how quickly it can happen. And how accurate I can be. STU They can't blame me -- I'm not armed. VOICE Who's going to believe that? With all those witnesses to the contrary. STU They can see with their own eyes. Not far away, we hear the BLAST of POLICE SIRENS drawing closer. VOICE Remember to leave me out of it. STU How can I? VOICE You'll put the proper spin on it. Isn't that your specialty? Feeding the public a story that may not have a shred of truth -- and making it totally believable? STU This isn't a story. This is real. This is murder. VOICE If you'd only dealt with the man reasonably, shown him some respect, this might not have been necessary. STU I gave him my money, my watch... VOICE But not your respect. Which is what he required of you. STU He was a fucking thief. VOICE And now he's a fucking dead thief. Do you feel better about that? STU I don't feel a bit guilty. This is all your doing! VOICE Now you're being disrespectful of me. You never learn. Your job is to deal with people -- but you're not good at it. STU Hey, I'm not taking any more criticism from some lunatic sniper who gets his kicks killing strangers. VOICE You keep insisting I'm a stranger. Probably because you don't recognize the voice. But there are cheap electronic devices available that disguise the voice. I might not even be a man. I might be one of those many women you've almost totally forgotten. One who doesn't forgive easily. One who wants to watch you squirm. STU You're a man. I know you're a man. Women don't kill with telescopic rifles. They stab you. VOICE You sound so sure of that. But you've never provoked any man as much as have the women in your life. And so many of them, Stu. (a beat) Do you even remember their names? STU I've got no time to rehash my whole life. Oh my God! The cops are here. Police cars are pulling up on all sides of Eighth Avenue. Traffic has suddenly been shut down. Prowl cars have now blocked the streets. PRODUCTION NOTE: Everything is seen from Stu's perspective without intercuts. Half a dozen cops now emerge and approach with drawn guns. FELICIA (pointing) That's him -- in the booth. He's got a gun! As she hurls accusations, she's lugging Leon's lifeless body out into the gutter into the center of Eighth Avenue. It's a bright afternoon. In the distance, we hear the maddening HONKING of uptown traffic that is now being rerouted, creating a huge bottleneck and raising the anger of irate motorists and bus drivers whose horns provide their simplest form of protest. It's a discordant concert that echoes the confusion and frustration which Stu now feels... As the cops surround the booth -- at a distance. SERGEANT (into bullhorn) Throw down your weapon and come out with your hands raised. STU (into phone) They're ordering me to come out. VOICE I can see that. Ignore them. STU What if they open fire? VOICE They probably won't. Look across on the east side of the street. Do you see the tourist with the home video camera? STU'S POV A distant crowd gathering on the opposite west side corner behind the police cars. Some tourist is capturing the event on video. BACK TO STU STU What about him? VOICE He's going to keep the police on their best behavior. So long as you don't take what could be interpreted as hostile action, you'll be safe. STU You call this safe? Six cops with guns pointed my way? VOICE You want me to reduce them to three -- or two? STU Absolutely no more shooting. Now is that clear? VOICE You can always change your mind. SERGEANT (with bullhorn) You know the drill. Hands clasped behind the back of your neck -- moving slowly -- step out of the booth. If we see any sign of a weapon, we will respond. STU (shouts) You won't, because there isn't any. SERGEANT (bullhorn) I repeat. Raise your hands. STU I can't. I'm on a phone call. Now a black POLICE CAPTAIN arrives and takes full command of the situation. CAPTAIN RAMEY You have thirty seconds to comply. STU I told you. I'm busy. Come back later. VOICE Very good, Stu. The cops take cover behind parked cars, keeping Stu clearly in their sights. He has no place to hide. He's in the battered phone booth in plain view from all sides. RAMEY You've been given an order. The Sergeant slides up beside the Captain to confer. PRODUCTION NOTE: We remain in LONG SHOT of the cops -- always from Stu's POV. But we can hear their voices and all that is said as if they were in close up. It has an odd, unreal and distancing effect. SERGEANT We're dealing with a mental case. He's looking for us to kill him. RAMEY Well he's not getting his wish. In the center of the street, an ambulance pulls up and a team of medics jump out. They rush to Leon's body. (Again we hear their voices close, even though visually they are far off.) FELICIA Tell me he's gonna be alright. MEDIC Step aside. Let us look at him. The medics push her aside -- then examine the victim. He's DOA. MEDIC Nothing we can do. Don't touch the body. They'll need it to mark the crime scene. Far across the street, the Captain confers with his subordinates. They are small figures on the screen but we hear them sharply. SERGEANT Same corner as two weeks ago. RAMEY Maybe it's more than a coincidence. Cover me. I need to talk to him. SERGEANT You've got your vest on? RAMEY What do you think? The Captain steps out of cover and boldly approaches the phone booth. He stops cautiously about fifteen feet away. RAMEY I'm not armed. STU Neither am I. RAMEY Yeah, sure. I need to know what happened. STU Can't talk about it. RAMEY Sure you can. My name's Ramey. Captain Ed Ramey. What's yours? STU Look, I don't want to be friends. RAMEY You look like you need a friend. VOICE Tell him you've already got a friend. STU (yells) I've got a friend, okay. RAMEY Is that who you're talking to on the phone? STU None of your business. RAMEY When somebody gets shot, it becomes my business. Let's not have anybody else killed. I want to hear your side of it. STU I've got no side of it. VOICE Don't worry, Stu. I've got him fixed right in my sights. I won't let him hurt you. RAMEY Has this happened to you before? The need to hurt someone? To put a bullet in them? STU You won't believe anything I say. RAMEY Try me. STU I couldn't shoot anybody. I'm not armed. RAMEY You're right. I don't believe you. What's that bulge in your pants pocket? STU That? That's my cellular. RAMEY A cellular? Then what are you doing in a phone booth making calls? STU Do you want to see it? RAMEY Don't reach for it, mister. STU Then how can I show it to you? RAMEY I don't need to see it. I know what's there. All these witnesses saw you use it on him. From behind a parked car, a HOMELESS PERSON calls out. STREET PERSON (hollers) Damn straight! Another DERELICT, crouched in a doorway, joins in. DERELICT (shouts) Yeah! Shot him down like a dog! STU They're all lying. Nobody saw it because it didn't happen. RAMEY A man is dead but it didn't happen. STU Not on account of me! This is like some bad dream. RAMEY You're walking through a bad dream and you can't wake up. Do you want to wake up? STU I'm trying. RAMEY And in this dream, you killed that man. He was bothering you so you iced him. STU No. RAMEY Then who did? VOICE Don't tell him, Stu. Or it'll be the last thing he ever hears. His blood will be on your hands. STU (to Ramey) I don't know. RAMEY But you saw it happen? STU Yes. RAMEY You were the closest one to him. You must've seen who did it. STU No. RAMEY We're trying to be honest with each other, aren't we? STU Not necessarily. VOICE I'm losing patience with this cop. STU (into phone) I'm handling this. RAMEY Who do you keep talking to on the phone? STU Nobody. My psychiatrist. VOICE Excellent, Stu. You're getting good at this. RAMEY What's this doctor's name? It's important we know. STU He says not to tell you. It's privileged information. VOICE Damn good reply. Now you're having fun. Admit it. STU Whatever you say. VOICE Playing it so close to the edge. I'll bet you've never felt so alive. That's how I feel when I look through the sight and select somebody. The Captain begins advancing a few steps closer. RAMEY I respect your right to privacy. I've been to therapy myself. The department provides it. I know it's not good form for a cop to be admitting that, but... VOICE Tell him not to come any closer. STU Stop right there. Back up a few steps. Back where you were. RAMEY If it makes you more comfortable. VOICE Tell him to read you your rights. STU I want you to read me my rights and stop asking questions. RAMEY Al least tell me your first name. STU It's my right not to have any name. RAMEY No gun and no name. You're a highly underprivileged person. VOICE Demand a lawyer. STU And get me a lawyer, too. I want a lawyer brought down here to negotiate my surrender. VOICE Brilliant, Stu. Keep winging it. RAMEY It'll be hard to find a lawyer willing to risk his life. But if you hand over the gun... STU How can I when you won't let me take it out? RAMEY We'll take it out for you -- as soon as you exit the booth with your hands raised and... STU (interrupts) Now we're back to that again. It's always "Get out of the booth.' 'You can't stay in the booth.' Well, I like it in the fucking booth. It's my whole world now. It's my booth and I'm never coming out. RAMEY We're not about to force you because there could be a miscalculation and then we'd never find out why this happened. STU Why is it so important to know? The guy is dead. Isn't that enough? Knowing isn't going to make him alive again. So who gives a fuck! RAMEY It's what makes the job interesting. Finding out why. Something drove you to do this. You didn't go out today expecting this to happen. It was a nice day. You were out for a walk. And then suddenly it all changed. STU All I wanted was to make a phone call. One lousy phone call for thirty-five fucking cents. VOICE Careful, Stu. Don't volunteer too much. RAMEY You got some bad news on that call. STU The worst. RAMEY Something that pushed you over the edge? STU And I've been falling ever since. RAMEY Time to land. STU When you hit bottom, you die. RAMEY I'm your safety net. STU If I tell you what you want to know -- you'll die, too. Something about the implied threat sends a chill through Captain Ramey. INSERT SHOT The Captain's head as seen through a telescopic sight. Ramey could be dead in an instant. PRODUCTION NOTE: The only time we deviate from Stu's perspective is when we see the sniper's POV through his scope. ANGLE BACK ON STU IN THE BOOTH, the detective fifteen feet away. Ramey decides to back off momentarily. RAMEY I'll go see about that lawyer. STU Now that's a good idea. The Captain withdraws back across the street. VOICE He's lucky. I had him centered in my cross hairs. I really had to restrain myself. We hear the approach of a helicopter. Stu peers up ward as not one but two choppers appear above the tall buildings. VOICE It's not the police. It's the media. You're news, Stuart. The helicopters circle above. VOICE You've never gotten this much press for any of your clients. I'm making you a famous person. STU They're just hoping for coverage of me dying in the gutter. VOICE Their presence is putting the police on their continued best behavior. STU Those cops are just looking for any excuse. VOICE Then don't give them one. Then, as if on cue, Stu's cellular phone in his pocket starts ringing. But he can't allows himself to reach for it. To do so might cause the police to believe he was trying to draw his gun. It rings quietly -- virtually inaudible outside the booth. Drowned out by the traffic horns, the static from the police radios and the newly introduced sound of television helicopters circling over Eighth Avenue taking video coverage of the event below. VOICE Who could it be? STU Kelly. She was worried about me. Stu is afraid to reach in his pocket lest the cops think he's going for a gun. VOICE Maybe she's seen this on television. It must be on every channel by now. Breaking news. STU She doesn't watch daytime TV. VOICE One of the neighbors could've alerted her. The cell phone keeps ringing, almost drowned out by the sound of helicopters circling overhead. STU Why are you saying this? You want me to reach in my pocket so you can see them open fire? VOICE That's an unwarranted accusation and very unbecoming in light of the good advice I've given in the past. Have I ever steered you wrong? STU God -- how I'd love to hear her voice. VOICE It might even be worth it. She's insistent, isn't she? The cellular won't stop ringing. STU If she knows I'm in trouble, she won't give up. VOICE Probably glued to the TV by now. I'm watching coverage on two stations now. Channel surfing. (pause) Well, there you are on two and four and five. Not any decent angles on you, though, stuck inside there. The cell phone continues beeping until the sound of it is maddening. Stu is still afraid to reach for it and provide the cops with an excuse to open fire. VOICE But if you'd take one or two steps outside and look up, I think they could get a clear picture of you. STU You said I'm not allowed to leave the booth. Finally the cell phone stops ringing. VOICE I might be willing to bend the rules and let you enjoy your moment of fame. Set the phone down without hanging up... and take a step or two outside. Just for a minute. Then come straight back in or I'll be forced to provide 'live' coverage that should rival the historic Zapruder footage. (beat) Nothing like an exploding head to excite viewer interest. STU No, thanks. I'll stay where I am. VOICE It was only a suggestion. Since you're convinced I'm going to plug you anyway, it can't matter much. STU If you shoot me, you give yourself away. VOICE Even without a muffler, they'd never hear the report with all this noise. Afterwards, it'd take them a good ten minutes to realize you weren't plugged by some overzealous officer. Then they'll blame the media for inciting a crackpot vigilante to come down here and do the SWAT team's job for them. STU You expected them to come. You had this all worked out. VOICE I write the scenario and you all play your parts -- as directed. The damned cell phone starts beeping again. Stu fights the temptation to grab for it and hear Kelly's voice for one last time. STU Poor Kelly. What she must be going through. VOICE Why don't you tell her how you feel about her? STU I'd never get the words out. Not with fifteen or twenty rounds in me. VOICE You can't be certain they'd fire. They'd see it was only a phone. STU They wouldn't wait to see. The cellular ringing continues jangling Stu's nerves. STU Why doesn't she hang up? Then Stu notices something in the crowd gathering far across the street behind the police barricades. Countless faces rubbernecking, probably hoping to see some display of violence that would end with him face down dead on the pavement. And in the midst of them -- one face familiar to him. A female, quite pretty... even in tears. It's Kelly. (We see her only in LONG SHOT -- a distant figure in bright green jacket that makes her stand out from the crowd.) STU It's her! She's not calling me. She's over there. VOICE Is she? STU The blonde girl in the green jacket. VOICE Can't miss her. Very attractive, isn't she? STU She must've heard all the commotion and come downstairs. The cellular is still ringing. STU It's somebody else who knows my cell number. (beat) It's you! VOICE You continue to impress. STU Why is it so important that they kill me? VOICE Because that's how I win. STU This time you won't. If you want me dead, you'll have to do it yourself. VOICE Either way I can't lose. STU It's all a game to you -- because you're incapable of feelings. You're not even human. VOICE I pride myself on that. What's so great about being human? It's the lowest form of life on this planet and I've taken it upon myself to thin the herd. STU I quit. I'm not answering back any more. I won't hang up but I'm not playing. There's silence now between them. VOICE Stu? Stu, don't be that way. You're taking the pleasure out of it. Stu doesn't take the bait. He remains absolutely silent. A stalemate has been reached. WE RACK FOCUS ACROSS THE STREET TO THE POLICE clustered behind an emergency vehicle. The Sergeant brings a civilian to meet Captain Ramey of the SWAT unit. The newcomer wears coveralls stenciled "AT&T." (Although they are very far away, we hear their voices close up as they come into sharper focus.) SERGEANT This here's Helfand, of New York Telephone. HELFAND Glad to help out. RAMEY Have you got the number of that booth? HELFAND Sure do. RAMEY Can you tap into that call? HELFAND It can be done. SERGEANT But not without a warrant. You could be violating this psycho's civil rights. Especially if he's on the line with his fucking psychiatrist. RAMEY Shit. I don't want to blow this on a technicality. Tracing the call isn't any violation, is it? SERGEANT As long as we don't listen in. We remain in LONG SHOT of the POLICE as they continue in heated conversation. RAMEY (to Helfand) Okay, we've got to know who he's talking to and their current location. HELFAND That I can handle. As long as they keep the circuit open. RAMEY I need the number and an address to go with it. Helfand rushes off. At the corner, we can glimpse him entering a phone company utility truck parked on Forty-Fifth Street. RACK FOCUS BACK TO PHONE BOOTH Stu remains tight lipped and silent, refusing to give his tormentor the conversation he so craves. VOICE Stuart, my friend. Do you want to see how close I can come without actually hitting you? Stu resists pleading because he knows his silence is more powerful. There's no glass in the left side of the booth since the late Leon smashed it all out. Nothing to shatter when the sniper squeezes off his shot. VOICE May I call attention to the yellow pages? The frayed yellow phonebook dangling from a chain under the telephone shudders under the impact of a direct hit. There's been no sound of a gunshot, but the damage is there to behold. Stu reaches for the phonebook. There's a bullet hole straight through it. Pieces of the .30 calibre slug have shattered into many tiny fragments and are imbedded between the pages, half-way through the thick volume. Stu pries pieces out of the pages of the directory. He looks at them in the palm of his hand. VOICE Hollow points are designed to break up on impact. It would've behaved differently if it had pierced your soft flesh. The pieces would've bounced around looking for a way out. That's where the real damage occurs -- finding an exit -- deflecting off all that bone... Stu wants to shout "STOP," but restrains himself. Not talking gives him some degree of power. VOICE Still the silent treatment? My father used to dish that out when he chose to punish me. Not a word spoken -- one time for over a month. I'd try and goad him to acknowledge I existed, but he stared right through me. You're bringing back unhappy childhood, Stu. That's not wise. Stu still declines to answer. His silence seems his only weapon. He tosses the bullet fragments out of the booth onto the pavement. VOICE Since you're ignoring me, I'll focus on someone else. (a beat) There she is -- nice and sharp. I can see the two little punctures in each earlobe and my God, what kind of a girl would have her nostril pierced? Stu realizes the sniper now has Kelly in his sights. STU No! VOICE What was that? Louder, Stu. We must have a bad connection. STU Leave her out of it. VOICE I didn't expect her to show up here. But since she has -- I'll improvise. STU Don't. Please don't. I'm sorry. I'm talking to you again. I'll talk all you want! VOICE It's a bad dye job. The black roots are growing in and it makes her look cheap. STU I've screwed up her life enough already. Please don't hurt her. VOICE I don't necessarily have to kill her. I could be persuaded to settle for a reasonable mutilation. Which part of her displeases you most? If she turns a bit more in profile, I'm accurate enough to remove the tip of her unpleasantly protruding nose. It's just cartilage. Any decent cosmetic surgeon will have her looking better than ever. STU'S POV - FOCUS SHIFTS TO KELLY in the crowd. Distant yet distinct amongst the curious onlookers. JUMP CUT CLOSER ON KELLY -- OBLIVIOUS TO HER DANGER. AS SEEN THROUGH CROSS HAIRS OF TELESCOPIC SIGHT following her as she forces her way through the crowd toward the police officers. Her face virtually fills the screen. PRODUCTION NOTE: The only time we deviate from Stu and his POV is when we see the sniper's own POV through his telescopic sight. VOICE You can see her talking to the police now. She's identifying herself as your wife. They're very interested in who you are. They're taking her over to see the officer in charge. What was his name? SNIPER'S POV Through the cross hairs of the sniperscope, we can see Kelly conversing with Captain Ramey. She's in a state of complete agitation. ANGLE ON STU half leaning out of the booth, staring at his wife and the cops in the distance. RACK FOCUS TO THEM -- and suddenly we can hear them clearly in spite of the distance. KELLY What do you mean psychiatrist? He doesn't see any psychiatrist. RAMEY Then who'd your husband be talking to? KELLY There was some guy that called the house this morning and said weird stuff to me. RAMEY Stu seems to be checking things out with this person. KELLY He hasn't got many friends -- I can tell you that. RAMEY Remain here, please. We may need you later. KELLY You won't hurt him? RAMEY We'll do our best not to. Kelly is left alone as the Captain returns to their command center. Kelly is once again a solitary target. She could be picked off without attracting undue attention. VOICE She won't even feel it when it happens. BACK TO PHONE BOOTH STU Take me instead. VOICE Don't distract me. Now's the time to be absolutely still. I have to hold my breath as I squeeze gently -- STU No! I'm hanging up. That's it. Stu hangs up the receiver. He disconnects. RACK FOCUS TO LONG SHOT -- The police as they react. We see a flurry of activity across the street. Voices become clear as focus shifts. RAMEY Shit. He hung up. SERGEANT Maybe they already traced it. Anyhow, it doesn't matter. Looks like he's coming out. RACK FOCUS BACK TO STU -- slowly stepping out of the booth. His hands are raised. STU (shouts) I've giving myself up. Take me! SWAT OFFICER (distant) First the gun. We want to see you toss away your weapon! STU Shit. I can't. SWAT OFFICER (distant) Freeze where you are! Turn around and keep those hands clasped. (signals the others) Take him. The SWAT OFFICERS in protective gear now step out of cover and fan out as they approach the booth. TIGHTER ON STU He's just outside the booth -- expecting to feel the sniper's bullet go through him at any moment. Then the pay phone starts ringing. The sniper is calling back. RACK FOCUS AGAIN to the police. All the cops react. Particularly the Captain and the Sergeant. Their voices seem close up when they sharpen in focus. SERGEANT What is going on with these fucking phone calls? RAMEY (shouts) Hold your fire. Let him answer it. The SWAT team backs up but maintain their aim. SERGEANT Are you nuts? RAMEY Let them talk. He's not going anywhere. (shouts) He's going back inside the booth. Indeed we see Stu re-enter the battered phone booth and pick up the receiver. FOCUS RETURNS TO STU STU (into pay phone) Yeah? A strange voice begins chattering away in Spanish. Totally unintelligible to Stu. STU (into pay phone) You got the wrong number. Hang up. The voice, probably a Puerto Rican gentleman, rattles on in Spanish. STU Wrong number. Wrong number. Then the voice on the phone suddenly alters the Hispanic accent. It is the now familiar tone of his tormentor. VOICE Aw, relax, Stu. Only yanking your chain. Now can we start over? STU Those cops won't wait much longer. VOICE What else can they do? They can't afford to just shoot you like I can. Not with so much media coverage. Not unless you make some stupid aggressive move. (beat) The ABC Mobile Unit just rolled up. Across the street, Stu can see various TV units from local stations setting up cameras on roofs of trucks. STU Will you look at that? I must be going out over the network. Bet they're pre-empting usual programming. VOICE And just think -- if you survive this, your trial will be televised. And you can try and make the world believe I ever existed. I'd be your only defense. STU How are they gonna prove that I killed anybody when there's no gun? VOICE They'll plant one. The police aren't above that -- when they're desperate to convict. STU No, sir. No gun and I walk. VOICE Don't you think I took that into account? Am I a fool? STU What do you mean? VOICE Haven't I considered every eventuality? I knew they'd come and cordon off the block. (beat) And that there'd have to be a gun someplace. STU Where? VOICE It's a small booth, Stu. Have you checked every inch of it? STU (looking up and down) It's not on the floor. VOICE Then what's left? STU Up above. VOICE Could be. Why don't you reach up there and lift the plastic sheet -- and feel around. STU If they see me reach for something, they could open fire. VOICE They could. But you have to know if it's there. Don't you? STU I totally don't give a shit. VOICE In a narrow space, tucked just to the left of the fluorescent bulb. You can almost see it outlined if you look closely. Stu peers upward at the clouded plastic, now stained and dirty. There are shadows of objects above in the shallows area around the light fixture that automatically goes on when the door to the phone booth is tightly closed. Stu opens and closes the door a few times, watching the light click on -- watching the shadows around the light. Could that be an accumulation of dirt, dust, or dead insects? Or could something be stashed up there? STU It doesn't matter. I know about ballistics. The slug in that dead guy came from your rifle, not any handgun. VOICE You saw how hollow points splinter on impact. There's nothing much for ballistics to match to. The same make .30 calibre bullets are in that handgun. The prosecution rests. STU There's no gun up there. I don't see a damn thing. VOICE Slide your finger up under the plastic and you'll feel the cold metal surface. There are four rounds left in it. Should you decide to shoot your way out. STU I could never shoot anybody. VOICE You could shoot me, Stu. You'd do that in a minute if you could. STU And I'd fucking love it! VOICE Now you're speaking from the heart. Come on, just lift the partition a few inches and feel what's there for you. STU I'm not getting my fingerprints on your fucking weapon. What about powder residue? How are they going to explain that to a jury? VOICE Do you think that'll matter with so many eye witnesses? (beat) Do it... or should I re-focus my attention on Kelly? STU No. VOICE You carefully distracted me from her before and I let you get away with it. But if you're not going to play fairly -- (a pause) There she is again. So close I feel like I could touch her. STU Get off her! VOICE Then mind me when I speak. STU Look! I'm reaching up with my left hand. I'm pushing against the partition. It's giving. I'm feeling around with my fingertips. It's filthy up there. TIGHT SHOT - STU'S FINGERS feel about inside the shallow space. The shriveled remains of dead flies -- a layer of dust -- and then a .30 handgun. STU I'm -- touching something. VOICE One of the finest handguns Remington makes. Lightweight, efficient and highly accurate. STU I'm not picking it up. VOICE Not right now. But eventually... Stu lowers his hand, still empty. STU I wouldn't have a chance. VOICE I never said you would. STU I'm not insane. VOICE But you're getting there. It wouldn't take much. STU That won't happen. VOICE You could pull the gun down, shove it in your own mouth and jerk the trigger. That's another option. STU Why would I do that? VOICE To please me. And ensure that nothing happens to Kelly. I don't necessarily have to deal with her today in the midst of a crowd of cops. I can take her out any time I like. When she goes to pull down her blinds at night or when she walks the dog first thing in the morning. What is it -- a Jack Russell? STU Okay. I know you can do it. But don't talk about that. Please. VOICE I'd rather see you remembered as the gallant gunman who tried to shoot his way past an army of police -- than as a coward who sucked the barrel. I'm doing your PR for you. Creating a final image that'll endure. The outraged New Yorker who was pushed too far. When some lowlife street person tries to invade his territory, he retaliated. And when the forces of the law closed in, he was defiant... to the end. STU Like that nerdy sonofabitch who blew those three wiseass kids away on the subway? VOICE Exactly. Nobody minded that he was a sicko. He was living out a New Yorker's pet fantasy. Can you remember that movie where Peter Finch started screaming 'I'm not taking it anymore!' And everybody picked up on it. STU 'I'm mad as hell and I'm not taking it anymore.' VOICE That was it. Poor Finch got himself an Oscar for that. But he was dead by then. I mean he really died. Maybe playing that part took too much out of him. STU (softly to himself) 'I'm not taking it anymore.' 'I'm not taking it anymore.' VOICE That's the way! Psyche yourself up. Everybody respects a man who fights back, even if he goes a little berserk in the process. STU Fighting back. That's what it's about. VOICE Exactly! We all understand the poor schmuck that gets laid off and comes back and shoots all his bosses. We all thought of doing that. But only he had the balls. The terminally ill husband who gets his policy canceled and machine guns the insurance company offices. Maybe somebody will finally get the message. You can fuck human beings over only for so long before they come back at you. I'm still holding on Kelly and she looks very concerned. I could relieve all that anguish in a fraction of a second. Shall I? Stu is hearing these words but thinking only of what the man on the line has done to him. His turn has come to fight back. He has an idea. If the sniper is focused on Kelly, he can't be watching Stu. Turning his back to the police, Stu slowly sinks to his knees. STU I'm on my knees begging you. VOICE Stand up, Stu. You're embarrassing yourself. TIGHT ANGLE -- Stu now down on his knees in the booth. He's curled up almost into a fetal position. By doing so, he hopes to hide the fact that he's reaching into his pants pocket and pulling out his cellular phone. He half expects to hear a shot ring out either from the sniper or the cops. But nothing happens. VOICE Stu -- I want you back on your feet facing me. So you can see what I'm going to do to her. Stu ignores the command. He's quickly dialing. 911. He's calling police emergency. SNIPER'S POV Stu seen through the cross hairs of the sniperscope, crouched, doubled up at the foot of the booth. But the cell phone is hidden in front of him. VOICE Be a man, Stuart. Don't let them see you like this. You're an embarrassment to me. WIDER SHOT - THE BOOTH with Stu still kneeling. RACK FOCUS to police across the street as their voices become clear -- SERGEANT (listening to transmission) Officer on east side of the street reports subject removed a dark metallic object from his pocket. We better move. RAMEY Hold all fire until you actually identify a weapon. We're doing this on fucking TV! RACK FOCUS BACK TO -- STU IN THE BOOTH crouched forward. The pay phone receiver dangles just above his head. The cellular remains cupped in his hand. Stu never lifts the cell phone. He keeps the palm of his hand over the speaker of the phone to muffle any sound from the other end. It rings and finally someone answers. EMERGENCY OPERATOR (faint) Police. Is this an emergency? Hello? Is someone on the line? But Stu addresses himself loudly to the pay phone which he now grips in his other hand. Hoping that his words will be picked up by the emergency operator listening via the cellular. To help in this regard, he reaches back and slides the door to the booth tightly closed. He pretends to be talking to the sniper but his words are meant for the 911 operator to hear. STU (loud) You've made your point. Who's going to believe I've got a sniper with a telescopic sight holding me in a fucking phone booth at 45th and 8th? VOICE It took you a while to believe it yourself. STU If you'd put a bullet in that Captain Ramey, it would've been a different story -- but you were too wise to do that. VOICE Why don't you do it for me? Wave the old captain back over and get him nice and close and then use the handgun on him. STU (talking loud) Why me? You could pick off any of those cops from your window up there. Like you did that pimp. And that tourist last week. But this time you want me to do your killing for you. VOICE And you will! To save Kelly. EXTREME TIGHT SHOT - CELL PHONE cupped in Stu's hand and held low. Can they hear him on the other end? EMERGENCY OPERATOR (muffled, almost inaudible) Can you speak up, sir? What is your name? Stu is concerned that the sniper might hear the voice of the emergency operator. He sets the cell phone down flat on the floor of the booth facing upward. He puts his foot over the receiving end to muffle the incoming voice. Then he stands up. VOICE That's better, Stu. Now turn around so I can see you. Stu talks close into the pay phone receiver now. But keeps his voice raised. STU This booth. It's my whole world -- shrunk down to four feet by three feet. Not much bigger than the size of a coffin. VOICE They can put handles on the booth and bury you in it. STU (loudly into pay phone) When I saw you put that bullet into that black dude, I knew you'd never let me out of this phone booth alive. VOICE You're wasting my time. Reach up and take the gun. STU (peering upward, squinting) Let me see you first. What harm can that do you? You're in one of those windows. I've got to know which one. VOICE No need for that. STU Being so far, I could never identify you. I don't even want to. VOICE What is it then? STU Don't worry that I'd try to point you out. You'd shut me up with one of your .30 calibre hollow points before I could even raise a finger. VOICE Why does it matter so much? STU I want to see that you exist. Like God exists. It's not enough to believe. You want to see him -- just once -- even at a distance. VOICE And then you'd take the gun down. And use it. We have a deal on that? STU Show yourself to me and I'll take the gun down. I swear. There's a pause as the sniper mulls it over. VOICE I don't have to make deals. And you're irritating me by trying to negotiate. God doesn't have to prove anything. He just strikes you down when he gets in the mood. STU Stop! I won't ask to see you anymore. VOICE I'm glad that's settled. But look who else has showed up? STU Who? VOICE I guess she saw the coverage on TV and just couldn't keep away. STU What are you talking about? VOICE The 'hotel' just arrived. And a very beautiful little hotel she is. Actually, I'd classify her as more of a motel. STU Mavis? I don't see her. VOICE She's too far back behind the police line. But I've got a fine shot at her from up here. STU You don't even know what she looks like. VOICE You're in an enviable position now, Stu. You get to choose between them. Tell me which one. STU I can't. VOICE Which will it be? Kelly or Mavis? Or should I simply select one? INSERT SHOT - THE CELL PHONE lying face up on the floor of the booth. Is anybody listening? BACK TO STU Stu looks down at the cellular. He has no way of knowing if the police operator can hear any of his words. STU I need time to think... VOICE You've got to be more in touch with your feelings. You said you love Kelly. STU I do. VOICE Then I'm doing you a favor putting you out of the way of temptation. STU It wasn't Mavis' fault. It was all my fault. VOICE Then take the third option. Reach above you and pick up the gun. STU You'll leave them both alone? VOICE There won't be much point in harming them without you around to impress. STU I'll do it. VOICE Let me see you do it. STU I need one minute. One last minute, please. Can you give me that? VOICE Don't tell me you're going to say your prayers? STU Something like that. WE RACK FOCUS AWAY TO LONG SHOT - THE POLICE assembled on the opposite side of the street. RAMEY They should've traced the fucking call by now. SERGEANT (listening on transmitter) There's something else coming in. A 911 operator says your name was mentioned by somebody that's still on the line. Somebody talking about a phone booth. And a sniper. RAMEY Patch me through. Hello, this is Captain Edward Ramey. What about that call? EMERGENCY OPERATOR The line is still open. It's originating from a booth at 45th and 8th. RAMEY We're there! Can you play me back your recording of the entire call? EMERGENCY OPERATOR I can't replay the tape while it's still running. RAMEY Then switch to another machine and play back what you've got. EMERGENCY OPERATOR It's awful faint. He's not talking directly into the receiver. Ramey begins to listen. We hear snatches of Stu's call picking up words which are at times incomprehensible. STU'S VOICE (faint) 'Who's going to believe I've got a sniper with a telescopic sight holding me in some fucking phone booth...' The uniformed TELEPHONE TECHNICIAN now joins Ramey and the Sergeant. TELEPHONE TECHNICIAN Got what you wanted. The call's coming from up the street. The Hotel Broadway. RAMEY Have you got the room? TELEPHONE TECHNICIAN It's not that easy. Electronic switchboard. RAMEY (to Sergeant) Move your SWAT units to the hotel. No... wait. Any movement will alert the sniper. If he sees any of us withdraw, he may panic. SERGEANT There's another SWAT unit on the way. RAMEY Intercept them. Divert them to the hotel. SERGEANT It's done. RAMEY Send them in from the Forty-third Street side. I don't want any activity the sniper might catch sight of. He's probably high up and facing that booth. He's got to continue to believe our full attention is focused on the man inside -- whoever the hell that poor bastard is. (to emergency operator) Hello 911 operator, I missed some of that. Run it halfway back and repeat it. STU'S VOICE (REPLAY) (faint) '... Like you did that pimp. And that tourist last week. But this time you want me to do the killing for you...' RAMEY (listening) Jesus... he's a dead man. BACK INSIDE PHONE BOOTH VOICE The police seem all excited about something, Stu. STU Are they? I wasn't looking. VOICE I can't wait any longer. Say amen, then reach up for the gun. When your hand comes down, I want to see it. STU I'm too afraid. VOICE For once, be brave. Surprise yourself. STU I'm shaking all over. VOICE Guys in combat situations even shit their pants. But they follow orders. STU As soon as the cops see a gun, they'll open fire. VOICE Then I'd advise you to fire first. Stu's arm goes up in a supreme act of willpower. His fingers run along the two clouded plastic sheets that cover the roof of the booth. It raises up easily at the middle where two sheets join. TIGHT INSERT SHOT The space between the roof of the booth and the sheets of clouded plastic. We see the fluorescent lighting fixture covered with dust. The solitary object -- a cruel-looking weapon. Now Stu's fingertips protrude into the small space. He touches the gun, brushes back and forth, feeling the roughness of the grip. TIGHT SHOT - STU'S FACE as below he continues to hesitate -- it's agony -- The sweat pours down his forehead and his eyes are squeezed tightly shut. He can already imagine the police bullets tearing into him. A POLICE SNIPER IS MOVING INTO POSITION. POLICE SNIPER (into transmitter) Give me the word. RACK BACK TO STU - IN THE BOOTH His arm still raised. He hasn't brought it down with the gun in it. Not yet. He holds the pay phone receiver jammed up against his mouth. VOICE Hard part's over. Drop your arm and point it like you'd point your finger and squeeze. STU No. You do it. If you want me dead, then fucking murder me! VOICE Why must I keep invoking some poor girl's name every time we come to an impasse? I'm focused back on Kelly again. You're obviously not willing to trade your life for hers. STU I am! I'm doing it! He pulls the handgun down into full view. Curiously, the police do not open fire. STU There! You see it? They all see it. He waves the gun so nobody can miss it. STU Where are you? Damn you!! He drops the receiver and steps halfway out of the booth. Still the cops do not open fire. Then Stu starts shooting. Not at the police, but at the high rise buildings across the street. At the thousands of windows that look down upon him. He gets off two shots before a solitary rifle shot rings out in response. RACK FOCUS TO THE POLICE SNIPER He has fired. ANGLE ON STU The remaining glass on the south side of the booth shatters. Stu tumbles forward, sprawling out of the booth onto the pavement. RACK FOCUS TO KELLY She screams, tries to break through but cops restrain her. INT. PHONE BOOTH ANGLE ON DANGLING RECEIVER as it sways back and forth. From it, we hear the voice. VOICE Thanks for such an interesting afternoon. THEN THERE ARE OTHER SOUNDS EMANATING FROM THE DANGLING SWAYING PHONE. A wooden door being battered open. A few incomprehensible shouts as a SWAT TEAM dashes in. Stu's stalling for time has paid off. THE SOUND OF A BARRAGE OF GUNFIRE. THE SOUND OF A MUFFLED SCREAM. The police have broken in on Stu's tormentor and there has been a rapid exchange of shots. A HAND reaches into the booth and grabs the receiver. ANGLE WIDENS as Ramey places it to his ear. RAMEY Hello? This is Captain Ramey. Somebody talk to me. SWAT OFFICER'S VOICE Yeah. We took him out, Captain. Nobody else got hurt. RAMEY What's his condition? SWAT OFFICER'S VOICE Critical. The sonofabitch took two. Probably won't survive the ride. RAMEY Get a statement from him. I'll be right over. He drops the receiver so that it dangles again. CAMERA FOLLOWS RAMEY to where Stu lies surrounded by cops and medics. He's stunned, but very much alive. MEDIC Don't try to sit up. STU What was that? RAMEY (kneeling) Rubber bullet. MEDIC You'll have one hell of a nasty welt. Busted rib. Maybe a permanent scar there. STU It couldn't hurt much more if you really shot me. RAMEY Somebody was going to and we thought it may as well be us. STU Did you get him? RAMEY Sure as hell did. Thanks to you. STU Still alive? RAMEY Barely. MEDIC We'll be giving him a hypo for the pain. It'll put him out for a while. Kelly is now brought over by a female cop. She drops to her knees beside Stu and tries to embrace him. The medics restrain her. STU It's okay. I'm not really shot. KELLY I was so afraid. I thought... STU I thought so, too. But we're going to be alright. Both of us. KELLY Remember how you swore up and down you'd get me on TV? Well, you did. I already got interviewed on Fox and Channel Eleven and they even want me on A.M. America tomorrow morning. STU Bet you didn't think I could deliver on that. MEDIC Will you please let go of him, Miss? A gurney is wheeled over from a police ambulance. The medic is about to administer the hypo but Stu pushes him away. STU No. No hypo. I want to see him first. The medics are now ready to lift Stu onto the gurney and cart him off. But Stu struggles against them. RAMEY Relax. The guy's dying. STU That's why I've gotta talk to him. Please! RAMEY We'll see. MEDIC (to Kelly) You can ride with him in the ambulance. The woman cop escorts Kelly to the waiting ambulance. Ramey meanwhile tries to resume contact with the SWAT team inside the hotel. RAMEY This is Ramey. Over. This is Ramey. Ten-Four. There's nothing but static, mixed up feedback and multiple garbled voices on the other end of the line. RAMEY Shit. Get everybody off this wavelength. He crosses back to the phone booth -- picks up the dangling receiver. RAMEY Hello. Hello! Pick up! Yeah, it's Ramey again. Can you hold the phone close enough so the perp can listen? COP'S VOICE He's not saying a word, Captain. RAMEY He's not about to talk to us. Maybe to him. Ramey looks back to where the medics are still trying to lift Stu onto the gurney. RAMEY Forget that. Stand him up. (to Stu) Can you stand? STU I can try. RAMEY Help him over here. The medics support Stu and inch him back to the booth. It's painful, but Stu ignores it. Ramey holds the phone up so Stu can both listen and speak. RAMEY Here. Speak up. STU (into pay phone) It's me. Do you hear me? Answer me. VOICE (wheezing) Had to have the last word, Stu. STU I finally beat your ass. Admit it, you fuck. VOICE But you'll never forget me. I gave you the most thrilling day of your life. Say thanks. STU Now you're gonna die, you bastard. VOICE I lost a lot of blood. Don't you want to donate some for me? Then we'd really be part of each other. STU Hang on. I can't wait to see you at the hospital. So I can yank your fucking air tube out. VOICE Wish I could give you that pleasure. You deserve it. (coughing) ... Only I'm out of time. STU What's your name? At least tell me who you are. There's more violent coughing, then silence. Then a cop's voice is heard. COP'S VOICE He's gone. Stu stares at the receiver. RAMEY Don't worry. We'll find out who he is. And why he picked you. STU No. You won't. (a beat) What do you want to bet you won't? Stu reaches over and hangs up the receiver. CLICK. STU I'll spend my whole life trying to figure that out. Then he sinks into the arms of the medics who lower him onto the waiting gurney. The hypo is finally administered. It kicks in immediately, relieving the pain. He's wheeled away from the booth to the waiting ambulance. Kelly is already inside waiting to accompany Stu to the hospital. STU'S POV - BEING WHEELED AWAY FROM THE EMPTY BOOTH pulling away in LOW ANGLE. CAMERA SLIDES BACK inside the ambulance with Stu. The doors shut, obliterating our view of the phone booth that was his entire world until moments ago. STU (groggy) Gotta sleep now. No phone calls... Kelly smiles down at him as the image blurs. Stu passes out -- into a deep sleep he much deserves. A SIREN BLARES. CUT TO BLACK. \ No newline at end of file diff --git a/unformated_scripts/Script_Pi.txt b/unformated_scripts/Script_Pi.txt new file mode 100644 index 0000000000000000000000000000000000000000..30f5bc17c43d6d0260ec2ee28b8f4c1cbf55b26d --- /dev/null +++ b/unformated_scripts/Script_Pi.txt @@ -0,0 +1 @@ +Pi by Darren Aranofsky Originally featured at: Screensource Shooting Script September, 1996 TITLES EXPLODE TO WHITE SLOW FADE TO: EXTREME CLOSE-UP of MAXIMILIAN COHEN'S eyes popping open. INT. MAX'S APARTMENT -CHINATOWN FLAT – NEW YORK CITY - NIGHT Max jolts his head from his desk and tries to orient him-self in the darkness. He has intelligent eyes set in an exhausted, good-looking face. Then he notices the blood dripping from his nose. Max wipes it. Max's voiceover begins: MAX (V.O.) Monday, September first. Six-fifteen. INT. BATHROOM - DAWN A pull-string light flips on. Max examines his bloody nose in the mirror. MAX (V.O.) The alchemist awakes. (Imitating) "Turn lead into gold, Max, lead into gold." Today, I find it. TIGHT ON Max's hand as three unmarked, circular pills hit his palm. Then, he slams the pills into the back of his mouth. Max replaces the cap on a plastic bottle of unmarked prescription drugs. He drinks from the sink and splashes a generous amount of water onto his head and face, cleaning his nose. He wipes his nose and examines the last remnants of blood on his fingertip. Then, he dips his finger under the tap. INT. MAX'S APARTMENT - MAIN ROOM - DAY Max's room is constantly dark because the windows are blacked out. He flips on his desk lamp. A tiny ANT crawls across his desk. He looks at it for a moment before getting angry and squashing it. Sitting on the desk are three computer monitors, which Max flips on. Then he pops on more lights and more switches. We pull back revealing that Max's apartment looks more like the inside of a computer than a human's home. The room is knee-high in computer parts of all shapes and sizes. The walls are covered with circuit boards. Cables hang from the ceiling like vines in a Brazilian rain forest. They all seem to be wired together forming a monstrous homemade computer. This is EUCLID, Max's creation. The computer is alive with sounds and lights. Max works on Euclid with his solder and drill. He cares for the machine as if it were his dream car MAX (V.O.) Heat's been getting to Euclid. Feel it most in the afternoon when I run the set. Have to keep the fans on all night from now on. Otherwise, everything is running topnotch. The stack of 286's is now faster than Columbia's computer science department. I spent a couple hundred dollars. Columbia's cost? Half a million? (Small snicker) Ha... Max checks the peephole on His front door. No one is there. He unbolts the five lock and slides into the hall. INT. APARTMENJ HALLWAY - DAY As he secures his apartment, a Young girl named JENNA runs up to him. Her MOM, down the hall, looks apologetic. Jenna's eyes light up and she pulls out her Fisher Price calculator. JENNA Max, Max! Can we do one? MOM (Over and over again) Jenna! Jenna! MAX Oh, no. JENNA What's three hundred and twenty-two times four hundred and ninety-one. Jenna types it into her calculator. Max finishes locking his door. MAX (instantly) One hundred fifty-eight thousand, a hundred two. Right? JENNA (Eyes light up) Right. Max heads down the staircase. MOM Jenna... Jenna screams after him. JENNA Okay, seventy-three divided by twenty-two. MAX (instantly again) Three point three one eight one eight one eight... EXT. CHINATOWN - DAY Max watches people bustle through the busy intersections of Chinatown. The streets are clogged with people. MAX (V.O.) Somewhere in there. Somewhere. I know it's right in front of me. The pattern. They say it's chaos, it can't be understood, too much complexity. EXT. ELECTRONIC MEGADUMP - DAY Max scavenges electronic parts as he carefully navigates an endless dump for old and rotting computers. MAX (V.O.) History it's there. Lurking, shaping. structuring, hiding, right beneath the surface. He unscrews a random IBM Board from a keyboard and slides it into his pocket. EXT PLAYGROUND – DAY MOVE IN on Max looking up at something as he reclines on a public bench. MAX (V.0.) The cycling of disease epidemics, the wax and wane of Caribou populations in the Arctic, sunspot cycles, the rise and fall of the Nile and yes! the New York Stock Exchange, they are all the same. MOVE IN on a tree branch - shaking gently in the wind. SLOW DISSOLVE TO EXTREME CLOSE-UP OF STOCK TICKER Bright stock quotes drift across the screen. MAX (V.O.) I'll find this structure, this order, this perfection. INT. MAX'S APARTMENT - DAY Max stares intensely at the ticker on the small TV that sits next to his monitors. MAX (V.O.) Turn lead into gold. The first. Right here. Right here. With math. The numbers of the stock market are my lead. When I find the pattern, then I will find gold. Max watches the right edge of the screen where the numbers appear. He wants to see what's before that edge... Max slaps the RETURN button on his computer. The phone starts ringing. Max eyes it suspiciously. Just then, Euclid starts printing results on an old dot- matrix printer. Max suspiciously answers The phone. MAX Hello? WOMAN'S VOICE Maximilian Cohen, please. MAX Yeah? WOMAN'S VOICE Mr. Cohen? MAX Who's this? WOMAN'S VOICE Hi. my name is Marcy Dawson. I'm a partner with the predictive strategy firm Lancet-Percy. Can I speak with Mr. Cohen, please? MAX I told you... The printer finishes printing. MARCY DAWSON Mr. Cohen! How are you? It's been a long time. Sorry I haven't been in touch. But I was hoping you would allow me to take you to lunch tomorrow, say one o'clock? MAX Sorry, I can't. MARCY DAWSON We're very anxious to talk with you, sir MAX I can't. MARCY DAWSON I'm prepared to make you a generous... Max hurries to wrap up the conversation. MAX I don't take offers for my research. You know that. Sorry, I Couldn't help you. MARCY DAWSON Mr. Cohen, give me a moment... But before Marcy finishes, Max hangs up. He rips off the printout and heads to the front door. He checks the peephole, His landlady. MRS. OVADIA, is sweeping the hallway stairs humming a turn-of-the century (the last one, not this one) tune. Max waits a moment. He tousles his hair. Then he checks again. She's gone. He opens his locks and releases several bolts. INT.MAX'S BUILDING HALLWAY - DAY Max locks his front door. Meanwhile, his next-door neighbor, DEVI MINSTRY, a sexy young Indian woman, is just getting home. Max looks away and tries to get his door locked. She's weighted down by a bunch of bags filled with food. DEVI Max, good! MAX Hi, Devi. DEV1 I grabbed you some somosas. MAX Great. Devi heads over to Max with her bags of food. She looks up at Max. DEVI Your hair. Devi hands the bags to Max. Then she goes to pat down his Hair. Max retreats. MAX What are you doing? DEVI Your hair, you can't go out like that. Don't worry. MAX It's fine. It's fine. Devi pats down his hair. Max is humiliated. DEVI You need a mom. Max hands back the bags and heads quickly for the stairs. MAX I have to go. DEVI Your somosas! An embarrassed Max takes the bag. MAX Thanks. INT. COFFEE SHOP - DAY At the counter, Max stirs cream into his coffee. Then he takes three pills from the plastic bottle and drops them in his coffee. Max flips past a full-page ad in the paper that reads LANCET-PERCY 86% ACCURACY (ONLY GOD IS PERFECT). Max flips the page before he or we can absorb it. He compares stock quotes in the Wall Street Journal against his printout. MAX (V.O.) Sixteen, twenty-seven. Results: Euclid shows tomorrow's Dow closing up by four points. Anomalies include PRONET at sixty-fire and a quarter, a career high. Possible explanations, either A, an error in the June fifth algorithm, or B, Euclid's main processor is running a recursion... Max marks up the paper with lines and diagrams as he ponders his bits and misses. Then a puff of cigarette smoke drifts by and succeeds in bothering Max. He fans it away when— VOICE FROM OFFSCREEN Oh sorry, am I bothering you? Max shrugs and looks over. The voice belongs to LENNY MEYER—a bearded man in his late 20s sucking on a cigarette. On closer inspection, something is off. It seems that Lenny is an Orthodox Jew. His yarmulke sticks out Slightly from his wide-brimmed hat and the fringes from his tsi-tsis hang out from the bottom of his untucked shirt. LENNY MEYER I'll put it out. (Which he does) The name's Lenny Meyer Lenny sticks out his hand. Max responds with a small nod. LENNY MEYER And you are? MAX Max. LENNY MEYER Max? MAX Max Cohen. LENNY MEYER Cohen! (Judging) Jewish? Max shrugs and turns back to his work. LENNY MEYER It's okay. (Joking) I'm a Jew, too. (Serious) Do you practice? MAX No, I'm not interested in religion. LENNY MEYER Have you ever heard of Kabbalah? MAX No. LENNY MEYER Jewish mysticism. MAX I'm sorry, I'm very busy. LENNY MEYER I understand...it's just that it's a very exciting time in our history. Right now is a critical moment in time. MAX (Sarcastic) Really? LENNY MEYER Yes, it's very exciting. Have you ever put on Tefillin? Max has no idea what Lenny's talking about. Lenny pulls a leather box with black leather straps from his pocket. LENNY MEYER Tefillin. You know Tefillin. I know it looks strange. But it's an amazing tradition that has a tremendous amount of power. It's a mitzvah for all Jewish men to do. Mitzvahs, good deeds, are spiritual food for our hearts and our heads. And then Max notices that his thumb is twitching He grabs it self-consciously. LENNY MEYER They purify us and bring us closer to God. You want to try it? Just then, Max pays his bill and prepares to leave. MAX I gotta go... LENNY MEYER Are you okay? Max? Max? MAX I'm sorry, bye. LENNY MEYER Well, maybe some other time. INT. MAX'S BATHROOM - NIGHT Max splashes water on his face. MAX Please God, Let it be a small one. He pulls a metal vaccinating gun out of the medicine cabinet. Then be loads it with a small bottle of medicine. He rolls up his sleeve, dabs alcohol on his arm, and fires the gun into his arm. MAX (V.O.) Sixteen thirty-five. Second headache in under twenty-four hours. They're getting more frequent now...more painful, too. Drugs don't work, just take the edge off of it. Just gotta wait for the nosebleed. Relief comes from my nose. Next door, he hears Devi and her boyfriend talking. FARROUHK (O.S.) So I gotta make this drop off in Harlem and on the way down there's these three kids hailing me. Max slaps himself in the face a few times. DEVI (O.S.) You stopped? FARROUHK (O.S.) I was tight, so... Max watches his thumb twitch. And then pain shoots through him. He grabs the right side of his head, massages it, and pushes it in with his fingers. In the mirror, he examines the right side of his scalp. He sees nothing MAX Ahh... Max walks back into the MAIN ROOM and sits down in a chair. The lamp is blinding so he snaps it off. Only the bathroom light lights the room. He takes a few breaths. MAX Leave me alone. His neighbors conversation begins to build in volume and distortion. FARROUHK (O.S.) So I drop them off in the Village and they dart. DEVI (O.S.) Oh God... Max gags and rubs his head. FARROUHK (O.S.) I get out, grab my bat and start running. One of the kids, maybe sixteen, I catch a block later he's cursing at me, calling me a Paki bastard. So I whacked him, right in the head. DEVI (O.S.) Farrouhk! The pain seems to disappear. Max looks at his hand that was rubbing his bead. Then he looks at the front door. The doorknob seems to move. Something begins knocking on Max's door. The knocking gets louder and louder then the locks begin to unlock. FARROUHK's words begin to overpower Max. FARROUHK (O.S.) I'm kicking the bastard in the ribs banging his ass, knocking his head against the curb, harder and harder, I fucking lost it. A hot dog guy starts screaming "You're cracking his skull, you're cracking his skull." So they pulled me off of him and calmed me down. Cops said he had it coming to him. Then something starts pounding the door. The doorknob quivers, the locks unbolt. The chains are the only thing keeping out the intruder. The door shakes and the chains are strained. MAX is paralyzed with terror. MAX No! No! And then the door smashes open. Blinding light fills the room and we crash into the BLINDING WHITE VOID A moment of silence, then we CUT TO INT. BATHROOM - DAWN A phone rings incessantly. Max's eyes pop open. He's scrunched up in a corner of the room, squashed beneath the sink. His nose is bleeding. Max, crawls into the MAIN ROOM and picks up the phone. He pinches his nose and tilts his head back. MARCY DAWSON Mr. Cohen. Marcy Dawson here again I was just looking over my schedule and I realized I'll be in your neighborhood tomorrow around three. Max heads to the FRONT DOOR and checks the locks. He is barely listening to Marcy MAX (Groggy) Who is... The locks seem secure. MARCY DAWSON Marcy Dawson from Lancet-Percy I'm so anxious to meet you. It will be worth it—for both of us I promise. See you at your house at three, okay? MAX My house...how do... MARCY DAWSON Oh, don't worry, I got your address from Columbia. So three it is. Looking forward to it. Max tries to stop her but, before he can Marcy hangs up. A bewildered Max slowly hangs up. MAX Damn. Max checks the peephole - all clear. Then, he opens his - CLOSET which is filled with random computer parts and boxes. He pulls a thick neuroscience book from a shelf in the back of the closet. He almost knocks over an old dusty brass microscope on the shelf. Max flips through the book. It contains old plates illustrating the brain. Max examines some of the diagrams. EXT. S0L'S HALLWAY - DAY Max rings the bell on an apartment door. A few moments pass, and then SOL ROBESON opens the door. Sol is a wise-looking man in his early 70's. He walks with difficulty, leaning out of breath on a wooden cane. His arms are covered with faded Russian prison tattoos and he speaks with a thick Eastern European accent, He's happy to see Max. S0L Max! How are you7 Max is happy to see Sol, but he's a bit bashful and intimidated. MAX Okay. EXT. SOL'S STUDY - MOMENTS LATER TIGHT ON the Japanese game of Go being played. Sol is white and Max is black. Sol's moves are secure and controlled while Max is hesitant. SOL Stop thinking, Max, just feel. Use your intuition. It's the only way to get into the flow. (Beat) What did you think of Hamlet? MAX I didn't get to it. SOL It's been a month. (Knowingly) You haven't taken a single break. MAX I'm so close, Sol. I'm so close but I just can't grab it. Sol changes the subject. He feeds his goldfish and points to one of them. SOL Have you met the new fish my niece bought me? I named her Icarus. After you. My renegade pupil. You fly too high, you'll get burned. Max looks up at Sol. SOL The more I see you, the more I see myself thirty years ago. My greatest pupil. Published at 16, Ph.D. at 20. MAX We'll see. SOL But life isn't just mathematics. I spent forty years looking for patterns in Pi, I found nothing. MAX You found things... SOL I found things, but not a pattern. INT. MOVING TRAIL - DAY Max sits in the corner of a rickety New York City subway car. The train is almost completely deserted. Max looks down at his hand. He opens his palm and reveals a black Go chip. MAX (V.O.) Tuesday, September second, eighteen twelve. If Sol hadn't gotten sick who knows where math would be. He spent years in the numbers of Pi. Searching for meaning, for order. Max notices a SKINNY MAN in a business suit staring at him. The man catches Max's eye and looks away, but then he quickly looks back, making Max turn away. He looks down at his Wall Street journal and draws a circle with its diameter then he writes "A=pir2" and "C=2pir." Next he writes "pi=3.14159..." MAX (V.O.) Three point one four...off into infinity and maybe insanity. Somewhere in there he wanted sanity. Sanity like he found in the circles Pi represented. Simple, sane circles. If only the stock market had circles. Some type of sanity. Some type of form, of shape. Suddenly, Max hears someone singing. Max looks up. It is the Skinny Man and he's singing with passion. It's all very strange to Max, who nervously looks away. And then the singing stops— mid-verse Max looks up and the man is gone. Vanished. Max looks around—no one in Sight. INT. APARTMENT STAIRCASE - DAY Max heads up the stairs to his apartment. Just then, a toy SLINKY appears from nowhere marching down the stairs. Max stops and waits until the Slinky hits his foot. He picks it up and looks at it. He looks around wondering what's going on. Then Jenna leans out over a railing and starts laughing at Max. INT. COFFEE SHOP-DAY Max sits at the counter frantically looking at the Wall Street Journal. He plops three pills into his coffee. He draws circles and other shapes across the page. Max is interrupted by a puff of smoke. At the same time, someone touches his shoulder and says: LENNY MEYER Hey, Max, how you doing? MAX Oh, okay. LENNY MEYER Lenny Meyer. (Motioning to the cigarette) I'll put it out. (Which be does) So, what do you do? MAX Um, I work with computers ...math. LENNY MEYER Really? What type of math? MAX Number theory. Mostly research. LENNY MEYER Number theory? No way, I work in theory, too. Not traditional, though... (Points to his yarmulke) I work with the Torah. (Awed by the coincidence) Amazing. MAX (Passing it of as a coincidence) Yeah... LENNY MEYER Yeah. You know Hebrew is all numbers. It's all math. MAX Hm. Lenny pulls out a worn' dog-eared Bible from his pocket. There are paper slips marking what seems like every other page. When he opens it up, Max sees that the pages are marked up by highlighter pens, notes and diagrams. Lenny points to the text. EXTREME CLOSE-UP of Hebrew letters. LENNY MEYER Here, look...the ancient Jews used Hebrew as their numerical system. Each letter is a number. Lenny pulls out a pen and grabs Max's Journal. He writes on it as he talks. LENNY MEYER You see...The Hebrew "A," the number 1. The Hebrew "B," Bet, is two. You can take any Hebrew text and turn them into a long string of numbers. The waitress refills Max's coffee. LENNY MEYER The Torah is just a long string of numbers. Some say that it's a long code sent to us from God. Satisfied, Lenny lights up a cigarette and takes a drag. MAX (Mildly impressed) Kind of interesting. LENNY MEYER (Proud of himself) Yeah, like take the Hebrew word for, say, the Garden of Eden, Kadem. Kuf, Dalei Mem...Kuf is a hundred. Daled, four Mem, forty. They equal one hundred and forty-four. Then take the tree of knowledge...in the garden, Aat Ha Haim, it equals two hundred and thirty-three. Now you can take that number and... MAX They're Fibonacci numbers. LENNY MEYER Huh? MAX The Fibonacci sequence. Italian mathematician, thirteenth century. If you divide a hundred and forty-four into two hundred and thirty-three, it approaches theta. LENNY MEYER Theta? MAX The Greek symbol for the golden ratio. The golden spiral. Lenny exhales the smoke. Max quickly graphs the number on his Wall Street Journal. LENNY MEYER You're right, I never saw that before. That's the series you find in nature. Like the face of a sunflower. MAX Wherever there's spirals. LENNY MEYER You see, there's math everywhere. Lenny's smoke drifts by Max's eyes. SLOW MOTION: MAX'S POV of smoke spirals spinning in front of him. MAX Math everywhere... SLOW MOTION: Max looks down at his coffee cup. He pours cream into his coffee. It shoots up and mixes with the black coffee forming spirals in the mug. MAX (Serious) Everywhere... SLOW MOTION: Max looks at the spiral he just drew on the Wall Street Journal. NORMAL SPEED Suddenly, Max stands up. MAX Oh my God... INT. MAX'S APARTMENT - DAY Max draws spirals all over his Wall Street Journal. Then he takes a thick black marker and draws a giant spiral across the entire page. Max is ecstatic as he pounds code into the computer takes moments to wake up, drops pills, and drinks a Ginseng soda. MAX (V.O.) Simple shapes! Tuesday, September second. Twenty-twenty-two. Sol! Sol! Sol! Shapes in the market. Why not? And they're spirals! Spirals! Max traces a big circle on the journal. Then, he cuts it out with an X-acto blade. He cuts out the middle of the circle so that be has a thin loop like one of those futuristic frisbees. He tears part of the loop and stretches the circle out in front of him into a spiral. MAX (V.O.) A circle spread out overtime. It's open-ended. It has a beginning and it grows and changes through time. If I can find where it fits, if I can spin it and lock it into a group of numbers, then I can calculate the future. Lead into gold. Chaos into order Madness into sanity. Pain into bliss. Perfection. Max is about to slap RETURN but he stops himself—he's nervous. Next door, Devi and her boyfriend are making love. He looks at the wall with disdain. Then he looks back at the screen, shrugs and confidently slaps RETURN on his keyboard. Stock prices float across the screen. Max can't believe his eyes—the quotes are absurd. MAX What the... And then, Euclid crashes. The electricity in Max's room flips off. The numbers on Max's screen fade to black. In near (minus streetlights) darkness: MAX Shit! TIGHT ON A FUSE BOX Max removes a fuse. He replaces it with a penny. MAX'S ROOM Max tries to reboot Euclid, but nothing happens. He tries a second time, but nothing happens. Devi and Farrouhk are still at it. Max puts on a pair of latex gloves. He dons a surgical mask. He climbs up to a loft above his monitors. A glass case, fed cool air by a vent tube, encases some computer parts. He carefully removes the front glass cover. Then he gets it off he's stunned. Not only have the chips melted down, but a strange flaky substance covers the board. MAX What the... Max grabs his face, frustrated. Deri and Farroakk are giggling, having a great time. Max stares at the wall. Then he angrily throws Euclid's mainframe onto the ground It lands with a SMASH! Under the mainframe is a small city of ANTS. They scramble for cover. Max furiously attacks them, stomping them out with his bands. Then he jumps on the smashed mainframe. He slides to the ground and covers his face. DISSOLVE TO EXT. PLAYGROUND - DAY TIGHT ON a tree branch shaking manically in the wind. Max sits on a park bench watching the branch shake. It terrifies him. He pulls out the printout of his picks and examines them. MAX (V.0.) Wednesday, September third, seven-fifteen. Results: AAR at fourteen and a half—low, very low. ABR at six and a half—jeez. Six and a half, ABR hasn't been beneath twenty in ten years. Conclusion: Simple. There is no pattern. No pattern. Chaos, chaos, all chaos. He crumples up his picks and tosses them into a public trash can. INT. SOL'S STUDY - DAY Sol and Max play Go. Sol is peaceful while Max is distant. Max plays a piece absently. Sol counters with a deafening atari. Max whispers: MAX Euclid crashed. I lost all my data, my hardware. SOL Your mainframe? MAX Burnt... SOL What happened? MAX I don't know, first I got these horrible picks. Then Euclid spits out some numbers. Never saw anything like it and then it fries. The whole machine just crashed. SOL You have a printout? MAX Of? SOL The picks, the number? MAX I threw it out. SOL What was the number it spit out? MAX I don't know, just a long string of digits. SOL How many? MAX I don't know. SOL (Intense) What was it, a hundred and fifty, a thousand, two hundred sixteen!? How many? MAX I don't know. Probably around two hundred. (Wondering) Why? SOL (Beat)... I dealt with some bugs back in my Pi days. I was wondering if it was similar to one I ran into. Sol begins to feed his fish. He points to one. SOL Have you met Archimedes. The one with the black spot. You see? MAX Yeah. SOL Remember Archimedes of Syracuse? The King asks Archimedes to determine if a present he's received was actually solid gold. Unsolved problem at the time. It tortures the great Greek mathematician for weeks. Insomnia haunts him and he twists and turns on his bed for nights on end. Finally, his equally exhausted wife, she's forced to share a bed with this genius, convinces him to take a bath, to relax. While stepping into the tub he observes the bathwater rise as he enters. Displacement. A way to determine volume. And thus, a way to determine density, weight over volume. And thus, Archimedes solves the problem. He screams "Eureka!"—Greek for "I found it!"—and is so overwhelmed he runs dripping naked through the streets to the King's castle to report his discovery. Now, what's the moral of the story. MAX That a breakthrough will come... SOL Wrong. The point of the story is the wife. Listen to your wife, she will give you perspective. Meaning, you need a break, Max, you have to take a bath, otherwise you'll get nowhere. There will be no order, only chaos. Go home and take a bath. PUBLIC BENCH - MOMENTS LATER Max waits for his train on an empty platform. Just then, he hears a DRIPPING sound. Max looks up and notices something across the tracks on the other platform. He can't quite make it out because his vision is blocked by columns. He gets up and spots a Young Hasidic Man standing at him. Blood drips from the Man's hand. Max doesn't know what to make of it A TRAIN SWISHES BY - INT. MOVING TRAIN - LATER Max reads an ad that says In big block letters 'MOSHIAC IS COMING!' He checks out a few of the other passengers. Then he notices a man reading a newspaper across from him. The headline reads: 'MARKET TAKES NOSE-DIVE. Max jumps up and approaches the man. MAX Hey, excuse me, can I see that? The man hands Max the paper. Max scans the article. Then He quickly turns to the listings. His finger barrels down a column. It stops at ABR. MAX Six and a half. Max looks up the column for AAR. MAX Fourteen and a half. Oh, my... Max stumbles toward the doors. He looks out the window: into the darkness of the tunnel. MAX (Out of breath) My God. My God. (Gets pumped to himself) Yes! Yes! SKINNY MAN (V.O.) Hey, paper, please! Max hands the paper back and looks at the man for the first time. It is the Skinny Man he saw earlier. Max gets suspicious and moves into the next car. AT GRAND STREET Max exits. He notices that the Skinny Man gets off - one car down - as well. He hustles toward the exit. As he's about to turn a corner he looks back. The man seems to be following him. He dodges around a corner and heads up a staircase. EXT. TRAIN STATION - DAY He seems to have lost him, when he notices a business-woman with a pretty face heading right toward him. It is MARCY DAWSON. MARCY DAWSON Mr. Cohen! Perfect timing. Marcy sticks out her hand. Max, not knowing what else to do, shakes it. MARCY DAWSON I was just waiting for you. I thought you stood me up, so I was going to head home. MAX Who are you? MARCY DAWSON Oh...Marcy Dawson. From Lancet Percy. We were supposed to meet at three. MAX I'm sorry, I don't... Marcy hasn't let go of Max's hand. She guides him toward a large black street limo that's just pulled up. MARCY DAWSON I can't tell you what a pleasure it is to finally meet you. I've studied your papers for years. MARCY DAWSON I have something you won't be able to say no to. Why don't we take a spin in the limo? MAX No, no, no, really, I can't. MARCY DAWSON We're excited by your work. We can't wait to discuss... Max attempts to pull away but Marcy is firm on leading him to the car. Meanwhile, the Shinny man is heading right at them. The CHAUFFEUR reaches out to him. Max yanks his arm free and runs away. He whips around a corner. INT. BODEGA - DAY Max barrels into the grocery store and buys a Journal. He heads to the back of the store and lays the paper across the juice section. He checks the listing. MAX On the nose. On the damn nose. Max turns the page on the Journal and sees the Lancet-Percy ad. Then he notices one of the bodega owners staring at him. EXT. MAX'S APARTMENT - DAY Max scouts his front door. The coast is clear. INT. MAX'S APARTMENT - DAY Max examines the smashed Euclid mainframe. He uncovers some of the strange filo-like substance. He carefully touches it. Then he grabs a small pinch of it. He examines it near a light bulb. He can't guess what it is. He sniffs it. He carefully tastes it with the very tip of his tongue. He still doesn't have a clue. Max opens his closet. He pulls out his dusty brass microscope. He dusts it off. Next, he pulls out a slide Kit. Max places the instrument on the windowsill. He grabs an old glass slide and puts some of the flaky stuff on it. He slides it under the microscope. He looks into the lens, but doesn't see anything. He gets up quickly and heads for the HALLWAY where he looks at Devi's door, nervously. He gathers his courage and knocks on her door. Through the door hears. DEVI (O.S.) Farrouhk? MAX Um, no, it's Max from next door. Devi opens the door wearing a sexy nightshirt. DEVI Max, is everything all right? MAX Do you have any iodine? DEVI (concerned, she reaches for Max's hands) Iodine...did you cut yourself? MAX (Pulling his hands away) No. I just need it to stain a slide. DEVI Ah, science, the pursuit of knowledge. One second. She heads to her bathroom. Max waits impatiently. DEVI (O.S.) Here we are. What are you examining— (At the door) a potato!? She hands Max a bottle of iodine. MAX Just something with my computer. MAX'S ROOM - MOMENTS LATER Max uses his pinky to drip a drop of iodine on the slide. Through the wall he hears Farrouhk arriving home. DEVI (0.S.) The neighbor's up to his old science... FARROUHK (O.S.) What neighbor? DEVI (O.S.) Next door. Max listens to the conversation for a few moments. FARROUHK (O.S.) Why are you talking to that dork! DEVI (O.S.) Shh! I just helped ... FARROUHK (O.S.) Pounds on wall. Hey, dork, leave my girlfriend alone! DEVI (0.S.) Farrouhk! Max shakes his bead. Then he finishes preparing the slide and slips the glass under the turret. Max catches the low-hanging sun in the microscope's mirror and reflects it through the sample and up the turret into his eye. MAX'S POV DOWN THE TURRET of some strange Substance. Max pulls out the slide and looks at it. FARROUHK (0.S.) I don't give a shit. DEVI (0.S.) (Laughing) Shh! C'mon, Farrouhk. FARROUHK (0.S.) I'll kill the dork. (Exploding again) You hear me! I'll kill you. I'll fucking kill you! Then an idea comes to him. He takes out his brain book. He looks through it until he finds a picture of neurons. He compares the image to the view through the turret. They look different but there are similarities. DEVI (O.S) Shh! Baby! Come here, baby! Max rushes out. EXT. PLAYGROUND - LATE AFTERNOON Max sifts through the trash can where he threw his picks from yesterday. Frustrated, he dumps the trash onto the sidewalk and starts looking through it Mrs. Ovadia watches him. Max sees her and is embarrassed for a moment. MAX I just threw out something. I didn't realize I needed it. MRS. OVADIA Humph. MAX Just a printout. I, uh, lost my data... Max looks back at the trash And forgets about Mrs. Ovadia. Soon, Max gets up and kicks the trashcan. He heads home. IN FRONT OF MAX'S APARTMENT BUILDING Max watches Marcy get out of the limo and call to Mrs. Ovadia. Max backs away when he smacks into someone. It's Lenny Meyer - the young Jewish man. Max jumps back in fear. LENNY MEYER Max! How you doing? Lenny Meyer. MAX Oh, hey... Max tries to quickly pass him. LENNY MEYER Hey, where you going? You got a few moments to do Tefillin? Max turns around and notices Marcy talking to Mrs. Ovadia. Mrs. Ovadia points up the street toward him. LENNY MEYER I gotta car, we can cruise over to my... MAX You gotta car? LENNY MEYER Yeah, right there. That's Ephraim, my friend. We swing around with Max and see a station wagon. EPHRAIM sits in the passenger Seat. He's a big-boned, bearded, Orthodox Jew. MAX All tight, lets go. LENNY MEYER Great... They head for the station wagon. INT. BASEMENT SHUL - NIGHT The synagogue is a claustrophobic, fluorescent-lit room in general disarray. Two rows of imitation-wooden pews face a makeshift altar and Ark. Young Hasidic Men study texts. Some work alone, reading and dovening. Others are in small groups sharing in heated discussions. Lenny wraps the Tefillin around Max's arm. Max just wants to get out of there. Ephraim prays in the background. MAX Lenny, I don't really want to do... LENNY MEYER Do it for me? It means a lot, having someone of your stature performing a mitzvah in my presence. (Beat) When you told me your name was Max Cohen, I didn't realize you were the Max Cohen. Maximilian Cohen. MAX You know me? LENNY MEYER 0f course, I've followed your research since your Columbia days. It's revolutionary. You've inspired the work we do. MAX I have? LENNY MEYER Yes, very much so. The only difference is, we're not looking at stocks. We're searching for a pattern in Torah. Lenny finishes wrapping Max's arm. He reaches for another box and strap. MAX What kind of pattern? LENNY MEYER We're not really sure. Our calculations have shown us that there is a number encoded in the text. MAX What sort of number? LENNY MEYER We don't know. All we know is that it's two hundred and sixteen digits long. Max, stunned looks at Lenny. LENNY MEYER Don't worry. This one just goes over your head. Lenny places the other Teffilin over Max's head. Max collects himself. MAX (Coolly) Two sixteen? LENNY MEYER Yes. Now we have to say a small prayer, repeat after me. Bewildered, Max does. After the prayer... LENNY MEYER That's it. Wasn't so bad, was it? You feel anything? Lenny starts removing the Teffillin from Max. MAX What is it? LENNY MEYER It's a prayer about our dedication to our one and only God. MAX (Attempting calmness) No, I mean the number, the two sixteen number? What is it? LENNY MEYER Oh. We don't know. We just know that it's the most common number encoded in the text. It might be some type of linguistic pattern. If we could figure out what the number is we could maybe answer that. MAX Tell me more. EXT. SOL'S APARTMENT - DAWN Max firmly rings SOL's bell. In a few moments, Sol answers the door in his pajamas. SOL Max? MAX What's going on, Sol!? SOL Relax, it's early. INT. SOL'S KITCHEN - MOMENTS LATER Max sits at the kitchen table while Sol heats up a pot of tea. Max is shaking. SOL Now, what's up? MAX What's the two hundred and sixteen number, Sol? SOL Excuse me? MAX You asked me if I had seen a two hundred and sixteen digit number, right? SOL Oh, you mean the bug. I found it working on Pi. MAX What do you mean by "found it"? SOL What's this all about, Max? MAX Well, there's these religious Jews who have... SOL Religious Jews? MAX Well, you know, Hassidim. I met one in the coffee shop. The guy's a number theorist. The Torah is their data set. The thing is, they're searching for a two hundred and sixteen digit number in the Torah. SOL Really? What's it mean to them? MAX They say they don't know, but that's crazy. I mean what are the odds... SOL It's just a coincidence. MAX But hold on, there's something else. You remember those strange picks I got. SOL Yesterday's stock picks? MAX Right. Well, it turns out that they were correct. I hit two picks on the nose. Smack on the nose. SOL (Surprised) Hmmm. MAX Something's going on, and it has to do with that number. The answer is there. SOL Max, it's a bug. MAX No. it's a pattern. A pattern is in that number SOL Come with me. INT. SOL'S STUDY - MOMENTS LATER Sol and Max sit on either side of a half-played Go board. SOL Listen to me. The Ancient Japanese considered the Go board to be a microcosm of the universe. Although when it is empty it appears to be simple and ordered, in fact, the possibilities of game play are endless. They say that no two Go games have ever been alike. Just like snowflakes. So, the Go board actually represents an extremely complex and chaotic universe. That is the truth of our world, Max. It can't be easily summed up with math. There is no simple pattern. MAX But as a Go game progresses, the possibilities become smaller and smaller. The board does take on order. Soon, all moves are predictable. SOL So? MAX So, maybe, even though we're not sophisticated enough to be aware of it, there is an underlying order...a pattern, beneath every Go game. Maybe that pattern is like the pattern in the market, in the Torah. The two sixteen number. SOL That is insanity, Max. MAX Or maybe it's genius. I have to get that number. SOL Hold on, you have to slow down. You're losing it, you have to take a breath. Listen to yourself. You're connecting a computer bug I had, a computer bug you might have had, and some religious hogwash. If you want to find the number two sixteen in the world, you'll be able to pull it out of anywhere. Two hundred and sixteen steps from your street comer to your front door. Two hundred and sixteen seconds you spend riding on the elevator. When your mind becomes obsessed with anything, it will filter everything else out and find examples of that thing everywhere. Three hundred and twenty, four hundred and fifty, twenty-three. Whatever! You've chosen two sixteen and you'll find it everywhere in nature. But Max, as soon as you discard scientific rigor, you are no longer a mathematician. You become a numerologist. What you need to do is take a break from your research. You need it. You deserve it Here's a hundred dollars, I want you to take it. If ,you won't take it, borrow it. Either way, take a break. Spend it however you like as long as it falls in the category of vacation. Real world stuff, okay. No math. Max looks at his bands. SOL Just try it. In a week you'll laugh about this. C'mon, Max. Think about it! Max gives a half nod. EXT. SOL'S APARTMENT - MORNING Max rushes to the subway when a honking horn stops him. A limo pulls up next to him. Marcy Dawson jumps out of the car MARCY DAWSON Mr. Cohen? Mr. Cohen? Please stop for a second Mr. Cohen? Max stops and faces Marcy. MAX Damn it already! Stop following me. I'm not interested in your money. I'm searching for a way to understand our world. I'm searching for perfection. I don't deal with mediocre materialistic people like you! MARCY DAWSON I'm sorry. I'm very sorry. I admit I've been a bit too aggressive. But all I ask is for five minutes of your time. Here... Marcy hands Max a metal stopwatch. MARCY DAWSON ...a stopwatch. Already ticking. Allow me the four and a half minutes left Let me tell you what I want. Let me tell you what I can offer you. Afterwards, if you don't want to talk to me, then fine, we part as friends and I promise that you will never see me again. That's fair, isn't it? MAX (After a moment, he looks at the stopwatch) Go. MARCY DAWSON Good. It's funny, even though we have different aims and different goals we're actually incredibly alike. We both seek the same thing—perfection. I know... clearly we're seeking different types of perfection, but that is what makes us perfect candidates for a fruitful partnership. If you let me, I can be your greatest ally. Take the acacia tree...in East Africa. It is the most prevalent plant in all of Kenya because it has managed to secure its niche by defeating its major predator, the giraffe. To accomplish this, the tree has made a contract with a highly specialized red ant. The tree has evolved giant spores which act as housing for the ants In return for shelter, the ants supply defense. When a giraffe starts to eat the tree's leaves, the shaking branch acts like an alarm. The ants charge out and secrete an acid onto the giraffe's tongue. The giraffe learns its lesson and never returns. Without each other, the tree would be picked dry and the ants would have no shade from the brutal African sun Both would die. But with each other, they succeed, they survive, they surpass. They have different aims, different goals but they work together. Max, we would like to establish a mutually benefiting alliance with you. MAX (handing back the stopwatch) I'm not interested. MARCY DAWSON Allow me to dose. The chauffeur pulls a black suitcase out of the limo and brings it over. MARCY DAWSON As a sign of good faith we wish to offer you this. MAX I told you I don't want money. MARCY DAWSON The suitcase isn't filled with fifties or gold or diamonds. Just silicon. A Ming Mecca chip. MAX (Yeah right!) Ming Mecca. They're not declassified. Max starts to move away. MARCY DAWSON You're right. They're not. But Lancet-Percy has many friends. Come here, take a look. MAX (Stuttering) What do...do... But then, Max notices that his thumb is twitching. MARCY DAWSON Beautiful, isn't it? You know how rare...are you okay? MAX Yeah, I got to go. MARCY DAWSON But what about... MAX Let me think about it... Max trots off. MARCY DAWSON What? Mr. Cohen!? INT. SUBWAY STATION - PUBLIC BENCH - NIGHT The station is strangely silent. It is also extremely rundown. The tracks are rusted and fucked up. All we hear is the sound of DRIPPING WATER. The sound is warped and grows and morphs until it's downright scary. Max sits on a bench sucking down pills. His head begins to hurt. He touches the right side of his scalp and nubs it. As the blood surges through his head it brings him waves of pain. He gags several times. Then the pain lets loose and all Max wants to do is die. He smashes the side of his head with his fist. Across the tracks on the far platform he sees someone. For a moment Max's pain dissipates. His view is obscured by the columns. Max gets up and sees the Young Hasidic Man - from earlier - staring at him. The Man stares at Max without any emotion. Max notices blood dropping from the Man's right hand. Max looks at the Man's face and sees for a split second his own face staring back. MAX Hey! Max charges up a flight of stairs. He crosses a passage over the tracks and flies down the stairs to the other side of the platform. The Man is gone. A pool of blood sits where the Man was. Max touches it with his toe. It's sticky. He notices a trail of blood leading off from the pool. He follows it around a corner where it leads into a corner. He notices something strange in the shadows. He carefully advances on it. Hiding in the shadows is what looks like a small piece of brain. It seems to be moving slightly. Max uses a pen in his jacket to carefully touch it. Suddenly, Max hears a train's HONK HONK behind him. Max spins around. Nothing is there but silence. He turns back to the gray matter. He touches it again. Once again, he hears the deafening HONK HONK. Max spins around, but nothing is there. Frustrated, he pushes his pen deep into the brain - fiber ripping apart. Suddenly, a TRAIN is barreling down on Max. Seconds from impact, Max SCREAMS!!! DISSOLVE TO BLINDING WHITE VOID We hear two deep, long sleep-filled breaths and then we CUT TO: INT. SUBWAY TRAIN - DAY Max's eyes pop open. A TRANSIT COP is sticking him with a nightstick. TRANSIT COP Up, buddy Coney Island, last stop. Max sits up. His nose is bleeding. The cop hands him a tissue. TRANSIT COP Your nose. Max wipes his nose and looks around nervously. He sees the rides of Coney Island in the distance. EXT. CONEY ISLAND BEACH - DAY Max sits on a boulder on a Coney Island jetty. He watches the sea. Then Max sees an old man dressed like KING NEPTUNE scanning the shore with a rusty metal detector. The old man picks up something. He admires it for a moment before gently setting it back on the ground. Then Neptune continues his search. Max wanders over to the place where the old man exam INT. MAX'S APARTMENT - NIGHT MAX'S POV through the microscope. Max sees the brain structures. Just then, there's a KNOCK on the door. The knock startles him and his hand bumps the turret of the microscope. The lens moves and he realizes that the magnification can be changed. A KNOCK again. Max looks out the peephole and sees nothing. Confused, Looks down at his thumb. It's not shaking. He heads back to his microscope. There's a knock again. Max angrily unlocks the door and whips it open. IN THE HALLWAY is Jenna with her calculator. JENNA Max, Max, can we do one. MAX Jenna. I can't now, Jenna. JENNA Please, Max. MAX I'm working now, later okay? Max shuts the door and returns to the microscope. He changes the magnification. At a weaker magnification, the mathematician sees that the cells are grouped in spirals. Max is stunned, He grabs the phone and pulls a business card out of his pocket He quickly dials a number. Someone answers with a "Shalom" on the other end of the line. Max asks for Lenny Meyer and is put on hold. LENNY MEYER Hello, this is Lenny? MAX Lenny, it's Max Cohen. LENNY MEYER Max! How are you? You want to come down? MAX I've been thinking about our conversation earlier. Max looks into the microscope. He stares at the spirals. LENNY MEYER That's good... MAX I want to help. LENNY MEYER Excellent. MAX Do you have the Torah in digital form? DISSOLVE FROM TURRET TO: SATELLITE IMAGE OF SPINNING TORNADO Start in tight on the epicenter and pull out to reveal the entire storm. MAX (V.O.) Thursday, September fourth, sixteen forty-five. The alchemist awakes. All of my ideas, work and dreams are spinning together It all has to do with spirals. It began with spirals and the answers are thee. INT. MAX'S APARTMENT – DAY EUCLID'S INNARDS Max uses a drill to rip out some old parts. He lays new wire and does a bunch of soldering. He rips down a bunch of old papers and does a general housecleaning. He also goes to school on the ant population in his apartment. He plants some ant motels and sprays the room with. a pest killer. MAX (V.0.) The most I can remember about their significance is from Schneider's class. That bullshit core for majors. Schneider's fascination with mystical geometry made him a bit of a quack...but...then again, look at Kepler. He was really into Pythagoras. The leader of an ancient sect which believed the entire universe could be represented by numbers. Pythagoras' greatest contribution was the golden ratio, which ended up influencing art and science for thousands of years, arguably all the way up to today. TIGHT ON MAX writing a : b : : b : a + b. He draws it over a copy of Leonardo Da Vinci's famous drawing of man s anatomy. MAX (V.0.) The golden ratio, if I recall, is this unique relationship between the length and width of a special rectangle called the golden rectangle. TIGHT ON MAX carefully measuring out a golden rectangle. The rectangle fits perfectly over Leonardo Da Vinci's Man. MAX (V.O.) If you take the width of this rectangle and use it to form a square within the rectangle, the part left over is a rectangle that has the same ratio as the original rectangle. au can continue squaring the rectangle, over and over again, making the rectangles smaller and smaller to infinity. TIGHT ON MAX squaring rectangle after rectangle. Then he draws the golden spiral through the rectangles. MAX (V.0.) Then, if you connect a curve through these rectangles you get the golden spiral. The Pythagoreans loved this shape because they found it everywhere in nature. MONTAGE OF IMAGES The images mirror what Max talks about. We see NAUTILUS SHELLS, SUNFLOWERS, PLANTS, RAM HORNS, HUMAN FINGERPRINTS, THE MILKY WAY, and DNA STRANDS. MAX (V.0.) It really is amazing. In the sea, on land, in air, our basic building block DNA and even our home. EXT. CHINATOWN - DAY Max wanders through the crowded streets of Chinatown. MAX (V.O.) If we're built from spirals, while living within a giant spiral, is it possible that all of human behavior, if it could be quantified, is in the form of a spiral. Then, maybe, extensions of our behavior like the stock market. maybe even the writing of The Torah, is infused with the spiral pattern. DISSOLVE TO PAN ACROSS NEW EUCLID We start on the stock ticker and pull out to reveal a leaner, meaner and more exciting machine. MAX (V.O.) Friday, September fifth. Seven twelve. It's fair to say, I'm stepping out onto a limb. But I'm on the edge and that's where it happens. He holds two wires apart from each other as he contemplates what will connect them. EXT. ELECTRONIC MEGADUMP - DAY Max wanders helplessly through the dump. There's nothing but junk and more junk. EXT. PUBLIC PAY PHONE - DAY Max eyes Marcy Dawson's business card, suspiciously He dials the number. A man answers on the other line. MAN'S VOICE (OS.) Three, eight, two. MAX Marcy Dawson. MAN'S VOICE (O.S.) Who's calling? MAX Max Cohen. MAN'S VOICE (O.S.) Hold on. Max is put on hold. He notices a man in a business suit watching him. Max turns away. MARCY DAWSON Mr. Cohen? I'm so Happy... MAX Look what do you want for the chip? MARCY DAWSON You tech guys. I think you know what we want. MAX No, I don't. MARCY DAWSON C'mon, Mr. Cohen. We can work together We can both profit from this information. We both need each other to get it, so why not work with us? MAX I don't know if I'll find anything useful. MARCY DAWSON We're willing to take the risk. MAX Okay. First, I want you to call off the surveillance. MARCY DAWSON (Beat) Done. Anything else? MAX Yeah, I'm a very private person. Knock on my door and leave the suitcase outside. I don't want to talk to Anyone. MARCY DAWSON How do I know you're home? MAX I'll knock back. MARCY DAWSON Fair enough. INT. COFFEE SHOP - DAY Max sits at the counter. The POST headline in front of him reads MARKET DOOMED. PRESIDENT IN PANIC, WORLD LEADERS MEET. Max flips to the stock quotes. He can't believe how far things have dovetailed. He shakes his head in disbelief when an envelope appears in front of him. It belongs to Lenny Meyer. LENNY MEYER The Torah. MAX What is it? LENNY MEYER In Hebrew characters and numbers. MAX No, what is it? The two hundred and sixteen digits. LENNY MEYER I don't know. (Beat) If you get it, maybe we can figure it out. (Changing subject) Can you really find it? MAX If the number's in there, I'll find it. EXT. MAX'S APARTMENT - DUSK Max marches into his foyer when he's suddenly ambushed by Devi's boyfriend, Farrouhk. Farrouhk is a little guy with a big sadistic smile. He grabs Max by the collar and slams him against the wall. His fist butts up against Max's chin. FARROUHK There you go, dork. Been thinking about my girlfriend. Haven't you? MAX Wha... FARROUHK You want to fuck her, don't you? MAX No, no.. FARROUHK You calling my girlfriend ugly!? Why don't you want to fuck her? You think she's ugly? MAX No, no, I just. It's that she's your girl... FARROUHK So you do want to fuck her. You think about fucking her in the mouth, don't you? MAX No, no, sir, please. I've never touched Devi...I never will. FARROUHK Give the fucking genius a Mars bar. Stay away, or I'll slice off your balls. Farrouhk tosses Max against the wall. Max whimpers off to his apartment. Farrouhk has enjoyed this and to end his game be gives Max a small slap on the butt. INSIDE HIS APARTMENT Max bolts the front door. At his desk he rips open the envelope Lenny Meyer gave him. He pulls out a BLACK DISK and eyes it expectantly. Next door, he hears Farrouhk and Devi talking. FARROUHK (O.S.) Damn dork. DEVI (O.S.) He's just a bit unique. FARROUHK(0.S.) Unique?! Unique?! He's a dork! Then, Max carefully slips the DISK into Euclid's drive. Hebrew characters pop onto Euclid's screen. Max pounds in several strings of code lightning fast. The Hebrew letters suddenly switch to their numerical counterparts. Max toggles between Hebrew and numbers a few times—impressed. Max nods. Then there's a knock at the door. MAX (To himself) Okay. Max peeks through the peephole. Two well-dressed large men, BRAD and ABE THE BABE, wait for the signal. MAX knocks and the suits leave. Then Max shyly opens up his front door and quickly grabs the black attaché case in front of his door Donning a surgical mask and latex gloves, Max opens the black attaché case. Sitting in foam is a tiny but beautiful chip. Max studies it with awe. MAX (V.O.) Friday, September fifth? Lots of work to be done. But I'm close, so close. Today is the day Might have cost me my soul, but down the line I'll work it out. Just keep them in the dark, let them beg. A damn Ming Mecca chip. It's like giving a desperate junkie a syringe filled with junk. Defense uses them to nun nuclear sub reactors. Me? I'm going to dissect the market. Max carefully carries the chip over to the new leaner Euclid. He welds it into Euclid's waiting wires. MAX Happy birthday, Euclid. Then he lifts his hand to slap the RETURN button, but a sudden wave of fear stops him. He gets up and grabs a Ginseng soda from the fridge He drops eight pills in the can. He calmly takes a sip from the soda and places it on the counter. Max can hear Devi and Farrouhk starting to make love. Their gentle sounds drift through the wall. MAX (V.O.) Eighteen thirty. Press return... Max darts over and smacks the RETURN. Moments later we see what Max sees ON THE SCREEN is a long string of zeros. At the bottom of the screen Euclid's cursor blinks, waiting for instructions. He smacks RETURN again Max gets the same empty result. Euclid's cursor blinks, waiting. Max starts to laugh. He laughs and laughs and laughs. MAX Oh God. Damn religious freaks. (Sarcastic) The holy Torah... But then he notices his thumb twitching. He rubs his scar. MAX Ah God... His neighbor's love sounds start to get rough. They're having fun. Max almost throws up. THE BATHROOM Max dry heaves in the sink. Then he forces himself to stand in front of the mirror. MAX Too much...too soon. He grabs the gun and tries to roll up his sleeve. He can't get it to roll up. Suddenly he's overwhelmed by pain. He quickly rips his shirt and fires the gun into his arm. Nothing happens. He checks the barrel—its empty MAX Ohh... He grabs a bottle of medicine but knocks them an into the sink. He cuts his finger as be grabs one of the broken bottles. He loads the gun and fires the medicine into his arm. A wave of pain and nausea floods in. He grabs another bottle and fires it into his arm. Then he fires another and another. Frustrated he collapses into the mirror. MAX Stop, please, stop. Slightly sobbing he examines his scalp pulling his hair apart. He sees something. MAX What the? So he takes out a scissors and starts removing some hair. Meanwhile his neighbors' lovemaking gets more intense. Their screams carry into Max's head. Max finishes removing a patch of hair from the right side of his head. He has uncovered a light scar on his head. He examines it in the mirror. MAX What is it!? What is it!? Then his neighbors' lovemaking turns outright evil. It sounds like Sodom and Gomorrah next door and Max can barely stand it. A jolt of pain surges into his head. He grabs his scar as he vomits blood into the sink. He starts banging his head against the mirror. He bangs his head again and again until the mirror CRACKS! His neighbors are cumming and their cries of joy are twisted and agonizing. The mathematician looks at himself and begins to sob. He reloads the gun and fires it right into the scar on his head, where the pain is coming from. Max collapses to the ground in complete agony until the bare bulb in the bathroom starts blinking on and off. Suddenly the pain is gone. Then he hears something. It's Euclid, buzzing with life. He gets to his feet and head's into Euclid. The main monitor is screaming with numbers. The lights in the room flicker on and off like on a disco dance floor. A filo substance billows out of Euclid. And then a number pops onto the screen. Max estimates how many digits are on the screen. MAX Two...two hundred. That's it! That's it! Max grabs a piece of paper and a pencil. He starts writing down the number. He mumbles each digit as he sees it. But then be stops writing. Power surge! He stares at the number. Something clicks in his head. His eyes go wide. He barely musters a— MAX Oh... We move closer and closer into the number, deeper and deeper into the screen. Until finally a single pixel fills the screen and we're in the BLINDING WHITE VOID where we hear several deep peaceful breaths. Then, a fuse blows and we cut to: BLACK A phone ringing...once... twice...then we hear MRS. OVADIA(O.S.) He's alive. His eyes are moving. DEVI (0.S.) Yes, hello? FADE BACK INTO THE MAIN ROOM Max's eyes slowly open. DEVI (0.S) (On the phone) He's busy right now I'm sorry. Max is sprawled out in front of Euclid. A large amount of blood, from his nose, is semi-dried on his chin and chest. Devi hangs up the phone. The landlady, Mrs. Ovadia, and Farrouhk, brandishing a crowbar, stand over him. MAX What happened? DEVI You were screaming... MRS. OVADIA Who told you you can put extra locks on the door. FARROUHK (To Mrs. OVADIA) Shhh! MAX (Suddenly jolting up and remembering) The number, the number. Max looks at Euclid. The screen is blank. He looks at the mainframe. It is covered with the filo substance. Then be looks at the piece of paper he wrote the number on. Only a few dozen numbers are on the page. The last number be wrote is barely a scribble. MRS. OVADIA You're out, you hear me, you're out. I've had enough of you. Look at all this junk. He starts reciting the numbers. Then Max suddenly realizes something. He continues reciting the numbers from memory. MAX Four...zero... seven...It's in my head, it's in my head. Somehow I memorized it. I got it up here! He points to his head. MAX But what is it? Mrs. Ovadia starts looking at all the junk in the room. DEVI Are you okay? MRS. OVADIA What is this stuff? What does it do? Max finally realizes that all these strangers are in his womb. He flips. MAX 0ut, out, you have to get out. Get out, get out it's my room! FARROUHK (To Devi) Let's go. The phone starts ringing again. MRS. OVADIA That's it, no way. You're the one out of here, mister. MAX Out! 0utt The three neighbors retreat to the front door. DEVI Are you okay? MAX Out! Get out! Max slams the door in their faces. Max rubs his chin and looks around the room. He starts saying the number to himself He gets more and more excited as he reads each digit. INT. COFFEE SHOP - NIGHT Max stirs cream into his coffee. Then he pulls out the Journal. A phone continues to RING. In the clouds of the Lancet-Percy ad - in The Journal Max writes down the two hundred and sixteen digit number. He studies it, examines it, draws on it, tries to figure out what it is. MAX (V.O.) Saturday? Dark outside. There was a moment there...when, I don't know...when I didn't exist. What? What? We hear a phone being picked up. The ringing stops. Silence, then: MARCY DAWSON (O.S.) Max, is that you? Max? (Pleading) Max, just talk to me. Things are a bit out of hand down here. People are getting desperate. (Suddenly firm) We had a deal, Max. A deal. Talk to us, Max. We hear the sound of a phone hanging up. At the coffee counter, Max pops a handful of pills and crumples the paper. INT. MAX'S BATHROOM - LATER Max stares at his BALD head in the mirror. All of his hair has been removed. A fleshy scar sits on his scalp above his right ear. Max ignores the incessantly RINGING phone. Max flips through an old neuroscience book. He examines a few illustrations and finds the part of his brain that's killing him. MAX (V.0.) Must be an explanation, must be a reason. Must. With a thick black marker, he carefully outlines the part of his head that is causing the pain. INT. MAX'S APARTMENT-LATER Max sits in his chair staring at the stock market monitor. The phone continues to RING. Numbers drift by. A single beam of sunlight leaks through the window and shines on the edge of the screen. Walking along the edge in the sunlight is a tiny ant. MAX Bastard. Max gets up to squash it. But as he gets closer he suddenly feels mercy. He looks at the ant in awe. And then, his attention switches to the ticker. MAX Two and a quarter, twelve and an eighth, six and two eighths. Max states the numbers right before they enter onto the screen. MAX I know these...Seven and a quarter. Two and a half ...oh...oh... Max strains to figure out what is going an. Suddenly, he's overwhelmed with fear. MAX My God. It's gonna crash, it's gonna fucking crash. INT. SOL'S APARTMENT - DUSK Max charges into the room. Sot is looking at his Go board. Sol looks up when Max comes in. SOL You're early. I was just studying our... (Noticing ,Max's head) What did you do to yourself? MAX You lied to me. SOL I thought you were going to take a break. MAX You found the two sixteen number in Pi, didn't you? You saw it. Sol doesn't respond. MAX I saw it, Sol. I don't know what happened, but I know things. The market is going to crash. It's going to crash. It hasn't yet, but I know it will. I saw it, Sol. What is it, Sol? What's the number? Sol sighs. He looks down at the board and collects himself. SOL You have it? MAX It's in my head! SOL (Leveling with Max) Okay, sit down. Max does. SOL I gave up before I pinpointed it. But my guess is that certain problems cause computers to get stuck in a particular loop. The loop leads to meltdown, but right before they crash they... they become "aware" of their own structure. The computer has a sense of its own silicon nature and it prints out its ingredients. MAX The computer becomes conscious? SOL In some ways...I guess... MAX (To himself) Studying the pattern made Euclid conscious of itself. Before it died it spit out the number That consciousness is the number. SOL No, Max, it's only a nasty bug. SOL A door in front of a cliff. You're driving yourself over the edge. You need to stop. MAX Stop? How can I stop? I'm this close. SOL The bug doesn't only destroy computers. MAX What are you saying? SOL Look what it did to your computer. Look what it's doing to you. Max doesn't respond. SOL It's killing you. Leave it unknown. MAX (Clarity) You were afraid of it. That's why you quit. SOL Max, I got burnt. MAX C'mon, Sol. SOL It caused my stroke. MAX That's bullshit. It's math, numbers, ideas. Mathematicians are suppose to be out on the edge. You taught me that! SOL Max, there's more than math! There's a whole world... MAX That's where discoveries happen. We have to go out there alone, all alone, no one can accompany us. We have to search the edge. We have to risk it all. But you ran from it. You're a coward. SOL Max, it's death! Max stands up and screams down at Sol. MAX You can't tell me what it is. You don't know You've retreated to your goldfish, to your books, to your Go, but you're not satisfied. Sol grabs his cane and whacks the Go board. SOL Get out! Max, get out! MAX I want to understand it. I want to know! Sol swings his cane as Max heads for the door. SOL Out! INT. SUBWAY - PORT AUTHORITY - NIGHT Max paces on a downtown train as it pulls into 42nd Street. Through the open doors, Max notices a YOUNG PHOTOGRAPHER in jeans and a leather jacket photographing him from the uptown platform. Max is enraged and screams at him. The man ducks behind a column, but a few moments later he's back snapping pictures. The doors start to shut, but Max uses his body to get off the train. The Photographer sees him coming and flees. Max follows the man's movement on his platform. When the young man shoots up the exit stairs, Max does so as well. Max catches a glimpse of his foe entering the catacombs heading toward Times Square. Max pursues. Max chases him down a looooong passage. But he loses him at an underground five-way fork in the road. One staircase is Uptown and Queens... another is Brooklyn...one other is unlabeled. Still enraged, Max marches forward Just then, he catches a glimpse of the Photographer exiting the station. SMASH TO EXT. TIMES SQUARE - NEON NIGHT In the heart of New York, Max spins around searching for his foe. His frustration mounts until out of the comer of his eye he sees a strange reflection. Not knowing what it's of, he turns around to see the source The reflection is from a giant, brilliant stock ticker - 50 yards long and luminous. Max stares at the quotes They are hypnotizing and Max is suddenly calm. Then, Max has a premonition. He turns and spots the Photographer in front of a porn shop on Eighth and 42nd. EXT. PORN SHOP - 42ND STREET - NIGHT Max whacks the Photographer against a back-lit image of a Hustler Centerfold. The man screams. MAX Who are you working for? PHOTOGRAPHER Here, here. The photographer hands Max his wallet. MAX I don't want your wallet. Who sent you? Max grabs the kid's camera. MAX Who the hell sent you!? PHOTOGRAPHER Wha...I'm sorry... MAX Who are you?! PHOTOGRAPHER I'm...a...student I've got an assignment for class. The Photographer pulls out his student ID. Max looks at it. Then he rips out the film-exposing it. MAX Leave me alone, damn it. Leave me alone. Max hands the man back his camera and leaves. EXT. MAX'S APARTMENT - NIGHT Max heads home in a furious state. Suddenly, he sees two of Marcy's men blocking his path. It's Brad and Jake, yet another tough guy, and they don't look happy. Max spins around and sees Marcy Dawson blocking his exit. MAX Marcy? What's up? Max retreats. MARCY DAWSON Let's take a ride, Max. MAX I can't, I got work... Max looks back at the tough guys who are almost on top of him. MARCY DAWSON We had a deal! NOW get in the limo! Marcy releases a vicious slap that nearly knocks Max down. Max whimpers. MAX Don't ever hit... He pushes Marcy aside and darts. EXT. CITY STREETS - NIGHT Max flees. Jake and Brad charge after him. They're right on him - he has a meter or so on them. He scurries through a construction site and over a footbridge. Then, he runs into an all-night BODEGA The tough guys chase after him and he gets a bit of a lead in the narrow aisles. He pleads with the owners for help - nothing doing. Jake heads him off and uses his body to block the aisle. But Max grabs a can of beans and slams it down on the tough guy's nose. The guy goes down and Max shoots out the exit. EXT. UNDERNEATH CAR - NIGHT Max dives under a car and crawls for terror. He sees two sets of feet nun by. Max starts to relax when he notices a pair of heels on the other side of the car. Marcy bends down and looks at him. MARCY DAWSON Enough, Max, c'mon out. MAX Leave me alone. I don't know anything. Max retreats in the opposite direction. Suddenly Jake and Brad grab him and drag him out. MAX Hey! Hey! Hey! They search him, taking his wallet, keys, everything. Marcy looks at the guys, who shake their heads. She walks over to Max and shows Max the front page of the Wall Street Journal. It reads, "MARKET CRACHES" MARCY DAWSON You're responsible for this. MAX I didn't do anything. I didn't play the market. MARCY DAWSON But we did. Marcy pulls out a folded, worn piece of paper. She opens it. It's Max's stock pick that he threw out. Part of THE number is on the page MARCY DAWSON You have to be careful where you throw out your trash. MAX How could you do that? MARCY DAWSON You gave us faulty information. You gave us the carrot, the right picks, but then you only gave us part of the code. MAX You selfish, irresponsible cretins. How could you be so stupid!? Marcy jabs Max in his stomach. Max falls to the ground. The tough guys sit on him. MARCY DAWSON C'mon, Max. This isn't a game anymore. We're playing on a global scale. We used your code. Foolish...I admit. But we can fix things if we make some careful picks. Give us the rest of the code so we can set things right. MAX C'mon! I know who you are. You're not gonna save the world. MARCY DAWSON Look, Max... Marcy nods to Jake, who pulls out a gun and points it at Max's head. MAX My God, what are you doing? MARCY DAWSON Information is the private language of Capital. We tried to establish a symbiotic relationship but if you choose to compete and enter our niche we are forced to comply with the laws of nature. Max thinks for a second. Max thinks hard. He realizes be can't give them the number. MAX You can't kill me! MARCY DAWSON C'mon, Max. You don't get it. I don't give a shit about you. I only care about what's in your fucking head. If you won't help us help yourself, then I'll have only one choice. Destroy the competition. I'll take you out of the game. Survival of the fittest, Max. And we've got the gun. Jake cocks the gun. Max starts to cry. MAX You bastards! You stupid bastards! Suddenly, Jake is whacked with a sawed-off baseball bat. He smashes into the sidewalk. It is Farrouhk, Max's neighbor, who's just pulled up in his taxicab. MAX (Spotting his savior) Farrouhk! Farroukh threatens Marcy and the other tough guy, who retreat in fear. Farroubk is afraid as well, so he doesn't quite leap on them. He just keeps swinging the bat. FARROUHK He's sick! He's sick! Max gets to his feet and runs behind Farrouhk. Just then a station wagon screeches up to the curb. Lenny Meyer, Ephraim, and a bunch of other his burly Jews jump out. LENNY MEYER Max! Max looks at Farrouhk and then he looks at Lenny. Ephraim grabs Max and pulls him toward the station wagon. MAX (To Farrouhk) C'mon... Farrouhk heads for his cab. Ephraim helps Max into the backseat of the wagon and climbs in after him. Lenny Meyer jumps into the passenger seat and the gray-bearded YISRAEL slams on the gas Pedal. Farrouhk jumps into his cab. INT. LENNY MEYER'S CAR - MOVING - NIGHT Yisrael yanks the steering wheel to the left, the old station wagon skids around a corner. MAX Farrouhk what about Farrouhk!? LENNY MEYER Stay down! Ephraim pushes Max's head down. Yisrael takes another corner sharp. MAX Go back! LENNY MEYER He's okay, he got in his cab. We've been looking for you. MAX What's going on? LENNY MEYER Do you have the number? MAX What's going on? LENNY MEYER Do you have the number? MAX Yeah, I have it! LENNY MEYER You have it. Where is it? You have it written down? MAX What is it? Lenny nods to Ephraim, who starts scanning through Max's pockets. Max resists. The other guys hold him down. MAX What are you doing!? What the hell are you doing!? LENNY MEYER We're not joking around, Max? Where's the number? MAX (Pushing Ephraim away) It's not on me. It's in my head. LENNY MEYER You memorized it? Did you give it to them? MAX Who? LENNY MEYER Who!? Those Wall Street bastards. MAX Why do you care? LENNY MEYER Just answer me! MAX Screw you! LENNY MEYER (In Hebrew) Hit him! Yisrael screeches the car to a halt. He spins around in his seat and looks Max in the face. LENNY MEYER You're dealing with something really big now, Max. I don't want to hurt you, so answer me. Did you give it to them? MAX They've got part of it Now get off me! LENNY MEYER Damn it! Damn it! They're using it. MAX Using what? LENNY MEYER Shut up! MAX Let go! Max chews into Ephraim's hand which is pinning him. Ephraim screams and lets loose a punch to Max's jaw. LENNY MEYER No, don't! But Lenny is late, and Max's world - as well as ours goes black. INT. MAX'S APARTMENT - NIGHT Max stares suspiciously at the bathroom. He slowly picks up his drill. Wielding it like a hammer, he carefully advances into the BATHROOM where he looks into the sink. He almost vomits when he sees a piece of human brain sitting above the drain. Ants swarm across its surface. Max becomes furious. He whacks it with the drill. Blood flies up into his face. In a wild rage, he smashes it and punches it. Then he drops the drill and uses his bare hands to shove it down the drain. Screaming like a madman, he jams it until it is gone. INT. BASEMENT SHUL - DAY A wise-looking, bearded Hasidic man with benevolent, piercing eyes stands tenderly over Max. He wears traditional black clothes. Lenny Meyer paces nervously in the background. As Max comes through, RAV COHEN speaks. RAV COHEN Max, Max. You're okay I'm Rabbi Cohen. Cohen like you. I'm sorry for what Lenny did, he's been reprimanded. It is not our way Are you okay? MAX Yeah, yeah RAV COHEN Everything will be fine, Max. You need to give us the number. Do you have it? MAX What is it? LENNY MEYER (Charging over) I told you we don't know MAX You wouldn't be so flipped out if you didn't know. What's happening to me? LENNY MEYER Give us the number! MAX Screw you! RAV COHEN Okay, okay! Lenny, easy! Max, I'll tell you what's going on. Just calm down. (Deep breath, then) The Talmud tells us it began two thousand years ago, when the Romans destroyed the second temple. MAX What are you... RAV COHEN Just give me a chance. You'll understand everything if you listen. Max takes out his pills and starts feeding himself some. RAV COHEN The Romans also murdered all of our priest- hood—the Cohanim—the Cohens, and with their deaths they destroyed our greatest secret. In the center of the great temple was the holy of holies which was the heart of Jewish life. This was the earthly residence for our God. The one God. It contained the ark of the Tabernacle which stored the original Ten Commandments that God gave to Moses. Only one man could enter this space once a year on the holiest day of the year, Yom Kippur On the Day of Atonement, all of Israel would descend upon Jerusalem to witness the High Cohen's trip into the holy of holies. If the holy man was pure he would reemerge a few moments later and Israel was secured a prosperous year. It meant that we were one yea r closer to the messianic age. Closer to the return of the Garden of Eden. But if he was impure, he would die instantly and it meant that we were doomed. The High Cohen had a single ritual to perform in the holy of holies. He had to intone a single word. Rav Cohen takes a dramatic pause. Max is anxious to hear the end of the story. MAX So? RAV COHEN That word was the true name of God. MAX Yeah... RAV COHEN The true name, which only the Cohanim knew, was two hundred and sixteen letters long. A long beat. MAX (Incredulous) You're telling me that the number in my head is the name of God!? Wondrously, Max rubs the scar on his head. RAV COHEN (Passion building) Yes...it's The key into the messianic age. As the Romans burned the temple, the Talmud says, the High Cohen walked into the flames. He took his secret to the top of the burning building. The heavens opened up and took the key from the priest's outstretched hand. We've been searching for the key ever since. And you may have found it. Now let us find out. MAX That's what happened. I saw God. RAV COHEN No, no, Max. You're not pure. You can't see God unless you're pure. MAX It's more than God... it s everything. It's math and science and nature... the universe. I saw the Universe's DNA RAV COHEN You saw nothing. MAX I saw everything. RAV COHEN There's much more. We can unlock the door with the key. It will show God that we are pure again. He will return us to The Garden. MAX Garden? You're not pure. I'm the one who has the number RAV COHEN Who do you think you are? You are a vessel from our God. You are carrying a delivery that needs to be made to us. MAX It was given to me. It's part of me. It's changing me. RAV COHEN It's killing you. Because you are impure. LENNY MEYER It will kill you! MAX And what will it do to you? LENNY MEYER We're pure. Give us the number! MAX The number is nothing. You know that! RAV COHEN We can use it. We can wield it. MAX It's just a number. I'm sure you've written down every two hundred sixteen number. You've translated all of them. You've intoned them all. Haven't you? But what's it gotten you? It's not the number! It's the meaning. It's the syntax. It's what's between the numbers. If you could understand you would. But it's not for you! I've got it. I understand it. I'm going to see it! (Whispers to Rav Cohen) Rabbi...I was chosen. EXT. CITY STREETS - DAY Max races through the streets of New York. He is wide-eyed. MAX (V.0.) Suddenly, it's all there. It all makes sense. I can crack it. I can know it. I know what it is. Sol knows, too. I need to tell him. I need to show him. I need to bring him with me. People fly by. Max in a spiraling whirlwind. EXT. SOL'S APARTMENT - NIGHT A pumped and excited Max paces the hall as he rings the bell. The door opens. But it isn't Sol. It's a young, beautiful woman wearing a simple black dress. Her name is JENNY ROBESON and she is Sol's niece. JENNY ROBESON Can I help you? MAX (Confused) Sol? JENNY ROBESON Were you a friend? MAX What do you mean? JENNY ROBESON He had a second stroke. MAX Where is he? Jenny's eyes drop. MAX No. Max rushes into Sol s study. The room is covered with Sol's P, research books. It seems Sol had recently come out of retirement. Max looks at a few of Sol's books. Then he finds a piece of paper with Sol's handwriting on it. On the paper is THE number. Max slides it into his pocket. Max looks at the Go board. The pieces are arranged in a giant spiral across the board. DISSOLVE TO INT. MAX'S APARTMENT - DAY Max sits on his bed staring at Sol's handwritten number. Then he notices that his thumb is twitching. He drops Sol's note. MAX Stop it, please! He dumps the contents of the bottle of pills into his hand. Max stops as he prepares to shove the pills down his throat. He looks at the pills. Then he looks at Euclid around him. He throws the pills and the bottle to the floor. They fall to earth in SLOW MOTION. The room rushes in on Max and so does the pain. It throws him to the ground and he bashes his head against the floor. MAX (Courageously) No. No. I'm ready. I'm ready! Show me! Max recites THE number and uses it to get to his feet. The pain rips apart his voice. Max's pain and anger transform into violence. He attacks Euclid furiously. He recites the number with rage in his voice. MAX Three, seven, two... He smashes the old computer apart. He tosses his step stool through the mainframe. Then he goes to the window and tries to rip off the cardboard covering the glass panes. Nothing doing, so he yanks the entire window wide open. Sunlight floods the room and throws Max into the BLINDING WHITE VOID where Max looks around starry-eyed. The pain is gone. Everything is new to Max - even his hands. The stress leases from his brow and his shoulders sag. Max continues to recite the number His voice becomes tender and peaceful. As he starts to become part of the void, his voice turns into a whisper and his eyes start to close. Then he hears Devi. DEVI (O.S.) Max. Max! Are you okay!? Oh my God, Max! Her voice reaches into the void. DEVI (O.S) Max! Breathe, Max. Breathe! Max looks toward her voice. DEVI (O.S.) Yes, Max. Listen to me... We cut back to ...THE MAIN ROOM where Devi leans over Max. Max's eyes are open while he continues to recite the number. DEVI Breathe, Max! Breathe. Focus. Max turns away from Devi and we return to the BLINDING WHITE VOID where Max continues to recite the number. DEVI (O.S.) No, Max. No. Stay with me Max. Stay with me. And then we cut back to THE MAIN ROOM where Devi grabs Max's palm. Max's fingers wrap around her hand. We return to THE BLINDING WHITE VOID where Max stops reciting the number. He suddenly opens his fear filled eyes. MAX Where am I? What is this? This is wrong, Sol. Sol! Max lets out a 'SOL!, and reaches out into the void. We match cut back to THE MAIN ROOM where Max grabs Devi and hugs her. He gasps for air as he collapses into her arms, sobbing. MAX Sol! You were right Sol! He was right. DEVI That's right Max. That's Right. Breathe. Breathe. MAX He was right. I want to breathe. Breathe. DEVI Yes, breathe, Max. Breathe... Max sobs. He holds onto her for dear life And then be realizes that Devi is not in his arms. He is holding onto himself. Then Max notices Sol's note on the ground. He looks at the number. He collects himself and catches his breath. INT. MAX'S BATHROOM – DAY Max looks at Sol's note. He lights a match and burns it. Next, he prepares something in the sink. We hear the WHINE of a motor. Then it stops, Max looks at himself in the mirror, He smiles. Then he gets solemn. He takes a deep breath. Then we hear the motor again. Max lifts up his arm. He's holding a drill. He places the bit against the math section of his scalp. He applies pressure and drills into his brain. Max collapses as we quickly CUT TO EXT. CITY PLAYGROUND - DAY TIGHT ON a tree branch gently blowing in the wind. Max watches it with peaceful, understanding eyes. He wears a hat on his head. He listens to the wind in the trees. Just then, Jenna surprises him with her Fisher Price calculator on hand. JEHNA Max, Max! Max smiles at Jenna. He's glad to see her. JENNA Can we do one, Max, can we? Max shrugs, not able to say no. JENNA How about two hundred and fifty-five times a hundred and eighty-three. Jenna types m the number. Max is about to say "no" to Jenna, but then be decides to give it a shot. Max thinks, he really thinks. Jenna presses the EQUALS button. JENNA I got it! I got it! What's the answer? MAX (Smiling and then laughing) I don't know. I really don't know. What is it, Jenna? JENNA Forty-six thousand six hundred and sixty-five. MAX Oh. The trees blow gently in the wind as we slowly FADE TO WHITE which brings us to THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Pianist, The.txt b/unformated_scripts/Script_Pianist, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..1331973868ca57967ff9c7e67c3a5a49b64efd19 --- /dev/null +++ b/unformated_scripts/Script_Pianist, The.txt @@ -0,0 +1 @@ + THE PIANIST by Ronald Harwood based on the published memoir by Wladyslaw Szpilman Final Draft, 1998 Note: Unless otherwise indicated, all dialogue spoken by Germans will be in the German language and subtitled. FADE IN: INT. WARSAW (ARCHIVE) - DAY Black and white. Street scene. People toing and froing. A man rattles by. SUPERIMPOSE CAPTION: WARSAW 1939 INT. STUDIO, RADIO STATION, WARSAW - DAY WLADYSLAV SZPILMAN plays Chopin's Nocturne in C sharp minor, Posthumous. He's twenty-eight years old, elegant and handsome. In the booth, separated from the studio by a glass screen, an engineer, wearing collar and tie, monitors the broadcast. Behind him, a window to the street with strips of paper taped on it as protection against blast. Without warning, a bomb drops nearby, then another and another. The whole building shudders alarmingly and the window in the booth shatters. The engineer and Szpilman exchange a look as a man enters the booth and talks urgently to the Engineer, then goes. The engineer makes a 'cut-throat' gesture, but Szpilman shakes his head, determined to play on. He plays, then glances at the booth. The engineer has gone, but through the shattered window he sees fires raging. Very near, a loud, terrifying explosion. The reverberations cause plaster to flake and dust to trickle down over his face. And then a bomb explodes even closer. The glass screen separating booth from studio implodes, showering Szpilman with glass. He stops, frozen. INT. STAIRS AND LOBBY, RADIO STATION - DAY Pandemonium. Chaos. People rushing in all directions, many carrying files, boxes, papers, shouting, calling. Some of the men in military uniform. The bombing continuous. Szpilman fights his way down the stairs. He has a small cut on his forehead and is dabbing it with his handkerchief. He has a dazed look. Halfway down the stairs, A young woman, DOROTA, tugs at his sleeve: DOROTA Mr. Szpilman. He turns, to see an extremely pretty young woman gazing adoringly at him while they're jostled and shoved. His eyes light up. SZPILMAN Hello. DOROTA I came specially to meet you today. I love your playing, but what a day to choose. SZPILMAN Who are you? DOROTA My name's Dorota, I'm Jurek's sister. oh! You're bleeding. SZPILMAN It's nothing. JUREK pushes in beside them and takes her arm. JUREK C'mon, Dorota, you can write him a fan letter later, this isn't the best time, c'mon. Jurek, pulling Dorota, fights his way down the stairs. SZPILMAN (calling) Jurek, why have you been hiding her? And he, too, is carried with the flow into the lobby. Debris everywhere. Szpilman fights to get to the main door, when another bomb explodes, filling the air with dust and debris, obscuring him and everyone else. INT. WARSAW APARTMENT - DUSK The Szpilman family in panic: coming and going out of rooms, packing clothes and belongings into open suitcases and a trunk in a comfortable, tastefully furnished bourgeois apartment, the living room lined with books, paintings and boasting a boudoir grand, silver platters and candlesticks. The family consist of MOTHER, in a state of great anxiety, FATHER, REGINA, twenty-six, HALINA, twenty-two, and HENRYK, twenty-four, the only one not in movement. He sits by the radio set, ear to the speaker, trying to tune to a station. No bombs now, just the distant sound of artillery fire. Father, holding a silver-framed photograph, crosses to Mother. FATHER What you think, should I take Uncle Szymon's photograph? MOTHER Take it, don't take it, take what you like. Can't you see I'm worried sick? FATHER He'll come home, he'll be all right. He goes into his room. She can barely control her tears and hurries into the kitchen just as the front door opens and Szpilman enters, looks round bemused by the activity. REGINA Mama, Wladek's home. Mother dashes out of the kitchen. MOTHER Thank God - Wladek! You're wounded. SZPILMAN It's a little cut, nothing. MOTHER I've been worried sick. HENRYK I told her not to worry. You had your papers on you. If you'd been hit by a bomb, they'd have known where to take you. The girls suppress smiles. MOTHER Henryk, don't say things like that, God forbid, God forbid. HALINA (calling through a door) Papa, Wladek's home. Father appears in the doorway, beaming, clutching a violin case. FATHER What did I tell you? SZPILMAN (looking around the room, bemused) What are you doing? REGINA What's it look like we're doing? The toing and froing continues non-stop. SZPILMAN (to Henryk) They bombed us, we're off the air. HENRYK Warsaw's not the only radio station. MOTHER Pack, darling, get your things, pack. SZPILMAN Where are we going? MOTHER Out of Warsaw. SZPILMAN Out of Warsaw. Where? REGINA You haven't heard? SZPILMAN Heard what? REGINA Haven't you seen the paper? Where's the paper? She starts to look. The others continue to bustle and pack. HALINA I used it for packing. REGINA (exasperated) She used it for packing. FATHER The government's moved to Lublin. HALINA All able-bodied men must leave the city, go across the river and set up a new line of defence, that's what it said. FATHER There's hardly anybody left in this building, only women, the men have gone. SZPILMAN And what do you think you'll do while you're setting up a new line of defence? Wander round lugging your suitcases? MOTHER Pack, Wladek, there's no time. SZPILMAN I'm not going anywhere. HALINA Good! I'm not going anywhere either! MOTHER Don't be ridiculous, we've got to keep together. SZPILMAN No, no, no, I'm staying put. If I'm going to die, I prefer to die at home. MOTHER God forbid! HENRYK Sssh! Crackles, whistles and static from the radio. HENRYK Ssh! I've got something, listen... They gather round. RADIO ANNOUNCER ... an important announcement. News has just been received through the BBC that Great Britain, having had no reply... (static) ...and therefore has declared war on Nazi Germany... (a collective gasp) ... next few hours... awaiting latest news... Henryk hits the set. RADIO ANNOUNCER ... but France is expected to make a similar announcement... (static) ... Poland is no longer alone. The Polish national anthem plays. All are still. INT. WARSAW APARTMENT - NIGHT Father pours liqueur into glasses. The family are seated around the dining table, having just finished a meal. The table groans with the remains of the dinner. Szpilman has a plaster over his cut. HENRYK (lighting up a cigarette) Mama, that was a great dinner. SZPILMAN It certainly was. MOTHER When there's something to celebrate, you've got to make an effort. The glasses are handed round. FATHER Here's to Great Britain and France. They all clink glasses and drink. FATHER I told you. Didn't I tell you? All will be well. EXT. RUINED WARSAW STREET - DAY A column of German Soldiers, led by an officer on horseback, march into view. On the sidewalk of the street, with its buildings in ruins, smoke still rising, stand onlookers, including Szpilman and Henryk, and a little behind them, Father, craning to see. They watch, expressionless, as the Germans march past. INT. WARSAW APARTMENT - DAY Regina is opening and closing the window, examining the frame with her fingers. Halina is on a box, removing and replacing books. Mother sits at one end of the table, polishing a man's watch and chain. At the other end, Father sits counting a small stack of notes and coins. Henryk is deep in thought and Szpilman is fiddling with his father's violin. The apartment has less furniture now and the silver has gone. FATHER (finishing the counting) Five thousand and three. MOTHER Is that all? FATHER Yes, five thousand and three zlotys, that's all we've got left. REGINA It's three thousand and three zlotys too much, (reading from newspaper) 'Re: Further restrictions regarding liquid assets: Jews will be allowed to keep a maximum of two thousand zlotys in their homes.' MOTHER What are we supposed to do with the rest? HALINA Deposit it in a bank. Blocked account. HENRYK Banks? Who'd be stupid enough to deposit money in a German bank? REGINA We could hide the money here in the window frame. FATHER No, no, no. I'll tell you what we'll do. We'll use tried and tested methods. You know what we did in the last war? We made a hole in the table leg and we hid the money in there. HENRYK And suppose they take the table away? MOTHER What d'you mean, take the table away? HENRYK The Germans go into Jewish homes and they just take what they want, furniture, valuables, anything. MOTHER Do they? FATHER Idiot! What would they want with a table? All look at the table: it's covered in stains and the veneer is coming away at one end. A table like this? He pokes his finger under the veneer. It snaps, revealing bare wood beneath. MOTHER What on earth are you doing? HALINA There's a good place under the cupboard. HENRYK No, no. Listen, I've been thinking -- SZPILMAN That makes a change. HENRYK You know what we do? We use psychology. SZPILMAN We use what? HENRYK We leave the money and the watch on the table. And we cover it like this. (covers it with the newspaper) In full view. The Germans will search high and low, I promise you, they'll never notice it. SZPILMAN Of course they'll notice it. But look-- (lifts the violin fingerboard.) This is a good place for something. HENRYK A good place for what? (to the others') He's insane! SZPILMAN Just shut up. FATHER (overlapping) My violin? They all talk at once. REGINA Quiet! Quiet! Order, please, order! HALINA She's a lawyer, she likes order. REGINA Listen, just listen. Let's come to an agreement. We jam the money in the window frame. The watch we hide under the cupboard. And the chain we put in the violin. A brief silence. FATHER Will I still be able to play? SZPILMAN Let's find out. They start to hide the things. INT. WARSAW PHARMACY - DAY Szpilman is on the public telephone, waiting for someone to answer his call. Then: SZPILMAN Jurek? Wladek Szpilman. JUREK (filtered) Wladek! How are you? SZPILMAN Fine, we're fine, thank you, and you? JUREK (filtered) Fine, we're fine in the circumstances. But I can guess what you've called about. There's nothing we can do; they won't reopen the station-- SZPILMAN (trying to interrupt) Yes, I know, but Jurek, Jurek... JUREK (filtered) ...not even music, nothing, no radios for the Poles. But I'm sure you'll find work, Wladek, a pianist like you. SZPILMAN Maybe, maybe not, but, Jurek, don't be offended, I didn't call to discuss my future career. EXT. WARSAW STREET AND CAFE PARADISO - DAY Szpilman and Dorota stroll along a tree-lined street with bombed-out buildings and rubble. She flicks admiring, almost loving glances at him as they walk and talk. And he is smiling, touched by her. DOROTA I nagged Jurek for weeks and weeks. And at last he gave in and said, 'All right, come with me tomorrow,' and so I came and they bombed the station. SZPILMAN You know something? Meeting you like that was absolutely wonderful. DOROTA Really? SZPILMAN Yes! (he looks at her, smiles) It was...it was unforgettable. She's embarrassed. DOROTA I've always loved your playing, Mr. Szpilman. SZPILMAN Wladek, please. DOROTA No one plays Chopin like you. She begins to laugh. SZPILMAN I could accompany you, me on the piano, you on the cello. They become almost helpless, holding on to each other. DOROTA Oh, Mr Szpilman, you're quite... quite wonderful. SZPILMAN Wladek, please. Amidst their laughter, he takes her hand and kisses it. INT. WARSAW APARTMENT - NIGHT The family are gathered around the table, listening to Father reading from the newspaper. The apartment has even less furniture now. The paintings are gone. FATHER (reading) 'Re: emblems for Jews in the Warsaw District. I hereby order that all Jews in the Warsaw District will wear visible emblems when out of doors. This decree will come into force on the 1st December 1939 and applies to all Jews over twelve years of age. The emblem will be worn on the right sleeve and will represent a blue Star of David on a white background. The background must be sufficiently large for the Star to measure eight centimetres from point to point. The width of the arms of the Star (reading) must be one centimetre. Jews who do not respect this decree will be severely punished. Governor of Warsaw District, Dr. Fischer.' Silence. Then: HENRYK I won't wear it. REGINA won't wear it. I'm not going to be branded. SZPILMAN (grabbing the newspaper) Let me see this. FATHER Doesn't it say we have to provide these armbands ourselves? Where will we get them? HENRYK We're not going to get them. We're not going to wear them! Silence, each locked in their own thoughts. EXT. WARSAW STREET - DAY Father, wearing the Star of David armband, walks slowly along, carrying a string bag containing potatoes and carrots, his eyes fixed on the pavement as if his thoughts are a million miles away. He passes two GERMAN OFFICERS. They stop. GERMAN OFFICER (a harsh shout) You! Father stops, turns fearfully and approaches the Germans. GERMAN OFFICER Why didn't you bow? FATHER (removing his hat) I'm sorry I... I German Officer cracks him hard across the face, catching his ear. Father reels, collects himself as best he can and starts to shuffle on - GERMAN OFFICER (calling after him) You are forbidden to walk on the pavement. Walk in the gutter! Father steps off the pavement and walks in the gutter. The German turn and go. Father walks on. INT. WARSAW APARTMENT - EVENING Szpilman composing at the piano. He plays, makes adjustments with a pencil to the manuscript, plays again. The flat is almost bare. Halina, enters with a newspaper. HALINA Have you seen this? SZPILMAN (irritated) What, I'm working, what? She hands him the paper. He looks at it. His expression darkens. INSERT: the newspaper. A map of the proposed Jewish area: two distinct districts, one large, one smaller. SZPILMAN'S VOICE What is it? HALINA'S VOICE That's where they're going to put us. SZPILMAN'S VOICE What d'you mean, put us? THE APARTMENT: She looks over his shoulder and reads. As she does so, the door of Henryk's room opens and he stands leaning in the doorway, watching, as if amused. HALINA 'By order of the Governor of the Warsaw District, Dr. Fischer, concerning the establishment of the Jewish District in Warsaw. There will be created a Jewish District in which all Jews living in Warsaw or moving to Warsaw will have to reside." And look here: 'Jews living outside of the prescribed area will have to move to the Jewish district by 31st of October 1940.' Szpilman gazes at the map, horrified. SZPILMAN But...they won't get all of us... we'll...it's too small...there's four hundred thousand of us in Warsaw! HENRYK No. Three hundred and sixty thousand, so it'll be easy. He laughs but they're disturbed by a sound from another room, the sound of crying. They look at each other puzzled, then Halina opens a door and looks in. Szpilman and Henryk join her. BEDROOM: Father is asleep but Mother is sitting on the bed, holding a purse, crying. Halina sits beside her, puts an arm round her. HALINA Mama, what is it? Mother opens the purse to reveal a crumpled note. MOTHER Twenty zlotys. That's all we've got left. What can I buy with twenty zlotys? (breaking down) I'm sick of cooking potatoes, potatoes, potatoes. She weeps. Halina tries to comfort her. Szpilman and Henryk watch. INT. SZPILMAN APARTMENT, SLISKA STREET - NIGHT Hands on the piano keyboard. Podgy, hairy hands with dirty nails. They play an octave, harsh, toneless, with straight fingers. The hands belong to Mr Lipa, a dealer, early fifties. He sits at the piano, now examining the lacquer. Regina stands in the bow, watching him. Henryk is at the table, also watching intently. Szpilman sits apart, aloof, his back to the piano and to Mr Lipa. MR LIPA That's the price. That's what I'm offering. And my advice is to accept. You won't get more from anyone else. REGINA But...but it's a Steinway, Mr Lipa... MR LIPA Two thousand. My advice is to take it. What you going to do when you're hungry? Eat the piano? Henryk suddenly makes a lunge for him, grabs hold of him, a rough struggle takes place and during it Mother and Father appear at their bedroom door to watch, appalled. HENRYK Get out! You're a thieving bastard, we don't want your money, get out! We'd rather give it away! Get out! Regina tries physically to restrain him. MR LIPA (overlapping, warding off Henryk) Hey! Hey! What's the matter with you? Haven't you eaten today, what you suffering from? Hey! REGINA (overlapping) Henryk, stop it, leave him alone. MR LIPA (recovering, catching his breath, overlapping) You people are crazy! I'm doing you a favour, two thousand, and I'm paying for the removal, I'm not even charging for the removal. Henryk subsides, glowering at him. MR LIPA You haven't eaten today, you're crazy... Suddenly: SZPILMAN (turning to them, severe) Take it. EXT. STREET LEADING TO GHETTO - DAY AUTUMN A great column of Jews of all ages make their way towards the area that will become the ghetto. On foot, on bicycles, on horse-drawn platforms, some pushing prams loaded with belongings. A great moving mass of humanity. They're watched on either side of the street by Poles. On a horse-drawn platform, the Szpilmans with their belongings. All wear armbands. Szpilman, Halina and Henryk walk beside the platform with Mother, Father and Regina seated on it. Szpilman catches sight of someone among the onlookers, smiles and pushes through the crowd to Dorota, close to tears. SZPILMAN Dorota! DOROTA I didn't want to come, I didn't want to see all this, but I couldn't stop myself. SZPILMAN How are you doing? DOROTA Fine, no, not really, they arrested my cousin, but Jurek says they'll let him out. (stops, tears in her eyes.) This is disgraceful. SZPILMAN Don't worry, it won't last long. DOROTA That's what I said, it's so - it's too absurd! SZPILMAN I'll see you...soon. He smiles and runs to catch up with his family. He looks back, but Dorota is lost to sight and the procession continues on its way. INT./EXT. GHETTO APARTMENT AND STREET - DAY Two rooms on the third floor: a living room and a kitchen. The Szpilmans are unpacking their belongings in silence. Father pauses for a moment to take stock. FATHER To tell you the truth, I thought it would be worse. SZPILMAN How will we sleep? MOTHER I'll sleep with the girls in the kitchen. You, Henrykc and Papa in here. HALINA (at a window) Look! Come and look! They all go to the window and look out. Their POV - the street. Further along, men are building a wall across the street. EXT. GHETTO WALL - DAY A SERIES OF SHOTS: THE WALL. THE WALL. THE WALL. EXT. MARKET AREA, GHETTO - DAY Winter. Cold, freezing day. Slush underfoot. Great activity. People selling shoes, clothes, carpets, curtains, food. A woman offers cakes under a barbed-wire cover. Noise, bustle, restless wing and froing. Among the traders, Henryk, slightly shabbier now, and at his feet a basket with books. He holds a couple of volumes in his hands, trying to interest passers-by. Szpilman, also a little shabbier, wends his way through the setters and buyers, the beggars, the passers-by, and reaches Henryk. Henryk drops the two volumes into the basket, takes a handle one side of the basket, Szpilman the other. They set off. As they walk, carrying the basket between them, passing beggars and children asking for food: SZPILMAN You sell anything? HENRYK Just one. Dostoevsky. The Idiot. Three zlotys. SZPILMAN That's better than yesterday. HENRYK Three lousy zlotys. And there are people here making millions. SZPILMAN I know. HENRYK You don't know, believe me. They bribe the guards. The guards turn a blind eye. They're bringing in cartloads, food, tobacco, liquor, French cosmetics, and the poor are dying all around them and they don't give a damn. Suddenly, a WOMAN appears in front of them, barring their way. She's brightly rouged with thickly painted eyebrows, dressed in an old green velvet curtain with an unsteady mauve ostrich feather rising from her straw hat. THE FEATHER WOMAN Excuse me, but have you by any chance seen my husband Izaak Szerman? SZPILMAN I'm afraid not. THE FEATHER WOMAN A tall handsome man with a little grey beard? They shake their heads. THE FEATHER WOMAN No? (she is near to tears, then smiles artificially.) Oh, do forgive me. (as she goes) Goodbye, sleep well, if you see him, please do write, Izaak Szerman's his name... She wanders on. Szpilman and Henryk, too, continue on their way. And as they go: HENRYK Sometimes I wish I could go mad. EXT. CHLODNA STREET - DAY A stream of cars and trams. Jewish policemen and German soldiers much in evidence. Szpilman and Henryk join a large crowd of Jews waiting at a barrier to cross the intersection. The crowd is agitated, impatient for a policeman to stop the traffic and let them through. A MAN next to Szpilman and Henryk is becoming more and more distraught, shifting his weight from foot to foot, taking off and putting on his hat. THE NERVOUS MAN This is totally insane; why do we have to have a gentile street running through our area? Can't they go around? HENRYK Don't worry about it, they're about to build a bridge, haven't you heard? THE NERVOUS MAN A bridge, a schmidge, and the Germans claim to be intelligent. You know what I think? I think they're totally stupid. I've got a family to feed and I spend half my time here waiting for them to let us through. Meanwhile, a street band begins to play a waltz. Jewish policemen and German soldiers are clearing a space, shoving Jews out of the way, including Szpilman, Henryk and the nervous man. Other soldiers are clearing a space. Two GERMAN SOLDIERS pull out of the crowd a tall woman and a short man and haul them into the cleared space. THE GERMAN SOLDIER Dance! The couple dance to the street band's waltz. At intervals, German soldiers select even more unlikely couples: a fat woman with a painfully thin man, a young boy with an elderly woman, two men, and two cripples. The German soldiers are, to various degrees, amused. One of them is almost hysterical with laughter. SOLDIERS Faster! Go on, faster! Dance! The couples dance as fast as they can. A soldier kicks one of the cripples who can't go on any more. SOLDIERS Dance! Dance! Then a whistle blows, a policeman stops the traffic, the barrier swings open and people swarm across in both directions. INT. GHETTO APARTMENT - DAY Szpilman and Henryk enter and stop. Uneasy. MOTHER Good, they're here. Yitzchak Heller's been waiting for you, Henryk. Seated at the table with Mother and Father is a uniformed young man, YITZCHAK HELLER, unusual appearance, a man with red hair and a Hitler moustache. Heller remains seated, just nods at the brothers. HENRYK What's this about? MOTHER Sit down, have tea, I'll start lunch when the girls get back. Henryk and Szpilman sit. They eye Heller suspiciously. HENRYK So, what are you doing here? FATHER He brought cakes. Awkward silence. FATHER His father's back in the jewellery business and doing well, isn't that so, Yitzchak? Amazing. Jewellery. He runs dry. Another awkward silence. Then: HELLER We're recruiting. HENRYK Who's recruiting? HELLER Don't be clever with me, Henryk. I've come here as a friend. They're bringing Jews in from all over the country. Soon there'll be half a million people in the ghetto. We need more Jewish police... HENRYK (sarcastic) Oh? More Jewish police? You mean you want me to wear a cap like yours, beat up Jews with my truncheon and catch the Gestapo spirit. I see! HELLER (eyes narrowed, dangerous) Someone's got to do it, Henryk. HENRYK But why me? I thought you only recruited boys with rich fathers. Look at my father, look at us, I mean... HELLER (interrupting, flaring) Yes, I'm looking at you and that's why I'm here. Your whole family can have a better life. You want to go on struggling for survival, selling books on the street? HENRYK (a smile) Yes, please. HELLER (to Szpilman) I'm doing you people a favour. And what about you, Wladek? You're a great pianist. And we've got an excellent police jazz band. They'd welcome you with open arms. Join us. You've got no work... SZPILMAN Thank you. But I've got work. Silence. Heller rises angrily. INT. CAFE NOWACZESNA, GHETTO - DAY On a platform, Szpilman plays at a piano, but he can hardly be heard above the noise of chatter and laughter. The large cafe is crowded, hot and smoke-filled. Well-heeled customers, pimps, whores, businessmen sit at little tables, eating, talking, laughing, almost drowning the piano music. Some dance. A couple of tables back from the piano, a customer is doing business with a friend. The customer has a small stack of coins, some of them twenty-dollar gold pieces. He folds back the tablecloth to reveal a marble surface beneath. He drops a coin on the marble and listens but the noise is too loud. He sees the cafe owner, BENEK, fiftyish, and makes gestures, pointing at Szpilman. Benek pushes his way through to Szpilman. BENEK (whispering into Szpilman's ear) I'm sorry, Mr Wladek, he wants you to stop. SZPILMAN (continuing to play) Who wants me to stop? Benek points to the customer, who makes an imploring gesture to Szpilman. Szpilman stops playing. The friend watches the customer intently as he drops the coins one by one onto the marble. He drops them, puts his ear close and listens. Two or three he discards, but he smiles when coins make a pure tone, and he keeps them. Szpilman exchanges looks with a pretty whore, who makes eyes at him. Satisfied, the customer beams, nods his thanks to Szpilman, who resumes his piano playing. EXT. GHETTO STREET - DUSK Szpilman walking. He passes emaciated children and beggars. He steps over the corpses lying on the sidewalk. EXT. STREET NEAR WALL - DUSK The wall runs the length of the street, dividing it in half and narrowing it. Buildings on one side, the wall on the other. Szpilman walks along. A piercing whistle from the Aryan side. Szpilman stops. Two women appear from a doorway, approach the wall and look up. Two or three packages come flying over from the Aryan side. The women grab them and disappear. Szpilman walks on and sees a child appear through a hole at ground level. The child wriggles through then turns, pulls a package after him and runs. Szpilman walks on, hears a noise, looks back to see a SECOND CHILD trying to wriggle through the same hole. But he's stuck. Angry German voices from the Aryan side. 2ND CHILD Help me! help me! Szpilman goes to him, pulls him with all his might but the boy is jammed in the hole. From the other side of the wall, the sound of an angry German voice and of a boot stamping violently on the boy. The boy screams in agony. Szpilman continues to try to pull the boy through. The sound of the German voice swearing and the dull, crunching noise made by the boot smashing into the boy continues, and with every thud the boy screams in terrible pain. Szpilman struggles to help the boy whose screams are becoming weaker yet increasingly desperate. Szpilman pulls his arms and finally manages to get him through. The boy lies moaning. Szpilman takes the boy's face in his hands, tries to comfort him, revive him, but the boy has stopped moaning. His head lolls and his jaw sags. He is dead. Szpilman stands quickly and hurries away. EXT. COURTYARD AND HOUSE - EVENING Szpilman approaches the house through a shabby yard. INT. JEHUDA ZYSKIND'S ROOM - EVENING The noise of a mimeograph machine. A huge, CHEERFUL MAN with a perpetual cigarette in his mouth. JEHUDA I always say look on the bright side. You're in the small ghetto, intellectuals, professional people, you're better off than us. Here, in the large ghetto, it's a cesspool. But you, you're living in Monte Carlo. You could say you're privileged and that, of course, goes against my principles. Nevertheless... He laughs and coughs, starts looking through papers. His room is piled from floor to ceiling with old papers and stuff. Dark, shabby, run-down. One of his sons, SYMCHE, is operating the mimeograph machine. The other, DOLEK, is sorting the sheets as they come off the roller. MRS. ZYSKIND, holding a toddler, is cooking at a small stove. JEHUDA finds what he's been looking for, a newspaper made up of a few sheets. JEHUDA Ah, here. Today's news from the other side. SZPILMAN You're amazing, Jehuda. JEHUDA No, I'm a socialist. I have brothers everywhere. They bring me news and food. We care about our fellow human beings. Workers of the world unite. SZPILMAN So, what's the news? JEHUDA (scanning the paper) The Germans are advancing on Kharkhov. SZPILMAN I don't know why I come here every evening, it's always such bad news. JEHUDA Bad news, you crazy? You have no world view, Wladek, that's your trouble. The news couldn't be better. The moment Hitler invaded Russia, I knew we'd be all right. Remember Napoleon. Same business. The Germans will freeze to death, please God. He beams. Szpilman leans over, takes a sheet from the mimeograph. SZPILMAN Jehuda, give me something to do. JEHUDA You're an artist, Wladek, you keep people's spirits up. You do enough. SZPILMAN But I want to help, I want to. JEHUDA You're too well known, Wladek. And you know what? You musicians don't make good conspirators. You're too...too musical. He loves this, laughs, coughs. SZPILMAN There are notices going up. The city's to be cleansed of undesirables. JEHUDA There are always notices going up. A distinctive knock on the door. Szpilman tenses but Jehuda beams. To one of his boys: Symche - The boy opens the door to admit a short, neat man, MAJOREK. MAJOREK Hello, Symche, Dolek, Mrs Zyskind, Jehuda. Working hard? He stops, seeing Szpilman. JEHUDA Majorek, this is the greatest pianist in Poland, maybe in the whole world. Wladyslaw Szpilman. Meet Majorek. MAJOREK (shakes Szpilman's hand) I know your name. I've never heard you play. JEHUDA Majorek used to be in the army. Brilliant man. He's got a mind like a searchlight. The only thing I've got against him is he's not a socialist. (he looks out of the window.) You'd better go now, Wladek. It's nearly curfew. (he hands over pamphlets to Majorek.) You see these, Wladek? You know how many copies we print of our newspaper? Szpilman shrugs. JEHUDA Five hundred. You know how many people on average read one copy? Twenty. That makes ten thousand readers. These will start the uprising. Majorek hides them in his underpants. And leaves them in toilets. SZPILMAN Toilets? MAJOREK As many toilets as I can find. Germans never go into Jewish toilets. They're too clean for them. Jehuda loves this too, but his laugh makes him cough appallingly. INT. GHETTO APARTMENT - EVENING Summer. The windows are open and the sounds of the ghetto can be heard in the background. The family sit round the small table as Mother comes with a saucepan of soup and starts to serve. MOTHER And, please, tonight, for once, I don't want anything bad talked about. Let's enjoy our meal. HENRYK Okay, then I'll tell you something funny. You know who I mean by Dr. Raszeja. REGINA The surgeon? HENRYK The surgeon. Well, for some reason, don't ask me why, the Germans allowed him into the ghetto to perform an operation... HALINA On a Jew? They allowed a Pole to come in to operate on a Jew? HENRYK He got a pass, that's all I know. Anyway, he puts the patient to sleep and starts the operation. He'd just made the first incision when the SS burst in, shoot the patient lying on the table, and then shoot Dr. Raszeja and everybody else who was there. Isn't that a laugh? The patient didn't feel a thing, he was anaesthetised - He laughs. No one else does. MOTHER Henryk, I said nothing bad. HENRYK What's the matter with you all? Have you lost your sense of humour? SZPILMAN It's not funny. HENRYK Well, you know what's funny? You're funny with that ridiculous tie. SZPILMAN What are you talking about, my tie? What's my tie got to do with anything? I need the tie for my work. MOTHER Boys, boys... HENRYK Your work, yes, playing the piano for all the parasites in the ghetto, they don't give a damn about people's sufferings, they don't even notice what's going on around them! FATHER I blame the Americans. The others look at him. SZPILMAN For what? For my tie? FATHER American Jews, and there's lots of them, what have they done for us? What do they think they're doing? People here are dying, haven't got a bite to eat. The Jewish bankers over there should be persuading America to declare war on Germany! Suddenly, there's a roar of engines and a screech of brakes. Slamming of doors. The family rush to the windows. EXT./INT. BUILDING OPPOSITE AND GHETTO APARTMENT - NIGHT A Gestapo vehicle has entered the street and screeched to a halt. Helmeted, jackbooted SS MEN, led by an NCO, pour out of the vehicle. The Szpilmans gather at their open window to watch. Regina turns off the lights before joining them. They are all terrified. Their half-eaten meal still on the table behind them. POV - from Szpilman apartment: the building opposite. The SS men pouring into the building opposite. Sound of the jackboots on stairs. Lights go on floor by floor. In an apartment directly opposite, a businessman, his wife, three young people and an old man in a wheelchair sit at their dining table. The SS men burst in, machine pistols at the ready. The family is frozen with horror, remain seated. The NCO scans their faces. NCO (in a towering rage) Stand up! The family rise to their feet fast, except for the old man in the wheelchair. The NCO bears down on him. NCO Stand up! The old man in the wheelchair grips the arms of the chair and tries desperately to stand. But he can't. Without warning, the SS men seize the chair with the old man in it, carry him out on to the balcony. THE SZPILMANS: Mother SCREAMS, Father shrinks back, Halina comforts him and Regina comforts Mother. Szpilman's and Henryk 's POV - the apartment opposite: The SS men throw the old man in his wheelchair over the balcony. He seems to hang in the air for a second then drops out of the chair and out of sight. But there's a terrible thud as his body hits the pavement and a clatter as the wheelchair follows him. THE SZPILMANS: Mother sobbing. The others, still horrified. REGINA (softly, to Mother) Be quiet, Mama, for God's sake, be quiet! Then sound of shots, slamming doors, screams, shouts. Szpilman and Henryk hurry to another window so that they can see what's going on. Their POV from second window building opposite and street: SS Men herding a couple of dozen prisoners from the building opposite. People watching from the windows but trying not to be seen. The headlights of the SS vehicle are switched on and the SS Men are forcing their prisoners to stand in the beam. A GERMAN VOICE Run! Run! The prisoners start to run. The SS men open fire with a machine gun mounted on the vehicle. People in the building opposite begin to SCREAM. The prisoners are being shot down. They are lifted into the air by the bullets, turn somersaults, fall dead. One man escapes by running back in the opposite direction, out of the beam of light and is lost to sight for a moment. The escaping man, a silhouette, out of the light, runs with all his strength, putting distance between himself and the SS. He starts to scale a wall. He looks as though he's getting away. But there's a floodlight on the SS vehicle. It flares into light, swivels and finds the man. A volley of shots. The man drops from the wall, dead. The SS men get into the vehicle and speed off, driving over the dead bodies. THE SZPILMANS: Szpilman and Henryk stare at the scene, silent, shocked. The only sounds, the weeping of the people opposite and, nearer, Mother crying softly. INT. CAFE NOWOCZESNA - DAY Szpilman, as if in another world, playing the piano. The cafe is full of customers but the atmosphere is much more subdued than previously, the mood is sombre. EXT. CAFE NOWOCZESNA - DAY A doorman with a cudgel beats away the beggars from the door as Halina, distraught and out of breath, runs to the cafe entrance. The doorman lets her in. INT. CAFE NOWACZESNA - DAY Szpilman snaps out of his reverie, seeing, across the heads of the customers, Halina, in a state of great anxiety, beckoning urgently. Szpilman quickly brings the piece to a close, stands, steps off the platform, threads his way through to Halina. She's shivering, almost unable to speak. SZPILMAN What's happened? HALINA (almost incoherent) Oh my God, it's terrible, you've got to do something, oh my God! SZPILMAN (shaking her) Calm down, what, what is it? HALINA They're hunting people on the streets. They've picked up Henryk. EXT. STREETS - DAY Szpilman running. Streets crowded. Corpses. Szpilman, sweating, dodges and sidesteps. Then, suddenly, a woman bars his way. She's the Feather Woman, brightly rouged, with her thickly painted eyebrows, the unsteady mauve ostrich feather rising from her straw hat. THE FEATHER WOMAN Excuse me, but have you seen my husband Izaak Szerman? SZPILMAN I'm afraid not. He tries to dodge past but she grabs his arm. THE FEATHER WOMAN He's tall, he's handsome. He has a little grey beard. If you see him, please do write, Izaak Szerman's his name, don't forget. Szpilman manages to free himself and runs on. EXT. LABOUR BUREAU BUILDING - DAY A mob of men in front of the building being herded this way and that by Jewish policemen. More and more captive men are brought in by the German Schutzpolizei (Shupos). The mob constantly swelling. Szpilman reaches the back of the crowd. SZPILMAN (to an elderly man nearest him) What's happening? THE ELDERLY MAN They've got my grandson in there. They pick 'em up, they take 'em away. What do they do to them? I've stopped believing in God! Szpilman scans the mob. The Jewish policemen using batons and whips to herd the men. No sign of Henryk. Szpilman becomes alert. He's seen someone he recognises. Heller, with his red hair and Hitler moustache, wielding a baton, driving men into the building. With difficulty, Szpilman pushes his way through the mob and gets nearer to Heller. SZPILMAN (yelling) Yitzchak! Heller doesn't hear. SZPILMAN Yitzchak! Heller glances round. SZPILMAN Here, please! Wladek Szpilman! Heller shoves someone aside so that Szpilman can approach, but he continues to beat and manhandle people. SZPILMAN Henryk's in there. HELLER I haven't seen him. SZPILMAN Believe me, they've picked him up. HELLER Tough luck. SZPILMAN Can you help? HELLER Oh, you need me now, yes, now you need me! SZPILMAN Can you help us? HELLER It costs. SZPILMAN I've no money. HELLER Then there's nothing I can do. He should've joined us when I gave him the chance.. SZPILMAN Yitzchak, they told me you had influence. HELLER Who told you? SZPILMAN People I know. They said you're an important man. Heller just glares at Szpilman and then moves away. Szpilman stands, jostled by the crowd, uncertain, forlorn. EXT. ALLEY AND LABOUR BUREAU, LATER - MID-AFTERNOON Szpilman, keeping to the shadows of the alleyway, watches the front of the building. Comings and goings. German Soldiers in evidence. The mob is smaller now. Szpilman waits and watches, and then a POOR WOMAN passes, carrying a can wrapped in newspaper followed by a RAGGED OLD MAN, dragging himself along. He's shivering with cold, his shoes with holes show his purple feet. The ragged old man suddenly lunges forward and tries to grab the can from the poor woman. They struggle desperately. POOR WOMAN (screaming) A snatcher! Help me, a snatcher! The can falls to the pavement and thick, steaming soup pours into the dirty street. Szpilman watches, rooted to the spot. The ragged old man stares at the can, lets out a groan, more like a whimper, and throws himself full length in the slush, licking the soup up from the pavement. The poor woman starts to howl, kicking the old man and tearing at her hair in despair. Then: RUBINSTEIN'S VOICE Boys, keep your peckers up! And girls, keep your legs crossed! RUBINSTEIN, a ragged, dishevelled little man, Chaplinesque, waving a stick, hopping and jumping, approaches the Germans outside the bureau. RUBINSTEIN Don't let 'em get you down - He approaches a couple of Shupos. RUBINSTEIN Bandits! Crooks! Thieves! He waves his stick at them. They laugh. One of them bows low. 1ST SHUPO Good day, Herr Rubinstein. RUBINSTEIN If that means good day, I'm your man, you gangsters, robbers, pirates! 2ND SHUPO (tapping his head) Mad! RUBINSTEIN Ich bin meshuge, you bandit! Almost in tears with laughter, they give him a cigarette and he goes on his way. Szpilman almost smiles, then looks again at the building. He waits. EXT. ALLEY AND LABOUR BUREAU, LATER - DUSK Sun just setting. From the shelter of the alleyway, Szpilman continues to watch the entrance of the bureau. No mob any more, but people come and go - jewish policemen, shupos, a few jews. Almost continuous sounds of distant shots and screams. Then, Heller appears at the entrance, looks this way and that and goes back inside the building. Szpilman alert. Again Heller appears in the entrance. He beckons someone inside. Henryk shuffles out. Heller shoves him into the street. Henryk stumbles, falls. Szpilman runs to him, helps him to his feet. HENRYK (immediately on the attack, furious) You go to Heller, did I ask you to talk to him? SZPILMAN You're out, aren't you? They start to walk. HENRYK Did you beg, did you grovel to that piece of shit, that cockroach? SZPILMAN I didn't grovel, I asked him to help. HENRYK What did you pay him? SZPILMAN Pay him? With what? With what could I pay him? Every zloty I earn we spend on food! HENRYK I can look after myself! SZPILMAN They were taking you away. HENRYK It's nothing to do with you. It's me they wanted, not you. Why do you interfere in other people's business? SZPILMAN You're mad, that's your trouble, you're mad. HENRYK That's also my business. They walk on. EXT. CHLODNA STREET BRIDGE - DUSK A wooden bridge has been constructed, linking the small ghetto to the large ghetto. Few people about, mostly beggars and children. Szpilman and Henryk climb the stairs of the bridge, but as they reach the bridge itself Henryk stumbles, sinks to his knees. Szpilman gets hold of him, tries to help him stand. SZPILMAN What's the matter? Are you sick? HENRYK Hungry. EXT. CAFE NOWOCZESNA - NIGHT Szpilman supports Henryk, helps him towards the back of the cafe. INT. KITCHEN, CAFE NOWOCZESNA - NIGHT Henryk, finishing a bowl of soup and a piece of bread, sits at a worktop with Szpilman and Benek. The kitchen is small and busy with cooks, waiters, washers-up. SZPILMAN What's that mean, no employment certificate? HENRYK You have to have an employment certificate to work for one of the German firms in the ghetto, otherwise... SZPILMAN Otherwise what? HENRYK You'll be deported. BENEK So the rumours were true... HENRYK They're going to resettle us. Send us to labour camps. In the east. And they're closing the small ghetto. Silence. EXT. CHLODNA STREET - DAY A dense crowd of people crossing the bridge in both directions. Szpilman, shabby and unshaven, hurries along and meets Jehuda Zyskind coming towards him, accompanied by the small man, Majorek. JEHUDA Wladek! Szpilman stops. JEHUDA I thought you'd be off on tour, playing London, Paris, New York? SZPILMAN (trying to smile) Not this week. They're buffeted by the crowd. In the street below them, cars, trams, pedestrians and German guards. JEHUDA I have to say you look terrible. What's the trouble? SZPILMAN You've heard the rumours they're going to resettle us in the East? JEHUDA (dismissing him) Rumours, rumours, you take it all too much to heart, Wladek. SZPILMAN I've been trying to get a certificate of employment for my father. I've managed to get certificates for me and the rest of the family but I need one more for my father. I've been trying all the firms, the shops... JEHUDA Why didn't you come to me? SZPILMAN I didn't know you were in the certificate business. JEHUDA I'm not, but Majorek is. SZPILMAN (to Majorek) Can you help? I've no money... JEHUDA Please, don't insult us. (to Majorek) Can you do something for him? MAJOREK Be at the Schultz Workshop, tomorrow, four o'clock. JEHUDA You see what a wonderful piece of luck you've had today? That's die historical imperative in action and that's why I always say, look on... SZPILMAN (joining with him) ...the bright side, yes, I know. INT. OFFICE AND FLOOR, SCHULTZ FACTORY - DAY The name 'Samuel Szpilman' being written on a certificate. The clatter of sewing machines. SCHULTZ, a fat, sweaty German is filling out the form at his desk. Majorek beside him, standing, chatting to him and having a quiet laugh. In the doorway, Szpilman and Father. The small office is on an upper level with a window looking down on the factory floor where Jewish men and women are hard at work on sewing machines making the terrible clatter. Schultz stamps the certificate, hands it to Majorek, who gives it to Father. FATHER (doffing his hat) Thank you. SCHULTZ (beaming, German accent) My pleasure. It won't help you anyway. EXT. CHLODNA STREET BRIDGE - DAY A great mass of agitated people crossing only one way: from the small ghetto to the large ghetto, carrying their belongings. A German film crew records the scene. The Szpilmans among the crowd, lugging suitcases and bundles, Henryk with a few books, Father carrying his violin case. They struggle across the bridge. EXT./INT. YARD AND WAREHOUSE - DAY A truck backing up. The tail-gate is opened to reveal a huge load of furniture, linen, clothing, mirrors, carpets, bedclothes. Three Jews inside the van start to unload the stuff, dumping it in the yard. Other Jews stand ready to start sorting the load, among them the Szpilman family. Shupos and Jewish policemen supervise. Each has their allotted task: Szpilman and Henryk sort out carpets, Father mirrors, Regina linen, Halina and Mother, clothing. The sounds of trains not far off. They carry the stuff into the warehouse. INT. WAREHOUSE - DAY Szpilman and the others bring their piles of things into the warehouse, which is crammed with similar objects, an Aladdin's cave. The activity continuous. INT. SLEEPING QUARTERS, ABOVE WAREHOUSE - NIGHT semi-darkness. A large room with an improvised partition of blankets to separate the men from the women. Three-tiered bunks. On the men's side, Father is on the upper bunk, Henryk on the lower. Szpilman, stripping down to his underwear, is preparing to climb into the middle bunk. FATHER At least we've got work in the ghetto. At least we're still together. Szpilman nods, climbs into his bunk, settles down. Somewhere near, the sound of a train. Then a volley of shots, German voices shouting. Szpilman slips off his bunk, hurries to the door, opens it and comes face to face with a German NCO and soldiers. NCO Out! Assemble in the yard! SZPILMAN We're employed here, we've got certificates - The NCO cracks Szpilman across the face, turns and goes. Szpilman retreats into the room, his nose bleeding. The women are watching from behind the blankets, but Mother hurries towards Szpilman. She wipes his nose. Shots, shouts, a scream. EXT. WAREHOUSE YARD - DAWN Still quite dark. The Szpilmans and about twenty others lined up under lights shining on them from a couple of German vehicles. The NCO goes along the line, making a selection, using his pistol to prod people into moving. When he gets to the Szpilmans he selects Henryk and Halina. Then, he turns to those who are left: NCO The rest of you get dressed then report back here. Bring your belongings. Fifteen kilos only. A YOUNG WOMAN Where are you taking us? The NCO turns his pistol on the young woman and shoots her through the head. He marches off while she lies on the ground with blood spurting out of her. INT. SZPILMAN ROOMS, WAREHOUSE - DAWN The partition has been pulled aside. People, including the Szpilmans, are dressing or dressed, packing up their belongings. SZPILMAN I'm sorry, I did my best, I thought the certificates would save us all. MOTHER Stop it, Wladek. REGINA Let's just hope that Henryk and Halina will be better off - Sounds of shots, screams, shouts, a piercing whistle. EXT. STREET LEADING TO UMSCHLAGPLATZ - MORNING Hot, fine summer's day. Jews, among them Szpilman, Mother, Regina and father, clutching their meagre belongings, walk towards wooden gates and come to a halt. Jewish policemen approach and order the people about, pushing and shoving them into line. REGINA (to a Jewish policeman) Where will we be going? JEWISH POLICEMAN #1 You're going to work. You'll be much better off than in this stinking ghetto. The gates are The gates are opened. JEWISH POLICEMAN #2 Move! They shuffle forward. EXT. UMSCHLAGPLATZ - DAY Szpilman, Mother, Regina and Father, with others, enter through one of the gates, which closes on them. They pause for a moment to take in their new surroundings. The Szpilmans and their POV: Their first sight of the large rectangle, walled on two sides and overlooked by buildings. Several hundred people. People walk up and down. SZPILMAN Let's sit over there. But he stops again, and so do the others. Something they see causes them to stand stock still, expressionless. THE SZPILMANS' POV: An unoccupied space at the edge of the compound where bloated, decaying bodies lie near to a wall. The wall itself is spattered with blood. Large flies walk over the dead. Nobody goes near. THE SZPILMANS: Szpilman turns away and leads the others to another space. Later: Glaring sun. The Szpilmans have settled down on the kerb of a pavement and are waiting. Szpilman stands, observing the scene. Mother sits on a bundle of things, staring vacantly, her hair hanging down in strands. Regina, beside her, has her hands over her face and is weeping, the tears running through her fingers. Father walks nervously up and down, hands behind his back, four steps one way, four steps back. Near them, a YOUNG WOMAN begins to wail. THE YOUNG WOMAN Why did I do it? Why did I do it? A young man, beside her, whispers to her, but she does not seem to take in what he's saying. Her cries continue at intervals. THE YOUNG WOMAN Why did I do it? Why did I do it? The sound of trucks. Everyone looks towards the gates. More Jews are being unloaded from trucks and are marched through the gates. Mothers, children, old people, begging, most of them holding papers. Pandemonium. Later: The sun high, blazing. Szpilman is wandering around, occasionally greeting people. The place is crowded now, packed. Trucks bring more and more Jews at intervals. Old people lying down, exhausted, impossible to tell whether some of them are alive or dead. Women carrying dehydrated children drag themselves from group to group. One WOMAN approaches Szpilman. WOMAN WITH CHILD He's dying, don't you have a drop of water? My child's dying of thirst, he's dying, he's dying, I beg you! Szpilman shakes his head sadly. The woman with child wanders off to another group. A MAN'S VOICE I'm telling you, it's a disgrace. Szpilman turns to see a man, DR. EHRLICH, haranguing Father. FATHER I can hear you. Szpilman goes to them. DR. EHRLICH (overlapping) We're letting them take us to our death like sheep to the slaughter! FATHER Dr. Ehrlich, not so loud! DR. EHRLICH Why don't we attack them? There's half a million of us, we could break out of the ghetto. At least we could die honourably, not as a stain on the face of history! Another man, Grun, joins in. GRUN Why you so sure they're sending us to our death? DR. EHRLICH I'm not sure. You know why I'm not sure? Because they didn't tell me. But I'm telling you they plan to wipe us all out! FATHER Dr. Ehrlich, what do you want me to do? You want me to fight? GRUN To fight you need organisation, plans, guns! FATHER He's right. What d'you think I can do? Fight them with my violin bow? GRUN The Germans would never squander a huge labour force like this. They're sending us to a labour camp. DR. EHRLICH Oh, sure. Look at that cripple, look at those old people, the children, they're going to work? Look at Mr Szpilman here, he's going to carry iron girders on his back? A loud cry from Mother. Szpilman and Father spin round. MOTHER Henryk! REGINA (glancing up, shocked) Oh my God! Near the gates, among a large bunch of new arrivals, Henryk and Halina. MOTHER Halina! Henryk! Regina and Szpilman also call and wave. Henryk and Halina struggle through to them. Halina falls into Mother's arms and they hug. HALINA We heard you were here...we...didn't want...we...we wanted to be with you. Mother comforts her. And so does Regina. Father smiles sadly. SZPILMAN (shakes his head, almost to himself, a forlorn smile) Stupid, stupid! THE YOUNG WOMAN Why did I do it? Why did I do it? Szpilman stands and stares at her. Later: The sun lower but the heat still intense. The place is now packed to suffocation. People calling out names, trying to find each other. The wailing of women and the cries of children. A cordon of Jewish policemen and SS guards are, almost surreptitiously, ringing the compound. The Szpilmans sit in the same place, with Henryk sitting a little apart and now reading a small book. THE YOUNG WOMAN Why did I do it? Why did I do it? HALINA She's getting on my nerves. What did she do, for God's sake? Grun leans across to her. GRUN (quietly, to Halina) She smothered her baby. Halina looks at him in disbelief. GRUN They'd prepared a hiding place and so, of course, they went there. But the baby cried just as the police came. She smothered the cries with her hands. The baby died. A policeman heard the death rattle. He found where they were hiding. Later: Szpilman and Henryk. SZPILMAN What are you reading? HENRYK (a crooked, ironic smile) 'If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge?' Szpilman takes the book and reads the title page: THE MERCHANT OF VENICE BY WILLIAM SHAKESPEARE. SZPILMAN Very appropriate. HENRYK (taking the book back and resuming his reading) Yes, that's why I brought it. Later: The Szpilmans seated on the kerb. Their attention is caught by a BOY who has a box of sweets on a string round his neck. And he's setting the sweets, pocketing money. HENRYK Idiot. What's he think he's going to do with the money? Father calls to the Sweet Boy and beckons him over. FATHER How much for a caramel? THE SWEET BOY Twenty zlotys. FATHER What? For one caramel? What d'you think you're going to do with the money? THE SWEET BOY Twenty zlotys. FATHER (turning to the family) Have we got twenty between us? They search their pockets and handbags, hand over to Father what change they can find. He, in turn, hands the money to the Sweet Boy, who hands over one caramel and goes on his way. Father holds the caramel between thumb and forefinger and examines it carefully. Then, carefully takes out his penknife and with great care divides the caramel into six pans. He hands a part to each of the family. They all exchange a look, an acknowledgement of each other, almost like a toast, and then they chew, slowly, deliberately. The whistle of a locomotive. Sound of trucks rattling over the rails. At once, a sound of great agitation from the Jews in the compound. EXT. RAILWAY SIDING - DAY The locomotive pulling cattle and goods trucks comes into sight, rolling slowly towards the boundary of the Umschlagplatz and coming to a halt. EXT. RAILWAY SIDING - DAY A cordon of Jewish policeman and SS guards. Among the great throng of people, the Szpilmans trudge towards the train. Szpilman and Halina walking. SZPILMAN Halina? HALINA What? SZPILMAN Funny time to say this. HALINA What? SZPILMAN wish I knew you better. HALINA (a smile) Thanks. THE TRAIN: The Szpilmans near the train. The first trucks are already full, the people inside pressed close together, SS men pushing them with their rifle butts. People in the trucks cry out in desperation. The Szpilmans are pushed along by SS men along the cordon of Jewish policemen, past loaded trucks. Then, suddenly: A VOICE Szpilman! Szpilman! A Jewish policeman grabs Szpilman by his collar and pulls him back out of the police cordon. It's Heller. The rest of the family have reached the next truck to be filled. A scuffle as Szpilman tries to resist. Another Jewish policeman shoves him. Szpilman stumbles, falls to the ground, in front of him the closed ranks of the Jewish policemen's backs. He stands, runs at the cordon, seeing between their heads, shoulders, Mother, Regina, Henryk and Halina clambering into the trucks. Father is looking around, bewildered. SZPILMAN (yelling) Papa! Father sees him, takes a step towards him, but stops, smiling helplessly. He raises his hand and waves, then turns and goes towards the trucks. Again, Szpilman flings himself at the policemen's shoulders. SZPILMAN (desperate) Papa! Mama! Halina! Heller turns on him. HELLER What do you think you're doing, Szpilman? I've saved your life! Now, go on, save yourself! Szpilman stands for a moment, confused, terrified. Then he turns and starts to run. HELLER Don't run! Szpilman drops to walking pace, makes for the gates. Workers are pushing carts piled with the bloated corpses that lay against the wall. Szpilman falls in with them and they pass through the gates. EXT. TRAIN - DAY The doors of the trucks are closed. The train begins to move. Slow, laborious. From the trucks, the faint cries of the occupants. EXT. STREET BY THE SIDING - DAY Szpilman catches his breath by a building. An SS man and Jewish policeman emerge. The Jewish policeman is servile, crawling to the German. He points to the train - JEWISH POLICEMAN Well, off they go for meltdown! They laugh as they walk away. Szpilman turns and stumbles down the empty street. The cries from the trucks fading. He begins to weep, loud, agonised sobs, and staggers on. EXT. GHETTO STREET - EVENING Szpilman, lost, empty, aimless, tries to catch his breath in the aftermath of his tears. He wanders forlornly down the street, passing empty buildings with their doors open, windows smashed. Furniture, torn mattresses and pillows lie scattered. Feathers fly. Desolation. He turns a corner. EXT. COURTYARD, JEHUDA'S STREET - EVENING Szpilman comes into the courtyard. He stops, his face blank. Lying outside the door, the bodies of Jehuda, Mrs. Zyskind, their two sons and the toddler. Szpilman steps across the bodies. INT. JEHUDA ZYSKIND'S ROOM - EVENING Chaos. Papers, pamphlets strewn all over the place. The mimeograph smashed. Szpilman enters, stands, surveying the devastation. Distant sounds of shooting, shouts, cries. He gathers up some papers in a pile, takes off his jacket and covers the pile of papers, making a pillow. He lies down on the floor. He stares into the darkness, expressionless, empty. EXT. STREET NEAR CAFE NOWOCZESNA - DAY Szpilman shuffles along, comes to the cafe. No sign of life, but the door is wide open. He goes inside. INT. CAFE NOWOCZESNA - DAY A shambles. Szpilman wanders through the upturned tables, broken chairs. Stops, looks about. Nothing. Distant shots, automatic fire. He turns and makes for the door. Then he hears an urgent hiss. He turns sharply and tries to find the source of it. He hears the hiss again. Now he sees, hiding under the platform, Benek, beckoning to him. Szpilman hurries over and crawls on his back until he's beside him. Benek replaces a plank and they are hidden from view. INT. UNDER THE PLATFORM, GHETTO CAFE - DAY Thin slivers of light illuminate the two men on their backs in the cramped space. BENEK (looking at him, mystified) Why are you here, Mr. Wladek? SZPILMAN It's like this... I...we...all of them. He can't continue. Benek nods. BENEK Perhaps they're lucky. The quicker the better. (Brief pause.) It isn't over yet. We'll stay here for a couple of days. Until things die down. (Another pause) I've bribed a policeman. He'll come when it's over. EXT. GHETTO STREET - DAY In bright sun, Szpilman and Benek march in a column, four abreast, under the command of two Jewish foremen, guarded by two German policemen. They are being marched out of the ghetto gates. SZPILMAN (to Benek) My God. I haven't been outside for - it must be two years. FELLOW WORKER (on the other side of him) Don't get over-excited. EXT. ZELAZNA BRAMA SQUARE - DAY Street traders with baskets full of wares, fruit, vegetables, fish, tins of preserves. Women bargain with them, making purchases. Lively, colourful. Dealers in gold and currency calling monotonously. DEALERS Gold, buy gold! Dollars! Roubles! Later: Szpilman, on top of a free-standing scaffold, Benek and the others demolishing a ghetto wall, wielding skdgehammers. They work slowly. A smartly dressed young couple are passing, but stop. They stare. The young woman is extremely attractive and knows it. The foremen, workers and the German policemen ogle her. THE YOUNG WOMAN Look - oh, do look! Her young man is puzzled; she points. THE YOUNG WOMAN Jews! THE YOUNG MAN Can't be the first time you've ever seen Jews. Embarrassed, she giggles and they go. Szpilman, Benek and the others continue to work. The foremen sit, sunning themselves, and the German policemen stand, deep in conversation, ignoring the workers. Szpilman suddenly stops work. He has seen something in the square that alerts him. At the furthest stall, he sees a woman, attractive, chic, in her thirties, buying vegetables at a stall. Her name is JANINA GODLEWSKA. Surreptitiously, Szpilman raises a hand, trying to catch her attention. But he's frightened of alerting the German policemen and the foremen. Benek has noticed. BENEK Someone you know? SZPILMAN Yes. Again Szpilman tries, but Janina, her profile to him, doesn't see. BENEK A beauty. Who is she? SZPILMAN A singer. Her husband's an actor. I knew them well. Good people. I'd like to talk to her. BENEK (playful) Don't forget, Mr. Wladek, they hang them for helping Jews. He goes back to work. The German policemen wander over to one of the stalls to buy fruit. The moment they do so two Jewish workers scamper across to another stall to buy bread. Szpilman glances across the square: Janina is still at the stall. He comes to a decision. He jumps down, is about to dash towards Janina, but stops dead. Janina is no longer there. EXT. GHETTO STREET - DAY As before, Szpilman and Benek march towards the ghetto gates in the demolition column, four abreast, under the command of the Jewish foremen and guarded by the two German policemen. Suddenly: YOUNG SS MAN Halt! The column halts before a young SS man, wild-eyed, with his sleeves rolled up and wielding a pistol. He talks excitedly to the policemen then turns, walks along the column dividing them up: some men to the right, others, seven of them, to the left. Benek he orders to the left, Szpilman to the right. Young SS man turns to those on the left. YOUNG SS MAN Lie down! Terrified, they obey. He stands over them and, one by one, shoots them. When he comes to Benek, the seventh man, his pistol runs out of ammunition. He changes the clip, shoots Benek and marches off. EXT. BUILDING SITE, OUTSIDE GHETTO - DAY Szpilman, bent almost double, carries a hod on his back piled with bricks. He is mounting a wooden ramp that runs up beside scaffolding on a small building site where an extra floor is being added to a house. There are Polish workers, too, who don't, of course, wear armbands as the Jews do. There's a wooden hut serving as a store on the site. Halfway up the ramp, Szpilman hears someone whistle. He stops, turns to see, at the bottom of the ramp, Majorek, smiling and giving a discreet wave. Later: Szpilman and Majorek sip gruel out of mugs. They sit apart from the others who are also taking a break. SZPILMAN How long have you been here? MAJOREK Since last night. I was pleased to see you. Brief silence. MAJOREK They're going to start the final resettlement now. We know what it means. We sent someone out. Zygmunt. A good man. His orders were to follow the trains out of Warsaw. He got to Sokolow. A local railwayman told him the tracks are divided, one branch leading to Treblinka. He said every day freight trains carrying people from Warsaw forked to Treblinka and returned empty. No transports of food are ever seen on that line. And civilians are forbidden to approach the Treblinka station. They're exterminating us. Won't take them long. We're sixty thousand left. Out of half a million. Mostly young people. And this time we're going to fight. We're in good shape. We're organised. We're prepared. SZPILMAN If you need help... Whistle blows. A little later: Szpilman again mounting the ramp with a hod full of bricks on his back. The noise of airplanes overhead. EXT. SKY - DAY A swarm of Russian bombers. Anti-aircraft fire. Puffs of exploding shells. EXT. BUILDING SITE - DAY The workers look up. So does Szpilman and, as he does so, the bricks slide off his hod, crashing to the ground below. ZICK-ZACK You! An SS man, ZICK-ZACK (his nickname), with a whip, approaches Szpilman. ZICK-ZACK Here! Szpilman goes to him. Enraged, Zick-Zack grabs him by the hair and presses his head hard between his thighs and then beats him mercilessly. ZICK-ZACK (with every stroke, hissing through clenched teeth) Und-zick! Und-zack! Und-zick! Und- zack! After a dozen or so strokes, Szpilman falls forward and lies in the dirt. Zick-Zack nods, satisfied. ZICK-ZACK Get him away from here. Two Poles, without armbands, one of them Bartczak, drag him away. Bartczak and the other man help Szpilman to his feet. BARTCZAK Hope you played the piano better than you carry bricks. POLISH WORKMAN He won't last long if he goes on like this. BARTCZAK I'll see if I can get him something better. INT./EXT. STORES AND BUILDING SITE - DAY Winter. Rain. Cold. The store, a wooden hut, contains wood, nails, tools, paint, metal brackets. Szpilman sits at a table, where a line of workers has formed. Szpilman makes a record in a ledger of the tools each worker takes out on the site. A worker puts his head into the store. WORKER (hissing) Trouble. A GERMAN VOICE Assemble! Fall in! Only the Jews! Poles go on working! Only the Jews! Poles go on working! The Jewish workers start to assemble on the site in haphazard ranks as an SS Captain strides in. The SS Captain, with much jollity and jokes, hops up on to scaffolding and stands, beaming broadly, surveying the workers. SS CAPTAIN (in English) I have important and good news for you. There are rumours circulating that resettlement measures are again going to be taken. A glance between Szpilman and Majorek. SS CAPTAIN (in English) I want to assure you personally that no such measures will be taken now or in the future. Posters will be going up also to this effect. As proof of our good will, we want you to select a delegate, who will be permitted to go into town once a day to buy, on each worker's behalf, five kilos of potatoes and one loaf of bread, which you will be allowed to take back into the ghetto. Now, why would we do that j if we meant to resettle you? He beams; no reaction from the workers. SS CAPTAIN (in English) You can do good business on what you don't eat. Isn't that what you Jews are best at? Making 'geld'? Rubs thumb and forefinger and leers; still no reaction; his smile vanishes. SS CAPTAIN (in English) Carry on. EXT. BUILDING SITE - DAY Snow. Majorek pulls a barrow by a rope attached to its shaft across the site. On the barrow, five sacks. The Jewish workers are phased to see him. Majorek pulls the barrow to where Szpilman waits. MAJOREK (under his breath) The smaller one. At the bottom. Szpilman nods and starts unloading the sacks as Majorek moves away. INT. STORES - DAY Szpilman has unpacked the sacks and laid them in the corner. He kneels before the smallest of the sacks and unties the string around its neck. He puts his hand inside the sack and potatoes tumble out. He reaches to the bottom and is still as his hand finds something. Carefully, he removes a pistol, then another, both wrapped in oil cloths. He hides them under his jacket. INT./EXT. STORES AND BUILDING SITE - NIGHT Szpilman and a Jewish worker distribute the potatoes to the other Jewish workers lined up with empty containers of various kinds. There are scales on the table, and they weigh out five kilos of potatoes, pour them into the men's containers and drop in a loaf of bread. EXT. STREET LEADING TO GHETTO - NIGHT The Jewish workers, all carrying their parcels of potatoes and bread, march back towards the ghetto gates escorted by two Polish policemen. Szpilman walks beside them. Ahead of him, Majorek near the front of the column. As the column nears the ghetto gates, Majorek tosses his package over the wall and when Szpilman reaches the same spot, he throws a similar package. The column marches on. INT. JEWISH BARRACKS - NIGHT A small room with several three-tiered bunk beds. The sound of men's heavy breathing and snoring. Szpilman lies awake, staring at the ceiling. He reaches inside his jacket, finds a scrap of paper and a pencil, writes something. He slips off his bunk and crosses to another set of bunks, crouches down at the bottom one, where Majorek sleeps. SZPILMAN (whispered) Majorek! Majorek is instantly awake. SZPILMAN Have a favour to ask. I want to get out of here. MAJOREK It's easy to get out, it's how you survive on the other side that's hard. SZPILMAN I know. But last summer, I worked for a day in Zelazna Brama Square. I saw someone I knew. A singer. Her husband's an actor. They're old friends. ( (He holds out the " piece of paper.) I've written their names down. And their address. If they're still there. Janina Godlewska and Andrzej Bogucki. Good people. Majorek, you go into the town every day. Would you try and make contact? Ask them if they'd help me get out of here? Majorek takes the paper but says nothing. He turns over and goes back to sleep. Szpilman returns to his bunk. INT. STORES - DAY Szpilman has unloaded the sacks of potatoes into the corner and is kneeling, about to untie the string on the smallest sack. A sound alerts him. He looks round. An SS Lieutenant has entered the stores, sucking his finger, which is bleeding. SS LIEUTENANT Any fucking plaster? Szpilman immediately hurries to a cupboard, finds a First Aid tin, removes a plaster and gives it to the SS Lieutenant. SS LIEUTENANT'S VOICE (while he applies the plaster to his finger) What were you up to? Nothing from Szpilman. SS LIEUTENANT'S VOICE What the fuck are those? He indicates the sacks with his chin. SZPILMAN (in German) We're allowed to take food into the ghetto. Five kilos of potatoes and a... The SS Lieutenant walks over to the sacks and kicks the smallest one. SS LIEUTENANT Open it. SZPILMAN It's only potatoes and bread. SS LIEUTENANT Fuck that, you're lying, I can smell it. Open it. Szpilman tries to untie the string, but he's too terrified and can't manage it. The SS Lieutenant shoves him out of the way, then takes from his belt a dagger and cuts the string. The SS Lieutenant reaches in and withdraws a handful of long yellow beans. He glowers at Szpilman, reaches in again, produces a handful of oatmeal. SS LIEUTENANT You're all the same. Give a Jew a little finger, he takes the whole hand. He throws the oatmeal in Szpilman's face. SS LIEUTENANT You lie to me again and I'll shoot you personally. He kicks Szpilman viciously and marches away. Szpilman catches his breath, then quickly reaches into the bottom of the sack and finds a pistol and ammunition. He hides them under his clothes. EXT. STREET LEADING TO GHETTO - NIGHT Freezing cold. The Jewish workers, with their bundles of potatoes and bread, march back towards the ghetto gates escorted by the two Polish policemen. In the column, Szpilman, near the policeman with the moustache, and a little behind them, Majorek. Distant sounds of gunfire. Majorek falls in beside Szpilman. MAJOREK I tried your friends. They're not at that address any more. But. SZPILMAN You made contact? MAJOREK Be ready to leave in two days' time. Same place as last night. Sudden, frantic cries from the head of the column, which comes to a stop. Two SS men, blind drunk, drinking vodka from bottles, are lashing the column with whips. One of them is Zikk-Zack, . SZPILMAN Oh, shit! As the SS men advance on Szpilman and Majorek's section, Majorek slips back to his place in the column. Szpilman hides his package inside his coat. Zick-Zack lashes out at the workers blindly. ZICK-ZACK Und-zick! Und-zack! He takes a swig of vodka and comes face to face with Szpilman. ZICK-ZACK (shouting") I'll soon teach you discipline! Jew pigs! He is staring directly at Szpilman with glassy eyes. Szpilman is terrified, trying as surreptitiously as possible to cover his hidden package with his hands. A moment of danger. Zick-Zack grabs Szpilman by the cottar. ZICK-ZACK Know why we beat you? No response; shaking him. ZICK-ZACK Know why we beat you? SZPILMAN (tentatively, in German) No. Why? ZICK-ZACK To celebrate New Year's Eve! He and his comrade find this hilarious; recovering from his laughter. ZICK-ZACK Now, march! Go on, march! The column starts to march. .... ZICK-ZACK And sing! (he belches.) Sing something cheerful! (laughs.) And sing it good and loud! A brief silence, then from the back, a solo voice starts to sing, 'Children of Warsaw will go to fight!' Szpilman glances back, sees that it's Majorek singing. Szpilman smiles, Majorek nods. Szpilman joins in. Now, so do the others. They march on, singing lustily. ALL WORKERS (singing) Hey, ranks unite And follow the White Eagle! Stand up and fight Our mortal enemy. Riflemen, hey! Let's give them fire and brimstone. We'll blow away The yoke of slavery. Punish and rout The rapists of our nation. We'll smash the knout To save our dignity. Soon we'll be proud Of our liberation - Hey, take your sights! Aim sharply at the heart. Hey, load! Hey, shoot! Hey, load! Hey, shoot! Give 'em a bloody start! Hey, load! Hey, shoot! Aim sharply at the heart. The column reaches the lamp posts near the ghetto gates. Szpilman his package over the wall. So does Majorek. INT./EXT. STORES AND BUILDING SITE - EVENING The Jewish workers lined up to get their potatoes and bread. Szpilman and two others weigh the potatoes. GERMAN VOICES Get on with it and fall in! Fall in! Calmly, Szpilman leaves the table with the scales, walks past Majorek and the others, who, having got their potatoes, are assembling in a column, preparing to march back into the ghetto. The Polish workers have packed up their tools and are talking among themselves, also about to leave the site but in a casual way. The SS guards shout orders for the Jewish column to move off. Szpilman seems as if he's going to join them, but at the last moment turns and falls in with the Polish workers, beside Barczak, who just glances at him then moves so that Szpilman is in the middle of the group. Szpilman slips off his armband, stuffs it into his pocket. The group walk into the darkness. EXT. WISNIOWA STREET - NIGHT Dimly lit. Empty street. Szpilman walks fast to the corner, stops, looks round anxiously. Nothing. He takes the armband from his pocket and drops it through the grating of a drain in the gutter just as there's movement in a darkened doorway. Szpilman tenses. Then, out of the darkness of the doorway, a woman: JANINA GODLEWSKA. She turns and starts to walk quickly. Szpilman, putting the collar of his coat up, follows, keeping pace. A pedestrian walks past in the opposite direction but pays them no attention. Janina and Szpilman walk on. EXT. BOGUCKI BUILDING - NIGHT Janina comes to the front door, opens it with a key, goes in. Szpilman, a little distance behind, catches up and follows her inside. INT. HALL, STAIRS AND 3RD FLOOR, BOGUCKI BUILDING - NIGHT Janina waits as Szpilman closes the front door, then starts up the stairs. Szpilman follows. She stops, turns to him, smiles, kisses him on the cheek, then continues up the stairs. INT. BOGUCKI APARTMENT - NIGHT ANDRZEJ BOGUCKI, a handsome man, fortyish, tries to conceal his sense of shock at seeing Szpilman He holds out his hand and Szpilman shakes it. Szpilman looks around the nicely furnished, large apartment. He looks at Bogucki and Janina. Tears well up in his eyes. He fights it hard, not to cry. So does Janina. BOGUCKI We haven't much time. INT. SMALL BATHROOM, BOGUCKI APARTMENT - NIGHT Szpilman lies in a steaming bath, eyes closed, as though he's in a trance. A gentle knock on the door and Bogucki slips in with some clothes. He gazes at Szpilman, whose eyes remain closed. BOGUCKI You must hurry. Bogucki holds up a towel. Szpilman lifts himself out of the bath and dries himself. BOGUCKI We're going to have to keep moving you. The Germans are hunting down indiscriminately now. Jews, non- Jews, anybody, everybody. (handing him the clothes') See if these fit. And, Wladek, you'd better shave. Use my razor. In the cabinet. INT. LIVING ROOM, BOGUCKI APARTMENT - LATER The ceramic stove. Szpilman's ghetto clothes, torn into strips, are being stuffed into it and burned. Janina shoves the strips of clothes into the stove. Szpilman, now wearing Bogucki's suit and clean-shaven, watches the clothes burn while he spoons hot soup into his mouth. SZPILMAN Thank you, I don't. BOGUCKI You'll be looked after by Mr Gebczynski. He's on the other side of town. You'll stay there tonight. Then we'll find you somewhere else. Janina adds the last strip of clothing. JANINA I'll bring you food. BOGUCKI Let's go. EXT. WARSAW STREETS - NIGHT A rickshaw carrying Szpilman and Bogucki travels along the dark streets. EXT. GEBCZYNSKI'S STORE - NIGHT The rickshaw comes to a halt outside a store. The moment it stops the shutters of the store are raised and Bogucki escorts Szpilman to the door, then quickly returns to the rickshaw, which moves off fast. INT. GEBCZYNSKI'S STORE - NIGHT GEBCZNYSKI shakes hands with Szpilman, ushers him in and then pulls down the shutter. Gebczynski's store is for sanitary furnishings and supplies: lavatories, basins, baths, taps etc. GEBCZYNSKI I'll show you where you're going to sleep. He leads the way and as he goes he picks up a cushion from a chair and a blanket. Szpilman follows. STAIRS TO BASEMENT: Gebczynski leads Szpilman down the stairs. BASEMENT STORE ROOM: Dark, shadowy. Shelves with taps, washers, pipes. Gebczynski leads the may to a particular set of shelves. He puts aside the cushion and blanket, then starts to push at the shelves. Szpilman, although puzzled, helps. Slowly, the shelves move to reveal a secret compartment. GEBCZYNSKI It's not going to be very comfortable. SZPILMAN I'll be fine. GEBCZYNSKI You'll have to stay here until tomorrow afternoon. He helps Szpilman into the compartment. GEBCZYNSKI We've got a flat for you. Near the ghetto wall. But it's safe. He hands over the cushion and the blanket to Szpilman; then, putting his back to the shelves and his feet against the wall, he pushes the shelves back into place so that Szpilman is now hidden. INT. SECRET COMPARTMENT - NIGHT In the cramped space, Szpilman is not quite able to stretch full out. With difficulty, he puts the cushion behind his head, starts to cover himself with the blanket but stops, seeing something. In niches, neatly stacked: rifles, pistols, grenades, ammunition Szpilman stares, expressionless. EXT. TRAM STOP, WARSAW STREET - AFTERNOON Szpilman and Gebczynski wait with others at the stop as the tram trundles towards them and comes to a halt. As they board: GEBCZYNSKI (quietly, to Szpilman) Go as near to the front as possible, to the German section. INT. TRAM (TRAVELLING) - AFTERNOON Gebczynski and Szpilman apprehensive, push through the rear section, packed with Poles, seated and standing, until they reach a chain and a sign: GERMANS ONLY In the German section, only three or four passengers. Some read newspapers, others stare into space or out of the windows, but never looking at the Poles. Szpilman tries to appear as inconspicuous as possible. The tram rumbles on its way. INT. 1ST APARTMENT, 4TH FLOOR LANDING AND DOOR - AFTERNOON Gebczynski and Szpilman come up the stairs to the landing and to a door. Gebczynski unlocks the door and they go in. INT./EXT. 1ST APARTMENT, 4TH FLOOR, AND GHETTO - AFTERNOON A charmingly furnished bed-sitting room with a comfortable divan. Gebczynski leads the way in. Szpilman glances around, goes to the window, looks out. SZPILMAN'S POV: He can see a section of ghetto wall below. Beyond it, inside the ghetto, a narrow street leading to deserted buildings. Gebczynski comes up behind him. GEBCZYNSKI Must feel better this side of the wall. SZPILMAN Yes, but sometimes I'm still not sure which side of the wall I'm on. GEBCZYNSKI Here. He leads Szpilman to the small kitchen. Gebczynski opens a cupboard to reveal potatoes, bread. GEBCZYNSKI I'll come again. And Janina Bogucki will visit twice a week. Bring more food. See how you are. He closes the cupboard. THE MAIN ROOM. Gebczynski makes for the front door, stops. GEBCZYNSKI Yes, now, this is very important. In case of emergency, I mean emergency, go to this address. He hands over a scrap of paper, shakes Szpilman's hand and goes quickly. Alone, Szpilman stands, lost for a moment. Then, he takes off his shoe and stuffs the scrap of paper into it. While he does so, his eyes light on the divan bed. He goes to it, slips off his other shoe and lies down, testing the divan's springiness with his whole body. He smiles beatifically. He shuts his eyes and is instantly asleep. INT./EXT. 1ST APARTMENT - DAY Szpilman still fast asleep. Voices wake him. He opens his eyes. He's not certain where he is for a moment. He hears the voices again, coming from the adjoining flat. Intrigued, he rises, goes closer to the watt, puts his ear against it, listens. After a brief silence: KITTEN'S VOICE (angry) Puppydog, what d'you mean, you forgot? PUPPYDOG'S VOICE What d'you think I mean, Kitten? I forgot, that's what I mean. KITTEN'S VOICE You know what? You treat me like dirt! PUPPYDOG'S VOICE I treat you like dirt because you are dirt. KITTEN'S VOICE Pig! PUPPYDOG'S VOICE Cow! KITTEN'S VOICE Pig! PUPPYDOG'S VOICE Bitch! KITTEN'S VOICE Dirty pig! PUPPYDOG'S VOICE You're a dirty pig! KITTEN'S VOICE Takes one to know one! Pig! Silence. Szpilman is enjoying himself. Then the sound of a piano being played with great feeling but a lot of wrong notes. PUPPYDOG'S VOICE You play like an angel, Kitten. The piano continues for a moment, but suddenly stops: KITTEN'S VOICE If I play like an angel, why don't you listen? PUPPYDOG'S VOICE I was listening, Kitten. KITTEN'S VOICE Liar, you fell asleep. Pig! A door slams. PUPPYDOG'S VOICE (wheedling) Kitten, let me in. Silence. Szpilman smiles but then hears the sound of rifle shots and a huge explosion. He crosses quickly to the window, looks out. SZPILMAN'S POV - THE GHETTO. Deserted. Stillness. Silence. From the ghetto smoke drifting slowly. INT./EXT. 1ST APARTMENT - EARLY MORNING Szpilman asleep on the divan. The roar of motor car and motorcycle engines. Sporadic firing. He wakes, rushes to the window. SZPILMAN'S POV: A German personnel carrier, an open car carrying officers, and a motorcycle and sidecar roar down the narrow street below towards the buildings at the far end. German soldiers follow behind on the trot, pulling a field gun. Unseen marksmen fire down on the Germans from the buildings. As the German soldiers dismount from their vehicles one of them is hit and falls. The others rush for cover. EXT. INSIDE THE GHETTO - MINUTES LATER - EARLY MORNING The German Commander and two officers alight from the car and take cover. The Commander orders the field gun to be trained on the buildings. Spasmodic firing continues. He gives the order to fire. The gun roars. The shell tears into the building. At once the German soldiers open fire with their rifles and lob grenades into the building. The gun fires again. The building begins to burn. Flames and smoke. German soldiers with flame-throwers advance carefully then unleash their fire into doorways and windows, and quickly retreat. At ground level, Jewish fighters try to fight their way out and are mowed down. The fire spreads quickly through the building. Smoke begins to pour from the upper floors. The Germans, less cautious now, stand and watch. A woman struggles out on to her narrow third-floor balcony. She climbs over, holds on to the wrought-iron railings and hangs on for dear life. Shots ring out and she drops like a stone. From inside the building, screams and shouts. From another upper window, a man in flames jumps and falls to his death on the pavement below. The Germans have stopped firing. They stand, spectators, watching the building burn. INT./EXT. 1ST APARTMENT - LATER - DAY Szpilman at the window, watching, his mood downcast. The noise of a key in the door. He turns to see the door of the flat open. Janina enters with a parcel of food. She kisses Szpilman on the cheek. JANINA wanted to come earlier but... She hands him the parcel. SZPILMAN Thank you. He goes into the small kitchen and unpacks the contents while Janina gazes out of the window. JANINA No one thought they'd hold out so long. SZPILMAN should never have come out. I should've stayed there, fought with them. JANINA (turning to him) Wladek, stop that. It's over now. Just be proud it happened. My God, did they put up a fight. SZPILMAN Yes, so did the Germans. JANINA They're in shock. They didn't expect it. Nobody expected it. Jews fighting back? Who'd have thought? SZPILMAN Yes, but what good did it do? JANINA (passionate) What good? Wladek, I'm surprised at you. They died with dignity, that's what good it did. And you know something else? Now the Poles will rise. We're ready. We'll fight, too. You'll see. she turns to look again out of the window. EXT. INSIDE THE GHETTO - EVENING The building burning. Corpses lie scattered on the pavement. The Germans stand about chatting and laughing. A handful of Jewish fighters are lined up and shot. Satisfied, the Commander returns to his car. Another officer confers with him before the engine starts up and he is driven away. The building burns. EXT. 1ST APARTMENT, SZPILMAN'S POV - DAY Blazing sun. The ghetto buildings now burned-out shells, the street empty. EXT. 1ST APARTMENT - SZPILMAN'S POV - DAY Autumn leaves falling and gusting in the wind. Szpilman gazes out. EXT./INT. 1ST APARTMENT - DAY Snow. Ice on the windows. The sound of the key in the door. Szpilman turns as the door opens and Gebczynski enters, distraught. Whispered, at speed: GEBCZYNSKI Get your things together, you have to leave! SZPILMAN What's happened? Gebczynski takes out a cigarette and lights it. While he does so: GEBCZYNSKI I'm on the run! SZPILMAN What's happened? GEBCZYNSKI The Gestapo found our weapons. They've arrested Janina and Andrzej. They're bound to find out about this place, too - you must get away at once. SZPILMAN Where do you want me to go? Look at me. No, no, I'm not leaving. Can't I take my chances here? GEBCZYNSKI That's your decision. (Stubs out cigarette.) But when they storm the flat, throw yourself out of die window - don't let them get you alive. I have poison on me, they won't get me alive either! And he goes. Szpilman listens to his footsteps clattering down the stairs. He sees the cigarette stub, takes it, lights it, coughs, smokes awkwardly. Later: Szpilman hears a car engine and the screech of brakes. He tenses. German voices shouting and their heavy footsteps on the stairs. He goes to the window, opens it. He gets a chair, places it sideways in front of the window to make a step. He's working out how best to throw himself out. He leans against the wall near the door and waits.. Slamming of doors, German shouts, a scream. Szpilman steels himself, ready to jump. Again footsteps on the stairs, but this time descending. A door slams. He cautiously goes to the window and looks out. INT./EXT. 1ST APARTMENT - DAY SZPILMAN'S POV - THE STREET. In the street below, he sees SS men escorting two prisoners and shoving into a car. The car speeds off. The street is empty. INT. 1ST APARTMENT - DUSK Snow. Howling wind. Szpilman lies on the divan. He is cold, unshaven, hair filthy and long. He manages to rise. THE SMALL KITCHEN. A mess. Szpilman goes into the kitchen. From a bread tin he takes a small, flat greaseproof paper parcel and unwraps it. A slice of bread, stale and mouldy. He tries to bite it but can't. He finds a knife and tries to chop a piece off the bread but knocks the bread tin, which falls to the floor with a clatter. He continues to try to cut the bread, when there's a loud hammering on the front door. Szpilman stiffens. THE LIVING ROOM. The hammering continues as Szpilman stumbles into the room, looks around, confused, not knowing what to do. From the other side of the door female voices, words indistinct, and then: KITTY'S VOICE Open this door at once, or we'll call the police! He is galvanised into action, puts on a crumpled jacket, grabs his tattered coat and scarf, collects up a few of his things, stuffs them into a paper bag. The hammering stops. Szpilman cautiously approaches the door, listens, then opens it quietly and slips out. INT. 1ST APARTMENT, LANDING AND DOOR - DUSK He slips out of the flat, goes to the stairs and stops dead. KITTY, young and fierce, stands on the stairs, blocking his way. KITTY Are you from the flat in there? You're not registered. SZPILMAN It belongs to a friend of mine. I came to visit but I must have just missed him. KITTY (shouting) Have you got your identity card? Let me see your identity card! Szpilman hesitates; she shouts more loudly. KITTY I want to see your identity card! On various floors, doors open, tenants put their heads out to see what's going on. Summoning all his strength, Szpilman makes a dash for it, pushing past Kitty. KITTY (screeching) He's a Jew! He's a Jew! Stop the Jew! Don't let him out! Szpilman clatters down the stairs, reaches the ground-floor landing. Another woman tries to bar his way but he pushes past her and out of the house. EXT. STREET - EVENING Heavy snow. Szpilman stumbles into the street and runs. He darts down a side street. EXT. SIDE STREET - EVENING Szpilman lurches into the narrow street. No one about. He stops, almost collapses, but manages to keep hold of himself. He puts on his coat and wraps the scarf round his neck. He leans up against a wall. He removes a shoe and takes out the scrap of paper Gebczynski gave him. He reads it. EXT. NARBUTT STREET - NIGHT Szpilman drags himself along, trudging through snow and slush. Passers-by give him a wide berth. He tries to walk normally, with dignity, but he's weak and slips, and finds the going hard. He comes to a villa. INT. VILLA, NARBUTT STREET - NIGHT He goes to the front door, rings the bell and waits. WOMAN'S VOICE (from behind the door) Yes? SZPILMAN Mr Gebczynski sent me. The door opens and Dorota stands there. She is pregnant. They stand for a moment staring at each other. DOROTA (a whisper) Wladyslaw Szpilman. SZPILMAN Dorota. DOROTA Come in! come in! INT. DOROTA'S VILLA - NIGHT Szpilman follows Dorota into the living room. DOROTA Sit. SZPILMAN I'm sorry - I was given this address. I'm looking for a Mr-- (He checks the scrap of paper.') -- a Mr Dzikiewicz. DOROTA (nodding) Michal Dzikiewicz. He's my husband. Szpilman sits down slowly. SZPILMAN I need help. DOROTA He'll be back before curfew. SZPILMAN I've been in hiding. I need somewhere to stay. DOROTA He'll be here soon. Awkward silence. He gazes at her. She looks away. SZPILMAN How long have you been married? DOROTA Just over a year. He nods. Brief silence. SZPILMAN And how's Yurek? DOROTA Dead. Again, the awkward silence. SZPILMAN When's your baby due? DOROTA Christmas. (A pause.) This is not a good time to have children. But then... The door opens and Michal Dzikiewicz enters. He sees Szpilman and stops. Szpilman stands. DOROTA This is my husband. Wladyslaw Szpilman. Marek Gebczynski sent him. MICHAL Oh, yes. I remember. He shakes hands with Szpilman. SZPILMAN Mr Gebczynski said to contact you only in an emergency, but... MICHAL Don't worry now. We can't move you tonight. Szpilman, dizzy, leans on the table for support. MICHAL You'll sleep on the sofa. He and Dorota look at him. SZPILMAN Excuse me, could I have a piece of bread? MICHAL Yes, of course, we'll eat. INT. DOROTA'S VILLA - MORNING Szpilman asleep on the sofa. The sound of a cello. He opens his eyes. Listens. He swings his legs off the sofa, stands, and crosses to a door. Quietly, he opens it a little. Szpilman and his POV - another room. Dorota, partially turned away from him, plays Bach on the cello. Szpilman watches her and listens. INT. 2ND APARTMENT (4TH FLOOR), LANDING AND DOOR - NIGHT A padlock being unlocked. Then, a key is inserted into the Yale lock, turned, and the door opens. Michal and Szpilman on the landing, enter the flat. INT./EXT. 2ND APARTMENT AND STREET - NIGHT A large room, sparsely furnished but with an upright piano and a bed. Michal carries a bag of provisions and puts them on a table while Szpilman goes immediately to the window and looks out. SZPILMAN'S POV: There are views of the city, but in the street below, opposite, is a hospital and, on the corner, a building flying a Nazi flag and guarded by a sentry, standing at his sentry-box. Michal comes up behind Szpilman. MICHAL (in whisper) You're in a very German area. The building opposite is a hospital, taking in wounded from the Russian front. Next door is the Schutzpolizei. It's the safest place to be. Right in the centre of the lion's den. THE APARTMENT: Michal makes for the door. MICHAL I'll be locking you in. No one knows you're here. So keep as quiet as possible. He nods and goes. The sound of the padlock closing. Szpilman takes in the room. He sees the piano, is still for a moment, then goes to it. He sits on the piano stool and adjusts its height. He opens the lid. A cloth covers the keys. He removes the cloth. He gazes lovingly at the keyboard. He flexes his fingers. Then, without touching the keys, his fingers floating just above them, he plays. Silently. Passionately. EXT. CITY SKYLINE. POINT OF VIEW THROUGH WINDOW - DAY Snow falling. INT. 2ND APARTMENT - DAY Szpilman alert, hearing the padlock being unlocked and then iheYdle. The door opens and Michal enters, accompanied by a man, aged about thirty, Szalas, confident, a little brash. In whispers: MICHAL All well? SZPILMAN Thank you. MICHAL This is Antek Szalas. Szalas and Szpilman shake hands. MICHAL He's going to look after you. I've given him a second key. He'll bring you food. See that you're all right. He's with the underground, a good man. Szalas produces a quarter bottle of vodka, thumps the back of the bottle so that the cork flies out. He finds glasses and pours. While he does all this: SZALAS You don't remember me, Mr. Szpilman? SZPILMAN No, I don't think so? SZALAS Warsaw Radio. I was a technician. I saw you almost every day. SZPILMAN Sorry, I don't remember. SZALAS Doesn't matter. You've nothing to worry about. I'll visit often. MICHAL And you'll be pleased to hear the Allies are bombing Germany night after night - Cologne, Hamburg, Berlin. SZALAS And the Russians are really giving them hell. It's the beginning of the end. He gives the others their vodka. MICHAL Let's hope so. I don't know when I'll see you again? They clink glasses and drink. EXT. 2ND APARTMENT - DAY Summer. Trees in leaf. Comings and goings at the Schutzpolizei building. And an ambulance draws up at the hospital, disgorging a couple of stretcher cases, who are carried inside. INT. 2ND APARTMENT - DAY very weak and his skin yellowish, drops four beans into boiling water. The Sound of the padlock being opened. Szpilman hurries to see the door open and Szalas enter with a small and grinning cheerfully. In whispers: SZALAS Still alive then, are you? Here. Sausage. Bread. He hands over the package. You still got that vodka? Szpilman stares at the package. SZPILMAN How long is this meant to last? Szalas shrugs, finds the vodka, pours two glasses SZPILMAN think I've got jaundice. He unwraps the package to reveal sausage and bread. He takes a bite of sausage, chewing deliberately, slowly. SZALAS You don't want to worry about that. My grandfather was jilted by his girl friend when he got jaundice. (chuckles.) In my opinion, jaundice is not very serious. Drink up. SZPILMAN Why didn't you come sooner? It's been over two weeks. Szalas goes to the window, looks out. SZALAS Problems. Money. I've got to raise money to buy the food. I need things to sell, it' s not easy. Szpilman thinks for a moment, then takes off his wristwatch, hands it to Szalas. SZPILMAN Sell this. Food's more important than time. Szalas pockets the watch, makes for the door, stops. SZALAS Oh, yes. I meant to tell you. The Allies have landed in France. The Russians'll be here soon. They'll beat the shit out of the Germans. Any day now. He grins, downs Szpilman's vodka, gives a mock salute and goes. Hie padlock is locked on the other side. Szpilman enjoys his sausage. INT. 2ND APARTMENT - DAY Sunshine floods in through the windows. Szpilman lies inert on the bed, weak, starving, ill. The sound of the padlock. He doesn't stir. Dorota, no longer pregnant, and Michal enter, come to the bed. In whispers: DOROTA Wladek? Wladek! (to Michal) I knew it, I knew this would happen! Szpilman barely has strength to open his eyes and focus on them. He mutters incoherently. DOROTA I'm going to get a doctor. MICHAL You can't, it's too dangerous. DOROTA I'll get Dr Luczak, we can trust him. MICHAL Dorota, don't be ridiculous, he's a pediatrician. DOROTA He's still a doctor. She starts for the door. MICHAL No, you stay, I'll go. He leaves. The padlock sound. Dorota goes to the kitchen, wets a towel, comes back to the bed, kneels it, places the towel on Szpilman's brow. He focuses on her, smiles. DOROTA We came to say goodbye. We're going to stay with my mother in Otwock.The baby's already there. It's safer. There's talk that the uprising will begin any day now. Szpilman suddenly winces with pain. DOROTA That man Szalas should be shot. He's been collecting money on your behalf all over Warsaw. Apparently, people gave generously. So he collected a tidy sum. He told us he was visiting you daily. She looks at him; barely audible. DOROTA Oh God! Later: Szpilman looks up at Dr Luczak, who has a stethoscope in his ears. Dorota and Michal stand behind him. DOCTOR Acute inflammation of the gall bladder. Liver the size of a football. But he'll live. I'll try to get hold of some levulose, but it's not easy. DOROTA Can you visit him again? DOCTOR Who knows? SZPILMAN Doctor, thank you. DOCTOR Don't speak. Rest. The Doctor and Michal leave his line of vision. Dorota moves in beside him. DOROTA Michal brought food. I'll prepare something now for you, then we must go. Szpilman tries again to say something, but he can't, just lies there, distressed. EXT./INT. APARTMENT - SZPILMAN'S POV - DAY Szpilman looking down from the fourth-floor window. Peaceful. A few pedestrians. An everyday atmosphere. At the far end, at the T-junction with a main road, a tram rumbles down the street and comes to a halt, disgorging passengers on the far side and so out of sight. The tram continues on its way, now revealing the few passengers who alighted '97 women, an old man with a stick. Last, three young Poles, carrying long objects wrapped in newspaper. One of the men looks at his watch, glances around, then suddenly kneels and puts the package he's carrying to his shoulder. The sound of rapid firing, which makes the newspaper at the end of the packet glow to reveal the barrel of a machine gun. His two companions have also put their packages to their shoulders and begin shooting, all aiming their fire at the Schutzpolizei building. The sentry is hit and falls in front of his box. As if these young men have given a signal, now from all over the city comes the sound of gunfire. The pedestrians have scattered except for the old man, gasping for breath, hobbling on his walking stick, who eventually manages to disappear inside a building. Rifle and machine-gun fire from the Schutzpolizei building. The firing intense. The three young Poles manoeuvre to the corner opposite the Schutzpolizei and toss grenades into the building. EXT. DOWN IN THE STREET - DAY A battle raging. The Germans firing from the hospital. The three young Poles have been joined by other fighters and they the Schutzpolizei building. Grenades thrown, machine-gun fire exchanged. The sentry box blows up, splinters of wood cascading. A couple of Poles make a dash for it and enter a building opposite to the Schutzpolizei. EXT./INT. 2ND APARTMENT - SZPILMAN'S POV - DAY Szpilman watching from his window, looks in the opposite direction and sees smoke rising. When he turns back to look towards the T-junction, he sees a Panzerfaust anti-tank rocket firer poking out from a window in the next-door building but on the floor below. The Panzerfaust fires. The shell hits the hospital. EXT. CITY SKYLINE - NIGHT The city in flames. Sound of firing becoming sporadic, less intense. Isolated explosions. INT. 2ND APARTMENT - NIGHT Szpilman, lying on the bed, staring at the ceiling. EXT. 2ND APARTMENT - SZPILMAN'S POV - DAY The interior of the Schutzpolizei building burnt to cinders. An ambulance is being loaded with patients from the hospital. A horse-drawn cab rounds a corner and clatters down the street. INT./EXT. 2ND APARTMENT - SZPILMAN'S POV - DAY Szpilman at the window, watching. The horse-drawn cab clatters out of his sight. He is about to draw back when he sees, directly beneath him, a man and woman walking with their hands in the air. Then, a German soldier, pointing his rifle at their backs, appears. Suddenly, the man and woman begin to run. The man turns and disappears. The woman also turns, but the German soldier drops to one knee and fires. The woman clutches her stomach, drops slowly to her knees and collapses on the street in an awkward kneeling position, and that's how she remains. Szpilman watches, aghast. Then, he hears voices outside his door, shouts, footsteps, panic. THE APARTMENT: He runs to his front door and listens. VOICES (confused) Where? Where? Just get out! Everywhere! Get out into the street! More clatter of footsteps. Then: A MAN'S VOICE Get out now! The Germans have surrounded the building! They're going to blow us to pieces. Footsteps descending stairs, more shouts, and: THE MAN'S VOICE (further off) Everyone out, please! Leave your flats at once, please! Szpilman runs to the door, tries it but it's padlocked and he can't open the door. In panic, he runs back to the window. His eyes grow wide with terror. SZPILMAN'S POV: AGAIN THE STREET. A German tank bringing its gun to bear on the building next to his. The gun jerks back and there's a great roaring noise. The whole building shakes. Szpilman reek back, falls, gets to his feet and crawls back to the window. He sees the tank turret swivelling slowly, bringing the gun to bear directly on a lower floor of his building. The roaring noise again. A terrific explosion. His windows are shattered. Glass everywhere. He is thrown back across the room. Smoke begins to billow and fill the room. INT. 2ND APARTMENT AND ADJOINING APARTMENT - DAY Smoke filling the room. Szpilman gets to his knees, peers through the smoke and sees that the wall separating his apartment from the one next door has been partially destroyed, with a large hole blasted in it. He stumbles into the next-door apartment and out of the front door. INT. 4TH AND 5TH FLOOR LANDINGS - DAY Smoke everywhere. Szpilman staggers up to the fifth-floor landing. There's a metal attic door. Szpilman pushes open the door and steps into the attic. INT. ATTIC - DAY The roof space with laundry drying on lines. Szpilman enters the attic, closes the door, leans on it. GERMAN VOICE Fourth floor, Fischke! He looks round, sees that the roof has been shattered, leaving a large, jagged gap. He climbs through the gap, on to the roof at the back of the building. INT. 4TH FLOOR LANDING - DAY The attic door being kicked in by a German boot. A German soldier, wearing his gas mask, bayonet fixed, enters the attic, looks round, sees nothing, then: GERMAN VOICE At the double, Fischke! The soldier turns and hurries out. INT. ROOF, BACK OF BUILDING - DAY On the sloping roof, Szpilman clutches the skylight and has his feet in the roof gutter. He listens - all quiet in the house. And then a bullet ricochets off the tiles beside him. Szpilman, terrified, drops, involuntarily catching a lower edge so that his feet dangle above a balcony below. More shots. He drops on to the balcony and looks back. EXT. ROOFTOP, TWO STREETS AWAY - DAY Two German soldiers are firing at Szpilman. INT. ROOF, BACK OF BUILDING - DAY Szpilman clambers back into the building through the smashed balcony door. A couple of shots dangerously close. INT. STAIRCASE - DAY Smoke. Szpilman staggers down the stairs, stumbles over a corpse and almost falls headlong. EXT. GARDEN AND BACKYARD - LATE AFTERNOON The sun is setting. Szpilman crawls into the backyard. He hears German voices shouting commands. He hides behind three garbage bins by the wall. He waits. Listens. Silence EXT. STREET - EVENING Deserted. Buildings on fire but dying out. Corpses in the street, including the woman who was shot, still in her strange kneeling position. EXT. FRONT DOOR AND STREET - NIGHT Szpilman watches from the doorway. Then, dropping down, he crawls across the road on his stomach, threading his way through the dead bodies, now besieged by flies, and makes for the hospital opposite. German soldiers appear from around a corner. Szpilman immediately lies still, pretending to be just another corpse. Flies alight on him. When the Germans pass, he sets off again. INT. RUINED HOSPITAL, OPERATING THEATRE - NIGHT Dark. Szpilman crawls into a corner, rests. He's exhausted. He tries to take stock of his surroundings. He can make out the operating table. He manages to drag himself on to it. He lies there, his eyes grow heavy. He sleeps. EXT. RUINED HOSPITAL - DAY German soldiers dragging the corpses into a pile. A sergeant douses the bodies in petrol, then sets them alight. The bodies burn. INT./EXT. RUINED HOSPITAL - SZPILMAN'S POV - DAY From a shattered window on the first floor, he looks at the burning bodies. Two German soldiers wander into his eyeline. He draws back a little but watches them warily. They sit just beneath him, chatting, and take out their food-tins, drink coffee and eat bread. INT. PASSAGE AND WARDS, RUINED HOSPITAL - DAY Szpilman wanders down the passage, sees into the wards, the empty beds, the broken furniture and medical equipment. INT. KITCHEN, RUINED HOSPITAL - DAY Szpilman opens cupboards, drawers, searching, but trying to be as quiet as possible. He sees the refrigerator, quickly gets to it, pulls open the door. Empty. He looks around and notices a red fire bucket with a spade and a box of sand next to it. The bucket is full of water, covered with an iridescent film and full of dead flies. He drinks as much water as he can without swallowing the flies and, while he's doing so, he spots a couple of sacks. He opens the first: potatoes. The second contains barley. He tries to eat the uncooked barley but can't. Later: A fire on the floor. Szpilman holds a saucepan over it and is cooking the barley and some potatoes. He manages to scoop out a spoonful, blows to cool it, then eats. INT./EXT. RUINED HOSPITAL - SZPILMAN'S POV - DAY Szpilman at a window sees autumn leaves thick on the ground. And at the end of the street, a line of Poles, some with their hands in the air, others with hands on heads, being marched away by German soldiers. INT. WARD. RUINED HOSPITAL - DAY. Szpilman lies in bed under several layers of blankets. Ice on the windows. He hears German voices shouting commands. He sits up. INT./EXT. RUINED HOSPITAL, SZPILMAN'S POV - DAY Szpilman gets to a window and looks out. German soldiers with flame-throwers are burning the buildings opposite. One soldier, with a bucket of white paint and a brush, numbers the building. Szpilman cranes to see them reach the end of the street, then cross over and start on the buildings on his side, working their way towards the hospital. He pulls away and makes for the back of the hospital. INT. BACK OF RUINED HOSPITAL - DAY Szpilman goes to a window, jumps out. He twists his ankle. He's in pain. He crawls across the back garden and climbs over the wall. EXT. RUINED STREETS - DAY Devastation, not a human being in sight. Nothing. Emptiness. He is alone. Szpilman hobbles away. EXT. RUINED VILLA - EVENING Cautiously, Szpilman limps towards the villa, a once grand building, but now partly damaged by shell fire. He makes his way in. INT. HALL, RUINED VILLA - EVENING Szpilman enters the hall, still showing signs of its former opulence. I Silent. Ominous. He looks round anxiously, then sees the stairs leading down to the basement. He hurries towards them and descends. INT. KITCHEN, RUINED VILLA - EVENING Dark, shadowy. Szpilman comes down a flight of wooden stairs that had directly into the kitchen. Immediately, he begins to search fractically, opening cupboards, drawers. He finds a can with a label illustrating pickled cucumbers. Desperately, he searches for something to open it with. He discovers a pair of scales with a variety of weights. He seizes one of the weights when, very close, he hears the sound of a car coming to a halt, then the car door slam, a German voice giving commands. He drops the weight but, holding the tin, he scampers up the stairs. INT. BACK STAIRS, RUINED VILLA - EVENING Szpilman, clutching the unopened tin, makes his way up the narrow, wooden staircase. INT. TOP FLOOR, RUINED VILLA - EVENING Szpilman, panting heavily, reaches the top floor. He sees a small door, tries it. It opens. INT. ATTIC AND LOFT, RUINED VILLA - EVENING Szpilman enters, closing the small door behind him. He leans back, resting, recovering. And then he hears from down below a piano playing a Beethoven piece. After a few bars, the music stops. Szpilman listens anxiously. Silence. He looks around, finding himself in an attic space filled with junk, a ladder, rotting material, travelling trunks. Last light of day filtering through a dormer window. There's a ladder leading up to a trapdoor. Szpilman climbs the ladder. He crawls into a small empty space. With enormous effort he pulls up the ladder and closes the trapdoor. Exhausted and trying to catch his breath, he gazes at the unopened tin. He peers through the darkness but sees nothing. His eyes begin to droop. EXT. WARSAW CITY SKYLINE - NIGHT Artillery fire. Fires glow on the horizon. INT. LOFT, RUINED VILLA - NIGHT Szpilman wakes suddenly. He listens. Silence but for the distant gunfire. He sees the unopened tin of pickles, stares at it. He opens the trapdoor. INT. BACK STAIRS, RUINED VILLA - NIGHT Szpilman, a shadow, a spectre, creeps down the stairs. INT. KITCHEN, RUINED VILLA - NIGHT Szpilman has placed the tin and the weight on a shelf and is engrossed in searching again. He finds a pair of chicken scissors. Using the weight, he starts to hammer the point of the scissors into the tin making a perforation round the rim. The tin slips off the shelf and rolls across the floor coming to rest at a pair of highly polished jackboots. Szpilman stifles a gasp. On the stairs, in silhouette, gazing down at him, the figure of a GERMAN CAPTAIN, the thumb of one hand caught in his belt above his pistol. THE GERMAN CAPTAIN (stern) Who the hell are you? Szpilman just stares at him. THE GERMAN CAPTAIN Who are you? No response. THE GERMAN CAPTAIN What the hell are you doing? SZPILMAN (barely audible, in German) I was... I was trying to open this tin. THE GERMAN CAPTAIN Where do you live? No response. THE GERMAN CAPTAIN What's your work? SZPILMAN I am... I was a pianist. THE GERMAN CAPTAIN A pianist. He studies Szpilman for a moment, then with a nod orders him to follow. Szpilman picks up the tin and follows. INT. ROOMS, RUINED VILLA - NIGHT Szpilman follows the German Captain through a double door, hanging off its hinges, into a room with a broken table in the centre, what once was the dining room. And then through another set of doors. The German Captain's boots echo. They come into a spacious room. Faint moonlight filters through the large windows. Fallen masonry and broken glass. A couple of chairs. And a grand piano in the corner. The German Captain points at the piano. THE GERMAN CAPTAIN Play. Szpilman hesitates, then limps to the piano, puts down the tin, and opens the lid. He turns and drags one of the chairs over and sits. The German Captain stands and watches. Szpilman glances surreptitiously at his hands, and then he plays Chopin. The German Captain listens, expressionless. The pale moonlight shows him to be a handsome, elegant man. Szpilman finishes playing. Silence. Somewhere, a cat mews. Distant burst of rifle fire. The German Captain stares at Szpilman. After a moment: THE GERMAN CAPTAIN Are you hiding here? Szpilman nods. THE GERMAN CAPTAIN Jew? Long pause. Szpilman just stares at him. THE GERMAN CAPTAIN Where are you hiding? SZPILMAN (in German) In the attic. THE GERMAN CAPTAIN Show me. Szpilman hesitates, takes the tin and then shuffles past the German Captain towards the door. INT. ATTIC AND LOFT AREA, RUINED VILLA - NIGHT Szpilman and the German Captain enter. The German Captain takes out a flashlight, sees the ladder in place, leading up to the loft. Szpilman climbs the ladder, squeezes into the loft and looks down at the German Captain, who shines his light on him. THE GERMAN CAPTAIN Have you anything to eat? Szpilman shows him the tin. THE GERMAN CAPTAIN I'll bring you something. He goes quickly, leaving Szpilman in darkness. Szpilman, overcome by relief, can barely catch his breath. EXT. RUINED VILLA - NIGHT The German Captain strides out of the villa, down the front steps to a waiting car and a driver. He gets into the car. The driver starts the engine and the car speeds off into the night. INT. LOFT - NIGHT Szpilman hears the car's engine growing fainter. He starts to tremble and then begins to cry. He weeps uncontrollably. INT. HALL, ROOMS, RUINED VILLA - DAY Much activity: officers coming and going, orderlies typing. Officers king on field telephones. Desks, filing cabinets. The German Captain, carrying a bulging shoulder bag, marches into a room just off the hall and goes to his desk just as an orderly drops papers in his in-tray. On the desk, there's a framed photograph of him nth a woman and two children. German Captain glances at the papers, takes a pen, initials one or two and then goes. THE GRAND STAIRCASE: The German Captain marches up the stairs purposefully, as if he's on urgent business. INT. LOFT AND ATTIC - DAY The German Captain enters. He puts two fingers in his mouth and whistles. THE GERMAN CAPTAIN Open up. After a moment, the trapdoor shifts and Szpilman looks down. The German Captain takes a package from his shoulder bag and throws it up into the loft. He turns to go. SZPILMAN Please. The German Captain stops. SZPILMAN What's all that gunfire? THE GERMAN CAPTAIN The Russians. On the other side of the river. (Turns to leave, stops; with a touch of irony:) All you have to do is hang on for a few more weeks. He goes quickly. Szpilman opens the package, finds bread and marmalade. Then he finds a tin-opener. EXT. RUINED VILLA - DAY Snow. The sound of distant gunfire. The Germans are evacuating the villa. Men carry out boxes, filing cabinets, desks, papers and load them into trucks. They're careless, leaving a trail of debris. No sentries now. INT. ATTIC AND LOFT AREA, RUINED VILLA - DAY Szpilman, listening and shivering with cold. He hears the whistle. He opens the trapdoor to see the German Captain in the attic, carrying a package. THE GERMAN CAPTAIN Come down. Szpilman descends. SZPILMAN What's happening? THE GERMAN CAPTAIN We're getting out. Szpilman faces the German Captain. SZPILMAN (in German) Are the Russians here? THE GERMAN CAPTAIN Not yet. He hands Szpilman the package. Szpilman opens it to find inside several loaves of bread. SZPILMAN I don't know how to thank you. THE GERMAN CAPTAIN Don't thank me. Thank God. It's His will that we should survive. Well. That's what we have to believe. Silence. Szpilman shivers with cold. The German Captain takes off his coat and gives it to him. SZPILMAN What about you? THE GERMAN CAPTAIN I've got another one. Warmer. (brief pause) What will you do when it's all over? SZPILMAN I'll play the piano again. On Polish radio. THE GERMAN CAPTAIN Tell me your name. I'll listen out for you. SZPILMAN Szpilman. THE GERMAN CAPTAIN Szpilman. (a crooked smile) Good name for a pianist. EXT. STREETS NEAR RUINED VILLA - DAY Freezing weather. Empty streets. Then the sound of recorded music, as a car, with a loudspeaker and a Polish national flag, comes into view, the Polish national anthem blaring out from the speaker. INT. LOFT - DAY Szpilman, wearing the German Captain's coat and under the eiderdown, hears the strange sound of the music, which he recognises. He's astonished, puzzled. He comes to a decision and starts to leave. INT./EXT. HALL AND STREET, RUINED VILLA - DAY Cautiously, in his German military overcoat, Szpilman trots down the staircase into the empty hall. He goes to the front door, opens it a crack and cautiously goes out. EXT. STREET - DAY Szpilman looks around, hearing the car loudspeaker indistinctly. LOUDSPEAKER VOICE ...German army! Polish soil liberated! Official! His excitement grows and he walks out into the street. He sees at one end soldiers serving soup from afield kitchen to a group of people. On the opposite side of the street, he sees a man and a woman who have left the field kitchen. The man carries a two-tiered canister. Szpilman rushes towards them, grabs hold of the man and tries to kiss him. The man, totally bewildered, tries to fight him off. The woman is terrified. THE WOMAN German! German! She runs, yelling, towards the field kitchen. So does the man. Szpilman stands and stares, then sees one of the soldiers cock his rifle and fire at him. Szpilman runs, the firing continuing. EXT. RUINS - DAY Szpilman bolts into the doorway of a ruined building. He peers out to see Polish soldiers beginning to surround the ruined building, firing shots, lobbing in a grenade or two. SZPILMAN (shouting) Stop, for God's sake, I beg you, I'm Polish! More shots and another grenade explosion. SZPILMAN Don't shoot! I'm Polish! The Polish soldiers: Two of the officers stand near the entrance, hearing Szpilman's shouts. 1ST POLISH OFFICER He's Polish! 2ND POLISH OFFICER (yelling) Come out with your hands up. SZPILMAN (obeying) Don't shoot! I'm Polish! Please, please! I'm Polish! 1ST POLISH OFFICER Yes, he's Polish! 2ND POLISH OFFICER (as Szpilman approaches') Why the fucking coat? SZPILMAN I'm cold. The Polish officers confer briefly in whispers. Then: 2ND POLISH OFFICER Take him to headquarters. And they march him off. EXT. LONG COUNTRY LANE AND HOLDING CAMP - DAY Spring. Idyllic. A column of men and women stretching along the length of the lane. A couple of horse-and-carts. One or two bicycles. Some of the people wear concentration camp garb, others in tattered clothing. Four men walk together and when they come to a narrow junction, stop, seeing something Behind barbed wire, German prisoners of war, guarded by Russian soldiers. Desolate place. No shelters, no tents. The POWs sit or lie on the ground, silent, broken, shattered. The four men gaze at them. : 1ST MAN Look at them - bastards! 2ND MAN German fuckers! 3RD MAN I prayed for this, never thought I'd see it. The fourth man, ZYGMUNT LEDNICKI, approaches the barbed wire. LEDNICKI Murderers! Assassins! Look at you now! You took everything I had! Me, a musician! (wagging his finger fiercely) You took my violin! You took my soul! He stands glowering at them, then sees a POW rise from a group, wretched, shabby, unshaven. It's the German Captain, uniform tattered, a wreck. He comes to the barbed wire. THE GERMAN CAPTAIN (urgent) (in German) Do you happen to know another musician, a Mr Szpilman? A pianist! Polish radio? LEDNICKI Yes, of course, I know Szpilman. THE GERMAN CAPTAIN (desperate) I helped Mr Szpilman when he was in hiding. Tell him I'm here. Ask him to help me... A RUSSIAN GUARD, inside the compound, approaches, grabs hold of the German Captain. RUSSIAN GUARD (to Lednicki, in Russian) Hey! No talking to the prisoners. Get away from there! He drags the German Captain away from the wire. LEDNICKI (as he backs away, calling) What's your name? The German Captain is being bundled away by the guard, who aims a kick at him. The German Captain shouts out his name but it's unintelligible. LEDNICKI What? The German Captain and the guard have disappeared. Lednicki stands for a moment, then turns and goes. INT. STUDIO, WARSAW RADIO STATION - DAY Szpilman playing the piano. He looks something like his former self, fairly well dressed and groomed. He glances towards the glass booth and sees Lednicki with the technicians. He smiles. Lednicki nods, smiles back. EXT. SITE OF POW CAMP - DAY Szpilman and Lednicki looking around an empty field. LEDNICKI It was here, I'm certain of it. SZPILMAN It's not here now. LEDNICKI I shouted abuse at them, I'm not proud of it, but that's what I did, and, I'm certain, I stood where you are now. There was barbed wire, and this German came up to me. SZPILMAN You didn't catch his name. LEDNICKI No. I'll ask at the factory. They may know something. Lednicki goes. Szpilman stands, looking around the empty field. He is filled with sadness. He sits. He closes his eyes and put his face to the sun. SUPERIMPOSE CAPTION: IT WAS LATER DISCOVERED THAT THE NAME OF THE GERMAN OFFICER WAS CAPTAIN WILM HOSENFELD. ALL THAT IS KNOWN IS THAT HE DIED IN A SOVIET PRISONER-OF-WAR CAMP IN 1952. WLADYSLAW SZPILMAN CONTINUED TO LIVE IN WARSAW UNTIL HIS DEATH ON 6 JULY 2OOO. HE WAS EIGHTY-EIGHT YEARS OLD. INT. CONCERT HALL - NIGHT Szpilman plays Chopin's Piano Concerto No 1 with full orchestra and conductor. He plays superbly. The music is glorious. FADE OUT: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Piano, The.txt b/unformated_scripts/Script_Piano, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..f89949fa07eeb98180b21865146a3dbb70d4537d --- /dev/null +++ b/unformated_scripts/Script_Piano, The.txt @@ -0,0 +1 @@ +THE PIANO LESSON Screenplay for a film by JANE CAMPION Producer JAN CHAPMAN Script editor BILLY MACKINNON Maori dialogue and translator SELWYN MURU(c) copyright:Jan Chapman Productions Pty Ltd2 Fairlight Street Leichhart 2040NSW Australia4th draft 1991Developed with the assistance ofThe Australian Film Commission ----------------------------------------------------------------Sc 1 Sc 1 ADA (VO - Scs 2 to 7) The voice you hear is not my speaking voice, but my mind's voice. I have not spoken since I was six years old. No one knows why, not even me. My father says it is a dark talent and the day I take it into my head to stop breathing will be my last. Today he married me to a man I've not yet met. Soon my daughter and I shall join him in his own country. My husband said my muteness does not bother him. He writes and hark this: God loves dumb creatures, so why not he! Were good he had God's patience for silence affects everyone in the end. The strange thing is I don't think myself silent, that is, because of my piano. I shall miss it on the journey.Sc 2 EXT SCOTTISH FIELD NEAR HOUSEDAY Sc 2A woman in a dark crepe Victorian dress sits leaning against a tree, her hands cover her face, around her neck she wears a writing pad. She crosses a field with large bare trees, in the far background stands a 3 storey stone house.Sc 3 INT SCOTTISH HOUSE CORRIDOR DAY Sc 3A small girl roller skates down a dimly lit corridor. A parlour maid looks down the hall where the girl has disappeared.Sc 4 INT SCOTTISH HOUSE DRAWING ROOMDAY Sc 4Three men wearing long grey aprons are fitting the packing for a piano. On one of the men's arms is a tattoo of a whale in a wild sea.Sc 5 EXT SCOTTISH HOUSE GROUNDS DAY Sc 5The girl wearing her skates sits on a small black pony. An old man is pulling it, but it won't move. (In the background, another aspect of the grey stone house.)Sc 6 INT SCOTTISH HOUSE FLORA'S BEDROOM NIGHTSc 6The woman lifts back the sheets from the bottom of the sleeping girl's bed. She is still wearing her skates. The woman cuts through the laces and removes the boots. One disembodied skate rolls across the room.Sc 7 INT SCOTTISH HOUSE DRAWING ROOMNIGHT Sc 7The woman stands at a window lit by moonlight. Her skin appears luminescently white. She touches the wooden window frame, the curtain, the objects on the window sill, her mind abstracted, her hands unconsciously performing a farewell. Turning from the window she moves to a square piano crowded by packing boxes. In the dim light she begins to play strongly. Her face strains, she is utterly involved, unaware other own strange guttural sounds that form an eerie accompaniment to the music.An old maid in night-dress looks in. Abruptly the woman stops playing. The emotion leaves her face, it whitens and seems solid like a wall. CUT TO BLACKSc 8 EXT UNDERWATER BEACH DAY Sc 8Under water a long boat passes overhead, its oars breaking the surface.Sc 9 EXT BEACH DAY Sc 9Amidst a riotous sea a woman, ADA, is carried to shore on the shoulders of five seamen. Her large Victorian skirt spreads across the men's arms and backs, on her head a black bonnet, around her neck her pad and pen. We should be forgiven if this woman seems a sacrificial offering as the bay they carry her to is completely uninhabited. A black sand backs on to an endless rise of dense native bush.The breakers are chaotic, the men strain to keep their footing, calling to each other. SEAMEN Hold still you smutt! Blast the boat! Look up! Look up! Lay to! Lay to. Up with it you buggerers, hold hard! Damn me won't you hold?! Etc.Two of the men are black, all are battered, tattooed and tough, some are drunk.Behind the woman is her daughter, a girl of ten in Scottish dress. She too is carried on the shoulders of seamen.ADA is placed on the sand. She looks down at her feet sinking into the wet sand, then up at the huge confusion of fern and bush in front of her. The sound of sea behind is thunderous.Several of the seamen have formed a group and are pissing on the sand.Her daughter is on all fours evidently being sick. But ADA's attention is diverted to the seamen who are staggering through the waves with a huge piano shaped box. They put it down as soon as they get to 5hore but ADA makes gestures that they must immediately bring it to higher safer ground. The piano placed to her satisfaction she hovers near it, one hand in constant touch of it while her daughter grips her free hand.Sc 10 EXT BEACH DAY Sc 10TWO SEAMEN finish carrying the last crate to shore. Trunks and boxes including an open crate with hens are scattered carelessly along the shore.The SEAMEN gather together. After a discussion in which they look between ADA and her child and their Coaster out on the sea, one of the men approaches. Behind him the other men keep their eyes out to sea or down on the sand. They don't want to be involved. The sight of the women alone on this beach is too hopeless. SEAMEN It's a little rough out there. Could be they can't get through to you in this weather. Maybe they'll come over land.ADA nods. SEAMEN Have you things for shelter?ADA nods. SEAMEN What things have you?ADA signs to her daughter. The little girl speaks clearly and loudly without emotion. FLORA She says, "thank you".Puzzled, the man walks off, then turns and comes back. SEAMEN Does your mother prefer to come on with us to Nelson?ADA signs vigorously to FLORA. FLORA She says, No. She says she'd rather be boiled alive by natives than get back in your tub. SEAMEN (stunned) You be damn fortuned I don't smack your puppy gob, missy. Damn lucky.SCENE 11 DELETEDSc 12 EXT BEACH DAY Sc 12ADA is sheltering behind the crated piano, anxiety etched on her face.FLORA is asleep at her feet a half eaten biscuit in her hand ADA has found a gap through the crate so that she might lift the lid and play a few notes. The sweetness and comfort of the piano seem only to exaggerate their isolation and hopelessness.2- See notesSuddenly a rush of sea water shoots straight under the raised crate of the piano wetting her shoes. ADA stands, pushing FLORA onto her feet. She is aghast to see the tide has crept in completely unnoticed.They watch three of their boxes float out to sea. One of the hens has escaped the crate and is bobbing up and down in the waves.SCENE 13 DELETEDSc 14 EXT BEACH DUSK Sc 14There is just a pink streak left in the sky. ADA and FLORA shelter inside their make-shift tent, a hooped petticoat secured at the edges with stones. Inside the tent a candle lights up their conversation.ADA is hand signaling a story to FLORA who lies back watching, nervous and afraid. ADA's whole self is involved in the "telling", her face is alight with expression, now tender, now sad, now humorous, now soft, while her hands and fingers are deft and precise. From outside it is an odd shadow play. FLORA (hand signaling) Mother... I'm thinkingADA pauses. (speaking) I'm not going to call him Papa. I'm not going to call HIM anything. I'm not even going to look at HIM.Sc 15 EXT BUSH ON WAY TO BEACH DAY Sc 15Through a dense bush walk a party of fourteen MAORI people and two EUROPEAN MEN. The wetness, closeness and darkness of the bush is such that the air seems green, like at the bottom of a deep sea. Two of the MAORIS share one pair of shoes and all of them are clothed in a mixture of native and European costume. Of the Europeans one is small and has a shy manner. He has a half completed Maori tattoo across his cheeks. The other is a similar age about 45 and wears a suit, muddy and out of place here in the bush. He staggers, spurts forward then slows to a stop. His hair and face are wet and his skin reflects the green foliage. BAINES the younger man turns and slows. BAINES Are we stopping?... Do you want to stop?The MAORI voices and laughter are becoming fainter. BAINES watches torn between his concern for STEWART and the split in their party.3-See Notes BAINES Shall we stop?Unable to get an answer BAINES runs after the MAORIS. BAINES Tai hoa! Me tatari tatou .., me tutatou I konei. (Wait! We are stopping.. we're stopping.) SUBTITLEDSTEWART takes out a comb and drags it dazed and zombie like through his wet hair. Inside the darkness of his pocket, he turns over and over a small, worn edged photograph, a smudge of green light allows us to see ADA's tumbling face. Taking it in the heel of his hand he secretly looks at it. Just as the party return and settle he stares on ahead possessed and determined. STEWART We must get on.The MAORIS look at BAINES bewildered. TAME Aue tepatupsiarehe! (The fairy people, what can you expect?) SUBTITLEDSc 16 EXT BEACH MORNINGSc 16It is early morning. The sea is calmer and the tide is again low. The party or two EUROPEANS and fourteen MAORI MEN and WOMEN come out on to the beach. About half the MAORI party head straight for the shoreline where an older woman loudly organises a pipi collection. All sorts of containers are used from flax baskets to shirts with knots in their arms. The rest follow STEWART and BAINES over to the boxes. STEWART automatically re-combs his hair, patting it against his forehead, where it sticks in a raked pattern. On his head he carefully places a formal top hat, oddly dean compared to his mud splattered suit. The party stops short of the petticoats where a tell-tale foot reveals its occupants. STEWART Miss McGrath, Alisdair Stewart. You'll have to wake yourself. I've got men here to carry your things.ADA and FLORA struggle up to find themselves confronted by a group of men and women. The MAORIS stare curiously and comment on the women. Aut he anahera enci? (Are they angels, they look like angels.) SUBTITLEDA man points at FLORA's feet and gestures as if holding one of the little shoes in his hand. Te monohi hoki! (So small!) SUBTITLEDFLORA is struck by shyness and hides under her mother's skirt. ADA cannot look straight at STEWART and STEWART also cannot look at her. STEWART I see you have a good many boxes, I'd like to know what is in each.As ADA does not move STEWART is puzzled. STEWART CAN - YOU - HEAR - ME?ADA nods and looks up coldly, insulted by his slow loud speaking. STEWART Well that is good, yes that is good, good.STEWART smiling searches ADA's face for some sign of comprehension but is unnerved by her lack of response. He stops smiling, and, patting his hair walks to the closest box. Several of the MAORI party follow behind STEWART while one of them closely and particularly mimics him. STEWART What's in here?ADA points to the writing already on the box saying "Crockery and Pots". STEWART Ohh, yes so it is, written there, crockery. STEWART And this one?ADA writes "bedclothes and linen" on the pad around her neck- While she writes he takes the opportunity to scrutinise her. STEWART You're small. I never thought you'd be small.He walks to another chest STEWART What's here?She writes "clothes". The MAORI mimic also pretends to write.Finally he comes to the piano box. He lifts a corner experimentally. STEWART What's in here then, lead? FLORA (gravely) It's my mother's piano. STEWART A piano?The MAORIS touch the exposed legs of the piano. STEWART speaks to the other European man BAINES. STEWART Tell them to carry in pairs. Those three and those two the black and the red, then the suitcases.STEWART holds BAINES back a moment. STEWART What do you think?STEWART nods towards ADA. BAINES thinks a moment then turns towards ADA too. BAINES She looks tired. STEWART She's stunted, that's one thing.BAINES walks over to HONE a big man and the MAORJ leader, he stands tall with a great sense of his own importance. (Mana) BAINES Anei nga pouaka - ko era e toro. Me era e raa. (Here are the boxes, those three and those two.) UNSUBTITLED HONE E HoalHONE takes an aggressive fighting posture towards BAINES, insulted that BAINES should suggest he might carry anything. HONE does not carrying, he is the boss. With great dignity HONE retreats, too injured to help. Other MAORIS come up and BAINES assigns them boxes. ADA gets worried, the piano is being left alone. She writes on her pad, "THE PIANO?" She shows STEWART. STEWART Oh no, it can't come now. FLORA It must come.STEWART looks at FLORA FLORA She wants it to come. STEWART Yes and so do I, but there are too few of us here to carry it. TOO - HEAVYADA writes "I NEED THE PIANO." Her MAORI mimic copies her. STEWART Do you mean you don't want your kitchenware or your clothes? Is that what you mean?ADA signs to FLORA. FLORA We can't leave the piano STEWART Let us not discuss this further. I am very pleased....STEWART slows down as he watches ADA again sign to FLORA, he has the uncomfortable impression he is being interrupted. FLORA Mother wants to know if they could come back directly for it?STEWART is shocked, his mouth hangs slightly open, paused in mid speech. TAHU mimics this mouth drop perfectly. FLORA After they have taken the other things?STEWART is growing confused and anxious. His two mimics and their growing audience unnerve him further. PITO Kei Riri a te raho Maroke. (shouted loudly at TAHU) (Watch it dry balls is getting touchy.) SUBTITLEDSTEWART nods suspiciously towards the MAORI speaker not understanding him, the speaker smiles and nods back. STEWART I suggest you prepare for a difficult journey. The bush will tear clothes and the mud is deep in places.STEWART walks away. ADA stands beside the piano turned away from the activities. FLORA pats her hand trying to cheer her. Down on the beach a fire is lit and pipis are prepared for cooking. Some of the young men are racing naked into the sea. STEWART (to BAINES about the MAORIS) What are they doing? We don't have time for that.Sc 17 EXI BEACH DAY Sc 17It is some hours later and the carrying party are beginning to make their way up into the bush. ADA still stands beside her piano. FLORA wants to follow the party. BAINES comes back along the beach, trailed by a young Maori boy, KAHA. BAINES Mr. Stewart asked if I might show you to the path. (ADA does not move) ... May I carry something?ADA turns to BAINES, her face angry and defiant, her eyes full of tears. BAINES falls back, struck by her show of emotion. ADA and FLORA walk past him toward the bush.Sc 18 EXT CLIFF ABOVE BEACH DAY Sc 18The party threads its way through the bush along the cliff. ADA pauses at the cliff top to see her piano below on the sand, tiny and desolate. Its distance and her love of it suddenly strike her. Its music is faint and becomes loud over the next scene.Sc 19 EXT BUSH FROM BEACH DAY Sc 19Brown feet squelch through the mud, finally followed by dainty boots caked in dirt. The MAORI leaders of the party have stopped.4 - See NoteBAINES works his way to the front. BAINES aha tenei? (What is it?) SUBTITLED HONE E hinga te Koroua ra B Pitama i konci. Kare noa Kia hikina te tapu. (Old man Pitama died here. (points to the spot) The Tapu hasn't been lifted) UNSUBTITLEDSTEWART struggles up to the front to join BAINES, he speaks over the top of HONE. STEWART What's he say? BAINES Someone died here. It's tapu. STEWART But we came down this way didn't we? I'm sure we did.The MAORI leaders continue discussing. 0h Pitama eh. HONE E Tarna heke atu ki ram - tiro his atu. Rapuhia mai he huarahi re! (Go and look, find another track eh!) UNSUBTITLED TIPI 'cia tupato he ana taniwba ke raro na. (Go easy there's a ghost down there.) SUBTITLED HOTU 'Ca, rongo koe i te haunga a tans tutae i te tuatahi. (You smell his shit first.) UNSUBTITLEDSTEWART continues over the top of the MAORI discussion. STEWART They want more money. They are trying to make two days out of it? BAINES No, no they know another track - to the side of this.ADA and FLORA sit watching, out of breath. The bush is dense, claustrophobic and exotic. One of the MAORI women sits close to ADA apparently not looking at her- Slowly she draws the scarf that is in ADA's lap into her own. Defiantly she puts it on.Meanwhile another woman makes a very dignified attempt to wipe the freckles from FLORA's face.Sc 20 EXT STEWART'S DAY Sc 20It is another day and STEWART'S hut, bleakly set amidst smoking stumps is full of squeals, chasing and antics.Sc 21 INT STEWART'S HUT DAY Sc 21The reverend in frock coat has a wedding dress stuck part way up his arms. It is not a normal wedding dress but a backless one used again and again as a photographic prop. Stewart's AUNT MORAG and her companion NESSIE are trying to pull it off. AUNT MORAG Watch your feet! NESSIE Watch your feet!ADA and FLORA find the family fun frightening and have taken refuge in the bedroom. AUNT MORAG Careful! Watch his hand. NESSIE Watch his handThe REVEREND tickles his sister as she tries to get the sleeve off his hand. NESSIE squeals with excitement. AUNT MORAG Stop it!NESSIE looks towards ADA panting with excitement at the fun. AUNT MORAG (shooing the Reverend out) We'll bring out the bride.The two women now fit the wedding dress on ADA. AUNT MORAG LIFT - YOUR - ARM - UP - DEAR.FLORA sits on the bed sulkily. She leans back and crosses her leg. FLORA My REAL father was a famous German composer AUNT MORAG Ohh the tag is broken. FLORA (continues) .... They met when my mother was an opera singer... in Luxemburg...The two women pause to look at FLORA. ADA signs to FLORA "THAT'S ENOUGH!" FLORA Why?ADA looks away, the two women finish primping the dress. FLORA crosses her arms. FLORA I want to be in the photograph.Sc 22 EXT STEWART'S Hut DAY Sc 22NESSIE half holds an umbrella over ADA as they make their way to where the camera is setup in front of a chair and a sparse display of three toi-toi. All about the house is muddy, so much so that they must weave their way through on planks and logs. A fine veil of rain is falling across the distant bush, the whole valley is shrouded in mist. STEWART looks through the camera at the REVEREND and the photographer who are posing as the couple, complete with tatty bouquet. STEWART notices ADA's arrival and seeing her as a real bride, his bride, he is struckdumb with pride, even the rough tapes at the back or the dress cannot destroy the illusion. STEWART Beautiful.The umbrellas are held away, the rain pours down.Sc 23 INT/EXT STEWARTS HUT BEDROOM DAY Sc 23AUNT MORAG has brought a chair into the bedroom and sits knee to knee with FLORA. AUNT MORAG I thought she met your father in Luxemburg. FLORA Well, yes, in Austria where be conducted the Royal Orchestra. AUNT MORAG (frowning) And where did they get married?AUNT MORAG checks to see if someone is coming. FLORA (her Scottish accent becomes thick and expressive) In an enormous forest, with real fairies as bridesmaids each holding a little elf's hand.AUNT MORAG sits back, regarding FLORA with obvious disapproval and disappointment. She smooths back her hair. FLORA No, I tell a lie, it was in a small country church, near the mountainsAUNT MORAG is becoming involved again. She leans forward. AUNT MORAG Which mountains are those dear? FLORA The Alps. AUNT MORAG Ohhh I've never been there. (she leans forward) FLORA Mother used to sing the songs in German and her voice would echo across the valleys That was before the accident.... AUNT MORAG Oh what happened?MORAG looks over her shoulder as FLORA continues to talk, so persuasive is FLORA's storytelling that the scene comes vividly to life, albeit in FLORA's dark pupil. FLORA One day when my mother and father were singing together in the forest, a great storm blew up out of nowhere. But so passionate was their singing that they did not notice, nor did they stop as the rain began to fall and when their voices rose for the final bars of the duet a great bolt of lightening came out of the sky and struck my father so that he lit up like a torch... And at the same moment my father was struck dead my mother was struck dumb! She- never-spoke-another-word. AUNT MORAG Ohhh ... dear. Not another word From the shock, yes it would be.The story is interrupted by the return of the wedding party who are dripping wet, exactly as the couple in the story. AUNT MORAG bustles over to take off the wet wedding gown, her face puckered with tragedy. AUNT MORAG Terrible. TerribleBefore she can undo the ties ADA pulls it from herself so aggressively that the ties and part of the gown comes apart. None of this is a concern to ADA who is distracted with fear for her piano. She crosses to the little window and stares anxiously at the falling rain.Sc 24 EXT BEACH DUSK Sc 24Soft piano music has been playing over the previous scene. Now it builds to strength as sea water swirls high around the piano, small and embattled on the dark rainy beach.Sc 23 INT STEWART'S HUT BEDROOM DAY Sc 25It's morning of the next day. ADA and FLORA sit amongst tea chests in the bedroom. ADA is signing intently to FLORA. FLORA signs back, sometimes using words. STEWART watches uneasy with their secret communication. As STEWART enters the animation is suspended. ADA stands and takes a step back as if to attention. STEWART I shall be gone for some days. There is some Maori land I want and may buy very reasonably. (STEWART shuffles) I am hoping you will use the time to settle in, and, in some ways we may start againFLORA and ADA look at each other. STEWART All right?ADA looks at him blankly, then nods.Sc 26 EXT STEWART'S DAY Sc 26ADA and FLORA dressed in cloaks and bonnets skirt the dense bush trying to find a path in. It is not easy, because the bush is so tight. ADA's leg slides in up to her calf in mud.Sc 27 EXT BAINES' DAY Sc 27ADA and FLORA arrive at BAINES' rough hut. It is mid-morning but BAINES is not yet dressed. ADA hands him a note. BAINES looks at it blankly. BAINES I'm not able to read.ADA signs to FLORA. FLORA Please take us to the beach where we landed. BAINES I'm sorry, I can't do that. (FLORA and ADA stare evenly at him) I don't have the time. (They continue to stare.) GoodbyeSc 28 EXT BAINES' DAY Sc 28It is much later when BAINES emerges from his hut with a saddle over his arm. The two women are still there. ADA looks up at him expectantly.FLORA mirrors her expression. BAINES I - can't - take - you there. I can't do it.He puts the saddle over a rail. He continues to saddle up, sneaking glances at them from under the horse and around its side. They watch him closely, not pleadingly, but stubbornly1 eerily of one mind.Sc 29 EXT BEACH DAY Sc 29The sky is blue with long wisps of cloud.The party of three break onto the long expanse of beach where the piano still stands. It has not been without visitors. There are footprints on the sand and some of the boards have been pulled back. ADA passes BAINES, walking urgently towards it. Soon, ADA has removed enough boards that she may lift the lid and play the keys. EMNES stays back. ADA takes great delight in feeling her fingers on the keys again. Her whole composition is altered. She is animated, joyful, excited.Down on the wet sand FLORA does a wild dance of her own invention using a seaweed wig. She finishes by rolling down the beach in the sand.BAINES views them with suspicion, yet he is magnetically drawn to the spectacle He has never seen women behave with so much abandon. His attention fixes on ADA's uninhibited emotional playing, and as he watches, he finds himself edging irresistibly closer.Sc 30 EXT BEACH LATE AFTER NOONSc 30The shadows are long on the sand when BAIN'ES collects the boards. ADA and FLORA are attempting a duet. ADA notices him come towards them with the boards, obviously intending that they should leave. Her mood darkens, she continues playing stubbornly even though FLORA has stopped. Abruptly she finishes. In black spirits she replaces her cape and bonnet. BAINES is struck by this sudden change, he watches her mesmerised as he replaces the boards.Sc 31 EXT BEACH NIGHT Sc 31From a helicopter, the camera tracks along the beach, following the crashing wave line, to find the piano.SCENE 32 DELETEDSc 33 EXT STEWART'S HUT & KITCHEN DUSK Sc 33The hut puffs smoke out into the valley. The lie of the land traps sound like a shell and the clear high notes of a voice echo out. Suspicious that ADA is singing, STEWART approaches the house quietly. Through the open kitchen door he sees that the keys of a piano have been etched on the table top. While ADA "plays" the notes FLORA sings them.STEWART puts his pack down. ADA stands to attention, folding the tablecloth back over the table. 5, 6 + 7 See notes STEWART Hello, then. FLORA Hello.ADA nods. STEWART'S hand explores the markings on the table. ADA watches his hand moving under the checked cloth.Sc 34 INT MISSION HOUSE DAY Sc 34AUNT MORAG, NESSIE and TWO MAORI GIRLS dressed in proper Victorian costume are kneeling around a huge double white sheet, sewing and cutting it. The MAORI girls are part of the mission's good works. They are dressed in European style and while their training is in polite proper domestic behaviour they constantly corrupt it with their demonstrative displays of affection, and their clay tobacco pipes to which they are addicted.STEWART is standing, looking on. BAINES is behind him in the kitchen removing his boots. AUNT MORAG (looking carefully at STEWART) Well you stopped combing your hair, which is a good thing, it was looking over done. (without pause but referring to the sheet) You see these are the slits that the heads will go through, show him Nessie ... they'll be dead, the Reverend is going to use animal blood, no doubt it will be very dramatic. Tea! (for NESSIE rather than to her) NESSIE It will be very dramatic.NESSIE leaves to get the tea. HENI, the MAORI girl with a Moku tickles MARI'S back while she sews.They sing the anthem in snatches. It is background to the conversation. STEWART (sitting down) What would you think if someone played a kitchen table like it were a piano? AUNT MORAG Like it were a piano? STEWART It's strange isn't it? I mean it's not a piano, it doesn't make any sound.NESSIB puts STEWART'S tea down. BAINES comes in with his tea cup dwarfed in his big hands. He stands back leaning against a wall. AUNT MORAG (hissing to NESSIE) Biscuits.' No, no sound.NESSIE hustles back to the kitchen. STEWART I knew she was mute, but now I'm thinking it's more than that. I'm wondering if she's not brain affected. AUNT MORAG No sound at all? STEWART No, it was a table. AUNT MORAG (musing) Well, she was very violent with the gown. She tore off a chunk of lace. if hadn't been there I'd have sworn she'd used her teeth NESSIE and wiped her feet an it. STEWART Well it has not yet come to anything. Just a concern.AUNT MORAG pats her chest. a calming device. AUNT MORAG Oh, yes, yes of course, a concern. STEWART There is something to be said for silence AUNT MORAG Oh indeed. Cotton'.She holds her needle up for NESSIE to thread. STEWART (warming) And with time she will, I'm sure, become affectionate. AUNT MORAG Certainly, there is nothing so easy to like as a pet and they are quite silent.BAINES watches quietly on.Sc 35 EXT STEWART'S WOODCHOP DAY Sc 35STEWART is at the woodshop cutting firewood. He displays his virtuosity as an axeman, cutting the wood into ever more slender pieces, FLORA is watching and stacking the fallen timber. She flinches as the axe hits the wood, but scurries in to pick up the timber. BAINES is standing talking to STEWART. BAINES Those 80 acres, that cross the stream, what do you think of them? STEWART On your property? BAINES YesBAINES carries a log across for STEWART who talks without pausing in his work, STEWART Good, flatish land with reliable water, why? I don't have money. What are you about? BAINES I'd like to make a swap. STEWART What for? BAINES The piano. STEWART The piano on the beach? Ada's piano?BAINES nods. STEWART stops, this is serious. STEWART It's not marshy is it?STEWART has walked a few paces away from his wood chop in the direction of the land. BAINES No. STEWART You'd have to organise it up here. BAINES Yes, I thought that. STEWART Well Baines the music lover, I never would have known. Hidden talents George. BAINES I'll have to get lessons. It wouldn't be much use without them. STEWART Yes, I suppose you would.BAINES remains silent. He looks away. STEWART Well Ada can play.BAINES shrugs. STEWART I have it in a letter she plays well. She's been playing since she was 5 or6.FLORA has stopped stacking. She is lying along the top of the wood, lifting a leg up and down, watching the men.Sc 36 INT STEWART'S KJTCHEN DAY Sc 36STEWART, flushed with his plans, is pouring tea into cups. FLORA peers at cup level through the steam. ADA sits beside her at the table. STEWART I have got us some excellent land. Baines has taken some queer idea to have a piano, and you are to give him lessons. Have you taught before?ADA signs to FLORA. FLORA What on? STEWART On your piano, that is the swap.ALA finger signs, her face furious. STEWART What does she say? FLORA She says it's her piano, and she won't have him touch it. He's an oaf, he can't read, he's ignorant. STEWART He wants to improve himself... and you will be able to play on it ... (ADA is not responding well) Teach him to look after it.ADA's breathing becomes heavy with anger, she writes Curiously on her pad. NO! NO! THE PIANO IS MINE! IT'S MINE!STEWART regards her note and her passion with suspicion and disdain STEWART (getting up) You can't go on like this, we are a family now, all of us make sacrifices and so will you. You will teach him. I shall see to that!ADA's emotions are suddenly removed and she views STEWART blankly, eerily so.Sc 37 EXT BUSH FROM BEACH DAY SC 37The piano is taken up through the bush by a group of six to eight MAORI MEN. It's very heavy and awkward and they grunt and struggle with it. HiM na ake 'nun na'. (Lift up the back) UNSUBTITLED Tern - tern! (Ass hole!) Hei niti niti maan! (turning around) You lick it.)Someone stumbles and the back of the piano comes crashing to the ground thundering out in the bottom end of the scale. People scatter. Only one stays who warrior like challenges the piano.Sc 38 EXT PATH TO BAINES DAY Sc38The women duck low to avoid a branch as STEWART leads them to BAINE'S hut. STEWART carries the piano stool. The path slopes up through a strange, bearded forest where the tops of trees are bare and ghost like. STEWART I'd try children's tunes, nothing more complicatedADA is unrepentant, she does not want to teach BAINES the piano. STEWART Just be encouraging no one expects him to be good.Sc 39 INT/EXT BAINES' HUT DAY SC 39The piano is the only cared for item in the rough hut STEWART (lifting the lid) It looks good, very nice looking thing. Well . I wish you luck. The girls are very excited about the lessons.The "girls" look anything but excited. FLORA shy, plays obsessively with a long strand of greasy hair. ADA is cold and grim. STEWART Flora will explain anything Ada says. They talk through their fingers, you can't believe what they say with just their hands.STEWART leaves. BAJNES goes to the piano and lifts the lid. He looks at them. ADA signs to FLORA. FLORA My mother wants to see your hands. Hold them out.BAINES holds out his hands, spread wide as if holding a ball. No, no, like thisFLORA puts her neat little fingers together, first with their backs up then she turns them over. HAINES does the same only his bands are big and coarse. ADA signs to FLORA. BAINES is shyly keen. FLORA You have to wash them. BAINES They are washed.ADA signs. FLORA Wash them again. BAINES The marks do not come out. They are scars and hardened skin.ADA and FLORA do not move. Humiliated BAINES takes a scrub brush, soap and bucket and goes outside. ADA can see him from the window. She moves to her piano. She wants to touch it but she is torn by her feelings, wanting it, but not owning it. She strokes the varnished wood with her hand and softly lifts the lid. Outside FLORA stands beside BAINES pointing out hits of his hand he should still scrub. Furtively she lays her hands on the keys. The instrument is horribly out of tune, almost every note is off. She goes outside and signs to FLORA. FLORA There's no tune left in the piano so she can't teach you.The two women leave.Sc40 EXT STEEP BUSH HILL DAY Sc40Two men come crashing out down a steep bush hill, They are tied to each other. BAINES, the younger and stronger, is trying to break their fall by grasping hold of branches and shoots. Finally their fall is checked. The old man is white haired, the front of his suit splattered with the debris of many meals. He sits up feeling about for his glasses. He is blind. His eyes, though closed, wobble and roll BAINES finds the glasses One of the lenses has gone, the other is very dark. The old man fits his handkerchief in the gap.Sc 41 EXT HUGESCREE DAY Sc 41BAINES carries the old man on his back, they cross a huge scree. Each of BAINES' steps dislodge a fall of rocks. The crashing of stones echoes across the valley. BAINES and he are but small dots in this giant earth scarSCENE 42 DELETEDSc 43 INT BAINES' HUT DAY Sc 43Inside BAINES' hut the old man feels the piano. BLIND MAN Ah, a Broadbent. A fine instrument. I've not come across one here, or in the Islands where I have tuned some 200. Yes, they like their pianos there.Out of his pocket he takes a carefully wrapped tuning fork. He unwraps the package, lifts the back and lid and starts to tune. He sniffs the air. BAINES watches, He sniffs close to the keys. Scent? And salt of course.He works on. What will you play when it's tuned? What music do you play?BAINS looks over at him from the meal he is preparing. BAINES I can't play.The blind man stops working. BLIND MAN You don't play? BAINES No, I can't. I'm going to learn.The man goes back to work somewhat depressed by the futility of the venture. BLIND MAN Well my dear Miss Broadbent, tuned, but silent.SCENE 44 DELETEDSCENE 45 DELETEDSC 46 EXT BAINES' HUT MORNINGSc 46A slash of sunlight falls across the piano. Thousands of particles of dust become visible floating in the air. BAINES is at the window in his shirt/night shirt. He notices the dust on the piano and strips off his shirt which he uses as a duster. Under the shirt he is naked. As he wipes the smooth wood he becomes aware of his nakedness. His movements become slower until he is no longer cleaning, but caressing the piano.Sc 47 EXT PATH TO BAINES' DAY Sc 47On the path to BAINES' house, ADA and FLORA sit in the bush. ADA's head is bowed. Her hands held over her face. FLORA tries to catch the spots of light in her palm as they twinkle through the thick canopy of leaves over head.Sc 48 EXT/INT BAINES' HUT DAY Sc 48The door opens. ADA and FLORA stand in their cloaks and bonnets. FLORA Mother says she can't stand to teach piano with it all out or tune. So I'm to do scales.ADA turns and walks off. FLORA bustles in. BAINES watches ADA from the window, FLORA I hope you've scrubbed your hands.FLORA begins a scale. Oh, it's in tune.She looks over at BAINES who is still gazing out the window. FLORA What's out there?She gets up to see what BAINES is looking at. She sees her mother and divines BAINES is looking at nothing. FLORA You have to watch me where I put my fingers.FLORA starts again. ADA can only hear the piano faintly but moves closer as she too hears it's in tune.As she enters the hut BAINES pulls his fingers away from the piano. FLORA sees this and stops too. She looks at her mother. FLORA It's in tune.ADA checks the other notes. FLORA stands with her arms folded, a bit sulky and fluffed up. FLORA (Hissing) I was teaching.ADA tries the piano. She looks over at BAINES then signs to FLORA. FLORA She wants to see what you can do. BAINES I'd rather not play. I want to listen and learn that way. FLORA Everyone has to practice. BAINES I just want to listen.ADA is a bit nonplussed. She does not want to be listened to anymore than she wants to teach. She pulls a strand of her hair then signs to FLORA. FLORA What do you want to hear?BAIWES shrugs shyly and locks away out the window. He doesn't know BAINES Anything.ADA is slow to start. Unobliging as ever she plays scales. But once begun her belligerence fades as her absorption in the music strengthens.Sc 49 INT STEWART'S HUT/ADA'S BEDROOM NIGHT Sc 49 Back at STEWART'S hut, ADA lies dispirited on the bed. FLORA lies beside her holding ADA's hand. FLORA Tell me about my real father.ADA nods and strokes FLORA's hair from her face. FLORA leans back. How did you speak to him?ADA signs to FLORA who watches in love with all the stories of her mother and unreal father. ADA (subtitled) I didn't need to speak, I could lay thoughts out in his mind like they were a sheet FLORA What happened? Why didn't you get married?ADA continues to sign her hands casting odd animal like shadows on the newspapered walls. ADA cont. After a while he became frightened and he stopped listening.STEWART enters their bedroom. FLORA stops and ADA stands against the wall. STEWART finds the atmosphere curious yet impenetrate. STEWART Shall I kiss you goodnight?FLORA looks up at her mother. ADA shrugs.STEWART nods stiffly, and uncomfortably, he leaves.Sc 50 EXT BAINES' VERANDAH DAY Sc 50It's raining heavily, FLORA sits on the small verandah outside BAINES' hut, her legs stuck straight out into the wet. She is overseeing a merciless power game with the dog, forcing it out of the verandah with a stick.Sc 51 INT BAINE'S HUT DAY Sc 51ADA's playing can be heard inside. BAINES sits back watching ADA. Her cape on the hook is dripping a puddle on to the floor and there is a circle of drips around her skirt hem. She is totally absorbed in her piano music as she was on the beach.BAINES watches. Her long white neck, now wet from rain, proves irresistible. He comes across the room and kisses her. ADA jumps up and prepares to leave. BAINES stands in front of the door. BAINES Do you know how to bargain, nod if you do.She doesn't move, There's a way you can have your piano back. Do you want it back? You want it back?ADA eyes him suspiciously. BAINES You see I'd like us to make a deal. There's things I want to do while you stay. If you let me you can earn it back. What do you think, one visit for every key.ADA is tense but she is thinking about it. She holds up a finger then points to the black of her dress. BAINES Your dress?ADA shakes her head. Skirt ...?She walks over to her piano and points to a black key. For every black one?ADA turns raising her head, nodding. That's a lot less, half.BAINES is counting the keys. ADA starts for the front door. All right, all right then, the black keys.She sits back at the piano. She plays the lowest black key as in number oneShe takes her hands off the piano waiting. It's better that you play.Obediently she begins, stopping abruptly, indignantly, as he touches her neck. BAINES Play... Keep playing.After a moment she settles back to the piano.Sc 52 EXT BAINES' VERANDAH DAY Sc 52Outside FLORA is cradling the poor confused dog, asking him what cruel miserable person had sent him out into the cold and wet.Sc 53 EXT RIVERHOLE NEAR BAINES' DAY Sc 53BAINES bathes in a riverhole. He is watched by a gathering of Maori, sometimes with great seriousness, at other times with hilarity. They pass between them his clothes, trying them on and mimicking him. One of the older women HIRA crouches close to the bank keeping up a steady line of inquiry. Her manner is relaxed but focused and persistent. She smokes a pipe- HIRA I got the good wife for you Peini. She pray good. Clean. Read Bible. You sleep her Peini. She chief daughter. BAINES No, no bible readers.BAINES continues good humouredly washing. HIRA Why? We need you pakeha clever. You sleep her. TAHU (A big man dressed as a woman) (Background) I give her plenty clever. (Gestures sexually) BAINES I have a wife. TAHU (camping it up) I give her clever eb Peini. Hallelujah! HIRA Don't answer, he low born. Jun look at him, mongrel. Your wife where she? BAINES She lives her own life in New Jersey, America. HIRA You have spare wife here Peini. You get rnana for that. Our chief four wives.BAINES shakes his head amusedly. As he gets out of the river HIRA slaps him. I marry white man Peini, he a whaler like you. He very good to me. Love me, nurse me.HIRA touches her own face where BAINES' tattoo is. HIRA Who do that? It not finish, that no good Peini. You finish!Several people on the bank are taking turns to comb their hair, peering into a tiny piece of mirror.Sc 54 EXT/INT BAINES' HUT DAY Sc 54BAINES' dog hears ADA and FLORA approach. It takes off under the house. FLORA calls the dog. It keeps well hidden. ADA has gone on inside and the door is closed. FLORA stands outside the door left out and lonely. She knocks. BAINES answers. FLORA (small voice) I want to speak to my motherShe buries her head in her mother's skirt. I don't want to be outside, I want to watch. ADA signs to FLORA. I'll be very quiet.ADA leads her to the door signing to her I won't look at him!FLORA is shut out.Sc 55 INT BAINES' HUT DAY Sc 55ADA sits at the piano. She is shy and nervous She turns to BAINES who nods. ADA begins to play. BAINIES keeps his head bowed, but as the playing becomes more confident he raises his head to watch. He sits at a far corner of the room apparently enjoying the whole vision or this woman at her piano.After some time BAINES, affected by the music, takes his chair to a closer position and from an opposite angle. ADA glances up as she feels him passing behind her. He seems satisfied to watch. His attention finally focuses on her neck as it bends further or closer to the piano.Again he shifts his chair, taking it round the back and to the other side of the piano. As he moves ADA watches warily. From this position be doesn't try to touch her, but watches, enjoying her fingers moving on the keys and the small details of motion on her face. Twice he closes his eyes and breathes deeply BAINES is experiencing an unpractised sense of appreciation and lust. When his eyes are closed, ADA glances at him with curiosity and suspicion.Sc 56 INT SCHOOL HALL DAY Sc 56FLORA stands on a kitchen chair. AUNT MORAG and NESSIE have paused from fitting FLORA's bodice and wire angel wings. They are attempting to learn the hand gestures as FLORA signs: "I shall listen hard to rehearsal, because I live too far away to go often." AUNT MORAG (suspiciously) Which sign is the word rehearsal?FLORA deftly demonstrates. AUNT MORAG I can't imagine a fate worse than being dumb. Turn around. NESSIE To be deaf? AUNT MORAG Oh yes, dear too - TERRIBLE! AWFUL!"' FLORA Actually, to tell you the whole truth, Mama says most people speak rubbish and it's not worth the listen.AUNT MORAG and NESSIE exchange looks. AUNT MORAG (stiffly) Well, that is a strong opinion. FLORA Yes, it's unholy.Sc 57 INT BAINES' HUT DAY Sc 57ADA is quick to remove a used plate and cup left on top of the piano.BAINES is sitting next to the window, his elbow on the sill, his head turned away. BAINES Lift your skirt,ADA stops playing. She turns to him. Thinks about it then slowly lifts her skirt a little to show her boots. Lift it higher.ADA pulls the skirt up fractionally so the top other boots are exposed.BAINIES nods ADA starts to play again, not so confidently as before.BAINES moves close, he goes down on his knees to watch her feet on the pedals. BAINES Higher.ADA doesn't hear. Lift it higher.She stops and lifts her skirt to her knees. She looks at BAINES with ill-disguised contempt. BAINES is enthralled with her legs, or what he can now see of them. He moves back to watch them from behind. He's lying on the ground, head propped on his arm. ADA's slim stockinged calves work the pedals, one of the stockings has a small hole through which her white skins showsSc 58 EXT MISSION HOUSE GROUNDS DUSK Sc 58HENI holds STEWART'S horse near a wooden gate. Its wet coat steams in he night air, making the whole horse glow. HENI talks softly to it in Maori.Sc 59 INT MISSION HOUSE NIGHT Sc 59Inside the REVEREND is closely watched by STEWART, AUNT MORAG and NESSIE as he cuts out the shape of an axe from a piece of marbled cardboard. A lamplight flickers warm tones across their faces while the rest of the room is dark giving it a conspiratorial air. REVEREND Nessie, your hand out ... out here, please. NESSIE Oh, no use Mr Stewart, I can't act. REVEREND Nessie, please.NESSIE hesitatingly puts her arm out towards him and the REVEREND chops away in the air two feet in front other, NESSIE looks at AUNT MORAG puzzled. REVEREND Look you are being attacked!The REVEREND points to the opposite rose-papered wall, where his shadow and paper axe now look very real as they loom large above the crouching NESSIE chopping into her. NESSIE squeals, as does MARY. REVEREND And with the blood ... it will be a good effect:Sc 60 INT BAINES' HUT DAY Sc 60ADA's finger plays the fourth black key from the left hand side, denoting lesson four. BAINES Undo your dress. This part, (he indicates the top) I want to see your arms.ADA is taken unawares. She sits a moment unsure if she wants to cooperate, then slowly she staffs to undo her buttons.ADA pulls her arms out of the tight sleeves. Underneath she wears a worn-in bodice. Her arms are so white they seem transparent. A delicate network of blue-green veins crisscross up the soft underpart of her arms. A dark growth of hair in her armpit suggests a shadowy depth. The back of her hands, normally white, are quite tanned in comparison. BAINES Play.BAINES draws his chair close. Gently he places his hand on the soft underpart of her forearm. ADA stiffens and pulls away. He grips the arm. Two keys.ADA continues to play. Slowly he moves his hand higher towards her shoulder. Clearly unnerved she changes the music to something brisk, almost comical. BAINES feels suddenly ridiculous, his mood broken. He takes his hand away and moves back to the window injured. ADA is victorious, she is pleased to have won herself a respite.Sc 61 EXT STEWART'S WOODCHOP DAY Sc 61STEWART is at the woodchop talking to AUNT MORAG and NESSIE.MARY and HENI, AUNT MORAG'S Maori girls lie sprawled out under a tree. AUNT MORAG I hardly need to give one to you, but there you are anyway.NESSIE has been sorting through a basket of invitations, finding STEWART'S she hands it to AUNT MORAG who hands it to STEWART. Don't be late. You will see there are two times and since you are accompanying a performer, you will need to make the earlier timeSTEWART has stopped listening, he is watching ADA and FLORA pick their way through the fallen logs to BAINES path. STEWART Wait.The two women stop. There is a Japanese sense of deferment to STEWART STEWART How are the lessons going? ADA nods enthusiastically. He's getting on all right? ADA nods again Good. AUNT MORAG That is good, yes.As ADA walks on AUNT MORAG leans towards STEWART. She seems quieted down. Is she more affectionate?STEWART looks after them unable to answer. AUNT MORAG Ah well, slowly, slowlySc 62 INT BAINES' HUT DAY Sc 62BAINES secures a chair against the door while ADA is removing her dress top. She sits at the piano hugging herself against the chill. As BAINES passes be knocks the jacket off the chair back. He picks it up and takes it across to her seat by the window.BAINES nods and ADA begins to play. BAINES fingers the still warm jacket1 he lifts it up and smells it. ADA turns around and stops playing suddenly appalled by his odd sensual pleasure taking. She holds out her hand for the jacket, her expression stern and censorious. She indicates he should return it to the chair back. BAINES ignores her. ADA stands and comes over to BAINES. She pulls the jacket from his hands and replaces it across the chair back, but as she turns to sit,BAINES is beside her. He pulls the shoulders of her bodice down, exposing her shoulders and some of her breast. ADA immediately stands, but BMNES is much stronger and man-handles her across to the bed. ADA struggles seriously, this is much, much more than she was expecting. BAINES Ada, four keys.ADA holds up five fingers and mouths 'five'. I just want to lie.ADA shakes her head vigorously and again mouths five'. All right, all right five.ADA no longer struggles. She is stiff and still. BAINES intoxicated by the smell and presence of her skin becomes soft and gentle. He kisses and touches her with feeling and affection. Then suddenly aware of her stillness he too becomes still. He pulls himself up to see whether her face betrays her feelings. ADA seizes this opportunity to return to the uncertain sanctuary of her piano. From the bed, BAINES watches her run a hand noiselessly over the polished ivory keys, a gesture betraying affection never afforded to him. BAINES gets up. He shuts the piano lid forcing ADA to remove her hand.ADA immediately stands and dresses, marking hurtfully BAINES' ownership of her piano.Sc 63 EXT STEWART'S HUT SUNSETSc 63A golden evening. STEWART in his best shirt and trousers prepares the horse and cart.Sc 64 INT STEWART'S HUT ADA's BEDROOM SUNSETSc 64Inside FLORA is in her finished Angel costume, she sings softly to herself while ADA undoes the long strands of plaits and separates them to comb. FLORA The Holly and the Ivy...STEWART comes in to put on his jacket, but the collar is all tucked in. ADA automatically adjusts it for him, settling it around his neck. Her touch, meant practically, strangely affects him. In an impassioned impasse, meant gallantly, he tries to kiss ADA's finger tips. The gesture falters as ADA, surprised, jumps back.Sc 65 EXT SCHOOL HALL DUSK Sc 65People are arriving at the school hall. One family is being ferried through the mud in a wheelbarrow.10 See NotesSc 66 INT SCHOOL HALL NIGHT Sc 66Some people are already seated in the hall. Several other angels have arrived, and they like FLORA are ushered backstage.Sc 67 INT SCHOOL HALL BACKSTAGE NIGHT Sc 67BACKSTAGE, the Sunday School teacher is gathering the children together, reminding them of the order of songs, checking their hair, etc. The local dramatic society are also preparing themselves. One of the women is peeping through a hole in a make-shift curtain to watch the townspeople seating themselves. WOMAN They're bringing in extra seats!Despite this, there would still be only a maximum of forty people. 10 or so of them MAORIS in their best European dress. ANOTHER WOMAN Oh God, don't pin my hair too high Alfred! STILL ANOTHER Yes, me too, do it about here ... (she shows Alfred)Two of the women are putting a little c4ouring on each of the angels while two other angels are being smacked for putting their white gloved hands in the bucket of blood.Sc 68 INT SCHOOL HALL NIGHT Sc 68Everyone is chatting at each other's seats, except the MAOIRI guests who wait solemnly. AUNT MORAG is organising the placement of the new seats. BAINES arrives. MAN ONE Look who's here, the musical MR BAINES What will we have tonight George, "Twinkle, twinkle?"BAINES smiles and blinks, the teasing continues as BAINES scans the room for ADA. Two of the MAORI PARTY share one pair of shoes so that only one may be in the hall at a time, while the other waits barefooted outside. ANOTHER MAN 'Mary had a little lamb' or a polka, come on George what's it to be?AUNT MORAG hustles over to BAINIES and pushes him in front of her towards NESSIE and the piano. AUNT MORAG Mr. Baines, do come and turn pagesBAINES looks wildly about for rescue. BAINES I can't read music, I have just begun.BAINES backs off from NESSIE whose face drops in disappointment. He has spotted ADA and is eager to take a seat near her. He takes the seat next to ADA but one. He sits smiling and blinking. The teasing continues, behind him. STEWART (turning) Lot of fools. Come on, move up.ADA puts her hand on the seat and shakes her head indicating that she is saving it for FLORA. BAINES is rebuffed and looks across at ADA who ignores him.The main lights are put out and everyone returns to their places. In the dark STEWART shyly takes ADA's hand in his. BAINES watches STEWART squeezing her hand and quite out of control stands and leaves accompanied by a chorus of eshhhhhhhhhhhhhn. Satisfied, ADA watches him go.The children file on with their candles, They stand in a group singing with great seriousness, but struck with shyness their voices are so small as barely to be heard. -sing up Billy! -Come on sing out!One of the smallest promptly pees. An arm reaches under the curtain to wipe the stage.Sc 69 INT SCHOOL RALL & BACK STAGE NIGHT Sc 69Backstage all is ready for the main dramatic event. There seems to be more peep-holes than curtains as eyes press themselves to the little flap. The master of ceremonies, the REVEREND is on stage explaining the dramatics. He is wearing harlequin tights and rompers, his face is dramatically paled. The candles are blown out. REVEREND And so the young maid came upon each and all of Bluebeard's missing wives, their severed heads still bleeding, their eyes still crying.The piano accompaniment is suspenseful while the audience shriek appreciatively. Backstage AUNT MORAG provides the dripping blood, moving between the corpses, she peers at the audience through a peep-hole in the curtain. REVEREND But who it this? (AUNT MORAG looks around gasping, fooled despite herself)A loud improvised door slam and heavy footsteps. NESSIE, in costume, freezes. The shadow of Bluebeard moves clumsily down the cut-out banister and along the corridor. BLUEBEARD I am home early my sweet wife ... where art thou?The girl scrambles for the fallen key and rushes out of the closet into the silhouette corridor. YOUNG WIFE Hello husband, what a surprise! BLUEBEARD Yes wife, a surprise indeed! So now you know my secret you, the sweetest and youngest or all my wives must be prepared to die.BLUEBEARD pulls out a cut-out axe and moves towards her.Two of the young warriors in CHIEF NIHE's party rise to their feet. Auc! Ha aba ra tenei? (Hey! What's this) SUBTITLED E Nilie, E Nihe he Kohuru, he kohurn? (Nihe, Nihe is this murder?) SUBTITLEDNIHE waves them down, but they are shaken up and only crouch above their seats. The others stare anxiously between NIHE and the stage. NIHE (Amused by them) E te whsnau keite pai-he takaro tenei. (Everything is fine this is just a game) SUBTITLEDBLUEBEARD moves closer, the young wife drops to her knees her hands held up in prayer. YOUNG WIFE No, no wait! BLUEBEARD I shall not wait. Bare your neck.As BLUEBEARD raises his axe again, first one then the other of the young warriors run forward, shouting a fierce war cry and parting the audience, who flee to either side while the corpses come very much to life. Kia hiwara! Kin hiwara! (Be on the alert! Brace yourself) Pokokohun - whakaputa mai ja koc! (Coward! Show yourself, come out!) SUBTITLEDOnly NIHE and his top-hatted daughter remain calmly in their seats. The warriors have BLUEBEARD cornered and whimpering an umbrella held spear-like above him. NIHE stomps his stick, his great voice booming out. NIHE Hoki rnai! Hoki rnai! (Come back here! Come back here!) SUBTITLEDSc 70 INT SCHOOL HALL BACK STAGE NIGHT Sc 70Backstage the CHIEF and his party are shown the theatrical devices; the blood-bucket, the paper axe, the splits in the sheets.Sc 71 INT BAINES' HUT DAY Sc 71ADA goes to the piano, she is upset that BAINES has again left a plate on top of it. BAINES intercepts her, stepping several times between her and the piano. She sees the game and stands still. He steps aside. She removes the plate, gently, lovingly wiping the surface underneath. There is a sulky irritation in the ways BAINES watches her. BAINES I have been waiting. You are very late.ADA starts to play, BAINES watches then looks away. BAINES I don't want you to play. I just want you to sit.ADA keeps playing until she has finished. Without looking at him she holds up two fingers against the piano. BAINES (angry) No, not two keys.ADA starts playing again, BAINES feels powerless. He no longer admires her absorption with the piano, he is jealous of it. BAINES (shouts) Two keys then!She stops playing. There is an insolence or casualness in the way she regards BAINES. He pulls her chair back from the piano. This upsets her, as much of her confidence was associated with the instrument. BAINES kisses her passionately on the mouth. ADA pulls back, BAINES persists, he is desperate and romantic.Sc 72 EXT BASE OF BUSH COVERED HILL DAY Sc 72 STEWART, with BAINES interpreting, talks with a group of MAORIS at the base of a bush covered hill. The MAORIS sit behind a small representation of the hill marked out with twigs on the ground. The atmosphere is tense. MAORI NEGOTIATOR (pointing to the places) Nga awa kau kau, nga ana koiwi 0 matoti mattia tunpuna; kei runga katoa i te whenua nei korerongia atu ki to tangata na e Peini. (The bathing waters, the caves, that house, the remains of our ancestors are all part of this land. Explain it to the man Baines.) SUBTITLED STEWART (muttering to BAINES across the previous speech) What do they say? Are they selling? Offer the blankets for half the land.STEWART holds up his ten fingers and then two more. STEWART T-w~e-l-v~e. BAINES Te, kawnarna paraikete mo te tahi hawlie 0 te whenna uci. (he'll give you twelve blankets for half the land.) UNSUBTITLEDThe MAORIS look carefully at the quality of the blankets, noting the depth of the weave and the strength of the Wool. They shake their heads as they discuss them. STEWART (Quietly to BAINES) Offer the guns. MAORI NEGOTIATOR Kahore atu he kororo. Kahore niaton Kote hake whentia. Engad mate peaks ne. (No more talk, we won't sell the land. I will trade you pigs, that is all.) SUBTITLEDHe messes up the pattern of twigs as he speaks.ANGRY MAORI(Angry to the NEGOTIATOR) He aha te pononga 0 te whenus pena kahore he Pu hei pupuri?(What is the point of owning our land if we have no guns to hold it?) SUBTITLEDThe MAORI NEGOTIATOR gets up to leave as do the others, STEWART snatches back his blankets and sulkily shakes them out to fold. BAINESE hoa ma, haria atu ra takit kia Nihe. (Give my regards to Chief Nihe.)MAORI NEGOTIATOR(Others join in)Ac ra. Kia Ora! Kia Ora! Te Peini.(Yes indeed! Thank you. Thank you, Peini.)Sc 73EXT BUSH AT NEW BOUNDARY MARKERSDAYSc 73 BAINES and STEWART walk through the bush. STEWART laden down with his blankets, red-faced and irritable. STEWARTWhat do they want it for? They don't cultivate it, burn it back, anything. How do they even know it's theirs?BAINES stops as he comes to a freshly placed fence post. STEWART winds down his complaints watching BAINES anxiously. BAIXES walks down to the next one. he touches the freshly split post.(tentatively) I thought I might as well mark it out. BAINESYes, why not. STEWARTAda says you're doing well with the piano?BAINES keeps walking from post to post. STEWARTI'll have to come and hear you play. what do you play. BAINESNothing just yet STEWARTNo. Well I suppose it takes time.Sc 74EXT STEWARTS VEGETABLE PATCHDAYSc 74ADA has cut a good sized cabbage in the vegetable patch. She throws it to FLORA who misses, dropping it in a pool of mud, spattering her face and dress. ADA smiles and FLORA who was about to cry gives the cabbage a big football beet towards her mother. ADA's mouth falls open, but then she too kicks it and they begin to dribble the mud caked cabbage towards the hut, all the time signing playful insults. Into this arrives STEWART. STEWARTBaines can't play a damn thing. Is that right he can't play a thing?We're going to lose that land, the way he was carrying on over it.Is he musical? You've got to teach him a song. Something simple.FLORA has her foot on the cabbage, she nudges it off behind her. It roll down the hill. STEWART can't help but notice, STEWARTWhat's that?He follows the cabbage down the hill' where he scrapes some of the mud off.This thing's been knocked to pieces.Sc 75 INT/EXT BAINES' HUT DAY Sc 75FLORA is seen through BAINES' window Inside, ADA as ever charts her progress on the black keys, eleven. She turns to BAINES for instructions. BAINES is not himself, he is sulky and distant. BAINESDo what you like. Play what you like.ADA is perplexed by this turn about of behaviour. A little uncertainly, she sets about her playing. After a little she too turns to see what BAINES is doing. He's not there. She is surprised then anxious as she fears the deal may be off when there are flaw so few keys to go. She starts to play again, but her anxieties prove too great. She stops and listens. She looks out the window, where FLORA is mucking about in the yard. She walks to his bedroom, listens, then opens the door. BAINES stands naked looking at her. ADA is taken aback BAINESI want to lie together without clothes on. How many would that be?ADA holds up ten fingers an impossibly high number of keys.BAINES nods.ADA is surprised; she didn't expect him to agree. ADA checks again holding up her hands. BAINESYes, ten keys.Hesitantly, she starts to undress. She lies on her petticoat, having deemed the bed too dirty. BAINES lies, very still on top of her. A scraping sound is heard.Sc 76 EXT/INT BAINES' HUT DAY Sc 76FLORA is outside walking on sticks and logs trying to make sure she never puts her foot on the ground. She looks over at the house suddenly aware that the piano playing has stopped again. She investigates the mystery peeping through the various cracks and holes in the loosely built hut. Her vision is always only parts of bodies, the venture is one of challenge and curiosity.Sc 77 EXT NATIVE PINE FOREST DAY Sc 77FLORA and three small Maori children play amongst some native pines. Two MAORI WOMEN smoke and chat nearby. The children rub up and down against the tree trunks kissing and hugging them. The game has an edge of promiscuity to it as they exchange trunks and hug one tree as a group. Unseen by the children STEWART marches towards FLORA. He pulls her off the tree. STEWART Never behave like that, never any where. You are greatly shamed and you have shamed those trunks. (trees)The MAORI WOMEN keep up an unacknowledged chant. MAORI WOMEN What o'clock say Mr Stewart? -Ge Tupeka? (got tobacco?) -Time for puff puff.Sc 78 EXT NATIVE PINE FORESTDAY Sc 7$With a bucket of dull soapy water FLORA begins the task of washing the tree trunks.The MAORI WOMEN laugh and point to their feet meaning her to wash them too. Their children are lying in their laps playing string games.Sc 79 EXT NATIVE PINE FORESTDUSK Sc 79FLORA is still washing the tree trunk silhouetted against the evening skyFLORA is tearful and sorry for herself. The job has an increased futility as it has begun to rain- STEWART is inspecting her penance. She follows STPWART about the trees. FLORA (sulkily) I know why Mr. Baines can't play the piano. STEWART You've missed this bit. FLORA She never gives him a turn.STEWART stops and looks at her. She just plays whatever she pleases, sometimes she doesn't play at all.STEWART continues through the trees more slowly. STEWART And when is the next lesson? FLORA Tomorrow.FLORA puts her bucket on her head to protect herself from the rain.Sc 80 EXT PATH TO BAINES' DAY Sc 8OThe next day is very windy, the tops of trees are thrashed by fierce gusts of wind and some smaller branches crash to the ground. ADA's long dress and cape flap uncontrollably. FLORA's smaller cape stands out on end. Birds fly in mad wind-battered courses, swooped up then strangely drawn down.Sc 81 EXT BAINES' DAY Sc 81ADA and FLORA arrive at BAINES' place to see the piano emerge from the hut carried by six MAORI MEN, one of whom does nothing but walk beside it "plonking" the keys. Another group of MAORIS sit cross-legged on the verandah playing draughts. Panicked ADA hurries down the hill to the hut. FLORA follows behind.Sc 82 INT BAINES' HUT DAY Sc 82Inside the hut, HIRA, the old woman from the bathing spot, is smoking her pipe. ADA enters distraught and indicates what she has seen. Her face is flushed and whipped by the wind. She is much more expressive than normal. BAINES I am giving the piano back to you. I've had enough. The arrangement is making you a whore and me wretched. I want you to care for me, but you can't.BAINES sits down on a chair and prepares to eat, somewhat ignoring ADA. ADA is confused not quite believing the situation. She watches BAINES for some kind of confirmation. HIRA (softly) George, can I use this comb?BAINES nods. ADA is still watching. HIRA scrapes the inside of her pipe with the comb. BAINES It's yours, leave, go on go!ADA is off balanced by the reversal of attitudes, surprised too, that she doesn't want to go. FLORA is fast to leave, ADA follows to organise and protect her piano on the journey.Sc 83 EXT BAINES' HUT & BUSH DAY Sc 83As she climbs out of the small valley surrounding BAINES' hut, she stops and walks back to look down at BAINES and his hut, in the EXACT same manner that she once looked at her piano from the cliff-top above the beach. BAINES is throwing the scraps of his meal to his dog, he does not look up.Sc 84 EXT PATH TO BAINES' HUT STEEP HILL DAY Sc 84 STEWART, on his way to BAINES, sees THE PIANO BEARERS and ADA way below him in the bush. He scrambles down a steep slope towards them. STEWART (stiffly from some distance) Stop right there'. This isn't yours what are you doing with the piano?The women exchange looks. FLORA He's given it to us. STEWART (out of breath) Hah, you're very cunning Ada, but I've seen through you, I'm not going to lose the land this way. Wait here!STEWART is off, pounding on down through the bush.Sc 85EXT/INT BAINES' HUT/BEDROOM DAY Sc 85 HIRA is sitting on the front step of BAINES' place, blocking STEWART'S easy access. HIRA George sick, he don't wanna see nobody. You got Tupeka for the Hira?STEWART goes around to a side window in BAINES' bedroom. BAINES is sitting on the bed, but lies back as he hears STEWART coming about the side of the house. STEWART opens up the window. STEWART I don't think you should have given up the piano. I will make sure you are properly taught, with music written on to sheets and... BAINES I don't want to learn. STEWART You don't want to learn. BAINES No. STEWART And what does this do to our bargain? I cannot afford the piano if you mean me to pay. BAINES No, no payment. I have given it back. I don't want it. STEWART Well, I doubt I want it very much myself. BAINES It was more to your wife that I gave it. STEWART Well, thank you, I expect she will appreciate it.He closes the window. So that is agreed on?BAINES nods.HIRA has wandered stiffly into BAINES' room. She sits on the edge of his bed. HIRA You make BIG mistake George. In first place you should swap land for wife. Now look, she gone, you no land, no music box, you got nothing.SCENE 86 DELETEDSc87 EXT/INT STEWART'S HUT DAY Sc 87At the door of the hut STEWART is distributing buttons to the piano bearers. One squats catching them as they fall. A commotion begins as one of the MAORIS snatches the whole jar and runs off. Two of them give chase while the others insist on tobacco.11 See NoteInside the hut ADA had lifted the top of the piano and is peering in while playing notes to check tune and damage. STEWART Is it all right? Aren't you going to play something?ADA pulls up a chair and seats herself at the piano. She rubs her hands and places them lightly on the keys, she turns from habit over her left shoulder where STEWART waits crossed armed. Quickly she removes her hands, stands and gestures FLORA to play. FLORA proudly takes ~p the seat, she pulls her lips in trying to control her happiness to say in front of both her mother and STEWART. FLORAWhat will I play?She looks to ADA, who looks back through her not concentrating. STEWARTPlay a gig. FLORA(to ADA) Do I know any gigs? STEWARTPlay a song thenFLORA starts a song, ADA walks past them out of the hut, STEWART ignores her exit moving up to lean on the piano. ADA is seen through the hut window wandering amidst the ghostly, blackened trunks. STEWART'S attention is drawn to ADA, he interrupts FLORA'S singing with a sudden outburst. STEWART(exasperated) Why won't she play it? We have it back, and she just wanders off!FLORA stops to watch her mother through the window. ADA looks towards the house as the music stops. STEWARTKeep playing!Grimly STEWART slaps the top of the piano to FLORA's playing.ADA continues to walk, her face dark and puzzled. She stops. Her head stiffly, irresistibly, lifts and turns in the direction BAINES' hut. She peers deep into the bush as if attempting to penetrate a puzzle. She thinks and walks on.Sc 88 INT STEWART'S KITCHEN DAY Sc 88The next day ADA and her piano face each other across the kitchen. A slit of light falls across the piano highlighting it's rosey walnut wood. ADA's expression is critical and distant.Taking a cloth she begins to clean and polish the piano. Her finger holds down one of the keys and we glimpse an old inscription on its side, a small heart, and an arrow. Putting the cloth aside she sits at the piano to begin playing.She starts with wholehearted feeling, her eyes closed, but before long she is surprised by a moving reflection across the piano and she 'starts', glancing over her shoulder. She stops and begins again. But once more a reflex has her glance across her left shoulder and she pauses in her playing. Disquieted she starts again and again she looks away. She stops, confused, unable to go on, unable to getup, one hand on the lid and one on the piano keys.Sc 89 EXT PATH TO BAINES' DAY Sc 89ADA carrying her cape and bonnet hurries through the narrow bush path to BAINES' hut, FLORA has a fist of her skirt and is pulling back. ADA turns on FLORA and snatches the skirt out of the girl's hand. ADA signs to her and continues on. FLORAWhy? Why can't I?ADA signs again. FLORA(crossing her arms) I shan't practise and I DON'T CARE!But ADA does not wait to listen. FLORA walks back through the bush muttering childish expletives to herself. STEWART and his two MAORI helpers come out of the bush towards her. FLORA squeals with fright. STEWART(looking up the hill) Where's your mother? Where has she gone?FLORA pauses petulant and grumpy. FLORA To HELL!FLORA races off as fast as she can, enlivened by her wickedness. STEWART clambers back up the path. He just glimpses the distant figure of ADA nervously turning, her skirts flying as she hurries up the bush path The wind bothers the tops of the trees, setting them groaning, rubbing their branches against each other.Sc 90 INT BAINES' HUT DAY Sc 90ADA enters BAINES' hut, she is breathless1 announcing her presence by simply being there, standing there. BAINES comes through from the bedroom. Seeing ADA he is aloof, suspicious and his blinking becomes pronounced. BAINES So what brings you here? Did you leave something? I have not found anything.ADA does not respond, finally she looks at BAINES and her look has a vulnerability and frankness that takes him off guard. Does he know something?ADA shakes her head. The piano is not harmed? It arrived safely? Would you like to sit? I am going to sit.ADA does not sit. She stands immobilised. BAINES attempts to maintain his casual charade) he pours a tea.He turns to her about to speak, but stops unmanned by a new fragility to her strength. He blinks rapidly BAINES Ada, I am unhappy because I want you, because my mind has seized on you and thinks of nothing else. This is how I suffer, I am sick with longing. I don't eat, I don't sleep. If you do not want me, if you have come with no feeling for me, then go!BAINES walks roughly towards the door and opens it, his softness turned suddenly cruel. Go! Go NOW! Leave!ADA is stung by his change of tune, she takes a step towards him and eyes filling with tears of anger hits him hard across the face. BAINES' nose begins to bleed yet his face slowly lights up as if she has spoken words of love. ADA is flushed, shocked, the two face each other at this very moment of profound awareness of each other, profoundly equal. With each new breath, with every moment that their eyes remained locked together the promise of intimacy is confirmed and reconfirmed and detailed until like sleepwalkers who do not know how they came to wake where they did, they are standing next to each other and beginning to kiss each other, the lips, the cheeks, the nose. There is nothing practised about their tenderness, only their feelings and emotions guide their instincts. BAINES' face crumples with the exquisite pain of his pleasure, ADA cradles his head to her chest. BAINES struggles through her dress anxious to touch her skin.Sc 91 EXT/INT BAINES' HUT DAY Sc 91Outside STEWART surveys the hut suspiciously. BAINES' dog growls as he climbs on to the small verandah. Carefully STEWART peers through some loosely slatted boards. There are sounds inside which are worrying him. By standing on the seat he has found a spyhole where he can see ADA and BAINES kissing, undressingHe reels back angry, but just as we might expect him to burst through, he steps up to look again; the fatal second look, the look for curiosity. He watches BAINES bare-chested undressing ADA, her buttons burst, ADA laughs, BAINES touches her under her skirts - anywhere, he takes himself under her dress pulling down her stockings. STEWART watches, stepping down to peer lower as BAINES buries into ADA's skirt. He does not seem to notice the dog licking his hand. Suddenly he pulls his hand away and looks at it, wet with dog saliva, he wipes it on the boards and continues watching as if mesmerised.Sc 92 INT BAINES' BEDROOM DAY Sc 92Inside BAINES' small bedroom the raw dark boards contrast with the softness, whiteness of BAINES' and ADA's bodies, The long black strands of ADA's hair stick to her cheek and wrap around her neck. Her face is flushed and her eyes are bright. BAINES rolls his face across her chest, gently, slowly savouring the flavour of her body. Drunkenly they continue their sex slowly, slowly. ADA's breaths turn to low murmurs; these small sounds are extraordinarily moving to BAINES whose face swoons with joy. BAINES What? What? whisper....Sc 93 INT BAINES' BEDROOM&UNDER HOUSEDAYSc 93 As ADA dresses, BAINES sits on his bed watching. He is unhappy, thoughtful. BAINES Now you are going I am miserable, why is that? (He catches her hand and draws her to hint) Ada I need to know, what will you do? Will you come again?ADA is distracted, collecting her buttons from the floor, concerned at the time past, worried to dress and return.The camera cranes down and down to find STEWART wedged under the loose wooden floor slats. He cannot hear clearly, but ADA's hand reaching for each button is only inches away. One falls through a slat on to STEWART'S neck and on down his shirt collar. As she stands he rolls out. BAINES Wait! I don't know what you're thinking. (gently, teasingly) Does this mean something to you? Hey? (Stroking a strand of hair behind her ear) I already miss you. Ada, do you love me?ADA considers this question. Clearly she doesn't know, the question is more complex to her than to him, then as if by way of answer she kisses him strongly and sexually. BAINES pulls away confused. ADA finishes dressing. BAINES comes up behind her to help with the buttons. BAINES (anxiously) Come tomorrow. If you are serious, come tomorrow.ADA turns and kisses him passionately, with the new born enthusiasm of someone who has just discovered their appetite for sex. Then as quickly as she began, she takes her hood and cape and goes to leave. BAINES Tomorrow?She nods and is gone.Sc 94 INT STEWART'S HUT ADA'S BEDROOMNIGHTSc 94FLORA and ADA are both in their white nightgowns. FLORA stands behind ADA on a chair trying to sort out the knots that have matted at the back of ADA's head. ADA shakes her head from side to side playfully, making the difficult job impossible. FLORA Stay still! It's the very worst knots.FLORA tries to hold her mother's head still but ADA's high spirits are unstoppable and her hair flies out from side to side flicking FLORA in the face. FLORA Mama STOP IT!FLORA starts to giggle and retaliates flinging her own hair from side to side. The two women are twirling in the small bedroom their hair flying about them, FLORA is shrieking with the fun, then stops dizzy and sick. ADA continues flicking FLORA as she twirls. FLORA Stop it I feel sick!But ADA doesn't stop, her dark hair whirls about her, as giddy and disorientated, she knocks against the wallsSc 95 INT STEWART'S HUT NIGHT Sc 95Next door STEWART sits on his bed listening, his hair wet and neatly combed. He has a journal of pressed botanical specimens beside him. Hearing FLORA squealing he goes to the kitchen and standing back in the shadows, watches ADA frenetic, whirling through the part open door.80Sc 96 INT STEWART'S HUT ADA'S BEDROOMDAWNSc 96Daylight floods the room as ADA secures the pins at the back of her hair.Sc 97 EXT PATH TO BAINES' DAYSc 97Music builds and plays throughout.) The sky is dark and the wind is ballooning ADA's cape, wrapping it up high around her. The tree tops are swaying furiously. Inside the bush it is dark and ADA hurries up through the path. She is out or breath and glancing behind her as if to guard against followers, when directly in front of her STEWART steps out onto her path. ADA stops short. The look on his face is unlike any expression she has yet seen. His eyes do not look at her, but all about her in a way more animal than human. She lowers her eyes and calling his bluff walks steadily past him. But STEWART takes her arm and spinning her back, pulls her close and blind to all protest kisses her. ADA struggles furiously. His grip falters and she steps back staring at him, then runs off down the hill, but STEWART is on top of her clasping her skirts, pulling her towards him hand over hand, she slips and falls to the ground. STEWART is upon her, lifting her dress, touching her legs, ADA goes quite still, which throws STEWART long enough for her to scramble away, yet again STEWART catches her and again they roll on the ground, STEWART touching and kissing her, ADA turning herself this way and that to avoid it. There is a cat and mouse quality to their mute struggle finally broken by FLORA calling up the path, distraught and in tears, her angel wings have twisted about her waist. FLORA (TOP OF HER LUNGS) Mumma! Mumma! They are playing your piano!STEWART allows ADA to get up and the two women go back down the path towards home. The distant sound of the piano keys thumping.Sc 98 INT STEWART'S HUT DAY Sc 98At the piano and with solemn dignity sits a MAORI WOMAN. She is wearing a top hat and a long black dress, beside her stands the MAORI who absconded with the buttons, most of which he has attached to his jacket. She plays loudly with two closed fists, her companion listens gravely, placidly, blinking at the crashes, two others listen from the doorway, one with his bands over his head.Sc 99 INT/EXT STEWART1S HUT DAY Sc 99FLORA and ADA stand in the hut while fierce hammering can be heard outside. STEWART is boarding over the windows, barricading them in.FLORA joins in the spirit of be exercise gaily pointing out any slats STEWART has missed. FLORA Here Papa!ADA's face pales in the diminishing light. Exasperated by the threatened incarceration she shakes her head with anguish and moving to the piano lifts the lid and plays several bars brutally and strongly. She passes on to the bedroom, where she picks up the small hand mirror and looks at her face puckered with frustration. She touches her face and neck tenderly, then throws herself on the bed, face to the wall, her hands over her ears.FLORA stands over her mother. FLORA You shouldn't have gone up there, should you? I don't like it and nor does Papa. Mama, we can play cards together.ADA rolls over, her eyes closed she pushes her face and body against the mattress. The movement is sensual and removed. FLORA stops dealing the cards on to the bed and watches her mother puzzled.Sc 100INT STEWART'S HUT NIGHT Sc 100It is night and ADA is walking in the dark, ghostly in her white nightgown. She sits at her piano and begins to play loudly and strongly. Her hair is loose and she seems half-asleep. FLORA and STEWART wake to the loud playing and fumble their way to the kitchen. STEWART carries a lit candle. ADA continues her playingFLORA passes a hand in front of ADA's face. FLORA She is asleep, look.One night she was found in her nightgown on the road to London. Grandpa said her feet were cut and bleeding so badly she couldn't walk for a week.The two watch ADA, mesmerised by her compulsive playing.12 See NoteSc 101EXT STREAM NEAR STEWARTS'DAY Sc 101STEWART stands guard while ADA and FLORA wash their clothes in the stream. FLORA is taking the lead, soaping up the clothes, she passes the garments to her mother to rinse. ADA is distracted and as she takes the clothes, she just as soon lets them go and they float off down the stream past STEWART who tries to catch them but can't. Two MAORI BOYS continue the chase, enjoying the fun, thinking it a great adventure. STEWART You are letting the clothes float off... They are floating off.ADA stares off into the distance rocking lightly back and forth as she crouches on a stone. Her dress unhitched floats down the stream behind her.12.See notes FLORA Mama! Look out!FLORA wades across to grasp yet another garment ADA has let drift off.Sc 102EXT STEWART'S DAY Sc 102On the way back to the barricaded hut FLORA swings between ADA and STEWART. FLORA One, two, three One, two, threeADA glances around at the bush. FLORA beams enjoying a feeling of familyness of which she is now the boss. The two women go ahead into the hut which STEWART shuts and secures with a beam.Sc 103INT STEWART'S HUT ADA'S BEDROQOMNIGHT Sc 103It is night. ADA is tossing in the small bed beside FLORA, her hair wound across her face, she makes low moaning sounds as she pushes her face and body up against the sleeping FLORA. Her movement and moans increase until she wakes suddenly sitting bolt upright.Sc 104INT STEWART'S KITCHEN & BEDROOMNIGHT Sc 104ADA walks through the kitchen, small slithers of moonlight lighting her path. She walks past the piano into STEWART'S room who has gone to sleep with his candle still alight. ADA looks, then slowly her hand hovers above him before lightly touching his face. His eyes open, he looks towards ADA anxious and surprised, but as ADA continues, his reserve breaks and he is captive to his own sensations. She pulls down the sheet and strokes his neck, shoulders, chest, he reaches out towards her. STEWART Ada!But ADA scowls and pulls away roughly, STEWART lies back anxious not to break the spell and when he is still ADA continues to caress his chest. His eyes well with tears and he looks up into her face like a child after a bad dream, fearful and trusting. ADA continues like a nurse spreading ointment on a wound, tenderly and attentively she strokes down towards his belly. STEWART'S skin goose bumps and be shudders. He puts his hand on hers to still it1 she slides hers out and continues stroking. He looks at her pleadingly and childlike, she stops and kisses the soft skin of his belly, STEWART groans clutching the mattress. ADA seems removed from STEWART as if she has a separate curiosity of her own.Sc 105INT STEWART'S KITCHEN DAY Sc 105Next day AUNT MORAG stands circling in STEWART'S small darkened house. FLORA and ADA sit quietly together AUNT MORAG Ohhh, it's so dark, it's like a dank cave. NESSIE Yes, like a cave. AUNT MORAG Ohh no, it makes my skin creep!STEWART comes into the house with some logs, AUNT MORAG follows him across to the fire. AUNT MORAG Alisdair, is it because of our play? Have the natives aggressed you?She continues following him to the door.I have to say you have done the wrong thing here, you see you have put the latch on the outside. When you close the door, (and she doses it) it will be the Macna that lock you in, you see? With the latch on that side you are quite trapped. NESSIE (nodding her head in imitation) ... you are quite trapped.AUNT MORAG walks inside and continues to the table where her basket full of clothes and packets of food have been left. She lifts it from the table and begins to spread the cloth. AUNT MORAG We have just come from George Banes' and they have taken him over. It is no wonder he is leaving, he has got in too deep with the natives. They sit on his floor as proud as Kings, but without a shred of manners. NESSIE (in unison) ... without a shred of manners.NESSIE and AUNT MORAG are unpacking parcels of cakes and biscuits on plates putting them about the table. AUNT MORAG He is quite altered, as if they had been trying some native witchcraft on him. Well tomorrow or the day after he will be gone. STEWART Baines is packing up? AUNT MORAG Well he has NOTHING to pack, but he is leaving. And it is just as well; Nessie has foolishly grown an affection for him ... we have had some tearsAt this mention NESSlE's face crumples and tears again begin to flow. AUNT MORAG (very firmly) STOP IT! STOP! NESSIE remarkably obeys, blinking her face back to shape.ADA attempts to disguise her agitation, she moves to the piano and strokes it, she begins to play. I am quite frightened of the way back, we must leave in good light. Will we be safe? STEWART (wanting them gone) If you leave soon, yes, I am sure of it.STEWART and MORAG watch ADA at the piano. Her playing develops until she is fully absorbed. AUNT MORAG is intrigued despite herselfSc 106EXT BUSY ROAD TO MISSIONDAY Sc 106On the edge of the bush beside the dirt road to town AUNT MORAG attempts a discrete toilet stop. NESSIE keeps guard holding up the cape while one of their MAORI charges holds up another. AUNT MORAG You know I am thinking of the piano. She does not play the piano as we do Nessie.The cape begins to droop as NESSIE listens. UP! UP! No she is a strange creature and her saying is strange like a mood that passes into you. You cannot teach that Nessie, one may like to learn but that could not be taught.NESSIE again lets the cape droop. Up! Your playing is plain and true and that is what I like. To have a sound creep inside you is not all pleasantA fluttering sound in the bush. what is that? NESSIE (frightened) Ohhhhhh! MARY/HENI (slow, relaxed) A pid-geon Auntie.The party finish and hurry a little spooked on the road to town.Sc 107INT STEWART'S ROOM NIGHT Sc 107It is night. ADA enters the room, STEWART looks at her shyly. STEWART I've been hoping you would come.ADA strokes his brow. STEWART closes his eyes, breathing heavily relieved. ADA strokes the nape of his neck and on down his back. STEWART'S face puckers, his eyes fill with tears. She strokes so softly, the tenderness is shocking to him. Gently she pulls his under-garment down, exposing his buttocks. STEWART grabs nervously at them, hauling them up with his hands. ADA unclenches his fist and once more, slowly pulls them down. She begins to stroke his buttocks, STEWART is painfully eroticised, painfully vulnerable, he begins to weep, the intimacy and soft-ness unman him and he is helpless. STEWART sits up hunching over himself, retreating STEWART I want to touch you Why can't I touch you? Do you like me?Slowly he raises his head to look at ADA. She looks back moved by his helplessness, but distanced as if it has nothing to do with her. Do you?ADA does not respond. STEWART slumps into disappointment and despair. Why? Why not?!Sc 108INT STEWART'S KITCHEN DAY Sc 108The next morning, ADA, FLORA and STEWART sit together in the small dark hut. FLORA preens a miniature landscape of moss and tiny branches all piled on a dinner plate. A slit of sunlight falling across the top small branches gives it a magical glow. FLORA's small dirty fingers push in another 'tree', she looks up happily FLORAThis is going to be Adam's tree and then I'm going to make a serpent to live here, with a very long tongue. (She pokes her tongue out and waggles it).STEWART reads, he glances at ADA who is glum and lifeless.Sc 109INT STEWART'S HUT DAY Sc 109ADA and FLORA wake to sunlight streaming in on their faces, more and more of it as STEWART rips the boards from the windows FLORA runs about in nightgown and boots happy to be in the sunlight. ADA winds her hair into a bun. STEWART walks inside, he packs food and fencing equipment STEWART (Clears his throat) We must both get on. I have decided to trust you to stay here. You will not see Baines? (ADA nods) Good, good. Perhaps with more trying you will come to like me?Sc 110EXT STEWART'S DAY Sc 110ADA hangs out washing restlessly scanning the bushline. A tiny STEWART walks along the crest of the hill, eventually dropping out of sight.Sc 111INT STEWART'S HUT DAY Sc 111Inside the hut ADA is pacing, anguished and frustrated. Impulsively she picks up a knife from the kitchen table, opens the back of the piano and cuts one of the keys loose. Carefully she engraves on the side in Victorian handscript.DEAR GEORGE, YOU HAVE MY HEART. ADA McGRATH.Sc 112EXT STEWART'S DAY Sc 112Under the sheets FLORA has constructed a dolls' clothes line on which she hangs small strips of cloth ADA hands her the key wrapped and tied in white cotton. ADA signs. Her black shadow behind the sheet recalls the macabre play. No!The little girl continues defiantly with her miniature washing. ADA rips the washing line up and flings it aside. FLORA is shocked, stunned. She takes the key and walking off she turns and shouts. FLORA We're not supposed to visit him'.ADA signals GO!Sc 113EXT PATH TO BAINES' AT FENCEDAYSc 113At the junction of the path to BAINES' hut is the beginning of STEWART'S boundary fence. At this place FLORA has paused. She looks back to see if her mother is watching; she's not- FLORA turns sharply right so that she now follows alongside STEWART'S boundary fence and-away from BAINES' hut.Sc 114EXT HILLS WITH FENCE DAY Sc 114The fence appears and disappears behind hills. Flora too dips behind the hills to reappear on the other side. She sings a brisk song to herself. FLORA The grand old Duke of York. He had ten thousand men etc.Sc 115EXT VALLEY WITH FOXGLOVE & FENCEDAYSc 115She pauses in one of the valleys, stifled by clumps or tall, mauve foxglove.Sc 116EXT COMPLETE FENCE ON HILLDAY Sc 116The fence line seems endless as the tired FLOW4 trudges up yet another hill but from there, she can see where the fence finishes, half way up the crest of the next hill and at this point is STEWART, driving in a new fence post. He is watched by MANA and his friend who squat passing a pipe between themselves. MANA strums tirelessly on his buttons. FLORA Mumma wanted me to give this to Mr. Baines.She holds out the cotton covered piano key. STEWART looks up. I thought maybe it was not a proper thing to do. STEWART keeps working, hammering the post into the earth. Shall I open it? STEWART No!!He stops and takes the key, suspicious and uncomfortable. He slowly unwraps it and turning it over reads it. Squeezing the key in his fist, STEWART staggers off in a daze, He returns, picks up his open pack spilling the nails. Finally he drops the pack and the key) and leaves with only his axe. FLORA follows confused. The MAORIS waste no time investigating the booty. MANA presses the piano key repeatedly. MANA Knare e Wainta! Kaare e Wajata! (no sing, no sing)Sc 117EXT STEWART'S DAY Sc 117The sky is dark and rain is falling heavily as STEWART strides fast towards the hut, his axe swinging in his hand. FLORA is far behind him, her angelwings sodden.Sc 118INT STEWART'S HUT DAY Sc 118STEWART bursts into the hut, his wet hair is splattered against his forehead. his face is white. ADA looks up from her book, moving her hands from the table. STEWART swings his axe hard. It slices into the table, splitting a section off her book. ADA pushes her chair back. STEWART (exasperated) why? WHY? I trusted you!He pulls the axe out of the table and swings it at the piano. WHY?ADA runs forward to restrain him, but it sinks deep into the wood. The struck piano lets ont a strange resonant moan. I trusted you, do you hear? I trusted you. I could love you.He takes her by the wrist. Why do you do this? Why do you make me hurt you? Do you bear? Why have you done it? We could be happySTEWART shakes her violently. You have made me angry. SPEAK!!Sc 119EXT STEWART'S HUT & WOODCHOPDAY Sc 119He pulls her out of the hut, past the now terrified FLORA. You shall answer for this. Speak or not you shall answer for it!He drags her out through the mud, towards the wood chop. It is raining hard.ADA sees where they are headed and suddenly she is very scared. She bucks and struggles, but STEWART is infinitely stronger. At the wood chop she breaks free and crawls away through the woodchips and mud. But axe in hand he grasps her by the neck of her dregs, then her hair, and pulls her backwards towards the cutting block. There, he takes her right hand and holds it in place with his boot, so that only ADA's index finger shows, ADA's head is held twisted between the wood chop and STEWART'S leg. STEWART (anguished) Do you love him? Do you?! Is it him you love?ADA blinks rigid with fear. The rain is driving down. FLORA No, she says NOOOOOO!!!The axe falls. ADA's face buckles in pain. Blood squirts onto FLORA's white pinafore, her angel wings are splattered in mud. FLORA (Screaming) Mother!!ADA stands. She looks faint, her finger is pulsing blood, she shakes her hand then seeing the blood she puts it behind her back shocked. She watches FLORA, concerned and confused. Uncontrollably her whole body starts to shake and as if by reflex ADA begins to walk. FLORA trots parallel to her. FLORA Mama!ADA keeps walking blindly like her being depends on it. Her face is ashen, her eyes fearful as she walks unseeingly straight into a large tree stump. She sinks into the mud.STEWART wraps the finger in a white handkerchief and gives it to FLORA who backs away from him terrified. FLORA (quietly) Mama. STEWART Take this to Baines. Tell him if he ever tries to see her again I'll take off another and another and another!The figures seem tiny amidst the rain drenched skeleton forest.SCENE 12O DELETED*Sc 121EXT MAORI PA DAY Sc 121The formal farewells are over and HIRA and BAINES finishes shaking hands and pressing noses with her people.HIRA holds his arm, she is sad and tearful. He places his hat on her head affectionately and slips her a much appreciated tin of tobacco.A soft rain begins to fall. BAINES and HIRA make their way past the Meeting House and the low sleeping houses to the Pa entrance where his horse waits, HIRA I worry for us Peini. Pakeha cunning like wind, KNOCK you over, yet you not see it. Some they say, how can pakeha get our land if we won't sell it?"A crowd of children run beside them, dogs scurry off and pigs are kicked out of the way, their owners protesting loudly. Some hold mats over their heads to protect themselves from the rain, one has a battered umbrella. HIRA They wrong Peini. We need guns to hold it.BAINES mounts his heavily laden horse. MANA pushes forward to say his farewell, but is abruptly shoved aside, evidently unpopular with the others. BAINES glances over and sees the piano key the man has fashioned into an earring. HIRA (angrily)I worried Feini. What's gonna happen you, you go home, but where we go? We got nowhere to go.HIRA's voice rises as BAINES lets go of her arm and rides through the group towards MANA. He takes the piano key in his hand, MANA pulls back. MANA (In Macit) It is mine. I found it.BAINES turns it over and finds the writing on it. BAINES (urgently) Homni 'ci au. (I want this.) SUBTITLED MANA (sulky) Ncrr! Naaku. It’s mine. Me find it BAINES He aha to hiahia? Ask for it? Tobacco? (What do you want?) SUBTITLED HIRA (still angry) Gun, ask for his gun!MAYA rubs his nails up and down his buttons while he considers what he will have. OTHERS - Nga rarahe (The glasses) - Wana Putu -Te whitiki, gettem ehoal (The belt) UNSUBTITLEDSc 122EXT MAORI PA DAY Sc 122Outside the Pa walls near the kumera gardens, HIRA holds BAINES' saddle bags. It is raining hard as he rides out, hatless, shoeless and gunless, but clutching to his chest ADA's engraved key. HIRA Go Peini ... Haere atu e Peini. BAINES I'll be back.Sc 123EXT SCHOOL DAY Sc 123BAINES crosses through the pony paddock of the one room colonial school hall, school house. He has a piece off flax knotted around his waist to bold up his trousers. In the paddock are five very shabby looking rides'. one huge old wagon horse, built to carry a whole family, down to a tiny sour looking Shetland. The girls have long, stained, once white pinafores and everyone wears boots that seem too big, except the little boy who has the front cut off his hoots so his toes can hang out.Four little girls play a sedate game of skip rope, using a bush vine. BAINES watches, noticing in particular a little girl of about 9 with a bock. The boys and some of the wilder girls play BullRush.NOTE SCENE 123 REPLACES SCENES 124 AND 125DELETE SCENES 124 AND 125Sc 126EXT GENTLE STREKM DAY Sc 126The girl with the book goes off sit by a little stream. BAINES follows and sits beside her. BAINES Can you read?The little girl immediately closes the book and walks off.The girl keeps walking, before she turns about to watch him from a safe distance.Another little girl drops down from a tree. TREE GIRL I can. BAINES You can read? (She is very small.) TREE GIRL Yes ... lots of things.The skipping group of girls join them. BIG SISTER She can't read, she's my sister, I ought to know. Are those sweets? TREE GIRL I can read! BIG SISTER She can't.BAINES holds out the packet to the little girl. Don't give her one.BAINES does anyway. BIG SISTER She can't read.The little girl throws the lolly paper away, which one of the other girls picks up and sniffs, she hands it to the others. Mmm Caramels BAINES Can you read?He holds out the piano key BIG SISTER takes it with great authority, her friends crowd behind her. She frowns at the writing. She turns it over. BIG SISTER Running writing, we haven't done that yet. READING GIRL Myrtle can read it, her mother taught her.The key is snatched from BIG SISTER and given to MYRTLE, the girl with the book. The others crowd around. MYRTLE (frowning) D e a r G e o r g eThe children look over at BAINES to see if this is right so far. You (in unison)... have BIG SISTER That's "My". MYRTLE Its not an M BIG SISTER Yes it is. MYRTLE & BIG SISTER Dear - George - you - have - my MYRTLE heart? (She pulls a face as if it doesn't make sense) Ada McGrath. BIG SISTER It doesn't make sense.The little girls read it again together. MYRTLE turns the key over matter of factly to see if there is more writing. MYRTLE That's allThey all look up at him. BAINES Say it again, just you.Everyone turns and listens to MYRTLE MYRTLE Dear George you have my heart, Ada McGrath.She gives a little "Is that all?" gesture. BAINES You say it. (He points to BIG SISTER, who has a crazy deep voice.) BIG SISTER Dear George you have my heart, Ada McGrath.Another little girl spontaneously recites the message. And so does another. Through all this BAINES keeps his bead down shaking it in disbelief and shy happiness. He starts to laugh with relief and pleasure. The little girls think it is something funny in the line and continue to repeat it, which each then appears to give BAINES fresh pleasure. Meanwhile the smallest of the girls is quietly helping herself to the sweets.SCENE 127 DELETEDSCENE 128 DELETEDSc 129EXT BAINES’ DUSK Sc 129BAINTS rides up to his house in the evening light He is silly with happiness. HIRA comes running out to meet him HIRA Peini, Peini, liddle gel. I seen her come up here, scream, scream . blood on her. Look bad... very badBAINES jumps off his horse and strides into his hut.Sc 130INT BAINES' HUT DUSK Sc 130Inside he finds FLORA crouching in a corner, her face is white, tear stained and splattered with mud. Her angel wings are squashed behind her and blood stained. On seeing BAINES she cries with renewed pain and relief BAINES What has happened? Hush, hush, what is it?FLORA thrusts the wrapped finger at BAINES. He takes the blood soaked object and unwraps it. The finger unravels into his hand, he reels back groaning, choking about to be sick. FLORA (yelling) He says you're not to see her or he'll chop her up! BAINES (angry, horrified) What happened?But FLORA cannot speak. She bursts into loud sobs. BAINES kneels in front of her shaking her. TELL ME! TELL ME!BAINES stops shaking her, she scrambles away and out the door. BAINES chases after her.Sc 131EXT BAINES DUSK Sc 131FLORA screams as he catches her. BAINES Quiet down! Shhh! Where is she? FLORA (whimpering) He chopped it off BAINES Jesus! I'll kill him! I'll kill him. What did she tell him? (shaking her) What? HIRA Put her down Peirn She is liddle.HIRA takes the quivering FLORA in her arms. There girl. thereBAINES notices the blood on FLORA'S dress, he touches it, she shys away.Sc 132EXT STEWARD'S HUT NIGHT Sc 132STEWART walks outside his hut disconsolate.Sc 133INT STEWART'S HUT NIGHT Sc 133STEWART enters ADA's room with a lamp. He puts it down beside her on the table. He studies her pale face and dry lips. ADA's eyes flicker open. STEWART (speaking to his feet) I lost my temper. I'm sorry.STEWART looks at ADA. STEWART You broke my trust, you pushed me hard, to hard. (he sighs) You cannot send love to HIM you cannot do it. Even to think on it makes me angry, very angryADA opens her eyes and looks at STEWART. It is evident she hears nothing and has understood nothing, she is struggling with pain. Her face grimaces and she groans. STEWART I meant to love you. I clipped your wing, that is all.STEWART sings two lines of an English love ballad to ADA. STEWART We shall be together, you will see it will be better...Her forehead is damp with fever. She thrashes at the blankets. STEWART pulls them off to cool her. He feels her brow. STEWART (whispering) ... my love bird.Her nightgown is damp with sweat and clings to her body. STEWART reaches out to adjust her gown, his hand touches her leg and he holds it there, feeling a tingle of pleasure, that grows and builds the longer his hand remains. STEWART Ohhhhh my loveHis hand begins to move further and further up her leg, nudging the nightgown higher and higher. He looks at her face. She is closed-eyed, unconscious. STEWART'S face crinkles into a pained expression and all his control melts into a drive to hold and extend this moment. He brings his mouth to her leg and begins to kiss her knee, her thigh. A new thought occurs to him, a terrible thought, but as he has phrased the thought to himself, he cannot resist it. He glances at her face still fevered and unconscious. Quietly, stealthily, he begins to undo his belt buckle. He bends across her to gently separate her legs. As he moves his body over her, he looks towards her and to his shame and horror she is looking directly back at him, her eyes perfectly on his, perfectly focused. Quietly STEWART moves back and pulls down her gown, all the time keeping his eyes on her. STEWART You are feeling better?ADA's lips move slightly and STEWART turns suddenly as if he has heard something. Slowly he turns back to ADA.STEWART looks at ADA intently, moving closer to her bed, closer to ADA his eyes locked on hers. STEWART What...?The sound of his own voice makes him blink. He watches her as if listening to her speak in a voice that is so faint, and distant, that only with great concentration and perseverance can he make it out. As he watches her his face transforms; his eyes fill, his lips soften and his eyebrows take on the exact expression of her own.The kerosene lamp burns fitfully, fluttering a light pulse across their faces. STEWART moves closer to ADA. Outside a wind bangs the iron roof and rubs branches against each other making a high-pitched see-saw sound. He leans closer still.Sc 134EXT STEWARTS NIGHT Sc 134STEWART carrying a candle in a glass box makes his way through ghostly tree stumps. In his other arm he has his gun.Sc 135EXT/INT BAINES' NIGHT Sc 135At BAINES' hut STEWART steps over the curled figure of HIRA sleeping on the verandah and walks through the hut towards the bedroom where a lit candle flickers.Sc 136INT BAINES' BEDROOMNIGHT Sc 136In the bed lies FLORA wrapped in a blanket with BAINES beside her, axe in hand, both fast asleep. STEWART nudges BAINES awake with the butt of his rifle prodding him under the chin. BAINES wakes rudely with a start, frozen by the sight of STEWART and his rifle. STEWART Put that away, on the floor.BAINES obeys, careful not to disturb the sleeping child. STEWART sits near the bed on a box, resting his gun across his knee, his face is glowing, he looks closely at BAINES, examining him. STEWART I look at you, at your face. I have had that face in my head hating it. But now I am here seeing it ... it's nothing, you blink, you have your mark, you look at me through your eyes, yes. you are even scared of meSTEWART laughs. STEWART Look at you!BAINES watches him stiffly, disconcerted, unable to read STEWART'S strange mood. STEWART stares back at him. STEWART (softly) Has Ada ever spoken to you? BAINES You mean in signs? STEWART No, words. You have never heard words? BAINES No, not words.STEWART nods. STEWART Never thought you heard words?BAINES shakes his head. STEWART (slowly) She has spoken to me. I heard her voice. There was no sound, but I beard it here (he presses his forehead with a palm of his hand). Her voice was there in my head. I watched her lips, they did not make the words, yet the harder I listened the clearer I heard her, as clear as I hear you, as dear as I hear my own voice. BAINES (trying to understand) Spoken words? STEWART No, but her words are in my head. (he looks at BAINES and pauses) I know what you think, that it's a trick, that I'm making it up. No, the words I heard, were her words. BAINES (suspiciously) What are they?STEWART looks up at the ceiling as if reciting something he has learnt by heart and means to repeat exactly as he heard it. STEWART She said, "I have to go, let me go, let Baines take me away, let him try and save me. I am frightened of my will, of what it might do it is so strange and strong".BAINES recovering himself eyes STEWART angrily. BAINES You punished her wrongly, it was me, my fault.STEWART does not answer. Finally be looks up, his eyes full with tears. STEWART Understand me. I am here for her, for her I wonder that I don't wake, that I am not asleep to be here talking with you. I love her. But what is the use? She doesn't care for me. I wish her gone. I wish you gone. I want to wake and find it was a dream, that is what I want. I want to believe I am not this man. I want my self back; the one I know.FLORA moves and turns in her sleep. The two men watch. Her brow frowns then smoothes. Her eyelids roll as her eyes dart back and forth in dream.Sc 137EXT STREAM NEAR BAINES'DAY Sc 137HIRA washes out the mud from FLORA's dress and angel wings in a bush stream.Sc 138INT/EXT STEWART'S DAY Sc 138ADA's trunks are delivered outside STEWART'S hut by AUNT MORAG and her girls. ADA is led from STEWART'S hut by NESSIE. She wears a black dress and her arm is tied in a white sling. The light outside makes her blink. NESSIE smoothes her hair behind her shoulders. FLORA timidly peeps at her mother from behind BAINES.Sc 139EXT BUSH ON WAY TO BEACHDAY Sc 139The piano is carried on ahead while in the secrecy of the bush BAINES kisses ADA passionately. She looks back at him worried.Sc 140EXT STEWART'S HTJT DAY Sc 140STEWART is fencing his new land. Suddenly be looks off in to the far distance.Sc 141EXT BEACH DAY Sc 141On the beach ADA sits looking out to sea while FLORA plaits her hair in one thick braid behind her back. She places the bonnet carefully on top At the sea edge in front of them the piano is being loaded on the canoe.Sc 142EXT BEACH DAY Sc 142HIRA and BAINES are next to each other by the canoe. HIRA is looking at ADA, HIRA I worry for you. BAINES No, I love her, we will be a family. I have her piano. I will mend it, she will get better. HIRA I miss you.Sc 143EXT AT SEA/BEACH DAY Sc 143The sea is choppy and the piano is difficult to steady in the canoe. BAINES helps the rigging of the piano, thick rope ends coil under the women's feet. HIRA is left on the shore with one child and two other MAORI people.Tears run openly down her big sad face as she sings her farewell to BAINES. HIRA He rimu teretere koc ete. Peini eeeii, Tere 'Ci Tawhiti 'ci Paniamao eeeii He waka Teretere He waka teretere. Ko koe ka tere 'ci tua whakuere eeeii. You are like seaweed drifting in the sea BAINES. Drift far away, drift far beyond the horizon A canoe glides hither, a canoe glides thither But you though will journey on and eventually be beyond the veil~) UNSUBTITLED (by Selwyn Mum) MAROI OARSMEN Tarinaharawa - alanel tahuri ai. (It's too heavy - the canoe will tip over.) SUBTITLED BAINES Keite pail Kaare e titahataha aria. (It's all right! Look it's nicely balanced.) SUBTITLED ANOTHER OARSMAN (Shrugging) Te-hau-jua-kahake te pupuhi. (The wind is already strong.) ANOTHER OARSMAN Leave it - its too heavy. BAINES No, she needs it, she must have it.SCENE 144 IS NOW COMBINED WITH SCENE 143 SCENE 144 DELETEDSc 145EXT AT SEA/BEACHDAY Sc 145The canoe has paddled away from the shore. FLORA leans over the edge of the canoe, her mouth open, her hair held back by BAINES. FLORA I can'tBAINES rubs her back. FLORA straightens up. I can't.They retake their seats, FLORA's back to the piano, while BAINES sits next to ADA. He tenderly takes her good hand. ADA removes hers and signs to FLORA who looks at her mother then BAINES amazed. BAINES What did she say? FLORA (puzzled) She says, throw the piano overboard. BAINES (to ADA) It's quite safe, they are managing...ADA signs again. BAINES (Cautiously) What? FLORA She says, throw it overboard. She doesn't want it. She says it's spoiled BAINES I have the key here, look, I'll have it mended...ADA mimes directly to BAINES, "PUSH IT OVER". Her determination is increasing. MAORI OARSMAN Ae! Peja. Turakina'. Bushit? Peja te kawheha kite moana. (Yeah she's right push it over, push the coffin in the water.) SUBTITLED BAINES(softly, urgently) Please, Ada, you will regret it. It's your piano, I want you to have it.But ADA does not listen, she is adamant and begins to untie the ropes. FLORA (panicking) She doesn't want IT!The canoe is unbalancing as ADA struggles with the ropes. BAINES All right. sit down, sit down.ADA sits, pleased. Her eyes glow and her face is now alive.BAINES speaks to the MAORIS who stop paddling and together they loosen the ropes securing the piano to the canoe.As they maneuver the piano to the edge ADA Jocks into the water. She puts her hand into the sea and moves it back and forth.The piano is carefully lowered and with a heave topples over. As the piano splashes into the sea, the loose ropes speed their way after it. ADA watches them snake past her feet and then out of a fatal curiosity, odd and undisciplined, she steps into a loop.The rope tightens and grips her foot so that she is snatched into the sea, and pulled by the piano down through the cold water.Sc 146INT SEA NEAR BEACH DAY Sc 146Bubbles tumble from her mouth. Down she falls, on and on. her eyes are open, her clothes twisting about her. The MAORIS diving after her cannot reach her in these depths. ADA begins to struggle. She kicks at the rope, but it holds tight around her boot. She kicks hard again and then with her other foot, levers herself free from her shoe. The piano and her shoe continue their fall while ADA floats above, suspended in the deep water, then suddenly her body awakes and fights, struggling upwards to the surface.Sc 147 EXT AT SEA BEACH DAY Sc 147As ADA breaks the surface her VOICE OVER begins: ADA (VOICE OVER) What a death! What a chance! What a surprise! My will has chosen life!? Still it has had me spooked and many others besides!ADA coughing and spluttering is pulled on to the canoe. She is wrapped in jackets and blankets.Sc 148INT SEA NEAR BEACH DAY Sc 148Underwater we see the canoe bottom, its oars dipping the surfaceSc 149INT ADA'S NELSON DRAWING ROOM DUSK Sc 149 ADA (VOICE OVER) I teach piano now in Nelson. George has fashioned me a metal finger tip, I am quite the town freak which satisfies! I am learning to speak. My sound is still so bad I am ashamed. I practice only when I am alone and it is dark.ADA's hands move across the piano keys, her metal finger shines in the dull light.DISSOLVE TO:Sc 150INT ADA'S NELSON DRAWING ROOM NIGHT Sc 150ADA paces up and down the small drawing room. There are no lights on only a dim blue evening wash. Over her head she has a dark cloth, her voice makes low guttural sounds as it repeats the vowels.DISSOLVE TO: Sc 151INT SEA BED NEAR BEACH DAY Sc 151 ADA (VOICE OVER) At night! I think of my piano in its ocean grave, and sometimes of myself floating above it. Down there everything is so still and silent that it lulls me to sleep. It is a weird lullaby and so it is; it is mine.ADA's piano on the seabed, its lid fallen away. Above floats ADA, her hair and arms stretched out in a gesture of surrender, her body slowly turning on the end of the rope. The seaweed's rust coloured fronds reach out to touch her.THERE IS A SILENCE WHERE HATH BEEN NO SOUNDTHERE IS A SILENCE WHERE NO SOUND MAY BEIN THE COLD GRAVE, UNDER THE DEEP DEEP SEA.(Hood)NOTES AND EXTRA DIALOGUE1.Sc 10 SEAMAN'S DISCUSSIONThe wind and the low manner of their speaking makes it impossible to hear the exact nature of the discussion.-'Tis a dead shore, a dead shore-Leave her here, it's what she wanted.-A pox on you!-Ay very nice, leave her and be lynched for the pleasure. -Do what you like, I'm off this shoreETC.2.Sc 12 ART DEPARTMENT NOTEADA's finger is seen INSIDE the dark crate sounding a few notes3.Sc 15 TRANSLATION NOTE(i) With the MAORI language dialogue of BAINES and the MAORI PEOPLE, the general scheme is that only when necessary to sense or humour will subtitled translation be given. However for the benfit of its readers this script will translate everything noting what will and won't be subtitled.(ii)EXTRA MAORI DIALOGUE SC 15Awe!(What wag that?)-He Kehua?(Is it a ghost) UNSUBTITLED (iii)Many of the MAORIS have coughs, running noses and sores. (They have no immunity to European diseases.)(iv)MAORI NAMESMENTnTameVitoHotuHoneParaTipiKahu (boy)WOMENTaiAni4.Sc 19(i)BACKGROUND DIALOGUE FOR BEGINNING OF SCENEHe ahu te rarurarti(what happened?) SUBTITLEDI konei tonu, ka moe te koroua nei. (He just decided to go to sleep) SUBTITLED(ii)BACKGROUND DIALOGUE FOR END OF SCENETaiho. Kei muri pea inga rakan nei. Auc!Tino matatoru konei.Me haere ake ano an ki runga.(Hold on maybe behind this clump. Gee theundergrowth is thick here. I'll come up again.) UNSUBTITLEDKahore ne huarahi - kahorene tutae.(No track, no shit) UNSUBTITLED5.Sc 29ADA's piano piece duration approximately 90 sees.6.Sc 30Duet 20-30 sees7.Sc 33FLORA's singing 20 sees8.Sc 34HENI/MARY phrasing of National AnthemHENI/MARYGot safe ah gayshy QuinLong hf a gayshy QuinOat shayf a QuinShendab WikitoriaHar - py en a ClohriaLong to rain ourushGot Safe ah Quin9.Sc 37 TRANSLATION NOTE:Who is it that rumbles within?Is it Ruaumoko, is it Ruaurnoko?Jab, smash, jab, smashJab, smash, jab, smashThe Taniwha, the Taniwba.That is within ... He! UNSUBTITLED10.Sc 65 The mud around the School Hall is so deep that a labyrinths of planks is setup to avoid it.11.Sc 87 Extra dialogueMAORI PIANO CARRIERSTahi Patene ruapuri pateneTekan patene ornatekau pwari patene(One button, two bloody buttons.Ten buttons, twenty bloody buttons.)'cia Whai tarau ano ra monga patene! (We need pants for the buttons eh!)He patene te kai, he patene te kai A popo ka tiko patene ahan patene ma nga tangata katoa.(Buttons for food, buttons for food. Buttons for everybody. By tomorrow I'll be shitting buttons.)12.Sc 100 Approximately 60 sec. of ADA's piano playing. \ No newline at end of file diff --git a/unformated_scripts/Script_Pineapple Express.txt b/unformated_scripts/Script_Pineapple Express.txt new file mode 100644 index 0000000000000000000000000000000000000000..0ef724d714b649111e450c1dbb40c1a4e79c1244 --- /dev/null +++ b/unformated_scripts/Script_Pineapple Express.txt @@ -0,0 +1 @@ + PINEAPPLE EXPRESS Written by Judd Apatow, Seth Rogen & Evan Goldberg November 28, 2006 EXT. FARMLAND - DAWN IN BLACK AND WHITE, A black 1930s Cadillac speeds down the only visible road amidst endless plains of farmland. The road curves sharply ahead - the car accelerates. Ignoring the turn, the Caddy drives directly off the road and through a massive field of emptiness. The car abruptly stops in the middle of the vacant field. GENERAL BRAT (58, a patch covers one of his eyes) and AGENT BLACK SUIT (an agent in a black suit) step out of the car. Although there is clearly nothing in sight for miles, the General scans his surroundings with concern. TITLE CARD UP: THE PAST Agent Black Suit crouches down and pulls open a METAL HATCH in the ground. Both men walk down the hatch and into the earth. INT. UNDERGROUND FACILITY - MOMENTS LATER They descend a metal staircase and walk with great urgency down a narrow corridor. The hallway spills into a hauntingly huge metal room with a lone SCIENTIST standing in the middle. The Scientist immediately begins leading them across the room. GENERAL BRAT When did it start? SCIENTIST At 05:00. We're seven minutes in. INT. OBSERVATION LAB - CONTINUOUS The three men enter a large room divided by a one-way mirror. On their side, numerous SCIENTISTS, utilizing several archaic devices, are busy at work monitoring the subject on the other side of the mirror. The subject: PRIVATE MILLER (22, naive and dutiful) sits at a small table with a microphone on it. Miller raises his hand, REVEALING a smoldering JOINT. 2 He takes a long and awkward hit from the joint and bursts into a coughing fit. The scientists begin to scribble profusely as their devices blink manically. General Brat and Agent Black Suit exchange a concerned look. The General lights a cigarette as the Scientist steps up to a small microphone in the corner. SCIENTIST (into microphone) Private Miller, we are now going to ask you several questions. How do you feel? His voice booms through large speakers on Miller's side of the room. Miller leans towards the microphone. PRIVATE MILLER Uh, I feel a little queer sir. But... It's good. Good queer. (beat) Sir. Good queer, Sir. The scientists scribble madly. One of them mumbles into General Brat's ear. PRIVATE MILLER (CONT'D) But...uh...even though I feel queer, Sir, I should mention that I'm also feeling quite gay...so, a little queer, but mostly gay. SCIENTIST Private Miller. When you think of your superiors, what emotions do you feel? PRIVATE MILLER (holding out the joint) This went out...Sir. SCIENTIST We will send someone in. Now answer the question. A door opens beside Private Miller and an AGENT steps out wearing an intricate uniform that resembles an old fashioned diving suit, an air hose leading out the door that he came from. He slowly walks toward the Private, who looks at him in shock. SCIENTIST (CONT'D) (O.S) (through speakers) Private Miller? Answer the question. 3 PRIVATE MILLER Oh...um...what was the question again? The Agent in the strange suit reaches the private and holds a lighter up to the joint. SCIENTIST (O.S.) (through speakers) What are your emotions towards your superiors? Miller pulls at the joint until it is lit again. The Agent exits the room. PRIVATE MILLER COUGH COUGH Fucking shit. (beat) Well, now that I think of it, it's strange that they are called my `superiors'. Does that make me their `inferior'? I mean, that's pretty fucked up. General Brat scowls. GENERAL BRAT (curtly to the scientists) I've seen enough. Shut it down. Bury the hatch, sell the land, and dispose of him. This never happened. Instantly, the scientists start packing up their equipment. Staring at Miller, General Brat grabs a RED PHONE and dials. Two Agents in the scuba-like suits emerge from behind Miller and start aggressively dragging him away. PRIVATE MILLER (freaking out) Hey! What the...what are you guys doing! Let go of me! (desperately looking at the mirror) Sir!!! Sir!!! Help me!!! GENERAL (into phone) This is General Brat. We've reached a final conclusion on Item 9. (beat) Illegal. He hangs up the phone. 4 CUT TO BLACK. TITLE CARD UP: THE PRESENT INT. DALE'S CAR - CONTINUOUS DALE DENTON (late 20s, out of shape, slightly unkempt) looks out of place in his black suit as he drives he sits in his cluttered and worn old lady car. He smokes a joint while listening to talk radio. TALK RADIO DJ Well, let's look at the facts. Financially, coins are better because they're cheaper, and environmentally, forget-about-it, coins win hands down. For those just joining us, we're with caller Dale Denton discussing if America should lose the paper dollar bill. We see that Dale has a wireless ear piece in. DALE Of course not! Who wants a pocket full of coins? Seriously. Weighs down your pants, clangs around. With all this unnecessary new security everywhere, we'll be setting off alarms left and right! TALK RADIO DJ We certainly do, Mr. Denton. Crude, but to the point. Next caller! Dale puts away his phone and pulls up in front of a nice house. EXT. FRONT DOOR - MOMENTS LATER Dale, wearing a name tag that reads "Garth", holding a clip board and wearing a greenpeace hat, knocks repeatedly on the door. A woman cautiously answers the door. WOMAN Um, I didn't order a pizza. DALE Excuse me, miss? Are you Sandra Danby 5 WOMAN Uh...yea- Dale shoves an envelope into her hand. DALE Sorry, miss, but you've failed to show up to your divorce proceedings 4 times under court order. You've been served. WOMAN Oh great! Thanks a lot asshole! Real clever! Go fuck yourself! Dale dashes back to his car as the upset woman starts to open the envelope. INT. DALE'S CAR - SOON AFTER Dale is driving and smoking a joint. He looks at his check list - it is a list of people he served that day. He's only got a few left. He listens to a different talk radio dj while playing music from a tiny iPod boom box that sits in his passenger seat. TALK RADIO DJ 2 ...forget about Area 51, Roswell sightings, Atlantis and the Boogie Man, let's talk about real threats, threats to our home and security... DALE Fuckin' eh. His iPod starts playing HOT STEPPA by INI KAMOZE. DALE (CONT'D) Nice! Hot Steppa! Dale turns down the talk radio and puffs away at his joint; he enthusiastically dances in his car while singing along. DALE (CONT'D) (singing) You think you know, chico/I know what Bo, don't know/touch them up and go - uh oh!/ Chi-chi-ching-chang!!! 6 INT. OFFICE BUILDING - LATER Dale, wearing a Zerox hat, walks into the building. SECRETARY Can I help you? DALE Just here to check out some units. The secretary nods and goes back to her work. Dale casually waltzes down the office halls looking at the names on the doors. He glances down at his clipboard, it read: Walter Tandum. He finds the office and knocks on the door. WALTER (O.S.) Come in. Dale enters to see Walter, a 40 year old accountant, seated at his desk. WALTER (CONT'D) Oh! Hey there. Are you here to fix the fax machines? DALE Nope. Dale drops a blue envelope on Walter's desk. DALE (CONT'D) You owe American Express $4068 dollars. Sorry, but you've been served. Dale turns and walks away. As he does, he notices a small kitchen. He enters and is delighted at the array of snacks and beverages. He helps himself. INT. DALE'S CAR - LATER Dale is parked at a look-out enjoying the food, smoking weed and has his ear piece in. RADIO DJ 3 What gives you the right to say that? DALE Everything! They should be able to collect garbage TWICE a week. Why not? (MORE) 7 DALE (CONT'D) As a tax payer, can't I say that? Come get my garbage a bit more! Is that so f- ing crazy? I'm not asking for free beer Tuesday's or anything. And the whole city would be more aesthetically pleasing and smell better. And don't pretend you can't smell it. Ever been to New York? Great place, smells like piss, though. (takes a hit and starts coughing) Twice a week, cough might fix that. (starts coughing harder) Hold on one sec. EXT. HOSPITAL - LATER Dale gets out of his car, followed by some plumes of smoke, and goes to his trunk. He chuckles as he takes out a lab coat and walks towards the hospital. INT. HOSPITAL - SOON AFTER Dale, looking very professional in his lab coat, rushes to reception. DALE I need Dr. Terrence, immediately. RECEPTIONIST Of course. One moment. The receptionist immediately picks up the phone. INT. HOSPITAL - MOMENTS LATER DR. TERRENCE runs towards reception, where Dale is still waiting. DR. TERRENCE (to Dale) Hi there, I don't think we've met, I'm- DALE Dr. Edgar Terrence. You're the guy who repeatedly refused to take care of the monkey tree that spills onto your neighbors property. And now, because of that, you've been served. 8 INT. DALE'S CAR - LATER Dale hits a pipe. It is clear he strongly disagrees with what the DJ is saying. TALK RADIO DJ ...stay in your own country. Five simple words. And stay the hell out of mine! I'm not a racist, per se, but I'm not some hippy tree humper. We see his ear piece and hear that he is on hold. DALE Let me through, damnit. EXT. HOTEL - VALET Dale, wearing a chauffeur hat, stands by the main entrance holding a sign that reads: JOSH CORBER. A man walks out of the hotel and, seeing the sign, approaches Dale. CORBER My name's Corber. DALE You're Joshua Aaron Corber? CORBER (overjoyed) Get out of town! Clarice did this, didn't she? I was just telling her before I left how I've never been in a limo. Can you believe it? 35 and I've never been in a limo. Man! It's not stretched, is it? Dale hands him a BLUE ENVELOPE. DALE Sorry, but you've been served. Dale walks away. CORBER opens the envelope and reads it. CORBER Ah fuck! (reads more) Fuck! You fucking asshole!!! FUCK! 9 Dale completely ignores Corber as he dumps the sign and walks out of the airport. Then, a huge smile comes across his face. He has noticed a nearby Burger King. DALE (excited) Hey! Nice. New chicken fries. He happily walks toward the food. INT - DALE'S CAR - DAY Dale sits in his car outside a high school. An array of Burger King wrappers surrounds him as he rolls a joint with the last of his weed on top of a Batman comic. He lights the joint and turns on the radio. RADIO DJ ...3:09 in the PM and we- Dale turns off the radio, takes one last haul, and then snubs out the joint. He then pulls out a small leather kit and sifts through it's contents: handi-wipes, hand sanitizer, a little vial of cologne, Visine, mouthwash and breath mints. Dale vigorously wipes his hands, face, and mouth with wet naps and then starts futilely attempting to put visine in his blazing red eyes. Frustrated, he squirts Visine all over his finger tips and simply rubs them into his eyes. He uses the mouthwash, chews up a mint, dabs on some cologne, and then gets out of the car. EXT. HIGH SCHOOL - CONTINUOUS Dale walks towards the school. ANGIE Dale! Dale turns to see his attractive 19 year old girlfriend, ANGIE ANDERSON, walking towards him with her group of friends. She kisses him. ANGIE (CONT'D) Mmm. Minty. ANGIE'S MALE FRIEND Yo Dale. `sup. 10 DALE Hey Kyle. (to Angie) So, should we head back to my place and finish up the trilogy? Matrix: Revolution. Whose it gonna be, Angie? Man or machine? ANGIE Of course. But can we just head to my locker first? I left some stuff by mistake. DALE Sure. INT. HIGH SCHOOL - SOON AFTER Dale and Angie walk hand in hand towards the locker. ANGIE So, are you going to come over for dinner tomorrow, `cause my parents are beginning to think I made you up. DALE Well, yeah, I really want to meet them. Tomorrow, tomorrow, tomorrow...let me think. ANGIE You don't have to feel weird about it. They know how old you are and they're fine with it. They just want to meet you and see that you're a cool guy and that I'm not dating you just because you're older. DALE Of course. I know that. It's just...tomorrow's tight. I've got a whole bunch of cases that I can finish tomorrow. It's probably going to take me into the night. ANGIE Fuck. Well, then you have to just come over sometime this week or something, okay? `Cause it's getting weird for them. 11 DALE I will. I promise. I'm not trying to avoid this, for real, I've just been crazy busy. TEACHER Hello? Can I help you? Dale and Angie turn to see a TEACHER, a guy about the same age as Dale. DALE Pardon? TEACHER You can't just waltz in here and hit on the students. Get out now before I- ANGIE Mr. Edwards, he's my boyfriend. Mr. Edwards looks at Dale, then shoots Angie a confused look. MR. EDWARDS This is your boyfriend? How old are you, 30? DALE 24. MR. EDWARDS And you're dating an 18 year old? ANGIE I'm 19. I moved here from Morocco. Dale doesn't know what to make of Mr. Edwards comments and looks. MR. EDWARDS Alright, well this school is for students and faculty only. Friends can't just stop by. DALE Dude, you may be a teacher here, but we're about the same age, so don't get all high and mighty. It's not that weird. Frankly, it's natural. 12 MR. EDWARDS Well, in that case, get off school property or I'm calling the Police Liaison officer. Angie, no offense to you, but if this guy's dating someone your age, it's because nobody his age will date him. Then, four HANDSOME AND FIT STUDENTS walk by. HANDSOME STUDENT Hey Angie. You were hilarious in drama today. Angie smiles at the guys. Dale doesn't like how all this is going down. DALE I'll wait in the car. INT. DALE'S CAR - MOMENTS LATER Dale and Angie sit in the parked car making out. ANGIE So, do you want to get some food? DALE No...actually I can't. I have to go serve a guy. ANGIE Now? DALE Yeah. It sucks. I'm sorry. We can hang out later though. You can come over. ANGIE We'll see if Neo is truly the one. They share a long kiss, and Angie gets out of the car. Dale watches her walk away, then whips out his cell phone and hits speed dial. SAUL (O.S.) (over phone) Yo? 13 DALE Yo. It's Dale. Mind if I come by and pick up some shit? INT. SAUL'S APARTMENT - LATER SAUL SILVER is constructing a CROSS-SHAPED JOINT (two joints that intersect one another). Pot and paraphernalia are scattered all over the coffee table. A large "Scarface" movie poster hangs on the wall. There is a knock at the door and Dale enters. DALE What's up, Saul. SAUL (unpleasantly surprised) What the fuck?!? DALE What? SAUL I didn't buzz you in. How the monkey did you get in here? DALE Whoa...sorry, man. someone just let me in. I- SAUL That's fucked up, man! This building is filled with fuckin' assholes. What else is the buzzer for? Fuck. DALE I'll buzz next time, man. I'm real sorry. I'm just not familiar with your, uh...protocol yet. SAUL Hey, stuff your sorry's i n a sack, bro. We're always cool. It's those fuckin' jaggoffs. DALE Um...sure. Dale awkwardly sits down on the other side of the couch. 14 SAUL Brass tacs. I've got this new bud. Unfortunately, it's a few more bones, but fortunately, it's hands down the dopest fuckin' shit I ever smoked. And I've smoked some dope fuckin' shit. DALE Better than that Blue Oyster weed? SAUL Dude. Seriously. It's like if that Blue Oyster shit and the Afghan Kush I got had a baby, and meanwhile, the craziest Northern Lights and that red-ass Espresso Snowflake had a baby, and then by some miracle those babies met, and fucked - then this would be the shit they'd birth. Saul pulls out a big bag of weed. He places it on the coffee table as though it was his child. He pulls out a large bud. SAUL (CONT'D) Smell it. Dale takes the weed and looks at it. It looks spectacular. Bright red hairs and large crystals, huge purple and blue leaves - just spectacular! Dale smells it and is taken aback. DALE What is this? It's spectacular. SAUL It's called Pineapple Express. My guy Red told me it's when this Hawaiian flood takes special dirt to the weed or some shit. It's pretty scientific. And I'm the only guy in the whole city who has it. And, its only ten bones more for a quarter. DALE So...can I get a quarter? SAUL No doubt. Just let me grab my scale. Saul walks into another room. Dale looks around anxiously; he clearly wants to go. 15 A moment later, Saul comes back into the room and sits down. Dale notices that he didn't bring anything back from the other room. Saul notices Dale looking at him strangely. SAUL (CONT'D) What's with the look? What? DALE Where's the scale? SAUL Oh shit! The scale. Be right back. Saul hustles into the other room. SAUL (O.S.) (CONT'D) (from other room) You know what's weird? How sometimes, your brain just chooses to like, not keep things in it, you know? (beat) Fucking scale. (beat) Shit. Where is it? Dale checks his watch and then looks at the door; suddenly, something catches his eye - it's the cross- joint Saul was constructing. DALE Holy shit! What the fuck is this thing? Saul comes back in and puts a small electronic scale on the coffee table. SAUL (nonchalantly) Ah, the cross-joint. You've never seen one of these? Not surprising. They are, like, the apex of the vortex of joint engineering. NASA built the first one in the eighties. Saul chuckles at his joke as he places some weed on the scale. DALE You can actually smoke that contraption? Saul puts Dale's weed in a baggie. 16 SAUL You light all three ends at the same time, then, you smoke it as it resonates the main section, creating a "trifecta" of smoking power. It's like, three times as powerful as a normal joint. Dale hands Saul some money and Saul gives him his weed. Dale lingers for a moment. DALE Well, be careful with that thing. Dale gets up and heads to the door. SAUL Dude...you wanna smoke this thing with me? Dale turns around. He clearly wants to smoke it, but he tries to play it cool. SAUL (CONT'D) I can't even light it on my own. Dale sits back down on the couch, giddy as a schoolgirl. DALE (excited) Wow. So like, uh...so like, so like what do I do? Saul gathers three lighters from the coffee table. SAUL Alright. Firstly you light these two ends. Then I will light the tip, making the trifecta complete. Are you ready? Dale nods and they light the joint. Saul tokes hard; plumes of smoke fill the air as he bursts into a COUGHING FIT. DALE Holy... Dale takes the joint and hits it, exploding into a coughing fit. SAUL It's...uh, it's good to cough. COUGH It opens the COUGH capillaries...gets you twenty-five percent higher. (MORE) 17 SAUL (CONT'D) And that, combined with the pineapple weed, and the cross-joint COUGH you're a good thirty to forty times higher. I don't know the exact math, but, pff, you're pretty fucking gong-showed. You know what I mean? Saul takes a toke. Dale coughs HARDER and HARDER. He seems like he might throw up. SAUL (CONT'D) It's crazy. The better the weed, the more I wish I could think of how to explain what's so good about it, but the...uh, the better it is, the less shit I can think of in total, you know? Saul passes Dale the joint, obliviously dropping ash all over his suit. Slightly agitated, Dale brushes it off. SAUL (CONT'D) Okay, so, like, you've been buying from me for, like, a few months now and I really gotta ask. (beat) What's with the suit? DALE I'm a process server. SAUL You`re a servant? Like, a butler. DALE No, process server. Saul looks confused. DALE (CONT'D) I'm hired to give people papers they don't want. It's pretty much the easiest job on earth. SAUL Nice, man. Where'd you get that job? Dale takes a big hit from the joint. DALE Well...uh, I got a totally useless degree two years ago, then I did nothing for a year, then my dad got so fed up he hooked me up. 18 They both revel in the thought. DALE (CONT'D) I got it pretty sweet, though. Today? I smoked like five joints, gave out some pieces of paper, and I ate some Burger King- SAUL Hey man, did you get those new chicken fries? Dale passes the join to Saul. DALE Yeah man. I'd get on that shit. They're fucking mind blowing. So, then I hot- boxed my car and then...got some action from my girlfriend. Saul laughs at this. SAUL Does she smoke pot? DALE A little. She's in high school. SAUL That's fuckin' sweet! Ilegal love! You're like Jerry Lee Lewis. I just read his biography. DALE No, no. She's 19. SAUL (dissappointed) Oh. It's still cool I guess. DALE Yeah, it's awesome, although I think she's getting old enough where she's realizing I don't do much. And these high school guys these days. They're all roided out and going to Harvard. Even on my best days, I look like a fat, dumb piece of shit next to them. SAUL Whatever, man. It sounds like you got it pretty good. I wish I had a job that easy. Fuck. 19 DALE Dude...you've got, like, the actual easiest job in the world. SAUL Hey! You're right, man. I never thought of it like that. DALE You can actually do whatever the hell you want. You get to sleep all day and people come buy weed at night. Dale passes Saul the joint. SAUL That's totally true. Except tomorrow. Thanks to that bitch daylight savings, I gotta go change my grandma's clocks forward at 7am. Or 8am. I seriously can't figure it out. DALE Sorry to hear that. Saul passes Dale the joint. SAUL Yo, so, like, what have these people done that you go after? DALE Let's see...tonight I'm going after- Dale pulls a blue envelope out of his pocket. DALE (CONT'D) Ted Jones. He forgot to pay his- SAUL Dude! My guy, Red, gets his weed from a Ted Jones. He's, like, #1 supplier in town. Maybe it's him! DALE I doubt that, man. There's probably a lot of Ted Joneses's out there. SAUL Yeah, but not like this one, man! He's what I want to be one day. He's like the "Jesus of Weed". So...I guess he's like Jah. Or Scarface. 20 Saul points to his Scarface poster. The joint ends. After a few moments it seems as though their ability to have a conversation burnt out with the joint. They sit in awkward silence. Dale gets up. DALE Well Saul, that was crazy. Thanks. SAUL No worries dude, peace. They slap each other five and Dale exits. Saul turns on the TV. Saved By the Bell is on. It makes Saul chuckle. INT. DALE'S CAR - NIGHT Dale cruises down side streets and locates Ted's house. It is a large well-to-do home. Having difficulties, Dale parks in between two cars across the street. He turns off the engine and starts smoking a joint. SUDDENLY - FLASH! Two head lights appear up the street. Holy shit! It's a COP CAR! He sits still, holding the joint between his legs as the cop car drives past and...parks a few cars down! The FEMALE COP walks up the block - TOWARDS DALE'S CAR! DALE Oh shit on me. Fortunately, the COP crosses the street and walks towards Ted's house. Confused, Dale watches as she is let in. Dale waits a moment and then re-lights the joint. He tries to see into Ted's house as he takes a MASSIVE TOKE. BANG! A SILENCE SHATTERING BLAST comes from Ted's house. Dale holds the toke in and tries to keep quiet as he focuses on the large front window. SUDDENLY, the drapes are torn down by an ASIAN MAN as he falls forwards and crashes through the front window! Dale watches in horror as a LARGE GREY-HAIRED MAN and the Female Cop step forward and shoot the Asian man! BLAM! BLAM! Blood splatters! Dale starts COUGHING UNCONTROLLABLY! He starts the car and, in a panicked fit, tries to pull out. CRASH!!! He smashes directly into the car in front of him! He flicks the roach out onto the grass and slams the car in reverse - CRUNCH!!! He backs into the car behind him! Still hacking his lungs out, Dale drives away! 21 The Grey-Haired Man and the Female Cop sprint out of the house in time to see Dale's distant tail lights vanish into the darkness. Something catches the Grey-Haired Man's eye - a trail of smoke rising from the grass. He lowers his blood-stained hand and picks up...DALE'S ROACH! He brings it to his nose and sniffs, then rips open the paper and examines the weed closely. TED Pineapple Express. INT. SAUL'S APARTMENT - MOMENTS LATER Saul is laying on his couch watching Saved By the Bell, laughing so hard that he's crying. SAUL Ha! Ha! Ha! Screech. Suddenly, the BUZZER sounds repeatedly. SAUL (CONT'D) (mumbles) Fucking hell. He grudgingly walks to the intercom and presses talk. SAUL (CONT'D) Hello? He presses listen. DALE (O.C.) (through intercom) ...me in! Let me in! Let me in! Let me in! It's Dale! Let m-- Saul casually presses the talk button. SAUL (annoyingly casual) Denton? Dale Denton? He smiles to himself, then presses listen. DALE (O.C.) (through intercom) ...the love of shit, let me in! Pleeea- Annoyed, Saul buzzes him in and unlocks the door. 22 SAUL (to himself) ...fucking, don't smoke that shit if you can't handle it. A moment later, Dale, completely freaking out, BURSTS through the door and SLAMS it shut. SAUL (CONT'D) (startled) Dude, whoa. What the fuck are- DALE He fucking killed him, man! SAUL Be quiet, man, I got neighbors- DALE (quietly) He killed him! SAUL (loud) Somebody killed somebody?!? DALE Yeah, man! I can't believe it. A cop! A lady, and a guy. SAUL Somebody killed a cop, a lady and a guy? DALE No! A guy! SAUL A cop killed a guy? DALE No! A cop and a guy killed another guy! The lady and the guy...No, a fucking woman, a police woman, and an old guy, shot a guy, a younger guy, in the fucking window at Ted's house! SAUL Was the guy Ted? DALE Which guy? 23 SAUL I don't know, the old guy who shot the guy? DALE I don't fucking know. He was this big, old, grey haired guy with a gun, and he fucking took him, and he shot him! Right there in the fucking window! BAM! SAUL I heard Ted's got grey hair! DALE And they saw me! They saw me see them shoot the guy! Saul jumps to his feet. SAUL What!?! They saw you?!? Why the fuck did you come here? Did they follow you?!? Saul dashes to the window and peeks out. SAUL (CONT'D) Did they follow you here!?! DALE No! I panicked. I was having a coughing fit, I crashed, I crashed into a car. Fuck, two cars. They must've heard at least. They knew someone was there. SAUL But they don't know it's you? DALE No. I don't think so. No. SAUL So...they're not coming here? Dale shakes his head, on the verge of tears. Saul shrugs, sits back down, then picks up his joint and re-lites it. SAUL (CONT'D) Cool. So, what's your game-plan? You gonna call the cops? Cause if you do, I'd appreciate it if you left my shit out of this shit. 24 DALE I'm not calling the cops - one of them was a cop. They could all be cops! SAUL Did you see any blood? Was it sick? DALE Yeah. I saw some blood. SAUL I wonder who the guy he shot was? DALE I don't know, who do drug dealers kill? It was probably another drug dealer. He was Asian. Are there Asian drug dealers. SAUL Hell yeah, man. The Koreans teamed up with, like, the Vietnamese or some shit. They're crazy mother fuckers. Number two in town. (beat) Heh. Ted's cappin' the competition. Yo, you want some of this? Saul passes Dale the joint. Dale takes the joint and frantically smokes as he paces. SAUL (CONT'D) So, like, exactly what was the sequence of happenings? DALE I'm sitting across from Ted's smoking a massive joint of that weed you sold me- SAUL Oh, the Pineapple Express. It's so rare it's almost a shame to smoke it, like killing a unicorn...with, like, a bomb. DALE When I threw it...out...the window... Dale stops pacing and stares at Saul. He then looks down at the joint of pineapple weed. Saul notices wheels turning in Dale's head. SAUL What? 25 Dale continues staring at the joint. DALE This weed is actually that rare? SAUL (proudly) Yeah, it's like, "the rarest". DALE So, you are actually the only guy in town with this weed? SAUL Fuckin' rights, I am. Red told me he was giving me an "exclusive sneak preview". DALE And am I the only guy you gave it to? SAUL Yeah. So, we're the only guys. DALE But, like, another dealer, couldn't identify it, the pineapple weed? Like, if they found a roach of it, right? Saul thinks for a moment. SAUL I could. Why? DALE (panicking) We should go, we shouldn't be here! We should go! SAUL No...seriously, why? DALE I left a roach of this weed in front of Ted's house! SAUL So what? I leave roaches all over fucking town. 26 DALE No, listen - they could find the roach and say, "This is pineapple weed, Saul's the only guy in town who has pineapple weed, therefore he must have witnessed the murder or know who did - let's go kill him." Finally, Saul understands. SAUL Mother of fuck! He SPRINGS to his feet and BOLTS for the door. SAUL (CONT'D) Let's go! Dale grabs Saul and stops him. DALE Wait! SAUL Why!?! Let go of me! Let's get the fuck out of here! DALE Saul, wait! Grab anything we might need, like your weed and money and stuff. Saul grabs his bag of weed and shoves it in his backpack. They run for the door. DALE (CONT'D) Are you sure you're not forgetting anything? SAUL Yes! Come on! INT. SAUL'S APARTMENT HALLWAY - MOMENTS LATER Saul and Dale run to the elevator and frantically press the button, terrified for their lives. SAUL Fuck! I forgot something! Saul runs back to his apartment, leaving Dale alone and frightened. Saul BURSTS back out of his apartment holding his cell. 27 SAUL (CONT'D) Dude, I was so scared going back, I thought there was gonna be guys there, and then you'd be gone, and there was this music in my head- DALE We'll take the stairs, it'll be faster. They scramble towards the distant stairwell. Almost at the door, they hear the DING of the elevator arriving. DALE (CONT'D) Go back! Go back! They DASH back to the elevator. Dale shoves his arm between the doors and they hop in. Saul rapidly presses the LOBBY button as the doors shut. They're both on the verge of hyperventilating. DALE (CONT'D) Okay, man. We gotta try to relax. SAUL Why?!? DALE We don't want to draw attention. SAUL (freaking out) Whose attention!?! You think they could be down there? In the Lobby? Right now!?! DALE I don't know! Who knows? Just try to be cool. DING The elevator SUDDENLY STOPS on the second floor. DALE (CONT'D) SAUL Oh my god!!! Ahhh!!! The doors OPEN! There's no one there. The doors close. SAUL What the fuck was that? DALE That was bad - Calm! Calm! Calm! The elevator stops at the lobby and the doors open, they step out, bumping into two rough looking guys. 28 DALE (CONT'D) Oh. Pardon. Dale and Saul quickly leave as the bikers enter the elevator. INT. SAUL'S APARTMENT - MOMENTS LATER The rough looking guys, BUDLOFSKY and MATHESON, kick in Saul's door and dash into the room, guns drawn. Matheson spots a smoldering joint in the ashtray. MATHESON Look. Budlofsky whips out his cell and hits speed dial. BUDLOFSKY Ted? He's gone, but he was just here. I think he knew we were coming. INT. DALE'S CAR - CONTINUOUS Dale peels out of his spot and down the road. DALE Okay, what do you know about Ted? SAUL What? Ted? Nothing. For all I know he's tracking us with space satellites right now! He's got grey hair, that's all I knew. Saul checks behind them. SAUL (CONT'D) Let's go to your place. DALE No way! What if they did see my license plate!?! SAUL Okay, so let's got to a hotel, or a motel, or a Holiday Inn. DALE Well, how much money do we have? 29 SAUL All I've got is the seventy-five you gave me. DALE That's it!?! SAUL Well, how much money do you have? While Dale gets out his wallet, Saul opens Dale's change tray. It's full of roaches. DALE Uh...nine bucks. SAUL Well, shut up then! I've got more than you! DALE Fine. Forget the hotel. A tense beat. SAUL I wish we could just go nowhere. DALE Okay...where's nowhere? EXT. FOREST - CONTINUOUS The car is parked on a small dirt path in the moon-lit woods. Dale paces back and forth as Saul walks over. DALE So what do we know? Nothing. We may or may not be followed because we don't even know if he found the roach or not. And, we could just be completely crazy. But, the question is this: even if he found the roach, how could he know where you were? SAUL (thrilled) He couldn't. Cause I'm in the woods. It's impossible! Unless he's, like, hanging on the bottom of the car or some shit, but I mean- 30 DALE No, what I mean is, if Ted found the roach and identified the weed, how could he connect it to you? SAUL There's no way. He could only find out from Red. DALE Who is this Red guy? SAUL Red's pretty much a middleman between Ted and guys like me. And we're mad fucking tight. One time he convinced some girl he knew to give me a hand-job within, like, five minutes of me meeting her. DALE But let's say someone calls asking who he sold this pineapple weed to, he'll say you, because...why wouldn't he? SAUL Fuck that. That's bullshit. He would have called me if that happened. A hand-job, Dale! Imagine if I'd gotten you a hand job by now! DALE Yeah, but Saul, he's a fucking drug dealer. SAUL So? I'm a fuckin' drug dealer. What, you don't trust me then? Saul stares at Dale, who doesn't know how to respond. DALE Um...I...call him. Yeah, sure, call him. SAUL Thank you! Pleased, Saul pats Dale on the back. DALE You're right. You are. I'm just being paranoid. Sorry, dude. 31 Saul takes his cell phone out and presses speed dial. We hear someone pick up. RED (O.S.) (through phone) Ow! Hello? SAUL Yo, Red. You okay man? RED (O.S.) Saul! Oh. I, uh...stubbed my toe. Red sounds nervous. SAUL Dude, watch the toes. Wear shoes in the house. But Red, I gotta get straight to brass tacs, I need a favor. RED (O.S.) Sure man, anything. I'm Red. SAUL You sure as fuck are, buddy. So, you know how you gave me some of that pineapple express stuff? Don't tell anyone you gave it to me. RED (O.S.) Sure man, no problem. Red swears it, hombre. SAUL So, can I come on over now? Dale waves his hands in front of Saul's face. DALE (louldy whispering) No! We should do it tomorrow! SAUL (covering phone, talks to Dale) I'm in the middle of a convo, man. Let's just go and get this shit over with. DALE Come on, man. Tomorrow. I'm scared shitless. I want to think things through before I do anything. Let's go in the morning. Please. 32 Saul looks around the dark forest. SAUL Yeah...okay. Less scary shit happens in the day. Dale nods. SAUL (CONT'D) (into phone) Red? RED (O.S.) (talking to someone else) -I can hear him talking to someone, so- Yo! Saul? So, you're gonna come by in the morning? SAUL Yeah, right after I see my grandma. RED (O.S.) Sure, your Grandma's retirement home- Ow! Fuckin' stupid god-damn toe. I, uh, is that the one on Granville and 41st. SAUL Yeah man. I've only got one. So, we'll be chillin' by noon. Saul gives Dale the thumbs up. RED (O.S.) Well, cool brother. Noon it is. SAUL We should definitely hit up the casino again sometime. RED (O.S.) For sure. We should definitely hit up the casino. Saul hangs up the cell. SAUL Nice. Now let's do some fucking stone cold chilling. I'll role a jigga, on the house. 33 INT. RED'S APARTMENT - MAIN ROOM - CONTINUOUS RED, 30, stalky and short, sits between the BUDLOFSKY and MATHESON BUDLOFSKY Why isn't he coming now? What did you say? RED (incredibly afraid) I didn't say shit, man! There was another guy there and he said tomorrow! MATHESON Why did he mention the casino? The Asians run the casinos. Is Saul Asian? RED No, man! This worries the thugs. MATHESON This might be more than we thought. BUDLOFSKY Than you thought. I thought it would be more than you did. I'll call Ted. EXT. FOREST - CONTINUOUS SAUL I always liked smoking weed in the forest. Saul lights a joint and starts smoking. He passes it to Dale. Dale puffs. They look around at their expansive, dark surroundings and immediately become overwhelmed with paranoia. Saul notices a shooting star zip across the sky as Dale takes out his cell phone. DALE I'm going to go call Angie. Make up some bull shit. As Dale dials, Saul, paranoid from the pot, looks at his cell phone. He takes another hit, and then looks up to the sky again. He looks back at Dale's phone. Dale starts to walk off. 34 SAUL Dale...wait! Saul snubs out the joint and runs over to Dale. SAUL (CONT'D) Yeah, the phone...I mean, I don't know how this shit works, but...can cops... you said they might be cops...could they triangulate our phones or trace `em or some shit like that? I don't know. I feel like I've seen that. Dale stares at Saul, then flips open his phone - beep SAUL (CONT'D) I mean, shit Dale, maybe they can trace them when we're not even on them! Dale takes a hit as he looks up to the sky. Just then, a loud rumbling noise is heard. DALE What the fuck is that?! The rumbling gets louder. DALE (CONT'D) Are we on fucking "Lost"?! What the hell is that?! SAUL It's them!!! The noise builds to a deafening crescendo as the guys dive behind a tree stump. A moment later, a JUMBO JET buzzes overhead, heading towards the nearby airport. Dale and Saul pop up. SAUL (CONT'D) Holy fuck. That was close. DALE (clutching cell phone) You know what? You're right. We should just get rid of them. We should just smash `em. Dale looks at his phone, which is a new, expensive Razor. DALE (CONT'D) Fuck. I just bought this thing. Maybe I can just take the batteries out? 35 SAUL No! Smash it! Dale sighs, then SMASHES his phone on a rock. Saul looks at Dale, then HURLS his phone into the woods as hard as he can, sending it SAILING into the FOREST. SAUL (CONT'D) Shit! DALE What the fuck was that?! Dale tosses the joint aside. SAUL Fuck! I was trying to throw it at that tree! DALE What tree? SAUL That one. Saul points out a group of trees about 30 feet away. SAUL (CONT'D) It was a cheap piece of shit. Came free with the plan. It must've smashed when it landed. DALE Who the fuck knows?!? I don't know!! Why couldn't you have just smashed it on a rock like a normal person? SAUL I was trying to smash it! How often does a guy smash things? I'm rusty. Fuck. DALE Did you at least see where it landed? SAUL Over there, somewhere. Wait! We could call it! DALE With what? I just smashed my phone! They look into the scary dark depths of the woods. Both of them are clearly terrified. 36 SAUL Man, it's not like they got McGuyver workin' on the case. I bet they can't even triangulate it. DALE Well, then you shouldn't have said anything, cause now you've convinced me that they can! SAUL Fine! Fine. Let's just find the stupid thing and get back to doing what we were doin'. Horrified, they cautiously inch into the forest. DALE Do you see it? SAUL Dude, this is the scariest place I've ever been in my life. They nervously walk on. SAUL (CONT'D) You ever see that movie where all the people are in the woods and they slowly get killed? DALE The "Blair Witch Project." SAUL No...Shit. That one's way scarier than the one I was thinking of. Mine had Arnold Shwartzenegger in it. Now I'm thinking of the fucking Blair Witch. They inch forward, nervous. DALE (whispering) Stop! They both freeze. SAUL (whispering) What- 37 DALE (whispering) Sshh! SAUL (whispering) What is- DALE (whispering) Sshh! Can you hear that? SAUL (whispering) What? DALE (whispering) Just listen. Saul listens. SAUL (whispering) I literally hear nothing. (gasp) Wait... SUDDENLY, Saul SPRINTS off into the darkness! DALE SAUL!!! Dale looks in horror as Saul vanishes amongst the trees. SAUL(O.S.) (screaming in pain) ARGHHH!!! Dale hears a loud THUD. Scared for his life, he SPRINTS in the opposite direction! He weaves in between the trees, avoids some rocks and tree roots, stumbles on some loose dirt, then SLAMS half his body against a tree and FALLS HARD. ANGLE ON: SAUL Saul gets up, covered in dirt. Panting, he looks around the forest and sees no one. He thinks he hears something and SPRINTS off! WHAM! He trips on a tree root and SLAMS into the ground. 38 ANGLE ON: DALE Dale stumbles to his feet while futilely trying to wipe the dirt off his suit. DALE Shit. Saul hears Dale and whips around, breaking a twig - CRACK Dale looks towards the noise, then SPRINTS off. Saul hears someone and BOLTS in the opposite direction. Like chickens with their heads cut off, they both scramble through the woods trying to evade their imaginary enemies. Dale spots his car! He jumps in and SLAMS the door shut. He's about to turn the ignition, but stops. Panting and wheezing, he sinks into his seat. BAM! Something slams into the car. DALE (CONT'D) AAAAAHHHHHHH!!! Dale sees Saul BANGING against the passenger side door. SAUL (muffled through the window) Let me in! Let me in! Dale unlocks the car and Saul JUMPS in. SAUL (CONT'D) Let's go! Go! DALE Is there anyone even out there?!? SAUL I don't know! DALE If you don't know then why the hell did you run like that?!? SAUL I don't know! I'm freaking out, man! Let's just go! 39 DALE No! We're not going anywhere! SAUL But there could be something out there! DALE There's nothing out there, that's why we're here. God, man, you scared the fucking shit out of me. SAUL Well, I'm not getting out of the car. I'm staying in the car. A moment of silence. They both look around. There is clearly nothing out there. Dale turns on the car. Talk radio comes on. RADIO DJ -white accent walls would go nice with a dark colored room, say a burnt sienna, but don't forget... SAUL Talk radio? You fuckin' joshin' me? Why don't we just shoot ourselves in the nuts? DALE Shut up, okay? It's my car. SAUL Fine. Well, I'm going to smoke a joint before I go to sleep, and don't worry about it, even though you're being a dick, it's on the house. DALE Don't do me any fucking favors. I got my own. SAUL Thanks to me! DALE Shut up. Dale and Saul start rolling separate joints. 40 INT. DALE'S CAR - THE NEXT DAY Dale slowly wakes up. He stretches, and then shakes Saul. DALE Saul. Saul. Get up. Wake up. Saul opens his eyes and realizes where he is. SAUL Fuck me. DALE What's the time? SAUL (groggy) It's too early. Saul brings his wrist up close to his eyes. SAUL (CONT'D) It's... Saul stares at his watch, confused. SAUL (CONT'D) This can't be right. DALE What does it say? SAUL It says, uh... Saul looks outside towards the sun. SAUL (CONT'D) It couldn't be three in the morning, could it? DALE It's three o'clock!?! We were supposed to be there at noon! SAUL (excited) Wait! My grandma's clocks! It's daylight savings! (beat) Fuck! No! They go forwards an hour! Dammit- 41 DALE It's four o'fucking clock?! SAUL -I didn't go to my Grandma's! Fuck! And we've gotta call Red. DALE (angry) How? Dale digs in his pockets for the keys. SAUL We'll find a pay pho...fuck! His number was in my phone! Dale notices the keys are in the ignition. DALE You remember where he lives, right? SAUL Yes, I remember. What the hell is that supposed to mean? Are you insinuating I'm forgetful? That's right, I know the word insinuating. DALE Let's just get out of here. He turns the keys. NOTHING. He tries again. NOTHING. DALE (CONT'D) What the fuck? Come on. He tries twice more, but nothing happens. DALE (CONT'D) (pissed off) I think the battery's dead. SAUL Are you fucking serious? He tries again. DALE It's dead. SAUL It's dead? 42 Dale shoots Saul an angry look. SAUL (CONT'D) What the fuck happened? How did this happen? DALE How? We fell asleep! SAUL Yeah. With your stupid talk radio. No surprise, that stuffs, like, made to put people to sleep. Frustrated, Dale tries to gather his thoughts. DALE We gotta...let's just...we'll walk. We'll walk to a road and hitchhike to Red's. SAUL For real? Dale opens his door and hops out. DALE Yeah, "for real". We'll be late, but we'll get there. Then we can fix this insane situation. MONTAGE: - Dale and Saul walk down a seemingly unused forest road, each smoking their own joint. - Saul points out a giant caterpillar crawling on a leaf. Dale is grossed out. Saul pokes the caterpillar and then blows weed smoke onto it. DALE (CONT'D) Stop fucking around, man. Come on. Leave that thing alone. - They emerge at the highway and try to hitch a ride. - Dale notices Saul has his thumb sticking out of his zipper. SAUL It's like, my thumb is my cock! Dale doesn't laugh. 43 - Bored and tired, they wait. Saul lights a joint. Dale notices. Saul shifts his body away from Dale. Just then, an eighteen wheeler slows for them. Saul snubs out the freshly lit joint and puts it in his pocket. EXT. RED'S HOUSE - LATER Dale and Saul get out of the eighteen wheeler. SAUL (to the driver) Thanks a fucking ton, Sharid. Saul shuts the door and he and Dale run towards Red's house - a small, dilapidated place in a rundown part of town. Exhausted, Dale and Saul reach Red's door. Saul knocks. DALE So, what's this guy like? SAUL I don't know. He's short...and stout. So he's like a tea pot. Hehe. DALE Well, do you think he'll be there? SAUL I don't know, I mean, we are only...eight hours late. (beat) That's actually pretty late. RED (O.S.) (through door) Who is it? SAUL Red! It's Saul. Open up. Red opens the door. He has a SPLIT LIP and has clearly been CRYING. He tries to act normal. Dale immediately suspects something is up. RED (sniffling) Who's this guy? DALE Dale. Nice to meet you. 44 Red ushers them in and shuts the door. RED Dale who? DALE I think it's better if you don't know my last- SAUL (oblivious) Dale Denton. He's with me. No worries. Red notices their dirty clothes. RED (to Saul) What happened to your clothes? Where'd you call me from, man? Dale notices Red quivering as he lights a cigarette and becomes increasingly suspicious. SAUL We were in the forest laying low. Thinking. DALE Uh, Red...what...uh, is your lip okay? Saul finally notices Red's dishevelled appearance. SAUL Whoa! Dude, have you been crying? RED What? Oh, I uh... (feeling his split lip) ...I got a cold sore, I've never got one before. I started crying. SAUL A cold sore? Is that fucking herpes? RED ...uh, yeah, man. SAUL Ewwww! That's sick, man. Do you know how many joints we've shared? I told you, man. This is from that time you ate the lollypop straight from the strippers sna- 45 DALE Saul. Ask him. SAUL (to Dale) Okay, Captain Demando. Can you just chill out, maybe? So, Red. I gotta ask- RED Okay, first of all, stop. What's this all about? That's what I want to know. SAUL Alright. Well, Dale's a servant for protest lawyers, and- DALE Whoa, whoa! Saul, I don't think...well, Red, I don't mean to be rude but I don't think we should tell you any more than you need to know. RED Fuck that, Dale. This is my house, I deserve to know. SAUL Dude! Let's just tell him. It is his house. DALE Look. Red, I just don't want to pull you into the shit we're in. It's just trouble. SAUL Don't be weird about this. If he wants trouble, it's his right to have it. RED Whoa! Whoa! I don't want trouble. DALE That's why we only need to clarify one thing - nobody's called about Saul or the pineapple express or anything like that? RED No one. Nada. 46 SAUL Awesome! Look at that! Everything's fine. We had a crazy night in the woods, which I assume we can both put behind us like grown ups, and now we can use Red's giant bong to get super-duper high. Dale doesn't seem convinced. Saul picks up Red's huge bong and starts to pack a bit of Red's weed into it. RED Alright, well, wicked. Make yourselves at home. I'm just going to use the ol' telephone-o. Saul sits down and picks up a lighter as Red walks towards the phone. Dale watches Red, suspicious of his odd behavior. Red begins to dial... SMACK! Dale knocks the phone out of Red's hand. RED (CONT'D) What the fuck! Saul jumps up. Dale SNATCHES the phone and backs up. DALE I'm sorry! I'm sorry! SAUL Dale! What the fuck are you doing? DALE (to Saul) We can't let him call anyone! He's acting weird! RED Fuck you man - this is my house! DALE I'm sorry. I just, I don't think I can- SAUL Dale! You fucking nut. You're stoned and paranoid. Just chill the shit out, guy! (to Red) I'm sorry, Red. I shouldn't have brought this guy over here, he's a total lunatic. Without warning, Red grabs a LARGE ASHTRAY filled with cigarette butts and WHIPS it at Dale. BAM! It smashes him in the head!!! 47 DALE (in pain) AAAHHH! Ash EXPLODES everywhere as Dale drops the phone and clutches his head. SAUL Holy cock! Red approaches the cowering Dale. Saul intercedes. SAUL (CONT'D) Dude! He's sorry! Wait! Red PUNCHES Saul in the face! Saul SCREAMS and drops to the ground. SAUL (CONT'D) WHY!?!?! Dale snatches the phone and scurries into the bathroom, slamming the door behind him. INT. RED'S BATHROOM - CONTINUOUS Disoriented, Dale scans the small bathroom. Saul and Red can be heard fighting outside. SAUL (O.S.) Dude, we're friends, what the fuck is wrong with you? Ow! Dude! Are you fucked off that shit again!?! Ow! RED (O.S.) I have to! They'll kill me!!! Please don't fight! A loud CRASH is heard from the other room. SAUL AAAHHHHHH!!! Dale throws the phone in the toilet bowl and smacks down the seat. He runs back to help Saul. INT. RED'S APARTMENT - CONTINUOUS Red is BEATING the shit out of Saul. 48 SAUL Why, man!?! Why! RED I'M SORRY!!! Saul manages to stand up when Red boots him in the BALLS! He SHRIEKS and stumbles backwards. Dale dashes into the room and LEAPS onto Red's back. Red wobbles forward, then starts RUNNING BACKWARDS. He trips on his coffee table and CRASHES Dale through it, landing on top of him. Red gets up, sprints into the bathroom and locks the door. With great effort, Dale and Saul manage to get up. DALE He's going for the phone! Bathroom! INT. RED'S APARTMENT/BATHROOM - CONTINUOUS Frantically searching for the phone, Red flips the toilet seat up and grabs it. He begins to dial as Dale and Saul sprint down the hall. Just as Red is about to finish dialing, Dale and Saul CRASH into the bathroom door! They knock it completely off it's hinges, SLAMMING it directly into Red! The phone flies into the bathtub. DALE (pointing at the phone) SAUL!!! Phone!!! Saul jumps into the bathtub and begins STOMPING the phone. Dale continuously SLAMS his body against the door in an attempt to keep Red pinned down. SAUL What the fuck Red!?! What the fuck is going on!?! RED I don't know!!! They're going to kill me!!! SAUL You didn't stub your toe, did you? Red stops struggling and tries to catch his breath. Dale kneels on top of the door, keeping him pinned. DALE Now tell us- 49 RED They're gonna come back and kill me!!! In an impressive show of strength, Red shoves the door off him, knocking Dale aside. He runs. INT. RED'S APARTMENT - CONTINUOUS Saul chases Red and TACKLES him into a wall. Dale follows seconds later, and notices Red's LARGE GLASS BONG. He looks back to see Saul getting pummelled. SAUL DALE! HELP! Dale grabs the bong and swings around - CRASH!!! It shatters on the back of Red's head. Red falls to the ground moaning, blood dripping from his head. Dale and Saul stand over him, out of breath, bruised and battered. SAUL (CONT'D) Red, you motherfucker. Dale, lost in thought, starts to seriously freak out. DALE It's happening! It's actually happening! He knows my name! Red knows my name! SAUL We should beat it out of his sellout brains. You're a shitty friend, Red! Fuck the Casino! Go alone! DALE This is fucked, what do we do now, he knows my name!?! SAUL He knows my name too! DALE Well what do we do? He's gonna tell them! SAUL We're not gonna have to kill him, are we? I don't think I could do that. Dale stares at the almost motionless Red. 50 SAUL (CONT'D) Maybe we could talk him into killing himself, or, like, make him promise not to tell. DALE Well, we have to find out what he knows. RED (in great pain) I don't know anything...you broke my bong... Dale, trying to act tough, grabs Red by the collar. DALE Tell us everything. Now! Red looks to Saul for sympathy. SAUL Don't look at me, you sellout bastard. Now start talking! RED I can't...I don't know anything. Dale pulls Saul aside. SAUL What do we do? He's not gonna talk. DALE I think we beat it out of him. SAUL For real? DALE Okay. Red. Here's the deal: if you don't tell us everything, we're going to beat you up. RED Don't beat me up! Saul, dude, I'm Red! SAUL You were Red. Now you're no one to me. DALE You've got five seconds, okay? Ready? Five, four- 51 Dale raises his fist. RED Please don't. DALE Three, two...one! Red cringes as Dale softly "punches" his gut. It doesn't hurt him. RED That didn't hurt. SAUL You didn't even hurt him! Hit him hard, man. Like, fucking hit him! Dale takes a deep breathe and raises his fist. RED Wait! I...I... Dale grabs a potted plant. RED (CONT'D) No! Dale swings the plant back to strike Red. The pot flies off the plant and Dale smashes the dirt covered roots of the plant against Red's face. RED (CONT'D) Ow! Fuck, man! Stop it. Listen...two...two guys came here, they...they were here when you called- SAUL Seriously? DALE Who were they? Dale raises his fist. RED They work for Ted. Budlofsky and Matheson. Fuckin' crazy weird guys. They were here all day, but you guys didn't show. They said they'd kill me if I didn't bring you to them, they said I'd- 52 DALE How many cops does he have in his...uh, payroll, or whatever? RED I know there's this lady cop. He could have more, I don't know. He's got pretty crazy connections. He's also got a cool- ass hideout. It's crazy man. Dale and Saul exchange very worried looks. RED (CONT'D) Listen, I- Dale swings the PLANT upwards, prepared to strike Red again. DALE Who's his competition? RED The Asians! DALE Asians? Which Asians? Indians are technically Asian. RED The...the Koreans, I think. Everyone just calls them the Asians. Dale and Saul exchange an even more worried look. SAUL What else? RED I swear to god that's all I know...I swear... DALE Alright. We should...tie him up and...and get the fuck out of here. SAUL I made a gravity bong here once. I know where his duct tape is. Saul runs off. Dale puts on Saul's backpack and looks at the battered Red moaning on the floor. 53 SAUL (CONT'D) Come on, let's tape this piece of shit up. Dale pulls Red's hands behind his back. Saul is picking at the tape. SAUL (CONT'D) I can't find the edge. DALE What? SAUL I can't find the, oh...wait... Saul rips open the DUCT TAPE. He quickly BINDS Red's hands and feet. SUDDENLY, there's a KNOCK at the door. They stop, silent. KNOCK. KNOCK. KNOCK. Red starts thrashing and trying to scream. SAUL (CONT'D) (whispering) Shit. They're actually here to kill him. DALE (whispering) What do we do? SAUL (whispering) I don't know. KNOCK! KNOCK! DALE (whispering) Fuck. Oh, man. Frozen in terror, they don't know what to do. RED (whispering) Guys, guys...listen to me- KNOCK! KNOCK! KNOCK! RED (CONT'D) (whispering) I'm fuckin' sorry. Okay? I fucked up. I'm a son-of-a-bitch. I forgot bros before hoes, even though these guys aren't hoes. You know what I mean. But I can fix this. (MORE) 54 RED (CONT'D) I know these guys, it's cool. Just head out the back, I'll stall `em. Won't tell `em nothing. You can count on me! SAUL Thanks, Red. Red frantically tries to wriggle out of his bonds while Saul leads Dale out the back door. SUDDENLY, the door is KICKED open! Budlofsky and Matheson enter, guns drawn. They see Red. RED Dale Denton! It was Saul and some dude named Dale Denton! They just ran out the back! EXT. ALLEY - CONTINUOUS Dale and Saul run like hell. Saul spots a dumpster. SAUL In here! Saul jumps into the dumpster. DALE No. I've got to get to a phone! SAUL We should hide! DALE But, if Red tells Ted's guys my name, then they'll go to my apartment and find out about Angie! SAUL I think we should stay! DALE Why?! SAUL Because I'm in the dumpster already! Shit! Fine! Saul hops out of the dumpster and follows Dale. INT. RED'S APARTMENT - CONTINUOUS Budlofsky dashes back into the apartment. 55 BUDLOFSKY They're long gone. Matheson stands over top of Red, talking to Ted on the phone. TED (O.S.) Find out what he knows. MATHESON Red, you gonna tell us anything helpful? RED I just did, Matheson. Fuckin' Dale Denton's the other guys name. He was with Saul, they kicked my ass. What more do you want? MATHESON You hear that? TED Ask if either of them were Asian. MATHESON Hey. What skin color were these guys? RED What? Um...white, they're both white. I think Denton might be a Jew, but I couldn't really tell. MATHESON You hear that, Ted? TED (O.S.) Dale Denton. Not Asian. Alright. Kill Red. Matheson pulls out a gun and shoots Red in the gut. RED (clutching his bleeding gut) Oh fuck...you shot me, you motherfucker! Fuckin' Matheson...fuck you! You've eaten dinner here, man! Tacos! And now I'm gonna fuckin' die from this, probably. Get the fuck out of my house! 56 INT. TED'S LIVING ROOM - CONTINUOUS TED (the big grey-haired guy) puts his portable phone back in its charger. TED Fuck. The living room windows are covered by black sheets. Workers are busy scrubbing blood stains off the floor and walls. The dead Asian man lies on top of bubble-wrap in the corner. Ted walks into the kitchen where CAROL BRAZIER (female cop from the murder, in full uniform, mid-30s) is playing with her gun. TED (CONT'D) Carol, there's another name to run. Dale Denton. CAROL Does he have something to do with our friend in there? TED If the Asians have the balls to send an assassin right into my home, we can't be too cautious. The boys say Denton and Saul are Caucasian. Maybe after their assassin failed, they hired this outside guy Denton to finish the job. (pondering) Also, the boys said that Saul mentioned "going to the casino." CAROL "Going to the casino"? I don't like that. Carol holsters her gun. CUT TO: EXT. TED'S HOUSE - STREET - CONTINUOUS Inside an Escalade with tinted windows sit two frightening looking Asian men. They have earphones on and an eavesdropping tool aimed at Ted's house. They hear every word. One of them writes down info in Korean. 57 CAROL (O.S.) (through one of the Asian mens ear piece) I'll be back in an hour with everything there is on Dale Denton. He'll be dead by the time we make our pick-up tomorrow. EXT. STREET - DAY Dale and Saul are still running and are unbelievably exhausted. SAUL (gasping and wheezing) But my parents live in Canada. You don't think they're going to go to Canada, do you? How would they get a Canadian phone book even? DALE (gasping and wheezing) All I know is Angie's new number is on my fridge and they could see that, so I have to get to her. SAUL My Grandma lives here. They wouldn't go after her, would they? She's got a different last name. Belogus. Dale hails a cab. INT. DALE'S APARTMENT - CONTINUOUS Dale's apartment door BURSTS open. Budlofsky and Matheson enter, guns drawn. They start searching the apartment. Budlofsky presses a button on the ANSWERING MACHINE. ANSWERING MACHINE (Dale's voice) " cough It's Dale. I'm probably at work, maybe we'll talk later. BEEP " Matheson walks to the fridge and yanks off a NOTE. MATHESON Budlofsky! Budlofsky looks at the note: " - Memorize Angie's New Cell: 366-3666 - Go get weed - " 58 EXT. OUTSIDE ANGIE'S HOUSE - SOON AFTER Dale and Saul get out of the cab in a pleasant neighborhood. Saul begrudgingly pays the driver. They walk towards Angie's house. DALE Dude, stay here. I'll be back in a minute. SAUL Hells no! I don't want to be alone! I want to go with you! DALE Saul, just watch my back. I'll literally be five minutes. Please. SAUL Fine. But hurry. Dale runs up to the front door and frantically knocks. Angie answers the door. INT. ANGIE'S HOUSE - CONTINUOUS Dale dashes in. DALE Angie! Angie opens the door with a smile, the phone in hand. Her attention is towards the phone conversation she is having. Dale enters her apartment. INT. ANGIE'S APARTMENT - CONTINUOUS ANGIE It's Dale! You came. Dale freezes in horror: ANGIE'S PARENTS (SHANNON and ROBERT) are pleasantly eating at the dining room table. SHANNON Hi, Dale. Nice to meet you, sit down and have some couscous. Can I get you a drink? Robert sees that Dale is DIRTY, DISHEVELLED, BRUISED and BATTERED. 59 ROBERT What the hell happened to you? ANGIE Dale? What happened to you? Robert and Shannon exchange worried looks. DALE Nothing, I was in the woods and... (turns to Angie's parents) ...Hi, I'm Dale. Uh...it's nice to finally meet you both...I apologize for my appearance. Robert, Charlotte- SHANNON (not amused) Shannon. DALE Yes! Shannon. I've heard a lot about both of you. Dale walks to Robert and extends his DIRTY, BLOODY HAND. DALE (CONT'D) Very nice things. Robert smugly declines Dale's hand shake. ANGIE You were in the woods? DALE (at a loss for words) Alright, now, here's what's happened - I've been thrust into a kind of, ah...situation. So, uh, if we could all just start to evacuate... Dale starts gathering all their jackets and shoes. DALE (CONT'D) ...that'd be really, really good right now. I'll answer all your- ANGIE Is this a joke? ROBERT What is this Angie? 60 SHANNON I think it is a joke. DALE (deep breath) Listen. There are people after us and they could come here. I'll tell you anything you want, just please, let's go! ROBERT He's serious? DALE Yes, I'm serious. Super serious! We have to get the "F" out of here! The Anderson's stare at him dumbfounded. Robert gets up and stands tall. ROBERT Get the hell out of my house. DALE Okay, Mr. Anderson, look, here's the deal - I saw a crooked cop kill a guy while I was working...this morning. The cop shot the guy then saw my car drive off, and I think they might have seen my license plate and, so, I ditched my car...in the woods, so... They stare at Dale as though he were crazy. EXT. ANGIE'S HOUSE - CONTINUOUS Saul sees a car nearing. He sees Budlofsky and Matheson are in it. SAUL No fucking way. He runs like hell towards Angie's. INT. ANGIE'S HOUSE - CONTINUOUS Angie and her parents try to make sense of what Dale is saying. ANGIE Who are these people? Why are they- 61 DALE I think their drug dealers. ANGIE (on the verge of tears) Why? DALE Well, it's complicated. See, the...uh...it doesn't matter right now, we just have to get out of here. ANGIE Let's go to the police! DALE No, they are the police! ROBERT I'm getting my gun. SHANNON Robert! No! ROBERT We bought it for a reason! Robert runs up the stairs to his bedroom. Suddenly, Saul bursts through the front door in a panicked frenzy. SAUL (completely out of breath) You... huff ...Angie? Dale! It's happening! ANGIE EEEHHHH!!! Angie grabs a fork off the table and stabs it into Saul's shoulder. SAUL ARGGG!!! ANGIE (freaking out) Dale, it's one of the drug dealers!!! SAUL No! I'm Dale's dealer, I'm S- 62 DALE Angie! Stop! It's Saul! SHANNON What did you do, Angie?! Saul yanks the fork out and tosses it on the ground. SAUL Ow!! Fuck. Now I'm gonna need a tetanus shot! They fuckin' kill. Fuck! ANGIE Saul? Dale, who is- SAUL Dale, they're coming! Then - Robert appears at the top of the stairs with his gun. He sees Saul bleeding and SCREAMS. BLAM! He fires at Saul! EXT. ANGIE'S HOUSE - CONTINUOUS Budlofsky and Matheson are walking towards the front door when they hear the gunshot and dive behind some bushes. BUDLOFSKY Fuck! What the hell? MATHESON Get out your fucking gun! BUDLOFSKY What the fuck is going on? BANG! Blasts through the front door and almost hits them! INT. ANGIE'S HOUSE - CONTINUOUS Everyone is in shock. Saul frantically pats himself down to see if he got hit. DALE Stop! Stop! He's with me! SAUL Holy fuck! Holy fuck! Holy fuck! Holy fuck! 63 ANGIE Dad, put the gun down! SHANNON Robert, what's going on? ROBERT Just nobody move, okay? Except Shannon and Angie. So, you two don't move! SHANNON Oh my god. DALE Sir, please, he's my friend, he's helping me, he's- SAUL Stop shooting, man! I'm Dale's dealer Dale looks at the pandemonium as everyone tries to be heard. DALE Guys! Please! We have to get out of here. Robert, Angie...Mrs. Anderson- SAUL (whispers to Dale) It's Shannon. DALE I know! Look, we have to get out of here. I'm sure everything is going to be fine but better safe than...not. SHANNON Is this...for real- DALE Yes. Terribly real. Dale and Saul lead Angie and her parents towards the back door. EXT. ANGIE'S HOUSE - CONTINUOUS Budlofsky and Matheson are now at the front door. They've each got a gun drawn and are preparing to burst in. Budlofsky is loading his bullet cartridge. 64 MATHESON Ready? BUDLOFSKY No. One sec. Budlofsky puts in the last few bullets. MATHESON Hurry the fuck up. BUDLOFSKY Chill out, man. You're nagging isn't helping. Budlofsky cocks his gun and nods at Matheson. INT. ANGIE'S APARTMENT - CONTINUOUS BAM! They kick open the doors and run into her house. No one is there. Budlofsky cautiously walks over to the table and touches the food. It's still warm. Matheson bends down and picks up a bloody fork. MATHESON Ew! It's a bloody fork! What are these people doing? INT. GARAGE - CONTINUOUS Dale, Angie, her parents, and Saul burst into the garage. Robert is fumbling with the keys. He manages to open the car. Saul pulls up his shirt to look at the stab wound. SAUL Fuck. Look at that. Fuckin' mashed potatoes in my wound. ROBERT Baby! Get in the car quick. Angie, in the car! The Andersons get in the car. ANGIE Dale - get in the car! ROBERT (to Dale) You stay the fuck away from my family! 65 ANGIE Shut up dad! DALE (glances at Robert) I...I think it would be best if I didn't go with you. I don't want to put you in any more danger. ANGIE What are you going to do? What should we do? ROBERT Angie, get in the car! DALE Alright, baby. Here's the plan - go to the Holiday Inn downtown and use a fake name. Something like... (looks around, focuses on Robert's car) Car...lyle. ANGIE Carlyle? (beat) I...I have so many questions. I just...how can this be happening? Where...where are you going? DALE I have to stop this. I don't know how, but don't worry. I'll keep you safe. (beat) But still, watch your back. You never know where they might be, whoever they are. Angie gets in the car. Dale pecks her on the lips. DALE (CONT'D) I love you. Beat. ANGIE Uh...thanks. Angie gets in the car. Dale pecks her on the lips. 66 DALE Um...you're welcome. And nice to meet you guys. She shuts her door and the Anderson's pull out. Dale watches them depart with great concern. SAUL Why aren't we in that car? DALE Let's run, man! Run! They start to sprint. SAUL Huff Huff Where are we running? DALE Somewhere we can think. INT. TED'S HOUSE - CONTINUOUS Ted and Carol are in mid-discussion, and rather distraught at that. Behind them two henchmen take the dead Asian man's body out the back door. CAROL A fork? TED A bloody fork. In his girlfriends house. And the blood was fresh. CAROL Maybe he killed her, to protect himself. TED Or maybe it's the Asians fucking with us. What the fuck is going on! (a frustrated beat) Any luck with the cell phones? CAROL They smashed one and left the other one in the woods to distract us. Took us an hour to find it. And we found Denton's car, which was filled with all these strange disguises. These guys are for real. Ted slams his fist on a table. He ponders. 67 TED I want to talk to the Asians. Get me Cheung's number. Now. INTERCUT WITH: INT. CHEUNG'S MANSION - MOMENTS LATER Cheung, the leader of the Asians, has a lavish mansion which is covered in ornate decorations and expensive merchandise. It is immaculately clean and organized. Several armed men with earpieces stand in strategic locations throughout the house. Cheung is reading a Korean book alone in his study. The phone rings and he picks it up. CHEUNG (in Korean) Hello? TED Cheung. It's Ted. Cheung sits up, shocked to have his opponent calling him. He snaps his fingers and two guards run in. He covers the phone. CHEUNG (in Korean) Record this conversation. He uncovers the receiver. CHEUNG (CONT'D) (perfect English) Ted. This is surprising. What would you like? TED Cheung, I want you to call off your man Denton. I don't know what he is, a scout, assassin, and frankly I don't care. I just want him gone. I want him dead. If you do this, I'll consider it a peace offering, otherwise, you're asking for war. And just in case you forgot, I'm number one, and there's a reason for that. You've got 24 hours to reply. We stay on Cheung. He hails another guard. 68 CHEUNG Ted Jones is slipping. Our assassin failed to kill him, but it did rattle his confidence. It's earlier than planned, but we should strike now, while he is confused. Let it be known- He turns to a picture of the Asian Ted killed earlier. CHEUNG (CONT'D) -Li-Youngs death will not be in vain. EXT. PARK - NIGHT Dale and Saul are sitting in the branches of a tree. Fast food wrappers lie scattered. Saul is rolling a joint. SAUL Victory joint complete. Here ya go. Saul passes it to Dale, who lights it. Dale takes another puff and starts to seriously relax. A smile creeps across his face as he passes the joint to Saul. DALE "Tell us what you know!" How fuckin' balls was that? Saul takes a puff. SAUL Like, really balls. DALE And I think I fought pretty well, don't you? You know, for my first time. We were like Tango and Cash, man. SAUL Or Scarface! DALE BOOM! Knocked the door right off it's hinges! Saul passes the joint to Dale. SAUL And you probably saved Angie, which is fucking pimp. 69 DALE I probably couldn't have done it without you. Thanks, man. It is fucking pimp. SAUL We're in this together, right? So, ya know. Saul passes the joint to Dale. DALE Thanks, man. (beat) You know, my last dealer was a total dick. You're by far the coolest dealer I've ever had. SAUL (sincerely) Wow. Thanks, man. I seriously appreciate that. DALE Yeah...like, the time before last time, I totally had weed. I just kind of wanted to chill with you. SAUL (over-joyed) Really? That's awesome, man. That means a lot to me, `cause, like, plenty of dudes come in to buy and pretend to be all buddy-buddy with me, but in my head I'm always, like, "you don't like me, you like my drugs, so fuck you, buddy!" You know? And just so you know, I totally could have lit that cross-joint on my own. I'd just have to use candles, but, like, I've never smoked one of those with anyone before. Dale passes Saul the joint. DALE So, do you think we should leave town? We could just get on a bus and go, right? SAUL We only have, like, fifty bucks. I don't think that could even pay for one ticket. Saul rubs the roach out in the dirt. 70 DALE What about your sack? Saul rubs his balls again. SAUL Oh man. It's still fucking killing me. DALE (laughing) No dude, your sack of weed. Can't we sell some? SAUL Of course. That's my bread and butter. We just have to go to a highschool. It's the easiest market. Chester A. Arthur is like, a block a way. DALE No way, man. I'm not going to sell to kids. SAUL Why? They're gonna get it from somewhere. I mean, we got it from guys like us. DALE Well, then not kids at that school. SAUL Well, there's a bunch of private ones nearby, but they're into way crazier shit than weed- DALE I can't do it, man. I'm not going to a high school is there anywhere else we could go? SAUL (thinks, then-) We could go to Crackhead Park. DALE What's that? SAUL It's a park. Really close, actually. Full of crackheads. They smoke weed too, though. 71 EXT. CRACKHEAD PARK - NIGHT There are several tarp-houses set up, garbage all over, and crazy/dangerous homeless people milling about the park. A deranged looking homeless man walks over to another one and starts pissing on his leg. They begin fist fighting. Suddenly, a half eaten hamburger hits Dale in the face and a bag lady comes up to Saul and starts poking him. SAUL Hey, stop it. Stop it. You wanna buy some weed, or, like, what? The bag lady runs off. SAUL (CONT'D) See, that's the problem around here. Target demographic has a real, uh, fickle attention span. You gotta wow `em. (beat) Hey! Who wants some weed!?! DALE Fuck this place. CUT TO: EXT. HIGH SCHOOL - LUNCHTIME - THE NEXT DAY At the same high school Angie goes to, Dale and Saul walk up to four thirteen year old students. (DESMOND, WALT, ACK and BLAKE) SAUL Yo. `sup. You guys want some chronic? EXT. ALLEY BEHIND A CONVIENANCE STORE - MOMENTS LATER Dale and the four kids all laugh hysterically as Saul marches around pretending to be Godzilla, blasting weed smoke out of his nose and mouth as though it was fire. Saul passes Ack the joint. He takes a puff and starts coughing. DALE (very stoned) Man, this is great. 72 ACK Cough Cough What's it called again? WALT Pineapple express. They said it, like, eight times, you fucking `tard. ACK Oh, so sorry if I- BLAKE Come on, man. Puff, puff, pass. SAUL You know, I went here for a year. Kicked me out for having a swiss army knife. Everyone has a swiss army knife! DALE I got like, thirty for my Bar Mitzvah. DESMOND My Bar Mitzvah sucked. ACK I touched Jessica Lubell's tit at your Bar Mitzvah. DALE You touched a tit when you were twelve? WALT Lubell? Are you joking? Those are the finest tats in the grade! ACK Fuck that, dude. Angie in 12th grade has, like, the sweetest tits ever. DALE Hey! WALT What? You know her? DALE Yeah. She's my girlfriend. DESMOND Whoa. You're that dude. You lucky fucker. 73 DALE (proud) Yeah. She's pretty sweet. SAUL And we're all high, that's hilarious. Blake passes the joint to Dale. SAUL (CONT'D) Alright gentlemen, it's time for me to teach you some business. Brass tacs - this is the best weed you've ever smoked, agreed? The kids all nod in agreement. SAUL (CONT'D) So I'm gonna make this simple. How much did you get between you? BLAKE A hundred and seventy eight. Saul pulls out his impressive bag of weed. The kids GASP. SAUL Alright. You gimme all your money, you can each take two handfuls of weed. That treat ya right? The kids cheer as Desmond takes two BIG handfuls. DESMOND That's fucking awesome! SAUL I know. Keep it on the down low. They pay Dale and take their weed. Happy as hell, they run off, stuffing HANDFULS OF WEED into their pockets. ACK (to Walt) Jason'll never believe this...until I show him all this weed! Dale holds the un-lit joint as Saul takes the pot and the money. SAUL And we, my good man, are officially scott fuckin' free. 74 DALE There are still people trying to kill us. SAUL But at least now we can afford to run. I'm gonna go buy some celebration snacks. Let's have us a little mardi-gras fiesta. Saul laughs as he puts on his backpack and walks around the corner. Dale re-lights the remaining roach and casually smokes. He blows some smoke rings, coughs a bit, stretches; for a few moments, looking completely relaxed, but then- A COP CAR screeches to a halt right in front of Dale! A female POLICE LIAISON OFFICER (who is not Carol) gets out of the car. Dale freezes in horror. POLICE LIAISON Don't move! She walks towards Dale. He seems prepared to run, but she places her hand on a can of pepper spray. POLICE LIAISON (CONT'D) Don't move! This stuff hurts. What's in your hand? DALE. I'm sorry, Ma'am. It's weed. I'll get rid of it right away, I was just smoking this. I...I thought it was decriminalized. Or something. For medical purposes. I have epilepsy. POLICE LIAISON Selling pot to my students isn't "decriminalized." I'm the liaison officer for this school and I just caught four students showing off handfuls of marijuana to their friends. They told me they got it back here. Put your hands up. She cuffs Dale's hands behind him! DALE Wait! I wasn't selling anything! All I have is this little joint. Police Liaison takes the large joint out of Dale's hand. 75 POLICE LIAISON You call this little? She throws it on the ground and smears it around with her foot. DALE I don't even have any money! How did I sell weed if I don't have any money?!? I was just smoking it. I swear. Please. She pats him down, finding only his wallet. The Police Liaison sees he only has nine dollars. She pulls out his DRIVER'S LICENSE. POLICE LIAISON It's possible you're telling the truth. I'm going to run a check and if it turns out you don't have any priors and all you've got is this small amount of marijuana, I'll let you go with a fine. Take a seat. She walks towards her car as Dale sits on the ground. ANGLE ON: Saul Saul merrily turns into the alley holding TWO RED SLURPEES, when he jumps back in terror! He sees the cop car up the alley. He ducks back behind the corner. SAUL They got Dale. Oh fuck, oh fuck, oh fuck... ANGLE ON: Dale and the Police Liaison She looks at her car computer. The screen reads: DALE DENTON: OUTSTANDING WARRANT - DOUBLE HIT AND RUN. She looks back at Dale and types into her computer. INT. CAROL'S COP CAR - CONTINUOUS We see Carol (who is in fact Ted's evil accomplice) speeding down the road. Her police computer beeps. She looks at the screen. CAROL (smiling) Denton. 76 EXT. ALLEY - CONTINUOUS The Police Liaison stuffs Dale in the back of her squad car. DALE What is this for? What did that thing tell you? What did I do? POLICE LIAISON Hit and run, Mr. Denton. A double, actually. You hit two parked cars two nights ago. A look of crippling horror comes across Dale's face as she throws him in the back seat and slams his door shut. ANGLE ON: Saul He peaks down the alley and sees Dale in the back of the car and the FEMALE Police Liaison getting in the front. SAUL The lady cop. She's gonna kill him. The car slowly makes a three point turn. INT. COP CAR - CONTINUOUS DALE You don't understand! You have to let me go! Dirty cops are gonna kill me! Please! The Police Liaison ignores Dale. DALE (CONT'D) This...this lady cop, and these guys Budlofsky and Matheson, they all work for Ted Jones, and- POLICE LIAISON (suddenly interested) Ted Jones? DALE Yeah. With grey-hair. Tell me you know what I'm talking about. He lives near Evergreen Heights. He- 77 POLICE LIAISON Are you telling me you saw Ted Jones and a police office shoot someone? DALE Yeah. An Asian someone. The Police Liaison ponders as she finishes her three point turn and drives toward the exit of the alley. POLICE LIAISON Stay calm, do as your told, I'll get you down to the station. DALE (ecstatic) Yes ma'am. EXT. ALLEY - CONTINUOUS Saul peeks out and sees the approaching cop car. He looks at the two red slurpees and thinks, then suddenly jumps out and THROWS himself onto the hood of the cop car! The Police Liaison and Dale see a body SLAM against the car and RED LIQUID SPLATTER everywhere, covering the windshield. They SCREAM. WHAM! In the impact, we clearly see Saul's BALLS getting ROCKED on the car! The Police Liaison slams on the brakes, causing Dale to SMASH into the metal cage. POLICE LIAISON Oh my god! Is that blood? Oh my god! She puts the car in park. As the Police Liaison gets out of her car, Saul can be seen crawling around the back of the vehicle, clutching his testicles. The frightened Police Liaison looks at the windshield. She notices the two slurpee cups on the ground and quickly turns around. She sees Saul jumping into the drivers seat. Saul sees a SHOTGUN beside the passenger seat. The Police Liaison reaches for her GUN! DALE NO! What are you doing!?! 78 SAUL Saving you. Hold on, amigo. Tango and Cash! POLICE LIAISON Freeze mister! Don't even... Saul slams the car into reverse! He speeds backwards up the alley as the Police Liaison runs after them - GUN DRAWN! DALE No! She was going to help us! SAUL (in pain) Oh...my balls...I seriously think I popped one... Suddenly, Carol (the cop from Ted's house) whips her COP CAR into the alley! WHAM!!! It smashes into the rear of their car! Dale turns around and establishes eye contact with the stunned Carol. DALE (horrified) IT'S HER! The lady cop! Saul slams down the gas! Through the slurpee covered window Saul sees the Police Liaison rushing towards them. SAUL (motion at the Police Liaison) Then who's that? The Police Liaison raises her gun. SAUL (CONT'D) DALE NOOOO!!! AAAAH!!! BLAM! She fires and the bullet punches through the windshield! The Police Liaison dives to the side as they zoom past her! They burst out of the alley. A moment later, Carol follows, in hot pursuit. I/E. DALE AN SAUL'S STOLEN COP CAR - CONTINUOUS The car weaves through traffic. SAUL The slurpee! I can't see! 79 DALE Turn on the wipers! Saul mindlessly starts grasping at switches in the car. He finally turns on the wipers, which wipe away the slurpee and reveal that the window is so badly cracked he still can't see through it. Carol's car emerges right behind them. SAUL Dude, I seriously can't see! DALE Kick out the window! Isn't that what they do? SAUL I don't know. Okay. Saul, with great effort, keeps one foot on the pedals and, with all his might, kicks his other leg through the front window. His leg PUNCHES straight through the glass, but he can't pull it back in! SAUL (CONT'D) Oh fuck! Shit! DALE Get it out of there! Suddenly, their car gets jerked to the side. SAUL Ah! Ah! My leg! Carol is ramming them from behind. DALE (hysterical) She's following us! She's gaining on us! SAUL Her car's better! Saul yanks at his leg and manages to wriggle it out of the hole. He begins to accelerate and realizes he can see where he's going through the hole. SAUL (CONT'D) Ha! I can see! Through my leg hole! Saul bumps over the curb and cuts through a LARGE PARK. Carol is right behind them. 80 DALE Do something! Saul thinks hard, then buckles his seat belt. SAUL Hold on. I've got an idea. Dale does what little he can to brace himself. Saul SLAMS on the breaks. Carol sees Saul screeching to a halt and slams on her breaks. She grunts and whips out her GUN. Both cars come to a full stop beside one another. She opens fire - BLAM! BLAM! BLAM! BLAM! BLAM! - Bullets rip through the stolen cruiser. Shattered glass flies everywhere. Dale and Saul desperately duck for cover. Saul hits the gas and the bullet riddled car takes off. Carol follows. DALE WHAT THE FUCK WAS THAT?!?!? Saul pops back up and begins steering again. SAUL Oh shit, man! I'm sorry! I thought she'd keep going. The car bumps back on to a main road. Carol follows, sirens blaring. DALE Turn on the sirens! Saul's hand flails around, grasping everything. He feels the SHOTGUN and accidentally pulls the trigger- BOOM! The blast blows through the roof of the car and hits an overhead TRAFFIC LIGHT - shredding it to pieces! SAUL DALE JESUS!!! SHIT! Carol flies into the intersection on a collision course with Saul and Dale. CRUNCH! A car smashes into the side of the Carol's cruiser. As Dale and Saul speed off, Carol emerges from the smoking wreckage, a look of hate in her eyes. 81 EXT. QUIET RESIDENTIAL STREET - MOMENTS LATER The stolen cruiser screeches to a halt and Saul hops out. SAUL Run! He starts running up the block at top speed. Dale, still handcuffed in the back of the cruiser, starts thrashing and screaming. DALE Saul! Saul! I'm locked in! Dale continues to scream as Saul obliviously bolts to the end of the block and just keeps going. DALE (CONT'D) You dumb fucking fuck!!! HELP ME!!! Dale sits in the car, helpless. He has a look of utter disbelief on his face. After a moment of silence he starts wildly kicking the door window. He soon gives up. Just then, Dale notices Saul, over a block away, running back towards the stolen car. Saul soon arrives, completely out of breath, and opens the door. SAUL So... huff ... huff ...fuckin' sorry... huff ...forgot... Dale flops out of the car and onto the grass. Saul tries to help him to his feet, but Dale pulls away. DALE Don't touch me, you asshole! Dale wiggles to his feet runs for it. Saul follows. INT. HARDWARE STORE - DAY Dale and Saul enter the hardware store, walking very close together so that no one sees Dale is handcuffed. They receive a few odd looks as they search and locate what they are looking for: saws. Saul quickly finds a sturdy looking hack-saw. 82 SAUL Okay, only one way to do this, hard and fast. Bend over. Dale gets on his knees and bends over, pressing his face up against the wall. Saul begins to manically hack away at the cuffs. DALE Ow! Ow! Hurry! SAUL I am! Suddenly, Saul sees a store clerk coming and shoves the saw underneath Dale's suit jacket. DALE Which saw do you like most? SAUL The brown ones nice, but the metallic ones seems more... They watch the clerk walk off and immediately return to sawing the handcuffs. CUT TO: EXT. HARDWARE STORE - SOON AFTER Dale stretches his arms. The handcuffs are still on his hands, but no longer attached. DALE (relieved) Okay, I'm going to go call Angie. Be right back. SAUL A thank you would be nice! EXT. PAY PHONE - MOMENTS LATER Dale is on the phone. DALE Could I have the, uh, Carlyle room, please? INTERCUT WITH: 83 INT. HOTEL ROOM - CONTINUOUS Angie is watching TV alone in a hotel room. The phone rings and she picks it up. ANGIE Dale? DALE Angie! Thank god you're okay! ANGIE I'm fine. How are you? Are you okay? DALE I'm great. I'm fine. I miss you. So, here's the plan, babe. I'm going to leave town and contact a government official or something. From somewhere safe. I know this shit is all fucked up and I just can't apologize enough. ANGIE Dale. I've realized some problems and- DALE I know there's a problem! That's the thing, that's why I- ANGIE Dale, shut up and listen. People are trying to kill you, and me! Dale, drug dealers are trying to kill me, because of you! It's fucking over, man. Are you kidding me? For gods sake... DALE Angie, no! No! Don't you get it? I was thrown into this situation, I had no control, but I am dealing with it. This kind of thing happens, you know- ANGIE NO! IT DOESN"T! (beat) You're immature, Dale! I'm six years younger and I'm saying this! And the fact that you think you're some kind of fucking genius just makes it a hundred times more infuriating! 84 DALE What? You're telling me you think I'm a dumb guy? ANGIE You're not how you think you are Dale, and it's pathetic. Call me when I can go home. Angie hangs up. EXT. PAY PHONE - CONTINUOUS As Dale walks out of his phone booth, we see that Saul is on the phone in the next booth and is also smoking from a pipe. SAUL Alrghit, I'll see you soon. And I'm sorry again about the clocks. (beat) Ha! What a douche bag. (beat) Yeah, love you too. Saul hangs up and exits the phone booth. SAUL (CONT'D) Yo, so before we go on the lamb I gotta go see my grandma, okay? She was worried `cause I didn't show up to help with the locks. But before that I've got to smoke another bowl. DALE Are you joking? You're actually gonna smoke marijuana? SAUL Why not? DALE How can you smoke marijuana after what we just went through? That clearly happened because we were smoking marijuana. SAUL No. It happened because those fucking kids didn't keep that shit on the down low. Which is weird, `cause they really seemed like cool kids. 85 DALE If you haven't noticed, we're not very functional when we're stoned, Saul. SAUL When I saved you with those Slurpees I was stoned. What do you gotta say to that? Maybe the pot is what gave me the creative capacity to come up with such a great plan! The Beatles were high! DALE You didn't save me! She was going to protect us, and now we're wanted for all sorts of crazy shit! Saul lights his bowl. DALE (CONT'D) Fine. Smoke marijuana. But you know how "Scarface" ends. Face down, dead, in your own fuckin' water fountain. SAUL For one thing, I'm done dealing pot. Mostly, because I don't know where I would get it now, but still. And "b", fuck you, man. You can't judge me. We're exactly the same, and this whole thing's your fucking fault. You're the one who dropped the roach! DALE It's not my fault! Dale points at Saul's bowl. DALE (CONT'D) It's marijuana's fault! SAUL Stop calling it marijuana! DALE Grow up, you fucking two year old. SAUL See! This is why you're a douche bag, Denton. Because you think you're better than others, but you're just a dumb pothead burnout, same as me. 86 DALE Maybe I am a pothead burnout, but at least I'm not the dumbest most annoying guy in the world. The only reason I ever bought weed from you was because you're shit is so good, not because you're cool. SAUL But you said you bought when you already had a few times, just to hang out? DALE Bullshit! I just like...liked having lots of different kinds of weed at once. Saul takes out his wad of cash and throws half of it at Dale. SAUL Here. Buy yourself a good last meal. He throws fifty more cents at the shocked Dale. SAUL (CONT'D) Super size it, bitch. Saul walks off. DALE Saul! I'm sorry, man! I didn't mean all that! Saul! A sad Dale starts picking up the money. INT. TED'S HOUSE - CONTINUOUS Carol, who is a little bruised up from the car crash, sits with Ted. They are both furious. CAROL Guy drove like a mother-fucker. It was amazing. TED This is not good. We should have this under control. We haven't heard shit from the Asians. Got these lunatics after us. Shit. Carol checks her watch. 87 CAROL We should probably get to the farm. MUSIC UP: THE END by THE DOORS - Saul gets on a bus and sits down, sad and deject. - Dale sits against the phone booth, crying like a baby. He buries his hands in his pocket and pulls out his baggy of weed. He hurls it away. He gets up to retrieve it. - Saul is in a really shitty fast food restaurant, nearly crying as he eats his burger and fries. - Dale stares at a joint in his hands, thinks for a moment, and then, crying profusely, lights it and starts smoking. A solitary tear rolls down his cheek and drips directly onto the tip of the joint, putting it out. Dale hears the sizzle and looks at the joint. He continues crying. He puts the joint down, beside three large roaches. - Walking down the street, Saul sees the Point Grey Retirement Home. - Dale feverishly looks through the phone book. He finds what he's looking for: Belogus. - Saul, hiding behind a bush across the street, surveys the retirement home. Seeing the coast is clear, he walks towards the entrance. As Saul enters the building, Budlofksy and Matheson pull up. INT. RETIREMENT HOME - CONTINUOUS Saul casually walks into the lobby. The elderly residents of the retirement home are milling around the massive common room. ELDERLY WOMAN(O.S.) Solly? Saul turns and sees an ELDERLY WOMAN. SAUL Hey! Mrs. Mendelson! Saul peers over her shoulder and sees Budlofsky and Matheson walk in! 88 SAUL (CONT'D) HOLY SHIT!!! Saul runs for it, and they chase after him. He maneuvers through the elderly like a pylon course, the thugs right on his ass. He bursts into another room. INT. CAFFETERIA - CONTINUOUS He tears through the room, filled with old people eating. Budlofsky and Matheson pursue him. INT. HALLWAY - CONTINUOUS As Saul runs through the hall, Budlofksy and Matheson appear. MATHESON Eat it! Matheson whip out his gun and fires - BLAM! The bullet whizzes past Saul and two elderly men, who don't even flinch, and then shatters a distant window. Saul turns the corner and- BAM! He slams into someone, sending the person crashing to the ground. INJURED PERSON OW! Shit...ow, ow, ow! Saul looks, terrified he's hurt an old person, but sees it is a young male nurse. He runs for it and sees an open door with chatter coming from inside. He runs into- INT. TEA ROOM - CONTINUOUS A dead end! Several startled OLD WOMEN look up from their Majong. One of them instantly recognizes Saul- MRS. CORBER Solly Silver?!? SAUL Mrs. Corber! You gotta hide me! The Budlofsky and Matheson bursts into the room. Saul looks around, sees a teapot and grabs it. He hurls it at Matheson and nails him in the face. The tea pot shatters and hot water pours all over his face and hand. 89 MATHESON AHH!!! FUCK!!! Budlofsky GRABS Saul and knees him in the balls. SAUL (wheezing) NOOO!!! BUDLOFSKY Yeah! Budlofsky punches Saul in the face. CUT TO BLACK EXT. POINT GREY RETIREMENT HOME - CONTINUOUS Dale hustles towards the entrance of the building when he sees several police cars parked outside, their lights flashing. He sees a bunch of old people gathered on the front lawn. Doing his best to avoid the cops, he joins the cluster of elderly. OLD WOMAN Oh, god this is terrible. Poor Faye. Poor, poor Faye. DALE Hey, uh, what's going on here? OLD MAN It just happened. DALE What did? OLD WOMAN Faye Belogus' grandson was kidnapped from right inside the building. We all saw it. They fought in the majong room and hurt the new nurse, Stefan. Dale is terrified. DALE Uh...thanks. OLD MAN If I was there, I would've kicked an ass. 90 Dale looks, circle of people comforting a crying old woman, clearly Faye Belogus. He walks over. DALE Mrs. Belogus. I wouldn't worry, Saul's going to be fine. Dale walks off, determined. INT. THE BARN - SOON AFTER Saul wakes up but can't see anything. From his POV we see tape get ripped off his eyes and mouth. SAUL ARRGGGHHH!!! Saul sees a BUDLOFSKY wielding a knife. He struggles and realizes that his arms and legs are bound. Saul closes his eyes, assuming he's about to die. SAUL (CONT'D) (whispers to himself) Fuck. I regret everything. BUDLOFSKY cuts the tape away from Saul's legs. BUDLOFSKY Get up. Saul gets up and hops out of the car. He looks around and see that he is in a LARGE BARN. Saul notices SIX THUGS talking as they move bricks of weed and cocaine into a van. Matheson appears and looks at Saul with smoldering hatred. Saul sees that his face and neck were burnt from the tea and the broken shards of pot cut his cheek. SAUL Oh fuck. That looks painful. Matheson walks over, lowers to one knee, and punches him straight in the balls. SAUL (CONT'D) EEEHH!!! Matheson whips out his gun and shoves it in Saul's mouth. Budlofsky taps Matheson on the shoulder. 91 BUDLOFSKY Don't. Ted wants him. MATHESON Fine. Matheson looks at the wheezing Saul, curled over by his feet, and punches him in the back of the head. Matheson pokes Saul in the back with his gun, ushering him towards the corner of the barn. They come to an old TRAP DOOR. Matheson opens the hatch and they descend. INT. UNDERGROUND FACILITY - CONTINUOUS Saul is led along a narrow tunnel. As they reach the end, Saul's eyes go wide. He enters the same massive metal room that the government used in the 30s (at the beginning of the movie)...only now it is rather worn down, and filled with HUNDREDS OF HUGE MARIJUANA PLANTS. SAUL (breath-taken) El Dorado. Matheson urges Saul through the dense forest of weed, passing several of Ted's thugs, the hum of the giant grow lights filling the air. SAUL (CONT'D) Dude, look at all this weed. MATHESON Shut the fuck up and keep moving. As Matheson ushers Saul through the foliage, Saul notices a strange suit that resembles an old fashioned scuba diving uniform (the one from the 1930s intro) hanging on a wall. SAUL What the hell is that? They arrive at a door. Matheson opens it and shoves Saul in, causing him to almost trip. SAUL (CONT'D) Ow. It is the same room Private Miller was in. Matheson shuts the door. 92 INT. RED'S HOUSE - CONTINUOUS BAM! Dale kicks open Red's door and dashes into Red's, ready for anything. DALE Hello? Anyone here? Red? Dale starts looking around. He hears music and then sees he's stepping in a pool of blood. DALE (CONT'D) Oh my god. Dale follows the music into the bathroom. INT. RED'S BATHROOM - CONTINUOUS Dale enters and is shocked to see Red lying on the floor, clenching his bloody gut with one hand and a joint and beer in the other. The music is coming from a small boom box. RED (a little out of it) What? Who the fuck! Red turns toward Dale and picks up a kitchen knife with his bloody hand. RED (CONT'D) Stay the fuck back, Denton! I didn't do shit! I'll gut ya if I have to, tooled ya once, tool ya again! DALE (utterly shocked) I...what? I'm not here to fight, man, I- RED Good, man. I'm fuckin' tired. Red drops the knife and then takes a puff of his joint and a sip of his beer. RED (CONT'D) I'm dyin', Denton. Fuckin' shot. Right here- (he points at his wound) (MORE) 93 RED (CONT'D) I'm having a little going away party and I don't remember inviting you, cocksucker. So I'm gonna ask you to leave. In my dying moments, I don't want some asshole I barely know around. DALE Go to the hospital, man! Are you crazy. You don't have to die. RED Yes I do! What? I go to the hospital, I'm gonna end up in But that doesn't matter `cause once Ted finds out, which he will, I'm dead wherever I am. I'm fucked through and through. Now if you'd be willing to give a dying man his wish, could ya run on into the other room and pop in disc two of Tu Pacs "All Eyez On Me". I want to listen to it while I die. DALE You don't have to die. RED Will you stop saying that, I've excepted it, man. I'm at peace. cough Red takes a hit and coughs. It clearly brings terrible pain to his bullet wound. DALE Red, I need you to tell me where Ted's base is. He took Saul, and I can't bail on him. I'm going to get him back. Red stares intensely at Dale. RED Fuckin eh, amigo. Red heroic-ish-ly rises from the floor. He hobbles over to the hall and opens a cabinet on the wall. Dale looks in and sees several hand guns inside. RED (CONT'D) Blaze of glory, motherfucker. INT/EXT. RED'S CAR - NIGHT Dale and Red are in Red's car, a FORD FIESTA, driving through the countryside. Dale stops the car 100 yards from the barn. 94 RED This is awesome! We're so gonna show those motherfuckers. Think they can kill me? Fuck no, you can't! Not how I roll. Red gets out and walks to the drivers side. Dale gets out, gun in hand. Red gets in the drivers seat. DALE What are you doing? RED So, this is the backside of the farm. If you stay low in the grass you should be fine. If someone is shooting at you with an automatic weapon, zig zag. It makes you harder to hit. DALE You're not coming to help? RED Fuck no! I've been shot. By these guys. I was in shock before, but the air on the drive cleared my mind, I should get to the hospital. You saw Reservoir Dogs, right? I got shot in the best spot possible. I could have a long and fruitful life ahead of me. Full of possibilities. Go get `em, slugger. DALE But how do I get out of here if I rescue Saul? RED I've no idea. I'm sure it won't be that hard. Kill some dude and take his car, or just take it or whatever. Good luck, amigo! Red drives off. Dale takes a deep breath, clenches his gun, and starts cautiously moving towards the barn. He checks to make sure his safety is off and he's ready to fight. Dale sneaks up on the building and pears in between two boards. He sees Budlofsky supervising as the thugs load the van. 95 INT. BARN - CONTINUOUS Budlofsky is about to light a cigarette, when SUDDENLY Dale does a jumping role into the burn and then quickly scampers to his feet and puts a gun to THUG 1's head. DALE I'll blow his fuckin' brains out if you don't- BLAM! Budlofsky shoots Thug 1 in the chest. DALE (CONT'D) Oh my god. Dale drops his gun and puts his hands up. THUG 2 What the fuck was that, Budlofsky? BUDLOFSKY Haven't you seen "Speed"? "Shoot the hostage". THUG 2 In the leg, you fucking moron! Budlofsky points his gun at Thug 2. BUDLOFSKY Still worked. Two of the thugs grab Dale and punch him several times. BUDLOFSKY (CONT'D) Throw him in with the other guy, and everyone stay alert. Jared, go watch outside. This is fucked up. Somethings going down. The thugs start bringing Dale towards the hatch. Suddenly one of them motions for the other to stop, feeling something on Dale's back. THUG 3 I think he's got a gun. BUDLOFSKY What? Thug 3 lifts up Dale's shirt, revealing that he has taped a gun to his back. 96 BUDLOFSKY (CONT'D) You're kidding me, right? Die Hard? DALE I had to try. The thugs bring him down the trap door. THUG 3 (O.S.) Hey! He's got another one taped to his stomach! THUG 4 (O.S.) And his leg! INT. OBSERVATION LAB - CONTINUOUS Saul is sitting against the wall with his hands bound and a look of complete defeat. Suddenly, the door opens and Dale is tossed in by Budlofsky. SAUL Dale!?! What the fuck? Did you rat me out, you shitty bastard? That what happened? DALE No! I came here to save you! SAUL To save me? Ha! That's rich! You're caught, too. And now I have to die with some asshole. DALE Saul, I deserved that, because I fucked you. You're right, this whole things my fault, and they only way I can make it up to you is by rescuing you, and that's why I'm here. To save my friend. SAUL Tell ya what, Dale. You actually save me and I'll consider forgiving you for this mad shit. DALE Good. `Cause I will. 97 SAUL Oh really? What, you forget to tell me you shoot lasers out of your eyes, or you got some kind of secret blowtorch strapped to your dick? We're not gonna escape, Dale, we're losers, and sinners, and after we die, we're gonna go to hell! DALE We're not losers! We did that car chase. That was all you, man! You got away from the cops. I've watched, like, nine billion hours of worlds wildest police chases and I've never seen a guy get away. Not once! But you did it. You did the impossible. Suddenly, they both hear someone coming. The door opens. Matheson pokes his head, and gun, in. MATHESON We can hear you out there, and it's annoying. Shut the fuck up. He looks Dale and Saul up and down, then shuts the door. Dale sits down and thinks, but is disturbed by his belt buckle, which is digging into his gut. DALE (whispering) Perfect! Now rub your wrists against my belt! My belt buckle'll cut the tape. Do it! This is it! Saul is hesitant, but awkwardly gets in position anyway. DALE (CONT'D) (whispering) Hurry! In an unavoidably sexual-looking motion, Saul begins to gyrate against Dale's belt buckle. DALE (CONT'D) (hushed) Yes! Yes! You know what this is called, Saul? This is called saving you. INT. BARN - CONTINUOUS The barn door slides open. Ted and Carol walk in. 98 TED You have them? BUDLOFSKY Got them downstairs. CAROL Where did you find them? BUDLOFSKY We found Saul at his grandmother's and Dale Denton busted in here like a madman, armed to the teeth, and- Budlofsky looks over at the man he shot. BUDLOFSKY (CONT'D) Yeah, he just plugged Frank and then I disarmed him. We got `em both holed up downstairs. TED He shot Frank? Jesus. Fuckin' Frank. CAROL Who the fuck is this Dale Denton? EXT. BARN - CONTINUOUS Five Asian men lay on their stomachs in the tree line dressed in black and armed with machine guns. One of them stares through a pair of night-vision binoculars while utilizing a listening device. We see his view of Ted and hear what he hears. TED Well, we'll torture these two bastards and find out everything they know. What about the shipment? Ready to move out? BUDLOFSKY We'll be good to in 10 minutes or so. The Asian leader nods and does some hand signals to his men. The acknowledge they understand. He holds up a flashlight and flashes three times. From the opposing side of the barn two other flashlights blink back. They all get up and start to slowly move towards the barn. 99 INT. OBSERVATION LAB - CONTINUOUS Dale and Saul are still "humping" away. DALE This isn't working. Turn around. I'm using my mouth. Dale drops to his knees and starts gnawing at the tape on Saul's hands. Suddenly, they hear approaching footsteps. SAUL (whispering) Someone's coming! DALE (whispering) Yo - if I cough, I'm going to make a move, if I cough twice, you take the lead. Got it? SAUL (whispering) What? No! What if you actually cough? Dale stands up just as Matheson walks in, gun drawn. Dale looks at Saul and notices that he's managed to free his hands. Dale COUGHS TWICE. Saul shoots him a worried look and shakes his head. Matheson notices. Saul COUGHS TWICE. Dale shoots him a confused look. Saul motions at him and COUGHS TWICE MORE. MATHESON Hey man, whatever you're doing, I get it, okay? So just stop it, alright? Just cut it- DALE CHARGES DIRECTLY AT MATHESON!!! BLAM! Matheson shoots at Dale's head! Dale falls to the ground, specks of blood hitting Saul as he dives forwards, TACKLING Matheson into the wall! The Matheson's gun slides across the room, hitting Dale's motionless body. Saul scrambles for the gun and grabs it. Matheson gets to his feet. Saul turns and- BLAM! He shoots Matheson in the gut. 100 MATHESON (CONT'D) AAAHHHHH!!! SAUL Holy shit, man! I'm sorry! Matheson writhes in pain. MATHESON AAAHHHHH!!! ARGH!!! YOU SHOT ME! I'VE NEVER BEEN SHOT! HELP! HELP! AAAAAHHHHH!!! Saul turns to see Dale lying face down. INT. BARN - CONTINUOUS Ted and Carol talk as Budlofsky and the thugs silently stands by. Ted is holding a large hunting knife. TED Has anyone seen my bigger knife? (beat) Do you guys hear that? SUDDENLY, there is an EXPLOSION and a hole is blown in the barn wall. Budlofsky is blasted back and badly torn up. BUDLOFSKY Arg... Asian assassins start pouring into the barn. One of them sees the wounded Budlofsky and blasts him away with a machine gun. TED BUDLOFSKY!!! ASIAN ASSASSIN 1 (subtitled in Korean) WAR IS UPON YOU!!! RATA-TAT-TAT!!! Everyone opens fire! INT. UNDERGROUND STORAGE ROOM - CONTINUOUS Matheson moans and groans behind Saul, who is staring at Dale's motionless body. Horrified, he flips Dale over... He's alive! The top of his left ear has been blown off! 101 SAUL Dale? You're alive! DALE What happened? Saul analyzes Dale's wound. SAUL They got your ear. Behind Saul, Matheson tries to stand up, but immediately falls back down. DALE (difficulty hearing) My what? SAUL Here. Get up. Saul helps Dale stand up, freeing his hands. Dale feels his ear. DALE (in pain) AAHHHH!!! MY EAR!!! Dale turns to the injured Matheson. DALE (CONT'D) YOU KILLED MY EAR!!! MATHESON (to Saul) You shot me.. SAUL (to Matheson) Well, you kneed my balls! DALE You shot him? Dale notices Saul is holding a gun. DALE (CONT'D) Whoa. Dale turns to Matheson, who has stopped moving. 102 DALE (CONT'D) Uh...stay there. They walk out the door and cautiously enter the forest of weed. INT. BARN - CONTINUOUS The Asians riddle the barn with bullets as they scream at Ted and his men in Korean. The remaining thugs scamper about, returning fire to the Asians. Ted and Carol hide behind a vehicle. CAROL On three. Ted nods. CAROL (CONT'D) One, two, three! Carol and Ted pop up and unload their guns, hitting several of their assailants. They watch in horror as several more creep in through the hole the Escalade made. CAROL (CONT'D) You go down. I'll take care of this. Ted nods as Carol steps out from behind her cover and nails several assassins. RAT-A-TAT-TAT!!! Carol is shot several times in the chest! She lurches backwards, but does not fall. Her bullet proof vest has taken the bullets. CAROL (CONT'D) ARGGG!!! Carol continues firing and kills another attacker as Ted runs for the trap door. INT. GIANT UNDERGROUND GROW ROOM - CONTINUOUS Dale and Saul slowly make their way through the dense marijuana foliage. SAUL Look at all this fucking weed, man. Where the hell are we? Is this some underground weed city we don't know about? 103 Saul suddenly GRABS Dale and pulls him down. SAUL (CONT'D) (whispering) What's that noise? DALE (whispering) I don't know! That guy just blew half my fucking ear off! SAUL (pointing across the room) There's some dudes in here. I saw them when I got dragged down. And there's some kind of super-suit or something. DALE Were they armed? SAUL (whispering) I don't think so. BLAM! BLAM! BLAM! Dale and Saul both scramble along a row of weed planets as bullets ricochet all around them. They continue running and then stop. DALE I can't hear them. Saul spots an air vent in the middle of the room. SAUL You could boost me up! We'll sneak out. BLAM! BLAM! They are being shot at again. DALE Shoot back! SAUL Really? DALE YES! Saul hesitantly takes aim and pulls the trigger. BLAM! BLAM! BLAM! DALE (CONT'D) Now run! 104 They run and turn several corners when Saul suddenly trips over a dead thug. SAUL DALE AH!!! WHOA!!! DALE (CONT'D) Nice. You got him. Dale picks up the thug's machine gun. Suddenly, a thug appears behind Saul. THUG 7 Lance? Holy fuck! You sons-of- Dale shoots right over Saul's shoulder and nails the thug several times. DALE Holy shit. I killed him. SAUL About time you killed somebody. You're the one whose supposed to be saving me, and I`ve killed two bad guys already. Saul looks to the vent in the middle of the room. Dale looks at the pipe, sizes up Saul and himself, and takes a deep breath. DALE You'll never be able to pull me up, but I'll boost you up there and you just fucking run for it, man. SAUL What? No fucking way, Dale. What about you? Dale cocks his gun. DALE Don't worry about me. SAUL Whoa. That was awesome. Saul tucks the gun in his belt and awkwardly climbs atop Dale's shoulders and tears the vent off. SAUL (CONT'D) You're a good man, Dale Denton. 105 Saul lifts himself in. SUDDENLY, Dale sees Ted enter the room and immediately go for his gun. DALE Hold on! SAUL Wha- Dale walks out from under Saul, raises his gun, and unloads - RATA-TAT-TAT!!! Ted ducks as the plants around him are torn asunder. Dale runs out of ammo. BLAM! BLAM! BLAM! Ted shoots at Saul, who narrowly avoids the gunfire as he pulls himself into the vent. Ted redirects his attention to Dale, who is running through the bushes. Ted blasts off a few shots before Dale vanishes into the foliage. TED Denton!!! INT. VENT - CONTINUOUS Saul wiggles his way through the vent. He turns a corner and- SAUL AHHH!!! There is a skeleton wedged in the vent. A grate leading out is directly above the corpse. Saul squeamishly crawls over the skeleton. SAUL (CONT'D) Ew. Gross, man. A fuckin' dead guy. He spots dog tags around it's neck as he crawls by. They read: Private Greg B. Miller. EXT. OPEN FIELD - CONTINUOUS Thirty feet from the barn there is an air vent sticking out of the ground. The top flies off and Saul emerges. He flops onto the ground, then immediately scampers to his and pulls out his gun. Saul looks to the open road to freedom, then back at the barn. SAUL Fuck... 106 INT. GIANT UNDERGROUND GROW ROOM - CONTINUOUS Dale frantically runs through the rows of plants, when SUDDENLY he sees the strange scuba suit out of the corner of his eye and swings his gun at it, nearly opening fire. DALE (whispering) Oh god. Dale slows down to catch his breath, staring at the strange scuba suit. Then, he gets an idea. ANGLE ON: Ted, quietly walking through the room Ted raises his gun as he spins around a corner. TED Where are you, you son-of-a-bitch? Ted turns another corner and sees the strange scuba suit. He starts to walk past it, when he stops himself. He creeps back and looks at it, suspicious. He walks closer, breathing as quietly as he can, his gun clenched tightly. He slowly reaches his hand out to lift the face-hatch. He gently takes hold of the latch and is about to open it, when- Dale jumps out from behind him and swings a FIRE EXTINGUISHER at Ted's face - SLAM!!! Ted drops his gun as he falls to the floor. DALE Ha! Ted leaps upwards and uppercuts Dale hard!!! EXT. BARN - CONTINUOUS Saul inches towards the barn, hearing a melee of gunfire and screams as he nears it. He cautiously peers in and watches as Carol shoots an assassin in the chest then spins around and shoots at another assassin who desperately runs with a METAL BRIEFCASE handcuffed to his wrist. Carol hits him several times; he lurches over and falls through the trap door. She smiles and drops her empty gun. Saul watches Carol as she heads towards the trap door. He takes a deep breath and CHARGES into the barn, unleashing a barrage of bullets at her! BLAM BLAM BLAM! CLICK. 107 CLICK. CLICK. None of the bullets hit her. She turns and sees Saul, who drops his empty gun. SAUL Fuck tha po-lice. They both SCREAM in rage and CHARGE, fists flying as they collide. Carol whips Saul around by his collar and hurls him to the ground. She runs up and kicks him in the gut, time and time again. CAROL I'm a fucking cop, you moron. SAUL AAAAAAARRRRGGGGGHHH!!! Saul leaps to his feet and PUNCHES Carol in the face. He PUNCHES her again. She reaches for her mace, so Saul kicks her in the groin and grabs it for himself, then sprays her in the face. SLAM! He punches her in the face. INT. UNDERGROUND FACILITY - CONTINUOUS Ted and Dale are squared off. Both are bloody lipped and bruised. Dale continuously shucks and jives on the spot as they talk. DALE You can't fucking take me. I'm young. Virile. Prime of my life. You're old. Old and dying. TED I don't know who you are, Denton, or why you're trying to ruin my life, but you're fuckin' dead! Ted rips off his shirt, revealing dozens of fearsome tattoos and scars. Dale quickly picks a grow light up off the ground. Ted does the same. The humming of the grow lights is heard as the two men walk in a circle, squared off. TED (CONT'D) DALE AAAAAAHHHHHH!!!! AAAAAAHHHHHH!!!! They both swing and their grow lights collide, sending shards of glass everywhere. 108 Both receive several small cuts. The immediately charge at each other and are soon grappling on the ground. INT. BARN - CONTINUOUS Carol writhes on the ground as Saul runs towards her with a plank of wood. SMASH! He shatters it over her head. Carol drops, unconscious. Saul drops to his knees, exhausted. SAUL Crazy huff huff , psycho bitch... MATHESON (O.S.) Hey Saul! Saul turns around to see Matheson clutching his bleeding gut with one hand and a loaded gun with the other. MATHESON (CONT'D) I owe you one. In the gut. Then the balls, and then the- CRASH!!! Red's car SMASHES through the side of the barn and SLAMS into Matheson, PULVERIZING him!!! It lurches to a stop directly ON TOP OF THE HATCH leading underground. Red steps out of the car. RED (to Matheson's corpse) You just got killed by a Ford Fiesta motherfucker!!! How you like me now!?! SAUL R...Red? RED Saul! `sup! Dude, me and that Dale guy are rescuing you. And getting revenge on those whose shot us in the gut. BLAM! Red gets shot in the gut and drops! SAUL RED!!! Saul spins around to see Carol standing behind him, a machine gun aimed. SAUL (CONT'D) Oh no... 109 CAROL Oh yeah! INT. UNDERGROUND FACILITY - CONTINUOUS Ted and Dale grapple violently on the ground. His gut jiggles as he lunges forwards, punching Dale in the throat! Dale falls to his knees, gasping for air. Ted kicks him in the head and picks up his GUN. ANGLE ON: AN ASIAN ASSASSIN Barely alive, the Asian Assassin with the briefcase drags himself down the corridor and enters the grow room. He opens the briefcase and we see that it is a bomb. The assassin inserts a key. Ted stands over Dale, aims the gun to his head, and- KA-BOOM!!! THE BRIEFCASE EXPLODES!!!. Flames sweep over the room as Dale rolls for cover. Ted gets blasted back. INT. BARN - CONTINUOUS Saul tries to be brave as Carol takes final aim. CAROL Now prepare to eat shit and die- KABOOM!!! The explosion BURSTS UP from the hatch with incredible force. Saul and Carol get blown back as Red's Ford Fiesta is sent flying up in the air. The flaming car lands DIRECTLY on Carol and explodes. The entire barn is now engulfed in flames. INT. UNDERGROUND FACILITY - CONTINUOUS The air thick with weed smoke, Dale slowly rises to his feet. He sees Ted slumped against the wall, dead, partially aflame. Dale walks over to Ted's body and takes the gun out of his hand. DALE Sorry, Ted... He pulls a small BLUE ENVELOPE out of his pocket and drops it on Ted. DALE (CONT'D) ...but you've been served. 110 Dale turns to see the exit blocked by a wall of fire. The air is thick with smoke and he can barely breath. Dale looks around desperately. He spots the FIRE EXTINGUISHER. He looks at the flames. He takes a deep breath, picks up the fire extinguisher, hurls it with all his might at the fire, and then quickly whips out his gun and shoots at it! BLAM! BLAM! BLAM! He hits the extinguisher and it explodes, blasting out the fire in the hallway towards the barn. Dale runs like hell. As he bolts down the hallway, the flames rush back in and chase after him. INT. BARN - CONTINUOUS The barn starts to buckle, when Dale suddenly leaps out of the trap door, flames licking his heels. Coughing profusely, Dale stands in the barn, then realizes his pants are on fire. DALE Holy fuck! Holy fuck! Aaaahhhh!!! Dale wriggles out of his pants and kicks them away. DALE (CONT'D) Ow. Ah. Ow. Okay... cough cough He starts to walk out of the barn when he suddenly trips over someone. DALE (CONT'D) Saul! He grabs one of the unconscious Saul's feet and starts to drag him out of the barn. Just a they exit, the barn COLLAPSES in on itself, crumbling into a massive heap of burning wood. Dale pulls Saul onto the grass. Saul starts coughing. DALE (CONT'D) Saul! Cough Cough You're okay! SAUL (confused) Cough Cough What the fuck happened? DALE We... Cough ...we did it. We beat them. We won. 111 SAUL No fucking way. Seriously? (pointing at the fire) How did that happen? DALE I have absolutely no idea. SAUL They were fighting Asian dudes, man. DALE Asian dudes? So, okay...maybe this is revenge for that Asian dude I saw Ted kill. SAUL So we're, like, in a drug war. That's cool. DALE What's cool is that you came back for me man. You did, right? You weren't just captured again, were you? SAUL Hell no! I was scott-free. But how the hell was I going to leave you there after you came to save me? Fuck that. They take a few deep breathes and each cough a bunch. Suddenly, they see something moving in the rubble. RED emerges, lightly crisped with his clothes on fire. He roles around in the dirt trying to put himself out. RED Motherfuckers. Motherfuckers. Light me on fire? Kill my Fiesta? Fuckers. DALE Red? You okay? Red pats out the flames and stands up, all charred and covered in dirt. RED Fuck yeah, I'm fine. I'm Red. You're makin' me feel like a broken record. Now can we get the fuck out of this shit hole. They all stand up. Red puts his arms around Dale and Saul for support. They start to hobble towards the forest. 112 SAUL What should we do now? Can we go home? DALE I've gotta get downtown, try and win Angie back. SAUL Tell her you cut off your ear for her, like that crazy artist. (beat) But, seriously dude, your joking right? She'll never take you back, ever. Just grow up and date a woman your own age. DALE Do you think we should have looked for the ear? They probably could've re- attached it, eh? I mean, this ear thing kind of fucking sucks. RED Oh my god, they blew your ear off, man! Fuck that's gross. Can you dudes switch sides? I don't want to look at it. SAUL Don't worry, man. Look at Evander Holyfield, he looks totally normal. And plus, I saw this thing on the Discovery Channel, they can actually grow ears, like, in a petri dish, or even on the side of a mouse. And you only need half of one. It'll be a fuckin' cinch. DALE I just realized I've 100% lost my job by now. I haven't called in for days. SAUL Who fuckin' cares? I thought you wanted to be a talk radio dude anyways? And, like, I never said anything, but you do have the voice. Like, when I didn't know what you did, I kind of thought you might have been doing cartoon voices, you know, like that Shrek shit, and that's why you wore a suit. RED You do have a good talk radio voice. I love that shit, too. I...wait, say something again? 113 DALE What? Why? RED You're that dude whose always calling KSTAR about havin' two garbage days. I totally agree with you, man. I work out of my house, and it's, like, one of my main concerns, garbage pile up. DALE Saul, what're you going to do? SAUL Work at a bong shop. RED I'm still selling weed. Fuck you guys. They walk together in silence, delighted at their new prospects. After a brief moment, Saul suddenly seems afraid. He starts nervously looking back towards the barn. SAUL Do you hear something? Dale motions at his wounded ear. DALE All I hear is ringing. SAUL Dude, I'm kind of freakin' out. Like...I don't know...like, there might be someone out there. I mean...how do we know we got them all? RED What the fuck are you guys talkin' about? I don't hear shit. Dale starts getting nervous, but tries to hide it. DALE Well...the barn did collapse in a ball of fire, and we probably each inhaled about ten pounds of weed smoke, so...it's just, you know- Dale suddenly looks over his shoulder, but sees nothing. 114 DALE (CONT'D) ...a little paranoia. Saul grabs Dale. SAUL (whispering) Stop! They freeze. RED (whispering) Are you guys fuckin' with me? DALE (whispering) What- SAUL RED (whispering) (whispering) Sshh! Sshh! DALE (CONT'D) (whispering) What is- SAUL (whispering) Sshh! Can you hear that? DALE (whispering) What? RED (whispering) Oh fuck. I'm freakin' out. SAUL (whispering) Just listen. Dale listens intently. DALE (whispering) I literally only hear ringing. They stand in silence. RED Fuck this noise! 115 Red pushes himself off Dale and Saul and run into the darkness. DALE I'm following him. SAUL Wait! Me too! With the barn's flaming remains the only light in sight, Dale and Saul run off into the endless, dark country side. And as enchanting music fills the air, we humbly... FADE TO BLACK. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Pirates of the Caribbean.txt b/unformated_scripts/Script_Pirates of the Caribbean.txt new file mode 100644 index 0000000000000000000000000000000000000000..18ec1150b4205ff815fa72f6531ebcd7201654db --- /dev/null +++ b/unformated_scripts/Script_Pirates of the Caribbean.txt @@ -0,0 +1 @@ +FADE IN:EXT. CARIBBEAN SEA - DAYA gray, impenetrable wall of fog. From somewhere comes theFAINT SOUND of a LITTLE GIRL'S VOICE, singing, slow tempo,almost under her breath. YOUNG ELIZABETH (O.S.) Yo, ho, yo, ho, a pirate's life for me Yo, ho, yo, ho, it's a pirate's life for me...Suddenly a massive SHIP emerges from the grey, the WingedVictory maidenhead looming. It's a British dreadnought,the H.M.S. Dauntless. Formidable, frightening, twenty-fivegun ports on a side, and rail guns to boot.EXT. H.M.S. DAUNTLESS - FORECASTLE - DAYELIZABETH SWANN, strawberry blond hair, stands at the bowrailing, gazing at the seas, still singing -- ELIZABETH ...drink up me hearties, yo, ho...JOSHAMEE GIBBS, who was born old, skin a dark leather,clutches her shoulder, startling her. GIBBS (sotto) Quiet, missy! Cursed pirates sail these waters. You want to call 'em down on us?Elizabeth stares wide-eyed at him. NORRINGTON Mr. Gibbs.NORRINGTON, a dashing young man, Royal Navy to the core,glares sternly at Gibbs. Standing besides him is GOVERNORWEATHERBY SWAN, a man of obvious high station, brassbuttons on his thick blue jacket. He is Elizabeth'sfather. NORRINGTON (CONT'D) That will do. GIBBS She was singing about pirates. Bad luck to sing about pirates, with us mired in this unnatural fog-- mark my words. NORRINGTON Consider them marked. On your way. GIBBS 'Aye, Captain. (as he moves off) Bad luck to have a woman on board, too. Even a mini'ture one.He returns to his deck-swabbing duties, surreptitiouslytakes a quick swig from flask. ELIZABETH I think it would be rather exciting to meet a pirate. NORRINGTON Think again, Miss Swan. Vile and dissolute creatures, the lot of them. I intend to see to it that any man who sails under a pirate flag, or wears a pirates brand, gets what he deserves: a short drop and a sudden stop.Elizabeth doesn't know what 'a short drop and a suddenstop' means. Gibbs helpfully mimes: a man being hung. SWAN Captain Norrington... I appreciate your fervor, but I am concerned about the effect this subject will have on my daughter. NORRINGTON My apologies, Governor. ELIZABETH Actually, I find it all fascinating. SWAN And that's what concerns me. Elizabeth, dear... we will be landing in Port Royal very soon, and beginning our new lives. Wouldn't it be wonderful if we comport ourselves as befits our class and station? ELIZABETH Yes, father.Chastised, she turns away, to look out over the bow rail. ELIZABETH (CONT'D) (to herself) I still think it would be exciting to meet a pirate...The fog still hems in the ship; very little of the sea isvisible ---- but suddenly, a FIGURE comes into view. A young boy,WILL TURNER, floating on his back in the otherwise emptywater. There is nothing to show where he came from, or howhe came to be there. ELIZABETH (CONT'D) Look! A boy! In the water!Norrington and Swann spot him -- NORRINGTON Man overboard! ELIZABETH Boy overboard! NORRINGTON Fetch a hook! Haul him out of there!Quick movement and activity on the deck. Sailors use aboathook to snag the boy he the passes. Norrington andSwann haul him aboard, and lay him on the deck. Elizabethsidles in for a closer look. NORRINGTON (CONT'D) He's still breathing. SWAN Where did he come from? GIBBS Mary mother of God ...Attention is turned away from the boy --The sea is no longer empty. WRECKAGE from a ship littersthe water... along with the bodies of its crew. What isleft of the ship's hull BURNS, a ragged British flaghanging limply from the stern.The H.M.S. Dauntless slips silently through it all. Thescene calls for hushed voices. SWAN What happened here? NORRINGTON An explosion in the powder magazine. Merchant vessels run heavily armed. GIBBS Lot of good it did them... (off Swan's look) Everyone's thinking it! I'm just saying it! Pirates! SWAN There is no proof of that. It could have been an accident. Captain, these men were protection. If there is even the slightest chance one of those poor devils is still alive, we cannot abandon them! NORRINGTON Of course not, Governor. (to the crew) Come about and strike the sails! Unlash the boats! Gunnery crew... jackets off the cannons! (to Swann) Hope for the best...prepare for the worst. (to two sailors) Move the boy aft. We'll need the deck clear.They lift the boy. Swann pulls Elizabeth away from therail, away from the hideous scene in the water. SWAN Elizabeth, I want you to accompany the boy. He's in your charge now. You'll watch over him?Elizabeth nods gravely. Swann hurries away to help unstowthe longboat. The sailors lay the boy gently on the poopdeck, behind the wheel, then hurry off. Elizabeth kneelsdown besides the boy.His good looks are not lost on her. She reaches out,gently brushes the blond hair from his eyes --Suddenly, he grabs her wrist, awake now. Elizabeth isstartled, but their eyes lock. She takes his hand in hers. ELIZABETH My name is Elizabeth Swann. WILL Will Turner. ELIZABETH I'm watching over you, Will.He clutches her hands, then slips back intounconsciousness.His movement has opened the collar of his shirt; Elizabethsees he wears a chain around his neck. She tugs it free,revealing--A GOLD MEDALLION. One side is blank. She turns it over --A SKULL gazes up at her. Vaguely Aztec in design, but toher eyes, it means one thing only: ELIZABETH (CONT'D) You're a pirate.She glances back at the crew. Sees Norrington, givingorders, moving toward her.She looks back at Will -- comes to a quick decision. Takesthe medallion from around his neck. Hides it under hercoat.Norrington arrives. NORRINGTON Did he speak? ELIZABETH His name is Will Turner -- that's all I found out. NORRINGTON Very good.Norrington hurries off. Elizabeth steals away to the sternof the ship. Examines her prize -- the gold medallion. Awisp of wind, and she looks up --Out over the sea, moving through the fog, silent as aghost, is a large sailing ship, a schooner --It has BLACK SAILS.Elizabeth stares, too frightened to move, or cry out.The ship is obscured by the fog it as it passes -- but notthe mizzen-top ... and there hangs the frightening skulland crossbones of the Jolly Roger.Elizabeth looks from it to the medallion -- the skull onthe flag is the same as the one on the medallion.Fog surrounds and closes in on the black ship -- except forthe black flag. As Elizabeth watches, the skull appears toTURN and GRIN at her --Elizabeth shuts her eyes tight -- EIGHT YEARS LATERINT. GOVERNOR'S MANSION - ELIZABETH'S BEDROOM-- and then snap open again, startled wide with fear.But this is no longer twelve-year-old Elizabeth standing onthe stern of the Dauntless; this is twenty-year-oldElizabeth, lying in bed in the dark.She remains motionless (were the images we just saw anightmare, or a jumbled childhood memory?)Elizabeth slowly looks as far out the corner of her eyes aspossible without moving. Might there be someone in theroom with her, looming over her?She turns, ready for anything. She is alone.Elizabeth sits up, turns up the flame on an oil lampbesides the canopied bed. She carries the lamp across theroom to a dressing table, sits down.She pulls one of the small drawers all the way out, reachesinto a space beneath it and removes --The MEDALLION. She has kept it all this time. It has notlost its luster -- or its sense of menace. She gazes at itas she absently returns the draw to its place --A BOOMING knock on the door; Elizabeth jumps up, startledknocking over her chair. SWANN (O.S.) Elizabeth? Is everything all right? Are you decent? ELIZABETH Yes -- yes.She puts the medallion on, throws on a dressing gown asSwann enters, carrying a large box. A uniformed maid,ESTRELLA, follows. SWANN Still abed at this hour? It's a beautiful day!Estrella pulls back the heavy curtains, revealing:Beneath a blue sky lies the bucolic town of PORT ROYAL,built on a natural harbor. On a bluff at the mouth of theharbor stands FORT CHARLES, its stone parapets lined withcannon. SWANN (CONT'D) I have a gift for you.He opens the boxes, and displays for her a gorgeous velvetdress. She lets out an admiring gasp. ELIZABETH It's -- beautiful. May I inquire as to the occasion? SWANN Is an occasion necessary for a father to dote upon his daughter with gifts?Elizabeth happily takes it, disappears behind a screened-off dressing area. Estrella follows, carrying the box. SWANN (CONT'D) Although...I did think you could wear it to the ceremony today. ELIZABETH (O.S.) Ceremony? SWANN Captain Norrington's promotion ceremony.Elizabeth peeks around the screen. ELIZABETH I knew it. SWANN Or, rather, Commodore Norrington...a fine gentleman, don't you think? (no answer) He fancies you, you know.Behind the screen, Elizabeth GASPS. SWANN (CONT'D) Elizabeth? How's it coming?ON ELIZABETH -- She holds her hair and the medallion (stillaround her neck) out of the way as the maid cinches herinto a corset over her slip. Estrella has her foot inElizabeth's back as she pulls the laces tight. ELIZABETH Difficult ... to say. SWANN (O.S.) I'm told that dress is the very latest fashion in London. ELIZABETH (holding her breath) Women in London must have learned to not breath.Estrella is finished. Elizabeth takes a breath -- andwinces.A butler appears in the doorway of the room. BUTLER Governor? A caller is here for you.INT. GOVERNOR'S MANSION - FOYER - DAYThe caller, dressed in rough clothing, stands in the foyer,looking very out of place, and knowing it. He holds a longpresentation case. He polishes the toes of his boots onthe back of his calves, but it doesn't help. SWANN Ah, Mr. Turner! It's good to see you again!The caller turns -- it is WILL TURNER. Handsome, with awatchful demeanor that gives him weight beyond his years. WILL Good day, sir. (holds out the case) I have your order.Swann hurries to him, opens the case. Inside is abeautiful dress sword and scabbard. Swann takes it outreverently. WILL (CONT'D) WILL (CONT'D) The blade is folded steel. That's gold filigree laid into the handle. If I may -He takes the sword from Swann, and balances it on onefinger at the point where the blade meets the guard. WILL (CONT'D) Perfectly balanced. The tang is nearly the full width of the blade.. SWANN Impressive. .. very impressive. Commodore Norrington will be pleased, I'm sure. Do pass my compliments on to your master.Will's face falls. Clearly, the work is his, and he isproud of it. With practiced ease, he flips the swordaround, catches it by the hilt and returns it to the case. WILL (bows slightly) I shall. A craftsman is always pleased to hear his work is appreciated --He stops speaking abruptly, staring past Swann -Elizabeth stands on the stairs. Granted, the dress may bepainful to wear, but holy smokes! SWANN Elizabeth! You look stunning!Will tries to speak, but can't. He gives up, smiles tohimself, and simply nods emphatically. ELIZABETH Will! It's so good to see you!Her hand goes to the chain around her throat (the medallionis hidden in the bodice of her dress). ELIZABETH (CONT'D) I dreamt about you last night. Will reacts with surprise: "Really? SWANN Elizabeth, this is hardly appropriate - ELIZABETH (ignores her father) About the day we met. Do you remember? WILL I could never forget it, Miss Swann. ELIZABETH Will, how many times must I ask you to call me 'Elizabeth'? WILL At least once more, Miss Swann. As always.Elizabeth is disappointed and a little hurt by hisresponse. SWANN Well said! There's a boy who understands propriety. Now, we must be going.Swann takes the case from Will, opens the door forElizabeth.Elizabeth straightens her back, gathers her skirts andstrides past Will. ELIZABETH Good day, Mr. Turner.EXT. GOVERNOR'S MANSION - DAYSwann follows Elizabeth out the door. WILL Good day.He watches as she is helped aboard a carriage by thedriver. WILL (CONT'D) (to himself) Elizabeth.IN THE CARRIAGE: Swann glowers at his daughter. SWANN Dear, I do hope you demonstrate a bit more decorum in front of Commodore Norrington. After all, it is only through his efforts that Port Royal has become at all civilized.EXT. PORT ROYAL - HARBOR - DAYThe skeletal remains of four pirates, still clad inbuccaneer rags, hang from gallows erected on a rockypromontory. There is a fifth, unoccupied gallows, bearing asign:PIRATES - YE BE WARNED.The top of a billowing sail passes regally in front ofthem. On the landward face of the sail, apparently high inthe rigging, is a man for whom the term 'swashbucklingrogue' was coined: Captain JACK SPARROW.He gazes keen-eyed at the display as they pass. Raises atankard in salute. Suddenly, something below catches hisattention. He jumps from the rigging --- and that's when we see that his is ship is not animposing three-master, but just a small fishing dory with asingle sail, plowing through the water -- the Jolly Mon.And it leaks. Which is why he has the tankard: to bail.Jack steps back to the tiller, and using a single sheet tocontrol the sail, and the Jolly Mon comes around thepromontory, the whole of Port Royal laid out before him.The huge British dreadnought, H.M.S. Dauntless dominatesthe bay. But Jack's attention is on a different ship: theH.M.S. Interceptor, a small sleek vessel with rail guns anda mortar in the middle of the main deck. It is tied up atthe Navy landing, at the base of the cliffs below FortCharles.EXT. PORT ROYAL - DOCKS - DAYSmoothly and with no wasted movement, Jack hauls down thesail, stows it, guides the dory alongside a dock. TheHARBORMASTER, a long ledger tucked under his arm, is thereto catch a line and help Jack tie up. HARBORMASTER If you're out rolling scuppers in this tub, you're either incredibly brave or incredibly stupid. JACK It's remarkable how often those two traits coincide.He starts up the dock, strapping on his sword belt; besidesthe scabbard, it also carries a compass, pistol and smallpowder horn. The Harbormaster cuts him off. HARBORMASTER It's a shilling for the dock space, and you're going to have to give me your name. JACK What do you say to three shillings, and we forget the name?He tosses three shillings onto the ledger. The Harbormasterconsiders, then shuts the ledger on the coins, steps aside. HARBORMASTER Welcome to Port Royal, Mr. Smith.Jack gives him a half-salute as he goes past. Looks acrossthe water toward the Interceptor -- and smiles. Above theInterceptor, among the parapets of Fort Charles, a ceremonyis underway -EXT. FORT CHARLES - DAYWith choreographed precision, Swann removes the sword andscabbard from the presentation case, held by a uniformedNavy man. He slides the sword into the scabbard, holds itout vertically to Norrington, in full dress uniform.Norrington grasps the scabbard above Swann's hand, andSwann lets go. Norrington draws the sword, flourishes thesword, and snaps the blade up in front of his face. Swannsteps forward, pins a medal to Norrington's jacket, stepsback.Norrington nods, turns smartly and nods to his fellowofficers, turns again and nods to the audience -dignitaries, merchants, plantation owners, their families.Another flourish, and he returns the sword to its scabbard.The silence is broken by loud APPLAUSE. Backslapping fromthe Navy men.In the audience, Elizabeth doesn't look so good, outbeneath the hot sun. She applauds briefly, then winces.Discreetly tries to adjust the corset through the materialof the dress, then resumes clapping, trying to hide herdiscomfort.EXT. PORT ROYAL - NAVY DOCK - DAYTwo sailors on sentry duty, MURTOGG and MULLROY, takeadvantage of what little shade there is on the dock. Butwhen Jack saunters up, they are immediately on alert. MURTOGG This dock is off-limits to civilians. JACK Sorry, I didn't know.Music drifts down from Fort Charles. Jack looks up, shieldshis eyes. JACK (CONT'D) Some sort of to-do up at the fort, eh? You two weren't invited? MURTOGG No ... someone has to make sure this dock stays off-limits to civilians. JACK This must be some important boat. MULLROY Ship. JACK Ship. MURTOGG Captain Norrington's made it his flagship. He'll use it to hunt down the last dregs of piracy on the Spanish Lake. MULLROY Commodore. MURTOGG Right. Commodore Norrington. JACK That's a fine goal, I'm sure ... But it seems to me a ship like that -- (indicates the Dauntless) -- makes this one here just a wee superfluous. MURTOGG Oh, the Dauntless is the power in these waters, true enough -- but there's no ship that can match the Interceptor for speed. JACK That so? I've heard of one, supposed to be fast, nigh uncatchable ... the Black Pearl?Mullroy scoffs at the name. MULLR0Y There's no real ship as can match the Interceptor. MURTOGG The Black Pearl is a real ship. MULLROY No, it's not. MURTOGG Yes it is. I've seen it. MULLR0Y You've seen it? MURTOGG Yes. MULLROY You've seen the Black Pearl? MURTOGG Yes. MULLR0Y You haven't seen it. MURTOGG Yes, I have. MULLR0Y You've seen a ship with black sails that's crewed by the damned and captained by a man so evil that hell itself spat him back out? MURTOGG ... No . MULLROY No. MURTOGG But I've seen a ship with black sails. MULLR0Y Oh, and no ship that's not crewed by the damned and captained by a man so evil hell itself spat him back out could possibly have black sails and therefore couldn't possibly be any ship other than the Black Pearl. Is that what you're saying? MURTOGG ... no. MULLR0Y (turns back to Jack) Like I said, there's no real ship as can match -- Hey!But Jack's not there. Murtogg and Mullroy look around, spot-Jack standing at the wheel of the Interceptor, casuallyexamining the mechanism. MULLROY (CONT'D) You!Jack looks over in exaggeratedly innocent surprise. Thesailors hurry toward the gangplank. MULLROY (CONT'D) Get away from there! You don't have permission to be aboard there!Jack spreads his hands in apology. JACK I'm sorry. It's just such a pretty boat. Ship.The sailors study him suspiciously. MURTOGG What's your name? JACK Smith. MULLR0Y What's your business in Port Royal, 'Mr. Smith' ? MURTOGG And no lies! JACK None? Very well. You've rumbled me. I confess: I intend to commandeer one of these ships, pick up a crew in Tortuga, and go out on the account, do a little honest pirating. MURTOGG I said, no lies. MULLR0Y I think he's telling the truth. MURTOGG He's not telling the truth. MULLROY He may be. MURTOGG If he were telling the truth he wouldn't have told us. JACK Unless, of course, he knew you wouldn't believe the truth if he told it to you.Murtogg and Mullroy consider that point --EXT. FORT CHARLES - DAYElizabeth, pale and perspiring, fans herself weakly,oblivious to the music and chatter. NORRINGTON May I have a moment?He extends his arm. She takes it. He walks her away fromthe party, toward the parapet. A rather too long of asilence as Norrington works up his courage. NORRINGTON (CONT'D) (a burst) You look lovely. Elizabeth.Elizabeth frowns, unable to focus. Norrington mistakes herexpression as disapproval. NORRINGTON (CONT'D) I apologize if I seem forward -- but I must speak my mind. NORRINGTON (CONT'D) (working up his confidence to do so) This promotion confirms that I have accomplished the goals I set for myself in my career. But it also casts into sharp relief that which I have not achieved. The thing all men most require: a marriage to a fine woman. (beat) You have become a fine woman, Elizabeth. ELIZABETH I can't breathe. NORRINGTON (smiles) I'm a bit nervous, myself --Elizabeth loses her balance, stumbles away from Norrington.She reaches a hand out to the parapet to steady herself,but it slides off --- and then she vanishes over the wall. Gone. NORRINGTON (CONT'D) Elizabeth! .EXT. PORT ROYAL - NAVY DOCKS - DAYJack reacts, pushes Murtogg aside to see -Elizabeth plummets from the top of the cliff. It seems totake her a long time to reach the sea --Elizabeth hits the water, narrowly missing the sharp rocks.A wave breaks, and then she is washed out away from thecliff, struggling feebly.AT THE FORT, Norrington looks down --NORRINGTON ELIZABETH!He leaps to the top of the parapet, prepared to dive -- alieutenant, GILLETTE catches his arm. GILLETTE The rocks, sir! It's a miracle she missed them!Norrington shakes off his arm, looks down -- and realizesGillette is right. He jumps down and runs --EXT. PORT ROYAL - NAVY DOCKS - DAYJack, Murtogg and Mullroy are still in shock from thesight. JACK Aren't you going to save her? MULLR0Y I can't swim.Murtogg shakes his head -- neither does he. JACK (rolls his eyes) Sailors.Above where Elizabeth struggles in the water. Norringtonand several other men pick their way down the cliffs. Theyare too far away to get to her in time.Jack scowls. He has no choice -- and it pisses him off. JACK (CONT'D) Fine.He pulls a pistol from his sword belt, hands it to Murtogg;then hands the belt to Mullroy. JACK (CONT'D) Don't lose these.And then he dives into the water, swims toward Elizabeth.Elizabeth struggles to keep above water, gasping for air '-then a swell rolls over her, and she is submerged -UNDERWATER, Elizabeth drifts down, unconscious. The currentturns her, and the MEDALLION slips loose from her bodice.The MEDALLION turns slowly, until the SKULL is fullyvisible. A shaft of filtered sunlight hits it, and itGLINTS -EXT. PORT ROYAL - VARIOUS - DAYFORT CHARLES: The British flag flies, blown from anoffshore breeze. Suddenly the wind dies, and the flag goeslimp.ON THE DOCKS: Wood and metal fittings on lines bang againstmasts. The wind dies, and there is silence.ON THE EDGE OF TOWN: A CARIBE WOMAN feeds cluckingchickens, frowns when they all suddenly go quiet ...IN THE VILLAGE: A weather vane moves slightly in the wind.The wind stops, and all is still. And then ...... the weather vane TURNS, and holds steady -- the windhas picked up again, but now blows .from the sea toward theland.l)ON THE BEACH: an OLD SALT pulls a rope line, pauses.Turns and gazes to the sky, frowning. The mangy hound athis side starts BARKING incessantly -ON THE DOCKS: The lines bang against the other sides of themasts, the wind far stronger now.FORT CHARLES: the British flag flies in the oppositedirection, snapping in the new onshore breeze.EXT. PORT ROYAL - CLIFFSIDE - DAYNorrington rushes down, intent on the climb. Beyond him,past the rocky point, far out to sea, FOG gathers -EXT. PORT ROYAL - OCEAN - DAYUNDERWATER: the medallion hangs below Elizabeth's unmovingform - - and then Jack is there. He wraps an arm around herand makes for the surface.ON THE SURFACE, Jack swims toward the dock, struggling. Itis .: far more difficult than it should be. He stopsstroking, and they submerge.UNDERWATER: Jack realizes that it is Elizabeth's heavyvelvet dress that is weighing them down. He pulls at thebuttons on the back, and they give way. He skins her out ofthe dress, and kicks away from it.The dress falls like a cloud into darkness -ON THE SURFACE: Jack swims with Elizabeth, much morequickly.AT THE DOCK, Murtogg and Mullroy are there to help haulElizabeth out of the water.Jack climbs up, exhausted. Elizabeth is on her back;Murtogg holds her arms above her head, pumping them.Mullroy puts his cheek to her nose and mouth. MULLROY Not breathing.Murtogg looks down; it seems hopeless. Jack steps up,drawing Murtogg's knife from its sheath. JACK Move.He pushes past Mullroy, kneels over Elizabeth, raises theknife -- Murtogg is shocked -Jack slits the corset down the middle, yanks it away.Elizabeth remains still. And then -- she coughs up waterand gasps, choking on her first full breath. Jack isrelieved. MULLROY I never would have thought of that. JACK Clearly, you've never been to Singapore.Jack flips the knife and hands it hilt-first to Murtogg -and that's when he spots -The MEDALLION. Jack catches it up in his "hand. JACK (CONT'D) Where did you get this?Before Elizabeth can answer, the BLADE of a SWORD is atJack's THROAT -- Norrington's new ceremonial sword, infact, looking bright and sharp. NORRINGTON On your feet.It looks bad -- Jack standing over Elizabeth, most of herclothes gone. He gets to his feet. The rest of Elizabeth'serstwhile rescuers reach the scene, including Swann. SWANN Elizabeth! Are you all right?He strips off his jacket, drapes it around her. ELIZABETH Yes -- yes, I'm fine -- Commodore Norrington, do you intend to kill my rescuer?Norrington looks at Jack. Jack nods as best he can with ablade beneath his chin. Norrington sheathes his sword, andextends his hand. NORRINGTON I believe thanks are in order.Jack takes Norrington's hand gingerly. They shake --- and Norrington tightens his grip, yanks Jack's armtoward him, then tears back the sleeve of Jack's shirt --- exposing a BRAND on Jack's inner wrist: a large 'P.' NORRINGTON (CONT'D) Had a brush-up with the East India Trading Company, did you ... pirate?The others react in shock, but the sailors are well-trained--in an instant, half a dozen pistols are aimed at Jack. Hestands there, still holding the corset. NORRINGTON (CONT'D) Keep your guns on him, men. Gillette, fetch some irons.Norrington notices something else -- below the 'P' brand isa tattoo: a small bird in flight across water. NORRINGTON (CONT'D) Well, well... Jack Sparrow, isn't it? JACK Captain Jack Sparrow. If you please.Norrington looks out at the bay. NORRINGTON I don't see your ship -- Captain. MURTOGG He said he'd come to commandeer one. MULLROY (to Murtogg) I told you he was telling the truth. (currying favor) These are his, sir.He holds out Jack's pistol and belt. Norrington takes thepistol, examines it, notes the powder horn on Jack's belt. NORRINGTON (to Jack) Extra powder, but no additional shot.Jack shrugs. Norrington unhooks the compass from the belt,opens it. He frowns at the reading. Moves the compass thisway and that, keeping it parallel to the ground. NORRINGTON (CONT'D) It doesn't bear true.Jack looks away, a bit embarrassed. Norrington returns thecompass to the belt. Draws the sword half from thescabbard. NORRINGTON (CONT'D) I half-expected it to be made of wood.He slides it back into the scabbard, hands it to Mullroy. NORRINGTON (CONT'D) Taking stock: you've got a pistol with only one shot, a compass that doesn't point north ... and no ship. You are without a doubt the worst pirate I have ever heard of. JACK Ah, but you have heard of me.Gillette returns with shackles, approaches Jack. NORRINGTON Carefully, lieutenant.Elizabeth steps forward. Swann's jacket slips off her. Sheis unconcerned, but he is intent on putting it back on her. ELIZABETH Commodore, I must protest. Pirate or not, this man saved my life. NORRINGTON One good deed is not enough to redeem a man of a lifetime of wickedness.Gillette snaps the manacles closed on Jack's wrists. JACK But it seems to be enough to condemn him. NORRINGTON (smiles) Indeed.Now that Jack is safely chained, Norrington nods to hismen. All but one stow their weapons, and two step forward - JACK Finally.Lightning-quick, he snaps the corset around the hand andwrist of the man holding the pistol and yanks. The pistolsails into the water. Before anyone can react to that, Jackhas the manacle chain wrapped around Elizabeth's throat.Pistols are drawn again, but now Elizabeth serves as ashield. Norrington raises a cautioning hand to his men. JACK (CONT'D) (backing away, toward land) Commodore Norrington ... my pistol and belt, please.Norrington hesitates, balls his fists in frustration. JACK (CONT'D) Commodore!Mullroy hands the pistol and belt to Norrington. Norringtonholds them out to Jack. JACK (CONT'D) Elizabeth -- it is Elizabeth?Elizabeth is more angry than frightened.ELIZABETH Miss Swann. JACK Miss Swann, if you'll be so kind?She takes the belt and pistol from Norrington -- Jack'squicker than she is, and takes the pistol from her. Hejerks her around so she is facing him, belly to belly. JACK (CONT'D) Now, if you'll be very kind?She figures out what he wants: put the belt on him. ELIZABETH (as she works) You are despicable. JACK I saved your life; now you've saved mine. We're square.Done. He turns her again, and then backs up until he bumpsagainst the cargo gantry. JACK (CONT'D) Gentleman. .. m' lady. .. you will always remember this as the day you almost caught Captain Jack Sparrow.He shoves Elizabeth away, grabs a rope and pulls free abelaying pin -- a counterweight drops and Jack is lifted upto the middle of the gantry, where he grabs a second rope -Pistols fire -- and miss. Jack swings out, out, out, awayand around from the gantry.Norrington has held his shot. With careful aim, he tracksJack's trajectory-Jack drops from the rope even as Norrington FIRES. His shottears the rope --- as Jack plummets past one of the gantry's guy lines, hesnaps the length of manacle chain over the line and grabshold of the far loop -- slides down the line --- drops to the deck of a ship. He runs, leaping to anothership, then out of sight - NORRINGTON On his heels! Gillette, bring a squad down from the fort! (to Elizabeth) Elizabeth, are you - ELIZABETH Yes, I'm all right, I'm fine! Go capture him.Norrington's taken aback by her ire, and wisely hurriesaway. Swann drapes his coat around Elizabeth. SWANN Here, dear ... you should wear this.Elizabeth shivers, finding suddenly that she is cold.Glances out at the bay --- where a THICK FOG moves across the top of the water. Shetakes the jacket. ELIZABETH Thank you, Father ... and let that be the last of your fashion advice, please.But she accepts his comforting embrace.EXT. PORT ROYAL - TOWN - ALLEY - DAYThe fog creeps through, casting an eerie twilight pall. Anarmed search party moves along the street. They glance downan alley-On the far side is another search party. The men nod toeach other, continue on.A moment, and then Jack drops from his hiding place beneaththe eaves of a building. He still wears the manacles.Across the street is a shop with barn doors, a pass-thrudoor set in the middle. Above is a sign with a black anvil.INT. BLACKSMITH'S FORGE - DAYJack slips in through the door, takes a look around:No windows. The forge is dark, lit by lanterns. Work-in-progress is scattered about: wagon wheels, wrought irongates, pipes -- even a cannon with a crack in it. But everytool is in place; the workbench is tidy and neat.Jack is startled by a noise: MISTER BROWN, in ablacksmith's apron, snores in the corner, cradling abottle. Jack gives him a hard poke. Another. Brown snorts,turns away.Satisfied, Jack sheathes his sword, takes a short-handledsledge from its place on the wall. Moves to the glowingcoke furnace in the middle of the room.Slowly... he holds his right hand over the furnace, thechain down in the embers. The chain begins to GLOW. Jacksweats, grimaces at the pain -Moving quickly, he wraps the chain around the nose of ananvil, brings the sledge down with a fast, hard stroke onthe glowing links. One SHATTERS. Jack drops the sledge,plunges his manacled hand in a bucket of water. Steambillows.Jack pulls his hand out, flexes it. Blisters form beneaththe manacle -- but his hands are free.The SOUND of the latch on the door -- Jack dives for cover.Will enters the forge, shuts the door behind him. Spots thedrunken Mister Brown in the corner. WILL Right where I left you.Something catches his eye: an empty peg on the wall. Thesledge lying beside the anvil. WILL (CONT'D) (under his breath) Not where I left you.He moves casually toward the sledge. Then grabs for it --but the flat of a sword blade slaps his hand. Will jumpsback.Jack stands there, sword leveled at Will. He backs Will up,toward the door. Will glares at him. WILL (CONT' D) (voice low and tight) You're the one they're hunting. The pirate.Jack acknowledges it with a tip of his head ... thenfrowns, regards Will. JACK You look familiar ... Have I ever threatened you before? WILL I've made a point of avoiding familiarity with pirates. JACK Ah. Then it would be a shame to put a black mark on your record. So if you'll excuse me ...Beside the door is a grindstone, a sword resting inthe honing guide. Before Jack can react, Will has itin hand. JACK (CONT'D) Do you think this is wise, boy? Crossing blades with a pirate? WILL You threatened Miss Swann. JACK Only a little.In response, Will assumes an en garde position. Jackappraises him, unhappy to see Will knows what he's doing.Jack attacks. The two men stand in one place, tradingfeints, thrusts and parries with lightning speed, almostimpossible to follow. Will has no trouble matching Jack. JACK (CONT'D) You know what you're doing, I'll give you that ... Excellent form ... But how's your footwork? If I step here -He takes a step around an imaginary circle. Will steps theother way, maintaining his relationship to Jack. JACK (CONT'D) Very good! And if I step again, you step again. . . (continuing to step around the circle) And so we circle, circle, like dogs we circle. . .They are now exactly opposite their initial positions. JACK (CONT'D) Ta!Jack turns and heads for the door, now directly behind him.Will registers angry surprise -- and then with a viciousoverhand motion, he throws his sword --- the sword buries itself into the door, just above thelatch, barely missing Jack. Jack registers it, then pullson the latch, but it won't move up -- the sword is in theway.Jack rattles the latch. Tugs on the sword a few times -- itis really stuck in there. Jack mouths a curse, but when heturns back to Will, he's smiling. JACK (CONT' D) That's a good trick. Except, once again, you are between me and the way out. (points his sword at the back door) And now you have no weapon.Eyes on Jack, Will simply picks up a new sword from ananvil. Jack slumps in dismay -- but then leaps forward.Will and Jack duel. Their blades flash and ring. Suddenly,Jack swings the chain still manacled to his left hand atWill's head. Will ducks it, comes up wide-eyed.Then Jack's chain smashes across Will's sword, disarminghim.Will quickly picks up another sword. Jack becomes awarethat the entire room is filled with bladed weapons: swords,knives, boarding axes in various stages of completion. JACK (CONT'D) Who makes all these? WILL I do. And I practice with them. At least three hours a day. JACK You need to find yourself a girl. (Will sets his jaw) Or maybe the reason you practice three hours a day is you've found one -- but can't get her?A direct hit -- and Will coils even more tightly withanger. WILL No. I practice three hours a day so that when I meet a pirate ... I can kill him.He explodes: kicks a rack, causing a sword to fall into hishand; uses his foot to bring his dropped sword into theair, catches it -- and attacks Jack, both blades flashing.Jack parries with sword and chain. Jack's chain wrapsaround Will's sword; Will twists the handle of his guardthrough a link, and stabs the sword up into the ceiling -So Jack's manacled left arm is now suspended from theceiling. Not good. He parries using one hand, twisting anddodging around the furnace -Jack compresses the bellows, blowing a SHOWER OF SPARKSinto Will's face. Jack grabs the chain, hoists himself up,kicks with his feet, knocking Will back.Jack uses his full weight, yanks the sword from theceiling. Hurls a wooden mallet at Will, then a second,hitting Will on the wrist. Will drops his sword, fallsdown, gets up -Jack's pistol is aimed directly between Will's eyes.Will steps back, directly in front of the back exit.Glares, rubs his wrist gingerly. WILL (CONT'D) You cheated. JACK (smiles; what do you expect?) Pirate.Jack steps forward. Will steps back, fully blocking thedoor. JACK (CONT'D) Move away. WILL No. JACK Move! WILL No. I can not just step aside and let you escape.Jack cocks the pistol. Will stares back. The stand-offlasts for a long moment. JACK You're lucky, boy -- this shot's not meant for you.Jack uncocks the pistol. Will is surprised, reassesses Jack-Suddenly, Mister Brown SLAMS his bottle against Jack'sskull. Jack crumples to the ground.The front and back doors smash open, and SAILORS fill theroom. Norrington pushes forward, sees Jack on the ground. NORRINGTON Excellent work, Mister Brown. You've aided in the capture of a dangerous fugitive. BROWN Just doing my civic duty.Jack groans. Norrington stands over him, smiles. NORRINGTON I believe you will always remember this as the day Captain Jack Sparrow almost escaped.Norrington's men haul Jack away. Will watches them go.Brown looks at his bottle -- broken. BROWN That ratter broke my bottle.EXT. PORT ROYAL - NIGHTThe thick fog blankets the entire bay now, and the town.The only structure visible is Fort Charles, high on thebluff, like a tall ship sailing a sea of grey.Above the Fort is a clear black sky sprinkled with stars. Awaxing moon shines, giving both Fort and fog an eerie glow.ANGLE - FORT CHARLES,just below the stone parapets of the fort, visible brieflydeep in the fog, like a shark fin slicing through thewater: the TOPMAST of a ship, BLACK SAILS billowing. Flyingfrom the mast is a flag with white Aztec skull.The Black Pearl has come to Port Royal.INT. GOVERNOR'S MANSION - ELIZABETH'S BEDROOM - NIGHTA maid removes a bed warmer from the fireplace, slides itbetween the sheets at the end of Elizabeth's bed. ELIZABETH Nice and toasty. Thank you, Estrellia.The maid nods, exits. Elizabeth opens a book, beginsreading, toying absently with the medallion chain aroundher neck.The lamp flame begins to diminish. Elizabeth tries to turnit up. No good. The flame goes out, and the room is black.INT. BLACKSMITH'S FORGE - NIGHTWill, shirtless, wearing a leather apron, heats an ironingot at the furnace, hammers it flat -- he stops.His attention is drawn to the window. He opens the shutterand peers out -- nothing but fog. Almost without noticing,he reaches for a boarding axe hanging on the wall. Takes itdown; it has a satisfying weight in his hands.INT. CELL BLOCK - NIGHTCLOSE ON: A mutt of a dog, holding a ring of keys in hismouth.Three seedy-looking prisoners try to coax the dog to theircell door. One holds a loop of rope; another waggles abone. The dog just sits and cocks its head. PRISONER Come here, boy... Want a nice, juicy bone?In an adjoining cell, Jack lies on a pile of straw. JACK You can keep doing that forever, that dog's never going to move. PRISONER Excuse us if we ain't resigned ourselves to the gallows just yet.EXT. FORT CHARLES - PARAPETS - NIGHTA noose hangs from a gallows in the courtyard. Norringtonand Swann walk along the far wall. SWANN Has my daughter given you an answer yet? NORRINGTON No. She hasn't. SWANN Well, she had a taxing day... Ghastly weather tonight. NORRINGTON Bleak. Very bleak.From the distance, there is a BOOM - SWANN What was that?-- and then the WHISTLE of an incoming ball -- NORRINGTON Cannon fire!He tackles Swann as the wall of the parapet EXPLODES --INT. CELL BLOCK - NIGHTJack sits up. There are more BOOMS - JACK I know those guns!He peers out through the bars of the window. The otherprisoners crowd around their window as well. JACK (CONT'D) It's the Black Pearl. PRISONER (frightened) The Black Pearl? I've heard stories ... she's been preying on ships and settlements for near ten years ... and never leaves any survivors. JACK There are a lot of stories about the Black Pearl.EXT. PORT ROYAL - HARBOR - NIGHTThe Black Pearl still cannot be seen -- but the fog lightsup around her with each boom of her guns. She's firing onboth sides now, hammering both the fort and the town.EXT. PORT ROYAL - TOWN - NIGHTStreets, buildings, docks and ships shatter and explodebeneath the onslaught. Villagers panic, run for cover,dodge flying debris as best they can. If this is not hellon earth, then it's about to be ---- long boats emerge out of the fog, carrying ARMEDPIRATES. They swarm from the boats, striking down,villagers indiscriminately and setting fires.INT. BLACKSMITH'S FORGE - NIGHTWill slips the boarding axe into his belt at the small ofhis back. He puts a dirk in his belt, then a second and athird. He picks up a second axe and a sword.Will slides back the doors of the forge --A woman runs past, chased by a ONE-ARMED PIRATE wearing ayellow bandeau. Will backhands the axe square into hischest, a deadly blow. Will heads out, up the street --EXT. FORT CHARLES - PARAPETS - NIGHTThe moon is obscured by smoke rising from the burninggallows and wooden roofs. Cannon fire continues to raindown, but the fort's own cannons now return fire. NORRINGTON Governor! Barricade yourself in my office! (Swann hesitates) That's an order!Swann turns to go -- but finds himself face-to-face with apirate -- KOEHLER, a handsome blond man with gold earrings.Beyond Koehler, more pirates come up over the far wall.Koehler grins and raises a cutlass --- Norrington's sword blocks Koehler's slash. NORRINGTON (CONT'D) They've flanked us! Men! Swords and pistols!The battle is joined --INT. GOVERNOR'S MANSION - ELIZABETH f S BEDROOM - NIGHTElizabeth looks out a window at the scene below: eventhrough the fog, multiple fires are visible, and ships burnin the harbor. Shouts and cries of pain. Cannon fireECHOES.She notices movement directly below her window: two SHADOWYFIGURES, approaching the house -- pirates. Elizabeth boltsfrom her room--INT. SECOND FLOOR HALLWAY - NIGHTShe reaches the railing overlooking the foyer, and criesout, just as the butler opens the door -- too late; thereis the BOOM of a gun, and the butler crumples.Elizabeth ducks down in horror, peering through thebalusters. The pirates scan the foyer, searching. Theleader is PINTEL, a sallow-looking pirate with a bald head.Suddenly Pintel looks up, and locks eyes with Elizabeth.How could he know she was there? PINTEL Up there!The pirates rush for the stairs. Elizabeth scrambles backinto the nearest room--INT. SITTING ROOM - NIGHTElizabeth shuts the door, locks it, listens as the piratespound up the stairs -- ESTRELLA Miss Elizabeth?Elizabeth jumps. Estrella is right behind her, terrified.They whisper: ESTRELLA (CONT'D) Are they come to kidnap you, miss? The daughter of the governor would be very valuable.Elizabeth realizes she's right. There is the SLAM of a bodyagainst the door. ELIZABETH Listen, Estrella -- they haven't seen you. Hide, and first chance, run for the fort .Estrella nods. Another SLAM at the door -- it gives a bit --Elizabeth shoves Estrella into the corner, between a tallwardrobe and the wall. Dashes for the side door.When the door smashes inward, it slams into the wardrobe,and the maid cannot be seen. The pirates run in -- spot theopen side door, and run for it --INT. ELIZABETH'S BEDROOM - NIGHTPintel is the first through, and gets the pan of the bedwarmer in the face for his trouble -- he staggers back,holding his nose --INT. SITIING ROOM - NIGHTEstrella breaks cover, runs for the hall, unnoticed.INT. ELIZABETH'S BEDROOM - NIGHT-- Elizabeth swings the bed warmer at the second pirate,but he catches it by the handle -- Elizabeth can't jerk itfree, so she wrenches it over -- the pan lid swings down,BANGING the second pirate -- hot coals spill on his head,sizzling.Elizabeth dashes for the hallway stairs -INT. SECOND FLOOR HALLWAY/FOYER - CONTINUOUS - NIGHTThe pirates burst from the bedroom -- Pintel goes for thestairs, but the second pirate vaults the handrail --Estrella registers the butler's body, but continues out thestill-open front door at a dead run. Elizabeth follows --The second pirate lands between Elizabeth and the frontdoor. His face is BURNED, his hair SMOLDERS -- he reaches --Elizabeth pulls up short, runs the other way --Pintel, on the stairs, grabs her by the hair -- Elizabethdoesn't slow -- she spins, grabs Pintel's arm with bothhands and pulls him hard, belly-first, into the cap of thenewel post -- he lets go of her hair -- Elizabeth keepsgoingINT. DINING ROOM - NIGHTElizabeth slams the double doors shut, throws the bolts.The interior shutters are closed over the windows. Abovethe fireplace are two crossed swords.Elizabeth climbs on the firebox; she grabs one of theswords by the hilt and pulls -- but it won't come free.Both swords are securely attached to the wall. Damn!A SMASH from the doors -- the pirates are relentless -On the table is a platter with fruit, cheese and bread.Elizabeth grabs the knife from the platter -Like any bread knife, it has a round point. Elizabeth jabsit into her palm -- it's useless as a weapon. Double damn!The blade of a boarding axe breaches the door -- thepirates will be through soon -- Elizabeth looks around -INT. FIRST FLOOR HALLWAY - NIGHTThe doors give way; the pirates charge through -INT. DINING ROOM - CONTINUOUS - NIGHTEmpty. Elizabeth nowhere to be seen. Pintel and SmolderingPirate search, under the table, behind draperies. PINTEL We know you're here, poppet. Come out and we promise we won't hurt you.Smoldering pirate gives him look -- he wants to hurt herplenty. Pintel shakes his head: 'Don't worry, I'm lying.' PINTEL (CONT'D) We will find you, poppet ... You've got something of ours, and it calls to us!INT. DUMBWAITER - NIGHTElizabeth hides in the dumbwaiter box, wrapped around thedouble pulley ropes that go through the center. PINTEL (O.S.) The gold calls to us!Elizabeth registers that -- she pulls out the medallion,rubsthe gold with her thumb. This is their objective. Lightspills into the- box through gaps in the top as the doorabove is slid open -- Elizabeth looks up through the gaps -Pintel leers down at her. PINTEL (CONT'D) Hello, poppet.Elizabeth works the ropes to lower the box. Pintel pullsthe other way; he's stronger, and the box rises. Elizabethtries to stop it -- wraps her left forearm through the ropeand lets it jam against the top of the box.Elizabeth gasps at the pain, but the box stops. She saws atthe rope with the bread knife.Smoldering pirate helps pull the rope, crushing Elizabeth'sforearm. Tears of pain on her face, she keeps sawing -The rope parts, and the dumbwaiter box PLUMMETS -INT. KITCHEN - NIGHTFrom behind the door of the dumbwaiter comes a CRASH, and acloud of dust. The door slides open, and Elizabeth clambersout. Her head is cut, she is streaked with dirt, and canbarely stand. She leans over the table, trying to recover.The sound of running FOOTSTEPS gets louder ... ELIZABETH Please, no ...Elizabeth touches the chain of the medallion ... and adesperate idea occurs to her.The pirates burst through the door. Elizabeth backs away,holds the bread knife out to ward them off. They comearound either side of the table, stalking her - ELIZABETH (CONT'D) (gasps it out) Par. .. Parlay!Pintel can't believe his ears. PINTEL What? ELIZABETH Parlay! I invoke the right of parlay! According to" the Code of the Brethren, set down by the pirates Morgan and Bartholomew, you must take me to your Captain! PINTEL I know the code. ELIZABETH If an adversary demands parley, you can do them no harm until the parlay is complete. PINTEL It would appear, so do you. SMOLDERING PIRATE To blazes with the code!He steps forward, dirk drawn -- Pintel stops him. PINTEL She wants to be taken to the Captain, and she'll go without a fuss.He looks to Elizabeth: 'right?' Elizabeth nods. PINTEL (CONT'D) We must honor the code.Smoldering Pirate concedes the point, sheaths his dirk. Hegrabs Elizabeth roughly by the arm -EXT. PORT ROYAL - STREET - NIGHTWill races along, momentarily free of the pirates. He spotsthe Governor's Mansion in the distance. There are FIGURESmoving away from it -- Elizabeth, forced by the twopirates.Will hurries forward -Suddenly a PIRATE jumps out from the shadows, slashes; Willdefends himself. The pirate has one arm and wears a yellowbandana. Will hesitates -- didn't he already kill this guy?The hesitation is just enough for another PIRATE, swinginga flaming torch, to SLAM Will in the head from behind. Willcrumples.The pirate lights a second torch, hands it to One-arm; theyhoot with delight and head off, setting fires as they go.On the ground, Will doesn't move.INT. FORT CHARLES - CELL BLOCK - NIGHTThe wall of the cells EXPLODES inward. Jack pulls himselfout from under rubble. Moonlight spills in through thegaping hole created by the cannon ball. Beyond it: freedom.But it is centered on the other cell. The part of Jack'scell that is gone is too small for a man to slip through. PRISIONER Praise be!He and the other two scramble through. PRISONER (CONT'D) (back to Jack) My sympathies, friend - - you've no manner of luck at all!The three descend the rocks beyond, disappearing from view.Jack is alone. Cannon fire continues, occasional hitsshaking the fort. The dog cowers under a long bench, keyring still in his mouth. Jack sighs -- resigned, he picksup the bone from the other cell, and tries coax the dogforward. JACK It's all right, doggie ... come here,boy. Come here, Spot. Rover. Fido?To his surprise, the dog crawls out from under the bench.Jack continues to coax him closer.The key ring is nearly within Jack's reach -- suddenly, thedog's attention goes to the door into the cell block. HeBRISTLES, GROWLS. He backs away from the door, whining. JACK (CONT'D) What's the matter, boy?The dog bolts, through the bars, into the cell, then outthrough the breached wall -- taking the keys with him.The door to the cell block bursts open. A pair of piratesstep in: KOEHLER and TWIGG. TWIGG This isn't the armory.He turns to go, but Koehler has spotted Jack. KOEHLER (Dutch accent) Well, well... Look what we have here, Twigg. It's. Captain Sparrow. TWIGG Huh. Last time I saw you, you were all alone on a God-forsaken island, shrinking into the distance. I'd heard you'd gotten off, but I didn't believe it. KOEHLER Did you sprout little wings and flyaway? TWIGG His fortunes aren't improved much.The two laugh. Jack doesn't. He steps forward, close to thebars. This puts him in a spill of moonlight. He is tightwith fury. JACK Worry about your own fortunes. The lowest circle of hell is reserved for betrayers ... and mutineers.Koehler and Twigg don't like hearing that. Koehler lashesout, grabs Jack by the throat through the bars. Jackclutches the pirate's wrist, looks down -Where they enter the moonlight, Koehler's wrists and handsare skeletal.Jack's eyes go wide -- he is holding a skeleton arm. JACK (CONT' D) You are cursed.Koehler sneers, shoves Jack backwards, hard. Now out of themoonlight, his hand is normal. Jack stares, realizing - JACK (CONT'D) The stories are true.Koehler ushers Twigg toward the door. Looks back. KOEHLER You know nothing of hell.And then they're gone.EXT. PORT ROYAL - NIGHTAmid the thunder of cannon fire, a longboat slips throughthe fog. Elizabeth sits in the prow. Columns of water fromcannon balls geyser up around the boat.The fog parts. Elizabeth looks up to see --The Black Pearl, a tall galleon, its black sails loominghigh above her. At the bow is an ornately carved figureheadof a beautiful woman, arm held high, a small bird takingwing from her outstretched hand.The longboat makes for a pair of lines dangling from awinch.EXT. BLACK PEARL - MAIN DECK - NIGHTLit by lanterns; no moon is visible beneath the fog. Smokehangs heavy above the deck.Elizabeth's longboat is raised above the deck rail --pirates spot her, and stare. One polite fellow stepsforward to offer his hand. She takes it and steps down. Shehuddles, self-conscious in her nightgown and dressing robe. BOSUN I didn't know we was taking captives. PINTEL She's invoked the right of parlay... with Captain Barbossa.ON THE POOP DECK -- an imposing FIGURE in silhouette standsby the wheel, too far away to have heard Pintel's words.But his head turns at the mention of his name.The silhouetted figure moves toward the stairs. A cloud ofSMOKE obscures him -- and then, as if he skipped thestairs, he strides out of the SMOKE on the main deck-This is BARBOSSA. Despite the bright colors of clothing,definitely not a man you'd want to meet in a dark alley --or anywhere, for that matter.Elizabeth, more terrified than ever, cannot look away fromhis eyes. But she musters her courage - ELIZABETH I am here to --The Bosun SLAPS her. BOSUN You'll speak when spoken to!His wrist is grabbed -- painfully -- by Barbossa. BARBOSSA And you'll not lay a hand on those under the protection of parlay! BOSUN Aye, sir.Barbossa releases him. Turns to Elizabeth, smiles -- itshows both silver and gold teeth. BARBOSSA My apologies, miss. As you were saying, before you were so rudely interrupted? ELIZABETH Captain Barbossa ... I have come to negotiate the cessation of hostilities against Port Royal.Barbossa is both impressed and amused. BARBOSSA There was a lot of long words in there, miss, and we're not but humble pirates. What is it you want? ELIZABETH I want you to leave. And never come back.Barbossa and the pirates laugh. BARBOSSA I am disinclined to acquiesce to your request. (helpfully) Means' No. ' ELIZABETH Very well.She quickly slips the medallion off, darts to the siderail, dangles it over the side of the ship. The pirates goquiet. ELIZABETH (CONT'D) I'll drop it! BARBOSSA My holds are bursting with swag. That bit of shine matters to me ... Why? ELIZABETH Because it's what you're searching for. You've been searching for it for years. I recognize this ship. I saw it eight years ago, when we made the crossing from England. BARBOSSA (interested) Did you, now?Elizabeth glares at him. She's getting nowhere. ELIZABETH Fine. I suppose if this is worthless, there's no reason to keep it.She flips the medallion up, off her finger - BARBOSSA NO!She catches it by the chain, smiles at him triumphantly. BARBOSSA (CONT'D) You have a name, missy? ELIZABETH Elizabeth - (stops herself from saying "Swann"; then:) Turner. (embroidering) I'm a maid in the governor's household. (curtsies) Barbossa reacts to the name Turner: it confirms what he has suspected. The other pirates surreptitiously exchange glances and nods. BARBOSSA You've got sand, for a maid. ELIZABETH (curtsies again) Thank you, sir. BARBOSSA And how does a maid come to own a trinket such as that? A family heirloom, perhaps? ELIZABETH Of course. (offended) I didn't steal it, if that's what you mean. BARBOSSA No, no, nothing like that. (comes to a decision) Very well. You hand that over, we'll put your town to our rudder and ne'er return. ELIZABETH Can I trust you? BARBOSSA It's you who invoked the parlay! Believe me, Miss, you'd best hand it over, now... or these be the last friendly words you'll hear!Elizabeth hesitates, but she has no choice. She holds outthe medallion. He grabs it, clutches it in his fist likehope. ELIZABETH Our bargain. . ?Barbossa grins devilishly -- but then nods to the Bosun. BOSUN Still the guns, and stow 'em! Signal the men, set the flags, and make good to clear port!For the first time since the attack began, the BOOMING ofthe guns ceases. Elizabeth is surprised -- and relieved.The pirates hustle to follow orders. Barbossa turns away. ELIZABETH Wait! You must return me to shore! According to the rules of the Order of the Brethren -Barbossa wheels on her. BARBOSSA First. Your return to shore was not part of our negotiations nor our agreement, and so I 'must' do nothing. Secondly: you must be a pirate for the pirate's code to apply. And you're not. And thirdly...the code is more what you'd call guidelines than actualrules.(grins gold and silver)Welcome aboard the Black Pearl, Miss Turner.Elizabeth stares in speechless terror -EXT. PORT ROYAL - HARBOR - PRE-DAWNAs the Black Pearl turns out to sea, Elizabeth is led backalong the deck to the captain's cabin.The fog starts to dissipate, turning to a light mist;through it, the Black Pearl makes for the scarlet glow ofdawn.EXT. PORT ROYAL - STREET - PRE-DAWNWill comes to, still where he fell, gets to his feet.He takes in the devastation of Port Royal: the harbor isdotted with burning and sunken ships; buildings are razedand still smolder. The aftermath of hell on earth.Will turns, and runs for the Governor's Mansion.INT. GOVERNOR'S MANSION - MORNINGWill races past the smashed doors, into the foyer. Callsout: WILL Miss Swann! Elizabeth!A terrible silence answers him. He spots an overturnedchair, fallen bookshelf -INT. FORT CHARLES - NORRINGTON'S OFFICE - MORNINGWill bursts in, still armed with sword and boarding axe. WILL They've taken her! They've taken Elizabeth!A group stares at him: Swann, Norrington, and Gilletteamong others, gathered around a map. The map is so large itdrapes over the Governor's desk, the far end supported by achair. NORRINGTON We're aware of the situation. WILL We have to hunt them down -- and save her!Swann's worry has made him short-tempered. SWANN Where do you propose we start? If you have any information that concerns my daughter, then share it! If anyone does, tell me! (Will is silent) Leave, Mr. Turner.Murtogg has remembered something. He ventures it warily: MURTOGG That Jack Sparrow... he talked about the Black Pearl. MULLROY Mentioned it, is more what he did. MURTOGG Still -- WILL We can ask him where it is -- maybe he can lead us to it! SWANN That pirate tried to kill my daughter. We could never trust a word he said! WILL We could strike a bargain - NORRINGTON No. The pirates who invaded this fort left Sparrow locked in his cell. Ergo, he is not their ally, and therefore of no value. (through with Will) We will determine their most likely course, and launch a search mission that sails with the tide.Will slams the boarding axe into the desk, through the map. WILL That's not good enough. This is Elizabeth's life!Norrington is quick to react; he throws a strong arm acrossWill's back, and guides him roughly to the door. NORRINGTON Mr. Turner, this is not the time for rash actions. (low) Do not make the mistake of thinking you are the only man here who loves Elizabeth. (firm) Now, go home.He opens the door, and then turns away. Will watches himwalk back to the desk. Will's face sets in resolve, and heleaves.INT. FORT CHARLES - JAIL CELLS - MORNINGJack strains, trying to budge one of the bars. Even withthe damage from the cannon ball, it won't move. He hearsthe sound of the door latch -The door opens, and Will slips in. Looks around. Jacklounges on the floor of his cell, apparently relaxed andunconcerned. Will marches straight up to the bars. WILL Are you familiar with that ship? The Black Pearl? JACK Somewhat. WILL Where does it make berth? JACK Surely you've heard the stories? The Black Pearl sails from the dreaded Isla de Mureta... an island that cannot be found -- except by those who already know where it is. WILL The ship's real enough. So its anchorage must be a real place. Where is it? JACK Why ask me? WILL Because you're a pirate. JACK And you want to turn pirate yourself? WILL Never. (beat) They took Miss Swann. JACK (he was right) So it is that you found a girl. Well, if you're intending to brave all and hasten to her rescue and so win fair lady's heart, you'll have to do it alone. I see no profit in it for me.Will slams his fist against the bars in frustration. Jackis surprised at the outburst. Will thinks ... makes adecision. WILL I can get you out of here. JACK How? The key's run off. WILL (examines the cell) I helped build these cells. Those are hook-and-ring hinges. The proper application of strength, the door'll lift free. Just calls for the right lever and fulcrum. . .Jack watches Will as he speaks, and it dawns on him -- Willis the spitting image of someone he's known in the past. JACK Your name is Turner.Will gives him a puzzled look. WILL Yes. Will Turner.Jack grins. JACK Will Turner... (he stands) I'll tell you what, Mr. Turner. I've changed my mind. You spring me from this cell, and on pain of death, I'll you to the Black Pearl. (sticks out his hand) Do we have an accord?Will gives him a suspicious look. The deal seems too good.Jack keeps his hand out, still smiling. Will shakes it. WILL Agreed. JACK Agreed!Will looks around, figures out what he needs. He makes achair his fulcrum, and levers the long bench under thedoor. Pushes down -- it's hard work -- but the cell doorrises, and then falls forward, CRASHING down on the benchand chair.Jack is impressed. He steps out of the cell. WILL Someone will have heard that. Hurry.Will heads for the door. Jack searches the desk, cupboards. JACK Not without my effects. WILL We need to go!Jack finds his pistol, sword belt, and compass. Straps onthe belt, checks the shot in his pistol. WILL (CONT'D) Why are you bothering with that? JACK My business, Will. As for your business -one question, or there's no use going. (joins Will at the door) This girl -- what does she mean to you? How far are you willing to go to save her? WILL (no hesitation) I'd die for her. JACK Good.EXT. PORT ROYAL - DOCKS - MORNINGThe Jolly Mon, four inches of water in the bottom, squatslow in the water, heeled to one side, creaking on itslines. JACK (O.S.) Ah, now there's a lovely sight!Jack hops down into the boat. Prepares to make way. JACK (CONT'D) I knew the Harbormaster wouldn't report her. Honest men are slaves to their conscience, and there's no predicting 'em. But you can always trust a dishonest man to stay that way...Jack notices that Will is standing, frozen on the dock,staring at the boat in dismay. JACK (CONT'D) Come aboard. WILL I haven't set foot off dry land I was twelve, when the ship I was on exploded. (regards the boat) It's been a sound policy. JACK No worries there. She's far more likely to rot out from under us.Will steels himself, steps into the boat as if its going tocapsize with the slightest movement. Jack hoists the sail. JACK (CONT'D) Besides, we are about to better our prospects considerably.He nods toward the H.M.S. Dauntless, looming in the harbor.Will whiteknuckles the gunwales. WILL We're going to steal a ship? That ship? JACK Commandeer. We're going to commandeer a ship. Nautical term. WILL It's still against the law. JACK So's breaking a man out of jail. Face it, Will: you may say you'll never be a pirate, but you're off to a rip-roaring start. (smiling) My advice -- smile and enjoy it.EXT. PORT ROYAL - MORNINGThe Jolly Mon bobs its way across the bay, dwarfed againstthe H.M.S. Dauntless. Will holds a stay line with ironfists. WILL This is either crazy, or brilliant. JACK Remarkable how often those two traits coincide.The Jolly Man nears the rudder of the much larger ship -EXT. H. M. S. DAUNTLESS - MAIN DECK - MORNINGThere's been a breakdown in discipline; about a dozen Navysailors are gathered together on the main deck, playingdice. Murtogg and Mullroy among them.Suddenly, Jack and Will jump out, into the open -brandishing pistols. JACK Everybody stay calm. We're taking over the ship! WILL (a beat) Aye! Avast!Jack gives him a look, shakes his head: don't do that.The sailors all look at them -- and then burst outLAUGHING. They grin, shake their heads. Jack stands there,grinning with them -- but his gun is still level. TheLieutenant, GILLETTE, steps forward. GILLETTE You're serious about this.Jack moves his pistol across, points it at Gillette. JACK Dead serious. GILLETTE You understand this ship cannot be crewed by only two men. You'll never make it out of the bay. JACK We'll see about that.More guffaws from the crew. A couple sailors move forward,hands on swords -- Gillette holds up a hand. GILLETTE Sir, I'll not see any of my men killed or wounded in this foolish enterprise. JACK Fine by me. We brought you a nice little boat, so you can all get back to shore, safe and sound. GILLETTE (a curt nod) Agreed. You have the momentary advantage, sir. But I will see you smile from the yard arm sir. JACK As likely as not. (calling) Will, short up the anchor, we've got ourselves a ship!EXT. DAUNTLESS - STERN - MORNINGSailors make their way down a rope ladder, crowd onto theJolly Mon. Will pushes hard against the windlass, to noavail ... the anchor is too heavy for one man. Jacknotices. JACK A little help?Gillette shrugs, gestures to Murtogg and Mullroy. The threemen throw their weight into the windlass, and it turns.Jack's pistol is on them the whole time. MURTOGG I can't believe he's doing this.The windless turns, bringing Mullroy into view. MULLROY You didn't believe he was telling the truth, either.The windless turns some more, and there's Gillette. GILLETTE (over his shoulder, to Will) Do you have any idea, boy, what you're doing?Another quarter turn - WILL No.EXT. DAUNTLESS - FORECASTLE - DAYJack and Will crank a capstan, raising the forward jibsail. It luffs and billows out. The huge ship inchesforward slowly, pulled by just the one sail. Jack grins. JACK Lookee there, mate! We're underway!EXT. PORT ROYAL - DOCK - DAYNorrington moves along, concentrating on a manifest.Alongside him is governor Swann, who glances over -Sees the tiny Jolly Mon headed toward them, riding low inthe water, overloaded with sailors. Beyond that, theDauntless sails -- albeit slowly -- for open waters. SWANN Commodore -- NORRINGTON A moment. SWANN But -- NORRINGTON Please. SWANN Dammit, man, it appears someone is stealing your ship!Norrington glances out at the bay. Sure enough, theDauntless is on the move. Norrington takes a brasstelescope from his belt, opens it, trains it on --The main deck. He picks out Will - NORRINGTON Rash, Turner, too rash.-- then spots Jack, at the wheel. Lowers the telescope. NORRINGTON (CONT'D) That is, without doubt, the worst pirate I have ever seen.EXT. H . M. S. DAUNTLESS - DAYOut in the open sea, Jack leans on the wheel, relaxed; notmuch sailing to do with a following wind. Will looks back - WILL They're coming!He points: the sails of the Interceptor fill out, and theship cuts through the water toward them-EXT. H.M.S. INTERCEPTOR - DAYNorrington's smaller ship quickly comes alongside theslowmoving Dauntless. Its decks appear empty. Grapplinghooks are thrown, and sailors draw the two ships together.Norrington's men swarm across. NORRINGTON Search every cabin, every hold, down to the bilges!PULL BACK, away from the Dauntless, and past the railing ofthe Interceptor, where a single SENTRY stands watch -- andwe find a soaked Jack and Will as they climb up over theside of the smaller ship, unseen.Jack tackles the Sentry from behind, covers hi1rmouth. JACK Can you swim? (the man struggles) Can. You. Swim?Jack removes his hand. SENTRY Of course, sir. Like a fish. I grew up summers living in Dover, with my uncle - JACK Good.Jack lifts the man up, throws him overboard. Quickly untiesthe ropes to the grappling hooks. Will cranks the capstanbars, raising the foresail -EXT. H . M. S. DAUNTLESS - DAYNorrington emerges from a gangway -- and sees his othership moving away. NORRINGTON Sailors! Back to the Interceptor!But the distance is already too great. One brave sailortries to swing across on a rope, Errol-Flynn style, butfalls short with a splash.Jack waves, and shouts across the distance - JACK Thank you, Commodore, for getting our ship ready to make way! We'd've had a hard time of it by ourselves!Norrington seethes, but his order to Gillette is measured: NORRINGTON Raise the sails. GILLETTE The wind is quarter from astern ... by the time we're underway, we'll never catch them. NORRINGTON We need only to come about, to put them in range of the long nines.Gillette looks surprised at the order -- but relays it. GILLETTE Hands! Come about! Jackets off the cannons! (to Norrington) We are to fire on our own ship? NORRINGTON Better to see it at the bottom of the sea than in the hands of a pirate.The STEERSMAN turns the wheel. The Dauntless' course doesnot change one whit. STEERSMAN Captain, there's a problem.The Steersman spins the wheel. It goes round and round,with no signs of slowing. STEERSMAN (CONT'D) He's disabled the rudder chain, sir. NORRINGTON So it would seem.The Interceptor dwindles with distance. Gillette watches itgo, with some degree of admiration. GILLETTE He's got to be the best pirate I've ever seen.Norrington reaches out, stops the spinning ship's wheel. NORRINGTON So it would seem.The Interceptor makes for the horizon line. A SLOW DISSOLVEand with the time passage, the ship is gone; the sky turnsa deep twilight blue -EXT. CARIBBEAN SEA - EVENING-- with the fat white moon riding just above the horizon.Suddenly, the edge of a black sail cuts into theforeground, accompanied by the ROAR of the wind and theSNAP of canvas -INT. BLACK PEARL - CAPTAIN'S CABIN - EVENINGElizabeth stalks the cabin. Pintel enters, carrying a blacksilk dress. PINTEL You'll be dining with the Captain, and he requests you wear this. ELIZABETH Tell the captain that I am disinclined to acquiesce to his request. PINTEL (happy) He said you say that! He also said if that be the case, you'll be dining with the crew, and you'll be naked.Angry, Elizabeth holds out her hand. Pintel's grin fades. PINTEL (CONT'D) (hands it over) Fine.He exits, pouting. Elizabeth examines the dress -INT. BLACK PEARL - CAPTAIN'S CABIN - NIGHTBarbossa enters, followed by PIRATES carrying trays offood, wine, table setting, etc. Elizabeth stands at thesmall table in the dress -- lovely. BARBOSSA Maid or not, it fits you. ELIZABETH Dare I ask the fate of its previous owner? BARBOSSA Now, none of that. Please dig in.The table is set. Elizabeth sits, cuts a tiny piece ofmeat, eats it daintily. BARBOSSA (CONT'D) No need to stand on ceremony, and no call to impress anyone. You must be hungry.Elizabeth drops the pretense: she's starving, and begins toeat like it. Barbossa watches her intently. BARBOSSA (CONT'D) Try the wine.Elizabeth does, a huge swig; she tears off a hunk of bread,devours it. BARBOSSA (CONT'D) And the apples -- one of those next.She starts to bite into the apple -- stops. She is suddenlyaware of Barbossa's gaze -- and that he is not eating. ELIZABETH It's poisoned!She shoves her plate away -- and takes the opportunity topalm her knife. Barbossa LAUGHS. BARBOSSA Oh, there would be no sense in killing you, Miss Turner. ELIZABETH Then why aren't you eating? BARBOSSA Would that I could.He produces the medallion, lets it dangle from his fingers. BARBOSSA (CONT'D) Do you not know what this is, then? ELIZABETH It's a pirate medallion. BARBOSSA It's a piece of the treasure of Isla de Muerta .Elizabeth gives an infinitesimal shrug, intrigued despiteherself. BARBOSSA (CONT 'D) Ah, so you don't know as much as you pretend. Back when Cortes was cutting a great bloody swath through the New World, a high priest gave. him all the gold they had, with one condition: that he spare the people's lives. Of course, Cortes being Cortes, he didn't. (nods) He'd've made a great pirate, that one.Barbossa stands, moves to a shelf. Puts a key to a medium-sized polished wooden box -- the Captain's chest. Opens it. BARBOSSA (CONT'D) So the priest, with his dying breath, called on the power of the blood of his people, and put on the gold a curse. If anyone took so much as a single piece, as he was compelled by greed, by greed he would be consumed.Inside the chest are charts, some gold, a sextant -- and afew pages of a Mayan CODEX, pieces of tree bark inscribedwith Mayan glyphs. Barbossa removes them carefully, setsthem on the table. Pours over them. BARBOSSA (CONT'D) Within a day of leaving port for Spain, the treasure ship carrying the gold ... something went wrong. The ship run aground, every man aboard dead, save one. He survived long enough to hide the gold ashore. (beat) Over time, the dark magic of the curse seeped into the place, making it a cursed island. An island of death. Isla de Muerta.He looks up. Elizabeth has been rapt, involved in the story-but feigns a dismissive attitude. ELIZABETH That's all very interesting, but I hardly believe in ghost stories any more.Barbossa is angry. He stands, sweeps the food off thetable. BARBOSSA You idiot girl! It's no make- believe! My crew and I, we found the gold, and we did more than take one piece, we took it all. Rich men we were and we spent it and traded it and gave it away in exchangefor drink and food and pleasant company. But we found out:the drink could not sate us, and the food turned to ashesin our mouths, and no amount of pleasant company could easeour torment.(regains his composure)We are cursed men, Miss Turner,condemned, to be forever consumed by our own greed. Goldcalls to UB, always, and we are driven, always, to findmore, and add it to the treasure.Barbossa picks up the priceless Codex. Crushes them in hisfist. BARBOSSA (CONT'D) There is but one way to remove the curse. All of the scattered pieces of the treasure must be restored in full, and the blood repaid. (he throws the pages aside) We've recovered every piece -- save for this. (holds up the medallion) And as for the blood ... that's what we have you for. (pleasant, finally getting to his point) And that's why there's no sense in killing you. Yet.Elizabeth stares at him, horrified. Using the toe of hisboot, Barbossa flips an apple up off the floor, catches it,extends it to Elizabeth. BARBOSSA (CONT'D) Apple?Elizabeth slowly reaches for the apple -- and then comes upout of her chair, trying to run around Barbossa_ Theystruggle briefly, and then suddenly he shoves her away-Elizabeth's stolen KNIFE is buried in Barbossa's chest, tothe hilt --Barbossa is completely unaffected. He opens his shirt toget a better look at the knife, pulls it out with littleeffort. There is BLOOD on the blade, but none anywhereelse. BARBOSSA (CONT'D) I'm curious -- after killing me, what is it you were planning to do next?Elizabeth backs away, whirls and barrels out the door -EXT. BLACK PEARL - MAIN DECK - NIGHT-- Elizabeth comes to dead stop. She stares, her jawworking, trying to scream but unable to -The pirate crew works at their stations, coiling lines,navigating the ship, swabbing decks -- but where themoonlight falls across their bodies, they are nauqht butSKELETONS. .Elizabeth turns away from the sight -Barbossa stands just inside the doorway, out of themoonlight. He grabs her roughly by the shoulders and jerksher back around -- Elizabeth shuts her eyes - BARBOSSA Look! (shakes her) LOOK! The moonlight shows us for what we really are! We are not among the living and so we cannot die -He spins her back around to face him -- he leans forward,putting his face in the moonlight, turning it into agleaming SKULL with gold and silver teeth - BARBOSSA (CONT'D) -- but neither are we dead! We have all the desires of the living, but cannot satisfy them! Ten years I have been parched of thirst, and unable to quench it! Ten years, I have been starving to death -- and haven't died! (raises his hand) BARBOSSA (CONT'D) And I have not felt anything for ten years ... Not the wind on my face, nor the spray of the sea ... (reaches toward Elizabeth) ... nor the flesh of a woman ...Elizabeth flinches away from the skeletal hand. It dropsaway -- he takes a bottle of wine from the opened casebeside the cabin door, uncorks it with his teeth, raises it- BARBOSSA (CONT'D) You'd best start believing in ghost stories, Miss Turner. Because now you're in one.He tilts the bottle and drinks -- it runs over his jaw,through his rib cage, drenching his clothes.Elizabeth darts around him, back into the cabin, and shutsthe door. Barbossa hurls the bottle away.INT. BLACK PEARL - CAPTAIN'S CABIN - NIGHTElizabeth huddles in the far corner of the cabin,terrified.EXT. CARIBBEAN SEA - DAYThe Interceptor cuts across the waves. Jack at the wheel;Will tightens a line, moves back astern.EXT. INTERCEPTOR - MAIN DECK - DAYWill sharpens his sword with a whetstone: shhhk -- shhhk... JACK For a man whose made an industry of avoiding boats, you're a quick study. WILL I worked passage from England as a cabin boy. (an attempt at guile) After my mother passed, I came out here ... looking for my father. JACK Is that so? WILL My father. William Turner?Jack says nothing. Will has lost the patience for guile. WILL ( CONT ' D) I'm not a simpleton. At the jail - - it was only after you learned my name that you agreed to help. (a smile) Since that's what I wanted, I didn't press the matter. But now -{an accusation}You knew my father.Jack considers his reply -- settles on 'truth.' JACK I knew him. Probably one of the few who knew him as William Turner. Most everyone just called him Bill, or 'Bootstrap' Bill. WILL 'Bootstrap?' JACK Good man. Good pirate. And clever -"- I never met anyone with as clever a mind and hands as him. When you were puzzling out that cell door, it was like seeing his twin. WILL (angry) That's not true. JACK I swear, you look just like him. WILL It's not true that my father was a pirate. JACK Figured you wouldn't want to hear it. WILL He was a merchant marine! He was a respectable man who obeyed the law, and followed the rules-- JACK (laughs) You think your father is the only man who ever lived the Glasgow life, telling folk one thing, and then going off to do another? There's quite a few who come here, hoping to amass enough swag to ease the burdens of respectable life. And they're all 'merchant marines.' WILL My father did not think of my mother -his family -- as a burden. JACK Sure -- because he could always go pirating. WILL My father -- was not -- a pirate!Will's sword is out, levelled at Jack. Jack gives him adisbelieving look, sighs. JACK Put it away, Will. It's not worth getting beat again. WILL You didn't beat me. You ignored the rules of engagement. In a fair fight, I'd kill you. JACK Then that's not much incentive for me to fight fair, is it?He kicks a lever on a wench. The sail boom whips around andslams Will in the chest -- sweeping him off the ship. Hissword clatters onto the deck. Will dangles above the water.Jack slips a loop of rope around the wheel to hold thecourse. Picks up the sword -- and pokes at Will with it.Will hand-over-hands away from the blade, to the end of theboom. JACK ( CONT ' D) As long as you're just hanging there, pay attention. Must, Should, do, don't, shall, shall not -- those are just suggestions. There are only two absolute rules. (ticks them off on his fingers) JACK (CONT'D) What a man can do. And what a man can I t do.Will looks away, not interested. JACK (CONT'D) For instance: you can accept that your father was a pirate and still a good man... or you can't. Now me, I can sail this ship to Tortuga, by myself. . . (Will looks alarmed) But I can't just let you drown.Jack swings the boom back in. Will drops to the deck. Jackholds the hilt of the sword out. Will takes it. Glares atJack, considers what he'll do next. Jack watches himcoolly.Will turns and strides to his spot on the deck, sits down,and resumes sharpening his sword: shhhk -- shhhk -- shhhk...Jack breathes silent sigh of relief. Notices his hand isshaking -- he takes the wheel. WILL Tortuga? JACK Oh -- did I forget to mention that?EXT. TORTUGA - DAYA dank and dirty port, where the tides seem to have swepttogether the scum of the Caribbean -- pirates, privateers,prostitutes, thieves, and drunkards.With its cantered, rotting docks, weatherbeaten buildings,and odd assortment of livestock running free -- a donkey,chickens, etc. -- it is far less civilized than Port Royal.Jack and Will move through the crowd. A REDHEADED womanturns her head -- she has noticed Jack. JACK We need a crew. We can manage the ship between islands, but the open sea, that's another matter -Suddenly the Redhead SLAPS Jack, hard. Satisfied, she turnsand strides off. Will ignores her. WILL Just do it quickly. JACK (rubbing his jaw) Don't worry. I've already got my Quartermaster -- there!Jack leads Will toward a pub: the Faithful Bride, theemblem over the door a politically incorrect painting of asmiling woman holding a bouquet in her chained-and-manacledhands.Jack pulls open the door; Will goes inside passing a prettyASIAN women coming out -- she sees Jack and immediatelySLAPS him, cursing something in Chinese. Jack backs away -INT. THE FAITHFUL BRIDE - DAYJack closes the door on the woman, joins Will. They take inthe place -- it is populated with a slightly higher classof scum. Jack spots a BARTENDER, smiles, moves forward ---and is suddenly DECKED by a waitress. This is ANAMARIA,tall, strong, tough; she didn't spill a drink off her tray. ANAMARIA You stole my boat. JACK AnaMaria! Have you seen Gibbs? I need to put together -She SLAPS him again. Will shakes his head, heads for thebar. Jack gets up. JACK (CONT'D) Borrowed. Borrowed your boat. (off her look) Without permission.AnaMaria charges; Jack backs away, puts a table betweenthem. She chases him around the table, still carrying thetray. ANAMARIA My dory. The Jolly Mon. Where is it? JACK Safe! At Port Royal. With the Royal Navy. ANAMARIA That boat is my livelihood! JACK You'll get it back. Or one better. ANAMARIA (a threat) I will.Away from them, a PATRON calls for his food. AnaMariascowls at Jack, moves away -- comes back for. one moreSLAP! WILL Jack! Over here!AT THE BAR, Will has spoken to the Bartender. Jack arrives,rubbing his chin. WILL (CONT'D) He knows Gibbs.The Bartender nods 'yes.' Then nods 'out back.' Thenproduces a water bucket from behind the bar.Jack and Will exchange a look,-and Jack takes the bucket.EXT. THE FAITHFUL BRIDE - REAR - DAYA drunken man lays in the mud, having a friendlyconversation with two pigs. He wears an old tattered Navyjacket.A sudden SPRAY OF WATER splashes across his face,revealing: this is old JOSHAMEE GIBBS (the man who toldpirate stories to Elizabeth when she was a child). Hesputters and roars: GIBBS Curse you for breathing, you slack-jawed idiot (recognizes Jack) Mother's love, Jack, you know better than to wake a man when he's sleeping. It's bad luck! JACK Well, fortunately, I know how to counter it. The man who did the waking buys the man who was sleeping a drink, and the man who was sleeping it drinks it while listening to a proposition. GIBBS Aye, that'll about do it.Jack helps Gibbs to his feet -- and then Gibbs is hit witha second wave of water. Will stands there with the bucket. GIBBS (CONT'D) Blast it, I'm already awake! WILL I know. That was for the smell.INT. THE FAITHFUL BRIDE - DAYJack and Gibbs sit at a table in the shadows, a singlecandle illumining them, speaking in hushed voices. Will isaway from them, at the door, hand on sword, keeping a look-out.A tankard is set down. Gibbs lifts it to take a swig - JACK Just the one.Gibbs pauses. He takes a dainty sip. GIBBS Make it_ast, then. Now, what's the nature of this venture of yours? JACK First -- have you found me a crew? GIBBS Oh, there's a hard tale, Jack. Most of the decent pirates in town won't sail with you -- seem to think you're a jinx. JACK Now where, I wonder, would they have gotten that idea?Gibbs evades answering by taking a long sip. Jack leansforward. Gibbs leans forward. JACK (CONT'D) I'm going after the Black Pearl.Gibbs straightens up like he's been hit. He stares. Hereaches for the drink as if to down it -- but then sets itback down. He leans forwards again. Jack has not moved. GIBBS Say again? JACK Ilm going after the Black Pearl. I know where its going to be, and I'm going to take it. GIBBS Jack, it's a fool's errand: You've heard the tales they tell about the Pearl. JACK Aye, and that's why I know where it's going to be, and that's why I know what Barbossa is up to. All I need is a crew. GIBBS (shakes his head) A fool's errand. JACK Not if the fool has something Barbossa wants. Something he needs. GIBBS And you've got that, have you?ANGLE ON: Jack, as he smiles enigmatically, and shifts hiseyes' -- behind him, Will, still on guard, glares a sailoraway from the table. JACK Back there, guarding the door is the son of old Bootstrap Bill Turner.Gibbs' eyes widen over the edge of the tankard. Peers atWill. Then smiles, with more missing teeth than good ones. GIBBS Well, lookee there. I'll allow you may be onto something, Jack. (considers, nods) There's bound to be sailors on this rock crazy as you. I'll find some men.Gibbs downs the drink, SLAMS the tankard on the table.Will reacts to the sound, draws both sword and dagger,kicks over a table for cover, and whirls on anyone whomoves. GIBBS (CONT'D) Kid's a bit of a stick, isn't he? JACK That he is.EXT. TORTUGA - DOCK - LATER - DAYOn the docks, a disheveled, motley and weatherbeaten groupof about a dozen swabs stand in a ragged line-up. GIBBS Feast your eyes, Cap'n. All of 'em good sea-faring men, faithful hands before the mast, every one worth his salt -- (sotto, making his point) -- and crazy, to boot.Jack holds up a hand -- enough. He moves down the line,Gibbs at his side. Then he notices AnaMaria in line,dressed like a man, He raises an eyebrow. ANAMARIA You owe me a boat.Jack nods, continues. One sailor is quite fat, anotherthin and sickly. Jack is not happy with his choices.He stops in front of COTTON, a short sailor with a large,colorful PARROT on his shoulder. Jack raises an eyebrow. GIBBS Cotton here is mute, sir. Poor devil had his tongue cut out --Cotton opens his mouth to show this -- Jack grimaces. GIBBS (CONT'D) -- so he went and trained the parrot to do the talking for him, nobody knows how. Nobody knows the parrot's name, neither, so we just call it 'Cotton's parrot.'Jack decides to test this. JACK Mr. Cotton. Do you have the courage and fortitude to follow orders and stay true, in the face danger, and almost certain death?Cotton lifts the parrot off his shoulder, raises it -- COTTON'S PARROT Wind in your SAILS! Wind in your SAILS! GIBBS Mostly, that seem to mean 'yes.'Cotton nods vigorously, lowers the parrot, and it goessilent. Jack shakes his head. Steps back. JACK That goes for the rest of you! Danger and near certain death. (turns away) For we are to sail for the Isla de Muerta, to rescue the daughter of Governor Swann. An equal share of the reward shall be -Jack hears movement, looks back -- several potential crewmembers back away in fright; first one, then another, turnand run, followed by more.Soon just a half dozen are left, including Cotton (withparrot) -- and AnaMaria. WILL Shut up, before you lose them all! JACK These are the only ones worth having. (glances at the sky) And we're going to need them-EXT. H. M. S. INTERCEPTOR - DAYA FLASH of lightening and the CRACK of thunder. The canvasof every sail is stretched taut. The ship rocks as it dropsinto the valley of huge swell, climbs up the other side.On board, the new crew members scurry about their tasks,pulling lines and trimming sails. Excellent sailors, ittakes everything they have to keep the ship afloat.AnaMaria is at the helm. Gibbs staggers along the deck. GIBBS That fool will have us lose the canvas, and the masts besides!On Jack, a ROARING wind blowing back his hair, eyes intenton their course. Gibbs climbs the tilted deck toward him. GIBBS (CONT'D) Werd best drop canvas, sirl JACK She can hold a bit longer.The wind picks up, howling. Jack smiles. GIBBS (shouts) What's in your head to put you in such a fine mood? JACK (shouts) We're catching up!Jack turns back to the sea, enjoying himself. Gibbs staresat him like he's a crazy man.'INT. BLACK PEARL - CAPTAIN'S CABIN - DAYThe sound of RAIN pounds down on the deck above - - thensuddenly stops. Elizabeth moves to the stern windows, looksout at the rolling sea below -- no escape there.She hears the sound of a VQICE calling, gazes up, wondering-EXT. BLACK PEARL - CROW' S NEST - DAYHigh on the main mast, Twigg cups his hands to his face, callsdown: TWIGG Isla de Muerta! Isla de Muerta, off the port bow!ON DECK, Barbossa moves to the rail. The storm clouds arebreaking up. On the horizon is a dark, ominous shape: ISLA DEMUERTA. Mostly sheer unfriendly cliffs that shoot straight intothe water. It is surrounded by a slate grey sea.Barbossa grasps the rail with both hands, his expression amixture of loathing and fear. Jacoby approaches, hesitant. JACOBY Orders, Captain? BARBOSSA Bring her in, not too close. I won't brave the reef, not until high tide. We lay anchor before dark.Jacoby nods, backs away. Barbossa continues to stare - BARBOSSA (CONT'D) ... that is, if it first doesn't sink back down to hell from where it came.EXT. CARIBBEAN SEA - DAYThe Interceptor, on open waters, glorious, her white sailsset wing-to-wing.EXT. H.M.S. INTERCEPTOR - DAYCLOSE ON: Jack's compass, cradled in both hands. Jack leansover and studies it -- almost like he's praying.ON THE COMPASS -- the face shows old-fashioned rose petalstyle direction markers below a quivering indicator thatsettles on -- southeast. JACK Bear three points starboard.AnaMaria turns the wheel, adjusting course. The ship leansinto the new direction. Jack looks down -ON THE COMPASS -- where the indicator spins, reverses,settles on -- northeast. JACK (CONT'D) Six points port!AnaMaria frowns, but follows the order, turns the wheelback, and the ship responds.Will works on deck, coiling a rope -- but he watches Jackand AnaMaria, clearly not happy. Gibbs hobbles up. GIBBS Left handed-ropes are coiled against the sun, or it's bad luck! (twirls a finger) Anty-clockwise.Gibbs takes over the task. The ship shifts course again.Will has had enough. WILL How do we expect to find an island no one can find -- with a compass that doesn't work? GIBBS Now, lad, just because it don't point north don't mean it don't work. (voice low) That compass gives bearings to the Isla de Muerta, wherever it may lie. WILL Really? (moves closer) So ... what's the story on the pistol?Gibbs settles in, happy to have a willing listener. GIBBS I'll tell lee. Now, Jack Sparrow has an honest streak in him, and that's where the whole problem starts. This was when he was Captain of the Black Pearl - WILL What? He never told me that. GIBBS Ah -- he's learned, then. Plays things more close to the vest. See, Jack was a cartographer, back in Old England. Somehow I he came by the money to commission the Pearl. Hired himself a crew, promised each man an equal share. (lowers his voice) So, they're forty days out, and the First Mate says, everything's an equal share, that should mean the location of the island, too. So Jack gave up the bearings. (shakes his head) That night, there was mutiny.Gibbs voice is a whisper, now, so Will has to lean closer. GIBBS (CONT'D) Jack gave hisself up for the sake of his loyal crewmen. He was marooned on an island, left there to die. WILL How did he get off the island? JACK (loud) I didn't!Will and Gibbs jump. Jack is right there beside them. JACK (CONT'D) My body's still there, rotting away, and I am but a ghost!Will and Gibbs aren't sure what to make of that. Jacklaughs. GIBBS How did you get off the island? JACK Ah, that's a dark and unpleasant tale, best left untold.He starts off. WILL Wait -- what about the pistol? JACK The pistol. When a pirate is marooned, Will, he's given a pistol with a single shot. No good for hunting, or surviving, really. But after three weeks of starvation and thirst -- the option of that pistol begins to look good.Jack lets this sink in. He pulls out the pistol, raises it. JACK (CONT'D) But I survived. And I still have that single shot. It's meant for one man. My mutinous first mate - WILL Barbossa.Jack shoots a glance at Will -- nods, and moves away.EXT. ISLA DE MUERTA - CAVE ENTRANCE - EVENINGOn Barbossa, face upturned. No expression in his eyes.Around him a group of pirates, Elizabeth among them, standas still as stones, in front of a dark cave opening. Theirfaces look upward, their total lack of movementdisconcerting.Above the cave, on a hillock, the pirate Koehler gazes outtoward the horizon. Slowly he TRANSFORMS, head-to-toe, frompirate to SKELETON-The MOON has climbed free of the storm clouds, risinglarge. and full on the horizon. The skeleton turns - KOEHLER Moonrise, Captain! First night of full. BARBOSSA Hah! (to the pirates) Be mindful of pits and crevasses. Stay together.He takes a torch. Moves into the cave. The pirates follow.INT. ISLA DE MUERTE - CAVES - NIGHTThe group keeps together under the firelight. The pathleads between boulders on a slope downhill. From the echoesand shadows, it's clear the cave system must be huge.Elizabeth glances over -- the torches illumine caverns offto the side -- and just the edge of a mound of coins.Clearly there is more, but the rest is lost in darkness.Twigg, gazing upward in wonder, moves a few feet away fromthe group. Barbossa grabs him as he nears a chasm. BARBOSSA Careful, mate. Fall down there, you'd die and miss Judgement Day -- for not even the Lord himself'll come look for you here.Barbossa lets go, and moves on, descending down, twistingand turning, but always down -EXT. H.M.S. INTERCEPTOR - NIGHTCotton pulls a sail line, looks out -- sees something. Helifts the parrot off his shoulder, strokes it along theback. COTTON'S PARROT Land HO! Land HO! LAND ho! LAND ho!Indeed, the faint outline of Isla de Muerta is in thedistance on the port side. Will stands, excited, jumps ontothe rigging for a better look.But AnaMaria, at the helm, stares at Cotton, and theparrot. ANAMARIA How does he do that? JACK They'll be anchored on the lee side. Haul your wind, and keep to the weather of the island -INT. ISLA DE MUERTE - CAVES - NIGHTFlickering torchlight. Pirates stoop low to enter a cavern--- and revealed is the spectacular treasure of Isla deMuerta: overflowing ,chests of coins, gold and silveringots, jewelry, objects d' art, jade and ivory, brightlycolored silks, furniture, jewels and pearls; mirrors andswords -anything and everything of value that might becarried by ship, is here.The pirates move through, Elizabeth can't help but gaze inwonder. ELIZABETH The curse drove you to gather this? BARBOSSA (O.S.) Aye. And not a bit of it any use to us, only hoarded. But it will drive us no longer.Elizabeth pauses, staring at herself in a jewel-encrustedmirror -- and then is pushed along by the pirates.EXT. ISLA DE MUERTE - LAGOON - NIGHTThe Interceptor lies at anchor in the distance. Closer,Jack and will row away from the larger vessel in a smalllongboat, toward the rocky shore.The RUSH of a waterfall grows louder. Will looks: ahead ofthem is a black CAVE MOUTH, right at water level. WILL What's that? JACK Depends. WILL On what? JACK On whether the stories are all true. If they are, that's a waterfall that spills over at high tide, with a short drop to an underground lagoon. If not -By now, the moving water tugs on the longboat, and they aresucked in -- JACK (CONT'D) -- well, too late.The boat rushes forward, plunges into the darkness -INT. CAVES - UNDERWATER LAGOON - NIGHT-- the longboat takes a harrowing drop over a shortwaterfall ... but then lands safely in a gorgeousunderwater lagoon, floats lazily toward a sandy shore. JACK Chalk one up for the stories.Will leaps out into the water, pulls the boat ashore -INT. CAVES - BED CAVERN - NIGHTThe pirate group reaches the end of a small chamber ofmostly jewels and pearl piled around a large bed -INT. CAVES - MAIN CAVERN - NIGHT-- and then emerge into the largest cavern of all, alsocrammed with treasure, including several mountains of goldcoins that reach the ceiling. Treasure everywhere -Except for one spot in the center. A hole in the ceilinglets in a column of moonlight, which illumines:A stone chest, lid pushed back, decorated with carved Aztecglyphs, filled with gold coins identical to Will'smedallion. A sharp stone knife lies on top.In front of it, buried in the sand is a skeleton -- andthis one doesn't look like it's going to move ever again,judging by the sword in its back. A crab scurries away fromit as the group approaches. BARBOSSA Here we stand before the cursed treasure of Cortez himself. Won by blood, it demands blood in return.All eyes turn -- onto Elizabeth. Pintle takes the stoneknife from the chest, approaches her. Elizabeth shrinksback, but is held by two other pirates.Pintel grins. Grabs her by the wrist. She turns her headaway, shuts her eyes.Pintle raises the knife ...... and then very carefully, daintily, uses just the sharptip of the knife to just prick! Elizabeth's finger.One tiny red drop of blood appears, and drips down onto themedallion.Elizabeth opens her eyes, surprised. PINTEL What did you expect? We're all gentlemen here, right and proper.The pirates laugh. Barbossa takes the medallion, grins atElizabeth. BARBOSSA You know the first thing I'm going to do after the curse is lifted? (grins) Eat a whole bushel of apples.Barbossa approaches the chest, shining in the beam ofmoonlight. BARBOSSA (CONT'D) What was begun by blood, let blood now end!He tosses the gold medallion onto the others.The pirates tense, waiting, expectant. A long beat. Theyall look at each other, look at themselves. Nothinghappens. KOEHLER Did it work? DEADEYE I don't feel no different. JACOBY How do we tell?Barbossa frowns, draws his pistol, and SHOOTS the piratenext to him -- Jacoby -- square in the chest. Jacoby reactsin shock, grabs his chest ... but doesn't die. KOEHLER You're not dead. JACOBY No. (realizes) He shot me! TWIGG It didn't work! The curse is still upon us!Barbossa searches his mind for an answer ... turns toElizabeth. BARBOSSA You. Maid. Your father. What was his name?! (grabs her roughly) Was your father William Turner?!Elizabeth takes time to smile before answering: ELIZABETH No.The pirates cry out in alarm. Barbossa gathers himself,getting his rage under steely control. BARBOSSA Where's his child? The child that sailed from England eight years ago, the child who is the real owner of that medallion, the child in whose veins flows the blood of William Turner?! Where?Barbossa SLAPS her hard across the face, sending hersprawling. JACOBY (to Pintel) You brought us the wrong person! PINTEL She had the medallion! She's the right age. She said her name was Turner! TWIGG (to Barbossa) You brought us here for nothing?Barbossa whirls on him -- BARBOSSA If you had sailed with Morgan for ten years like I have, you'd know not to question me!Elizabeth sits up, watching the pirates argue, for a momentunnoticed. Suddenly, a scabbard comes down, right aboveher.Startled, Elizabeth looks up ---- Will is at the top of a mound of coins, reaching downwith his scabbard for her to grab onto.Elizabeth quickly leans forward, takes the bloodiedmedallion from the pile. Reaches back, grabs the scabbard.Will pulls her up - BARBOSSA (CONT'D) If any coward here dare challenge me, let him speak! Any more talk, I'll chain ye to a cannon and send ye to the watery depths!A sound catches his attention -- coins falling. He looksup, sees Will and Elizabeth at the top of the treasurestack.ATOP THE STACK, Will grabs a large shield, flings themforward -- the two ride down the mountain of coins on thefar side, slide through a small opening -INT. ISLA DE MUERTE - SMALL CAVERN - NIGHTBehind them, loose coins from their slide come down in anavalanche, sealing the entrance.Elizabeth jumps up, silver platter in hand, ready to swing-Jack catches her before she can do any damage. Theyrecognize each other. ELIZABETH You?! JACK Me! ELIZABETH You're in league with Barbossa! JACK No, I'm -- rescuing you.Elizabeth can't comprehend that one. ELIZABETH You?!Will gains his footing in the rubble. WILL Miss Swann! We're here to rescue you! (sounds of pursuit, approaching) It's going badly! JACK This way!They race off, toward a bit of moonlight -EXT. ISLA DE MUERTE - NIGHTThe three climb up a dark crevasse that leads out onto theisland. Will takes Elizabeth's hand, helps her. WILL I'm glad we got here in time. ELIZABETH Truthfully -- you were a bit late. JACK The trick isn't getting here, it's getting away.As if on cue, they hear the yells of pirates, comingcloser. They take off -EXT. ISLA DE MUERTE - CLEARING - NIGHTThe three race through the rocks, the sounds of pursuitclose behind. Suddenly Jack stops. ELIZABETH Come on! JACK No. This won't work. (a quick decision) I'll stay behind, and fight them. You go on.Will and Elizabeth stare at him. WILL No. JACK I'll lead them away.The sounds are closer. JACK (CONT'D) Go to the opposite end of the island, and signal the ship. I'll keep 'em busy. WILL Are you sure? Jack -- this is not something you have to do. JACK I'm sure. When you've led the kind of life I have, there are debts that must be paid. Maybe I can balance the scales a little.Will nods, hesitates... gives Jack his sword - - now Jackhas two, ..one for each hand. Elizabeth gives him a quickkiss.Will and Elizabeth race away, and are gone.Jack watches them for a moment, turns to face the pirates.He sticks the two swords in the ground, crossed. Leanscasually against a rock.A group of pirates round a corner, cutlasses drawn, readyto fight -- but Jack raises his hand. JACK (CONT'D) I invoke the right of parlay, according to the Code of the Brethren, set down by the pirates Morgan and Bartholomew...EXT. ISLA DE MUERTE - NIGHTJack stands before Barbossa, surrounded by pirates. Jackhas a wide smile on his face -- and Barbossa doesn't likeit. BARBOSSA I'm inclined to kill you now, Jack Sparrow, without so much as a word, if you don't lose that grin from your face.Jack's smile remains. Barbossa puts a hand to his cutlass - JACK The woman's blood didn't work, did it?Barbossa hesitates. JACK (CONT'D) I know who's blood you need, to end the curse. BARBOSSA Say the name, or I slit your throat. JACK No you won't.Barbossa nods. Pintel steps forward, puts a blade to Jack'sthroat. Jack's smile widens. PINTEL Now? BARBOSSA (NODS) Now. (Pintel grins) No, don't kill him.Surprised, Pintel lowers his cutlass. Jack's expressionhasn't changed. BARBOSSA (CONT'D) Allow me the humor of listening to your terms. JACK Simple. I have something you want more than anything. The way to free you from the curse of the treasure. You have something I want -- more than anything. BARBOSSA The Pearl? (laughs) Oh, that's fine. And just how do you expect this to work? JACK You give me the Pearl. Then I tell you who you need.Barbossa stares at him, incredulous. BARBOSSA That's your offer? You, sailing away nice and pretty with the Black Pearl, and all I have is a name? JACK That's right. BARBOSSA I'm supposed to ... trust you?The pirates laugh. JACK I'm a man of my word.The pirates laugh louder. JACK (CONT' D) You see, I've got this honest streak in me -- in its own way, a sort of curse. Oh, and there's the fact that you have no choice. BARBOSSA I'll torture it out of you. JACK You left me on a desert island -- what worse can you do?Jack is still smiling, intentionally smug now. Barbossasees his options dwindling, begins to pace. BARBOSSA Blast you! I'll throw you in prison. JACK Wait as long as you like. BARBOSSA You're setting me up for a double cross, you with the ship, and me with nothing more than your word! JACK Let's say I tell you the wrong person. What would you do? BARBOSSA Track you down and -He sees where Jack is headed. JACK And if I tell you the truth, you become mortal, and you won't come near me because you know I'd kill you.Barbossa hesitates. The pirates are amazed at how the tidehas turned; Barbossa has gone past considering the idea,and might even do it. BARBOSSA Jack, I don't trust you, and that's a fact. Never trust a smiling man, you can lay to that. JACK See, that's where we're different. I trust you ... to do what it takes to get what you want. BARBOSSA You're playing this as close to the edge as any man, I'll give you that. (decides, smiles) We might just have to sign articles, you and I. Jack, you're a pirate at heart, that's certain.Jack nods. BARBOSSA (CONT'D) Pintel ... set sail. If this fool plan is to work, we'll need the medallion, and that means catching the ship which brought 'em here.Jack is caught completely off guard. For the first time,his smile fades. JACK What -- you don't have the medallion? BARBOSSA That fool woman took it. You be careful around her, Jack -- she's pretty enough, she'll steal your heart -- but pure evil inside. JACK I'll watch my back. BARBOSSA Bosun! Set up Mr. Sparrow's quarters, nice and fine ... in the brig. (to Jack, a smile) Meaning no disrespect, of course.Jack nods, and is taken away. Barbossa stares after him,not hiding his mistrust.EXT. INTERCEPTOR - DAYAt full sail, headed out to sea. Gibbs glances at Elizabethand Will, talking alone on the forecastle -- shakes hishead. GIBBS Two women on board? A man don't have to be superstitious to know that's trouble.Elizabeth holds the medallion, and finishes her tale: ELIZABETH ... you were in danger ... so I took the medallion. And I've kept it ever since. They thought I was you, that they needed my blood. And it didn't work.She hands him the medallion. WILL Why would my father send this to me? ELIZABETH To keep it away from them? No pirate would sail to London, for fear of Execution Dock. WILL If I had known- ELIZABETH (anticipating him) -- then we never would have met.Will nods. They hold each other's gaze a moment. Will turnsaway first, leans on the rail. Looks out to sea, back thedirection they came. WILL I can't believe he would make such a sacrifice for us. ELIZABETH I guess you can never truly know someone else's heart.Will glances at her, and nods.AT THE HELM, Gibbs peers forward, scanning the horizon.Thereis a tiny island in front of them. GIBBS Shift your heading, steer clear of that island. Fifteen degrees starboard.On the aft deck, Cotton concentrates on his work, securinga halyard. Suddenly Cotton's parrot flaps its wings, takesoff, lands on the starboard bulwark, squawking - COTTON'S PARROT Dead men tell NO tales! Dead men tell NO tales! Dead men tell NO tales!Cotton looks up - on the horizon, following: black sails.Gibbs and AnaMaria appear, and see the ship. ANAMARIA Can we outrun them? GIBBS Not a chance. Make for the reef.EXT. CARIBBEAN OCEAN - DAYMiles of blue water. The Interceptor tacks, leaving a longwhite wake. The Black Pearl matches it -- gaining.EXT. BLACK PEARL - DAYBarbossa and Pintel eye the Interceptor, two hounds chasingthe fox. PINTEL What's he doing? Is he going to run her aground?EXT. INTERCEPTOR - DAYThe Black Pearl is now close behind the Interceptor -- andthe Interceptor is headed for the island. GIBBS Drop the forward anchor!A SAILOR at the stern of the ship pulls a release, and theship's anchor races down into the water, the metal chainjumping and twisting on deck.The chain stops, and the Sailor locks it -EXT. CARIBBEAN SEA - DAYWith its forward momentum and the anchor down, theInterceptor to turn quickly, pivoting around the anchor.EXT. BLACK PEARL - DAYBarbossa and Pintel watch as the huge ship brings itscannons to bear right in front of them. BARBOSSA All hands! Prepare to come about!But for now, the Interceptor has the advantage, and takesit:its cannons boom, and cannonballs rain down.INT. BLACK PEARL - BRIG - DAYJack sees what he can out the porthole. In the cell withhim is Twigg, acting as a guard. JACK Don't hit my ship! I mean, kill the lying scoundrel - (to Twigg) I'm a little conflicted, here.Twigg just stares.EXT. INTERCEPTOR - DAYElizabeth watches as the Black Pearl comes about -- andthen there is the low, loud RUMBLE of two dozen cannonsfiring as one. The Interceptor is hit. A barrage of shotsfollow; most find their mark.Sailors dive for cover, leaving their cannons; clearly theyare overmatched.EXT. BLACK PEARL - PORT SIDE - DAYBarbossa laughs. BARBOSSA Strike your colors, you bloody cockroaches!EXT. INTERCEPTOR - DAYAnother round of fire; Barbossa shows no mercy. ANAMARIA Looks like they mean to send us under. GIBBS There -- she's raised the Jolly Roger,upside down.AnaMaria, Gibbs, Cotton, even Elizabeth -- all know whatthis means. Will doesn't. He looks to Gibbs for anexplanation: GIBBS (CONT 'D) It's a signal. If we resist, it won't just be death. There'll be torture as well. WILL We're not going to just surrender!GIBBS That we are.The Black Pearl fires again, a double-ball shot with achain connecting the two. It hits the main mast dead ani aCRACKING, SPLINTING sound as it breaks, falls to the deck.Barbossa moves his ship alongside, preparing to board. WILL We can at least fight -- we might be able to kill a few- GIBBS Will -- it'll go worse for us -- for Elizabeth, especially -- if we fight.Will stares -- and nods. But his expression is stilldefiant.The deck slants; the ship is sinking. pirates swarm acrosson ropes, and take control of the Interceptor.EXT. BLACK PEARL - MAIN DECK - DAYThe top masts of the H.M.S. Interceptor sink into thesmooth' crystal waters of the Caribbean --- as Will and Elizabeth, held by pirates, are broughtbefore Barbossa -- and see that Jack stands beside him,manacled.Gibbs, AnaMaria and Cotton and the other crewmembers huddletogether.Barbossa's wrath falls on Elizabeth. BARBOSSA Welcome back, Miss. Last time on board, you played me right clever, make pretending and all. I hope your stay this time is more pleasant. Boys, show her some hospitality!He shoves her into a group of pirates; they yell theirapproval. She is pushed from one to another.This goads Will to action. He head-butts the pirate behindhim, grabs a pistol, waves it at the pirates. WILL She goes free!Will leaps onto the ship's rail. He steadies himself with ahand on the rigging. Points the pistol at Barbossa. BARBOSSA What's in your head, boy? WILL She. Goes. Free. BARBOSSA You've got one shot -- and we can't die. WILL You can't. I can.He leans out over the ocean. ELIZABETH No!Jack pushes forward. JACK Will -- don't do anything stupid! Don't say anything stupid - WILL My name is Will Turner, the son of Bootstrap Bill Turner. His blood runs in my veins. (raises the gun to his head) You need my blood. And on my word I will pull this trigger, and sink all the way down to Davy Jones' Locker!Pintel squints at Will; the pirates murmur surprise. TWIGG It's true - he's the spittin' image of old Bootstrap. Even talks the same!Jack drops his head. Barbossa grins at him. BARBOSSA Looks like you're back to having nothing to offer. PINTEL And hers got Old Bill's courage. A curse on him, and you!Barbossa steps forward. BARBOSSA Enough of that! (to Will) Name your terms. WILL Elizabeth goes free! BARBOSSA We got that part. Anything else? WILL And Jack. And the crew. Free and unharmed. I f you agree... then... I will remain with you.Barbossa considers; his crew waits. Finally - BARBOSSA Agreed. You have my word, as a gentleman of fortune - ELIZABETH Will -- you can't trust him. WILL You must swear by the Holy Bible. BARBOSSA Eh? You have my word, then -- on the Good Book, I do swear, and the Lord spare my worthless soul.Barbossa crosses himself, as do many of his men.Will lowers the gun ... steps down -- the pirates surroundhim. They snatch away the pistol. BARBOSSA (CONT'D) Boatswain! Take your captives belowdecks. Chain them in the galley, and teach 'em how to row.Gibbs, AnaMaria, Cotton and the rest are led away underguard. Barbossa looks out to sea, toward the islet. BARBOSSA (CONT'D) Hah. Look there. That's the very same island we made Jack governor of on our last trip. (nods") When you sail the open sea as long as I, you learn to trust the signs fate sends your way. GIBBS (dejected) Amen to that... BARBOSSA Jack, Elizabeth ... I'm a man of my word and you're to be set free, right quick. (loudly) Men, break out the plank!A CHEER goes up from the pirates. Will realizes whatBarbossa intends to do, struggles with his captors. WILL No! You gave your word! BARBOSSA Quiet, boy, or you'll lose your tongue. Those as know me know I wouldn't cross my word, and bring down bad luck on the ship. (nods) I agreed to set them free. I didn't say when. .. nor where.EXT. CARIBBEAN SEA - DAYThe Black Pearl lies at anchor, closer now to the islet.EXT. BLACK PEARL - MAIN DECK - DAYJack, wrists still bound, stands in the classic 'walkingthe plank' pose. Elizabeth is next in line. Pirates crowdthe ship's rail to watch. JACK It's pure evil to make a Captain walk the plank of his own ship, twice in one lifetime. No good can come of it. BARBOSSA Now, Jack. That reef is less than a league distant. It's a square deal all around, and you can't hope for better. JACK Someone needs to cut these bonds, then.Barbossa smiles, shows a pistol. Points it at Jack. BARBOSSA You'd best take a swim, Jack. JACK The last time you did this, you left me a pistol, with one shot.The pirates mutter agreement. PINTEL That's proper, sir, according to the code. BARBOSSA By the Powers, you're right! ( turns around) Where's Jack's pistol? Who's got it? Bring it forward! JACK A gentleman might give us two pistols, seeing as there are two of us, this time.A pirate hands Jack's pistol to Barbossa. BARBOSSA Tell you what. I'll give you one pistol, and let you be the gentleman, an' shoot the lady, and starve to death yourself! (grins) That is, presuming you're not both drownded.The pirates laugh. Barbossa tosses Jack the pistol -- butover his head, and down into the water with a splash. BARBOSSA (CONTID) So how did you get off that island, anyway? JACK You can go to your grave not knowing. BARBOSSA That's fair.Jack glares at Barbossa. Then he's prodded with a cutlass,takes a step out. Reaches the end of the plank -- stepsoff.Jack plunges down into the water. Appears on the surface,floundering, struggles to stay afloat. Will and Elizabethexchange helpless looks; there is nothing they can do. BARBOSSA (CONT'D) The lady's next. But first, I'll be wanting that dress back, if you please.Elizabeth hesitates ... then strips it off, leaving her ina silk slip. She throws it at him. ELIZABETH Here -- it will go well with your black heart !Barbossa indicates the plank. ELIZABETH (CONT' D) I will not walk into the ocean. You'll have to throw me in!Barbossa raises an eyebrow, grins, nods. BARBOSSA Have at her, lads!The pirates rush to comply. Lift her up, toss her over therail -- with a scream she falls --EXT. CARIBBEAN SEA - UNDERWATER - DAYWe follow Elizabeth amid foam and bubbles as she PLUNGESdownthrough the water. Blue and clear, with streaks of sunlightcutting down; bright coral and tropical fish, and a lovelyyoung woman in a silk dress. .. if it weren't for themortal danger, the scene could be described as gorgeous.Elizabeth spots Jack, below her now, sinking, struggling.She swims down ... unties his bonds.Elizabeth starts for the surface. Inexplicably, Jack swimsthe other way, further down into the depths.EXT. CARIBBEAN SEA - DAYElizabeth breaks the surface, looks around. And then,finally Jack appears, sucking in air. He shows what he wentafter: his pistol. He tucks it into his shirt. ELIZABETH You went back for that? We need to head for the reef!She starts swimming. Jack hesitates. The Black Pearl isalready underway; he stares at it. JACK That's the second time I've had to watch that man sail away with my ship.He turns away, and swims after Elizabeth.EXT. ISLET - BEACH - DAYCLOSE ON: The surf line. Elizabeth's feet leave prints inthe sand ... and then meet up with matching footprints shemade earlier, going in the same direction. She has walkedall the way around the island. JACK (O.S.) Not all that big, is it?Jack lays on the beach. He has dismantled his pistol; theparts, ball and powder dry on his scarf. ELIZABETH Has it changed since the last time you were here? JACK The trees are taller.Jack checks to see if the pistol parts are dry; they are.He sets about re-assembling and loading his pistol. ELIZABETH I hope you have no intention of using that.Jack has finished putting his pistol back together. Heshoves it in his belt, walks off. JACK Not yet. Ask me again in a few weeks.Elizabeth can't believe it. ELIZABETH Captain Sparrow! We have to get off this island -- immediately! JACK Don't be thinking I'm not already working on it.He climbs up toward a clump of palm trees. Digs forsomething beneath the sand. He finds it: a large iron ring. ELIZABETH What is that? Is there a boat under there?Jack heaves the trap door up and over, revealing a pit.Inside are barrels and bottles of rum ... all covered withdust and cobwebs, long abandoned. Jack's face falls. ELIZABETH (CONT'D) What? What's wrong? How will this help us get off the island? JACK It won't. It won't, and so we won't.He jumps down into the pit, cracks open a bottle of rum,.takes a swig. ELIZABETH But ... you did it before! Last time - JACK Last time, I was here a grand total of three days. Last time, the rumrunners who used this island as a cache came by, and I bartered passage off. JACK (CONT'D) But from the looks of this, they've long been'out of business, and so that won't be happening again. (takes another swig) We probably have your friend Norrington to thank for that. ELIZABETH So that's it? That's the secret grand adventure of the infamous Jack Sparrow? You spent three days on the beach drinking rum? JACK Welcome to the Caribbean, love.He gathers up a few bottles, heads for the beach. JACK (CONT'D) You should look at our contretemps this way: we've got shade trees, thank the Lord. We've got some food on the trees, thank the Lord again. And we've got rum, praise the Lord. We can stay alive a month, maybe more. Keep a weather eye open for passing ships, and our chances are fair. ELIZABETH A month? Will doesn't have a month! We've got to do something to help him! JACK You're right. (hoists the bottle) Here's luck to you, Will Turner.He drinks -- and defiantly returns Elizabeth's angry gaze.But then turns away, sits down. JACK (CONT'D) Don't be thinking I'm happy about this, Elizabeth. But I see no use in wailing and gnashing my teeth over that which I can do nothing about. ELIZABETH Not when you can drink instead, at least.Jack tosses her a bottle. JACK Try it. It goes down rough, but it goes down - - and the second swig goes down easier.Elizabeth considers. Comes to a decision. She unseals thebottle, takes a swig. They sit in silence for a bit. ELIZABETH And you will call me Miss Swann.Jack toasts her: you got it. Elizabeth studies herbottle... gives Jack a sidelong glance. Back to her bottle... ELIZABETH (CONT'D) (under her breath) Drink up me hearties, yo ho... JACK What? What was that? (Elizabeth smiles) Something funny, Miss Swann? share. Please, ELIZABETH Nothing ... it's nothing. Just ... I'm reminded of a song I learned as a child. A song about pirates. JACK I know a lot of songs about pirates, but none I'd teach a child. Let's hear it. ELIZABETH Oh, no ... it's silly. Back in England we didn't know a thing about pirates, really. They seemed so romantic and daring -Jack likes the way that sounds. ELIZABETH (CONT'D) (looks at him) That was before I met one, of course. JACK Now I must hear this song. An authentic pirate song. Have at it. ELIZABETH Well, perhaps ... with a bit more to drink, I might ... JACK More to drink!He gathers two more bottles, tosses one to her. She dropsher half-finished bottle to catch it. Opens it, takes asip. JACK (CONT'D) Well?Elizabeth clears her throat, begins to sing self-consciously, becoming stronger as she goes on. ELIZABETH We pillage, we plunder, we rifle, we loot, Drink up me hearties, yo ho.She gestures for him to drink. He does. ELIZABETH (CONT'D) We kidnap and ravage and we don't give a hoot, Drink up me hearties, yo ho -EXT. ISLET - BEACH - LATER - NIGHTThe middle of the night. A fire BLAZES. Jack and Elizabethare roaring drunk, arm in arm, singing the song all the wayup to the stars -- JACK/ELIZABETH Yo ho, yo ho, a pirate's life for me!Yo ho, yo ho, it's a pirates life for me! JACK I LOVE this song! (sings) Yo ho, yo ho, a pirate's life for me! We're beggars and blighters, ne'er do well cads, Drink up me hearties, yo ho! (gives it a touch of Irish ballad) Aye but we're loved by our mums and our dads. Drink up me hearties, yo ho!They hoist their bottles, but only Jack drinks. He drainsthe bottle, then tosses it away. JACK (CONT'D) When I get the Black Pearl back, I'm going to teach it to the whole crew, and we'll sing it all the time! ELIZABETH You'll be positively the most fearsome pirates to sail the Spanish Main.Elizabeth salutes the idea with her bottle. Jack doesn'thave a bottle to salute back. She hands him hers. Hedrinks, then settles shakily to the ground. Elizabeth sitsbeside him. JACK Not just the Spanish Main. The whole ocean. .. the whole world. Wherever we want to go, we go. That's what a ship is, you know. Not just a keel and a hull and a deck and sails. That's what a ship need_ ... but what a ship is -- what the Black Pearl really-is ... is freedom.Elizabeth lays her head on his shoulder. ELIZABETH Jack, it must be so terrible for you, to be trapped here on this island, all over again. JACK Ah, well... the company is better than last time. And the scenery has definitely improved. ELIZABETH (coy) Mr. Sparrow! I'm not sure I've had enough rum to allow that kind of talk. JACK We've got a few bottles left ... and we've yet to tap the kegs.Elizabeth shrugs with a sleight -- but promising -- smile.She picks up the empty bottle from the ground, holds it up. ELIZABETH To freedom. JACK To the Black Pearl.They tap the bottles together. Elizabeth feigns a drink ashe chugs. He taps his bottle against her again. She laughs,feigns another drink -EXT. ISLET - BEACH - MORNINGCLOSE ON -- JACK'S FACE, dead asleep, lying in thesunlight. His nose twitches. A bit of SMOKE drifts by. Hisnose twitches again. His eyes open.Jack GROANS and sits up. He rubs his head, looks over --- all of the foliage in the middle of the island is ONFIRE. Smoke rises high up into the clear blue sky.Jack leaps to his feet. He sees Elizabeth, as she pours outthe last of the rum, dowsing a scrub brush at the base of apalm tree. It goes up in FLAMES. She rolls the barrelforward -- it starts to BURN merrily.Jack can't believe his eyes. JACK What are you doing? You've burned our food, the shade -- the rum! ELIZABETH Yes, the rum is gone.She wipes her hands together. One of the rum barrels in thefire EXPLODES. JACK Why? ELIZABETH One, because it is a vile drink that turns even the most respectable men into scoundrels. Two -She points to the sky. ELIZABETH (CONT'D) That signal is over a thousand feet high, which means it can be seen for two hundred leagues in every direction. The entire Royal Navy is out to sea looking for me -- do you think there is even a chance they could mass it? JACK You -- you burned up the island, for a one-time chance at being spotted? ELIZABETH Exactly.Elizabeth turns toward the sea. ELIZABETH (CONT'D) Just you wait, Captain. In an hour, maybe two, keep a 'weather eye open' and you'll be seeing white sails on that horizon!She sits down, determined. Shields her eyes, scans thewater, waiting, searching. Jack is speechless. He throws uphis hands, stalks up the sand dune, just to get away fromher.EXT. ISLET - LEEWARD SHORE - DAYAt the crest of the dune, Jack stops -- and stares,incredulous. We come around to see what he is looking at -Past Jack, anchored the other side of the island, whitesails glorious against the turquoise waters, is the H.M.S.Dauntless. A longboat is already being rowed toward them.Jack shakes his head. JACK They'll be no living with her after this.EXT. H.M.S. DAUNTLESS - MAIN DECK - DAYNorrington gives Elizabeth a hand disembarking from theraised long boat. NORRINGTON Elizabeth, I'm" relieved you're safe. (re: Jack) Clap him in irons. And behind his back this time. ELIZABETII Commodore, you can't do that! NORRINGTON You're speaking up for him again? ELIZABETH He can locate Isla de Muerta -- but I doubt he'll be willing to help us from the brig. JACK (she's right) We had time to get to know each other. NORRINGTON We are bound for Port Royal, not Isla de Muerta. ELIZABETH No. The pirates have taken Will - NORRINGTON Your father is frantic with worry. Our mission was to rescue you and return home. That is what we shall do. Mr. Turner's fate is regrettable. But so was his decision to engage in piracy. ELIZABETH Commodore, please! JACK Norrington, think about it ... the Black Pearl, its captain and crew... the last pirate threat in the Caribbean. How can you pass that up? NORRINGTON By remembering that I serve others, not only myself. ELIZABETH Commodore, I beg you -- please do this ... for me. As a wedding gift. NORRINGTON I am to understand that you will accept my marriage proposal on the condition I rescue Mr. Turner? ELIZABETH Not as a condition -- a request.Norrington considers. To Gillette: NORRINGTON Free Mister Sparrow, and prepare to come about. He'll give you our heading.Gillette unlocks Jack's manacles. Jack raises an eyebrow. JACK Congratulations, sir.Crew men lead Jack toward the bridge. Sailors go abouttheir tasks, and the ship begins its slow turn. NORRINGTON Elizabeth, I hereby withdraw my proposal. ELIZABETH What? NORRINGTON I know now where your heart truly lies.Elizabeth looks at Norrington, seeing him in a new light. ELIZABETH And now I know... where yours does, as well.They gaze at each other for a moment. Norrington looksaway. NORRINGTON You may seclude yourself in my cabin. I'm afraid we do not have any ladies' clothing aboard. ELIZABETH Then I can wear men's clothing. NORRINGTON That would hardly be proper. ELIZABETH Well, I am not going to stay hidden in a some cabin, 80 I suppose it's going to be heaving bosoms and bare ankles for the remainder of the voyage!Norrington is exasperated, but then can't help but grin -this is exactly why he loves her. She grins back at him -she's not going to change. NORRINGTON Murtogg, take our guest below, and find her some trousers, and a shirt.Elizabeth smiles, allows herself to be escorted away.Norrington watches her go ... then turns his gaze to thesea.INT. THE BLACK PEARL - BRIG - DAYPintel enters the cell. It appears empty -- but that'sbecause Will is hanging from the rafters, trying to shoveup the ceiling planks with his legs. PINTEL That ain't going to work. That's the gun deck above yeaWill drops lightly to the deck. Suddenly: WILL What happened to William Turner? PINTEL Ah, William Turner. Stupid blighter. He threw in with us after we relieved Jack Sparrow of his captaincy, but turned out, it never sat well with him- particularly after we found Cortes' treasure, and its peculiar condition. He thought we deserved to be cursed, for leaving ol' Jack to the fate we did. That's why he sent off a piece of the treasure -- to you, as it were: so it would never be recovered, and so cursed we_ remain. WILL And then he ran. And he's hiding out someplace where you haven't been able to find him. PINTEL That's a nice thought, to be sure, and I wager your da wishes he'd thought it hisself. But, no. See, what he'd done, _ didn't sit too well with Captain Barbossa ... so he chained a cannon to his legs and dumped him over.Will reacts with shock at the account of his father's fate. PINTEL (CONT'D) Yep, last I saw of Bootstrap Bill, was his face looking up, as he sank down to the crushing black oblivion of Davy Jones' locker. (sighs) It was only after, we found out we needed his blood to solve the curse. That's what you call ironic.Barbossa appears behind Pintel, flanked by several otherpirates. He regards Will for a moment, then: BARBOSSA Bring him.EXT. H. M.. S.. DAUNTLESS - MAIN DECK - EVENINGJack goes to the rail and waits, pretending to look out atthe sea. Elizabeth, dressed in sailor's clothes toexcellent effect, joins him. ELIZABETH You didn't tell Commodore Norrington everything. JACK Nor did you, I noticed. ELIZABETH He might delay the rescue ... and that would be too late. JACK Exactly. ELIZABETH These men will be facing an enemy that seemingly cannot be killed. JACK I have a plan. If it succeeds, then any battle will be decidedly brief ... and one-sided. ELIZABETH What's your plan? LOOKOUT (O.S.) LAND HO!Isla de Muerta lay dark and menacing on the horizon. NORRINGTON Elizabeth -- below decks. I will not compromise your safety..She starts to speak; he turns away.. NORRINGTON (CONT'D) Lieutenant, escort Elizabeth to my quarters, and make sure she stays there.Norrington gazes through his spyglass, at the island. Jackwatches with some amusement as Elizabeth is escorted away. NORRINGTON (CONT'D) I don't like the situation, mister Sparrow. The island is riddled with caves. I will not put my men at a disadvantage. JACK Funny, I was thinking along those lines. How about you let me go in alone, and while you're setting up an ambush, I'll trick the pirates out to you. NORRINGTON You would do that? JACK They left me stranded. Twice. What have you got to lose? NORRINGTON (looks at him) Nothing I wouldn't be please to be rid of. JACK (smiles) I knew you'd listen to reason!EXT. ISLA DE MUERTA - CAVE ENTRANCE - EVENINGTorches are lit. Barbossa leads Will, guarded by Pintel anda band of pirates, into the caves.EXT. H.M.S. DAUNTLESS - MAIN DECK - NIGHTA long boat is prepared to be lowered over the side. Jackwraps his pistol securely in an oilskin pouch. JACK That chart I drew up'11 get you past the reefs. If you're steersman's good enough, that is. NORRINGTON I'll be at the wheel myself. JACK I'll slip in, talk them into to come out, and you'll be free to blow holy high heaven the whole lot of them.The crewmen release the lines, and the boat drops -INT. ISLA DE MUERTA - CAVES - NIGHTThe pirate group moves deeper into the caves. Will movesalong unwillingly. PINTEL No reason to fret. It's just a prick of the finger and a few drops of blood. BARBOSSA Turner blood doesn't flow pure in his veins. (grins) Best play it safe, and spill it all. PINTEL I guess there is a reason to fret.EXT. ISLA DE MUERTE - NIGHTThe Dauntless drifts into the lagoon. Norrington and hismen prepare to go ashore. hINT. ISLA DE MUERTA - CAVES - NIGHTLit by torchlight. Will notices: a crack runs between thefloor and the wall of the cave, widening into a ravine. BARBOSSA Careful, now. You could fall in and still be wonder'n when you'll hit dirt.Will makes a decision. He intentionally stumbles. Pintelshoves him forward -- Will continues forward, grabs thepirate in front of him, swings him into the wall of thecave. Catches the pirate's torch, and uses it to ward offthe others. WILL You deserve to be cursed -- and remain cursed!He steps to one side -- and drops into the ravine. The wallof the ravine becomes a loose gravel slope; Will hits it,and tumbles down, disappears into black. BARBOSSA Blast him! A pox on him, and his father, and the whole damnable line! Fan out! Find him!INT. DAUNTLESS - CAPTAIN'S QUARTERS - NIGHTElizabeth looks out the Captain's small porthole -- seesboats laden with Navy men headed for shore.She turns away from the porthole, wishing there wassomething she could do. Suddenly there is a flutter at thewindow--Cotton's parrot is there. COTTON'S PARROT Drink UP me hearties yo ho! Drink UP me hearties yo ho!The bird flutters off; Elizabeth races to the porthole, andthen to the stern window to see it flyaway.She looks down -- and there, fastened to the stern of theship, is a small rowboat.INT. ISLA DEMUERTA - CAVES - NIGHTWill races forward, turning this way and that. He sees alight ahead, heads for it, turns a corner --- and runs straight into Jack. JACK Do you have any idea where you're going? WILL Jack! JACK Don't talk. These caves magnify sound. Just follow me.EXT. ISLA DE MUERTA - THE BEACH - NIGHTNorrington and men land on the beach, and spread out. Theysilently take up positions around the main cave entrance.INT. CAVES - NIGHTJack leads Will out of a narrow passage -- and stops,staring. Will is a few steps behind. WILL Are you certain this is the right way? JACK It's the right way.Will join him -- and see what Jack is staring at:Treasure piled on treasure, sparkling, glowing, seeminglyendless. At the center is the moonlit clearing, and thestone Aztec chest. BARBOSSA Thank you, Jack Sparrow.The jump -- Barbossa is standing right behind them, flankedby his men. The trio whirl to run - - more pirates emergefrom hiding. Nearly the entire crew of the Black Pearl isthere.The pirates grab Will and Jack. Will struggles, but Jackdoes not fight at all. BARBOSSA (CONT'D) You couldn't have led him back more directly if you knew exactly where you were going.He laughs, and moves toward the stone chest. The piratesfollow, dragging Will and Jack with them. WILL You did know where you were going! You did lead us directly to them! (Jack's silence confirms it) Why?Jack looks away -- as Will is manhandled toward the chest.Barbo8sa steps up to him (becoming skeletal in themoonlight) and puts the medallion around Will's neck.He picks up the stone knife. BARBOSSA What was begun by blood, let blood now end!He raises the knife to Will's throat - JACK You don't want to be doing that.Barbossa pretends to think about his words. BARBOSSA No, I really think I do. JACK (shrugs) All right then.That makes Barbossa pause. He steps out of the moonlight. BARBOSSA Why don't I want to do this? JACK Because, right about now, the H.M.S. Dauntless is lying in wait in the harbor. WILL Jack! JACK - - and its guns and crew will cut you and your men to pieces the moment you step outside these caves.A buzz of apprehension sweeps through the pirates. PINTEL Do you believe him? BARBOSSA No. (indicates Will) But him I believe. He is genuinely angry. JACK You've no hope of surviving Norrington's attack ... that is, if you're mortal. BARBOSSA What're you suggesting?Jack shakes off the hands holding him, strolls towardBarbossa, Will, and the chest of coins. JACK Simple. Don't kill the boy yet. Wait for a more opportune moment.Will glares, listening to every word he says. Jack scoopsup a handful of coins from the chest. JACK (CONT'D) (drops the coins one-by- one back into the chest) Like after you've killed... Every... Last ... One ... of Norrington's men. BARBOSSA I can't help wondering, Jack, why you're being so helpful and all? Last time you did that, it didn't end 80 well for you. JACK The situation has changed. BARBOSSA That so? JACK Aye. See, after you're done with the Royal Navy, you'll have a bit of a problem: the H.M.S. Dauntless. There you'll be, with two lovely ships on your hands, and what to do? Of course you'll decide you deserve the bigger one, and who's to argue? The Dauntless a first-rate ship-of-line, and with it, you can rule the seas. (beat) But if you're Captain of the Dauntless, who's left for the Black Pearl?Jack smiles and spreads his hands: me. JACK (CONT'D) I sail for you as part of your fleet, I give you fifteen percent of my plunder, and you get to introduce yourself at tea parties and brothels as 'Commodore Barbossa.' (sticks out his hand) Do we have an accord?Barbossa licks his lips. It's tempting ... JACK (CONT'D) Now, you can take care of the Dauntless, right? BARBOSSA Men! Are you up for it?The pirates yell to the affirmative. BARBOSSA (CONT'D) Mr. Pintel, select five men to stay here. Take the rest of the men out ... not through the caves.Jack's expression falters; this he hadn't planned for. JACK There's ... another exit? BARBOSSA Aye, for us there is.EXT. LAGOON - UNDERWATER - NIGHTMoonlight shines down into the shallow waters, brighteningcoral, sparkling over the rippled sand floor.Suddenly all the fish SCATTER. Briefly, the waters areempty.And then FIGURES appear in the distance, seeming to waverin the shifting current. They scuffle forward, kicking upclouds of sand --The figures resolve into the skeleton PIRATES, movingsilently across the lagoon floor, swords glinting. Thetatters of their clothing drift in the water. Their skullheads are fixed in an endless grin.The LEAD PIRATE glides forward -And stops next to a huge iron ANCHOR -- twice his' height,even buried halfway into the sand. A heavy CHAIN withbarrel-sized links climbs up toward the surface -A SHADOW falls across the Lead Pirate -- he TRANSFORMS, andwe see that it is Pintel. He looks up -Above, the heavy chain leads to the giant bottom hull ofthe H.M.S. Dauntless, silhouetted by moonlight.The huge shift drifts, again spilling moonlight below -And the pirates gathered around the anchor are once againSKELETONS, staring with upturned faces. The Pintel-skeletonputs a knife between his teeth, starts to crawl up the ironrings.Other pirates crowd forward, and soon the anchor-chain isclustered with skeletons -EXT. LAGOON - NIGHTElizabeth has the small boat out, and rows away from theDauntless, looking ahead over her shoulder. Cotton's parrotis nowhere to be seen.In the distance, Pintel breaks the surface near theDauntless, intent on climbing the anchor; he looks over -Just as Elizabeth rounds the point, and rocks obscure thesmall longboat from view.More skeleton-pirates appear, and Pintel continues hisclimb.EXT. LAGOON - DAUNTLESS - NIGHTTwo SAILORS, alert and vigilant, stare out toward shore.The island reveals nothing but blackness.There is a scurrying sound -- bones scraping against wood -and the sailors JUMP. They listen, intently -- nothing. TALL SAILOR Ship rats. Big ones. SHORT SAILOR (nods) Hate those things.They turn back toward the island, continue their vigil. Along pause. SHORT SAILOR (CONT'D) Taste all right, though. TALL SAILOR That they do.From behind, the two sailors at the rail are well-lit by alantern. Suddenly shadows appear, skeletons, climbing upthe sailor's backs. -MOVE CLOSER and then the skeletonsappear, reaching -- the two sailors are grabbed from behind-EXT. DAUNTLESS - SIDE - NIGHTTwo bodies are tossed out over the rail, hit the water witha splash.EXT. DAUNTLESS - SIDE - NIGHTPintel looks down into the water, satisfied. Puts away hisknife. Notices, pulls out a long piece of seaweed from hisrib cage. Tosses it. Turns to the others. PINTEL Be quick, now. Train the starboard guns on the beach, and set your aim. Wait for my signal, we don't want to spook them.The pirates hurry to comply -EXT. LAGOON - BLACK PEARL - NIGHTElizabeth rounds the point further, and sees: the BlackPearl, anchored in the neighboring cove. A fleck of color -Cotton's parrot, as it darts in through a porthole.Elizabeth slows her efforts, silently approaching the ship.EXT. BLACK PEARL - MAIN DECK - NIGHTFour PIRATES -- who really ought to be keeping watch -instead have gathered wine bottles and rum casts into apile, along apples, biscuits -- all the food on the ship.They act out a mock-feast, in anticipation of the cursebeing lifted. A SKINNY skeleton offers two bottles BIGBONEDskeleton. SKINNY Which would you prefer first, good sir -rum, or wine? BIG-BONES I believe I'll have a spot o' rum, if you don't mind, and thank'ee kind sir!They burst out laughing -- a hideous sound that wheezesthrough their bones.Behind them, unnoticed, Elizabeth peeks cautiously around acorner. She picks her moment and sneaks past quickly, downa gangway, disappearing into the blackness of the ship.EXT. ISLA DE MUERTA - BEACH - NIGHTGillette crouches, running low behind a line of rocks. Hereports to Norrington: GILLETTE All the men in place, sir. Ready to fire. NORRINGTON Wait for my order -- what the blazes is that?It's the sound of cannon fire -- coming from the Dauntless.Cannonballs hit the shore; men cry out in anguish. NORRINGTON (CONT'D) Men! Take cover!The sailors scramble to find refuge -INT. ISLA DE MUERTA - MAIN CAVERN - NIGHTWill, guarded by pirates, glares at Jack. WILL You've been planning this from the beginning. Since you learned my name.Jack takes the opportunity to move toward him. JACK Oh, please -- do I really seem that clever?Before Will can answer, Jack smoothly slips the sword froma Pirate's scabbard -- tosses it to Will, who catches itdespite his surprise. JACK (CONT'D) Use it well.He draws his own sword -- and clobbers the Pirate. Barbossaand the other pirates stare in shock - BARBOSSA Confound it, Jack -- I was actually beginning to like you!Swords are drawn, and the Pirates attack.Jack and Will take on multiple opponents, each with his ownstyle: Will parries, glissades and disarms with lightningfast and perfect form, while Jack uses his blade, fists,acrobatics and anything within reach to survive.EXT. ISLA DE MUERTA - BEACH - NIGHTThe sailors charge. The moon emerges from behind a cloud -Suddenly army of SKELETON PIRATES rise up from the sea, andcharge the stunned sailors -- several men are struck down - NORRINGTON Steady, men! Remember -- we're the Navy!The sailors recover their nerve, and engage the enemy. It'sa full on battle, Royal Navy against Skeleton Pirates -The Navy men are driven back, surrounded -Suddenly there is a massive BOOM of cannon fire.Norrington, in the midst of a swordfight, tries to see - NORRINGTON (CONT'D) What is happening out there?EXT. LAGOON - NIGHTIt's the Black Pearl, manned by Gibbs, AnaMaria and Cotton,and captained by Elizabeth, coming around the point,cannons blazing.EXT. H.M. S. DAUNTLESS - NIGHTThe pirates on the ship are caught by surprise, try to turntheir cannons to this new foe -EXT. ISLA DE MUERTA - BEACH - NIGHTGillette sees the Black Pearl firing on the Dauntless. GILLETTE They're on our side! Take heart, men!The Royal Navy stand their ground and fight -INT. CAVE - MAIN CHAMBER - NIGHTOnly two pirates left: Barbossa and Jacoby. Jacoby roundson Will; Barbossa faces off against Jack. BARBOSSA Just so you know, Jack -- I don't think you're that clever. I think you're a fool. A mortal fool. JACK Remarkable how often those two traits coincide.Jack drives him back, making Barbossa laugh. BARBOSSA You can't beat me, Jack.To prove his point, he drops his own sword -- and catchesJack's sword with both hands. Jack can't free it. Barbossatwists the sword from Jack's grip, reverses it -- - AND DRIVES THE SWORD INTO JACK'S CHEST.Will battling Jacoby, sees it -- he smashes Jacoby in thejaw, crumpling him WILL Jack!Jack stares down at the sword jutting from his chest. Hetakes a few steps backward, toward the Aztec gold -- whenhe steps into the moonlight, JACK BECOME SKELETAL. JACK Well, isn't that interesting.Skeleton Jack pulls the sword from his chest. He pullssomething from his pocket: one of the Aztec coins. JACK (CONT' D) They're so pretty, I just couldn't resist stealing one. It's a curse, I guess.Barbossa grabs up his sword, and rushes Jack. Both men arein moonlight now, two skeletons in pitched battle. BARBOSSA So what now, Jack Sparrow? Are we to be two immortals, locked in epic battle until the trumpets of Judgment Day? JACK Or you could surrender.He shoves Barbossa back, out of the moonlight. Barbossastalks the room, his attention focused on Jack. BARBOSSA Or I could chain you to a cannonball and drop you in the deepest part of the ocean, where you can contemplate your folly forever.Barbossa charges -A SHOT RINGS OUT -Jack stands out of the moonlight, flesh and blood again,holding his smoking pistol, still aimed at Barbossa. BARBOSSA (CONT'D) Hah. Ten years you carried that pistol, and you end up wasting your shot. WILL He didn't waste it.Will stands over the Aztec chest, holding a bloody sword,his left hand in a fist. He opens the fist --- the medallion, blood covering it, drops from his hand,revealing the cut in his palm.Barbossa stares, then looks down at his chest. Bloodblossoms on his shirt around the bullet hole. It spreadsquickly.Barbossa clutches his chest, his face registering pain forthe first time in years. Barbossa falls heavily to theground, dead.Jack blows the smoke from the barrel of his pistol...tosses it away.EXT. ISLA DE MUERTA - BEACH - NIGHTMurtogg FIRES a pistol at a pirate. The pirate is hit,screams in pain, and crumples to the ground. Mullroy runsthrough another with his sword.The pirates react to the sight, and quickly realize theirperil. They set their weapons down in surrender.EXT. ISLA DE MUERTA - LAGOON - NIGHTThe Black Pearl comes alongside the Dauntless, and Jack'screw swarm across, overwhelming the pirates.The sailors on the beach see it, and CHEER.INT. ISLA DE MUERTE - CAVE - MAIN CAVERN - NIGHTWill wraps a cloth around his palm; Jack joins him near thechest. WILL Well, you're the worst pirate I've ever heard of. (smiles) You're a man who can be trusted, who can be counted on, and who can It betray his friends. What kind of pirate is that? JACK (admits it) The worst. (beat) On the other hand, maybe I'm a man who can't pass up a chance for revenge against the black-hearted bastard who stole my ship and left me to die in the middle of the ocean -- twice! -- and who knows how to get what he wants. Now that's a great pirate.Jack cuts his palm, grips the coin he stole above the chest... and then hesitates.Will looks at him...Jack releases the coin. It lands in the chest beside theother bloody coin.Suddenly, the lid of the chest, all on its own, SLAMS SHUT.Elizabeth stares at it. WILL Let's get out of here.EXT. ISLA DE MUERTA - BEACH - NIGHT - LATERJack, Will, and Norrington gather together on the beach.Elizabeth calls out: ELIZABETH You're all right!The three men turn as one. An awkward moment -- which ofthem does she mean?Elizabeth races across the sand, toward them -- andstraight to Will. She throws her arms around his neck in ahug. WILL Miss Swann -- are you wearing trousers? And how did you get off the island?Elizabeth can't believe that's what he noticed. Indignant,she steps away from him. ELIZABETH Yes, I am wearing trousers. And as for how we got off the island -- ah, that's a grand adventure, but now is not the time to talk about it.She reaches a hand behind his neck, decisively kisses him. ELIZABETH (CONT'D) There. And don't you dare tell me that wasn't a proper kiss! WILL Elizabeth, I think it doesn't matter- that we are of a different class - ELIZABETH It doesn't! WILL -- but that was not a proper kiss.Pure consternation on Elizabeth's face - WILL (CONT'D) This is a proper kiss.Will sweeps her in his arms, leans her back, and kisses herlong and well -Jack puts a hand on Norrington's shoulder. JACK Tough luck. I was rooting for you.EXT. PORT ROYAL - FORT CHARLES - DAYClose on: Will's face, stoic, staring forward. He standsstraight and unmoving. Around him are members of the RoyalNavy, standing before for a group of witnesses from town.It is the courtyard on the top of Fort Charles. A trial isunderway -- with Will as the defendant. NORRINGTON ...and though I do say so with regret, the law is clear. The penalty for piracy is death by hanging.In the crowd, Elizabeth squeezes the hand of her father,Swann. She lets go as Swann stands. SWANN By your leave, I wish to speak on behalf of the boy. (a glance at Elizabeth) It is clear that these deeds were performed out of a sincere desire to do good, at great personal risk. It seems to me, that in the rare occasion where the right course is committing an act of piracy, then an act of piracy is the right course! (cheers of approval) So in my capacity as Governor, I intend to grant a pardon to -- GILLETTE Sir!All eyes turn. Gillette stands at the top of a stairway. GILLETTE (CONT'D) Jack and his crew have escaped! (gasps from the crowd) There was no damage to the cell ... they must have been set free.Will and Elizabeth exchange looks. You? Not me, you? No,not me either! Swann notices something the parapet, points- SWANN The Black Pearl!People rush to the parapet. Sure enough, below in the bayare the distinctive black sails of the Pearl. The ship cutsthrough the waters very close to the point --- where the gallows of the pirates are. Suddenly Jackappears, on the point; he swings off the one emptygallows, across and down onto the ship's rigging as itpasses. GILLETTE Sir! Shall I break out the cannons? NORRINGTON I don't think that will be necessary.Norrington raises his hand ... twirls a key on his finger. NORRINGTON (CONT'D) A day's head start. That's all he gets.Will, Elizabeth and Swann look out toward ocean-EXT. BLACK PEARL - STERN DECK - DAYJack monkeys down the rigging. AnaMaria is at the wheel. ANAMARIA Captain Sparrow -- the Black Pearl is yours!Jack runs a hand lovingly along the rail, then takes thewheel. It feels good -- right -- in his hands. He enjoysit, and then shifts to 'Captain' mode. JACK AnaMaria, trim the mainsail! ANAMARIA Aye, aye, sir! JACK Mr. Gibbs, organize a cleaning detail - you and Cotton. I want every inch of the Pearl spic-and-span and ship-shape!Gibbs actually stomps the deck, executes a salute.Jack stands at the wheel: he's got his ship back, and allis right with the world. He begins to unconsciously hum:"Yo, ho, yo, ho, a pirate's life for me ..."He realizes what he's doing and smiles, the orchestra takesover as the Black Pearl sails for uncharted waters ... andwe FADE UP large words in script: THE END FADE OUT and CREDITS ROLL \ No newline at end of file diff --git a/unformated_scripts/Script_Pirates of the Caribbean_ Dead Man's Chest.txt b/unformated_scripts/Script_Pirates of the Caribbean_ Dead Man's Chest.txt new file mode 100644 index 0000000000000000000000000000000000000000..ef2af3d52a0ad345d95171af9915fb320e633bff --- /dev/null +++ b/unformated_scripts/Script_Pirates of the Caribbean_ Dead Man's Chest.txt @@ -0,0 +1 @@ + PIRATES OF THE CARRIBEAN: DEAD MAN'S CHEST Written by Ted Elliott & Terry Rossio Transcript by Nikki M, Dorothy/silentpawz, Jerome S, Tobias K & Courtney VP. [view looking straight down at rolling swells, sound of wind and thunder, then a low heartbeat] PORT ROYAL [teacups on a table in the rain] [sheet music on music stands in the rain] [bouquet of white orchids, Elizabeth sitting in the rain holding the bouquet] [men rowing, men on horseback, to the sound of thunder] [EITC logo on flag blowing in the wind] [many rowboats are entering the harbor] [Elizabeth sitting alone, at a distance] [marines running, kick a door in] [a mule is seen on the left in the barn where the marines enter] [Liz looking over her shoulder] [Elizabeth drops her bouquet] [Will is in manacles, being escorted by red coats] ELIZABETH SWANN Will...! [Elizabeth runs to Will] ELIZABETH SWANN Why is this happening? WILL TURNER I don't know. You look beautiful. ELIZABETH SWANN I think it's bad luck for the groom to see the bride before the wedding. [marines cross their long axes to bar Governor from entering] [Beckett, in white hair and curls, is standing with Mercer] LORD CUTLER BECKETT Governor Weatherby Swann, it's been too long. LORD CUTLER BECKETT His Lord now... actually. LORD CUTLER BECKETT In fact, I *do*. Mister Mercer! The warrant for the arrest of one William Turner. LORD CUTLER BECKETT Oh, is it? That's annoying. My mistake. Arrest her. ELIZABETH SWANN On what charges? WILL TURNER No! [Beckett takes another document from Mercer, who is standing with Beckett, craggy face and pony tail] LORD CUTLER BECKETT Ah-ha! Here's the one for William Turner. And I have another one for a Mister James Norrington. Is he present? ELIZABETH SWANN *What are the charges?* LORD CUTLER BECKETT I don't believe that's the answer to the question I asked. WILL TURNER Lord Beckett! In the category of questions *not* answered... ELIZABETH SWANN We are under the jurisdiction of the King's governor of Port Royal, and you will tell us what we are charged with. LORD CUTLER BECKETT For which the punishment, regrettably, is *also* death. Perhaps you remember a certain pirate named Jack Sparrow. ELIZABETH SWANN *Captain* Jack Sparrow. LORD CUTLER BECKETT Captain Jack Sparrow. Yes, I thought you might. BLACK PEARL [views of rigging ropes and blocks aboard a ship at night] [Gibbs walks the deck alone at night, singing and drinking from a bottle] GIBBS Fifteen men on a dead man's chest. Yo ho ho, and a *bottle* of rum. Drink and the devil had done for the rest. Yo ho ho, and a *bottle* of rum. Ha-ha-ha-ha-ha! [a bell tolls, Gibbs is interrupted from his drinking by the sound] [Gibbs looks up to see a flock of crows flying in the foggy night sky] TURKISH PRISON [tolling of bells, camera pans to show the crows flying toward a coastal island] [pinnacle-like island off the coast at night, connected to the mainland by thin, lighted bridge] [cages with men inside line the bridge] [prisoners are being marched across the bridge] [a male prisoner with bloody legs is muttering, and is dragged across the bridge by guards] [a crow is seen reflected in the eye of one male prisoner in a cage, the crow attacks and pecks his eye out, he screams] [the prisoner who was being dragged is taken down a hatch-like door in the ground, he also screams] [rocky shoreline, lit with torches] [men toss caskets into the sea] [numerous caskets are floating out to sea, vertical streaks in the distant clouds are seen] [a crow lands on one casket, begins pecking at the top] [sudden gunblast from inside the casket blows the crow away, along with much wood] [hand holding flintlock pistol emerges, pans about, points it at audience for a moment] [Jack breaks out of the top of the casket, puts his captain's hat on] JACK SPARROW Sorry, mate. [Jack breaks the skeleton's leg off] JACK SPARROW Mind if we make a little side trip? I didn't think so. [Jack uses the skeleton leg as an oar, rows toward the full moon and a waiting ship in the distance to the right of the moon] BLACK PEARL [Jack arrives at the Black Pearl in his coffin rowboat] [Gibbs holds out his hand to help Jack aboard, Jack puts the skeleton leg in Gibbs' hand] [Cotton drapes a coat onto Jack's back] GIBBS Not *quite* according to plan. JACK SPARROW Complications arose, ensued, were overcome. GIBBS You got what you went in for, then? JACK SPARROW Mm-hmm! GIBBS Captain, I think the crew, meaning me as well, were expecting something a bit more... *shiny*. What with the Isla de Muerta going all pear shaped, reclaimed by the sea, and the treasure with it. LEECH And the Royal Navy chasing us all around the Atlantic. MARTY And the hurricane! Aye. CREW Aye. Aye. GIBBS All in all, it's seems some time since we did a speck of honest pirating. JACK SPARROW Shiny? GIBBS Aye, shiny. JACK SPARROW Is that how you're all feeling, then? Perhaps dear old Jack is not serving your best interests as captain? COTTON'S PARROT Awk! Walk the plank! [Jack grabs his pistol and points it at the bird] JACK SPARROW What did the bird say? LEECH Do not blame the bird. Show us what is on that piece of cloth there. [the monkey snarls, seizes the cloth, scampers off with it] JACK SPARROW Ohhh! [Jack attempts to shoot the monkey with his pistol, his pistol misfires] [Jack grabs a pistol from another crewman and blasts the monkey while it's on the deck] [the monkey drops the cloth, but is unharmed, and scurries into the rigging] GIBBS Know that don't do no good. JACK SPARROW It does me. [Marty picks up the cloth that the monkey dropped] MARTY It's a key! JACK SPARROW No! Much more better. It is a *drawing* of a key. [Jack holds up the cloth, the crew crowd forward] [Among the crew: Chinese man, black man with a black beard, white bearded man with large black hat] JACK SPARROW Gentlemen, what do keys do? LEECH Keys... unlock... *things*? GIBBS And whatever this key unlocks, *inside* there's something valuable. So, we're setting out to find whatever this key unlocks! JACK SPARROW No! If we don't have the key, we can't open whatever it is we don't have that it unlocks. So what purpose would be served in finding whatever need be unlocked, which we don't have, without first having found the key what unlocks it? GIBBS So - We're going after this key! JACK SPARROW You're not making any sense at all. Any more questions? MARTY So... Do we have a heading? JACK SPARROW Hah! A heading. Set sail in a... mmm... a general... in *that* way - direction. GIBBS Cap'n? JACK SPARROW Come on, snap to and make sail, you know how this works. Come on, ?oy/?quick, ?oy/?quick, hey! [Marty and Gibbs gather alone by the railing] MARTY Have you noticed lately... The captain seems to be actin' a bit strange... -er. GIBBS Settin' sail without knowing his own headin'? Somethin's got Jack vexed. Mark my words, what bodes ill for Jack Sparrow bodes ill for us all. [the Black Pearl is shown at night in a thunderstorm] PORT ROYAL: EITC HEADQUARTERS [a painter is painting a detail on a mural of a world map] [a guard brings Will in manacles into Beckett's office] GUARD Lord Beckett. The prisoner as ordered, Sir. LORD CUTLER BECKETT Those won't be necessary. [Will's manacles are removed] [Beckett pours some liquor] LORD CUTLER BECKETT The East India Trading Company has need of your services. We wish for you to act as our agent in a business transaction with our mutual friend: Captain Sparrow. WILL TURNER More acquaintance than friend. How do you know him? LORD CUTLER BECKETT We've had dealings in the past. And we've each left our mark... on the other. WILL TURNER What mark did he leave on you? LORD CUTLER BECKETT By your efforts Jack Sparrow was set free. I would like you to go to him, and recover a certain property in his possession. WILL TURNER Recover. At the point of a sword? LORD CUTLER BECKETT *Bargain*! [Beckett goes over to a wooden box on a table and opens it] LORD CUTLER BECKETT Letters of Marque. You will offer what amounts to a full pardon. Jack will be free, a privateer in the employ of England. WILL TURNER Somehow I doubt Jack will consider employment the same as being free. LORD CUTLER BECKETT Freedom. Jack Sparrow is a dying breed. The world is shrinking, the blank pages of the map filled in. Jack must find his place in the new world or perish. Not unlike you, Mister Turner. You and your fiancÈe face the hangman's noose. WILL TURNER So you get both Jack *and* the Black Pearl. LORD CUTLER BECKETT The Black Pearl? WILL TURNER The property you want that he possesses. LORD CUTLER BECKETT A ship? Hardly. The item in question's considerably smaller and far more valuable. Something Sparrow keeps on his person at all times. A compass. Ah, you know it. Bring back that Compass, or there's no deal. BLACK PEARL [Jack is using calipers on a map, using his left hand, a "P" brand mark is seen on his right arm] [an hourglass is in the background, Jack taps the Compass] [Jack looks in his bottle, turns the bottle upside-down, only a few drops spill out] JACK SPARROW Why is the rum always gone? [Jack rises to his feet, staggers] [Jack picks up his hat off the top of a globe] JACK SPARROW Oh! *That's* why. [Jack walks past the crew sleeping on hammocks, Jack is carrying a lantern] [some of the crew are snoring, and Cotton is among those sleeping] JACK SPARROW As you were, gents. [Jack goes downstairs to the hold, an animal bleats, Jack unlocks the door, goes in] [Jack sees eerie filter feeder creatures festooning a beam of wood] [Jack spots a rack of bottles, with the bottles stored sideways like in a wine rack] JACK SPARROW Ah! [Jack pulls a sideways bottle from the rack] [Jack pours sand out of the bottle] [Jack drops bottle of rum in fright, the bottle breaks on the floor] [Jack walks over to see who spoke] JACK SPARROW Bootstrap. Bill Turner. [Bootstrap looks up from where he's sitting on a barrel, crabs scuttle across his face] JACK SPARROW Is this a dream? JACK SPARROW I thought not. If it were, there'd be rum. [Bootstrap immediately hands Jack a bottle of rum] [Jack pries the bottle from Bootstrap's hand with a crackling sound] JACK SPARROW I had some help retrieving the Pearl, by the way. [Jack tinks the lip of the bottle with his fingers, then blows across the top of the bottle] JACK SPARROW Your son. [Jack takes a drink from the bottle] JACK SPARROW And to what do I owe the pleasure of your carbuncle? JACK SPARROW Who? JACK SPARROW Ah. So it's you, then. He shanghaied you into service, eh? [a small hermit crab scuttles by Bootstrap, on top of the barrel where Bootstrap sits] [Bootstrap grabs the hermit crab, pops it into his mouth, and crunches on it] [Jack moves his mouth, jaw, and tongue around in revulsion while watching] [Jack hands the bottle back to Bootstrap] JACK SPARROW It's funny what a man will do to forestall his final judgment - [Jack starts to walk off, but Bootstrap stands up at the same time and intercepts Jack, blocking him] JACK SPARROW Technic - JACK SPARROW Yes, but the Flying Dutchman already *has* a captain, so there's re - JACK SPARROW Any idea when Jones might release said terrible beastie? [Jack looks at the palm of his left hand, where a black spot boils into view] [Jack looks up, but Bootstrap has disappeared] BLACK PEARL: ON DECK [Jack runs across a wooden deck that has a shallow covering of water] JACK SPARROW On deck all hands! Make fast the bunt gasket! On deck! Scurry! ?Scurry-on/?Marty, I want movement! JACK SPARROW *I want movement!* GIBBS Lift the skin up! JACK SPARROW All on deck! Run! And keep running! Run as if the devil himself and itself is upon us! GIBBS Do we have a heading? JACK SPARROW Ah! Ooh! Run! Land. [Jack rises from where he was ducked behind the base of the mast, sees Gibbs again] JACK SPARROW Oh! Euh! GIBBS Which port? JACK SPARROW Didn't say port. I said land. Any land. [the monkey in skeleton form swings down, grabs Jack's hat] JACK SPARROW Agh! [the monkey snarls at Jack, Jack snarls back at the monkey, in imitation] [the monkey throws Jack's hat overboard GIBBS Jack's hat! Bring 'er about! JACK SPARROW No no! Leave it! Run! GIBBS Back to your stations! The lot o' ya! [Jack stands stiffly in the shadows under some steps, between two lighted windows] [Gibbs walks up to Jack] GIBBS Jack? JACK SPARROW Shhh! GIBBS For the love of mother and child, Jack, what's coming after us? JACK SPARROW Nothing. small fishing vessel [Jack's hat floats toward a small fishing vessel around sunrise] [a Turkish crewmember pulls Jack's hat out of the water with a hook] [the first sailor tries the hat on, jokingly pretending to be a captain] TURKISH FISHERMAN Heh-heh-heh.?tupayHey! ?Fo ?pes ?sa ?kapazun kapitan ?de ?la ?mezande, huh? GREEK FISHERMAN ?Etora. ?Fetsoran ?ipitos. ?Ferinte. arrive, huh? [the Greek sailor takes the hat, tries it on next] GREEK FISHERMAN Ah! ?Vangas ?da ?eroro ### [a large object is seeing moving underwater toward their vessel, creating a disturbance on the ocean surface as it moves] kapitan ### ### [a loud thumping sound occurs, the two sailors freeze in fright] [a third sailor sleeps on deck] [one sailor presses the hat against the other's chest, indicating he doesn't want it anymore] Port Royal prison [Will and the governor rapidly descend stone steps into the prison] [the guard at the bottom of the steps holds a long gun with a bayonette on the end] CARRUTHERS Here now. He can't be here. CARRUTHERS Mister Swann, - ELIZABETH SWANN Jack's Compass. What does Beckett want with that? WILL TURNER Does it matter? I'm to find Jack and convince him to return to Port Royal. In exchange the charges against us will be dropped. WILL TURNER Is that lack of faith in Jack, or in me? ELIZABETH SWANN I have faith in you. Both of you. Where will you find him? WILL TURNER Tortuga. I'll start there, and I won't stop searching 'til I find him. And then I intend to return here, to marry you. ELIZABETH SWANN Properly? WILL TURNER Eagerly, if you'll still have me. ELIZABETH SWANN If it weren't for these bars I'd have you already. [the governor accidentally knocks a candleholder off the wall] [the governor tosses the candleholder aside, onto the floor] ELIZABETH SWANN I'll wait for you. WILL TURNER Keep a weather eye on the horizon. [Will walks back up the prison steps] Tortuga WEATHERED SAILOR *Captain* Jack Sparrow? Owes me four dubloons. Heard he was dead. HALF-BLIND FISHERMAN Singapore. That's what I heard. Drunk with a smile on his face. Sure as the tide, Jack Sparrow... will turn up in Singapore. [Scarlett is a redhead, Giselle is a blonde, both are standing together, answering Will's questions] GISELLE Jack Sparrow! SCARLETT I haven't seen 'im in a month. GISELLE When you find him, will you give him a message? [Giselle slaps Will in the face] [a black man who is a shrimper is sitting on a dock, mending his nets] [in the background is a bunch of bananas on the dock, and a goat being loaded aboard a ship] SHRIMPER Cannot say about Jack Sparrow. But dere's a island, just south of de straits, where I trade spice for... mmm... delicious long pork. Cannot say about Jack. But you find a ship dere. A ship wit' black sails. CANNIBAL ISLAND beach [Black Pearl seen stranded on a beach, through a spyglass] SHRIMPER My brother will take you ashore. [the shrimper's brother is rowing Will toward the shore] [the rower stops rowing] WILL TURNER What's wrong? The beach is right there. SHRIMPER'S BROTHER ?: Ne bougeais pas, c'est trop dangereux. WILL TURNER What? SHRIMPER'S BROTHER ?: Je ne peux, c'est trop dangereux, j'avais le dit. Bon voyage, monsieur. [Will jumps off the rowboat, swims ashore, wearing his sword] [aerial view, flying over jungle toward beach, showing Will wading ashore] [Will walks alongside the Black Pearl, which is tied with ropes to stakes in the sand] WILL TURNER Jack! Jack Sparrow! WILL TURNER Marty! Cotton! Anybody? [Will wanders into the palm jungle bordering the beach] [Cotton's parrot flutters up and lands atop a palm stump] COTTON'S PARROT Awk! WILL TURNER Ah! A familiar face! COTTON'S PARROT Rawk! Don't eat me! WILL TURNER I'm not gonna eat you. COTTON'S PARROT Don't eat me! No! Don't eat me! Akkk! [Will finds Gibbs' husk canteen hanging on a plant, trailing a long string] WILL TURNER Gibbs. [Will follows the string attached to the canteen, over toward a large tree] [human eyes open in the background, from a man camouflaged against a nearby tree] [the camouflaged cannibal shouts and jumps out from the tree at Will] [Will is yanked back by a snare, and dangles upside-down from a rope] [cannibals charge out of the bushes from all directions, Will keeps them at bay with his sword] WILL TURNER Euh! Unh! Ya! Come on! Let's go! Euh! Ya! Come on! Who wants it? Unh! I could do this all day! Euh! Euh! Hah! [a cannibal with a bone through his nose uses a blowgun to shoot a dart into Will's neck] [Will drops his sword to the ground] CANNIBAL ISLAND throne [aerial view of flying over the island's mountaintops, toward hilltop throne area] [Will is carried while hung from a bamboo pole, his head hanging back] [human skulls line the path along which Will is taken] [Will is carried over a roap bridge] [one cannibal is wearing an English white wig and using a Western style fan] ? Hurry-hurry tan daga! [Will is brought before Jack, who sits on a throne] [the music stops, Jack pops his eyes open, revealing that his closed eyelids were painted to look like open eyes] WILL TURNER Jack? Jack Sparrow! I can honestly say I'm glad to see you! [Jack says nothing, arises from his throne, walks over to Will] [Jack pushes one finger into Will's shoulder, as if testing how much meat Will has on him] WILL TURNER Jack! It's me! Will Turner! JACK SPARROW ?: Wa-say kohn. ? Een dah-lah. Eeseepi. CANNIBAL CROWD Eeseepi. WILL TURNER Tell 'em to let me down. JACK SPARROW Kay-lay lam. Lam piki-piki. Lam eensy weensy. Lam say-say... eunuchy. Snip-snip. CANNIBAL CROWD Ahhh... eunuchy! [Jack begins to walk away, as if disinterested, his Compass hangs from his waist] WILL TURNER Jack! The Compass! That's all I need, Elizabeth is in danger. We were arrested for trying to help *you*. She faces the gallows! [Jack halts, pauses, turns around and casually walks back] JACK SPARROW Say-say lam shoop-shoop sha smalay-lama shoo-koo. Savvy? Ball licky-licky. Ball licky-licky! CANNIBAL CROWD Ball licky-licky! [the cannibals begin chanting, repetitiously] CANNIBAL CROWD ?Boom-shoo-boom, ?boom-shoo-boom, ?boom-shoo-boom... JACK SPARROW Save me! WILL TURNER Jack, what did you tell them? No! What about Elizabeth? *Jack...!* [Will is carried across a rope bridge, still hanging underneath the bamboo pole] Port Royal [Elizabeth sits alone in her prison cell, male prisoners in the next cell whistle and beckon her] PRISONERS ...we don't bite...Come on... ] Prisoners: Where you goin'...?) ELIZABETH SWANN Why don't you tell me what's happening? ELIZABETH SWANN No! Will has gone to find Jack! ELIZABETH SWANN He's a better man than you give him credit for. [a horse and carriage are waiting, the governor opens the door to the carriage for Elizabeth] ELIZABETH SWANN A fair trial for Will ends in a hanging. [the horse and carriage quickly ride off] [the horse and carriage arrive at a dock] [Captain Hawkins stands silently on the dock facing out to sea] [the captain's body soon falls, revealing Mercer, who was standing behind the body, long knife in hand] MERCER Evening, Governor. Shame, huh? He was carryin' this. It's a letter to the King. It's from *you*. [horses and soldiers arrive to cut off the governor from fleeing from the dock] [the carriage door is opened, but the carriage is empty, Elizabeth is gone] MERCER Where is she? [Mercer grabs the governor by the lapels, pushes him up against the side of the carriage] PORT ROYAL EITC headquarters [darkened room] [Beckett walks in from the balcony, carrying a lantern] [Beckett walks to a table, opens a wooden box, finds the Letters of Marque missing] LORD CUTLER BECKETT No doubt you've discovered that loyalty is no longer the currency of the realm, as your father believes. [Elizabeth slips into the dark room from an interior door, hands held behind her] ELIZABETH SWANN Then what is? LORD CUTLER BECKETT I'm afraid that *currency* is the currency of the realm. ELIZABETH SWANN I expect then that we can come to some sort of understanding. I'm here to negotiate. LORD CUTLER BECKETT I'm listening. [Elizabeth pulls a pistol, points it at Beckett's head] LORD CUTLER BECKETT I'm listening *intently*. ELIZABETH SWANN These Letters of Marque, they are signed by the King? LORD CUTLER BECKETT Yes, and they're not valid until they bear my signature and my seal. ELIZABETH SWANN Or else I would not still be here. You sent Will to get you the Compass owned by Jack Sparrow. It will do you no good. LORD CUTLER BECKETT Do explain. ELIZABETH SWANN I have been to Isla de Muerta, I have seen the treasure myself. There is something you need to know. LORD CUTLER BECKETT Ah, I see. *You* think the Compass leads only to the Isla de Muerta, and so you hope to *save* me from an evil fate. But you mustn't worry. I care not for cursed Aztec gold. My desires are not so provincial. There's more than one chest of value in these waters. So perhaps you may wish to enhance your offer. [Elizabeth cocks her pistol] [Beckett signs the document] ELIZABETH SWANN Consider into your calculations that you robbed me of my wedding night. LORD CUTLER BECKETT So I did. A marriage interrupted. Or fate intervenes. You make great efforts to ensure Jack Sparrow's freedom. ELIZABETH SWANN These aren't going to Jack. LORD CUTLER BECKETT Oh really. To ensure Mister Turner's freedom, then? I'll still want that Compass. Consider that in your calculations. Longboat [Ragetti appears to be reading a Bible in the back of the longboat, but the Bible is upside-down] RAGETTI Well I say it was divine providence what escaped us from jail. PINTEL And I say... it was me bein' *clever*. Ain't that right, poochie? [the dog goes to the bow, looking forward, keys in its mouth] RAGETTI ?: Well how'dya know it ?weren't/?wasn't divine providence what inspired you to *be* clever? Anyways, I ain't stealin' no ship. PINTEL It ain't stealin'. It's *salvagin'*! And since when did you care? RAGETTI Since we're not immortal no more. We gotta take care of our immortal souls. PINTEL You know you can't read. RAGETTI It's the Bible. You get credit for trying. PINTEL Pretendin' to read the Bible's a *lie*! *That's* a mark against ya! Look! There it is! [the dog jumps overboard and swims toward shore] RAGETTI What's got into *'im*? PINTEL Must've seen a catfish. Heh-heh-heh-heh-heh-heh. [both laugh, the dog reaches shore and looks back at them] RAGETTI Stupid mongrel! [the dog on shore shakes off water, looks back at them, still holding keys in its mouth] [their boat capsizes in a wave, they wade ashore] CANNIBAL ISLAND beach ... PINTEL Come on! Ha-ha-ha-ha-ha-ha. Ha-ha-ha-ha... ### PINTEL It's ours for the taking! RAGETTI Tide's comin', that should help. Well, salvagin' is saving, in a manner of speaking. PINTEL There's the truth of *it*! ### [cannibal drums sound] RAGETTI Suppose we be'er... save it as soon as we can. What with our souls in such a vulnerable state, and all. PINTEL Amen to that. [the dog barks] CANNIBAL ISLAND throne [cannibal drums are pounding] [Jack is on the throne, a cannibal hands Jack a necklace of human toes] JACK SPARROW Thank you. [Jack looks at the toe, bites off part of the nail to trim it] [Jack spits out the piece of nail, reexamines the toe] CANNIBAL ISLAND cages [two spherical cages of six Black Pearl crewmen apiece hang from ropes over a deep chasm] [Will is in the same cage with Gibbs, Cotton, Marty, and two others] WILL TURNER Why would he do this to us? If Jack is their chief. GIBBS Aye, the Pelegostos made Jack their chief. But he only remains chief as long as he *acts* like a chief. WILL TURNER So he had no choice. He's a captive then as much as the rest of us. GIBBS Worse... as it turns out. See, the Pelegostos believe that Jack is a *god* in human form, and they intend to do him the honor of releasing him from his fleshy prison. [Cotton bites Gibbs' fingers to illustrate] GIBBS ?Argh! They'll roast him and eat him. WILL TURNER Where's the rest of the crew? GIBBS These cages we're in... weren't built 'til *after* we got here. [Will was gripping the bars made of human bones, but quickly pulls his hand away] GIBBS The feast is about to begin. Jack's life will end... when the drums stop. WILL TURNER Well, we can't just sit here and wait then, can we? CANNIBAL ISLAND throne [cannibal drums are pounding] JACK SPARROW ?No/?Oup! No no! ?Oy!/?Wait! No no! More wood! Big fire! *Big* fire! I am chief! Want big fire! Come on! JACK SPARROW ?Oy!/?Boy! Maboogie snickel-snickel. Tout de suite! Come on! More wood! [the cannibal standing next to Jack leaves to put more wood on the fire] [the cannibals put large pieces of wood on the fire] [the cannibals turn around to find that Jack is gone] CANNIBAL ISLAND Jack [Jack is running across a foot bridge] [Jack runs up to a cliff edge, totters at the edge, looking down] [Jack examines a length of bamboo pole he finds lying there] [Jack goes into a hut, sees various supplies, the sound of buzzing flies is heard] [Jack picks up a rope, starts to exit, halts, looks back inside] [Jack goes back in, picks up a can of paprika with the EITC logo on the bottom] [Jack walks outside the hut, the entire tribe is waiting silently outside, staring at him] JACK SPARROW Oh bugger. [Jack drops his coil of rope, sprinkles paprika on his armpits] JACK SPARROW Little seasoning. Eh? [Jack is now tied up to a bamboo pole and hanging face down over a pile of wood] [cannibals are dancing wildly] JACK SPARROW Well done. CANNIBAL ISLAND cages [the men begin swinging the cages with increasingly wide arcs] [both cages finally come within reach of the cliff, they grab vines and hang on to the cliff] GIBBS Put your legs through, start to climb! Agh! WILL TURNER Come on men! It'll take all ?of-us/?the-rest to crew the Black Pearl! LEECH Actually, you won't need everyone. 'Bout six would do! Ohhh... dear. [Gibbs nods] WILL TURNER Hurry! [each cage group begins racing against each other up the cliff] Come on! Go! Go! Go! Come on! Give it all you got! [a cannibal crosses the rope bridge] Hey! Hey ### WILL TURNER Stop! Stop! Stop! Shhh! Shhh! [the cannibal crosses rope bridge] LEECH Shhh! [one cage group decides to take the risk of climbing, despite the nearby cannibal] What's he doing? Stop! ... [one of the men in the climbing cage grabs a coral snake from the cliff instead of a vine] [p. 50] [when the man holding the snake lets go, their cage falls, the rope breaks, and their cage falls to the bottom] ?WILL TURNER ?Move! CANNIBAL ISLAND throne [drums pounding, a cannibal crosses a bridge to the bonfire area] Ahhh! Fye-fye! CANNIBAL CROWD Ahhh! Fye-fye! [the cannibal from the bridge arrives to tell the tribe of the men in cages escaping] ?Da ?latazo! ?Da ?litozo! Hay la paka say-say. [the crowd stands silently, not knowing whether to stay or to chase the escapees] JACK SPARROW Well, go on! Go get them! Hay ala! CANNIBAL CROWD Hay ala! Ala, ala! [cannibals run off to chase after men who escaped from cages] [in their haste one cannibal drops a lighted torch need the pile of wood under Jack] JACK SPARROW No! No no! Oy! No no! [the edges of the wood begin to catch fire] JACK SPARROW Not good. [Jack blows futilely at the igniting wood] CANNIBAL ISLAND cage [the remaining cage reaches the top of the cliff] WILL TURNER Cut it loose! Find a rock! [Will manages to sever the cage's cable by hammering it with a rock] [the men in Will's cage are unable to the cage open in time before the cannibals will reach them] WILL TURNER Roll the cage! [the cage rolls down the hill] [the cage falls over the edge of a tiny cliff] [the cage rolls down the hill, rolls up a coconut palm trunk, crashes to the ground, unbroken] WILL TURNER Lift the cage! Hurry! GIBBS Come on, men! Lift it like a lady's skirt! [the men begin running with their legs protruding from the cage, holding up the cage] [Marty's short legs make a running motion but are unable to reach the ground] Come on! CANNIBAL ISLAND hut [Jack is running off with the bamboo pole tied to his back] [Jack encounters the cannibal boy, standing silently with a fork and a knife, one in each hand] [Jack grabs the knife from the boy, and begins cutting his rope off] [two cannibal women appear] [Jack charges, but the bamboo pole on his back spears a coconut in a pile near the cliff edge] [Jack turns suddenly, which flings the coconut off the end of the pole into a cannibal's face] [the cannibal slowly lifts the dripping coconut off his face, scowling at Jack] CANNIBAL ISLAND cage [the cage rolls over a ledge into a small chasm holding a river] [cannibals throw spears and shoot arrows at the men in the water, the men swim underwater] ... GIBBS This way, lads! ... CANNIBAL ISLAND Jack [the two cannibal women throw numerous fruits at Jack while the pole is still on his back] [several of the fruits become impaled along the pole, making Jack look like he's part of a shish-ka-bob] ?CANNIBAL BOY Da litozo! Da litozo! ... ... [Jack pole vaults across the chasm, barely lands on the other edge safely] [but the fruit slides down to the end of his pole, putting weight on the end over the chasm] [Jack falls into the chasm, screaming] [Jack's pole catches between the two walls of a chasm] [two native women watch Jack fall into the chasm, with disinterest] CANNIBAL WOMAN ?A-geev-nee. Uh-boogie? [the two cannibal women walk off, disinterested] JACK SPARROW Bugger. [Jack's pole slips loose, he falls into the chasm, screaming] [As Jack falls through the first rope bridge, the rope comes undone but is still attached to the bamboo pole and to Jack] [Jack is hung upside-down in the chasm when the bamboo pole catches] [Jack falls through a total of six rope bridges] [Jack lands on his back on grass] [bamboo pole comes down at him, spears the ground near his head] [fruits tumble down afterwards] CANNIBAL ISLAND beach [only Ragetti and Cotton's parrot are aboard the Black Pearl, Pintel is on the beach below] PINTEL ?Pull-loose/?Unloose the mooring lines! The mooring lines! [the monkey chatters, grabs Ragetti's wooden eye] RAGETTI ?Thief/?Thing! Little hairy ?thief/?thing! Give it back! Don't bite it! PINTEL ?Unloose the mooring lines! RAGETTI He's got me eye! He won't give it back! PINTEL Well, how'd you get it back last time? GIBBS Excellent work! Work's half done! PINTEL We done it for you! Knowin' you'd be comin' back for us. GIBBS ?Make/?Making ?ready ?to?sail/?cast-off ###, boy. WILL TURNER What about Jack? I won't leave without him. JACK SPARROW Hey! [Jack appears at a distance, running down the beach toward the crew and ship] [a crowd of cannibals suddenly run down on the beach behind Jack, pursuing him] WILL TURNER Time to go. GIBBS *Cast off those lines!* [Jack screams while running down the beach] Make ready to cast off! ###! [the dog is down the beach with Jack, barking at him] JACK SPARROW Good doggie! ?Doggie. [Jack grabs ahold of rigging on the side of the departing ship] JACK SPARROW *Alas*, my children! This is the day you shall always remember as the day that you almost - [big wave splashes Jack from behind] JACK SPARROW ...Captain Jack... Sparrow. [the crowd of cannibals falls silent as the ship leaves] [the dog barks excitedly at the departing ship] [all heads in the crowd of cannibals turn toward the dog] [the dog falls silent, whimpers, then flees back down the beach] [the cannibals chase the dog, shouting] Black Pearl GIBBS Let's put some distance between us and this island, and head out to open sea. JACK SPARROW Yes to the first, yes to the second, but only insofar as we keep to the shallows as much as possible. GIBBS Uh, that seems a bit contradictory, Captain. JACK SPARROW I have every faith in your reconciliatory navigational skills, Master Gibbs, now where is that monkey? I want to shoot *something*. [the monkey screams, drops Ragetti's eye, Ragetti grabs his eye, spits on it, rubs the spit around on it] [the monkey chatters and climbs into the rigging] [Jack is ready to shoot the monkey with his pistol] WILL TURNER Jack. JACK SPARROW Ah. WILL TURNER Elizabeth is in danger. JACK SPARROW Have you considered keeping a more watchful eye on 'er? Maybe just lock her up somewhere. WILL TURNER She *is* locked up, in a prison, bound to hang for helping *you*! JACK SPARROW There comes a time when one must take responsibility for one's mistakes. [Will pulls a sword from the waistband of a pirate who is turned around, points it at Jack] WILL TURNER I need that Compass of yours, Jack. I must trade it for her freedom. [Jack pushes Will's sword aside] JACK SPARROW Mister Gibbs! GIBBS Cap'n. JACK SPARROW We have a need to travel upriver. GIBBS By need, d'you mean a... trifling need, ?uh/?a... fleeting, as in say in a passing fancy? JACK SPARROW No, a... resolute and unyielding need. WILL TURNER What we need to do is make sail for Port Royal with all haste. JACK SPARROW William... I shall trade you the Compass, if you will help me... to find *this*. WILL TURNER You want me to find this? JACK SPARROW No. *You* want you to find this. Because the finding this finds you incapacitorially finding and/or locating and your discovering the detecting of a way to save your ?dolly/?dotty belle ol'... what's-her-face. Savvy? WILL TURNER This... is going to save Elizabeth? JACK SPARROW How much do you know about Davy Jones? WILL TURNER Not much. JACK SPARROW Yeah, it's gonna save Elizabeth. Edinburgh Trader [a crewman swabbing the deck happens to notice a white dress tucked in a corner, pulls it out] [the crewmen are arguing loudly about the newfound dress] BELLAMY What's all this? If you both fancy the dress, you'll just have to share, and wear it one after the other. BURSAR It's not like that, Sir. This ship is haunted. BELLAMY Is it now? 'N' you? QUARTERMASTER The... female presence... amongst us, yes... all the men... they can feel it. The ghost of a lady, widowed before her marriage, I figure it. Searching for her husband, lost at sea. A virgin, too, likely as not. And that bodes ill by all accounts. BURSAR I say... that we throw the dress overboard, and we hope the spirit finds it. QUARTERMASTER No! That - that will just anger the spirit, Sir. What we need to do is find out what the spirit needs, and then just get it back! BELLAMY Enough! Enough! You're a pair of superstitious goats and it's got the best of you. Now this appears to be no more as we have a stowaway aboard. A young woman, by the look of it. I want you to search the ship and find 'er. Oh, and uh... she's probably naked. [the crew enthusiastically rushes off in search of the stowaway] Pantano River [aerial view of the mouth of the Pantano River, two longboats are beginning their way up the river] [the longboats are in a swampy area with twisted roots] WILL TURNER Why is Jack afraid of the open ocean? GIBBS Well, if you believe such things, there's a beast does the bidding of Davy Jones. A fearsome creature with giant tentacles that suction your face clean off. And drag an entire ship past the crushing darkness. The Kraken! [Marty turns around at mention of the word, Pintel and Ragetti look at each other] GIBBS They say the stench of its breath is like - ooh! Imagine: The last thing you know on God's green earth is the roar of the Kraken, and the reeking odor of a thousand rotting corpses. If you believe such things. WILL TURNER And the key will spare him that? GIBBS Now that's the very question Jack wants answered. Bad enough even to go visit... *Her*. WILL TURNER Her? GIBBS Aye. BAYOU Tia's shack [bayou with fireflies, and an iguana on a tree trunk on the left] [the iguana eats a firefly with a quick slurping sound] [people are occasionally seen standing quietly in the darkness among the trees] JACK SPARROW No worries, mates. Tia Dalma and I go way back. Thick as thieves. Nigh inseparable we are. Were. Have been. Before. GIBBS I'll watch your back. JACK SPARROW It's me front I'm worried about. Mind the boat. GIBBS Mind the boat. ?WILL TURNER Mind the boat. PINTEL Mind the boat. MARTY Mind the boat. COTTON'S PARROT Awk! Mind the boat! [Cotton is left alone in the longboat] [Jack cautiously enter's Tia's shack, pushing the door open slowly] [near the inside of the shack door hangs a live snake, moving slowly] [Tia is sitting at a table, looks up from her crab claws, sees Jack in the doorway] TIA DALMA Jack Sparrow! JACK SPARROW Tia Dalma! TIA DALMA I always know de wind was goin' blow you back to me one day. [Tia sees Will standing in the doorway, goes up to him] TIA DALMA You. You have a touch of... destiny about *you*, William Turner. WILL TURNER You know me? TIA DALMA You want to know *me*. JACK SPARROW There'll be no knowing here. We've come for help and we're not leaving without it. JACK SPARROW I thought *I* knew you. TIA DALMA Not so well as I had hoped. Come. JACK SPARROW Come. TIA DALMA What... service... may I do you? Hmmm? You know I demand payment. JACK SPARROW I brought payment. [Jack whistles once, a crewmember brings in the monkey in a cage] JACK SPARROW Look! [Jack cocks his pistol, shoots the monkey, the bullet has no effect, but the monkey chatters in fright] JACK SPARROW An undead monkey! Top that! [Tia lifts the cage door, the monkey scampers off] GIBBS No! You've no idea how long it took us to catch that. TIA DALMA The payment is fair. JACK SPARROW We're looking for this. And what it goes to. TIA DALMA The Compass you bartered from me. It cannot lead you to dis? JACK SPARROW Maybe. Why? TIA DALMA Ayeee... Jack Sparrow does not know what he wants! Or... do know, but are loathe to claim it as your own. Your key go to a chest, and it is what lay inside the chest you seek, don't it? GIBBS What *is* inside? PINTEL Gold! Jewels? Unclaimed properties of a valuable nature? RAGETTI Nothing... bad, I hope. [a jar of eyeballs is hanging next to Ragetti's face as he speaks] TIA DALMA You know of... Davy Jones, yes? A man of de sea. A great sailor, until he ran afoul of dat which vex all men. WILL TURNER What vexes all men? TIA DALMA What, indeed. GIBBS The sea? PINTEL Sums! RAGETTI Dichotomy of good and evil. JACK SPARROW A *woman*. TIA DALMA A wo-*man*. He fell in love. GIBBS No-no-no-no, I heard it was the *sea* he fell in love with. TIA DALMA Same story, different versions, and all are true. See, it was a *woman*, as changing, and harsh, and untamable as the sea. Him never stopped loving her. But the pain it cause 'im was too much to live wid. But not enough to cause him to die. WILL TURNER What... exactly did he put into the chest? TIA DALMA Him heart. RAGETTI Literally, or figuratively? PINTEL He couldn't li'erally put his heart in a chest! Could he? TIA DALMA It was not wort' feeling what... small fleeting joy life brings, and so... he carved out him heart, lock it away in a chest, and hide de chest from de world. De keys, he keep wid him at all times. WILL TURNER You knew this. JACK SPARROW I did not. I didn't know where the key was. But now we do. So all that's left is to climb aboard the Flying Dutchman, grab the key, you go back to Port Royal and save your bonnie lass, hey! TIA DALMA Let me see your hand. [Jack shows his right hand is untouched, but Tia unwraps the bandage on his left hand] [the black spot on Jack's left hand is revealed] GIBBS Uhhh! The black spot! [Gibbs quickly wipes his hands on his chest, spins around once to the left, and spits] Black spot! Black spot! [Pintel and Ragetti copy Gibbs' ritual, in synchrony] JACK SPARROW My eyesight's as good as ever, just so you know. [pushing aside cloth door beads, Tia goes into a back room, and searches for something] TIA DALMA I am justMy little ###, where are you? ### [Jack steals a ring off of one of Tia's tables, beside the ring is a silver locket] [Tia comes back with an object from the back room] TIA DALMA Davy Jones cannot make port. Cannot step on land but once every ten years. Land is where you are safe, Jack Sparrow. And so you will carry land wid you... [Tia hands Jack a jar of dirt] JACK SPARROW Dirt. This is a jar of dirt. TIA DALMA Yes? JACK SPARROW Is the... jar of dirt going to help? TIA DALMA If you don' want it, give it back. JACK SPARROW No. TIA DALMA Den it helps. WILL TURNER It seems... we have a need to find the Flying Dutchman. [Tia is sitting, she holds several crab shells between her cupped hands and closes her eyes] TIA DALMA A touch... of destiny! [Tia throws the crab claws down on the table to see how they fall] [fade to aerial view of rocky islands whose positions match the positions of the crab claws] Black Pearl [pan beyond the rocks to the Black Pearl just offshore, in stormy weather] [the Black Pearl crew look at the scuttled ship on the rocks] WILL TURNER That's the Flying Dutchman? She doesn't look like much. JACK SPARROW Neither do you. Do *not* underestimate her. [Jack gives Gibbs a meaningful glance, elbows Gibbs] GIBBS Must've run afoul of the reef. JACK SPARROW So what's your plan, then? WILL TURNER I row over, search the ship until I find your bloody key. JACK SPARROW And if there are crewmen? WILL TURNER I cut down anyone in my path. JACK SPARROW I like it. Simple, easy to remember. RAGETTI Your chariot awaits you, sire! Ha, ha-ha-ha, ha-ha! JACK SPARROW Hey! If you *do* happen to get captured, just say Jack Sparrow sent you to settle his debt! Might save your life! RAGETTI Bon voyage! Ha-ha-ha! JACK SPARROW Douse the lamps. [Marty douses a lamp, then Cotton douses a lamp, then Pintel douses a lamp] [Will sets off in a rowboat, alone, toward the scuttled ship] SCUTTLED SHIP before attack [Will goes aboard the ship, lantern in hand] [Will passes one dead crewman at deck level, proped up behind net-like rigging] [Will comes across a wounded sailor, who seems to be in shock] [the wounded sailor is pulling on a pulley desperately, muttering to himself] WOUNDED SAILOR ...up the... WILL TURNER Sailor! WOUNDED SAILOR ...the stench...capsized... WILL TURNER Sailor! WOUNDED SAILOR ...bring a... WILL TURNER There's no use. You've run aground. WOUNDED SAILOR No! Beneath us! Foul breath! [behind Will, a crewmember's body falls from a height, splashing into the water] [Will goes to investigate] WILL TURNER Hey! Hey! [Will turns the man's body over to see his face] [the man's face is gone, his face is just a puckered piece of skin, which bulges outward] [the real Flying Dutchman suddenly rises from the sea, nearby the scuttled ship] [the sea creature-like crew emerge from the surfaces of the Flying Dutchman] [crewmembers from the Flying Dutchman attack the remaining crew of the scuttled ship] GREENBEARD Down on your marrowbones, and pray. [Will engages in a swordfight against several invaders] [Will dips his sword in oil, causing it to flame, and waves it at the men surrounding him] WILL TURNER Get back! Back! [Will slices open the stomach of one of the invaders, fish spill out of it onto the deck] [Will battles the invading crewmembers, but one of them knocks Will unconscious] Ha-ha-ha-ha-ha-ha. SCUTTLED SHIP after attack [the prisoners of the scuttled ship cower in fear, lined up, sitting in a row on deck along the railing] [Jack is at the end of the row of five survivors total, on the right-side when facing the survivors] [Davy Jones stomps aboard with his peg leg, underwater view of his departing feet] [Maccus is on deck, turned so that his back is shown, showing lobster legs on his back] MACCUS Five men still alive. The rest have moved on. [Jones pauses to clench his left hand, which is a large lobster claw] [Jones casually lights a pipe in front of one of the cowering crewmen] DAVY JONES Do you fear death? Do you fear that dark abyss? All your deeds laid bare. All your sins punished. I can offer you... an escape-uh. CHAPLAIN Don't listen to him! [Jones walks over to the chaplain, takes the chaplain's head in his claw] DAVY JONES Do you not fear death? CHAPLAIN I'll take my chances, Sir. DAVY JONES To the depths. [the chaplain's throat is slit, two crewmembers throw his body overboard] Ah, ha-ha-ha...! [unidentified crewman] Cold blooded - ! DAVY JONES Life is cruel. Why should the afterlife be any *different*? I offer you a choice. Join my crew, and postpone the judgment. One hundred years before the mast. Will ye serve? HELMSMAN I - I will, serve. DAVY JONES ?Grand. [Jones looks pleased, then sees Will at the end of the line of people] [Jones stomps over to Will] DAVY JONES *You* are neither dead nor dying. What is your purpose here? WILL TURNER Jack Sparrow sent me to settle his debt. DAVY JONES What is your purpose here? WILL TURNER Jack Sparrow. He sent me to settle his debt. DAVY JONES Huh! Did he, now? I'm sorely tempted to accept that offer. [through a spyglass, Jack sees Jones turn to look directly at him] Black Pearl [suddenly Jones is standing aboard the Black Pearl, directly in front of Jack and his spyglass] [Cotton and Gibbs have knives to their throats from other Flying Dutchman crewmembers who teleported over] JACK SPARROW Oh. DAVY JONES You have a debt to pay. You've been captain of the Black Pearl for thirteen years. *That* was our agreement. JACK SPARROW Technically, I was only captain for two years, then I was viciously mutinied upon. DAVY JONES Then you were a poor captain, but a *captain* nonetheless! Have you not introduced yourself all these years as *Captain* Jack Sparrow? JACK SPARROW You have my payment. One soul to serve on your ship is already over there. DAVY JONES One soul is not equal to another. JACK SPARROW Aha! So we've established my proposal is sound in principle, now we're just haggling over price. DAVY JONES Price? Pttt! JACK SPARROW Just how many souls do you think my soul is worth? DAVY JONES One hundred souls, three days-uh. JACK SPARROW You're a diamond, mate. Send me back the boy, I'll get started right off. [Maccus blocks Jack from exiting] DAVY JONES I keep the boy. A good-faith payment. That leaves you only ninety-nine more to go. Ha ha! Ha ha! Ha ha! JACK SPARROW Have you not met Will Turner? He's noble, heroic, *terrific* soprano. Worth at least four... maybe three and a half. And did I happen to mention... he's in love. With a girl. Due to be married. Betrothed. Dividing him from her and her from him... would only be half as cruel as actually allowing them be joined in holy matrimony. Aye? DAVY JONES I keep the boy. Ninety-nine souls-uh. But I wonder, Sparrow, can you live with this? Can you condemn an innocent man - a friend-uh - to a lifetime of servitude, in your name while you roam free? JACK SPARROW Yep! I'm good with it. Should we seal it in blood? I mean... mm-mm - ink? [Jones grabs Jack's hand, resulting in a squishy sound] JACK SPARROW Uh! DAVY JONES Three days. Three days. [Pintel whimpers, with a knife held to his neck from a crewmember of Jones' ship] [Jack looks at his hand, it's covered with slime, but the black spot disappears under the effect of the slime] JACK SPARROW Oh, Mr. Gibbs. GIBBS Aye. JACK SPARROW Uh, I feel sullied and unusual. GIBBS And how do you intend to harvest these ninety-nine souls in three days? JACK SPARROW Fortunately, he was mum as the condition in which these souls need be. GIBBS Ah... Tortuga! JACK SPARROW Tortuga. Edinburgh Trader [inside a cabin aboard the Edinburgh Trader, Captain Bellamy is throwing documents down on the table] BELLAMY It's an outrage. Port tariffs, berthing fees, *wharf* handling, and heaven help us, pilotage. Are we all to work for the East India Trading Company, then? QUARTERMASTER I'm afraid, Sir... Tortuga is the only free port left in these waters. BELLAMY A *pirate* port is what you mean. Well, I'm sorry. An honest sailor is what I am. I make my living fair, and I sleep well each night, thank you. [a white dress floats by the cabin window, outside] BURSAR S-S-Sir! [they all rush to the window of the cabin and look out] [they all see the dress float by the cabin window, on its second pass] [one crewman gasps] [the men go outside to see the dress that was floating by the window] [the dress floats like a ghost, its left arm raised as if pointing] BURSAR She wants you to... do something. BELLAMY She's tryna give a sign. [the dress sweeps over a lantern, knocking it over and part of the deck ignites] BELLAMY Over there! Look for a sign! [the crew rush to the railing and look out at the sea] [Elizabeth, up on the mast overhead, sighs in exasperation] QUARTERMASTER Look there! There it is. There's the sign. ?BURSAR That's seaweed. QUARTERMASTER S-Seaweed can be a sign. ?BURSAR Looks like entrails. ?That ?would be a bad sign. ELIZABETH SWANN What's that over there? [Elizabeth is now sitting on a platform on the deck behind the men, pointing at the deck where the lantern fell] [the men at the railing turn around and look where Elizabeth is pointing] [the fire burning on the desk spells out "Tortuga" in fiery letters] Tortuga [men are tied up with ropes alongside a well, camera pans past the well] [a man is tied up and being dunked in the well, and is spouting water from his mouth] [crowded tavern, glass bottles are being shot off of people's heads for entertainment] [a duo of musicians is playing a guitar and accordion] GIBBS And what makes you think you're worthy to crew the Black Pearl? ELDERLY MAN Truth be told, I never sailed a day in me life. I figure I should get out and see the world while I'm still young. GIBBS You'll do. Make your mark. Next! JILTED MAN My wife ran off with my dog. And I'm drunk for a month. And I don't give a ass rat's if I live or die. GIBBS Perfect! Next! ONE-ARMED MAN Me have one arm, 'n' a bum leg. GIBBS It's the crow's nest for you. [Jack is sitting alongside a wall, within earshot of Gibbs' table, trying to make his Compass work] JACK SPARROW I know what I want. GIBBS Next! ROMANTIC MAN Ever since I was a little lad, I've always wanted to sail the seas. Forever. GIBBS Sooner than you think. Sign the roster. ROMANTIC MAN Thanks very much. JACK SPARROW How we going? GIBBS Including those four? That gives us - four! [to the next candidate in line] GIBBS And what's *your* story? NORRINGTON My story... it's exactly the same as your story, just one chapter behind. I chased a man across the Seven Seas. The pursuit cost me my crew, my commission, and my life. GIBBS Commodore? NORRINGTON No, not anymore, weren't you *listening*? I nearly had you all, off Tripoli. I would have, if not for the... hurricane. GIBBS Lord. You didn't try to sail through it? NORRINGTON So do I make your crew, or not? You haven't said where you're going. Somewhere *nice*! [unidentified woman] Oh! [the music stops, everyone stares at the altercation] [Jack grabs a branch from a vase, carries it in front of his face, attempts to walk out unseen] NORRINGTON So am I *worthy* to serve under Captain Jack Sparrow? [Norrington spots Jack sneaking off behind him, points a pistol at Jack] NORRINGTON Or should I just kill you now? [Jack ducks back and forth behind both sides of a large post, as Norrington points his pistol at Jack] JACK SPARROW You're hired. NORRINGTON Sorry. Old habits and all that. [unidentifed man, to Norrington] Easy, sonny! [someone deflects Norrington's pistol upwards as it fires] [the ball richochets off the chandelier, breaking a man's bottle as he's drinking from it] [the man whose bottle broke slugs a man next to him] [the music starts back up as a brawl ensues] [one man swings from chandelier, women fight, bottles are thrown against the wall, etc.] JACK SPARROW Time to go? GIBBS Aye! [a swordfight is going on] [someone throws a bottle against the wall above the stairs, Jack ducks as it smashes above his head] [Jack makes his way upstairs, trading hats a few times along the way] JACK SPARROW Thanks, mate. [Jack slaps him on the shoulder, the man falls backwards off the balcony] [Jack halts to let two men carrying another man proceed towards the edge of the balcony] JACK SPARROW Carry on. Heave! [the two men throw the carried man off the balcony, then Jack continues on his way] [the music stops, Norrington threateningly holds a bottle in his left hand] NORRINGTON Come on, men! Who wants some? Form an orderly line, I'll have you all one by one. Come on, who's first? [from behind, Elizabeth grabs the bottle from Norrington, smashes it over his head, knocking him out] ELIZABETH SWANN I just wanted the pleasure of doing that myself! [the crowd cheers, and everyone holds up their mugs in a toast] [men throw Norrington into the mud with some pigs, the crowd leaves except for Elizabeth] [Elizabeth turns Norrington over, onto his back] ELIZABETH SWANN James Norrington. What has the world done to you? [Mercer observes Elizabeth and Norrington from the doorway of the tavern] Flying Dutchman [Jones plays his pipe organ with his tentacles, steam coming from pipes] [the crew are on desk, slaving away, pulling rhythmically on a rope] Heave! Heave! Heave! Heave! Heave! Heave! ... BO'SUN Secure the mast tackle, Mister Turner! BO'SUN Step ?to-it/?tight! [Will goes to grab a rope] WILL TURNER Step aside! BO'SUN ?Regain-?yourselves!/?Mind-?yourself! ### [Bootstrap sees that the other man at the rope is his son, Bootstrap is stunned] [Bootstrap lets go of the rope, Will attempts to grab the sliding rope] [the cannon's rope drags Will across the deck] [the hoisted cannon crashes to the deck, and the organ music stops] BO'SUN Haul that weevil to his feet! [the crew haul Will to his feet] BO'SUN Five lashes to remind you... to stay on 'em! BO'SUN Impeding me in my duties. You'll share the punishment. DAVY JONES Will you now? And what would prompt such an act of charity? DAVY JONES Ha ha ha ha! Ha ha! What fortuitous circumstance be this! Five lashes be owed. I believe it is. [Jones hands the whip to Bootstrap, Jones' tentacle curls around the shaft of it] DAVY JONES The cat's out of the bag, Mister Turner. Your issue will feel its sting be it the Bo'sun's hand, by your own. DAVY JONES Bo'sun! [Bootstrap reluctantly takes the whip] [two crewmen tear Will's shirt off, exposing his bare back] [Bootstrap whips Will's back five times] [Will is tossed into a lower part of the deck, partially filled with water] [Will stands up, wearing an intact white shirt] BO'SUN You had it easy, boy! Ha ha ha! WILL TURNER I don't need your help! WILL TURNER So I'm to understand what *you* did was an act of compassion? FLYING DUTCHMAN below deck [Bootstrap and Will enter the interior of the ship together] [crewmember Wyvern is seen to their right, encrusted into the interior side of the hull, standing up] WILL TURNER I've sworn no oath. WILL TURNER Not until I find this. The key. [Wyvern's eyes open in the coral-encrusted wall at the mention of the key] [Wyvern, who is part of the wall, breaks his head away from the wall, leaving his brains behind] WYVERN The deadman's chest. WILL TURNER What do you know of this? WYVERN Open the chest with the key, and stab the heart. No-no-no-no. Don't stab the heart. The Dutchman needs a living heart, or there'll be no captain. And if there's no captain, there's no one to have the key. WILL TURNER So the captain has the key. [Wyvern retracts his head back into the wall, having said too much] WILL TURNER Where *is* the key? WYVERN Hidden. WILL TURNER Where is the chest? WYVERN Hidden. [Wyvern closes his eyes, and falls silent] Black Pearl [the Black Pearl is at a dock, loading fruits and livestock] [Jack and Gibbs are walking together, Elizabeth approaches from behind, still dressed as a man] ELIZABETH SWANN Captain Sparrow! JACK SPARROW Come to join me crew, lad? Welcome aboard. ELIZABETH SWANN I'm here to find the man I love. JACK SPARROW I'm deeply flattered, son, but my first and only love is the sea. [Norrington vomits over the side] ELIZABETH SWANN Meaning William Turner, Captain Sparrow. JACK SPARROW Elizabeth. Hide the rum. [Gibbs takes the bottle that Jack hands to him, and walks up the boarding plank in the background] JACK SPARROW You know, these clothes do not flatter you at all. It should be a dress or nothing. I happen to have no dress in my cabin. ELIZABETH SWANN Jack. I know Will came to find you. Where is he? JACK SPARROW Darling, I am truly unhappy to have to tell you this but... through an unfortunate and *entirely* unforeseeable series of circumstances that have nothing whatsoever to do with me, poor William has been press-ganged into Davy Jones' crew. ELIZABETH SWANN Davy Jones? [Norrington vomits over the side, then spits] NORRINGTON Oh, please. The captain of the Flying Dutchman. JACK SPARROW You look bloody awful. What are you doing here? NORRINGTON You *hired* me. I can't help it if your standards are lax. JACK SPARROW You *smell* funny. ELIZABETH SWANN Jack. All I want is to find Will. JACK SPARROW Are you certain? Is that what you really want most? ELIZABETH SWANN 'Course. JACK SPARROW Because I would think, you'd want to find a way to *save* Will the most. ELIZABETH SWANN And you have a way of doing that? JACK SPARROW Well, there is a chest... NORRINGTON Oh, dear. JACK SPARROW A chest of unknown size and origin. [Pintel & Ragetti walk by, together carrying a crate of bottles, and overhearing the conversation] PINTEL What contains the still-beating heart o' Davy Jones. RAGETTI Unh-unh... unh-unh... unh-unh... JACK SPARROW And whoever possesses that chest possesses the leverage to command Jones to do whatever it is he or she wants, including... saving brave William from his grim fate. NORRINGTON You don't actually believe him, do you? ELIZABETH SWANN How do we find it? JACK SPARROW With this. My Compass... is unique. NORRINGTON "Unique" here having the meaning of broken. JACK SPARROW True enough. This Compass does not point north. [Norrington vomits over the side] ELIZABETH SWANN Where does it point? JACK SPARROW It points to the thing you want most in this world. ELIZABETH SWANN Oh Jack! Are you telling the truth? JACK SPARROW Every word, love. And what you want most in this world is to find the chest of Davy Jones, is it not? ELIZABETH SWANN To save Will? JACK SPARROW By finding the chest of Davy Jones. [Jack hands the compass to Elizabeth, then draws away quickly so as not to influence the compass] [Elizabeth consults the compass, for her the dial clearly points in a specific direction] [Jack slowly rises up to peer at the face of the compass] JACK SPARROW Mister Gibbs! GIBBS Cap'n. JACK SPARROW We have our heading. GIBBS Finally! Cast off those lines, weigh anchor, and prow that canvas! JACK SPARROW Miss Swann. GIBBS ### PINTEL Welcome to the crew, former Commodore! Heh-heh-heh-heh-heh-heh-heh-heh... [the goat neighs] PORT ROYAL EITC headquarters [Beckett and Mercer are in a room with the governor, whose hands are in shackles] [Mercer is looking through a mounted telescope to outside the window] LORD CUTLER BECKETT There's something to knowing the exact shape of the world and one's place in it, don't you agree? LORD CUTLER BECKETT I had you brought here because I thought you'd be interested in the whereabouts of your daughter. MERCER Most recently seen on the island of Tortuga, then left, in the company of a known pirate, Jack Sparrow. *And* other fugitives from justice. LORD CUTLER BECKETT Including the previous owner of this sword... I believe. Our ships are in pursuit. and justice will be dispensed by cannonade and cutlass, and all manner of remorseless pieces of metal. I personally find it distasteful to even contemplate the horror facing all those on board. LORD CUTLER BECKETT Your authority as governor, your influence in London, and your loyalty to the East India Trading Company. LORD CUTLER BECKETT Shall I remove these shackles? LORD CUTLER BECKETT So you see, Mercer, every man has a price he will willingly accept. Even for what he hopes never to sell. FLYING DUTCHMAN deck [slow motion scene of falling dice] [three crewman are playing Liar's Dice] [organ music is heard in the background] MACCUS I wager... ten years. ?KOLENIKO I'll match ten years. GREENBEARD Agreed. WILL TURNER I understand. Liar!) WILL TURNER It's a game of deception. Your bet includes all the dice, not just your own. WILL TURNER What are they wagering? WILL TURNER So any crewman can be challenged? WILL TURNER I challenge Davy Jones. [immediately the organ music ceases, immediately Jones' peg leg is heard thumping in approach] [with each thump of his footstep, gooseneck barnacles retract] [someone laughs] DAVY JONES I accept ?that-uh. [Jones sits down at the gambling table] DAVY JONES The stakes? WILL TURNER My soul. An eternity of servitude. DAVY JONES Against? WILL TURNER I want this. [Jack shows Jones the picture of the key] DAVY JONES How do you know of the key? WILL TURNER That's not part of the game, is it? You can still walk away. [One of Jones' tentacles pulls out the key from his vest to display it] [the tentacle puts the key back] [Bootstrap sits down at the table] DAVY JONES What's this? WILL TURNER No! Don't do this. DAVY JONES Four fours. WILL TURNER Four fives. DAVY JONES Seven fives-uh. WILL TURNER Eight fives. DAVY JONES Huh huh huh. Welcome to the crew, liar. DAVY JONES And be called a liar myself for my trouble? Bootstrap Bill, you're a liar and you will spend an eternity on this ship! Master Turner, feel free to go ashore... the very next time we make port! WILL TURNER Fool. Why did you do that? WILL TURNER It was never about winning, or losing. FLYING DUTCHMAN organ room [nighttime on deck of the Flying Dutchman] [Will emerges from a hatch on deck] [Will sneaks past one one the crew on deck, who is sleeping with a bottle in his hand] [Jones is asleep at his organ, snoring] [Will sneaks into his room, behind him] [Will grabs a nearby quill pen, uses it to lift one of Jones' tentacles] [one tentacle accidentally falls on an organ key, almost waking up Jones] [the falling tentacle also sets off a locket on top of the organ, that plays a song] [Will holds one of the staves in his mouth while lifting the tentacles] [Will finally removes the key, replaces it with his drawing of the key] FLYING DUTCHMAN deck WILL TURNER It's not a fate you had to choose for yourself, either. WILL TURNER They'll know you helped me. WILL TURNER I take this with a promise. I'll find a way to sever Jones' hold on you. And not rest until this blade pierces his heart. I will not abandon you. I promise. [Will sets out alone on a longboat] Black Pearl [crewmen are scrubbing the deck of the Black Pearl] GIBBS Beckett! ELIZABETH SWANN Yes, they're signed, Lord Cutler Beckett of the East India Trading Company. JACK SPARROW Agh. GIBBS Will was working for Beckett, and never said a word. JACK SPARROW Agh. GIBBS Beckett wants the Compass. Only one reason for that. JACK SPARROW Of course. He wants the chest. ELIZABETH SWANN Yes, he did say something about a chest. GIBBS If the company controls the chest, they controls the sea. JACK SPARROW A truly discomforting notion, love. GIBBS And bad. Bad for every mother's son what calls himself a pirate. I think there's a bit more speed to be coaxed from these sails. Brace the foreyard! JACK SPARROW Might I inquire how as to how you came by these? ELIZABETH SWANN Persuasion. JACK SPARROW Friendly? ELIZABETH SWANN Decidedly not. JACK SPARROW Will strikes a deal for these and upholds it with honor. Yet you're the one standing here with the prize. Full pardon, commission as a privateer on behalf of England and the East India Trading Company. As if I could be bought for such a low price. [Jack tucks the Letters into his coat and begins to walk away] ELIZABETH SWANN Jack, the Letters, give them back. JACK SPARROW No. Persuade me. ELIZABETH SWANN You do know Will taught me how handle a sword. JACK SPARROW As I said... Persuade me. [Elizabeth walks away frustrated, leans on the ship's railing] [Jack makes an odd grunting noise] [Norrington walks up to Elizabeth at the railing] NORRINGTON It's a curious thing. There was a time when I would've given anything for you to look like that while thinking about me. ELIZABETH SWANN I don't know what you mean. NORRINGTON Oh, I think you do. ELIZABETH SWANN Oh, don't be absurd. I trust him, that's all. NORRINGTON So you never wondered how your *latest* fiancÈ ended up on the Flying Dutchman in the first place? Edinburgh Trader BELLAMY Strange thing to come upon a longboat so far out in open waters. WILL TURNER Just put as many leagues behind us as you can. As fast as you can. BELLAMY And what are we running from? [Will sees Elizabeth's white wedding dress on a chair in the cabin] WILL TURNER That dress. Where did you get it? BELLAMY It was found aboard the ship. The crew it thought it was a spirit bringing some omen of ill fate. WILL TURNER That's foolish. QUARTERMASTER Oh, yes. ?Proceededly foolish. BURSAR It brought good fortune! The spirit told us... Put in at Tortuga. And we made a nice bit of profit there. ?BELLAMY Off the books, of course. WILL TURNER I imagine... some of your crew may have jumped ship there. BELLAMY Why do you ask? MESSENGER SAILOR Captain, a ship's been spotted. BELLAMY Colors? MESSENGER SAILOR She isn't flyin' any. BELLAMY Pirates! WILL TURNER Or worse. FLYING DUTCHMAN deck [Jones is on deck, having found the cloth that Will swapped for the key] [Bootstrap is held at knife point on board the Flying Dutchman] [one crewman holds a sawfish sword as a restraining weapon in front of Bootstrap] DAVY JONES You will watch this. [crewmen are whipped, in order to turn a large screw that raises the Kraken summoning device] DAVY JONES Let no joyful voice be heard! Let no man look up at the sky with hope! And let this day be cursed by we who ready to wake... the *Kraken*! [the Kraken calling device thumps heavily against the sea] Edinburgh Trader [crewmen on board the Edinburgh Trader rush to the railing, chattering, to see the Flying Dutchman] [Will is on top of the mast] WILL TURNER I've doomed us all. It's the Flying Dutchman! [a loud thumping sound resonates throughout the ship] BURSAR Oh, Mother Cary's chickens. What happened? ?QUARTERMASTER Must've hit a reef. [the crew look overboard, see bubbles rising up alongside the ship] ?BELLAMY Free the rudder! Hard to port, then hard to starboard! Clear the rudder! Hard to port! [a Kraken tentacle silently seizes one crewman while other crewmembers have their backs turned] [the Kraken tentacle surfaces in the distance, holding the crewman who was just seized, he screams] *Kraken!* [crewman rings the ship's bell wildly] ### [music stops, slow motion scene, a huge tentacle rises high over the ship] [the tentacle comes down on deck, breaking the ship in two, bouncing men off the deck] [slow motion scene, men slide off of tilted deck] [Will is flung underwater, sees the body of the Kraken in the distance underwater] [Will surfaces, climbs aboard a floating board of ship debris] [the Flying Dutchman comes near Will, Will slides off his board to swim towards the ship] [view from the bow of the Flying Dutchman, looking at the floating debris, including a face-down corpse] [Elizabeth's wedding dress is also debris, and floats on the surface of the sea] FLYING DUTCHMAN deck MACCUS The boy's not here. He must've been claimed by the sea. DAVY JONES *I* am the sea. [Jones stomps over to Bootstrap] DAVY JONES You need time alone with your thoughts. What of the survivors? DAVY JONES There are no survivors. [the remaining crewmen are simultanenously axed from behind] [Will witnesses the axing, ducks behind a beam] [Jones turns around, sensing Will, but sees nothing] DAVY JONES The chest is no longer safe. Chart a course to Isla Cruces. Get me there first, or there'll be the devil to pay. KOLENIKO First? DAVY JONES Who sent that thieving charlatan onto my ship? Who told them of the key? Jack Sparrow. [camera shows Will hitching a ride on the front of the Flying Dutchman, between the jaw formations] [Elizabeth's wedding dress is shown underwater, sinking into the depths of the sea] Black Pearl [Elizabeth is sitting on some steps on deck of the Black Pearl] [Jack walks over to her, holding a bottle of rum] JACK SPARROW My tremendous intuitive sense of the female creature informs me that you are troubled. ELIZABETH SWANN I just thought I'd be married by now. I'm so ready to be married. [Jack offers Elizabeth a drink from his bottle] JACK SPARROW You know... Lizzy... I *am*... captain of a ship. And *being* captain of a ship, I could in fact perform a... marriage. Right here. Right on this deck. Right... *now*! [Elizabeth recoils at Jack's breath on the word "now"] ELIZABETH SWANN No, thank you. JACK SPARROW Why not? We *are* very much alike, you and I. I and you. Us. ELIZABETH SWANN Oh. Except for a sense of honor, and decency and-and a moral center. And personal hygiene. [Jack smells his armpits] JACK SPARROW Trifles. You *will* come over to my side, I know it. ELIZABETH SWANN You seem very certain. JACK SPARROW One word love: curiosity. You long for freedom. You long to do what you want to do because you want it. To act on selfish impulse. You want to see what it's like. One day, you won't be able to resist. ELIZABETH SWANN Why doesn't your Compass work? JACK SPARROW Uh my Compass works fine. ELIZABETH SWANN Because you and I *are* alike, and there will come a moment when you have a chance to show it. To do the right thing. JACK SPARROW I *love* those moments. I like to wave at them as they pass by. ELIZABETH SWANN You'll have the chance to do something... something courageous. And when you do, you'll discover something: that you're a good man. JACK SPARROW All evidence to the contrary. ELIZABETH SWANN I have faith in you. Want to know why? JACK SPARROW Do tell, dearie. ELIZABETH SWANN Curiosity. You're going to want it. A chance to be admired. And gain the rewards that follow. You won't be able to resist. You're going to want to know... what it tastes like. JACK SPARROW I *do* want to know what it tastes like. ELIZABETH SWANN But - seeing as you're a good man I know you will *never* put me in a position that would compromise my honor. [Jack stares in horror as the black spot boils back into view on his hand, Elizabeth doesn't notice] ELIZABETH SWANN I'm proud of you, Jack. ?GIBBS Land ho! JACK SPARROW I want my jar of dirt. Longboat [Pintel and Ragetti are rowing a longboat with key members of the crew inside] [Jack in the bow, Elizabeth and Norrington are in the back] PINTEL You're pullin' too fast. RAGETTI You're pulling too slow. We don't want the Kraken to catch us. PINTEL I'm savin' me strength for when it comes. And I don't think it's Krack-en, anyways. I always heard it said Kray-kin. RAGETTI What, with a long A? PINTEL Aye. RAGETTI No-no-no-no-no-no-no. Krock-en's how it's pronounced in the original Scandinavian, and Krack-en's closer to that. PINTEL Well we ain't original Scandinavians, are we? Kray-ken! RAGETTI It's a mythological creature, I can calls it what I wants. ISLA CRUCES beach [their longboat arrives at the beach, Jack disembarks and begins to walk off] JACK SPARROW Guard the boat, mind the tide... Don't touch my dirt. [Elizabeth is walking in some sand dunes near the beach, using the compass] ELIZABETH SWANN This doesn't work. And it *certainly* doesn't show you what you want most. [Elizabeth sits down on the sand, and sets the compass down on the sand, the needle points to her] JACK SPARROW Yes it *does*. You're sitting on it! ELIZABETH SWANN Beg your pardon? JACK SPARROW Move. [they start digging under where Elizabeth was sitting] [Pintel and Ragetti are by the boat, clowning around, Ragetti is balancing a shovel on one hand] PINTEL "Mind the tide." RAGETTI I ?can/?may join the circus! PINTEL ?Don't ?mind ?if I shine your shoes, Sir? FLYING DUTCHMAN deck [Jones is watching Pintel and Ragetti on the beach through a spyglass] DAVY JONES They're here. And I cannot step foot on land again for near of a decade. MACCUS Then trust us to act in your stead. DAVY JONES I'll trust you know what awaits should you *fail*! Down, then! [ugly, nondescript crewmember] Down! MACCUS Down! [view from the deck of the Flying Dutchman as it submerges, some underwater footage] [Pintel and Ragetti are astounded to see the ship submerge in the distance, Ragetti's balanced shovel falls] [Pintel and Ragetti run off to warn the others] ###! ISLA CRUCES beach [Norrington is digging in the sand, Jack sits in a lotus position nearby on a sandy slope] [while digging, Norrington's shovel hits something hard, they brush off sand to reveal a chest] [they remove the chest from the sand] [the chest contains a pearl necklace, documents, and a smaller chest, among other things] [Elizabeth opens up a letter with a wax seal, and reads it to herself] [they all bend near to put their ears to the small chest, and they hear a heartbeat] ELIZABETH SWANN It's real! NORRINGTON You actually *were* telling the truth. JACK SPARROW I do that quite a lot. Yet people are always surprised. WILL TURNER With good reason! [Will has unexpectedly appeared on the beach, walking up toward them] ELIZABETH SWANN Will! You're alright! Thank God! I came to find you! [Will and Elizabeth kiss] JACK SPARROW How did you get here? WILL TURNER Sea turtles, mate. A pair of them, strapped to my feet. JACK SPARROW Not so easy, is it? WILL TURNER But I do owe you thanks, Jack. JACK SPARROW You do? WILL TURNER After you tricked me onto that ship to square your debt with Jones. ELIZABETH SWANN What? JACK SPARROW What? WILL TURNER I was reunited with my father. JACK SPARROW Oh! Well... you're welcome, then. ELIZABETH SWANN Everything you said to me... every word, was a lie! JACK SPARROW Pretty much. Time and tide, love. [Will stoops down with the key to open the chest] JACK SPARROW Oy! What're you doing? WILL TURNER I'm gonna kill Jones. [Jack draws his sword, points it at Will] JACK SPARROW Can't let you do that, William. 'Cause if Jones is dead, who's to call his terrible beastie off the hunt, eh? Now. If you please: The key. [Will backs up slowly, then suddenly draws Elizabeth's sword, points it at Jack] WILL TURNER I keep the promises I make, Jack. I intend to free my father. I hope you're here to see it. [Norrington draws his sword, points it at Will] NORRINGTON I can't let you do that, either. So sorry. JACK SPARROW I knew you'd warm up to me eventually. [Norrington points his sword at Jack] NORRINGTON Lord Beckett desires the contents of that chest. I deliver it, and get my life back. JACK SPARROW Ah. The dark side of ambition. NORRINGTON Oh, I prefer to see it as the promise of redemption. ELIZABETH SWANN Stop it! Be careful! [various dueling interjections] ELIZABETH SWANN Jack! WILL TURNER Guard the chest! [duel halts for a second] ELIZABETH SWANN *No*! [duel resumes] ELIZABETH SWANN This is bar-*baric*! This is *no* way for grown men to settle - ! Oh! Fine! Let's just - *pull* out our swords and start *banging* away at each other! *This will solve everything!* I've had it! I've had enough! Wobbly-legged, rum-soaked... *pirates*! [Elizabeth throws a rock at the duelists, but the rock goes far to the left of them] PINTEL How'd this go all screwy? Enough!) RAGETTI Well, each wants the chest for hisself, don't 'e? Mister Norrington, I think he's tryna regain a bit of honor. Old Jack's lookin' to trade it, save his own skin. And Turner there - I figure 'e's tryna... settle some unresolved business 'twixt him and his twice-cursed pirate father. PINTEL Sad. That chest must be worth more 'n a shiny penny. RAGETTI Oh! Tsk-tsk-tsk. Terrible temptation. PINTEL If we was any kind of *decent*, we'd remove temptation from their path. [Pintel and Ragetti giggle and run off to steal the small chest] ELIZABETH SWANN Will! *Enough!* [Elizabeth is panting from exasperation and exhaustion] ELIZABETH SWANN Oh! Oh...! The heat! [Elizabeth pretends to faint, which knocks off her hat] [Elizabeth watches sideways as the duelists continue fighting, oblivious to her] [Elizabeth soon sits up, puts on her hat] [Pintel & Ragetti run by in the distance behind her, with the chest] [Elizabeth sees Pintel & Ragetti, and goes to chase them] [various duel scenes on the beach] Bugger! [Norrington kicks sand in Will's face] NORRINGTON By your leave, Mister Turner. [Norrington runs off to chase Jack up the hill] [the crew of Flying Dutchman emerge from the shallows] [one crewmember holds chain shot as a weapon] ISLA CRUCES church [Jack and Norrington run through bushes on the beach, then up to a dilapidated stone church on the hill] [P2] [Norrington chases Jack up steps inside the building, Jack kicks Norrington back down with his foot] [Jack and Norrington have a swordfight on the inside steps] [Jack grabs hold of the bell rope, which carries him downward, and carries Will upward, who just arrived] WILL TURNER By *your* leave, Mister Norrington. [the Flying Dutchman crew on shore are at the large chest and look up to the ringing bell in the building on the hill] [while Norrington and Will are dueling on top of the roof, Jack deftly grabs the dangling key away from Norrington's hand] [noticing the key gone, Norrington then turns and duels with Jack] [soon Norrington knocks Jack's sword from Jack's hand, the sword is flung onto the ground below] NORRINGTON Do excuse me while I kill the man who ruined my life. WILL TURNER Be my guest. JACK SPARROW Let us examine that claim for a moment, former Commodore, shall we? Who was it, who at the very moment you had a notorious pirate safely behind bars, saw fit to *free* said pirate, and take your dearly beloved all to hisself, hey? So who's fault is it, *really*, that you've ended up a rum-pot deckhand what takes orders from pirates? NORRINGTON Enough! [Jack somersaults off the roof to escape, Norrington turns to Will] NORRINGTON Unfortunately, Mister Turner... He's *right*! [Norrington and Will resume their part of the rooftop duel] JACK SPARROW Still rooting for you, mate! [Jack picks up his sword from the ground, and puts the key around his neck] [Jack walks through a graveyard, falls into an open grave] JACK SPARROW Wup! [Jack stands up in the bottom of the hole] JACK SPARROW Oh. [Norrington backs Will onto the top of the mill's waterwheel] [the axle of the wheel breaks off with Norrington and Jack dueling on top] [Jack is facing the other direction, so is unaware of the freed wheel rolling behind him] [the wheel crashes through a small fence, turns, and rolls directly towards Jack] [the waterwheel rolls over Jack, and Jack is pulled into the inside of the wheel] JACK SPARROW Woah! [the key that Jack had around his neck falls off into the wheel] [Jack struggles to grab the key, which is caught and dangling inside the rolling wheel] [Jack finally grabs the key, but hits his head on a metal bar inside the wheel, and falls off the wheel] [Pintel & Ragetti are running off with the small chest, each holding one side, giggling] [Elizabeth steps in front Pintel & Ragetti, confronting them, halts, panting] [Pintel & Ragetti drop the chest, pull their swords on Elizabeth] [Elizabeth reaches for her sword, but it's gone] PINTEL 'Ello, Poppet. [Pintel & Ragetti slowly advance on Elizabeth, she slowly retreats while facing them] [they all pause for a moment to watch the wheel roll by with the duel on top] [Jack is running behind the wheel, trying to catch up and get the key that is still inside] [Pintel shrugs, Pintel and Ragetti resume advancing on Elizabeth] [suddenly a thrown axe embeds itself in a coconut palm next to Elizabeth] [all three turn to see Jones' crew crashing through the bushes toward them] [swordfight ensues with the Flying Dutchmen crew and Pintel and Ragetti] [Norrington and Will continue fighting atop the rolling wheel] [Jack grabs hold of a palm frond on a coconut palm while at the top of the wheel] [the wheel continues on, Jack hangs from the frond, then drops to the ground] Sword! ELIZABETH SWANN Sword! [a sword is thrown to Elizabeth, just in time] PINTEL Sword! [a sword is thrown to Pintel, just in time] RAGETTI Sword! [a sword is thrown to Ragetti, just in time] [Jack sees Hadrus running alone through the palms, carrying the small chest] [Jack picks up a coconut, whirls it a moment, then throws it at Hadrus] [Hadrus' (conch shell) head is knocked off by the coconut] [Hadrus' head lies on the ground, attempting to give orders to the rest of his body to find the head] HADRUS Aya! Uh ?seech! Aunido! Aunido! Follow my voice! Follow my voice! To the left, uh... No, to the right... Go to the left... [Hadrus' headless body walks into a coconut palm] HADRUS No... That's a tree. JACK SPARROW Oh, shut it. [Jack unlocks the small chest with the key, square security bolts suddenly protrude when opened] [the heart is inside, beating] [crewmen of the Flying Dutchman approach, Jack tucks the heart into his vest] [Elizabeth uses two swords together, one in each hand, to stab backwards and kill two attacking crewmen] ISLA CRUCES beach [Jack is the first to arrive back at the longboat on the beach] JACK SPARROW Jar of dirt! [Jack opens his jar of dirt, dumps out some dirt, puts the heart in the jar, scoops handfuls of dirt back into the jar] [a Flying Dutchman crewmember arrives at the boat, Jack fights him using an oar] [the swordfight is carried to the beach as the Black Pearl crew attempts to escape by longboat] [Norrington arrives at the longboat, while others are fighting he takes the heart from the jar, puts it under his vest] [the rolling waterwheel reaches the beach, rolls out into the shallows, falls on its side] [Norrington and Will walk away from it, wobbling from dizziness] WILL TURNER Right! [Pintel & Ragetti attempt to escape by longboat, but Will blocks their progress] [Pintel & Ragetti reach for their swords, to find their swords gone] [Pintel & Ragetti grab a fishnet and oar as weapons against Will] PINTEL Come on, Turner! [Jack fights with Koleniko, using an oar, subdues him] [Will sees the key in the chest, Jack notices Will looking at the key and chest] [Jack hits Will on the head with the our, which knocks him out] JACK SPARROW Leave him lie! Unless you plan on using him to hit something with. ELIZABETH SWANN We're not getting out of this. NORRINGTON Not with the chest. Into the boat. [Norrington takes the chest] ELIZABETH SWANN You're mad. NORRINGTON Don't wait for me. JACK SPARROW Uh, I say we respect his final wish. PINTEL Aye! [the remaining Black Pearl crew escape by longboat] [Hadrus is holding his conch shell head under one arm, the head speaks to Norrington] HADRUS Your bravery is wasted. I shall pry the chest away from your cold... dead... hands. [Norrington pauses, looks around] NORRINGTON Here you go! HADRUS Oo! [Norrington flees, Hadrus drops his head onto the ground when catching the chest] [Hadrus' crewmates laugh and walk off with Hadrus' body, ignoring Hadrus' head] HADRUS Uh! ?Ando! Aunido! Aunido! Pirates! [the face inside Hadrus' head turns around, turns into a hermit crab, extends its legs] [the hermit crab head crawls after its departing body and crew] HADRUS ?Vengo ?kowmpenay ?lachay. Hey! ?Hovaya! Black Pearl [Will, lying flat on the deck, head over a grate, returns to consciousness aboard the Black Pearl] WILL TURNER What happened to the chest? ELIZABETH SWANN Norrington took it to draw them off. PINTEL You're pulling too hard! RAGETTI You're not pulling hard enough! GIBBS Where's the Commodore? JACK SPARROW He fell behind. GIBBS My prayers be with him. Best not wallow in our grief. The bright side is: You're back. And made it off free and clear. [the Flying Dutchman suddenly surfaces alongside them] GIBBS Lord almighty.?us. JACK SPARROW I'll handle this, mate. JACK SPARROW Hey! Fishface! Lose something? Hey? Oup! [Jack falls down the stairs of the Pearl, crew says "Ooh!"] JACK SPARROW Got it! [Jack stands up, struts across the deck, holding his jar of dirt] JACK SPARROW Come to negotiate, eh, have you, you slimy git? Look what I got. I got a jar of dirt! I got a jar of dirt! And guess what's inside it? DAVY JONES Enough! [the Flying Dutchman's cannon covers slide down, cannons emerge from the holes] JACK SPARROW Hard to starboard. ELIZABETH SWANN *Hard to starboard!* WILL TURNER Brace up the foreyard! GIBBS Hard to starboard! DAVY JONES Send his beloved Pearl back to the depths! ?Fire! [a heavy cannonade fires from the Flying Dutchman, blowing large holes in the Black Pearl] [Pintel and Ragetti look through the gaping hole in the stern, see the Flying Dutchman following them] ?PINTEL She's on us! She's on us! DAVY JONES Let them taste the triple guns. [cage-faced crewmember] Aye, Captain. [triple-barreled cannon fires, barrel rotates after each blast] ... Come on, ###! ELIZABETH SWANN She's falling behind! GIBBS Aye, and we've got her! WILL TURNER We're the faster? GIBBS Against the wind the Dutchman beats us. That's how she takes her prey. But *with* the wind... WILL TURNER We rob her advantage. GIBBS Ah! FLYING DUTCHMAN deck DAVY JONES They're out of range! ?Break ?out ?run ### ?We giving up, Sir? [crewmen of the Flying Dutchman are whipped to raise the Kraken calling device] BLACK PEARL ?MARTY They're giving up! Yay! [crew cheers] WILL TURNER My father is *on* that ship. If we can outrun her, we can take her. We should turn and fight. JACK SPARROW Why fight when you can negotiate? All one needs... is the proper leverage. [suddenly the Black Pearl is badly jarred] [Jack's jar of dirt falls to the deck, breaks open, spills all the dirt] [Jack runs down to the spilled dirt, searches frantically for the heart, which is gone] JACK SPARROW Where is it? Where is the thump-thump? We must've hit the reef! WILL TURNER No. It's not a reef! Get away from the rail! ELIZABETH SWANN What is it? WILL TURNER The Kraken. To arms! ?GIBBS All guns, defend the masts! WILL TURNER ?It'll ?attack the starboard. I've seen it before. ?Break out the cannons and hold for my signal. [with a deep rumbling sound, the Kraken's tentacles slowly crawl up the hull] WILL TURNER Easy, boys! ELIZABETH SWANN Will? [the tentacles rise higher] WILL TURNER Steady! Steady. ELIZABETH SWANN Will? [the tentacles start feeling around the ship] WILL TURNER Hold. Hold... PINTEL I think we've held fire long enough. ELIZABETH SWANN *Will?* WILL TURNER *Fire...*! [the crew fire the cannons, hitting the tentacles and nearly severing some] [the Kraken sinks into the sea, some tentacles glowing from the blast] [the crew cheers] WILL TURNER It'll be back. We have to get off the ship. ELIZABETH SWANN There's no boats. [Will sees the wrecked boats, then sets his eyes on the barrels of gunpowder] WILL TURNER Pull the grates! Get all the gunpowder onto the net in the cargo hold. [hands Elizabeth a long gun] WILL TURNER Whatever you do, don't miss. ELIZABETH SWANN As soon as you're clear. [the crew is busy loading barrels of gunpowder from the hold] We are short stocked on gunpowder. Six ?barrel/?below. Bring it up! GIBBS There's only half a dozen kegs of powder! WILL TURNER Then load the rum! [Gibbs seems shocked, then turns to see the entire crew halted, staring at him in shocked silence] GIBBS Aye! The rum, too! [the crew continues loading] [aerial view approaching Black Pearl, zooming through the rigging to the other side] [Jack is in a rowboat alone, rowing away from the Black Pearl] [Jack stops rowing, sees the Kraken with tentacles around Black Pearl in the distance] [Jack looks back into the direction he's headed, then consults his Compass] ELIZABETH SWANN Step to! [Elizabeth runs to the railing, sees Jack rowing away] ELIZABETH SWANN Oh you coward! [another heavy thud hits the ship, crewmen shout] MARTY Not good. [the Kraken attacks again] WILL TURNER ?Pull ?away! GIBBS Heave! Heave like you're being paid for it! ... [Pintel & Ragetti stand to one side of a cannon port as a tentacle pulls one crewmember through sideways] ... [Will hangs onto the side of the net of gunpowder barrels, attempting to attract the Kraken's attention] WILL TURNER Euh! Come on!I'm over here! Come on! [Will slashes at tentacles with his sword] WILL TURNER Shoot! Elizabeth, shoot! [Elizabeth hesitates, waiting for Will to fall free] [one of the Kraken's tentacles wrap around her leg and drag her backwards, she screams] [Ragetti chops off the end of the tentacle holding Elizabeth] [Another crewmember picks up the rifle and attempts to shoot, only to be grabbed by the Kraken and flung around] [the rifle drops onto the deck above Elizabeth] [Elizabeth tries to pick up the fallen rifle, but someone's foot holds it down] [she sees that it's Jack's foot, that he has returned to the Pearl] [Jack picks up the rifle and takes aim at the gunpowder] [slow motion scene of Jack firing a ball into the gunpowder] [ball whistles through the air, strikes the gunpowder, which explodes] [the Kraken releases its hold, burned tentacles withdraw into the ocean, groaning sound] MARTY Did we kill it? GIBBS No. We just made it angry. We're not out of this yet. Captain! Orders! JACK SPARROW Abandon ship. Into the longboat. GIBBS Jack! The Pearl! JACK SPARROW She's only a ship, mate. ELIZABETH SWANN He's right, we have to head for land. PINTEL 'S a lot o' open wa'er. RAGETTI That's a lot o' wa'er. WILL TURNER We have to try. We can get away as it takes down the Pearl. GIBBS Abandon ship. Abandon ship or abandon hope. [the crew get ready to leave the Pearl, loading supplies and guns] [Elizabeth approaches Jack] ELIZABETH SWANN Thank you, Jack. JACK SPARROW We're not free yet, love. ELIZABETH SWANN You came back. I always knew you were a good man. [Elizabeth passionately kisses Jack] [Will sees the kiss from the longboat, falters] GIBBS Prepare to cast off! There's no time to lose! Come on, Will, step to! [the kiss is inturrupted by the sound of shackles, Elizabeth has chained Jack to the main mast] ELIZABETH SWANN It's after you, not the ship. It's not us. This is the only way, don't you see? I'm not sorry. [Elizabeth leans in as if to kiss him again.] JACK SPARROW Pirate. [Elizabeth leaves Jack and climbs down into the long boat] WILL TURNER Where's Jack? ELIZABETH SWANN He elected to stay behind to give us a chance. [the crew look uncertain] ELIZABETH SWANN Go! [the longboat casts off] [Jack struggles with his manacles] JACK SPARROW Bugger, bugger, bugger, bugger, bugger, bugger...! [a coconut and cannonball roll by, on the tilted deck] [Jack spots a fallen lantern, picks it up with the tip of his sword] [Jack breaks the lantern against the mast, pours oil over his wrists] [Jack struggles with slipping his hand out] JACK SPARROW Come on... Come on... [Jack finally manages to slip his hands out] [the Kraken rises up behind him] [Jack halts, turns around, faces the Kraken] [music and sound stop momentarily] [the Kraken roars, spraying Jack with slime and flinging his earlier-eaten hat to the deck] JACK SPARROW Not so bad. [Jack spots his old hat lying next to his feet] JACK SPARROW Oh! [Jack spots his hat, picks it up, puts it on, wipes slime from his face] JACK SPARROW Hello, beastie. [slow motion scene of Jack boldy charging toward the Kraken's mouth, sword drawn] [Q3] FLYING DUTCHMAN deck DAVY JONES Jack Sparrow. Our debt is settled. KOLENIKO The captain goes down with his ship. MACCUS Turns out not even Jack Sparrow can best the devil. DAVY JONES Open the chest. Open the chest, I need to see it! [the chest is opened, side view as Jones looks in, his face quivers] [downwards view, showing that the chest is empty, Jones tilts his head back and shouts] DAVY JONES Damn you, Jack Spar-*row*! PORT ROYAL EITC headquarters MERCER The last of our ships has returned. LORD CUTLER BECKETT Is there any news on the chest? MERCER None. But... one of the ships did pick up a man adrift at sea. He had these. [Mercer drops the Letters of Marque on Beckett's desk] [Beckett opens the letter to look at it before looking up at Norrington, who has been standing in the office] NORRINGTON I took the liberty of filling in my name. [from his desk, Beckett beckons Norrington with two fingers] LORD CUTLER BECKETT If you intend to claim these, then you must have something to trade. D'you have the Compass? NORRINGTON Better. The heart of Davy Jones. BAYOU Tia's shack [the remaining crew paddles through the waters to Tia Dalma's shack] [many natives stand in the waters surrounding the shack, holding candles, mourning Jack Sparrow] [inside the shack, Will absent-mindedly keeps throwing his father's knife into the table top] [Tia carries a tray around to all of them, offers the mugs to Elizabeth] TIA DALMA Against de cold... and de sorrow. [Elizabeth takes a mug but doesn't drink] TIA DALMA It's a shame. I know you're t'inking that wid the Pearl, you coulda captured the devil and set free your fadder's soul. WILL TURNER Doesn't matter now. The Pearl's gone. Along with its captain. [Gibbs is standing in the doorway on the side of the shack] GIBBS Aye. And already the world seems a bit less bright. He fooled us all right to the end. But I guess that honest streak finally won out. To Jack Sparrow! RAGETTI Never another like Captain Jack. PINTEL He was a gentleman of fortune, he was. ELIZABETH SWANN He was a good man. [they all take a drink out of their mugs, except Elizabeth] WILL TURNER If there was anything could be done to bring him back... Elizabeth... TIA DALMA Would you do it? Hmmm? What... would you? Hmmm? What would *any* of you be willing to do? Hmmm? Would you sail to the ends of the eart', and beyond, to fetch back ?witty Jack and 'im precious Pearl? GIBBS Aye. PINTEL Aye. RAGETTI Aye. COTTON'S PARROT Awk! Aye. ELIZABETH SWANN Yes. WILL TURNER Aye. TIA DALMA Alright. But if you're goin' brave de weird, and haunted shores, at world's end, den... you will need a captain who knows dose waters. [a man wearing boots descends the stairs into the room] BARBOSSA So tell me, what's become of my ship? [Barbossa bites into a green apple, juice dripples down his chin] [Jack the monkey on Barbossa's left shoulder faces the camera and snarls] END CREDITS \ No newline at end of file diff --git a/unformated_scripts/Script_Pitch Black.txt b/unformated_scripts/Script_Pitch Black.txt new file mode 100644 index 0000000000000000000000000000000000000000..4c6a97f5e5bee92b4b01c20314c347179a5dd034 --- /dev/null +++ b/unformated_scripts/Script_Pitch Black.txt @@ -0,0 +1 @@ +PITCH BLACK Screenplay by David Twohy Based on material by Ken and Jim Wheat Revised First Draft 3/3/98 NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS AND SOME "OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. NOTE ALSO: THE HARD COPY OF THIS SCRIPT WAS IN THE NON- PREFORMAT FONT "TIMES NEW ROMAN". THIS HAS BEEN CHANGED TO PREFORMATTED TEXT FOR THIS SOFT COPY.Though mentioned often in the script, the creatures in PITCH BLACK are seldom seen at length; rather, they are glimpsed, they are heard, they are felt. They are, really, the embodiment of your nocturnal fears: A howling coyote that jars you awake; the painting on the wall that comes to lifewhen stared at too long...the sway of your bed just before the earthquake hits. Chimera of the night. The point is made so the reader appreciatesthat the focus of the finished film will not be on what the creatures do, but on what the creatures do to reveal the inner nature of the characters. For PITCH BLACK is, at its heart, a story of humanity and courage -- and lack of the same. David Twohy CUT IN: INT. MAIN CABIN A CRYO-LOCKER BLOWS OPEN, spitting out... CAROLYN FRY. She hits the deck of the main cabin: Four crew lockers in a forward section, countless more in back. But the deck is canted at a sick angle and ALARMS SCREAM everywhere: The world is dying around her. Legs wobbly, shivering like a flu victim, Fry stumbles to the next forward locker. It's riddled with holes. One DEAD CREWIE is seen through fractured plexi, body pocked and bloodied. But in the next cryo-locked... The CAPTAIN is struggling awake. Fry's face floods with relief. Slapping an intercom: FRY Hear me? Cap'n? Some kinda compromise to the hull...holding for now, but...Goddamn, I'm glad you're alive. Gotta pull your E-release...no, red handle, red handle. I'll get the warm-ups out while -- PHFUT-PHFUT-PHFUT-PHFUT: Particles bore through the cabin, blasting open the captain's chest, shattering plexi, DETONATING INSTRUMENTS on the opposite wall and leaving CONTRAILS HISSING in the air. Fry lands on her ass, horrified. Suddenly... Another LOCKER BLOWS OPEN. A body falls right on top of Fry -- but this one's still alive. Disoriented, frantic: OWENS Why did I fall on you? FRY He's dead. Cap'n's dead. Christ, I was looking right at him when -- OWENS I mean, I mean, chrono shows we're 22 weeks out, so gravity wasn't supposed to kick in for another 19. I mean, I mean, I mean, why did I fall at all? FRY You hear me? Captain's dead. Owens too. OWENS Oh, no. Not Owens, not.... Wai', wai', wait. I'm Owens. Right? They swap nightmare looks, momentarily unsure of their own identities. FRY Cryo-sleep. Swear to God, it sloughs brain cells. INT. NAV-BAY - MAIN CABIN They stumble into nav-bay. ALARMS CONTINUE. Fry grabs warm-up suits out of storage, pitches one to Owens, checks her screens. FRY 1550 millibars, dropping 20 MB per minute, shit, we're hemorrhaging air. Somethin' took a swipe at us. OWENS Just tell me we're still in the shipping lane. Just show me all those stars, all those bright, beautiful, deep-space.... Owens activates an exterior view: A planet rushes up at us. That's why they have gravity. FRY Jesus God.... EXT. SHIP - PLANET'S ATMOSPHERE - DAY The SHIP PLOWS through the upper atmosphere, antennae pylons already disintegrating. INT. PASSAGE TO FLIGHT DECK Heart battering her ribs, Fry runs forward, using hand-holds to steady herself. Over a headset: OWENS (V.O.) They trained you for this, right? Fry? FRY? She doesn't answer. INT. FLIGHT DECK - DAY Fry harnesses in, starts running switches -- but fumbles a few times, making mental errors. Finally she gets crash-shutters open to reveal... CLOUD STRATA sweeping up past the windscreen like floor-lights on a dropping elevator. We're shedding big altitude. INT. NAV-BAY - MAIN CABIN OWENS ... crisis program selected Number Two of this system because it shows at least some oxygen and more than 1,500 -- would you SHUT THE FUCK UP! (hammers a button, SILENCES ALARMS) -- more than 1,500-millibars of pressure at surface-level. Okay, so maybe the ship did something right for a change.... INT. FLIGHT DECK - DAY As Fry runs more switches. INT. SHIP - DAY As JETTISON DOORS CLOSE around the ship. INT. FLIGHT DECK - DAY As Fry flips up a security-latch -- and thumbs the switch below. EXT. SHIP - PLANET'S ATMOSPHERE - DAY MULTIPLE SHOTS: EXPLOSIVE BOLTS RAPID-FIRE around the ship's skin, blowing away non-essentials that hinder aerodynamics -- including big deep-space drives. But this last separation puts the ship into a dangerous roll. INT. FLIGHT DECK - DAY Out the windscreen, cloud strata roll vertiginously. Fry throws actuators... EXT. SHIP - PLANET'S ATMOSPHERE - DAY And airbrakes deploy. She manages to kill the roll. But the ship's still coming in nose-high. INT. NAV-BAY - MAIN CABIN OWENS ...showing no major water bodies...maximum terrain, 220 meters over mean surface... largely cinder and gypsum with some evaporite deposits.... JETTISON DOORS CLOSE behind Owens, segregating him from the passenger compartment. It scares him for a new reason. OWENS Fry? What're you doing? INT. FLIGHT DECK - DAY Fry flips up a new security-latch. INTERCUTTING: OWENS Fry? FRY Can't get my nose down...too much load back there.... OWENS You mean that "load" of passengers? FRY So what, we should both go down too? Out of sheer fucking nobility? Tortured silence. Fry's thumb moves to the switch that will jettison the passenger cabin. Jettison 50 people. INT. MAIN CABIN SELECTED SHOTS of faces inside cryo-lockers, among them JOHNS. He's prime-of-life, badge on display, some kind of cop. Shaken awake, he clears condensation to check the locker directly across from his, finding... RIDDICK. Small black goggles hide his eyes. A metal bit wedged in his mouth lends a perpetual grimace. A read-out admonishes "LOCK-OUT PROTOCOL IN EFFECT. ABSOLUTELY NO EARLY RELEASE." INT. FLIGHT DECK - DAY OWENS Look, Fry. Company says we're responsible for every one of those -- FRY Company's not here, is it? OWENS When captain went down, you stepped up -- whether you like it or not. Now they train you for this, so -- FRY And there wasn't a simulated cockroach alive within 50 clicks of the simulated crash site! That's how they train you! On a fucking simulator! Owens unbuckles from his chair. OWENS Don't touch that switch! Overcome by guilt, Fry retracts her thumb of mass destruction. But a HUGE JOLT puts the thumb right back. FRY I'm not dying for them. She pushes it. But this time... EXT. SHIP - PLANET'S ATMOSPHERE - DAY No bolts fire. Nothing separates from the SHIP THAT SCREAMS DOWN through the clouds. INT. NAV-BAY - MAIN CABIN Now we see why: Owens reopened the jettison doors locally -- and blocked them open. FRY Owens! OWENS 70 seconds! You still got 70 seconds to level this beast out! INT. FLIGHT DECK - DAY Seething anger and guilt, Fry pops more airbrakes, shedding more speed, more heat. The ship does level -- but it's still being pounded hellishly. She tries to get a stable view out... The windscreen. We're breaking through cloud-bottoms. There's just a glimpse of landscape before... EXT. SHIP - PLANET'S ATMOSPHERE - DAY An airbrake fails. It shears off and pinwheels into... INT. FLIGHT DECK - DAY The windscreen. It cracks into a thousand spiderwebs -- but impossibly it holds. For now. OWENS (V.O.) What the shit was that? Sunlight flares from every fractured edge: It's like looking into burning diamonds, and Fry can only get an impression of the outside world. Now she has to rely on... A ground-mapping display. 120 meters altitude. And dropping. INT. CRYO-LOCKER - DAY INTERCUT Johns. Realizing he's in some kind of shit-storm, he claws at safety restraints. INT. FLIGHT DECK - DAY Ground-mapper: 60 meters. COLLISION ALARMS kick in. Out the fractured windscreen, we see a huge dark mass rise up into view. Land. 40 meters...30...20...10.... Fry braces. IMPACT. The WINDSCREENS IMPLODE. AIR HURRICANES in. INT. NAV-BAY - MAIN CABIN IMPACT. Chairs rip from their moorings. Strapped into one, Owens slams into the ceiling. INT. MAIN CABIN - DAY IMPACT. Johns BLOWS OUT of his locker -- and wishes to God he would've stayed inside, because just beside him... The hull is cracking open. NIGHTMARE SHOT: A huge section of the cabin tears free... skitters and CRASHES along the planetfloor behind us...and disintegrates out of sight. 40 cryo-lockers vanished with it. 40 lives. INT. FLIGHT DECK - DAY Hammered by WIND, Fry opens her eyes experimentally. FRY'S POV: A vortex of motion, of speed, of blurring debris. But the ship is burrowing in. Burrowing under. Fry pivots her chair 180 degrees a nanosecond before... Dirt avalanches into the cockpit. It buries CAMERA. BLACKOUT INT. MAIN CABIN - CRASH SHIP - DAY Choking yellow dust. Ghostly silhouettes are COUGHING, MOANING, CALLING OUT to other survivors in English and, surreally, in Arabic. Soon we find... Johns. Ears running blood. Stumbling his way to... Riddick's cryo-locker. Empty. Johns reaches for his holster. Gone, torn right off his belt. No prisoner and no weapon -- spooky combination. Nearby he sees... The light of a cutting torch. Someone's using it to open a jammed cryo-locker. The plexi is torched away to reveal... AUDREY, 12 years old. Unscathed. AUDREY Somethin' went wrong, huh? Johns searches for his pistol. Behind him, two chained feet lower into FRAME -- and then attack, swinging over Johns' head... getting the chain on his neck...twisting hard, using the chain as a choke-collar. Johns flicks open a baton, swings it up at... Riddick. Still in body chains and mouth-bit. Clinging to a ceiling support. Riding out the baton blows. Seconds from blacking out, Johns strains forward...forward...and finally breaks Riddick's grip on the support. He keeps hold of the chained feet so that... Riddick SLAMS HEADFIRST into the deck. Johns lays the baton on his neck. JOHNS One chance and you blew it, Riddick. Never cease to disappoint me. INT. FLIGHT DECK - CRASH SHIP - DAY Darkness. A light beam sweeps the dusty air of the cockpit. It's packed with dirt, no signs of life. About to search elsewhere, Johns turns back at... FRY (O.S.) Hey. JOHNS Hey, who? FRY (O.S.) Hey, me. Over here. His light finds a headrest sticking up from the dirt. Johns crawls closer, checks the other side of the headrest and finds her. Fry. Buried to the gills. JOHNS Amazing. I'm Johns. FRY Carolyn Fry. I'd shake hands, but... He manages a smile and starts digging her out. Almost dreading to ask: FRY Are there any others, Johns? INT. MAIN CABIN - CRASH SHIP - DAY Johns helps Fry through the carnage. She's stunned by it all -- but especially by the blast of sunlight where a hull used to be. Realizing she's in nav-bay, Fry starts digging like a search dog to uncover... Owens. Still strapped to his chair. Metal rod piercing his chest close to the heart. Dead. Fry reaches out to touch him. OWENS Out, out, out, GET IT OUTTA ME! She recoils hard. He's still alive. The other survivors bungle over. Ten seconds of pure chaos: VOICES Pull it out of him...No, it's too close to the heart...You gotta do it, just do it fast.... Fry grabs the rod. OWENS Don't touch it! Don't touch that switch! VOICES You'll kill him, I'm tellin' you, shit, just leave it alone...delirious...doncha you got some drugs for this poor man.... OWENS Don't touch that switch! FRY Awright, awright, someone...there's Anestaphine in the med-lock, that end of the cabin...next to.... But there is no more "that end." In exquisite pain, Owens screams on. REACTION SHOTS of Johns, Audrey. Seldom are human beings witness to such raw suffering. FRY Get away. Everybody. The others leave -- except for Audrey, staying behind to watch in morbid fascination. Johns doubles back and collars her. Leaving, they pass... Riddick, cuffed to a bulkhead. His eyes, still hidden by goggles, track Johns and Audrey toward daylight. EXT. CRASH SHIP - DAY The survivors straggle outside. CAMERA SURVEYS new faces: ZEKE and SHAZZA. Male-female team of bushwhackers, partners in life. Shazza has a tough sexiness. Zeke's face shows aboriginal blood. (30s.) PARIS. Overfed, overgroomed. A puff pastry of a man. (40s or 50s.) Four male "Chrislams": The pillar-steady IMAM (50ish), and THREE PILGRIMS, young and excitable (late-teens). (NOTE: The Chrislams represent a union between Christianity and Islam. They have the iconography of Christians yet the physical look of Arab Muslims.) WIDE SHOT: All around them is stark and unforgiving terrain. The valley floor is relieved only by low hills to one side, spiked with earthen spires. Scorching down on everything are two suns -- one red, one yellow. PARIS Well. Our own little slice of heaven. The Chrislams fall to their knees. Confusion as they try to orient themselves. IMAM Please...which way to New Mecca? We must know the direction in order to pray. North? South? East? West? Nobody knows. Johns snaps open a compass, finds the needle swaying rudderlessly. The SCREAMING inside the ship finally ends. INT. CRASH SHIP - DAY As Fry holds Owens, now dead. EXT. CRASH SHIP - DAY The four Chrislams have devised a way to pray: Backs together, each faces a different compass point. EXT. TOP OF CRASH SHIP - DAY Fry climbs onto the back of the ship. Johns Paris, Zeke, Shazza, Audrey are already here. JOHNS Big talk about a scouting party... Fry sees the huge smoldering scar in the ground behind the ship. One glance confirms that there are no other survivors. JOHNS (CONT'D) ...then we saw this. PARIS Anyone else having breathing problems? Aside from me? AUDREY Like I just ran, or something.... SHAZZA Feel one lung short. All of us. PARIS Well, I tend toward the asthmatic. And with all this dust.... Faces turn to Fry: They're looking to her for answers. FRY It's the atmosphere. Too much pressure, not enough oxygen. Might take a few days to -- ZEKE So what the bloody hell happened, anyways? FRY Somethin' knocked us off-lane. Maybe a rogue comet. Maybe we'll never know. SHAZZA Well, I for one, am thoroughly fucking grateful. This beast wasn't made to land like this. But cripes, you rode it down. (to others) C'mon, you lousy ingrates, only reason we're alive is a'cuzza her. Others CHIME AGREEMENT, laying thankful hands on Fry's shoulders. HOLD on Fry, her face betraying nothing as they anoint her their savior. INT. MAIN CABIN - CRASH SHIP - DAY Breaking out pressure suits: FRY Liquid oxygen canisters inside. Start ripping them out. Quick hits only -- try to make it last. AUDREY Well, is someone coming for us? Or are we all just gonna die of exposure or dehydration or sunstroke or maybe even something worse? (off their looks) Hey, you don't have to worry about scaring me. SHAZZA We're worried you'll scare us. (ushering her away) Name's "Audrey," right, love? And you're goin' to Taurus Three like we were? AUDREY Yeah, but...do we even have enough food to get there? Or will we have to resort to cannibalism? ZEKE (to Fry) I'll see 'bout makin' this air go a bit further, cap'n. With your permission, a' course. Fry blinks. "They actually think I'm the captain." Zeke and the others get to work. Fry finds herself staring at another problem. Riddick. FRY And him? JOHNS Big Evil? FRY We just keep him locked up forever? JOHNS Be my choice. Already escaped once from the max-slam facility on -- FRY I don't need his life story. Is he really that dangerous? JOHNS Only around humans. Riddick has his mouth on the hull, virtually licking the metal. Fry moves closer -- and now sees it sheeting down the hull. FRY Oh, Christ.... They're losing water. Suddenly Fry is running, snatching up an emergency light, climbing wall-rungs... INT. MACHINE LEVEL - CRASH SHIP - DAY And crawling through dusty superstructure to reach the water cistern. She opens a crank-hatch -- and finds light invading the interior. Her face dies. ZEKE (V.O.) (shouting) Well? Is it just the pump? FRY Ask if anyone has anything in cargo! Anything to drink! INT. CARGO HOLD - DAY Oversize DOORS RUMBLE open. Fry, Johns, and Paris climb into this dark corridor lined with cargo containers. Each container has an access door. PARIS Mine here.... As Paris unlocks, Johns steadies himself, suddenly light-headed. FRY S'matter? JOHNS Little swamp-flu from the Conga system. Never shook it with all this cryo-sleep. Paris opens his container to reveal... INT. PARIS' CONTAINER - CARGO HOLD - DAY Tiffany chairs stacked 10 high. Bronze eagle lecterns. Oriental umbrellas. Neo-Egyptian castings. JOHNS King Tut's tomb.... PARIS Be surprised what these will fetch in the Taurus system. Here. This Wooten here -- easy, easy. Very rare. They open the Wooten desk. Cubbyholed inside are dusty bottles of sherry. Vintage Port. Glenfiddich. Bicardi 151. FRY This is it? Booze? That's what you have to drink? PARIS (educating her) 200-year-old single-malt scotch is to "booze" as foie gras is to "duck guts." JOHNS (cracking a bottle) A toast to whatever he just said. PARIS I'll need a receipt for that. (to Fry) For all these. FRY Top of my list. She joins Johns for a drink. Entering, the Chrislams watch with both envy and aversion. FRY I don't suppose.... IMAM One of the Christian habits we didn't adopt -- perhaps unfortunately. We'll have to wait. JOHNS For what? There is no water. You understand that, don't you? IMAM All deserts have water, somewhere. God shall lead us there. INT. MAIN CABIN - CRASH SHIP - DAY START on the cutting torch, abandoned in wreckage. Staring at it is... Riddick. With his hands cuffed behind him and around a bulkhead, he can't get near it. Or can he? Near the ceiling, the bulkhead is fractured -- a slim spot where maybe chains could pass through. Riddick stands. With a GRUESOME POPPING, he dislocates both shoulders...carries his arms overhead...passes the chains through the broken spot...and brings his arms down in front of him. A body-flex POPS HIS SHOULDERS back into joint. Free, he reaches for the cutting torch. EXT. CRASH SHIP - DAY Pistol in hand, Johns runs into a BIG CLOSEUP, eyes sweeping. Nothing on the horizon. But something lies on the ground nearby. It's Riddick's mouth-bit. JOHNS Like we needed another way to die. INT. CARGO HOLD - DAY FAST CLOSEUPS: Hands pillaging storage lockers, pulling out anything that might qualify as a "weapon." It all gets hauled back and dumped into... INT. NAV BAY - CRASH SHIP - DAY Nav-bay. Gathered, the survivors take inventory: Johns has a pistol, shotgun, baton. Zeke and Shazza offer up a pick-ax, digging tools, hunting boomerang. Imam shows a ceremonial blade. Paris straggles in with antique curios. JOHNS What the hell are these? PARIS Maratha crow-bill war-picks from Northern India. Very rare. ZEKE An' this? PARIS Blow-dart hunting stick from Papua New Guinea. Very very rare, since the tribe's extinct. ZEKE 'Cuz they couldn't hunt shit with these things, be my guess. PARIS Well, what's the need, anyway? If he's gone, he's gone. Why should he bother us? JOHNS First, because he can only live out there for so long -- he's gonna come back and take what we got. Second, for the sheer thrill of the kill. A beat. They all grab for weapons. EXT. CRASH SHIP - DAY Johns stands atop the crash ship, scanning with a scope. He fixates on... A blue glow on the horizon. "What the hell is it?" Zeke and Shazza modify breather units, adding straps and tubing and ball-floats. The prototype is tested on Audrey. She sucks on the mouthpiece -- and finds that it works, supplying oxygen on demand rather than in a constant flow. Chrislams convert to traditional bedouin head-gear, readying for travel. Fry finishes wrapping Owens' body. She looks to the yellow sun, low on the horizon. The red sun seems inclined to follow. FRY Imam. We should leave soon. Before nightfall but while it's cooler. ZEKE What, you're goin' off, too? FRY Johns is leaving you a gun. Just do me a favor, huh? Get my crewies buried? They were good guys who died bad. SHAZZA A'course we will. PILGRIM #1 (O.S.) Imam...Imam.... (NOTE: "Imam" is pronounced "el-ee-MAM.") Fry and the others round the ship to see... A blue star flaring into view. It's rising as the other suns are setting. SHAZZA My bloody oath.... AUDREY Three suns? ZEKE (to Fry) So much for your nightfall. PARIS So much for my cocktail hour. IMAM We take this to be a good sign -- a path, a direction from God. Johns swings down from the top of the ship. JOHNS A very good sign. (re: blue sun) That's Riddick's direction. You do not wanna be caught in the dark with this guy. FRY Thought you found his restraints over there. Toward sunset. JOHNS (nodding) Which means he went toward sunrise. EXT. PLANET - DAY Trekking, the Chrislams waft incense pots and CHANT FROM THE KORAN as they head toward the blue star. Johns provides shotgun escort; Fry carries Paris' second war-pick on a shoulder. Silhouetted against the alien sky, the scouting party is an odd, odd sight. Already sun-battered, Johns crafts an eye-visor out of plexi. Fry tries to wrap her head like the Chrislams. Imam helps. FRY So quiet. You get used to the sounds of the ship, then.... IMAM You know who Muhammad was? FRY Some prophet guy? IMAM "Some prophet guy." And a city man. But he had to travel to the desert -- where there was quiet -- to hear the words of God. FRY You were on a pilgrimage? To New Mecca? IMAM (nodding) Chrislam teaches that once in every lifetime should there be a great hajj -- a great pilgrimage. To know God, better, yes, but to know yourself as well. FRY Frightening thought. IMAM (finishes wrapping her) We're all on the same hajj now. Fry notices Johns scope-locked on something. FRY What? JOHNS (hands her scope) Tell me it's not a mirage. SCOPE POV: Beyond a distant rise, strange branches. FRY Trees? EXT. CRASH SHIP - DAY Paris has taken over as look-out atop the ship. He deals with the heat by erecting a "misting" umbrella: He fills a reservoir with liquor, dials up a regulator. Umbrella spars shoot bursts of cooling alcohol vapor. Paris luxuriates in it. ZEKE (O.S.) Comfy up there? Zeke appears below. He loads a scrap-metal sled with tarp, cable, pick-ax. PARIS Amazing how you can do without the essentials of life -- so long as you have the luxuries. ZEKE Well, just keep your bloody-fuckin' eyes open. Don't want that ratbag sneakin' up on me bloody-fuckin' arse. He drags the sled toward the spired hills. Keeping one eye on Zeke, Paris eases into a chair, lays the war-pick across his lap, pours himself a spot of sherry. As he sips, a blade touches his throat. AUDREY He'd probably get you right here, right under the jaw. And you'd never hear him coming. That's how good Riddick is. Paris eases the hunting boomerang away. PARIS Now did you run away from your parents? Or did they run away from you? EXT. BONEYARD OVERLOOK - DAY The scouting party approaches a rise. The trees loom just beyond. PILGRIMS Allahu Akbar...Allahu Akbar.... The young pilgrims break into a excited run, anticipating an oasis. But Fry hangs back, taking a harder look at the trees. They don't move in the wind. The pilgrims scramble up the rise -- and go motionless. Fry, Johns and Imam catch up to behold... The "trees" are actually the dorsal bones of a titanic skeleton, tinted green by lichen. Beyond is a sea of bleached animal bones. Impossibly, the bones seem to MOAN IN PAIN. All told, it's like Hell overflowed right here. FRY Is this whole planet dead? A pilgrim questions Imam IN ARABIC. IMAM He asks what could have killed so many great things... EXT. BONEYARD - DAY Moving into the boneyard: IMAM Some...communal graveyard, perhaps... like the elephants of Earth.... Fry touches one of the towering bones. It shows cut-marks -- almost as if the bone was hacked by a sword. "Graveyard? Or killing field?" JOHNS Long time ago. Whatever happened. EXT. SKULL - BONEYARD - DAY Pilgrim #1 reaches a huge skull laced with baleen-like combing. Wind hitting the comb makes a LOW HARMONIC MOANING. By moving a hand over the comb, the pilgrim can "play" DIRGELIKE MUSIC. Wanting to show off the trick: PILGRIM #1 Ah.... He looks for Pilgrim #3 but can't spot him. And when he turns back to the skull -- a face is staring through the combing. But it's only... INT. SKULL - BONEYARD - DAY Pilgrim #3, inside the skull. Johns enters and chases him out. About to leave, Johns notices... Bone-chippings piled on the ground. It could be nothing, but still... Johns double-checks shadows, probing with the muzzle of his shotgun. Satisfied, Johns exits. Now BOOM UP to reveal... Riddick. Hidden in a sinus cavity. EXT. SKULL - BONEYARD - DAY Trailing the others, Fry pauses to change out the O2 on her breather. INT. SKULL - BONEYARD - DAY Riddick drops to the ground. His arms and hands are now pierced with shards of boneyard ivory -- fashionable little body talons. Spotting a shadow on the combing, he draws closer. And sees Fry. Alone. EXT. SKULL - BONEYARD - DAY Johns doubles back to Fry. He takes a hit of scotch, offers her some. FRY Probably makes it worse. Dehydrates you even more. JOHNS Probably right. They drink anyway. Moving out of the sun, Fry leans up against the combing. It brings her within arm's length of... INT. SKULL - BONEYARD - DAY Riddick. He pulls a bone-shiv, freshly chiseled. JOHNS (O.S.) You know, I woulda played road dog for these guys. You could've stayed back. Pro'bly should've -- because, you know, if we don't find water.... "We may not make it back." FRY (O.S.) No, no, I wanted to get away. JOHNS (O.S.) So I noticed. Never seen a "captain" quite so ready to leave her ship. Just as Riddick eases his blade toward Fry's neck... EXT. SKULL - BONEYARD - DAY She steps away. FRY Better keep moving.... JOHNS What'd Owens mean? 'Bout not touching the switch? Fry searches his eyes, wondering if she can trust him -- and again she leans back on the combing. We can actually see Riddick now. They could too, if they would just TURN THE FUCK AROUND! JOHNS (CONT'D) Hey. You can tell me, Carolyn. FRY Promise me. Swear to me you won't -- JOHNS You see anybody else here? Just between you and me. FRY During the landing...when things were at their worst...Owens was at his best. He's the one who wouldn't let the pilot dump the passenger cabin. Johns blinks, stunned. "Are you shittin' me?" INT. SKULL - BONEYARD - DAY Trying again, Riddick reaches out with his shiv -- and deftly slices off some of Fry's hair. A locket. A souvenir. That's all he wanted. FRY (O.S.) So now you know. JOHNS (O.S.) Fuck. Guess I'm more glad to be here than I thought. Riddick watches them move off -- then looks at the scotch bottle, left behind. It's still got one good swallow. EXT. START OF GAUNTLET - DAY Leaving the boneyard, the scouting party reaches a cleft in the hills. Ahead is a canyon. JOHNS Hold up. He jumps onto a rock, puts the scope to an eye. JOHNS (CONT'D) Didn't bite. FRY What? JOHNS Thought he might be coolin' it in the boneyard -- could either double-back to the ship or slip in behind us. So I left the bottle out as bait. SCOPE POV: PANNING the boneyard. FINDING the bottle. It's still got that one swallow. JOHNS (CONT'D) But nah. Didn't bite. EXT. BONEYARD - DAY CLOSER on the bottle. Only we see that the scotch has been emptied -- and replaced with sand. EXT. GRAVE SITE - SPIRED HILLS - DAY Working under the shade of a tarp, Zeke digs a communal grave. Three wrapped corpses wait nearby. He keeps a sight-line on... The crash ship. Shazza waves. Zeke waves back. EXT. RIBCAGE - THE GAUNTLET - DAY The scouting party transits a narrowing canyon. Lined with rib bones, it makes us feel like we're in the belly of some beast. Fry squints at the ridgetops. More of those spires are visible on the canyon rims, looming like silent sentinels. "What are they? Just mineral deposits?" PILGRIM #1 Captain...captain.... The Chrislams have found what appears to be a small desert plant. Leathery petals are spread wide, revealing a round stringy core. ARABIC DISCUSSION. Desert fruit? Is it edible? FRY Wait, wait, wait.... Fry takes the "plant," pushes the "petals" back down over the core. They all stare. It's a baseball. IMAM We are not alone here, yes? They look ahead, wondering what awaits them. But Johns is looking back. JOHNS Never thought we were. EXT. SETTLEMENT - DAY HIGH ANGLE: An old WEATHER COCK CREAKS in the wind. Fry, Johns, and the Chrislams enter FRAME far below. PILGRIM #1 Assalamoo ahlaykum! The GREETING ECHOES through the settlement, built from stacked shipping containers. Tattered sun-shades flap in the wind. A rusty bike lies on the ground. PILGRIM #2 Assalamoo ahlaykum! JOHNS Long gone. Whoever they were. They move around a building -- and pull up short. Before them looms a moisture-recovery unit, a hulking machine in disrepair. Old jugs litter the ground. IMAM Water...water there was here.... PILGRIMS Allahu Akbar.... IMAM (translating) "God is Great," yes? JOHNS I'm born-again. Fry manages a weary smile -- but soon her eyes revisit the abandoned buildings. "Who were these people? Why did they leave so much behind?" INT. MAIN ROOM - SETTLEMENT - DAY Through a window, we see the Johns and the Chrislams crawling over the moisture-recovery unit, assessing repairs. PULL BACK to include Fry inside the settlement, inspecting... Refectory table. Place settings out. Years of dust. Photos on the wall: Settlers working modest gardens. Playing baseball. Posing with children. INT. LIVING QUARTERS - SETTLEMENT - DAY Fry enters a dark room. FRY Lights. No response to her command. She pats around for old-style wall switches. Nothing. Perceiving black-out blinds on a window, she throws them open to reveal... A man standing right outside. JOHNS (through window) Hey. Don't go too far, huh? Fry nods. Johns smiles, leaves. Just as her heart settles, SOMETHING CREAKS behind her. It's an orrery, a mechanical device that shows the motion of the planets around their suns. Solar powered, the orrery starts turning, CREAKING. One planet seems always to have sunlight. FRY No darkness. No lights because no darkness.... EXT. PORCH - SETTLEMENT - DAY Fry reaches a porch. It looks out over the rear of the settlement and more unforgiving terrain. She starts back inside -- but something glints at the edge of her vision. Fry turns back...parts clothes on a laundry line...and sees the source of the glint. Excited hits on her breather. Fry vaults off the porch -- and starts walking as if on magnetic bearing. Soon she's running. EXT. SETTLEMENT - DAY FRY (V.O.) Allahu Akbar! Allahu Akbar! Johns and the Chrislams trade looks. EXT. SKIFF - DAY FRY Allahu Akbar! Fry stops on a groomed runway, out of breath. The others catch up. They too marvel at... The skiff, a light-duty vehicle of hybrid technology -- part bush plane, part space craft. Its fabric wings are wind-torn -- but the hull looks intact. EXT. TOP OF CRASH SHIP - DAY CLOSE on caviar being added to toast-points. A SCRABBLING SOUND stops Paris in mid-bite. He eases out of his rocker, moves to the rear edge of the ship and looks down on... A shadow ducking under him. Small rocks still trickle down a dirt rampart just climbed by...someone. PARIS This now qualifies as the worst fun I've ever had. Stop it. No response. EXT. CRASH SHIP - DAY War-pick in hand, Paris eases to ground-level. He checks the perimeter, looks inside the ship. Nobody. Is he being fucked with? Again? He hopes? PARIS Audrey? Oh, Audrey.... AUDREY (O.S.) What? Paris spins. The voice came from the cargo hold -- and not where he expected. INT. CARGO HOLD - DAY Blades of sunlight stream in through cracks in the hull. Paris enters to find Shazza and Audrey cutting open containers, searching for usable goods. PARIS Tell me that was you. AUDREY Okay, it was me. What'd I do now? PARIS Assailing my fragile sense of security, that's what. SHAZZA What're you goin' on about? She's been right here for the last.... They all see it: Sun-blades are momentarily blocked by something passing outside. Someone. SHAZZA (a quiet probe) Zeke? No answer. Audrey springs to the other side of hold, puts an eye to a crack there. HULL-CRACK POV: Far away, Zeke finishes digging the grave. He starts toward the ship. Audrey whirls back, mouths a silent alarm: "RIDDICK!" Paris goes bloodless. Shazza grabs the war-pick out of his frozen hands, moves catlike to the main doors and poises there, ready to strike. Audrey follows with the hunting boomerang. All eyes watch as... The sun-blades, winking off and on, chart Riddick's approach: We feel like we're inside a magician's sword box, watching the blades shave closer and closer to us. Suddenly he appears... And Shazza swings hard. AUDREY No! Facing them is a TOTAL STRANGER -- burned, half naked, one hand still clutching the emergency-release lever of his cryo-locker. Shazza stopped one inch short of killing him. TOTAL STRANGER I thought...my God, I thought I was the only one who.... He lurches toward Shazza, trying to embrace her -- and sees blood and brain-bits BLAM-BLAMMING against her. His own. The stranger sinks bonelessly to the ground. FAST RACK to reveal Zeke in the background, pistol leveled. He reads Shazza's horrified face -- and understands what he's done. PARIS Oh, Lord.... AUDREY It was just somebody else. From the crash. He was just.... ZEKE Cripes galore, I thought it was him. The murderin' ratbag. I thought he was.... He rushes over to check the dead stranger. As he bends down, FAST RACK AGAIN to reveal Riddick in the background. He stands 20 paces off, still unseen by the others. His goggle eyes covet... Zeke's breather. EXT. SKIFF - DAY Fry exits the skiff. FRY No juice, looks like it's been laid up for years. But we might be able to adapt -- JOHNS Shut up. Outside, Johns has an ear cocked to the wind. JOHNS (CONT'D) Sorry. Thought I heard something. FRY Like what? JOHNS Like my pistola. EXT. GRAVE SITE - SPIRED HILLS - DAY START on the drag-sled carrying Corpse #4-- the stranger. Zeke reaches the grave. The sun-tarp has fallen on one side, blocking the sight-line between ship and grave. Zeke starts to unload the body -- but sees something he didn't notice before: There's some kind of opening at the bottom of the grave. ZEKE Now what the bloody hell.... Zeke hops down into the grave. CAMERA MOVES to reveal Riddick hidden among the spires. He's been waiting for a chance just like this. EXT. GRAVE - DAY Zeke drops to all fours. Looks into the tunnel. There seems to be some kind of burrow beyond. BURROW POV: Staring back at Zeke. Zeke takes a handlight off his belt, shines it into the burrow. It's the last thing he ever does. INT./EXT. CRASH SHIP - DAY As MORE GUNSHOTS jar Paris, Audrey, Shazza. EXT. GRAVE - DAY FURIOUS CLOSEUPS: Zeke fighting for his life. PISTOL BLASTING. Something slashing at him. Blood dancing on air. EXT. CRASH SHIP - DAY Shazza sprints across hard-pack, heading for... EXT. GRAVE SITE - SPIRED HILLS - DAY The grave. She slaps aside the tarp to find... Riddick. Bone-shiv in hand, he just stands on the other side of the grave. Shazza looks down. And SCREAMS. EXT. SPIRED HILLS - DAY CAMERA PURSUES Riddick as he lopes through the spires, running from the scene of the crime. He turns a blind corner -- and SOMETHING NEARLY BLOWS HIS HEAD OFF at close range. He hits ground. A boot steps on his neck, keeping him there. JOHNS Same crap, different planet, huh? EXT. SETTLEMENT - DAY Sucking on their breathers, Fry and the Chrislams make it back to the ship. They find Johns beating Riddick like a chained dog. JOHNS ...I don't play that...I don't play that so just try again. C'mon, Riddick, tell me a better lie.... FRY Ease up, ease up. JOHNS! Just tell me what.... She hauls him off -- only to have Shazza start punching Riddick. SHAZZA What'd you do with 'im? You bloody sick animal you, what'dja do with me Zeke? EXT. GRAVE SITE - SPIRED HILLS - DAY Fry and Johns stand over the grave. It's a gory mess -- but no sign of Zeke. Johns has Riddick's confiscated shiv. FRY He used that? JOHNS Sir Shiv-a-lot. He likes to cut. FRY So why isn't it all bloody? JOHNS I assume he licked it clean. INT. MAIN CABIN - CRASH SHIP - DAY Riddick is back in chains, face pulpy from the beating, listening to SOTTO VOCE VOICES outside. Fry enters, looks at him hard. FRY So where is he? Riddick turns away, revealing a broken goggle-lens. The eye beneath is closed: For some reason, he won't look at her. FRY Tell me about the sounds. You told them you heard something right before.... (no response) If you don't talk to me, Johns'll take another crack at it -- at your skull. RIDDICK 'Mean the whispers? FRY What whispers? RIDDICK The ones tellin' me to go for the sweet spot -- just to the left of the spine, fourth lumbar down. The abdominal aorta. What a gusher. Had a cup on his belt, so I used it to catch a little run-off. Metallic taste to it, human blood. Coppery. But if you cut it with peppermint schnapps, that goes away. Course, that's more for winter. Summertime, I take mine straight. Fry stares. Riddick gets a black satisfaction from his role as Boogeyman: If fear is the only kind of respect he can get, Riddick is going to grab some with both hands. FRY Why don't we try the truth now? A head-shaking beat, then: RIDDICK All you people are so scared of me -- an' most days, I'd take that as a compliment -- but it ain't me you gotta worry about now. FRY Show me your eyes. Again he turns away. She strips the goggles off. He sits with lids shut tight, anticipating the pain. FRY Show me, Riddick. Imagine a virgin undressing in front of someone for the first time. That's how Riddick opens his eyes, startling us: No irises, just huge black-pool pupils. And from deep within, a jewel-like eyeshine. His eyes are as beautiful and unsettling as those of a starved jaguar. FRY You did this? To yourself? RIDDICK Slam doctor. Well, we called him "doctor." FRY Heard about it. Just never seen it. RIDDICK Fairly fuckin' ironic, wouldn't you say? Slamlight's so dim that you go and get your eyeballs taken out and shined up -- then you wind up here. Three ass-kick suns. (replacing goggles) Maybe I did do a few people. But not this one. No ma'am, not this time. FRY Then where is he? He's not in the hole. We looked. RIDDICK Look deeper. He CLICKS HIS TONGUE at her. EXT. CRASH SHIP - DAY Chain looped over one shoulder, Fry heads back to the grave site. Johns, Imam, Shazza, and Audrey keep pace as... JOHNS I know what happened -- he went off on the guy, buried him on the hill somewhere, and now he's trying to -- FRY Let's just be sure. JOHNS I am sure. Look, murders aside, Riddick belongs in the Asshole Hall of Fame. He loves the jaw-jackin', loves making you afraid, 'cuz that's all he has. And you're playing right into -- FRY We're gonna find the body, Johns. Christ, you're a cop. Why am I tellin' you this? We gotta go down and find it. JOHNS Well, don't ask me to. FRY Thought you didn't believe his story. JOHNS I don't. But that ground looked none too stable, and I don't want anyone -- AUDREY If you're afraid, I'll go. He shoots Audrey a scowl. FRY Nobody else is going down but me, okay? JOHNS (pulling her aside) Hey. Bein' ballsy with your life now doesn't change what came before -- it's just stupid. FRY What, you think I'm doin' this to prove something? JOHNS You said it, not me. Let's just not let one bad call lead to another. FRY Thanks for the tip, Johns. "Now get outta my way." EXT. GRAVE - DAY Chain hooked to her web belt, Fry drops into the grave. She peers into the burrow...looks back up at the halo of faces above her...then slithers out of sight. INT. BURROW - DAY Letting her eyes adjust, Fry pats around lightly. Quickly she finds Zeke's handlight, tries it. Broken. EXT. GRAVE-SITE - SPIRED HILLS - DAY CLOSE on the chain slithering through hands, playing out as Fry moves deeper underground. INT. UPHILL TUNNEL - DAY Fry makes an uphill turn. Sees a spray of light ahead. Worms forward to reach... INT. THE LAIR - DAY Another chamber, wide and just large enough to stand in. Shafts of daylight bore down into the room. More old bones litter the floor. Fry moves into one shaft and looks up at... An earthen funnel. The inside of a spire. FRY They're hollow.... CLICK-CLICK. Fry slow-turns toward the sound. CLICK-CLICK-CLICK. There's something here, something just beyond the cusp of light. Something unfolding. An icy hand grips her heart. Soundlessly, Fry backtracks her chain, but... Something shadows across the exit. It stops her cold. Her hand finds something new. She angles it to the light. It's one of Zeke's boots -- with a bit of Zeke still in it. CLICKITY-CLICKITY-CLICKITY.... The whole chamber is coming alive around her, shadows unfurling, skulking the perimeter, circling. Something impales the boot out of her hand, reclaiming it. It was faster than a lightning-strike. A paralyzed beat before... Fry makes her move, rolling back into the shaft of daylight and springing straight up into... INT. SPIRE - DAY The spire. Bracing against the walls, Fry tries to "walk" her way up -- but her chain goes taut. Did it catch on something? Or did something catch it? Fry starts pounding the earthen walls. FRY Here! I'm in HERE, HERE, HERE! EXT. GRAVE-SITE - SPIRED HILLS - DAY IMAM Did you hear.... They drop down and suspend their heads over the bloody grave, listening. Nothing now. INT. SPIRE - DAY FRY I'm over here in the -- Something tugs on her chain. FRY Oh, God.... CLOSE on her feet. Kicking hard at the walls, trying to gouge out footholds. A stronger tug. Fry loses altitude, slipping closer to... The MADLY CLICKING LAIR below. She tries to jettison her belt -- but can't brace herself up and undo the belt. Suddenly... Something explodes near her head. Daylight appears, followed by faces, human faces. They're breaking through the spire with the pick-ax. Hands reach inside... EXT. SPIRED HILLS - DAY ...and birth her into daylight. Overlapping: JOHNS We got you...it's okay, it's okay...we got you now.... IMAM The child heard you before any of us could even.... SHAZZA Did you find him? You find Zeke? FRY (half insane) ...wasn't Riddick...it was...it was... goddamn, that was stupid....but wasn't Riddick. Somethin' else down there that got Zeke and nearly got -- Her. She flies back into the spire. Something's still got the chain. The others grab at flailing limbs. It's a tug-of-war now, human hands on one end, unseen "hands" on the other -- and the humans are losing. Until... Imam unsheathes his blade... And slices through Fry's belt. INT. SPIRE - DAY As the chain falls down the spire. Without Fry. INT./EXT. CRASH SHIP - DAY FAST SHOTS: Survivors packing up O2, liquor, umbrellas, the Koran -- whatever qualifies as "essential" on this planet. Amid the activity, Audrey pauses to look at... The spired hills. INT. BATTERY BAY - CRASH SHIP - DAY Fry and Imam pull a power cell from the ship's battery bay, THUMPING it down on the deck. IMAM One is all? FRY For now. INT. CARGO HOLD - DAY At his personal locker, Johns digs out a box of shotgun shells. He bypasses the blue-metal shells for a red-metal one. There's something special about it -- though what, we can't be sure. INT. MAIN CABIN - CRASH SHIP - DAY A shadow falls over Riddick. He doesn't look up. RIDDICK Found somethin' worse than me, huh? JOHNS We're movin'. And I'm just wondering if I shouldn't lighten the load right now. Now their eyes meet. Johns RATCHETS HIS SHOTGUN and points it at Riddick's head. RIDDICK Woof, woof. The SHOTGUN EXPLODES. CAMERA PANS off of Johns to show Riddick still alive. The shotgun discharged next to his head and blew off his wrist chains. JOHNS Want you to remember this moment, Riddick. The way it coulda gone and didn't. RIDDICK (deaf) Say that again. JOHNS Here's the deal. You work without the chains, without the bit -- without the shivs. You help us get off this rock.... RIDDICK For what? The honor of goin' back to some asshole of a cell? JOHNS Truth is, Riddick, I'm tired of this head-up shit. I wanna be free of you as much as you wanna be free of me. A beat. The future rearranges in Riddick's head. RIDDICK You'd cut me loose, Boss? JOHNS Only if we both get outta this alive. And there may be a way. He offers a hand to help Riddick up, to seal the deal. RIDDICK (staring at hand) My recommendation: Do me. Don't take the chance that I'll get shiv-happy on your wannabe ass. Ghost me, Riddick. Would if I were you. JOHNS If you were me, I'd kill us both. C'mon, you wanna sit at the grown-up table or not? A beat. Riddick reaches out for the hand -- and grabs the shotgun with his off-hand. A blur of movement. Suddenly Johns is staring at the eyes of his own shotgun. RIDDICK Want you to remember this moment. He pumps shotgun, spitting blue shells over Johns. He drops the emptied gun and walks away. EXT. PLANET - DAY EXTREMELY WIDE: Blue sun setting, yellow and red sun rising. The survivors trek for the settlement. Fry and Imam lug the power cell between them, but the real load is shouldered by... Riddick. Promoted from murderous monster to beast of burden, he tows a drag-sled heavy with cargo. PARIS (to Johns) So just like that. Wave your little wand and he's one of us now. JOHNS Didn't say that. But least this way I don't have to worry about falling asleep and not wakin' up. IMAM Well, I feel we owe Mr. Riddick amends. SHAZZA Oh, right. Let's all line up and beg his forgiveness. Right you are. IMAM At least give the man some oxygen.... JOHNS He's happy just bein' vertical. Leave him be. AUDREY So I can talk to him now? JOHNS/SHAZZA (in unison) No. Paris drops a wine bottle. Trailing, Riddick collects it. PARIS Paris P. Ogilvie. Antiquities dealer, entrepreneur. RIDDICK (shaking hands) Richard B. Riddick. Escaped convict, murderer. Instead of returning the bottle, Riddick opens it and drinks. Paris hurries to catch up to the others. PARIS You know, if I owned Hell and this planet...I believe I'd rent this out and live in Hell. EXT. THE GAUNTLET - DAY FRY'S POV: Of spires high above us. The group falls silent as they transit the canyon, all eyes on the spires. Fry stops short, hearing... CLICKITY-CLICK. Neck hairs rise -- but soon the sound vanishes. The group starts moving again, faster. CLICKITY-CLICKITY-CLICK. Are they being stalked? Nervously, Fry traces the sound back to... Beads dangling from the belt of Pilgrim #1. Whenever he moves, the STRINGS CLACK together. EXT. SKIFF - DAY PARIS I mean, usually I can appreciate antiques, but, uh.... The survivors have reached the settlement. Fry is trying to get the power cell aboard the skiff as the others walk its exterior. JOHNS Little ratty-ass. FRY Nothing we can't repair -- so long as the electrical adapts. SHAZZA Not a star-jumper. RIDDICK Doesn't need to be. Use this to get back up to the Sol-Track Shipping Lanes, stick out a thumb. You'll get picked up. (to Fry) Right? Fry looks from Riddick to Johns. "How did he know that?" FRY Little help here? They muscle the power cell aboard. Riddick starts to follow, but Johns blocks. He doesn't want Riddick inside. JOHNS Check those containers for me. See what we can patch wings with. EXT. SETTLEMENT - DAY With religious fervor, the Chrislams are repairing the moisture- recovery unit -- the machine Allah led them to. INT. SKIFF - DAY START on the battery bay. Hands are adapting the power cell to the skiffs older electrical system. Soon... Lights wink on throughout the ship. FRY Okay, that should buy us a sys-check. But we'll need more cells. JOHNS How many? FRY 15 6-gigs here...90 gigs total...other ship carries 20-gig cells, so...five. Five total to launch. JOHNS 25 kilos each, huh? SHAZZA Old sand-cat outside. See if I can't get it up and chuggin'. JOHNS Do it. And if you need an extra hand, tap our problem child out.... (looking out) Where's Riddick? EXT. SETTLEMENT - DAY He's walking the ghost town, finding dead gardens...upended chairs and furniture...broken skylights. Behind his back... Audrey and Pilgrim #3 (the youngest Chrislam) scurry through FRAME, stalking this curious monster in their midst. EXT. MOISTURE-RECOVERY UNIT - SETTLEMENT - DAY CLOSE on the other Chrislams, faces charged with anticipation while awaiting... The first drop of water. It appears at the bottom of a pipette. Tongues fight for it. Another drop forms in its place. Now another and another. It brings CHEERS. INT. MAIN ROOM - SETTLEMENT - DAY CLOSE on Paris' hands. Getting ready to celebrate, he unwraps crystal goblets...dusts off the refectory table...and rehangs an old Christmas garland. INTERCUT WITH... EXT. CORING ROOM - SETTLEMENT - DAY Hands digging in dirt. Covertly, Audrey and Pilgrim #3 watch Riddick digging near the entrance of a tall windowless structure. He excavates a pair of broken eyeglasses... a shattered light... and a child's tin robot, timeless. Riddick thumbs a solar panel clean. The robot's language program warbles to life: ROBOT "...to all intruders. I am the guardian of this land. I will protect my masters at all cost. Death to all intruders..." Riddick stands and tries the doors. Locked. He peers through a small filthy window. Is there something moving inside? Nothing now. Riddick removes some windblown trash from a doorside sign. "Coring Room." JOHNS (O.S.) Missin' the party. C'mon. It's Johns, keeping him on a short leash. Leaving, Riddick kicks a trash bin. Hard. RIDDICK Missin' the party. C'mon. He leaves. HOLD on the trash bin a beat. AUDREY (O.S.) Talkin' to me? INT. CORING ROOM - DAY PILGRIM'S POV: Of Audrey exiting the trash bin and running after Riddick and Johns. Pilgrim #3 is at the window of the coring room. He's found a way inside. By the window's feeble light, he starts exploring. Just visible at the center of this room is a vertical coring drill. INT. MAIN ROOM - SETTLEMENT - DAY IMAM ...and for this, our gift of drink, we give thanks in the name of our Prophet, Muhammad, peace be upon him, and to our Lord, Jesus Christ of Nazareth, and to his father, Allah the Compassionate and the Merciful. PARIS (to himself) The strangest religion.... Pilgrims finish pouring cloudy water into goblets. Riddick gets the last of it -- the part with sediment. SELECTED CLOSEUPS as they drink. Nothing ever tasted finer. PARIS Perhaps we should toast our hosts. Who were these people, anyway? Miners? SHAZZA Looks like geologists. Advance team, moves around from rock to rock. JOHNS Musta crapped out here, huh? AUDREY But why did they leave their ship? Silence. It's a question no one has chosen to deal with yet. Imam notices one water glass unspoken for. EXT. CORING ROOM - DAY CLOSE on the "Coring Room" sign. An attached solar panel begins moving, orienting toward sunlight. When it catches the full brunt of the suns' rays... STORM SHUTTERS unlatch on the roof. INT. CORING ROOM - DAY Pilgrim #3 hears SHOOTING LATCHES overhead. That sound brings another sound: A strange SKITTERING. The pilgrim looks up. Is there something in the rafters? INT. MAIN ROOM - SETTLEMENT - DAY JOHNS (answering Audrey) Well, just a skiff. Disposable, really. PARIS Like an emergency life-raft, right? SHAZZA Sure. Coulda had a real drop-ship take them off-planet. Long gone. PARIS A toast to their ghosts, then.... Goblets rise. RIDDICK Didn't leave, these people. Whatever got Zeke got them. They're all dead. It's like he just pissed in the punchbowl. RIDDICK (CONT'D) What, you don't really think they left with their clothes on the lines? Photos on the walls? SHAZZA Maybe they had weight limits, you don't know. RIDDICK I know you don't uncrate your emergency ship unless there's a fucking emergency. JOHNS Rag it, Riddick. Nobody wants your theories on -- FRY (to Riddick) So what happened? Where are they, then? Fry is the only one willing to look at reality -- or at least glance its way. At the window, Imam scans outside. IMAM Has anyone seen the young one? Ali? RIDDICK (to Fry and Imam) Has anyone checked the coring room? INT. CORING ROOM - DAY Now the storm shutters start yawning open, spreading daylight over Pilgrim #3 and... The ceiling rafters. They're encrusted with thick nests of... something. The SKITTERING grows louder, more agitated. Sensing trouble, Pilgrim #3 hurries for a sliver of daylight in a wall -- the breach he entered through. He never gets there: Sunlight hits the first nest. It EXPLODES WITH LIFE. INT./EXT. MAIN ROOM - SETTLEMENT - DAY As Imam hears the SCREAM. IMAM Ali.... INT. CORING ROOM - DAY CHAOTIC SHOTS: More NESTS EXPLODE into individual creatures, winged hatchlings moving like bats in a fire, talons hacking and slashing. His exit blocked, Pilgrim #3 veers into... A dark supply room. He slams the door, MUMBLES A BLESSING and waits for the storm to pass. He's been cut -- but at least he's still alive. EXT. SETTLEMENT - DAY As the survivors run for the coring room. INT. MAIN ROOM - SETTLEMENT - DAY As Riddick stays behind to drink their water. INT. CORING ROOM - DAY HINGES ARE BLASTED AWAY. The door caves in. Imam shoulders past Johns to enter and find... The empty coring room. IMAM Ali? A NOISE from the supply room. Is it Ali? Just too scared to come out? Imam opens the door... And hatchlings pour out. Moving with a gang-intelligence, they circle the room in a wave, soar high into the rafters -- then plunge into the coring shaft, SQUEALS VANISHING to infinity. Shocked silence, then... Pilgrim #3 tumbles to the ground. He's been shredded into bloody kite-tails. There was a nest inside the supply room. Imam falls on him in grief. Johns and Fry inch forward to peer down... The coring shaft. It's littered with human bones. The skeletons of the settlers. Scattered about and picked clean. EXT. SETTLEMENT - DAY Against a blue sunrise, the Chrislams hold a prayer service. Paris and Audrey attend. Riddick watches from afar. INT. CORING ROOM - DAY SHAZZA Why was the door chained up? Why the bloody hell would they lock themselves in like that? JOHNS Not sure, but tell you what: Chrislams better not be diggin' another grave out there. RIDDICK (O.S.) Other buildings weren't secure... They turn. Riddick enters. RIDDICK (CONT'D) ...so they ran here. Heaviest doors. Thought they'd be safe inside, but... (looks down shaft) Someone forget to lock the back door. Shazza joins him at the shaft. Gazing on the human remains: SHAZZA So that's what come of me Zeke. An' you saw it. You was right there. Riddick nods. SHAZZA (CONT'D) You were tryin' to kill him too. RIDDICK (shrugging, "not necessarily") Just wanted his O-2. (a beat) Though I notice he tried to ghost my ass. When he shot up that stranger instead. Shazza can't deny it. She looks at him differently now, the man she once beat while in chains. She takes off her breather. SHAZZA Take it. RIDDICK (suspicious) What, it's broken? SHAZZA Startin' to acclimate, anyhow. Take it. Riddick accepts it awkwardly, sucks down some pure O2. Johns watches the exchange closely, not much liking the idea of Riddick being promoted to oxygen-breathing human. JOHNS (to Fry) Let's board this up and get the hell gone. They seem to stick to the dark, so if we stick to daylight, should be all -- FRY 60 years ago. JOHNS Wha'? Coring samples line the room, laid out on counters. Fry's been scrutinizing them. FRY Core-samples are dated. Last one is 60 years ago. This month. SHAZZA Yeah? What's special about that? FRY Dunno. Maybe nothing, but.... But now Fry remembers... INT. LIVING QUARTERS - SETTLEMENT - DAY The orrery. The year-counter clicks over to "45" as... Fry opens the drive box and starts turning the main gear, accelerating the orbits. CLOSE on the counter. "56...57...58...59...60." They all see it: A giant ringed world eclipses the suns and plunges their planet into darkness. Persistent darkness. JOHNS Are you fuckin' kidding me? RIDDICK Not afraid of the dark, are you? EXT. SETTLEMENT - DAY Crossing the yard in wide strides: FRY ...need those cells from the crash ship. Shit, still gotta check out the hull, patch the wings -- JOHNS Let's wait on the power cells. FRY Wait for what? Until it's so dark we can't even find our way back to -- JOHNS We're not sure when it happens, so let's not -- FRY Get the fucking cells over here, Johns. What's the discussion? A beat. JOHNS Ever tell you how Riddick escaped? INT. SKIFF - DAY Alone inside the skiff, Johns and Fry continue with more privacy. FRY (jarred) He can pilot? JOHNS Hijacked a prison transport, made a helluva good run 'fore I tracked him down. FRY (with faint hope) Okay, maybe that's a good thing. Maybe I can use him to help with -- JOHNS He also figured out how to kill the pilot, Fry. A mental shiver. FRY You said we were going to trust him now. You said there was a deal. JOHNS That's what I said. He challenges her to read his mind. FRY Oh, this is a dangerous game you're playing, Johns. JOHNS May've noticed chains don't work on this guy. Only way we're truly safe is if he believes he's goin' free. But if he stops believin' -- FRY You mean, if he learns that you're gonna royally fuck him over. JOHNS (CONT'D) -- we need a fail-safe. Bring the cells over at the last possible minute -- when the wings are ready, when we know we're ready to launch. Fry looks at him with new eyes. FRY You know, he hasn't harmed any of us. Far as I can tell, he hasn't even lied to us. Just stick to the deal, Johns. Let him go if that's what it -- JOHNS He's a murderer. The law says he's gotta do his bid. Shaking her head, she looks off. FRY Dancin' on razor blades here... JOHNS I won't give him a chance to grab another ship -- or to slash another pilot's throat. EXT. SKIFF - SETTLEMENT - DAY Johns descends the gangway -- and finds Riddick erecting a field table in the shade of the skiff. He seems out of earshot. Now, anyway. As they trade looks, another flu-like shiver runs through Johns. RIDDICK Bad sign. Shakin' like that in this heat. Johns moves on. The Chrislams appear, shouldering a roll of Vectran (wing-fabric material). They drop it on the table. Ready to cut bindings, Imam pats his hip for the knife that was just there. RIDDICK (looking after Johns) I'll cut. He has the knife. EXT. SETTLEMENT - DAY As Shazza and Audrey repair the sand-cat. EXT. SKIFF - DAY CLOSE on the knife slicing through the Vectran. Riddick hands the trim to Pilgrim #1. CAMERA FOLLOWS as he scampers onto the skiff...balance-beams over wing-struts...and delivers the piece to Imam, who stitches the fabric like an old Berber rug-weaver. Pilgrim #1 pauses to check on... The setting blue sun. Nothing unusual. Yet. INT. SKIFF - DAY The hatch closes, seals. CLOSE on a monitor. A "HULL INTEGRITY TEST" is underway. Fry scans rising pressure gauges. RIDDICK (O.S.) Looks like we're a few shy.... Fry whirls. Riddick is aboard, staring at the depleted battery bay. And he has Imam's blade. RIDDICK (CONT'D) Power cells. FRY They're coming. RIDDICK Strange, not doin' a run-up on the main drive yet. (half-beat) Strange unless he told you the particulars of my escape. FRY I got the quick-and-ugly version. RIDDICK An' now you're worried about a repeat of history? FRY Entered our minds. RIDDICK I asked what you thought. FRY You scare me, Riddick. That's what you wanna hear, isn't it? There, I admit it, Can I get back to work now? She finds the courage to turn her back on him. Riddick moves closer -- and takes a beat to scan the controls. The cabin pressure builds. RIDDICK Think Johns is an do-right man? You think I can trust him to cut me loose? A beat. Does Riddick already know? Is he testing her? FRY Why, what'd you hear? RIDDICK Well, guess if it was trickeration he'd just do me, huh? Then again...I am worth twice as much alive. (reading her face) Didn't know? Johns ain't a cop. Oh, he's got that shiny badge an' all, but nah -- he's just a merc and I'm just a payday. That's why he won't kill me. The creed is greed. It knocks her off stride, but... FRY Save it, Riddick. We aren't gonna turn on each other -- no matter how hard you try. Riddick moves right up behind her. RIDDICK I don't truly know what's gonna happen when the lights go out, Carolyn -- but I do know that once the dyin' starts, this little psycho family of ours is gonna rip itself apart. So you better find out the truth. Come nightfall, you better know exactly who's standing behind you. A monitor chirps the news: "HULL INTEGRITY --100%." EXHALING GASSES, the hatch opens automatically. RIDDICK Oh, ask him 'bout those shakes. And ask why your crew-pal had to scream like that 'fore he died. INT. PRIVATE ROOM - SETTLEMENT - DAY CLOSEUPS: Hands select a red-metal shotgun shell from a box... pull the shell open...remove a glass ampule hidden inside...drop the ampule into a injection syringe. The syringe touches an eager arm vein. FRY (O.S.) Who are you? Really? Shirt off, Johns looks up. She's in the doorway. FRY (CONT'D) You're not a real cop, are you? Just some mercenary who goes around talkin' about the law like -- JOHNS I never said I was. FRY Never said you were a hype, either. She moves closer. Rummages through his stuff brazenly. Finds a shitload of red shells with the hidden ampules. JOHNS You have a little caffeine in the morning, I have a little morphine. So what? FRY And here you got two mornings every day. Wow, were you born lucky? JOHNS Not a problem unless you're gonna make -- FRY (lashing) You made it a problem when you let Owens die like that. When you had enough drugs to knock out a fucking mule-team. JOHNS Owens was already dead. His brain just hadn't caught on to that fact. FRY Anything else we should know about you, Johns? Christ, here I am lettin' you play games with our lives when -- He catches her hands -- and moves them around his body, forcing her into an embrace. We understand why when we see a CLOSEUP of her hands: They find a jagged purple scar beside his spine. JOHNS My first run-in with Riddick. Went for the sweet-spot and missed. They had to leave a piece of the shiv in there. I can feel it, sometimes, pressing against the cord. (giving her hands back) So maybe the care and feeding of my nerve-endings is my business. FRY You coulda helped. And you didn't. O.S., we hear the Chrislams JABBERING ARABIC and calling for "Captain, Captain...." JOHNS Yeah, well, look to thine own ass first. Right, "captain"? It cuts deep. EXT. SETTLEMENT - DAY Fry and Johns move outside. The others have gathered, all eyes gang-locked on... An arch in the sky. Luminous, ominous, it grows from the horizon. PARIS What do my eyes see? FRY It's starting.... They watch hypnotically as the arch rises, inching toward the two suns. Shazza shakes out of the trance first. SHAZZA (to Fry) If we need anything from the crash ship -- I suggest we kick on. That sand-cat's solar. EXT. SETTLEMENT - DAY MULTIPLE SHOTS: Shazza cranking the sand-cat...hands snatching up lights, water, ropes...Chrislams piling aboard the sand-cat. FRY LET'S GET THOSE CELLS! Sand-cat moving...Riddick jumping onto the rear bed....Paris and Audrey running, catching up. SHAZZA We stay together! C'mon! INT. PRIVATE ROOM - SETTLEMENT - DAY Johns doubles back, grabs his shotgun shells, swings out the door... EXT. INCINERATOR - SETTLEMENT - DAY ...and catches up to the sand-cat. Riddick reels him aboard. RIDDICK Don't wanna miss this. AUDREY Lookit. Lookit! They turn back to see the rim of a giant planet. It's cresting over the horizon. The luminous arch is the planet's rings. EXT. RIBCAGE - THE GAUNTLET - DAY The sand-cat storms through the canyon. As it passes through the massive ribcage... The ROLL CAGE SMASHES OUT some low-bridge bones. EXT. CRASH SHIP - DAY The sand-cat reaches the crash ship. Bodies leap off. Paris steals a look at... The rising planet. It threatens to blot out suns, sky, universe. INT. BATTERY BAY - CRASH SHIP - DAY Johns yanks the first power cell and starts dragging it over the deck. Riddick yanks a second cell and, carrying it on his shoulder, passes Johns with a suck-my-ass grin. Johns shoulders his cell and stumbles after. EXT. CRASH SHIP - DAY Shazza wheels the sand-cat around, getting clearance between it and the ship. The Chrislams lash a scrap-metal sled to the sand-cat. Riddick drops the first cell onto the sled, Johns the second. They're racing the eclipse and each other. EXT. SKY - DAY TO DUSK As the rings of the planet eclipse the yellow sun. EXT. CRASH SHIP - DUSK It's like God just closed a blind: Daylight dims. The change in light brings a GROWING HIGH-PITCHED SOUND. FRY Don't stop, don't stop.... But Paris can't help himself. He squints to see... EXT. SPIRED HILLS - DUSK The spires. THE SOUND seems to come from there. EXT. SKY - DUSK As the rings eclipse the red sun. EXT. CRASH SHIP - DEEP DUSK A second darkness sweeps over the survivors. Now they all stop, beholding... EXT. SPIRED HILLS - DEEP DUSK Something pouring from the spire-tops. Backlit by coronal light, it first seems to be smoke or ash -- but soon we realize these are living things, HATCHLINGS SQUEALING IN DELIGHT over their first nightfall. EXT. CRASH SHIP - DEEP DUSK JOHNS Jesus, how many can there.... They keep coming, filling the sky with thick waves. Mercifully, the hatchlings seem to be moving away. But now one wave cleaves from another -- and does a quick about-face. PARIS Just a suggestion, but perhaps we should flee. FRY Cargo hold, everyone in the cargo hold. lesgo, lesgo, lesgo. They run. Reach the cargo hold. Turn back to see... Riddick and Shazza still coming. Hearing the SQUEALING WAVE descending on them... Riddick and Shazza hit to the dirt. Hatchlings torrent just inches overhead. CLOSE on Shazza. Horrified. Hard to breathe. Like being underwater. CLOSE on Riddick. He watches in awe, no more frightened that a kid lying on his back looking up at the stars. Experimenting, he eases a bone-shiv into the hatchlings. Instantly it's whittled down to nothing. It's like a river of razor blades. The hatchling keep coming. Shazza whips a panicky look at the cargo hold. Can she make it? Should she even try? AUDREY Tell her to stay there. Stay down. SHAZZA, JUST STAY DOWN! Shazza starts worming toward the cargo hold. Suddenly the hatchings vanish. A beat. Is it safe? Shazza gets to her feet... FRY No, no, NO, NO, NO.... ...and the wave is back, enveloping Shazza. INT./EXT. CARGO HOLD - DEEP DUSK Standing in the mouth of the cargo container, the others get a last glimpse of Shazza as she flies by the doors, caught up in the funnel-cloud of hatchlings. Then she's simply gone. EXT. CRASH SHIP - DEEP DUSK Still on the ground, Riddick checks left and right like someone about to cross a busy street. Now he gets up, smacks his hands clean, strolls for the hold. Behind him... A rising GANG-CLICKING. CLOSE on Fry. She knows the sound better than anyone. EXT. SPIRED HILLS - DEEP DUSK The spires are crumbling, torn down from within. EXT. CRASH SHIP - DEEP DUSK Reaching the cargo hold, Riddick turns around for one last look. PUSH IN as he sheds goggles -- and looks at the world with his jaguar eyes. RIDDICK'S POV: In degraded image, we see the predators -- adult hatchlings -- emerge from the spires. They're large, mammalian, hammer-headed. They CLICK with echo-location, sounding out the world they haven't inhabited in 60 years. FRY What is it? What's happening? RIDDICK'S POV: The predators launch from the hills, gliding, SOUNDING, searching. RIDDICK Like I said. Ain't me you gotta worry about. EXT. SKY - DEEP DUSK TO NIGHT The rim of the planet overtakes both suns. The world goes dark. INT. CARGO HOLD - NIGHT Vault-like DOORS BOOM CLOSED. The survivors are locked inside the only secure part of the ship. Somehow they've been reduced to neanderthals huddling in their cave, listening to the howls of the sabertooths. AUDREY What if...what if she's still out there... still alive.... JOHNS Well, I don't want to jump to conclusions here...but 'member that boneyard? These just might be the fuckers that killed every other living thing on this planet, okay? Chances of Shazza knockin' on that door anytime soon are just about zero squared. FRY (agreeing) I saw the cut-marks on the bones. Wasn't a natural die-off. IMAM Quiet, please. Everyone. Imam is listening at the cargo door. The others pile up alongside, ears tuned like radar. CLICKING SWEEPS PAST outside. AUDREY (whispering) Why do they do that? Make that sound? IMAM Perhaps the way they see. With sound, reflecting back. FRY (realizing) Echo-location. That's what it is.... Now MORE CLICKING -- behind them. Lights whip around to find... Nothing. Only the door of an open container about halfway down the tunnel-like hold. A volley of looks. "How the fuck could one get in here?" FRY Breach in the hull. I dunno. More CLICKING. Johns realizes they expect him to check it out. JOHNS I'd rather piss glass. RIDDICK Well, you got the big gauge. JOHNS Wanna rag your fat mouth? AUDREY Maybe it's just their beads again. Imam, are you still -- IMAM No, no, no, I do not believe -- JOHNS C'mon, man, you're drivin' everybody bugfuck with those things. Why don't you just lose the goddamn.... More CLICKING -- along with the sound of TOPPLING CARGO. RIDDICK Big beads. Butching up, Johns sucks on his breather and shimmies toward... The open container. Leading with his shotgun, he FIRES blindly around the door. Something SQUEALS -- then silence. Johns eases his head and a light around the door to spot... Hatchlings on the ground, blasted into dog food. JOHNS (to others) Okay. We're okay. Just some small ones that musta -- Something WHOOSHES for his head, swinging like a scythe. It catches his shotgun, DISCHARGING IT, giving us... A flash-image of an adult predator. Up close. In one thin second, Johns is back with the others. JOHNS Very big beads. PARIS Not staying in here another.... He goes for the main-door lever, ready to flee into the night. Fry lunges for him. FRY Christ, you don't know what's out there! PARIS I know what's in here! IMAM Everybody come, this way and we should be safe. Hurry, please.... INT. FIRST CONTAINER - CARGO HOLD - NIGHT Imam shepherds them into a container. The door slams closed. At first, only the sound of MOUTHS SUCKING BREATHERS. Then a SCRATCHING. Johns fumbles with a cutting torch. Gets it burning. Adjusts the gasses to illuminate... The door. Scythe-like blades are probing joints. Suddenly HEAVY BLOWS drive everyone back. RIDDICK (to Johns) Can you do sumpin' else with that? 'Sides holding it in my fucking face? Taking the hint, Johns starts cutting the common wall between containers. It's a race between the sparks of his cutter and the blades of the predators. INT. SECOND CONTAINER - CARGO HOLD - NIGHT An burn-outline appears in the common wall. Johns kicks out the escape hatch. Audrey speed-crawls through first as... INT. FIRST CONTAINER - CARGO HOLD - NIGHT Predators shred into the container right behind them, CLICKING, sweeping, hunting. INT. THIRD/FOURTH CONTAINERS - CARGO HOLD - NIGHT SERIES OF SHOTS: Again and again, they burn a new escape hatch just as the predators break into the container being vacated, always entering darkness. INT. FIFTH CONTAINER - CARGO HOLD - NIGHT Inside their fifth container now, Johns torches away. Fry and Paris use cargo to block the entrance hole -- then block the cargo with their bodies. Riddick adds his weight -- until he notices pepper-shot in the cargo. Suspecting the worst, he leaves the others behind... PARIS Hello, hello? ...and moves to the front of the container where darkness prevails. Something SQUISHES underfoot. He slips off goggles. RIDDICK'S POV: Of dead hatchlings on the floor. This is the open container, the one where Johns found predators. Sensing energy, Riddick lifts his face. RIDDICK'S POV: Of an adolescent predator. It squats atop cargo, eating a hatchling. A heavy bone-blade crowns its skull. Sensing Riddick, it sweeps the area with INQUISITIVE CLICKS. PREDATOR POV: Of Riddick. (NOTE: The PREDATOR POV is a crude image that gives impression without detail. We're "seeing" what the predator hears with echo-location. Think of a sonagram that strobes and wraps its subject in 3-D space.) Oblivious, the others kick out the new escape hatch. Audrey, Fry, and Johns worm through. Imam and Pilgrim #2 hang back. "Where's Riddick?" He's in a stare-down with a predator. Searching, Pilgrim #2 rounds a corner -- and finds his head caught in a vice-like grip. RIDDICK Don't. Move. RIDDICK'S POV: As a second predator appears above them. This one reaches down with its scythe blade... And gently probes the two men. It wants know what they're made of. CLOSE on the pilgrim's shoes. Over-running with piss. More blades descend, moving over them like surgical instruments. One test-slices Riddick's shirt. INT. SIXTH CONTAINER - CARGO HOLD - NIGHT In the next container, Fry waits anxiously. Hissing through the escape hatch: FRY Imam? Where are they? INT. FIFTH CONTAINER - CARGO HOLD - NIGHT CLOSE on a predator's scythe blade. It test-slices the pilgrim's skin. Blood wells up. All CLICKING CEASES. IMAM (O.S.) Hasan? FRY (O.S.) Riddick? TIGHT on the pilgrim -- more scared now that the clicking has stopped. Losing his nerve, he bolts. RIDDICK No.... The predators are on him, just blurs in the dark. DEATH-SCREAM. RIDDICK'S POV: A third predator appears above him. Making his move, Riddick darts around cargo and heads for the escape hatch as... Fry's light catches him square in the face. Blinded, Riddick HOWLS and stumbles forward. Fry's light leaps deeper to hit... The predator right behind him. With a similar reaction, the beast HOWLS and flails back. HOLD on Fry for a time-stopped moment. What stopped it? Was it really her? Suddenly a SHOTGUN EXPLODES beside her head. Jacked up, Johns is BLASTING shadows. FRY Stop it, stop it, STOP IT! JOHNS 'Sokay, 'sokay. I killed it. They give him a look. "Sure you did." Suddenly a CARCASS SLAMS to the floor, sending everyone jumping back in a perfect splash- pattern. "Christ, he did kill one." Fry reclaims her dropped light and beams it on the carcass. Wherever the light strikes it, the flesh chars and steams. FRY There.... PARIS Like the light is scalding it. FRY It hurts them. Light actually hurts them.... VULTURE SOUNDS from the two O.S. adolescents, fighting over the scraps of the pilgrim. IMAM Is that...Hasan? Riddick nods. JOHNS We'll burn a candle for him later. C'mon. INT. SIXTH CONTAINER - CARGO HOLD - NIGHT Cargo has been shoved against the door and walls. The survivors gather around Fry's handlight. Audrey -- tough little Audrey -- has been reduced to a shivering lump of mush. FRY ...one cutting torch...one handlight here, two more in the cabin...I think two more.... PARIS Spirits. Anything over 45 proof burns well. FRY How many bottles? PARIS Not sure. Ten? FRY Those umbrellas, the ones that mist. Would they burn? (reading his face) If you got a receipt? PARIS Possibly. FRY Awright. So maybe we'll have enough light. JOHNS Enough for what? Now she challenges him to be the mind-reader. JOHNS (CONT'D) Oh, lady. If you're in your right mind, I pray you go insane. FRY (to others) We can stick to the plan. If we get four cells back to the skiff, we're off this rock. PARIS I hate to kill a beautiful theory with an ugly fact, but that sand-cat won't run at night. FRY We'll have to carry the cells...drag them...whatever it takes. Troubled faces. Is it just our imagination? Or is the light on the floor growing dimmer? AUDREY You mean...tonight? With all those things still out there? PARIS Oh, sure. Why not? Sounds like a hoot. JOHNS Back it up. How long can this last? Few minutes? Couple hours? No one knows for sure. IMAM I had the impression...from the model... that the two planets were moving as one. That there would be...a lasting darkness. JOHNS Those suns gotta come back sometime. And if these animals really are phobic about light, we just sit tight till then. FRY I'm sure that's what someone else said. Locked inside that coring room. A persuasive thought. Eyes swing back to Audrey. JOHNS Look, we gotta think about everyone now -- the kid especially. How scared is she gonna be out there? FRY Oh, don't use her like that, for a smoke screen. JOHNS Smoke screen for what? FRY For your own fear. JOHNS (eyes narrowing) Hey. Why don't you rag your hole for two seconds and let someone else come up with a plan that doesn't involve MASS SUICIDE? Two seconds pass. FRY How much you weigh, Johns? JOHNS What the hell's it matter? FRY How much? JOHNS 79 kilos. FRY Because you're 79 kilos of gutless white meat, and that's why you can't come up with a better plan. He makes a move for her. Riddick blocks. Johns' shotgun bumps the underside of Riddick's chin. RIDDICK Think about that reward, Johns. JOHNS I'm willing to take a cut in pay. RIDDICK How 'bout a cut in your gut? Johns looks down. CAMERA DROPS to reveal the shiv Riddick holds, poised for evisceration. JOHNS Oh, Trash Baby, you're gonna regret this. IMAM Please...this solves nothing...please.... Johns backs off first. The light grows dimmer. FRY (to Audrey) They're afraid of our light. That means we don't have to be so afraid of them. IMAM And you're certain you can find the way back? Even in the dark? FRY No, I'm not. But he can. She's pointing, of course, to Riddick. EXT. PLANET - NIGHT The eclipsing planet dominates half the sky. In whatever coronal light remains, we see clouds forming. EXT. CRASH SHIP - NIGHT Cargo doors crack open. Mixed for maximum flame, the cutter is pushed outside and swept around. Fry appears behind it. Moving like hostages, the survivors cross open ground, trying not to heed the PRIMAL SOUNDS beyond their light. Soon they reach... The main cabin. Blackness inside. FRY Riddick. He lifts his goggles. RIDDICK'S POV: Checking the cabin. Finding a lot of wreckage but no life. RIDDICK Looks clear. Johns shoulders ahead and crawls in first. Just as he stands up inside... A PREDATOR BUZZSAWS over his head, fleeing the cabin, taking off into the night. JOHNS Fuck me. You said "clear." RIDDICK Said "looks clear." JOHNS Well, what's it look like now? RIDDICK (rechecking) Looks clear. FRY Just get the goddamn lights on.... They scramble aboard. Riddick TONGUE-CLICKS behind Johns. He isn't amused. INT. MAIN CABIN - CRASH SHIP - NIGHT PREP MONTAGE: We see the survivors powering up cabin lights... yanking three more cells from the battery bay...threading nylon cord through Paris' misting umbrellas, filling the reservoirs with high-octane liquor...swapping out O2 canisters. INT. MAIN CABIN - CRASH SHIP - NIGHT Reloading his shotgun, Johns finds himself shaking again. He unpockets a shell -- a red morphine shell -- and gives it a lover's look. Behind him... FRY Ready, Johns. He palms the shell. JOHNS He'll lead you over the first cliff. You know that, don't you? FRY We're just burnin' light here. JOHNS You give him the cells and the ship -- and he will leave you. He will leave you all out there to die. FRY I don't get it, Johns. What is so goddamn valuable in your life that you're worried about losing? Huh? Is there anything at all? Besides your next hype? (no response) Got no right to be so scared. Neither one of us. INT. BATTERY BAY - CRASH SHIP - NIGHT As hands yank the last power cell. INT. MAIN CABIN - CRASH SHIP - NIGHT Cabin lights die. Still brooding, Johns finishes loading his shotgun in the dark. EXT. CRASH SHIP - NIGHT CLOSE on a burning wick. Alcohol mist shoots across the flame to create... A FIREBALL. Two umbrella torches, fabric already burned away, BELCH FIREBALLS into the night. By this light and more, we see... Imam chained into the first harness of the drag-sled. Beside him, Johns fumbles with a second harness. Hands help him into the chains. The hands belong to... Riddick. Both men recognize the irony of the prisoner helping his captor into chains. FRY (to all) Keep the light going. That's all we have to do to live through this. Just keep your light burning. Riddick loops a handlight over his neck, places it to shine light down his back. A beacon. RIDDICK (to Fry) Be runnin' about 10 paces ahead. I want light on my back -- but not in my eyes. And check your cuts. These things know our blood now. CLOSE on Audrey. Overhearing, she goes stone-faced. FRY Riddick...was thinkin' we should make some kind of deal. Just in case, you know, this actually -- RIDDICK (shaking head) Had it with deals. FRY But I just wanted to say -- RIDDICK Nobody's gonna turn a murderer loose. I fuckin' knew better. It worries Fry. "If he doesn't expect to go free...." RIDDICK (CONT'D) Been a long time since anyone's trusted me. That's somethin' right there. FRY We can, can't we? Trust you? RIDDICK Actually... (completely genuine) That's what I been askin' myself. He walks away. HOLD on Fry -- wondering if she hasn't made a terrible, terrible mistake. EXT. NIGHT The drag-sled begins moving. SERIES OF TRACKING SHOTS: Riddick running point, goggles off, eyes flashing. Johns and Imam pulling the drag-sled like malamutes, handlights sweeping. Pilgrims #1 at the first side- guard position, Fry and Audrey at the second, each position carrying an umbrella torch, FIREBALLS BLAZING. Paris stumbling along at rear-point, sweeping the cutter back and forth, every shadow a threat. They are a train of light. CLOSE on the sled. Holding four power cells and eight bottles of booze. CLOSE on Fry. Looking down. Noting sand-cat tracks underfoot. EXT. NIGHT Below us run the survivors. CRANE UP AND AWAY so that their lights become insignificant...so that we include, in FOREGROUND, the silhouettes of gliding predators. They're following from above, awaiting their chance. EXT. NIGHT FRY'S POV: Of the ground. The sand-cat tracks have vanished. JOHNS So you noticed too? FRY Riddick. Riddick. The procession grinds to a halt. Everyone sucks hard on breathers as they muster inside the light. FRY Where are the sand-cat tracks? Why aren't we still following them? RIDDICK Saw something I didn't like. JOHNS Such as. RIDDICK Hard to tell, sometimes...even for me... but looked like a bunch of those big boys chewin' each other's gonads off. Thought we'd swing wide. Okay by you? Paris looks over his shoulder. "We went around what?" Nearby CLICKING breaks up the confrontation. FRY Let's move. (to Audrey) Just a detour. He'll get us there. PARIS Can we switch? FRY What, switch what? PARIS I think I twisted my ankle running backwards like that. And I'm not sure I can.... (off their stares) Okay, that's a lie. I just don't want to be alone back there anymore. If you could just give me a few minutes up front here -- JOHNS She's the pilot, she should stay close to the cells. PARIS Oh, so I'm disposable? FRY I'll switch, I'll switch! Christ, just get this train moving! EXT. NIGHT They trundle on, Fry the new tail-gunner. At side guard, Paris relaxes a bit -- even though the CLICKING never seems far from earshot. A weak FIREBALL SPEWS from his torch. He checks the reservoir. Almost empty. PARIS Light, please, need light here.... Still moving, Johns and Imam train lights on Paris while he refuels. For a brief moment, Audrey strays from the light. PREDATOR'S POV: Dive-bombing the girl. A HIGH-VELOCITY CLICKING: It's like an incoming missile. Imam lunges at the last nanosecond... And flattens Audrey to the ground. Scythe blades swing... CHINKING the harness-chains on Imam's back. Johns whirls, BLASTS. Light-beams leap around. But the predator is long gone. IMAM (trembling) Please...have we been cut? Can someone tell me if.... He finds his dropped light, thumbs the switch again and again. Broken. In the confusion, Paris has been left in the dark. Something slashes him from behind. It's like the night has claws. PARIS Oh, sweet Jesus.... The bottle drops. The blood flows. The CLICKING STOPS. PARIS Oh, sweet Jesus, WILL YOU GET ME SOME LIGHT OVER HERE! Faces whip around. But before their lights can rescue him... Paris is gone, snatched away by a swooping blur. Light-beams jump fitfully, vainly. RIDDICK'S POV: Of predators feasting on Paris. Carrying a youngling on its back, a female predator arrives late and can't find a place at the trough. With shocking apathy, it whips the youngling off its back and begins devouring it. Other predators start in-fighting, killing themselves for food. POV PANS to a pair of predators, closer, SOUNDING out new prey. POV PANS AGAIN to include the object of their desire. Audrey. CLOSE on Riddick. Trying to figure it out. CLOSE on Audrey. Listening to the HORRIFIC FEEDING SOUNDS. Oblivious to all the attention she's getting. FRY What do you see? Riddick? RIDDICK Hunger. I see 60 years of hunger. EXT. SKY - NIGHT As clouds mass. EXT. NIGHT Into a rising wind, the survivors range on. Audrey now carries Paris' torch, refueled and COUGHING FIREBALLS at regular intervals. Fry seems to be handling rear-point fairly well, until... The cutter sputters and dies. She ditches it and takes the torch from Audrey. FRY Bottle-count. AUDREY Four fulls, one half. That mean we're halfway there? I hope? Good question. They've just been blindly following... The light on Riddick's back. FRY Can we pick up the pace? Working like a mule, Johns growls to himself. "If you think you can do better...." Abruptly he slaps an arm across Imam's chest, spotting... A sled-track. In front of them. Fry hears a SHOTGUN RATCHET. She spins to see... Johns out of his chains. Moving forward. Jamming the shotgun into the back of Riddick's neck. JOHNS We aren't completely stupid. FRY Stay in the light! Everybody! Stay in the fucking -- IMAM We crossed our own tracks. JOHNS He's running us 'round in circles. Look for yourself. Look! FRY Riddick? What the hell are you -- RIDDICK Listen. Imagine a hundred Geiger-counters next to a truckload of plutonium. That's the SOUND that rides the wind now. RIDDICK Canyon ahead. I circled once to buy some time to think. FRY Think about what? JOHNS About how to kill us and still get these cells to the skiff. Goddamnit, we're just doin' the heavy lifting for this prick! RIDDICK (answering Fry) About the girl. FRY What about her? RIDDICK What it's gonna be like when we hit that canyon. With her bleeding. JOHNS What're you jaw-jackin' about? Girl's not cut. RIDDICK (agreeing) No. She's not. It hits Fry like a two-by-four. She looks at Audrey. AUDREY (confessing) I didn't want you to leave me there... back at the ship...that's why I didn't say anything.... FRY No, we'd never....Oh, God, honey, you shoulda told me sooner. JOHNS (finally getting it) Aw, this can't be happening to me.... RIDDICK They been nose-open for her ever since we left. They go off blood. IMAM Well...we must keep her close, then. Here, she'll be safe if we put her between -- RIDDICK (scanning) There is no "safe." An epic beat. The wind gusts...the FLAMES CHATTER...their ears fill with CANYON SOUNDS. FRY It's not gonna work. We gotta go back. Johns brays. JOHNS Hey, you're the one who got me out here, turned me into a goddamn sled dog. An' now you 'spect me to go back like a whipped dog? FRY I was wrong. I admit it. My bad, okay? Now let's just go back to the ship. JOHNS I dunno. Nice breeze, wide open spaces -- you know, I'm startin' to enjoy myself out here. FRY Are you fucking high again? Just listen to -- JOHNS No, no, you're right, Fry. What's to be afraid of? My life is a steamin' pile of meaningless toadshit anyhow. So I say mush on! Canyon's only couple hundred meters, after that we're in Skiff City! So why don't you just butch up, stuff a cork in that kid, and get -- IMAM She's the captain, we should listen to -- JOHNS Listen to her? Her? When she was willing to sacrifice us all? A beat. Eyes turn to Fry. She wants to protest -- but can't. AUDREY What's he talkin' about? JOHNS During the crash, she -- FRY (a warning growl) This does not help us, Johns. JOHNS -- she tried to blow the whole fucking passenger cabin, tried to kill us -- FRY Just shut up, okay? JOHNS -- tried to kill us in our sleep. Paris had it right -- we are disposable. We're just walking ghosts to her. FRY Would you RAG YOUR STUPID HOLE! She rushes him, ready to rip his eyes out. He shunts her aside. JOHNS We're not alive because of her -- we're alive in spite of her. He swung below the belt -- and connected. Fry's chin quakes, her knees fail. The undertow of events finally pulls her down. FRY We cannot go through there.... JOHNS (lording) How much you weigh right now, Fry? Huh? IMAM (pushing him back) Fine, fine, you've made your point. We can all be so scared as you. Johns snatches a light away from Imam. JOHNS (to all) Verdict's in. The light moves forward. EXT. BONEYARD - NIGHT They trudge on, slower now, building reserves for the canyon-run. At rear-point, Fry follows like a broken rudder. Pilgrim #1 now draws the sled with Imam. And up ahead... EXT. BONEYARD - NIGHT Johns falls in step with Riddick. JOHNS Ain't all of us gonna make it. RIDDICK Just realized that, huh? CLICKING nearby. Johns BLASTS the night, driving the sound away -- and reminding everyone of who carries the Big Gauge. JOHNS Six of us left. If we could get through that canyon and lose just one, that'd be quite a fucking feat, huh? A good thing, right? RIDDICK Not if I'm the one. JOHNS What if you're one of five? Riddick stares. "I'm listening." EXT. BONEYARD - NIGHT AUDREY What're they doin' up there? IMAM Talking about the canyon, I suppose. How to get us through. Overhearing, Fry looks. It's odd to see Johns and Riddick walking side by side, like equals. Like partners. EXT. BONEYARD - NIGHT JOHNS Look, it's hellified stuff -- but no different than those battlefield doctors when they have to decide who lives and who dies. It's called "triage," okay? RIDDICK Kept calling it "murder" when I did it. JOHNS Either way, figure it's something you can grab onto. RIDDICK (doping it out) Sacrifice play. Hack up one body, leave it at start of the canyon. Like a bucket of chum. JOHNS Trawl with it. There's a cable on the sled. We can drag the body behind us. RIDDICK Nice embellishment. JOHNS Don't wanna feed these land-sharks -- just keep 'em off our scent. RIDDICK (looking back) So which one caught your eye? JOHNS Don' look, don' look, don' look.... EXT. BONEYARD - NIGHT Fry spots Riddick's look -- and Johns' non-look. FRY Imam. Slow down. IMAM What? FRY Don't stop, just slow down. Little more space 'tween us and them. IMAM I would rather we all stay-- FRY Do what I say. Please. EXT. BONEYARD - NIGHT RIDDICK What's her name, anyway? JOHNS What do you care? Riddick shrugs. "I don't." JOHNS Then let's not name the Thanksgiving turkey, okay? I assume you still got a shiv. RIDDICK What, you 'spect me to do it? JOHNS What's one more to you? Like this is the one that sends you to Hell? RIDDICK Oh, you're a piece of art, Johns. They oughtta hang you in a museum somewhere. Or forget the museum -- maybe they should just hang you. EXT. BONEYARD - NIGHT As Fry and the others keep slowing. EXT. BONEYARD - NIGHT JOHNS Awright. You do the girl, I'll keep the others off your back. Riddick stops. Reconsiders. JOHNS (CONT'D) Aw, don't tell me you're growin' scruples. RIDDICK (shakes head) Just wonderin' if we don't need a bigger piece of chum. JOHNS Like who, Mr. Chrislam? EXTREMELY TIGHT on both men: In their eyes, we see the new partnership splintering apart: "Like Mr. Johns." Riddick makes a play for the shotgun. It BLASTS skyward. EXT. BONEYARD - NIGHT As the fight erupts: FRY Bring the light! AUDREY What're they doing? What're we -- FRY Leave the sled, let's go, go, go! EXT. BONEYARD - NIGHT FIGHT SCENE: Johns' light hits the ground, creating an arena of illumination. FAST CLICKING nearby. Still struggling, Riddick and Johns somehow manage to gang-aim the shotgun and BLAST THE CLICKING AWAY. The shotgun goes free. Johns lunges for it, but Riddick kicks it into the night. And then pulls his shiv. RIDDICK Gotta stay in the light, Johns. That's the only rule. Johns circles inside the light. Fucking with him, Riddick starts poking and jabbing, backing him up against the wail of dark. Johns stumbles over something. A bone. A club. Riddick finds his own bone-club, and now they go at it like two cavemen. Riddick beats on Johns' club-hand, breaking fingers, forcing him to drop the bone. Just trying to get away now, Johns makes a desperate lunge for the light, but... Riddick shivs open his back. RIDDICK Remember that moment? Gushing blood, Johns starts crawling pathetically with the light. Riddick dogs him. RIDDICK Shoulda never took the chains off, Johns. You were one brave fuck, before. Now look at you. Oh, yeah, you were Billy Bad-ass with your gauge...with your chains.... Johns finds the shotgun. "And I'm still Billy Bad-ass." He sweeps it around with the light, ready to kill... Blackness. Where'd Riddick go? CLICKING behind Johns. He whirls to see... Something big coming for him. Johns BLASTS IT back into the night, dropping the light as he does. Eyes in the back of his head, he whirls again and takes aim on... Another bull-rushing predator. Johns triggers a bad round. Crazed, he ratchets and levels the shotgun for another try. He's too late. BIG CLOSEUP as the ejected shell rolls to a stop. It's red. Johns loaded a morphine shell in the dark. RIDDICK'S POV: With Johns skewered by the armpits, the predator lifts him off the ground and "stares" with a deceptively gentle CLICKING-COOING SOUND. PREDATOR'S POV: Of Johns' final expression. RIDDICK'S POV: The predator rears back its head -- then slams forward, hitting Johns with the full force of its skull-blade, splitting him in two. EXT. NIGHT Fry, Imam, Audrey, Pilgrim #1. They're running, stumbling, trying to backtrack the sled marks. Checking for pursuit, Fry looks over her shoulder... And crashes into Riddick. He was just standing in the dark, waiting for them. RIDDICK Back to the ship, huh? FRY Get out of our way. RIDDICK So everybody huddles together till the lights burn out? Until you can't see what's eating you? That the big plan? IMAM Where's Mr. Johns? RIDDICK Which half? IMAM You mean.... Conflicted, they all look back. Audrey starts to puddle up. AUDREY Gonna lose everybody out here.... RIDDICK He died fast. And if we got any choice, that's the way we should all go out. (to Audrey, softly) Don't you cry for Johns. Don't you dare. EXT. CANYON RIM - THE GAUNTLET - NIGHT BLACK SCREEN. We hear the canyon in full cry now -- CLICKING... BATTLING BONE-BLADES...MATING CRIES...the RENDING OF FLESH and SNAPPING OF TENDON. Far below, twin flames appear as the survivors reach the gauntlet. Predators perch in FOREGROUND, just hulking silhouettes "watching" from a canyon rim. EXT. START OF GAUNTLET - NIGHT They are but five: Fry, Riddick, Audrey, Imam, and Pilgrim #1. CLOSE on each face as they listen to the CANYON. There must be countless predators ahead. FRY How many you see? RIDDICK One or two. FRY Audrey? AUDREY Three full bottles. But almost time to refill. FRY Doesn't seem like enough to turn back on, does it? RIDDICK Only see one way. Turn the sled over and drag it like that, girl down low. Light up everything we got -- and run through like dogs on fire. A beat. IMAM (understanding) The sled as a shield.... FRY And what about the cells? RIDDICK I'll take those. She looks at him hard. FRY We're just here to carry your light, aren't we? Just the torch-bearers. RIDDICK Let's drop back an' boot up. EXT. BONEYARD - NIGHT START on the power cells. They're been lashed together into one queue. Working amid the giant bones, Riddick crafts a new harness from the old straps. Close behind him, Imam is MUTTERING IN ARABIC. RIDDICK What're you doin'? IMAM Blessing you like the others. (off his look) It's painless. RIDDICK And pointless. IMAM (a beat) I see. Well, even if you don't believe in God, it doesn't mean He won't be -- RIDDICK You don't see. Riddick shrugs into the harness, snugs it down. RIDDICK (CONT'D) 'Cuz you don't spend half your life in lock-down with a horse-bit in your mouth and not believe. And you surely don't start out in a liquor store trash bin with an umbilical cord wrapped around your neck and not believe. Oh, absolutely I believe in God. And I absolutely hate the fucker. IMAM He will be with us. Nonetheless. RIDDICK Give my blessing to the girl. She needs a spare. EXT. START OF GAUNTLET - NIGHT The torches. Maxed out. Burning non-stop. Fry and Imam. Sled chains on. Lapping up O2. Each holding a torch. Pilgrim #1. Clutching a handlight. Audrey. Rolling under her sled-shield, becoming the turtle in a metal carapace. Riddick. Goggles on. He has no desire to see what horrors will surround them. There's just one path, anyway: Straight through. RIDDICK As fast as you can. FRY You sure you can keep -- RIDDICK As fast as you can. EXT. THE GAUNTLET - NIGHT SLEW OF SHOTS: Fry and Imam on the move, dragging the shield fast. Audrey speed-crawling beneath. Pilgrim #1 tripping along behind the shield. And Riddick behind them all, face already tortured, pulling 200 pounds of stubborn-mule cargo -- yet somehow keeping pace. The torch flames, stretched by the wind, flank them in fire. EXT. CANYON RIM - THE GAUNTLET - NIGHT As predators launch from the rim. EXT. THE GAUNTLET - NIGHT First come the hatchlings, streaming right into their faces -- then veering away at the last second, repulsed by light. Next come FERAL SOUNDS overhead. RIDDICK Don't look. Thin blue liquid spatters them. RIDDICK Do not look up. More spattering. Fry looks up -- and stumbles when she beholds... A ceiling of predators. At the cusp of light, they dive and weave and dart, slashing each other in a rabid desire to SOUND OUT the humans below. It's like looking into a bucket of angry eels. RIDDICK Keep going, keep going, keep going, keep going! His voice whips them like the Devil's coxswain. Chastened, Fry keeps her eyes down and speed up. More blue blood showers down -- followed by entrails dropping out of the sky. Could this be Hell itself? IMAM (a muttered mantra) "So dark the clouds around my way I cannot see, But through the darkness I believe God leadeth me. I gladly place my hand in His when all is dim, And, closing my weary eyes, lean hard on him...." Now WHOLE CORPSES ARE CRASHING DOWN around them, victims of in-fighting. Fry and Imam start slaloming through the ghastly mess. Pilgrim #1 passes too close to a corpse: A blade slices his leg, drawing blood. He keeps his mouth shut. EXT. CHOKE-POINT - THE GAUNTLET - NIGHT The passage narrows into a choke-point. Fry sees it first. FRY Riddick? RIDDICK? Ahead, a clot of dead predators blocks the canyon. AUDREY What? What is it? RIDDICK It's a fucking staircase! Go over it! GO OVER IT! Steeling themselves, they start climbing. But Audrey, on all fours, has to discover the corpses with her hands. Then, taking exception at being walked on... One "corpse" snaps at her. Audrey recoils sideways... And tumbles down the mound of corpses. She's exposed. PREDATORS' POV: Rapid-fire images of Audrey. Flashes from 10 different predators. FRY Audrey! Audrey shakes out of it and scrambles for the shield just as... A predator kamikazes onto the shield, its bone-blades piercing the metal... And nearly skewering Audrey beneath. Caught in torchlight, steaming, the PREDATOR HOWLS as it tries to rip free of the shield. Beneath, Audrey hangs on and takes a thrashing. The predator tears clear, spins, pounces blindly at... Riddick, standing at light's edge. Stunningly, he catches the beast under its scythe blades, blunting the attack. The predator CLICKS MADLY at him. PREDATOR'S POV: Of Riddick's face. The predator rears back its head, ready to bisect Riddick with its skull-blade. Switchblade fast, Riddick drops a hand... ...yanks his shiv... ...and sweeps it over the belly of the beast. HOWLING, the predator falls, disemboweled. REACTION SHOTS of Fry and Imam. Stunned. RIDDICK Didn't know who he was fuckin' with. They regroup. Imam's head swivels back and forth: They're one person short. IMAM Suleiman! RIDDICK Get the girl back under. Keep going. IMAM SULEIMAN! RIDDICK KEEP GOING OR I WILL! Suddenly Pilgrim #1 reappears, thrust back into the light by unseen forces. He's still alive -- but shouldn't be. He makes a feeble attempt to grab onto Imam, to anyone, but he's gone again before they can even react, jerked out of the light. Out of existence. EXT. THE GAUNTLET - NIGHT They flail on. And now, finally...finally.... The canyon widens, opening up like some door to Heaven. The WORST SOUNDS fall behind. We can see it in their sweat-sheened faces: The faintest hope that maybe they've survived the Seventh Circle of Hell. But then... The TORCHES SPIT AND SPUTTER. Audrey hears PATTERING on the metal shield. Blood falls anew. One torch dies -- yet somehow comes back to life. Imam upturns a hand, checking the liquid for color. But this blood has no hue. FRY Oh, no. No, no, no.... IMAM Rain. EXT. THE GAUNTLET - NIGHT RAIN MONTAGE: Water rilling, running, flowing over rocks and ground. EXT. THE GAUNTLET - NIGHT Caught in a downpour, the survivors slog to a stop. One torch goes out -- and won't relight. RIDDICK So where the hell's God now, huh? (no answer from Imam) I'll tell you where! He's up there PISSING ON ME! FRY Riddick? How close? Riddick sheds goggles to look ahead. We don't know what he sees -- nor what he's thinking. FRY Tell me the settlement is right there! RIDDICK, PLEASE! RIDDICK We can't make it. HOLD on Fry's anguished face, rendered in dying torchlight. Somewhere behind, the AWFUL SOUNDS RETURN. RIDDICK Here...hide here.... He's found a crevice in the canyon wall. RIDDICK Inside...inside.... EXT. CREVICE - THE GAUNTLET - NIGHT They crawl into the fissure. The second torch dies behind them. EXT. THE GAUNTLET - NIGHT There's just one light left now -- the one Riddick wears on his back. By its glow, we watch him lift the shield, muscle it over to the crevice... EXT. CREVICE - THE GAUNTLET - NIGHT ...and slide it over the opening. A black beat. AUDREY (a beat) Why's he still out there? Fry's not sure. Is he protecting them? Or entombing them? EXT. MUDDY RISE - THE GAUNTLET - NIGHT Working like Sisyphus, Riddick hauls the cells up a muddy rise. He stops at the top, peers through the rain. RIDDICK'S POV: Of the settlement. Riddick disappears over the rise. The four cells follow, slithering through the mud like a serpent's tail. EXT. CREVICE - THE GAUNTLET - NIGHT AUDREY He's not coming back, is he? Fry checks Imam's face. Did Riddick say anything to you?" Imam wags his head. A bleak beat -- before Fry realizes she can see his face. FRY There's light in here. It's a soft glow from above. Imam climbs higher to discover small blue-white lights clinging to rocks. He plucks a few. FRY What are they? CLOSE on the lights in Imam's palm. They writhe with life. IMAM Larva.... AUDREY Glow worms.... FRY (mind racing) How many bottles we got? Empty ones? INT. SKIFF - NIGHT Riddick boards the dark craft. Connects the power cells to the battery bay. Watches the ship come to life. EXT. CREVICE - THE GAUNTLET - NIGHT CLOSE on a liquor bottle. It's half full of glow-worms. AUDREY More, more, we need more.... They climb higher. Little by little, the bottle brightens their world. EXT. SKIFF - NIGHT Drenched in light, Riddick stands in the hatchway of the skiff, looking out into dark rain. Is he struggling with a decision? Or just savoring the safe harbor? Then very deliberately... Riddick smashes his handlight on the hull. He steps inside and closes the hatch behind him. EXT. MUDDY RISE - THE GAUNTLET - NIGHT Something claws its way up the rise. Standing, we see that it's Fry, a bottle of glow-worms strung around her neck. Ahead she spies... The settlement. Silhouetted by engine-light. EXT. SKIFF - NIGHT As the skiffs ENGINES WARM UP. INT. SKIFF - NIGHT As Riddick dabbles with flight controls. EXT. SETTLEMENT - NIGHT As Fry, running, splashes past buildings. EXT. CREVICE - THE GAUNTLET - NIGHT Audrey and Imam huddle around a bottle of glow-worms: This is all they could harvest. Presently SCRABBLING SOUNDS on the shield. Imam eases one eye to a small hole in the shield. He can't see much until... A blade rushes through the hole. Imam recoils hard, snatches up the glow-worm light to see... More predator blades exploring the edges of the shield. The light drives them away. For now. INT. SKIFF - NIGHT Riddick dims interior lights, activates exterior lights. He's actually startled by the sight of... Fry. Standing in the skiffs headbeams. Daring him to run her over. Eye-lock. Riddick opens the hatch. EXT. SKIFF - NIGHT They meet at opposite ends of the gangway -- Fry in the rain, Riddick in the light. RIDDICK Strong survival instinct. Admire that in a woman. FRY You're not leaving. Not until we go back for the others. He laughs at that. FRY (CONT'D) I promised them we'd go back with more light. And that's exactly what we're gonna do.. RIDDICK Think you've mistaken me for somebody who gives a fuck. FRY What, you're afraid? RIDDICK Confusin' me with Johns now -- fear was his monkey. I only deal in life and death. All that stuff in between? Some shade of grey my eyes don't see. FRY I trusted you, Riddick. Goddamn, I trusted that some part of you wanted to rejoin the human race. RIDDICK Truthfully? I wouldn't know how. Fry realizes it's impossible to shame a shameless man. With desperation edging her voice: FRY Then wait for me. I'll go back myself. Just give me more light for them. He tosses her a light. The broken one. FRY Just come with me! RIDDICK Got a better idea. Come with me. Fry's mouth moves but nothing comes out. RIDDICK (CONT'D) They're already dead. Get on board. FRY You're fuckin' with me. I know you are. RIDDICK 'Course I am -- but doesn't mean I won't leave you here. If you believe anything about me, better be that. FRY No, you see, I promised them...I have to...I have to go and.... She's bleeding resolve. Riddick can see it -- can smell it -- and he keeps slashing away. RIDDICK Step aboard, Carolyn. FRY (tortured) I can't....I can't.... RIDDICK (approaching, extending a hand) Here. Make it easy on you. FRY Don't do this to me.... RIDDICK Just give me your hand. FRY But they...they could still be.... RIDDICK No one's gonna blame you. C'mon. Take my hand and save yourself, Carolyn. A beat. She takes his hand -- and jerks him down the gangway. They sprawl through mud. She gets a knee on his neck. FRY I will not give up on them! I Will not leave anyone on this rock with those fucking things, even if it means -- In a blur, Riddick rolls and slaps a shiv on her neck. Is history repeating itself? Riddick's face, though, is strangely calm. Curious. Even gentle. RIDDICK You'd die for them? FRY I would try for them. RIDDICK You barely know them. FRY But I'm human. I know you view that as a weakness, but I'm sorry -- I do feel fear, theirs too. Goddamnit, Riddick -- yes. I would die for them. EXT. CREVICE - THE GAUNTLET - NIGHT MORE SCRABBLING at the shield. Imam cocks his blade back, ready to do battle with... Fry. She heaves the shield aside. Behind her, Riddick. AUDREY (big-eyed) You came for us.... RIDDICK Yeah, yeah -- we're all fuckin' amazed. Anyone not ready for this? EXT. THE GAUNTLET - NIGHT Protected by the meager light of two glow-worm bottles, the four remaining survivors head out. RIDDICK Tighter, tighter.... EXT. MUDDY RISE - THE GAUNTLET - NIGHT RIDDICK Stop. They pile up awkwardly. Fry listens hard. Only RAINFALL. FRY I don't hear -- He covers her mouth. RIDDICK'S POV: Water has pooled at the base of the muddy rise. A predator drinks there. RIDDICK (on his breath) Doesn't see us...wait for it to leave.... RIDDICK'S POV: Another predator lands to drink. Then another. Their backs are to us, but the pool is turning into a major gathering place. Soon they all can hear CLICKING above the RAIN. Their nightmare is far from over. RIDDICK Get behind me. RIDDICK'S POV: Of a half-dozen predators shifting places at the pool. A slim gap appears. RIDDICK When I go, we go. Full-throttle. CLOSE on their hands, gripping each other. RIDDICK Ready...ready.... RIDDICK'S POV: The gap between predators widens into a passage. A gauntlet within a gauntlet. Riddick runs. Linked like paper dolls, the others follow blindly. RIDDICK'S POV: Of a predator turning to "stare" over its shoulder. PREDATOR'S POV: Of Riddick bearing down fast. The survivors hit the water like lawn mowers on legs, crashing through, scattering water and predators alike, managing to reach... The muddy rise. Audrey loses her grip on the others... And starts back-sliding. She CRIES OUT, turning the head of... Riddick. He catches Audrey as her legs hit the pool. He muscles her back up the rise and heaves her over the top, sending her slip-sliding down the other side. RIDDICK You know the way! Not waiting for him, Fry and Imam disappear over the rise. RIDDICK'S POV: Of the predators. Regrouping. Crawling up the rise at us. EXT. NIGHT Fry, Imam, and Audrey run hard, glow-worm lights bouncing wildly. RIDDICK'S POV: Chasing them. PREDATOR'S POV: Chasing Riddick. EXT. SETTLEMENT - NIGHT Fry, Imam, and Audrey reach the settlement. They spill around a corner and see... The light of the skiff. EXT. SETTLEMENT - NIGHT RIDDICK'S POV: Ahead of us, we see Fry, Imam, and Audrey vanishing around the corner. BREATHING LIKE A RACEHORSE, we follow in their steps, storming around the same corner. Suddenly a predator is right there, right in our face. PREDATOR'S POV: Of Riddick skidding to a stop. He snaps a look up. RIDDICK'S POV: Of another predator perched gargoyle-like on the building. It SPEED-CLICKS at us. PREDATOR'S POV: Of Riddick slowly pulling two shivs. Bracing himself. Ready to blade it out. EXT. SKIFF - NIGHT Imam and Audrey stagger aboard. Safe in the light of the headbeams, Fry turns back, panting, waiting. Waiting. IMAM Captain.... He wants her to board the skiff. Fry gives it another beat, eyes sweeping the dark rain. And just when we think it's over for Riddick -- TERRIBLE SCREAMS are heard from both man and predator: There's a helluva fight going on out there. Close out there. Fry snatches the glow-worms off Imam's neck... And plunges into the darkness, homing in on the SOUNDS until... A blade flashes in her face. She ducks and spots... Riddick. Bloody, muddy, he's down on his knees, still trying to fight off the shadow-beasts that swirl and slash all around him. Around them both. FRY It's me, it's me, it's me! She gets the light around his neck. Now we see his face clearly -- and see a very human expression there: Fear. Fry grabs his armpits and tries to pull him up. FRY C'mon, Riddick -- said I'd die for them, not you. He gets his feet under him. Gripping each other, they start moving, turning like dancers in a macabre waltz, hoping the predators can't fix on Riddick's blood. FRY Just 10 steps...keep turning, keep turning...that's right...others're already 'board, waitin' for us right now...five steps...c'mon, almost there, Riddick... almost there...we're almost -- Something jolts them. ALL CLICKING STOPS. EXTREME CLOSEUPS: Searching each other's eyes. Someone just got slashed from behind, slashed bad. But who? RIDDICK Not for me.... In an eyeblink she's gone, ripped from his arms. There was no scream. No cry. No final words. Just... Blackness. EXT. PLANET'S ORBIT - NIGHT Out of the blackness, a spot of fire races toward us. It resolves into the skiff, fabric wings burning off as it hits escape velocity. INT. SKIFF - NIGHT CLOSE on a bloody hand. It toggles through nav-charts, plots a rendezvous with "Sol-Track 17B" shipping lane. In the cockpit, Riddick finds Audrey beside him. She stares hypnotically at the stars ahead. RIDDICK Probably okay to talk to me now. AUDREY Not sure where to go. I was just runnin' away when this whole thing started. (a beat) Where you goin'? RIDDICK Not sure. I was just runnin' away when this whole thing.... Interior smiles. Stars sweep the windscreen as the skiff makes a course-correction. One very bright star comes into view. RIDDICK Might interest you.... Imam moves forward. Seeing, his face lifts. IMAM New Mecca.... RIDDICK Think a soul could get lost there? With all those pilgrim-types? IMAM It's more a place where souls are found, Mr. Riddick. As Riddick ponders the possibilities, we CUT TO... EXT. PLANET'S ORBIT - NEW DAWN The first sun flares out from behind the eclipsing planet. Its light feels cleansing. Renewing. Life-giving. FADE OUT \ No newline at end of file diff --git a/unformated_scripts/Script_Planet of the Apes, The.txt b/unformated_scripts/Script_Planet of the Apes, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..72abba31054eba705c28f1759e6fbafa6e30177e --- /dev/null +++ b/unformated_scripts/Script_Planet of the Apes, The.txt @@ -0,0 +1,2 @@ +back +"PLANET OF THE APES" Screenplay by Michael Wilson Based on Novel By Pierre Boulle SHOOTING SCRIPT May 5, 1967 REVISED: 05/11/67 05/16/67 05/23/67 06/09/67 06/15/67 06/22/67 07/06/67 07/27/67 FADE IN 1 EXT. CONSTELLATION OF ORION - NIGHT Stars glitter like diamonds on the black velvet backdrop of space. The Belt of Orion is center screen, but much nearer and larger than ever seen by an Earth-bound astronomer. A speck of light appears in the lower left corner of the screen. No spaceship can be seen, but only a glowworm, a solitary sperma- tosoan gliding through the womb of the universe. Over this we HEAR the voice of an astronaut. He is concluding a report. ASTRONAUT'S VOICE (o.s.) So ends my last signal until we reach our destination. We are now on automatic, a mere hundred and five light years from our base ... and at the mercy of com- puters. I've tucked in my crew for the long sleep. I'll join them presently.2 INT. CABIN OF SPACESHIP - ESTABLISHING SHOT - NIGHT The cabin is neither cramped nor spacious, but about the size of the President's cabin in Air Force One. In the immediate f.g. is a console of dials and switches flanked by four chairs. Only one of the chairs is occupied. The astronaut's back is to CAMERA. There is a ladder amidships which leads to an escape hatch. The after Dart of the cabin is obscured in darkness. We hear the MUSIC of a Mozart sonata emanating from a phonograph of stereotape. The astronaut is speaking into a microphone. ASTRONAUT Within the hour we shall complete the sixth month of our flight from Cape Kennedy. By our time, that is ... He pauses, looking up at:3 TWO LARGE CLOCKS - ON CABIN WALL One clock is marked SELF TIME, but instead of twelve numerals it has twenty-four. One of the needles is moving very slowly. The other clock is labeled EARTH TIME, and its units, like those of a tachometer, are given by hundreds and thousands. The largest needle of this clock makes one revolution every second. Over this we hear: ASTRONAUT'S VOICE (o.s.) But according to Dr. Hasslein theory of time in a vehicle traveling at close to the speed of light, old Mother Earth has aged a few thousand years since our de- parture -- while we have scarcely aged at all.4 CLOSE ON ASTRONAUT This is TAYLOR. He wears simple dungarees (or Churchill suit) and comfortable boots. He seems calm and pensive. Extracting the butt of a cigar from the breast pocket of his dungarees, he lights it, then continues: TAYLOR It may be so. This much is probable: the men who sent us on this journey have long since been moldering in forgotten graves; and those, if any, who read this message are a different breed. Hopefully, a better one. He begins to roll up his left sleeve. TAYLOR I leave the twentieth century without regret. Who was it? Marshall? ... said 'Modern man is the missin 'a link between the ape and the human being.' He removes the cigar from his mouth, turns to look out through one of the portholes into the astral night. TAYLOR One final thought -- nothing scientific, purely personal. Seen from up here, everything looks different ... Time bends and space is boundless. It squashes a man's ego. He begins to feel like no more than a mote in the eye of eternity. And he is nagged by a question: ahat if any- thing, will greet us on the end of man's first journey to a star? Are we to believe that throughout these thousands of galaxies, these millions of stars, only one, that speck of solar dust we call Earth, has been graced -- or cursed -- by human life? (pause) I have to doubt it. He extracts a hypodermic needle from his breast pocket and injects it into the vein of his forearm. He continues speaking. TAYLOR (sardonically) That's about all. I wonder if Man, that marvel of the universe, that glorious paradox who has sent me to the unknown... still makes war against his brother., and lets his neighbor's children starve. Taylor withdraws the hypodermic needle from his vein and secures it in a drawer of the console. TAYLOR Well then, Earthmen: A missing link salutes you. Bless you, my descendants. Taylor snuffs out the cigar butt and places it in the drawer beside the hypodermic. Then, flicking a switch Au cut off the Mozart, he rises and looks up again at:5 THE CLOCK MARKED EARTH TIME The longest needle of this clock now makes nearly two revolutions per second. The shortest needle points to the numeral 2105.6 INT. CABIN - TRACKING WITH TAYLOR Space scientists have presumably solved the problem of weightlessness, for Taylor walks the short distance from; the console to the after section without particular effort. CAMERA FOLLOWS him, and we can now see four glass capsules, or "caskets", in the rear of the cabin. Taylor looks down at them.7- SEVERAL SHOTS - THE FOUR CASKETS - FROM TAYLOR'S P.O.V.10 One of them is open. The other three are occupied by astronauts: DODGE, LANDON and STEWART. They, too, wear dungarees and boots. Dodge and Landon are thirtyish, clean-shaven, virile -- America's finest. Stewart is a handsome young woman, her hair bobbed short. Their eyes are closed and they do not appear to be breathing -- yet no undertaker could make them so alive.11 ANOTHER ANGLE - FAVORING TAYLOR He grasps the handle of his own casket and slowly pulls himself into it. Continuing SILENCE. CAMERA MOVES IN as Taylor Dulls the glass lid shut and secures it. He adjusts two dials inside the capsule and lies back, buckling his safety belt. CAMERA MOVES INTO A CLOSEUP of Taylor. His eyes are open. He seems serene, even enraptured. (NOTE: Credits will appear here over a series of shots designed to convey a sense of loneliness, of separation, and of the passage of time.) DISSOLVE TO:12- A SERIES OF SHOTS - A DISTANT GLOBE (MINIATURE)16 We see a strange and distant planet. At first the globe occupies but a small area of the screen; but with each new VIEW it comes closer and looms larger, as if" observed from a spaceship in a spiraling orbit of descent. The topography of the planet bears little resemblance to our own. Much of it is obscured by cloud cover; even more of-it appears to be cratered desert of reddish hue. We can, however, make out a few narrow "green belts" and a patch of blue water. In the FINAL SHOTS of this SEQUENCE we see the strange planet as it would be observed from a spacecraft plummeting from twenty thousand feet to one thousand feet. It appears that the ship will fall into a vast lake surrounded by soaring sandstone pinnacles. The water is blue-black, the pinnacles vermillion. (This is the Lake Powell location, at Lone Rock.)17 INT. SPACESHIP - FULL SHOT - DAY Four empty pilot seats are seen in f.g., the four glass caskets in b.g. We HEAR the RHYTHMIC BLEAT of a WARNING SIGNAL, a RUSH OF WIND as in a rapid descent, and perhaps the ROAR OF RETROJETS. Then, a great CRASH as the craft hits water. The whole ship shudders on impact. Loose equipment falls to the cabin floor. CAMERA MOVES DOWN the cabin aisle as the ship begins to roll in the water and HOLDS on the four glass caskets. There are THREE LOUD METALLIC CLICKS as the glass domes of the caskets swing open automatically.18 CLOSE ON TAYLOR He now has a full beard. His eyes come open. Instantly alert, he rises to a sitting position, gazing across at:19 DODGE AND LANDON - FROM TAYLOR'S P.O.V. They, too, awaken and sit up, starring at Taylor. They, too, are bearded. TAYLOR'S VOICE (o.s.) You all right? They nod.20 BACK TO TAYLOR - CLOSE SHOT He glances at the casket beside his own. TAYLOR Stewart? (struggling to his feet) Stewart?21 CLOSE-SHOT --THE FOURTH CASKET Its dome remains unopened. The young woman is a skeleton in a Churchill suit.22 REACTION SHOT - THE THREE ASTRONAUTS Dodge and Landon have joined Taylor and-stare at the grinning skull of their dead comrade. A low, descending HUM of equipment is heard. Simultaneously the lights begin to FADE. A moment later they brighten, but not as much as before. TAYLOR There goes our primary power. We're on auxilliary. A slight CRACKING sound is heard. Taylor turns quickly away and o.s.:23 REVERSE ANGLE - THE FORWARD CABIN A trickle of water has begun to seep through a ruptured seam in the cabin. Taylor darts to a porthole and peers cut.24 LONG SHOT - WHAT TAYLOR SEES: water The porthole is no more than six inches above the line. In the distance we discern a shoreline of red desert. TAYLOR'S VOICE (o.s.) We're in the soup. We're sinking.25 INT. CABIN - FULL SHOT The leak in the seam becomes a growing spray of water. Taylor turns away from the porthole, calling: TAYLOR Dodge! Read the atmosphere! Dodge moves instantly to the ladder beneath an escape hatch and mounts it. Taylor stumbles down the aisle of the rolling ship toward the console and addresses Landon, who is still staring at Stewart's skeleton. TAYLOR Landon! Send a last signal. LANDON (dazed) What signal? TAYLOR To Earth! That we've landed! As Landon lurches toward the communications equipment in f.g. CUT TO:26 EXT. TIM STRANGE PLANET - LONG PANORAMIC SHOT - LATE AFTERNOON (LONE ROCK, LAKE POWELL) We are looking at a lifeless desert of sandstone buttes and pinnacles. There is no sign of vegetation anywhere. CAMERA PANS DOWN to a body of water that could be the bay of an inland sea. The deep blue of the sea contrasts sharply to the red sands of the shoreline. CAMERA HOLDS on the stricken spaceship, wallowing like a beached whale a hundred yards offshore. The portholes of the craft are beneath the water, and only its roof and the tail fin of its tail assembly are visible. The red-hot skin of the ship vaporizes the water around it. Suddenly a snorkel-like tube sprouts from the escape hatch, which is located amidships.27 INT. CABIN - CLOSE ON CLOSED ESCAPE HATCH Dodge, standing halfway up the ladder., has fastened a kit of gauges to the end of the snorkel tube. He reads the dials, removes the kit, sniffs the air in the tube and then, taking a deep breath, announces: DODGE It's breathable. TAYLOR'S VOICE (o.s.) Okay! Blow the hatch before we lose auxilliary power. Dodge reaches for a control mechanism near the escape hatch.28 CLOSE ON TAYLOR AND LANDON The spray of water coming through the ruptured seam is increasing. The LIGHTS DIM again and the SOUND of the warning signal FADES. While Landon fiddles with the radio, Taylor tries to get the tape recorder rolling, but all we hear are scrambled and unintelligible noises. LANDON It's no use ... there she goes. TAYLOR Forget it. Abandon ship.29 WIDER ANGLE - TIM CABIN The escape hatch is now open. Taylor darts over to the ladder and passes a folded life raft up to Dodge. When Landon reaches the ladder, Taylor hands him two neatly packed rucksacks, and Landon climbs through the escape hatch. Taylor is about to follow with a third rucksack, then turns and crosses the cabin for a last look at:30 THE TWO CLOCKS - FROM TAYLOR'S P.O.V. Both clocks have stopped: the red needle of the clock labeled SELF TIME rests on the numeral 18; the red needle of the clock marked EARTH TIME rests on the numeral 3975.31 EXT. TOP OF SPACECRAFT - MED. SHOT Dodge inflates the raft with a cartridge of compressed air and tosses it into the water. He and Landon jump into the water and climb onto the raft as Taylor emerges from the hatch, Taylor slips into the water and climbs onto the raft. He and Landon begin to paddle toward shore, while Dodge immediately opens another kit and takes a sample of the water. 32 CLOSE ON THE MEN IN THE RAFT DODGE (half to himself) Briny...twenty-five percent salinity. Near the saturation point. LANDON (looking back) She's still sinking...33 THE SPACESHIP - FROM THEIR P.O.V. Only the radio antenna and the tip of the tail fin remain visible. LANDON'S VOICE (o.s.) Going ... going... The craft vanishes beneath the water.34 CLOSE ON THE MEN IN THE RAFT Dodge is still busy with his kit. Landon is still looking back, but Taylor doesn't bother to turn his head. LANDON Gone. TAYLOR (flatly) We're here to stay.35 ANOTHER ANGLE - MOVING WITH THE RAFT They gaze at the forbidding sandstone battlements as they near the shore. LANDON Well? Where are we? Have any notion, skipper? TAYLOR (confidently) We're some three hundred and twenty light years from Earth. On an unnamed planet in orbit around a star in the constellation of Orion. (looks off at the "sun") That could be Bellatrix.36 THE SUN - FROM THEIR P.O.V. Low on the horizon, seen through a dense envelope of dust particles. DODGE'S VOICE (o.s.) Too red for Bellatrix.37 BACK TO ASTRONAUTS IN RAFT Landon glances skeptically at Taylor. LANDON You didn't have time to check the tapes, so you don't really know, do you? (as Taylor ignores him) What went wrong? (sardonically) We weren't programmed to land in water. DODGE (grinning) The question, Landon, is not so much where we are as when we are. TAYLOR (stands up in raft) We've had a nice snooze. Let's start earning all our back pay.38 WIDER ANGLE - THE BEACH As the three astronauts step out into shallow water and pull the raft ashore. TAYLOR Take your soil test, Dodge. I'll check the equipment. Dodge moves inland about ten yards, removes a small hand drill from his belt, extends the rod of the drill three feet and begins to take some subsoil samplings. Taylor begins to examine the contents of the three rucksacks. Landon sits down on the beach., hands around his knees, gazing moodily at the sunken spaceship. During this and succeeding scenes we sense that Dodge's obsession with scientific inquiry leaves him immune to fear: Landon is possibly more courageous and certainly more "human," for he has many fears to control: while Taylor -- detached, cool and misanthropic -- is something of an enigma. TAYLOR (calls Dodge) Got your sensors? DODGE Yo! TAYLOR Geiger counter? DODGE Yo! TAYLOR (taking inventory) One pistol... twenty-four rounds of ammo. two medical kits.. one camera... one TX9. (loudly to the others) We've enough food and water for three days. DODGE But how long is a day? TAYLOR Good question. (turning) Landon -- check your communications kit.39 ANOTHER ANGLE - FAVORING LANDON He seems not to have heard. TAYLOR (sharply) Landon! Join the expedition. LANDON (rising) Sorry... (crossing to his kit) I was thinking of Stewart. What d'you suppose happened? TAYLOR (flatly) Air leak. Died in her sleep. LANDON You don't seem very cut up about it. TAYLOR It's a little late for a wake. She's been dead nearly a year. LANDON Then we've been away from Earth for eighteen months. TAYLOR By our time. (smiling at Landon) You've turned gray. Landon involuntarily touches the gray hair of his temple as Taylor adds lightly: TAYLOR Apart from that, you look pretty chipper for a man who's two thousand and thirty one years old. (casually) I read the clocks. They bear out Hasslein's hypothesis. We've been away from Earth for two thousand years, give or take a decade. (pause) Still can't accept it, huh? LANDON long pause) You know it. TAYLOR Because time has wiped out everyone and everything you cared for -- they're dust. LANDON Prove it. If we can't get back, it's still just a theory. TAYLOR It's a fact, Landon. Buy it. You'll sleep better. Dodge enters scene. A handful of reddish sand dribbles through his fingers. DODGE Nothing will grow here .... there's just a trace of hydrocarbons, and most of the nitrogen is locked into nitrates. TAYLOR Any sign of dangerous ionization? DODGE No. TAYLOR (rising) Okay. If there's no life here, we've got just seventy-two hours to find it. That's when the groceries run out. He picks up one of the rucksacks and puts it on. The others follow suit. DODGE Which direction? TAYLOR (decisively, pointing west) That way. DODGE Any particular reason? TAYLOR None at all. He moves out. Dodge follows. CAMERA PANS with them. They have gone only a few paces when Taylor looks back over his shoulder and halts.40 REVERSE ANGLE - FEATURING LANDON Landon is squatting in the sand, sticking something into the soil. It is a small American flag, the size of a handkerchief.41 REVERSE ANGLE - FEATURING TAYLOR AND DODGE Mirth bubbles up in Taylor's throat. He explodes with wild laughter. He is still laughing as they move out. DISSOLVE TO:41-A DAWN SHOT (GUNSIGHT LOC #43)42 THE ASTRONAUTS' TREK They descend from the plateau (Ochre Dunes)43 ASTRONAUTS CONTINUE MARCH, Across the top of the hills there suddenly runs a line of fire (Black Dunes).44 THEY MOVE ACROSS THE TERRAIN Jagged bolts of lightning flash across the sky, but bring, no rain, and thunder claps sound like heavy artillery. (Gray Area)45- OUT58 QUICK DISSOLVE TO:59 ANOTHER PART OF THE CANYON (OCHRE DUNES AREA) - GROUP SHOT - DAY Several huge boulders are dislodged, and the three astronauts run. wildly to escape the falling rocks. When the avalanche ends, they sprawl on the lifeless sands, breathing heavily and drenched with sweat, surrounded by enormous boulders. Taylor looks about him. TAYLOR Everybody all right? Murmurs of assent from Dodge and Landon. Taylor rummages through a limp rucksack, comes up with some empty food cartons,rummages again, coming up with a cigar butt. TAYLOR Water check. Dodge takes a plastic canteen from another rucksack and inspects it. DODGE Eight ounces. Dodge lies back and looks up at the sky. DODGE It doesn't add up. There's a mantle of dust around this planet and yet it's as humid as a jungle. Thunder and lightning and yet no rain. Cloud cover every night and that strange luminosity, and yet no moon. Landon also looks up at the sky. LANDON If only we could get a fix. TAYLOR (needling him) What would you learn? I've told you where you are and when you are. DODGE (gently) Taylor -- quit riding him. TAYLOR (harshly, to Landon) You're more than three hundred light years from your precious planet. Your loved ones have been dead and forgotten for twenty centuries. Even if you could get back, they'd think you were something that fell out of a tree. LANDON (wearily) All right -- TAYLOR There's only one reality left. We're here and it's now. You get ahold of that and hang on tight, or you might as well be dead. LANDON (quietly) I'm prepared to die. Taylor turns to Dodge, throws up his hands. TAYLOR He's prepared to die! Doesn't that make you misty? Chalk up another victory for the human spirit! Dodge rises and moves off, o.s., either embarrassed by this colloquy or unwilling to hear it again. Taylor, cigar clamped between his teeth, spins toward Landon. TAYLOR Straighten me out on something. Why did you come along at all? You volunteered. Why? (a beat; no answer) I'll tell you. They nominated you for the Big One and you couldn't turn it down. Not without losing your All-American standing LANDON (hard) Climb off me, will you! TAYLOR And the glory, don't forget that. There's a life-sized bronze statue of you somewhere. It's probably turned green by now, and nobody can read the name plate. But never let it be said we forget our heroes. LANDON Taylor. I'm telling you -- TAYLOR Oh, and one last item. Immortality. You wanted to go on forever. (pause) Well, you damn near made it. Except for Dodge and me, you've lived longer than anybody. And with Stewart dead, it looks like we're the last of the strain. You got what you wanted, kid. How does it taste? Silence. Taylor lies down, spent of his venom, pillowing his head on a rucksack. LANDON (softly) Okay. You read me well enough. Why can't I read you? TAYLOR Don't bother LANDON (looking off) Dodge ... he's not like me at all. But he makes sense. Held walk naked into a live volcano if he thought he could learn something no other man knew. I understand why he's here. But you...You're no seeker. You're negative. TAYLOR But I'm not prepared to die. LANDON (heatedly) I'd like to know why not. You thought life on Earth was meaningless. You despised people. So what did you do? You ran away. Taylor's eyes are closed. He is silent for a moment. When he speaks, his tone is soft, reflective. TAYLOR No, not quite, Landon. I'm a bit of a seeker myself. But my dreams are a lot emptier than yours. (pause) I can't get rid of the idea that somewhere in the Universe there must be a creature superior to man.60 ANOTHER ANGLE - FEATURING DODGE who has been wandering around, studying the boulders and the barren soil. Taylor and Landon can be seen in b.g. Dodge spots something and squats down to examine it.61 CLOSEUP - WHAT DODGE SEES: It is a tiny desert flower, no more than an inch high.62 CLOSEUP - DODGE His eyes light up as he calls: DODGE Taylor! Over here!63 CLOSE. GROUP SHOT - ANGLING DOWN as Taylor and Landon hurry over and kneel down on either side of Dodge. The astronauts hover over the tiny flower like three magi perceiving the infant Deliverer. DODGE Life. He digs gently around the roots of the plant with a small instrument. DODGE Where there's one there's another. And another. And another. TAYLOR Let's find them all.63-A SUNSET SHOT64 END OF THE TREK AS THE ASTRONAUTS START FROM THE CANYON TO THE TAMARISK AREA Absolute desolation (Ochre Area). The astronauts start down the canyon.65 ASTRONAUTS CAST HUGE SHADOWS As they move across the terrain (top of Crazy Canyon).65-A JUMP SHOT As they jump across a gap. Thunder and lightning again (top of Crazy Canyon). 65-B THEY MOVE DOWN They march across Crazy Canyon overlook.65-C REACTION SHOTS OF ASTRONAUTS66-A-R SERIES OF SHOTS OF DESCENT OF ASTRONAUTS DOWN SHEER FACE OF A CANYON (Wire Grass Canyon). For a brief moment several "creatures" appear. We cannot identify the species. QUICK DISSOLVE T0:67 EXT. A DRY WASH - CLOSE GROUP SHOT - DAY Blooming tamarisks border a. dry stream bed. Taylor and Landon hover over Dodge, who is probing the soil with his drill. Their dungarees and faces are caked with dust. DODGE It's a stream bed., no doubt about it -- but bone dry. Landon strightens up and looks off, startled by something he sees. LANDON Look. . .68 LONG SHOT - A CLIFF BEYOND THE TAMARISKS with the astronauts in f.g. In the distance, on the skyline, we can make out a long row of wooden crosses. Some animal or vegetable matter appears to be tied to the crosses. LANDON Scarecrows? TAYLOR Let's take a look. Taylor plunges into the thicket of tamarisks, followed by Dodge and Landon. Their view of the cliff is momentarily obscured. CAMERA HOLDS on the distant crosses. For an instant only, three "creatures" again appear on the skyline near the crosses. Then they vanish.69 REVERSE ANGLE - THE ASTRONAUTS as they emerge from the tamarisk thicket-nearer to the base of the- cliff. They halt and look up at:70 THE CROSSES - ANGLING UP - FROM ASTRONAUT'S P.O.V. We can now see the pelts of unrecognizable animals have been bound to the crosses and, thus mounted in a long row, seem to make a boundary or serve as a warning. The living bipeds are no longer visible.71 BACK TO THE ASTRONAUTS Dodge and Landon are still looking up at the strange crosses, but Taylor is scanning the terrain at the base of the cliff. The sound of rushing water can be heard. TAYLOR (half to himself) Never mind the scarecrows. He breaks into a run, CAMERA PANNING with him as he moves toward a declivity in the face of the cliff.72 MOVING SHOT - DODGE AND LANDON Agonized with thirst, they follow Taylor.73 FLASH SHOT - THE TOP OF THE CLIFF For an instant we see the bipeds again, moving in the same direction.74 EXT. A DECLIVITY IN THE CLIFF - FEATURING TAYLOR He scrambles up a rock-strewn gorge and looks off at the terrain beyond.75 EXT. A WATERFALL - FROM TAYLOR'S P.O.V. The cascade is not spectacular, but the vegetation around it is startlingly lush. (This location is not at Lake Powell, but at the Ranch).76 CLOSEUP - TAYLOR His parched lips break into a smile. QUICK DISSOLVE TO:77 EXT. WATERFALL AND POOL - FULL SHOT - DAY The cascade has formed a cool and inviting pool. Thick foliage grows to its very edge. Dodge is on his hands and knees, testing the liquid with his kit. The others wait expectantly. DODGE It's loaded with minerals, but safe. Without further ado Landon ducks his face into the pool. Dodge scoops up water in his hands and drinks. Taylor follows suit. LANDON (coming up for air) Can we take a dip? TAYLOR (looks around) Okay. Landon and Dodge immediately remove their boots, strip down and plunge into the pool. But Taylor does not yet disrobe. Alert and curious, he strolls along the bank of the pool, looking around.78 DODGE AND LANDON SWIMMNG79 TAYLOR as he briefly looks around, then starts taking off his shirt.80 DODGE AND LANDON as they arrive at opposite shore.81 MED . SHOT - FAR SIDE OF POOL as Landon sees something on shore.82 TAYLOR IN WATER as he swims across. LANDON'S VOICE (o.s.) Hey, Taylor! Look at this -- Dodge and Taylor climb out of the pool and squat beside Landon.83 CLOSE SHOT - WHAT THEY SEE: The print of a large five-toad foot is clearly visible in the wet sand.84 GROUP SHOT - THE THREE ASTRONAUTS Taylor rises and walks slowly toward the underbrush, scanning the ground for other sports. CUT TO:85 THE OTHER SIDE OF THE POOL - FULL PANNING SHOT Our view of the astronauts beyond the cascade in b.g. is partially obscured by broad-leafed foliage directly in front of CAMERA, which PANS SLOWLY away from the waterfall and HOLDS on the astronauts' clothing at the edge of the pool. Suddenly and inexplicably a pair of dungarees slithers away into the underbrush. A few seconds pass. Now a pair of bronzed and brawny shoulders fill the SCREEN, blocking our view.86 REVERSE ANGLE - CLOSE ON A HUMAN FACE IN HEAVY FOLIAGE Or is it human? The hair is matted, the face bearded, the jaw prognathous, the orbital rim prominent.87 ANOTHER ANGLE - AT EDGE OF POOL A brown thick-fingered hand appears from behind heavy foliage and plucks at a boot. The boot vanishes.88 BACK TO THE ASTRONAUTS - ON OTHER SIDE OF POOL Dodge is standing near Taylor and looking back at the spot where they left their clothing. Suddenly he seizes Taylor's arm and points silently at the far bank of the pool. 89 WHAT THEY SEE: Another pair of dungarees slithers into the underbrush and disappears.90 REVERSE ANGLE - FULL PANNING SHOT - THE ASTRONAUTS Led by Taylor, they dive back into the pool and swim to the other bank. Emerging from the water, they look around in bewilderment. Taylor makes hand signals to indicate absolute silence and a reconnaissance. The three astronauts fan out and move cautiously into the jungle (or rain forest).91-93 EXT. - JUNGLE (OR RAIN FOREST) - SEVERAL SHOTS - MOVING WITH THE ASTRONAUT'S Little sunlight penetrates this dense vegetation. These SHOTS are INTERCUT with:94 WHAT THE ASTRONAUTS SEE: fleeting forms as yet unidentified; trembling foliage; brown shadows against a green backdrop.95 EXT. A SMALL CLEARING - FAVORING THE THREE ASTRONAUTS who stop at the edge of the clearing, startled by96 WHAT THEY SEE: a number of primitive bipeds, male and female, scarcely visible behind trees and bushes on the other side of the clearing -- here a face, there a portion of a head and torso. Throughout this sequence, the primitives are never seen clearly or at close range.97 BACK TO THE AST40IONAUTS reacting. They speak in whispers. LANDON My God..they look almost human. DODGE They -- there's a herd of them. TAYLOR Show them we're friendly. CAMERA PULLS BACK as Taylor advances a few steps into the clearing, extending his empty hands and beaming like a politician. TAYLOR (warmly) Greetings!98 REVERSE - THE STRANGE CREATURES - FROM TAYLOR'S P.O.V. There are perhaps a dozen of them. They shrink back as Taylor advances -- hostile, frightened or both. We now see that some of them are clutching articles of the astronauts' clothing and equipment. Taylor stops, stares at them glumly. TAYLOR No cigar. LANDON Try telling them our names. Taylor grimaces at Landon. TAYLOR Well, if we're looking for an icebreaker... (turning to the creatures) Listen, folks ..... More shrinking back by the frightened primitives. DODGE (softly) I'm afraid they aren't having any.99- OUT102103- A SERIES OF FLASH SHOTS - THE JUNGLE (OR RAIN FOREST):105 A pistol goes off with a deafening crash, and the primitive creatures scatter in panicky flight. After a while, quiet returns to the jungle.106 EXT. A JUNGLE PATH - THE ASTRONAUTS They examine the remnants of their clothing and equipment and start to don whatever is able to be worn. Taylor puts on what remains of a ripped pair of trousers; Dodge starts to improvise from the remnants of the kit (it is a torn shelter half). Landon, like Taylor, has the remains of his pants. DODGE They didn't leave much did they? LANDON Shall we follow them? TAYLOR Haven't much choice. As they walk off down the jungle path. DISSOLVE TO:107 EXT. A GROVE OF FRUIT TREES - ESTABLISHING SHOT - DAY This need not be a cultivated grove. A few trees (peach or apricot or avocado, it matters not) grow wild in a pleasant glade. Nor is the grove extensive. The three astronauts sit under a tree in f.g.; the primitives sit under a clump, of trees some fifty yards away. Each camp is feeding and warily watching the other. In the distance beyond the fruit trees is an open grassy plain or cultivated field.108 THE PRIMITIVES - FROM LANDON'S P.O.V. They too are sitting under trees, munching fruit. There are no more than a dozen altogether.109 BACK TO ASTRONAUTS - CLOSE GROUP SHOT TAYLOR Well, at least they haven't tried to bite us. DODGE Blessed are the vegetarians.110 THE OTHER CAMP - FEATURING A YOUNG WOMAN Squatting on her haunches, eating fruit, gazing back at Taylor. Her hair is long and black, her skin nut brown, her face hauntingly lovely and hauntingly stupid. This is NOVA.111 BACK TO ASTRONAUTS Landon looks o.s. at the primitives. LANDON We got off at the wrong stop. TAYLOR You're our optimist Look at the bright side. If that's the best there is around here, in six months we'll be running this planet. DODGE (suddenly) Look...112 THE PRIMITIVES - THEIR P.O.V. They appear to be agitated although neither we nor the astronauts have yet heard or seen any cause for alarm. The primitives get to their feet, sniffing, listening113 CLOSE GROUP SHOT - THE ASTRONAUTS Puzzled and alarmed by the primitives' behavior, they too get to their feet. LANDON Think they'll attack us? Taylor turns, looks back at:114 THE DISTANT JUNGLE (OR FOREST) From which they recently emerged. There is no sign of life.115 LONG PANNING SHOT - THE PRIMITIVES They suddenly run laterally across the grove, heading back toward their jungle. A rumble becomes audible it is the SOUND of HOOFBEATS.116 VERY LONG SHOT - THE JUNGLE (OR FOREST) Twelve "horsemen" suddenly emerge from the trees, riding abreast at a canter, like a squadron of cavalry about to charge. The horses look huge. So do the riders, but at this distance we cannot identify them.117 LONG PANNING SHOT - THE PRIMITIVES Cut off from their natural habitat, they reverse direction and flee toward the tall grasses of the savanna (or cultivated field).118 LONG SHOT - THE RIDERS With an exultant battle cry they break into a gallop. The hunt is on.119 CLOSE GROUP SHOT - THE THREE ASTRONAUTS Stupefied, frozen in place.120 LONG SHOT - THE RIDERS Coming closer. We HEAR a rifle shot, then a flurry of shots.121 MED. SHOT. A bullet spanks into the fruit trees above their heads. They run, CAMERA PANNING with them as they race toward the tall grass in deep b.g.122- A SERIES OF FLASH SHOTS - THE HUNT IN THE SAVANNA124 As the "horsemen" close in on the creatures fleeing on foot.125 MED. CLOSE SHOT - A RIDER He reins in, raises his rifle and fires. For the first time, we se that he is a GORILLA. He wears a simple quasi-military uniform -- tunic, trousers and boots.126 FLASH SHOT - DODGE Running through the high grass. He is shot in the back and falls.127 FLASH SHOT - TAYLOR He drops at the side of his fallen comrade.128 CLOSE TWO SHOT - ANGLING DOWN ON DODGE As Taylor rolls him over. Dodge is dead.129 WIDER ANGLE SHOT - THE SAVANNA - FEATURING A LINE OF BEATERS The beaters are all GORILLAS. They carry long sticks and nets, and their task is to flush out the terrified primitives cowering in the tall grass.130- A SERIES OF SHOTS - THE HUNTERS AND THE HUNTED:135 (a) Landon flees from one rider only to be cut off by another. He stumbles and a rearing stallion tramples him. (b) A third mounted gorilla flings a net over a running female. She is hopelessly entangled. This is Nova. (c) Landon lies unconscious on the grassy plain, an ugly gash on his forehead. (d) Taylor crawls through the tall grass on his hands and knees. A rider crosses his path without seeing him. (e) The beaters close in on Taylor, blocking his escape route. (f) Taylor changes direction and decides to run for it.136 EXT, SAVANNA - PANNING WITH TAYLOR Bent low, he flees through the tall grass. A SHOT rings out. Taylor falls.137 CLOSE ON TAYLOR Lying on his back. His fingers go to his throat. Blood appears between his fingers. He opens his mouth in pain, but no sound comes forth, as Taylor sinks into unconsciousness. DISSOLVE TO:138 EXT. GROVE - FULL SHOT - THE HUNTERS - DAY The hunting party has reassembled here beneath the fruit trees. Some of the gorillas have dismounted; others are still on horseback. In the middle distance is a crude horse-drawn wagon. The sides and top of the wagon form a wire cage. Three captive males and one female are visible within the cage. Dodge and Landon are nowhere to be seen. Two gorilla porters enter scene, dragging a male human corpse by the ankles, as two other bearers enter scene with a living burden on a long carrying pole. Taylor dangles from the pole, held aloft by the bonds around his wrists and ankles. CAMERA PANS with the two gorillas as they dump Taylor into the wagon and close the tail gate.139- OUT140141 CLOSE ON TAYLOR - WITHIN WAGON CAGE His throat is smeared with blood. His eyelids flutter as he regains consciousness.142 CLOSE SHOT - WHAT TAYLOR SEES: Three primitive males bound hand and foot. They seem docile in captivity. The female, Nova, clasps bound wrists around her bound ankles and gazes blankly at Taylor. There is a JOLT of MOVEMENT as the wagon gets underway143 CLOSE ON TAYLOR With a great effort he raises himself on one elbow and looks out from the cage.144 TRUCKING WITH THE WAGON - WHAT TAYLOR SEES: A gorilla hunter stands over a dead man, one foot planted he chest of his kill and his rifle butt resting on the on abdomen. Facing him is another gorilla with an old-fashioned camera on a tripod. APE PHOTOGRAPHER Smile. The hunter bares his teeth.145 CLOSE ON TAYLOR He faints. FADE OUT FADE IN146 INT. A SURGERY - ANGLING DOWN ON TWO OPERATING TABLES NIGHT The surgery is dimly-lit. (If possible we should be unaware of the source of illumination.) Taylor lies strapped to the nearer table. He appears to be unconscious. The young female captive, Nova, is strapped to the table beside him. She is conscious. Taylor is receiving a direct blood transfusion from her. Hovering over Taylor are a NURSE and a surgeon named GALEN. Both are chimpanzees. Galen wears a bloody surgical apron, the nurse a white smock. Galen is removing a filthy bandage from Taylor's neck. A door behind them opens and DR. ZIRA, an animal psychologist, enters. She, too, is a chimpanzee and wears a smock like the nurse's. ZIRA Which one was wearing the strange clothes? GALEN Him. Zira looks down at Taylor. ZIRA Will he live? GALEN (irritably) I don't know. This beast lost a lot of blood. Galen paws through a tray of surgical instruments. The equipment is obsolescent and the room untidy -- like that of a callous small-town veterinarian. GALEN (to Nurse ) There's no probe here. Find one! NURSE Yes, sir. She exits. Zira runs a forefinger across a dusty table.Her voice is soft and well-modulated. ZIRA This place is dirty, doctor. GALEN (defensively) These animals are dirty, doctor. They stink, and they carry communicable diseases. Why aren't they cleaned up before they're brought here?147 CLOSE TWO SHOT - TAYLOR AND NOVA His eyes come open. Over this we hear: ZIRA'S VOICE (o.s.) You don't sound happy in your work. GALEN'S VOICE (o.s.) I'm nothing more than a vet in this laboratory... Taylor feebly turns his head and looks at Nova. She returns his gaze with an unchanged empty stare. We sense that Taylor realizes her blood is flowing into his veins. Over this we hear: GALEN'S VOICE (o.s.) You promised to speak to Dr. Zaius about me. ZIRA'S VOICE (o.s.) I did. But you know how he looks down his nose at chimpanzees. Taylor rolls his eyes toward the apes. Weak as he is,we see his astonishment at hearing them talk.148 BACK TO GROUP AROUND OPERATING TABLE as the Nurse reenters with a probe and hands it to Dr. Galen, who protests to Zira: GALEN But the quota system's been abolished! You made it. Why can't I? ZIRA What do you mean, made it? I'm an animal psychologist, that's all. We don't have any authority. GALEN You do pretty well when it comes to getting space and equipment. ZIRA That's because Dr. Zaius realizes our work has value. GALEN Hmph. ZIRA The foundations of scientific brain surgery are being laid right here - in studies of cerebral function in these animals. GALEN They're still dirty. And their bite is septic. Look at that ... He shows Zira infected teeth marks on the back of his left hand. GALEN (to Nurse) Hold his head. The Nurse complies, gripping Taylor's skull with both hands. Galen leans down and begins to probe the throat wound. Taylor passes out. DISSOLVE TO:149 INT. A ROW OF CAGES - ANIMAL LABORATORY - TRACKING SHOT DAY The cages are no larger than small jail cells. There are four of them. Bars, not walls, divide the cages, so that all four are visible. Each of the first three cages is occupied by a primitive male. At the moment the first two are quiet -- dozing or scratching apathetically. The third occupant is stolidly regarding a half-dozen brightly colored hollow wooden boxes, or blocks, Of varying sizes and proportions on the floor of his cage. He is trying to stack the boxes in such a way as to reach a banana dangling from a cord twelve feet overhead. He has correctly selected the first two large, sturdy blocks for his tower under the banana -- but the tall third block is too unstable on its small base to support the broad-based fourth block.149-A CLOSE - TAYLOR Taylor, Looking much stronger, sits on a pile of dirty straw in the fourth cage. There is a clean bandage around his throat. He watches the block-building primitive with contemptous amusement. Both the third and fourth blocks tumble to the floor when the primitive tries to mount his tower. He stands there, staring dully at the scattered blocks, then up at the unattainable banana.149-B MED. - THE LABORATORY A door at the end of the aisle opens and a gorilla named JULIUS enters, dressed in a keeper's uniform. He quickly closes the door, snatches up a broom, starts sweeping. Julius is obviously late for work. Taylor struggles to his feet, moves to the bars of the cage, tries to call out. TAYLOR (soundlessly) Hey! Hey! The three other primitives move toward the bars of their cages. Julius barks at them. JULIUS Simmer down! (points at Taylor) You especially. The third primitive goes back to stacking his blocks. Julius comes up to Taylor's cage, indicates a like set of blocks strewn across its floor, extends his broom handle to whack the banana overhead. JULIUS Better give it a try, stupid. Unless you like going hungry. He returns to his sweeping. Taylor glowers at him. A moment later, the door at the end of the aisle opens and Dr. Zira enters. JULIUS Good morning, Dr. Zira. ZIRA Good morning, Julius. How's our patient today? JULIUS No change. The minute you open the door, he goes into his act. She starts down the aisle toward Taylor's cage. He grasps the bars, awaiting her anxiously. As she passes the second cage, the primitive in it shakes the bars, jumps up and down. His tongue is hanging out. Zira smiles, stops, digs into the pocket of her smock. ZIRA (playfully) Well, what do we want this morning? Do we want something? Speak! Come on, speak! The primitive continues to jump up and down energetically. Zira takes a cube of sugar from her pocket, holds it up for his inspection. ZIRA Do we want some sugar, old-timer? The man eagerly sticks his hand through the bars. She drops the cube in his hands. He jams it into his mouth. JULIUS (concerned) You could get hurt doing that, Doctor. ZIRA Don't be silly. He's perfectly tame. She moves toward Taylor's cage, Julius behind her. JULIUS They're all tame until they take a chunk out of you.150 CLOSE SHOT - FEATURING TAYLOR - ZIRA AND JULIUS Taylor starts to open his mouth as Zira comes up to the bars. ZIRA Well, Bright Eyes, is our throat feeling better? TAYLOR (frantic mouthing) Listen, listen -- I can speak -- He winces, puts his hand to the bandage. ZIRA (sympathetically) Awww, it still hurts, doesn't it? JULIUS See? He keeps pretending he can talk. Taylor glares at Julius, slams the bars. TAYLOR (mouthing) I'm not pretending! I can talk! Zira hurriedly takes a pen and notebook from the breast Docket of her smock, starts to scribble. ZIRA (excitedly) Did you see that? It's remarkable! JULIUS Huh? ZIRA He's trying to form words. JULIUS Well, you know what they say. Human see, human do. Taylor is staring in silent fascination at the open and notebook.He stops mouthing, points at them. JULIUS Now what? Taylor gestures for Zira to come closer to the bars. ZIRA He seems to want something. She advances tentatively toward the cage. JULIUS I'd be careful, doctor. Taylor suddenly reaches through the bars, tries to snatch the pen and notebook from Zira. Julius instantly jabs his broom handle through the bars, hitting Taylor in the ribs. JULIUS What did I tell you! (to Taylor) Try that again, I'll break your arm! Zira draws back, looking at Taylor in surprise.151 CLOSER - TAYLOR His face is twisted in frustration. TAYLOR (mouthing) What's the matter with you? I can talk! Can't you see that? Over this a door is heard opening o.s., and Julius' voice, nervous, deferential: JULIUS' VOICE (o.s.) Good morning, Your Excellency. Taylor looks o.s.152- OUT160161 BOOM SHOT - THE THREE APES - FROM TAYLOR'S P.O.V. Julius and Zira cross to a stout, imposing orangutan who has just entered the laboratory. Julius bows to him. This is DR. ZAIUS. Like the other apes, he wears a simple tunic and trousers, but his garments are of a Costlier material, and several decorations are woven into the sash of his tunic. ZIRA (bubbling) Dr. Zaius, I'm so glad you could come. He's over here. Zaius crosses with them to Taylor's cage. Beneath his austere manner, we sense tension, worry. Zira looks up at Taylor, her tone an appeal. ZIRA Bright Eyes, show him! Go ahead! Do your trick! Taylor just glares at her. ZIRA Speak! Go on. Speak again. TAYLOR (silent mouthing) My - name - isn't - Bright Eyes It's Taylor! ZIRA There! Can you believe it? I looks like he's talking. ZAIUS (evenly) Yes, amusing. A man who acts like an ape. Taylor turns to Zaius. TAYLOR (silent mouthing) I'm not acting! I can talk! How much proof do you want? ZIRA (thunderstruck) Dr. Zaius, I could have sworn he was answering you! ZAIUS (nodding, but unmoved) He shows a definite gift for mimicry. Zira wiggles her fingers excitedly. ZIRA I wonder how held score on a Hopkins manual dexterity test? Zaius' voice is quiet, but there is steel in it. ZAIUS An animal? JULIUS Look! Taylor is frantically wiggling his fingers. ZIRA He's moving his fingers! ZAIUS Of course. He saw you moving yours. ZIRA But perhaps he understood --161-A CLOSE - TAYLOR He is pleading silently as Zaius' voice is heard over the SHOT. ZAIUS' VOICE (o.s., hard) Man has no understanding, Dr. Zira. He can be taught a few simple tricks. Nothing more. ZIRA'S VOICE (o.s.) I beg to disagree. According to my exper- iments --161-B CLOSE - ZAIUS A warning burns out of his eyes as he stares at Taylor. ZAIUS A word to the wise, Dr. Zira. Experimental brain surgery on these creatures is one thing. I'm all for it.161-C CLOSER - TAYLOR Fear clouds his eyes. Abruptly, he stops moving his lips.161-D MED. THE GROUP Zaius sees the effect his words have had on Taylor. He turns to Zira, goes on in a more detached tone. ZAIUS But your behavioral studies are another matter entirely. To suggest that we can learn something about simian nature from a study of man is nonsense. Besides, men are a nuisance. They outgrow their own food supply in the forest and migrate to our green belts and ravage our crops. (looking casually at Taylor) The sooner they're exterminated, the better. He turns toward the door. A disappointed Zira follows him. Zaius looks back at Taylor just before going out. ZAIUS It's a question of simian survival.161-E CLOSE - TAYLOR He stares after Zaius, than looks away, slumps to the floor. A pause, then a VOICE is heard. APE GUARD Is this the one you wanted, Doctor? ZIRA'S VOICE (o.s.) Yes, thank you. (pause, her voice much closer) Bright Eyes? Taylor looks up. ZIRA'S VOICE (o.s.) I've got a present for you.161-F ANOTHER ANGLE - THE CAGE Standing outside the cage, held on a leash by an APE GUARD is Nova. She looks at Taylor without expression. Zira gestures at JULIUS. ZIRA Put her in with him. Julius unlocks the cage door-, leads Nova inside, removes her leash and collar. Taylor has gotten to his feet. Julius goes out, locking the door behind him. Nova hesitates, then slowly reaches out, takes Taylor's hand. Zira beams at them.162- OUT169 DISSOLVE TO:170 EXT.- EXERCISE YARD - ANIMAL COMPOUND - ESTABLISHING SHOT DAY It is nothing elaborate, A wire fence encloses a dirt yard. This compound is situated on the outskirts of Apetown and the town is visible in the distance. There are about a dozen adult human captives within the enclosure, no more than a third of them females. Some of them trudge around the dusty yard like convicts in a penitentiary. Others squat against the sun- drenched wall. A big male suddenly runs to the fence and tries to climb it. Several guides, armed with whips and torches, immediately close in on him. The primitive recoils in fear from a fiery torch and rejoins the captives' circle.171 CLOSER ANGLE - THE YARD - FEATURING TAYLOR He plods sullenly back and forth across the rear of the yard, occasionally glancing off toward the approaches to the compound. Nova is at his heels. He ignores her. Once again he looks off, stops suddenly. Nova bumps into him. He turns, impatiently shoos her away, then looks o.s., again.172 ZIRA AND COMPANION - TAYLOR'S P.O.V. Zira can be seen approaching with a young chimpanzee, DR. CORNELIUS. He wears a simple smock over his tunic and trousers. Cornelius glances surreptitiously around, covertly takes Zira's hand. CORNELIUS Do you have to work tonight? ZIRA No. CORNELIUS Neither do I. He gives her a quick peck on the cheek.173 CLOSER - TAYLOR He drifts toward the fence, Nova behind him.174 MED. SHOT - ZIRA AND CORNELIUS They come up to the fence. Zira nods toward Taylor. ZIRA That's Bright Eyes. The one I was telling you about. CORNELIUS What's so special about him? ZIRA Watch. (to Taylor) Hello, Bright Eyes. How's our throat today? Taylor stares at her impassively, then looks around to a that no guards are watching, hunkers down, begins to scratch in the dust. Nova extends unclean fingers to touch the bandage on his throat. Taylor flinches, pushes her hand away. Nova touches a bluish bruise on the inside of her own forearm, then searches for a similar bruise on Taylor's forearm. ZIRA (excited) Look -- she remembers. CORNELIUS Remembers what? ZIRA The blood transfusion. CORNELIUS (peeved) Zira, come on. You know they can't -- (he stops, looking off) Oh oh. Here comes Number One. Taylor looks up and o.s., quickly rises.175 ANOTHER ANGLE - THE YARD - FEATURING DR. ZAIUS Who is approaching the two scientists from deep b.g. Zaius is followed by a huge and much decorated gorilla Whom we recognize as the Leader of the Hunt Club. ZIRA (in a whisper, to Cornelius) Something's bothering him. He's been prying around the lab for the last two days ... ZIRA (as Zaius comes nearer) Good morning, Dr. Zaius. You know Dr. Cornelius, my fiance. Cornelius bows respectfully. Zaius is patronizingly polite. ZAIUS Oh, yes -- the young ape with a shovel. I hear you're planning another archeological expedition.A-175 MED. SHOT - TAYLOR He has stepped back from the marks he made in the-dust, is watching Zaius with concern. CORNELIUS' VOICE (o.s.) Yes, sir. If the academy agrees. ZAIUS' VOICE (o.s.) The project will require my support, of course.176 MED. CLOSE SHOT - ANGLING DOWN ON TAYLOR AND NOVA A primitive male squats down to see what Taylor has marked on the ground. In letters a foot high he has written: I CAN WRITE Nova, at once petulant and playful, erases the WRITE with a bare foot. Taylor angrily flings her aside. This violence provokes the primitive male, who snarls at Taylor and cuffs him. Over this we HEAR from a distance: CORNELIUS' VOICE (o.s.) I hope I can count on it, sir. ZAIUS' VOICE (o.s) A friendly warning, Cornelius -- when you're digging for artifacts, don't bury your reputation. Taylor slugs the snarling male, who wades in, trying to bite him. A VOICE (o.s.) Guards!177 WIDER ANGLE - THE FIGHT Two gorilla guards rush in to break up the fight. One of them lashes out with his whip. The other pokes his torch at Taylor. Its flame brushes his arm. Taylor opens his mouth, gives a silent yell of pain, shrinks back. Zira runs to the fence. ZIRA (to guards) Stop! You've hurt him! Take them inside! Prodding the malcreants with their torches, the two guards herd them toward a doorway in the wall. Zira hurries around the side of the fence and o.s.178 MED. SHOT - ZAIUS, CORNELIUS, HUNT CLUB LEADER ZAIUS Cornelius, if you have a moment today, I'd like to discuss this expedition of yours in more detail. CORNELIUS (eagerly) Certainly, sir. I'll get my notes and come right over. He exits hurriedly. The Hunt Club Leader turns to Zaius. HUNT CLUB LEADER I don't understand these animal psychologists. What's Dr. Zira trying to prove? ZAIUS That man can be domesticated. The hunter guffaws. Zaius turns away and looks down at:179 THE DUST UNDERFOOT Just beyond the fence we can make out the letters: I CAN Zaius' extended foot appears beneath the bottom wire of the fence. The foot wipes out the letters.180 CLOSEUP - ZAIUS His face is a mask.181 INT. TAYLOR'S CAGE - MED. SHOT - DAY He is slumped against the bars of the cell, gingerly touching a large, reddening blotch on his arm. Julius watches him uncertainly from a few yards away . In the b.g., the outside door opens and Zira rushes in, hurries down the aisle. JULIUS What happened? ZIRA Those fools and their torches! Do you have any ointment? JULIUS I'll see. He moves to a cabinet at the other end of the laboratory, rummages through some drawers.182 MED. SHOT - ZIRA - FROM TAYLOR'S P.O.V. Zira comes up to Taylor's cage, studies him solicitously. ZIRA I'm sorry, Bright Eyes.183 ANOTHER ANGLE - TO INCLUDE TAYLOR He looks steadily at Zira, who is only an arm's length away. CAMERA MOVES IN on them. Suddenly Taylor reaches out, snatching the pen and notebook from the pocket of her smock. Zira leaps back with a cry. Julius grabs a club, races up to the cage, unlocks the door. JULIUS I told you what you'd get!184 WIDER ANGLE - TO INCLUDE THEM ALL Taylor is scribbling furiously on a sheet of note paper. The guard moves in, his club upraised. ZIRA (pleading) Julius, don't. It doesn't matter. Julius swings his-club at Taylor's head. Taylor lifts his right arm to ward off the blow, and the stick strikes him sharply on the hand. He drops the pen and notebook. The guard swings again, driving Taylor to the wall. Then Julius retrieves the stolen articles.185 ANOTHER ANGLE - FAVORING ZIRA The guard returns her pen and notebook with the comment: JULIUS Natural born thieves, aren't they? Zira glances at the notebook. Her face clouds.186 INSERT - WHAT SHE READS: A hasty, almost illegible scrawl: MY NAME IS TAYLOR.187 CLOSEUP - ZIRA Her eyes afire with a wild surmise.188 TWO SHOT - ZIRA AND JULIUS Her eyes never leave Taylor as she tells the guard: ZIRA Get me a collar and leash. I'm taking him to the infirmary. JULIUS He's vicious, Doctor. Besides, it's against the rules. ZIRA Do as I say. The guard shrugs and moves Off 0.3. Zira beckons to Taylor. He comes forward to the bars of the cage. ZIRA (sotto voce) You wouldn't hurt me, would you... Taylor?189 INT. DR. CORNELIUS' OFFICE - ESTABLISHING SHOT - DAY The office is simple, almost Spartan. There are books but no bric-a- brac; several painted portraits of Great Apes but no tape recorder or other modern office equipment. Taylor sits at a desk, scribbling furiously on a sheet of paper. His leash has been removed, but not his collar. Zira stands at his elbow. Cornelius paces nervously up and down, reading a sheaf of notes Taylor has already written. CORNELIUS (stubbornly) It's a stunt. Humans don't write. ZIRA Dear, you're a scientist. Don't you believe your own eyes? CORNELIUS (to Taylor) Where did you learn to do this?190 ANOTHER ANGLE - THE OFFICE Taylor scribbles something on a small desk pad, rips off the page, hands it to Cornelius. CORNELIUS Jefferson Public School, Fort Wayne, Indiana? He looks at Taylor narrowly. Taylor nods. CORNELIUS (sardonically) Back on that planet you say you came from? (Taylor nods again) Um-hm. (to Zira) He may be intelligent, but he's also mad. Taylor scribbles something else on the pad, hands it to Zira, points at Cornelius. ZIRA (reads aloud) 'And you're a fool'. She smiles. Cornelius bristles. CORNELIUS Now, just a minute -- ZIRA Oh, Cornelius, be quiet. Taylor has resumed writing. He hands the sheet to Zira, who reads aloud. ZIRA 'Dodge was killed in the hunt. What happened to Landon?' (looking at Taylor) I don't know. CORNELIUS (scornfully) And they fell out of the sky with you? Taylor writes quickly, hands the note to Zira. ZIRA (reading) 'Not fell -- flew!' Taylor impatiently begins to fold a sheet of paper. CORNELIUS Flight is a scientific impossibility. ZIRA And even if it weren't, why fly? Where would it get you? Taylor points to the floor and mouths the word "Here." He flings the paper plane he has just fashioned into the air. It describes a graceful arc around the room and lands at the feet of Cornelius, who slowly picks it up, then exchanges a long glance with Zira. CORNELIUS (softly) Well, now... Taylor scribbles on a piece of paper, hands it to Zira. ZIRA (reading) 'Do you have maps?' Cornelius puts the paper plane on his desk, crosses to a wall map designed like a window shade. He pulls it down Taylor and Zira join him at the map.191 CLOSE ON MAP It's not a map of the whole planet, of course, but only of that portion known to the apes. Therefore it has the antique and fragmentary aspect of a map drawn by some Babylonian cartographer. A swatch of blue at the right margin indicates a sea. In the southwest quadrant are the "greenbelts" of the ape civilization, looking on the map like jade stones strung on crescent-shaped necklace. Rubyidots in the lade indicate ape communities. The northwest quadrant, colored brown, is apparently uninhabited. East of the green belts is a patch of green savanna, and next to it the darker green of a jungle. The eastern quadrants are rendered in yellow, and except for a blue lake, appear to be lifeless desert and barren mountain. This area is marked FORBIDDEN ZONE. Using a pointer, Cornelius orients Taylor, indicating a red dot in the middle of the green belt. CORNELIUS We are here ... (moving pointer) You were captured about here. Taylor studies the map, then pointing at the lake in the eastern desert, he goes into a brief charade, dramatizing the astronauts' landing and trek. ZIRA (interpreting his movements) You fell in the water here? ... you came ashore ... you marched across the desert ... the mountains ... many days and nights ... and reached the jungle. Taylor nods, smiles gratefully. CORNELIUS (flatly) Out - of - the - question!. Taylor slams his fist against the wall in frustration. ZIRA (annoyed) Cornelius, why do you insist on provoking him? CORNELIUS (tapping map) No creature can survive in that part of the Forbidden Zone. I've been there. I've seen it.192 WIDER ANGLE - THE THREESOME Taylor strides to the desk, writes something, hands it to Zira. ZIRA (reading) 'Then how do you account for me?, CORNELIUS I don't. And I'm not going to try. ZIRA But what about your theory? The existence of someone like Taylor might prove it. CORNELIUS (shushing her) Zira, are you trying to get my head cut off? ZIRA Don't be foolish. If it's true, they'll have to accept it. CORNELIUS No, they won't - Taylor touches Zira on the arm, makes a gesture of inquiry. ZIRA Cornelius has developed a brilliant hypothesis - CORNELIUS (quickly) It's probably wrong -- ZIRA -- that the ape evolved from a lower order of primate, possibly man. In his trip to the Forbidden Zone he discovered traces of a culture older than recorded time - CORNELIUS The evidence was very meager -- ZIRA You didn't think so then. CORNELIUS That was before Dr. Zaius and half the Academy said the idea was heresy. ZIRA How can scientific truth be heresy? What if Taylor is exactly the proof you needed? A mutation. A missing link between the unevolved primate and the ape - Taylor bangs his fist on the desk, mouths the word "No!" scribbles something on a piece of paper. CORNELIUS He's touchy, isn't he? Taylor thrusts the sheet at Zira, who reads it aloud. ZIRA 'I am not a missing link.' CORNELIUS Because if he is a missing link, it means the Sacred Scrolls aren't worth their parchment. ZIRA Well, maybe they're not. CORNELIUS No, thank you'. I won't get into that battle. ZIRA Oh, Cornelius, show some strength! CORNELIUS Zira, listen to me. We've got a fine future ahead of us. Marriage. Stimulating careers. I'm up for a raise -- At that moment there is a. loud RAP at the door o.s. All turn.193 REVERSE ANGLE - TO INCLUDE THE DOOR Dr. Zaius enters with another portly figure, DR. MAXIMUS. Like Zaius., Maximus is an orangutan. CORNELIUS (flustered) Dr. Zaius -- ZAIUS (not unkindly) Did you forget our appointment, Cornelius? CORNELIUS Oh., no., sir. I was just assembling my notes. ZAIUS You know Dr. Maximus, our Commissioner for Animal Affairs? CORNELIUS Certainly, sir. It's a pleasure to see you again. He hurries to his desk, starts gathering papers. Maximus notes Taylor with distaste. MAXIMUS What is that? ZIRA A man, Dr. Maximus. MAXIMUS I know it's a man. And you know the rules. No animals outside the compound, and most certainly not without a leash.194 ANOTHER ANGLE - THE OFFICE - FAVORING ZAIUS During the ensuing exchange, Zaius wanders idly through the office. He glances at the scattered handwritten notes, but does not read them. Meanwhile a rattled Zira replies to Maximus. ZIRA Yes, Sir. But this -- creature is a special case. MAXIMUS Why special? ZIRA We're -- conducting a new experiment. ZAIUS Wouldn't it more properly be done in your office? ZIRA Yes, Sir. MAXIMUS (calling) Guards? The gorilla GUARDS enter from outside. MAXIMUS Return this beast to the compound.195 ANOTHER ANGLE - FAVORING TAYLOR He regards the apes with hostility as they cross to him. One picks up his leash. Over THE SHOT we hear: ZAIUS' VOICE (o.s.) What's this?196 REVERSE ANGLE - FEATURING ZAIUS Zira stiffens, looking at Zaius. He is holding the paper plane fashioned by Taylor. ZIRA A toy. It floats on the air. (faint defiance) Try it. CORNELIUS (a warning) Zira.... Zaius looks down at the paper plane in his hand, then back to Zira. He smiles tolerantly. ZAIUS Nonsense. He crumples the paper plane into a b all., drops it on the desk. The ape hooks the leash to Taylor's collar, starts leading him out. Zira follows them. DISSOLVE TO:197 INT. CAGES - ANIMAL COMPOUND - FULL SHOT - DAY The caged primitives are asleep. Julius, the keeper, dozes in a chair outside Taylor's cage. CAMERA PIVOTS MOVING IN ON Taylor, who is lying on his side, also asleep. Nova is curled up behind him. At the sound of a door opening, she comes instantly awake, sitting up and clutching Taylor's arm. He comes groggily awake, raising his head in time to hear: JULIUS' VOICE (o.s.) What's up, Lieutenant?198 REVERSE ANGLE - WHAT TAYLOR SEES: TWO GORILLA OFFICERS have just entered the compound. They wear side arms. Julius has just risen from his chair. APE LIEUTENANT We're taking Number Four over to surgery in five minutes. Have him ready. JULIUS How come? The beast's throat is nearly healed. LIEUTENANT (snickering) It's not his throat this time. The vet's going to geld him.199 CLOSEUP - TAYLOR He stiffens but does not move. The apes, of course, speak freely in front of him, believing the animal cannot understand. JULIUS' VOICE (o.s.) Dr. Zira won't like it. She wants this pair to mate.200 BACK TO THE APES - FROM TAYLOR'S P.O.V. As the Lieutenant replies: LIEUTENANT These orders came from Dr. Zaius himself. There's nothing she can do about it. The two gorillas exit. The guard crosses to a wall peg for a collar and 'Leash.201 CLOSE TWO SHOT - TAYLOR AND NOVA Pushing Nova aside, Taylor rises.202 MED. SHOT - THE CAGE As Julius unlocks the door and cautiously approaches Taylor, carrying the collar and leash. JULIUS (murmuring) If only you knew, Bright Eyes, what they're going to do ... (raising collar) Stand still now...don't give me any trouble. The heel of Taylor's right palm crashes into the keeper's, chin, nearly snapping his neck. Julius falls unconscious. Taylor leans over him, taking his night stick and a set of keys on his belt.203 REVERSE ANGLE - TO INCLUDE NOVA AND MALE IN ADJACENT CAGE The male has awakened. He stares stupidly at Taylor. Nova is whimpering, little strange cries of fear. Taylor moves o.s.204 ANOTHER ANGLE - PANNING WITH TAYLOR He leaves the cage, moves swiftly to the nearby door and exits.205 INT. A DARK CORRIDOR - FULL SHOT - DAY Barefoot, Taylor silently pads down the corridor to a locked door.206 CLOSE ON A DOOR Which is visible because of a beam of sunlight from the half-open door of a guard room. We HEAR a murmur of ape voices and LAUGHTER. Taylor fumbles with the keys, finds one that fits the lock and opens the door.207 EXT. ANIMAL COMPOUND - MED. SHOT - TAYLOR - DAY He emerges, quietly locking the door behind him. Two tethered horses can be seen in deep b.g., and another gust of LAUGHTER can be heard from the nearby guard room. Taylor looks off.208 LONG SHOT - WHAT TAYLOR SEES: As already established, the animal compound is situated on the outskirts of the apes' community. The strange skyline of the town can be seen in the distance.209 PANNING WITH TAYLOR He starts to cross an open field outside the compound. At that moment we HEAR a shrill police WHISTLE from the guard room. Taylor breaks into a run.210 REVERSE ANGLE - THE COMPOUND As the two gorilla officers emerge from the building and run toward their horses.211 EXT. A DIRT ROAD - LONG SHOT - TAYLOR He runs down the road, starts across the long causeway that bisects a small lake, looking over his shoulder. QUICK DISSOLVE TO:212 EXT. APETOWN - LONG ESTABLISHING SHOT - DAY The community we sue at the end of the causeway is small and arcane. There are no power lines, no street lamps -- indeed, no streets as such, but only a small cluster of buildings around a pleasant mall. The architecture of the buildings is faintly derivative of the simpler and less rococo work of Antonio Gaudi -- columns and pillars of brick or exterior masonry look like the trunks and branches of great trees and suggest an arboreal past. A small number of apes are visible on the mall: Taylor darts behind the buttress of a building, casing the situation. He looks back at:213 EXT. LAKE AND CAUSEWAY - LONG SHOT - MORNING The two mounted gorilla-police can be seen on the causeway, galloping straight toward CAMERA. It is evident they will soon spot Taylor.214 BACK TO TAYLOR - CLOSE SHOT He retreats from the buttress to a dark archway and vanishes inside the building.215 INT. A DARK VESTIBULE - MOVING WITH TAYLOR The vestibule is nothing, no set required, a dark space through which Taylor moves toward a shaft of light. We HEAR faintly the discordant chords of an organ. Or is it an organ? At any rate,a strange and melancholy tune. Taylor arrives at a font.216 INT. A TEMPLE - PANNING WITH TAYLOR He appears out of darkness into half-light. The rear of the temple is obscure. Taylor darts behind a screen. Crouching there, he observes:217 A FUNERAL CEREMONY IN THE TEMPLE - MED. LONG SHOT The temple itself is small and austere. There is no altar, but against a plain backdrop we see a statue of the Lawgiver, a Great Ape holding a book. Below the Lawgiver is an ORANGUTAN MINISTER clothed in black robes. He stands in front of a closed coffin. A dozen mourners, seated on comfortable wicker chairs, form a semi-circle around the coffin. The ape ladies wear cowls. MINISTER Weep if you must, but make an end of sorrow. He lives again. Yes, he has found peace in Heaven.218 CLOSEUP - TAYLOR Crouching, listening, wide-eyed. MINISTER'S VOICE (o.s.) He was a model for us all, a gorilla to remember; hunter, warrior, defender of the Faith.219 BACK TO FUNERAL CEREMONY - FROM TAYLOR'S P.O.V. As the minister continues his eulogy, a small ape boy detaches himself (as children will) from the group of mourners and comes marching up the aisle toward the rear of the temple. MINISTER Cherished husband, beloved father, generous master -- yes, he was a font of simian kindness.220 REVERSE ANGLE - SHOOTING AT TAYLOR Who is still crouching behind the screen in deep b.g. The small fry is coming closer. Over this we hear: MINISTER'S VOICE (o.s.) The dear departed once said to me: 'I never met an ape I didn't like'... The small fry spots Taylor. CHILD (shrill soprano) Look!. It's a man! The mourners' heads turn. Taylor slinks toward the vestibule.221 ANOTHER ANGLE - FEATURING THE MINISTER He is aghast. MINISTER In Heaven's name ... (aside to ushers) Get rid of that creature. Two ushers rise, moving past CAMERA and o.s.222 EXT. TEMPLE - CLOSE ON VESTIBULE DOOR Staying close on the temple wall, Taylor moves stealthily away from the vestibule door. The two ape ushers appear. FIRST USHER (pointing) There he is: They move toward Taylor.223 FLASH SHOT - TAYLOR He runs out onto the mall.224 FULL SHOT - THE MALL Taylor belatedly sees that he is running straight toward his two mounted pursuers. Darting off in another direction, he races past startled pedestrians.225 REACTION SHOT - TWO CHIMP PEDESTRIANS They do a slow take. FIRST CHIMP You see what I saw? SECOND CHIMP Must've escaped from the zoo.226 MED. SHOT - A MOUNTED COP He has spotted Taylor. Drawing a folded net from his saddlebag, he swings it overhead (like a cowboy with a lariat) and gallops off in pursuit of the man.227- SEVERAL SHOTS - TAYLOR AND PURSUING MOUNTIE231 Taylor runs frantically from building to building, rounding corners, vanishing momentarily and reappearing on another part of the mall. At one point the mountie nearly overtakes him and flings his net, which falls short. Taylor runs on.232 EXT. AN AMPHITHEATER - LOW ANGLE SHOT (FROM GROUND LEVEL) It is an open-air structure, like a Greek theater, located near the central mail. Steeply tiered, it seats no more than fifty apes. The dais in the pit is some fifteen feet above ground level. Taylor enters scene, running toward the amphitheater. Changing direction, he darts into what appears to be an access tunnel. A moment later the pursuing cop rides into' scene, dismounts and walks toward the amphitheater, looking around for Taylor.233 EXT. AMPHITHEATER - HIGH ANGLE SHOT (FROM TOPMOST TIER) Taylor suddenly emerges from the access tunnel and runs up a ramp encircling the amphitheater. (A retaining wall shields him from the view of the apes.) Pausing for breath at the top of the ramp, Taylor crouches behind the uppermost tier of seats and peers down: THE AMPHITHEATER - FROM TAYLOR'S P.O.V. The cop looks around, spots Taylor at the top tier, and starts up after him.235- OUT237238 EXT. TOP OF AMPHITHEATER - PANNING WITH TAYLOR He starts to run back down the ramp, but is suddenly confronted by his original pursuer (the dismounted cop coming up the ramp. Reversing direction, Taylor runs around the rim of the amphitheater and vanishes into an exit tunnel. The cop blows his whistle, summoning another cop, who joins him in the chase.239- ANOTHER PART OF THE MALL - A SWIFT SEQUENCE OF SHOTS244 In which we see the fugitive, his pursuers and the reactions of ape shoppers and workers.245- EXT. OPEN-AIR MARKET - SEVERAL SHOTS248 A market has been set up on one side of the mall, where street vendors behind carts or tables hawk their wares: fruits, vegetables, wearing apparel, etc. As Taylor runs frantically through the market place, several apes join the chase. In the ensuing pandemonium, like the proverbial Chinese fire drill, several tables are overturned.249 EXT. A BUILDING - CLOSE ON AN ARCHWAY Taylor runs into scene, pauses, panting, and looks back at his pursuers. Then he darts through the archway into the building.250 INT. BUILDING - TRACKING WITH TAYLOR - DAY For the moment he is the sole visitor in this wing. His pace slows to a walk as he and we observe fleetingly the specimens in what is a simian museum: Possibly several stuffed and unfamiliar animals; primitive artifacts and fossils; possibly the skeleton of a dog, a cat, etc. Over this we hear a shrill police WHISTLE.251 FLASH SHOT - TAYLOR He runs again.252 MED. SHOT - AN APE MOTHER AND CHILD Looking at the stuffed animals as Taylor races past. The mother gives a startled SCREAM.253 REACTION SHOT - A MUSEUM GUARD He starts after the fugitive.254 ANOTHER PART OF THE MUSEUM - FEATURING TAYLOR He runs past displays of other stuffed animals toward CAMERA and halts abruptly in close f.g., shocked by:255 WHAT HE SEES: DODGE stuffed and mounted, Dodge bares his teeth at the world.256 CLOSEUP - TAYLOR Reacting in horror. He hears another police WHISTLE and the echoing FOOTSTEPS of approaching guards, which mufffle his strangled gasp: TAYLOR Dodge ... Taylor vanishes in a BLUR of movement. CUT TO:257 EXT. THE MALL - APETOWN - FULL SHOT FROM ON HIGH - DAY Order has been restored in the open-air market. Taylor bursts suddenly into view from a building on the far side of the mall, running in panic from ape guards in close pursuit. A mounted policeman spots him and heads him off. Changing direction, Taylor is intercepted by another mounted Gorilla. And then a third. CAMERA HOLDS, ANGLING DOWN on the center of the mall. We are witnessing a hideous game: "baiting the man." The mounted police do not shoot or club Taylor, for he cannot escape -- but they circle him, their long whips CRACKING over his head.258 CLOSER ANGLE - THE CIRCLE AROUND TAYLOR - FAVORING A MOUNTIE who unfolds his net, swings it overhead and flings it at Taylor. This time he bags his quarry. Taylor gives up. Spent, docile, entangled in the net, he stands stock-still in the center of the mall. Guards and civillians on foot join the circle around the man at bay. They regard him warily.259 CLOSE SHOT - DR. ZIRA She pushes through the simian crowd around Taylor and hurries to his side.260 CLOSE TWO SHOT - TAYLOR AND ZIRA She paws at the net, crying impulsively: ZIRA Taylor, why'd you run away? Zira removes the net from his face. Panting with exhaustion, Taylor flicks a wild glance at her. He looks demented.261 WIDER ANGLE - TO INCLUDE TWO GORILLA OFFICERS who approach Taylor and Zira. (They are the same gorillas introduced in Scene 198.) One of them carries a collar and leash. The other presents an I.D. card to Zira. LIEUTENANT Security police. ZIRA (promptly) I'm in charge of this man. LIEUTENANT No longer, madame. He is now in the custody of the Ministry of Science. His colleague moves toward Taylor with a muzzle.262 CLOSE SHOT - FEATURING TAYLOR He speaks at last, his voice hoarse but audible. TAYLOR Get away from me, you dirty ape!263 FULL SHOT - THE SIMIANS AROUND TAYLOR The arresting officer steps back involuntarily. All the apes freeze, staring at the speaking animal with mute astonishment as we: FADE OUT FADE IN264 INT. CAGES - CLOSE SHOT - TAYLOR AND NOVA - DAY The compound is dimly lit. Taylor, the bandage now gone from his throat, is back in his old cage. The other cages, however, are empty -- their occupants presumably having been moved to the surgery or the zoo. He is seated on a pile of straw in the rear corner, Nova's head cradled on his lap. Idly he strokes her coarse hair. There is a dull glow of madness in his eyes, and his manner is one of abstract soliloquy, like a man talking to a dog. TAYLOR ...and that's when I decided to take up astronautical engineering., you see. I was halfway through college and I... (he breaks off) It's an old trick! The silent treatment. Four weeks and three days, and not a word from anyone. Not Zira.,or Cornelius...or that damn Julius. No one'll listen... only you. You...Nova. NO-VAH. His manner is now more direct, and educative., but she stares in blank comprehension. She brushes his moving lips with her fingers. He shrugs wryly. TAYLOR Yeah...me Tarzan, you Jane. That's all right ... I had a puppy once that never barked. He just licked my hand. (pause) He's dead now. They're all dead. Everything... I think maybe they'll kill me, too. Are they afraid of me? I can't hurt them... but I threaten them somehow. Threaten their faith in simian superiority. Yeah ... you're right. They'll have to kill me. Faint footsteps are heard o.s. Taylor and Nova look in the direction of the sound. A sudden stream of water shoots through the bars and strikes Taylor in the chest.265 WIDER ANGLE - WHAT THEY SEE: An ape GUARD has a high pressure hose trained on Taylor. It forces him back toward the rear of the cage. Julius, whip in hand, unlocks the cage, steps inside. He unlimbers the whip., cracks it-'in Nova's direction. She recoils. The jet of water hold Taylor at bay. Julius grabs Nova, begins to pull her toward the door of the cage. Taylor tries to fight his way through the water toward Julius. TAYLOR Let her alone! Julius swings the whip. It cracks against Taylor's legs, biting into the skin. Taylor stumbles, falls to one knee TAYLOR Where are you taking her? What are you going to do? Julius drags and pushes the girl through the door, slamming and locking it behind him. Taylor, fights through the stream of water, flings himself against the bars. TAYLOR (raging) Take your hands off her, you black monster! You filth! Julius shoves Nova across the aisle to a cage opposite Taylor's, locks her inside. TAYLOR Why are you doing this? Say something, you hairy scum! Julius gestures toward the ape guard JULIUS Turn it off! The ape guard shuts off the hose. TAYLOR Answer me! Julius strides over to Taylor's cage. JULIUS (fiercely) Shut up! The reason no one'll talk to you is because you're a freak! TAYLOR Where's Dr. Zira? Why--? JULIUS I said shut up! He slashes viciously with his whip handle against Taylor's fingers. Taylor yells in pain. Julius and the ape guard start out of the compound. TAYLOR (wildly) Ape! Apes wearing clothes! It's a madhouse! A madhouse! He sinks to the floor as the apes go out. 266 OUT267 FULL SHOT - CAGE Taylor looks desolately through the bars across to Nova's cage. She eyes him sadly. TAYLOR (gently) Now I don't even have you. (pause) Imagine me -- needing someone. Back on Earth there was nobody. Women, yes. Lots of them. Love making ithout love. That's the kind of world it was turning into, with the help of cynics like myself. So I left it -- because there was no one dear enough to keep me there. (pause) Did I tell you about Stewart? (Looking away) There was a lovely girl. The most precious cargo we brought along. If human life could survive here, she was to be the new Eve. (morosely) It's probably just as well she didn't live to see this. He looks at Nova. She stretches her hands through the bars toward him. TAYLOR I wonder if it's Love between us. (looks around, smiles ironically) What a place to find it.C-267 FULL SHOT - THE CAGE Two gorilla officers enter, carrying torches. (These are the same apes introduced in Scene 198.) One carries a double set of manacles. Julius comes to meet them. The Lieutenant takes the two sets of manacles from the other officer, hands them to Julius, whispers something. Julius comes over and unlocks the door of Taylor's cage. He advances to Taylor, who does not move, bends down and clamps the manacles around each of his ankles. Then he straightens, lifts Taylor's arms, pulls his wrists together, snaps on the cuffs.D-267 WIDER ANGLE - THE CAGE Taylor looks across at Nova, blows her a kiss. Julius leads him out of the cage, takes his leash from a snaps it onto Taylor's collar, hands the other end to the Lieutenant. Nova and Julius watch in silence as Taylor is led down the aisle and out the door.268- OUT272 DISSOLVE TO:273 INT. INQUIRY ROOM - ESTABLISHING SHOT - DAY Taylor, wearing his manacles, is seated at a table in the otherwise deserted chamber. There is an empty chair on either side of him. Across the room stands a dais with three rude, high-backed chairs. There is a small table directly below the dais. A third table stands at right angles to the dais. Taylor looks around the empty room. A door is opened by a gorilla BAILIFF, and Zira and Cornelius come into the room, sit down on each side of Taylor. A moment later, DR.HONORIUS, the Prosecutor and a CLERK enter, take their seats at the third table. TAYLOR (softly) Where have you been? Why didn't you come to see me? ZIRA Shhhh! TAYLOR What is this? ZIRA A hearing. CORNELIUS (hissing) Be clever. Be quiet, BAILIFF All rise! Everyone gets up as THE PRESIDENT, Dr. Zaius and Dr. Maximus enter and mount the dais. The President takes the center chair; the other two flanking him. BAILIFF Be seated. All sit down. PRESIDENT (pounds gavel once) This ad hoc Tribunal of the National Academy is now in session. President of the Academy presiding. On my right, Dr. Maximus, Commissioner for Animal Affairs. On my left, Dr. Zaius, Minister of Science and Chief Defender of the Faith... (glancing at Prosecutor) Appearing for the State, Dr. Honorius, Deputy Minister of Justice. Honorius rises and bows. PRESIDENT (raps gavel once) Let it be clear at the outset that all matters pertaining to this inquiry are confidential, and anyone discussing them outside this chamber will be held in contempt of the Tribunal. (a beat) You may proceed, Dr. Honorius. ZIRA (rising) By your leave, Mr. President -- the Tribunal has not yet defined the purpose of this inquiry. The President appears to be taken aback. He glances at his colleagues. MAXIMUS You asked for the opportunity to present your case. Surely you must know why you're here. ZIRA My own purpose is to save this exceptional creature from mutilation. MAXIMUS (promptly) And our purpose is to settle custodial and jurisdictional questions concerning this beast, and determine what's to be done with him. ZIRA At the very least, this man has the right to know whether there's a charge against him. HONORIUS (rising) Objection. The accused is indeed a man. Therefore, he has no rights under ape law. PRESIDENT Well, Dr. Zira? This is a man, is he not?274 CLOSE GROUP SHOT - THE DEFENDANT'S TABLE Sensing that the President has given them an opening, Zira smiles confidently. ZIRA He is unlike any man you have ever seen - as we hope to prove. PRESIDENT'S VOICE (o.s.) Answer the question. Is he a man? CORNELIUS (tentatively) Sir? The question is the point at issue: Is he a man? Or a deviate? Or a freak of nature? HONORIUS' VOICE (o.s.) Objection!275 FULL SHOT - THE INQUIRY ROOM As the Prosecutor continues: PRESIDENT Sustained. In all fairness, Dr. Zira, you must admit the accused is a nonape, and therefore has no rights under ape law. ZIRA (rising) Then why is he called the accused Your Honors must think him guilty of something. Honorius seems confounded. Zaius takes over. ZAIUS This man is not being tried. He is being disposed of. (pointing at Zira and Cornelius) It is scientific heresy that is actually on trial here. MAXIMUS Well put, Dr. Zaius. Let us warn our friends that they endanger their own careers by defending this animal.276 CLOSE SHOT - THE DEFENSE Both Cornelius and Zira appear shaken by this threat. Sensing their predicament, Taylor rises impatiently. TAYLOR Then I'll defend myself.277 FULL SHOT - THE INQUIRY ROOM Although the judges and Prosecutor have been told that this man can speak, they react in stunned silence to the first sound of his voice. Flustered, the President bangs his gavel. PRESIDENT Dr. Zira -- tell Bright Eyes to sit down. TAYLOR My name is Taylor. The President refuses to address Taylor directly. Checking a document, he speaks to Zira. PRESIDENT It says here that his name is Bright Eyes. You gave him that name yourself. TAYLOR (voice rising) This hearing is absurd! Let me tell my story... PRESIDENT (pounds gavel) Bailiff! Make the animal be quiet. The Bailiff quickly crosses to Taylor and shoves him roughly into his chair. PRESIDENT State your case, Mr. Prosecutor. HONORIUS Learned Judges: My case is simple. It is based on our first Article of Faith: that the Almighty created the ape in his own image; that He gave him a soul and a mind; that He set him apart from the beasts of the jungle, and made him the lord of the planet.278 CLOSE GROUP SHOT - THE DEFENDANT'S TABLE Taylor has begun to write something on a sheet of paper. Zira and Cornelius remain attentive to: HONORIUS' VOICE (o.s.) These sacred truths are self-evident. The proper study of apes is apes. But certain young cynics have chosen to study man - yes, perverted scientists who advance on insidious theory called 'evolution.'279 FULL SHOT - THE INQUIRY ROOM As the Prosecutor continues: HONORIUS There is a conspiracy afoot to undermine the very cornerstone of our Faith PRESIDENT Come to the point, Dr. Honorius. HONORIUS Directly, Mr. President. This wretched man, the accused, is only a pawn in the conspiracy. We know that he was wounded in the throat at the time of his capture. The State charges that Dr. Zira and a corrupt surgeon named Galen experimented on this wounded animal, tampering with his brain and throat tissues to create a speaking monster ... ZIRA (on her feet) ThatÕs a lie! PRESIDENT (pounding gavel) Mind your tongue, madame. ZIRA Did we create his mind too? Not only can this man speak. He can write. He can reason. HONORIUS He can reason? With the Tribunal's permission, let me expose this hoax by direct examination. PRESIDENT Proceed. But don't turn this hearing into a farce. Honorius crosses to the defendant's table and favors Taylor with an evil smile. HONORIUS Tell the court, Bright Eyes -- what is the second Article of Faith? TAYLOR I admit, I know nothing of your culture. HONORIUS Of course he doesn't know our culture - because he cannot think. (to Taylor) Tell us why all apes are created equal. TAYLOR Some apes, it seems, are more equal than others. HONORIUS Ridiculous. That answer is a contradiction in terms. Tell us, Bright Eyes, why do men have no souls? What is the proof that a divine spark exists in the simian brain? TAYLOR (hands paper to Zira) Show this to the President. Zira moves toward the dais. Honorius returns to his own table. ZIRA Since the defendant is forbidden to speak in his own defense, he asks that this statement be read into the record. PRESIDENT Read it yourself. ZIRA (reading aloud) 'I have come to you from a planet in a different solar system. I am an explorer in space, with no hostile intentions against your civilization. On my planet it was the primate Man who evolved Into a thinking animal, while the apes remained..." PRESIDENT (rapping gavel) Stop right there. Bring me that paper. Zira crosses to the dais, handing the statement to the President. He glances at it, laughs derisively and passes it to Zaius. PRESIDENT (to Zira) This is a joke in very poor taste. ZIRA Is it a joke to seek the truth about this man? ZAIUS (glancing at document) Dr. Zira -- you state here that a ship from outer space sank in an inland sea of our eastern desert. ZIRA I do not state it, sir. The prisoner does. ZAIUS Do you believe him? ZIRA (uneasily) Like you, I find it difficult. ZAIUS But how convenient that the proof of his arrival has vanished? (glancing again at document) You also state that Bright Eyes had two intelligent companions at the time of his capture. ZIRA This is his assertion. ZAIUS Where are they now? TAYLOR (blurting it out) One is in a museum! PRESIDENT (pounding gavel) Dr. Zira! Silence that man! Returning to her table, Zira gestures to Taylor to remain silent. ZAIUS How sad. Stuffed and mounted, eh? Dead men, like sunken ships, can tell no stories. And his other companion? ZIRA He doesn't know. ZAIUS Mr. President, I believe the Prosecutor has reassembled all he surviving humans captured in the hunt along with Bright Eyes. HONORIUS That's true, Dr. Zaius. My witnesses -- correction -- my exhibits are on display in the amphitheater. PRESIDENT Very well. I suggest we go and look at them. The President rises, starts out, followed by the others. Taylor is last, being led on a leash by the bailiff.280 OUT281 EXT. AMPHITHEATER - FULL SHOT - DAY The inquiry group files through a door into the amphitheater. Two APES stand guard over a number of leashed and nearly naked human beings in the center of the pit below the dais. There are three primitive males, the female Nova -- and Landon. He is dirty and bearded, but his hair is cropped close.282 CLOSE - TAYLOR He turns to Zira, his eyes shining with vindication. TAYLOR (a whisper) It's him...Landon. ZIRA Which one? TAYLOR Second from the left.283 FULL SHOT - THE AMPHITHEATER Zaius glances at the accused. ZAIUS Well...do you acknowledge kinship with any of these creatures? TAYLOR With one of them. ZAIUS Identify him, then. Speak to him. Taylor moves forward for a few paces, stops. TAYLOR Landon?284 CLOSER SHOT - FEATURING LANDON - FROM TAYLOR'S P.O.V. Landon looks catatonic. His face is in shadow285 WIDER ANGLE - TO INCLUDE TAYLOR Stunned by Landon's imbecility. TAYLOR John ... it's me, Taylor. Taylor steps forward to grasp his arm. There is still no response. Taylor takes Landon's head in his hands and looks at his face. There is a fresh scar running from his forehead to the top of his cranium.286 FULL SHOT - THE AMPHITHEATER As Taylor whirls on Zira. TAYLOR You! ... You knew about this? ZIRA No, I swear -- I never saw this man before. TAYLOR (whirling on Zaius) You did this to him! You've removed his frontal lobes! PRESIDENT Silence! (turning) Bailiff, take the prisoner inside! The bailiff Jerks brutally on Taylor's leash, pulling him toward the door leading under the amphitheater.A-286 INT. INQUIRY ROOM - MED. SHOT - DAY The bailiff enters, dragging Taylor behind him, shoves him into his chair. Moments later the other apes enter the room. All take their seats but Zaius. Taylor glares at him furiously. ZAIUS (calmly) Mr. President, a word of explanation: the creature in question suffered a skull fracture during the hunt. Two fine veternary surgeons under my direction were able to save his life. But the beast could not speak, of course. Nor will he ever speak Taylor leaps from his chair, livid with rage, approaches the dais. TAYLOR You destroyed his memory! His mind! His identity! And, you want to do the same to me! PRESIDENT (pounding gavel) Bailiff! Stop this outburst! Gag that monstrosity! The bailiff and a husky guard seize Taylor, who continues shouting: TAYLOR You barbarians! The powerful guard twists Taylor's arms behind his back and the bailiff lashes his wrists together. Then the bailiff gags Taylor. His voice is cut off as the bailiff ties the twisted kerchief around his open mouth. The guard holds Taylor's leash during the rest of this scene. Meanwhile, Cornelius has risen to his feet. His tone is firm, but conciliatory. CORNELIUS May it please the Tribunal: I for one grant that this being cannot have come from another planet. But this much is certain -- he comes from somewhere in the Forbidden Zone. He has described the region to us, and described it accurately, for I have been there. PRESIDENT You visited the Forbidden Zone? CORNELIUS Why, yes, sir. A year ago. With the special permission of the Academy. ZAIUS (to President) He exceeded his orders. His travel permit was promptly revoked. CORNELIUS Yes, sir, so it was -- thanks to you. But not before I discovered evidence of a simian culture that existed long before the Sacred Scrolls were written ... HONORIUS Objection! These remarks are profane and irrelevant. PRESIDENT Sustained. (to Cornelius) Your archeological theories have no bearing on the disposition of this creature. ZAIUS (softly) Let them talk, Mr President. Let them talk. ZIRA (rising) Sirs: our theories have a bearing on his identity. PRESIDENT How so? ZIRA Let us assume, as common sense dictates, that the prisoner's story is false. But if he does not come from another planet, then surely he sprang from our own. Yes, sprang. (a beat) As an animal psychologist, I have found no physiological defect to explain why humans are mute. HONORIUS Objection! PRESIDENT Sustained. ZIRA (plunging on) Their speech organs are adequate. The flaw lies not in anatomy but in the brain. HONORIUS Objection! PRESIDENT Sustained. ZIRA (voice rising) Sustain all objections, but face the truth! Cornelius has regained his courage. Rising to Zira's support, he points at Taylor. CORNELIUS Yes! Behold this marvel, this living paradox, this missing link in an evolutionary chain! PRESIDENT (pounding gavel) Silence! (Puffing with rage) You have gone too far. ZAIUS (calmly) There you are, Mr. President. I warned you these two would use this hearing as a forum for subversion. MAXIMUS You were right! The advocates of heresy have revealed themselves. ZAIUS Mr. President, I think an indictment is in order. HONORIUS (promptly) Yes, sir. The State charges Doctors Zira and Cornelius with contempt of this Tribunal, malicious mischief and scientific heresy. PRESIDENT Be it so ordered. The Tribunal will examine all the evidence presented here and in due time render a verdict on the proposed indictment and on the disposition of the deviate in question. (pounds gavel once) This hearing is adjourned. All rise. The guard drags Taylor from the inquiry room. Zira and Cornelius stand there, stunned by the entrapment into which Zaius has maneuvered them.287-289 OUT DISSOLVE TO:290 INT. A SMALL OFFICE - CLOSE ON DR. ZAIUS - NIGHT The office is as unadorned and Spartan as that of Cornelius -- in fact, with minor changes in decor, the same set can be used. There are many thick leatherbound books on this scholar's desk. Zaius is reading one of them and taking notes. He looks up as someone KNOCKS at the door.291 REVERSE ANGLE - SHOOTING PAST ZAIUS The two agents push Taylor through the doorway. ZAIUS Wait outside. The officers withdraw, closing the door. Collared, wrists manacled, Taylor stands facing the desk. ZAIUS The verdict is in. At the moment your simian friends -- and sponsors -- are free on bail. But they'll soon be brought to trial for heresy.292 ANOTHER ANGLE - FAVORING ZAIUS who falls silent, as if this were the only news of import. We note at once a change In Zaius' tone and attitude. He no longer treats Taylor like a freak animal, but addresses him as an imaginative adversary who must be intimidated by the threat of terror. TAYLOR What about me? ZAIUS (offhandedly) Oh, your case was preordained. In a way, you performed a service for the State ... (smiling) Because your hearing made it possible for us to expose Zira and Cornelius. (a beat) And now the Tribunal has placed you in my custody for...final disposition. Do you know what that means? TAYLOR No. ZAIUS Emasculation, to begin with. Then experimental surgery. On the speech centers. On the brain. Ultimately, a kind of living death. Taylor stiffens but says nothing. Zaius lets this prospect sink in, then continues. ZAIUS However, it's within my power to grant You a reprieve. That is why I summoned you here tonight. (a beat) Tell me who and what you really are and where you come from, and no veterinary will touch you. TAYLOR I told the truth at that 'hearing'of yours. ZAIUS You lied. Where is your tribe? TAYLOR My tribe, as you call it, lives on another planet in a distant solar system. ZAIUS Then how is it we speak the same language? (suddenly intense) Even in your lies, some truth slips through! That mythical community you're supposed to come from -- Fort Wayne'? TAYLOR What about it? ZAIUS A fort! Unconsciously, you chose a name that was belligerent. (more calmly) Where were you nurtured? TAYLOR I take it you don't believe the prosecutor's charge -- that I'm a monster created by Dr. Zira. ZAIUS Certainly not. You're a mutant. TAYLOR That's exactly what Zira and Cornelius claim. You're talking heresy, doctor. ZAIUS (smiling) Of course. TAYLOR (growing bolder) All right, suppose I am a mutant? Why does the appearance of one mutant send you into a panic? ZAIUS Because you're not unique. There was the one you call Landon -- TAYLOR Then you admit -- ZAIUS I admit that where there's one mutant there's probably another. And another. A nest of them. Where's your nest, Taylor? Where are your women? TAYLOR (pause) Thank you for calling me Taylor. (more firmly) Dr. Zaius, I know who I am. Who are you? How did this upside down civilization ever get started? ZAIUS (strangely calm) You may well call it upside down, since you occupy its lowest level. And deservedly. (pause) The eastern desert has never been explored -- because we've always assumed that no life can exist there. (a beat) Save yourself, Taylor. Tell me -- is there another jungle beyond the Forbidden Zone? TAYLOR I don't know. ZAIUS If you are protecting others of your kind, it will cost you your identity. TAYLOR I'm not protecting anybody! That hearing was a farce. What have I done? ZAIUS You're a menace! A walking pestilence. I do know who you are, Taylor. As I know that others of your kind must live in the Forbidden Zone. (decisively) You have just six hours to make a full confession. After that I'll employ surgery to obtain one. (calling off) Guards! The two burly security agents open the door and enter. ZAIUS Take this creature back to his cage. The guards seize Taylor, start to shove him toward the doorway. He twists around, faces Zaius. TAYLOR All right, you can cut me to pieces. It's within your power. (with force) But know this, doctor. You do it because you're afraid of me. You do it from fear! Zaius jerks his head silently toward the door. The apes drag Taylor through it. DISSOLVE TO:293 INT. ADJACENT CAGES - MED. SHOT - NIGHT A few hours have passed. Nova is watching Taylor from her cage across the aisle. He sits on the pile of straw. There is an ugly welt on his cheek made by the security officer's whip. FOOTSTEPS are heard. Taylor and Nova look up and off.294 REVERSE ANGLE - WHAT THEY SEE: A solemn, teen-age chimp named LUCIUS appears outside the cage. The guard Julius rises from his chair. LUCIUS Are you Julius? JULIUS What do you want? LUCIUS I'm from the Office of Animal Affairs. (indicating Taylor) This male's to be transferred to the zoo. JULIUS At this hour? Who says so? Taylor enters scene, coming over to the cage bars as Lucius continues gravely, with just a note of disdain. LUCIUS Don't they tell you anything? The Anti- vivisectionist Society is up in arms. They're going to save this beast from those butchers in the lab. If he can speak he belongs in the public zoo. (taking off) But what'll probably happen is that some money-mad grown-up will put him in a circus. And then we'll have to pay to see what rightfully should have -- JULIUS Stop making speeches and show me the order. Lucius hands the guard a document. It is dark here, so Julius crosses to a beam of light near the bars and studies the document. Lucius, behind the guard's back, signals frantically for Taylor to seize or strike the guard. Taylor is slow to understand. Lucius shakes his head impatiently. JULIUS (peering at document) This order's no good. It must be counter- signed by Dr. Zaius -- Lucius suddenly gives Julius a violent shove. The guard's head crashes against the bars and he is stunned. LUCIUS Hit him! Taylor complies bringing down the heel of his fist on the nape of the guard's neck. Julius collapses. The youngster immediately squats down, gags him, and begins to bind him hand and foot. CAMERA MOVES IN. TAYLOR Who are you? LUCIUS (looking up,coolly) So you can talk. (as he works) I'm Dr. Zira's nephew. This abduction was her idea. You're not really going to the zoo. That's just our cover story in case we're stopped. (off again) Although I do feel that if it ever came down to a question of whether something like you should be public or private property -- TAYLOR Come on. Get me out of here. Taking the guard's keys, Lucius rises and unlocks the cage. Nova enters the scene, coming to the bars of her cage.295 CLOSE TWO SHOT - TAYLOR AND NOVA He gazes at her, tense with indecision. She flashes an imploring smile, a mute appeal that cannot be denied. Over this we hear: LUCIUS' VOICE (o.s.) We've got to move fast.296 WIDER ANGLE - TO INCLUDE LUCIUS as Taylor leaves his cage. TAYLOR She comes along too. LUCIUS Zira doesn't want your female. TAYLOR I want her. LUCIUS (a shrug) If you insist. But I'm not taking any orders -- TAYLOR Fine. Just let her out. Lucius unlocks Nova's cage. She comes out quickly, takes Taylor's hand. They follow Lucius out of the compound.297 EXT. ANIMAL COMPOUND - MED. SHOT - NIGHT A horse-drawn caged wagon (like that used in the hunt) stands near the building. Zira waits at the rear of the wagon. Lucius, Taylor and Nova emerge from a doorway or archway and join her. Zira notes Nova's presence with disapproval. They speak in undertones. ZIRA (to Lucius) I told you not to bring the other one. LUCIUS He wouldn't leave her. ZIRA (with a sigh) All right... (to the humans) Get in...hurry. Put this on. TAYLOR Listen- ZIRA Taylor -- just keep quiet and we may get away with this. Remember that men all look alike to most apes. Taylor and Nova comply, climbing into the cage. Lucius closes the tailgate. Lucius and Zira move to the front of the wagon and climb aboard. Lucius takes the reins. As they move off: WIPE TO:298 EXT. LAKE AND CAUSEWAY - LONG HIGH ANGLE SHOT - NIGHT As previously established, the animal compound is on the outskirts of Apetown. The abductors must cross the causeway on their route of escape. In the distance, near the gazebo, we can see the lights of several torches. The caged wagon rolls into scene and out onto the causeway. At the same time a mounted gorilla leading two pack animals appears on the far side of the causeway, coming toward CAMERA. Lucius stops the wagon.299 CLOSE TWO SHOT - LUCIUS AND ZIRA - ON THE WAGON LUCIUS (apprehensively) Gorilla hunters ... ZIRA Keep moving. We can't turn back now.300 BOOM SHOT - THE CAUSEWAY As the mounted hunter nears the wagon, we can see two bodies slung across the backs of the pack animals.301 FLASH SHOT - TAYLOR AND NOVA - IN WAGON CAGE They look out at:302 THE PASSING HORSES - FROM THEIR P.O.V. The bodies on the horses are naked human corpses.303 MED. LONG SHOT - THE CAUSEWAY - REVERSE ANGLE In immediate f.g., near the gazebo, is a similar wagon. It has lost a wheel, and its rear axle lies on the edge of the causeway. Two naked primitive males can be dimly seen within the cage. Four or five armed gorilla hunters stand near the wagon: two of them carry torches; the others are passing a jug from hand to hand-. The leader of the Hunt Club, still on horseback, holds up his hand as the lab wagon approaches. LEADER Hold it! Lucius obeys. The hunters on foot swarm around his wagon as their leader calls authoritatively: LEADER Ah, Doctor Zira! Our wagon broke down! I'm afraid we'll have to commandeer yours.304 CLOSER ANGLE - THE LAB WAGON as the Hunt Club Leader rides over, recognizing the animal psychologist. ZIRA You can't! I've two sick humans in the cage. We're taking them to the chief vet at the zoo ... LEADER (indicating his own wagon) We bagged two live ones today. I'll have to ask you to take them along. He moves to the rear of the wagon. ZIRA (following him; frantically) No, no, my animals are diseased... Leave them alone! They're diseased, I tell you! Lucius jumps down and runs toward the rear of the wagon.305 REVERSE ANGLE - REAR OF WAGON The hunters have opened the tailgate and are shining their torches on the humans. They sound ready for sport. FIRST HUNTER Give him a taste of fire! One of the hunters points his torch at Taylor, who, quite naturally, shrinks back as Lucius runs into scene. LUCIUS Stand back! He's dangerous! FIRST HUNTER Why? ZIRA He's rabid! His bite is fatal! FIRST HUNTER You serious? LUCIUS You would die in agony! (with appropriate gestures) Frothing at the mouth! The hunters fall back. Lucius promptly locks the tailgate and he and Zira run back to the front of the wagon. Lucius snaps the reins and the wagon moves off. The hunters follow it a few paces, pausing near their mounted leader. FIRST HUNTER They treat those animals better than they treat us. LEADER I still say the only good human is a dead human. The fugitives' wagon recedes beyond the gazebo, as we: DISSOLVE TO:306 EXT. AN OPEN RANGE - LONG SHOT - DAWN The horse-drawn wagon is silhouetted-against the dawn light, bumping across a semi-arid plain studded with mesquite and sage. (This SCENE can be SHOT either on the Navajo reservation near Page or on the Ranch). DISSOLVE TO:307 EXT. SAVANNA (OR CULTIVATED FIELDS) - LONG SHOT - MORNING This is the same area described on page 24, where the hunt occurred. As the wagon rolls along a dirt track, the tall grasses of the savanna (or cultivated field) can be seen in b.g.308 CLOSE TWO SHOT - TAYLOR AND NOVA - IN WAGON CAGE Taylor is dozing, but the girl is alert and nervous. She peers out at the field, apparently recognizing or remembering this terrain. She nudges Taylor, waking him.309 EXT. GROVE OF WILD FRUIT TREES - LONG PANNING SHOT - DAY This, too, is the location described on page 24. CAMERA PANS with the wagon as it rolls into the grove and HOLDS on three horses. Cornelius sits astride one horse; the other two nags are heavily burdened with packs and saddlebags.310 CLOSER ANGLE - THE GROVE - FAVORING CORNELIUS He dismounts as Zira and Lucius jump down from the wagon and hurry toward him. Cornelius and his fiancee embrace and kiss lightly, ape-fashion. CORNELIUS How did it go? ZIRA There was one bad moment -- some hunters stopped us. LUCIUS (calmly) I pursuaded them our beasts had rabies.311 CLOSE TWO SHOT - TAYLOR AND NOVA - IN CAGED WAGON The apes discussing the abduction are out of earshot. Exasperated to be thus ignored and caged, Taylor kicks the tailgate, shouting: TAYLOR Let me out of here!312 WIDER ANGLE - TO INCLUDE THE GROUP Lucius hurries back to unlock the tailgate. Taylor gets out of the wagon, stretching his stiffened joints. Nova follows suit. During the ensuing exchange the girl seems strangely agitated, pacing to and fro, her eyes scanning the grove and fields in search of someone or something. CORNELIUS (approaching) Well, Taylor -- we're all fugitives now. TAYLOR Do you have any weapons? CORNELIUS The best. But we won't need them. TAYLOR Just the same, I want one. He moves toward one of the horses. Cornelius starts after him. CORNELIUS Look here, Taylor. I'm in charge of this expedition -- Taylor takes a rifle from one of the packs, examines it. TAYLOR Fair enough. But you're no longer in charge of me. And I don't mean to be captured again. Zira and Lucius have come up. CORNELIUS (peeved) As you wish. TAYLOR Zaius seems to think there might be another jungle beyond the Forbidden Zone. That's what we'll try for. What about you? ZIRA Cornelius and I have been indicted for heresy. Unless we can prove our theories, we don't stand a chance of acquittal. TAYLOR You're going back to the Forbidden Zone? CORNELIUS To the diggings I worked at a year ago. It's a three day ride across the eastern desert, near where you claim you landed from that planet of yours. TAYLOR You still don't believe me, do you? CORNELIUS (shrugs) It's a long detour to Dead Lake. What would we find? Taylor makes a helpless gesture, realizing that he cannot present sure proof. TAYLOR Nothing much. The remnants of a life raft. Maybe a small flag. The emblem of my countrymen. CORNELIUS Sorry, Taylor. The terrain around that lake is poisonous. There is no fresh water, no vegetation. Nothing. TAYLOR I know ... Nevertheless, I thank you for saving us. You'll be in trouble for going there. ZIRA (a smile) We've been in trouble since the moment we met you. Nova seizes Taylor's arm to get his attention. Trying to communicate, she makes whimpering sounds and points at:313-314 OMIT315 THE DISTANT JUNGLE - AS SEEN FROM THE GROVE This is the same view of the jungle that Taylor saw when the gorilla hunters emerged from the trees. (Page 25) ZIRA'S VOICE (o.s.) What's she pointing at?316 BACK TO TAYLOR AND THE OTHERS Taylor smiles at Nova, gives her a reassuring shrug. TAYLOR That's the way home. And she knows it. Nova turns away, still holding Taylor's arm, tries to lead him toward the jungle. TAYLOR (sharply) Nova! (she turns; he shakes his head, says gently) We can't stay there. It's not safe. She looks at him sadly. ZIRA We'd better get started. If the mounted police pick up our trail, they'll come this far at least. CORNELIUS Right. (to Lucius) Let's put the water and provisions in the wagon. He and Lucius move off toward the horses. ZIRA (indicating Nova) Are you going to take her with you? TAYLOR Yes. ZIRA Actually, you're a different breed. This creature will never evolve. TAYLOR Maybe not. ZIRA (smiling) You want her that much? TAYLOR (testily) You threw us together, remember? And you guessed right. Men, like apes, get despondent without a mate. He walks off to help Lucius and Cornelius. Nova tags along behind him as we: DISSOLVE TO:A-316 THE GROUP MOVES ACROSS A PLATEAU DISSOLVE TO:317 EXT. DRY WASH AND TAMARISKS - FEATURING SCARECROWS - DAY The caravan is crossing, in a reverse direction, the route taken by the astronauts on page 17. The three apes are on horseback. Taylor and Nova follow in the wagon. They are nearing the row of sinister scarecrows on the bluff above the dry wash.318 MED. SHOT - THE THREE MOUNTED APES They halt briefly and look up at the crosses. Lucius is impressed. LUCIUS Who put them up? ZIRA The Hunt Club. LUCIUS To scare off humans? CORNELIUS To scare us, too. We're entering the Forbidden Zone. They move off again, riding across the dry wash.319 TWO SHOT - TAYLOR AND NOVA - SEATED ON THE WAGON They, too, have stopped and are looking up at the scarecrows. Nova is plainly terrified. She grabs Taylor's arm, whimpers. TAYLOR Don't worry. You'll be safe with me. (sudden smile) Here. It's time you learned to earn your keep. He hands the reins to Nova. She just sits there. He demonstrates. TAYLOR You can do it. Like this ... Nova flicks the reins, reacting in wide-eyed, open-mouthed disbelief as the horse obeys her. DISSOLVE TO:320 EXT. DESERT PLATEAU - LONG HIGH ANGLE SHOT - DAY FOR NIGHT The party is traversing a red desert to the east of Dead Lake. Great sandstone monoliths rise from the desert floor. From this vantage point the horses look no bigger than ants. DISSOLVE TO:321 EXT. RIM OF A DEEP GORGE - HELICOPTER SHOT - DAY This is terrain never before seen in this picture. (Lake Powell location, a few miles northeast of Wahweap). The party can be seen on the rim of a flat desert tableland that falls away abruptly to a vast, irregular river of deep blue water. Taylor, Cornelius and Lucius are unloading the wagon and repacking their provisions and equipment on the backs of horses. Zira watches them.A-321 CLOSER ANGLE - THE GROUP Zira wanders off, falls to her knees. LUCIUS Something's wrong with your mate. Taylor looks off. He and the others move quickly to Nova, CAMERA PANNING with them.B-321 CLOSE GROUP SHOT - AROUND NOVA She has been retching. Taylor lifts her up. She is faint with nausea. Zira squats down beside them. ZIRA Let me handle this. (ruefully, to Taylor) You may be smarter than I am, but I'm the veterinary on this planet. Assisting Nova to her feet, Zira leads her off toward the wagon.C-321 MED. SHOT - CORNELIUS, TAYLOR AND LUCIUS. Taylor watches the departing females, then looks down at the river. TAYLOR Where does the river lead? CORNELIUS It empties into a sea some miles from here. That's where the cave is.D-321 LONG SHOT - THE RIVER - FROM THEIR P.O.V.. The river winds o.s. between the sheer sandstone Cliffs rising from either bank. TAYLOR'S VOICE (o.s.) And beyond that?E-321 THREE SHOT - TAYLOR, LUCIUS AND CORNELIUS CORNELIUS Don't know. At high tide you can't ride along the shore, and we had no boats on the last expedition. TAYLOR You've never told me why this region's called the Forbidden Zone. CORNELIUS No one really knows. It's an ancient taboo. Set forth in the Sacred Scrolls. The Lawgiver pronounced the area deadly. LUCIUS Shouldn't we be moving on? TAYLOR I'm for that. They start toward the horses and wagon.F-321 GROUP SHOT - NEAR WAGON Zira is looking curiously at Nova, who stands in the shade leaning against the wagon as the males enter the scene. Nova's nausea has passed, and she comes smiling to Taylor. TAYLOR What's the diagnosis, doctor? A touch of the sun? ZIRA She's not sick at all. (a beat) She's pregnant.G-321 CLOSEUP - TAYLOR Consternation slowly gives way to wonder. He grins. TAYLOR So I'm not an altogether different breed, you see? DISSOLVE TO:322-325 THE DESCENT OF THE GORGE - SEVERAL SHOTS - DAY To reach the camp site -- a beach at the base of the gorge -- the party must lead the horses along a narrow trail that zigzags down the face of the sandstone cliffs. They have abandoned the wagon. DISSOLVE TO:326 EXT. ARCHEOLOGICAL CAMP - ESTABLISHING SHOT - DAY Sand bars and two narrow beaches are in evidence here. The camp itself consists of several lean-tos against the cliff wall. Above the camp, reached by ladders connected to scaffolding, is the mouth of a cave. Zira is cleaning up the breakfast things; Zaius and Lucius are sorting out equipment.A-326 CLOSER ANGLE - TAYLOR AND ZIRA A small bowl of water rests on the ground in front of Taylor He has nearly finished shaving himself with a sharp hunting knife. Nova watches, a look of fascinated approval on her face. Taylor rinses off his knife, starts to dry it. Nova reaches out, gently strokes his smooth -- if nicked -- chin. TAYLOR (smiling) You like it? Lucius and Cornelius come up, Zira with them. LUCIUS (disapprovingly) Why did you do that? Scrape off your hair? TAYLOR In my world -- before I left it - only youngsters of your age wore un- scraped hair. CORNELIUS (to Taylor, quizzically) It makes you look somehow ... less intelligent. Taylor grins wryly at Cornelius, picks up his rifle. TAYLOR When are you going to show me what's in the cave? CORNELIUS Right now, if you like. They cross the beach to the ladders, when suddenly they hear the sound of horses. They look o.s.B-326 WHAT THEY SEE: Dr. Zaius and five armed and mounted apes have come around the corner of the beach and ride toward them through the rocks.C-326 MEDIUM - THE GROUP Taylor scrambles up onto the lower scaffold. Lucius runs to a lean-to, scoops up his rifle. CORNELIUS Lucius -- don't fire at them. The party rides up. ZAIUS You're all under arrest! (to Lucius) You seditious scoundrel. Drop that rifle.327- OUT348349 FLASH SHOT - LUCIUS He wavers, lowering his piece.350 WIDER ANGLE - TO INCLUDE BOTH GROUPS Zaius' gorillas ride forward a few paces, but halt again as Taylor shouts: TAYLOR Stop right there. ZAIUS Don't be a fool. You're outnumbered and outgunned. Taylor aims at Zaius and calls out: TAYLOR If there's any shooting, Dr. Zaius, you'll be the first to die. Depend on it. CORNELIUS (protesting) Taylor, you're not in command here. Put down that gun. TAYLOR Shut up. Silence. Zaius knows Taylor isn't bluffing. ZAIUS Very well. (to his followers) Lower your weapons. They obey. Taylor calls again: TAYLOR (pointing) Tell them to move around the point. Out of range. Zaius turns and whispers to his apes. They rein about and ride away through the rocks. Zaius dismounts and approaches the fugitives alone. He is unarmed.351 CLOSER ANGLE - THE GROUP As Zaius draws nearer) Lucius lowers his rifle. But Taylor keeps his at the ready. CORNELIUS (uncertainly) How did you know we'd come here? ZAIUS It wasn't difficult. Only an apostate or a lunatic would flee to the Forbidden Zone. (a glance at Taylor) I see you brought along the female of your species. (Taylor nods) I didn't realize a man could be monogamous. TAYLOR On this planet -- it's easy. Zaius laughs derisively, then turns to the apes. ZAIUS (evenly) I ask you to reconsider the rash course you've taken. If you're convicted of heresy, the most you'll get is two years. But if you persist in pointing guns in my direction, you'll hang for high treason. CORNELIUS (respectfully) We've never meant to be treasonable, sir. (pointing off) But up there, in the face of that Cliff, is a vast cave -- and in that cave a fabulous treasure of fossils and artifacts. ZAIUS I've seen some of your fossils and artifacts. They're worthless. TAYLOR (derisively) And that's your Minister of Science. Honor- bound to expand the frontiers of knowledge. ZIRA (worried) Taylor, please -- TAYLOR Except that he's also the Chief Defender of the Faith. ZAIUS (loftily) There is no contradiction between faith and science. True science. TAYLOR (suddenly angered) All right, let's see if you're willing to put that statement to a test. CORNELIUS Taylor, I'd rather you - TAYLOR No. You saved me from this fanatic. Maybe I can pay you back. ZAIUS (calmly) What is your proposal? TAYLOR When were the Sacred Scrolls written? ZAIUS Twelve hundred years ago. TAYLOR Very well. If Zira and Cornelius can prove that those scrolls don't tell the whole truth of your history; if they can show you definite evidence of another culture from an unrecorded past -- will you exonerate them? ZAIUS Of course. TAYLOR Okay.Up to the cave. He gestures toward the path leading to it. Zaius, Zira, and Cornelius start upward. Lucius starts to follow them. TAYLOR Sorry, Lucius. You'll have to stay here and guard the horses. LUCIUS Always giving orders. Just like every other adult. TAYLOR Relax. You'll see it all later. He pats the barrel of Lucius' gun, in the manner of a stern but benevolent non-com, then starts up the trail with Nova at his heels. Lucius, unused to taking commands from an animal, scowls after him, then shrugs, adjusting to the Idea.352-355 OUT356 EXT. WESTERN WALL OF GORGE - LONG SHOT - ANGLING UP AFTERNOON The sun hovers over the lofty rim of the lake like a great red balloon. The wall of the gorge, in shadow, is a darker hue.357 EXT. EASTERN WALL OF GORGE - LONG SHOT - ANGLING UP The crenelated east wall, looking like a red cathedral, is aglow with sunlight. So is the mouth of the cave as the three apes, Taylor and Nova pass through it and o.s.358 INT. CAVERN - BOOM SHOT - DAY Nature has formed a vaulted room here. It need not be enormous, but should be as weird and fantastic as production capabilities permit. There is an ape-made excavation in the floor of the cave, some ten feet square and eight feet deep. Some small objects lie on the rim of the excavation. Zaius, Cornelius, Zira, Taylor and Nova enter from the outside. (AUTHOR'S NOTE: The effect should be an eyeful. I wish to create an illusion of sunlight penetrating this cave, flooding it with direct, refracted illumination, transforming it into a kaleidoscopic cavern.) ZAIUS Present your evidence, Cornelius. Cornelius clambers down into the pit, followed by Zira. Taylor bends down, examines some of the artifacts lined along the edge of the excavation. Nova sits beside him. CORNELIUS (pointing) It was at this level I discovered traces of an early ape creature -- stage of primitive barbarism, really -- dating back roughly thirteen hundred years. It was here I found cutting tools and arrowheads of quartz and the fossilized bones of carnivorous gorillas. CAMERA (ON BOOM) MOVES IN SLOWLY as Cornelius continues: CORNELIUS But the artifacts lying at your feet were found here, at this level. And that's the paradox. The more ancient culture is the more advanced. Admittedly, many of these objects are unidentified, but clearly they were fashioned by beings with a knowledge of metallurgy. CAMERA KEEPS MOVING IN on the group in and around the excavation as Cornelius continues: CORNELIUS Indeed, the very fact that these tools are unknown to us could suggest a culture in certain ways almost equal to our own. Some of the evidence is uncontestable ... ZAIUS (interrupting) Don't speak to me in absolutes. The evidence is contestable. CORNELIUS I apologize. ZAIUS To begin with, your methods of dating the past are crude, to say the least. There are geologists on my staff who would laugh at your speculations. TAYLOR Perhaps that's why they're on your staff. Zaius flicks a hostile glance at Taylor, then looks down at the artifacts. He nudges them with his foot. ZAIUS Secondly, if these 'tools' as you call them, are unidentified, why are they introduced as 'evidence' of anything? ZIRA (promptly) But there's the doll, sir. ZAIUS What? CORNELIUS (pointing) Right there. The human doll. Zaius deigns to stoop and pick it up.359 CLOSE ON DOLL - IN ZAIUS' HAND It is only a porcelain fragment, but the head is intact, and it is unmistakably the form of a human child. ZAIUS What does this prove? My grand- daughter plays with human dolls.360 FULL SHOT - THE EXCAVATION - INCLUDING TAYLOR Exasperated, Zira turns to the man for confirmation. ZIRA Taylor! Tell him. TAYLOR He has a point. On my planet children often play with ape dolls. Zaius idly tosses the doll to the ground near Nova. She picks it up, studies it.361 GROUP SHOT - THE THREE APES Cornelius tries again. CORNELIUS A doll alone proves nothing. True. But the doll was found beside the jawbone of a man -- and no trace of simian fossils has turned up in this deposit. ZAIUS Your conclusion is premature. Have you forgotten your Scripture? The Thirteenth Scroll? (quoting from memory) 'And Proteus brought the upright beast into the garden, and chained him to a tree, and the children made sport of him.' CORNELIUS (impatiently) No sir, I haven't forgotten. ZAIUS Well? For a time the ancients kept humans as household pets. Until the Lawgiver proved that man could not be tamed. Keep digging Cornelius. You'll find evidence of the master of this house: an ape. A-361 ANOTHER ANGLE - TO INCLUDE TAYLOR AND NOVA As Zira again appeals to the man. ZIRA Are you going to let that pass without an answer? Taylor, who has been toying with objects in the dirt, looks up. TAYLOR Yes. I have to agree. From all you've found so far, his position's as good as yours. CORNELIUS (annoyed) What are you doing there? TAYLOR Reconstructing a life. Care to have a look? Cornelius and Zira cross the pit and Zaius walks around the rim of the excavation.B-361 MED. CLOSE SHOT - FAVORING TAYLOR AND NOVA As the apes come close. A number of artifacts have been arranged in front of Taylor. TAYLOR (to Cornelius) These were found near the human doll, right? (Cornelius nods) Well, whoever owned them was in pretty bad shape. He picks up the twisted fragment of a pair of spectacles. TAYLOR Defective eyesight.. As Taylor continues his monologue, he picks up the other objects one by one. TAYLOR He wore false teeth. (pause) He suffered from a hernia and used this truss to hold up his insides ... (pause) And toward the end, these little rings of stainless steel enclosed a prefab- ricated valve in his failing heart. Taylor pauses. Zaius picks up two of the steel rings, studies them. TAYLOR I don't say he was a man like an Earthman, but I'd call him a close relative, for he was plagued by most of man's ills. (to Zaius pointedly) Yet, fragile as he was, he came before you -- and was superior to you. ZAIUS (a calm smile) That's lunacy. I can give an alternate description for everyone of those objects that's equally as inventive as yours. But it would be conjecture, not proof.362 WIDER ANGLE - TO INCLUDE TAYLOR AND NOVA She is poking her finger inside the decapitated head of the doll. From it comes a distorted SOUND. DOLL'S HEAD Mamma! Mamma! Mamma!. The apes stare at the doll in astonishment. Taylor snatches the doll from Nova, brandishes it at the astonished Zaius. TAYLOR Dr. Zaius! Would an ape make a human doll that talks? Zaius looks at him, speechless. At that moment the CRACK of a distant rifle shot reverberates through the cavern. All present freeze, listening. ZIRA Lucius....363-364 OUT365 FULL SHOT - THE CAVERN - REVERSE ANGLE Taylor alone is armed. Raising his rifle, he glowers at Zaius. TAYLOR You louse! Cornelius is already crossing the pit. He climbs out arid races toward the mouth of the cave. Taylor runs after him. Zira and Nova hurry after Taylor.366 MED. SHOT - ZAIUS Expressionless, he looks down at the doll, then moves toward the mouth of the cave.367 EXT. TRAIL FROM CAVE TO CAMP - ANGLING UP Cornelius emerges from mouth of the cave and runs down the trail toward CAMERA. He halts in f.g., looking down at:368 THE CAMP SITE - AS SEEN FROM THE TRAIL Two of Zaius' gorillas have disarmed Lucius and are clubbing him with their rifle butts. Two other mounted apes are driving the scientists' horses back beyond the trees.369 EXT. THE TRAIL - AS SEEN FROM THE BEACH Cornelius, Taylor, Nova and Zira (in that order) can be seen high above, descending the trail. CAMERA PULLS BACK TO DISCLOSE A GORILLA SNIPER in immediate f.g., crouching behind a boulder near the water. He sights his rifle at the man on the trail. Taylor is still too distant to make a sure target, and so the sniper waits.370 CLOSER ANGLE - TAYLOR ON THE TRAIL This portion of the trail has no cover or concealment. Unaware of the sniper, Taylor looks down at the camp as he makes his descent.371 LONG SHOT - TAYLOR - AS SEEN IN THE SNIPER'S SIGHTS The gorilla fires.372 CLOSE SHOT - TAYLOR The bullet ricochets off the rock wall a foot above his head. Taylor scans the terrain bewlow, looking for the sniper. Nova comes to his side, pointing at:373 THE SNIPER - FROM THEIR P.O.V. His head is visible behind the boulder as he reloads his piece .374 FLASH SHOT He aims and fires.375 FLASH SHOT - THE SNIPER Taylor has missed him, but the sniper ducks behind the boulder.376 THE TRAIL - PANNING WITH TAYLOR AND NOVA Taylor takes her hand and they race back up the trail to where Zira is standing. Outcroppings of rock offer some cover here. Taylor pushes Nova down behind a rock and signals for Zira to follow suit.377 CLOSE GROUP SHOT - TAYLOR, NOVA AND ZIRA The sniper's SECOND SHOT rings out. Instead of returning the fire, Taylor looks up the rail at:378 ZAIUS - FRO14 TAYLOR'S P.O.V. He is standing impassively on the trail a short distance below the mouth of the cave.379 FLASH SHOT - TAYLOR Bent low, he comes charging up the trail toward Zaius. The sniper's THIRD SHOT splatters rock fragments around him.380 REVERSE ANGLE - THE TRAIL - ANGLING UP Zaius starts to retreat to the cave, but stumbles and falls on some loose shale. No sooner has Zaius regained his feet than Taylor overtakes him. Seizing the ape around the neck with his left arm. Taylor drives the muzzle of his pistol into Zaius' kidney. He spins Zaius around, using him as a shield.381 CLOSE TWO SHOT - ZAIUS AND TAYLOR Taylor releases the pressure on Zaius' throat but keeps the gun pointed at his back. TAYLOR Tell him to pull back! ZAIUS (a hoarse cry) Cease fire! Withdraw! His command echoes from the west wall of the canyon.382 LONG SHOT - THE FLOOR OF THE GORGE - FROM THEIR P.O.V. The sniper emerges from behind a boulder near the shore, and walks off along the beach.383 BACK TO TAYLOR AND ZAIUS Taylor lift's the muzzle of his rifle and presses it against the back of Zaius' head. TAYLOR I ought to kill you right now. (nudging him) Let's go. They move off down the trail.384 EXT. ARCHEOLOGICAL CAMP - MED. SHOT - DAY Zira rushes down the trail to Lucius, who is sprawled on the ground. He has a bloody nose and a lump on his forehead. Nova and Cornelius come next, then Taylor, prodding Zaius ahead of him at gun point. Lucius appears to be more humiliated than hurt. LUCIUS They took me by surprise. Sneaked up on me while I was watering the horses. What's happened to honor? (pause, glum) I got off one round to warn you. CORNELIUS (gloomingly) They've taken everything. TAYLOR Not everything. They left a hostage. (a pause) How do you feel, Lucius? LUCIUS Disillusioned... (turning on) But vindicated! I've been right all along. You can't trust the older generation. It's a matter of values -- TAYLOR (gently) All right, all right. Will You do me a favor? No orders. LUCIUS (pause) What is it? TAYLOR I want you to go around the bend and tell those gorillas their leader is my prisoner. LUCIUS (thoughtfull pause) Yes, I can do that. TAYL0R Good. Say I want a week's supply of food for the woman and myself. A horse. A spade. And fifty rounds of ammunition. LUCIUS What if they won't agree to your terms? TAYLOR Then tell them Dr. Zaius won't leave here alive. ZIRA (shocked) Taylor, you can't. ZAIUS (Calmly) Oh yes he can. He's a born killer. (to Lucius) Deliver the message. Lucius looks to Taylor for confirmation. Taylor nods. The young ape hurries away through the rocks. Taylor crosses to a useless saddle, picks up a coil of rope, gestures at Zaius, indicating a nearby tree. TAYLOR Sit down. Over there. Zaius squats on the ground beside the tree. Taylor sets his rifle against the trunk, fashions a noose and places it around Zaius' neck. Then, using an ingenious combination of knots, he ties Zaius' hands behind his back, and finally fastens the rope around the base of the tree. TAYLOR (as he works) Now, Minister of Science - let me explain certain principle stress and strain. If you exert pressure to remove these bonds, you'll choke yourself to death. It'll be suicide, you see? Zira and Cornelius look down at the captive mandarin. Their rebellious spirit has evaporated, and they are clearly afraid. ZIRA Taylor, please -- don't treat him that way. TAYLOR Why not? ZIRA It's humiliating. TAYLOR Wasn't I humiliated? By all of you? Didn't you lead me around on a leash? CORNELIUS That was different. We thought you were .... inferior. TAYLOR (wintry smile) And now you know the truth. (to Zaius) Cornelius has beaten you, Doctor. He proved it. Man preceded you here. You owe him your science, your language, whatever knowledge you have. ZAIUS (quietly) Then answer this: If ran was superior, why didn't he survive? TAYLOR (shrugging) He might have been wiped out by a plague. Natural catastrophe. Like a fiery storm of meteors. From the looks of this part of your planet, I'd say that was a fair bet. ZIRA, (weakly) But we can't be sure. TAYLOR (indicating Zaius) He is. He knew all the time. Long before your discovery, he knew. (to Zaius) Defender of the Faith. Guardian of the terrible secret. Isn't that right, doctor?385-388 OUT389 REVERSE ANGLE - CIRCLE - FAVORING ZAIUS As Zira and Cornelius look at him expectantly. ZAIUS What I know of man was written long ago -- set down by the wisest ape of all -- our Lawgiver. (to Cornelius) Open my breast pocket. Cornelius crosses to Zaius, and takes a small book bound in black leather from the breast pocket of his tunic. ZAIUS Read it to him: the twentythird Scroll, ninth Verse. Cornelius thumbs through the book, finds the citation and reads aloud: CORNELIUS 'Beware the beast man, for he is the devil's pawn. Alone among God's primates, he kills for sport, or lust or greed. Yes, he will murder his brother to possess his brother's land. Let him not breed in great numbers, for he will make a desert of his home and yours. Shun him. Drive him back into his jungle lair: For he is the harbinger of death'. Cornelius falls silent and looks down at Zaius. ZAIUS (quietly) I found nothing in the cave to alter that conception of man. And I still live by its injunction.A-389 ANOTHER ANGLE - THE GROUP Lucius hurries out of the rocks leading a saddled horse. Zaius' five mounted gorillas appear behind him. Taylor calls out to them: TAYLOR Stay where you are! Lucius comes up with the horse. Taylor checks the provisions in the saddlebags. Lucius is frowning. LUCIUS They think you're behaving foolishly. I must say I agree. Where will you go? TAYLOR (nodding o.s.) I'll start by following the shoreline. (a smile) And my nose. ZIRA But suppose you find nothing but a wasteland. How will you survive? ZAIUS (firmly) He won't survive. (all look at him) Do you know what sort of life awaits you out there, Taylor? That of an animal. If you aren't eventually hunted down and killed by apes, some jungle beast will devour you. TAYLOR Then there is another jungle? ZAIUS (shrugs; then, sardonically) Of course, you could return with us. Our society might find a place for you and your mate. TAYLOR Sure. In a cage. ZAIUS Where else, but in a cage, does man belong? TAYLOR No, thanks. I'll take freedom. Taylor mounts the horse, extends a helping hand to Nova, who vault's nimbly onto the horse's rump. Taylor looks at Zira and Cornelius. TAYLOR Would you like to come along? ZIRA We can't. TAYLOR It's better than going to prison for heresy. CORNELIUS They can't convict us of that. You proved our innocence. Besides... (indicating Zaius) ... his culture is our culture. TAYLOR Good luck then. He reaches down, grasps Cornelius' hand, then grins crookedly. TAYLOR Dr. Zira, I'd like to kiss you good-bye. ZIRA All right, but.... (tears in her eyes) ...you're so damned ugly! Taylor smiles, leans down, kisses her. ZIRA (softly) Go with God, Taylor. (half smile) That's an old expression. it comes from both ape and man. TAYLOR God bless you. He extends his hand to Lucius, who takes it. TAYLOR Lucius. LUCIUS I think you're making a mistake. TAYLOR That's the boy. Keep 'em flying. LUCIUS What? TAYLOR The flags of discontent. It's the only way anything ever gets changed. (to Zaius) Don't try to follow us. (pats stock of his rifle) I'm pretty handy with things like this. ZAIUS Of that I'm sure. All my life I've awaited your coming and dreaded it. Like death itself. Taylor looks piercingly at Zaius, more troubled than offended. TAYLOR Why? From the first, I've terrified you, Doctor. And in spite of every sign that I'm an intelligent being who means no harm, you continue to hate and fear me. Why? ZAIUS (calmly, without rancor) Because you are a man. And you were right -- I have always known about man. From the evidence, I believe his wisdom must walk hand in hand with his idiocy. His emotions must rule his brain. He must be a warlike animal who gives battle to everything around him -- even himself. TAYLOR What evidence? No weapons were found in the cave. ZAIUS The Forbidden Zone was once a paradise. Your breed made a desert of it, ages ago. TAYLOR (he waits, then wearily) We're back at the beginning. I still don't know the why. A planet where apes evolved from men. A world turned wrong side up. A puzzle with one piece missing. ZAIUS (softly) Don't look for it, Taylor. You may not like what you find.B-389 WIDER ANGLE - TAYLOR AND THE GROUP Taylor shakes his head, still baffled, digs his heels into the horse's flank. It canters off along the sandy shore. Zira, Cornelius and Lucius sadly watch the departure. ZAIUS Untie me! Cornelius moves quickly to remove the rope from Zaius' neck. Behind them, the five mounted gorillas gallop forward. Zaius gets up, waves them to a halt. ZAIUS No, no! Let him go!C-389 MOVING SHOT - TAYLOR AND NOVA ON HORSEBACK Taylor looks back, sees that Zaius has stopped the mounted apes, slows his horse to a trot, smiles at Nova.390- OUT405406 MED. SHOT - THE APES Zaius watches as Taylor's horse moves farther away along the beach. Then he turns to an ape called MARCUS. ZAIUS (quietly) Fetch your explosives. We're going to seal the cave. MARCUS Yes, sir. He remounts his horse and rides o.s. CORNELIUS (aghast) Seal the cave? ZAIUS That's correct. And you will both stand trial for heresy. ZIRA But the proof? The doll? ZAIUS In a few minutes there will be no doll. There can't be. (honest regret) I'm sorry. Cornelius throws himself at Zaius. CORNELIUS You mustn't! You gave your 'word! Zaius looks emptily at one of his apes. ZAIUS What I do, I do with no pleasure. Silence him. A hairy hand is clapped over Cornelius' mouth. He is dragged off, struggling, kicking. Julius, unafraid, glares at Zaius. LUCIUS Dr. Zaius, this is inexcusable! Why must knowledge stand still? What about the future? Zaius looks benevolently at Julius. ZAIUS I may just have saved it for you. Julius and Zira look at each other, befuddled. Once more their eyes follow the retreating figures of Taylor and Nova. The beach separating the water from the canyon becomes narrower as they move downstream. LUCIUS What will he find out there, doctor?A-406 CLOSEUP - ZAIUS His face is A mask, his tone enigmatic. ZAIUS His destiny.B-406 WIDER ANGLE - TIE APES P.O.V. A moment later, as they watch, Taylor and Nova vanish around the bend.407- OUT408 409 EXT. PALISADE AND BEACH - LONG HIGH ANGLE SHOT - DAY Taylor and Nova are already far downstream. There is a striking change in the terrain. The area is still desolate,but some vegetation can be seen on the palisade above the narrow beach, and the river has widened to form a vast tidal basin where it meets the sea. A NOTE ON PRODUCTION: If feasible at new location site, this scene should be shot at high tide, so that the water laps at the base of the cliffs, making a passage difficult and risky.410 CLOSER ANGLE - PANNING WITH TAYLOR AND NOVA ON HORSEBACK He is alert, sniffing the salt air, sizing up the situation. Hearing the CRIES of birds, he reins in and looks' up.411 SKY SHOT - CIRCLING BIRDS Sea gulls are soaring overhead.412 TWO SHOT - TAYLOR AND NOVA ON HORSEBACK His expression is expectant, searching. Nova emits a whimper of anticipation, pointing off.413 LONG SHOT - WHAT THEY SEE: A verdant forest atop a distant palisade. Their view of the beach below the forest, is cut off by a rocky promontory in the middle distance.414 CLOSE SHOT - NOVA AND TAYLOR He smiles at her hopefully. TAYLOR Yes, Nova -- I see it. (looks again at forest) In my old profession green meant safe. Green meant go. The horse moves off at a trot, CAMERA PANNING. But they have gone only a short distance when they hear the distant THUNDER of an EXPLOSION. Taylor reins in and looks back.415 VERY LONG SHOT - A CLOUD OF SMOKE A column of smoke and dust rises from the exploded cave far upstream.416 BACK TO TAYLOR AND NOVA Frowning with concern, Taylor gazes for a moment at the smoke, then decides this is no time to linger. He digs his heels into the horse's flanks and they move off at a canter, riding toward the promontory that splits the beach. They are nearing the promontory that blocks their view of the beach beyond.417- OUT418419 CLOSER ANGLE - TRACKING WITH TAYLOR AND NOVA. As they round the promontory, the tip of a strange rock formation comes into view. it appears to be jutting from the sea.420 REACTION SHOT - TAYLOR He reins in momentarily, baffled by what he sees. Then he rides on.421 THE STRANGE FORMATION - AS SEEN BY TAYLOR An immense column juts from the beach at a thirty-degree angle. We can now see that it is not rock, but metal. Green metallic tints show through its gray salt-stained surface. As we draw closer, the object takes on the appearance of a massive arm, its top shaped like a hand holding a torch.422 REVERSE ANGLE - FAVORING TAYLOR Frowning with consternation. His horse proceeds at a slow walk.423 TRACKING WITH TAYLOR - WHAT HE SEES: Near the base of the column, where the shore and water meet, are a row of metal spikes. From this angle they look like tank traps.A-423 CLOSER - TAYLOR Dumbfounded, he slides from his saddle, approaches the spikes. Nova dismounts and follows him. TAYLOR (a cry of agony) My God! He falls to his knees, buries his head in his hands. CAMERA SLOWLY DRAWS BACK AND UP to a HIGH ANGLE SHOT disclosing what Taylor has found. Half-buried in the sand and washed by the waves is the Statue of Liberty.424- OUT451 FADE OUT THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Platinum Blonde.txt b/unformated_scripts/Script_Platinum Blonde.txt new file mode 100644 index 0000000000000000000000000000000000000000..5459cd51419b04d35ad7486602b5fbdae7e00b41 --- /dev/null +++ b/unformated_scripts/Script_Platinum Blonde.txt @@ -0,0 +1 @@ + PLATINUM BLONDE Story by Harry E. Chandlee and Douglas W. Churchill FADE IN 1. INT. CITY ROOM OF NEWSPAPER OFFICE - DAY - FULL SHOT General atmosphere, typical of a busy newspaper office. Copy boys running about, shirtsleeved reporters and rewrite men pounding away on typewriters. Little wire baskets containing cylinders of copy whizzing back and forth, such as are used in some department stores, etc. SOUND (Morkrum machines,[1] typewriters, telephone bells and all other sounds relative to a newspaper office) When shot has been fully established: CAMERA STARTS TRUCKING DOWN MAIN AISLE It takes in the battery of Morkrum machines clattering away; the crescent-shaped copy desk; the desk of the sporting editor, with a big cauliflower-eared pugilist and his manager standing by the side of the sporting editor, a hefty guy in his shirtsleeves, smoking a big cigar and wearing a green eye-shade; the desk of the society editor, a prissy old lady, who takes down a worn copy of the Blue Book as the camera passes her and starts looking up some data; and any other interesting or typical bits that can be thought out. At the far end of the room is the desk of Conroy, the City Editor. Everything shows evidence of feverish activity and great haste. 2. CLOSE SHOT On Conroy, the City Editor at his desk, speaking on the telephone. CONROY Yeah, that's all I ever get from you guys - a lot of hard luck stories. You come back here and I'll give you an assignment. It will be a last interview - with the cashier! He hangs up, looks around with a scowl. Stew! Stew Smith! REPORTER Oh Mr. Conroy, give me a crack at that Schuyler story, will you? CONROY You? If you ever got your foot into a drawing room, you'd step on a sliding rug! Stew is the only man that's got brains enough to handle this. Scram! A Copy Boy rushes by on an errand. Say Spud, did you find Stew? COPY BOY Not yet. CONROY Well, did you look in theó ? 4 ? COPY BOY First place I looked. CONROY Not there, eh? For cryin' out loud, where is tható? Go and dig him up! Stew! Stew Smith! CAMERA TRUCKS ON: Until it takes in a sort of make-shift screen, concealing a corner of the room. LAP DISSOLVE TO: 3. CLOSE SHOT On the other side of the screen. Stew Smith is holding something in his hand. His hat tilted back on his head, and he is regarding this plaything intently. Gallagher is sitting close to him, also gazing intently at the plaything. Gallagher is a girl, one of the sob sisters[2] on the newspaper, dressed in a trim but inexpensive little tailored suit. STEW Here it is. Pray for me, Gallagher. Pray for me. Hold everything . . . 4. CLOSE SHOT On the object in his hand, one of those hand-puzzles where you have to land jumping beans in the holes. 5. DOUBLE SHOT GALLAGHER Stew, your hands are shaking. You've been drinking again. STEW Come on, come on. Here they come, Gallagher! Here they come! Conroy's shouts are heard in the background. GALLAGHER (conspiratorially) The boss is getting hoarse. STEW There's the third one. If I don't get the last one, there's a certain sob sister I know that's going to get a kick right in the . . . oh! Whoops, almost had that. 6. MED. CLOSE SHOT Conroy, the City Editor at his desk, looking about with a scowl for Stew. CONROY (bellowing) Stew! Stew Smith! The Copy Boy races over to whisper something to Conroy. ? 5 ? CONROY What? The screen? 7. CLOSE SHOT On Stew Smith STEW Gallagher! I made it! 8. MEDIUM SHOT (FROM CONROY'S ANGLE) The screen, concealing the washbasin corner. CONTINUATION, SCENE 6 A wrathy Conroy, his eyes centering suspiciously on something. With his eyes on the screen, Conroy reaches out and grasps a heavy telephone book on the corner of his desk. Still looking off, he heaves it forcefully. 9. MED. CLOSE SHOT Showing the screen. The telephone book crashes into it, overturning it and revealing Stew and Gallagher on the other side. They both look up, startled. The newsroom erupts in laughter. CONTINUATION, SCENE 6 Conroy, glaring off fiercely. CONROY Come over here! 10. MEDIUM SHOT Conroy at his desk. Stew saunters into the scene. STEW Look, I quit! CONROY Yeah? STEW Yeah. CONROY Yeah? STEW You're always picking on me. It took me three hours to get those little gadgets in those holes, and you screw it up in a minute. Hey, look! He gives the hand-puzzle to Conroy, who is immediately captivated by the fascinating object in his hand. 11. CLOSE DOUBLE SHOT STEW (superior) Mmm, not as easy as it looks, is it? Conroy puts it down with a disgusted look. CONROY Aagh! No wonder you're batty. Would it be imposing too much upon you if I asked you to do a little work today? Just to sort of break the monotony? ? 6 ? STEW With me you can always do business. CONROY Do you know what to do in a drawing-room? STEW It isn't a question of knowing what to do, it's knowing how to get in one that counts. The telephone rings, Conroy answers it. CONROY (speaking on the phone) Yeah, yeah. Okay, okay. He hangs up, turns back to Stew. Now listen, we've got a tip that the Schuyler family has finally made a deal with that chorus dame. STEW Gloria Golden? CONROY Yeah, little Gloria. STEW The human cash register. Got her hooks into the Schuyler kid, eh? CONROY Right - for the first time this year. STEW (modestly) Well - it's only April. CONROY Come on, get going, get going! STEW (loftily) Get going where? I can write that yarn without stepping out of the office. CONROY Yeah - and get us into a million dollar libel suit. It wouldn't be the first time. Now, you get over there and get a statement out of the old lady, the sister, or the kid. Any of them - but get it. STEW (resigned) All right. Give me a voucher for expenses. 12. CLOSE DOUBLE SHOT (ANOTHER ANGLE) CONROY What expenses? All you need is carfare to Long Island. You'd better get a shave and a shine, because you, you're going to have a tough time getting in there as it is. ? 7 ? STEW I know those bluenoses. Their ancestors refused to come over on the Mayflower because they didn't want to rub elbows with the tourists. So they swam over. He turns away and exits. FADE OUT: FADE IN 13. EXT. THE SCHUYLER HOUSE - DAY - MEDIUM SHOT Someone pacing outside the mansion gates. 14. EXT. THE SCHUYLER HOUSE (ANOTHER ANGLE) - DAY - CLOSE SHOT A guard dog pacing inside the gates. 15. INT. INSIDE THE MANSION - DAY - CLOSE SHOT A parrot on its perch, hopping from foot to foot. 16. INT. SCHUYLER DRAWING ROOM - DAY - CLOSE SHOT Michael Schuyler, a callow youth with the usual dissipated, spoiled look. His fingers are nipping out little chunks of a folded piece of paper, dropping the bits on the floor. This is indicative of a habit of the individual in question when undergoing nervous stress. He is very fidgety and apprehensive, as he glances around. CAMERA PANS OVER TO SHOW Anne Schuyler, a beautiful and aristocratic, though slightly hard girl, a few years older than Michael. CAMERA PANS OVER TO SHOW Mrs. Stuyvesand Van Alstyne Schuyler, mother of Anne and Michael. A grande dame, stern and glowering. Her attitude indicates suppressed nervousness and anger. She glares over in the direction of Michael. Then she turns and looks in another direction. MRS. SCHUYLER (viciously) Dexter Grayson, if you were any kind of a lawyer, you'd get those letters back! CAMERA PANS OVER TO SHOW Dexter Grayson, the family lawyer standing, his hands clasped behind his back, just completing the pacing of a few short steps in his best courtroom manner, his head bowed in an attitude of deepest thought. He is dressed in striped afternoon trousers and black coat. He turns to regard Mrs. Schuyler. GRAYSON But I keep telling you how difficult it is, Mrs. Schuyler. The last time I asked her for those letters, she made very uncouth noises with her mouth. CAMERA PANS OVER TO SHOW Anne Schuyler, trying desperately to keep from laughing. CAMERA DRAWS BACK To reveal a full shot of the room and group. They are in the magnificent drawing room of the Schuyler home, resembling the Union Depot and furnished with almost imperial splendor and magnificence. They very much resemble a jury in session. As they continue: ? 8 ? MICHAEL I don't know why you're making all this fuss. I only sent her six of them. MRS. SCHUYLER (sarcastic) If you had to make a fool of yourself, why didn't you tell it to her instead of writing? MICHAEL Because I couldn't get her on the phone. MRS. SCHUYLER Imbecile! ANNE You should have known better than to write, Romeo. I found that out a long time ago. MRS. SCHUYLER I should say you had. At the rate you two are going, we'll have to leave the country to save our faces. ANNE Splendid, Mother. Let's hop over to Monte Carlo. It's a great place to save a face. MRS. SCHUYLER Oh, shut up! A butler appears in the doorway. He is about to say something, but he stammers and turns. MRS. SCHUYLER (stopping him) What is it, Smythe? SMYTHE Pardon me, madam - but what am I to say to the newspapermen? Mrs. Schuyler looks distractedly at Grayson. 17. CLOSER SHOT Mrs. Schuyler and Grayson. She rises and speaks imperiously: MRS. SCHUYLER Dexter, go out and tell those ruffians I have nothing to say. Grayson faces her placatingly. GRAYSON You can't do that. Leave it to me. I know how to handle reporters. MRS. SCHUYLER (with a shudder) All right, then - get it over with. ? 9 ? 18. MEDIUM FULL SHOT Grayson turns officiously toward the waiting butler. GRAYSON We've decided to see the reporters. Send in the man from the Tribune first. SMYTHE Very good, sir. MRS. SCHUYLER Oh, Smythe, some bicarbonate of soda, quick - double strength. I know those news mongrels[3] will upset me. SMYTHE I've anticipated it, madame. The bicarbonate is ready. The butler exits. 19. INT. SCHUYLER LIBRARY - DAY - FULL SHOT This room resembles the Grand Central Station. It is lined with bookcases filled with gorgeous first editions and special bindings, and is furnished in the extreme of magnificence and luxury. Present are Stew and Bingy, reporter from the Tribune. Stew is seated, idly leafing through a first edition. Bingy, still with his hat on, spots an expensive music box on a nearby table, opens it and does a little jig to the tune that is emitted. 20. CLOSER SHOT Bingy, as he lingers at the table. He is a lazy, sloppy-looking guy. His face needs a shave and his pants need pressing. There is a spot of dried ketchup on his tie. On the table is a humidor. Bingy opens it and lifts out a handful of cigars. 21. CLOSE SHOT - STEW As he looks up from the book, he suggests: STEW Hey Bingy, you'll find the silverware in the dining room. CONTINUATION, SCENE 20 Bingy turns, putting the cigars in his pocket. BINGY Much obliged. 22. MEDIUM FULL SHOT Smythe enters. SMYTHE (frigidly) Mr. Grayson has decided to see you. ? 10 ? Both Stew and Bingy start forward eagerly. Smythe continues: SMYTHE The gentleman from the Tribune, first. 23. CLOSER THREE SHOT Bingy beams broadly and Stew is disappointed. STEW There are no gentlemen on the Tribune. SMYTHE I understand, sir. Smythe leads the way out. As Bingy passes by, Stew trips him. BINGY Say, take it easy! Take it easy! Listen, my boy. No use you hanging around here. Just buy the Tribune tonight and read all about it. You can rewrite it for your last edition. STEW Couldn't make the last edition. It'd take me four hours to translate your story into English. BINGY Oh, is that so? STEW I'm afraid. Bingy turns to leave. Take off your hat. You might make an impression. Bingy dutifully doffs his hat. Impossible. Put it on again. BINGY Hey, make up your mind, will you? Bingy hurriedly puts his hat back on as he disappears. 24. INT. SCHUYLER DRAWING ROOM - DAY - MEDIUM CLOSE SHOT By the door which leads out into the hall. The butler enters and stops, standing stiffly. Bingy enters behind him, shambling awkwardly. He stops in some consternation as he sees: 25. MEDIUM SHOT (FROM HIS ANGLE) The Schuyler jury. Grayson, Mrs. Schuyler, Anne and Michael, all surveying him in varying degrees of unfriendliness. CONTINUATION, SCENE 24 Bingy hesitates uneasily as he regards this impressive assemblage. Quickly, he takes his hat back off. Then he smiles nervously and starts forward. BINGY Hi, folks! ? 11 ? CONTINUATION, SCENE 25 Grayson comes forward to meet him, attempting to be very cordial. Bingy is seized by a sudden impulse to sneeze. He does so, violently. There is awkward silence. Mrs. Schuyler throws off a visible shudder. BINGY What's the matter? Isn't there a 'bless you' in the crowd? GRAYSON You're the Tribune man? BINGY Yeah, hello. How are you? Bingy extends his hand. Grayson pointedly ignores it. GRAYSON (cordially) Fine. Have a seat. BINGY Thanks, I will. Bingy crosses the room, taking note of the beauteous Anne. GRAYSON This way. BINGY Oh, man! Bingy sits gingerly on the edge of a handsome chair. BINGY Oh, boy! 26. MEDIUM CLOSE SHOT Bingy and Grayson. Grayson picks up a very flossy and expensive cigarette box from the small end table beside the chair. It is made of gold and semi-precious stones are inset in the cover. Grayson opens the lid and takes out a cigarette, but pointedly does not offer one to Bingy. Grayson remains standing before the reporter, who is very uncomfortable and ill at ease. GRAYSON Fine newspaper the Tribune. BINGY Well, I should say! GRAYSON I knew your managing editor very well. BINGY Is that so? GRAYSON Yale '21, I believe. ? 12 ? BINGY (uncomprehending) Huh? GRAYSON We were classmates. 27. CLOSE SHOT - MRS. SCHUYLER She clears her throat menacingly, as she looks sternly at Grayson. MRS. SCHUYLER Ahem! BINGY What's the matter? She got a cold? CONTINUATION, SCENE 26 Bingy and Grayson. Both look over. Grayson gives her a quick reassuring glance, as though to say "leave it to me now." He continues his conversation with the reporter. GRAYSON I got him his job on the paper. I'm a stock-holder, you know. BINGY Is that so? GRAYSON As one Tribune man to anotheró He laughs. BINGY (laughs) Yeah! GRAYSON But right now I'm acting in the capacity of Mrs. Schuyler's attorney. BINGY Oh, that's all right with me. I won't hold it against you. But you see, I'm here to find out aboutó GRAYSON I know, I know. But there's no truth in the story whatsoever. BINGY Oh yeah? 28. MEDIUM SHOT Grayson and Bingy. He takes Bingy by the arm and leads him over to a corner of the room, assuming a confidential pose. GRAYSON (speaking as they walk) However, I've taken the trouble to prepare a little statement. Here it is. Here. ? 13 ? 29. CLOSER TWO SHOT Grayson and Bingy. Grayson takes an envelope out of his pocket and hands it to Bingy. Bingy opens the flap and sees the contents. INSERT: ENVELOPE The corner of a fifty dollar bill protrudes. BACK TO SCENE: Bingy quickly shuts the envelope up. Grayson is watching him closely. GRAYSON So, you see how silly that rumor is? BINGY Why, sure. It's a lotta hooey. GRAYSON That's what I wanted to say, but I couldn't think of it. Grayson starts leading him toward the door. CAMERA PANS WITH THEM as Grayson leads him toward the door, talking as they walk. GRAYSON Thank you very much. BINGY All right, all right, don't mention it. GRAYSON Give my regards to your managing editor. BINGY I certainly will. They stop at the door. Bingy extends a handshake, which is again refused. He stops and looks back at the jury. 30. MEDIUM SHOT FROM HIS ANGLE The Schuylers all sitting silently and contemplating him. BINGY Well, so long folks! He flutters his eyes at Anne. BINGY Thanks! He takes one last look at Mrs. Schuyler and is again gripped by a violent sneeze. MRS. SCHUYLER (rising to the occasion) Uh, bless you! ALL Bless you! BINGY Thanks. The butler appears in the doorway behind him. Bingy exits past him, beaming. ? 14 ? BINGY (waving to butler) So long! Grayson nods to the butler. GRAYSON Smythe, bring in the other reporter. SMYTHE Yes, sir. 31. INT. SCHUYLER DRAWING ROOM - MEDIUM FULL SHOT The group awaiting the advent of the Post reporter. Stew is shown in by the butler, still carrying the Conrad book in his hand. They give him the once-over. Mrs. Schuyler raises her lorgnette with a magnificent gesture. Stew eyes them with animation, not in the slightest discouraged by this supercilious scrutiny. He starts toward them. 32. MEDIUM SHOT As Stew approaches them. STEW Schuyler's the name, I presume? Yes, thank you, thank you. My name's Smith - Stewart Smith. No relation to John, Joe, Trade or Mark. Of course you can't have everything. He smiles engagingly on them. Stew addresses Mrs. Schuyler ingratiatingly, disregarding her expression of obvious distaste. STEW Nice set of Conrads you have out there, Mrs. Schuyler. I was just glancing through this one. (indicates the book in his hand) What's Michael tearing the paper about? GRAYSON Just a habit. Mr. Schuyler is a bit put out by all the rumors going around. 33. CLOSER SHOT - STEW AND GRAYSON STEW Rumors? Rumors? Since when is a breach-of-promise case a rumor? GRAYSON No breach-of-promise case has been filed. The matter has been settled out of court. STEW (very cagey) Oh I see, but Gloria doesn't seem to be satisfied with the twenty thousand dollars. 34. A MEDIUM SHOT OF GROUP At this, Mrs. Schuyler rises wrathfully. MRS. SCHUYLER (furiously to Grayson) Dexter Grayson, you told me it was only ten thousandóand you didn't even get those letters from that Jezebel! ? 15 ? STEW Oh, so you did give her ten thousand dollars, eh? and there are letters . . . Behind Stew's back, Grayson makes violent gestures for her to shut up. STEW Well, well. That takes it out of the rumor class, doesn't it? GRAYSON We admit nothing. However, I have a little statement all prepared. He takes Stew's arm and walks him off toward a corner much in the same manner as he handled Bingy, and lowers his voice confidentially. 35. CLOSER SHOT - STEW AND GRAYSON Apart from the others. STEW A statement? Good. GRAYSON I have it here. STEW Good. Grayson takes an envelope out of his pocket and hands it to Stew. Stew puts the book under his arm, takes the envelope and extracts the contents. It is another greenback. STEW (with interest) Fifty bucks, eh? He regards it a moment, then replaces the bill in the envelope. His voice is matter-of-fact, and almost casual. STEW Don't you know you should never offer a newspaper man more than two dollars? If you do, he'll think it's counterfeit. I don't need fifty dollars. As a matter of fact, I've got fifty dollars. Grayson is considerably disconcerted. He tries again. GRAYSON The man from the Tribune seemed perfectly satisfied. STEW Who, Bingy? Yeah, Bingy would. He never saw fifty dollars before. You could have bought him for six bits. Funny thing about Bingy. The more he gets - the more he prints. He looks stupid, doesn't he? But oh how smart he gets when he bends over a typewriter. He hands the envelope back to Grayson and turns away. ? 16 ? 36. MEDIUM SHOT Schuyler group - taking his action with dismay. Stew starts walking back toward them, talking as he walks, Grayson beside him, considerably distracted. STEW So ten grand was the amount you gave the girl? Any other statement you folks would like to make? There is an explosive chorus from the group. GROUP (ad-lib talking at the same time) That's not so! We have nothing more to say! We'll make no statements. He turns to them, holding up his hand and speaking plaintively. STEW Wait a minute. Don't get excited. I wouldn't worry about it. A little publicity never hurt anybody. 37. CLOSE SHOT - MRS. SCHUYLER She is on the point of an apopletic stroke. She advances menacingly toward Stew. She calls to Grayson. MRS. SCHUYLER (shrieking at him) Dexter, have this person leave immediately. 38. MEDIUM SHOT - THE GROUP Stew is not at all perturbed. Dexter takes him by the arm and starts to lead him out. GRAYSON I think you'd better go. STEW Go?! Wait a minute - that's a great story! Newspaper reporter was forcibly ejected from Schuyler Mansion, andó Anne comes up to him. ANNE Wait a minuteó He faces her and cannot help but register an appreciation of her beauty. ANNE Don't mind Mother. STEW (cheerfully) I don't mind her if you don't. CONTINUATION SCENE 37 Mrs. Schuyler, almost choking in her wrath at this outrageous stranger. ? 17 ? MRS. SCHUYLER Anne! 39. CLOSE SHOT - ANNE AND STEW Anne stifles a smile at this cheerful insolence. ANNE I'm sure you're quite willing to be decent about this. STEW Decent? Why Miss Schuyler, I want to be noble. Anne continues in her most devastating manner. ANNE You're not going to print this silly thing, are you? STEW (noncomittally) No? Why not? She puts her hand lightly on his arm. ANNE Because my name's Schuyler too. And I haven't done a thing, but I'll suffer with Michael. And so will Mother. 40. CLOSEUP - STEW He has been listening to this and enjoying it immensely. He looks over at Mrs. Schuyler. 41. REVERSE ANGLE ON MRS. SCHUYLER Who is making a show of holding back a flood of tears. CONTINUATION SCENE 40 STEW Mother's suffering already! CONTINUATION SCENE 39 Anne, not wanting to lose her point, looks up at Stew pleadingly. ANNE As a special favor to me, you won't print that story, will you? CONTINUATION SCENE 40 Stew, looking down at her in frank approval and admiration. ANNE (pleading) Pleaseó Stew hesitates still. 42. MEDIUM SHOT Mrs. Schuyler, Michael, and Grayson. All watching the couple intently, hanging on the next wordsówondering if Anne is going to succeed. They are tense and expectant. ? 18 ? 43. CLOSE SHOT - ANNE AND STEW He is looking down into her soft, melting eyes. Then he smiles. STEW You know something, lady, if you sold life insurance, I'd go for a policy in sixty seconds. ANNE Oh, thank you, I knew you'd understand. CONTINUATION SCENE 42 The three. They relax and exchange relieved and triumphant glances. Apparently Anne has won. 44. MEDIUM SHOT - ENTIRE GROUP Stew turns aside. STEW May I use your telephone? ANNE (eagerly) Certainly. Right over there. STEW You're all right. She indicates. Stew starts for the telephone. Anne walks to her mother's side. Stew gets to the telephone and picks up the receiver. STEW Hello, Beekman 1300? (he turns to wink at the group) That's an unlucky number. You know that, don't you? 45. CLOSE SHOT - STEW At the telephone. He turns back to the instrument as he gets his connection. STEW (into phone) Hello, Toots? Is Conroy there? Give me Conroy. (pause) He isn't? Try the washroom, will you? While he waits for the connection, he turns and addresses the group expansively. STEW Say, I interviewed a swell guy the other day - Einstein. Swell guy, a little eccentric, but swell. Doesn't wear any garters. Neither do I as a matter of fact. What good are garters anywayó? (he turns back to the phone) Hello, Conroy? This is Smith talking. I'm up at the Schuylers. No, I'm not having tea - that is, not yet. (again, he winks expansively at the groupóthen returns to Conroy) Is she beautiful? Oh boss, her pictures don't do her justice. If I was that guy Ziegfield - what? ? 19 ? 46. CLOSE SHOT - ANNE AND MRS. SCHUYLER Anne smiles in spite of herself at this flattery. Stew's voice goes on. STEW'S VOICE Yes, it's easy to see where her beauty comes from. From her mother. For the first time, Mrs. Schuyler unbends to the extent of giving forth a smile. She cannot help but be pleased at this compliment. The atmosphere is now very friendly. Everybody feels that everything is all right. CONTINUATION SCENE 45 Stew at the phone STEW Now wait a minute. Just hold on. Keep your shirt on. I'm coming to that. The Schuylers admit the story is true. Right. They gave the gal ten thousand bucks. But she's got some letters - and she's holding out for more dough - and it looks to me like she's going to get it. 47. MEDIUM SHOT - SCHUYLER GROUP Horrified and shocked at this betrayal and double-crossing. STEW (on the phoneóbreezily) Right boss. I'll be right over. Right - no, I don't think I can get any pictures now. Right. He casually hangs up and turns from the phone. MRS. SCHUYLER (involuntary gasp) Oh-h-h . . .! Anne confronts him as if he were a reptile of the lowest order. ANNE (voice cold as ice) I've met some rotters in my time, but without a doubt, you're the lowest excuse for a man I've ever had the misfortune to meetó Stew starts walking toward the door, still holding his book. The family is tremendously indignant and agitated. Stew stops, turns, looks at them. He is met by icy glares. He indignantly takes a nickel out of his pocket and hands it to Grayson. STEW (with dignity) Well, if you feel that way about it, here's a nickel for the phone call. He glares at themóturns and walks out. They watch him walk out, stunned and open-mouthed. FADE OUT: ? 20 ? FADE IN: DAY INSERT: Dingy board sign outside a building. JOE'S LAP DISSOLVE TO: INSERT: Three column heading in newspaper: SCHUYLER HEIR SETTLES BREACH OF PROMISE SUIT FOR $10,000. Gloria Golden, Follies Beauty, Retains Love Letters. LAP DISSOLVE TO: INT. JOE'S SPEAKEASY - DAY 48. MEDIUM FULL SHOT A reasonably respectable speakeasy, smoke-filled. Quite a number of men and a few women are leaning on the bar and seated around at the tables. Stew and Gallagher are seated at one of the rude round tables, smoking, drinks before them. Gallagher is reading the newspaper story. 49. CLOSE SHOT - STEW AND GALLAGHER She is grinning at the story. STEW óand she walked up to me and put her hand on my shoulder and said, (mimicking Anne) 'Mr. Smith, You wouldn't print that story, would you?' Oh no, I wouldn't print it - read it! 50. CLOSE SHOT - GALLAGHER Over Stew's shoulder. She laughs at his attempted imitation. GALLAGHER You're sure going to be poison to that Junior Leaguer[4] from now on! STEW I hope not . . . I've got to call on her this morning! Gallagher looks up in astonishment. GALLAGHER You what? STEW Sure, I must drop in on the mad wench. Her wounds need soothing. GALLAGHER For heaven's sake, Stew, are you completely bats? What for? I thought the story was cold. You can't go back there. STEW Sure, the story is cold, but I'm not. I'm sizzling - look! Psst! ? 21 ? He moistens a finger, touches it to his wrist, and makes a sizzle noise. Gallagher looks over quizzicallyóa little suspiciousóa little jealous. GALLAGHER (a drawn-out knowing utterance) O-o-oh! Came the dawn, came the dawn! 51. CLOSE SHOT - STEW Over Gallagher's shoulder. STEW And with it came love! Oh Gallagher, you've got to meet her. She's itó GALLAGHER óand tható STEW (enthusing) óand those and them. Gallagher takes a sip of her drink before answering. GALLAGHER Well, I've seen her pictures, and I don't think she's so hot. STEW (disparaging gesture) Oh, you don't appreciate it. Her pictures don't do her justice. Why, Gallagher, she's queenly - she is queenly - and I know queens! (continues in exaltation) And oh, has she got herself a nose - and I know noses too. That little snozzle of hers is the berries, I tell you. And is she cute when she throws that little snozzle to the high heavens! 52. DOUBLE SHOT GALLAGHER Of course I haven't got a nose. Stew gives her a hurt look. STEW (shaking his head) Sure, sure. You've got a nose, Gallagher. You've got a nose. But there's different women, Gallagher. You know, like brewery horses and thoroughbreds. GALLAGHER (deliberately misunderstanding) On now, Stew, don't be too hard on her. I wouldn't call her a brewery horse. STEW Gallagher! She's the real McCoy! ? 22 ? GALLAGHER And the rest of us are truck horses? STEW (reproachfully) There you go, talking like a woman! GALLAGHER (a trifle resentfully) Well! STEW Well, you're my pal, aren't you? Then don't turn female on me. During these last few speeches, Gallagher has been regarding him with a curious expression. She loves being his pal, but wishes he would realize she is also a woman. 53. MEDIUM SHOT Stew seems a little resentful of her attitude. He rises. STEW Pay that check, will you Gallagher? I'll give it back to you some time. Maybe. He flourishes the book of Conrad, which has been lying on the table in front of him, and makes a grand gesture. STEW I go now - I go with Conrad in quest of my youth! Fry those tomatoes, will you, Gallagher? He strikes a poseóand exits. Gallagher, sits, looking after him, considerably disturbed. 54. CLOSER SHOT - GALLAGHER Sitting, looking dismally after Stew. She opens her bag and takes out a mirror, surveying herself with frank disapproval. She pulls out a curl of hair before each ear, tries to soften the severe brim of the hat. She puts a finger to the tip of her nose and tilts it up, studying the effect. Then, with a sigh of disgust, she throws mirror and bag onto the table. LAP DISSOLVE TO: 55. INT. SCHUYLER ENTRANCE HALL - DAY - LONG SHOT Smythe, the butler, previously introduced, comes from the direction of the rear of the house, and proceeds down the long, vast hallway towards the front door. The bell keeps ringing steadily. The butler reaches the wide front door. 56. CLOSER SHOT As the butler opens the door and reveals Stew standing outside, hatless, a book in his hand, a spring overcoat slightly askew, the pockets bulging with contents. The butler quickly tries to slam the door in Stew's face, but Stew's right foot comes forward with a practiced newspaperman's gesture and he forces his way into the room. ? 23 ? STEW (reproachfully) Now, now Jeeves.[5] Was that nice? Was that being a gentleman, Jeeves? Was it, Jeeves? Your name is Jeeves, isn't it? SMYTHE (stiffly) The name is Smythe. STEW Smythe! Well, well, well! With a Y , huh? (wags his head) Congratulations! What a small world. Brothers under livery. Shake! (he grabs the butler's hand) Now, as a Smith to a Smytheó SMYTHE (glacially) Mrs. Schuyler is not at home. 57. TWO SHOT - ANOTHER ANGLE STEW I know, I know. I waited outside till she went out. She's a very nice lady, but we don't vibrate well together. 58. MEDIUM SHOT Anne, dressed in smart sports clothes, starts to cross thru the hall. She stops as she sees the butler engaged in conversation with Stew. SMYTHE (hollowly) No one's at home, sir. Anne starts walking toward them. Stew spots her. STEW Now Jeeves, what would you call this - 'no one'? Anne comes up to them. 59. CLOSER THREE SHOT Anne looks up and sees that the butler is frowning and uncomfortable and addresses him. ANNE What's wrong? SMYTHE Mrs. Schuyler left orders, Miss, that if this person came here again, I was to call the police. STEW That's a good idea - telephone the police. The number is Spring 3100. Get a couple of cops over and we can have a rubber of bridge. ANNE You may go, Smythe. ? 24 ? SMYTHE But Ió STEW Now the lady said you may goó The butler bows stiffly and exits. ANNE (to Stewódirectly) What do you want? STEW Well, I tell you, yesterday when I was here, I had one of your books in my hand, and when I got outside, I realized I still had your book in my hand. So as long as I had your book in my hand, I thought I might as well take it home and read it. This morning, I got up and put your book in my hand, and here's your book in your hand. He extends the Conrad book, and Anne, making no effort to take it, he throws it on the table. ANNE (haughty) That's considerate of you. STEW Yeah, that was considerate of me. I recommend you read it. 60. CLOSER TWO SHOT ANNE (stiffly) I'm not interested in your literary recommendations. STEW Well, maybe it's a bit heavy for you. Perhaps if you'd like something lighter - something with a touch of romanceó He takes a package of letters out of his overcoat pocket held together by a rubber band. He extracts one of them and opens it. STEW Just listen to thisó (reading) Adorable Babykinsó Does her miss her Baby? Him sends his booful li'l sweetums a billion oceans full of kisses. Bobo is so lonelyó! ANNE (interrupting coldly) Just a moment. I don't see how that trash could possibly concern me. Stew advances a little closer, putting up a finger. ? 25 ? STEW (mysteriously) Ah! But you don't know who Bobo is. And you don't know who Babykins is. ANNE I'm not interested. Smythe will open the door. She begins to walk away. STEW (brightly) But Bobo is your brother, Michael. And of course nobody would ever guess who Babykins is. Anne turns and stares at him, incredulously, for a moment. ANNE Where did you get those letters? STEW I stole them when I was interviewing Babykins about Bobo. Anne looks up coldly. ANNE I suppose you're going to print them? STEW No - give you another guess. 61. MEDIUM CLOSE SHOT (TRUCK SHOT) The two. Anne surveys him with frank scorn and dislike. ANNE (scornfully) Oh, I don't need another guess. It's quite obvious. STEW So, it's obvious, huh? She turns toward the library. ANNE Will you step into the library? STEW (with alacrity) Sure, I'll take a chance. Anne walks majestically with head held highóthru the hallóthru the living room and to the library. CAMERA TRUCKING AHEAD OF THEM. This is a very long walk with Anne walking ahead, Stew trailing. STEW (while walking with Anne single file) You know, the Indians used to walk like this. (pause) Except the squaw always walked in the backó ? 26 ? (pause) You know why that was? That was in case of attack from the front. (pause) Of course, if the attack was from the rear, she had to depend upon her papoose. (pause) Oh yes, the papooses always had bows and arrows. (pause) Of course, if she wasn't marriedóthen she'd have to protect her own - er, eró (indicates rear with thumb over shoulder) (still walking) What country is this library in? (pause) Miss Schuyler, how about carfare back to the front door, huh? 62. INT. SCHUYLER LIBRARY - MEDIUM SHOT Anne sweeps in, followed by Stew. She walks directly to a desk, opens a drawer and takes out a large check book. She draws up a chair and seats herself. 63. CLOSE SHOT Anne at the desk, starting to fill in the date on a blank check. ANNE What are your initials - Mr. - eró 64. CLOSE SHOT - STEW Who has remained standing. He is watching her with a peculiar expression. STEW Smith. Stewart Smith. My friends call me Stew. It's an injustice too because I hold my liquor all right. CONTINUATION SCENE 63 Anne writes on the check. Then she looks up. ANNE Will - uh - five thousand be enough? 65. DOUBLE SHOT STEW For what? ANNE For the letters, of course. 66. MEDIUM CLOSE SHOT As Stew walks closer and addreses her. STEW Gee, you shouldn't do that, Miss Schuyler. That's all right for your lawyer friend, but you shouldn't go around thinking you can buy people. (hands her the letters) They're yours. ? 27 ? Anne has been listening to him with a puzzled expression, impressed by his obvious sincerity. ANNE I don't know how to thank you. Mother'll be so grateful - she'll probably want to kiss you. STEW Your mother will want to kiss me? Give me back my letters. (grabs the letters) That's the breaks I get. It's the mothers that are always grateful to me. (with a smile, he hands the letters back) Here. ANNE You're a peculiar person. Why the other day I pleaded with you not to send in that story and ó (gestures with letters) 67. CLOSE TWO SHOT STEW (patiently again) I know but that was news. This is blackmail and I don't like blackmail. Anne is regarding him with searching scrutiny. She smiles. Her icy, belligerent attitude has vanished. ANNE I won't even pretend it isn't a very great favor. I wish there was something I could do for youó STEW Well, you could make this table a little - uh - a little less wide. (he leans over closer to her) There is something you can do for me, Miss Schuyler. The smile goes out of Anne's eyesóthe suspicion returnsóshe is saying to herselfó"I was right the first time!" STEW (engagingly) I haven't had any lunch yet. Have you got anything in the icebox? The hard, disdainful look leaves Anne's face as she stares at this incredible guy with his incredible request. With a twinkle in her eyes, she responds: ANNE Oh, you fool! LAP DISSOLVE TO: INT. SCHUYLER DINING ROOM 68. MED. FULL SHOT A lovely, sunny room, cretonne drapes and colorful painted furniture. Stew and Anne are sitting at the table. Anne looks amused and ? 28 ? definitely speculative. Stew has the manner of having lived in this house all his life. He draws the cup of tea to him and puts in a lump or two of sugar. Between him and Anne on the corner of the table is a modernistic, squatty little tea-pot. STEW After years of research, I finally discovered that I was the only guy in the world who hadn't written a play, so believe it or not, in my spare time I'm now writing a play. 69. CLOSE TWO SHOT Anne is casually amused. ANNE Really? STEW Yeah, I haven't figured out the plot yet, but it's laid in a Siberian village. ANNE You're a bit eccentric, aren't you? STEW Me? No - most ordinary guy in the world, me. Only one thing wrong with meó ANNE You don't wear garters! Stew helps himself to another lump of sugar. STEW Naw, that's just a symbol of my independence. He leans closer, looking directly into her face. STEW I'm color blind. That's what's wrong - I'm color blind. I've been sitting here for a half hour looking at you and I don't know yet whether your eyes are blue or violet. Anne smiles at this unexpected statement, and stares at him very critically. ANNE I'm just beginning to believe that something could be done with you. STEW Say, you could do anything with me you wanted to. Putty - just putty, that's me. STEW (leaning closer) Now getting back to those eyes of yours - would you mind if I kind of got closer so I could see them? ? 29 ? ANNE Not if you're going to lose any sleep about it. 70. CLOSE SHOT He gets closer, takes her chin in his hand and gets an eyeful. ANNE Now, how would you like themóopen like this? She smiles radiantly. STEW Close them both. (getting warm) Something tells me I'd better leave. During the last speech Mrs. Schuyler enters and stops in the doorway, surveying this astonishing scene with stupefied indignation and rage. Anne gets quickly to her feet as Mrs. Schuyler sails forward. MRS. SCHUYLER That's an excellent idea. ANNE Oh, hello Mother! STEW (easily) Hello - hello, Mrs. Schuyler. Come right in. Will you have a slug of tea? He hospitably indicates the table. Mrs. Schuyler is speechless with fury. She does not immediately reply. Then: MRS. SCHUYLER What is this person doing here? ANNE Whyó Stew goes on. STEW As a matter of fact, I was just trying to decide the color of Anne's eyes. I can't tell whether they're blue, or whether they're violet. What would you say, Mrs. Schuyler? MRS. SCHUYLER (bursting) Whyó ANNE (quickly) Don't say it, Mother, please. Mr. Smith came here today to do us a great favor. 71. CLOSER SHOT Anne, Mrs. Schuyler and Stew. Mrs. Schuyler, with an effort, restraining her impulse to yank Stew out by the collar, speaks: ? 30 ? MRS. SCHUYLER (bursting with wrath) Indeed? Perhaps he will do me a great favor. STEW (elaborate bow) With pleasure, Madame! MRS. SCHUYLER Get out of here. ANNE (distressed) Oh, Mother! STEW (with dignity) It's all right. It's all right, Anne. I can take a hint. A bit subtle, but I get it. It's all right. ANNE Please go. I'll explain to Mother. He steps close to Mrs. Schuyler's side. STEW The caviar was lovely, Madam. 72. WIDER SHOT Stew starts to the door, smiles at Anne, and remarks to Mrs. Schuyler as he passes her: STEW You must come over and see us sometime. Mrs. Schuyler freezes in inarticulate anger, as Stew gives a courtly bow and exits. FADE OUT FADE IN INT. SCHUYLER DRAWING ROOM - NIGHT 73. MEDIUM SHOT Anne in a stunning evening dress is seated, a cocktail in one hand, cigarette in the other. Dexter Grayson, in evening clothes, is standing before her. GRAYSON Where were you yesterday? 74. CLOSE SHOT - ANNE She has a faraway, speculative look in her eyes. ANNE Oh, Stew and I went for a long ride. (dreamily) Dexter, is there any finishing school we can send him to? ? 31 ? 75. CLOSE SHOT - GRAYSON GRAYSON (witheringly) Yes - Sing Sing. CONTINUATION SCENE 74 Anne. She ignores this crack. ANNE Just the same, he's going to be a different person when I get through with him. CONTINUATION SCENE 75 Grayson. He is looking at her, deeply disturbed. GRAYSON When you get through with him? 76. DOUBLE SHOT ANNE Yes, it'll be a very interesting experiment. GRAYSON (sneering) To make a gentleman out of a tramp? ANNE Exactly. GRAYSON Now, Anne, you remember how much it cost to get rid of that baseball player? ANNE You don't seem to understand that this one's different. He has brains. 77. MED. CLOSE SHOT Grayson seats himself beside her on the divan. GRAYSON (fervently) But what about me, Anne? She looks at him coldly with almost an expression of dislike. ANNE You? Oh, don't go serious on me, Dexter. LAP DISSOLVE TO: INT. PENTHOUSE APT. - NIGHT 78. MED. SHOT TRUCKING An elaborate, modernistic roof apartment, thronged with people all in evening dress. Stew and Anne are walking down among them. Anne is radiant, and Stew is happily guiding her among the stuffed shirts. Anne stops before a group. There is the sound of conversation, laughter, clink of glasses, music from stringed invisible orchestra, etc. ? 32 ? ANNE Hello, Natalie. Mr. Stewart Smith . . . Miss Montgomery, Mrs. Eames, Mrs. Radcliff, Mr. Radcliffó STEW How-di-do. GROUP (ad-lib acknowledgements) 79. MED. CLOSE SHOT - DEXTER GRAYSON Standing, helping himself to a cocktail, which a footman is passing about. Dexter looks off with a frown of disapproval. 80. CLOSE SHOT - GROUP OF WOMEN They are looking off in Anne's direction. FIRST WOMAN Say, who's Anne's new boyfriend? SECOND WOMAN Well, if these old ears don't deceive me, I believe his name is Smith. FIRST WOMAN Smith! Can't be one of the brothers - he hasn't a beard on.[6] SECOND WOMAN Well, he must have something if Anne has got her clutches on him. There is the sound of a piano chord being struck. 81. MED. FULL SHOT Mrs. Baxter, the hostess, is standing importantly by the grand piano at which is seated an anaemic-looking young man. Beside her stands a stout, swarthy Italian with bristling mustachios. Mrs. Baxter bows toward the swarthy one, who bends almost double in acknowledgement. There is a polite scattering of applause, and some of the guests seat themselves. Martini starts to sing. Unnoticed by the rest, Stew and Anne slip out of the door into the roof garden. EXT. ROOF GARDEN 82. MED. FULL SHOT A most beautiful, romantic spot. Rose trees in blossom, a vine-covered pergola, a splashing fountain, a few choice marble statues, low, deep chairs placed to make a gorgeous spot. Stew and Anne enter from the direction of the house. The garden is dark except for the lights from the interior of the house. From within, comes the voice of the singer rendering an extremely romantic, sentimental Italian love song. This will continue to the FADE OUT of the scene. Stew and Anne walk, still hand in hand, toward the edge of the pergola where the shadows are deeper and where a couple of glorified steamer chairs are placed. There is a full moon overhead. She leads him toward a waterfall effect, a glass partition down which water trickles. They go behind the dimly lit fountain and sit ? 33 ? in a low, deep divan. We see them in silhouette as they go into a passionate embrace. All we hear is the faint voice of Martinióand the uninterrupted splashing of the fountain. CUT TO: 83. CLOSEUP - ANNE & STEW On divan, arms around each other. STEW Anne, pinch me, will you? Throw me out of here. Give me the air. Throw me out of this joint, will you? Anne smiles happily and pinches his nose. ANNE Why should I? We're happy, aren't we, darling? STEW Throw me out - because I'm beginning to get goofy ideas, and they concern you, Anne. ANNE (passionately) None of your ideas can be goofy, Stew, if they concern me. STEW (struggling) My name is Smith - well, that you seem to have been able to stand for the last month. I'm white, male and over twenty-one. I've never been in jail - that is, not often. And I prefer Scotch to Bourbon. I hate carrots, I hate peas, I like black coffee and I hate garters. I make seventy-five bucks a week and I've got eight hundred and forty-seven bucks in the bank - and - I don't know yet whether your eyes are blue or violet. ANNE (although he is very close to her) That's because you're too far away, Stew. Throughout his speech, Anne never takes her eyes off him. As he fumbles now, he turns. Their eyes meet. His overwhelming desire for Anne overcomes him. He dismisses as futile his effort to be practical, sweeps her into his arms and kisses her passionately. FADE OUT: FADE IN INT. CITY ROOM OF MORNING POST - DAY 84. MEDIUM FULL SHOT Typical atmosphere, as before. LAP DISSOLVE TO: 85. MEDIUM SHOT Featuring Stew at his desk, which is directly in front of the battery of Morkrums whose clatter comes into the sound track. ? 34 ? Stew finishes up a phone call. He sits at his desk, staring pensively at his typewriter. He is smoking a pipe and is in his shirt-sleeves. His hair is rumpled, and strewn over the desk is a bunch of crumpled up pieces of paper, indicating that he has made numerous unsuccessful starts at writing something. A fresh blank sheet of paper is now in the typewriter. Nearby, at another desk, asleep in a swivel chair, with his feet elevated to the desk, the low snoring of another reporter blends with the sounds of the Morkrums and other noises of the City Room. At the reporter's elbow is a telephone. 86. MEDIUM SHOT Desk of Conroy, the City Editor. A small upright plate on his desk indicates his position. This is near the copy desk. Characteristic activities are background for any action that may take place. Reporters come up to throw their stories on Conroy's desk; the phone rings, etc. A boy comes in with a large number of newspapers under his arm which he throws on Conroy's desk. There are several copies of each of the rival newspapers in town. Conroy spreads them out and begins to examine them. 87. CLOSE SHOT - STEW It is evident that he is nervous and jumpy about something. Finally he starts to pound the typewriter. INSERT: Sheet of paper in typewriter on which is being typed. ACT 1 SCENE 1 A STREET IN ARABY 88. CLOSE SHOT - GALLAGHER As she talks on the phone to one of her girlfriends GALLAGHER (sotto voce) Sure I got a new dress. A new hat too. (listens) Well, I'll try to get Stew to come with me. (she glances in his direction) Yeah - he's all right. You know, he thinks he's stuck on some society gal. (listens) Naw, it won't last. It better not last! 89. CLOSER SHOT - CONROY Hastily glancing over the headlines of the papers. The phone rings. Without looking at it, Conroy answers: CONROY What? Oh, I'll be surprised, eh? Listen if there's any news in that sheet that I haven't thrown in the wastepaper basket, I'll eat it. He is looking down at the papers and suddenly his eyes focus on something which causes the cigar to drop from his mouth and an expression of mingled amazement and rage comes into his face. We do not see at this point what it is he has read, but we know it must be something sensational. Abruptly he hangs up the phone. ? 35 ? CUT TO: CONTINUATION SCENE 87 Stew, as he studies his typewriter. Over his CLOSEUP comes the excited outraged voice of Conroy. CONROY'S VOICE Hey Stew! Stew Smith! A look of infinite weariness and disgust comes over Stew's face and he grits his teeth. STEW Me? His general expression registers "Good god, there he goes again." With one finger he pounds out four letters: INSERT: Sheet in typewriter: Next to A STREET IN ARABY Stew has typed: NUTS He yanks the sheet out of the typewriter. CONTINUATION SCENE 89 Conroy. He looks over and bellows furiously. CONROY You double-crossing hound! Come over here! CONTINUATION SCENE 87 Stew gets up from his machine, crumples the sheet of paper into a wad and flings it at the sleeping reporter. The wad strikes him in the face; he wakes abruptly and automatically reaches for the phone. He picks up the receiver and in a voice fogged with sleep calls a number. Stew exits. 90. MEDIUM SHOT At Conroy's desk. Conroy's expression is one of bitter reproach as he leans back in his swivel chair as Stew approaches and stands by the desk. STEW Now listen boss, if you're going to kick about that expense accountó CONROY (interrupting fiercely) Do you call yourself a reporter? 91. MEDIUM SHOT Of other reporters, the older man at the copy desk, and perhaps a sob sister or two nearby, who look up with expectant interest, expecting to hear Stew get a bawling out. 92. CLOSE SHOT - GALLAGHER At her desk. She looks up worried and apprehensive. ? 36 ? CONTINUATION SCENE 90 Stew and Conroy. STEW It has been alleged - yesó CONROY You wouldn't know news if you fell into a mess of it, nose first. So you're the bright lad that's never been scooped! STEW (defensively) Not on my own beat, no. CONROY (howling so that he can be heard all over the room) No? Well, where were you when that happened? He slaps the copy of the Tribune furiously and shoves it into Stew's face. 93. CLOSE SHOT - STEW Not knowing what it is all about, Stew, with an injured expression, takes the paper and looks at it. INSERT: Front page of Tribune ANN SCHUYLER ELOPES WITH REPORTER (with subheads giving more explicit information) 94. MEDIUM SHOT The other reporters, copy readers, sob sisters, etc., seeing the unusual commotion and Stew's bewildered reaction, get out of their chairs and cross over to the City Desk, where they take up other copies of the same paper to look at. There are amazed and excited exclamations. 95. CLOSER SHOT - STEW AND CONROY Stew, still staring dumbly at the paper. A few others are crowding around, glancing over his shoulder, etc. CONROY I've heard of people being scooped on their own funerals, but this! Holy mackerel! Why, it's news when Anne Schuyler gets her fingernails manicured, but this! She gets married to one of our own reporters and the Tribune beat us to it! (he notices other reporters milling around) Well! What do you guys want? Go on, get back to your desks. Go back to your work. (returning his attention to Stew) Now don't tell me you were drunk at the time and don't remember! Or is this one of Bingy's snow-storms? STEW No, no - it's true, all right, only we didn't want to get it in print yet, that's all. CONROY Why not? ? 37 ? STEW Well, you see, I've acquired one of those new mother-in-laws, and we were afraid she wouldn't understand the whole idea. So we were going to wait till she went to Europe. CONROY What do I care about your mother-in-law! You're still working for this paper, aren't you! Or are you? STEW Yes, sir. CONROY Well, it's your business to get news! And here you had a story right in your own lap and you let the Tribune scoop us on it. Making a first class Grade A monkey out of me. If it ever happens again - just don't bother about coming back. That's all. He dismisses Stew with a wave of his hand. STEW Thanks for your congratulations. 96. MEDIUM SHOT Stew turns away from Conroy's desk, and a group of his confreres come up, surrounding him in a series of ad-lib congratulations. (Some slightly profane, pounding him on the back, whooping, and in general manifesting great surprise and glee.) This group is increased by copy readers, office boys and everybody jabbering and shouting at him. GROUP (ad-lib congratulations) Stew manages to break thru them and exits from scene. 97. MEDIUM SHOT Gallagheróto intercut with above scene. She gets up and goes over, CAMERA PANNING WITH HER and picks up another copy of the paper and reads the headlines. 98. CLOSER SHOT - GALLAGHER Her face stricken and sick as she reads about Stew's marriage. Abruptly she turns away, out of scene. 99. MEDIUM SHOT At Gallagher's empty desk. Stew comes in trying to stave off the mob. He turns on the congratulators, pushing them off. STEW What's the matter with you mugs? Can't a guy get married without all this? (looks around) Where's Gallagher? Anybody seen Gallagher? He forcibly breaks away from them and walks back toward the door, the last of the wisecracks and goodnatured jeers being flung after him. ? 38 ? LAP DISSOLVE TO: INT. JOE'S SPEAKEASY 100. MED. CLOSE SHOT Gallagher is seated alone at a table, looking very forlorn. Her life is suddenly empty. A drink is in front of her, untouched. She is fighting hard to keep her emotions under control. Stew enters the speakeasy and mingles with patrons, who offer congratulations. He comes to a stop by the table. She looks up, forcing a smile. STEW Well, well, well! Gallagher, old pal! There you are. What did you run away for? GALLAGHER I didn't run away. Stew draws out the other chair at the table and sits down. 101. CLOSER SHOT OF THE TWO He looks across at her, grinning boyishly, utterly unaware that what he has done has hurt her deeply. STEW Sure, you ran away. Aren't you going to congratulate a guy? GALLAGHER (with sincerity) Sure. I wish you all the luck in the world, pal. She puts her hand tenderly on his. STEW Thanks, thanks. GALLAGHER I hope you'll be very happy. Stew expands under the comradeship of Gallagher. He wants to talk. STEW Oh sure, we'll be happy. What's the matter with your eyes? GALLAGHER It's the smoke. STEW (calling to bartender) Joe! A little snifter. (returning his attention to Gallagher) Say, wasn't I a lucky guy to fall into a girl like that, huh? (he notices the newspaper, which Gallagher has been reading) Look at that! I don't know how I rate that, Gallagher. Gosh, there's a swell girl. I want you to meet her. ? 39 ? GALLAGHER Who me? She wouldn't want to meet me. I'm just an old load of hay. 102. CLOSE SHOT - STEW As his drink is served. STEW Ah! Thank you, Joe. (returning his attention to Gallagher) Tell you what - we'll have one of those parties down at your house - one of those spaghetti parties, you know. Gee, we haven't had one of those in a long time, have we Gallagher? 103. CLOSE SHOT OF THE TWO GALLAGHER (quietly) Not since you broke into society. STEW (waxing reminiscent) Remember the time we had a spaghetti party, and while I was serving the spaghetti I dropped it on the floor, and while those mugs weren't looking, I picked it up and served it to them anyway! Remember that? Yes, Anne would love that. 104. CLOSE SHOT - GALLAGHER Looking across at him. GALLAGHER Do you think your wife would walk up three flights of stairs just to eat out of paper plates? 105. DOUBLE SHOT STEW Who - Anne? Sure, Anne would love that. GALLAGHER Remember, she's a Schuyler. STEW Now get this, Gallagher - Smith. That's the name. GALLAGHER (murmurs) My error. STEW Well, if she doesn't want to come, I'll come down alone. GALLAGHER (shaking her head) Oh no, you won't, Mr. Smith. You're a married man now. Mother always warned me never to run around with married men. ? 40 ? STEW (resentfully) Say, what kind of a pal are you? You're not going to leave me flat? Gallagher tries to be elaborately casual. GALLAGHER Oh, I'll call you up some time. And if your social duties permit - why - STEW Cut that out. Just because I'm married - there's no reason for that. Gallagher looks up and off, seeing something that startles her. 106. MED. SHOT Conroy, the City Editor, entering the speakeasy. CONTINUATION SCENE 105 Stew and Gallagher. GALLAGHER (interrupting in a whisper) Hey, ixnay - here's the ossbay.[7] Stew looks around, also startled. 107. MED. SHOT Stew buries his head in the newspaper, in pretense of looking for something. Conroy appears at the table and stops. He indicates Stew. CONROY What's the Benedict[8] looking for in the newspaper - his lost freedom? Stew slowly sticks his head up over the top of the table, looking up. STEW (grinning sheepishly) Well, if it isn't old Fagin[9] himself. Conroy sits down at the table. STEW Gallagher and myself just came over here to do a little work on a story - CONROY (disgustedly) Baloney! (calls off) Joe! Bring me a special! 108. CLOSER THREE SHOT Gallagher tries to be very bright and smiling. GALLAGHER (to Conroy) Isn't it swell about Stew's marriage? ? 41 ? CONROY (looking straight at her) Is it? Gallagher, self-conscious, realizes this tough old buzzard is on to her. She looks back at him for a moment - then drops her head. Stew is oblivious to this by-play. Conroy turns to Stew. CONROY Well, when are you quitting? STEW Quitting? I'm not thinking about quitting. Joe comes in with a drink for Conroy. CONROY I take it you don't have to work for a living any moreó He takes a sip of his drink and looks over meaningfully. CONROY óMr. Schuyler . STEW (in a flash of anger) Now get this, Conroy. My name is Smith. Always was Smith - and always gonna be Smith. CONROY Is that so? STEW That's so. 109. CLOSEUP - CONROY He shows that he is genuinely interested in Stew and his problems, but can't help being a little sarcastic. CONROY Anne Schuyler's in the Blue Book - you're not even in the phone book. Think that one over, sucker. CAMERA PANS to CLOSEUP of GALLAGHER. GALLAGHER (quickly in Stew's defense) That doesn't make any differenceó (quietly) óif they love each other. CAMERA PANS BACK to CLOSEUP of CONROY. CONROY Blah! It's like a giraffe marrying a monkey. (looking off at Stew) Listen - you'll never be anything but just the reporter that married the Schuyler's millions. Stew Smith is dead and buried. From now on, you'll be just Anne Schuyler's husband. A rich ? 42 ? wife's magnolia. If you can smoke that without getting sick, you're welcome to it. CAMERA PANS to CLOSEUP of STEW: GALLAGHER'S VOICE But that's perfectly ridiculous. STEW (defensively) Wait a minute. Now, Gallagher, let me do the talking. Get this, Conroy - Anne Schuyler has got a lot of dough, all right - and I married her, all right - but her dough and me? No connection. 110. MED. CLOSE THREE SHOT Gallagher is looking fixedly at Stew - very much worried about Conroy's dismal prophecies. Conroy shakes his head in sorrowful gloom. CONROY (as if he had not heard Stew) Just a boid in a gilded cage -[10] STEW A what? CONROY You heard me. A bird in a gilded cage. STEW Aw, you've been reading a lot of cheap tabloids. Anne and myself are going to move downtown in a nice little flat, we're gonna forget all about this social stuff, and we're gonna be known as Mr. and Mrs. Stew Smith. How do you like that? CONROY (sarcasm) And live on your salary, I suppose? STEW Yeah, live on my salary - that is, until I finish writing my play. CONROY (snorts) What play? STEW My play. CONROY The one about the Siberian bloodhound? STEW Siberian bloodhound? No. That's been all rewritten. It's laid in Araby now. CONROY Araby? STEW Sure. ? 43 ? CONROY Araby, my eyeó! 111. WIDER SHOT Conroy, having finished his drink, pushes back his chair and rises. He puts an affectionate hand on Stew's shoulder. CONROY Well, I'm sorry to see a good reporter go blooeyó (starts away) Let me know when you're quitting. STEW I'm not quitting! CONROY No? STEW No! CONROY (singing) 'For he's only a bird in a gilded cage, a beautiful sight to seeó' (he waves his hand) Tweet, tweet - ha, haó He laughs loud and raucously and exits. 112. CLOSE SHOT - STEW AND GALLAGHER Stew glares after Conroy. STEW (under his breath) Laugh - laugh, you hyena! Gallagher realizes that Conroy has hit home with the truth and is sorry for Stew. She puts her hand over his sympathetically. GALLAGHER Don't pay attention to him, Stew. He doesn't know what he's talking about. STEW Pay attention? I'm not paying any attention to him. You think that guy could get me upset? Hah! Not that mug. He's a tough mug - hard, cynical. He doesn't know the fine things in life - that guy. (he swirls his drink, thinking) A bird in a gilded cage, huh? It's getting so a guy can't step out without being called a magnolia. Stew Smith, a magnolia! Not me. Say, I'm not going to hang around and be a speakeasy rat all my life! I'll tell you that. Not me, not me. I'm going to step out and mean something in this world. You watch me. (he swirls his drink, clearly bothered, lost in his own thoughts) Say, am I a lucky guy to be near Anne Schuyler? I've been hit with a carload of horseshoes, and believe me I know it. Lucky, I'll say I'm lucky! ? 44 ? (pause) Don't you think I'm lucky, Gallagher? GALLAGHER Sure - I think so, Stew. STEW I knew you would, pal. (clearly bothered) A bird in a gilded cage, eh? GALLAGHER How is her family going to feel about it? STEW Her family? Oh, they'll be all right. I'll bring them around. (swirling his drink) Gilded cage?! Besides, I'm not marrying her family. Stew Smith in a gilded cage! Stew Smith? Ha! (clearly bothered) That mug. What does he know? LAP DISSOLVE TO: INT. SCHUYLER DRAWING ROOM - DAY 113. MED. FULL SHOT Another jury scene. This time it is Anne who's on the carpet. Grayson, in correct afternoon attire, his hands behind his back and his head sunk, is pacing back and forth in a very depressed and gloomy fashion. Anne is seated, her demeanor betokening sullen defiance. Michael is pacing, nervously smoking a cigarette. MICHAEL I don't know what you need me here for - it isn't my funeral. Mrs. Schuyler stands by a table, staring at a spreadout newspaper which is laid out on the table. She flings the newspaper aside. MRS. SCHUYLER You stay right here, Michael. Some day you'll be head of this family, but thank heaven I shan't be here when it happens. And I hope you never have a daughter who gives you gastritis as Anne has me! She pulls the bell rope for the butler. ANNE Now Mother, calm yourself. There's no use in getting so excited. 114. MEDIUM SHOT Mrs. Schuyler is vastly agitated. MRS. SCHUYLER Oh, isn't there? ? 45 ? (as Anne starts to get up) Sit down! (looking off) Smythe! The butler appears in the doorway. MRS. SCHUYLER (in a weak, agonized voice) Some bicarbonate - quick! SMYTHE Double strength! The butler bows and exits. She passes a nervous hand over her eyes. Anne comes up to her. ANNE Mother, if you keep this up, you'll have a nervous breakdown before you go to Europe. 115. CLOSER SHOT Anne, Grayson and Mrs. Schuyler. MRS. SCHUYLER It's a good thing your father passed away before he saw insanity ravage the family. I can't imagine what made you do such a thing. A reporter! Of all things, a reporter! A barbarian who lets his socks come down! ANNE Mother, I promise you that he won't be a reporter much longer. Once I get him away from that atmosphere and get him away from a man named Gallagheró MRS. SCHUYLER (as Anne starts to get up again) Sit down! 116. WIDER SHOT The butler enters with a tray on which is a glass of bicarbonate of soda and brings it to Mrs. Schuyler. Walking immediately behind the butler is Stew, airily debonair. The butler glances somewhat uneasily at Mrs. Schuyler as he presents the tray. She glares blackly at Stew without a word of greeting, and taking the foaming glass from the tray, starts to lift it to her lips. STEW (airily) Drink hearty, Mother. Once more, Anne starts to rise out of her seat. MRS. SCHUYLER Anne! Mrs. Schuyler pauses - glowering at Stew. Stew nods perfunctorily to each member of the jury, the total innocent. STEW Hello, Anne. Mr. Grayson. ? 46 ? (to Michael) And you. (to Mrs. Schuyler) Mrs. Schuyler! Grayson does not acknowledge the greeting. Mrs. Schuyler, having drained the glass, dismisses the butler with a wave of the hand, and directs her attention again to the matter at hand. MRS. SCHUYLER (in command) Well, what's to be done? He's here now. They are all silent - reluctant to speak in front of Stew. Stew looks at them all - a little puzzled - then he walks over toward Mrs. Schuyler. 117. MEDIUM CLOSE SHOT Mrs. Schuyler and Stew. STEW Nobody seems to want to do anythingó (to Mrs. Schuyler, brightly) Why not ask me? Perhaps I can offer a suggestion. Do what about what? MRS. SCHUYLER (witheringly) About what? Your marriage to Anne! STEW (with a tone of dismissal) Oh, my marriage to Anne. Now Mrs. Schuyler, we don't want you to go to any trouble about that. We just want the usual blessings, that's all. 118. MEDIUM SHOT Mrs. Schuyler's eyes flash. She draws herself up with haughty dignity. MRS. SCHUYLER Young man, I want you to know that I object violently to this whole affair! This finally brings Anne out of her seat. She rises and crosses to Stew, making a show of embracing him. ANNE Now Mother, your attitude is perfectly ridiculous. It's done now. Stewart and I are married. STEW (to Mrs. Schuyler) I'm afraid she's right, Mrs. Schuyler. I'm really very sorry, Mrs. Schuyler, that you feel this way. I was in hopes that you would like me. I'm not the burglar that you think I am. After all, we're married. I think the thing to do is to kiss and make up - Mother. MRS. SCHUYLER (furiously) Stop calling me Mother! ? 47 ? STEW (easily) All right, Grandmaó MRS. SCHUYLER (glaring) This man's impossible! I can't talk to him. Grayson, let's go where we can talk - hic! (she emits a burp, then fixes a glacial look at Anne) See what you've done to me!? Without another word, she turns and flounces angrily out of the room. Grayson follows her. At the doorway he pauses, starts to say something. They all look at him expectantly - but no words come out. STEW Got it too, huh? Grayson gives a harrumph and exits. 119. CLOSER MEDIUM SHOT Anne, Michael and Stew. Michael grins at Stew. MICHAEL Who won that round? Michael starts moving toward the door. STEW (ruefully) I'm afraid your mother won that round - that is, she got in the last blow. MICHAEL I don't feel the way they do. You're really not as bad as everybody thinks. STEW (effusively - shaking his hand) You're beginning to appreciate me, eh? Thanks! MICHAEL Don't worry too much about Mother - she's enjoying this. Come on upstairs, I'll give you a little - He indicates a snifter, grins and exits. Anne crosses to Stew and puts her arm around his shoulder. STEW (to Michael) A littleó? Sure, I'll be right up. (to Anne) He's all right. I like him. ANNE I'm glad. He sees two figures pass above in a proscenium alcove, first Mrs. Schuyler, then Grayson. He makes an elaborate bow to each, and is impressed by Grayson's return bow. ? 48 ? STEW He can bend! 120. CLOSER SHOT Anne takes a step backwards and sits down with him on one of the divans. CAMERA TILTING DOWN WITH THEM. He puts an arm about her. ANNE Come here baby! Anne starts fussing abstractedly at Stew's tie. They kiss. ANNE I haven't seen you for three hours. You're neglecting me alreadyó During her speech she has been picking away at a stain on his tie. Stew looks down and notices it. STEW What's the matter? Something I et, no doubt. Egg marks the spotó ANNE You ought to get some new ties, Stewart. STEW I don't need any new ties. I've got another tie - I've got another one besides this one. And it's a pip, too. There's only one thing wrong with it. You know what that is? It has a little weakness for gravy, and once in a while it leans a little toward ketchup. Of course that's only in its weaker moments. When you move down to my place, I'll show it to you. Anne is somewhat taken aback at the suggestion that she's to move into his place. ANNE Your place? 121. TWO SHOT - ANOTHER ANGLE STEW Yeah. Oh, it's great. Of course it doesn't compare with this coliseum of yours here, but 'twill serve m'lady, 'twill serve. (elaborate) The architecture has a little feeling of Missouri Gothic - and the furniture sort of leans toward Oklahoma Renaissance - with a tiny touch of Grand Rapids. ANNE (gently insistent) Don't you think it's silly of us to think of living there when we have this whole big houseó STEW When 'we' . . .? You mean, you'd like to have me live here in your house? ? 49 ? Anne cuddles closer into his collar. ANNE Sure. We can have the whole left wing and be all by ourselves all the time. Stew is slightly dazed. 122. CLOSEUP - STEW He is slightly dazed. STEW (cynically) We could have the whole left wing? Wouldn't that be nice! Would that be room enough for us? 123. TWO SHOT ANNE (seriously - missing his sarcasm) Oh darling, of course it would. If it isn't - there are six rooms and two baths - but if that isn't enough, Mother will give us the blue room too, I think. STEW Oh, Mother will give us the blue room. You haven't a red room, have you? Well, bless her heart. Wouldn't that be nice! My, oh my - six rooms and two baths and a blue room. I guess she would let us have the right wing if we needed it, wouldn't she? ANNE But we don't need it, I'm sure. STEW I see, we won't need that. Plenty of room, plenty of room. 124. WIDER SHOT He gets up and paces the floor. He looks at Anne and sees that she is taking him seriously. He drops down beside her. STEW (dropping his kidding) Look Anne, you're not serious about this, are you? ANNE Of course I am Stewart. 125. CLOSER TWO SHOT STEW Now let's get this settledó She cuddles closer, tweaking his nose. ANNE You have the cutest nose I'veó ? 50 ? STEW Never mind my nose. What kind of a chump do you think I am? You think I'm going to live here in your house - on your dough? What do you think my friends would all say? Don't be silly. I'd get the razzing of my life for that. 'A bird in a gilded cage' - that's what I'd be. Not me. Oh no, not me! ANNE What do you think my friends would say if they found me in a little cheap flat? STEW It isn't cheap. It's nice. ANNE (cuddling closer) Listen Stew baby, let's not talk about things like that nowó STEW Wait a minute. I'll do anything you ask me, Anne, but I will not liveó ANNE (cuddling closer - and stroking his nose) Oh, I love that nose. It's such a sweet nose. They kiss. STEW Nevertheless, whether the nose is sweet or not, I'm not going to live in your house. You may as well get that straight. They kiss again, longer. STEW You do want me to be happy, don't you? Then I'm not going to live in your house . . . They continue to kiss as . . . LAP DISSOLVE TO: INT. STEW'S BEDROOM - MORNING 126. CLOSE SHOT - STEW In bed, asleep, all curled up, his head on his arm. CAMERA TRUCKS BACK showing the magnificent bedroom, with carved wooden panellings, a raised, canopied bed. The clothes that Stew has taken off the night before are draped haphazardly about the room. When the Camera gets to a point that takes in a LONG SHOT of the room, the door to the hall opens and a correctly attired valet appears. He closes the door noiselessly, goes over to the windows, and draws the brocaded drapes aside. Then he crosses to a covered object and with a small flourish removes the cover - revealing a birdcage. He approaches the bed. 127. CLOSER SHOT As Dawson the valet stops beside the bed. The valet leans over and speaks distinctly. DAWSON Mr. Smith, siró There is no movement from the form on the bed. ? 51 ? DAWSON Mr. Smith, sir! Still no response. The valet taps the bedclothes-shrouded shoulder gently. DAWSON Mr. Smith, siró Sleepily, Stew turns, his eyes heavy with sleep. 128. MEDIUM SHOT DAWSON How do you like your bath, sir? STEW I like my bath all right. How do you like your bath? Stew peers up, puzzled. STEW Who are you? DAWSON (surprised) I'm your valet, sir. Dawson is the name, sir. STEW You're my what? DAWSON Your valet, sir. Stew still stares at him. Then he nods to himself - thinks he gets the idea. Stew kicks back the covers and sits on the edge of the bed in his pajamas. Still sitting on the edge of the bed, he starts to slip his feet into a pair of slippers. The valet bends on one knee to help him. STEW Thank you, thank you, thank you! I'll do that for you some time. That's very sweet. Say listen, what did you say your name was? DAWSON Dawson, sir. STEW Dawson, huh? Was I very drunk last night? DAWSON Drunk, sir? Stew rises and starts to reach for a dressing gown, but again the valet beats him to it - holding it for him and helping him slip into it. STEW Yes. I must have been pretty much plastered if I hired a valet. DAWSON Oh, but you didn't engage me, sir. ? 52 ? Stew, surprised, turns on him quickly. STEW Who did engage you then, if I didn't engage you? What are you doing with my pantsó The valet picks up his pants. STEW Did you take anything out of those pants? DAWSON Oh no, sir! STEW What are you doing fooling around in here? DAWSON Miss Schuyler - I mean, Mrs. Smith - she engaged me this morning, sir. Stew pulls out a cigarette. The valet, without missing a beat, leans over and offers a light. A wary Stew accepts. STEW Hmmm. So Mrs. Smith engaged me a valley, huh? That's very nice of Mrs. Smith - to engage me a valley. 129. WIDER SHOT Stew walks over and gets a cigarette out of a box on a small table, waving his hand in a gesture of dismissal. The valet is right behind him, holding up his bathrobe for Stew to step into. STEW (putting on the bathrobe) Say, you are nice. You're all right. You'd make a good wife. DAWSON Thank you, sir. STEW But not for me! Though I like you well enough. You're a nice fellow. You're all right. But I'm sorry I don't need any valleys today. The valet pays no attention to him, but walks around the room, picking up the clothes that Stew has flung about. DAWSON Oh, but indeed you do, sir, if you don't mind my saying so. A gentleman's gentleman, as it were. Someone to draw your bath, lay out your clothes, help to dress you - it's really most essential, sir. Stew, with his cigarette between his lips, stands watching the valet as he retrieves the various articles of cast-off clothing. The valet's manner is somewhat patronizing. He walks over to a chifferobe and starts opening the drawers, preparatory to laying out fresh things for Stew. Suddenly, Stew stalks over to him, takes him by the shoulder, and yanks him around to face him. ? 53 ? 130. CLOSER SHOT - STEW AND DAWSON The valet is astonished and somewhat alarmed at the belligerent expression on Stew's face. STEW (over-sweetly) Are you trying to tell me that I need someone to help me put on my pants and button them up? DAWSON Quite so. Quite. STEW Now I'm sorry. I appreciate your efforts. But I don't need anybody to help me button my pants - I've been buttoning my pants for thirty years all right, and I can button 'em with one hand as a matter of fact. DAWSON Now Mr. Smith, now pleaseó Stew is rapidly losing his temper. STEW You've got a nice face, Dawson, you wouldn't want anything to happen to your face, would you? The valet puts a bewildered hand to his face. DAWSON Oh no, siró Stew releases him with a definite motion toward the door. STEW All right, outside! DAWSON (bewildered) I beg your pardon, sir? STEW (gesturing violently) Outside! The valet gazes at Stew as if he thinks the man is insane. He is considerably alarmed. DAWSON I think I understand, sir. You mean you want me to go? STEW (smiling admiringly) There you are. You caught on. You see, you're nice and you're smart too. You caught on right away. Outside! Go on! Outside! And don't come back! 131. MEDIUM SHOT The valet starts edging toward the door. ? 54 ? DAWSON No, sir. No! Stew's eyes bulge as he notices the birdcage for the first time. STEW Wait a minute, what's this? INSERT: Birdcage. BACK TO SCENE: DAWSON That's a canary, sir. STEW That's a canary! Who brought that in here? Canary, huh? Go on, get that out of here. Get that out of here! DAWSON (frightened) Yes, sir. Very good, sir. STEW (ranting) A bird! A bird in a gilded cage! Get that thing out of here! DAWSON Yes sir! The valet hurries off, carrying the birdcage. As he nears the door, there is a light tap on the door connecting Stew's room and Anne's. The door opens and Anne comes in, wearing a ravishing and revealing negligee. She carries a small jeweler's box in her hand. She crosses the room toward Stew. ANNE Good morning, darling. She looks over and sees Dawson at the hall door. ANNE Oh, Dawson, see that all Mr. Smith's clothes go to the cleaners this morning, please, will you? The valet bows. Stew looks at her blankly. DAWSON Very good, madame. He closes the door discreetly and goes out. 132. CLOSER SHOT - ANNE AND STEW As they hug. STEW Say, who is this mug? Anne sits down on the rumpled bed. ? 55 ? ANNE I've got a present. Shut your eyes. Keep 'em closed. I know you're going to love them. STEW (eyes closed, feeling the package) Little - couldn't be an automobile, could it? (he opens the package) Well, well! Ain't that nice! He holds them up - expensive garters. ANNE Do you like them? STEW Got my initials on them too. They're cute. They're nice little things - what do you do with them? ANNE You wear them of course, silly. STEW Oh no. No, no. Not me. I haven't worn these things for Years. ANNE I know that. STEW Besides I'd look foolish. I couldn't look Gallagher in the face. ANNE Darling, I don't care whether you can look Gallagher in the face or not, but you're gonna be a good boy and wear garters. STEW Honey, I love you. I'll eat spinach for you. I'll go to the dentist twice a year for you. I'll wash behind my ears for you. But I will never wear garters! His arms go about Anne. Under the force of his embrace Anne sinks back on the pillows. Stew leans forward looking down at her. 133. CLOSE TWO SHOT - STEW AND ANNE Nose to nose. ANNE (adopting a sing-song) Oh, yes you will my dear - oh, yes you will my dear - you'll wear garters and you'll like it too! STEW (picking up her sing-song) Oh, no I won't my dear - oh, no I won't my dear - I'll wash behind my ears, but no I won't my dear! He bends to kiss her again, but she gently resists, and continues the sing-song. ? 56 ? ANNE Oh, yes you will my dear - oh, yes you will my dear - you'll eat spinach but you'll wear garters too! STEW Oh, you can't carry a tune - you can't carry a tune - all you are good for is to sit and spoon, spoon. Oh no, I won't wear gartersó ANNE Oh yes you will wear gartersó They melt into each other's arms. LAP DISSOLVE TO: INT. CITY ROOM OF NEWSPAPER OFFICE - DAY 134. MEDIUM FULL SHOT General activity, as before. CAMERA TRUCKS DOWN THE MAIN AISLE until it centers on Stew at his desk, sitting low in his chair, his feet cocked up on the corner of his desk, reading a newspaper CAMERA TRUCKS UP CLOSER centering on his feet on the desk. One trouser leg is pulled slightly up and reveals a garter. 135. MEDIUM CLOSE SHOT Stew, reading the newspaper. It is opened up before his face. INSERT: Headlines - about a three-column article: ANNE SCHUYLER AND CINDERELLA HUBBY TO OCCUPY SCHUYLER MANSION As Stew reads this, he looks very glum and depressed. 136. MEDIUM SHOT A reporter, the one Stew had socked with a wad of paper in an earlier sequence, shambles past and stops abruptly, staring at Stew's feet. INSERT: Of what he sees. Stew's feet. The socks are strangely taut. BACK TO SCENE: The reporter glances up and sees that Stew cannot see him, and then carefully lifts Stew's trouser leg a few inches. INSERT: Stew's feet and legs. As the reporter's hand lifts the trouser leg, the fancy solid-gold garters are on full display. BACK TO SCENE: The reporter stares at them goggle-eyed. He can hardly contain himself at the sight of the garters. He looks off: REPORTER (cautiously) Psst! 137. WIDER SHOT One or two other reporters hear him and look over curiously. The reporter looks very mysterious and important and makes a motion for silence and caution. They get up and cross on tip-toe to join him. ? 57 ? 138. MEDIUM SHOT The men around Stew. They quietly gather around his feet and the reporter who made the discovery proudly displays his find. One or two more step by and all stare. Stew still has the paper up in front of his face. FIRST REPORTER Is it real? 2ND REPORTER Of course it's real! 3RD REPORTER Any diamonds on them? REPORTER Musta set him back at least six bits.[11] 139. MEDIUM CLOSE SHOT Stew. (Camera behind him and shooting over his head.) He is suddenly attracted by this unusual conversation and lowers his paper, revealing the group of six or seven men in a huddle round his feet. 2ND REPORTER One just can't wear those and be decent. 3RD REPORTER Yes you can, if you belong to the Four Hundred.[12] 2ND REPORTER I wonder what number he is. Stew flares in anger. Several of them are bending low to get a close peek. With a violent gesture, Stew kicks his foot forward and sends a couple of them sprawling. Stew gets to his feet. STEW Go on, get out of there! What's the matter with you mugs? Didn't you ever see a guy with a pair of garters on before? 140. MEDIUM SHOT The two reporters who have done most of the talking scramble to their feet. The second reporter speaks in mock perplexity. REPORTER What do you suppose he wears them for? 2ND REPORTER Can it be possible to hold his socks up? 3RD REPORTER Yeah, exactly. (effeminately) You know, one's hose look horribly untidy when they hang loose-like, don't you think so, percifield? Stew gets up as his phone rings. He pays no attention to it. Hank, another reporter, answers. ? 58 ? 4TH REPORTER (same effeminacy) Yes, my dear chap - they look ghastly - they look ghastly! STEW Go on! Screw! Get out of here! He starts out when Hank calls to him: HANK Hey, Stew! Stew turns. HANK (indicating phone) Your policeman! Stew comes back and, frowning, picks up the phone. 141. CLOSE SHOT Stew at phone. STEW Hello? Oh hello dear. Wait just a minuteó (to reporters, hovering around) Come on! Beat it, will you? Screw! Screw! This is my wife! In your respective chapeaux and over your cauliflower ears. REPORTERS (ad-lib teasing comments as they exit scene) INT. ANNE'S BEDROOM 142. CLOSEUP - ANNE She is lying on her stomach on a rubbing table, as used by a masseuse. We see a considerable part of her back, on which a middle-aged Swedish masseuse is industriously working. Anne has the telephone in her hand. Throughout her scene, we hear very telling whacks: ANNE (into phone) But it's nearly six o'clock darling, and you know how long it takes you to dress. (pause) But the Ambassador is coming at eight, and you've got to be ready by the time he gets here. LAP DISSOLVE TO: EXT. SCHUYLER LONG ISLAND ESTATE 143. LONG SHOT OF ESTATE DISSOLVE INTO: 144. EXT. FRONT ENTRANCE GATE Two footmen stand at either side of a huge iron gate. Cars and limousines are arriving, dropping off guests in evening wear. INT. CORRIDOR SCHUYLER HOME 145. Gallagher is just entering. Smythe holds door open for her. ? 59 ? GALLAGHER I'd like to see Miss Wilson, please. SMYTHE Who shall I say, madam? GALLAGHER Miss Gallagher of the Post. SMYTHE Yes, miss. He leaves. 146. INT. SCHUYLER RECEPTION HALL MOSS AND FONTANA are doing a beautiful tango. Guests scattered around the room, watching interestedly. CUT BACK TO: 147. INT. CORRIDOR SCHUYLER HOME Gallagher is still waiting. Smythe enters, leading Miss Wilson, a refined-looking girl of 26 or so, her hand extended. SMYTHE Miss Gallagher of the Post. MISS WILSON Oh yes - of course. Miss Gallagher? GALLAGHER Yes. MISS WILSON I'm Miss Wilson - Mrs. Schuyler's social secretary. GALLAGHER I was sent from the Post in place of our social editor. MISS WILSON Yes, of course. Miss Ramsey telephoned me. Well, what would you like to have? GALLAGHER Why, a list of the guests. That's the usual thing, isn't it? MISS WILSON Yes, of course. I'll get it for youó (smiling) In the meantime, would you like to take a look around? GALLAGHER Yes, thank you. The CAMERA MOVES WITH THEM as they start for the Reception Room. MISS WILSON That's a lovely dress. ? 60 ? GALLAGHER Thank you. (pause) Where is Mr. Smith? MISS WILSON Mr. Smith? Oh, you mean Ann Schuyler's husband? GALLAGHER Yes. MISS WILSON He's probably very tired. You see, he's had to meet all these people personally tonight. GALLAGHER I bet. MISS WILSON You newspaper people have a lot of fun with him, don't you? What is it you call him - the Cinderella Man? CUT TO: 148. INT. ENTRANCE OF BALLROOM Moss and Fontana are just finishing their dance. Gallagher stands in doorway with Miss Wilson, watching them. Excited voices comment on the dance. Miss Wilson beckons to Gallagher to follow her. CAMERA TRUCKS with them as they weave in and out of crowd. Miss Wilson points out celebrated guests to her. MISS WILSON There's the Spanish Ambassador. Gallagher steals a glance at the celebrated gentleman. GALLAGHER You know, he looks like one. Miss Wilson laughs delightedly. At this point they are interrupted by a butler. 149. MEDIUM SHOT BUTLER Miss Wilsonó MISS WILSON Yes? BUTLER Mrs. Smith would like to see you. MISS WILSON (to Gallagher) Will you excuse me? Make yourself at home for just a moment, please. GALLAGHER Thanks. ? 61 ? Miss Wilson follows butler out of scene. Gallagher is left alone. She wanders about the huge ballroom, peering here and there, searching for Stew. Finally she comes to a large open French door and steps out. 150. INT. TERRACE LEADING OFF SCHUYLER BALLROOM Several groups of men and women are seated at tables. Gallagher enters from ballroom, glances quickly at all the men. Disappointed at not finding Stew, she crosses terrace and descends broad stone steps and advances into garden. 151. INT. SECLUDED SPOT IN GARDEN Stew, his head cupped in his hands, is seated on a stone bench. Gallagher wanders into scene. She sees Stew and stops. Stew does not move. Gallagher, with a happy smile on her lips, moves closer to him. Stew suddenly becomes conscious of someone near him and looks suddenly up. He sees Gallagher; his face breaks into a happy grin. GALLAGHER Mr. Smith, I've read some of your plays and I'd like an autograph. STEW Well, well! If it isn't my old friend! Turn around, gal! Let's get a look at you. GALLAGHER There you areó! 152. CLOSER SHOT OF THE TWO STEW Well, daughter of the slums - how did you get out of the ghetto? GALLAGHER I'm pinch-hitting for our society editor tonight. I wanted to see some life in the raw. STEW Aw, you wanted to see some life in the raw, huh? Well gal, I'm afraid we ain't got no raw life up here. GALLAGHER Well, I'll have to look someplace else. STEW No, no! Maybe we could interest you in some well done butterflies, or perhaps some slightly fried pansies, or better still, some stuffed shirts. And guaranteed every one of them will give you a good stiff pain in the neck. GALLAGHER (fixing his tie) Say, who's been tying your ties lately? It looks rotten. He suddenly realizes there's something different about Gallagher. He takes a step back so as to look her over carefully - blinks his eyes. ? 62 ? STEW Gee Gallagher, do you look good! What are you doing to yourself? GALLAGHER Nothing. STEW What did you do to that hair? And where did you get that dress? GALLAGHER I dyed one and washed the other. STEW (enthusiastically) Oh, you dyed one and washed the other. Well! You certainly look good. 153. ANOTHER PART OF THE GARDEN Anne is walking in direction of Stew and Gallagher. She stops suddenly when she sees them. Her body stiffens. CUT BACK TO: ANOTHER SHOT - STEW AND GALLAGHER From Anne's angle. Gallagher is facing in the direction of Anne. GALLAGHER Don't turn around now - but there's a very beautiful girl up there who seems to be staring at us. STEW Staring at us? GALLAGHER My mistake - she's glaring. STEW Must be my wife. He turns - sees Anne. STEW It is my wife. Hi Anne. Don't go away. Stay right there, because I'm going to bring a friend up I want you to meet. They exit. 154. MED. CLOSE SHOT - ANNE Standing as before. She is looking off with slightly narrowed eyes. Stew and Gallagher come up to her. STEW Anne, prepare yourself for the treat of your life. This is Gallagher. ANNE (astounded) Gallagher! ? 63 ? STEW Sure - my pal on the paper. She's subbing for the society editor tonight. Anne turns an acid smile on the uncomfortable Gallagher. 155. CLOSER THREE SHOT ANNE Oh, yes, of course. How do you do? STEW Gallagher, this is Mrs. Smith. Anne winces slightly at this name. GALLAGHER How do you do? There is a short, awkward pause. ANNE (bitter-sweet) You know, Stewart, you failed to mention that Miss Gallagher was a very beautiful young girl. STEW Gallagher? Gallagher flashes a look at Stew - seeing that he fails to get the dynamite behind Anne's casually pleasant phrases. Anne plunges ahead. Her tone is unmistakable now. ANNE Yes. As a matter of fact, you failed to mention that Gallagher was a girl. STEW (surprised) Didn't I? That's funny. Isn't it funny? ANNE (with a world of meaning) Yes - isn't it? 156. CLOSE SHOT - STEW AND ANNE Stew is beginning to realize that all is not well as it could be. STEW You see, we never look at Gallagher as a girló He breaks off. ANNE (with her eyes on Gallagher) No? What do you look upon her as? STEW (fumbling for words) Why, down at the office, we always look at Gallagher as - eh - just Gallagher, that's all. CAMERA PANS QUICKLY TO CLOSE SHOT of GALLAGHER. She tries to back Stew up. ? 64 ? GALLAGHER (not so comfortable herself) They all consider me just as one of the boys. STEW Right! 157. MED. SHOT OF THE THREE ANNE (a deadly acid smile) Indeed? How interesting. GALLAGHER (same kind of smile) Yes - isn't it. Anne takes Stew's arm, drawing him away from Gallagher. ANNE Miss Wilson will give you the guest list and any other details you may need, Miss Gallagher. GALLAGHER (resenting the tone of dismissal) Thank you. I'll go and look for her at once. Goodbye, Mrs. Smith. ANNE Goodbye, Miss Gallagher. GALLAGHER Goodbye, Stewó She leaves scene. 158. MED. CLOSE SHOT - STEW AND ANNE Stew turns and faces her. STEW That was kind of a rotten thing to do, Anne. After all, Gallagher is my friend. The least you can do is be courteous to her. ANNE I thought I was very charming, Stewart. STEW You did? That's a lot of hooey! I'll go and apologize. He promptly walks away from her in Gallagher's direction. ANNE (furious) Stewart, please! She glares angrily at the departing Stew. EXT. TERRACE 159. CLOSE SHOT Gallagher has just reached the ballroom when Stew catches up to her. ? 65 ? STEW I'm sorry, Gallagher - really, I am sorry. GALLAGHER (reassuringly) Oh, that's all right, Stew. Forget it. As far as she's concerned, I'm just part of the hired help. STEW No, no. Strange, I've never seen Anne act that way before. (pause) It's funny I never thought to tell her you were a girl, isn't it? GALLAGHER Yes. INT. SCHUYLER ENTRANCE HALL 160. MED. CLOSE SHOT The butler is just opening the door. Bingy, looking more disreputable than usual, steps inside. BINGY Hello, there, Meadows![13] SMYTHE (disapproving once-over) Who is it you wish to see, sir? BINGY I want to see Stew Smith. Oh excuse me - I mean Mr. Smith. SMYTHE Pardon me, Mr. Smith is engaged. We are having a reception here this eveningó BINGY Oh, a party! Great, great! Jolly times and merry pranks. That's me. I'm a guy who loves parties. You knowó He is distracted by two elegantly-dressed ladies strolling by. BINGY óa beautiful pair of shoulders! But listen now, as a favor, will you please make it snappy, Laughing Waters,[14] and tell Stew Smith I gotta see him because if you don't my whole family's going to die. SMYTHE I'll tell Mr. Smith at once, sir. Have a seat. BINGY Well, I got a seat, but I have no place to put it. The butler turns to leave, then turns back, his face expressing distinct disapproval. SMYTHE Pardon me, sir, but I've heard that one before. ? 66 ? INT. SCHUYLER BALLROOM 161. CLOSE SHOT Stew and Gallagher standing together. The butler is seen leaving the scene, having just informed Stew of Bingy's presence at the reception. STEW (to Gallagher) Excuse me. I just want to make sure and see he doesn't take away any of the vases. (starts to leave, then turns back) Well, well, well! My little pal, Gallagher, a girl, huh? (unexpectedly, he bends to kiss her hand) (tenderly) That's just to give you an idea that I know how to treat a gal. Get fresh with me and I'll sock you in that little nose of yours. Excuse me. I'll be right back. He exits. Gallagher is left staring at her hand wonderingly. INT. SCHUYLER ENTRANCE HALL 162. MED. SHOT Bingy gets up from his throne chair, and crosses into the doorway of the library opposite him. He stops by a carved low-boy, and curiously examines a large antique vase. Stew comes in and stops with a smile as he sees him. Bingy, his hand on the vase, looks up. Stew walks over to him. STEW (referring to vase) What's the matter, Bingy, a little clumsy to get in your pocket? Bingy sets down the vase and surveys him. BINGY No. I was just looking at it. Pretty, ain't it? I was just looking for the price tag. INT. SCHUYLER LIBRARY 163. CLOSER SHOT OF THE TWO Bingy looks him up and down in silent, insolent scrutiny. Stew begins to burn. STEW What do you want? BINGY Oh, nothing. I just blew over - I wanted to see how the old newshound looked made up for a gentleman. STEW (sore) Would you like to have me turn around for you, Bingy? BINGY Oh boy, I'd love it. ? 67 ? Stew makes a complete turn and faces Bingy again. STEW How's that? BINGY (appraisingly) Not bad - not good - but not bad. You ought to be able to fool about almost anybody. STEW Is that so? Well, have you seen enough - or would you like a photograph? BINGY A photograph? What's the matter? Hasn't mama had you done in oils yet? (singing) "Just A Gigolo . . . "[15] STEW Now get this mug. You've got the kind of chin I just love to touch. And if you don't get out of here, I'm going to hang one right on it. Bingy assumes a conciliatory attitude. BINGY Take it easy! Take it easy, Dempsey.[16] Just relax, my boy, relax and open your pores. 164. CLOSER TWO SHOT Stew glares at him. Bingy goes on. BINGY I bring a message from Garcia. STEW Yeah? BINGY Yeah. The boss sent me over to offer you a job. He wants you to write a daily column on the Tribune. STEW (skeptically) Yeah - go on. BINGY It's all right. You can write your own ticket. A hundred and fifty bucks a week. STEW (thinks a bit - quietly) I'll bite. What's the catch? BINGY There's no catch. This is on the up and up. Of course all you have to do is just sign the article - by Anne Schuyler's Husband. ? 68 ? 165. MED. SHOT Taking in the doorway. The butler starts to pass by. Stew's eyes are blazing. BINGY Well, how does the old Cinderella man feel about that? With a quick motion, Stew clips Bingy on the jaw. Bingy, caught unawares, reels backward. 166. CLOSER SHOT IN DOORWAY Bingy describes a backward arc, just as Smythe, the butler, seeing he can be of service, steps forward and catches him. SMYTHE Well done, sir. Very neat. STEW (through his teeth) That's what I think of it, Bingy! Bingy sags in the butler's arms. The butler looks at Stew inquiringly. Stew nods. STEW (to butler) Smythe, the - er - gentleman is leaving. SMYTHE Yes, sir. Bingy is carried out. Stew stands glaring after them. FADE OUT: FADE IN INT. SCHUYLER HOME 167. MEDIUM CLOSE SHOT Anne and her mother at the breakfast table. ANNE Good morning, Mother. Didn't I tell you that he'd be marvelous. Everybody thought he was so charming last night. MRS. SCHUYLER I was so worried for fear he'd knock over a vase or something. I must have acted like an idiot. (notices the morning paper in Anne's hands) What does it say about the reception last night? ANNE Oh, the usual thing. Blah, blah, blah attended the blah, blah reception and wore the same blah, blah things. MRS. SCHUYLER (reproachfully) Stop it. Anne. You're behaving like the person you're married to. ANNE You don't have anything to complain about, Mother. He was all right last night, wasn't he? I told you not to worry about him. ? 69 ? MRS. SCHUYLER It was a miracle. The man was ill or something. She suddenly notices front page of paper Anne is reading. Her face freezes in horror. She screams. MRS. SCHUYLER (screaming) Ah-ah-ah! ANNE Mother! MRS. SCHUYLER (frantically gesturing at paper) Look! Look! The front page! Anne turns paper and reads the article. CUT TO: INSERT: NEWSPAPER CINDERELLA MAN GROWS HAIR ON CHEST ATTACKS REPORTER IN SCHUYLER HOME. "I wear the pants," says Anne Schuyler's husband. "It's Okay with me," says Anne. 168. MEDIUM SHOT Mrs. Schuyler gets up. Paces wildly about room. In a frenzy. MRS. SCHUYLER I knew it! I knew it! I felt it in my bones! She is interrupted by the entrance of Grayson, who dashes into the room, his eyes ablaze. In his hand he has a copy of the morning paper. GRAYSON (tapping paper in hand) Did you see the papers? "Cinderella Man Grows Hair On Chest!" This is the most terrible kind of publicity that could possiblyó MRS. SCHUYLER (interrupting) Don't you think I know it, Grayson? (as Smythe the butler enters with tray) Smith - send for Mr. Smythe! Er - Smythe, send for Mr. Smith! SMYTHE (as he turns to go) Double-strength! MRS. SCHUYLER (muttering, as she exits scene) "Cinderella Man Grows Hair On Chest!" GRAYSON (close behind, contemptuously) "I wear the pants," says Anne Schuyler's husband! ? 70 ? INT. SCHUYLER ENTRANCE HALL - DAY 169. MEDIUM SHOT Stew, now dressed in a business suit, comes from the direction of the stairs and stops just before he gets to the door of the drawing room. From within there is an ominous silence. Stew looks longingly in the direction of the front door - then back at the drawing room, squares his shoulders and goes in. INT. SCHUYLER DRAWING ROOM 170. CLOSE SHOT As Stew stops just inside the doorway. He had been prepared for this, but it strikes terror into his soul, just the same. 171. MEDIUM FULL SHOT From his angle in the doorway. The jury - Dexter Grayson, hands behind his back - is standing, gazing at Stew with a fishy eye. Mrs. Schuyler stares haughtily. Anne is crying softly. CONTINUATION SCENE 170 Stew - looking around at the gallery of faces. Then he forces a jaunty smile to his face as he starts to enter, whistling as he goes. STEW Good morning, everybodyó (he gets a cold, frigid, silent reception) Well, maybe it isn't a good morning, huh? (to Anne) Anne, did you ever get the feeling that there was someone else in the room with you? 172. MEDIUM SHOT MRS. SCHUYLER Have you seen this? (shows him newspaper) STEW Yes - the worm! MRS. SCHUYLER I beg your pardon? STEW He's a worm - and I'm gonna step on him! MRS. SCHUYLER To engage in a brawl! A cheap, common brawl, in my own home! "I wear the pants!" The pants ! Not even the trousers! GRAYSON I've tried to stop the evening papers, but it's useless. 173. CLOSER SHOT - STEW AND GRAYSON STEW You quit trying to stop anybodyó GRAYSON Well, at best you might deny it. ? 71 ? STEW Why deny it? The more you deny, the more they print. Let them alone! The thing to do is to sit still and keep our traps shut. GRAYSON Traps shut! STEW Certainly! I'll take care of this guy Bingy myself, personally. (sees Anne crying) Now what are you crying about? 174. MEDIUM SHOT ANNE Is this true, Stewart? Did you really say it? STEW Yes, I said it. Sure, I said it. I didn't say it for publication, however. MRS. SCHUYLER And you struck him right here in our houseó? STEW Yes, I'm sorry, I struck him right here in your house. And I'll strike anybody in anybody's house that calls me a Cinderella Man. GRAYSON Well, what else do you expect them to call you? ANNE Dexter. 175. CLOSEUP - STEW STEW (burning) That's the fourteenth crack you've made to me. I'm keeping count. When you get to twenty, I'm gonna sock you right on the nose. As a matter of fact, I ought to sock you right now. 176. MEDIUM FULL SHOT MRS. SCHUYLER Anne Schuyler, are you going to sit there and watch this man insult us? Haven't you any decency left? ANNE (defending him) Why doesn't Dexter show some decency? And you might show some too, Mother. What do you expect a man to do when he's called such names? (to Stew) I'm glad you hit that reporter, Stewart. He deserved it. ? 72 ? MRS. SCHUYLER (rising) All right, all right! It's your funeral, Anne Schuyler! She flounces out. Grayson remains behind. STEW (to Grayson) Go on, beat it, shadow. Grayson turns to go, then braves the last word. GRAYSON Cinderella Man! That's fifteen. He leaves in a huff. Stew puts his arms around the crying Anne. FADE OUT: FADE IN INT. SCHUYLER DRAWING ROOM 177. FULL SHOT Six or eight people of distinction scattered around the room. All dressed in full evening clothes. Among them is Grayson, Anne, her mother, and one man in aviator's uniform. The men have their coats and hats in their hands, the women have their evening wraps on. Apparently they are ready to leave for someplace and are being detained. An indistinct murmur of ad-lib conversation is heard. 178. CLOSE SHOT On Smythe, the butler, as he approaches Mrs. Schuyler. SMYTHE Pardon me, madam. They phoned through from the Mayor's committee to remind you it's past the hour for the reception. MRS. SCHUYLER Are the cars ready? SMYTHE They've been ready for the last half hour. 179. MED. CLOSE SHOT - GROUP Including Captain White, a young, handsome aviator. AVIATOR (modestly) I hope I don't have to make any speeches tonight, Anne. ANNE Oh, you can't disappoint all the women. After all it isn't every day they get to see a famous round-the-world flier. AVIATOR Yes, I know, but they scare me to death. This is the fourth dinner you've taken me to this week. I'm running out of material. ANNE Are you complaining? ? 73 ? AVIATOR Yes, there are always too many other people around. LADY Anne, it's getting late. What are we waiting for? ANNE We're waiting for my husbandó (lightly, concealing her irritation) If you'll excuse me, I'll run up and see what the slowpoke's doing. (to aviator) I'll be right backó She starts out, climbing stairs to Stew's room. INT. STEW'S BEDROOM 180. MEDIUM SHOT Stew stands in front of a mirror, fumbling with his dress tie. He pauses, his hands still on his tie. ANNE (reproachfully) Stewart! We're all waiting for you. Where's your valet? STEW I poisoned him. ANNE Stop trying to be funny, and get ready, will you? As he struggles with his collar, it springs off. STEW I'm not going! ANNE What are you talking about? STEW I'm talking about - I'm not going out. 181. CLOSEUP - ANNE ANNE (controlling her anger) What am I going downstairs and tell those people? STEW Go downstairs, and tell them - anything. Tell them I'm not going. Tell them I'm not home. ANNE (getting angrier by the minute) Stewart, would you mind telling me why you're not going? ? 74 ? 182. CLOSEUP - STEW STEW Yes, I'll tell you - for the same reason I've never wanted to go out with those social parasites, those sweet-smelling fashion plates. I don't like them. They bore me. They give me the jitters. ANNE'S VOICE Do you know you're talking about my friends? STEW Yes, I'm talking about your friends, and they still give me the jitters. 183. DOUBLE SHOT ANNE Well, are you going - or aren't you? Stew makes a move to embrace her. STEW Anne, come here. Listenó ANNE (sternly - slipping away from him) Look out for my lipstick, Stewart. STEW I'll tell you what. Let's you and me sneak out all by ourselvesó ANNE (interrupting) Are you crazy? STEW Think of the fun we can have - we'll sneak down the back stairs and get in the valet's Ford. How's that? ANNE Will you stop being silly, Stewart? STEW (trying hard) I'll tell you what let's do - I'll take you and introduce you to all my gang. Would you like that? ANNE (hard) But I don't want to meet your gang. STEW I don't mean the newspaper fellows that you don't like. Another gang I know - you'd love them. They're writers and musicians and artists - a great crowd of people - people who do great things. People who are worthwhile. ? 75 ? ANNE Meaning, my friends aren't worthwhile, I suppose? STEW Oh, they're all right, Anne. But Ió ANNE (interrupting belligerently) That's exactly what you mean. Heaven knows you've made that clear to me often enough. Well, I'm sick and tired of it. I've given you party after party - I've taken you to some of the best houses in this town - and introduced you to people of importance - and are you grateful? No! You insult them and act like a bore. I'm sick and tired of having to make excuses for you and the things that you've done. Perhaps it's just as well you're not coming tonight. Maybe I can enjoy myself for once without having to worry about you, and what you're going to do. With which violent declaration, she flounces out of the room, leaving Stew staring after her, angry and hurt. Impulsively, he follows her to the door - a retort on his lips. When he gets there, however, she has vanished. He returns to the room, wanders about thoughtfully, extracts cigarette from box, fumbles it - walks to window - stares out - turns back to room - heaves a lonely sigh. He notices his reflection in the mirror, and gestures toward it. STEW And that, my friends, is what is known as the society belle telling ex-star-newspaper-reporter to go to - how-have-you-been, Mr. Smith! 184. CLOSE SHOT As Stew sits in a typewriter chair. He rolls up the sheet in the machine so that he can read what is already written. INSERT: TYPEWRITTEN SHEET, IN TYPEWRITER ACT 1 SCENE 1 AN HACIENDA IN MEXICO Strumming of guitars are dimly heard. BACK TO SCENE: He studies it for a moment, frowning in dissatisfaction. He's stuck. He leans back in the chair and looks up for inspiration. INSERT: A BIG CLOCK, TICKING AWAY THE TIME. INT. SCHUYLER GRAND FOYER 185. LONG SHOT Of Stew Smith pacing the grand foyer. Seen from overhead, he is dwarfed by the surroundings. He tries hopscotching on the pattern of the floor. That wears thin quickly. Supremely bored, Stew gives a shout and is rewarded with a cavernous echo. Smythe the butler then appears, nervously crouched behind some grillwork. ? 76 ? 186. MEDIUM SHOT - STEW AND SMYTHE SMYTHE Did you call, sir? STEW Smythe, come here. I want to talk to you. (Smythe looks unenthusiastic.) Come on, Smythe, talk to me. Smythe, I'm going nuts. I'm going nuts in this house! This big . . . come on, I'm not going to hurt you. Come on, what's the matter with you? Stew gives another shout and is rewarded with another loud echo. This coaxes Smythe out from behind the grillwork. STEW Shhh! Do you hear something? SMYTHE Yes, sir. STEW You try it. SMYTHE (reluctant) Me, sir? STEW Yeah. Smythe gives it a timid try. STEW No, no. Give it more volume. Smythe gives a more satisfactory yell. Stew nods approval. Smythe begins yelling and shouting in earnest. STEW No, that's enough. I just wanted you to get the idea. Now you know. This house is haunted. SMYTHE (incredulous) No, sir! STEW Yes. Have you looked in the closets all over . . .? SMYTHE Yes, sir. STEW Found no skeletons? SMYTHE No, sir. STEW It's haunted just the same. ? 77 ? SMYTHE Yes, sir. Smythe has heard enough. He turns to leave, but Stew grabs him. STEW Smythe, what do you do with yourself - I mean, when you're not carrying those double-strength - what do you do with yourself? SMYTHE Well, sir, I putter. STEW Smythe! I mean - when you're alone and want to amuse yourself, then what? SMYTHE I just putter. STEW Hmmm, you just putter. Do you have to have a putter to putter? SMYTHE Oh no, sir. I putter with me hands. STEW Well, isn't that nice? You just go right ahead and putter with your hands. That's all right. How do you do it? SMYTHE Well sir, I'll show you. He demonstrates, touching objects on a table and blowing dust off a lampshade. SMYTHE That's puttering, sir. STEW No! Well, well, well! That's all right, if you like it. Can anybody do that? SMYTHE Oh no, sir. Some people are natural putterers. Others can never master it. STEW Oh my. You mean, some people are born and never will become putterers? SMYTHE Yes sir. STEW Oh my, wouldn't that be tragic? To know that you could never be a putterer. SMYTHE Yes sir. ? 78 ? STEW How about me? Do you think if I concentrated and put my whole soul into it, that some day I might be a putterer? SMYTHE You sir? Uh-uh. You could never be a putterer. Not a good putterer, sir. STEW Well, if I couldn't be a good putterer, I wouldn't want to putter. But why? What makes you think I couldn't be a good putterer? SMYTHE Well sir, to be a putterer, one's mind must be at ease. A person with a problem could never be a putterer. For instance, sir, a fish can putter in water but not on land because he'd be out of place. An eagle can putter around a rugged mountaintop but not in a cage, because he'd be restless and unhappy. Now sir, if you will pardon me, with all due respect, sir, as a Smythe to a Smith, you are an eagle in a cage. STEW A bird in a gilded cage? SMYTHE Yes. STEW That's all I wanted to know! Stew rushes off upstairs. Smythe gives the echo one last try. FADE OUT: INT. STEW'S ROOM 187. MEDIUM SHOT As Stew makes a telephone call. STEW Hello, Gallagher old pal. How are you, old pal? INT. GALLAGHER'S ROOM - NIGHT 188. MEDIUM SHOT A simple room, probably in a boarding house or cheap hotel. Gallagher is on the phone. A typewriter stands nearby. GALLAGHER Oh, hello Stew. I'm pretty good, can't complain. How's our gentleman of leisure? CONTINUATION SCENE 187 Stew at phone. STEW I'm on the coast of Norway and I can't get out - will you come and get me out of the coast of Norway? CONTINUATION SCENE 188 Gallagher at phone. ? 79 ? GALLAGHER Oh, your play. Hmmm, Act One, Scene One: Coast of Norway - and then a lot of blank. Is that it? CONTINUATION SCENE 187 Stew at phone. STEW Yeah. Come on, don't be silly. (pause) All right, if you feel like you need a chaper-one, call up Hank. Yeah. You'll find him at Joe's, no doubt. Yeah. Hank would be my idea of a perfect bodyguard. (pause) Sure you would. I knew I could depend on you, old pal. Snap it up, will you, Gallagher? CONTINUATION SCENE 188 Gallagher at phone. GALLAGHER Okay. She hangs up, joyful at the prospect of seeing Stew. She hums softly to herself as she picks up the receiver again. INT. SCHUYLER ENTRANCE HALL - NIGHT 189. MED. SHOT SOUND (bell ringing) Stew comes out of the library. Smythe is going down the hall. Stew intercepts him. STEW Smythe, I'll get this. I'm expecting some friends. SMYTHE Very good, sir. 190. MED. CLOSE SHOT At entrance door. Stew enters and opens it. Gallagher and Hank enter. STEW Well, Gallagher! Glad to see you. GALLAGHER Hello, Stew. STEW Hello, Hank. How are you? HANK Fine, but kinda thirsty. STEW Come right in - I'll get you a drink. HANK Okay - you remember Joeó ? 80 ? STEW Sure. HANK I sort of invited him along to bend an elbow. You don't mind, do you? STEW It's all right. Bring him in. Joe appears in the open doorway. Stew sees him. HANK Come in, Joe. It's all right. STEW Hello, Joe. JOE Hello kid, how are you? Glad to see you. Stew starts to close the door. JOE Just a minute - Johnson's outside. You don't mind if he comes in and dips a beak[17] do you? STEW No, no, bring him in. The more the merrier. JOE Come on in! Johnson appears in the open doorway. Stew sees him. STEW Hello, Johnson. JOHNSON Hello, Stew, old pal. How are you? STEW Glad to see you. Come in, kid. Stew starts to close the door. JOHNSON Wait a minute. I got two of the boys I brought along - they were cruising around with nothing to do. You don't mind if I bring them in? STEW You brought two of the boys? That's all right. Bring them in. What's the difference? The two enter, followed in a single file by 12-14 men and women, all of whom greet Stew as they enter, ad-libbing hello's and hand-shakes. Stew stares at them dumbfoundedly. 191. MEDIUM FULL SHOT They swarm into the hallway and overflow into the rooms on either side. The butler stands aghast at this invasion. Stew starts to close the door when three or four more troop in, shouting cheery greetings. Stew regards them in amazement. ? 81 ? 192. CLOSER SHOT - STEW As he watches them file past. STEW I'm sorry nobody could come. HANK The rest of the gang had to get out the morning edition - but they'll be down later. STEW Now Hank, are you sure they're coming? It will be lonesome without them. (to Smythe) Smythe, take this crowd in there and give them a drink. And find out what the boys in the back room want! Smythe gulps nervously, as he is dragged off by the revellers. INT. SCHUYLER DRAWING ROOM 193. FULL SHOT The gang have taken seriously Stew's suggestion that they make themselves at home. They have draped themselves about the place - a couple are strumming on the piano and others are inspecting the room in awe-struck attitudes. Smythe is being propelled around the room by the revellers. SMYTHE It isn't done, gentlemen! It isn't done, I say! It isn't done! INT. SCHUYLER ENTRANCE HALL 194. MEDIUM SHOT - GALLAGHER AND STEW STEW Well, Gallagher, you certainly took no chances, did you? GALLAGHER I'm sorry, Stew. I asked Hank, and Hank did the rest. STEW I see. Hank brought them all. That's all right. We'll give them a drink and throw 'em out. How's that? GALLAGHER Okay. STEW (as Smythe passes by, being propelled by revellers) Smythe! Give them one drink and throw 'em out! SMYTHE (dazed) Yes, sir. ? 82 ? Bingy pokes his head in the door, wearing a false beard. STEW (spotting him) Is there a green elephant standing beside that bwana? BINGY No, it's just little Bingy Baker. Stew rolls up his sleeves, preparatory to launching a punch. BINGY (warningly) Uh-uh. Bingy dons a pair of glasses, and points to them meaningfully. He enters, cautiously, watching Stew warily. BINGY (striking a pose) Big Chief Bingy come to white man's tepee to make friends. Big Chief very sorry. To show how sorry - will bend over and let white man kick Big Chief where sun never shines. STEW Excuse me, Gallagher. I wouldn't miss this one for the world. He bends over, and Stew winds up and delivers a hard kick to his backside. Bingy straightens stiffly, then removes a bottle of alcohol from the target area. BINGY Fire water all right. (he takes a drink) Both start laughing. BINGY Well, Stew, that's all thrashed out. By golly, I'm surely glad to see that you're not really sore. You know our racket - after all, news is news. STEW Sure, sure. That's all right. That was a great story, Bingy. A great story - wish I'd printed it. BINGY I gave you the breaks, didn't I? That hairy chest story! STEW (indicating Bingy's false beard) You've raised it up to the chin, I see. (laughs) Go on in the other room and get yourself a drink. Bingy emits a war-whoop and proceeds into the drawing room, where Smythe is still being held hostage by the party. ? 83 ? 195. CLOSER SHOT Gallagher and Stew. STEW You know what I should do with you? I should sock you right in that funny little nose. GALLAGHER Yes - and I'd love it. SMYTHE Sure, you'd love it. He draws her out of the entrance hall, and the CAMERA MOVES WITH THEM as they head upstairs, the party around them going in full force. INT. STEW'S SITTING ROOM 196. MEDIUM SHOT Stew and Gallagher enter. Apparently they have been talking about Stew's play on the way upstairs. GALLAGHER How far have you gotten? STEW Well, I've just been able to get off that Norway coast - so far. Stew gestures toward the typewriter from which a sheet of paper is protruding. Gallagher crosses to it. She rolls up the sheet so she can read what is typed on it. GALLAGHER (reading) 'Act One - Scene One - A Street in Old Madridó' She turns as Stew walks over to her. GALLAGHER (smiling) Well, you're not getting your play done, but you're certainly covering a lot of territory. STEW (grins) Haven't I covered some territory? It feels like I've been on a Cook's Tour[18] some place. 197. CLOSER TWO SHOT Stew, standing before her. GALLAGHER (seriously) Stewart, have you ever been to Old Madrid? STEW (grinning in spite of himself) Been where? Gallagher To Old Madrid. ? 84 ? STEW Never even been to New Madrid. GALLAGHER Then how do you expect to write about it? STEW Oh - draw on my imagination, I suppose. GALLAGHER Did Conrad draw on his imagination? Stew is brought up with a start. STEW Did who? GALLAGHER Conrad. STEW What do you know about Conrad? GALLAGHER I don't know a thing about him, but isn't he the one you're always yelling about? Stew is noticeably impressed with this point of view. STEW Gosh, you look cute. Gallagher warms up to her subject. GALLAGHER Isn't he the one that always writes about things - only the things he knows about? STEW Right. GALLAGHER Didn't he go to sea before he wrote about it? STEW Right. 198. MEDIUM SHOT GALLAGHER Then why don't you write about something you know? Write about yourself and Anne. The poor boy who marries a rich girl - now there's a swell theme. STEW Gee, that's an idea, Gallagher. That's an idea there. I wonder now . . . GALLAGHER Oh, sure. She'd make a beautiful heroine . . . ? 85 ? STEW (warming up - he puts arm around Gallagher's shoulder) And there's her mother - and what a character that old dame would make with her double-strength - and that lawyer friend of theirs - he'd make a great villain - and there's you! GALLAGHER (smiling) What could I be? STEW You could be something. (inspiration striking, he dashes to the typewriter) I've got an idea, Gallagher. Let's get this set. That's a great idea for a play. Pal, get me a cigarette, will you? GALLAGHER Here you are. STEW All right, thanks. Now, let's see. How will I start? Hey pal, how would you start? LAP DISSOLVE TO: INT. SCHUYLER ENTRANCE HALL 199. MED. FULL SHOT Shooting through into the drawing room. It is many hours later. The members of the party, including Smythe, are pretty well lit. On the floor of the entrance hall a dice game is in progress. In the drawing room four or five are hanging over the piano singing "The Grasshopper Jumped Over Another Grasshopper's Back." In general, a large time is being had. As the scene opens a door-bell is ringing. A key is heard in the lock. 200. CLOSER SHOT - GROUP - IN ENTRANCE HALL The outer door starts to swing open. One of the party guests, very wall-eyed now, and carrying a whiskey bottle in his hand, staggers toward the door. It opens wider, and Anne and Mrs. Schuyler and Dexter Grayson stand gasping in the opening. The guest comes up to them. GUEST (starting to close door) Say, you can't come in here - this is a private party. Anne pushes the door violently, which sends the guest sprawling. He stays where he lands, holding the bottle in both arms across his chest. Anne and her mother advance into a CLOSE SHOT and look off with incredulous horror and amazement. 201. MEDIUM SHOT On a drunk Bingy as he peers at them from an alcove above. BINGY (recognizing Grayson) Hey, my old classmate from Harvard! Whoopee! Harvard, '98! (spotting Mrs. Schuyler) Hello, mama! ? 86 ? 202. MEDIUM SHOT Most are too cock-eyed or too engrossed in the ongoing crap game to notice them. DEXTER I know who's the cause of it all! ANNE Oh, Dexter! One of the men wanders in from the drawing room in time to hear this conversation. He assumes an attitude of exaggerated courtesy and gallantry as he bows before them. Anne and her mother are almost bursting with fury. They spot Smythe, across the room, thoroughly in his cups. MRS. SCHUYLER (to butler) Smythe! Smythe - who are these people? Smythe comes stumbling up, a grin plastered on his face. SMYTHE (thoroughly plastered) Friends of mine. Very lit-lit-literary people. GRAYSON (confidentially, to Mrs. Schuyler) He's drunk. MRS. SCHUYLER (aghast) Smythe, you've been drinking. SMYTHE (proudly) I have. Double-strength! GRAYSON (confidentially) Very drunk. MRS. SCHUYLER (indignant) Where is Mr. Smith? SMYTHE Well, for crying out loud, I don't know. And I don't care. Whoopee! He jubilantly exits scene. GRAYSON (confidentially) Very, very drunk. INT. STEW'S SITTING ROOM 203. MEDIUM SHOT Stew gets to his feet as an idea strikes him. STEW Now Gallagher, if we could only get a great scene - a tremendously emotional scene - some- ? 87 ? thing that would just wring the hearts out of the public - to bring the curtain down in the second act - that would be okay. Couldn't dig one out of your hat some place, could you? GALLAGHER Nope - afraid I'm all out of tricks tonight. STEW Now, we've got it right up to where the boy's wearing his white spats and going to teas and the frau enters - how's that? GALLAGHER Very good. 204. MED. CLOSE SHOT At the partially opened door into the hall. It opens wider, and Anne looks in. She stares in horrified amazement. 205. MEDIUM SHOT (FROM HER ANGLE) Gallagher, her shoes off, sprawled out on the chaise longue, stretches luxuriously and yawns. CAMERA PANS TO Stew at the typewriter, hair mussed, coffee pot and cups prominent, the dressing gown over the back of his chair. Neither of them has seen Anne. CONTINUATION SCENE 204 Anne. She gasps as she quietly steps further into the room. 206. CLOSE SHOT - GALLAGHER Gallagher, caught in the midst of a grand stretch, sits up abruptly, startled. She stares uncomfortably off at Anne. 207. CLOSE SHOT - STEW At the typewriter. He glances up momentarily and very absently, and goes right on typing. STEW (absently) Oh hello, Anneñ He types furiously. ANNE (tight-lipped) Good morning. What does this mean? Stewart looks up surprised at the tone of her voice. STEW What does what mean? 208. MEDIUM SHOT - THE THREE Gallagher, sensing scene, starts hastily looking for her shoes. One of them has been shoved under the chaise longue and she has to get down on her hands and knees to retrieve it. Anne comes in and confronts them, her hands on her hips. STEW Oh, that mob downstairs. I guess I got so interested in the play I forgot all about them. ANNE I see. ? 88 ? STEW Have we got a play, Anne? Oh, have we got a play! Of course most of it is Gallagher's. She did most of it. That brain of hers just snaps like that all the time. He indicates by snapping his fingers. Gallagher quietly gathers up her things, apprehensive of the storm about to break. ANNE (coldly) I'm not interested in the way her brain snaps. Stew stares at Anne as Gallagher, her hat in her hand, her coat over her arm, starts for the door. GALLAGHER I think I better go, Stew. ANNE I think you should, Miss Gallagher. STEW Wait a minute, Gallagher. Gallagher stops, transfixed by the new tone in his voice. He comes over to Anne. 209. CLOSE TWO SHOT - ANNE AND STEW STEW What's the idea, Anne? ANNE The idea is simply this - that I want those people to leave here immediately. STEW Now wait a minute. Aren't you being a little unreasonable? ANNE Unreasonable! Have you any idea what the place looks like downstairs? Do you expect me to stand here and see this place turned into a cheap barroom? STEW Now wait, don't get excited, Anne. There's no reason for that. Perhaps the boys have had a little too much to drink. That's all right. I'm sorry. I'll go right down and throw them out. That's no reason for you to take this attitude. After all, I certainly have a right to invite a few of my friends to my house, haven't I? ANNE (pointedly) Your house? STEW (getting the implication; after a pause) O-o-oh, I get youó ? 89 ? (a knowing chuckle) All right. All right. I don't blame you. I kinda forgot myself for a moment, there. That's what I call getting me told, isn't it, Anne? Anne remains silent. That's exactly what she has done. STEW I suppose I've been boarding out this past year. 210. MEDIUM SHOT He takes his coat off back of chair and slips into it. STEW (quietly; grimly) All right, I'll tell you thisóI don't like your boarding house, ladyó As he gathers up loose manuscript, he continues . . . STEW óand if it's all the same to you, I'm moving out. ANNE Stewart! STEW (hotly) This is something I should have done a long time ago, only I didn't have sense enough to do it. No, I had to stick around here to try and make a success of something that I knew darn well was a failure from the very beginning. But no more. No more! So that's that. ANNE You can't walk out of here like this. Throughout the scene, Stew is gathering his things togetheróand probably packing an overnight bag. STEW Oh I can't? Who's going to stop me? I'd like to see somebody stop me. If you think I'm going to stick around this joint just to look at this mausoleum, not on your life! You're going to make no stuffed shirt out of me. Now what do you think of that? Mrs. Schuyler stalks majestically in. MRS. SCHUYLER What's going on here? Who is this woman? STEW (snappily) Joan of Arc! What's it to you? MRS. SCHUYLER Heavens! The man's insane! ? 90 ? 211. CLOSEUP - STEW STEW Sure I'm insane, but I've got some good news for you. (points to himself) This magnolia is leaving your sweet smelling vanilla joint. This bird in a cage is gonna button his own pants from now on. And that is what is known as telling the mother-in-law. Gallagher's cry of joy is cut off by an icy look from Mrs. Schuyler. GALLAGHER Eurekó! 212. MEDIUM SHOT Stew is stuffing things into a bag. STEW (heatedly to Anne) You've done nothing but watch me - watch me! - ever since I've been here. Treated me like a thug, watched me like a hawk, mistrusted me. Every time I leave the house, that Janeó (indicating Mrs. Schuyler) ógoes out and counts the silverware. ANNE That's ridiculous. STEW Fine! I don't blame her. I know I'm out of my own crowd. I should have had better sense in the beginning. But I'll stay in my own backyard from now on. ANNE You're acting like a child. STEW All right, I'm a child. Have it any way you want. But I'm going back to my own apartment, where I should have lived in the first place. But no, I got to listen to you and move here. All right. If you want to live with me, Anne, okay. But the sign outside will say "Mr. Stew Smith" and you'll have to be "Mrs. Stew Smith" or there's nothing doing. No more Anne Schuyler's husbandó He has his bag all packed by this time. He snaps it shut viciously, lifts it off the chair, picks up his hat, and notices Mrs. Schuyler staring open-mouthed at him. STEW (to Mrs. Schuyler, pointedly) óand here's some more news for you. You can take your red room, your green room, your left wing and your right wing, and you know what you can do with them! ? 91 ? (to Gallagher) Come on, Gallagher. He brushes by Mrs. Schuyler and Anne, exiting. ANNE (exasperated) Oh, Stewart! EXT. SCHUYLER HOME - NIGHT 213. MEDIUM SHOT Stew and Gallagher appear, coming through the iron gates. 214. MEDIUM MOVING SHOT As Stew and Gallagher move off down the street, a ragged old panhandler comes wheedling up to them. PANHANDLER Pardon me, could you spare a dime for a cup of coffee? Stew is struck by a sudden idea as he regards the bum intently. STEW Coffee? How would you like to be a Knight of the Garter? PANHANDLER (stupidly) Huh! Noó Stew raises one foot, then the other, and quickly removes the solid gold garters which he presses into the bum's surprised hand. STEW (as he removes the garters) Just a minute. (to Gallagher) Entertain the gentleman, Gallagher. (to the panhandler) There you are, my man - with those you can eat for a couple of months. He walks away, leaving the bum staring dazedly at the luxurious pair of garters. PANHANDLER (an afterthought) How about the socks? 215. MED. CLOSE SHOT As Stew and Gallagher pass the Camera and go down the street, arm in arm. As they get past the Camera, Stew is seen to square his shoulders and throw out his chest. He shakes first one leg, and then the other, as if he were throwing off shackles. 216. CLOSER MOVING SHOT Stew and Gallagher moving along. Gallagher has a peculiar expression as she glances at Stew. She has been deeply affected by the scene she has just witnessed. Stew's face is very thoughtful. GALLAGHER (comfortingly) I wouldn't worry too much about it, Stew. She'll see it your way. ? 92 ? STEW Huh? (snapping out of it) Oh, I'm not worrying about her - I'm worrying about that second act curtain, that's all. Gallagher stares at him, realizing he is thinking more about the play than his split-up with his wife. Then she breaks into a grin. GALLAGHER Why, you're just a first-class chump! You just staged a scene that would play like a million dollars! How about that declaration of independence for the second act curtain? Stew stops stock still and stares at her. STEW (almost reverently) That's an idea, Gallagher - a great idea. Gallagher happily links her arm in his and again they move down the street. FADE OUT: FADE IN INSERT: CLOSE SHOT OF NAME PLATE OVER DOORBELL "STEWART SMITH" LAP DISSOLVE TO: INSERT: SHEET IN TYPEWRITER On it is being typed: Act 3. Scene 1. LAP DISSOLVE TO: 217. INT. STEW'S APARTMENT - DAY - MED. FULL SHOT Inexpensive but comfortable. Stew is in his shirtsleeves. A battered old typewriter stands on the table with a sheet of blank paper in it. Stew is seated in a chair before it, and is picking out the letters, typing. He pauses, running up the roller to regard what he has written. 218. INT. STEW'S KITCHENETTE - MED. SHOT Gallagher, in a little apron, is frying some ham and eggs. She looks up as she sees Stew from the doorway. STEW Hey, Gallagher! GALLAGHER Yeah? STEW How about my breakfast? How do you expect me to ring a curtain down on an empty stomach? GALLAGHER It'll be ready in a minute. ? 93 ? STEW (accusingly) Never mind that. If you can't get my breakfast ready - and can't get here on time in the morning - then you can go get yourself another job. GALLAGHER (in mock contrition) Sorry, bossó STEW Don't be sorry. Just get the breakfast, that's all. 219. INT. STEW'S LIVING ROOM - MED. SHOT There is a knock on the hall door. Stew crosses and opens it. 220. CLOSER SHOT As Stew opens the door. It reveals Dexter Grayson in the little hallway, immaculately clad, as usual. Stew regards him in frank surprise for a moment. GRAYSON Hello, Smith. STEW (puzzled) Holy jumping swordfish! GRAYSON I suppose you know why I cameó? STEW No, I have no idea - unless some of the silver-ware is missing. GRAYSON Now don't be absurd, Smithó (as he brushes past, walking inside) May I come in? STEW Surely, come right in. GRAYSON (as he sits down) Thanks. May I sit down? STEW Surely, sit down. If I had known you were coming, I would have thrown you up a waffle. GRAYSON I don't eat waffles. STEW You don't. 221. MED. SHOT Grayson sits stiffly on one of the Grand Rapids chairs. Stew remains standing, and waits silently for Grayson to speak. Grayson clears his throat. ? 94 ? GRAYSON Anne asked me to come and see you about the divorce. STEW (with enlightened expression) She didó? GRAYSON (uncomfortably) She wants me to arrange the financial settlement. STEW Listen Grayson, I've got 106 bucks and 75 cents in the bank. Now Anne can have any part of that she wants, but she'd better hurry because I'm spending it awfully fast. GRAYSON (interrupting) You don't seem to understand. Anne doesn't expect anything from you. 222. INT. STEW'S KITCHENETTE - MED. SHOT Gallagher. Overcome by curiosity at the sound of voices, she leaves the frying eggs and goes quietly to the doorway and peeks out. 223. MED. SHOT Grayson and Stew. GRAYSON We should like to know how much you would want toó Stew stares off incredulously. STEW (interrupting) Wait a minute. Do I get from you that she wants to pay me alimony? GRAYSON That's putting it crudely, butó Stew starts advancing nervously toward him. Grayson, a bit alarmed, rises. STEW (closing in on him) Remember what I told you about that twentieth crack? All right, you've just made it. Before you go unconscious I want you to get this through your nut. GRAYSON I beg your pardon. STEW Unconscious. You know, when you don't know anything. Your natural state. There are some people - you can't buy their self-respect for a bucket of shekels - well, I happen to be one of those guys. ? 95 ? 224. CLOSE SHOT Showing kitchen door open a crack. Gallagher's eyes are glistening as she watches and listens. 225. MED. CLOSE SHOT Stew and Grayson. GRAYSON (weakly) We just thought tható STEW (snaps) Don't think. Let me do all the thinking. Now you go back to that Schuyler outfit and tell them that I didn't marry that dame for her dough and I don't want any of her dough now. I was too poor to buy her a wedding present when we got married, so I'm giving her a divorce for a wedding present. Now, stand up! Grayson does so, completely intimidated by Stew's manner. Stew grabs him by the lapel. GRAYSON Yes. STEW And now for that twentieth crackó Stew punches Grayson on chin and knocks him through the open door into the hall. He slams door shut. 226. WIDER SHOT Stew thrusts his hands into his pockets and walks thoughtfully back to the typewriter. 227. CLOSER SHOT Stew standing staring down at the typewriter. He is still flushed with anger. Suddenly a thought strikes him, and his face breaks into a broad grin. He sits down quickly, and begins pounding away. 228. MED. SHOT Gallagher enters from the kitchen, carrying a platter of ham and eggs and a coffee pot. She sets them on a small table and this is spread with a cloth. Then she crosses over to Stew. GALLAGHER (pretending ignorance) Who was that? STEW (without looking up from his typing) Grayson - Anne's lawyer. GALLAGHER What did he want? STEW Gallagher, that guy just dropped by to give us a great opening for the third act. They sit at the little table. ? 96 ? 229. CLOSER SHOT GALLAGHER What was the idea he gave you? Stew dives into the ham and eggs. STEW It's a swell idea, Gallagher. How's this? The wife's family lawyer comes to see the kid, see - to talk over the divorce. Then this guy insults the poor but honest boy by offering him alimony - so the kid gets sore, socks the lawyer in the nose and throws him out. How's that for the beginning of the third act, huh? GALLAGHER Well, from now on the play will be easy. All you have to do is bring the wife back, have her say she's sorry, and then your play's over. 230. CLOSEUP - STEW He looks over at Gallagher with a peculiar expression. STEW (vehemently - as he scoops out some melon) What's the matter? Do you think I'm going to let that guy go back to his wife? Not on your life. He's got to go to the other girl. 231. CLOSEUP - GALLAGHER She almost drops her coffee cup in a wild gleam of hope as she looks back at him. Gallagher tries hard to keep her voice steady. GALLAGHER (not sure of herself) What other girló? 232. MED. CLOSE SHOT OF THE TWO STEW The little O'Brien girl, of course - the one you suggested in the story. GALLAGHER (ecstatic, but still fighting) But that's ridiculous! You can't make a sudden change like that. STEW Gallagher, what are you going to do - tell me how to write a play? GALLAGHER No. STEW There's nothing sudden about tható (tensely) He's always loved the girl, but he was such a sap he didn't have sense enough to tell her. Well, that's all right - we can fix that. He will ? 97 ? go to the little O'Brien girl, and - here, I'll show you. He gets to his feet, and comes around to her. 233. CLOSE TWO SHOT Gallagher watches him a bit uncertainly. STEW (tenderly) He goes to the little O'Brien gal and he says to her - in some pretty words of some kind - something that you can write - he'll sayó (as if reading part - very emotional) Darling, I'm sorry. I've been a fool all my life. I've always loved you, only I didn't have sense enough to see it. As quick as I can get a divorce from my wife, I want you to marry me. Then she'll look at him that way - yeah - then they'll embrace, or something like that. (they draw closer) Then he'll kiss her, or something. To demonstrate the point, Stew takes her in his arms and kisses her. They hold the kiss longer than is justified. Stew is swept away by his sudden emotion and clings to her desperately, while Gallagher's arms instinctively go around his neck. Gallagher chokes back tears that persist in coming. She stifles a sob. Stew folds her in his arms. STEW (tenderly) What's the matter, Gallagher? What's the matter? Gallagher buries her face in his shoulders. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Platoon.txt b/unformated_scripts/Script_Platoon.txt new file mode 100644 index 0000000000000000000000000000000000000000..dd04b80cd36d9483b6ef3406a028c14529ba7ca8 --- /dev/null +++ b/unformated_scripts/Script_Platoon.txt @@ -0,0 +1 @@ +PLATOONFADE IN:A QUOTATION AGAINST A BLACK SCREEN:'REJOICE, O YOUNG MAN, IN THY YOUTH ...'The sound now of a C-130 air cargo plane roaring over us and we cut sharply to:EXT.AIRSTRIP - BASE CAMP - VIETNAM - DAYAs the C-130 coasts to a stop, the hatch rotating down on a hot, dusty lifeless airstrip somewhere in Vietnam. Nothing seems to live or move in the midday sun.TITLES RUNA DOZEN NEW RECRUITS step off the plane, unloading their duffel bags, looking around like only the new can look around, their hair regulation-clipped, crisp, new green fatigues fitting them like cardboard.CHRIS TAYLOR is just another one of them - as he turns into a tight closeup, to look at a motorized cart pulling up alongside ... He's about 21. Newmeat. His face, unburned yet by the sun, is tense, bewildered, innocent, eyes searching for the truth.They fall now on a heap of BODY BAGS in the back of the cart. Two soldiers begin loading them onto the plane. Flies - hundreds of flies - buzz around them, the only cue to their contents. GARDNER (next to Chris, Southern accent) That what I think it is? SOLDIER 1 (a look) I guess so ...An uncomfortable look between them. SERGENT Okay, let's go ...As they move out, Chris' eyes moving with the body bags being loaded onto the plane. Moving over now to a motley HALF DOZEN VETERANS bypassing them on their way to the plane. They look happy. Very happy, chatting it up.They pass the newboys - and they shake their heads, their eyes full of an almost mocking pity. VETERANS Well I'll be dipped in shit - new meat! Sorry bout that boys - 'sin loi' buddy ... you gonna love the Nam, man, for-fucking-ever.Chris looking at them. They pass, except for the last man who walks slower than the rest, a slight limp. His eyes fall on Chris.They're frightening eyes, starved, hollow, sunken deep in his face, black and dangerous. The clammy pallor of malaria clings to him as he looks at Chris through decayed black teeth. Then the sun flares out on him and he's past. And Chris looks back. Disturbed. It's as if the man was not real. For a moment there. As if he were a ghost.Chris walking, duffel bag on the shoulder, looks up at the lollipop sun burning a hole through the sky. A rushing SOUND now. Of frightening intensity, an effect combining the blast of an airplane with the roar of a lion as we hardcut to:EXT. JUNGLE - SOMEWHERE IN VIETNAM - DAYThe sun matches the intensity of the previous shot as we move down into thick green jungle. We hear the sound of MEN coming, a lot of men. The thwack of a machete. Brush being bulled. We wait. They are getting close.The CREDITS continue to run.SUBTITLE reads: December 1967 - Bravo Company, 25th Infantry Division - Somewhere near the Cambodian Border.A sweating white face comes into view. CHRIS - cutting point. Machete in one hand, whacking out a path for the platoon, M-16 in the other, he looks like he's on the verge of heat exhaustion. Breathing too hard, pacing himself all wrong, bumping into things, tripping, not quite falling, he looks pathetic here in the naturalness of the jungle. An urban transplant, slightly neurotic and getting more so.His rucksack is coming apart as well, about 70 badly packed pounds banging noisily.Behind him BARNES now comes, the Platoon Sergeant. Then the RTO, his radio man, humming lightly. Others are behind, the column snaking back deep into the brush.We cut around some FACES of the Platoon - all to be seen later. Young faces, hard and dirty after weeks in the field, exhausted yet alert, fatigues filthy, slept-in, torn, personalized, hair way past regulation length, medals, bandanas. A jungle army. Boys.Chris glancing down at his raw bleeding blisters. Transfers the machete to his other, slightly less blistered, hand. The kid cuts on - struggling but trying, on his last reserves of strength, smashing almost straight forward through brush, not even bothering to look ahead. He smells something, looks around, slows his pace, eyes working ... around to the base of a tree. He moves past it.And as he does so, the camera from his POV comes around on a dead decomposing 10-day-old GOOK - eyes starting from its sockets, worms and flies feasting.Chris draws his breath in, terrified. Barnes suddenly appears alongside, his hard humourless eyes looking annoyed from the gook to Chris. BARNES What are you waiting for? He ain't gonna bite you. Move out.Chris looks at him with pent-up hatred and crashes on.EXT. PLATOON PC - DAY - MOVINGAt the COMPANY PC, CAPTAIN HARRIS on the radio. HARRIS Bravo Two, Six. What's the delay up there, move it out on point. We've got a link up at Phase Line Whiskey at One Eight Zero Zero, over.EXT. PLATOON PC - DAY - MOVING -- MORNINGAt the PLATOON PC, LIEUTENANT WOLFE sweats heavily as he speaks in his radio. He is also new to the field, a dark little feisty guy, about 24, very hairy, especially in the eyebrows, an intense get-ahead look. LIEUTENANT WOLFE Two Bravo, Two move it out. Six says we're jamming 'em up back there. Over.Barnes, upfront, turns to SAL, his radio man, under his breath. BARNES Tell that dipshit to get fucked. Get that other freshmeat up here. Gardner.As Barnes picks up his pace, irritated now at this reprimand from the CO - coming up on Chris, who is soaked now from head to foot in sweat, dizzy, feeling sick, about to vomit. BARNES (CONT'D) What the hell's the matter with you Taylor! You a sorry ass motherfucker. Fall back.He grabs Chris's machete out of his hand and bulls his way into the foliage, tearing it apart, setting a new pace.Chris being bypassed by the column, their eyes on him. He is swatting at the red ants that are all over his neck.GARDNER, another new recruit, fat, hustling up to replace him.A big and black medic - DOC - comes over, gentle eyes and manner; with him is Sergeant ELIAS, concerned. DOC You okay? CHRIS Ants. I got ants on my neck ... (shaking them out) DOC (helping him) Yeah, black ants are killers, you look sick man. You need a little salt. (reaching into his satchel)Sergeant Elias, a handsome, graceful dark-haired Indian kid of 23, the squad sergeant, is taking items out of Chris' pack - air mattress, extra unnecessary clothing, extra canteens, grenades, gas mask, books. ELIAS (shaking his head, amused) You're humping way too much, troop, don't need half this shit. I'll haul it for you but next time you check it out with me okay?Chris nodding, grateful, panting.The men passing, watching. Chris sorry about this, trying to keep up face.BUNNY, a young 18 year-old with an angel's face, is pissing in the dead gook's face.KING passes, glances at him. KING You're a sick mother Bunny.Bunny laughing about it.Chris standing there one moment, fighting for his breath, suddenly passes out, going over with his 70 pound rucksack, hitting the ground with a loud bang. ELIAS (concerned) Hold it up.On Chris - his eyes opening. He seems all right. CHRIS (trying to get up) I'm okay ... I'm okay.Chris crumples backwards. Elias helps him.EXT. COMPANY PERIMETER #1 - DUSKThe COMPANY - about 100 men who seem insignificant amid the size of the surrounding jungle - is digging into a perimeter of some 100-yard radius. A RESUPPLY CHOPPER lifts off in a flurry of blowing leaves. Bare-chested soldiers chop down trees, clear fields of fire, set out claymores, fill sandbags, chow down. Little fires snake up against the greying red horizon.EXT. COMPANY PERIMETER 31 - DOC'S POSITION - DUSKWe cut close on a pair of grungy feet - the staple of the infantry - moving up to DOC, the Medic, bandaging them for FU SHENG, a Hawaiin kid.EXT. COMPANY PERIMETER #1 - RHAH'S POSITION - DUSKRhah sets his tripflare. Crawford, with him, putting out a claymore.EXT. COMPANY PERIMETER #1 - RODRIGUEZ - POSITION - DUSKBack in the perimeter RODRIGUEZ sets his M-60 in the newly dug foxhole. SAL, next to him, is shaving in his helmet.EXT. COMPANY PERIMETER #1 - KING'S POSITION - DUSKKING looks like a king. A lion of a black man but with a sleepy, gentle face, not to be roused, is painfully trying to scrawl a letter home with the pencil held awkwardly, mouthing the words. FRANCIS, a young baby-faced black with long lashes and soft eyes, peeks over his shoulder, shaking his head. FRANCIS Shit, King, it ain't d-e-r-e man, it's d-e-a-r, and Sara don't have no two r's in it, fool. Shame on you.King shrugs, a sleepy stoned voice. KING Don't matter, she knows what it means ... an she don't read too good nohow ...EXT. COMPANY PERIMETER #1 - COMPANY PC - DUSKSgt. Elias washes himself, attentive to his body, slender and well-muscled, and extremely handsome youth. Of Indian blood, with long black hair, generous smile, wide facial bone structure, gypsy eyes, and the cleanest white teeth, he could be a young Greek god. He is given somewhat to panache, a silver wristband on his arm, a bandana of black parachute silk hanging from his neck, his fatigues tightened down at the ankle, he pulls his pants down, checking for crotch rot, applying talcum powder to the area, his buttocks facing us.LERNER, a white kid, 19, from Florida, stopping to admire the frontal view. LERNER Mumm, any time sweetheart. ELIAS Lerner, you'd choke to death on it.EXT. COMPANY PERIMETER #1 - COMPANY PC - DUSKAt the COMPANY COMMAND POST a beehive of activity with its four radios, personnel, some Vietnamese scouts milling around. CAPTAIN HARRIS is running down a field map with his THREE LIEUTENANTS. Harris, a broad-shouldered fine-looking military specimen with the requisite Southern accent and football coach mannerism, is directing his remark to 2nd Platoon's LT.WOLFE, who looks a little nervous. CAPTAIN HARRIS Sky Six reports a fresh company of NVA moving across from Cambodia to this blue line. (points to position) We got a good chance to light 'em up tonight. All platoons will set squad-size ambushes before full dark. Lt. Wolfe (glances at him) You 'bush in this area near that ol' Buddhist temple we passed on the hump in. Lt. Hawkins, you take this area in the rubber plantation... LIEUTENANT WOLFE (eager) No problem sir ...EXT. PLATOON PERIMETER #1 - CHRIS' FOXHOLE - DUSKElsewhere, Chris scrapes out a foxhole, his shirt off, bandana around his head, the work hot and heavy.TEX is out there setting the claymore as BIG HAROLD and JUNIOR start breaking down their C's. JUNIOR (a whining high voice) Hey Big Harold, gimme your peaches for the fruitcake man. BIG HAROLD (laughes loudly) Fuck you bitch. JUNIOR C'mon man, didn't I do you right that time I give you the turkey loaf for the ham and lima beans shit. BIG HAROLD Tricky bitch, reason you gimme dat turkey loaf is nobody else can eat that shit 'cept me so don't start your game playing with me Junior.They're both black, Junior with huge goggle eyes and a face of pimples and pockmarks, his teeth yellowed and decayed, some of them missing. Harold is about twice his size, about 250 pounds, a baby huey concentrating real hard on preparing his stove to eat with. JUNIOR Youse a pig man. I hope Manny get dat laundry gig for' you do. BIG HAROLD De fool think he's gonna get it but he ain't known for his thinking. JUNIOR He's a fool alright but you a bigger fool. Hey, whiteboy, watcha waiting for - dat hole ain't gonna dig itself ...Chris looks up, continues working, as Junior chuckles. JUNIOR (CONT'D) Hey Taylor, you don't know it but I saved your ass today. I killed a shit-eating dog. (laughing) BIG HAROLD (getting up) That reminds me, I gotta take a shit. JUNIOR You gonna wipe your ass dis time? BIG HAROLD Yeah if you let me have your shirt. CHRIS (VOICE OVER, as he digs) Somebody once wrote Hell is the impossibility of Reason. That's what this place feels like. I hate it already and it's only been a week. Some goddamn week, grandma ... (checking his raw blisters) ... the hardest thing I think I've ever done is to go on point, 3 times this week - I don't even know what I'm doing. A gook could be standing 3 feet in front of me and I wouldn't know it, I'm so tired. We get up at 5 a.m., hump all day, camp around 4 or 5 p.m., dig foxhole, eat, then put out an all-night ambush or a 3-man listening post in the jungle. It's scary cause nobody tells me how to do anything cause I'm new and nobody cares about the new guys, they don't even want to know your name. The unwritten rule is a new guy's life isn't worth as much cause he hasn't put his time in yet - and they say if you're gonna get killed in the Nam it's better to get it in the first few weeks, the logic being: you don't suffer that much. I can believe that ... If you're lucky you get to stay in the perimeter at night and then you pull a 3-hour guard shift, so maybe you sleep 3-4 hours a night, but you don't really sleep ... I don't think I can keep this up for a year, grandma - I think I've made a big mistake coming here ...As he speaks, we cut around to various shots of the platoon members on the perimeter - shaving, eating, cooking, playing, etc ...EXT. PLATOON PC - NIGHTTowards the end of this voice over, we cut to Sgt. BARNES moving towards the PLATOON PC. A powerful face, a quiet, angry fixed stare, a thick trimmed moustache that helps conceal a network of plastic surgery grafts and scars. The distortion from the jaw up the left side of his face to his forehead, punctuated by a severe indentation above the left eye where a bullet once penetrated his skull.Walking with him is Sgt. O'NEILL as they join WOLFE, Sgts. ELIAS and WARREN at the PLATOON PC where they're huddled over maps. Warren is a black, thin, tall, paranoid man with untrusting eyes, silent and bitter. BARNES (to all, almost pleased about it) We got boo-coo movement. 3rd Battalion just got hit 15 kliks north of here. (the MEN react with wary silence) O'NEILL (eager to elaborate) Yeah, they had claymores strung up in the trees, blew a whole fucking platoon to pieces. BAAD SHIT.Barnes inflects his next words at Wolfe, who is worried. BARNES Yeah, they got two Lieutenants and a Captain. WOLFE Jesus.Elias quiet. Barnes studying the map. WOLFE (CONT'D) (to Barnes) Who do you want on ambush, Sergeant?Barnes doesn't bother acknowledging the question, barely glancing at the Lieutenant, to him a necessary evil. Everybody knows who's really in charge of the Platoon. Barnes flicks his gaze to Elias. BARNES Elias - you take your squad and I'll take Tex and Francis from your squad. (to Warren) We move out in two-zero mikes. (concluding) ELIAS I thought it was O'Neill's turn tonight.They all look at each other. O'Neill spits in the dust, a freckled, short red head with a hard worried face, a lifer, 30 going on 60. O'NEILL Shit! Morehouse and Sal are short. Fu Sheng's going on R&R, you don't want to send their asses out on an ambush. You got the fresh meat Elias. ELIAS (to Barnes) They don't know shit Barnes, and chances are we gonna run into something. O'NEILL So what am I going to do! Get one of my guys zapped so some fuckface fresh from the World can get his beauty fucking sleep! ELIAS Hey O'Neill why don't you cool it, you don't have to be a prick everyday of your life, you know. O'NEILL Fuck you Elias. BARNES You get your men ready Elias ...Concluding the debate, no further argument, Barnes rises. The meeting's closed. Lt. Wolfe hasn't said a word, looking as Elias departs, without a word. O'NEILL (watching him) Fucking guy's got 3 years in and he thinks he's Cochise or something ...His resentment directed partly at the way in which Elias carries himself, the natural sense of grace - and the dignity it bestows. CUT TO:EXT. PLATOON PERIMETER #1 - SQUAD ASSEMBLY POINT - DUSKLater. On the very edge of the perimeter, darkness coming down fast, the men in the ambush patrol rustle into their packs, all of them bitching.Tex, carrying the M-60, looks up at the glowering sky. TEX Shit, looks like rain. All night too. Gonna grow mushrooms in your bad-ass crotch Junior. JUNIOR (under his breath) Goddamn ain't no justice round here, you break your ass for de white man ... gonna get our act together, do some rappin' wid de brothers, change things ... CRAWFORD What's O'Neill have a nose up the lieutenant's ass already, how come we always get ambush. FRANCIS Politics, man, politics. We always getting fucked around here.Chris is scared, nervous with his last-minute equipment adjustments, his pack obviously overweight for a night mission as he hauls it up.Gardner, the other new boy, is jovial in contrast, his wallet extended towards Chris. GARDNER Hey Chris, I show you a picture of Lucy Jean? CHRIS (not to be bothered) No ...Gardner shows him his girl. She's real dog u-g-l-y, and what makes it worse is Gardner's put the standard photo of Raquel Welch alongside it, tits and all. But he misses the irony of it. GARDNER (admiring) Yeah she's the one all right ... that's Lucy Jean. She's a-waiting for me. CHRIS (nodding) Yeah she's real pretty, you're lucky ...Gardner puts it away. Elias appears alongside them, checking their packs out, takes out Chris's poncho liner and other items. He carries a modified M-16 with a short barrel and a collapsible stock. ELIAS (to both boys) Don't need this or this ... you're doing okay. Just stick close to Tex, do what he does. (calling out to Tex) Tex you got Junior and Taylor here on your position.Tex is a sour Texas Ranger type, chews tobacco, spits. TEX Damn, 'Lias this gun's boss. Put Taylor someplace else.Chris feels the words like lashes on him. ELIAS You got Taylor ... (to Gardner) ... Gardner you go with me (to Chris and Gardner) 'Case somethin' happens to you, you get separated or lost don't yell out okay. Sit tight. We'll get to you.His eyes. Chris watching them. A smile in them. Elias moves off, a quality to the man that Chris admires. A natural sense of leadership. BARNES Okay, let's move out.As he follows King, on point, out the perimeter. A single file.EXT. THE AMBUSH NIGHT (RAIN)Night is coming down. The tone of the jungle sounds has subtly shifted - mellower, more sinuous and certainly scarier.The file stops. King, an experienced point man, listens.Chris - carrying Tex's linked ammo - looks around, tense. Behind him is Gardner, trying to smile, starts to whisper something ('Hey Taylor ...') when he's abruptly shushed.The file moves on. Gardner's pack rattling a little too loud. A weird rush of cold wind now rattles the trees and the MONSOON comes. A hard slanting rain, sudden, tropic.EXT. RUINS - JUNGLE - NIGHT (RAIN)A piece of an old Buddhist temple, under a sulky moonlight now in a state of decay, the jungle surging to engulf it.The Men are setting up quickly and relatively quietly in the ruins - alongside a miniscule trail. The rain is coming down harder than ever.Chris and Tex setting out their claymore mines, raveling back their detonating cords to their position, drenched. In the far distance, an ILLUMINATION ROUND brightens the sky for a brief moment. Various ad lib curses and directions are lost in the sound of the rain.EXT. AMBUSH - BARNES' POSITION - NIGHT (RAIN)At the Ambush CP, Ace whipsers into his radio. A soft hissing sound.EXT. AMBUSH - CHRIS'S POSITION - NIGHT (RAIN)Later. Close on Chris being shaken awake. TEX Taylor, you're on. CHRIS (groggy) Uh hunh.The rain continuing to pelt them. Tex hands him an infrared scope. TEX (suspicious) You sure you know how to work the claymore? CHRIS (offended) Sure.Tex curls up as best he can in his poncho to sleep. TEX Okay ... don't catch no zzz's on me buddy or I'll sling your motherfucking ass ... You hear me? CHRIS (grits his teeth) Yeah. (looking at his watch) Hey Tex - you're ten minutes fast. TEX Sin Loi. ('tough luck', closes his teeth)Chris lets it go, scans the jungle and trail with the scope. The POV is greasy and blurred. He puts it aside.Suddenly a series of resonant SNORES crack through the jungle. Chris starts, then sees it's from JUNIOR lying out there, spreadeagled in the rain. Chris prods him. CHRIS Junior! JUNIOR Unh? ... Unh. CHRIS Shaddup! You're snoring ... Shhh.Bending low into his eardrum. Junior never wakes, rolls over with a growl. Silence. CUT TO:EXT. CHRIS' POSITION - NIGHT (RAIN)Later. A pool of muddy water has formed, in which a pair of buttocks sit. Move up to Chris still on duty, looking at his watch, drawn, drenched, pathetic, rainwater coursing down his face. CHRIS (V.O.) (continuing his letter) ... 'Course Mom and Dad didn't want me to come, they wanted me to be just like them - respectable, hard- working, making $200 a week, a little house, a family. They drove me crazy with their goddamn world, grandma, you know Mom, I don't want to be a white boy on Wall Street, I don't want my whole life to be predetermined by them.A large RIPPING SOUND as the wind blows down a big tree branch onto the jungle floor. He starts, peering out. Nothing. He looks at his watch again. CHRIS (V.O.) (CONT'D) ... I guess I have always been sheltered and special, I just want to be anonymous. Like everybody else. Do my share for my country. Live up to what Grandpa did in the First War and Dad the Second. I know this is going to be the war of my generation. Well here I am - anonymous all right, with guys nobody really cares about - they come from the end of the line, most of 'em, small towns you never heard of - Pulaski, Tennessee, Brandon, Mississippi, Pork Bend, Utah, Wampum, Pennsylvania. Two years' high school's about it, maybe if they're lucky a job waiting for 'em back in a factory, but most of 'em got nothing, they're poor, they're the unwanted of our society, yet they're fighting for our society and our freedom and what we call America, they're the bottom of the barrel - and they know it, maybe that's why they call themselves 'grunts' cause a 'grunt' can take it, can take anything. They're the backbone of this country, grandma, the best I've ever seen, the heart and soul - I've found it finally, way down here in the mud - maybe from down here I can start up again and be something I can be proud of, without having to fake it, maybe ... I can see something I don't yet see, learn something I don't yet know ... I miss you, I miss you very much, tell Mom I miss her too - Chris.He moves towards Junior, shakes him, but Junior seems to be out of this world. CHRIS (CONT'D) Wake up!Junior opens one dead eye. CHRIS (CONT'D) It's your shift, man ...Junior scowls, swears, looks around for his rifle in the mud.Chris crawls back to his position, curling himself up in his soaked poncho, teeth chattering from the cold, rain splattering over him. A long beat. He sighs, the sigh kicking off the next image.EXT. CHRIS' POSITION - NIGHTChris jerks awake - very suddenly, very frightened. THE RAIN HAS STOPPED. The jungle sounds are loud. Cicadas, night animals, water dripping hypnotically from leaf to leaf. And the whirr of a million mosquitoes out after the rains, chewing at Chris' face. He looks around, startled.Tex is asleep. Junior is asleep. What happened? He looks at his watch. The mosquitoes are eating him alive. He buries his head in his green towel which he wears around his neck, but he can't see. A beat. He moves again, miserable from the bites. Another beat. Then suddenly the sounds of the jungle shift - some of the animals dropping out. A different tone. A piece of wood is stepped on, a rustle of bush ...Chris sees something, lifts an edge of the towel to peek out.A shoadow of a figure is frozen there in front of him about 15 yards. It looks like a man. But it doesn't move. At all. It listens.Chris, his heart in his mouth, tries to peer through it. It's a bush. It has to be. No human being could stand that still. His heartbeats are up. The moments take forever. But deep down - somewhere in his psyche - he knows who it is.The figure now shifts, ever so slightly - and moves. It IS a human being. Oh my God!Chris looks around. Tex seems like a mile away. Why doesn't anyone fire! He casts a desperate look at his rifle, at his grenades encrusted with mud, but in spite of all his training, he is frozen with indecision and fear at the sight of his enemy.The figure seems to whisper something back, then turns and comes down the trail. Now a second and third figure appear behind him - all in helmets and packs. All coming right past Chris' position. Ten yards. Nine.Chris is rigid with terror. Stark eyes. Pleading with Tex to wake up, but out of reach. He is about to have an anxiety attack, his heartbeats so far up he is sure they will hear him.The first figure is now directly in front of Chris on the trail, looking left and right. A rattle of his equipment, a creak of leather. A smell. The man's face now catches the moonlight and his eyes come around on Chris.Oriental eyes. Looking right at him. Startled. Chris staring back, hypnotized. It all happens very fast. The figure murmurs something in Vietnamese. A warning. He swivels.A flash of muzzle fire. A raking cough of automatic fire. A grenade explosion.Chris is hurled to the ground, helmet bouncing off, scattered, confused, jarred. All hell breaks loose around him with NOISE and SHOUTS.Tex, kissing the ground, is yelling at him. TEX THE CLAYMORE! GET THOSE FUCKERS!Chris, not knowing what he's doing, is fumbling with the claymore handles, presses them. INSERT: They won't give. He tries again and again to the squeeze the life out of them. Tex is screaming at him. TEX (CONT'D) THE SAFETY! TAKE THE SAFETY OFF YOU ...Lunges over and grabs the handle from Chris. Clicks the safeties off and blows them.Three EXPLOSIONS rip out into the night - and one of the ENEMY is caught in a brief instant looking like an X-ray, his body lifted and swirling in the air, then enveloped in swirls of smoke.Chris, trying to keep up, grabs his M-16, lays out a stream of fire. The sound all around him is deafening.EXT. GARDNER'S POSITION - NIGHTGardner, freaking out, stands crouched, confused, tries to run, collapses.EXT. O'NEILL'S POSITION - NIGHTO'Neill throws a grenade, wild.EXT. CHRIS' POSITION - NIGHTAn explosion. Chris hits the deck.Tex is now on the M-60 machine gun, yelling at Junior who is cringing on the ground. TEX Feed me!He lays out red tracer bullets like laser beams, then suddenly reels back, whiplashed, screaming. A grenade explosion rocks them. TEX (CONT'D) AAAAAGHHH! MY ARM! MY ARM!His hand and wrist are gone, his face in the dirt. Junior is fumbling around, trying to stay down and help him at the same time. JUNIOR (grabbing Tex's gun) DOC! GET UP HERE! TEX IS HIT!Chris, looking out to his front, has no clue what's going on. Except the fire is slacking. Relayed shouts of 'Medic! Medic!' Other SHOUTS. SHOUTS HOLD IT UP! HOLD IT UP!The firing has ceased. A silence, punctuated by occasional shouts and fast moments, has enveloped once more the cemetery. Doc crashes through the bush, kneels over Tex, who continues to howl in deep pain. TEX (freaked out) MY ARM! JESUS FUCKING CHRIST! DOC Easy Tex easy boy!Trying to sound calm but his voice is on the edge, examinging the mutilation with a pen flashlight, he whips out his morphine in a big hypodermic. VOICE (next position) Doc over here! Gardner's hit. DOC 'Right there.As he slips the morphine into Tex's arm. TEX (muttering at Chris) ... godamn! Godamn! DUMB FUCKER, DUMB FUCKER!Chris watching, suddenly feels himself dizzy, instinctively runs his hands over the back of his neck. Feels the warm blood there. A moan comes from his lips. Junior looks at him. JUNIOR Oh shit, Doc he's hit too. CHRIS (weakly) I'm hit ...Barnes and Big Harold come hustling up.Doc finishes tourniquetting Tex, cradles Chris onto the earth, his flashlight probing the wound. Tex in background continues to thrash and moan.Chris waits, tensely for the verdict, his eyes big with fear on Doc, who takes out his morphine. JUNIOR (to Barnes, pointing at Chris) That dumb fuck didn't blow his claymore!Chris hearing this. Barnes looks at him. DOC (to Chris) ... it's a scratch, nothing to worry about. CHRIS (suspicious) Doc ... tell me the truth, don't lie to me.The needle goes in. Tex lets out this strange keening moan that sets everyone's teeth on edge. JUNIOR (to Barnes) He let'em walk right up on us. He was sleeping on his shift. CHRIS (muttering weakly) I was not ... it was your ... DOC (leaving, to Harold and Junior) Self-preservation's the first law of nature. Gotta learn how to work your shit Taylor. Watch me, don't let'em go into shock.Tex's moans are maddening and scary. Barnes suddenly clamps his hand over Tex's mouth shutting him up and from way down deep in his throat, chokes out the words. BARNES Shut up! Shut up - and TAKE IT! TAKE THE PAIN!Tex's eyes roll wildly, uncomprehending. Doc and Big Harold looking at Barnes, wondering. Tex is suddenly silent, shocked. Barnes stands, an icy glare, goes. Junior scrambles over to Tex's side. Doc runs off.Big Harold cradles Chris, his big black hands like a mother, reassuring him. BIG HAROLD You gonna be okay Taylor, okay, don't you start worrying now.Chris looking up at him, eyes blinking slowly, dazed already by the morphine. He's very scared. CHRIS Do you ... do you know you're gonna die ... Big Harold? ... do you feel like ... like ... everything's gonna be fine and then ... BIG HAROLD Bullshit man, you gettin outta the field, man. Three hots a day, white sheets, dem pretty white nurses give you blowjobs too you pay em enough, I heard tell bout dem white bitches. Better save yo strength Taylor. JUNIOR (muttering darkly) Don babytalk him man. Cocksucker fell asleep. They walked right up on us, he don do shit. BIG HAROLD Shaddup bitch.Chris is gettin woozier, feeling he is dying but starting to grin, not caring about it anymore. Yet he is nowhere close to dying. CHRIS It's not ... so bad ... dying. How long .. it ...EXT. TRAIL - RUINS - POSITION #1 - NIGHTBarnes stands over a moaning, ripped up ENEMY SOLDIER. FIRES his M-16 point blank into the head. The Soldier bucks and dies, quivering.EXT. TRAIL - RUINS - POSITION #2 - NIGHTELIAS, checking out a blood trail some distance away, shifts on the shot, looks back.EXT. TRAIL - RUINS - POSITION #3 - NIGHTFRANCES, MANNY, BUNNY and KING are huddled over another mangled enemy corpse. BUNNY (stripping the corpse) That's no NVA man. That's a chink - look at 'em, the cocksucker's six and a half feet tall. Look at his gear - good as ours. FRANCIS Shit I blew my claymore right in one dude's face and I seen him walking around afterwards. MANNY What we fighting here, vampires?EXT. TRAIL - RUINS - POSITION #1 - NIGHTElias comes up to Barnes swiftly, indicating the blood trail leading off into the bush. ELIAS Blood trail just keeps going and going but no body. BARNES How the hell did he get away? ELIAS Fuckers returned fire soon as we lit 'em up. Hard core fuckin' NVA. They got their shit together. RING (coming up to Barnes) Sarge - Doc wants you. There's a problem with the new man.Elias and Barnes go with King. Past Chris and Tex who are ambulatory and bandaged, being helped along. As Barnes passes, the men look at him, everybody quickly senses something is wrong.EXT. GARDNER'S POSITION - NIGHTAt one of the positions Doc is working feverishly to knock the life back into Gardner who lies there, his shirt stripped off on his cottage cheese belly. A huge sucking chest wound. He's dying. You know it because he knows it. The eyes do the talking, numb, terrorized yet strangely detached, accepting, not protesting or concerned any longer.Most of the ambush has assembled and is watching, Chris moving in to see. Doc is mumbling to him, low key. DOC Chopper's on the way Gardner, hang in there, you gonna be okay ...But Gardner seems unconcerned. Things are going on in his head - who knows what. And in his eyes there are big tears rolling. Then a morphine smile. A sort of goofy Gardner smile, maybe thinking about Lucy Jean, who knows. He's dead. BARNES (to all) Take a good look at this lump o'shit ... (motions to Gardner's body) Rmember what it looks like, all of you. You fuck up in a firefight and I guaran-goddamn-tee you, a trip out of the bush - IN A BODYBAG. Out here, assholes, you keep your shit wired tight at ALL times ... (glares directly at Chris) and that goes for you, shit for brains. You don't SLEEP ON NO FUCKIN' AMBUSH. Next sonofabitch I catch coppin' z's in the bush I'm personally gonna take an interest in seeing him suffer - I SHIT YOU NOT ...He thumps Chris lightly but menacingly in his chestbone and moves on. CHRIS (drowsy) I didn't fall asleep, Sergeant, Junior ... BUNNY (pissed, cuts in, shoves him hard) Shut your face chicken shit! You in big trouble boy! O'NEILL Excuses are like assholes, Taylor - everybody got one. ELIAS Knock it off! We got two men need attention here. Police up your extra ammo and frags, don't leave nothing for the dinks. Hoyt, Junior, carry Gardner. JUNIOR (muttering) Let de white boy carry his ass, he this dude that got him fucked up. Who'd be hauling his ass if that was a brother laying there?Elias follows Barnes out of earshot of the others. ELIAS Man'd be alive if he'd had a few more days to learn something.Barnes, registering it, just keeps on walking.EXT. BASE CAMP - DAY (WEEK LATER)Chris is driven up in a jeep to his Company PC - marked 'Bravo PC' on a C-ration box. It's midday on a hot lazy afternoon, few people out in the 102 degree sun.Chris' Company is on the outskirts of the base camp, their barracks regulation wood, canvas, and fine mesh screening, red dust everywhere, bunkers down on the perimeter, reams of barbed wire and concertina, a sand-bagged MESS HALL and CHAPEL, 81 mm mortar pits, observation towers, recoiless rifles, 50-caliber machine guns.Chris gets out of the jeep, stiff-necked, a bandage around it, still in some pain. The first man he intersects is KING, carrying crates of beer. KING Hey Taylor, what's in the breeze?In King's mild tone Chris tries to read his standing in the platoon. CHRIS Okay - got light duty, three days. KING Shit, too bad we in base camp anyway. CHRIS What you got there - beers? KING Yeah, just stole me some from the Top's supply but he's stealing it from us anyway. (sees somebody coming) Chucks are coming. You better 'didi' man.Too late. Sgt. O'NEILL, the redhead lifer accompanied by Spec 4 SANDERSON, a big handsome blond kid, not too bright in the face, both slightly drunk, come around a corner, beer cans in hand. O'Neill sees Chris immediately. O'NEILL Hey Taylor - you back? CHRIS (pause) Uh, looks like it? SANDERSON (spotting King's beer) Where'd you get that beer King? KING (a funny look) I found it ... SANDERSON You found it? ... Bullshit! You going on report. Gimmee that shit. O'NEILL Awright, come here both of you. You too Taylor (wags his finger) Got a little special job for you.They advance toward him reluctantly. CHRIS I got light duty, Sarge. Doctor said to take it easy couple days. O'NEILL (laughes) ... ain't that tough shit now.EXT. THE OUTHOUSE - DAYA wooden cabin with some half-dozen seats built over half barrels cut from empty oil drums. A guy is in there, pulling up his pants.Chris, King and Crawford, a California blond with a handsome honeyed look, are sweeating heavily as they roll the barrels out from under the outhouse, the smell of human waste strong. A hot midday emptiness, nobody around except the flies. KING (pissed) ... Motherfuckah, motherfuckah, I'm too short to be dealing with this shit! They keep fucking with us man, no letup ... CRAWFORD (equally pissed) Politics man, fuckin' politics. That O'Neill man got his nose so far up Top's ass he gotta be Pinocchio... KING Forty-two days man and a wakeup and I'm a gone motherfucker. Back to de WORLD. (dreaming in his eyes) CRAWFORD Broke a 100. Got 92 to go. April 17. DEROS man. California this summer. Waves are good they tell me, surfin's gonna be good ... KING March man in Tennessee, sniff the pines ... sniff that crossmounted pussy walkin' down by the river. What you got Taylor? (a snicker) Let's see three hundred and WHAT? CHRIS ... 32. 332 days. CRAWFORD (groans) Oh man! Sorry bout that. I can't even remember when I was 332. You gotta count backwards like you got 40 days in - think positive. KING (to Chris) How the fuck you get over here man, you look like you educated ... CHRIS I volunteered. KING You WHAT? Say 'gain. CHRIS Yeah, I dropped out of college and told 'em I wanted infantry, combat, and Nam ...He grins, finding their reactions funny. It's also the first time we've seen Chris crack a smile. CRAWFORD You volunteered for this shit man? KING You a crazy fucker, givin' up college man.King has long sleepy eyelids and cat's eyes, a large pink tongue and big white-edged cotton picker's nails - a lazy, gentle nature, content with the world. CHRIS Didn't make much sense. Wasn't learning anything ... (hesitates) And why should just the poor kids go to the war - and the college kids get away with it.King and Crawford share a smile. KING What we got here a crusader? CRAWFORD Sounds like it.They pause, wipe the sweat off. King lighting up a half-smoked joint, hitting a few puffs, eyes shooting around, making sure he's not spotted, passing it to Crawford. KING Sheeit, gotta be rich in the first place to think like dat. Everybody know the poor always being fucked by the rich. Always have, always will.Noticing Chris is having trouble with his neck, picking at his bandage. KING (CONT'D) You okay man? Neck botherin' you? CHRIS Nah ... KING Here have some of this. Won't feel a thing.Chris looking at the joint, a little apprehensive. He's never smoked. CHRIS No, thanks ... KING Go on, whatcha gotta lose, yo' here now ... CRAWFORD Kills the smell of shit anyway.The joint proferred. Chris waits a beat, shrugs, takes it, smokes. KING Suck it in. Hold it ... That's it. Now let it out.Chris blows it out. CHRIS Don't feel it.King and Crawford chuckle, go on rolling the cans. KING Dat's what they all say. CUT TO:EXT. OUTHOUSE - LATER - DAYKing, Crawford and Chris pour kerosene over the cans at a secure distance from the outhouse.King lights it. The cans pop and start crackling. A line of burning barrels. Rings of dirty black smoke rise against a soft blue sky.They watch, stoned. Chris turns to both of them. CHRIS ... you know that night we got hit ... I ... (ashamed) KING Fuck it, don't mean nothing, no such thing here as a coward, done your best man, next time y'do better. CRAWFORD History, man, history.Chris surprised at their attitude. The joint suddenly hits him, a look in his face, eyes looking around different. Over at King. CHRIS (deadpans) I think I'm starting to feel that stuff ...Crawford laughes. KING (laughes) Yo getting there Taylor. You be cool now and I'll introduce you 'round to some of the 'heads'. CHRIS What are the heads? KING (laughes, walks away with Crawford) Later ...Chris alone, breathes deep, feeling the full effect.EXT. BASE CAMP - NIGHTA relief against the long harsh, hot day. We see lights on all over the camp, sounds of music, laughter from the barracks.INT. UNDERWORLD HUTCH - NIGHTKing leads Chris down to a specially constructed cellar-like hutch dug deep into the ground on an isolated edge of the battalion perimeter. Ammo casing and canvas are piled over it, and sandbags surround it. From the outside very little sound can be heard as they go down through a trap door made of ammo crates. Past a lookout (Adams) pulling security, hitting a joint but alert. King motions to him, it's cool.Inside is another world. Chris looking around amazed. It's like a private cabaret for the 'heads' who are there cooling out. Boxes of food from the States, beers, whiskey bottles, crates functioning as tables, hammocks hanging from poles, electric fans, tape decks, paraphenalia.The boys are all dressed up in their Saturday night rags. The clothes are clean, the headbands, the medallions are out, anything distinctive and individualistic. On the tapedeck, Jefferson Airplane's 'Go Ask Alice'.To Chris it is a new world. And RHAH, the resident head, sitting there in all his finery puffing a huge burning red bowl in a three foot long Montagnard pipe, seems to be the lord of final judgement in this smoky underworld.Across his naked chest, birds and snakes are tatooed. Around his neck a black skull and white ivory cross side by side. On his knuckles 'Love' and 'Hate' are tattooed. In his eyes, a dancing Satanic fire. A poor rural Southern white, in his grizzled late 20's, he could be a Biker King. Giving Chris the once-over. RHAH Whatcha doing in the underworld Taylor? KING (smiling) This ain't Taylor. Taylor been shot. This man Chris been resurrected ...Chris wondering what he's doing here. His eyes roving over LERNER, CRAWFORD, MANNY, FLASH, FRANCIS, HOYT, TUBBS, DOC, other from the Platoon, about 9 or 10 of them.Rhah eyes him back, hands him the bowl. RHAH You lame Taylor? CHRIS What? RHAH You lame or something? KING (smiling) ... go ahead on, smoke it man.Chris understands, takes the bowl. Hesitates. Then smokes it. The contact fumes are almost enough to knock him out. He starts coughing. They're all laughing. RHAH Your shit's in the wind troop. Baaaaah!Lerner replies, his tongue hanging out in parody. LERNER And Baaaaaaa! back on you. RHAH (looking at Lerner with distaste) If you're gonna do it man, 'least do it right.Building up to it, his eyes shaking with conviction at the whole insanity of the world, he neighs with all the venom he can muster. RHAH (CONT'D) Baaaaaaaaaaaaaaaa!!!They all laugh and applaud. King smoking from the pipe passing it back to Chris who takes another hit, doesn't cough this time, looking around, wondering about these guys. LERNER I didn't like it. RHAH Bah, you're a child, Lerner. Rhah don't waste time on you.They go on ad-libbing with each other, teasing Doc, who's fairly straight, saying he wants to go to med school in the fall. 'Be what?''A gynecologist, man.''What dat?' Francis suggests, 'Dats a pussy doctor, man - he's gonna be Doctor Feelgood, man!' They're all cracking up, finding every joke funny. As Chris finishes his hit on the pipe, looks up across the smoke, already dazed, surprised to see ELIAS suddenly there - leaning out of his sling in a far corner of the hooch. A Monkey is draped around his neck with silver bracelets, rings, a necklace - like a sensual little Egyptian whore, Elias playing with it, spaced out in a sleeveless vest, tiger pants. Dancing eyes on Chris, he swings out the hammock, comes over with the monkey.Meanwhile Manny has broken into a high falsetto snatch of blues directed at Chris, joined by Big Harold and Francis, all of them clicking their hands. MANNY & BIG HAROLD & DOC Oooh Chris, you look like you is high oh yeah, he looks like he is high Ooooh Chris, you know you gonna be that way all night oh yeah I think that you are ... Yeah! up now and up to par oh yeah.Elias pulls out a Remington 870 shotgun, jacks it to the rear, points it at Chris. ELIAS Put your mouth on that.Chris does so slowly, a little worried. Elias takes a hit and blows it down the bore - 'shotgunning' it into Chris' lungs. Chris staggers back, coughing. Everybody laughes 'hey dude - you done had your ass blown away' etc ...Elias smiles his big white-tooth smile. ELIAS (CONT'D) First time? CHRIS Yeah. ELIAS Then the worm has definately turned for you man.Chris puzzled by this expression. ELIAS (CONT'D) (smiles) Feel good? CHRIS (a sense of euphoria now) Yeah. No pain in my neck now. Feels good. ELIAS Feelin' good's good enough.As he sucks in a huge mass of smoke off the bowl. His eyes performing a funny little hop, skip and jump, as he holds it, his face turning red.The monkey jabbers and jumps around on his neck, worried. Elias then blows the smoke out in its face, the monkey hating it.The Group laughes. ELIAS (CONT'D) Hey Crutcher. I hear you got a Dear John from your gal. Told you she wasn't getting 'nuff from you.Lerner looks up, stoned out of his mind, wearing a ring in his ear. LERNER Shit. Sold me out for some lame dude with a 4-F. ELIAS What'd you say her name was again? LERNER (recalling her image) Daisy Mae. BIG HAROLD Hey look at Charlotte!The monkey is sitting quietly stoned, its eyes blinking. Laughter off. ELIAS Daisy Mae! What Daisy Mae look like Crutcher? MANNY She look huge and got freckles on her ass. LERNER She look beautiful. FRANCIS How much she weigh man? BIG HAROLD She braid her hair under her armpits, Crutcher. FRANCIS (sarcastic) Daisy Mae what? KING Daisy Mae Highway, that's what. (laughing) Well whatcha want, Lerner, your dick been limp for a year, 'cept when you're bopping your buddy Tony up there. LERNER Fuck that. ELIAS I fucked this chick in Hawaii man. Couple weeks ago ... Oooooh! Wow - outasight. Gracie Slick man, she looked like Gracie man, I shit you not. (remembering)The look on his face ensnares all of them, except perhaps Rhah. MANNY What happened man. What whorehouse you go to? ELIAS No whorehouse man. On the beach. FRANCIS Sure. ELIAS Yeah, sure. She walked right by me. Long black hair, tits swinging. Ass like French bread. Legs don't end right. LERNER (skeptical) You can plant that shit in Tennessee man, but it won't come up in Texas. CRAWFORD So what she got, hair on her tits. ELIAS I just stopped man. My heart's beating like a hardon right I got a hardon sticking through my pants, my bathing suit looks like a hutch ... BIG HAROLD I know dat feeling ... ELIAS So I'm thinking to myself - Elias you walk away from this, you gonna regret this the rest of your natural life. So I go after her, follow her down the beach. You know find out if she is what she is.They're all hooked into this now. KING And? ELIAS Well she was picking up her kids. MANNY Dat's dat. ELIAS No, dat ain't dat. FRANCIS Get outta here, she married ... ELIAS Like two hogs in heat. Boy.Their throats knotting ... CHRIS (joining in) ... But what'd she do? ELIAS What didn't she do. She fucked the living shit outta me, that's what she did! CRAWFORD (sucking in air) Jesus! ELIAS Couldn't get enuff ... CHRIS But what'd she actually do? ELIAS She was a crossbreed, Chinese and Polish. BIG HAROLD What dat? RHAH (finally hooked in) And living in Hawaii man? ELIAS Yeah - and has blonde hair and almond-shaped eyes. FRANCIS Hey man didn't you say she had black hair? ELIAS She had blonde hair man. And long tan legs, in those leather sandals you know, with those thongs up to her knees, this musky oil on it ... mmmm smelled good when they were wrapped around my face ...They groan, dreaming of Hawaii. DOC Yeah! CHRIS God! BIG HAROLD Please, somebody hold my dick! ELIAS (in afterthought) ... and a broken nose. DOC Broken man? ELIAS Yeah, otherwise she would've been too perfect, y'know what I mean ... some woman. Her name was ...He forgets it. A grass blackout. Lerner urging him on. LERNER Susan? MANNY Tamara? CHRIS Elizabeth?Elias shaking his head, trying to remember. KING Merle? RHAH Merle? Jesus! ... Patty? BIG HAROLD Inga? CHRIS Jennifer? HOYT Connie?Elias snapping his fingers. ELIAS Dawn! That was it! CHRIS (repeating it) Dawn ...King listening to the sound of it. KING Dawn?The others nodding, musing over it. BIG HAROLD Yeah, Dawn ...INT. THE BARRACKS - NIGHTIn comparison to the darkness of the hooch, a highly lit atmosphere, attracting bugs ... dusty gear lying around a disordered hooch, loud and finger-snapping COUNTRY WESTERN MUSIC playing from a tape deck, a well-known tune, circa 1967.BUNNY, the 18 year-old angel face, totters drunk with a Colt-45 beer in hand, over to JUNIOR, the badass black kid with the zits, who just lies there on his cot sweating, doing nothing. BUNNY (listening to the music) Listen to that shit, that's good shit! JUNIOR (irritated as always) Fuck that redneck noise, dude. All dem chicks be rappin' how dey losin' der' ho's and how dey ain't got no bread for beer. Fuck dat honky shit. Got to get me some motown jams, dig it? BUNNY (doesn't understand a word of it) Whaddaya talking shit for man. Hey Junior! Y'ever smoke any shit? JUNIOR Das right dude. You be tryin' to string de black man out on dat shit and keep him DOWN. Time's be coming, my man, when de black man's gonna throw off that yoke. BUNNY (lonely in his way for company) Say I can dig it. Smoke that shit everything kinda gets weird y'know? (hiccups, sits) Y'hear that story the gooks is putting chemicals in the grass so's we become 'pacifists' so's we don fight (to no one in particular) Where the hell's everybody, they'se gettin high that's what - bunch of hopheads, they think they special ... JUNIOR (turns away, bored) Don you worry Bunny, youse a killer anyway. BUNNY Yeah but I still like a piece of pussy once in a while - ain't nothing like a piece of pussy cept maybe the Indie 500. JUNIOR Youse so fucked up man. BUNNY Y'ever look at yoself in the mirror Junior, youse uglier than a dick on a dog man. (laughing) JUNIOR Yeah, you had a piece of pussy on a plate in front of you, you'd probably kill it. BUNNY Shit, I bet I been laid more'n you have. JUNIOR Sure, you probably stick it in tween her knees and think youse there. BUNNY Yeah? JUNIOR Only way you'd get some pussy is your bitch dies and wills it to you - and then maybe.Lt. WOLFE wanders down the aisle, beer in hand, slightly lonely, bypassing FU SHENG, the Hawaiin and TONY, a mustached hairy-browed Italian kid from Boston, who are playing some kind of dice game. They hardly acknowledge the Lieutenant who stops by RODRIGUEZ, the Mexican-American kid who is on his cot in his neatly arranged area writing a letter home with a pencil, forming his words with his mouth, as always minding his own business. Religious objects comprise his few decorations. LIEUTENANT WOLFE (amiable) How you doing Rodriguez? RODRIGUEZ Good sir. WOLFE Need anything? RODRIGUEZ No sir.Wolfe winks at him, continues on to the POKER GAME going on in the center of the barracks, the main action. BARNES, Sgts.O'NEILL and WARREN, the quiet sullen black, SANDERSON and SAL play as ACE, the tiny radio kid, and MOREHOUSE look on; all of them drinking beer and bourbon chasers from a bottle. WOLFE (to O'Neill) How's it going Red? (using his nickname) O'NEILL Shit, cocksucker's got all the cards tonight. WOLFE (to Barnes) Looks like you're doing all right Sergeant.Barnes, raking in the chips, is the big winner, a light bead of sweat on his forehead and a somewhat glassy look to the eye the only indication he is drunk - his shirt peeled off revealing a muscular, scarred body. BARNES Yeah, and I ain't even cheating yet. SANDERSON (the big blond kid) Have some Kentucky windage Lieutenant. (passes him the bottle of bourbon)Wolfe takes a nip. BARNES Play Lieutenant? WOLFE Nah, I wouldn't want to get raped by you guys ... O'NEILL What are you saving up to be Lieutenant - Jewish?Laughes. Wolfe forces a smile, glad to move on. There is a continual worried rodent air about him, an anxiety, a desire to fill the vacuum in his leadership with a false masculinity. WOLFE Catch you men later. Enjoy yourselves.As he goes, O'Neill shakes his head after him. O'NEILL Sorry ass motherfucker ain't he. You think he gonna make it Barnes?Barnes plays a card, glances, a minute movement of his head. O'NEILL (CONT'D) Yeah that's what I figger. Some dudes you jes' look in their faces and you KNOW they just ain't gonna make it.Barnes looks - with some irony - at O'Neill. The Country Western tune has reached a crescendo whine which now mixes into:INT. UNDERWORLD HUTCH - NIGHTFrancis, the baby-faced black, and Manny, green shades covering his skinny face, lead with a high blues falsetto. FRANCIS AND MANNY (singing) 'People say I'm the life of the party cause I tell a joke or two Although I may be laughing loud and hardy Deep inside I'm blue ...The Hutch looks now like a Turkish bath with minimum visibility, the smoke fumes dense. They are all up dancing on their feet - King, Tubbs, Big Harold, Hoyt, Lerner, Crawford, Flash, Doc, Elias - a few light gestures with their hands above shoulder level, passing around the grass pipes while they shuffle, fingers clicking. The song - Smokey Robinson's "Tracks of My Tears" - accompanies them from a vintage tapedeck. ALL '... Since you've left me, if you've seen me with another girl seeming like I'm having fun although she may be cute she's just a substitute because you're the permanent one ...'King and Big Harold wave Chris into the Circle and he starts swaying with them, feeling as if he's being accepted into a new family.Rhah watches it all, puffing away on his magic dragon pipe, the shadows dancing on the walls.It looks like a Saturday night dance party. A yearning for tenderness, for feminity, for a moment of peace in this nightmare life. Their eyes closed, thinking of dance partners that can't be here tonight. Singing their souls out. ALL (CONT'D) '... So take a good look at my face. You'll see the smile looks out of place. Look a little bit closer. It's easy to trace. The tracks of my tears...'EXT. JUNGLE - NVA BUNKER COMPLEX - DAYAn overwhelming 103 degree heat. Chris is once more on point, a little better now but obviously struggling with a thick unyielding bamboo thicket that forces him forward in a caveman crouch. Napalm jelly is hanging from the trees in great canopies of spider webs, obliterating the sky. CHRIS (V.O.) New Year's Day, 1968. Just another day. Staying alive. There's been a lot of movement neat the Cambodian border, regiments of NVA moving across. A lot of little firefights, ambushes, we drop a lot of bombs, then we walk through the napalm like ghosts in a landscape ...Chris working his way over twisted, broken stumps, branches. On the back of his flak jacket he's written, 'If I die bury me upside down so the whole world can kiss my ass'. BARNES Pssst!The signal for silence. Chris freezes. Barnes edging up to him. BARNES (CONT'D) (whispers) Bunker ... CHRIS Where?Doesn't see it. Following Barnes' imperceptible movement of his head.The bunker, dug into the ground and camouflaged with brush, is staring right at him, not more than 20 feet away. Chris is a dead man if ...Barnes, checking the terrain, signals radioman Hoyt.Barnes edging up to the bunker, eyes everywhere. Chris following. The tension builds. They come up to the edge of it, peer in. Nothing.Barnes walks around it, slips in from back. Chris covers him, other guys coming up now, making a small perimeter.Chris now starts to see things he didn't see. Right in front of his nose - there is a trench from this bunker to another and another. There is now in his view a complex of bunkers and thatched hootches and lean-tos all blending into the forest. A ghost city ...Elias and others fanning out now, careful ... whispered conversations in the wind.Chris moves past a rope with freshly washed laundry stretching between two trees, clothes stirring in the wind. He looks up as King points out a treehouse, then looks down as Lerner whispers something and points - NVA rucksacks are laid out on the ground in an orderly platoon-sized pattern. CUT TO:INT. NVA BUNKER - TUNNEL POSITION - DAYElias goes down into a dangerous-looking TUNNEL, on a rope with a .45. Barnes watching him. We sense Elias loves the danger, smiling.EXT. NVA BUNKER - COMPLEX - MAIN POSITION - DAYLt. Wolfe signals Manny and Chris out onto the two flanks.INT. NVA TREEHOUSE - DAYRhah and King explore a treehouse. Rice stores. Rhah, an experienced soldier, seems tense, moves cautiously, expecting booby traps.EXT. NVA BUNKER - WARREN'S POSITION - DAYSgt. Warren cautiously explores another bunker, probing a little tunnel in the bottom of it with a stick. Bunny, having a small frame, goes down into it, fearless.EXT. NVA BUNKER - MANNY'S POSITION - DAYManny, the skinny black boy with the coloured beads, is out on flank - alone, smoking a cigarette, humming.EXT. NVA BUNKER - CHRIS' POSITION - DAYOn the other flank, Chris, also alone, waits, listening to the sounds of the jungle. He too is smoking a cigarette. The eeriness is everywhere. Rays of morning light peeking through the cathedral dome of the jungle. Bird calls.INT. NVA TUNNEL - DAYElias climbs deeper and deeper into the hole, a rope attached to his waist leading out to the surface, his flashlight now coming around on a shaftway demarcating a TUNNEL that seems to stretch for at least 100 yards. The light revealing cobwebs all along it, but tall enough for a small man.EXT. CHRIS' POSITION - DAYIt's quiet, weird. Chris takes his pants down, squats. He thinks he hears something, tenses.There is a soft rustling sound now. And as he focuses on it he realizes it is coming from very close to him. Something light and sinuous moving over the leaves. He looks down.A bright yellow and orange-ringed krait viper is crawling right between his two legs. It stops, senses another life standing over it.Chris frozen with dread.The snake crawls on, pulling its long, long 15 foot body behind it.On Chris, eyes dilated, slowly regaining his breath looking around everywhere now.INT. NVA TUNNEL - DAYElias moving down the tunnel, fearless. We expect something any moment to come out and nail him but nothing does. He stops. His flashlight revealing a kitchen and an NVA hospital set up. A hammock swings as if someone just deserted it. In another hammock is a dead man. Elias advances cautiously.EXT. NVA BUNKER - COMPLEX - SANDERSON POSITION - DAYSpec 4 Sanderson, the big handsome blond kid, is moving through an abandoned bunker. With him is Sal, a tough street kid with an intense face, all whiskered. Sanderson noticing now a metal box of 50-caliber ammo, U.S. marking, half-buried in the ground. SANDERSON Hey look at that.He opens the case. Official-looking documents are inside, they glance through them, lighting cigarettes, the search over, successful, they relax. SAL (a worried type) Leave it willya - it's gook shit. SANDERSON Nah this stuff's important.He puts the documents back in the ammo case, lifts it. It's the last thing he ever does.EXT. NVA BUNKER - SANDERSON POSITION - DAYThe ensuing explosion shakes the ground, obliterating both boys, brances, smoke and dust flying out.EXT. NVA BUNKER - CHRIS POSITION - DAYOut on flank, Chris hits the ground, hugs it.EXT. NVA BUNKER - COMPLEX - SANDERSON POSTION - DAYBarnes runs up. Black smoke sweeping through the trees. Sal suddenly appears, stepping out of the smoke, stunned. The front of his body is soaked in blood from a thousand shrapnel holes, his clothes shredded, he stares at Barnes, dazed. Both his arms are gone and blood is geysering out like a water fountain. He crumbles - dead or dying. BARNES Corpsman!He runs over to Sal, gets a hold of his face in a vicelike grip, enraged, tries to yell some sense into him. BARNES (CONT'D) (directly to Sal) Goddamit! Are you fucking kids ever gonna learn! Don't you understand how easy it is to die!The Doc running up - one look tells us all we need to know. DOC Holy Jesus!EXT. NVA BUNKER COMPLEX - MAIN POSITION - DAYLt. Wolfe, shaken, is on the radio with Cpt. Harris, words garbled through the air, trying to describe a primal horror.EXT. NVA BUNKER COMPLEX - SANDERSON POSITION - DAYBarnes moving through the wreckage - sees severed limbs sticking in a sandbag.EXT. NVA BUNKER COMPLEX - MAIN POSITION - DAYRhah crouches over a piece of leg tied into a hipbone and a rib.EXT. NVA BUNKER COMPLEX - DAYElias coming out of the tunnel, filthied.EXT. NVA BUNKER - MAIN POSITION - DAYElias coming abreast of Wolfe. ELIAS Tell Six we need engineers here, this pos. is crawling with traps. WOLFE They're on their way ... (consulting his map) There's a gook village half a klik downriver, Battalion wants us to move in and search it ASAP, something's going on ... where's Barnes?INT. NVA BUNKER - SANDERSON POSITION - DAYBarnes is still there in the wrecked bunker, squatting there staring as if his mind has disconnected for a moment. He reaches up, touches his scars. The look on his face suggests he is deeply wronged by this tragedy, that he is taking it very personally.EXT. NVA BUNKER - MAIN POSITION - DAYChris watches him from outside the bunker, awed.Barnes notices Chris watching him, takes a breath, stands. BARNES You gonna sit there and play with yourself Taylor or you gonna be part of my war ... Awright, saddle up, let's go - Tubbs you got point.The men moving into jungle formation, silently.Chris walking over into line, stops for a moment - noticing a freshly-severed eyeball partially buried in dirt, staring up at him. He turns away, sickened.EXT. NVA BUNKER COMPLEX - MAIN POSITION - DAY O'NEILL Where's Manny? WARREN Manny! ... Hey Buchanan.There is no answer. The men in the platoon start to look at each other, sensing more trouble.Elias heads into the bush after him. Barnes watches him go.Francis, his friend, and Tubbs and King follow. FRANCIS Hey man whatcha doing ... where you at? Get your black ass back in here!EXT. NVA BUNKER COMPLEX - MANNY'S POSITION - DAYOut on the flank position, where he once stood, Elias walks out, looks. The jungle is silent once again. Francis, Tubbs, King follow. The others - Barnes, Lt.Wolfe, Warren, Chris, Rhah ... FRANCIS AND OTHERS (whispering loudly) Manny? ... Manny?Their voices trailing off. Bird cries come back.Elias combing the ground for clues ... nothing.Chris looking on, can't believe it, none of them can, a collective chill running through the platoon.EXT. JUNGLE - DAYThe Platoon moving downslope in the Jungle, their faces grim, quiet, deadly. King is on point. CHRIS (V.O.) We had to get to the village before dark so we left Elias with some men to keep looking and to wait for the engineers ... But it was King who found him ... about 1000 yards downriver, not far from the village - It was the end of the mystery.A moving shot approaching Manny. He's trussed with rope, arms behind his back. Throat cut, eyes startled open, mouth shaped in a scream of terror.Barnes, the other men looking ... Chris. Barnes says it for everyone, 'The motherfuckers ...'EXT. VILLAGE - TRAIL - DAYThey come up out of the jungle onto the side of a CART TRAIL, where a tiny village overlooks the river. The VILLAGE is poor, a series of thatched hutches made of C-ration cardboard and aluminum beer can sidings, faint whiffs of smoke coming from cook fires. Pigs and dogs wander about.An OLD VILLAGER watches them pass from his tillable plot, smoking a cigarette, one leg wrapped around his hoe, resting, no expression. CHRIS (V.O.) ... the village, which had stood for maybe a thousand years, didn't know we were coming that day. If they had they would have run ... Barnes was at the eye of our rage - and through him, our Captain Ahab - we would set things right again. That day we loved him ...A pig loiters along the trail, rooting.Bunny coming up on it with a smile. BUNNY Hey pig, pig - come here, pig, pig.The pig grunts. Bunny leveling his shotgun, fires point blank. A horrible squeal.Chris, directly behind him, looks disgusted.EXT. VILLAGE - DAYTony suddenly points, excited, calls to Barnes. TONY There goes one!Their POV - a young VILLAGER fleeing down the slope.Barnes doesn't hesitate, nails him with a short volley of well-placed shots. BARNES (to Tony) Check him out.He turns back into the village.EXT. VILLAGE - DAYTroops fanning out over the village, some TWO DOZEN VILLAGERS scattering to collect their children, dogs barking. SGTS.O'NEIL AND WARREN Get em out! Get em out!EXT. VILLAGE TUNNEL - DAYIn another part of the village, Barnes hovers over a hole leading into some kind of tunnel. BARNES Get out of there you fuckheads move! Move!Fires a warning shot. Three VILLAGERS climbing out of the spider hole, arms raised, but not showing any emotion. Barnes turning to his radioman Hoyt and Big Harold accompanying. BARNES (CONT'D) (to Harold) Put'em in the pig pen. (to Hoyt) There's more down there. Gimme your Willy Pete.Hoyt, with reluctance in his eyes, hands over a specially shaped grenade.Barnes stands over the hole, the grenade in hand.The three VILLAGERS who just came out of the hole, yell from the distance, to others still in the tunnel, pleading with them to come out. BARNES (CONT'D) FIRE IN THE HOLE!Barnes throws the phosphorus in. A muted EXPLOSION. Then sizzling acidic fumes. Frying sounds. A hideous scream from somewhere deep in the hole.Hoyt, watching, is sickened. Barnes businesslike.The Villagers, in grief, howl and tear at their faces. FU SHENG (hustling up to Barnes) Sarge, we found some shit!Barnes going with him.EXT. VILLAGE - OUTSIDE HUTCH - DAYThe sun is sittin there hot and high in the sky.Chris, strangling in heat, a demented look on his face, staggers into a hutch with Francis.INT. HUTCH - VILLAGE - DAYThreadbare, poor, a typical Buddhist shrine in the corner, motes of light crisscross through the poor matting and c-ration sides.Chris edges over, pries up a floorboard, flips it over, scared.There's a tunnel inside. A long dark dangerous hole. CHRIS La Dai! La Dai! GET THE FUCK OUTTA THERE! FRANCIS Hey take it easy man. They're scared. CHRIS They're scared? What about me! I'm sick of this shit man, I"m sick of this shit! They don't want us here! Who do you think they're fighting for! GET OUTTA THERE!Francis doesn't recognize him in his rage. Bunny now coming in, followed by O'Neill, drawn by the shouting.EXT. VILLAGE - WEAPONS CACHE - DAYBarnes stares down at a WEAPONS CACHE buried cleverly underneath the ruce urns. Ace, Fu Sheng, Sgt.Warren, Lt.Wolfe, others, are digging it out. It's in white plastic wrappings - a load of AK-47's, rockets, grenades, claymores, carbines, flares, NVA uniforms. A real find. SGT. WARREN (to Barnes) ... and over here there's enough rice to feed a whole fuckin' regiment ...Barnes walking with him over to an undercover rice silo being dug out by Tubbs and Junior. Barnes looks it over. BARNES (to Warren) ... bring the honcho over here. (to Tubb and Junior) Burn it.INT. HUTCH - VILLAGE - DAYAn Old Woman and her Son, a young man with one leg, throw up their hands, climbing out of the hole with stupid confused looks as Chris, shaking with his own sort of confusion and rage, cuffs them, hustling them out. The Young Man uses a pair of crutches for his blown-off limb, hobbling like a mangy three-legged dog. BUNNY Hey look at this! Ma and Pa Kettle here. Look at them - greasy gook motherfuckers! CHRIS Get up out of there! ... You see I didn't wanna hurt you. Why didn't you come out, when I said so hunh! Why? WHY! WHY? DON'T YOU LISTEN ... WHAT ARE YOU SMILING AT HUNH! FUCKING ASSHOLES!The couple, hands raised, muttering things in Vietnamese, don't understand a word, shaking their heads stupidly and smiling that impassive Oriental smile which sends Chris into a rage only he can understand.His finger closes on the trigger of his 16.Francis, the baby-faced black, looks nervously, sensing the danger ... Bunny amused, drawn in by Chris. O'Neill watches passively from the lip of the hutch.The Young Man continues to grin, not seeming to realize the degree of danger he's in, which is what Chris wants - a token sign of acquiescence. There is also the added element of showing off his manhood in front of an audience now. BUNNY Do 'em man, do 'em.Chris. The trigger. He pulls. But he can't quite bring himself to kill. The bullets exploding in the dirt at the edges of the young man's foot. CHRIS (demonic) DANCE YOU ONE-LEGGED MOTHERFUCKER, DANCE!!!The Young Man hops up and down in a reflex fear of the sounds of the bullets as they thud into the dirt. Yet his eyes remain fixed on Chris in wonderment.Chris, firing out the magazine, seems to expend his bloodlust. He ceases, noticing - for the first time - the eyes of the Young Man. They aren't stupid - nor fearful - but filled with resignation and despair - a despair that Chris, in disgust of himself, recognizes.Chris lowers the rifle, silent.The Young Man's impassive face shines now with tears. That sad young look - as if death itself would've been a release. Chris turns his eyes away, an awkward sense of shame. FRANCIS (leaves) Let's get out of here man.But Bunny takes up the slack, moves forward on the young man. BUNNY (to Chris) You chickenshit man, they're laughing at you, look at them faces. That's the way a gook laughs.The Young Man nodding affable to Bunny and mumbling ingratiating words in Vietnamese. BUNNY (CONT'D) Yeah sure you are, you're real sorry ain't you. You're just crying out your hearts about Sandy and Sal and Manny - they're laughing at us! Their family is out there in the fucking bush blowing us away and they're laughing at us! O'NEILL (checking out the hutch) Forget it will ya, let's go ...Chris standing there, watching, sensing something awful is going to come and unable to do anything about it. It comes - suddenly and without warning. Bunny is looking at O'Neill, the Vietnamese couple are muttering something. In one fluid move, Bunny swivels and with unbelievable savagery clubs the young one-legged man in the side of the head with the butt of his 16. O'NEILL (CONT'D) (stunned) Hey what are you doing! BUNNY Fucker!The young man is groaning on the floor of the hutch. Bunny smashes him - again and again. BUNNY (CONT'D) That's for Sandy! And this is for Sal! And this is for fucking Manny! This is for me!Chris watches, horrified. Never in his life has he seen something so horrifying as this. And yet he does nothing. He is part of it. BUNNY (CONT'D) (stepping back, examines what's left of the head, amazed) Wow! You see his fucking head come apart? Look at that ... I never seen brains like dat before. Jesus fucking Christ ...The Old Lady is shrieking, hovering over the body of her son. Bunny studying her. BUNNY (CONT'D) Betcha the old bitch runs the whole show. Probably helped cut Manny's throat. Probably cut my balls off if she could. (to Chris) Come on, man, let's do her.She cowers from him. Chris steps back, horrified. As is O'Neill, more puzzled than horrified. BUNNY (CONT'D) (hitting her again) Let's zap all these motherfuckers! Let's do the whole village!He backs out of the hutch, scared. Evidently Bunny is temporarily insane. But he spots O'Neill, yells at him. BUNNY (CONT'D) GET BACK HERE YOU FUCKING COWARD O'NEILL. THIS IS FOR SANDY ... THIS IS FOR SANDY MAN! AND SAL! AND MANNY!As he clubs her to death.On Chris' face, blood and brain tissue flying up into it.EXT. CENTRAL AREA - VILLAGE - DAYA tiny knot of men are ringed around Barnes who is questioning a sturdy-looking man who is the VILLAGE CHIEF. He has been stripped of his shirt, scars all over his body, scared. He has his ID papers out, trembling, showing them to Lerner who speaks some pidgen Vietnamese. BARNES Where'd he get these wounds?Lerner translates, the man talking back. LERNER He says he was hit in a bombing raid. TONY He's a dink fosure. BARNES Ask him what the weapons are doing here? LERNER He says they had no choice. The NVA killed the old honcho when he said no. He says the rice is theirs. BARNES Bullshit ... who the hell was the dink we just nailed on the riverbank?Chris and O'Neill come up, watch. Others coming from different places - sensing the narrowing drama. But half the platoon is still at work in the village. We hear shouts, grenade explosions, occasionally gunfire. LERNER ... He says he doesn't know, NVA haven't been around in a couple of months. Maybe it was a scout or ...The men around Barnes grumble. BARNES Yeah sure it was. What about all that fucking rice and the weapons ... who they for? (looking at the Village Chief) Cocksucker knows what I'm saying ... don't you Pop? (a blank look) ACE You're goddamn right he does!Lerner translating. The Village Chief's WIFE is now on the scene, a middle-aged woman with angry features, yelling at Lerner trying to answer for her husband, a high-pitched barrage of indignant words directed mostly at Barnes, and interspersed with the spitting of her betel nuts on the ground.The Village Chief trying to talk her down. But things are definitely getting out of control. And the heat from the sun is only aggravating the situation, pounding down on the actors in the drama, their fatigues soaked in sweat and anger. LERNER (finally) He swears he doesn't know anything! He hates the NVA but they come when they want and ... JUNIOR He's lying through his teeth! TONY Waste the fucker, then see who talks. BARNES What's the bitch saying? LERNER (overwhelmed) She's going on, I don't know - why are we shooting the pigs, they're farmers ... they got to make a living, all that crap ...The Woman is still ranting when Barnes turns to her, quite casually levels his M-16, and puts a bullet in her head. She goes down as if pole-axed.A stunned pause. The Chief looking at his wife. The Villagers in background reacting.Wolfe looking ... Chris looking, shocked. Doc, possibly the straightest of them all, very uncomfortable. They are all shocked insome way, but do nothing against the power of Banres. Barnes walks over to the pig pen with the other Villagers, very casually, confronts them. BARNES (to Lerner) Tell him he talks or I'm gonna waste more of 'em.Lerner shaken up, muttering to the Village Chief who is in shock, kneeling next to the body of his wife, muttering in a high whine of pain. BARNES (CONT'D) Go ahead, Lerner, ask him.A group of Villagers huddle to one side.Lerner, shaken, is yelling at all of them, demanding an answer. LERNER They don't know Sarge, they don't know! (half believes it)Barnes turns his attention on the other villagers, his intentions apparent. Everybody feels them. They're next. Barnes is unperturbed, very much in command of the situation, no rage, no emotions expressed.Chris has never seen such a thing in his life - but can't react. Can't stop it, just watches it like he's not quite there.The same goes for Lieutenant Wolfe, for all of them. The very outrageousness of Barns' killing seems to quell all protest. ACE (sensing the impending massacre) Hey Sarge can we get in on this.Tony advances, the hairy Italian kid from Boston. TONY Let's go all the way, let's go for it! Let's do the whole fucking village. Come on, Sarge.Chris' eyes ... Rodriguez next to him, is neutral but willing.Francis is hesitant.Fu Sheng and Junior are ready to go for it. Lt.Wolfe is powerless, frozen.Sgt.Warren stepping up. The massacre is just about to break.The Villagers know it, kneel in prayer, mutter.Barnes suddenly grabs and drags a young 19 year-old Woman, the Village Chief's daughter, across the pen, throws her down on her knees, in front of the stunned Village Chief. She's screaming. BARNES This his daughter, right?Lerner nods. Barnes pulls his .45, puts it alongside her head. BARNES (CONT'D) (to Village Chief) You lie ... You Vee Cee ... I caca ado Vee Cee!He chambers the .45, the Woman begging Barnes for her life, cradling his knees. He sticks the gun down above her skull.Chris wanting to cry out, to do something - but can't!A FIGURE suddenly flares out in the sun, advancing on them. It is Elias. ELIAS BARNES!!Barnes looks around. They all look around.Elias walks right up to him, followed by his men - King, Rhah, Crawford, others from the rear party. He looks around. The corpse of the Wife ... the Young Daughter sobbing. ELIAS (CONT'D) WHAT THE FUCK YOU DOING! BARNES (pissed) Stay out of this Elias. This ain't your show. ELIAS YOU AIN'T A FIRING SQUAD, YOU PIECE OF SHIT!!The stock of his rifle swings up fast and hard smacking Barnes full in the face, breaking two teeth.Barnes staggers back, hurt, bleeding. Elias is on him like a leopard. Battering him with his fists.They struggle in the dust, two titans, their faces equally consumed with rage, clawing, spitting, punching, kicking, pounding each other's skulls in the dirt. A dust storm swirls around them, the men closing around like excited apes at a bloodfeast.Most of the men seem to be pulling for Barnes - Chris just watching neutral. LIEUTENANT WOLFE BREAK IT UP! ELIAS! BARNES!But they rool on, smashing each other's faces in. Both quick, fast, agile, mean fighters. Sgts.O'Neill and Warren drag them apart. BARNES You're dead, you're fucking dead Elias! ELIAS YOU - you're going to fuckin' jail, buddy, you ain't getting away with this one!!!!! WOLFE All right! All right! All right!!! NOW BREAK IT UP. LET'S GO ...They compose themselves, the Villagers looking on, grieving over their loss. WOLFE (CONT'D) Alright, Six says torch this place! Blow the weapons in place. Round up all suspected Vee Cees and shake it up! We ain't got much light left. ELIAS (to Wolfe) Why the fuck didn't you do something Lieutenant! WOLFE What are you talking about! (turns away, goes about his business) ELIAS (spins him around) You know what I'm talking about! WOLFE No I don't. I don't know what the fuck you're talking about, Elias! (goes)Who wants to be reminded? A silence of shame. The Men moving away, Warren, Ace, Tony, Rodriguez, Barnes looking back once, a cold glare.The Village Chief is a broken-looking man, huddled over his wife's body.Elias stands there, frustrated.Chris glances at him, moves out.EXT. SMALL VILLAGE - DAYA zippo cigarette lighter with the engraved initials: 'From Mai lin to my Bunny Boy'. It sparks a thick flare as Bunny lights the dry straw on the roof of the Hutch where he killed the Old Woman and Young Boy.Their legs sticking out at the threshold. The hooch burning fast, aided by the strong sun.Bunny watches with awe.EXT. SMALL VILLAGE - DAYSgt.Warren and Rodriguez lighting another hooch on fire.EXT. VILLAGE RICE STORE - DAYFu Sheng yelling 'FIRE IN THE HOLE!' throws white phosphorus into the rice stores.EXT. VILLAGE - WEAPONS CACHE - DAYBarnes and Huffmeister, a big German kid from Texas, are laying the cord to blow the weapons cache.EXT. SMALL VILLAGE - WELL - DAYAdams and Parker are poisoning the well with a white phosphorus grenade: 'FIRE IN THE HOLE!'EXT. SMALL VILLAGE - DAYWolfe, Ace, Tubbs, Warren, Rogriguez rope the DOZEN SUSPECTED VILLAGERS together to take them back for questioning.Elias watches the Villagers mourn their losses. In the background, explosions, hooches popping with flames, the yells of the violations of the Village winding down.EXT. SMALL VILLAGE - DAYChris wanders through this wreckage in the sun, like a dazed visitor from another planet, not believing it. He sees something, goes towards it - knows what it is.EXT. VILLAGE - EDGE OF WOODLINE - DAYHidden at the edge of the woodline, King hands back a bowl of grass to Rhah, the chief head. They're puffing away. KING Whew! - where that come from? RHAH Found it. Growing in a garden. KING (smokes) Sheeit, beats burning hutches anyway ...They meditatively look out at the Village - burning hutches sending up spirals of smoke. Shouts. Shots. Chaos. RHAH Yeah - stoned's the way to be ...EXT. VILLAGE - DITCH - DAYIn a ditch running alongside the Village, partially concealed by foliage and anthills, Tony, Morehouse, and the ubiquitous Bunny have a 12-YEAR-OLD VIETNAMESE GIRL pinned to the ground, gagged and squirming, naked. They are fucking her to death. Junior looks on, both curious and disgusted, but doesn't take part. TONY Take her up the ass ...As they roll her over, like excited dogs in heat.Chris, coming up, sees their heads dipping up and down on the other side of the anthill, knows what they're doing. He makes a conscious decision to do something. He runs over. CHRIS LET HER GO! YOU HEAR ME! YOU ASSHOLE! LET HER GO!He strides right into them, shoves them off hard. The girl is in tears. TONY What the fuck you want - she's a dink. CHRIS NO - YOU STUPID FUCK ... DON'T ... DON'T ... YOU TOO BUNNY. MOREHOUSE. OFF! NO! DON'T ... DON'T!He seems disconnected, dazed by the sun, like he's talking to dogs - loud, repetitive words coming out of an anger he can barely control, trying to restore some sanity to a world gone totally nuts today. Don't they understand? Don'tthey have any sense of a mind? Any kind of decency?The Men looking at him as if he's the one who's gone nuts, not them. Bunny looking at Morehouse looking at Tony looking at Junior. The irony is lost on them, as Chris pushes through to help the poor girl put her scanty clothes back on. CHRIS (CONT'D) (to the girl) It's okay ... it's okay ...Elias appears behind Bunny and the others, sees what's happened. He signals them to move out. ELIAS Get outta here.The men grumble and slink off quietly. Elias watching as...Chris helps her to her feet, wounded in the intestines, she can barely stand, blood saoking in her nether regions. Chris slings her up as gently as he can and carries her. CHRIS (as if to himself) It's okay, it's okay ...EXT. VILLAGE - PIG PEN - DAYNear the pig pen, a DOZEN SUSPECTS are being led away on ropes by Tubbs, Warren, Rodriguez. The others left behind look back at their village in ruins, homes burning, livestock dead or scattered, belongings thrown and broken in the dirt. BABIES wail, the adults squat there on their heels watching with absolutely no trace of outward emotion.Past this Bosch-like canvas, Chris - carrying the girl - walks dazed by the horrors of this long afternoon.EXT. VILLAGE TRAIL - DAYThe soldiers depart the village. A huge EXPLOSION now rocks the earth and sends a spray of smoke into the blue sky as the weapons cache explodes in stages that sound like the end of the world.EXT. PERIMETER #2 - JUNGLE - LATE AFTERNOON DUSKThe Company is digging into another overnight perimeter on a ridge with a view of the Valley where the Village was. C-Ration fires all around the perimeter.EXT. COMPANY CP - DUSK -- MORNINGAt the Company,l Elias, Captain Harris, Barnes, Lt.Wolfe are huddled. Close on Harris, looking from face to face, assuming a judicial attitude. CAPTAIN HARRIS ... and you Lieutenant? LIEUTENANT WOLFE I didn't see anything sir. ELIAS I did. LIEUTENANT WOLFE That dink was reported to me as NVA sir by Sergeant Barnes. Sergeant Barnes.Squirreling out of any responsibility. ELIAS My report sir, will include Lt.Wolfe as being witness to the shooting ... CAPTAIN HARRIS All right, Elias. Sergeant Barnes, I want a report from you ... BARNES You got it sir - and I can throw in plenty of eye- witnesses if you want sir ... HARRIS Not now. We'll get into this when we get back to base camp. Right now I need every man in the field, I want your guys to stick together ... Elias? Barnes? ... You hear me? This is no time for fighting with each other. (pause, they nod) Tomorrow we're going back into that bunker complex - from the East. (continuing) First Platoon will lead ... Brigade thinks they might be back there tomorrow. That's all ... Get some rest. (turns away)Barnes, Elias eye each other and move off.EXT. PERIMETER #2 - DUSKWolfe walks alongside Barnes. WOLFE Don't worry about it Sergeant, he won't be able to prove a thing, he's a troublemaker but ...Barnes is obviously worried, although he doesn't let on. BARNES Elias' a waterwalker ... like them politicians in Washington. Want to fight their war with one hand tied round their balls. Ain't no time or need for a courtroom out here ...Wolfe leaves him as Barnes turns into his foxhole where Bunny and O'Neill await him anxiously. O'NEILL How'd it go.Banres shrugs. BUNNY Thataway Sarge, fuckin' Elias man, fuckin' squeal that's what he is, gonna get everybody in the platoon in shit. Somebody oughta fix his ass ...Barnes fixing his coffee. O'NEILL (worried) Gonna be an investigation or something Bob?Barnes says nothing, a cryptic look.O'Neill worried, Bunny, taking his cue from Barnes, slaps him on the back. BUNNY Ya worry too much O'Neill ...EXT. PERIMETER #2 - CHRIS' POSITION - DUSKElsewhere on the perimeter, Chris is digging out a foxhole with Rhah, as King and Lerner prepare the C's for dinner. RHAH I know Barnes six months and I'll tell ya something - that man is MEAN, red in his soul like a dick on a dog. KING Barnes gets killed, his jaws'd go on clacking ... CHRIS Where's he form? RHAH Barnes comes from Hell. LERNER Tennessee someplace. Hill country. RHAH Barnes took a bullet right there. At Ia Drang Valley ... (points to his forehead) And the cocksucker SURVIVED - that's BAAAD man. That's his high, baby. High on WAR!His eyes flare out dramamtically. Chris, enthralled in spite of himself. KING He done a year in Japan in the hospital, then when he gets out, the first thing he done is re-up. Four years he been in the field ... RHAH ... and you know how many times he done been shot? (Chris shakes his head) Seven times! (with his fingers) Seven. CHRIS And he still wanted to come back? LERNER Does a pee wee wanna take a wee wee? RHAH The Good Lord works his revenge in strange ways. KING Yeah, you done said it. Revenge on US. CHRIS Does he have a metal plate in his head? RHAH (smiles) You mean he's crazy? No more crazy'n the rest of us been out in the bush too long. LERNER Well he ain't normal that's fosure. RHAH That's what he is ... Baaaa!His hand flashes forward in front of Chris. 'HATE' is written across the left hand knuckles in a sloppy, purplish-black tatoo. Chris looking at it. RHAH (CONT'D) ... and he's FILLED with it. He's roaming these jungles looking for little yellow devils to kill. Remember the Devil does God's work too. (pause) ... and this here's Elias ... Baaaa!The other knuckle is out - 'LOVE' tattooed across it. Rhah smiles his crazy smil. Chris stares fascinated at the two knuckles side by side. A moment on his face. KING Love, yeah! LERNER (makes a cuckoo sign) Here we go again with the crazy preacher stuff. Rhah seen too many movies. RHAH Baaa, got no time to go to the movies. Love and Hate too busy fighting for possession of my soul. CHRIS Where's Elias come from? RHAH (interjecting) 'Lias come naturally. LERNER ... don't know. Done some time. Heard he worked the oil wells in Oklahoma, made some bread and washed up in El Lay. KING Yeah, get married to some crazy El Lay bitch, an actress or somethin', she blew all his bread - LSD, gurus, all that California shit, and then she turns him into the cops on a drug rap. RHAH Not the only man to meet his Jezebel either. KING So he got a reduced and come over here. Nam's his freedom man, Nam's his pussy. Three years he been here. CHRIS Three years, Jesus, he's crazy as Barnes ... KING Well sometimes a man jes don' wanna go back. How you gonna talk to civilians man? People back in the world just don't give a shit, y'know what I mean, to them you're a fuckin' animal is all - LERNER (to Chris) I was home on leave y'know and everybody's just worried 'bout making money, everybody's out for themselves, they don't even want to talk about it man, it's like the fucking Twilight Zone back there - you wouldn't even KNOW there's a war on here. My sister says to me why you have to go there like I started this ... RHAH Baaaa! Fuck it, they sold us out - so what! What'd you'all expect? Civilian life is phoney BULLSHIT man. They're ROBOTS man - watchin' dopey television and drivin' dopey cars, and they fuck up, nobody dies. That's all right, you keep fuckin' up, politicians keep lyin'. Cause it don't really matter. Don't mean shit. So what! Whatcha want - a parade! Fuck that too! No war time no grunt never got no respect. Till he was dead - and even THEN! You're fighting for YOURSELF man! You're fighting for your SOUL, dat's all. Remember dat. And it's some goddamn battle too - if you'se a man, wrestle with that angel ... (swings his entrenching tool in a rhythmic chain-gang style) ... Love and Hate - the whole shitbang show, that's the story then and now and it ain't hardly gonna change ...EXT. PERIMETER #2 - JUNGLE - NIGHTThe stars are out in magnificent splendor. A breeze rustling through the trees.EXT. PERIMETER #2 - CHRIS' POSITION - NIGHTChris is turning in his sleep, perturbed, writhing. The whispering is more and more urgent. Death is all around. He shoots up out of his poncho liner as if shot, stunned. Scared. Looks around. All is quiet. Men sleeping.Elias is huddled in his poncho on guard next to his foxhole. Chris joins him, sitting, wiping the sleep from his eyes. CHRIS ... I can't sleep, why don't you get some sack time. ELIAS ... don't feel like it either. CHRIS ... beautiful night. ELIAS Yeah. I love this place at night. The stars ... there's no right or wrong in them, they're just there. CHRIS That's a nice way of putting it.Elias cuffs a joint, keeping its glow hidden in the dark. A pause, both of them meditative. CHRIS (CONT'D) Barnes got it in for you, don't he? ELIAS (philosophically) Barnes believes in what he's doing. CHRIS And you, do you believe? ELIAS In '65 - yeah. Now ... (pause) No. What happened today's just the beginning. We're gonna lose this war ... CHRIS (surprised) You really think so ... us?Elias' eyes seem to go to some inner place, his passion surging. ELIAS ... we been kicking other people's asses so long I guess it's time we got our own kicked. The only decent thing I can see coming out of here are the survivors - hundreds of thousands of guys like you Taylor going back to every little town in the country knowing something about what it's like to take a life and what that can do to a person's soul - twist it like Barnes and Bunny and make 'em sick inside and if you got any brains you gonna fight it the rest of your life cause it's cheap, killing is cheap, the cheapest thing I know and when some drunk like O'Neill starts glorifying it, you're gonna puke all over him and when the politicians start selling you a used war all over again, you and your generation gonna say go fuck yourself 'cause you know, you've seen it, and when you know it, deep down there ...He plants his fist in Chris' gut, expelling his breath such is the force of the blow - like a power passed between them. ELIAS (CONT'D) ... you know it till you die ... that's why the survivors remember. 'Cause the dead don't let em forget.His eyes blazing, reliving the deaths in the village, licking the wounds for the platoon, mourning the failure of its heroism. Chris looking at him, a little awed by his intensity. Elias looks away, embarrassed that he has sermonized, looks back at the stars. ELIAS (CONT'D) Oh shit! Sometimes there's things in my head ... man. Grass does that to me, fucks me all up like a crazy Indian ... CHRIS Do you believe that stuff about ... knowing you're gonna die? ELIAS Yeah, those are the guys that live. I really don't think Death gives a shit, it's like a giant garbage can, I think it takes whatever it can get ... you never know where it's gonna come from anyway ... so why spin your wheels?He shrugs, a certain bravado masking his own uncertainty. CHRIS ... You ever think about reincarnation, all that stuff?A lightning quick movement follows. Elias' hand passing over his face like a mime, a click of the fingers and he leans closer to Chris. A new expression on his face. Devil's eyes, mocking child, danger in his soul, excitement, sex - the Elias that Chris saw in the smoking session in base camp. Chris smiles, sucked in, almost laughs and then the face is gone again. ELIAS Sure, goes on all the time. Maybe a piece of me's in you now, who knows. But when you die - really die - that's a big return ticket. (soft) I like to think I'm gonna come back as ... as wind or fire - or a deer (likes the image) ... yeah, a deer ...He smiles at the thought. Chris looks at him, looks away. A shooting star falls suddenly and dryly through the cosmos. Their eyes.EXT. JUNGLE - STREAM - DAY (RAIN)The Platoon moves along a shallow STREAM bordering the jungle. A thick RAIN falls amid cracks of distant thunder. Chris, Rhah, Francis, Big Harold, others are at the rear of the platoon, their ponchos pulled over them like big sad grey tents. There's a holdup ahead and the Men rest on rocks or stand. The rain makes a pointilistic pattern, the men collages of grey, their rifles slung upside down to keep dry.Barnes is up ahead, out of the stream bank, on the radio.EXT. JUNGLE CHURCH - DAY (RAIN)Lerner's on point, resting in the shadow of a decaying old French Catholic Church from the 19th Century. The jungle has long ago won the battle, vines creeping into the cracks, remnants of arches layered around the church at the epicenter. Behind Lerner is Sgt.Warren and his radioman.EXT. JUNGLE CLEARING - DAY (RAIN)Elias, further back, is checking out the jungle alongside the clearing, noticing a number of old spider holes long since abandoned. He goes over and checks them.EXT. JUNGLE - STREAM - DAY (RAIN)Back at the stream, Rhah, looking old and whiskered under his poncho hood, lights up a roach, puffs it. Another crack of thunder. Chris comes over, sits with him on his rock. Rhah passes him the joint. He smokes.Big Harold pulls a leech out of his open crotch area. HAROLD Shit, lookit this little fucker trying to get up ma glory hole. FRANCIS Hey Big Harold, put dat in your turkey loaf it won't come out your back end. KING (ribbing) Yeah, big boy, thought you had that laundry gig all laid out? BIG HAROLD (pissed) Shit, got to paint myself white get one of dem jobs. Get ma request in for a circumcision. KING Gonna be a rabbi man? FRANCIS Gonna cut your pecker down to size hunh Big Harold? BIG HAROLD Dat's okay wid me, better to have a small one den no one at all. KING Your girlfriends gonna look for new lovers, man. Best thing a bro's got's his flap. HAROLD I'll drink to your flap in Chicago, King. All I gotta do is stretch it out to 15 days and I'll be short 15 and the Beast just wouldn't dare send me back to the bush. FRANCIS You gonna get some for me back in the World, Harold? Whatcha gonna do? (dreaming of it) HAROLD The world's gonna be ma oyster man. First's I gonna EAT - all the hamburger and french fries and steaks soaked in onions and ketchup I can get. Then I'se gonna FUCK and SUCK Sandy Bell till I sore all over and can't fuck no more, and den I'se gonna SLEEP for DAYS, for WEEKS! Den I'se gonna think bout what comes next ...The words carry over Chris staring out at the rain, feeling a leaden fatigued high. Passes the roach, down to a millimeter, back to Rhah who points to his face. RHAH ... you got one right there.Chris feels for, finds the leech on the edge of his lip, cursing under his breath. LIEUTENANT WOLFE (in the stream, on radio) All right move out.The men start slogging on against the rain.Junior is drinking from the stream, as Fu Sheng passes. FU SHENG Don't drink that asshole. You're gonna get malaria. JUNIOR Shit I hope so!EXT. JUNGLE - CHURCH - DAY (RAIN)On point, Lerner moves out through a remnant of an old arch, somewhat casual in his approach to point. LERNER Hey Sarge, you wanna tell me which way or do I get to figger it out?Sgt.Warren, picking up a quick azimuth on his lensatic compass, points. Lerner moves in the new direction.EXT. JUNGLE - DAY (RAIN)Lerner moves away from the clearing, working up a slight incline when the MACHINE GUN FIRE erupts out of the jungle, spinning him - throwing him into the dirt like discarded garbage.The men are down, yelling. SGT. WARREN Ambush! Incoming! Fucking incoming!Suddenly an RPG rocket breaks out of the bush, sounding like an atom bomb as it devastates the front of the Platoon. Radio Talk is continuous now, back and forth between the three platoon radios, through the ambush. O'NEILL DOC, UP HERE! Lerner's hit! ...More machine gun fire. FRANCIS DOC! Over here - we got ... one ... two down. Warren's hit.EXT. JUNGLE - CHURCH - DAY (RAIN)Chris moving up with Rhah and the others out of the stream, they hit the ground next to Sgt.O'Neill, who looks pretty scared, obviously not about to move. CHRIS What's going on? O'NEILL Shit they got RPG's on our ass. Fucking ambush - they was waiting for us to break trail! KING WATCH OUT! ROCKET!Another rocket whistling in. A huge roar. Trees shredded, dirt, dust rising. CHRIS Who's on point? O'NEILL Lerner and Warren.Chris uses his M-16 to lever himself up into a crouch and suddenly dashes forward, passing Rhah. RHAH Where you goin' man!Chris tearing up. Past Flash - the hip black head with the colored beads. He's dead, torn and shredded, his face and eyes stuff with dirt. Next to him Doc is frantically tourniqueting Tubbs, shot in the legs. He's screaming.Chris keeps moving to the front as if compelled.EXT. JUNGLE - BARNES' POSITION - DAY (RAIN)Barnes is laying out fire. BARNES Goddamit, you assholes get fucking' firepower out there! (to Hoyt on radio) Get Two Bravo up here. Get me a gun. (to others) Spread it out! More to the flanks! Look for a fuckin' target!Another explosion.EXT. JUNGLE - FORWARD POINT - DAY (RAIN)Chris comes alongside Francis near the point, throws himself down. Banging his head against his helmet as he falls. The incoming rounds are tearing up the front of the platoon. CHRIS (to Francis) Where's Lerner? FRANCIS (terrified) Out there man - behind the log.Looking. A body - moaning, sort of moving, wriggling, as if trying to escape the pain. CHRIS Oh Jesus!His eyes moving to Sgt.Warren lying alongside a tree - calmly trying to stack his intestines back into his ruptured stomach. Another RPG comes in.Chris makes a conscious decision, moves up - bit by bit, shielding himself with tree stumps, ant hills, laying out fire, trying to get closer to Lerner.Francis following his progress, bug-eyed.Fu Sheng now comes up with his M-60 - Harold his loader, belts of ammo flapping against their bodies. He fires from the hip, providing cover fire for Chris, then pops down.EXT. FORWARD POINT - JUNGLE - DAY (DRIZZLING RAIN)Chris, firing out another magazine, crawls closer to Lerner, trying to ascertain if he's still alive. CHRIS Lerner! Lerner, can you hear me man?Lerner groans. A fresh burst of AK fire rakes the area. Lerner jerks spasmodically with the impact of the rounds.Chris spots the sniper. In a hole in the ground. Twenty-five meters off. Snapping the magazine out of his AK to reload. A live gook.Chris tears off a volley at him but the gook disappears in the hole. This is the moement, Chris realizes it, it's now or never if Chris intends to get the gook. He's got to make a move before the man has reloaded his weapon.He pulls his grenade, pops the pin. He lets the spoon fly off, activating the grenade-timer, as he humps to his feet and runs for the gook hole, concentrating, concentrating. That head is going to pop up any second with a freshly-loaded weapon and tear his head off.Chris won't make it back to the hole. The throw has to be perfect. He won't get another chance. He heaves the frag, drops and rolls away. The throw is perfect, the golden arc of flight from the outfield nailing the baserunner. It twists cleanly in the hole. The explosion muffled but deadly.Chris scrambles to his feet, a look of almost total surprise on his face. He can't seem to believe he did it. Pointing his M-16 before him, he advances on the hole, looking over the muzzle to see the badly-mangled NVA man twisted at the bottom.Chris hurries over to Lerner. He's in bad shape, hit in several places, vaguely conscious. CHRIS (CONT'D) Gator! Gator! (Lerner groans) I'm gonna get you out man. You're gonna be okay Gator ... okay?Fu Sheng laying out fire to protect them, Harold splitting off to get more ammo.Chris getting Lerner to his feet, hauling him back with all his strength, past Francis ...EXT. JUNGLE - WOLFE'S POSITION - DAY (RAIN)Lt.Wolfe seems disorientated, struggling with the rain water washing off his map, trying to read the coordinates for an arty fire mission. WOLFE (into the radio) Redleg, Redleg ... Ripper Bravo Two Actual. Fire mission. Grid six-four-niner ... four-zero-two. Direction six-one-zero-zero. Dinks dug in bunkers. Danger close. Adjust fire, over ... RADIO VOICE Rog, Two Bravo. Solid copy, stand by for shot, out. ACE Sir, Bravo Three is inbound from the Sierra Whiskey. Should be here in two zero mikes if'n they don' hit any shit. WOLFE Fuckin' A!Elias runs up to him. Fire all around, incoming and outgoing, makes them yell to each other. ELIAS Lootenant, they're kickin our ass, they know we're gonna bring heavy shit on 'em pretty soon so they're gonna get in tight under the arty. I spotted a cut running around to the left. Lemme take some men and roll up that flank .. (pointing) I can work right up on 'em ...Wolfe unsure, looks up for the artillery. WOLFE (to Ace) Get me Barnes ... I don't know 'Lias, we got four down up there, if I split you off, we ...Elias grabs a stick, urgent, starts drawing their position in the dirt for Wolfe. ELIAS Look, Lootenant ...Wolfe looks up, relieved as Barnes splashes into the CP group. Thunder peals. BARNES (yelling at Wolfe and Ace) Where the fuck is red platoon! Tell 'em to get their asses up here! What the fuck you doin' back here Elias? Round up your assholes and move 'em up front, we're getting chopped to shit. ELIAS (yelling back) Barnes, listen to me ... there's 5-6 spiderholes back there (points) next to the church. (draws it into the ground as he talks) Third Platoon's coming up the stream to reinforce us. Flank's wide open, dinks get 3-4 snipers in these holes, when Third Platoon comes up, they'll get us in a crossfire with 'em. We'll shoot each other to shit, then they'll hit us with everything they got. It'll be a massacre!Barnes looking at the drawing. WOLFE Sounds pretty far out to me 'Lias. ELIAS Maybe but I seen it happen at Ia Drang in '66, First Cavalry and they cut us to fuckin' pieces! (back to Barnes) Give me three men, if I'm wrong, I can still roll up that flank. BARNES (a look) Take off, but keep your radio here.Elias goes, stops, looks at Barnes ... ELIAS ... You keep pouring out that suppressing fire, Barnes. I don't wanna be caught out there with my ass hanging out you hear me? BARNES Don't tell me how to fight this fucking war, 'Lias, you go crying to fucking brigade on your time. Out here you belong to me. Now move.A look. Elias goes fast. More thunder peals. As the 155mm howitzers - sounding like deep tom-toms some three miles distant - beat out their shells. An ominous sound. Closer. ACE Sir! Shot out. Arty's on the way! BARNES (hurrying back to the front) Get that asshole O'Neill up here willya!EXT. JUNGLE - FU SHENG'S POSITION - DAYFu Sheng is laying out fire when he senses something, looks up. The artillery shell sounds too close. Getting bigger and bigger on the horizon. Too big, too loud. A groan of fear on his face, then knowledge. Then ... a huge EXPLOSION engulfs him.EXT. JUNGLE - HAROLD'S POSITION - DAY (RAIN) BIG HAROLD Short round! It's short, man! They fuckin' got Fu Sheng! BARNES! OVER HERE!EXT. JUNGLE - DAY (RAIN)Barnes hearing it, starts forward. Another huge shell starting to whistle in on them. BARNES That fuckin' idiot!It explodes. This is about three times the intensity of the RPG. The jungle floor shakes, trees splinter. Barnes is knocked to his knees, rimaces in pain. Hoyt, Barnes' radio operator, screams out as a fist-sized chunk of hot shrapnel sticks in his back. He's screeching, frantically trying to shuck the radio from his back, his fatigue shirt smoking.Barnes jerks the radio off Hoyt's back, knocks the man to his knees and unsheathes his bayonet. Ripping off the back of his shirt, Barnes sets to digging out the shrapnel.EXT. MOREHOUSE'S POSITION - DAY (RAIN)Morehouse is decimated by a third explosion, chunks of shrapnel whirring like battleaxes into the tree trunks.EXT. JUNGLE - HAROLD'S POSITION - DAY (RAIN)Big Harold is tearing blindly away from the front, helmet gone, rifle dragging in the mud when he stumbles, sprawling face down. He jumps up, looks back, sees now the wire over which he tripped. It takes a second to register. He shares a look with Bunny who's already on the ground. BUNNY Satchel charge! GET DOWN!Harold goes for the ground the same instant the satchel explodes.EXT. JUNGLE - CHURCH - DAY (RAIN)Chris, further back, dumps Lerner with Doc who's got more than he can handle. CHRIS Take care of him Doc! Please!Doc looking at him, a dark look of hopelessness. Lerner is a mess, groaning, reaching for Chris' hand. LERNER ... don't ... don't leave me man ...A look between them. Rhah instersecting. RHAH Taylor - get your ass over here. Move! CHRIS Hang tough, Gator. Hang in there, man, you're gonna be OK ... just hang on.Feeling like a liar, peeling the man's hands off him, leaving him there looking numb. Chris is shaken, Lerner's blood all over him.He tears out after Rhah, linking up with Elias and Crawford. Elias motioning them to hurry. Another huge artillery round exploding out to the front.EXT. JUNGLE - O'NEILL'S POSITION - DAY (RAIN)Sgt.O'Neill, scared out of his mind, hugging the earth, tries to crawl into a small cut in the ground but finds it occupied by a cringing Junior.EXT. JUNGLE - WOLFE'S POSITION - DAY (RAIN)Barnes rushes up out of the forest like Achilles, towering in his rage, at Lieutenant Wolfe, ripping his handset from him as the Lieutenant reads off the coordinates off his map. BARNES YOU IGNORANT ASSHOLE! - What the fuck coordinates you giving! You killed a bunch of people with that fucked up fire mission! You know that? ... ah shit!Wolfe stares at him, open-mouthed. Disgusted, Barnes hunkers down to read the coordinates from his own map into the handset. BARNES (CONT'D) Redleg Romeo .. Ripper Bravo Two. Check your fire, check fire, you're short on our pos! I say again, check your fuckin' fire! ... From Registration point, add one five zero, left five zero, fire for effect!New incoming fire drowns out Barnes.EXT. JUNGLE - ELIAS' POSITION - DAYElias - a defiant look on his face - moves fast but cautiously back across the Church landmarks. Chris following then Rhah and Crawford. The RAIN has now settled into a mist hugging the ground. ELIAS Move it! Move it!Elias comes to a stop, looks. Behind them we hear the sounds of battle, gauging their distance from the main body.The spider holes are still empty. But he listens, senses something out there getting closer. ELIAS (CONT'D) They're coming ...Chris looking at Rhah. How does he know?Elias points out an imaginary line across the breaking mist. ELIAS (CONT'D) Stagger yourselves across this line, shoot anything that moves. They'll be coming from here. RHAH (team leader) Gotcha. ELIAS One of them gets through it's curtains. RHAH Where you going? ELIAS Down along the river 'bout 100 metres, 'case they try to flank us there. Third Platoon's coming up on our rear so watch for 'em. CHRIS I'll go with you. ELIAS No ... I move faster alone. (a grin)Elias, his pack stripped, is gone, like a fleet leaf, vanishing into the Jungle. RHAH (stringing them out) Okay Crawford - over here. Taylor - down twenty yards behind that tree.EXT. JUNGLE - WOLFE'S POSITION - DAY (MIST)Barnes has finished correcting the fire mission, hurls the handset back at Wolfe, a wild look in his eyes, studying the incoming fire. Makes a decision. BARNES Let's move back, link up with Three. Let the arty do a little work. (to Ace on radio, ignoring Wolfe) Push Two Alpha and Two Charlie. Tell'em to haul ass and re-group at the church. Tell'em NOT to fire. (Ace transmits) WOLFE What about Elias? We pull back they'll be cut off. He needs cover fire. BARNES (looks at him like he's stupid) I'll get him. (with a threatening undertone) You just haul ass too lootenant. (going, to Ace) ... don't send Bravo Three up till I get back to the CP. Now move out, all of you.As he snaps his weapon onto full auto and runs off after Elias in a crouch ... a man with a mission.EXT. JUNGLE - RHAH AND CHRIS' POSITION - DAYNext to the Church deployed in the jungle, Rhah looks on, silent.Chris in his position, waits. It is so silent in comparison to the racket from the battle across the forest. The Mist clings to the trees, moist and lovely. Then, a flicker of movement, sound.Chris hears it, tightens. His POV - at fifty yards. An evanescence of beige and green uniforms moving towards him very fast, scurrying. They look like headless ghosts.Chris opens fire. CHRIS GET EM!!!!!Rhah and Crawford open up. A rachet of sound, one of the fiures seems to go down, then another but at this distance through jungle it is difficult to say. The firing just as suddenly breaks off and the silence returns. CHRIS (CONT'D) (ecstatic) Yeah! I got two of them fuckers ... RHAH I got one ... CHRIS ... See them go down? Like fuckin' target practice man, fuck you Charlie!! Ho Chi Minh sucks dead dick! ... Crawford! (sees him, stunned)Crawford, the blond-locked California beach boy, lies on the earth, hit in a lung, having difficulty breathing, moaning in a soft undercurrent. Chris runs up on him. CHRIS (CONT'D) Oh man! ... man!Attending him. Rhah runs up. RHAH Looks like a lung babe. But you're gonna be all right, you only need one of them fuckers. CRAWFORD Oh shit man I never thought I'd get hit, I was ... (gagging) RHAH Stay cool. We gonna carry you out.Barnes appears, running towards them, looking down at Crawford, at Rhah. RHAH (CONT'D) Sarge, 'bout five gooks tried to ... BARNES Where's Elias? RHAH ... came through right over there. We got three of them, we ... BARNES Didn't you hear the arty shift? We're pulling back. Get your wounded man and get the fuck back to the church. Get going. CHRIS (indicating jungle) ... but 'Lias is still out there. BARNES I'll get him. You get the man in, Taylor (indicating Crawford) NOW. Or I'll Article 15 both your asses. Move!Chris and Rhah look at Barnes sullenly, then reluctantly start moving Crawford onto a poncho liner they use as a litter. BARNES (CONT'D) Move it, MOVE IT!He's in his blackest rage, the force of his words almost physically pushing the men to move out with Crawford. Barnes turns now to deal with Elias.EXT. ELIAS' JUNGLE - DAYElsewhere, Elias stands silently, listens to the forest. In the distance the firefight can hardly be heard. His helmet gone, his hair hanging free, he is at his best now - alone. He hears it. Somebody running through the jungle, about 100 yards, boots on leaves, coming towards him.He begins to move lateral to the sound. His steps unheard, better at this than the enemy.THREE ENEMY FIGURES now appear, crouched and moving very fast with light equipment through the mist.Elias swerves up in immediate foreground, his back to us, FIRING. All three Figures fall.A quick glimpse of Elias, not bothering to stop, moving to his next position.EXT. BARNES' JUNGLE - DAYBarnes, moving through the jungle, reacts to the fire, resetting his course. Like a hunter stalking a deer. Suddenly there's more firing. Then silence -EXT. ELIAS' JUNGLE - DAYTWO MORE ENEMY lie dead in the jungle. A rustle of movement, then a CRY - chilling, jubilant, a war cry.A pair of feet moving lightly over the jungle. A glimpse of Elias. In his full glory. Roaming the jungle, born to it.EXT. BARNES' JUNGLE - DAYBarnes fixing on him, moving.EXT. ELIAS' JUNGLE - DAYAn NVA SOLDIER, jungle-whiskered, dirty, smart, crouches, listens, looks to his PARTNER. What are they fighting here? The First One mutter something sharp and they split fast in the direction they've come.They get about six steps when Elias suddenly rises up from the bush, not ten yards in front of them, his shots ripping into them, driving the surprised life from them. Elias is gone.EXT. NVA JUNGLE - DAYElsewhere, another three NVA stop, turn and flee back from where they came.EXT. JUNGLE CHURCH - DAYChris and Rhah get Crawford back to the church grounds, lay him down. No activity around them. Chris plunges back into the jungle where they left Barnes. RHAH Taylor!EXT. ELIAS AND BARNES' JUNGLE - DAYBarnes moving, stops, listens. Something is running towards him. But it's hidden by the bush. He brings his rifle up smooth and quick, waits, then as the bush parts, Elias is standing there. Looking at Barnes.Barnes sees him, starts to lower his rifle, but then stops. He raises it back an inch, sights it. Pause. A cold searing look of hatred coming over his face.In that moment, Elias understands. Quick as a deer, he makes his move, trying to plunge back into the bush.Barnes fires. Once, twice, three times - the blast rocking the jungle.Elias jerking backwards into the bush, mortally wounded. Bird cries. A crime against nature.Barnes calmly lowers his rifle, and walks away from it.EXT. CHRIS' JUNGLE - DAYChris, cutting through the jungle, hears the shots. He stops, listens. Someone is moving through bush towards him, leaves and foliage shaking.Chris tightens, raises his rifle.Barnes steps through into his sight - sees him.Chris lowers his rifle. Barnes walking past him as if he weren't even there. BARNES Elias is dead. Join up with the platoon. Move it. CHRIS (shocked) He's dead! Where? ... You saw him? BARNES Yeah. Back about 100 metres. He's dead, now get going, the gooks are all over the fuckin' place.Moving on quickly. Chris has no choice but to follow, looking back one more time.EXT. CHURCH GROUNDS - JUNGLE - DAYTWO CHOPPERS are coming into a LZ in front of the Church. The two platoons, Second and Third, reinforcing, are being evacuated as quickly as possible, one load (6-8 men, depending on the wounded) after other. The choppers are spraying dust all over the place. A scene of chaos, radio talk layering it. Doc is out of supplies, making do with improvised bandages, etc. WOLFE MOVE IT MOVE IT MOVE IT.Lerner goes by, horribly wounded on a makeshift litter, into the chopper, Doc attending, holding the IV.Chris catching a glimpse of him, waiting to get on the chopper, turning to look as:Hoyt and Sgt.Warren, both wounded, are hurried aboard on litters. The chopper lifting off.Chris and others now running to the corpses of Flash, Morehouse, and Fu Sheng lying under dirty ponchos, their boots sticking out. The ponchos are blown away in a burst of wind off the chopper blades, revealing their faces - dirt stuffing their eyes and mouths, waxen figures.Chris and the others lifting them and carrying them towards the next chopper now coming in.They throw the bodies on. Tubbs and Crawford, both wounded, now move past Chris, into the chopper. Chris running back, with King carrying a litter - their eyes falling on:Barnes talking with Wolfe and Ace, making signals under the roaring sounds of the chopper. Shaking his head. No. No Elias.Chris and King looking at each other, mute. They numbly start loading Big Harold, minus his leg, onto the stretcher.The Third Chopper is down now, waiting, roaring blades silhouetting off the face of the cathedral. A ROCKET BLAST suddenly goes off not too far from the chopper, incoming fire. The DOOR GUNNER signaling for them to hurry, laying out fire.INT/EXT. CHOPPER - JUNGLE - DAYChris and King hustling Big Harold's 250 pounds into the chopper. Climbing in with him. Wolfe, Barnes, Ace running in with them. The perimeter is bare.Chris' eyes flitting over Barnes as he jumps in. The chopper lifting off as another explosion rocks the area. The Door Gunner sees something, opens up.Big Harold, cursing, looks chalky but hog happy as he manages a glance down at the jungle. His right leg is gone. Tears are rolling out of his eyes. KING Man, you gonna be in Japan this time tomorrow, Big Harold. BIG HAROLD Yeah, I'se lucky dis time, what's a leg to get the fuck outta here ... (at the NVA) Eat ma shit, you motherfuckers!He sinks back, sick. Chris' eyes sudenly fix on something. He can't believe it. He shoves King, points. King sees it. Both stunned.Barnes is looking. So's Lt.Wolfe, so's Ace. So's the Door Gunner.Elias is coming out of the jungle. Staggering, blood disfiguring his face and chest, hanging on with all his dimming strength, looking up at them - trying to reach them.Chris shakes Wolfe, his words drowned out by the roar.The Chopper Captain looking down, dips. His co-pilot pointing.The NVA are coming out of the jungle, closing on the spot where Elias is.Incoming rounds are hitting the chopper. The Door Gunner maniacally firing.Barnes looking down at the man, can't believe it.Elias is on his last legs now, obviously being hit by the incoming fire of the NVA. He falls to his knees, still stretching upwards for life.The Chopper Captain shakes his head at Wolfe.The Chopper dips one more time firing at the NVA, low and fierce over the jungle.Chris looking back in horror.Elias crucified. The NVA coming out now by the dozens from the treeline.Elias crumbling to the ground. Obviously dead or dying. HELICAPTAIN ON RADIO ... we still got one on the deck. Bring the gunships in.Barnes drawing in.Chris looking at him in revulsion. He knows. Barnes sees his look, ignores it, all of them sitting there silent, living with that final horrifying image of Elias.EXT. UNDERGROUND HUTCH - BASE CAMP - NIGHTThe 'heads' are assembled - what's left of them. Rhah, King, Francis, Doc, Adam, a quiet black kid, and Chris, who is impassioned tonight. CHRIS He killed him. I know he did. I saw his eyes when he came back in ... RADIO VOICE (puffing on his bowl) How do you know the dinks didn't get him. You got no proof man. CHRIS Proof's in the eyes. When you know you know. You were there Rhah - I know what you were thinking. I say we frag the fucker. Tonight.He looks to King who puffs on a joint, his eyes red. KING I go with dat, an eye for an eye man. DOC Right on, nothing wrong with Barnes another shot in the head wouldn't cure. RHAH (to Chris) Shit boy you been out in the sun too long. You try that, he'll stick it right back up your ass with a candle on it. CHRIS Then what do you suggest big shot? RHAH (to Chris) I suggest you watch your own asses cause Barnes gonna be down on ALL OF 'EM. FRANCIS How you figger that? RHAH Shit man - Human nature.Flashes the old knuckle - 'HATE'. KING Then you jes gonna forget 'bout Elias and all the good times we done had? Right in here. RHAH He dugged his own grave. DOC (correcting) He dug it. RHAH He DUGGED it too. CHRIS Fuck this shit! RHAH You guys trying to cure the headache by cutting off the head. 'Lias didn't ask you to fight his battles and if there's a Heaven - and god, I hope so - I know he's sitting up there drunk as a fuckin' monkey and smokin' shit cause HIS PAINS HE DONE LEFT DOWN HERE. Baaaaaaaaa! (a vehement movement of his head) CHRIS You're wrong man! Any way you cut it Rhah, Barnes is a murderer. KING Right on. RHAH I remember first time you came in here Taylor you telling me how much you admired that bastard. CHRIS I was wrong. RHAH (snorts) Wrong? You ain't EVER been right - 'bout nothing. And dig this you assholes and dig it good! Barnes been shot 7 times and he ain't dead, that tell you something? Barnes ain't meant to die. Only thing can get Barnes ... is Barnes!Barnes stands there, silhouetted in the trap door, looking down at the men who are stunned to see him here.He steps down into the hutch, his face now lit by candle light. A bottle of whiskey in his hand, drunk, ugly, sweating, but as always, with dignity, possessive of his silence. He feels their fear in the silence, enjoys it. BARNES (soft) Talking 'bout killing?He totters slightly as he circles the outer edge of the hutch. No one talks. BARNES (CONT'D) Y'all experts? Y'all know about killing?He takes the bowl from Adams, smokes it. BARNES (CONT'D) You pussies gotta smoke this shit so's you can hide from reality? ... (smokes again) Me I don't need that shit. I AM reality.Confronting Chris, he moves on, taunting them all. BARNES (CONT'D) There's the way it oughta be and there's the way it is. 'Lias he was full of shit, 'Lias was a crusader - I got no fight with a man does what he's told but when he don't, the machine breaks down, and when the machine breaks down, WE break down ... and I ain't gonna allow that. From none of you. Not one ...Walks past Rhah, past King, throws the pot bowl into the dirt of the floor. BARNES (CONT'D) Y'all loved Elias, want to kick ass, I'se here - all by my lonesome, nobody gonna know. Five you boys 'gainst me? (pause, very soft) Kill me.Almost an appeal - naked, intense. Rhah, Francis, Doc look away.King, the biggest one there, is about to say something, but the moment passes.Chris waits, his anger on the rise.Barnes takes a swigger from the whiskey, then turns away contemptuously. BARNES (CONT'D) I SHIT on all o' you. CHRIS KILL YOU MOTHERFUCKER!!!Chris slams into Barnes, rushing him off his feet. Pounding his face, solid blows. KING AND OTHERS Get that mother, babe, go ... Kick his ass, kill that cocksucker!!!But Barnes is too quick and very strong and takes the blows, getting outside Chris' arm, twisting and flipping him in a wrestler's grip - throwing him hard onto his back on the dirt floor.The expression of the Men watching slumps, their hopes dashed.Barnes springs around on Chris, straddles him, one hand pushing his face back, hits him hard. Once. Twice.Chris grimaces, groans, helpless now. A flick of sound.A knife whipped out of Barnes' boot and pressing against Chris' throat. Chris bleeding from the nose and mouth.Rhah suddenly spinning into action, fast now, realizing what Barnes intends to do. RHAH EASY BARNES, EASY MAN!!!Barnes is on the verge - about to kill again.Chris waiting.Rhah coaxing him, moving closer. RHAH (CONT'D) You'll do dinky dau in Long Binh Barnes. Ten years - kill an enlisted. Ten years, Barnes, just climb the walls. DON'T DO IT ...Barnes' eyes tremble in the candle light, his scars ugly, a spasm clenching and locking his facial muscles. Then suddenly he is calm again, very calm. We sense a man of enormous self-control.Suddenly he flicks his knife across Chris, leaving a mark below his left eye.Chris gasps. Looking up at Barnes rising off him. The boots alongside his face.The Men looking on, the tension lowering. BARNES (contemptuous) Death? What do you guys know about it?He walks out. Quietly.EXT. AIR SHOTS - JUNGLE, CHURCH - DAYChris sits at the very edge of a Huey Chopper, bandana around his forehead, long hair blowing in the wind, Barnes' mark below his eyes, slicked out now like a jungle veteran, looking down at the VILLAGE where the massacre occurred.The Village is still a smoking ruin, a few peasants and water buffalo straggling like ants to reconstruct.Bunny, next to Chris, pops his gum, indifferent. Barnes, next to him, shifts, reads a map.Rodriguez is praying, his mouth moving without audible words, getting ready for the drop.King is making last minute adjustments in his pack.Bunny now nudges Chris, points. The Church in the Jungle where Elias was killed is visible. An outline of the Cemetery. Uncomfortable memories play over Chris' face. CHRIS (V.O.) They sent us back into the valley the next day - about 2,000 metres from Cambodia - into a battalion perimeter. Alpha Company had been hit hard the day before by a sizeable force and Charlie Company had been probed that night. There were other battalions in the valley, we weren't the only ones but we knew we were going to be the bait to lure them out. And somewhere out there was the entire 141st NVA Regiment.The BATTALION PERIMETER now breaks in the clear ahead. Smoke grenades of various colors are being popped on the cleared LZ. It's not big, its radius 200 yards, heavily sandbagged, deeply dug, rolls of barbed wire protecting it, radio antennas sprouting from the CP - and surrounded on all four sides by jungle.The First Chopper rocking down, whipping up dust clouds. Chris jumps out, moving out fast as the Second Chopper starts in.EXT. BATTALION CP - PERIMETER #3 - DUSKAt the Battalion CP, the Major confers with Captain Harris and two other Captains. Two NVA PRISONERS are sitting on their knees, interrogated by Vietnamese Kit Carson scouts and a U.S. Sergeant, their hands tied.The Scout slaps the shit out of the NVA.EXT. PLATOON CP - PERIMETER #3 - DUSKAll this is watched from a distance by Ace and Doc and Lt.Wolfe at the Platoon CP. Ace and Doc are digging the foxhole, the ace of spades in Ace's helmet band, sharing the information with Tony and Francis. ACE ... they caught 'em last night pulling some shit on Charlie Company. They found maps on 'em, man - got a friend at Battalion says they had every fuckin' foxhole here fixed on it. Distances, treelines, our claymores, trip wires, everything? I shit you not. DOC Shit, so what the fuck are we doing here? Why don't we move ... (no answer) Bad vibes, man, I got bad vibes here. Where are the new guys they provided us anyway. TONY I heard we's in Cambodia right fuckin' NOW. FRANCIS You kidding man ...Rhah comes up, a walking stick in hand, huge pirate kerchief on his head, semi-naked. RHAH You wanted to see me sir? WOLFE Jackson, looks like you got Elias' squad now. RHAH Squad? I didn't know we was still referring to this platoon in terms of squads sir. (with a snicker for Ace and Doc) WOLFE (indicating a rough drawing in the dirt) These two holes are yours ... RHAH Begging your pardon Lieutenant but my holes are far enuff apart you could run a regiment through there and nobody'd see them - I got five live bodies left ... WOLFE I don't want to hear your problems, Jackson. You'll get new men any day. Time being you make do like everybody else. RHAH Hey Lieutenant I didn't ask for this job, I ... WOLFE (leaves) I don't want to hear about it Jackson. RHAH (amazed, looking off at him) You don't want to hear about it? WOLFE (turns) That's right. I don't want to hear about it 'cause to tell you the truth, I don't give a shit okay ... I just don't give a shit anymore. RHAH (shrugs, to himself) Right ... WOLFE (passing Ace digging the CP hole) This is one time we could sure use Elias. ACE (to Doc) 'Some people say I'm wishy washy. Maybe I am. Maybe I ain't.'EXT. PERIMETER #3 - CHRIS' FOXHOLE - DUSKOn the edge of the perimeter, King puts out his claymore, unraveling it back towards his FOXHOLE, intersecting MEN form the Third Platoon, who file out on a night ambush, skirting the trip wires, demoralized, silent. Eye exchanges, but no words.Chris sits on the foxhole watching the ambush go out, smoking a joint by himself, depressed. King comes in with the claymore wires, attaching them to their detonators. Their foxhole - as are all of the Platoon's - is positioned just inside the treeline bordering the LZ, so that they are quite isolated from the center of the perimeter where they first landed. KING Glad I ain't going with 'em. Somewhere out dere man is de Beast and he hungry tonight ... Man, what a bummer. Ten days and a wakeup and I'm still dealing wid this shit - fuckin' etcetera and ad infinitum man ...The LAST SOLDIER in the file recedes into the foliage. KING (CONT'D) (noticiing Chris' silence) What's the matter wid you? ... How come you ain't writing no more? You was always writing something home. Looks like youse half a bubble off, Taylor.He doesn't answer, makes a futile gesture. KING (CONT'D) What about your folks? That grandma you was telling me about? ...Chris shakes his head. KING (CONT'D) Girl?Chris' eyes answer negatively. KING (CONT'D) Must be somebody? CHRIS ... there's nobody. KING (shifts, uncomfortable) You been smoking too much shit babe. Gotta control that. Takes a man down ... I remember when you first come out to the bush, you was straight as a ... CHRIS Who gives a shit!He shifts, annoyed, prepares his grenades along the sand bags. King shrugs, preparing his meal, sings himself a snatch of song, a good natured man. KING (soft) 'People say I'm the life of the party cause I tell a joke or two although I may be laughing loud and hardy deep inside I'm blue ...' CHRIS Y'ever get caught in a mistake King and you just can't get out of it? KING Way out of anything, man. Just keep your pecker up, your powder dry, the worm WILL turn. How many days you short? CHRIS Not just me ... it's the way the whole thing works. People like Elias get wasted and people like Barnes just go on making up rules any way they want and what do we do, we just sit around in the middle and suck on it! We just don't add up to dry shit. KING Does a chicken have lips? Whoever said we did, babe. Make it outta here, it's all gravy, every day of the rest of your life man - gravy. Oh shit, superlifer!O'Neill comes up, jerks his thumb at King. O'NEILL Get your gear together, King, your orders just come through. KING (speechless) You jokin' me man? ... shit, you ain't kidding! Cocksucker. Oh wowww ... the lifers made a mistake, they cuttin' me some slack, they cutting me some slack Taylor! (dances) O'NEILL Collect your shit and move out King. You got 10 minutes make the last chopper. Cee ess em oh or your ass is mine. (to Taylor) Francis is coming over. (hurries off)King packing up, double time. Chris comes over, helps him, trying to share his happiness but not succeeding. CHRIS Hey that's great King, that's great ... you take it on home for me, you tell 'em King ... got your address right? You know where you can reach men, man. Anytime! KING I gotta didi man. Don't wanna miss that chopper. I'll send you a postcard. After I get me some. I'll send you some tapes too man. This new guy Jimi Hendrix man, whew ... you okay Taylor? Just 'member take it easy now, don't think too much, don't be a fool, no such thing as a coward cause it don't mean nuthin. Jes keep on keepin' on. Okay my man ...Chris, fighting his depression, slaps hands with King. A brief moment, they look at each other. A friendship that was forever and is now over. They both sort of know they'll never see each other again. CHRIS I'll walk you out ...Francis coming up, hauling his pack.EXT.PERIMETER #3 - JUNIOR'S FOXHOLE - DUSKOn another foxhole, Rodriguez positions his M-60, brings up his ammo belts (no loaders left). Tony eating, nervous, watches him, shakes his head. TONY Rumor goin' round is they got tanks. Soviet shit, T- 34's ... (pause) Hey Rodriguez, don't you ever say nothing? RODRIGUEZ (a thick Mexican accent) What do you want me to say, it's all the same ol' shit.Tony shrugs, back to his food.EXT. PERIMETER #3 - JUNIOR'S FOXHOLE - DUSKOn another foxhole, Barnes in full pack checks the soles of Junior's bare feet. Bunny and O'Neill looking on. Junior is moaning as if he's dying, overdoing it by a mile. BARNES So what's the problem? O'NEILL Says he can't walk. BARNES Shit. Get your boots on Martin, next time I catch you putting mosquito repellant on your fuckin' feet I'm gonna courtmartial your nigger ass. JUNIOR (cracks) DEN COURTMARTIAL ME MOTHERFUCKAH, bust my ass, send me to fucking Long Binh, do your worst but I ain't walking no more. De white man done got his last klik outta me. Get some chuck dude to hump this shit. BARNES (suddenly soft) Get me that centipede, O'Neill.O'Neill is puzzled. What centipede? O'NEILL Sarge? BARNES Yeah that long hairy orange and black bastard I found in the ammo crate. I'm gonna put it in this asshole's crotch, see if he can walk.Junior's eyes bulge with suspiscion and sudden terror, his demeanor totally alert now. O'NEILL (understanding) Oh yeah, right away Sarge. JUNIOR No! Wait! I'll walk, fuck you I'll walk, I don't need this shit! I don't need this shit! BUNNY Fucking pussy, fuck it Sarge, I gotta have him on my hole?Barnes going. O'Neill catching up with him. O'NEILL Uh ... Bob. Like to speak to you. Take a minute. BARNES (stops) Yeah, what is it? O'NEILL (shuffles, reluctant) Bob, I got Elias' R&R ... It's coming up in 3 days. Going to Hawaii. See Patsy. (pause, no reaction from Barnes) I never asked you for a break, I was hoping you ... you'd send me in on the chopper with King ... what do you say Chief? (a friendly punch) BARNES I can't do that for you, Red ... We need every swinging dick in the field. Sorry bout that ... (starts to go) O'NEILL (pleads) Hey Bob, come on! Talk to me hunh, it's your friend Red, I'm only asking you for three days chief ... BARNES I'm talking to you Red and I'm telling you no. Get back to your position. O'NEILL (grabs him, desperate) Bob, I gotta bad feeling about this, I ... I'm telling you I got a bad feeling, man, I don't think I'm gonna make it .. y'know what I mean? BARNES (quietly) ... everybody gotta die sometime Red ... Get back to your foxhole.A look in his eyes. Very remote, very cold, silencing O'Neill. Barnes walks off.EXT. PERIMETER #3 - BATTALION LZ - DUSKAt the LZ, King runs out, gets on the last SUPPLY CHOPPER with some other men. It lifts off, swirling dust, the last rays of daylight.Chris watches from a Battalion CP area, waves back - the chopper sound receding in the horizon, the comparative silence of the jungle now creeping up on the perimeter. He turns and starts back to his foxhole.A man is watching him. He's sitting on a sandbag, face in shadow. It startles Chris, something about him. Something different. A deep West Virginia drawl. SMOKING MAN Got a light? CHRIS Uh sure ...Goes over reluctantly, flicks his lighter, cupping it from the wind. The flame catches a sudden, uneasy expression in Chris' face as he sees the Smoking Man.We come around and see what Chris sees in the light of the flame. A face that smiles at him like a death's head, a large ugly blister on his mouth, whiskered, pale - but smiling. A sick man wouldn't smile like this, but he is smiling too intimately, as if he knows Chris from way back. But he doesn't. Or does he? Perhaps it was the man Chris first saw at the airstrip when he came in-country. The same expression of evil, of a man who has seen too much and died, but still lives.Chris feels an unnatural fear passing through him.The Man stands, sucking on his cigarette, stretches. He is thin and very tall, towering over Chris. SMOKING MAN ... later.He goes. Chris watches him, wondering. The man never looks back, a leisurely, confident stroll. In that moment, there is an EXPLOSION from way out in the jungle, about a quarter of a mile. Then another, then small arms fire. Chris looks, knows.EXT. PERIMETER #3 - RHAH'S FOXHOLE - DUSKOn his foxhole, Junior listening to the distant firing. Bunny is introspective - talking to Junior as if he were his best friend, although they have nothing in common. BUNNY ... y'know some of the things we done, I don't feel like we done something wrong but sometimes y'know I get this bad feeling. Not all that shit the Chaplain's jamming up our ass 'bout the Good Lord ... just a fucking bad feeling, y'know what I mean? Don't know why. I told the Chaplain the truth is I really like it here. You do what you want, nobody fucks with you. Only worry you got's dying and if dat happens you won't know about it anyway. So what the fuck ... (chuckles)Junior looks at him like he's really crazy. Back to the distant firing. JUNIOR (pissed now) Fuck! I gotta be on this hole with YOU man. I just know I shouldna come!Bunny finds it funny, laughs. BUNNY Don't you worry bout a thing Junior, you with Audie Murphy here, my man ...EXT. PERIMETER #3 - COMPANY CP - DUSKAt the Company CP, Captain Harris is talking urgently into the radio. HARRIS Bravo Three Alpha! Send me a grid. Send me a grid, over!A young inexperienced VOICE screams back into the radio amid intense background FIRING filtered by radio and sounding disembodied. RADIO VOICE We're pinned down sir, they're in the fucking trees! The trees - HARRIS OK, Three Alpha, calm down now, son. I'm gonna get you a fire mission ASAP. Smoke'll be first ... RADIO VOICE (panic) Lieutenant's dead sir, radioman look dead sir, I don't know where the map is Captain! They're all around us sir. They're moving! Hundreds of em! I can hear em talking gook!!! Jesus Christ! HARRIS (calming him) ... Just spot the smoke son and tell me where to shift. We'll get you out of there. Just hang tough and tell me where the rounds hit, over.EXT. PERIMETER #3 - PLATOON CP - DUSKAt the Platoon CP, Barnes stands, legs akimbo, watching the jungle, anticipating the coming fight as overhead we now hear the 155 SHELLS whistle from a 10-mile distance - passing above them - then pounding down into the jungle in the near distance. Barnes turns, glances at Wolfe, smiles.EXT. PERIMETER #3 - COMPANY CP - DUSKAt the Company CP, Captain Harris is back on the radio. HARRIS Bravo Three Alpha six. How bout those rounds son? Can you adjust fire? (waits) Three Alpha, if you can't talk, just key the handset twice over. (waits)Silence, then a vague MURMURING - becoming clearer and clearer. It's in Vietnamese. The radio is then bashed in, the sound like thunder in the Captain's ear. He looks at his RTO, both of them shocked.EXT. NVA JUNGLE - NIGHT/DUSKIn the Jungle itself, the ENEMY is moving. Flurries of movement and sound, blurred visuals. Hands taping a piece of cloth to a tree, moving on - revealing a luminous arrow pointing left ... Figures moving past it.Hands unraveling a thin wire waist-high, backwards.Hands sliding along another wire. We now see a moving helmet with a luminous plaque on the back of it, leading a file up the wire. To a Jump-off point about 50 yards outside the U.S. perimeter. Figures crouch. Whispers. Movement. A pen flashlight on a drawing of the foxhole positions. The NVA moving out in several directions at once.EXT. PERIMETER #3 - CHRIS' FOXHOLE - NIGHTOn their foxhole, Chris and Francis wait anxiously. Overhead the ARTILLERY keeps pounding into the ambush area. Now SMALL ARMS FIRE can be heard picking up at random spots along the perimeter. The battle, like a tide, is obviously moving closer to them. FRANCIS Oh shit me I wish I was back in Memphis now, oooh baby this is gonna be a motherfucker!Chris says nothing. Suddenly off to their right, about 80 yards, a BLUE FIZZLE of light erupts. CHRIS Trip flares! ... Rodriguez's hole.Rat-tat-tat-tat, rat-tat-tat. Machine gun, outgoing, followed by a sharp explosion. A ROCKET! CHRIS (CONT'D) RPGs! Shit! VOICE (crying) MEDIC!! DOC! DOC!A FIGURE thrashes up through the foliage behind them. RHAH (a fierce whisper) Taylor! Francis! CHRIS Over here!Rhah jumps into their hole with them, out of breath. CHRIS (CONT'D) Rhah! What's going on. Rodriguez's hole just got ... RHAH (gets his breath) Okay, here it is - one, we got gooks in the fuckin' perimeter. FRANCIS Oh shit! Dat's it, dat's it ... RHAH They got through Alpha Company! Anything behind you don't identify itself, blow it away. Two - air strike's coming in. They gonna lay snake and nape right on the perimeter so stay tight in your holes and don't leave 'em.FLARES now shoot up over the perimeter. Reds, greens, yellows, squeaking as they float doen on their parachute hinges throughout the ensuing battle. The perimeter is illuminated at spotty intervals - sometimes arctic bright, sometimes inexplainably dark til new flares shoot up.Chris, Francis, Rhah all look up at the light, and hug their holes even tighter, feeling naked in the light. Flares cut both ways. RHAH (CONT'D) ... they're probing us, they gonna go up and down this line all night trying to get through. Stay cool ... I'll be back ...Runs out of the foxhole. Chris suddenly reacting to a noise out front, gripping Francis and pointing to the sound.A BODY is thrashing towards them, about twenty-five yards, not yet visible but a little awkward and lungy in it's movement, as if desperate.Francis, tense, is about to pop his grenade when Chris grabs him. CHRIS Hold it! (loud whisper) WHO IS IT!But the body keeps coming, lurching now, falling. FRANCIS Come on man! CHRIS No!A POP! - then a fizzle of BLUE LIGHT as the Figure hits their trip flare - revealing itself to be large, with no helmet, and gasping, terrified of the trip flare. TERRIFIED SOLDIER DON'T SHOOT! DON'T SHOOT! CHRIS It's the ambush! (calling out) In here, man! Hurry.The SOLDIER now runs in like a fullback going down for the tackle, sprawling into the hole, knocking Chris and Francis down beneath him.He is sweating, terrified, a white boy with an unrecognizable, filthy face, no rifle, no helmet, his fatigues torn all over. TERRIFIED SOLDIER Water! Water!Chris gives him his canteen, his shoulder and neck hurting from the collision. The Soldier sucks down the canteen. TERRIFIED SOLDIER (CONT'D) (between gulps) They'se all over the place, hundreds of em moving this way! They wiped us out man, we didn't have a chance! Where's the CP? FRANCIS (points) Back there.The Soldier struggling out of the foxhole. TERRIFIED SOLDIER You guys get outta here! They're right on my ass and they ain't stoppin' for shit!He tears off, leaving Francis in a state of incipient panic. He looks at Chris. FRANCIS Taylor, let's di-di man!Chris adjusting position, facing the front, anger in his voice. CHRIS You go.Francis hesitates, stays.INT. PERIMETER #3 - BATTALION CP - NIGHTAt the Battalion CP, the Major is inside his BUNKER, busy between his radio nets. MAJOR (to RTO 1) Get me Bravo! RTO 2 Charlie Company reports hand to hand on the perimeter sir. Three holes are down. They need help! MAJOR (looks at his watch, to his XO) Okay move two squads from Alpha down there. Where's that goddamn air strike, you bet your ass if we were the First Cav they'd be here now. RTO 1 (handing him the transmitter) Bravo Six sir.EXT. PERIMETER #3 - BATTALION CP - NIGHTJust outside the Bunker, a MASTER SERGEANT spots something in the flarelight. TWO FIGURES with helmets running towards him at an angle. MASTER SERGEANT Hey you boys! Which Company you ...A sudden burst of FIRE cuts the Sergeant down in his tracks and the Figures fly by.Soldiers in the immediate area spot them. SOLDIER #3 SAPPERS! SOLDIER #4 THE BUNKER!A burst of fire. One of the RUNNING FIGURES goes down. An Explosion engulfs him.INT. PERIMETER #3 - BATTALION CP - NIGHTBut the SECOND SAPPER runs right into the bunker in a kamikaze charge, the light from inside momentarily revealing a bulky satchel strapped on his person and the face of the astounded Major. RTO 3 SIR!!EXT. PERIMETER #3 BATTALION CP - NIGHTThe Bunker EXPLODES with a deafening roar.EXT. PERIMETER #3 - CHRIS' FOXHOLE - NIGHTIn their foxhole, Chris and Francis look at the curling ball of flame, stunned. CHRIS Oh no!EXT. PERIMETER #3 COMPANY CP - NIGHTIn their foxhole, Chris points. CHRIS There!SHAPES moving in the trees. Chris blows his claymore handles. One explosion on top of the other out front. Then return fire. Flashes from a muzzle, rak-a-tak, rak-a-tak, rak-a-tak, the heavier sound of an AK-47.Chris opening up with his 16. Then being blown down by a grenade explosion at the edge of the foxhole. Then nothing. A pause. Chris' ears ringing, slightly concussed.Suddenly from down the perimeter there is the sound of a faulty LOUDSPEAKER crackling out from the jungle. A pidgen English, the words mauled, then a snatch of patriotic North Vietnamese music, played from a scratchy old record.Chris uneasy, looking at Francis who looks terrified. The SOUND now of a whistle. Two hoots, then a sharp third. Then yelling.Chris grabbing Francis' arm, pointing. There is a VOICE directly out to the front of them - muttering something in Vietnamese, no more than 20 yards away but unseen. It's like hearing a casual conversation from another room, then the sounds of several bodies moving in separate directions - encompassing the foxhole. CHRIS (CONT'D) (to Francis, a whisper) Out of the hole! Fast!Chris crawls out, stops, looks back. Francis won't leave, hugs the shelter. CHRIS (CONT'D) (a fierce whisper) Goddamit Francis! Move your fucking ass. Now ... THEY GONNA BLOW IT!Reaches in and yanks him with all his strength half out of the hole. Francis, finally sparked, now moves out. Both of them bellying it into the brush behind the hole.Not a moment too soon. An RPG ROCKET whistling in.The FOXHOLE takes a direct hit, caving in, whirls of smoke spinning off it.Chris and Francis look back covered with debris. They hear movement.SHADOWS are swarming towards the foxhole, firing into it to finish them off.Francis grabs Chris' leg, indicating they get out of there. Chris hesitates - a moment, a decision made now in angry passion - rises up and charges the NVA.SHADOWS scatter and tumble, caught by his surprise close-range fire.Chris moving forward into them, blasting, agile, his instincts finely tuned, and totally insane in this moment of time, indifferent to his life. He YELLS insanities, pumping himself up with the adrenaline of courage. CHRIS (CONT'D) DIE YOU MOTHERFUCKERS!!! YAAAAAAAAA!!!Screams from the dark shadows, they fall.Chris smashing a wounded SHADOW with the butt of his gun down into the foxhole. He jumps back into it, reoccupying it. Blasting the dead gook.Opening fire out to the front, driving the Shadows back.Francis watching this, amazed. After a moment of doubt, he too tears back out to join Chris in the foxhole, unbelieving, as he jumps in with him. FRANCIS (joining in the frenzy) YAAAAAHHHH!!!! KILLLLL!!!Then stunned again to see Chris suddenly rise up out of the foxhole and charging forward into the jungle. He is now over the edge. CHRIS (charging off into the jungle) DIE YOU MOTHERFUCKERS!!!EXT. PERIMETER #3 - BUNNY'S FOXHOLE - NIGHTIn his position, Bunny is experiencing the same 'high' as Chris, yells out at them. BUNNY Come on MOTHERFUCKERS, COME ON!!!Junior, huddled in the hole with him, speechless and terrified, looks at him with huge eyes. The guy is nuts. An incoming grenade explosion shakes the hole. BUNNY (CONT'D) (laying out more fire) Come on you can do better than that! JUNIOR Fuck this shit! I ain't dyin' in no white man's war! Ise didi-ing this motherfuckah!Junior freaks out, throws his rifle down and hobbles out of the hole on his damaged feet at an incredible speed. BUNNY (yelling after him) Get back here you gutless shit ...A SHAPE suddenly out of nowhere, looms up fast behind Bunny, running at him.Junior, insane now with fear, runs smack into a tree, knocked senseless and reeling to the ground.Bunny turning back too late. The crazy drug-high Shape is yelling something like: NVA SOLDIER Diiiiikaaeeeeeee!And jumps right into the hole blasting Bunny point-blank in the chest.Bunny struggling to consciousness at the bottom of the hole. THUCK! A boot in the gaping hole where his chest was. Bunny, his eyes uncomprehending. A muzzle is jammed into his mouth, breaking his teeth with an ugly sound. Another yell from the NVA trooper. A flash of orange red light. Bunny's face blown to bits.Junior, dizzy from the blow to his head, looks up.A yellow flare somewhere out there and a SHADOW above him digging a bayonet into his belly with a grunt. A long oozing sigh of belly gas.An explosion. The Shadow with the bayonet staggering blind without eyes, holding his brains with his hands.Barnes throws open the empty LAAW rocket casing he has just fired off and charges forward with a yell, cutting down another NVA in Bunny's old foxhole. Jumping into the hole, the bottom of which is a liquid pit of guts, blood, ooze. Another Enemy running in on him. A short burst of fire. Barnes hit. Firing into each other. Barnes draggin him down into the pit with him, grappling alongside the corpse of Bunny. Barnes uses an entrenching tool to finish him off.EXT. PERIMETER #3 - PLATOON CP - NIGHTAt the Platoon CP, small arms fire is all over the place, the NVA closing the ring. Ace, in the foxhole, yells to Wolfe. ACE Negative contact. Can't raise Barnes, Two Bravo, Two Charlie, nothin'! WOLFE Get me Six!Nervously aiming his rifle as a man comes running towards them, staggering. ACE It's Doc!Doc plops down, out of breath, drained, bleeding all over his chest. DOC They're coming through all over! I can't ... I can't do ... WOLFE Where's Barnes! DOC I think he's dead ... it's awful, they're all dying.Wolfe is stunned, Barnes his last crutch against the chaos. Ace handing him the handset. ACE Six! CAPTAIN HARRIS' VOICE Yeah! Send traffic or clear this goddamn net! WOLFE We've been overrun Captain, we're pulling back. Over!EXT. PERIMETER #3 - COMPANY CP - NIGHTAt the Company CP, things are just as bad. A Radioman is sprawled over a smashed radio. Captain Harris is in a bunker working the radios himself, as his Radiomen fire at yelling, running FIGURES scurrying all over the inner perimeter. HARRIS (furious voice) Bravo Two, Six! Goddamit where the hell you plannin' to pull back to! They're all over the perimeter. Be advised Lieutenant, you WILL hold in place and you will FIGHT and that means YOU, Lieutenant. Out!EXT. PERIMETER #3 - PLATOON CP - NIGHTAt the Platoon CP, Wolfe is astounded by the message. Ace looking at him straight in the eye. ACE You're an asshole Lieutenant, you know that.As he abandons his radio, grabs up his 16 and moves to an adjacent position. Doc, a quiet man up to now, is treating a wounded Parker who is now hit by bullets and thrashes wildly and jerks to a stop. He is obviously dead but Doc goes on trying to finish the bandage. Suddenly he goes beserk, grabs a 16, starts firing and yelling.EXT. PERIMETER #3 - COMPANY CP - NIGHTAt the Company CP, Harris gets on the radio with the air strike. One of the RTOs on a separate radio calls over. RTO #5 Captain, Third Battalion Armoured's on its way with tracks 'bout 2 kliks west! HARRIS (ignores it, into radio) Snakebite leader, Ripper Bravo Six, we're gonna need you soonest be advised I've got zips in the wire down here, over! PILOT'S VOICE (distorted high frequency) Roger your last Bravo Six, Snakebite lead we can't run it any closer. We're hot to trot and packing snape and nape but we're bingo fuel. It's your call, Six actual, Over.Harris looks around. The decision made. HARRIS Snakebite leader, Bravo Six, for the record, it's my call. Dump everything you got left ON MY POS. I say again, I want all you're holding INSIDE the perimeter. It's a lovely war. Bravo Six Actual and Out.Pilot's reaction. Very calm. A Farmboy twang. PILOT'S VOICE Roger your last Bravo Six. We copy it's your call. Get em in their holes down there. Hang tough, Bravo Six we are coming cocked for treetops. Whiskey to Echo ... Snakebite Two, this is lead. Last pass on zero niner. Watch my smoke to target, expend all remaining. Follow my trace ...The transmission drops out. Harris now looking up into the darkened skies. The planes in no way evident - but they're there. And they're coming.EXT. PERIMETER #3 - PLATOON CP - NIGHTAt the Platoon CP, the NVA are sweeping fast, crouched, using cover, yelling. Small fires are raging all over the perimeter.Ace putting out fire, is hit. The NVA are coming over his sandbags. A burst of fire. Ace goes down.Doc has cracked up, firing at anything, indifferent to his safety. One of the NVA goes down. The Doc is hit in the side, wounded, struggles, is hit again, but keeps trying to fire. He's hit a third time - in the jugular vein. Nearby, Wolfe is firing madly at the oncoming NVA. One goes down. A second is wounded, yelling in pain. Wolfe reloading his 16, popping up, too late. One of them is coming over the sandbags. He sees Wolfe. Wolfe sees him. In the same moment.Wolfe hesitates, frozen up. The gook unloads his AK-47, a magazine worth, into Lieutenant Wolfe, who crashes down, sprawled unnaturally on the jungle floor. A spasm shakes his body. Then stops. Dead.Boots run by.EXT. PERIMETER #3 - O'NEILL'S FOXHOLE - NIGHTAt his foxhole, O'Neill peeks up out of the hole. Several NVA are darting through the jungle 20 yards away, coming towards him, talking loudly to each other. He quickly slips back down in the hole, entwining himself with the approaching NVA, clinking metal.The NVA stop, glance in the hole. Something is muttered. They run out.O'Neill opens his eyes, breathes.EXT. PERIMETER #3 - BARNES' FOXHOLE - NIGHTBARNES swings his mashed M-16 full into the FACE of an enemy SOLDIER who screams and goes down, Barnes chopping at him with his club. His helmet is gone, his shirt ripped to shreds, his shoulder bleeding, making his last stand against the hated Gooks.Nearby HUFFMEISTER is hit in the shoulder by a running FIGURE and collapses into the bottom of the foxhole, crying out in pain.The running FIGURE runs past right into the full force of BARNES' swinging rifle. SMACK! He crumples.INTERCUTChris bellies into the area, see Barnes, recognizes him, amazed.An ENEMY fires, taking Barnes high in the left thigh. A patch of skin blowing off. Barnes rigidly goes down on his left knee like a wounded horse. Holds there, staring into the Enemy, waiting for the coup de grace.A series of SHOUTS and the Enemy staggers dead as:Chris lays out a curtain of fire. A GRENADE goes off near him, blowing off his helmet. Dazed, Chris rushes forward firing from the hip - sucked into Barnes' suicidal vacuum. He cuts down an Enemy as:Barnes, given a new lease, limps angrily forward and tackles a wounded Enemy trying to crawl away, terrified at the sight of Barnes coming after him. Barnes lets out a vivid scream.And beats the soldier mercilessly, half the stock of his M-16 flying apart broken.Chris swivels alert on his knees. A pause. No more enemy. Turns to Barnes, his back to Chris still beating at the dead corpse. CHRIS Barnes!Barnes swivels instinctively off the corpse and for a petrifying moment Chris sees:A maddened scar of a face, lips specked with foam. The EYES - refracted in a red-green flare overhead - the pupils distorted into angry red points.For Chris it is no doubt the most frightening single image he has seen in his life. It will be in his nightmares forever. The essence of evil: wrath, obsession, anger, fear, hatred, permanence - he is paralyzed.Barnes smashes him full across the face with the broken stock of his M-16. Not even conciously, for at this point, his mind has gone over the edge and the entire world is his enemy. American or Vietnamese, it makes no difference as he strikes Chris harder and harder.Chris struggles, moans, his teeth and nose cracked. Barnes emits another chilling yell an springs like a humpback up on his good right leg, the left bent - set to deliver the killing blow, the mangled rifle pulled to its highest arc. CHRIS (CONT'D) Nooooooooo!The PHANTOM FIGHTER JET comes now like a great white whale. One big beautiful monstrous beat of deafening sound. Its silver and white belly hurtling low over the treeline in one giant leap of sound momentarily illuminated by a flare. Then a monstrous ROAR of anger.The bomb ripping Barnes off the body of Chris and spitting Chris across the jungle floor - crashing into a tree some 30 yards away.FADE OUTEXT. PERIMETER #3 - CHRIS' JUNGLE - DAWNFADE BACK IN. Vague sunlight. Blurry. Chris fluttering his eyes. A sharp MOVEMENT in the bush. His eyes fight their way open.SOFT EYES are watching him from behind foliage. A soft, furry head, alert, rigidly still.Chris fights his way up to his elbow, in pain, looking at the eyes. The head turns and in one fluid move, bolts. Gone. Like the wind. A deer. A big brown deer. Or was it? Chris will never be quite sure. But whatever it was, it was surely a sign of grace - the grace of Elias. This he knows as he feels himself for the first time alive.And in pain. His left hand torn and bleeding, shrapnel in his side, cuts on his face, dried blood caking him. Looking around his garden of eden. A messy jungle floor. Cordite fumes. Burned bush and trees. Torn sandbags. Dead NVA. Bird songs somewhere in the distance. It is the very crack of dawn, a pink-red sun casting long oblique light patterns through the trees. A holy light.Chris pushes himself to his feet, feels his weight and the pain. He walks. In the near distance, towards the LZ area, there's the sound of Armored Personnel carriers grinding, men moving, calling out in Americanese. But Chris is alone here.He fishes up an AK-47 from a dead NVA. Checks it, a weapon. Walks on.EXT. PERIMETER #3 - BARNES' FOXHOLE - DAYPast scores of NVA bodies. Past the Foxhole where Bunny lays dead in the bottom, faceless. Looking over at Junior bayoneted to the ground, dead. NVA everywhere around the hole, some of them still moving, badly wounded.Chris looking around, then noticing a movement a little further out in the Jungle. Then he sees who.The uniform is shredded, the figure obviously hurt in several places (thigh, back, neck, hand) but not mortally so, now struggling to right itself, dragging its face up from a belly-down position. Streaked with dirt and blood, we see Barnes once again re-emerging from the dead.Chris steps over to him, a solemn look on his face. Barnes looks up, begs. BARNES Get me a Medic will ya. Go on ...Chris doesn't move. Barnes looks at him again, reading the intention that has crossed Chris' mind. An expression of surprise crosses his face, then amazement, almost shock. BARNES (CONT'D) Fuck you in hell ...Chris shoots him. Once. Twice. Three times. Silence ...Barnes is finally dead.Chris looking at the corpse, numbed, no exultation in his expression. Just cold satisfaction and little feeling left.Behind him, the SOUND of a big machine moving. He turns.A huge Nazi flag on an antenna looms up in the bush, followed by the great belly of a turreted dragon crunching down a tree for its breakfast.A big tough GERMAN SHEPARD comes boudning at him sniffs, followed by a flak-jacketed MONSTER MAN - filthy and greasy, unshaven face, earring in his left ear, 'DEATH CORPS' scrawled on his shirtless flak jacket and a drawing of a death's head, he looks like a cross between a pirate and a hell's angel. Behind him, a SECOND MONSTER MAN and the ARMORED PERSONNEL CARRIER grinding its engine, a human skull hanging from its turret. MONSTER MAN (to Dog) Bozo! Get back here!His eyes passing on Chris like so much meat. MONSTER MAN (CONT'D) (to Chris) Can you walk outta here?Chris nods. The Soldier pointing to the LZ behind him as a sign he should go that way. The other Soldier already stripping the NVA dead, as the APC grinds on into the jungle, reconnoitering.Chris walks out of the jungle, head bowed, nauseated, mixed feelings roiling him.EXT. PERIMETER #3 - FRANCIS' FOXHOLE - DAYIn another foxhole, Francis waits, the sounds of the approaching APC cutting through. He thinks about it a moment. It must be fast. It must be a hard cold decision. Now!He pulls out his K-bar and with one last anguished hesitation, drives it into his thigh muscle.Francis yells out and collapses in his hole.EXT. PERIMETER #3 - O'NEILL'S FOXHOLE - DAYIn another foxhole, O'Neill, unscratched but covered with dirt, waits tentatively as SOLDIERS arrive at his hole. They're a little awed by the sight of the tough-looking O'Neill emerging from his foxhole like Sgt.Rock, dozens of dead NVA littered around him. APC SOLDIER #1 You alone Sarge? O'NEILL Fuck yeah. They all left me, bunch of fuckin' faggots. APC SOLDIER #2 Man, you gonna get yoself a silver star. O'NEILL Fuck the silver star. You got any booze?EXT. PERIMETER #3 - RHAH'S FOXHOLE - DAYRhah, alive and well, is poking around the NVA corpses with a long gnarled walking stick, looking like a crazy Johnny Appleseed with his pants rolled up on his thin hairy ankles and wearing a red bandana tied in a four-knot around his head.As one of the APC SOLDIERS carves an ear off a dead NVA, Rhah works his way through the torn bloody pocket of an NVA Troop in full rigor mortis, extracting what he thought was there - a wrapped cellophane of heroin.Rhah's face glows with satisfaction as he tastes it, then snorts it. With a certain satisfaction of triumph over the grim circumstances. RHAH (to the powder) Yeah, that's good shit ...EXT. PERIMETER #3 - LZ - DAYCHRIS is hauled out on a litter. Morphined, his eyes watching it all from somewhere deep in his brain. Passing:Groups of SOLDIERS looking like bowery bums and moving like rats through the smoke and garbage snooping for souvenirs with wheezy tired eyes and grunts of greed.Passing a bulldozed PIT with heaps of NVA BODIES in them. a BULLDOZER pushing another set of bodies in, like photos of a Nazi death camp.Nearby, two burly SOLDIERS lift a WOMAN NURSE and with a once-through build for momentum, toss the fresh body into the pit.Chris, numb, goes by. RADIO OPERATOR (into radio, exhausted) - 37 U.S. KIA, 122 wounded and still counting. Estimate 500 Victor Charlie KIA, 22 wounded and still counting. Over. 2ND RADIO OPERATOR Sir, a television crew's coming in with the General -CAPTAIN HARRIS doesn't respond; at this point he doesn't give a shit, standing apart from the radios looking numbly at the remnants of his boys filtering by on litters.Chris intersects him now, Harris' eyes looking blankly, then nodding sickly trying to give him encouragement. Just coming to the edge of tears, choking it back, and turning back. These are his sons who are lost. A good officer.Rodriguez, wounded, is lifted up in his litter and moved out to the waiting MEDIVAC CHOPPER, a huge red cross painted on a white square.Doc goes by on another litter, then Ace, Adams, Huffmeister, etc.Then Francis is littered by, bandages around his leg, a big smile on his face. FRANCIS Hey Taylor, you okay man? CHRIS Yeah. How 'bout you? FRANCIS Jes' fine man, jes fine! Ain't never felt better! Both of us two timers man, we're out. (gives him a slap as he goes by) See you at the hospital man, we gonna get high-high yessir ... (goes off)The Medic points to the chopper. MEDIC (to Chris) That's your ride man, you ready? CHRIS (tries a smile) You bet.Chris starts towards it, the Medic assisting him.EXT. PERIMETER #3 - LZ - DAYSgt.O'Neill watches the loading process forlornly from the distance. Captain Harris intersects him. HARRIS You got Second Platoon Sergeant. O'NEILL (reflexively) Yes sir -And as Harris moves away, O'Neill is left thinking. Finally there is a certain frustration to his actions; he has taken such great pains to stay alive that the tuition he pays is precisely to stay in this Jungle. Inevitably his time will come - one way or another.His eyes now follow the MEDIVAC CHOPPER upwards, whatever is left of his shrunken soul yearning to go with it.EXT/INT: PERIMETER #3 LZ CHOPPER - DAYAs the Chopper rises off the battlefield, Chris, who is sitting at the edge so that he has a full view out the open door, waves back at Rhah.EXT. PERIMETER #3 - DAYRhah, at the edge of the treeline, vigorously shakes his walking stick at him, his other hand a fist, waving them, emitting his cry. RHAH Baaaaaaaaa!!!!!!Defiance. Pride. Dig me, I'm Rhah - and there isn't nobody like me in the world.EXT/INT: PERIMETER #3 - LZ CHOPPER - DAYThe chopper - with its huge red cross painted on - now rising to meet God. Smashed on morphine, Chris looking out at the waving ants below.Now the trees, the skyline and the chopper is moving fast over the devestation. The jungle forever locked in his memory, Chris looks back, copious, quiet tears flowing from his eyes. CHRIS (V.O.) I think now, looking back, we did not fight the enemy, we fought ourselves - and the enemy was in us ... The war is over for me now, but it will always be there - the rest of my days. As I am sure Elias will be - fighting with Barnes for what Rhah called possession of my soul ... There are times since I have felt like the child born of those two fathers ... but be that as it may, those of us who did make it have an obligation to build again, to teach to others what we know and to try with what's left of our lives to find a goodness and meaning to this life ...The music surges now to its full strength as we replay bits of film with each actor's name listed - some with silly, clowning looks, others sober, haunted. Gardner, Tex, King, Rhah, Lerner, Sanderson, Manny, Big Harold - all the boys ... and then Barnes staring quietly into the camera, and lastly Elias - shirt off, bowl of grass in hand, his big, beautiful smile. FADE OUT: \ No newline at end of file diff --git a/unformated_scripts/Script_Pleasantville.txt b/unformated_scripts/Script_Pleasantville.txt new file mode 100644 index 0000000000000000000000000000000000000000..4833c5cad23e4b89c57db715dcd59e781838a027 --- /dev/null +++ b/unformated_scripts/Script_Pleasantville.txt @@ -0,0 +1 @@ +PLEASANTVILLE A Fairytale by Gary Ross October 7, 1996 "He was part of my dream of course but then I was part of his dream too." - Lewis Carroll "Through the looking glass" FADE IN: INT. HIGH SCHOOL AUDITORIUM. DAY. A college counselor stands at the Podium lecturing the high school seniors about their future. COLLEGE COUNSELOR ... For those of you going on to college next year, the chance of finding a good job will actually decrease by the time you graduate. Entry level jobs will drop from thirty-one to twenty-six percent, and the median income for those jobs will go down as well ... There is some rustling in the audience. COLLEGE COUNSELOR (CONT) Obviously, my friends, it's a competitive world and good grades are your only ticket through. By the year Two Thousand ... INT. HIGH SCHOOL. HEALTH CLASS. A different teacher lectures a different class of students. HEALTH TEACHER ... The chance of contracting HIV from a promiscuous lifestyle will climb to one in one hundred and fifty. The odds of dying in an auto accident are only one in twenty-five hundred. (beat) Now this marks a drastic increase ... INT. HIGH SCHOOL. SCIENCE CLASS. Same angle. Different teacher. SCIENCE TEACHER ... From just four years ago when ozone depletion was at ten percent of its current level. By the time you are twenty years old, average global temperature will have risen two and a half degrees. Even a shift of one degree can cause such catastrophic consequences as typhoons, floods, widespread drought and famine. REVERSE ANGLE. STUDENTS. They stare back in stunned silence. One of them, DAVID WAGNER, sits in the front row with a pencil in his mouth. Nobody moves ... SCIENCE TEACHER (chipper classroom tone) Okay. Who can tell me what famine is? CUT TO: 1958. Birds are chirping. The sun is shining. All the hedges are neatly pruned and the lawns are perfectly manicured. A sweet stillness hangs over the SUBURBAN STREET, which is bathed in beautiful BLACK AND WHITE. MAN'S VOICE (OS) Honey, I'm home. SUBURBAN HOME. GEORGE PARKER enters the front door and hangs his hat on the coatrack. He sets his briefcase down and moves into the foyer with a huge smile on his face. It's a frozen smile that doesn't seem to be affected by too much in particular--like a tour guide at Disneyland. WOMAN'S VOICE (OS) Hello darling. WIDER. MRS. GEORGE PARKER (BETTY) enters, untying the back of her apron. She is a vision of '50s beauty with a thin figure and concrete hair. Betty crosses to her husband and hands him a fresh martini. She kisses him on the cheek. BETTY How was your day? GEORGE Oh, swell. You know, Mr. Connel said that if things keep going the way they are, I might be seeing that promotion sooner than I thought. BETTY Oh darling that's wonderful! (an adoring gaze) I always knew you could do it. WAGNER LIVING ROOM. NIGHT. 1996 -- (LIVING COLOR) DAVID WAGNER sits on his couch watching this entire action on a sleek new Sony T.V. He stares riveted at the set with a big smile on his face. David wears black shoes, black pants, black t-shirt and a black baseball cap, not a nerd exactly ... He reaches next to him into a huge bag of Doritos, never taking his eyes off the show. GEORGE (OS) (on T.V.) Hey, Pumpkin! What's that smell? (sniffing) Is that your meat loaf? DAVID (by rote) "It might be ..." BETTY (OS) (shy smile) It might be. He leans over and kisses her--again on the cheek. GEORGE (OS) Oh Pumpkin! You sure know the way to this man's heart. There is a loud and inappropriate LAUGH TRACK. David smiles wider and is just about to reach for more corn chips, when his real MOTHER'S VOICE rings out from the other room. DAVID'S MOM (OS) ... Bullshit Barry, that wasn't the deal INT. KITCHEN. David's mom paces the room with the phone in her hand. Between the plastic surgery and the make-up it's hard to fix her age. DAVID'S MOM No--you have custody the first weekend of every month and this is the first weekend ... (pause) I don't care if yesterday was the thirtieth, this is still the first weekend. INT. LIVING ROOM. Her words drift in from the kitchen while David stares at the show. DAVID'S MOM (OS) No I can't bail you out, I'm supposed to go to La Costa ... (beat) Well if I want to get a mud bath, that's really my business, isn't it? He reaches out and TURNS UP THE SOUND. PLEASANTVILLE plays at an unnaturally high volume. GEORGE (on T.V.) Hey. Where are those kids? DAVID (reciting--a little louder) "Right behind you father." BUD AND MARY SUE TOGETHER (on T.V.) Right behind you father. RESUME T.V. (BLACK AND WHITE) The Parkers' son and daughter (BUD AND MARY SUE) enter the foyer together. Mary Sue wears her hair in a pony tail. Bud has on a Letterman's sweater. MARYSUE Mother ... Father ... Bud has a little surprise for you. BETTY What's that Bud? Bud hesitates for a moment, then folds up a shiny blue ribbon. BUD First prize at the science fair. There were lots of swell projects--guess mine was just the "swellest". BETTY Darling that's wonderful. Except there's no such word as "swellest". BUD Well gee whizz, Mom. lt wasn't the "English" fair. There is another jarring LAUGH TRACK. CLOSE UP. DAVID. He smiles right along with it. David stares transfixed at the set despite the continuing conversation in the other room. DAVID'S MOM (OS) Well sure they can stay by themselves, Barry, but that's not the point. You said you'd take them. (beat) Well fine--they'll stay by themselves then. DAVID (quietly) What's a mother to do? BETTY(OS) (on T.V.) Oh--what's a mother to do? CLOSE UP. DAVID. He grabs another handful of Doritos staring at the T.V ... CUT TO: EXT. HIGH SCHOOL. (SERIES OF SHOTS) DAY. A cacophony of modem life. Beepers and nose rings--blue hair and tattoos. Dissonant boom boxes compete with one another. The hormones are running crazy. SCHOOL COURTYARD. lt is a large open area, alive at lunchtime. Groups of kids hang out together, divided by their various cliques. The music pounds in the background. CLOSE UP. DAVID. He stands at one end of the courtyard beside a chain link fence. Beads of sweat form on David's forehead as he speaks to someone in front of him. DAVID Hi. I mean ... (pause) ... Hi. REVERSE ANGLE. A very pretty blonde girl smiles back at him. It's a warm, welcoming smile. CLOSE UP. DAVID. DAVID Look. You probably don't think I should be asking you this. I mean--not knowing you well and all ... REVERSE ANGLE. GIRL. She smiles wider at him, inviting him to continue. CLOSE UP. DAVID. DAVID (pause ...) I mean I know you--everybody knows you ... I just don't know you ... technically. REVERSE ANGLE. GIRL. She nods at him ... CLOSE UP. DAVID. DAVID Well--I was just wondering--'cause I see you all the time in Algebra and I heard you humming that Van Halen song and I really like that song too ... (pause) Anyhow, I don't know what you're doing this weekend but my Mom's leaving town and she said I could use her car so ... REVERSE ANGLE. GIRL. She positively beams. The girl flicks her blonde hair and stares back at him adoringly. CLOSE UP. DAVID. Instead of smiling back, David just stares, then looks at the ground. WIDE ANGLE. SCHOOLYARD. For the first time WE SEE THAT SHE WASN'T TALKING TO HIM. David stands a good hundred yards across the schoolyard, rehearsing this speech while the young woman stands face to face with a much cooler boy. He has a cell phone and a very hip haircut. ANGLE. DAVID. David watches as the girl throws her arm around the boy's waist and heads out of the playground ... CUT TO: EXT. "LUNCHEON COURT". DAY. David and his friends are all gathered around the plastic picnic tables and vending machines that form the luncheon court. The chess club meets at one end and there are some teachers at the other. All the cool kids are on the other side of the fence but David and his friends eat lunch at the same table every day. HOWARD Okay, whose window did Bud break when he was playing with his father's golf clubs? DAVID Easy. Mr. Jenkins. What JOB did Mr. Jenkins have? Howard looks at him, puzzled. DAVID (CONT) Salesman. What did Bud and Mary Sue name the cat they found in the gutter? HOWARD Scout? DAVID Marmalade. They all nod--and murmur with admiration. DAVID (CONT) Okay--here's one: Why did their parents come home early from their weekend at the lake? Everybody thinks. Nobody knows. DAVID (CONT) 'Cause Bud didn't answer the phone and they were worried about him. It's quiet for a beat. HOWARD You're unbelievable. You'll win this thing for sure. When is it on? DAVID Marathon starts at 6:30. Contest's tomorrow at noon. HOWARD (weighing it) A thousand dollars ... And it's on all night? DAVID Of course it is Howard. That's why they call it a Marathon. CUT TO: THE OTHER SIDE OF THE FENCE. David's sister, Jennifer, hangs out with her friends in the parking lot. All the girls are dressed in the exact same uniform: Blue jeans, beeper on the belt, white V-neck T shirt, car keys in their hand. (Even the girls WITHOUT a car hold car keys in their hand). Jennifer is by far the prettiest and, thus, is the leader of the group. They all look toward the Luncheon Court where David and his friends are hanging out. KIMMY Omigod, it's so mortifying, being related to him. I can't believe you're like-- JENNIFER Only on my parent's side. KIMMY I know, but you're like ... twins and stuff. (beat) You must be from like, the cool side of the uterus. A group of VERY HIP boys strut through the parking lot. They bop up and down with the self-confidence of all cool sixteen year olds. The girls freeze when they see them. KIMMY (CONT) Omigod, omigod--here they come. CHRISTIN Don't do anything. Just don't like--do anything ... JENNIFER (cooly) Hi Mark. DIFFERENT ANGLE. He pauses then looks over at her. Jennifer slides sinuously off the fender of the car, flicking her hair like a young racehorse. She has a perfect 16 year old body and the whole parking lot knows it. Mark heads over to her, followed by his lackies. The two groups meet at the tail-gate of the Nissan Pathfinder like a small summit conference. MARK (to Jennifer) Hey. JENNIFER (right back) Hey. Beat ... MARK'S LACKEYS (to Jennifer's lackies) Hey. JENNIFER'S LACKEYS (back to them) Hey. MARK Saw you at the mall yesterday. JENNIFER Yeah ... Saw you too. Everyone nods for a moment or two. No one says anything. JENNIFER (CONT) So you watching Pearl Jam on MTV tonight? MARK Yeah. (beat) Jennifer pauses, weighing the next statement. JENNIFER My mom'll be out of town. Kimmy and Christin positively GASP while Mark's Lackeys mumble and glance around. The import of the thing isn't lost on anybody. Mark bobs up and down a little faster. MARK So uh ... Maybe we could uh ... JENNIFER (smiling) Cool. MARK (nodding faster) Cool. VARIOUS LACKEYS Cool. Everybody bobs and shuffles for ” beat, when Mark nods, summoning his flock. CUT TO: EXT. WAGNER HOUSE. DUSK. lt is a south-westem version of "Leave it to Beaver." The uniformity of Suburbia has been washed in earth tones. There is a red tile roof gracing every home. All the houses have the same anemic palm tree. It's a urban planner's version of hell. JENNIFER (VO) ... I know, I know--He's just like so FINE ... I'm still like: "Omigod." INT. WAGNER HOME. lt is just as sleek and impersonal as before. Maybe more so at night. Jennifer crosses through the living room with the cordless phone attached to her ear. JENNIFER It was amazing, Daph ... I'm like: "Well my Mom'll be out of town." And he's like "Well then, maybe we could-- you know ..." And I'm like "Yeah, sure." And he's like "Well, cool." (beat) I know, he's just so smart. (pause ...) I don't know. Maybe that black thing I just got. (pause ...) It is not slutty, Daph, it's cute. (pause ... ) Well, "hello?" He's not coming over here to study ... (beat) I know. Well I'm jealous of you too sometimes. INT. DAVID'S BEDROOM. lt is studious and academic--not joyless, but not colorful either. David stands at his bedroom window, staring outside with a cordless phone in his hand. DAVID ... He's not homeless Howard, they just don't say where he lives. (pause ...) Well it's a silly question. (pause ...) Because nobody's homeless in Pleasantville. REVERSE ANGLE. HIS POV. His mother loads the final Louis Vuitton bag into her Mercedes. DAVID ... because that's just not what it's like. She fires up the car and pulls out of the driveway... DAVID (CONT) Listen Howard--it's almost six-thirty. I gotta go. INT. WAGNER LIVING ROOM. The huge black TV sits like a monolith in the middle of the room. All at once David comes bounding down the stairs making a B-Iine for the couch. Jennifer enters just as quickly from the other direction, fiddling with her clothes. DIFFERENT ANGLE. They hit the coffee table and reach for the remote control at exactly the same moment. Both of them freeze then look up at each other in shock. JENNIFER (stunned) What are you doing? DAVID What are you doing? Neither one moves. They clutch the remote together. JENNIFER David, cut it out. Mark Davis is gonna like be here in five minutes. DAVID Well great. The Pleasantville Marathon starts at six thirty. JENNIFER Pleasantville Marathon? DAVID (almost reverently) Yeah. Every episode ever. JENNIFER (getting hysterical) Omigod, I don't be-lieeeeve this! He's gonna like beeeee here! DAVID Weil great. You can watch TV upstairs. JENNIFER Upstairs! Up-staiiirs! There isn't any STEREO! Jennifer gets panicked and yanks at the remote. David yanks back and before they know it, the remote goes flying out of their hands, CRASHING onto the hardwood floor. lt smashes into a million tiny pieces. DAVID (breathless) Oh my God ... (sinking to his knees/ scooping up the remains) Oh my God ... JENNIFER David, stop stressing, you can like-- turn it on normally ... DAVID No you can't, Jen! It's a new TV. It doesn't work without a remote. David cradles the pieces like a fallen comrade, when the DOORBELL RINGS behind him. JENNIFER Oh my God! He's here! Jennifer sweeps some of the pieces frantically under the sofa and tries to adjust her outfit on the way to the door. David just stares in shock at the shattered plastic. Jennifer reaches the front door and wets her lips. She fluffs her hair quickly, sticks out her chest then swings it open. DIFFERENT ANGLE. FRONT DOOR. Jennifer steps forward with her sexiest smile, but it isn't Mark Davis on the other side. DICK VAN DYKE STANDS ACROSS THE THRESHOLD IN A TV REPAIRMAN'S OUTFIT. Jennifer looks at him puzzled. He steps forward, flashing her a chipper grin, toolbox in hand. DICK VAN DYKE TV repair. JENNIFER (beat) TV repair? DICK VAN DYKE Yeah. TV busted? JENNIFER (pause ...) Yeah ... DICK VAN DYKE (smiling wider) Well here I am. REVERSE ANGLE. DAVID'S POV. He glances out the front door toward a weird VAN parked at the curb. It says TV REPAIR on the side but looks like something from a medicine show. The antenna on top resembles a weather vane and the mural beneath it depicts a happy family from the 1950s, gathered around their TV set. Everyone wears a smile, including the dog. The hand-painted motto reads "Rob's TV Repair--WE'LL FIX YOU FOR GOOD." INT. LIVING ROOM. David looks back at Dick Van Dyke who smiles at him, then crosses to the living room STEPPING NIMBLY AROUND THE OTTOMAN. He heads toward the TV. DICK VAN DYKE (seeing the smashed remote) Holy cow. Look at that. Had a little disaster didn't ya fella. DAVID Yeah ... Sort of ... DICK VAN DYKE (setting down the toolbox) We'll get you fixed up in no time. He pops the top of the tool box while Jennifer and David just stare. It's a strange looking box with the same happy family painted on the side. Dick Van Dyke pulls out another remote. DICK VAN DYKE (CONT) I know how I'd feel if mine went out. Almost like losing a friend. DAVID (tentatively) You know, we didn't call any TV repair. DICK VAN DYKE Well that makes it a lucky day for both of us, hunh? Jennifer shuts the door and crosses down toward the living room. JENNIFER You think you could do this like soon? It's almost six thirty. DICK VAN DYKE What's the rush? DAVID (cutting her off) The Pleasantville Marathon starts at six thirty. At that moment there is a huge FORK OF LIGHTNING and a booming CLAP OF THUNDER. It literally rattles the walls of the house as Dick Van Dyke turns toward David. DICK VAN DYKE Pleasantville? David recoils slightly. Dick Van Dyke flashes him a smile. DICK VAN DYKE (CONT) Gosh, I loved that show. Watched it for years. JENNIFER That's not the reason. I've got a date at six thirty. DICK VAN DYKE (ignoring her/ leaning closer to David) Hey--who did Muff in take to the masquerade ball when her date came down with the measles? DAVID (stunned) ... Her father. DICK VAN DYKE Right. And how did she dress him? DAVID (still staring) ... Like Prince Charming. DICK VAN DYKE (studying David/ nodding) Nice ... Nice ... JENNIFER Um--hello? I've got like a social emergency here. DICK VAN DYKE (ignoring her) Remember the one where Bud lost his cousin when he was s'posed to be watching him? DAVID Yeah ... DICK VAN DYKE What department store did they go to? DAVID McIntire's. DICK VAN DYKE McGinty's. DAVID No. McIntire's. Remember: (sings) "For the very best in men's attire, Head right down to McIntire's." DICK VAN DYKE (stunned) That's right. He stares at David, speechless, for a moment, then smiles fondly and reaches beside him for his tool kit. DICK VAN DYKE (CONT) Say--why don't you take this remote instead. It's got a little more "Ooomph" in it. DAVID Ooomph? DICK VAN DYKE Sure. Big beautiful set like this--you want something that'll put you right in the show. JENNIFER (quickly) We'll take it. CLOSER. He flashes them a big smile and holds out a weird looking contraption that seems more primitive than space age. It's a strange combination of an early transistor radio and Flash Gordon ray gun. Dick Van Dyke extends it with pride, while Jennifer and David stare at him warily ... DAVID (beat) How much does it cost? DICK VAN DYKE Oh--couldn't charge you for something like that. It's free. JENNIFER Free? DICK VAN DYKE Oh sure. Big fan like yourself. It's the least I could do. There is a SECOND CLAP OF THUNDER even louder than the first. The house rattles for a moment then is quiet. DICK VAN DYKE (CONT) Well, I better get going. Your show's almost on, and ... (smiling at Jennifer) It's almost time for your date. He places the remote control gingerly on the coffee table and smiles at them. Dick starts across the living room when he suddenly catches his foot on the leg of the ottoman and tumbles end over end. He rolls on the carpet, executes a perfect somersault and comes right back to a standing position. David and Jennifer stare at him stunned when he looks back at them and smiles. DICK VAN DYKE (CONT) (grinning) Take care now. There is another flash of lightning as he reaches for the doorknob. David and Jennifer look at one another while the front door shuts with a THUD. It's quiet for a second or two before there is another CLAP OF THUNDER. David cocks his head. DIFFERENT ANGLE. David glances down at the strange contraption sitting on the coffee table. It looks a little scary. Slowly, very slowy, he reaches down and touches it. Nothing seems to happen so he picks it up. CLOSER. David points the remote toward the TV set with an apprehensive look on his face. He winces a little, then pushes one of the buttons. DIFFERENT ANGLE. The TV set turns on. Oprah's face fills the screen as an angry housewife screams at a transvestite! DAVID Hunh. It ail seems normal as he pushes another button. This time the channel changes. DAVID (CONT) (relaxing) Great. He continues to press the button, flipping through the channels. Jennifer sees that everything is fine and reaches for the remote. JENNIFER Lemme see that. DAVID No way. He continues to flip through the channels, coming to rest on the Pleasantville Marathon. BUD'S VOICE fills the room. BUD (OS) (on TV) Gee whizz, Mary Sue--why can't I borrow your transistor radio? MARY SUE (OS) (on TV) I promised Betty Jane she could use it over the weekend. FULL SHOT. TV SET. "PLEASANTVILLE" (BLACK AND WHITE) Bud and Mary Sue clutch either end of a small transistor radio. They seem to be in the EXACT SAME POSITION as David and Jennifer, who are struggling over the remote control. ANGLE. DAVID AND JENNIFER. She tugs the remote while David yanks in the other direction. JENNIFER Do you mind. This is like the most important moment of my whole life. DAVID Forget it Jen, I've waited a year for this. BUD (OS) (on TV) "But I told Mr. Miller I'd bring a transistor in to electric shop." MARY SUE (OS) (on TV) "And I told Betty Jean she could have it for the picnic with Roy." JENNIFER (yanking at it) God, David. Just give it to me! DAVID (yanking it back) Get lost! JENNIFER YOU get lost! WIDER. LIVING ROOM. She tugs at the remote trying to wrestle it out of his hands. David pulls in the opposite direction as they POINT IT DIRECTLY TOWARD THE TV. DIFFERENT ANGLE. SPECIAL EFFECT. A huge white light emanates from the contraption, like their own atomic blast wave. The entire room is filled with a BLINDING AURA for a second or two, before it actually gets sucked into the TV. WIDE ANGLE. LIVING ROOM. It is suddenly empty--illuminated only by the soft glow of the picture tube. David and Jennifer are nowhere in sight. INT. PARKER LIVING ROOM. (PLEASANTVILLE) DAY. David and Jennifer are standing in the middle of the 1950's living room, dressed in Bud and Mary Sue's clothing. They still clutch the remote control in the exact same position that was occupied by their fictional counterparts. David and Jennifer glance at one another, then look horrified around the room. THE WORLD HAS TURNED TO BLACK AND WHITE... DAVID (a whisper) Oh my God. JENNIFER What happened? DAVID I'm not sure. WIDER George Parker (Bud and Mary Sue's father) enters from the landing whistling a happy tune. He's dressed in a gray suit with a gray shirt, and a dark gray tie with little gray dots. GEORGE (as if to his own children) Hi Sport, hi Muffin ... Better get a move on, you're gonna be late for school. He continues to cross through the living room whistling into the kitchen ... JENNIFER (desperately) What did you do? DAVID I don't know. JENNIFER (examining her black and white skin) Uchh! Look at me?! I'm like so ... pasty! He glances down at the remote control that sits lifeless in his hand. David frantically presses the buttons but nothing happens. All at once, there is a voice behind them. VOICE (OS) Psst! Over here. DIFFERENT ANGLE. They whirl around to see DICK VAN DYKE'S FACE smiling at them from the TV set in the comer. It's an old '50s set with a big round picture tube. They run over to him as he smiles. His face is the only color in the room. DICK VAN DYKE (beaming) Told you it was your lucky day. Bet you thought I was just a fan or something. JENNIFER What happened? DICK VAN DYKE A miracle. They stare stunned at the TV set. DICK VAN DYKE (CONT) ... See, every time I thought I'd found someone they'd turn out to disappoint me. They'd know the early episodes, but they wouldn't know the later ones ... They'd know all about Muffin but they wouldn't know about Bud ... DAVID (to the TV set) What the hell's going on! DICK VAN DYKE Shh! Can't talk like that now. You're in ... (smiles) You know ... David glances around at his black and white surroundings. His "mother's" voice rings out from the kitchen. BETTY (OS) Bud. Mary Sue ... Breakfast is on the table. DAVID We're in Pleasantville? DICK VAN DYKE (grinning) Dream come true, hunh? JENNIFER (panicking) This isn't funny! I happen to have a very important date in like five minutes! DICK VAN DYKE Well, you don't have to worry about that anymore. FULL SHOT. TELEVISION SET. (COLOR) All at once the scene on the TV changes and Dick Van Dyke's picture gives way to a WIDE ANGLE SHOT of the WAGNER HOUSE. Mark Davis is standing at the front door, BANGING on the brass knocker. He checks his watch, shifts restlessly for a moment or two, then turns and heads down the flagstone walk never looking back. MARK DAVIS (under his breath) ... Bitch. INT. PARKER LIVING ROOM. (BLACK AND WHITE AGAIN) Jennifer flings herself at the screen, as Dick Van Dyke appears all over again. JENNIFER Noooooo! DAVID You--you gotta get us out of here. DICK VAN DYKE (recoiling slightly) Why would I do that? DAVID Because we don't belong! DICK VAN DYKE Oh sure you do ... "McIntire's Department store" ... "Their father dressed as Prince Charming." That was gorgeous Bud. DAVID My name's David. JENNIFER (wailing on the floor) Oh GOD ... DICK VAN DYKE (a little snippy) You know--this is a pretty strange way of showing your appreciation. DAVID Look--we appreciate it. We really do. We just--we want to go home now. DICK VAN DYKE (hurt) But you don't know how long I've been looking for someone like you. A long face slowly descends on him. DICK VAN DYKE (CONT) I'm very disappointed ... (deep breath) In fact ... I'm starting to get a little upset. David moves toward the screen. DAVID Don't get upset. DICK VAN DYKE (snapping back) Weil wouldn't you! You look for someone for years ... You pour your heart into it ... This is a privilege you know. (shakes his head) I don't think I better talk about this right now. DAVID Where are you going ... DICK VAN DYKE I don't think we should discuss this until I'm a little bit more composed. DAVID WAIT A MINUTE!! DICK VAN DYKE (turning his back) Maybe in a day or so when I'm not so emotional ... DAVID COME BACK!!! Dick Van Dyke shakes his head and walks out of the shot as the screen goes completely BLACK. It cuts out entirely as Jennifer and David just stare. David grabs the remote and starts rapidly pushing buttons. Nothing happens. DAVID (CONT) (dropping the gizmo) Oh God. JENNIFER What's going to happen? DAVID I don't know ... It's not possible ... (looking at her) Is it possible? BETTY (OS) Bu-ud ... Mary Sue ... Your breakfast is getting cold. DAVID It can't be possible. DIFFERENT ANGLE. Betty (their "mother") sticks her head into the living room wearing her black and white apron. She has a great big Pepsodent smile. BETTY Well, come on kids. You're not going off to school without a hot breakfast inside you ... They just stare at her. BETTY (CONT) Forward march. They exchange a strange little glance then slowly rise to their feet. Jennifer waits for David who forces a smile then starts toward the kitchen. BETTY (CONT) I just love you in that sweater Mary-Sue. It's so flattering. JENNIFER (dazed) Thanks. INT. KITCHEN. David and Jennifer walk two steps into the kitchen when they suddenly freeze--agape at the spectacle in front of them: THEIR POV. PARKER KITCHEN. Every breakfast food imaginable has been laid upon the table. There are hotcakes and sausages and biscuits and eggs. Pitchers of orange juice are dwarfed by the mountains of ham. The table literally sags under the weight of the food. George Parker lowers his morning paper and smiles at his children. GEORGE (once again) Morning kids. Better get a move on or you're going to be late for school. They nod, stunned, and wander forward into the room. Bright sunlight streams through the kitchen window as a gentle symphony of songbirds sings outside. David and Jennifer stare straight ahead as their "mother" adds some waffles to the heap. DAVID (under his breath) I don't believe this. JENNIFER Neither do I. GEORGE Well, c'mon. Dig in. David and Jennifer stare at her stunned as she puts two heaping plates at their places. Neither one moves. BETTY (to Jennifer) I put blueberries in them just the way you like. JENNIFER Actually--I'm not real ... hungry. BETTY (big smile) Oh nonsense young lady. You're going to start your day with a nice big breakfast. She takes Jennifer by the shoulders and "guides" her into the chair. Jennifer looks down at a huge plate of GRAY WAFFLES. BETTY (CONT) (oppressively chipper) Here. Why don't you have some waffle cakes. (beat) And there's sausage and eggs and some good crisp bacon ... (beat) ... And a ham steak. Betty drenches the waffles in syrup and slathers on a huge slab of butter. BETTY (CONT) ... And of course, a nice big bowl of oatmeal. Jennifer hesitates then glances over at her "mother" who looks at her expectantly. She glances at David who just looks stunned. Jennifer pauses then reaches down and takes a forkful of the oozing mess ... CUT TO: FULL SHOT. PAT BOONE. He stands facing the CAMERA in an actual Kinescope from 1958. The backdrop is a painted pastoral landscape and the background singers are all white debutantes. He wears a letterman's sweater and button down shirt ... PAT BOONE "... Tooty fruity--oh rooty. Tooty Fruity ... Oh rooty." He CONTINUES his homogenized version of Little Richard's nasty hit, (all the nastiness gone). It becomes a slow and lilting melody ... PAT BOONE (CONT) "... Tooty fruity--oh rooty ..." SERIES OF SHOTS. PLEASANTVILLE. The MUSIC CONTINUES as the CAMERA CUTS TO image after image of this strange "Utopia." The effect is a weird, sanitizied version of MTV--as if Ronald Reagan had shot a music video. There are men tipping their hats and women walking their dogs; cheery gas station attendants and smiling policemen. PAT BOONE (VO) (slowly ...) "... A wap bop a loo bop--a wap barn boom." Pruned hedges. Twin beds. BIG houses. The CAMERA CRANES DOWN in the middle of a beautiful tree lined street to find David and Jennifer walking up the sidewalk, holding their stomachs. JENNIFER I'm gonna hurl, David. I swear to God. DAVID Just take deep breaths. JENNIFER All that animal fat. I feel it in my pores or something. Jennifer clutches her stomach, but David's glance darts from side to side--totally absorbed. JENNIFER (CONT) I still don't see why we're doing this. DAVID We're supposed to be in school. JENNIFER We're supposed to be at home David! We're supposed to be in color! (wailing) Oh God ... A man calls out from across the street. MR. SIMPSON Hello Bud. DAVID Hello Mr. Simpson. MR. SIMPSON Hear your Dad got a new car. DAVID Oh yeah. A Buick. It's swell. JENNIFER You know him? DAVID Owns the hardware store. JENNIFER Okay, now you listen to me! I don't know what's going on but you'd better fix it! I had a date with Mark Davis and I even bought new UNDERWEAR! DAVID We just gotta play along for a little while ... till that guy shows up again. Then I'll talk to him and ... JENNIFER Play along? DAVID Well, yeah. I'm ... Bud Parker and you're ... um--Mary Sue. JENNIFER (ripping the barette from her hair) No! I'm not gonna do it! If I don't dress like this for Mom I'm sure as hell not going to do it for you! DAVID We don't have a choice Jen. We're stuck until he comes back. JENNIFER Why can't we just EXPLAIN IT? DAVID To who? Jen looks around this cheery little street, and the horror starts to dawn on her. At that moment, they hear a screaming SIREN and a bright GRAY FIRE ENGINE comes racing up the block. WIDER. Jennifer and David step back on the curb as the firemen come flying out of the truck, grabbing the ladder on the back. DIFFERENT ANGLE. (FOLLOWING THE FIREMEN) They work in perfect precision. Two firemen grab the base of the ladder while a third takes the front. They go tearing across one of the lawns, in full "emergency response" anchoring the ladder into the ground and winging it up into a tree. FIREMAN C'mere, kitty ... He emerges a moment later with the cat who was stuck in the tree. Jennifer sinks to the curb as he carries the kitten by them, petting it gently as he goes. JENNIFER Oh God, we are. We're stuck in like "Nerdville". (shakes her head) I always knew you'd pay a price for this. I knew you couldn't be hopelessly geekridden for this long without suffering some like, really tragic consequences. (voice wavering) ... But it's just not fair. I mean--I'm starting to get really--popular. Debbi Russell transferred to another school and my skin's been great since March and Mark Davis is starting to come around and ... BOY'S VOICE (OS) Hello Mary Sue. Jennifer turns to see a strapping blonde seventeen year old driving by in his convertible. He is extremely handsome with Jack Armstrong features and a Letterman's sweater. Despite her crisis, Jennifer's jaw drops open as he slows to a crawl. Biff Martin flashes a huge Pepsodent smile. The guy is a "dreamboat". BIFF (CONT) What's all the commotion? Where's the cat? JENNIFER Um ... It's ... Biff turns to see the fireman climb into the truck, with the kitty in his arms. BIFF Ah, right ... (smiling at her again) Well--guess I'll see ya later Mary Sue. He takes off down the street with the sun glinting on his really keen convertible. Jennifer gapes as he disappears around the corner. JENNIFER Who's that? DAVID Biff Martin. Captain of the basketball team. JENNIFER (still gaping) Does he--you know--like "me"? DAVID As a matter of fact he does. JENNIFER (flicking her hair) Hunh. CUT TO: EXT. PLEASANTVILLE HIGH SCHOOL. DAY. Streams of impeccably kept youngsters file through the double doors. All cheery and very pleasant looking. It looks like a Leni Riefenstahl movie. ANGLE. FROM ACROSS THE STREET. David stands beside Jennifer looking at the entrance to the school. Three girls huddle together by the front steps. JENNIFER Those are my friends. DAVID Peggy Jane, Lisa Anne and Betty Jean. JENNIFER (staring at them) Can we do any better? DAVID I don't think so. LISA ANNE (seeing her) Mary Sue. You're gonna be late for Geography. JENNIFER Okay ... She flicks her hair back--cops a first day of school attitude, and heads across the street like she owns the place. CUT TO: INT. GEOGRAPHY CLASS. LATER ... It looks like a propaganda film from the Eisenhower Administration. The boys all wear crew cuts and short sleeve button down shirts. The girls all have lacy dresses buttoned to the neck. Everyone stares straight ahead at the blackboard. ANGLE. FRONT OF THE ROOM. TEACHER. Miss Peters stands in front of the class with a pointer in her hand. She indicates a diagram that spans the length of the blackboard. MISS PETERS Last week Class, we discussed the geography of Main Street. This week, we're going to be talking about Elm Street. Can anyone tell me one of the differences between Elm Street and Main Street? (pointing) Tommy. TOMMY It's not as long? Jennifer looks stunned as several students nod. MISS PETERS That's right, Tommy. It's not as long. Also, it only has houses. So the geography of Main Street is different than the geography of Elm Street. ANGLE. JENNIFER. She glances around at several students who seem to be nodding in agreement. All at once, she thrusts her hand into the air. MISS PETERS Mary Sue. JENNIFER What's outside of Pleasantville? The teacher looks at her with a puzzled frozen smile on her face. She looks vaguely troubled. MISS PETERS What? (beat) I don't understand ... JENNIFER Outside of Pleasantville ... What's at the end of Main Street? The class lets out a knowing groan--as if to say "Oh. We get it now. Boy what a stupid question." Miss Peters gives a kind but condescending look. MISS PETERS Oh, Mary Sue. You should know the answer to that. The end of Main Street is just the beginning again. Miss Peters gives a big grin as a series of heads nod up and down. Jennifer stares straight ahead, dumbfounded ... CUT TO: INT. GYMNASIUM. DAY. There are fifteen to twenty boys scattered around the Gym. Each is dressed identically in white shorts and black socks with a "PLEASANTVILLE" jersey. SHOT. DAVID. He stands at the free throw line with a basketball in his hand. (Not exactly an athletic image.) David lets go of a jump shot that swishes effortlessly through the net. He looks a little surprised. DAVID Wow. He stares at the backboard slightly intrigued. David retrieves the ball and fires again, this time chucking it up blind. The ball sails through the hoop again, HITTING NOTHING BUT NET. FULL SHOT. OTHER SIDE OF THE GYM. Ten to twelve of his teammates fire simultaneously at the hoop. ALL OF THE SHOTS SAIL THROUGH THE HOOP, NONE EVEN NICKING THE RIM. The boys retrieve their shots as the coach claps his hands. COACH That's it men. Keep it up. Big game tomorrow. ANGLE. DAVID. He gets the ball and turns his back on the basket completely. David flings the ball wildly over his shoulder. It bounces off all the walls of the gym, then glides through the net as smoothly as the others. He stares in amazement. BIFF (OS) Bud ... WIDER. Biff Martin (the boy in the convertible) approaches from the other side of the Gym. He is a classic All American Hero-- somewhere between 4-H club member and a future astronaut. BIFF (a little nervous) Hi ya Bud. BUD Hi ya Biff. He fidgets nervously for a moment looking down. BIFF Can I ask you a question? BUD Sure. BIFF Well ... If I was to ask your sister ... What I mean is, if I was to go up to Mary Sue ... DAVID Oh God! Are we in that episode? BIFF What? DAVID I don't believe it. BIFF What's the matter? DAVID You want to ask her out tonight, right? And then you want to give her your school pin ... BIFF Yeah ... How'd you know? DAVID (shaking his head) Lucky guess. (beat) Look, Biff ... I don't think it's a real good time for that right now ... Biff's expression falls. He stands crushed in front of David. DAVID (CONT) What I mean is ... Mary Sue's been a little "different" lately ... BIFF (stunned) She won't go out with me? DAVID I didn't say that. It's just that right now ... BIFF I don't know what I'd do if she wouldn't go out with me ... All at once, Biff takes the basketball he's been holding and hurls it toward the hoop. The ball does a couple of revolutions of the rim, and then amazingly pops out. WIDE ANGLE. GYM. Play comes to a halt. ALL THE PLAYERS TURN AND STARE, DUMBSTRUCK AT THE SIGHT OF A MISSED SHOT. SHOT. DAVID. He retrieves the ball quickly then hurries back to Biff. David pulls him aside as play slowly resumes on the other side of the gym. DAVID (under his breath) Look, I'm sure we'll work something out. I'll talk to her or something. Biff looks at him, troubled. DAVID (CONT) Honest. It'll be fine. Biff nods, a little confused, as David pats him on the back. CUT TO: INT. CORRIDOR. LATER ... David stands off to the side with his sister, while class pours out around them. JENNIFER No way. DAVID One date, Jen--that's all I'm asking. If you don't go out with this guy we could throw their whole universe out of whack. JENNIFER It's too weird David. This place is giving me the creeps. Did you know all the books are blank? DAVID What? JENNIFER I looked in the library. They got covers with nothing inside them. DAVID What were you doing in a library? JENNIFER I got lost. (beat) Oh here ... look at this! She reaches into her purse and pulls out a book of matches. Jennifer tries to light a Kleenex on fire. DAVID JENNIFER! JENNIFER Just watch. You know why those guys just get cats out of trees? 'Cause nothing burns around here, that's why! They don't need any firemen ... Sure enough the tissue has become flame retardant. DAVID Jen, listen ... JENNIFER (trembling) I like--really need a cigarette, too. DAVID (putting his arm around her) I'll get us out of here. I really will. But if we don't play along we could alter their whole existence. We may never get home. She looks over at him, slowly. JENNIFER You really think anybody's gonna, like, notice if I don't have a chocolate malt with this guy. At that moment, three of Mary Sue's "friends" come tittering around the comer. They skitter up to her like a group of wind-up toys. PEGGY JANE (high-pitched--rapid fire) You won't believe what we just heard. LISA ANNE Biff Martin's going to ask you out. BETTY JEAN And that's not all ... PEGGY JANE No, that's not all ... ALL THREE TOGETHER He's going to give you his pin! They explode in a torrent of TITTERS all over again. Jennifer looks over at David. EXT. PARKER HOUSE. DUSK. A lone streetlamp glows in the foreground. Jennifer's voice plays OS. JENNIFER You sure I'm supposed to wear this? INT. MARY SUE'S ROOM. Jennifer emerges from the closet in a mohair sweater and a poodle skirt. Under the sweater she wears a 1950's "bullet bra" that turn her breasts into lethal weapons. JENNIFER (looking in the mirror) I could like kill a guy with these things. DAVID It's in your closet. JENNIFER (examining her profile) I've worn some kinky stuff before ... DAVID He won't notice anyway. JENNIFER What do you mean? DAVID They don't notice that kind of thing. JENNIFER So what's the point? DAVID Jen please ... JENNIFER He-llo? I've got like three pounds of underwire here ... DAVID Just go with the program--hunh? I'm late for work. CUT TO: EXT. SODA SHOP. DUSK. The flashing neon ice cream cone looks good enough to drink. Underneath it, the swirling script spells "SODA SHOP". Johnny Mathis drifts out into the evening air ... CLOSER. David comes sprinting up to the screen door and pauses to get his breath. He adjusts a little soda jerk's hat, then plunges inside. INT. SODA SHOP. Mr. Johnson, the owner and proprietor is wiping down the counter. He is a "pleasant" looking man, in his early forties wearing a white apron and black glasses. The strains of "MISTY" get louder as Bud lets the screen door slam behind him. MR. JOHNSON (looking up) Bud? DAVID Sorry ... I had to help my folks and then I couldn't find my hat ... MR. JOHNSON Oh. He stops wiping for a moment, holding the towel in his hand. MR. JOHNSON (CONT) I didn't know what to do. He stares at the rag a little troubled. DAVID What's wrong? MR. JOHNSON Well--I always wipe down the counter and then you set out the napkins and glasses and then I make the french fries ... DAVID (confused) Yeah ... MR. JOHNSON But you didn't come so I kept on wiping. He looks down at the towel clearly disturbed. David pauses for a moment then starts toward him. DAVID I'm sorry. He crosses to Mr. Johnson who has polished one section of the counter right down to the wood. David takes the towel out of his hand and folds it neatly in front of him. DAVID (CONT) (gently) You know, if this ever happens again, you can make the fries even if I haven't put out the napkins yet. MR. JOHNSON I'm so glad you're here. DAVID I understand. EXT. PARKER HOUSE. NIGHT. Biff's convertible rolls up to the curb with Pat Boone playing on the radio. He runs a comb through his short blonde hair before grabbing the bouquet of flowers next to him and heading up the walk. Biff rings the doorbell and, a moment later, Jennifer's silhouette appears in the doorway ... BIFF Oh. Mary Sue ... EXT. SODA SHOP. NIGHT. The place is really hopping now. All the spots in the parking lot are filled with vintage "jalopies" and several patrons are streaming through the door. The SAME JOHNNY MATHIS SONG is still PLAYING on the juke box, and the neon ice cream soda sign blinks against the sky. INT. SODA SHOP. David is trapped behind the counter, furiously working to keep up with the load. Several clean cut teenagers pepper him with orders while he yanks at the pumps and spiggots. It's clear he isn't used to this. DAVID (frazzled) Peppermint shake, chocolate soda, two orders of fries and a split? TEEN AGE GIRL Peppermint soda, two chocolate shakes, order of fries, and we'll split it. David nods quickly, wiping some sweat from his brow. He scoops some ice cream into the metal blender as Mr. Johnson comes up beside him. MR. JOHNSON There aren't any cheeseburgers. DAVID (turning) What? MR. JOHNSON Well, usually I put out the burger and then you finish with the lettuce ... DAVID Listen to me! Mr. Johnson recoils slightly. DAVID (CONT) Do you have the lettuce? MR. JOHNSON ... Yeah. DAVID Have you cooked the burgers? MR. JOHNSON (quieter) Yes. DAVID Well you can just put on the lettuce, finish the burger and pretend it was me doing it all along. Mr. Johnson stares at him. DAVID (CONT) Really. It's fine. DIFFERENT ANGLE. SODA SHOP ENTRANCE. The screen door swings open and is held there by the end of a Letterman's sweater. A moment later, Jennifer sashays through, parading her new Jane Russell profile. Her "girlfriends" TITTER from the comer as Biff rushes up to a table, and pulls out a chair. She sashays into it, brushing against him as she goes. ANGLE. DAVID. He stares motionless at the spectacle--concerned and apprehensive. David holds a hot fudge sundae under the soda spiggot and jerks back on the lever blowing ice cream all over his chest. FULL SHOT. TABLE. Biff stares across the table at Jennifer with the wholesome devotion of a labrador retriever. He looks like a cross between Troy Donahue and a mannequin. BIFF (haltingly) I sure am glad you said you'd come out with me tonight Mary Sue. JENNIFER (full blown "Mary Sue") Well "gee whizz" Biff. I sure am glad you asked me. He guffaws for a moment or two before speaking again. BIFF I don't know if I ever said this to you before, but, well ... I think you're just about the keenest girl in the whole school ... JENNIFER Really Biff? The keenest? BIFF Oh yeah. JENNIFER (all sarcasm) Gosh. I hardly know what to say. DAVID (OS) What can I get you two? WIDER. He stands at their table holding a little white pad of paper and a pencil. Jennifer looks up at her brother and almost bursts out laughing. He wears his soda jerk hat at a jaunty angle with large white apron tied around his neck. BIFF Oh, I dunno Bud. Guess I'll have my usual cheeseburger and a cherry coke. More goony laughs. David turns to Jennifer who puts on the same dopey countenance. JENNIFER Oh, I dunno Bud. Guess I'll just have a salad and an Evian Water. He shoots her a dirty look. Jennifer just smiles at him. JENNIFER (CONT) Cheeseburger it is. ANGLE. FOLLOWING DAVID. He glowers at her all the way back to the counter. David posts the order in the little carousel clip board, keeping an eye on the table the entire time ... RESUME. TABLE. Biff gazes across the table at Jennifer with an adoring look on his face. His hands are properly folded in front of him. She's still trying to do her best "Mary Sue." BIFF See the whole time we were in civics together, I really wanted to sit next to you--but you were always sitting between Peggy Jane and Lisa Anne. There is some TITTERING behind her. Jennifer doesn't respond. BIFF (CONT) ... And you always seemed so smart and everything. Like that report you did on "Our Town Hall." Gosh. I didn't know what I'd talk to you about. JENNIFER Well, sometimes talking's over-rated. Don't you think? BIFF Hunh? (goony laugh) Oh, right ... He still doesn't understand. Biff GUFFAWS for a moment or two then glances down at the table top. There is a momentary break in the Music as Johnny Mathis' "MISTY" starts up all over again. It's enough to make you shoot yourself. BIFF (CONT) So I know I haven't been steady with anybody, but I just don't want to rush it. You don't want to make a mistake with something that important. JENNIFER Oh, gosh no. BIFF I mean, there's kids that are even holding hands already but I figure there's plenty of time for that kind of thing later on. Don't you? JENNIFER Oh you bet. (beat) Will you excuse me for a sec? Jennifer gets up in a daze and heads toward the bathroom. ANGLE. DAVID. He freezes behind the counter and watches as his sister practically stumbles through the bathroom door. INT. BATHROOM. Of course there aren't any toilets. Jennifer gropes her way to the sink and leans against the counter. JENNIFER Jesus Chirist ... She turns and sits against the sink for a moment with a dumbstruck look on her face. Jennifer shakes her head for a moment or two, when the door to the bathroom bursts open. GIRL'S VOICES (overlapping) "Did he give it to you ... Did he give it to you ... I bet he gave it to her ... Did he give it to you?" JENNIFER (straight ahead) I don't think he knows how. They TITTER away, even though they don't get it either. It sounds like an aviary. LISA ANNE I bet he's gonna take her to Lover's Lane. PEGGY JANE I bet he is. I bet he is. BETTY JEAN I bet he's even gonna hold her hand! They TITTER some more as Jennifer shakes her head. INT. SODA SHOP. David is standing beside their table as she retums from the bathroom. DAVID (chipper) Couple of cheeseburgers and two cherry cokes. (pointedly) If you need anything, I'll be right over there. JENNIFER (Mary Sue) Gee whiz "Bud", what could we possibly need when we have each other? She flashes him a "sweet" smile then reaches out and TOUCHES BIFF'S HAND. Both boys jump slightly as Jennifer gives her brother a venomous grin then suddenly waves "bye bye." David just stares at her panicked as he moves haltingly back to the Soda fountain. BIFF (befuddled) Anyhow ... I really wanted to come over and sit next to you in civics but ... JENNIFER You want to get out of here? BIFF What? JENNIFER You wanna get out of here? You wanna leave? BIFF (confused) But where would we go? JENNIFER (shrugging) ... Lover's Lane. BIFF (swallow) Lover's Lane! There is an audible GASP from the booth behind them. Jennifer ignores it. JENNIFER Yeah. Lover's Lane. You up for it? CLOSE UP. BIFF. He just stares at her with his mouth open ... WIDER. Jennifer reaches forward grabbing his hand. JENNIFER C'mon. Let's go. FULL SHOT. SODA FOUNTAIN. David is in the middle of making a hot fudge sundae when he sees Jennifer leading Biff by the hand into the parking lot. Everyone at the counter is enjoying their dessert, when David lets out a blood curdling scream. DAVID NOOOOOO! He vaults over the counter making a bee-line for the door. Everyone turns and stares as he races toward the entrance ... EXT. SODA SHOP. Biff's car is just pulling onto the street when David sprints into the parking lot. He takes off after the car, sprinting down the street. DAVID YOU CAN'T DO THIS JENNIFER! HE DOESN'T EXIST! YOU CAN'T DO THIS TO SOMEONE WHO DOESN'T EXIST! The tail lights recede in the distance as David slows to a jog and then finally a walk. He pauses, winded, in the street, then looks up toward Heaven with a pissed off look on his face. DAVID (CONT) (to God) Thanks a lot. CUT TO: EXT. LOVER'S LANE. NIGHT. It is a beautiful tree-lined pond with a lush willow tree in the foreground. The moonlight glistens silver across the water. Several cars are parked in a row with their occupants HOLDING HANDS. Biff's convertible is parked at the end. SHOT. BIFF'S CAR. He sits stiffly at the wheel staring straight ahead. Jennifer is draped languidly across the seat beside him, making the most of her mohair sweater. She stares at Biff in a not-so- Pleasantville-kind-of-way. He glances over at her and swallows. BIFF Sure is pretty. JENNIFER (staring at him) Oh yeah ... Gorgeous. BIFF To be honest Mary Sue. I didn't think you'd want to come here until we'd been pinned for a little while. JENNIFER Oh, Biff. You can "pin" me any time you want to. She leans back a liftle more, draping her arm across the top of the seat. Her tits point toward the sky. JENNIFER (CONT) (breathy) Or maybe I should just "pin" you. He looks over at her a little confused, then breaks into his goony laugh. BIFF Oh, that's silly Mary Sue. How could you possibly pin me? CLOSE UP. BIFF. He is still guffawing when he looks over at Jennifer and suddenly freezes. Biff's eyes widen ... CUT TO: EXT. PARKER HOUSE. NIGHT. David comes sprinting up to the porch, then doubles over catching his breath. He clings onto the porch swing when the door opens behind him. BETTY Bud? WIDER. His "mother" and "father" come out onto the porch. David catches his breath then forces a smile. GEORGE Son, what's wrong? DAVID Have you seen Mary Sue? BETTY Why no. She's still on her date with Biff ... is something the matter? DAVID (still panting a little) No, I ... I was just ... worried about her. His mother and father exchange a "knowing" look. George rests a hand on his shoulder. GEORGE (oppressively paternal) Bud, your sister's a little older now and she's naturally going to start going out with boys. (beat) ... In fact pretty soon--she's even going to get married and make someone a good little home-maker like your mother here. (smiles at Betty/ inside joke) That's IF she can learn to bake. BETTY Oh, George ... GEORGE But your sister is a fine young woman and she would never do anything for us to be concerned about. CUT TO: EXT. LOVER'S LANE. NIGHT. The low gutteral MOANS of two coupling animals drifts out over the evening air. It is raw and primitive and desperate. The CAMERA begins to TRACK behind all the other cars--their occupants primly holding hands in a tender sillouhette. It finally COMES TO REST on a convertible at the end, with a girl's leg sticking out the window. CLOSER. A Letterman's sweater hangs over the door. The windshield is completely fogged. Jennifer's sweater is draped over the backseat. The car is rocking. INT. CAR. They are clenched in a mad embrace: all arms and hair. Biff pulls back for a moment, GASPING for air. His face is covered with lipstick and there is a crazy look in his eye. He's stuck somewhere between passion and fear as he clings desperately to the steering wheel. BIFF (some terror) I think I better go home now Mary Sue ... She holds onto his shirt as her knee rubs the dashboard. JENNIFER (breathless) ... Why? BIFF (more terror) I think ... I might be ill ... He glances down at his lap a little confused. BIFF (CONT) (a whisper) I think something's happening to me. He looks at his crotch then back at Jennifer. She reaches up and grabs a handful of his hair. JENNIFER It's s'posed to happen, Biff. BIFF It is? JENNIFER Trust me ... He looks at her completely confused as she pulls back down, and OUT OF FRAME ... CUT TO: EXT. PARKER HOUSE. NIGHT. A single light is burning in the kitchen window. BETTY (OS) Do you want some more cookies? INT. KITCHEN. David is at the kitchen table with a nauseated look on his face. There are three empty bottles of milk and cookie crumbs all over the table. DAVID (sick) Oh no ... I'm fine. BETTY How 'bout some Marshmallow Rice Squares? DAVID I'm fine. There is a knock behind them at the door. David springs up. BETTY Now who could that be. FOLLOWING DAVID. He crosses into the foyer ahead of his "parents." David swings open the door revealing Mr. Johnson, standing on the porch. DAVID Oh hi! MR. JOHNSON Hi there. You took off so quick. I wasn't sure if you were okay. DAVID Oh, yeah. Sorry. I'm fine. I just ... Had to get home early. Mr. Johnson leans in closer and speaks in a CONFIDENTIAL tone of voice. MR. JOHNSON Bud ... DAVID Yeah ... MR. JOHNSON (sotto) You know how when we close up, I close the register, then you lower the shades, then I turn out the lights, then we both lock the doors. DAVID Yeah ... MR. JOHNSON (proud) Well you weren't around this time so I did the whole thing myself. CLOSER. Mr. Johnson has a strange look of "manly pride" on his face. His shoulders square back. His chest puffs out a little. There is a sudden sparkle in his eye. MR. JOHNSON (more confidential) Not only that, I didn't even do it in the same order. First I lowered the shades, then I closed the register. He looks at David with pride then suddenly shifts his glance behind him. MR. JOHNSON (CONT) Oh, hello Betty. BETTY Hello Bill. Neither one says anything but neither one has to. David looks on in horror as his mother locks eyes with Mr. Johnson and his new found virility. DAVID (quickly) Well, look, thanks for coming by. I ... really appreciate it. He turns and starts hustling him down the walk just as Biff's convertible pulls up at the curb. INT. CAR. CLOSE UP. JENNIFER. She looks sweetly over at the driver's side of the car (OUT OF FRAME). JENNIFER Well gee thanks Biff. I had a really wonderful time. ANGLE. BIFF. OTHER SIDE OF CAR. He sits behind the wheel with a totally dazed look on his face. Biff stares stunned at Jennifer, like he just got hit with a couple of thousand volts. BIFF ... Me too. She leans over and kisses him on the cheek ... Then she bites his ear lobe, gently, and flashes him a big smile. Biff smiles back. EXT. CAR. She climbs out and shuts the door. Jennifer nods to Mr. Johnson as she heads up the walk. JENNIFER (sweetly) Hello Mr. Johnson. MR. JOHNSON Oh, hello Mary Sue. She is wearing a big smile by the time she reaches the porch. David grabs her arm. DAVID (urgent whisper) What did you do to him? JENNIFER (innocently) Nothing. She starts up the staircase. David follows her and the CAMERA follows them both. DAVID What do you mean "nothing?" That's not nothing. That's ... She reaches the top of the stairs and turns to him. JENNIFER Relax "Bud." We had a really nice time. (mock YAWN) ... Now I'm really tired and we gotta get up early for school in the morning so ... She flashes her brother an evil grin. JENNIFER (CONT) 'Night. She shuts the door softly in his face. David stairs at the gray wood in front of him. EXT. ELM STREET. NIGHT. Biff pulls up at an intersection with the same dazed look in his eye. The car rumbles at the stoplight for a moment or two, before he glances over to his right. CLOSE UP. BIFF. The stunned look turns to one of sheer amazement: BIFF'S POV. ROSE. There, against a gray picket fence, on a black and white street in a black and white neighborhood, A SINGLE RED ROSE IS BLOOMING. CUT TO: AERIAL SHOT. PLEASANTVILLE. MORNING It would be a stunning vista if it wasn't in black and white. The church steeple gleams in the sunlight. The perfect little houses look like a row of pretty toys ... INT. PARKER LIVING ROOM. DAY. David sits parked in front of the TV furtively turning through the channels. He flips the dial frantically. No sign of Dick Van Dyke. BETTY (OS) Bud. It's 7:30 in the morning. Are you watching television? He gives her a sheepish grin and sighs ... CUT TO: INT. SCHOOL GYM. DAY. It is the same configuration as earlier. Everyone wears their Pleasantville "Lions" jerseys, white sneakers and black socks. David enters the Gym a little groggy. He hasn't had much sleep. CLOSER. He looks up and stops. David cocks his head to the side, staring across the gym. HIS POV. BIFF AND OTHER BOYS. They are huddled at the far end, each holding a basketball under his arm. Biff is in the center of the group, animatedly describing something that is holding their RAPT ATTENTION. WIDER ANGLE. INCLUDING DAVID. DAVID (quietly) Oh no ... Biff continues his story while they stare at him with their mouths open. The Coach blows his whistle. COACH Come on men. Let's go. Big game next week. The huddle breaks up as the basketball players all wander toward the hoop. Ten shots go up at once but NOT ONE COMES EVEN CLOSE. Several clang off the rim, a couple hit the edge of the backboard. One slams into the side of the gym. Everyone stares in disbelief. DAVID Oh my God ... CUT TO: INT. SCHOOL CORRIDOR. DAY. David stands face to face with his sister in mid conversation. DAVID You can't do this, Jennifer. I WARNED you. JENNIFER So what's the big deal. Oh. Okay. They're like not good at basketball anymore. Like--omigod, what a tragedy. DAVID You don't understand. You're messing with their UNIVERSE. JENNIFER Well maybe it needs to be messed with. Did that ever like--occur to you? (beat) You know, they don't want to be like this, it's just that nobody ever helped them before. PEGGY JANE (walking past) "MS". How you doin'? JENNIFER Kewl "PJ". How you doin'? PEGGY JANE (relishing her new word) "Kewl." Jennifer smiles at her friend as she goes by. DAVID You have no right to do this. JENNIFER Well if I don't who will? DAVID They're happy like this. JENNIFER David, nobody's happy in a Poodle skirt and a sweater set. (pause ...) You like all this don't you? David recoils slightly. JENNIFER (CONT) I mean, you don't think it's just like dorky or funny or something ... you really like it. (shudders) Oh God! I am just so personally horrified right now ... DAVID I just don't think we have the right to ... JENNIFER David, let me tell you something. These people don't want to be geeks. They want to be "attractive." They've got a lot of potential, they just don't know any better. DAVID They don't have that kind of potential. JENNIFER Um--hello? You want to like take a look? Jennifer motions behind her to a boy and girt who are locked in an intimate conversation. The girl wears bobby socks and the boy wears a letterman's sweater, but the conversation is sexually charged. They speak to one another in a close whisper--their faces inches apart. All at once the girt gets shy and glances away. She blows a big bubble with her gum, but the BUBBLE IS BRIGHT PINK IN AN OTHERWISE GRAY FRAME. BOY Wow. What kind of gum is that? CLOSE. DAVID AND JENNIFER. He looks over in shock as she sucks the BRIGHTLY COLORED BUBBLE GUM back into her mouth. Jennifer flicks her hair. JENNIFER I gotta go. I'm meeting Biff at the flagpole. EXT. LOVER'S LANE. NIGHT. It is the exact same shot as before: The CAMERA STARTS ITS LONG SLOW TRACK behind the vehicles, except this time ALL OF THEM ARE ROCKING. Various limbs and articles of clothing hang out the open windows. MOANS of pleasure waft out over Lover's Lane as the pond glistens in the distance ... CUT TO: INT. DOCTOR'S OFFICE. DAY. It is a typical '50s family practice right out of Norman Rockwell. There is a jar of tongue depressors on the counter and a jar of lollipops beside them. Lisa Anne (Mary Sue's best friend) is being examined by Dr. Henderson. Her mother sits at her side. DR. HENDERSON Let me see it again. Lisa Anne opens her mouth and sticks out a BRIGHT RED TONGUE. Everything else in the frame is Black and White, but her tongue literally gleams with color. DR. HENDERSON (CONT) (examining it) Well ... I don't think it's anything to worry about ... It'll probably just clear up by itself. (to Lisa Anne) Cut down on greasy foods and chocolate. No french fries, that kind of thing. (aside/ to the Mother) It's just a "teenage" thing. EXT. LOVER'S LANE. NIGHT. It is really rocking now. More cars are lined up along the edge of the lake as the REAL (AND NASTY) VERSION OF TOOTY FRUITY (BY LITTLE RICHARD) PLAYS OS: LIL RICHARD (VO) "... Got a gal--her name is Sue. She knows just what to do ..." SERIES OF SHOTS. (MONTAGE) PARKER LIVING ROOM. TOOTY FRUITY CONTINUES AS DAVID FLIPS FRANTICALLY THROUGH THE CHANNELS LOOKING FOR DICK VAN DYKE. THERE IS ONLY A PEPSODENT COMMERCIAL. HE SHAKES HIS HEAD ... INT. HIGH SCHOOL GYM (MUSIC CONT ...) The Pleasantville Lions lose a game late in the second half. The scoreboard reads 84 to 16 ... INT. PARKER LIVING ROOM. (MUSIC CONT ...) David examines the back of the TV set ... INT. FURNITURE STORE. (MUSIC CONT...) A large group of customers is huddled in a circle, staring at an item on the display floor, like it is the monolith in "2001". They seem both confused and absolutely mesmerized as the CAMERA PUSHES IN TO REVEAL: a double bed ... INT. PARKER LIVING ROOM. (MUSIC CONT ...) David sits on the floor with a weird look of resignation as a Brillcream commercial plays in front of him ... LIL RICHARD (OS) "... A wop bop a loo bop--a wop bam boom!" SODA SHOP. NIGHT. ON DAVID. He heads toward work with his apron and his paper hat, but he's clearly disconcerted. David stops and stares at A BRIGHT RED HOT ROD parked at the front door of the restaurant. He shakes his head. SODA SHOP. The place has been transformed. What was cheery and benign a couple of days before, has gotten a little bit dangerous. The letterman sweaters have been replaced by leather jackets. The Pat Boone and Johnny Mathis have given way to real Rock and Roll. There is a James Dean/Marlon Brando edge in the air. Somebody has played the flip side. ANGLE. DAVID. He enters the soda shop adjusting his paper hat. A young couple makes out passionately in the doorway--all tongues and hands. When they break David sees that the girl's cheeks are FLUSHED WITH RED. He stares at her for a beat as they return to normal. David shakes his head. FOLLOWING HIM. He crosses to the counter and grabs his pencil and little pad of paper. Various things have already GONE TO COLOR AROUND THE ROOM: The JUKE BOX ... The COKE SIGN .. THE NAUGAHIDE STOOLS ... David crosses to one of the booths where his sister's arm is draped over Biff's shoulder. DAVID What'll it be? BIFF (still chipper as ever) Gee whizz, Bud. Guess I'll just have the usual. Cheeseburger and a cherry coke. Bud has already written it down. He glances over at his sister. JENNIFER Me too. Sounds swell. DAVID (pointed) Really? It seems so fattening. Before she can answer he smiles to himself and crosses behind the counter. Bud posts the order and turns to Mr. Johnson. DAVID (CONT) Two cheeseburgers, two cherry cokes. MR. JOHNSON (staring straight ahead) There aren't any cheeseburgers. DAVID (exasperated) Look. I thought we talked about this, I thought we said ... MR. JOHNSON Oh--what's the point, Bud? CLOSER. Mr. Johnson. looks up at him with a weird kind of emptiness in his eyes. David grabs his arm. DAVID C'mere. He pulls him along the counter toward a little office storeroom in the back. He yanks him inside and shuts the door. INT. STOREROOM. It is just as cheery as the rest of the place. There is a small table with a telephone on it. A Texaco calendar shows a happy family motoring in their Rambler. DAVID What did you say? Mr. Johnson glances down with a little shame and confusion. MR. JOHNSON Well ... I'm not sure I see the point anymore. DAVID What are you talking about! You make hamburgers! That is the point! MR. JOHNSON No I know ... I know I do ... (he pauses, then looks up) But it's always the same, you know? Grill the bun, flip the meat, melt the cheese ... It never changes. It never gets any better or worse ... DAVID Just listen to me ... MR. JOHNSON (not hearing him) ... Like the other night, when I closed up by myself. That was different ... DAVID Forget about that! MR. JOHNSON Oh ... Okay. (beat/ lower) ... But I really liked it. Bud takes a deep breath. He stares at Mr. Johnson, then tries to speak softly. DAVID Look, you can't always like what you do. Sometimes you just do it because it's your job. And even if you don't like it, you just gotta do it anyway. MR. JOHNSON Why? DAVID (exasperated) So they can have their hamburgers! This sounds stupid even to David. He shakes his head. MR. JOHNSON (like a secret) You know what I really like? DAVID (warily) ... What's that? MR. JOHNSON Christmastime. David rolls his eyes. Mr. Johnson leans closer, speaking furtively. MR. JOHNSON (CONT) See every year on Dec 3, I get to paint the Christmas decorations in the window. And every year, I get to paint a different thing ... (beat) One year it's the North Pole. The next I do Santa's workshop. Here I'll show you. He pulls a photo album from the back of the desk and opens it for David. DAVID (impressed) Wow ... That's pretty good ... MR. JOHNSON Thanks. (continuing) But this morning I was thinking about it and I realized that I looked forward to it all year. And then I thought "Gee. That seems awfully silly. That seems like an awfully long time to be waiting for just one moment, don't you think?" David looks at him speechless. MR. JOHNSON (CONT) Well don't you? DAVID I think you should try not to think about this anymore. MR. JOHNSON Really? DAVID Yeah. MR. JOHNSON Oh. Okay. I'll try that then. CUT TO: INT. BARBERSHOP. DAY The Barber Pole spins in three shades of gray. Several men are gathered around the two chairs in the front of Gus' shop. Besides being the barbershop, it is the bastion of all male life in Pleasantville. Bud and Mary Sue's "father" (George) sits in one of the chairs. "Big Bob" McGee, owner of the drugstore, supermarket and Chevy dealership sits in the other. He has a crew cut that's getting shorter. GUS Have they ever lost before? GEORGE Basketball? No they sure haven't. BOB Just feels "wrong", that's all. There are several murmurs. THIRD PATRON Maybe that's where they get that saying, "can't win 'em all." GUS Yeah. That's a good point, Ralph. They do have that saying. BOB But they do win 'em all, Gus. They've always won 'em all. GUS Well, yeah. That's true too. More murmurs, Everyone looks straight ahead trying to figure. CUT TO: INT. PARKER KITCHEN. DAY. The women's bridge club has assembled in the Parker kitchen like it does every Wednesday afternoon. Four women are seated around the kitchen table with a nice bowl of bridge mix between them. Betty is sifting next to Marge Jenkins, the woman who accompanied her daughter to the doctor's office. MARGE (dealing the cards) ... He said it would clear up on its own if she just stayed away from fried foods and sweets ... BETTY Well that makes sense. MARGE Except it's spread to her lips now too. Oh, I don't know. MARY (a THIRD WOMAN) And you say it's just "red?" MARGE Well--like red, only ... "redder." MARY Hunh. I know what you mean. That's like the front of Bill Johnson's shop. I was going by it the other day and it looked green only "greener." SHOT. BETTY. She looks up quickly--then grabs some bridge mix. MARGE (lowering her voice) Have you seen him lately? The man doesn't look like himself. I was getting my sewing machine fixed across the street and he was sitting in the window of his shop just staring. Wasn't looking at anything in particular--just staring off into space. MARY That is strange. Betty reaches out and grabs her cards. She fans them out in front of her, when her eyes go wide. HER POV. BRIDGE HAND. They are ALL HEARTS and all BRIGHT RED. It looks like a fistfful of valentines. CLOSE UP. BETTY. She puts the cards down quickly and takes a sudden breath. Betty keeps them like that for a moment or two, before lifting them up and taking another look. MARGE Betty, it's your bid. She swallows trying to keep her composure. BETTY Uh ... Seven hearts. They murmur at the strength of the hand. CUT TO: EXT. PARKER HOUSE. NIGHT. The SOUND of the television plays OS while a warm light burns in the window. INT. KITCHEN. Jennifer and Betty stand at the sink finishing the dishes. Betty washes while Jennifer dries and it's clear who's more used to this. Jennifer examines a chipped nail as she places a dish in the drying rack. BETTY Mary Sue? JENNIFER Yeah? Betty hesitates. Rinses out a pot. BETTY Can I ask you a question? JENNIFER Sure. She pauses for a long moment. BETTY What goes on up at Lover's Lane? JENNIFER (turning toward her) What do you mean? BETTY Well, you hear all these things lately. You know--kids spending so much time up there ... (she looks over) Is it holding hands? That kind of thing? JENNIFER Yeah ... (beat) That--and ... She stops herself. BETTY What? JENNIFER It doesn't matter. BETTY No. I want to know. JENNIFER (glances toward the living room/ lowers her voice) ... Sex. BETTY Ah. Betty nods from the import of the tone but not the meaning. A beat goes by ... BETTY (CONT) What's sex? Jennifer looks over at her stunned, but Betty just looks at her with a blank, curious expression. Jennifer hesitates. JENNIFER You sure you want to know this? BETTY Yes. JENNIFER Okay. She crosses to the kitchen door and closes it. The sounds of the TV in the living room disappear. Jennifer crosses back to the kitchen counter and turns to her. JENNIFER (CONT) You see Mom ... (softer and with understanding) When two people like each other very much ... Betty looks at her and nods ... DISSOLVE TO: EXT. PARKER HOUSE. NIGHT. The TV keeps flickering in the window. INT. KITCHEN. LATER ... The CAMERA PANS across the kitchen table where there is a full quart of milk and some uneaten co6kies. It finally comes to rest on Jennifer who is staring across the kitchen table with a concerned look on her face. JENNIFER You okay? REVERSE ANGLE. BETTY. She nods--shaken but "fine." Betty stares long and hard at the plate of chocolate chip cookies. She's far away. BETTY Yes ... (softly) It's just that ... JENNIFER (gently) What? BETTY Well ... (looking up) ... Your father would never do anything like that. SHOT. JENNIFER. She bites her lip weighing her next sentence ... JENNIFER (leaning forward) Oh. Hmm ... (whisper/ woman to woman) Well, Mom ... there's ways to "enjoy" yourself without Dad. ANGLE. BETTY. She looks across the table, perplexed. CUT TO: INT. PARKER BEDROOM. NIGHT. George crosses from the dresser to the TWO TWIN BEDS in the middle of the room. He wears long sleeve pajamas that are buttoned up to the neck. George puts his glass of warm milk on the nightstand and climbs in his own single bed. It is barely wide enough for his body and takes some maneuvering. GEORGE Sweetie? You coming to bed? There is no answer. GEORGE (CONT) Betty? INT. BATHROOM. She stands in her bathrobe staring down at the tub. Her dressing gown is buttoned to the neck as well. BETTY (calling out) Yeah ... I'm just going to take a bath first. CLOSER. BETTY. She swallows once as she stares down at the tub--then reaches for the spigot and turns on the water. Betty's heart beats a little faster as she HEARS the WATER THUNDERING DOWN. CLOSER STILL ... Betty reaches up and unties the little silk ribbon at the top of her robe. She slips it off, and lets it drop to the floor, standing naked in the middle of the bathroom. Betty glances toward the mirror and then quickly glances away. She takes a deep breath and steps into the tub. EVEN TIGHTER. ON HER FACE ... Betty slides down into the warm water, breathing in the steam, and closing her eyes for a moment. She lingers like that for a second or two, before settling a little lower in the tub. Betty opens her eyes, but they only half open. There is the slight trace of a smile. EXTREME CLOSE UP BETTY'S FACE. Her eyes close again as she bites her lower lip gently. The water continues to THUNDER DOWN as she arches her back. Betty's breathing seems to quicken as she opens her eyes all over again: HER POV. BATHROOM ... ALL AT ONCE, EVERYTHING AROUND STARTS TO TURN FROM BLACK AND WHITE TO COLOR. A BIRD OUT THE WINDOW BECOMES A RED BREASTED ROBIN. THE TILE ON THE TUB TURNS OUT TO BE PURPLE. GREEN TOWEL ... PINK ROBE ... BRIGHT YELLOW DAISIES ON THE PLASTIC SHOWER CURTAIN. CLOSE UP. BETTY'S FACE. She stares in amazment. Beads of sweat form on Betty's forehead as the world goes to TECHNICOLOR. The THUNDERING WATER POUNDS IN THE BACKGROUND, but beneath can be heard the beginnings of a faint, low, MOAN. Her eyes dart around the room. Her breathing quickens: Faster ... Harder ... More intense ... THEN SUDDENLY ... EXT. ELM STREET. NIGHT. The HUGE ELM TREE across the street suddenly BURSTS INTO FLAMES. Fire shoots straight up into the sky as billowing clouds of black smoke fill the air. BRIGHT ORANGE FLAMES LIGHT UP THE NIGHT. INT. PARKER LIVING ROOM. NIGHT. David is staring at the television set when he notices a weird orange glow. He glances behind him, out the living room window ... DAVID Oh my God! EXT. ELM STREET. NIGHT. David comes racing out of the front door and down the walk. A small CROWD has gathered in front of the fire. (They don't seem frightened--just sort of amazed.) The street is still BLACK AND WHITE but it is now bathed in a weird ORANGE LIGHT. The flames leap higher and higher ... DAVID Jesus Christ ... FOLLOWING DAVID. He takes off down the block, as fast as he can run. The crowd continues to stare as David turns the corner at Main Street ... EXT. FIRE STATION. He races in the front of the building SCREAMING at the top of his lungs. DAVID FIRE! FIRE! INT. FIRE STATION. There is no sign of life on the ground floor. David races up the stairs toward the bunk room on the second story. INT. BUNKROOM. All the firemen are sitting around playing Gin Rummy when David rushes in the front door. They can hear his voice from down the hall. DAVID (entering) FIRE ... FIRE ... They still don't move. All the firemen just look at him from their bunks with a perplexed expression. DAVID (CONT) (beat) CAT!!! All at once they spring to their feet grabbing their helmets and their yellow slickers. They race to the landing just outside the bunkroom and leap onto the pole ... EXT. MAIN STREET. NIGHT. The FIRE HAS SPREAD TO AN ADJOINING TREE as the FIRE ENGINE comes SCREAMING toward the house from the top of the block. David sits in the front of the truck next to the Fire Chief who drives the vehicle at break neck speed. DAVID Right here! The Fire ENGINE screeches to a halt. The Fire Chief looks around ... FIRE CHIEF Where is it? David shoots him a look then glances at the inferno. He shakes his head and leaps from the truck. FOLLOWING DAVID. He races around to the back where the other firemen are standing just as confused. David grabs one of the hoses and begins to pull it from the truck. DAVID Here! Grab this nozzle. FIREMAN But where's the ... DAVID Just grab it! He strips out about fifteen feet of hose, then grabs the fireman and pulls him toward the curb. David parts the crowd and positions the man right in front of the flames. DAVID (CONT) (shouting) Okay! Now point this right at the flames--like this. The Fireman nods and does as he is told. David opens the valve sending out a huge FLUME OF WATER. FIREMAN Whoa! (beat) So that's what these do. A huge smile breaks out across the fireman's face--like a man who has suddenly found his purpose in life. He beams from ear to ear dousing the flames, while David runs to get another hose ... BOB (VO) (fading in) ... In honor and in recognition of your heroism ... DISSOLVE TO: EXT. TOWN HALL. DAY David stands at a podium receiving a commendation from "Big" Bob McGee (the man from the barbershop). He holds a large plaque up for public display, while "David's" whole family beams in the background. BOB ... And with great appreciation from the citizens of Pleasantville ... WIDER. A huge crowd is gathered on the town hall steps. There are lots of balloons and bunting. BOB I am pleased to present You with this special commendation, from the Pleasantville Chamber of Commerce! He hands the plaque to David as the entire town bursts into APPLAUSE. CUT TO: EXT. MAIN STREET. LATER ... David walks away from the center of town looking down at his plaque. He takes his sleeve and starts to rub off a smudge when a young woman comes up beside him. GIRL'S VOICE Hi Bud ... WIDER. She is MARGARET ANNE HENDERSON, the prettiest girl in school, and one of the most popular. Margaret wears a frilly polka dot dress, that only accentuates a bombshell '50s figure. Nonetheless, she seems the image of girly innocence. MARGARET That was sure swell ... DAVID Oh. Thanks, Margaret. MARGARET (smiling) I baked you my oatmeal cookies. DAVID (vaguely remembering an episode) Oh, no ... You baked those for Whitey. MARGARET No. I baked them for you. DAVID No. You baked them for Whitey. MARGARET (low and gutteral) No. I baked them for you. All at once, Margaret grabs his arm and presses herself up against him. Her breasts shove up against his chest. Her mouth is inches away from his. DAVID Um ... thanks. David can smell the weird combination of hot moist breath and freshly baked cookies. He stares into her eyes for a moment, unable to speak. Margaret flashes him a not-so Pleasantville smile. MARGARET See ya. She turns and heads around the comer, while David just watches her dumbstruck. CUT TO: SODA SHOP. DUSK. David heads toward work with his apron and little paper hat. The BUDDY HOLLY music has given way to "hip" '50s JAZZ. DAVE BRUBECK drifts out of the soda shop as David pauses for a moment, takes a bite of his oatmeal cookie, and heads inside. SODA SHOP. The place has "morphed" even more. If it was a teenage hangout before, it has become almost a Bohemian coffee house now. Brubeck's "TAKE FIVE" plays in the background while several patrons talk "intensely" in their booths. DOORWAY. David walks into the building and pauses. Next to him, one of the boys from the basketball team plays along with the jazz on a BONGO DRUM. There are several COFFEE cups on the table. Jennifer gets up quickly and comes over to him. JENNIFER (in a whisper) I had nothing to do with that fire. DAVID (quietly) It's okay. JENNIFER Not directly anyhow ... DAVID It's fine. David glances at the booth beside them and realizes that the bongos have stopped playing. All the kids are staring up at him, with a weird expression of awe. JENNIFER (still under her breath) Um ... They like wanna ask you a question ... I didn't know how to handle it. So ... DAVID Sure. He crosses to the booth where Biff and two others look up at him. It's like Elvis has entered the building. DAVID (CONT) How you doin? VARIOUS KIDS Swell ... They keep on staring. Several glances are exchanged back and forth like they're sharing a secret. Finally ... BOY How'd you know about the fire? DAVID What? BOY How'd you know how to put it out and all? David hesitates, weighing his words. DAVID Well--where I used to live ... That's just what firemen did. This sends a MURMUR through the shop. The boy leans forward. BOY And where's that? DAVID (carefully) Um ... Outside of Pleasantville. This sends a much LOUDER MURMUR rifling through the kids. It's like electricity. They glance excited at one another. A hush descends. BOY What's outside of Pleasantville? DAVID Look it doesn't matter. It's not important. BOY What is it? David stops and looks out at the kids who are hanging on every word. DAVID It's really not important. GIRL'S VOICE (OS) What's outside of Pleasantville? REVERSE ANGLE. INCLUDING DOORWAY. Margaret Henderson (the girl with the cookies) stands in the doorway staring at David. She hangs on his words with the same excitement as the others, it just means so much more. MARGARET (CONT) (hungry for knowledge) C'mon. Tell us ... She stares right in his eyes. She's ten feet away but might as well be touching him. DAVID (slowly) Well ... There are some places where the road doesn't go in a circle. There are some places where it keeps on going. There's an excited giggle. They lean forward. MARGARET (an exotic concept) Keeps going ... DAVID Well--it all just keeps going. Roads ... rivers ... 2ND BOY (from the back) Like the "Mighty Mississippi". DAVID ... What? He moves forward extending a book. The cover reads: "THE ADVENTURES OF HUCKELBERRY FINN." David opens the first page. There is printing inside. BOY (quoting) "It was big 'n brown 'n kept goin' an' goin' as far you could see." DAVID (turning to Jennifer) I thought the books were blank? JENNIFER They were. He looks over at her. JENNIFER (CONT) (quickly) Okay look, this like--wasn't my fault. They asked me what it was about and I like didn't remember 'cause we had it back in tenth grade, But I told them what I DID remember, and the next thing I knew the pages had filled in. DAVID The pages filled in? JENNIFER But like only up to the part about the raft, because I didn't read any farther. CLOSER. David flips through the book and sure enough only the first chapter has print. The pages are blank after that. 2ND BOY Do you know how it ends? DAVID (hesitating) Well, yeah ... I do. MARGARET (breathless) So how does it end? She has moved closer and is gazing at him from a couple of feet away. It's silent in the soda shop. DAVID Well--see ... they're both running away--Huck and the slave ... And ... They go up the river ... But--in trying to get free they sort of see that they're free already. David looks immediately down to the blank pages of the book that aren't blank anymore. Rows and rows of FRESH NEW TYPE materialize in front of him. He turns to the back of the book, that is complete with a COLOR illustration. DAVID (CONT) (quietly) Oh my God. 2ND BOY Wow! 3RD BOY Do you know this one? He shoves another book in front of David. DAVID Hunh? (looks down at the book) Oh yeah ... Well this is great. (beat) See--Holden Caulfield is like this really lonely kid... EXT. PLEASANTVILLE PUBLIC LIBRARY. DAY. The CAMERA PANS down from the "PUBLIC LIBRARY' sign to find the front door. A long line of kids waiting to check out their books stretches onto the sidewalk ... EXTREME WIDE SHOT. LIBRARY. FROM ACROSS THE STREET. Several men from the barbershop lean against the wall next to the spinning barber pole. They watch the spectacle for a moment or two, as teenager after teenager exits with an armful of books. GUS I don't know Phil. It's pretty strange. PHIL I'll say it's strange. Gettin' stranger. Big Bob McGee nods and rubs his hands over his fresh haircut. PHIL (CONT) I mean goin' up to that lake all the time is one thing, but now they're going to a library! I mean what's next? BURT Oughtta be havin' an ice cream soda. That's where they oughtta be. WIDER STILL. From the shadows of the Town Hall, up the block, David watches the stream of kids emerge with their books. They cradle them in their hands like a piece of newfound treasure ... INT. PARKER LIVING ROOM. NIGHT. George sits on the edge of his Barka Lounger, across the coffee table from "Big" Bob McGee. Even sitting down the man is a looming presence. Besides owning the market, auto dealership, hardware store, and gas station, he also owns the insurance agency where George works. George sweats into his collar. GEORGE Want some bridge mix? BOB Oh, no thanks ... GEORGE Betty's making some pineapple kabobs ... BOB I'm fine--but thank you. George nods as Bob takes a belt of his Martini and leans forward. BOB (CONT) George, you're probably wondering why I asked if I could come over today ... George shrugs--then nods--then shrugs ... BOB (CONT) I'm sure you've noticed the same things we all have--certain "changes" going on in the town. (beat) You know what I mean by "changes"? GEORGE "Changes." BOB (nodding) "Changes." (takes a belt of martini) And it's not just the fire or big stuff like that. It's little things. (beat) Did you hear about Bill Miller? GEORGE (concerned) No. What? BOB Wife wants him to get one of those new beds. GEORGE One of those ... big beds? Bob nods. GEORGE (CONT) Oh my gosh. What's he gonna to do? BOB I really don't know. (beat) Ben Miller's son just quit his job as a boxboy at the market. GEORGE ... How? BIG BOB Said he didn't want to do it anymore. Just took off his apron in the middle of an order. Mrs. Thompson had her groceries spread all over the counter ... Took 'em four hours to sort the whole thing out. GEORGE Holy cow. Bob takes a belt of his drink ... BIG BOB George, everyone likes you. GEORGE Oh well ... BOB No. They do. And it isn't just 'cause you're a great bowler ... They respect you ... GEORGE (heartfelt) Thank you very much. BOB And it's important for them to see someone they respect, stand up for what's right. If you love a place, you can't sit around and watch this kind of thing happen to it. GEORGE No. Of course not. BOB (big patriarchal smile) And that's why I want you to be on the Pleasantville Chamber of Commerce. GEORGE (stunned/ moved) Oh my Gosh. I hardly know what to say. BOB (smiling) Why don't you start by saying "yes," and then getting me one of those swell pineapple kabobs. GEORGE Oh sure ... You bet. (calling out) Betty ... There is no answer. GEORGE (CONT) (louder this time) BETTY ... Still no answer. GEORGE (CONT) BETTY--BOB WANTS TO TRY ONE OF YOUR GREAT HORS D'OEUVRES ... WIDER. George turns around to see David, standing on the landing, listening to the entire conversation. Their eyes lock for a moment ... DAVID I'll get her. He moves quickly to the kitchen shutting the door behind him. INT. KITCHEN. David gets a couple of steps in and stops. He looks across the room to see: REVERSE ANGLE. Betty standing at the kitchen sink, just staring out the window. Her back is to him. She grips the formica kitchen counter. DAVID (approaching slowly) Are you okay? She doesn't answer. David moves up to her and rests a hand on her shoulder. DAVID (CONT) Are you alright? Betty turns around to face him. HER FACE HAS TURNED COMPLETELY TO COLOR. THE EYES ARE GREEN. THE LIPS ARE RED. SHE HAS A NATURAL BLUSH IN HER CHEEKS. In fact the whole thing looks like a beautiful color portrait except for the tear stains on either side of her face. BETTY (fighting tears) What am I going to do? David moves closer and looks at her. Her lip is quivering. DAVID It's okay. It's alright. BETTY (trembling) I can't go out there. How can I go out there? She looks right up at David. BETTY (CONT) (quieter) Look at me ... DIFFERENT ANGLE. He stares at her for a second. Big green eyes full of fear and confusion. David pushes a reassuring smile. DAVID Have you got any make up? BETTY In my handbag. He crosses to the counter and grabs her purse. David sits Betty on a kitchen chair and fishes inside the handbag for her compact. He finds it along with a wadded up Kleenex. DAVID Okay--first we'll dry you out a little. He dabs at the tears, while she smiles at him in gratitude, Then David opens the compact and takes out the large GRAY powder puff. CLOSER. It is a truly amazing sight. As David smears on the makeup, she returns gradually to BLACK AND WHITE. The skin tones disappear. The flush of her cheeks goes. David takes out a DARK GRAY lipstick, obliterating the bright red of her lips. REVERSE ANGLE. OVER BETTY'S SHOULDER. He works on her for a second or two, then takes a step back. All at once, David seems to wince: REVERSE ANGLE. HIS POV. BETTY'S FACE. The life is gone from her face. In an instant Betty has gone from three dimensions to two. She stands in front of him, the fictional version of herself all over again. BETTY (off his reaction) What? David shakes his head and forces a smile. He hands her the compact so she can examine herself. Betty holds it up to her face, turning her head first right, then left. BETTY (CONT) (beat) Does it look okay? DAVID Looks just like it did. BETTY And they won't be able to tell? DAVID (even quieter) No ... They won't be able to tell. Betty takes a deep breath and fluffs her hair. She grabs the plate of Pineapple kabobs and heads for the door. Just before she goes in, she pauses, then plasters on a big wide "stewardess" smile ... DAVID (CONT) Wait. BETTY (turning back) What? He wants to say something, but doesn't. David shakes his head. DAVID It's fine. She smiles again and balances the tray in front of her. BETTY Thank you. DAVID (sadly) Sure. He watches as she opens the door, and marches in the room, extending the little tray of hors d'oeuvres in front of her ... CUT TO: INT. SODA SHOP. DAY. Mr. Johnson is all alone in the shop, setting up the napkin dispensers. He whistles BRUBECK'S "TAKE FIVE" when the screen door slams behind him. Mr. Johnson looks up with a start. MR. JOHNSON Oh, hi. DAVID (entering) Hi. MR. JOHNSON Aren't you a little early? DAVID (quietly) I brought you something ... From the library. CLOSER. FOLLOWING DAVID. He has a large book tucked under his arm that is easily three feet long. Mr. Johnson looks at him a little intrigued as David crosses to the counter. DAVID It's an art book. MR. JOHNSON Oh my Gosh, Bud ... DAVID Open it. Mr. Johnson reaches out and opens the cover. After a beat, his eyes widen. DAVID (CONT) I just thought since you liked painting it might help to ... Mr. Johnson gasps. It's quiet, and subtle, but it's still a gasp. David looks over at him but he's lost in the pages. HIS POV. (INSERT) ART BOOK ... Massacio's "Expulsion of Adam and Eve' leaps off the pages in vibrant, tortured color. The beauty of the garden is offset by their agony and their shame. HE TURNS THE PAGE ... Titian's "Venus to Utano". Soft, fleshy, in a rich golden light. She is utterly real and entirely nude. The folds of her flesh almost seem to glow ... Rembrandt's "Self Portrait." Dark reds, umbers, blacks and browns. He looks back at Mr. Johnson with pain and wisdom. There's a brilliant light on his hair. MR. JOHNSON (OS) Mmmmgh ... Faintly, almost imperceptibly, the SOUND of a rich ARIA begins to UNDERSCORE THE IMAGES. It's so faint you can't be sure you even hear it at all ... like you're hearing it with your eyes. He TURNS THE PAGES faster. Breugal's "Harvesters" ... Tumees "Steam Train" ... Monet's "Cathedralo" ... Cezanne's "Oranges" ... Mr. Johnson shuts the book. WIDER. SODA SHOP. They sit like that for a beat. MR. JOHNSON It's beautiful, Bud ... He looks up at David, troubled. DAVID What's wrong? MR. JOHNSON I'll never be able to do that. DAVID Oh, well--you're just starting out. I mean, you can't do it ... MR. JOHNSON No, that's not it. Mr. Johnson shuts the book gently. MR. JOHNSON (CONT) Where am I going to see colors like that? ANGLE. DAVID. What can he say. David looks over at Mr. Johnson who just smiles and shrugs. MR. JOHNSON Must be awfully lucky to see colors like that. I bet they don't even know how lucky they are. CLOSE UP. DAVID. He just stares for a second. EXT. MAIN STREET. LONG SHOT. DAY. Margaret walks up the center of Main Street toward the CAMERA with her books pressed against her chest. She passes the drugstore, then the hardware store ... Far off in the distance, a young man comes racing out of the soda shop, pulling off his little paper hat as he goes. He comes running up behind her as fast as he can. CLOSER. He takes a deep breath and tries to quiet the panting. DAVID Hi. MARGARET (turning/ lighting up) Oh ... Hi. DAVID (pause) Look, I probably shouldn't be asking you this--not knowing you that well and all ... Margaret stops in the street and turns to him. DAVID (CONT) It's just that my folks are gonna stay home and they said I could use their car. (moment of truth/ abandoning his speech) ... You want to go out with me tonight? He wants to turn away but doesn't. David forces himself to stare at her and all of a sudden she beams. It's the whitest, pearliest smile in the world. MARGARET (breathless) Sure ... Where would we go? DAVID (swallows) ... Lover's Lane? CUT TO: EXT. ELM STREET. DAY. David comes flying around the corner in complete jubilation. He vaults over a parking meter, swings around a lampost and leaps off the bumper of a parked car. David hi-fives into the air at no one in particular and sails over Mr. Simpson's hedge almost decking him in the process. DAVID (calling back) Sorry ... FOLLOWING DAVID. He races across the street bobbing and weaving like an All American fullback. David bounds up his front steps two at a time flinging open the door. INT. PARKER HOUSE. FOYER. DAVID "Oh when the Saints ... Go Marching in ..." He lets the door slam behind him as he takes off his apron and tosses it on the coat rack. David starts up the stairs, when he HEARS a MAN'S VOICE coming from the living room. MAN'S VOICE (OS) Bud ... He pauses a second and glances back. MAN'S VOICE (CONT) David ... He peers into the living room. David goes a little grayer ... HIS POV. TELEVISION. Dick Van Dyke is looking back at him from the middle of the TV screen. He seems to have a bit of a stubble. DICK VAN DYKE Hello there. DAVID (wary) ... Hi. DICK VAN DYKE (stage whisper) Well c'mere, young fella. INT. LIVING ROOM. David crosses slowly over to the TV set. DICK VAN DYKE (big smile) You know I've been thinkin' ... I might have been a little "hasty" the other day when you asked to come home--just took me by such surprise, ya know--ha ha ... He gives a goony laugh. David just looks at him ... DICK VAN DYKE (CONT) So even though I can't make any promises, well--I figured if you asked me real nice--I might just be willing to talk about it again. DAVID (quickly) I can't. DICK VAN DYKE What? DAVID Talk about it. Right now, I mean. I got to ... um ... The look turns suddenly dark and ominous. DICK VAN DYKE Bud--I thought you wanted to come home. DAVID Oh ... I do. Yeah. It's just that I told my "dad" I'd clean out the rain gutters and Mr. Johnson wanted me to ... to change the tape in the register ... DICK VAN DYKE (getting testy) I'll be honest with you Bud. I'm getting sorta concerned about what I'm seeing in some of these re-runs ... DAVID Re-runs? DICK VAN DYKE Like when Margaret Henderson makes her cookies for Whitey. (losing it a little) ... Those aren't your cookies Bud. DAVID Oh, I know they're not. But I mean-- they're just "cookies" after all ... DICK VAN DYKE Excuse me? DAVID Well they're not just cookies. I mean, they're great cookies ... Look, I'd love to get into this whole thing but I'm really running late. Why don't we hook up tomorrow? DICK VAN DYKE BUD. DAVID Terrific. I'll talk to you then. He swttches off the TV sending Dick Van Dyke to electronic limbo. David stands in the middle of the living room, breathing hard ... INT. JENNIFER'S (MARY SUE'S) ROOM. She sits on the bed staring down at the front cover of a book. (It's an alien experience.) Jennifer is just about to open it when she senses something and glances toward the door. REVERSE ANGLE. Bud is standing in the doorway just staring at her. He seems to be out of breath. JENNIFER What's wrong? DAVID Nothing. JENNIFER Nothing? He keeps breathing hard in the doorway. David holds the remote in his hand. DAVID Listen ... He takes a couple of steps into the room and then suddenly stops. DAVID (CONT) You're reading? JENNIFER (glancing at the book) Yeah. Can't believe you started such a dorky fad. She holds up the cover. JENNIFER (CONT) D.H. Lawrence. You ever heard of him? DAVID (amazed) ... Yeah. JENNIFER Seemed kinda sexy. Look. I read 35 pages. DAVID (still stunned) That's great. He just stares at her for a second as his mind seems to drift ... JENNIFER So what is it? DAVID Well ... I just ... (out of the blue) Can I ask you a question? JENNIFER Sure. DAVID Remember when you told me that Lisa Rosenberg liked me? JENNIFER Yeah ... DAVID Well--did she really like me or were you just making that up. JENNIFER No. She really liked you. DAVID You weren't playing a joke? She woulda gone out with me? JENNIFER Gone out with you. She woulda like rearranged your tonsils. DAVID Wow. He looks at her amazed--reliving the missed opportunity. JENNIFER Can I ask you a question? DAVID Yes. JENNIFER How come I'm still in black and white? DAVID (back to earth) What? JENNIFER Well I've had like ten times as much sex as these girls and I'm still like this. They have one hour in the back of a car and suddenly they're in technicolor. DAVID Oh, I don't know. Maybe ... (thinks) ... it's not just the sex ... JENNIFER (looking up quickly) What? She stares at him wide-eyed like someone who has just heard their name called. Jennifer's eyes dart around like she's calculating a math problem. After a moment or two, her expression changes: a vague look of recognition. JENNIFER (CONT) No, it's not just the sex, is it? She glances down at her book. It's a big book. Jennifer takes a deep breath and stares at the gray skin of her hand. After a second or two, she looks back. David looks at her for a beat ... CUT TO: EXT. MARGARET HENDERSON'S HOUSE. (MAPLE STREET) DAY. David gets out of his "dad's" convertible, carrying a dozen "gray" roses. He takes a deep breath and heads up her front walk ... INT. CAR. NIGHT. LATER ... David sits behind the wheel of the borrowed car with Margaret Henderson by his side. He concentrates hard on the road, holding the wheel at "10 and 2" as he steals a glance to his right. HIS POV. MARGARET. It's not quite evening yet, and late afternoon light makes her glow. Margaret smiles as she turns her face into the warm wind that swirls inside the convertible ... SHOT. DAVID. He studies her for a moment or two, then suddenly swerves to avoid a parked car on his right ... WIDER. They pass a sign with a happy family on it that reads: "NOW LEAVING PLEASANTVILLE" Main Street turns into a winding country road as they leave the town behind and head off into the woods. They wind through the dense woodland for a moment or two before a second sign appears, much like the first: "NOW ENTERING PLEASANTVILLE" DIFFERENT ANGLE. THROUGH THE WINDSHIELD. Sure enough, the town emerges in front of them again, completing the 4 dimensional circle. David looks confused. MARGARET Um ... You gotta turn off Main Street. DAVID Oh ... Right. He looks over at her and smiles. Margaret turns on the radio. EXT. CAR. DUSK. SAM COOKE sings for them as David turns from Main Street onto a smaller unmarked lane. The car starts to rise up a small hill, with Dogwood trees blooming on either side of the road. It continues to climb up the narrow gravel lane toward the crest in the hill. David looks over at Margaret who takes a deep breath shutting her eyes. He glances down at the seat between them ... HIS POV. CAR SEAT. THE ROSES THAT WERE GRAY HAVE SUDDENLY TURNED TO COLOR. They sit next to him on the seat: a deep, rich RED ... INT. CAR. David looks up and out the windshield. The same thing seems to be happening around them ... Many of the Dogwoods have started to turn PINK. Not all of them, but at least fifty percent of the petals have "bloomed" in some weird false spring. The road twists and turns on its way to the top, as they finally reach a crest in the hill. DAVID Wow. THEIR POV. LOVERS LANE. There, sitting in front of them, is a whole world gone Technicolor: THE LAKE IS BLUER THAN BLUE. THE WEEPING WILLOW IS GREENER THAN GREEN. THE DOGWOOD PETALS (all "turned" now) SWIRL IN THE WIND LIKE SOME STRANGE PINK SNOWSTORM. A LONG LINE OF PASTEL CARS STRETCHES OUT ALONG THE SHORE. SAM COOKE (VO) (over the car radios) "Cupid, draw back your bow ..." SHOT. CAR. Slowly, David rolls the convertible forward. Many of the kids have left their cars and sit down along the grassy bank by the edge of the water. A few of them have books open. It almost looks "Athenian." INT. CAR. David looks at the whole scene for a moment then suddenly cocks his head to the side. DAVID What's that smell? Margaret looks at him and smiles. She leans well out of the convertible, and plucks a Gardenia from a bush that is blooming beside the car. MARGARET Aren't these great? David takes the flower, then puts it up to his nose. He takes a long deep breath then all at once, his posture seems to relax. As the fragrance enters his body his eyes drift like some strange narcotic is washing over him. David lowers the flower ... EXT. MAIN STREET. DUSK. Betty is walking down Main Street with a shopping bag on either hand. From a block away, she looks like any other homemaker in Pleasantville. You don't even notice the gray make-up. CLOSER. FOLLOWING BETTY. She nods to Mrs. Filmore in the bakery and smiles at Don in the Post Office. Betty is just about to turn on Elm Street when she glances up, and suddenly stops. HER POV. ACROSS THE STREET. There, in the middle of the block, sits Mr. Johnson's soda shop. The whole scene is still black and white, except for the large CUBIST PAINTING THAT FILLS MR. JOHNSON'S WINDOW. It is rendered in bright PINKS, YELLOWS AND ORANGES, and looks like a Braque or a Picasso except for the unusual subject matter. Upon closer examination you see that all the spheres and cones add up to an avante garde snow scene, with a Cubist Santa hovering over the roof tops. SHOT. BETTY. She stares at it, mesmerized for a moment, then starts to wander across the street. It's late afternoon and the business district is empty. Betty crosses in the middle of the block, staring straight ahead. INT. SODA SHOP. The door opens and she sticks her head inside. Most of the place is dark except for one streak of sunlight shining through the window near the back of the store. Betty glances around. The little bell JINGLES as she enters. MR. JOHNSON (OS) We're closed right now ... DIFFERENT ANGLE. He sits in front of a small easel near the back, staring at a board which doubles as a canvas. Mr. Johnson glances over his shoulder and recognizes Betty in the doorway. MR. JOHNSON Oh, hi ... BETTY (turning to leave) I'm sorry ... MR. JOHNSON No, no ... Come on in. REVERSE ANGLE. He gets up from his stool and crosses toward the door, still holding the palette in his hand. Betty stares at the "Cubist Christmas" in the window. BETTY I just thought ... It's beautiful. MR. JOHNSON Thanks. Their eyes lock for a second. Sort of a clutzy silence. Mr. Johnson motions toward his easel. MR. JOHNSON (CONT) I was just trying to do one of these "still lifes." He sighs and looks behind him. Next to the easel is a bowl of GRAY FRUIT. MR. JOHNSON (CONT) Having kind of a tough time. BETTY I think it looks nice. MR. JOHNSON Well ... (shrugs) Here's what it's s'posed to look like. He leads her over to the table and points down at the art book. It's open to a Cezanne that nearly burns off the page. BETTY Oh my ... CLOSER. They are standing almost on top of each other gazing down at the book. Neither one of them moves. Betty almost disappears into the pictures--drawn by a strange new world. MR. JOHNSON Here. Look at this. He turns to Kandinsky--a massive swirl of color. The image is nearly electric. BETTY (breathless) Where'd you get this? MR. JOHNSON Bud brought it to me. BETTY Bud? MR. JOHNSON Here's my favorite. INSERT. BOOK. He turns the page near the back to one of Picasso's "Weeping Women." The woman is rendered in pink and red and green. Her head is a large sphere, laying "peacefully" on her own shoulder. MR. JOHNSON What do you think? She doesn't answer ... MR. JOHNSON (CONT) Isn't it great how she's resting like that? BETTY (faintly) She's crying. WIDER. Mr. Johnson looks down at the painting. MR. JOHNSON What? BETTY She's crying. MR. JOHNSON No she's not. BETTY Yes she is. He looks up at her ... REVERSE ANGLE. A single tear is running down Betty's cheek. She senses it and reaches up to wipe it quickly away, but instead of just wiping the tear, she takes off a huge swath of GRAY MAKE-UP. A long strip of PINK FLESH is revealed underneath. ANGLE. MR. JOHNSON. He stares up at her in amazement. ANGLE. BETTY. She senses something and glances down at her hand. Her fingertips are covered in GRAY MAKE-UP. Betty turns and bolts for the door. WIDER. MR. JOHNSON (following her) Wait ... BETTY I've got to go ... MR. JOHNSON It's alright. He stops her near the door and she turns her face toward the wall. Mr. Johnson touches her shoulder. MR. JOHNSON (CONT) It's alright. Let me see. BETTY (shame) No ... He reaches up and gently touches her chin. Mr. Johnson moves around to glimpse the other side of her cheek. MR. JOHNSON It's beautiful. CLOSER ... She freezes like that for a moment, then slowly, haltingly, turns toward him. THE COLOR of her real flesh is revealed underneath. Betty stands there exposed. MR. JOHNSON (a whisper) ... It's beautiful. She swallows, not sure what to do. Betty glances down. MR. JOHNSON (CONT) You shouldn't cover that up. Mr. Johnson reaches over to the little napkin dispenser on the counter and pulls one out. He leans forward and dabs at the tears beneath Betty's eyes. Then slowly, gently, he starts to wipe the makeup off her cheek. CLOSER STILL ... She recoils a bit, tensing up, then just looks at him. Mr. Johnson is gazing at her "true color" with wonder and acceptance. She hesitates for an instant, then seems to make a decision. Betty slowly turns her face to the side, exposing her flesh all the way down to the neck. Mr. Johnson continues to wipe off the make up in larger and larger strokes as the beautiful pink flesh begins to emerge ... CUT TO: INT. JENNIFER'S (MARY SUE'S) ROOM. NIGHT. She lies on her bed, reading the same book she was browsing earlier. Jennifer seems strangely engrossed as she flips the pages, lying on her stomach, scouring every word. After a moment or two she gets restless and shifts position, lifting the book. The cover is plainly visible: "LADY CHATTERLY'S LOVER." CLOSER. She doesn't have enough light so Jennifer rises from the bed and crosses to "her" desk. She sits in the chair and flattens the book in front of her. Jennifer is deep into the plot and doesn't even look up as she flicks on the desk lamp. She could almost be studying algebra as she sits upright at the little desk. DIFFERENT ANGLE. She flips the page and peers more intently. Her hair is bothering her so she pulls it back and knots it in a pony tail. After a little while her eyes begin to get more tired and she looks up and blinks a couple of times. Jennifer notices something across the desk. REVERSE ANGLE. A pair of Mary Sue's glasses are neatly folded in front of her. Jennifer reaches out, puts them on her head, glances back down at the print. JENNIFER (impressed) Hunh. She can see much clearer now. Jennifer folds her hands in front of her and doesn't even realize that she has mimicked the PHOTOGRAPH OF MARY SUE THAT SITS BESIDE HER IN A SILVER FRAME. The face is the same, but that's to be expected. So is the pony tail, the glasses, the posture and the studious look on her face. Jennifer turns the page engrossed in her novel when there is a loud TAP on the window. She rises from the desk and pulls back the curtain. Jennifer slides open the window. EXT. PARKER HOUSE. Biff stands on the front lawn tossing pebbles at the window. BIFF Mary Sue--C'mon ... JENNIFER (leaning out the window) What are you doing? BIFF (jiggling in anticipation) It's six-thirty ... JENNIFER So. BIFF We were gonna ... You know ... He jiggles some more. JENNIFER Oh. (remembering) I can't. BIFF Why not? She glances down at her book. JENNIFER I'm busy. BIFF (surprised) With what? INT. JENNIFER'S ROOM. She hesitates for a second then glances back at the desk. Her own image in the silver frame stares back at her. The hair is pulled back in a pony tail. The glasses sit on the front of her nose. JENNIFER (turning to Biff) I'm studying. She thinks about it for a moment, then suddenly smiles. Biff stands dumbfounded on the sidewalk as Jennifer reaches up and quietly closes the window ... CUT TO: EXT. LOVER'S LANE. NIGHT. David and Margaret sit on the edge of the grass, looking out across the water. Even in the moonlight, the COLORS are vivid. David still clutches the gardenia in his hand, taking a long hit like an Opium addict. DAVID (inhaling) Mmmmgh. MARGARET Do they have those ... Where you come from? DAVID Yeah ... I guess. (beat) I don't know. MARGARET You don't know? Margaret laughs like that isn't even possible. She shifts on the grass hiking her skirt up above the knee. It reveals a long tan leg beneath it. David watches as she kicks off her shoes, rubbing her feet through the long cool grass. MARGARET (CONT) So what's it like? DAVID What? MARGARET (a whisper) Out there. She clings onto the words like they could transport her by themselves. David thinks for a moment. DAVID Oh. don't know ... It's different. She leans forward. MARGARET How? DAVID Well it's louder ... And scarier I guess ... And ... and a lot more dangerous ... MARGARET Sounds fantastic. You know some kids came up here the other night to go swimming--took off all their clothes. She giggles. David looks at her in amazement. MARGARET (CONT) Do they have an Ocean? I've heard about the ocean. DAVID Yeah. MARGARET What's that like? DAVID Well it's big. And it's blue ... (as if realizing it for the first time) ... It's really really blue. MARGARET Mmmm. (beat) Boy. It's hot up here. Suddenly and without warning Margaret unbuttons her cardigan sweater. She slips it off, arching her back like the figurehead of a ship and David just stares at her breasts. She wears a light cotton blouse and even in the moonlight it forms a translucent silhouette ... She lays the sweater across the grass and leans back on it. MARGARET (CONT) You want some berries? DAVID Hunh? She unfolds a handkerchief revealing a handful of berries in REDS AND BLUES AND PURPLES. MARGARET I picked them myself. They grow wild up here. (eating one) Mmm. So sweet. DAVID (looking at them) They just grow like that? MARGARET (looking straight up) Oh yeah. There's a lot of stuff. Currants and strawberries ... Here. I'll show you. She hops up and scampers across the grassy bank, kicking her heels behind her. Margaret reaches a tree in the distance and reaches toward an upper limb, stretching out her body like a piece of statuary. She picks a piece of fruit and scampers back toward him, hiking up her skirt as she goes ... MARGARET (CONT) Here. CLOSER. Margaret sticks out her hand, offering him a BRIGHT RED APPLE. It's brilliant and shiny and glistens in the moonlight. ANGLE. DAVID. He hesitates just looking at it. Margaret speaks in a whisper. MARGARET Go on. Try it. HIS POV. She is lying on her stomach now, and behind the outstretched apple he can see an ample view of her cleavage. Margaret is smiling at him as the apple shines in the foreground. David reaches out and takes it. WIDER. DAVID AND MARGARET. For this instant, they seem alone in the garden. He looks down at it, then glances over at Margaret. David hesitates for a split second then takes a bite of the apple ... CUT TO: EXT. ELM STREET. NIGHT. George heads home with his briefcase in hand whistling a happy tune. He smiles at Mr. Simpson and swings the attache case as he turns and heads up his front walk. INT. FOYER. George opens the door and sets the briefcase by the stairs like he always does. He hangs his hat on the hatrack, his coat on the coatrack, and beams as he hollers his nightly greeting: GEORGE Honey--I'm home. There is no response. He looks a little perplexed but smiles as he calls out again: GEORGE (CONT) Honey--I'm home ... There is more silence. George looks around a little confused when there is a BOOMING CLAP OF THUNDER ... CUT TO: INT. SODA SHOP. NIGHT. Betty sits in a comer of the shop, next to the gray bowl of fruit. She holds her head to the side, sitting gracefully with her chin in the air. Mr. Johnson sits behind his easel, painting her portrait from a few feet away. Betty looks radiant with no trace of the makeup, the warm PINK OF HER FLESH TONES lit softly by a bare forty watt bulb ... CLOSER. She looks over at Mr. Johnson when they hear the BOOMING CLAP OF THUNDER. Each of them freezes. There is ANOTHER, LOUDER BOOM ... ANGLE. WINDOW. The "Cubist Snowscene" lights up brightly, illuminated by the sudden flash of lightning behind it. Betty leaps up from the chair and crosses to the window looking out. BETTY (frightened) What is that? MR. JOHNSON I don't know. Betty looks back at Mr. Johnson and suddenly sees the painting. She flinches for a second. Her eyes go wide. REVERSE ANGLE. INCLUDING THE PAINTING. It is Cubist (like the rest of his recent work) but that isn't the shocking part. Even though she sits in front of him fully clothed, Mr. Johnson has painted a beautiful, sensual nude. Betty just stares at the canvas, stunned to see herself revealed like that. The COLORS are all hot pinks and oranges and yellows--like some Fauvist celebration of summertime. There is another even LOUDER PEEL OF THUNDER. WIDER. BETTY AND MR. JOHNSON. She looks over at Mr. Johnson and he glances down. After a moment or two he looks back at her, but she doesn't turn to run. Betty just stares at him, then without even realizing it, moves slightly closer. CUT TO: EXT. LOVER'S LANE. NIGHT. David and Margaret are locked in a deep passionate kiss. At first they don't separate when they hear the BOOMING CLAP OF THUNDER. It is only when they hear the SECOND ONE and the RAIN starts to fall, that Margaret pulls back and looks up in the sky. MARGARET What is that? ANGLE. DAVID. He is still in an amorous daze and doesn't even feel the increasing rain. It starts to pound harder and Margaret looks to him in terror. MARGARET What's going on? DAVID Rain. MARGARET Real rain? DAVID Yeah ... You don't have rain either? She looks at him frightened. David smiles. DAVID (CONT) Right. Of course you don't ... He puts his jacket around her and starts to lead her up the grassy slope. A dozen other couples go scurrying up the bank, looking in terror at the water falling from the sky. MARGARET What do we do? DAVID (reaching the car) We'll just put up the top. He goes fishing around the boot of the car, looking for the catch to release it. David leans into the back seat fishing around as the rain starts to pound harder. MARGARET What top? He looks back at her. No top either. David smiles, drenched in rain and puts his arm around Margaret who is starting to shiver. DAVID It's fine. Come on. He leads her back to a thicket of bushes where several of the kids are clustered together. They look at one another, terrified, as they huddle for shelter beneath the ledge of an overhanging rock. DAVID (CONT) It's alright. There's nothing to be afraid of. They look a little reassured and Margaret looks up at him positively adoringly. She clings to his shoulder as the storm howls a few feet away ... CUT TO: INT. JENNIFER'S ROOM. NIGHT. She stands at the window looking out at the driving rain. Jennifer still holds the D.H. Lawrence book in her hand. There is a huge flash of lightning and another clap of thunder. JENNIFER Cool ... She flops back down on the bed and continues to read ... PARKER LIVING ROOM. George wanders through the empty and darkened house completely perplexed and utterly disoriented. He looks around for his family, but all he can find are the darkened rooms and the sound of the driving storm. GEORGE (a little frightened/ a little petulant) Honey, I'm home ... He still can't find her and he crosses into the DINING ROOM. The lights are dark there as well and he looks around confused. GEORGE (CONT) (baffled) Where's my dinner? He sniffs a couple of times but there are no familiar cooking smells. George flings open the door to the kitchen but that's empty as well. KITCHEN. He crosses into the darkness ... GEORGE Where's my dinner ... INT. FOYER. George comes reeling out of the kitchen into the foyer. He slams his shin on the coatrack but keeps on going ... GEORGE (insistent) Where's my DINNER ... EXT. HOUSE. It's really blowing now. The rain is coming down in heavy sheets, being swirled and driven by the wind. The front door opens and George wanders out onto the front porch, still dressed in his shirtsleeves. GEORGE Where's my DINNER! ON GEORGE. He stumbles down the front walk in a state of complete confusion. The rain pounds against his body and within seconds his shirt is soaked through to the skin. GEORGE (over the storm) WHERE'S MY DINNER ... EXT. ELM STREET. A tree limb crashes to the ground but he keeps stumbling through the torrent. George reels down Elm Street screaming skyward in the distance. GEORGE ... WHERE'S MY DINNER! WHERE'S MY DINNER! SERIES OF SHOTS. FOLLOWING GEORGE ... He turns on Main Street and goes reeling past the insurance agency where he works. George howls into the wind and he passes the hardware store, the gas station, the bakery ... Finally he pauses outside the barbershop. It's empty as well with the spinning barber pole being buffeted by the rain. George lowers his arms and just stares into the darkened shop. His voice grows quieter bewildered and shivering ... GEORGE (plaintively) Where's my dinner? He wraps his arms around himself and shivers on the sidewalk. INT. BOWLING ALLEY. NIGHT. The regular occupants of the barber shop spread out across three lanes. Each wears a Pleasantville bowling shirt, sponsored by one of Big Bob's businesses. The NOISE from the crashing pins is deafening and there aren't any windows so the storm has gone unnoticed ... ANGLE. BIG BOB. He picks up a 7-10 split and claps his hands in delight. He starts to cross back to the scorer's table when he looks up and suddenly stops. REVERSE ANGLE. HIS POV. George is standing in the doorway to the bowling alley cold and shivering. His shirt is soaked through to the skin. His hair is drenched and dripping. BOB What happened? He doesn't answer. George clutches his body and keeps shivering. WIDER. The men stop bowling and rush to George's side. He blinks a couple of times, still soaked to the bone. BOB Are you alright? (looking at him) What is it? GEORGE (faintly) Rain. BOB (beat) Real rain? George nods. Bob rushes to the glass door of the bowling alley and sees the driving storm. A huge fork of lightning lights up the sky. BOB (CONT) Oh my God ... He turns back to George. BOB (CONT) ... We had no idea. Burt was rolling a 250 and ... (beat) Are you alright? George shivers and Bobs leads him over to one of the benches and guides him into the seat ... BOB (CONT) What happened? GEORGE (still shivering) Well, I ... I came home like I always do, And I came in the front door. And I took off my coat. And I put down my briefcase and I said "Honey. I'm home." ANGLE. MEN. They all nod in recognition. ANGLE. GEORGE. GEORGE ... Only no one was there. A MURMUR goes through the men. GEORGE (CONT) So I went into the kitchen and I yelled it again. "Honey--I'm home." But there was no one there either. No wife. No lights. No dinner. They all GASP. GEORGE (CONT) So I went to the oven--you know-- because I thought maybe she had made me one of those "TV dinners ..." The men nod and lean forward. George shakes his head. GEORGE (CONT) But she hadn't. She was gone. A LOUDER MURMUR moves through the crowd. George lowers his head and just shakes it from side to side. Big Bob moves up and puts a hand on his shoulder. BOB (gently/ the patriarch) ... It's gonna be fine George. George looks up at him helplessly. Bob pats him reassuringly on the back. GUS What do we do Bob? BOB Well--we'll be safe for now--thank goodness we're in a bowling alley-- but if George here doesn't get his dinner, any one of us could be next. It could be you Gus, or you Burt, or even you Phil ... They murmur again. Bob gathers a little steam. BOB (CONT) (like a WWII movie) ... That's real rain out there gentlemen. This isn't some little "virus" that's going to "clear up on it's own." There's something happening to our town and I think we can all see where it comes from. They nod in agreement. BOB (CONT) We're gonna need a town meeting. Phil, how fast can you turn around a leaflet in your print shop? PHIL Couple of hours. BOB Gus, why don't you get a bunch of kids from the basketball team to help you put them up on lamposts and tree trunks ... Gus nods. Big Bob turns to George and smiles. It's a warm, patriarchal smile. He claps a hand on George's shoulder. BOB (CONT) (soothingly) And the first thing you're gonna do is get a cup of hot cocoa and a nice dry bowling shirt. INT. SODA SHOP. NIGHT. The rain still pounds out the window. Betty and Mr. Johnson are huddled in one of the booths watching the deluge through Mr. Johnson's snow scene in the window. Betty is in soft radiant color now. Almost the whole frame seems to glow pink ... MR. JOHNSON You can't go out there. BETTY But I really should get home. MR. JOHNSON But you can't go out there. There is another fork of lightning and a booming peel of THUNDER. Betty sighs. She's past struggling. Betty shuts her eyes for a moment and listens to the rain pounding on the roof. BETTY Sounds nice ... Once you get used to it. MR. JOHNSON (listening) Yeah. It does. There is another flash and a loud BOOM. Betty smiles this time. BETTY Like a drum. MR. JOHNSON Yeah. (thinks) Or like sprinklers in the summer ... Betty smiles. They both listen for a moment and the fear seems to fade a little. The RAIN POUNDS harder on the roof as Betty nestles down in the booth, a little closer to Mr. Johnson. They just sit there listening for a moment or two. Betty starts to smile ... EXT. LOVER'S LANE. David huddles with Margaret under the rocky ledge as she nestles against him with her head on his shoulder. INT. JENNIFER'S ROOM. She lies on her bed, still reading the book, the spitting image of Mary Sue. Her hair is up in a bun now. The glasses have slipped down her nose. There is another fork of lightning and the LOUDEST THUNDER CLAP of all. Jennifer smiles slightly and pulls Mary Sue's afghan over her shoulders as she fluffs the pillow and turns the page. CUT TO: CLOSE UP. A BRIGHT RED ROSE. Drops of moisture cling to the petals as it GLEAMS BRILLIANT RED IN THE MORNING SUN ... AERIAL SHOT. PLEASANTVILLE. The rain is gone now. The town glistens in the sunlight complete with a huge RAINBOW arching across the sky. Literally all the COLORS IN THE RAINBOW shine against the black and white of the town. It looks like a greeting card. INT. SODA SHOP. Betty and Mr. Johnson are asleep in the booth, lying in each other's arms. Sunlight streams in through the window, warming Mr. Johnson's face which has now turned to color. He opens his eyes and looks outside ... MR. JOHNSON (seeing the rainbow) Oh my Gosh ... EXT. LOVER'S LANE. Birds are chirping. David and Margaret also lie asleep in each other's arms, beneath the shelter of the rocky overhang. Margaret lifts up and sees the rainbow. She has turned to color as well ... MARGARET (awed) Oh my God ... INT. JENNIFER'S ROOM. She has passed out on her bed with her book on her chest. Jennifer's hair is still tied in a bun and she still wears Mary Sue's glasses, but her face has returned to its rosy pink hue. She blinks open her eyes, feeling the sunlight, and looks out the window. JENNIFER (looking at the rainbow) Oh my God ... INT. BOWLING ALLEY. The men are all passed out across the various lanes and scoring tables. It looks like a YMCA shelter. After a moment or two Big Bob yawns, and stretches, and glances out the glass doorway. He sees the rainbow and freezes in shock. BOB (horrified) Oh my GOD! CUT TO: EXT. ELM ST. DAY. David comes gliding up Maple Street in the sunshine with a huge smile on his face. He has that special grin and faraway look that a boy only knows once in his life. Perplexingly he is still in black and white. Bud turns on Elm Street and starts heading for his house when he glances up and suddenly freezes. HIS POV. TREE TRUNK. There, tacked to the bark, is a hastily scrawled public notice: TOWN MEETING TONIGHT ALL "TRUE" CITIZENS OF PLEASANTVILLE ANGLE. DAVID. He looks up at it for a moment. INT. PARKER KITCHEN. DUSK. George and Betty stand face to face in their suburban kitchen. He is black and white. She is in full color. BETTY I told you where I was. GEORGE All night? BETTY I got caught in the storm. You were gone all night too. GEORGE (the ultimate defense) I was in a bowling-alley. Betty turns--glances out the window. GEORGE (CONT) (sudden smile) Look. Let's just forget about it. Let's just go to the meeting and ... BETTY I told you, George. I'm not going. GEORGE (bigger smile) Sure you are. BETTY No I'm not. She turns to face him. George flinches slightly. BETTY (CONT) Look at me George. That meeting's not for me. Look at my face. GEORGE It's fine. You'll put on some make up and ... BETTY I don't want to put on some make up ... George's eyes widen. It's a watershed moment. GEORGE (protesting) It goes away ... It'll go away. BETTY (gently) I don't want it to go away. He suddenly squares back his shoulders and puffs out his chest. GEORGE (the '50s patriarch) Okay--now you listen to me ... (beat) You're gonna come to this meeting and you're gonna put on this make up, and you're gonna come home at six o'clock every night and have dinner ready on this table. BETTY (softly) No I'm not sweetie. His expression leaves as quickly as it came. Betty moves closer to him. BETTY (CONT) (half whisper) ... There's a meatloaf in the fridge. You just put it in the oven and turn this little knob up to three-fifty. If you put the pie in forty minutes later, it'll be hot in time for dessert. George's eyes widen. BETTY (CONT) I made a couple of lunches for you and put them in brown paper bags ... (much quieter) I'm gonna go now. GEORGE Where are you gonna go? BETTY I'm gonna go now. She turns and starts out the kitchen door when George calls after her. GEORGE Betty, don't go out there like that! They'll see you! (beat) They'll SEE you! And she closes the door behind her. GEORGE (CONT) Betty, come back here! EXT. TOWN HALL. NIGHT. Dozens of black and white citizens stream in through the front door. SHOT. OPPOSITE SIDE OF THE STREET. Several "transformed" teenagers stare at the spectacle with their FLESH COLORED SKIN AND BRIGHT BLUE EYES. They seem to hang back in the shadows. INT. TOWN HALL. Big Bob stands at the podium beneath a permanent banner that reads "PLEASANTVILLE CHAMBER OF COMMERCE." As the only legally constituted body in Pleasantville, it is a natural place for a town meeting. There is nothing bright and cheery however. The floor lamps in each comer cast huge, looming shadows up the walls. The light at the podium bathes Big Bob's face in a blinding splash of light. The whole thing evokes some weird twisted image from German Expressionism-- like they are about to go look for Frankenstein. It is grayer than gray. CLOSER. PODIUM. Big Bob stands at a lectern with a Rotary insignia on the front. He speaks calmly but compellingly to a hundred men and women who hang on his every word. Bob holds a BRIGHT YELLOW GRAPEFRUIT. BOB This was found over in Dave Murphy's trash can. There were four of them like this ... There is a murmur from the crowd ... CLOSE UP. GEORGE. He sits up on the stage in an honored position right behind Bob. George wears a shiny new ROTARY PIN in his lapel, as a full-fledged member of the Chamber of Commerce. He sits stoic and upright with the sense of safety and reassurance that a shiny new pin can give you. SHOT. BOB. He holds up a pair of BRIGHT RED BOXER SHORTS. BOB Jane Davidson found these in her son's laundry basket. There is a LOUDER MURMUR. The crowd shifts in their seats. Bob points behind him to a BRIGHT GREEN lawn chair. BOB (CONT) This is from Mary Petersen's front porch. She found one last week. There were two more this morning ... The MURMUR starts to grow ... CUT TO: EXT. ELM STREET. NIGHT. David and Margaret stand beneath the big Elm tree outside Margaret's house: a statue of two young lovers. They wrap their arms around each other in a classic silhouette. The meeting across town seems a million miles away. After a moment or two, David reaches behind the tree and pulls out a beautifully wrapped gift. It is three feet long with a bright RED bow. DAVID (softly) I got you something. Margaret's eyes widen. She beams at him, then tears off the wrapping paper revealing a great big umbrella ... a real umbrella. She looks up at him thrilled. MARGARET It's beautiful. Where'd you get it? DAVID It was a prop for the school play ... She looks down and giggles. MARGARET Can I open it? DAVID Sure ... Margaret gives him a quick kiss then opens the umbrella. She puts it back on her shoulder and turns a series of pirouettes--like her own kind of rain dance. Margaret points her face up to the sky as if she is being showered by a summer storm. All at once a pair of HEADLIGHTS round the corner. WIDER. David grabs the umbrella and closes it quickly. Margaret looks to the street as the convertible slows to a crawl and two TEENAGE BOYS pull up beside them. They are clean cut with BLACK AND WHITE faces ... DRIVER Hello Bud ... DAVID (clipped) Hello Whitey. They smile at each other for no good reason. It's scary and arrogant. WHITEY (more pointed) Hello Margaret. MARGARET Hello Whitey ... WHITEY (loud) Hey Bud, how come you're not at the town meeting right now? DAVID (curt) No reason. (pause/ firing back) How come you're not? WHITEY Oh. We're s'posed to go out and let everybody know about it. See. He points to an ARMBAND that has some sort of Chamber of Commerce seal on it. Whitey leans out of the car and leers ... WHITEY (CONT) No reason hunh ... See I thought maybe it was cause you were too busy entertaining your colored girlfriend. Margaret literally flinches. The boys share a PEEL OF LAUGHTER AND SNORT AT EACH OTHER. David puts an arm around her and pulls her close. DAVID Why don't you guys just get the hell out of here. WHITEY Oh, okay, Bud. We'll do that. He guns the engine as if to leave, then pauses and turns toward Margaret. WHITEY (CONT) (leering more) You know Margaret, you can come over and bake those Oatmeal cookies for me anytime you want to. They share another CHORTLE as Whitey guns the car and peels out with a SCREECH. Margaret's lip starts to quiver and David holds her tighter ... DAVID It's fine ... It doesn't mean anything. She nods, groping for reassurance ... CUT TO: INT. TOWN HALL. NIGHT. The chamber of commerce meeting is still in full swing. Various citizens are now on their feet, screaming from the audience. WOMAN Ed McFadden's got a blue front door. ED MCFADDEN It's always been blue! WOMAN Not that blue! MAN There's a big tree turning orange in Joe Baker's front yard! SHOT. GEORGE. He still sits behind Bob with the same stoic expression on his face. George fingers the little pin in his lapel ... BOB People, people ... I think we all know what's going on here. SHOT. BOB. Bob lifts his hands in the air. The crowd quiets down a bit. BOB Obviously certain "changes" have been happening. Up until now, things in Pleasantville have always been-- well ... "Pleasant." And, recently, certain things have become ... "Un-Pleasant." Now it seems to me the first thing we have to do is to separate out the things that are pleasant, from the things that are "Un-Pleasant." There is a loud murmur and nod of agreement ... BOB (CONT) George, why don't you and Burt take the lead on this. Why don't you put together kind of an "Un-Pleasant" Activities Committee ... CUT TO: INT. SODA SHOP. NIGHT. Mr. Johnson has scrubbed the snow scene from the window and stares with his palette at a blank pane of glass. There is a knock at the door ... WIDER. Mr. Johnson puts down the paints and crosses to open it. Betty is standing in the doorway clutching her purse and a "Lady Samsonite Weekender" bag. She stares up into his eyes. DISSOLVE TO: FULL SHOT. SHOP WINDOW. MORNING. Burt Campbell opens up the hardware store like he does every morning, only today there is a slight difference. He swings open the door, puts out the rakes and shovels, then sets a newly handwritten sign clearly in the front window: "NO COLOREDS" SERIES OF SHOTS. SHOP WINDOWS. As the businesses are opened on Main Street, more and more "NO COLOREDS" signs appear in the windows: next to the donuts ... by fishing poles ... beside the stationery supplies ... Everything else looks frighteningly the same... CUT TO: EXT. MAIN STREET. DAY. Joey Anderson, the local paper boy, is finishing his morning rounds. He reaches in his bag and tosses left toward the bakery. Then he throws right toward the post office. Then he turns left toward the soda shop, does a double take and slams into a trash can ... WIDER. SODA SHOP. Where Mr. Johnson had once painted his cubist snow scene, there is a brand new painting that isn't cubist at all. A NUDE version of Betty graces the shop window--painted in curving sensual brush strokes. Joey stops his bike and just stares in amazement. He gets up and rides away as fast as he possibly can ... CUT TO: MAIN STREET. LATER ... David is in a happy daze, wandering up Main Street and doesn't even notice the crowd gathered outside Mr. Johnson's soda shop. After a moment or two, he glances up and sees the window ... CLOSER. DAVID. His eyes go wide. The murmur of the crowd grows louder as stray derisive comments rise above the noise. David glances from the nude in window to the growing angry mob ... MAIN STREET. DAY. David goes tearing through the business district looking for any sign of his "mother." He glances in the flower shop ... toward the green grocer ... David is just about to turn on Elm Street when a booming voice seems to come from the sky ... DICK VAN DYKE (OS) Bud ... David stops and looks to his right. There, in the window of the Philco TV store, are twenty screens of various sizes displaying the image of Dick Van Dyke. DICK VAN DYKE (CONT) I want a word with you ... DAVID (scared) Oh--well ... DICK VAN DYKE (BOOMING) NOW! The sound reverberates like God Himself. David ducks inside the store, slamming the door behind him. INT. STORE. Fifty Dick Van Dyke's stare at him from every TV in the store. The effect is smothering. DICK VAN DYKE (still pretty loud) What the hell do you think you're doing! David glances around, not sure where to look. DAVID (terrified) What do you mean? DICK VAN DYKE What do I MEAN! (beat) You think this is a toy? You think it's your own little goddamn coloring book ... DAVID Look--it just sort of "happened" ... DICK VAN DYKE A deluge doesn't just "happen." Bolts of lightning don't just "happen" ... (louder) You burned down an ELM tree for Christ's sake ... DAVID I had nothing to do with that. DICK VAN DYKE Oh. I'm sorry--refresh my memory. What episode does the orgy happen in, again? DAVID Look ... DICK VAN DYKE It was a gift Bud. It was so special. You liked these things as much as I did, remember: Warm smells in the family kitchen? A smile from a stranger? You know how rare that is? DAVID (beat/ quietly) ... Only if they mean it. Dick Van Dyke looks at him for a beat, then goes "red" in the face. DICK VAN DYKE OKAY. NOW YOU'RE REALLY STARTING TO PISS ME OFF! DAVID (finding courage) I didn't do anything wrong. DICK VAN DYKE Oh no? Let me show you something! SHOT. TV SCREEN. All at once a box appears in the upper right hand comer of the screen containing the image of David and Margaret at Lover's Lane. The VIDEOTAPE rolls forward as she extends the BRIGHT RED APPLE. David hesitates, then takes it, then puts it to his mouth and takes a bite. DICK VAN DYKE "YOU DON'T DESERVE THIS PLACE." The image of David biting the apple PLAYS BACKWARDS AND FORWARDS like some football instant replay ... DICK VAN DYKE (CONT) YOU DON'T DESERVE TO LIVE IN THIS PARADISE! WIDER. David just stares at the repeated images of Dick Van Dyke on the TV screens. DICK VAN DYKE (quickly) Where's the remote control I gave you? DAVID Why? DICK VAN DYKE Because you're coming home. I'm gonna put this place back the way it was. DAVID No you're not. DICK VAN DYKE EXCUSE ME? DAVID (gathering strength) I'm sorry ... I can't let you do that. DICK VAN DYKE (nuts) JUST GIMME THE GODDAMN REMOTE! He lunges toward the screen and slams his hand against the "barrier." DICK VAN DYKE (CONT) OW! DAVID (terrified) I'm going to leave now. DICK VAN DYKE You're not going anywhere. You're gonna get that remote and you're gonna come home and we're gonna make everybody HAPPY AGAIN!!! Dick Van Dyke looks at him stunned as David turns and leaves the shop. DICK VAN DYKE (CONT) Don't make me get rough with you! I can get awfully fucking rough! ELM STREET. DAY. David sprints down the tree lined street toward his house. The leaves on some of the trees are starting to turn GREEN even this far into town. David vaults over Mr. Simpson's hedge and goes tearing up his front walk. INT. FOYER. The door flies open and he rushes in, breathless. David glances around the house to make sure that it is empty. He crosses into the living room. INT. LIVING ROOM. David rushes to the TV and grabs the remote. He looks down at it, glances at the television, then bolts for the front door. MAIN STREET. DAY. David moves quickly down Main Street looking for a place to stash the remote. He pauses in front of the Pleasantville Travel Agency. It has posters in the window depicting various destinations in and around Pleasantville (the place doesn't see much business). David bends down to stash the remote in a drain pipe near the entrance when he hears VOICES from up the street. WIDER. David turns to see a small crowd up near the end of Main Street. He sticks the remote in the drain pipe and rises to his feet as the voices get louder. DIFFERENT ANGLE. The crowd is moving toward him. A woman walks in front of a group of young men who circle around her, taunting and harassing her. A moment later David can make out the face: BETTY clutches her handbag to her chest while the crowd circles her like a pack of dogs. CLOSER. BETTY. The ROSY HUE of her face stands out in stark relief to the black and white faces around her. Betty holds her head high with dignity (and fear) while the ugly epithets overlap one another "Oooh--let's see the rest of you ... Let's see what's under that nice blue dress ... Bet she's even pinker than her picture ..." One of the boys yanks at Betty's skirt and she quickens her pace. Just at that moment the boy is shoved to the ground ... WIDER. David shields his "mother" as he shoves one of the boys into the dirt. The kid gets up but David punches him hard in the side of the jaw and the rest of them just stare. (Violence is as new as anything else and it seems to freeze the moment.) David steps in front of his "mother" with both fists clenched. DAVID (as scared as she is) Come on! He plants his back foot primed for action. The crowd of black and white thugs just stares at it. DAVID (CONT) COME ON! ANGLE. CROWD. They look at him warily. The boy reaches up and feels the side of his mouth where a trickle of RED BLOOD is running down his chin. He looks at his finger in horror and starts backing away. DAVID Get out of here! They back away further and David takes a threatening step. The boys turn and run as he turns back to face his "mother." DIFFERENT ANGLE. BETTY. (OVER DAVID'S SHOULDER) David moves up to her gently. DAVID Are you alright? She nods, still clutching her purse to her chest. David reaches out and touches her cheek when suddenly her eyes go wide. DAVID (CONT) (off her look) What? CLOSER. STILL OVER DAVID'S SHOULDER. Betty reaches into her purse and pulls out her compact. She opens it, and holds it up to David, showing him the reflected image of his own face. AT LAST HE HAS TURNED TO COLOR. REVERSE ANGLE. DAVID. He holds the mirror staring at his own reflection. The courage which transformed him only seems to grow. They look at each other, both in color now, when David puts a gentle arm around her shoulder. DAVID (quietly) Come on. He begins to lead her up toward the corner. CUT TO: FULL SHOT. SODA SHOP WINDOW. DAY. A larger crowd of hooligans has now gathered around the nude painting of Betty in the window. The jeers and cat calls are even louder. The "closed" sign still sits in the doorway. After a beat or two, a HUGE BRICK SHATTERS THE GLASS ... WIDER. A big CHEER goes up from the crowd. Drunk on adrenalin, the fever builds and ANOTHER BRICK SMASHES THE WINDOW. In an instant, Mr. Johnson's "canvas" is totally destroyed. The CHEERING grows louder ... Almost by osmosis, the crowd rushes the building together. The door is kicked in and they stream into the place. Soon all that can be heard is the weird SOUND OF LAUGHTER AND BROKEN GLASS. INT. SODA SHOP. It is an orgy of destruction. Stools are hurled--tables ripped out. The cash register is turned over. Two boys kick in the front of the juke box ... EXT. MAIN ST. DAY. David and Betty round the corner to find the Soda Shop being destroyed. They stand at the far side of the intersection watching the carnage as the crowd continues to run amok. After a moment or two, there are some more HOOTS as MARGARET comes running toward them with the front of her blouse ripped open. DAVID Oh my God. He takes her in his arms and Margaret starts to sob. David strokes her hair. DAVID (CONT) Are you alright? Are you okay? She nods. Margaret catches her breath for a moment or two, then glances down to her side ... WIDER. She is clutching the umbrella in her left hand. The thing has been ripped to shreds. The spines are broken and the fabric is torn. Margaret stares at the thing with a combination of confusion and shame. David goes white with rage and looks toward the mob. BETTY (taking his arm) No. Let's get out of here. CUT TO: EXT. COUNTRY ROAD. (LEADING TO LOVER'S LANE). They all ride in George's convertible up the twisting turning road. It has turned completely PINK with the dogwood petals. David winds up the trail, in the fading light, looking for refuge. He clutches the wheel tight. DAVID We should be okay up here. DIFFERENT ANGLE. THROUGH THE WINDSHIELD. The car twists and turns up the narrow dirt road. After a moment, Lover's Lane reveals itself. It is lush and green like before only this time, there is one major difference. A phalanx of BLACK AND WHITE THUGS have created a roadblock in the foreground. WIDER. David jams on his breaks when he sees the barrier. It is a weird incongruous image: the black and white roadblock in front with the vibrant colors of the pond and willow behind-- like some perfect dream you can never get to. The thugs have turned their cars sideways and dragged several huge logs across the road. They hold axe-handles in their hands. DAVID (a whisper) We better go. EXT. MAIN STREET. NIGHT. Darkness has fallen and the streetlamps have come on. Some debris is scattered around the street and distant sounds of the mob still fill the air. David rolls back into town with the headlights off. CLOSER. CAR. MARGARET Where are they? DAVID I'm not sure. They head down Main St. and turn the comer on Walnut. All at once, a weird ORANGE LIGHT bathes the car ... REVERSE ANGLE. THEIR POV. A BONFIRE has been lit in the middle of the street between the library and the barber shop. Twenty to thirty people are gathered around it still whooping and hollering as the bright ORANGE FLAMES shoot into the air. ANGLE. CAR. David pulls over by the curb, and their eyes go wide ... REVERSE ANGLE. From closer up, it becomes clear what they're burning. Huge piles of library books have been dumped onto the sidewalk, waiting their turn on the pyre. There is a strange celebratory atmosphere as they chuck book after book on the flames, with the glee of a teenager tossing a firecracker. David sees something and bolts from the car ... DAVID Oh my God. ANGLE. SIDE OF THE BONFIRE. Jennifer is locked in some strange wrestling match with Biff. He clutches a book over her head while she tugs at his wrist trying to stop him from throwing it on the fire ... JENNIFER Don't! Just let go. BIFF It's better, Mary Sue. JENNIFER I said, NO! (yanking it) ... I've read like one book in my whole life and I'll be damned if I let you throw it on that fire ... Jennifer wrestles with him for a couple of seconds and then suddenly kicks Biff in the groin. He doubles over in agony when Jennifer snatches the book and bolts in the other direction. DIFFERENT ANGLE. STREET. She sprints up the street and is just passing the barber shop when a hand reaches out and grabs her. Jennifer starts to scream but David puts a hand to her mouth. DAVID (a whisper) It's okay. It's me. CUT TO: WIDE SHOT. SODA SHOP. OTHER SIDE OF MAIN STREET. The crowd has moved on and all that is left is the dark wreckage of the soda shop. Several stools lie out in the street and shards of brightly painted glass are scattered around the sidewalk. It is eerily quiet. WIDER. David, Betty and Margaret sit silently in the car, across the street with the lights off. He unlatches the door handle and gets out slowly. The rest of them follow him into the empty street as they move silently toward the soda shop, like some platoon on patrol. REVERSE ANGLE. As they get closer, more of the wreckage comes into view. Half a booth ... a soda spigot ... After a moment or two Jennifer looks up and gasps. CLOSER. Several teenagers step out of the shadows. They have scraped faces and ripped clothing--the signs. Most are dazed and ALL OF THEM ARE IN COLOR. After a second or two, more appear: Mary Jane ... Lisa Anne ... The boy who was reading Huck Finn... ANGLE. DAVID. The kids turn to him as if he has some kind of answer. Of course he doesn't. The sounds of the Mob still carry through the air from somewhere off in the distance. DAVID Let's go inside. INT. SODA SHOP. The place is just sad. All the remnants of what they had are strewn around the floor, The jukebox is turned over. The stools are ripped out of the floor. Betty looks over at the corner where he painted her ... The easel is smashed to bits. ANGLE. BETTY. She brings a knuckle to her lip and David puts an arm around her and draws her close. After a moment or two they HEAR a weird SCRAPING sound. DAVID Hello? The SCRAPING SOUND stops. They all look to the open door and after a second or two, Mr. Johnson appears holding a broom and dustpan. MR. JOHNSON Just thought I'd try to tidy it up a bit. Betty runs across and throws her arms around him. The teenagers watch as she holds him tight. MR. JOHNSON (CONT) It's okay. Once we sweep it up it'll be alright again ... Betty stifles a sob as he strokes her hair. No one says anything while they just embrace for a moment. Finally ... DAVID Well he's right. Come on. Let's turn these booths back up. "Mary Sue", why don't you help me slide this in front of the door. We'll be okay in here. They respond to the tone of leadership. One by one the kids start to pitch in, sifting their way through the wreckage. Jennifer and David slide a barricade in front of the door as the kids try to put their shop back together. CUT TO: INT. TOWN HALL. (CHAMBER OF COMMERCE MEETING) NIGHT. Big Bob stands at the podium addressing a packed house. The atmosphere is odd: somewhere between a bake-off and a lynching. People sit in the aisles and in the window sills. Bob points his finger. BOB This is not the answer people. The crowd quiets a bit. He leans over the lectern. BOB (CONT) No matter how upset we may get, or how frustrated we may be, we're not gonna solve our problems out in the street. It's just the wrong way to do it. We have to have a "Code of Conduct" we can all agree to live by. His tone grows softer--more concerned ... BOB (CONT) Now, I asked George and Burt here to sketch out some ideas-and I think they've done a terrific job. (beat/ scans the crowd) If we all agree on these then we can take a vote and I think we'll start to move in the right direction. ANGLE. CROWD. They murmur and nod ... BOB (reading from the CODE OF CONDUCT") "ONE: All public disruption and acts of vandalism are to cease immediately." EXT. BONFIRE. NIGHT. It is still ablaze with books. As Bob continues to READ in VOICE OVER, a firetruck comes screeching up to the curb. SHOT. FIRETRUCK. The same fireman who learned to use the hose before pulls several yards of it from the back of the truck. He can barely contain his excitement as he gets to open the valve and extinguish the raging bonfire ... BOB "TWO: All citizens of Pleasantville are to treat one another in a courteous and "pleasant" manner ..." SERIES OF SHOTS. LAMPPOSTS. The CODE OF CONDUCT is nailed to lampposts and tree trunks in rapid succession. It is plastered on walls and in shop windows ... SODA SHOP. Debris is still strewn around the street. A dim light emanates from inside. INT. SODA SHOP. It looks like a scene from the French Revolution. Ten to fifteen kids huddle behind the barricade while David reads the code of conduct out loud by flashlight. LISA ANNE "Courteous and Pleasant manner." That doesn't sound too bad. David just looks at her then continues. DAVID (reading from THE CODE) "THREE: The area commonly known as Lover's Lane as well as the Pleasantville Public Library shall be closed until further notice." This sends a murmur amongst the kids. DAVID (CONT) "FOUR: The only permissible recorded music shall be the following: Pat Boone, Johnny Mathis, Perry Como, Jack Jones, The marches of John Phillips Souza or the Star Spangled Banner. In no event shall any music be tolerated that is not of a temperate or "pleasant" nature." VARIOUS KIDS (overlapping) "Oh my gosh ... No ..." David holds up his hand. DAVID "FIVE: There shall be no public sale of umbrellas or preparation for inclement weather of any kind." Various glances dart back and forth between them. David continues. DAVID (CONT) "SIX: No bedframe or mattress may be sold measuring more than 38 inches wide." (pause) "SEVEN: The only permissible exterior paint colors shall be BLACK, WHITE or GRAY, despite the recent availability of certain alternatives." David looks over at Mr. Johnson who just winces slightly. Betty clutches his hand. DAVID (CONT) "EIGHT: All elementary and high school curriculums shall teach the "non-changist" view of history-- emphasizing "continuity" over "alteration." (David pauses) Wow. David lowers the paper. DIFFERENT ANGLE. It is SILENT in the soda shop. Everyone sits motionless for a moment or two, letting the decree sink in. David just stares down at the piece of paper in his hand with a weird kind of sadness. Off in the corner, however, one of the boys has been fiddling with the jukebox and hasn't paid any attention to what was being read. All of a sudden, his voice rings from the corner. BOY Hey. This thing works. He hits a button and BUDDY HOLLY's voice fills the soda shop. RAVE ON blares at almost top volume recalling a more festive time. BUDDY HOLLY Well all the things that you say and do Make me want to be with you-oo-oo ... LISA ANNE (suddenly/ in a panic) Turn that off! The boy looks back at her. LISA ANNE (CONT) (shrieking) You're not allowed to do that now! He flinches and pulls the plug from the wall. The jukebox winds down with a groan as the electricity drains out of it. David looks at the kids then suddenly speaks in a calm clear tone. DAVID Sure you are. He walks across the soda shop and plugs it back in. The kids watch spellbound at this personal display of defiance. WIDER SHOT. SODA SHOP. Buddy Holly's voice fills the Soda Shop but it has a suddenly different meaning. All the kids listen spellbound, as if to an anthem, while the Rock and Roll lives up to its rebellious reputation. BUDDY HOLLY The little things that you say and do Make we want to be with you-oo-oo ... RAVE ON! It's a crazy feeling ... RAVE ON! It's got me reelin' ... Jennifer looks over at her brother with pride. Betty puts an arm around Mr. Johnson, feeling a little stronger--a little safer ... The kids seem to relax a bit, and even if they don't feel totally reassured, at least they don't feel ashamed. Twenty "colored" faces listen as Buddy Holly tells them RAVE ON. David stands beside the jukebox like a captain at the helm of his ship ... EXT. STREET. LATER ... He steps out over the debris and looks both directions. David motions toward the shop and a moment later the kids emerge. The disturbance seems to have died down and the street is silent although strewn with debris. David turns to the kids. DAVID (whisper) Stick together till you get off Main Street. They nod and head off down the block. David just watches them silently from the wreckage of the soda shop ... DISSOLVE TO: EXT. TOWN SQUARE. NIGHT. The Fire Department is cleaning up the charred remains of the bonfire ... INT. SODA SHOP. LATER ... Betty is asleep in one of the booths. Jennifer sleeps beside her on the floor. David and Margaret sleep next to them in another booth with Margaret curled up against his chest. David opens his eyes. REVERSE ANGLE. HIS POV. Mr. Johnson is standing in the middle of the shop, staring at the large piece of plywood where his window used to be. He just gazes at the thing as if he could look through it. There's a faraway look in his eye. SHOT. DAVID. He rises carefully from the booth, without waking Margaret. David crosses over to Mr. Johnson and speaks in a whisper. DAVID It's okay. We'll get you a new one. MR. JOHNSON (softly) I don't know what I'd do if I couldn't paint anymore Bud. I just don't know what I'd do ... CLOSE UP. DAVID. He just nods. David glances down at the table next to him. He picks up one of the brightly painted shards of glass and just looks at it. It's orange and pink and yellow. David thinks for a second. DAVID Maybe I have an idea. CUT TO: EXT. MAIN STREET. DAWN. The same paper boy who rode into the trash can, peddles down Main Street tossing his papers toward the curb. He throws right toward the post office, then left toward the hardware store, then right toward the bakery, then finally looks up. CLOSER. This time the boy slams into a lamp post. He tumbles off his bike and stares straight ahead in disbelief ... HIS POV. TOWN HALL. Two men sleep at the base of the wall next to a clutter of paint cans. Above them, however, is painted A VIVID ALMOST UTOPIAN MURAL OF THE TOWN OF PLEASANTVILLE in LIVING COLOR. Instead of being drab, the place literally gleams with life. The post office turns out to be a RICH RED BRICK. The sky shines in vibrant BLUE. It is a rendering of what the town could look like. David and Mr. Johnson sleep soundly next to their own signatures. David opens his eyes and sees the paperboy ... ANGLE. PAPER BOY. He turns around and rides away as fast as he can. CUT TO: EXT. TOWN HALL. LATER ... A huge crowd has gathered. There is a loud buzz in the air. David and Mr. Johnson stand side by side in front of their work like they're presenting and guarding it at the same time. REVERSE ANGLE. CROWD. Most of the faces are black and white. A few near the back are in color. Big Bob moves through the back of the crowd, hurriedly buttoning his shirt. The buzz grows and the people part as he heads toward the front of the pack ... ANGLE. FRONT OF CROWD. When Bob emerges from the crowd, Mr. Johnson flinches slightly. David just looks him in the eye and tries to find as much courage as he can. "Big" Bob looks up at the color rendering of his town with absolute horror. His eye scans the green trees, the bright yellow gas station, the puffy pink clouds on the horizon. BOB (bellowing) Did you do this? DAVID (quietly but clearly) Yes I did. Bob grabs a copy of the Code of Conduct and waves it at him. BOB Do you know that it's illegal? DAVID (thinks) Yes I do. Bob looks dumbfounded. He tries to process the whole thing but just looks more confused. Bob runs his hand through his hair, shaking his head. BOB BUD--WHY DID YOU DO THIS? DAVID Because anybody should be able to paint in whatever color they want. ANGLE. BACK OF CROWD. Betty stands beside Margaret and Jennifer watching the spectacle. There are tears in her eyes and a great deal of love. Jennifer smiles with pride at her brother ... SHOT. BOB. BOB You're not allowed to do this! I could arrest you for this. DAVID Still doesn't make it right. There is some clapping from the back of the crowd. Bob's eyes widen. His face goes flushed (darker gray). A vein bulges in his neck. He turns to the police chief. BOB Dan! Arrest them! DAN (POLICE CHIEF) (quietly) Um ... I don't know how to do that, Bob. BOB What do you mean!? DAN Well, I never had to do it before. BOB You put handcuffs on them and you take them to the police station. DAN (thinks) Oh. guess I could do that, then. DAVID (suddenly stronger) C'mere, Dan. I'll help you. David walks toward the police chief and sticks his hands out. A louder murmur moves through the crowd as David actually helps him fasten on the cuffs. Mr. Johnson comes over to join them and the murmur starts to grow ... CUT TO: NIGHT TIME. A bright full moon stands out against a jet black sky ... EXT. MAIN STREET. NIGHT. A group of "colored" kids hangs out on Main Street near the police station. They gaze off into the distance at the barred window of a jail cell. It is elevated half a story above the street. Everything is black and white except for the warm YELLOW LIGHT, that glows through the bars. They know in a glance who's inside. INT. JAIL CELL. NIGHT. David sits on his bunk staring at the ceiling. The place has never been used so there is still plastic wrapping on all the sheets and pillow cases. He can't help smiling. INT. DIFFERENT JAIL CELL. WAY OFF DOWN THE HALL ... Mr. Johnson crouches on his bunk, ignoring his food. He clutches a rusty nail and scratches at the plaster wall in true "inmate" fashion. REVERSE ANGLE. WALL. Rather than scratching the days or even the hours, Mr. Johnson has carved a huge pastoral landscape into the wall complete with lush forest and a running brook. He looks at his work and smiles. SHOT. POLICE CHIEF. He approaches David's cell from the other direction and knocks gently on the bars. David turns around. DAN There's someone to see you Bud. DAVID. David sits upright on his bunk trying to think who it could be. After a moment or two, a strange look of understanding crosses his face. He HEARS the sound of a KEY TURNING IN THE LOCK. David looks up at the doorway and smiles. DAVID I thought it might be you. REVERSE ANGLE. DICK VAN DYKE. He stands in the doorway, still dressed in his TV repairman's outfit. FOR THE FIRST TIME, HE IS COMPLETELY IN BLACK AND WHITE. DICK VAN DYKE Hope you're proud of yourself. DAVID I am actually ... Glad to see you've finally shown your true colors. Dick Van Dyke gives a tight smile and shuts the door of the cell behind him. DICK VAN DYKE Okay, let's cut the shit and get right to it. Where's that remote control? DAVID Why? DICK VAN DYKE Because you're coming home. DAVID (smiles) Why don't you just take me back without it? DICK VAN DYKE Oh. You're a smart little bastard aren't you? (tightly) It's kind of like a restricted ticket. You gotta leave the same way you came. David just looks at him. He smiles, confidently. Leans back on the bunk ... DAVID So ... I guess as long as I'm here, all sorts of things could happen to this place. We could have pink lawns and blue trees ... DICK VAN DYKE Just gimme the damn remote! DAVID I'm sorry. I can't do that. Dick Van Dyke takes a deep breath. He glances toward the barred window. DICK VAN DYKE I don't know what went wrong. You answered every question. You knew every detail. The senior Prom ... McIntire's Department Store. We had all the same warm memories: Sock hops. The Church Social ... DAVID They weren't my memories. (beat) I borrowed them. It's no good when you borrow them. Dick Van Dyke's eyes go wide and he literally starts to tremble. DICK VAN DYKE (containing his rage) How long do you think you've been here? DAVID (warily) I don't know ... Three, four weeks. DICK VAN DYKE Much less than that. (checks his watch) An hour and a half. David looks at him uneasily. Dick Van Dyke flashes a broad nasty smile. DICK VAN DYKE (CONT) See--and this is really great-- the show was on for what--half an hour a week? So that means for every week that goes by in Pleasantville, only half an hour goes by in the real world. The smile gets bigger. Dick Van Dyke moves closer to him. DICK VAN DYKE (CONT) Now Buddy, you're going on trial tomorrow. And if they find you guilty, you're gonna be stuck here forever. Well, not forever--lemme think ... (calculates) Five year sentence ... Carry the three ... That comes out to ... sixteen and a half centuries, and that's rounding down. DAVID I'm going on trial tomorrow? DICK VAN DYKE This is TV pal. They don't fool around. David is rocked but tries not to show it. DAVID (stoicly) There's worse places. DICK VAN DYKE Oh sure. For the first hundred years. Then it starts to get a little monotonous. (beat) Sleep well. He taps on the bars for Dan who opens the lock and lets him out. The door CLANGS shut as the two of them disappear down the hall. The minute they are gone, the stoicism falls. David looks around his cell, truly afraid. CLOSER. He stares at the tiny cot ... The plain light bulb in the ceiling ... The single pillow with the plastic covering it ... Forever is starting to look like a long time. David crosses to the small window and looks out. HIS POV. OUT THE WINDOW. Across the town square he can see the side of the Town Hall complete with the newly painted mural. The "Utopian" view of Pleasantville is just as he left it with one notable exception: The edges of painting are starting to turn back to BLACK AND WHITE. CUT TO: EXT. TOWN HALL. DAY. It is bathed in sunlight. Dozens of people stream through the front door for the first trial in Pleasantville's history. There is a weird carnival atmosphere in the air. INT. TOWN HALL. DAY. The place has been transformed from the Chamber of Commerce meeting hall to a small town courtroom, complete with pews and ceiling fans. The only carry over from its previous configuration is the huge CHAMBER OF COMMERCE banner draped across the back wall. ANGLE. BENCH. At the center of the courtroom where the podium used to be is a large, elevated judge's bench with a Rotary insignia on the front. Big Bob sits six or seven feet above the proceedings finally living up to his name. The whole thing is a strange combination of Franz Kafka and "Inherit the Wind." Big Bob bangs the gavel ... CLOSER. The undertone begins to quiet down. All of the faces in the pews are Black and White. There is a "colored" section in the back for standing room only. ANGLE. JURORS BOX. George is seated in the front row of the jury, despite his relationship to one of the defendants. He is dressed impeccably with his Rotary Pin still gleaming on his lapel. After a moment or two he sneaks a glance toward the back of the room ... ANGLE. BETTY. She stands in the back with the rest of the "colored" faces. Betty cranes her head to catch a glimpse of David or Mr. Johnson. All at once, a hush goes through the crowd. ANGLE. DOORWAY. It swings open and David and Mr. Johnson are led in wearing handcuffs. Dan, the Police Chief (now ballif), shows them to a table in the center of the room directly facing Big Bob. There is no lawyer present. There is also no prosecutor. ANGLE. DAVID. He glances around a little confused. (Weird courtroom.) Big Bob bangs the gavel. BOB Bud Parker and William Johnson, you have been charged with desecration of a public building and the intentional use of prohibited paint colors in violation of the Pleasantville Code of Conduct and laws of common decency. Do you admit that on the night of May 1, you did consciously and willfully apply the following FORBIDDEN colors to the Pleasantville Town Hall: (beat) Red, Pink, Vermillion, Puce, Chartreuse, Umber, Blue, Aqua, Ox Blood, Green, Peach, Crimson, Yellow, Olive and Magenta. DAVID Um ... Yes I do. Where's our lawyer? BOB We prefer to keep these proceedings as "pleasant" as possible. I don't think a lawyer will be necessary. There is a murmur and a great deal of nodding amongst the black and white faces. Big Bob smiles to himself then proceeds. BOB (CONT) Do you further admit that this was done surreptitiously and under the cover of darkness? DAVID Well--it was dark out ... BOB Good. Do you further admit that this unnatural depiction occurred in full public view where it was accessible to, and in plain sight of, minor children? DAVID It was accessible to everyone. BOB Very well. Let the record show that the defendants have answered in the affirmative to all the charges. He looks directly at them for the first time. BOB (CONT) Do you have anything to say in your defense? SHOT. DEFENSE TABLE. Mr. Johnson just looks at David, confused and terrified. MR. JOHNSON I didn`t mean to hurt anybody. I just have to paint ... I need to. He gropes for something else to say, but what else is there? David glances over and sees him sit slowly back in his seat. David rises from his chair. DAVID I think I've got something to say. BOB Very well ... David looks out over the audience. After a moment or two, he looks back at Big Bob. DAVID I think I know why you're doing this. I mean, I understand why you're doing this. I used to feel the same way. I used to want this place to stay just the way it was. I never wanted it to change ... There is a loud MURMUR. Big Bob bangs the gavel. DAVID (CONT) (he smiles slightly) But nothing stays the same. You get things, and you lose things, and that's the good part and the bad part--but you can't have a good part without a bad part. He turns and sees his mother in the balcony. They lock eyes for a moment. David smiles slightly and continues. DAVID (CONT) It's like the basketball team. BOB (leaning forward) The basketball team? DAVID Sure. Everybody's upset because they're not winning anymore--but just think how it would feel if all of a sudden they do win. There's a murmur in the gallery. DAVID (CONT) Wouldn't it feel better than when they used to win all the time? There is a LOUDER MURMUR. Big Bob looks concerned. DAVID (CONT) See, I know you want it to stay "Pleasant" but there are so many things that are so much better: like Silly ... or Sexy ... or Dangerous ... or Wild ... or Brief ... (beat) And every one of those things is in you all the time if you just have the guts to look for them. (pointing to the "colored" section) Look at those faces back there. They're no different than you are. They just happened to see something inside themselves that you don't want to ... BOB Okay--that's enough! DAVID I thought I was allowed to defend myself. BOB You're not allowed to lie. DAVID I'm not lying ... Here I'll show you. He turns suddenly toward the jury box. DAVID (CONT) Mr. Simpson ... MR. SIMPSON Yes. DAVID What color is that hedge of yours? MR. SIMPSON Green. DAVID No, not that hedge. The other one. MR. SIMPSON The other one? DAVID The one in your mind. The one that you see on a bright cold morning. The one that you see when you walk in front of your house and you just stand there and stare. Mr. Simpson suddenly looks far away. He gets a kind of dreamy look in his eye. DAVID (CONT) What color is that hedge? CLOSE UP. MR. SIMPSON. SUDDENLY AND BEFORE OUR EYES, MR. SIMPSON TURNS TO LIVING COLOR. A huge MURMUR moves through the courtroom. Bob bangs the gavel. BOB I said, that's enough! VARIOUS VOICES FROM THE AUDIENCE "No ... Let him finish ... Go on ..." Big Bob lifts the gavel and is about to bang it when David suddenly turns toward George. DAVID Alright. Dad ... DIFFERENT ANGLE. There is a LOUDER MURMUR. Big Bob just looks at him frozen while David confronts his "father." George straightens up. GEORGE (solemn) Yes Bud. DAVID (beat) Don't you miss her? CLOSE UP. GEORGE. He looks at him stunned. Big Bob bangs the gavel but nobody listens. George just stares at him like he got shot. DAVID I mean, of course you do, but it isn't just the cooking or the cleaning that you miss--it's something else, isn't it ... George swallows. The UNDERTONE in the room starts to grow as he glances toward the back of the room. DAVID (CONT) (softer whisper) Maybe you can't even describe it. Maybe you only know it when it's gone. Maybe it's like there's a whole piece of you that's missing too. (shrugs) You might even call it "love." BIG BOB (BANGING the gavel loudly) Okay, that's IT!!! DAVID (motioning toward the back) Now don't you think she looks just as pretty in color? Don't you think she looks just as pretty as she did the day you met her? Slowly, almost imperceptibly George nods. A single tear rolls down his cheek. As it traces the side of his face it leaves a long trail of COLOR behind it. DAVID (CONT) Don't you wish you could tell her that? He nods again and it all comes out. Betty smiles at him through her tears. Even Mr. Johnson smiles as well. BOB (POUNDING the gavel) YOU'RE OUT OF ORDER! DAVID Why am I out of order? BOB BECAUSE I WILL NOT ALLOW YOU TO TURN THIS COURTROOM INTO A CIRCUS! DAVID Well I don't think it's a circus. And I don't think they do either. David motions behind him to the black and white section. There are now ten to fifteen "colored" faces. BOB THIS BEHAVIOR WILL STOP AT ONCE. DAVID But see that's just the point. It can't stop at once. Because it's in you. And you can't stop something that's in you. BOB (tightly) It's not in ME. DAVID Oh sure it is. BOB No it isn't. He crosses to the bench looking right up at Big Bob. He leans over the bench and gets right up in his face. DAVID (smug whisper) What do you want to do to me right now? Big Bob starts to tremble. He shakes with rage as David moves closer. DAVID (CONT) C'mon. Everyone's turning colors. Kids are making out in the street. No one's getting their dinner-- hell, you could have a flood any minute ... Pretty soon you could have the women going off to work while the men stayed home and cooked ... BIG BOB That's not going to happen! DAVID But it could happen. BIG BOB No it couldn't! Big Bob looks at David and starts to tremble. It starts around the base of his neck, spreads quickly up the rest of his head. After a moment or two, Big Bob has gone completely RED IN THE FACE. WIDER. A gasp goes through the courtroom. David looks at him and just smiles. The crowd reaction turns almost to a ROAR as Big Bob turns and catches his reflection in the window. CLOSE UP. BIG BOB. He sees the ruddy image staring back at him, then looks down at his hands. They have gone completely RED as well. Big Bob freezes for an instant then bolts from the bench in panic and flees the room--flinging open the doors to the courtroom. ANGLE. DOORWAY. As Big Bob flees, he reveals an amazing sight: the Town Square GLISTENS IN LIVING COLOR. The huge lawn is a rich deep green. The sky is a dense opaque blue. Dozens of spectators bolt from their seats and rush to the doorway as the crowd moves outside. EXT. PLEASANTVILLE. (FULL COLOR!) All the birds are really chirping. Red Brick, Yellow cars, Green hats ... The barber pole in front of Gus' has finally turned to red, white and blue--he can't help smiling. David walks out into the sunlight and stares in wonder at his creation. The whole town is washed in joy. WIDER. Margaret comes up and throws her arms around him. They meet in a rich passionate kiss (in direct defiance of the code of conduct). Several people around them actually clap, like spectators at a wedding. Jennifer moves up next to them and looks at her brother making out. JENNIFER Uch ... I am like gonna hurl ... David turns and looks at her. Both of them laugh. David throws his arms around his sister as more and more people stream out of the courtroom into the sunlight ... DISSOLVE TO: EXT. MAIN STREET. DAY. David and Jennifer stand together on the edge of town. She clutches a valise in her hand. He holds the remote control. DAVID Are you sure? JENNIFER I told you. I'm like positive. DAVID This thing works. We could go home right now. JENNIFER I'm not ready yet. I gotta do this for a little while. WIDER. They stand on the edge of town (which finally has an edge). A large sign says: "Springfield 12 Miles" and for the first time, the end of Main Street is no longer the beginning. Jennifer is dressed in Mary Sue's clothes with a little bit of style thrown in. Rich fields of wheat spread out in the distance. JENNIFER Besides. You think there's like a chance I'm gonna get into college back there? DAVID (thinks ...) Honestly ... no. They both smile. DAVID (CONT) You got the admissions letter. JENNIFER Right here. DAVID And you're sure about this? JENNIFER I've done the slut thing, David. It's really kinda old. David nods. DAVID I'll come back and check on you in a month. Jennifer nods and gives him a hug. She holds on tight for a couple of seconds. JENNIFER You're like the coolest brother in the world. David smiles. Never been called cool before. They suddenly hear the SOUND of a motor and look to their left. A huge Greyhound bus lumbers up the highway, pulling to a halt at the sign. The doors open beckoning her in. Jennifer smiles at her brother, then turns toward the door ... EXT. MARGARETS HOUSE. DAY. She clutches her umbrella at her side. David holds a bag of oatmeal cookies. Each one clings on to the other one's clothing. Their faces are inches apart. MARGARET You're gonna forget about me. DAVID No I won't. I swear. Margaret nods. She looks at him for a moment then wraps her arms around his neck. They meet in a long, rich, wet, soft kiss. The umbrella falls to the ground ... MARGARET (a whisper) I like calling you David. DAVID I like it too. INT. PARKER LIVING ROOM. David stands in front of the television with Mr. Johnson at his side. He holds the remote control in his hand. Mr. Johnson seems pretty amazed at the whole idea. MR. JOHNSON Well how do you know it won't go back to the way it was? DAVID You're gonna keep painting aren't you? Mr. Johnson nods. DAVID (CONT) Well ... He nods again and thinks about it. They smile at each other one last time. MR. JOHNSON (remembering something) Oh. (reaching into his pocket) I've got something for you. He pulls out a folded piece of paper. Mr. Johnson extends it to David who unfolds it and instantly smiles. INSERT. PAPER. It is a small painted replica of their mural in the same vibrant colors. Everything is scaled perfectly, exactly like the one on the wall. SHOT. DAVID. DAVID It's beautiful. MR. JOHNSON Just a little--You know. David looks up at him and smiles. All at once he glances toward the door. WIDER. Betty is standing there holding a brown paper bag. A sweater is draped over her arm. BETTY (extending the bag) I made you these for the trip. They're marshmallow rice squares. DAVID Thanks. I thought you weren't gonna ... BETTY (painful/ quieter) I had to say goodbye. She looks up at David and their eyes lock. Betty hands him the bag. BETTY (CONT) There's a meatloaf sandwich in there too. Don't go skipping dinner just 'cause you're not here anymore. DAVID I won't. BETTY (voice quivering) And ... wear this on the trip in case it gets cold. DAVID (nodding) ... It's a pretty short trip. She nods as well. Betty puts the sweater around his shoulders anyway and fusses with the collar for a second or two. Then she throws her arms around his neck. BETTY I'm so proud of you, Bud. DAVID Thanks ... I love you. BETTY I love you too. She clings on tight for a second or two then lets go. Betty flicks away a tear and draws a deep breath. BETTY (CONT) Well ... She steps back and looks at him. David glances down at the remote. DAVID You better stand back a little. Betty and Mr. Johnson cross toward the comer of the room. David points the remote at the TV ... CUT TO: EXT. MODERN HOUSING TRACT. DAY. All the ersatz Spanish houses stretch out toward infinity. A WESTEC security patrol cruises by them at a crawl. A second or two later, all the sprinklers turn on in uniform synchronization. INT. DAVID'S LIVING ROOM. He stands in the middle of the living room looking at his new/old surroundings. Everything is the same as it was. The black onyx coffee table. The clean burbur rug. The big screen TV in its sleek black cabinet. David looks at it and smiles. The place is inadvertantly in black and white. CLOSER. He reaches forward and turns on the TV (by hand) flipping around the dial. Jerry Springer is berating a prostitute ... Tony Robbins hawks self-improvement in an infomercial ... Court TV is doing an O.J. recap. David unfolds Mr. Johnson's sketch and glances down at it. He smiles to himself. A different kind of nostalgia ... END \ No newline at end of file diff --git a/unformated_scripts/Script_Point Break.txt b/unformated_scripts/Script_Point Break.txt new file mode 100644 index 0000000000000000000000000000000000000000..4f45ffaf4e13c72ff25c850276ef60b23600af66 --- /dev/null +++ b/unformated_scripts/Script_Point Break.txt @@ -0,0 +1 @@ + POINT BREAK by James Cameron & Kathryn Bigelow From the Screenplay by W. Peter IliffFADE IN:We are in the belly of a wave.Light refracts in a constant collision of water.SLOW MOTION, the hallucinatory prisms, like liquiddiamonds taking flight, dreamlike...EXT. OCEAN - DUSKBacklit against a flaming sun a solitary SURFER glidesacross the green glassy peak. TIME IS STRETCHED until hismovements gain a grace and fluidity not of this world.Total Zen concentration. Body weight centered, eyesforward and on the next section.EXT. URBAN STREET - DUSKSLOW MOTION ON a black sedan.Creeping along store fronts. Past a Winchell's.PEOPLE splash steps down rain-washed sidewalks in DREAMMOTION. The sedan turns past the FIRST VIRGINIA BANK andinto an alley.INT. BLACK SEDANTWO MEN and ONE WOMAN in SUSPENDED TIME put on overcoatsand hats. Under their hats strips of Scotch tape stretchtaut from the base of their nose to their forehead,hideously distorting their features. Makes them look likehuman PIGS.EXT. OCEANSILVERY in this light, almost metallic, as if from somefuture-scape. The lone surfer SHREDS a long, endlessright wall.ACCELERATING INTO REAL TIME -- as he stares into the pit,digs in, drops into the sweet spot on the wave, hunkersdown.His moves becoming aggressive, frenzied--INT. BLACK SEDANAn M-16 clip is SMACKED into place and cocked with aCACHACK! Ammo clips are SNICK-SNICKED into handgun buttsand a long clip is SSSNICKED into an UZI.Watches are checked. The PIG NOSE people nod to eachother.EXT. BANKPig Nose #1, steals into position near the glass doors,slams his back to the wall, weapon to cheek, breath fast.EXT. OCEANFAST NOW -- the surfboard rips a brutal gash in the faceof the wave. The surfer TRIMS down the line, pivoting theboard and going straight down, CARVING the bottom. Heslashes viciously back toward the lip and--In a radical INVERTED AIR ATTACK sails SIX feet above thewave in an explosion of water--INT. BANK--BAAAAAAMMM!Glass doors explode OPEN and Pig Nose #1 SPINS inside. Hefires a burst into the ceiling. BRRAAMM!! PIG NOSE #1 EVERYBODY on the floor!PEOPLE drop.VERY FAST HERE--Two bandits handle BANK EMPLOYEES and customers--Another PIG NOSE watches the door--Pig Nose #1 moves behind counter, Uzi and canvas sack inhand.INT. SURVEILLANCE VANDark. Monitors SHOW SLOW SCANS of the bank INTERIOR.Two MEN wear headphones and black windbreakers with FBIstenciled on the back. One watches with binoculars. BINOCULARS Bingo. We're on. Let's go. Where's the big college quarterback?! Are you with us, Utah?EXT. BANK WALLA MAN in his twenties. His head spins revealing rain-slicked hair and face, eyes wide, bright. An edgyhandsomeness to him.He pops a stick of Wrigley's in his mouth, rests a shotgunon one leg and leans against the wall. He wears aheadset... through which we hear the FBI guy yelling forhim.This is JOHNNY UTAH. BINOCULARS (FILTERED) Utah, where the hell are ya!?Utah takes his headset off...INT. BANKPig Nose #1 LEAPS over the counter, holds a canvas sackfilled with booty from tellers' drawers. PIG NOSE #1 Fuckin' shake it!Pig Nose #2 nods with his snubby nose, hurries toward theexit.EXT. FIRST VIRGINIA BANKThe bandits burst through the doors and sprint to thealley where they jump into the SEDAN. THE DRIVER, theWOMAN PIG NOSE, punches it and the TIRES WHIRRR on theslick pavement.The sedan launches down the alley.Utah running. Like a freight train. Splashing through across-alley. He doesn't break stride as he slams hisshoulder into a large, steel GARBAGE DUMPSTER.DRIVING it like a football training sled into the ALLEYwhere--THE SEDAN LOCKS 'EM UP seconds too late as it SKIDS andSLAMS into it, CRUNCHING into the brick wall and--Still alive -- GRINDS into reverse back down the alley,HEADLIGHTS SMASHED, it guns it backward as--UTAH leaps over the dumpster and sprints after the car.He has a brick in his right hand. He cocks it back.Johnny HEAVES the brick thirty yards and--SMASH! The brick EXPLODES into the windshield,SPIDERWEBBING the glass.Lady Pignose flinches from the glass fragments thrown intoher face. LADY PIGNOSE Son of a bitch!The car slews backward onto the street, slamming a parkedcar. Lady Pignose slams the thing into DRIVE, cuts thewheel hard, and punches it, skidding on wet pavement.UTAH hurtles from the alley. He leaps, somehow TACKLESthe DRIVER'S door handle and is dragged along the street.He pulls himself up, reaches inside the window, and whipsthe steering wheel hard right.The SEDAN fishtails into a parked Toyota. Utah bouncesforward, slamming into the asphalt. Glass shards andcrushed steel are strewn everywhere, as radiator steamwhistles hot.Pig Nose #2, riding shotgun, is trapped. Can't get hiscrushed door open. The DRIVER pushes open her door.Gropes for her pistol. Utah springs -- no respect for alady. He slams the door, pins her arm and slams again andagain until the gun drops. Utah kicks it away as thewoman collapses in pain.Pig Nose #1 bails out and runs across parking lot. Utahleaps up onto the crushed hood and draws down with theshotgun. UTAH Halt. FBI!Pig Nose #1 spins. We sense reckless anger. He raisesthe UZI. Utah squeezes the trigger.No death. No blood.Just buzzers and flashing bulbs.Pig Nose's flak vest lights up like a pinball machine.Utah's laser weapon hit the "kill zone". Pig Nose ripsthe tape off his face and the FBI CADET shakes his head indisgust.OBSERVERS step forward. Bank customers. Bank tellers.All FBI personnel. MEDICAL STAFF offer the woman driverassistance. Pig Nose #1 heads for Johnny, but is subduedby other agents. PIG NOSE #1 (FBI CADET) I wanna say just two words to you, asshole, SIMU-LATION!!! Johnny- fuckin' Utah. Guys like you will do anything to win!Utah stares back in defiance.The SURVEILLANCE van pulls up nearby.BINOCULARS runs out and pinches two fingers together,right in Johnny's face. BINOCULARS This far, Utah! You're this far from being the most overqualified guy Burger King ever had. Get me?! UTAH Yes sir. Sir? BINOCULARS What?Johnny gestures to the car. UTAH I did stop the perpetrators.Utah turns to go. As he passes he casually raises hislaser-shotgun and re-triggers Pig Nose's flak vest.LIGHTS AND BUZZERS.Pig Nose explodes. More agents restrain him.Screams and shoving matches and pissed off guys.Utah walks off, down the simulated street, past a signwhich bears the FBI SEAL and reads "Combat Village,Quantico, Virginia." DISSOLVE TO:EXT. PACIFIC OCEAN - DAYRed sky. A luminous Pacific. Five foot faces. Nicecurl. A lineup of SURFERS wait outside the break.Silhouetted, bobbing like a pack of sea mammals.INT./ EXT. TAXIA flood of orange through the windshield as the cab crawlsdown Ocean Park to the sea. CAMERA HANDHELD from the backseat.The driver turns to us. DRIVER Anywhere? You don't care? UTAH (V.O.) Anywhere. I've just never seen the ocean before. CUT TO:EXT. VENICE BEACHJOHNNY UTAH trudging across the sand, holding his shoes.Garment bag and a big duffel over his shoulder.He looks silly in his dark suit, tie loosened, wearing aturned around baseball cap.He wiggles his toes in the sand, looks around like a kid.A pack of BOUNCING BEAUTIES jog through frame.Utah grins, reaches up and turns his cap around.It reads "I Love L.A." CUT TO:EXT. FEDERAL BUILDINGLooking down the face of the concrete monolith at Wilshireand Veteran. Ant-like, Johnny Utah's tiny figure movestoward the entrance. VOICE (OVER) Day One in LA, special agent Utah. You may have been top two percent of your class at Quantico but you have exactly zero hours in the field here. You know nothing...INT. FEDERAL BUILDING - FBI BULLPENSupervising Agent BEN HARP leads Utah across the bullpen.Rows of desks. Agents sitting at computer terminals.Data hell. Looks like he got a job at Xerox. HARP You know less than nothing. If you even knew that you knew nothing, at least that would be something, but you don't. UTAH Yes, sir.Utah is wearing a suit, carrying a briefcase. Harp ismid-thirties, confident of stride, tanned of skin, perfectof hair. GQ. Aggressive. HARP Eating solid breakfasts, Utah? UTAH Sir? HARP All the food groups? Avoiding sugar? Caffeine? I see to it that my people maintain cardiovascular fitness. We stay off hard liquor, cigarettes... UTAH (poker face) I take the skin off chicken.Harp glances at him, eyes narrowing. They reach aglassed-in compound of small offices. Harp swings thedoor open and the other agents look up as Utah enters. HARP This is us. Bank Robbery. And you're in the bank-robbery capital of the world-- UTAH 1322 last year in LA county. Up 26 percent from the year before. HARP That's right. And we nailed over a thousand of them. We did it by crunching data. Good crime-scene work, good lab work, good data-base analysis. Nobody had to tackle a car once. You getting the signal, special agent? UTAH Zero distortion, sir.He picks up a donut from someone's desk, a succulentglazed jelly. UTAH I love these things.He looks right at Harp. Takes a big fuck-you bite. HARP You're a real blue-flame special, aren't you, Utah? I don't know why they sent you to LA. Must be an asshole shortage. UTAH Not so far. CUT TO:UNDERWATERA blue field with a pulsing network of rippling lines.VOOM! A figure rockets down INTO FRAME in a curtain ofbubbles. A gawky AGENT, in less than stylish FBI trunks,flails around blindfolded looking for bricks at the bottomof a pool.INT. GYMNASIUM POOL - DAYThe pool casts wavy distortions upon TWO DOZEN MEN, allgrumbling as they stand in line, wearing T-shirts with FBIlogos, sweats and sneakers. We hear a splash, and the menshuffle forward. PAPPAS (V.O.) The dolls love this baby. It brings them luck when they rub it -- right between their buttons.CLOSE ON tape measure wrapped around a generous belly.PULL BACK to reveal VETERAN AGENT COREY measuring theample waist of ANGELO PAPPAS. This 54 year old silverhaired Greek stands rubbing his belly like a Zulu chief. COREY Angelo, we need a bigger tape. PAPPAS Just read the goddamn number. COREY Still a 46. Maybe we can cinch it down, wear a girdle-- PAPPAS Screw you and this holistic fitness crap! At least my arms don't flap in the wind.Corey secretly squeezes his bicep as...A whistle blows. A broad shouldered MAN wearing an FBIcap barks at the Greek. BIG SHOULDERS Okay, Pappas, let's put on the blindfold. Wanna see you retrieve at least two bricks from the bottom.JOHNNY UTAH enters the pool area in the distance. Sayssomething to one of the agents. Is pointed toward us as--Corey ties the blindfold and guides Pappas to the edge ofthe pool. PAPPAS I've been in the field 33 years, fired my piece 23 times in the line of duty, and I got no idea what a blind man fetching bricks has gotta do with being a Special Agent!Johnny has walked up. Pappas, blindfolded, turns directlyto Utah as he continues, thinking it's Corey. PAPPAS Added to which indignity, I got three months left to retirement and they saddle me with some blue-flamer fresh out of Quantico for a partner. Some quarterback punk, Johnny Unitas or something. UTAH The shit they pull, huh?Pappas snorts agreement and cannonballs into the pool.Huge backblast of water. The other agents hoot andholler.Corey swears and wipes off his clipboard.Johnny steps to the edge, looks down.We see the blindfolded Pappas groveling along the bottom.The other agents cheer as Pappas heads for the surface. COREY Here he comes. Hold up a fish, he'll take it right outta your hand.Pappas surfaces in an explosion of spray as he sputtersfor breath. He grabs the edge and angrily slaps twobricks on the tiles. He rips off the blindfold looks upand frowns.A HAND ENTERS FRAME to help him up. Pappas takes it andJohnny hauls him on deck. COREY Hey Shamu, this is your guy.Pappas eyes the new agent warily. Extends his hand. PAPPAS Pappas. Angelo Pappas. UTAH Punk. Quarterback Punk. PAPPAS (grinning) Welcome to Sea World, kid.INT. SEDAN - DAYSERIES OF TIGHT SHOTSECU sweep hand of a dive watch clicks through theseconds.Magnum shells are fed into a pump shotgun.Velcro straps of Second Chance body armor are fastened.White gloves are pulled snug over strong hands.A silk tie is straightened. A shotgun slide is cocked.The sweep hand approaches the twelve.A LATEX MASK is pulled over the back of a man's head. VOICE The little hand says...The mask turns into FULL CLOSE-UP. It is RONALD REAGAN. REAGAN ... let's rock and roll.INT. BANK OF AMERICABusiness as usual. The scene so normal you know somethingis about to happen. An exiting MAN stuffs bucks into hiswallet, reaching for the door which--SLAMS INWARD. He is hit by a wall of EX-PRESIDENTS.REAGAN charges in with his buddies RICHARD M. NIXON,LYNDON BAINES JOHNSON and JOHN F. KENNEDY.Reagan throws the poor guy skidding across the floor.Nixon buttstrokes a guard, hard in the nuts, with his 12gauge.The other guard goes for his holster -- finds himselffacing three shotguns and one very large handgun.Reagan sights down the pistol. REAGAN Use a gun, go to heaven.The guard freezes. White and sweaty.Tricky Dick slips up to him and collects the pistol.Kennedy covers the stunned customers.Johnson backs up against the door jam, watching thestreet, and the sedan idling at the curb. REAGAN EVERYBODY FREEZE!! That's right. ALL TELLERS step back from the counter! Hands on heads! MOVE!!Nixon and Reagan move quickly to the counter as thetellers comply. REAGAN Everybody else on the floor! Do it! On the floor, let's go. NIXON SUCK LINOLEUM, BITCH!! You got earwax?!Nixon grabs a stunned woman by the arm and hurls her tothe floor.She lands hard. Everyone is on the deck by now.The Presidents move fast.Reagan leaps onto the counter. Stands up where he can seeall.Nixon hurdles to tellers' side and they start moving downthe line together. Reagan controlling the room as Nixonquickly empties the tellers' cash drawers into the sack.His hands move like lightning. REAGAN Just stay cool. Everybody stay cool. Heads down. Eyes down. The money's insured--TIGHT ON -- MONEY flying into the sack. REAGAN -- it's not worth dying for. Another 45 seconds of your time. That's all. Then -- Whoa, Tricky Dick!Nixon pulls a pack of twenties back out of the bag andtosses it to the BANK MANAGER. Who reflexively catchesit.Then drops it like a hot-potato just before--It EXPLODES into a cloud of blue ink. The manager is dyedblue.Burnt money showers on the terrified customers.LBJ looks at his watch and WHISTLES.The bandits sprint for the front doors.Kennedy exits first, followed by Reagan.LBJ pauses under the surveillance camera, drops histrousers and MOONS. Thank you is written across his whitebutt.BLACK AND WHITE VIDEO MONITOR--High angle, distorted wide shot. LBJ hoists his pants andsplits, followed out by Nixon, who exits backward with thefamous double peace-sign held high overhead.IMAGE FREEZES. Victorious Nixon, grainy... something froma time warp. The image SUDDENLY GOES INTO HIGH-SPEEDREVERSE. The bank robbery sequence zips backward. PAPPAS (V.O.) Twenty-seven banks in three years. In and out in 90 seconds. Nobody ever gets shot. We're talking solid professionals.WE ARE IN--INT. BANK CRIME SCENE - LATERUTAH & PAPPAS are watching a monitor in the glassed-inoffice. The robbery REPLAYS on grainy BLACK & WHITEvideotape.The bandits barge in, raise shotguns and order everybodyto the floor. UTAH Good move. PAPPAS Yeah, they control the room well. Stick strictly to the cash drawers.VIDEO TAPE -- Utah is reverse-scanning. The bandits walkBACKWARD into the bank. The explosion of blue ink issucked back into the pack of money, then leaps back intoPresident Nixon's hand. UTAH They don't go for the vault? PAPPAS Never go for the vault. They never get greedy. UTAH Smart. You burn time in the vault. PAPPAS Reagan usually drives. Stolen switch car, they leave it running at the curb, looks parked from a distance. When they run, they dump the vehicle and vanish. And I mean vanish.Utah stops the video, now FAST-FORWARDING it, stoppingwhere President Nixon separates the exploding "dye pack"planted with the money, before he tosses it aside. UTAH Surgical. Look at them separate the dye packs. Dick and Ronny know their jobs. PAPPAS The Ex-Presidents are the best I've seen, kid.Outside the windowed partition POLICE OFFICERS interviewfrightened customers.Hotshot agents MUNOZ and COLE enter from the main floor ofthe bank. Think they're very slick. MUNOZ Anytime you two are finished jerking off watching MTV I need to get a look at that tape. COLE (sloppy grin) Hey, Pappas, you tell the kid your theory on the Presidents? PAPPAS Just take the tape, Cole.Now Munoz starts to smile. MUNOZ Hang ten, Pappas, like totally rad... (to Utah) I gotta tell ya, the department loves it. UTAH What's he talking about, Angelo?Harp raps glass. Cole and Munoz look sharp.Harp enters addressing Pappas and Utah. HARP They found the drop car up on Mulholland. I want you two to go work it. PAPPAS What? Now I'm working the drop car? Who's handling the scene here? HARP Cole and Munoz. I'm uh... letting them run with the ball for a while.Cole and Munoz gloat. PAPPAS Cole and Munoz? I been on this case for two years. HARP (zeroing in on Pappas) That's the point, isn't it? PAPPAS Yeah, I get it. Time to play let's dick the old guys, huh, Harp? HARP Supervising Special Agent, Harp. Now I want you to go work the drop car, okay, Angelo? Okay?The Greek rises like a proud bull. PAPPAS Sure. No problem. How about your office? Your office need vacuuming? We could do that too.Pappas and Utah move toward the door. It's a tightsqueeze as they pass Cole and Munoz. Especially Pappas. PAPPAS Excuse me.Read as fuck you.EXT. MULHOLLAND SCENIC TURNOUT - NIGHTThe diamond field of LA glitters below. The small parkingarea off Mulholland is filled with squad cars. Red andblue disco.A flock of UNIFORMS milling about a non-descript CHEVY.INT. SEDAN FRONT SEATFLASHLIGHT BEAM prowls the interior, stopping on a smallprinted card, folded like a pup tent, left upon the benchseat. It reads "Sanitized For Your Protection." PAPPAS Cute huh? They love to fuck with us.UTAH & PAPPAS pull their heads out of the sedan. Forensicexpert, HALSEY, stands behind them. PAPPAS Don't tell me, let me guess. The switch-car was stolen this morning... (Halsey is nodding his head) They vacuumed and 409'd the interior, did the windows, emptied the ashtrays... HALSEY Yeah, the usual drill.Utah pulls on a rubber glove and lifts the card off theseat. Studies it. Talks to Halsey like Halsey's the onethat just out of Quantico, not Utah. UTAH Could've taken their gloves off before setting that card. Laser it for prints. Maybe held it to his teeth -- check the edges for saliva. (a beat) Today was a scorcher. This Chevy doesn't have air conditioning... HALSEY Sweat secretions in the seatbacks? PAPPAS You through, Mr. Wizard? Let me know if you find Jimmy Hoffa under the seat while you're at it. (looks at his watch) Hell, it's only 7:30. The night's still young... you can solve this case and start on another one. UTAH Well, what're your ideas on these guys? PAPPAS Forget about it, kid. They're ghosts. Let the goddamn yuppie Mormon affirmative action assholes handle it. See I'm almost 55... so I must be senile, right? They better get me out before I start pissing myself in public. Drooling. It would look bad for the Bureau, right? UTAH So you're gonna coast to retirement, when you could nail these guys and go out with come dignity. PAPPAS You watch your fucking mouth! (pounds his chest) Mr. Hoover himself pinned the Seal of Honor right here!The two men glare at each other. Utah looks away. UTAH Sorry. PAPPAS Yeah. That was thirty years ago anyway. (stares out at the bright horizon) L.A.'s changed a lot since then. The air got dirty and the sex got clean. (after a beat) So you want to nail the Ex- Presidents? Be a big hero? UTAH Yeah. What's your theory? PAPPAS The fucking punks are surfers. CUT TO:GRAINY BLACK & WHITE VIDEO WITH TIME CODEEx-Presidents charge into bank, raise shotguns.Image STOPS, then FAST-FORWARDS to the end.WE ARE IN--INT. FEDERAL BUILDING - BULLPEN - NIGHTDark, lit by the TV at the far end of the bullpen. PAPPASand UTAH sit in front of the flickering Sony in the bigempty room. Angelo punches a button on the VCR.ON THE SCREEN--LBJ turns his back to the fish-eye lens, drops trousersand moons the camera. Thank you.Angelo FREEZES on LBJ'S butt. PAPPAS I'm tellin' ya, kid, it's in our face. Lookit the tan on this guy.The young agent looks forward.Stares at the white inscribed butt bracketed by deepbronze tan lines. UTAH Oh well he must be a surfer. PAPPAS Shutup, you might learn somethin' you're not careful... So last year Nixon scuffs a counter going over. There was a soil sample. Non- specific mud traces of asphalt, oils, blah, blah... sand and... carnuba wax. So I became a wax expert. There's 80 some uses for this stuff, something like five hundred products.He tosses Utah a ream of computer printout. Utah scanslists of brand names. UTAH Candle wax. Car wax. Mustache wax? Could be anything. Guy's waxing his mustache at the beach. Gets sand in it. Wipes it off with a shoe. Shoe scuffs the counter. PAPPAS The lab made three possible matches, this was one of 'em.Pappas opens his desk drawer, takes something out andthrows it to Johnny. A pastel blue hockey puck wrapped incellophane.A block of "Mr. Zog's Sex Wax". UTAH (reading) Sex wax? You're not into kinky shit, are you Angelo? PAPPAS Surfers use it on their boards. They rub sand into it for traction. UTAH Thanks for the tip. I needed this knowledge.Pappas shoves a thick file folder toward Utah. PAPPAS Now lookit the dates on the robberies. This is strictly a summer job for these guys.Johnny leafs through it. UTAH ... Four months. June to October. Mmmm...same the year before. PAPPAS Another month and we don't see 'em again 'til next summer.Utah stares at Angelo as it dawns. Grins suddenly. UTAH They're traveling the rest of the year on the money, going where the waves are...Pappas starts to smile. Suddenly, he jumps up onto hisdesk, gets down in a speed-crouch, arms extended. PAPPAS (to one and all) The Ex-Presidents rip off banks to finance their endless summer!Johnny watches, grinning. The night security GUARD walksin. Utah turns to the guard, shrugs. UTAH I think he needs a vacation.The guard nods understanding. CUT TO:INT. SURFSHOP - MALIBU PIER - DAYLong stack-up rack of gleaming SURFBOARDS.A HAND reaches in, pulling out a board from the middle ofthe deck.JOHNNY UTAH hefts it. Sights along it. Trying to lookfamiliar with alien equipment. Behind him is a whip-thin15 YEAR OLD SALESMAN. Nut-brown with platinum hair,jammed day-glo shorts, sleeveless T-shirt, unlaced Ug-boots. 15 Highest performance, very kind. If you want to get aggro, man, this stick can handle your best rage. Where you surf? UTAH I don't. 15 Whoa!! Back up! This's a 5'6" tri- fin squash-tail thruster. You'd eat major shit on this, dude.ACROSS THE ROOM we see Pappas trying on purple wraparoundsunglasses.The salespunk pulls down a wide board with a garishfirebird paint scheme. Like a lowrider flame-job. Thelogo reads "Dance with the Universe." 15 Here, you need a rhino chaser like this one to learn on. Good board. I mean for a pig board.Utah hefts the board. Scowls. Hates anything he's notgreat at.PAPPAS sets his purchases on a counter: the glasses, someplutonium-pink shorts, T-shirts, sun-block. The GIRLbehind the counter is sixteen, barely contained in amacrame bikini-top and "Dolphin" shorts. Angelo picks upa package of Sex Wax from a rack. Sniffs it. PAPPAS (reading the label) "Best for your stick", huh? This might not be enough. I better get two.The girl stifles a grin. Thinks he's cute. At the otherend of the counter, 15 is ringing up Utah's board. 15 Hey, man, guys your age learning to surf, it's cool, there's nothing wrong with it. UTAH I'm twenty-five. 15 See that's what I'm saying, it's never too late.Utah picks up the board and moves to leave. 15 Hope you stay with it. Surfin's the source. It'll change your life. Swear to God.EXT. MALIBU PIER - DAYUtah and Pappas walking back to the car.Two FBI agents in suits and ties walking with a day-gloorange surfboard. Surreal image. The ocean shimmers inB.G. PAPPAS Johnny, it's the only way. UTAH Why can't I just walk around with this thing under my arm and act stoned? Ask a few questions.Angelo stops at the railing, points toward the ocean. PAPPAS Look. Look at them out there.LONG LENS on packs of surfers sitting outside. Bobbingslowly. Hunched like sea birds. Waiting for an unseensign. Disappearing and reappearing beyond the break. PAPPAS They're like some kind of tribe. Got their own language. You can't just walk up to these guys. You've got to get out there. Learn some moves. Get into their head. Pick up the speech. UTAH Angelo, this stuff is for little rubber people who don't shave yet. PAPPAS It's all balance, right? And coordination. How hard can it be? CUT TO:EXT. SURFRIDER BEACH - DAYWHAAAAAM! Johnny is CLOBBERED by a wave.He's flipped off his board and hits the water face-firstas the wave crashes over him. Other surfers steer clear.PAPPAS lounges in a beach chair in his plutonium pinkshorts, purple Vuarnet's and a T-shirt emblazoned with"Surf This" across the chest. A picnic basket sits closeat hand. He winces at Utah's wipeout. Shouts from hisbeach chair. PAPPAS I think you gotta hit them straight on! UTAH (out of breath) Got it...UTAH holds the tip steady, gouges the face of a wave andsquirts out the other side. Another wave rises and Utahglides up over the hump. He clears the swell and theocean suddenly smooths out like a giant lake. Triumphantover having made the lineup, he sits up on the board, andfalls over.PAPPAS slices a green apple, some feta cheese and eats offthe knife.UTAH climbs back on his board. WHISTLES and HOOTS soundas SURFERS spot a new swell. Utah watches as the regularsstart catching rides. Suddenly he feels like a lost dogon a busy freeway.A young LOCAL in a neon wetsuit slashes past him, inchesaway. LOCAL Outta the way, you dick!Another, shredding viciously, is blasting toward him. LOCAL 2 Move it, kook!Johnny paddles rapidly, ducks under.Sees another, bigger wave coming.Pissed off... at himself, at the downy-cheeked hotshots,at the frustration, he turns his board around and startspaddling hard.He somehow gets the soles of his feet in contact with thetop of the board, then struggles up. He's standing --sort of.Arms pinwheeling, he topples in a nasty crash...Right in front of a SHAVED-HEAD SURFER on fullafterburner.Johnny vanishes in an explosion of spray. His boardSHOOTS OUT.It SMASHES SIDEWAYS INTO RAZORHEAD.The guy does an ugly endo.Utah comes up GASPING for air, arms flailing.His board, floating a few feet away, tugging at his ankle.He drapes his torso across the board and pants for breath.Razorhead, already back on his board, paddles over.Points to a small dent in the fiberglass. RAZORHEAD You dinged my board, kook!!Utah looks up in apology as--A CRUSHING RIGHT HOOK SMACKS HIS FACE!Knocks him under.Razorhead pulls a KNIFE from a sheath held by a thongaround his neck. As Johnny surfaces, Razorhead slashes ina vicious arc--Severing Utah's leash, close to the board.His flame-job surfboard bobs away. RAZORHEAD Politeness counts, ASSHOLE!The surf punk plunges under a wave, disappearing. UTAH Goddamn son-of-a--Before Utah can finish, another wave engulfs him and hetumbles to shore, Razorhead nowhere to be seen.ON PAPPAS as Johnny's flame-job board washes in at hisfeet. He calmly picks it up as Utah staggers INTO FRAMEout of the knee-deep whitewash. Johnny rubs his jaw.Spits blood. PAPPAS Kid, maybe this ain't your sport.Utah grabs the board out of Pappas' hands and stalks offacross the beach.INT. UTAH'S BEDROOM - NIGHTJohnny dead asleep. Silence. Then BRRRRR!!He jacknifes up like he just took 20,000 volts. His eyesread panic. He rolls up, legs scissor against tangledsheets and he collapses over empty boxes. He stumbleslike a blind man through the mess until he finds--A tiny Indianapolis Colts FOOTBALL HELMET with a digitalclock for eyes. 5:00 a.m. Johnny emits a drawn outgroan.EXT. OCEAN - DAWNDeafening BOOM as a monster wave CRASHES below a sky thecolor of slate. A distant Pacific storm has brought theswell. 10 foot faces. Glassy, green walls the size ofhouses beckoning from beyond the soup.A lone FIGURE bobbing out beyond the break.The surfer disappears behind the swell.Then REAPPEARS, grinning across the smooth offshorebarrel.UTAH wearing a wetsuit stands beside his surfboard,craning forward to get a better look.The surfer is a WOMAN.She moves with liquid grace, in perfect harmony with thesea, long hair flying out behind her. She undulates likea dancer.Dipping, carving, slicing, making it look sooooo easy.Johnny shakes his head. Oh man, if she can do it... UTAH Fuck it.He stands, grabs his board and heads out into the icyfoam.OCEAN BREAKA horizon of whitecaps churn behind him.He lies on his board, rising and dropping with the swell.So far so good. He spots a wave. A fluid gray-greenhouse rising, forever rising. Utah turns. Paddles. Thehouse catching him, lifting him high upon its roof.Utah is committed. He gets to his feet as his boardslices along the lip. He peers over the falls, down theface -- holy shit! -- it looks like Niagara. He losesbalance and spirals airborne, falling bullseye into theIMPACT ZONE. The entire force of the wave crashing uponhim, plunging him down into the--WASHING MACHINE (UNDERWATER)where he SPINS like a whirling dervish, LASHED to aslamdancing surfboard at the mercy of God.He is held prisoner in a grey-green churning nightmare,like a six-ton pit bull has him by the neck, shaking him.He looks around. Can't tell up from down.WHAM! His head slams into the bottom -- rocks and sand.Stunned, he struggles toward the light, finally burstingto the--SURFACE. Gasping for breath.The good news is he's breathing, the bad news is he'ssurfaced in the impact zone. Another wave crashes down,stuffing him back into the washing machine. Leaving nosign of life in the white froth. The orangeade surfboardlaunches high into the sky, spinning like a misfiringTrident missile, trailing its broken leash like a kitetail.IN THE WASHING MACHINE, Utah tumbles in a cold green hell.His chest is convulsing, needing air now.Suddenly a FIGURE lunges down INTO FRAME.A hand snatches a fistful of his hair and yanks himtoward--THE SURFACE. The WOMAN SURFER bursts through the foam.Grabs her board for leverage. Hauls Utah's head above thewater with one strong arm.He is choking, coughing, slapping fatigued arms againstthe surf, panic registering in his movements. WOMAN SURFER (yelling above the roar) Swim, goddammit! Come on! Move it!The woman gets her board under one of his arms for supportand sidekicks fiercely into the wave, holding him in apainful grip.With powerful strokes, she helps Utah make it to calmerwater outside the break. The big waves, just forming up,lift them and drop them as they pass. Muted thunder whenthe waves hit the beach. She drags him half onto hersurfboard.Practically slamming his face into the board.He's coughing out saltwater.ON THE WOMAN, our first good look at her.She is EXQUISITE. Hair slicked tight to her high-cheekboned face, she looks sleek and feral, with eyes thatburn bright.Especially when she's pissed. WOMAN Look crazy son of a bitch! You wanna commit suicide, you do it someplace else!She undoes her leash and swims rapidly off, returning in afew seconds with Johnny's board. He takes it from her andflops over it, still coughing.Wipes at the salt-snot running out of his nose.There is a cut over his eye from when he re-arranged therocks on the bottom. WOMAN Look at this pig-board piece-a-shit. It's still got the price tag on it, for Chrissakes. What'd you do, buy it yesterday? You've got no business out here whatsoever.Still gagging and gasping, Johnny manages a goofy grin. UTAH Well, I saw you and-- WOMAN Yeah, you saw me and you figured that if a mere girl can do it, a big strong stud like you shouldn't have any problem. Right?! Well you figured wrong, dork!She yanks her board around and strokes powerfully awayfrom him. UTAH Hey! Uh, how do I get back in? WOMAN (without turning) Carefully, tough guy. Very carefully. UTAH (yelling now) My name's Johnny Utah! WOMAN Who cares! UTAH I'm telling you so when you look back on this moment, you can think... there was this guy named Utah and he was pretty much a dork but maybe not such a bad person and I let him drown in conditions he had no business being in whatsoever... when I could have easily helped him.Johnny calmly starts paddling toward shore.Thundering white water pounding the rocks ahead of him.He's stoic in the face of certain death. UTAH (over his shoulder, gamely) Bye. WOMAN Wait! Jesus Christ! (swimming back to him) You're fucking crazy, you know that? You go in there you're gonna eat it on the rocks. Here, follow me.The woman paddles parallel to the shore and Utah pumpsalong behind her. She gets him away from the rocks, thenstarts watching the incoming swell, timing it to the lullbetween sets... WOMAN Go when I say. But stay down. Just lie on the board. Alright, let's go!Utah paddles rapidly, following her, watching what shedoes.He is borne up by a low glassy wall.He bellyboards all the way into the mushy shorebreak.Tumbles. Stands unsteadily, grabbing his board. Runsclumsily out of the retreating foam as another wave comes,sucking water out.On terra firma he looks back to see the woman kick-outgracefully and disappear beyond the wave.He flops on the sand. Shivering. Miserable.EXT. COAST HIGHWAY - LATERLONG LENS... the woman is peeling off her wetsuit next toa BATHTUB PORSCHE that needs a paint job. Her board ispropped in the passenger seat. Stereo is pumping.UTAH WATCHES THROUGH BINOCULARS from 50 yards up the road.THE WOMAN, in a bikini, towels off briskly.Swimmer's shoulders. Long muscular legs. Lean and mean.She jumps into the car without bothering to open the door.Looks at her watch -- her manner is late, in a hurry.Through the tiny windshield we watch her shimmy and shakeas she pulls her bottoms off and struggles into somethingelse, not too concerned about the morning traffic rightnext to her.She pulls on a T-shirt and them performs a Houdini act toextract the bikini top out of one sleeve hole.UTAH WATCHES IMPASSIVELY. He starts his car and pulls outonto PCH to follow as the bathtub Porsche zooms past.EXT. NEPTUNE'S NETUtah cruises up slowly, pulls off the road.Up ahead the Porsche turns into the parking lot ofNEPTUNE'S NET, a Coast Highway hangout that serves high-grade steamed sea-critters and beer to low-grade roadtrash, bikers and surfers.Lean-and-Mean, wearing jeans and T-shirt, jumps out of thePorsche. She hurries to the door of the Net, unlocking itfor a couple of Mexican cooks -- helpers wearingexpressions like they wait like this for her every day.UTAH puts down his binoculars and jots the Porsche'slicense number down on a Tastee-Freeze bag. 867CDH. CUT TO:INT. COMPUTER ROOM - DAYGreen glow washes the intent faces of Utah and Pappas asMISS DEER data specialist, enters 867 CDH into hercomputer.She is purebred American Indian, strong featured andbeautiful.The screen freezes and the hard disk churns.The DMV rap sheet scrolls down the screen. PAPPAS This is your surfer contact? Female. Blond hair. Green eyes. 5'6". 119 lbs? MISS DEER Hmm, not bad, Utah. UTAH Tyler Ann Endicott. Born 11-27-64.The rap sheet scrolls and scrolls and scrolls. There issomething frightening about the length of this file. UTAH (reading from the screen) ... Exhibition of speed. Indecent exposure inside moving vehicle... MISS DEER Hot, very hot. UTAH Felony arrest! "See adjoining file"... (he types quickly) Kidnapping?!Pappas crowds over Johnny's shoulder, reading. PAPPAS This is great. She ties some guy up. Nude. Leaves the scene and fails to return for 24 hours. No convection. MISS DEER Gotta avoid the rope tricks, Johnny.Utah gives her a "very funny" look. More data scrollsforth. UTAH What else they got on her? I still haven't found anything I can really use. I gotta find an approach, a way in -- here we go... (he reads) Both parents deceased. Plane crash. San Diego, '84. Mmmm. Yeah, definitely. CUT TO:EXT. NEPTUNE'S NET - DAYA fat biker pulls out on a loud Harley (like there's anyother kind). The place is almost empty in the weekendlull between lunch and dinner.Utah's car pulls in off PCH.INT. NEPTUNE'S NETTyler Endicott is working the counter. She jams an orderon the wheel and turns TO US. TYLER Next! Oh, no.REVERSE ON Johnny standing there. Her only customer. TYLER What do you want? UTAH Shrimp and fries. TYLER I mean, what do you want? What are you doing hanging around here. UTAH (very serious) I need you to teach me. TYLER Gimme a break. (to cook) One shrimp and fries to go! (to Johnny) Anything to drink? UTAH I'm serious. TYLER I can see that. But forget it. Stick to tennis, or whatever you're good at. Miniature golf. Here, your number's 37. UTAH Well, I'm just gonna go back out there till I catch on to it or break my neck.She's looking at him. This guy's nuts. She laughs. TYLER What is it? You all of a sudden got this bug you had to go surfing? This is a line, right? UTAH No, no. See, all my life I've done things for other people. In high school I played football because my old man expected me to. Then my parents always figured I'd go to law school, so I did. Football scholarship. Graduated Phi Beta Kappa-- TYLER This gonna take long? UTAH Wait, so I'm a big hero to my folks, right? (he leans forward, a little awkward) But two years ago they got killed in a car wreck and I just suddenly realized all my goals had been their goals. And I hadn't been living my own life. So I wanted something for myself. Something that maybe didn't make any sense. You know what I mean?Tyler's smile has faded during this. He's managed totouch her, break through the tough-waitress act. Nowshe's looking him right in the eye. UTAH I came out here from Ohio a month ago. Never saw the ocean before. I didn't think it would effect me so much. Like I'm drawn to it, or something. I want to do what you do. It's the truth. TYLER Tomorrow, 6 AM. Here. If you're a minute late I'm gone. (he's grinning) And Stud... I didn't take you to raise. I can show you a few things but after that you're on your own. That'll be four fifty.He plunks down a ten and backs out the door, grinning. UTAH Keep the change, Teach. CUT TO:EXT. BEACH - DAWNUTAH & TYLER walk across the sand.Tyler drops her board. TYLER Stop here. (she turns to him) Do you agree to do exactly what I say when I say it? UTAH Sure. CUT TO:UTAH pops INTO FRAME, arms extended, one leg in front ofthe other, torso bent at the waist: classic surfingstance.Suddenly, he drops OUT OF FRAME.WE PULL BACK -- Revealing Utah on his board, on the sand. TYLER Do it again.Tyler is making him "pop" up to his feet. Again andagain. GAWKERS stop to watch. Utah fights humiliation.He pops again. And again. Quick cuts.On the next pop we--PULL BACK to reveal Utah on his board, in a wave. He issurfing.For about three seconds. He flies off the deck, ass overteakettle.On the SPLASH we start--A SEQUENCE OF TIME CUTSTyler and Utah straddle their boards outside the break.She nods as the set comes, mellow right tubes. Utah digsin, arms pumping.He feels the bite as the wave picks up his board andstarts down the wall.And endos.CLOUDY PLATINUM DAWN...Tyler shouting at Utah as he fights for balance.He flies off again.BLINDING BRIGHT SUNRISE. TYLER NEXT TO UTAH in thelineup, straddling boards. She moves her hands like afighter pilot explaining a dogfight maneuver. Utahwatches intently.Utah, backlit in glorious slow motion, tries a little turnand feels his feet slip out. He slams down butt-first onthe board, flips over, feet sticking straight up out of ablast of diamond spray.Tyler cringes, giving a look like it's hopeless.TYLER AND UTAH, at their cars, skinning out of theirwetsuits. Utah looks exhausted, downcast. She snaps herwet towel at his ass, cheering him up.MALIBU PIER. RAIN. Tyler jumps out of her Porsche andsees Utah sitting in his car. She goes to him, opens thedoor and starts pulling him out. Come on you pussy.UTAH and TYLER wait their turn in the lineup. Rain peltstheir faces. The waves are depressing inside mushersunder a gray sky.Utah starts to paddle. Tyler shakes her head no. Utah iscommitted to the I'face. Tyler stifles a laugh. TYLER (to the other surfers) I'm not with him.Johnny gouges the lip, pops and begins the drop.Suddenly, miraculously, he catches an edge and, stillstanding, is carried along the tiny wall.The wall begins to sag. Utah shoots along the mushhooting and continues hooting madly as he thrashes all theway to shore.He turns and grins foolishly out to sea.Tyler bursts out laughing.EXT. MALIBU PIER - DUSKBig surf. Rough conditions. Closeout set.UTAH, board in arm, follows Tyler out of the whitewateronto the beach. TYLER It's closing out completely. Let's call it.Utah nods. His eyes track the unruly break. UTAH Who's that?A LONE SURFER slashing through the pilings of the pier. Areal kamikaze run as the whitewater walls thunder behindhim.SILHOUETTED against a crimson sky and backlit spray thefigure pumps among the pier pilings in a frenzy of motionthat is somehow balletic.Laying out bottom turns, torquing his body and blastingthe lip a few times, moving so fast his long dark hairstands straight back as if he were leaning out a carwindow on the freeway. TYLER (V.O.) That's Bodhi. They call his the Bodhisattva.Utah watches as THE BODHISATTVA gets vertical with a snap,trims down the volcanic wall, carves the bottom, pivots,pumps to the top, gouging the lip, getting six feet ofair.Gawkers HOWL and shout praise at the manic surfer. TYLER The modern savage. Guy's even crazier than you, Johnny Utah. C'mon.They start to walk. The sky darkens as the sea finallycloses out completely. The Bodhisattva seems to levitatethrough the shapeless mush to shore. ROACH (O.S.) Brah!Suddenly a football whistles through the air above Utah'shead.He watches as--The Bodhisattva, board under arm, walking out of thewhitewater, makes a one-handed chest catch.A few yards away two teams of SURFERS play football.Utah gazes down the beach at the Bodhisattva.Almost 30 years old, his body lean and hard as a treetrunk. Hardness in the face accented by long Comanchehair. BODHI Hey Tyler!She whirls. Bodhi pumps his arm. Tyler jogs back for thecatch. Bullseye. She shoots Bodhi a look. Somethingcrosses her face.Bodhi smiles. Tyler doesn't. Then it passes.She chucks the ball to Utah.Who drops his board and makes the catch in one move.He SPINS the football on his fingertip, drops it on hisfoot, kicks it up into his hands. Razzle dazzle. Hegrins evilly.EXT. BEACH - NIGHTRimmed by a dozen car HEADLIGHTS at the edge of the sand.Utah crouches, waiting for the snap from NATHANIEL,ponytailed and powerfully built. Facing them on defenseare Bodhi, Tyler and three others: ROACH, gonzo andspiked-haired. GROMMET... 17 and thin as a stick, andROSIE, a biker with piggy eyes and arms blue with tattoos.MONTAGE STYLE -- Utah tosses a flurry of mindbogglingpasses. Every one picture perfect. Nathaniel scramblesz-out left, turns and the ball is practically waiting forhim. Touchdowns galore. Endzone dancing. Bodhi staresat him curiously.Tyler rushes. Utah enjoys scrambling, ducking left andright, twisting her into a pretzel. Play after play.Utah tosses another touchdown, but Tyler keeps coming.Sacking him.They lie together in a heap, laughing.Bodhi quarterbacks. Utah rushes. Bodhi fakes a pass thenruns, ball tucked in his arm. Utah tears after him. Flatout speed run.Roach attempts a block. Utah hits him like a freighttrain.Roach hits the sand face first.Grommet and Rosie the biker in a squeeze play.Utah, fierce now, blasts between them. No mercy.Utah can't play for fun. We see his expression.Something scary there. What we will call "juggernautmode".Tyler just steps aside.Bodhi running along wet sand as a wave sweeps up thebeach. Looks back. Sees a demon shooting up roostertailsof spray behind him, gaining. Pours it on. Both of thempistoning through curtains of water. Not a game anymore.Closing on the endzone. 5 yards. Utah is airborne.SLAMS BODHI LIKE A SAM MISSILE. They crash and burntogether in the surf.The other surfers run up. Who's this newcomer that justcenterpunched their main man? Industrial strengthtension. ROACH The fuck you doin' man?! You fuckin' crazy?Bodhi flashes a million dollar smile. BODHI Chill, brah. You know who this is? Johnny Utah. Ohio State, all- conference. (to Utah) Rose Bowl three years ago. Right?Johnny nods. Tyler looks at him -- no shit? ROACH Johnny fuckin' Utah! Fuckin'-A! Yeah, I remember that game, man. You were on-fire. They could not stop your ass. GROMMET Radical! Head-butt, dude!!Johnny gestures "Please no".Enthused by the concept, Grommet turns to Nathaniel. GROMMET Head-butt!!!They do. Their foreheads CRACK together. They stumblebackwards in giddy euphoria. Nathaniel laughs like PeeWee Herman. BODHI Something happened. You got nuked in the last quarter. UTAH Yeah, my knee got folded about 90 degrees the wrong way. BODHI And that's why you never went pro? UTAH Two years of surgery. I missed my window. Limped through law school instead. BODHI Mmm. A lawyer, huh? (like it's a disease) Too bad. But at least you're surfing now. So your life's not over yet, right? UTAH Not yet. CUT TO:INT. FEDERAL BUILDING - 16TH FLOOR - DAYUtah, in shorts and T-shirt, carries his flame-jobsurfboard past surveillance cameras and portraits of Bush,Hoover and Webster. Special Agent Cole walks by. Eyesthe board. Speaks deadpan. COLE Like totally rad stick, dude.INT. BULLPENUtah tries to act casual as he carries the board to hisdesk on the other side of the room. He has to walk pastthe entire gauntlet to get there. SEVERAL AGENTS Gnarly, man... hang ten... cowabunga... surf patrol... rip it up!Harp comes straight for him like a homing missile. HARP How was the beach? UTAH Fine. HARP Surf conditions okay? UTAH A little mushy. HARP A little mushy! You think the taxpayers would like it, Utah, if they knew they were paying a federal agent to surf and pick up girls? UTAH Babes. HARP What? UTAH The correct term is babes, sir. Uh, this type of undercover operation is entirely dependent on picking up the idiom of the speech. Otherwise penetration is not possible, sir. Of the social infrastructure, I mean.Harp inhales through his nose. A bad sign. HARP Where is Pappas?Utah points across the room. Harp turns.PAPPAS, sitting behind his desk in his "Surf This" T-shirtand pink shorts, lifts the purple Vuarnets like Tom Cruisein Risky Business.Looks directly at Harp. Smiles innocently.INT. HARP'S OFFICEHarp paces. Type-A suppressed rage.Utah and Pappas endure Harp's wrath. HARP Special Agent Utah, this is not some job flippin' burgers at the drive-in. Yes, the surfboard bothers me. Yes, your approach to this case bothers me. And yes, you bother me. You two have produced squat in the last two weeks, during which time the Ex- Presidents have robbed two more banks!! Do you have anything even remotely interesting to tell me? UTAH Caught my first tube this morning.Pappas signals, unseen by Harp, for Utah to shut the fuckup.INT. CORRIDOR TO COMPUTER ROOMJohnny and Angelo walking. PAPPAS What, you couldn't have just left the thing in your car? UTAH It sticks out, so I can't lock it. Look, Angelo, you think I joined the FBI to learn to surf? This was your lame-o idea in the first place. You gotta back me up on this. PAPPAS Johnny, all I can say is we better come up with something real soon.Johnny cocks an eyebrow and opens the door to the computerroom ceremonially, like a doorman at the Ritz-Carlton.Miss Deer looks up as they enter.INT. COMPUTER ROOMTIGHT ON CRT as a lab report scrolls up the screen. Gaschromatography and spectroanalysis. Columns of elementsand compounds, listed as percentage-of-sample. MISS DEER (V.O.) Encino Savings & Loan guard grabbed LBJ's ponytail. We recovered one hair.WIDER, showing Utah and Pappas over her shoulder at theterminal. PAPPAS Yeah, yeah, I remember, last year. Guy got his jaw broken for it. MISS DEER One four centimeter strand. Color brown. Oily. Slight wave. PAPPAS Hell, what're we waiting for, let's go pick the guy up. UTAH Angelo, pay attention. There's gonna be a test afterward. Lab is showing traces of toxins. PCBs. Heavy elements... selenium, titanium and arsenic. PAPPAS Guy's the Toxic Avenger.Utah is excited as he fits the pieces together for hispartner. UTAH The beaches are always being closed because of waste spills, right? And surfers are territorial. They stick mostly to certain breaks. If we can get some hair samples, and get a match to a certain beach, we'd know which break the Ex-Presidents surf. You buyin' this? PAPPAS No. But let's do it, anyway. It's gonna bug the shit out of Harp. CUT TO:EXT. LATIGO - DAYDepartment of Health sign reads, "Beach TemporarilyClosed." Beyond it crashes a wasted northwest swell.Two frustrated teenage SURFERS huddle underneath a towel.Marijuana smoke seeps upward.A sandaled FOOT enters frame and taps their leg. Angryheads poke up from beneath the towel, nostrils and mouthsbillowing smoke.The two wear T-shirts which read "Passion for Slashin" and"Psycho Stick".PAPPAS smiles, standing there in his beach wear, trying toblend in. He doesn't. PAPPAS When you two are done makin' out, I need to talk to you. "PSYCHO-STICK" T-SHIRT Hey, I ain't no butt-bouncer, dude. We're from the valley. Mall babes 'n shit.The kids proudly high-five. PAPPAS I just want to know if you surf here a lot. "PASSION FOR SLASHIN'" T-SHIRT Shit yeah, like totally everyday when it's jammin'. What is this, fucking narco entrapment or what, dude?Pappas flashes his FBI star. He whips out a pair ofscissors.Brandishes them like some over-the-hill "Jason". PAPPAS Not exactly, dudes.EXT. COUNTY LINE - DAYRow of SURFMOBILES parked along a cliff, facing the ocean,doors open, stereos blasting, SURFERS hanging, sitting onhoods.Utah moves along the cars, looking surfed-out.He's tanned, relaxed. Hair starting to bleach out. Oneof the tribe. UTAH Whoa, brah, easy now... Don't move! (Utah bends close, reaching for Surf- Rat's ear) Got some huge sucker crawling into your-- (he plucks at a tuft of hair) Got it! Uuuughhh. SURF-RAT Leave some fuckin' hair, man!Utah squashes, then inspects the mysterious creepy-crawlerhidden in his palm. He wipes his hand on his towel, whichhe keeps balled up in his other hand. SURF-RAT What was it? UTAH Saved your butt, bro. Close one.Utah shivers in disgust, then coyly turns and walks away.The surf-rat desperately pats his ear for traces. CUT TO:INT. FORENSICS LAB - NIGHTA long series of ENVELOPES are displayed on a desk. Eachhas the name of a Southern California beach and isattached to a forensic printout.HALSEY inspects each envelope. HALSEY Naw, this isn't it.UTAH holds up an envelope with a skinny woven ponytailsticking out.PAPPAS shrugs. PAPPAS He moved.Halsey picks up an envelope marked "Latigo Beach". HALSEY PCBs, selenium, titanium, arsenic. The percentages look right. Here's a match. UTAH Latigo Beach.Pappas grabs the envelope, studies it, crooks his head. PAPPAS Surf's up, ace. CUT TO:EXT. LATIGO BEACH - DAYEXTREME LONG LENS scans the beach from a height. A gray,miserable day. Beach crowd thin except for diehards.The image drifts across faces, BODIES. Surfers walkingwith boards.Talking, sitting with pubescent girls.The image settles on Johnny, astride his board, bobbingbeyond the break.ON PAPPAS, scanning with powerful binoculars from his car.CLOSE ON UTAH, out among the flock of hardcore surfers.Ostensibly waiting for a wave, his eyes search the othersaround him, clicking methodically from face to face.Finally he swings his board around and awkwardly catches aride.The modest wave carries him toward the beach as hebalances, tense and style-less.He passes someone we've seen before. The RAZORHEAD fromthe first day. In concentration, Johnny doesn't see theguy.But Razorhead definitely sees him.JOHNNY reaches the beach and jogs up the sand. He picksup a towel and talks into it as he dries his hair. Aglimpse of the walkie-talkie hidden beneath. UTAH Big zippo so far. How about you? PAPPAS (RADIO) Patience hotshot. Patience. It'll be subtle, if it's here at all.PAPPAS WATCHES as Johnny crosses toward the outside showernext to the public restroom.LONG LENS view of Utah passing OUT OF SIGHT behind thebuilding.AT THE SHOWER Johnny sets down his gear and opens hiswetsuit to the warm, salt-free jet of water. TRACKINGSLOWLY IN on him as he lets it pour over his face.A HAND ENTERS FRAME, shutting off the water suddenly.TIGHT ON UTAH, his eyes opening.REVERSE, revealing RAZORHEAD and THREE OTHERS.They are powerfully built SURF-NAZIS.Scalps shaved on the sides. Hair military short on top,lengthening into pigtails in the back. Tattoos. Wristchains.TONE, ARCHBOLD and WARCHILD. The one who socked Utahbefore is BUNKER. They spread out flanking him. WARCHILD This the guy? BUNKER Yeah. UTAH (good natured) Okay, so this is where you tell me all about how locals rule and yuppie insects like me shouldn't be surfing your break and all that, right? BUNKER No. TONE Waste of time. WARCHILD We're just going to fuck you up. UTAH Oh.As they lunge, Utah grabs his board and swings it in awhistling roundhouse. Its edge slams Warchild in the gutand folds him double. The bad news is... Warchild gets anarm around it and brings a pile-driver hammer-punch down.The board splits into two pieces.Utah drops his end as the others close. A flurry ofpunches and kicks, most of which he blocks. But he's lostthe offensive.Bunker takes him to his knees with a vicious karate-styleside-kick.TIGHT ON Utah's towel, talking with Pappas' voice. PAPPAS Johnny? You there?ANGELO gets out of the car fast. He jogs twenty feet andraises the binoculars. Catches a glimpse of the carnagearound the edge of the building. Breaks into a run,massive legs pistoning.JOHNNY HITS THE GROUND hard. He rolls and comes up fast.The razorhead brothers are a little surprised. ARCHBOLD The dude can fight!Warchild grabs Utah from behind. Gets him in a headlock.Archbold and Tone pin his arms. Bunker starts working himlike a practice bag. At this moment, Johnny is gettingthe proverbial shit beat out of him.SUDDENLY, a new figure blurs INTO FRAME.BODHI seizes Bunker and flings him aside. He spins withremarkable agility and drives his heel into Warchild'sface.Utah breaks free, staggering back on the sand. The fightis still there in his eyes.Bodhi is at his side -- holding the others at bay with araised hand and an evil look. BODHI Back off! Now!! Just let it go! BUNKER Stay outta this, Bodhi! BODHI He's with me. Now back off. Seriously.Just do it! (they relax slightly) You alright Warchild? WARCHILD (holding his bleeding nose) Fuck you.Everybody has backed off a bit, panting.Utah steps toward Bunker. Like he's maybe going to shakehands. UTAH What's your name? BUNKER Bunker. UTAH Well, listen, Bunker... I'm actually kinda glad you found me. BUNKER Yeah? Why?Johnny answers with a LIGHTNING ROUNDHOUSE that hits witha CRACK! They can hear it in Pomona.BUNKER HITS THE GROUND. Flat out. Lights out.Tone, Archbold and Warchild lunge like dogs.Bodhi yanks Utah out of the line of fire. BODHI Whoa! Whoa! Hold it, ladies. Give it a rest. (to Utah) Let's go.He literally turns Utah around.They begin to walk, stepping over the pieces of Johnny'sboard. BODHI (under his breath) Do me a favor, Johnny, just keep walking.Tone starts to go after them. Archbold grabs his arm.They help Bunker up. Warchild holds he bleeding nose.Utah and Bodhi start up the stairs, turn a corner and runHEAD-ON into a huffing PAPPAS.The big man clocks a battered but intact Utah.We see him shift gears in his head in 2 tenths of asecond. PAPPAS (out of breath) Uh, you guys seen a kid, maybe 10, 12, running with a car stereo? Stole the fucking CD too, you believe it?Utah is grateful for the cover. UTAH No, but there are four guys back there you might check out. PAPPAS Thanks, buddy.He shoves on.EXT. PARKING LOTBodhi and Utah weave among the cars and motorcycles,beach-types coming and going. UTAH Friends of yours, huh? BODHI The one you decked is Bunker Wiess. The big one is his brother, Warchild. The other two always hang. They think they're some kinda death squad around here. UTAH What's their program? BODHI They're punks. Nazis. Their brains are wired wrong. They hurt surfing because they give nothing back, and they have no respect for the sea. They just want to get radical. It's mindless aggression. They'll never get it, the spiritual side of it. UTAH You always talk like this? You're not gonna start chanting or anything are you? BODHI (laughing) No. (beat) So I was up the beach. I saw it going down. you didn't hesitate... they never backed you up an inch. That's rare in this world. UTAH Thanks for stepping in. BODHI De nada.Bodhi keeps on walking as Utah reaches his car and stops.Five paces on, he stops and turns back. A moment ofdecision... UTAH Gonna be some people at my house tonight. Maybe you can make it. UTAH Where? BODHI Come with Tyler. She knows.Bodhi turns and saunters away. Utah considers his lastwords, wondering how well Tyler and Bodhi know each other. CUT TO:INT./ EXT. CAR - PCH - SANTA MONICA - DAYUtah is struggling into a T-shirt as Pappas drives,intently following a beat-to-shit JEEP. Paramilitaryolive-drab and full of surfboards. And razorhead. PAPPAS Ten seconds you're out of sight. Unbelievable.Johnny is equipment-juggling now... cradling a cellularphone at his ear while steadying Pappas' binoculars infront of his eyes. UTAH You're losin' them. (into phone) That's right. Two-denver-four-sam- niner-five-niner. Late seventies Jeep.LONG LENS, JOHNNY'S POV through binoculars. Bunker's jeepweaves aggressively through traffic ahead. Horns honk.Tone flips off the driver of a Toyota. PAPPAS Look, if you're gonna go leavin' your piece and your shield in the car, you can damn well stay in sight. Okay? UTAH Okay, Dad.EXT. VENICE STREET - DAYLow rent street off Washington.EXTREME LONG LENS on Jeep as it pulls onto the dead frontlawn of a brown stucco house with bars on the windows.The razorheads get out, pulling boards and wetsuits fromthe Jeep. They are dressed now in ripped jeans, GI boots,sleeveless Megadeth T-shirts, etc.Watching, we become aware that two of them have brown hairin a radical style... shaved sides and a short ponytail. UTAH (V.O.) The jeep is registered to a Bradley Wiess. My buddy. Guy's got quite a sheet. (into phone) Yeah, yeah... skip all that. Gimme the greatest hits. Misdemeanor possession of cocaine. That's good...INT./ EXT. CARUtah on the cellular, Pappas behind the wheel as theyslide to a stop half a block from the stucco house. UTAH ... Felony B and E, three months in juvey. Better. Felony assault. Postgraduate work at Chino. Excellent. I'm lovin' it. What about the brother? (Utah is grinning) Great! Another model citizen. These guys really fit the profile. PAPPAS Remember, all bank robbers are losers, but not all losers are bank robbers.LONG LENS POV of Razorheads house. Through the windows wesee the four moving inside. Tone throws Archbold andBunker a Coors from the fridge. Archbold shakes his andopens it in Warchild's face. Warchild, in no mood, slamshim against the wall. We feel the revved-up, chaoticenergy of the group in silent pantomime.Bunker is met by a GIRL coming from the back of the house.She is wearing only panties and a black leather vest.Short black hair and tattoos stark on her white skin.Bunker puts one arm around her neck in a head lock embraceand slides his other hand under her vest. Tone pulls thecurtains. UTAH These are the guys. I can feel it. I say we lay it on Harp. CUT TO:EXT. STREET NEAR HOUSE - NIGHTTELEPHOTO VIEW of house.Bunker and Archbold have partially disassembled the engineof a Kawasaki 1100 parked in the living room. They aredrinking beer and arguing about the carburetors, lit bythe blue glow of the TV. Warchild is watching a living-dead movie on tape.He replays the gory parts. Not a happening night at theRazorheads.REVERSE, as binoculars are lowered, revealing Cole.WIDER, to show the dynamic team of Cole and Munozglowering in a plain sedan, Utah leaning in the sidewindow. MUNOZ This is bullshit. This is a bullshit lead. This is totally bullshit. Harp must be fucking desperate if he's listening to you two flakes. UTAH See you bright and early, guys.Pappas walks up with a grease-stained box. Jams itthrough the window. PAPPAS Cold pizza? It's great for breakfast.INT./ EXT. PAPPAS' CAR - NIGHTPappas pulls away from the curb, roaring past the otheragents sedan. Utah and Cole flip each other offperfunctorily as they pass. UTAH When did Harp say they'd have the warrant? PAPPAS He's pushing it through first thing. You better get some sleep tonight, it could be an interesting morning. CUT TO:EXT. BODHI'S HOUSE - NIGHTA bunker-like structure built of stone and glass on acliff overlooking the Pacific. Surfmobiles andmotorcycles parked in front. A strong backbeat thumpsthrough the open front doors.Tyler's Porsche pulls into the driveway. She and Johnnyget out and head for the entrance. UTAH Nice place. TYLER He rents it for the summer. Bodhi always gets some slick place and throws it open to every surf burnout around. Most a these guys can't keep a job. When the swell comes, they're gone, they have to ride.INT./ EXT. BODHI'S HOUSETyler leads Utah through the steady flow of SURF-RATS andother PCH NOMADS toward a large outdoor deck where abarbecue is in progress. Moonlit waves pound the shoreeighty feet below.They are immediately distracted by the small crowdgathering around GROMMET who has his nose pressed flatagainst the center of a dart board.His eyes swivels back to ROACH, standing fifteen feetaway, dart in hand, getting ready to throw. GROMMET Do your worst, man!Roach drains a beer in one gulp, spies the sharp needlepoint of the dart, then squints at the target.ROSIE moves through the small crowd collecting bets.Suddenly Roaches arm snaps back. A collective hush...In a blur of tattoos the small feathered missile isairborne.TWAAAPPPPPP! Bulls-eye. Centimeters from flesh. Grommetsecretly exhales. Roach howls as Rosie rains money on hishead.The crowd goes wild.BODHI stands nearby with his arm around a BEAUTIFUL WOMAN.Pleased to see Utah, he motions him over. UTAH Don't you gamble? BODHI Only make bets I can't afford to lose. Only way to be 100% committed.With that, Bodhi smiles, then he and the woman vanish intothe crowd. Utah watches them go, turns to Tyler. UTAH Who's the girl? TYLER Catch of the day. UTAH Oh, oh. That sounds personal. TYLER People are expendable to Bodhi. UTAH Meaning you were expendable. TYLER (shrugs) We went out for about five minutes... which is four minutes longer than most of them. But you can't hold it against him, he's... different. UTAH Sure, he's "the Bodhisattva". TYLER (she chuckles) Yeah, he thinks he's evolved to a higher plane of existence, or something. (thoughtful) Maybe he has. You've seen him surf... that frenzy. It seems like anger. It's not. It's the energy of lovemaking. The sea is the woman in his life. She's his only true lover.Utah studies her a moment. He's caught the faintest hintof regret in her voice. But also the straight-aheadpragmatism. He looks down at the waves poundingmercilessly against the rocks. UTAH All she does is beat the shit out of me. DISSOLVE TO:PARTY - LATERLingering surf-rats stoned and drunk.Nathaniel stands on the railing of the deck, Corona inhand, gazing out at the black water. He grins sloppily,body wavering dangerously as he hunkers down into asurfing stance. NATHANIEL (beer soaked speech) ... Okay, so you're in the face, it's twenty-five feet straight down, your balls are about this big. (like he's holding up two BB's) And the whole thing's moving, right, roaring like you're stuck to the front of a freight train. There ain't nothin' like it, man. The ultimate rush. Forget about sex, it doesn't even come close. ROACH You lose it right then, you're history. The fish'll be pickin' you outta the coral.Nathaniel cackles that absurd Pee-Wee Herman laugh. Hestarts to flail, arms pinwheeling.Utah catches him by the back of the shorts and pulls himback. Nathaniel spins and drops clumsily onto the deck. NATHANIEL (matter of factly) Thanks, brah.Tyler sits next to Johnny, sipping a beer. Bodhi is notin sight. ROACH See, it's all dynamic, it's all in motion. You can't just stop and walk on in to the beach if you don't like the way things are going, y' know what I mean? You gotta ride it out man, all the way. GROMMET You ride the monsters, you gotta know you're ridin' a line between life and death. There ain't no forgiveness. UTAH So what's the biggest? Waimea? BODHI (V.O.) No, Bells Beach, Australia.Bodhi glides into the group and sits, his expression darkand enigmatic. The beautiful girl kneels behind him,massaging his neck. He seems not to notice. GROMMET Shit, yeah! I remember that day... gnarly fuckin' ass! Was your birthday-- ROACH The set was northwest. Jacking up like a fucking mountain of gray glass-- BODHI I made that one mistake you pray you'll never make-- NATHANIEL You shoulda fuckin' seen it... it was like he fell for-ever. Then the curl crashes down and he's gooone-- GROMMET -- held down in the washing machine, man... it was severe, we couldn't see nothin' thought it was all over for sure--Nathaniel HOWLS.Tyler watches Utah watching Bodhi. Notices how he ismesmerized by these war stories. Bodhi smiles,unexpectedly. BODHI Not tragic to die doing what you love. You want the ultimate thrill, you gotta be willing to pay the ultimate price. NATHANIEL Fuckin' A. GROMMET (draining a Corona) Hell, I ain't gonna see 30.He and Nathaniel slap a warm, brotherly handshake.Utah notices that Tyler is giving him a dark look.She gets up suddenly and walks away from the group. UTAH (to the surfers, covering) Uh. I need another beer.He heads out after Tyler.INT. HALLWAY - DENJohnny moves through the house, looking for her. As hepasses the den, he sees Tyler standing inside, and goesinto the dark room.It is the only personalized space we have seen in thehouse.A kind of shrine to the Bodhisattva.Shelves filled with books and artifacts from his travels.Maori masks, a blowgun, a skeletal shark mouth two feetacross, a huge fossil ammonite... an unbelievable varietyof tribal artifacts and marine specimens.The books include political literature, eastern religion,philosophy. A strange hodgepodge of titles and authors:Nietzsche, Marx, the Tao, "Steal this Book", "The Book ofFive Rings", Frederick Forsyth thrillers.Tyler is looking at a wall of photographs and Johnny walksup behind her. Shots of Bodhi surfing a monster wave,mountain-biking, skydiving, flying an ultralight airplane,bungee-cord jumping, cliff diving.Every kamikaze activity in the book. TYLER Bunch of goddamn adrenaline junkies. I hope you're not buying into this banzai-bullshit like the rest of Bodhi's moonies. UTAH What are you talking about? TYLER I've seen that kamikaze look, Johnny. You've got it. And Bodhi can smell it a mile away. He'll take you to the edge... and past it. (she looks past Johnny, sees something) Hey, Bodhi.Utah turns. Bodhi is in the doorway. BODHI Johnny has his own demons, don't you, Johnny?Bodhi seems to stare into him.Utah breaks the look. Turns back to the photo gallery.Bodhi's eyes swivel. He ponders something. Looks atTyler. BODHI Feel it?Roach and some of the other surfers appear in the hallway,wondering what happened to their leader. He turns tothem. BODHI Gentlemen, it's time.HOOT AND CHEERS. Everyone bursts into motion. Yellingand running through the house. UTAH What's goin' on? TYLER Swell's here, Johnny. Bodhi always knows.Bodhi returns from another room with... AN ALL-BLACKSURFBOARD. It gleams like obsidian. Near the tip, insmall gray letters it says "Stealth Fighter". Bodhithrusts it into Johnny's hands.The others WHOOP maniacally.Johnny feels the challenge. The pull of the tribe. BODHI Let's go, Utah. Time for a little stealth mission. CUT TO:EXT. LATIGO BEACH - NIGHTSIX DARK FIGURES walk toward us out of shafts of light...the headlights of Bodhi's CHEVY 4WD and Tyler's Porsche.The figures are Bodhi, Johnny, Tyler and the othersurfers.ROSIE hangs back with the idling vehicles, tattooed armscrossed. He puffs on a cigarette.A WIDE SHOT (MATTE) of the beach shows a pool of lightfrom the headlights, beyond it a vast silver ocean under ablack sky. The full moon casts the world in coldmonochrome. The little figures reach the sea. ROACH (a voice in the distance) Gaping barrels! Way overhead, man!CLOSER, as moonlit figures run into the water.Utah stands on the beach, hoping his eyes will adjust. UTAH I can barely do this in broad daylight. TYLER Come on. At least no one's gonna see how bad you are.Johnny clenches his jaw and charges past her into thewater.He strokes powerfully out through the black swell.UTAH'S EBONY BOARD pierces the wave and he slides down thebackside to where the others are waiting. Roach andNathaniel, silhouettes nearby, see one they like and takeoff yelling.Johnny turns as a figure glides up next to him. UTAH I gotta be fucking crazy. BODHI Yeah, but are you crazy enough?Grommet gets a ride, slicing across in front of them.A ghost moving off into the silvery distance.Tyler waves jauntily and takes the next one. It'sJohnny's turn. BODHI Football's a man-made game. You keep score with numbers. But in this, there's no field, no rules, no opponent. Just you and the wave. UTAH I know that part. Tell me something I can use, here. BODHI I've watched you once or twice. You surf like it's some kind of street fight. You jerk along from moment to moment, fighting everything that comes at you. Always trying to win. UTAH A flaw I'm working on. BODHI The only way to win out here is to surrender. You have to feel what the wave is doing, accept its energy, get in sync. Just feel it all moving in the blackness... you don't need to see. UTAH Yeah, right, vision is highly over- rated.Bodhi is looking at the lights along the shoreline.Without looking back, he senses the incoming swell. BODHI This one's got your name on it, Johnny.Utah looks. Huge glassy face, perfectly formed. Blackand terrifying. BODHI Let's go.Bodhi digs in with both hands, driving himself forward.Johnny starts grabbing water right behind him. The wavepicks them up. UTAH Shit, I'm gonna die. I'm gonna die now.Johnny uses the patented Tyler-pop and makes it to hisfeet. Suddenly he's going like a shot.He moves back on the board, trims out, slowing down.Maintains a fragile control.On pure adrenalized instinct, heart pounding, he falls inbehind Bodhi, taking the same line along the roaring blackface.Bodhi is like the Silver Surfer, ahead of him in themoonlight.Not wanting to drop too far behind, Johnny walks a littleforward on the board. The nose dips, picking up speed.Johnny starts letting the speed work for him, learningthat he can make long floating turns up and down theglassy face.Feeling the water under his feet, the tons of water pilingup behind him... feeling its awesome power and borrowing alittle of it.The Silver Surfer and the quarterback rocket through thenight.Utah has a big feral grin plastered on his face.Bodhi looks back. Gives him a thumbs up.Then he cuts left and drops giddily down to the bottom,slashing back and climbing.Utah tries it, feels the drop like freefall... feels thespeed.He makes his bottom turn, nearly falling.The grin dropping off his face.He falls in behind Bodhi again as the wave wraps over themlike a great black wing.TYLER, paddling back out, watches them shoot past her.Utah raises his arms above his head and HOWLS like a gonzowolf as they go by.She grins to herself, watching him.Knows he's gotten the ride that will make him a surfer forlife.EXT. BEACH PARKING LOTRosie sits on the sand next to a blazing fire in a cementfirepit.ANGLE THROUGH THE HEAT HAZE above the flames. Tylerpunches through, a few feet away. She paddles toward him,coming alongside. TYLER You had enough? UTAH Yeah. I just want to sit out here for a minute.He watches the lights along the shoreline as the gentleswell between sets lifts and drops them. His face issomehow childlike.A slow grin spreads itself across his face. TYLER Look at you. UTAH What? TYLER Well, usually you have this sort of intense scowl of concentration, like you're doing this for a school project or something... I don't know, like something's driving you. (she puts her fingertip to his forehead) See, it's gone. If I didn't know better I'd say you looked almost happy. UTAH I... I don't know. I can't describe what I'm feeling. TYLER (smiling) You don't have to.Her face seems luminous in the moonlight. The oceansilver. The shore a shimmering line of gold. The skyblack velvet.Utah turns to Tyler, eyes exploring her, as in a dream.Water beads on her dark skin like crawling diamonds.He glides closer, holding her board like an uneasy horsealongside his.He runs his fingertips down her arm. UTAH Goosebumps. Come here.She leans closer and he rubs his hands up and down herarms, warming her. His hands stop on her shoulders.He pulls her to his mouth. Her tongue meets his.She wants this.He is surprised by the fierceness of her kiss, whichoverwhelms his.TIGHT ON THE ZIPPER of her shorty wetsuit as Johnny'sfingers draw it down. Slowly down, to where it endsbetween her legs.He spreads the front and slips his hands inside, along herribs. TYLER Those are cold. UTAH Warm them up.She moves his strong hand onto her breast.His fingers massage her cold-stiffened nipple.She moans and grabs his wet hair in her other hand,pulling him into another intense kiss.EXT. OCEAN - UNDERWATERLooking up from the bottom, we see the silhouettes of twoboards surrounded by pulsing shafts of moonlight.CAMERA TILTS DOWN to show the bottom.The dreamlike blue light shimmering on the sand and rocks.A big shark browses gracefully, ignoring the lovers.Their moment of harmony with the sea will be honored. DISSOLVE TO:EXT. BEACH - NIGHTTyler's Porsche stands alone in an empty lot.Her surfboard sticks up in back, next to Utah's "stealthfighter".Rosie's fire is burning low.Tyler, half-wrapped in a blanket from the car, straddlesJohnny on the sand like she straddles her board. Theblanket slips down.Naked silhouettes in the firelight.She arches her back as they move together in prefect sync.Grips his shoulders and stares into his face, her teethbared in a grimace of pleasure that looks like pain.She makes love like she does everything... with honestyand intensity.Utah, surprisingly, is gentle and slow.He strokes her hair after she collapses onto him. DISSOLVE TO:EXT. BEACH - DAWNECU JOHNNY as he cracks one eye open, registering the dawnlight.He bolts up, looking around. Tyler is asleep beside him,with the quilt from the car pulled up tight to her chin.She looks radiant in sleep.He grabs his watch out of the sand and looks at it. UTAH Holy shit. CUT TO:EXT. ALLEY BEHIND RAZORHEAD HOUSELONG LENS on UTAH'S SEDAN fishtailing through the alley,narrowly missing dumpsters and parked cars.He pulls up next to several unmarked FBI sedans. No onein sight.UTAH jumps out tucking in yesterday's shirt, stuffing hisBeretta into his waistband. He also shoves a smallleather case into his belt.Utah pulls open the door to one of the unmarked cars andrips a walkie-talkie out of the charging rack on the frontseat.Running, he passes a gate. Goes back. Looks.HIS POV -- FOUR MEN huddled behind a garage. COLE, MUNOZ,AND TWO OTHER AGENTS. All with guns and walkie-talkies. UTAH (whispering) You guys need any help? COLE (not amused) You're late.We hear Pappas' voice over the radio. PAPPAS (V.O.) Did that worthless punk partner of mine ever show up? UTAH (grinning) Right here, partner.EXT. STREET - NEARBYPappas has his shirt hiked up as another agent, BABBIT,tapes a microphone transmitter to his stomach. Pappastalks into his top button. PAPPAS Good of you to join us, hotshot. (to Babbit) Watch it. I told you, not on the hairs, goddammit.Babbit moves the transmitter, putting the tape ondifferently. UTAH I'm ready to rock, Angelo. Where you want me? PAPPAS Cole and Munoz are going in the back door. Babbit is backing me. So I want you at the side window by the hedge. You're strictly backup, got it? UTAH Got it. PAPPAS Awright. Get into position. I'm rolling.Pappas pulls the loose Hawaiian shirt down over the radio-mike gear and his stalwart .38 snub.He steps out from behind a fence and walks along thesidewalk toward Bunker's house, two doors down. He iswearing polyester shorts and sandals, and carrying a DOGLEASH. PAPPAS Here Scooby! Where are you boy? Here Scooby!! You furball piece of shit.COLE AND MUNOZ snap around the corner of the garage andsprint low toward the rear of the brown stucco house.UTAH circles back out through the alley. TRACKING WITHHIM as he makes it to the neighbor's back hedge and crab-walks toward Bunker's house. BABBIT and ANOTHER AGENTmake it to the front corner of the stucco house, stayingout of sight of the windows.ANGELO is walking up to the falling-down porch of thislow-rent roach-hotel.JOHNNY is elbow-crawling between the house and a tallhedge.He slides quietly in below a bedroom window.He pulls out the little leather kit he tucked in hiswaistband. Removes something from it. A DENTAL MIRROR.Moving slowly, he raises it above the window sill, anglingit where he can see inside.TIGHT ON DENTAL MIRROR, Johnny's POV.We see a bedroom through a gap in the venetian blind.Tone is lying on the bed, wearing headphones. Cranked upspeedmetal.His eyes are screwed shut, and his fists pump to the beatlike karate on 40,000 volts.The door to a bathroom is open, and the black-haired girlcan be made out behind rippled shower glass.TIGHT ON DOORBELL as Pappas rings it.UTAH JUMPS at an explosion of sound. He spins in amicrosecond, pistol aimed at... A LAWN MOWER.Through the hedge we can just see THE NEIGHBOR, sixtyishand polyester clad, as he adjusts the choke on the roaringmachine about two feet from Johnny's face. Utah exhalesand lowers the gun. Wipes sweat from his eyes.TIGHT ON PAPPAS, smiling open-faced and goofily charmingas...THE DOOR opens, revealing a GIRL we haven't seen before.She has hair like bleached fiberglass, black eye-makeupand nails. Ramones-style wardrobe. She looks tense, andwon't open the door very far. FIBERGLASS Yeah? What? PAPPAS Have you seen a little dog? Kind of a cockapoo lookin' thing. About this big. FIBERGLASS No.UTAH blinks at what he sees.HIS POV, in the little mirror.Like a silent pantomime under the ROAR OF THE MOWER, hesees Bunker and Warchild come flying into the room.They are hyper and manic. Eyes wild.Bunker leaps clear over the bed.Grabs a COMBAT SHOTGUN from the closet. Throws it toWarchild. Tone is oblivious.Bunker thumps him in the chest and Tone leaps up like anoverwound toy, gaping "What the fuck?!" we read his lipssaying.Bunker grabs a STEYR ASSAULT RIFLE, white knuckled, whileTone fumbles around and comes up with a .45 COLT AUTO. UTAH (into his headset) Babbit. Get Angelo out of there. They're pulling out a fucking arsenal! Babbit, you copy? Cole? Don't let him pull his badge!EXT. BACK YARDCole and Munoz push their earpieces in deeper. Scowl. MUNOZ Utah, say again. What? (to Cole) I can't hear jack shit over this lawnmower. Christ.INT. RAZORHEAD'S HOUSEIn the bedroom, Bunker looks through a slit of door atFiberglass. We hear Pappas just outside. PAPPAS (V.O.) ... and the guy next door said he saw it go into your backyard. My wife'll kill me if I lose the little bastard. Me, I could care less. Whole house smells from it's liftin' its leg all the time...Bunker looks like he's on paranoia overdrive. BUNKER Something's goin' down, man. This ain't right. TONE (freaked) No, man, it's nothin'. It's nothin'. BUNKER Will you shut the fuck up! Check the windows. Do it!!EXT. RAZORHEAD'S HOUSEUtah sucks up against the wall as Warchild looks furtivelyout the window. We see them both, but Warchild doesn'tsee Johnny, plastered right below him.Johnny closes his eyes and grits his teeth. Shiiiiittt!PAPPAS, AT THE FRONT DOOR, is bobbing his head, trying tolook inside. PAPPAS You sure he isn't out back? You mind if I go take a look? FIBERGLASS Look, I don't know anything about your dog, okay-- PAPPAS Well is there anyone else here that might have seen him? FIBERGLASS There's nobody else here...INT. HOUSEWarchild slams into the wall next to Bunker. WARCHILD There's two guys by the back door. Ducked down. TONE Oh, shit. Shit!! We're fucked, man. BUNKER That fat fuck comes through the door I'm gonna pump him up. Swear to Christ, man, I'm gonna blow the dude up!Scared and vicious, like a cornered dog. We believe him.Bunker jacks the bolt on the Steyr. Warchild cocks theshotgun.EXT. HOUSEJOHNNY is pissing himself. He can see it all going down.So fast he doesn't have time to think.He goes into motion -- slipping rapidly along the wall tothe next window.The bathroom window.PAPPAS, AT THE FRONT DOOR, makes his move.He pushes the door open, breaking the security chain, andjams his FBI shield in the girl's face as he grabs herarm. PAPPAS FBI, gorgeous. Now let's take a look around--INT. HOUSEBunker's eyes bug out as he sees Pappas coming through thedoor. He snaps the assault rifle to his shoulder.Suddenly Johnny is behind him -- half-in the bathroomwindow, pistol gripped double-handed like they taught himin Quantico. UTAH FBI!! DROP IT!Bunker whips around. Squeezing off a wild burst! B-B-B-BLAM!It rips the plaster next to Johnny's shoulder.Shatters the shower door behind him. The BLACK-HAIREDGIRL screams.Johnny flinches, FIRING RAPIDLY. Wild.Bunker drops, hit.Warchild lets go with the 12 gauge. KABOOM!Takes a chunk like a shark bite out of the doorframe byJohnny's head.Deafening in the confined space.Johnny flattens himself behind the doorframe.Tone just splits. Down the hall like a greyhound.PAPPAS is on one knee, his piece drawn fast, holdingFiberglass in a neck-lock with one massive arm.Bunker, wild-eyed and bleeding, is on his knees in thebathroom doorway.He raises the Steyr. Mistake.Angelo FIRES. 30 years in the field tends to show.Three rounds. Chest. Chest. Head.Bunker is off the planet.MUNOZ KICKS THE BACKDOOR IN like they do in the movies.He and Cole charge into the rancid kitchen. Badass FBIagents.JOHNNY, hotwired and hyperventilating, pops out for a shotaround the doorframe. He gets a glimpse of Warchild'sback disappearing into the hallway. FIRES. His shot iswasted, punching plaster.Suddenly a pink freight-train hits him.He forgot about the girl in the shower.Naked except for her tattoos, she bodyslams him face-firstinto the wall.As he tries to turn she grabs his hair in both hands andhammers his head into the medicine-cabinet -- CRASH --shattering the mirror.Then she knees him in the balls as he ricochets off thewall into her.She drives her elbow into his back as he drops."FREIGHT TRAIN" lands knee-first on his gun hand, andviciously kicks the pistol away with one bloody foot. Itskitters under the bed.She's cut up from flying glass. Demon-eyed and wired, herbody lithe and muscular under white skin. She sprintsacross the bedroom, leaving Utah slumped, heaving forbreath.IN THE HALLWAY, Tone is hidden behind a doorway.White-knuckling the forty-five. A wild-eyed kid with abig gun and not the slightest idea how to use it.He hears footsteps POUNDING behind him and spins.It's Warchild, running with the shot-gun. WARCHILD Move it, man. Let's get the fuck out of here!Off-guard, Tone is SLAMMED BY THE DOOR as Munoz drivesinto it with his shoulder.Pounded between the door and wall, Tone is wired so tighthe pulls the trigger and blows a hole through his ownright foot.He screams and drops to the floor.Munoz sandwiches him with the door and draws down onWarchild, who dives into a doorway.Cole drives past Munoz, who has Tone pinned, and poundsdown the corridor.Cole reaches the doorway and goes for the shot onWarchild."Freight-train" appears behind him from another door.She raises a pair of scissors and drives them into hisback up to the hilt.Pulls them out, going for another stab, when--Pappas spins her around and slams her face-first into thewall.UTAH, in the bedroom, sees Warchild blur across his fieldof vision.On pure instinct, he kicks into overdrive. Johnny leapsthe bed and goes ballistic. His flying tackle catchesWarchild at the window.EXT. HOUSEThe window EXPLODES OUTWARD in a spray of sunlit glass.Utah and Warchild crash to the ground.The razorhead, with 50 pounds on Johnny, rises like abull.Bleeding from superficial lacerations, Warchild plowsthrough the hedge.Johnny dives after him.The Polyester Neighbor stands paralyzed as the two crazedfigures careen toward him. He is knocked flying, and theROARING LAWNMOWER is flipped onto its side.Utah and Warchild are locked together.The shotgun lies nearby, out of play.Warchild jerks a 6 INCH KNIFE free from its sheath,hanging from a thong around his neck. He trusts straightat Johnny's throat.Johnny deflects the thrust -- INTO THE WHIRLING LAWNMOWER.KA-WHANGGG!!! The knife is hammered out of Warchild'shand.Whistles away, spinning.Warchild grabs Johnny as they scramble, and heaves himbodily toward the spinning blade. Utah catches the rim ofthe mower with both hands, stopping himself inches fromthe rotor.Warchild puts all his weight on Johnny.Pushing him face-first toward the blades.Johnny feels the wind on his face.The engine is roaring, full throttle.PAPPAS APPEARS BEHIND THEM.He aims the .38. FIRES TWICE.The little Briggs & Stratton dies young, its casingshattered.The rotor spins to a stop.Warchild looks up into the black eye of Pappas' gun.Two inched from his face. PAPPAS Speak into the microphone.The razorhead sags, the fight going out of him.Babbit kicks him off Johnny, face down onto the lawn.Cuffs him.INT. BATHROOM - BEDROOM - LATERUTAH dry heaves over the sink. Turns the faucet on fullblast and hoses his head. He lifts a dripping face, wipeswater out of his eyes, stops on the reflection in themirror. Pappas is there. PAPPAS It's always been lasers and paper targets until today, right?Utah looks up at him and nods. He glances through thedoorway at Bunker, dead in a pool of blood. Tone iswailing as paramedics work on his foot. Cole is beingtaken out on a stretcher. PAPPAS No difference, Utah. Just a little more to clean up. (squeezes the rookie's shoulder) It's alright. You did good today.Across the bedroom AGENT BABBIT rips the back off a bigspeaker unit. Behind it, taped to the woofer, are twolarge packets of a white substance. PAPPAS Oh shit.Utah stares at the dope. CUT TO:INT. POLICE HQ - OUTSIDE INTERROGATION ROOM - NIGHTTIGHT ON WARCHILD manacled to the chair screaming his headoff. We cannot hear him through the glass. It looks likepantomime.UTAH and PAPPAS watch through the one way observationwindow.THWAAAAAP!! The two taped packets slam the wall inchesfrom Utah's right ear. Johnny snaps his head around.Stares into the face of DIETZ who looks like Warchild'smeaner brother.And he's pissed as hell... DIETZ You know what this is?! Two keys uncut crystal meth! UTAH What the hell's your problem?Dietz manically grabs a clump of his stringy hair. DIETZ You think I like this haircut? My wife wants me to stay at Ramada -- I been working on these guys for THREE MONTHS! Finally -- finally-- (nodding to Warchild) -- I get dickwad in there wantin' to play wheel of fortune so I can find out their supplier!HARP emerges from the interrogation room, we hear a sliverof Warchild's battle cry. He spies Utah. HARP This is agent Dietz, DEA. He's got a record of your suspect's movements every day for the last three months. DIETZ (stabbing the air with the packets) All I wanna know is how are these guys supposed to be holding up Tarzana City National on August 2nd, when they are in Fort-fucking- Lauderdale August 2ND!!! HARP Not an easy thing to do, is it, Utah? UTAH Aw shit. PAPPAS Nice tattoo, Dietz.We hear a faint BUZZ, growing louder as we... CUT TO:INT. BEDROOM - UTAH'S APARTMENT - DAWNThe doorbell BUZZ shrieks through the room. It stops.Starts again. A ghostly dawn finds UTAH and TYLERsleeping peacefully, limbs entwined like vines.Johnny's eyes snap open. Spies the clock. 4:00 a.m.Tyler stirs beside him, coming out of sleep.Johnny wraps a blanket around his waist and staggers tothe door.BODHI stands outside the door wearing a lunatic grin.Behind him NATHANIEL, ROACH and GROMMET hoot from thepickup. BODHI C'mon brah, there's a righteous swell. Let's go! Let's go!Tyler comes into the room, wrapped in a sheet.Utah sees her knowing smile. TYLER He does this. CUT TO:EXT. BEACH - PREDAWNVampire morning. A misty predawn, bled of all color.Steel gray tones. The ocean vanishes in the fog a fewfeet from shore.Tyler and Johnny, carrying their boards, walk toward thewater. TYLER Come on, Utah. Everybody's out there catchin' all the good rides.She realizes he has stopped ten feet behind her, like agreat weight has dragged him to a halt. TYLER What's wrong Johnny? (goes back to him) You're like a different person.He stares at her. His expression dark... wrestling withsomething. UTAH I am a different person, Tyler.He lets out a long breath and looks away, out to sea.JOHNNY'S POV... the water receding into a backlit wall ofmist.FIGURES APPEAR, faint silhouettes in the fog.Shades of gray in the gray.IN SLOW MOTION they weave hypnotically across the screen,their shapes merging and unmerging as they cross eachother.STACKED UP BY THE EXTREME LONG LENS, Bodhi, Roach, Grommetand Nathaniel crave and slash toward us with mysticalgrace.In SUSPENDED TIME we see them hooting and grinning at eachother as they cut aggressive moves close to each other.Dolphins playing.Challenging each other in mock combat.So good, their boards slash past each other with inches tospare.There is an incredible sense of freedom and exhilaration.Bonding forged through mastery of this arcane art.For the first time we see the core group of Bodhi's tribe,by themselves. It dawns on us...There are four of them.And at that moment Nathaniel drops in front of Bodhi,laughing at the near miss, and drops his pants in a nastywig-wagging moon.TRACKING SLOWLY IN ON JOHNNY staring, mouth open.Watching the four horsemen of the Apocalypse ride towardhim.IN SLOW MOTION, BODHI grins as he slashes past Nathaniel'sshining white butt.ON JOHNNY, as he reacts to the dawning certainty.He feels weak, dizzy... like the ground is moving underhim. TYLER Hey. You okay? You look like you saw a ghost.SHOCK CUT -- ANGELO TURNING TOWARD HIM, at the drop carscene. Eons ago. The sound of his voice ringing... PAPPAS Forget about it, kid, They're ghosts...BACK TO JOHNNY, as he backs away from Tyler. Still inshock, recoiling from the situation. UTAH I... I gotta go. TYLER Johnny... what's going on? I don't get it... did I do something? UTAH No. I'm sorry. I have to go. I'll, uh... I'll call you later. I'm sorry.He sets off running up the beach.Tyler stares after him. Confused and hurt. DISSOLVE TO:EXT. PAPPAS' HOUSE - NIGHTEarly evening. Utah pulls into the driveway. When hekills the engine we hear Greek music from inside thehouse.AT THE ENTRANCE Johnny finds the door ajar. He pushes itopen a little to reveal--INT. HOUSEPappas dancing alone in the living room with his shirtoff, holding a glass of ouzo. Facing away from the doorthe ample Greek hears Utah's tentative knock. Withoutbreaking from his dance or turning he calls out-- PAPPAS Hey, babe. Get on over here so the big dog can teach ya how to bark.Pappas howls like a bloodhound, then twirls around. UTAH Woof, woof.We see the startled Pappas, at a loss for the first time. PAPPAS Johnny! Uh, you, uh... should call first, you know? Hey, where the hell were you all day? You gotta at least call in or something. You okay? UTAH Angelo, we gotta talk.Pappas moves toward him, kind of subconsciously herdingUtah back out the door. PAPPAS Listen, uh... if you're okay, can it wait till tomorrow morning, kid, I...Johnny hears footsteps and turns.Miss Deer comes through the door like it's not the firsttime, carrying a bag of groceries. MISS DEER Angie, they didn't have the kind of wine you like but I got... oh, hi Johnny!Her icy office persona obviously got left there. Her hairis unbound and flows around her shoulders, and in haltertop and jeans she looks delectably off-duty.Angelo looks at Utah like don't you say a fucking word. CUT TO:EXT. HOUSEA few minutes later. Utah and Pappas leaning on his car.The younger agent seems to have regained his hunt-downfever. UTAH ... so I started tailing him. PAPPAS This Zen master surfer. UTAH Bodhi, yeah. I'm on him all day, right. He goes here, he goes there, he goes to Tower Records and buys come CDs, he has lunch at Patrick's Road House... (mock casual) ... he goes into the Assured Trust Savings and Loan. PAPPAS Did he rob it? UTAH Cute. He was inside for about 20 minutes. The other guy, Roach, waited in the truck. They were scoping it out, right?! UTAH Yeah, or cashing a check. UTAH Wait, wait. Then these guys go back to their beach house and box up all their shit. Load it in Bodhi's truck and take it to a public storage unit. You see? Summer's almost over. They're splitting. They're gonna pick up a little traveling money tomorrow. The next day at the outside latest. I got a feeling. PAPPAS Last time you got a feeling I had to kill a man, which I always hate because it looks bad on the report. UTAH Angelo... I'm right this time. We can still win this one.Angelo looks at the conviction in the other agent's eyes.Pappas sighs and puts a hand on Johnny's shoulder. PAPPAS Alright, look... banks are closed. Nothing's gonna go down tonight, right? So we'll be on these guys like white on rice... first thing tomorrow morning. Okay? Tomorrow. Okay?Utah nods. Then grins. Pappas starts backing up, like along rubber band which was stretched taut is pulling himback into the house. UTAH Woof, woof. CUT TO:EXT. STREET NEAR BODHI'S HOUSE - DAYLONG LENS POV scanning Bodhi's house. There is a "FORRENT" sign out front. The driveway and carpet areempty... no vehicles in sight. UTAH (V.O.) They're gone. Son of a bitch. We missed them.UTAH LOWERS HIS BINOCULARS. He's standing next to the carwhile Pappas sits on the hood, sipping coffee from athermos. PAPPAS They're on their way to Maui. UTAH No way. Not yet. Come on.Utah jumps in and starts the car. Pappas is screwing thecap on the thermos. Johnny puts the car in gear, forcingAngelo to scramble in as the car starts to roll. PAPPAS Jesus Christ, kid! The banks don't open 'till nine.EXT. CITY STREET - TRAFFIC - DAYJohnny weaves the sedan among the creeping commuters.Long glittering lines and heat waves. UTAH I say we call it in. Get some backup. But you gotta do it. Harp won't listen to me. PAPPAS Sure. No problem. I'll just call up and tell him his favorite agent saw this one surfer moon another surfer yesterday and it looked real suspicious. Shit, he'll probably call out the National Guard. UTAH I say we don't call it in. Under no circumstance are we to call this in. PAPPAS Look, we handle it ourselves, for right now, okay? We cover the bank, whatever. You and me. That way if nothing happens, or more accurately, when nothing happens... I don't get my tits any further into the wringer than they already are. CUT TO:EXT. ASSURED TRUST SAVING AND LOANSLOW PAN from the facade of the bank halfway up the blockto Utah's sedan in the TIGHT F.G. Head flopped back overthe seat, Angelo snoozes in the hot sun with a sports pageover his face. Johnny looks at his watch for the fiftiethtime. Whole lot of nothing going on.Angelo slides the sports page down to his chin, withoutotherwise moving. PAPPAS Time for lunch. UTAH Angelo, it's eleven thirty. PAPPAS That place up the street has meatball sandwiches. Get me two.Utah slides out of the car. Feeling a little exposed hepulls his Dodgers cap down a little tighter, and adjustshis sunglasses.He trudges off through the sidewalk crowd toward the FAST-FOOD STAND nearby.Pappas pulls the sports page back up to block the sun. CUT TO:EXT. FAST FOOD PLACEON A LONG LENS, very stacked up, we see Johnny standing atthe grody pick-up window. He keeps looking at the bank,visible B.G.The pick-up window opens and food appears, sliding out.Utah turns, pulling out his wallet. VOICE FROM INSIDE Two meatball, one tuna on wheat, two lemonades. Total's seven eighty four.As Johnny is counting out the bills, a BURGUNDYTHUNDERBIRD pulls up in front of the bank. The doors flyopen.The Ex-Presidents jump out.They sprint for the entrance. All this OUT OF FOCUS, B.G.Johnny misses it as he picks up the food order.The Presidents disappear inside.Johnny looks toward the bank again. There is no movement.REVERSE, as Utah walks back toward his car. Pappas isstill under the paper. He slides it down when he smellsfood. UTAH Here, yours is the one that looks like a road kill. Enjoy.Utah throws a big stack of napkins through the window intoPappas' lap. Still standing next to the car. UTAH Here's your lemonade. (he looks down the street) Did you see that T-Bird pull up?Pappas pulls a disgusting mass from the bag, unwrappingone end. PAPPAS (without looking) Damn, I could eat the ass out of an elephant. I shoulda had you get me three a these. What T-Bird?Pappas is about to take a huge bite when a meatball fallsout of the end of the sandwich. It lands on the seat nextto him.He looks at it. Picks it up. Pops it into his mouthand--Freezes, mouth open. Eyes focused on...The Ex-Presidents, in living color, flashing through thedoors of the bank 80 feet away.Johnny is so astounded he doesn't do anything for abouttwo seconds. Pappas coughs out his meatball, eyesbugging. PAPPAS Jesus Christ!! It's them!The Presidents are piling into the car.Johnny reacts characteristically. He whips out theBeretta and yells-- UTAH FBI!! Freeze!! Right now!NIXON spins, raising his shotgun.But Reagan knocks the muzzle down with his hand. Shoveshim into the car. Then Reagan jumps behind the wheel.The back wheels light up, smoking, as the T-Bird launches.Utah FIRES.BLAM! BLAM! BLAM!He puts two into the trunk and blows the back window intojunk jewelry. The T-Bird peels out into traffic, clippinga Subaru which locks them up and spins. PAPPAS Come on, kid, get in the car! Jesus!INT./ EXT. SEDANPappas reaches across, starting the engine as Johnny jumpsin the driver's side. Utah buries the throttle into thefirewall and charges aggressively through the mediumtraffic.Their sedan slews around the back of an eighteen wheeler,fishtailing. It straightens out. No T-Bird in sight. UTAH The hell are they?! PAPPAS They took a left at the next light! UTAH You sure?!Utah is totally wired. Totally concentrated. Theadrenalin is kicking in, flashing through his system. Hisbrain is on turbo boost, reacting a thousand times asecond as they hit sixty through the traffic, which seemsto be standing still. UTAH I got 'em. I see 'em. I'm on it, I'm on it.High-speed slalom through cars and trucks.The world passes by in a hysterical blur. PAPPAS You even watching the road?A car pulls out, straight ahead.Utah swerves wildly, mostly gets around him. The guy'sbumper and front grille are removed. Utah does a smokingskid-recovery. Doesn't even slow down.The late model T-Bird is weaving manically. It makes asliding turn onto a cross street half a block ahead of theFBI agents.Utah cuts the wheel into a huge Ralph's parking lot.Pedestrians scatter. Utah center-punches a week's supplyof groceries in a cart.INT./ EXT. T-BIRDThe Presidents hold on desperately as Reagan white-knuckles it through civilian traffic. They're looking allaround, trying to see where Utah went. LBJ Where are they, man? I don't see 'em. We lose 'em?Not exactly... THROUGH THE WINDSHIELD we see an airborneUtah hurtling from a Ralph's entrance. The sedan lands onthe street, tearing chunks out of the asphalt with theundercarriage.An instant later it hammers into the side of the T-Bird.The two cars spin out of control. Utah cuts the wheel,slamming into them again. Side by side demolition derby.WHAM!! Utah hits them again. The Presidents losecontrol, jumping a curb, losing the right front tire inthe process.Utah's car starts to swap ends. Hit the center islandbroadside.The sedan flips onto its back in an explosion of glass.SCREECH of steel on concrete as it comes to rest.Hanging upside down, Pappas is mightily pissed off. PAPPAS Nice fuckin' work, hotshot. Christ!They can see the T-Bird still moving.It slews drunkenly as the driver maintains speed onflapping rubber.Johnny shimmies out of the wreckage, sliding on his backin broken glass. Pappas is packed in, upside down,wriggling to get out through the side window. A tightfit.INT./ EXT. T-BIRDThe Presidents are hammered up and down by the flailingtire. REAGAN Emergency sanitization! Here we go!EXT. GAS STATIONThe T-Bird vaults into the parking lot and slides to asmoking stop at one of the pump islands. The Presidentsexplode out of the car in a blur.Reagan bodyslams a TEENAGER putting gas in his MUSTANG.He flips his big pistol to LBJ as the other Presidentscharge past him. Nixon jumps behind the wheel of theMustang. LBJ and JFK pile in.Reagan grabs the gas nozzle out of the car.He pulls out a ZIPPO LIGHTER.Reagan raises the gas nozzle like a gun and holds thezippo below and slightly in front of it. He flicks theflame.Then pulls the trigger on the nozzle.Like an impromptu flame thrower, the nozzle spews A TWENTYFOOT JET OF FIRE which engulfs the T-Bird in an instant.Any physical evidence in the car is rapidly incinerated.Customers are running, screaming.Nixon has the Mustang fired up. NIXON Let's go! Move it, Ronny!Ronny's eyes sparkle behind his mask as he paints thescene with the jet of fire. You can see it getting goodto him. In a second he's going to blow up the wholeblock. But he's getting his rocks off. He sets two othercars on fire.A FIGURE BLURS INTO FRAME.In a flying tackle, Utah catapults Reagan off his pins.They roll, skidding across the oily concrete.Spraying wild, the fire swirls around the pump island.Out of the black smoke, PAPPAS charges like an angry bull,his snubnose held high. NIXON sees him and floors it.The Mustang smokes out of the gas station as Pappas' shotsblow out the back window.Utah and Reagan roll away from the blaze. Johnny's pantsare burning. He gets to his knees in time for Reagan'skick to take him square in the solar plexus. He folds inhalf. Drops to the cement.Reagan kicks him again and takes off running.The President is burning.His suit jacket is ablaze. He shucks out of it as heruns.Gasping, Johnny rapidly slaps his jeans. Puts himselfout. He comes up running, pulling his Beretta. Sees theback of Reagan's head disappearing into an alley behindthe gas station.EXT. ALLEYA non-descript L.A. alley... commercial buildings on oneside, walled suburb on the other. Two men running allout.A recent President and a wild-eyed cop trailing smoke likea crashing jet fighter.Beyond the buildings behind them A FIREBALL EXPLODESSKYWARD. We hear sirens and shouting, which recede as thetwo pelt along the alley. It gets quieter. Just themachine-gun slap of the shoes on pavement, and the hardbreathing of the two men, each in overdrive, going all outin long blurring strides.REAGAN looks back. Sees the demon cop behind him,gaining.Utah has become an engine, a running machine... juggernautmode.AHEAD OF THEM a BLACK AND WHITE swings into the alley.Reagan hangs a hard left and blasts a wooden gate half offits hinges. Utah whips through the gate a second later.Diving into suburbia.INT./ EXT. NEIGHBORHOOD - FOOTCHASE SEQUENCEIt becomes a blur. Pure kinetic energy. Two meteorsrocketing through a low-rent suburb. And God help anyonewho gets in the way.Reagan crosses a cluttered backyard.Broken field run through toys, swing set, stacks of god-knows-what.He runs through a Mr. Turtle Pool in an explosion ofspray.Crashes through a hedge.Through the narrow gap between houses.Utah powers into the tight space behind him.Blurring along between stucco walls.They emerge into the front yard.A WOMAN watering her lawn is so surprised she yelps andfalls down.Reagan and Utah both hurdle her.AHEAD, KIDS ON BIKES, racing along the sidewalk.Reagan dodges the first, Utah slams into the next two.He crashes, rolling, tangled up in bikes and squawkingteenagers.He comes out of a pile-up somehow still in high gear.Reagan flashes across the sunlit street.Dodges in front of a GARBAGE TRUCK which locks up thebrakes.It stops so fast, one of the guys falls off the back.The GUY is getting up as Utah whips around the back of thetruck.Knocks him sprawling.Utah doesn't stop. Doesn't look back.Like he doesn't see anything in the real world but thefigure running ahead of him. Like it's some kind ofhyperkinetic video game.Everything is a blur. Suburbia smeared into staccatoimpressions.The house across the street is blocked by fence on bothsides.A MAN is picking up his mail.Reagan pounds past him. Right through the front door ofthe house.Utah follows.Panting as he sprints down a dark hallway.A WOMAN with a basket of washing SCREAMS as Reagan blastspast her, knocking her flying.Utah leaps over her sprawled legs.Cats blur underfoot. Utah crunches down on a tail. A CATEXPLOSION. Screeching merges with the woman's shrillshouts as Utah slams the back screen door off its hinges.Across the back yard. Fence. Over it. Running on.REAGAN looks back.Sees Utah still behind him like in a bad dream.He enters the next house. Sliding glass door.Utah sees Reagan pull it closed. Locking it.Without breaking stride Johnny grabs a potted plant off apatio wall.Heaves it ahead of him.The glass BURST INTO A WALL OF DIAMONDS.Utah blasts through a microsecond later.Topples the kitchen table. Furniture and crockerycrashing everywhere.He sprints down a hallway after Reagan.A FIERCE WOMAN in a housecoat shouting at them as theypass, holding a vacuum cleaner like it's shot-gun. WOMAN Get the fuck out of this house! What the fuck do you think you're doing--Around a corner. A VICIOUS SNARLING SOUND.Utah sees something flying at him. Reflexively catchesit.Reagan has thrown a PIT-BULL.The Fierce Woman's fierce dog.UTAH'S POV -- the snarling little demon right in his face.He drop-kicks it like a goddamn field-goal right through adoorway and runs on.Another door. Another explosion of sunlight. Anotheryard.Sprinklers this time. Reagan and Utah running throughsunlit walls of rain. They crash through another hedge.Emerging drenched.The ground drops away. Slipping and sliding on iceplant,they skid down a steep slope. Reagan reaches bottom.A TEN FOOT RETAINING WALL, dropping off like a cliff topavement below.Reagan falls, landing on his feet.Panting now, feeling it, he stumbles up and runs on.Utah rips down through the iceplant like a humanlawnmower.Slides over the edge. Falls -- lands hard.TIGHT ON HIS KNEE and SLOW MOTION.Taking the impact.We HEAR something go.Utah crashes to the pavement, his face contorted withpain.He grabs his tortured knee with both hands. UTAH Not now. Not now!Reagan runs on. They are in an enclosed storage yard ofsome kind. Ten foot chainlink all around.Utah struggles to get up and run.He sprawls forward, biting back a howl of pain.We see the incredible will driving him on.He gets up and again, hobbling. Trying to run.Reagan reaches the fence.He is heaving for breath. Holding his side.Utah stumbles, gets up, clutching his knee.Hobbling forward. His eyes wild, the veins in his neckbulging.Reagan starts to climb. Utah collapses to his knees. Hecan't go on.Reagan reaches the top of the fence. He looks back.UTAH HAS THE BERETTA POINTED RIGHT AT HIM.Twenty feet away. The muzzle rock-steady. He can't miss.They both are frozen, panting. Locked into the moment. REAGAN You want me, there's only one way.PAPPAS reaches the top of the hill, 200 feet away, pantinglike he's about to collapse. He sees the tableau.ECU -- UTAH'S FINGER on the trigger. Tightening.RACK TO his eyes. Blinking, water running into them.God, he wants to.ECU -- REAGAN'S EYES, through the mask. Locked withUtah's.UTAH suddenly snaps his hand up and FIRES VERTICALLY.HE HOWLS WITH RAGE, FRUSTRATION AND PAIN.FIRES AGAIN. And AGAIN.Slumping back, his shoulders slam down onto the concrete.Straight-arming the Beretta he FIRES RAPIDLY...Bulleting the blue sky.HIGH ANGLE, looking straight down on the tableau.Reagan leaps off the fence and runs OUT OF FRAME, as Utahempties the magazine straight at us, the shots mergingwith his agonized howl, echoing as we-- CUT TO:INT. FBI BUILDING - BULLPEN - NIGHTUTAH sits next to the DISPATCHER waiting for news like asailor in a storm. His leg is popped up on a chair withjeans split to the thigh and an ace bandage wrapped aroundhis knee.His face is a nasty patchwork of scratches and bruises.He drains his coffee and gazes out at the empty bullpen.PAPPAS comes through the doors, wiping the remains ofdinner off his mouth. PAPPAS Nothing? UTAH Nothing.The Dispatcher talks into his headset, glances up atPappas, shakes his head. PAPPAS Go home, kid. Get the hell outta here. Get some sleep. You look like shit. They get anything even resembles your guy, I'm on your beeper. Here. You like feta?He smiles warmly, handing his younger partner a brownpaper sack. UTAH Feta. My favorite.Managing a weary smile. Lifts his body out of the chair,turns to go.Angelo ponders something. PAPPAS Johnny...Utah stops. Looks back at the man. PAPPAS All I wanna know is one thing, why didn't you just take the shot?Johnny's gaze turns inward. UTAH I don't know. CUT TO:INT. BATHROOM - UTAH'S APARTMENT - NIGHTUTAH sits on the bathroom floor as Tyler dabs Betadyneantiseptic over his wounds. Utah cringes. UTAH Ouch. TYLER Betadyne doesn't hurt. UTAH You're kneeling on my hand.She laughs, shifts her weight and keeps tending him. TYLER So what'd the other guy look like? UTAH Never saw him, was your basic hit and run. TYLER But you look like you been in a train wreck, how'd he just drive away?Utah acts like he wants to say something but his mouthwon't quite form the words. Tyler dabs his face, touchesa finger to his forehead. TYLER Johnny, what is it with you? You have that look again, it's like you're about to tell me something and then you don't... or you can't. What's going on?Johnny searches her eyes.She stares at him, becoming fragile suddenly. TYLER What? What do you want to tell me?Utah's brow unfurls. The thought has passed. He slowlycups his hand over hers. Gently pulling her close. UTAH I'm glad you pulled me out of the water that day...He presses his lips to the smooth curve of her forehead.A kiss to each downcast eye. Searching out her mouth withhis own as his hands glide down the small of her back.Their reflection in the mirror as Utah slowly lowers Tylerto the bathroom floor. She clings tightly in a breathlesskiss.EXT. CLIFF - NIGHTA Buddha in the moonlight, BODHI sits crosslegged upon thecliff, staring at the ocean.CAMERA CIRCLES AROUND HIM, focusing in upon his eyes. DISSOLVE TO:INT. BEDROOM - NIGHTUTAH asleep, flopped in a spread-eagled X.WE HEAR the bedroom door opening, see a slash of lightfall across the bed.Johnny doesn't stir.A shadow appears on the wall, moving toward him.An outstretched arm holding a gun.Utah snores softly, sleeping like a baby.CAMERA TRACKS IN on his peaceful face.A single eyelid flutters. Total silence, until...KABOOOOMMM! The Pillow beside him EXPLODES into ablizzard of goosedown. Johnny rears up, eyes wide, mouthagape.TYLER stands above him, recovering from the kick of thesmoking 9mm Beretta in her hand. TYLER A lawyer!? You lied to me!She throws his FBI gold star at his face. TYLER Look, Tyler, I can--BOOM! Tyler SQUEEZES off another round.Cascading goosefeathers falling like snow.Utah flinches sideways. TYLER Jesus Christ, Johnny -- you've been using me! Your jacket's on the floor in the bathroom -- this goddamn thing's half out of the pocket... Oh God, it's all part of some case, isn't it? UTAH Tyler, put the gun down. TYLER You tell me the fucking truth Johnny... did your parents really die in a car crash? DID THEY?!She waves the Beretta in his face. UTAH No. They live in Columbus Ohio.Tyler lowers the pistol slowly, the strength leaving her.Her face begins to flood with tears. UTAH I work bank robbery. Guys I'm after are surfers. I needed you, at first, but not-- TYLER Fuck you, Johnny Utah. Fuck you!! Don't you have a soul? Goddamn you to hell!She goes limp as the sobs rack her body. The gun flopsfrom her grip.Utah sweeps it under the bed with his foot.He moves to gently comfort her.She bolts at his touch, running from the bedroom.Utah is up and hopping into his pants to follow her. Hestumbles. UTAH Tyler! Wait!!From the living room we hear a rattling of keys, the frontdoor opens and slams shut. He hobbles to the door,favoring his knee. Opens it. We hear the Porschescreeching away.Utah sags, the breath coming out of him long and slow. CUT TO:UTAH on the bed staring up at the ceiling. Phone cradled,listening to-- TYLER (V.O.) Hi, it's me. Leave a message.BEEP! He rests the telephone on his chest, letting thetape roll a moment before he speaks. UTAH Tyler I... look, I fucked up, okay. I know I fucked up. I wanted to tell you, but I couldn't -- I was afraid you'd leave... good guess, huh? (grimacing) Fuck, why can't I ever say what I really mean? I lied to you. I'm an asshole... but I need you, Tyler. I want you to know that I've never known anyone like you before in my life... and I... I hope you change your mind...He cradles the receiver, looks out the window. Black ofnight. Dead still. DISSOLVE TO:UTAH asleep, telephone still perched on his bare chest.BUZZZZZZ! The rasp of the doorbell.Johnny is airborne, phone flying across the floor.Hunting for his pants, realizes they are already on, limpsin fast motion to the door. UTAH Tyler! Wait, I--Whips it open.BODHI standing in the doorway, smiling like an excitedchild. BODHI Howdy brah.NATHANIEL, ROACH, and GROMMET are there behind him.They look like sentry dogs. Johnny freezes.Bodhi walks past Utah, into the room. BODHI C'mon, get your gear on, we're rollin'.Cheerful, hardly able to contain his exuberance.He moves through the room, grabbing Johnny's shirt from achair, a pair of sneakers on the floor.Utah sees his FBI shield sitting on the dresser in plainsight.He palms it when Bodhi is turned away, and slips it intohis hip pocket to conceal it. UTAH What going on, Bodhi?Bodhi plucks a couple socks off the couch, hands them toUtah. BODHI Here. (spying Johnny's cut face) Hey, what happened? Ya cut yourself shaving?Johnny meets Bodhi's cold stare. UTAH I don't think I wanna surf right now.Bodhi's face takes on a crazy glow. BODHI Naw, this is different, Johnny. This is something totally different... you're gonna love this.He winds an arm around Johnny's shoulders, guides himtoward the door. BODHI C'mon, let's go, let's go. Time's wastin', brah.Bodhi claps Utah on the back, ushering him outside.Nathaniel, Roach and Grommet fall into step beside them.The door closes behind them.CAMERA DRIFTS back through the apartment, coming to reston the 9mm Beretta, on the floor under the bed... useless. CUT TO:EXT. BODHI'S PICKUP - PREDAWNThe pickup is a funnel of dust along the desert road.Black mountains against a silver sky.INT. BODHI'S PICKUPThe tapedeck blasts. BODHI and UTAH sit inside the cab.Through the rear window, we see NATHANIEL, ROACH andGROMMET in the flatbed.Bodhi swivels his eyes to Johnny, lowers the volume. BODHI Life's sure got a sick sense of humor, don't you think so Johnny?Face splitting into a shit-eating grin. UTAH How you figure? BODHI (slight laugh) News, last night... those guys, the Ex-Presidents... they robbed my bank yesterday. And I was just there the day before, cashing a check. See... look. Assured Trust... same place.He takes a beat up checkbook off the dash and flips it toJohnny.Utah opens the cover and looks.Sure enough. Assured Trust Savings and Loan. BODHI I was picking up some bucks cause we're leaving town. Bizarre, huh? If I'd waited a day I'd been right in the middle of it. Kinda sorry I missed it. I'd liked to've seen them.A long pregnant pause. Utah breathes deeply, remainingcalm, his voice carrying a chilling bravado. UTAH Takes guts to rob a bank. All that adrenalin pumping, waving loaded guns, taking out the guards, getting everybody on the floor, never knowin' who's gonna burst in... (looks right at Bodhi) ... wondering what it's like to take a bullet. Must be some ride.Utah's smile is a personal challenge. Bodhi sitsperversely intrigued. The mental warfare escalates. BODHI Banks are insured, brah. Long as nobody gets shot, it's really a victimless crime. Just gotta scare 'em a little, would be my guess. (ponders something) Now if I was gonna rob a bank, with all those guys wearin' body armor these days, know what I'd carry?Bodhi reaches his hand underneath the seat.He pulls out a huge holstered handgun, rests it in hislap, draws and holds the gun up against his cheek. BODHI .454 Casull. Most powerful handgun on the planet. Muzzle velocity of 2000 feet per second. Twice the kinetic energy of a .44 Magnum.Bodhi stares at Utah, then flashes his signature smile.Utah says coldly. UTAH One shot stopping. BODHI (laughs) 'One shot stopping'... good, very good. I like you, Johnny. I like you because you'll sacrifice anything to win. I respect that. It elevates you a little above the drones who have learned compromise. Here, hold it. Check out the weight.He twirls the gun, grabs the barrel and extends the handleto Utah.Johnny takes it slowly. Now it's aimed at Bodhi. BODHI (cheerfully) Whoa. Careful. You got the muzzle pointing right at me, brah.He casually pushes the barrel away, looking back at thehighway.Johnny swings a stiff arm out his window and pumps a ROUNDinto open desert. KABOOOM!! The recoil blows Johnny'sarm back over the top of the truck. Practically breakshis wrist.Thunder rolls across the dark hills.From the back of the pickup Nathaniel howls.Grommet and Roach high five.Johnny turns to Bodhi, breaking slowly into a feral grin. UTAH Nice.He hands the smoking weapon back to him.As if to say "two can play this game".Bodhi stands challenged.Each snared in the other's power...Bodhi takes the weapon back, casually. Slips it under theseat. BODHI It's a special day, Johnny U. A very special day...Utah's gaze travels beyond the windshield.Where tentacles of brand new morning light vein the sky. CUT TO:EXT. DESERT AIRSTRIPTIGHT ON A turbo-prop engine ROARING.WIDER reveals a big Cessna twin. The PILOT, a weasellyguy we haven't seen before, fires up the second engine.The plane shudders eagerly in the metallic predawn light.A desert airstrip near Palmdale. A couple of aluminum-siding hangers and no tower. A few other planes aroundbut no activity besides Bodhi's rock-steady crew.UTAH watches Grommet whip back a tarp in the bed ofBodhi's truck and starts tossing out PARACHUTE PACKS.Roach tosses one to Bodhi, who chucks it to Utah. BODHI Ever done this before? UTAH Once. BODHI Pure adrenalin, right?! The ultimate rush. Other guys snort for it, jab a vein for it -- all you gotta do is jump. UTAH Sure, it's a blast, but listen, I sorta screwed up my knee yesterday-- BODHI Yeah, I noticed you limping. (grins) But don't worry about it, brah. Don't worry at all. We're not gonna land on land!Bodhi grabs his sleeve, ushering him into the plane. UTAH Oh, well, that's fine then. I feel so much better. CUT TO:INT. CESSNAUtah sits, wearing a day-glo jump suit, hugging the chutein his lap. Next to him is the gaping door. Beyond... aspectacular down sunburst at 10,000 feet. ROAR of windand engines.Utah watches Bodhi, Nathaniel, Grommet and Roach wrigglinginto their colorful freefall suits. Nathaniel pulls on apair of purple shorts over his suit. Looks real dorky.Grommet has on duck feet. Bodhi, apparently, is going tojump barefoot.Nobody has their chutes on yet.Johnny hefts his, as if weighing it, somehow judging thecontents. His brain is racing. Bodhi shouts over theroar. BODHI It's a little ceremony we always have at the end of summer. One last speedstar. UTAH So, who... uh, who packed my chute? BODHI I did. What's the matter? Don't trust me? UTAH You gotta earn trust. BODHI Then we'll earn it together. Here, take mine.Bodhi swaps chutes with Johnny.Utah looks at the new chute uncertainly.Is this a game? Poker moves?Did Bodhi anticipate this step? ROACH Hey... you don't want Bodhi's, man. His pack-jobs suck... they only open half the time. Take Grommet's, man.Roach's grin is evil as he grabs Grommet's chute out ofhis hands and switches it with Johnny's. Keeps that oneand gives his to Grommet. GROMMET Whoa, unfair, dude!Grommet grabs his chute back and hands Johnny the one hehad, which was Roach's. I think.Johnny looks at the pack in his hands. Then at thegrinning faces.Russian surfer freefall roulette. Shit.Bodhi studying him. Some kind of test.Fuck it. Utah starts putting the damn thing on. UTAH We gonna jump or jerk off? BODHI My man!EXT. 10,000 FEET - DAWNMulti-colored figures explode from the plane. Leapinginto freefall. Tumbling end over end.WEARING HEADSETS, they hurtle downward. BODHI (RADIO) Utah, you copy bruddah? UTAH (RADIO) Whoooaaah! Shhiiittt! Whoooaaah! BODHI I'll take that as a yes.One by one they stabilize. Falling face down, knees bent,they angle their hands and feet minutely to movelaterally. Utah flails, the last to trim out. But he'sholding his own.Grommet, working his duckfeet, pitches himself into a wildspin, rotating like a dervish in a head down dive. Heflares out and "flies" back to the others.Rocketing through the void at 120 mph they seem toparadoxically hang above the world, almost unmoving... ona separate plane of existence.A hurricane of wind. Wild HOOTING.Despite his terror, Johnny has to grin at Nathaniel,falling butt first like he's sitting on a big inner tubein the pool. ROACH Whip it out dudes! Cheap sex with the cosmos! BODHI Ten thousand feet. Let's do it.The group stabilizes, moving together.First Bodhi and Roach link arms, trimming constantly.Concentrating. Nathaniel flips over onto his stomach andmaneuvers toward them. He grabs Roach's arm.Grommet works his way next to Nathaniel. Locks in.They need Utah to complete the ring.Four faces beckoning to him, distorted by the hurricanewind. BODHI Come on Johnny. Get in here!Johnny moves his hands like flippers and glides clumsilytoward them. Bodhi and Grommet grab him. He's in.A perfect five-man star. BODHI Relax, brah. I got you, I got you. GROMMET Righteous-ass speedstar, dudes! BODHI You diggin' this? UTAH Great! GREAT!Johnny is exhilarated more than he could have thought.Screaming down through the dawn sky at 130.Locked into the ring. Part of something.Connected to these guys far above the planet.Less far every second... Bodhi's chest altimeter reads6,000 feet. BODHI Purty-thirty and we're meat waffles, folks. See ya downtown!He releases Roach's arm and the star disintegrates,drifting apart.Bodhi stays with Utah, falling parallel to the horizon,facing each other, holding hands. 4000 feet. Airspeed140.Grommet pulls his ripcord. He seems to be jerked upwardby a great force. Suddenly he is far above, a brightlycolored disc of fabric.Utah is suddenly aware of the earth rushing up at him.Nathaniel pulls, then Roach. They shoot upward,disappearing.Bodhi and Utah fall on, alone. BODHI You gonna pull? UTAH After you, Alfonse. I insist!Bodhi looks at Utah. A slow grin. The meter on his chestharness reads 2000 ft. 150 mph. 12 seconds to Valhalla. BODHI Don't screw around man, pull it! UTAH You do it... you first! BODHI One thousand feet. Pull the goddamn cord! UTAH You first! BODHI Okay!Bodhi reaches out suddenly and pulls Utah's ripcordhandle.He waves goodbye as Johnny's canopy deploys. Utah isjerked upward. He feels his weight hanging brutally inthe harness.Johnny looks down.Impossibly close to the ground. Bodhi's canopy BURSTSOUT, an explosion of color. Below him is the shimmeringmirror of a LARGE RESERVOIR. Two seconds later the brightyellow canopy meets its reflection and goes slack. Anexplosion of white water marks Bodhi's impact.LOW ANGLE AT WATER LEVEL as Utah hits.IN SLOW MOTION a glorious wall of backlit spray shoutsskyward.Molten glass falling back in the bright desert dawn.Utah surfaces, sputtering, and shucks out of the harness.He floats like a jellyfish, gasping for breath. UTAH Jesus Christ. I gotta be losin' it. CUT TO:EXT. AIRFIELD - DAYBodhi walks toward us, dripping wet and grinning.He wraps his arm around Utah's shoulders as the otherswalk up.They're all soaked and stoked. BODHI Ya see... I told you Johnny U was gonna be just fine!Roach and the others clap him on the back. A moment ofacceptance into the tribe. Utah isn't sure what it meansyet. BODHI C'mere. There's something you need to see.Bodhi leads him toward a PLAIN UTILITY VAN parked nearby.It was there earlier but Utah had no reason to notice it.Bodhi opens the rear doors and motions Johnny inside.Utah, puzzled and suddenly alert, steps in. Bodhifollows.INT. VAN - DAYThe interior is empty except for several canvas duffelbags and a small portable VCR. It is one of the new salespresentation models, with deck and monitor together in onetiny unit. UTAH What's this? BODHI Insurance policy. Now this is going to sting a bit, but it's for your own growth, brah. Press play.Utah hits the button and an image comes up on the tinyscreen.TIGHT ON SCREEN. A night shot. Rosie the biker has Tylerin a powerful grip. Her hands are cuffed behind her, andher mouth is taped. He has his switchblade up to herthroat. Her eyes are wild, but with rage, not fear.She's trying to struggle out of his grip, kicking at himviciously.He controls her efficiently.Bodhi stops the tape. BODHI She's a wild one, isn't she... Special Agent Utah?Utah lunges, pinning Bodhi to the wall of the van... anelbow across his throat. UTAH You're a fucking dead man-- BODHI (gasping for breath) Whoa, whoa!! Think it through! I'm the only one knows where they are. Just let me talk for a second.Johnny pulls back. Barely in control. UTAH Talk. BODHI She'll be fine, Rosie won't do anything. At least not as long as I meet him at a certain place and time, about... let's see... (he looks at his dive Rolex) ... six hours from now.Utah's voice sounds kind of strangled. UTAH You call him... right now... and tell him to let her go. BODHI Sorry, can't do it, brah. He's on the road. And where they're going there's no phones. Damn, I hate this Johnny, I really do. I hate violence. See, that's why I need Rosie. I could never make this thing work, myself. No way I could hold a knife to Tyler's throat, man! She was my woman, once. We shared time in this world. But Rosie, he's kind of a... mechanism. Once you set him in motion, he won't stop. That's his gift, a kind of... blankness. Noon comes, straight up, he'll gut her like a pig and try not to get any on his shoes. Nothing I can do, unless I get there.Utah blanches as he takes this in. Knows Bodhi wellenough now to know he means business. BODHI So that makes us partners, doesn't it? Because now we both have the same goal... to get me where I need to go. Right?Utah's expression turns suddenly cold as an executioner's. UTAH We're wasting time. BODHI See! That's what I like about you, man! You're just sharp as a razor blade.Bodhi jumps out of the van and approaches the others,gathered nearby. He addresses the pilot first... BODHI Get the plane down to Santa Monica and top up the tanks. (to the others) Let's go. Let's saddle up! CUT TO:EXT. L.A. STREETS - DAYA STYLIZED LONG LENS SHOT stacks the cars into a dreamlikemirage. The van weaves slowly among them with predatorystealth. BODHI (V.O.) Okay. All I'm askin' for is ninety seconds of your life, Johnny. That's all.INT. VANEXTREME CLOSEUP ON the velcro straps of Second Chancearmor. Tanned fingers cinch it tight. A SHELL slidesinto the cylinder of the Casull. A SHOTGUN is cocked.KACHACK! BODHI It's basic dog psychology, brah. If you scare them, get them pissing down their leg, they submit... you control them. If you project weakness, you draw aggression... that's how people get hurt.WIDER, revealing that Bodhi is in the back with Utah andRoach.Nathaniel and Grommet sit up front.The duffels contents are strewn around. Masks. Weapons.They're all pulling on suit pants and jackets. Tyingties. Slipping on white gloves. Snappy Oxfords.Bodhi is pulling a suit jacket on over his BODY ARMOR.Utah is fumbling with his armored vest. He works withvicious, jerky moves. His jaw locked. Eyes down. BODHI Fear causes hesitation, and hesitation will cause your worst fears to come true. You project strength to avoid conflict. ROACH Peace through superior firepower, babe.Bodhi conspicuously empties all the shells from a PUMP 12GAUGE.Pockets the shells. Tosses the weapon to Utah. BODHI Here, you need this. You can't be comin' through that door with your dick in your hands, right? UTAH I can't do this. BODHI Sure you can! You may even like it... it's a killer rush. You'll see. Hey, don't I show you things, Johnny U? UTAH Bodhi, this is your wake up call, man -- I... am... an... Eff... Bee... Eye... Agent!! BODHI Wild, ain't it?! See, we exist on a higher plane, you and I. We make our own rules. Why be a servant of the law Johnny U... when you can be it's master? GROMMET Fuckin' A! BODHI Ninety seconds, man, door to door. A small price to pay for someone who loves you. (he looks up) She does you know. It's not her style to fall so hard... I don't think she did with me.He pulls the Ronald Reagan mask over his head smoothly.Roach pulls his on. NIXON. Nathaniel becomes KENNEDY.Grommet transforms into LBJ.Bodhi looks in the bag -- no more masks. BODHI Sorry, Johnny. Guess you don't get to be president.JOHNNY'S POV -- the back doors of the van. And thepromise of what is beyond. Bodhi enters FRAME. Looksstraight at us. BODHI Rock and roll!BOOM -- THE DOORS bang open, REVEALING--EXT. STREET - BANK - DAYSTILL IN POV (HANDHELD) we hurl ourselves from the darkvan into blasting daylight. Bodhi is ahead of us in thesprint for the bank doors. Dizzying forward momentum aswe hammer through the doors into--INT. BANKTHE HANDHELD POV CONTINUES as we follow Bodhi, a wolfplunging among the sheep. A FAT GUARD inside the doors.He turns to us just as Bodhi butt-strokes him hard in thegut.Someone screams. BODHI Everybody freeze!! Don't move!!AHEAD of us GROMMET/LBJ covers the SECOND GUARD with his12 gauge. GROMMET Don't fucking do it, man!The guy has his hand on the grip of his pistol but it'slike the thing suddenly weighs eight tons, he can't seemto lift it from the holster. ROACH/NIXON slips up next tohim and helps him with it. The guy is visibly trembling.A YOUNG JOCK makes a move to run.'OUR' SHOTGUN comes up like a reflex, right in his face.Roach/Nixon throws the guy to the floor by his hair.AHEAD OF US, Bodhi is in action. Moving to the counter,shouting-- BODHI/REAGAN All Tellers back away from the counter! Hands on your heads! RIGHT NOW!! That's right. You know the drill.It's like a replay of the robbery Utah saw on video. Buthe's right in the middle of it, like in some kind ofnightmare.WE'RE STILL IN POV, the image WHIPPING wildly from side toside as Utah scans the room. We whirl dervish among thestatuary of the customers and bank employees. Our gazedrifts across THE FLOOR MANAGER, a short guy in a brownsuit standing with his hands clasped behind his back. BODHI/REAGAN All customers on the floor. Let's go! Move it! Get down! On the floor! Right now! Let's go.Roach and Grommet are pushing them down.Utah stands stiffly with the shotgun. He seems dazed.He catches the eye of a CUSTOMER. In a tenth of a secondwe see Johnny see the customer see his uncertainty. Fearhas them both hyper-aware.Johnny gestures fiercely with the shotgun. UTAH On the floor, asshole! What's your problem?! I blow your fucking kneecaps out, you'll be on the floor!!The guy hits the deck like a sack of cement.BODHI/REAGAN floats beside Johnny, scanning with theCasull. He speaks without turning his head. BODHI/REAGAN Kick in the ass, ain't it? Gonna be kinda hard to explain though... when they play the tapes back down at the bureau. Could look bad on your monthly evaluation.Johnny looks up at surveillance camera. He's quitefucked. UTAH Can we just get the goddamn money and get out of here?! BODHI/REAGAN That's the spirit!! (to the room) Head's down! Eyes down! Just a couple minutes of your life and we're gone.Bodhi leaps to the counter, commanding the room.But at this point they diverge from their time-provenplan.Roach isn't going for the drawers... he's sprinting forthe VAULT. BODHI/REAGAN You! (reading a name-tag) Miss Jennings... of New Accounts. Be a dear and open the inner gate for my associate. NOW!! MISS JENNINGS He -- he -- he has the keys. Mr. Duggan. BODHI/REAGAN Whatta say, Mr. Duggan? Wanna give her the keys or do I pick through the blood and chunks for them?DUGGAN, the bank manager, is surprisingly calm as he takesthe keys from his pocket. Holds them out to the terrifiedwoman. DUGGAN Do whatever they say, Terry.MISS JENNINGS hurries to comply.She unlocks the STEEL CAGE inside the big vault door.Roach/Nixon and Grommet/LBJ take her inside with them.A CUSTOMER, lying on the floor near the fat guard catcheshis eye.The guard, face jammed against the linoleum, blanches ashe sees the customer lift a corner of his shirt to revealTHE BUTT OF A PISTOL. The customer mouths the words "I'ma cop".The guard is hyperventilating.AT THE FRONT DOORS A WOMAN comes in out of the brightsunlight.JFK pulls her in fast and throws her to the floor. Thengoes back to watching the street.JOHNNY is next to Bodhi/Reagan. UTAH You're blowing it, man! You're breaking your own rules... pulling too much time! BODHI/REAGAN JFK, how we doin'? NATHANIEL/JFK All clear, man!INSIDE THE VAULT Grommet and Roach are pillaging rapidly.Their hands blur as nice fat STACKS OF 20s and 100s aredumped into canvas sacks.ON THE MAIN FLOOR the OFF DUTY COP slips his hands slowlyaround the butt of his pistol, concealing the move withhis body.He signals with his eyes to the fat guard, glancing at theguard's ankle.TIGHT ON THE GUARD'S ANKLE where we can see a sliver ofBACK-UP GUN, a tiny .25 auto in an ankle holster.The guard's eyes are pleading with the hard-on cop."Don't make me do this".The guy is sweating, shaking. A yellow liquid spreadsacross the tiles next to his quivering hips. He'sactually pissing himself, he's so scared.TIGHT ON the off-duty cop. Watching like a ferret. Hecocks his .38.ECU GUARD'S EYES, wide with terror.It happens like lightning. The cop pops to his knees,straight-arming the .38. The guard goes for his ankleholster.REAGAN spins.The cop FIRES. BLAM!Reagan is catapulted backward off the counter by theimpact.He crashes onto a desk on his back. Slides off,scattering papers.A teller screams. The cop spins toward Utah.Johnny throws down the shotgun. Shows his palms. He'sholding out his gold star. UTAH Federal agent! Undercover!The cop FIRES TWICE. Two in the chest. Utah is hurledback. Slams into the tellers' counter.NATHANIEL/LBJ lets go with the 12 gauge. BOOM!The cop spins, hit by some 00 buck pellets.The guard caps-off like a maniac. BLAM, BLAM, BLAM,BLAM!!!All of them wild, but serving to get Nathaniel pinned downbehind a check-writing island.ROACH/NIXON LEAPS THE COUNTER and lands behind the guard.The guard's shoulder explodes as Roach's 12 gaugedetonates. He pitches onto his face, screaming andholding the wreckage of his upper arm.Grommet/LBJ is coming over the counter behind Roach as theoff-duty cop spins and fires. BLAM! BLAM! Roach takesit in the chest. Staggers back, firing into the floor.Trips and drops his shotgun.Grommet clutches his throat as blood streams over hisfingers.IN SLOW MOTION Reagan's face rises above the counter.The mask is askew. In order to see, Bodhi pulls it off.The Casull comes up in a slow, deliberate arc as--THE COP turns, terrified now, whipping his gun around,nightmarishly slow as--BODHI COCKS THE CASULL in dream-time and--KABOOOOM!!! The world's most powerful handgun proves itsclaim at 2000 feet per second.A gout of hamburger explodes out of the cop's chest.He is lifted off his feet. Hits and slides across thefloor leaving a two-foot wide red smear.Echoes slap the walls. Then all is still. Plaintivewhimpering and moaning. The air is blue with smoke.Johnny is trying to catch his breath. He rips his shirtopen to see two deep indentations in the Second Chancevest. Flattened .38 slugs caught in the Kevlar mesh. Butno blood.Bodhi drops over the counter near Utah.The two men look at each other.Bodhi's eyes seem lost. He stares around at the carnagehe has wrought, the bloody wreckage of his ego game.His expression changes to something new -- truly crazednow. We feel that the madness which has been held incheck so long has been let off its leash. BODHI Don't anybody fucking move!Roach, clutching his side, moves to Grommet, who is on hisknees.Beneath LBJ's stony countenance a river of blood flowsdown Grommet's chest. Roach pulls off the mask.Revealing a terrified kid.Grommet pulls his blood-drenched hand away from histhroat, stares at it bug-eyed. GROMMET Oh no, oh my god, oh god... it's all comin' out man, gotta stop it... it's all gonna come out... do something!!He's trying to hold it in with his hands. This doesn'twork.A paste-white frightened kid. Eighteen years old.Suddenly realizing that this is not some video game. Thatdeath is real.He slumps back, losing the battle for consciousness.WE HEAR SIRENS APPROACHING. ROACH (freaking to Bodhi) We gotta bug out, man! We're eatin' it bad on this one. Let's go!Bodhi reaches down and picks up Johnny's FBI shield offthe floor.He considers it for a long time. Then looks up at Johnny.His eyes seem to ask for forgiveness...A moment before he smashes the Casull into Johnny's skull.JOHNNY'S POV, as he drops to his knees. Everything goingdark as we see Bodhi's face distantly, his mouth movingslowly... BODHI Goodbye, Johnny.The floor rushes up and smashes us in the face.A view of shoes, running away from us, leaving bloodyfootprints. Then total darkness. CUT TO:INT./ EXT. FIRST SECURITY BANK - LATERTen minutes later the bank "crime scene" is in full swing.UNIFORM COPS are everywhere, trying to get statements fromsobbing witnesses. HARP, MUNOZ, COLE AND PAPPAS representthe FBI contingent. Cole has one arm strapped to his bodyin a fairly elaborate sling, and he moves slowly.Harp is barking orders to everyone in sight. Outside(visible beyond the doors) it's total pandemonium, withcops and ambulances, and of course a huge crowd ofrubberneckers. A MINICAM CREW shows up. Harp startsshouting at them.COLE, with evident pleasure, cinches down a pair ofhandcuff's on Utah's wrists with his good hand. Johnnyhas a deep cut on his forehead, and the blood is tricklinginto his eyes, but he seems not to notice. Not to hearMUNOZ speaking monotonously-- MUNOZ -- if you so desire, an attorney will be provided for you free of cost. Do you understand these rights I have explained to you? Utah?Pappas charges through the crowd, pushing Munoz aside. PAPPAS He knows his goddamn rights! (looks at Utah) Jesus, kid. I knew you were getting too close to these guys. (turns to the other agents) Gimme the goddamn key to these things, Cole. Christ!He gestures to the cuffs still cutting into Johnny'swrists.Cole hands him the key.Harp storms toward them. HARP Don't take those off. Just leave them on! Your partner's an accessory to murder. You realize that?Harp spins Johnny by the shoulder to look at--Paramedics carrying the covered body of the off-duty cop.Beyond, still on the floor, is Grommet, his eyes staringin death.He was right about not making thirty. HARP Three men dead. One of them a cop. How's that sit in your gut, Utah? UTAH (cold and scary) Take your hand off my shoulder right now.Harp pulls back instinctively. Utah's eyes burn into him.Looks like Johnny's not in the FBI anymore. PAPPAS Look, Harp. Don't turn him over to the uniforms like some punk. Let me ride him in. HARP Yeah, sure. Why not? You two screw-ups deserve each other. That's why I put you together in the first place. Christ Pappas, you're as bad as he is... talk about the blind leading the blind--Pappas steps close to the Supervising Agent. PAPPAS Harp, let me tell you something. I was an agent in this bureau when your mommy was still wiping your shinny pink ass, and you know one thing I learned in all those years that you still haven't? HARP What that?Angelo steps in with a roundhouse that has all of his 280pounds behind it.Harp's head snaps back, and he flops in a heap. PAPPAS Respect your elders. (he takes Utah by the arm) Let's go kid.Harp struggles to sit up, rubbing his jaw, as Pappasstuffs Utah into his car. Harp is so shocked he doesn'tsay a word. CUT TO:INT. PAPPAS' CARThey drive for a couple of blocks in silence, side byside.Utah in disgrace. Contrite. Stony. Finally... UTAH I know where they're going. PAPPAS Figured you did.Angelo flips Johnny the key.Johnny lets himself out of the cuffs. He sits rubbing hiswrists. UTAH Only problem is... we can't arrest them or shoot them.ON PAPPAS' "what the fuck?!" expression we-- CUT TO:EXT. SANTA MONICA AIRPORTLONG LENS SHOT through a forest of small planes as Pappas'sedan glides INTO FRAME. It moves sharklike among throughthe Cessna forest. Slows to a stop.Through the jungle of wings and fuselages we see Pappasget out of the car and start working his way among theaircraft.Utah slides behind the wheel and drives on.TIGHT ON TURBOPROP ENGINE roaring as it warms up.The same aircraft as before.Bodhi and Nathaniel are loading duffel bags into the openback door as the pilot completes his pre-flight checks.The Ex-President's suits have been removed, along with thebody armor, and no guns are in sight. Just a couple ofguys getting ready for a charter flight. Bodhi looks upand stops his work as...THE FBI SEDAN stops about 50 feet away.Nathaniel pulls a shotgun out of one of the duffels.Utah gets out. He holds his hands out from his body andturns completely around. Without his jacket on, it isevident that he is not carrying a gun.He walks forward. UTAH I'm not armed. BODHI But you're not alone. UTAH Good guess. There's a gun on you right now.Bodhi feigns casual interest. Looks around. He can'tsee...PAPPAS nearby. Moving cat-like behind a row of servicevehicles. He gets his snubnose .38 propped on the bumperof one, with a clear shot at Bodhi and Nathaniel. UTAH Where's Roach? BODHI Around somewhere. Listen, I'm in kind of a hurry, Johnny U. What can I do for you? UTAH You gotta tell me where she is. BODHI And let my policy expire? Sorry. UTAH Look, Bodhi man. People are dead. The ride is over. BODHI I say when it's over! UTAH The guy you killed was an off duty cop! If you get out of here they'll nail you wherever you land. They have a new thing called radar. Maybe you've heard of it.Though he can't hear what's going on. THE PILOT hasclocked the tension between the two men. And the shotgunin Nathaniel's hands. He blanches, and starts to shutdown the plane's power.By his reaction we see that he's obviously not in on it.ROACH comes out of the hangar building nearby. NeitherUtah nor Pappas see him. But he sees Pappas drawn down onBodhi. He drops quickly to one knee and opens the duffelhe was carrying.TIGHT ON DUFFEL BAG, as it opens. The pistol grip of a 12gauge riot-gun sticks out of lots and lots of money.Roach's hand slides the gun out slowly.UTAH IS VERY CLOSE to Bodhi. UTAH I know you man, when they fall on you, you won't back down. They'll have to burn your ass to the ground. And I can't stop them... I'm the last person they're ready to listen to right now. Thanks to you. UTAH Shit may or may not happen. UTAH Look, you got a death wish, you want to ride to glory... fine! But don't take her with you, man. I'm begging you... tell me where she is. Then I walk away. We've earned that much trust, haven't we?The pilot opens the door and is climbing out whenNathaniel wheels on him. The pilot goes cross-eyedstaring down the muzzle of the 12 gauge, inches from hisface. BODHI (to the pilot) Back in the hotseat, campadre. NOW!BEHIND THE TRUCKS, Pappas senses something.His head snaps around.Roach is behind him with the 12 gauge. He FIRES.Pappas hurls his weight sideways, as the buckshot punchesinto the truck fender. Some of it catches Pappas in thehip. He hits the ground hard and whips up the .38 BAM!BAM! BAM!Roach flips onto his back.The shotgun blows a hole in the sky as he hits the deck.Pappas is on the ground, totally exposed, 20 feet from theothers.NATHANIEL fires once, wild. Terrified. His shot blows adivot out of the asphalt next to Pappas.He pumps the slide, chambering another round.Then Pappas' fourth and fifth rounds drill into him.He slams back against the Cessna's fuselage.Slides down. Two red smears on the white aircraft.Bodhi lunges for the fallen 12 gauge.Pappas takes aim. One round left.Utah sprints between them. UTAH Angelo! Don't fire! PAPPAS Kid, get outta the way!! UTAH NOOO!!Utah is blocking Bodhi with his body.Bodhi's fingers are poised, frozen, a few inches from theshotgun.Standoff. PAPPAS GODDAMMIT!!He snaps the pistol up, aimed at the sky.Pappas stands panting. Enraged and frustrated. Painsearing his leg. Everything is tense and electrified.BOOM!! Pappas' chest EXPLODES with a spray of blood!BEHIND HIM, ROACH is lying on one elbow in a pool ofscarlet.He cocks another round into the chamber and fires again.BOOM!Angelo drops to his knees, holding his ruined body likehe's hugging himself. Johnny lunges toward him, his facedistorted with shock. UTAH NNNOOOOOO!!!Angelo's eyes meet his for a moment.In his dilated pupils is the great question.Then he slumps forward and lies very still.The breath leaves his body and doesn't go back in.Johnny moves toward his friend in a daze. Drops to oneknee beside him.Roach aims the shotgun at him, coughing blood.Utah doesn't notice. Or is beyond caring.Bodhi holds his hand up in a gesture like a benediction.Roach's finger relaxes on the trigger.Utah puts his hand on Angelo's white crewcut hair.He hears the scraping of steel on asphalt behind him asBodhi picks up the other twelve gauge.Roach is working himself to his knees. His breath issucking through a bloody hole in his chest as well as thecustomary breathing orifices. Bodhi crosses to him andhelps him up. He covers Utah with the shot gun as hehalf-carries Roach to the plane. The pilot is white withshock. He'd run if he could remember how. PILOT I ain't flyin' you guys to San Phillipe man, forget it. Not now-- BODHI Thanks for telling the nice FBI agent where we're going.Roach works his way up into the plane. He waves theshotgun at the pilot, his face a vicious, blood-fleckedmask. ROACH Get in the fucking plane.Bodhi stands behind Johnny, the shotgun aimed at his head.Their expressions are lethally cold.We see that Utah hates this man who was his friend, histeacher, more now than he dreamed it was possible to hate. BODHI We're gonna ride this out, all the way, Johnny. You and me. Let's go.Johnny nods slowly, as if accepting that this was allsomehow pre-ordained, and that they both knew the gamewould take them this far and beyond. He stands and walksto the plane. CUT TO:EXT. MEXICO - DAYTHE SCREEN EXPLODES WITH A BLUR OF MOTION.POV of the ground racing below us at 180 mph.REVERSE, preceding the plane as it rockets through barrencanyons.As close to the earth as the terrified pilot will take it.Under the radar.INT. PLANEThe aircraft bucks like a bull as the pilot jinks andbanks wildly.Bodhi has the Casull aimed at the base of his skull fromthe jump seat just behind him.Roach holds the shotgun on Utah, seated across from him inthe rear seats.Roach is a pale, sweaty mask. He is propped against abulkhead, seemingly collapsed in on himself like adiscarded coat.His entire shirtfront and lap are slick with blood.But his gaze is steady, and the shotgun is aimed intoUtah's guts.No one talks or moves on this grim hell-ride.EXT. ARROYONear noon. The sun blisters a landscape out of time.The white Cessna rockets above the saguaros, its shadowpumping up and down over the broken terrain like somemanic alter ego below it. It WOOSHES over us, raisingdust devils.INT. PLANEThe pilot yells over his shoulder to Bodhi... PILOT Look, we been in Mexico the last half hour... can I quit mowing the lawn here or what? I'm getting more brush in the wheels than I usually like, you know what I'm saying?! BODHI Yeah, get some height. Take her up to eight thousand on this heading.The pilot pulls back on the yoke and the plane climbs.Bodhi moves back next to Roach, who's fading. ROACH We're gonna pop up on their screens. BODHI Doesn't matter now. We're almost there, man. Here, let me help you get your gear on.Bodhi drags a parachute pack up onto the seat next toRoach and starts helping him into the harness. Roachkeeps the shot gun pointed at Johnny. ROACH I'm cold. BODHI You're gonna be fine. Just fine. Johnny, toss me that money bag will you. Easy does it.Utah hefts the duffel. Weighs its contents, and theirprice. UTAH You're cold because all the blood is running out of your body, Roach. You're going to be dead soon. (he tosses the bag) I hope it was worth it.Roach clutches the canvas sack to his chest like a Teddybear. Glares at Utah. He hooks the strap of the duffelover one shoulder. BODHI Hey, Johnny's just trying to psych you man, forget it. Just keep thinking about all those senoritas nursin' you back to health. Come on, amigo, let's get you set for the jump.Bodhi props Roach next to the open door and takes awalkie-talkie from the seat, keying it. BODHI Rosie, Rosie, this is Air Force One, do you copy, over?A burst of static is followed by a surprisingly clearvoice. ROSIE (V.O.) Copy you, Air Force One. We have a visual on you. Lookin' fine. UTAH Tell him to release Tyler. BODHI Why should I? UTAH What if your chute fails, Bodhi? Rescind the order. Let her off the hook, she's served her purpose. Do it, man, you owe me that much. Let me hear it before you check out.Bodhi meets his eyes and considers for a couple ofseconds, then keys the walkie. BODHI Rosie, listen carefully. Surgery is canceled, is that clear? Repeat it back to me. ROSIE (V.O.) Copy you. Surgery is canceled. I'm lettin' the bitch go.Bodhi looks out the doorway. Gauging distance, airspeed,the geography below. He looks at Utah, aiming the Casullat him.Johnny stares back at him like a pit viper. BODHI I know it's hard for you Johnny. You want me so bad it's like acid in your mouth. But not his time. (he braces Roach at the door) Let's go.Bodhi signals the pilot and Utah feels the plane drop asthe engines are cut back to an idle. Bodhi slaps Roach onthe shoulder and Roach slumps backward out of the plane.Bodhi braces to jump, looking at Johnny for a last split-second. BODHI You lose, campadre.He chucks the Casull onto the seat beside the door andbails.Bodhi tumbles out into space. It's over.Utah's knuckles are white, gripping the seat. There's adynamo, spinning out of control in his head. He leaps upin an explosion of rage and drives his fists into abulkhead. Looks around like a rabid animal. TWO SECONDS.THREE SECONDS. Then... UTAH FUCK IT!!!Utah grabs the Casull off the seat and dives out of theplane.EXT. PLANEUTAH, WITHOUT A PARACHUTE, but carrying a very large gun,rockets downward. He presses his arms to his sides andfalls head-down, building speed.Three hundred feet below him is Bodhi, freefalling in aspread-eagle position. Utah moves his feet and hands,angling toward him.Bodhi doesn't see him. Falling flat, he tops out atterminal velocity for that position. 130 mph.Utah slashes downward at 160 mph. The gap between themcloses.Utah is almost blinded by the windstream. His eyes burn.His lips are peeled back by the blasting air.Bodhi is eighty feet below him... 4000 feet to terrafirma.Utah focuses all his incredible will and concentration.He's only going to have one shot at this.Bodhi is right below him.Utah is closing like a SAM missile.He trims a little, and...WHAM! Slams into Bodhi in a mid-air tackle.Bodhi's eyes are wide with amazement as they tumbletogether.Utah has made the grab and locked his arms around Bodhi inan iron grip.He pulls the Casull's muzzle up to Bodhi's head andscreams in his face. UTAH Pull the parachute!!Bodhi looks at the gun. Looks at Utah. Grins wildly. BODHI Pretty radical, Johnny. Even for you. Why don't you pull it? UTAH No games, Bodhi. Pull the cord! Now!! BODHI Naw, you pull it!Utah looks down. The earth is rushing at them. 2500feet. BODHI Go on, Johnny. Pull it. But you gotta drop the gun, first! Right?! You use your other hand what you gonna hold on with? UTAH Pull it right now or I'll blow your fucking head off and pull it myself! BODHI Well that's the only way it's gonna happen, man. Do it! Come on, you want to do it. You're gonna die, Johnny. Five more seconds. Four...1000 feet. The ground is close enough to see details.Cactus, sagebrush. They rocket past the bright yellowcanopy of Roach's chute a hundred feet away. UTAH You fucking crazy!? Pull it!!They're right in each other's faces. Taking it way beyondthe edge.Bodhi's eyes are wild. A gleeful, adrenalized madness...his pupils are the entrance to Hell. BODHI Three seconds... two... one... UTAH SHIT!!Utah flings the Casull away and pulls the rip-cord so hardhe almost loses his grip anyway. POOM! The canopy cracksout.Full and round and bright red.The ground roars at us.WHAP! Utah and Bodhi hit. Hard.They slide and tumble down the slope of an arroyo in acloud of dust.Rocks and debris clatter into silence.NEARBY Roach hits the ground limp as a rag doll.He moves listlessly as his chute lines tug at him but hiseyes stare without blinking right at the sun. Next to himthe money satchel's contents are spilled right into thesand. Roach's lifeless hands lie limp among the billsthat caper in the desert wind.UTAH AND BODHI are both completely still as the dustclears. Finally they groan and stir. Necks move, handsmove, legs move. Bodhi rolls to his knees. He is cut andscraped, the blood running bright down his dust-coveredskin.Utah looks around, blinking.Surreal that he should be plopped down here in the red-hotMexican desert.Bodhi staggers to his feet and grins at him. BODHI Wild ride, huh? UTAH (gasping) Jesus Christ, Bodhi!Utah tries to rise and -- grabs his knee in agony. We seeby his mask of pain that it's totaled inside. BODHI That pesky knee, huh? Too bad.He looks up at the sound of an engine.BODHI'S POV of his big four-by roaring toward us with ameteor tail of dust. It slides to a stop next to them.Rosie gets out of the driver's side and stands calmly witha sawed-off over his shoulder.Utah blinks through his sweat and pain at--TYLER running toward him out of the dust. She kneels nextto him and puts her arms around him. Bodhi limps to thetruck. Through the swirling dust we see him look back. BODHI You had me worried there, for a second, Johnny U.He swings up into the four-by and guns the engine. Rosiehops into the shotgun seat and the truck hurls uproostertails as it tears out across the desert towardRoach's billowing gravemarker.Johnny touches Tyler's face tenderly, leaving a smear ofblood.He gives her a wan version of the Johnny Utah grin.HOLD ON the truck moving off in a heat-shimmered cloud ofdust, becoming a mirage, then a memory as we-- DISSOLVE TO:AN ENORMOUS WAVE which FILLS FRAME, seeming to riseendlessly before thundering down in a holocaust of spray.EXT. BEACH DAY - DAYAn unfamiliar beach laid waste by monster waves under astorm sky.Wind whips sand across the narrow beach-road, throwing itagainst the front doors of the LIGHTHOUSE PUB.TITLE OVER: ONE YEAR LATER...INT. LIGHTHOUSE PUB - DAYDark. Almost empty. A snarling crocodile head is mountedabove a tapper of Guinness Stout. A Koala bear withplastic eyes holds a Foster's. A BARTENDER with leatheredskin washes glasses.At the bar, a single disheveled customer... humandriftwood.GUST OF WIND blows open a shuttered window.The bartender moves to close it. BARTENDER Gonna close early today, mate, 'fore the bloody storm hits.JOHNNY UTAH swivels toward CAMERA. His tanned face isbarely recognizable, jaws hidden underneath a slightbeard, long bleach-out hair swept behind an ear. Hismuscular shoulders pop from a sleeveless football jersey.The man seems deadly focused. UTAH Storm's already here... It's bringing me the swell.Johnny stares into his drink.ANOTHER BLAST OF COLD as the front door opens.Johnny turns at the sound.TYLER takes a step inside. Her hair is different, morebleached out, frazzled from the sun. Her eyes adjust tothe dark room. TYLER John, they're here.Utah downs the drink and slides off his stool. He has apronounced limps as he crosses to Tyler at the door.They exit into daylight under an old wooden sign whichreads: LIGHTHOUSE PUB - BELL'S BEACH, AUSTRALIA CUT TO:EXT. LIGHTHOUSE PUB - DAYUTAH and TYLER walk out onto the roadway as severalAustralian Police cars converge on them. A dozenuniformed OFFICERS step out. The ranking officer, afortyish LIEUTENANT, walks up to Utah. LIEUTENANT D'you see him, Mr. Utah? UTAH No. But he's here. LIEUTENANT Now, look, I know you used to be a federal agent up in the states and all that, but you're a citizen now, so just find him and we'll handle it from there. UTAH No problem. Just give me a couple minutes with him first.Johnny limps out across the huge expanse of sand alone. CUT TO:EXT. BELL'S BEACH - AUSTRALIA - DAYWALL OF SOLID WATER FIVE STORIES HIGH CRASHES straightdown in a holocaust of spray...Rising up from the ocean to meet a tormented sky, roll themost terrifying waves any surfer has ever seen. Theyclose out, pummeling the ocean floor, casting a shockwaveup the shore.SURFERS gather on the sand, gaze out to sea. 1ST SURFER Jesus Almighty, the bloody sand's shakin'.The beach sounds like a MORTAR RANGE.JOHNNY passes among the brahs. 2ND SURFER Totally closed-out. It's fuckin' death on a stick.ON BODHI, sitting crosslegged in the sand, arms foldedaround his knees. He stares pensively out at the waves.His hand reaches out and absently strokes a surfboardlying next to him. UTAH (V.O.) I knew you wouldn't miss the fifty year storm, Bodhi.Bodhi smiles, the odd smile of a sportsman who appreciatesthe cunning of his opponent. Utah sits beside his preyand stares at the ocean. Bodhi stares with glitteringeyes at the heaving ocean before him, face splitting intothat feral, death's head grin. BODHI And I always knew I could count on you, Agent Utah. UTAH I'm not FBI anymore. BODHI You never were... UTAH I asked them to give me a couple minutes...Utah calmly glances over his shoulder.Bodhi follows Johnny's gaze to the cops watching from theroad. BODHI It went bad, brah. Real bad. (smiles inwardly) I just felt it was time...A BOOMING ROAR sounds from the ocean.Bodhi just stares at the waves, with awe and perhaps fear. BODHI Time to dance with the universe. (he turns to Utah) I could never handle a jail cell. You'll do this for me, won't you Johnny? Haven't I earned this much?Utah doesn't move to stop him as he stands, hefting thelongboard.He half smiles, then turns toward the water, and startswalking.He stops. Turns around. BODHI Thanks, brah.Bodhi doesn't wait for a reply. He walks to the water'sedge, and never looks back. He throws his board into thefoam and paddles, the riptide pulling him out. Themonsters dwarf his body as they quickly suck him into thetrough of the holocaust.UTAH stands and solemnly waits for the universe to deliverfinal justice. The cops are running clumsily across thesand, too late to stop Bodhi. Tyler steps up behindJohnny, and puts her hands on his shoulders.BODHI is nothing more than a SPECK as he shoots across thelip of the colossal wave, carving the board downward -- ANUNTHINKABLE FOREHAND BLAST sends him into a 180 degreeslide straight down the enormous face, eyes wild, hismouth opens in a soundless howl -- Bodhi and the outer-limits wave are locked for one impossible yet gloriousmoment in perfect harmony, perfect symmetry, perfectunion... There is no fear in his face, only awe as themountain of water closes out, burying the Bodhisattva in awhitewater grave... Pieces of broken surfboard explodeupward, only to fall back into the raging whiteness andvanish.UTAH remains pensive, eyes fixed on the riderless surf.Tyler lowers her head. A fragment of surfboard washes uponto wet sand. The wind gathers force.Johnny finally turns to his woman, curls an arm around hershoulder, gathering her close. Tears are streaming downher face as she stares at the sea. UTAH He rode it all the way.CAMERA PULLS BACK AND UP, rising high above their heads asthe liquid vertical walls continue to hammer theAustralian shore...FADE TO BLACK \ No newline at end of file diff --git a/unformated_scripts/Script_Pokemon_ Mewtwo Returns.txt b/unformated_scripts/Script_Pokemon_ Mewtwo Returns.txt new file mode 100644 index 0000000000000000000000000000000000000000..674c181cf059c028754608c03bae47feca69996e --- /dev/null +++ b/unformated_scripts/Script_Pokemon_ Mewtwo Returns.txt @@ -0,0 +1 @@ +Movie: MewTwo Strikes Back ***This is not an official manuscript. This is a translation of an untranslated episode and is only released as a reference material to the pokÈmon series and games. All copyrights belong to Nintendo, Game Freaks, and all creators of the movie*** (Opens when the camera is underwater.)VoiceWho am I? I've been dreaming about this world which doesn't exist in my memory. (Mew swims by)Who are you? Wait! Am I apart of you...? Or not...? (Camera goes into a darker place with orange bubbles then it shows someone's eye open. Human figures are seen outside where he is.)Where is this? Who am I? Who brought me here? (We now see who the voice belongs to, it's Mewtwo.)MewtwoWho am I and why am I here? I just appeared here. I haven't even been born to this world yet. Who am I? (Mewtwo opens his eyes completely and shatters the glass and all the wires fall of him!)ScientistIt has awakened!MewtwoDid he do this? ScientistWonderful! Mewtwo has been completed. MewtwoMewtwo?ScientistThat's you. We created you from a Mew the rarest pokÈmon in the world! Yes, that's the pokÈmon which is said to be the most rare of all pokÈmon. Mew.MewtwoMew? Is that my parent? My father? My mother?ScientistYou can say that, but not really. You've been made stronger based on a Mew.MewtwoWho is this? If neither my father nor mother. Then was it god? Did God create me?ScientistIn the world the only ones that can create new life is man and god.MewtwoWho did this? Humans made me?ScientistThis is truly a victory for science.Another scientistWith this we've proven our theory correct. We can continue the study.Third scientistThis place will become the new Mecca.Scientist (all shaking hands)I'm going to contact the other offices.MewtwoWho am I? Where is this place? What was I born for? (Mewtwo floats up and starts destroying the whole lab. Then tons of little metal hand like things come down to stop him but he just blows them up. Soon the whole lab is in flames.)ScientistTo make the strongest pokÈmon ever.. that was our dream... (The whole lab blows up. Giovanni, the leader of Team Rocket comes down in a chopper and confronts Mewtwo.)MewtwoIs this my power? I'm the strongest pokÈmon in the world. Mew. Am I stronger then you?GiovanniYou surly are the strongest pokÈmon in the world. But there is another that would be the strongest.MewtwoThe humans?Giovanni (nods)If you and a human were to cooperate then the world would be ours. MewtwoThe world would be ours?GiovanniIf your power is set free the world would be ruined. You must control your power.MewtwoControl?GiovanniAre you okay with destroying the world as it is with that power?MewtwoWhat should I do? (Giovanni smiles. Mewtwo is at TRHQ getting loads of armor put on.)MewtwoControl myself with the armor that protects me? What are you going to make me do?GiovanniIt's simple. All you have to do are the things everyone else has been doing...Mewtwoand that is?GiovanniFighting, destruction, and plunder. The stronger will win.--------------------------------------------------------Mewtwo is sent into an arena to fight pokÈmon first an Onix which Mewtwo throws into a wall with his mind. Then it shows Mewtwo out in a field with a lot of wild Tauros. He raises them up with his mind control and TR throws pokÈballs out and catches them all. Then it shows Mewtwo in the gym again fighting Alakazam, Mewtwo does just what he did to Onix. Then came Electron and he used an electric attack and Mewtwo reflected it back at him. Next came Gary's Arcanine and Nidoking... he took care of them easily. Next scene, back in Giovanni's lab.--------------------------------------------------------MewtwoWhat am I fighting for? What am I living for?GiovanniYou are a pokÈmon. PokÈmon made by humans, what else are you worth?MewtwoMy worth? Who am I? What do I live for? (Mewtwo starts breaking free of the wires)GiovanniWhat are you doing?MewtwoI was made by humans. But I, who was created by humans, am not even a pokÈmon. (Mewtwo blows up the place and flies off while all his armor slowly falls of into the sea. He lands on a rock.)Who am I? Where is this place? Who asked to make me? Who wished to make me? I hate everything that made me! So this is neither an attack not a declaration of war but revenge on you who made me!----------------------------------------------------Introduction---------------------------------------------------- (Brock is cooking lunch for everyone.)NarratorAsh and the others are on a journey training to be pokÈmon masters. It's a beautiful day so they take a break in a field.AshIs it ready yet?MistyAsh you can help too.AshI can't I can't even move one millimeter because I'm so starved.BrockStew well and raise slowly. You mustn't be in a rush with both soup or pokÈmon. (Pikachu and Togepy spot someone coming)PirateHey you! The boy over there! Are you Ash from Pallet Town?AshThat's right.PirateCan I have a PokÈmon battle with you?Ash (runs over to him)Okay! I must have a solid fight!MistyI thought you couldn't move one millimeter?AshJust one or two pokÈmon fights before breakfast.BrockThis is lunch, so that would be before lunch.Pikachupika..chu... (Has the Japanese PokÈmon intro music through this battle the whole time. Ash pulls out a pokÈball and throws out Bulbasaur. Then the pirate throws out Donfan. Bulbasaur charges and Donfan rolls into a ball and hits Bulbasaur, then turns around and hits him again! Then he tries it again but Bulbasaur uses Solar Beam and Donfan faints. The Pirate then sends out Machamp. Ash sends out Squirtle. Machamp kicks Squirtle down and then goes to kick him again but Squirtle dodges it and bubbles him till Machamp faints. The pirate gets mad and throws 3 pokÈballs down. one is a Venomoth another is a Golem and the other is a Pinsir. Pikachu jumps off ashes shoulder and does Thundershock and all 3 faint.) PirateOh My God! (this was possibly the funniest part of the entire movie :)AshI did it!MistyIt was just because your opponent was weak.BrockHe didn't even raise them well (flash to Team Rocket who is on a cliff watching our heroes.)JamesPikachu gets stronger and stronger.JessieBeautifulMeowthWe couldn't beat him even once. But the word surrender isn't in our dictionary.JessieI will get that Pikachu.JamesBut look at that. (looks at them all eating)MeowthI'm so hungry.JessieI got a frying pan...MeowthWhat good is such a thing without meat and vegetables? It's just an iron board.---------------------------------------------A Fearow with a camera flies over head then it shows inside some place where you can see Ash and Pikachu on the screens.--------------------------------------------- LadyAre you sending them an invitation?MewtwoCertainly. (Dragonite flies out of the control center with a purse. It flies over the sees and then over Team Rocket and they fall then it flies over Ash and everyone's head knocking them all over then she lands.)AshWhat are you? (Dragonite hands Ash an invitation)This? For me? (He hits a button and a hologram of the lady is displayed)LadyPlease forgive me for the abrupt letter.BrockWhat a beautiful lady...LadySince you are a promising pokÈmon trainer of the future, we'd like to invite you to a party of my master who is the strongest pokÈmon trainer in the world. The place is the New Island, PokÈmon Castle. Please check the reply card for whether your coming or not. Please accept the invitation for the strongest trainer in the world.BrockBeautiful Lady...MistyWhat do we do?BrockLets go for it. We should go for it.AshI don't feel uncomfortable with being told I'm a promising future trainer.MistyWell then check yes on the card. (They check yes, and hand the invitation back to Dragonite. Dragonite takes the card and flies off but Jessie, James and Meowth take out a net in an attempt to steal this rare pokÈmon. Ash's invitation falls out of Dragonites purse.)JessieDon't say Goodbye without saying hello.Meowtha post card?---------------------------------------------Scene change. We see Mewtwo waving his hand back and forth moving the clouds, causing a big storm to start. We then see mew sleeping in a bubble underwater as the bubble floats to the top and pops, Mew wakes up and flies off. Ash and everyone run out of the storm and into a ocean side house that has all the other trainers who were invited.---------------------------------------------A TrainerCalm down Kingler! Cut it out! (Our heroes run inside wet.)AshIt was a beautiful day!BrockThe weather along this beach can change easily. (we notice a big crowd of trainers by the door and Officer Jenny standing with a woman talking to them all)CrowdHuh? The ferry has been canceled?SweetWe can't go to the New Island?!CrowdOh No! We were invited to go!Officer JennyBe quiet everyone. Here is the Pier Master.BoijerI'm Boijer. If you want to know about the sea ask the seagulls on the pier. No need to bother. Just look at the flaw of the clouds. I've never seen such a hurricane in all my years.Officer JennyIs it that terrible?BoijerI grew up on a port and I've never experienced such a storm. Besides the storm is above New Island offshore of this pier. I can't let you be placed in danger. That's my wish as the one who guards this pier.Officer JennyAs you heard the ferry has been cancelled.UmioIts okay with my pokÈmon. My pokÈmon are stronger in water. I can cross the sea.BoijerWait. I'm the one who knows the sea and I say no!Officer JennyShe's right! Besides if the pokÈmon were to get hurt now they wouldn't be able to get treatment at a PokÈmon Center.AshWhat do you mean?Officer JennyNurse Joy at the PokÈmon Center is missing. PokÈmon can't receive treatment without Nurse Joy. The poster over there is the missing person report (Brock looks at it)BrockBeautiful... Who? I've seen her somewhere before... (Some of the trainers go outside in the storm wanting to cross the ocean. Soroa gets onto his Pidgeot and flies off. Umio gets on his Gyarados and swims across.)Officer JennyStop! Stop or I'll arrest you! (Sweet gets on her Dewgong and starts swimming away.)BoijerThere's no use trying to stop them. After all they're pokÈmon trainers. If they were children who would stop after being told to, they wouldn't have gathered here. Let's just pray for there safety. (Ash, Brock, Misty and Pikachu run outside and see everyone leaving.)AshAcross the sea lives the strongest trainer in the world. I can't cop out now.MistyBut we can't cross this sea using our pokÈmon.AshRight. (A Small wooden ship pulls up with 2 people in it. Guess who?)JessieWant a ride? Not saying that it's free but depending on the situation. I might allow you onboard. (They get on and start going and Meowth is dressed like a girl in front of the boat, then a huge wave and Team Rocket's costumes fall off. then the waves start getting really rough.)AshYou guys! You guys again?!BrockYou guys appear at the very worst times!AshWhat do you want?JessieIf we're asked what we want...JamesThe answer to that is..MeowthThere's no time for saying that! (A huge wave flips the boat. Misty shoots out Staryu and swims to the surface.)BrockAsh! Misty! (Misty comes up and he grabs onto Staryu.)MistyWhere is Ash and Pikachu?!(A big wave comes again, and they go back under and see As h swimming up with Squirtle.) AshHold on tight everyone! (Squirtle and Staryu keep swimming under the waves until they see light. Then it shows Mew flying above the clouds. Ash and everyone get to the castle and climb out of the water, and the mysterious lady is standing there.LadyWelcome to the New Island. Please show me your invitation.AshHow's this? (He shows her).B rockThat was you just as I thought!LadyYes?BrockThat picture of Nurse Joy I saw in the missing person report at the pier was you.MistyThat reminds me, she looks like her.LadyI don't know what your talking about. I've been serving this castle ever since I was born. Come this way. The other guests are already waiting.---------------------------------------------They go inside and Team Rocket floats up from the water on top of Weezing. Then it shows Mew playing with the windmill on top of the castle. MEANWHILE Ash and everyone are inside the castle.---------------------------------------------LadyThose are the trainers who have already arrived.AshOnly 3?LadyThe trainers who couldn't cross that storm aren't worth inviting.BrockSo then you tested us?LadyPlease take out the pokÈmon from the pokÈballs and be seated. You are the chosen trainers.James (outside and the front door shuts)Well then, let's sneak into this castle...JessieThe only way is to use the exit.MeowthWhere's the exit?JessieOver there...MeowthThe s..s..sewer!? I'm not a brown rat!JessieDon't complain! (All of a sudden Mew comes down from behind TR and looks at them. Jessie turns her head but Mew disappeared.)JamesWhat's wrong Jessie?JessieNothing lets go.---------------------------------------------Meanwhile...---------------------------------------------SoraoYou came too?AshYou?SoraoI flew here. My Pidgeot can cross such a hurricane in one flight. Everyone greet them! (all his pokÈmon say their names Then they see a Gyarados.)UmioThat's my Gyarados. I rode him across the sea. Those kind of waves are nothing for it. AshGyarados is a brutal pokÈmon isn't it?UmioYeah, but if you can handle it, no one is more reliable.SweetMy pokÈmon are just the same over there. (points to her Blastoise, Wigglytuff, and more. Then all the lights turn off, there is a bright beam of light coming down the center of a huge spiral staircase.)LadyThat you for waiting everyone. The strongest pokÈmon trainer is coming. (All of a sudden Mewtwo starts floating down and all the pokÈmon get worried.)LadyYes, this is the strongest pokÈmon trainer and strongest pokÈmon. Mr. Mewtwo. (The lights come back on and everyone can see him clearly.)AshMewtwo?UmioA PokÈmon is a pokÈmon trainer? It can't be. (It becomes apparent that MewTwo is telepathically controlling Joy...)MewtwoI've decided my own rules.MistyThat voice!BrockTelepathy! (Mewtwo raises Umio up in the air and throws him into a pool (using his mind)UmioDarn it! Go Gyarados! (Gyarados attacks with Hyper Beam, it goes to Mewtwo and Mewtwo stops it and turns it around and it hits Gyarados causing it to faint.)MewtwoThat was easy. (looks at Joy)I no longer have any need for you anymore. (Joy faints into Brock's arms)BrockNurse Joy.Nurse JoyWhere is this place? Why am I here?MewtwoTo make you take care of me, I took you from the PokÈmon Center. A doctor who is familiar with pokÈmon is convenient. You were quite useful. You don't remember anything though.BrockWhat did you say?MewtwoHumans can be manipulated in any way with my power.MistyWith what power?PikachuPIKA! (Meanwhile TR are in the castle and they find a strange room and they enter it.)MeowthWhat is this place? (They look and see a Charizard, Venusaur and a Blastoise in Big Glass Test Tubes sleeping.)MeowthCute!JamesIs it really?JessieThese aren't like any treasures I've seen. (Jessie walks away and sits on some button and a computer turns on with a very fuzzy screen.)Computer...our study... to continue in our research ... we would have to collect samples from our test subjects... (All of a sudden something grabs Meowth and throws him in a machine)MeowthHELP! HELP!JessieMeowth! (Both Jessie and James start pull to get Meowth out and they do get him out but not before the machine got 3 hairs from off of his tail.)MeowthOUCH! My hair! (on the computer screen a figure of a Meowth shows up and the computer starts saying some weird stuff then in an empty test tube next to Team Rocket, a Meowth falls down from a pipe into it)All of TRMEOWTH?!MeowthI am Meowth.JamesThen this is.... Meowth's copy? (Mew appears behind Team Rocket again.)ComputerBut the copy we created is more than we've imaged. The pokÈmon which we found.... in the depths... it's name is Mew... We succeeded in finding fossilized eye lashes of a mew. From the gathered components we created Mewtwo with this machine. The goal was to make the strongest pokÈmon with our own hands. That was our dream. But soon Mewtwo displayed unmeasurable violence. Its all over. The research office will be destroyed. The only way left to abandon this place and escape. (the computer shuts off)JessieThis is the research office?JamesI think so.MeowthYeahJamesBut there's nothing wrong with it.JessieOr maybe something created it again.JamesBut who?MewtwoI thought of working with humans once. But I was disappointed. Humans are the worst creatures inferior to pokÈmon. If creatures that are weak and cruel like humans control this world, this planet will come to ruin. BrockAre you saying like your gonna rule it?Mewtwo (shakes his head)PokÈmon are no good either because this planet is ruled by humans our pokÈmon... pokÈmon who lived for humans.PikachuPika..pika pika!MewtwoWhat did you say? You're not being controlled? You're with the humans because you want to be? To be with them by itself is wrong. (Mewtwo lifts Pikachu up with his mind and throws him but Ash jumps back and catches him!)Pikachupika!AshPikachu!MewtwoWeak pokÈmon rely on humans.MistyAsh! Are you ok?AshYeah. How dare you attack Pikachu?!SoroaWe can get him no matter what kind of pokÈmon he is, as long as he's a pokÈmon, GO RYHORN! (Ryhorn charges at Mewtwo and is 1 inch from him and Mewtwo stops him and raises him into the air, and shoots Ryhorn across the room!) SoroaRyhorn!MewtwoIt's no use. I was born as the strongest of any pokÈmon in the world.AshYou don't know that before we try.MewtwoYou wan to try?AshWe can ask for nothing better.--------------------------------------------------------Mewtwo eyes start glowing then it shows in the lab with Team Rocket in it Charizard, Venusaur, and Blastoise come out of there test tubes and walk out the door. then Mew flies out with them.--------------------------------------------------------JamesWas that a..?JessieMew?MewtwoAny human who are aiming to be pokÈmon trainers go first. Charizard, Blastoise, Venusaur. (The 3 copies raise up from the ground.)These are the evolved forms of the copies I've made. SweetCopies?SoroaThey are...? (Everything starts shaking and a huge door opens and inside is a pokÈmon battle field.)BrockA battle field? Is he going to have a pokÈmon battle?SoroaI've got Venusaur for that copy one!SweetI've got Blastoise for that copy one!AshI've got Charizard too. Charizard I chose you! (Charizard comes out and gives Mewtwo and evil look then shoots fire out at him but Mewtwo makes a force field around him so it doesn't even touch him.)Charizard, that's a surprise attack. (Mewtwo shoots up water and the fire goes out.)MewtwoWhat a bad tempered Charizard. So who's first? (Soroa's Venusaur walks out.)SoroaI was careless before, but it won't go that way this time. (The copied Venusaur walks out.)SoroaVenusaur! Razorleaf!MewtwoVine Whip. (Copied Venusaur's vines chop up the razor leafs then his vines wrap around Venusaur and tosses him across the room!)SoroaVenusaur!SweetI'm next! Go Blastoise! (Mewtwo points for copied Blastoise to go.)SweetBlastoise, Hydro Pump! (Copied Blastoise spins right threw the water and hits Blastoise causes him to go crashing hard into the wall.)SweetBlastoise! MistyBe careful Ash! His skills are strong!AshI know. (Mewtwo signals Copied Charizard to go.)AshCharizard! Lets fight with speed not power! Okay go! (Both Charizard fly up. Ashes Charizard keeps using Flame-thrower but copied Charizard dodges them all and keeps hitting Charizard in the stomach.)MistyWhere are the speed attacks?BrockThe enemy is to fast! (Copied Charizard grabs Charizard and starts flying down to the ground!)AshCharizard!MewtwoDive Bomb Slam!Charizard hits into the ground then gets up.. roars loudly.. then faints.Ash (Runs out to Charizard)Hold on Charizard! Are you okay?MewtwoBoth speed and power are lacking. (Mewtwo then throws his hands up and 3 black pokÈballs appear he shoots them all out and captures Sweet's Blastoise another gets Soroa's Venusaur and the other captures ashes Charizard! A small gold statue lifts up and the 3 balls shoot down into the hole.)AshSTOP!MistyAre you taking the other's pokÈmon?!MewtwoTaking them? No. I'm going to make stronger copies than the pokÈmon you are so proud of. (Mewtwo raises his arms again and hundreds of Black pokÈballs appear!)It's suitable enough for me.BrockCopies?AshStop! That's a violation of the rules!MewtwoDon't tell me what to do. (Mewtwo looks at Ash and throws him into Brock)I've decided my own rules. (Mewtwo drops his arms and all the black pokÈballs start flying everywhere)BrockThey're Coming!AshRun everyone!--------------------------------------------------------The pokÈballs are everywhere catching the trainers pokÈmon, the Gyarados was caught then the Golduck, then Seaking, then Scyther, then Hitmonlee, then Sandslash the trainers are trying to protect there pokÈmon but there is nothing they can do! then Dewgong was caught, then Rapidash, then Vileplume. Then Bulbasaur and Squirtle are fighting them off, then Wigglytuff was caught, then Pidgeot and when they get caught the pokÈballs fly back into the whole under the statue lifted up in the air.--------------------------------------------------------AshI've got it! Take your own pokÈmon back to your own pokÈballs! Return Squirtle and Bulbasaur! (they both go back into their pokÈballs) MewtwoIt's no use. (2 black pokÈballs go to Ash, open, and capture the pokÈballs Bulbasaur and Squirtle are in!)Nothing is impossible with the black pokÈballs I have made. (Misty puts Togepy in her bag and shuts it tight while Brock holds Vulpix close.)Nurse JoyThis place is no good. Let's run outside! (Nurse Joy, Psyduck, Misty and Brock start running but then a black ball catches Psyduck)MistyMy Psyduck! (A black ball catches Vulpix.)BrockVulpix! (Pikachu is being hunted down by tons of black pokÈballs! Then Pikachu falls and is about to be caught! But Ash jumps in front of him and the pokÈballs hit him.)AshRun Pikachu! (Pikachu is running and starts climbing the spiral stairs with ash running after him. Pikachu keeps using Thundershock to blow up all the pokÈballs around him but more keep coming! Ash starts running up the stairs a little behind Pikachu)Don't give up Pikachu! (Pikachu gets tired and he accidentally falls of the stairs! Ash jumps after him and is about to grab him but then a black pokÈballs snatches Pikachu! But Ash catches the pokÈball and then falls into some water but when he does the pokÈballs slips out of his hands and goes into the hole. Since it was the last pokÈmon the statue starts to drop but Ash just barely makes it and jumps down into the hole after the Pikachu in the ball! Team Rocket is still in the Lab, which is where all the copies are going. They are amazed at all the copies dropping into all the test tubes everywhere but then Ash falls down chasing after Pikachu!)JessieBrat?AshI'm sorry, I don't have time to deal with you today! (Ash jumps and grabs Pikachu's pokÈball but right when he does about 25 little metal mini hand like things come down trying to keep Pikachu, Ash is fighting off the mini hands.)Let it go! Darn it! Let him go! Let go of my Pikachu! Let go! (All the hands break and the whole copy machine starts blowing up and Pikachu comes out of his ball.)Pikachu!PikachuPika!But then all the Copy pokÈmon start coming out of there tubes because the whole copy machine is all blown up. All the copies start walking out of the room.JessieOh no! There coming out!MeowthMy copy to!AshThose are all copies?JessieWhere are they all going?All of a sudden there's an explosion and all the black pokÈballs come out and all the original pokÈmon come out!JamesThe real ones have come out to!2 of the black balls open and 2 normal pokÈballs come out, then those open and Squirtle and Bulbasaur come out! Ash and Pikachu runs over and starts laughing and hugging each other then ash stops and looks up and looks angry!Meanwhile up stairs...MewtwoHumans, I won't take your lives too. Leave here.The doors open to the exit.MewtwoThat is if you an make it out in that storm.Then there is an explosion and all the copied pokÈmon come walking out.MewtwoWhat happened here?From the smoke, Ash and all the original pokÈmon come walking out.AshI can not forgive...! I will not forgive you!Misty/BrockAsh!Misty (sees Psyduck)Psyduck!Brock (sees Vulpix)Vulpix!MewtwoDid you set them free?AshI will protect my pokÈmon, my friends. (Ash charges at Mewtwo and goes to punch him but Mewtwo throws him down to the ground. Ash gets up and tries again and Mewtwo lifts him up.)MistyAsh!BrockStop! (Mewtwo throws Ash into a huge statue but just as he's about to hit it -which we know would really hurta pink bubble stops him and Ash bounces a few times on that.)MewtwoWhat? (Mew flies up to Ash and stares at him, Ash then looks at Mew and Mew pops the bubble and Ash falls -only like a foot then Mew starts giggling.)You're... (Mew makes another bubble and starts jumping up and own on it giggling and having a good time, then Mewtwo makes a black electric ball and shoots it up and it pops mew bubble. Mew turns around and looks at Mewtwo confused. Mewtwo makes another and blows up when it hits Mew. Mewtwo makes 3 more and throws them all up at Mew, Mew dodges them all and starts giggling again.)BrockThat's...MistyPokÈmon?Mew flies down and looks at MewtwoMewtwoMew. The pokÈmon that's supposed to be the rarest pokÈmon in the world.BrockMew? (Mew looks around at everyone... I love this guy!)MewtwoI was made from you. But I am the stronger one...I am the true one. (Mew is still looking around acting like its paying no attention to Mewtwo.)BrockMew and Mewtwo.SweetMewtwo was made from Mew.Mewtwo (starts glowing)I am the only one who will survive. (Mewtwo starts chasing mew everywhere shooting tons of those black electric balls at him. But Mew keeps running away dodging everything.)MewtwoWho don't you want to fight? The reason why you avoid fighting is because your afraid of me? (Mewtwo makes another black electric ball and shoots it at Mew and knocks Mew right in the face and mew goes flying in the distance. Everyone is then shocked, but then the same type of ball only blue comes back and hits Mewtwo and he goes into a wall. Mew flies back down. and Mewtwo floats up from the fire and rubble. TR Enters the room.)MewtwoYour attacks are ineffective against me. Now is the time to decide which one of us is the true one, you the copy... which is the stronger? We were made stronger than the real ones.Mewmew, mew..mew mew mew...mew, mew..mew mew mewMeowthI see.JessieWhat is it saying?MeowthThe real one is real. If they fight only using bodies without skills. The true ones will not be beaten by their copiesMewtwoThe real one is real?.... Fine! (Mewtwo shoots another black electric ball at Mew but Mew dodges it and just barely misses Ash! Ash then starts climbing down the statue.)Lets decide which is the real one without skills. You're the stronger ones, GO! (All the copies start attacking their originals. The copies are winning. Mewtwo makes a visible blue force field around himself. Mew does the same except its pink and they fly up high in the air and keep ramming into each other. Then Pikachu is looking around at the big copy war then he sees his copy standing there ready to fight him! Pikachu can't believe it.)Nurse JoyWhat is this fighting? Both the real ones and copies are alive now.SweetEveryone is a living thingBrockThough they were created, there are living beings that live in this world.MistyThe real ones and the copies... But both of them are the same living things. There's no such thing as a win and losing.JamesIf we were asked that, I wouldn't know what to sayJessieI feel so sorryJamesThey're bullying themselves.JessieIts like seeing what we used to be.JamesIts like seeing what we are now.BothFeels Bad! (Meowth's copy walks up to Meowth.)MeowthIts you! (they take out there claws and are ready fight)This is gonna hurt. But every pokÈmon is fighting each other, you're unfair.Copy MeowthMeow meow...MeowthWhat? I'm more unfair? It's because I'm not fighting with you? Your nails would hurt more wouldn't they?Copy Meowthmeow meow meowMeowthYou said tonight's moon would be round? You're right, it must be a full moon.Copy Meowthmeow meowMeowthTalking about the moon at a time like this is tasteful. Its philosophical. (Meanwhile Mew and Mewtwo are still bouncing around fighting. And Ash finally makes it back to the ground.)Ash (looks at everyone fighting and getting so tired)That's Enough! Stop!BrockAsh!AshI've got to stop them.BrockNo. The battle will continue unless Mew and Mewtwo stop fighting.Nurse JoyAnimals don't hand over there territory to the same type of animal.Mistyoh no.Nurse JoyThey will fight until they drive their opponents away. That is the way of living beings.BrockThat may be for living beings but Mewtwo was made by humans.MistyBut now he's a living being. AshNow they are all living beings. Mew and Mewtwo, Pikachu and that other Pikachu. (Mew and Mewtwo's fight finally goes on ground and they both take off there force field. Mew and Mewtwo both shoots a beam out at each other and starts to run between them not seeing the 2 beams coming!)Stop!BrockAsh! (Both beams hit Ash and he falls to the ground and turns to stone.)MewtwoIt can't be. A human tried to stop our fight. (Pikachu runs out to Ash and starts shaking Ash. Then he thunder shocks him many times and Ash still doesn't move. Pikachu begins to cry. Then all the other pokÈmon look at Pikachu -including the copiesand they start crying. All there tears float over and land on ash then last, Pikachu's tears fall onto Ash and Ash regains his hold on life, and turns back to flesh from rock)AshPikachu!PikachuPika pi!!MewtwoActually, both you and I are pokÈmon that already exist.Mewmew.MewtwoIt might be better if no one knows about us, or any of this...Mewmew... (Mew and Mewtwo start flying away and then all the copies pokÈmon lift up into the air and fly with them!)AshWhy are you going everyone?Mewtwo (flying away with all the copies)We were born and alive. We will continue to live somewhere in this world. (All of a sudden the whole castle fills up with bright light and everyone disappears......... Now we are back where all the trainers what to go on the ferry.)Officer JennyThe ferry has been canceled! There's a hurricane coming!Nurse Joy (walks through the crowd)Don't worry everyone. I'm going to open the PokÈmon Center as a shelter. Follow me those who need it.BrockNurse Joy, the officer, and Ms. Boijer. Even more beautiful than usual when they are wet by the rain.AshBut why are we here?MistyI don't know. We're here because we're here.AshIt doesn't matter. Well... Huh? (Everyone runs outside)It can't be...Officer JennyThe hurricane... it's as if it never existed.BoijerI can run the ferry for again tomorrow.Ash (looks up and sees a mew in the sky)Look.MistyWhat? I can't see anything.BrockBesides the clouds.AshOn the day I left to become a pokÈmon trainer, I saw a phantom pokÈmon... and now.. I've seen it again.BrockPhantom PokÈmon.AshYes, someday I will (Meanwhile, TR is still on the New Island except now the castle is gone.)JessieWell if its this empty...JamesClean and clear...MeowthAnd different than it usually is. Jessie/James/MeowthFEELS GOOOOOOOOOOOOOOOOD!!!!!------------------------------------------End theme------------------------------------------Where do I keep walking too? I stop, asked by the wind. Efforts to celebrate your birthday increase, You left the one and only home town for a journey Still seeking something even now. Big Eyes Are Shining There not with your but with someone else. Many hellos and Many Good-byes. A Bit of memory like an illusion. Where do you keep walking to? Asked by the wind as you look over the sky Where am I going to keep walking? Lets start walking with the wind! Standing Firmly on the ground lets go on forever... Until catching the dream we're aiming for. Standing Firmly on the ground lets go on forever... Until catching the dream we're aiming for. La La La La La La La La La La La La La La La... \ No newline at end of file diff --git a/unformated_scripts/Script_Postman, The.txt b/unformated_scripts/Script_Postman, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..9c6b2cf946142cadcc116c3543294f18a5e74b97 --- /dev/null +++ b/unformated_scripts/Script_Postman, The.txt @@ -0,0 +1 @@ + THE POSTMAN screenplay by Brian Helgeland and Eric Roth based on the novel by David Brin November 4, 1996 Early Production DraftFOR EDUCATIONAL PURPOSES ONLY FADE IN:1 EXT. DESERT LANDSCAPE (UTAH) - DAY 1 Jagged mountains defy a dark, foreboding sky. We hear PLODDING HOOVES, CREAKING LEATHER. A lone wanderer appears. Wearing a long coat and a battered hat, he carries a bolt-action carbine. His name forgotten, history remembers him simply as THE POSTMAN. His laden pack mule, BILL, BRAYS, as they pass a battered sign: "The Great Salt Lake Marina." They start down a slope and begin to cross a... DRY LAKE BED A bizarre, wind-swept sight. Dozens of boats resting lee- to on the dry, cracked earth. It's like God pulled the plug. Rusty mooring chains snake their way around house boats, ski boats and a cabin cruiser or two. WOMAN (V.O.) The last of the great cities died when my father was a child. Another victim of yet another war. The plagues followed. And the terrors. The living hid themselves away in tiny hamlets in hopes of surviving whatever new madness conspired to rob them of the little that remained. The Earth itself had fallen prey to chaos. For three years a dirty snow fell that even summer could not erase. The ocean was barren. Poisoned. Near death. As The Postman continues to cross, the CAMERA PULLS BACK. He's soon lost in the massive vista. WOMAN (V.O.) Sixteen long years passed before the great lungs started working again. My father said it was as if the ocean breathed a great sigh of relief... A RUMBLE of THUNDER. RAIN begins to fall. The earth just sucks it up at first, but it's coming hard. Rivulets run. Puddles form. We begin to get the feeling that soon these boats will be tugging at the mooring chains once again. (CONTINUED) 3.1 CONTINUED: 1 TRACK a rivulet as it runs, filling up a depression in the sand. And then, running to fill another in a series of depressions. They make a pattern we recognize as -- MAN'S FOOTPRINTS These tracks may already be days old as they fill with rain water. Then, the sound of light, padded FOOTFALLS. A LION ENTERS FRAME. Lean, hungry and dangerous, the big cat has been tracking this man. He lets out a low, disappointed GROWL. The rain has foiled his dinner plans -- for now.2 EXT. HIGHWAY ON-RAMP (UTAH) - DAY 2 A bullet-ridden sign reads: "U.S. 84 North." The Postman leads Bill down a barren 4-lane. Weeds poke up through the asphalt. The rusting hulk of a car rests in the median, covered in a tangle of purple wisteria. The Postman plucks a flower. He sticks it into a buttonhole and continues. BILL BRAYS woefully. In answer: THE POSTMAN I don't know. And if you ask me again, I'm going to slug you. They near a sign: "Thank You For Visiting Utah." The Postman waves, shouts to the sign as he passes it. THE POSTMAN It's been fun, hasn't it, kids? (to the sign) You're welcome!3 EXT. 4-LANE (IDAHO) - BILLBOARD - DAY 3 Bill tugs up weeds as The Postman is climbing up a ladder on a highway that razor cuts the plains to the horizon. Above, The Postman sands atop a billboard catwalk. He references a tattered road atlas, scans the horizon through binoculars with one broken lens. He pauses at a Union 76 ball just visible above the tree line. 4.4 EXT. HIGHWAY TRAVEL STOP (IDAHO) - DAY 4 A 76 Station and the remains of a Howard Johnson's. Alert, carbine in hand, The Postman leads in the mule. Rusting cars sag on flattened tires. There's a stripped fire engine, its cracked hoses leading to the HoJo foundation which bristles with burned timbers. Bill stops to drink out of a stream. The Postman swats at him with his hat. THE POSTMAN Damnit, Bill, you know I need to check it first! Bill hangs his head. The Postman digs through his pack. He removes an old Tupperware container and replaces its contents -- a tiny sheaf of litmus papers and several small bottles -- with stream water. He adds a few drops from each bottle. Swirls it around. Then dips a tiny strip of paper into the water. The paper turns a vivid purple. The Postman is dubious. THE POSTMAN Better than turpentine. (touches some to his lips) Tastes about the same. Your call, Bill. Bill drinks. THE POSTMAN You ain't picky, Bill. I like that about you. The Postman takes his carbine and a burlap sack and crosses to the 76 Station. An old extension ladder on the ground. The pole holding up the 76 ball has a 30-degree bend in it, like someone once tried to pull it over. Beyond the 76 ball, the sun sets -- but we here in the 20th Century have never seen such a wild riot of color before. The Postman tries the station door. Locked. Smiling ironically, he steps in through the blown-out window.5 INT. 76 STATION - OFFICE - DAY 5 A shambles. The Postman kicks around the table. He finds a few beat-up CDs, flips through them. Reads the label. (CONTINUED) 5.5 CONTINUED: 5 THE POSTMAN 'Running on Empty'? Tell me about it. Tossing it, he turns, stops. There, resting on a pile of trash is a bashed-in portable TV. The Postman smiles. THE POSTMAN Hey, Bill! We got TV! 147 channels. Everything from Jesus to 'Jeopardy'. He steps over, switches on the set. Nothing happens, but The Postman pretends just the same. He mimics static, then: THE POSTMAN 'Like sands through the hour- glass, so are the days of our lives...' (switching channels) 'Michael Shields, come on down, you're the next contestant on...'The Price is Right'.' (switching again) I'll take Domestic Nuclear Disasters for two hundred thousand, Alex... The Postman stops suddenly. Click. THE POSTMAN We interrupt our regularly scheduled program to bring you the Second Civil War... Well, shit. The Postman stares at the blank screen a moment. There's a sudden, panicked RUSTLING from behind the service manager's desk. The Postman wheels around, raises the carbine. THE POSTMAN I don't want any trouble... I bet you don't either... Let's just call it a draw, okay? Sudden MOVEMENT. The Postman shouts in surprise as a Doe dashes out from behind the desk. Scared, it bounds back and forth between the walls. Then freezes in the corner. The Postman sighs in relief, lowers the carbine. THE POSTMAN Look out, Bill! (CONTINUED) 6.5 CONTINUED: (2) 5 The doe bolts for the window and runs right into Bill. Bill has a conniption fit. Investigating further, The Postman spots a cigarette machine. The front glass is smashed and all the slots are empty. But he looks down to the lock at the bottom. It's intact. He pulls a crowbar from the sack, crouches by the machine and digs the pry into a seam and pulls. The panel bursts open to reveal four half-open cartons of cigarettes. He doesn't believe it for a second. Then: THE POSTMAN I'm rich.6 EXT. 76 STATION - NIGHT 6 Embers of a campfire glow. The Postman is asleep, the carbine in reach. BILL BRAYS and nervously stamps his hooves. The Postman reaches for the carbine only to find the barrel of a shotgun pointed in his face. Three BANDITS! Hard-eyed and ugly. One, barely 20, is mostly just ugly. The Postman looks down the barrels of a shotgun, a rifle and a revolver. The LEAD BANDIT kicks the carbine out of reach. THE POSTMAN I'm just passing through. I don't mean anyone any harm. (re: stream) Water's good. The Lead Bandit pokes at The Postman's shoulder with the muzzle of his rifle. The Postman knows why. THE POSTMAN I'm not a Holnist. The Lead Bandit pokes again. Harder. The Postman opens his shirt, reveals his bare left shoulder. THE POSTMAN Okay? They just stare at him, none saying a word. Creepy. THE POSTMAN I'm headed for a town called St. Rose. Somewhere west of Portland. (CONTINUED) 7.6 CONTINUED: 6 LEAD BANDIT Portland's under twenty feet of water. THE POSTMAN Well, I heard different. LEAD BANDIT You mouthin' me? THE POSTMAN No, it's just that it's hard to get good information. The third BANDIT, a HULKING brute, has been quiet. HULKING BANDIT He is mouthin' you; I say we kill him. LEAD BANDIT Don't be in such a rush, Martin. (back to The Postman) Now I see a pack mule over there, but I don't see no packs. THE POSTMAN This is all I got. LEAD BANDIT Oh... Kill him, Martin. The Hulking Bandit, raises his shotgun. The butt end. He's going to bludgeon The Postman to death. THE POSTMAN (pointing) Okay! My stuff's up there! The 76 ball is twenty feet above the ground. In the gloom you can just see a hole has been punched through the side. BANDIT #20 What do you got in there? The Lead Bandit swats Bandit #20 upside the head. LEAD BANDIT Shut up. (to Postman) What do you got in there? (CONTINUED) 8.6 CONTINUED: (2) 6 THE POSTMAN Dried peas. Beef jerky. Cigarettes. ALL THREE BANDITS Cigarettes! THE POSTMAN Sure. There's the ladder. BANDIT #20 Maybe he's got it booby-trapped. The Lead Bandit is about to smack Bandit #20 again -- then he sees the logic out of it. The Postman shakes his head, but isn't that convincing. LEAD BANDIT You go up and get it. CUT TO:7 EXT. 76 BALL - DAWN 7 The ladder set against the bent pole. Prodded by a shotgun, The Postman climbs, disappears through the hole and into the tilting 76 ball.8 INT. 76 BALL - DAWN 8 Full of The Postman's earthly possessions. Trick is, how to save them and his life at the same time. He spies an old wrench: remnant of an attempt to remove the rusty bolts holding the ball in place. An idea begins to take shape. LEAD BANDIT (O.S.) Just you start tossing those cigarettes down! BANDITS There's no answer. The Bandits eye each other nervously. BANDIT #20 Maybe he fell asleep. (CONTINUED) 9.8 CONTINUED: 8 76 BALL The Postman grabs the wrench, starts working one of the last two rusted bolts. As it starts to give... THE POSTMAN It's going to take a second. I got my stuff bolted in. BANDITS The Lead Bandit takes a cautious step back. LEAD BANDIT Put some buckshot through it, Martin. Just to hurry him up. HULKING BANDIT I only got three shells left. LEAD BANDIT So use his gun. The Hulking Bandit picks up the carbine and aims. CLICK. It isn't loaded. The Hulking Bandit tosses the gun aside, pulls a knife from his boot. Grimly, he begins to climb. 76 BALL Cramped, The Postman's busy at the base of the ball, trying to unscrew the last remaining bolt. It won't budge. LADDER The Hulking Bandit has only a few more rungs to go. 76 BALL No good. Time's up. The Postman starts rocking the pole. LADDER The Hulking Bandit has reached the opening -- feels the rocking motion. Hangs on. (CONTINUED) 10.8 CONTINUED: (2) 8 76 BALL Knife in hand, the Hulking Bandit looks inside. At that instant, The Postman rocks the pole one more time. The rusty bolt is not enough to keep the ball's full weight in place. It pops. The ball is frozen for an instant before going with the pole's tilt. LADDER The 76 ball drops off the pole, rolling over the Hulking Bandit's back and down the ladder's incline. The other Bandits dive clear as the 76 ball hurtles past. THE POSTMAN whips head over heels as the ball speeds away. FIELD The 76 ball launches off a dirt berm, but soon comes to a stop as it slams into an old utility pole and bursts apart. Fighting the vertigo, The Postman staggers to his feet. THE POSTMAN Bill! Bill bolts from the station as the Lead Bandit raises the RIFLE and FIRES at The Postman. Losing balance, The Postman lands on his butt just before a bullet splinters the utility pole above his head. Wobbly, he tries to gather his packs. The Bandits charge, quickly closing the ground, but Bill is there first. Holding as much as he can, The Postman heaves himself over Bill's back. As the mule gallops away, the Lead Bandit aims the rifle. He's got The Postman in his sights. He's about to fire when -- Bandit #20 stands up INTO the SHOT. He's got a fistful of cigarettes in each hand and he's laughing like a hyena! BANDIT #20 We're rich! 11.9 EXT. OVERLOOK HILL (IDAHO) - DAY 9 The Postman sits on a rock, holding Bill's halter so the mule must face him. They are in the midst of an argument. THE POSTMAN It's true, we haven't done this in a while, but it's like riding a bicycle. Now, open your mouth. The Postman pries his mouth open. Taking a toothbrush, he tends to Bill's teeth, then gives him an appraising look. BILL BRAYS. THE POSTMAN I know the rule. It's my rule! Avoid civilization at all costs. But we gotta eat, don't we? (as BILL BRAYS again) What are you so worried about, Bill? All you gotta do is stand there. I'm the one with all the lines. The Postman leads the mule down the hill toward the town far below. Making his case all the while -- even as BILL BRAYS in protest.10 EXT. VILLAGE SQUARE (IDAHO) - DAY 10 A patch of mud. In the center of the square fifty townspeople stand before a plank stage where The Postman wraps up a performance of MacBeth. He plays it with a mis-remembered gusto the people enjoy. Children especially are enamored. A heavily-muscled man, WOODY, lingers on the fringe of the crowd -- watching The Postman with inscrutable intensity. THE POSTMAN They said, 'Fear not, MacBeth, 'til Birnam Wood comes to Dunsinane'! He looks off stage for someone, but no one appears. THE POSTMAN I said, Birnam Wood comes to Dunsinane! Bill trots on-stage. Covered with twigs, BILL is Birnam Wood. He BRAYS lustily. The audience laughs in delight. The children clap. Only Woody seems unaffected. (CONTINUED) 12.10 CONTINUED: 10 The Postman grabs two wooden swords -- he knows it's going well. THE POSTMAN Arm, arm yourselves! If the witch's words are true, there'll be no running or hiding here! Shaking off the twigs, Bill takes one of the swords in his mouth. The two of them dash back and forth pretending to fight off an imaginary attack. Finally, The Postman looks out at the audience, remembers the words the best he can. THE POSTMAN Tomorrow, and tomorrow, and the day after that. Out brief candle! Life's but a walking shadow, a poor player that struts his hour upon the stage and is heard no more. It's a tale told by a moron. Full of sound and fury, signifying nothing. (waves sword) But blow, wind! Come wrack! At least we'll die with the harness off our back! The audience erupts in applause. But Woody stands still as stone. The Postman takes a bow. Even Bill does a cross-legged dip. Knowing when to quit, he steps off the stage to many hearty handshakes. Woody watches his every move. MRS. THOMPSON, one of the town's leaders, steps up. She's accompanied by crotchety old CURMUDGEON LARRY. MRS. THOMPSON The children have never heard Shakespeare before. THE POSTMAN (grinning) They still haven't. The Curmudgeon is still clapping. THE POSTMAN Thanks. You're very nice. CURMUDGEON LARRY I'm clapping because you stink. (CONTINUED) 13.10 CONTINUED: (2) 10 THE POSTMAN I don't think you understand how it works. CURMUDGEON LARRY When I was young, I tried to be an actor. I was awful. But now I won't die thinking I was the worst one. THE POSTMAN I'm glad I could help. MRS. THOMPSON Larry, stop it. (to The Postman) You were very good. THE POSTMAN Good enough to get something to eat? Before she can answer, a SENTRY cries... SENTRY Holnists! Holnists are coming! All eyes look down the road leading into town. A raiding party of Holnist Cavalry are on their way in. Mrs. Thompson sees The Postman's concern. MRS. THOMPSON It's okay. We give them food and supplies. All the towns do. MAN #1 They hardly kill anyone lately. Just take a woman sometimes. THE POSTMAN Well, I'd just as soon not give them anything of mine. Let's find the back door, Bill. The Postman gathers his stuff, slings packs onto Bill. The forty Holnists in orange and black uniforms ride in. They're armed with mostly pistols and rifles. Some carry bows, knives, spear guns and swords. On their bare shoulders, branded into the flesh -- the number "8." (CONTINUED) 14.10 CONTINUED: (3) 10 Out front, always leading by example is, GENERAL BETHLEHEM. Tough, smart, merciless with style. Commander of the United Clans of Holn. Nothing escapes his eye. A little behind him is the mysteriously silent Colonel Getty, second in command. The Postman, finished packing, begins to move from building to building -- careful not to attract any attention. BETHLEHEM (O.S.) What are you doing there? The Postman freezes, turns, is relieved to find Bethlehem's not talking to him at all. The General looks down from his horse at children playing an impromptu game of "Birnam Wood." The children stop, stare at their feet. Bethlehem affects a "kindly" smile to accompany his gentler tone. BETHLEHEM I said, what are you doing? Meantime, The Postman continues his surreptitious escape. The MAYOR hurries forward to greet Bethlehem. MAYOR It's just a game, General Bethlehem. Something they saw in a play. No harm in it. BETHLEHEM A play? (to kids) Show me. It's all right, children, show me. One BRAVE BOY finds his voice, barely. BRAVE BOY Arm, arm yourselves! No running from the witches! BETHLEHEM (surprised) Shakespeare, is it? Well, I'm sorry I missed it. (CONTINUED) 15.10 CONTINUED: (4) 10 MAYOR You should know, sir, we haven't nearly stocked the game we thought we would. BETHLEHEM Really? But you had time for a play? Head down, The Postman makes for "the back way." But it's guarded by three daunting Holnist soldiers. No getting by them. The Postman does a quick 180, goes back the way he came. Bethlehem looks at the frightened townsfolk. BETHLEHEM I'm taking three conscripts from each town. They will have the honor of serving in the Holnist Army until such time as I see fit. (to Mayor) Three men. You suppose you could do that? The Mayor nods in acquiescence. Bethlehem looks to a Holnist officer. The officer, IDAHO, steps up and addresses the town. IDAHO All men between 15 and 50 and of suitable ethnic foundation are required to show themselves now. The Holnist soldiers fan out, prodding any likely or unwilling candidates forward. The Postman is now walking behind Bethlehem. Some of the Townspeople cast him a furtive glance as he makes his way toward the open courtyard and, ultimately, the gate out of town. Three conscripts are hustled before Bethlehem. He looks over the first -- Woody. Smells him. Not much of a decision here. BETHLEHEM Acceptable. IDAHO Sir? BETHLEHEM Acceptable, Captain! (CONTINUED) 16.10 CONTINUED: (5) 10 The second -- a thin teenager. Bethlehem feels his arm, turns his head from side to side. BETHLEHEM You'll need to put some meat on, but I like an impressionable mind. Acceptable. The third -- an innocuous man. Or so we think. Bethlehem stares hard at his olive skin, traces a finger over the bump on the man's nose. BETHLEHEM Mongoloid. Unacceptable. Soldiers shove the man back into the crowd. The Brave Boy that was playing Birnam Wood allows himself a tiny smile when he sees that The Postman might make it. BETHLEHEM I want pure blood. Someone like... Bethlehem notes the Boy, turns to see the object of his attention, and spots The Postman leaving out the front gate. BETHLEHEM That man. Idaho and another soldier are on it. The Postman tries to back away as the two dismount and come toward him. THE POSTMAN You don't understand... But Idaho and the soldier aren't programmed for explanations -- they grab him. IDAHO You were required to show yourself. THE POSTMAN But, I'm not with these people. I'm just passing through. I -- Idaho silences him with a rifle butt to the head. Everything falls OUT OF FOCUS IDAHO (O.S.) Take the mule. DISSOLVE TO: 17.11 EXT. HOLNIST TRAINING CAMP (WESTERN IDAHO) - DAY 11 Spread out in the valley is General Bethlehem's Holnist Expeditionary Force. A five hundred-man army enjoying all the comforts a bivouac can offer. 19 head-shaved CONSCRIPTS, including Woody and The Postman, are held in a cramped, barbed wired pen. They watch as three more are shoved inside. One of them is Bandit #20. He and The Postman come face to face, recognize each other. BANDIT #20 Hi. THE POSTMAN (astonished) Hi? The Postman steps toward him, Bandit #20 backs off quickly. BANDIT #20 Well... I mean, we know each other, kind of... THE POSTMAN Kind of. BANDIT #20 (looking around) Wow! THE POSTMAN So what did you guys do with my cigarettes? BANDIT #20 We traded them for a woman. THE POSTMAN Wonderful. What happened to your partners? BANDIT #20 They traded me to the Holnists. GUARD (O.S.) Ten hut! General Bethlehem approaches on horseback. Colonel Getty follows behind. Bethlehem looks his new recruits over. Dismounting, he enters the pen and walks among them. (CONTINUED) 18.11 CONTINUED: 11 BETHLEHEM Welcome, gentlemen, to your new life. You have been born again as soldiers in the army of the United Clans of Holn. The strong have been sapped by the whimpering propaganda of the weak. Men, strong men, have been denied their destiny. You men have been saved from that fate. Redemption is within your grasp. He starts down the line, looking the men over. He stops in front of a GANGLY RECRUIT. The Postman is alongside. BETHLEHEM You. What did you do before you were given this opportunity? GANGLY RECRUIT I had a shovel. I digged holes. Bethlehem regards him benevolently. BETHLEHEM You digged holes... Well, now you're going to fill them. (turns to Postman) And you? THE POSTMAN Me? BETHLEHEM Is there any question in anyone's mind that I was talking to you? Yes, you. You look like a dangerous man. Are you? THE POSTMAN I'm just a performer. Shakespeare. Stuff like that. BETHLEHEM Shakespeare? THE POSTMAN He was a writer. He -- BETHLEHEM I know who Shakespeare was... 'Cry "Havoc!" and let slip the dogs of war.' (CONTINUED) 19.11 CONTINUED: (2) 11 Bethlehem says the lines boldly, encourages his men to clap for him. He looks at The Postman expectantly. Finally... THE POSTMAN I, um, you want a line? Bethlehem nods. The Postman thinks a moment... THE POSTMAN 'To be or not to be: That is the question.' Bethlehem looks at his men as if to say, "Is this all this guy's got?" Bethlehem eyes The Postman; he wants a contest. BETHLEHEM 'We few, we happy few, we band of brothers.' The Holnists clap, they know their General can best this guy. THE POSTMAN (gaining confidence) 'Now is the winter of our discontent made glorious summer by this son of York.' Bethlehem claps The Postman on the back. BETHLEHEM You're pretty good. You're also a fighter. I see it in your eyes. The Postman doesn't answer. Hesitant, he doesn't want to get into any more trouble than he's already in. BETHLEHEM Don't you agree? Come on, a man's got to speak his mind. Bethlehem sounds sincere. He seems like a good guy. THE POSTMAN I don't mean any disrespect, sir, but you'd be better off just letting me go. A fighter is about the last thing I am. (CONTINUED) 20.11 CONTINUED: (3) 11 The Postman doubles over as Bethlehem hooks a fist into his gut. Bethlehem clubs him in the head, dropping him to his knees, then digs a boot into his side. The Postman goes down. BETHLEHEM Don't you think I should be the judge of that, soldier? The Postman gasps to catch his breath. BETHLEHEM Get up. I said, get up. The Postman staggers to his feet. Blood trickles from his nose as he stares across at Bethlehem. BETHLEHEM Put up your fists. THE POSTMAN You'd win. Bethlehem looks to Getty. CLICK. Getty shoves a PISTOL is into The Postman's ear. The Postman reluctantly raises his fists. Bethlehem gives him a satisfied nod. BETHLEHEM Now fight. The Postman takes a tentative step forward. Bethlehem drives him back with a flurry of blows. The Postman is dazed, nearly out on his feet. Bethlehem holds him up. BETHLEHEM You're right. You're not a fighter. But you will be. I'm giving you a chance at a life that means something. A life worth living. That said, Bethlehem delivers one last blow to The Postman's face. Everything goes BLACK...12 EXT. HOLNIST TRAINING CAMP (WESTERN IDAHO) - DAWN 12 A brutal REVEILLE BLASTS the sleeping conscripts awake. IDAHO (O.S.) Let's move it. Everybody up and at 'em. (CONTINUED) 21.12 CONTINUED: 12 The Postman comes to. He licks his dry, blood-caked lips. A sudden movement startles him -- it's Woody, shoving him a battered cup of water. It's like he's been keeping watch. The Postman is surprised, a little suspicious, and very grateful as he gulps the water down. THE POSTMAN Thanks. Did I win? Woody shakes his head "no." THE POSTMAN I tried to tell him... WOODY Say it again. THE POSTMAN Say what? WOODY The words you said in town. About the wind blowing. And the rest... Say it again. THE POSTMAN 'Blow, wind. Come wrack. At least we'll die with the harness off our back.' WOODY What's it mean? THE POSTMAN Live free or die. Woody and The Postman scramble to fall-to with the other conscripts. Idaho surveys the ranks. IDAHO All right, girls. We're gonna run. Twenty miles. With packs. You got three hours. Everybody makes it. Or nobody eats.13 EXT. TRAINING CAMP - MESS LINE - CLOSE ON MEAT - DAY 13 A COOK dumps a scoop of gristly, gray meat into each mess pail as the conscripts wait in line. They fall to ravenously, too hungry to taste how bad it is. Idaho supervises. (CONTINUED) 22.13 CONTINUED: 13 IDAHO Eat up! You got meat tonight. The line has almost passed. Just The Postman left and Bandit #20 bringing up the rear. Idaho looks at The Postman, addresses the COOK. IDAHO Why don't you tell Shakespeare what kind of meat that is. COOK Mule. Probably Bill -- and The Postman knows it. He stares in revulsion at the putrid meat ladled into his pail. IDAHO A godawful animal. The sterile offspring of a horse and a donkey. Can you imagine that?! There's no room in this new world for a bastard like that. Bandit #20 holds out his pail. But the cook won't fill it. IDAHO Uh uh. (loudly; for all) Any man last in line ain't hungry enough. You show up last, you don't eat! Bandit #20 steps away in disbelief. Not knowing what else to do, he sits down beside The Postman, the only man with food who isn't eating. BANDIT #20 I'll die before I'm last in line again. THE POSTMAN That's what they're hoping for. He holds his pail out to Bandit #20. BANDIT #20 Serious? This isn't bad. Lost in despair, The Postman stares out at the skewed palette. THE POSTMAN These were supposed to be the best years of my life. 23.14 EXT. TRAINING GROUNDS - DAY 14 The conscripts stand at attention under the guard of Idaho and two other soldiers. To their right is a dead oak tree. Behind them, three rows of folding chairs. Two figures approach. Bethlehem and Getty. Getty carries a sheathed sword. Bethlehem surveys the troops -- taking no more notice of The Postman than anyone else. BETHLEHEM The laws of eight, gentlemen. That is the legacy handed down to us by Nathan Holn. At the mention of this name, the RECRUITS shout as one. RECRUITS God rest his soul! THE POSTMAN (low) May he burn in hell. Getty looks over at him. He heard him. The Postman swallows hard. Getty stares hard. Then he turns away. He's not going to bust him on it. BETHLEHEM These are the laws that we live by. The eight is our symbol. Each man will bear it with pride. Bethlehem nods at Idaho who pushes up his own sleeve to reveal the branded 8. BETHLEHEM Only then will you be part of the clan. Sit down, gentlemen. The men move to sit in one of the three rows. Only then does it become apparent that there are 18 men and only 17 chairs. One SLOW RECRUIT is left standing. It doesn't take him long to realize that he's in trouble. BETHLEHEM Law One. You will obey orders without question. (to Slow Recruit) I told you to sit. SLOW RECRUIT (scared) There weren't enough chairs. (CONTINUED) 24.14 CONTINUED: 14 BETHLEHEM I didn't specify chairs. You could've sat down on the ground. The Slow Recruit moves to do so. BETHLEHEM You disobeyed a direct order. You broke Law One. Idaho and another soldier step up beside the Slow Recruit. BETHLEHEM Law Two. Punishment shall be swift. They hustle the Recruit to the tree. Idaho unslings a coil of rope, throws it over a tree limb. They quickly slip a loop over the Slow Recruit's ankles and haul him upside down into the air. BETHLEHEM Law Three: Mercy is for the weak. Four: Terror will defeat reason. Five: Your allegiance is to the clan. Six: Justice can be dictated. Law Seven. Any clansman may challenge for leadership of the clan. Does any man here wish to challenge me? There are no takers. BETHLEHEM On your feet! The conscripts stand like jackknives snapping open. Without a word, without a look -- Bethlehem reaches out and draws a sword from a sheath that Getty holds. Bethlehem steps to the Slow Recruit -- who slowly twists around. BETHLEHEM Law Eight: There is only one penalty: Death. Bethlehem raises the sword. SLOW RECRUIT Please, I'm begging you. (CONTINUED) 25.14 CONTINUED: (2) 14 THE POSTMAN As the sword finds its mark. Bethlehem looks at him, but addresses all. BETHLEHEM You will get out of this army what you put into it. Work and you'll be fed. Fight and you'll be respected. Die and you'll be remembered. It's up to you. Bethlehem turns and walks away. Getty following behind. The Postman watches as they go. Idaho steps up to him. IDAHO You thinking of challenging for leadership of the clan? THE POSTMAN No, sir. I'm a follower not a leader. IDAHO You see Colonel Getty? Always following the General? He's the only man who ever challenged. Fight lasted six seconds, but the General didn't kill him. He cut off his tongue and he cut off his balls and old Getty's been following him like a dog ever since. The Postman looks back to see Bethlehem and Getty disappear into the gloom. Idaho grins, likes how this affects a new man. The Postman moves on. Idaho stops Woody as he passes. IDAHO The General don't see it, but I say you got some nigger in you. Woody clenches his jaw, but wisely doesn't answer.15 EXT. PLAINS - DAY 15 Rain as the army moves. Boots suck at the mud. War wagons heave out of ruts. A monster gun is mounted on an old John Deere semi, pulled by a team of ten horses. The conscripts fill the middle ranks, each bearing a heavy pack. (CONTINUED) 26.15 CONTINUED: 15 Marching beside Woody, The Postman stares blankly ahead. The cry to halt. The conscripts unsling their packs, catch their breath. Idaho pulls The Postman out of line. IDAHO The General would like a word with you, Shakespeare.16 INT. GENERAL BETHLEHEM'S TENT - DAY 16 Bethlehem stands before a painter's easel, palette in hand. He's got a mirror set up so he can see his reflection. He's doing a self-portrait in the tradition of the great Dutch Masters -- but it's a dismal failure. He continues painting even as Idaho leads The Postman in. Idaho salutes, steps back. For a moment, The Postman doesn't quite know what to do. BETHLEHEM (re: the book and binoculars on the table) They're yours. A solitary man, aren't you? Binoculars. To watch life from a distance. And Shakespeare. To read about it instead of living it. Bethlehem wants an answer. The Postman clears his throat. THE POSTMAN No offense, General, but you seem to have read some Shakespeare yourself. BETHLEHEM If he wishes to rise above mere thuggery, a military commandeer must be classically educated. Philosophy, history. Even a sense of the dramatic. (a beat) Do you know what I did before the war? Do you think I was in the army? I sold copying machines. I was a salesman. The talent to lead men and devise and execute a battle plan were locked away inside me. (CONTINUED) 27.16 CONTINUED: 16 He picks up Finding A Way to Win by Nathan Holn. A 20- year-old self-help book. BETHLEHEM If Nathan Holn hadn't come along, I'd still be selling copying machines. Can you imagine the wasted life? Can you imagine the magnitude of it? But war... War gives men like me a chance. He turns to a dog-eared page in the book. BETHLEHEM Here... 'The prize is often left unclaimed. Have the courage to grasp it. For fortune always favors the bold.' (moved) It always inspires me. (beat) I have a design for the future. A master plan. I'll need able officers to carry it out. You have the intelligence. If your heart matches, you'll go far. (a beat) We'll talk more in the weeks to come. Dismissed. The Postman leaves. Idaho stands at the ready. BETHLEHEM Issue the binoculars to a scout. IDAHO And the book, sir? BETHLEHEM Burn it. Idaho leaves. Bethlehem goes back to his painting. He considers himself in the mirror. After a long stare-down, he shouts: BETHLEHEM Quit moving.17 EXT. CAMP - DAY 17 The Postman rejoins the conscripts. Bandit #20 slides over. (CONTINUED) 28.17 CONTINUED: 17 BANDIT #20 What happened? Troubled, The Postman doesn't answer. He heads for a corner where Woody stands alone. Relentless, Bandit #20 follows. BANDIT #20 What did he say? THE POSTMAN Nothing. BANDIT #20 Did he say anything about me? THE POSTMAN No. They reach the quiet corner; it's just the three of them. THE POSTMAN We got to get out of here. BANDIT #20 What are you talking about? THE POSTMAN Escaping. (low) You ever hear of St. Rose? It's on the coast. They say it's a paradise. They've even got electric lights. Bandit #20 looks scared, Woody unreadable. BANDIT #20 We can't. THE POSTMAN Between the three of us, we could -- BANDIT #20 No, no. I can't. I like it here. I like being a part of something. The Postman can't believe what Bandit #20 just said. Bandit #20 turns, hurries away. The Postman looks to Woody who doesn't tip his hand either way. He moves away as well. 29.18 EXT. CAMP - DAY 18 The conscripts break camp. Hot work. Glistening with sweat, The Postman stops to stretch. Across the way, he sees Bandit #20 talking to Getty. Getty glances at The Postman who returns to work, watches under his eyebrows as Idaho joins the group. There's trouble brewing here. Worried, The Postman looks to Woody, who watches the exchange as well. He is, as usual, inscrutable.19 EXT. CLEARING - RIVER - DAY 19 The river is swollen and swift from the spring thaw. Marching along the east ridge above it, the army is given the order to halt. The Postman looks ahead to where Idaho confers with Bethlehem. Something's wrong. They look to where: Two carbine-toting soldiers stand alertly at guard by a thicket across the river. A rotten wood and rope bridge spans the space between the ridges. Idaho rides to the conscripts: IDAHO One of you dogs has earned himself a treat. Over there. Idaho points to the thicket as he proceeds down the line. IDAHO Those men hunted themselves a lion this morning. Must've been a zoo around here before the war. Anyhow, they shot him and he crawled into that thicket. A third man went in after him. We don't know if he's dead or alive. I need a volunteer. Someone's gotta go in and get our boy out. No volunteers, except the zealot Bandit #20. BANDIT #20 I'll go. Idaho ignores him, stops in front of Woody. IDAHO I guess size ain't a measure of courage, is it? Shakespeare! The fix is in. The Postman steps out of line. (CONTINUED) 30.19 CONTINUED: 19 Idaho's about to hand The Postman a carbine when -- BETHLEHEM (O.S.) I don't think so, Captain. Bethlehem nods to Getty. Getty takes a hunting knife from a belt-sheath and tosses it, blade first, into the ground between The Postman's feet. BETHLEHEM Come out alive and you got yourself a lion steak. Hefting the knife, The Postman stares at the west ridge. IDAHO (winks) Maybe you'll find your St. Rose up there. The Postman looks to Bandit #20 who stares back defiantly. IDAHO What are you waiting for, Christmas? Bandit #20 can't contain his giggling, so Idaho backhands the sound out of him -- then looks back to The Postman. Grim The Postman starts forward, looks from the rotten bridge to the water and back again as he moves. All eyes on him as he starts across...20 EXT. BRIDGE - DAY 20 The Postman steps lightly. Far below, the river rages. A knotty plank starts to crack underfoot. Scooting off it, he takes a last look around. Continues across to...21 EXT. WEST RIDGE - DAY 21 The soldiers greet him -- unholy smiles on their ugly mugs. They point him ahead, prod him forward toward a trail of wet blood which leads deeper into the thicket. Stooping, The Postman enters. The soldiers split off and track along with him on either side of the thicket. 31.22 EXT. THICKET - DAY 22 Thorns catch and tear at his clothes as The Postman pushes his way through. He freezes. Ahead, sprawled and twisted, the mauled, bloody corpse of a Holnist soldier. SOLDIER (O.S.) Why are you stopping? THE POSTMAN I found him. SOLDIER (O.S.) He alive? Clearly he is not. THE POSTMAN Yeah. SOLDIER (O.S.) Bring him out. The Postman heaves the corpse onto his back. Rising, steadying himself, he looks back over his shoulders at a GUTTURAL GROWL. He hurries forward. ARMY Everyone stares across the river, straining to see as The Postman emerges with the corpse on his back. ON BRIDGE The Postman starts across, hampered by his burden. He pauses, at his feet, the cracked, knotty plank. IDAHO (across river) Hurry up! You still got a lion to bag! The Postman decides, deliberately steps on the PLANK. CRACK. The Postman and the corpse drop thirty feet down, disappear in the river below. The corpse surfaces first, floats in the water. Then The Postman. Farther down the river. Swimming downstream with powerful strokes. Between his efforts and the current, he's being quickly swept away from the Holnists. As Bethlehem's eyes narrow in fury. (CONTINUED) 32.22 CONTINUED: 22 A RIFLE BARKS a SHELL BACK after The Postman, but he disappears around a bend in the river. Bethlehem signals to two soldiers. They start running along the east ridge toward the riverbend. Two more start across the bridge to the west -- moving with military precision. Bethlehem wheels toward the conscripts, points out Woody. BETHLEHEM In the water. Come back without him and you and another man will die in his place. Woody dives in the water. Bethlehem looks to Idaho who dives in as well. Conscripts buzz with nervous excitement. CONSCRIPTS Go! Go! BANDIT #20 (caught up) I'll get him, sir. He takes off running across the bridge.23 EXT. RIVER - DAY 23 A fallen tree spans the river. As The Postman is swept beneath, he reaches up and catches hold. Pulling himself out of the water, he scrambles for the west shore. He disappears into the woods as two soldiers appear. They catch hold of the tree, look to the west banking, see footprints in the mud where The Postman pulled himself out. They start after him.24 EXT. CLEARING - WOODS - DAY 24 Clothes in tatters, his lungs ready to burst, The Postman stops. He takes cover as the two soldiers run past. Breathing hard, The Postman steps out, starts across the clearing. He's halfway when Bandit #20 steps out from the trees. They look at each other for a moment. THE POSTMAN Just let me go. I don't want to be part of your army. (CONTINUED) 33.24 CONTINUED: 24 Bandit #20 hesitates for a moment, then breaks into a grin. BANDIT #20 My army. I like the sound of that. The Postman gestures with his knife. THE POSTMAN Don't -- BANDIT #20 I got him! Over -- The Postman lunges, digs into Bandit #20's gut. He blinks in surprise, then sags to the ground. The Postman takes a step back. A shadow falls over him. It's Woody. Staring down at The Postman. They can hear others approaching from the river. WOODY They sent me to kill you. THE POSTMAN Come with me. At that moment, Idaho and the second soldier come into the clearing. Idaho grins, relaxes his grip on his gun when he sees the mismatch between Woody and The Postman. IDAHO Good, boy. Get him. WOODY It's you or me. THE POSTMAN I know. IDAHO Finish it. Woody circles The Postman, until he's facing Idaho and the soldier. Woody takes a long look at The Postman, smiles. WOODY No harness on my back. As The Postman realizes what he's doing, Woody flips his knife through the air and into the soldier's throat. (CONTINUED) 34.24 CONTINUED: (2) 24 As Woody rushes him, Idaho raises his GUN. Idaho pumps TWO ROUNDS into Woody, but the big man keeps coming. The THIRD ROUND finds his heart, puts Woody down. Dead. But not before he lands on top of Idaho. As Idaho struggles to get out from under Woody's massive frame, The Postman heads for the trees. Covered in Woody's blood, Idaho FIRES a ROUND as The Postman disappears into the woods. Idaho starts after him. IDAHO Tracking. He sees a dribble of fresh blood. He touches it with his fingers and smiles. He cocks his head at MOVEMENT to his left. Smiling, hefting his pistol, Idaho moves in. More SHUFFLING. Just ahead. He's got him now. IDAHO You want your St. Rose? There's a RUSTLE of BRUSH just before a ROAR splits the air. Idaho doesn't even have time to scream as the LION pounces down on top of him.25 EXT. CLIFF - DAY 25 The Postman, lungs heaving, stops his climb long enough to take stock of the Army waiting on the distant river edge. Strength ebbing, he heaves himself up and continues climbing. DISSOLVE TO:26 EXT. WOODS (EASTERN OREGON) - NIGHT 26 A chilling RAIN drills down, washing across an old forest road. Covered with undergrowth and dotted with saplings, nothing's been down here in years. Blue-lipped and shivering, his clothes torn and soaked, The Postman trudges along. He tries to rub some warmth back into his numbed limbs, but a coughing spell wracks his body. (CONTINUED) 35.26 CONTINUED: 26 He trudges forward, shoes heavy with freezing mud. He's made his escape, but he won't last the night if he doesn't find some shelter. An unnatural shape ahead, just off the road. Square. He cautiously pulls back a few branches. An old, rusted Jeep with faded U.S. government markings. Its hood buried under the dirt of an old mud slide. The Postman stoops to look through the passenger side window, comes face-to-face with death. A skeleton sits inside, the skull grinning against the glass facing The Postman. But The Postman doesn't jump back. He just stares. The two heads meet halfway as The Postman's face is reflected on the glass, superimposed over the skull. A hypothermic shiver wracks his body. The Postman tries the door, but it won't budge. The other side of the Jeep is buried. But seeing that the windshield is partly smashed, he clears away the debris, peels back the spider- webbed safety glass and climbs inside. JEEP Pulling the glass back down, he looks almost shyly at the skeleton, like two kids about to "park" for the first time. THE POSTMAN Hey. How ya doin'? The back of the Jeep is filled with bags marked U.S. Mail. The Postman picks up a hat off the console. Oddly respectful, he runs a finger along the band over the "Horse & Rider" emblem. The Postman reaches, touches the embroidered American flag patch on the skeleton's jacket shoulder. Another shiver. A moment later, The Postman is pulling the nice dry jacket off the skeleton and shoving his own arms inside. A sloshing sound. He pats down the jacket. Finds a liquor. He gives the skeleton a "you shouldn't have" look. But the cap won't budge. He twists, pries, bangs the neck of the steering wheel. At last it gives. He takes a long, hard swallow. The warming fire streams down his throat. The Postman grabs a random letter, reads it aloud. (CONTINUED) 36.26 CONTINUED: (2) 26 THE POSTMAN 'Jerry Ball, Pine View.' He starts to open it, looks at the skeleton and shrugs. THE POSTMAN So, arrest me. (reading) Here's a piece of good news. Jerry's decided to go to school to get his contractor's license. Tossing it aside, he takes a drink, opens another. The words are in crayon -- a child's scrawl. THE POSTMAN (smiles to skeleton) Little Jimmy wants his grandpa to know he lost a tooth. The Postman turns the envelope over in his palm. A tiny tooth falls out. The Postman considers it. This suddenly isn't so amusing. He puts it back in the envelope. Shoving mail sacks aside, he climbs in the back. Burrowing in, he pulls the sacks back, covering himself with a blanket of mail. Getting warmer already, he regards the skeleton a beat as the RAIN DRUMS ON the ROOF.27 EXT. JEEP - DAY 27 Wearing the blue uniform, The Postman looks down at the fresh grave, realizes a eulogy is in order. He takes off the hat, holds it over his chest for a heartfelt moment of silence. THE POSTMAN Thanks for being there for me. (raising the flask) Here's to you. I consider my taxes very well spent. He swallows the last few drops, then sets the flask down as a headstone. What now? THE POSTMAN All dressed up. Nowhere to go. 37.28 EXT. RURAL HIGHWAY (SOMEWHERE IN OREGON) - DAY 28 His hair growing back nicely, The Postman has reached the proverbial fork in the road. He considers his two options: "Pine View -- 32 miles." Or "Ridgemont -- 220 miles." He looks the two roads over, thinks. THE POSTMAN Well, that's easy.29 EXT. GATES (PINE VIEW, OREGON) - DUSK 29 The town is protected by a tall, long palisade. Like Ft. Apache. All is dark as The Postman approaches. THE POSTMAN Greetings, Pine View, Oregon! TWO SENTRIES appears from the gate house. They aim arrows. SENTRY #1 Just head back the way you came. Pine View ain't buying, ain't listening and don't give charity. A moment of truth is here. Finally, with authority: THE POSTMAN Civilian, I'm on official business. I demand entry into the town of Pine View. SENTRY #2 What the hell are you talking about? THE POSTMAN I'm through talking to you, buddy boy! Now get somebody with authority to open this gate! More silhouettes appear on the palisade. One is SHERIFF BRISCOE, a big, no-nonsense man. BRISCOE I'm Sheriff Briscoe. Who the hell are you? THE POSTMAN I'm a representative of the United States Government -- An uproar. He makes himself heard above it. (CONTINUED) 38.29 CONTINUED: 29 THE POSTMAN Authorized by order 417 of the restored Congress to reestablish a communication route to Idaho and lower Oregon. Now open that damn gate! BRISCOE What does that mean in English? THE POSTMAN I'm your postman! There's a silent hush. BRISCOE (to someone on wall) Hand me your gun. THE POSTMAN Understand that tampering with or obstructing the mail is a federal offense. Furthermore, the Bolin Act requires you to provide all mail carriers with sanctuary and nourishment. (starting forward) Now open that damn gate! BRISCOE You got three seconds to get your ass outta here. THE POSTMAN Is Jerry the contractor here? Briscoe pumps his shotgun, aims it at The Postman. THE POSTMAN Wait! I'm going to get something out of my bag. The Postman dumps the pack over, frantically shuffles through the letters. BRISCOE One! THE POSTMAN Paul Davis! 124 Vernon Street! BRISCOE Never heard of him. Two! (CONTINUED) 39.29 CONTINUED: (2) 29 THE POSTMAN Lois Kent! 14 Weymoth Lane! BRISCOE Three! He fumbles for the last letter. Briscoe takes aim. THE POSTMAN Irene March! 478 River Road! There's an absolute stunned silence. Like a switch was thrown.30 EXT. INSIDE GATES - DAY 30 The crowd parts as everyone turns to look back at IRENE MARCH. Mrs. March, in her late 50s, is blind, her eyes clouded by cataracts. In disbelief... MRS. MARCH Did he say my name? The sense of hope is palpable as the gates are swung back. Two TOWNIES hurry Mrs. March out to meet The Postman. They're followed by a throng. As he sees she's blind... THE POSTMAN Oh, no... Too late now. They stop Mrs. March in front of him. She stares off just to his left, a little afraid. MRS. MARCH I'm Irene March. THE POSTMAN (uncomfortable) I have a letter for you. He presses it into her hands, but she won't take it. MRS. MARCH Would you read it? THE POSTMAN I'm sure it's personal. MRS. MARCH Please. Someone has to. (CONTINUED) 40.30 CONTINUED: 30 The Postman has little choice. As he opens the envelope... THE POSTMAN We're delivering the old stock piles, but I'll accept all new correspondence as well. TOWNIE Just read it, will ya? Excited, the people move closer. Someone holds up a torch and The Postman starts. THE POSTMAN 'Dear Irene. Sorry I haven't written. Everything's so crazy. The strange weather. The food shortages. That farmer Nathan Holn causing all that trouble. It's hard to understand. David's home from the Army. The war was over before he even got there. Thank God for that. He's still my baby no matter how big he gets. We're going to miss you for Christmas, but maybe next year. All our love. Donna.' Mrs. March reaches out a trembling hand to take the letter. MRS. MARCH My sister in Denver. Fifteen years ago. Thank you. The populace erupts with excitement. Mrs. March takes The Postman's hand, clasps it tightly. MRS. MARCH You're a Godsend. A savior. The Postman pulls his hand back, rejects the title. THE POSTMAN No. I'm just... a postman. An almost awesome silence. Too much for The Postman. THE POSTMAN I've been on the road a while. I could use a little something to eat -- (CONTINUED) 41.30 CONTINUED: (2) 30 MRS. MARCH Oh, yes, absolutely... Is there anything else? The townspeople welcome him with cheers. The Postman raises a silencing hand. As they quiet... THE POSTMAN Yes, there is! If there are dogs in this town, you have to leash them while I'm here! Only The Postman laughs. No one else reacts. Briscoe watches dubiously from the wall as the people surround The Postman and sweep him through the gates and into town. One couple watches The Postman closely as he makes his way into town. She is ABBY -- a sweet-faced, pretty woman. Her husband, MICHAEL, is a decent-looking sort, tall and strong.31 INT. ABANDONED HOTEL - ROOM 7 - NIGHT 31 A freestanding tub has been set up, water "bucketed" in. The Postman luxuriates in his first hot bath in years and sings a familiar tune to himself. THE POSTMAN 'Stop. Oh, yes, wait a minute, Mr. Postman. Waaa-ait, Mr. Postman...'32 EXT. PARKING LOT (PINE VIEW) - NIGHT 32 FORD crosses the parking lot of an abandoned motel. He's a black kid, maybe 16, too young to remember any other life but this. He carries The Postman's uniform on a hanger.33 INT. ABANDONED HOTEL - ROOM 7 - NIGHT 33 The Postman looks up at a KNOCK. Ford steps in. Like most kids, he needs a hero. Holding up the uniform, he just found one. FORD (beaming) Cleaned and pressed, sir. (CONTINUED) 42.33 CONTINUED: 33 THE POSTMAN Thanks. Didn't somebody say something about dinner? FORD Yeah, I'm supposed to take you to Foster's. (extending a hand) My name's Ford. Ford Lincoln Mercury. The Postman just nods, hoisting himself out of the tub and hurriedly wrapping a towel around himself. FORD Used to be John Stevens, but I changed it on account of I want to drive cars. Hoping to impress, Ford reaches into a pocket, pulls out a worn, creased flyer for a "Ford Lincoln Mercury" dealership. Ford finds The Postman just staring at him, waiting for the uniform he's still got in his hand. Embarrassed, Ford quickly hands it over.34 EXT. STREET (PINE VIEW) - NIGHT 34 Ford leads the way as they leave the motel behind. The Postman looks good in his uniform. They cross a parking lot where five partly-stripped cars have been sitting for years. There's a potted plant outside the driver's door of one. FORD I live in that car. A 2003 Pontiac Sinatra. With a nine- banger and a Q-eight. THE POSTMAN V-eight. Eight cylinders. That means an eight-banger. FORD (in awe of him) Were they fast? FORD A buck seventy-five on a strip. (CONTINUED) 43.34 CONTINUED: 34 FORD A buck seventy-five? I thought maybe I could fix some of them up. It's nothing compared to what you do. This is the last thing he expected to hear out of this kid's mouth. A moment, then... THE POSTMAN The important thing to remember about cars is, you can't eat 'em. Ahead, people are gathered inside an old Foster's Freeze.35 INT. FOSTER'S FREEZE (PINE VIEW) - NIGHT 35 The townspeople fill the booths, line the walls. They talk excitedly amongst themselves, break into spontaneous applause as Ford and The Postman enter. The Postman is surprised, uncomfortable at this display. But then he sees that a banquet has been laid out on the counter. The centerpiece is a huge vat of steaming stew. The PEOPLE clear a path for him. MAN #1 Tell us about the government! WOMAN #1 Yes, tell us everything! Startled, The Postman doesn't quite know what to say. They seat him at a table -- but the food looks miles away. MAN #2 Is there a President? THE POSTMAN Yeah. WOMAN #2 What's his name? THE POSTMAN You know, I'm pretty hungry. But these people won't be denied. Finally... (CONTINUED) 44.35 CONTINUED: 35 THE POSTMAN His name is, uh... Richard Starkey. From Maine. He has a saying. 'Things are getting better, getting better all the time.' There's warm applause at that. Several people try the expression out on each other. MAN #3 He a Democrat or a Republican? THE POSTMAN Parties are over with. The individual is what counts. You vote for the best man. Ellen sets a steaming bowl of stew in front of The Postman. Famished, he digs in. MAN #4 What about Europe? Any word? The Postman tries to speak through a mouthful of food. THE POSTMAN Lady Di's in charge. Sixty years old and she still kicks ass. WOMAN #3 Is Nathan Holn still alive? THE POSTMAN (smiles at irony) He died. Skin cancer. That's sure good news to everyone. But... WOMAN #4 And the Holnists? They're still out there. What's the government going to do about them? The Postman looks at the desperate faces -- he'd rather get back to his meal -- but this may be the most important question of all. He doesn't want to lie. THE POSTMAN The government's just getting started. You're on your own for at least eighteen months. (CONTINUED) 45.35 CONTINUED: (2) 35 MAN #5 What about the Marines Corp? A clamor of Holnist questions. ELLEN Be quiet, everyone! Can't we just let this man eat? The people nod and The Postman finally gets to eat. He catches sight of Briscoe watching him from the door. After a moment, Briscoe leaves.36 INT. FOSTER'S FREEZE - LATER 36 A band plays an odd array of instruments. There's dancing. The Postman sits behind four empty bowls. People watch him eat like it was a religious experience. He pushes back the fifth bowl. THE POSTMAN Never thought I'd hear myself say this, but I can't eat anymore. He's cut off by the sight of a silent, little boy. The kid's looking up, staring intently at something. THE POSTMAN What? The boy just stares. THE POSTMAN (re: the cap) This? The boy nods. The Postman shakes his head and smiles to himself. He takes off the cap, sets it on the kid's head. THE POSTMAN Almost fits. The boy's eyes go wide with wonder. His stock's gone up 1000%. Before he can rush off to impress his friends, ELLEN -- his mother -- steps over and gently chides him. ELLEN That's not a toy, honey. That's very important. Give it back. (CONTINUED) 46.36 CONTINUED: 36 The boy carefully removes the cap, hands it back to The Postman. Ellen smiles gratefully and gently guides her son away. The Postman shrugs, turns to find Abby, the pretty woman we saw at the Pine View gates. She smiles at The Postman. ABBY Would you like to dance? THE POSTMAN I don't know if I can, I think I'm still on duty. He laughs. Abby says nothing. THE POSTMAN It's been a long time. Abby holds out her hand like a promise. ABBY All you got to do is hold on. DANCE FLOOR Abby and The Postman dance. She keeps looking him over. THE POSTMAN Is something wrong? ABBY How tall are you? THE POSTMAN About six feet. ABBY Are you smart? THE POSTMAN Smarter than some I guess. Why? ABBY Just wondering. Did you ever have the bad mumps? The Postman smiles. She's odd, but beautiful. THE POSTMAN Never had the bad mumps. (CONTINUED) 47.36 CONTINUED: (2) 36 ABBY Have you ever had herpes or syphilis or anything like that? He shakes his head "no." They continue to dance. ABBY So as far as you know, you have good semen? THE POSTMAN Is that a trick question? ABBY I don't mean to be nosy. I'm only asking because I want you to make me pregnant. Stunned, The Postman stops dancing. Abby takes this moment to grab Michael. THE POSTMAN (to himself) It's got to be the uniform. Abby takes Michael's arm, introduces him proudly. ABBY This is my husband. Michael. Michael smiles, shakes hands with a grave-digger's grip. The Postman doesn't know what to think. ABBY We've been trying to have a baby for three years. We can't on account of Michael had the bad mumps when he was twelve. So we need a body father. We could ask a man here, but it could cause trouble. I've seen it happen. Things go okay until the woman starts to show. Then it can be bad. But you'll only be around once in awhile with the mail. The Postman just stares at them. Abby looks to Michael. ABBY He hasn't said 'no'. (CONTINUED) 48.36 CONTINUED: (3) 36 MICHAEL (undaunted) What do you say, mister? You'd be doing us a favor. THE POSTMAN I'll have to think about it. The Postman excuses himself with a nod and turns away, shaking his head at the strangeness of this new world. But no rest for the wicked, as soon as he's free from Abby and Michael, he's running smack into another group of well-wishing TOWNIES. Mrs. March is among them. She's holding an envelope. TOWNIE #1 Mrs. March wants to give you something. (to Mrs. March) He's right here, Irene. MRS. MARCH (re: letter) It's to my daughter Annie. She left five years ago. She was only fifteen. The last I heard, she was living up north... The Postman swallows hard, looks from the envelope to the faces around him, to Mrs. March. She looks blindly back. How can he lie to her? THE POSTMAN Look, Mrs. March, you should know that... MRS. MARCH Know what? THE POSTMAN Know that... But she stops him, grabs for his hand. MRS. MARCH I have a feeling about you. I know you'll do what's right. Her hand leaves his and she disappears into the crowd. She's left him with her letter and no choice at all. THE POSTMAN I got to get out of here. 49.37 EXT. PINE VIEW - NIGHT 37 The Postman moves through town. The streets are deserted. He's got his pack on, his mailbag. He passes a 7-11 converted to a blacksmith shop. There's a horse tethered to the railing in front of it. He grins; maybe he's going to make it out of here after all. As he starts to move toward the horse... OLD MAN (O.S.) It's right around the corner. An OLD MAN sits on his porch across the street. THE POSTMAN (freezes, startled) What is? OLD MAN What you're looking for. The Old Man winks knowingly, then heads inside. As The Postman turns the corner, he finds himself in front of the post office. An old brick building. Chiseled in the granite facing: "UNITED STATES POST OFFICE. EST. 1884."38 INT. POST OFFICE (PINE VIEW) - NIGHT 38 Long ago stripped, it still has a proud, official, almost holy feel. The Postman wanders in, stops to read the credo calligraphied on the wall. "Neither snow, nor rain..." He turns at a SOUND. Ford is here, leaning against a wall. FORD I knew you'd come here. THE POSTMAN You did, huh? Ford nods. A sage sixteen-year-old. FORD How do you get to be a postman, anyhow? THE POSTMAN You have to be in the right place at the right time. FORD How could I do it? (CONTINUED) 50.38 CONTINUED: 38 THE POSTMAN I thought you wanted to drive cars. FORD Not anymore. That was kid's stuff. This is real. So, where's the right place? THE POSTMAN Could be anywhere. Anytime. Only another postman can make you a postman. FORD Kinda like vampires, right? THE POSTMAN Something like that. You have to be sworn in. Ford raises his right hand, palm out, ready to take the oath. It takes The Postman a moment to realize. THE POSTMAN The organization's kinda shaky. It might not last. FORD What does? THE POSTMAN You'd meet a lot of people who don't believe in you. FORD I'll set them straight. THE POSTMAN It's a lonely job. FORD I've been lonely all my life. This response strikes a chord. The Postman sees how badly Ford wants something to hold onto. He sees himself. THE POSTMAN So have I, Ford. So have I. The Postman looks up at the creed on the wall. Finally... (CONTINUED) 51.38 CONTINUED: (2) 38 THE POSTMAN What the hell? Repeat after me. POSTMAN/FORD (repeating) Neither snow, nor rain, nor heat nor gloom of night stays these couriers from the swift completion of their appointed rounds. THE POSTMAN Okay then. FORD (repeating) Okay, then. THE POSTMAN No, no, no, I'm saying that. You just listen... By my authority you are now empowered to carry the mail. (extends a hand) Congratulations, you're a postman. They shake hands. The Postman doesn't realize, but this is the most important moment in Ford's life. FORD I want you to know I'd die to get a letter through. Ford's intensity takes The Postman back. But the moment is broken when... BRISCOE (O.S.) Johnny, why don't you run along. I need to speak to this man. Ford bristles at "Johnny," looks to The Postman. FORD I'll see you around. THE POSTMAN Sure thing, Ford. Ford exits. BRISCOE Johnny's real impressed with you. Whole town's real impressed with you. (CONTINUED) 52.38 CONTINUED: (3) 38 THE POSTMAN I take it you're not. BRISCOE Smarter than you look. THE POSTMAN What can I do for you, Sheriff? BRISCOE You can clear out. Or I can throw you out. Either way suits me fine. THE POSTMAN I'm afraid you don't understand, Sheriff. I'm a government employee. Authorized by -- BRISCOE You're not authorized by shit. You're nothing but a drifter who found a bag of mail. And I want you out of my town. THE POSTMAN This is going in my report. BRISCOE These people don't need dreams, Mr. Postman. They need something real. They need help with the goddamn Holnists. Are you going to bring them that? (as The Postman doesn't answer) Didn't think so. All you cost us so far is a few bowls of soup and maybe later a few broken hearts. I aim to keep it that way. You can stay till morning. Then I don't ever want to see you again. Briscoe exits, leaves The Postman alone in the post office.39 INT. ABANDONED HOTEL - ROOM 7 - NIGHT 39 The Postman arrives home. He pushes open the door, knocking over a stack of letters that have been shoved under the door. He gathers them up, flips through them. They're written on scraps, the backs of pictures, on handkerchiefs and homemade paper. They aren't old. (CONTINUED) 53.39 CONTINUED: 39 They're brand new. Shaking his head, he closes the door. The Postman has no sooner done so when there's a KNOCK on the window. He looks over at a woman. She shrugs, smiles, holds up a letter. The Postman sighs; he's trapped in here.40 EXT. FOSTER'S FREEZE - NIGHT 40 CAMERA STARTS ON a man with a string-tied package crossing the streets and DRIFTS TO the abandoned car where Ford lives. He's home. ON FORD Concentrating, Ford holds a needle and thread and a piece of cloth on which he's drawn an approximation of the post office shoulder patch. By moonlight he embroiders it in. Not exactly work you'd pay money for, but not bad either.41 INT. ABANDONED HOTEL - ROOM 7 - CLOSE ON STRING-TIED 41 PACKAGE - NIGHT ~from the previous scene. It's on the table with a growing stack of mail. The Postman is in bed, trying to sleep. But it's hard- coming. He laces his fingers behind his head, stares up at the moon through a hole in the wall. A KNOCK at the door. THE POSTMAN Just leave it. There's a pause. And then, ANOTHER KNOCK. THE POSTMAN I said leave it. The door opens. Surprise. Abby stands in the doorway, her hair held up by an old red ribbon. He sits up. THE POSTMAN Hello, Abby. ABBY You'll be leaving tomorrow? THE POSTMAN I guess. (CONTINUED) 54.41 CONTINUED: 41 ABBY (enters; closes door) Everybody's up late writing letters for you to take. We're not supposed to waste candles like that, but they're so excited. THE POSTMAN How about you? Do you have a letter? ABBY I don't have anybody to write to. THE POSTMAN I'll find you a pen pal. Someone with interests similar to your own. Dancing, checking for mumps. Abby laughs. The Postman is charmed. ABBY You're funny. Hardly anyone's funny around here. THE POSTMAN I guess no one feels much like laughing. The two of them just look at each other a moment. Abby fingers the ribbon in her hair. ABBY Have you decided yet? THE POSTMAN Oh, well, I've been thinking about it. A beat. Abby lets her shift drop to the floor, then slides under the sheets alongside him. THE POSTMAN Sure. Why not? They lie there awkwardly for a moment. He looks at her. THE POSTMAN God, you're beautiful. Sorry, I know you'd probably like to keep things more clinical. (beat) You don't even know my name. (CONTINUED) 55.41 CONTINUED: (2) 41 She shushes him, covers his mouth with her hand. ABBY I don't want to. He nods he understands. She stares into his eyes. ABBY It would be easier for me if you closed your eyes. The Postman closes his eyes. Abby slides her hand away from his mouth. And as they start to make love... DISSOLVE TO:42 INT. ABANDONED HOTEL - ROOM 7 - DAY 42 The Postman wakes, reaches for the warm body that was there last night. But Abby is gone. All that's left behind is her red ribbon. Wistful, he picks it up.43 EXT. ABANDONED HOTEL - DAY 43 The Postman exits. In uniform, his bag slung over his shoulder. He starts then stops short. Only now do we see most of the townspeople have silently assembled here. They've been waiting for him, starving for him. Ford steps up, hands him another fresh packet of letters. The Postman sees that Ford hangs on to four or five. THE POSTMAN What about those? FORD These are going to Blue Jay. About twenty miles east. I thought I could take them. The Postman scans the crowd. Looking for Abby maybe? THE POSTMAN (absently) Okay. They're yours. Briscoe rides up, regards The Postman sternly. BRISCOE I'm your escort out of town. Some of the town's CITIZENS lead up a saddled mare. (CONTINUED) 56.43 CONTINUED: 43 CITIZEN #1 We took a vote, Mr. Postman. We want you to have this horse. CITIZEN #2 Now don't say no. A man on horseback can cover ten times the territory of a man on foot. THE POSTMAN (smiles at Briscoe) I'll take it. He ties his mailbag to the saddle, swings himself up. CITIZEN #3 There's a bedroll, some oats and a week's rations. THE POSTMAN Thank you. CITIZEN #1 Where do you figure you'll go from here? THE POSTMAN Go?... Oh yeah... I'll head west, then work my way back here in a sort of figure eight. "8." Everyone's quiet a moment. They shift uncomfortably. The Postman looks out at the crowd. They crave hope. He should probably just keep his mouth shut. THE POSTMAN Times seem hard right now. But you have to believe it's getting better. Birds are migrating again. The rains are back. The people consider him and then each other. By God, they do feel hopeful. Suddenly, Ellen, her little boy by her side, begins to sing. It's weak at first, but one-by-one the others join in. Soon the whole town is singing: ELLEN & TOWN 'Oh beautiful for spacious skies, for amber waves of grain. For purple mountain's majesty, above the fruited plain. America...' The Postman looks around. They sing their hearts out. The guilt is overwhelming. He digs his heels into the horse's flanks and rides out of town. 57.44 EXT. PALISADE GATES (PINE VIEW) - DAY 44 People line the top as The Postman and Briscoe ride out. The strains of "AMERICA" still in the background. BRISCOE You got a helluva nerve, whoever you are. The Postman doesn't rise to the bait. THE POSTMAN Is Abby around? BRISCOE She and Michael are working the north meadow this morning. Briscoe reins up -- he's gone as far as his duty commands. BRISCOE Well, you're on your own. The Postman tips his cap and continues riding by "Pine View - Population 132." Briscoe watches a moment, then calls after him: BRISCOE Hey! Are you really who you say you are? THE POSTMAN If I come back with some mail, you'll know! The Postman continues. Caught in an inner turmoil, Briscoe reaches into his pocket, and pulls out a letter. He turns it over in his hands, looks off at The Postman. BRISCOE God damn it! Briscoe urges his horse forward, catches up. He hands The Postman the letter, then rides back for town. The Postman watches Briscoe. The people lining the wall. And he realizes just what effect he's had. There's nothing to do, but shrug his shoulders and ride. Strains of "AMERICA" still ECHO hauntingly OVER:45 EXT. ON ROAD - SUN 45 A green and lavender sunset. In the middle of nowhere, The Postman rides, chewing a piece of jerked beef. He flips through some of the letters entrusted to him. (CONTINUED) 58.45 CONTINUED: 45 THE POSTMAN Eugene. Benning. Portland. (stops short) Boston! (resumes) Seattle. Boise... St. Rose, Paradise on the Pacific... He considers the letter, looks around as if someone may be watching. He just begins to tear the corner, then stops. THE POSTMAN Maybe one thing can still be sacred. (to horse) All in all, not a bad gig, huh? The HORSE SNORTS. Smiling, The Postman shoves the envelope into his bag. As he does, he finds something else. The red ribbon. He runs it through his fingers, thinks wistfully of Abby. Then, like a knight of old representing a lady's honor, he ties it to his mailbag and rides on.46 EXT. WELL (PINE VIEW) - DAY 46 Abby's washing clothes with a tub and washboard. Waging war on dirt. Michael leans against a tree, watches Abby at work until she notices him. She wipes the sweat from her brow, tries not to smile. ABBY What are you looking at? MICHAEL Everything. He steps over and they're in each other's arms. This is love. But as Michael kisses her, we hear a familiar alarm: SENTRY Holnists! Holnists are coming!47 EXT. PALISADE GATES (PINE VIEW) - DAY 47 Led by Bethlehem and Getty, the soldiers ride in. Something about the citizens disturbs Bethlehem. BETHLEHEM They don't usually look at me. (CONTINUED) 59.47 CONTINUED: 47 Bethlehem reins in across from the post office. Someone has hung a tattered old American flag. BETHLEHEM Who's responsible for that?! No one answers. All heads are down now.48 INT. POST OFFICE - DAY 48 Ford is sweeping up. The place looks almost presentable. He stops when he hears Bethlehem calling once more for the responsible party. Ford starts forward. Suddenly Briscoe is blocking his way. BRISCOE Holnists, Johnny. You gotta stay out of sight. FORD I'm a postman. And I'm not hiding from anyone. I -- Briscoe grabs him by the shirt, hauls him out the back way. BRISCOE You stay out of this, or I'll lock you up myself damnit.49 EXT. PINE VIEW - DAY 49 Bethlehem picks Michael out of the crowd. BETHLEHEM You. You'll be responsible. (to soldiers) Get him a torch. Michael walks out into the square. One of the soldiers returns with a burning torch, gives it to Michael. Bethlehem looks at the town, then at Michael. BETHLEHEM Set that flag on fire. (CONTINUED) 60.49 CONTINUED: 49 ON MICHAEL It's killing him, but Michael sets the torch to the flag. BETHLEHEM Now throw it through the window of your 'post office.' CRASH! The TORCH goes through the post office WINDOW. ON FORD Struggling to get out, but Briscoe blocks his way. ON BETHLEHEM As flames grow, he takes one last look around. BETHLEHEM The United States doesn't exist. That flag is an abomination. Briscoe steps forward, attempts to diffuse the situation. BRISCOE General Bethlehem. (as Bethlehem turns) We're gathering the tribute, sir. Can I take your wagons? Bethlehem decides not to kill anyone, looks to Getty. BETHLEHEM Make sure that fire doesn't go out. The General joins Briscoe. Tears on his cheeks, Ford watches the post office burn.50 EXT. PARKING LOT (PINE VIEW) - EARLY EVENING 50 Bethlehem relaxes with his officers as wagons are loaded. Michael is just passing with a sack of grain on his shoulder, when Bethlehem looks across the street -- spies Abby and some of the other women sewing grain sacks shut. BETHLEHEM Good Lord. That, gentlemen, is a first-rate piece of ass. (CONTINUED) 61.50 CONTINUED: 50 Michael overhears. He looks over as Bethlehem's men nod in agreement. Michael sees that they're talking about Abby. BETHLEHEM Tell the Sheriff I want to be introduced. She does not belong in a mudhole like this. One of the men hurries off. It's concern for Abby, not for his manhood that makes him step forward. MICHAEL Excuse me. BETHLEHEM (looks over) You again? MICHAEL That's my wife, General. She's a married woman. BETHLEHEM Do you know what system of government we have here, son? (as Michael shrugs) A feudal system. Like the Middle Ages. With lords and vassals. That's you and me. Those lords, they had some ideas. If a vassal got married, it was the lord's right, his right, to sleep with the bride on the wedding night. MICHAEL Me and Abby have been married for three years. BETHLEHEM Sorry, but I wasn't invited to the wedding. Now, you've already done me one favor, son. Don't let this be a black mark on an otherwise perfect record. ABBY Another woman has pointed out to her what's going on. She can't hear what's being said, but she watches, concerned. (CONTINUED) 62.50 CONTINUED: (2) 50 PARKING LOT BETHLEHEM We'll be civilized about this. I want you to give me your blessing. MICHAEL Sir, I can't. You can't. BETHLEHEM Can't? I'm tired of can't. We had a great nation once. Do you know what made it that way? I can! Till the weak came along. The 'I can'ts' destroyed us. But I'm going to make us strong again. I'm going to be the father of a new nation. (draws his sword) Do you know why it will be me? Michael looks to Abby as she starts across the street. BETHLEHEM Because I can! The SWORD WHISTLES down. Accompanied by an anguished cry: ABBY Michael! Abby rushes forward, but she's blocked by Getty and another man. She cries out again and again. Filled with impotent fury, Briscoe squeezes out the words. BRISCOE You didn't have to -- BETHLEHEM Didn't have to what, Sheriff? Three Holnist soldiers draw down on Briscoe. Bethlehem circles, menacing on his horse. BETHLEHEM Your people seem seditious. You seem seditious. Briscoe stares down at Michael's crumpled form. Abby wails. (CONTINUED) 63.50 CONTINUED: (3) 50 BRISCOE Aw, Michael... Briscoe might go after Bethlehem despite the odds. BETHLEHEM What am I seeing here? I'm waiting. BRISCOE (burying his anger) Man came through here. With mail. Said he was a postman. Said the government had been restored back east. BETHLEHEM What government? From out of the crowd -- a voice. Ford. FORD The United States government. Bethlehem whirls his horse at the noise. BETHLEHEM Who said that? Not waiting for an answer, Getty charges the crowd, knocks one of the onlookers down. A dead silence. Bethlehem frowns, thinks it over a minute. BETHLEHEM Which way did he go? (a beat) Do not make me ask again. BRISCOE (lies) East. BETHLEHEM (to Getty) Send a patrol east. Send three more south, north and west. (to Briscoe) They'd better find him east.51 EXT. PALISADE GATES (PINE VIEW) - NIGHT 51 The Holnist army rides out. Overcome by grief, tied at the wrists, Abby stumbles behind one of the wagons. 64.52 EXT. BURNT-OUT POST OFFICE - NIGHT 52 Before the smoking ruins, Ford pulls on a blue shirt, his homemade postal flag on the shoulder. As Briscoe steps up, Ford shows him a bundle of singed, but intact letters. FORD I managed to save these. BRISCOE (re: shirt) Take that thing off, Johnny. You want to die, too? Ford shoves the letters in a makeshift bag, then climbs onto his waiting pony. FORD I'm headed south. With the mail. BRISCOE (grabs harness) Don't be a damn fool. FORD What kind should I be?... Haw! Ford digs his heels into the pony and is off in a flash doing damn near a buck seventy-five.53 INT. MOVIE THEATER (BENNING, OREGON) - DAY 53 Mail call. The Postman stands in front of the torn screen. Hoping for glory by association, the smiling Mayor stands beside him. The ragged people of Benning clamor in front. Kids smile up at him as he calls out names: THE POSTMAN Rachel Clark! (as she's there) Charlie Sykes! (as he's there) Graham Druitt! VOICE G.D. died last winter of flu. The Postman nods, sticks the letter back in his bag. THE POSTMAN That's it for now, folks. There'll be more once a real system is in place. (CONTINUED) 65.53 CONTINUED: 53 As usual, The Postman is assaulted with questions. MAN Tell us about President Starkey! WOMAN What about New York City? Did they survive the plague? THE POSTMAN Survive? They got Broadway up and running again. There's a kid doing Andrew Lloyd Webber like you wouldn't believe. An older woman sheds a happy tear -- this is wonderful news. MAN #3 How much is it to mail a letter? THE POSTMAN (smiles) A buck seventy-five. MAN #3 That sounds awful cheap. THE POSTMAN The catch is the only currency recognized are silver American coins minted before 1964 and two dollar bills. Look for Thomas Jefferson. Of course, food is always acceptable as barter. The moment is split by a SIREN.54 EXT. BENNING, OREGON - DAY 54 A long double-line of Holnist Cavalry stand in formation in front of the city walls made from stacks of crushed cars. On top, a SKINNY SENTRY CRANKS the SIREN while a CHUBBY SENTRY watches. Bethlehem rides through them with Abby in tow -- her wrists tied by a rope which is looped around the pommel of Bethlehem's saddle. Her face is bruised, her bottom lip split. Bethlehem reins up, puzzled by the apparent stall. (CONTINUED) 66.54 CONTINUED: 54 GIBBS (rides up; salutes) They won't open the gates, sir. BETHLEHEM What? GIBBS They say they got a representative of the restored United States in there. They say this army is illegal. They say -- The Chubby Sentry answers from the top of the palisade. CHUBBY SENTRY Drop dead and go to hell! The Chubby Sentry disappears back behind cover. Bethlehem remains controlled, but his manner becomes deadly. BETHLEHEM The Romans had an expression they used to scare their children. 'Hannibal ad portas!' -- Hannibal is at the gates. Do you know who Hannibal was? (as she doesn't answer) Of course not. A pretty girl like you wouldn't know a thing. (to Getty) Colonel Getty, get some men up there and open that gate.55 EXT. INSIDE GATES - DAY 55 The Mayor hurries over, The Postman following reluctantly behind. The Mayor spots the Sentries up on the parapet. MAYOR What the hell are you doing?! Open the gates! SKINNY SENTRY Government's restored! We don't have to take their crap anymore!56 EXT. PALISADE GATES (BENNING) - DAY 56 Two Holnists scale the gates. They're near the top when the Skinny Sentry appears. He FIRES an ARROW. Hit through the shoulder, one Holnist falls. The other jumps. 67.57 EXT. PARAPET - INSIDE WALLS - DAY 57 Chubby and Skinny duck down behind the safety of the walls, trading high-fives.58 EXT. PALISADE GATES (BENNING) - DAY 58 Bethlehem orders his men to pull back. He shakes his head, a quiet rage building. But he knows there's no military threat here. It's going to be a massacre.59 EXT. PARAPET - INSIDE WALLS - DAY 59 Climbing an inside ladder, the Mayor slams the Chubby Sentry against the wall. MAYOR Idiots! CITIZEN #1 (realizing; scared) They're gonna kill us all. The Mayor peers out through an observation hole. The Postman and several others join him. CHUBBY SENTRY No! Let's fight them! MAYOR With what? We got five guns maybe 20 rounds of ammo in the whole town! How do we fight them with that?! The Postman watches the Holnists prepare for attack. THE POSTMAN You don't. Negotiate a settlement. Give them extra supplies. The men look at each other. Sounds reasonable enough. MAYOR Okay. You're a government rep. You go tell them. The look on The Postman's face says it all. 68.60 EXT. GATES (BENNING, OREGON) - DAY 60 They open enough to let the Postman ride out, then close behind him. He sits nervously on his horse waving a white flag. He's met, dismounts and is led to a command post where Bethlehem is studying a rough map of the town. BETHLEHEM Make it quick. I've got an attack to coordinate. THE POSTMAN General, um, they've asked me to negotiate a peace treaty. The last time he and Bethlehem were face-to-face, the Postman had a shaved head, was dressed in rags, and was covered with cuts and bruises. Bethlehem can't place him, but there's something familiar all the same. BETHLEHEM Do I know you? THE POSTMAN I don't think so, sir. I -- BETHLEHEM (scans uniform) You're the Postman, aren't you? ABBY watches from the flap of Bethlehem's tent. The guard sees and shoves her back inside. BETHLEHEM AND THE POSTMAN Bethlehem flicks at the uniform flag shoulder patch. BETHLEHEM The restored United States. Do these people really believe that shit? Who are you really? Although he wants to confess everything, something tells The Postman he has to try to brass it out. THE POSTMAN I am a United States Postman. Authorized by order 417 of the restored Congress to -- (CONTINUED) 69.60 CONTINUED: 60 BETHLEHEM I was at the Battle of Georgetown. I watched the White House burn to the ground. Don't try to sell me on any restored U.S... THE POSTMAN The new capital is based in Minneapolis. Inside the Hubert Humphrey Metrodome. You know, where the Vikings used to play? BETHLEHEM You're funny. Now, what are the terms? THE POSTMAN They'll open the gate and give you double what they usually give. Just don't hurt anybody. This was all a misunderstanding. Bethlehem thinks this over.61 INT. ABBY'S TENT - DAY 61 Abby tracks the guard's silhouette through the canvas. Her eyes search the tent -- land on the cot in the corner and focus on its heavy, wooden legs.62 EXT. GATES - DAY 62 Bethlehem has decided. BETHLEHEM Appreciate your offer, Postman. Problem is, you're in no position to negotiate. These people made it through the bugs and the riots and the three year winter. But they're not going to survive you. Bethlehem looks to Getty and nods. Getty motions to a gunner. The MONSTER GUN is FIRED. Just as a SHELL EXPLODES against the gates --63 INT. ABBY'S TENT - DAY 63 Abby brings the heavy wooden cot leg down on the unsuspecting guard's head. 70.64 EXT. CITY GATES - DAY 64 The cavalry ride through roiling smoke into the open town. Horrified, The Postman steps forward, but rifles are on him. All he can do is watch. The Mayor is the first to go down. BETHLEHEM Law six, justice can be dictated. (to soldiers) Kill him. And kill the restored United States with him. Bethlehem turns his attention to the battle. A CAPTAIN steps forward with gun raised. CAPTAIN (by rote) In accordance with law eight and by the authority of Emergency Order 46, you are hereby -- A CRACK of RIFLE FIRE. The Captain's forehead explodes and he falls to the ground. Shocked, Bethlehem whirls for the source of the GUNFIRE. Abby! FIRING from a position behind a supply wagon. But even as Bethlehem turns, an ARROW SINGS in and lodges in his arm. Fired from a pocket of sentries up on the palisade. Bethlehem bellows in outrage and pain. The Postman takes advantage of the moment of chaos to grab the fallen Captain's gun. He pulls a Holnist rider from his horse and swings into the saddle. The unhorsed rider goes for his gun. But once more SHOTS RING OUT and he goes down. Bethlehem ducks as another BULLET ZINGS close. Too close. BETHLEHEM Get her. Two soldiers move forward. Suddenly The Postman's HORSE comes THUNDERING -- trampling the Holnist nearest him. The other Holnist hears, looks back, sees The Postman coming and takes aim just as The Postman brings his gun to bear. (CONTINUED) 71.64 CONTINUED: 64 The Holnist FIRES first. We don't see the hit. Just watch as The Postman FIRES an answering ROUND. The Holnist goes down. The Postman reins up alongside the wagon. Grunting with pain, he reaches down, takes Abby's arm and swings her up behind him. Then digs his heels in for all he's worth. More Holnists come on the run. They FIRE. The HORSE SNORTS in pain. He's hit. But The Postman urges him on, heading into the woods. Bethlehem snaps off the arrow shaft and shouts: BETHLEHEM Colonel Getty!65 EXT. WOODLAND ROAD - DAY 65 Abby is concerned as the horse slows to a trot. ABBY We can't stop now. They'll be coming after us. The Postman's head lolls forward. She feels something on her hand, pulls it back smeared with blood. The Postman's shot in the belly. The horse is failing. Near death. We hear the sound of PURSUING CAVALRY. Abby urges the horse off the road. When the thicket grows too dense, Abby jumps down. She catches The Postman as he slides off, easing him to the ground. THE POSTMAN (disoriented) Abby... Abby shushes him. She pulls on the horse's bridle to force him farther along. But it's no good, the wounded horse goes down on its knees. And five RIDERS THUNDER past. Fooled. All but the SIXTH, who pulls up to listen. In the deep b.g., flames lick at the billowing black smoke. The town is burning. The HORSE WHINNIES: in its death throes. Abby panics, tries to quiet the horse. (CONTINUED) 72.65 CONTINUED: 65 The Sixth Soldier has heard the suffering horse. He draws his rifle from the saddle boot and starts into the thicket. ON ABBY AND POSTMAN The Postman lies unconscious on the ground. Abby sits beside him, rifle in hand. The Sixth Soldier appears. ABBY Don't move. He hesitates at first. Then dismounts and moves toward her. Abby cocks the rifle. SIXTH SOLDIER If you'd had a bullet, you'd a used it by now. Moving closer still, he doesn't see the BRANCH pulled back in The Postman's hand until it SNAPS hard into his face. He stumbles back. ABBY You're right. Abby dashes out, rifle in hand. She swings for the bleachers. The butt catches the side of the Sixth Soldier's head. He falls hard. The Postman's eyes flutter. Dazed, he watches as Abby pilfers through the Soldier's gear. She takes everything of value: a knife, bullets, a canteen. His eyes flutter closed.66 EXT. WOODS - DAY 66 Snowflakes swirl. Abby lays a sapling travois beside The Postman. He groans as she rolls him onto it, tucks a blanket around him. Using all the strength God gave her, Abby lifts one end, gets it high enough to hitch it to the Sixth Soldier's horse. As Abby leads the horse away...67 EXT. WOOD ROAD - DAY 67 The snow has increased. A Holnist patrol moves down the road, disappears around a bend. A beat. (CONTINUED) 73.67 CONTINUED: 67 Abby appears, leading the horse and travois. She crosses the road and disappears into the woods. A moment later, she reappears with a pine branch which she uses to brush at the snow, obscuring their tracks.68 EXT. CASCADE MOUNTAINS (OREGON) - DAY 68 Riding into a blizzard, Abby leads the way up a zigzag path. A valley opens up below. The unconscious Postman lies bundled on the travois.69 EXT. HUNTING SHACK - DUSK 69 A little square shape just visible beyond a creek. Abby leads the horse and travois-bound Postman to it.70 INT. HUNTING SHACK - DUSK 70 One room. Dirt floor. The WINDOWS RATTLE in the WIND. Snow falls through a hole in the roof. The wooden DOOR BURSTS back and Abby enters. Half-frozen, she leads the horse and the travois right inside.71 INT. HUNTING SHACK - NIGHT 71 A fire has been lit. The Postman lies unconscious, his shirt open as Abby washes around his wound. She pulls the shirt back to clean his chest. The material falls away and Abby stops short. There -- high on his biceps -- a branded "8." She stares in disbelief. DISSOLVE TO:72 INT. HUNTING SHACK - DAY 72 The Postman lies on a cot below the window. He's conscious, but pale as a ghost. Abby brings him a bowl of soup. Very thin soup. Stirring it with a spoon, The Postman smiles at Abby. THE POSTMAN Thank you. She turns her back on him without a word. The Postman tries an exchange just the same. (CONTINUED) 74.72 CONTINUED: 72 THE POSTMAN I don't think I ever had water soup before. Maybe next time we could try it with a little sand? (as she doesn't respond) Dirt? Wood? (as she doesn't smile) A twig garnish? She goes about her business in silence. THE POSTMAN You used to think I was funny. ABBY They killed Michael. THE POSTMAN I'm sorry. He takes a spoonful of soup and she comes to him. ABBY How sorry are you? THE POSTMAN What's that supposed to mean? Her right hand flashes out, holds a knife up under his chin. THE POSTMAN What's with you? ABBY You got the mark of eight on you. A long beat. Finally, he swallows the soup in his mouth. The action presses his Adam's apple against the blade. THE POSTMAN A mark doesn't mean I'm a -- ABBY You're a liar. I should've let you die. THE POSTMAN Then, why didn't you? If she knows, she's not ready to say yet. (CONTINUED) 75.72 CONTINUED: (2) 72 THE POSTMAN You were with Bethlehem. Does that make you one of them? Abby considers this, The Postman's gaze flickers down to the spoon he still holds in his hand. Taking one last stab at a joke. THE POSTMAN (re: the spoon) Don't make me use this. Abby doesn't laugh. But she does relent. She steps away.73 EXT. HUNTING SHACK/VALLEY PASS - SUNSET 73 The hunting shack huddled against the south side of a low rise. Beyond the rise, a pass. But there's no negotiating it now. It's completely snowed in. And another storm is on the way.74 INT. HUNTING SHACK - DAY 74 WIND HOWLING in the b.g. The Postman lies back on his cot. The little shack has been scoured clean. Abby stares listlessly at the fire. The silence is torture. The Postman tries to strike up a conversation. THE POSTMAN Wind's come up. (no response from Abby) Getting colder too. Must be another storm -- Abby gets up and throws a log on the fire. ABBY Anything else? THE POSTMAN I didn't mean for you to -- ABBY Your legs are going to rot off if you don't try to walk. THE POSTMAN I'm hurt. (CONTINUED) 76.74 CONTINUED: 74 ABBY You're lazy. THE POSTMAN Lazy?! I got a hole in my stomach. I'm weak. The two big meals around here are grass and snow. And we're running out of grass. As the two of them glare at each other for a moment. Abby starts to put on her coat. THE POSTMAN Where are you going? Abby doesn't answer. She picks up the rifle and starts to lead the horse outside. THE POSTMAN You're not leaving me here, are you? Abby is out the door without a word.75 EXT. HUNTING SHACK - DAY 75 HOLD ON The Postman in the window as she continues past. He watches a moment, suddenly grimaces. A GUNSHOT. The THUD of a BODY SLAMMING to the GROUND. Abby has shot the horse. CUT TO:76 EXT. HUNTING SHACK/PASS - SUNRISE 76 Tiny tracks in the snow, leading away from the shack. Abby struggles to make the monumental climb from the shack to the top of the rise where she can get a clear view of the pass. PAN PAST her UP TO the top of the rise. It's a clear day -- but the pass is still snowed-in. No sign of winter receding. DISSOLVE TO:77 INT. HUNTING SHACK - DAY 77 Abby ladles a meager portion of horse meat stew into a bowl. (CONTINUED) 77.77 CONTINUED: 77 ABBY This is the last of it. She walks with the bowl past The Postman -- who sits on his cot with arms outstretched -- and pointedly sets the bowl on the table. THE POSTMAN (mumbled) Give me a break... Abby starts putting on layer after layer of clothing. ABBY I'm going to check the pass. THE POSTMAN Why are you in such a hurry to get out of here? I can think of worse places. And worse company to -- And with the SLAM of the DOOR she is gone. DISSOLVE TO:78 INT. HUNTING SHACK - DAY 78 A few flakes of snow have begun to drift down. The Postman sits at the window -- starts to play tic-tac-toe in the frost. But then it dawns on him: THE POSTMAN You can't play tic-tac-toe with yourself.79 EXT. WOODS - DAY 79 Disoriented, Abby stops to take stock of her surround- ings. But she can't make anything out -- the snowfall is too thick.80 INT. HUNTING SHACK - DAY 80 The fire is dying. The food untouched. The Postman sits in bed staring anxiously out the window. The snow has turned into a blizzard. He runs Abby's red ribbon through his hands. 78.81 EXT. WOODS - DAY 81 Abby trudges along heavily. She stumbles as the ice covering the stream breaks beneath her feet. ABBY Help!82 INT. HUNTING SHACK - DAY 82 The Postman hears her call.83 EXT. HUNTING SHACK - DAY 83 The door opens and out steps The Postman. In pain, he staggers around the back of the cabin -- in search of her.84 EXT. STREAM - DAY 84 Abby looks up, sees him coming. The Postman collapses across from her. Both prone, they're also nearly nose-to- nose. THE POSTMAN I can't help you. Finally, he pulls himself to his knees. She does the same. They climb each other to a standing position. Arm- in-arm, they start for the cabin.85 INT. HUNTING SHACK - DUSK 85 Abby sits huddled in blankets. The fire is blazing. The Postman steps over, sets the once-again-hot bowl of stew before her. She considers the food a moment. ABBY I told you that's all there was. THE POSTMAN That's why you should have it. ABBY I knew you could walk. THE POSTMAN You're weird, you know that? 79.86 INT. HUNTING SHACK - NIGHT 86 The Postman lies in bed, stares through the hole in the roof. A full moon is on the rise. Abby lies in her own makeshift bed, also awake. After a long silence: THE POSTMAN We walked on the moon once, Abby. ABBY So? What good is that now? THE POSTMAN Obviously you've forgotten Tang and microwave ovens. (a beat) Your face looks pretty. Abby looks up. THE POSTMAN Not so bruised. ABBY Look, there's something you'd better know. You're going to find out soon enough. I'm pregnant. (a long beat) It's Michael's baby. You're just the body father. THE POSTMAN How do you know it's mine and not Bethlehem's? ABBY He tried with me almost every night. He couldn't do it. So he beat me. Said it was my fault. DISSOLVE TO:87 EXT. HUNTING SHACK/PASS - DAY 87 Abby stands atop the low rise -- looking out to the pass. Spring has come to the mountains. At long last the snow is starting to recede. DISSOLVE TO:88 EXT. FISHING POOL - DAY 88 The Postman kneels by the bank, sharpening a knife to clean the fish he's caught. (CONTINUED) 80.88 CONTINUED: 88 Then, he catches his reflection in the water. Tangled beard. Matted hair. Is that him? He suddenly starts sharpening the knife with renewed vigor. We get a sense he's not going to use it on the fish. HANDS plunge into the water, pull splashfuls up. We START ON The Postman's back, then ARC AROUND as he washes his face. He's just finished shaving off his beard with the hunting knife. He's nicked-up, but it's a definite improvement and he smiles in satisfaction -- until he sees -- Abby, reflected in the water. THE POSTMAN Abby. The Postman whips around to see her standing there. THE POSTMAN What is it? What's wrong? Is it the baby? ABBY The pass is clear. It's time to go. Behind her, he sees the cabin is on fire. Takes off running.89 EXT. HUNTING SHACK - DAY 89 The fire is blazing. The hunting shack is too far gone to save. The Postman turns around. THE POSTMAN What happened? He's nonplused to find Abby standing beside a pile of their neatly-packed gear. THE POSTMAN You got our stuff out. ABBY Of course. (CONTINUED) 81.89 CONTINUED: 89 THE POSTMAN Of course? I don't understand. ABBY I set the fire. THE POSTMAN Am I missing the point here? ABBY You didn't think we'd stay here forever, did you? (The Postman has no response) I'd appreciate if you'd walk with me long enough to find someplace safe for the baby. Then we can split up. (a beat) You shaved. The Postman has all but forgotten. THE POSTMAN Yeah... ABBY It looks nice. Before he can respond, she's heading off toward the pass, leaving The Postman to shake his head at the absurdity of it all. He shouts after her. THE POSTMAN You're really weird, you know that? DISSOLVE TO:90 EXT. VALLEY - BELOW CASCADE MOUNTAINS - DAY 90 Carrying their gear, Abby and The Postman walk across a meadow of wild flowers, headed for an old road. THE POSTMAN Have you ever heard of St. Rose, Abby? ABBY I've heard people talk. I've heard lots of names. Bliss. Hesperia. New Eden. Sheriff Briscoe says it's a fantasy. (CONTINUED) 82.90 CONTINUED: 90 THE POSTMAN He's wrong. St. Rose is out there. And I'm going to find it. ABBY But you're The Postman. THE POSTMAN Look, I'm nobody, Abby. I'm just... Before he can come clean -- they see a distant RIDER coming hard. The Postman unslings the rifle, slides a round into the chamber. THE POSTMAN This is what I hate. Strangers. Do you say 'hi' or do you blow their head off? Do they want to share what they got or take what you have? And if they want to take, how far are you willing to go to stop them? Damn it. (to the Rider) All right. That's far enough. The Rider pulls up short, wearing a blue home-made uniform. THE POSTMAN We don't want any trouble. RIDER Me neither, mister. The Postman is taken aback. The Rider, a girl, pulls off her cap, mops it across her brow. Maybe 14, we'll always know her by her Ponytail. Abby registers the uniform first. ABBY What are you? PONYTAIL (RIDER) Carrier 18. U.S. Postal Service. Got any mail? Lowering the rifle, The Postman looks over at Abby, back to Ponytail. THE POSTMAN That's impossible. (CONTINUED) 83.90 CONTINUED: (2) 90 PONYTAIL Ain't you heard of The Postman? ABBY No, tell us. PONYTAIL He's only the greatest man who ever lived. He crossed the wasteland, shook his fist at the enemy and spit in the eye of General Bethlehem himself. He's back east with President Starkey right now. THE POSTMAN Who told you all this? PONYTAIL Postmaster Ford Lincoln Mercury. He's in direct contact with the restored congress. THE POSTMAN Direct contact... I don't believe this. PONYTAIL (growing irritated) Do you have mail, or don't you? THE POSTMAN You said Carrier Eighteen. That mean there's eighteen of you? PONYTAIL Thirty-two. As of midnight.91 EXT. R.V. PARK - DAY 91 Oregon's main post office. A silver Airstream, fifty mobile homes and rusty Winnebagos resting on flat tires. Flying from a pole: the flag of the restored United States. A young recruit is ringing a bell on the top of a Winnebago. Ford walks along an RV boulevard. He's joined by two young carriers, RED and Chubby (the sentry from Benning). All wear hip, personalized variations of the official uniform. CHUBBY You got another letter? (CONTINUED) 84.91 CONTINUED: 91 They come around the corner to where seven young recruits wait. They're joined by another twenty carriers. FORD More recruits? RED Seven of them. They're coming from everywhere. Ford looks them over in satisfaction. CHUBBY Did you get a letter or didn't you? Ford smiles, reaches into his pocket. He pulls out a creased sheet of paper. Chubby grins. FORD Gather 'round, everybody. Got another letter here. Came in last night. Buzzing with excitement, the carriers gather around Ford. SOUTH END OF BOULEVARD Ponytail leads Abby and The Postman. They come up in the back of the crowd. Flanked by Red and Chubby, Ford stands on the hood of a car, letter in hand. The Postman taps a clueless YOUNG CARRIER on the back. THE POSTMAN What's all this? YOUNG CARRIER Postman sent Ford another letter. He's gonna read it. FORD (reading) 'Hello, all postal carriers.' CARRIERS (a ritual) Hello! (CONTINUED) 85.91 CONTINUED: (2) 91 FORD I'm here in Minneapolis with President Starkey, but my thoughts are with you. Remember, nothing worth doing can be done overnight. Keep your chins up and do your best not to get shot. Signed, The Postman. A buzz goes through the crowd. Ponytail looks over. PONYTAIL His letters are always kind of short. Abby and The Postman exchange a look. FORD (looks up) Hold on now. There's a P.S... Anybody know what P.S. stands for? The Postman raises his hand. Ford looks his way. His mouth drops as he realizes. In silence, he walks over to The Postman. They embrace and all the weight Ford's been carrying on his young shoulders suddenly falls to The Postman. The kid nearly collapses. CHUBBY Holy shit... RED That would be H.S., Chubby. CHUBBY I seen him once when I lived in Benning. It's The Postman! Word goes through the crowd like a wave. The Postman takes the letter, reads. THE POSTMAN P.S. Ford knows what to do. Ford shrugs sheepishly. FORD Guess you want to talk about this? The Postman takes Ford by the elbow. They disappear into the tent. The carriers just staring after them, awestruck. (CONTINUED) 86.91 CONTINUED: (3) 91 PONYTAIL I found him! I found him! They clamor around her.92 INT. TENT - DAY 92 The Postman and Ford. THE POSTMAN President Starkey? Minneapolis? Ford knows what to do? FORD I thought you were dead. THE POSTMAN So? I'm not making the connection. What's all this then? FORD I lied. I told people you were in contact with me. THE POSTMAN Why? FORD Because I didn't want it to end. THE POSTMAN I don't know how long I can stay, Ford. President Starkey will send word one day and I'll have to move on. Understand? FORD Sure. But you'll stay till he sends word? Right? The Postman can't answer, just turns and walks out of the tent.93 EXT. TENT - DAY 93 As The Postman exits, Chubby leads the carriers in a salute. The Postman actually turns a moment to see if someone else is standing behind him. He looks back, sees the young, shining faces. (CONTINUED) 87.93 CONTINUED: 93 THE POSTMAN Aw, don't do that. Hands down. Their hands go down in one crisp military move. The Postman looks at Abby, to Ford as he exits the tent. The kid is craving reassurance. FORD You'll stay 'til President Starkey sends word, right? Right? THE POSTMAN Yeah, till he sends word, right. Ford smiles, gestures to the carriers. FORD Could you say a few words? The Postman looks over at the carriers. They quiet under his gaze, immediately respectful. The problem is, he has no idea what to say. Finally: THE POSTMAN Two plus two equals four. The cheering is tumultuous. The Postman picks Abby out of the cheering crowd -- the look on her face says it all.94 EXT. RV PARK - WINNEBAGO ROW - DAY 94 The guts of the operation. Several carriers are busy sorting and bagging letters. It goes out pinned to a clothesline which crisscrosses back and forth. Everyone follows as Ford takes The Postman on a tour. There are hushed whispers among those who are seeing him for the first time. FORD We bring all the mail here first. We sort it, group it and then it goes out. So far we got thirty routes. Ford leads The Postman and Abby into another Winnebago. Chubby and Red and Ponytail follow. Those that can't fit just peer in through the windows. 88.95 INT. WINNEBAGO - DAY 95 An old manual crank printing press is working away. Ford proudly removes a sheet, shows it to The Postman. A caricature of eight evil Holnists, forming a figure eight. Beneath: "Unite Against Holnist Tyrraney!" THE POSTMAN You spelled tyranny wrong. CHUBBY (low, to Red) Boy, he's smart.96 EXT. RV CAMP - GREEN LAWN - DAY 96 The seven young Recruits seen earlier stand in a line. They're joined by OLD GEORGE, every day of 75 years old. Ponytail holds up her hand, swears them in. PONYTAIL/RECRUITS Neither snow, nor rain, nor heat, nor gloom of night... As they finish, The Postman and Ford pass by. The Recruits salute. Shaking his head, The Postman's about to salute back when he spots Old George. George has a faded purple "AIRBORNE" tattoo on his arm and a twinkle in his eye. There's an old crow on his shoulder. THE POSTMAN How old are you? OLD GEORGE Seventy-five, sir. The Postman looks over at Ford, who shrugs. THE POSTMAN Can you ride? OLD GEORGE Nope. Can't walk too good, either. THE POSTMAN Why are you here? OLD GEORGE I know stuff. The Postman looks at Ford again. Then: (CONTINUED) 89.96 CONTINUED: 96 THE POSTMAN (re: tattoo) When did you get that? OLD GEORGE 1970. A girl with eyes as big as saucers did me in a little town called Saigon.97 EXT. RV CAMP - AIRSTREAM - SUNSET 97 Carriers move items out of the trailer. The camp is buzzing as usual. The Postman looks on -- sees Abby passing by. THE POSTMAN Abby -- ABBY Yes? He's got her attention, just doesn't know what to do with it. THE POSTMAN Ford wants me to have his trailer. Said it's the best one. ABBY I'm on the other side of town. THE POSTMAN I got plenty of room here. She shakes her head, and then walks away. The Postman watches her disappear into the bustle of the camp. THE POSTMAN So much for the uniform theory.98 EXT. HOLNIST WINTER CAMP (NORTHERN CALIFORNIA) - SUNSET 98 The same sun sets on the Holnist camp.99 INT. BETHLEHEM'S TENT - SUNSET 99 Bethlehem once again at his easel with palette in hand. He's trying another style -- Impressionism -- and it's worse than the last. He looks over as Getty and Gibbs approach with a PRISONER. (CONTINUED) 90.99 CONTINUED: 99 BETHLEHEM What do you think, Lieutenant? GIBBS Can't tell what it is if you stand too close. The colors all kinda run together, don't they? BETHLEHEM Yes... Bethlehem looks away from his painting to see Gibbs and Getty flanking a scared, blue-clad mail carrier. For an instant, mistakes him for: BETHLEHEM Well, if it isn't our old friend the U.P.S. man. GIBBS We captured him on the Oregon border. Realizing, Bethlehem turns the face from side-to-side. BETHLEHEM Who the hell are you? CARRIER (PRISONER) Carrier Twelve. United States, um, Postal Service. Getty sets some of the Carrier's anti-Holnist propaganda onto Bethlehem's field table. Bethlehem picks it up. It's hard to say what he's thinking. Finally: BETHLEHEM I want the camp struck at dawn. We're moving north. GIBBS Yes, sir. Bethlehem looks back to Carrier Twelve. BETHLEHEM (chilling) You spelled tyranny wrong. 91.100 EXT. RV CAMP - DAWN 100 Ten letter carriers are on horseback. Among them, Red and Ponytail. Ford and The Postman are also on horses. Each rider salutes The Postman, then gets a sheaf of anti- Holnist propaganda from Ford. THE POSTMAN I wish they'd stop saluting. It's annoying him. As Chubby rides up. The Postman catches his right wrist as he attempts to salute. So Chubby salutes with the left hand instead. As they line up: THE POSTMAN Just stay safe and remember. The mailman's more important than the mail. CHUBBY Boy, he's smart. The sun just peeks up over the horizon. At that signal, the carriers thunder off, the ground trembling under them. The look on their faces. The glory of it all. They're alive! The Postman hesitates, watches after them a moment. THE POSTMAN What the hell? Urging his horse forward, he rides after them. With them. And then, like an exploding firework, each postman shoots off in a separate direction. Headed for all points of the compass and some in between.101 EXT. OREGON HAMLET - DAY 101 The Postman looks down on the gathered crowd from his horse and smiles. THE POSTMAN For President Starkey and the First Congress of the Restored United States, I officially declare Postal Station 10... What's the name of this town? YOUNG LEADER We never named it. THE POSTMAN (thinks; smiles) I officially declare Postal Station 10 in Elvis, Oregon, open for business! 92.102 EXT. TOWN (SOMEWHERE IN OREGON) - DAY 102 An eye-blink of a town. Ponytail stands on a crate reading names and handing letters to the grateful people massed around her.103 EXT. TOWN (IDAHO BORDER) - DAY 103 Red and Chubby finish mail call, exchange an amazed look as they're offered a platter of food.104 EXT. HIGHWAY - NIGHT 104 The moon hangs low over an interstate. A rider is silhouetted by the silvery orb, looking like some post- apocalyptic Don Quixote. It's The Postman.105 EXT. FARMHOUSE/COUNTRY ROAD - DAY 105 Seen FROM the porch, a rider gallops hard on the road beyond. A LITTLE BOY comes rushing out, letter in hand. The boy pulls up short; realizes the rider is already too far gone. The boy's shoulders sag; he's crushed. LITTLE BOY I missed him. It's an almost psychic moment as the rider reins up in the distance and turns back around. A frozen beat and he starts galloping back down the road. Fearless, the boy holds out the letter. The rider closes; it's The Postman. The boy stretches out as far as he can. Without breaking stride, The Postman leans out of the saddle, snatches the letter as he passes. The boy watches after him -- knows what he's going to be when he grows up.106 EXT. PINE VIEW GATES - DAY 106 Sheriff Briscoe huffs and puffs his big frame up the ladder and onto the top of the palisade. BRISCOE Phil, this better not be another of your U.F.O.'s. He looks where the sentry points. The Postman waits at the gate, behind him on horseback: Ford and Abby. (CONTINUED) 93.106 CONTINUED: 106 THE POSTMAN I'm back! And I got mail. BRISCOE (amazed) I'll be damned.107 EXT. PINE VIEW STREETS - DAY 107 The Postman rides with Briscoe, hurrying to stay alongside him. Half the town jogs along behind them. FORD Bethlehem is offering a 1000 pounds of gold to whoever brings you in. Dead or alive. THE POSTMAN Thank God it wasn't a carton of cigarettes. BRISCOE I'd have shot you myself.108 EXT. PINE VIEW STREETS - NIGHT 108 Pine View is throwing a party. It's in full swing. A couple of guitars. A banjo and a trombone. Everyone dances. The Postman walks with Briscoe, sees Mrs. March as her letter is read to her. Catches a glimpse of Abby dancing with Ford. He seems, for the first time, truly happy. For that matter, so does Briscoe. BRISCOE Things are getting better. Getting better all the time. (a beat) I don't know who you are, but I do know I was wrong about you. The Postman smiles, reaches in his bag for an envelope. THE POSTMAN Got a letter for you, Sheriff. Briscoe turns it over in his hands, looks up in wonder. BRISCOE It's from my sister. I thought she was dead. (CONTINUED) 94.108 CONTINUED: 108 THE POSTMAN You thought wrong. Briscoe has tears in his eyes. The Postman continues on, embarrassed but affected. DANCE The Postman taps Ford's shoulder, wants to cut in on him and Abby. Ford steps aside. A beat before Abby decides it's okay. They begin. Her eyes are on her feet, careful that she doesn't take a misstep. But his eyes are on her. And over it all, BLEEDING IN, the sound of HOOF BEATS.109 EXT. LONELY ROAD (SOUTHERN OREGON) - NIGHT 109 A mail carrier, Red, rides like the devil himself was in pursuit. Almost. It's Getty and three Holnists. INTERCUT WITH: DANCE They whirl as the tempo picks up. The Postman pulls Abby in closer. Her eyes now move up to his. ROAD They're closing in on the terrified Red. DANCE Abby and The Postman. The chemistry is undeniable. ROAD RIFLES CRACK. SHOT in the back, Red throws back his arms. Letters flutter from the mail bag over his shoulder; he seems to glide along that way forever. DANCE The Postman looks at Abby; she's so beautiful. Like only a pregnant woman can be. (CONTINUED) 95.109 CONTINUED: (2) 109 THE POSTMAN Tell me about the baby, Abby. I want to know. Abby snaps out of the dream she's in. This isn't right. Breaking away, she heads off. As he watches her go: ROAD Red falls from his horse. One of the soldiers scoops up his mailbag. CUT TO:110 INT. COMMAND TENT (SOUTHERN OREGON) - NIGHT 110 By lantern, Bethlehem and Getty watch as Gibbs sorts through the contents of the confiscated mailbag. GIBBS Births and deaths, the weather, gossip. There's nothing here. BETHLEHEM Nothing? Everything is here. Am I the only one who sees that? (to Gibbs) Get out! Gibbs hurries away, leaving Bethlehem and Getty alone. BETHLEHEM Give the people back their hope and their dreams won't be far behind. Bethlehem sees Getty waiting. BETHLEHEM What is it, Getty? Getty hands Bethlehem a sheet of paper -- something Gibbs missed. It's a propaganda sheet featuring a caricature of The Postman leading a few carriers against Bethlehem and his army -- represented as Hitler and the Nazis. The caption underneath reads: "Ride Against the Holnist Tide!" (CONTINUED) 96.110 CONTINUED: 110 BETHLEHEM (crumpling the paper) A military man, especially a commander, should keep a journal. After he's gone, it's the only real defense against the slander that arises.111 INT. OLD GEORGE'S TRAILER - NIGHT 111 Old George sits hunched over a home-made shortwave radio with a joint in his mouth. The Postman sits beside him, listening as STATIC pours from an old car SPEAKER. THE POSTMAN Who do you talk to? OLD GEORGE Not a soul in seven years of trying. But I will. The Postman steps to a telescope pointing up through a hole in the trailer ceiling. OLD GEORGE Go ahead. Take a look. (offering joint) Want some? THE POSTMAN No. No thanks. Hey, don't let the kids see that. George nods and goes on playing with the dials -- searching for a voice in the void. The Postman focuses on the moon. OLD GEORGE I was an aerospace engineer. I helped design the Galileo space station. (scanning sky) I dream it's orbiting Earth forever. With a dozen human skeletons all grinning at each other. Laughing at us down here. There's an urgent KNOCKING on the trailer door. Ford appears. THE POSTMAN What is it? (CONTINUED) 97.111 CONTINUED: 111 FORD It's Red. He's overdue. THE POSTMAN That makes five. All on Southern routes.112 EXT. TRUCK STOP - DAY 112 Five dead mail carriers have been laid out on the asphalt. Bethlehem walks the line, looking for his elusive arch- enemy. BETHLEHEM No. No. Not him. No. (looks to soldiers) Children. I want a man and you bring me children!113 EXT. OREGON ROAD - DAY 113 A beautiful day. Ponytail rounds a bend at a lope -- and then -- her eyes widen in terror. She jerks the reins; the horse rears in protest. Ahead: the truck stop. The five mail carriers hang upside down from the roof's overhang. A macabre sight. POV THROUGH RIFLE SCOPE SIGHTING ON Ponytail. A hand comes INTO FRAME and brings the rifle barrel down. It's -- GIBBS AND HOLNIST SHARPSHOOTER GIBBS Not yet. General wants the message to get back.114 EXT. RV. CAMP - NIGHT 114 PAN UP FROM The Postman's dusty boots TO his grimly determined face as he strides through camp and stops at Old George's trailer. He moves OUT OF FRAME, revealing -- Abby and Ponytail in the b.g. 98.115 INT. OLD GEORGE'S TRAILER - NIGHT 115 As usual, Old George is hunkered down before his short wave. He looks as the door opens and The Postman enters. THE POSTMAN Tell me about the other stuff you know... George crosses the trailer, opens a cabinet. Inside: twenty odd guns plus the parts for several more. The CROW CAWS.116 EXT. ELVIS, OREGON - DAY 116 Quiet. An old flag ruffles outside the post office -- the only new structure in town. Old George sweeps the porch as a patrol of ten Holnist soldiers ride into town. George makes no move to flee as they near. As they rein up across from him he just smiles and continues sweeping. Sensing it, the Holnist officer looks up. There, on the roof, stands The Postman. Ford and Briscoe flank him -- along with twenty mailmen and locals, armed with guns, bows and rocks. As the soldiers raise their rifles, the roofies OPEN FIRE. George whips up a sawed-off SHOTGUN. BOOM! Caught in the storm, the ten soldiers go down. Grim, The Postman looks to Ford as the locals cheer. George resumes sweeping. The mailmen climb down to strip the weapons off the dead. THE POSTMAN Ford, I want you to get rid of the bodies. I don't want these people blamed for what we did. Ford nods.117 EXT. HOLNIST ARMY CAMP - NIGHT 117 Two sentries guard the east. They peer into the gloom at the sound of a WAGON APPROACHING. It sounds like it's coming fast. SENTRY Halt! Identify yourself! (CONTINUED) 99.117 CONTINUED: 117 WAGON tearing along. Ford at the reins, urging the horses to all possible speed. Then he stands, leaps to the ground. SENTRIES They raise their rifles as the riderless wagon looms out of the night. They each get off a SHOT before being forced to dive out of the way. The wagon continues on, down to... HOLNIST CAMP A soldier finally grabs hold of one of the halters and brings the wagon to a stop. Half-dressed, Bethlehem steps up. A tarp covers the back upon which is written... BETHLEHEM (reading) Postage due... Bethlehem yanks away the tarp to reveal the 10 dead Holnist soldiers. The men around Bethlehem exchange looks, can't believe it. Bethlehem bellows in rage.118 EXT. WOODS - NIGHT 118 Ford, hidden in the woods, smiles at the sound.119 EXT. HOLNIST CAMP - NIGHT 119 Bethlehem steps forward and shouts his challenge into the night. BETHLEHEM You want a war? I'll give you a war. I was born for it!120 EXT. WOODS - NIGHT 120 Bethlehem's words reach Ford, his smile fades. He's just a scared boy. He kicks his horse into a gallop and rides away. CUT TO: 100.121 EXT. SMALL AIRFIELD - DAY 121 In the fog, the sound of hollow HOOF BEATS. The Postman rides past the shapes of airplanes. Standing silent. Forever grounded. The ghosts of the past.122 EXT. RV CAMP - DAY 122 Ford is swearing in four new recruits. ON FORD AND RECRUITS As they repeat after him we realize they've changed the oath a bit. FORD/RECRUITS Neither snow, nor heat, nor gloom of night. Through bandit's hell, through fire fight. Through flood and plague we cannot fail. No Holnist trash will stop the mail. THE POSTMAN riding his weary mount into town, saddlebags bulging with mail. He pauses by the new recruits long enough to hear the words they're saying. As he dismounts, a fresh-faced carrier takes the bridle. The Postman's well past the point of fatigue. He's living on pure adrenaline. THE POSTMAN Get this mail sorted. Bring me a fresh horse. Something to eat. As fresh-face starts away, The Postman calls after him. THE POSTMAN And all the mail going South! The Postman watches as Ford shakes the hands of the new recruits. The Postman reaches for his canteen. Empty. Damn. A tin cup filled with water appears from nowhere. Abby. The Postman takes it, too tired to acknowledge the gesture. THE POSTMAN They changed the oath. (CONTINUED) 101.122 CONTINUED: 122 ABBY Ford's idea. THE POSTMAN Figures. (scoffs) They don't think to ask who they're replacing. Or why. He drains the cup and hands it back to her. Just then, one of the new recruits, LUKE, steps over. LUKE Sir? It'd be an honor if I could shake your hand. A farmboy-type, Luke looks like a younger version of Woody. The Postman sees this, is lost in reverie. Luke still holds his hand out. LUKE Sir? THE POSTMAN You look like... Do I know you? LUKE No, sir. THE POSTMAN Well, good luck to you. Nodding in awe, Luke heads off. THE POSTMAN Nice kid. Probably be dead in a week. ABBY (ignores it) You're exhausted. You need rest. There's food in the trailer -- Ponytail rides by; two sacks of mail hang from her saddle pommel. The Postman grabs her horse's halter, stops her. THE POSTMAN Where are you going? PONYTAIL Route twenty-two. I'm already an hour late. (CONTINUED) 102.122 CONTINUED: (2) 122 THE POSTMAN You're grounded. Get off the horse. You know the rule. PONYTAIL What rule? THE POSTMAN Twenty-two's too far south. PONYTAIL But they're waiting on their mail down there. THE POSTMAN Get off the goddamn horse. Shocked, she does. At the same time, fresh-face comes up leading a second horse laden with mail. THE POSTMAN (re: Ponytail's horse) Tie him off to this one. Fresh-face goes about tying the second horse to the first. ABBY You can't keep doing this. THE POSTMAN Doing what? ABBY Riding all the routes. You're not saving anyone. The Postman climbs on Ponytail's horse, looks at Abby. THE POSTMAN Did I ever tell you how I got to be a postman, Abby? (doesn't give her time to answer) I don't know if you'd laugh or cry. The Postman digs in his heels. The horse gallops away, the second one following behind. 103.123 EXT. ELVIS, OREGON - CLOSE ON BLOODIED POSTAL CARRIER - 123 NIGHT A crowd of townsfolk are visible in deep b.g. Beyond them, the town of Elvis burns to the ground. The CAMERA CIRCLES AROUND the BLOODIED CARRIER until we're looking OVER his shoulder at a firing squad led by Colonel Getty and Lieutenant Gibbs. Bethlehem watches. GIBBS Ready! The only building not on fire is the post office. A SOLDIER rides up, carrying a torch, meaning to burn it. SOLDIER The post office, General? BETHLEHEM No. Let it stand. All by itself. So it can remind them what it cost them. GIBBS Aim! Rifles are aimed. GIBBS Fire! Shock and dismay from the townsfolk as SHOTS RING OUT. CLOSE ON BLOODY CARRIER'S FACE as he realizes he's still standing. PULL BACK to reveal nine bodies lying on the ground. Only the Bloodied Carrier is still standing. Bethlehem points at the Bloodied Carrier, crooks a finger for him. He staggers up. Bethlehem smiles. BETHLEHEM You think you can ride? (as the Carrier nods) Then today's your lucky day.124 INT. RV PARK - AIRSTREAM - DAY 124 Abby tends to the Bloodied Carrier. He tries to salute as The Postman enters the trailer. (CONTINUED) 104.124 CONTINUED: 124 Ford and Chubby watch and wait as The Postman goes to the boy's side. BLOODIED CARRIER Bethlehem says... The Postman motions it's okay as the Carrier struggles. BLOODIED CARRIER ... he's... headed north. He's gonna kill ten people in every town. Then burn it to the ground. For what you did... The Postman is puzzled. But Ford knows what and why. BLOODIED CARRIER He said to tell you Pine View's on his way. He said he'd wait there, but not for long. (breaking down) I was so scared, sir... I thought they were going to kill me, too... I wish they would have...125 EXT. RISE ABOVE PINE VIEW - DAY 125 The Postman poised on a rise that affords a view of the gruesome spectacle below. POSTMAN'S POV Pine View in flames. The big John Deere gun has blown several gaps into the palisade. Bethlehem watches as his army sacks the town. The people have been rounded up. The selection of the ten has begun.126 EXT. RISE ABOVE PINE VIEW - DAY 126 The Postman wheels his horse around. But Ford, Ponytail, Chubby and Luke are standing in his way. FORD What are you going to do? THE POSTMAN I'm going to stop this. FORD You can't. (CONTINUED) 105.126 CONTINUED: 126 THE POSTMAN Get out of my way, Ford. All of you. FORD (shaking his head) They'll kill you. The Postman starts to ride through them. Luke, Chubby and Ponytail move their horses to block. Ford maneuvers his horse in close and grabs The Postman's harness. THE POSTMAN Goddamnit -- The Postman jumps off his horse. Ford tackles him. The Postman shoves him away, continues on. Luke and Chubby pounce on him. With Ford's help, they hold him down. FORD You can't help them! THE POSTMAN There's still time, Ford! The Postman struggles. They're genuinely having trouble holding him down. PONYTAIL (re: The Postman) You're hurting him. But there's no let-up. FORD No, this is all my doing. I went against your orders. There's a moment of shocked surprise. FORD The Holnists we killed. You told me to bury them. But I didn't. I sent Bethlehem the bodies. THE POSTMAN Why? FORD Because Bethlehem has to know that we're not going to stop. (CONTINUED) 106.126 CONTINUED: (2) 126 THE POSTMAN God damn you, Ford. Those people down there are dying because of us. Because of what we did. FORD Bullshit. They're dying because of Bethlehem. They're dying because this is a shitty world. And if we're ever going to change it, then somebody might have to die. If I could make it be me down there I would. But I can't. A terrible SCREAM gives them all pause.127 EXT. PINE VIEW - DAY 127 Down below -- Holnist soldiers hold back a screaming mother as her 10-year-old boy is pulled into the line. Sheriff Briscoe is among the ten, he puts his hand on the boy's shoulder -- the picture of grace under pressure.128 EXT. RISE ABOVE PINE VIEW - ON POSTMAN AND CARRIERS 128 THE POSTMAN My God, what have I done? (beat) We don't even know their names...129 EXT. PINE VIEW - CLOSE ON LITTLE BOY - DAY 129 His eyes wide and fearful. Like a kitten's.130 EXT. RISE ABOVE PINE VIEW - DAY 130 PONYTAIL (holding back the tears) We know their names. The little one's my brother. His name is Billy. A moment of stunned silence. PONYTAIL What Ford did was wrong. But it doesn't change anything for any of us. Does it? (CONTINUED) 107.130 CONTINUED: 130 She looks to the other carriers -- it's written all over their faces -- they stand with Ponytail and Ford.131 EXT. PINE VIEW - DAY 131 Bethlehem looks the line-up over. The firing squad stands at the ready. Bethlehem looks to the trees -- feeling something. BETHLEHEM (to Getty) He's out there somewhere. Watching. I can feel it. Briscoe follows his gaze. He doesn't see anything, but maybe gets the same feeling. Bethlehem looks to Briscoe. BETHLEHEM You feel it too, don't you? Didn't have to end like this, Sheriff. He knew where I'd be if he wanted to face me like a man. Instead, he's hiding like a rabbit. So much for your Postman. GIBBS Ready! Aim! Rifles are raised. Briscoe seems to grow as he throws his shoulders back and shouts... BRISCOE Ride, Postman! Ride! You hear me? I said ride!132 EXT. RISE ABOVE PINE VIEW - DAY 132 The WORDS ECHO. Nothing The Postman can do, but watch.133 EXT. PINE VIEW - DAY 133 Bethlehem's eyes go wild -- BETHLEHEM Fire! The RIFLES BARK. Everyone falls dead.134 EXT. RISE ABOVE PINE VIEW - DAY 134 Something in The Postman breaks. He just lies there. The witnesses move back, taking The Postman with them. 108.135 EXT. PINE VIEW - DAY 135 Sheriff Briscoe lies dead. The letter from his sister blows from his hand. CUT TO:136 INT. AIRSTREAM - NIGHT 136 The Postman folds a letter, shoves it into an envelope. He writes "Bethlehem" across the front, starts to write a second letter. The door opens and Abby enters. ABBY Ford thinks you're going to do something. THE POSTMAN I am. The Postman watches as, outside, the mail carriers begin to assemble. THE POSTMAN If I don't, those kids are going to keep on getting themselves killed. ABBY Ford doesn't know what it means to be a kid. He doesn't have your memories. None of them do. All they've got is the lousy world we gave them. And this is the only decent thing in it. THE POSTMAN What? Being a postman? It's all bullshit, Abby. All of it. (beat) I took this uniform off a skeleton to stay warm. I made up the rest to stay fed. There is no restored United States. ABBY I knew it was something like that. The Postman fingers the brim of the cap, softens. (CONTINUED) 109.136 CONTINUED: 136 THE POSTMAN Weird thing is, being a Postman was almost the best thing that ever happened to me... (re: red ribbon) Remember this? You left it behind that night. ABBY I remember... THE POSTMAN I always liked to think you left it on purpose. But maybe you just forgot it. Abby doesn't answer. She leaves instead.137 EXT. R.V. CAMP - NIGHT 137 Twelve mail carriers, including Ford, Ponytail, Chubby, Luke and Old George, wait as The Postman steps up before them. Abby's off to the side. THE POSTMAN Is this everybody? FORD The rest are on the overdue list. THE POSTMAN This is everybody. (for all) Got a letter from President Starkey. An excited murmur among the carriers. Only Ford eyes The Postman suspiciously. The Postman reads: THE POSTMAN 'Greetings all carriers.' CARRIERS Greetings, President Starkey! THE POSTMAN (reading) 'I've been in contact with The Postman. I've received all the reports. I'm proud of you all.' He looks at them, doesn't need to read what's in his heart. (CONTINUED) 110.137 CONTINUED: 137 THE POSTMAN In dark days, in a weary world, you gave everything and asked for nothing. You beat back despair and replaced it with hope and for that your country can never repay you. But the price is too high. I won't see anymore of my bravest die. It is my duty to hereby disband the Postal Service of the restored United States. You are to burn your uniforms and The Postman is to return to Minneapolis at once. Thank you and that is all. A hushed silence. The Postman walks away. The carriers exchange tired, defeated looks. Abby just sighs, knows he's not necessarily wrong. Ford catches up with The Postman. He stares at The Postman; The Postman stares back. FORD (low; fierce) The President never wrote that letter. THE POSTMAN If he could've that's what he would have said. Ford gestures to the second letter. FORD Who's the other letter to? THE POSTMAN Bethlehem. I'm taking it to him in the morning. FORD What does it say? THE POSTMAN Mail's private. You know that. FORD What does it say? THE POSTMAN (stops; turns) It says it's over. It says we quit. (CONTINUED) 111.137 CONTINUED: (2) 137 FORD It says you quit. What about the oath? THE POSTMAN Tell me something, Ford. How much mail can a dead postman deliver? It's over. The Postman starts to walk away again. FORD Then I'll take it. THE POSTMAN I can't trust you. Ford gathers courage and confronts The Postman. FORD If this is the end. If this is the last piece of mail that ever gets delivered. I'll take it. THE POSTMAN Whoever takes this letter probably dies for it. Ford thrusts out his hand. FORD I'm still a postman. You owe it to me... I owe it to me. The Postman hesitates, studies the intense young man. Gives him the letter.138 EXT. R.V. CAMP - STABLE AREA - DAY 138 The Postman is packing bags onto a horse as Abby approaches. THE POSTMAN I'm going to St. Rose, Abby. And I'm taking you with me. I know you don't want to hear it, but that's my child inside you. I want to see it born somewhere safe. I have a right to that, Abby. Whether you like it or not. Abby walks away. The Postman rests his head on his pack for a moment. Heavy. (CONTINUED) 112.138 CONTINUED: 138 The CLICK of a GUN causes The Postman to lift his head and see Luke standing there. THE POSTMAN Thought I recognized you. LUKE General Bethlehem said... (raises the pistol) ... You should be on your knees when I do it. THE POSTMAN I don't give a damn what that asshole said. LUKE The general is a great man. THE POSTMAN The general is a fucking lunatic. The Postman steps forward. Stops when the barrel of the pistol is right against his own chest. THE POSTMAN You don't own a thought in that goddamn head of yours, do you? (a beat) You want to see a man? The Postman turns to watch as Ford starts out of camp. THE POSTMAN That's a man. The Postman turns, sees Luke's face fraught with confusion and emotion. THE POSTMAN You don't understand, do you? You never will until you can think for yourself and be willing to pay the price for it. Luke stares back into The Postman's eyes. A frozen beat. THE POSTMAN You ready? ABBY (O.S.) Yes. (CONTINUED) 113.138 CONTINUED: (2) 138 Abby sits on her horse. She's witness to it all. Luke is confused and ashamed. The Postman mounts his horse and moves to Abby's side. THE POSTMAN You're a better man than Bethlehem, Luke. I've seen it.139 EXT. RIDGE - R.V. CAMP - DAY 139 Some carriers drop their uniforms into a bonfire. The Postman and Abby ride up on the ridge above the RV camp. They pause to look back one last time. Across the way, on the other side, Ford is doing the same thing. As though he senses it, Ford stops and looks back. Ford raises his hand, salutes. Slowly, The Postman brings up his own hand. But he doesn't salute. He waves. Good- bye. As Ford turns away, so does The Postman. ON CHUBBY, PONYTAIL AND CARRIER NAMED DREW watching as The Postman and Abby disappear from sight. CHUBBY Guess Minneapolis is that way.140 EXT. INTERSTATE - DAY 140 A sign prohibits pedestrians, horses and bicycles. The Postman and Abby ride by. The Postman no longer wears his uniform. Their gear is packed behind their saddles. As a family of transients begin to rise from where they're camped in the breakdown lane: THE POSTMAN We can't help you. We're just as lost as you are. The Postman rides on. Abby watches over her shoulder as they slowly begin to sit back down.141 EXT. HOLNIST CAMP - BETHLEHEM'S TENT - DAWN 141 Bethlehem sits waiting at his camp table. Behind him, a finished painting. (CONTINUED) 114.141 CONTINUED: 141 This time he's painted himself in the grand Rococo-style - - as part of the Holy Family with doves and flowers and glowing rays from Heaven. It's awful. Getty and Gibbs bring in a prisoner. It's Ford! BETHLEHEM Good lord, what do we have here? FORD I'm a representative of the restored United States -- Bethlehem backhands Ford. GIBBS He's got a letter. Says The Postman sent it. BETHLEHEM A letter? Bethlehem tears open the letter and starts to read: BETHLEHEM 'Bethlehem. This letter is my testimony to the fact that there is no restored United States and there is no Postal Service.' (laugh; grim) Then who the hell have we been fighting...? (reads on) 'My carriers are returning home. In exchange, I'm asking you to let them be. The Postman.' Bethlehem eyes Ford with undisguised contempt. BETHLEHEM He expects me to believe this? LUKE (O.S.) It's true, sir. I was there. He disbanded the carriers and rode west. Ford turns blazing eyes to Luke -- he's been standing there all along. FORD Traitor... It takes a moment for the news to sink in. But it does. (CONTINUED) 115.141 CONTINUED: (2) 141 BETHLEHEM Then I've won. I've won. As the assembled Holnists congratulate each other, Bethlehem looks at Luke. BETHLEHEM You were supposed to kill him. LUKE I couldn't get close enough. (re: Ford) This one's his second in command. Bethlehem looks Ford over. BETHLEHEM Why doesn't that surprise me? Ford stares back. Proud. Bethlehem looks to Getty. BETHLEHEM Bring out the one we found yesterday. They can die together. A frightened CARRIER is brought up. He wears a purple uniform with CALI sewn on the shoulder. Neither we nor Ford have seen him before. As a firing squad assembles, Ford is shoved over with him. FORD Who are you? CAL CARRIER Name's Clark. Postal Carrier of the restored Republic of California. Who are you? Ford looks at him a second, can't help but laugh. From Gibbs; the shout of "ready!" FORD Postmaster Ford Lincoln Mercury. CALI CARRIER It's an honor. Bethlehem watches as Clark holds out his hand. Ford shakes it. "Aim!" BETHLEHEM Wait a minute... wait a minute! (CONTINUED) 116.141 CONTINUED: (3) 141 GIBBS Sir? BETHLEHEM Hold your fire! You don't know each other? (to himself, quiet anger building) This will never be over. It'll go on except I'll be fighting a goddamn ghost. GIBBS Should we fire, sir? BETHLEHEM No goddamnit. Bethlehem crumples the letter, tosses it. BETHLEHEM No, I won't fight a ghost. Tabula rasa, gentlemen. A clean slate. I want all mail carriers hunted down. I want The Postman found. I want him dealt with. (to Getty) Colonel, organize the scouts. (to Luke) He rode west?142 EXT. RIVER - DAY 142 A pair of boots are walking through the water. It's The Postman. He turns over a body in the water. It wears a homemade postal uniform, a bag of mail twisted around his arm. It's a young face, one we haven't seen before. He looks up to Abby on a ridge. THE POSTMAN I don't know him. Do you? ABBY (shakes her head) Where do you think he came from? Puzzled, The Postman shakes his head. He gently releases the body. The current takes it and they watch as it continues on its way to Postal Valhalla.143 EXT. INTERSTATE - DAY 143 The family of transients are grilled by three Holnist scouts. One man points the way Abby and Bethlehem rode. 117.144 EXT. PLAIN - DAY 144 Littered with rubble. The wood, brick, steel and concrete of what was once a small town. Amazingly, one gray house still stands, miraculously untouched by whatever disaster visited this place. A wild-haired SQUATTER steps out on the porch as Abby and The Postman ride by. He waves hello with a .45. SQUATTER Howdy. Welcome to sunny California. THE POSTMAN (re: the town) What happened here? SQUATTER Little accident. The ground started to shake big time and the Hanford nuclear plant went... (motions an explosion) ... 'Poof.' Destroyed everything for miles. But the sunsets are beautiful. THE POSTMAN You ever hear of a city called St. Rose? SQUATTER Friend, I've never heard of St. Shit. The Squatter laughs and laughs -- like it was the funniest thing in the world. The Postman and Abby exchange a look, continue on their way. SQUATTER Hey, don't go! I got Monopoly in the house! Boardwalk, Park Place and the Reading Railroad! CUT TO:145 EXT. EDGE OF RUBBLE - DAY 145 Ponytail, Chubby, and Draw watching from afar. Chubby has the telescope. CHUBBY You think that's President Starkey? (CONTINUED) 118.145 CONTINUED: 145 Ponytail takes the telescope from Chubby for a look. PONYTAIL No. CHUBBY What makes you so sure? PONYTAIL President lives in a white house. That guy's place is gray. Drew and Chubby exchange a look. That makes sense.146 EXT. SKY - DAY 146 A lightning bolt shreds the sky. It's day, but the sky is black with rain.147 EXT. HIGH TENSION TOWERS - DAY 147 The useless towers cutting across a valley. Rain beats down, as The Postman and Abby trudge along. Up ahead, a rail-road tunnel promises shelter from the storm. THE POSTMAN (re: the tunnel) We can rest in there. Abby is quick to agree. Out of the corner of his eye, The Postman catches a blur of movement. He turns his head quickly, but he's barely in time to see a wooden basket, attached to one of the high wires, swing from a distant tower. There's a sentry inside it. The basketed sentry whistles away at 40 mph, heading straight for an adjacent tower. In a matter of seconds, he's lost from view. The Postman looks back at Abby. She's shivering. THE POSTMAN Did you see that? ABBY (shaking her head) I'm hungry, Postman. The Postman guides her toward the train tunnel. 119.148 INT. TRAIN TUNNEL - DAY 148 Abby sleeps beside the fire. The Postman, silhouetted against the flames, heads toward the far tunnel exit.149 EXT. FAR SIDE OF TUNNEL - DAY 149 The Postman peers into the rain, taking in the view of a distant bridge. Abby comes to stand at his side.150 EXT. COLUMBIA RIVER GORGE (BRIDGE CITY) - DAY 150 A town settled between spans of a steel truss bridge. The Columbia River rushes far below. A sentry spots Abby and The Postman approaching, blows a whistle. GUARD Set the rifle on the ground. THE POSTMAN This old thing? It isn't even loaded. Where are we? The BRIDGE CITY MAYOR, a middle-aged retro-hippie, steps up. B.C. MAYOR You're in Bridge City. Where we don't allow guns. The Postman sets down the carbine. The Guard steps over to scoop it up. B.C. MAYOR Sentry said you were coming. The Postman stares at the Mayor a beat. THE POSTMAN I know you. You're famous. B.C. MAYOR I was once. Not anymore. (beat) Are you looking to cross? THE POSTMAN We will be. Right now, we'd just appreciate some food. (as the Mayor nods his assent) I got some kids behind me, too. (CONTINUED) 120.150 CONTINUED: 150 B.C. MAYOR How many? THE POSTMAN Three. (as the Mayor agrees once more) Hey, guys, come on in! I know you're out there! CHUBBY SENTRY Boy, is he smart... As they stand, show themselves.151 EXT. NORTH BOUND LANE (BRIDGE CITY) - DUSK 151 Fog rolls in. Abby rests. Ponytail, Chubby and Drew look up gratefully as one of the citizens of Bridge City doles out bread. The Mayor steps over, hands The Postman two loaves. B.C. MAYOR For you and your wife. THE POSTMAN Thanks. She's not my wife. The exchange cuts Abby like a knife. She gets up and leaves. The Mayor keeps his council -- not sure what to make of this arrangement. THE POSTMAN Let me ask you something, have you ever heard of a town with electric lights? B.C. MAYOR St. Rose? THE POSTMAN Yeah! B.C. MAYOR Never been. But they say it's a ways down on the coast. THE POSTMAN How far? (CONTINUED) 121.151 CONTINUED: 151 B.C. MAYOR Couple hundred miles at least. I couldn't say for sure. It's the discovery of a lifetime. The Postman looks to the west end of the bridge, where Abby stands alone. THE POSTMAN You seem like a decent man. And these seem like decent people. B.C. MAYOR We try to be. THE POSTMAN And this seems like a safe place. B.C. MAYOR (intuitive) You want to leave her? The Postman looks back to the Mayor, then slowly nods. THE POSTMAN All of them. I'll give you the horses and my gear. Abby's special. She's strong. Probably end up running the place. B.C. MAYOR Why don't you take the night to think. Decide if that's what you really want.152 EXT. BRIDGE - NIGHT 152 Fog obscures the east end. A sentry squints at the MUFFLED CLOP of HOOVES. The mist parts to reveal, seventy yards away: three Holnist scouts on horseback. Emissaries from hell. As the sentry blows a whistle... BRIDGE As word spreads, folks move down the bridge for a look. Eating their bread, The Postman, Abby and the carriers join them. (CONTINUED) 122.152 CONTINUED: 152 EAST END The Mayor stands across from the lead scout -- conferring. Finally, the Mayor points him back the way he came. The lead scout doesn't budge, spots The Postman in the crowd. He and The Postman seem to stare at each other forever. Then, with a flick of the reins, he's gone. The other two follow. Swallowed up by the misty evening gloom. The Postman's head swims dizzily. It's not over. The Mayor returns to dozens of nervous questions. B.C. MAYOR They're looking for The Postman. B.C. MAN No such thing anymore. B.C. MAYOR Man on the horse says there is. Says he thinks he's here. Says he's coming back with friends. A little BOY steps forward, sings out. B.C. BOY What's a postman? A silent moment. It's been so long, no one's sure how to answer. The Postman looks down at the ground. The carriers exchange deflated looks. Then... ABBY (stepping forward) You never heard of a postman? He shakes his head "no." Seems a shame. As The Postman looks over at Abby, she takes a page from his book. ABBY There used to be a postman for every street in America. They wore uniforms. And hats. Like this one... She goes to The Postman's gear, returns with his postal cap. Sets it on the boy's head. B.C. BOY Wow... (CONTINUED) 123.152 CONTINUED: (2) 152 ABBY My postman knew the name of every kid on my street. He knew our birthdays. He'd even find the baseballs you'd hit down the street. I can still see the smile on his face. The tip of his cap -- when he had a letter in his bag with my name on it. Mine always came just after school. You could set your watch by him. Unless you were waiting on something special -- like a present from somewhere far away or a letter from your sweetheart. Then it seemed like he'd never come. I used to think they could make time stand still. Several other listeners nod -- they're completely with her. ABBY I don't think we ever really understood what they meant to us until they were gone. Getting a letter made you feel like you were part of something bigger than yourself. No place was ever too far away for the postman. So nobody ever had to be alone. The postman was someone you could count on. Things just made more sense when they were around. (beat) That's the kind of world we used to have. A world a lot of us took for granted. And now we've got this one. And it makes me wonder -- what kind of world do I want my child to live in? I want my child to live in a world where hopes and dreams aren't just lies you tell yourself to get through another day. I want my child, and I want my friends -- I want all of us to live in a world where you still get your mail. It's a moment before anyone speaks. B.C. MAYOR (to The Postman) Are you The Postman? (CONTINUED) 124.152 CONTINUED: (3) 152 The Postman takes the cap off the little boy's head, touches the emblem, and answers. THE POSTMAN Yes. B.C. MAYOR I've heard of you, man. You're famous. THE POSTMAN Yeah, I guess I am. And all of a sudden, I'm not wearing the right clothes. And as he puts on his cap, he accepts the mantle as well.153 EXT. BRIDGE - CLOSE ON PINE BOX - MORNING 153 lowered from the top of the bridge. Hands reach up to steady it and bring it gently to the ground. It's one of many. The Postman and Abby gasp as the Mayor opens the lid to reveal: 20 well-oiled rifles and 15 pistols with ammo. The Postman blinks over at the Mayor. B.C. MAYOR Fact that we don't allow 'em doesn't mean we don't have 'em. We're not stupid, after all. THE POSTMAN I'm sorry I've brought this on you. B.C. MAYOR No need to be sorry. Long as we get our mail on time. PONYTAIL (O.S.) Ready for duty, sir. The Postman looks over to see Ponytail, Drew and Chubby ride up. Like him, they are back in uniform. THE POSTMAN The order was to burn all uniforms. The carriers look away -- sheepish. (CONTINUED) 125.153 CONTINUED: 153 THE POSTMAN You know what to do then? PONYTAIL Talk to the people. Gather who's willing. Tell them it's important. Tell them we can make a difference. CHUBBY SENTRY And tell 'em we're going to kick ass. THE POSTMAN Yeah, tell them that, too.154 EXT. NEAR BRIDGE - DAY 154 At the edge of the Gorge. The three carriers, and the mounted locals thunder off the bridge and down the road. High above...155 EXT. HIGH TENSION TOWER - POSTMAN AND ABBY 155 The Mayor is in the b.g. helping one of the sentries prepare the basket for travel. ABBY This is hard for me. (beat) Michael was the best man I ever knew. I never thought there'd be another man I could love the way I loved him. (searching for the words) I don't know why I've been so blessed. And I've tried to find a way to be thankful, but I swear, if I lose you... Her eyes start to tear and he takes her in his arms. THE POSTMAN Abby, do you think a lie can become the truth? ABBY I don't know, but I believe in you. You have a gift, Postman. I saw it back in Pine View. (MORE) (CONTINUED) 126.155 CONTINUED: 155 ABBY (CONT'D) You made Mrs. March feel like she could see again. You made Ford feel like he was part of the world. You give out hope like it was candy in your pocket. He starts to speak. She stops him, taking his hand. ABBY When you come back, we'll be waiting here for you. So you can take us to St. Rose. The Postman lets go of her hand and starts for the basket. The Mayor gestures to the line of towers extending into the distance. B.C. MAYOR There's three good-sized towns up that way. Enough folks to be a big help to you. If you can convince them to come. As The Postman steps into the basket, he makes the mistake of looking over the edge. It's a long, long way down. B.C. MAYOR A lot higher than it looks, huh? The Postman looks at the contraption with more than a little trepidation. The Mayor grins. B.C. MAYOR Don't tell anybody, but I like to ride the damn thing just for the hell of it. Being a city official has its perks. He winks and as he reaches for the release pin. The Postman's hand meets his there. B.C. MAYOR Trust me, man. This'll get you there a lot faster. THE POSTMAN How do I stop -- But it's too late. The Mayor releases the pin. (CONTINUED) 127.155 CONTINUED: (2) 155 B.C. MAYOR Don't worry about it. Good luck and Godspeed. COUNTERWEIGHT Plummeting into the Columbia River Gorge. The Mayor lets out a rebel yell. BASKET The Postman is whipped along, past the riders below. The speed exhilarating.156 EXT. PINE VIEW, OREGON - DAY 156 The town's gone, but the palisade remains. Chubby rides along it, exhorting the people who watch from above. But it's The Postman we hear, all the magic back in his voice. THE POSTMAN (V.O.) Once more into the breach, dear friends, once more. Or close the wall with our dead. In peace nothing so becomes a man as modesty and humility. But when the blast of war blows in our ears, then imitate the action of the tiger.157 EXT. ELVIS, OREGON - NIGHT 157 A few makeshift structures are back up. Carrying a torch, Ponytail gallops hard into town. People wake, including Mrs. March's daughter. As Ponytail speaks to them... THE POSTMAN (V.O.) Summon up the blood. Disguise fair nature with rage and lend the eye a terrible aspect.158 EXT. FIELD - DAY 158 Captured by a Holnist cavalry patrol, Old George and four other carriers are lined up, hands bound before them. Holnist soldiers force them to their knees as Gibbs organizes an impromptu firing squad. (CONTINUED) 128.158 CONTINUED: 158 Old George looks down the line. The carriers are about to break down. OLD GEORGE Steady, boys, steady. And as Gibbs steps up, all hope is gone. GIBBS In accordance with Law Eight... OLD GEORGE Get on with it, you floppy-eared sonuvabitch! We see the faces of the young carriers. Defeated, bitter. But there's a sudden spark in Old George's eyes. He starts to rise. The soldiers pick up their guns and that's when they see The Postman. THE POSTMAN Riding over the crest. Galloping toward them. Behind him, forty new mail carriers. All riding like mad. One of them carries the flag of the restored United States. Gibbs and his men run for their horses. SHOTS are FIRED. Four Holnists go down. The rest gallop away. The Postman and his carriers meet.159 EXT. CROSSROADS - DAY 159 Converging. The Postman with his forty-five coming from the west. Drew, Chubby, and a ragtag thirty coming from the north. And from the south, Ponytail leading a contingent of fifty! The forces converge and continue east.160 EXT. HOLNIST CAMP - DAY 160 The army has gathered. Three hundred strong. Bethlehem and Getty stand outside the command tent, listening to a winded, frightened Gibbs. We FOLLOW Bethlehem's eyes OVER Gibbs' SHOULDERS TO the horizon, where he sees: The Postman and his army of two hundred carriers cresting a distant rise. (CONTINUED) 129.160 CONTINUED: 160 GIBBS (O.S.) ... We were outnumbered, sir. BETHLEHEM How many? GIBBS A least a hundred. With guns. BETHLEHEM (feigning shock) With guns? Are you sure? GIBBS Yes, sir... BETHLEHEM Looks more like two hundred to me... He steps away to get a better vantage point of the approaching army. He reaches out -- Getty hands him a pair of binoculars. BETHLEHEM (donning a pair of leather gloves) Only thing worse than a coward is one who can't count. Lieutenant, do yourself a favor. Die well in this battle. In my army a deserter's life is a brief and unpleasant one. Bethlehem watches The Postman through the binoculars -- a hint of a smile on his face. BETHLEHEM (to himself) At last, someone with courage enough to bring the fight to me. A Holnist soldier stands by with Bethlehem's horse. The General mounts -- the model of military calm and precision. Getty reins up beside him. BETHLEHEM Reckoning, gentlemen. This is the day I've dreamed of.161 EXT. BATTLEFIELD - DAY 161 A sea of wildflowers separates the carriers from the Holnists. The monster John Deere gun is ready for battle. 130.162 EXT. HOLNIST LINE - DAY 162 Bethlehem stands with Getty, scanning the postal line with his binoculars. The carriers look, just spoiling for a fight. Bethlehem lowers his binoculars, smiles grimly. BETHLEHEM They're an eager-looking bunch. Morale's a dangerous thing. (to Getty) Bring him up. I want this postman to see how the game is played.163 EXT. CARRIERS' LINE - DAY 163 The Postman, Chubby, Ponytail and Old George and all the carriers have taken positions. The Postman sights through a telescope. He scans further down the line -- then stops when he sees Ford. Bloody, beaten within inches of his life. He's shackled -- surrounded by Holnist guards. The Postman's eyes turn to stone. THE POSTMAN (to carriers) Stay here. No one moves until I give the orders. He clicks his horse forward, toward the Holnist line.164 EXT. HOLNIST LINE - DAY 164 Bethlehem, flanked by Getty and the Holnist Sergeant, watches as The Postman makes his approach. He reaches into his pocket, withdraws a white kerchief and holds it in the air. SERGEANT Are they surrendering? BETHLEHEM God, I hope not. He watches for a moment as The Postman crosses the field - - moving well within range of Holnist fire. Then, he coaxes his horse forward. 131.165 EXT. MEADOW - DAY 165 Bethlehem and The Postman riding toward each other. They meet when The Postman is almost three-quarters of the way over to the Holnists' side. BETHLEHEM AND POSTMAN As they come face-to-face. BETHLEHEM My little shipping clerk. THE POSTMAN We're both a couple of frauds. You know it; I know it. Bethlehem sneers. BETHLEHEM Great men are made by other great men. Patton had Rommel. Grant had Lee. But I get you. THE POSTMAN You're no fucking general. You're a copying machine salesman. You're not even a good painter. BETHLEHEM Are you trying to goad me into a fight? THE POSTMAN Wouldn't it be great if wars could be fought just by the assholes who started them? We could settle this thing right here. You and me. BETHLEHEM Unfortunately, it doesn't work that way. THE POSTMAN It does in your army. The Postman kicks his horse up into a gallop, and rides up the Holnist line. No one, least of all Bethlehem, is sure what's going on. THE POSTMAN I invoke law seven of the Laws of Eight! Any man may challenge for leadership of the clan! (CONTINUED) 132.165 CONTINUED: 165 BETHLEHEM What? The Postman wheels his horse around. THE POSTMAN I challenge you. Bethlehem is caught completely by surprise, but recovers. BETHLEHEM You're not a Holnist. You're not a member of the clan. You don't have the right. The Postman rolls up his sleeve. He rides the Holnist lines displaying his brand for all to see. The Holnists murmur amongst themselves. THE POSTMAN I have every right. I invoke law seven! Bethlehem can't believe his eyes. THE POSTMAN I challenge for leadership of the clan! The seed of doubt is planted. Is Bethlehem violating one of the Laws of Eight? The men look at one another. Gibbs looks to Getty. Bethlehem looks from The Postman's tattoo to his face. BETHLEHEM Where do I know you from? THE POSTMAN 'Cry Havoc! And let slip the dogs of war.' Remember that? BETHLEHEM Shakespeare. The one who didn't want to fight. THE POSTMAN I should've found a way to kill you then. But you seemed so strong. BETHLEHEM Law seven it is. (to all) This war is settled here! (CONTINUED) 133.165 CONTINUED: (2) 165 As The Postman nods in agreement. They take their positions -- and without a word -- they kick their horses into a charge. Coming straight for each other like medieval jousters. Bethlehem reaches for his sword. But before it clears the scabbard, The Postman lunges. The horses collide. Bethlehem and The Postman hit the ground hard. Holnists and Carriers alike begin to move forward for a better look. The fight is fierce. Bloody. The Postman and Bethlehem are at each other like coiled snakes. It's more of a fight than any of the Holnists -- especially Getty -- expected. The spectators pull in tighter. Both combatants have taken a beating -- and still, they fight on -- trading bloody, raw-knuckled punches. One of Bethlehem's connects. The Postman loses his footing, hits the ground -- knocking his head on a rock with a resounding CRACK. Dazed, he's slow to rise. It's just the moment Bethlehem needs, he straddles the fallen Postman, reaches for his knife with one hand -- grabs The Postman's throat with the other. BETHLEHEM I study people. I know your problem. Do you know why you can't fight? The Postman can't answer. BETHLEHEM You have nothing to fight for. You don't care about anything. You don't value anything. You don't believe in anything. That's what makes me better. The Postman grabs Bethlehem's knife-hand -- using all his remaining strength to keep him at bay. THE POSTMAN (barely audible) I believe in the United States Postal Service. (CONTINUED) 134.165 CONTINUED: (3) 165 The Postman lets go of Bethlehem's hands, grabs his belt and pulls him over. As they roll to their feet, The Postman club-fists Bethlehem on the side of the head. THE POSTMAN Neither snow... (wham!) Nor rain... (wham!) Nor heat... (wham!) Nor gloom of night... (wham!) Will stay this courier from the swift completion of his appointed rounds... Bethlehem reels, stumbling back. The Postman pounces on top of him, begins to strangle him. Bethlehem tries to pry the fingers from his throat, but can't. He's going to die. The Postman is urged on. By both sides. Holnists. Carriers. Ford. Even Holnist Luke. He looks up at the faces -- and finally lets Bethlehem go. The General gasps for breath. As Ponytail and Chubby move forward to untie Ford, The Postman looks to both sides. THE POSTMAN It doesn't have to be this way. We don't have to kill each other. We can live together. We can -- Ford takes Chubby's pistol, sets it against the side of Bethlehem's head. FORD Law three. Mercy is for the weak. THE POSTMAN Ford, don't... Bethlehem shakes his head -- doesn't want him to, either. FORD Law eight. There is only one penalty and that penalty is death. Ford's going to shoot. (CONTINUED) 135.165 CONTINUED: (4) 165 THE POSTMAN He isn't worth it. I'm the head of the clan now! There are going to be new laws! (to all) Law one! No more killing! There's going to be peace! The Postman looks at carriers and Holnists alike. THE POSTMAN Who else? Who else has a law? WOMAN Everyone has to learn how to read. THE POSTMAN That's law two. Who else?! CARRIER #1 Three. Liberty and justice for all! LUKE Four. No more tattoos. CARRIER #2 Law five. Give peace a chance! HOLNIST SOLDIER #2 Law six. Mercy is, it's okay sometimes! CARRIER #3 Seven! Bring back vacations! The Postman nods solemnly, looks to Ford. THE POSTMAN How about it, Ford Lincoln Mercury? You give us law eight. Ford grits his teeth. THE POSTMAN (close -- for Ford) Be a leader, Ford. FORD Law eight... Ford FIRES! Bethlehem flinches, then sags as he realizes Ford has fired into the ground. (CONTINUED) 136.165 CONTINUED: (5) 165 FORD ... Live and let live. The Postman smiles in relief as Ford lowers the revolver and starts to hand the weapon over. Forgotten for an instant, Bethlehem makes a last, wild lunge, grabs Ford's gun. As Bethlehem aims at The Postman, a SHOT rings out. Hit in the chest, Bethlehem blinks in amazement before he falls to the ground, dying. Getty has shot him. BETHLEHEM Would I had bestowed that time in the tongues that I have in fencing, dancing and bear-baiting. Oh, had I but followed the arts... He dies. THE POSTMAN Grow like savages -- as soldiers will -- that nothing do but mediate on blood. Getty throws his rifle on the ground. Other weapons are laid down. The war, at long last, is over. THE POSTMAN Somebody take a letter. CHUBBY Huh? THE POSTMAN A letter... DISSOLVE TO:166 INT. ABBY'S PLACE (BRIDGE CITY) - DAY 166 Abby, in bed, holding her new baby in her arms. She's reading a letter. What she reads makes her smile. She puts the letter down and cuddles her baby. ABBY Your daddy wrote to tell you that he'll be here as soon as he can. And that he loves you very much. Abby looks up to see The Postman standing at her door. She looks at him, smiling with tears in her eyes. (CONTINUED) 137.166 CONTINUED: 166 THE POSTMAN Mail's slow. I'll have to see about that. Abby smiles down at the child in her arms. ABBY Your daughter. Her name is Hope. The Postman takes the tiny child in his arms. WOMAN (V.O.) And so my father returned home after the Holnists were defeated...167 EXT. ST. ROSE - DAY 167 A beach town. No wall, no sentries, just cottages lining a dozen sand-swept streets. A crowd has gathered to hear The Postman's daughter, HOPE, mid-thirties, speak. Beside her, a bearded, 52-year-old Ford in his postmaster's uniform. They stand before a large, tarp-draped statue. HOPE But he never did see St. Rose. There was too much to be done. He'd made a promise and in keeping it -- he traded one dream for another. With no regrets. And so, in honor of my father... She unveils the statue: we've seen this before. It's The Postman on his horse, low-slung in the saddle, leaning down to pluck the letter from the Little Boy's hand. There's an OLDER MAN in the audience who seems especially moved by the statue. There's a younger man beside him. OLDER MAN That was me. As St. Rose applauds... FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Power of One, The.txt b/unformated_scripts/Script_Power of One, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..50505df11147ed2c2f3905b6b9a3cb5083458ef8 --- /dev/null +++ b/unformated_scripts/Script_Power of One, The.txt @@ -0,0 +1 @@ + THE POWER OF ONE Written by ROBERT MARK KAMENBased on the Novel by BRYCE COURTENAY February 1990 Draft FOR EDUCATIONAL PURPOSES ONLY Copyright � 1990 Warner Bros. 2. THE POWER OF ONE What if the power of one becomes the power of many and the power of many becomes the power of one? FADE IN:1 EXT. SOUTH AFRICAN FARM - DAY (1939) 1 A white car sits in the yard of the farmhouse. On the door, a decal: "CAPETOWN SANITORIUM." Two men dressed in the white uniforms of the sanitorium exit the farm- house; one gently guiding a rather frail, troubled woman toward the car; the other totes her suitcase. The V.O. of a young man narrates: YOUNG MAN (V.O.) There comes a time in everyone's life when they discover that the only person you can truly depend on is yourself. That the only real power anyone has to get anything done is the power of one. With any luck you can make it through a lot of years before you ever have to face the reality of that fact. (beat) It was a luxury I never had. I discovered it the year my mother had her nervous breakdown. One attendant holds the rear door of the car open for the woman. Before entering, she turns one last time toward the farmhouse.2 HER POV 2 A young BOY looking one part scared, one part sad, and one part lost stares back at her, his hand held by a large, amiable black woman with tears rolling down her round cheeks. YOUNG MAN (V.O.) I was all of six. 3.3 BACK TO SCENE 3 The woman enters the car. The car drives off down the road. The Boy watches it disappear behind a plume of swirling dust. YOUNG MAN (V.O.) My father died before I was born, and even though I was raised by my Zulu nanny, with my mother, depending on her health, in nominal attendance, it was decided, with her departure, that I, too, would depart... (beat) ... for boarding school. The dust the Boy has been watching reverses itself. An unseen vehicle comes up the road. YOUNG MAN (V.O.) But before I could be sent out into the world one very serious matter had to be dealt with. (beat) I was a chronic bedwetter. Since my nanny was the one responsible for my well-being, she did what any responsible Zulu mother would do. She called on the greatest medicine man of her tribe -- Inkosi Inkosikazi. Out of the dust a large black Buick ROADMASTER ROARS up the road and into the yard, scattering chickens and geese, stopping in front of the wide-eyed six-year-old and his tremulous nanny. A huge Zulu jumps out of the front passenger seat and opens the rear door. A moment passes, and then two splayed, cracked feet descend from the car and settle into the dust. INKOSI INKOSIKAZI, 100 years old, small, black, wizened, hair and beard whiter than cotton, a leopard skin draped over his shoulders, a beaded fly switch in one hand, a trussed chicken in the other, exits the car. CUT TO:4 EXT. YARD - NIGHT 4 A fire burns bright in the black African night. The Boy sits holding the chicken, close by the fire, while Inkosi Inkosikazi shuffles around him, drawing a circle in the dust with a stick. 4. YOUNG MAN (V.O.) Legend had it that Inkosi Inkosikazi was the last son of the great Zulu king, Dingaan, who fought both the Boers and the British to a standstill nearly 100 years before, and the night Inkosi Inkosikazi was conceived stars fell from the sky until the sun rose. The circle complete, the old man sits down opposite the Boy. From a leather pouch he produces several bones. He throws the bones on the ground and studies them for a moment. He begins to wave the fly switch back and forth in front of the Boy's eyes, chanting low, softly. The Boy's eyes grow heavy; his lids droop.5 DREAM - EXT. WATERFALL 5 The Boy and the old man are standing above a great waterfall. In the swirling pool far below are ten stepping stones linking one bank to the other. YOUNG MAN (V.O.) The medicine man instructed me to jump off the falls and climb along the ten stepping stones, counting as I went until I reached dry land. The Boy jumps, cascading down the falls and into the pond below. He clambers up the first rock. It is slippery. He falls off and climbs back on, buffeted by the spraying water. He makes his way stone by stone toward the other side. YOUNG MAN (V.O.) Even though it was only a dream, I felt as if my struggle to reach dry land was terrifyingly real. The water was like ice, bone- chilling, cold, and as I made my way from one stone to the next I could feel my strength desert me. The progress from one step to the next gets progressively harder as the Boy keeps slipping into the swirling water, coughing and sputtering. YOUNG MAN (V.O.) I was three rocks in when I ran out of gas. I couldn't pull myself any further. No matter how hard I 5. tried, the current tried harder. I felt myself going under for the last time. The Boy's grip slips off the rock. He starts to go under. CUT TO:6 EXT. FARMYARD - DAWN 6 The fire has gone out. The Boy is still sitting in the circle, the chicken still in his lap. His eyes snap open. The first thing he sees is Inkosi Inkosikazi sitting across from him with a big smile. CUT TO:7 EXT. YARD - DAY 7 Inkosi Inkosikazi enters the Buick. The Boy and his smiling nanny watch. They Boy still holds the chicken. YOUNG MAN (V.O.) Inkosi Inkosikazi said the spirit of the great Zulu warriors lived in me. He told me that whenever trouble arose I should return to the waterfall and keep stepping across the rocks until the trouble passed. He said three rocks were enough to conquer my problem with the night water; that I was very brave. He said I was a man for all Africa, bound to her by my spirit, bound by my dreams. (beat) And he let me keep the chicken. The Boy and his nanny watch the car go off in a cloud of dust. CUT TO:8 EXT. VELDT - DAY 8 The Boy sits on a train looking out the window at the veldt and the wildlife moving across in the distance. A sack on his lap moves. The chicken's head pops out. The Boy gives him some kernels of corn and scratches behind his scraggly comb. YOUNG MAN (V.O.) Although I was bound by spirit 6. and dream to Africa, I was bound by heritage and language to the birthplace of my grandparents -- England -- a country I had never seen, but one that was to cause me eminently more problems than bedwetting ever did. CUT TO:9 EXT. ROAD TO SCHOOL 9 A motorcar driving along the road to the school. YOUNG MAN (V.O.) The school I was sent to was attended and staffed entirely by Afrikaaners, the oldest of the two white tribes of Africa. CUT TO:10 INT. SCHOOL 10 The six-year-old walks timorously through the halls, filled with bigger boys -- brash, noisy, hostile. They only speak the "Taal" -- Afrikaans. Over and over they jostle or verbally deride the six-year-old, knocking his books down so that when he bends to pick them up he is kicked in the butt. Or pulling his shirt out from under his jacket and making it hard to move. YOUNG MAN (V.O.) I spoke only English. The hated tongue. The language of the enemy who had usurped power and stolen the country through political chicanery and military brutality. A mob of boys, led by a big bully, JAAPIE BOTHA, runs the six-year-old through the bathroom and into the showers, fully clothed. He tries to run out. Jaapie Botha grabs him and throws him back in, holding him with one ham-fisted hand under the shower head and turning the shower on with the other. The six-year-old stands miserable as the stinging water pelts him. YOUNG MAN (V.O.) During the Boer War of 1896, 26,000 Boer women and children were herded into detainment camps by the British, where they died like flies from dysentery, 7. malaria and black water fever. And it seemed I was destined to shoulder the responsibility for each and every one of those deaths. The six-year-old in his first soccer game receives the ball. He tries to move upfield, but he is kicked and pushed, the ball taken from him. He gets up gamely to follow the chase, only to be flattened, blindsided by Jaapie Botha. YOUNG MAN (V.O.) And no one made this more evident to me than Jaapie Botha, a wheat farmer's son from the Transvaal. CUT TO:11 INT. DORMITORY 11 The six-year-old, asleep, his chicken perched alertly atop the bed. YOUNG MAN (V.O.) The only time I was at peace was when I slept. Inkosi Inkosikazi's chicken proved to be, like his previous owner, a salvation. CUT TO:12 EXT. REAR OF DORMITORY - DAY 12 The Boy builds a small shelter for the CHICKEN, who CLUCKS and forages contentedly. YOUNG MAN (V.O.) During the day he would live outside the dorm, happily scarfing down bugs and grubs, secure in a little house I built for him. CUT TO:13 INT. DORM - NIGHT 13 YOUNG MAN (V.O.) And at night he would hop through the window and, perching over my bed, squawking if any intruders came near. 8. Several boys sneak up in the dark. The CHICKEN begins to CHATTER. The six-year-old wakes, a shoe in hand ready to throw. The shadows scatter. The Boy gives the chicken a few grains of corn and an affectionate scratch behind the ear, and goes back to sleep. YOUNG MAN (V.O.) He was my best and only friend. CUT TO:14 INT. SCHOOL 14 Boys and faculty running through the halls excitedly, showing newspapers with pictures of Hitler and Chamberlain on the front. Posters and slogans with swastikas are slapped up on walls. Some boys mimic "heiling" to each other. YOUNG MAN (V.O.) I'm sure in time a status quo would have been achieved between me and my schoolmates were it not for the cataclysmic events occurring in that faraway place none of us had ever seen. (beat) Two montjhs after I arrived at the school World War II broke out in Europe. Hitler had vowed to crush the British Empire. The Boers sharpened their swords in anticipation. The six-year-old comes back to his bed in the dorm to find a swastika carved into it. CUT TO:15 INT. DORMITORY - NIGHT 15 The six-year-old sleeps fitfully. There is a MUFFLED SQUAWK. He wakes. A blanket is thrown over his head. CUT TO:16 INT. DARKENED BASEMENT ROOM 16 The Boy is dumped on the floor, the blanket removed. His eyes open in horror. The room is lit by torches. Shadows dance fearfully off two dozen boys with swastika armbands and leather pistol rigs without pistols strapped to their sides. In front of him on a platform Jaapie Botha stands, his shirtsleeves rolled to the shoulder, 9.as another student painfully tattoo-scars his arm witha swastika, using a knife and blue dye. Seeing the six-year-old, Jaapie turns his attention to him andaddresses him in Afrikaans. JAAPIE God has sent Hitler to deliver us from the English bastards who stole our country and killed our people. Heil Hitler!The other boys chorus in. ALL Heil Hitler! JAAPIE We will swear a blood oath. When Hitler comes we'll rise up and kill the Verdomde Rooineks. ALL A blood oath! A blood oath!Jaapie bends down and grabs the six-year-old by theshirt front, yanking him up. JAAPIE With your blood.Jaapie slaps the Boy across the mouth three times.Blood flows from his mouth and nose. Jaapie dips hisfinger in the blood and smears it across his new tattoo.He holds up his bloodied fingers. JAAPIE We swear allegiance to Adolf Hitler. Heil Hitler! ALL We swear allegiance to Adolf Hitler. Heil Hitler! JAAPIE Death to all Englishmen in South Africa. Heil Hitler!The chorus repeats. JAAPIE God bless the fatherland. Heil Hitler!The voices come back to him stronger. 10. ALL Heil Hitler! Jaapie grabs the six-year-old again. JAAPIE See what we have in store for you when Hitler comes, Rooinek. Hoy! He gives a command. The boys at the far end of the room part. The six-year-old's eyes open in terror.17 HIS POV 17 20 feet away Inkosi Inkosikazi's chicken, his chicken, is hung from a rafter upside down, haplessly flapping against his bonds.18 BACK TO SCENE 18 BOY No! But before he gets two steps towards the chicken he is gang-tackled and held. Jaapie picks up a sling and a rock. JAAPIE For crimes committed against the whole Boer people. I, Jaapie Botha, the judge and Uberfuhrer, sentence you and your Rooinek kaffir chicken to death. Heil Hiter.! ALL Heil Hitler! Jaapie starts to swing the sling around and around. The six-year-old struggles to get free. ALL Heil Hitler! Heil Hitler! The SLING WHISTLES through the air, faster and faster. BOY No! Jaapie releases the stone. It flies true, catching the SQUAWKING, struggling CHICKEN flush in the chest. The flapping stops as blood soaks through feathers. 11.Jaapie flings his hand forward, victorious. JAAPIE Heil Hitler! ALL Heil Hitler!The Boy takes the opportunity to break loose. He rushesJaapie, whose arm is outstretched, putting him offbalance. The Boy catches him low, driving his head intoJaapie's exposed stomach. Jaapie falls back and getsthe knife used for his tattooing right in his ass.Jaapie Botha bellows like an enraged bull as he grabsfutiley for the embedded blade. His cohorts laugh,thinking it tremendously funny, until Jaapie removesthe knife and turns with it, dripping his own blood, hiseyes murderous. The laughter dies. Jaapie's breathcomes hard. JAAPIE Hang him up!A few boys protest. BOYS Jaapie! No!But Botha is murderous, intent on revenge. JAAPIE Hang him!He waves the bloody knife in the air. Three boys grabthe six-year-old and drag him to where the chicken ishanging. Two more boys throw a rope over the samerafter. Others bind the struggling boy, trussing hishands to his sides. JAAPIE You will pay for the deaths of our grandfathers and grandmothers, our aunts and uncles. All Rooineks will pay and you will be first. Pull!The boys who tied the rope now yank it over the rafter.The six-year-old is hoisted up until he is eye-level withthe chicken. JAAPIE In the name of Adolf Hitler and the fatherland, I sentence you to die, Verdomde Rooinek. 12. BOYS Kill him! Kill him! Kill him! Jaapie swings the sling overhead, faster and faster.19 ANGLE ON SIX-YEAR-OLD 19 He watches as Jaapie bears down. As Jaapie is about to let the rock fly the door to the room opens and two STAFF MEMBERS burst in, surprising in. STAFF MEMBER What's this? The rock flies from the sling, but Jaapie's attention is diverted. His aim is off. The rock grazes the boy above the eye. He loses consciousness. The scene FADES TO BLACK. FADE IN:20 INT. ST. JOHN'S STUDY - DAY 20 Prince of Wales School, 1950. PK, 17 going on 18, well- built, intense, clear-eyed, handsome, stands in front of a seminar and continues reading to 10 students, honor students, Headmaster St. John's chosen few. St. John, with the demeanor of an Oxford don and a mane of snowy white hair that reaches his shoulders, sits off to the side, listening. PK I came to after being unconscious for two days, the rock missing my eye by half an inch. After a week in hospital it was decided I'd be sent to my grandfather's house in the English town of Barberton, at least until passions at school cooled. Jaapie Botha was expelled; sent home to his family's farm in disgrace. PK (CONT'D) (beat) And so the first recorded South African casualty of Hitler's insanity was not a Boer, nor a Rooinek, but a tatter-feathered, half-bald kaffir chicken. PK finishes. The end of class BELL RINGS. Offstage, other classrooms are exiting into the common hall, but no one in St. John's study moves. St. John takes his 13.glasses off and wipes the lenses deliberately. After along moment he turns to face the class. ST. JOHN Very evocative, yes. Particularly the image of the chicken. Good choice there.St. John rises, lecturing. ST. JOHN Any ideology that needs to attack the thing that least threatens it is an ideology that will not outlive its own generation. Inclusion, gentlemen, not exclusion, is the key to survival. (beat) Something our new government should take heed of, eh?His eyes roam from face to face, fixing his point. ST. JOHN Next week we have Mr. Levy who will enlighten us on...MORRIE, a bright-eyed kinetic, speaks up. MORRIE Sport and wager in Imperial Rome, sir. ST. JOHN (facetious) Very apt, Mr. Levy. We look forward to the experience. (pause) All right.The boys bolt for the door. ST. JOHN P.K.PK approaches. ST. JOHN Well-written. PK Thank you, sir. ST. JOHN I've received notice from the 14. Oxford selection committee. You are to appear before them in three weeks. I assume you'll be reading a piece of your fiction as your presentational. PK Yes, sir. ST. JOHN A word of caution. Contemporary to most of these fellows means the seventeenth century. Try and keep your theme, um, classical, if you know what I mean. PK Yes sir. I will. (beat) Will the scholarship be decided at the same time, sir? ST. JOHN Money's a different matter. Different committee. PK Very good, sir. St. John picks up a book and opens the pages. He begins to read. PK takes it as a cue for his dismissal. He goes to exit. ST. JOHN And P.K... PK turns at the door. ST. JOHN Good luck tonight. PK Thank you, sir. St. John returns to his book. PK exits. CUT TO:21 EXT. HALL 21 Morrie waits in the now nearly-empty hall, taking some money from another boy and making notations in a black book. PK comes up to him. 15. PK How we doing?Morrie consults the book. MORRIE You win and your dream comes true. You lose, we're back to bread and butter sandwiches till term's end. What'd he want? PK My appointement before the Oxford committee came through. MORRIE A snap. PK For a brain like you, maybe. MORRIE Come on, you'll read one of your pieces, they'll be begging you to attend. PK But will they pay for the privilege? MORRIE Well let's bloody hope so. It'll be a lonely time without you there. PK Morrie Levy. Is that the voice of sentimentality I hear coming from you? MORRIE Sentimentality my ass. Practicality. Where am I going to find a sure thing like you to make book on at bloody Oxford? PK Go on.He shoves Morrie playfully out the door and follows. CUT TO: 16.22 INT. LONG HALLWAY - CLOSEUP - PK AND MORRIE 22 as they walk down the long hall looking straight ahead. Sweat dapples PK's face. Both boys are focused on double doors at the end of the hall. There is the distant MUFFLED sound of a CROWD CHEERING. MORRIE You hear Sutcliffe screwed Bartlett's sister when he stayed with them over holidays? PK I don't believe it. MORRIE I heard it from Bartlett's own lips. He's selling reservations for next holiday. A pound for one night; three pounds for four. PK You register? MORRIE For both of us. Took the whole holiday. The CHEERING crowd grows LOUDER the closer they get to the double doors. MORRIE You nervous? PK No. MORRIE Christ! I'm about to have a calf. This bloody Boer gets lucky, we're in the poorhouse. They reach the double doors. Still in CLOSEUP, Morrie turns to face PK for the first time. MORRIE Now remember. We're not here to exhibit our wares. We go in, we do the job, we get out. Right? PK is so focused his eyes seem to bore through the doors. He does not move his head a hair. PK Right. 17.Morrie and PK draw a deep breath. Together they pushopen the double doors. Together they stride into afloodlit, fully-packed sports arena and head down thefan-lined aisle to the raised boxing ring in the center.Schoolboys in their respective school blazers, Afrikaanand English, yell, whistle and clap. PK and Morrie,in FULL FRAME, reveal PK in a boxing robe with tapedhands, and Morrie with towel and bucket. ANNOUNCER And at the end of six matches in all weight divisions, the score is Prince of Wales three victories, Helpmakeer three victories.The stands explode with cheers. ANNOUNCER And now for the final bout to determine which school will win the Johannesburg 1950 public school boxing team championship. In this corner, weighing 140 pounds, standing 5'8", from the Helpmakeer School with a record of 13-0 on the year, Jannie Geildenhaus.A huge cheer goes up for JANNIE, muscular, bare-chested,as he dances and shadowboxes for the crowd.PK enters the ring. He stands, robe on, eyes intent onJannie. When the noise subsides the Announcer continues. ANNOUNCER And in this corner, representing the Prince of Wales School, the current Johannesburg Public School welterweight champion, also with a record of 13-0 on the year, also 140 pounds, Kid P.K.Now the English schoolboys cheer for their man, but PKdoes not respond. He barely moves. He raises an arm inbare acknowledgment. His attention stays focused acrossthe ring on his shadowboxing opponent. PK watches Janniedance closely when a low CHANTING begins from outside thestadium -- African, tribal, mystical harmonies of blackvoices building until the white voices inside the stadiumare stunned to silence. The song carries beautifully inthe night. For the first time PK's focus is broken, butnot like the others in the audience, who haven't a clueas to what's happening. He has heard this before. Thisis familiar. 18. This is for him. A distant knowing flickers in his eyes like a man who has heard the voice of fate whisper his name. Over and over, one phrase is indistinguishable -- the chorus of the song. "Ono bi shobi ingelosi." The chanting stops as suddenly as it began. A moment passes before the crowd begins to buzz with the phenomenon. The Announcer attempts to bring everyone's attention back to the business at hand. ANNOUNCER We thank the native population for their spirited display of enthusiasm. But now, on to the main event. Fighters to center ring, please. PK, focused again, meets Jannie at the REFEREE. REFEREE You both know the rules. No butts, no elbows, no low blows. First man to score three knock downs wins. Let's have a good clean fight. Good luck to you. The fighters slap leather. PK turns back to his corner when his focus is broken dramatically by a face in the crowd.23 HIS POV - FRONT ROW - HALF-DOZEN SCHOOLGIRLS 23 sit; one of them MARIA ELIZABETE MARAIS, 17, with honey- blonde hair and lapis-blue eyes, turns her head and engages PK's eyes and his heart. She quickly looks away. But a connection has been made -- fire passed.24 PK 24 goes back to his corner and takes off his robe. Morrie stands, holding PK's mouthpiece. PK First row, third from the left. Find out who she is. Morrie looks down at Maria. MORRIE We're in a bloody war here, in 19. case you forgot. Let's keep our mind on that, hey? He jams the mouthpiece into PK's mouth as the BELL RINGS. PK turns to an onslaught by Jannie, a real brawler. Jannie's big, overhand rights almost nail PK until he finds his footing and dances away. Jannie comes after him hard, his schoolmates bellowing encouragement. But PK's far superior boxing skills put Jannie at an immed- iate disadvantage. It is a classic battle of a boxer versus a fighter. PK's jabs keep Jannie at an arm's length, until he closes with a combination. Jannie, willing to take three punches to land one, absorbs PK's point scoring combinations and tries to land knockout punches. When he has had enough punishment he lunges into a clinch. JANNIE Blery Rooinek. I'll kill you. PK pushes off as Jannie hammers at his kidneys. Backing up, PK repays the compliment with two quick jabs to the face. PK works Jannie, turning him left then right, working the angles, keeping him off balance while he racks up the points. Jannie goes left. As PK chases him that way his eyes fix on something out of the ring.25 HIS POV - REAR EXIT DOOR - TALL BLACK MAN 25 with a younger black companion of more average height, the only black faces in a crowd of 2,000 people.26 BACK TO SCENE 26 Their presence distracts PK for a split second, and in that split second Jannie seizes the opportunity. He comes across with a big right hand to PK's jaw. Jannie connects. PK goes down hard. The crowd goes wild. Morrie leaps up and down in the corner. MORRIE Get up! Get up! But PK is seeing double. He shakes his head, trying to clear it. MORRIE Up! Up!27 PK'S POV - JANNIE 27 dancing in his corner, sensing victory, the Ref over 20. him, counting.28 BACK TO SCENE 28 PK forces himself up. The Ref checks him. REFEREE Okay. Fight. Jannie comes rushing in, banging PK with a series of hard rights, but dropping his left each time he throws one. PK absorbs the punishment as best he can, backing up, dancing away. Jannie is all over him just as the BELL RINGS. Jannie goes back to his corner, triumphant. PK goes back to his and sits down with a blank ex- pression. Morrie goes to work on a small cut over his eye. MORRIE What are you trying to do, bankrupt us? What happened? PK turns and looks at the two Africans at the rear door. Morrie's eyes follow him, tensing as he sees the two men. MORRIE Christ! If they get caught in here they're dead. (beat) What the hell's going on? PK I don't know. MORRIE Well, worry about it later. In case you haven't noticed, this Boer bastard is trying to kill you. PK You see the way he drops his left when he throws the right? MORRIE Yeah? The BELL RINGS. PK and Morrie trade a look. Jannie comes rushing over and throws a big right. PK steps to his own right side and pops Jannie right over his dropped left hand. He looks at Morrie again. 21.29 ANGLE ON MORRIE 29 MORRIE Thank you, God. Jannie comes after PK, paying for each big right he throws as PK finds his mark. PK plants one, then two, then three punches on Jannie's face. Finally, frus- trated, Jannie forsakes all pretense of boxing and tries to nail PK with wild, flailing blows. PK bobs and weaves and feints. Jannie's punches grow weary. PK begins to bear down, driving his man back with rapid-fire com- binations until he delivers the coup de grace, a left hook to the heart and a driving right uppercut. Jannie goes down in a heap. The crowd goes wild. The Referee counts him out. Jannie's seconds rush into the ring to lift their fallen fighter. Morrie also rushes in, followed by the Prince of Wales boxing team. They hoist PK up on their shoulders.30 PK'S POV - MARIA MARAIS 30 rising from her seat, and leaving with the other girls. Their eyes meet. Her hint of a smile breaks his heart. She disappears in the crowd.31 BACK TO SCENE 31 PK's eyes rise to the rear exit. The tall African and his companion have vanished. CUT TO:32 INT. LOCKER ROOM 32 The boxing team and a number of their supporters are in raucous celebration. Morrie comes bouncing through the crowd, until he enters the empty dressing room in the rear, where PK is getting dressed. Morrie takes a wad of money out of his pocket. MORRIE Here you go, pal. He hands PK the money. PK You're the treasurer of this company. You hold it. Did you find out what I asked for? MORRIE 22. Uh, listen, P.K. You know in this world there is no greater proponent of sins of the flesh than Morrie Levy. But do yourself a favor on this one. Take my advice. Pass. PK Thanks for the advice. The information please. MORRIE Do you know who her father is? Professor Daniel Marais. PK So? MORRIE So? He's the Nationalist Party's resident intellectual. The man is one of the architects of this damned system of -- what are they calling it? -- apartheid? He has about as much use for a Rooinek Englishman rutting after his daughter as the Queen does for balls, pardon my French. PK What's her name and where do I find her?Morrie sighs. MORRIE Maria Elizabete Marais, Seniors Cottage, Room 22, Devilliers School. They don't call it 'Fortress Virgin' for nothing. You'll never get in.PK slips his school blazer on. PK You going to take book on that? MORRIE Already have. Three-to-one says you don't. PK Where'd you bet? MORRIE I took a big position you do. 23. PK smiles at his friend and starts to leave. Morrie stuffs some banknotes in his breast pocket. MORRIE In case you have to bail yourself out. PK boxes him around playfully and skips out, running the gauntlet of the celebration outside. CUT TO:33 EXT. DEVILLIERS SCHOOL FOR GIRLS - NIGHT 33 Indeed, "Fortress Virgin." Surrounded by a high stone wall, the school's gothic towers loom medieval in the African moonlight. A security guard mans the front gate. PK takes a route through shadows and shrubs, searching for a way in. He finds one in a tree whose massive limbs reach over the wall. In a flash PK is up the tree and over the wall. CUT TO:34 EXT. SCHOOL GROUNDS 34 PK makes his way through the darkened campus. A few stu- dents and some staff are about. PK hugs the shadows as best he can. PK passes a statue dominating the quad -- a Boer family from the last century; the man looking for- ward, his gun braced for action; the women and children at his shoulder, brave, resolute. CUT TO:35 EXT. SENIOR COTTAGE 35 PK comes up to the cottage where a few girls can be seen through the windows studying at lamplit desks or readying for bed. Other rooms are already dark. PK slips inside the building. CUT TO:36 INT. BUILDING 36 PK moves along the hall looking for room 22. He is about to turn a corner when TWO GIRLS chattering in Afrikaans come down a staircase. PK backs into a 24. darkened room to his left. The girls appear in robes with towels and toiletries and step into the same room. One flicks on the light to reveal the shower room -- 14 separate cubicle stalls. Still chattering, the girls disrobe.37 ANGLE ON PK 37 pressed hard against the inside wall of a stall with a clear view of the proceedings. He holds his breath as one of the girls heads towards his stall. Her girl- friend cautions her. GIRL Those are always cold. Use this one. The girl turns away to another stall just in time. The SHOWERS START. PK allows himself to breathe again. He exits quickly. CUT TO:38 INT. ROOM 38 Maria Marais sits at her desk in a nightgown, working on a paper, when there is a KNOCK on the door. With her mind still on her work, she opens the door. Her eyes go wide with shock when she sees PK. He puts a cautionary finger to his lips. PK May I come in? Maria, frozen with surprise, steps back. PK enters, gently closing the door behind him. PK I'm sorry to scare you. MARIA (nervous) You can't be here. She speaks in Afrikaan-accented English. PK I didn't know how else to meet you. MARIA I could be expelled. PK 25. Girls don't usually come to boxing matches. MARIA We went on a dare. Please.PK ignores her anxiety. PK Did you like it? MARIA It was... (beat) ... exciting. You were very good. PK (in Afrikaans) Thank you. I'm glad I impressed you. MARIA (surprised) You speak the Taal. PK I'll speak Zulu if it'll help me see you again. MARIA I can't. PK Why not? MARIA I need my father's permission. PK Is it hard to get? MARIA Hard for an Afrikaaner boy. Impossible for an English one. PK How about your permission? Do I have that?Maria blushes.All of a sudden there is a KNOCK on the door. Mariastarts. PK moves quickly behind the door as it opens toTWO GIRLS. 26. GIRL #1 We're having coffee upstairs. Want to come? MARIA I have to finish this paper. GIRL #2 Come when you're finished. We'll be up late.They close the door. Maria reinforces it with her body. MARIA Please go. PK You didn't answer my question. MARIA There are plenty of English girls. What makes me so important? PK The way I felt when I saw you.He is so direct she can only blush deeper. Her responseis indirect but affirmative. MARIA My father will insist on meeting you. PK I can't wait.O.S., the outside door to the dorm opens. A matron'svoice calls out. MATRON (V.O.) Lights out, ladies. MARIA Now please.PK opens her window and starts to climb out. PK (in Afrikaans) Good night, Maria Marais. MARIA (in English) Good night, PK. 27. PK pauses. PK I don't remember telling you my name. MARIA (smiling) And I don't remember telling you mine. PK smiles back at her. He drops to the ground. Maria closes the window and watches him scoot across the campus until he is swallowed by the night. CUT TO:39 INT. MARAIS HOUSE 39 An ample house. PAN ACROSS a gallery of oil paintings depicting great moments in Boer history -- the Great Trek, an endless progression of oxcarts heading north, the Battle of Blood River against the Zulu armies, the hang- ing of Boer farmers by British regulars. Women and children herded into a detention camp as their farms burn in the background. Boer kommandos sniping at a British column on the veldt. PAN FROM the pictures TO photographs, sepia-toned, his- torical, and DR. DANIEL MARAIS and PK, strolling past the pictures. Marais points to a photo of a young Boer, turn of the century, posed stiffly with a rifle in the slouched hat of a Boer kommando. MARAIS Jan Piet Marais. My uncle. At 22 he led a kommando for three years before your people caught him and hung him. PK My people? MARAIS The English. PK I consider myself an African, sir. MARAIS As do I. As do the Zulu, the Xhosa, the Pongo, the Ndebele. We're all Africans. But all from separate tribes, ay? 28. PKUnfortunately. MARAISWhy do you say that? PKBecause it's the whole tribalidea that creates our problemshere in South Africa. MARAISThe problems of South Africa, myboy, do not come from tribalism.They come from counter-tribalism.From people insisting that naturallaws which have been in place andoperating since God's creation,should be tampered with. Doesthe gazelle sleep with the lion?Does the rhino graze with themouse? The separation of thingsis not coincidental. Do you thinka Zulu wants to see his culture,his sense of identity, replaced bysomeone else's anymore than I do? PKNo, sir. But I don't think hewants being a Zulu to mean he isdenied the same rights aseveryone else has. MARAISWhich is why civilization isdefined by the ability to liveunder the rule of law. Lawsdefine rights. PKBut do they define justice? MARAISAh. Justice. The banner behindwhich the English marched as theygobbled up a quarter of the world?Justice, my boy, is only relativeto who's in charge. PKAnd how long they stay in chargeis only relative to how well theydispense that justice... (beat)... with all due respect. 29.Marais fixes PK with a stare. PK's eyes meet his evenly,unwavering. Maria enters. MARIA Papa, would you like coffee in the library or the parlor? MARAIS (pleasant) The library, mein leib.Maria smiles at PK and exits. He leads PK towards thelibrary. MARAIS I can't figure out if you're brave or foolish. PK Why is that, sir? MARAIS You come here to ask for permission to see my daughter. Correct? PK Yes, sir. MARAIS And knowing who I am, what I stand for, do you think this sort of discussion is going to put that request in a favorable light? PK I thought a man of your intellectual reputation wouldn't want his daughter seeing someone who didn't think. MARAIS Let me give you some advice then. You're right. I admire a keen mind. But intellectual reputation or not, I am first a Marais, a member of the Volk. MARAIS (CONT'D) And if you're trying to impress a member of the Volk with your intellect, don't do it espousing liberal ideas picked up in an English private school. 30. PK These ideas I picked up somewhere else. Marais opens the library door. MARAIS (joking) No doubt from an expert on race relations. PK Actually, sir, from an expert on cactus. CUT TO:40 EXT. ROCK OUTCROPPING - DAY 40 A brilliant African sun beats down on the veldt below. On the rock, a seven-year-old PK sits looking somewhat sadly over the landscape. A long shadow covers him. The CLICK of a CAMERA is heard. PK turns, shielding his eyes with his hand against the glare of the sun to a tall, white-haired figure, shirtless, in hiking boots and kneesocks, holding a box camera. DOC (FIGURE) Ja. Perfect. You will excuse me, please. DOC, speaking in German-accented English, moves off from the sun's glare down to PK's level. On his back is a knapsack with a cactus sticking out of it. DOC This I do not normally without permission do, ja? But to catch the expression. After all, it is the expression that is important. Ja? Without the expression the human being is just a lump of meat. You have some problems, I think. I am Professor Karl von Vollensteen. Doc clicks his heels together and bows his head slightly. PK I'm P.K. He holds out his hand. Doc takes it. DOC Such a young person with such an 31. old expression. I think we can be friends. Ja? Eighteen-year-old PK narrates. PK (V.O.) That was how I met Doc, as he insisted I call him. A chance meeting between a directionless seven-year-old boy and an old German professor out collecting cacti on the African bush veldt. (pause) So began my education. Doc and PK walk the veldt across craggy mountain trails, down dry river beds, through the jungle, always collecting cacti and aloe samples, Doc always talking, always explaining. PK (V.O.) Doc believed the brain had two functions and that the South African public school system unfortunately dealt with only one. DOC The brain, P.K., has two functions. It is the best reference library ever, which is a good thing to have. Ja? But also from it comes original thought. In school you will get all filled up with the facts. Here your brain will learn where to look, how to look, how to think. And then you will have for yourself all the brains that have ever been. Doc and PK sit high up. PK watches the endless animal migration below while Doc points things out across the landscape. PK (V.O.) Doc knew everything. He had a love of learning. But his real passion was centered around two things -- music and cacti. CUT TO:41 EXT. DOC'S HOUSE 41 PK and Doc walk up a steep road toward Doc's house which sits on top of the hill, both carrying cacti-filled 32. packs. PK (V.O.) Until he was fifty, Doc had a successful career as a concert pianist all over Europe. On his fiftieth birthday he gave it all up and moved to South Africa. From that point on it was all cactus. CUT TO:42 EXT. CACTUS GARDEN - DAY 42 Behind Doc's simple, whitewashed cottage is a magnif- icent cactus and aloe garden filled with the samples Doc has collected for years. PK and Doc plant another specimen. Doc photographs it. PK records its genus in a notebook. PK (V.O.) Every specimen Doc found would be carefully photographed and catalogued. CUT TO:43 SUNSET 43 Doc an PK walk through the cactus garden. DOC If God would choose a plant to represent Him, I think He would choose of all plants the cactus. This one plant has all the blessings He tried but failed to give man. It is true. Look. The cactus is humble but not submissive. It grows where no other plant will grow. The sun bakes its back, the wind rips it from cliffs, or drowns it in the dry desert sand. Not a complaint. In good times or bad it will still flower. It protects itself from danger. Doc touches a cactus needle. DOC But it harms no other plant. It 33. has patience and solitude and modesty. In Mexico there is a cactus that blooms once in a hundred years and then only at night. That is saintliness of the highest order I think. Ja? From cactus comes medicine to heal the wounds of men and little buttons if you eat one you can touch the face of God or stare into the mouth of hell. It is the plant of patience, solitude, love, and madness. Modesty, beauty. Toughness and gentleness. Of all the plants I think it is closest to God. Ja? PK (V.O.) Doc was a hard man to disagree with. So when he decided I must spend as much time with him to remedy the flaw in my educational environment I didn't argue. CUT TO:44 INT. GRANDFATHER'S PARLOR 44 Shabbily-genteel, Doc sits in his Sunday best, a cup of tea on his lips, talking in earnest to PK's pipe- puffing, also shabbily-genteel grandfather as PK looks on. PK (V.O.) Appealing to my grandfather's stoic belief in the primacy of European culture in all its forms, Doc offered to instruct me in piano in return for my helping him locate and gather his precious cacti. CUT TO:45 INT. DOC'S COTTAGE 45 Doc and PK practice on a beautiful Steinway, so grandly out of place in Doc's simple abode. PK (V.O.) As a student of music I was never more than adequate, something I suspect Doc knew from the start. It is the love of music that is most important, he would tell me, and I would believe him. 34. CUT TO:46 EXT. JUNGLE 46 Doc and PK wander through the jungle looking for flora. DOC Everything fits, P.K. Nothing is unexplained. Nature is one big chain reaction. Everything depends on everything else. From the smallest to the biggest. Always in life an idea starts small like a tree. Doc shows PK a small tree with an even smaller vine attached to it. DOC This tree can grow so high it can touch the face of the sky. But this little vine can choke it and keep it small. Most people are like these vines. Afraid of new ideas. Afraid to let things grow. Doc rips the vine away from the tree. DOC Always listen to yourself. Follow your own idea. If you are wrong, so what? You learn something. And with learning you grow stronger. And if you are right at the beginning? An even bigger bonus. CUT TO:47 EXT. VELDT - DAY 47 Doc and PK move alongside the great herds. PK (V.O.) I roamed the kloofs and ridges, the dry riverbeds and jungle floors with Doc for over a year, learning more than I realize even today. (pause) I also played a lot more 'God Save the King' due to my new musical celebrity. 35. CUT TO:48 EXT. BARBERTON - DAY 48 TRACK THROUGH Barberton, a small town on the low veldt, in all its colonial backwater splendor. PK (V.O.) Barberton was a very proper English town with a proper square, a wide main street, and the colonials' overblown patriotism for a homeland most people had never seen, hanging in the air like fine dust. Not quite seen, but there nonetheless. CUT TO:49 INT. CONCERT HALL 49 PK plays "God Save the King" on the stage. The town's population stands -- the men, stoic; the women, dewey- eyed, at patriotic attention. Some people file out -- the men in officers' uniforms of the South African penal system and their wives -- Boers. They exit to the dagger stares and some undertoned hissing and booing from Her Majesty's loyal subjects. PK (V.O.) The only Afrikaaners to live in Barberton were sent there to work at the government prison, just outside town. Germany had covertly supported the Boers in their two unsuccessful wars against British rule, supplying food and medical supplies as well as ample stocks of ammunition. PK (V.O.)(CONT'D) Germany was an old friend, a trusted friend. And in a country where a handshake is a friendship and a friendship a bond for life, as the war in Europe grew fiercer tensions in Barberton heated up. Suspicion was afoot. Spies were everywhere. CUT TO: 36.50 EXT. ROAD TO DOC'S COTTAGE - DAY 50 Doc and PK walk toward the cottage. Doc reads PK's report card. DOC Grammar: satisfactory. Science: satisfactory. Mathetmatics: satisfactory. He looks down at PK. DOC P.K., if there is one thing I know you to be that is a lot more than just satisfactory. Ja? PK But I don't want to be known as a brain. DOC Why not? PK Who do you think gets beaten up on all the time in school? DOC My boy, to be smart is not a sin. But to be smart and not use it, that is sin number one. And as for getting beat up on, use your brain to figure out how not to be. He hands PK the report card, his displeasure obvious. As they crest the hill the cottage comes INTO VIEW along with a parked Army car and two armed soldiers leaning against it. Seeing Doc and PK, the soldiers smarten up, raising their rifles and advancing. Doc's face grows pale, his lips tight. PK pulls close to him for support. DOC Again it begins. The stupidity. Do not be frightened. Doc puts na arm around PK's shoulder, drawing him close, comforting him. One of the soldiers pulls a pair of handcuffs out of his pocket as he advances. CUT TO: 37.51 EXT. BARBERTON PRISON 51 A car pulls up. Doc, in shackles, is escorted from the car. PK exits after him. Two guards lead Doc toward the doorway to the prison, a square in the looming gates. Doc walks, his head held high. PK walks alongside holding his hand. BRITISH OFFICER (V.O.) Karl von Vollensteen, for the failure to register as an alien during times of war in accordance with His Majesty's government orders to do so, you are hereby sentenced to be confined at Barberton prison for the duration of the war with Germany. At the door a guard touches PK's shoulder, holding him back. The door opens. Doc goes through. Just before the door closes he looks back at PK one last time. The door slams shut. PK, with tears streaming down his cheeks, is left outside. CUT TO:52 INT. PK'S ROOM - NIGHT 52 Morrie lies in bed, asleep. PK sits up at his desk, writing. PK (V.O.) And again I was alone with nothing to depend on to see me through except the power of one. PK puts down his pen and sits, regarding the pages. He raises his eyes to a photo on the desk of a boy on a rock. PK smiles at hidden memories, caps his fountain pen, turns off the light. The room is pitched into darkness. CUT TO:53 EXT. DOWNTOWN ALLEY - AFTERNOON 53 The seedy side of town. PK carrying a gym bag and Morrie looking a bit out of place in their school blazers come striding up the alley. 38. MORRIE Look, even if the scholarship doesn't come through, my old man said he'd lend you the money. PK Morrie. MORRIE All right. All right. We'll call it the 'Levy Carpet Emporium Scholarship for Poor but Proud Christian Gentlemen.' How's that? PK Tell your father I appreciate the offer. MORRIE God, I hate people who can't be bought. PK Why is that? MORRIE I don't know. Personality disorder. PK nods in agreement. PK Undoubtedly. The boys come to their destination marked by a rickety, faded sign: "GOLDMAN'S GYM." Excitement shines in PK's eyes. He bounds up the narrow flight of stairs. CUT TO:54 INT. STAIRCASE 54 Morrie and PK rush up the stairs, stop at the landing, and collect themselves before opening the door to the gym. They take a breath and enter. CUT TO:55 INT. GYM 55 A down and dirty boxing gym, humming with the rhythm of 39.men training. Sweat and smoke fill the air along withthe faint scent of blood. Fighters, both black andwhite, train with each other. Morrie is amazed. MORRIE How do they get away with this?But PK has his mind on other things. His eyes fix onan OLD MAN across the room standing by ringside. PK There he is. MORRIE Christ, he's old. PK And he's the best. C'mon.PK leads Morrie across the gym. PK passes an Africanfighter. He stops training when he sees PK. He turnsto another African fighter, glancing at PK. One by onethe blacks in the gym stop training to look at PK. PKand Morrie approach the rheumy Old Man yelling at thetwo fighters in the ring above him in a thick Polish-Jewish accent. SOLLY (OLD MAN) No, no. God gave you two hands so you can knock a man out from either side. Left-right.He moves his creaky body back and forth to demonstrate. PK Mr. Goldman?Solly turns to the boys. A look of bemusement comes overhis face when he sees their blazers. SOLLY What? You boys lost? PK I'm the one who called you yesterday. From the Prince of Wales School? SOLLY Oh yeah, yeah. The champeen. Right? PK (smiling) Right. 40. SOLLY And who are you? MORRIE The champeen's manager.Solly rolls his eyes to heaven. SOLLY Oy gevalt. (beat) You know you train here it's not like those nice school fights you're used to. Three knockdowns you win.Just then, as if to underscore his point, one of thefighters in the ring gets caught witha solid shot to thejaw. He hits the canvas inches from where they arestanding. Solly, PK and Morrie all look at him, and thenat each other. MORRIE What does it cost for you to train him? SOLLY For my personal attentinons, Mr. Manager? Fifty pounds a month. For one of them... (points to the other men working with fighters) ... less.Morrie pulls out a wad of money and proffers it to Solly. MORRIE Here's for six months in advance. Three hundred pounds.Solly pushes the money back. SOLLY Six months? I don't know your boy'll last six minutes. PK I'll last.Solly notices that every black fighter in the gym hasstopped working and is staring at PK. SOLLY 41. What are you staring? Punch, don't stare. C'mon. Work or you're out.The blacks go back to work. SOLLY That your gear? PK Yes, sir. SOLLY Go change in the back. We'll see if you couldn't find a better use for all that money. PK Thank you, sir.PK heads towards the rear. Solly turns to Morrie. SOLLY Why's he want to do this, a nice- looking schoolboy? MORRIE He wants to be welterweight champ of the world.Solly breaks up laughing. SOLLY Oh sure, sure. And I'd like to be twenty-five again. MORRIE You like to make book on it? SOLLY (joking) You giving odds? MORRIE You name them.Solly gives him a long look. SOLLY You both meshugah.Solly walks away. CUT TO: 42.56 INT. GYM - RING 56 PK is in the ring getting ready to spar with a well-built opponent. Morrie stands at ringside with Solly. SOLLY Let's just start out nice and easy now. He hits the bell. The fighters circle. PK's opponent starts punching, jabbing, probing. After two feints he comes after PK in earnest. PK steps left and peppers him with three quick blows to the face. Solly's interest is suddenly piqued. Again the fighters circle. Again the opponent sets up with jabs and again he attacks. This time PK dodges, hits him hard and spins him around, hitting him twice more. A smile appears on Solly's face. The opponent, angered now, gets more aggressive. PK keeps bobbing and weaving, sticking and slipping punches. The opponent unloads, banging away at PK with everything he has. PK backs up two steps, then shifts positions. The opponent's momentum carries him into the ropes. As he comes off the ropes PK throws him an eight-punch combination, demolishing his opponent. PK steps back. The opponent sags. Solly hits the bell, clearly excited. SOLLY Never I seen someone so young throw an eight-punch combination. Where did you learn such a thing? PK In prison, sir. SOLLY You trying to be a comedian and a boxer? Mr. Manager, come to my office. We'll talk terms. You, get showered, and see me after. We'll talk training. Solly and Morrie head off toward Solly's office. PK watches them go, a small victorious smile on his face. CUT TO:57 EXT. BARBETON PRISON GATE 57 Seven-year-old PK stands at the gate holding a bucket, waiting to be let in. CUT TO: 43.58 INT. PRISON HALL 58 PK sits on a bench in the hall. Black prisoners are marched by, guarded closely. At PK's feet is the metal bucket. The door to Kommandant Von Zyl's office opens. A guard summons PK. PK rises, takes his bucket and enters the office. CUT TO:59 INT. VON ZYL'S OFFICE 59 The KOMMANDANT, a brusque man with a salt-and-pepper brush cut sits behind his big desk. VON ZYL (KOMMANDANT) So you are PK. PK Yes, sir. VON ZYL I am Kommandant Von Zyl. The professor has requested you to be his visitor so you can continue your studies on piano and he can continue with his studies on cactus. This is the first specimen? He alludes to the bucket. PK Yes, sir. Kalanchoe Thrysiflora. He holds the bucket up.60 VON ZYL'S POV 60 A small cactus resting on some tobacco leaves.61 BACK TO SCENE 61 VON ZYL The professor taught you this, ja? Of course to your English town he is a prisoner, a criminal. To us who respect such learning and culture, he is an honored guest. 44. He hands PK a pass. VON ZYL This pass is good for any time, any day. Would you like to see him now? PK Yes, sir. VON ZYL Come. I will take you myself. Von Zyl rises and opens the door for PK. They exit. CUT TO:62 INT. PRISON CORRIDOR 62 PK and Von Zyl walk together. VON ZYL We have cleared a little plot behind the cellblock for the cactus. And tomorrow we have the professor's piano moved here. There is not another instrument like it in the territory. Maybe one day the two of you can give a concert for us, hey? PK Yes, sir. Just then the sound of GRUNTING and THWACKING fills the air. PK passes a room set up as a boxing gym. Through a crack in the door he sees a dozen boys being coached by some guards. Some guards are also being coached by a second man. A third man, LIEUTENANT SMIT, oversees the whole training session. PK watches, mesmerized. VON ZYL You like to box? PK I would like to learn, meneer. Are the boys prisoners? VON ZYL (laughs) No, no. The sons of the guards. See that one there? (points to a 45. little pudge boy flailing away) That's my son, Danie. It's a club. Lieutenant Smit. Smit comes over. SMIT Sir? VON ZYL We have room for one more on the squad? Smit looks down at PK. SMIT He's a little small, Kommandant. VON ZYL We'll build him up then. SMIT Yes, sir. But I really don't have anyone to spare to teach him right now. You know, with the tournament coming up. VON ZYL There must be someone. Smit looks around the hall.63 HIS POV 63 A crumpled, old BLACK MAN, a lifer with broken, bandied legs and a fighter's flattened face, wiping the floor, picking up used towels.64 BACK TO SCENE 64 SMIT Piet. GEEL PIET comes shuffling over, properly submissive. GEEL PIET (BLACK MAN) Yes, sir. SMIT You teach this boy basics, and you teach him good or I knock your black head flat, you hear? 46. GEEL PIET I teach him best I know, baas. SMIT We train every day. First thing in the morning. Miss two trainings, you're gone. PK Yes, meneer. SMIT Come tomorrow. See this old kaffir. PK Yes, meneer. Thank you, meneer. VON ZYL Lieutenant, a word?The two men step off to the side. GEEL PIET Don't worry, little baas. Little can beat big any day. First with the head, then with the heart. Little defeat big when little is smart. You can remember that? PK Yes, sir. GEEL PIET No, no. Don't never call me sir. 'Specially in front of the guards. PK What should I call you? GEEL PIET Piet. Geel Piet. COACH Kaffir. Towels.Geel Piet assumes his submissive posture again. GEEL PIET Okay, baas. Coming, baas.He winks at PK and shuffles off. A BELL SOUNDS. CUT TO: 47.65 EXT. CARNIVAL 65 A bell at the top of a strongman's game sounds. A big Boer farmer, mallet in hand, roars in triumph, swinging the mallet again and ringing the bell again.66 ANGLE ON PK AND MARIA 66 walking through the carnival, munching popcorn. MARIA You took a big chance talking to my father the way you did. PK Not really. Going in I was behind on points with him. I'm English. I attend a politically suspect school. I'm a boxer. MARIA He likes boxers. PK All men like boxers. But not for their daughters. So I had to find some way to make an impression. They get on line for the Ferris wheel. MARIA You could have picked a more agreeable topic. PK And made much less of an impression. Talk to someone about their passion. Even if they disagree they'll remember you. It was really the most logical strategy if you think about it. MARIA Do you spend hours thinking about how to deal with me, too? PK Days. MARIA Know what I think? (beat) 48. You're dangerous.Their turn comes to mount the Ferris wheel. They getinto the seat and strap in. MARIA When I was little we would go to my grandfather's farm in the high veldt for holiday.The Ferris wheel starts to go up. MARIA My father would take me to the top of the highest hill and we'd play this game, 'What Do You See' until we ran out of things to see. Do you ever play that? PK No. MARIA Want to try? PK Sure.The Ferris wheel stops to let more people on. Johannesburgglitters beyond. MARIA I see a forest. It goes on forever. There are giant trees which keep getting bigger and bigger over thousands of years. Now you.The wheel begins to move a little higher and then stops. PK I see little trees growing on the forest floor, learning to grow with the little bit of light the big trees let in. Now you. MARIA I see the big trees getting bigger, their leaves and branches making one great green umbrella over all of Africa.The wheel stops again at its highest point. PK 49. I see the sun growing weaker, giving off less light. I see the big trees dying because they cannot live without a lot of light. I see the little trees take over the forest because they learn to adapt. MARIA You tell a very good story. Her eyes sparkle, making her irresistible. PK leans forward. Maria turns her face towards him. Her lips part slightly. They kiss tenderly. The CAMERA RISES FROM them TO the star-littered sky twinkling above. The sky goes from black to grey as the CAMERA PANS DOWN. GEEL PIET (V.O.) (sing-song) Can't hit you, can't hurt you. Can't hit you, can't hurt you. Can't hit you, can't hurt you. That's it. Good. Good. CUT TO:67 INT. PRISON BOXING ROOM 67 Geel Piet is punching at PK, slowly, with a large pair of gloves. The seven-year-old bobs and weaves quite expertly. Geel Piet stops, winded. GEEL PIET You wear out this old man. See? See how it can work? How little beat big? PK Yes, sir. But when do I get to punch? GEEL PIET You not going to just punch, man. You going to combination. He demonstrates. GEEL PIET One-two. One-two. C'mon. Now you. One-two. One-two. 50.PK does his best to mimic. GEEL PIET Oh do we have a boxer here. Yes sir. We build you to eight-punch combination. The Geel Piet eight. Then you catch afire. One-two. One-two.Doc appears in the doorway. DOC How is the next Joe Louis this morning? PK Try and hit me.Doc chuckles. PK No. C'mon.Doc takes a half-hearted swing. PK bobs expertly. PK No. Try hard.Doc sets up and swings left, then right. PK avoidsboth swings. DOC You are amazing. PK And I'm going to learn the Geel Piet eight. DOC Yes, yes, yes. But right now you have to come learn the Beethoven Fifth for one hour so we can get to the cactus before it's too hot to plant. Did you bring her?PK points to a nearby bucket. PK Parchypodium Namquanium. DOC Excellent. Excellent. We make from you a champion and a brain. 51. GEEL PIET (furtive) Excuse me, big baas. But can I talk to the small baas? DOC Of course.Geel Piet looks hesitantly from the man to the boy andthen begins. GEEL PIET Every day I see you bring the bucket and in the bottom is some tobacco leaf. PK It keeps the roots wet. GEEL PIET What happens to the leaf after? DOC A little I use in some water to make a bug spray for the plants. PK And the rest we throw away.Geel Piet fidgets. He drops his head, speaking low. GEEL PIET If you leave the pail when you go plant is a problem, small baas? PK I don't understand. GEEL PIET Is like this. You see how hard the life is for the people here in prison. Only little pleasure they take from this hard life maybe sometimes when no one watching late at night -- a little smoke. Now with the big war in Europe tobacco is plenty hard to get outside. Inside it is gone. We are the forgotten in here. PK We have bunches of leaves at home. I'll bring a whole bucketful tomorrow. 52. GEEL PIET No, no. Mustn't do that, little baas. PK I don't understand. DOC What Geel Piet means is it can be dangerous. Something the guards might not want the people to have. PK What's wrong with tobacco? Why wouldn't they want them to have it? DOC What's wrong is people whose job it is to punish. After a little while it is all they know how to do. PK What should I do? DOC This is for you to answer.The sound of a TRUNCHEON on METAL turns them to the doorwhere SERGEANT BORMANN, a side of beef with a sadist'seyes, stands, truncheon in hand. He enters the room andcircles the trio. BORMANN I smell something not right here, ay, kaffir?He pokes Geel Piet with his truncheon. GEEL PIET (submissive) No, meneer sergeant. Everything okay here.Bormann swings his truncheon into the back of Geel Piet'sknees, buckling the little man to the floor. BORMANN I don't fuckin' believe you.He glares at Doc and PK. BORMANN If you're up to something I'll find out. 53. Bormann, still eying them suspiciously, exits. Doc and PK help Geel Piet up. DOC Schweinhund. GEEL PIET No, no. This old kaffir's okay. Sorry to make any trouble, little baas. We just stick to the boxing now on. Sorry, sorry. Geel Piet goes hobbling off, picking up towels. Doc and PK go to exit. At the door PK turns. PK Geel Piet. Geel Piet turns. PK I leave my bucket on the side by Doc's toilet when I practice piano. Geel Piet breaks out a smile he usually keeps to himself and exits. PK looks up at Doc who tossles his hair approvingly. DOC PK, to me you are the champion of the world already. Come. Let us go box now with Mr. Beethoven. PK and Doc exit. CUT TO:68 INT. SOLLY'S GYM 68 PK in the ring is about to start sparring. Solly gives him instruction as Morrie stands by. SOLLY Now at the end of the Geel Piet eight you do this... one-two... (he punches the air) One-two-three... the Solly Goldman thirteen. Okay? PK nods. Solly hits the BELL. The sparring begins. PK works his way in. 54. SOLLY That's it. That's it. Move him around. Jab jab. Slip slip. Now. PK pours it on, laying in the Geel Piet eight. Solly is silently counting. SOLLY And... one-two... one-two-three. PK fires the last three punches like lightning and backs up. SOLLY That's it. That's it. Now work around the defense. Jab jab. The opponent becomes aggressive. PK starts dancing, slipping punches. MORRIE How do you get away with this, Mr. G? Why don't they close you down? I mean, there are laws about blacks and white boxing each other. SOLLY In a public match. Not in a gym. Not yet anyway. The Boer is a funny people. Outside the ring the black is not equal. Inside he is. But only in private, not in public. So I keep my mouth shut, the police go a little blind, and that's that. It's a crazy world, huh? A WHISTLE from across the gym draws Solly's attention. He and Morrie turn to his office where his assistant stands with the tall black man from the Schoolboy Championships. Solly's face takes on a serious ex- pression. He rings the bell. He turns to Morrie. SOLLY Work him on the heavy bag. Solly heads for his office.69 ANGLE ON PK 69 turning away from his opponent. He and the tall black man trade a glance just before the man enters Solly's 55. office and Solly closes the door. CUT TO:70 INT. GYM 70 PK pounds the heavy bag as Morrie stands by. MORRIE Six, seven, eight, nine, ten. That's it. PK stops, relaxing. Morrie throws a towel over his shoulders. One of Solly's ASSISTANTS comes over. ASSISTANT Solly wants to see you two. PK and Morrie look at each other and head for Solly's office. CUT TO:71 INT. OFFICE 71 Solly faces the door as it opens. PK and Morrie enter. MORRIE You wanted to see us, Mr. G.? SOLLY Close the door. (beat) Someone I got a lot of respect for asked me to make a request. He wants to put you in a match. MORRIE With who? SOLLY A young guy just turned pro. Gideon Mandoma. MORRIE A black fighter! They want him to fight a black fighter? SOLLY In a black township. Sofiatown. MORRIE Out of the question. Not even up for discussion. C'mon, P.K. 56.Morrie goes to exit. PK doesn't. PK Who asked you to ask? SOLLY The man who promotes all the fights in Sofiatown -- Elias Nguni. PK And you trust him? SOLLY In thirty years I know him, number one on the list. MORRIE You're both out of your minds. PK Did he tell you why he wants the match? SOLLY I told you what he told me. PK Just talking boxing -- how do I match up with Mandoma? SOLLY Pretty even. MORRIE I mean besides getting thrown out of school and into jail, do you know what else happens you do this? He's a pro. The minute you fight him you're a pro. SOLLY There's no purse being offered. MORRIE That's a good career move. Risk everything to gain nothing. Very sound business sense. PK Tell Mr. Nguni I'll think about it.PK exits with Morrie steaming behind. They head forthe locker room, PK clearly perturbed. 57. MORRIE Okay. What's going on? PK I don't know. MORRIE Well why don't you tell me what you do know. PK There's an African myth about an outsider who comes one day and unites all the tribes into one against their oppressors. They call it the myth of Onoshobishobi Ingelosi -- the tadpole angel. That chanting at the school championships? MORRIE For you? PK I haven't heard it in years.PK begins to disrobe. MORRIE And how did this honor fall on your broad back? PK I told you about bringing tobacco to the prisoners at Barberton? Well after that was going for a while I learned that even though they could send and receive letters, they never did. They couldn't read or write. MORRIE So you did it for them. PK Right. MORRIE And after that? PK A clothing program for their families and a food program. One thing sort of led to another. 58. MORRIE I can see where 'angel' would be an appropriate title. (beat) But it was, uh, this Geel Piet who was really behind all of it, wasn't it? PK He was very good at pointing things out. MORRIE Man like that should be running a country, not rotting in prison. PK He's not in prison anymore. (pause) He's dead. PK steps into the shower pulling the curtain closed. CUT TO:72 INT. GYM 72 PK and Morrie exit the locker room.73 PK'S POV - ACROSS GYM TO MARIA 73 talking to Solly. She sees PK and smiles.74 BACK TO SCENE 74 PK and Morrie come up. MARIA I thought I'd surprise you. PK Well, you succeeded. MARIA Mr. Goldman was explaining the theory behind the left hook. MORRIE Beats talking about the weather. You may have heard about me? 59. I'm Morrie. MARIA Oh yes. How d'you do. Solly's Assistant whistles for him. SOLLY Well, nice meeting you, Maria. MARIA Nice meeting you, Mr. Goldman. SOLLY We never had a girl come to the gym. (beat) It's not such a bad thing, huh? Solly moves off. PK You got a pass to come out on a weeknight? Maria lifts her jumper a bit, displaying the results of treeclimbing on her knees. MARIA Your tree pass. PK moves Maria and Morrie off down the stairs. MARIA Do you box too, Morrie? MORRIE Do I look that daft? PK Morrie's the brains of the operation. MORRIE He means the bank. Your boyfriend has a great head for literature but none for finance. They exit the staircase.75 THEIR POV - ACROSS THE WAY - NGUNI 75 in the shadow of the alley stands, smoking a cigarette. 60.76 BACK TO SCENE 76 PK (in Zulu) I see you, Nguni. NGUNI I see you, P.K. They talk across the narrow street. NGUNI You have heard my request? PK Yes. Why do you make it? NGUNI A woman has thrown the sacred ox bones. She has made a fire and read the smoke. PK What did she read? NGUNI That the Onoshobishobi Ingelosi who is a chief must fight the one who one day will be a chief. PK But it's not true that I'm a chief. NGUNI Who knows what is true and what is not. The legend of Onoshobishobi Ingelosi is very powerful among the people. They see you box the Boer and always you win. They have heard the stories from Barberton. The people live with little hope. They must see if the spirit of the boy still lives in the man. PK And if I lose? If the spirit of the Onoshobishobi Ingelosi does not exist in me anymore, then what will they live with? NGUNI Less hope. But still they must 61. see. It is our way.At that moment a spotlight blinds them. A police carcomes up the alley, stopping in front of them. ThePOLICE exit, threatening. POLICE #1 What's this here?Maria is gripped by fear. Morrie is cautious, unmoving. PK An old family servant, Officer. From home. We just ran into each other. POLICE #2 Papers, man. Come on, be quick.Nguni reaches into his pocket. POLICE #1 Where you coming from? PK Gym, sir. I train there. POLICE #1 And you? MORRIE I'm his manager.The Police look at each other and share a laugh. POLICE #2 (to Maria) And you're the sparring partner, hey?The Police laugh. Police #2, satisfied Nguni's papersare in order, hands them back. POLICE #2 You have an hour to curfew and a long way to go, kaffir. Be off. NGUNI (subservient) Yes, baas. Going right now.Nguni moves off, no semblance of the proud man in hisgait. PK 62. Nguni. Nguni turns. PK I'll do it. Nguni smiles and disappears into the night. PK watches him go. CUT TO:77 EXT. DEVILLIERS SCHOOL 77 PK and Maria stand by the tree set to climb over the wall. MARIA I'm scared for you, PK. PK Solly's a great teacher. He wouldn't put me in a fight I couldn't handle. MARIE I mean about how involved you are with the black people. That scares me. PK Because you don't understand them. MARIA No I don't. PK If you did you wouldn't be so scared. You ever have a conversation with a black person? MARIA Of course. PK Besides a servant. Maria's silence is her answer. PK You should sometime. MARIA I hate it when you tease me. 63. PK Sorry. He kisses her. MARIA (pouty) No you're not. PK Yes I am. He kisses her again. This time she responds, kissing him back. The kisses become more passionate, touching, feel- ing. The heat in both of them begins to rise when a car passes, its headlights arcing across the tree, startling them out of their passion. They cling to the shadows until the car turns the corner. MARIA I better go. They kiss once, lightly. PK boosts her over the wall and waits until she is safely on the other side before run- ning off into the night. CUT TO:78 INT. OXFORD BOARD OF EXAMINERS ROOM - DAY 78 The Oxford Board of EXAMINERS, eminent academics all, sit four across at a lecture table, looking absolutely musty with learning. Across from them PK sits, a folder in his lap. One man, PROFESSOR LEWIS, peruses the file in front of him. LEWIS According to your submission you have ambitions to be a writer and the welterweight boxing champion of the world. Lewis reads the last sentence with a tinge of amusement in his voice. PK Yes, sir. LEWIS Don't you find seeking a career as a pugilist and reading for a degree at Oxford a bit, how shall we put it, intellectually 64. incompatible. PK Lord Byron was a boxer, sir. And I've never heard anyone question his intellectual integrity.One of the other Examiners coughs theatrically to hidehis smile. Lewis looks down the table at the man. LEWIS I do not recall Lord Byron actually engaging in matches for money. PK Actually, sir, there are several recorded instances of Lord Byron engaging in matches for quite large sums of money. EXAMINER #2 Quite right. Yes. In a letter to his wife Shelley makes mention of just such a thing. For hundreds of pounds, actually.Lewis has heard enough. LEWIS Let's move along, shall we? As your presentational you've requested to read from a work of your own fiction. PK Yes, sir. LEWIS Well, then, let us hope we'll be treated to the stirrings of another Byron.His sarcasm is not lost on PK. PK ignores it, opens hisfolder, and begins to read. PK The Concerto for the Southland and the Death of Geel Piet. (pause) His name was Geel Piet -- yellow Peter. He was a mix of half the blood in Africa -- Dutch, Portuguese, Zulu, Sotha, and who knew what else. His father 65. deserted his mother before he was born. His stepfather threw him out to survive on the streets of Capetown when he was nine. CUT TO:79 INT. BARBERTON PRISON BOXING RING 79 Geel Piet is instructing a nine-year-old PK in the Geel Piet eight. Both boy and man are enjoying what they do -- and each other. PK (V.O.) When I met him he had spent forty of his fifty-five years in one South African prison or another. He was a thief, a con man, a black marketeer. As the narration continues, the SCENE FADES TO:80 TWELVE-YEAR-OLD PK 80 with a much better grasp of the Geel Piet eight. He and Geel Piet seem closer than ever. PK (V.O.) He may even have killed a man or two in his time. But despite all that he was one of the kindest, wisest, most self-effacing persons I ever knew. He was my teacher; he was my friend. FADE TO:81 INT. PRISON ROOM 81 PK sits opposite a black prisoner who talks to him. PK, thirteen years old now, writes what the man says on a piece of paper. When he is finished, he folds it, puts it into an envelope, and hand it to the man. The man smiles, shakes PK's hand profusely, and exits. PK turns to Geel Piet who is on his hands and knees polishing the floor, seemingly part of the surroundings. Geel Piet and PK share a smile. PK (V.O.) Geel Piet bore no animosity, held no hate. Should a guard beat him he regarded it as self-inflicted, 66. the result of some carelessness on his part. To survive the system he lived in he became an expert in the art of camouflage, a master of the invisible. In this he strove to be perfect, and in the end it was his quest for perfection that provoked anger from above and killed him. CUT TO:82 EXT. PRISON CACTUS GARDEN 82 Quite advanced after five years of planting. PK and Geel Piet are bent over a cactus, transplanting it. A group of prisoners on the way to a hard-labor work task march by. They chant a verse to Onoshobishobi Ingelosi. PK is a little embarrassed by it. PK You know every time they do that I want to jump up and say I'm just a twelve-year-old. I'm not anything else. GEEL PIET To them you are. You are the one who brings the smoke, the one who writes the letters, the one who puts clothes on their children when they are cold. You are Onoshobishobi Ingelosi. PK But you know that's not true. GEEL PIET Who is to say what is true and what is not true, kleine baas. Doc comes running up, excited, waving a newspaper. DOC The Allied armies have crossed the Rhine into Germany. It is almost over. PK That's great, isn't it? He turns to Geel Piet. GEEL PIET 67. (subdued)Yes, kleine baas. DOCYou are a good faker, Geel Piet.but you don't think it's great atall. It means you lose your starletter writer and tobaccoimporter. GEEL PIETNo matter that, Professor. Wealways manage here. What pains memost is I lose my boxer. PKI'll come back. GEEL PIET (adamant)No, kleine baas. You leave thisdamn place you don't come backnever. DOCGeel Piet, when a painter finishesa work of art he doesn't lose it.He sends it out in the world soeveryone can see the genius of hiscreation. This is what you aregoing to do. And to celebrate thelaunch of such a work of art asyou have made our boxer here, Ihave composed an entire concerto-- 'The Concerto for the Southland'-- which it is my intention toplay in concert for the prisonersbefore I leave. GEEL PIETNot possible. The kommandantnever allow the people to havesuch a thing. DOCHe'll think it's a concert for himand the brass. But we'll know,ay? And the people will know. PKHe'll never let black be withwhite here, Doc. DOCIf the black is part of the 68. orchestra, like the piano, he will. GEEL PIET But the people have no instruments in this place, big baas. DOC They have their voices. Each tribe a different voice, a different language -- all singing together. It is brilliant, no? PK Except the tribes don't trust each other. They don't even talk to each other. DOC (crestfallen) Oh. This is correct. This stupid hatred. GEEL PIET They will do it for you, kleine baas. You are Onoshobishobi Ingelosi. You bring the tobacco. You write the letters. You put clothes on their children's bodies and food in their bellies. All you do is ask and they all sing for you. DOC He's right. Wunderbar. You are the smartest of us all.Geel Piet smiles as he lifts the watering pot to exit. Atruncheon stops him. All turn to Sergeant Bormann. BORMANN A kaffir smarter than all of us? You are a strange German, Professor. DOC That little maniac with the moustache in Berlin you admire. He is the strange German. And soon kaput, I hope. BORMANN If that's true you'll not be long for this place, eh, Professor? 69. DOC No, Sergeant. God willing. BORMANN And you, too, little Rooinek. But you, kaffir, Hitler comes or goes...He takes Geel Piet's hand. BORMANN You are going to stay with me.He forces Geel Piet's hand closer and closer to a cactuswith long thorns. BORMANN And I will find out all your secrets once your friends are gone. One slip...He pushes Geel Piet's hands onto the cactus needle. GeelPiet does not cry out. BORMANN I have you.He lets go of Geel Piet's hand. Geel Piet removes itfrom the cactus, bloodied. BORMANN Get out of here.Geel Piet takes his watering can and goes. BORMANN You see, Professor, they are not like us. A white man would scream bloody murder.Doc and PK glare at Bormann. He smirks and walks away. PK (V.O.) As the weeks went by and the date for the concert grew closer, my life was a whirlwind.PK and Geel Piet appear before various tribal leaders,talking, agreeing, shaking hands. PK (V.O.) Having obtained the cooperation of all the tribal groups, we set about instructing them. Four men from each tribe were taught the 70. intricacies of their group's parts. They were the choral leaders responsible for teaching the others. PK and Doc instruct. Doc plays the piano. PK leads the singers. Geel Piet turns the pages for Doc. PK (V.O.) At night the prison hummed with the men in their cells practicing. CUT TO:83 EXT. PRISON TOWER 83 Nervous guards patrol as the SOUNDS of the prisoners singing wafts through the air. CUT TO:84 INT. BOXING ROOM 84 Geel Piet instructs PK. P.K. (V.O.) My boxing instruction accelerated as well. It was as if Geel Piet was trying to give me every bit of boxing knowledge he had before we parted. And always from the corners and shadows Bormann watched and waited. Bormann watches PK and Geel Piet from the door of his room, his truncheon beating idly against his leg. CUT TO:85 INT. RING 85 A photographer sets up a group picture of the boxing squad -- kids and guards. Geel Piet stands off to one side, OUT OF FRAME. PK (V.O.) Our boxing squad, the Barberton Blues, won the State Championship with a perfect record. I won at 100 lbs. It was my first championship. It made me want 71. more. The group disperses. PK beckons the photographer to wait. He grabs Geel Piet and forces him to stand, much to the little man's protestations, for a photo of the two of them. As the picture is taken Geel Piet has the widest smile imaginable.86 INT. PRISON YARD - NIGHT 86 The guards, all in crisp uniforms, patrol nervously, truncheons at the ready. The towers bristle with guns as hundreds of black prisoners file into the yard. PK (V.O.) Finally the night of the concert arrived. The prison atmosphere, normally tense, was keening. Each prisoner entering the yard is searched. It was prison policy to keep tribal rivalries boiling. Divide and conquer. The policy of control. PK (V.O.) (CONT'D) This was to be the first time in the history of the South African prison system that the tribes were allowed to mingle. And if trouble came, it would be the last. All the prisoners are seated on the ground behind Doc, who is raised with the piano on a small stage. Guards surround the prisoners -- a solid, edgy border encasing a black center. The front of the yard is filled with seats on which sit the Kommandant, his wife, assorted prison brass, politicians, and a smattering of the local Afrikaan Hierarchy. PK is overseeing the seating of the prisoners when Doc comes up to him. DOC Have you seen my page turner? PK No. He asks a prisoner in Zulu. PK Have you seen Geel Piet? The man shakes his head. PK looks worried. 72. DOC (reassuring) He will come.The Kommandant, all medals and polished leather, mountsthe stage, signaling a beginning to the festivities. VON ZYL Where is Bormann? I need Bormann to translate to the prisoners. SMIT I don't know, Kommandant. DOC Is there a problem here, Kommandant? VON ZYL I want to address these filthy kaffirs but I don't have a translator. PK I'll translate. VON ZYL You can speak Zulu, PK? PK Yes, sir. VON ZYL All right. Listen up.He addresses the prisoners. VON ZYL Tell them this concert is the gift to them from the professor who, even though he is in prison, is not a dirty criminal like them but a man of culture and learning. PK (subtitled) The Kommandant welcomes you and looks forward to the great singing. VON ZYL For such a man I am happy to do this. But one hair of trouble and it's finish. 73. PK (subtitled) He hopes each tribe will sing its best and bring honor to its people. VON ZYL One wrong move and you get marched back to your cells and don't come out for a month. PK (subtitled) He says tonight let us be one people under the African sky. The prisoners break into spontaneous applause. Von Zyl looks at PK, unsuspecting, pleased. VON ZYL You did a good job. PK Thank you, sir. VON ZYL Professor? He turns the stage over to the professor and takes his seat. The professor sits at his stool, poised. PK, in front of the singers, watches him for a cue. Doc drops his head. PK points to a group of singers. MUSIC and VOICE blend spontaneously. "The Concerto for the Great Southland" begins. Doc plays magnificently with great style. PK focuses on leading the singers. Each section, each tribe singing its own songs with its own distinct cultural imprints on rhythm, pace and tone.87 CLOSE UP ON PK 87 leading the singers in and out of the MUSIC.88 FLASH TO TRUNCHEON 88 being raised and lowered on a familiar back.89 BACK TO SCENE 89 PK is caught short by the flash. He falters a bit, then regains his concentration. 74.90 FLASH TO TRUNCHEON 90 coming down on a familiar head -- Geel Peit's.91 ANOTHER ANGLE 91 Instinctively the first four prisoners in each group, the leaders, stand and turn to face their people. They take up the lead. PK, distracted by his inner vision, runs off stage. Doc looks after him, worried, but keeps playing. CUT TO:92 INT. PRISON 92 PK runs through the empty cell blocks looking for some- one. PK runs through the corridors. He runs through the kitchens, the empty dining area, the SOUND of the concert chasing after him. He runs through the recreation area and past the boxing room when he hears a THUD, and another.93 INT. BOXING ROOM 93 He bolts into the room and hits the light switch. The light over the ring comes on, illuminating Bormann, truncheon raised over the lifeless, broken body of Geel Piet. PK No! Startled, Bormann jumps out of the ring and runs off. PK scrambles into the ring and cradles the lifeless, blood- ied head in his lap, and begins to sob. PAN DOWN along Geel Piet's arm to his bloodied hand, holding the snapshot of him and PK. The Concerto grows LOUDER around PK until it enfolds him in its melodies. The voices of Africa, the music of Europe, reaching for a musical and spiritual crescendo. PK (V.O.) Geel Piet died of massive internal hemorrhage, the result of Bormann's ramming a truncheon up into the little man's body until his entrails spilled out. When I reached him he was already dead. I sat there crying, stroking his head and crying with African 75. voices rising to heaven above, even as her blood soaked the ground below. The MUSIC SWELLS until the voices meld as one. CUT TO:94 INT. EXAMINERS' ROOM 94 The four examiners all sit enthralled by the story. When PK looks up, a tear runs down his cheek. Lewis, who is visibly moved, clears his throat. Another man blows his nose with a handkerchief, covering his emotions. LEWIS Thank you very much. You will be notified as to the University's decision by mail. PK rises and goes to exit. LEWIS Point of curiousity. PK turns. LEWIS Your headmaster told me your work is somewhat autobiographical. PK Yes, sir. LEWIS This Bormann, he was real? PK Yes, sir. LEWIS Was justice ever served? PK Yes, sir. Sergeant Bormann died of cancer... (pause) of the rectum. PK turns and exits. CUT TO:95 EXT. SCHOOL 95 76. Solly Goldman sits behind the wheel of his old car. Two figures sneak out of the school and come running toward the car.96 INT. CAR 96 Solly starts the engine as PK and Morrie hop in. PK We have to make a stop first. SOLLY The night won't last forever, boychick. PK It'll only take a minute. Solly puts the car in gear and drives off. CUT TO:97 INT. MARIA'S ROOM 97 Maria is sleeping when a hand goes over her mouth. She awakes, startled, to PK, finger to lips. CUT TO:98 EXT. BLACK TOWNSHIP 98 A police car patrols the edge of the vast, dark, ram- shackle township, its cruiser light scanning the openings to the dark rutted alleys. It passes and disappears down the road. A moment later an African steps out of the shadows and whistles a signal. CUT TO:99 DOWN THE ROAD 99 in the shadows, Nguni hears the whistle. He looks at his watch and up the road, tense, as another set of head- lights appears. Nguni steps back into the shadows. CUT TO:100 INT. CAR 100 77. Solly strains to see out his dirty windshield with the headlights as his car bumps along the unpaved road. SOLLY The night I escaped from the Tsar's Army it was just like this. Six of us -- four Jews, two Ukranians. Dark as anything. No streets. In the day we hid in bushes. At night we went. MORRIE You deserted? SOLLY Whey they come take you at thirteen years old and tell you it's twenty-five years in the Army, it's your duty to desert. Nguni steps out right into the path of the headlights. Solly hits the brake hard, throwing everyone forward. SOLLY You said the end of the road. NGUNI Yes, yes. Sorry. I drive. He opens Solly's door with some urgency. Nguni sees Maria. NGUNI (smiling) Welcome, miss, welcome. MARIA Thank you. Nguni turns into the township and is swallowed by the dark. CUT TO:101 INT. CAR 101 The car bounces along the rutted darkened streets of the township. The glow of smoldering cooking fires through open doorways offers minimal illumination to the squalid lives within. Maria peers out at a world she has never seen. As the car drives, women and children gather along the road peering in. Mothers point to PK, instructing their children. 78. VOICES Onoshobishobi Ingelosi. NGUNI The people have come from everywhere to see you. Maria takes PK's hand, a little nervous. PK smiles at her confidently. MORRIE Where are the men? NGUNI They are to be witness. The muffled sounds of VOICES SINGING reaches them, grow- ing louder as they approach. Maria is tense. Nguni senses this. He turns to her. NGUNI No worry, miss. It is the sound of happiness. He stops the car at a door in a high wooden wall guarded by two big men. NGUNI We are here. Everyone gets out of the car and passes through the door which shuts behind them. CUT TO:102 INT. DIMLY LIT CORRIDOR 102 Nguni leads everyone down the hallway. PK is dressed to fight, hands taped, robe thrown over his shoulders. MORRIE I don't see why we have to weigh in. They're going to fight anyway. NGUNI It is very important the people see everything is correct. They come to an arch which leads into a big empty room. In the center of the room stands a scale and a dozen Africans, all dressed in worn but neatly pressed suits. Mandoma, the other man who attended PK's fight at school, clad only in boxing gear, waits on PK. 79. PK (in Zulu) I see you, Gideon Mandoma. MANDOMA I see you, PK. PK I just want you to know you fight a man. Onoshobishobi Ingelosi is just a name I was given at Barberton Prison. It means nothing. MANDOMA It is not for you or me to say what it means. An old man, one of the dignitaries says something to Nguni. NGUNI Please. He motions for PK to step on the scale. PK does. The weight is duly noted. Mandoma then does the same. The twelve men are satisfied. They head for the exit. NGUNI It is time. He motions for the others to follow. PK goes to walk with Maria. Nguni pairs him with Mandoma. They exit the room. CUT TO:103 INT. CORRIDOR 103 The party walks towards a big double door behind which a single VOICE PREACHING can be vaguely heard. Nguni knocks on the door.104 EXT. SOCCER FIELD 104 The doors open to an entire soccer field jammed with humanity. A boxing ring is raised in the center. The only lights in the area directly over it. With the twelve witnesses in the lead, the party makes its way through a path in the crowd. An OLD WOMAN with a fly switch, not unlike Inkosikazi's, speaks from the ring. As PK passes the whispers start. WHISPERS Onoshobishobi. 80.The Woman in the ring begins to chant. The crowd picksit up. CROWD Onoshobishopi Ingelosi. Shobi shobi Ingelosi.PK looks back at Maria who is a bit unnerved, as areMorrie and Solly. He looks across at Mandoma whose faceis a mask looking straight ahead, betraying nothing. Thetwo men climb into the ring and stand in their corners.The Old Woman shuffles over and peers into PK's face.She mutters something inaudible, then turns to the crowd. OLD WOMAN Onoshobishobi Ingelosi.The crowd picks up the chant. She waves and the crowdgoes silent. Somewhere in the darkness a single voicebegins to sing "Nkosi Sikelel I Afrika" -- the Africannational anthem.The crowd picks it up. PK looks down to the front rowwhere Nguni sits courteously attending to Maria in a seatof honor among the twelve men in suits.The African national anthem finishes. The BELL RINGSthree times. The Old Woman is led from the ring. AnIndian Referee in all white enters the ring and wavesthe two fighters forward. REFEREE You are listening to me please. When I am shouting break, you must break at once. When a knockdown is coming, it is for an eight count. No heads, no elbows. You fight clean or by golly I am giving you penalty points. Good luck, boys.PK and Mandoma touch gloves and go to their respectivecorners. PK What do you see?Solly watches Mandoma dancing across the ring. SOLLY A very tough fight.The BELL RINGS. 81. SOLLY Watch the left hook.Mandoma comes charging across the ring and begins to fireeverything in his arsenal at PK, overwhelming him. PKcannot get away from him and takes a series of devastat-ing combinations which end in a left hook to PK's jaw.PK drops like lead. The Referee starts counting. PKshakes his head clear and rises at eight. The Refereechecks his gloves. There is a cut under his right eye. REFEREE Continue.Again, Mandoma comes charging hard. PK defends himselfas best he can, trying to counter. But Mandoma's offensewon't allow it. He beats on PK until the round ends. PKsits down in his corner. Morrie works on his eye. PK God, he hits like a truck. SOLLY He's going for the quick knockout. He can't keep it up. Soon the truck runs out of gas. PK If he catches me again like that I'll run out of gas -- permanently.The BELL SOUNDS. PK is hardly off his stool when Mandomais on him, pummeling him. PK backpedals, bobs andweaves. Mandoma's punches come fast and furious, eachone looking to end the fight. Mandoma gets PK againstthe ropes and bangs away. PK covers up. Mandomapunishes his arms and kidneys. PK swings back and es-capes. Mandoma pursues him. He catches PK with a bodychop and then a chopping left. PK goes down again. TheReferee starts to count. The crowd is completely silent.The BELL RINGS. PK returns to his corner, shaking hishead, trying to clear it. He flops onto his stool. SOLLY He's had it. He's got no strength in his punch. PK Could've fooled me. SOLLY I'm telling you. PK 82. Tell him. MORRIE Look -- he's taking water. They all look.105 THEIR POV 105 of Mandoma, breathing heavily, sweating profusely, drinks deeply from his water flask.106 BACK TO SCENE 106 SOLLY See. Where that water goes -- you go. Right to here. He pokes PK's belly. SOLLY You put your punches there, you win. You don't, you lose. The BELL RINGS. Mandoma comes charging out. PK goes on defense. He hits Mandoma hard to the head. Mandoma whips around and hits him hard. PK spins and hits the canvas. His vision blurs, doubles. The SOUND of a WATERFALL fills his head. FLASH TO:107 PK 107 struggling to climb the rocks in the pool below the waterfall. He is halfway across this time. CUT TO:108 REFEREE 108 REFEREE Three... four... five... FLASH TO:109 PK 109 struggles to mount the fifth rock. He clings to it, wet, exhausted, as the water pummels him. CUT TO: 83.110 REFEREE 110 REFEREE ... seven... eight... nine... PK rises. The crowd goes wild. The Referee holds up six fingers. REFEREE How many fingers? PK Six. REFEREE Where are you? PK In a fight behind on points. REFEREE Okay. Continue. Mandoma rushes in for the kill. PK feints and comes up under one of Mandoma's punches, burying a body shot into his gut. Mandoma grunts and backs up. PK pursues him. Mandoma tries to recover. He throws another big punch. PK ducks under it and puts two more hooks into Mandoma's stomach. Mandoma starts to back up for the first time in the fight. PK boxes, jabbing, feinting, pushing Man- doma around the ring, taking control. Mandoma, heading for exhaustion, throws another big punch in desperation. PK hits him with three punches in return. Mandoma swings again with a last desperate effort, and PK buries the Solly Goldman thirteen into every part of his body. PK steps back and with his last punch, puts Mandoma down. The crowd goes silent. The Referee counts Mandoma out. He raises PK's hand. Still, the crowd is silent. MORRIE We're in the shit now. Nice knowing you, Solly. He and Solly look around at the somber black faces flick- ering in the shadows of the ring light. PK looks down at Mandoma in silence. Mandoma rises unsteadily. He stands in front of PK, staring into his eyes, and then he raises PK's arm above his head. MANDOMA Onoshobishobi Ingelosi. The crowd goes wild, chanting, singing over and over as PK and Mandoma stand in center ring, arms raised. 84.111 EXT. DEVILLIERS SCHOOL - PRE-DAWN 111 PK stands with Maria by the tree they use to climb over the wall. In the b.g. Solly and Morrie wait in the car. MARIA The Seniors Dance is two Saturdays from now. I would like it if you could escort me. PK Maria Marais with a rooinek at the Senior Dance? What will people think? MARIA They'll think what they think and I'll think what I think. PK And what is that? Maria touches his face. Her eyes soften. MARIA I think I love you. PK swallows hard. They kiss and embrace. PK caresses her face. PK I would be honored to be your escort. Maria beams. MARIA I didn't doubt it for a minute. Solly HONKS the HORN. PK kisses Maria once more. PK I'll give you a boost. PK stirrups his hands. Maria boosts up to the first branch of the tree. She crests the wall. MARIA Thank you for tonight. You were great. She smiles and drops down behind the wall. PK runs back 85. toward the car. CUT TO:112 EXT. PRINCE OF WALES SCHOOL - DAWN 112 Solly's car pulls up opposite the gate. CUT TO:113 INT. CAR 113 Morrie is sleeping in the back seat. Solly and PK are sitting in the front. SOLLY When you and your manager first came to me with that meshuganah idea to be welterweight champion of the world you did not have a big believer here. But I gotta tell you. Now you do. In London lives Benny Rosen, the greatest trainer in the world today. When you go to your Oxford I give you a letter to Rosen. Whatever I can't do for you, he can. PK Thanks, Mr. G. Solly pokes Morrie awake. SOLLY And I give the address of a very good bookmaker. Teach you also a thing or two. Now, go on back to being fancy-schmancy English gentlemen. I'm proud of both of you. PK and Morrie exit the car and run back to the school.114 EXT. CAMPUS 114 As PK and Morrie jog toward their dorm a VOICE stops them from behind. ST. JOHN (V.O) Gentlemen. PK and Morrie stop cold. They turn to St. John, up early 86. for his daily constitutional. MORRIE You're up early, sir. ST. JOHN Best time for walking. PK Best time for running too, sir. MORRIE Have to put in the roadwork, sir. You know, keep those legs strong. St. John eyes the bruise on PK's cheek. ST. JOHN Yes. Quite a fresh bruise there. PK I tripped. ST. JOHN Maybe you should change your footwear. He looks down at their shoes. Both boys are wearing pro- per shoes; not at all what would be worn for roadwork. ST. JOHN To something a little more appropriate for... (beat) roadwork. Busted, the boys squirm uncomfortably. BOTH Yes, sir. St. John fixes them with a look, and then walks off. The boys bolt into the dorm. CUT TO:115 INT. PK'S ROOM 115 PK and Morrie open the door and stop cold. Gideon Mandoma sits in a chair facing the door. He rises. MANDOMA Please excuse me for coming like a thief by the window. 87. PK You speak English?PK is surprised. Mandoma nods. PK You are a great fighter, Gideon. MANDOMA Second greatest in this room. PK But you didn't come to talk about fighting.Mandoma shakes his head. He waits for a moment, thenbegins. MANDOMA When you say to me, Onoshobishobi Ingelosi means nothing, you are right. And you are wrong. The legend gives the people hope for a good tomorrow. But hope alone will not make a good tomorrow for the people. You cannot write our letters, get us clothes, food, work. These things we must do ourselves, so we can be part of this country's good tomorrow. If we are not, the hope will disappear. The people will grow tired. The tired will grow angry and there will be no good tomorrow for anybody -- black or white. PK What are you asking from me? MANDOMA To be part of something you must know what everyone else knows. We have our own knowledge. We need yours. MORRIE We get our knowledge in schools, Gideon. We're not born with it. MANDOMA Then it must be the same with us. MORRIE You have schools. 88. MANDOMA Yes. And teachers who cannot do more than their own ABC's. We have a system made not to teach us. PK (anxious) I am only seventeen years old, Gideon. I cannot teach five million people how to speak English and do sums. MANDOMA You taught the singing to thousands at Barberton Prison. You were only twelve. Mandoma rises. MANDOMA (CONT'D) You are a great fighter, PK. PK Second greatest in this room, Gideon. Mandoma exits through the window. CUT TO:116 INT. ST. JOHN'S STUDY 116 PK stands in front of a pondering St. John. ST. JOHN You are asking me for a lot, young man. PK I'm only asking you to put what you've taught us into practice, sir. ST. JOHN You are asking me to put the reputation of this school in jeopardy. PK The reputation of this school, sir, is based on its integrity. 89. ST. JOHN I'm aware of that. I'm also aware of what will happen if this ever gets out. We live in a country where the rules are being rewritten. PK Then we'd better be careful to keep a firm hand on our pens... (beat) ... sir. St. John regards PK. ST. JOHN All right. I will allow it on a trial basis. Here are my conditions: you tell no one; you operate at night on Saturdays when the student body is gone; you involve no one besides yourself and Mr. Levy. If you can comply, you can have your school. CUT TO:117 EXT. BEACH - LATE AFTERNOON 117 Maria and PK are about to race. Maria is given a head start of ten yards. MARIA Ready. Set. Go! They both take off. Maria runs as hard as she can. PK catches up to her. She strains with the effort. PK crosses the finish line first. Maria trips and falls, rolling in the sand. PK comes back to her. He kneels down. PK You okay? MARIA You're supposed to let me win. PK Then you'd say I was being condescending. MARIA You were guilty of that when you gave me a head start. 90.She kisses him and stands up. They begin to walk alongthe beach. MARIA Get your formal yet?PK grows uncomfortable. PK Uh... no. MARIA The dance is only a week away. PK Maria... (beat) I can't come to the dance. MARIA (shocked) Why not? PK I have an obligation. MARIA Can't you change it? PK It's a permanent obligation. Every Saturday night... (beat) It starts tonight.Maria cannot believe what she is hearing. MARIA You're breaking up with me. PK No. MARIA Then what could be so important that it takes all your Saturday nights? PK I really can't say.Maria starts to cry. She throws her arm around him. MARIA 91. P.K., I love you. Please don't go away. PK I'm not going away. MARIA Yes you are. I can feel it. PK I'm not. I'm just tutoring. Maria pulls back. PK I started a school... (beat) ... for Gideon Mandoma and some others in the seniors library. Maria's sadness turns to anger. MARIA I'm losing you to a bunch of kaffirs? PK You're not losing anything. MARIA No? Are you escorting me to the dance? Are you going to see me on the only free night they give us? PK Maria, this is important to me. MARIA And my life's important to me. Damn you. She runs off in tears. A pained PK doesn't attempt to go after her. FADE TO.118 EXT. CLIFF FACE 118 On an escarpment high above the dense green rainforest cover, PK and Doc move along the sheer cliff face with photographic equipment and rucksacks. PK notices Doc's labored breathing and slow movements. They reach some small cacti growing out of the side of 92.the cliff in full bloom. DOC (breathing hard) Ach. You see how beautiful? PK You ever hear of glycerine, Doc? DOC Mr. Going-To-Oxford-Smarty-Pants. Of course I know about glycerine. Triglycerine. Biglycerine. Monoglycerine. What do you want to know? PK Why you don't use it. It's only a little pill under the tongue. DOC Tongues were not made to put little pills under. When I have to start with that, I become something else. PK Well, until you become something else, the little pills would make this easier on your heart.A CLAP of THUNDER cuts into their conversation. Thickroiling rain clouds appear suddenly. DOC Little pills or no little pills -- we don't find cover, we both turn into something else.Lightning splits the sky. Rain begins to fall, peltingthe escarpment. DOC Look for a cave. Always in this kind of rock there is caves. Quick! Quick!PK starts to move horizontally across the cliff face likea spider on a wall. Doc follows. The rain becomestorrential.PK turns to look back at Doc. DOC Don't look at me. Go! 93. PK forges ahead.119 HIS POV - OPENING 119 some 20 yards ahead.120 BACK TO SCENE 120 PK I've found something. The rain is so heavy PK can barely make out Doc behind him. When he can, he sees the old man pause, breathing hard. PK makes his way back to Doc. Halfway there, Doc waves him forward and starts to move. PK reaches the small opening and slips in. CUT TO:121 INT. SMALL CAVE 121 PK stoops in the small cave, dripping wet. A moment later Doc's foot appears at the entrance. PK helps him in. Doc slumps down, exhausted. PK You okay? Breathing too hard to reply, Doc shakes his head in the affirmative. PK looks out at the rain forming a sheer wall of water outside. He turns to Doc, who is getting up, flashlight in hand. PK What are you doing? DOC Exploring. PK Why don't you just rest? DOC Plenty time for resting when I am something else. Look. He strikes a match. A wind from inside the cave blows it side to side. DOC When does a cave have wind? This 94. is more than some little cave, my friend. Doc crouches down and follows the beam of his flashlight to the rear of the cave where there is a small opening. He shines the light into it. DOC Here. See? There is a passage. Before PK can say anything else, Doc has wriggled through the small opening. PK, a bit peeved, takes his own flashlight and follows. CUT TO:122 INT. SMALL TUNNEL 122 PK crawls after Doc, making his way through the small tunnel on his stomach. DOC You know the pyramids are nothing more than man's attempt to recreate the first safe home our species had -- the cave. It is the ultimate safe resting place. The first place man could lay down and have a good night's sleep without worrying about waking up as something's supper. Doc stops crawling. So does PK. A DRIPPING can be heard. DOC You hear that? There is something waiting for us. Doc starts moving quicker. PK Let's hope it's not hungry. Doc squeezes out of the small space. PK joins him in a slightly larger tunnel, the same size as the first one -- stoop height. DOC Better, ja? PK What's that smell? 95. All of a sudden there is a RUSTLING noise. PK What's that? Doc recognizes the sound. He pounces on PK, knocking him to the floor and covering him with his body. Not a moment too soon. For a thousand bats fill the tunnel flying through.123 PK'S POV - BATS 123 flying wildly through the flashlight beams. In a blur, the bats are gone, disappeared into another tunnel entrance to the left.124 BACK TO SCENE 124 Doc an PK rise slowly. The silence of the cave is punctuated by the DRIPPING. PK Maybe it's stopped raining. DOC Who can think about rain when you are on the edge of the great unknown cave. PK You don't know that. DOC The bats didn't come from a shoebox, Mr. Know-It-All. Doc heads off. DOC Sometimes I think maybe sending you off to that fancy-shmancy school was not such a good idea. PK It was your idea. Your'e the one who pushed for me to go. DOC Ja. But who knew they do such a good job of boxing up part of 96. your brain. PK Which part is that? DOC The one where is all the questions. The curiosity center. Look. Ahead in the tunnel is a luminous glow, filling an entrance. DOC Did I tell you? Doc and PK hurry on.125 THEIR POV - TUNNEL OPENING 125 As they come to a tunnel opening: a large cave, perhaps 200 feet wide by 100 feet high, filled with stalactites and stalagmites composed of pure, crystallized calcium carbonate. DOC Wunderbar. The whole chamber glistens with an eerie phosphorescence. Toward one end of the crystallized room eight stalagmites grown up from the floor cement to form a huge crystal slab some ten feet off the floor. A buttress of stalg- mites drip off it forming a natural, if uneven, stairway.126 BACK TO SCENE 126 Doc and PK stare at the crystal cave in amazement. DOC How many hundreds of thousands of years to make this masterpiece? Everything outside can change, P.K. This remains the same. We are in the heart of Africa, P.K. The heart of Africa. Doc, in his own world of wonderment, wanders down into the cave among the stalactites. PK follows, soon losing sight of Doc behind the large crystal columns. DOC (O.S.) You know, if a person stayed here for 100,000 years what would be 97. left? Crystal. Like a crystal mummy. Incredible, ja? PK (to himself) Incredible. Doc's preoccupation with death irks him. He studies a piece of crystal. PK I wish we had brought the camera. Think there's enough light to shoot? Doc does not answer. PK Doc? His concern rises. He moves through the maze of crystal, his pace quickening. PK Doc? Still no answer. His vision obscured, PK reaches the elevated slab. He clambers up the buttress for a better view. When he reaches the top he stops cold.127 HIS POV - DOC 127 lying on the crystal slab, eyes closed, hands folded on his chest. PK This is not funny. Doc opens his eyes. DOC This is incredible! The crystal. You can feel the life go right through you. Here. Doc rises. DOC Come try it.128 WIDER ANGLE 128 98. PK (short) No. That's all right. Can we go? DOC We have only just gotten here. What's the matter, P.K.? PK All day long you've been talking about becoming something else, about dying. You never talked about dying before. DOC I'm 87 next month. It's natural. PK Not to a sixteen-year-old it's not. It's painful. Doc realizes what PK is saying. DOC You are right. I am sorry. Sixteen-year-old ears should only hear life. Doc starts to whistle "The Marriage of Figaro" by Mozart. The RESONANCE of the WHISTLING off the crystal sounds beautiful, exotic. Doc beckons PK to join in with him. PK does so, hesitantly. Then pleased with the sound and the feeling, more fully. Doc and PK exit through the stalactites, whistling. CUT TO:129 INT. DOC'S HOUSE - NIGHT 129 PK and a very exhausted Doc enter. Doc sits down heavily on the bed while PK, shrugging off his rucksack, heads right for the small kitchen area. PK I'll just set you up with some coffee here, so in the morning you won't have to bother making it. He begins to prepare the coffee. PK I didn't mean to tell you what 99. you can and can't talk about back in the cave today. I guess I just don't like to think of you being... (beat) PK (CONT'D) ... becoming... (beat) ... something else. I know it's natural law and it's the way it is with everybody... (beat) I just wish it weren't with you.There is no reply. PK Doc?PK turns to Doc, dead asleep, still sitting up. PK goesover and gently lays the old man down. He removes hisboots and throws a blanket over him. PK blows out thekerosene lamp and goes to exit. He is about to hangtheir two rucksacks on two hooks by the door when Doc'svoice turns him. DOC P.K.? PK I'm here, Doc. DOC The crystal cave will be our secret, ja? PK Whatever you say. DOC Promise. PK I promise. DOC Ja. Good. I rest a little. (beat) The heart of Africa, P.K.Doc lays down. DOC The heart. 100. He is asleep when his head hits the pillow. PK watches Doc's chest, washed in moonlight, rise and fall lightly. A sudden sadness falls over him. The corners of his mouth turn up in a bittersweet smile. He finishes hanging the rucksack and exits. CUT TO:130 EXT. PRINCE OF WALES BACK GATE - NIGHT 130 PK and Morrie stick close in the shadows. PK looks at his watch and then twenty feet away to the locked gate. MORRIE Christ! If someone would have told me this is where I'd be on a Saturday night, last term of my senior year, I'd call them batty. (beat) You know, you're going to owe me for the rest of your life on this one. PK That all? I figured you'd hold me to it longer. MORRIE You get the insider friend's rate. PK Thanks, mate. A black groundskeeper comes walking along, seemingly on his duties. PK pokes Morrie.131 THEIR POV - GROUNDSKEEPER 131 walks up to the gate. He looks left and right, then quickly unlocks it. He walks away.132 BACK TO SCENE 132 PK and Morrie advance. PK opens the gate. As he does, 101. Gideon Mandoma, followed by 15 men and 5 women, enters. MANDOMA I see you, P.K. PK I see you, Gideon. MORRIE Let's get inside before the whole bloody world sees us. MANDOMA Morrie. He clasps Morrie's hand, first in a traditional hand- shake, then in an African handshake. Mandoma smiles. MANDOMA You some great friend. Morrie is taken by his sincerity. PK Let's go. Stay to the fence. The group moves out. CUT TO:133 INT. LIBRARY 133 The Africans are seated around desks, waiting for Morrie and PK to tell them what to do. PK All right, class. I know you don't understand a word I'm saying, but part of learning a language is hearing it spoken. So -- I am P.K. He taps his chest. PK P.K. This... (taps Morrie) ... is Morrie. Now you all have a chalkboard. He holds up the chalkboard. PK Chalk and an eraser. I will say 102. the letter. You will say the letter. I will write the letter. You will write the letter. PK (CONT'D) Morrie will check the letter. All right? Here we go. 'A'... (in Zulu) ... say it. 'A.' ALL 'A.' The door to the library suddenly opens. Everyone freezes. Maria enters the room. PK is stunned. PK Excuse me. PK hurries over to Maria. Not a word needs to be spoken. Her presence says everything. MARIA I thought you might need some help. Or I can just sit and watch. PK hands her the chalk. PK Class. This is Maria. She is now the teacher. (to Maria) We're doing alphabet, from the letter 'A.' PK takes up his position with Morrie, ready to check the chalkboards. Maria takes the front of the class.134 HER POV - BLACK FACES 134 before her, watching intensely.135 BACK TO SCENE 135 She battles the butterflies in her stomach as she writes an "A" on the blackboard. She clears her throat. MARIA 'A.' No one says anything. Maria looks a little lost. 103. PK (in Zulu) Repeat what she says. (to Maria) Say it again. MARIA 'A.' ALL 'A.' She writes it on the blackboard again. PK and Morrie trade a look and a smile. MARIA 'A.' Write 'A.' She mimes to the chalkboards. All the Africans obey. PK looks up from checking the students. Maria's eyes are twinkling. CUT TO:136 EXT. SCHOOL GATE 136 The Africans are exiting. Maria, Morrie and PK stand, receiving their heartfelt thanks one by one. Mandoma is the last to leave. MANDOMA (to Maria) You are one brave Boer, Miss Maria. MARIA Thank you. MANDOMA And you are one lucky English. He kids PK. PK blushes. PK Good night, Gideon. He playfully pushes Gideon out the gate and closes it. He turns to Maria and Morrie. MORRIE Well, I think I'll go... um... lay on my back and count the cracks in the ceiling. 'Night. Nice to see you, Maria. 104. MARIA Good night, Morrie. Morrie runs off. PK takes Maria around. PK I am one lucky English. They embrace and kiss. MARIA P.K. Can I ask you a favor? PK Anything. MARIA We don't have to go in or anything. You can hear the music from outside. I'd love to have one dance with you before I graduate. PK Done. MARIA I feel so good. Race you to the gate. PK You need a headstart? MARIA No. She takes off. PK follows.137 SOMEONE ELSE'S POV 137 They disappear into the night.138 ANGLE ON FIGURE 138 in the shadows, watching them run off. CUT TO:139 INT. SCHOOL GYM 139 105.PK is working on a speed bag. Morrie comes running inwith two open letters in hand. MORRIE We made it! We made it!He thrusts one of the letters at PK. MORRIE Sorry. I couldn't bear the suspense after I read mine. I had to open it.PK looks at his letter. MORRIE Three months and we're out of here. PK You're out of here. MORRIE What the hell are you talking about?He snatches PK's letter. MORRIE (reading) 'Dear sir. It is our pleasure to inform you that you have been accepted to matriculate at Trinity College, Oxford,' etc., etc., etc. PK It says nothing about the scholarship. MORRIE A technicality.Another BOY comes over. BOY St. John wants to see you two in his study. MORRIE Good news travels fast. PK I'll get showered and changed. 106. BOY He said to come as you are. Immediately. The Boy runs off, leaving PK and Morrie wondering. CUT TO:140 INT. ST. JOHN'S STUDY 140 PK and Morrie enter to a somber St. John. PK Wanted to see us, sir? ST. JOHN Yes. Come in. Close the door. As the door closes, BRIGADIER JOHANNES BRETYN, a quiet but formidable man, comes into their line of vision. Trouble is in the air. ST. JOHN This is Brigadier Bretyn from the police department. Bretyn just nods his head. ST. JOHN He has come to deliver, in person, an order to close the Saturday school. PK Why? BRETYN Because it is illegal. MORRIE We're only teaching them how to read and do sums. BRETYN You don't have certification to do that. PK Prince of Wales is a certified school. BRETYN Yes. But not certified for that 107. sort of thing. PK Can he do this, sir? BRETYN Of course I can do it. Would I be here if I couldn't? Come now meneer headmaster. Let's end this now. I have a full day ahead of me still.St. John meets Bretyn's steely eyes. He cannot hold theman's gaze. ST. JOHN (resigned) The Saturday school is to be disbanded until further notice. BRETYN Thank you, meneer headmaster. Your cooperation in this matter is very appreciated. Good day.Bretyn goes to exit. PK You know it can't go on like this forever.St. John tenses. BRETYN What can't? PK What you're doing. BRETYN I'm just doing my job. And if you'll take some advice, you should just do yours.Bretyn exits. MORRIE Is that really the end of it, sir? ST. JOHN For the moment I'm afraid it is. PK If we let them get away with it on our own grounds, it will never 108. change. It'll just get worse. ST. JOHN History disputes you. PK History takes too long. ST. JOHN Yes it does. But it is never kind to those who try to hurry it. PK I feel we should resist, sir. ST. JOHN So do I, P.K. But this is not a subtle government. They mean to have their way and damn the consequences. And I cannot jeopardize this school, no matter how I personally feel. I'm sorry. (beat) I heard you were accepted at Oxford. MORRIE Yes, sir. Received notification today. ST. JOHN Well, congratulations. MORRIE Thank you, sir.St. John looks at PK who remains silent. ST. JOHN To both of you. PK (tight) Thank you, sir.An uncomfortable silence lingers. ST. JOHN We'll talk before you go. PK Yes, sir. Will that be all? ST. JOHN That'll be all. 109. PK turns immediately and exits. Morrie and St. John trade an uncomfortable look. CUT TO:141 INT. HALLWAY 141 PK walks down the hall, anger building in his face. He exits the hall. CUT TO:142 EXT. DEVILLIERS SCHOOL 142 PK comes up to the main gate. A GUARD stops him. PK I'd like to see Maria Marais please. The Guard checks his list. GUARD Sorry. She's not allowed visitors. PK Well, if I could just talk to her. GUARD Sorry. PK backs away and moves off down the street. He turns the corner.143 HIS POV - TREE 143 he uses to scale the wall is in the process of being cut down. CUT TO:144 INT. PK'S ROOM - PRE-DAWN 144 Morrie is asleep. PK wakes him. PK Morrie. Morrie. MORRIE What? 110. PK I want to show you something. MORRIE What time is it? He looks at his watch and turns over. MORRIE Can I see it later? PK No. Come on. He pulls Morrie out of bed. Morrie groggily starts pulling his clothes on. MORRIE You know, when we get to Oxford -- separate rooms. PK Will you hurry. MORRIE Is there some girl out there waiting for me? PK Yeah. Stunning. Breasts like casabas. Just waiting for you. MORRIE Bullshit. PK throws a jersey into his chest and pulls him out of the room. CUT TO:145 EXT. PRINCE OF WALES CAMPUS 145 The campus is swaddled in early morning fog. PK and Morrie stand on the side of the school chapel while a black groundsman opens the door to the basement. PK What do you think? MORRIE I think you're fooling yourself into thinking the bastards won't 111. come after us in here. The groundskeeper opens the door to the basement. The boys enter. CUT TO:146 INT. BASEMENT 146 PK switches on a light switch to a cavernous space cluttered with old desks, blackboards and church pews. PK This is a church. Didn't you ever hear of the Christian concept of sanctuary? MORRIE Yes. But I'm not the one who has to respect it. PK Even the Boer has limits, Morrie. MORRIE I'm sure he does, but I'd still like to see a big bolt on the inside door. CARETAKER Mr. Levy? The Caretaker pulls a large deadbolt out of his pocket, with a smile. CUT TO:147 INT. SOLLY'S GYM 147 Mandoma and PK, both with protective equipment on, square off. SOLLY Now move it nice and easy, the both of you. Time. PK and Mandoma circle. Mandoma throws a jab. PK They want us to close the school. PK counters. 112. MANDOMA I know. Mandoma lays in a combination. PK We are still game. PK throws a combination. MANDOMA So are we. SOLLY Would you two find some other time to chat. This is a boxing ring, not a social club. Mandoma and PK start boxing in earnest, both smiling. CUT TO:148 EXT. DEVILLIERS SCHOOL - NIGHT 148 A watchman makes his rounds. He passes by Maria's window. When he is gone, PK appears from behind a tree. He taps on the window. Maria comes to the window and sees him. Her face lights up. She opens the window. PK (cool) I was in the neighborhood. Maria puts her finger to her lips and waves him in. PK climbs through the window. CUT TO:149 INT. ROOM 149 Maria points to the door. She puts a record on her phonograph. She turns to PK and embraces him fiercely, holding on tight. MARIA (whispering) They're sending me away to school in Pretoria. I told my father I wouldn't go. He said if I didn't he'd see they arrest you and ruin your chances. I couldn't let him do that. 113.150 ANGLE ON PK'S PAINED FACE 150 as he holds Maria. PK When do you go? MARIA Next week. (beat) I want to make love to you, P.K. PK's eyes fill with her words. She releases him. They look at each other. MARIA I do. PK leans forward and kisses her, awkward, as if for the first time. As their lips part, their breath shortens. Maria moves forward slowly, lifting PK's hand to her breast. He touches it. The heat builds. Passion overwhelms them. They begin to make love. CUT TO:151 INT. ROOM - LATER 151 Maria sleeps peacefully in PK's arms on her small bed. PK lies awake, staring at the ceiling. He rises quietly so as not to wake her. He pulls on his clothes, gently brushes a wisp of hair away from her eyes, kisses her forehead, and exits through the window into the breaking dawn. CUT TO:152 EXT. SCHOOL GROUNDS - NIGHT 152 PK and Morrie stand by a side gate near the athletic field looking alertly about. The gate opens. The Africans led by Mandoma come through. PK and Morrie greet them. When they are all through Morrie closes the gate and runs after them. CUT TO:153 EXT. ATHLETIC FIELD - STANDS 153 A man with a walkie-talkie sits in the shadows, watching 25 people run across the athletic field. He talks into his walkie-talkie. 114. CUT TO:154 INT. CHAPEL BASEMENT 154 The light switch is on. The four lights above the center of the room illuminate a classroom area -- desks set up in neat rows with stools, a blackboard. The other furniture has been piled high against the walls on either side of the room where the light does not reach. PK If you'll all be seated we can begin. The Africans head toward their desks. PK turns to Morrie. PK So far so good. Morrie's response is to throw the new deadbolt into its slot with a skeptical eye. PK takes his place at the head of the class. PK I want to thank you all for having the courage to come tonight. (in Zulu) Thank you. ALL (in Zulu) You're welcome. PK I will be teaching the first part of class tonight and Mr. Levy will teach the second. A woman whispers something to Mandoma. Mandoma raises his hand. PK Gideon? MANDOMA Miss Marais. Will she not be coming? PK Not anymore. 115.This causes a flurry among the women.PK writes on the blackboard the word "see." PK See.He says the word in Zulu. PK I see. You see. We see.He moves his hands, eliciting response. ALL I see. You see. We see.PK holds up a book with a picture of a boy. PK Boy. ALL Boy. PK I see the boy. ALL I see the boy.PK holds up another picture. PK Girl. I see the girl. ALL I see the girl.There is a KNOCK on the door. Everyone freezes. MARIA P.K., it's me.Morrie pulls the bolt, opening and shutting the doorquickly.PK and Maria look at each other. MARIA I wanted to say goodbye to my students... (beat) ... and to you. 116. The four women in the class speak in unison. WOMEN We see the girl. Maria smiles, surprised. The moment is shortlived as a SOUND from behind the pews in the rear of the room turns everyone. In the shadows, risen from behind the piles of furniture against the two opposite walls, stand 20 policemen with long menacing riot sticks. Bretyn steps into the light. Mandoma gives a command and the Africans form a phalanx around the women. BRETYN Once warned. Twice punished. PK You're violating the sanctity of the church. BRETYN No. You are with your damned race mixing ideas, rooinek.155 ANGLE ON MORRIE 155 by the door, slowly slipping the bolt lock, trying to remain innocuous while doing so. PK sees him and trades a look with Mandoma, who also sees what Morrie is doing. PK At least let the women go. BRETYN You want everything to be equal, little Boetie. Why not men and women too? Just then Morrie throws the bolt. MORRIE Now! He goes to charge out the door, but to his chagrin the door does not open, locked from the outside. 117. Bretyn smiles cruelly. BRETYN Locks keep people out but they also keep them in. He has walked right up to Morrie, not taking his eyes off Morrie's for a moment. Morrie meets his gaze evenly. The moment is broken as Bretyn's baton slams into Morrie's stomach, dropping him to this knees. BRETYN Get up, you bloody commie Jew! He bangs Morrie hard in the jaw, knocking him out cold. BRETYN Captain. The two police lines start to move towards each other, sandwiching the Africans, PK and Maria. Mandoma gives an order. The blacks pick up anything they can to face the inevitable--stools, chairs, a flagpole. PK No. Wait. We'll leave. BRETYN Too late. You never should have come. At the ready. The two police lines tense to charge forward. The blacks brace to defend. PK No! Stop! BRETYN Now. The police charge from both ends of the room, yelling, clubs held high. The Africans respond with their own war cry and engage the club-swinging police. A policeman swings at PK who ducks and buries a hook into the man's ribs followed by another to his jaw. The man goes down.156 PK'S POV 156 118. Morrie has risen to take a policeman out with a stool over his head. Two other police beat Morrie from behind. He goes down once again under their brutal clubs.157 BACK TO SCENE 157 PK turns just as another club comes for his head. He slips past the blow and punches out his assailant with a lightning combination. As the man falls another cop charges from behind. MARIA PK! PK turns off-balance. Maria leaps. The club cuts through the air. Maria is caught flush on the forehead as she comes between PK and the club. She falls to the floor dead. PK swings a stool with all his might, breaking the cop's face open. PK Maria! PK drops to the fallen girl's side. He is frantic at the sight of her gaping bloody wound and the sight of her open blank eyes. The battle raging around him recedes before his pain and rising rage. All at once he explodes, screaming like a madman. He leaps at Bretyn and bangs one punch after another into the startled man. Bretyn's face is broken over and over against PK's fists. Still PK keeps pounding blow after blow into the fallen man. Three cops descend on PK and beat him mercilessly until he drops to the floor, unconscious. Mandoma is hit hard and goes down. The few Africans left fighting go down before the withering assault of clubs, fists, and boots.158 EXT. CEMETERY - DAY 158 Maria's funeral. Hundreds of Afrikaaners are gathered. Daniel Marais and his wife stand by the open grave, grieving, as the minister reads the final prayers. 119. The coffin is lowered. Daniel Marais steps forward and shovels the first dirt down after it. As Marais looks up he sees PK standing behind the mourners, 20 yards off. His anger replaces grief. Marais advances towards PK, clutching the shovel as a weapon. Several MEN restrain him. MEN Daniel. No. Marais glares at PK. All of a sudden a thousand African voices cut through the air, SINGING songs of mourning. CUT TO:159 EXT. CEMETERY WALL 159 Thousands of Africans and a smattering of whites have gathered outside the cemetery. The singing rises from them. Gideon, Morrie, St. John and Solly stand in front of the crowd. CUT TO:160 EXT. CEMETERY 160 Marais glares at PK, tears of rage in his eyes. PK stands his ground. Marais turns away, back to his daughter's grave. PK stands, tears streaming down his cheeks, as the SINGING ENGULFS the SCENE.161 INT. PK'S ROOM - DAY 161 PK sits at his desk filling out application forms. Morrie enters. He picks one up off the desk and looks at it. MORRIE 120. (surprised) You're applying to South African universities? PK In case the scholarship doesn't come through. MORRIE Why are you so bloody stubborn? You don't belong in a South African university any more than I belong in the priesthood. Will you take my father's loan? PK takes the applications back just as a TELEGRAPH DELIVERY BOY comes to the door. BOY There a Mr. P.K. here? MORRIE It's your scholarship. Morrie grabs the telegram. BOY Sign here. Odd name -- P.K. MORRIE What's your name? BOY Waldo. MORRIE You're not one to talk about names. Morrie scribbles his signature and proceeds to open the telegram. PK snatches it away from him. He pulls the telegram out. His face falls to worry. MORRIE What's it say? PK Doc's missing. CUT TO:162 INT. DOC'S HOUSE 162 121. PK walks through the small house followed by Commandant Von Zyl. Nothing is out of place. VON ZYL Since his pneumonia last year I've had one of the men drop by once a week to see if he needed anything. Of course you know the professor. He never did. PK looks out at the cactus garden, watered now by drip irrigation. VON ZYL At the beginning of the week he wasn't home so I decided to drop by myself. Waited a whole day here. When he didn't come back I sent search parties. After three days I sent the telegram. Seven days is a long time for him to be gone. Do you have any ideas where he went? PK looks at the pegs where the rucksacks hang. There is only one hanging. CUT TO:163 EXT. JUNGLE FLOOR 163 PK hikes along, watching the trail. His eyes spot something. He kneels over the remains of a small campsite. PK touches the ashes. His eyes rise to the escarpment soaring above the jungle floor. CUT TO:164 EXT. ESCARPMENT CLIFF FACE 164 PK climbs along the cliff face. He drops down into the entrance to the crystal cave. CUT TO:165 INT. CRYSTAL CAVE 165 PK stands at the bottom of the crystal slab almost dreading what he will find. He resolutely climbs the stalagmites to reach the top. PK's eye level shifts from below the slab to even with it, then to above it. As his sight rises Doc's corpse comes INTO VIEW -- 122. laid out, serene hands clasped on his chest. From above the stalactites drip onto his body ever so slowly, turning him, molecule by molecule, into crystal. PK stands off to one side.166 HIS POV 166 a small metal box by Doc's feet.167 BACK TO SCENE 167 PK picks it up and opens it. Inside is a letter. PK unfolds it, and with trembling hands reads: DOC (V.O.) So Mr. Schmartypants. It did not take you so long to figure out what happened. I hope you forgive me for not saying goodbye, but I did not think it would be necessary between us. What could I say you don't already know. (MORE) DOC (V.O.) (CONT'D) That I love you with all my heart? That you have given me more in our ten years of friendship than three lifetimes could fill? That the last thoughts I have before becoming something else will be of music, cactus, and you? You know all this. PK turns the sheet to page two which is a whole side of music. DOC (V.O.) Last night this music came into my head. It is my music for Africa. My music for you. So go. Be welterweight champion of the world. Be a writer. A great writer. Remember -- the only thing between a dream and a reality is you. Until we meet again, your friend, Doc. PK looks down at Doc as a PIANO CONCERTO, beautiful, haunting, BEGINS TO PLAY. 123. FADE TO:168 INT. DOC'S HOUSE - NIGHT 168 PK plays the music Doc wrote with only the moonlight illuminating the page. The music is soul-stirring, rich, evocative. Tears run down PK's cheeks. PAN FROM PK THROUGH the CACTUS GARDEN to the FULL MOON illuminating the African veldt as the MUSIC dominates and then FADES into the night. CUT TO:169 EXT. JOHANNESBURG TRAIN STATION - DAWN 169 The overnight train pulls in. PK disembarks.170 HIS POV - STATION CLOCK 170 reads 6:30. PK exits the station. CUT TO:171 EXT. GOLDMAN'S GYM 171 PK comes down the street. A police car sits in front of the gym. The two cops inside eye PK. He eyes them back and enters the building. CUT TO:172 INT. GYM 172 The gym is empty. PK enters and is stopped by the uncustomary silence. PK Hello? Mr. G? Anyone here? SOLLY (O.S.) In here. PK heads for the office. He finds Solly packing up his mementos from the cluttered office. PK Mr. Goldman, why isn't anybody 124. training? What's going on? SOLLY A repeat performance of history, my boy. Solly Goldman's being deported. Of course last time I didn't have the luxury of being able to pack. PK For what reason? SOLLY Their reason is that I'm here illegal. I didn't enter the country with a passport. Like the Czar was issuing passports to Russian Jews in 1910. PK This is because of me, isn't it? SOLLY No, boychick. This is because of them. They are the problem, not you. Don't ever think different. You look tired. Want a glass tea? PK No, no. I have to get back to school.Solly opens his arms. PK hugs him. SOLLY You got your head screwed on right. Don't let these meshuganahs screw it on wrong. Now go on. You want to find me, look at Benny Rosen's gym in East End, London. PK Thank you for everything. SOLLY We're not finished yet.PK smiles and exits.Solly waits for a moment, then goes back to packing. CUT TO: 125.173 EXT. PRINCE OF WALES SCHOOL - MORNING 173 PK comes up to the school gates. He notices two plain- clothes police cars just across the road. PK enters with a growing sense of uneasiness. CUT TO:174 INT. PK'S DORM 174 PK hurries down the hall to his room. He opens the door to Daniel Marais, sitting at his desk, reading from his fiction-filled notebook. MARAIS You're a very good writer. The subject matter is a little inflammatory but the style is interesting. PK What are you doing here? MARAIS I came to inform you that you will not be receiving aid from the National Scholarship Fund. Neither will you be admitted to any of the South African universities. Here are your applications back. He hands PK the applications as he rises. MARAIS I told you when you came to my house. I am first a member of my tribe and I will defend it any way I know how. He and PK glare at each other, implacable enemies. Marais exits. PK looks out his window, thinking.175 HIS POV - MARAIS 175 walking off across the campus. MORRIE (O.S.) They don't want you here any more than they want me. 126.176 BACK TO SCENE 176 PK turns. MORRIE Take the hint. Screw the scholarship. Come on. Let's leave. PK If I leave or if I stay in South Africa it's because I choose to, not because they choose for me. He takes a small handbag, throws a few books into it and Doc's picture. He picks up his notebook and packs that too. He goes to exit. MORRIE Where are you going? PK Save my place at Oxford. PK exits the room. Morrie chases after him. MORRIE P.K., goddammit! He grabs PK, stopping him. PK Save my place. Morrie's grip releases. PK walks out. FADE TO:177 EXT. COPPER MINE - DAY 177 Hundreds upon hundreds of black laborers and white mine workers descend into the mines. A milling mass of disenfranchised humanity come to work the underground hell of the copper mines. PK exits the management shack and walks through the crowd. PK (V.O.) Dear Morrie. Here is how it works. 127. The copper of the mines in Northern Rhodesia is mined below ground. All day a behemoth of a man, a diamond driller, works a stope which is like the top of a funnel. CUT TO:178 INT. STOPE 178 A huge diamond driller at work drilling and blasting in the stope. PK (V.O.) Setting charges and drilling the rock. The only way for the raw ore he takes from the sides of the stope to get to the haulage below is to pass through the spout of a funnel and out the steel doors at the bottom -- sixty feet down. CUT TO:179 TRAPPED DOORS AT BOTTOM OF FUNNEL 179 opening, as the haulage cart fills with ore and moves away on the track in the tunnel below. PK (V.O.) Halfway down the spout area is a set of six tungsten steel bars called a grizzly which catch all the rocks too large to make it through the funnel mouth to safe haulage.180 ANGLE ON GRIZZLY 180 six bars with men working them. PK (V.O.) These are taken care of by a grizzly, an explosives expert whose job it is to keep the ore flowing, and since when the ore doesn't flow, neither does the money, working the grizzly is a very crucial and therefore very well-paid position. Three months' 128. work earns a year's stay at Oxford. Yesterday, on receiving my blasting license from the School of Mines, I signed on to work the bars for a year. CUT TO:181 INT. MINER'S BAR 181 A crude place where the bar runs the back length of the room and the bare concrete surroundings offer nothing in the way of diversion from the main purpose of being there -- to drink hard and long. THOMAS, a harsh, ruddy-faced Welshman, the School of Mines instructor, downs a drink, pours another and looks up at PK. THOMAS Are you crazy? To sign on for a year? PK You said I was the best you ever taught, sir. THOMAS And you are, boyo. The absolute best. THOMAS (CONT'D) But even the best doesn't survive a year on the bars. Down in that damn tube the luck runs out sooner than later. You may be a genius at reading the rock but you ain't no fuckin' fortune teller. Thomas throws back another drink. PK You worked grizzly a year. THOMAS And let me show you what I have to show for it to this day. He holds up his hand. It shakes noticeably. THOMAS And that's thirteen years after the fact, boyo. 129.A NOISE from the doorway turns Thomas's attention. Helooks over as four huge men enter, drillers, men whosefaces and bodies are as hard and massive as the rockthey work.One of the men pauses at the door and grabs his head asan enormous jolt of pain runs through it. He shakes itoff and follows his friends to a table.Thomas looks concerned. PK Something wrong? THOMAS (unconvincing) Nothing.The BARTENDER comes over and puts another shot in frontof Thomas. BARTENDER One double brandy. One... (derisive) lemon soda.He puts the lemon soda in front of PK. THOMAS Come on, then.Thomas lifts his glass. THOMAS On being the best damned blaster ever taught by Ian Thomas. Cheers.Thomas and PK clink glasses. Thomas knocks his shot back. THOMAS Another.The bartender pours another. THOMAS Sure you don't want one? PK I don't like the taste. THOMAS Taste? You don't drink for the taste. 130. He holds out his hand. It is steady now. He fixes PK with a portentous stare. Thomas looks over at the table of drillers. The man with the headache is downing one shot after another. THOMAS Hell's comin'. He draws PK's attention to the drillers. THOMAS Drillers. He's got a powder pain from breathin' too much of that damn gelignite. The pain's bad enough. Mixed with a little alcohol it's fuckin' lethal. He watches the driller down two more shots of liquor. THOMAS Come on. We ain't got much time. Thomas directs PK towards the door. THOMAS The two most dangerous things you'll ever see in your life, boyo: a hangup of rock that won't blast free on first shot and a driller with a powder headache drinkin'. As they reach the door the behemoth explodes with a roar. He grabs his head and staggers backwards; a mad look comes into his eyes. His three huge frineds rush to grab him. He throws them off as if they were ants. He rips a table out of its bolting to the concrete floor and flings it across the room. The men drinking in the bar, all tough cases, begin to flee. Thomas grabs PK whose eyes stare in amazement as the behemoth struggles against his three massive friends and pulls him out of the bar. CUT TO:182 EXT. MINER'S CAMP - TWILIGHT 182 Pk is watching a rugby match being played at twilight. The players are a rough, brutal bunch and play their 131. game accordingly. Fights continually break out. Off a play a fight breaks out. One of the men is kicked unconscious. Two of his teammates carry him off the field, dumping his body unceremoniously like a sack of potatoes on the sidelines. They run back as play resumes. PK turns and walks back through the camp. CUT TO:183 EXT. CAMP - NIGHT 183 A company-built miner's camp. Cement huts with steel doors and corrugated roofs. No shrubbery, only dust, cement, and the roughest-looking bunch of men assembled on earth. PK (V.O.) Dear Morrie. To answer your question: yes--sports are played here, but only in the loosest sense of the words "sport" and "play". The rules are different for everything, in games as well as in the rest of our lives. The managers, the foremen, the company people. They live apart from the miners. They have families. Proper gardens. Sunday dinners. The miners--the crud, as we are called -- don't. This is a society of men, many of whom have pasts better left behind. Future does not apply. It is a society only in the loosest sense of the word. The laws of survival are simple-- you either do or you don't. PK comes down a side street. A half a dozen men at cards, hard-faced desperadoes, see him pass, eyeing him closely. PK averts his eyes. From behind his back comes the sound of LIPS PUCKERING loudly, indecently. PK swallows hard. The sound of a CHARGE turns him to the six men bolting from their card game after him, whooping with lascivious intent. PK takes off. The chase takes PK and his pursuers flying through the streets of the camp, past one identical cement hut after another. People watch, disinterested. No one raises a hand to help. PK comes racing around the corner to three of the men 132. blocking the street in front of him. He whirls. The others catch up behind, yelling and hooting. The two lines advance. PK gets ready. When the first man is close enough he hits him hard, breaking his jaw. He swings at another, catching him flush in the face. But then the rest are upon him. Even though PK fights like hell, he is overwhelmed. The blows come from everywhere, beating him to the ground. His arms and legs are firmly grabbed by four men. He is banged hard face down onto a concrete table. The fifth man pulls down his pants and the sixth begins to undo his own fly. All the men scream obsceni- ties, anticipating the rape. PK struggles like hell to no avail. As he is about to be violated, a roaring giant of a man tears into the pack like a bear shredding dogs. He scatters the men, knocking some unconscious, sending the rest to flight. He stands over PK, a looming block of granite with a wild black beard and coal-black eyes. His intent only becomes clear as to whether he is claiming a prize or helping a friend when he offers PK his hand, lifting PK effortlessly. He examines PK's bruised face with some concern and then smiles. PK You know, Rasputin, I had them right where I wanted them. Another minute they were done for. Rasputin claps PK on the back and addresses him in Russian, to which PK responds with a smile. The two men walk off together. CUT TO:184 INT. PK'S HUT - NIGHT 184 A TCHAIKOVSKY SYMPHONY plays on a rickety OLD RECORD PLAYER. PK works out on a speed bag and a heavy bag he has hung in the room while Rasputin, the giant Russian, sits next to the record player, finishes drinking a bottle of brandy, tears running down his face as he fol- lows the symphony. When he finishes the bottle he takes another one out of a case sitting by his side and begins to drink anew. PK (V.O.) Friendships are rare--arising out of mutual need rather than 133. any shared interests. But they do exist and even flourish. Except between the drillers and their grizzlies. No one wants to get too close to the man who might be buried at night by what you drilled loose in the day. CUT TO:185 EXT. MINE - NIGHT 185 PK inspects his nightly quota of gelignite charges and fuses. Five Africans, all serious faces, keep their eyes firmly on PK. PK (V.O.) The Africans who come here looking for work are driven by a different desperation--drought, famine, locusts. Satisfied with the equipment, PK nods for the box to be closed. ELIJAH, his head man, closes the boxes. PK (V.O.) They come and risk their lives to send money back home to the families sitting on the barren farms, starving, waiting for death or rain. When the boxes are closed the other five men in the crew lift them and follow PK out. CUT TO:186 INT. MINE ELEVATOR 186 The elevator descends into the mine. PK (V.O.) Superstition runs deep in them, so a good grizzly man attracts a good crew. On the bars, the longer you live the luckier you are. And by association -- they are. 134. CUT TO:187 INT. TUNNEL 187 PK and his crew make their way through a narrow tunnel and come to the grizzly. It is dark. The only light comes from the lamps attached to their helmets. Boulders litter the bars. PK and Elijah are onto the bars first. Their light beams move along across the boulders. ELIJAH Baas. Baas. PK turns to Elijah. His lamp catches Elijah's face which is looking upward. PK looks up. His POV in the narrow bands of light: a bunch of rocks big and small, packed into the funnel. His face grows dim. CUT TO:188 CLOSEUP ON HANGUP OF ROCKS 188 Five feet across a rock wall with stones of all sizes blocking up the funnel's mouth. PK (V.O.) Hangups are the worst of it. When the top of the funnel gets blocked up and the ore won't flow. PK scales the sheer rock wall of the funnel, his shirt packed with explosives. PK (V.O.) The only way to unblock it is to set a charge to blow inward. And the only way to do that is to set the charge in mud, which means climbing up to the mouth of the stope and coming face-to-face with the devil. PK reaches the hangup. He works at taking a prepared parcel of gelignite sticks and jamming them carefully into a crevice. As he does the hangup creaks deeply, shifting, ominous. A few rocks fall. PK freezes, holding his breath. CUT TO: 135.189 THE AFRICANS 189 peeking out of the safety shaft below, terrified. Elijah remains on the grizzly bars, his light shining on PK. CUT TO:190 PK 190 holding very still, listening. PK (V.O.) Sometimes the rock doesn't need the provocation of explosives. Sometimes the earth shifts... (beat) a pebble moves... (beat) you talk too loud... (beat) and in the moment before you are turned into something else by fifty tons of rock you understand why it is called grizzly. PK finishes setting the charge. He scales down the wall. A large rock is expelled from the hangup and comes bouncing down the sides to the funnel, just missing PK, crashing through the bars below. PK freezes. Elijah holds his breath. The crew in the safty tunnel quakes. Nothing happens. PK comes down the rest of the way. He takes the cordtex rope dangling from the bomb and inserts a fuse. He nods to Elijah. Elijah lights a cheesa stick. He hands the glowing stick to PK. PK waves towards the tunnel. One of the Africans sounds the WARNING WHISTLE. Two blasts followed by two blasts. PK nods for Elijah to be off. Elijah stands his ground. ELIJAH I wait for you, baas. PK lights the fuse. Elijah takes off like a scared rabbit for the safety of the shaft. PK is right on his tail. The fuse travels quickly toward the bomb. 136. Elijah trips. PK, coming behind him, grabs him by the collar and flings him into the safety tunnel, diving after him a second later, just as the BOMB EXPLODES. A few rocks come down, but nothing else. The Africans look at each other with real apprehension. PK rises from Elijah and peeks out.191 HIS POV - HANGUP 191 is still in place. PK studies the hangup, stepping out onto the grizzly, listening, looking. The hangup groans. The Africans are petrified at the mouth of the tunnel. PK stops midway on the bars. He studies the hangup intently, then picks up a rock. Choosing a target he heaves the rock with all his might toward the hangup and runs like hell. The rock hits the hangup. PK springs off the grizzly, right into the Africans as the hangup thunders down. Dust and small rocks fill the safety tunnel. When the avalanche has stopped PK raises himself off the Africans. They are all covered in dust but smiling and babbling, happy to be alive. PK peeks out and up. He signals to Elijah who hits the LL-CLEAR WHISTLE. Three blasts. PK Let's clean her off and call it a night, hey? Happy, the Africans lift shovels and crowbars to clear the bars. As they pass PK they touch him reverentially as one would an icon. PK (V.O.) The Africans think the longer you survive the luckier you are. And the luckier you are the longer you survive. I know there's something inherently wrong with their logic. Still, I'm beginning to see their point. Especially with less than six months to go. CUT TO: 137.192 INT. PK'S HUT - NIGHT 192 PK and Rasputin play a game of chess as TCHAIKOVSKY plays in the background. There is a KNOCK on the DOOR. PK Come in. JOCKO, the bookmaker, enters. JOCKO Ay, man. If you'd let him win once in a while we could take a little book on it here. PK He doesn't care if he wins. He just likes to play. JOCKO And you? PK I like to win. JOCKO Which is why I'm about visiting you. You've come on the board, man. There are odds on your making it or not. PK How are they? JOCKO (low) Not in your favor, my boy. PK Why are you telling me this, Jocko? JOCKO When you come up on the boards, boyo, it's time to bow out. It's an omen. PK I bow out you can't make book. JOCKO PK, it's not a bet I want to collect. 138. PK Tell me, Jocko, how high will the odds go on something like this? JOCKO The shorter your time, the higher they go. With you probably ten, twelve, thirteen to one when you're short a month. PK When the odds hit the top put me in against all bets for two hundred quid. JOCKO I did not come here to solicit your bet. PK I know that. I appreciate it. But if you don't take it, someone else will. JOCKO All right. You're a bleery fool. And I'll be prayin' every night it's the only bet I ever have to pay off on. PK And so will I.Jocko rises to exit. JOCKO You should let him win once in a while. PK When he wins it won't be because I let him.Rasputin says something in Russian as he moves a piece,excited to have taken one of PK's pieces. PK turns andcheckmates him. PK Checkmate.Rasputin laughs, speaks in Russian, and starts to setthe board up again.Jocko exits. 139. CUT TO:193 INT. MINE ELEVATOR 193 The elevator descends into the shaft. PK and his crew exit. There is a low sound of a blast, muffled, that stops them all. PK Did you hear a blast whistle? ELIJAH No, baas. Then after a moment the vague sound of a drill leaps through the rock. PK I never heard a drill at night. The Africans get nervous. They chatter to one another. PK It's not a ghost. It's just some driller trying to squeeze extra pay. Come on. PK moves forward. The Africans follow him out of the elevator with reluctance. CUT TO:194 INT. END OF TUNNEL 194 PK steps out onto the bars with Elijah and examines the debris. ELIJAH (whispered) Baas. There is a tremor of fear in his voice. PK follows Elijah's face upwards to a hangup. PK Not the first bloody thing! ELIJAH Bad sign, baas. PK Bad drilling's more like it. Come on. Let's get it going. 140. Elijah goes back to fix the charge while PK studies the hangup. He hears the Africans talking in the dark. When his light points on them they stop, turning their heads away. Elijah comes back with the bomb. PK (whispered) What's the matter with them? ELIJAH They say juju. Bad magic is in the mine tonight. PK heeds the warning, somberly. He takes the bomb from Elijah and starts to climb the wall. TRACK with PK as he makes it up to the hangup. He quickly seals the bomb and drops the cordtex. CUT TO:195 ELIJAH 195 on the bars, catching the rope. He is growing more nervous by the moment as he fastens the fuse. CUT TO:196 PK 196 making it down the side of the tunnel. The hangup shifts. PK freezes. CUT TO:197 THE AFRICANS 197 peeking out of the safety tunnel, scared. CUT TO:198 ELIJAH 198 scared, but standing his ground. CUT TO:199 PK 199 141.making it back onto the bars. He carefully makes hisway to Elijah as the hangup sends some pebbles down. PK She's playing with us tonight. Fuse set?Elijah nods.PK holds his hand out for the cheesa stick. Elijahlights the flare. He goes to hand it to PK. PKnotices Elijah's hands shaking. He sees the fear inElijah's eyes. PK Go on. ELIJAH I stay with you, baas. PK That's an order.Elijah, released from his responsibility, retreatsquickly.PK stands holding the flare, a little distracted byElijah's fear, wondering.Elijah sounds the BLAST WHISTLE. PK One... two... three.A MUFFLED BLAST comes from the other side of the hangupdeep in the stope. PK freezes, confused, and then aSECOND BLAST goes off. The hangups starts to give. AndANOTHER BLAST.PK lights his own fuse and runs like hell over the barstoward the tunnel.The hangup, loosened by the explosions inside, givesbefore PK's bomb ignites. The rock is crashing down.PK races the rock. The tunnel is within sight.The men yell for him to jump.PK is about to leap when a rock hits the bar, bounces up,and catches him in the stomach. He loses his balanceand goes over the side as the hangup comes crashing down.PK hits the wall of the lower funnel -- once, twice --and then lands in the soft stuff -- the shale flake,cushioning the steel doors below. 142.200 HIS POV 200 against the wall of rock. A rock ledge carelessly left when the funnel was originally built. PK rolls under it. A moment later fifty tons of ore in large chunks and small chunks and dust comes crashing down, burying PK. He lays there, semiconscious, buried but alive. CUT TO:201 INT. TUNNEL 201 The falling rock has stopped. The funnel is full. The bars as well. Elijah and the crew look out of the safety tunnel tremulously. Elijah looks up the stope. His light catches a man at the very top of the stope climbing out. Elijah pulls the WARNING WHISTLE. Five blasts over and over. CUT TO:202 INT. HAULAGE 202 Men hear the WHISTLE and stop work. CUT TO:203 INT. LASHERS 203 Men shovelling ore stop shovelling. CUT TO:204 INT. TUNNEL 204 Rasputin is timbering with his crew, fitting huge timbers into place, making new haulage, when he hears the whistles. RASPUTIN PK! He yells at his crew to grab the tools and he runs off down the tunnel. CUT TO: 143.205 INT. PK'S GRIZZLY 205 A deep hole has been dug through the rock piled in the lower funnel. Rock comes up in a bucket and is carted off. Timber is passed down. A crowd of miners, black and white, watch and help where they can. MINER #1 He's dead. No doubt about it. MINER #2 You give me a fair odds on ten quid? MINER #1 Four to one. MINER #2 Make it a sixer and you got me. MINER #1 You're on. MINER #2 Anyone else? Six to one he's dead. CUT TO:206 INT. HOLE 206 Rasputin works like a man possessed, piling rocks in the bucket to be passed up, shoring timbers as they are passed down. CUT TO:207 INT. BARS 207 Elijah is pointing up the stope to two Mine Managers as dozens more mill around, hauling the rock out, trying to help. TWO MINERS observe Elijah and the managers. MINER #3 He says someone was up there. Blasted it out on PK from the other side? MINER #4 Who's the driller? MINER #3 Botha. 144. MINER #4 No one drills Botha's stope but Botha, and he only works days. The miners look at each other knowingly and return to work. CUT TO:208 INT. SHAFT 208 Rasputin, bloodied, his hands ripped apart by the stones, his chest torn by the rough timbers, labors on, Herculean. CUT TO:209 PK 209 buried. He hears movement above, faint but perceptible. PK (strangled) Help. Help. CUT TO:210 INT. SHAFT 210 Rasputin sends another bucket up. He stands, his chest heaving. He hears something. He drops his ear to the floor. He hears the FAINTEST SOUND. PK (V.O.) Help. RASPUTIN PK! He starts tearing away at the rock, doubling his effort. RASPUTIN PK! PK! CUT TO:211 PK 211 almost unconscious, hearing Rasputin's voice. He breaks into the smallest of smiles and passes out. FADE TO:212 INT. HOSPITAL BED 212 145.Pk sits in the hospital bed, battered but otherwise ingood shape. Rasputin sits in a wheelchair by his bed-side, his hands and chest bandaged, pondering the chess-board between them.Jocko enters. JOCKO Well, look at ya now, boyo. Up and at 'em in no time. And rich as a fuckin' lord.He tosses a fat wad of cash on PK's bed. PK What's this? JOCKO Your ticket to ride. Two hundred quid at fourteen to one. PK But I didn't make it. I'm a month short. JOCKO Not according to managment. They cashed you out at twelve months for eleven worked. Last thirty days was bonus. And until someone shows me a calendar reads different, twelve months and a year are one and the same kind of thing. And the bet was for a year. So get yourself mended and get your ass out of here. PK There's someone I have to see first.Jocko grows uncomfortable. JOCKO What do you want to go pressin' it for? You're rich, lad. You're whole. Why do you want to go pressin' it? PK Because I want to know. JOCKO Know what? That the man has 146. blasted so much gelignite he's permanently deranged in the attic? That even the other drillers leave the bar when the man drinks, so crazed does he get. All right. He tried to kill you. But he didn't. You're alive is all that matters. Do us all a favor, boyo. Get out of here. Get on a train and don't come back. We've no liking to be burying someone we're all so fond of. PK No worries. The luckier you are, the longer you last. The longer you last, the luckier you are. Rasputin moves a chesspiece and bellows. RASPUTIN Checkmate! Checkmate! He is ecstatic, bubbling with his joy. Laughter springs from him. Jocko and PK trade a look. JOCKO There's an end to everything, boyo. Even luck. Jocko exits. CUT TO:213 EXT. HOSPITAL - DAY 213 PK walks to the seamy metal gate dressed, healed. Rasputin, his hands still bandaged, walks alongside of him. Rasputin is concerned. PK Well I guess this is goodbye, my friend. I'll never forget you. Rasputin speaks urgently in Russian. RASPUTIN PK. Botha. Nyet, nyet. Nyet, Botha. PK does not respond. PK 147. Take care, my friend. He grasps Rasputin's bandaged hand to shake it. Rasputin takes him around in a huge bear hug, smothering him. Pk survives, a bit rumpled. He smiles at Rasputin and exits. As he walks away, RASPUTIN PK. Botha. Nyet. Nyet. PK. PK turns the corner and is gone. CUT TO:214 EXT. MINING TOWN 214 PK walks through the huts of the drillers, massive to a man. Most of them are coming off shift. Some of them rub their temples, trying to soothe the pain of the powder. PK comes to one hut. He knocks. No answer. He knocks again. A DRILLER comes by. DRILLER Who you lookin' for? PK Botha. The driller from stope number five. DRILLER He's at the bar. PK Thanks. DRILLER I wouldn't disturb him. There's a reason he's there and we're here. The Driller enters his hut. PK absorbs the warning. CUT TO:215 EXT. MINER'S BAR 215 The three BARTENDERS stand outside along with a dozen other customers. BARTENDER #1 PK. You're not going to go in, 148. ja? PK Is Botha the driller in there? BARTENDER #2 Ja. Always we give him one hour alone before we open. You don't know this because you work at night, but it is the rule. FRITZ Ja. In one hour it is pffft. He motions a man falling on his face. PK regards them for a moment and then enters the bar. CUT TO:216 INT. BAR 216 In the murky light one hulking figure sits at the bar, drinking shot after shot of whiskey. PK enters and walks across the room to the massive man. PK Are you Botha? Botha does not turn around. BOTHA Ja. PK I'm PK. I worked your grizzly. BOTHA Ja. PK Why'd you try to kill me? Botha turns slowly to reveal his face, swollen with anger and drink. He tears the short sleeve off his left arm, revealing a crudely tattooed swastika. BOTHA Because I missed the first time, rooinek. PK Jaapie Botha. 149.Botha rises drunkenly. PK backs up. BOTHA You remember, rooinek. PK Botha. It was thirteen years ago. BOTHA Because of you they expelled me. Because of you my father beat me. Threw me out from the farm. Because of you.He throws back another drink and rushes PK with a roar.PK sidesteps and heads for the door.Botha gets there first and bolts it. PK Botha. We've made a lot of money working together. Let the past be the past. BOTHA You ruined the country, all you rooineks. You come and ruin the country.He rushes PK again. Again PK sidesteps. PK No, Jaapie Botha. It's hate ruining the country. BOTHA Jaah.He swings at PK. PK ducks. PK Boer hate. BOTHA Our country.At that moment the powder headache strikes. Bothabellows, grabbing his head staggering backward.PK runs for the door. As he reaches it a table slamsagainst it, thrown halfway across the room by apowder-mad Botha. 150. PK jumps out of the way at the last minute. Men's faces begin to appear at the iron-meshed windows. People start to bang at the door. PK, realizing there is no talking to Botha now, does his best to stay out of the charging giant's way. Botha charges him. PK sidesteps and hits him with a left hook. The punch has no effect. Botha swings out wildly. PK easily dances away. Botha picks up another table and heaves it at PK. PK jumps to avoid it, but trips on an overturned stool. He goes down. The miners outside, crowding three deep, yell and shout. People start to make bets. Botha charges PK as PK scrambles up. Botha swings. The blow glances off PK's shoulder and sends him flying, spinning over a table. Botha leaps at PK, driving him into the wall. PK grimaces, sagging. Botha picks him up and starts to squeeze him to death in his massive arms. PK, his hands free, starts to pound on Botha's ears with his palms. Botha screams as the powder head- ache accelerates through the top of his skull. He drops PK. PK rolls away and swings a stool at Botha's midsection. Botha is driven back. PK goes to swing the stool again. Botha catches it as if it were made of balsa. He rips it out of PK's hand and flings it back at him, charging behind it. PK goes topping end over end. Botha gets a hand on him and lifts him from behind. He flings PK over the bar. PK hits the floor, stunned. Botha pulls at the bar trying to get at PK. He rocks the bar and rocks the bar as PK is trying to regain his bearings. Finally, with one tremendous rip, the bar comes away from its bolting. Botha pulls it aside. PK rises just as Botha moves in. PK hits him three solid shots to the stomach but Botha hardly feels them. He grabs PK and starts to squeeze him again. Face to face, Botha's crazed eyes watch the life fade from PK's.217 CLOSEUP 217 PK's eyes going blank. SMASH CUT TO:218 PK 218 151. diving off a waterfall into the turbulent water below. SMASH CUT TO:219 BOTHA 219 squeezing harder, breaking PK's concentration. SMASH CUT TO:220 PK 220 swimming, exhausted, climbs on a rock, one more in front of him. He dives into the water again. SMASH CUT TO:221 BACK TO SCENE 221 The crowd yells and screams as Botha squeezes harder. Odds are called out. Blood starts to trickle from PK's mouth. VOICE #1 (V.O.) He's dead. He's dead. SMASH CUT TO:222 PK 222 as he swims to the last stone. He reaches it and struggles on top. He stands on the stone, trimphant. SMASH CUT TO:223 BOTHA 223 squeezing again, bellowing. PK opens his eyes, draws his head back, and butts Botha in the face. Botha's nose shatters. The grip slackens a bit. PK hits him in the face again. Botha drops PK to the floor as he screams at the unbelievable pain. Blood pours from his nose.224 PK 224 catches his breath and is on Botha. He throws three hard punches to his face. Enraged, Botha howls and swings at PK. PK goes underneath his arm and hooks three times into the ribs. Botha grunts, hurt. He swings again with the other hand. 152. SMASH CUT TO:225 INT. PRISON BOXING ROOM - CLOSEUP - GEEL PIET 225 GEEL PIET First with the head, then with the heart. Little defeat big when little is smart. SMASH CUT TO:226 PK 226 pounds into Botha's ribs under another wild swinging punch by the giant. Botha shouts and keeps advancing, swinging. PK backs up, peppering him, leading him forward. Left-right. He punishes Botha for each punch the big man throws, but always backing up. Botha, half blind, spitting blood follows. The crowd screams for him to move side to side. The betting changes fast and furious. PK glances over his shoulder to the cement wall behind him. He takes two more steps and then fires two jabs at Botha's face and then stands stock still. Wild with anger, Botha throws a huge right hand to PK's head. SMASH CUT TO:227 CLUB 227 coming down on Maria's head. SMASH CUT TO:228 PK 228 At the last moment PK sidesteps. Botha's hand smashes into the cement wall. His hand shatters into a hundred pieces. The pain is so immense he is rendered helpless. PK doesn't waste a second. He starts banging away at Botha with hard, fast combinations. PK Want to see the wages of hate? Botha feels the punches. He steps back, faltering. PK pursues him. PK Here. Here is what hate gets you. PK hammers away, punching with each word, harder and faster. 153. PK For my chicken. For Geel Piet. For Doc. For Mandoma. For Maria. Botha is out on his feet. PK For Africa. PK unleashes a final pjnch -- the hardest one he ever threw. It catches Botha square in the jaw. Botha goes over onto his back like a tree falling. The crowd outside screams and yells with delight. Money changes hands. PK collects himself and steps over Botha. He unbolts the door and steps outside. CUT TO:229 EXT. BAR 229 The crowd goes silent as PK emerges. The crowd parts. PK, looking neither right nor left, begins to walk away. PK (V.O.) I knew as I walked out of the mines, out of Africa, that I wasn't fleeing. That one day I would return. Inkosi Inkosikasi was right. I was a man for all Africa. Bound to her by my spirit. Bound by my dreams. And Africa had taught me the lesson I would take out into the world and one day bring back. Great changes can come from the power of many. But only when the many join together and create what is invincible. The Power of One. ZOOM OUT as PK continues walking out of the camp and toward tomorrow. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Pretty Woman.txt b/unformated_scripts/Script_Pretty Woman.txt new file mode 100644 index 0000000000000000000000000000000000000000..9b02230bac2a2b70ff070c70ffa7ba893717a95d --- /dev/null +++ b/unformated_scripts/Script_Pretty Woman.txt @@ -0,0 +1 @@ + P R E T T Y W O M A N by Jonathan Lawton & Stephen Metcalfe -------------------------------------------------------------- EXT. A HOUSE IN THE HOLLYWOOD HILLS - NIGHT The view of downtown Los Angeles from the enormous, ornate house is extraordinary. A small outdoor dinner party is in progress. A MAGICIAN is entertaining guests. Playing cards and coins appear and disappear in his nimble hands. INT. HOUSE STUDY - NIGHT EDWARD HARRIS stands at the window, impassively looking down at the party. Edward is a handsome, well groomed man of around forty. He looks tired; the kind of fatigue that can't be cured by a night's sleep. EDWARD (a murmur) Left pocket. And indeed, down below, the magician pulls the coin from the left pocket of the incredulous WOMAN's silk blazer. More laughter and applause. The study is in keeping with the rest of the house. Luxurious. Everything the best. WILLIAM STUCKEY, Edward's contemporary, is a crafty looking lawyer who is the party host. VANCE is an investment banker. His assistant JAKE, is a financial researcher. The other men are INVESTMENT BANKERS. They are in dark suits and power ties. On the table are stacks of documents and folders, the name "KROSS INDUSTRIES" is prominent on many of the folders. INVESTMENT BANKER 1 Our banks certainly doesn't want to discourage Harris Enterprises from investing in California. We think this is a great new venue for you but you've got to understand the mergers and acquisitions market is changing. With the upswing in inflation we have to make these offerings tempting to offset the risk. VANCE Look, we're talking about hard assets and a straight liquidation. We have over a thousand man hours in this deal. STUCKEY (losing patience) This is a "no brainer". There's no risk for you. No one has ever lost money backing Mr. Harris. INVESTMENT BANKER 2 Not yet. But ship building is a new endeavor for you... STUCKEY (cuts him off) Come on. You know we're not going to go into ship building. Besides, you're the ones with the troubled track record, not us! INVESTMENT BANKER 3 Bill, be reasonable. If you're really going to digest Kross Industries that quickly eighteen should not be such a problem. Besides, I don't think there's anywhere else you can go for the money in the time you have. EDWARD It's unacceptable. Edward turns from the window. He hasn't miss a thing. All eyes are on him. EDWARD Draymen Heux has offered me seventy-five in the pool at sixteen and a half. I can secure the other half personally. You have until tomorrow morning to make me a better offer. The bankers speechlessly stare at him. EDWARD The meeting is over, gentlemen. He turns away. The bankers look at one another. They rise. Silence as they exit. When the door closes. Stuckey explodes with laughter. STUCKEY Hah! Did you see the look on their faces? VANCE You don't think we pushed too hard? STUCKEY NO way! They'll come back. They can't afford not to. Edward, that bluff was beautiful. EDWARD Maybe I should have made it rhyme. The others stare at him, uncertain. Stuckey laughs. The others follow suit. EDWARD (looking at his watch) Well! It's late. We've been at this long enough. Stuckey rises. Edward ushers Vance and Jake toward the door. EDWARD Gentlemen, enjoy the party. The magician's wonderful. Vance and Jake exit. EDWARD (calling after them) Watch your left pocket. A BUTLER has entered the room. BUTLER Phone call, Mr. Harris. It's Miss Charles. STUCKEY Cynthia? Is she coming out? EDWARD We're about to find out. Go on. Take care of your guests. Stuckey exits the room as Edward crosses to the telephone. EDWARD (into phone) Where are you, Cynthia? (beat) I see. (pausing, getting angry) No, I don't expect you to be at my beck-and-call. Are you coming or not? INT. HOUSE - STAIRWAY - NIGHT Edward descends the long, curved stairway. He has Vance in tow. EDWARD (all business) Prepare the filing papers. Have them ready by the middle of the week. I'll tell you when to submit them. The PEOPLE talking and drinking on the stairway gravitate toward Edward. A MAN Edward! EDWARD (turning on the charm) Yes! THE MAN Will we see you at the polo matches Wednesday? EDWARD Wouldn't miss it. (abruptly; to Vance) I want this done fast and easy. No slip-ups. I want to be back in New York by Saturday. Got it? He deftly keeps making his way through the crowd. INT. HOUSE - THE DOWNSTAIRS HALL - NIGHT Stuckey is sipping champagne and talking to a beautiful WOMAN in a tight sheath of an evening dress. An elegant woman ELIZABETH STUCKEY approaches from behind him. She taps him on the shoulder and he turns, startled. ELIZABETH Bill? STUCKEY (flustered) Oh... Hi, honey... Millicent, uh, uh, Millicent. MILLICENT Lowell. STUCKEY Lowell, right. My wife, Elizabeth. ELIZABETH (ignoring her) Is Edward leaving? Stuckey looks up to see Edward moving quickly toward the door. Stuckey abruptly leaves the two woman together to follow Edward. EXT. THE HOUSE - NIGHT Edward comes out of the house. Jags, a limo with waiting DRIVER and two BMW's pack the circular driveway behind a black Ferrari. The limo driver leaps to attention at the sight of Edward. Edward stands, making an obvious effort to keep his impatience under control. Stuckey comes out of the house and down the walk. STUCKEY What's up, where you going? EDWARD Give me your car keys, will you, I'm going back to my hotel. STUCKEY At least stay for a drink. This party's for you. EDWARD Apologize to Elizabeth for me. Stuckey gropes uncertainly in his pocket for keys. STUCKEY Listen, there're some major local talent inside just dying to meet you... EDWARD (as if delighted) Really? Some high class gold digger who speaks French better than I do? (turning away) No, thank you. I just got off the phone with one. STUCKEY Cynthia's not coming? EDWARD No. Edward grabs the keys out of Stuckey's hand. He crosses to a black Ferrari and gets in. STUCKEY Let your driver take you. We'll move the cars... Edward starts the car. STUCKEY Can you drive a stick? The car lurches forward with a squeal of wheels and promptly stalls. STUCKEY Edward, give me a break! With a squeal of tires, the Ferrari bucks out of the driveway and... stalls again. EDWARD Love this car! Is it new? STUCKEY Yes! And you don't even know where you're going! Edward starts it again and heads uncertainly uphill. Stuckey watching, throws up his hands. STUCKEY That's the wrong way! CREDITS BEGIN AS IN A SERIES OF CROSSCUTS: EXT. HOLLYWOOD HILLS - NIGHT The Ferrari, moving fast through the Hollywood Hills, passes large, beautiful homes... Edward shifts, grinding gears... EXT. HOLLYWOOD HILLS - NIGHT The Ferrari comes to a red light and pulls up next to a Dodge Colt. The GIRL in the Colt looks at Edward and his car admiringly. Edward feeling confident now, revs the engine. The light turns green. Edward immediately stalls the Ferrari. The Colt leaves him in the dust. INT. FERRARI - NIGHT Edward drives. He blinks, shakes his head as if trying to rid himself of his own tired thoughts. EXT. HOLLYWOOD HILLS - NIGHT The Ferrari comes to the intersection of OUTPOST and FRANKLIN, stops. Edward gets out of the car. He looks at the street signs. He has no idea where he is. He signs. He gets back in the car and takes off on Franklin heading East. EXT. A SIDE STREET IN HOLLYWOOD - NIGHT A crumbling old apartment building. Dark alley ways, deserted parking lot. The Ferrari -- blink and you miss it -- motors past the building, looking very out of place on the street. PANNING UP A building facade of lit windows and metal fire escape. One window in particular. A GIRL stands there in a short kimono, looking down. And then she turns away. INT. VIVIAN'S APARTMENT - NIGHT A SERIES OF SHOTS to see her dressing. INT. VIVIAN'S APARTMENT - NIGHT VIVIAN turns and stares at herself in a grainy, cracked bedroom mirror. She is twenty years old and a prostitute. Make-up applied to give her a hard, older look doesn't quite succeed. She'd be innocently beautiful without it. She is wearing tiny shorts, a tight tube top, thigh high boots. She stares at herself, not really liking what she sees. A moment. She signs, turns off the light and walks out of the bedroom. INT. APARTMENT BUILDING HALLWAY - NIGHT Faded, peeling walls. Thread bare, dirty carpet. Vivian locks the apartment door behind her and starts down the dim hallway. A door suddenly opens, startling her. An unshaved, enormously pot bellied MAN in a stained t-shirt stares at Vivian with pig eyes. LANDLORD Vivian. Vivian turns some "tough" on him. VIVIAN Yeah, what? LANDLORD Rent. You're late. VIVIAN Don't give me that. Kit gave it to you yesterday, cash. LANDLORD Kit give me nothin'. VIVIAN (suddenly uncertain) You bullshittin' me? LANDLORD Of rent I do not bullshit. Vivian hurries at a run back down the hallway. LANDLORD By the end of the week or you're otta here. (a beat) By the way, you look very nice tonight! INT. VIVIAN'S APARTMENT - KITCHEN Vivian pulls a coffee can off a shelf. She pulls off the top. It's empty. She tosses the can away, starts for the door. She opens it. INT. APARTMENT HALLWAY - NIGHT Down the hallway, the landlord is standing in front of his open doorway, talking to a FAT WOMAN. They both glance up. Vivian quickly closes the door. She doesn't want to deal with them. EXT. APARTMENT BUILDING - NIGHT Vivian comes off the fire escape onto the sidewalk. She hurried away. EXT. HOLLYWOOD BLVD. - NIGHT Vivian walks along, urgently looking for something... someone. A BABBLING STREET-TYPE goes by happily talking to himself. He wears an "I Love Hollywood" t-shirt. Vivian passes TOURISTS but doesn't notice them any more than she pays attention to the VAGRANT she passes further on, huddle in a doorway. A LONG-HAIRED KID on a SKATEBOARD goes by dropping off little bags to various STREET-TYPES. A BARKER-TYPE stands in front of a photo store urging tourists to come in and take a photo with a cardboard cut-out of a movie star. Some go in. Vivian hurries past a group of rubbernecking JAPANESE TOURISTS. A BLACK PROSTITUTE in a mini skirt strolls toward her. A car passes. The DRIVER stares at Vivian with interest. She ignores him. The black prostitute approaches the car. PROSTITUTE Hey, baby, you lookin' for a date? The Driver looks her over. The Black Prostitute gets in the car and it drives away. A GROUP OF MEN, mostly drug dealers, hang out at an all night coffee shop. They WHISTLE and make obscene gestures and SOUNDS as Vivian hurries by. She ignores them and goes next door into a falafel stand. Half a dozen PEOPLE sit at dirty tables inside. INT. FALAFEL STAND - NIGHT Behind the counter are a MAN and a WOMAN, Vietnamese cooks frying food, trying to ignore the unsavory crowd camped in the shop. VIVIAN Chan, you seen Kit tonight? COOK 1 Hi, hi! No see nothing. VIVIAN You do, tell her I'm looking for her. COOK 2 Looking good, bay-bee. VIVIAN Yeah, you too, D'Nai. If Kit comes in here, tell her stay. Both of them nod and smile at Vivian. Vivian exits. EXT. HOLLYWOOD BLVD. - NIGHT Skateboard zips by a GROUP. We SEE a police car parked at the entrance to an alcove. Also, an ambulance. The bubblegum lights are going. A CROWD has gathered. The happy man with the "I Love Hollywood" t-shirt and a POLICE OFFICER are engaged in tense conversation. COP They just pulled her out of a dumpster in the back. Now talk to me. MAN I tell you, man, I don't know who she hang with. COP She have a pimp? MAN Cocaine her pimp, man. She a strawberry. She be out on these streets, day in, day out, tradin' her sorry ass for crack. And now she dead from it. Vivian rushes up to join the outskirts of the crowd as the body of a YOUNG GIRL is pulled out of an open dumpster and carried towards the waiting ambulance. For a moment Vivian thinks it's... no, Vivian turns grimly away. Vivian surveys the dark street. And suddenly sees who's she's looking for. Walks. EXT. HOLLYWOOD BLVD. - WIG SHOP - NIGHT We SEE a young, tough-looking MAN and WOMAN trying on wigs. The STOREKEEPER is a man wearing a dress and wild wig. The girl, KIT, is around 18, is dark haired and thin. The young man, CARLOS, has his arm sloppily draped across Kit's shoulder. They giggle about something, both obviously high. Kit looks up, bleary-eyed. She stops. Vivian is standing in front of her. VIVIAN You spent it on drugs, didn't you? KIT Hi, Viv. Carlos, you know my roommate, Viv. CARLOS Lookin' good, baby. VIVIAN (ignoring him) Did you blow it all, Kit? Is it all gone? KIT Carlos had some great rock. VIVIAN I bet. (beat) That was our rent! Carlos attempts to put an arm around Vivian's shoulders. CARLOS Calm down, Chica. Vivian throws him off. CARLOS Ey! What is it you wan', baby? I can fix you up. VIVIAN Beat it, scum bucket! CARLOS You kiss your mother with that mouth? Your frien' still owes me 200. VIVIAN (to Kit) Let's go. Skateboard appears suddenly, blocking Vivian and Kit's path. VIVIAN Get out of my face or I'll have those cops on your ass in two seconds. Carlos glares at her. He looks down toward the lights of the cop cars. One of the POLICEMEN looks towards them, curiously. Vivian waves at the cop. CARLOS (threatening to Vivian) Don't take no dates tonight, chica, you got one with me. Vivian grabs Kit by the arm and pulls her across the Boulevard. INT. FALAFEL STAND - NIGHT Vivian and Kit sit at a table sipping tea. Vivian is still mad at her. VIVIAN We worked for that money. We were gonna put together enough to get out of that dump we live in, get off this street. KIT Viv... don't be stupid. We're whores. Vivian looks like she wants to weep. Or scream. She does neither. She slowly nods. Kit's sorry she said that. KIT (cont'd) So I blew our stash. We could make it all back with one good night on the streets. VIVIAN I just saw somebody pulled out of a dumpster. I wonder how much she made tonight? KIT Don't be mad at me. I'll pay you back. I promise. VIVIAN I thought you were giving up that drug shit. KIT I will. I'm trying. (a beat) Meanwhile I got some crack left, you wanna get high? VIVIAN No, let's go to work. Okay? KIT Okay. (then touches her hand) I'm sorry I said your dream was stupid. EXT. HOLLYWOOD BLVD. - NIGHT Edward's Ferrari turns onto Hollywood Blvd., finally out of the Hollywood Hills. EXT. HOLLYWOOD BLVD. - NIGHT Vivian and Kit are out trying to hustle John's in passing cars. Vivian strikes a sexy pose at the bus stop. Kit is talking to another prostitute, RACHEL. KIT No no, honey. You see these stars on the sidewalk. Me and Vivian work from Don Ameche all the way up to Roy Rogers. This is our office. We got seniority. Get off our corner. RACHEL I was just taking a rest here. Besides, she's new. (points to Vivian) KIT But I'm old. Go rest up by Monty Hall or Debra Paget where you belong. Rachel walks off. VIVIAN (looks at passing cars) Looks slow tonight. KIT Maybe we should get a pimp. Carlos likes you and -- VIVIAN Forget it. We work for it. We keep it. They keep hustling. KIT I can't handle this tonight. I'm going home. VIVIAN (stares at her) That crack is burning a hole in your pocket. There isn't even milk in the fridge. The rent's due. Now come on -- EXT. HOLLYWOOD BLVD. - ANGLE ON FERRARI - NIGHT KIT (O.S.) (suddenly) Hey, hey -- There's a rent. EXT. HOLLYWOOD BLVD. - BACK TO SCENE - NIGHT VIVIAN He's not gonna want us. The Ferrari goes by and stops. EDWARD (calls out to Vivian) Excuse me. KIT (excited) Don't take less than a hundred. You look hot tonight. And remember, don't mouth off. They don't like that. VIVIAN Okay. Go home. But take it easy on that shit. Kit gives Vivian a quick hug. KIT You're the greatest. I'll wait up for you. And then Kit is off, moving quickly away. Vivian turns. She stares at the Ferrari, loathing it and all it represents. And then it's as if Vivian turns a switch. She fluffs her mane of hair, throws her shoulders back, thrusting her breasts out and sashays towards the car, a sexy, friendly smile on her face. In the driver's seat of the Ferrari, Edward is looking furious and distracted. Vivian leans over the passenger window. VIVIAN Hey Sugar, you lookin' for a date? EDWARD What's that? VIVIAN You looking' for some company? EDWARD Uh, no. How do I get to Beverly Hills? VIVIAN What? (dropping the come on) You gonna tell me you're lost? EDWARD Yes. VIVIAN Great. What do I look like a tourguide? Edward takes a good look at her. EDWARD (a beat) No, you look like a hooker. VIVIAN Actually, I'm a movie star out for a walk. EDWARD Good. Can you tell me how to get to Beverly Hills? VIVIAN Sure. For five bucks. EDWARD That's ridiculous. VIVIAN The price just went up to ten. EDWARD Why don't you just do it out of the kindness of your heart? VIVIAN (sweetly) Sit... and spin. EDWARD Sit-and-spin. (amused) Alright... why not? He pulls out his money clip. Vivian suddenly freezes. On the sidewalk up ahead, Carlos and Skateboard. Carlos flashes an evil, menacing grin. He motions to Skateboard, they start forward. EDWARD (holding up a bill) You have change for a twenty. Vivian pulls open the door of the car and jumps in. VIVIAN For twenty, Ill show you personal. Drive. Edward stares at her. She smiles sweetly. VIVIAN (cont'd) Make a "U-ee". Beverly Hills is the other way. The Ferrari pulls away, passing Carlos on the sidewalk. INT. FERRARI - MOVING - NIGHT VIVIAN Nice car. Yours? EDWARD (as he grinds the gears; wincing) No. VIVIAN Stolen? EDWARD Not exactly. He smiles. Vivian smiles back. VIVIAN Mind if I turn on some heat? EDWARD If you can figure it out, be my guest. Vivian reaches out, turns on the heat. EDWARD Very good. You're obviously mechanical. VIVIAN (laughs) You're not from L.A., huh? EDWARD New York. VIVIAN What motel you staying at? EDWARD Hotel. VIVIAN Okay, what hotel? EDWARD Regent Beverly Wilshire. I bet you know it. VIVIAN (annoyed at his tone) Yeah, I peed in the fountain there once. Give me a break. Edward glances over, amused. It hits him that she really is an attractive girl. EDWARD What's your name? VIVIAN What do you want it to be? (a beat) Vivian, my name's Vivian. EDWARD You like being a hooker, Vivian? VIVIAN It pays. EDWARD So do day jobs. VIVIAN (sarcastic) Day jobs, yeah. I've tried them. (a beat) Turn right. EXT. SANTA MONICA BLVD. - NIGHT The Ferrari glides along a seedy, West Hollywood section of Santa Monica. INT. FERRARI - MOVING - NIGHT EDWARD Must be dangerous. Hooking. VIVIAN Tell me about it. L.A. is suffering from a wacko epidemic. And who knows where half the guys I pick up have been. I mean, I use condoms. Always. And I get checked out once a month at the free clinic. Not only am I better in the sack than an amateur, I'm probably safer. EDWARD Very good. You ought to have that printed up on your business card. VIVIAN (a moment) If you're making fun of me, I don't like it. EDWARD Sorry. If I did, I didn't mean to. Vivian unconsciously bites her fingernails. EDWARD Ugly habit, biting your nails. VIVIAN You don't know habits, you think this is ugly. But she puts her hands in her lap. She looks out the window. She's safe from Carlos. VIVIAN Okay, pull over. Let me out. I've got to get back to work. Edward pulls the Ferrari to the curb and stops. VIVIAN (cont'd) Stay on this street and you'll hit Beverly Hills. EDWARD What do you charge for company, Vivian? VIVIAN Company would cost you... a hundred dollars. EDWARD For the whole night? VIVIAN For an hour. EDWARD You're joking. VIVIAN I never joke about money. EDWARD Neither do I. (a moment; amused) A hundred bucks an hour though. That's pretty stiff. She reaches across the seat. Her hand goes in his lap. VIVIAN No, but it's getting there. EDWARD Vivian, how much to put up with me for the entire night? VIVIAN You couldn't afford it. Vivian starts to get out of the car. EDWARD Try me. A moment. Vivian's sexy smile comes on. VIVIAN Three hundred. EDWARD Fine. VIVIAN What's your name, lover. EDWARD Edward. My name is Edward. VIVIAN Edward... you got it! Edward gets out of the car. Vivian looks at him confused. EDWARD Get in. This side. VIVIAN What? EDWARD You know how to drive a stick? Vivian moves around the car. VIVIAN Better believe it. EDWARD Then let's go. It's worth 300 just so I don't have to drive. They get in the car. INT. FERRARI - NIGHT She starts the car, revs it. VIVIAN Here we go Edward. EXT. HOLLYWOOD BLVD. - NIGHT The Ferrari peels out, fishtails madly and SCREAMS up the street. EXT. REGENT BEVERLY WILSHIRE HOTEL - NIGHT Thousands of tiny white lights sparkle along the walls of the Regent Beverly Wilshire Hotel. Bright flags are illuminated by carefully placed spotlights. The Ferrari SCREAMS into the driveway and comes to a jarring stop by the front door. INT. FERRARI - NIGHT Edward takes a moment to get his breath. He gestures toward the back. EDWARD My raincoat's in the back. Put it on. VIVIAN Why? EDWARD You may feel more comfortable. This is not the kind of place that rents rooms by the hour. VIVIAN You mean they don't have hookers. EDWARD Every place has hookers, but if this hotel has hookers, they don't look like they're... VIVIAN Off the boulevard. EDWARD Exactly. INT. REGENT BEVERLY WILSHIRE HOTEL LOBBY - NIGHT As they walk in, Vivian is tying the trenchcoat. VIVIAN Great. Now I took like a hooker in a trenchcoat. She looks up. She stops in her tracks. The lobby is bright and spacious, filled with thick carved wood paneling. Even at this hour there is a great deal of activity. MEN in business suits and WOMEN in furs and jewels are passing by. Vivian's face quickly conceals the sudden awe she feels at the sight of all this luxury. Vivian matter of factly reaches out and takes Edward's arm. VIVIAN So let's go. Edward guides them across the lobby. They reach the elevators and go inside. INT. HOTEL - ELEVATOR - NIGHT The young ELEVATOR OPERATOR is dressed in a clean red uniform that seems just a bit too tight. As the elevator doors close he nods toward Edward. OPERATOR Evening, sir. EDWARD Good evening. Penthouse. VIVIAN Penthouse. My, my. She sees the operator glancing at her. VIVIAN The penthouse. And step on it. INT. HOTEL - HALLWAY - NIGHT Edward and Vivian come out of the elevator into a hallway leading to a single doorway with two heavy wood doors. Edward pulls out his key and unlocks the doors. With a gentle push the door slide open in unison. Edward gestures to Vivian to go inside. She does. Edward closes the doors behind her. INT. HOTEL - PENTHOUSE - NIGHT As Vivian steps into the room she has the sensation of falling off the top of the building. In front of her is a sunken living room with massive windows revealing the sparkling lights of the city below. For the first time, she is speechless. Edward closes the door and walks past her down the steps to the living room. Edward picks up a phone. Vivian checks out the room. EDWARD (into the phone) Room service. (to Vivian) What do you drink? VIVIAN Diet coke. EDWARD (into the phone) Send up a bottle of Crystal champagne. VIVIAN Can I have some chips? EDWARD (into the phone) -- and a bowl of strawberries. Thank you. Vivian makes her way down the steps to the living room. She stares at the view. EDWARD (to Vivian) Impressed? Vivian is impressed but she's not going to admit it. VIVIAN You kidding? I come here all the time. As a matter of fact they do rent this room by the hour. Edward smiles. He sits down in a comfortable chair and leans back. Vivian looks at him. VIVIAN (cont'd) Well, now that you have me for the night, what are you going to do with me? EDWARD Want to know something? I don't quite know. I hadn't planned this. VIVIAN Do you plan everything? EDWARD (a small smile) Always. VIVIAN Well, the meter's running, it's your money. Speaking of which, cash'll do. In advance. EDWARD Fair enough. He rises. Takes out his wallet. Standing over her, he drops THREE crisp, new hundred dollar bills in Vivian's lap. She picks up the bills, stares at them, trying not to be impressed. She puts the money in her jacket. She realizes Edward is standing over her as if waiting. She leans forward, reaches out to unzip his pants. He abruptly turns away. EDWARD Let's talk some more first. VIVIAN Right. (brightly) So! In town on business? EDWARD (taking off his jacket) Uh-huh. VIVIAN Let me guess, you're a... lawyer. EDWARD (loosening his tie) And why do you say that? VIVIAN (a small smile) I dunno... you have that sharp, useless look. Edward almost smiles. He sits across from her again. EDWARD Sounds like you've known a lot of lawyers. VIVIAN I've known a lot of everybody. A chime goes off to indicate there's someone at the door. EDWARD Champagne. He starts to sit up. Vivian motions for him to stay put. VIVIAN Hey. I might as well make myself useful. Edward sits back down. Vivian waltzes up the steps and opens the front door. A WAITER comes into the room with a silver cart; on it is a bucket of champagne and a covered bowl. WAITER Where would you like it? VIVIAN Where would we like it? EDWARD Where would we like it? Here'll be fine. The Waiter carries it down the steps and sets it in the middle of the living room. He turns and heads back up the stairs and pauses near Vivian, staring. Vivian stares back at him. VIVIAN What are you looking at? The Waiter glances away uncomfortably and exits. Vivian closes the door behind him. Vivian marches back down the stairs. EDWARD I think he wanted you to tip him. VIVIAN Tsk. Excuse me, I didn't think he had change for a hundred. Edward crosses to the silver stand. Vivian watches with interest as he twirls the champagne bottle in the ice bucket. VIVIAN (cont'd) You have a wife? Girlfriend? EDWARD I have both. Edward lifts the bottle out. He deftly pops the cork on the bottle without losing a drop of champagne. VIVIAN Where are they? Shopping together? EDWARD They should be. They're both good at it. Edward pours the champagne into a single long stemmed glass and hands one to Vivian. EDWARD (cont'd) My ex-wife lives in London in what used to be my home. My girlfriend is in New York moving out of my apartment even as we speak. Cheers. He drinks, nods approvingly. EDWARD It's a very good year. VIVIAN Oooh, thank god. Edward laughs softly. She sips it. To her surprise, really likes it. Edward lifts a lid on a silver bowl to reveal a dozen enormous strawberries. EDWARD Try a strawberry. VIVIAN Why? EDWARD Because they bring out the flavor of the champagne. VIVIAN Jesus, you act like you're seducing some Valley girl you picked up in a dance club. EDWARD Vivian... the meter's running... cooperate. A moment. She slowly eats a strawberry. The juice of it stains her lips. Her eyes are like smoke as she takes a sensuous sip of champagne, licks away the stain of the strawberry. His eyes haven't left her. EDWARD (softly) You really are a very beautiful girl. VIVIAN (husky-voiced) Just a romantic, that's you. EDWARD Yes... Her mouth is so wet and inviting... he leans closer... VIVIAN Me too. He's about to kiss her... VIVIAN (cont'd) Not on the lips. He freezes. She pulls his head down to her breast. INT. PENTHOUSE BEDROOM - NIGHT Edward and Vivian on the bed. He is on his back, his shoulder and head resting against the headboard. She is astride him, hands resting on his chest, rocking... in control, confident... very much liking the fire she's kindled in his eyes. INT. PENTHOUSE BEDROOM - CLOSE ANGLE ON THEIR FACES - NIGHT EDWARD (touching her breasts) What do you like? VIVIAN If I want you to turn me on I'll pay you three hundred. Just lay back and let me drive. Smiling, Vivian reaches behind her, touching him. He tries not to groan. She's moving faster now. Edward suddenly pulls her violently to him, he rolls her over... INT. PENTHOUSE BATHROOM - SHOWER - NIGHT A heavy spray of water comes down upon Edward. He stands there quietly letting it wash over him. He turns off the shower, steps out of the stall, picks up a towel and dries himself. INT. PENTHOUSE BEDROOM - NIGHT Edward stares. His expensive clothes are on the floor, haphazardly dropped everywhere. Vivian's clothes, as tattered as they are, are neatly folded and piled on a chair. The incongruity of it touches Edward in a sad way. He looks toward the bed. Vivian is fast asleep. Her heavy makeup has long since been rubbed off. Asleep, her wary, smart-ass attitude is gone. She looks like a sweet, gentle girl. He stares at her a moment longer. He turns, goes into the living room. Vivian opens her eyes. Through the open door she sees Edward sitting in a living room chair. He is reading contracts. EXT. REGENT BEVERLY WILSHIRE HOTEL - MORNING The sun is coming up as HOTEL EMPLOYEE hoses down the sidewalk in front of the hotel. INT. HOTEL LOBBY - MORNING A WOMAN EMPLOYEE is vacuuming the lobby. She sees something and pauses. She pulls a dead leaf from one of the potted plants. INT. HOTEL HALLWAY - MORNING The elevator doors open and A WAITER rolls a cart out into the hallway. He takes it to the doors of the penthouse. He rings the bell. EDWARD (O.S.) It's open. INT. PENTHOUSE LIVING ROOM - MORNING The Waiter wheels in a table of food, coffee, champagne and orange juice. Edward dressed in suit pants, white shirt and suspenders, stands in the living room talking into a cordless phone. Edward points the Waiter to the dining table. EDWARD (into the phone) Sorry. Go ahead. INT. STUCKEY'S HOUSE - MORNING - INTERCUT William Stuckey is behind his desk. STUCKEY Kross knows we're after his company. He wants to talk with you. I don't think you should. INT. PENTHOUSE LIVING ROOM - MORNING The Waiter returns. Edward signs the bill. The Waiter exits. EDWARD I want to. STUCKEY Edward, if the three of us sit down together we might as well announce our plans in the Wall Street Journal. EDWARD I'll see him alone. Everyone knows you're my muscle. We'll make it social. Tell Kross I'll meet him for dinner. Tonight if you can arrange it. STUCKEY You shouldn't go alone. He might claim that you tried to black mail him. EDWARD Bill, we're businessmen, not the damn mafia. I'll see you in the office. By the way, about your car... STUCKEY Oh, god, what? EDWARD (smiling) I'll bring it back. Edward hangs up. He pours a glass of orange juice and takes a sip, thinking. Something makes him turn. Vivian, wearing a monogrammed hotel terry robe, is standing uncertainly in the bedroom doorway. EDWARD Good morning. VIVIAN You didn't wake me. I'll be out of here in a minute. EDWARD No hurry. Would you like some breakfast? She's hungry and the breakfast looks great. VIVIAN Only if you do. Edward sits. Waits. Vivian sits across from him. Edward serves them breakfast. EDWARD Did you sleep well? VIVIAN Yeah. Too good. I forgot where I was. EDWARD Occupational hazard? She looks at him sharply, sees that he means no offense, relaxes. VIVIAN Where'd you go? EDWARD I took the couch. I had some work to do. (hesitating) About last night... VIVIAN Oooh, Baby, you were the best. I was beside myself. EDWARD Mmm, I could tell. VIVIAN I just hope it was worth three hundred bucks. EDWARD I'd say you give a good dollar value. They share a small smile. They eat. EDWARD Do you ever... enjoy it? VIVIAN I like guys if that's what you're asking. Not that I trust'm. EDWARD No? Why's that? VIVIAN "Occupational hazard". A moment. Edward chuckles. Vivian grins. VIVIAN (cont'd) what do you do anyway? EDWARD I buy companies. VIVIAN No shit. They expensive? He almost smiles. She almost smiles back. EDWARD The one I'm buying this week will cost around 150 million. VIVIAN ... dollars? He nods. This time Vivian is impressed. VIVIAN (cont'd) You are major league, baby. Your mother must be very proud. Edward is oddly pleased at her reaction. INT. PENTHOUSE BEDROOM - DAY The closet door is open. Edward reaches for a tie. In the closet are about a dozen expensive looking suits, shirts, shoes, etc. She follows him in. VIVIAN So what a ya do with the companies once you buy'm? EDWARD (fumbling with the tie) I sell them. VIVIAN What? Why? She undoes his knot and starts over. VIVIAN (cont'd) At ease, let me do that. Part of the all night services. EDWARD By breaking up a company's assets -- VIVIAN What are assets? EDWARD Vivian -- VIVIAN C'mon, I might buy a company some day. EDWARD Assets are anything of value a company owns. Sometimes the pieces are worth more than the whole. By selling them off, I make a profit. VIVIAN Sorta like stealing cars and selling'm for parts, huh? EDWARD Not... quite. VIVIAN There, see? Now the emblem is right in the middle of the knot. EDWARD Where'd you learn to do this? VIVIAN (sarcastic) I fucked the debate team in high school. Tsk. I had a grampa. He liked ties on Sundays. You mind if I take a swim in your bathtub before I hit it? EDWARD Don't drown. Vivian turns and heads toward the bathroom. He follows her into the bathroom. INT. PENTHOUSE BATHROOM - DAY Vivian turns on the water in the tub. It fills the tub in a torrential rush. VIVIAN You could hold a pep rally in here! The phone on the marbled bathroom wall suddenly rings. Edward reaches for it. EDWARD (into the phone) Yes. INT. STUCKEY'S HOUSE - INTERCUT Stuckey is walking around his desk. STUCKEY Edward, it's me. Kross is all set for tonight. INT. PENTHOUSE BATHROOM - DAY Vivian stares curiously at the bidet. STUCKEY Listen, I gotta say this again, I don't like you going alone. She turns it on. The water hits her in the face. EDWARD (stifling a chuckle) I'm a big boy. There are lotions and shampoos and bubblebaths on the edge of the tub. Vivian regards them like a kid in a candy shop. STUCKEY Let me at least get you a date. Keep it social. Edward watches as Vivian smells some bubble bath. She smiles. Her eyes ask Edward if it's okay to...? He nods. STUCKEY Edward, did you hear me? EDWARD I'm here. STUCKEY I know a lot of nice girls. Vivian pours the bubblebath into the swirling water. There's something about the look on her face... the way she bites her lower lip... curious, sensual... EDWARD I have one. Edward hangs up the phone as Vivian curiously turns on the television. The sound blares. She fumbles to turn it down. Edward reaches over and turns it off. EDWARD All right. How much for the week? VIVIAN What? EDWARD I'm in town until Saturday. She look at him like he isn't speaking English. EDWARD Do-you-want-to-stay-here- for-the-week? It takes Vivian a moment to respond. VIVIAN It'd cost you. EDWARD Of course. How much? VIVIAN Five full nights... days too? Edward nods. Vivian hesitates... it's got to be enough to really change things... She shoots for the moon again. VIVIAN Four thousand. EDWARD Vivian, may I point out five more nights at three hundred a night is only 1,500. VIVIAN But you want days too. EDWARD All right, two thousand. VIVIAN Three. EDWARD Done. VIVIAN Holy shit. And then, quickly getting herself back together, she flips on the sexy smile. VIVIAN (cont'd) Sugar, you got it. I will treat you like a prince. Anything, anyway you want. EDWARD I'm not just talking about sex. VIVIAN Look butthead, I'll treat you so nice you'll never want to let me go, okay? EDWARD Three thousand for five days. And Vivian, I will let you go. INT. PENTHOUSE BEDROOM - MORNING Edward comes out into the bedroom. Vivian quickly follows. They move through the bedroom into the living room. EDWARD I'll be out most of the day. He reaches into his pocket for a money clip. He peels off bills. He hands the cash to Vivian. EDWARD I want you to go out and buy some decent clothes. Vivian's eyes go wide at the amount of money. EDWARD Nothing too flashy, not too sexy. Conservative. Understand? INT. PENTHOUSE ENTRANCE WAY - DAY They're at the front door. VIVIAN Yeah, you want me to dress like your high class girlfriend. You're wasting your money though. All I'm gonna do is hang around the hotel. As a matter of fact, I may never get out of that bathtub. Edward opens the door, he starts to exit. He turns back. EDWARD Think again. I'm taking you out to an important dinner with me tonight. The door closes in her face. INT. OUTSIDE THE PENTHOUSE DOOR - DAY VIVIAN (O.S.) (from inside) What? Are you crazy? Edward smiles to himself. EDWARD Probably. INT. PENTHOUSE BATHROOM - DAY Vivian is stretched out in the hot bubble bath. The TV is on. She clicks the remote control in her hand. VIVIAN Three thousand... She lies back into the soapy water and disappears. She suddenly pops back up, laughing. VIVIAN Three thousand! A thought occurs to her. She reaches for the cordless phone. She dials. She waits. She is about to disconnect when the phone is answered. KIT (O.S.) 'Lo. VIVIAN Kit! Where've you been? KIT (O.S.) I was asleep. You woke me. You okay? VIVIAN Kit, listen, the guy last night, the one in the Ferrari, I'm at this hotel, the Regent Beverly Wilshire, it's this absolutely unbelievable place and he's hired me for a whole week and Kit, listen, he's paying me three thousand bucks! We can get out of the apartment. We can get out of this town. We can do anything! (silence) Kit? Hey, you there? KIT (O.S.) Why'd he want you? That hurts. Perhaps because Vivian's been wondering the same thing. VIVIAN He... he just does. KIT (O.S.) I'm sorry, Viv'. Carlos has been on my back. (a beat) Did you get the money up front like I taught ya'? VIVIAN Three hundred for last night and he gave me extra to buy some clothes. Now listen, I'm gonna leave an envelope for you at the front desk. Give me two hundred to the scum bucket and the other hundred to that asshole landlord for part of the rent. Spend it on drugs and I'll pull your hair out. KIT I'm getting dressed now. I'll be over. Bye. VIVIAN Hey Kit, where do I go for the clothes? Good stuff on him. KIT (O.S.) (brightening) In Beverly Hills? VIVIAN Yeah. KIT (O.S.) Baby! Rodeo Drive. INT. HOTEL LOBBY - DAY Vivian comes out of the elevator and crosses the lobby. She is back in her hooker clothes. She leaves an envelope at the front desk. MR. THOMAS, the prim, middle-aged hotel manager, steps out from his office. He stares in surprise and displeasure as he sees Vivian exit out the front door. Vivian doesn't notice the odd stares she gets from two well-dressed MIDDLE-AGED WOMEN who are just entering. EXT. RODEO DRIVE - DAY Vivian is looking wide-eyed and delighted and yes, more than a bit overwhelmed. She passes store windows... and MORE STORE WINDOWS... and still MORE STORE WINDOWS. Each display is more beautiful and expensive than the one before. Vivian is also aware that she is getting odd looks. From PASSERBY'S. Two beautiful dressed GIRLS her own age look at her, turn away and giggle. The uniformed GUARDS that stand at attention in front of many of the stores, stare at her suspiciously. Feeling more and more uncomfortable, Vivian comes to a posh woman's boutique. She hesitates for a moment. She enters. INT. BOUTIQUE - DAY Vivian is no sooner in the door than she is subject to the disapproving stare of a SALESWOMAN standing behind the counter. SALESWOMAN (cooly) May I help you? VIVIAN I'm just looking, thanks. Vivian tiptoes through the shop as if it was filled with delicate glass objects. She cautiously examines a dress. The Saleswoman quickly comes around the counter and approaches her. SALESWOMAN Are you looking for something in particular? VIVIAN Yes. Something... conservative. SALESWOMAN Yes... Vivian eyes the Saleswoman, puzzled at her tone. She examines a dress. VIVIAN You have beautiful things. (no reply) How much is this? SALESWOMAN I don't think it would fit you. VIVIAN (beginning to get the drift) I didn't ask if it would fit. I asked how much it was. SALESWOMAN It's very expensive. Vivian's body tenses as she stares at the Saleswoman. VIVIAN What is with you? SALESWOMAN (unblinking) Excuse me? VIVIAN I'm going to spend money. SALESWOMAN I don't think we have anything for you here. You're obviously in the wrong place. Vivian is speechless. She turns and stomps toward the door. She stops and spins around staring at the Saleswoman. Vivian flips her off. She throws the door open and storms outside. The Saleswoman calmly strolls back to her counter and returns to her place. EXT. RODEO DRIVE - DAY Vivian comes out onto the street and stands, lost. She takes a deep breath, trying to control herself. Two WOMEN, in elegant designer outfits, stroll by, eyeing Vivian as if she were a freak. Vivian suddenly feels naked. She turns and hurries away. INT. HOTEL LOBBY - DAY Vivian enters the lobby, upset, nervous and paranoid. She feels an emptiness in her stomach at the sight of all the luxury around her. She hurries toward the elevators. At the front desk, Mr. Thomas, once again spots her. He crosses the lobby and deftly cuts her off from the elevator. MR. THOMAS May I help you Miss? Vivian stops, practically shaking with terror. VIVIAN I'm just going to my room. MR. THOMAS You're a guest here? VIVIAN I'm -- I'm with a friend. MR. THOMAS And who is that? VIVIAN I... Edward... Vivian's face is filled with confusion. She doesn't know his name. The elevator doors open behind them. She spots the Operator. VIVIAN (blurting it out) He knows me. Mr. Thomas turns and eyes the Operator curiously. The Operator looks back at them innocently. With a smooth gesture Mr. Thomas waves the Operator over. MR. THOMAS Do you know this young lady? The Operator nods. OPERATOR She's with Mr. Harris. MR. THOMAS (surprised) Mr. Harris? OPERATOR She apparently joined him last night. Mr. Thomas waves the Operator away. MR. THOMAS Why don't you come with me. We'll chat for just a moment. He takes Vivian gently but firmly by the arm and leads her off. INT. HOTEL OFFICE - DAY In a richly furnished office, Mr. Thomas places Vivian in a comfortable chair and then leans against the edge of his desk. MR. THOMAS What's your name? VIVIAN Vivian. MR. THOMAS Miss Vivian... things that go on in other hotels don't happen at the Regent Beverly Wilshire. Vivian says nothing. MR. THOMAS (cont'd) Mr. Harris, however, is a very special customer. And we like to think of our special customers as friends. As a customer, we would expect Mr. Harris to sign in any additional guests. But as a friend, we're willing to overlook it, I'm assuming you're a... relative? Vivian finds herself nodding. MR. THOMAS (cont'd) I thought so. You must be his...? VIVIAN Niece? MR. THOMAS Of course. Naturally when Mr. Harris leaves, I won't see you in this hotel again. Vivian bites her lower lip, nods. MR. THOMAS (cont'd) Good. We understand one another. (as a gentle afterthought:) I would also encourage you to dress in a more appropriate manner. Vivian's face screws up as she tries hard not to cry. VIVIAN That's what I was trying to do. She can't help it, the tears come. Vivian pulls out the money Edward gave her. She drops it on the desk. It's a moist- looking wad now. VIVIAN (cont'd) I was trying to get some other clothes... but... they wouldn't... they made me feel like shit... She can't go on. Mr. Thomas politely glances at the money. He unfolds it, smoothes it and hands it back to her. He sighs. He picks up the phone. He dials. MR. THOMAS (into the phone) Women's clothing. (beat) Bridget, please. Vivian is staring at him. MR. THOMAS (cont'd) Bridget, hello, this is Barnard Thomas over at the Regent Beverly Wilshire. Well, thank you, that's flattering. I'd like to ask a favor of you. I'm going to send someone over. Her name is Vivian. She's a guest of ours. A very special guest. He glances at Vivian. With those simple words, he'd made her feel better. MR. THOMAS (cont'd) She's from out of town and she needs a little help in dressing. Perhaps you could help her out. Thank you very much. She'll be right over. He sets the phone down and smiles patronizingly at Vivian. MR. THOMAS (cont'd) There you are. If you have any other problems, come ask for me personally. I'm Mr. Thomas. VIVIAN Barney. She smiles mischievously. EXT. FORT OF LOS ANGELES - DAY A sleek corporate helicopter flies over the port. EXT. BUILDING ROOFTOP - DAY Edward, Vance, Stuckey and Jake walk toward the building's edge. They look out over the empty shipyard as Vance describes it. VANCE Okay... this is the jewel in Kross's crown. We can strip out all the heavy equipment. Some of the cranes are very valuable overseas. The Japanese are salivating for them. STUCKEY Prime industrial property straddling the Port of Long Beach and Los Angeles. It gives me a hard-on. Edward points toward one of the edges of the shipyard. EDWARD What's that long building over there? JAKE Storage, I think. EDWARD Not with those smokestacks it's not. VANCE Let me check. Vance pulls out a notebook. JAKE The real estate possibilities are endless. Most of the yard we'll just level. I talked to a couple of developers, under the table, of course, and they said -- EDWARD You what? JAKE I talked to some developers about the land. STUCKEY What kind of an idiot are you? You don't talk about this to anyone. JAKE They're close friends, they'd never breathe a word -- STUCKEY (to Vance) Where did you dig this moron up? VANCE He's right, Jake, that was an incredibly stupid thing to do. It won't happen again, Edward. I'll pull him off the project immediately. EDWARD Don't bother. STUCKEY What!? EDWARD We don't have the time to bring someone new up to speed. Besides... (not unkindly, to Jake) You've already impressed everyone you need to, haven't you? JAKE It won't happen again, Mr. Harris. Vance has found what he was looking for in his notebook. VANCE This is interesting. That building is storage now, but it used to be a smelting plant. They closed it down after World War II. EDWARD I want our lawyers to check into the toxic waste licences on them right away. I want to know if the permits are still valid and what kind of limits are on them. STUCKEY Jesus, yes. It's a long shot but if the permits are still in effect, they're worth a fortune. He turns away. The other follow Edward back toward the stairs. EDWARD What time's diner tonight? STUCKEY Eight o'clock. Kross is bringing his son. Very bright kid, watch yourself with him. Who's this girl you're taking? EDWARD No one you know. INT. SAKS - SECOND FLOOR - DAY The elevator opens and Vivian walks out and surveys the room nervously. She walks toward the women's clothing section. BRIDGET, a large friendly woman, spots her and quickly approaches. BRIDGET You must be Vivian. Vivian nods. BRIDGET (cont'd) Let's look at you... She steps back, regards Vivian with a professional eye. BRIDGET (cont'd) Where are you from, dear? VIVIAN (pause) Georgia. BRIDGET No wonder. For starts, you should know that hot pants are horrid, even when you do have the legs to carry them off. What are your plans while you're in town? VIVIAN Well... I might be going out to dinner. BRIDGET You'll want a cocktail dress then. Turn. You have a beautiful figure. A little too out in the open but simply lovely. Size six? Do you need shoes? VIVIAN I dunno. Do thigh high, leather boots go with a cocktail dress? BRIDGET (calling out) Philip! We'll need shoes! Bridget leads Vivian towards the racks of clothes. She pulls out a dress. BRIDGET Your uncle will like this. VIVIAN He's not really my uncle. BRIDGET They never are, dear. INT. HOTEL LOBBY - LATE AFTERNOON Mr. Thomas is behind the desk. He looks up. Vivian is standing there, a happy look on her face. She holds up a garment bag. VIVIAN I got a dress. MR. THOMAS (dryly) I rather hoped you'd be wearing it. VIVIAN I didn't want to get it messed. I got shoes too. Wanna see? MR. THOMAS That's all right. I'm sure they're quite lovely. VIVIAN They were real nice to me there. They treated me, y'know... nice. Thanks, Barney. Mr. Thomas tries not to wince at the familiarity. MR. THOMAS You're very welcome, Miss Vivian. She smiles at him. He watches as Vivian turns and walks toward the elevator. The provocative way her hips move just naturally attracts the attention of a MALE PASSERBY. And the white gloved ELEVATOR MAN literally leaps to press the elevator button for Vivian who rewards him with a happy smile. Mr. Thomas sighs. INT. PENTHOUSE - LATE AFTERNOON The phone is ringing Vivian enters. She hurries to pick it up. VIVIAN Hello? The phone keeps ringing -- it has more than one line. Vivian frantically punches buttons. VIVIAN (cont'd) Hello? What? Hello? INT. STUCKEY'S OFFICE - LATE AFTERNOON - INTERCUT Edward is in a private office. EDWARD Never answer the phone. Ever. VIVIAN Tsk, believe me, this will be the last time. EDWARD Did you buy some clothes? VIVIAN I got a dress, yeah. EDWARD Just one? Christ... I hope it's appropriate. VIVIAN It's very tasteful. I think you'll especially like the zipper in the crotch. (silence) I'm -- joking. EDWARD Let's hope so. You'll get some more clothes tomorrow. I'll be pushed for time so meet me in the hotel lobby at seven forty-five sharp. Got it? VIVIAN No, I don't "got it". Even the farmboys back in Georgia come to the door when they're taking you on a date. EDWARD This isn't a date. VIVIAN Go by yourself then. Where you taking me anyway? EDWARD The Rex. VIVIAN Any good? EDWARD I think you'll approve. VIVIAN ... all right. I'll meet you in the lobby. But only cause you're paying me to. EDWARD Thank you very much. Vivian slowly sets the phone down. The phone rings again. Vivian, very carefully, punches the flashing button and picks it up. VIVIAN Hello? EDWARD I thought I told you not to answer the phone. VIVIAN Oooh! Edward hangs up. He smiles to himself. Vivian bites her fingernails, looking nervous. The doorbell RINGS. Vivian looks up, startled. She rises, moves to answer it. It's the Spanish MAID. She nods politely at Vivian. MAID Housekeeping. I come to turn down the bed. 5:00, I turn down the bed. VIVIAN What? The Maid points to her hotel badge, trying to explain. MAID Housekeeping. I come to turn down the bed. VIVIAN Okay. The Maid enters. VIVIAN Is there a trick to it? INT. PENTHOUSE BEDROOM - LATE AFTERNOON The Maid turns down the bedspread. VIVIAN Is that all? You just fold back the bedspread? MAID I also place las chocolates on the pillow. VIVIAN Oooh, I love those. MAID I leave extras, miss. VIVIAN Thanks! Consuelo, are all rich people so lazy they can't do this on their own? Consuelo shrugs. INT. HOTEL LOBBY - LATE AFTERNOON Mr. Thomas is still behind the desk, working when a soft voice startles him. VIVIAN Barney. He looks up. He sighs. Vivian still hasn't changed. MR. THOMAS What is it, Miss Vivian? VIVIAN Edward is taking me to some fancy place for dinner. The Rex. Ever been there? MR. THOMAS It's a bit beyond my... range, shall we say. VIVIAN Yeah, mine too. Is it like, y'know, normal? MR. THOMAS I think you'll find it normal enough. VIVIAN Will I like it? MR. THOMAS You'll like it fine. VIVIAN Okay. Thanks, Barney. You're the best. She turns away. MR. THOMAS Just mind which fork you use. Vivian turns abruptly back, a horrified look on her face. VIVIAN Fork? INT. HOTEL DINING ROOM - LATE AFTERNOON CLOSE ANGLE - PLACESETTING An elegant formal placesetting complete with a myriad of different size forks, spoons, stacked china plates and crystal glassware. ANGLE ON MR. THOMAS AND VIVIAN sit across from one another at a fully set table. MR. THOMAS In fifteen minutes I can teach you everything you need to know to dine with the Queen. First, as you pick up the knife you shift your fork to the left hand. VIVIAN But I always eat like this. MR. THOMAS Either you're European or badly brought up. VIVIAN Hmmm... I vonder vich. (giggles) MR. THOMAS Actually, some of the richest people I know have the worst manners. Of course, Mr. Harris, being of old money, knows his way around a table. All right now, pay attention please. Salad fork. VIVIAN What if they serve soup? MR. THOMAS They will serve salad. VIVIAN But what if they serve soup? MR. THOMAS Then you use your soup spoon. VIVIAN (smiles) I like steak. MR. THOMAS (picking up the appropriate utensil) Then you would use your-- VIVIAN Steak spoon! (laughs) Mr. Thomas swallows his exasperation. WE PULL BACK from their table to reveal the cavernous, empty banquets room, each table is set and ready for the dinner service. MR. THOMAS Miss Vivian -- VIVIAN Maybe I'll just order a burger, Barney, that way I can eat with my hands. MR. THOMAS Miss Vivian... there's a salon here in the hotel. Instead of worrying unnecessarily about table manners, why don't you just have your hair done instead? VIVIAN Professionally? INT. SALON - LATE AFTERNOON Vivian sits in a salon chair. The last customer, THANE, a young man of about twenty with his long hair pulled back in a pony tail, tilts her head one way and then another, eyeing her professionally. VIVIAN I have a friend who has a friend who does Cher's wigs. THANE I hate him already. (a beat) All set? VIVIAN Yeah... what a ya say we chop it all off and bleach the tips. THANE Darling? Trust me. INT. HOTEL LOBBY - EVENING Edward enters and looks around the lobby. No Vivian. Annoyed. Edward crosses to a house phone and picks it up. He's about to dial when: MR. THOMAS Good evening, Mr. Harris. Edward looks at him blankly. MR. THOMAS Barnard Thomas, manager of the hotel. EDWARD Of course, yes. If you'll excuse me just a moment -- MR. THOMAS I have a message for you from your "niece", sir. EDWARD My what? MR. THOMAS The young lady staying in your room? Edward's eyes narrow. He hangs up the phone. EDWARD I think we both know she's not my niece. Mr. Thomas looks uncomfortable. EDWARD (cont'd) Does this hotel have any problem with that? MR. THOMAS Mr. Harris, a guest of yours, is a guest of ours and shall be treated accordingly. The young lady asked me to tell you that she is waiting for you in the lounge. EDWARD Thank you. He starts towards the lounge. MR. THOMAS Very intriguing young woman, Miss Vivian. His tone stops Edward in his tracks. MR. THOMAS (cont'd) Have a good evening, sir. And off he goes, leaving Edward to wonder what the hell transpired during the afternoon. INT. HOTEL LOUNGE - NIGHT Edward enters the lounge. He looks around, not seeing Vivian. And suddenly his eyes go back to... the beautiful girl with the beautifully styled hair in the beautiful black cocktail dress at the piano bar. Edward tries to hide his surprise as Vivian rises, moves elegantly towards him. She smiles. VIVIAN You're late. Such a beautiful woman deserves an apology and so, without thinking: EDWARD I'm sorry. VIVIAN You're forgiven. She waits expectantly. He holds out an arm. She takes it. INT. REX RESTAURANT - NIGHT Vivian comes out of the ladies room. She walks forward past the MAITRE'D'S station. She stops. She takes a breath... and then walks forward. INT. REX - ANOTHER ANGLE - LOOKING DOWN Vivian moves down a marble starircase, through the elegant restaurant toward a far table. Her beauty and natural grace draw approving stares. She is like a queen moving through a ballroom. At a secluded table, Edward sits in conversation with two men. JAMES KROSS, in his early 70's, a bulky self-made millionaire industrialist. Sitting next to him is his son and second in command, DAVID KROSS, a handsome man in his early thirties. All of them rise as Vivian comes to the table. David Kross holds out Vivian's chair for her. Surprised, she nods her thanks. In front of her is an enormous placesetting. She smiles down at the utensils, filled with confidence. Waiters have placed a delicate salad down in front of each of them. Vivian proudly reaches for her salad fork. But then she sees that Kross has picked up the fork closest to his plate and is digging into his salad with that. Vivian looks to see what Edward will do. He doesn't seem interested in eating yet. Neither does David Kross. Feeling a sudden panic, Vivian puts her fork down. KROSS So young man, I understand you are trying to take over my company. A moment. The abruptness of the question takes Edward back for a moment. But then he almost smiles. EDWARD Please don't patronize me, Mr. Kross. Our ages mean nothing here. Kross and David look at each other. DAVID Mr. Harris, we know you've purchased at least twenty percent of our stock. We also know you plan to file a formal bid for a majority share. EDWARD Twenty-five percent. KROSS Mr. Harris, I built Kross Enterprises myself. I know every man who ever worked there by his first name. I know their wives... and their children. If your intention is to take over my company and turn it into a glorified real estate deal, think again. Edward, thankfully, now reaches for his salad fork and begins to eat. Relieved, Vivian picks up hers. They all eat for a moment. EDWARD What do you suggest, Mr. Kross? WAITERS approach, some to clear the salad plates, some to put down the next course. Vivian, thinking she's got to finish, quickly stuffs her mouth with the rest of her salad. She is reluctant to let the Waiter take her fork. KROSS What would it take to buy our stock back? Name your price. EDWARD To get me in a mood to sell -- double what I paid. But your company doesn't have enough capital right now to buy anything. DAVID We're on the verge of closing a large navy contract. Double is ridiculous but we can assure you a healthy profit on your shares. We would give you a promissory note... EDWARD You're not getting any navy contracts. Vivian can see that both father and son are stunned by this news. DAVID There's no way you could know that. EDWARD But I do know. I also know your lines of credit are over-extended. If I don't buy your company, someone else will... (looking up) Ah, the escargot. Escargot are put down in front of everyone. Vivian stares at them dubiously. She picks up what she assumes is the next "right" fork. She picks up a snail. The two do not fit. Flustered, she doesn't know what to do. No one else seems to be eating. And now a Waiter comes and places escargot forks at each place. Vivian picks it up with a sigh of relief. VIVIAN (softly, to the Waiter) Scume me, what are these things? WAITER (bending to whisper) Escargot, mademoiselle. EDWARD (leaning close to whisper) Snails. Vivian stares at them, horrified. She, like James and David Kross, no longer seem interested in eating. Edward eats with pleasure. EDWARD Mr. Kross, I'm not here to sell you my stock. On the contrary, I'm here to buy yours. KROSS (angry) You've got a lot of nerve. EDWARD No. What I have is a lot of money. KROSS I know all about you, Mr. Harris. When you buy companies, they have a way of disappearing. Even the pension funds are stripped clean. The last three companies you took over were cut up in so many pieces, widows were left without their retirement checks. EDWARD (calmly) What I did with those companies was perfectly legal. KROSS I don't question the legality of what you do. It's your morality that makes me sick. I will not allow my company to be raped by a man like you. EDWARD (angry now) It is not your company. It's a public company. And I am going to acquire it. Either I buy from the other stock holders, or I buy from you. Vivian struggles with her escargot. EDWARD (cont'd) I would suggest that you and your board cooperate with me, rather than fight a battle you don't have the ammunition to win. Vivian suddenly ZINGS her snail across the table. Everyone looks to her. VIVIAN Slippery little suckers... Kross rises. KROSS If you'll excuse me young lady, Mr. Harris... (turns to David) Deal with this, David, you know where we stand. I need to go someplace and puke. He rises. He exits. DAVID (to Edward and Vivian) Men like my father built this country. He was no saint. He screwed people. But for every guy he stepped on, he gave a hundred a good job. Edward is silent. VIVIAN He seems like a nice man. David looks at Vivian as if seeing her for the first time. EDWARD We can reach an understanding on this. DAVID I don't think so. You should know we're going to fight you with every resource we have. EDWARD Do what you have to do. I don't take it personally. DAVID I do. I take it all very personally. (to Vivian) Very nice meeting you, Vivian. David Kross gets up and leaves. Vivian and Edward sit in silence. EDWARD (a beat) And that's the way the game is played. VIVIAN Some game. Screwin' some poor slob out of his retirement. Edward says nothing. But Vivian can see she's hit a nerve. VIVIAN Snails for dinner. No wonder everybody is in such a bad mood. A Waiter appears at the table. WAITER Are we ready for the next course, sir? EDWARD No. Bring a check, please. INT. PENTHOUSE LIVING ROOM - NIGHT Edward's face is pensive and thoughtful as he stares out of the glass window down at the city lights. He quickly drains his champagne glass. Vivian moves to stand next to him. She refills his glass from the bottle. EDWARD Thank you. He drinks. Silence. VIVIAN You're upset, huh? EDWARD Upset. No. I never get upset about business. VIVIAN You liked the guy, though. EDWARD Whether I liked him or not is irrelevant. It's business. There's no emotion involved in business... if you want to survive. VIVIAN (excited) We're the exactly the same! Kit keeps telling me don't get emotional when you turn tricks -- that's why no kissing -- it's too personal. The key is like you're saying, stay numb, don't get involved -- when I'm with a guy, I'm a robot, I just do it. (realizing what she's saying and quickly recovers) Except with you. At your price I give my all... Edward laughs. VIVIAN (cont'd) Let's not talks about this heavy stuff. Come on, relax. Vivian comes up behind him. She begins to rub his shoulders. EDWARD That... is very good. A moment. Edward is silent. Turns him, unknots his tie, unbuttons his collar. VIVIAN Know what we're gonna do in a little while then? We're gonna call Domino's and have'm deliver a bigass pizza. We're gonna eat it in bed. We're gonna veg' out and watch television. EDWARD Television? VIVIAN Yeah, it's this box, it has pictures, sound. You don't have to use your brain at all. EDWARD I have work to do. VIVIAN Uh-uh. No work. Smiling, she softly kisses his throat. VIVIAN (cont'd) See... what you haven't figured out yet... She kissed his neck. She fumbles with his belt. VIVIAN (cont'd) Is that while you're the boss everyplace else... I'm the one in charge here. She kisses his chest. VIVIAN (cont'd) You... just think you are. She starts to kneel down. He stops her. They stare at one another for a moment. He releases her. She smiles. She starts to undress him. INT. PENTHOUSE BEDROOM - MORNING Vivian is asleep. She turns over, slowly waking. Her hand goes out to touch Edward and encounters nothing but empty bed. Vivian comes awake with a sudden start. She look around momentarily frightened, not sure where she is. Sighing with relief, she lies back down. She sees Edward's American Express card on the pillow next to her. EDWARD (O.S.) Wake up, Vivian. Time to shop. Edward comes out of the bathroom and moves toward the bed. He is tying his tie. Vivian sits up and ties it for him. He smiles at her. EDWARD I still don't understand why you only bought one dress. VIVIAN I wasn't as much fun as I thought it was going to be. EDWARD Why not? VIVIAN Well, you know those cold bitches that work in those stores and try to intimidate you? It works. EDWARD Was someone rude to you? VIVIAN I had a little problem in one store. I wasn't dressed right. I don't know what to say. I don't belong there. Maybe I'll just go back to Bridget. She was cool. EDWARD Vivian, you belong wherever you are. I don't care how you were dressed, they were the ones who were wrong, not you. Edward sits on the bed. EDWARD (cont'd) People aren't going to respect you unless you respect yourself. (a beat) The next time someone is rude to you, you stare at them right here. He softly touches her, right between the eyes. EDWARD (cont'd) It's an old trick I use, especially with bankers. Works every time. Will you try it? VIVIAN (confidently) Okay. EDWARD Good. VIVIAN (a beat) Come with me? Edward looks at his watch. Vivian covers it with her hand. VIVIAN Please. INT. BOUTIQUE - DAY A beautiful, chic women's shop. The haughty SALESGIRL approaches Vivian near a rack of dresses. Edward hovers in the b.g. VIVIAN (nervous) Hello. Can you help me? The Salesgirl looks Vivian up and down. A Pause. Vivian gives her "the stare" and straightens up. We see the Salesgirl's reaction change. VIVIAN (confidently) I'm looking for a dress, nothing too flashy, not too sexy, conservative. In a size six. SALESGIRL (uncomfortable under Vivian's stare) Do... do you have a charge account with us? Vivian smiles and draws out Edward's American Express card. The Salesgirl nods and quickly moves to a rack of dresses to find Vivian's size. INT. BOUTIQUE - DAY - IN A SERIES OF CUTS Vivian tries on different clothes under Edward and the Salesgirl's supervision. Vivian comes happily out of the dressing room wearing a low cut, spangled and fringed outfit. Edward shakes his hand. The Salesgirl holds a classic tweed ensemble over Vivian's outfit. Vivian scowls. VIVIAN (sighing) I look like fucking Nancy Reagan. INT. BOUTIQUE - ANOTHER ANGLE The Salesgirl shows Edward clothes by Ann Taylor. He turns to find Vivian happily holding up a tiny, low cut leather dress. Edward shakes his head in mock disapproval. Vivian scowls. INT. BOUTIQUE - ANOTHER ANGLE - LATER Vivian is wearing an elegant pastel dress. Edward is standing at the store's bar, watching and talking on the telephone. INT. STUCKEY'S OFFICE - DAY - INTERCUT WITH EDWARD Stuckey and Vance are pouring over stock reports, talking to Edward on the speaker phone. VANCE Kross came out of his corner swinging. He started buying up all available stock as soon as the market opened. EDWARD (almost to himself) He's a tough old son of a bitch... Edward is watching Vivian. She pulls the hem of her skirt up to mid thigh. She looks hopefully over to Edward. Edward shakes his head. VANCE It's up to ten and a quarter. EDWARD Offer nine and a half. Bring them back down to earth. STUCKEY Goddamit! Where is he getting the money to fight? EDWARD Someone's loaning it to him. Get on it right away. STUCKEY Our contract guys are working on the Kross pension funds. There's another forty million there. We can bleed'm dry. There is a sudden hesitation in Edward's eyes. He watches as Vivian tries on a hat. She preens for him. He smiles. EDWARD (to Vance & Stuckey) Put the pension funds on hold until I say otherwise. STUCKEY (surprised) We're letting them slide? EDWARD I want the treatment plant licenses to be top priority right now. STUCKEY But, Edward... EDWARD Do it. Edward hangs up and takes a long look at Vivian. She moves to him. EDWARD (looks at his watch) You're on your own now, Vivian. I've got to get to work. Be sensible and you can keep everything. Spend too much and it all goes back. Vivian hugs him again. EXT. RODEO DRIVE - DAY Vivian walks along Rodeo Drive. She looks lovely in the pink dress and new, white shoes. A pretty, white hat is the final touch. She carries a bag containing her old clothes. She stops at a trashcan and ceremonially throws the offending items away. INT. TORIE STEELE BOUTIQUE - SHOPPING MONTAGE We SEES Vivian in each department within the store with different SALESPEOPLE. She happily and confidently tries on a variety of dresses, hats, shoes, accesarries, etc. 1) Vivian is in a dressing stall. She tosses a dress out to a waiting SALESWOMAN. VIVIAN Not me! 2) A SALESWOMAN holds a long, purple evening gown. VIVIAN (imitating Bridget) Horrid! 3) Vivian is admiring a pair of beautiful suede dress pumps. Her attention is drawn to the SALESMEN'S exotic hand-painted tie. VIVIAN Where'd you get your tie? 4) Vivian stands in front of an enormous tie rack with the Salesman, a dozen wild, swirling designed ties are hanging over his outstretched arm. Vivian picks out the brightest one and smiles. EXT. RODEO DRIVE - DAY Vivian's arms are filled with clothing boxes and bags. She feels like she owns the block. A well-dressed MAN passes by, smiling politely. Vivian's nose lifts as she happily ignores him. Suddenly Vivian stops. She's about to pass the shop she was thrown out of. Vivian takes a breath and enters the shop. INT. BOUTIQUE - DAY Vivian enters. The moment she steps through the door, Vivian's courage leaves her. The saleswoman is waiting on a CUSTOMER. SALESWOMAN (to the customer) Isn't this lovely? I think it would look wonderful on you. Vivian musters her courage. She takes a deep breath and starts forward. SALESWOMAN (to her customer) Would you like to try it on? VIVIAN 'Scume me. Both the saleswoman and her customer look up. The saleswoman smiles pleasantly. SALESWOMAN Yes? VIVIAN Do you remember me? SALESWOMAN No, I'm sorry, I don't. VIVIAN I was in here yesterday. Vivian slowly raises her middle finger. The recognition starts to dawn in the saleswoman's eyes. Vivian's courage begins to return. VIVIAN Yeah. That's right. It's me. I want you to know something. You made me feel terrible. I wasn't dressed right and you said I didn't belong here. Well, I do. You're the one that was wrong, not me. And I want to tell you something else. I'm never gonna shop here again as long as I live. And with that, Vivian turns and walks out. The saleswoman is stunned. A beat. The customer thrusts the dress into the saleswoman's arm as if offended by Vivian's speech and leaves the store also. INT. HOTEL LOBBY - DAY Mr. Thomas looks up from the desk. And stares. Vivian and a BELLHOP stroll through the hotel entrance and across the hotel lobby to the elevator. The bellhop's arms are packed with boxes and shopping bags. Mr. Thomas can't help it. He smiles to himself. INT. PENTHOUSE LIVING ROOM - DAY Vivian opens the front door for the Bellhop who carries in her packages. She motions for him to place them on the couch. He does. Vivian happily tips him with a five dollar bill. He exits. The door closes. VIVIAN Wheee!!! Vivian does a giddy spin and falls onto the couch. INT. BROKERAGE HOUSE MEETING ROOM - DAY Stuckey enters. Edward is standing at the end of a long meeting table. He is serving himself coffee from a tray. STUCKEY (gloating) You were right. Kross mortgaged everything he has down to his grandson's college tuition to secure loans from a bank. Not just any bank. One we do business with. Edward just sips his coffee. STUCKEY (cont'd) It goes without saying that your business means a great deal more to them than our friend Kross's. (a beat) All you have to do is make a call. Edward is silent. Stuckey is again surprised. STUCKEY Excuse me for saying this but what is wrong with you this week? First, you go soft on the pension funds. Now, you're giving him the chance to get away? As of two minutes ago, you are committed to the tune of over fifty million dollars -- EDWARD Come on, Bill, don't talk to me about how much money's involved. It's my money. STUCKEY And some of it's mine. Edward, his jugular's exposed. Edward hesitates. Then: EDWARD Get the bank on the phone for me. INT. PENTHOUSE - EVENING Edward enters. He closes the door. He turns. And stops. A beautiful, candlelit, food laden table has been set up in the middle of the room. Champagne and wine chills in a bucket. A fire burns in the fireplace. Music is playing. VIVIAN (O.S.) Hi. Edward turns. And stares again. Vivian stands in the bedroom doorway. She is wearing an exquisite silk dressing gown. She looks incredibly beautiful. VIVIAN I thought maybe you'd like dinner. EDWARD Thank you. I would. (he fingers her dressing gown) Nice. VIVIAN Wait till you see what I have on underneath. EDWARD Please. She opens the dressing gown. What she has on underneath is absolutely nothing. Edward crosses to her. Taking her in his arms, he lifts her up and kisses her breasts. VIVIAN What about dinner? EDWARD Dinner can wait. INT. PENTHOUSE BATHROOM - NIGHT The bathroom is lit by candles. Vivian and Edward are in the marble tub. Vivian sits behind Edward. She lazily washes his shoulders and back with a large sponge. VIVIAN You always been rich? EDWARD No. VIVIAN Seems like it. I guess it's easy to get used to, huh? EDWARD Easier than learning how to be poor. (a moment; and then:) My father's family was wealthy. When I was young there were cars and houses, private schools, nannies. But then my father divorced my mother to marry another woman. And he took his money with him. Silence. VIVIAN Keep talkin'. I like hearin'. EDWARD Not much to tell. I went to public school. Went to university on scholarship. Went to work for an investment firm. In eight years I owned it. (and then; growing very quiet) My father was chairman of the board of the third company I ever went after. I swallowed that company and shit out the pieces. One of the pieces was him. Vivian softly traces small patterns on Edward's shoulders with a finger. VIVIAN You still mad at'm? EDWARD He died a long time ago. She gently rests her head on his back. EXT. HOTEL ROOM - DAY PANNING BELLIES People are sunbathing by the pool. Overweight... lobster red... old and stretch-marked... fishy white... and then gorgeous. The gorgeous is Vivian. She is wearing a miniscule bikini and sunglasses. WAITER (O.S.) Miss Vivian? She looks up. A young WAITER, looking a little dry-mouthed at the sight of her, is holding a telephone. WAITER You have a call. Mr. Harris. VIVIAN (taking the phone) Hi, baby. (a moment) I'll be ready. Bye. She hangs up. She looks at the Waiter, confused. VIVIAN What do you wear to polo? EXT. THE LOS ANGELES EQUESTRIAN CENTER - LATE AFTERNOON Horses and riders crash and careen on the playing field. An enthusiastic crowd cheers. DOWN OFF THE EDGE OF THE FIELD a tailgate party using Cadillacs and Rolls Royces is in progress. Horses and riders thunder by a crowd of very well-dressed, successful-looking people -- celebrities, execs, socialites, aficionados -- most of whom ignore the game. They are there to see and be seen much more than to watch a polo match. EXT. EQUESTRIAN CENTER - LATER AFTERNOON Vivian and Edward make their way towards the party. Edward is wearing his new tie. Vivian is looking very chic and beautiful in one of her new outfits. Not that it's helping -- the place, the people, the wealth -- everything here suddenly has her overwhelmed. She suddenly stops. VIVIAN You're really pushing it, bringing me here. EDWARD I think it's exciting. VIVIAN What id we run into someone I know? EDWARD I really doubt anyone here frequents Hollywood Boulevard. VIVIAN You did. A VOICE calls out. STUCKEY (O.S.) Edward! They turn. William Stuckey is with a group of people. He waves them over. STUCKEY (cont'd) Come on! Over here! Edward takes Vivian's arm and leads her forward. EXT. EQUESTRIAN CENTER - LATE AFTERNOON Stuckey grins and shakes Edward's hand. STUCKEY (looking at Vivian) Well, well, well... Vivian dislikes this guy on sight. Dislikes the frosty looking woman at his side. EDWARD Bill, I'd like you to meet Vivian. STUCKEY (holding out a hand; smiling) Bill Stuckey, Vivian. My wife, Elizabeth. VIVIAN Hi. Elizabeth Stuckey stretches her thin lips in a cold smile. STUCKEY Lots of fun people here. Let me get you two some champagne. He moves quickly away. ELIZABETH STUCKEY Excuse me. She moves to greet someone else. Vivian and Edward survey the milling CROWD. VIVIAN (sarcastic) Real genuine guy. EDWARD He's good at what he does. VIVIAN You could freeze ice on his wife's ass. She anything like your ex? EDWARD (a small smile) Shall we mingle? EXT. EQUESTRIAN CENTER - ON THE FIELD - LATE AFTERNOON A goal is scored. IN A SERIES OF CUTS Edward watches and guides her, Vivian sips champagne and meets and chats and wins over different PEOPLE. EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON A group of PEOPLE. WOMAN I simply love your dress, Vivian. VIVIAN This old thing? WOMAN Of course, a figure like yours can wear anything. You must work out constantly. VIVIAN I lead a very physical life. OLDER MAN Are you into running, Vivian? VIVIAN I'm into walking. I walk a lot. EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON In another group of PEOPLE. ANOTHER MAN You look awfully familiar, Vivian. Haven't we run into one another at the spa in La Costa? VIVIAN Well, I do often spa there. EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON Edward and Elizabeth Stuckey watch Vivian laugh and chat with a group of WOMEN. ELIZABETH STUCKEY Edward, she's marvelous. Warm and witty and down to earth. EDWARD (with pleasure) She is, isn't she. ELIZABETH STUCKEY So unlike your usuals. Where on earth did you find her? Edward smiles enigmatically. Taking an hors d'oeuvres off a passing WAITERS's tray, he starts forward. EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON A WOMAN We're good together. He has to admit it. I've been just what he wants me to be. I say the right things, I know the right people, I give wonderful parties. No question, no arguments, no embarrassments. It works for both of us. That makes Vivian think. And then she smiles as she sees Edward approaching. Vivian moves to him. VIVIAN Edward, these women here, I don't think any of'm like the guys they're with. They're just into it for the money. EDWARD I'm sure that's true for some of them. VIVIAN I thought I was the pro. These women make me feel like an amateur. EDWARD (a beat) Ready to stomp sod? EXT. EQUESTRIAN CENTER - ON THE FIELD - LATE AFTERNOON IN A SERIES OF SHOTS TO MUSIC The CROWD engages in sod stomping. They drink champagne. They make a dance out of it. They laugh. Shoes get stuck in the mud. It's ludicrous -- these people in their suits and fancy clothes, replacing divots and stepping over the horse shit. In a corner of the field, grazing horses stare, seemingly in disbelief. Vivian is having a wonderful time. And then, as she moves towards the outside of the crowd she sees someone staring at her from over among some of the riders and grazing horses. David Kross smiles at Vivian. She hesitates... and then she crosses towards him. EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON DAVID KROSS Hi. VIVIAN Hi. I never thought stomping in grass could be so much fun. DAVID (laughs) I like your hat. VIVIAN Huh? Oh... yeah. S'okay? (pleased; a moment) Uhm... how're... business things going. DAVID Let's not talk about it, it's too depressing. Come on, I'll show you Thunder. VIVIAN Please, we hardly know each other. DAVID Thunder's a horse. Come on. EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON They approach the sweating mount. David Kross caresses the horses muzzle. DAVID Hey, big guy, you getting tired, yet? I am. This is Vivian. (a beat; and then:) You two been together long? You and Edward? VIVIAN No. DAVID Hope to be? To Vivian's surprise, the question causes a pang inside. VIVIAN It's... it's not like that. DAVID I see. Well. Maybe that means you'd have lunch with me sometime then. Vivian is suddenly silent. She looks away. DAVID (cont'd) I'm sorry, am I being too forward? VIVIAN You don't know anything about me. DAVID I'd like to find out. You don't know anything about me either. That's why people have lunch. But something holds Vivian back, a feeling. EXT. EQUESTRIAN CENTER - IN THE CROWD - LATE AFTERNOON William Stuckey turns... stops... stares. He sees Vivian and David Kross standing together. He stares, his mind racing, and anxious, angry look on his face. EXT. EQUESTRIAN CENTER - LATE AFTERNOON Stuckey has Edward off to the side. He is talking to him in a low, earnest voice. STUCKEY Fill me in on this. How'd you and Vivian meet? EDWARD We just did. STUCKEY (grinning) Come on, you can tell me. I sure would like to know where a guy runs into a girl as attractive as this. EDWARD The night I left your house, I was lost. I was looking for directions. STUCKEY And you just happened to run into her. Great. What's she do? She work? EDWARD Yes... STUCKEY Doing what? EDWARD Vivian's in sales. STUCKEY Sales, really? That's great. What does she sell? Edward's eyes narrow. EDWARD Why do you want to know? STUCKEY Hear me out. I've known you a long time. I see a difference in you this week. Like that tie. I'm suddenly wondering if this girl's not the difference. Especially when I see her talking with David Kross. EXT. EQUESTRIAN CENTER - ANGLE ON VIVIAN Vivian turns away from the bar, now holding two glasses of champagne. She scans the crowd for Edward. EXT. EQUESTRIAN CENTER - ANGLE ON EDWARD AND STUCKEY EDWARD She met him at dinner last night... I like this tie. STUCKEY So now they're best friends? Edward, this girl appears out of nowhere and now I see her talking to a guy whose company we're trying to buy. It's too convenient. EDWARD You're being ridiculous. STUCKEY Industrial espionage is not ridiculous. Edward, how do you know she hasn't attached herself to you so she can bring Kross back information? EDWARD Christ, Bill, she's not a spy, she's a hooker. I picked her up off Hollywood Boulevard. EXT. EQUESTRIAN CENTER - ANGLE ON VIVIAN as she hear loud sudden LAUGHTER. She turns. She sees that it's Stuckey laughing. Smiling, Vivian starts towards them with two glasses of champagne. EXT. EQUESTRIAN CENTER - ANGLE ON STUCKEY AND EDWARD STUCKEY I swear to God, you are the only millionaire I ever heard of who'd go looking for a goddam bargain streetwalker! Edward sees Vivian coming. EDWARD Let's drop it, shall we? Edward turns. He smiles gently as Vivian quietly approaches and hands him his glass of champagne. A group of BUSINESSMEN are standing a short distance away. One of them calls out: MAN Edward! May we have your opinion on something? EDWARD (to Vivian and Stuckey) Excuse me a moment. He moves to join the group of men. Stuckey gives Vivian a broad smile. STUCKEY Having a good time, Vivian? VIVIAN Yeah. Thanks. STUCKEY All this must be quite a change from Hollywood Boulevard. Vivian looks as if she's been struck. VIVIAN What? STUCKEY It's okay. Edward told me. Your secret's safe with me. Stuckey runs his hand up her arm. STUCKEY (cont'd) What do you charge, Vivian? Maybe you and I could get together after Edward leaves. VIVIAN (forcing a bitter smile) Yeah. Sure. Why not. Call me at the Regent Beverly Wilshire. STUCKEY I just might do that. He moves away. Vivian turns. Edward looks up from his conversation, sees her looking at him. He smiles, raises his glass in a small toast. A moment. Vivian toasts him back. INT. PENTHOUSE - NIGHT They enter. Edward switches on a light. Vivian comes down the steps into the room. Edward follows after her. EDWARD You're awfully quiet. You haven't said a word since the party. As Edward touches her shoulder, Vivian suddenly spins and explodes with anger. VIVIAN You asshole! I can't believe what a --! EDWARD Vivian, what the -- Tears well in Vivian's eyes as she yells at him. VIVIAN Clean the slut up, take her out, huh?! What are you trying to prove!? I'm not a piece of meat for you to offer to your friends! EDWARD I don't know what you're talking about. VIVIAN I've been with stinking old men who've made me want to puke but I've never had anyone make me feel as dirty as you did tonight. EDWARD Would you please calm down. Tell me what happened. VIVIAN Stuckey! He wants an "appointment" with me after you leave. You my pimp now or did he think that up on his own? Edward looks guiltily away. EDWARD What was I supposed to do? (a beat) I told the truth. Why should the truth upset you? It's not as if you're from a convent. VIVIAN I want my fucking money. I'm getting out of here. I don't want anything more to do with you. EDWARD Can we talk about this? Can you just try to calm down? VIVIAN Your goddamned friend, he thinks the only reason I'm with you is for the money. A tear falls from Vivian's eyes. VIVIAN (defiantly) Well, it's true. Just pay me what you owe me and I'm gone. EDWARD Vivian... VIVIAN Pay me! Before I pick up this chair and smash your face in. EDWARD Fine. I'm only here a couple of more days and I'm not going to spend them fighting with you. VIVIAN Fuck off. EDWARD I'll call you a cab. If you want the clothes, pack them up. Vivian stands quietly for a moment. And then she turns and walks into the bedroom. INT. PENTHOUSE BEDROOM - NIGHT Vivian starts roughly picking up her clothes in the dim light of the bedroom. As she does she starts crying. With each item of clothing the tears come down harder. Edward appears at the doorway. His face is genuinely concerned. EDWARD Vivian... I'm sorry. I wasn't prepared for questions about us. It was an idiotic and insensitive thing I did. I should have known that it would hurt you. VIVIAN I'm not hurt. It doesn't hurt you when somebody pisses on you, it just pissed you off. EDWARD I really am sorry. Vivian lets the clothes fall from her arms. Sobbing, she stands limply. VIVIAN You hurt me. Edward goes to her and wraps his arms around her shoulders. She touches his hand. He sits on the bed. He pulls her to him and wraps his arms around her, holds her tight. EDWARD I'll make it up to you. INT. BROKERAGE HOUSE - DAY Edward, carrying a briefcase, moves jauntily down a long hallway. Stuckey trails after him. STUCKEY This is no time to disappear. We're in too far. EDWARD Bill? Stop panicking. Kross isn't going anywhere and I don't need to spend the rest of the day watching his stock go down. I'll be in the office tomorrow. STUCKEY Promise me you'll read those contracts by then. EDWARD Goodbye, Bill. Stuckey stops. He calls after Edward. STUCKEY Shit... By tomorrow, Edward! Edward hurries on. EXT. REGENT BEVERLY WILSHIRE - DAY Edward exits out of his limo and walks to the front doors. INT. HOTEL LOBBY - DAY Edward smiles, moving jauntily to the elevators. Mr. Thomas at the front desk notices Edward's happy mood. MR. THOMAS Good afternoon, Mr. Harris. EDWARD Afternoon. Edward's attention is taken by the glittering jewelry display in the hotel jewelry store window. He detours from the elevators and moves to the window for a closer look. He thinks a moment and enters the jewelry store. INT. PENTHOUSE - AFTERNOON Vivian comes out of the bedroom into the living room wearing an elegant red sequined evening dress. She looks incredibly beautiful. She sees the phone. A thought occurs to her and going to it, she picks it up. Waits. VIVIAN C'mon, Kit... No answer. She hears someone at the door. She hangs up. Edward enters. He is carrying a small case. He stops at the sight of Vivian. VIVIAN Do I look okay? EDWARD (a small smile) Hmm... let's see... no, there's something missing. He holds up the small case. VIVIAN What's that? EDWARD I don't want you to get too excited... these are on loan... however... Vivian's jaw drops. Edward is holding a diamond and ruby necklace in his hands, holds it as if it might melt if he breathed too hard. Edward behind Vivian, fastens the necklace around her neck. EDWARD This is made for a princess. I think she'd approve of you wearing it tonight. There. Come look. He leads her to a mirror. She stares at her reflection. VIVIAN Edward, I can't. EDWARD Shush. Of course you can. VIVIAN What if I lose it? EDWARD You won't. VIVIAN What if someone tries to steal it? EDWARD I'll guard them and you with my life. EDT. BURBANK AIRPORT - DAY A limo pulls onto the tarmac at Burbank Airport. A PILOT in a leather jacket and sunglasses hurries forward to open the limo door. Edward -- now wearing evening clothes -- and Vivian climbs out of the limo. PILOT Your plane is ready to go, Mr. Harris. EDWARD Very good. VIVIAN Plane? Taking her arm, Edward leads her across the tarmac. EDWARD You don't want to go all the way to San Francisco in a limousine, do you? I don't. VIVIAN Where are you taking me!? EDWARD To meet some friends. Rudolpho, a poet... Benoit, a landlord... Mimi, a flower maker... VIVIAN Huh? EDWARD The opera. Up ahead is a waiting private jet, its engines already HUMMING. She is speechless. Edward grins, loving the look on her face. EXT. BURBANK AIRPORT - DAY The corporate jet takes off down the landing strip. INT. CORPORATE JET - DAY Edward and Vivian are alone in the passenger lounge of the jet. Vivian can't believe the cabin. It is a comfortable room featuring a long couch that curves across two walls, built in bar, television and stereo. Edward is once again, going over papers. VIVIAN I've never been on a plane before. EDWARD I'm glad you like it. Now be quiet, I've really got to read these. Vivian fluffs her hair up. She makes a happy, excited growling sound -- Rrrrr! A wicked gleam comes to her eye. She walks over to Edward and stands in front of him. He looks up. She parts the thigh high slit in her gown to expose silken quarters. She begins to unfasten the garters one at a time. EDWARD Vivian, what do you think you're doing? Edward watches silk stockings slide down Vivian's lovely legs. VIVIAN Being quiet. She reaches out and gently caresses Edward's face. Edward sets down his papers. EXT. SAN FRANCISCO - SUNSET The setting sun casts an incredibly glow over the city and the coast. VIVIAN (O.S.) You ever been in love with anyone? INT. CORPORATE JET - SUNSET Vivian is at the window, looking out. She carefully puts her earrings back on. She stares, mesmerized by the skyline, the golden gate bridge in the distance. She turns. Edward is buttoning his shirt. He is silent. VIVIAN Sorry. You're not paying me to ask you question like that. EDWARD Vivian. I'm paying you to be you. Be you. (a beat) Have you? Ever been in love with anyone? VIVIAN You mean, besides Elvis? (turning back to the window) I'm a human being. Sure. Once. First time I ever ran away from home, I got as far as Atlanta. I met this boy. He'd been with his parents on their way to Chicago. They stopped at a gas station. He went to the john. When he came back they'd split. We sorta started looking out for each other. Aw, he was sweet. And boy, was he good looking, y'know, dark hair and eyes. The chicken hawks were on him all the time. He hated that. Sometimes we'd find a safe place to crash nights and we'd curl up together and we'd talk about all these crazy things. The two of us getting married someday. Having kids. Stupid stuff. EDWARD What happened to him? A moment. Vivian shrugs. VIVIAN My father found me. Dragged me home. I don't know why, he never seemed to like me much when I was there. (a bitter smile) 'Cept when he was drunk, then he liked me a whole lot. (a moment) I made it back to Atlanta a year later. Andy was gone. Silence. Vivian stares out the window. VIVIAN Aw, but things sure look fine when you're sitting way up high. Edward moves close to Vivian and putting an arm around her shoulders, stares with her out at the view. Vivian rests her head against him. EXT. SAN FRANCISCO OPERA HOUSE - NIGHT An airport limo pulls to a stop in front of the San Francisco Opera House. The DRIVER walks around back and opens the passenger door. Edward emerges and helps Vivian out. INT. S.F. OPERA HOUSE LOBBY - NIGHT Edward puts his hand on Vivian's elbow as they walk through the elegant lobby. EDWARD Some people say that opera is an acquired taste, but I don't believe it. You can always tell when someone goes to the opera for the first time. They either love it or hate it. Those who love it will always love it; those who hate it might come to appreciate it, but they'll never truly love it. Vivian is wide eyed as they walk past a beautifully lit fountain with several graceful statues in its center. Everywhere she looks she sees elegantly dressed WOMEN and prosperous looking MEN. It makes her nervous. Without realizing it, she raises a protective hand up to her necklace. She looks as if she suspects someone is going to step up and steal it. EDWARD Viv? I really doubt if anyone here is going to try and grab it. Vivian reluctantly lowers her hands. INT. S.F. OPERA HOUSE LOBBY - ANOTHER ANGLE - NIGHT A crowd of PEOPLE mill around the lobby, heading toward their seats. Vivian is aware of the looks she draws as she passes -- curious, even envious looks from the WOMEN, appreciative glances from the MEN. Her hands again rises nervously to her necklace. EDWARD They all think you look very beautiful, Vivian. Vivian gives him a grateful look. Relaxing, she lowers her hand from the necklace. With a flourish, he offers his arm. She takes it. They start forward. INT. S.F. OPERA HOUSE BOX - NIGHT Edward and Vivian take their seats in a box high above the stage. VIVIAN If it's in Italian, how will I know what they're saying? EDWARD I'll whisper some of the main parts of the story to you. But you'll be surprised how much you understand. The music conveys the story more powerfully than any words. VIVIAN But don't they have it in English? EDWARD Vivian, don't be afraid of what you don't know. That's the fun of it. The lights dim. VIVIAN (resigned) Okay. Even if I hate it, I'm glad you brought me. The orchestra begins to play. Vivian's eyes focus intensely on the stage, as if a new world is about to be revealed to her. INT. S.F. OPERA HOUSE STATE - NIGHT IN A MONTAGE OF IMAGES AND MUSIC - LA BOHEME is performed. The lights from the stage dance across Vivian's face. Edward leans over to translate the tenor's aria. EDWARD What am I? I am a poet. Not a man of wealth but one rich in dreams. You have come to replace my vanished dreams. I dwell now only in your eyes. The MUSIC ebbs and swells. The sets and costumes change. The story continues. Edward again leans close to Vivian. EDWARD And now she asks Rudolpho if he still thinks her beautiful -- Vivian raises a hand and gently covers Edward's mouth. Her eyes are fixed on the stage. She doesn't need his help. The emotions building inside Vivian swell as the music is reaching its tragic climax. Her lips tremble. Her eyes fill with tears. Edward glances at her. He studies her a long moment, watching the emotions play unashamedly across her face. Strangely moved, he takes Vivian's hand. As the opera ends, they are both swept away by it. INT. S.F. OPERA HOUSE BOX - NIGHT As the lights come up, Vivian wipes off her tear-ruined mascara. She sighs, happy. The WOMEN in the next box smile at her. OLDER WOMAN Did you enjoy the opera, dear? VIVIAN (tearfully) It was so beautiful I just about pissed my pants. Edward smiles at the now shocked looking Older Woman and he and the still misty Vivian exit. INT. CORPORATE JET - NIGHT - LATER Edward and Vivian sit side by side. EDWARD If you'd gone on about how much you liked it, I'm not sure I'd have believed you. VIVIAN I more than liked it. EDWARD I know. I'm glad. VIVIAN Did you? EDWARD Yes. I've never enjoyed it more. Thank you. Vivian looks at him a moment. And then, leaning slowly forward she kisses him gently on the mouth. He looks at her surprise. He puts his arms around her and kisses her back. It is the first time they've kissed and they make it very special. EXT. CORPORATE JET - NIGHT The plane flies in the night. Back to L.A. INT. REGENT BEVERLY WILSHIRE PENTHOUSE BEDROOM - NIGHT IN A SERIES OF CROSS FADES Edward and Vivian make love. Equally giving, equally taking. No masks, no shields. INT. PENTHOUSE BEDROOM - NIGHT - LATER In the darkened bedroom, Edward and Vivian lie together. Edward cradles Vivian. Her back rests against his chest. His arm is over her body. She takes Edward's hand in her hands and carefully examines it; marveling at the fingers, the tiny hairs on the back. She gently kisses the palm. VIVIAN Love you... She clutches Edward's hand tightly to her breast. She closes her eyes, ready to sleep now. INT. PENTHOUSE BEDROOM - ANGLE ON EDWARD - NIGHT His eyes open. Vivian's whispered endearment has filled with him with sudden confusion and uncertainty. He stares into the dark, wondering what to do with the woman in his arms. INT. PENTHOUSE - OUTDOOR PATIO - MORNING The phone rings. Edward immediately reaches out and picks it up. He is dressed in a robe. Breakfast is on the umbrella'd table in front of him. EDWARD Yes? INT. STUCKEY'S HOME - LIBRARY- MORNING - INTERCUT Stuckey, not even dressed yet, paces around his desk. STUCKEY Did I wake you? EDWARD I'm up. STUCKEY I had to call. I jus got off the phone with James Kross. Get this. He wants to see you. Today. EDWARD Why? STUCKEY He wouldn't say. Edward... I think we got him. His nuts are on the block and we got him. (silence) You there? EDWARD Give me twenty minutes. STUCKEY We'll be there. Listen, if he's really caving in, we'll go from there down to the office. I want him to commit his stock to us this morning. Edward hangs up. His mind seems on other things. He rises. INT. PENTHOUSE BEDROOM - MORNING Vivian is still asleep. She is face down on the bed, the sheets just covering her to her waist. Edward stares down at her. He gently reaches out and runs a finger down the soft line of her spine. Vivian murmurs contentedly. VIVIAN Mmm. (opening her eyes; looking at him) Hi. Edward smiles at her softly. And then: EDWARD Better get dressed. We're having guests. INT. PENTHOUSE BEDROOM - DAY Vivian is wearing her yellow dress. She stares at herself in the bedroom mirror. Her hair... her make-up... she realizes how different she is now, realizes that she likes it. Edward comes out of the bathroom. He crosses to the closet for a tie. VIVIAN Here. Let me. She comes over, starts to tie his tie for him. He is very aware of the closeness of her. She smiles at him. He smiles; puts his hand on her stopping her for a moment. Looking up, she sees that he is serious now; no more jokes. He releases her hand. EDWARD (quietly) One more night and you're finally rid of me. VIVIAN Yeah, you've been pretty tough to take. EDWARD I have to go to New York tomorrow. Vivian says nothing. EDWARD (cont'd) But I'll be back in Los Angeles. Soon. I'd like to see you again. I thought we could work out something... An arrangement. Vivian is silent. EDWARD (cont'd) I'll get you an apartment, buy you a car -- Vivian sighs, letting something go inside. Finished with his tie, she turns away. EDWARD (cont'd) What is it? VIVIAN (not unkindly) What else? You gonna leave some cash by the bed when you pass through town? EDWARD It wouldn't be like that. I want to get you off the street. You'll have a different kind of life. What's wrong with that? VIVIAN I'm sorry. That's very sweet, Edward, and I know you mean it... She is silent. EDWARD Vivian, I've thought about this a lot. This is the best solution. VIVIAN (shakes her head "no," then continues tying his tie) When I was a little girl, my mother locked me in the attic when I was bad, which was pretty often. I'd stare out the window up there and make believe I was a princess trapped in the tower by the wicked queen. Then suddenly a knight on a white horse with his bright colors flying would ride up. Rescue me from the tower, and then we'd ride off... but never, ever in all the times I had that dream did the knight say, "Come on baby, I'll put you up in a great condo." She finished his tie. EDWARD Vivian, life's not a fairy tale. VIVIAN (softly; to herself) I know. (a beat) Hey, don't mind me. I'm being stupid. (more) I'll think about it, okay? It's a real good offer for a whore. EDWARD I've never treated you like a whore. VIVIAN (not mean) You just did. The doorbell suddenly rings in the living room. INT. PENTHOUSE LIVING ROOM - DAY Edward enters the living room. Vivian slowly enters behind him. Edward opens the front door. Mr. Kross slowly enters. He looks very old and tired; so much so that Edward has to mask his surprise. KROSS Mr. Harris. EDWARD How are you, Mr. Kross. KROSS Not bad for a man who hasn't slept in four nights. I'll get used to it. An angry, reluctant looking David Kross is behind his father. Stuckey brings up the rear. Edward and David give one another perfunctory nod. Stuckey smugly winks at Edward. Edward closes the door and leads them all down the stairs. Vivian is very troubled at Kross's appearance. He gently nods at Vivian. KROSS Young lady. VIVIAN Hello. (to David) Hi. DAVID Hello, Vivian. STUCKEY Let's not waste time here, shall we? Mr. Kross, you said this morning, you wished to speak with Mr. Harris. Mr. Harris is now listening. Kross has to fight down his humiliation at Stuckey's tone. He turns to Edward. KROSS Yes. I'm here to tell you that I've reconsidered my position on your acquisition offer. EDWARD Expected... offer. KROSS Of course, yes. After the expected filing period is over, I'm going to recommend to the board that we accept your bid. EDWARD (a moment) You're making the right decision, sir. Stuckey glances triumphantly at Edward. He is surprised to see that there doesn't seem to be any victory in Edward's face. Edward is silent. Kross interprets his silence as second thoughts. KROSS I'll see you on one condition. I'm not so concerned for me but the people who have worked for me... Vivian is disturbed watching this tired looking man. STUCKEY (quickly) They'll be taken care of. Won't they, Edward? Kross ignores Stuckey. He looks to Edward. Edward slowly nods. KROSS I'll sign anything you want then. STUCKEY Today. Kross nods tiredly. His voice is very soft. KROSS Today. Vivian abruptly turns and disappears into the bedroom, obviously upset. The men all watch her go. Edward hesitates. He turns to Kross: EDWARD Excuse me, please? He heads to the bedroom. INT. PENTHOUSE BEDROOM - DAY Vivian is sitting on the bed, on the phone. VIVIAN Hello. Is Kit DeLuca there? When she comes in will you have her call Vivian Wells at 560-30000. Yes. Okay. She hangs up as Edward comes in. VIVIAN What did you do to him? EDWARD What do you mean? VIVIAN Last time I saw him he was this strong guy. Now he's beaten. And you liked him. EDWARD Vivian, I want you to listen to me. The man realized that it would be better for his future and his son's future, if he cooperated. VIVIAN Right. EDWARD It's not your concern. It's... business, that's all. VIVIAN Business. EDWARD Yes. The man made a business decision. VIVIAN It's all just business to you. Him. Me. Your life. Everything's business. EDWARD It's what I do for a living. It's how I make money. Silence. EDWARD I'll be back in a few hours. We'll talk about this later. INT. PENTHOUSE LIVING ROOM - DAY Edward enters the living room. The men look at him expectantly. EDWARD We'll continue this down at the office. He heads for the door. EXT. PENTHOUSE PATIO - DAY Vivian stands at the railing, unhappily looking out at the city beyond. The phone RINGS. She turns and hurries inside. INT. PENTHOUSE LIVING ROOM - DAY Vivian answers the phone. VIVIAN Lo? INT. HOTEL LOBBY - DAY - INTERCUT Mr. Thomas is standing behind the front desk, a rather strained expression on his face. MR. THOMAS Barnard Thomas here. Miss Vivian, I wonder if you might come down to the front desk. There's someone here to see you. VIVIAN Me? MR. THOMAS I'd send them up, but sadly, I don't trust the young lady to find you on her own. A hand reaches out and wrenches the phone away from Mr. Thomas. Kit, heavy make-up, skimpy outfit, chewing gum, cigarette and all, keeps her voice just below a bellow. KIT Viv? Where are you, babe? (glaring at Mr. Thomas) The sphincter-police won't let me through. INT. HOTEL LOUNGE - DAY Kit finishes slurping on a big, frosty ice cream soda. She smacks her lips like a happy, little girl. Vivian isn't having anything. VIVIAN Yes, I'm glad you're clean but I've been calling and calling. KIT Was that you? VIVIAN Who did you think? KIT Carlos. I still owe him two hundred bucks... VIVIAN Kit, I left that money for you days ago. KIT Yeah. I just got it. An OLDER COUPLE walk past the table. They stare at Kit. KIT Fifty bucks, grampa. For seventy-five, the wife can watch. Horrified, the elderly couple hurry away. VIVIAN Kit... KIT Everybody keeps starin' at me. VIVIAN Yeah... I know what you mean. KIT What do you know? You look good. All dressed up. (meaning it) You clean up real nice. (giggling) You sure don't fit in down on the Boulevard, lookin' like you do. Not that you ever did anyway. VIVIAN You think I fit here where they just about chew your food for you? KIT Where do you fit? Vivian is silent, then. VIVIAN (suddenly) I kissed him, Kit. On the mouth. KIT Honey, you're not supposed to do that. VIVIAN I know. I stopped pretending and started liking it with him for real. KIT Oh, my god, you mean it was good? VIVIAN (miserably) It was great. KIT Dummy. VIVIAN He wants to set me up in a place, give me some money. KIT I pray for that. VIVIAN (nods) All I'm doing is feeling lousy about it. I don't know what to do. What do I do, Kit? KIT Go for the bucks. VIVIAN I don't care about bucks. (a beat) I might love this guy. KIT Wow, are you in deep shit. (a sigh) You know he'll break your heart. Vivian is silent again. KIT (cont'd) I blame myself here. First time I laid eyes on ya', I knew you were too complicated to be a whore. Vivian nods. Her face is filled with confusion. INT. BROKERAGE HOUSE - CONFERENCE ROOM - DAY Edward stands at the window looking out. There is something about his somber demeanor that both reflects the look we've just seen on Vivian and suggests the way we saw him at the top of the story. Jake enters, a pile of papers under his arm. He begins laying them out on the conference table. JAKE Congratulations, sir. EDWARD What? JAKE Mr. Kross is just getting off the phone with his stock broker. It's finished. You've won. Edward says nothing. JAKE Who are you going after next, sir? EDWARD Who indeed... He turns as Stuckey, James and David Kross, and Vance enter the room. They surround a conference table. Kross sits, the papers laid out in front of him. Stuckey hands Kross a pen. A SECRETARY lays out finger food. They wait for her to leave before they speak. STUCKEY If we can get these letters of intent out of the way now... Mr. Harris and I would like to ask you some questions about your company. DAVID Dad, excuse me, but that's inappropriate. You're under no obligation to answer any questions at all. KROSS Could we at least wait till after the filing period? Stuckey glances to Edward for help. Edward is silent; indeed it's as if something is twisting inside of him. Stuckey plunges ahead. STUCKEY Mr. Harris is preparing a bid based on our speculation of the corporation's net worth. The price he ultimately pays for your father's stock will be based on that bid. The more we know, the higher our bid can be. KROSS It's in my best interest to cooperate, David. DAVID If he throws himself on your sword, you promise to take care of him and his family, huh? David stares at him. STUCKEY That's unfair! DAVID You bed it is. (to Edward) You're everything he said you were. (to his father) Do what you have to do, Dad. Just don't expect me to watch it. He exits. A moment. Kross looks at Edward with a resigned smile. KROSS He's young. He hasn't learned how to lose gracefully yet. I'll sign your papers. And I'll answer your questions. Whatever you want. He sighs. He picks up the pen. He's about to sign. EDWARD Stop. For just a moment. (a moment) Mr. Kross, I'd like to ask you a few questions before you sign. You realize that you're a target. If you weren't mine, you'd be someone elses, correct? KROSS Yes. EDWARD If you had a... reprieve, what would do? STUCKEY (quickly) I don't think there's any sense in -- EDWARD Let him answer. KROSS I... I would take advantage of it. EDWARD How? Kross looks uncertain. He gropes for an answer. KROSS I... I don't know. There... there wasn't time... EDWARD I suppose you'd find out soon enough that you have assets you presently don't seem aware of, wouldn't you? The waste processing licenses at that abandoned shipyard of yours, you'd certainly find out about that. Surprise suddenly flares in Stuckey's eyes. STUCKEY Oh, my god... Edward, no! EDWARD I suppose you'd use them as collateral on new loans, wouldn't you? STUCKEY Have you lost your mind? KROSS (to Stuckey) Quiet. (to Edward) Would I get the loans? EDWARD This time I imagine you would, yes. (as if thinking about it) Hmm... (a moment) With all this in mind, Mr. Kross, I can't logically make a formal bid on your company, can I? KROSS (a small smile) You'd be initiating a financial battle you'd ultimately lose, Mr. Harris. EDWARD You're very right. I think the best thing we could all do is go home. STUCKEY What!? EDWARD Have a good day, gentlemen. He exits from the room. Stuckey follows. INT. BROKERAGE HOUSE - DAY Edward is walking down the hall. Stuckey comes out of the office and calls after him. STUCKEY (calls) Edward, what happened? What kind of move was that? Edward silently goes into the elevators. The doors close. STUCKEY (yells) Dammit Edward, speak to me. Stuckey heads back to the conference room. EXT. OFFICE BUILDING - LATE AFTERNOON Edward comes out of the building. His Chauffeur leaps to open the limo door. EDWARD No... take the car back to the hotel. I need to walk. He sets off across Century Park East. INT. PENTHOUSE - EVENING Vivian is in the living room, pacing, edgy, the doorbell rings. She turns. It rings again. She opens it. Stuckey is standing outside with a small briefcase. He looks agitated. He tries to hide it. STUCKEY Well, well... Hello again. I'm looking for Edward. Vivian just stares at him. VIVIAN Edward's not back. I thought he was with you. Stuckey walks past her and down the steps into the living room. STUCKEY No, I'll just have to wait then, won't I? There is a bar set up. Stuckey sets his briefcase down. He crosses to the bar. STUCKEY (cont'd) Mind if I have a drink? VIVIAN No. He pours liquor in a glass. He fires it down. It seems to calm him a bit. STUCKEY Do you want to know what he did? Do you want to know what the crazy son of a bitch did? He handed the whole thing back to Kross! On a silver platter. For no reason! What was he thinking, I mean, what was going through his goddam head? Why? (pours another drink) What was all that benevolent crap? What are we going to become, a philanthropic foundation? I'll probably be the director of several worthwhile charities. VIVIAN I think it's great. Stuckey glares at Vivian. STUCKEY I bet. A lousy whore and you're the gum in a hundred million dollar deal. VIVIAN (mocking) Aw, come on, Bill. It's just business. He looks at her a moment. STUCKEY But what do I know, maybe you're worth it. Come on, show me. Let's see your act. He grabs her wrist. VIVIAN Get out! STUCKEY Don't worry. I'll pay for it. What a you charge? Huh? Twenty, thirty, fifty bucks, maybe? Are you a fifty dollar whore? He tries to kiss her and pulls her down on the couch on top of him. VIVIAN Are you crazy? She bites his hand. Stuckey slaps her. Vivian starts flailing back. But Stuckey is too strong. Vivian staggers back at the force of another slap. Stuckey slams her up against a wall and starts rubbing up against her. STUCKEY You got a mean streak in you, don't you. He tries to kiss her again. STUCKEY (cont'd) Is that what he likes about you? Huh? Answer me! And suddenly a HAND lands on Stuckey's shoulder. Stuckey turns his head, startled. INT. PENTHOUSE - REVERSE ANGLE - STUCKEY'S P.O.V. Edward, murder in his eyes, belts Stuckey across the room. INT. PENTHOUSE - NIGHT - BACK TO SCENE Stuckey falls on the ground. Edward rushes forward, berserk with rage, to hit Stuckey again. His fist hits the top of Stuckey's head, hurting Edward's hand more than Stuckey's skull. Vivian rushes out of room to bathroom. Again Stuckey tries to rise. Edward kicks him in the butt, sends him headfirst into the bar. Glasses and bottles CRASH to the floor. Stuckey again tries to rise. And collapses. Edward rubs his fist. They're not used to this violence and both stare at each other panting. STUCKEY You broke my nose. EDWARD I think I broke my hand. (a beat) You're fired. STUCKEY Edward, we've been together ten years. EDWARD And I don't like what we've become. I'll cover any losses you have on this one. Now get out, you asshole! STUCKEY All this because of that whore! EDWARD Yes. Edward pushes Stuckey out the door and throws his briefcase after him. STUCKEY Edward, think about what you're -- Edward slams the door in his face. Edward stands there, reflecting on what he's done. EDWARD (to himself, almost proud) Well, I didn't plan that! INT. PENTHOUSE BEDROOM - NIGHT - LATER Edward holds an icepack to Vivian's cheek. VIVIAN Why do guys always know how to hit a woman? Right across the cheek, wham, so it feels like your eye is gonna explode. What do they do, take you all aside in high school and show you how? It pisses me off! EDWARD Not all men hit. And no one is going to hit you anymore. VIVIAN Right. (softening) You're quite the Sir Galahad today, aren't ya'? (a beat) I heard what you did with Kross. EDWARD It was a business decision. Vivian looks at him. EDWARD I got tired of hating my father. VIVIAN (a small smile) It was good. EDWARD It felt good. Edward looks on the bed at her suitcases. EDWARD You're packing. VIVIAN (nods) I'm leaving. (a moment) Don't ya see? If I stay with you like you want me to, there'll always be some guy, your friends eve, treatin' me like that... thinkin' they're allowed to. What are you gonna do, fight'm all? No. I'll take my money now, please. A moment. Edward reaches for his wallet. He counts out bills. He places them in Vivian's suitcase. He puts his arms around Vivian. VIVIAN Aw, don't... no... EDWARD Stay with me tonight. Not because you're being paid to. Stay with me because you want to. VIVIAN I do. I do want to. That's why I'm leaving. (turning to him) That's what you given me, see? I know what I want now. I want a guy like you for real. Not because you buy me things and give me money. The nicest thing you ever done for me is hold my hand. You gonna give me that? Edward is silent. VIVIAN I didn't think so. EDWARD Vivian... VIVIAN It's not your fault. You're right. Kit's right. (looks him right in the eye) But I want the fairy tale. INT. HOTEL LOBBY - EVENING Vivian comes out of the elevators. A BELLMAN sees her and springs forward, reaching for her bags. BELLMAN Let me take those, miss. VIVIAN Thanks. Vivian sees Mr. Thomas behind the front desk. VIVIAN I'll be out front in a minute. I got a cab comin'. The bellman moves away. Vivian walks to the front desk. VIVIAN Hi, Barney! MR. THOMAS (looking up) Miss Vivian. VIVIAN Look I just wanted to say goodbye. MR. THOMAS Mr. Harris doesn't check out until tomorrow. VIVIAN Yeah, well, I check out today. MR. THOMAS You're not accompanying him to New York? VIVIAN (lightly) Come on, Barney, you and me live in the real world. (a beat) You don't know how to treat a girl like anything but a lady, Mr. Thomas. MR. THOMAS Certain ladies make that very easy... Vivian. (turning to the desk clerk) John, call a limousine for our guest, please. Have it take her anywhere she wishes to go. Bill the hotel. (turning back to Vivian) See you again sometime soon. Vivian smiles softly at him. She turns and walks for the door. EXT. HOLLYWOOD BLVD. - DAY A long silver limo drives down Hollywood Blvd. INT. LIMO - DAY The LIMO DRIVER pushes the button that rolls down the screen between back and front seats. DRIVER You're sure this is the right street, ma'am? VIVIAN Yes. 1312. It's a big apartment building. EXT. VIVIAN'S APARTMENT BUILDING - DAY The limo pulls to a stop in front of a rundown apartment building on a dirty Hollywood side street. The Limo Driver, a large Latino man, steps out of the car and walks around to the passenger door. As he does, he surveys the surroundings uncomfortably. Ths is rough neighborhood. He opens the door. Vivian steps out. LIMO DRIVER Maybe I should go with you. This doesn't look like a good place for a lady to be alone. Several PEOPLE pass. All of them stare at the car, at the driver, at Vivian in her lovely clothes. VIVIAN I'll be okay. I'm home. Thank you. The driver, confused, watches her hurry up the steps to the apartment building. He drives off. INT. APARTMENT LOBBY - DAY Vivian walks toward her apartment. The Landlord is sitting at the front desk in a dirty undershirt. LANDLORD Hey, we announce guests here. You a relative of somebody? Vivian lowers her sunglasses. LANDLORD (cont'd) Viv -- is that you? VIVIAN Yeah, it's me. She keeps walking. LANDLORD You lookin' good, Viv'. Nice threads. I gotta find time to shop. INT. PENTHOUSE - DAY Edward stands at the penthouse window, looking out. He is dressed now, ready for travel. There is something about his expression, his somber demeanor that suggests the way we saw him at the very top of the story. A BELLMAN enters from the bedroom, rolling a luggage loaded dolly along in front of him. BELLMAN Is that everything, sir? EDWARD (turning from the window) That's everything. The Bellman exits, closing the door behind him. The phone rings. Edward crosses to it, picks it up. The Maid comes in, looks around. MAID The lady, she go? EDWARD Yes. She go. INT. HOTEL LOBBY - DAY Edward with the Bellhop heads to the front door. He's leaving. BELLHOP Do you have a car taking you to the airport, sir? EDWARD Yes. INT. VIVIAN'S APARTMENT - BEDROOM - DAY Vivian, looking fresh scrubbed without make-up, is wearing clean jeans, a nice looking shirt and a suit jacket. Her bureau's are open. She is packing. Kit is watching. She takes the photo of her and Kit dressed up hot in hooker clothes and packs it. KIT So whatta' you going to do in San Francisco? VIVIAN Get a job and probably go back to school. Figure out what I'm gonna be. KIT What kind of school? VIVIAN School, school. Regular. I used to get pretty good grades in school, you know. KIT So did I. I made it with the principal. (recites) Study hard And get a "B." Lift your dress and an "A" you'll see. They both laugh but too hard. VIVIAN Want a pair of boots? KIT Do I!? Momma! Taking them, she sits on the bed and puts them on. VIVIAN You sure you won't come with me? KIT And leave all this? Not in a million. They laugh together. KIT (cont'd) What time's your bus? VIVIAN Couple a hours. KIT Yeah. Well... I gotta split. Goodbye's make me crazy. VIVIAN Cool your jets a second. (going to her purse) Here's some money. KIT No. You took care of rent, that's enough. VIVIAN I want to. For food, got it? Eat something before the wind blows you away. KIT I'm gonna pay you back next time I see ya, babe. Just wait, I'm gonna do something real nice for you some day. They hug. KIT (cont'd) Shit, I'm gettin' all weepy now. Kit begins backing out of the room. KIT (cont'd) Take care of you, okay? Take care of you. Love ya... Kit turns and hurries out of the apartment. EXT. HOLLYWOOD BOULEVARD - DAY Kit enters the falafel stand on Hollywood Boulevard. INT. FALAFEL STAND - DAY Kit enters, sits at the counter. KIT Coffee, Chan. And maybe a grilled cheese on white, okay? A very young GIRL is sitting just down the counter from Kit. Kit nods at her. KIT Hey, how you doin'. You new, huh? GIRL Yeah. Got a cigarette? KIT Sure. She passes the girl down the pack. She strikes a match, lights her cigarette for her. The girl inhales deep, lets it out with a sigh. She looks towards the window. GIRL Jeez, did the wacko in the suit. Kit turns to look. KIT'S P.O.V. - HOLLYWOOD BLVD. Outside, across the street, Edward has accosted two PROSTITUTES; one blonde, one a red haired black one. INT. FALAFEL STAND - DAY - BACK TO SCENE Kit rises. KIT Chan? Keep the sandwich warm, I'll be back. She heads out the door. EXT. HOLLYWOOD BOULEVARD - DAY Edward is still talking to the prostitutes. EDWARD I'm looking for a girl, Vivian, young, dark hair, big eyes...? They shake their heads. EDWARD She's mouthy. Sort of difficult...? PROSTITUTE 1 Ain't seen her, wouldn't know her. PROSTITUTE 2 What's wrong with us, man? Two for the price a one, what ya say? EDWARD (disappointed) Thank you. No. They turn and walk away. Edward stands there, not knowing what to do next. He looks discouraged and lost. KIT (O.S.) Edward Harris, as I live and breathe! Edward quickly turns to find Kit staring at him. Kit smiles, triumphantly. KIT (cont'd) Yeah. Boy, you're just like she said. She turns and starts away. She stops, turns back. KIT (cont'd) You comin' or not? I don't got all day, I got a grilled cheese waitin'. Edward follows Kit. INT. VIVIAN'S APARTMENT - DAY Vivian sits on her bed, lost in thought. Her bags are packed, ready to go. With a sigh she rises. She picks up the bags, exits the room. Vivian stands in the dreary living room, looking at it, taking it all in for the last time. She suddenly looks more than a little bit frightened to be leaving. She musters resolve. She goes to the door, opens it and exits, closing it behind her. Silence. Vivian suddenly comes back in. She puts down her bags. She crosses to the kitchen where she takes coffee can/piggy bank from the shelf. She puts some more bills into it, places it back where Kit will find it. She turns and starts again for the door. She stops. She hears something. MUSIC. An aria from La Boheme. Faint. Seemingly coming from nowhere. She dismisses it -- she's hearing things. She opens the door. Stops. The music is louder and getting louder now -- it's not her imagination. She hurries over to the window. EXT. VIVIAN'S APARTMENT BUILDING - DAY Vivian comes out onto the fire escape. She stares in wonder. A snow white limo comes up the street. A necktie has been tied to the antennae like a knight's token. The MUSIC from La Boheme is BLARING from the car's stereo. Edward is standing on the car's seat, his head and body up through the open sunroof. The wind blows at his hair. He is smiling. Everywhere on the street people are staring; the BUMS, the PUSHERS, the PASSERBY'S, the TOURISTS. Vivian doesn't know whether to laugh or cry. The car comes to a stop in front of the Vivian's building. Vivian's landlord comes out the front door. His eyes go wide in disbelief. Edward disembarks from the limo by coming up through the sunroof. He leaps nimbly to the ground. He crosses to the entrance of the alleyway, looking up at Vivian on the fire escape. VIVIAN You are really lost this time. Edward wordlessly holds up a hand for her. With a sudden cry of joy, Vivian comes down the fire escape. She stops at the bottom stair. Edward comes forward and sweeps her into his arms. They kiss. He carries her to the limo as if she's weightless. Her feet never touch the ground. The car door closes behind them. The limo drives away. The people of the street watch it go. THE END -------------------------------------------------------------- \ No newline at end of file diff --git a/unformated_scripts/Script_Pride and Prejudice.txt b/unformated_scripts/Script_Pride and Prejudice.txt new file mode 100644 index 0000000000000000000000000000000000000000..3fe5baa9938cd94daab1ba1809019dc15a1f4522 --- /dev/null +++ b/unformated_scripts/Script_Pride and Prejudice.txt @@ -0,0 +1 @@ + PRIDE AND PREJUDICE Written by Deborah Moggach 1 INT. NETHERFIELD - HERTFORDSHIRE - DAY. I A vast mansion is coming to life. Maids pull dustsheets off furniture; servants open shutters. Sunshine spills into the great rooms of Netherfield. outside, a glimpse of rolling parkland. TITLE: "It is a truth universally acknowledged... Its a whirlwind of activity. Servants bustle around, sweeping and polishing, readying the house for its new occupants. The shutters of a room are opened onto the imposing gardens. A coach pulls up and, through the window, we see a young man get out. "that a single man in possession of a good fortune, must be in want of a wife" A white sheet is pulled from a spinet and obscures our vision. CUT TO: 2 EXT. LONGBOURN HOUSE - DAY. 2 Elizabeth Bennet, 20, good humoured, attractive, clearly nobody's fool, walks through a field of tall meadow grass. She is reading a novel entitled 'First Impressions'. She approaches Longbourn, a fairly run down 17th Century house with a small moat around it. Elizabeth jumps up onto a wall and crosses the moat by walking a wooden plank duck board, a reckless trick learnt in early childhood. She walks passed the back of the house where, through an open window to the library, we see her mother and father, Mr and Mrs Bennet. MRS BENNET My dear Mr Bennet, have you heard that Netherfield Park is let at last? We follow Elizabeth into the house, but still overhear her parents' conversation. MRS BENNET (CONT'D) Do you not want to know who has taken it? MR BENNET As you wish to tell me, I doubt I have any choice in the matter... 2. 3 INT. LONGBOURN - CONTINUOUS. As Elizabeth walks through the hallway, we hear the sound of piano scales plodding through the afternoon. She walks down the entrance hall past the room where Mary, 18, the bluestocking of the family, is practising, and finds Kitty, 16, the second youngest, and Lydia, 15, the precocious baby of the family, are listening at the door to the library. LYDIA (TO ELIZABETH) Have you heard? A Mr Bingley, a young man from the North of England, has come down on Monday in a chaise and four. KITTY With five thousand a year! Jane, (the eldest, most beautiful and most charmingly naive of the girls), joins them at the door. JANE Goodness! LYDIA - and he's single to be sure! INT. LIBRARY - LONGBOURN - CONTINUOUS. Mr Bennet is trying to ignore Mrs Bennet. MRS BENNET What a fine thing for our girls! MR BENNET Bow can it affect them? MRS BENNET My dear Mr Bennet, how can you be so tiresome! You know that he must marry one of them. MR BENNET Oh, so that is his design in settling here? Mr Bennet takes a book from his table and walks out of the library into the corridor where the girls are gathered, Mrs Bennet following. 4 INT. CORRIDOR - LONGBOURN - THE SAME. Mr Bennet walks through the girls to the drawing room pursued by Mrs Bennet. 3. MRS BENNET - So you must go and visit him at once. 5 INT. DRAWING ROOM - LONGBOURN - THE SAME. 5 Mr Bennet walks to the bookshelf to replace the book he is carrying. Mary is there practising the piano. The girls come in to listen. LYDIA Oh, yes, Papa. KITTY Please, Papa! MR BENNET There is no need, for I already have. The piano stops. A frozen silence. They all stare. MRS BENNET You have? JANE when? MRS BENNET ‚Ä¢ How can you tease me, Mr Bennet. You have no compassion for my poor nerves? MR BENNET You mistake me, my dear. I have a high respect for them; they are my constant companions these twenty years. MRS BENNET Is he amiable? KITTY Is he handsome? LYDIA He's sure to be handsome. ELIZABETH (IRONICALLY) With five thousand a year, it would not matter if he had a big pink face. MR BENNET I will give my hearty consent to his marrying whichever of the girls he chooses. LYDIA So will he come to the ball tomorrow? 4. MR BENNET I believe so. Lydia and Kitty shriek with excitement. KITTY (TO JANE) I have to have your spotted muslin, please! LYDIA I need it! KITTY - if you do, I'll lend you my green slippers. Mr Bennet winks at Elizabeth and turns to Mary, a serious, somewhat pedantic young woman. MR BENNET And what do you say, Mary? Are you not excited by the prospect of a ball? MARY Society has claims on us all, Papa. As long as I have my mornings to myself, I consider an interval of recreation and ‚Ä¢ amusement as quite desirable. Elizabeth laughs. 6 INT. ASSEMBLY ROOMS -- MERYTON VILLAGE - NIGHT. The local subscription dance is in full swing. It's a rough-and-ready, though enthusiastic affair...yeoman farmers, small-time squires with their ruddy-cheeked daughters. Lydia and Kitty, with their mother, are fussing over their clothes - straightening their dresses, tidying their hair and so on. LYDIA (fussing over her dress) I literally can't breathe its so tight. KITTY My toes hurt. Elizabeth and Jane are a little apart from their family. Jane looks breathtaking. 0 5. ELIZABETH ‚Ä¢ Well, if every man in this room does not end the evening completely in love with you then I am no judge of beauty. JANE Or men. ELIZABETH Oh, they are far too easy to judge. JANE They are not all bad. ELIZABETH Humourless poppycocks, in my limited experience. JANE One of these days, Lizzie, someone will catch your eye and then you'll have to watch your tongue. ELIZABETH And eat my hat. She stops speaking. And stares. A dazzling group enters the room: George Bingley, 25, a good hearted soul but ‚Ä¢ prone to bumbling embarrassment when his enthusiasms get the better of him, his sister Caroline, 23, a victim of every latest fashion, counting herself superior to most company she encounters, and finally, Mr Fitzwilliam Darcy, 27, dashing, brooding with an introversion which could be misconstrued as hauteur. They are dressed in the highest fashion. Darcy surveys the hall. He catches Elizabeth's eye. She stares, with a kind of surprised shock. Jane notices and looks at Darcy. He turns away. JANE Luckily, you are not wearing a hat. A hush falls as the local people turn to stare. The newcomers - creatures from another world - make quite a stir. CUT TO: Caroline Bingley, standing next to Darcy, gazes at the somewhat provincial gathering with distaste. CAROLINE BINGLEY We are a long way from Grosvenor Square, are we not, Mr Darcy? He does indeed look superior to the assembled company. On the dance floor a young couple, staring at the newcomers, trip over each other, stumble and burst out laughing. 6. Mr Bingley spots Jane Bennet. For a moment he forgets himself and openly looks at her. MR BINGLEY I find it very charming. CAROLINE BINGLEY (TO DARCY) My brother is so easily pleased, is he not? Darcy does not answer. CUT TO: Elizabeth has found her great friend Charlotte Lucas - an intelligent, sensible woman in her late twenties. They spy through the crowd. ELIZABETH So which of the painted peacocks is our Mr Bingley? CHARLOTTE He is on the right, and on the left is his sister. ELIZABETH And the person with the disagreeable expression? CHARLOTTE That is his good friend, Mr Darcy. ELIZABETH Poor soul. CHARLOTTE On the contrary, he has ten thousand a year and owns half of Derbyshire. CUT TO: Sir William Lucas, 53 a hale but unsophisticated member of the self-made gentry, takes it upon himself to introduce Mr Bingley and Mr Darcy to his daughter Charlotte and the Bennet family. SIR WILLIAM (to Mr Bingley) My eldest daughter you know, Mrs Bennet ...miss Jane Bennet, Elizabeth and Miss Mary Bennet. MRS BENNET It is a pleasure. I have two others but 40 they are already dancing. 7. MR BINGLEY Delighted to make your acquaintance. ¬Ä¢ SIR WILLIAM And may I introduce Mr Darcy. (SIGNIFICANT LOOK) -- of Pemberley, in Derbyshire! A stiff bow from Darcy, Elizabeth smiles, Darcy does not. CUT TO: Moments later. Elizabeth is standing in a small group with Jane, Bingley, Miss Bingley and Darcy. Bingley can't keep his eyes off Jane, but is frightfully at a loss in disguising his instant ardour. ELIZABETH How do you like it here in Hertfordshire, Mr Bingley? MR BINGLEY (smiling at Jane shyly) Very much. ELIZABETH The library at Netherfield, I've heard, is one of the finest in the country. ¬Ä¢ MR BINGLEY Yes, it fills me with guilt. He looks at Jane a little blush starts around his collar. BINGLEY Not a good reader, you see. I like being out of doors. I mean, I can read, of COURSE - His sister steps in. as the blush threatens to engulf his ears. MISS BINGLEY (TO DARCY) Your library at Pemberly, Mr Darcy, is astonishingly good. DARCY Thank you. It is the work of many generations. MISS BINGLEY And then you have added so much to it yourself. 0 8. JANE I wish I read more, but there always seems so many other things to do. BINGLEY That's exactly what I meant. He beams at Jane. CUT TO: Mr and Mrs Bennet stand a little apart from Elizabeth and the other young people. Lydia and Kitty bound up to them in a state of high excitement. LYDIA Mama! The regiment is arriving next week! KITTY And will be here for the whole winter! Mrs Forster told us! LYDIA They're going to be stationed in the village! CUT TO: Mr Bingley'turns to Jane. MR BINGLEY May I have the honour? They leave, to dance. ELIZABETH Do you dance Mr Darcy? DARCY Not if I can help it. Elizabeth, Darcy and Miss Bingley stand in silence as they over hear the following... CUT TO: LYDIA officers! Lots of officers! KITTY How will we meet them? LYDIA It's easy. You just walk up and down in front of them and drop something. Lydia pantomimes the actions for Kitty. 9. LYDIA ‚Ä¢ They pick it up. You say 'oh thank you sir' and blush prettily and then you're introduced! MR BENNET I have long suspected that we have two of the silliest girls in the county. MRS BENNET Oh Mr Bennet! I remember the time when I liked a red coat myself, and if a smart young colonel with six thousand a year should want one of my girls I shall not say nay to him. Mr Darcy overhears this. Profoundly embarrassed, Lizzie moves away. CUT TO: The dance floor. Mr Bingley is dancing with Jane. His ears blushing with thrilled embarrassment. Mrs Bennet, with a group of other mothers, watches the young couple with rather too obvious satisfaction. MRS BENNET 7 That dress becomes her, does it not. 7 ‚Ä¢ Though of course my Jane needs little help from couturiers. Elizabeth wanders through the throng. She looks at Bingley and Jane ending the dance - she is coy and demure, he clearly smitten - CUT TO: Darcy is joined by Bingley exhilarated by the dance. BINGLEY Come Darcy, I must have you dance. I hate to see you standing by yourself in this stupid manner. MR DARCY (shakes his head) You know how I detest it. MR BINGLEY Upon my word, I've never seen so many pretty girls in my life. DARCY You are dancing with the only handsome girl in the room. ¬Ä¢ 10. BINGLEY Oh, she is the most beautiful creature I ever beheld, but her sister Elizabeth is very agreeable. They have stopped at the edge of the dance floor and have not seen Elizabeth and charlotte who are standing close behind them. Elizabeth smirks as she overhears their conversation. DARCY Perfectly tolerable, I dare say, but not handsome enough to tempt me. Elizabeth's smile drops. DARCY (CONT'D) You had better return to your partner and enjoy her smiles, for you are wasting your time with me. Bingley goes off. CUT TO: Elizabeth and Charlotte, who have overheard Darcy and Bingley's exchange. CHARLOTTE Ignore him, Lizzie, he is such a disagreeable man it would be a misfortune to be liked by him. ELIZABETH Don't worry. I would not dance with him for half of Derbyshire. CUT TO: Later. Bingley politely dancing with Charlotte. As he does so, he catches sight of Jane dancing with somebody else. A look of pure longing, but he cannot dance every dance with her. Lizzie too is dancing and clocks this. Lydia and Kitty are exuberantly dancing too, laughing and chatting. Darcy stands watching, a look of infinitely superior boredom on his fine features. CUT TO: Bingley is standing with Jane, Elizabeth, Mrs Bennet and Darcy. BINGLEY (TO LIZZIE) Your friend Miss Lucas is a most amusing young woman. 11. ELIZABETH ‚Ä¢ Yes! I adore her. MRS BENNET It is a pity she is not more handsome. ELIZABETH Mama! MRS BENNET But Lizzie will never admit she is plain. (TO BINGLEY) Of course it's my Jane who's considered the beauty of the county. JANE Oh, Mama, please! MRS BENNET When she was only fifteen there was a gentleman so much in love with her that I was sure he would make her an offer. However, he did write her some very pretty verses. ELIZABETH (IMPATIENTLY) And so ended their affection. I wonder ‚Ä¢ who first discovered the power of poetry in driving away love? DARCY I thought that poetry was the food of love. ELIZABETH Of a fine, stout love it may. Everything nourishes what is strong already. But if it is only a thin, slight sort of inclination, I'm convinced that one good sonnet will starve it away entirely. Darcy looks at Elizabeth with surprise. A glimmering of interest. DARCY So what do you recommend, to encourage affection? ELIZABETH Oh dancing, of course. Even if ones partner is barely tolerable. She gives him a dazzling smile. Darcy looks startled. He has no idea she heard him. He blushes. ¬Ä¢ CUT TO: 12. Elizabeth is dancing happily in a round, Jane and Bingley ‚Ä¢ are also in the same dance. At the edge of the dance floor Darcy is watching. 7 INT. BEDROOM -- LONGBOURN - NIGHT. 7 Elizabeth and Jane are both tucked up in the same bed, but are too excited to sleep. JANE Mr Bingley is just what a young man ought to be. Sensible, good humoured - ELIZABETH (completing the list) Handsome, conveniently rich - JANE You know perfectly well I do not believe marriage should be driven by thoughts of money. ELIZABETH I agree entirely, only the deepest love will persuade me into matrimony, which is why I will end up an old maid. JANE Do you really believe he liked me, Lizzie? ELIZABETH Jane, he danced with you most of the night. JANE I was flattered, I must admit. I did not expect such a compliment. ELIZABETH That is one great difference between us. Compliments always take you by surprise. Well, Mr Bingley is certainly very amiable, and I give you leave to like him. You've liked many a stupider person. JANE Lizzie! ELIZABETH You're a great deal too apt to like people in general, you know. All the world is good and agreeable in your eyes. 0 13. ¬Ä¢ JANE Not his friend. I still cannot believe what he said about you. ELIZABETH Mr Darcy? I could more easily forgive his vanity had he not wounded mine. But no matter. I doubt we shall ever speak again. She blows out the candle. 8 INT. BREAKFAST ROOM - LONGBOURN - DAY. 8 Mrs Bennet presides over breakfast with an endless description of the ball. Mary is doing some needle work, whilst Lydia, Kitty and Jane blearily eat. MRS BENNET And then he danced the third with Miss Lucas. Poor thing, it is a shame she is not more handsome. The fourth with a Miss King of little standing. And the fifth again with Jane. MR BENNET ‚Ä¢ If he'd had any compassion for me he would have sprained his ankle in the first dance. MRS BENNET Oh, Mr Bennet! Anybody would think the girls looked forward to a grand inheritance. Elizabeth rolls her eyes at Mr Bennet, they've heard this speech many times before. MR BENNET (NOT LISTENING) Kitty, be so kind as to pass the butter. MRS BENNET As you well know, Mr Bennet, when you die, which may in fact be very soon, our girls will be left without a roof over their head nor a penny to their name. ELIZABETH Oh Mother, please! It's ten in the morning. Mrs Hill enters the room and interrupts Mrs Bennet's ‚Ä¢ babbling. 14. MRS HILL ‚Ä¢ A letter addressed to Miss Bennet, Ma'arn. From Netherfield Hall. MRS BENNET Praise the Lord! We are saved. Mrs Hill gives the letter to Jane. MRS BENNET (CONT'D) Make haste, Jane, make haste. 0 happy day! JANE It is from Miss Bingley. Mrs Bennet is stopped in her tracks. JANE (CONT'D) She has invited me to dine with her. (PAUSE) Her brother will be dining out. MRS BENNET This is most unfortunate. LYDIA I didn't think he was so good looking anyway. JANE Can I take the carriage? MRS BENNET Certainly not my dear, you will go to Netherfield on horse back. JANE Horseback?! Mrs Bennet leaves with a secret smile on her lips. 9 EXT. COUNTRYSIDE - DAY. 9 Jane rides through the countryside, A distant rumble of thunder. She looks up... 10 EXT. FIELD - DAY. 10 An open book. Plop plop! Raindrops fall on it. Drawing back, we see Lizzie walking through a field, reading. She looks up to the sky... 0 15. 0 11 EXT. LONGBOURN - DAY. 11 Mrs Bennet stands at the kitchen door. A boy is delivering meat. It starts to rain. She puts out her hand, to check. MRS BENNET (smiles, satisfied) Ah, good... The housekeeper, Mrs Hill, who is with her, looks bemused at her mistress's reaction. 12 EXT. GARDEN - DAY. 12 A louder rumble of thunder. A washerwoman hastily pulls clothes from a line...it's bucketing down heavily now... 13 EXT. MERYTON VILLAGE - DAY. 13 In the local.village people run for cover; shopkeepers cover up their wares... ‚Ä¢ 14 EXT. LONGBOURN - DAY. 14 Mr and Mrs Bennet look out at the pouring rain. MRS BENNET Excellent. Now she will have to stay the night. Exactly as I predicted. MR BENNET Good grief, woman. Your skills in the art of match-making are without question. ELIZABETH Though I don't think, mama, you can reasonably take credit for making it rain. Let's hope she hasn't caught her death before she gets there. 15 INT. NETHERFIELD - DAY. 15 A footman opens the great doors to find Jane standing there soaked. she sneezes. 16 INT. DRAWING ROOM - LONGBOURN - DAY. 16 ‚Ä¢ Elizabeth reads a letter. 16. ELIZABETH ‚Ä¢ "And my kind friends will not hear of me returning home until I am better -- but do not be alarmed excepting a sore throat, a. fever, and a headache there is nothing wrong with me." This is ridiculous. MR BENNET Well, my dear, if your daughter does die it will be a comfort to know it was all in pursuit of Mr Bingley. MRS BENNET People do not die of colds. ELIZABETH Though she might well perish with the shame of having such a mother. Mr Bennet laughs. ELIZABETH I am going to Netherfield at once. MRS BENNET Nonsense, the horse is with Jane. And the girls took the carriage to town. ELIZABETH Then I will walk there. We should not leave Jane alone in her condition. MRS BENNET Walk! You will not be fit to be seen by the time you get there. MR BENNET Why the devil not. We could have them all laid up at Netherfield Hall. ELIZABETH I will be fit for Jane which is all I care about. 17 EXT. COUNTRYSIDE - DAY. 17 Elizabeth strides across vast muddy fields, slipping as she goes. Netherfield is in view on the horizon. She stops to take it in, then carries on down an even more muddy track. 18 INT. NETHERFIELD -- BREAKFAST ROOM - DAY. ¬Ä¢ In the large grand dining room Caroline Bingley and Darcy are eating breakfast. 17. Its very formal, in fact frigid, compared to the volatile Bennet household. Darcy is reading the ‚Ä¢ newspaper; Caroline Bingley is reading a letter. CAROLINE BINGLEY (puts down the letter) Apparently, Lady Bathurst is redecorating her ballroom in the French style. A little unpatriotic, don't you think? Mr Darcy is about to answer when the door opens. A footman appears, his face rigid with disapproval. FOOTMAN Miss Elizabeth Bennet. Lizzie comes in, her face flushed, her skirt covered in mud. She looks ravishing. Darcy stares at her, then quickly rises to his feet. Caroline Bingley, astonished, looks her up and down. CAROLINE BINGLEY Good Lord, Miss Bennet. Have you walked here? ELIZABETH I'm so sorry. How is my sister? DARCY (MORE KINDLY) She's upstairs. (TO FOOTMAN) Show Miss Bennet the way, Alfred. Lizzie leaves. A beat. CAROLINE BINGLEY Goodness, did you see her petticoat? Six inches deep in mud! No response. CAROLINE BINGLEY And her hair, so blowsy and untidy! DARCY I think her concern for her sister does her credit. A little pause, Caroline recovers. CAROLINE BINGLEY Oh yes, its shocking to have a bad cold. I dislike excessively being ill myself. 0 18. ‚Ä¢ 19 INT. NETHERFIELD LANDING - DAY. I Elizabeth is taken upstairs. Bingley, looking tense, waits outside her sister's room. His face lights up when he sees her. BINGLEY Miss Elizabeth! Oh I'm so glad to see you A doctor comes out of Jane's room. ELIZABETH AND BINGLEY (TOGETHER) How is she? DOCTOR A violent cold, but we shall get the better of it. 20 INT. NETHERFIELD - JANE'S BEDROOM - DAY. 20 Elizabeth goes into the bedroom where Jane lies in bed, feverish and ill. ELIZABETH Jane! Jane's face lights up. Elizabeth kisses her. JANE Lizzie! Oh, your face is so cold. They're being so kind to me, I feel such a terrible imposition. ELIZABETH Don't worry. I don't know who is more pleased at your being here, Mama or Mr Bingley. Bingley comes in having attended to the doctor. ELIZABETH (CONT'D) Thank you for tending to my sister so diligently, it seems she is in better comfort here than she would be at home. BINGLEY It is a pleasure, I mean not to see her so sick, of course, that's terrible. I will have a room made up for you. You must be our guest here until Jane recovers. ¬Ä¢ 19. ¬Ä¢ 21 INT. DRAWING ROOM - NETHERFIELD -- DAY. 21 Darcy is quietly reading as Bingley paces about anxiously. Caroline berates him from the sofa. CAROLINE BINGLEY Stay!? She is a perfectly sweet girl but save being an excellent walker, there is very little to recommend her. BINGLEY I thought she showed remarkable spirit coming all this way. CAROLINE BINGLEY The eldest Miss Bennet, as you know, I hold in excessive regard and I wish her well settled. Though I do fear with her families low connections there is little chance of it. Their uncle is in trade, you know, in Cheapside. BINGLEY If they had uncles enough to fill all Cheapside it would not make them one jot less agreeable. 22 EXT. GARDEN -- LONGBOURN - DAY. 22 Mr Bennet is overseeing the gardener who is pruning the hedge. Mrs Bennet bustles up. She looks very pleased with herself. MRS BENNET Well, my dear, its all going according to plan. He's half in love with her already! MR BENNET (a touch disingenuously) Who, my sweetest? MRS BENNET Mr Bingley! And he doesn't mind that she hasn't a penny, for he has enough for the two of them. Suddenly a distant trumpet sounds, dogs bark. The militia are arriving. Lydia and Kitty rush past. They are dressed up to the nines to greet the officers. Mrs Bennet's face lights up. ‚Ä¢ MRS BENNET Wait for me! 20. And she's gone. Mr Bennet gazes at their departing ‚Ä¢ figures. 23 EXT. MERYTON VILLAGE - DAY. 23 Mrs Bennet and her two daughters rush down the street into the village. Dogs bark, children run alongside as a regiment of soldiers march through the street. Geese scatter; shopkeepers stand in their doorways. The two Bennet girls simper at the handsome young soldiers. Mrs Bennet, flushed and excited, runs panting behind them. Lydia deliberately drops her hankerchief. One of the soldiers stands on it. She is appalled. 24 INT. DRAWING ROOM - NETHERFIELD - EVENING. 24 Elizabeth is reading a book. Darcy is writing a letter. Bingley is sat nervously. Caroline, obviously bored, wanders the room looking for distraction. She looks over Darcy's shoulder. CAROLINE BINGLEY You write uncommonly fast, Mr Darcy. MR DARCY (without looking up) ‚Ä¢ You are mistaken. I write rather slowly. Caroline Bingley lingers, annoyingly. CAROLINE BINGLEY How many letters you must have occasion to write, Mr Darcy. Letters of business too. How odious I should think them! DARCY It is fortunate, then, that they fall to my lot instead of yours. CAROLINE BINGLEY Please tell your sister that I long to see her. DARCY I have already told her once, by your desire. Lizzie looks across from her book. CAROLINE BINGLEY I do dote on her, I was quite in raptures at her beautiful little design for a table. ¬Ä¢ 21. DARCY ¬Ä¢ Perhaps you will give me leave to defer your raptures till I write again. At present I have not enough room to do them justice. Mr Bingley now pacing anxiously around the room. MR BINGLEY Its amazing, how young ladies have the patience to be so accomplished. CAROLINE BINGLEY What do you mean, Charles? MR BINGLEY They all paint tables, and embroider cushions and play the piano. I never heard of a young lady, but people say she is accomplished. DARCY The word is indeed applied too liberally. I cannot boast of knowing more than half a dozen women, in all my acquaintance, that are truely accomplished. ‚Ä¢ CAROLINE BINGLEY Nor I, to be sure! ELIZABETH Goodness! You must comprehend a great deal in the idea. DARCY I do. CAROLINE BINGLEY Absolutely. She must have a thorough knowledge of music, singing, drawing, dancing and the modern languages, to deserve the word. And something in her air and manner of walking. DARCY And of course she must improve her mind by extensive reading. Elizabeth closes her book. ELIZABETH i am no longer surprised at your knowing only six accomplished women. I rather wonder now at your knowing any. ¬Ä¢ DARCY Are you so severe on your own sex? 22. ELIZABETH ‚Ä¢ I never saw such a woman. She would certainly be a fearsome thing to behold. Pause. Darcy goes back to his letter. Caroline Bingley picks up a book. Pauses. Puts it down. she walks over to LIZZIE_ CAROLINE BINGLEY Miss Bennet, let us take a turn about the room. Lizzie, surprised, gets up. Caroline Bingley links her arm and they start walking up and down. CAROLINE BINGLEY (CONT'D) It's refreshing, is it not, after sitting so long in one attitude? ELIZABETH And it's a small kind of accomplishment, I suppose. Darcy meets Lizzie's eye, briefly. He goes back to his letter-writing. More walking up and down. Caroline Bingley turns to Darcy. CAROLINE BINGLEY Mr Darcy, will you join us? DARCY (shakes his head) You can only have two motives, Miss Bingley, and I would interfere with either. CAROLINE BINGLEY (to Lizzie, archly) What can he mean? ELIZABETH Our surest way of disappointing him will be to ask nothing about it. CAROLINE BINGLEY (TO DARCY) Please tell us! DARCY Either you are in each other's confidence and have secret affairs to discuss, or you are conscious that your figures appear to the greatest advantage by walking. If the first, I should get in your way. If the second, I can admire you ‚Ä¢ much better from here. 23. ‚Ä¢ CAROLINE BINGLEY Oh, shocking! How shall we punish him for such a speech? ELIZABETH We could always tease him. CAROLINE BINGLEY Oh no, Mr Darcy is not to be laughed at! ELIZABETH Are you too proud, Mr Darcy? And would you consider that a fault? DARCY That I couldn't say. ELIZABETH For we're trying to find a fault in you. DARCY Maybe it's that I find it hard to forgive the follies and vices of others, or their offences against myself. My good opinion, once lost, is lost forever. ELIZABETH ‚Ä¢ Oh dear, I cannot tease you about that. What a shame, for I dearly love to laugh. CAROLINE BINGLEY (SMALL SMILE) A family trait I think. Elizabeth smiles, sweetly. Miss Bingley glances at Darcy. 25 TNT. BEDROOM -- NETHERFIELD - MORNING. 25 Elizabeth wakes up next to Jane. 26 EXT. COUNTRYSIDE -- DAY. 26 Darcy gallops through the countryside. 27 EXT. STABLE YARD - NETHERFIELD - DAY. 27 Darcy, exhausted, rides into the stable yard. In the corner is a trough and pump. He strides up to the pump, puts his head under it and douses himself with cold water. 0 24. ‚Ä¢ 28 INT/EXT. BEDROOM/STABLE YARD -- NETHERFIELD - THE SAME. 21 From a window Elizabeth looks out at Darcy. Darcy looks up and for a second catches Elizabeth looking down at him. She turns from the window. Jane is waking up. ELIZABETH Jane, do you think you might feel well enough to leave today? 29 INT. DRAWING ROOM - NETHERFIELD - DAY. 29 The doors open. The Butler as before: BUTLER A Mrs Bennet, a Miss Bennet, a Miss Bennet and a Miss Bennet, sir. CAROLINE BINGLEY Are we to receive every Bennet in the country? Mrs Bennet, Lydia, Mary and Kitty are introduced to Caroline, Bingley and Darcy. Elizabeth holds her breath as her mother launches into untold gaucheries. MRS BENNET What an excellent room you have sir. Such expensive furnishings. I hope you intend to stay here, Mr Bingley. BINGLEY Absolutely I find the country very diverting. Don't you agree, Darcy? DARCY I find it perfectly adequate even if society is a little less varied than in town. MRS BENNET But I assure you there is quite as much going on in the country as there is in the town. ELIZABETH Indeed Mania, I think Mr Darcy merely meant there were not such a variety of people to be met in the country as there are in town, which you must acknowledge to be true. ¬Ä¢ 25. ‚Ä¢ MRS BENNET Nonsense, we dine with four and twenty families. Sir William Lucas for instance is a very agreeable man. So very genteel and easy. Elizabeth cringes. LYDIA Mr Bingley, is it true that you have promised to hold a ball here at Netherfield? BINGLEY Well... LYDIA It would be an excellent way to meet new friends. You could invite the militia. KITTY Oh do hold a ball. ELIZABETH (trying to stop Bingley being BAMBOOZLED) Kitty... BINGLEY When your sister has recovered you shall name the day. MARY I think a Ball is a perfectly irrational way to gain new acquaintance. It would be better if conversation instead of dancing were the order of the day. CAROLINE BINGLEY Indeed much more rational but rather less like a ball. ELIZABETH Thank you, Mary. BINGLEY (to Mrs Bennet) Please let me show you to Jane, you will find her quite recovered. CUT TO: 0 26. 30 EXT. DRIVE -- NETHERFIELD - DAY. The Bennet's carriage awaits. The Bingley's are gathered to see the Bennet's off. Jane is radiant - in the peak of health. JANE (to the Bingley's) Really, I don't know how to thank you. Bingley beams bashfully. He can't take his eyes off her. BINGLEY Really, you're welcome anytime you feel the least bit poorly. ELIZABETH (TO CAROLINE) Thank you for such stimulating company. It has been most instructive. CAROLINE BINGLEY Not at all. The pleasure is all mine. Elizabeth looks at Darcy, who does not say anything. She gets in the carriage. ELIZABETH Mr Darcy. DARCY Miss Bennet. They share a look as Elizabeth joins the rest of the Bennets in the carriage. The driver takes off. Bingley waves enthusiastically to Jane. BINGLEY Goodbye. Goodbye. 31 INT. CARRIAGE - LEAVING NETHERFIELD - THE SAME. 31 The family are all squeezed in rather too tightly. MRS BENNET What a high and mighty man that Mr Darcy is, quite eaten up with pride. 32 EXT. MERYTON - DAY. 3 The Bennet's carriage is stopped in its tracks by the Militia who are marching en masse through town. 27. ‚Ä¢ 33 INT. CARRIAGE - MERYTON - DAY. 33 Lydia cannot believe her eyes as row after row of soldiers pass by the carriage with not a few of the men looking in at the Bennet girls with some interest. LYDIA I can't believe it, there must be a thousand of them. Leading the one troupe of Militia is Wickham a very handsome blonde officer, Lydia spots him and swoons. ELIZABETH (to the coachman) Please, drive on. 34 INT. LONGBOURN - HERTFORDSHIRE - DAY. 34 As the Bennet girls come into the house, Lydia eulogizing the Militia, they meet Mr Bennet. MR BENNET I hope, my dear, that you have ordered a good dinner today, because I have reason to expect an addition to our family ¬Ä¢ party. Mr Bennet holds up the letter. 35 INT. CARRIAGE - COMING THROUGH MERYTON - DAY. 35 Collins, late twenties, an overweening sychophant, nervous and unctuous in equal measure. He sits in his black garb, hunched uncomfortably as he comes through town. COLLINS (V.O.) "Dear sir, the disagreement subsisting between yourself and my late father over the entail to me of the Longbourn estate, has long been a subject of much torment which I have frequently wished to heal. Having received ordination this Easter and being so fortunately distinguished by the patronage of the Right Honorable Lady Catherine de Bourgh..." Collins' voice fades out as his carriage wipes through frame revealing Elizabeth and Charlotte on their way to the butchers. 0 28. LIZZIE ‚Ä¢ His name is Mr Collins. He's the dreaded cousin. CHARLOTTE Who's to inherit? LIZZIE Indeed. Everything, apparently. He may leave us our stays, but even my piano stool belongs to Mr Collins. CHARLOTTE When? LIZZIE He can turn us out of the house as soon as he pleases. CHARLOTTE But why? LIZZIE Because the estate is entailed to him and not to us poor females. A cart passes, crammed with sheep going to slaughter. 36 INT. HALLWAY - LONGBOURN -- DAY. 36 Mr Collins is ushered in by the manservant, Perkins. He looks around his future home with interest. Mr and Mrs Bennet greet him. MR COLLINS (DEEP BOW ) Mr Collins, at your service. (LOOKS AROUND) What a charming house! So convenient for the local village. (looks at the furniture) And some very fine pieces, if I'm not mistaken. A beat. This is hardly tactful. MRS BENNET (COLDLY) They are. Jane, Lizzie and Mary enter. MR COLLINS Ah, these are your daughters, are they not? 29. MR BENNET We have some more somewhere. MR COLLINS I must congratulate you. I have heard much of their beauty, but in this instance fame has fallen short of the truth. A very low bow. The girls are somewhat taken aback. 37 INT. DINING ROOM -- NETHERFIELD - EVENING. 37 The Bennets and Collins are seated formally for supper. Mr Collins is served some food. COLLINS What a superbly featured room and what excellent boiled potatoes. It is many years since I had such an exemplary vegetable. To which of my fair cousins should I compliment the excellence of the cooking? MRS BENNET Mr Collins, we are perfectly able to keep a cook. ¬Ä¢ COLLINS Excellent. I am very pleased the estate affords such a living. I am honoured to have, as my patroness, Lady Catherine de Bourg, you have heard of her, I presume? Mrs Bennet shakes her head. MR COLLINS My small rectory abuts her estate, Rosings Park, and she often condescends to drive by my humble abode in her little phaeton and ponies. A pause. Lizzie catches her father's eye. MRS BENNET Does she have any family? MR COLLINS One daughter, the heiress of Rosings and very extensive property. I have often observed to Lady Catherine, that her daughter seemed born to be a duchess for she has all the superior graces of ‚Ä¢ elevated rank. (LITTLE COUGH) (MORE) 30. MR COLLINS (cont'd) .These are the kind of little delicate compliments that are always acceptable to 1ÔøΩ1 ladies, and which I conceive myself particularly bound to pay. MR BENNET (GRAVELY) How happy for you, Mr Collins, to possess the talent for flattering with delicacy. Mr Collins nods with satisfaction. ELIZABETH Do these pleasing attentions proceed from the impulse of the moment or are they the result of previous study? Jane kicks Elizabeth under the table. Elizabeth tries not to laugh at Mr Collins' answer. MR COLLINS They arise chiefly from what is passing at the time, and though I sometimes amuse myself with arranging such little elegant compliments, I always wish to give them as unstudied an air as possible. ELIZABETH Believe me, no one would suspect your manners to be practised. The girls look at one another. COLLINS After dinner I thought I might read to you all an hour or two. I have with me Fordyce's sermons which speak eloquently on this point. (TO JANE) Do you know Fordyce's sermons Miss Bennet? 38 INT. CORRIDOR -- LONGBOURN - THE SAME. 38 Later; we can see the girls and Mr Bennet gathered by the fire through the doorway. Mr Collins leaves the room and takes Mrs Bennet aside to a very discrete conference, out of hearing of anyone else. COLLINS Mrs Bennet. You do know I have been bestowed by the good grace of Lady Catherine de Bough a parsonage of no mean size. ‚Ä¢ MRS BENNET I have become aware of the fact. 31. COLLINS ‚Ä¢ Well, it.is my avowed hope that soon I may find a mistress for it, and I have to inform you that the eldest Miss Bennet has captured my special attention. Collins looks lasciviously into the room. MRS BENNET Mr Collins, unfortunately it is incumbent on me to hint that the eldest Miss Bennet is - very soon to be engaged. COLLINS Engaged! MRS BENNET But Miss Elizabeth next to her in both age and beauty would make anyone an excellent partner. Do not you agree, Mr Collins? Mr Collins looks through the doorway at Elizabeth COLLINS Indeed. Indeed. A very agreeable alternative. ¬Ä¢ 39 EXT. BACK MEADOW - LONGBOURN - DAY. 39 Elizabeth and Jane are walking towards the house when, across the moat, they see Mr Collins come out of the house and advance towards them. ELIZABETH Oh no! Mx Collins spots them and darts through a door in the garden wall and hurries towards the bridge to meet them. ELIZABETH Quick! This way! She pulls Jane across the duck board spanning the moat, through the house and out the front. Mr Collins doubles back and follows them into the house. The girls are no-where to be seen. He looks around, puzzled. 40 EXT. MERYTON VILLAGE - DAY. 40 ‚Ä¢ Elizabeth and Jane arrive in the village. Jane, forever the dutiful daughter, looks uneasy- Elizabeth is flushed and reckless. She looks behind them- 32. ELIZABETH (LAUGHS) ¬Ä¢ We've lost him. They slow down to a walk. And then stop. outside the milliner's shop the incorrigible Lydia and Kitty are chatting to Wickham, the dashing young officer we spotted earlier. He is utterly gorgeous - slim, handsome, tousled hair. The perfect romantic hero. ELIZABETH Kitty? Lydia! She and Jane join them. LYDIA We just happened to be looking for some ribbon, didn't we, Kitty? (KITTY NODS) And we met Mr Wickham. KITTY He picked up Lydia's gloves! LYDIA He's a lieutenant! Wickham bows. WICKHAM I'm enchanted. Shall we all look at some ribbons together? LYDIA Oh yes! 41 INT. MILLINER'S SHOP - DAY. 41 They come into the shop. The others go towards the counter. Wickham hangs back, and smiles a complicit, witty smile at Elizabeth. She colours. WICKHAM Though I must warn you, I have very poor taste. ELIZABETH (SMILES) Only a man truly confident of himself would admit that. WICKHAM No, it's true. My rooms in town, decorated, I thought, in the height of ‚Ä¢ fashion, have reduced grown men to tears of mirth. 33. ELIZABETH' ¬Ä¢ (LAUGHS) Then why don't you change them? MR WICKHAM And deny people such pleasure? ELIZABETH So you don't mind being laughed at? MR WICKHAM Not particularly. ELIZABETH It is a somewhat sterile quality, is it not, to be aware of ones importance in the world. WICKHAM Especially if, like me, one has none. Elizabeth looks at him with interest. A beat. The moment is broken by Lydia coming up. LYDIA Lizzie, please lend me some money! ELIZABETH ¬Ä¢ You already owe me a considerable sum, Liddy. MR WICKHAM Allow me to oblige. ELIZABETH No! Please - Mr Wickham! - Wickham gives Elizabeth a smile and moves away to the counter. 42 EXT. MILLINER'S SHOP - DAY. 42 The girls emerge from the shop with Wickham. ELIZABETH You're too generous. WICKHAM I know. Fivepence halfpenny! ELIZABETH It all adds up. ¬Ä¢ LYDIA I'll pay him back. 34. WICKHAM Oh yes. I'll make sure of that. ¬Ä¢ They laugh. Elizabeth is really rather taken with him. They walk down the street. ELIZABETH Will you be stationed here all winter, Mr Wickham? WICKHAM That depends on what the French have in mind. Of course I look forward to action... (smiles at her) But on the other hand JANE Lizzie - look! They stop. Jane's face lights up. JANE Mr Bingley ! It is indeed Bingley, riding towards them. He is accompanied by Darcy. ‚Ä¢ Bingley jumps off his horse and hurries over to Jane. His open, friendly face is filled with delight. BINGLEY I was on my way to your house. LYDIA - Please Mr Bingley, when are you going to give a ball? JANE Lydia! BINGLEY I was just waiting until your sister was quite well.- LYDIA She is! Elizabeth pays no attention to the following conversation, instead she is looking at Darcy who, in turn, is staring at Wickham. They both obviously recognize each other and look very uncomfortable. KITTY - when, then? 35. MR BINGLEY ¬Ä¢ As soon as they have made the white soup. LYDIA Be sure to invite Mr Wickham. Darcy turns and rides off without a word. JANE Lydia, you can't just say that - MR BINGLEY Will you excuse me ladies? Mr Wickham. Enjoy the day. Elizabeth looks at Wickham, puzzled. 43 INT. DRAWING ROOM - THE LUCAS' HOUSE - DAY. 43 A small cards party is underway. Three tables have been set up. Elizabeth, Wickham, Jane, Lydia, Kitty, Charlotte and Sir William and Lady Lucas are present. A small number of officers and other ladies are also present. We move around the tables. Kitty is sat with Sir William and Charlotte and Mary. Jane sits at a table with Mr Collins and Lady Lucas. Lizzie sits with Lydia and two other officers. Lydia flirts outrageously. ¬Ä¢ LYDIA. We have asked mama if we might have new dresses for the Netherfield ball. KITTY Yes, white, they must be white. LYDIA White is the only colour to be worn this season. SIR WILLIAM So I believe. Mr Collins is at a table with Lady Lucas, he glances over at Elizabeth, as he talks. COLLINS - of course, when you understand that Lady Catherine de Bourgh is its proprietor you will realise what an immense compliment that is. Lady Catherine spent eight hundred pounds on a chimney-piece alone. ‚Ä¢ Wickham who has been talking to some of the other officers comes and sits beside Elizabeth, passing by Mr collins on the way. 36. WICKHAM (aside to Elizabeth) Your cousin is blessed with an uncommon capacity for charm. Elizabeth laughs and plays a hand. LYDIA Will you be attending the Netherfield ball, Mr Wickham? WICKHAM I hope to. (TO ELIZABETH) How long has Mr Darcy been a guest a Netherfield? Elizabeth pounces on this reference to Mr Darcy and takes her chance. ELIZABETH About a month. Are you acquainted with, Mr Darcy? WICKHAM Indeed, my fate has been very intimate with that gentleman. I have been connected with his family since infancy. Elizabeth is genuinely surprised, there is a pause while she is forced to play her hand. WICKHAM (CONT'D) You may well be surprised, Miss Bennet, especially given the cold manner of our intimacy this afternoon. Are you well acquainted with that gentleman? ELIZABETH As much as I could ever wish to be. I have spent four days in the same house as him, and I think him very disagreeable. WICKHAM I cannot pretend to be sorry. Elizabeth blushes. WICKHAM But really I speak out of turn. Collins voice breaks the moment. COLLINS Miss Elizabeth, I was just saying to Sir William what appalling weather we've been having. 37. Elizabeth cannot believe her misfortune in Mr Collins, ‚Ä¢ but she smiles politely. ELIZABETH I think I shall take a little air. She rises and walks through the room towards a balcony. As she passes the other tables we follow and witness snippets of their conversations. CHARLOTTE (TO MARY) It seems Mr Wickham has met with universal approval. Though Lizzie looks singularly pleased with him. MARY At the moment she has more suitors than sense. Charlotte looks over at Mr Collins. Elizabeth passes Sir William's side of the table. SIR WILLIAM Now any one for a round of bridge? Elizabeth? ELIZABETH ¬Ä¢ Really I need to take some air. Mr Collins makes his way to join Elizabeth. SIR WILLIAM Mr Collins? COLLINS Oh, I am not so familiar with the game, Sir William. SIR WILLIAM Absolute nonsense. I insist that you join us. CHARLOTTE Please, Mr Collins, I'd be happy if you'd PARTNER ME_ Collins resigns himself to his fate. Elizabeth smiles and slips out into the night air. 44 EXT. BALCONY - THE LUCASES HOUSE - MERYTON - NIGHT. 44 Elizabeth breathes in the cold night air. She senses someone join her. She looks round to see Wickham has followed her as she had hoped. 38. ELIZABETH ‚Ä¢ I hope your plans in favor of Meryton will not be affected by your difficult relations with the gentleman we were just speaking of. WICKHAM Oh no - it is not for me to be driven away. If he wishes to avoid seeing me, he must go not I. Pause. ELIZABETH I must ask you Mr Wickham, what is the manner of your disapproval of Mr Darcy? WICKHAM Do you really want to hear? Lizzie nods. WICKHAM He ruined me. She stares at him. ELIZABETH How so? WICKHAM My father managed his estate. We grew up together, Darcy and I. His father treated me like a second son. Oh he was the kindest of men and bequeathed me the best living in his gift, for I had my heart set on joining the church. But when he died Darcy ignored his wishes and gave the living to another man. LIZZIE Why did he do that? WICKHAM Out of jealousy, for his father loved me more than he loved him. LIZZIE How cruel! Are you sure? WICKHAM (NODS) And out of pride, for he considered me too lowly to be worth his consideration. ¬Ä¢ Pause. Lizzie gazes at him with horror and sympathy. 39. ‚Ä¢ 45 INT. BEDROOMS - LONGBOURNE - THE SAME. 45 We pan through the bedrooms as the Bennet girls prepare for the Netherfield ball. Kitty is helping Lydia into her dress, they are both wearing white. LYDIA Aggghh! KITTY Breathe in! We move to the quieter preparations of Jane and Elizabeth. This conversation has been going on for some time. JANE (HORRIFIED) - I still think there must have been a misunderstanding. LIZZIE (EXASPERATED LAUGH) Oh Jane, do you never think ill of anybody? JANE 0 How could Mr Darcy do such a thing? I will discover the truth from Mr Bingley at the ball this evening. ELIZABETH If it is not true let Mr Darcy contradict it himself. But until he does, I hope never to encounter him. JANE Poor, unfortunate Mr Wickham. ELIZABETH On the contrary, he is twice the man Darcy is. JANE And lets hope for you a rather more willing dancer. Jane leaves Elizabeth, at the mirror, taking very particular care of her makeup. she smil6s to herself. 46 INT. NETHERFIELD - HERTFORDSHIRE - NIGHT. 46 ‚Ä¢ The great doors of Netherfield open to reveal the ball in full swing. Compared to the somewhat clod-hopping Assembly, its a dazzling affair. 40. There are hundreds of guests. All the women, roughly two hundred, are dressed in white. The men are either in red ‚Ä¢ officer uniform or dressed in black and white. There are a number of rooms each occupied by a different activity, cards, buffet, women's closet. The final and grandest room is the ball room, a swirl of elegant dance. The Bennet's enter the first reception room, the girls, including Mrs Bennet, are all dressed in white. Mr Collins is slightly detained as people pass. Mr Bingley bounds up to Jane. BINGLEY You're here! I'm so pleased. JANE And so am I. BINGLEY How are you, Miss Elizabeth? Elizabeth is not paying attention, instead she is searching over Mr Bingleys' shoulder for a sight of Wickham. BINGLEY Are you, looking for someone? ELIZABETH ‚Ä¢ No, no not at all. Admiring the splendor of the ball. JANE It is lovely, Mr Bingley. Bingley and Jane move off leaving Elizabeth with Mrs Bennet and others. While Mrs Bennet talks we focus on Elizabeth searching the sea of red coats. MRS BENNET (refering to Jane and BINGLEY) I dare say I have never met a more pleasant gentleman in all my years. Look how he dotes on her! Still Jane has always done what is best for her family. Elizabeth takes this opportunity to slip away into the next room. Elizabeth looks around but cannot see Mr Wickham. Suddenly she thinks she sees him, so starts to a r, move over. The man turns round, it is not Wickham but someone else. Elizabeth walks nonchanantly into the next room, again looking for Mr Wickham. She cranes around trying to see ‚Ä¢ him then she is suddenly surprised by Charlotte Lucas. 41. ELIZABETH ¬Ä¢ Have you seen Mr Wickham. She shakes her head. CHARLOTTE Perhaps he is in the ballroom. They both walk into the ball room. We pull back to reveal a sea of dancers. Wickham is nowhere to be seen. Jane appears and catches Elizabeths arm. JANE He's not here. Apparently otherwise detained. The disappointment is palpable on Elizabeth's face. ELIZABETH Detained? Mr Collins arrives, breathless. He smiles eagerly at Elizabeth. COLLINS There you are. ¬Ä¢ ELIZABETH Mr Collins. What a pleasant surprise. MR COLLINS Perhaps you will do me the honour, Miss Elizabeth? ELIZABETH Oh. I didn't think you danced, Mr Collins. MR COLLINS I do not consider it incompatible with the office of a clergyman to indulge in such an innocent diversion. Elizabeth tries to smile, politely. MR COLLINS (CONT'D) In fact several people, her ladyship included, have complimented me on my lightness of foot. Elizabeth's face is a matey rictus. CUT TO: ‚Ä¢ They dance, the style of which is not unlike English Country dancing. 42. COLLINS ‚Ä¢ To be sure, dancing is of little consequence to me, but it does afford the opportunity to lavish'ones partner with delicate attentions which is my primary object of the evening. Elizabeth turns as part of the dance and for a moment she dances beside Jane. JANE Apparently Your Mr Wickham has been called on some business to town, though my informer told me he would have been less inclined to be engaged had it not been for the presence at Netherfield of a certain gentleman. Jane indicates towards where Darcy stands watching them. ELIZABETH That gentleman barely warrants the name. The dance leads Elizabeth back to Mr Collins. COLLINS (CONT`D) It is my intention, if I may be so bold to remain close to you throughout the evening. CUT TO: Couples are preparing for the next dance. Elizabeth and Charlotte are standing to one side when Mr Darcy approaches. DARCY May I have the next dance, Miss Elizabeth. Elizabeth is stunned. ELIZABETH You may. Darcy walks away. ELIZABETH What was I thinking? Have I no presence of mind?l CHARLOTTE I dare say you will find him very agreeable, Lizzie. 0 43. ¬Ä¢ ELIZABETH Heaven forbid! That would be the greatest misfortune of all - to find a man agreeable whom one is determined to hate! CUT TO: Elizabeth dances face to face with Darcy. Neither can speak. They dance for a moment in silence. ELIZABETH I do love a Sarabande. DARCY Indeed. Most invigorating. They continue, for a moment, in silence. ELIZABETH It is your turn to say something, Mr Darcy - I talked about the dance, now you ought to remark on the size of the room or the number of couples. DARCY I am perfectly happy to oblige, please advise me of what you would like most to ‚Ä¢ hear. ELIZABETH That reply will do for the present. Perhaps by and bye I may observe that private balls are much pleasanter than public ones. But for now we may be silent. DARCY Do you talk as a rule while dancing? ELIZABETH We are each of an unsocial, taciturn disposition, unwilling to speak, unless we expect to say something that will - amaze the whole room, and be handed down to posterity with all the eclat of a proverb. So a little lubrication to avoid embarrassment might be advantageous. DARCY I see no striking resemblance of your own character in this, how near it is to mine I cannot say. (beat) Tell me do you and your sisters very often walk to Meryton? ¬Ä¢ They are suddenly parted by the choreography of the dance. 44. We stay with Elizabeth who is whisked round the floor by an elderly man who smiles at her toothlessly, Elizabeth ‚Ä¢ looks back at Darcy who is dancing with Lydia. He stare at Elizabeth as he dances. Elizabeth smiles at her current partner in embarrassment. ELIZABETH Very mild weather we've been having. DANCING PARTNER (deaf as a post) Sorry. The dance spins again and she is back with Darcy. ELIZABETH Yes, we often walk to Meryton - it is a great opportunity to meet new people. In fact when you met us we had just had the pleasure of forming a new acquaintance. DARCY I will admit your Mr Wickham is blessed with such happy manners as may ensure his making friends - whether he is capable of retaining them is less certain. ELIZABETH He has been so unlucky as to lose your friendship. I remember hearing you once say that your resentment once created was unappeasable. You are very cautious, I suppose, as to its being created? DARCY I am. May I ask to what these questions tend. ELIZABETH To make out your character, Mr Darcy. DARCY And what have you discovered? ELIZABETH very little. The dancefinishes. ELIZABETH (CONT'D) I hear such different accounts of you as puzzle me exceedingly. DARCY I hope to afford you more clarity in the ‚Ä¢ future. 45. ‚Ä¢ They bow to each other and Elizabeth moves quickly away from Darcy. CUT TO: Elizabeth is at the buffet watching Kitty quaff a huge glass of wine and having the glass immediately refilled. She is joined by Caroline Bingley who also looks at Kitty disapprovingly. CAROLINE BINGLEY Miss Elizabeth. Let me recommend you as a friend not to give too much confidence to all of the assertions your friend Mr Wickham might make. He is indeed a charming man, but one should never forget from where he is descended. ELIZABETH His lack of trustworthiness and descent appear by your account to be the same thing, CAROLINE BINGLEY Please excuse my interterence, it was kindly meant. ‚Ä¢ A breathless Mr Collins appears. COLLINS Is that Mr Darcy, of Pemberley in Derbyshire? ELIZABETH I believe so. COLLINS But I must make myself known to him immediately! ELIZABETH But sir - COLLINS He is the nephew of my esteemed patroness, Lady Catherine. ELIZABETH (SURPRISED) He is? Mr Collins starts making his way determinedly towards Darcy. ¬Ä¢ ELIZABETH Please, Mr Collins! He'll consider it an IMPERTINENCE -- 46. Elizabeth watches from a distance, with acute embarrassment, as Collins interrupts Darcy. Darcy does not notice him so Collins raises his voice. COLLINS (CONT'D) Mr Darcy! The room around him stops. Darcy is surprised and turns round. In dumbshow we see Darcy is horrified by Collins' obsequiousness, during the conversation Collins points Elizabeth out to Darcy. CAROLINE BINGLEY What interesting relatives you have, Miss Bennet. Elizabeth walks away into another room. CUT TO: The other room, where Mary is singing badly at the piano. Elizabeth is horrified. She turns to leave only to see Mr Bennet looking on. He winces as Mary misses a high note. Mary finishes the song with an off key flourish. Polite applause. Mary smiles and prepares for another song. ELIZABETH Aren't you going to do something? ¬Ä¢ Mr Bennet walks over to the piano. MR BENNET Mary dear, you've delighted us long enough. MARY But they asked for another song. Mr Bennet shuts the lid. MR BENNET Let the other young ladies have a turn. CUT TO: Later. Charlotte and Lizzie are sat together. ELIZABETH Perhaps my family have made a competition to see who can expose themselves to the most ridicule. CHARLOTTE Well, at least Bingley has not noticed. ¬Ä¢ They look over and see Jane and Bingley dancing. Bingley clearly besotted by Jane. 47. ELIZABETH ‚Ä¢ Yes. I think he likes her very much. CHARLOTTE But does she like him? There are few of us who are secure enough to be really in love without proper encouragement. Bingley likes her enormously but might not do more if she does not help him on. ELIZABETH She is just shy and modest. If he does not perceive her regard he is a fool. CHARLOTTE We are all fools in love. He does not know her character as we do. She should move fast. Snap him up. There is plenty of time for us to get to know them after we're married - Elizabeth looks over the dancefloor to see Lydia dancing with a soldier. she's a little drunk, and very flirtatious. He says something; she shrieks with laughter. CUT TO; 47 MONTAGE OF THE BALL 47 Elizabeth sits at the side of the dance-floor. She looks at Mrs Bennet dancing in outrageous fashion. Cut to later: Lydia is getting more and more leery with a group of soldiers, Elizabeth walks away in embarrasment only to see Mr Collins smiling at her from across the room. Cut to: Elizabeth dancing joylessly with the excruciating Mr Collins, as she turns in the dance she sees Darcy look on with obvious disdain. Cut to: much later, the band are exhausted, guests are leaving. The staff are asleep on their feet. Elizabeth almost alone watching her parents dancing almost the only people left on the dance floor, Kitty is asleep over Elizabeth's lap. This is a never- ending nightmare. 48 INT. ENTRANCE HALL-- NETHERFIELD - THE WEE HOURS 48 Day light creeps through the curtains. Mrs Bennet is sprawled on a sofa. Lydia completely drunk. Kitty asleep. Jane sitting demurely. Collins looking longingly at Elizabeth. Mrs Bennet is holding court, whilst the footmen behind are literally ready to drop. Bingley is standing, the perfect host, but obviously willing the ‚Ä¢ Bennets to leave. 48. MRS BENNET I have never had such a good time in my life. Mr Bingley you must have such a ball once a month at least. Caroline who is standing with her brother, yawns ostentatiously. ELIZABETH Mother. I really think it is time to go. MRS BENNET Don't be impertinent. our hosts are perfectly happy with our company, are you not, Mr Bingley? I hope I can entice you to Longbourn to sample our hospitality. We would make sure you had 3 or 4 courses at least. She holds out her glass for a top up and carries on. MRS BENNET (CONT'D) So tell me Mr Bingley. Whom did you like least of all your guests this evening? ELIZABETH Really. This is enough. Darcy looking down at Elizabeth from a staircase. He turns and walks away. 49 INT. CARRIAGE - HERTFORDSHIRE - MORNING. 49 The Bennet's are squeezed into their carriage. It is light outside. Only Mrs Bennet is awake but the lack of an audience does not stop her from talking. MRS BENNET Allowing for new carriages, dresses etcetera, etcetera. We will be having a wedding here at Netherfield in less than three months, if you ask me. Mr Bennet? Mr Bennet! 5o INT. BREAKFAST ROOM - LONGBOURNE - DAY. 50 The Bennets eat in silence. Jane.yawns. Mrs Bennet moans - she is hungover. Mr Collins comes in in a state of agitation. They look at him. He sits, hesitates, then ASKS: 0 49. is MR COLLINS Mrs Bennet I was hoping, if it would not trouble you, that I might solicit a private audience with Miss Elizabeth in the course of the morning. Elizabeth is open mouthed. MRS BENNET Oh! Yes. Certainly - Lizzy would be very happy indeed. Please -- go ahead. No time like the present. Everyone. Out. Mr Collins would like a private audience with your sister. Everyone looks in amazement. ELIZABETH Wait. I beg you. Mr Collins can have nothing to say to me.that anybody need not hear. MRS BENNET No. Nonsense, Lizzy. I desire you-will stay where you are. Everyone else, to the drawing room. Mr Bennet. ‚Ä¢ MR BENNET But... MRS BENNET Now! Mrs Bennet makes sure everyone leaves, winks at Mr Collins then shuts the door before Elizabeth has time to do anything. Elizabeth looks at Mr Collins who looks at her in earnest. There is a horrible pause of intense embarrassment. MR COLLINS Dear Miss Elizabeth, you can hardly doubt the purpose of my discourse. My attentions have been too marked to be mistaken. Almost as soon as I entered the house I singled you out as the companion of my future life. Elizabeth stares at him, astonished. MR COLLINS But before I am run away with my feelings perhaps I may state my reasons for marrying. Firstly, that it is the duty of a clergyman to set the example of matrimony in his parish. (MORE) S0. MR COLLINS (cont'd) Secondly, that I am convinced it will add greatly to my happiness, and, thirdly, ‚Ä¢ that it is at the urging of my esteemed patroness Lady Catherine that I select a wife. We here a kick and Kitty screach from behind the door. MRS BENNET (V.0.) sshhh. MR COLLINS My object in coming to Longbourn was to choose such a one from amongst Mr Bennet's daughters, for as you know I am next in the entail of the estate and such an alliance will surely make amends for this. (drops to his knee) And now nothing remains for me but to assure you in the most animated language of the violence of my affections. ELIZABETH Mr Collins - MR COLLINS And that no reproach on the subject of fortune will cross my lips once we are ‚Ä¢ married. ELIZABETH You are too hasty, sir! You forget that I have made no answer. MR COLLINS (UNPERTURBED) I must add, that Lady Catherine will thoroughly approve, when I speak to her of your modesty, economy and other amiable qualities. ELIZABETH Sir, I am honoured by your proposal, but regret I must decline it. MR COLLINS (momentarily taken aback, but RECOVERING) I know ladies have their pretty little ways, and don't seek to seem too eager - ELIZABETH (in some desperation) Mr Collins, I am perfectly serious. You could not make me happy and I'm convinced I'm the last woman in the world who could make you happy. 51. ‚Ä¢ MR COLLINS (PAUSE) I 'flatter myself, cousin, that your refusal is merely a natural delicacy. Besides, you should take into account that despite your manifold attractions it is by no means certain that another offer of marriage may ever be made to you - ELIZABETH (rising, deeply affronted) Mr Collins - MR COLLINS So I must conclude that you simply seek to increase my love by suspense, according to the usual practice of elegant females. ELIZABETH Sir! I am not the sort of female to torment a respectable man. Please understand me - I cannot accept you! Elizabeth storms out of the room and out of the house. Mrs Bennet crashes in through another door, hot on the tail of Elizabeth. ¬Ä¢ MRS BENNET Declined indeed! The headstrong, foolish CHILD- COLLINS Thank you, but... Head strong? MRS BENNET - we shall have this little hiccup dealt with immediately, Mr Collins. Mrs Bennet goes chases after Elizabeth. Mr Collins watches through a window as Elizabeth is chased by her mother. 51 INT. LIBRARY - LONGBOURN - THE SAME. 51 Mrs Bennet marches into the library. Mr Bennet looks up in shock. MRS BENNET Oh Mr Bennet. We are all in a uproar. You must come and make Lizzy marry Mr Collins, for she vows she will not have him. ¬Ä¢ Mr Bennet starter at Mrs Bennet blankley. 52. MRS BENNET Mr Collins, Mr Collins has proposed to Lizzie. But Lizzy declares she will not have him, and now the danger is Mr Collins may not have Lizzy. MR BENNET And what am I to do? Mrs Bennet drags Mr Bennet to his feet. MRS BENNET Speak to Lizzy. They march to find Elizabeth. 52 INT. HALLWAY - LONGBOURN -- THE SAME. 52 Mr Bennet and Mrs Bennet confront Elizabeth, who has been waiting in the hallway. Perhaps the other girls form an audience from the stairs, Mr Collins looks on sheepishly from the breakfast room. MRS BENNET Tell her that you insist upon them marrying. ¬Ä¢ LIZZIE Papa, please - '. MRS BENNET You will have this house! LIZZIE I can't marry him! MRS BENNET You'll save your sisters from destitution! LIZZIE I can't! - MRS BENNET Go back now and say you've changed your mind! LIZZIE No! 0 MRS BENNET Think of your family! LIZZIE You can't make me! 53. MRS BENNET Mr Bennet, say something! MR BENNET (TO LIZZIE) So, your mother insists on you marrying Mr Collins.- MRS BENNET Yes, or I shall never see her again? MR BENNET Well, Lizzie. From this day on you must be a stranger to one of your parents - MRS BENNET (TO LIZZIE) - who will maintain you when your father is dead? MR BENNET Your mother will never see you again if you do not marry Mr Collins, and I will never see you again if you do. MRS BENNET MR BENNET' ELIZABETH Thank you, papa. Elizabeth turns around and walks into the drawing room. 53 INT. DRAWING ROOM - LONGBOURN - THE SAME 53 Elizabeth enters the drawing room. In the drawing room, Mary is trying to read, through the family din. Jane sits very still. Her face is white. There's a letter in her hand. Mrs Bennet charges in, Lydia and Kitty in tow, and speaks to anyone who will listen. MRS BENNET Oh, ungrateful child! I shall never speak to her again! Not that I have much pleasure in talking to anybody. People who suffer as I do from nervous complaints can have no inclination for talking. Nobody can tell what I suffer... She jabbers on but her voice fades. We're with Jane, re- reading the letter. ELIZABETH What's wrong, Jane? Close on Jane's pale face. She's staring at the letter. 54. MRS BENNET (DISTANT) But it is always so. Those who complain are never pitied... 54 EXT. NETHERFIELD - DAY. 54 Bingley, Caroline and Darcy sit grimly in a carriage which drives off. 55 INT. CARRIAGE -- LEAVING NETHERFIELD - THE SAME. 55 Darcy looks severe and stern, Caroline can't help a little smirk on her face. Bingley looks back longingly. 56 INT. BEDROOM -- LONGBOURNE - NIGHT. 56 Elizabeth and Jane in bed. ELIZABETH I don't understand. What would take him from Netherfield? Why would he not know when he was to return? JANE ‚Ä¢ I have no reserves from you. Jane passes Elizabeth the letter. ELIZABETH "Mr Darcy is impatient to see his sister and we are scarcely less eager to meet her again. I really do not think Georgina Darcy has her equal for beauty, elegance and accomplishments, so much so I must hope to hereafter call her my sister. It is my duty to indulge you in no hope in this respect for your own self." JANE Is that not clear enough? ELIZABETH Miss Bingley sees that her brother is in love with you and is gone with him to persuade him otherwise. JANE But I know her to be incapable of wilfully deceiving anyone. ELIZABETH ‚Ä¢ He loves you, Jane. Do not give up. Go to our aunt and uncle's in London. (MORE) 55. ELIZABETH (CONT'D) Let it be known you are there and I am sure he will come to you. ¬Ä¢ 57 EXT. LONGBOURN - THE SAME. 57 Jane is in a carriage. Mrs Bennet kisses her goodbye through the window as all the Bennets look on. MRS BENNET Give my love to my sister. And try not to be so much of a burden, dear. Jane's carriage moves away and the family wave. Mr Bennet talks to Elizabeth. MR BENNET Poor Jane. However, a girl likes to be crossed in love now and then. It gives her something to think of, and a sort of distinction among her companions. ELIZABETH (DRYLY) I'm sure that will cheer her up,Papa. MR BENNET It's your turn now, Lizzie. Since you've turned down Mr Collins you're free to go off and be jilted yourself. What about Mr Wickham? He is a pleasant fellow and would do the job credibly. ELIZABETH Thank you, but a less agreeable man would satisfy me. We must not all expect Jane's good fortune. MR KENNET Still, it's a comfort to know that whatever might befall you, you have an affectionate mother who will be sure to make the most of it. A small smile from Elizabeth. 58 INT. BEDROOM - LONGBOURN - DAY 58 Elizabeth is making the bed and tidying Jane's belongings. There is a knock at the door and Charlotte enters. CHARLOTTE My dear Elizabeth, I've come here to tell you the news. 56. ELIZABETH ‚Ä¢ What news? CHARLOTTE (DEFIANTLY) Mr Collins and I are engaged to be married. A stunned pause. ELIZABETH Engaged? CHARLOTTE (TIMIDLY) You don't mind, do you? ELIZABETH No, no... (tries to recover) Of course not. CHARLOTTE He asked for my hand this morning .and I accepted him. Elizabeth looks quite faint. Charlotte sits on the bed. Elizabeth, after a pause, sits down beside her. CHARLOTTE I can see you're surprised - coming so soon after his wishing to marry you... ELIZABETH (WEAKLY) No... CHARLOTTE I'm not a romantic, you know. I ask only a comfortable home, and considering Mr Collin's character, and situation in life, I am convinced that my chance of happiness with him is as fair as most people can hope for. ELIZABETH And that's all you expect? CHARLOTTE For women in our situation, what choice is there? ELIZABETH (PASSIONATELY) Don't speak like that, Charlotte! 57. CHARLOTTE ‚Ä¢ - to become an old maid, at best tolerated, at worst a burden, dependent on the kindness of others? Or to seek the protection of marriage. ELIZABETH And we only have two choices? CHARLOTTE Yes. An appalled silence. Elizabeth gazes at her closest friend. Charlotte has recovered herself. she now looks cool and composed - unnervingly so. ELIZABETH You can still change your mind, Charlotte. CHARLOTTE (shakes her head) I'm twenty-seven years old. We hear the sound of the militia drums... 59 EXT. MERYTON - DAY. 59 0 The militia are leaving Meryton. Hundreds of soldiers and officers in the red coats marching out of the village to the sound of pipes and drums. The villagers are out to bid them farewell. Lydia and Kitty run through the crowds very distraught. They find Elizabeth coming in the other direction. LYDIA It's too dreadful! They're leaving for Brighton. ELIZABETH All of them? KITTY They got the call this morning. LYDIA Not a word of warning! Lydia wails. Elizabeth searches the red coats for Wickham. She spots him, he glances across at her, she gives a pathetic wave and he's gone. Lydia and Kitty chase the last of the officers, leaving Elizabeth alone. She walks into the post office. ¬Ä¢ 58. C 60 INT. VILLAGE POST OFFICE - THE SAME. 6 The Postmaster hands a letter to Elizabeth. Elizabeth opens it and reads it. POSTMASTER Bad news, Miss? ELIZABETH It could not be worse. I have been invited to possibly the very last place on earth I would like to go. 61 EXT. MERYTON - DAY. 61 Elizabeth comes out of the post office to reveal... Time has passed, the now deserted village is covered in a thick blanket of snow. A lonely Elizabeth walks away totally despondent. 62 EXT. HUNSFORD PARSONAGE - KENT - DAY. 6< Charlotte's new home is a smallish but charming rectory in Kent. Charlotte greets Elizabeth, kissing her warmly. ‚Ä¢ Mr Collins bows as he ushers her in. MR COLLINS Welcome to our humble abode... 63 EXT. HUNSFORD PARSONAGE- DAY. 63 There is a coop containing hens of various descriptions ...a.pig-stye...a vegetable patch...a rose bower. Charlotte and Mr Collins are showing Elizabeth round the place. MR COLLINS (POINTING) And from here we have a good view of Rosings Park, where we are honoured to dine at least twice a week. Her ladyship's carriage is regularly ordered for us. I should say, one of her ladyship's carriages, for she has several. CHARLOTTE My dear, I think our guest is tired after her journey. Come on, Lizzie, let's get some tea. T 59. MR COLLINS ‚Ä¢ My wife encourages me to spend as much time in the garden as possible, for the sake of my health. A beat. Lizzie glances at Charlotte, who remains impassive. MR COLLINS I plan many improvements, of course. (points to house) I intend. to throw out a bow there, and plant a lime walk. (sharp look at Lizzie) Oh yes, I flatter myself that any young lady would be happy to be the mistress of such a house. A tiny nod from Elizabeth. She understands perfectly. 64 INT. CHARLOTTE'S PARLOUR - HUNSFORD - DAY. 64 Lizzie and Charlotte are at last alone. They sit down, with a certain relief, in a charming little parlour that faces the front of the house. Charlotte pours out tea. CHARLOTTE ‚Ä¢ We shall not be disturbed here, for this parlour is for my own particular use. (A BEAT) Oh Lizzie, it's such a pleasure, to run my own home! A flash of understanding between them. MR COLLINS (OOV) Charlotte! Come here! Charlotte jumps up and rushes to the window. ELIZABETH (ALARMED) What's happened? MR COLLINS (OOV) Charlotte! ELIZABETH (JUMPS UP) Has the pig escaped? Lizzie joins her at the window. outside in the lane, Mr Collins stands, bowing, at a carriage. ¬Ä¢ CHARLOTTE Its all right. Its just Lady Catherine. 60. They both burst out laughing. Just for a moment, the ‚Ä¢ atmosphere is eased. CHARLOTTE (CONT'D) Tell me, how are things concerning Mr Wickham? Elizabeth's face changes. ELIZABETH I have not heard from Mr Wickham since the regiment left for Brighton, but I am informed by Lydia who keeps a breast of all matters military that he does very well. CHARLOTTE Oh Lizzie. we hear Mr Collins rushing back into the house, and running up the stairs. COLLINS (O.S.) Great news! Great news! He comes into the room, breathlessly excited. COLLINS (CONT'D) ‚Ä¢ We have an invitation to visit Rosings this evening from Lady Catherine de Bourgh. Elizabeth is not overcome with enthusiasm. COLLINS (CONT'D) Do not make yourself uneasy, my dear cousin, about your apparel. Just put on that which is best among your clothes and Lady Catherine will not think the worse of you. 65 EXT. GROUNDS OF ROSINGS - EVENING. 65 Elizabeth, Charlotte and Mr Collins walk hurriedly across the lawns towards the great house. Beyond the toparied hedges the grey building looms ominously above them. It is grand without being elegant. COLLINS One of the most extraordinary sights in all Europe, is it not. The glazing alone cost upwards of twenty thousand pounds. 0 61. ¬Ä¢ 66 INT. STAIRWAY -- ROSINGS - THE SAME. 66 Mr Collins, Charlotte and Elizabeth are led up a vast stairway which is painted with visions of hell. Elizabeth stops in front of a painting of a devil. She stares at it, It seem to speak, but she realizes the voice is Collins chiding her. COLLINS (as the devil) This way! 67 TNT. SALON - ROSINGS - DUSK. 67 The salon at Rosings is spectacularly grand; hideously so. Heavy furniture, rows of servants. The three guests are shown in by the footman. Again Mr Collins scrapes the floor with his bow. MR COLLINS Your Ladyship. (to the daughter) Miss de Bourg. Lady Catherine is a haughty, bossy woman. Pretty ‚Ä¢ unspeakable, really. Her daughter is a sickly, irritable- looking creature. LADY CATHERINE So you are Elizabeth Bennet. ELIZABETH I am, your ladyship. LADY CATHERINE (looking her up and down) Hmm. (indicates her daughter) This is my daughter. CHARLOTTE (EAGERLY) It's very kind of you to ask us to dine, Lady Catherine. Lady Catherine ignores her. MR COLLINS (whispers to Lizzie) The chimneypiece alone cost ¬£400. But Lizzie doesn't hear. Darcy walks into the room. Lizzie freezes. When he sees Lizzie he, too, falters, and recovers himself. Another man (Fitzwilliam) is with him. 62. ELIZABETH ‚Ä¢ Mr Darcy! What are you doing here? MR COLLINS Mr Darcy! (another deep bow) I had no idea we would have the honour... A stiff bow from Darcy, who looks at Mr Collins as if he's something brought in by the dog. He turns to Lizzie, trying to collect himself. DARCY (BOWS) Miss Bennet...I'm staying here. LADY CATHERINE (SURPRISED) You know my nephew? ELIZABETH Yes, madam, I had the pleasure of meeting him in Hertfordshire. Darcy's friend Fitzwilliam, a much more easy-going chap, introduces himself. FITZWILLIAM ‚Ä¢ Colonel Fitzwilliam. How do you do? He bows. Lizzie returns his smile gratefully. They move towards the dining room. Mr Collins leans towards Lizzie. MR COLLINS (WHISPERING) You know Mr Darcy is as good as engaged to Miss de Bourg? ELIZABETH Really? Miss Bingley will be disappointed to hear that. (looks at the girl, and whispers to charlotte) What a sickly, cross little thing! Oh yes, they should suit each other very well. Charlotte smiles back, a little fearfully. She's more intimidated by Rosings than Elizabeth is, and indeed has more at stake. 68 INT. DINING ROOM - ROSINGS - NIGHT. f 9 The dining room is laid for a very grand dinner -- footmen waiting, thousands of candles. 63. Lady Catherine seats herself at the head of the table. The guests wait for their orders. ¬Ä¢ LADY CATHERINE You sit there and you sit there. Mr Collins! You can't sit next to your wife! After some awkward shuffling around they all sit down. Lizzie, much to her discomfort, finds herself sitting next to Darcy. There is a pause. MR DARCY I trust your family is in good health, Miss Bennet? ELIZABETH They are, thank you. (PAUSE) My eldest sister is currently in London, perhaps you happened to see her there? MR DARCY (AWKWARD PAUSE) I haven't been fortunate enough, no. Lizzie looks at him. He colours slightly. Lady Catherine addresses Lizzie in a loud voice, from the head of the table. ¬Ä¢ LADY CATHERINE Do you play the pianoforte, Miss Bennet? ELIZABETH A little, ma'am, and very poorly. LADY CATHERINE Oh. Do you draw? ELIZABETH No, not at all. LADY CATHERINE Your sisters, do they draw? ELIZABETH Not one. LADY CATHERINE That is very strange. But I suppose you had no opportunity. Your mother should have taken you to town every spring for the benefit of the masters. ELIZABETH My mother would have no objection but my father hates London. 64. LADY CATHERINE ‚Ä¢ Has your governess left you? ELIZABETH We never had a governess. Mr Collins squirms in embarrassment. Darcy watches Elizabeth, keenly. LADY CATHERINE No governess? Five daughters brought up at home without a governess, I never heard such a thing! Your mother must have been quite a slave to your education. ELIZABETH (can't help smiling at this) Not at all, Lady Catherine. LADY CATHERINE Mmmm. Are any of your younger sisters out? ELIZABETH Yes, ma'am. All. LADY CATHERINE All! What, five out at once? Very odd! ‚Ä¢ And you only the second - the younger ones out before the elders are married! Your youngest sisters must be very young. ELIZABETH Yes, my youngest is not sixteen. But I think it would be very hard on younger sisters, not to have their share of amusement because the elder is still unmarried. And to be kept back on such a motive! It would hardly encourage sisterly affection. LADY CATHERINE Upon my word, you give your opinion very decidedly for so young a person. Pray, what is your age? ELIZABETH (SMILES) With three younger sisters grown up, your Ladyship can hardly expect me to own to P C it. Lady Catherine looks astonished. Mr Collins shifts in his seat. Mr Darcy glances sharply - in fact, admiringly - at Lizzie. She's enjoying herself. 65. 69 INT. DRAWING ROOM - ROSINGS -- NIGHT. 69 Dinner is over and they are drinking coffee. Darcy moves towards Elizabeth but Lady Catherine interrupts, by shouting from her seat. LADY CATHERINE Come, Miss Bennet, and play for us! ELIZABETH No, I beg you - LADY CATHERINE For music is my delight. In fact there are few people in England who have more true enjoyment of music than myself, or better natural taste. If I had ever learnt, I should have been a great proficient. (INDICATES DAUGHTER) So would Anne, if her health would have allowed her. ELIZABETH Please, I told you I play poorly - ‚Ä¢ MR COLLINS (HISSES) Come come, Elizabeth, her ladyship demands it! Lizzie reluctantly sits down at the piano and starts to play. Lady Catherine takes no notice and talks loudly over the music. LADY CATHERINE How does Georgina get along, Darcy? DARCY She plays very well. LADY CATHERINE I hope she practises. No excellence can be acquired without constant practice. I have told Mrs Collins this. (turns to Charlotte) Though you have no instrument of your own you are very welcome to come to Rosings and play on the piano in the housekeeper's room. CHARLOTTE Thank you, your ladyship. 66. LADY CATHERINE ‚Ä¢ You would be in nobody's way", you know, in that part of the house. Darcy flinches at her bad manners. He moves away to the piano where Lizzie is playing - not that terribly well, it must be said. A moment passes. ELIZABETH You mean to frighten me, Mr Darcy, by coming in all your state to hear me, but I won't be alarmed even though your sister does play so well. DARCY I am well enough acquainted with you, Miss Bennet, to know I cannot alarm you even should I wish it. A beat. They eye each other warily. Colonel Fitzwilliam joins them. FITZWILLIAM (INDICATING DARCY) What was my friend like, in Hertfordshire? ELIZABETH ‚Ä¢ You really care to know? The colonel nods. ELIZABETH Prepare yourself for something very dreadful. (STOPS PLAYING) The first time I saw him, at the Assembly, he danced with nobody at all - even though gentlemen were scarce and there was more than one young lady who was sitting down without a partner. DARCY (COLOURING ) I knew nobody beyond my own party. ELIZABETH (SMILES SWEETLY) True, and nobody can be introduced in a ballroom. LADY CATHERINE Fitzwilliam! Come here and talk to us! 0 Fitzwilliam moves away. Darcy and Elizabeth are alone. 67. DARCY I do not have the talent of conversing easily with people I have never met before. ELIZABETH Maybe you should take your aunt's advice and practice. Ouch! Darcy flinches. Lizzie turns away from him and carries on playing. Darcy gazes at the curve of her neck. She plays a false note, stumbles, and grimly carries on. 70 INT. DRAWING ROOM - HUNSFORD - DAY. 70 Elizabeth is writing a letter in the drawing room. She starts "Dear Jane..:" The doorbell rings in the background, she thinks nothing of it and continues. The maid opens the door to the drawing room and Mr Darcy enters. ELIZABETH (ASTONISHED) Mr Darcy! An awkward pause. ELIZABETH Please, do be seated. (PAUSE) I'm afraid Mr and Mrs Collins are gone on business to the village. A pause. What on earth does Mr Darcy want? He paces up and down. DARCY This is a charming house. I believe my aunt did a great deal to it when Mr Collins first arrived. ELIZABETH I believe so -- and she could not have bestowed her kindness on a more grateful SUBJECT- Another pause. DARCY Mr Collins seems very fortunate in his choice of wife. ¬Ä¢ 68. ELIZABETH He is indeed lucky to have found one of the few sensible women who would have accepted him. Darcy sits down. ELIZABETH Shall I call for some tea? DARCY No. Thankyou. The sound of the front door, and voices. Darcy jumps up. DARCY Good day, Miss Bennet. It's been a pleasure. He bows to her and leaves. Elizabeth sits there, bemused and intrigued. CUT TO: Charlotte, in the hallway, taking off her bonnet. Darcy hurries past her, with a swift bow, and leaves abruptly. Charlotte gazes after him in surprise. ‚Ä¢ Charlotte heads to the drawing room where she finds Elizabeth sitting, bemused. CHARLOTTE What on earth have you done to poor Mr Darcy? ELIZABETH. I have no idea. 73 She truly doesn't. Charlotte gives Elizabeth a look 73 71 EXT. HUNSFORD CHURCH - DAY. 71 Sunday service is over and worshippers are leaving the " church. Mr Collins, in his vestments, obeises himself to Lady Catherine, who is sweeping out with her miserable- looking daughter and downtrodden governess. Elizabeth joins Colonel Fitzwilliam. They walk down the path together. ELIZABETH How long do you plan to stay in Kent, Colonel? FITZWILLIAM As long as Darcy chooses. I am at his disposal. 69. ELIZABETH I do imagine your cousin brought you down with him chiefly to have someone to order around. I wonder he does not marry and secure a lasting convenience of that kind. FITZWILLIAM She would be a lucky woman. ELIZABETH Really? FITZWILLIAM Darcy is a most loyal companion. From what I heard, on our journey here, he recently came to the rescue of one of his friends just in time. Darcy, waylaid by various people, comes out of the church. His eyes search for Elizabeth. He sees her with Fitzwilliam and hesitates. Too late! Mr Collins steps up to him and engages him in conversation. Elizabeth stops, at the churchyard gate. ELIZABETH What happened? ¬Ä¢ FITZWILLIAM He saved the man from an imprudent marriage. ELIZABETH (FALTERING SLIGHTLY) Who was the man? FITZWILLIAM His closest friend. Mr Bingley. A silence. ELIZABETH Did Mr Darcy give you his reasons for this interference? FITZWILLIAM There were apparently strong objections to the lady. ELIZABETH What kind of objections? Her lack of fortune? FITZWILLIAM I think it was her family that was considered unsuitable. 70. ELIZABETH So he separated them? FITZWILLIAM I believe so. I know nothing else. Elizabeth grows pale. She turns to look at Darcy who is joined by his aunt. ELIZABETH I wish Mr Darcy and all his friends well in finding partners suitable to their very high standards. Good morning, Col. Fitzwilliam. 76 Elizabeth see that Collinses are still busy with their 76 parishioners and slips away. Darcy sees her from a distance. 72 EXT. ROSINGS PARK - DAY. 72 Lizzie walks across the park - anywhere, she hardly cares. She is in a turmoil of misery and fury. How could Darcy do such a terrible thing! It starts to rain. CUT TO: ‚Ä¢ A Grecian summer house by the lake. The rain is now bucketing down. Lizzie hurries into the summer house and sits down, heavily, on a bench. Her poor sister; Lizzie gazes in despair at the rain- lashed landscape. A man approaches, across the park. He draws nearer. It's Darcy. Elizabeth stiffens. He's hurrying towards her. Sodden, breathless, he comes into the. summer house. He is in a state of agitation - far too agitated to notice her upset face. DARCY Miss Bennet, I have struggled in vain but I can bear it no longer ... . The past months have been a torment... He pauses, unable to speak. Elizabeth stares at him in astonishment. He struggles on. DARCY I came to Rosings with the single object of seeing you...I had to see you... ELIZABETH ‚Ä¢ Me? 71. DARCY ‚Ä¢ I've fought against my better judgement, my family's expectation... (PAUSE) The inferiority of your birth.. .my rank and circumstance... (STUMBLINGLY) all those things.. .but I'm willing to put them aside... and ask you to end my agony... ELIZABETH I don't understand... DARCY (WITH PASSION) I love you. Most ardently. Elizabeth stares at him. DARCY Please do me the honour of accepting my hand. A silence. Elizabeth struggles with the most painful confusion of feeling. Finally she recovers. ELIZABETH (VOICE SHAKING) Sir, I appreciate the struggle you have been through, and I am very sorry to have caused you pain. Believe me, it was unconsciously done. A silence. Gathering her shawl, she gets to her feet. DARCY (STARES) Is this your reply? ELIZABETH Yes, sir. DARCY Are you laughing at me? ELIZABETH No? DARCY Are you rejecting me? ELIZABETH (PAUSE) I'm sure that the feelings which, as you've told me, have hindered your regard, will help you in overcoming it. 72. A terrible silence, as this sinks in. Neither of them can ‚Ä¢ move. At last, Darcy speaks. He is very pale. DARCY Might I ask why, with so little endeavour at civility, I am thus repulsed? ELIZABETH (trembling with emotion) I might as well enquire why, with so. evident a design of insulting me, you chose to tell me that you liked me against your better judgement. If I was uncivil, that was some excuse - DARCY Believe me, I didn't mean - ELIZABETH But I have other reasons, you know I have! DARCY What reasons? ELIZABETH Do you think that anything might tempt me to accept the man who has ruined, perhaps for ever, the happiness of a most beloved sister? Silence. Darcy looks as if he's been struck across the face. ELIZABETH Do you deny it, Mr Darcy? That you separated a young couple who loved each other, exposing your friend to the censure of the world for caprice, and my sister to its derision for disappointed hopes, and involving them both in misery of the acutest kind? DARCY I do not deny it. ELIZABETH (BLURTS OUT) How could you do it? DARCY Because I believed your sister indifferent to him. ELIZABETH ‚Ä¢ Indifferent? 73. DARCY ‚Ä¢ I watched them most carefully, and realized his attachment was much deeper than hers. ELIZABETH That's because she's shy! DARCY Bingley too is modest, and was persuaded that she didn't feel strongly for him. ELIZABETH Because you suggested it! DARCY I did it for his own good. ELIZABETH My sister hardly shows her true feelings to me! (pause, takes a breath) I suppose you suspect that his fortune had some bearing on the matter? DARCY (SHARPLY) No! I wouldn't do your sister the ¬Ä¢ dishonour. Though it was suggested - (STOPS) ELIZABETH What was? DARCY It was made perfectly clear that-an advantageous marriage... (STOPS) ELIZABETH Did my sister give that impression? DARCY - No! An awkward pause. DARCY There was, however, I have to admit... the matter of your family - ELIZABETH Our want of connection? Mr Bingley didn't vex himself about that! ¬Ä¢ DARCY No, it was more than that. 74. ELIZABETH How, sir? DARCY (pause, very uncomfortable) It pains me to say this, but it was the lack of propriety shown by your mother, your three younger sisters - even, on occasion, your father. Forgive me. Lizzie blushes. He has hit home. Darcy paces up and down. DARCY You and your sister -- I must exclude from this... Darcy stops and gazes at her. He is in turmoil. Elizabeth glares at him, in a blaze of fury and misery. ELIZABETH And what about Mr Wickham? DARCY Mr Wickham? ELIZABETH What excuse can you give for your behavior to him? ¬Ä¢ DARCY You take an eager interest in that gentleman's concerns! ELIZABETH He told me of his misfortunes. DARCY Oh yes, his misfortunes have been very great indeed! ELIZABETH You have ruined his chances, and yet treat him with sarcasm? DARCY So this is your opinion of me! Thank you for explaining so fully. Perhaps these offences might have been overlooked, if your pride had not been hurt - ELIZABETH My pride? DARCY - by my honesty in admitting scruples about our relationship. (MORE) 75. DARCY (CONT'D) Could you expect me to rejoice in the inferiority of your circumstances? ¬Ä¢ ELIZABETH And those are the words of a gentleman? From the first moment I met you, your arrogance and conceit, your selfish distain of the feelings of others, made me realize that you were the last man in the world I could ever be prevailed upon to marry. Darcy recoils, as if slapped. A terrible silence. DARCY Forgive me, madam, for taking up so much of your time. He leaves, abruptly. Elizabeth watches him stride away, through the rain. What has she done? She bitterly bursts into tears. 73 INT. HUNSFORD - DAY. 73 Elizabeth comes in soaked to the skin. Charlotte runs to her. CHARLOTTE Elizabeth! ELIZABETH I was caught somewhat off-guard. 74 INT. BEDROOM - HUNSFORD - THE SAME. 74 Charlotte attends to Elizabeth.who has changed and is drying her hair, a shawl around her shoulders. CHARLOTTE Shall I call the doctor? ELIZABETH No! Charlotte, I shall be quite all right. Please, give Lady de Bourgh my apologies. You must not keep her waiting. Mr Collins clatters up the stairs. COLLINS (popping his head around the DOOR) Come on. We shall be late! ¬Ä¢ 76. Charlotte leaves, reluctantly, and goes downstairs. CUT TO Later; The sound of the front door closing. Elizabeth sits down, heavily, on the bed. She walks downstairs and enters the drawing room. 75 INT. DRAWING ROOM - HUNSFORD - DAY. 75 Elizabeth is in the drawing room, she looks at a book on the table. It is Fordyce's Sermons. She puts it down and walks to the mirror and stares at herself. After a moment suddenly Darcy's face appears. She freezes. They stare at each other without speaking. Finally... DARCY I came to leave you this. He places a letter on the table behind her. Elizabeth does not turn but watches him through the mirror. DARCY (CONT'D) I'm not going to renew the sentiments which were so disgusting to you, but to address the two offenses you have laid against me. I had not long been in Hertfordshire before I saw that Bingley ¬Ä¢ preferred your eldest sister. I observed my friend's behaviour attentively and I could perceive that his partiality for Miss Bennet was beyond what I have ever witnessed in him. Elizabeth cannot bring herself to look at Darcy. She stares at her own reflection as he speaks. DARCY (CONT'D) Yet when I observed your sister .1 detected no symptom of peculiar regard, and witnessed only the families coarse appetite for having their daughters married favorably. And so in London, perhaps erroneously, I persuaded him of the unfitness of the match citing your sisters coolness towards him. We zoom in on Elizabeth's reflection. DARCY (CONT'D) It was unknowingly done and though the motives which governed me may to you appear naturally insufficient, they were done to protect a friend. As to the other ‚Ä¢ more serious matter.. 77. As Elizabeth turns she realises Darcy has gone. Darcy's voice carries. DARCY (V.0.) (CONT'D) "My father provided for Mr Wickham a valuable living. Elizabeth tears open the envelope, her hands shaking, and reads the letter, as Darcy's voice carries on. DARCY (V.0.) (CONT'D) "But upon his death, however, Mr Wickham told me that he had no intention of taking orders and would I recompense him to the tune of ¬£3000 so he could go to town and study the law. We circle Elizabeth as she reads. DARCY (CONT'D) (V.0.) (CONT'D) This I did, though by now I had some doubts about his character. These were confirmed by reports that he had sunk into a life of idleness, gambling and dissipation. The money was soon used up, whereupon he wrote demanding more money which I refused, whereupon he severed all ¬Ä¢ ACQUAINTANCE" Holding the letter she looks out of the window to see Darcy riding away. DARCY (CONT'D) "But last summer he was unwillingly obtruded on my notice when he connived a relationship with my sister whom he persuaded to be in love with him and made her consent to an elopement. She was but fifteen. 76 EXT. HUNSFORD - DAY. 76 Darcy rides off. DARCY (V.0.) Mr Wickham's prime objective was her inheritance of thirty thousand pounds but hope of revenging me was a strong inducement. I was lucky enough to persuade my sister of her folly. I hope this goes someway to mitigating my behaviour in your eyes. If you doubt my word please have it confirmed by my ¬Ä¢ cousin Fitzwilliam. 78. ‚Ä¢ 77 INT. DRAWING ROOM -- HUNSFORD - LATER - DAY 7 Elizabeth with the letter. Charlotte walks in. Elizabeth is shaking. CHARLOTTE Lizzy: Are you alright? ELIZABETH I do not know. I hardly know myself. Elizabeth looks at Charlotte utterly shaken. 78 TNT/EXT. CARRIAGE/CHEAPSIDE - DAY. 78 Elizabeth riding in a carriage through Cheapside, reading the letter. DARCY (V.0.) P.S. As we shall never meet again, I wish you all happiness in the future. Elizabeth looks out at the high warehouse building and the bustle of trade. There is no horizon. is 79 INT. GARDINERS HOUSE - CHEAPSIDE - DAY. 7 Mrs Gardiner, the girls' kindly aunt, is taking Elizabeth's coat from her. MRS GARDINER How fortunate, you are here just in time to catch everybody coming through from Longbourn. ELIZABETH How is Jane? Mrs Gardiner smiles sadly. MRS GARDINER She is outside. Through a window Elizabeth sees Jane sitting quietly alone at her needle work. CUT TO: 80 EXT. SMALL BACK GARDEN OF THE GARDINERS' HOUSE - E CHEAPSIDE - THE SAME. Elizabeth and Jane sit together in the small walled garden. 79. Jane is all smiles, but behind her eyes is a sadness unseen before. Elizabeth is desperate to unburden herself ‚Ä¢ but feels unable. JANE I am quite over him, Lizzie. If he passed in the street I would hardly notice. London is so diverting... ELIZABETH oh Jane... JANE Its true! What with the theatre and... But tell me, what news from Kent? ELIZABETH Nothing. Everything as you might imagine. Elizabeth tries to smile. There is a crash as all the Bennet's arrive at the house. Kitty rushes into the garden crying her eyes out, she is followed by Lydia and Mrs Bennet. KITTY Lizzie, tell mama, tell her! LYDIA (SMUGLY) ¬Ä¢ Mrs Forster has invited me. KITTY (WAILS) Why didn't she ask me as well? ELIZABETH Kitty, what's happened? LYDIA - because she likes me better. KITTY I've just as much right as Lydia - MRS BENNET Oh, if I could but go to Brighton - KITTY - and more so, because I'm two years older! Elizabeth looks to Jane. JANE Lydia has been invited to Brighton with the Foresters. 80. MRS BENNET ‚Ä¢ A little sea-bathing would set me up very NICELY- LYDIA I shall dine with the officers every night! An anguished wail from Kitty. MRS BENNET I'm sure I cried for two days when Colonel Millar's regiment went away. thought I should have broke my heart. LIZZIE Mother! Are you all mad? She glares at them, deeply upset -- by them, by everything. 81 INT. THE GARDINERS' HOUSE - DAY. 81 Elizabeth has found a quiet corner with her father. ELIZABETH Please Papa, don't let her go! MR BENNET Lydia will never be easy till she has exposed herself in some public place or other, and we can never expect her to do it with so little inconvenience as under the present circumstances. ELIZABETH (with great emotion) If you, dear father, will not take the trouble to check her, she will be fixed forever as the silliest and most determined flirt who ever made her family ridiculous. And Kitty will follow, as she always does. MR KENNET We shall have no peace until she goes. ELIZABETH (really angry now) Peace! Is that all you care about? MR BENNET Colonel Forster is a sensible man and will keep her out of any real mischief, and she is far too poor to be an object of prey to anyone. 81. ELIZABETH Father, its dangerous! - MR BENNET I'm sure the officers will find women better worth their while. Let us hope, in fact, that her stay in Brighton will teach her her own insignificance. At any rate she can hardly grow any worse, without authorizing us to lock her up for the rest of her life. Elizabeth gazes at her father - will nothing touch him? He gave up on his daughter long ago. For this, just now, she hates him. ELIZABETH No wonder our family is treated with contempt. She leaves, tears stinging her eyes. Her father looks puzzled at her outburst. 82 INT. DRAWING ROOM - CHEAPSIDE - THE SAME. 82 Mr Bennet follows Elizabeth in. MR BENNET Well, at least the house will be quieter. ELIZABETH I don't wish to be stuck with such a foolish family any longer, with your constant talk of men and marriages. Surely there is more to life. MRS GARDINER Lizzie dear, you would be very welcome to accompany us? MR GARDINER Oh yes. We plan to journey through the Peak District. You'd be most welcome. MARY Oh, the glories of nature! What are men, compared to rocks and mountains? ELIZABETH Believe me, men are either eaten up with arrogance or stupidity. And if they're amiable they're so easily led that they have no minds of their own whatsoever. 82. MRS GARDINER Take care, my love, that savours strongly of bitterness. ELIZABETH No, they bring nothing but heartache. 83 INT. BEDROOM - CHEAPSIDE - NIGHT. 83 As usual Elizabeth and Jane share a bed. They lie next to each other in the darkness ELIZABETH I saw Mr Darcy when I was in Rosings. JANE Why did you not tell me. Did he mention Mr Bingley. Pause. ELIZABETH No. He did not. Elizabeth has never felt more alone in the company of her sister. ¬Ä¢ 84 EXT. DERBYSHIRE - DAY. 84 A ravishing landscape of savage and romantic beauty - scudding clouds, mountains, wild rocky outcrops. Elizabeth is walking freely, the wind in her hair. As she nears the peak of a promontory, Mr and Mrs Gardiner are below making their way towards her. They smile at her. She strides off determined to reach the very top. When she gets there she stands with her arms outstretched, her head back laughing into the wind. The view is magnificent. She breathes deeply. 85 EXT. LAMBTON - DUSK. 85 An establishing shot of Lambton, a charming market town. Through the window of an inn we see Elizabeth and Mr and Mrs Gardiner at a table. 86 INT. INN - LAMBTON - NIGHT. 86 O In the inn, the Gardiner's and Elizabeth are eating supper. An air of high spirits. At the next table, another amiable tourist couple are also tucking into their food. ¬Ä¢ 83. WOMAN ‚Ä¢ (indicating her husband) He's been taking the waters at Buxton. (LAUGHS) Hasn't done him a jot of good. HER HUSBAND But we've had a fine time, haven't we dear? WOMAN We've visited Chatsworth, Dovedale, PEMBERLEY - MRS GARDINER Pemberley? WOMAN Just two miles from here. close, very close, on Lizzie's face. HER HUSBAND One of the best houses in the country. MR GARDINER (TO ELIZABETH) Aren't you acquainted with the owner, Mr ‚Ä¢ Darcy? MRS GARDINER Well, we shall go there tomorrow, Lizzie. ELIZABETH I would rather stay here. MRS GARDINER Stay here? ELIZABETH (VERY UNCOMFORTABLE) I must own that I'm tired of great houses. All those carpets and curtains. MRS GARDINER But you liked Chatsworth. ELIZABETH If it is anything like Mr Darcy, I am sure I will not be able to bear it. MRS GARDINER Come, come, Lizzie. WOMAN ¬Ä¢ The grounds alone are worth a visit. 84. MR GARDINER Let us not make a fuss. If the girl does not want to go there is little point in persuading her. 87 INT. BEDROOM -- INN - NIGHT. 87 Elizabeth is preparing for bed. The chambermaid fills her washbowl and starts to leave. ELIZABETH I hear that Pemberley is not far from here. MAID Yes, madam. ELIZABETH You see something of the owner, do you, in town? MAID Not for some months, madam, for he's still in London, I believe. A pause. Close on Elizabeth's face. ¬Ä¢ 88 EXT. PEMBERLEY - DAY. 8n The carriage enters the gates of Pemberley. MRS GARDINER I'm so glad you changed your mind. Elizabeth is alert, her eyes bright with curiosity. The parkland is wild and rocky. Deer graze; rooks wheel in the sky. A sense of freedom and liberation. As the carriage drives over the top of a hill, close on Elizabeth's face. She gasps. The Gardiners gasp. A huge, wide shot of Pemberley House. It's vast, breathtakingly beautiful, set in great boulder-strewn park lands. A mansion built of golden stone, glowing in the sunlight. 89 EXT. PARK - PEMBERLY - THE SAME. 89 Elizabeth walks through the magnificent grounds. MRS GARDINER Imagine being mistress of all this. It is as big as all Cheapside. Elizabeth is lost in admiration. 85. 90 INT. PEMBERLY - DAY. 90 Elizabeth and the Gardiners are being taken on the tour by the housekeeper, Mrs Reynolds, who witters on in the background with descriptions of each room. Elizabeth is apart and we witness the exquisite house from her point of view. A book lies open, on a reading desk, Elizabeth turns it over to read the title. MRS GARDINER (TO ELIZABETH) Keep up. They walk through room after amazing room: a breath- taking library, an unbelievable staircase. 91 INT. PICTURE GALLERY - PEMBERLY -- DAY. 91 The huge picture gallery. Elizabeth is apart from the rest looking at the pictures she stops by a painting of Darcy. She looks at it thoughtfully but is interrupted by Mrs Reynolds and the Gardiners who are following her. MRS REYNOLDS This is my master - Mr Darcy. MRS GARDINER A handsome face. Lizzie, is it a true likeness of him? MRS REYNOLDS Does this young lady know Mr Darcy? ELIZABETH Only a little. MRS REYNOLDS And do you not think him a handsome man, Miss? ELISABETH (THOUGHTFULLY) Yes, yes I suppose he is. Mrs Reynolds moves the Gardiners on to another painting, but Elizabeth stays, staring at Darcy's image. MRS REYNOLDS And this is his sister, Miss Georgians. She plays and sings all day long. We realize that in the distance we have heard music. Elizabeth is still gazing at the portrait of Darcy, then suddenly snaps out of her reverie, as she processes Mrs REYNOLDS SPEECH: 86. ELIZABETH ‚Ä¢ They are at home?! MRS REYNOLDS Miss Darcy is always down for the summer. Mr Darcy is due here tomorrow. MR GARDINER Is your master much at Pemberley? MRS REYNOLDS Not as much as I would wish, sir, or he -- for he dearly loves it here. Relaxed again Elizabeth wanders off as the Gardiners talk to Mrs Reynolds. MRS GARDINER If he should marry, you might see more of him. MRS REYNOLDS Yes madam, but I do not know when that will be. I do not know a lady who is good enough for him. MRS GARDINER What do you mean? ¬Ä¢ MRS REYNOLDS I've known Mr Darcy since he was a boy. He was always a kind and generous person even then. Not everyone can see it, because he does not make a meal of it like a lot of young men nowadays. But he is the most sweet-tempered and kind- hearted man I have ever known. CUT TO: As the Gardiners look at more paintings, Elizabeth drifts out through the open doors and onto a terrace. In the bright sunlight the view of the gardens and valley beyond is exquisite. Outside the music we heard before is louder. 92 EXT. TERRACE - PEMBERLY - THE SAME. 92 Elizabeth wanders aimlessly across the terrace, being unconsciously drawn by the music. Suddenly Elizabeth recognizes the tune (perhaps it is one she has played earlier - but this time it is played exquisitely). She follows the music round a corner, intrigued as she gets ‚Ä¢ closer and closer to its source. She finally realizes she is outside the room where the music is being played. 87. She steals herself a moment, but her curiosity gets the better of her and she discretely peeps in. ¬Ä¢ Through the window she sees Georgina Darcy, a beautiful fifteen year old playing the piano with great passion and fluency. She is moved by the music and listens. After sometime, then someone steps into her view but is mostly hidden by shadows in the room. He is directly behind Georgina and gently puts his hands over her eyes. Georgina stops playing and laughs uproariougly. She stands and kisses the figure, the sunlight hits his face. It is Darcy. Georgina and Darcy kiss. Elizabeth is stunned to see him there. Darcy glances up and sees Elizabeth watching him. For a moment they both stare at each other frozen with surprise. Georgina starts in fright at the figure, Elizabeth turns and runs. Darcy comes out after her. DARCY Miss Bennet! Elizabeth stops, appallingly embarrassed. Darcy catches up with her. They both blush, deeply. ELIZABETH I thought you were in London. DARCY (STUPIDLY) No... I'm not. ELIZABETH No. Another ghastly silence. Then they both speak at once. DARCY ELIZABETH I came here a day early - We wouldn't have come - DARCY ELIZABETH -- some business with my I'm so terribly sorry - STEWARD - They stop. He gazes at her with great emotion. ELIZABETH I'm visiting Derbyshire with my uncle and aunt. DARCY (trying to recover) And are you having a pleasant trip? ELIZABETH Very pleasant. Tomorrow we go to Matlock. 88. DARCY ‚Ä¢ Tomorrow? (DISAPPOINTED) Are you staying at Larnbton? ELIZABETH Yes. At the Rose and Crown. Another pause. She extends her hand. ELIZABETH I'm so sorry to intrude. They said the house was open for visitors. I had no idea... She shakes his hand and starts to walk away. DARCY May I see you to the village? ELIZABETH Oh no! I'm very fond of walking. DARCY Yes. ELIZABETH Goodbye, Mr Darcy. ¬Ä¢ She hurries away. He gazes after her. CUT TO: A wood. Now she is out of sight Lizzie collapses on a log. She is utterly undone. Around her, the birds sing. 93 INT. INN -- NIGHT. 93 It's that night. Lizzie comes downstairs, for supper. And stops. Through a gap in the door to the restaurant she sees Mr Darcy talking to her aunt and uncle. DARCY - I shall send my carriage at noon After a moment Darcy leaves and Elizabeth approaches the table. 0 MRS GARDINER Lizzie, I've just met Mr Darcy! Why didn't you tell us you had seen him? He's asked us to dine with him tomorrow - He was very civil, was he not? ¬Ä¢ MR GARDINER Very civil. 89. MRS GARDINER ‚Ä¢ Not at all like you painted him. ELIZABETH (STARES) To dine with him? MRS GARDINER - there is something pleasing about his mouth, when he speaks. MR GARDINER You don't mind delaying our journey for another day? Elizabeth shakes her head, dumbly. MRS GARDINER He particularly wishes you to meet his sister. ELIZABETH His sister? 94 INT. LIBRARY AND DRAWING ROOM -- PEMBERLEY - DAY. 94 A footman escorts Elizabeth and the Gardiner's through the stupendous library. From the drawing room, the sound of a piano playing.. It's the same music Elizabeth played at Rosings, but this time played very beautifully. Elizabeth is filled with trepidation; we can almost feel her heart racing. The footman opens the double doors to reveal the magnificent drawing room. Darcy is there. So is the dreaded Miss Bingley. Seeing her, Elizabeth's polite smile falters. Darcy's sister Georgiana plays the piano. She jumps up and hurries over. DARCY My sister, Miss Darcy... They smile and bob. Georgiana is a friendly, sweet girl. GEORGIANA Miss Elizabeth, my brother has told me so much about you. I feel as if we are friends already. ELIZABETH What a beautiful instrument. GEORGIANA My brother gave it to me. (smiles at him) He shouldn't have. 90. DARCY ‚Ä¢ Yes I should. GEORGIANA Oh very well then. DARCY She's easily persuaded, is she not? They gaze at each other with affection. Miss Bingley approaches. MISS BINGLEY (SMALL SMILE) What a surprise, Miss Bennet, to see you in Derbyshire. ELIZABETH (SMALL NOD) Your brother is well, I trust? MISS BINGLEY Very well. He hopes to come here soon. (significant glance at GEORGIANA) Pemberley has a special attraction for him. ¬Ä¢ ELIZABETH (SWEETLY) Yes, the library is particularly splendid, is it not? A small silence. Darcy, uneasy at their conversation, approaches. MISS BINGLEY And how is your family, Miss Bennet? Someone told me the militia are removed from Meryton. (SIGNIFICANT SMILE) They must be a great loss for some of you Darcy comes to the rescue. DARCY Your uncle is fond of fishing, I hear. ELIZABETH Yes, very. DARCY (drawing her away) Can you persuade him to borrow a rod this afternoon? (MORE) 91. DARCY (CONT'D) For the lake here is very well stocked and its occupants left in peace for far ‚Ä¢ too long. Elizabeth smiles, surprised and delighted. And grateful to be rescued. What does Mr Darcy mean by this? She moves away, to speak to her uncle. Miss Bingley moves closer to Darcy. MISS BINGLEY In six months I have never seen anyone so altered. How brown and coarse she has become! DARCY I perceive no alteration' except she is rather tanned. Hardly a miraculous consequence of travelling in the summer. MISS BINGLEY I remember, when we first knew her in Hertfordshire, you said "she a beauty? I would have as soon called her mother a wit!" DARCY You must have mis-heard, Caroline. Even had I thought it, I would have couched it ¬Ä¢ with a little more finesse. Elizabeth looks across at Darcy - they smile at each other. 95 EXT. DERBYSHIRE - DUSK 95 Darcy is driving Elizabeth and the Gardiner's back to Lampton. The rugged landscape looks even more beautiful and dramatic in the dusk light. Elizabeth sits up with Darcy who holds the reins, while Mr and Mrs Gardiner sit comfortably in the carriage. Mr Gardiner smiles broadly at two large fish that lie beside him. ELIZABETH It is so beautiful up here. I will be sorry to leave. Darcy smiles at her. ELIZABETH You have been a most gracious host. I'm sure my aunt and uncle will talk of nothing else for days. ¬Ä¢ DARCY I have recently thought a great deal about how I appear and act to others. 92. She smiles softly at Darcy. ¬Ä¢ ELIZABETH It does you credit, sir. 96 INT. INN -- LAMBTON - NIGHT. 96 The party arrive back at the inn. MR GARDINER (quietly to Elizabeth) What a capital fellow. MRS GARDINER Thank you so much Mr Darcy. Darcy is about to take his leave when a servant brings Elizabeth a letter. SERVANT (TO LIZZIE) For you, madam. ELIZABETH (DELIGHTED) 107 Its from Jane. 10 ‚Ä¢ she rips open the letter. 97 INT. PARLOUR - INN - LAMBTON - THE SAME. 97 Elizabeth is crying with the open letter in her hand. Darcy and Mr and Mrs Gardiner stand dumb, not quite knowing what to do. Elizabeth tries to speak but bursts into tears again. She cries for a long time. DARCY Miss Elizabeth. She cries on. DARCY (CONT'D) Miss Elizabeth. She eventually gathers herself. ELIZABETH It is the most dreadful news. Lydia has run away - with Mr Wickham. They are gone together from Brighton to Lord knows where. She has no money, no connections, I fear she is lost forever. 0 93. DARCY ‚Ä¢ (quietly to Elizabeth) This is my fault - if only I had exposed Wickham when I should. ELIZABETH No, this is my fault. I might have prevented all of it by merely being open with my sisters rather than too proud with my knowledge. Mr and Mrs Gardiner look at each other perplexed. MRS GARDINER Has anything been done to recover her? ELIZABETH Father has gone to London. But I know very well that nothing can be done. We have not the smallest hope. DARCY Would to heaven that anything could be said or done on my part that could offer consolation to such distress. ELIZABETH Sir, it think it is too late. ¬Ä¢ MR GARDINER I am afraid we must go at once - I will join Mr Bennet and find Lydia before she ruins the family forever. DARCY I am so very sorry. This is grave indeed. I will leave you. Goodbye. Darcy pauses at the door, looks back at Elizabeth and then is gone. 98 EXT. COUNTRYSIDE - NIGHT. 98 The Gardiner's carriage racing through the night. 99 INT. LONGBOURN - MRS BENNET'S BEDROOM - DAY. 99 Elizabeth, Jane, Mary and Kitty are gathered around Mrs Bennet who has taken to her bed. MRS BENNET Why did the Foresters let her out of their sight? I always said they were unfit to have charge of her. 94. MARY (SMUGLY) And now she is ruined. MRS BENNET You are all ruined. Who will take you now with a fallen sister? Poor Mr Bennet will now have to fight the perfidious Wickham and then be killed... ELIZABETH He hasn't found him yet, Mama. MRS BENNET - and The Collins' will turn us out before he is cold in his grave - JANE Do not be alarmed, mama. Our uncle is helping in the search. MRS BENNET Lydia must know what this will do to my nerves, such flutterings and spasms all over me... 100 EXT. LONDON - DAY. 10 ¬Ä¢ Were looking directly down onto a London street. Mr Bennet stands still against the passing pedestrian traffic. He tries to address a passer by. MR BENNET Excuse me. They ignore him. He tries again MR BENNET (CONT'D) Excuse me, I'm looking for... Mr Bennet takes out a piece of paper. 101 INT. MESS HALL - BARRACKS - NIGHT. 101 Mr Bennet walks timidly into the mess hall. It is smoky, drunken, noisy, boisterous and extremely threatening. Mr Bennet stops at the threshold, gulps, then the whole room turns round to look at him and a sudden silence descends. Mr Bennet is terrified. MR BENNET I am...(his voice breaks up - he clears his throat) I am looking for a Mr ‚Ä¢ Wickham. 95. ¬Ä¢ 102 INT. UPSTAIRS AT LONGBOURNE - DAY. 102 Elizabeth and Jane are outside Mrs Bennet's room. From inside we hear a moan. MRS BENNET (OFF) We are ruined. Ruined. ELIZABETH How long is this going to go on for? JANE Don't be too harsh. This is hard for all of us. They walk downstairs. 103 INT. DOWNSTAIRS - LONGBOURN - THE SAME. 103 Elizabeth and Jane walk into the drawing room. Kitty and Mary are busying themselves. ELIZABETH I can't bear not hearing anything. ¬Ä¢ KITTY Look. It's Papa! 104 INT. LIBRARY - LONGBOURN - DAY. CONTINUOUS. 104 The girls rush into the library. Mr Bennet slumps at his desk. KITTY - who is to fight Wickham and make him marry Lydia, now you've come home? MR BENNET For God's sake let me be! (TO LIZZIE) Lizzie, help me with my boots. Elizabeth pulls off his boots for him. JANE You suppose them to be still in London? MR BENNET (NODS) Where else could they be so well concealed? ¬Ä¢ ELIZABETH Oh father, I'm so sorry. 96. MR BENNET ‚Ä¢ It's been my own doing. ELIZABETH You mustn't be too severe on yourself. MR BENNET No Lizzie. Let me once in my life feel how much I have been to blame. (WAN SMILE) I am not afraid of being overpowered by the experience. It will pass away soon enough. 105 EXT/INT. BOARDING HOUSE - LONDON - DAY. 105 We're looking through a window to the stairwell of a seedy looking boarding house. An anonymas pair of mens boots appear climbing up the stairs. We move across the exterior wall of the building to find an open window through which Lydia and Wickham can be seen. Lydia and Wickham sit, snuggled close beside the fire in their room in a humble lodging house. They're eating a meal with relish. Giggling, Lydia feeds him a mouthful. A knock at the door. They freeze, like naughty children. ¬Ä¢ 106 EXT. GARDEN - LONGBOURN - DAY. 106 The girls have a letter. Kitty grabs it from Jane, Mary grabs it from Kitty, before she has a chance to open it Jane grabs it from Mary. JANE It's to Daddy. It's in uncle's writing. Mr Bennet snatches the letter. MR BENNET As it is addressed to me... He tears it open and begins to read, squinting because he has forgotten his glasses. MR BENNET (CONT'D) He's found them. KITTY Are they married? MR BENNET (squinting at the letter) Just wait. I can't make out his script. 97. Elizabeth snatches it. ¬Ä¢ ELIZABETH Give it to me. (she reads) KITTY Are they married? ELIZABETH They will be, if father will settle a hundred pounds a year on her. That is Wickham's condition. KITTY A hundred pounds! ELIZABETH You will agree to this, father? The letter is passed around the other girls. MR BENNET Of course I will agree. But how much your uncle has laid on this wretched man already is anybody's guess. KITTY What do you mean, Father? ¬Ä¢ MR BENNET No man in his senses would marry Lydia on so slight a temptation as a hundred a year. ELIZABETH Ah, I see. JANE See what? MR BENNET Your uncle is very generous. ELIZABETH Do you think it a large sum? MR BENNET Wickham's a fool if he takes her for less than ten thousand pounds. I should be sorry to think so ill of him in the very - beginning of our relationship. JANE Ten thousand! Heaven forbid! 98. ‚Ä¢ 107 INT. MR & MRS BENNET'S BEDROOM - LONGBOURN - DAY. It Close on Mrs Bennet's face as she springs out of bed. Pure triumphant joy. MRS BENNET Lydia married! And at sixteen too! Ring the bell, Kitty! I must put on my things and tell Lady Lucas! Oh to see her face! And tell the servants they will have a bowl of punch! The other Bennet's are assembled. ELIZABETH We should thank our uncle, Mama. MRS BENNET And so he should help! He's much richer than us, and he hasn't got any children. ELIZABETH (ANGRILY) How can you talk like that? Her mother gets to her feet. ¬Ä¢ MRS BENNET A daughter, married! ELIZABETH Is that all you think about? MRS BENNET "Mrs Wickham" - how well it sounds ELIZABETH (IN DESPERATION) You don't know what he's like MRS BENNET Now where will they live? Purvis Lodge might do. Ashworth is vacant of course, but it's too far off, I couldn't bear to have her ten miles from me - MR BENNET Before you take any of these houses, Mrs Bennet, let us be clear. Into one house she will never be welcome. Mrs Bennet stares at him. 9 99. ‚Ä¢ 108 INT. HALLWAY - LONGBOURN - DAY. 108 Lydia's triumphant face. The cat that's got the cream. She comes into the house with Wickham. Her mother kisses her, effusively. Mr Bennet coldly bows. LYDIA - and then we passed Sarah Sims in her carriage so I took off my glove and let my hand just rest on the window frame, so she might see the ring, and then 1 bowed and smiled like anything! Kitty shrieks with envy. Lizzie moves away; she cannot bear it. Wickham catches her eye, but she ignores him. 109 INT. DINING ROOM - LONGBOURN - DAY. 109 They are taking their seats for dinner. Lydia moves to the head of the table. LYDIA Jane, I take your place now, and you must go lower, for I am the married woman. She sits down and giggles at her sisters. The maid brings ‚Ä¢ in the food. Lydia holds up her hand, to display her ring to the maid. LYDIA You must all go to Brighton, for that is the place to get husbands! I hope you have half my good luck. ELIZABETH (FURIOUS) Lydia! CUT TO: Wickham looking uncomfortable. He's talking to the stony- faced Mr Bennet. WICKHAM I've been enlisted in a regiment in the north of England, sir. l f G MR BENNET (NODS COLDLY) I'm glad to hear of it. WICKHAM Near Newcastle. We shall travel there next week. 100. KITTY ‚Ä¢ Can I come and stay with you? MR BENNET That is out. of the question. CUT TO: Lydia, rattling on to Lizzie. LYDIA Well, Monday morning came and I was in such a fuss - ELIZABETH I don't want to hear - LYDIA - there was my aunt, preaching and talking away just as if she was reading a sermon, she was horrid unpleasant - ELIZABETH Can't you understand why? LYDIA - but I didn't hear a word because I was thinking of my dear Wickham. I longed to ‚Ä¢ know whether he would be married in his blue coat... CUT TO: Mary turning to Wickham. MARY The north of England, I believe, boasts some spectacular scenery... CUT TO: Lydia burbling on, to a stony-faced Lizzie. LYDIA - and then my uncle was called away from the church on business and I thought - who is to be our best man if he doesn't come back? Lucky he did come back or I would have had to ask Mr Darcy - ELIZABETH (STARES) Mr Darcy? LYDIA (claps her hand to her mouth) I forgot! I shouldn't have said a word! 101. ¬Ä¢ ELIZABETH Mr Darcy was at your wedding? LYDIA (WHISPERS) He was the one that discovered us! He knew where to find Wickham, you see. (HISSES) But don't tell anyone! He told me not to tell! Lizzie stares at her. Darcy at her wedding? Lydia turns away, to talk to the others. 110 EXT. GARDEN - LONGBOURN - DAY. 110 Lydia, croquet mallet in hand, drags her new husband across the lawn. Kitty follows. LYDIA Come on, Wickham! You've got to play. KITTY Yes, come on! Wickham looks slightly abashed - a trapped man. What has he let himself in for? Lizzie comes into the garden, looking for her younger sister. Wickham detaches himself and comes over to her. A rueful smile. WICKHAM I hope we can be even better friends, now we're brother and sister. An attempt at a twinkling smile, but Elizabeth is now immune to his charm. She nods, briefly. WICKHAM I hear you visited Pemberley. My dear old home. ELIZABETH (NODS) I met Mr Darcy's sister. WICKHAM (A BEAT) Did you like her? ELIZABETH Very much. (looks at him) We found a great deal to talk about. 102. A beat. Wickham looks deeply uneasy. He bows and leaves. Lizzie watches him pick up a mallet and take his turn. She can't bear it; she hurries up to Lydia and draws her aside. ELIZABETH (LOW VOICE) Why was Mr Darcy there? LYDIA I'm not supposed to tell. Lizzie abandons her pride. She takes Lydia's hand. ELIZABETH Please, Lydia! LYDIA Because he paid for it. ELIZABETH (STARES) For what? LYDIA (CARELESSLY) The wedding, Wickham's commission. Everything. ¬Ä¢ ELIZABETH Everything? KITTY (CALLS) Lydia! It's your turn! Lydia moves to go. LYDIA People kept saying Wickham owed them money, it was so tedious. So Darcy settled his debts but I don't really like him, do you? Lizzie pulls her back. ELIZABETH But why did he do it? LYDIA (SHRUGS) I don't know, do I? Anyway you're not to tell because it's supposed to be our uncle who paid, and he wouldn't have ‚Ä¢ minded paying, either, because I'm his favorite. 103. ‚Ä¢ She leaves. Giggles and shrieks from the croquet lawn. Elizabeth looks blank with shock. 111 EXT. BINGLEY'S HOUSE - MAYFAIR -- DAY. 111 Close on Darcy's grimly determined face. Drawing back, we see that he is walking down a street in Mayfair. He arrives at a house, pauses, and rings the bell. The door is opened. BUTLER Mr Darcy. DARCY I have some business with Mr Bingley. Darcy goes inside and the door shuts. The camera cranes slowly upstairs until we can see through the first floor window and into the drawing room. Mr Darcy enters and bows to Mr Bingley. He starts to talk in earnest. Bingley looks stunned by what Darcy is relaying to him. We witness the dumbshow of Darcy confessing that he has wronged Jane Bennet. 112 EXT. LONGBOURN - DAY. 112 IS Lydia and Wickham are leaving. Mr Bennet stands at a distance. Mrs Bennet sobs as Lydia climbs onto the carriage. MRS BENNET Write to me often, my dear'. Wickham takes his leave of Elizabeth. WICKHAM Please relay my affections to the Darcy's on your next acquaintance. I am sure he will be pleased to hear things have worked out so well. He joins Lydia. LYDIA (through the window) Married women never have much time for writing. My sisters may write to me! They'll have nothing else to do. The Mrs Bennet and the girls watch as the carriage drives away. 0 104. MRS BENNET ¬Ä¢ Oh there is nothing so bad as parting with ones children! One seems so forlorn without them. ELIZABETH That is the consequence of marrying a daughter. It must make you better satisfied that your other four are single. 113 EXT. MERYTON VILLAGE - DAY. 113 Elizabeth and Jane are out shopping with their mother and sisters. Their housekeeper, Mrs Hill, comes out of the butchers shop. MRS HILL Did you hear the news, madam? Mr Bingley is returning to Netherfield. A stunned silence. Lizzie glances at Jane. She blushes. MRS BENNET Mr Bingley? Mrs Hill indicates a woman in the butcher's shop. MRS HILL Mrs Nichols is ordering a haunch Of pork, for she expects him tomorrow. MRS BENNET Tomorrow? (RECOVERING) Not that I care about it. Mr Bingley is nothing to us and I'm sure I never want to see him again. (MOVES AWAY) No, we shall not mention a word about it. (comes back to Mrs Hill) Is it quite certain he is coming? MRS HILL Yes, madam. I believe he is alone; his sister remains in town. MRS BENNET Huh! Come along, girls. Their mother goes into the draper's shop. Jane pauses at the threshold. 0 105. JANE ¬Ä¢ It's all right, Lizzie. I'm just glad that he comes alone, because then we shall see less of him. (BLUSHING) Not that I'm afraid of myself, but I dread other people's remarks. A brave smile. Lizzie, of course, is not convinced in the slightest. They go into the shop. 114 EXT. LONGBOURN -- DAY. 114 Mr Bingley rides towards Longbourn, a look of slight trepidation in his eyes. Darcy now comes into view riding along side him. They cross the moat bridge. 115 INT. DRAWING ROOM - LONGBOURN -- DAY. 115 Mary is practising her scales. Jane and Elizabeth are sitting at their work, with their mother. Kitty rushes in. KITTY He is here! He is here, he's at the door! ¬Ä¢ MRS BENNET Oh my goodness! Everybody act naturally. Jane completely freezes. Everybody else goes into a fluster. MRS BENNET (CONT'D) Whatever you do, do not appear overbearing. Kitty looks out through a window. KITTY Look. There's someone with him. Mr whats his name. The pompous one from before. Elizabeth looks through the window at Darcy, her heart leaps to her mouth. MRS BENNET Mr Darcy indeed! The very insolence of 0 0 it. What does he think of coming here? Elizabeth returns to her seat and sits down, heavily. Mrs Bennet hurries over to Jane and pinches her cheeks. ¬Ä¢ JANE Mama! 106. MRS BENNET ‚Ä¢ (to Mary - who is still PLAYING) Stop that and sit down! Find yourself some work! Oh Lord. They sit there, frozen, pretending to sew. The drawing room door opens and Mrs Hill shows in the two men. They bow. Bingley smiles warmly at Jane, who blushes. Elizabeth glances at Darcy. His face is strained. Mrs Bennet is all smiles for Bingley. She ignores Darcy. MRS BENNET (CONT'D) How very glad we are to see you, Mr Bingley! There are a great many changes since you went away. Miss Lucas is married and settled. And one of my own daughters too, you will have seen it in the papers though it was not put in as it ought to have been. Very short, nothing about her family. BINGLEY (SMILES) I did hear of it, and offer my congratulations. MRS BENNET - but it's very hard to have my Lydia taken away from me. Mr Wickham has been transferred to Newcastle, where ever that is. Thank heaven he has some friends. Mrs Bennet shoots a frosty glance at Mr Darcy. This is more than Elizabeth can bare. ELIZABETH Do you hope to stay long in the country, Mr Bingley? BINGLEY Just a few weeks. For the shooting. MRS BENNET When you have killed all your own birds, Mr Bingley, I beg you will come here and shoot as many as you please. MR BINGLEY Thank you - MRS BENNET - Mr Bennet will be vastly happy to oblige you, and will save all the best of ‚Ä¢ the covies for you. 107, MR BINGLEY ¬Ä¢ Excellent. ELIZABETH Are you well, Mr Darcy? DARCY Quite well, thank you. ELIZABETH Well, I hope the weather stays fine, for your sport. DARCY I return to town tomorrow. ELIZABETH (A PAUSE) So soon? MRS BENNET My Jane looks well, does she not? Mr-Bingley stands up abruptly. BINGLEY She does indeed. Well, I must be going, I suppose. Darcy - Darcy cannot quite believe it. He gives Bingley a harsh stare, Bingley has not completed his task. BINGLEY (CONT`D) It was very pleasant to see you all again. Elizabeth, Miss Jane.. Bingley can almost not bear to look Jane in the eye as he acknowledges them all very briefly and bolts for the door. Mrs Bennet fusses around him. MRS BENNET You must come again. For when you were in town last winter you promised to take a family dinner with us. I have not forgot you see. At least three courses. Bingley and Darcy take their leave, leaving the Bennets sitting in silence all looking at once another. Kitty is fit to burst out laughing, Elizabeth and Jane horrified by the awkward visit. 116 EXT. THE LANE - NEAR LONGBOURN - THE SAME. 116 ‚Ä¢ Bingley is pacing backwards and forwards in despair muttering to himself. Darcy looks at him in extreme frustration. 108. BINGLEY Oh damn, damn, buggery, damn. DARCY What were you thinking of? It's as if Bingley has not heard. He keeps pacing up and down. BINGLEY Damn and blast, oh buggery, damn. 117 INT. DRAWING ROOM - LONGBOURN - DAY. 117 The girls are now spread around the room. Jane in. despair. JANE Well, I'm glad that's over. We can now meet as indifferent acquaintances. ELIZABETH (LAUGHING) Oh yes? Jane, take care. JANE You cannot think me so weak as to be in ¬Ä¢ danger now. ELIZABETH I think you are in great danger of making him as much in love with you as ever. JANE I'm sorry, though, that he came with Mr Darcy. ELIZABETH (BLURTS OUT) Oh Jane, I have acted so stupidly. Had I been in love, I could not have been more blind! JANE (STARES) What do you mean? The door bell rings. KITTY (at the window) It is him. He's back. He's come again. ‚Ä¢ A stunned reaction. CUT TO: 109. Everyone has regained their decorous positions. They hear ¬Ä¢ Bingley's voice at the door and he comes in very awkwardly. He smiles. His face is crimson with embarrassment. BINGLEY I, erm, I know this is all very embarrassing, but I would like to request the privilege of speaking to Miss Jane - They all look at him. BINGLEY (CONT'D) - alone. MRS BENNET Girls. Everybody to the kitchen. Immediately. Oh, Mr Bingley. It is so good to see you again so soon. She ushers everyone out, not before squeezing Jane's hand. Now Jane and Bingley are alone, facing each other with extreme embarrassment. BINGLEY Miss Bennet, you have been the victim of a huge misunderstanding. Suffice to say, I have been an unmitigated and comprehensive ass. And therefore, I would like to ask you - CUT TO: 118 INT. HALLWAY - LONGBOURN - THE SAME. 118 Mrs Bennet, Kitty, Mary and Mr Bennet are all jostling for a position at the door in order to overhear events inside. MARY Ssssshhh! Elizabeth is apart from her family. She cannot bear to be there. She walks down the corridor and out of the house into the garden. Through a window she sees Bingley on one knee, her eyes fill with tears as she walks away from the house. - CUT TO: 119 INT. DRAWING ROOM - LONGBOURN - THE SAME. 119 ‚Ä¢ Bingley looks at Jane, desperately worried. A pause. JANE ‚Ä¢ Yes. A hundred times - yes. Mrs Bennet and the girls throw open the double doors to the drawing room and come crashing in. Bingley and Jane beam at them. MRS BENNET Thank the Lord for that. I thought it would never happen. 120 EXT. GARDEN -- LONGBOURN -- THE SAME. 120 Elizabeth is sat under a tree crying. 121 EXT. COUNTRYSIDE - OVER LOOKING LONGBOURN - THE SAME. 121 Darcy looks down at Longbourn. 122 INT. BEDROOM - LONGBOURN - NIGHT. 122 Mr Bennet and Mrs Bennet are in bed. MR BENNET I am sure they will do well together, ¬Ä¢ their tempers are much alike. They will be cheated assiduously by their servants, and be so generous with the rest, they will always exceed their income. MRS BENNET Exceed their income? He has five thousand a year! I knew she could not be so beautiful for nothing. The camera moves through to another bedroom - where Mary is reading a book out loud to Kitty - then to yet another ROOM: 123 INT. ELIZABETH'S BEDROOM - NIGHT. 123 Jane and Elizabeth lie in bed. JANE He has made me so happy. You know, he. was totally ignorant of my being in town last spring! ELIZABETH How did he account for it? ¬Ä¢ JANE He thought me indifferent! ELIZABETH Unfathomable. JANE No doubt poisoned by his pernicious sister. ELIZABETH Bravo! That is the most unforgiving speech you've ever made. JANE Oh Lizzie, if I could but see you so happy. If there were such another man for you! There is a noise outside. ELIZABETH Perhaps, if I have very good luck, I may meet with another Mr Collins in time. What is that? More noise, it sounds like a carriage, then a loud banging on the door downstairs. The girls look at each other. 124 INT. DOWNSTAIRS -- LONGBOURN - NIGHT. 12.4- Mr Bennet, Mrs Bennet and the girls lit by only candles have gathered. The door bangs again. MARY Maybe he's changed his mind. Timidly, Mr Bennet opens the door revealing a wide-eyed Lady Catherine de Bourgh. Everyone gasps. ELIZABETH Lady Catherine! Lady Catherine does not acknowledge her, but comes in uninvited, inspecting the assembled company of aghast Bennets. LADY CATHERINE (to Mrs Bennet) And these are your daughters, I suppose. MRS BENNET All but one, the youngest has been lately married your ladyship. And my eldest was only proposed to yesterday afternoon. ¬Ä¢ LADY CATHERINE You have a very small garden, madam. 112. MRS BENNET ‚Ä¢ I am sure it is nothing compared to Rosings, but it is larger than Sir William Lucas's, I can assure you. MR BENNET (TENTATIVELY) Could I offer you a cup of tea, perhaps? LADY CATHERINE Absolutely not! I must speak to Miss Elizabeth alone, as a matter of complete urgency. The Bennets all look at each other", bewildered by this strange turn of events. 125 INT. DRAWING ROOM - LONGBOURN - NIGHT. 125 Elizabeth leads the way into the drawing room - lights an oil lamp. Lady Catherine walks in. The door closes behind them. LADY CATHERINE You can be at no loss, Miss Bennet, to understand why I am`here. ‚Ä¢ Lit only by the oil lamp Lady Catherine resembles a flickering ghoul. ELIZABETH Indeed you are mistaken. I can not account for this honour at all. LADY CATHERINE Miss Bennet, I warn you, I am not to be trifled with. A report of a most alarming nature has reached me that you intend to be united with my nephew, Mr Darcy. Elizabeth stares at her, amazed. LADY CATHERINE (CONT'D) I know this to be a scandalous falsehood, though not wishing to injure him by supposing it possible, I instantly set off to make my sentiments known. ELIZABETH If you believed it impossible, I wonder you took the trouble of coming so far. LADY CATHERINE To hear it contradicted, Miss Bennet. 113. ELIZABETH (COOLLY) Your coming here will be rather a confirmation, surely, if indeed such a report exists. LADY CATHERINE If? Do you then pretend to be ignorant of it? Has it not been industriously circulated by yourself? ELIZABETH I have never heard of it. LADY CATHERINE And can you declare there is no foundation for it? ELIZABETH I do not pretend to possess equal frankness with your ladyship. You may ask the questions, which I may not choose to answer. LADY CATHERINE This is not to be borne. Has my nephew made you an offer of marriage? IS ELIZABETH Your Ladyship declared it to be impossible. LADY CATHERINE Let me be understood. Mr Darcy is engaged to my daughter. Now what have you to say? ELIZABETH Only this - if that is the case you can have no reason to suppose he will make an offer to me. LADY CATHERINE Oh obstinate girl! This union has been planned since their infancy. Do you think it can be prevented by a young woman of inferior birth, of no importance in the world and wholly unallied to his family? Whose own sister's elopement resulted in the scandalously patched-up marriage, only achieved at the expense of your uncle? Heaven and earth, are the shades of Pemberly to be thus polluted? Now tell me once and for all, are you engaged to him? ¬Ä¢ ELIZABETH I am not. 114. LADY CATHERINE And will you promise never to enter into such an engagement? ELIZABETH I will not. And I certainly never shall. Allow me to say, the arguments which you have supported this extraordinary application have been as frivolous as the application was ill-judged. You have, insulted me in every possible method and can now have nothing further to say. I must ask you to leave immediately. Good night. Elizabeth throws open.the door, revealing the family outside. LADY CATHERINE I have never been thus treated in my entire life. Lady Catherine storms past the family and out into the night. Elizabeth is standing shaking with the excitement of having stood so firmly up for herself. MR BENNET Lizzie, what on earth is going on? ¬Ä¢ ELIZABETH Just a small misunderstanding. She walks past them to bed. MRS BENNET Lizzie! ELIZABETH For once in your life. Just leave me alone. Everyone looks aghast at Elizabeth's reaction. 126 INT. BEDROOM - LONGBOURN - NIGHT. 126 Jane is fast asleep. Elizabeth unable to sleep. She quietly climbs out of bed and creeps out of the room. 127 INT. DRAWING ROOM - LONGBOURN -- THE SAME. 127 Elizabeth sits alone downstairs, thinking. Outside we see dawn is breaking. 115. ¬Ä¢ 128 EXT. LONGBOURN - DAWN. 128 Elizabeth creeps out into the garden and wanders around through the early morning mist, as the sun starts to rise. 129 EXT. COUNTRYSIDE OVERLOOKING LONGBOURN - THE SAME. 129 Elizabeth walks out into the open countryside. The mists are starting to evaporate. From out of the mist in the distance a figure emerges. Her heart misses a beat. She is alone, vulnerable. Then she sees it is Darcy. ELIZABETH Mr Darcy! DARCY What are you doing out here so early? ELIZABETH I could not sleep. DARCY Me neither. I have been up.most of the night. ¬Ä¢ Elizabeth hardly knows how to react at this unexpected meeting. Rather politely she thanks Mr Darcy. ELIZABETH Mr Darcy, I must thank you for your unexampled generosity to both my sisters. I know what kindnesses you have done for poor Lydia and suspect your hand in the happy resolution for Jane also. DARCY I am alarmed that you know of what I have been so in earnest to keep silent. But you must know that your happiness was one of my prime inducements. Elizabeth looks at Darcy. DARCY (CONT`D) I know you are too generous to trifle with me. I believe you spoke with my Aunt last night, and it has taught me to hope as I had scarcely allowed myself before. If your feelings are still what they were last April, tell me so at once. My affections and wishes are unchanged, but ¬Ä¢ one word from you will silence me forever. 116. Elizabeth is silent. 0 DARCY (CONT'D) If, however, your feelings have changed... Elizabeth gazes at him. DARCY (CONT'D) I would have to tell you, you have bewitched me body and soul and I love and love and love you. And never wish to be parted from you from this day on. Elizabeth looks at him. She does not say a word. Darcy is staring at her for a reply. A tear rolls down Elizabeth's cheek. ELIZABETH I am very happy to inform you that not only have my sentiments changed there are no other words which could give me greater pleasure. Darcy stares at her. They both start to cry. Darcy very, very slowly and gently touches her face. She closes her eyes. They kiss. She touches his face with her hand, the kiss becomes passionate. 130 INT. DRAWING ROOM - LONGBOURN - DUSK. 130 The place is in an uproar. Bingley, Jane, Mary, Kitty, Mr and Mrs Bennet are all gathered, fretting terribly about Elizabeth's whereabouts. Through a window we see Elizabeth lead Darcy along the duck board plank across the moat. Elizabeth enters the house, everybody starts. MRS BENNET Lizzie, where have you been. We thought something had happened to you. Darcy follows Elizabeth in. MRS BENNET (CONT'D) Mr Darcy! What on earth are you doing here? Elizabeth takes Mr Darcy's hand. ELIZABETH Mr Darcy has come to speak with Papa. Everyone is stunned. 0 CUT TO 117. ‚Ä¢ 131 INT. HALLWAY/LIBRARY - LONGBOURN - DAY. 131 Elizabeth paces outside the door of the library, waiting. After a while Darcy emerges, he gives Elizabeth the briefest of smiles and leaves the door open. Elizabeth walks in. Her father is in a state of shock. MR BENNET Lizzie, are you out of your senses? I thought you hated the man. ELIZABETH No, Papa. MR BENNET He is rich, to be sure, and you will have more fine carriages than Jane. But will that make you happy? ELIZABETH (UNCOMFORTABLE) Have you no other objection than your belief in my indifference? MR BENNET None at all. We all know him to be a proud, unpleasant sort of fellow, but this would be nothing if you really liked him. ELIZABETH (tears in her eyes) I do like him! (WITH PASSION) I love him! He's not proud. It's I who's been prejudiced, who didn't realize ... You don't know him, Papa...if I told you what he's really like. What he's done. MR BENNET What has he done? CUT TO: 132 EXT. GARDEN -- LONGBOURN - DAY. 132 Darcy, in an agony, paces up and down the lawn. He looks at the library window. CUT BACK TO: ‚Ä¢ 133 INT. LIBRARY - LONGBOURN - DAY. 133 Mr Bennet stares at his daughter. 118. MR BENNET Good Lord. I must pay him back. ELIZABETH (shakes her head) No, you mustn't tell anyone! He wouldn't want it. (PAUSE) We misjudged him, me more than anyone. In every way,not just in this matter. I've been so blind. He's been so blind! About Jane, about so many things. Then so have I... (BREATHLESS PAUSE) You see, he and I are so similiar...we're both so stubborn... (SHAKY LAUGH) Oh Papa... Mr Bennet gazes at his daughter-. He still can't quite take it in. MR BENNET You do love him, don't you? Elizabeth nods. ELIZABETH ‚Ä¢ Very much. He looks at her earnestly, searching her face. He loves his daughter very deeply. What he sees leaves him in no doubt. MR BENNET I cannot believe that anyone can deserve you, but it seems I am over-ruled. So I heartily give my consent. Elizabeth jumps up and puts her arms around him. MR BENNET I could not have parted with you, my Lizzie, to any one less worthy. ELIZABETH Oh thank you! She starts to rush out. MR BENNET (calls out after her) And if any young men come for Mary or Kitty, send them in, for I am quite at ‚Ä¢ leisure. 119. ‚Ä¢ 134 EXT. PEMBERLY - NIGHT. 134 We move through a vast wedding party, following Elizabeth and Darcy. We meet all our characters. Lydia and Wickham are missing. Let everyone have an end. Darcy and Elizabeth kiss, then Darcy pulls Elizabeth off into the shadows. We see them disappear into the park. Coming close, we see them in the moonlight. It's Darcy and Elizabeth. Deer turn to gaze at them. The music fades as they walk further from the house, up the hill, past the outcrops of rocks. An owl hoots. Darcy turns to Elizabeth and smiles. DARCY Allow me, Mrs Darcy. He puts out his hand. She takes it. He helps her up the rocks. When they get to the top they sit there, side by side, and gaze at the distant lights of Pemberley. ELIZABETH How did it begin? DARCY I cannot fix the hour, or the spot, or ¬Ä¢ the look. It was too long ago and I was in the middle before I knew it had begun. ELIZABETH Now be sincere, did you admire me for my impertinenc? DARCY For the liveliness of your mind, I did. ELIZABETH You may as well call it impertinence, though make a virtue of it by all means. My good qualities are under your protection, and you are to exaggerate - them as much as possible. And, in return, it belongs to me to find occasions for teasing and quarrelling with you as often as maybe... and I shall begin directly... We draw back-their figures diminish, smaller and smaller under the immense, star-spangled sky. . .Fainter and fainter, the sound of music and laughter... 135 FADE TO BLACK... 135 ¬Ä¢ THE END. \ No newline at end of file diff --git a/unformated_scripts/Script_Priest.txt b/unformated_scripts/Script_Priest.txt new file mode 100644 index 0000000000000000000000000000000000000000..e461a30839ae758914d1013e1abaf3be8a8e48ed --- /dev/null +++ b/unformated_scripts/Script_Priest.txt @@ -0,0 +1 @@ + PRIEST Written by Cory Goodman "I Pass the vale. I breast the steep. I bear the cross: the cross bears me." -- John Charles Earle Oxford Book Of Mystical Verse FADE IN: THE MOON. So fat and full in the night sky you can reach out and touch it. HICKS W. 0. This is what's known: There has always been man...and there have always been vampires. BLACK SHAPES swoop past the moonscape, vicious looking things. Much shrieking and wailing. Atop a STONE ZIGGURAT -- We see a GROUP OF MEN -- AZTEC WARRIORS readying themselves with PRIMITIVE WEAPONS -- SLINGS, BOWS, SPEARS. Tonight they know they will die. HICKS (CONT'D) Since the beginning -- the two have been locked forever in combat... The vampires were quicker, stronger and had the gift of flight. Quick glimpses of a bloody, brutal battle. Men screaming. Talons ripping. FIERY ARROWS launched against an unseen enemy. WHOOSH! With a HOWL, we see A MAN plucked off the ground, his body disappearing in the night. THE IMAGE DISSOLVES as -- the sky turns bright, the moon becoming a familiar ball of yellow gas. HICKS (CONT'D) But man had the sun. THE CAMERA TILTS DOWN to find another GROUP OF MEN -- more sophisticated than the first. Makeshift weapons made of metal and steel slung across their backs glinting in the sunlight. They stand before AN EARTHEN STRUCTURE, looks like a GIANT WASP NEST. Unsheathing their weapons, they step grimly inside. We HEAR a HISSING WAIL and the wielding of steel. HXCKS (V.0.) (CONT'D) And so it went like this over many years. As man and vampire both evolved -- the wars became bloodier. From afar, we see GIANT STACKS OF CORPSES as hydraulic machines stack the black bodies into pyres as big as buildings, smoke rising to the sky in twisting columns. A LONE MAN 2. Stands at the base of one of the mammoth pyres. Even from this angle we sens e his quiet dignity. HICKS (V.0.) (CONT'D) Then came THE PRIESTS -- The Man turns and we see his face is shadowed by a large CROSS TATTOO, cutting across his eyes and down the center. HICKS (V.0.) (CONT'D) -- Specially trained warriors in the art of vampire combat. They single-handedly turned the tide for the humans. Quick glimpses of a GROUP OF PRIESTS battling a FURY OF VAMPIRES (we still do not get a good look at them). Their technique is otherworldy -- combining the brutality of a Maori Warrior. with the grace of a Samurai. The--combat-is intense. Glorious. An explosion of blood and s b m i l HICKS (V.0.) (CONT'D) Over time the vampire threat faded. The once fierce race now fatally diminished. A shadow of what they once. were. Through heavy smoke, we see a pile of VAMPIRE CORPSES, a ragged collection of fangs and claws. HICKS (V.0.) (CONT'D) The remaining vampires were put Into camps and -- by decree of the High Clergy the Priests disbanded. The former warriors to be integrated as members of regular society. We see a WAX SEAL pressed onto an ancient parchment. The document carefully rolled and stored in an ORNATE CHAMBER. HICKS (V.0.) (CONT'D) The human race thrived in relative quiet. The vampire menace quickly forgotten for other, more modern threats. (BEAT) And the few surviving Priests faded Into quiet obscurity. The chamber is closed. We see an encrusted key turning in a heavy set lock and we -- FADE TO BLACK. .s. Our story begins with the rusty SCRAPE of a windmill... FADE IN: EXT. THE WASTELAND - DAY Dust swirls in nasty tangles. A LONE MALE FIGURE moves across the plain, long and lean in overalls. AARON PACE. Shadows flicker across his sunburned face, the windmill looming above him. in his hands is an ELECTRONIC DEVICE, he plunges it into the earth. It makes a series of CLICKING SOUNDS, reading the soil. Aaron looks up to see the silhouette of a WOMAN standing in the doorway of his CABIN. He smiles, waving to her. His wife. INT. OUTPOST 10 (NURSERY).- DUSK A pioneer's wood cabin. Aaron sits surrounded, a lattice work of vines covering the walls and floors in beautiful patterns. Not a trace of soil anywhere in the room, everything hydroponically grown. SHANNON (O.S.) Supper's on! He smiles, studying a. stunning RUBY RED FLOWER, separate from the others. His crown jewel. He closes the door and enters -- THE KITCHEN SHANNON PACE carries a bowl filled with a steaming green broth, placing it on the dinner table, moving aside a tiny FIGURINE OF JESUS. The surrounding furniture cluttered with religious knickknacks. SHANNON (CONT'D) You been spending an awful lot of time behind that door. Makes a woman suspicious. AARON Special project. It's taking a little more time than I thought. SHANNON Nothing special about milkweed. Unless you like a thorn in the finger. 4. I AARON It's not Milkweed. Not this year. SHANNON What is it? AARON You'll see. His eyes skate to her face moving in for the kiss -- but he's INTERRUPTED BY LUCY (0.S.) Yuck. Pershing-stew again. Their DAUGHTER (13). Already a heartbreaker. This girl is too young, too pretty to be out here in the badlands. LUCY (CONT'D) I can't do it anymore. This outpost. Being all cooped up like this. I'm going CRAZYL AARON Honey...we know this hasn't been easy for you -- In two years someone else'll study the soil and this'll be their outpost. But for right now -- this is my job. LUCY I don't know what it's like to have a best friend. To have any friends. I want to have a crush. I want secrets. (SIMPLY) I want a life. Shannon looks at her husband. She knew this day would come. SHANNON Aaron. She's thirteen -- She should be with children her own age. Aaron lets out a breath. AARON Okay. Next year, we'll figure out a way to get you to a school close by. In town. LUCY BUT 5. AARON N year -- that's still plenty of time for you to have a "crush". Lucy deflates, knowing this is as good as it's going to get for awhile. Aaron takes her hand. AARON (CONT'D) Tomorrow I'm heading in town to file. You come with, help your old man out, get a change of scenery. OK? (BEAT) Now c'mon, stew's getting cold. Bow your heads and say grace. The family clasps hands. Whatever their differences, there's a bond here. LUCY Dear Lord we thank you for what we are about to receive. Blessing us with your gifts... She.speaks with her eyes clenched shut, words spoken sincerely, nothing perfunctory about it. She's a believer. LUCY (CONT'D) We thank you for the earth and the sky and for your bounty through Christ our Lord -- She.stops, opening her eyes -- staring at the plates and glasses on the table. They're RATTLING. LU C Y (CONT'D) Daddy? AA RON Shh. He cocks his ear, heading a low rumble. Although he's never heard the sound before...he knows it can' only mean one thing. Trying to remain calm, Aaron goes to the window. OUT THE WINDOW Framed by a BLOOD MOON hanging over the horizon, a DOZEN BLACK MOTORCYCLES race across the plain, ENGINES thundering. 6. The Jesus figurine falls off the table, SHATTERING to the floor. Aaron looks at Shannon, an expression on his face she hasn't seen before - AARON (CONT'D) Get the boards) LUCY (ALARMED) What's going on? Aaron doesn't answer, Shannon helping him position pre-cut planks across every window and door. Each with an iron-cross strut for support EXT. OUTPOST 10 - SAME The CYCLES circle the house, kicking up dust in sheets. INT.. OUTPOST 10 - SAME The ROAR of the engines fills the house as Aaron pulls a POWERFUL LOOKING GUN from the drawer. He drops it, obviously not familiar with firearms. AARON Get by me. Shannon-and Lucy crouch at his feet. EXT. OUTPOST 10 - SAME The cycles cut their engines, headlights centered on the house. A blistering spotlight. It's quiet. The RIDERS step from their machines. We don't get a look at their faces as one by one they LEAP onto the house and windmill, SKITTERING across the walls and roof like spiders. The blades of the windmill slowly come to a stop. 11U. OUTPOST 10 r- SAME The power goes out, everything going black. LUCY (TERRIFIED) Daddy? 7. We hear the Riders crawling over the outside of the house. Snarling, howling, making terrifying sounds. Then the worst sound of all. Wood being torn apart. BLAM! BLAN! Aaron SHOOTS like crazy, the white light MUZZLE FLASHES providing glimpses of SHAPES moving inside the house. BLACK BODIES blown back. Shrieking. Everything happening lightening fast. Finally, the gun clicks empty and we're plunged back into darkness. THE LIGHTS COME BACK ON Aaron is still standing, the house in shambles around him. He's alone. AARON SHANNON! From outside we hear the cycles revving. Aaron runs to the door. Rips off the board in time to see -- EXT. OUTPOST 10 - SAME The motorcycles racing away, a cloud of dust in their wake. Aaron runs after but TRIPS on -- SHANNON Her body lying in the dirt, head lurching at an obscene' angle. He brushes back her hair -- ere' g UNCT_URE MABKS in hem neck. Crying, he cradles his, wife. Feverishly looking around for AARON LUCY! He keeps screaming but it's no use -- as the-motorcycles fade in the night he knows -- They've taken her. The CAMERA TILTS to the MOON hanging above the plain. it turns BLACK as we now find ourselves peering into -- 8. EXT.. CITY FIVE/DISTRICT TWELVE - DUSK The lip of an ENORMOUS SMOKESTACK. One of hundreds. A seemingly endless brick forest reaching to a sky heavy with soot and ash, while below, miles of FACTORIES stretch and stretch. A STEAM WHISTLE BLOWS Quitting time. Hundreds of WORKERS trail listlessly from a massive brick and stone COMPLEX. Grey faces betraying another day's toll. A TATTOOED FIGURE moves through the crowd, people stepping out of his way. They do this not out of respect. . .but fear. We don't get a good look at him. Just FLASHES -- Shaved head. Eyes like nail guns. Tendons clenching over muscle. As he walks,people whisper. He hears all of it. He heads into the streets. CITIZENS hurry by, some with. surgical masks over their mouths. There's a pale, sickliness to them. Malignant. The Figure suddenly stops. He cocks his bald head -- Something's caught his attention... EXT. ALLEY - NIGHT We move through trash and shadow finding -- A gang of FACTORY WORKERS, uniformed, surrounding a GIRL (12). Their LEADER holds her close, BUTCHER KNIFE at her throat. Mouth at her ear. LEADER Go ahead ...scream. (SMILES) Scream for daddy. He hears a noise, looks up and sees a SILHOUETTE standing at the head of the alley. 9. LEADER (CONT'D) Looks like daddy's already here. (points the knife) Well, then. Come on daddy...make it better. The Figure steps into a pool of white light, giving us our first good look at him -- A LAL RGE AK CROSS TATTOO shadows most of his-- a e. Across the eyes and down the center. The Mark Of The Priest. LEADER (CONT'D) (LAUGHS) A Priest! Well, lookie here.. We got us a real life war-hero boysl Heard you guys were real baddasses. The Workers all pull out large knives. LEADER (CONT'D) Guess we'll find out. They move in on Priest, chemicals burning in their blood, mouths leering. Priest folds his hands into the prayer position. The Workers look at each other. Laugh. WORKER #1- What's he gonna do. . .BLESS us to death? VOOMI -- There's a whirling SNARL of sound -- the sonic equivalent of a back flip and -- Pries is holding their knives. Before they can react, he throws the knives into their feet. They HOWL, pinned to the concrete. Scared, the leader clutches the girl, pressing against the brick wall as Priest moves towards him. LEADER This ain't the war no more. You got no right meddlin'. (BEAT) You don't belong here -- You ain't one of us. 10. And with that he RAISES the blade to the girl's throat -- C WHOOSHI A sudden RUSH OF AIR. The leader looks at the girl's neck, his blade's gone. So is his hand. Priest holds the severed limb, its fingers still clutching the blade. The Leader collapses, a Holy Shitl expression frozen on his face. THE GIRL Gawks at Priest, possibly more frightened of him than the workers. He turns to her, wanting to comfort her but not knowing how -- She flinches and runs away, disappearing into the street. A BEAT as Priest pries the butcher blade from the hand, wiping it off. Tucks it in his waistband. He moves on. EXT. CHURCH (ESTABLISHING) - NIGHT Gone to seed. The once proud house of God now a sad collection of moldering stone and cracked stained glass. INT. CHURCH PUSH past row after row of empty pews. We stop on the CONFESSIONAL BOOTH -- a foot sticking out from the door -- INSIDE THE BOOTH FATHER KOEPPEN, body skinny and ravaged. The old man pours himself a drink and downs it. Coughing. The confessional door opens, someone steps inside the other booth. We can't see who it is. FIGURE' Bless me Father for I have sinned...again. The voice is like gravel from the bottom of a deep well. Quietly commanding. Koeppen knows it well. 11. KOEPPEN I caught the ambulance picking up what was left of the factory boys...figured it was your handywork. The Shape leans forward, we see it is Priest. PRIEST This time there was a little girl. KOEPPEN if this keeps occurring it'll be .impossible to keep it from the Clergy. You'll get us both excommunicated. Priest gazes into the vestibule, his voice almost a whisper. PRIEST I want to see the other Priests. KOEPPEN You know you can't. The Clergy forbids it. PRIEST Why? KOEPPEN They have their reasons. Priest flicks his eyes over Koeppen as if he could see through the vestibule, but his expression doesn't change. PRIEST And their reasons for building more and more factories? The sky is turning black. KOEPPEN Since when is. industriousness a sin? Did Jesus not teach us to be productive? (BEAT) As your appointed counselor take my advice, . .Relax -- Take up a hobby, pick a vice. Make friends. PRIEST You're my friend. KOEPPEN I'm a wicked old man who'd sell his parish for a pint of whiskey. Priest seems to deflate, his hard shell cracking. 12. PRIEST I don't know what's happening to me. (7, Questions. Doubts. I'm not sure what it is. Koeppen slides the vestibule open so they are now face to face. KOEPPEN The devil comes in many shapes. Do yourself a favor, keep your head down. Be smart. And most of all remember your oath... He hands Priest a set of ROSARY BEADS. KOEPPEN (CONT'D) "To go against the Church is to go against God". This statement has always been the boilerplate of Priest's existence -- but tonight, it Just sounds like empty dogma. He squeezes his eyes shut, clutching the,rosary as we CUT TO: INT. LOBBY OF TENAMENT BUILDING - NIGHT Garbage litters the floor. The sound of water dripping. Priest stands, waiting for the lift to arrive. A BOY AND HIS MOTHER wait too. The boy stares at Priest, fascinated, his mother doing her best to pretend not to notice him. The elevator arrives and they step inside. INT. LIFT - MOMENTS LATER As it rises, a single bulb flickers above. Buzzing. The boy continues to stare at Priest, bewitched by the tattoo. BOY (TO PRIEST) Did it hurt? The lift grinds to a stop. The mother quickly pulls her son out as the door rolls open, glaring at Priest, disappearing down a dark corridor. And only now does Priest answer. 13. PRIEST (SOFTLY) Yes. The lift door clatters shut. CUT TO: INT. PRIEST'S APARTMENT - NIGHT Sparse, containing only what's needed. Priest peels off his shirt revealing a constellation of old battle scars -- Punctures. Scratches. Bite marks. His skin showing the early signs of aging. He goes to the lone decoration in his apartment -- A FADED PHOTO OF THE PACE FAMILY He takes the picture off the wall, studying it. The image bringing him peace. From the streets below, the sound of a GUNSHOT. He looks at the rosary beads, still in his hand. He turns out the light. CUT TO: INT. BEDROOM - 3 AM Unable to sleep, Priest sits on the edge of his bed. Praying. There's a knock at the door. PRIEST Who is it? MESSENGER (0. S.) Messenger. Priest opens the door. A MESSENGER holds up a PUNCH CARD. MESSENGER (CONY ' D) I gota Priority Punch. Originated in the wasteland. Priest takes the card, the man writing up a receipt. 14. INT. PRIEST'S APARTMENT - MOMENTS LATER Priest goes to a WOODEN BOX, feeding the punch card into it. A Rube Goldberg-like device of PULLEYS and WINCHES squeaks to- life, like a sail, a SCREEN rises and Aaron appears, his image a smudge. He looks awful. A man at the end of himself. AARON (FILTERED) L-Lucy's gone. They t-took her. I tried to stop 'em. I knowouu're..."retired". But can you find her? Find her before --. (SOBS) They killed Shannon. The screen goes blank. Priest shuts his eyes, making the sign of the cross. His hand curls into a fist. EXT. CLERGY CITY (ESTABLISHING) - LATER THAT NIGHT Magnificent. At the Cities center, a municipal of baroque BASILICAS AND .CHURCHES -- all safely walled off from the rest of the metropolis. INT. CLERGY CHAMBER - NIGHT Giant shafts of moonlight hit a marbled floor. Priest and Father Koeppen are led by FOUR OFFICERS before A TRIBUNAL OF MONSIGNORS (all at least in their 70's). They sit behind a giant table cloaked in the florid robes of their religion. Men of scripture, creed and doctrine. Priest kneels, bowing his head. PRIEST Thank you for meeting with me on such short notice, Monsignors. Even the Monsignors are uneasy'around Priest. Their leader, ORELAS, leans forward, addressing him. MONSIGNOR ORELAS Father Koeppen notified us of the situation. Our prayers are with your family. 15. PRIEST I come before you because I would like my authority to be reinstated. MONSIGNOR ORELAS On what grounds? Priest is taken aback. PRIEST She's my blood, Monsignor. MONSIGNOR ORELAS The proper authorities are handling the situation. I'm sure they'll.do a fine job. PRIEST The proper authorities? MONSIGNOR ORELAS All occurrences of vampire. disobedience and felonies are strictly a Federal matter now. (BEAT) You Priests did too good a job. The vampire population is classified as endangered. They're protected. PRIEST But Monsignor...they are the enemy. MONSIGNOR ORELAS Were.the enemy. The war ended a long time ago. PRIEST Not so long that we should forget what they are capable of. MONSIGNOR ORELAS You would do well to remember the words of our Savior: Turn the other cheek. Embrace your enemies. (BEAT) It is not our place to interfere --- or yours. Priest looks up, obviously in great turmoil. PRIEST- I can be of.great service to the investigation. I -can 16. 0 The tribunal shifts uncomfortably, intimidated by Priest. Orelas stands. MONSIGNOR ORELAS You forget yourself, Priest... It has been brought to our attention that you have engaged in a number of transgressions. Tell me...do you feel yourself to be above God? PRIEST No, Monsignor. MONSIGNOR ORELAS Engaging in any kind of practice is sacrilege -- You bring shame upon our house. Priest turns the full force of his gaze on him. PRIEST "Let your light shine before men, that they may see your good works and glorify your Father which is in Heaven" -- MATTHEW 5:16 ¬Ä¢ The Monsignor POUNDS the table. MONSIGNOR ORELAS You dare quote scripture to met Questioning the . authority. of the Clergy is forbidden1 If you engage in another transgression.you will be stripped from the Order and excommunicated immediately. Do I make myself clear? PRIEST Yes, sir.' MONSIGNOR ORELAS I said do I make myself clear,. Father. PRIEST Yes, Monsignor. MONSIGNOR ORELAS You're a soldier. God's soldier-- Act like one. (BEAT) Remember your vow: "To go against the Church is to go against God". 0 The officers start to lead Priest and Koeppen out the chamber, 17. MONSIGNOR ORELAS (CONT'D) -- Eather..Kam, please stay behind for a moment, a .we have something we need to discuss. Off Koeppen's expression we CUT TO: EXT. SOUP KITCHEN - ESTABLISHING HOMELESS stand single file, wrapped around the corner, black flakes of ash drifting down as they await tonight's supper. INT. SOUP KITCHEN - NIGHT Priest sits alone, rosary beads clutched in his hands. He looks up to find Koeppen, the old man staggering as he downs an EXPENSIVE BOTTLE OF WHISKEY, three sheets to the wind. KOEPPEN I knew I'd find you here. He sits, pouring himself another drink, toasting the poor souls at the surrounding tables. KOEPPEN (CONT'D) How many nights in this very spot? You with your endless questions on the nature of suffering-Me with none of the answers. Priest doesn't even acknowledge him, lost in his thoughts. KOEPPEN (CONT'D) Well, now I'm the one with a question. This one's a riddle. (BEAT) What is greater than God-but more evil than the Devil? The poor have it, the rich need it -- and if you eat it...you'll die. Priest looks, up, his eyes cold. PRIEST Why won't they listen to me? A beat. Koeppen takes another drink. KOEPPEN Okay. I'm going to.give you one more riddle and if you listen close - you might just hear an answer to your question. (clears his throat) (MORE) 18. KOEPPEN (CONT'D) How can a man who spent his whole life searching for devils miss the ones staring him in the face? From behind, a CLICKING sound. Priest turns to find an OFFICER standing, LASER-GUIDED SHOTGUN pointed at him. The soup kitchen suddenly deathly quiet. KOEPPEN (CONT'D) The Church feels it's better to keep you under its care...at least until this trouble with your niece blows over.. PRIEST You know I can't do that. KOEPPEN That's what I figured. TEN TROOPERS IN FULL RIOT GEAR STORM IN Jackboots CLACKING, they form a circle around Priest and Koeppen. Guns SNAP into place, laser points dotting his body. Priest looks at Koeppen -- betrayed. PRIEST Why? KOEPPEN (TOASTING RUEFULLY) "To go against the Church is to go against God'. Priest looks around the room -- FAMILIES AND HOMELESS huddle at the surrounding tables, terrified. There's only one thing left for him to do. PRIEST Then ...I go against God. In an eyeblink -- Priest strips the gun from the nearby officer, CRACKING it against the trooper's head, his attack graceful and precise -- a whirlwind of PINPOINTED BLOWS and SHATTERED BONES. When it's over, eleven troopers lie on the ground writhing. Everything goes quiet. 19. ANGLE ON: A LITTLE BOY He breaks, from his father.'' knee, slowly moving towards the window, drawn by a FLICKERING SHADOW. His mouth drops open as -- WHAM! -- TWENTY MORE TROOPERS PUNCH through the windows in unison, showering everybody with glass! BULLETS whistle through the air, everyone SCREAMING as they scramble for cover. The father diving for his son. PRIEST Folds his hands into the prayer position. VOONI There's a POP OF AIR and --- ' SILENCE The: troopers look around confused -- their guns have disappeared. A..., ON A NEARBY TABLE A neat pile of shotguns sit, every FIRED BULLET collected harmlessly in a clean circle around them ...as if picked out of thin air. THE LITTLE BOY is somehow back with his father, the two safely holding hands, staring stupidly at each other. Priest is gone. KOEPPE4 Looks at his fancy whiskey bottle, inside now floats Priest's ROSARY BEADS. He fishes them from the bottle, hand shaking. KOEPPEN Heaven help us. He takes a swig. CUT TO: INT. CHURCH - NIGHT The STRIKE of a match -- a prayer candle is lit, glowing in the darkness. 20. AT THE ALTAR Priest kneels, eyes clenched shut in prayer. A large figurine of Jesus on the cross looms over him. The Christ is expressive -- He suffers. PRIEST oh my God...I am sorry for. having offended you. it was never my intention to do so... His words continue OVER EXT. STORAGE UNIT - NIGHT Priest standing in front of a STEEL DOOR. Hasn't been opened for some time. PRIEST (O.S.) I want so much to firmly resolve with the help of your grace to sin no more and to .avoid the near occasions of sin. INT. STORAGE UNIT - NIGHT The DOOR slides open just a crack. A sliver of light landing on a piece of BLACK SCULPTED METAL. PRIEST W.S. CONT'D) But I can't. EXT. STORAGE UNIT NIGHT An ENGINE ROARS, RUMBLES, idling... a throaty GURGLE... Priest pulls out on a BLACK MOTORCYCLE if this thing were a horse it'd be the ultimate stallion-- Pulse engine. Nitrous. The works. A panel of black titanium solar cells covers the bike like armor. He races onto the street. EXT. STREET - NIGHT Sheets of rain fall like lead. Pooling in the gutters. PRIEST (O.S.) All I can do is ask for forgiveness for what is yet to come... 21. The cycle knifes through the city. Expertly working his way through congested streets. Moving past tent cities, stockyards and rusty industrial machinery. EXT. CITY LIMIT - NIGHT We see a MASSIVE WALL -- A hundred feet high, surrounding the city. Priest pulls up to a CHECKPOINT TOWER. A PHALANX OF GUARDS with big shotguns at the ready, snapping into place. Mugs like anvils. PRIEST (O.S.) I now know the devil lives within me. The sins coming all too easy... Still on his bike, Priest's foot touches the ground, blocking our view as we CUT TO: EXT. CITY LIMIT - MOMENTS LATER THE MASSIVE DOOR/WALL sliding open with a KLANG1 revealing the wasteland. PRIEST (0.3.) And all too frequently. Priest REVS his bike, gunning out the doors. UNCONSCIOUS BODIES left in his wake. CUT TO: EXT. WASTELAND - DAY Blazing sun. An endless plain of cracked earth. Nothing around anywhere... VROOMI Priest's cycle streaks across the salt flats. It's glorious. EXT. WASTELAND - LATER Priest rides past a line of ANCIENT STATUES dominating the landscape, each representing one of the seven deadly sins, sentinels marking the boundary into the deep wasteland. He FLOORS it, the bike PUNCHING for the horizon, a thick plume of dust funneling behind it... CUT TO: 22. EXT. OUTPOST 10 - NIGHT It's quiet, Just the sound of the rusty windmill. The only light provided by the moon reflecting off Priest's cycle, he's just arrived. He crouches, examining,a fresh TIRE TREAD. He stares, taking in the landscap e, feeling it. Then he steps inside the cabin -- INT. OUTPOST 10 It looks like a war zone. Splintered furniture everywhere, sprays of dried, black blood over the floorboards. He brushes away rubble and finds a DRESS, Shannon's. Putting his face to it, he inhales, his expression softening. BEHIND HIM Quietly, A COWBOY HAT and a SHOTGUN BARREL emerge from a hole in the floor. COWBOY HAT Alright, now -- Not another step. Climbing out from the hole, both barrels pointed, is SHERIFF HICKS (22). You could say the name fits. But you'd only be half right. HICKS Thought you'd come back for a souvenir, hub? You gotta be the dumbest bloodsucker I ever come across. Priest steps into a pool of moonlight, illuminating his face. PRIEST If I was a vampire you'd be dead already. The cross tattoo, a striking image. Hicks stares, pushing his hat back on his forehead. HICKS I'll be dammed. He casually spits some ATOMIC CHAW, hitting the floorboards with a SIZZLE. CUT TO: 23. EXT. HALBRIDGE - NIGHT Hicks and Priest ride in tandem across the plain. Hicks' bike a standard police vehicle, nothing fancy but reliable. They head towards town, passing aWOODEN SIGN`-- HALBRIDGE EXT. HALERIDGE (MAIN STREET) - NIGHT At a glance this seems like one of those frontier towns from an old western. TOWNSPEOPLE gather around a SNAKE-OIL SALESMAN, the man pitching his wares before a painted van reading DR. TOMLIN'S MEDICINE SHOW. TRANCE MUSIC wafts from the nearby saloon. SNAKE OIL SALESMAN Do I ask for three dollars?' Do I ask for two dollars? No folks! ONE dollar! One piece of tin and protection is yours! PRIEST AND HICKS Pull up in front of the Jail. Hicks eyes the salesman, coolly dismounts and adjusts his hat. HICKS ‚Ä¢Scuse me a minute, He heads towards the crowd, the salesman continuing his pitch. SNAKE OIL SALESMAN Vampires are a deadly lot! YOU could be next I I seen a Blackblood bite a man like a gingersnap! The only sure way to be safe is a bag of DR. TOMLIN' S WONDER POWDERT (holds up a sack) If you care about your loved ones then you MUST have this amazing elixir in your homes tonight -- WHOOSH! A KNIFE slices through the air, spears the sack and pins it to a nearby wall with a THUNK. Hicks steps to the front of the crowd. it's his knife. HICKS You best get in that van and clear on out, mister. 24. SNAKE OIL SALESMAN For what reasons? I'm a legitimate business man. Hicks PULLS his SIX-SHOOTER, cocks it. HICKS I got six right here. SNAKE OIL SALESMAN Sheriff, I am shocked you can be.so cavalier with the safety of your TOWNFOLK -- HAM! A bullet blows out the van's headlight. HICKS That's one. KAPOW! The windshield cracks like a spiderweb. HICKS (CONT'D) Two. Immediately, the salesman quickly packs up his wares, scrambling for the van door. As he gets in, he catches a look at Priest, pauses a moment, then starts up the vehicle and quickly PEELS away. Hicks pulls the knife from the wall, holds the bag up to the crowd. HICKS (CONT'D) Now you all listen up. This bag ain't good fornothin' but linin' that man's pockets with your hard earned money. Much shuffling amongst the people -- they trust in their sheriff but they're frightened. An older man named, CROCKER, steps up. CROCKER You don't know'that. You're just a kid. HICKS I seen enough two-bit hustlers and carry barkers. He ain't no better. CROCKER But what if he's right? Hicks tosses the sack to Crocker. 25. HICKS Take a look. (Crocker does, the contents spilling to the ground) Ain't nothin' but sand, flour and maybe 'a little garlic.. Oldest trick in the WASTELAND: (TO EVERYONE) Now I don't blame you for bein' afraid. But those vampires headed clear .on out and they ain't comin' back. WOMAN And what about the girl? Hicks pauses. This is not easily said. HICKS I filed a report with the Cities last night. I'm sure they're Join' all they can. The townspeople mutter amongst themselves. Hicks looks over to Priest, a GROUP OF CHILDREN have already gathered,. pointing and whispering at him. INT. SHERIFF'S STATION - A FEW MINUTES LATER A hole in the wall. A few wanted posters and postal warrants tacked up on a board beside asingle jail cell. Hicks leads Priest inside. HICKS I've already had one of the boys send for your brother. We got him put up at Paddy's place. Priest gazes out . the; window. A group of TOWNSPEOPLE are milling out front, staring at him.. He pulls down the shade. HICKS (CONT' D) You're gonna have to excuse the attention.. We don't get strangers `round here too much -- "Specially no Priest. 'Course we ain't never had no vampire attack in.these parts before. (eyeing Priest.) But then you're just here to perform the service, right? Priest doesn't reply, staring at a yellowed wanted poster. 26. HICKS (CONT'D) Never much of a believer myself. I figure I got one bullet to shoot. I'm gonna shoot it my way... not how some BOOK tells me to. (SPITS) But I do hear things...it true what they may about you folks? (BEAT) You can fold time? At that, Priest turns, looking at Hicks. Before he can answer the door opens and -- AARON comes through, looking older than the last time we saw him. Seeing Priest, his face cracks, smiling for the first time in days. AARON You came. Overcome, he wraps his arms around his brother, embracing. him. Priest hugs him back. EXT. CEMETARY ' - DAY A BLIND GRAVEDIGGER plays an old.SQQUEEZEBOX, hands expertly working the bellows. He's done this for every.,funeral in Halbridge for the last fifty years. The sad music drifts across the wasteland. SHANNON'S COFFIN Lies in a freshly dug hole. Priest sprinkles dirt across.the casket, offering prayers. Aaron watches,. silently. A GROUP OF TOWNSPEOPLE encircle the grave. Everyone wearing black goggles for protection from the swirling dust. HICKS Stands apart from the others, hat in his hands. His eyes focused on Priest. Not even watching as -- Aaron plants the RUBY RED FLOWER at the head of the grave. Its glorious color almost obscene in this barren wasteland. CUT TO: 27. INT. PADDY'S PLACE - DAY A DOG rests lazily in front of a rotating fan. PADDY'S a bear of a man, the town bachelor. He plops down two bowls of brown stew before a waiting and hungry Aaron and Priest, The gruel smells foul, tastes fouler. PADDY Jackrabbit Stew. Never served no man of the cloth before. Hope you like it spicy, Father! He stands over both of them, eager for a response. Priest takes a sip, grimaces, tries his best to smile but fails hideously. PRIEST .Delicious PADDY (slaps him on the back) `Course it isl it was me Ma's recipe. As Paddy jubilantly walks away, Priest puts the bowl on the floor and the dog pads over, eagerly lapping it up. Aaron smiles. AARON How come you never came round more? You know you were always welcome. PRIEST I know. AARON After the war was over we figured you'd stay with us. Shannon was real fond of you. Lucy too. She was always asking about you. Uncomfortable with the conversation, Priest pulls out a map, unrolling it onto the wooden table. He moves his finger across the paper. PRIEST The pack headed in this direction. There's a reservation up that way so that's where I'll start. AARON if anyone finds out you're doing this -- 28. o r PRIEST You're my brother. Aaron nods. This is enough, PRIEST (CONT' D) I'll find her. AARON And you' 11 bring her back to me. Something in Priest's face darkens. He doesn't answer, not able to look his brother in the eye. CUT TO: INT. GUN SHOP - DAY A SHOPCLERK mops the floor, guns of all types lining his walls. Everything from old Smith and Wesson's to the latest and most powerful hand cannons. With a jingle, the door opens revealing Priest. The clerk smiles. All he needs is one look and he knows -- This guy's good for business. CLERK Good afternoon, sir! How may I be of service? PRIEST I need bullets. CLERK How many? PRIEST How many do you have? The clerk laughs... then realizes he's serious. CLERK No offense, Father. You got a permit, right? PRIEST I have this. He pulls out a sack of coins, it hits the counter with a solid THUD. The clerk smiles wider.. 29. ,S, INT. PADDY'S PLACE - NIGHT Hundreds of bullets all orderly lined on a table top. Priest site with his back to us, hunched over a candle. We're unable to see what he's doing. Aaron picks up a bullet, twirling it in the light. AARON Maybe if I knew how to use these she'd still be alive. PRIEST Sometimes things just happen. Fault's got nothing to do with it. AARON Funny. I'm the one who used to say that. You were the one who always said everything was God's will. Priest takes the bullet from him. PRIEST I'm not so sure anymore. There's a KNOCK at the door. Aaron opens it slightly. It's Sheriff Hicks. HICKS Aaron. AARON Sheriff. HICKS You mind if I have a word-with your brother? An awkward BEAT as the two stare at each other. Both knowing what the other's thinking. PRIEST (0.S. It's alright. Let him in. Eyeing Priest, Aaron lets the Sheriff in, shutting the door behind him as he leaves. The vibe in the room is uncomfortable -- Priest not even acknowledging Hicks. HICKS I'm sure you're well aware of the Vampire Protection Act. (MORE) 30. HICKS (CONT'D) it strictly states it is forbidden for anyone to hunt vampires anymore. C Priest doesn't say anything, he just keeps working. HICKS (CONT'D) These days, things go through proper channels. Paperwork drawn up. investigators called in. Procedures followed. (spits, a wad of tobacco) 'Course we both know after a week, girls taken by vampires either and up dead or worse -- turned. (THINKS) I'm sure you also wouldn't be surprised to know my office's'been contacted. I'm supposed to arrest you on sight. He pulls a SHINY OBJECT from his pocket, puts it on the table beside Priest. HICKS (CONT'D) On the other hand -- if I go after Lucy there'll be a warrant on mybead too...and that'll put us in the same briar patch. O Priest looks at the object -- It's Hicks' sheriff's badae. Five points glowing brightly in the candlelight. HICKS (CONT'D) We leave at sun up. Priest turns. A moment as each man studies the other. PRIEST Why? HICKS We're the only chance she's got. Priest picks a bullet from the table, a carefully notched CROSS now in its tip (this is what he's been doing). He SNAPS it in the air. PHHHHTTI Hick's knife FLIES across the room, PINNING the bullet to the wall. A thin trickle of gun powder leaks from its casing, spilling to the floor. The kid's fast. PRIEST How you with a gun? 31. HICKS Better than I am with a knife. Priest considers this. PRIEST I'll be there. Nothing more needing to be said, Hicks turns to walk out, stops at the door. HICKS What's with all the bullets anyway? I thought Priests don't use firearms. PRIEST We don't. (BEAT) They're for you. Hicks nods, realizing Priest was ahead of him the whole time. INT. BEDROOM NIGHT Moonlight streams through an open window. Priest places his bible on the nightstand and crouches beside the:.bed, closing his eyes. Hands clasped. PRIEST Our Father who art in Heaven, hallowed be thy name. Thy Kingdom come Thy will be done on earth as it is in heaven... As he continues THE CAMERA slowly moves OUT THE WINDOW and into the night, moving across HALBRIDGE. PRIEST (O.S.) (CONT'D) Forgive us our trespasses as we forgive those that trespass against us and lead us not into temptation but deliver us from evil. We see the TOWNSPEOPLE: lock their doors, bolting the shutters, tucking their children in safely for the night. PRIEST (O.S.) (CONT'D) For thine is the kingdom and the power and the glory, forever and ever. Amen. And now the camera stops on a LARGE SHADOWY FIGURE perched on a nearby roofline. 32. The only thing we can see of it is a DUSTER illuminated by the SOFT GLOW OF A LIT CHEROOT...the Figure watches Priest as he finishes his prayer and blows out a candle. Silently, the Figure takes off. Flying into the night. CUT TO: EXT. WASTELAND - DAWN The sky is brightening, the edge of the world turning white. EXT. CENETARY - SAME Sunlight hits Shannon's grave, the CROSS MARKER casting a shadow, the once glorious red flower already withered. Aaron watches the sunrise, some other time he would've been moved by the sight, maybe even cried. This morning... nothing. Priest is beside him. AARON You never talked much about the war but I know you saw things. Bad things. PRIEST Yes. AARON What'd you do...to make yourself unsee `em? To make it stop playing in your head? PRIEST I prayed. AARON Did it help? Priest doesn't answer, the question hanging overhead, a dark cloud. AARON (CONT'D) I never used to be much on faith. You KNOW THAT (THINKS) But then Lucy was born. .and as soon as I saw her I knew. I Just knew -ÔøΩ- There's no way something so perfect came from me. She was a gift. From God. (looks at Priest) You find her. Whatever it takes. Find Lucy. 33. Priest nods, his brother's eyes burning into him. Hearing the sound of an engine, both men turn to find Hicks pulling up. HICKS Didn't mean to be late -- My deputies are a little green about keepin' the peace all by their lonesome. Needed a pep talk. (TO PRIEST) Figure I'll ride point. I know my way `round the Wasteland better than just `bout anyone. ' Without so much as a word, Priest climbs on his cycle and kick starts it, the engine REVVING to life. VROOMI off he goes. Hicks can't help but laugh. HICKS (CONT'D) (TO AARON) Real charmer, your brother. AARON That's just his way. Don't pay it no mind. (BEAT) You just bring back my baby. Hicks nods. Then he REVS the throttle, speeding after Priest. Aaron.,.watching until their cycles are just distant specs. CUT TO: EXT. WASTELAND - DAY A SERIES OF SHOTS as Priest and Hicks BLAST across the barren wasteland. They make a strange pair, not exactly Butch and SUNDANCE: A. THUNDERING past Strange ROCK FORMATIONS, bizarre shadows cast across the plains. B. A group of WANDERING MONKS, holy men carrying offerings to the desert, bow as they race by. C.- We.see a PHOTO OF LUCY now stuck to Hicks' windscreen. CUT TO: EXT. BLUFF - LATER Astride their bikes, Priest and Hicks, look down at a valley. A SERIES OF ADOBES sit clustered in the basin. CRYPTS. 34. HICKS The Nightshade Reservation.. Ain't nothin' but red-outs and rejects. They're a fallen tribe. PRIEST Either way. We have two hours to get in and out. HICKS What happens in two hours? PRIEST Sundown. Hicks looks up at the sky. The sun tilting towards the horizon. CUT TO: EXT. NIGHTSHADE RESERVATION - 60 MINUTES `TIL SUNDOWN Priest and Hicks enter engines idling, flocks of chickens run riot underneath their tires CLUCKING. wildly. Crumbling structures. Squalor. HICKS This is how most of the reservations are these days. We see faces peering out from wooden slats. Gaunt,: lifeless eyes. These'are FAMILIARS. PRIEST Familiars are illegal. HICKS Nobody really enforces it. most come from the fringes. Drifters. They're creepy as all hell -- but harmless. They turn off their bikes and dismout. Hicks stepping awkwardly between the chickens. A MALE FAMILIAR stands with a butcher knife over a basin. His gaze is slack -- More dead than alive. He picks up a chicken and CHOP1 off goes its head, blood draining into the container. His voice a hissing rasp. S 35. FAMILIAR Good afternoon, Sheriff... Father. What brings you to Nightshade? HICKS We're looking for a Vamp Pack. They woulda' came through here a couple nights ago. FAMILIAR Nobody comes through Nightshade. That's the way we like it. Nice and quiet. HICKS Then you won't mind if we have a look around? The Familiar picks up another chicken. Raises the butcher knife. FAMILIAR Not at all. CHOPI The head clatters to the ground. CUT TO: EXT. NIGHTSHADE RESERVATION - 30 MINUTES TIL' SUNDOWN Priest and Hicks move through the reservation looking for clues. Priest goes to the nearest structure, TWO EYES peer from a tiny slat. The CRYPT'S FAMILIAR. PRIEST We're not going to find anything out here...We have to get into the crypts. HICKS Not supposed: to do that without a warrant -- BAMI -- Priest kicks the door in. We hear the Familiar SCREECH as Priest steps inside -- INT. CRYPT - CONTINUOUS The light of the sun's never been in here. Probably should have stayed this way. Tiny bones-cover the entire floor., excrement smearing the walls. The Crypt Familiar cowers-in the corner, shielding his eyes from-the light. His body'fishbelly white and sickly. 36. CRYPT FAMILIAR (hissing). Got Got You must got Master will be angry! Nicks is grimacing from the stench. He looks at Priest, not happy as he approaches a STONE SARCOPHAGUS. Running his hand over it. PRIEST Where's the girl? CRYPT FAMILIAR PLEEASE please got PRIEST No? Maybe your Master will know. CRYPT FAMILIAR NOt NOI THE MASTER CANNOT BE DISTURBEDI Priest rests his hand against the. atone slab covering.the tomb. It must weigh 200 pounds. He moves the slab. Just a centimeter -- but the Familiar screeches. PRIEST Wh re is she? CRYPT FAMILIAR (SOBBING) Please. Please don't hurtmy Master. PRIEST Your.Master'll be dead. He shoves the slab more, the light rays hanging just outside the edge. And now The Familiar begins to laugh, a horrible rattling sound. Something in his mood has shifted. CRYPT FAMILIAR No, i don't think so. Hearing a noise, Hicks turns, witnessing a horrible sight moving towards him THE NIGHTSHADE FAMILIARS About ten of them. Real Night Of The Living Dead stuff. Makeshift weapons in their hands:. Scythes, Slingblades, Buzzsaws. 3.7. Before Hicks can react -- A FAMILIAR Attacks, BUTCHER BLADE raised. CHOP! the blade buries itself in Hicks' arm! HICKS Lets loose with a mean roundhouse. Plugging him in the chest. in one quick motion he rips the butcher blade from his arm, flinging it at the nearest FAMILIAR The blade lodges in his skull and he drops like a sack. These guys move surprisingly fast -- Hicks is already surrounded. He hears a whistling noise as A BUZZSAW BLADE knifes through the air heading straight for him. He DUCKS, the blade whistling past, sawtoothing into the torso of another Familiar. HICKS Pulls off his COWBOY HAT. Activating a release. With a CLICK! thousands- of needle--like teat ext e d fro the brim. With deadly accuracy, he flings the hat: It FLASHES through the air, DAIS'iWHEELING around a Familiar's neck, pinpricking his skin and finally whirling back to Hicks' band likean obedient pup. A BEAT as the Familiar stands, mouth agape. Then with a wet SNAP his head rolls off his shoulders, THUDDING in the dirt. Hicks falls to the ground, his wound starting to get the best of him. He musters up his strength for another hat attack but before he can -- PRIEST Leaps in front. Blocking his way. PRIEST Not yet. With a HORRIBLE SCREECH the Familiars attack, LAUNCHING at Priest and Hicks. Blades in the air. 38. Priest CHARGES into the frenzy. A juggernaut. His movements clean and calculated, bones breaking around him with a wet snap, bodies THUDDING at his feet. When the dust clears, Priest stands alone... and he is holding their weapons. PRIEST (CONT'D) Now we can do this easy -- He tosses the BUTCHER KNIFE, it sticks in the ground a hairline from a Familiar's head. PRIEST (CONTID) Or we can do this HARD -- Priest flings another BLADE. This one PLANTS in the leg of the Familiar. He HOWLS. PRIEST (CONT'D) Where is she? THE FAMILIAR (CACKLING) You're too late, Priest -- He points to the horizon, the last rays of daylight disappearing. CRYPT FAMILIAR It's our time now. We hear a LOW RUMBLE from inside the crypts. Priest looks at Hicks, a feeling of dark electricity in the air, anticipation. PRIEST They get your gun arm? HICKS Why? PRIEST You're gonna need it. CUT TO: INT. CRYPTS - SAME TIME MULTIPLE SHOTS OF SLABS on each sarcophagus sliding open. SHAPES roiling in the blackness inside. The sound of dark, mewling things. Things already sensing trouble in their midsts. 39. EXT. NIGHTSHADE RESERVATION - SAME TIME CRYPT FAMILIAR THE MASTERS ARE AWAKING BLACK SHAPES BURST from the crypt doorways SCREECHING as they fly into the air. Circling above the reservation like a nest of angry hornets. Disturbed. WHOOSH! One of the figures SWOOPS low, touching to the ground. Giving us our first good look at a vampire; Wet, white skin. Insect clicking claws. Black eyes. Fangs. More creature than human. The vampire cackles, sounds like dried paper, its voice a series of teeth clicking hisses. as it eyes Priest angrily. LEAD VAMPIRE What are you doing here,. Priest... haven't you already done enough? PRIEST We don't want a fight. We're just looking for the girl. The vampire sneers and as it speaks the following -- one by one, the OTHERS drop from the sky, flanking him. They're scraggly, a little undernourished. LEAD VAMPIRE Look at us -- Living in ruin, forced to feed off the blood of animals. We once scoured 'this land. We were warriors...we were Gods! PRIEST You were murderers. LEAD VAMPIRE We were what nature made us. (flashes his fangs) I recommend you leave immediately...You are not welcome here. 40. ONE BLACK FIGURE still flies above. Like a vulture, it circles Hicks. Marking him. PRIEST We're not going anywhere until you tell us where she is. LEAD VAMPIRE Then you aren't going anywhere,. If there was a tumbleweed in the vicinity this is when it would blow by. A tense BEAT then. . .Priest pulls out a BLACK BOOK. PRIEST ,,Yea though r walk through the Valley Of The Shadow Of Death x will fear no Evil -- " The vampires laugh. Fangs glinting. LEAD VAMPIRE --'Your words mean nothing to us, Priest. And now we see the book's actually hollow on the inside, filled with dozens of .little STAR-METAL CROSSES. PRIEST 1 - 6 (WHISPERS) Forgive me. in one quick motion Priest scoops a handful, snapping his WRIST AND THE CROSSES CUT through the air, heading straight for the BLACK FIGURE. S t SOUEAL.S as the metals; it like hot goals through 1 err tC erina it apart, the pieces raining' down around Hicks, crashing to the ground. And then all hell breaks loose. The Nightshade Vampires hiss. Bearing their fangs like cobras and taking to the air with a SHRIEK. Attacking. Frightened beyond shit-all-belief -- Hicks FIRES wildly, chasing the creatures with his gunfire. His bullets whistling harmlessly through the air. WHOOSH! A vampire swoops towards him, fangs bared, claws ready to rip. PRIEST 41. Leaps at the creature just in time, driving it to the ground. in one brutal motion he. straddles it, twisting its head at a horrible angle. He turns to Hicks. PRIEST (CONT'D) FOCUS. And with that he's gone, rolling across the ground like a boulder and LEAPING at TWO DARTING VAMPIRES. HICKS Dazed, watches as the vampire's body erupts with death spasms, arms and legs kicking the air in a violent frenzy until finally all life drains away. HICKS (under his breath) Jesus. Another VAMPIRE careens towards him. Coming in low, crawling across the ground on all fours. Fangs dripping. Hicks FIRES off a mess of bullets, peppering the creature as it flails backwards screeching. He snaps out the empty shells, reloading almost supernaturally fast, firing off a shot that SPLITS the Vampire's throat. He twirls the gun, flipping it into his holster. This leaves only THE LEAD VAMPIRE Perched atop his crypt like a gargoyle, raging at Priest and Hicks from the depths of hell with at HORRIBLE SHRIEK. In full fury, he LEAPS and flies away, the sounds of his torment echoing throughout the canyon as he vanishes into the night sky. HICKS (CONT'D) Should we go after him? PRIEST No need. He'll the at first light. Priest goes to the Familiars still lying on the ground. They're sobbing, having lost everything in the world that mattered. Completely wrecked. He grabs one by the scruff of the neck. 42. 10 PRIEST (CONT'D) No more masters. Just you and me. He raises a knife, pressing it to the Familiar's skin. FAMILIAR (frightened beyond belief) -- The metal beast! She's in the metal beast! PRIEST Make 'sense. FAMILIAR (JABBERING) The smoke. Look for the smoke -- SHARP CLAWS Suddenly RIP across Priest's back! It's the Lead Vampire, back for more. Claws digging into flesh. Priest wrenches around and the two go at it. A fierce, feral battle. The Vampire's fangs chattering inches from his neck. Their bodies lock in a horrible struggle, rolling across the Familiars. The Vampire's claws CHURNING into their bodies, killing them instantly. THE VAMPIRE Throws Priest into a crypt, SMASHING him through the wall, flying in after him. We hear the sounds of a BATTLE ROYALE from inside. WHUMPI WHUMPI WHUMP! The walls buckle outward, sounds like the fury of all hell being unleashed. Then, suddenly, and'more disturbingly...,s ‚Äû g. Hicks takes a step towards the crypt. Gun leveled. But -- PRIEST Emerges through the hole, exhausted, the LEAD VAMPIRE'S HEAD in his hand dangling by its hair. He tosses the head and it rolls to Hicks' feet, fangs flashing up at him. Hicks stares at the ghastly visage. Unnerved. CUT TO: ¬Ä¢ 43. EXT. NIGHTSHADE RESERVATION - LATER A giant PYRE lights up the night, fed with the bodies of both Familiars and Vampires, Priest and Hicks silhouetted against the flames. The two are silent, grimly going about their task -- It's obvious the skirmish has affected Hicks. Priest notices. PRIEST How's your arm? HICKS Lucky I guess. The blade didn't go that deep. (fingering the bandage) Don't know what got into those Familiars to attack like that. They're usually harmless. Priest finds a KNIPE clutched in a dead Familiar's hand, tucks it in his waistband. PRIEST Usually. A BEAT as they listen to the popping of the fire. A tension hanging between them. Then - HICKS You did this on purpose, didn't you? You knew we wouldn't. be out before sundown. You wanted this to happen. PRIEST You don't have the stomach for it --head back to Haibridge right now. Hicks glares at Priest. HICKS The stomach I got. I was in the Rangers two years. Even fought in the Boondock Uprising...I saw some crazy things. HORRIBLE THINGS (SOFTER) I just ain't never seen anything like this. PRIEST Killing a vampire isn't like killing a man. They come at'you like an animal. Tooth for tooth. .(MORE) 44. 'PRIEST (CON'Y'' D) Claw for claw -- Blood, skin, bones. 6 They take all of it. (BEAT) If you let `em. Hicks studies Priest, in the firelight he looks tired. Old even. HICKS it comes easy to you... don't it? PRIEST What? HICKS Killin'. PRIEST it just comes. Easy's got nothing to do with it. He pokes at the fire, it CRACKLES, feeding off the bodies. Something about the battle's opened him up. His guard's down. PRIEST (CONT' D) I take no pleasure in it. Killing. I know I've done more than my share -- Whatever they do to me I have it coming. HICKS (REALIZING) You think they took her because of you... don't you? Priest stands. Cracks his neck. PRIEST Give me your gun. HICKS What? PRIEST Give me your gun. HICKS Why? You gonna shoot me now? Priest's stare is piercing. A pause then Hicks pulls his six shooter, handing it to him. Priest checks the chambers, giving it a quick spin. 0 45. PRIEST Don't anticipate the trajectory of your target. Know it. He stomps his foot into the fire, launching a GLOWING COAL OF ASH into the air. Priest quickly raises the gun and FIRES, the ash explodes, raining fiery red sparks. HICKS You're teaching me to shoot? PRIEST I'm teaching you to kill vampires. No more wild shots -- HICKS My ass I In case you didn't notice I was pretty damn good out there! And I sure as hell didn't see you doin' much when I had that blade buried in my arm. (SPITS) Must've been too busy "focusing". Priest hands the gun back to Hicks. PRIEST There's always-two points. A and B. Know the points and you'll know your target. HICKS Ain't nothin' but a bunch of bullshit. PRIEST I see ten crypts ...but only eight vampires. We find the missing, we'll find-Lucy.' What's the next nearest town? HICKS Jericho. It's clear across the Plains. Gonna be a rough ride. PRIEST Then you better get a good night's sleep. This bunch was easy, their bloodlines watered down by man. (BEAT) Whoever took Lucy was a whole different breed. He tosses another body on the fire, tiny sparks floating into the night as -- 46. We hear the Banshee call of a STEAM WHISTLE, sharp and shrill as we CUT TO: EXT. DUNKIRK RAIL - NIGHT A STEAM LOCOMOTIVE Bearing down like death itself, teeth of the behemoth's grill leering: like a skull. Thick clouds of heavy smoke burst from its blast pipe, rails SQUEALING as the train RACES past. There re no Windows, just an unblinking black juggernaut, midnight willed into.a steel and iron frame. Terrifying. INT. TRAIN - CONTINUOUS As the cars BLAST PAST THE CAMERA we see each is filled with rows of BLACK COFFINS. A TALL FIGURE walks between them, wearing a BLACK TOP HAT AND CAPE. We only see 12im from behind. PALE ARMS reach from within the coffins, fingers touching the hem of the Figure's cape as he walks past. ‚Ä¢ A FAMILIAR approaches. FAMILIAR A man came on board at the last stop. Says he has something for you. The Figure nods. We-FOLLOW as he continues to the back of --- the car, sliding open the door INT. DINING CAR - CONTINUOUS Fine china on oak tables. The SNAKE OIL SALESMAN we saw back in Halbridge sits, nervously, in a plush chair. Candles light the car, casting the room in a surreal flicker. SNAKE OIL SALESMAN You told me tQ come to you if I had any information. (SMILES) I have some. Silently, the Figure sits down across from him. SNAKE OIL SALESMAN (CONT'D) But before I tell you...and I hate to bring this, up -- there is the small matter regarding compensation. (LEANING FORWARD) (MORE) 47. SNAKE OIL SALESMAN (CONT'D) Now your group's been REAL good for business so, of course, I'm willing to cut you a deal The Figure suddenly. LUNGES, grabbing the salesman by the throat, teeth clicking inches from the man's neck. WE STILL DO NOT SEE HIS FACE. BLACK HAT I can SMELL the blood racing through your veins... Smells like dinner. The salesman starts to shake. SNAKE OIL SALESMAN (VOICE QUAVERING) A-After you snatched that girl outside Haibridge...two nights later -- a Priest s-showed up. BLACK HAT A Priest? SNAKE OIL SALESMAN He was meetin' with the local sheriff. A real shitkicker -- Booted me out of town before I could make a single sell. A pause..,.and then the Figure laughs. The salesman not sure how to react. SNAKE OIL SALESMAN (CONT'D) W-What's so funny? The Figure BURIES his teeth in the man's neck, taking a deep, deep drink, having his fill, dropping the body to the floor with a thud. THE CAMERA CONTINUES TO FOLLOW as the Figure walks to the back of the car, sliding open the door -- INT. ASSEMBLY CAR - CONTINUOUS A sliver of light lands on LUCY Lying on the floor, her face streaked with tears. Vestiges of the girl we met earlier already lost. LUCY I won't tell anyone if you let me out...I promise. (MORE) 48. LUCY (CONT'D) (NODS) 10 I won't even go to the police. BLACK HAT You're in here for your own protection...If I let you out of this car you'll be torn apart a piece at a time. He walks to her, face still hidden in shadow. She starts to cry, pulling back to the wall. Angry. LUCY My uncle's a Priestl one of the best. Hooll corns after youl The Figure laughs. Bending down to her level -- BLACK HAT I'm absolutely counting on it. And now we get our first look at her captor. A cross tattoo h s adows his face. The mark of the Priest. CUT TO: EXT. CEMETARY (HALBRIDGE) - DAY ENGINES SCREAMING Priest and Hicks BLAZE across the playa. A SERIES OF SHOTS WE WATCH as the sun crests the horizon and rises quickly across the sky. Clouds whip past at incredible speeds, time unfolding like a hallucinogenic until we're faced with -- THE PLAINS They sit parked on a bluff, the emptiness making Hick's eyes ache. A more desolate view couldn't be found in all of hell. HICKS Walkin' Pete talked about this place -- said it. used to be really somethin'. Everythin' growin' green as a goddamn dollar bill. (snorts). 'Course we had to go and screw it up by poisonin' everythin' -- nothin' pretty survives this world ...nothin' decent anyways. (FROWNS) Just wish I could'a seen it. 49. Priest pulls out a canteen of water, takes a sip. Hands it k7) to Hicks. PRIEST How's your arm? HICKS (hiding it from him) Sore. Cut's still open. As Hicks hands the canteen back, Priest suddenly grabs his arm it's completely healed. Not even a scar. PRIEST You're a halfbreed. A BEAT as Hicks looks to the ground, when he speaks, it's in a voice just below his breath. HICKS My grandmother... she was raped. Nobody knows -- It's recessive in my family. No bloodthirst. No light sensitivity. I'm not proud... but it's a part of me. Ain't nothin' I can do. (looks at Priest) I woulda told you...just didn't want you treatin' me no different. It hangs there. the'silence stretching like a rope,then Priest REVS his cycle; a flurry ofdust kicking up as he speeds away. HOLD ON HICKS -- Eyes stinging, he watches Priest. Finally he starts his bike, following. EXT. WASTELAND (THE PLAINS) - DAY A SERIES OF SHOTS AS - A. Priest inspects a TIRE TREAD in the sand, a cluster of clouds gathering in the sky behind him. B. A PAIR OF CRACKED BLACK GOGGLES half-buried in the dust. The kind used by a motorcycle rider. C. Hicks pulls a TORN PIECE OF CLOTHING (LUCY'SDRESS?) stashed in a rock crevice, he holds it up to Priest, GUNNING his engine as we CUT TO -- 50. EXT. WASTELAND (THE PLAINS) - LATER Priest and Hicks' BARRELING through the dust. Up ahead, something materializes in the desert -- A TIN STRUCTURE Must be a mirage. Hicks blinks, can't believe his eyes. It looks abandoned. HICKS Gotta be a desert rat. They park their bikes about twenty feet from the rickety structure, Hicks stepping off his bike and approaching. Carefully. HICKS (CONT'D) Let me do the talkin'. The sun has a way of cookin' these people's brains so they ain't quite right - BANG! A rifle shot kicks up dust at Hicks' feet. VOICE (0.3.) Hold it right there, mistert Hicks freezes. A BEAT as. the front of the shack shows only a doorway hidden in shadow...thenan OLD MAN emerges, Rifle in hand. He COCKS it, making a bead for Hick's head. OLD MAN Take another step and you'll be meetin' the Lord directly. HICKS Easy now old timer. I'm a sheriff. The old man snorts, spitting a thick stream of tobacco,. it sizzles when it hits the dust. OLD MAN Ain't no law out here but my own. Calm and cool, Priest shifts in his seat, drawing his gaze. THE MAN'S EYES WIDEN Seeing Priest clearly now for the first time. 51. OLD MAN (CONT'D) Praise The Lord. Total attitude adjustment. He lowers the Rifle and smiles -- revealing a gap tooth smile wide enough to drive a herd of cattle through. CUT TO: INT. TIN SHACK - DAY A dusty PHONOGRAPH playing a recording of an old-time spiritual, the record warped from the heat, distorting the voice as THE CAMERA PANS PAST hundreds of homemade CRUCIFIXES haphazardly nailed across the wall. OLD MAN Cleaned the place up a bit. Been years since I had any kind of company 'sides jackrabbits but I knew you was comity' -- Dreams don't lie.' Ignoring Hicks, the old man pours BLACK TEA into a rusty can, handing it to Priest. OLD MAN (CON'S I D) Most people don't remember what you folk done -- Don' t WANT to remember. But I do. I know what you can do. (making the sign of the cross) You are God's mighty sword fused into flesh. One of the chosen.. Touched by His very ha nd so peace could finally come to this cur sed land. Hicks snorts. HICKS Sounds like a bunch of religious mumbo jumbo to me. The old man stares fixedly at Priest. OLD MAN Now you tell the Clergy this here is an authentic miracle, I want it registered. It's mine. PRIEST Miracle? 52. OLD MAN The Angels. Never seen so many loot souls, breaks my heart just to think of it. This ain't no place for nothin' divine. The man's fevered belief unsettles Priest, he's unsure how to respond. PRIEST You saw angels? OLD MAN Sure as chit. PRIEST How many? OLD MAN Don't know, too many to count. Hundreds. Thousands. Some nights the sky was so thick you couldn't see the stars. His eyes suddenly light up, remembering something. i OLD MAN (CONT'D) Here! Look at this -- He goes to a shelf, it's been turned into a MAKESHIFT SHRINE -- rw=ging through a jumbled collection of crucifixes, yellowed photographs, collected junk. He pulls out a GLASS JAR containing SOMETHING MISSHAPEN floating in murky water, the old man proudly showing it to Priest and Hicks. HICKS What is it? OLD MAN It's their spoor! They'd be flyin' above and this stuff would drop from the sky like manna. HICKS That's angel shit? OLD MAN Scooped it up myself. (offering it to Hicks) You wanna hold it? Hicks backs away, shaking his head. 53. OLD MAN (CONT'D) Suit yourself. Priest still doesn't know what to make of the man but he senses something to be gained. He tries changing the subject. PRIEST These angels...di.d you ever see them during the day? OLD MAN No, I reckon'. that's when they'd go back home for some shut eye -- Gettin' the world ready for the rapture takes a lot of work. Praise God. PRIEST Home? OLD MAN The castle - .:,He:points out the window, far away, atop a craggy peak sits the -remains of a CASTLE -- OLD MAN (CONT'D) Beautiful place. Wonder of the world. I used to watch `em every night, takin' to the sky in all of God's glory, (LEANS FORWARD) I never would disturb `em though. God's children like their privacy. He winks, smiling that crazy smile. Priest considers the possibility of a lead here -- but Hicks just gazes at the old man like he's nuts as we CUT TO: EXT. TIT' SHACK - LATER The boys mounting up their bikes, about to head out. The old man approaches Priest. OLD MAN Wait! I want you to have somethin' before you go He presses a HOMEMADE CROSS into Priest's hand. It's a real beauty, flecked with colored stones. A lot of love and care went into this one. 54. OLD MAN (CONT' D) Remember, a man comes into this world with one thing. His soul. He's lucky if he's still got it when he leaves. Priest pockets the cross, REVVING his cycle and with a final nod -- he and Hicks speed into the wasteland. The old man watches, his cracked face squinting as the sun flashes off the metal of the machines. CUT TO: EXT. DUNKIRK RAIL (WASTELAND) - DAY The vampire train shooting down the track, blown tumbleweeds catching the scrub brush as it races by. INT. TRAIN CAR - SAME TIME Lucy is on her knees, scratching her nails against the wood floor. Testing it. Splintery shards come up in tiny clusters. From outside,.:the sound of a padlock opening, a chain dropping to the floor. Lucy quickly sits, making innocent. A SERVANT FAMILIAR enters, carrying a tray of food, his eyes grotesquely roam Lucy's body. Lucy smiles sweetly, taking the tray. LUCY Thank you. The Familiar turns to leave. WHAPI Lucy SLAMS the tray over his head and he collapses to the floor. She makes a run for it. But the Familiar manages to grab her ankle.knocking her down, she kicks at him as he holds fast, hissing. Two more FAMILIARS run in and grab her arms, wrestling her to the floor. She struggles furiously but it's no use, she screams as we CUT TO: EXT. CASTLE - LATER A sad collection of crumbling stone walls and turrets. All the more surreal for rising up in the absolute nothing of the wasteland. ¬Ä¢ 55. Priest and Hicks stand, surveying the ancient ruin. Hicks can't help but laugh. HICKS (SARCASTIC) Yep. Truly a wonder of the world...good thing we listened to the fossil. Don't know how we'd find Lucy without him. PRIEST Vampires sometimes use abandoned structures as a perch. (looks at Hicks) Watch for booby traps. And with that he enters the-- EXT. CASTLE COURTYARD - CONTINUOUS Desert shrubs sprout like weeds between the stones, once proud turrets rotting to dust, everything bleached by the weather. Whatever this place was -- the desert owns it now. HICKS Why we listen' to that crackpot? Crazy fucker's so blinded by faith he's batahit. That's called a zealot in my. book. (BEAT) I'm startin' to think you might be one yourself. You ever think bout that? Priest doesn't respond, squinting his eyes. At the opposite end of the courtyard is an opening. It leads into a CHAMBER of some kind. INT. CASTLE CHAMBER - CONTINUOUS Musty. Cool. Dark. Walls rising high into a cone as sunlight streams in from an opening in the top. Hicks and Priest enter, stepping carefully over PILES OF (GARBAGE littering the floor. HICKS This is bullshit. Lucy's been gone five days'-- every stupid minute we waste here is a minute more she gets farther-away. Priest turns and sees a STONE STAIRCASE, uneven steps leading. downwards...too dark to tell where though. 56. PRIEST Stay here. If anything comes up the steps that isn't me -- Shoot it. Before Hicks can reply,.Priest heads down the stairs, darkness swallowing him with every step. HICKS Great. DOWN THE STAIRS The air seems thicker here, the darkness claustrophobic. Enveloping. It takes a moment for Priests' eyes to adjust. A CATACOMB Actually more a cave. Miles and miles. Twisting, jagged and moist. Endless corners, weaving into a dark and hideous maze. Priest heads into it INT. CASTLE CHAMBER - SAME Frustrated, Hicks kicks at the garbage. There's something underneath. He brushes aside the refuse, uncovering a . bunch' of SMALL WHITE SHAPES, breath catching as he realizes what it is: Bones. INT. CATACOMB - SAME It's quiet. Priest moves through the darkness, footsteps not even a whisper, heading deeper and deeper into the labyrinth as INT. CASTLE CHAMBER - SAMB Hicks is now at the chamber wall,'running his hand along it, feels grooves lining its surface. Stepping back, he sees they form an image-of some kind. Hard to make it out in the darkness. He leafs through the garbage, pulling out a piece of BROKEN GLASS AS 57. INT. CATACOMB - SAME Priest turns a jagged corner and looks down the longest, most narrow tunnel yet. A light shines at the end. A TORCH. Flickering gently. A SHADOW brushes past the light, moving so fast it barely registers. Could just be a trick of the eye. Or not. Priest moves towards it. IT. CASTLE CHAMBER - SAME Hicks angles the broken glass under the light, reflecting a faint beam onto the wall, revealing a HUGE CARVING cut into THE STONE: 1L0Z.J.PIf .! i Primitive but very creepy. We linger on the image, the terror of the people, the viciousness of the creature. Truly horrific. INT. CATACOMB - SAME Quiet. Just the low how], of a breeze moving through the tunnel. Priest walks into an ANIMAL PEN of sorts, a hay-like substance covering the floor, the smell of something bestial. He,covers his nose, looking around, something in the corner catching his eye --- TWO BODIES splayed across the ground like rag dolls. He crouches to take a closer look... WHAM! SOMETHING. barrels into him with superhuman force! Acting on instinct, Priest FOLDS AND ROLLS. Kicking the thing off him and PUSHING off the wall for a blistering recovery. Whatever it is, it's fast. Quickly countering for every move he gives, neither able to get the upper hand. Too dark to make out what it is. Priest locks his arms around the shape's arms, SLAb24=G it against the wall, illuminating it under the torch light. IT'S A FEMALE PRIEST 58. o A BEAT as they stand staring at each other, unsure what to say. The cross tattoo covers her face, shadowing fierce eyes. Every inch a warrior. Time seems to stop for these two. Their whole dark history their bend -- passing between them in one glance. PRIESTESS How did you find me? Priest doesn't reply. She narrows her eyes, suspicious. PRIESTESS (CONT'D) Did the Clergy send you? PRIEST No. (BEAT) Why would they? She nods towards the bodies, we now see tb=1re.-VAMPIRZ- CORPSES. PRIESTESS I've been busy. Off Priest's reaction we CUT TO: INT. CASTLE CHAMBER - SAME TIME Hicks looking up to see the light; from the hole in the geilingwinkinc_out. The sun is setting. Slipping, he drops the piece og glass, cutting his finger. Drawing blood. HICKS Shit. He wipes the blood on his pants, not noticing as a A LARGE SHAPE looms in the archway behind him... INT. CATACOMB - SAME The two warriors eye each other, the. air heavy between them. PRIESTESS If you didn't come for me...why are you here? PRIEST I should be asking you the same question. 59. The bestial smell stings their nostrils, smells good. PRIESTESS There's another one around here somewhere. PRIEST Where? PRIESTESS I don't know...but it's not like the others. They're interrupted by the sound of GUNFIRE echoing off the tunnel walls. Priest turns. PRIEST Hicks. He starts down the tunnel. The Priestess quickly following. INT. STAIRS LEADING INTO THE CATACOMB - NIGHT Hicks is sprawled at the base of the stairs, bloodied and bruised. Both guns pointed at THE TOP OF THE STAIRS SOMETHING is lurking. A hulking shadow, sounds like a rabid bull. We catch the TIP OF A CLAW scraping at the stone floor. Priest approaches from down the tunnel, senses on full alert. PRIEST It's too big to fit down here. That's why you're still alive. HICKS What the hell is that thing?I HICKS I'm not stupid. Vampires don't look like that. PRIESTESS (0.8.) They used to. The Priestess steps out from behind Priest. Startling Hicks. 60. HICKS Who the hell are you?! (7, She doesn't even bother to respond,.just shooting a look as the two warriors bound UP THE STEPS Charging into battle. Priest BURSTS from the stairway LEAPING up and over as the Priestess rolls off to the side. He-lands beside her, the two turning to face down -- THE VAMPIRE A fearsome creature -- much more terrifying than the Nightshade variety. Bigger, more ferocious. The ancient cousin to the more modern vampire. The beast opens its mouth and lets loose with a SCREAM, its breath vile. THE PRIESTS Split up. The Priestess LEAPING to the stone wall and climbing up the rock. Priest goes the opposite way, ROLLING across the floor, keeping low. I THE VAMPIRE With a screech, goes for the Priestess. Crawling up the wall, hunched like a rat, talons ferociously . digging, into: rock. Coordinating an attack wordlessly, the Priests make their move: THE PRIESTESS Lets go of the wall, PLUMMETING straight towards the vampire, the creature FLASHING its fangs in anticipation. PRIEST Leaps from below, darting up the rock, taking advantage of the distraction, landing on the creature's back and wrapping his arms around its neck. Going for the deathlock. With a SHRIEK the creature WHIPS its head with crack force sending Priest flying. The Priestess, still in mid-drop, CATCHES him and they both hit the ground with their feet. PRIESTESS Should we lead it into open air? More room to. maneuver. 61. PRIEST Better to keep it contained. The vampire's lathered into an animal frenzy now, wailing and scuttling around the circular wall in crazy patterns. Suddenly -- with a stone shattering BOOM! it BURSTS through the hole, FLYING out into the night. PRIESTESS Or not. They race outside. EXT. CASTLE COURTYARD - CONTINUOUS The Priests look up to find the vampire clawed around a turret, shadowed in the moonlight. WHOOSH!. Great leathery wings unfold from its back as it SWOOPS low, coming in for the'kill. PRIEST Darts behind a boulder just in time. The creature's talons SCRAPING at the rock before it soars back to the sky, He pulls out his bible, grabbing and tossing a handful of -- THROWING CROSSES CUTTING through the air, sparkling in the moonlight, beautiful. BUT They BOUNCE harmlessly off the creature's wings, knifing back to the ground, imbedding deep in the stone, Priest having to nimbly: dodge his own weaponry. THE CREATURE HOWLS! Blazing straight for him. Undaunted. Priest looks at the Priestess and folds his hands into the prayer position, leveling his breath, pulse slowing as the screaming beast bares down like a freight train! THE PRIESTESS Quickly scoops up TWO LARGE ROCKS -- HURTLING them towards the vampire. HER EYES LOCK WITH PRIEST'S as she too folds her hand, into the prayer position. RY ‚ÄûNG GOES BLACK Silence. Then -- 62. The sound of a heartbeat. The juncture between instants. A fissure. A BRIGHT FLASH -- we see Priest LEAPING through the air -- EVERYTHING AROUND HIM FROZEN -- the creature, the rocks, the Priestess. EVERYTHING GOES BI CK A BRIGHT FLASH again -- and now Priest is using the frozen rocks as STEPS -- LAUNCHING his body until he is above the CREATURE -- ÔøΩ1ÔøΩ_ M, .Q A BRIGHT FLASH again -- and now Priest is ON the behemoth, he pulls out the FAMILIAR'S KNIFE, twirling it in his hand -- EVERYTHING GOES BLACx And WHAM1 we fuse back into real time as the creature CRASHES to the ground. Its DECAPITATED HEAD rolling to a stop, face frozen in a horrible rictus. A BEAT O as the world seems to hold its breath then -- Priest lands in a crouch, dropping next to the Priestess, her hands still locked in the prayer position. She turns to him. PRIESTESS Not bad. Suddenly the CREATURE'S BODY erupts into ablistering death spasm! Talons clacking like STRAIGHT RAZORS, flailing dangerously close to the two of them. BAMI A single bullet. pierces its heart and the body collapses with a THUD. Once and for all -- dead. ANGLE ON HICKS in the archway, smoke coming off his gun. He looks at the Priests. HICKS Point A...meet point fuckin' B. He smiles, twirling his six shooters back into their holsters. CUT TO: 63. EXT. COURTYARD - LATER Hicks examining the fallen creature, poking at the carcass with his gun. In some crazy, distant way he's related to this thing. He raises his hand, comparing it to the beast's talon. Shakes his head. ATOP THE CASTLE WALL Priest and the Priestess stare out at the Wasteland, uncomfortable with looking at each other. PRIEST This was a Pureblood. PRIESTESS we both know that's impossible -- They haven't existed for a millennium. (BEAT) What's going on here? PRIEST .I don't know. A BEAT filled with awkward silence -- when the Priestess ktÔøΩ speaks it comes as a relief for both. An unloosening of things long held tight. PRIESTESS Sector Seven was the only place I could find work. Waste Management. (BEAT) Nobody else would hire me. %No applicable skills.& PRIEST I heard that one too. PRIESTESS A week ago, a family camping out on the Perimeter approached me --.Told me vampires were terrorizing their village and that the government wouldn't do anything about it. PRIEST Did you go to The Clergy? PRIESTESS They wouldn't see me, (LOOKS DOWN) (MORE) 64. PRIESTESS (CONT'D) By the time I got to the village it was completely razed. Nothing left. Women. Children. All dead ...they didn't even bother to feed. (BEAT) I've been on their trail ever since...could be the same group who took your niece. PRIEST Could be. The Priestess glances towards Hicks. PRIESTESS Does the lawman know what you'll do if you find her? PRIEST He knows. PRIESTESS He'll try to stop you. PRIEST He won't be able to. She pauses a moment, regarding him. PRIESTESS You know, some nights I still dream we're back on the frontlines ... I wake up, I'm sweating... my muscles all clenched like I'm ready for something -- But I don't know what. PRIEST Me too. PRIESTESS Nights like that ...I don't go back to sleep. (BEAT) But on other nights ...the good nights I dream about other things. PRIEST ..Like what? PRIESTESS You. Priest stares at her, not sure what to say. Lucky for him, the moment gets interrupted by -- 65. HICKS (shouting from below) - Hey.you guys better get a look at thisl The warriors lock eyes, knowing something's been started -- but.unsure of what. They head down the stone steps. CUT TO: EXT COURTYARD - MOMENTS LATER Hicks is lifting up one of the creature's wings. There's some sort of BLACK MARK on its skin. PRIESTESS it must be a birthmark of some kind. HICKS That ain't no birthmark -- it's a brand. The Priestess studies the mark, something about it making her skin crawl. Maybe because it's in'theshape of a top hat. PRIESTESS There's something else you need to see... CUT TO: INT. ,CATACOMB Carrying a torch, the Priestess. leads Priest and Hicks through the maze, the deeper they go the more subterranean it feels. Bowels of the earth. PRIESTESS I found this just before I was attacked - AN UNDERGROUND CHAMBER Huge. Cavernous. Our group appearing as tiny shapes set against the awesome scale of the place. Hundreds of LARGE HOLES gouged into the walls, stretching as far as torchlight allows. An incredible sight. PRIEST It's a tomb. Big enough for an army. HICKS Guess they're not as endangered as everyone thought. (MORE) 66. A HICKS (CONT'D) (BEAT) 0 But where'd they go?. We hear a LOUD SHRIEK - and a MASSIVE SWARM OF BATS sweep through the depths of the chamber, black wings fluttering. PRIEST Only one way to find out... INT. CAVE - LATER Our group moving deeper into the dark cavern, a moan of wind echoing off the gorge wail behind them, massive black stalactites hanging overhead. Very creepy. They move quickly, Priest ahead of the other two. Hicks gazes at the Priestess, admiring her body. Any man would. He works up his courage and approaches her. Quietly. HICKS Are Priests allowed to, you know...have relations? PRIESTESS We take a vow of celibacy at inception. Hicks can't be sure -- did she just look at Priest when she said that? HICKS Look...I was uh, wondering --. how did he do that little stunt back there? PRIESTESS All Priests can do it. HICKS Including you? She nods. HICKS (CONT'D) So what's the trick? PRIESTESS No trick. You just have to remember. HICKS Remember... what? PRIESTESS Time is relative. 67. Priest snaps up his hand, cutting off their conversation, something strange up ahead -- He slowly moves forward, the tunnel sharply dropping, feeding into a -- HUGE CHAMBER Not like the cave, this is more earthen. Like the inside of a wasp nest, curved walls made of dirt and spit, Priest covering his nose and mouth as he's hit with a massive stench. A GIANT SHADOW Looms before him, we_don't see what it is. As the Priestess and Hicks enter the chamber, Hicks coughs, reeling from the smell, the Priestess wrapping a cloth around her mouth -- the CAMERA focusing only on theirexpressions as they take in the horrible spectacle before them. PRIEST You said the next nearest town was Jericho. HICKS Yeah. PRIEST Then we better go see. HICKS . See what? PRIESTESS -- What they left of it. PUSH IN ON HICKS -- knots of rope tightening in his stomach... only now realizing how truly black the path before him will be. CUT TO: EXT. DUNKIRK RAIL - DAY The NIGHT TRAIN thundering across the rails, almost obscene in the bright sunlight. An intruder from the darkness We hear a SCRATCHING sound, something scraping. Heavy breathing as we MOVE INTO... INT. ASSEMBLY CAR - SAME THE SERVANT FAMILIAR slides the door open, carrying food for Lucy, no tray this time. 68. But she's not there. He SCREECHES, dropping the-food as he runs to a HOLE ripped in the wood floor, smatterings of blood around the edges. It's not very big, just enough for a small body to fit through. The Familiar sticks his head through the opening and -,- RAILROAD TRACKS CLACK past at a furious speed, inches from his head! The noise is deafening.. LUCY (0.S.) Hey... The Familiar turns -- Lucy's perched inside one of the JOISTS lining the underside of the train. KRACKI- She lets loose with a well-placed KICK, snapping his head back so he catches on the track. With ascream, he's quickly SUCKED out the train, pulverized on the track. Lucy's covers her mouth, her nails an ugly bloody mass. She's come this far, time to go the rest. She manages to carefully crawl from joist to joist, moving along the underside of the train, her body just centimeters from the passing track. OHB SLIPS Catching herself just in time. Her eyelids practically brushing the wood. Taking a deep breath, she manages to hoist herself through the rest of the way finally making it to the CABOOSE. She pulls herself up onto the back of the car. Now what? The train is blazing past the wasteland at an incredible speed. Only one thing to do. She makes the sign of the cross, closes her eyes and JUMPS EXT WASTELAND (EDGE OF THE PLAINS) - DAY A dustorm. The plain's a shifting veil of sand, parting to reveal a vista of dunes, wind shipping across them. 69. As quickly as it opened the veil closes again, shifting to reveal OUR TRIO plowing through, blast goggles and respirators covering their faces. The Priestess riding a cycle identical to Priest's. In the distance we can make out a cluster of structures as they arrive at Jericho. EXT. JERICHO - DAY Riding into town. The storm making it difficult to see anything as they idle onto main street. It's deserted -- The only sound a saloon door creaking noisily in the wind. Ominous signs left in the vampires' wake are everywhere -- BROKEN DOORS, SHATTERED WINDOWS, OVERTURNED VEHICLES. PRIEST We separate. Go through each building, see what we find. HICKS I'll start with the sheriff. PRIESTESS Be careful. Just because it's daylight doesn't mean it's safe. Hicks nods, tightening the twin BANDOLEERS across his chest. EXT. JAIL DAY Everything is eerily quiet, just the sound of the wind. Hicks crouches just outside the door, examining SPENT SHELL CASINGS littering the walkway. He pulls out his six-shooter, pushing the door open with his gun, stepping inside -- INT. JAIL CONTINUOUS The place is a mess. DUST BLOWN IN FROM THE STORM COVERS EVERYTHING, broken furniture scattered everywhere, glass littering the floor. Whatever went down here -- someone put up a hell of a fight. HICKS 'Damn. He shakes his head, heading towards the holding area as -- 70. INT. BROTHEL - SAME TIME The Priestess walks in, flurries of yellow dust swirling in her wake, filling the room. if the jail was a disaster zone, this place is just plain creepy. Red sofas, red curtains, hell, even red wine. Everything set up for a great time...just no people. A PIANO sits nestled in the corner, she walks to it and runs her finger across the dust covered keys. It comes up wet and red. Blood. MUSIC SUDDENLY BURSTS FROM THE PIANO The plinking keys playing by themselves, activated by pneumatic pegs on a rotating paper roll, filling the lonely room with tin-pan music. INT. BEDROOM - DAY The sound of a record skipping. Priest steps through a doorway, the door already ripped off its hinges. Broken furniture and glass. It's obvious a FAMILY lived here, children's clothes and wooden toys messily strewn across the floor. He walks to an OLD PHONOGRAPH sitting on the windowsill, still playing, placing the needle back in its cradle. That's when so=thing out the window ratchgo hiseve... EXT. JERICHO/MAIN STREET DAY Hicks, done searching, meets up with the Priestess in the middle of the street, he's pretty disturbed. Wind howling around him. HICKS There ain't nobody left. Nobody. PRIESTESS (OMINOUS) Too many mouths to feed. HICKS Where's Priest? 71. But the Priestess's already focused on something else, gazing at something behind the general store. He turns to see what it is. PRIEST On the ground KNEELING. Head down, engaging in some kind of prayer. THE CAMERA FOLLOWS as they slowly approach, wondering what the hell is going on. As they get closer they see the full PICTURE: Before Priest are THREE LARGE WOODEN CROSSES, A NAKED BODY ON EACH, crucified. Because of the swirling sand it's hard to make out their faces but it's obvious the poor souls are already dead. Immediately the Priestess drops beside Priest, joining him -- And it is only now that we get a good look at the crucifieds' FACES They're Priests. CUT TO: EXT. SOMEWHERE IN THE WASTELANDS - DAY Bare feet running on the salt-flats. It's Lucy. Covered in dirt, battered and bruised but chugging along. There is absolutely NOTHING out here, only LUCY AND A BLACK FIGURE DROPS SILENTLY FROM THE SKY BEHIND HER it wears a BLACK COAT, fluttering in the wind as it touches down, the fabric cascading across the earth in long dark folds. The Figure's face is completely covered by a BLACK COWBOY HAT. The only thing we can see is a CHEROOT Sticking out from where the mouth would be. A brief moment as the tip of the cigar glows, a puff of smoke exhaled. It drops to the ground, silver spurs making a slight CHING sound as a BLACK BOOT stamps it out. Lucy hears the sound and turns just in time to see - y I ATHICK CHAIN __SHOOTING OUT from within the Fiaure', coat. a HUGE METAL_ FINGERED CLAW at use ! The claw SLAMS into Lucy, thick fingers CLAMPING around her, knocking her to THE GROUND 72. She digs her nails into the earth but it's no use as the chain DRAGS her backwards and she quickly-disappears INTO the coat with a SCREAM. The folds enveloping her in a dark embrace. In one graceful sweep, the Black Figure leaps to the sky. Quickly disappearing. We see the cheroot on the ground. Spent. The only evidence that anyone or anything was ever out here at all. DISSOLVE TO: EXT. JERICHO - DAY Caught between sheets of swirling dust and.sand, the images like hallucinations, moments of ritual and grief -- A. The crucified Priests taken down from their crosses, their naked bodies like ragdolls. B. The corpses now wrapped in white cloth, carefully placed amongst the makeshift pyre. C. Flames engulfing the bodies, a twisty column of smoke rising, the sun and clouds painting the sky pink and gold. OUR TRIO stands before the pyre gazing into the fire, it Pops consuming more of the bodies, if the Priests listen close enough they can hear the end of an era. HICKS Don't make no sense. What were they doin' out here? PRIESTESS The same thing as us. (BEAT) Someone's drawing us out. HICKS Who? The Priests just stare into the fire, not having any idea. HICKS (CONT'D) I imagine you'll have to go back to the Cities, inform the Clergy. A sudden silence. PRIEST We're not going back. 73. The Priestess looks at him, he speaks for her as well but she's still shocked to hear the words out loud. A lifetime of conditioning.. PRIESTESS We'll burn for this. PRIEST (looking at the pyre) We already are. Something in the flames catches the Priestess's eye, in the charred remains of one of the corpses -- SOMETHING'S GLOWING. She wraps her arm, plunging her hand through the bones, pulling out the object. Quickly, she tosses it into a'barrel of water. it hisses, steam rising as it cools. Priest reaches into the barrel, his hand emerging with a METAL SPIKE. HICKS It's a railroad spike. My pop used to work boxcars before they shut down -- Why the hell would anyone wanna swallow that? A beat as Priest puts it together. PRIEST He wanted us to find it. It's a clue. PRIESTESS Where's the closest track? CUT TO. INT. JAIL DAY Hicks pulls a LARGE MAP off the wall, blowing off a layer of dust, drawing a line across the paper with his finger. HICKS The Dunkirk Line. It starts all the way in the backcountry, bought the ore from the deep mines. There were about five stops along the route. I think. He draws several Xs along the line. His hand coming to a stop on a particular forboding PATCH OF MOUNTAINS. 74. HICKS (CONT'D) Looks like Jericho was, the last town it glances before'. heading around the Linwood Mountains...Then it goes to the last stop. PRIEST Where? He draws one final X at the end of the line. Looks up. HICKS The Cities. So there it is. The Priestess narrows her eyes. PRIESTESS They must have been picking up different factions along the way. Moving during the day, feeding at night. HICKS But headin' to the Cities is suicide. The sun will kill `em -- there's nowhere to hide. Priest gazes at the map, deeply troubled. PRIEST They won't have to. And with the SHRIEK of the train whistle we CUT TO: EXT. WASTELAND (DUNKIRK RAIL) - DAY The Night Train barreling down the track, blasting along on its grim trajectory. Suddenly -- THE CAMERA Overtakes the train. Snaking along the rail at an incredible speed, leaving the train in its tracks (sorry) as it blisters across the Wasteland through craggy mountains and finally ending up in THE CITIES. And it is only now that we see exactly what Priest means. THICK CLOUD OF INDUSTRIAL SMOKE covers the metropolis. There is no sun. CUT TO: 75. INT. TRAIN CAR V-) A BLACK COWBOY HAT coolly tilted down, exposing .a cheroot clutched between thin lips. A trail of smoke lazily floats upwards. DARK FIGEMH A fine catch yes? (the voice is oily, a dark WHISPER) She'd be dead if not for me...swallowed by the wasteland. We see Lucy on the floor at the Figure's feet, his pale hand runs calmly through her hair. From the shadows, Black Hat steps forward, looking down at Lucy. She struggles but the hand tightens its grip. BLACK HAT What do you want for her? And now her captor lifts his hat -- revealing paper-thin skin, eyes like black coal. This is RUNE, a bounty hunter. RUNE You know what r want. Black Hat's eyes flick upwards, glinting in the. candlelight. BLACK HAT Don't. go too far, Rune. RUNE He comes for her still. BLACK HAT Of course he does. RUNE Let me have him. BLACK HAT No. Rune smiles,'revealing an impressive set of vampire fangs. RUNE' I'm sure she'll fetch a nice price out In the zone -- they don't care what condition their meat's in...as long as it's easy to chew. 76. Black Hat eyes him. BLACK HAT Don't get involved in this. RUNE I was involved long before you showed up. (SEETHING) I've been waiting years for a chance at him...and now that he's here I find x have to ask a Prime permission... Like a snake, a finger of the claw emerges from the folds of his jacket, wrapping itself around Lucy's neck. RUNE (CONT'D) My how things have changed. Ever so slightly, the metal finger SQUEEZES Lucy's throat, choking her. RUNE (CONT'D) I never cared about your war. Never got Involved. Us halfbreeds. We were exiles -- rejected by both humans and vampires. All we wanted was a quiet place. But he wiped out my whole tribe. (BEAT) Maybe it's time to return the favor. The metal finger wraps TIGHTEtR, Lucy gasps, the "tension becoming unbearable until finally BLACK HAT Fine. He's Yours. As if on command, the finger retreats back into the jacket, Lucy COLLAPSING to the floor coughing and choking. RUNE And -- she's yours. He laughs, sounds like a death rattle, dropping the cigar to the floor, spurs chiming as he walks out the car door, long dark coat fluttering behind him, disappearing into the night. BLACK HAT Annoyed, picks up the still burning cigar, squeezing it in his hand. He turns to Lucy. 77. BLACK HAT And as for you uy dear...You're more trouble than I anticipated. Must be your uncle's blood in you. (BEAT) A shame he'll never see what you'll become. I would've loved to see his face. And then he is upon her, saliva mixing with blood as he drinks. CUT TO: EXT. WASTELAND - DAY ROAR1 Our trio plow through the scrubby desert growth, chewing up the dirt. The blood of their machines at full boil.. A SERIES OF INTERCUT SHOTS The VAMPIRE TRAIN chugging along on its dark course, heading for the Cities. ÔøΩOur'crew hellbent on stopping `em. The two locked on a fated path, blurring across the landscape as the sun crests across the sky DISSOLVING INTO: EXT. WASTELAND - DUSK Twilight. Hicks and the two Priests ride past tumbleweed drifts, the surrounding desertscape golden in the fading light. Ahead a forboding series of CRAGGY MOUNTAINS, awaits, a WINDING TRAIL criss-crossing through the peaks. They stop, their machines idling next to each other, taking stock of the huge task _be‚Ǩore' them. HICKS Beggar's Pass...it ain't gonna be easy. As if on cue the last rays of the sun wink out behind the mountain. EXT. BEGGAR'S PASS NIGHT QUICK SHOTS AS THEY HEAD DEEP INTO THE MOUNTAIN 78. Headlight crossbeams leading the way, their cycles navigate the twisty trail, cutting across sheer canyon walls, teetering on the brink of an abyss, rock slides a constant threat. CUT TO: EXT. BEGGAR'S PASS CAMP - LATE NIGHT They've set up camp for the night on the lip of a ridge. Hicks and the Priestess sit by a fire dunking their feet in a nearby stream, the wear and tear of their journey evident on the sheriff's face. Priest lies close by, asleep. HICKS If we push it hard we'll gain two days on 'em. Should be enough to get us a jump. PRIESTESS We'need more than a jump. We need a miracle. HICKS That's the funny thing about time -- He dips his hand in the water and raises it, letting the liquid leak from between his fingers. HICKS (CONT'D) It's always runin' right through my fingers. PRIESTESS You should try harder, sheriff. She cups her hand in the water, bringing it to her lips for a drink. Hicks smiles, leaning forward, something on his mind. HICKS You ever regret it? Bein' a Priest? PRIESTESS No. HICKS What about a husband, children...A family? PRIESTESS I've had a family -- just not the kind you're familiar with. 79. Hicks glances at Priest. HICKS What? You mean Mr. Laffs over there? PRIESTESS He's not so bad once you get to know him. A beat, Hick's expression becoming serious. HICKS He's going to kill her, isn't he? If. she's turned. PRIESTESS Yes. HICKS There's things that can be done. She doesn't have to die. PRIESTESS She's his bloodline... and he's a Priest. It's the only way. Hicks tosses the rest of his food into the fire, troubled, but he knows there's no point in discussing it any further... for now. HICKS And how many of you Priests are left now? A long moment before she speaks. PRIESTESS Two. Hicks doesn't know what to Say-,, HICKS .I'm sorry., PRIESTESS Yes. She nods, though in affirmation of what Hicks's isn't sure. He watches her as she stares'into the fire. We FADE TO BLACK: INT. VAMPIRE HIVE - DREAM SEQUENCE/FLASHEIACK It's dark. 80. A GROUP OF PRIESTS (OUR TWO amongst them) move silently through a DEEP TRENCH, moist earthen walls rising around them, the air putrid with stink, mud clinging to their feet. Last: in the line, is a particularly FEARSOME PRIEST ...unlike the others, he's smiling, enjoying the action. As a cohesive unit, the Priests, climb up from the trench, scaling through the muck. They find themselves at the base of the hive, looking around at a chilling sight -- THOUSANDS OF HONEYCOMBS stretching endlessly, rising high above in a cone. THOUSANDS OF SLEEPING VAMPIRES. OUR PRIEST, motions with his hand to the others, giving precise instructions, their movements well coordinated. He stops. Hearing a sound...a faint but incr. A BEAT as the Priestess looks at the others. PRIESTESS They know we're here. From under the earth A HAND SHOOTS UP, grabbing onto a Priest's leg, pulling him down. Suddenly DOZENS OF VAMPIRES emerge, seemingly birthed from the soil. The warriors fight valiantly. Fiercely. But it's too much. Most are quickly cut down. PRIEST Retreat! FEARSOME PRIEST Battles like a tiger, grappling with TWo VAMPIRES, their claws at his throat, fangs inches from his face. A couple of quick moves and - before you realize how - the vanires lay dead. He quickly joins the surviving Priests as they run through the hive, a dizzying maze of MUDDY TUNNELS AND TRENCHES. FEARSOME SUDDENLY STOPS A BLACK TOP HAT lying on the ground catching his eye, must be the last remanent of a dandy gentleman. He picks it up, admiring the souvenir. Puts it on his head. The Priestess races by, shooting him a we don't have time for this' look. He STOPS her, grabbing her shoulder 81. FEARSOME PRIEST (WINKS) What do you think -- Am I a "Dapper Dan"? She glares, running ahead to join the group. Fearsome just smiles, taking off the hat. FEARSOME PRIEST (CONT'D) Guess not. From within the hive comes a MIGHTY SHRIEK -- and now Fearsome starts to run, trying to catch the others as they scramble for daylight. The exit just in sight. At the last second -- He's pulled back by a clutch of SCREECHING HUNGRY CLAWS. The hat still gripped tightly in his hand as he's dragged away. our two Priests reach for him but it's too late ...He disappears into the darkness as we CUT BACK TO: EXT. BEGGAR'S PASS CAMP - NIGHT Priest WAKING UP, breath catching in his throat. He looks over to find the Priestess working on her cycle, unable to sleep. There's a tension in the air, the sense of something about to break as he joins her. PRIESTESS Why would the Clergy forbid us from seeing each other? PRIEST Maybe they were scared of what we could do. PRIESTESS Or what we would do. (PAUSE) We both know there's something inside the Order that's off. Even if we don't know what it is. PRIEST With or without the Clergy...we're still Priests. And we're the only ones who can stop that train. PRIESTESS If we survive this we need to expose them for what they are. 82. PRIEST (PAUSE) We won' t survive this. She puts down her tools, staring fixedly at him. PRIESTESS You scared to die?_ PRIEST No. PRIESTESS I believed in Heaven my whole life. Believed everything we were taught -- And now...when it's finally my time...no more faith. They took it away from me. Priest gazes at her, trying his best to be comforting. PRIEST Whatever happens. .. Wherever it is we go. We'll go together. At that.exact moment something inside Priest shifts just a little bit, a door opens -- never to be shut again. PRIEST (CONT'D) What in greater than God but more evil than the Devil? The poor have it, the rich need it -- and if you eat it...you'lldie. PRIESTESS What? PRIEST It's a riddle. The Priestess thinks about it. PRIESTESS. Nothing. That's the answer. (BEAT) Nothing is greater than God. Nothing is more evil than the devil. The poor have nothing, the rich need nothing. And if you eat nothing... you'll die. It's said that warriors can become close friends only when they see each other's hearts -- Priest now knows this to be true. 83. -PRIEST What you said before...about those nights when you were dreaming of me -- PRIESTESS The good nights. PRIEST Yes. The good nights. Do you think maybe tonight... PRIESTESS Could be one of those nights? She smiles. And then Priest does the most amazing thing. . .he smiles back. Things happen fast -- He finds himself planting his mouth on hers... the years of conditioning, all the ritual and tradition falling away in a flash. And it is here, together in this place, where they feel like they finally truly belong. The last two. DISSOLVE TO: EXT. BEGGAR'S PASS, DAWN A blanket of mist covers everything in a grey haze. Morning has come. A QUICK SERIES OF SHOTS As our trio forges onward and upward, the trail more treacherous with every twisty ridge, the overhangs looming ominously as they head deeper into the mountain. EXT. BEGGAR'S PASS - LATER The final climb. Yawning crevices, the wind moaning as it whistles between the canyon walls. Carefully they ride across DEVIL'S BRIDGE, a finger of stone, just wide enough for the cycles, on either side a straight drop to, oblivion. The peak of the mountain Just ahead. 84. The Priestess is in front leading the charge, closely followed by Hicks. Priest brings up the rear, he stops just past the bridge, looks around. Something's wrong. HICKS I- ee itl Hicks points, reaching the top of the mountain. IN THE DISTANCE A long black line snakes along the rail, puffs of heavy smoke lining its path; The Night Train. They're ahead of it. Barely. In his excitement, Hicks thunders ahead, starting the descent down the other side. The Priestess turns to shout back to Priest. But he's gone. Off her reaction we CUT TO: EXT. CREVASSE - DAY Tall rock walls flank Priest on. either side, the surrounding mist hanging in the air in cloudlike wisps. Slowly he walks through the canyon, senses fully attuned. It's quiet. PRIEST I know you're there. A slight sound, the mist whipping into a pool as if something just moved through it. Priest quickly turns but there's nothing there. A GROUP OF ROCKS Tumble down the cliff. Again Priest abruptly turns but...still nothing there. PRIEST (CONT'D) Show yourself. A BEAT as he stands in the ether, waiting. Then -- WHOOSH! Qurye -M onen. ieadjna straight-for pi=. 0 $5. Just in time -- he DIVES, the claw BITING into a rock behind him, the chain quickly snapping back, disappearing into the fog. RU11TE (O. S. ) (voice like the mist itself) I've waited a long time for this Priest. PRIEST This isn't the time to settle old scores, Rune. RUNE (0. S. ) I disagree... This is the perfer, time. WOOSH! Like lightning, the claw LASHES out, appearing from. nowhere. Priest JUMPS and it CHOMPS into the ground where he was standing. He lands on top of the chain, backflipping as it retracts back. Gearing up for another attack. RUNE (0.s.) (CONT'D) You've lost a step Priest...I never came this close before. PRIEST I'm older now. We can almost bear Rune smile. RUNE (0.8.) Not me. And now THE CHAIN comes from a different direction, WRAPPING around Priest like a snake, the metal cutting into his body, snapping a ribt Yelling, Priest GRABS the chain, PULLING with everything he's got. Rune flies from the mist, dragged by Priest, crashing at his feet. The chain SNAPS and Priest BREAKS from the coils, grabbing Rune by the jacket, picking him up. Rune flashes his fangs and scissors his legs across Priest's stomach, the razor sharp roweled SPURS slicing his flesh, tearing the muscle, Priest SCREAMS, a hot rush of, blood staining the desert floor. Rune leaps away, landing ontop a boulder. RUNE (CONT'D) You can't outrun the past, Priest... the things you did. PRIEST It was a war, Rune. 86. RUNE It still is He launches at Priest, duster fluttering like wings. The two grapple, Rune's fangs brushing Priest's neck. It's a savage battle, Priest's muscles and laser-like focus the only thing keeping him alive as Rune flies back across the canyon, landing against the rock wall like.a spider. Hunched, ready to strike BUT -- THE PRIESTESS Appears from within the mist, already in mid-leap, she lands beside Priest. The two together, a formidable presence. But Rune's a tough customer, he readies himself for another attack. ough h2 mist a single CLICKING sound. Rune looks over, sees -- HICKS Six-shooter pointed right at him. 6 A beat as the two sides stare at each other in standoff. The air between them vibrating with energy. Crackling. Rune considering his options. RUNE (CONP' D) (HISSING) Another time, Priest. He skitters up the rock face, disappearing into the mist. HAM! Hicks fires a single shot, the echo ringing through the canyon. RUNE'S BODY Drops from the fog, hitting the ground with a thud. Dead. And now Hicks turns -- points his revolver at Priest. Catching both he and the Priestess by surprise. HICKS Tell me you won't kill her. Priest doesn't reply. 87. HICKS (CONT'D) Tell me...or I'll shoot you where you stand. PRIEST Finally showing your true colors. A beat. The Priestess looks at Hicks. PRIESTESS What's he talking about? PRIEST He's a halfbreed. Hicks cocks the gun. HICKS Don't turn this into somethin' it's not. PRIEST You've been itching to do this since Nightshade. HICKS She's your kin, goddamit! PRIEST if she's turned...she's nobody's kin. HICKS Things can be done. Things to lessen the thirst. She can have a normal life, she doesn't have to die. Priest nods grimly. PRIEST It's our way. HICKS And what is that? Some special Priest code of honor? You don't get it. Your "way' -- It's over! PRIEST Shoot me and it won't matter if you find Lucy. You won't stop that train -- and you won't save her. The Priestess steps between them, looks at Hicks. 88. PRIESTESS He's right. We need to be together on this... it's the only shot we have. Hicks thinks about it, knows she's right. A tense beat then HICKS This ain't done. He lowers his gun and walks away. The two warriors stand together, the Priestess gazing at Priest...hedoesn't return it. Without a word, he heads back to his cycle. She doesn't see as his hand touches his stomach. It comes up red. CUT TO: EXT. BEGGAR'S PASS - DAY The Trio BLAST down the rock face, descending down the mountain at a furious clip. The Priestess looks at the train off in the distance, it's now much closer, passing the mountain. They've lost their edge. HICKS C'MONL He GUNS the throttle and his bike BLAZES forward, wheels thundering across the earth, the ROAR of engines filling our head becoming -- EXT. DUNKIRK RAIL - SAME TIME The mad CLATTER of the train as it barrels down the tracks. EXT. BEGGAR'S PASS DAY The assault begins. Our trio finishes their descent, BLASTING onto the SALT FLATS wheels kicking up sheets of sand and grit, spattering their faces. The train dead in their sites. 89. HICKS (SHOUTING) You think they see us? As if in response the locomotive belches a thick cloud of .black smoke, a door sliding open from one of the cars. A BEAT as everyone holds their breath, wondering what's going to emerge -- VR0000000000MI SIX BLACK MOTORCYCLES (the same ones who kidnapped Lucy) fly out from within the car! Vampires covered in rider leather, protected from the sun, heads obscured by BLAST HELMETS. Priest turns to the other two. PRIEST Make sure you get on that train, (BEAT) I'll catch up. 'Before they can respond, he banks his cycle to the left. THE VAMPIRE RIDERS Take the bait, going for Priest. They gun their cycles, engines.WHINING as they rev forward, their LEADER unleashing a chain, swirling it above his head. With a SNAP he lashes it at Priest, the chain catching in his wheel, the sound of metal grinding as PRIEST is thrown! His beloved bike FLIPPING across the desert in wild arcs. He hits the earth with a painful skid, using the momentum to roll back onto his feet. He checks his stomach, the wound's of enina t,}g xnorA, staining his shirt bright red. No time for first aid as he turns just in time to see TWO RIDERS Throwing a STEEL CHAIN to the other, pulling the line taut, ready to take him out. Approaching fast. PRIEST 90. At the last second, DUCKS, grabbing onto. the chain, swinging himself around in a graceful arc and KICKING his legs into a split. WHAM! his feet SLAM the two cyclists off their bikes and into the dirt. He lands back on the ground in a crouch, the steel chain tight in his grip -- Ready for battle. And he gets it. THE OTHER FOUR RIDERS Circle Priest, surrounding him, the ROAR of their engines like massive power drills. PRIEST Snaps the chain above his head, bullwhip style, LASHING out. The sound of metal shredding as it tangles in Rider #1's handlebars, the bike SWEEPING into the other, CRASHING in a tangled mess. With a SNARL the fallen riders LAUNCH at Priest. These vampires are different than the Nightshade tribe. Stronger, quicker. Squat bodies of clenched muscles and fangs. A BRUTAL FIGHT Spinning, twisting, kicking, gnashing. Bodies locked in deep combat as Priest fends off the ferocious attackers. War cries WHOOPING, the OTHERS TWO RIDERS continue to circle the gladiators, dust kicking from their wheels. PRIEST Rips the BLAST HELMETS off his two attackers. With a SCREECH, their faces burn, bodies instantly SLACKENING in the harsh sun. Priest CRUNCHES a vampire in the ribs, knocking the creature off his bike. In a flash, he FLINGS.a helmet into the housing of the last cycle, the bike nosedives, sending the rider across the desert. Eyes brimming with renewed fury, Priest picks up the cycle, VROOOOMI! GUNNING the throttle, mod. ROCKETING towards the train... EXT. VAMPIRE TRAIN - SAME TIME Hicks and the Priestess are riding right beside the colossus, the sound incredible as the cars rattle across the tracks. Carefully, they pull up to the caboose. 91. PRIESTESS (shouting to be heard) You ready? Hicks nods, maneuvering to the side of his bike and jumping to the Priestess's, his cycle crashing into the dirt as he LEAPS onto the back of the train. PRIESTESS (CONTIB) I'm going for the engine. Find Lucy. (about to speed off, stops) Before he does. Hicks nods, knowing this'll probably be the last time he sees her. And with that, she throttles forward, disappearing. Alone, Hicks takes a deep breath, looks at -- THE TRAIN CAR DOOR Who knows what horrors lie behind it? He pops a WAD OF ATOMIC CRAW in his mouth and pulls his six shooters. HICKS My.tuxn now, Priest. BAMI He kicks the door in INT VAMPIRE TRAIN CAR - SAME Sunlight bursts into the darkened chamber, but only reaching 4 so far, as if the sun itself were scared to enter. Hicks rolls in, guns at the ready. It takes a moment for his eyes to adjust but when they do he finds a series of OLD WOODEN COFFINS stacked atop one another like cargo. He quickly moves through the car, careful not to disturb anything. We FOLLOW with him as he exits, entering -- INT. BLACK STEEL ENCLOSURE - CONTINUOUS Designed so one can move between the cars without exposure to the sun, making the train a world of eternal midnight. Carefully, Hicks opens the next compartment's door.,. INT. TRAIN CAR - CONTINUOUS It's pitch black. 92. The only thing we can make out is a LARGE CAGE, what's inside impossible to see in the darkness, just a GIANT HULKING C SHADOW. Its steady, hefty breathing letting us know whatever it is, it's asleep. Hicks covers his nose from the bestial smell, the cage taking up so much room he is forced to press himself against the bars, his body just inches from the thing inside. THE TWITCH OF BLACK LEATHER WINGS Makes Hicks stop in his tracks, silently praying to whoever's listening. A long moment...and then the steady breathing begins again. Whew. Hicks continues through the cabin, finally making it to the door as -- EXT. VAMPIRE TRAIN - DAY The Priestess, engine at full boil, makes her way up the train, eyes on the engine up ahead. ACROSS THE BODY OF THE TRAIN A long line of tiny SLATS open up, RIFLE BARRELS quickly emerging, snapping into place with a click. BLAM! BLAMI BLAM! The guns FIRE AWAY, bullets blasting all around the Priestess, missing her by millimeters. She flicks down a TOGGLE SWITCH, there's a mighty roar, a massive surge of power and WHOOSH! she ROCKETS forward. The bullets chewing up the dirt behind her! PRIEST Seemingly from out of nowhere, motors up to the train car riding the vampire cycle. He grabs onto a gun barrel and SWINGS into an arc, lifting himself off the bike and - EXT. TRAIN ROOF - SAME TIME Lands on the roof of the train. Hard. EXT. BELOW THE TRAIN - SAME TIME The cycle quickly ripped apart as it falls under the juggernaut, getting crushed, sparks flying off the rails. 93. EXT. TRAIN ROOF - SAME TIME Priest collapses against the metal, the strain beginning to wear, he blinks up at the sky, close to passing out. Suddenly a FIGURE steps in front of him, blotting out the sun. Priest squints, unable to trust his eyes, he must be HALLUCINATING -- IT'S BLACK HAT. He looks down at Priest, bowing with a slight flourish. BLACK HAT "And the third day He shall rise again. Priest can't believe it, seeing his long dead comrade, his face etched with shock, all he can do is ask -- PRIEST .How? Black Hat smiles, baring hi fangs. BLACK HAT Oh ye of little faith. The understanding hits Priest immediately, crashing over him like a wave. PRIEST .They turned you. BLACK HAT No, Priest...I turned them. He smiles wider as we CROSSCUT TO: INT. VAMPIRE TRAIN - SAME TIME Hicks still hunting for Lucy, making his way to the next car. He slides open the door, stepping carefully inside, candlelight softly illuminating the space. He's greeted by a sight that makes his blood freeze: DOZENS OF OPEN COFFINS FILL THE CAR Long black boxes lined in orderly rows, flickering light bouncing warmly off their mahogany casings -- The sound of DEEP TORTURED BREATHING lets us know the OCCUPANTS are asleep. 94. HICKS 0 (under his breath) Shit. Gritting his teeth, he walks between the rows, quiet as possible. The interiors of the coffins are dark, hard to see what's lying inside, just that horrible breathing sound. As Hicks moves past, his body brushes the wood, the space so very tight. WHAM! The train CATCHES the rail and the car shakes, KNOCKING HIM INTO A COFFIN! Jarring it. He stops. Holding his breath...but Nothing happens. A quick Hail Mary (the man becoming more of a convert with every step) and he continues on. He doesn't notice as behind hi a PX rises from one of the, coffins CROSSCUT TO: EXT. TRAIN ROOF -SAME TIME Priest and Black Hat eye each other, landscape whipping past at a furious rate, the train blasting along the tracks. BLACK HAT Lost souls abandoned by divinity. No belief, no voice to guide them through the wilderness. Sound familiar? Priest doesn't reply, warily eyeing him. BLACK HAT (CONT'D) Lack of faith. That's what I found in my new brethren And so it was I discovered my true calling -- To teach. To lead. PRIEST By murdering innocents? BLACK HAT By drawing a once great race back to their"nature. By helping them discover' the mastery within themselves. (BEAT) (MORE) 95. BLACK HAT (CONTID) By putting them in touch with a higher power. PRIEST who? BLACK HAT Me. Something in the distance catches Priest's eye, a BLACK SPEC on the horizon -- It's The Cities. His jaw tightens, he knows there isn't much time. PRIEST So this is how you go about it? One by one killing every last remaining Priest? BLACK HAT It was the only way. The Cities are defenseless now...no one left to stop us from entering our Eden. But I was kind -- I gave every last one the choice I never had. (SMILES) Now it's your turn. Almost imperceptibly the two make a shift in their postures, the tension between the two warming up. Two warriors steeling for a fight. BLACK HAT (CONT'D) it's better to be with your enemies than to be alone, Priest. Humanity had its chance. (BEAT) It's time to make way for new blood. Priest lowers his head, when he raises it, his reply comes easy and without hesitation. PRIEST Yours. WE HEAR A HUM Molecules and electrons bursting from their orbits, the roar of the train gently subsiding as if the universe itself wants to leave these two room to battle. And before anyone knows it, they're already mid-fight. The SLAM and COLLISION of bodies giving way to the graceful sweep and echo of Priest combat. 96. Then as combustibly fast as it started -- the tableau drops. They stand, wind whipping around them in lethal currents, Black Hat having to shout to be heard. BLACK HAT They taught us God created man in His image. . .but they lied. Man created God in a image -- And so, like man, God is weak. Corrupt. Merciless. He wipes away a streak of blood from his cheek. BLACK HAT (CONT'D) Who do you fight for, Priest? The Order's collapsed. The Church nothing but a line of decrepit, ruined old men. Charlatans. (SMILES) How do you think I'm getting into the cities? Priest's face drops. PRIEST I don't believe you. BLACK HAT Your faith has failed you Priest. (BEAT) Join me. Join me and have the best of both worlds --Walk in the sun. Stalk in the night. Why pray to a God when you can BE one? PRIEST With ferocious instinct, he launches forward, feet digging into the metal. The two bodies COLLIDE w th Mic impact. Rolling across the roof, bodies twisting to the edge before FLIPPING onto the next car. The warriors rise, locked in a furious coil.as WHOOSHI train car after train car passes beneath them. Each leaping at j ust the right moment to land onto the next. But Priest is,outmatched. As they hit the final car, Priest flies across the roof catching the edge with his hand just before he goes over, his body dangling over the side. Exhausted and bloodied. 97. Black Hat calmly approaches, his foot dangerously close to Priest's hand. The landscape below-whipping past at an incredible speed. BLACK HAT Your problem is you keep looking to God for-your power -- But I know the real truth. (BEAT) You've been praying to an empty sky. And now he SWIPES his foot across the roof, knocking off Priest's hand as one would swat a bug. Priest falls below, getting caught under the train and quickly dragged under. BLACK HAT (CONT' D) But you know that now. CROSSCUT TO: EXT. TRAIN - SAME TIME The Priestess, cycle at full throttle, racing beside the TRAIN ENGINE. Up close it's a real mechanical monster, black metal and heat fused into a superpowered nightmare. The hull completely covered. Impervious. MASSIVE PISTONS Pump up and down furiously, moving so fast they blur, turning the-giant DRIVE WHEELS that power the locomotive. ANGRY BLASTS OF STEAM vent whi te hot from between the wheels, just missing the Priestess. She reaches into her pack and lugs out a CROWBAR, pulling up to the beast and managing to stick it between the pistons hoping to jam up the works. The machine chews it up like candy. CROSSCUT TO: INT. TRAIN COFFIN CAR - SAME TIME Hicks is almost at the door, hand reaching for the handle. He hears a RUSTLING sound and turns to look behind him... But there's nothing, just the open coffins. Turning back, Hicks catches his breath: 98. A VAMPIRE hangs upside down from the ceiling, blocking the door. Its red eyes snap in anticipation, a shiny BLACK PROBOSCIS darting from its mouth! Hicks SPITS a wad of ATOMIC CRAW at the creature. It RIEKSI dropping to the floor, writhing. The sick smell of cooked flesh filling the car. HICKS LOOKS BEHIND HIM DOZENS OF VAMPIRES ARE NOW AWAKE. Sitting up in their coffins, the foul creatures all blood-eyeing Hicks like the dinner he most surely is. HICKS Shit. With a WAIL, the vampires quickly scramble from their coffins, sharp talons scratching at the wood, snapping the planks. Desperate, he wrenches open the door, darting into -- INT. STEEL ENCLOSURE - CONTINUOUS and manages to SLAM the door behind him just in time as the hungry beings CRASH against itl A He wedges a knife in the door-handle, bashing it with his revolver, jamming the door trapped shut. He turns to head to the next car but there's a THICK CHAIN AND PADLOCK wrapped around the door, aWILD-EYED FAMILIAR peering out from inside the door window. Hicks SHOOTS the padlock but no luck, it doesn't break. He's trapped. THE DOOR BEHIND HICKS BUCKLES ON ITS HINGES It'll hold. . .but not for long. EXT. UNDERNEATH THE TRAIN - SAME TIME Priest is still alive. Barely. He hangs in tatters, desperately clinging to the undercarriage, face and body punched with bruises and blood. Jaw set, he begins to move through the undercarriage, hand over hand, every movement sheer agony. 99. INT. METAL ENCLOSURE - SAME TIME Hicks stares at the door as it starts to BREAK from its hinges. He trains his gun on it, a feeble gesture --- but it's all he's got left. Then there's a horrible SCREECH. HICKS TURNS The WILD-EYED FAMILIAR charges, attacking from behind, having unlocked the chain and opened the door. He SCREAMS, sinking a KNIFE in Hicks' side! Hicks spins, slamming his attacker in the nose with a palm heel strike, knocking the Familiar out instantly. Hicks pulls the knife out, blood flowering across his shirt as the vampires continue to PUMMEL the door behind, him. He trips over the chain and staggers into -- INT. ASSEMBLY CAR - CONTINUOUS Collapsing to the floor, he presses his body against the door to close it. HIS EYES SEARCH THE CAR It's bare. Absolutely nothing in here. A single candle burns: ,on the floor, dimly illuminating the room. Weakly, he crosses the space and goes to the next door. This one's got a THICK PADLOCK too,. HICKS 'Dam. He site on the floor, breathing hard, knowing this is as far as he goes. Gradually another sound becomes audible. Hicks listens, nervous. He holds his breath straining to hear. It's someone else's BREATHING. IN THE CORNER A HUNCHED FIGURE sits...its back to him. Hidden'in shadow. Hicks levels his gun, slowly moving towards the shape, the candlelight giving him a glimpse of its face. He can hardly believe it 100. HICKS (CONT'D) Lucy? it is. That's when he sees something. Glinting in the darkness, just below her lip. Something sharp. CUT TO: EXT. VAMPIRE TRAIN - SAME TIME THE STEAM WHISTLE BLASTS Howling across the wasteland, the train now racing even faster, furnace cranking out flame like Dante's inferno, the Priestess furiously keeping pace with the engine, desperately looking for a way in. There is none. She looks up ahead. THE SKYLINE,OF THE CITIES Smudged like a greasestain, looms large across the horizon, right in the train's path. She squints up to the sky, analyzing the sun, making a quick series of calculationsin her head. Trajectory. Timing. Then she looks at the train. Smiles. She flicks the Nitros Toggle one last time. Her bike ROCKETS past the train engine, speeding into a curtain of dust. Disappearing... INT. ASSEMBLY CAR - SAME TIME Hicks crouches beside Lucy, his gun trained on her. She site listlessly, her skin pale, eyes lost on the wall in front of her. HICKS Lucy, my name is Sheriff Hicks...I'm here to take you home. No response. She seems almost catatonic. He reaches into his pocket, pulling out her photograph, showing it to her. 101. HICKS (CONT'D) I'm here with your uncle. That gets her attention, she looks at Hicks -- And she looks scared. WHAP!1 The car door outside finally starts to give freely, metal breaking open. The sound of SQUEALING vampires. Hicks runs to.the car door, in one quick motion, SCOOPING up the chain and WRAPPING it around the handle, TYING IT TIGHT just as -- A TALON Reaches through the opening, long bony fingers swiping at Hicks like switchblades as he falls backwards, pain shooting up his body. ANOTHER ARM breaks through the small window, clawing at the air, the door BANGING REPEATEDLY against the chain. Hicks places himself between Lucy and the door, not noticing as she eyes the blood soaking through his shirt. HICKS (CONT'D) Stay behind me. I'll hold `em off as long as I can BLAMI BL.AM! Hicks FIRES, bullets peppering the creatures as they HOWL -- but they keep at it, the thick chain stretched tight, ready to snap. ONE VAMPIRE Manages to scramble through, it charges at Hicks, fangs glistening. BAMI With a twitch, it collapses in a heap, a well placed bullet between the eyes. EXT.-THE CITIES - SAME TIME A MASSIVE GATE, not, opened for decades slowly GRINDS open, a complex series of CHAINS and WINCHES scraping to life. The' Cities now open to the approaching vampire train. EXT. TRAIN SAME TIME The SCREAM of the whistle like victory as the locomotive approaches the city limits, sending up a giant plume of billowing steam. 102. The sky above already starting to cloud black as -- INT. ASSEMBLY CAR - SAME TIME Hicks continues to FIRE, the vampires seconds from entering the car. He turns to look back at Lucy. But she's gone. HICKS Lucy? WHAM! A WOODEN. PLANK slams him over the head, knocking the gun from his hand. Woozy, he spins around to find Lucy standing over him, holding the plank above her head. He scoots back just as WHAM! the plank comes back down again, splintering apart across the floor. HICKS (CONT'D) Lucy, wait She doesn't, jabbing at him with the broken plank, he dodges it, barely, but she keeps coming. HICKS (CONT'D) :71 Lucy, don't do this! The girl's just too fast. She keeps pushing him backwards until he's dangerously close to the vampire's clawing hands.. Hick's closes his eyes, knowing this is it... A FIST PUNCHES through a BOARDED UP HOLE in the floor (the one through which Lucy escaped before), wood splintering into tiny shards. Hicks takes advantage of the distraction and SLUGS Lucy, knocking her unconscious. He dives for his gun, scooping it up and leveling it at the hole, ready to fire at whatever's coming through... IT'S PRIEST He sticks his head through the opening, having been drawn by the sound of gunfire. Hicks can't believe it. PRIEST (reaching for Lucy) Give her to me! Hurry! 103. Hicks thinks about it, unsure. PRIEST (CONT'D) -- They'11.get through the door any second! Give her to mei Screeching, ANOTHER VAMPIRE makes it through the opening, Hicks quickly taking him down in one crack shot. He picks Lucy up, handing her to Priest. Priest disappears with her, Hicks climbing down behind just as -- the chain finally SNAPS and the door BURSTS open with screeching vampires! Hicks BLASTS away but there's too many of them, they keep coming. He drops into the hole -- EXT. UNDERNEATH THE TRAIN - CONTINUOUS Landing in the undercarriage. Coming face to face with the speeding track, everything shaking like an earthquake. A VAMPIRE Jabs its head through the hole, teeth chattering-- but the creature can't go any further, the sunlight already making its skin smoke. On his back, Hicks worms his way down,. following Priest.as they climb up a LADDER attached to the side of the train. EXT. TRAIN CONTINUOUS' They work their way up the side, making it to the roof, exhausted. Priest carrying the still unconscious Lucy. HICKS We should jump! PRIEST Not until we stop the trains But now Hicks isn't even looking at him, his attention caught up in the horrible sight waiting ahead of them. HICKS (SWALLOWS) Too late. THE CITYSCAPE 104. t Towers above as the train approaches, so close the smell of sulphur and carbon clogs their noses. But that's when something catches Hicks' eye...up ahead on the tracks -- Someone stands. awaiting the train. IT'S THE PRIESTESS -- Standing defiant as the train barrels towards her. An ant in front of a battleship. She sees Hicks and Priest-on top of the train, Lucy with them. Taking one last look at Priest -- she smiles. And spreads her arms open. ON PRIEST Horrified, realizing what she's going to do...and powerless to stop her. PRIEST What happens next happens fast: Priest GRABS Hicks, folding his body around both he and Lucy, hands coming together in prayer, feet leaving the train as -- E ERYTH ggas BLACK The sound of a heartbeat.A threshold. A zone of transition. A BRIGHT FLASH -- we see the TRAIN collide with the. Priestess. The massive grill of the engine CRUMPLING AROUND HER as if smashing into a building. She doesn't move. A BRIGHT FLASH -- one by one the train cars SLAM into each other, the cars JUMPING the rails. MMMM gQES BLACK A BRIGHT FLASH -- and now Priest is falling through the air, his body shielding Hicks and Lucy, train care skipping across the earth, careening through the air. 105. And WHAM! we FUSE back into real time as train cars CRASH down, sheets of dust clouding the sky in a roiling storm of debris and shrapnel, until finally...it all comes to a stop. It's quiet. We move through the swirling sand until we find -- PRIEST He stands, bruised and bloody, staring at the sky. Watching. A dazed Hicks beside him, Lucy in his arms as she comes to. A HORRENDOUS SCREECH fills the air. Led by the Purebloods, HUNDREDS OF VAMPIRES fly out from within the broken cars, taking to the sky in a massive black swarm, tangling together in flowing shapes. Beautiful. Terrifying. Then in one horrible instant -- They TURN as if guided by an unseen hand, flying towards the Cities. Sensing the blood that awaits. HICKS (HORRIFIED) They're gonna make it. The creatures arctowards the metropolis,the city within THEIR REACH: Priest studies the sky and all at once...he knows. PRIEST No, they're not. THE SUN PUNCHES through the teeming mass. A few rays at first, but then more and more,-cracking through the black tide like shattered glass. Hicks' eyes, widen, witnessing an amazing eight as the vampires' bodies collectively BLACKEN and SHRIVEL the swarm withering... quickly becoming nothing more than husks. Floating black kites. Hicks and Priest stand, surrounded by the epic destruction, fire and smoke casting everything in a surreal haze. 106. HICKS You knew they wouldn't make it. A long time before Priest answers. PRIEST She knew. He turns to THE ENGINE -- its grinning teeth grill CAVED IN as if smashed by the very hand of God. THE PRIESTESS Lies before it. Somehow not a scratch on her...But something's wrong -- something inside her broken, something elemental. She doesn't have much time. Priest kneels beside her, taking her hand. Trying to be strong for her. PRIEST (CONT'D) Do you want me to? PRIESTESS O Priest lowers his head. The following having been spoken by him all too often. PRIEST "You shall wash me and I shall be made whiter than snow. Glory be to the Father and to the Son and to the Holy Spirit... The words are heavy, each harder than the next. PRIEST (CONT'D) -- As it was in the beginning, is now and ever shall be. World without end." (BEAT) Amen. IN THE DISTANCE A FIGURE escapes through the dust, lurching towards the Cities,-- It's Black Hat. PRIEST sees him but chooses to stay with the Priestess, brushing the hair from her face. 107. PRIESTESS I wish we could've had more time. PRIEST .Me too. She reaches up, placing her hand on his chest. PRIESTESS Wherever it is we go -- we go together, right? She smiles weakly... but Priest can see she's scared. He gives her one last kiss, cradling her body, sand circling them as she draws her final breath. CUT TO: EXT. THE WASTELAND - DUSK The sun setting on the horizon. A nearby PYRE consumes the last of the Priestess' body as Priest saddles up on a vampire bike, the flames rising behind him. Hicks approaches, Lucy huddled in a blanket, shivering. The two men exchange a look, the snap and flash of the fire reflecting in their eyes. HICKS When you're finished -- You know where to find me. A tense beat then Priest GUNS the engine. Hicks and Lucy watching as he blazes towards the Cities, the sky above the color of hellfire. CUT TO: EXT. THE CITIES NIGHT The sound of a CHOIR. The soaring, ethereal tones carrying us through the forest of BRICK SMOKESTACKS-- finally coming to rest on A GIANT CROSS atop a mosaic BASILLICA, the colored tiles black with ash. We're back in CLERGY CITY. 108. INT. CLERGY CATHEDRAL - NIGHT Evening mass. The place is packed, every pew filled with WORSHIPERS. CROSSCUT TO., INT. CLERGY CHAMBER - SAME Shadows and light. A cabal of MONSIGNORS stand shrouded in white robes, awaiting to be anointed by ORELAS. A private ceremony. CROSSCUT TO: INT. CATHEDRAL - SAME A LINE OF CHILDREN kneel before the altar, the MONSIGNOR raising the Host, offering communion. He suddenly stops, his expression dropping as PRIEST Slowly makes his way down the aisle, bruised and bloodied, his very presence a direct affront to this place. A woman GASPS, somebody faints. CROSSCUT TO: INT. CHAMBER - SAME Orelas dips his hand in water, touching a Monsignor's forehead. ORELAS Ecces Agnes Dei, ecces qui tollit peccata mundi. THERE'S A LOUD CRASH Everyone turns to see the massive chamber doors BURSTING inwards! THE BODIES OF TWO GUARDS skidding across the marble floor. PRIEST ENTERS THE CHAMBER A true force of nature now, coming like the Fourth Horseman. Grief and betrayal stoking his anger higher, a blaze igniting behind his eyes. BLACK HAT 109. Steps from the shadows. Deep wounds line his face, the cross tattoo now gouged and distorted with blood -- He smiles. BLACK HAT I'm afraid you're too late, Priest. THE MONSIGNORS Shed their robes, revealing fresh BITE MARKS on their necks. Orelas' new-found fangs glint in the candlelight. ORELAS And why shouldn't we live forever? (HISSES) We're God's very voice. His vessel! PRIEST Stands shell shocked, the level of betrayal staggering. BLACK HAT ATTACKS SLAMMING.into him, the two warriors going at it in a brutal battle, the vampire raking his claws across Priest's face, drawing blood. PRIEST Sends him sailing through the air, Black Hat crashing into a collection of CANDLE HOLDERS, an ancient TAPESTRY catching fire, flames quickly spreading to the other fabrics -- The chamber erupting in an orange blaze! THE MONSIGNORS SHRIEK Bodies contorting in grotesque shapes as they BECOME. Black Hat stands triumphant, flames rising behind him. BLACK HAT With them I can start anew! You can't stop it -- (SMILES) Must be God's will. He flies across the room, BARRELING into Priest with everything he's got, DIGGING a hand into Priest's wound. BLACK HAT (CONT'D) "I looked and beheld a pale horse and His name that sat on him was Death" -- 110. Priest coughs up blood. Black Hat smiles, wrapping a hand around Priest's. throat, LIFTING him off the floor, SQUEEZING the life from him, BLACK HAT (CONT'D) "And all hell followed with him." He raises his head back, ready to sink his teeth. Priest too exhausted to fight back. This is it. Prom a b= -- THE GIANT GOLD CROSS Breaks from the wall with a GROAN, PLUMMETING towards them. Black Hat stops, his eyes snapping upward. At the last second -- PRIEST WRENCHES himself from,Black Hat's grip, tumbling. across the floor. WHAPI The cross S LM onto Black Hat, pulverizing hi ! ¬Ä¢ Chunks of glass and stone rain down around Priest, the chamber starting to COLLAPSE. Diving, he barely makes it out, the rotunda .CRASHING down behind him., The Monsignors lunge but Priest manages to jam the doors shut, locking them in. They BASH against the door, SHRIEKING horribly, the chamber now an oven. Priest presses against the door, it SPLINTERS all around him, the terrible sound RISING until finally it stops. PRIEST (WHISPERS) Forgive me. He collapses, making the sign of the cross. CUT TO: EXT. CLERGY CATHEDRAL - MOMENTS LATER Complete chaos. PEOPLE stream out of the massive doorway, stampeding down the stairs, the giant structure enveloped in smoke and flame. Priest looks up to find FATHER KOEPPEN. The old man staring .at him. A lost soul. KOEPPEN Am I next? Priest approaches -- Koeppen closing his eyes, ready for the blow he knows is to come. But Priest only lifts the man's head, studying his neck. He's clean. And without a single word -- Priest just walks away. When Koeppen opens his eyes, he's a new man -- a man absolved. With renewed energy, he looks to the crowd around him. And for the first moment in a long time ...He believes. KOEPPEN (CONT'D) (CALLING OUT) People don't run! God is here for youl He wants you to STOPI Stop and ask yourself a question And the people DO stop, looking to him, the panic leaving their eyes... KOEPPEN (CONT'D) Ask yourselves -- Where am I going? At this, Priest turns, the question catching him as well. And it's only now he realizes -- He has no answer. CUT TO: EXT. OUTPOST 10 - DAWN The windmill. Its rusty blades scrape along, the metal catching the first rays of the day. AARON PACE is already up, working on rebuilding his house. He stops, gazing off in the distance. 112. ON THE HORIZON A cycle. Two black specs riding it. Hicks and Lucy. Dropping his tools, he runs to meet it. CUT TO: INT. OUTPOST 10 - SEVERAL DAYS LATER - NIGHT Time has passed. The moon shines through an open doorway. Lucy lies in bed, Aaron spoon feeding her a warm broth. He smiles, Lucy reluctant to smile back, still uncomfortable with her teeth. But eventually -- for her father...she manages it. HICKS Leans against the backwall watching. Lucy glances his way... then shyly looks away. AARON I can't thank you enough for what you've done, sheriff. T I HICKS Just make sure she keeps on the tea. It's a special brew -- lessens the bloodthirst...something my granddad taught me. Aaron nods hopefully, squeezing his. daughter's hand. CUT TO: EXT. OUTPOST 10 - LATER A full moon. Hicks stands on the porch, enjoying the breeze as he pops a wad of chaw in his mouth. A MOVEMENT out in the darkness catches his attention. IN THE DISTANCE A FIGURE Stands astride a motorcycle, shadowed in the moonlight. 0 113. Hicks approaches, the wind kicking up, whistling through the emptiness. Even though he can't see him -- Hicks knows who it is. HICKS It doesn't have to be like this. Priest just stands, staring. Hick's hand curls around the revolver. Priest looks to the cabin, the challenge hanging in the air THEN He steps from the bike, advancing towards Hicks. Hicks pulls his gun, leveling it. Priest keeps coming, the wind blowing harder as he approaches. A feeling of inevitability. Hicks stands his ground, cocking his gun. HICKS (CONT'D) D= I t- -make dQ this. PRIEST Stares into his eyes and -- Something passes between them something so strong and personal it transcends emotion. Hicks FIRES! But Priest is pone. Hicks looks around -- There's no sign of him, not even the bike. HICKS (CONT'D) (REALIZING) SHIT He RACES back to the cabin... INT. OUTPOST 10 - SAME Hicks BURSTS through the doorway, finding LUCY AND AARON 114. Sitting peacefully on the bed together, just as he left them. Aaron holds up the cup, turning it over. AARON All done. (BEAT) We heard you fire your gun. is everything OK? A beat -- then Hicks nods. HICKS Nothing to worry about, just a coyote. Aaron smiles, happy enough to be with Lucy. AARON Well ...we're all God's creatures. Hicks turns, ready to leave, but something on the table catches his eye THE DESERT RAT' S HOMEMADE CROSS He picks it up, turning it in his hand, the colored stones 0 catching the moonlight...How the hell did it get there? AARON (CONT'D) Don't forget your cross -- It's beautiful. A flicker of a smile crosses Hick's face, realizing. HICKS ACTUALLY -- (BEAT) I think it's for you...and Lucy. CUT TO: EXT. WASTELAND - NIGHT Alone in the darkness, Priest sits on his cycle, his hand clutching the WELL-WORN PHOTO OF THE PACE FAMILY. His eyes shift, gazing into the distance at the outpost, a warm glow emanating from within the cabin. He places the photo in his pocket. The wind making a high, lonely sound. VRR00000MI 115. Priest streaks into the night, bathed in moonlight, desolation opening around him. He disappears into the emptiness. CUT TO: EXT. WASTELAND - NIGHT The vampire train. A car lies half-buried in the sand, mangled cage within. A BLACK CLAW Emerges from inside, clamping onto metal, something dragging itself out into the moonlight. It's a PUREBLOOD. With a SCREECH it takes to the night sky, massive black wings fluttering, arcing towards the twinkling metropolis. FADE OUT \ No newline at end of file diff --git a/unformated_scripts/Script_Princess Bride, The.txt b/unformated_scripts/Script_Princess Bride, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..3e61506ea18fd98ab5cb659ea26e034fa3d48618 --- /dev/null +++ b/unformated_scripts/Script_Princess Bride, The.txt @@ -0,0 +1 @@ +"The Princess Bride" by William Goldman 1987-Shooting Draft---------------------------------------------------------------------------FADE IN ON:A VIDEO GAME ON A COMPUTER SCREENThe game is in progress. As a sick coughing sound is heard. CUT TO:THIS KIDlying in bed, coughing. Pale, one sick cookie. Maybe he'sseven or eight or nine. He holds a remote in one hand,presses it, and the video game moves a little bit. Then he'shit by another spasm of coughing, puts the remote down.His room is monochromatic, greys and blues, mildly high-tech.We're in the present day and this is a middle class house,somewhere in the suburbs. CUT TO:The Kid's MOTHER as she enters, goes to him, fluffs hispillows, kisses him, and briefly feels his forehead. She'sworried, it doesn't show. During this MOTHER You feeling any better? THE KID A little bit. MOTHER Guess what. THE KID What? MOTHER Your grandfather's here. THE KID (not overjoyed) Mom, can't you tell him that I'm sick? MOTHER You are sick, that's why he's here. THE KID He'll pinch my cheek. I hate that. MOTHER Maybe he won't.--------------------------------------------------------------------------- 2.The Kid shoots her an "I'm sure" look, as we CUT TO:THE KID'S GRANDFATHER bursting into the room. Kind ofrumpled. But the eyes are bright. He has a wrapped packagetucked under one arm as be immediately goes to The Kid,pinches his cheek. GRANDFATHER Hey! How's the sickie? Heh?The Kid gives his Mother an "I told you so" look. The Motherignores it, beats a retreat. MOTHER I think I'll leave you two pals.And she is gone. There's an uncomfortable silence, then... GRANDFATHER I brought you a special present. THE KID What is it? GRANDFATHER Open it up.The Kid does. He does his best to smile. THE KID A book? GRANDFATHER That's right. When I was your age, television was called books. And this is a special book. It was the book my father used to read to me when I was sick, and I used to read it to your father. And today, I'm gonna read it to you. THE KID Has it got any sports in it? CUT TO:THE GRANDFATHERSuddenly passionate.--------------------------------------------------------------------------- 3. GRANDFATHER Are you kidding? Fencing. Fighting. Torture. Revenge. Giants. Monsters. Chases. Escapes. True love. Miracles. CUT TO:THE TWO OF THEM as the Grandfather sits in a chair by the bed. THE KID (manages a shrug) It doesn't sound too bad. I'll try and stay awake. GRANDFATHER Oh. Well, thank you very much. It's very nice of you. Your vote of confidence is overwhelming. All right. (Book open now, be begins to read.) The Princess Bride, by S. Morgenstern. Chapter One. Buttercup was raised on a small farm in the country of Florin. DISSOLVE TO:The story he's reading about, as the monochromatic look ofthe bedroom is replaced by the dazzling color of the Englishcountryside. GRANDFATHER (off-screen) Her favorite pastimes were riding her horse and tormenting the farm boy that worked there. His name was Westley, but she never called him that. (to the kid) Isn't that a wonderful beginning? THE KID (off-screen doing his best) Yeah. It's really good. GRANDFATHER (off-screen reading) Nothing gave Buttercup as much pleasure as ordering Westley around. CUT TO:--------------------------------------------------------------------------- 4.BUTTERCUPS FARM - DAYBUTTERCUP is standing, holding the reins of her horse, whilein the background, WESTLEY, in the stable doorway, looks ather. Buttercup is in her late teens; doesn't care much aboutclothes and she hates brushing her long hair, so she isn'tas attractive as she might be, but she's still probably themost beautiful woman in the world. BUTTERCUP Farm boy. Polish my horse's saddle. I want to see my face shining in it by morning. WESTLEY (quietly, watching her) As you wish.Westley is perhaps half a dozen years older than Buttercup.And maybe as handsome as she is beautiful. He gazes at heras she walks away. GRANDFATHER (off-screen) "As you wish" was all he ever said to her. DISSOLVE TO:WESTLEY, outside, chopping wood. Buttercup drops two largebuckets near him. BUTTERCUP Farm Boy. Fill these with water -- (a beat) --please. WESTLEY As you wish.She leaves; his eyes stay on her. She stops, turns -- hemanages to look away as now her eyes stay on him. GRANDFATHER (off-screen) That day, she was amazed to discover that when he was saying, "As you wish," what he meant was, "I love you." DISSOLVE TO:--------------------------------------------------------------------------- 5.BUTTERCUP IN THE KITCHEN - DUSKWestley enters with an armload of firewood. GRANDFATHER (off-screen) And even more amazing was the day she realized she truly loved him back. BUTTERCUP (pointing to a pitcher that she could reach herself) Farm Boy, fetch me that pitcher.He gets it, hands it to her; they are standing very close toeach other gazing into each other's eyes. WESTLEY As you wish.Now he turns, moves outside. DISSOLVE TO:WESTLEY AND BUTTERCUP, outside his tiny hovel in the redglow of sunset. They are locked in a passionate kiss. THE KID (off-screen) -hold it, hold it- CUT TO:THE KID'S ROOM THE KID What is this? Are you trying to trick me? -- Where's the sports? -- Is this a kissing book? GRANDFATHER -- wait, just wait -- THE KID -- well, when does it get good? GRANDFATHER Keep your shirt on. Let me read. (reading again) Westley had no money for marriage. So he packed his few belongings and left the farm to seek his fortune across the sea. CUT TO:--------------------------------------------------------------------------- 6.WESTLEY AND BUTTERCUPThey stand near the gate to the farm, locked in an embrace. GRANDFATHER (off-screen reading) It was a very emotional time for Buttercup -- THE KID (off-screen groaning) I don't be-leeve this. BUTTERCUP I fear I'll never see you again. WESTLEY Of course you will. BUTTERCUP But what if something happens to you? WESTLEY Hear this now: I will come for you. BUTTERCUP But how can you be sure? WESTLEY This is true love. You think this happens every day?He smiles at her, she smiles too, throws her arms so tightlyaround him. They kiss. Then as Westley walks away, Buttercupwatches him go. GRANDFATHER (off-screen reading) Westley didn't reach his destination. His ship was attacked by the Dread Pirate Roberts, who never left captives alive. When Buttercup got the news that Westley was murdered -- THE KID (off-screen, perking up a little) -- murdered by pirates is good -- CUT TO:CLOSE UP: Buttercup, staring out the window of her room.--------------------------------------------------------------------------- 7. GRANDFATHER (off-screen) She went into her room and shut the door. And for days, she neither slept nor ate. BUTTERCUP (no emotion at all in her voice) I will never love again.HOLD ON HER FACE, perfect and perfectly sad. DISSOLVE TO:FLORIN CASTLE - DAYThe main courtyard of Florin replete with townspeople,livestock, and a bustling marketplace. GRANDFATHER (off-screen reading) Five years later, the main square of Florin City was filled as never before to hear the announcement of the great Prince Humperdinck's bride-to be. CUT TO:PRINCE HUMPERDINCK, a man of incredible power and bearing,standing in his royal robes on a castle balcony. Threeothers standing behind him: an OLD COUPLE with crowns, theaging KING AND QUEEN, and a dark bearded man who seems thePrince's match in strength: this is COUNT RUGEN. HUMPERDINCK (raises his hands, starts to speak) My people ... a month from now, our country will have its 500th anniversary. On that sundown, I shall marry a lady who was once a commoner like yourselves -- (pause) -- but perhaps you will not find her common now. Would you like to meet her?And the answering YESSSS booms like summer thunder. CUT TO:--------------------------------------------------------------------------- 8.A giant staircase leading to the CROWD and as a FIGURE justbegins to become visible, CUT TO:THE CROWD, as they see the figure. (We haven't yet.) And ifthere is such a thing as collective action, then this crowd,collectively, holds its breath. CUT TO:THE STAIRCASE, as the figure appears in the archway. It isButtercup. And she resplendent. HUMPERDINCK My people ... the Princess Buttercup!!She descends the stairs and starts to move amongst the people. CUT TO:THE CROWD, and they do a very strange thing: with noinstruction at all, they suddenly go to their knees. Greatwaves of people kneeling and -- CUT TO:BUTTERCUP, terribly moved. She stands immobile among hersubjects, blinking back tears. HOLD on her beauty for amoment. GRANDFATHER (off-screen) Buttercup's emptiness consumed her. Although the law of the land gave Humperdinck the right to choose his bride, she did not love him. CUT TO:WOODLANDS-- and Buttercup, barreling along, controlling her horseeasily. GRANDFATHER (off-screen) Despite Humperdinck's reassurance that she would grow to love him, the only joy she found was in her daily ride. CUT TO:--------------------------------------------------------------------------- 9.A WOODED GLEN - CLOSE TO SUNDOWNLovely, quiet, deserted. Buttercup suddenly reins in. VOICE A word, my lady? CUT TO:THREE MEN, standing close together in the path. Beyond themcan be seen the waters of Florin Channel. The three men arenot your everyday commuter types. Standing in front is atiny man with the most angelic face. He is Sicilian and hisname is VIZZINI. Beside him is a Spaniard, erect and taut asa blade of steel. His name is INIGO MONTOYA. Beside him is agiant. His name is FEZZIK. VIZZINI We are but poor, lost circus performers. Is there a village nearby? BUTTERCUP There is nothing nearby; not for miles. VIZZINI Then there will be no one to hear you scream-He nods to the giant, Fezzik, who merely reaches over,touches a nerve on Buttercup's neck, and the start of ascream is all she manages --unconsciousness comes that fast.As she starts to fall -- CUT TO:A TINY ISOLATED SPOT AT THE EDGE OF FLORIN CHANNELA sailboat is moored. It's dusk now, shadows are long.Inigo, the Spaniard, busies himself getting the boat ready. CUT TO:The giant Fezzik carries Buttercup, unconscious, on board.Vizzini rips some tiny pieces of fabric from an army jacketand tucks them along the saddle of Buttercup's horse. Thereis about the entire operation a sense of tremendous skilland precision. INIGO What is that you're ripping?--------------------------------------------------------------------------- 10. VIZZINI (not stopping or turning) It's fabric from the uniform of an Army officer of Guilder. FEZZIK Who's Guilder? VIZZINI (pointing straight out) The country across the sea. The sworn enemy of Florin. (slaps the horse's rump) Go!The horse takes off. They start for the boat. VIZZINI Once the horse reaches the castle, the fabric will make the Prince suspect the Guilderians have abducted his love. When he finds her body dead on the Guilder frontier, his suspicions will be totally confirmed. FEZZIK You never said anything about killing anyone.Vizzini hops onto the boat. VIZZINI I've hired you to help me start a war. That's a prestigious line of work with a long and glorious tradition. FEZZIK I just don't think it's right, killing an innocent girl. VIZZINI (whirling on Fezzik) Am I going mad or did the word "think" escape your lips? You were not hired for your brains, you hippopotamic land mass. INIGO I agree with Fezzik. CUT TO:--------------------------------------------------------------------------- 11.CLOSE UP: Vizzini, in a fury. VIZZINI (We only thought he was in a fury --now he's really getting mad) Oh. The sot has spoken. What happens to her is not truly your concern -- I will kill her -- (louder) And remember this -- never forget this -- CUT TO:INIGO AND FEZZIK, as Vizzini advances on them. Nothing showson Inigo's face, but FEZZIK is panicked by Vizzini. VIZZINI (to Inigo) -- when I found you, you were so slobbering drunk you couldn't buy brandy -- (now to Fezzik, who retreats as much as he can while Vizzini advances) -- and you -- friendless, brainless, helpless, hopeless -- Do you want me to send you back to where you were, unemployed in Greenland?Vizzini glares at him, then turns, leaves them.During this, Inigo has gone close to FEZZIK, who is verydistressed at the insults he's just received. As Inigo castsoff. INIGO (softly) That Vizzini, he can fuss. (a slight emphasis on the last word) FEZZIK (looking at Inigo) ... fuss ... fuss ... (Suddenly, he's got it again, emphasis on the last word.) I think he likes to scream at us.--------------------------------------------------------------------------- 12. INIGO Probably he means no harm. FEZZIK He's really very short on charm. INIGO (proudly) Oh, you've a great gift for rhyme. FEZZIK Yes, some of the time. (he starts to smile) VIZZINI (whirling on them) Enough of that.As they sail off, we hear their voices as the boat recedes. INIGO FEZZIK, are there rocks ahead? FEZZIK If there are, we'll all be dead. VIZZINI No more rhymes now, I mean it. FEZZIK Anybody want a peanut?As Vizzini screams we: DISSOLVE TO:THE SAILBOAT RACING ACROSS THE DARK WATERSInigo is at the helm, FEZZIK stands near the body of theprincess, whose eyelids flutter slightly -- or do they?Vizzini sits motionless. The waves are higher, there areonly occasional flashes of moon slanting down between clouds. VIZZINI (to Inigo) We'll reach the Cliffs by dawn.Inigo nods, glances back. VIZZINI Why are you doing that?--------------------------------------------------------------------------- 13. INIGO Making sure nobody's following us. VIZZINI That would be inconceivable. BUTTERCUP Despite what you think, you will be caught. And when you are, the Prince will see you all hanged.Vizzini turns a cold eye on the Princess. VIZZINI Of all the necks on this boat, Highness, the one you should be worrying about is your own.Inigo keeps staring behind them. VIZZINI Stop doing that. We can all relax, it's almost over- INIGO You're sure nobody's following us? VIZZINI As I told you, it would be absolutely, totally, and in all other ways, inconceivable. No one in Guilder knows what we've done. And no one in Florin could have gotten here so fast. Out of curiosity, why do you ask? INIGO No reason. It's only, I just happened to look behind us, and something is there. VIZZINI What?And suddenly the three whirl, stare back and as they do -- CUT TO:THE DARKNESS BEHIND THEMIt's hard to see; the moon is behind clouds now. But thewind whistles. And the waves pound.--------------------------------------------------------------------------- 14.And suddenly it's all gone ominous. CUT TO:INIGO, FEZZIK, AND VIZZINI squinting back, trying desperatelyto see. At this moment, they are all holding their breaths. CUT TO:THE DARKNESS BEHIND THEMAnd there's still nothing to be seen. It's still ominous.Only now it's eerie too.Then --The moon slips through and --Inigo was right -- something is very much there. A sailboat.Black. With a great billowing sail. Black. It's a gooddistance behind them, but it's coming like hell, closing thegap. CUT TO:INIGO, FEZZIK, AND VIZZINIstaring at the other boat. VIZZINI (explaining with as much logic as he can muster) Probably some local fisherman out for a pleasure cruise at night through eel-infested waters.And now as a sound comes from their boat they turn as we CUT TO:BUTTERCUP, diving into the water, starting to swim away. CUT TO:THE BOATand Vizzini screaming. VIZZINI Go in, get after her! INIGO I don't swim.--------------------------------------------------------------------------- 15. FEZZIK (to the unasked question) I only dog paddle. VIZZINI Veer left. Left. Left! CUT TO:BUTTERCUPstill close to the boat, switching from a crawl to a silentbreast stroke. The wind dies and as it does, something newis heard. A not-too-distant high-pitched shrieking sound.Buttercup stops suddenly, treads water. CUT TO:THE BOAT VIZZINI Do you know what that sound is, Highness? Those are the Shrieking Eels -- if you doubt me, just wait. They always grow louder when they're about to feed on human flesh. CUT TO:BUTTERCUP, treading water, still not far from the boat. Theshrieking sounds are getting louder and more terrifying.Buttercup stays silent. CUT TO:THE BOAT VIZZINI If you swim back now, I promise, no harm will come to you. I doubt you will get such an offer from the Eels. CUT TO:BUTTERCUP, and she's a gutsy girl. The shrieking sound islouder still, but she doesn't make a sound. Behind her now,something dark and gigantic slithers past.She's scared, sure, petrified, who wouldn't be, but shemakes no reply ---- and now a SHRIEKING EEL has zeroed in on her ----------------------------------------------------------------------------- 16.-- and now she sees it, a short distance away, circling,starting to close ---- and Buttercup is frozen, trying not to make a movement ofany kind ---- and the Eel slithers closer, closer ---- and Buttercup knows it now, there's nothing she can do,it's over, all over ---- and now the Eel opens its mouth wide, and it's never madesuch a noise, and as its great jaws are about to clampdown -- GRANDFATHER (off-screen) She doesn't get eaten by the Eels at this time.And the second we hear him: CUT TO:THE SICK KID'S ROOMThe Kid looks the same, pale and weak, but maybe he'sgripping the sheets a little too tightly with his hands. THE KID What? GRANDFATHER The Eel doesn't get her. I'm explaining to you because you looked nervous. THE KID Well, I wasn't nervous.His Grandfather says nothing, just waits. THE KID Well, maybe I was a little bit concerned. But that's not the same thing. GRANDFATHER Because I can stop now if you want. THE KID No. You could read a little bit more ... if you want.--------------------------------------------------------------------------- 17.He grips the sheets again, as the Grandfather picks up thebook. GRANDFATHER (reading) "Do you know what that sound is, Highness?" CUT TO:VIZZINIWe're back in the boat. VIZZINI Those are the Shrieking Eels. THE KID (off-screen) We're past that, Grandpa. CUT TO:THE SICK KID'S ROOM THE KID You read it already. GRANDFATHER Oh. Oh my goodness, I did. I'm sorry. Beg your pardon. CUT TO:BUTTERCUPtreading water. GRANDFATHER (off-screen) All right, all right, let's see. Uh, she was in the water, the Eel was coming after her. She was frightened. The Eel started to charge her. And then -And we're back where we were at the last moment we saw her,Buttercup frozen, the Shrieking Eel, jaws wide, about toclamp down as we CUT TO:--------------------------------------------------------------------------- 18.A GIANT ARMpounding the Eel unconscious in one move, then easilylifting Buttercup.PULL BACK TO REVEALThe boat and FEZZIK, Buttercup being deposited on the deck. VIZZINI Put her down. Just put her down. CUT TO:INIGOpointing behind them. INIGO I think he's getting closer.Vizzini, tying Buttercup's hands. VIZZINI He's no concern of ours. Sail on! (to Buttercup) I suppose you think you're brave, don't you? BUTTERCUP (staring deep at him) Only compared to some. DISSOLVE TO:The boat at dawn, being followed closely by the blacksailboat, which we can see for the first time is beingsailed by a MAN IN BLACK, and his boat almost seems to beflying. INIGO Look! He's right on top of us. I wonder if he is using the same wind we are using. VIZZINI Whoever he is, he's too late -- (pointing ahead of them) -- see? (big) The Cliffs of Insanity.--------------------------------------------------------------------------- 19.And once he's said the name-- CUT TO:THE CLIFFS OF INSANITY - DAWNThey rise straight up, sheer from the water, impossibly high. CUT TO:THE TWO SAILBOATSin a wild race for the Cliffs and the Man In Black isclosing faster than ever, but not fast enough, the lead wastoo great to overcome, and as Inigo sails with greatprecision straight at the Cliffs CUT TO:THE BOATbeing pursued. VIZZINI Hurry up. Move the thing! Um ... that other thing. Move it! (staring back now) We're safe -- only FEZZIK is strong enough to go up our way -- he'll have to sail around for hours 'til he finds a harbor.There is much activity going on, all of it swift, expert,economical. FEZZIK reaches up along the Cliff face, grabs ajutting rock, reaches behind it. Suddenly there is a thickrope in his hands. He drops back to the boat, gives the ropea freeing swing and CUT TO:THE CLIFFSThe rope goes all the way to the top. CUT TO:INIGOhurrying to FEZZIK. He straps a harness to him, then liftsButtercup and Vizzini in the harness. Finally, he himselfgets in the harness. All three are strapped to FEZZIK likepapooses.--------------------------------------------------------------------------- 20.And he starts to ascend the rope, carrying them all alongwith him as he goes. CUT TO:THE MAN IN BLACK, sailing in toward the Cliffs of Insanity,watching as FEZZIK rises swiftly through the first momentsof dawn. CUT TO:THE TOP OF THE CLIFFS - LOOKING DOWNFEZZIK'S GROUP is only faintly visible far below. This isthe first time we've gotten the real vertigo feeling andit's a gasper. CUT TO:FEZZIK CLIMBING ON. Buttercup is almost out of her mind withfear. CUT TO:THE ENTIRE LENGTH OF THE CLIFFSFEZZIK is moving right along; however high they are, he'salready over a third of the way done. CUT TO:THE MAN IN BLACKleaping from his ship to the rope, starting to climb. He'simpossibly far behind, but the way he goes you'd think hedidn't know that because he is flying up the rope, hand overhand like lightning. CUT TO:VIZZINI AND THE OTHERS INIGO (looking down) He's climbing the rope. And he's gaining on us. VIZZINI Inconceivable!He prods FEZZIK, who nods, increases his pace. CUT TO:--------------------------------------------------------------------------- 21.THE MAN IN BLACKroaring up the rope, and CUT TO:LONG SHOT - THE CLIFFS-- and the Man In Black is cutting deeply into FEZZIK's lead. CUT TO:VIZZINI AND THE OTHERS VIZZINI (shrieking) Faster! FEZZIK I thought I was going faster. VIZZINI You were supposed to be this colossus. You were this great, legendary thing. And yet he gains. FEZZIK Well, I'm carrying three people. And he's got only himself. VIZZINI (cutting through) -- I do not accept excuses. (shaking his head) I'm just going to have to find myself a new giant, that's all. FEZZIK (hurt) Don't say that, Vizzini. Please.And his arms begin moving much more slowly. CUT TO:THE MAN IN BLACKHis arms still work as before. If anything, he has speededup. FEZZIK's lead is smaller and smaller CUT TO:--------------------------------------------------------------------------- 22.THE VIEW FROM THE TOP OF THE CLIFFSMaybe a hundred feet for FEZZIK to go. Maybe more. CUT TO:VIZZINI AND THE OTHERS, and it's getting too close now. VIZZINI Did I make it clear that your job is at stake? CUT TO:THE MAN IN BLACKless than a hundred feet behind them. And gaining. CUT TO:THE CLIFF TOP AS FEZZIK MAKES IT!Vizzini leaps off and takes out a knife, begins to cut therope which is tied around a great rock while Inigo helps thePrincess to her feet and FEZZIK just stands around, waitingfor someone to tell him to do something. Nearby are somestone ruins. Once they might have been a fort, now the kindof resemble Stonehenge. CUT TO:THE MAN IN BLACKfeet from the top now, maybe less -- maybe only 50 -- andhis pace is as dazzling as before, and CUT TO:VIZZINIcutting through the last of the rope and CUT TO:THE ROPEslithering across the ground and out of sight toward theChannel, like some great serpent at last going home. CUT TO:FEZZIKstanding with Inigo and Buttercup by the cliff edge.--------------------------------------------------------------------------- 23. FEZZIK (to Inigo -- impressed) He has very good arms. CUT TO:THE MAN IN BLACKhanging suspended hundreds of feet in the air, holding tothe jagged rocks, desperately trying to cling to life. CUT TO:VIZZINIstunned, turning to the others, looking down. VIZZINI He didn't fall? Inconceivable!! INIGO (whirling on Vizzini) You keep using that word -- I do not think it means what you think it means. (looks down again) My God! He's climbing. CUT TO:THE MAN IN BLACKand so he is. Very slowly, he is picking his way upwards,sometimes a foot at a time, sometimes an inch. CUT TO:The group at the top, staring down. VIZZINI Whoever he is, he's obviously seen us with the Princess, and must therefore die. (to Fezzik) You, carry her. (to Inigo) We'll head straight for the Guilder frontier. Catch up when he's dead. If he falls, fine. If not, the sword.Inigo nods.--------------------------------------------------------------------------- 24. INIGO I want to duel him left-handed. VIZZINI You know what a hurry we're in. INIGO Well, it's the only way I can be satisfied. If I use my right -- tch -- over too quickly. VIZZINI (turns abruptly, starts off-screen) Oh, have it your way. CUT TO:THE MAN IN BLACKstill creeping his way upward. CUT TO:FEZZIKwho goes to Inigo. FEZZIK You be careful. (gravely) -- people in masks cannot be trusted. VIZZINI (calling out) I'm waiting!FEZZIK nods, hurries after Vizzini. CUT TO:INIGOHe watches them depart, then turns, peers down over theCliffs. He watches a moment, then paces, shaking his handsloose. He practices a few of his honed fencing skills. He isa taut and nervous fellow, and has never been one forwaiting around. CUT TO:--------------------------------------------------------------------------- 25.THE MAN IN BLACKclimbing on. He must be six inches closer to the top thanwhen last we saw him. Inigo is watching. CUT TO:INIGOwalking away. Finally he goes back to cliff edge, starts totalk. It's instant death if the Man In Black falls, butneither gives that possibility much credence. This is ourtwo heroes meeting. They don't know it yet; but that's whatit is. INIGO (hollering down) Hello there.The Man In Black glances up, kind of grunts. INIGO Slow going? MAN IN BLACK Look, I don't mean to be rude, but this is not as easy as it looks. So I'd appreciate it if you wouldn't distract me. INIGO Sorry. MAN IN BLACK Thank you.Inigo steps away, draws his sword, loosens up with a fewperfect thrusts. Then resheathes and looks eagerly over theedge again. INIGO I do not suppose you could speed things up? MAN IN BLACK (with some beat) If you're in such a hurry, you could lower a rope, or a tree branch, or find something useful to do.--------------------------------------------------------------------------- 26. INIGO I could do that. In fact, I've got some rope up here. But I do not think that you will accept my help, since I am only waiting around to kill you. MAN IN BLACK That does put a damper on our relationship.He finds another bold a few inches higher. INIGO But I promise I will not kill you until you reach the top. MAN IN BLACK That's very comforting. But I'm afraid you'll just have to wait. INIGO I hate waiting. I could give you my word as a Spaniard. MAN IN BLACK No good. I've known too many Spaniards.And he just hangs there in space, resting, gathering hisstrength. INIGO You don't know any way you'll trust me? MAN IN BLACK Nothing comes to mind.And on these words, CAMERA ZOOMS into a CLOSE UP on Inigo.He raises his right hand high, his eyes blaze, and his voicetakes on a tone we have not heard before. INIGO I swear on the soul of my father, Domingo Montoya, you will reach the top alive. CUT TO:THE MAN IN BLACK.There is a pause. Then, quietly:--------------------------------------------------------------------------- 27. MAN IN BLACK Throw me the rope. CUT TO:INIGOHe dashes to the giant rock the rope was originally tied to. CUT TO:THE MAN IN BLACKas his grip loosens a moment, trying to cling to the side ofthe cliff. CUT TO:INIGOnow with a small coil of rope, hurries back to the edge andhurls it over -- CUT TO:THE ROPEIt hangs close to the Man In Black. He releases the rocks,grabs the rope, hangs helplessly in space a moment, thenlooks up at Inigo and -- CUT TO:INIGOstraining, forcing his body away from the cliff edge and -- CUT TO:THE MAN IN BLACKrising through the early morning light, slowly, steadily,and as the cliff top at last comes within reach -- CUT TO:INIGOwatching as the Man In Black crawls to safety, then looks toInigo. MAN IN BLACK (pulling his sword) Thank you.--------------------------------------------------------------------------- 28. INIGO We'll wait until you're ready. MAN IN BLACK Again. Thank you.The Man In Black sits to rest on the boulder that once heldthe rope. He tugs off his leather boots and is amazed to seeseveral large rocks tumble out. The Man In Black wearsgloves. Inigo stares at them. INIGO I do not mean to pry, but you don't by any chance happen to have six fingers on your right hand?He glances up -- the question clearly baffles him. MAN IN BLACK Do you always begin conversations this way? INIGO My father was slaughtered by a sixfingered man. He was a great swordmaker, my father. And when the six-fingered man appeared and requested a special sword, my father took the job. He slaved a year before he was done.He hands his sword to the Man In Black. MAN IN BLACK (fondling it-impressed) I have never seen its equal. CUT TO:CLOSE UP - INIGOEven now, this still brings pain. INIGO The six-fingered man returned and demanded it, but at one-tenth his promised price. My father refused. Without a word, the six-fingered man slashed him through the heart. I loved my father, so, naturally, challenged his murderer to a duel ... I failed ... (MORE)--------------------------------------------------------------------------- 29. INIGO (CONT'D) the six-fingered man did leave me alive with the six-fingered sword, but he gave me these.He touches his scars. CUT TO:THE MAN IN BLACKlooking up at Inigo. MAN IN BLACK How old were you? INIGO I was eleven years old. When I was strong enough, I dedicated my life to the study of fencing. So the next time we meet, I will not fail. I will go up to the sixfingered man and say, "Hello, my name is Inigo Montoya. You killed my father. Prepare to die." MAN IN BLACK You've done nothing but study swordplay? INIGO More pursuit than study lately. You see, I cannot find him. It's been twenty years now. I am starting to lose confidence. I just work for Vizzini to pay the bills. There's not a lot of money in revenge. MAN IN BLACK (handing back the great sword, starting to rise) Well, I certainly hope you find him, someday. INIGO You are ready, then? MAN IN BLACK Whether I am or not, you've been more than fair.--------------------------------------------------------------------------- 30. INIGO You seem a decent fellow. I hate to kill you. MAN IN BLACK (walking away a few paces, unsheathing his sword) You seem a decent fellow. I hate to die. INIGO Begin!And on that word -- CUT TO:THE TWO OF THEMAnd what we are starting now is one of the two greatestsword fights in modern movies (the other one happens lateron), and right from the beginning it looks different.Because they aren't close to each other -- none of theswordscrossing "en garde" garbage.No, what we have here is two men, two athletes, and theylook to be too faraway to damage each other, but each timeone makes even the tiniest feint, the other counters, andthere is silence, and as they start to circle -- CUT TO:THE SIX-FINGERED SWORDfeinting here, feinting there and -- CUT TO:THE TWO MENfinished teasing, begin to duel in earnest.Their swords cross, then again, again, and the sound comesso fast it's almost continual. Inigo presses on, the Man InBlack retreating up a rocky incline. INIGO (thrilled) You're using Bonetti's defense against me, ah?--------------------------------------------------------------------------- 31. MAN IN BLACK I thought it fitting, considering the rocky terrain -- INIGO Naturally, you must expect me to attack with Capo Ferro.And he shifts his style now. MAN IN BLACK (coping as best he can) -- naturally -- (suddenly shifting again) --but I find Thibault cancels out Capo Ferro, don't you?The Man In Black is now perched at the edge of the elevatedcastle ruin. No where to go, he jumps to the sand.Inigo stares down at him. INIGO Unless the enemy has studied his Agrippa-And now, with the grace of an Olympian, Inigo flies off theperch, somersaults clean over the Man In Black's head, andlands facing his opponent. INIGO -- which I have.The two men are almost flying across the rocky terrain,never losing balance, never coming close to stumbling; thebattle rages with incredible finesse, first one and then theother gaining the advantage, and by now, it's clear thatthis isn't just two athletes going at it, it's a lot morethat that. This is two legendary swashbucklers and they'rein their prime, it's Burt Lancaster in "The Crimson Pirate"battling Errol Flynn in "Robin Hood" and then, incredibly,the action begins going even faster than before as we CUT TO:INIGOAnd behind him now, drawing closer all the time, is thedeadly edge of the Cliffs of Insanity. Inigo fights andducks and feints and slashes and it all works, but not forlong, as gradually the Man In Black keeps the advantage,keeps forcing Inigo back, closer and closer to death.--------------------------------------------------------------------------- 32. INIGO (happy as a clam) You are wonderful! MAN IN BLACK Thank you -- I've worked hard to become so.The Cliff edge is very close now. Inigo is continually beingforced toward it. INIGO I admit it -- you are better than I am. MAN IN BLACK Then why are you smiling?Inches from defeat, Inigo is, in fact, all smiles. INIGO Because I know something you don't know. MAN IN BLACK And what is that? INIGO I am not left-handed.And he throws the six-fingered sword into his right hand andimmediately, the tide of battle turns. CUT TO:THE MAN IN BLACKstunned, doing everything be can to keep Inigo by the Cliffedge. But no use. Slowly at first, he begins to retreat. Nowfaster, Inigo is in control and the Man In Black is desperate. CUT TO:INIGOand the six-fingered sword is all but invisible now, as heincreases his attack, then suddenly switches styles again. CUT TO:--------------------------------------------------------------------------- 33.A ROCKY STAIRCASE leading to a turret-shaped plateau, andthe Man In Black is retreating like mad up the steps and hecan't stop Inigo -- nothing can stop Inigo -- and in afrenzy, the Man In Black makes every feint, tries everythrust, lets go with all he has left. But he fails.Everything fails. He tries one or two final desperate movesbut they are nothing. MAN IN BLACK You're amazing! INIGO I ought to be after twenty years.And now the Man In Black is smashed into a stone pillar,pinned there under the six fingered sword. MAN IN BLACK (hollering it out) There's something I ought to tell you. INIGO Tell me. MAN IN BLACK I am not left-handed either.And now he changes hands, and at last, the battle is fullyjoined. CUT TO:INIGOAnd to his amazement, he is being forced back down the steps.He tries one style, another, but it all comes down to thesame thing -- the Man In Black seems to be in control. Andbefore Inigo knows it, the six-fingered sword is knockedclear out of his hand.Inigo retreats, dives from the stairs to a moss-covered barsuspended over the archway. He swings out, lands, andscrambles to his sword and we CUT TO:THE MAN IN BLACKwho watches Inigo, then casually tosses his sword to thelanding where it sticks in perfectly. Then the Man In Blackcopies INIGO. Not copies exactly, improves.--------------------------------------------------------------------------- 34.He dives to the bar, swings completely over it like a circusperformer and dismounts with a backflip. CUT TO:INIGOstaring in awe. INIGO Who are you?! MAN IN BLACK No one of consequence. INIGO I must know. MAN IN BLACK Get used to disappointment. INIGO Okay. CUT TO:INIGOmoving like lightning, and he thrusts forward, slashes,darts back, all in almost a single movement and -- CUT TO:THE MAN IN BLACKDodging, blocking, and again he thrusts forward, faster eventhan before, and again he slashes but -- CUT TO:INIGOAnd there is never a move anyone makes he doesn't remember,and this time he blocks the slash, slashes out himself withthe sixfingered sword.On it goes, back and forth across the rocky terrain, Inigo'sfeet moving with the grace and speed of a greatimprovisational dancer. CUT TO:--------------------------------------------------------------------------- 35.THE SIX-FINGERED SWORDas it is knocked free, arching up into the air, and -- CUT TO:INIGOcatching it again. And something terrible is written behindhis eyes: he has given his all, done everything man can do,tried every style, made every maneuver, but it wasn'tenough, and on his face for all to see is the realizationthat he, Inigo Montoya of Spain, is going to lose. CUT TO:THE MAN IN BLACKmoving in for the end now, blocking everything, muzzlingeverything and CUT TO:THE SIX-FINGERED SWORDsent flying from Inigo's grip. He stands helpless only amoment. Then be drops to his knees, bows his head, shuts hiseyes. INIGO Kill me quickly. MAN IN BLACK I would as soon destroy a stained glass window as an artist like yourself. However, since I can't have you following me either --And he dunks Inigo's head with his heavy sword handle. Inigopitches forward unconscious. MAN IN BLACK Please understand, I hold you in the highest respect.He grabs his scabbard and takes off after the Princess and we CUT TO:CLOSE UP: VIZZINI VIZZINI Inconceivable!--------------------------------------------------------------------------- 36.PULL BACK TO REVEALVizzini, staring down from a narrow mountain path, as farbelow the Man In Black can be seen running. FEZZIK, carryingthe Princess, stands alongside. It's a little later in themorning. VIZZINI Give her to me. (grabs Buttercup starts off) Catch up with us quickly. FEZZIK (starting to panic) What do I do? VIZZINI Finish him, finish him. Your way. FEZZIK Oh, good, my way. Thank you, Vizzini. (little pause) Which way is my way? CUT TO:A COUPLE OF ROCKSNothing gigantic. Vizzini points to them. There is a largeboulder nearby. VIZZINI Pick up one of those rocks, get behind the boulder, and in a few minutes, the Man in Black will come running around the bend. The minute his head is in view, hit it with the rock!As Vizzini and Buttercup hurry away. FEZZIK (little frown; softly) My way's not very sportsmanlike.He grabs one of the rocks and plods behind the boulder andwe -- DISSOLVE TO:--------------------------------------------------------------------------- 37.THE MAN IN BLACKracing up the mountain trail. Ahead is a bend in the trail.He sees it, slows. Then he stops, listening.Satisfied by the silence, he starts forward again and as herounds the bend -- a rock flies INTO FRAME, shattering on aboulder inches in front of him. CUT TO:FEZZIKHe moves into the mountain path. He has picked up anotherrock and holds it lightly. FEZZIK I did that on purpose. I don't have to miss. MAN IN BLACK I believe you -- So what happens now? FEZZIK We face each other as God intended. Sportsmanlike. No tricks, no weapons, skill against skill alone. MAN IN BLACK You mean, you'll put down your rock and I'll put down my sword, and we'll try to kill each other like civilized people? FEZZIK (gently) I could kill you now.He gets set to throw, but the Man In Black shakes his head,takes off his sword and scabbard, begins the approach towardthe Giant. MAN IN BLACK Frankly, I think the odds are slightly in your favor at hand fighting. FEZZIK It's not my fault being the biggest and the strongest. I don't even exercise.--------------------------------------------------------------------------- 38.He flips the rock away. CUT TO:THE MOUNTAIN PATH AND THE TWO MENThe Man In Black is not now and has never been a shrimp. Butit's like he wasn't even there, FEZZIK towers over him somuch.There is a moment's pause, and then the Man In Black divesat FEZZIK's chest, slams him several tremendous blows in thestomach, twists his arm severely, slips skillfully into abeautifully applied bear hug, and in general makes anynumber of terrific wrestling moves.FEZZIK just stands there, kind of taking in the scenery.Finally the Man In Black pushes himself away, stares up atthe Giant. MAN IN BLACK Look are you just fiddling around with me or what? FEZZIK I just want you to feel you're doing well. I hate for people to die embarrassed.They get set to begin again. Then suddenly -- CUT TO:FEZZIKas he jumps forward with stunning speed for anyone his sizeand reaches for the Man In Black who drops to his knees,spins loose, and slips between the Giant's legs. FEZZIK You're quick. MAN IN BLACK And a good thing too. FEZZIK (getting set for another onslaught) Why do you wear a mask? Were you burned by acid, or something like that?--------------------------------------------------------------------------- 39. MAN IN BLACK Oh no. It's just that they're terribly comfortable. I think everyone will be wearing them in the future.FEZZIK considers this a moment, then attacks, and if hemoved quickly last time, this time he is blinding and as theMan In Black slips down to avoid the charge, FEZZIK movesright with him, only instead of twisting free and jumping tohis feet, this time the Man In Black jumps for FEZZIK's backand in a moment he is riding him, and his arms have FEZZIK'sthroat, locked across FEZZIK's windpipe, one in front, onebehind. The Man In Black begins to squeeze. Tighter. FEZZIK (standing, talking as he does so) I just figured out why you give me so much trouble. CUT TO:FEZZIKas he charges toward a huge rock that lines the path, andjust as he reaches it he spins his giant body so that theentire weight of the charge is taken by the Man In Black. CUT TO:THE MAN IN BLACKAnd the power of the charge is terrible, the pain enormous,but he clings to his grip at FEZZIK's windpipe. MAN IN BLACK (his arms never leave Fezzik's throat) Why is that, do you think? FEZZIK (his voice just beginning to get a little strained) Well, I haven't fought just one person for so long. I've been specializing in groups. Battling gangs for local charities, that kind of thing. CUT TO:--------------------------------------------------------------------------- 40.ANOTHER HUGE ROCK ON THE OTHER SIDE OF THE PATHAgain FEZZIK charges, slower this time, but still a charge,and again he spins and creams the Man In Black against therough boulder. CUT TO:THE MAN IN BLACKAnd the punishment is terrible, and for a moment it seems asif he is going to let go of Fezzik's windpipe and crumble,but he doesn't, he holds on. MAN IN BLACK Why should that make such a difference? FEZZIK Well ... (And now his voice is definitely growing weaker) ... you see, you use different moves when you're fighting half a dozen people than when you only have to be worried about one.Again FEZZIK slams the Man In Black against a boulder, onlythis time his power has diminished and Fezzik starts toslowly collapse. CUT TO:FEZZIKand there isn't much breath coming. CUT TO:THE MAN IN BLACKholding his grip as FEZZIK tries to stand, halfway makes it,but there is no air. Back to his knees he falls, holds therefor a moment, and pitches down to all fours. The Man InBlack increases the pressure. FEZZIK tries to crawl. Butthere is just no air. No air. FEZZIK goes to earth and liesstill. CUT TO:FEZZIKas the Man In Black turns him over, puts his ear to FEZZIK'sheart. It beats. The Man In Black stands.--------------------------------------------------------------------------- 41. MAN IN BLACK I don't envy you the headache you will have when you awake. But, in the meantime, rest well ... and dream of large women.And he nimbly scoops up his sword with his foot, catches itand as he dashes off up along the mountain path -- CUT TO:PRINCE HUMPERDINCKas he slips his boot into a foot print in the sand.Count Rugen mounted, watches. Behind him, half a dozen armedWARRIORS, also mounted. A GREAT WHITE HORSE waits riderlessin front. Humperdinck is all over the rocky ground, andmaybe he isn't the best hunter in the world. Then again,maybe he is. Because, as he begins to put his feet intostrange positions, we realize that what he is doing ismiming the fencers. HUMPERDINCK There was a mighty duel -- it ranged all over. They were both masters. RUGEN Who won? How did it end? HUMPERDINCK (looking down in the position where Inigo fell unconscious) The loser ran off alone. (points in the direction Vizzini and FEZZIK took) The winner followed those footprints toward Guilder! RUGEN Shall we track them both? HUMPERDINCK The loser is nothing. -- Only the Princess matters -- (to the armed warriors) -- clearly this was all planned by warriors of Guilder. We must be ready for whatever lies ahead.--------------------------------------------------------------------------- 42. RUGEN Could this be a trap? HUMPERDINCK (vaulting onto his horse) I always think everything could be a trap -- Which is why I'm still alive.And he gallops off -- CUT TO:THE MAN IN BLACKcresting the peak of the mountain. CUT TO:CLOSE-UP ONa knife pointed at a throat -- PULL BACK TO REVEAL Vizzinimunching on an apple, holding the knife to Buttercup'sthroat. She is blindfolded.A PICNIC SPREAD is laid out. A tablecloth, two goblets andbetween them, a small leather wine container. And somecheese and a couple of apples. The picnic is set on a lovelyspot, high on the edge of a mountain path with a view allthe way back to the sea.The Man In Black comes running around the path, sees Vizzini,slows. The two men study each other. Then -- VIZZINI So, it is down to you. And it is down to me.The Man In Black nods and comes nearer -- VIZZINI If you wish her dead, by all means keep moving forward.And he pushes his long knife harder against Buttercup'sunprotected throat. MAN IN BLACK Let me explain- VIZZINI -- there's nothing to explain. You're trying to kidnap what I've rightfully stolen.--------------------------------------------------------------------------- 43. MAN IN BLACK Perhaps an arrangement can be reached. VIZZINI There will be no arrangement -- (deliberate) -- and you're killing her! CUT TO:BUTTERCUP'S THROATas Vizzini jabs with his long knife. Buttercup gasps againstthe pain. CUT TO:THE MAN IN BLACKstopping fast. MAN IN BLACK But if there can be no arrangement, then we are at an impasse. VIZZINI I'm afraid so -- I can't compete with you physically. And you're no match for my brains. MAN IN BLACK You're that smart? VIZZINI Let me put it this way: have you ever heard of Plato, Aristotle, Socrates? MAN IN BLACK Yes. VIZZINI Morons. MAN IN BLACK Really? In that case, I challenge you to a battle of wits. VIZZINI For the Princess?The Man In Black nods.--------------------------------------------------------------------------- 44. VIZZINI To the death?Another nod. VIZZINI I accept. MAN IN BLACK Good. Then pour the wine.As Vizzini fills the goblets with the dark red liquid, theMan In Black pulls a small packet from his clothing, handingit to Vizzini. MAN IN BLACK Inhale this, but do not touch. VIZZINI (doing it) I smell nothing. MAN IN BLACK (taking the packet back) What you do not smell is called iocane powder. It is odorless, tasteless, dissolves instantly in liquid, and is among the more deadlier poisons known to man. VIZZINI Hmm. CUT TO:VIZZINIwatching excitedly as the Man In Black takes the goblets,turns his back. A moment later, he turns again, facesVizzini, drops the iocane packet. It is now empty.The Man In Black rotates the goblets in a little shell gamemaneuver then puts one glass in front of Vizzini, the otherin front of himself. MAN IN BLACK All right: where is the poison? The battle of wits has begun. It ends when you decide and we both drink, and find out who is right and who is dead.--------------------------------------------------------------------------- 45. VIZZINI But it's so simple. All I have to do is divine from what I know of you. Are you the sort of man who would put the poison into his own goblet, or his enemy's?He studies the Man In Black now. VIZZINI Now, a clever man would put the poison into his own goblet, because he would know that only a great fool would reach for what he was given. I'm not a great fool, so I can clearly not choose the wine in front of you. But you must have known I was not a great fool; you would have counted on it, so I can clearly not choose the wine in front of me. MAN IN BLACK (And now there's a trace of nervousness beginning) You've made your decision then7 VIZZINI Not remotely. Because iocane comes from Australia, as everyone knows. And Australia is entirely peopled with criminals. And criminals are used to having people not trust them, as you are not trusted by me. So I can clearly not choose the wine in front of you. MAN IN BLACK Truly, you have a dizzying intellect. VIZZINI Wait till I get going! Where was I? MAN IN BLACK Australia. VIZZINI Yes -- Australia, and you must have suspected I would have known the powder's origin, so I can clearly not choose the wine in front of me.--------------------------------------------------------------------------- 46. MAN IN BLACK (very nervous) You're just stalling now. VIZZINI (cackling) You'd like to think that, wouldn't you? (stares at the Man in Black) You've beaten my giant, which means you're exceptionally strong. So, you could have put the poison in your own goblet, trusting on your strength to save you. So I can clearly not choose the wine in front of you. But, you've also bested my Spaniard which means you must have studied. And in studying, you must have learned that man is mortal so you would have put the poison as far from yourself as possible, so I can clearly not choose the wine in front of me.As Vizzini's pleasure has been growing throughout, the ManIn Black's has been fast disappearing. MAN IN BLACK You're trying to trick me into giving away something -- it won't work -- VIZZINI (triumphant) It has worked -- you've given everything away -- I know where the poison is. MAN IN BLACK (fool's courage) Then make your choice. VIZZINI I will. And I choose --And suddenly he stops, points at something behind the Man InBlack. VIZZINI -- what in the world can that be? CUT TO:--------------------------------------------------------------------------- 47.THE MAN IN BLACKturning around, looking. MAN IN BLACK What? Where? I don't see anything. CUT TO:VIZZINIbusily switching the goblets while the Man In Black has hishead turned. VIZZINI Oh, well, I-I could have sworn I saw something. No matter.The Man In Black turns to face him again. Vizzini starts tolaugh. MAN IN BLACK What's so funny? VIZZINI I'll tell you in a minute. First, let's drink -- me from my glass, and you from yours.And he picks up his goblet. The Man In Black picks up theone in front of him. As they both start to drink, Vizzinihesitates a moment.Then, allowing the Man In Black to drink first, he swallowshis wine. MAN IN BLACK You guessed wrong. VIZZINI (roaring with laughter) You only think I guessed wrong -- (louder now) -- that's what's so funny! I switched glasses when your back was turned. You fool. CUT TO:THE MAN IN BLACKThere's nothing he can say. He just sits there. CUT TO:--------------------------------------------------------------------------- 48.VIZZINIwatching him. VIZZINI You fell victim to one of the classic blunders. The most famous is "Never get involved in a land war in Asia." But only slightly less well known is this: "Never go in against a Sicilian when death is on the line."He laughs and roars and cackles and whoops and is in allways quite cheery until he falls over dead. CUT TO:THE MAN IN BLACKstepping past the corpse, taking the blindfold and bindingsoff Buttercup, who notices Vizzini lying dead.The Man In Black pulls her to her feet. BUTTERCUP Who are you? MAN IN BLACK I am no one to be trifled with, that is all you ever need know.He starts to lead her off the mountain path into untraveledterrain. BUTTERCUP (a final glance back toward Vizzini) To think -- all that time it was your cup that was poisoned. MAN IN BLACK They were both poisoned. I spent the last few years building up an immunity to iocane powder.And with that, he takes off, dragging her behind him. CUT TO:--------------------------------------------------------------------------- 49.A MOUNTAIN PATHIt's where FEZZIK fought the Man in Black. CAMERA PULLS BACKTO REVEAL the Prince, kneeling, inspecting every grain ofmisplaced sand. The others wait behind him. HUMPERDINCK Someone has beaten a giant! (roaring) There will be great suffering in Guilder if she dies.He leaps onto his horse and they charge off. CUT TO:A WILD STRETCH OF TERRAINThe Man In Black comes running into view, still draggingButtercup, who sometimes stumbles, but he keeps forcing heralong. Finally, when she is close to exhaustion, he lets goof her. MAN IN BLACK (his voice harsh now, carrying the promise of violence) Catch your breath. BUTTERCUP If you'll release me ... whatever you ask for ransom ... you'll get it, I promise you... MAN IN BLACK And what is that worth, the promise of a woman? You're very funny, Highness. BUTTERCUP I was giving you a chance. No matter where you take me ... there's no greater hunter than Prince Humperdinck. He could track a falcon on a cloudy day. He can find you MAN IN BLACK You think your dearest love will save you?--------------------------------------------------------------------------- 50. BUTTERCUP I never said he was my dearest love. And yes, he will save me. That I know. MAN IN BLACK You admit to me you do not love your fiance? BUTTERCUP He knows I do not love him. MAN IN BLACK "Are not capable of love" is what you mean. BUTTERCUP I have loved more deeply than a killer like yourself could ever dream.And the Man In Black cocks back a fist. Buttercup flinches,but does not retreat. MAN IN BLACK That was a warning, Highness. The next time, my hand flies on its own. For where I come from, there are penalties when a woman lies. CUT TO:VIZZINI'S BODYThe picnic is spread as before.CAMERA PULLS BACK TO REVEAL the Prince kneeling by the bodyas the others ride up. The Prince grabs the empty poisonpacket, hands it to Rugen, after first sniffing it himself. HUMPERDINCK Iocane. I'd bet my life on it. (gestures to the trail ahead) And there are the Princess's footprints. She is alive ... or was, an hour ago. If she is otherwise when I find her, I shall be very put out.And as he vaults onto his horse and the all charge off -- CUT TO:--------------------------------------------------------------------------- 51.BUTTERCUPbeing spun INTO CAMERA view, falling heavily as the Man InBlack releases her. We are at the edge of an almost sheerravine. The drop is sharp and severe. Below, the ravinefloor is flat, but getting there would not be half the fun. MAN IN BLACK Rest, Highness. BUTTERCUP (stares at him) I know who you are -- your cruelty reveals everything.The Man In Black says nothing. BUTTERCUP You're the Dread Pirate Roberts; admit it. MAN IN BLACK (bowing) With pride. What can I do for you? BUTTERCUP You can die slowly cut into a thousand pieces. MAN IN BLACK Hardly complimentary, Your Highness. Why loose your venom on me?CLOSE UP - BUTTERCUP, quietly now. BUTTERCUP You killed my love. CUT TO:THE MAN IN BLACKwatching her closely. MAN IN BLACK It's possible; I kill a lot of people. Who was this love of yours? Another Prince, like this one, ugly, rich, and scabby?--------------------------------------------------------------------------- 52. BUTTERCUP No. A farm boy. Poor. Poor and perfect, with eyes like the sea after a storm. CUT TO:BUTTERCUPAnd probably, if she did not hate Roberts so, there would betears. BUTTERCUP On the high seas, your ship attacked, and the Dread Pirate Roberts never takes prisoners. MAN IN BLACK (explaining as a teacher might) I can't afford to make exceptions. Once word leaks out that a pirate has gone soft, people begin to disobey you, and then it's nothing but work, work, work, all the time. BUTTERCUP You mock my pain! MAN IN BLACK Life is pain, Highness. Anyone who says differently is selling something. I remember this farm boy of yours, I think. This would be, what, five years ago?Buttercup nods. MAN IN BLACK Does it bother you to hear? BUTTERCUP Nothing you can say will upset me. MAN IN BLACK He died well, that should please you. No bribe attempts or blubbering. He simply said, "Please. Please, I need to live." It was the "please" that caught my memory. (MORE)--------------------------------------------------------------------------- 53. MAN IN BLACK (CONT'D) I asked him what was so important for him. "True love," he replied. And then he spoke of a girl of surpassing beauty and faithfulness. I can only assume he meant you. You should bless me for destroying him before he found out what you really are. BUTTERCUP And what am I? MAN IN BLACK Faithfulness he talked of, madam. Your enduring faithfulness. Now, tell me truly. When you found out he was gone, did you get engaged to your prince that same hour, or did you wait a whole week out of respect for the dead? BUTTERCUP You mocked me once, never do it again -- I died that day!The Man In Black is about to reply as they stand there onthe edge of the sheer ravine. But then something catches hisattention and as he stares at it briefly, CUT TO:HIS P.O.V.:The dust cloud caused by Humperdinck's HORSES is rising upinto the sky. CUT TO:BUTTERCUPand while his attention is on the dust cloud, rising high,she pushes him with all the strength she has. BUTTERCUP You can die too, for all I care!! CUT TO:THE MAN IN BLACKteetering on the ravine edge, for a moment, then he beginsto fall. Down goes the Man In Black.--------------------------------------------------------------------------- 54.Down, down, rolling, spinning, crashing always down towardthe flat rock floor of the ravine. CUT TO:BUTTERCUPstaring transfixed at what she has wrought.There is a long pause. She stands there, alone, as from farbelow the words come to her, drifting on the wind -- MAN IN BLACK ... as ... you ... wish... BUTTERCUP Oh, my sweet Westley; what have I done?And without a second thought or consideration of the dangers,she starts into the ravine. A moment later, she too isfalling, spinning and twisting, crashing and torn,cartwheeling down toward what is left of her beloved. CUT TO:THE DUST CLOUDrising.PULL BACK TO REVEALPrince Humperdinck and the others reining in at the spotwhere Buttercup promised ransom in exchange for her freedom.The Prince shakes his head. HUMPERDINCK Disappeared. He must have seen us closing in, which might account for his panicking in error. Unless I'm wrong, and I am never wrong, they are headed dead into the fire swamp. CUT TO:COUNT RUGENThe mere mention of the Fire Swamp makes him pale. CUT TO:--------------------------------------------------------------------------- 55.THE RAVINE FLOORTWO BODIES lie a few feet apart, not moving. It is, ofcourse, Buttercup and Westley. They might be corpses. Aftera time, Westley slowly forces his body into motion and as hedoes, CUT TO:BUTTERCUPbruised and torn, as Westley crawls slowly toward her. WESTLEY Can you move at all? BUTTERCUP (weakly stretching out an arm toward him) Move? You're alive. If you want, I can fly. WESTLEY I told you, "I would always come for you." Why didn't you wait for me? BUTTERCUP Well ... you were dead. WESTLEY Death cannot stop true love. All it can do is delay it for a while. BUTTERCUP I will never doubt again. WESTLEY There will never be a need.And now, they begin to kiss; it's a tender kiss, tender andloving and gentle and -- THE KID (off-screen) Oh no. No, please. CUT TO:THE KID'S BEDROOM GRANDFATHER What is it? What's the matter?--------------------------------------------------------------------------- 56. THE KID They're kissing again, do we have to hear the kissing part? GRANDFATHER Someday, you may not mind so much. THE KID Skip on to the Fire Swamp -- that sounded good. GRANDFATHER Oh. You're sick, I'll humor you. (he picks up the book again) So now, where were we here? Yeah, yeah, yeah. Ah. Oh. Okay. Westley and Buttercup raced along the ravine floor. CUT TO:WESTLEY AND BUTTERCUPracing along the ravine floor. Westley glances up. CUT TO:HUMPERDINCK AND HIS MENperched on top of the cliff, looking down at Westley andButtercup. CUT TO:WESTLEY WESTLEY Ha. Your pig fiance is too late. A few more steps and we'll be safe in the Fire Swamp. CUT TO:BUTTERCUPand Westley has tried to say it with Chevalier-likenonchalance, but she ain't buying. BUTTERCUP We'll never survive. WESTLEY Nonsense -- you're only saying that because no one ever has.--------------------------------------------------------------------------- 57.As they race off, leaving Humperdinck and his men stranded,defeated. CUT TO:THE FIRE SWAMPAnd it really doesn't look any worse than any other moist,sulphurous, infernal horror you might run across. Greattrees block the sun. CUT TO:WESTLEY AND BUTTERCUPButtercup is clearly panicked and maybe Westley is too, buthe moves jauntily along, sword in hand. WESTLEY It's not that bad. I'm not saying I'd like to build a summer home here, but the trees are actually quite lovely.THE GIANT TREES, thick and black-green, look ominous as helland they shield all but intermittent stripes of sun.A GIANT SPURT OF FLAME leaps up, preceded by a slightpopping sound, and this particular spurt of flame missesWestley, but Buttercup is suddenly onfire; at least thelower half of her is and -- CUT TO:WESTLEYinstantly forcing Buttercup to sit, gathering her flaminghem in his hands, doing his best to suffocate the fire. Thisisn't all that easy and it causes him a bit of grief, but hedoes his best to sound as jaunty as before. WESTLEY Well now, that was an adventure.He examines where the flames burst over her. WESTLEY Singed a bit, were you? BUTTERCUP (She wasn't and she shakes her head "no") You?--------------------------------------------------------------------------- 58.He was, and he shakes his head "no." As he pulls her to herfeet -- CUT TO:THE SWAMP FLOOR-- and as there's another popping sound, CUT TO:WESTLEY GRABBING BUTTERCUPpulling her aside to safety as another great spun of flamesuddenly shoots up. WESTLEY Well, one thing I will say. The Fire Swamp certainly does keep you on your toes.Buttercup is frozen with fear. He takes her hand, gentlyleads her forward as we- CUT TO:THE TWO OF THEMmoving slowly along through a particularly dangerous part ofthe Fire Swamp.It's later now, the sun slants down at a slightly differentangle. WESTLEY (happily) This will all soon be but a happy memory because Roberts' ship "Revenge" is anchored at the far end. And I, as you know, am Roberts. BUTTERCUP But how is that possible, since he's been marauding twenty years and you only left me five years ago? WESTLEY I myself am often surprised at life's little quirks.--------------------------------------------------------------------------- 59.There is again a popping sound, then a huge spurt of flame.Westley simply picks up Buttercup as they walk along, movesher out of danger, puts her back down, goes right on talkingwithout missing a beat. WESTLEY You see, what I told you before about saying "please" was true. It intrigued Roberts, as did my descriptions of your beauty. CUT TO:SOME HIDEOUS VINES --they look like they could be flesh eating. Westley takes hissword, slices a path for them to follow. The vines groan asthey fall. He's been chatting away the entire time. WESTLEY Finally, Roberts decided something. He said, "All right, Westley, I've never had a valet. You can try it for tonight. I'll most likely kill you in the morning." Three years he said that. "Good night, Westley. Good work. Sleep well. I'll most likely kill you in the morning." It was a fine time for me. I was learning to fence, to fight, anything anyone would teach me. And Roberts and I eventually became friends. And then it happened. BUTTERCUP What? -- go on --Westley picks her up, carrying her across some swamp waterthat is bridged by a narrow, rickety tree branch. WESTLEY Well, Roberts had grown so rich, he wanted to retire. So he took me to his cabin and told me his secret. "I am not the Dread Pirate Roberts," he said. "My name is Ryan. I inherited this ship from the previous Dread Pirate Roberts, just as you will inherit it from me. The man I inherited it from was not the real Dread Pirate Roberts, either. (MORE)--------------------------------------------------------------------------- 60. WESTLEY (CONT'D) His name was Cummerbund. The real Roberts has been retired fifteen years and living like a king in Patagonia." Then he explained the name was the important thing for inspiring the necessary fear. You see, no one would surrender to the Dread Pirate Westley.The two of them have by now crossed the pond. WESTLEY So we sailed ashore, took on an entirely new crew and he stayed aboard for awhile as first mate, all the time calling me Roberts. Once the crew believed, he left the ship and I have been Roberts ever since. Except, now that we're together, I shall retire and hand the name over to someone else. Is everything clear to you?Buttercup, perplexed, is about to reply but the ground shesteps on gives way -- it's Lightning Sand -- a great patchof it, and it has her -- a cloud of powder rises and shesinks into the stuff crying Westley's name but then she isgone as we -- CUT TO:WESTLEY WHIRLINGslashing at a U-shaped vine, hacks it in half -- it's stillconnected to the tree. Then be grabs it, drops his sword,and, clutching the other end of the vine, he dives into thelightning sand and there is another cloud of white powder,but it settles quickly.Now nothing can be seen. Nothing at all. Just the lightningsand, lovely and lethal.HOLD ON THE LIGHTNING SAND -- THEN --An odd panting sound is heard now. The panting sound issuddenly very loud. And then a giant R.0.U.S. darts intoview. The R.0.U.S. -- a Rodent of Unusual Size -- is probablyno more than eighty pounds of bone and power. It sniffsaround a bit then, as quickly as it has come, it goes. CUT TO:--------------------------------------------------------------------------- 61.THE LIGHTNING SANDas Westley, lungs long past the bursting point, explodesout; he has Buttercup across his shoulders and as he pullsto the edge of the lightning sand pit, using the vine -- CUT TO:CLOSE-UP - BUTTERCUPHer face is caked with the white powder. It is in her eyes,her ears, hair, mouth. She's still probably beautiful, butyou have to look awfully hard to see it. As Westley continuesto pull them to safety -- CUT TO:THE R.0.U.S.high above them; it watches -- CUT TO:BUTTERCUPplaced against a tree. Westley is cleaning the lightningsand from her face. He hesitates, glances around and CUT TO:THE R.0.U.S.on a much lower branch now. It stares down at Westley.Westley stares back up at the beast. Buttercup is oblivious.Her eyes flutter. He continues to work on her as -- BUTTERCUP We'll never succeed -- we may as well die here. WESTLEY No. No. We have already succeeded.He glances back again. Now THERE ARE TWO R.0.U.S.'s. Thehave climbed into a nearby tree, stare hungrily down. CUT TO:WESTLEY, picking her up.He puts an arm around her, starts to walk with her as heencouragingly goes on talking.--------------------------------------------------------------------------- 62. WESTLEY I mean, what are the three terrors of the Fire Swamp? One, the flame spurts. No problem. There's a popping sound preceding each, we can avoid that. Two, the Lightning Sand. But you were clever enough to discover what that looks like, so in the future we can avoid that too. BUTTERCUP Westley, what about the R.O.U.S.'s? WESTLEY Rodents of Unusual Size? I don't think they exist...And as he says that, a R.0.U.S. comes flying at him fromoffscreen. CUT TO:BUTTERCUPscreaming and --Westley, pinned under the attacking R.0.U.S., trying to fendit off. Can't. The thing's teeth sink deep into his arm. Hehowls.Westley drives a fist into the beast's face, rolling it off.He reaches for his sword just a few feet away, but theR.0.U.S. is back atop him. It's a fierce battle, and justwhen we think Westley can't possibly win, he flips the uglyrodent clear.Westley scrambles for his sword. The R.0.U.S. stampedes on,changing its target, heading right for --Buttercup, and she's scared to death and -- BUTTERCUP Westley!Westley abandons his sword, reaching for the rodent, grabbingonly a tail, wrestling with it. Buttercup grabs a smallbranch, and using it as a club, beats the skull of thething, doing pretty well, but the beast manages to snag herhem with its razor teeth, and she's pulled to the ground, and CUT TO:--------------------------------------------------------------------------- 63.WESTLEYjumping onto its back, and the R.0.U.S. is all over him now,sinking needle teeth into Westley's shoulder. CUT TO:WESTLEYwith death close at hand, as a popping sound starts. Hetries one desperate move, rolls into the sound -- CUT TO:A FLAME SPURTshooting skyward and -- CUT TO:WESTLEYwith the R.0.U.S. pinned under him, and as the beast burstsinto flame, it lets go and Westley rolls safely free, grabshis sword and exhaustedly stabs the R.0.U.S., which istrying to put itself out.The R.0.U.S. collapses dead. Westley stands motionless,exhausted. The danger has passed. CUT TO:BUTTERCUPrelieved. DISSOLVE TO:THE FAR EDGE OF THE FIRE SWAMPBeyond, a beach. CUT TO:BUTTERCUP AND WESTLEY BUTTERCUP (almost in disbelief) We did it. WESTLEY Now, was that so terrible?--------------------------------------------------------------------------- 64.And from somewhere they summon strength, pick up their pace,and as they reach the edge of the Fire Swamp -- CUT TO:SOMETHING WE HADN'T EXPECTED:Humperdinck on his horse, Rugen beside him. THREE WARRIORS,armed and ready, are mounted in formation behind. Buttercupand Westley are at the edge of the Fire Swamp, about toleave it. They stop. Buttercup looks beyond exhaustion.Westley looks worse. HUMPERDINCK Surrender!It's dusk. Behind Humperdinck are the waters of the bay. CUT TO:WESTLEY AND BUTTERCUPstaring out at the others. WESTLEY You mean you wish to surrender to me? Very well, I accept. HUMPERDINCK I give you full marks for bravery --don't make yourself a fool. WESTLEY Ah, but how will you capture us? We know the secrets of the Fire Swamp. We can live there quite happily for some time. So, whenever you feel like dying, feel free to visit. HUMPERDINCK I tell you once again -- surrender! WESTLEY It will not happen! CUT TO:BUTTERCUPlooking from one to the other; then something else catchesher eye and we -- CUT TO:--------------------------------------------------------------------------- 65.AN ARMED WARRIORin shadow, with a loaded crossbow aimed at Westley's heart. CUT TO:BUTTERCUPlooking the other way -- CUT TO:ANOTHER WARRIORcrossbow aimed at Westley. HUMPERDINCK (roaring) For the last time -- SURRENDER! WESTLEY (roaring right back, bigger) DEATH FIRST!! CUT TO:BUTTERCUPfrantically staring around, and now CUT TO:A THIRD WARRIORcrossbow stretched, ready to shoot; this one is hidden in atree blocking any escape Westley might try. BUTTERCUP Will you promise not to hurt him? CUT TO:HUMPERDINCKwhirling to face her. HUMPERDINCK What was that? CUT TO:WESTLEYwhirling to face her.--------------------------------------------------------------------------- 66. WESTLEY What was that? CUT TO:BUTTERCUPtalking to them both. BUTTERCUP If we surrender, and I return with you, will you promise not to hurt this man? HUMPERDINCK May I live a thousand years and never hunt again. BUTTERCUP (looks at Westley) He is a sailor on the pirate ship "Revenge." Promise to return him to his ship. HUMPERDINCK I swear it will be done. CUT TO:BUTTERCUP AND WESTLEYstaring deep into each other's eyes. CUT TO:HUMPERDINCK AND RUGEN HUMPERDINCK (whispering) Once we're out of sight, take him back to Florin and throw him in the Pit of Despair. RUGEN (almost a smile) I swear it will be done. CUT TO:BUTTERCUP AND WESTLEY BUTTERCUP I thought you were dead once, and it almost destroyed me. I could not bear it if you died again, not when I could save you.--------------------------------------------------------------------------- 67.Westley is dazed. Silent.Buttercup tries to speak again, can't, and is swooped offher feet onto Humperdinck's horse, and off they go. CUT TO:WESTLEYstaring after her. Rugen watches as his warriors bringWestley to him. The Count has a heavy sword and he holds itin his hand. RUGEN Come, sir. We must get you to your ship. WESTLEY We are men of action. Lies do not become us. RUGEN Well spoken, sir --Westley is looking at him. RUGEN -- what is it? WESTLEY You have six fingers on your right hand -- someone was looking for you --Count Rugen clubs Westley hard across the skull. Westleystarts to fall --the screen goes black.FADE IN ON:THE PIT OF DESPAIRDank and chill, underground and windowless, lit by flickeringtorches. Frightening. Westley lies in the center of thecage, chained and helpless. CUT TO:SOMETHING REALLY FRIGHTENING: A BLOODLESS-LOOKING ALBINODead pale, he silently enters the pit, carrying a tray offood and medication. He puts it down. WESTLEY Where am I?--------------------------------------------------------------------------- 68. ALBINO (he only whispers) The Pit of Despair.He begins tending Westley's wounds. Westley winces. ALBINO (garbled) Don't even think -- (A hack, sputter, cough - now his voice seems normal again) -- don't even think about trying to escape. The chains are far too thick. And don't dream of being rescued either. The only way in is secret. And only the Prince, the Count, and I know how to get in and out. WESTLEY Then I'm here till I die? ALBINO (working away) Till they kill you. Yeah. WESTLEY Then why bother curing me? ALBINO The Prince and the Count always insist on everyone being healthy before they're broken. WESTLEY So it's to be torture.The albino nods. WESTLEY I can cope with torture.The albino shakes his head. WESTLEY You don't believe me? ALBINO You survived the Fire Swamp. You must be very brave... (little pause) ... but nobody withstands The Machine.--------------------------------------------------------------------------- 69.He studies Westley, whose face is almost sad. CUT TO:BUTTERCUPand her face is sad. Pallid, perhaps ill. She wanders down acorridor in Florin Castle. As she moves unseeing past anintersecting corridor: CUT TO:PRINCE HUMPERDINCK AND COUNT RUGENwatching her. HUMPERDINCK She's been like that ever since the Fire Swamp. (looks at Rugen) It's my father's failing health that's upsetting her. RUGEN (unbelieving) Of course.As they move on-- CUT TO:FLORIN CASTLE - NIGHTCAMERA HOLDS ON IT while we hear the Grandfather's voicereading. GRANDFATHER (off-screen) The King died that very night, and before the following dawn, Buttercup and Humperdinck were married. CUT TO:MAIN SQUARE OF FLORIN CASTLEAnd if we thought it was packed before, we didn't know howmany more could fit in this courtyard. Humperdinck, Rugenand the Queen stand high on the balcony.--------------------------------------------------------------------------- 70. GRANDFATHER (off-screen) And at noon, she met her subjects again. This time as their Queen. HUMPERDINCK My father's final words were... THE KID (off-screen) -- hold it. Hold it, Grandpa.And the scene FREEZES, Humperdinck caught in mid-sentence. CUT TO:THE KID'S ROOMThe Kid is half sitting now, not strong yet, but clearlystronger than when we first saw him. THE KID You read that wrong. She doesn't marry Humperdinck, she marries Westley. I'm just sure of it. After all that Westley did for her, if she does not marry him, it wouldn't be fair. GRANDFATHER Well, who says life is fair? Where is that written? Life isn't always fair. THE KID I'm telling you you're messing up the story, now get it right! GRANDFATHER Do you want me to go on with this? THE KID Yes. GRANDFATHER All right, then. No more interruptions. (starts to read again) ... at noon, she met her subjects again. This time as their Queen.And on these words-- CUT TO:--------------------------------------------------------------------------- 71.PRINCE HUMPERDINCK HUMPERDINCK My father's final words were "love her as I loved her, and there will be joy." I present to you your Queen. Queen Buttercup.And on his words-- CUT TO:THE CROWDand it's gigantic. CUT TO:THE ARCHWAYwe saw before, as Buttercup emerges. CUT TO:THE CROWDsuddenly going to its knees, wave after wave of silentKNEELING PEOPLE. All of them down. CUT TO:BUTTERCUPtouched as before, but then she seems stunned as we CUT TO:THE CROWDSOMEONE IS BOOING! The BOOING gets louder as an ANCIENTWOMAN approaches Buttercup through the crowd, BOOING everystep of the way. BUTTERCUP Why do you do this? ANCIENT BOOER Because you had love in your hands, and you gave it up. BUTTERCUP (distraught) But they would have killed Westley if I hadn't done it.--------------------------------------------------------------------------- 72. ANCIENT BOOER Your true love lives and you marry another -- (to the crowd) -- True love saved her in the Fire Swamp, and she treated it like garbage. And that's what she is, the Queen of Refuse! So, bow down to her if you want. Bow to her. Bow to the Queen of Slime, the Queen of Filth, the Queen of Putrescence. Boo! Boo! Rubbish! Filth! Slime! Muck! Boo! Boo!She advances on Buttercup now, who is more and more panicked.CLOSE-UP - THE ANCIENT BOOERLouder and louder and LOUDER she shrieks vituperation atButtercup, reaching out her old hands toward Buttercup'sthroat, and Buttercup is as frightened now as Dorothy waswhen the Witch went after her in "The Wizard of Oz", andsuddenly, CUT TO:BUTTERCUPcoming out of her nightmare, alone in her castle bedroom. Asshe frantically grabs a robe and starts to run. GRANDFATHER (off-screen, still reading) It was ten days till the wedding. The King still lived, but Buttercup's nightmares were growing steadily worse. THE KID (off-screen) See? Didn't I tell you she'd never marry that rotten Humperdinck? GRANDFATHER (off-screen) -- yes, you're very smart. Shut-Up. CUT TO:BUTTERCUPbursting into the Prince's chambers. Count Rugen standsnearby.--------------------------------------------------------------------------- 73. BUTTERCUP It comes to this: I love Westley. I always have. I know now I always will. If you tell me I must marry you in ten days, please believe I will be dead by morning. CUT TO:PRINCE HUMPERDINCKJust stunned. Finally, softly, he begins to talk. HUMPERDINCK I could never cause you grief; consider our wedding off. (to Rugen) You returned this Westley to his ship? RUGEN Yes. HUMPERDINCK Then we will simply alert him. (to Buttercup now) Beloved, are you certain he still wants you? After all, it was you who did the leaving in the Fire Swamp. Not to mention that pirates are not known to be men of their words. BUTTERCUP My Westley will always come for me. HUMPERDINCK I suggest a deal. You write four copies of a letter. I'll send my four fastest ships. One in each direction. The Dread Pirate Roberts is always close to Florin this time of year. We'll run up the white flag and deliver your message. If Westley wants you, bless you both. If not ... please consider me as an alternative to suicide. Are we agreed?And she nods -- CUT TO:--------------------------------------------------------------------------- 74.A VERY THICK GROVE OF TREESThe trees are unusual in one respect: all of them areextraordinarily heavily knotted.PULL BACK TO REVEALHumperdinck and Rugen, walking into the grove of trees. RUGEN Your Princess is really a winning creature. A trifle simple, perhaps, but her appeal is undeniable. HUMPERDINCK Oh, I know. The people are quite taken with her. It's odd, but when I hired Vizzini to have her murdered on our engagement day, I thought that was clever. But it's going to be so much more moving when I strangle her on our wedding night. Once Guilder is blamed, the nation will be truly outraged. They'll demand we go to war.They are deeper into the grove now. Rugen is searching around. RUGEN Now, where is that secret knot? It's impossible to find. (Finding the knot on the tree he hits it, and it opens, revealing a staircase leading underground.) Are you coming down into the Pit? Westley's got his strength back. I am starting him on The Machine tonight. HUMPERDINCK Tyrone, you know how much I love watching you work. But, I've got my country's five hundredth anniversary to plan, my wedding to arrange, My wife to murder, and Guilder to frame for it. I'm swamped.--------------------------------------------------------------------------- 75. RUGEN Get some rest -- if you haven't got your health, you haven't got anything.Rugen smiles and hurries down the stairs as the tree slidesback perfectly into place. CUT TO:AN ENORMOUS THINGWe can't tell quite what it is or what it does, but somehowit is unsettling.PULL BACK TO REVEALCount Rugen, dragging Westley up alongside the thing --Levers and wheels and wires, you name it, it's there. RUGEN Beautiful, isn't it?The Albino starts attaching suction cups to Westley. RUGEN It took me half a lifetime to invent it. I'm sure you've discovered my deep and abiding interest in pain. At present I'm writing the definitive work on the subject. So I want you to be totally honest with me on how The Machine makes you feel. CUT TO:A DIALwith numbers ranging from a low of "1" to a high of "50."Rugen goes to it. RUGEN This being our first try, I'll use the lowest setting.And he turns the dial to "1". CUT TO:--------------------------------------------------------------------------- 76.WESTLEYHe has suction cups on his head now, on his temple, on hisheart, his hands and feet. He says nothing, keeps control ofhimself CUT TO:COUNT RUGENfiddling with his Machine a moment more. And then he opensthe flood gate, water pours down the chute, turning thewheel, which in turn really gets The Machine going. CUT TO:WESTLEYand he's lying on the table, and he's only flesh and thechains are metal and thick, but such is his desperation italmost seems he might break them. A terrible sound comesfrom his throat, an incessant gasping. It keeps on coming aswe finally CUT TO:COUNT RUGENHe switches off The Machine, picks up a large notebook andpen, sits in a chair. The NOISE of The Machine subsides.Rugen opens the book to a blank page. RUGEN As you know, the concept of the suction pump is centuries old. Well, really, that's all this is. Except that instead of sucking water, I'm sucking life. I've just sucked one year of your life away. I might one day go as high as five, but I really don't know what that would do to you. So, let's just start with what we have. What did this do to you? Tell me. And remember, this is for posterity, so be honest -- how do you feel?AND NOW, AT LAST: CUT TO:--------------------------------------------------------------------------- 77.WESTLEYin anguish so deep it is dizzying. Helpless, he cries.Count Rugen watches the tears, then starts to write. RUGEN Interesting. CUT TO:HUMPERDINCKin his quarters, swamped. Piles of papers are strewn allover. Now YELLIN, a pale, shifty, quick-eyed man appears inthe doorway. HUMPERDINCK Yellin. YELLIN (bows, then kneels) Sire. HUMPERDINCK As Chief Enforcer of all Florin, I trust you with this secret: killers from Guilder are infiltrating the Thieves' Forest and plan to murder my bride on our wedding night. YELLIN My spy network has heard no such news. CUT TO:BUTTERCUPentering. BUTTERCUP Any word from Westley? CUT TO:THE PRINCE AND YELLINturning to her in the doorway. HUMPERDINCK Too soon, my angel. Patience.--------------------------------------------------------------------------- 78. BUTTERCUP He will come for me. HUMPERDINCK Of course.As she glides out-- HUMPERDINCK She will not be murdered. On the day of the wedding, I want the Thieves' Forest emptied and every inhabitant arrested. YELLIN Many of the thieves will resist. My regular enforcers will be inadequate. HUMPERDINCK Form a Brute Squad then. I want the Thieves' Forest emptied before I wed. YELLIN It won't be easy, Sire. HUMPERDINCK (alone, exhausted) Try ruling the world sometime. CUT TO:THE THIEVES' FOREST - DAYA lot of hollering is going on. The THIEVES are beingrounded up by the BRUTE SQUAD, a large group of large men.Yellin stands on a wagon in the midst of all the scuffling. GRANDFATHER (off-screen) The day of the wedding arrived. The Brute Squad had their hands full carrying out Humperdinck's orders. YELLIN (to an unpleasantlooking assistant) Is everybody out? ASSISTANT BRUTE Almost. There's a Spaniard giving us some trouble.--------------------------------------------------------------------------- 79. YELLIN Well, you give him some trouble. Move!And his wagon starts, and as it does, CUT TO:INIGOdrunk as a skunk, sprawled in front of a hovel, a bottle ofbrandy in one hand, the six-fingered sword in the other. Helooks dreadful. Unshaven, puffy-eyed, gaunt. But the way hebrandishes the great sword in front of him would give anyonecause for worry. INIGO I am waiting for you, Vizzini. You told me to go back to the beginning. So I have. This is where I am, and this is where I'll stay. I will not be moved.He takes a long pull from his brandy bottle. He stops as theAssistant Brute comes into view. ASSISTANT BRUTE Ho there. INIGO I do not budge. Keep your "Ho there."He waves his sword dangerously. ASSISTANT BRUTE But the Prince gave orders -- INIGO -- So did Vizzini -- when a job went wrong, you went back to the beginning. And this is where we got the job. So it's the beginning, and I'm staying till Vizzini comes. ASSISTANT BRUTE (gesturing off-screen) You! Brute! Come here. INIGO -- I -- am -- waiting -- for -- Vizzini ----------------------------------------------------------------------------- 80. VOICE (off-screen) You surely are a meanie.INIGO feels a hand on his back. A huge hand. He compares itto his own smaller hand. FEZZIK Hello. INIGO It's you. FEZZIK True!And as the Assistant Brute is just about to club Inigo'sbrains out, FEZZIK lets fly with a stupendous punch.The Assistant Brute takes the full force of the blow rightin the chops. It's like he was shot from a cannon as hecareens backwards out of sight across the street.There is a pause. Then a crunching sound, as he clearly hascome in contact with something hard and immobile.FEZZIK puts Inigo down. FEZZIK You don't look so good. (after Inigo blasts air in protest) You don't smell so good either. INIGO Perhaps not. I feel fine. FEZZIK Yeah?And so FEZZIK puts Inigo down. That's when Inigo faints, andas he does, CUT TO:AN EMPTY ALEHOUSE IN THE THIEVES' QUARTERInigo sits slumped in a chair, while FEZZIK spoons him somestew.--------------------------------------------------------------------------- 81. GRANDFATHER (off-screen) FEZZIK and Inigo were reunited. And as FEZZIK nursed his inebriated friend back to health, he told Inigo of Vizzini's death and the existence of Count Rugen, the sixfingered man. Considering Inigo's lifelong search, he handled the news surprisingly well.And he faints again into his stew. CUT TO:TWO LARGE TUBSone filled with steaming water, the other with water clearlyof an icy nature. Without a word FEZZIK stuffs Inigo's headinto the icy water, then, after a reasonable amount of time,pulls him out, ducks him into the steaming stuff, and, ashort time after that, puts him back in the cold again, thenback in the hot -- GRANDFATHER (off-screen) Fezzik took great care in reviving Inigo. INIGO (up and going) That's enough. That's enough! Where is this Rugen so I may kill him? FEZZIK He's with the Prince in the Castle. But the castle gate is guarded by thirty men. INIGO How many could you handle? FEZZIK I don't think more than ten. INIGO (doing the math on his fingers) That leaves twenty for me. At my best, I could never defeat that many. (he sinks sadly down) I need Vizzini to plan. I have no gift for strategy.--------------------------------------------------------------------------- 82. FEZZIK But Vizzini's dead. CUT TO:THE TWO OF THEMSilent and bereft. Then a wild look hits Inigo. INIGO No -- not Vizzini -- I need the Man in Black -- FEZZIK -- what? -- INIGO -- look, he bested you with strength, your greatness. He bested me with steel. He must have outthought Vizzini, and a man who can do that can plan my castle's onslaught any day. Let's go -- FEZZIK -- where? INIGO To find the Man in Black, obviously. FEZZIK But you don't know where he is. INIGO (he is possessed by demons now) Don't bother me with trifles; after twenty years, at last, my father's soul will be at peace. CUT TO:CLOSE UP - INIGO INIGO (big) There will be blood tonight!! CUT TO:--------------------------------------------------------------------------- 83.PRINCE HUMPERDINCK'S CHAMBERS-- strewn with maps, etc. Yellin enters, and kneels. HUMPERDINCK (sharpening his dagger) Rise and report. YELLIN The Thieves' Forest is emptied. Thirty men guard the castle gate. HUMPERDINCK Double it. My Princess must be safe. YELLIN The gate has but one key, and I carry that.He shows the key, dangling from a chain around his neck.Just at that moment, Buttercup enters. HUMPERDINCK Ah! My dulcet darling. Tonight we marry. Tomorrow morning, your men will escort us to Florin Channel where every ship in my armada waits to accompany us on our honeymoon. BUTTERCUP Every ship but your four fastest, you mean.The Prince looks at her blankly for a moment. BUTTERCUP Every ship but the four you sent. HUMPERDINCK Yes. Yes, of course. Naturally, not those four. YELLIN (bows, exits) Your Majesties. CUT TO:BUTTERCUPstaring at Humperdinck.--------------------------------------------------------------------------- 84. BUTTERCUP You never sent the ships. Don't bother lying. It doesn't matter. Westley will come for me anyway. HUMPERDINCK (sharply) You're a silly girl. BUTTERCUP Yes, I am a silly girl, for not having seen sooner that you were nothing but a coward with a heart full of fear. HUMPERDINCK (close to erupting; speaks very distinctly) I-would-not-say-such things-if- Iwere-you- BUTTERCUP Why not? You can't hurt me. Westley and I are joined by the bonds of love. And you cannot track that. Not with a thousand bloodhounds. And you cannot break it. Not with a thousand swords. And when I say you are a coward, that is only because you are the slimiest weakling ever to crawl the earth. CUT TO:HUMPERDINCKjumping at her, yanking her by the hair, starting to pullher along, out of control, his words indistinct. HUMPERDINCK IWOULDNOTSAYSUCHTHINGSIFIWEREYOU! CUT TO:A CORRIDOR OF THE CASTLEas the Prince throws open the door to Buttercup's room,slams it shut, locks it, breaks into a wild run and -- CUT TO:--------------------------------------------------------------------------- 85.WESTLEY IN THE MACHINEbut it's not on. Count Rugen is adding more notes to hisbook. He looks up as the Prince suddenly comes down thesteps, raging. HUMPERDINCK (at Westley) You truly love each other, and so you might have been truly happy. Not one couple in a century has that chance, no matter what the storybooks say. And so I think no man in a century will suffer as greatly as you will.And with that he whirls, turns on The Machine, grabs thelever and -- CUT TO:COUNT RUGENcalling out -- RUGEN Not to fifty!!!But it's too late as we -- CUT TO:PRINCE HUMPERDINCKshoving the lever all the way up and CUT TO:WESTLEY'S FACEAnd there has never been such pain. The pain grows and growsand with it now, something else has startedTHE DEATH SCREAM. As The Death Scream starts to rise -- CUT TO:OUTSIDE THE PIT OF DESPAIRas the SOUND moves along, LOUDER AND LOUDER, and -- CUT TO:--------------------------------------------------------------------------- 86.YELLIN AND HIS SIXTY BRUTESand they bear it, and a few of the Brutes turn to each otherin fear, and as the scream builds -- CUT TO:BUTTERCUP IN HER ROOMand she hears the SOUND, doesn't know what it is, but herarms involuntarily go around her body to try to control thetrembling, and the scream, still builds and -- CUT TO:ESTABLISHING SHOT ACROSS THE RIVERThere are many PEOPLE --it is the day of the country's 500thAnniversary -- but all the People stop as the sound hitsthem. A few CHILDREN pale, bolt toward their PARENTS and -- CUT TO:INIGO AND FEZZIKtrying to make their way through the jammed marketplace,which suddenly quiets as the fading sound comes through. INIGO (instantly)FEZZIK, FEZZIK, listen, do you hear? -- That is the sound ofultimate suffering. My heart made that sound when Rugenslaughtered my father. The Man in Black makes it now. FEZZIK The Man in Black? INIGO His true love is marrying another tonight, so who else has cause for Ultimate Suffering? (trying to push through) Excuse me --It's too crowded. INIGO -- pardon me, it's important --No one budges and the sound is fading faster.--------------------------------------------------------------------------- 87. INIGO -- Fezzik, please -- FEZZIK (gigantic and roaring) Everybody ... MOVE!!And the Crowd begins to fall away, and he and Inigo start totrack the FADING SOUND. INIGO Thank you. CUT TO:A GROVE OF TREES NEAR THE PIT OF DESPAIRThe Albino appears wheeling a barrow. Inigo's sword pushesat his chest. INIGO Where is the Man in Black?The Albino shakes his head, says nothing. INIGO You get there from this grove, yes?Silence. INIGO Fezzik, jog his memory.And Fezzik crunches the Albino on the top of the head as ifhe had a hammer and was driving in a nail. The Albino dropswithout a sound. FEZZIK (upset) I'm sorry, Inigo. I didn't mean to jog him so hard. Inigo? CUT TO:INIGOHe kneels, the sword held tight between his hands. Eyesclosed, he faces the grove of trees, starts to talk, hisvoice low and strange.--------------------------------------------------------------------------- 88. INIGO Father, I have failed you for twenty years. Now our misery can end. Somewhere ... somewhere close by is a man who can help us. I cannot find him alone. I need you. I need you to guide my sword. Please.And now he rises, eyes still closed. INIGO Guide my sword. CUT TO:THE GROVE OF TREESas Inigo, eyes shut tight, walks forward, the great swordheld in his hands.Fezzik, frightened, follows close behind. CUT TO:THE SECRET KNOTthat reveals the staircase. CUT TO:INIGOwalking blind through the grove of trees. He moves to theSecret Knot, hesitates, then moves past it.Then Inigo stops. For a long moment he stands frozen.Suddenly he whirls, eyes still closed, and the sword strikeshome dead center into a knot and --Nothing. He has failed.In utter despair he collapses against the tree. Against aknot in the tree. Against THE KNOT in the tree. It slidesaway, revealing the staircase. FEZZIK and Inigo look at eachother, then start down. CUT TO:WESTLEYdead by The Machine. FEZZIK leans over him, listening for aheartbeat. Then he looks at Inigo, shakes his head.--------------------------------------------------------------------------- 89. FEZZIK He's dead.Inigo is in despair. For a moment, he just sags. INIGO (barely able to speak) It just is not fair. THE KID (off-screen) -- Grandpa, Grandpa -- wait -- CUT TO:THE KID'S ROOMHe is terribly excited and looks stronger than we've yetseen him. THE KID -- wait -- what did FEZZIK mean, "He's dead?" I mean he didn't mean dead.The Grandfather says nothing, just sits there. THE KID Westley's only faking, right? GRANDFATHER You want me to read this or not? CUT TO:THE KID: CLOSE UP THE KID Who gets Humperdinck? GRANDFATHER I don't understand. THE KID Who kills Prince Humperdinck? At the end, somebody's got to do it. Is it Inigo? Who? GRANDFATHER Nobody. Nobody kills him. He lives.--------------------------------------------------------------------------- 90. THE KID You mean he wins? Jesus, Grandpa! What did you read me this thing for?And he desperately fights for control. GRANDFATHER You know, you've been very sick and you're taking this story very seriously. I think we better stop now.He closes the book and starts to get up. THE KID (shaking his head) No! I'm okay. I'm okay. (gestures toward the chair) -- sit down. All right? GRANDFATHER Okay. (sitting and opening the book again) All right, now, let's see. Where were we? Oh yes. In the Pit of Despair. CUT TO:INIGO, IN DESPAIRWe're back in the Pit, the same shot as before. For amoment, he just sags. INIGO Well, we Montoyas have never taken defeat easily. Come along, Fezzik. Bring the body. FEZZIK The body? INIGO (not stopping) Have you any money? FEZZIK I have a little. INIGO I just hope it's enough to buy a miracle, that's all.--------------------------------------------------------------------------- 91.As Fezzik takes the corpse, follows Inigo up the stairs -- CUT TO:A HOVEL - DUSKInigo, FEZZIK, Westley approach the door. They knock. Frominside the hovel a little man's voice is heard. If MelBrooks' Year Old Man was really old, he'd resemble this guy. LITTLE OLD GUY (off-screen) Go away!Inigo pounds again. MIRACLE MAX (opening a small window in the door) What? What? INIGO Are you the Miracle Max who worked for the King all those years? MIRACLE MAX The King's stinking son fired me. And thank you so much for bringing up such a painful subject. While you're at it, why don't you give me a nice paper cut and pour lemon juice on it? We're closed!He shuts the window. They rap on the door. MIRACLE MAX (opening the window) Beat it or I'll call the Brute Squad. FEZZIK I'm on the Brute Squad. MIRACLE MAX (looking at the Giant) You are the Brute Squad. INIGO We need a miracle. It's very important.--------------------------------------------------------------------------- 92. MIRACLE MAX Look, I'm retired. And besides, why would you want someone the King's stinking son fired? I might kill whoever you wanted me to miracle. INIGO He's already dead. MIRACLE MAX (for the first time, interested) He is, eh? I'll take a look. Bring him in.He unlocks the door and lets them in. CUT TO:INIGO AND FEZZIKhurrying inside. FEZZIK carries Westley who is just startingto stiffen up a little. He lays Westley down across a benchby the fireplace, picks Westley's arm up and lets it droplimp. MIRACLE MAX I've seen worse.He studies Westley a moment, checking here, checking there. INIGO Sir. Sir. MIRACLE MAX Hah? INIGO We're really in a terrible rush. MIRACLE MAX (He takes nothing from nobody) Don't rush me, sonny. You rush a miracle man, you get rotten miracles. You got money? INIGO Sixty-five. MIRACLE MAX Sheesh! I never worked for so little, except once, and that was a very noble cause.--------------------------------------------------------------------------- 93. INIGO This is noble, sir. (pointing to Westley, remorseful) His wife is crippled. His children are on the brink of starvation. MIRACLE MAX Are you a rotten liar. INIGO I need him to help avenge my father, murdered these twenty years. MIRACLE MAX Your first story was better. (looking around) Where's that bellows? (spots it) He probably owes you money, huh? Well, I'll ask him.He goes to get a huge bellows. INIGO (stupefied) He's dead. He can't talk. MIRACLE MAX Look who knows so much. Well, it just so happens that your friend here is only mostly dead. There's a big difference between mostly dead and all dead. Please open his mouth.Inigo does. Max inserts the bellows in Westley's mouth andstarts to pump. MIRACLE MAX Now, mostly dead is slightly alive. Now, all dead...well, with all dead, there's usually only one thing that you can do. INIGO What's that?He stops pumping. MIRACLE MAX Go through his clothes and look for loose change.--------------------------------------------------------------------------- 94.He starts pumping again. MIRACLE MAX (to Westley) Hey! Hello in there. Hey! What's so important? What you got here that's worth living for?And he presses lightly on Westley's chest. WESTLEY ... tr ... oooo .... luv...Everybody stares at Westley lying there on the bench. INIGO True love. You heard him. You could not ask for a more noble cause than that. MIRACLE MAX Sonny, true love is the greatest thing in the world. Except for a nice MLT, a mutton, lettuce and tomato sandwich, where the mutton is nice and lean and the tomato is ripe. They're so perky, I love that. But that's not what he said. He distinctly said "to blave." And, as we all know, "to blave" means "to bluff." So you're probably playing cards, and he cheated A WOMAN'S VOICE -- Liar -- LIAR-LI-A-A-AR --VALERIE, an ancient fury, storms out of a back room andtoward MIRACLE MAX -- get back, witch -- VALERIE I'm not a witch, I'm your wife. But after what you just said, I'm not even sure I want to be that anymore. MIRACLE MAX You never had it so good.--------------------------------------------------------------------------- 95. VALERIE "True love." He said, "true love," Max. My God -- MIRACLE MAX (retreating) Don't say another word, Valerie. VALERIE (turning to Inigo and Fezzik) He's afraid. Ever since Prince Humperdinck fired him, his confidence is shattered. MIRACLE MAX Why'd you say that name -- you promised me that you would never say that name -- VALERIE (pursuing him now) What, Humperdinck? Humperdinck. Humperdinck. Ooo-ooo, Humperdinck MIRACLE MAX (holding his hands over his ears) I'm not listening. VALERIE A life expiring and you don't have the decency to say why you won't help -- MIRACLE MAX Nobody's hearing nothing! VALERIE Humperdinck. Humperdinck! Humperdinck! INIGO -- But this is Buttercup's true love -- If you heal him, he will stop Humperdinck's wedding. VALERIE Humperdinck. Humperdinck -- MIRACLE MAX (to Valerie) Shut up -- (now to Inigo) Wait. Wait. I make him better, Humperdinck suffers?--------------------------------------------------------------------------- 96. INIGO Humiliations galore! MIRACLE MAX That is a noble cause. Give me the sixty-five, I'm on the job.And as Valerie shrieks excitedly we CUT TO:THIS LUMPIt is somewhat smaller than a tennis ball.PULL BACK TO REVEAL MAX AND VALERIE, exhausted, looking atthe lump with beautific pleasure, as Valerie, cookingutensil in hand, covers the thing with what looks likechocolate. Inigo and FEZZIK stare at the thing too, but moredubiously. INIGO (a little appalled) That's a miracle pill?Max nods. VALERIE (finishing) The chocolate coating makes it go down easier. But you have to wait fifteen minutes for full potency. And you shouldn't go swimming after, for at least, what? MIRACLE MAX An hour. VALERIE Yeah, an hour. MIRACLE MAX A good hour. Yeah.Inigo accepts the pill as FEZZIK takes Westley, who is stiffas a board now. INIGO (heading out the door, Fezzik close behind) Thank you for everything. MIRACLE MAX Okay.--------------------------------------------------------------------------- 97. VALERIE (waving after them) Bye-bye, boys. MIRACLE MAX Have fun storming the castle. VALERIE (to Max) Think it'll work? MIRACLE MAX It would take a miracle. Bye! VALERIE Bye.And as they wave, trying to look happy we -- CUT TO:FEZZIK, INIGO, AND WESTLEYon the top of the outer wall of the castle. They look downto the front gate of the castle. The sixty Brutes are visible.FEZZIK is thunderstruck by how many Brutes there are. Upset,he turns to Inigo, who is concentrating unsuccessfully,trying to prop Westley against the wall. FEZZIK Inigo -- there's more than thirty -- INIGO (absolutely unfazed) What's the difference? (indicating the half- dead Westley) We've got him. Help me here. We'll have to force feed him. FEZZIK Has it been fifteen minutes? INIGO We can't wait -- the wedding's in half an hour and we must strike in the hustle and the bustle beforehand.During this, FEZZIK, using all his strength, has managed toget Westley into a right angled sitting position, whileInigo brings out the miracle pill.--------------------------------------------------------------------------- 98. INIGO Tilt his head back. Open his mouth. FEZZIK (following orders) How long do we have to wait before we know if the miracle works? CUT TO:INIGOPill in hand, he drops it into Westley's mouth. INIGO Your guess is as good as mine -- WESTLEY (frantic) I'll beat you both apart. I'll take you both together. FEZZIK Guess not very long.Inigo and FEZZIK react. Westley is the only one not amazed. WESTLEY Why won't my arms move?He sits there, immobile, like a ventriloquist's dummy. FEZZIK You've been mostly dead all day. INIGO We had Miracle Max make a pill to bring you back. WESTLEY Who are you? -- Are we enemies? Why am I on this wall? -- Where's Buttercup? -- INIGO Let me explain -- (pauses very briefly) -- No, there is too much. Let me sum up. (MORE)--------------------------------------------------------------------------- 99. INIGO (CONT'D) Buttercup is marrying Humperdinck in a little less than half an hour, so all we have to do is get in, break up the wedding, steal the Princess, make our escape after I kill Count Rugen. WESTLEY That doesn't leave much time for dilly dallying.He is watching his fingers, one of which twitches now. FEZZIK You've just wiggled your finger. That's wonderful. WESTLEY I've always been a quick healer. (to Inigo) What are our liabilities? INIGO There is but one working castle gate.Fezzik helps Inigo raise Westley just high enough so he cansee for himself. INIGO And it is guarded by sixty men. WESTLEY And our assets? INIGO Your brains, Fezzik's strength, my steel. CUT TO:WESTLEYabsolutely stunned. WESTLEY That's it? Impossible. If I had a month to plan, maybe I could come up with something. But this...He shakes his head from side to side. CUT TO:--------------------------------------------------------------------------- 100.INIGO AND FEZZIK FEZZIK (trying to be cheery) You just shook your head -- that doesn't make you happy? WESTLEY My brains, his steel, and your strength against sixty men, and you think a little head jiggle is supposed to make me happy? I mean, if we only had a wheelbarrow, that would be something. INIGO Where did we put that wheelbarrow the Albino had? FEZZIK Over the Albino, I think. WESTLEY Well, why didn't you list that among our assets in the first place? What I wouldn't give for a holocaust cloak. INIGO There we cannot help you. FEZZIK (pulling one out) Will this do? INIGO (to Fezzik-- surprised) Where did you get that? FEZZIK At Miracle Max's. It fit so nice, he said I could keep it. WESTLEY All right, all right. Come on, help me up.Inigo and Fezzik do. WESTLEY Now, I'll need a sword eventually.--------------------------------------------------------------------------- 101. INIGO Why? You can't even lift one. WESTLEY True, but that's hardly common knowledge, is it? (And his bead tilts limply back. Fezzik sets it up right for him) Thank you. Now, there may be problems once we're inside. INIGO I'll say -- how do I find the Count? -- Once I do, how do I find you again? -- Once I find you again, how do we escape? -- FEZZIK (sharply) Don't pester him, he's had a hard day. INIGO (nods) Right, right, sorry. CUT TO:A SHOT OF THE THREE OF THEM IN PROFILEThey move along the wall in silence for a time. Then thesewords come to us on the wind -- FEZZIK Inigo. INIGO What? FEZZIK I hope we win... CUT TO:BUTTERCUPin her bridal gown, and she's incredible. It's not just herbeauty; there's a tranquillity about her now.PULL BACK TO REVEALThe Prince, fastening a pearl necklace around her.--------------------------------------------------------------------------- 102. HUMPERDINCK You don't seem excited, my little muffin. BUTTERCUP Should I be? HUMPERDINCK Brides often are, I'm told. BUTTERCUP (gently, confidently) I do not marry tonight. CUT TO:BUTTERCUPand she couldn't seem more serene. BUTTERCUP My Westley will save me. CUT TO:HER WESTLEYlooking down on the gate with Inigo and Fezzik. CUT TO:THE MAIN GATE OF THE CASTLE-- and Yellin, standing there, flanked by his sixty Brutes. CUT TO:WESTLEY AND INIGO AND FEZZIKlooking out at the enemy. This is it. Inigo and FEZZIK shakehands.Westley can't even do that, but after a bit of rocking backand forth, he manages to get enough momentum to catapult hisarm over and onto his friend's. CUT TO:AN ABSOLUTELY GEM-LIKE LITTLE CHAPELPULL BACK TO REVEALThe most intelligent looking, the most impressive appearingCLERGYMAN imaginable.--------------------------------------------------------------------------- 103.Buttercup and Humperdinck kneel before the Clergyman. Behindthem sit the mumbling old KING AND QUEEN. Standing in theback is Count Rugen.FOUR GUARDS are in position flanking the chapel door. IMPRESSIVE CLERGYMAN (clears his throat, begins to speak) Mawidge...mawidge is what bwings us togewer today...He has an impediment that would stop a clock. IMPRESSIVE CLERGYMAN Mawidge, the bwessed awwangement, that dweam wiffim a dweam...And now, from outside the castle, there begins to come acommotion. And then-- YELLIN (off-screen) Stand your ground, men. Stand your ground. CUT TO:THE BRUTES AND YELLINby the gate, for it is indeed they who are making thecommotion, frightened, pointing. YELLIN Stand your ground. CUT TO:THEIR P.O.V.:And it is a bit unnerving -- a GIANT seems to be floatingtoward them out of the darkness, a Giant in a strange cloak,and with a voice that would crumble walls. FEZZIK (deep and booming) I AM THE DREAD PIRATE ROBERTS. THERE WILL BE NO SURVIVORS. CUT TO:--------------------------------------------------------------------------- 104.FEZZIKand he seems to be floating because he's standing in thewheelbarrow, as Inigo, hidden behind him, busts a gut bypushing it and supporting Westley. INIGO Now? WESTLEY Not yet. CUT TO:THE GIANT FLOATING CLOSER FEZZIK MY MEN ARE HERE, AND I AM HERE, BUT SOON YOU WILL NOT BE HERE CUT TO:YELLINkeeping the Brutes in position, or trying to, shoutingorders, instructions and as yet the Brutes hold. Now -- CUT TO:INIGO AND WESTLEYInigo struggles bravely under their combined weight -- INIGO Now? WESTLEY Light him. CUT TO:THE BRUTESas the Giant bursts suddenly, happily into flames. FEZZIK (roaring) THE DREAD PIRATE ROBERTS TAKES NO SURVIVORS. ALL YOUR WORST NIGHTMARES ARE ABOUT TO COME TRUE. CUT TO:THE CHAPEL, where The Impressive Clergyman plows on.--------------------------------------------------------------------------- 105. IMPRESSIVE CLERGYMAN ... Ven wuv, twoo wuv, wiw fowwow you fowever.. CUT TO:PRINCE HUMPERDINCK, turning quickly, giving a sharp nod toCount Rugen, who immediately takes off out of the chapelwith the Four Guards as we CUT TO:FEZZIK, flaming and scary as hell. FEZZIK THE DREAD PIRATE ROBERTS IS HERE FOR YOUR SOULS! CUT TO:YELLINas suddenly the Brutes just scream and take off in wildpanic -- YELLIN Stay where you are. I said stay where you are! CUT TO:INSIDE THE CHAPEL IMPRESSIVE CLERGYMAN ... so tweasuwe your vruv.. HUMPERDINCK Skip to the end. IMPRESSIVE CLERGYMAN Have you the wing?As Humperdinck whips out the ring, the screams are very loudoutside. BUTTERCUP Here comes my Westley now. CUT TO:Fezzik, as he pulls off the holocaust cloak. WESTLEY FEZZIK, the portcullis.--------------------------------------------------------------------------- 106.And FEZZIK rushes forward, grabbing the portcullis, which isindeed closing quickly.FEZZIK grabs the gate: and swings the tonnage back upward.Yellin just watches in fear. CUT TO:THE CHAPELas Humperdinck shoves the ring on Buttercup's finger HUMPERDINCK Your Westley is dead.Buttercup only smiles, shakes her head. HUMPERDINCK I killed him myself. BUTTERCUP (never more serene) Then why is there fear behind your eyes? CUT TO:PRINCE HUMPERDINCKAnd she's right. It's there. CUT TO:YELLINpressed against the main gate. Westley, Inigo, and FEZZIKclose in. WESTLEY Give us the gate key. YELLIN (every ounce of honesty he's got) I have no gate key. INIGO Fezzik, tear his arms off.FEZZIKsteps toward him.--------------------------------------------------------------------------- 107. YELLIN Oh, you mean this gate key.And he whips it out, hands it to Fezzik. CUT TO:HUMPERDINCK AND BUTTERCUPAND THE IMPRESSIVE CLERGYMAN IMPRESSIVE CLERGYMAN And do you, Pwincess Buwwercwup... HUMPERDINCK Man and wife -- say man and wife... IMPRESSIVE CLERGYMAN Man and wife. HUMPERDINCK (whirling to the King and Queen) Escort the bride to the Honeymoon Suite -- I'll be there shortly.And as he dashes off -- CUT TO:BUTTERCUPstanding there. Dazed. BUTTERCUP He didn't come. CUT TO:COUNT RUGEN AND HIS FOUR WARRIORSracing through the castle, and as they reach a complexintersection of several corridors, Rugen stops, incredulous,as we CUT TO:WESTLEY, INIGO, AND FEZZIKmoving toward them. Actually Fezzik is dragging Westley, whois, in turn, dragging Yellin's sword like a stiff dogleash --Westley simply hasn't the strength to raise it. CUT TO:--------------------------------------------------------------------------- 108.COUNT RUGENas the confrontation is about to start. RUGEN Kill the dark one and the giant, but leave the third for questioning.And as his Warriors attack --Inigo goes wild, and maybe the Warrior's are good, maybethey're even better than that -- but they never get a chanceto show it because this is something now, this is Inigo gonemad and the six-fingered sword has never flashed faster andthe FOURTH WARRIOR is dead before the FIRST ONE has even hitthe floor. There is a pause. Then -- INIGO (to Rugen, evenly and soft) Hello. My name is Inigo Montoya. You killed my father. Prepare to die. CUT TO:COUNT RUGENFor a moment he just stands there, sword in hand. Then hedoes a most unexpected thing. He turns and runs the hell away. CUT TO:INIGOmomentarily surprised, then taking off after him, leavingWestley and Fezzik to exchange curious looks and Rugen,running through a half-open heavy wooden door, shutting itand locking it just as Inigo throws himself against it. Hetries again. No kind of chance. INIGO (calling out) Fezzik, I need you -- CUT TO:FEZZIK WITH WESTLEYwho is still unable to walk under his own power. He callsback ----------------------------------------------------------------------------- 109. FEZZIK (indicating Westley) I can't leave him alone. CUT TO:INIGOdesperately pounding at the heavy door. INIGO He's getting away from me, Fezzik. Please. FEZZIK! CUT TO:FEZZIK AND WESTLEY FEZZIK (to Westley) I'll be right back.And he props Westley up against a large suit of armor andtakes off toward the intersection where Inigo's voice camefrom -- CUT TO:INIGOstill hammering the door. Fezzik approaches, gestures forhim to stop, and with one mighty swipe of his mighty handsthe door crumbles INIGO Thank you --And Inigo flies through as Fezzik heads back to Westley. CUT TO:BUTTERCUP WALKING WITH THE KING AND QUEENThe Queen, more sprightly, is several paces ahead. KING (can hardly be understood) Strange wedding. QUEEN Yes. A very strange wedding. Come along.--------------------------------------------------------------------------- 110.Buttercup gently stops the King and places a kiss on hisforehead. He's very surprised and pleased. KING What was that for? BUTTERCUP Because you've always been so kind to me. And I won't be seeing you again since I'm killing myself once we reach the Honeymoon Suite. KING (smiling away --his hearing isn't what it once was) Won't that be nice? (calling out to the Queen) She kissed me...And on those words -- CUT TO:COUNT RUGENAnd he's running, dashing through corridors and as heglances back -- CUT TO:INIGObehind him, coming like a streak and -- CUT TO:THE INTERSECTIONwith the large suit of armor, and Fezzik gaping, staring atall those choices, trying to piece together the puzzle ofthe missing Westley. CUT TO:COUNT RUGENflashing out of one room, down a staircase, picking up hispace. He pulls out a deadly looking dagger, with a sharppoint and a triangular shaped blade, and sprints on and -- CUT TO:--------------------------------------------------------------------------- 111.INIGOclosing the gap, closer, closer and he's down the stairs andheading into a dining hall and -- CUT TO:COUNT RUGENthrowing the dagger -- CUT TO:INIGOtrying like hell to get out of the way, but no, and itsticks deep into his stomach, and he hurtles back helplesslyagainst the wall of the room, his eyes glazed, blood comingfrom his wound.The room is going white on him. INIGO ... Sorry, Father ... I tried ... I tried... CUT TO:COUNT RUGENlooking across the room at Inigo. He stares at Inigo's face,and then touches his own cheeks, as memory comes. RUGEN You must be that little Spanish brat I taught a lesson to all those years ago. It's simply incredible. Have you been chasing me your whole life only to fail now? I think that's the worst thing I ever heard. How marvelous.Inigo sinks. CUT TO:BUTTERCUPshutting the door of the Honeymoon Suite, crossing quietlyto the far wall where she sits at a table, opens a jeweledbox, and takes out a very deadly looking dagger. She seemsvery much at peace as she touches the knife to her bosom.--------------------------------------------------------------------------- 112. WESTLEY There's a shortage of perfect breasts in this world. It would be a pity to damage yours.And Buttercup whirls as we -- CUT TO:WESTLEYlying on the bed. Yellin's sword is beside him. His voicesounds just fine, but he does not move.Buttercup leaps to the bed, covering him with kisses.Westley is helpless. BUTTERCUP Oh, Westley, darling. (more kisses) Westley, why won't you hold me? WESTLEY (gently) Gently. BUTTERCUP At a time like this that's all you can think to say? "Gently?" WESTLEY (not so gently) Gently!!And she lets go, thumping his head against the headboard and CUT TO:COUNT RUGENlooking very much surprised. RUGEN Good heavens. Are you still trying to win?PULL BACK TO REVEALInigo, struggling feebly, pulling the dagger from hisstomach. Holding the wound with his left hand.Rugen is pushing off from the table, sword in hand, movingin to kill Inigo.--------------------------------------------------------------------------- 113. RUGEN You've got an overdeveloped sense of vengeance. It's going to get you into trouble some day.Inigo watches the Count approach, and the Count flicks hissword at Inigo's heart, and there's not much Inigo can do,just kind of vaguely parry the thrust with the six-fingeredsword and Count Rugen's blade sinks deeply into Inigo's leftshoulder.Inigo doesn't seem to feel it, his other agonies are so muchworse. CUT TO:THE COUNTstepping back, going for the heart again. CUT TO:INIGOAnd as this blow comes he's trying to use the wall forsupport in forcing himself to his feet, and it's not aroaring success of an attempt, but he does at least makesome progress, and again he manages to parry the thrust, asthis time Rugen's sword runs through his right arm. Again,Inigo doesn't seem to mind, doesn't even feel it. CUT TO:COUNT RUGENstepping back forj ust a moment, watching as Inigo continuesto inch his way to his feet and then, just before the Countis about to strike again, Inigo manages a little flick ofhis own and Rugen hadn't expected it, and he jumps back,makes a little involuntary cry of surprise and CUT TO:INIGOslowly pushing away from the wall. INIGO (all but audible) Hello. My name is Inigo Montoya, you killed my father; prepare to die. CUT TO:--------------------------------------------------------------------------- 114.COUNT RUGENsuddenly going into a fierce attack, striking with greatpower and precision for he is a master swordsman, and heforces Inigo easily back, drives him easily into the wall.But he does not penetrate Inigo's defense. None of theCount's blows get home. As the Count steps back a moment -- CUT TO:INIGOpushing slowly off from the wall again. INIGO (a little louder) Hello. My name is Inigo Montoya, you killed my father, prepare to die. CUT TO:THE COUNTAnd again he attacks, slashing with wondrous skill. But noneof his blows get through and, slowly, Inigo, again movesforward. INIGO (a little louder still) Hello. My name is Inigo Montoya. You killed my father. Prepare to die. RUGEN Stop saying that! CUT TO:COUNT RUGENretreating more quickly around the table.Inigo drives for the Count's left shoulder now, thrusts homewhere the Count had gotten him. Then another move and hisblade enters the Count's right shoulder, the same spot Inigowas wounded. INIGO (all he's got) HELLO! MY NAME IS INIGO MONTOYA. YOU KILLED MY FATHER. PREPARE TO DIE.--------------------------------------------------------------------------- 115. RUGEN No -- INIGO -- offer me money --And now the six-fingered sword strikes and there is a slashbleeding along one of Rugen's cheeks. RUGEN -- yes -- INIGO -- power too -- promise me that --The great sword flashes again, and now there is a parallelslash bleeding on Rugen's other cheek. RUGEN -- all that I have and more please -- INIGO -- offer me everything I ask for -- RUGEN -- anything you want -- INIGO (roaring) I WANT MY FATHER BACK, YOU SON- OFA-BITCH!And on that -- CUT TO:INIGOand almost too fast for the eye to follow, the sword strikesone final time and -- CUT TO:COUNT RUGENcrying out in fear and panic as the sword hits home deadcenter and -- CUT TO:--------------------------------------------------------------------------- 116.INIGO AND RUGENthe sword clear through the Count. They are almost frozenlike that for a moment. Then Inigo withdraws his sword andas the Count pitches down -- CUT TO:RUGENlying dead. His skin is ashen and the blood still pours fromthe parallel cuts on his cheeks and his eyes are bulgingwide, full of fear. CUT TO:INIGOstaring at Rugen. And now Inigo does something we have neverseen him do before: he smiles. HOLD FOR JUST A MOMENT onInigo smiling, then -- CUT TO:INSIDE THE HONEYMOON SUITEWESTLEY lies as before, not a muscle has moved, his head isstill on the headboard, Yellin's sword at his side.Buttercup is alongside the bed; her eyes never leave his face. BUTTERCUP Oh, Westley, will you ever forgive me? WESTLEY What hideous sin have you committed lately? BUTTERCUP I got married. I didn't want to. It all happened so fast. WESTLEY It never happened. BUTTERCUP What? WESTLEY It never happened.--------------------------------------------------------------------------- 117. BUTTERCUP But it did. I was there. This old man said, "Man and wife." WESTLEY Did you say, "I do"? BUTTERCUP Well, no, we sort of skipped that part. WESTLEY Then you're not married -- if you didn't say it, you didn't do it (a pause) -- wouldn't you agree, Your Highness? CUT TO:HUMPERDINCKentering the room, staring at them. He pulls out his sword. HUMPERDINCK A technicality that will shortly be remedied. But first things first. To the death. WESTLEY No. (a little pause) To the pain. HUMPERDINCK (about to charge, stops short) I don't think I'm quite familiar with that phrase. WESTLEY I'll explain. And I'll use small words so that you'll be sure to understand, you wart-hog-faced buffoon. HUMPERDINCK That may be the first time in my life a man has dared insult me. CUT TO:--------------------------------------------------------------------------- 118.WESTLEYlying there comfortably, his words quiet at first. WESTLEY It won't be the last. To the pain means the first thing you lose will be your feet, below the ankles, then your hands at the wrists, next your nose. CUT TO:HUMPERDINCKgripping his sword, watching. HUMPERDINCK -- and then my tongue, I suppose. I killed you too quickly the last time, a mistake I don't mean to duplicate tonight. WESTLEY I wasn't finished -- the next thing you lose will be your left eye, followed by your right -- HUMPERDINCK (takes step forward) -- and then my ears, I understand. Let's get on with it CUT TO:CLOSE UP: WESTLEY HUGE WESTLEY Wrong! Your ears you keep, and I'll tell you why -- CUT TO:HUMPERDINCKAnd now he stops, and the look that was in his eyes at thewedding, that look of fear, is starting to return. WESTLEY -- so that every shriek of every child at seeing your hideousness will be yours to cherish -- every babe that weeps at your approach, every woman who cries out, "Dear God, what is that thing?" will echo in your perfect ears. (MORE)--------------------------------------------------------------------------- 119. WESTLEY (CONT'D) That is what "to the pain" means. It means I leave you in anguish, wallowing in freakish misery forever. CUT TO:HUMPERDINCKdoing his best to hide the fear that keeps building insidehim. HUMPERDINCK I think you're bluffing -- CUT TO:WESTLEYlying there, staring at him. WESTLEY It's possible, pig -- I might be bluffing -- it's conceivable, you miserable vomitous mass, that I'm only lying here because I lack the strength to stand -- then again, perhaps I have the strength after all.And now, slowly, Westley begins to move. His body turns, hisfeet go to the floor, he starts to stand -- CUT TO:HUMPERDINCKstaring, eyes wide. CUT TO:WESTLEYAnd now he is standing, sword in fighting position. WESTLEY (slow and determined) DROP-YOUR-SWORD. CUT TO:--------------------------------------------------------------------------- 120.PRINCE HUMPERDINCKand he's so panicked he doesn't know whether to pee or windhis watch. He throws his sword to the floor. WESTLEY (to Humperdinck) Have a seat. CUT TO:WESTLEYspeaking to Buttercup as Humperdinck sits. WESTLEY Tie him up. Make it as tight as you like.And as she sets to work -- CUT TO:INIGOentering, looking around. INIGO Where's Fezzik? WESTLEY I thought he was with you. INIGO No. WESTLEY In that case --his balance betrays him. INIGO (to Buttercup) Help him. BUTTERCUP Why does Westley need helping? INIGO Because he has no strength -- CUT TO:--------------------------------------------------------------------------- 121.HUMPERDINCKand now be starts wrestling mightily with his bonds. HUMPERDINCK I knew it! I knew you were bluffing! I knew he was bluffing. INIGO (staring at the Prince) Shall I dispatch him for you? WESTLEY (considers this, then) Thank you, but no -- whatever happens to us, I want him to live a long life alone with his cowardice. FEZZIK (off-screen) Inigo! Inigo, where are you?They look at each other, then move to the balcony, and CUT TO:FEZZIKleading FOUR GREAT WHITE HORSES. He glances up, sees them onthe balcony. FEZZIK Ah, there you are. Inigo, I saw the Prince's stables, and there they were, four white horses. And I thought, there are four of us, if we ever find the lad -- hello, lad -- so I took them with me, in case we ever bumped into each other. (considers things a moment) I guess we just did. CUT TO:INIGO AND WESTLEY AND BUTTERCUPlooking down at FEZZIK. INIGO FEZZIK, you did something right.--------------------------------------------------------------------------- 122. FEZZIK Don't worry -- I won't let it go to my head.And as he holds out his great arms-- CUT TO:SOMETHING UNEXPECTED AND VERY LOVELY:Buttercup floating through the air. What's happening, ofcourse, is that she's jumping from the balcony so Fezzik cancatch her. But her fall is in slow motion so you might thinkshe was flying.Westley and Inigo, watching as FEZZIK catches Buttercup. INIGO You know, it's very strange -- I have been in the revenge business so long, now that it's over, I don't know what to do with the rest of my life. WESTLEY (as Inigo gets him ready for his jump) Have you ever considered piracy? You'd make a wonderful Dread Pirate Roberts.Now from that -- CUT TO:THE FOUR GLORIOUS WHITE HORSES WITH THEIR FOUR RIDERStriumphantly racing through the night -- CUT TO:BUTTERCUP AND WESTLEYand at last their trials are done. They stop. GRANDFATHER (off-screen) They rode to freedom. And as dawn arose, Westley and Buttercup knew they were safe. A wave of love swept over them. And as they reached for each other...--------------------------------------------------------------------------- 123.As Buttercup and Westley begin their ultimate kiss -- CUT TO:THE KID'S BEDROOMThe Grandfather stops reading. THE KID What? What? GRANDFATHER No, it's kissing again. You don't want to hear it. THE KID I don't mind so much.He gestures for his Grandfather to read. GRANDFATHER Okay. CUT TO:BUTTERCUP AND WESTLEYlocked in a deep, pure and passionate kiss. GRANDFATHER (off-screen) Since the invention of the kiss, there have been five kisses that were rated the most passionate, the most pure. This one left them all behind. The end. CUT TO:THE KID'S ROOMThe Grandfather snaps the book closed. GRANDFATHER Now I think you ought to go to sleep. THE KID Okay. GRANDFATHER (standing, readying to leave) Okay. Okay. Okay. All right. So long.--------------------------------------------------------------------------- 124. THE KID Grandpa?The Old Man stops, turns. THE KID Maybe you could come over and read it again to me tomorrow. GRANDFATHER (a beat) As you wish...And his smile is enough. As The Grandfather steps out thedoor, tipping his hat--FINAL FADE OUT.THE END. \ No newline at end of file diff --git a/unformated_scripts/Script_Private Life of Sherlock Holmes, The.txt b/unformated_scripts/Script_Private Life of Sherlock Holmes, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..6e74348b78180a858e6e9f1517023a9e4c5781fa --- /dev/null +++ b/unformated_scripts/Script_Private Life of Sherlock Holmes, The.txt @@ -0,0 +1 @@ +THE PRIVATE LIFE OF SHERLOCK HOLMES by Billy Wilder and I.A.L DiamondTHE PRIVATE LIFE OF SHERLOCK HOLMESFADE IN:BRASS PLAQUE - DAYEngraved on it are the words: COX & CO., Bankers.Reflected in its shiny surface are double-decker redbuses, and other present-day London traffic.INT. BANK VAULT - DAYAn iron gate opens, and two bank guards come in. One ofthem switches on the lights. On the shelves which linethe walls are dusty strong-boxes, document cases, wrappedpackages, etc. The guards move along the shelvessearching for something. WATSON'S VOICE Somewhere in the vaults of a bank in London is a tin dispatch box with my name on it. It is not to be opened until fifty years after my death.The guards find a battered tin dispatch box with the nameJOHN H. WATSON, M.D., painted on it. They remove it fromthe shelf, set it down on a table. The box is tied withheavy cord, the knots sealed with wax. Strung on thecord is the key. WATSON'S VOICE It contains certain mementos of my long association with a man who elevated the science of deduction to an art -- the world's first, and undoubtedly most famous, consulting detective.While one of the guards dusts the box off, the other cutsthe cord with a pair of scissors. He then inserts thekey in the lock, turns it, raises the lid -- revealingthe dusty contents of the box.OVER THIS, SUPERIMPOSE THE MAIN TITLE.The guards now start to remove the objects from the box,one at a time: -- A daguerreotype of Holmes, standing,and Watson, seated, in a a stiff studio pose; Holmes'deerstalker hat, his curved pipe, his magnifying glass;Watson's stethoscope, Holmes' revolver; a small enamelsign with the number 221B; a pair of handcuffs; 2.a sheet of music paper which is unrolled to disclose aviolin piece composed by Holmes, titled FOR ILSE von H.;A pocket watch, the back of which is opened to reveal aphotograph of Gabrielle Valladon; a signet ring bearingthe initials S.H. -- under which is concealed a compass;a worn morocco case -- inside which is an early-modelhypodermic syringe; a crystal ball which, when shaken,produces a snowstorm - and when the snow settles, we seea bust of Queen Victoria.OVER THESE OBJECTS, THE REST OF THE CREDIT TITLES ARESUPERIMPOSED.The last item out of the box is a thick stack ofmanuscript paper, bound with green ribbon. The guardundoes the ribbon, dusts off the top page, as CAMERAMOVES IN CLOSER. Written in ink, in the cursivepenmanship of the period, is the following paragraph: To my heirs: In my lifetime, I have recorded some sixty cases demonstrating the singular gift of my friend Sherlock Holmes -- dealing with everything from The Hound of the Baskervilles to his mysterious brother Mycroft and the devilish Professor Moriarty. But there were other adventures which, for reasons of discretion, I have decided to withhold from the public until this much later date. They involve matters of a delicate and sometimes scandalous nature, as will shortly become apparent.OVER THIS, WE HEAR THE VOICE OF DR. WATSON, reading thetext. DISSOLVE TO:YORKSHIRE LANDSCAPE - DAYA passenger train of the late Nineteenth Century ischugging through the early morning mist. WATSON'S VOICE It was August of 1887, and we were returning from Yorkshire, where Holmes had solved the baffling murder of Colonel Abernetty. 3.INT. COMPARTMENT - MOVING TRAIN - DAWNThere are but two passengers in the compartment --sitting by the window, facing each other. In fact theyare dozing. One wears a deerstalker and an Invernesscape; the other is in a dark overcoat and a black bowler,a furled umbrella between his legs, a medical bag on theseat beside him. The rest of their luggage is on theracks above. They are, of course, SHERLOCK HOLMES andDR. JOHN H. WATSON. This being 1887, they are thirty-three and thirty-five respectively. WATSON'S VOICE You may recall that he broke the murderer's alibi by measuring the depth to which the parsley had sunk in the butter on a hot day. DISSOLVE TO:EXT. BAKER STREET - DAYA hansom cab, with Holmes' and Watson's luggage strappedto the rack on top, is proceeding down the busy street. WATSON'S VOICE He was the most brilliant man I have ever known -- and I dare say people have envied me for sharing that flat with him in Baker Street.The cab draws up in front of 221B. The front door opensand MRS. HUDSON, a plump, motherly woman in her fifties,wearing an apron, hurries down the steps. She greetsHolmes and Watson warmly as they alight. WATSON'S VOICE I'll grant you he was stimulating -- but he could also be moody, unpredictable, egocentric, and more often than not, completely infuriating -- as our landlady, Mrs. Hudson, can attest -- bless her kind soul.The cabbie starts to unload their luggage. As Holmes,Watson and Mrs. Hudson proceed inside, CAMERA TRAVELS UPTHE FACADE OF THE BUILDING, past the number 221B, to thebay window on the second floor. 4.INT. LIVING ROOM - 221B BAKER STREET - DAYIt's all there -- the fireplace, the coal scuttle, thePersian slipper with the tobacco; the velvet wing chair,the basket chair with the writing-arm, the couch with thecushions; the sideboard with the tantalus and thegasogene; the acid-stained deal-topped table with Holmes'chemical equipment on it, the dining table, the smallMoorish table; the bookshelves and the violin case; thegas fixtures and the oil lamps; the dumbwaiter connectingwith the kitchen in the basement; and Holmes' desk, piledhigh with papers, clippings, research material, etc.Holmes is pulling up the window shades. Watson hasremoved his hat and coat, and is putting his medical bagdown on the sideboard; the cabbie, having deposited theirluggage, is just leaving. MRS. HUDSON I do wish you'd give me a little more warning when you come home unexpected. I would have roasted a goose -- and had some flowers for you. HOLMES My dear Mrs. Hudson -- criminals are as unpredictable as head-colds. You never quite know when you're going to catch one.He has picked up a dagger, starts opening his mail, whichis on the dining table. MRS. HUDSON I'll unpack your bags.She exits into one of the bedrooms. Watson has now takena magazine out of an envelope. WATSON Here's an advance copy of Strand Magazine. (shows it to Holmes) They've printed 'The Red-Headed League!'On the cover is a colored illustration from the story,featuring in obligatory Inverness and deerstalker. 5. HOLMES (offhand)Very impressive. WATSON (leafing through the magazine)Would you like to see how I treated it? HOLMESI can hardly wait. I'm sure I'll findout all sorts of fascinating things aboutthe case that I never knew before. WATSONJust what do you mean by that? HOLMESOh, come now, Watson, you must admit thatyou have a tendency to over-romanticize.You have taken my simple exercises inlogic and embellished them, exaggeratedthem... WATSONI deny the accusation. HOLMESYou have described me as six-foot-four,whereas I am barely six-foot-one. WATSONA bit of poetic license. HOLMES (removing Inverness and deerstalker)You have saddled me with this improbablecostume, which the public now expects meto wear. WATSONThat's not my doing. (indicating cover of Strand)Blame it on the illustrator. HOLMESYou've made me out to be a violinvirtuoso. Here -- 6. (holds out a letter he's been reading)-- a request from the Liverpool Symphonyto appear as soloist in the MendelssohnConcerto. WATSON (excited)Oh, really? HOLMESThe fact is that I could barely hold myown in the pit orchestra of a second-ratemusic hall. WATSONYou're much too modest. HOLMES (busy with the mail)You have given the reader the distinctimpression that I am a misogynist.Actually, I don't dislike women -- Imerely distrust them. The twinkle in theeye and the arsenic in the soup. WATSONIt's those little touches that make youcolorful -- HOLMESLurid is more like it. You have paintedme as a hopeless dope addict -- justbecause I occasionally take a five percent solution of cocaine. WATSONA seven per cent solution. HOLMESFive per cent. Don't you think I'm awareyou've been diluting it behind my back? WATSONAs a doctor -- and as your friend -- Istrongly disapprove of this insidioushabit of yours. 7. HOLMES My dear friend -- as well as my dear doctor -- I only resort to narcotics when I am suffering from acute boredom -- when there are no interesting cases to engage my mind. (holding out one of the open letters) Look at this -- an urgent appeal to find six missing midgets.He tosses the letter down is disgust. WATSON Did you say midgets?He picks up the letter. HOLMES Six of them -- the Tumbling Piccolos -- an acrobatic act with some circus. WATSON Disappeared between London and Bristol ... Don't you find that intriguing? HOLMES Extremely so. You see, they are not only midgets -- but also anarchists. WATSON Anarchists? HOLMES (nodding) By now they have been smuggled to Vienna, dressed as little girls in burgundy pinafores. They are to greet the Czar of all the Russias when he arrives at the railway station. They will be carrying bouquets of flowers, concealed in each bouquet will be a bomb with a lit fuse. WATSON You really think so? HOLMES Not at all. The circus owner offers me five pounds for my services -- that's not even a pound a midget. 8. So obviously he is a stingy blighter, and the little chaps simply ran off to join another circus. WATSON (crestfallen) Oh. And it sounded so promising -- HOLMES There are no great crimes anymore, Watson. The criminal class has lost all enterprise and originality. At best they commit some bungling villainy, with a motive so transparent that even a Scotland Yard official can see through it.He has crossed to the desk, suddenly notices something. HOLMES (angrily) Mrs. Hudson! (even angrier) MRS. HUDSON!Mrs. Hudson comes hurrying out of the bedroom. MRS. HUDSON Yes? What is it? What have I done now? HOLMES (sternly) There is something missing from my desk. MRS. HUDSON Missing? HOLMES Something very crucial. (picks up a small feather) You have been tidying up against my explicit orders. MRS. HUDSON Oh, I made sure not to disturb anything. HOLMES Dust, Mrs. Hudson, is an essential part of my filing system. By the thickness of it, I can date any document immediately. 9. MRS. HUDSON Some of the dust was this thick.She demonstrates with her thumb and forefinger. HOLMES (promptly) That would be March, 1883.He blows the feather away. DISSOLVE TO:INT. LIVING ROOM - EVENINGSTART on Holmes' foot, operating a bellows. CAMERA PANSUP to the top of the chemistry table, on which anelaborate apparatus of brass, glass and rubber tubing hasbeen set up. Inserted into the ends of the rubber tubesare half a dozen cigarettes, four cigars of differentshapes and colors, and four pipes, all lit. Activated bythe bellows, they are puffing away like mad, wheezingloudly and filling the screen with smoke. Seated at thetable is Holmes, in shirt-sleeves. Occasionally heknocks off an ash onto a glass slide, studies it under amicroscope.Watson, in a dressing gown, is sitting in the chair withthe writing arm, documenting the latest Holmes adventurefor Strand Magazine. The open mail has now been affixedto the center of the wooden mantelpiece, with a dagger.Mrs. Hudson is clearing the dinner dishes from the table,and loading them onto the shelf of the dumbwaiter. Theaccumulation of smoke in the room makes her cough. MRS. HUDSON How can you stand this? Why don't you let me air the room out? WATSON Please, Mrs. Hudson -- he's working on a definitive study of tobacco ash. MRS. HUDSON (drily) I'm sure there's a crying need for that. 10. WATSON In our endeavors, it is sometimes vital to distinguish between, say, the ashes of a Macedonian cigarette and a Jamaican cigar. Sor far he has classified 140 different kinds of ashes. MRS. HUDSON All of which will end up on my rug.She is now pulling on the rope which lowers thedumbwaiter. WATSON That'll be enough, Mrs. Hudson. MRS. HUDSON (heading for door) All right. If you gentlemen want to stay here and suffocate...She exits, shutting the door. For a while, the two go onworking. Then Holmes rises abruptly from the chemistrytable. HOLMES She's right. I am suffocating. WATSON Let me open a window. HOLMES Not from lack of air -- from lack of activity. Sitting here week after week -- blowing smoke rings -- staring through a microscope -- there's no challenge in that. WATSON Personally, I consider it a major contribution to scientific criminology...Holmes has opened his violin case and taken out hisfiddle. HOLMES How I envy you your mind, Watson. WATSON You do? 11. HOLMES It's placid, imperturbable, prosaic. But my mind rebels against stagnation. It's like a racing engine, tearing itself to pieces because it's not connected up with the work for which it was built.He has tucked the violin under his chin, starts toimprovise a nervous pent-up melody. There is nothingamateurish about it -- he plays quite well.Watson resumes working on his manuscript. Suddenly themusic stops. Watson looks up apprehensively. Holmes hasput down the violin, and is crossing to the sideboard.He opens Watson's medical bag, takes out a bottle ofcocaine, starts toward his bedroom. Watson pushes thewriting arm to the side, rises from his chair. WATSON Holmes --Holmes pays no attention, continues into the bedroom.Watson crosses to the open door. Inside the bedroom,Holmes has put down the cocaine bottle on the washstand,and is rolling up his left sleeve. WATSON Holmes, where is your self-control? HOLMES Fair question.From a drawer he takes a morocco case, opens it, removesa hypodermic syringe. WATSON Aren't you ashamed of yourself? HOLMES Thoroughly. But this will take care of it.He has removed the stopper from the cocaine bottle, andinserting the hypodermic needle into it, starts to drawup the liquid. DISSOLVE TO: 12.EXT. BAKER STREET - DAYIt is raining. A bus comes down the street, the open topdeck sprouting umbrellas like black mushrooms. WATSON'S VOICE Naturally, I don't mean to imply that my friend was always on cocaine -- sometimes it was opium, sometimes it was hashish. And once he went one of these dreadful binges, there was no telling how long it would last.INT. LIVING ROOM - 221B BAKER STREET - DAYRain beats on the windows. Holmes and Watson are in themiddle of an argument. WATSON The only reason you moved in with me is to have a steady supply of stimulants. HOLMES Now, now, Watson -- you mustn't underestimate your other charms.He starts into the bedroom. WATSON Holmes, I warn you. If you lock yourself in there once more -- HOLMES I intend to do nothing of the sort.He takes the hypodermic out of the drawer in thewashstand, starts back into the living room with it. HOLMES Not until you replace this needle. It is getting rather blunt.As Watson glares at him, the door opens and Mrs. Hudsoncomes bustling in. Holmes hides the hypodermic behindhis back. MRS. HUDSON I made you some tea and cress sandwiches. 13.She opens the door of the dumbwaiter, starts to pull itup. WATSON Mrs. Hudson, I want you to pack my bags. MRS. HUDSON Are you going away for the weekend? WATSON And beyond. I'm moving out. MRS. HUDSON Moving out? (she looks at Holmes) HOLMES I'm just as surprised as you are. WATSON You heard me, Mrs. Hudson. And let's not waste any time.Mrs. Hudson sighs, exits into Watson's bedroom. HOLMES May I be so bold as to ask where you'er going? WATSON I don't know yet. But I intend to resume my practice. I am, after all, a doctor. And quite a competent one, if I say so as shouldn't. HOLMES You'll find it very dull -- snipping out tonsils and flushing out kidneys --Watson is glancing around the room, searching forsomething. HOLMES If you're looking for your medical bag, you hid it under the Moorish table. (as Watson crosses to it) Which shows a little more imagination than last time -- when it was under your bed. 14.Watson picks up the Moorish table, disclosing the medicalbag, standing on end. He sets the bag down on thefender, opens it. WATSON I will, of course, continue to pay my half of the rent until you find someone to share these rooms with you. HOLMES Where am I going to find anyone who will put up with my rather eccentric habits? WATSON (taking hypodermic needle out of bag) Here's a fresh needle -- and here's my farewell present to you.He takes out three bottles of narcotics, puts them on themantel. WATSON If you want to destroy yourself, go right ahead. But I won't sit by and watch you doing it.He snaps his bag shut, carries it toward his bedroom. HOLMES Watson...Watson disappears into the bedroom, slamming the door.Holmes looks after him, then looks at the bottles of dopeon the mantelpiece. He starts pacing. After a moment hestops at the chemistry table, studies the assortedglassware on the shelves above.INT. WATSON'S BEDROOM - DAYThere are two open valises on the bed. Watson is movingaround the room, collecting various odds and ends, whileMrs. Hudson packs his clothes. MRS. HUDSON It's so sad. You and Mr. Holmes -- after all these years -- (she sobs) 15. WATSON Please, Mrs. Hudson -- none of that.Mrs. Hudson takes a clean handkerchief from the openvalise, blows her nose. MRS. HUDSON I'll wash this and send it on to you. WATSON I'll be at Brown's Hotel. MRS. HUDSON (still sniffling) I know how it feels -- I once went through a divorce myself. WATSON (removing diploma from wall) Actually, I'm rather looking forward to it. Leading a normal life again. Regular office hours -- nine to three -- and if occasionally there's an emergency call in the middle of the night, I know it's going be appendicitis and not an ax murder. Let Holmes go mucking about in the fog and the sleet, looking for a bloodstained collar-button out on the moors, with some demented hound snapping at his behind --From the living room comes the sound of a revolver shot.Mrs. Hudson screams and Watson looks off in alarm. Thenhe races out of the room, diploma in hand, followed byMrs. Hudson.INT. LIVING ROOM - DAYAs they burst into the room, they see Holmes sitting onthe stool beside the chemistry table, a revolver in hishand. He has shattered one of the narcotics bottles onthe mantelpiece, and is aiming at a second one. MRS. HUDSON Mr. Holmes...Holmes fires, smashing the second bottle. As Mrs. Hudsontakes a step forward, he waves her away with the gun. 16. HOLMES Please, Mrs. Hudson. You're in my line of fire.Watson jerks Mrs. Hudson back as Holmes lets go withanother shot. The bullet disposes of the third bottle,splattering glass and liquid all over the place. Holmesrises calmly from the stool, crosses to the desk, putsthe revolver away in a drawer. MRS. HUDSON (outraged) How many times have I told you I will not tolerate pistol practice on my premises? I should have evicted you when you shot them holes in my wall.She points up to a spot near the ceiling. Neatly tracedin bullet holes are the initials V.R., with a small crownabove them. HOLMES Merely celebrating Her Majesty's Golden Jubilee. MRS. HUDSON Look at that mess you made --Watson is looking at Holmes with a little smile on hisface. WATSON It's all right, Mrs. Hudson. I'll clean it up -- (hands her the diploma) -- while you unpack my things. MRS. HUDSON Unpack? HOLMES You heard him.A bewildered Mrs. Hudson goes back into the bedroom.Watson crosses to the fireplace, picks up the whiskbroomand the coal shovel, starts cleaning up the broken glass. WATSON Thank you, Holmes. I know how difficult it must've been for you -- 17. HOLMES Not really. It was simple choice between a bad habit and a good companion. WATSON You've made me very happy. HOLMES I've often been accused of being cold and unemotional. I admit to it. And yet, in my cold, unemotional way, I'm very fond of you, Watson. WATSON I know that. But one likes to hear these things occasionally.He notices the violin, which has been splattered with theliquid from the shattered bottle, picks it up. WATSON Look at this. Covered with that nasty stuff. I'd better dry it off. HOLMES I'll do it.He takes the instrument, and dabbing it with ahandkerchief, carries it toward the violin case. WATSON For a moment, I was worried that you were going to let me walk out -- that you weren't even going to try to stop me. HOLMES Now, Watson -- you know there's nothing I wouldn't do to keep you here.With a side-glance at the busy Watson, he opens theviolin case. Neatly stashed away around the edges arethe three original bottles of narcotics. The ones heshot up, of course, were substitutes from the chemistryset. He places the violin carefully among the bottles,closes the case, snaps the locks. As he moves off, weSTAY on the violin case. 18. WATSON'S VOICE It was not the first not the last time he tricked me like that. Normally, I was inclined to forgive him... DISSOLVE TO:INT. LIVING ROOM - DAYWatson, in his dressing gown, is sitting at the table,finishing his coffee. In front of him is a letter, onblue note-paper, and a pair of theatre tickets. WATSON'S VOICE But on one occasion, he did something that was so utterly unforgivable, that I would gladly have murdered him -- had it not been for my saintly disposition.Watson sets down his coffee cup, picks up the letter andthe tickets, rises from his chair. He starts to pace --addressing Holmes, who is off-scene. WATSON Why are you being so stubborn, Holmes? Why won't you go? It's the final performance of the Imperial Russian Ballet -- the house has been sold out for months --He moves towards the door of --HOLMES' BEDROOM - DAYHolmes is sitting in a hip-bath with a high back, soapinghimself. Watson appears in the doorway. WATSON -- seats are going for a guinea apiece -- HOLMES That's precisely it. Why should someone send up two free tickets? Anonymously, at that. WATSON Whoever sent them must be in great distress. The note says -- 19. (reading it) 'Please! You are the only man in the world who can help me.' HOLMES I suspect it's some sort of plot. WATSON You mean somebody wants to lure us into a trap...? HOLMES Somebody wants to kill me. WATSON Kill you? HOLMES That's right. It's a plot to bore me to death. I detest ballet. WATSON But this isn't just any ballet. It's Swan Lake. CUT TO:INT. THEATRE - NIGHTSTART ON THE CONDUCTOR, in the orchestra pit, as he givesthe downbeat for the second acto music of SWAN LAKE.CAMERA PULLS BACK TO INCLUDE THE STAGE, with a mechanicalsway crossing the mist-shrouded lake. CAMERA CONTINUESTO PULL BACK, REVEALING Holmes and Watson, in eveningclothes, occupying a box in the upper tier. WATSON (confidentially) You know, of course, Holmes -- that swan isn't really a swan -- it's an enchanted princess. HOLMES (bored) H'mmmm.On the stage now, the hunters appear, carrying lightedtorches. 20.BOXWatson trains his opera glasses on the stage, Holmesstifles a yawn.STAGEPETROVA, as the Queen of the Swans, makes her entrance toloud applause. She is in her forties, but splendidlypreserved, undoubtedly the greatest ballerina around.BOXWatson nudges Holmes, who has dozed off. WATSON Fabulous woman, don't you think so, Holmes? HOLMES (coming to) Who? WATSON The great Petrova.He hands the glasses to Holmes, who focuses themindifferently on the stage.STAGEPetrova is making an exit, backwards, on points.BOXHolmes lowers the glasses, returns them to Watson. HOLMES Very strong arches, I must admit. WATSON They say twelve men have died for her. HOLMES Really. 21. WATSON Six committed suicide, four were killed in duels, and one fell out of the gallery in the Vienna Opera House. HOLMES That's only eleven. WATSON The man who fell from the gallery landed on top of another man in the orchestra. HOLMES That makes an even dozen -- in a messy sort of way.Watson resumes watching the stage through the glasses.STAGEPetrova and the dancer playing the Prince go into thefamous pas-de-deux.BOXWatson enjoying himself immensely, Holmes sitting theredourly. The red plush curtain at the rear of the boxparts, and a man in evening clothes and a top hat enters.He is in his middle fifties, extremely soigne, andsomewhat sinister. His name is ROGOZHIN, and he isRussian. Holmes and Watson look around. ROGOZHIN Mister Holmes? HOLMES Yes. ROGOZHIN I am Nicolai Rogozhin, director-general of the Imperial Russian Ballet. So glad you accept invitation.Holmes and Watson start to get up, but he motions themback into their chairs. HOLMES This is Dr. Watson. 22. ROGOZHIN Pleased to meet you. (seating himself behind them) You are enjoying? WATSON Immensely. ROGOZHIN (abruptly) Tell me, Mr. Holmes, how is your health? HOLMES My health? Better consult my doctor. WATSON (to Rogozhin) Oh, he's in excellent shape. ROGOZHIN (to Holmes) Any insanity in your family? Diabetes? Asthma? HOLMES Would you mind telling me what this is all about? ROGOZHIN Certainly. Madame Petrova, she has problem. HOLMES Could you be more specific? ROGOZHIN Certainly not. WATSON A liason with a crowned head? Compromising letters? Blackmail?He glances toward the stage.STAGEThe pas-de-deux finished, to a rousing ovation. 23.BOXRogozhin rises, turns to Holmes. ROGOZHIN After performance, there will be little celebration backstage -- and Madame requests your presence. WATSON We'd be delighted. ROGOZHIN (to Watson) You are invited, also.With a parting look he exits, pulling the plush curtainsclosed. CUT TO:STAGEThe performance is over, the curtain is up, the party ison. Tables have been set up, with caviar, vodka andchampagne. The members of the orchestra are now playingbalalaikas, and crew and cast (the ballerinas still incostume, the male dancers in tights) seem in highspirits.Holmes and Watson, in silk hats with canes, appear fromthe wings, stop, survey the scene. Watson's eyes areshining with anticipation. In contrast, Holmes' face issober and quizzical.Rogozhin spots the two, detaches himself from a group,hurries over to join them. ROGOZHIN There you are, Mr. Holmes. Madame is expecting you in her dressing room. Dr. Watson, you will amuse yourself meanwhile -- we have vodka, caviar, girls. WATSON No, thank you. 24. ROGOZHIN No girls? WATSON No caviar. Makes me break out in hives.Rogozhin turns to a group of ballerinas, claps his hands. ROGOZHIN Dievushki. Siude, siuda, dievushki. Posnakomtes s docktorum Watsonom.Half a dozen ballerinas descend on on Dr. Watson. Theyare giggling and chattering in Russian. Rogozhin leadsHolmes off, while Watson takes in the bevy of beautiesaround him. WATSON Any of you girls understand English? GIRLS Nyet. WATSON Not one single word? GIRLS Nyet. WATSON In that case, I don't mind telling you that you all have lovely po-pos.He pats a couple of the po-pos with his cane.BACKSTAGERogozhin is leading Holmes toward Madame Petrova'sdressing room. ROGOZHIN Mr. Holmes, I must prepare you -- this is no ordinary case. HOLMES It is only the extraordinary that interests me. 25. ROGOZHIN Good. Because you will find this extra- extraordinary.They have now reached the door of Madame's dressing room.Rogozhin knocks. The door is opened by an elderlyRussian maid. ROGOZHIN Madame Petrova prinimaet? MAID Pozhaluista voidite.Rogozhin leads Holmes inside. The maid steps out, shutsthe door.INT. DRESSING ROOM - NIGHTIt is small, elegant and sensuous. There is vodka in anice-bucket, next to a Recamier chaise, a paravent, massesof flowers, and finally Madame Petrova, still in costume,sitting at a dressing table with multiple mirrors,undoing her hair. Candles, in two elaborate candleabra,give Madame's face a special glow. ROGOZHIN Ja priviol vam Mistera Sherlock Holmesa, doragaia. PETROVA (to Holmes) Otchen rada.She extends her hand, and Holmes takes it. HOLMES Madame.He kisses her hand. Petrova appraises him from head totoe, and back again. PETROVA (to Holmes) Vi menshe rostom chem ja ozhidala. HOLMES Madame says you are shorter than she thought. 26. HOLMES I didn't mean to be. PETROVA No eto nie vazhno. Menia interessujut glavnim obra som vashi mosghi. ROGOZHIN Short, tall, who cares? It is the brains that count. HOLMES (to Rogozhin) Thank you. (catching himself, to Petrova) Thank you.Petrova rises, crosses to the paravent. PETROVA Ja prochia vsie vashi prikliuchenia. Zamiechatelno! Os sobenno sobaka Baskervillei. ROGOZHIN Madame is great admirer of yours. She has read every story -- her favorite is Big Dog from Baskerville. HOLMES I'm afraid it loses something in translation.Petrova is now behind the paravent, undressing, only herhead visible. PETROVA Nikolai, pokazhite iemu skripku.Rogozhin picks up a violin case, opens it. ROGOZHIN Mr. Holmes, you know about fiddles. (takes violin out, hands it to him) What is your opinion of this?Holmes holds the violin up, peers through one of thesound holes. 27. HOLMES (reading) 'Antonius Stradivarius Cremonesis, Anno 1709.' Well, the label is authentic. (examines violin, plucks strings) Judging from the shape, the color of the varnish, and the tone, I would say it is a genuine Stradivarius of the best period. ROGOZHIN You like? HOLMES It's magnificent. PETROVA (from behind paravent) Skazhite jemu chto eto podarok ot menia. ROGOZHIN Here -- take it. Madame says it is yours. HOLMES Mine? ROGOZHIN For services you will render. HOLMES My fees as a detective are not exactly trifling -- but a Stradivarius -- you're not serious. ROGOZHIN I am not. But Madame is.Petrova emerges from behind the paravent, in a brocadedressing gown. PETROVA Nalejte vodki i obiasnite jemu v chom dielo.She drapes herself on the chaise. 28. ROGOZHINAll right. I will pour vodka andexplain. (starts pouring vodka; it is pink)Mr. Holmes, what you have seen tonight islast and positively final performance ofMadame Petrova. She is retiring. HOLMESWhat a shame. ROGOZHINShe has been dancing since she was threeyears old. And after all, she is nowthirty-eight. HOLMES (gallantly)I must say she doesn't look thirty-eight. ROGOZHINThat is because she is forty-nine. (he hands her a glass of vodka, with an exaggerated smile)So Madame has decided to leave ballet andspend life bringing up her child. HOLMESHow admirable. ROGOZHIN (hands him vodka)Problem now is to find father. HOLMESOh? Is he missing? ROGOZHINCorrect. HOLMESAnd that's why you called me in? ROGOZHINAlso correct. We must have father,because without father, how can there bechild? 29. HOLMES I see. The whole thing is still in the planning stage -- ROGOZHIN Correct again. Madame would like child to be brilliant and beautiful. Since she is beautiful -- she now needs man who is brilliant.Holmes' eyes wander slowly toward Petrova. She raisesher glass. PETROVA Za zdorovie. ROGOZHIN (raising his glass) Za zdorovie. HOLMES Za zdrovie.Petrova and Rogozhin down their vodka bottoms up. Holmestakes one swallow, then stops. HOLMES What's in it? ROGOZHIN What does it taste like? HOLMES Red pepper. ROGOZHIN That's what's in it.While Rogozhin refills Petrova's glass and his own,Holmes takes another tentative sip. PETROVA (to Holmes) Kogda mi smozhem dvinutsa v putj? HOLMES I beg your pardon? 30. ROGOZHINMadame wants to know how soon you can beready. HOLMESReady? ROGOZHINTo leave for Venice. All arrangementshave been made. You will spend one weekthere with Madame... HOLMESWell, this is all very flattering. Butsurely there are other me -- better men -- ROGOZHINTo tell you truth, you were not firstchoice. We considered Russian writer,Tolstoi -- HOLMESThat's more like it. The man's a genius. ROGOZHINToo old... Then we considered thephilosopher, Nietzsche -- HOLMESAbsolutely first-rate mind... ROGOZHINToo German... And we consideredTschaikowski -- HOLMESOh, you couldn't go wrong withTschaikowski -- ROGOZHINWe could -- and we did. It wascatastrophe. HOLMESWhy? ROGOZHINYou don't know? Because Tschaikowski --how shall put it? Women not his glass oftea. 31. HOLMESPity, that. PETROVA (to Rogozhin)Skazhite jemu chto je otchen dovolna etimresheniem. ROGOZHINMadame is very happy with final choice. HOLMESMadame mustn't be too hasty. She mustremember I'm an Englishman. ROGOZHINSo? HOLMESYou know what they say about us. Ifthere's one thing more deplorable thanour cooking, it's our love-making. Weare not exactly the most romantic ofpeople -- ROGOZHINPerfect. We don't want sentimentalidiots -- falling in love, committingsuicide. One week in Venice -- she goesback to St. Petersburg with baby -- yougo back to London with fiddle. HOLMESAn equitable arrangement. (puts down violin)About my medical history -- when youasked me -- I neglected to mention asmall detail. There is hemophilia in myfamily. We're all bleeders. ROGOZHIN (to Petrova)On govorit, chto v jevo semie stradajutghemofilijei. PETROVAPust nie bezpokoitsa. Ja ostrighu sebenoghti. 32. ROGOZHIN Madame says not to worry. She will not scratch you. HOLMES That's reassuring to know. But -- PETROVA (to Rogozhin) Pochemu on kolebletsa? On nie nahodit menia dostatochno privlekatelnoi? ROGOZHIN Madame says you talk too much. You find her attractive or no?Before Holmes can answer, the door opens and Watsonsticks his head in. He is flushed and slightlyinebriated, and there is a flower tucked behind his ear.From off comes the SOUND of wild balalaika music. WATSON Excuse me. (to Rogozhin) What does prokanzik mean? ROGOZHIN It means 'You little devil.' WATSON It does? I am? Thank you.He hurries off, shutting the door. ROGOZHIN (to Holmes) I repeat question. You find Madame attractive or no?Holmes is still looking at the door where Watson exited,an idea forming in his mind. HOLMES (turning to Rogozhin) Oh, I find her most attractive -- for a woman, that is. ROGOZHIN Then no problem. 33. HOLMESMaybe a slight one. You see, I am not afree man. ROGOZHINNot free? You are a bachelor. HOLMESA bachelor -- living with anotherbachelor -- for the last five years.Five very happy years. ROGOZHINWhat is it you are trying to tell me? HOLMESI hoped I could avoid the subject. Butsome of us -- through a cruel caprice ofMother Nature -- ROGOZHINGet to point. HOLMESThe point is that Tschaikowski is not anisolated case. ROGOZHINYou mean, you and Dr. Watson -- ? (Holmes nods)He is your glass of tea? HOLMESIf you want to be picturesque about it. PETROVA (slightly agitated)Chto on govorit? Pri chom tutChaikovsky? ROGOZHINOn pederast. PETROVA (on her feet now; flaring)Jescho odin? Eto stanovitsa odnoobrasno!Kakoi vi idiot! 34. HOLMES (picking up his silk hat and cane) Believe me, Madame, the loss is all mine. But I would prefer to disappoint you know than disappoint you in a gondola in Venice.He takes her limp hand, kisses it. Then he crosses tothe door. HOLMES (imitating Rogozhin's accent) It would have been catastrophe.He exits. Rogozhin starts to pour himself another glassof vodka. Petrova slaps the glass out of his hand. PETROVA (screaming) Potchemu vi nie vijasnili eto eto ranshe, prezhde chem posoritj menia!STAGEThe party has built into a real wingding by now. It'swild -- drinking, laughing, singing. Everybody is turnedon -- especially Watson. He is dancing with a dozen ofthe ballerinas to madly accelerating balalaika music.Flower behind ear, hair mussed, tie undone, short ofbreath -- he is in paradise.Holmes makes his way through the revelers, approachesWatson. HOLMES Watson! (Watson pays no attention) Watson, are you coming? WATSON (without missing a step) What is it, old boy? HOLMES We're going home. 35. WATSON Home? Not a chance. Not the slightest -- not the remotest chance. Toodle-ooo.He waves goodbye, and goes on swirling dizzily with thegirls. Holmes puts on his silk hat and leaves.A shaken Rogozhin comes up to the buffet, pours himself astiff drink of vodka. As he drinks his eyes follow thedancing Watson balefully.Watson spins off several of the girls, grabs anothergroup. His ex-partners wind up close to Rogozhin. Hewhispers something to them. Their eyes widen, and theystare at Watson with disbelief. Watson again switchespartners, and the first girls now whisper intensely tothose who just left the floor. The same reaction.Watson, oblivious to all this, is whirling around withanother set of girls.By now some of the girls who are in on the secret arewhispering to the male dancers in tights. Their reactionis slightly different. They are seeing Watson in a newlight. And before Watson knows what's happening, he hasbeen abandoned by all the girls, and is joined first byone pair then another pair of male dancers, till he isdancing only with gay guys in tights. It gradually dawnson Watson that there is something wrong with this stateof affairs. After some difficulty, he breaks away fromthem. WATSON Hold on! Just a moment!Spotting Rogozhin, he crosses to him. The girls shrinkaway at his approach. WATSON (bewildered) What's going on? What happened to the girls? ROGOZHIN Why? Do you not prefer it this way? WATSON What way? 36. ROGOZHIN You don't have to pretend. Mr. Holmes told us everything -- about you and him -- WATSON About me and him? ROGOZHIN Come now, no need to be bashful. We are not bourgeois. Maybe with doctors and detectives is unusual -- but in ballet, is very usual. WATSON What is? ROGOZHIN Caprice of Mother Nature. Look at Pavel and Mischa and Boris and Dmitri --Watson looks around at the boys in tights, who arestanding in a half-circle, grinning at him insolently.It is beginning to dawn on him. He pales. ROGOZHIN -- And Ilya and Sergei -- (breaks off, rocks his hand back and forth) Sergei -- half and half.He pours himself another vodka. Watson grabs the glassaway from him, downs it with a gulp. DISSOLVE TO:INT. LIVING ROOM - 221B BAKER STREET - NIGHTIn contrast to the frenetic ambiance of the back-stageparty, the room seems doubly placid. Holmes, his dinnercoat replaced by a smoking jacket, is sitting in the wingchair, having a quiet pipe after the evening's peculiaradventure. Only the desk lamp is lit. From the street,there is the sound of hurried, angry footstepsapproaching the house. Holmes turns his head languidly --he knows who is coming. 37.EXT. BAKER STREET - NIGHTAn enraged Watson, cane and opera glasses in hand, andthe flower still behind his ear, is jogging down thecenter of the deserted street.INT. LIVING ROOM - NIGHTHolmes rises casually, twists the wing chair so that itsback is to the door, crosses to the lamp on the desk,turns the wick down. From off comes the sound ofWatson's key rattling in the front door lock.STAIRCASE - 221B BAKER STREET - NIGHTThe front door opens and Watson storms into thevestibule. WATSON Holmes!He races up the stairs and across the landing, flingsopen the door of the flat. WATSON Holmes!INT. LIVING ROOM - NIGHTWatson, grim and breathless, stands in the open doorway.Over the back of the wing chair, he sees smoke curling upfrom Holmes' pipe. WATSON There you are, you wretch! You rotter! You blackguard! Of all the vile, unspeakable fabrications. What do you have to say for yourself?No answer from Holmes. We now see -- but Watson does not-- that the chair is occupied by a section of Holmes'smoking machine, with the pipe attached. WATSON Don't just sit there -- speak up, man! 38.Still no answer -- just a little pipe smoke drifting upfrom the wing chair. Incensed, Watson raises the operaglasses, tosses them toward the chair. There is a loudthud, the pipe falls to the floor, then there is silence.Watson suddenly becomes concerned. WATSON Holmes...? Are you all right, Holmes?He approaches the chair apprehensively, shoves it aside --and there on the floor is the smoking machine, stillwheezing slightly. Watson picks it up, and his eyestravel to Holmes, standing in a shadowy corner, workingthe bellows with his foot. HOLMES From the sound of your footsteps, I gathered that you were not in a particularly amiable mood. WATSON (with renewed fury) How could you do a dastardly thing like that to me? What the deuce were you thinking of?He dashes the smoking machine to the floor. HOLMES Watson, you have my most abject apologies. But have you ever been cornered by a madwoman? It seemed like the only way to get out of it without hurting her feelings. WATSON What about my feelings? And my reputation? Do you realize the gravity of what you have done? The possible repercussions? HOLMES So there'll be a little gossip about you in St. Petersburg... WATSON These things spread like wildfire. I can just hear those malicious whispers behind my back. I'll never be able to show my face in polite society... 39. And if it ever got back to my old regiment -- you don't know the Fifth Northumberland Fusiliers -- they'll strike me off the rolls -- they'll cut off my pension... HOLMES Watson, you're running amok. WATSON Dishonored, disgraced, ostracized. What am I to do? HOLMES Well, for one thing, I'd get rid of that flower.He points to the flower behind Watson's ear. Watsongrabs the flower, hurls it into the fireplace. WATSON You may think this is funny, but we're both in the same boat. We must take desperate measures. We must stop this talk... (a beat, then an idea) Maybe if we got married... HOLMES Then they'd really talk... WATSON (starts pacing) Obviously, we cannot continue to live under the same roof. We must move apart. HOLMES Of course, we can still see each other clandestinely -- on remote benches in Hyde Park, and in the waiting rooms of suburban railway stations -- WATSON (a change in attitude; defiant) The whole thing is ridiculous. We have nothing to hide. HOLMES That's what I've been trying to tell you. 40. WATSON Let somebody start a rumor -- just one ugly word -- and we'll sue them for slander. HOLMES Nobody would dare. After all, you have an enviable record with the fair sex. WATSON Damn right. I can get women from three continents to testify for me. And you can get women to vouch for you, too -- can't you, Holmes?No answer from Holmes. Watson is becoming a littleconcerned. WATSON Can you, Holmes? HOLMES Good night, Watson.He starts toward his bedroom. WATSON Holmes, let me ask you a question -- (Holmes stops) I hope I'm not being presumptuous -- but there have been women in your life? HOLMES The answer is yes. (a relieved sigh from Watson) You're being presumptuous. (Watson's face falls) Good night.He walks into his bedroom, shutting the door. Watsontakes a tentative step after him. WATSON Holmes... DISSOLVE TO: 41.INT. LIVING ROOM - 221B BAKER STREET - NIGHTThere is a cheery fire burning in the grate. Holmes isstretched out full-length on the couch, playing a set ofCorelli variations on his violin. Watson is in his usualchair, reading the Evening Standard. WATSON'S VOICE What, indeed, was his attitude toward women? Was there some secret he was holding back -- or was he just a thinking machine, incapable of any emotion?EXT. BAKER STREET - NIGHTWisps of fog swirl along the street, making yellow haloesaround street lamps. WATSON'S VOICE I was not to get the answer until we became involved in what I consider to be the most outrageous case in all our years together.Out of the mist comes a hansom cab, with the dim figureof a woman visible in the passenger seat. The cab stopsin front of 221B, and the driver starts to get down.From upstairs comes the faint sound of violin music.INT. LIVING ROOM - NIGHTWatson steps up to the window, pulls the curtain aside,looks down toward the street.EXT. 221B BAKER STREET - NIGHTThe cabbie crosses the pavement, consults an address inhis hand, glances up at the number of the house, thenrings the bell.INT. LIVING ROOM - 221B BAKER STREET - NIGHTWatson turns away from the window, as the BELL downstairsrings again. Holmes stops playing. 42. WATSON Were you expecting someone? HOLMES Not at this hour. WATSON Maybe Mrs. Hudson is entertaining. HOLMES I never found her so.Watson crosses to the door, opens it, steps out. Holmesresumes playing Corelli.VESTIBULE AND STAIRCASE - 221B BAKER STREET - NIGHTMrs. Hudson, in a robe and night-cap, is talking to thecabbie in the open street door when Watson appears on thelanding above. WATSON What is it, Mrs. Hudson? MRS. HUDSON (looking up) There's a cabbie here -- he says you owe him two-and-six. WATSON For what? CABBIE (to Watson) For the fare, guv'nor. The young lady doesn't have any money. WATSON What young lady? CABBIE This one.He reaches out the door, pulls in the young lady inquestion. She is in her early thirties, with strikinglyhandsome features, but at the moment she is somewhatworse for wear. She is wrapped in a blanket, her hair iswet, and there is a bruise on her temple. 43.She is wearing and wedding ring and her name, we willsubsequently learn, is GABRIELLE. WATSON Well. What have we here? (he starts down the stairs) Who are you, miss? What happened to you? GABRIELLE (slight accent) I don't know. CABBIE That's all she keeps saying -- I don't know, I don't know.The violin music stops o.s. Watson has now reached thefoot of the stairs. WATSON Where did she come from? CABBIE From the river. I was driving down the Embankment, just below Westminster Bridge, and there she was in the water -- drowning.Holmes appears on the landing above, violin and bow inhis hand. CABBIE It wasn't easy, guv'nor -- what with the cold water -- and her fighting me -- HOLMES (from the upper landing) Why did you bring her here? CABBIE Because I found this in her hand -- (gives a square of soggy cardboard to Watson) -- 221B Baker Street -- that's right, isn't it?Watson examines the cardboard, nods. 44. HOLMES (to Gabrielle) Young lady -- what did you want at this address? GABRIELLE (looking up, trying to focus) I do not remember. WATSON (to Holmes) Rather perplexing, wouldn't you say? HOLMES Rather. CABBIE Well, gentlemen, you want her? -- it's two-and-six -- or shall I throw her back in the river? MRS. HUDSON Mr. Holmes. You can't let him -- HOLMES Watson, you'd better accept delivery.Watson fishes some coins out of his pocket, hands them tothe cabbie. WATSON Keep the change. CABBIE Thank you, guv'nor.He snatches the blanket off Gabrielle, revealing that herdress is clinging to her damply. CABBIE No extra charge for the use of the horse- blanket.He exits into the street, shutting the door. Gabriellehugs herself for warmth. WATSON You're shivering, my dear. (he puts his arm around her) 45. Come along. Let me get you out of those wet clothes.He starts to lead her up the stairs.EXT. BAKER STREET - NIGHTThe cabbie has tossed the blanket into the hansom, and ismounting the driver's seat. Across the street, a mansteps out of the fog into a pool of light cast by one ofthe street lamps. He is a craggy-faced Prussian of aboutfifty, and his name is VON TIRPITZ. He looks up towardthe Holmes flat. As the hansom makes a U-turn and comesabreast of him, he hops into the cab. The hansomdisappears into the fog.INT. LIVING ROOM - 221B BAKER STREET - NIGHTWatson is leading Gabrielle to a chair by the fireplace.Holmes is putting his violin down on the table. WATSON Sit here, my dear.He settles her in the chair. Holmes comes over, plucksthe square of cardboard from Watson's hand. WATSON She's suffering from shock and exposure.He starts to massage her wrists to restore hercirculation.Holmes is examining the soggy cardboard. On one side istheir address, written in pencil. He turns it over,disclosing some smudges of green ink on the other side. HOLMES There was some printing on the back of this -- but it seems to have come off in the water.Watson is now studying the bruise on Gabrielle's temple. WATSON Look at this -- she's had a nasty blow on the head. HOLMES 46. Could she have hit her head when she fell or jumped into the river? WATSON No. The blood has already coagulated. So it would appear that she was the victim of a deliberate attack... Get my bag, will you?As Holmes fetches the medical bag, Gabrielle looks fromone to the other. GABRIELLE Who are you? WATSON I'm Dr. Watson -- and this is Mr. Sherlock Holmes. Do the names mean anything to you? GABRIELLE No. WATSON Think. GABRIELLE I'm trying. HOLMES Can you think of your own name? GABRIELLE (a beat, then shakes her head) No. WATSON She's obviously had a concussion -- which often leads to temporary amnesia.He has now taken some cotton and a bottle of antisepticout of the medical bag, and is swabbing her wound. HOLMES So all we know is that she was coshed on the head, dumped into the Thames, and subsequently dumped into our laps. 47. WATSON We know a lot more than that. From her accent, we know she is foreign -- from her ring, we know she is married -- and there is one other clue we have... Something I deduced while I was helping her up the stairs. No corset. HOLMES Good work.He glances down at Gabrielle's shoe, which has slippedoff her foot. Inside, slightly worn away, are the words:LA FEMME ELEGANTE. HOLMES (to Gabrielle) Are you French? (in Berlitz French) Vous etes Francaise? GABRIELLE (concentrating -- then) Non, je ne suis pas Francaise. WATSON How can she say she's not French, in French? HOLMES Vous etes Suisse? GABRIELLE Non. HOLMES Alors, vous etes Belge. GABRIELLE (haltingly) Je suis pas sure.Holmes reaches behind her, turns back the collar of herdress. Sewn inside is a label reading: BAZAAR MODERN,Bruxelles. HOLMES Vous etes Belge -- de Bruxelles! 48. GABRIELLE Bruxelles? Oui... Je pense que oui.Mrs. Hudson has come in with a loaded tea-tray, starts toput it down on the table. MRS. HUDSON Oh, dash. Will someone remove the violin, please?Watson takes the violin off the table, and she sets downthe tray. WATSON We just found out that she's Belgian. MRS. HUDSON Poor thing. WATSON From Brussels. HOLMES (taking Gabrielle's hand) If you don't mind.He slips the wedding ring off her finger, picks up amagnifying glass, examines it. It is made of copper, andengraved on the inside is the inscription: Gabrielle -Emile. HOLMES Your name is Gabrielle, is that right? Gabrielle? GABRIELLE I don't know. HOLMES And your husband's name is Emile? GABRIELLE (vaguely) Emile... HOLMES Where is he? What are you doing in London? 49. GABRIELLE I don't know. HOLMES When did you arrive from Brussels? Where are you staying? GABRIELLE I don't know. HOLMES What happened at the river? Think! Pensez! Concentrez vous!Gabrielle bursts into sobs. WATSON (stepping forward) That's enough, Holmes. I will not permit you to question her in this condition. (helps the sobbing Gabrielle out of the chair) Mrs. Hudson, put her to bed. My bed. (Mrs. Hudson gives him a look) I'll sleep on the couch. MRS. HUDSON Come, my dear.She puts her arm around Gabrielle, who is still crying,leads her into Watson's bedroom. WATSON I'd better mix her a sleeping potion.He gets a packet of white powder out of his medical bag,and during the following, stirs a spoonful into her tea-cup. HOLMES Watson, I think we should arrange to have her removed to a hospital. WATSON Under no circumstances. HOLMES She should have medical attention. 50. WATSON She can get that from me. But more importantly, she must be protected -- there has already been one attempt on her life. HOLMES This temporary amnesia -- how temporary is it? WATSON It depends on the extent of the injury. It's like veils shrouding her memory. It could clear up in a few days -- or a few weeks. HOLMES Watson, this is a very small flat -- we don't want to clutter it up with women... WATSON Holmes, we've never had a case like this. A woman comes to us with a problem -- we don't know who the woman is -- and we don't know what the problem is. Don't you find that challenging? HOLMES Quite. But we can't afford to wait for those veils to lift -- we must break through them as quickly as possible. WATSON You really feel it's that urgent? HOLMES I do. The sooner we solve the case, the sooner we can get rid of her. WATSON Oh.He picks up the cup of tea with the sedative in it,carries it toward the door of his bedroom. DISSOLVE TO: 51.EXT. BAKER STREET - DAWNThe street lamps are still lit. A policeman, on patrolduty, is strolling along the sidewalk, swinging histruncheon. Suddenly he sees something up ahead.Alarmed, he ducks into the doorway of a building,flattens himself against the door.From the opposite direction comes a horse-drawn water-sprinkling wagon. The spray covers the sidewalks as wellas the street.The policeman waits till the wagon is past, then stepsout of the doorway relieved, resumes his patrol.INT. LIVING ROOM - 221B BAKER STREET - DAWNWatson is asleep on the couch, covered with a blanket.He doesn't look as if he were in a very comfortableposition.INT. HOLMES' BEDROOM - DAWNHolmes, in a dressing gown, is standing by the window,studying the square of cardboard with the green smudgeson it. His bed has not been slept in.INT. WATSON'S BEDROOM - DAWNGabrielle is asleep in Watson's bed. The door opensslowly, and Holmes looks in. He studies the sleepingGabrielle for a moment, then quietly pulls the door shut.As the latch clicks into place, Gabrielle awakes and sitsup in bed, her back to CAMERA. She is nude. GABRIELLE Emile?She starts to get out of bed.INT. HOLMES' BEDROOM - DAWNHolmes is back in his room, once more examining thecardboard by the light of the window. The door ofWatson's bedroom opens, and Gabrielle comes out. 52. GABRIELLE Emile?Holmes looks up as Gabrielle appears in the open doorway. GABRIELLE Emile? Is that you, Emile? HOLMES (stepping into shadow) Yes, Gabrielle. GABRIELLE (hurrying toward him) Ah, Emile. I thought I'd never find you. (embracing him) Hold me. Hold me tight. (Holmes puts his arms around her) It's been such a long time. So many nights. You know what I did before I left Brussels? HOLMES What? GABRIELLE I hope you won't be angry with me. I bought myself an expensive negligee. HOLMES Did you? GABRIELLE (moving toward bed) A pink negligee with maribou feathers. Don't you think that's a foolish thing for a married woman? (she gets into bed, beckons to him) Come. HOLMES Where is the negligee? GABRIELLE In my luggage... Come here. 53. HOLMES (moving toward her) And where is your luggage? GABRIELLE (impatiently) I don't know. Come, my love. Come. Please.As she extends her right hand to him, in a beckoninggesture, Holmes notices something on the palm. He takesher hand in his. There, in the same green ink as thesmudges on the cardboard, are what appear the be theletters "I", "O", and Greek "E". Crossing to the wash-stand, he picks up his magnifying shaving mirror, returnsto the bed, holds it up against the palm of Gabrielle'shand. GABRIELLE What is it, Emile? What are you doing?Clearly reflected in the mirror is the reverse image ofthe lettering on Gabrielle's palm -- the number "301". DISSOLVE TO:INT. LIVING ROOM - 221B BAKER STREET - DAYThe table is set for breakfast, and Mrs. Hudson isopening the curtains, flooding the room with sunlight.Then she moves over to the couch, where Watson issleeping in an awkward position. MRS. HUDSON Dr. Watson! (she claps her hands and he wakes up) Your porridge is getting lumpy. Hadn't you better get up?Watson tries to rise, falls back with a moan. WATSON I would like to very much. But -- (he turns over on his stomach) Mrs. Hudson, would you mind planting your knee in the small of my back? 54. MRS. HUDSON Yes, I would. WATSON Please! I'm in excruciating pain.Mrs. Hudson tentatively rests her knee on Watson's back. WATSON A bit higher -- just below my seventh vertebra -- (Mrs. Hudson follows instructions) That's good. Put your arms under mine -- fold them behind my neck --Mrs. Hudson presses down harder, and there is a distinctsnap. WATSON Bless you. (he rises, rubbing his neck) That damn couch. (crossing to table) You'd better see if our patient is awake.He seats himself at the table. Mrs. Hudson crosses tothe door of Watson's bedroom, opens it, starts inside,then stops. MRS. HUDSON Dr. Watson. She's gone. WATSON Gone?He jumps up from the table, joins Mrs. Hudson, looks pasther. The bed is empty. Gabrielle's clothes are inevidence, but there is no sign of her.Watson strides towards Holmes' bedroom. WATSON Holmes! Holmes! She's gone!He throws the door open, is about to step inside when hesees something that makes him freeze. 55.INT. HOLMES' BEDROOM - DAYGabrielle is asleep in Holmes' bed, covered by just asheet, and obviously naked underneath. Holmes is not inthe room.Mrs. Hudson comes up behind Watson, in the open doorway,peers over his shoulder. MRS. HUDSON (scandalized) Well, I never!There is the sound of the hall door opening, and theyboth turn.INT. LIVING ROOM - DAYHolmes breezes in, carrying a large suitcase, withleather straps around it. Tucked under the straps is awhite parasol. And attached to the handle of thesuitcase is a cardboard tag with the number 301 on it, ingreen. HOLMES (inhaling deeply) Mmmmm. I smell porridge. Lumpy as usual, I suppose.He sets the suitcase down on the couch, as Watson andMrs. Hudson approach. WATSON Oh, there you are, Holmes. We were just wondering -- how -- (points from his bedroom to Holmes') MRS. HUDSON (sternly) We certainly were. HOLMES Mrs. Hudson, why don't you go down to the kitchen -- get a towel -- and wipe that look of disapproval off your face. 56. MRS. HUDSON Liberties -- in my house!She exits huffily. WATSON You can't really blame her -- I mean, the way it looks -- if I didn't know you better, I might suspect you'd taken advantage of the young lady. HOLMES As a matter of fact, I did take advantage of her... Would you hand me the butter- knife, please? WATSON Of course.He picks up the butter-knife from the table, suddenlyturns back with a delayed reaction. WATSON You did what? HOLMES (taking butter-knife from him) Thank you.He starts to pry open the locks of the suitcase with thebutter-knife. WATSON (spluttering) Holmes, this is reprehensible! Where are your professional ethics? Have you no sense of decency, no shame -- HOLMES None whatsoever. If you must know, I found her body quite rewarding. WATSON You cad! HOLMES Especially the palm of her right hand. 57. WATSON I'd rather not hear about it! HOLMES Very well. Then I won't bother to tell you how I traced her suitcase. WATSON That's her suitcase? HOLMES Remember that piece of soggy cardboard with our address on it? It was a luggage ticket -- the number rubbed off on her hand. And since she must have arrived from Brussels by the boat train, I concluded that she had checked her belongings at Victoria Station. WATSON By Jove! If you're right, we should find a clue to her identity.Holmes has now forced open the locks. HOLMES Or at least a pink negligee with maribou feathers.He opens the suitcase, lifts out the top piece ofclothing, holds it up -- a pink negligee with mariboufeathers. HOLMES Voila! WATSON Let's see - what else is in here?They start sorting through the clothes in the suitcase.Holmes removes a tied bundle of letters. HOLMES Now we're getting somewhere.As he examines the envelope, Watson takes out a framedphoto of a rather attractive man of fifty. WATSON Who do you suppose this is? 58.Gabrielle appears from Holmes' bedroom wearing Holmes'dressing gown. She is unsteady on her feet and somewhatdazed. Holmes looks up. HOLMES Come in, Madame Valladon. (Gabrielle stops) You are Gabrielle Valladon. GABRIELLE Yes. HOLMES (holding up photo) And this is your husband, Emile Valladon? GABRIELLE Yes.Her eyes fall on the open suitcase. HOLMES Sorry to have ransacked your valise. But since you came to us for help -- GABRIELLE Where am I? WATSON 221B Baker Street. GABRIELLE Oh, yes... (a beat, as she orients herself) Which of you is Mr. Holmes and which is Dr. Watson? HOLMES Dr. Watson is the handsome one.Watson, pleased, twirls the end of his mustache.Gabrielle sways slightly. HOLMES That's the way he affects most women.He helps her into a chair. 59. WATSON (to Gabrielle) Coffee. You want strong coffee.He hurries over to the breakfast table. GABRIELLE It's all so confusing. HOLMES Let's try to sort it out. You came to London looking for your husband... GABRIELLE Yes. He's a mining engineer. We were married five years ago, in the Congo. HOLMES Where your husband was working in a copper mine. GABRIELLE How did you know? HOLMES Your wedding ring -- it's made of copper.He picks it up from the chemistry table, hands it to her.Gabrielle starts to put it on. GABRIELLE Last year he invented a new kind of air pump, and was hired by an English company, Jonah Limited. WATSON (handing her cup of of coffee) Here you are. HOLMES Jonah Limited. Go on. GABRIELLE We've been writing to each other regularly. Then suddenly, three weeks ago, his letters stopped. I kept writing ... but no answer. Finally I decided to go to that address -- 60.She indicates the bundle of letters. Holmes glances atthe return address on the back of the envelope. HOLMES 32 Ashdown Street. GABRIELLE Yes. It's just an empty store -- nobody there. Then I tried to find Jonah Limited. No such company exists. WATSON How decidedly odd. HOLMES Madame Valladon, can you think of any reason why your husband should have lied to you about theses things? GABRIELLE Emile? Never. He loves me -- and I love him. HOLMES So I gathered. GABRIELLE I went to the police -- they said they would send out a missing persons report -- but they didn't sound too encouraging. Then I went to the Belgian embassy and explained the situation to them -- and they suggested that I consult you... WATSON You could have done worse. GABRIELLE I was on my way here -- and suddenly there were footsteps behind me -- and a hand over my mouth -- and the smell of choloroform -- and the next thing I knew I was in the water -- and then a man was wrapping me in a blanket -- HOLMES Madame Valladon, somebody tried to kill you last night. Do you have any idea who could have done it? 61. GABRIELLE I don't understand any of it. (rises, goes to Holmes) What does it all mean, Mr. Holmes? Where is my husband? You must help me find him. WATSON We'll do our best, I assure you. HOLMES Madame Valladon, I want you to send one more letter to your husband.He crosses to the desk, picks up a sheet of paper and anenvelope, then leads Gabrielle over to the chair with thewriting arm, seats her in it. HOLMES To Emile Valladon -- Ashdown Street -- what was that number? GABRIELLE (addressing envelope) 32. What do you want me to say in the letter? HOLMES Nothing.He folds the blank sheet of paper, and as Gabriellefinishes addressing the envelope, he inserts the paper init, starts to seal it. WATSON You're sending an empty sheet of paper to an empty shop? HOLMES That empty shop is obviously being used as an accomodation address, or letter- drop. But what gets dropped must be picked up. The question is how? -- and by whom? -- and why? DISSOLVE TO: 62.EXT. ASHDOWN STREET - DAYThis is a run-down district in the northwestern part ofLondon. On the corner is No. 32 -- a dilapidatedabandoned shop, with windows painted halfway up.As CAMERA APPROACHES the building, we hear sawing frominside.INT. EMPTY SHOP - DAYIt is dusty, cobwebby, quite forbidding. In the rearwall is a closed sliding door, indented about a foot intothe shop. Nearby stands a large, square object, coveredwith a tarpaulin.High up in the rear wall is a slanted skylight, fittedwith an iron grill. From outside, Holmes, in deerstalkerand Inverness, can be seen sawing through the iron bars.Watson and Gabrielle are beside him. HOLMES Hammer... Chisel.Watson hands him the indicated tools. Holmes chips awaythe cement from the top and bottom of the last bar, thenusing it as a hinge, swings the grill open. He letshimself through the skylight, drops to the floor. Watsonnow helps Gabrielle through the skylight, lowers hertoward Holmes, who puts his arms around her waist, easesher to the floor. For a brief moment he keeps his armsaround her. Watson has now squeezed through theskylight. WATSON Here!He hands the tools to Holmes, jumps to the floor.Gabrielle is looking around the shop. GABRIELLE It's so strange to think I've been writing to a place like this all these months.Watson crosses to the square tarpaulin-covered object.He lifts up one corner of the tarp -- and is greeted by aloud twittering of birds. 63.What he has uncovered is a large cage -- and about ahundred canaries, suddenly disturbed, are flapping aroundunside. WATSON Look at all these canaries. Do you suppose this could have been a pet shop? HOLMES Maybe. (pointing off) Here comes our letter.Through the front window, the silhouette of a postman canbe seen approaching. He drops a letter through the slotin the front door, moves on. The letter lands on asection of floor which is solidly covered with dust --except for a series of double tracks, running to the doorand curving back. HOLMES Now we are faced with the most nerve- wracking part of the detective's job -- doing nothing.He reassembles the three tools, fitting each section intoanother, to form a cane. GABRIELLE Mr. Holmes -- HOLMES Yes? GABRIELLE I don't know how I'm going to pay you for all this. The purse with my money is somewhere at the bottom of the Thames. HOLMES It could be worse. You could be at the bottom of the Thames -- much to your discomfort -- and much to my chagrin. WATSON I don't understand how anybody picks up letters here. (pointing) No footprints -- just tracks. What does it mean? 64. HOLMES I would surmise somebody is using ice- skates -- if it weren't for a conspicuous absence of ice.They become aware of a squeaking noise outside the rearof the shop, growing louder as it gets nearer. The noisestops, there is the sound of a lock turning, then therattle of a chain. WATSON (in a frantic whisper) What do we do now? HOLMES (unfazed) This way.He leads Gabrielle and Watson toward the rear wall, rightnext to the door. They flatten themselves with theirbacks to the wall, just as the door slides open --concealing them from view.Revealed is the mews behind the shop. In the door is anold BIDDY with straggly hair, sitting in a wheelchair.In her lap are a bulky paper bag and a tin pitcher filledwith water. As she wheels herself inside, the unoiledwheelchair squeaks loudly. She stops in front of thecage, pulls on a rope which runs through a pulley in theceiling -- and the tarpaulin rises into the air, exposingthe canaries. WOMAN IN WHEELCHAIR (addressing birds) Good morning, my pretties. Here's Mum with your breakfast. Did you think I'd forgotten you?She pours grain from the paper bag into a feeder hanginginside the cage, pours water from the pitcher into atrough. WOMAN IN WHEELCHAIR Some of you will be going on a little trip soon -- I hate to lose you -- but even an old woman has to live. Although you might well ask, why?She cackles to herself, glances toward the front door. 65. WOMAN IN WHEELCHAIR Oh. You never told me we had a letter.She starts to wheel herself toward the front of the shop.Through a crack in the door behind which our three arehiding, we see Holmes' eye watching her.The old woman reaches the letter, picks it up, studiesthe address. Then she hears something, glances towardthe open rear door.A horse-drawn wagon with a canvas top is just pullinginto the mews. Two CARTERS jump down from the driver'sseat, and one of them takes a small bird-cage from theback of the wagon. As they start in through the door,the old woman drops the letter into her lap, wheelsherself toward them. FIRST CARTER Morning, Duchess. WOMAN IN WHEELCHAIR Morning. SECOND CARTER What have you been doing with yourself? WOMAN IN WHEELCHAIR What do you think? Taking dancing lessons. (she stops in front of the cage) How many do you want this time? FIRST CARTER Two dozen.He opens the door of the small cage, the bottom of whichis covered with newspaper, starts transferring canariesinto it from the large cage. WOMAN IN WHEELCHAIR What are they doing with all those canaries? What's going on up there? SECOND CARTER Look, Duchess, we don't know -- and we don't want to know. 66. FIRST CARTER When you work for Jonah, it's better not to ask questions.Through the crack in the door behind which he is hidden,we see Holmes' eye studying the small bird cage, as thecanaries are being transferred into it.We MOVE IN CLOSE on the small cage, and see the soilednewspaper spread on the bottom. The masthead reads:INVERNESS COURIER. FIRST CARTER (counting as he transfers canaries) ... twenty-two, twenty-three, twenty- four.He closes the doors of the cages, picks up the smallcage. His companion indicates the letter in the woman'slap. SECOND CARTER How about that letter? Does that go, too? WOMAN IN WHEELCHAIR No. That's going to be picked up in person.She chuckles. The carriers exit into the mews, stash thecage in the back of the wagon, mount the driver's seat. WOMAN IN WHEELCHAIR (to birds) All right, my pretties. Back to sleep you go. See you tomorrow.She pulls the rope and the tarpaulin drops back over thecage. Then she deposits the letter on top of the coveredcage, wheels herself out the rear door. As she slides itshut from outside, our trio is revealed in their hidingplaces behind the door. There is the sound of the chainrattling, the lock snapping, and the squeaky wheelsmoving off. WATSON (a sigh of relief) I really thought we were done for. 67. HOLMES (casually) The art of concealment, my dear Watson, is merely a matter of being in the right place at the right time.They step forward, and through the painted shop windowwatch the old woman wheel herself down the street. GABRIELLE Did you hear what she said? You really think Emile is going to pick up the letter himself? HOLMES It certainly would simplify things, wouldn't it? WATSON (shaking his head) Maildrops and canaries and wheelchairs... And what was all that about Jonah? And what do you suppose they're doing up there? And where is up there? HOLMES My guess would be Scotland. Inverness, to be more precise. WATSON Inverness? HOLMES Didn't you notice the paper at the bottom of their cage? The Inverness Courier.Gabrielle glances casually at the letter the old womanleft lying on top of the cage, and her expressionchanges. GABRIELLE Mr. Holmes! This letter -- (she picks it up) HOLMES What about it? GABRIELLE (holding it out to him) It's addressed to you. 68.Holmes takes the letter, examines the envelope. It isindeed addressed to him. HOLMES Nevertheless --With the saw-end of his cane, he slits the envelope open,removes the enclosure, unfolds it. We see the letter inhis hand as he reads it out loud. The letterhead says:DIOGENES CLUB, St. James's, London. HOLMES (reading) My Dear Sherlock: I expect you and Dr. Watson to join me at the club immediately upon reciept of this note. According to my calculations, that should be at 11:40 a.m. Your brother, Mycroft. (looking up) What time do you make it, Watson? WATSON (consulting watch) 11:43. HOLMES Either your watch is wrong, or Mycroft has miscalculated. And knowing Mycroft, I suggest you reset your watch.Watson automatcially obeys. DISSOLVE TO:EXT. DIOGENES CLUB - DAYHolmes, cane in hand, and Watson are swiftly ascendingthe steps of a building with an imposing Palladianfacade. Beside the entrance is a discreet sign reading:DIOGENES CLUB. Members Only. As they reach the top ofthe steps, Watson stops Holmes. WATSON I don't mind telling you I'm a bit apprehensive about this. 69. HOLMES I'm rather curious myself as to what is going on in that Machiavellian mind of his. WATSON I don't mean Mycroft, I mean Madame Valladon. HOLMES Don't worry. She's perfectly safe with Mrs. Hudson.He opens the door and they start in.INT. LOBBY - DIOGENES CLUB - DAYDominating the lobby is a large statue of Queen Victoria.Presiding over the reception desk is a uniformed PORTERof military bearing, with one arm and a chest full ofcampaign ribbons. Holmes and Watson stride in. HOLMES (to porter) To see Mr. Mycroft Holmes. PORTER Right you are. He's expecting you in the upstairs study. Now if you gentlemen will sign in -- (opens leather-bound register, turns it toward them) Surname, Christian name, address, nature of business --He holds out the pen to them, but they are gone. Helooks around in consternation, sees them hurrying up themajestic staircase, steps out from behind his desk. PORTER Gentlemen...!READING ROOM - DIOGENES CLUB - DAYA huge room, with more marble than a mausoleum, and justabout as lively. 70.A dozen elderly Establishment types are sunk deep in theleather armchairs, buried behind their copies of TheTimes. Holmes and Watson are proceeding toward thestudy. Suddenly Holmes stops beside one of the oldfossils, who has fallen asleep in his chair, The Times inhis lap, and between his fingers a lighted cigar with anash four inches long. Holmes picks up an ashtray, holdsit under the cigar -- just in time to catch the fallingash. As he replaces the ashtray, he scrutinizes the ash. HOLMES Jamaican, no doubt -- either Tropical or Golosina -- I'm not quite sure.He and Watson continue toward the study door.INT. STUDY - DIOGENES CLUB - DAYIt is a very elegant room -- shelves of leather-boundvolumes reach to the high ceiling, there are antiqueterrestrial and celestial gloves, scientific instrumentsin polished brass, marble busts of English statesmen.MYCROFT HOLMES is standing at a refectory table, with hisback to the door, engaged in a curious operation. Adusty bottle of wine is held in an ingeniously engineeredcradle. As he turns the crank, the bottle tilts forwardgently, and he decants the wine into three glasseswithout disturbing the sediment.Mycroft is an impressive figure of a man, seven yearsolder than Sherlock, impeccably dressed. Behind hissnobbish airs and bantering manner, one senses tremendousreserves of strength and authority.The door opens, and Holmes and Watson enter. MYCROFT (without turning) Come in, come in, Sherlock -- Dr. Watson... Sit down. (Holmes and Watson seat themselves) You're looking very fit, both of you. WATSON Thank you. 71. HOLMES (putting down hat and cane) And how are you, Mycroft? How's your gout? MYCROFT Under control. Except for the occasional twinge.He brings over two of the glasses of wine to Holmes andWatson. MYCROFT I have a treat for you -- a very old Madeira -- 1814. There are only six bottles left in the world. I have two of them, and am negotiating for a third. WATSON If you don't mind my saying so, anybody who's susceptible to gout shouldn't be --Mycroft has moved back to the table and picked up hisglass of Madeira. MYCROFT The last doctor who warned me about that was crossing Piccadilly, slipped on an orange peel, and was run over by a delivery van from the Fortnum and Mason. Your very good health.He and Watson sip their drinks, but not Holmes. HOLMES Why are you wasting this precious stuff on us? MYCROFT Well, I see you so rarely. How long has it been? Not since the case of the Greek interpreter. (to Watson) Isn't it ridiculous? Two brothers living in the same town... HOLMES In the same town, perhaps -- but not the same world. 72. WATSON (taking another sip)Mmmm. Superb. How old did you say itwas? MYCROFT1814. One year before Waterloo. WATSONOne year before Waterloo? Think of that. MYCROFTYou do know where Waterloo is, don't you,Doctor? WATSONBelgium, isn't it? MYCROFTQuite. (turning to Holmes)And speaking of Belgium, it has come tomy attention that you are interested inthe whereabouts of a certain engineer. HOLMESYes, I am. MYCROFTWell, I can save you a lot of trouble. HOLMESI'd be grateful for any suggestion -- MYCROFTMy suggestion is that you pursue it nofurther. HOLMESAny particular reason? MYCROFTBecause it involves the nationalsecurity. We are handling this matterourselves. WATSONWe? Who's we? 73. HOLMES The Diogenes Club, of course. MYCROFT I didn't say that. HOLMES I have always suspected that there was some underground connection between this stodgy and seemingly calcified establishment and the Foreign Office in Whitehall. MYCROFT That's neither here nor there. HOLMES It seems to me that The Diogenes Club is here, there and everywhere. When there are rumblings of revolt in the Sudan, an expedition subsidized by your club conveniently shows up to study the source of the Nile. When there is trouble along the Indian frontier, some of your fellow members pop up in the Himalayas, alledgedly looking for the Abominable Snowman.A YOUNG MAN in morning coat and striped trousers comesin, holding a telegram. Mycroft crosses to him. MYCROFT (to Watson) What a fertile imagination my brother has. At the age of five, by carefully observing a neighbor's house, he deduced that babies were brought not by the stork, but by the mid-wife in her satchel. WATSON As good an explanation as any.Mycroft has taken the telegram, and is coming forwardwith it. The young man clears his throat. MYCROFT Yes, Wiggins? 74. YOUNG MAN An immediate answer is requested, sir.Mycroft inserts a monocle in his eye, opens the telegram,moves toward the desk reading it. MYCROFT Tell them that the three boxes go to Glennahurich, and the red runner goes to the castle. YOUNG MAN The three boxes to Glennahurich, the red runner to the castle. Very good, sir.He exits. Holmes glances toward the telegram as Mycroftputs it down on his desk. Catching his look, Mycroftturns his telegram face-down, lets the monocle drop fromhis eye. HOLMES Why don't you crumple it up and swallow it -- to make sure. MYCROFT My dear Sherlock, there are certain affairs that do not come within the province of the private detective. They have to be dealt with on an altogether different level. HOLMES In other words, you want me to stay within my limits. MYCROFT I do indeed. HOLMES Speaking of limits, what exactly is Jonah Limited? MYCROFT Sherlock, when I said drop this case, it was not merely a suggestion -- it was an order! HOLMES By whose authority? 75. MYCROFT By the authority of Her Majesty's government. I hope I've made myself clear. WATSON Perfectly.In his nervousness he drops his bowler, which rolls alongthe floor. MYCROFT Now if you'll excuse me, gentlemen -- WATSON Goodbye, sir. HOLMES A pleasure, as always.He and Watson retrieve their hats, move toward the door. MYCROFT (to Holmes) Just a minute. (picks up Holmes' cane) You forgot your tool-kit.He tosses the cane to Holmes, who catches it. DISSOLVE TO:EXT. BAKER STREET - DAYHolmes and Watson are walking toward 221B. Holmes iswhistling 'Loch Lomond.' WATSON You will be gentle, won't you, when you tell her you're dropping the case? HOLMES Watson, what does the word Glennahurich suggest to you? WATSON Absolutely nothing. 76. HOLMES It's Scottish. WATSON Is it? HOLMES And like all Scottish names, it's really a word picture. Glen means valley, na means of the, and Hurich, if memory serves me, means yew tree. WATSON You're just trying to impress me. HOLMES So the three boxes go to the Valley of the Yew Tree.He resumes whistling. They start to cross the street,skirting a parked hansom. Feeding the horse is the samecabbie who fished Gabrielle out of the river, and in thepassenger seat is Von Tirpitz, the craggy-faced Prussianwe saw before. He stares fixedly after Holmes andWatson.Holmes and Watson come up to the door of 221B, and Watsonfishes his key out. Holmes is still whistling. WATSON (singing along) And I'll be in Scotland before ye... (breaks off, looks at Holmes apprehensively) You are dropping the case, aren't you, Holmes? HOLMES Open the door.Watson turns the key in the lock, starts to open thedoor, but is stopped by a chain on the inside. Throughthe opening a revolver appears, aiming at them point-blank. HOLMES Don't shoot, Mrs. Hudson -- you're liable to lose two excellent tenants. 77.INT. DOWNSTAIRS - 221B BAKER STEET - DAYMrs. Hudson withdraws the gun, unhooks the chain. She isalso holding an embroidery hoop. She opens the door, andHolmes and Watson step into the vestibule. MRS. HUDSON Oh, at last. It's been a ghastly experience. WATSON Why? What happened? MRS. HUDSON Did you ever try doing embroidery with a gun in your hand? HOLMES (taking gun from her) You'll be relieved to know it was not loaded.He starts up the stairs, followed by Watson. WATSON Holmes, you didn't answer my question. Are you planning to disobey Mycroft's orders? He's not just your brother, you know. You'd be defying Her Majesty's government...No reaction from Holmes. As they reach the landing,Gabrielle is waiting for them in the open doorway oftheir flat. GABRIELLE Any news? Did you find out anything?INT. LIVING ROOM - 221B BAKER STREET - DAYHolmes and Watson step inside. HOLMES Let's just say I know what the next step will be. 78. GABRIELLE (anxious) Yes? HOLMES I want you to pack your things. GABRIELLE Where are we going? WATSON Holmes, let me caution you ---Holmes has put the gun down, and is crossing to one ofthe book-shelves. HOLMES (to Gabrielle) At 7:30 this evening, Dr. Watson and I are going to take you to Victoria Station, and put you on the boat-train. GABRIELLE The boat-train? WATSON Well, that's better.Holmes has taken a railway guide from the shelf and isconsulting it. GABRIELLE You're sending me back to Brussels? Is that it? WATSON Madame Valladon, you must understand... GABRIELLE (to Holmes, agitated) I came here to find my husband -- you were going to help me -- WATSON Yes, my dear. But circumstances have changed -- GABRIELLE The great detective! Well, maybe this case is too small for you -- 79. WATSON On the contrary. It's being handled at a much higher level -- GABRIELLE Well, I won't go back to Brussels. Maybe you're giving up, but I'm not. (tears welling up in her eyes) I'm going to go on looking for him. And nobody's going to stop me -- even if they try to kill me. HOLMES (looking up from railway guide) Are you quite finished? If you recall, what I said was that we're going to put you on the boat-train -- I didn't say you were going to stay on it. WATSON She's not? HOLMES At 7:30, Mr. Holmes and Dr. Watson will be seen waving goodbye to Madame Valladon at Victoria Station. At eight-twelve, Mr. and Mrs. Ashdown accompanied by their valet John -- (a glance at Watson) -- will appear at Euston Station, and board the Highland Express to Inverness. WATSON Mr. and Mrs.... ? GABRIELLE (moving toward Holmes) Thank you. I'm sorry for what I said. (kisses him on cheek) HOLMES That's not necessary. GABRIELLE (smiling through tears) I'll go and pack.She hurries off toward Watson's room. 80. WATSON (acidly) Maybe I should do it, since I'm the valet.Holmes replaces the railway guide on the shelf. WATSON Holmes, what exactly are you up to? HOLMES As you like to put it in your chronicles, the game is afoot. WATSON But what game? Are you really that interested in the Belgian engineer?Without answering, Holmes heads for his bedroom. WATSON Or the wife of the Belgian engineer?Holmes, by this time in his bedroom, shuts the door.Gabrielle reappears from the other bedroom, carrying aglove. GABRIELLE You don't like me very much, do you?She moves toward the couch. WATSON Nothing of the sort. Quite the opposite... But there's more to this case than meets the eye --By this time Gabrielle has picked up her parasol from thecouch, and is obviously searching about. WATSON Looking for something? GABRIELLE My other glove. WATSON Let me help you. 81.He peers under the couch. Gabrielle moves toward thewindow, shakes the parasol, opens it a few times. WATSON Here it is.He comes up from under the couch with the missing glove. GABRIELLE Thank you.She slowly starts to shut the parasol.EXT. BAKER STREET - DAYThrough the upstairs window of 221B we see Gabrielleshutting the parasol. CAMERA PULLS BACK TO INCLUDE thehansom parked across the street, and von Tirpitzwatching. He signals to the cabbie, who is back on hisperch. The cabbie flicks his whip, and the hansom takesoff down the street. DISSOLVE TO:EXT. COUNTRYSIDE - NIGHTThe Highland Express is speeding northward through themoonlit landscape, its steam whistle hooting mournfully.INT. SLEEPING COMPARTMENT - NIGHTThe upper and lower berths have been made up in thesmall, gaslit compartment. Gabrielle's dress is on ahanger, but there is no sign of her at the moment.Holmes is just pulling a night-shirt over his head. HOLMES All right. You can look now.Gabrielle's head appears from under the covers of thelower berth. GABRIELLE Am I embarrassing you, Mr. Holmes? 82. HOLMES Not at all. Would it surprise you if I told you I once spent the night with 121 women? GABRIELLE Oh? HOLMES On a very interesting case -- in a harem in Constantinople.He starts to climb up the ladder to the upper berth.INT. THIRD CLASS CARRIAGE - NIGHTThere is the normal complement of passengers, men, womenand children, of the middle and lower classes. The onlyunusual occupants are a group of seven MONKS, in brownhabits and cowls.Watson, in valet's livery, comes down the aisle, proceedstoward a window-seat where he has left his umbrella andbowler. The resf of the bench is occupied by monks, asis the facing bench. As Watson tries to squeeze betweenthem, he steps on the foot of one of the monks. WATSON Sorry, father -- I mean, friar -- or is it abbot?There is no answer from the monk. Watson picks up hisbowler, settles himself in his seat, starts to fanhimself with his hat. He turns sociably to the monkbeside him, who is absorbed in his Bible. WATSON Going to Scotland, you gentlemen? So are we...As he fans himself the ear-pieces of his stethoscope,which is coiled inside the crown of his bowler, dangledown. He quickly shoves them back inside. WATSON I'm a valet. My master and mistress and I are our way to Inverness. Ever been there? Beautiful country. 83.The monk looks up from his Bible, points to his lips,shakes his head. WATSON Oh, forgive me. You must be one of those orders that's taken the vow of silence. Trappists, I believe you're called.The monk doesn't answer. Watson turns away, looks outthe window -- but there's nothing to be seen. Then hefolds, bored. He glances casually at the Bible in themonk's hands.The Good Book is opened to a page headed: JONAH. WATSON I see you're reading the book of Jonah. Funny - we were just talking about Johan this morning... (realizes the hopelessness of the conversation, breaks off) Never mind.He pulls down the shade, closes his eyes, tries tocompose himself into sleep.INT. SLEEPING COMPARTMENT - NIGHTHolmes is stretched out in the upper berth, which is indarkness. In the lower, Gabrielle is propped up againsta pillow, reading a magazine by the light of a gas lamp.Other magazines are scattered across her blanket. GABRIELLE Women are never to be trusted entirely -- not the best of them.Holmes raises himself on his elbow, glances down over theedge of his berth. HOLMES What did you say? GABRIELLE I didn't say it -- you did. According to Dr. Watson. 84. HOLMESOh. GABRIELLEHe gave me some back issues of StrandMagazine. HOLMESThe good doctor is constantly puttingwords into my mouth. GABRIELLEThen you deny it? HOLMESNot at all. I am not a whole-heartedadmirer of womankind. GABRIELLEI'm not very fond of them myself. HOLMESThe most affectionate woman I ever knewwas a murderess. GABRIELLEOh? HOLMESIt was one of those passionate affairs --at odd hours -- right in my laboratory.And all the time, behind my back, she wasstealing cyanide to sprinkle on herhusband's steak and kidney pie. GABRIELLEYou mustn't judge all women by -- HOLMESOf course not. Only the ones I wasinvolved with. And I don't just meanprofessionally -- kleptomaniacs,nymphomaniacs, pyromaniacs. Take myfiancee, for instance -- GABRIELLEYour fiancee? 85. HOLMES She was the daughter of my violin teacher -- we were engaged to be married -- the invitations were out, I was being fitted for a tail-coat -- and twenty-four hours before the wedding, she died of influenza. GABRIELLE I'm sorry. HOLMES It just proves my contention that women are unreliable and not to be trusted. (a beat) Good night, Mrs. Ashdown.He pulls the curtain across his berth. GABRIELLE Good night, Mr. Ashdown.She closes her curtain, as the train whistle sounds.INT. THIRD CLASS CARRIAGE - NIGHTMost of the passengers in the car have fallen asleep, invarious uncomfortable positions, including Watson. Themonk beside Watson looks at him, to make sure he's out,then rises and moves toward a monk seated apart from theothers. MONK (in a whisper) Die Spur fuehrt nach Inverness. Die steigen dort aus. Dort muessen wir ihn finded -- den Valladon!The other monk looks up. Under the cowl we recognize theface of von Tirpitz. DISSOLVE TO: 86.EXT. INVERNESS STATION - DAYThe Highland Express is pulling out of the station. Asthe last car disappears, and the steam clears from thetracks, we see Holmes, Gabrielle and Watson on theplatform. A BAGGAGEMAN is loading their luggage on ahand-cart, under Watson's supervision. WATSON Let's see -- two, three, four --Gabrielle removes her parasol, which has been insertedunder the straps of her suitcase. GABRIELLE I'll take that. HOLMES (to baggageman) How do you get to Glennahurich? How far is it? BAGGAGEMAN Glennahurich? WATSON You know -- a valley -- with a yew tree... ?Gabrielle casually opens her parasol. BAGGAGEMAN It's about a mile out of town. (a beat) Why would you be wanting to go there? WATSON Well, if it's got a view, it might be a nice place for a picnic. BAGGAGEMAN It's got a view, right enough -- but it's no place for a picnic. HOLMES Why not? BAGGAGEMAN Because it's a cemetary. 87.Gabrielle looks at Holmes. CAMERA PANS UP TOWARD an ironfootbridge, spanning the railway tracks. Moving acrossit in single file are the seven cowled Trappist monks,with von Tirpitz in the lead. DISSOLVE TO:EXT. GLENNAHURICH CEMETARY - DAYUnder a leaden sky, the yew trees which give the placeits name brood over ancient gravestones.Holmes, Gabrielle and Watson come down an overgrown path,stop and look off.A rather meagre funeral procession is moving along theavenue which runs between the rows of graves. Itconsists of one normal-size pine coffin and two smallerones, loaded on a cart which is being wheeled by a coupleof workmen. Bringing up behind is a MINISTER, with anopen prayer book in his hands. WATSON (a note of excitement) The three boxes. Is that it, Holmes? HOLMES I would think so. GABRIELLE The two small ones -- they must be children's coffins.Holmes starts to cut across between the graves, Gabrielleand Watson following.At the grave-site, the workmen are removing the coffinsfrom the cart. There is one large grave, two smallerones. A couple of grave-diggers stand by respectfully,caps in hands.Holmes, Gabrielle and Watson come up behind a nearbyheadstone, stop and watch.At the grave-site, the minister is finishing the service. MINISTER ... earth to earth, ashes to ashes, dust to dust. 88. In sure and certain hope of the resurrection to eternal life through our Lord, Jesus Christ. Amen.The workmen trundle the cart off, the minister following.The grave-diggers don their caps, pick up their shovels.From their vantage point, Holmes, Gabrielle and Watsonare watching. GABRIELLE It's so sad. HOLMES Sad -- and rather odd. There are no flowers -- and no mourners.The grave-diggers have finished filling in the graveswhen Holmes, Gabrielle and Watson come up. HOLMES Morning. GRAVE-DIGGER (looking up) Morning. HOLMES Working you hard, Dad? GRAVE-DIGGER Not really. This is healthy country. Sometimes you sit around for weeks with nothing to do. Then you get three in one day. HOLMES What happened? GRAVE-DIGGER An accident. Aye. Father and two sons, they say -- they were found floating in the loch. HOLMES Local people? GRAVE-DIGGER No. Nobody around here knows them. The story is that their boat capsized in a swell -- but I don't believe it. 89. HOLMES What do you believe? GRAVE-DIGGER You may think I'm an old fool or an old drunk -- but I've living around Loch Ness all my life... WATSON Are you trying to tell us it was the monster? GRAVE-DIGGER Damn right. MacLarnin saw the kids' faces when they were pulled out of the water -- looked like old men -- must've died of fright. WATSON Incredible. GRAVE-DIGGER Is it? Last Easter Sunday my wife and me, we were on our way to services, when suddenly... But what's the use?He picks up a white-washed wooden cross, plants it at thehead of the grave. The other grave-digger has insertedsmaller crosses into the other two mounds of earth. HOLMES (taking some coins out of his pocket) Here you are, Dad. (hands them to the grave- digger) GRAVE-DIGGER Thank you... You look like nice people. If you're wanting a holiday in Scotland, go to Loch Lomond, go to Holy Loch -- but stay away from Loch Ness.He and his partner shoulder their shovels, move off. WATSON (snorting) To think that people still believe in that nonsense. Here we are, living in the Nineteenth Century -- 90. GABRIELLE I'm ashamed to admit it -- but I was relieved when he mentioned a father and two boys. It could possibly have anything to do with Emile. HOLMES It would appear not. WATSON However, there still remains the clue of the castle and the red runner -- wherever it may be.They are about to get under way when suddenly Holmesstops them.Coming down the avenue toward them are four small boys,in knickerbockers and caps, carrying bouquets of flowers.Without a word, Holmes draws Gabrielle and Watson back totheir hiding place, behind the headstone.The four boys approach the freshly-filled graves. Theyremove their caps, lay their flowers on each of the twosmall graves, then kneel down and bow their heads inprayer.From their position behind the headstone, Holmes, Watsonand Gabrielle are watching the four boys, who have theirbacks to them. WATSON If they're unidentified graves, why are those boys bringing flowers? HOLMES Because it's their brothers who have just been buried. WATSON Their brothers? HOLMES And they're not boys. They're as tall as they'll ever grow. Hand me some pebbles, will you? WATSON Pebbles. 91.He picks some up from the ground, hands them to Holmes,who tosses them in the direction of the graves. Thepebbles strike a granite cross. At the sound, the fourboys simultaneously turn their heads over theirshoulders. Despite their slight bodies they have thefeatures of mature men.Gabrielle and Watson react to the sight. GABRIELLE They are -- how do you say it in English? -- nains. WATSON Midgets. HOLMES (nodding) Boys with the faces of old men... WATSON I still don't see -- HOLMES Would it help if I told you they were acrobats? WATSON Not at all. HOLMES Do you remember a tumbling act -- six brothers -- missing from the circus? WATSON Oh, yes -- that case you turned down -- I completely forgot. HOLMES Some of us are cursed with memories like flypaper. And stuck there is a staggering of miscellaneous date, mostly useless.The four midgets have now risen, and putting on theircaps, move off down the avenue. Holmes, Gabrielle andWatson emerge from their place of concealment. 92. GABRIELLE (worriedly) Mr. Holmes, is those are not children, then -- ? HOLMES Quite. The question now is -- who's in the third grave? CUT TO:EXT. GLENNAHURICH CEMETARY - NIGHTThe point of a crowbar digs under the edge of a coffinlid, which starts to give with a squealing protest ofnails. CAMERA PULLS BACK TO REVEAL Holmes, standing inthe large grave, from which the earth has been removed.Kneeling beside the grave, watching anxiously, areGabrielle and Watson, the latter holding a bullseyelantern.Holmes pries the lid open, disclosing the corpse of amiddle-aged man. His arms are folded across his chest,and on the third finger of his left hand is a weddingring similar to Gabrielle's. From the picture of him wehave seen earlier, we recognize the face as that of EmileValladon.Gabrielle lets out a piercing scream, collapses in afaint. Watson catches her. WATSON Holmes! She's fainted. HOLMES (preoccupied) Hand me that lantern.Watson passes down the lantern, and Holmes slowly shinesthe beam along the length of the coffin. WATSON It is Valladon, isn't it? HOLMES Obviously. What is not so obvious is why his wedding ring has turned green -- 93.The lantern beam now reveals that laid out at Valladon'sfeet are three canaries -- their plumage bleached a grey-white color. HOLMES -- and why there are three dead canaries in the coffin. White canaries. DISSOLVE TO:EXT. CALEDONIAN HOTEL - DAWNAn open carriage is proceeding along the driveway towardthe hotel, scatting a flock of sheep grazing nearby.Watson is sitting beside the coachman. Holmes andGabrielle are in the passenger seat, their luggage isstrapped to the back. Through the trees which line theroad we glimpse Loch Ness, which is partly obscured by alow-lying mist.The carriage pulls up in front of the hotel, which isidentified by a sign above the entrance, and Holmes,Watson and Gabrielle get out.CLOSE SHOT - HOTEL REGISTERHolmes' hand is writing: Mr. And Mrs. Ashdown and valet,London.INT. HOTEL ROOM - DAWNThe MANAGER, in kilts, is just opening the curtains --disclosing a view of the mist-shrouded lake through thewindow.The room is on the second floor, and is furnished in astyle which has been described as Scotch Baronial -- twinbeds with a night-table between them, wardrobe,chiffonier, desk, a couple of chairs, and several mountedstags' heads.Holmes and Gabrielle are in the room, Watson is bringingtheir bags through the door. 94. MANAGER You have a lovely view of the loch from here -- as soon as the morning mist rolls away. (crosses to desk, picks up guide book) If you've a mind to do any sight-seeing, here's a guide to the local points of interest. HOLMES Thank you.The manager starts toward the door, nodding to Watson. MANAGER This way, please. I will show you to your room.Watson picks up his suitcase, follows him.INT. HOTEL CORRIDOR - DAYThe manager and Watson come out, the latter shutting thedoor. WATSON I suppose you're putting me in the basement. MANAGER No, your room is in the attic. WATSON Good. MANAGER It's the privy that's in the basement.Watson grunts as the manager leads him up a narrow flightof stairs.INT. HOTEL ROOM - DAYHolmes removes his coat, turns to Gabrielle. HOLMES May I have your wedding ring, please? 95.Gabrielle tearfully removes her ring, hands it to Holmes.From his vest pocket he now produces Valladon's ring --the copper has a greenish tinge to it. He crosses to thewindow, compares the two rings in the light. Gabriellesinks down on the edge of one of the beds. HOLMES Just as I thought. There is a distinct difference in color between your ring and your husband's. (a sob from Gabrielle) Which leads me to believe that the cause of death was not drowning... (Gabrielle is now crying) I wish you would stop that. (crossing to her) Stop it! GABRIELLE I'm sorry. HOLMES I know it's not easy. But you must remember that we're that nice couple from London, on Holiday in the Highlands. GABRIELLE (a final sniffle) I'll try. HOLMES That's much better. GABRIELLE Thank you.She manages a tentative smile. Holmes looks at her for along moment, then -- HOLMES (gruffly) Now, if I may proceed without further interruptions -- WATSON'S VOICE (from off) Mr. Ashdown! 96.INT. HOTEL CORRIDOR - DAYWatson comes dashing down the narrow stairs from theattic, races toward teh door of Holmes' room. WATSON Mr. Ashdown!He flings the door open.INT. HOTEL ROOM - DAYWatson bursts in breathlessly. WATSON Holmes! I saw it! I saw it from the attic! It's out there in the lake! HOLMES You saw what? WATSON (looking around desperately) The telescope. Where's the telescope? HOLMES What did you see? WATSON The monster! HOLMES The monster?Watson fishes a small telescope out of Holmes' suitcase,rushes through the open French window to the balcony.EXT. BALCONY - DAYWatson focuses the telescope on the lake.LOCH NESS THROUGH TELESCOPE - DAYThrough the swirling mist which clings to the surface ofthe lake, a shadowy figure with a long, monster-like neckcan be see gliding along. 97.EXT. BALCONY - DAYWatson almost drops the telescope in excitement. WATSON There it is! There it is!Holmes joins him on the balcony. WATSON Look for yourself.He hands the telescope to Holmes. Gabrielle comes up tothe window behind them. Holmes trains the telescope onthe lake. WATSON See it? See it?LOCH NESS - THROUGH TELESCOPE - DAYHolmes' eye slowly scans the lake, but there is no signof Watson's monster -- just the rolling mist.EXT. BALCONY - DAYHolmes lowers the telescope. HOLMES I see nothing. WATSON Nothing?He grabs the telescope from Holmes, looks toward thelake. WATSON It's gone. HOLMES Gone? Maybe it was never there. WATSON I swear to you -- I saw it -- clear as anything -- 98. HOLMES Watson, as you so succinctly put it, we are living in the Nineteenth Century --He steps back into the room.INT. HOTEL ROOM - DAYWatson comes halfway through the French window. WATSON Maybe that grave-digger was right -- the swell, and the boat overturning -- HOLMES Monsieur Valladon may have been found in the lake -- but he did not drown. He died of asphyxiation. GABRIELLE Asphyxiation. HOLMES (holding up wedding rings) There is only one substance that can turn a copper ring green and bleach the color out of canaries -- chlorine gas. WATSON That may be. But the fact remains that I saw something out there. HOLMES A figment of your imagination. Now let us be logical. The only concrete lead we have is the reference to the castle -- (picks up guide book from desk, opens it to map) The question is, which castle? WATSON You call yourself logical? You're the least logical man I know. HOLMES Am I? 99. WATSON How can you say it's a figment of my imagination, when for years you've been saying I have no imagination whatsoever!He looks at Holmes almost triumphantly. CUT TO:SERIES OF SHOTS - DAYHolmes, Gabrielle, and Watson bicycling away from thehotel. Holmes, in knickerbockers and a Norfolk jacket,and Gabrielle, holding her parasol, are on a tandem.Watson is behind them, on a bicycle with a picnic basketattached to the rack. He is in his valet's outfit, withmetal clips around his trouser cuffs.The three of them bicycling past a long stone wall.They pedal up to an imposing castle. Holmes dismounts,knocks on the front door.Our trio bicycling through a copse of trees.They approach another castle.On a steep road, they ride through a flock of sheep.They are proceeding along a causeway, away from a thirdcastle. CUT TO:EXT. LAKE SHORE - DAYHolmes and Gabrielle are sitting on a blanket, thecontents of the picnic basket spread before them, havinglunch. Watson is pouring the wine. Their bicycles areresting nearby. WATSON We have so far investigated eight drafty castles -- had our bicycles attacked by sheep and our ears assaulted by bagpipes -- and we are exactly where we started. 100. HOLMES (to Gabrielle) Would you like some cranberry sauce, dear? GABRIELLE Yes, dear. HOLMES Would you pass the cranberry sauce, please, John? WATSON Yes, dear.As he does so, he catches sight of something o.s. WATSON (calling) I say there. Good afternoon. Remember me?On the road above, approaching a bridge which spans thelake where it narrows into a stream, are the sevenTrappist monks, walking slowly in single file.Watson waves to them, but the monks pay no attention tohim. WATSON (to Holmes) Some chaps I met on the train. We had a long conversation -- or rather, I had a long conversation -- because they're not allowed to talk -- Trappists, you know. Just study their Bibles. You'll never guess what the one next to me was reading -- the Book of Jonah -- isn't that odd? HOLMES (looking after the monks) Quite.As he turns back, he notices that Gabrielle ismanipulating her parasol in the air. HOLMES What is it, dear? What's the matter? 101. GABRIELLE A bee.She continues to work the parasol, alternately opening itand partially closing it.On the bridge von Tirpitz, who is at the rear of the fileof monks, glances back toward the lakeshore. DISSOLVE TO:EXT. URQUHART CASTLE - DAYOn a promontory jutting into Loch Ness stand the remainsof a medieval fortress. Around the Tower, the Motte, andthe ruins of the East wall, wooden scaffolding has beenerected, and a couple of dozen men are engaged in whatappears to be repair work. Amidst the rubble of theNether Bailey, an encampment of tents has been set up.Holmes, Gabrielle and Watson come bicycling up along afence on the heights overlooking the castle, dismount infront of the locked gates. Attached to the gatepost is asign reading: WARNING: No Unauthorized Person PermittedBeyond This Point. WATSON Well, I don't think we have to bother with this castle. It's just a pile of rubble. GABRIELLE Then why are they taking precautions?She points to the sign -- and to a guard coming up thedriveway, with a couple of huge mastiffs on leashes. HOLMES Why, indeed? (turning the tandem around) Let's go. WATSON Go where? HOLMES When rebuffed at the front door, one's only choice is to try the tradesmen's entrance. 102.They move off. DISSOLVE TO:EXT. URQUHART CASTLE - DAYHolmes, Gabrielle and Watson are coming up a path fromthe lakeside, leading their bicycles. They lean thecycles against a ruined wall, start across the courtyard.A middle-aged MAN in kilts emerges from the tumbled-downgatehouse, comes toward them. GUIDE Sorry. No visitors allowed. HOLMES Are you the guide here? GUIDE Yes. The castle is closed to the public while work is going on. HOLMES What are they doing? GUIDE It's being restored by the Society for the Preservation of Scottish Monuments. HOLMES Too bad. I particularly wanted my wife to see Urquhart Castle. The tower is one of the most interesting examples of -- about 1400, wasn't it? GUIDE That's right. HOLMES Let me see -- was it built under James the Second or James the Third? GUIDE The Thrid... If you come back next year, we'll be all done here, and I'll be glad to show you around. HOLMES Thank you. 103.As the three of them move off, a canvas-topped wagoncomes through the stone archway, stops at the front ofthe steps leading to the inner courtyard. WATSON Pleasant sort, isn't he? HOLMES Pleasant, but ignorant. He was off one hundred years and one James. (taps guide-book in his pocket) It's actually 1500 and James the Fourth. GABRIELLE If he's an official guide, shouldn't he know... ? HOLMES If he's an official guide.They have now reached the wall against which they lefttheir bicycles. Suddenly Holmes stops, attracted by thesound of birds chirping. HOLMES Listen... Do you hear anything, Watson? WATSON (concentrating) No. Those birds are making too much of a racket. HOLMES (looking off) They're not just birds -- they're our old friends.Watson and Gabrielle follow his gaze.From the back of the wagon, the carriers have removed thesmall bird-cage we saw in the mail-drop on AshdownStreet. They hand it to a workman, who starts up thesteps with it. To another couple of workmen they passdown an open-sided crate in which rest two heavy glassbottles protected by wicker. Stencilled on the woodenslate of the crate are the words: SULPHURIC ACID -CORROSIVE. 104.Holmes is watching thoughtfully, Gabrielle and Watson arepuzzled. WATSON Sulphuric acid? GABRIELLE The more we find out the less sense it makes. HOLMES To a graduate chemist it makes a great deal of sense. Sulphuric acid, when exposed to salt-water, produces chlorine gas. (a beat) Would you mind clasping your hands, Watson? WATSON (obeying) Like this? HOLMES A little lower... Thank you.Watson has lowered his clasped hands, and Holmes usesthem as a foothold to go scrambling up the scaffolding ofthe nearby wall. Reaching the top, he looks off in thedirection of the tower.The workman carrying the canary cage, and the twocarrying the crate of sulphuric acid are approaching thetower. A draw-bridge comes down, and the three men crossthe moat and enter the tower. HOLMES (looking off) That tower may be more interesting than I thought -- and not just architecturally.Out of the ruined gatehouse comes the guard with the twomastiffs on leashes. The dogs start to snarl viciously. WATSON Holmes, I have a feeling we're redundant here. 105.Holmes leaps down from the scaffolding, wheels the tandemaround, starts back in the direction from which theycame. Gabrielle follows. Watson hurries after them withhis bicycle, casting anxious glances over his shoulder asthe dogs continue barking. DISSOLVE TO:EXT. LOCH NESS - EARLY EVENINGThe sun has just gone down behind the hills, but there isstill light in the sky. An ominous mist is beginning tosettle on the water.Gabrielle is sitting in the stern of a rowboat, herparasol in her lap. She is wearing Holmes' Norfolkjacket over her dress to ward off the chill.On the rowing seat, facing her, are Watson and Holmes,the latter in his waistcoat. Their oars are pulled in,and they are watching Urquhart Castle, on the oppositeside of the lake. WATSON We have now observed the castle from the front, from the back, from the side, from land, from water... what now? Are you planning to spend the night out here? HOLMES If necessary. WATSON You're going to catch your death of cold. (to Gabrielle) Wouldn't it be ironic if Holmes' last case were a case of pneumonia? (with an embarrassed chuckle) Sorry.Gabrielle glances past them, and her eyes widen. GABRIELLE (pointing off) What's that?Holmes and Watson turn their heads. 106.About half a mile away, moving in and out of patches ofdrifting mist, is Watson's monster, its long reptillianneck cutting through the water.Watson leaps to his feet. WATSON Holmes!Holmes grabs his arm, pulls him back into his seat. HOLMES Quick, Watson. After it!He grabs his oar, and Watson belatedly joins in. Theystrain at the oars, setting a course which will interceptthe monster. Gabrielle leans forward in her seat, tryingto peer past them through the curtains of mist.The monster is much closer now -- no more than a quarterof a mile away.Suddenly Watson stops rowing. WATSON Holmes, what are we doing? We should be going away from it. HOLMES Keep rowing, dammit!Watson resumes pulling on his oar. As they row, Holmeslooks over his shoulder.The monster has started to submerge. Its head disappearsbeneath the surface of the water, and the wake it leavesbehind soon trails off into the mist.Holmes ships his oar. HOLMES We've lost it. WATSON (stops rowing) At least you admit there's an it, not just a figment of my imagination. HOLMES Quiet. 107.He listens intently. There is only the sound of waterslapping against the side of the boat. The mist isheavier now, and billowing around them. HOLMES (to Watson) Do you have your stethoscope with you? WATSON Never without it.He removes his bowler, unwinds the stethoscope from theinside the crown, hands it to Holmes. Holmes plugs inthe ear-pieces, leans over the side of the boat, extendsthe other end of the stethoscope to the surface of thewater. WATSON What is it? HOLMES I can hear something...We become aware of the faint beating of engines,accompanied by a bubbling sound. HOLMES It's getting closer -- closer --Suddenly the surface of the water breaks, about twentyyards away from them, and the head and neck of themonster rear up from the depths. Watson is first tonotice it and jumps to his feet, making choking noises.Gabrielle sees it and screams. Watson grabs an oar,throws it at the monster as it comes past. The backwashhits the boat broadside, rocking it, and Holmes, Watsonand Gabrielle are spilled into the lake.The monster moves away from them, heading in the generaldirection of the castle. It disappears into the mist.Holmes is the first to come up, looks around, seesGabrielle surfacing a few yards away, swims to her. HOLMES Are you all right? GABRIELLE I lost my parasol. 108. HOLMES Where's Watson?He glances around, sees Watson's bowler floating nearby,swims over to it. HOLMES Watson?He lifts the hat -- but Watson isn't under it.As Gabrielle hoists herself into the boat, Watsonclambers over the other side. After a moment Holmesjoins them, and they sit there, sopping wet and breathingheavily. WATSON I have come face to face with man-eating tigers -- I was once caught in a stampede of wild elephants -- India, you know -- but I wasn't half as frightened. This beast seems to have a personal grudge against us. GABRIELLE I just hope it doesn't come back. HOLMES I don't think it will. (pointing off) Look!They glance in the indicated direction.There is no sign of the monster. But the mist hasmomentarily lifted to reveal the castle, and an odd sightgreets their eyes -- the wooden scaffolding in front ofthe tower is slowly rising into the air. WATSON (amazed) What strange goings-on. HOLMES Not really. My guess is that the monster, after a hard day's work, has returned home for his supper. 109.The scaffolding in front of the tower slowly descendsback into the place, as mist once more engulfs thecastle. DISSOLVE TO:INT. HOTEL ROOM - NIGHTHolmes, in a different suit of clothes, is pacing acrossthe room, whistling the main theme from "Swan Lake." Hestops before the open French window, gazes out toward thelake. Gabrielle is propped up in bed, a blanket drawn upto her chin, watching him. Watson, who has changed intoa pair of kilts, is standing in front of the fireplace,warming his backside.Gabrielle glances at Watson, suppresses a giggle. WATSON Yes, I know. But would you believe that you can't borrow a decent pair of trousers in this place?Holmes resumes pacing, and Watson becomes aware of hiswhistling. WATSON Would you like to confide in us?No answer from Holmes. Watson turns to Gabrielle. WATSON Whenever he starts whistling, I know he's getting close to a solution. HOLMES It's nothing new, actually. We've come across this situation before. WATSON We have? Where? HOLMES At the ballet. WATSON Ballet? 110. HOLMESThere's a lake -- and there's a castle --and there's a swan that isn't really aswan -- or, in this case, a monster thatisn't really a monster -- WATSONThen what is it? HOLMESWhat is it indeed that feeds on canarybirds and sulphuric acid, and has anengine for a heart? GABRIELLEAn engine? HOLMESThe stethoscope is a very sensitiveinstrument, and water is an excellentconductor of sound. There is no doubtthat what we are dealing with is amechanical monster. WATSONOh? HOLMESNot only is it equipped with anartificial heart, it also has artificiallungs. Judging from the bubbles on thesurface of the lake, it uses some form ofair pump. GABRIELLEYou think my husband was involved in allthis? HOLMESYes, Madame Valladon. I'm sure of it. WATSONBut why would anybody build a mechanicalmonster? Just to scare people? HOLMESNot very likely. 111. GABRIELLE Why did they try to keep me from finding my husband? And why was he buried anonymously? HOLMES I think I have a pretty good notion of what they're up to -- the Society for the Preservation of Scottish Monuments -- better known as the Diogenes Club. WATSON The Diogenes Club?There is a knock on the door. HOLMES Come in.The door opens and the hotel manager enters, holding amagnum of champagne. MANAGER Mr. Ashdown, I have a bottle of champagne for you. HOLMES (crossing to him) A bottle of champagne? I didn't order it. MANAGER No, indeed. You are to deliver it. These are my instructions.He hands the magnum to Holmes. HOLMES Instructions from whom? Deliver it where? MANAGER I wouldn't know, sir. But there's a carriage waiting for you downstairs. HOLMES Are you sure you have the right Mr. Ashdown? 112. MANAGER (flatly) Quite sure, Mr. Holmes.He turns and exits. Holmes taps the bottle of champagnethoughtfully. HOLMES Well, Watson, I would say the curtain is going up on the last act. WATSON I don't like the sound of it. GABRIELLE Please be careful.As Holmes starts toward the door, Watson reaches into hissporran. WATSON You'd better take this with you.He produces a revolver, holds it out to Holmes. Holmesignores it, exits.EXT. CALEDONIAN HOTEL - NIGHTA gig is waiting in front of the entrance, and leaningagainst it is the guide we saw earlier at Urquhart.Holmes comes out, carrying the champagne bottle. HOLMES Who's minding the castle? GUIDE You'd better get on. It's late.Holmes climbs into the gig, and the guide moutns the seatbeside him. HOLMES Where are we going? Some sort of party? GUIDE You won't be disappointed in the guest list. 113. HOLMES Who's the host? GUIDE Jonah.He flicks the reins. The horse starts off at a trot, andthe gig turns into the driveway.EXT. MOVING GIG - NIGHTAs they drive along, Holmes glances at the guide, who isgrim and uncommunicative. DISSOLVE TO:EXT. ROAD LEADING TO CASTLE - NIGHTThe gig, with its two passengers, proceeds along thelakeshore, approaching the entrance to Urquhart.EXT. URQUHART CASTLE - NIGHTA workman is lighting a couple of torches attached to theruined gatehouse when the gig comes through the archway.The guide reins up the horse in front of the stepsleading to the inner courtyard -- which are now coveredwith a narrow red carpet.The guide nods to Holmes, who dismounts, starts up thesteps, examining the red carpet. As he reaches the top,he looks off.The strip of red carpet runs across the courtyard, lit bytorches planted in the ground. A couple of workmen areare unrolling the rest of the carpet toward the entranceof the tower.As Holmes passes one of the tents, the flap opens andMycroft steps out, dressed in his inevitable frock coat. MYCROFT Mr. Ashdown, I presume. HOLMES (turning) The red runner, I presume. 114. (indicates carpet) You shouldn't have gone to all this trouble just for me. MYCROFT It's not for you. (calling into tent) McKeller. (to Holmes) May I have the champagne, please? HOLMES (handing him bottle) 1886 -- not a very good vintage, is it? MYCROFT Mediocre. But then again, it's not for drinking.A black-suited MAN emerges from the ten, and Mycroftgives him the champagne. MYCROFT Tie it up, will you?The man moves off toward the tower. Mycroft pulls backthe flap of the tent. MYCROFT In here.Holmes passes inside, Mycroft following.INT. TENT - NIGHTIt is lit by a kerosene lamp suspended from the ridge-pole. There are several cots, one of them with thebedding rolled up. Resting on the stripped cot is atrunk with the name E. VALLADON painted on it. Lying ona table, among a group of engineering models, areGabrielle's parasol and Watson's stethoscope. There arealso a couple of drafting tables, with plans andblueprints tacked to them.Holmes moves around the tent, taking all this in. HOLMES Interesting -- and educational. 115. MYCROFTDespite my most emphatic warning, youpersisted in meddling. It would haveserved you right if you'd all drowned. HOLMESSorry to be so unobliging. (stops beside torch)E. Valladon... H'mm. MYCROFT (indicating parasol and stethoscope)I imagine this belongs to the prettylady, and this belongs to your valet...We found them floating in the lake. HOLMESSpeaking about things floating in thelake -- MYCROFTHow much do you know -- or think youknow? HOLMESI think you're testing some sort ofunderwater craft -- camouflauged tomislead the gullible. I think it's anexperimental model, operated by a crew ofmidgets. I think it is powered bysulphuric acid batteries, and usescanaries to detect escaping gas...Altogether a strange contraption. MYCROFTNot quite that unique. Right now, fourcountries are trying to develop what wecall a submersible. But none of themcould solve the critical problem -- howto stay submerged long enough to make iteffective. HOLMESWhat does the Good Book say? "And Jonahlived in the belly of that fish for threedays and three nights." 116. MYCROFTThat was our goal. And thanks toValladon's air-pump, we got a jump on therest of them. It's a highly complexsystem of filtration -- so we had aseries of trials -- HOLMESAnd at least one error. MYCROFTDuring a test run in Moray Firth,pressure caused a leak in the hull. Seawater mixed with the acid in thebatteries to produce chlorine gas.Before they could reach the surface,Valladon and the crew were dead. HOLMESSo you had them buried in unmarkedgraves, to preserve your secret. MYCROFTIt was essential to keep the informationfrom your client. HOLMESYou went to all those lengths to preventMadame Valladon from fiding her husband? MYCROFTYour client isn't Madame Valladon -- it'sthe Imperial German Government. Theywere after the Belgian engineer -- orrather, his invention. They knew he wasemployed by us, but they couldn't findout where -- so they enlisted the bestbrain in England to help them. You, mydear brother, have been working for theWilhelmstrasse. HOLMESAnd Madame Valladon -- what part did sheplay in all this? MYCROFTMadame Valladon is dead. HOLMESDead? 117.Mycroft crosses to the trunk, opens the lid. MYCROFT The Germans disposed of her three weeks ago, in Brussels. This is Gabrielle Valladon.He hands Holmes a small, framed photograph. Holmes looksat it with apprehension, as well he should: the pictureis of a somewhat matronly woman, not the glamorousGabrielle. Holmes lowers the photograph. Behind it,Mycroft is glaring at him with customary arrogance. MYCROFT The woman who was brought to your house in the middle of the night -- apparently fished out of the Thames -- and apparently suffering from amnesia -- is, in fact, Ilse von Hoffmanstal, one of their most skillful agents. Am I going too fast for one of the "best brains in England?" HOLMES Go on.As Mycroft continues, Holmes picks up Ilse's water-soakedparasol and examines it. MYCROFT They planted her on you quite neatly, I must admit, so that you could lead them to their objective, the air pump. Very much like using a hog to find truffles. And now perhaps you'd care to join me. I am expecting a certain royal personage from Balmoral.EXT. CASTLE - NIGHTA coach and escort approach the castle. Painted on thedoor of the coach are the initials "V.R."INT. CASTLE COURTYARDThe entourage enters the castle courtyard and stops.Footmen open the door and bow to the lone passenger. 118.Waiting on top of the steps, outside the tent, areMycroft and Holmes. Lined up on the other side of thetorch-lit red carpet are half a dozen scientists, intheir best clothes.Out of the coach steps a familiar figure -- Her Majesty,QUEEN VICTORIA, Defender of the Faith, Empress of India.She is 69 years old, and dressed entirely in black.Mycroft comes down the carpeted steps to meet her. MYCROFT Your Majesty.He bows. The Queen extends her hand to him, and hetouches it. MYCROFT I trust you had a pleasant journey, Ma'am. QUEEN VICTORIA It was long and it was tedious. And it had better be worth our while, Mr. Holmes. MYCROFT I can assure you, Ma'am, it will be.A lady-in-waiting and a uniformed equerry have nowdescended from the coach. Mycroft leads the party up thesteps. QUEEN VICTORIA Now what is this curious ship we are supposed to christen? MYCROFT We call it a submersible, Ma'am. It travels under water. QUEEN VICTORIA Under water? What a fantastic idea.They have now reached the top of the steps. 119. MYCROFTMa'am, may present some of the scientistswho were responsible for thisachievement. J.W. Ferguson, navalarchitect -- FIRST SCIENTIST (bowing)Your Majesty. MYCROFTProfessor Simpson, our leading expert onhydraulics -- SECOND SCIENTIST (bowing)Your Majesty. MYCROFTW.W. Prescott, co-inventor of therevolving periscope -- THIRD SCIENTIST (bowing)Your Majesty. MYCROFTAnd this is Sir Arthur Grisby, ourauthority on maritime ballistics -- QUEEN VICTORIAWe don't claim to understand any of this.But England is proud of you, gentlemen.To think that man can now observe fish intheir native habitat -- MYCROFT (trying to correct her)Well, not exactly, Ma'am -- QUEEN VICTORIA-- and underwater plants and coralreefs -- (noticing Holmes)Young man -- what was your contributionto this project? HOLMESI'm afraid it was rather negligible, YourMajesty. 120. MYCROFT (to the Queen) This is my brother, Sherlock, Ma'am. QUEEN VICTORIA Ah, yes. Sherlock Holmes. We have been following your exploits with great interest.Holmes bows, touches the Queen's extended hand. HOLMES Thank you, Ma'am. QUEEN VICTORIA Are you engaged in one of your fascinating cases at the moment? HOLMES In a manner of speaking, Ma'am. QUEEN VICTORIA When can we expect to read Dr. Watson's account of the case? HOLMES I hope never, Ma'am. It has not been one of my more successful endeavors.Mycroft signals to a bagpiper, who starts playing HIELAN'LADDIE. QUEEN VICTORIA Ah, the ceremonies are about to begin. (to Mycroft) Now where is this underwater ship of yours? MYCROFT (pointing to tower) In the dungeon, Ma'am. QUEEN VICTORIA The dungeon? What a peculiar place to keep it. (turning to the others) Well, let us get on with it, gentlemen. 121.Mycroft leads the Queen along the red runner toward thetower. Holmes follows, then the lady-in-waiting and theequerry, then the scientists.As they cross the inner courtyard, the Highland piperfalls in ahead of the procession, leads them toward thedrawbridge. Then he steps aside, as the royal partycrosses the drawbridge and passes through the door of thetower.INT. DUNGEON - NIGHTA high-ceilinged rock chamber, with a spiral ironstaircase leading down. The floor is a concrete ramp,the lower end of it covered with water. Beyond is theentrance from the Loch, camouflaged by scaffolding andvegetation.On the upper part of the ramp is a small, primitivesubmarine, resting on wheels. Prominently lettered onthe bow is the name H.M.S. JONAH, and suspended by a ropefrom the prow is the magnum of champagne which Holmesdelivered. Along the sides are torpedo tubes, and fittedover the conning tower is the head and neck of the"monster" we saw in the lake.Present are half a dozen naval personnel, commanded by anofficer. As the royal party comes down the spiralstaircase, the officer snaps to attention. Mycroft is inthe lead, followed by the Queen, Holmes, the lady-in-waiting, the equerry and the scientists. MYCROFT There she, Ma'am. Her Majesty's Ship Jonah.The four surviving midgets appear on the deck, in wooljerseys and navy caps. They start pulling on a chainwhich slowly raises the detachable head-and-neck of themonster toward the ceiling, disclosing the conning towerand the periscope. QUEEN VICTORIA And what, may we ask, is the purpose of that hideous gargoyle? MYCROFT It's merely a decoy, Ma'am. 122. QUEEN VICTORIA Oh. To frighten away the sharks, we imagine. MYCROFT Something of the sort... The crew will now demonstrate the workings of the submersible.A SAILOR of normal height appears on the deck of the sub. SAILOR Stand to.The midgets scramble down the hatch. QUEEN VICTORIA Aren't they rather small for sailors? MYCROFT They are. But because of the size of the craft, the Navy made an exception. QUEEN VICTORIA They should make it a rule. It's quite fatiguing to pin on all those medals while standing on our toes.There is the sound of the engines starting. Mycroftleads the Queen to an open bulkhead in the side of thesub, with Holmes and rest of the party close behind.Inside, all is noise and confusion. Metal rods aredipping into glass jars of sulphuric acid, complicatedmachinery is driving the propeller shaft, bellows areinflating and deflating, etc. The midgets are at theirstations in the cramped quarters, pulling switches,oiling the engines, operating the periscope. Overhead isa cageful of canaries, all chirping away. Mycroft pointsout the various features to the Queen. MYCROFT This is the main engine, which propels it under water at the rate of two knots -- the stabilizing mechanism -- the multi- stage compressor -- the ballast tank trimmer -- the air-pump which filters and recirculates the air -- 123. QUEEN VICTORIA How charming. MYCROFT The air pump, Ma'am? QUEEN VICTORIA (pointing) The canaries. Must make the crew feel at home. MYCROFT Yes, Ma'am. These are the levers for firing the torpedoes, which are accurate up to as much as 120 feet -- the periscope for scanning the surface of the water -- QUEEN VICTORIA But where is the glass bottom? MYCROFT The what, Ma'am? QUEEN VICTORIA The glass bottom. HOLMES You know -- to see the fist -- QUEEN VICTORIA -- and the plants and the corals -- MYCROFT That's not quite the idea, Ma'am. H.M.S. Jonah is being commissioned as a warship. QUEEN VICTORIA A warship? (waving her hand) Stop that noise. Stop it!At a signal from Mycroft, the sub engines are turned off. MYCROFT Ma'am, if I may explain -- QUEEN VICTORIA You had better. 124. MYCROFT The Admiralty regards this craft as the ultimate weapon in naval warfare. It can seek out enemy ships and destroy them -- with these torpedoes -- while remaining completely invisible. QUEEN VICTORIA You mean in can fire at other vessels while under water? MYCROFT Yes, Ma'am. QUEEN VICTORIA Without any warning? MYCROFT That is correct, Ma'am. QUEEN VICTORIA And without showing her colors? MYCROFT Indeed, Ma'am. QUEEN VICTORIA Mr. Holmes, we are not amused. (Mycroft stares at her) It is unsportsmanlike, it is un-English, and it is in very poor taste. We will have none of it! MYCROFT I beg your pardon, Ma'am?He exchanges a look with Holmes. QUEEN VICTORIA Sometimes we despair of the state of the world. What will scientists think of next? MYCROFT That's precisely it, Ma'am. At this very moment the Germans under Count von Zeppelin, are experimenting with a dirigible -- 125. QUEEN VICTORIA A dirigible? And what, pray, is that? MYCROFT A rigid balloon, which could fly over London and drop a bomb on Buckingham Palace. It is being developed at the express orders of Kaiser Wilhelm the Second. QUEEN VICTORIA Nonsense. We refuse to believe that our grandson Willie would do a thing like that. MYCROFT We have conclusive proof, Ma'am. Our agent in Friedrichshafen, a man named Ibbetson, actually saw the dirigible, and made a drawing of it. Unfortunately, he was apprehended before he could cross the border. QUEEN VICTORIA (indicating sub) Nevertheless, we don't want any part of this beastly invention. Get rid of it! Scuttle it! The sooner the better. MYCROFT May I point out, Ma'am -- QUEEN VICTORIA And don't concern yourself about that dirigible dropping bombs on us. We shall write a very sharp note to the Kaiser. (to equerry) Now we wish to return to Balmoral.She starts toward the spiral staircase. The equerryprecedes her up the stairs, the lady-in-waiting follows,the scientists trail after them. Mycroft and Holmeslinger behind. HOLMES Well, Mycroft, it seems we have both been undone by a woman. (Mycroft is staring at the sub) What a shame. 126. All that superb engineering, and all that cunning espionage, for nought. MYCROFT Not necessarily. If the Germans want that submersible so badly, why don't we give it to them? HOLMES Give it to them? MYCROFT Invite them aboard for the final journey -- seven hundred feet -- straight down. HOLMES And how are you going to arrange that? MYCROFT I'm rather counting on you to do it. Since you are on such intimate terms with Fraulein von Hoffmanstal.O.s., the bagpiper resumes playing. MYCROFT Shall we say goodbye to Her Majesty?He starts up the spiral staircase. Holmes follows slowlyand thoughtfully. DISSOLVE TO:EXT. CALEDONIAN HOTEL - DAWNThe gig, with the quide driving and Holmes beside him,comes up the driveway, stops in front of the entrance.Holmes hops down, and twirling Gabrielle's parasol in hishand, walks into the hotel.INT. HOTEL ROOM - DAWNIn the half-light, Gabrielle can be seen asleep in herbed. She is wearing the pink negligee with the mariboufeathers, which has slipped halfway off her shoulders.The other bed has not been slept in.The door from the corridor opens and Holmes steps in,carrying the parasol. 127.He crosses to Gabrielle's bed, looks down at her for along moment, adjusts the negligee with the tip of theparasol. The he moves to the French window, opens it,glances out.LAKEFRONT - FROM HOLMES' ANGLE - DAWNThe seven Trappist monks are standing on the shore,silhouetted against the water, watching the hotel.INT. HOTEL ROOM - DAWNHolmes withdraws from the window , looks at the sleepingGabrielle, then casually swings the parasol, hitting ametal lamp-shade overhead. Gabrielle sits up abruptly inbed, clutching her negligee around her. HOLMES Sorry about that. But as long as you're up -- what is the German word for castle? Schloss, isn't it? GABRIELLE (carefully) I think so. HOLMES And how would you say under the castle? Unter das Schlss? Or die Schloss? GABRIELLE I don't know. My German isn't that good. HOLMES (indicating) Your Trappist friends are out there waiting to hear from you -- it's a chilly morning -- we don't want to keep them standing around too long, do we, Fraulein Hoffmanstal? (Gabrielle looks at him without answering) Come now. It's too late to play cat and mouse. GABRIELLE (flatly) Unter dem Schloss. 128. HOLMES Thank you. (holding out parasol) Here's your signalling device -- it's a bit damp, I'm afraid -- would you care to let them know where they can find the submersible? (Gabrielle makes no move to take the parasol) No? Then I'll just have to do it myself. (moving toward window) I only hope my Morse code is adequate to the occasion.Keeping well to one side of the open window, he extendsthe parasol outside, opens it, starts sending out aseries of long and short signals.LAKEFRONT - DAWNvon Tirpitz and the other monks strain their eyes in thedirection of the hotel.HOTEL - FROM MONKS' ANGLE - DAWNOutside the hotel window, Gabrielle's parasol can be seenflashing the message UNTER DEM SCHLOSS in Morse code --but it is not apparent that Holmes is doing thesignalling.INT. HOTEL ROOM - DAWNAs Holmes continues opening and closing the parasol,Gabrielle gets out of bed, comes up beside him. Holmesfinishes the message, shuts the parasol, draws it backinto the room. Then he looks out the window.LAKEFRONT - FROM HOLMES' ANGLE - DAWNThe monks turn away from the hotel, and with von Tirpitzin the lead, move off along the shore.INT. HOTEL ROOM - DAWNHolmes steps back from the window, faces Gabrielle. 129. HOLMESWell, it's up to the good monks now. Youcan consider your part of the missionaccomplished, Fraulein Hoffmanstal. GABRIELLEYou're all wrong about me. My name isn'tHoffmanstal. HOLMESIt isn't? GABRIELLEIt's von Hoffmanstal. HOLMESI stand corrected. GABRIELLE (glancing toward window)I suppose once they're in the castle...It must amuse you, Mr. Holmes, Trappistswalking into a trap. HOLMESIt's more amusing than that. Once in thecastle, they will encounter surprisinglylittle resistance -- it will take but asmall bottle of chloroform to overcomethe guards. GABRIELLE (skeptically)You mean you're going to let them havethe air-pump? HOLMESBetter than that. We're going to letthem have the submersible. They willfind it with its engines running, all setto go. I assume they're all expertsailors? And since there is a Germanbattleship cruising off the coast ofScotland, I expect they'll try to sail itout of the lock and rendezvous at sea. GABRIELLEDid you say try to? 130. HOLMES I would suggest you get your things together. Mycroft will be here to take you into custody.He opens her suitcase, which is on the baggage rack atthe foot of the bed. Gabrielle watches him for a beat,then crosses to the wardrobe, starts taking her clothesout. GABRIELLE I never had you fooled for a moment, did I? You knew right from the beginning -- when the cabbie brought me to Baker Street. HOLMES Let me see -- not quite that soon.He stretches out on the bed. GABRIELLE It's so funny. I asked for this assignment, you know. I was scheduled to go to Japan, but I couldn't resist the challenge of coming up against the best. I'm sorry I didn't give you a closer game. HOLMES Close enough. GABRIELLE You're just being kind. I failed miserably. HOLMES We all have occasional failures. Fortunately, Dr. Watson never writes about mine. DISSOLVE TO:INT. HOTEL CORRIDOR - DAYWatson, back in his valet's outfit again, comes boundingdown the narrow stairs from the attic, races toward thedoor of Holmes' room. 131. WATSON Holmes! Holmes!INT. HOTEL ROOM - DAYBright sunlight now floods the room. Gabrielle, fullydressed, is standing in front of the mirror, putting onher hat. Her packed bag has been set out in the middleof the room, and resting on it is the parasol.The door bursts open and Watson dashes in. WATSON Holmes!In his haste he trips over the bag, goes down. As hepicks himself up again, Gabrielle points toward thebalcony.EXT. BALCONY - HOTEL - DAYHolmes is leaning against the parapet, scanning the lakethrough his telescope. Watson appears through the openFrench window behind him. WATSON (excitedly) Holmes, I saw it again -- that thing -- it came from the castle -- it's out there --LOCH NESS - THROUGH TELESCOPE - DAYA trial of bubbles is moving along the surface. Suddenlythere is a muffled explosion from below, and a geyser ofwater shoots up into the air.EXT. BALCONY - HOTEL - DAYHolmes slowly lowers the telescope. HOLMES It was out there. Now it's gone. WATSON Gone? 132. HOLMES Forever. Look for yourself.LOCH NESS - THROUGH TELESCOPE - DAYThere is a great turbulence in the water. Up to thesurface pops the bottle of christening champagne, withrope and ribbons still attached. Then a copy of theBible pops up.EXT. BALCONY - HOTEL - DAY WATSON A bottle of champagne?... and a Bible?... HOLMES That's all that's left of H.M.S. Jonah.He steps through the window as a puzzled Watson lowersthe telescope.INT. HOTEL ROOM - DAYWatson follows Holmes in from the balcony. HOLMES It would seem that somebody carelessly loosened the bolts of the submersible. What a fitting end for Trappists -- now they are resting in eternal silence at the bottom of the lake. WATSON (to Gabrielle) Do you know what he's talking about?Through the open doorway comes Mycroft. In the corridorbehind him is one of his aides. MYCROFT Fraulein von Hoffmanstal? GABRIELLE Yes, Mr. Holmes. I'm all ready. 133. MYCROFT If there's one thing I like about the Prussians, it's their punctuality. GABRIELLE If there's one thing I dislike about the British, it's their climate. I understand your jails are quite damp -- and your heating facilities totally inadequate. MYCROFT They are. But you're not going to jail. You're going back to Germany. GABRIELLE Germany? MYCROFT You will be conducted to the Swiss-German border, and be exchanged for one of our agents -- a man named Ibbetson. GABRIELLE Thank you. MYCROFT Don't thank me. Thank my brother. It was his idea.Gabrielle looks at Holmes, but he avoids her eyes. MYCROFT (to Gabrielle) Frankly, I think we are making a very poor deal. You much better than most operatives working for British intelligence. (turning to Holmes) Don't you agree, Sherlock? HOLMES (with a small but gallant bow to Gabrielle) And better than some consulting detectives.Mycroft signals to his aide, who comes in from thecorridor and picks up Gabrielle's bag. 134. MYCROFT (to Gabrielle) Shall we? GABRIELLE (reaching for parasol) I'll take that. (to Holmes and Watson) Gentlemen.She turns and walks out the door, Mycroft following.Watson's bewilderment has now reached monumentalproportions. WATSON (folding his arms) All right, Holmes -- you don't have to explain anything to me, if you don't want to. HOLMES I appreciate that, Watson. WATSON After all, I'm only your official biographer -- HOLMES Anyway, I don't think she'd care to have this story spread all over Strand Magazine. WATSON The public has a right to know these things. If she's a German spy, why should we concern ourselves about her feelings?Holmes crosses to a small window overlooking thecourtyard of the hotel, opens it, looks out.EXT. HOTEL - DAYMycroft's aide comes out of the hotel with Gabrielle'ssuitcase, loads it into an open carriage waiting in frontof the entrance. Gabrielle emerges, carrying her parasol,and accompanied by Mycroft. He helps her into thecarriage, gets in beside her. 135.The aide joins the coachman, and the carriage drives off.Gabrielle does not look back toward the hotel.EXT. SMALL WINDOW - HOTEL - DAYHolmes is framed in the open window, watching thecarriage. Watson comes up behind him. WATSON If I promised not to write a word about it, would you enlighten me? As your friend -- as your valet -- HOLMES Quiet. I'm trying to read a personal message. WATSON A message?EXT. DRIVEWAY - DAYThe carriage is moving away from the hotel. Gabriellehas her parasol over her shoulder, and it opens andcloses, opens and closes.GABRIELLE - IN MOVING CARRIAGE - DAYShe continues to signal with the parasol, unnoticed byMycroft.EXT. SMALL WINDOW - HOTEL - DAYWatson is straining forward to see out the window. WATSON What is she saying? HOLMES (slowly) Auf Wiedersehn. WATSON Auf Weider---? The nerve! 136.EXT. DRIVEWAY - DAYThe carriage disappears down an avenue of trees,Gabrielle's parasol still flashing its message. DISSOLVE TO:EXT. BAKER STREET - DAYThere is snow on the ground, and drifts of it piled upalong the curbs. Traffic is light. Householders areshovelling the snow off the sidewalks, and pedestriansare hurrying along bundled up against the cold.INT. LIVING ROOM - 221B BAKER STREET - DAYHolmes, in his dressing gown, and Watson, in his smokingjacket, are at the breakfast table. There is snow on thewindow-sills, and a cozy fire is burning in the grate.Watson is reading the morning paper. Holmes is sortingthrough his mail. HOLMES (holding up envelope) H'mmm. A letter from the Diogenes Club. WATSON Maybe Mycroft is putting you up for membership. HOLMES If only to have the distinct pleasure of blackballing his brother.He has slit open the envelope. Watson watches himcuriously as he reads the letter, but Holmes' faceremains expressionless. Slowly he puts down the letter,rises, crosses to the window, stands there staring outinto the wintry street. WATSON Aren't you going to finish your breakfast?Holmes doesn't answer. Watson takes a lump of sugar outof the bowl with a pair of tongs, drops it into hiscoffee. 137.Then glancing over his shoulder to make sure Holmes isn'twatching, he swivels the letter around with the tongs.It is written on Diogenes Club stationery, and reads: 9th December, 1888 Dear Sherlock, My sources in Tokyo inform me that Ilse von Hoffmanstal was arrested last week by the Japanese counter-intelligence service for spying on naval installations in Yokohama harbour. After a secret trial, she was summarily executed by a firing squad. It might interest you to know thatThe page ends at this point. Watson turns the sheet ofpaper over with the tongs. The letter continues on theother side. she had been living in Japan these past few months under the name of Mrs. Ashdown. Sincerely, MycroftWatson looks toward Holmes, who is still standing withhis back to the room, gets up from the table. WATSON Holmes -- I'm terribly sorry about this. HOLMES (quietly, without turning) Where is it, Watson? WATSON (after a beat) In the files. May to July, 1885.Holmes turns to the bookshelves above the desk. From arow of similar volumes, he slides out the three filesmarked MAY, JUNE, and JULY 1885. Actually, it's themedical bag, standing on end, with the spines of threevolumes pasted on the bottom. HOLMES You're getting better. 138.He sets the bag down on the desk, opens it, takes out abottle of cocaine. Watson watches him with compassion ashe crosses to his bedroom with his cocaine, goes in,shuts the door.Footsteps are heard hurrying up the stairs, and after amoment there is a knock on the door. Watson approachesthe door, opens it to reveal INSPECTOR LESTRADE -- ashort, nervous man whose features are sharper than hismind. He is wearing an overcoat, his bowler is in hishands, and his fingers are drumming on the crown. LESTRADE Good morning, Watson. (stepping in) Just happened to be in the neighborhood, and I thought -- WATSON What is it this time, Inspector Lestrade? LESTRADE We've had three rather nasty murders in Whitechapel. All ladies of easy virtue. You may read something about it -- the newspapers are referring to the killer as Jack the Ripper. WATSON Yes, I think I have. LESTRADE Some of us at Scotland Yard were wondering if perhaps Mr. Holmes would be willing to -- WATSON (a glance toward the bedroom) I'm sorry, Lestrade. But at the moment, Holmes is working on another problem. LESTRADE (trying to hide his disappointment) Oh... Well, I just thought it was the kind of case that might interest him. I dare say we can solve it without his help. 139. WATSON Oh, I'm sure you will.From Holmes' bedroom comes the sound of a melancholy tunebeing played on the violin. Watson starts to easeLestrade out of the door. WATSON Good day, Lestrade.He shuts the door after him, listens to the sound of theviolin for a moment. Then he crosses to the wickerchair, seats himself. He takes some sheets of paper outof the rack and places them on the writing arm, dips hispen in the inkwell, starts to write.The violin music continues OVER SCENE, infinitelyromantic, infinitely sad. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Producer, The.txt b/unformated_scripts/Script_Producer, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..b916b23b813c4e44a8f8cf407b36071fe2f168f6 --- /dev/null +++ b/unformated_scripts/Script_Producer, The.txt @@ -0,0 +1 @@ +THE PRODUCERS_____________byMel BrooksMarch, 1967INT. DAY. HALLWAY OUTSIDE OF MAX BIALYSTOCK'S OFFICE.CLOSE-UP OF LITTLE OLD LADY. She blows a kiss and WAVESGOOD-BYE.CUT TO CLOSE-UP OF MAX BIALYSTOCK. HE RESPONDS WITH SIMILARGESTURES.CAMERA PULLS BACK TO FULL SHOT. LEGEND ON FROSTED GLASS OFBIALYSTOCK'S OFFICE DOOR READS: MAX BIALYSTOCK - THEATRICAL PRODUCERLITTLE OLD LADY BEGINS TO DESCEND STAIRWAY. SHE STOPS,TURNS, BLOWS ANOTHER KISS AND ONCE MORE WAVES GOODBYE.BIALYSTOCK GRACIOUSLY ANSWERS IN KIND. BIALYSTOCK Don't forget the checkee. Can't produce playees without checkees. LITTLE OLD LADY You can count on me-o, you dirty young man.CAMERA BACK TO BIALYSTOCK'S FACE FROZEN IN A LITTLE GOODBYESMILE. THE LITTLE OLD LADY'S FOOTSTEPS. BEGIN TO FADE.BIALYSTOCK'S FACE QUICKLY RESUMES ITS NORMAL EXPRESSION --DESPAIR AND DISGUST. HE THEN REACHES INTO HIS VEST POCKET,PULLS OUT AN OLD-FASHIONED, POCKET WATCH AND EARNESTLYCONSULTS ITS FACE.CAMERA STAYS WITH HIM AS HE RUSHES INTO HIS OFFICE.BIALYSTOCK MOVES WITH A QUICK SHUFFLING GAIT TO HIS DESK.FROM THE TOP OF IT HE PICKS UP A FRAMED PHOTOGRAPH.CAMERA INSERT: CLOSE-UP OF PHOTOGRAPH. IT IS FACE OF LITTLEOLD LADY WHO HAS JUST LEFT.CAMERA BACK TO BIALYSTOCK. HE OPENS DESK DRAWER. IT ISFILLED WITH TAGGED KEYS. HE PICKS UP A KEY.CAMERA INSERT: TAG ON KEY READS: INVESTORS FILE.CAMERA BACK TO BIALYSTOCK. WITH PHOTOGRAPH IN HAND, HEMOVES ACROSS HIS OFFICE TO A LARGE, DOUBLE-DOORED CABINET.HE UNLOCKS CABINET.CAMERA SHOWS CABINET INTERIOR FILLED WITH HUNDREDS OFSIMILARLY FRAMED PHOTOGRAPHS OF LITTLE OLD LADIES.CAMERA BACK TO BIALYSTOCK. HE PLACES PHOTOGRAPH IN ITSPROPER NICHE AND BEGINS TO LOOK THROUGH THE FACES.CAMERA SLOWLY PANS ROWS OF PHOTOGRAPHS, BIALYSTOCK'S P.O.V. 2. BIALYSTOCK (Voice Over) "Hold me, touch me', 'hold me, touch me', 'hold me, touch me', where is 'hold me, touch me'? Ahhh ... here we are. 'Hold me, touch me.'"CAMERA STOPS PANNING AND REMAINS ON ONE OF THE PHOTOGRAPHS.BIALYSTOCK'S HAND MOVES INTO THE FRAME AND PICKS UPPHOTOGRAPH.CAMERA MOVES IN TO CLOSE-UP OF PHOTOGRAPHDISSOLVE THROUGH TO MATCHING CLOSE-UP OF SAME FACE WE HAVEJUST SEEN IN PHOTOGRAPH.CAMERA PULLS BACK TO REVEAL LITTLE OLD LADY IN REAR SEAT OFLIMOUSINE. EXTERIOR. DAY.CAMERA KEEPS MOVING BACK TO EXTERIOR OF LIMO AS IT MOVESALONG THROUGH NEW YORK'S THEATRICAL DISTRICT.LONG SHOT. 45TH STREET. SAME LIMOUSINE PULLS UP IN FRONTOF ONE OF THE THEATRES THAT LINE THE BLOCK.MEDIUM SHOT. CHAUFFEUR BRISKLY HOPS OUT, AND SMARTLY OPENSREAR DOOR. THE LITTLE OLD LADY EMERGES. SHE LOWERS HERVEIL AND FURTIVELY DUCKS INTO THE BUILDING ENTRANCE.INT. MEDIUM SHOT. DILAPIDATED THEATRE OFFICE BUILDING. THELITTLE OLD LADY ENTERS. SHE RAISES HER VEIL, CHUCKLESGLEEFULLY, AND BEGINS TO ASCEND THE STAIRS.MEDIUM SHOT. UPON REACHING THE LANDING, SHE SPOTS THE FIRSTLITTLE OLD LADY COMING DOWN. SHE QUICKLY DROPS HER VEIL.THE FIRST LITTLE OLD LADY DISCREETLY HIDES HER FACE WITH HERPURSE AS THEY PASS EACH OTHER ON THE LANDING.DISSOLVE TO FOURTH FLOOR LANDING. THE LITTLE OLD LADY MAKESHER WAY TO THE TOP. SHE HANGS ONTO THE BANISTER FOR SUPPORTAS SHE CATCHES HER BREATH. SHE RAISES HER VEIL, REACHESINTO HER PURSE, TAKES OUT A SMALL FLACON OF PERFUME ANDSPRAYS DELICATELY BEHIND BOTH EARS. THOROUGHLY COMPOSED,SHE APPROACHES BIALYSTOCK'S DOOR. SHE RAPS ON THE DOORTHREE TIMES IN QUICK SUCCESSION, WAITS A MOMENT, RAPS TWICEAND THEN THREE TIMES AGAIN. SUDDENLY THE DOOR IS FLUNG OPEN.MEDIUM SHOT. MAX BIALYSTOCK BIALYSTOCK (leering) Darling! 3.MEDIUM SHOT OVER BIALYSTOCK'S SHOULDER. LITTLE OLD LADY. LITTLE OLD LADY (passionately) Hold me, touch me.CUT TO TWO SHOT. BIALYSTOCK CLUTCHES THE LITTLE OLD LADY INA PASSIONATE EMBRACE. BIALYSTOCK Devil woman.FREEZE ACTION.SUPER-IMPOSE FIRST CREDIT: ZERO MOSTEL.RESUME ACTION.THE LITTLE OLD LADY GIGGLES JOYOUSLY AND THEN SLIPS FROMBIALYSTOCK'S GRASP, DARTS INTO THE OFFICE AND DUCKS BEHINDTHE COUCH. SHE POPS HER HEAD UP. LITTLE OLD LADY Finder's keepers.FREEZE ACTION.SUPER-IMPOSE: TITLE OF FILMRESUME ACTION. BIALYSTOCK Here I come, ready or not.BIALYSTOCK LEAPS THROUGH THE AIR TOWARDS THE COUCH.FREEZE-ACTION.CREDIT.RESUME ACTION.BIALYSTOCK LANDS BADLY. HE WRITHES IN PAIN. LITTLE OLDLADY COQUETTISHLY CRAWLS TO HIM. LITTLE OLD LADY What's the matter? Papa no want to play with baby? BIALYSTOCK Ohhhhhh.FREEZE-ACTION. 4.CREDIT.RESUME ACTION.BIALYSTOCK REACHES OUT FOR HER. SHE ELUDES HIM, DARTS INTOA CHAIR, CROSSES HER LEG SEDUCTIVELY, RAISES HER SKIRT JUSTABOVE HER KNEE REVEALING A GOLDEN ROSE AND GARTER.FREEZE-ACTION.CREDIT.RESUME ACTION.BIALYSTOCK STRUGGLES TO HIS FEET. BIALYSTOCK Come to Papa. Come to Papa do.LITTLE OLD LADY LEAPS OUT OF HER CHAIR AND POSES, COYLY. LITTLE OLD LADY To the victor go the spoils.BIALYSTOCK STARTS FOR HER. SHE RUSHES AROUND A CHAIR ANDDUCKS BEHIND IT. BIALYSTOCK TIPTOES ON TO CHAIR AND PEEKSOVER IT. BIALYSTOCK I'm gonna get you.FREEZE-ACTION.CREDIT.RESUME ACTION.CUT TO LITTLE OLD LADY WEDGED BETWEEN DESK AND BACK OF CHAIR.SHE STRAIGHTENS HER LEGS AND SENDS THE CHAIR HURTLING ACROSSTHE ROOM.CLOSE-UP OF BIALYSTOCK'S FACE: TERROR.FREEZE-ACTION.CREDIT.RESUME ACTION.BIALYSTOCK CRASHES INTO RADIATOR. BIALYSTOCK Ohhhhhhhh. 5.CUT TO LITTLE OLD LADY. SHE IS LYING PHONE ON THE DESK,PREENING HERSELF AND PURRING. LITTLE OLD LADY Meeow. Meeow. I wonder where Old Tom is tonight? Meeow.BIALYSTOCK, WITH GREAT WILL, PUSHES THE HATE OUT OF HIS FACEAND REPLACES IT WITH SWEETNESS. BIALYSTOCK Rowrrr.BIALYSTOCK GLIDES IN TOM-CAT FASHION OVER TO HIS PREENINGPUSSY-CAT.FREEZE-ACTION.CREDIT.RESUME ACTION.BIALYSTOCK FINISHES CROSSING TO DESK, PUTS HIS FACE DOWNNEAR HERS AND SOFTLY MEWS INTO HER EAR. SHE SUDDENLY LETSOUT A FIERCE HOWL AS SHE REBUFFS HIM WITH A SAVAGE SWIPE OFHER "PAW". BIALYSTOCK GRABS HIS STRICKEN FACE WITH BOTHHANDS AND SHRIEKS. BIALYSTOCK Aieeeeyiyiyiyiyi,CLOSE-UP OF BIALYSTOCK'S PAIN-RIDDEN FEATURES.STOP ACTION.CREDIT.RESUME ACTION.BIALYSTOCK FALLS INTO THE CHAIR MOANING. SHE HOPS ON TO HISLAP. FROM HIS BREAST POCKET SHE TAKES A HANDKERCHIEF ANDTENDERLY DABS HIS CHEEK WITH IT. LITTLE OLD LADY Oh, Bialy, Bialy, darling, did I hurt you?FREEZE-ACTION.CREDIT.RESUME ACTION. 6. BIALYSTOCK My hand. My hand. I can't turn my hand. (he turns his hand)THERE IS A RAPPING AT THE DOOR. WE HEAR IT, THEY DON'T. LITTLE OLD LADY (taking his hand) Don't worry. I'll kiss it and make it well. (she smothers his hand with kissers) BIALYSTOCK (trying to rescue his hand) Enough. It's better. Please, Lambchop, it's better. Stop. You're hurting it again.CUT TO DOOR. IT OPENS. LEO BLOOM ENTERS. BLOOM (his forward motion arrested by the unbelievable scene) How do you do. I mean ... Excuse me ... I mean ... BIALYSTOCK You mean ooops, don't you? Say ooops and get out. BLOOM I'll wait in the hall ... BIALYSTOCK Oooooooops! BLOOM (backing out of door) Ooooooops.LITTLE OLD LADY HOPS OFF BIALYSTOCK'S LAP AND GOES TO DOOR. LITTLE OLD LADY I can't abide a peeping Tom. There's one in the apartment just opposite my bedroom window. I swear that man NEVER takes his field glasses off me for a minute. 7.SHE LOCKS DOOR AND STARTS BACK TOWARD BIALYSTOCK. LITTLE OLD LADY Feeling better?BIALYSTOCK NODS HIS HEAD IN ASSENT. LITTLE OLD LADY Good. Let's fool around. Now, I'll be the innocent little milk maid and you'll be the naughty stable boy. (she goes into her act) Oh, this milk is so heavy. I'll never reach the house. Help. Will someone help me? BIALYSTOCK (stopping her) Wait. Wait. We can't play today. I have too many appointments. LITTLE OLD LADY (crushed) We can't play today? BIALYSTOCK Thursday. Thursday. We'll play Thursday. We'll play the Contessa and the chauffeur. LITTLE OLD LADY Oh, the best one. BIALYSTOCK (trying to steer her towards the door) Until Thursday, then, Contessa Mio. LITTLE OLD LADY (she sits on the sofa) Oh, Bialy, please, just a little. Just a little. BIALYSTOCK (harassed) All right. All right.HE SQUATS DOWN IN FRONT OF HER IN CHAUFFEUR FASHION, HISHANDS ON THE WHEEL. 8. LITTLE OLD LADY So, the Count hired you this morning, Rudolfo ... Watch the road ... Watch the road. BIALYSTOCK I can't take my eyes off you. How can I drive when you drive me mad. Mad. LITTLE OLD LADY (she squeals with delight) Rudolfo, you dirty pig! Pull over. BIALYSTOCK (upright) Good. That's enough. We'll do the rest on Thursday. (he reaches down and helps her off the couch) That's a good girl. (leading her to the door) It's always such fun to see you.BIALYSTOCK OPENS THE DOOR AND USHERS HER OUT ONTO THE LANDING.CUT TO HALLWAY. FAR SHOT. REVEALING BLOOM WAITING OUTSIDE.WE SEE HIM. THEY DO NOT. BLOOM, VERY EMBARRASSED, HUGS THEWALL TRYING TO MAKE HIMSELF LESS CONSPICUOUS.MEDIUM SHOT. BIALYSTOCK AND THE OLD LADY IN FRONT OFBIALYSTOCK'S DOOR. BIALYSTOCK Until Thursday, then, you bawdy wench.HE SLAPS HER ON THE RUMP. LITTLE OLD LADY Oooh. I love it. Hold me, touch me.CUT TO BLOOM IN SHADOWS, AGHAST.BACK TO MEDIUM SHOT LITTLE OLD LADY AND BIALYSTOCK. BIALYSTOCK Thursday. I'll see you Thursday. LITTLE OLD LADY And we'll finish playing the Contessa and Rudolfo. 9. BIALYSTOCK Good. Yes. Thursday. LITTLE OLD LADY And after that we'll play the Abduction and cruel rape of Lucretia ... And I'll play Lucretia.CUT TO BLOOM IN SHADOWS. IT IS ALL TOO MUCH FOR HIM. HELOOKS THE OTHER WAY. SUDDENLY HIS EYES WIDEN IN SURPRISE,AS HE DISCOVERS ANOTHER MAN HIDING IN THE NEXT DOORWAY. THEMAN PUTS A FINGER TO HIS LIPS INDICATING SILENCE. THERE ISNO PLACE LEFT FOR BLOOM TO LOOK. HE LOOKS TO HEAVEN.BACK TO LITTLE OLD LADY AND BIALYSTOCK. LITTLE OLD LADY Oh, Thursday. Will Thursday ever come? BIALYSTOCK (to himself) Like clockwork.SHE STARTS TO DESCEND. LITTLE OLD LADY I shall count the minutes. BIALYSTOCK Goodbye, my angel ... My angel! (calling after her) Hey, touch me ... wait! Hey, uh ... Lucretia, Lucretia!WE HEAR A MOUNTING CLATTER OF FOOTSTEPS AS THE LITTLE OLDLADY FLIES BACK UP THE STAIRS. LITTLE OLD LADY (eagerly) Yes??? BIALYSTOCK Oh, Angelcake, you forgot to give me the check. Can't produce a play without money, ha, ha, ha.CUT TO BLOOM. ONCE MORE HE STEALS A GLANCE AT THE STRANGERHIDDEN IN THE SECOND DOORWAY. ONCE AGAIN THE MAN GESTURESFOR HIM TO BE SILENT.CUT BACK TO BIALYSTOCK AND THE OLD LADY. 10. LITTLE OLD LADY (opening her handbag and reaching inside) Of course, the check, I had it with me all the time.SHE TAKES OUT THE CHECK AND HANDS IT TO HIM. LITTLE OLD LADY I don't know what's happening to me. I must be getting old.BIALYSTOCK TAKES CHECK AND READS IT. LITTLE OLD LADY Is it all right? I made it out to cash. You didn't tell me the name of the play. BIALYSTOCK Oh, it's fine. Fine. Good. Good. Bye. Bye. LITTLE OLD LADY Til Thursday, my Darling, I shall count the minutes.SHE STARTS TO DESCEND. LITTLE OLD LADY (descending) Ta. Ta. BIALYSTOCK (waving check at her) Ta. Ta.THE MAN, WHO HAS BEEN LURKING IN THE SECOND DOORWAY, SUDDENLYSPRINGS INTO ACTION. HE DARTS FORWARD AND QUICKLY TAKES THECHECK OUT OF BIALYSTOCK'S HAND. THE MAN (LANDLORD) He who signs a lease, must pay rent.HE SHOVES THE CHECK INTO HIS POCKET AND STARTS DOWN THESTAIRS. LANDLORD That's the law. BIALYSTOCK Murderer! Thief! How can you take the last penny out of a man's pocket? 11. LANDLORD (turns back, shrugs) I have to ... I'm a landlord! BIALYSTOCK (shouting to heaven) Oh Lord, hear my plea. Destroy him. He maketh a blight on the land.CUT TO LANDLORD ON THE WAY DOWN. LANDLORD (to the Lord) Don't pay attention. He's crazy.CUT BACK TO BIALYSTOCK. HE TURNS TO RE-ENTER HIS OFFICE. BIALYSTOCK (biting his knuckle) Nnnnn. That hurt. (he sighs) I'll have to make another call.HE STARTS IN AND STOPS. HE NOTICES BLOOM. BIALYSTOCK (to Bloom, quietly) Have you been there all this time?BLOOM NODS. BIALYSTOCK And did you see and hear everything?BLOOM NODS. BIALYSTOCK Then what do you have to say for yourself? BLOOM Uh ... uh ... ooooooops? BIALYSTOCK (shouts) Who are you? What do you want? Why are you loitering in my hallway? Speak, dummy, speak! Why don't you speak? BLOOM Scared. Can't talk. 12. BIALYSTOCK All right. Get a hold of yourself. Take a deep breath, let it out slowly and tell me who you are. BLOOM (breathes deeply. Words tumble from his mouth as he exhales) I'm Leo Bloom, I'm an accountant, I'm from Whitehall and Marks, I was sent here to do your books and I'm terribly sorry I caught you with the old lady. (he has run out of breath) BIALYSTOCK "Caught you with the old lady." Come in, Mr. Tact.CUT TO OFFICE. THEY ENTER. BLOOM ENTERS TIMOROUSLY. HEDOESN'T KNOW QUITE WHERE TO GO. HE LOOKS TO BIALYSTOCK FORGUIDANCE. BIALYSTOCK STUDIES BLOOM CURIOUSLY FROM HEAD TOTOE. BIALYSTOCK So you're an accountant, eh? BLOOM (timidly) Yes sir. BIALYSTOCK Then account for yourself! Do you believe in God? Do you believe in gold? Why are you looking up old lady's dresses? Bit of a pervert, eh?BLOOM, WHO HAS BEEN QUAKING UNDER THE ASSAULT, REACHES INTOHIS POCKET AND TAKES OUT THE TATTERED CORNER OF AN OLD BLUEBABY BLANKET. HE TWISTS THE BLUE BLANKET NERVOUSLY IN HISHANDS. BLOOM Sir, I ... BIALYSTOCK Never mind. Never mind. Do the books. They're in that desk over there. Top drawer. 13.BLOOM DUTIFULLY GOES TO DESK. OPENS TOP DRAWER AND BEGINSREMOVING BOOKS. BIALYSTOCK How dare you condemn me without knowing all the facts. BLOOM But sir, I'm not condem ... BIALYSTOCK Shut up. I'm having a rhetorical conversation. (to himself) How humiliating. Max Bialystock. Max Bialystock.BIALYSTOCK SUDDENLY WHEELS AND SHOUTS AT BLOOM. BIALYSTOCK You know who I used to be? Max Bialystock! The King of Broadway! Six shows running at once. Lunch at Delmonico's. Two hundred dollar suits. Look at me. Look at me now! I'm wearing a cardboard belt!HE RIPS THE BELT OFF AND HOLDS IT IN THE AIR. BIALYSTOCK I used to have thousands of investors begging, pleading, to put their money into a Max Bialystock production.HE PICKS UP THE PICTURE ON DESK ('HOLD ME, TOUCH ME') TAKESIT OVER TO OPEN CABINET FILLED WITH SIMILAR PICTURES. BIALYSTOCK Look at my investors now. Voila! (gestures at pictures) Hundreds of little old ladies stopping off at Max Bialystock's office to grab a last thrill on the way to the cemetery.HE PUTS PICTURE BACK IN ITS PLACE. LOOKS TOWARD BLOOM.CUT TO BLOOM. HE IS OBVIOUSLY TOUCHED BY THE GREAT MAN'SDILEMMA.CUT TO BIALYSTOCK. 14. BIALYSTOCK You have exactly ten seconds to change that disgusting look of pity into one of enormous respect. One ... Two ...CUT TO BLOOM. HE IS REALLY TRYING TO CHANGE HIS EXPRESSION.CUT TO BIALYSTOCK. BIALYSTOCK Do the books! Do the books!CUT TO BLOOM. HE IS GREATLY RELIEVED. BLOOM (sighing) Yes, sir. Thank you.HE PLUNGES INTO HIS WORK.CUT TO BIALYSTOCK. HE GOES TO WINDOW, LOOKS OUT. BIALYSTOCK (to himself) Window's so filthy, can't tell if it's day or night out there.HE WIPES WINDOW WITH HIS CUFF. LOOKS AT WINDOW. NO GOOD.LOOKS AT HIS GRIMY CUFF. GRIMACES. FROM HIS DESK HE TAKESTHE REMAINS OF A CARDBOARD CONTAINER OF COFFEE AND SLOSHESIT AGAINST THE WINDOW. HE WIPES WITH HIS TIE. HE LOOKSOVER HIS SHOULDER AT BLOOM TO SEE IF HE IS WATCHING. BLOOMIS WATCHING. THEIR EYES MEET. BLOOM'S EYES RETREAT.BIALYSTOCK VICTORIOUSLY TURNS AWAY AND LOOKS OUT THE WINDOWDOWN INTO THE STREET.CAMERA: SHOT OF STREET. BIALYSTOCK'S POINT OF VIEW. AWHITE ROLLS ROYCE SLOWLY MAKES ITS WAY UP THE BLOCK. BIALYSTOCK (voice over as camera follows Rolls) Look at that. A white Rolls Royce. That's it baby, when you got it, flaunt it. BLOOM (off screen) Koff, koff ... ahem, ahem ... harrumph ... 15. BIALYSTOCK I assume you are making those cartoon noises to attract my attention. Am I correct in my assumption, you fish-faced enemy of the people?BLOOM IS WOUNDED. BIALYSTOCK I have hurt your feelings.BLOOM NODS. BIALYSTOCK Good, what is it? BLOOM Sir, may I speak to you for a minute? BIALYSTOCK (looking at his watch) Go! You have fifty-eight seconds. BLOOM Well, sir, it seems ... BIALYSTOCK (interrupting) You have forty-eight seconds left. Hurry. Hurry. BLOOM (speedily) In looking at your books, I've discovered that ... BIALYSTOCK (interrupting) Twenty-eight seconds, hurry, hurry, you're using up your time.IN HIS ANXIETY, BLOOM UNCONSCIOUSLY REACHES INTO HIS POCKETTAKES OUT THE OLD BLUE BLANKET AND NERVOUSLY STROKES HISCHEEK WITH IT. BLOOM Mr. Bialystock, I cannot function under these conditions.BIALYSTOCK CURIOUSLY EYES THE BLANKET. BLOOM You're making me extremely nervous. 16. BIALYSTOCK What is that? A handkerchief?BLOOM QUICKLY BEGINS TO PUT AWAY HIS BLUE BLANKET. BLOOM It's nothing ... nothing.QUICK AS A FLASH, BIALYSTOCK REACHES OVER AND SNATCHES ITOUT OF BLOOM'S HAND. BIALYSTOCK If it's nothing, why can't I see it?BLOOM LEAPS UP IN HOT PURSUIT OF HIS BLANKET. BLOOM (shrieking in panic) My blanket. Give me my blue blanket.BIALYSTOCK, TAKEN ABACK, HURRIEDLY GIVES THE BLANKET BACK TOBLOOM. BIALYSTOCK Here, don't panic. BLOOM (clutching his blanket) I'm sorry ... I don't like people touching my blue blanket. It's not important. It's a minor compulsion. I can deal with it if I want to. It's just that I've had it ever since I was a baby and ... and ... I find it very comforting.HE KISSES IT AND SHOVES IT INTO HIS POCKET. BIALYSTOCK (to himself) They come here. They all come here. How do they find me? BLOOM (recovering his dignity) Mr. Bialystock ... BIALYSTOCK Yes, Prince Mishkin, what can we do for you? 17. BLOOM This is hardly a time for levity. I've discovered a serious error here in the accounts of your last play.BIALYSTOCK MOVES AROUND THE DESK TO EXAMINE THE LEDGER. BIALYSTOCK Where? What? BLOOM According to the backer's list you raised $60,000. But the show you produced only cost fifty-eight thousand. There's two thousand dollars unaccounted for. BIALYSTOCK I went to a Turkish bath, who cares? The show was a flop. What difference does it make? BLOOM It makes a great deal of difference. That's fraud. If they found out, you could go to prison. BIALYSTOCK Why should they find out? It's only two thousand dollars, Bloom, do me a favor, move a few decimal points around. You can do it. You're an accountant. The word 'count' is part of your title. BLOOM (aghast) But that's cheating! BIALYSTOCK It's not cheating ... It's charity. Bloom, look at me ... look at me! I'm drowning. Other men sail through life. Bialystock has struck a reef. Bloom, I'm going under. I am being sunk by a society that demands success, when all I can offer is failure. Bloom, I'm reaching out to you. Don't send me to jail. Help! Help! 18.DURING BIALYSTOCK'S LAST SPEECH, BLOOM UNCONSCIOUSLY REACHESINTO HIS POCKET, TAKES OUT THE BLUE BLANKET AND RUBS ITACROSS HIS CHEEK. BLOOM Oh dear, oh dear, oh dear, oh dear. BIALYSTOCK (faintly) Help! BLOOM All right. I'll do it. I'll do it. BIALYSTOCK Thank you, Bloom. I knew I could con you. BLOOM Oh, it's all right ... wha? BIALYSTOCK Nothing. Nothing. Do it. Do it. BLOOM (pouring over the accounts) Now let's see, two thousand dollars. That isn't much. I'm sure I can hide it somewhere. After all, the department of internal revenue isn't interested in a show that flopped. BIALYSTOCK Yes. Right. Good thinking. You figure it out. I'm tired. I'm gonna take a little nap. (crossing to couch) Wake me if there's a fire.HE HURLS HIMSELF DOWN ONTO THE COUCH.CAMERA MOVES IN TO TIGHT SHOT OF BLOOM. BLOOM Now let's see, if we add these figures, we get ...CAMERA MOVES INTO CLOSE-UP OF BLOOM'S FINGER SWIFTLY MOVINGDOWN LONG COLUMN OF FIGURES. HE COMES TO THE END ANDIMMEDIATELY WRITHES TOTAL BELOW.BACK TO TIGHT SHOT OF BLOOM. HE COMPARES PAGES. 19. BLOOM (musing to himself) Heh, heh, heh, amazing. It's absolutely amazing. But under the right circumstances, a producer could make more money with a flop than he could with a hit.QUICK CUT TO BIALYSTOCK'S SLEEPING FACE. HIS EYES POP OPEN.CUT BACK TO BLOOM. BLOOM Yes. Yes. It's quite possible. If he were certain the show would fail, a man could make a fortune.CUT TO BIALYSTOCK. BY NOW HE IS HALFWAY ACROSS THE ROOM.HIS WHOLE BEING TINGLING WITH ALERTNESS. HE MOVES TOBLOOM'S DESK AND HOVERS OVER HIM, WAITING EXPECTANTLY FORMORE INFORMATION. BUT BLOOM IS LOST IN HIS WORK, UNAWARETHAT BIALYSTOCK IS HANGING ON HIS EVERY WORD. BIALYSTOCK Yes???BLOOM LOOKS UP. HE IS STARTLED TO SEE BIALYSTOCK'S FACE SOCLOSE TO HIS OWN. BLOOM (at a loss) Yes, what? BIALYSTOCK What you were saying. Keep talking. BLOOM What was I saying? BIALYSTOCK You were saying that under the right circumstances, a producer could make more money with a flop than he could with a hit. BLOOM (smiling) Yes, it's quite possible. BIALYSTOCK You keep saying that, but you don't tell me how. How could a producer make more money with a flop than with a hit? 20.BLOOM, SLIGHTLY EXASPERATED, PUTS HIS PENCIL DOWN AND FACESBIALYSTOCK. HE SPEAKS TO BIALYSTOCK AS A TEACHER WOULD ASTUDENT. BLOOM It's simply a matter of creative accounting. Let us assume, just for the moment, that you are a dishonest man. BIALYSTOCK Assume away! BLOOM Well, it's very easy. You simply raise more money than you really need. BIALYSTOCK What do you mean? BLOOM You've done it yourself, only you did it on a very small scale. BIALYSTOCK What did I do? BLOOM You raised two thousand more than you needed to produce your last play. BIALYSTOCK So what? What did it get me? I'm wearing a cardboard belt. BLOOM Ahhhhhh! But that's where you made your error. You didn't go all the way. You see, if you were really a bold criminal, you could have raised a million. BIALYSTOCK But the play only cost $60,000 to produce. BLOOM Exactly. And how long did it run? BIALYSTOCK One night. 21. BLOOM See? You could have raised a million dollars, put on a sixty thousand dollar flop and kept the rest. BIALYSTOCK But what if the play was a hit? BLOOM Oh, you'd go to jail. If the play were a hit, you'd have to pay off the backers, and with so many backers there could never be enough profits to go around, get it? BIALYSTOCK Aha, aha, aha, aha, aha, aha!! So, in order for the scheme to work, we'd have to find a sure fire flop. BLOOM What scheme? BIALYSTOCK What scheme? Your scheme, you bloody little genius. BLOOM Oh, no. No. No. I meant no scheme. I merely posed a little, academic accounting theory. It's just a thought. BIALYSTOCK Bloom, worlds are turned on such thoughts!BIALYSTOCK STARTS MOVING IN ON BLOOM. BIALYSTOCK Don't you see, Bloom. Darling, Bloom, glorious Bloom, it's so simple. Step one: We find the worst play in the world -- a sure flop. Step two: I raise a million dollars -- there's a lot of little old ladies in this world. Step three: You go back to work on the books. Phoney lists of backers -- one for the government, one for us. You can do it, Bloom, you're a wizard. (MORE) 22. BIALYSTOCK (CONT'D) Step four: We open on Broadway and before you can say 'step five' we close on Broadway. Step six: We take our million dollars and fly to Rio de Janiero.BIALYSTOCK GRABS BLOOM IN HIS ARMS AND BEGINS TO LEAD HIM INA WILD TANGO AROUND THE ROOM. BIALYSTOCK (sings) "Ah, Rio, Rio by the seao, meo, myo, meo ... " BLOOM (afraid of the scheme, afraid of the dance, afraid of Bialystock) Mr. Bialystock. No. Wait. Please. You're holding me too tight. I'm an honest man. You don't understand. BIALYSTOCK (leading Bloom as he talks) No, Bloom, you don't understand. This is fate, this is destiny. There's no avoiding it.AT THIS POINT, BIALYSTOCK SWEEPS BLOOM INTO AN ELABORATE DIP. BLOOM (the back of his head practically touching the floor) Mr. Bialystock, not more than five minutes ago, against my better judgment, I doctored your books. That, sir, is the ultimate extent of my criminal life.BIALYSTOCK RAISES HIS FISTS TO THE HEAVENS IN DESPAIR.BLOOM, EXPERIENCING A DEFINITE LACK OF SUPPORT, GOES CRASHINGTO THE FLOOR. BIALYSTOCK OOOOOHH! OOOOOHH! OOOOOHH! OOOOOHH! I WANT THAT MONEY!CAMERA ON BLOOM AS HE LIES STRICKEN ON THE FLOOR. 23. BLOOM (to himself) Oh, I fell on my keys. (he shifts slightly to make himself more comfortable) I've got to get out of here. BIALYSTOCK (angrily hovering over Bloom) You miserable, cowardly, wretched little caterpillar. Don't you ever want to become a butterfly? Don't you want to spread your wings and flap your way to glory?BIALYSTOCK FLAPS HIS ARMS LIKE A HUGE PREDATORY BIRD. BLOOM (his eyes widened in terror) You're going to jump on me.BIALYSTOCK STARES AT HIM INCREDULOUSLY. BLOOM You're going to jump on me. I know you're going to jump on me -- like Nero jumped on Poppea. BIALYSTOCK (nonplussed) What??? BLOOM (by now he is shrieking) Poppea. She was his wife. And she was unfaithful to him. So he got mad and he jumped on her. Up and down, up and down, until he squashed her like a bug. Please don't jump on me. BIALYSTOCK (shouting and jumping up and down next to Bloom) I'm not going to jump on you! BLOOM (rolling away in terror) Aaaaaaaaaa! 24. BIALYSTOCK (hoisting Bloom to his feet) Will you get a hold on yourself. BLOOM (up on his feet and running for cover) Don't touch me! Don't touch me!HE RUNS TO A CORNER OF THE ROOM. TRAPPED! HE TURNS. BIALYSTOCK What are you afraid of? I'm not going to hurt you! What's the matter with you? BLOOM I'm hysterical. I'm having hysterics. I'm hysterical. I can't stop. When I get like this, I can't stop. I'm hysterical.BIALYSTOCK RUSHES TO THE DESK. PICKS UP A CARAFE OF WATERAND SHOSHES ITS CONTENTS INTO BLOOM'S FACE. BLOOM I'm wet! I'm wet! I'm hysterical and I'm wet!BIALYSTOCK IN A DESPERATE MOVE TO STOP BLOOM'S HYSTERICS,SLAPS HIM ACROSS THE FACE. BLOOM (holding his face) I'm in pain! And I'm wet! And I'm still hysterical!BIALYSTOCK RAISES HIS HAND AGAIN. BLOOM No! No! Don't hit. It doesn't help. It only increases my sense of danger. BIALYSTOCK What can I do? What can I do? You're getting me hysterical. BLOOM Go away from me. You frighten me. (he indicates the sofa) Sit over there. 25.BIALYSTOCK SITS ON THE SOFA. BIALYSTOCK (exasperated) Okay. I'm way over here. Is that better? BLOOM It's a little better, but you still look angry. BIALYSTOCK How's this? (he smiles sweetly) BLOOM Good. Good. That's nice. That's very nice. I think I'm coming out of it now. Yes. Yes. I'm definitely coming out of it. Thank you for smiling. It helped a great deal. BIALYSTOCK (for want of something sensible) Well, you know what they say, "Smile and the world smiles with you." Heh, heh. (to himself) The man should be in a straight jacket. (to Bloom) Feeling better? BLOOM Much, thank you. But I am a little lightheaded. Maybe I should eat something. Hysterics have a way of severely depleting one's blood sugar, you know. BIALYSTOCK They certainly do. They certainly do. Come, let me take you to lunch. BLOOM That's very kind of you, Mr. Bialystock, but I ... 26. BIALYSTOCK (interrupting) Nonsense, nonsense, my dear boy. I lowered your blood sugar, but least I could do is raise it a little.BLOOM LOOKS AT HIM SUSPICIOUSLY. BIALYSTOCK And I promise you faithfully, I won't discuss that silly scheme to make a million dollars anymore.BIALYSTOCK DONS HIS CAPE AND "BELASCO" HAT. FROM A RACK HESELECTS A GOLD-TOPPED WALKING STICK. HE GOES TO DOOR, OPENSIT, AND WITH A GRAND FLOURISH, MOTIONS BLOOM TO PRECEDE HIM. BIALYSTOCK Avanti!BLOOM GRACIOUSLY COMPLIES. THEY EXIT.CUT TO EXTERIOR. ENTRANCE OF BIALYSTOCK'S OFFICE BUILDING.THE DOOR OPENS. IT IS HELD BY BIALYSTOCK. BLOOM EXITSBUILDING INTO STREET. BLOOM (to Bialystock, who is holding door) Thank you. BIALYSTOCK Je vous empris.THEY TURN UP 45TH STREET AND HEAD TOWARD BROADWAY.BIALYSTOCK REACHES INTO HIS POCKET AND COUNTS HIS MONEY. HELOOKS WORRIED. SUDDENLY HIS FACE BRIGHTENS.WE SEE WHAT BIALYSTOCK SEES.CUT TO MURRAY THE BLINDMAN WORKING 45TH STREET.CAMERA BACK TO BIALYSTOCK AND BLOOM.BIALYSTOCK DROPS A STEP BEHIND, QUICKLY TAKES OFF HIS HATAND FLINGS IT THROUGH THE AIR. BIALYSTOCK (pointing to his hat) My hat. BLOOM I'll get it. 27.HE RACES AFTER IT.BIALYSTOCK DETOURS SLIGHTLY TOWARD MURRAY THE BLINDMAN, WHOWEARS A LARGE CARDBOARD SIGN WITH THE LEGEND: "MURRAY THEBLINDMAN. YOU CAN SEE. I CAN'T. GIVE!" INSCRIBED ON IT.BIALYSTOCK REACHES DOWN INTO HIS CUP AND GRABS A FIST FULLOF COINS. BIALYSTOCK Murray, I'm going to lunch. I took two dollars. MURRAY THE BLINDMAN Okay, Bialy, that makes six eighty you owe me. BIALYSTOCK I know. Don't worry. You'll get it. You'll get it. MURRAY THE BLINDMAN (tapping his way along) Well, don't forget about it. I need it. Nobody understands. I'm competing with giants. The Greater New York Fund. The March of Dimes. The Community Chest. They're driving me out of business.BLOOM COMES DASHING BACK WITH HAT IN HAND. BLOOM (out of breath) I got it, Mr. Bialystock.HE PROFFERS HAT TO BIALYSTOCK. BIALYSTOCK TAKES IT. BIALYSTOCK Thank you, Leo. And call me Max. You know, I don't let everybody call me Max. It's only people I really like. BLOOM (trying it on) Okay ... Max! And you can call me Leo. BIALYSTOCK I already have. Come on. BLOOM Oh. 28. BIALYSTOCK Where would you like to eat? BLOOM Well, Max, I don't know, Max. What do you think, Max?BIALYSTOCK QUIETLY WINCES AT THE SURFEIT OF MAX. BIALYSTOCK Let me see ... it's such a beautiful day. Why waste it indoors. I've got it! Let's go to Coney Island! We'll lunch at the sea shore. BLOOM Coney Island?? BIALYSTOCK What's the matter, Leo? Don't you like Coney Island? BLOOM I ... I love it. I haven't been there since I was a kid. But it's nearly two o'clock. I really should be getting back to Whitehall and Marks. BIALYSTOCK Nonsense! As far as Whitehall and Marks are concerned, you're working with Bialystock, right? BLOOM Right. BIALYSTOCK Then stick with Bialystock!SWISH PAN CUT TO CONEY ISLAND.FAR SHOT OF BIALYSTOCK AND BLOOM AMIDST THE CROWD AT ACUSTARD STAND.CAMERA ZOOMS IN. TWO SHOT. BIALYSTOCK (to Custard Man) We'll have another round. CUSTARD MAN What kind now, sports? 29. BIALYSTOCK What kind now, Leo? BLOOM (he's loosening up) I don't know. Let's see. We've had chocolate, vanilla, banana - let's go green. BIALYSTOCK (to Custard Man) Two pistachios, my good man. CUSTARD MAN I'm not your good man, I happen to own this establishment. (he turns to fill the order) BIALYSTOCK Everybody's a big shot. (turns to Bloom) Well, Leo, are you having a good time? BLOOM I don't know. I think so. I feel very strange. BIALYSTOCK Maybe you're happy. BLOOM Yes. That's it. Happy. Well, whatta ya think of that. Happy.QUICK DISSOLVE TO BIALYSTOCK AND BLOOM ON THE WHIP (A CONEYISLAND RIDE). THEY ARE TIGHTLY SQUEEZED INTO ONE OF THEMOVING SEATS. THEY ARE BETWEEN "WHIPS". BLOOM (licking his pistachio custard. He is ecstatic) I love it. I love it. Get set. We're coming to another turn. BIALYSTOCK (working, relentlessly working on Bloom) Bloom, it can always be like this. Life can be beautiful. Let me show you. Stick with ...THEY HIT THE TURN. 30. BIALYSTOCK Bialysto-o-o-o-ckk.QUICK DISSOLVE TO BARKER SELLING TICKETS IN FRONT OF TUNNELOF LOVE. MEDIUM SHOT OF EXIT. A LITTLE BOAT COMES OUT. INIT ARE A MAN AND A WOMAN EMBRACING. IT IS FOLLOWED BYANOTHER. IN IT THERE IS A SAILOR KISSING A GIRL. BOATNUMBER THREE COMES OUT. IN IT ARE BIALYSTOCK AND BLOOM.CLOSE IN TO A TIGHT TWO SHOT. BLOOM IS MESMERIZED.BIALYSTOCK SPEAKS IN A SOFT, ENCHANTING TONE. BIALYSTOCK Money is honey. Money is honey. Money can put soft things next to your skin. Silk ... satin ... women.CLOSE-UP OF BLOOM'S EYES. THEY WIDEN ON THE WORD "WOMEN."QUICK DISSOLVE TO PARACHUTE JUMP. BIALYSTOCK AND BLOOM ARESEATED IN A LITTLE GONDOLA THAT SWINGS BENEATH A HUGEPARACHUTE. THEY ARE BUCKLING THEMSELVES IN. BLOOM But if we're caught, we'll go to prison. BIALYSTOCK (sensing victory, he marshals his forces for the final assault) You think you're not in prison now? Living in a grey little room. Going to a grey little job. Leading a grey little life. BLOOM You're right. You're absolutely right. I'm a nothing. I spend my life counting other people's money -- people I'm smarter than, better than. Where's my share? Where's Leo Bloom's share? I want, I want, I want, I want everything I've ever seen in the movies!THE PARACHUTE BEGINS TO ASCEND. WE FOLLOW. BLOOM (coming out of it) Hey, we're going up. 31. BIALYSTOCK You bet your boots, Leo. It's Bialystock and Bloom -- on the rise. Upward and onward. Say, you'll join me. Nothing can stop us.BIALYSTOCK OFFERS HIS HAND TO BLOOM. BLOOM (shouting at the top of his lungs) I'll do it! By God, I'll do it!BLOOM GRABS BIALYSTOCK'S HAND AND SHAKES IT FIRMLY. BIALYSTOCK This is where we belong, Leo. On top of the world. Top of the world!THEY HIT THE TOP. THE PARACHUTE IS RELEASED, THEY QUICKLYPLUMMET DOWN. BIALYSTOCK Oiiiiiii!!! BLOOM Ohhhhhhhh!!!BIALYSTOCK AND BLOOM DROP OUT OF FRAME.SLOW DISSOLVE TO BIALYSTOCK'S OFFICE. NIGHT. OVERHEAD SHOT.BIALYSTOCK AND BLOOM ARE BATHED IN A SMALL POOL OFCONCENTRATED LIGHT. THEY ARE DOWN TO THEIR SHIRT SLEEVES.THEY ARE FEVERISHLY READING PLAY MANUSCRIPTS. ALL ABOUTTHEM ARE STREWN COFFEE CONTAINERS, SOME EMPTY, SOME HALF-FILLED. THERE IS A HUGE PILE OF DISCARDED SCRIPTS ON THEFLOOR.CUT TO TIGHT SHOT OF LEO BLOOM AS HE READS SCRIPT. HE LOOKSUP, PUSHES HIS GLASSES BACK AND MASSAGES THE BRIDGE OF HISNOSE. BLOOM Max, let's call it a night. It's two in the morning. I don't know what I'm reading anymore.PULL BACK TO TWO SHOT. BIALYSTOCK Read, read. We've got to find the worst play ever written. 32.BIALYSTOCK TURNS HIS ATTENTION TO A NEW SCRIPT. HE CRACKSIT OPEN AND BEGINS READING. BIALYSTOCK Hmmnn. "Gregor Samsa awoke one morning to find he had been transformed into a giant cock-a- roach."IN A RAGE BIALYSTOCK FLINGS THE MANUSCRIPT ONTO THE PILE OFDISCARDS AS HE BELLOWS: BIALYSTOCK It's good!!!CAMERA MOVES UP AND WE DISSOLVE THROUGH TO MEDIUM SHOT OFOFFICE. BIALYSTOCK AND BLOOM ARE THOROUGHLY DISHEVELED ANDBADLY IN NEED OF A SHAVE. BLOOM (mumbling to himself as he reads) Wait a minute, I've read this part. I'm reading plays I read this morning.HE GETS UP, STRETCHES, GOES TO WINDOW AND RAISES SHADE.SUNLIGHT FLOODS THE ROOM. HE REELS BACK AS THOUGH STRUCK. BLOOM Good lord, it's morning. Let's face it, we'll never find it. (he turns to face Bialystock) Max, tomorrow's another day. Today's another day. BIALYSTOCK (off-camera. Crazy little voice) We'll never find it, eh? We'll never find it, eh? Ha, ha, ha, ha, ha.CUT TO BIALYSTOCK. HE IS STANDING. AT HIS FEET LIES ASCRIPT. HE DANCES AROUND IT, HIS ARMS FOLDED ACROSS HISCHEST. BIALYSTOCK (as he does an insane little jig around the script) You can't smell it when it's under your nose. You can't see it when it's right before your eyes. (MORE) 33. BIALYSTOCK (CONT'D) You can't feel it when it's in your hand, when it's in your pocket.CUT TO MEDIUM SHOT. BLOOM Max, what is it? What are you doing? What's happening? BIALYSTOCK I'll tell you what's happening. We've struck gold. Not fool's gold, but real gold. The mother lode. The mother lode. The mother of them all. BLOOM (brightening) You found a flop! BIALYSTOCK A flop, ha! That's putting it mildly. A disaster! A catastrophe! An outrage! A guaranteed-to-close- in-one-night beauty!HE BENDS DOWN, PICKS UP THE SCRIPT AND SHAKES IT IN BLOOM'SFACE. BIALYSTOCK This is freedom from want forever. This is a house in the country. This is a Rolls Royce and a Bentley. This is wine, women and song and women.BLOOM SNATCHES THE SCRIPT FROM HIS HANDS AND READS ALOUD THETITLE.CUT TO CLOSE-UP. TITLE OF SCRIPT. BLOOM (voice over) "SPRINGTIME FOR HITLER, A Gay Romp with Adolph and Eva in Berchtesgarten." Fantastic!BACK TO TWO SHOT. BIALYSTOCK AND BLOOM. BIALYSTOCK It's practically a love letter to Hitler! 34. BLOOM (ecstatic) It won't run a week! BIALYSTOCK Run a week? Are you kidding? This play has got to close in the first act. BLOOM Who wrote it?CUT TO AUTHOR'S NAME ON THE MANUSCRIPT: By FRANZ LIEBKIND.DISSOLVE THROUGH AUTHOR'S NAME TO BIALYSTOCK AND BLOOM,SHAVED AND DAPPER, WALKING DOWN STREET IN A RUN-DOWN TENEMENTNEIGHBORHOOD. BLOOM Here it is -- 415.THEY MARCH UP STOOP TO NUMBER 415. THEIR MOTION IS ARRESTEDBY A QUERULOUS COMMAND ISSUED IN PHLEGMATIC TONES BY THESUPERINTENDENT OF THE BUILDING (A WOMAN IN HER LATE FORTIES)WHO IS LEANING OUT OF HER WINDOW WHICH IS ADJACENT TO THESTOOP. SUPER Who do you want? BLOOM (taken aback) I beg your pardon? SUPER Who do you want? No one gets in the building unless I know who they want ... I'm the concierge. My husband used to be the concierge. He's dead. Now I'm the concierge. BIALYSTOCK (imperiously) We are seeking Mr. Franz Liebkind. SUPER Oh, the kraut. He's on the top floor. Apartment twenty-three. BLOOM Thank you.THEY START INTO THE BUILDING. 35. SUPER But you won't find him there. He's up on the roof with his birds. He keeps birds. Dirty, disgusting, filthy, lice-ridden birds. You used to be able to sit out on the stoop like a person. Not anymore. No sir. Birds! You get my drift? BLOOM We ... uh ... get your drift. Thank you, Madam. SUPER I'm not a madam. I'm a concierge.BIALYSTOCK AND BLOOM ENTER THE BUILDING.CUT TO FRANZ LIEBKIND. HE IS IN HIS EARLY FORTIES. HE ISWEARING, AS ALWAYS, A GERMAN HELMET. HE CROUCHES BESIDE AHUGE PIGEON COOP. IN HIS LEFT HAND HE TENDERLY HOLDS APIGEON. IN HIS RIGHT, A SMALL PHOTO OF ADOLPH HITLER. HESHOWS THE PICTURE TO THE BIRD. HE MOVES IT BACK AND FORTHUNTIL HE IS SURE THE BIRD IS FOCUSED ON IT PROPERLY. LIEBKIND (to pigeon) Hilda, look ... look good ... Hilda, you're not looking. Hilda, if he lives, I know you will find him.HE KISSES THE BIRD AND TOSSES IT SKYWARD.CUT TO ROOF DOOR. BIALYSTOCK AND BLOOM ENTER ONTO THE ROOF.THEY LOOK FOR LIEBKIND. HE IS NOT ON THAT SIDE OF ROOF.THEY WALK AROUND TO OTHER SIDE. AS SOON AS THEY TURN THECORNER, THEY SPOT LIEBKIND CROUCHED NEAR THE COOP. BLOOM (quietly to Bialystock) He's wearing a German helmet. BIALYSTOCK (in a fierce whisper) Shhh. Don't say anything to offend him. We need that play. (cups his hands to his mouth and calls up to the coop) Franz Liebkind?LIEBKIND IS NOT AWARE OF THEIR PRESENCE UNTIL HE HEARS HISNAME CALLED. 36.STARTLED, HE QUICKLY FLIPS HITLER'S PICTURE UNDER HIS HELMET. LIEBKIND (he speaks with a German accent) I vas never a member of the Nazi party. I am not responsible. I only followed orders. Who are you? BIALYSTOCK Mr. Liebkind, wait. You don't understand. LIEBKIND Vhy do you persecute me? My papers are in order. I love my country. (he sings) "Oh, beautiful for spacious skies, For amber vaves of grain." BIALYSTOCK Mr. Liebkind, wait ... LIEBKIND (singing) "I'm a Yankee Doodle Dandy ... BIALYSTOCK (interrupting) Mr. Liebkind, relax, relax, we're not from the government. We came here to talk to you about your play. LIEBKIND My play? You mean, "Springtime For ... " you know who? BIALYSTOCK Yes. LIEBKIND Vat about it? BIALYSTOCK We loved it. We thought it was a masterpiece. That's why we're here. We want to produce it on Broadway. LIEBKIND You're not, as you Americans say, dragging my leg, are you? 37. BLOOM No, not at all sir, we're quite serious. We want to produce your play. (he reaches into his attache case and displays a legal looking document) I have the contracts right here. LIEBKIND (looking up) Oh joy of joys! Oh, dream of dreams! I can't believe it. (he turns to the pigeons) Birds, birds, do you hear? Otto, Bertz, Heintz, Hans, Wolfgang, do you hear? Ve are going to clear the Fuhrer's name. Fly, fly, spread the words.HE OPENS THE CAGES AND SETS THE BIRDS FREE. LIEBKIND (singing at the top of his lungs) "Deutchland, Deutchland, uber alles, Uber alles in der velt."BIALYSTOCK AND BLOOM LOOK AT EACH OTHER IN ALARM. LIEBKIND (singing for all he's worth) "Deutchland, Deutchland ... " BLOOM (shouting) Mr. Liebkind, Mr. Liebkind.LIEBKIND STOPS SINGING. LIEBKIND Vat? BLOOM People can hear you. LIEBKIND OH. (he sings) "I'm a Yankee Doodle Dandy, Yankee Doodle is my ... " Listen, this is not place to talk. Come! (MORE) 38. LIEBKIND (CONT'D) We go to my flat. An occasion like this calls for Schnapps.DISSOLVE TO FRANZ LIEBKIND'S APARTMENT. LIEBKIND HAS JUSTFINISHED POURING THREE GLASSES OF SCHNAPPS. HE PUTS THEBOTTLE ON A TRAY. LIEBKIND (as he hands glasses to Bialystock and Bloom) Mr. Bloom, Mr. Bialystock. Gentleman, with your permission, I would like to propose a toast to the greatest man that ever lived. Let us say his name quietly to ourselves. The walls have ears.CUT TO TIGHT SHOT OF FRANZ LIEBKIND. LIEBKIND (a fervent whisper) Adolph Hitler. (he downs drink)CUT TO TIGHT SHOT OF BLOOM. BLOOM (whisper) Sigmund Freud. (he downs drink)CUT TO TIGHT SHOT OF BIALYSTOCK. BIALYSTOCK (whisper) Max Bialystock. (he downs drink)BACK TO SCENE. LIEBKIND I vas vit him a great deal, you know. BIALYSTOCK With whom? 39. LIEBKIND (astonished by the question) Vit the Fuhrer, of course. He liked me. Out of all the household staff at Berchtesgarten, I vas his favorite. I vas the only one allowed into his chambers at bedtime. BIALYSTOCK No kidding? LIEBKIND Oh, sure. I used to take him his hot milk and his opium. Achhh, those were the days. Vat good times ve had. Dinner parties vit lovely ladies and gentlemen, singing und dancing. You know, not many people knew about it, but the Fuhrer vas a terrific dancer. BIALYSTOCK Really, I never dreamed ... LIEBKIND (flies into an indignant rage) That's because you were taken in by that verdampter Allied propaganda. Such filthy lies. But nobody said a bad vord about Winston Churchill, did they? Oh no, Vin Vit Vinnie! (he gestures V for victory) Churchill, vit his cigars and his brandy and his rotten paintings. Couldn't even say Nazi. He would say Narzis, Narzis. Ve vere not Narzies, ve vere Nazis. But let me tell this, and you're getting it straight from the horse, Hitler vas better looking than Churchill, he vas a better dresser than Churchill, had more hair, told funnier jokes, and could dance the pants off Churchill! BIALYSTOCK (swinging along) That's exactly why we want to do this play. To show the world the true Hitler, the Hitler you knew, the Hitler you loved, the Hitler with a song in his heart. (MORE) 40. BIALYSTOCK (CONT'D) (to Bloom) Leo, quick, the contract.BLOOM QUICKLY WHIPS THE CONTRACT OUT OF HIS POCKET, PRODUCESA PEN, HANDS THEM TO BIALYSTOCK. BIALYSTOCK SPREADS THECONTRACT OUT ON THE TABLE BEFORE LIEBKIND. BIALYSTOCK Here, sign here, Franz Liebkind. And make your dream a reality.HE HANDS LIEBKIND THE PEN. LIEBKIND REFUSES IT. LIEBKIND Wait. No. How do I know I can trust you? How do I know you vill present this play in the manner and spirit in vhich it vas conceived? BIALYSTOCK We swear it! LIEBKIND Not good enough... Vould you be villing to take the Siegfried oath? BIALYSTOCK Yes. We would!INSERT: CLOSE-UP BLOOM. HE LOOKS WORRIED. LIEBKIND Good. I will make the preparations.LIEBKIND LEAVES THE ROOM. BLOOM (anxious whisper) Max, I don't want to take any Siegfried Oath. I don't know what it is, but I don't want to take it. We might end up in the German Army. BIALYSTOCK Shut up, you idiot. He's a harmless nut. Play along with him. It's almost in the bag.LIEBKIND ENTERS. HE IS LADEN DOWN WITH ALL SORTS OFRITUALISTIC PARAPHERNALIA. LIEBKIND PLACES ALL THE STUFF ONTHE TABLE. WITHOUT A WORD TO THEM, HE GOES TO PHONOGRAPH. 41.IN A FEW SECONDS WE HEAR THE OPENING STRAINS OF WAGNER'S"RIDE OF THE VALKYRIES." AS THE MUSIC BOOMS LOUDER, LIEBKINDADDRESSES THEM. LIEBKIND Please to don your helmets.FROM THE TABLE THEY TAKE CLASSIC WAGNERIAN HELMETS (WITHHORNS) AND PLACE THEM ON THEIR HEADS. LIEBKIND Please to light your candles.THEY EACH TAKE A HUGE WHITE CANDLE FROM THE TABLE AND LIGHTIT. LIEBKIND FLICKS THE LIGHT SWITCH. NOW THEY ARE IN THEDARK EXCEPT FOR THE GLOW OF THEIR CANDLES. LIEBKIND Please repeat after me. I solemnly swear... BIALYSTOCK AND BLOOM I solemnly swear... LIEBKIND By the sacred memory... BIALYSTOCK AND BLOOM By the sacred memory... LIEBKIND Of Siegfried... BIALYSTOCK AND BLOOM Of Siegfried... LIEBKIND Wagner... BIALYSTOCK AND BLOOM Wagner... LIEBKIND Nietzche... BIALYSTOCK AND BLOOM Nietzche... LIEBKIND Bismark... BIALYSTOCK AND BLOOM Bismark... 42. LIEBKIND Hindenburg... BIALYSTOCK AND BLOOM Hindenburg... LIEBKIND The Graf Spee... BIALYSTOCK AND BLOOM The Graf Spee... LIEBKIND The Blue Max... BIALYSTOCK AND BLOOM The Blue Max... LIEBKIND And last, but not least, Adolph... you know who. BIALYSTOCK AND BLOOM And last, but not least, Adolph... you know who. LIEBKIND (saluting) Heil you know who! BIALYSTOCK AND BLOOM (spiritlessly saluting) Heil you know who! LIEBKIND Good. Good. Now ve sign the contract. BIALYSTOCK Good. Good. (he hands Liebkind the pen) LIEBKIND No. No. Not in ink. We'll desecrate the oath. It must be done in blood.CUT TO BLOOM'S FACE. IT IS A SILENT OI. LIEBKIND Fingers, please. 43.BIALYSTOCK AND BLOOM EXTEND THEIR FOREFINGERS AND LOOK THEOTHER WAY. LIEBKIND PRICKS THEM WITH THE SACRED SAFETY PIN,AND SQUEEZES A FEW DROPS OF BLOOD FROM EACH INTO THE SACREDVESSEL (A JAR COVER). HE DOES THE SAME WITH HIS OWN FINGER. LIEBKIND Ve vill sign vit this sacred qvill taken from the last chicken I served at Berchtesgarten.LIEBKIND SIGNS. "THE RIDE OF THE VALKYRIES" REACHES ITSZENITH. IT ECHOES THROUGH THE ROOM AS WE FADE OUT.FADE IN ON BIALYSTOCK AND BLOOM AS THEY WALK UP STREET AWAYFROM TENEMENT. IT IS LATE AFTERNOON. THEY ARE BOTH WEARINGSWASTIKA ARM BANDS. BIALYSTOCK (triumphantly whacking the contract with the back of his hand) There it is... in red and white! "Springtime For Hitler," signed, sealed and delivered. (he notices Bloom's dour expression) What's the matter with you? BLOOM Look, I'm just not wearing this arm band. I don't care how big the deal is. BIALYSTOCK (placating him) Okay, take it off, take it off.THEY TAKE OFF THEIR ARM BANDS AND TOSS THEM INTO A LITTERBASKET. BIALYSTOCK SPOTS A PASSING TAXI. HE WHISTLES. ITSTOPS. BIALYSTOCK (to cab driver as he opens door) The Blue Gypsy. BLOOM (about to enter cab with Bialystock) Why are we going to the Blue Gypsy?! 44. BIALYSTOCK (stopping Bloom from entering cab) We are not going to The Blue Gypsy. I am going to The Blue Gypsy.BIALYSTOCK GETS INTO CAB AND SLAMS THE DOOR. HE CONTINUESSPEAKING TO BLOOM THROUGH THE WINDOW. BIALYSTOCK I have a rendez-vous with a lady of some means. You see dear Bloom, phase one is complete, the play is ours. We are now entering phase two -- the raising of the money. In the days to come, you will see very little of me, for Bialystock is launching himself into little- old-lady-land. (to cab driver) Avanti!THE CAB SPEEDS AWAY.SWISH PAN CUT TO TIGHT SHOT OF LITTLE OLD LADY #3. IN HERHAND SHE HOLDS A BUBBLING GLASS OF CHAMPAGNE. SHE RAISES ITTO BIALYSTOCK.PULL BACK TO TWO SHOT OF BIALYSTOCK AND LITTLE OLD LADY.THEY ARE SEATED IN A CORNER BOOTH OF A LITTLE VIENNESE CAFE. LITTLE OLD LADY #3 Here's to the success of your new play.BIALYSTOCK RAISES HIS GLASS. BIALYSTOCK Our play, my love.HE GALLANTLY INTERTWINES HIS ARMS IN HERS IN A LOVER'S TOAST.IT IS HARD TO DRINK WITH ARMS ENTWINED, ESPECIALLY IF ONE OFTHE ARMS IS ATTACHED TO A LITTLE OLD LADY. THE TOAST IS AFIASCO, BIALYSTOCK GETTING MOST OF THE CHAMPAGNE OVER HISVEST AND TROUSERS. LITTLE OLD LADY #3 Oh, I'm sorry, Bialy, did I wet you? BIALYSTOCK Think nothing of it, my dear. A mere trifle. A mere trifle. Did you bring your checkbook? 45. LITTLE OLD LADY #3 It's right here in my purse and I made it out just as you told me -- to cash. That's a funny name for a play. BIALYSTOCK Think nothing of it.SHE SNAPS OPEN HER LITTLE BEADED PURSE, TAKES OUT THE CHECKAND BEGINS TO HAND IT TO BIALYSTOCK. AT THIS MOMENT, WE AREASSAULTED BY THE PASSIONATE SOUND OF A CRYING VIOLIN.CAMERA PULLS BACK TO REVEAL A VIOLINIST IN GYPSY ATTIRECLOSING IN ON THE TABLE. THE LITTLE OLD LADY IS DELIGHTEDBY THE VIOLINIST AND UNFORTUNATELY FOR BIALYSTOCK STOPS THEPASSAGE OF THE CHECK AS HER ATTENTION IS DIVERTED.BIALYSTOCK CAUTIOUSLY REACHES OUT TO SNATCH THE CHECK BUTEACH TIME THAT HE DOES, A TURN IN THE MUSIC MAKES THE LITTLEOLD LADY CLUTCH HER HEART. BIALYSTOCK IS VERY UNHAPPY. HEQUIETLY BRINGS HIS FOOT FROM BENEATH THE TABLE AND PLACES ITDIRECTLY OVER THE FOOT OF THE VIOLINIST.CUT TO CLOSE-UP OF BIALYSTOCK'S FOOT POISED OVER VIOLINIST'SFOOT. BIALYSTOCK PROCEEDS TO CRUSH VIOLINIST'S FOOT.CUT TO VIOLINIST'S FACE. SOMEHOW IT CONVEYS TO US ALL THEMISERY AND PAIN OF THE HUMAN CONDITION. WITH EYES CROSSEDBY GRIEF, HE LIMPS TO ANOTHER TABLE. BIALYSTOCK QUICKLYREACHES OUT AND SNATCHES THE CHECK.SWISH PAN CUT TO HANSOM CAB THREADING ITS WAY THROUGHCENTRAL PARK. NIGHT.CUT TO INTERIOR OF CAB. BIALYSTOCK IS COZILY ENSCONCED WITHLITTLE OLD LADY #4. BIALYSTOCK (taking check from old lady) Thank you, my dear. LITTLE OLD LADY #4 Oh, Bialy, Bialy, tell me again. Tell me again. BIALYSTOCK Edna, I swear on my life, you don't look a day over sixty-five.SWISH PAN CUT TO CITY TRAFFIC. DAY. A TAXI FILLS THESCREEN. AS IT MOVES OUT OF FRAME, WE DISCOVER BIALYSTOCKAND LITTLE OLD LADY #5 ASTRIDE A RED AND WHITE HONDA MOTORSCOOTER. AS THEY ROAR PAST THE CAMERA, BIALYSTOCK SHOUTS. 46. BIALYSTOCK Clear the road! Clear the road! LITTLE OLD LADY #5 (clutching Bialystock fiercely) Go, Bialy, baby, go!SWISH PAN CUT TO POSH PARK AVENUE APARTMENT. NIGHT. APRIVATE CONCERN IS IN PROGRESS. A THIN, CONSUMPTIVE-LOOKINGYOUNG MAN FINGERS HIS WAY THROUGH A CHOPIN NOCTURNE.CAMERA SLOWLY PANS THE ROOM. SEATED IN A SEMI-CIRCLE AROUNDTHE PIANO ON VARIOUS PIECES OF DELICATE EMPIRE FURNITURE ISAN AUSTERE GROUP OF ELDERLY DIGNIFIED PATRONS OF THE ARTS.SUDDENLY AN OLD LADY'S SHRIEK RENDS THE AIR. EVERYONE'SHEAD TURNS. LITTLE OLD LADY #6 (slightly flustered) Go on with the concert! Go on with the concert! It's nothing. Nothing.BIALYSTOCK STARES STRAIGHT AHEAD. LITTLE OLD LADY #6 (to Bialystock, smiling) You dirty man.SWISH PAN CUT TO NEW YORK STREET. OLD FASHIONED LIMOUSINEPULLS INTO VIEW. THE WINDOW SHADES ARE DRAWN. AS ITPASSES, WE DETECT STRANGE SOUNDS EMANATING FROM THE INTERIOR. LITTLE OLD LADY #7 (off camera) Tee hee, ha ha ha, ho ho, ooo, ooo, teehee hee. BIALYSTOCK (off camera, simultaneously) Heh, heh, heh. Hah, hah, hah.THE CAR DRIVES OUT OF FRAME.SWISH PAN CUT TO SCULPTOR'S ATELIER. DAY. AN ANCIENTLITTLE OLD LADY WEARING A SCULPTOR'S SMOCK IS FEEBLY CHIPPINGAWAY WITH CHISEL AND HAMMER AT A HUGE SQUARE BLOCK OF MARBLE.SHE MAKES NOT A SCRATCH ON IT.CAMERA DOLLIES BACK TO REVEAL BIALYSTOCK, HER SUBJECT,STANDING NUDE, EXCEPT FOR LOIN CLOTH, HOLDING UP AN ENORMOUSGLOBE. HE IS OBVIOUSLY ATLAS. 47. LITTLE OLD LADY #8 (stepping back to admire her work) Well, Bialy, how's it coming? BIALYSTOCK It's beautiful, Alma, beautiful. (to the heavens) Oi.SWISH PAN CUT TO LIVING ROOM. NIGHT. BIALYSTOCK, DRESSEDAS A TURKISH SLAVE, IS ASLEEP ON THE SOFA. THE ROOM HASBEEN DONE IN A BYZANTINE DECOR. THE STRAINS OF SCHEHERAZADESOFTLY FILL THE ROOM. SUDDENLY A WHIP COMES FLASHING INTOTHE FRAME AND WHACKS AGAINST THE TORSO OF THE SLEEPINGBIALYSTOCK.SHOT WIDENS TO REVEAL 'HOLD ME, TOUCH ME' WIELDING THE WHIP.SHE IS DRESSED IN AN 'ARABIAN NIGHTS' COSTUME. HOLD ME, TOUCH ME Dance! Dance, slave!BIALYSTOCK IS UP IN A FLASH AND INTO A QUICK TURKISH TIMESTEP SO AS TO AVOID THE DEADLY LASH. BIALYSTOCK How's this? HOLD ME, TOUCH ME Faster, faster, you dog. Excite me, delight me. Hold me, touch me.CUT TO CLOSE-UP OF BIALYSTOCK'S FACE AS HE DANCES. BIALYSTOCK (murmuring to himself) Money is honey, money is honey.DISSOLVE TO BIALYSTOCK'S OFFICE. NIGHT. BIALYSTOCK ISSEATED AT THE DESK. ON ONE SIDE OF HIM IS A LARGE STACK OFSIGNED INVESTOR CONTRACTS. ON THE OTHER AN EQUALLY LARGEPILE OF UNSIGNED ONES. BIALYSTOCK SIGNS FURIOUSLY, AS BLOOMFEEDS THE CONTRACTS TO HIM. BLOOM (handing Bialystock contract) Mrs. Sarah Catheart. She owns 50% of the profits.BIALYSTOCK DUTIFULLY SIGNS. BLOOM TAKES ANOTHER AND PLACESIT BEFORE BIALYSTOCK. 48. BLOOM Mrs. Eleanor Biddlecombe. She also owns 50% of the profits.BIALYSTOCK SIGNS. BLOOM PUTS THE NEXT ONE DOWN. BLOOM Mrs. Virginia Resnick. She also owns 50% of the profits.BIALYSTOCK SIGNS. BLOOM TAKES ANOTHER. BLOOM Mrs. Alma Wentworth. She owns 100% of the profits.BIALYSTOCK SIGNS. THEN LOOKS UP AT BLOOM. BIALYSTOCK Leo, what if this play is a hit? BLOOM Then the Department of Justice owns 100% of Bialystock and Bloom. BIALYSTOCK (Bloom's thought makes him unhappy) OI. I'm depressed. Leo, do me a favor. Open the safe. I want to see the money.LEO, HUMORING HIM, SPINS THE COMBINATION DIAL ON SAFE ANDOPENS IT.CUT TO INSIDE OF SAFE. IT IS JAMMED FULL OF NEATLY STACKEDPILES OF MONEY.CUT TO BIALYSTOCK ON HIS HANDS AND KNEES IN FRONT OF SAFE. BIALYSTOCK (to himself. Inhales deeply) That's better.BIALYSTOCK TAKES OUT A STACK OF NEATLY FOLDED BILLS. HESMELLS IT, KISSES IT AND PUTS IT IN HIS POCKET. BLOOM What are you doing? BIALYSTOCK I'm going to buy a toy. I worked very, very hard and I think I deserve a toy. 49. BLOOM (quizzically) A toy?DISSOLVE TO CLOSE-UP, FACE OF A GORGEOUS BLONDE, ULLA.DOLLY BACK TO REVEAL THE REST OF HER. SHE IS INCREDIBLYWELL-ENDOWED.CUT TO BIALYSTOCK AND BLOOM. THEIR EYES GLUED TO HER FORM. BLOOM That's a toy? BIALYSTOCK Yes. She's an adult, educational toy made in Sweden for children over fifty.BLOOM STARES AT HIM. BIALYSTOCK Stop looking at me like that. She's not an indulgence. She happens to be our new receptionist. She goes with our new surroundings.QUICKLY PAN POSH NEW WALL-PAPER, FURNISHINGS, ETC. BIALYSTOCK Ulla, I'd like you to meet my partner and associate, Mr. Leo Bloom. ULLA Got dag pa dig. BLOOM How do you do. (to Bialystock) Have you gone mad? A receptionist that can't speak English. What will people say? BIALYSTOCK They'll say, "Oooh, wah, wah, wah, ooh, ooh." BLOOM What is she gonna do here? BIALYSTOCK I'll show you. Ulla, go to work. ULLA Ya, sur. 50.ULLA GOES TO PHONOGRAPH AND PLACES NEEDLE ON RECORD. THEDRIVING SOUND OF A TWIST FILLS THE ROOM. ULLA SENSUOUSLYTWISTS, VIBRATES, FRUGS, WATUSIS AND ROCKS HER BODY IN TIMEWITH MUSIC. BIALYSTOCK See, it helps the day go by. Ulla, okay. Okay.ULLA STOPS, GOES TO PHONOGRAPH AND TAKES NEEDLE OFF. BIALYSTOCK Go to desk. Answer telephone.HE PICKS UP PHONE TO SHOW HER. BIALYSTOCK Bialystock and Bloom. Bialystock and Bloom. ULLA (repeating to herself as she leaves) Bialystock and Blum. Bialystock and Blum. Bialystock and Blum. Got dag pa dig. Bialystock and Blum. BIALYSTOCK (to Bloom, opening up a box on his desk) Hey, Blum, have a cigar. BLOOM No thanks.BIALYSTOCK TAKES AN ENORMOUS BLACK CIGAR. BLOOM Max, maybe...BIALYSTOCK REACHES UNDER HIS DESK. PRESSES BUZZER. WE HEARBUZZING SOUND IN ANTE-ROOM. BLOOM What's that? BIALYSTOCK Nothing. Nothing. Go on.ULLA ENTERS. GOES TO DESK, PICKS UP CIGARETTE LIGHTER,LIGHTS BIALYSTOCK'S CIGAR, KISSES HIM. 51. ULLA (pinching Bialystock's cheek) Min Bialystock.ULLA LEAVES. BIALYSTOCK Nice girl. BLOOM Max, as I was saying, maybe we should go easy on the spending. I mean these offices and everything. BIALYSTOCK Why? Take it when you can get it! Flaunt it, baby, flaunt it! BLOOM But if something should... God forbid... go wrong, at least we could give them some of their money back. It would look better in court. BIALYSTOCK Stop talking like that, you white mouse! Nothing's going to go wrong. As a matter of fact, today I have taken steps to insure total disaster. At two o'clock we have an appointment with none other than Roger De Bris. BLOOM (searching) Roger De Bris. Roger De Bris. Oh yes, the director. Is he good... I mean bad? BIALYSTOCK Roger De Bris is the worst director that ever lived. BLOOM Do you think he'll take the job? BIALYSTOCK Only if we ask him.BIALYSTOCK CONSULTS HIS WATCH. 52. BIALYSTOCK Come on. We'd better hurry. We're late.BIALYSTOCK BUZZES. ULLA ENTERS. BIALYSTOCK Call chauffeur. Get car. ULLA (smiling) Good. Good. We go Motel. BIALYSTOCK No. We go. (he indicates Bloom and himself) ULLA You, Blum go Motel. BIALYSTOCK No. No Motel. Get car. Get car. ULLA (as she leaves) Get car. Get car. BIALYSTOCK Very nice girl.DISSOLVE TO STREET IN FRONT OF CHIC TOWNHOUSE UPPER SIXTIES.DAY. A WHITE ROLLS ROYCE LIMO PULLS UP. A LIVERIEDCHAUFFEUR WITH SMALL LATIN-TYPE MUSTACHE GETS OUT AND OPENSDOOR FOR PASSENGERS. BIALYSTOCK AND BLOOM GET OUT. BIALYSTOCK (to chauffeur) Thank you, Rudolfo.BIALYSTOCK AND BLOOM CLIMB THE STEPS TO THE FRONT DOOR.BIALYSTOCK PUSHES THE DOORBELL. WE HEAR CHIMES. BIALYSTOCK (whispering) Now don't let anything he does or says upset you. He's a little peculiar. BLOOM What do you mean? 53.THE DOOR OPENS. FRAMED IN THE DOORWAY IS A THIN, STRANGELOOKING MAN IN A BLACK TURTLENECK SWEATER. (CARMEN GIYA)HE CONTEMPLATES THEM COLDLY. CARMEN Yesssssss? BIALYSTOCK I am Max Bialystock. This is my associate, Mr. Bloom. We have an appointment with Mr. De Bris. CARMEN Ah, yes, you're expected. Please come in.THEY ENTER THE VESTIBULE. CARMEN CLOSES THE DOOR BEHIND THEM. CARMEN How do you do. I'm Carmen Giya, Mr. De Bris' private secretary. Would you be so kind as to remove your shoes.BIALYSTOCK AND BLOOM LOOK AT EACH OTHER BEWILDERED. CARMEN White, white, white is the color of our carpets.BIALYSTOCK AND BLOOM REMOVE THEIR SHOES. CARMEN (to Bloom indicating a rack of slippers) Now, let's see, you're wearing grey. I would suggest the crimson. They're a little vivid, but your suit is so quiet. (to Bialystock, studying his mish mash attire) Why don't you... Oh, take anything. Please follow me.CARMEN LEADS THE WAY. BIALYSTOCK AND BLOOM SCUFF AFTER HIM.WE FOLLOW THEM DOWN A NARROW CORRIDOR LINED WITH EXAMPLES OFCLASSIC GREEK SCULPTURE -- EACH ONE DEPICTING NUDE MALES INVARIOUS POSES.INT: ELEVATOR.CUT TO ROGER DE BRIS' BOUDOIR SITTING ROOM. IT IS ELEGANTLYFEMININE. 54.CHAISE LOUNGE, ANTIQUE MIRRORS, LOUIS XVI ARMOIRE ANDDRESSING TABLE. FROM BEHIND AN ORNATE DRESSING SCREEN, WEHEAR MUFFLED SOUNDS OF DISCONTENT. DE BRIS (from behind screen) I'll never get into this damned thing.CUT TO BOUDOIR ENTRANCE. CARMEN, BIALYSTOCK AND BLOOM ENTER. CARMEN (to De Bris) We're not alone.DE BRIS' HEAD POPS OVER THE SCREEN. HE IS A ONCE HANDSOME,NOW DISSIPATED MAN IN HIS LATE FORTIES. DE BRIS Ah, Messers Bialystock and Bloom, I presume. Ha, ha, ha, forgive the pun. BLOOM (to Bialystock) What pun? BIALYSTOCK (a curt whisper) Shut up. He thinks he's witty. (to De Bris) It's good to see you again, Roger. Did you get a chance to read "Springtime For Hitler?"DE BRIS EMERGES FROM BEHIND THE SCREEN. HE IS WEARING A"LADY WINDERMERE'S FAN" STYLE DRESS. DE BRIS Remarkable. Remarkable. A stunning piece of work. BLOOM (shocked, whispers) Max! He's wearing a dress. (his mouth remains open) BIALYSTOCK Shhhhhh. 55. DE BRIS (continuing) I think it's a very important play. I, for one, never realized that the Third Reich meant Germany. I mean it's drenched with historical goodies like that.DE BRIS IS SUDDENLY AWARE OF BLOOM'S EXPRESSION. (BLOOM'SMOUTH IS STILL AGAPE.) DE BRIS Oh, dear, you're staring at my dress. I should explain. I'm going to the Choreographer's Ball tonight. There's a prize for the best costume. CARMEN (smugly) We always win. DE BRIS (looking in the mirror) I'm not so sure about tonight. I'm supposed to be the Grand Duchess -- I think I look more like Tugboat Annie. What do you think?HE PARADES BACK AND FORTH, EXECUTING SHARP TURNS LIKE AMODEL AT A FASHION SHOW. DE BRIS No be cruel. Be brutal. Be brutal. Because heaven knows they will. Well, what do you think, Mr. Bloom? BLOOM (very embarrassed) Well, it's... uh... it's nice and long... I mean, it's... uh... uh... where do you keep your wallet? BIALYSTOCK (jumping in) It's gorgeous. Absolutely gorgeous. You couldn't have picked a better color. It brings out your eyes. Let's face it, Roger, that dress is you. 56. DE BRIS (his eyes flashing flirtatiously) Do you really think it brings out my eyes? CARMEN (irritated) We can't tell a thing without your wig. As far as I'm concerned, you're only half-dressed. DE BRIS Ummmm. Well, if you're so worried about the wig, get it, o' wicked witch of the west.CARMEN TURNS IN A HUFF AND LEAVES TO GET THE WIG. DE BRISREACHES INTO CUT CRYSTAL CIGARETTE BOX, TAKES CIGARETTE,TAPS IT, AND HOLDS IT FOR A LIGHT. BIALYSTOCK (in a whisper to Bloom) Quick, light his cigarette. He likes you.BLOOM NERVOUSLY REACHES FOR A BOOK OF MATCHES, RIPS ONE OUTAND STRIKES IT. IT DOESN'T LIGHT. HE TRIES ANOTHER ANDANOTHER. ONE FINALLY CATCHES FIRE. HE TRIES TO HOLD ITSTEADY, BUT HE IS TOO NERVOUS. DE BRIS FIRMLY PLACES HISHAND OVER BLOOM'S TO STEADY THE FLAME. DE BRIS Didn't I meet you on a summer cruise?HE LIGHTS THE CIGARETTE BUT CONTINUES TO HOLD BLOOM'S HAND. BLOOM I've... I've... never been on a cruise. DE BRIS Oh, quel dommage.CARMEN ENTERS CARRYING WIG. HE SEES DE BRIS HOLDING BLOOM'SHAND. CARMEN (snidely) Oh, I see we're getting acquainted.DE BRIS DROPS BLOOM'S HAND AND TURNS ON CARMEN. 57. DE BRIS How would you like to go back to teasing hair, big mouth? BIALYSTOCK Roger, do you mind if we talk a little business? DE BRIS Please, please, that's what we're here for. (to Carmen, who is adjusting the wig) Be careful, that hurt. BIALYSTOCK I think this would be a marvelous opportunity for you, Roger. Up to now, you've always been associated with musicals, and... DE BRIS Yes. Dopey show-girls in gooey gowns. Two-three-kick-turn! Turn- turn-kick-turn! It's enough to make you throw up! At last a chance to do straight drama! To deal with conflict, with inner truth. Roger De Bris presents history. Of course, I think we should add a little music. That whole third act has got to go. They're losing the war. It's too depressing. We'll have to put something in there. (gripped by his vision) Aaahghhh! I see it! A line of beautiful girls, dressed as Storm Troopers, black patent leather boots, all marching together... Two-three-kick-turn! Turn-turn- kick-turn! BIALYSTOCK That's genius. That's genius. Roger, I think I speak for Mr. Bloom and myself when I say that you're the only man in the world who can do justice to SPRINGTIME FOR HITLER. 58. DE BRIS (in one rush) Wait a minute. This is a very big decision. It might effect the course of my entire life. I'll have to think about it. I'll do it.DE BRIS EXTENDS HIS HAND. BIALYSTOCK SHAKES IT. BIALYSTOCK Congratulations. DE BRIS (to Carmen) Get on the phone. Send out a casting call. Call every agent in town. I want to see everybody. Everybody.DISSOLVE TO STAGE DOOR OF BROADWAY THEATRE. DAY. SIGN ONDOOR READS: CASTING TODAY -- SPRINGTIME FOR HITLER.QUICK DISSOLVE TO INTERIOR OF THEATRE. THE PLACE IS AMADHOUSE. HUNDREDS OF WOULD-BE HITLERS FILL THE STAGE.EACH AND EVERY ONE WITH THE FUHRER'S HAIRCUT AND LITTLESQUARE MUSTACHE. THERE ARE TALL HITLERS, SHORT HITLERS, FATHITLERS, SKINNY HITLERS, METHOD HITLERS, SHAKESPEAREANHITLERS, ALL KINDS HITLERS.CUT TO FIRST ROW OF AUDIENCE. SEATED THERE, WATCHING THEBEDLAM, ARE BIALYSTOCK AND BLOOM, DE BRIS, CARMEN GIYA ANDFRANZ LIEBKIND. BIALYSTOCK (looking for the least likely Hitler) Roger, what about that one? The fat Hitler on the right? DE BRIS I don't know. I rather fancy that one.CUT TO BEAUTIFUL, BLOND, MUSCULAR, YOUNG MAN, WHO LOOKS ASIF HE IS POSING FOR "BODY BEAUTIFUL." HE BEARS NOT THESLIGHTEST RESEMBLANCE TO HITLER EVEN THOUGH HE DOES SPORT ALITTLE BLACK MUSTACHE.CUT BACK TO BIALYSTOCK. BIALYSTOCK Not bad. Not bad. What do you think, Franz? 59. LIEBKIND (very emotional) I don't know. I don't know. For some strange reason, I'm deeply moved. (he wipes away a tear) DE BRIS (getting to his feet) Oh, this is bedlam, bedlam. We must have some order.DE BRIS, FOLLOWED BY CARMEN, HOPS TO THE STAGE AND ADDRESSESTHE MILLING MOB. DE BRIS (clapping his hands for attention) Will all the dancing Hitlers please wait in the wings. We're only taking the singing Hitlers.AS THE DANCING HITLERS LEAVE THE STAGE, CARMEN ARRANGES THESINGING HITLERS SO THAT THEY ARE IN A LONG STRAIGHT LINEAGAINST THE BACK OF THE STAGE WALL. CARMEN READS OUT A NAMEAND THE FIRST SINGING HITLER WALKS DOWNSTAGE TO AUDITION.EXCEPT FOR A SPORTY LITTLE HITLER MUSTACHE, HE BEARS LITTLERESEMBLANCE TO THE FUHRER. CARMEN Arthur Packard. DE BRIS Hello, Arthur. Tell us something about yourself. ARTHUR PACKARD (in a strangulated tenor's voice) I was the lead tenor of the Albuquerque Opera Company for two seasons. I just finished a road tour of STUDENT PRINCE. And last season I was up for the lead in the Broadway production of Circus Man. DE BRIS What happened? ARTHUR PACKARD I didn't get it. 60. DE BRIS What are you going to sing for us Arthur?AS ARTHUR TELLS HIM THE TITLE OF HIS SONG, DE BRIS MOUTHS ITWORD FOR WORD TOWARD HIS FRIEND, CARMEN. ARTHUR PACKARD The soliloquy from CAROUSEL.FROM THE PIT THE PIANO PLAYS A FOUR BAR INTRODUCTION. ARTHUR PACKARD (sings) My boy Bill will be strong and as tall as a... DE BRIS Thank you.ARTHUR SHRUGS AND LEAVES THE STAGE. DE BRIS Next please. CARMEN Jason Green.JASON GREEN COMES DOWNSTAGE. HE IS A BIG, BARREL-CHESTEDMAN. HE ALSO WEARS HITLER-TYPE MUSTACHE. DE BRIS Well, Jason, what have you been doing lately? JASON GREEN (in basso profundo) For the last sixteen years, I've been touring with "Naughty Marietta." DE BRIS Good. And what are you going to sing for us, Jason?AS JASON TELLS HIM THE SONG'S TITLE, DE BRIS ONCE AGAINMOUTHS IT WORD FOR WORD WITH HIM. JASON GREEN "Stout-hearted Men."BEGINNING OF "STOUT-HEARTED MEN" MONTAGE.THERE IS A SHORT PIANO INTRODUCTION. 61. JASON GREEN (singing) "Give me some men Who are stout-hearted men Who will fight for the right they adore." DE BRIS (off-camera voice) Thaaank you.DISSOLVE TO A NEW HITLER SINGING (LITTLE BALD MAN) BALD HITLER (singing) "Show me some men Who are stout-hearted men And I'll soon show you ten thousand more." DE BRIS (off-camera voice) Thaaank you.DISSOLVE TO ANOTHER HITLER (ITALIAN BASSO) ITALIAN HITLER (singing) "Shoulder to shoulder and bolder and bolder They grow as they march to the war." DE BRIS (voice off camera) Thaaank you.DISSOLVE TO DELICATE HITLER DELICATE HITLER (singing) "There is nothing in this world can halt or mar our plan." DE BRIS (voice off camera) Thaank you.DISSOLVE TO SHORT-HAIRED WOMAN HITLER SHORT-HAIRED WOMAN HITLER "When stout-hearted men Will get together man to man." 62. DE BRIS (voice off camera) Thaaank you.CUT TO CARMEN GIYA ON STAGE. IT IS NOW EMPTY. CARMEN Well, that's it.CUT TO FIRST ROW OF AUDIENCE. SLOW PAN BIALYSTOCK, BLOOM,DE BRIS, AD LIEBKIND. THEY ARE TIRED, DISHEVELED AND UNHAPPY. BLOOM I think that's enough Hitlers for one day. Maybe we'll get lucky tomorrow. BIALYSTOCK You think out of all those Hitlers you could find just one... LIEBKIND It was the same thing in Germany. We looked for years before we found the right Hitler.FROM OFF-STAGE WE HEAR THE SHARP CLICK OF BOOTS APPROACHING.ALL EYES TURN TOWARD THE STAGE. FROM OUT OF THE WINGS STEPSA YOUNG PERSON IN A LEATHER DOUBLET, HIGH LEATHER BOOTS, ANDEXTREMELY LONG HAIR. IT CARRIES A GUITAR. UNTIL IT SPEAKS,WE ARE NOT SURE WHETHER IT IS A YOUNG MAN OR A YOUNG WOMAN.(LORENZO ST. DU BOIS) LSD Hey, man. CARMEN I beg your pardon. LSD Is this where they're auditioning Boomerang? CARMEN (studying him coldly) No, I'm afraid you've wandered into the wrong theatre. LSD (to himself, as he starts to leave) Man, freaked out again. 63. BIALYSTOCK (leaping to his feet) Wait! This is Boomerang. This is Boomerang. DE BRIS (to Bialystock) What are you saying? BIALYSTOCK Let's hear him. What have we got to lose? (to LSD) What's your name? LSD Lorenzo Saint DuBois. But everybody calls me LSD. DE BRIS What have you done, LSD? LSD Six months, I'm out on probation, but it's cool now, baby. DE BRIS I mean in show business. LSD Oh, in show business. Well, let's put it this way, my next job will be my debut. DE BRIS What do you do best? LSD Hey, man, I can't do that here, that's what they put me away for. DE BRIS Oh, sing. Sing! LSD Hey, baby, that's where they put me, Sing-Sing. How'd you know that, you been up? DE BRIS (a little hysterical) Sing a song! Just sing a song! 64. LSD Here's a little thing I think you're going to see on the charts any day. I wrote it last night in my sleep. It's a Hindu Zen Folk Rock Ballad.LSD SINGS "I'M THE VICTIM OF A MULTI-MYSTIC FREAK-OUT." THESONG IS GEARED TO THE AU COURANT "RAGA ROCK" BEAT. PHRASESSUCH AS, "CONNECT WITH THE INFINITE" AND "TURN ON THEWORLD." LORENZO FINISHES THE NUMBER.CUT TO BIALYSTOCK, BLOOM, LIEBKIND AND DE BRIS. THEY ARESTUNNED. BIALYSTOCK IS THE FIRST TO RECOVER. BIALYSTOCK (shouting) That's our Hitler! LIEBKIND (howls of despair) Vaaaat??? BIALYSTOCK (quickly) Franz, don't you see, Hitler was a man of his time. This is a man of his time. LIEBKIND But he has long hair! BIALYSTOCK Don't look at the outside, look at the inside. It's the inner Hitler we're after. The young beautiful Hitler, who danced his way to glory. LIEBKIND I don't know. I don't know. DE BRIS (he has been studying LSD intensely) Could be an exciting piece of off- beat casting. Of course, we'd have to do something about that coiffure. LIEBKIND But he's so crazy, he's so sloppy, he's so... so... American! 65. BIALYSTOCK Franz, trust me. I promise I won't let you down. LIEBKIND All right, but remember, if you damage the Fuhrer's reputation, I kill you.DISSOLVE TO MARQUEE OF BROADWAY THEATRE. MARQUEE READS:OPENING TONIGHT - SPRINGTIME FOR HITLER. Directed by ROGERDE BRIS.PAN DOWN TO THEATRE ENTRANCE. THE SIDEWALK IS CHOKED WITHOPENING NIGHTERS, ALL AGLITTER IN DIAMONDS, FURS AND ELEGANTTUXEDOS. LUXURIOUS BLACK LIMOUSINES PULL UP TO THE CURB,DEPOSITING THEIR RICH CONTENTS, THE MAJORITY OF WHICH ARELITTLE OLD LADIES.CUT TO LOBBY. THERE IN THE MIDST OF THE SWIRLING CONFUSIONSTAND BIALYSTOCK AND BLOOM IN THEIR OPENING NIGHT TAILS.BIALYSTOCK IS RESPLENDENT IN A BLACK SILK CAPE, LINED INCRIMSON SATIN. BLOOM'S TAILS ARE OBVIOUSLY RENTED. THEYARE NEAR THE TICKET TAKER. AS SOME OF THE OPENING NIGHT"SUPPORTERS" ENTER THE THEATRE, THEY SHOUT ENCOURAGEMENTS TOBIALYSTOCK AND BLOOM. TO EACH OF THE WELL-WISHERS,BIALYSTOCK RESPONDS WITH A SMILE AND A MUMBLE. THEY GET THESMILE, WE HEAR THE MUMBLE. FIRST WELL-WISHER (a silver-haired gentleman in his late fifties) Good luck, Max, I hope it's a big hit. BIALYSTOCK (mumbling) Bite your tongue. SECOND WELL-WISHER (a little old lady) We're gonna do it this time, Bialy, I just know it. BIALYSTOCK I hope you lose your bloomers. THIRD WELL-WISHER (another old lady) My prayers go with you, Bialy. BIALYSTOCK God Forbid. 66.CUT TO LIMOUSINE PULLING UP IN FRONT OF THEATRE. DOORMANOPENS DOOR, ASSISTS RICH COUPLE OUT OF CAR. LIMOUSINE PULLSAWAY. A MOTORCYCLE WITH SIDE-CAR ROARS UP TO FRONT OFTHEATRE. AT THE HANDLEBARS, BEAUTIFULLY DECKED OUT INTUXEDO AND HIS EVER POPULAR GERMAN HELMET IS FRANZ LIEBKIND.CAMERA FOLLOWS LIEBKIND AS HE ENTERS LOBBY. HE MAKES HISWAY THROUGH THE MILLING THRONG TOWARD BIALYSTOCK AND BLOOM. LIEBKIND (to Bialystock and Bloom, very seriously) Gentlemen, this is a very momentous moment.HE CLICKS HIS HEELS AND SHAKES HANDS WITH EACH OF THEM. LIEBKIND (to Bloom) Good luck. (to Bialystock) Good luck.HE STARTS INTO THEATRE, STOPS, TURNS BACK TO BIALYSTOCK ANDBLOOM. LIEBKIND (a mad gleam in his eye) Tonight, New York. Tomorrow, the world!HE TURNS TRIUMPHANTLY AND ENTERS THE THEATRE. OFF-CAMERA VOICE (GIRL) Check your hat? LIEBKIND (off camera) No!! BIALYSTOCK So much for Nutsy Fagin. BLOOM (nudging Bialystock, whispers) Here comes the Times Drama Critic. BIALYSTOCK Watch closely, as Bialystock drives the last nail into the coffin.BIALYSTOCK AMBLES OVER TO THE TIMES CRITIC, WHO HAS STOPPEDTO CHAT WITH SOME PEOPLE. 67. BIALYSTOCK Always delighted to see the gentlemen of the press. There you are, sir. Two on the aisle, compliments of the management. (he smiles unctuously) DRAMA CRITIC (haughtily accepting tickets) Thank you. Here, wait a minute. There seems to be some mistake. There's a hundred dollar bill wrapped around these tickets. BIALYSTOCK (conspiratorially) It's no mistake. Enjoy the show. DRAMA CRITIC (outraged) Mr. Bialystock, just what do you think you're doing? BIALYSTOCK I'm bribing you. And if you play ball, there's a lot more where that came from.BIALYSTOCK WINKS AND SAUNTERS OFF. DRAMA CRITIC (blustering with rage) I... I... I... How dare he! I've never been so insulted in my life! The gall of the man! The incredible gall of the man! I'll fix his wagon.THE CRITIC STALKS INTO THE THEATRE. AS HE PASSES BIALYSTOCK,HE CONTEMPTUOUSLY FLINGS THE HUNDRED DOLLAR BILL TO THEFLOOR. HE DISAPPEARS THROUGH THE DOOR. OFF-CAMERA VOICE (GIRL) Check your hat? DRAMA CRITIC (off camera) No!!BIALYSTOCK REACHES DOWN, PICKS UP CRUMPLED DOLLAR BILL,STRAIGHTENS IT OUT, PUTS IT IN HIS POCKET. 68. BIALYSTOCK (grinning like a Cheshire cat) Heh, heh, heh. He'll kill us.FROM INSIDE THE THEATRE, WE HEAR THE OVERTURE BEGINNING.LIGHTS IN THE LOBBY BLINK. BLOOM Come on, they've started the overture.BIALYSTOCK AND BLOOM ENTER THE THEATRE.CUT TO REVERSE ANGLE. BIALYSTOCK AND BLOOM ENTERING DARKENEDTHEATRE. THEY TAKE POSITIONS AT THE BACK OF THE HOUSE.BLOOM EXTENDS HIS HAND TO BIALYSTOCK. HE INTENDS TO SPEAKIN A CONFIDENT AND CONTROLLED MANNER BUT WHAT COMES OUT ISAN HYSTERICAL SHRIEK. BLOOM (casually shrieking) Well, Max, this is it!!!HE SCARES HIMSELF AND QUICKLY CLAPS HIS HANDS OVER HIS MOUTH. BLOOM (whispers) I'm sorry, I'm a little nervous. BIALYSTOCK Relax, in two hours our worries will be over.CUT TO STAGE. AS THE OVERTURE IS CONCLUDED, THE CURTAINSLOWLY RISES. ON STAGE THERE IS A LINE OF GIRLS DRESSED INSEXY STORM TROOPER COSTUMES--BLACK PATENT LEATHER BOOTS, ETC.THEIR ARMS ARE LINKED ABOUT ONE ANOTHER AS THEY DANCE ANDKICK IN RADIO CITY MUSIC HALL ROCKETTE FASHION. STORM TROOPER CHORUS (singing) Germany was having trouble, What a sad, sad story. Needed a new leader To restore its former glory. Where, oh, where was he, Who could that man be, We looked around, And then we found, The man for you and me, And now its... 69.THE STORM TROOPER ROCKETTES PART AND FROM ABOVE THEM,DESCENDING TWIN STAIRCASES, WE SEE TWO LINES OF BEAUTIFULSHOWGIRLS, HOLDING HUGE BALLOONS ABOVE THEIR HEADS. ON EACHBALLOON IS PAINTED A PICTURE OF THE FUHRER. EVERYONE SINGSAS THEY DESCEND. ENTIRE CHORUS (singing) "Springtime for Hitler," etc.CUT TO AUDIENCE. NUMBER ON STAGE CONTINUES.CLOSE-UP OF MAN AND WOMAN ON AISLE. WOMAN (DOWAGER) This is shocking!CUT TO ANOTHER AREA OF AUDIENCE. ANOTHER COUPLE. MAN (STUFFED SHIRT) Outrageous!CUT TO CRITIC ON THE AISLE, BIALYSTOCK'S P.O.V. HE SCOWLSAS HE FURIOUSLY MAKES NOTES.CUT TO BIALYSTOCK AND BLOOM AT BACK OF THEATRE. THEY ARESMILING. BIALYSTOCK POINTS TO COUPLE WHO HAVE LEFT THEIRSEATS AND STARTED UP THE AISLE. BIALYSTOCK Ahhhhh, it's going better than I expected.THE COUPLE COMES ABREAST OF BIALYSTOCK AND BLOOM. WOMAN (to man as they exit theatre) Well, talk about bad taste. BIALYSTOCK (he chuckles as they leave) Come, let us repair to the bar across the street. I don't want to be caught here during intermission. We'll be stoned to death.THEY LINK ARMS AND MERRILY MARCH OUT OF THE THEATRE.CUT TO STAGE. "SPRINGTIME FOR HITLER" OPENING IS ENDING INA GREAT CRESCENDO OF PATRIOTIC INSANITY. 70. ENTIRE CHORUS (singing) So Springtime for Hitler, Is Springtime for Goering, Is Springtime for Goebbels, Is Springtime for Himmler, Is Springtime for you and me!!CURTAIN FALLS. THE NUMBER IS RECEIVED BY THE AUDIENCE WITHHUSHED SILENCE. FOLLOWED BY A SURGE TOWARD THE DOORS. THEAISLES ARE CHOKED WITH UNHAPPY PEOPLE, WHO CAN'T WAIT TO GETOUT.CURTAIN RISES. ON STAGE ARE EVA BRAUN AND HITLER (LSD).EVA BRAUN IS A FETCHING BLONDE IN LONG BRAIDS. LSD ISPACING UP AND DOWN. EVA BRAUN SITS ON LOVE SEAT DOWNSTAGE.IN HER HAND IS AN OVERSIZED DAISY. AS SHE PULLS THE PETALSFROM IT, SHE WHINES. SHE HAS A PRONOUNCED AMERICAN ACCENT. EVA Er liebt mir. Er liebt mir nicht. Er liebt mir. (the last petal) Er liebt mir nicht.CUT TO PEOPLE IN AISLE. THEY HAVE NOTICEABLY SLOWED DOWN.SOME ARE WALKING BACKWARDS. THEY ARE INTRIGUED.CUT BACK TO STAGE. EVA (turns to LSD) Du liebt mir nicht! LSD (protesting vehemently) I lieb you baby, I lieb you. You know that. EVA If you lieb me, why are you leaving me? LSD Hey, man, I can't spend all my time with you. I took an oath, baby, Deutschland uber alles.CUT TO AUDIENCE IN AISLES. THEY HAVE ALL STOPPED LEAVING TOTURN AND WATCH. SOME BEGIN TO LAUGH AND OTHERS APPLAUD.THEY LIKE LSD. 71. MAN That's Hitler? I get it! It's a put-on.CUT TO WOMAN. WOMAN Hey, Harry, he's funny.NOW THERE IS A MAD RUSH TO REGAIN THEIR SEATS.CUT TO INTERIOR BAR. IT IS EMPTY EXCEPT FOR THE BARTENDERAND A DRUNK AT THE FAR END OF THE BAR. BIALYSTOCK AND BLOOMARE SEATED ON STOOLS AT THE BAR. THEY CLINK GLASSES. BIALYSTOCK Here's to the one and only performance of "Springtime for Hitler."THEY BOTH LAUGH AND DOWN THEIR DRINKS. BIALYSTOCK RAPS ONTHE BAR WITH HIS CANE. BIALYSTOCK Innkeeper, innkeeper, another round of drinks here. As a matter of fact, a round of drinks for everybody in the place!BARTENDER LOOKS AROUND AT THE ALMOST EMPTY BARROOM. DOES ALITTLE TAKE. HE THEN REPLENISHES THEIR DRINKS AND PLACES AGLASS IN FRONT OF THE DRUNK. THE DRUNK TIPS HIS HATGRACIOUSLY TOWARDS BIALYSTOCK. BLOOM Just think, yesterday I was a meaningless little accountant -- and today, I am the producer of a Broadway flop! BIALYSTOCK (raising his glass) To failure! BLOOM To failure! DRUNK (blushing) Oh, thank you! It's very kind of you. (raises his glass and downs his drink) (MORE) 72. DRUNK (CONT'D)CUT BACK TO STAGE. SAME SCENE. EVA STARTS TO CRY. EVA If the Duke of Windsor could give up the Throne of England for the woman he loved, why can't you? LSD It's different. I'm a tyrant, baby.AUDIENCE LAUGHS.CUT TO FRANZ LIEBKIND SEATED IN AN AISLE SEAT. HE NERVOUSLYPINCHES HIS FACE AS HE SEMI-COHERENTLY MUMBLES TO HIMSELF. LIEBKIND (becoming slightly unhinged) Baby, why does he keep saying baby? I didn't write baby. The Fuhrer never said baby. Vat is it vit this baby? WOMAN IN ADJOINING SEAT (very annoyed) Will you shut up! LIEBKIND You shut up! I'm the author. You're just the audience. I outrank you.CUT TO BAR. BIALYSTOCK AND BLOOM ARE A LITTLE TIPSY. BYNOW THE DRUNK HAS JOINED THEM AND ALL THREE ARE GOOD PALS. BIALYSTOCK Bartender, bartender, another drink for myself and my associate, Mr. Bloom. And don't forget our good- natured inebriate over there.DRUNK TIPS HIS HAT GRACIOUSLY. DRUNK Eternally grateful. Sincerely yours, Oliver Wendell Drunk.DURING DRUNK'S SPEECH, BARTENDER HAS REFILLED THEIR GLASSES.HE STANDS BACK, WATCHING THEM AS HE DRIES GLASSES. 73. DRUNK (raises his glass) A toast! BLOOM To what? DRUNK (stumped) To... toast! I love toast. BIALYSTOCK AND BLOOM To toast. BIALYSTOCK (smacking his glass down on the bar) Now I'll take the lead and I want you right behind me all the way! One... two... three! (singing) "By the light, BLOOM AND DRUNK (singing) "By the light, by the light, BIALYSTOCK "Of the silvery moon, BLOOM AND DRUNK "Of the silvery mooooon, BIALYSTOCK "I want to croon, BLOOM AND DRUNK "He wants to croon, he wants to croon, BIALYSTOCK "To my honey I'll croon, BLOOM AND DRUNK "He's gonna croon love's tune, BIALYSTOCK "Honeymoon, BLOOM AND DRUNK "Honeymoon, honeymoon, BIALYSTOCK "Keep a shining in... 74.BIALYSTOCK STOPS ABRUPTLY. HE POINTS TOWARD THE DOOR. WEHEAR THE SOUND OF PEOPLE ENTERING THE BAR. BIALYSTOCK Intermission! Quick, hide your face. They'll tear us to pieces.BIALYSTOCK AND BLOOM HOP ON THEIR STOOLS AND COVER THEIRFACES WITH THEIR HANDS. THE DRUNK SHRUGS, HOPS ON THE STOOLNEXT TO THEM AND ALSO HIDES HIS FACE. A HORDE OF FIRSTNIGHTERS SWEEPS INTO THE BAR. THEY ARE ALL AROUNDBIALYSTOCK, BLOOM AND THE DRUNK, CLAMORING FOR DRINKS. CROWD (ad-lib) "Scotch on the rocks," "Bourbon and soda." "Two martinis." "Whiskey sour."THE CROWD IS VERY CHEERFUL. THEY ARE STILL BUBBLING FROMTHE FIRST ACT. WOMAN (to her escort) Well, so far that's about the funniest thing I've ever seen on Broadway.BIALYSTOCK AND BLOOM LOOK AT EACH OTHER. WOMAN'S ESCORT Never laughed so much in my life. MAN (to his friend) Hysterical, absolutely hysterical. MAN'S FRIEND I thought I'd split my sides. BIALYSTOCK Take it easy, don't panic. There are a lot of plays on this street. They are not necessarily talking about "Springtime For Hitler." HUSBAND (to his wife) Honey, I never in a million years thought I'd ever love a show called "Springtime For Hitler." 75.BIALYSTOCK AND BLOOM FREEZE. A LITTLE OLD LADY COMES UPBEHIND BIALYSTOCK. SHE RAPS HIM ON THE BACK WITH HERUMBRELLA. LITTLE OLD LADY #8 Bialy, you sly fox, you've done it. It's a smasheroo. BIALYSTOCK (in a daze) Smasheroo. Smasheroo.THE CROWD STARTS TO LEAVE. LITTLE OLD LADY Oh, I'd better hurry back. I don't want to miss one minute of it.THE FIRST NIGHTERS LEAVE THE BAR. ALL THAT REMAIN AREBIALYSTOCK AND BLOOM, THE BARTENDER AND THE DRUNK.BIALYSTOCK SLIPS OFF THE STOOL AND WANDERS TO MIDDLE OFBARROOM. BIALYSTOCK (dazed) Got to think... Got to think... Got to think... Got to think... Got to think...CUT TO BLOOM AT THE BAR, FROZEN, STARING STRAIGHT AHEAD.HIS EYES ARE GLAZED WITH SHOCK. HE STROKES HIS CHEEK WITHHIS LITTLE BLUE BLANKET. BLOOM Mrs. Cathcart -- 50% Mrs. Biddlecombe -- 50% Mrs. Wentworth -- 50% Mrs. Resnick -- 100%THE DRUNK STARES FROM ONE TO THE OTHER. UNHAPPY WITH THEIRPRESENT MOOD, HE DECIDES TO LIVEN THINGS UP AGAIN. HETIPTOES OVER TO BIALYSTOCK, PUTS HIS ARMS AROUND BIALYSTOCK'SWAIST, ROCKS BACK AND FORTH AND BEGINS TO SING. DRUNK (singing) "By the light... By the light, by the light... Of the silvery...BIALYSTOCK PICKS HIM UP AND THROWS HIM ACROSS THE BAR. BIALYSTOCK Get away from me, you drunken bum! 76.DRUNK PICKS HIMSELF UP AND DUSTS HIMSELF OFF. DRUNK (indignantly) Fairweather friend!THE DRUNK STAGGERS OUT OF THE BAR. BIALYSTOCK GETS A HOLDOF HIMSELF. BIALYSTOCK Maybe it's not true!BIALYSTOCK RUSHES OVER TO BLOOM. BLOOM (still mumbling to himself) No way out. No way out. BIALYSTOCK Bloom, Bloom, maybe it's not true.BLOOM DOES NOT RESPOND. BIALYSTOCK SHAKES HIM. BLOOM (droning monotonously) No way out. No way out. What? Who? BIALYSTOCK Why don't we go over to the theatre and see what's really happening? After all, we've only heard from a small portion of the audience. Let's hear what the majority thinks. BLOOM (in a trance) The majority. The majority. Yes. Let's hear from the majority.THEY START TO LEAVE.DISSOLVE TO BIALYSTOCK AND BLOOM ENTERING LOBBY OF THEATRE.AS THEY OPEN DOOR TO THEATRE, THEY ARE GREETED BY A SHOCKWAVE OF LAUGHTER. THEY PAUSE STRICKEN. BLOOM I don't want to go in. BIALYSTOCK Come, we have to.THEY TAKE EACH OTHER'S HANDS LIKE TWO FRIGHTENED LITTLE BOYSAND CAUTIOUSLY WALK IN. 77.CUT TO BIALYSTOCK AND BLOOM AS THEY ENTER. THEY TAKE THEIRPOSITIONS AT THE BACK OF THE HOUSE AND WATCH THE PROCEEDINGSMEEKLY, LIKE TWO LAMBS AWAITING THE SLAUGHTER.CUT TO STAGE. HITLER HAS OBVIOUSLY CALLED A COUNCIL OF WAR.THE FUHRER IS SURROUNDED BY HIS GENERAL STAFF. GENERAL (making a report) We are falling back on all fronts. Our soldiers are retreating. LSD No good, baby, no good. You heard my orders. Nobody retreats. Attack! Attack! GENERAL Who can we attack? They're all too big. LSD (getting an inspiration) Hey, man, let's stomp Switzerland! GENERAL We can't... we keep our money there!CUT BACK TO BIALYSTOCK AND BLOOM. THEY STARE STRAIGHTAHEAD, STONY-FACED. HUGE TEARS WELL UP IN THEIR EYES ANDRUN DOWN THEIR CHEEKS.CUT TO LIEBKIND. HE HAS RIPPED OFF THE ARM OF HIS CHAIR ANDIS EARNESTLY GNAWING AT IT. LIEBKIND Baby, again with that baby. There must be no more babies.LIEBKIND LEAPS FROM HIS SEAT AND HEADS TOWARD THE SIDEENTRANCE LEADING TO THE STAGE.CUT BACK TO STAGE. LSD Where's Goebbels? Where's my little Joe? GENERAL (to the wings) Send for Goebbels. 78. LSD He's the only cat left that still grooves me.GOEBBELS ENTERS LAUGHING. GOEBBELS Heil, baby! I just finished the morning propaganda broadcasts. LSD What did you tell the people? GOEBBELS I told them we invaded England. LSD Hey, baby, that's good! How'd we come out? GOEBBELS We won. LSD Groovy!THEY SMACK HANDS.LAUGH FROM AUDIENCE.CUT TO BACKSTAGE. LIEBKIND COMES CHARGING IN LIKE A LUNATIC. LIEBKIND Bring down the curtain! Bring down the curtain!HE RUSHES FOR THE CURTAIN ROPE. A STAGEHAND ATTEMPTS TOSTOP HIM. HE RIPS OFF HIS HELMET AND BANGS HIM OVER THEHEAD WITH IT. AS HE SLUMPS TO THE GROUND, LIEBKIND UNDOESTHE CURTAIN ROPE.CUT TO ACTORS ON STAGE. LSD Goebbels, you're the only one...THE CURTAIN DROPS WITH A THUD. FROM BENEATH IT CRAWLSLIEBKIND. HE JUMPS UP AND ADDRESSES THE AUDIENCE. LIEBKIND I am the author of this play. You are the victims of a hoax. These are not my words. The Fuhrer never said baby. The Fuhrer was sweet, the Fuhrer was kind, the Fuhrer was good. 79. STAGE MANAGER (off camera) Get that curtain up.CURTAIN STARTS TO RISE. LIEBKIND HURLS HIMSELF IT, ANDHOLDS IT DOWN. LIEBKIND NO! No! The curtain must not go up!DESPITE HIS EFFORTS, THE CURTAIN SLOWLY RISES. LIEBKINDDOES NOT RELEASE HIS HOLD ON IT. HE STARTS TO GO UP. LIEBKIND Stop! Stop!AS THE CURTAIN RISES, WE SEE A BEWILDERED GROUP OF ACTORSAND STAGE HANDS WATCHING LIEBKIND'S ASCENT. THE AUDIENCE,THINKING LIEBKIND'S BEHAVIOR PART OF THE SHOW, ENJOYS THEPROCEEDINGS TREMENDOUSLY. THEY BREAK INTO APPLAUSE.CUT TO CRITIC. HE IS LAUGHING UPROARIOUSLY AND TEARING UPHIS NOTES.CUT BACK TO LIEBKIND. LIEBKIND We have been betrayed! I will return! I will returnnnnn...LIEBKIND DISAPPEARS INTO THE FLIES.DISSOLVE TO ANTEROOM OF BIALYSTOCK AND BLOOM'S OFFICE. DAY.ULLA, WEARING A BELTED RAINCOAT, SITS AT THE TYPEWRITER.MUSIC FROM A RECORD PLAYER SOFTLY ROCKS IN THE BACKGROUND.IN HER LEFT HAND SHE HOLDS A GLASS OF CHAMPAGNE, FROM WHICHSHE SIPS, WHILE HER RIGHT HAND, INDEX FINGER EXTENDED, STABSAT THE FUNNY LITTLE KEYS. SHE IS HAPPY, IT IS THE RIGHT ONE.THE DOOR FLIES OPEN. THE DESPERATE BIALYSTOCK AND BLOOMENTER. ULLA LEAPS UP, QUICKLY UNDOES HER RAINCOAT, EXPOSINGHER DELICIOUS BODY, CLOTHED ONLY IN BLACK LACE UNDERTHINGS. ULLA We make love? BIALYSTOCK No! No! We don't make love. Go to work.ULLA IMMEDIATELY TURNS UP RECORD PLAYER TO A CRASHING BLAREAND DOES HER GROOVY DANCE. BIALYSTOCK HOWLS IN DESPAIR ANDFLEES INTO HIS OFFICE TOGETHER WITH BLOOM. 80.HE CLOSES THE DOOR, SHUTTING OUT THE NOISE. THE OFFICE ISFILLED WITH FLOWERS AND CONGRATULATORY TELEGRAMS. BIALYSTOCKSWOOPS DOWN ON THE TELEGRAMS. HE RIPS ONE OPEN AND BEGINSREADING. BIALYSTOCK "Congratulations. It's the biggest hit on Broadway."HE TEARS IT UP AND THROWS IT AWAY. HE PICKS UP ANOTHER ANDREADS. BIALYSTOCK "Congratulations. Hitler will run forever."HE THROWS IT AWAY. BIALYSTOCK ATTACKS THE PILE OF TELEGRAMS.WITHOUT OPENING THEM UP, HE TEARS THEM ONE AT A TIME. BIALYSTOCK (boiling with rage) Congratulations!HE TEARS TELEGRAM. BIALYSTOCK Congratulations!HE TEARS TELEGRAM. BIALYSTOCK Congratulations!HE TEARS TELEGRAM. BIALYSTOCK Congratulations!HE TEARS TELEGRAM.THE DOOR SWINGS OPEN. POSED IN THE DOORWAY IS ROGER DE BRIS.IN ONE HAND HE CARRIES AN OPEN, BUBBLING MAGNUM OF CHAMPAGNE. DE BRIS (ecstatic) Congratulations! Have you seen the reviews? Have you seen the lines at the box office? It's a torrent, it's an avalanche, it's the biggest hit on Broadway!HE STARTS INTO THE ROOM. BIALYSTOCK GROWLS AND LUNGES AT HIM. 81. BIALYSTOCK You lousy fruit. You've ruined me!HE SMASHES DE BRIS UP AGAINST THE WALL. THE CHAMPAGNE GOESFLYING. DE BRIS (shrieking) Help! Help! He's crazy! He's going to kill me. Call the police! Call the police! Help, help, murder, murder, rape, rape!!!BIALYSTOCK THROWS HIM OUT, SLAMS THE DOOR AND LOCKS IT. HEFALLS INTO THE CHAIR AND PUTS HIS FEET UP ON THE DESK. BIALYSTOCK (moaning) How could this happen? I was so careful. I picked the wrong play, the wrong director, the wrong cast. Where did I go right? We forgot one important, Bloom. Adolf Hitler always drew a crowd.BIALYSTOCK IS SUDDENLY AWARE THAT BLOOM IS DOING STRANGETHINGS AT THE NEXT DESK. BIALYSTOCK What are you doing?CUT TO BLOOM. HE IS FEVERISHLY PILING LEDGERS AND ACCOUNTBOOKS TOGETHER. HE SWOOPS THEM UP IN HIS ARMS, CLUTCHESTHEM TIGHTLY AND BEGINS BACKING TOWARDS THE DOOR. BLOOM (defensively) Don't try to stop me. I've made up my mind. BIALYSTOCK What are you doing with those books? Where are you going? BLOOM (with hysterical conviction) I'm turning myself in. It's the only way. I'm going to cooperate with the authorities. They'll reduce my sentence and then there's time off for good behavior. And maybe I'll get a job in the prison library. So long. 82.HE TURNS THE KNOB. THE DOOR IS LOCKED. HE FIDDLES WITH THECATCH. TOO LATE! BIALYSTOCK IS UP AND AT HIM IN A FLASH.HE BLOCKS THE DOOR. BIALYSTOCK (reasonably) Leo, take it easy. Relax, you're overwrought. You don't know what you're doing. You're acting out of panic... GIMME THOSE BOOKS!BIALYSTOCK LUNGES AT BLOOM AND GRABS FOR THE BOOKS. BLOOMSTILL RETAINS A FIRM HOLD. THEY STRUGGLE BACK AND FORTH. BLOOM I never should have listened to you. BIALYSTOCK I never should have listened to you. BLOOM Ohhhhhhhhh, how I hate you. BIALYSTOCK Double. Double. Double.WITH A MIGHTY WRENCH, BIALYSTOCK RIPS THE BOOKS OUT OFBLOOM'S HANDS. BIALYSTOCK (clutching the books triumphantly) Haaaaa! Haaaaa! Haaaaa!BLOOM FLIPS. HE ATTACKS BIALYSTOCK LIKE A CRAZY KID,SCREAMING HYSTERICALLY AND PUNCHING WITH ONE ARM AS HEPROTECTS HIS FACE WITH THE OTHER. BLOOM (shrieking) FAT! FAT! FAT! FAT! FAT!BIALYSTOCK GOES CRASHING TO THE FLOOR UNDER THE ONSLAUGHT.BLOOM DIVES ON TOP OF HIM. THEY ROLL ON THE FLOOR LOCKED INMORTAL COMBAT. SUDDENLY THREE SHOTS RING OUT IN SUCCESSION.BIALYSTOCK AND BLOOM IMMEDIATELY STOP WHAT THEY'RE DOING ANDTURN TOWARD THE DOOR.CUT TO LOCK AND HANDLE OF DOOR. THEY DROP OFF. A LITTLESMOKE RISES FROM THE HOLE. LIEBKIND (off screen, outside door) I am betrayed! 83.BIALYSTOCK AND BLOOM LOOK AT EACH OTHER.CUT TO THE DOOR. IT FLIES OPEN. FRAMED IN THE DOORWAY ISFRANZ LIEBKIND, SMOKING LUGER IN HAND. LIEBKIND (solemnly) You have broken the Siegfried Oath. You must die.HE BLASTS AWAY. THE WINDOW IS SHATTERED. PIECES OF WALL GOWHIZZING THROUGH THE AIR. BIALYSTOCK DROPS THE LEDGERS ANDHE AND BLOOM DIVE FOR COVER BEHIND THE DESK. LIEBKIND This is no good. I'm not killing you. Don't you understand, you have broken the Siegfried Oath. You must die. Vill you cooperate!!!CUT TO TIGHT TWO SHOT. BIALYSTOCK AND BLOOM SCRUNCHEDBEHIND DESK. THEY STARE AT EACH OTHER IN AMAZEMENT. THEREIS A TIMOROUS KNOCK AT THE DOOR. BIALYSTOCK AND BLOOM (together) Come in. Come in.ULLA ENTERS. ULLA I hear noise. You call?SHE LOOKS AROUND. ULLA Where are you?SHE CONTINUES WALKING UNTIL SHE SEES THEM CROUCHED BEHINDTHE DESK. ULLA Ahhh. I see you. You like something? Coffee?BIALYSTOCK AND BLOOM LOOK AT EACH OTHER IN DISBELIEF. BIALYSTOCK Coffee. Yes. That's a good idea. (with great emphasis) Why don't you ask the gentleman with the gun... The gentleman who is shooting at us... and trying to kill us... what he will have. 84. ULLA (to Liebkind) You like coffee?CUT TO BIALYSTOCK AND BLOOM. THEY STARE AT EACH OTHER,DUMBFOUNDED. LIEBKIND Yes, please. Black. Two sugars.ULLA REPEATS TO HERSELF AS SHE STARTS FOR THE DOOR. ULLA Three coffees. Two regular. One black... two sugars.SHE EXITS AND CLOSES THE DOOR BEHIND HIM.BIALYSTOCK LOOKS UP TO THE FATES AND MAKES A SMALL SOUND OFDESPAIR. LIEBKIND And now ve must resume hostilities. Are you coming out from behind that desk or not? BIALYSTOCK Not. LIEBKIND Cowards, miserable cringing cowards. Clinging to life like baby butterflies. Vatch, vatch and remember. Franz Liebkind vill show you how to die like a man!HE PLACES THE MUZZLE OF THE GUN AGAINST HIS TEMPLE. BLOOMAND BIALYSTOCK PEER OVER THE DESK TO SEE. LIEBKIND (exhalted) Soon I vill be vit mine Fuhrer, und Goering, und Goebbels, and Himmler. I'm coming boys!HE PULLS THE TRIGGER. CLICK. CLICK. CLICK. THE GUN ISJAMMED. HE THROWS THE GUN DOWN IN DISGUST. LIEBKIND (in utter anguish) Boy, vhen things go wrong!HE FALLS INTO A CHAIR AND SOBS LIKE A CHILD. 85. LIEBKIND I'm a failure. I'm a failure. I'm a failure.BIALYSTOCK AND BLOOM COME OUT FROM BEHIND DESK. BIALYSTOCKLOOKS AT HIS WATCH. BIALYSTOCK Five o'clock. Killed a whole day playing hide-and-seek with a crazy Kraut.BIALYSTOCK PICKS UP LUGER. LIEBKIND (still sobbing) I'm not crazy. I'm inept.HE CONTINUES TO SOB. BLOOM WALKS OVER TO THE WEEPINGLIEBKIND AND COMFORTINGLY PATS HIM ON THE SHOULDER. BLOOM There, there. LIEBKIND (looking around) Vhere? Vhere?... oh... BIALYSTOCK (to Liebkind) You crazy lunatic! What are you shooting at us for? Why don't you use this (indicates gun) where it will do us some good? Why don't you shoot the actors? (the thought strikes home) Liebkind, have I ever steered you wrong? LIEBKIND Always. BIALYSTOCK Never mind. Listen. Every night people are laughing at your beloved Fuhrer. Why? LIEBKIND It's that LSD und his verdampter babies!... 86. BIALYSTOCK (handing him the gun and some money) Here. Buy bullets. Kill. Kill them all! BLOOM What??? BIALYSTOCK (to Bloom) Shut up. LIEBKIND Yes. The actors. I must destroy the actors.LIEBKIND STARTS TO GO. BLOOM Stop! Stop! This is insanity.HE LEAPS ACROSS THE ROOM AND WRENCHES THE GUN FROM LIEBKIND'SHAND. BLOOM (screaming) Have you lost your mind? What are you talking about? Kill the actors. You can't kill the actors -- they're not animals, they're human beings! BIALYSTOCK They are? Have you ever eaten with one? Liebkind, go! Kill! BLOOM Liebkind, no! BIALYSTOCK (to Bloom) What are you doing? We're trapped. It's either the show or us. There's no way out. What can we do, blow up the theatre?BIALYSTOCK FREEZES AS THE THOUGHT TAKES HOLD.CUT TO CLOSE-UP OF BLOOM. HIS EYES NARROW AS HE SERIOUSLYCONSIDERS THE PROPOSAL.CUT TO CLOSE-UP LIEBKIND. HIS FACE A POSTER OF SHININGAPPROVAL. 87.CAMERA PULLS BACK. THE THREE OF THEM SEARCH EACH OTHER'SFACES EARNESTLY. THEY ARE OBVIOUSLY IN ACCORD.FADE OUT:FADE IN. DARKENED CELLAR OF THEATRE. WE SEE THE FAINT GLOWOF A SHIELDED LAMP AT THE END OF A TUNNEL. AS THE CAMERAMOVES THROUGH TUNNEL CLOSER AND CLOSER TO THE LIGHT, WE MAKEOUT THE SHADOWY FORMS OF THREE MEN.CAMERA DOLLIES IN TO REVEAL BIALYSTOCK, BLOOM AND LIEBKIND.BLOOM IS HOLDING A MINER'S LAMP. LIEBKIND IS TRYING BRICKLOOSE FROM WALL. BIALYSTOCK IS CONSULTING MAP. BRICK COMESLOOSE. LIEBKIND REMOVES IT. LIEBKIND (the surgeon at work) Dynamite.BLOOM SLAPS A NEATLY TAPED BUNDLE OF DYNAMITE INTO LIEBKIND'SHAND. LIEBKIND GENTLY PLACES IT IN OPENING. LIEBKIND Fuse cap.BIALYSTOCK REACHES INTO HIS POCKET AND HANDS HIM A FUSE CAP.LIEBKIND PUTS CAP IN PLACE. LIEBKIND Fuse.BLOOM REACHES IN POCKET, TAKES OUT SPOOL OF FUSE, HANDS ITTO LIEBKIND. LIEBKIND Thank you.LIEBKIND TIES FUSE IN PLACE. LIEBKIND Gut. Now for the master connection.CAMERA FOLLOWS THEM AS THEY MOVE BACK THROUGH THE TUNNEL.LIEBKIND TRAILS FUSE FROM SPOOL. THEY FINALLY EMERGE INTOAN OPEN AREA OF CELLAR DIRECTLY BENEATH THE STAGE. LIEBKIND Gut. Now vhere's the other fuse?BLOOM RAISES HIS LAMP, REVEALING A SIMILAR TUNNEL ON THEOTHER SIDE OF THE CELLAR. BLOOM There it is. 88.CAMERA INSERT: CLOSE-UP SIMILAR FUSE PROTRUDING FROM SECONDTUNNEL.BACK TO SCENE. LIEBKIND (to Bloom) Pick it up and bring it here, please. BLOOM Okay.HE STARTS TOWARD SECOND TUNNEL. LIEBKIND (anxiously) Where are you going vit the light? BLOOM I need it. How'm I gonna find the fuse? LIEBKIND Oh, ve come vit you. All for one and all in the light.THE THREE OF THEM GINGERLY TIPTOE OVER TO SECOND TUNNELENTRANCE. BLOOM PICKS UP THE FUSE. THEY TIPTOE BACK.BLOOM HANDS FUSE TO LIEBKIND.LIEBKIND REACHES INTO HIS KNAPSACK, TAKES OUT LITTLE BLACKMETAL BOX WITH TWO TERMINAL CAPS AT EITHER END AND SETS ITDOWN ON CELLAR FLOOR. LIEBKIND Now ve take the two fuse leads, attach them to the terminals of the conductor and ve're in business. BIALYSTOCK (grinning) You mean out of business. Heh, heh.LIEBKIND BEGINS FIDDLING WITH THE FUSE LEADS AND TERMINALS. BLOOM Max, I... BIALYSTOCK (irritated. He has not time for small talk) What is it? 89. BLOOM Well, I... Well, it's just that... I'm sorry I called you fat, fat, fat. BIALYSTOCK (smacking Bloom affectionately on the shoulder) Ahhhhhh. Leo, Leo, Leo. LIEBKIND (mumbling to himself) Plus to minus. Negative to positive. Male to... BIALYSTOCK Come on. Let's get going. LIEBKIND Qviet. Qviet This is very important.HE TURNS BACK TO HIS WORK. LIEBKIND Vait a minute. Vait a minute. Male to male? Male to female? Female to male? Female to female? Vait a minute. In people, male to female. But electricity is strange. It's male to male.HE QUICKLY FINISHES THE CONNECTION. LIEBKIND Sehr gut. (to Bialystock) Slow fuse, please.BIALYSTOCK REACHES INTO HIS POCKET AND HANDS LIEBKIND A ROLLOF FUSE. LIEBKIND Thank you.HE BEGINS TYING SLOW FUSE TO CONDUCTOR. LIEBKIND (as he works) Now ve take the slow fuse. Tie one end to the master connection and the other ve attach to the detonator.HE FINISHES CONNECTIONS. 90. LIEBKIND Come, ve go to the detonator.THEY BEGIN TO MOVE BACK AS LIEBKIND SLOWLY SPOOLS OUT FUSE.THEY START UP THE STAIRS. LIEBKIND Vait a minute. Are you sure this is slow fuse? It feels like qvick fuse. (to Bloom) Shine your light on it.BLOOM SHINES LIGHT ON FUSE. LIEBKIND I don't know. I don't know. The markings are so similar. Qvick fuse or slow fuse?LIEBKIND TAKES A WOODEN MATCH OUT OF HIS POCKET. LIEBKIND I must find out. It is critical.HE STRIKES THE MATCH AND LIGHTS THE FUSE. WHOOSH! ITIGNITES. THE SPARKS RUSH TOWARD THE MASTER CONNECTION.LIEBKIND CHARGES DOWN THE STAIRS AND CHASES AFTER THE QUICKBURNING FUSE FOR ALL HE'S WORTH. HE CATCHES UP WITH IT JUSTBEFORE IT REACHES THE MASTER CONNECTION AND QUICKLY STAMPSIT OUT. LIEBKIND Let's face it. That was dumb.HE TROTS BACK. LIEBKIND Boys, vhere is you?BIALYSTOCK AND BLOOM COME CRAWLING OUT FROM BEHIND STAIRS. LIEBKIND (seeing them) Dot vas the qvick one. BIALYSTOCK We assumed that.LIEBKIND REACHES INTO HIS POCKET AND SHOWS THEM A ROLL OFFUSE. 91. LIEBKIND Here. You see. This is the slow fuse. It is much wider. It has more resistance, more density. Therefore, it burns slower. BIALYSTOCK You mean you had the slow fuse in your pocket all the time and you forgot to put it on? LIEBKIND Yes. Amazing isn't it?BIALYSTOCK RAISES HIS CANE AND SMASHES LIEBKIND ON THEHELMET. BONNNG. BIALYSTOCK You stupid kraut! LIEBKIND Vhy do you always call me kraut? Kraut is cabbage! Do ve call you hot dogs? Ve call you Yanks not franks! BIALYSTOCK All right. Finish the job. Let's get outta here.CUT TO SIDE DOOR OF THEATRE. THE DOOR OPENS SLOWLY.BIALYSTOCK, BLOOM AND LIEBKIND TIPTOE OUT. BLOOM SETSDETONATOR DOWN. LIEBKIND Und now for the final connection.HE WRAPS THE FUSE LEAD AROUND THE METAL CONTACT POLE ANDRAISES THE PLUNGER. BIALYSTOCK Wait. I'll check to see if the coast is clear.HE RUNS TO THE END OF THE ALLEY. LOOKS BOTH WAYS AND RUNSBACK. BIALYSTOCK The coast is clear! LIEBKIND Good. Get down. 92.BIALYSTOCK AND BLOOM CROUCH DOWN AND HOLD THEIR EARDRUMS.LIEBKIND GRABS THE HANDLE OF THE DETONATOR. HIS EYESSUDDENLY GLISTEN WITH TEARS. LIEBKIND Goodbye, my foolish fancy. Goodbye, my misbegotten child. Goodbye, my tortured testament of twisted truths. BIALYSTOCK Do it! Do it!LIEBKIND TENSES HIMSELF FOR THE PLUNGE. HE STARTS AND STOPS. LIEBKIND I can't. I can't do it. It's a demon. It's a gargoyle, it's a monster... but it's still my child.HE SOBS INCONSOLABLY. BIALYSTOCK ROUGHLY PUSHES HIM ASIDEAND GRABS THE HANDLE OF THE DETONATOR AND PLUNGES IT DOWN.HE HURLS HIMSELF TO THE GROUND AND COVERS HIS HEAD INANTICIPATION OF THE EXPLOSION. NOTHING HAPPENS. AFTER AWHILE THEY ALL RAISE THEIR HEADS CURIOUSLY. BIALYSTOCK (quizzically) Nothing.LIEBKIND GOES TO PLUNGER, RAISES HANDLE AND EXAMINESDETONATOR. LIEBKIND Here is gut... of course, of course. In electricity, it's always male to female. But with people, it's not always so. Come ve must go back. BIALYSTOCK Do you need us? LIEBKIND Of course I need you. It's dark in there. BLOOM Okay, okay. Let's not waste time.THEY OPEN THE SIDE DOOR AND DISAPPEAR INTO THE THEATRE. DRUNK (off camera, singing) "Honeymoon, keep a shinin' in June," 93.CUT TO ENTRANCE OF ALLEY. DRUNK COMES STAGGERING INTO VIEW.HE SPOTS DETONATOR. DRUNK "your silvery beams, Will light love's dreams," What the heck is that? A bicycle pump? Naaah. Lemme see. Could it be? Good grief, it's Eli Whitney's cotton gin... Naaah. Aahh, I know what it is.HE WALKS OVER TO DETONATOR AND SITS ON FIRE STANCHION JUSTBEHIND IT. HE RAISES HIS FOOT AND STARTS IT DOWN TOWARD THEPLUNGER. DRUNK Shine 'em up!HE PUSHES PLUNGER DOWN WITH HIS FOOT.CUT TO LONG SHOT OF THEATRE. (MOCK UP) THERE IS A TERRIFICEXPLOSION. PIECES OF THE THEATRE GO FLYING THROUGH THE AIR.CUT TO TIGHT SHOT OF DRUNK. HE IS ON HIS KNEES. DEBRISCRASHES ALL AROUND HIM. SMOKE AND NOISE FILL THE AIR. HESTAGGERS TO HIS FEET. HE ROCKS BACK AND FORTH AS THOUGH HEWERE IN AN EARTHQUAKE. DRUNK (bravely singing) "Sa-an Fra-ancisco, open your golden gates, Don't let a stranger wait...DISSOLVE TO TIGHT SHOT OF JUDGE'S GAVEL SOLEMNLY RAPPING FORORDER.PULL BACK TO REVEAL CROWDED COURTROOM.CAMERA MOVES IN TO FOREGROUND OF COURT. THERE, SEATED ATTHE DEFENDANT'S TABLE ARE, IN ORDER, BLOOM WITH HIS ARM IN ASLING, BIALYSTOCK WITH HIS LEG IN A CAST, AND A MUMMYSWATHED IN BANDAGES. WE KNOW THE MUMMY IS LIEBKIND BECAUSEIT IS WEARING A GERMAN HELMET. LIEBKIND (mumbling through his bandages) Male to male? Male to female?CUT TO TIGHT SHOT OF JUDGE. JUDGE Has the jury reached a verdict? 94.CUT TO JURY. THEIR EXPRESSIONS INDICATE THAT THEY ARE NOTAT ALL WELL-DISPOSED TOWARD THE DEFENDANTS.CAMERA CLOSES IN ON FOREMAN. HE RISES. FOREMAN We have, your honor. JUDGE (off camera) How does the jury find? FOREMAN We find the defendants incredibly guilty.CUT TO JUDGE. JUDGE Will the defendants please rise and approach the bench.CUT TO BIALYSTOCK, BLOOM AND LIEBKIND. THEY STRUGGLE TOTHEIR FEET AND HOBBLE TO THE JUDGE'S BENCH. JUDGE Do the defendants have anything to say in their behalf before the court pronounces sentence? BLOOM I would like to say a word, sir, not on my behalf, but in behalf of my partner, Max Bialystock. JUDGE Proceed. BLOOM Thank you, your honor. Max Bialystock is a very selfish man. BIALYSTOCK (whispers to Bloom) Don't help me. BLOOM He's a liar and a cheat and a scoundrel. He's taken money from little old ladies. He's talked people into doing things they never would have dreamed of. Especially me. But who has he really hurt? (MORE) 95. BLOOM (CONT'D) Who are the victims? Not me, I had the most exciting adventure of my life. And what about the little old ladies? What would their lives have been without Max Bialystock? He made them feel wanted and young and attractive again. LITTLE OLD LADIES (off camera, ad-lib) "Oh, Max, Max, I love you Max." "Let him go, let him go." "Don't take my Bialy." JUDGE (rapping gavel) Order. Order. BIALYSTOCK And may I humbly add, your honor, that we have learned our lesson and we'll never do it again. JUDGE I will take that into consideration. The defendants shall serve not more than five and not less than two years in the State Penitentiary. (he pounds gavel)DISSOLVE THROUGH TO SIGN ON STONE WALL. SIGN READS: STATEPENITENTIARY.DISSOLVE THROUGH TO PRISON YARD. DETACHMENTS OF PRISONERS,LED BY GUARDS, MARCH PAST CAMERA.DISSOLVE THROUGH TO EXTERIOR OF PRISON BUILDING MARKED:PRISON LAUNDRY. MUCH NOISE AND STEAM.CAMERA PANS TO ANOTHER BUILDING MARKED: MACHINE SHOP. LOUDMETALLIC CACOPHONY EMANATES FROM INSIDE.CAMERA CONTINUES ITS JOURNEY. IT COMES TO REST ON PRISONAUDITORIUM. TINKLE OF PIANO IS HEARD FROM INSIDE.CAMERA MOVES THROUGH CLOSED DOORS TO INTERIOR. WE SEE ALONG LINE OF PRISONERS (20). FOR SOME REASON THEY ARE ALLHOLDING MONEY IN THEIR HANDS. LINE ENDS AT A DESK. SEATEDAT THE DESK, IN A GREY, PRISON UNIFORM, IS NUMBER: 979345,FORMERLY KNOWN TO US AS LEO BLOOM. BESIDE THE TABLE IS ALARGE DISPLAY BOARD READING: 96. WORLD PREMIERE 979344 and 979345 PRESENT "PRISONERS OF LOVE" STARRING 778629 and CO-STARRING 440123 INVEST NOW!!!! HUGE PROFITS GUARANTEED!!!A PRISONER HANDS BLOOM MONEY. BLOOM COUNTS IT AND PUTS ITINTO TIN BOX. HE HANDS PRISONER A RECEIPT. BLOOM Twenty-five dollars. Here's your receipt. You now own 28% of "Prisoners of Love."CAMERA PANS TO STAGE. THE STAGE IS FILLED WITH A LINE OFCONVICT "CHORUS GIRLS." THEIR TROUSERS ROLLED UP ABOVETHEIR KNEES, SHOWING AN ASSORTMENT OF INTERESTING HAIRY LEGS.AT THE PIANO, KNOCKING OUT THE LIVELY RHYTHM, IS FRANZLIEBKIND AND HIS EVER POPULAR GERMAN HELMET.ON STAGE DIRECTING THE REHEARSAL IS THE INDOMITABLE MAXBIALYSTOCK. BIALYSTOCK (waving his cane and shouting at the top of his lungs) Higher, you animals, higher! We open Saturday night! Kick! Kick! Two-three-kick-turn! Two-three- kick-turn! Okay, let's hear it!THE PRISONERS BREAK INTO SONG. PRISONERS (singing) "We're prisoners of love, etc."MUSIC SWELLS TO CRESCENDO.CAMERA PULLS BACK TO ENCOMPASS THE ENTIRE STAGE AS "THE END"AND SUBSEQUENT TECHNICAL CREDITS APPEAR ON THE SCREEN. \ No newline at end of file diff --git a/unformated_scripts/Script_Program, The.txt b/unformated_scripts/Script_Program, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..17fd52b3c7bb0069838b310215fc6288a9dec4f6 --- /dev/null +++ b/unformated_scripts/Script_Program, The.txt @@ -0,0 +1 @@ + THE PROGRAM Written by David S. Ward & Aaron Latham REVISED TAN 11/23/92 SHOOTING DRAFT FADE IN ON BLACK SCREEN SPORTSCASTER'S VOICE (V.O.) Allright, bowl bid ridin' here for E.S.U. Fourth down on the Georgia Tech 18. 4 ticks left. Kane sets 'em down. INSTANT CUT TO: LINE OF TAPED KNUCKLES - NIGHT smashing into the mud, as a football OFFENSIVE LINE comes set, frosted breath steaming across to: The DEFENSIVE LINE digging in, ready to explode. CLOSE ON JOE KANE E.S.U. quarterback, barking signals. The ball is snapped, and we go to SLOW MOTION as the lines crash together in the slop. Joe rolls to the right, looking downfield. A huge DEFENSIVE END bears down on him. Joe jukes. The end whips on by, grabbing for jersey, slipping off. But big NUMBER 75 is closing the gap. On the run, Joe releases a desperation pass toward the end zone, just as 75 catches him and buries him face-down in the swamp. We FOLLOW THE BALL, spiraling through the slanting rain. RAY GRIFFEN, black running back, glances back for it, two DEFENSIVE BACKS with him. All three leap in unison, climbing as high as they can, clutching, clawing for the ball. The ball floats down, kisses off the tangle of fingers, splashes to the ground, and rolls to a stop in the mud. Incomplete. The BANG of the final gun snaps us back to LIVE ACTION. Joe on his knees in the muck, stares at the goal line, then drops his head in defeat. ANGLE ON SAM WINTERS Betraying little emotion, Coach SAM WINTERS, wiry, intense, early 50's, takes off his headset, lets it drop, heads across the field. REPORTER #1 (V.O.) Coach, this is the second year in a row you've failed to go to a bowl game. Do you feel your program's in decline? INT. LOCKER ROOM - NIGHT Coach Winters stands outside his office surrounded by reporters, a bouquet of microphones stuck in his face. WINTERS (keeping his cool) No, we're just a young team on the verge. We'll be back in a major bowl next year. Elsewhere in the locker room, we pick up a weary, mud- splattered Joe Kane taking off his pads in front of his locker. ALVIN MACK, black linebacker, comes by. Alvin exudes danger; big, fast and hostile on the field, slightly surly, a sense of repressed anger off it. ALVIN Good throw, Joe. It was there. JOE So was half their team. (trailing off) Shit, another Christmas at home. ALVIN Next year, man. Next year we sell out. Next year we dominate. ON COACH WINTERS AGAIN still fielding questions. REPORTER #2 You still need a deep threat or a breakaway back to go with Joe Kane. What are you gonna do to address this need? COACH WINTERS (a little edgy) Stop wastin' my time talkin' to you guys for a start. As Winters gets up to go, we hear: WILSON (V.O.) I'm not gonna lead you into the fog here, Sam... INT. CHANCELLOR WILSON'S OFFICE - DAY CHANCELLOR GRANT WILSON, 60, grey-haired eminence, sits behind his desk. Seated across from him are Coach Winters and GALEN HOWARD, 50, the Athletic Director. CHANCELLOR WILSON I'm concerned about our Program. It's always been a source of pride to our students and alumni, but two straight so-so seasons are having a damaging effect on our fund-raising, both public and private. WINTERS (half-joking) Then stop raising the entrance requirements on me. We never could have gotten Alvin Mack in here under the new guidelines. CHANCELLOR WILSON As Chancellor, my first responsibility is to the academic interests of this University. Wilson points to a representation of a football field affixed to the wall. A football rests on the 40 yard line, which is marked 160 million. The end zone (60 yards away) is $400,000,000. WILSON At a time when we're committed to a 400 million dollar building program, alumni donations are down 15% the last two years. Because they've also voiced their displeasure to their legislators, we can expect a corresponding drop in state funds. HOWARD The Athletic Fund is suffering too. Season tickets sales are off, merchandising's slow... WINTERS You layin' all this at my door? There's been a recession on. CHANCELLOR WILSON Yes, but the heaviest drop has been from the big donors, the 100,000 dollar club. These people are recession proof. They sit in my box every game, and they're much more generous when we're ranked and going to bowl games. Two of them, as you know, are on the Board of Regents, including the Chairman. WINTERS What are you trying to say to me, Grant? After 12 years, my job's in jeopardy? CHANCELLOR WILSON I'm not prepared to discuss your job right now; I just want you to be aware of the situation. The alumni and the legislature are unhappy and they vote with their checkbooks. I don't pretend to be an expert on football, Sam, and I'll deny that this conversation ever took place, but I do know we need to win next year. INT. STADIUM TUNNEL - LATE AFTERNOON Coach Winters flanked by two assistant coaches, HUMES and CLAYTON, walks down a cavernous tunnel beneath the stands to a waiting car. At the end of the tunnel, a scarecrow EFFIGY of Coach Winters hangs from an overhead pipe. CLAYTON (ignoring the effigy) Tickets are in your coat. Itinerary and player profiles are in your briefcase. We got a 9:00am tomorrow in Philly with this kid Darnell Jefferson. Coach Winters stops, looks up at the effigy. Humes and Clayton fear an outburst, a display of rage. WINTERS Looks like I've lost weight. That's it. He strides on. Humes and Clayton race to catch up. CLAYTON This kid's the gamebreaker we've been lookin' for. MUSIC STARTS. TITLES BEGIN. EXT. INTERNATIONAL AIRPORT - EVENING A Boeing 737 roars into the night sky. COACH CLAYTON (V.O.) Had a 108 yard kickoff return against Taft. Michigan's been down to see him twice. INT. ST. LUKE'S HOME FOR BOYS - MORNING Winters, Humes, Clayton and Joe Kane sit across from DARNELL JEFFERSON and REVEREND WALLACE in a tattered parlor room. Other boys of various ages and color look in from the adjoining door. Darnell is black, good-looking, street-hip, the letters D.J. shaved in block letters into his fade. WINTERS Darnell, you have the potential to start for us as a freshman. That 108 yard kickoff return you made against Taft? One of the greatest runs I've ever seen a high school player make. Now, Michigan is set at tailback for two years. You won't play till you're a junior. With Joe here gettin' you the ball, runnin' 28 Thunder right, you'll be All-American with us as a Sophomore. REVEREND WALLACE Yes, but I'm really more concerned with Darnell's education. He came here late. He's got some catching up to do. WINTERS Believe me, education is the first priority in our program. That's why all the players are smarter than me. After all, a football coach is smart enough to understand the game, but dumb enough to think it's important. This gets a little chuckle from the Reverend. It was intended to. EXT. RURAL SOUTH CAROLINA TENANT FARM - DAY We see a run-down tenant SHACK on the edge of a large cotton field. INT. TENANT SHACK - DAY Two rooms. Dirt floor. Two-foot Christmas tree on an apple cart. Alvin Mack's MOTHER opens a Christmas present as Alvin and his TWO SISTERS look on. It's an ENGRAVED LIONSHEAD DOORKNOCKER, the kind you'de find on the door of an affluent home. The inscription reads THE MACK'S. Alvin's mother thinks it's beautiful, but isn't sure what to do with it. ALVIN'S MOTHER It's real pretty, Alvin. ALVIN When I turn pro, I'll get you the house to go with it. INT. COACH WINTERS' HOUSE - DAY Winters' daughter LOUANNE, 20, is on the phone with her father. Louanne is sexy, clothes too tight, but good-natured, somewhat needy and loyal as a labrador. She holds a hopelessly out-of-style sweater her dad's given her for Christmas. LOUANNE (lying) It's real nice, Dad. INT. ROADSIDE MOTEL - DAY Winters sits on the bed, eating Chinese take-out, the phone cradled in his neck, talking to Louanne. WINTERS I knew you'de like it, Lou. Merry Christmas. Put some fresh flowers on your Mom's grave for me. I'll be home in a couple days. EXT. SMALL BRICK HOUSE - DAY Battered and old, in a declining Pennsylvania neighborhood, hard by a STEEL WORKS. INT. SMALL BRICK HOUSE - DAY Joe sits on the couch with his older brother, FRANK, watching the bowl game he would have been in, had E.S.U. won their last game. His FATHER, a grizzled man in his fifties, nods in and out in a tattered armchair. All three have been drinking beer, their empties scattered around. Frank tosses Joe an Iron City beer. FRANK Have another Vitamin I, Joey. Didn't think we'de see you here this Christmas, little brother. JOE You won't next year. JOE'S FATHER (getting up) Yeh, well we won't rent your place on the couch. As Joe's father heads for the kitchen, he hangs his empty beer can, by the pull tab, on a branch of the Christmas tree. We see that the whole tree is covered with cans. INT. PHILADELPHIA BOY'S HOME - NIGHT Darnell talks on a pay phone in the hall. DARNELL You're from E.S.U? GIRL'S VOICE Yeh. I was just sittin' here by the fire doin' my homework, and decided to give you a call. See how you're doin'. INT. OFFICE IN E.S.U. ATHLETIC DEPARTMENT - NIGHT We see who Darnell is talking to: AUTUMN HALEY, beautiful black girl, stylish, long straight hair, definitely not street. AUTUMN Coach Winters has been telling me about you. I'm looking forward to seeing you when you come to visit. I'll be your guide. You are coming to visit aren't you? We PULL BACK and REVEAL Autumn in an office with 15 other telephones, a coed on every one. ASST. COACH MYERS supervises with a clipboard of names and numbers. EXT. TUNNEL OF WOLFDEN STADIUM - DAY Joe leads Darnell down to the end of the tunnel, where Autumn is waiting. He introduces them. She's even more attractive than Darnell thought she'd be. She takes Darnell's hand and leads him out onto the field where he's greeted by the E.S.U. BAND playing the school fight song. The CHEERLEADERS whip into action, legs kicking, pom-poms whirling. The band parts and Darnell walks out into the 90,000 seat stadium, an awesome sight for any young man. Autumn points to the giant DIAMOND VISION SCOREBOARD. Darnell's name and picture appear. The stadium P.A. ANNOUNCER cuts in. P.A. ANNOUNCER Now for the starting line-up for the E.S.U. Timber Wolves. At tailback, number 20, Darnell Jefferson!! DARNELL You got that right. Darnell, in his excitement, does a little end-zone dance. Slaps hands with Joe. EXT. PICTURESQUE CAMPUS WALK - NIGHT Romantic, Ivy-League look, lit by soft-glo footlights. Darnell and Autumn walk, side by side, stopping outside Autumn's dorm. DARNELL Thanks for showin' me around, Autumn. I don't meet too many females like you. You got a lotta class. Real efficacious. Maybe I'll check you out in the fall. AUTUMN I hope so, Darnell. He leans down to kiss her. She hesitates, not sure about this, then comes forward, kisses him on the lips, starts to let it deepen, then breaks it off. AUTUMN Good night. As he watches her go up the steps, we go to: EXT. THE BOYS HOME - DAY Early February: It's National Decision Day and Darnell's home is under seige. Reporters. Microphones. Television cameras. Darnell steps out onto the porch wearing an ESU jersey with #1 emblazoned on it. DARNELL Now you know where I'm going and what we're indubitably going to be. MUSIC and TITLES END. EXT. E.S.U. CAMPUS - DAY A hot, late summer day. Over the deserted Quad, we see the title: 6 MONTHS LATER. It fades and we MOVE TO REVEAL a city BUS pulling up at a curb adjacent to the Quad. Off steps Darnell, carrying one battered suitcase. Joe Kane and BUD LITE KAMINSKY, offensive line tackle, are there to greet him. JOE Hey, Darnell, Welcome to E.S.U. DARNELL (shaking hands) Yeh, good to see you guys. What happened to the band and the dancin' honies? JOE Regular students don't come back for two weeks yet. Not that they woulda been here. Now that you've enrolled, you're just another wormshit freshman. INT. BROWNING ATHLETIC DORM - DAY A dorm devoted exclusively to football players. Luxurious lounges, study halls, saunas, recreation and media rooms. Spacious living quarters. A world unto itself. Joe and Bud usher Darnell into his room. JOE Here's your room. If you need anything call the hall manager. Darnell looks around, taking it all in. He tries to be cool, but this is easily the nicest room he's ever had. JOE See ya later. Freshman Placement test tomorrow at nine. McKinnley Hall. Joe and Bud start down the hall. Darnell turns back into his room, then starts to pace off it's dimensions, heel to toe. EXT. THE 911 - NIGHT College hang-out, bar, catering to athletes and their admirers. A black HARLEY DAVIDSON, driven by Joe Kane with Darnell on the back, pulls up at the curb. They get off, head inside. INT. THE 911 - NIGHT Joe and Darnell pass a table of three girls, conspicuous among them is Louanne Winters. Joe and Darnell give her a nod and proceed on to a table where three fellow players wait: Bud Lite, BOBBY COLLINS, good-looking, silver-tongued ladies man and 2nd string quarterback, and STEVE LATTIMER, heavily muscled, surf-punk defensive end. Between them is a large pitcher of beer. BOBBY Uh, oh, the Lead Dog is back. There goes my cover of the media guide. JOE Hey, Bobby, Lats, how ya doin? This is Darnell Jefferson, freshman tailback. DARNELL How ya' doin'? BOBBY I was hopin' you'de have rolled your bike or somethin'. Nothin' serious, just enough to keep you out for the season. JOE (pouring himself some beer) No such luck, Backup Man. But I'll try to engineer a few blowouts. Get you get some mop-up time. (studying Lattimer) Shit, Lats, you look buffed, man. You put on some weight? LATTIMER 35 lbs. Spent the summer in the gym. I'm tired of watchin' you guys play. I intend to start this year. BUD You get any bigger, you can play offense. LATTIMER Yeh, but don't I have to get dumber too? Bud takes a good-natured swipe at him. Lattimer deflects it. Joe notices Bobby looking over at Louanne. She gives Bobby a surreptitious little wave to come over and sit with her. He gives her the "just a minute" sign. BUD You still seein' Louanne? BOBBY Yeh. Now and then, when the tide rises. Don't want her to think this is some kind've exclusive deal. JOE Coach finds out you're nailin' his daughter, you'll be playin' dorm ball. BOBBY I'll bail before that. Besides, this is what he gets for not startin' me. Bobby laughs and heads over to Louanne's table, as Joe pours himself another beer. Alvin enters the bar, goes to Joe's table, plops a copy of Sports Illustrated down in front of Joe. ALVIN Hey, man, you seen this? On the cover is a picture of Joe and ONE OTHER QUARTERBACK, TIM WAYMEN. The coverline reads, HEISMAN HOPEFULS: THE YEAR OF THE QUARTERBACK. ALVIN (ribbing Joe) You must be some very bad-ass motherfucker. Joe stares at the cover. He's more stunned than elated. JOE Jesus... LATTIMER What? You didn't know? JOE I knew there was gonna be an article. I didn't know it was gonna be on the cover. ALVIN Shit, we do all the work. You get all the pub. Too bad we're not allowed to hit you in practice. Be fun to kick the shit out of a Heisman Trophy Candidate. JOE I guess you'll have to wait till we get to the pros. ALVIN (to Darnell) Beer boy, get me some. DARNELL Are you serious? ALVIN Does it look like I'm serious? Joe drains his beer, pours another. Lattimer starts to read form the article. LATTIMER Listen to this. "E.S.U. has a solid nucleus returning, but the Timberwolves, coming off two disappointing seasons, will only go as far as the strong right arm of Heisman Candidate Joe Kane will take them." That right, Joe? You gonna lead us to the promised land? JOE I'm gonna lead... but can you follow? Muted chuckles, but set faces. The challenge accepted. Joe chugs his beer, pours another. EXT. TWO LANE HIGHWAY - NIGHT The crowd from the 911 (Bud, Alvin, Lattimer, Darnell, Bobby and Louanne) follow Joe down the hill behind the bar toward a busy two-lane highway. Joe, a little drunker than the others, starts HOWLING at the moon like a Timber Wolf. The others join in. BUD What are we doin', Joe? JOE (slightly slurred) There's something I wanta try. Gotta wake up our Mojo. Start settin' the tone for the season. BUD This is not a good time to be settin' anything. You're in no shape... Suddenly Joe makes a dash out onto the highway. BUD Joe, c'mon Joe, don't be an asshole. Joe! God-damnit, why's he always doin' shit like this? Coach'll fuckin' kill me. Alvin, go get him, will ya? ALVIN Hell no, you go get his ass. Crazy motherfucker. Joe stands on the white line, cars and trucks whizzing by, then lies down on his back, arms at his side. JOE'S POINT OF VIEW Cars and trucks blast toward us, roar on by, right on top of us, honking, spraying grime, shaking the asphalt. Bud and the others on the side of the road are increasingly worried now. BUD Fuck this shit. Pissed off, Bud sprints out to the white line. The draft- wake of a passing truck almost blows him over. BUD C'mon, Joe, that's enough. Let's get the hell outa here. What if somebody drifts or crosses the line to pass? JOE What's the matter, Bud? Can't you follow? Bud hesitates a second, scared, but stung by this dare. BUD (torn) God-damnit, god-damnit. Shit. Bud can't fight it. He lies down on the line, his head touching Joe's feet. Joe begins to HOWL again. Bud joins in. Alvin and the others can't believe it. ALVIN Startin' to look like a loaf of Wonder bread out there. BOBBY They're makin' us look like pussies, ya know. Standin' here suckin' our thumbs. LATTIMER (to Alvin) Yeh, and there's nobody from the Defense out there. Bobby and Lattimer look at each other a beat. Time to ante up. Both turn to Alvin. ALVIN What are you lookin' at? You think you're bad? Alvin snorts in disgust and starts out onto the blacktop. Bobby and Lattimer smile, go to follow. Louanne grabs Bobby, holds him back. LOUANNE (vaguely sexual) Bobby, be careful, o.k? Please, be careful. Bobby smiles, grabs her ass, pulls her to him, gives her a long, passionate kiss, then sprints out to the white line, leaving her breathless. Alvin, Bobby and Lattimer lie down in front of Bud. Now there's a line of five, a human highway median. Everybody scared shitless, howling their lungs out. Louanne and Darnell watch from the side of the road. DARNELL This guy do this kinda shit a lot? They never mentioned this in recruiting. Finally, Joe laughing wildly, jumps up and they all scramble back to safety. Out of breath, but pumped up, they exchange exhilarated high fives. Alvin just shakes his head. DISSOLVE TO: INT. EXAMINATION ROOM - MORNING Twenty freshman football players, including Darnell, are scattered at tables around the room, writing furiously in test booklets, as a PROCTOR paces the room. Darnell starts to write an answer, stops, stumped. Worried, he looks at the clock, goes on to the next page. EXT. E.S.U. CAMPUS - MORNING Darnell and Joe walk across campus. Darnell carries a gleaming, chromed TROPHY with a football player on top. He's still thinking about the test. DARNELL I don't know... I left a lot of 'em blank. JOE Don't worry, you'll do all right. Lotta people don't finish. DARNELL (not convinced) Yeh. JOE What are you doin' with the trophy? DARNELL Coach Winters asked me to bring it to the meeting. I don't know what for. Suddenly Darnell sees Autumn walking across the Quad. DARNELL I'll see ya at the meeting. (handing him the trophy) Take this for me, will ya? Joe starts to protest, but Darnell is already off, racing across the Quad, quickly catching up with Autumn. DARNELL Hey, Autumn, hold up! What're you doing here? I thought students didn't come back for two weeks. AUTUMN (rather coolly) I came back early to see a friend. DARNEL You're looking fresh, Autumn. A package of pulchritudiness. What about getting together later tonight? Maybe get a pizza? They got pizza in this town don't they? AUTUMN I can't tonight. DARNELL How about tomorrow night? AUTUMN I don't think it's a real good idea for us to see each other, Darnell. DARNELL What's the matter? I'm not good enough for you all of a sudden? Too young, is that it? I'm not, ya know. They held me back a year. AUTUMN No, it's not that... I've got a boyfriend. DARNELL Did you have this boyfriend when you showed me around? AUTUMN (reluctant to admit it) Yes. DARNELL Yeah, well, it didn't seem to bother you then. I'm willing to overlook it now. AUTUMN I was mad at him. DARNELL For what? AUTUMN I caught him with another girl. A white girl. DARNELL And you're still with this nigger? She nods, slightly embarrassed. AUTUMN Look, I got to get going, Darnell. I'm sorry. I didn't mean to lead you on. I'm glad you came here. She starts walking away. DARNELL Wait a minute. I can at least walk with you, can't I? Nothin' wrong with that. She speeds up. He speeds up. AUTUMN I'm in a hurry. DARNELL I can keep up. I run the forty in four-four. She's just about to say something when RAY GRIFFEN arrives. Ray's the starting tailback, black, handsome, clean-cut, well-spoken, middle class. RAY Hey, Autumn -- This is exactly what Autumn didn't want to happen. Ray and Darnell eye each other like a couple of roosters. AUTUMN Hi, Ray. This is... DARNELL (cutting in, offering his hand) Darnell Jefferson. (pointedly) Tailback. RAY (shaking Darnell's hand) Ray Griffen. (just as pointedly) Starting tailback. DARNELL I know. That's why they recruited me. Autumn can't believe he said this. She starts to interject something to break the tension, but never gets the chance. RAY The two guys they recruited before you are handing out Gatorade now. (making the jerkoff motion) Better start strengthening your wrist. DARNELL We'll see. (departing, to Ray) Give my best to Miss Lilly. Autumn's mortification is complete. RAY (to himself) What the hell is that supposed to mean? EXT. E.S.U. CAMPUS - DAY Establish the new, modern KELLER CENTER, home of the E.S.U. Athletic Department. INT. KELLER CENTER - DAY The football meeting room. A quarter amphitheatre. The Freshman, including Darnell, down in front. Nervous, talking very little, eyes playing over the pictures of former E.S.U. greats arranged on the Wall of Honor. Behind them, the Upperclassmen, bantering, conversation punctuated with laughter. A door opens. The Assistant Coaches file in. The room hushes immediately. Coach Winters walks in. The Upperclassmen break into applause; the Freshmen quickly take their cue and join in. WINTERS Good to see you again, gentlemen. (catching sight of Darnell) Jefferson, either take off the earring or put on a dress. The upperclassmen hoot, as Darnell, embarrassed, takes off his earring. WINTERS I wanna talk a little about what we're trying to do here. There are many highly respected people who feel football is about preparation for life. The players nod reverentially at this established axiom of the football cannon. WINTERS These people are full of shit. You see, football is not like life. (pause) It's better. More exciting, more intense, more fun. In life, people are always wondering how they measure up; whether they're getting ahead or fallin' behind. In football, you know. Every week you get a chance to show what you're made of, a chance to demonstrate the physical and personal qualities that all those poor bastards who can't play this game are left to agonize about. Spreading smiles all around. It's good to be a football player. WINTERS Last year we didn't make enough of those chances. Last year everyone felt we let the school down. Fuck the school. We let ourselves down. (pointing to the Wall of Honor) We let down a great tradition, a 120- year-old Line of Champions. The smiles are gone. Lots of set faces now. Shame. anger, retribution. WINTERS Any football program worth the name is a special brotherhood, an elite corps of warriors, a select group of knights. That first time our starting unit takes the field, the first time we huddle up; that's our inner circle, that's our Round Table. If I were an upperclassman, I'd be real nervous about my seat, cause we got some very talented new-comers this year. Guys who want a place at the Table. (producing Darnell's trophy from behind the podium) This is the trophy one of our freshman, Darnell Jefferson, won as a Pennsylvania State High School First Team All-American. You know what this says to me? The freshmen are hanging on every word. WINTERS Not a god-damn thing. He smashes the trophy on the podium, breaking it in half, shattering the base. Darnell and the other freshmen are agog. The upperclassmen stifle laughs, particularly Ray Griffen. WINTERS (to the freshmen) Everybody here was a high school All- American. (to all the players) Whatever any of you have done before is out the window. We're startin' over. Ground zero. The Table is empty. Are you ready? The upperclassmen nod, steely, purposeful. We go to the freshmen. They're not so sure. SMASH CUT TO: EXT. E.S.U. PRACTICE FIELD - DAY Passing drills. Joe Kane takes a snap, fades to pass, throws an out. The ball sails two feet over the receiver's head. Joe's angry with himself. COACH CLAYTON (to Winters) He's too pumped up. Tryin' to win the damn Heisman on every throw. I'm not sure he's ready for all this hype. COACH HUMES Little late to be worryin' about that. If we don't follow up the Sports Illustrated cover with something, it'll look like we didn't believe in our own player. WINTERS Don't worry, Joe's a tough kid. He'll be allright. EXT. PRACTICE FIELD - DAY Scrimmage. Joe hands off to Darnell. He sweeps right, cuts it up, blows past the end. In a spectacular display of broken field running, Darnell breaks to the sideline, cuts back, eluding the corner back, and stiffarms the safety. Alvin, pursuing the play, finally tackles him from behind, stripping the ball at the same time. There's a wild scramble for the fumble. Darnell is crushed under the pile, as the defense recovers it, ruining an otherwise brilliant run. The players unpile to reveal Darnell, writhing on the ground, the wind knocked out of him. Ray Griffen runs by to take his place. GRIFFEN Hey, nice writhing, Jefferson. You got all the moves. WINTERS (shouting to the team) Allright, move it up. Let's go, 15 yards, run the next play. The scrimmage moves up 15 yards leaving Darnell behind. Winters sprints over to Lattimer, grabs him by the face mask. WINTERS Cut the necktie tackle horseshit. You think you're in some kinda highlight reel? He left you huggin' air. Target his guts. Drive right through his abdomen. I wanta see snot bubbles in his nose. I wanta see shit in his underwear. Lattimer nods chastised. Winters moves over to check on Darnell. WINTERS You injured, Jefferson, or just hurt? DARNELL (gasping) What do you mean? WINTERS If you're hurt, you can still play. If you're injured you can't. Are you hurt or are you injured? DARNELL I think I'm just hurt. WINTERS O.k., then get up. Winters extends a hand. Darnell grabs it, struggles shakily to his feet WINTERS Nice run. Think what it coulda done for us if we still had the ball. (handing him the ball) This is a football. I want you to carry it with you wherever you go. Never let it out of your sight. (to the rest of the team) Any of you see him on campus, take a swipe at the ball. Try to knock it out of his hands. Recover it. (to Darnell again) If anybody, but you, returns this ball to me, you'll wish you'de never been born. Winters wheels off leaving a wobbly Darnell alone with his football. WINTERS (V.O.) This isn't gonna get it, goddamnit. INT. WINTER'S OFFICE, LOCKER ROOM - DAY Winters, mad as hell, is berating his assistant coaches who are sitting, cowed in his office. WINTERS I see tackling, but I don't see hitting. I see effort, but I don't see ferocity. What do you think, they're gonna motivate themselves? Football's just a game to most of these kids. This is our program, our livelihood. It's our job to make them care as much about it as we do. Make them hate me if you have to. It'll bring them together, give them a focus. So get off your butts and put the fear of God in these guys. INT. LOCKER ROOM - LATER AFTERNOON Dead tired players toweling off, dressing. The trainer's room is crowded with aching, cramped-up, contused players. Across the way, Lattimer lifts weights, alone in the weight room. Clayton and Humes consider this from outside Winters' office. CLAYTON Shit, Lattimer's an animal all of a sudden. Benchin' 450. He's gotta be on somethin'. HUMES What, steroids? Why do you always think my guys are juicin'? CLAYTON I don't know... he's on the punt team for three years, then gains 35 pounds of rip in one summer and an attitude to go with it. Winters, who's heard all this, comes by. WINTERS We're not doctors, gentlemen. The NCAA has testing programs for this. Let's let them worry about it. (to Clayton) Besides, it's not that hard to put on 35 pounds in a summer, if you really hit the gym. Winters walks on into his office. Clayton nods, realizing this subject is now closed. INT. DARNELL'S ROOM - LATE AFTERNOON Darnell walks in, wrung out from the day's practice, stumbles to the bed where he sees something that stops him - lying there is his PENNSYLVANIA STATE ALL AMERICAN TROPHY. Coach Winters actually smashed a replica. A smile appears on Darnell's tired face. INT. TRAINING TABLE DINING ROOM - NIGHT For football players only. Bud Lite moves through the cafeteria line. BUD What you got tonight? CAFETERIA WORKER Choice of three entrees. Shrimp, lasagna, T-bone steak. BUD Tough choice. I'll take all three. CAFETERIA WORKER What a surprise. ANGLE ON DARNELL at another table with Alvin and several other black players. Lattimer is the only white. DARNELL When do they give ya the scores on that Placement Test? LATTIMER Who cares? I flunked it three times, before I got in. ALVIN Long as you're in the program, they'll get you through. Maybe not with a degree, but they'll keep you eligible. Just don't do nothin' embarrassing they can't cover you for. LATTIMER Hell, they even give Alvin copies of his tests in advance. He sells 'em for a hundred bucks a pop to people in his class. 'Course he's gotta have somebody read 'em to him. ALVIN Fuck you, doughboy. I can read. See that shoe? (points to his shoes) That says Nike. DARNELL I still don't wanna flunk that test. I wanta get a degree. ALVIN What do you think, nigger? You're gonna be on the Supreme Court? All you need to know is how to sign an N.F.L. contract. Darnell's stung by this. He'd like to think of himself as capable of more. Suddenly, Coach Winters appears at the door, a surprise visitor to the training table. All the players wearing baseball caps, quickly doff them. Winters is angry. WINTERS What's the matter with you guys? You're supposed to be a team. Winning depends on thinking and acting and going to war together. But you don't even eat like a team. You eat like two teams. A white one and a black one. What do I have to do? Make out a seating chart? Now get up. Move around. Mix it up. Now! The players all look at each other, then reluctantly get up and change tables. Darnell sits next to Joe. DARNELL (mock introduction) Hi there. Darnell Jefferson. I'm a young black man. JOE Hey, glad to meet ya. Joe Kane, Caucasian. So what doya think a that new Garth Brooks album? DARNELL I love that motherfucker. Coach Winters surveys the scene, sees that all the tables are integrated now. WINTERS That's more like it. He turns and walks on out. Immediately, the players begin to drift back to their old tables. INT. WEIGHT ROOM - NIGHT Joe, Bud Lite and Bobby Collins, all suffering from various aches and pains are getting Naperson and analgesic balm out of the non-prescription drug cabinet. Joe pops a Nap and looks across to the weight room where a stunning co-ed CAMILLE SCHAEFFER works a knee lift. Camille's the perfect marriage of Southern patrician beauty and athletic confirmation. Joe leaves the others, heads over, pokes his head in. JOE How ya' doin'? CAMILLE Fine. JOE Little late to be workin' out, isn't it? CAMILLE (with a little edge) Only time I could get in here when the football team wasn't usin' it. JOE (trying to get a rise out of her) Well, if it wasn't for the football team, might not be a weight room to use. You tryin' to firm up a little, or what? CAMILLE (unfazed) Don't need to firm up. I'm strengthening my knee. Had arthroscopic surgery. JOE Had my knee scoped once too. When you're finished here, maybe we could get a yogurt, compare scars. CAMILLE Sorry, I don't date football players. They're all full of themselves. I saw you on the cover of Sports Illustrated, so you're probably worse than most. JOE That's real open minded of you. So you won't consider doin' anything with me? CAMILLE No. JOE Well at least tell me what happened to your knee. What'd you do? Fall outa your convertible? Camille stops her knee lift, turns to Joe. We think she's going to fire on him. Wrong. CAMILLE You know, there's maybe one thing I'd do with you. JOE What's that? CAMILLE Tennis. I'll play tennis with you. Camille starts to walk away. JOE Tennis. You mean now? It's raining. SMASH CUT TO: CAMILLE - TENNIS COURTS - NIGHT smashing a two-fisted forehand right at us, grunting with the exertion. Joe scrambles to get it back, but Camille's a world-class player. She attacks with a vengeance, blasting every shot ala Jimmy Connors, as Bud Lite and Bobby Collins watch, amazed. We begin a SERIES OF CUTS detailing Camille's relentless dismantling of Joe: Camille drilling a backhand down the line, Joe barely getting it back to the net. Camille hitting a powerhouse service ace, Joe lunging and whiffing the return. Camille crushing another forehand. Joe crushes it back, sends it over the fence and into the parking lot. Camille serving again at match point. Joe pops up a weak return. Camille puts it away with a powerhouse overhead, the ball almost knocking Joe down. He flings his racket against the fence. Camille comes to the net to shake hands, but Joe hangs back. CAMILLE Thanks for the game, Heisman. You took it really well. And she walks away along to the net. Joe goes after her, pissed. JOE What's this Heisman crap? Camille's taken aback, not realizing she'd struck a nerve. JOE I didn't say anything about being a Heisman candidate. I don't go around strokin' myself about it. So what's this shit you're givin' me? CAMILLE I... I'm sorry... I just figured you were probably kissin' yourself in the mirror every morning. JOE You figured wrong. Now Joe walks away and Camille goes after him. CAMILLE So what do you want, an apology? I just gave you one. JOE I want a rematch. CAMILLE A rematch? JOE Some other sport. I took my beating. You owe me one. Either that or we go out. Camille considers, tries to figure out what she'd dislike least, knowing it'd be cheap to choose neither. CAMILLE I'll think about it. Camille walks off, disappearing through the gate. Joe walks off in the other direction. Bud Lite and Bobby follow. BOBBY Real good date, Joe. Remind me to take her out. FADE OUT: FADE IN: EXT. E.S.U. CAMPUS - MORNING Opening day of school. We take CUTS of students arriving, football players checking out the new girls from atop the wall of the athletic dorm, Louanne and Autumn greeting returning sisters at the sorority, students registering for classes etc. INT. ACADEMIC ADVISOR'S OFFICE - MORNING Darnell sits across from WILLIAM SMITH, Academic Advisor. ADVISOR SMITH Darnell, I've reviewed your placement test and I'm afraid you failed to meet our entrance requirements in two areas. DARNELL What does that mean? I can't play football? ADVISOR SMITH No. It means you're going to have to take some remedial classes, what we call "zero level" courses. Specifically Math 0 and English 0. Darnell is clearly deflated by this painful indication of his academic standing. ADVISOR SMITH You won't get college credit for them, but they will help you prepare to take the Placement Test again at the end of the quarter. If you pass at that time you'll be able to officially enter the university and take college level courses. You'll still be able to take an American History survey course, but it won't count on your record until you pass the Placement Test. But first things first. To start, I'm approving a tutor for you. DARNELL A tutor? I don't need no tutor. ADVISOR SMITH Any tutor. And yes you do. INT. ATHLETIC DEPARTMENT CONFERENCE ROOM - DAY A meeting of the football brain trust; Coach Winters, Athletic Director, GALEN HOWARD, a publicist, SHARON BRAVER, and the Sports Information Director (S.I.D.) LARRY NICHOLS. Also present is Joe Kane, somewhat discomfited at being the center of all this attention. HOWARD I think both Joe and the university are best served by a straightforward Heisman campaign. Nothing too gimmicky. BRAVER We've compiled a mailing list of around 1300 opinion makers; newspapers, football writers, and sports anchors. First we send them a packet on Joe and his achievements. Bio, stats, plus human interest stuff; commitment to academics, charity work, etc. Then we update it each week with a postcard. Heisman voters hate opening envelopes. Joe is increasingly uneasy with all this. JOE I haven't really done any charity work... BRAVER You're gonna start. We've got some things lined up. NICHOLS Unfortunately, because we weren't in the top 20 last year, we only have one network T.V. game to give Joe national exposure. Although it's a good one; Michigan. But we'll also be taping all our other games and buying satellite time. That way we can produce our own highlight package and interview pieces and send them out to T.V. stations all over the country for their sportscasts. WINTERS Any questions, Joe? If Joe was uneasy before, he's overwhelmed now. He tries not to show it. After all, who could turn down a Heisman campaign? Still it's a megaton of pressure. JOE Ah, no... I just... you really think I got a shot to win this? WINTERS Hell, yes. Plus it's a good thing for the program. Publicizes the school, gives a boost to recruiting, and it's a great thing for you. Jumps up your draft position, the size of your first contract, everything. It's a hell of an opportunity. NICHOLS All you gotta do is back it up on the field, and we have no doubts about that, cause we know "Kane is Able." Nichols holds up a black CAMPAIGN BUTTON with the phrase "Kane is Able" enblazoned on it in gold letters. This gets a rise out of everyone except Joe, who's still not sure about all this. INT. JOE KANE'S BEDROOM - LATE NIGHT Joe lies on his bed, staring up at the ceiling, unable to get to sleep. INT. CAMILLE'S BEDROOM - LATE NIGHT The phone rings. Camille, who's been asleep, rolls over and answers it. CAMILLE Hello... ON JOE JOE This is Joe Kane. What did you decide? CAMILLE (still drowsy) What? (looking at the clock) It's 3:00 in the morning. JOE I wanta know what you decided. CAMILLE I don't know... I couldn't think of any other sports I could beat you at. JOE Then I'll pick you up tonight at 6:00. He hangs up. CAMILLE What? INT. CAMPUS LIBRARY - DAY Autumn sits at a tutorial table, looking at her notes. She becomes aware of someone approaching. She looks up to see Darnell. DARNELL Hey, Autumn. AUTUMN Hi, Darnell. What are you doin here? DARNELL My advisor says I need a tutor. Ya know, just to get me over a couple rough spots. (showing her a paper) I saw your name on this list. I figured if you couldn't keep my attention, nobody could. AUTUMN I'm sorry, Darnell, but I've already been assigned. You're gonna have to find somebody else. I'm tutoring Scott Sherman. DARNELL Not anymore. I asked Coach Winters to switch us. AUTUMN Coach Winters wouldn't do that. DARNELL Yeh he would. I'm a bigger prospect than Sherman. (pointing across the way) He's a lineman on the scout team. Autumn looks back to where Darnell is pointing. Sure enough, SCOTT SHERMAN is hard at work with another Tutor. Autumn can't believe it. She tries to compose herself. Darnell sits down across the table from her. DARNELL C'mon Autumn, you could teach me some real erudition. AUTUMN (trying to whisper, pissed) Will you stop using those big words. It sounds ridiculous. DARNELL (serious about this) What doya mean? I'm improvin' myself. I learn a new word out of the dictionary every day. Mendacious, pejorative, antithetical, commensurate... AUTUMN And you don't ever use them right. Pretending to be smart is not the same as being educated. Or erudite. It's just a con. And it makes you sound stupid, no matter how big a prospect you are. Darnell is genuinely hurt by this dose of reality. His customary bravado melts away. DARNELL O.K... even more reason for you to be my tutor. You already taught me something. Autumn, disarmed by his sudden humility, has no real rebuttal. She would have had to tutor him anyway, but now she's having trouble being angry about it. ALVIN MACK At another table, looking distracted and bored as his TUTOR reads his history assignment to him. Alvin takes out a walkman and puts the headphones on. WE HEAR A HORN BEEP. EXT. CAMILLE'S DORM - LATE AFTERNOON Camille comes out the front door, summoned by the horn. She stops at the sight of something. We REVERSE TO REVEAL Joe on his Harley. CAMILLE We goin' on that? JOE Yeh. I thought we might take a ride. CAMILLE I promised my dad I'd never get on one of those. JOE What are you, one of these trust- fund princesses? It's fine for me to play a game I don't know, but I ask you to try somethin' different and you hide behind your daddy. He holds out a motorcycle helmet toward her, daring her. She burns, but her competitiveness makes it impossible for her to decline this challenge. CAMILLE (snatching the helmet) All right. But we go slow. No cowboy stuff. Joe smiles and kicks the starter. Camille climbs on and they roar off. EXT. TWO LANE HIGHWAY - NIGHT Just outside town. Joe and Camille come down the highway at moderate speed. Camille's hanging on for dear life, but we can tell she's enjoying it. JOE This speed, o.k.? CAMILLE Yeh, fine. JOE Good. Joe immediately accelerates, throwing Camille's head back. Her SHRIEK is lost in the whine of the engine, as they speed away from camera. CAMILLE Slow down, damnit. Joe... Joe! They approach a high-banked turn, beyond which appears to be a long, sheer dropoff. Joe looks back at Camille, smiles devilishly, not looking where he's going. Camille sees they're heading straight for the edge. CAMILLE (freaked) Joe, look out!!! Too late. Joe brakes, fishtails, but goes over the top of the bank, off the edge, flying out into oblivion, Camille screaming. CUT TO: ANGLE ON HARLEY As it plops down onto a wide LEDGE not visible from the road, three feet below the top of the bank. Joe lands it, skids to a professional stop, breaks into raucous laughter. Camille jumps off the bike, scared stiff and livid with anger. CAMILLE How could you do that, you stupid punk? It isn't funny, god-dammit, you coulda killed us! You're crazy, you know that... JOE Take it easy. I've done that a hundred times. No big deal. CAMILLE Oh, yeh? Then why are you shaking? JOE (embarrassed) I don't know... I guess cause I've never done it with someone else on the bike. CAMILLE You just wanted to scare me. Are you happy now? JOE Yeh, pretty much. And the scream was even better than I thought it'd be. Every dog within hearing distance wants to mate with you now. Camille's ready to throttle him, then something catches her ear. Sure enough, there are SEVERAL DOGS BARKING in the distance. Joe smiles at her. She looks away, still angry, but amused in spite of herself. INT. ROADSIDE BAR - NIGHT Working class, sawdust floor, George Thoroughgood's "Who Do You Love" on the jukebox. Camille and Joe are sitting in a booth. Joe putting away the beers. CAMILLE You come here a lot? JOE Now and then. Why? CAMILLE It's not exactly a campus favorite. This is almost like hidin' out. JOE I like places where nobody knows me. This too low-rent for you? CAMILLE No, my dad owned a place like this. JOE Your dad? You mean he owned a chain of these? CAMILLE Not everybody with a Southern accent has their own plantation. My dad could never afford to send me here. I learned to play tennis on public courts. Mighta been able to play pro someday, if I hadn't hurt my knee. JOE So you're just a scholarship jock like me. CAMILLE Yeh. You disappointed? JOE No, I've just never been out with a jock before. CAMILLE Is that what we're doin' here? Goin' out? JOE I don't know. What doya think? Joe gets up, takes Camille's hand and pulls her to her feet. They dance to a slow song. CAMILLE I think you're crazy for jeopardizing your scholarship and a pro future by jumping motorcycles off of highways. JOE Just tryin' to keep my edge, Camille. The other guys look to me cause they think I'll do anything. I lose that, I'm just another guy, and we all get our ass kicked. CAMILLE I don't know, Joe. You scare me. INT. ATHLETIC DORM GARAGE - NIGHT Joe roars in on his motorcycle. Parks. Starts inside. Finds himself face to face with a very unhappy Coach Winters. Winters holds out his hand. WINTERS The keys. Joe hesitates a second, then reluctantly hands over his motorcycle keys. WINTERS I told you, as long as you're in this program, you don't take unnecessary risks off the field. A man in contention for the Heisman Trophy should be able to remember that. Joe nods, contrite. Winters just walks on off. INT. STUDY HALL - CAMPUS LIBRARY - DAY Autumn is tutoring Darnell, checking her lesson notes. AUTUMN O.K., using the things we worked on yesterday, I want you to write a two or three page essay on some aspect of your life. Something other than football. DARNELL Like what? AUTUMN Your father, maybe. You could write about your dad. DARNELL Don't know that much about him. He was off in Detroit workin' in a car plant when I was born. Got laid off, tried to rob a jewelry store to get us some money. He died in prison. Some kinda heart problem. Autumn wasn't ready for this level of hardship. She tries to press on gamely. AUTUMN How about your mother? DARNELL She was always workin'. Usually two jobs. Comin' home one night she stopped to get us some root beer. Got caught in a gang crossfire. Shot three times... died on the way to the hospital. You want me to write about that? AUTUMN (blown away) No... DARNELL Good, 'cause none of it's true. Autumn jumps up. AUTUMN (raising her voice) Jesus Christ, Darnell what a terrible thing to do to somebody. That's not funny. That's sick. Autumn realizes she's in the library and sits back down. DARNELL Had ya goin', didn't I? AUTUMN (soft library voice) No you didn't. You just... How could you make up somethin' like that? DARNELL (contrite now) Sounded more interesting than the truth. My mom took a vacation to Chicago when I was 12. Never came back. Don't know who my dad was. Autumn's anger melts away in the face of this painful truth. AUTUMN Who took care of you? DARNELL I started hangin' with the J.B.M., gang-bangin'... Did some time in the Hall. Reverand Wallace saw me playin' football on a juvenile probation team. Took me in, got me into high school. Only reason they accepted me was 'cause I could play football. Sorta like here. Football saved my life. I'd be nowhere without football. Autumn just nods, still trying to take this all in. AUTUMN Well, then... maybe you could write about football this once. DARNELL Yeh, o.k... thanks. (pause) I've seen a lotta shitty things in my life, Autumn. That's why I know when I see somethin' good. Autumn knows this is no line. He means it. She's seeing him with new eyes. Moved by his pain, engaged by his sincerity, and more than a little taken by his regard for her. ON ALVIN across the room with his tutor. TUTOR Let's review the chapter I read you yesterday. Which two city states fought in the Punic Wars? ALVIN I dunno. Detroit and Buffalo. TUTOR C'mon, Alvin. You're gonna be tested on this. INT. FOOTBALL MEETING - AFTERNOON A video projector projects various football formations on the wall. WINTERS Okay, Alvin, this is Mississippi State's offensive set. 2nd and 2 on our 24. What defense are you in? ALVIN Eagle. Zipper. Hero. Unless the set back shifts into the I. WINTERS Good. (slide changes) How about here? 3rd and 7. ALVIN Okie. Thunder. Lion. WINTERS What's your assignment? ALVIN Kill the Quarterback. (slide changes) Hit the tight end so hard his girlfriend dies. (slide changes) Kill everybody. MUSIC UP - MONTAGE SEQUENCE BEGINS EXT. JOE'S ROOM - EVENING Joe watches Bud Lite, Darnell, Alvin and Lattimer file in and unveil a life-size CARDBOARD STAND-UP of Joe's Sports Illustrated cover pose. They whoop it up, as Joe tries to muster some enthusiasm. INT. STUDY HALL - NIGHT Autumn's pointing out a figure on a graph in Darnell's math book. As she explains, Darnell leans close to kiss her. Autumn quickly leans away, glances around to see if anyone saw Darnell's attempt. Darnell laughs. INT. AMERICAN HISTORY CLASSROOM - DAY A group of football players sits in the back of the class. As the HISTORY PROFESSOR lectures at the board, Darnell furiously takes notes. Scott Sherman, seizing the opportunity, leans forward from the desk behind him and pokes the football out of Darnell's left hand. Darnell, Scott and two other FRESHMAN FOOTBALL PLAYERS spring out of their seats, scrambling after the loose ball. The prof and the other students watch appalled as Darnell and the others dive under chairs and overturn desks in pursuit of the elusive ball. Finally, Darnell, winded and disheveled, comes up with it. He and the others quickly return to their seats. The prof looks at Darnell aghast. DARNELL Sorry... I lost my football. INT. RAQUETBALL COURT - DAY Joe and Camille are locked up in a furious game of raquetball. Joe makes a wicked kill shot on the last point, and pumps a fist in triumph. Camille, pissed at losing, throws her racket and stomps around. EXT. CAMPUS - DAY Darnell and Autumn are having a daytime tutoring session on a secluded patch of lawn. Darnell holds his football. As he begins to read aloud from East of Eden, Autumn pokes the ball out of his hand. They both scramble for it, Darnell winding up slightly on top of her. They eye each other a beat. Darnell bends down to kiss her. She lets herself kiss him for a second, then gets up and starts to collect her books. INT. ATHLETIC CENTER - DAY Several of the players are gathered around a bulletin board in the hall. The starting lineup for the first game has been posted. Darnell traces his finger from the designation TAILBACK over to the name RAY GRIFFEN. He drops his eyes, obviously disappointed. Lattimer, meanwhile, is checking the defensive board. He finds his name posted as a starting defensive end. Punching the air, he dashes out of the building. LATTIMER Yes!! Starting defense. Place at the table. Whooo!! Yes!! EXT. PARKING LOT - DAY Lattimer, in his euphoria, races out into the lot, and begins head-butting car windows. He breaks out three in a row, and yells in triumph, his forehead dripping blood. Winters, walking with the TEAM TRAINER, has seen this from across the street. He knows there's something dark at work here. WINTERS N.C.A.A. is gonna test half the team before the game Saturday. Make sure Lattimer knows about it. MUSIC AND MONTAGE END INT. FOOTBALL MEETING ROOM - NIGHT The chairs are arranged in several circles, ten players to a circle, like a bunch of formalized huddles. Coach Winters addresses the assembly. WINTERS As the veteran players know, we have Pride Night every year before our opening game. It's a chance to get to know each other better, share some thoughts, and bring us closer together as a team. So to start off, I'd like each player to tell the others in his group what he likes best about football and then what he's most proud of off the field. I've asked some of the seniors to lead it off. Gentlemen. ANGLE ON LATTIMER IN HIS CIRCLE LATTIMER I don't know... It's the battle. The goin' to war with the other guys. Hangin' together. INT. CAMPUS BALLROOM - GAME DAY The team walks through several plays. They wear coats and ties, but no socks. Their ankles are taped. LATTIMER (V.O.) Bein' different from everybody else. Havin' our own dorm, stayin' in hotels the night before games. Settin' ourselves apart. INT. LOCKER ROOM - GAME DAY Before the game. An NCAA OFFICIAL gives Lattimer a little test tube to urinate in for his drug test. Lattimer goes into one of the restroom stalls, reaches around to the back of the tank, where a VIAL OF CLEAN URINE is taped. He pours it in the test vial. LATTIMER (V.O.) Havin' a chance to be somebody. To do somethin' that people look up to you for. Your strength and your courage. Not everybody can play football. We're the lucky ones. INT. FOOTBALL MEETING ROOM - THE NIGHT BEFORE AGAIN DARNELL The thing I'm most proud of myself for? INT. LOCKER ROOM - GAME DAY Darnell listening to a Walkman, is going through a pregame ritual by his locker; pivoting from leg to leg, switching the ball from arm to arm. DARNELL (V.O.) Just that I'm here. That I'm not dead or in jail. INT. FOOTBALL MEETING ROOM - THE NIGHT BEFORE AGAIN JOE The great thing about football is you can lose yourself in it. INT. LOCKER ROOM - GAME DAY Joe sits off in a corner by himself, his head back against the wall, staring out into space, the only movement the rhythmic tapping of his feet. JOE (V.O.) There's no time to think, to worry, to have doubts. Everything else fades away. You just move and react. INT. FOOTBALL MEETING ROOM - THE NIGHT BEFORE ALVIN The best thing is when you dominate. That feeling when you hit a guy real good, really stick him, and you hear that little moan. INT. LOCKER ROOM - GAME DAY Alvin, his ass-kicking game face on, walks over to where Lattimer is finishing decorating his face with Indian war paint. They chuck each other's pads, then Lattimer opens his mouth. Alvin spits into it. Then Lattimer spits into Alvin's. Darnell can't believe this shit. ALVIN (V.O.) You know it's killin' him, but you feel great. It's just him and you, and he's the one that's hurtin'. We move in on the burning ferocity of Alvin's eyes and SMASH CUT TO: INT. STADIUM TUNNEL - GAME DAY The Players are bunched together in the tunnel, slapping pads, yelling encouragement. Winters waves them forward. They start to run down the tunnel. PLAYERS P.O.V. CAMERA runs with the players as the light at the end of the tunnel becomes larger and brighter. Crowd NOISE becomes louder until finally the camera emerges into the stadium and the light and 95,000 VOICES ROAR. AND ROAR! AND ROAR! This is Big Time College Football. INT. RADIO BROADCAST BOOTH E.S.U. announcer BRAD HARVEY and colorman, HARMON SLOAN are holding forth. HARVEY Welcome everybody to the Wolf Den where the E.S.U. Timberwolves, led by Heisman candidate Joe Kane, open their season against the tough Mississippi State Bulldogs under head coach Jackie Sherrill. EXT. THE FIELD - DAY The crowd stands, waving banners, as the E.S.U. kicker comes forward and kicks the ball high into the fall sky. The MISSISSIPPI STATE RETURN MAN fields the ball at the four yard line and returns it to the 22 where he's buried. The defense trots out and huddles up. ALVIN All right, let's get evil. 60 minutes, balls out. Let's open a can of kick- ass. Kill 'em all. Let the paramedics sort 'em out. The Mississippi State offense breaks it's huddle, comes to the line of scrimmage. Alvin, prowling behind the line, locks eyes with the tailback, No.23. ALVIN Hey, 23, don't think I don't recognize you, you little fuck. The tailback looks away. ALVIN Hey, pay attention when I'm talkin' to you, nigger. You're the guy that shot my mother aren't you? TAILBACK What? ALVIN You were tryin' to steal her fuckin' car weren't you, cocksucker. TAILBACK Shut up. I never heard of your mother. On the sidelines, Darnell is watching this exchange. DARNELL (to Joe) What's Alvin saying to that guy? JOE Just gettin' himself pumped up. DARNELL He wasn't pumped up already? ANGLE ON ALVIN AGAIN ALVIN (to tailback) Thought I'd never find you didn't ya? But I got you now nigger, and I'm gonna kill you motherfucker. I'm gonna bust your guts open and watch you die. The ball is snapped. The quarterback pitches to the tailback as Alvin charges into the hole, screaming at the top of his lungs. The tailback, eyes wide with fear, cuts back, away from Alvin, where he's promptly crunched by Lattimer. The ball flies loose, there's a scramble, Alvin comes up with it. E.S.U. ball. ANGLE ON The bench and stands erupt as Lattimer and Alvin but heads and trot off the field. WINTERS Atta baby, Alvin, heads up. Big pop, Steve, way to stick 'em. (turning to Joe) O.K. Joe, let's go up top. Take it to 'em right away. Joe leads the offense on. A disappointed Darnell stands on the sidelines. JOE (in huddle) O.K. let's put the women and children to bed, and go lookin' for dinner. Don't let em up. 51 Strike, Orange left. On 4. Joe begins to howl like a wolf. The others join in. A pack of Timberwolves. They break the huddle, come to the line of scrimmage. Bud Lite begins to sing. BUD LITE Bali Hi, will call you, anytime, any day. Here am I, your special island... Bud lines up opposite a big, black DEFENSIVE TACKLE. BLACK TACKLE Shut up, snowflake. You think you're in the school play? BUD LITE No, Bali Hi, the endzone is calling. And the highway runs right over your ass. BLACK TACKLE Bullshit, you're gonna be my bitch, baby. You gonna be my punk bitch. BUD LITE (singing again) So long, farewell, auf Wiedersehen, good night, I hate to go and leave this pretty sight. Joe hits the 4 count, and the ball is snapped. Bud Lite and the Big Tackle fire out. Bud drives a forearm into the stomach of the Black Tackle, doubling him over. The Black Tackle comes back, slamming a forearm up under Bud's chin, snapping his neck back. Joe, meanwhile, fades to pass, pump fakes, steps up. Bud Lite, chicken fighting the Black Tackle, sticks his fingers in the Tackle's eyes, then cut-blocks him to the ground. The Tackle falls on Bud, and smashes a fist into his ribs. Bud rolls him over. Joe spots his flanker back, MAURICE WARD, on a flag pattern. Lofts a perfect spiral to him in the corner of the endzone. Touchdown. The crowd goes wild, as Bud Lite pushes off the Black Tackle's throat getting up from the pile. Joe pumps a fist in the air, hugs Ward, as the team celebrates. MUSIC BEGINS. FADE THROUGH TO: ANGLE ON SCOREBOARD It reads E.S.U. 28, Mississippi State 20. 4th Quarter. WINTERS Jefferson! In for Griffen. Darnell jazzed at his first chance to see action, buttons his chinstrap, races onto the field. HARVEY (V.O.) 2:05 left. Kane hands to Jefferson... ANGLE ON DARNELL He takes a handoff, runs a trap up the middle, is hit by THREE TACKLERS, clawing at the ball. They bring him down, but Darnell doesn't fumble. He gets up, still clutching the ball, and starts back to the huddle with it. The REFEREE hustles after him. REFEREE Excuse me, son, but we're gonna need that football for another couple minutes. Darnell, suddenly realizing, gives it up. Even Winters has to laugh. We go to: ANGLE ON LATTIMER Lattimer, sacking the quarterback, tackling him high, ripping his helmet off. Lattimer runs off the field, holding it up like a trophy. The gun sounds, the game is over. ANGLE ON COACH WINTERS Accepting congratulations from his staff. WINTERS Guess we'll be on the payroll for another week. ANGLE ON BUD LITE AND THE BLACK TACKLE walking off the field together, both their jerseys blood- stained. BUD LITE Good game, man. Really enjoyed it. BLACK TACKLE Yeh, you're a strong motherfucker. Shitty singer though. INT. PENTHOUSE HOTEL SUITE - AFTERNOON A reception of some sort for the players is in progress. Darnell, looking a little lost, fills his cup from a punch bowl. A FAT CAT ALUMNUS approaches him. ALUMNUS Good to see ya in there, Darnell. Way to hold on to that pigskin. As he walks by, he slips an ENVELOPE into Darnell's coat pocket. Darnell opens it to find a 50 dollar bill. Surprised, he goes over to Alvin. DARNELL Hey, some guy just gave me a 50 dollar bill. ALVIN Don't worry, you'll get 5 or 6 hundred once you're startin', depending on how you play. DARNELL But we're not supposed to get any are we? ALVIN Hey, man, you can't live on $500 a month scholarship money. And the NC double assholes won't let us have jobs, so you take your money where you can get it. (taking Darnell's envelope) I'll keep it for you, till you see the light. Shit, they oughta be payin' us anyway. Athletic Department gets 3 million just for goin' to a bowl game. INT. JOE'S ROOM - EVENING Joe sits alone on his bed watching T.V. He's being interviewed in the locker room, a bouquet of microphones in his face. REPORTER (V.O.) This performance today -- two touchdown passes, another you ran in. Where do you think this puts you in the Heisman race? Joe hates this question. We go to the screen. JOE (uncomfortable) I really have no idea. That's up to you guys. ANGLE ON SCREEN The image changes to ESPN anchor CHRIS BERMAN in the studio. BERMAN Now let's turn to our Heisman watch. (does the pose while remaining seated) We begin with Sports Illustrated cover boy Joe Kane of E.S.U. who led his team to an impressive victory this afternoon. Well, if Joe continues to raise Kane, he may well be Able to dust off a large space on his trophy shelf. Although the real test will come in four weeks against Michigan and their Heisman hopeful, Tim Waymen. EXT. CAMPUS - EVENING Joe walks across campus, headed for Camille's dorm. BERMAN (V.O.) Michigan also won big today. Timothy, "He Could Go All The Way Men", will be looking to do so against the Timberwolves. And of course the able Kane will be looking to also. I can't wait. INT. CAMILLE'S DORM - NIGHT Joe comes down the hall, knocks on Camille's door. No answer. Knocks again. Nothing. Disappointed, he turns and walks away. INT. FRATERNITY HOUSE - NIGHT The post-game victory party is in full swing. All the players, their girls and various groupies, dancing, drinking, celebrating. Bud Lite and Joe stand drinking beer, watching the action. BUD LITE I don't know, I never seem to make out at things like this. Bobby, who's overheard this, walks by with Louanne. BOBBY You don't make out anywhere. Or did you finally break the snatch barrier this summer? BUD LITE Fuck you, Bobby. (realizing Louanne's there) Excuse me, Louanne. ANGLE ON DARNELL sitting across the room with Alvin but his attention is on Autumn and Ray out on the dance floor. Alvin notices. ALVIN Forget it, nigger. No chance for you there. DARNELL Why not? ALVIN Griffin's goin' to medical school. She likes that light-skinned respectable shit. You're just her ghetto toy. Darnell challenged by this, gets up and goes over to where Ray and Autumn are standing. A slow tune plays. DARNELL (to Autumn) Can I have this one? RAY I don't think so. DARNELL What are you so worried about? You haven't lost your starting job yet. Autumn realizes this could quickly get out of hand. AUTUMN (turning to Ray) Just one. Ray reluctantly backs off. Darnell and Autumn start to dance. Several players who've picked up on the tension, watch them as they move around the floor. They try to pretend they're just having a nice little chat. AUTUMN (whispering) Take it easy, Darnell. This isn't a good time to push things. You're putting me in an awkward position. DARNELL Yeh, well, I got a little encouragement along the way. AUTUMN That kiss... it was just... a kiss. DARNELL Bullshit. You meant it. I wouldn't be standing here now, everybody thinkin' I'm a stupid asshole, if I didn't know you meant it. I wanna see you, Autumn. Not in study hall. Not like your student. Like somebody to be taken seriously. AUTUMN I do take you seriously, Darnell, but I'm still with Ray. I can't just go paradin' around town. DARNELL I don't need to go paradin'. We'll go someplace different. Someplace nobody'll see us. She looks at him a long beat. She doesn't need this complication, this conflict, but she can't say no. AUTUMN God, why am I even considering this? The song ends. Ray moves in to reclaim her. RAY (to Darnell) All caught up on your arithmetic? Darnell, pissed, gives Ray a shove. DARNELL Yeh, you only gained 37 yards on 12 carries. Ray lunges back at him, but quickly several players, led by Joe and Bud Lite, step between them. Darnell shrugs them off and leaves the party. JOE (to Bud Lite) Just what we need, a little team unity. Ray takes Autumn's arm, pulls her out onto the patio. RAY I'm gettin' a little sick of this asshole, Autumn. I don't like you hangin' out with him. It's embarrassing. AUTUMN I don't hang out with him. I tutor him. RAY Then have him get another tutor. AUTUMN I can't do that. I made a commitment to help him pass his qualifying exam. I can't bail out on him now. RAY What the hell difference does it makes? They'll grease him through no matter what he does. Nobody's ever gonna see his graduation. Don't tell me you're falling for this guy. He's just another gang-banger with speed. AUTUMN I just said I wanted to help him. What are you more afraid of, losing your girl or your position? RAY Maybe you oughta think about what you're in danger of losing. AUTUMN Maybe I will. Autumn rips free of his grip, and walks out of the party too. EXT. CAMPUS - NIGHT Darnell sits alone on a bench under an old Willow, just staring out at the night. He hears a voice behind him. VOICE (V.O.) So where you wanna go? He turns. It's Autumn. INT. FRATERNITY HOUSE - NIGHT The party's still in full gear. Ray is now chatting up a few of the groupies. Joe and Bud Lite sit off in a corner. Joe's knocked back several beers. He's a little tipsy, and lost in thought. JOE Maybe she's out with some guy. BUD Who? Camille? I don't think she's the type to screw around on ya. Shoot ya, maybe... JOE It wouldn't be screwing around. It's not like we're going together. Joe's gaze falls on a sultry brunette, SHERI, at a table across the way. She's eyeing Joe big time. She wants him. He stares back at her. She doesn't blink. EXT. CAMPUS LIBRARY - NIGHT Camille, carrying an armload of books, comes down the library steps, having been studying late. As she heads for her dorm, she sees Joe and Sheri going across the Quad; Sheri draped around Joe, nuzzling him. Joe looks over, spots Camille, stops; surprised, embarrassed to see her. They exchange a look. Camille, upset, turns and wheels off. Joe wants to say something to her, but can't get it out. ON DARNELL AND AUTUMN We don't know where yet, but they seem to be slipping and sliding, clutching on to each other. AUTUMN You're right, nobody would ever see us here. PULL BACK TO REVEAL INT. ICE SKATING RINK - NIGHT Near closing time. Darnell and Autumn lurch and stumble around the ice, collapsing against the boards now and then. There are few other skaters at this hour. DARNELL Yes, I figure the key is to go places only white people go. Next time we'll go bowling. Autumn laughs, as the house lights start to blink, indicating it's closing time. DARNELL Plus I saw this in Rocky. I never believed a guy who was supposed to be an athlete would skate that bad, but now I know. They make their way to an opening in the boards, stumble over to a bench, begin to unlace. AUTUMN Thanks, that was fun, sort of. DARNELL You were pretty good for the first time. AUTUMN Well, it's not really my first time. My dad took me skating once. DARNELL He used to play ball for E.S.U., didn't he? AUTUMN Yeah, how'd you know that? DARNELL I saw his picture on the Wall of Fame. You got his eyes. Luckily, you didn't get his thighs. She laughs, looks at him a beat, starts to come forward to kiss him. He puts a finger to her lips. DARNELL Make sure you mean it this time. She hesitates a beat, then comes forward again. They fall into a deep kiss. We PULL BACK to LONGSHOT. Two people alone in the expanse of the ice rink. The lights flicker and go out. INT. WEIGHT ROOM - LATE NIGHT Camille, unable to sleep, enters in her workout clothes. Languid, melancholy, she goes to the treadmill, as Joe comes out of the steam room with nothing but a towel around his waist. Both are surprised to see the other. JOE What are you doin' here? CAMILLE Couldn't sleep. JOE I was just sweatin' out some of the beer. Camille just nods. Long, silent pause. JOE I didn't go home with her. I thought about it... but I didn't. CAMILLE You drink too much. JOE Yeh. He turns, starts toward the door. CAMILLE Why didn't you? JOE Why didn't I what? CAMILLE Go home with her? JOE I don't know... I guess I figured maybe there was somethin' goin' on between you and me. Camille hesitates, not sure whether to believe him, then gets off the bike and walks toward him. CAMILLE Then why'd you pick her up in the first place? JOE I was drunk... I needed some company. CAMILLE (angry) Company? Yeh, I can see you havin' a real far-ranging discussion with Sheri. JOE I mean, ya know, physical company... I was... I just needed to pounce on somebody I guess. Camille, really steamed now, snatches the towel from around Joe's waist, leaving him naked. CAMILLE Why can't you pounce on me? Aren't I good enough to pounce on? Camille snaps the towel at him, driving him back. Joe's totally thrown by this reaction in her. JOE Well, you're more conservative... classier... you're not that kinda girl... She snaps the towel again, backing him against the training table. CAMILLE (insulted) How do you know? You've never slept with me. She pounds on his chest, pushing him back on the table. CAMILLE What makes you think she's such a great ride? (climbing up on top of him) I'm prettier, my legs are longer... (pulling down her leotard) I've got better tits. (exasperated) Why would you go to her, when you have me? JOE I didn't know I had you. CAMILLE (softer, leaning close) Well you do. He looks at her a beat, then pulls her mouth down to his. They fall into a long, white-hot kiss. INT. THE TRAINING ROOM - LATER THAT NIGHT Joe and Camille are making love passionately, energetically. Camille, still worked up, rolls up on top. CAMILLE (between kisses) You shoulda looked for me at the library, or don't you ever go there? JOE (rolling back on top) I go there. I got a 3.2 in Political Science. I just don't go there on Saturday nights. CAMILLE (rolling back on top again) I have a paper due Monday. What'de she do? Sit on your lap or just give you the nail-me stare? JOE Shut up, Camille. Joe rolls back on top, the momentum carrying both of them off the table and out of sight. INT. HUGE LECTURE HALL - MORNING Some 100 students are taking a history test in blue books. A T.A., checking attendance, walks up to Louanne. She's uneasy as the T.A. checks his chart. T.A. What's your name? LOUANNE Bobby Collins. T.A. Can I see your I.D.? Louanne knows she's in deep trouble. INT. COACH'S VIDEO ROOM - DAY A high-tech room full of video machines and monitors used to run simultaneous views of different positions during the same play. A grim-looking group of assistant coaches approaches Winters as he runs through and reprograms the images on the screen. CLAYTON Coach, we, ah... got a problem with Bobby Collins. WINTERS Yeh... CLAYTON He talked... a friend... into taking a test for him and got caught. They had a new T.A. in there... WINTERS What's the penalty? CLAYTON Well, the rules say automatic expulsion for both of them. WINTERS Fortunately, we've got friends on the Board of Regents. I think we can beat this if we really go to bat for him. We got Mack off when he turned in that other guys term paper. (shaking his head) But what kinda idiot would do something like that? CLAYTON Well, I guess Bobby figured he was gonna flunk... WINTERS I don't mean Bobby. I mean what kinda guy would be dumb enough to take a test for him? CLAYTON Uh, well... it wasn't a guy. WINTERS A girl? Typical Collins. He must have banged her until she couldn't think straight. Who was it? CLAYTON (barely able to get it out) It was... Louanne. Winters' face goes dead. INT. COACH WINTERS' DEN - DAY Winters, enraged, is venting his spleen at Louanne. WINTERS Jesus, Louanne, how could you be so stupid? LOUANNE I... he was behind, he needed help. I'm sorry. I just... WINTERS Sorry! You're sorry! You've destroyed my credibility at the University, my authority with the players... Christ, it looks like I'm running a dirty program. And Collins of all people! What the hell's the matter with you, Louanne? LOUANNE (crying) I don't know... I thought he... loved me... WINTERS Loved you? He loves anything that winks back, the little rat bastard. And what are you gonna do for school now? I use my influence to get you back in, it'll stink to high hell. The press'll crucify me. LOUANNE I'll get in someplace. WINTERS God, Louanne, I told you to stay away from my players. That was my cardinal rule, stay away from the damn players... LOUANNE They've always been good enough for you. Good enough to devote your life to. Why aren't they good enough for me? Or are they too good? WINTERS You're changing the subject, Louanne. We're talkin' about you breakin' the rules. LOUANNE Didn't you ever break the rules just a little? Didn't you tell me once that 90 per cent of the schools obey the NCAA rules, and the other 10 per cent go to bowl games? Was that just a joke? She gets up and walks out of the room. Winters closes his eyes and slumps down on the couch. INT. STUDY HALL - NIGHT Darnell sits at his table waiting for Autumn. Autumn storms in, obviously upset about something. She slaps a corrected test down in front of him. AUTUMN You seen this? You got a D on your math test. DARNELL Yeh, I kinda figured that. I had some trouble on this last part... AUTUMN We went over that last week, Darnell. What is this time we spend in here? Just a joke to you? I don't even think you've been listening to me. DARNELL I've been listening to you, baby... AUTUMN Don't call me baby. I thought you wanted to learn. But if all you wanta do is fake your way through, then get another tutor to waste time with. DARNELL C'mon, Autumn, we just had a good time, and now you're gettin' all nuts behind this. It's just one test. AUTUMN So far, it's the only test. I want you to study this whole chapter. By yourself, without me here. When I come back, we'll discuss it. Be ready to do problems based on it. DARNELL Whatever you say, Teach. (big grin) I don't wish to be cast in a pejorative light, so I'm dedicating myself to achieving on a level more commensurate with my abilities. She shakes her head and walks away. Darnell's grin fades. He looks at his test, a hint of tears in his eyes. He's embarrassed and deeply worried. INT. FOOTBALL LOCKER ROOM - DAY The players are dressing for Monday practice, but it's strangely subdued. Bobby Collins opens his locker to find a BULLET-RIDDLED PRACTICE JERSEY hanging inside. Immediately the rest of the players burst into raucous laughter. BUD LITE Coach'd probably shoot ya lower. Suddenly the room goes silent. Standing in the doorway is Coach Winters. He says nothing, looks around the room, the players avoiding his gaze. His eyes come to rest on Bobby. Bobby tries to hide the shirt, but Winters has seen. Winters just stares at Bobby a beat, then. WINTERS You all played a fine game on Saturday. Take the day off. With that, he turns and walks out the door. The players remain silent. Bobby throws the shirt in the trash. INT. LOUANNE'S SORORITY HOUSE - DAY Winters walks in the front door, past the desk, up the stairs and down the hall to his daughter's room. She's packing her things. He goes over to her, takes her in his arms and hugs her tight. Neither speak. A tear rolls down Louanne's cheek. Hits the floor. EXT. HALL OF ATHLETIC BUILDING - DAY A very nervous Bobby Collins comes down the hall and knocks on Coach Winter's door. WINTERS C'mon in, Collins. INT. COACH WINTER'S OFFICE Bobby enters and stands across from Winters' desk. Winters doesn't invite him to sit. BOBBY Listen, Coach, I just want you to know I'm really sorry about this whole thing with Louanne. I was real glad to hear she's gonna be goin' to junior college here... WINTERS (cutting him off) Shut up. Bobby does. Instantly. WINTERS I could easily take your case to the Board of Regents. You've had no prior infractions and I could argue that you were under abnormal pressure. (pause) But I won't. You embarrassed me, you embarrassed my family, you embarrassed the program. As of now, you are no longer a member of this university or it's football team. Clean out your locker. Bobby just stands there a beat, in confusion and disbelief. There is no wavering, no sympathy in Winters' eyes. Finally, dazed and disoriented, Bobby turns and walks out. EXT. E.S.U. CAMPUS LIBRARY - DAY Joe is posed in front of the school library, one of it's more photogenic buildings. T.V. sportscaster LYNN SWANN and his video crew wait to interview him as a MAKEUP GIRL finishes applying makeup to Joe's face. Publicist Sharon Braver watches like a hawk. SWANN (to his cameraman) We ready, Jerry? O.K., let's mark it. An assistant marks the take, and Swann turns to Joe. SWANN Joe, this game is being billed as a potential "Heisman Shootout". Did you feel any added pressure this week... EXT. PRACTICE FIELD - DAY A phalanx of photographers crowd around, snapping away as Joe goes through passing drills. SWANN (V.O.) ...knowing that you're going head to head with Heisman rival, Tim Waymen? EXT. CAMPUS LIBRARY - DAY, THE PRESENT AGAIN JOE Well, ya know, you try to block it out, but it's basically impossible... Everybody seems to be talkin' about it, all the newspapers, the interviews... INT. T.V. STUDIO - NIGHT Joe is being interviewed by DALLAS PERRY on a local television show. JOE (V.O.) The hype on T.V., tryin' to get somethin' goin... EXT. CAMPUS LIBRARY - THE PRESENT AGAIN Sharon Braver steps directly in front of the video camera, waves off the take. BRAVER Hold it! Hold it! SWANN What?! What's the problem? Braver takes Joe aside, talks to him confidentially. BRAVER What you're saying is true, of course, but I don't think it's the message you want to send. INT. PIZZA PARLOR - NIGHT Joe and Camille are sharing a pizza, but not alone. A video spotlight shines on them, as yet another crew rolls tape. BRAVER (V.O.) It makes you seem a little nervous. Like the pressure might be getting to you. EXT. CAMPUS LIBRARY - THE PRESENT AGAIN BRAVER This game is nationally televised, so most Heisman voters will be watching. I think a more casual approach is better. Modest, controlled, casual. Joe nods and heads back in front of the camera. SWANN (to Braver, irritated) We all set now? (gets a nod) Let's mark it. (the take is marked) Joe, this game is being billed as a potential "Heisman Shootout." EXT. E.S.U. QUAD - NIGHT A huge bonfire burns, as a large segment of the student body has gathered in front of the Timberwolf statue. The cheerleaders, all wearing "KANE IS ABLE" buttons, whip the crowd up, as Joe is introduced on the podium. SWANN (V.O.) Did you feel any added pressure this week, knowing that you're going head to head with Heisman rival, Tim Waymen? The cheerleaders begin to chant, "Let's go, Joe." On "Joe", they assume the Heisman trophy pose. Joe seems slightly embarrassed by it all. EXT. CAMPUS LIBRARY - THE PRESENT AGAIN JOE No, I don't really think too much about that kinda thing. Swann shoots Braver a poisonous look. EXT. EMBANKMENT - NIGHT Joe and Camille sit on a bank looking down at the railroad tracks below. Neither says anything. Joe seems strangely preoccupied. Camille decides to break the silence. CAMILLE Your parents comin' to the game tomorrow? JOE My mom's dead. My dad has never seen me play. CAMILLE Why not? JOE Guess he's not that interested in football. CAMILLE But you're one of the best players in the country. JOE (snapping) He's just not into it, o.k.? CAMILLE (chastised) O.k. (silence) What's goin' on, Joe? You ask me out here, like you wanta talk about somethin', then you don't say anything. You worried about tomorrow? JOE No... I'm worried about the days after that. I just. I don't know... I feel like tomorrow's gonna be my last game. I want to stay up, make the time go slow. CAMILLE Why would it be your last game? You afraid of getting hurt? JOE No, that'd be a relief. Then, at least, I wouldn't be a failure. CAMILLE Joe, why are you thinking like this? Why would you be a failure? You're having a great year, you're a Heisman Trophy candidate, you got millions of dollars waiting for you in the pros. JOE (testy) How do you know what's waiting for me? You don't know me at all. CAMILLE (hurt) I don't know you? How can you say that? JOE Because you wouldn't be here now if you did. You only know the guy that's supposed to make millions in the pros. CAMILLE Is that what you think? That I'm with you for the money? JOE Why else? Infuriated, she slaps him across the face. CAMILLE Fuck you, Joe. (starting to cry) I don't give a shit about your money. I don't even give a shit about football. And you know what? Maybe you're right, maybe I don't know you. She turns and storms away up the hill, as we hear a TRAIN WHISTLE. Joe watches her go, then starts down the hill toward the tracks as the train comes into view. Camille stops, turns back, sees Joe headed for the tracks, starts to worry. Joe reaches the grade and steps into the middle of the tracks facing the oncoming train. Horrified, Camille runs down the embankment toward him. CAMILLE Joe! Joe! My god, Joe, what are you doing? No! No! As the train approaches, it's horn blaring, Joe lies face down on the tracks, his hands gripping the railroad ties. Camille arrives at the bottom of the hill in time to see the train race over him. She falls to her knees screaming. Under the train, we see Joe desperately hugging the ground, head down, toes dug in, hands clutching the ties. It's like a tornado under there, dirt debris flying everywhere, his clothes flapping wildly. The train passes. Camille looks up, afraid to breath as Joe lies motionless on the tracks. Suddenly he stirs, pushes himself up to his knees. She lets out a scream of joy, races toward him, as he gets to his feet, stumbles off the grade. She hugs him to her, tears streaming down her face, helps him over to the embankment. CAMILLE God Joe, oh god, are you allright? JOE (drained) Yeh, just got some dirt in my teeth. Guess you've really seen the dark side now, huh? You should've gotten out while you had the chance. Before it all goes to hell. CAMILLE I don't wanta get out, damnit. What's wrong Joe? Why would it all go to hell? JOE I'm a Kane, Camille. That's all it takes. We're cut out to be drunks and fuck-ups. We never live up to expectations. It's in our blood. My dad, brothers, uncles -- we all drink and sooner or later we all fuck up. My dad went the longest. Waited till he was playin' triple A ball, before he hit the wall. Sometimes I feel like I'm just waiting for my turn. The better I do, the closer it gets. CAMILLE You're not like them, you can beat all that. You can stop drinking, you can break the chain. JOE If I gave up that, I wouldn't be much of a football player. And if I wasn't a football player, what would I be? The question hangs in the air. CAMILLE You'de still be Joe. And I'd still love you. He pulls her to him, kisses her hair, they slump against each other. JOE Just don't say I never warned you. EXT. WOLF DEN STADIUM - DAY STEVE ZABRISKIE and BO SCHEMBECKLER in the foreground, the jammed to capacity stadium in the background. This shot is going out on nationwide T.V., the college Game of the Week. ZABRISKIE 4:29 to go and it's been a great one. Two undefeated teams goin' after each other. Michigan up by four, 24- 20, but the lead has changed hands three times, and you get the feeling that whoever has the ball last is gonna win it. ANGLE ON FIELD Joe brings the offense to the line of scrimmage. Yells signals. SCHEMBECKLER (V.O.) Well, it was billed as a Heisman shootout, and it's been all of that. Both Waymen and Kane moving their teams up and down the field, having big days. Joe fades to pass, looks right, looks left, can't find a receiver, decides to run for it. He sprints up the middle, 15, 10; a SAFETY comes at him at the 5. We see Joe's P.O.V. through HELMETCAM. He pushes the lunging safety away, turns back just in time to be blasted by the OTHER SAFETY he never saw. Joe is knocked down, over the goal line and out cold. The crowd goes wild. ZABRISKIE (V.O.) Kane back to pass, can't find anybody, gonna run it himself, ten, five, hit at the goal-line... Touchdown E.S.U.!! Great run by Kane! Joe lies motionless as his teamates run over to him. SCHEMBECKLER (V.O.) He's still down. Looks like he's hurt. We go to Winters, worried on the sideline, as the celebration around him begins to die down. ANGLE ON JOE As he's carried off the field, his arms around two linemen's shoulders, and lowered onto the bench. We go to a BLURRY IMAGE of a man's face waving something. We REVERSE to REVEAL a DOCTOR waving smelling salts under Joe's nose. Joe begins to come around. The doctor holds up two fingers. DOCTOR How many fingers am I holding up? JOE Four. EXT. THE FIELD - DAY Michigan comes to the line of scrimmage. As Tim Waymen gets under center, Alvin begins to yell at him. ALVIN Hey, powderpuff. You're the white boy that ratted my brother out. Sent him to jail, cocksucker. Ran off with the fuckin' money. Left the blood to do the time, huh? Waymen begins to call signals. ALVIN Yeh, you're the little bastard. Account of you, my bros' datin' his cell mate. You hear me, powderpuff? Gonna make you pay. You gonna be my cellmate now. You gonna have 250 lbs. of pissed-off nigger up your ass. ZABRISKIE (V.O.) E.S.U. in an eight-man line looking for the run on third and short. The ball is snapped. Waymen fakes a handoff to his fullback, hides the ball on his hip, fades to pass. On the sideline, Coach Winters yells, "Pass! Pass!" Alvin's not fooled by the run, he shakes his blocker and takes dead aim on Waymen. Just as Waymen releases the ball, Alvin blasts him, driving him into the turf. ZABRISKIE (V.O.) Waymen fakes to Simms, Mack on the blitz, Waymen is goin for it all! Hit as he throws. The ball, however, flies through the air, a perfect spiral. The E.S.U. secondary has been fooled by the play fake and is a step behind. The ball comes down in the hands of the Michigan tight end, JERRY HUNT. ZABRISKIE (V.O.) Hunt has got a step. He's got it! Touchdown! Winters slams his headphones to the ground. SCHEMBECKLER (V.O.) Great clutch throw under pressure. Can't do it much better than that. ANGLE ON JOE The Doctor examines Joe, shines a light in his eyes, makes him track his finger, etc. DOCTOR You're vision's back to normal. WINTERS You think you can go? JOE Yeh, I'm fine. Just a little headache. (getting up, shouting to his teamates) O.K. Offense, let's get it back. Alvin, meanwhile, plops down on the bench in disgust. ALVIN Damn tough to scare that little white boy. Either his momma dropped him on his head, or the motherfucker is deaf. Coach Winters goes to Darnell. WINTERS Jefferson, in for Griffen. Griffen slams his helmet to the ground. EXT. FIELD - DAY Joe breaks the huddle as the E.S.U. offense comes to the line. ZABRISKIE (V.O.) Ball on the Michigan 47, 1:02 to go, Kane brings 'em to the line of scrimmage. Joe fades to pass once again, lets the rush come, then flares out a screen pass to Darnell. Darnell grabs it and takes off, slipping tackles, cutting back, juking. Darnell finally runs out of bounds at the twenty. ZABRISKIE (V.O.) Great run by Jefferson, the highly- touted Freshman, the longest of the day for the Wolves. And this one is turning out to be everything we thought it would be. ANGLE ON DARNELL coming back to the huddle, pumped up. Joe kneels in the center. JOE O.K., time to put the women and children to bed, and go looking for dinner. He begins to howl, as do all the others. The Call of the Wild. JOE 82 Strike, Eagle, Crown, on 2. They clap hands, come to the line. Joe looks over the defense, bends under center and barks signals, The ball is snapped. Action goes to SLOW MOTION. Joe fakes to Darnell, fades to pass. The Michigan cornerback comes on a blitz, locked on Joe. Joe starts to roll, but knows the corner will catch him. On the run, he launches the ball toward Darnell. Darnell opens his hands to receive it, but at the last second, the Michigan SAFETY steps in front and intercepts it. ZABRISKIE (V.O.) Kane looking for Jefferson. It's... Intercepted! Intercepted by Freeman! And that should do it. Joe sinks to his knees in frustration. The blitzing cornerback does a quick pit-pat on Joe's helmet. Winters looks like he's been punched. As Michigan and Tim Waymen celebrate on the sideline, we go to: INT. BROADCAST BOOTH - AFTERNOON Steve Zabriskie is doing the wrap-up, the emptying stadium behind him. ZABRISKIE Well, it was everything we expected it to be. Fine performances on both sides of the field. INT. E.S.U. LOCKER ROOM - AFTERNOON Players undress and shower in relative silence. No joy here. ZABRISKIE (V.O.) The edge in the much ballyhooed battle of the quarterbacks would probably have to go to Michigan's Tim Waymen who threw for 2 touchdowns, and ran for another. Joe Kane accounted for three E.S.U. touchdowns, but had that crucial interception in the waning moments. And that proved to be the difference. The door of the locker room opens, and a flood of reporters enter. Joe hides back in the showers, leaning his forehead against the wall, the water coursing over him. EXT. TUNNEL BENEATH STADIUM - LATE AFTERNOON Darnell comes out of the locker room, having showered and dressed. He's surprised to see Autumn and her father talking to Coach Humes. DARNELL Hey, Autumn. AUTUMN Hi, Darnell. DARNELL Is this your dad? AUTUMN Yes... DARNELL How do you do, Mr. Haley. I'm Darnell Jefferson. MR. HALEY Jefferson? Nice run you made on that screen pass. Another block and you might have scored. DARNELL Thank you. We'll get 'em next year. MR. HALEY How do you and Autumn know each other? You a friend of Ray's? Darnell is jolted by this question. It's obvious that Autumn has never told her dad about him. AUTUMN (filling the void) Ah, I tutor him... MR. HALEY Oh really? In what? Darnell would like to crawl under a rock. DARNELL Math and English. MR. HALEY Ah. There's a slight tone of condescension in Mr. Haley's voice. He realizes Darnell hasn't passed his entrance exam. This is not lost on Darnell. MR. HALEY Well, stay on top of that, Darnell. I'd have been in real trouble if I hadn't gotten my degree. I played ball once. Hurt my knee. DARNELL Yeh, I know... MR. HALEY I used to put a copy of my report card inside the webbing of my helmet to remind me that college was more important than football. DARNELL (forcing enthusiasm) Good idea. Well, I gotta get goin'. Nice to meet you Mr. Haley. MR. HALEY Nice to meet you, Darnell. DARNELL See you around, Autumn. Before Autumn can respond, Ray Griffen approaches from the other direction. RAY Hey, Mr. Haley. Good to see you. MR. HALEY Hey, Ray. You still havin' dinner with us tonight? Darnell embarrassed and humiliated, hears all this as he walks away. Autumn wants to go explain, but can't in front of her father. INT. FRAT HOUSE - NIGHT The post-game party. Not as raucous as after the opening game victory. A few players are dancing, but most are sitting, drinking, commiserating. BUD LITE (to Alvin) Anybody seen Joe? ALVIN Not yet. Probably out with Camille. Haven't seen Darnell either. INT. UPSTAIRS BEDROOM - NIGHT Lattimer's sitting on the bed with a coed named LESLIE. They're kissing softly, light necking. Lattimer starts to unbutton her blouse. She begins to demur. LESLIE I think we better get back downstairs. LATTIMER No, Leslie, we're just getting to know each other. LESLIE (starting to get up) No, I think... Lattimer grabs her arm roughly, pulls her back to the bed. She's starting to get a little scared. LATTIMER C'mon Leslie, you didn't come up here to stop now. He tries to kiss her again, she pushes him away, starts for the door. Angered, that steroid pump in his eyes, he grabs her again, throws her violently on the bed. She screams. LATTIMER What were you doin'? Leadin' me on? He gets on the bed, kneels above her. She starts to struggle. He slaps her across the face, rips her blouse open. Freaked, she begins to scream and kick. Enraged, Lattimer slaps her around, picks her up, shakes her like a rag doll, slaps her some more, throws her to the floor. Picks her up again, when suddenly the door BURSTS OPEN and Bud Lite and Alvin race in. LATTIMER (throwing Leslie on the bed again) Get outa here! Bud Lite and Alvin charge Lattimer, try to wrestle him down, but his hormone level is so high, he fights like a bull. Two other players charge in and finally all four are able to shackle Lattimer. He continues to struggle a bit, then gives up, a panting, sweating, shaking hulk. BUD This is it, man. No more 'roids. This shit has gotta stop. Lattimer breaks down and cries. INT. JOE'S ROOM - NIGHT Joe lies on his bed, a bottle of vodka next to his coca-cola. He stares at the larger than life cardboard stand-up of himself. He takes a drink, then gets up and grabs his jacket. The phone rings. He looks at it a beat, then walks out of the room. INT. CAMILLE'S ROOM - NIGHT Camille's on the phone, waiting, the one calling Joe. She listens a few more rings, hangs up, concerned. INT. WINTERS HIGH-TECH VIDEO ROOM - NIGHT Winters sits at the main console replaying the game-ending interception over and over. The phone rings. WINTERS Hello, yeh... What?! INT. WINTERS ATHLETIC OFFICE - NIGHT The rest of the locker room is dark except for the light on in Winters' office. All the assistant coaches are there. CLAYTON It looks like this will blow over. The girl's father is a big booster, contributed a lotta money. So he said they won't go to the press. WINTERS He said that? The father? CLAYTON Yeh, he's not exactly happy about all this, but he doesn't wanta hurt the program. WINTERS We're still gonna have to suspend Lattimer. HUMES What for? There aren't any charges. Nobody outside the program knows about this. WINTERS He's outa control, Lyle. We can't ignore this anymore. I don't know what pisses me off more -- that he's juicin' or that he's doin' such a shitty job of hidin' it. HUMES He's never tested positive. If we suspend him without proof, he could sue us for jeopardizing his draft status, his pro career. WINTERS Yeh, but we can't sit and wait till he kills somebody. I hate to lose him as much as you do, but we gotta clean him up before he does somethin' that lands the whole program on probation. Plus, we have to take some action or the girl's dad is gonna start havin' second thoughts. I don't care how many checks he's written. CLAYTON So what do we do? All eyes go to Winters. WINTERS Bring him down here. INT. COACH WINTERS LOCKER ROOM OFFICE - 20 MINUTES LATER Close on a contrite, but shaken Steve Lattimer. LATTIMER Three games? Why so many? WINTERS You oughta be grateful I didn't suspend you for the whole year. Lattimer nods, he knows it's true. LATTIMER What are you gonna give as the reason? WINTERS We'll say you've got a hamstring pull. LATTIMER (relieved) Thank you, Coach. WINTERS Don't thank me. During those three weeks, you better kick the roids, cause when you come back I'm gonna personally test you before every game. No N.C.A.A. shit either. I'm gonna watch the piss go into the bottle. You got that? LATTIMER (barely audible, shamed) Yes, sir. WINTERS Start practicing your limp. INT. LOCAL BAR - NIGHT Not the 911 we saw earlier. Joe sits at a table in the back, with Darnell, drinking tequila with a beer chaser. Both are down in the dumps. At a nearby table there's a group of TOWNIES and their GIRLFRIENDS. JOE Coupla real college heroes, huh? Tearin' up the town. DARNELL First time I ever lost a girl and a game on the same day. Guess I never really had the girl. Joe looks up to see one of the townies' girls, DEBBIE, giving him the once over and a little smile. Joe smiles back, not really interested. Debbie's BOYFRIEND notices. BOYFRIEND You know that guy? DEBBI Not really... BOYFRIEND Then why you smilin' at him? DEBBI I don't know... he looks like that E.S.U. quarterback guy. Joe, what's his name? BOYFRIEND So what? So you go and smile at him? The boyfriend, drunk and looking for trouble, goes over to Joe's table. BOYFRIEND You been lookin' at my girlfriend? JOE (a little drunk himself) I don't know. Which one is she? BOYFRIEND Wise guy, huh? Mr. bigtime quarterback. The one who choked his ass off today. You got nothin' better to do then look at my girlfriend? Joe says nothing. BOYFRIEND Hey, Heisman, I'm talkin' to you. You too good to talk to me? JOE I'm not even interested in talkin' to you. BOYFRIEND You think you're a bad ass? You think my girl's hot for you? Take your pads off, you're just another pussy. Joe gets up to go. The boyfriend grabs him, Joe pushes him away. The guy charges Joe. The bar owner rushes to the phone as a full scale brawl begins. Joe takes a blow, knocks the boyfriend back into a table, knocking beer bottles to the floor. The boyfriend falls on one, opening a deep gash in his shoulder. DARNELL (grabbing him) C'mon we gotta get outa here. EXT. HIGHWAY - NIGHT A speeding car goes by us, weaving, crossing the yellow line on the curves. INT. SPEEDING CAR - NIGHT Joe's driving, Darnell's holding on. Suddenly we hear SIRENS. Joe sees flashing lights in the rear-view mirror. JOE Oh shit... INT. COACH WINTERS' HOUSE - LATE NIGHT Winters is asleep. The phone rings. He picks it up. WINTERS What is it now?... Oh Jesus... INT. COACH WINTERS' STADIUM OFFICE - DAY Joe sits across the desk from Winters, just the two of them. JOE The guy went for me first. What was I supposed to do? WINTERS Doesn't make any difference. It made the papers, all the wire services. The guy had to go to the hospital. Worst of all they got you on drunk driving. You had a blood alcohol level .50 above the legal limit. We can't smooth that over, Joe. It'd look like we were sprayin' Pledge on bird shit. We had to agree to send you to Rehab. JOE Rehab? I'll be a god-damn joke. You can't do this to me. WINTERS It was the only way we could get them to drop the assault and D.W.I. You go to trial on those, we lose you for a year, and risk NCAA investigation. C'mon, lotsa athletes have been through Rehab. JOE Not in the middle of the season. Not in the middle of a Heisman campaign. WINTERS You'll only miss four games. You'll be back in time for the last one, Georgia Tech, and a Bowl if we get there. Plus, you've still got your senior year. JOE Yeh, but what will I come back as? What kinda player? WINTERS Don't worry, you'll still be the Man. You'll still be the leader of this team. Joe doesn't believe it, but he manages a nod, as he gets up to leave. JOE I'm sorry, Coach. WINTERS These things happen. Joe walks on out, Winters watches him go, then slams the desk in anger. Drained, he sinks back in his chair. WINTERS Fuckin' kids. EXT. CAMPUS - DAY Darnell's walking across campus toward class. Autumn sees him, calls out to him. AUTUMN Darnell, wait. C'mon Darnell, I wanta talk to you. Darnell doesn't slow up. Autumn has to run to catch up. AUTUMN Where you been, I been callin' you? DARNELL Been busy. AUTUMN Darnell, I'm sorry about Saturday. It was an awkward situation. DARNELL It wasn't awkward. It was educational. I realized how you see me. I'm good enough to tutor, to go places with, but not to tell your father about. AUTUMN That's not it. It's just that my father expects me to be with somebody like Ray. He wouldn't understand us. DARNELL (stopping) Why not? AUTUMN I don't know... he likes Ray cause... DARNELL He's a good student, he acts right... he doesn't need football. He's class and I'm not, right? AUTUMN I didn't say that. DARNELL You don't have to, Autumn. I'm everything your dad used to be and don't want you fallin' back into. AUTUMN Darnell... DARNELL You were right before, Autumn. I should have another tutor. Thanks for everything you did for me. Darnell walks away. Autumn can only watch him go. INT. JOE'S ROOM - DAY Joe finishes packing his bags. He sees a picture of Camille on the dresser. Picks it up, looks at it a beat, drops it in the trash. He carries his Heisman cardboard standup into the shower, pulls out a match and lights it. He watches it catch fire, then grabs his suitcase and walks out of the room. We hold on the burning standup, as flames lick at Joe's smile. INT. REHAB CENTER - AFTERNOON Joe is shown into his room. Bare. One cot. One dresser. He drops his bag, sags onto the bed. ALVIN (V.O.) Four fuckin' weeks? INT. LOCKER ROOM - DAY A tired and depressed group of E.S.U. football players undress after practice. Bud and Alvin sit in their pads, Lattimer standing in street clothes. Bud softly sings "Don't Cry For Me Argentina." ALVIN Shit, the defense is gonna have to pitch shutouts now... (to Lattimer) and you're gone for 3. What the hell did you take that shit for? LATTIMER Nobody seemed to mind when I was knockin' people's dicks in the dirt. ALVIN I bust chops too. I don't have to get all fucked up. LATTIMER Not everybody has the ability you do, Alvin. You do what you have to do to play. ALVIN Well, you're not playin' much now are you? Shit, whole fuckin' season down the drain. EXT. WOLF DEN STADIUM - DAY Winters and Galen Howard are walking across the field after practice. The stadium is deserted. HOWARD I been talkin' to Chancellor Wilson... WINTERS What's he wanta do now, cut practice down to once a week? HOWARD No, he's happy with the way the season's gone so far. The Alumni have pretty much stayed off his back, but with Joe out now, it could all be up for grabs again. WINTERS He thinks he's gonna have trouble marchin' the ball down the old fund- raisin' board, huh? HOWARD The facts are, all we have left are freshman quarterbacks, and nothin' I saw at practice today, convinced me that any of them are ready to step in. WINTERS What are you sayin? HOWARD We gotta get Bobby Collins back. WINTERS Wilson say that? HOWARD He didn't have to. WINTERS Forget it, Galen, Collins is no All- Star either. HOWARD Yeh, but he's good enough to get us a split of the next four games. WINTERS Look, just because you're Wilson's boy all of a sudden, doesn't mean I'm gonna let him make me look like a fuckin' whore. HOWARD Don't give me that high and mighty shit. There's a lotta people on the bubble here. Four straight loses and we're out of bowl contention. How's that gonna make you look? If you're too stupid to consider your own situation, then maybe you oughta think about your assistant coaches. They've got families to feed too. Howard walks away, pissed off, leaving Winters alone in the middle of the field. INT. BOARD OF REGENTS HEARING ROOM - DAY The seven members of the BOARD OF REGENTS sit on one side of a long rectangular table, the Chairman in the middle. On the other side are coach Winters, Bobby Collins, the President of the Faculty Senate, EDWARD LEARNIHAN, Academic Advisor, ARTHUR SHANE, President of the Student Body, RICHARD FOWLER, and Galen Howard. Fowler is addressing the board. FOWLER Therefore, I respectfully submit that Bobby Collins should not be given special treatment just because he's a football player. Would a regular student get a reinstatement hearing if they'de been caught cheating? Nobody's talking about letting the girl who took the test back in. Winters could kill this kid. LEARNIHAN I think it's also instructive to look at some of the courses this young man has taken. Beginning Golf, Voice and Speech Improvement... SHANE I'd like to point out that Mr. Collins was still on schedule to get his degree. LEARNIHAN (pointing to Collin's transcript) In what, Swimming Pool Management? CHAIRMAN Would you like to respond, Coach Winters? Winters rises, sweating, less from nervousness than from the odious nature of what he has to do. WINTERS I don't know much about all this other stuff, but I do know the punishment should fit the crime. Cheating's bad, but I don't think it deserves a life sentence. Here's one of those athletes who takes college level courses, who wants to graduate. I think Bobby Collins made a big mistake, but he's already been suspended for several weeks. He's served his time. I think he deserves a second chance. LEARNIHAN Like Alvin Mack? We gave him a second chance and since he's had 5 incompletes, 4 withdrawals and still reads at a fourth grade level. You're using his body to make money for the Athletic Department -- you, yourself, are making three times what the Chancellor is -- but obviously no one is making an effort to see that this kid gets an education. WINTERS He's helpin' to pay for your physics lab too. If you're willin' to go without a new office, maybe I could hold him out a few games. Save his body. CHAIRMAN Gentlemen... SHANE Alvin was way behind in school when he got here. You can't make up for, in four years, what it took 18 to create. LEARNIHAN Then he should never have been admitted in the first place. It's not fair to other students who worked hard to get here. HOWARD Is it fair to exclude kids who come from inferior schools? You hold everybody to the same standards, you're discriminating against the poor kids. WINTERS Most of my players are farm boys, inner-city kids. Football is their deliverance. LEARNIHAN Deliverance from what? A valid education? WINTERS You throw Bobby Collins and Alvin out, you take away their futures. In Alvin's case you probably cost him a couple million dollars in the pros. LEARNIHAN But this is not a football vocational school. It's an Institute of Higher Learning. WINTERS Yeh, but when was the last time 80,000 people showed up to watch a kid do a chemistry experiment? CHAIRMAN Gentlemen, please, let's get back to the business at hand, Bobby Collins. As you know, I played football here. And I remember how hard it was to practice and then study when you're dead tired. So I have some sympathy for this young man. But I never cheated, so the real question is his character. Since you know him better than anyone else in this room; and having talked to him and observed him over the last several weeks, do you feel he's learned his lesson? In other words, can you vouch for his character? Winters would rather cut off his own head with a razor blade. WINTERS (it's killing him) Yes, sir, I can. Bobby Collins breaks into a wide, triumphant smile. EXT. ADMINISTRATION BUILDING - DAY Learnihan and Winters come down the steps, their faces set. As they split off: LEARNIHAN Another case like this, I'll take it all the way up to the Governor. WINTERS Don't mess with me, Learnihan. I'll have you teachin' Study Hall. INT. LOCKER ROOM - DAY Bobby Collins walks in prior to practice. His teammates gather round, slap him on the back, high five etc. Winters watches from his office, disgusted. INT. COACH WINTER'S OFFICE - NIGHT Coach Winters is in his video alcove watching footage of his upcoming opponent -- it's like he's looking through it though, his mind elsewhere, something boiling up inside him. Suddenly, he smashes his fist into the screen, breaking it into pieces. His hand bleeds. He doesn't care. He just sits there and seethes. INT. CAMILLE'S ROOM - DAY Camille's on the phone. CAMILLE Hello, my name is Camille Schaeffer. I'd like to speak to Joe Kane. INT. JOE'S ROOM IN REHAB CENTER - DAY Joe is aimlessly flipping cards toward a wastebasket. A NURSE knocks on his door. NURSE You've got a phone call. A Camille Schaeffer. Joe says nothing, not wanting to deal with this. NURSE She says she's your girlfriend JOE I don't want to talk to her. NURSE You sure? JOE Yeh. The nurse leaves. Joe gets up, goes to the wall, and starts pounding it with his right hand. INT. CAMILLE'S ROOM - DAY NURSE (V.O.) I'm sorry, he doesn't wish to speak to you right now. Crushed and angry, Camille hangs up. INT. ATHLETIC DORM HALL - DAY Bud Lite is watching television. Louanne enters on her way to Bobby Collins' room, carrying an armload of neatly-pressed laundry. But Lite gets up to bar her way. BUD Hey, Louanne, how ya' doin? LOUANNE Fine, Bud, ya know. Goin to J.C., hopin' to get back in here next year. Just came by to give Bobby some laundry I did for him. BUD You two seein' each other again? LOUANNE Yeh, he was even talking about us gettin' a place off campus together, until he got reinstated. I don't know how I woulda told my dad. Bud just nods blankly. Louanne starts to head for Bobby's room. BUD Ah, Louanne... (pained to say it) I wouldn't go in there right now. LOUANNE Why not? Bud doesn't have the heart to tell her. She finally realizes Bobby's with another girl. LOUANNE Ah. Guess I'm pretty stupid when it comes to men. I never learn, do I? BUD I think maybe men are just stupid when it comes to you. If you ever feel like, ya know, just talkin' sometime, gettin' a beer -- let me know. My schedule's pretty open. LOUANNE Thanks, Bud (handing him the clothes) Give him these, will ya? Bud nods. Louanne, fighting back tears, walks back down the hall with as much dignity as she can muster. INT. JOE'S REHAB CENTER - DAY Winters comes to the door, hesitates, walks in and finds Joe huddled on his bed. Shivering. WINTERS Get up. I wanta talk to you. Joe looks resentful but makes an effort and sits up. WINTERS Don't sit up. Stand up. If you can. Joe gets unsteadily to his feet. He feels sick. Winters reaches out to shake hands. Joe does not reciprocate. Hides his right hand behind his body. WINTERS What's the matter, Joe? You won't shake hands with me. (Joe is silent) You don't want me to see your hand, do you? (more silence) So I guess what I heard was true, huh? You been poundin' the walls with your passin' hand, right? (silence) I tell you what, Joe, you want to hit somethin', hit me. Joe doesn't move. WINTERS I said hit me. I'm the one who put you in here. Don't hit the damn wall. It ain't the wall's fault. Hit me! Go on, hit me right now! Joe is angry but he doesn't want to do anything about it. WINTERS Who else you wanta hit, huh? you're daddy maybe? Cause he's a no-show prick? Well, I'm a daddy, too, and not a very good one at that. So just hit me instead! I'll take your daddy's beatin' for him. Go on, you want to. Hit me, damnit! Joe shakes his head. WINTERS (pushes Joe in the chest) Hit me! I'm not gonna leave you alone until you hit me. (shakes Joe by shoulders) The guys'll thank you. They've always wanted to do it. So do it now, damnit! Do it! Joe sinks to his knees. Winters stares down at him, then kneels also, his own anger and frustration draining away. WINTERS O.K., Joe, it's o.k. I guess I need it more than you do. (pause) You gotta quit beatin' up on yourself. Let me see that hand. Joe reveals his hand. It's barked and cut, but not badly swollen. WINTERS It's o.k. (playfully) You can still throw with it, you fuckin' mook. (pause) Look, the nurses say this is the toughest time for you right now. I thought I'd stick around a little, case you wanta play some cards, pick a fight with the wall again, whatever... JOE You don't have to. WINTERS Yes I do. INT. STEVE LATTIMER'S ROOM - NIGHT Lattimer fills a bag with all his steroid paraphernalia. He carries it to his bathroom where he slowly empties it into his toilet. Syringes, vials and bottles of pills all tumble into the water. He flushes. DISSOLVE TO: INT. JOE'S ROOM IN REHAB CENTER - MORNING The sun shines through the window. Joe wakes up, raises up, looks over at Winters who is asleep in a chair. Winters rouses. Joe gives him a little smile, he's allright. Winters gives him a nod of approval. MUSIC UP. BEGIN A SERIES OF SHOTS detailing the Timberwolves progress over the next four games. ON FIELD 1) Players shaking hands at midfield after the game. The scoreboard reads E.S.U. 14 Boston College 10. INT. STUDY HALL 2) Darnell in study hall, with his new tutor concentrating on her explanation, applying himself. ON SIDELINE - DAY 3) Steve Lattimer, in street clothes, paces the sidelines, jumping up and down in frustration, his hamstring bandaged to sell the injury ruse. He catches himself, gets back on his crutches. A newspaper fades up through the shot. It reads "Wolves Offense Fires Blanks in 13-0 Loss to Texas." INT. CAFE - NIGHT 4) Darnell sits in a cafe, drinking coffee and studying. Ray comes in, his arm around a co-ed, MONICA. They buy a pastry and leave, not having seen Darnell. Darnell ponders this a second, goes back to studying. INT. REHAB CENTER - DAY 5) A group of patients is gathered around a T.V. set in the Rehab Center, watching a pre-game show. One goes to Joe's room, where Joe's lying on his cot. PATIENT Hey, Joe, don't you wanta watch the game? It's on cable. JOE No thanks. Joe leans back, staring at the ceiling. ON T.V. SCREEN 6) Sportscaster DALLAS PERRY is holding forth on the local evening news. PERRY E.S.U. on the strength of a 62 yard touchdown run by freshman Darnell Jefferson, squeaked by the North Carolina Tarheels today, 14 to 13, keeping their bowl hopes alive. EXT. CAMPUS NIGHT 7) Darnell, with his books, on the way to the library, passes the frat house where the victory party is in progress. He sees Ray and Autumn walking together. Autumn sees him, her face lights up. He gives her a slight smile, keeps walking. She watches him with a certain longing. INT. LIBRARY - LATE NIGHT 8) Darnell, alone in the library, late at night, studying. INT. LOCKER ROOM - DAY 9) Lattimer, carrying his gear bag, walks into the locker room. His teammates come over to shake his hand, slap him on the back, welcome him back to the team. MUSIC ENDS INT. JOE'S REHAB CENTER ROOM - NIGHT Joe sits on his bed listening to the E.S.U. broadcast. HARVEY (V.O.) E.S.U. hoping to get past a tough Iowa Hawkeyes team in their last game before the return of star quarterback, Joe Kane. EXT. KINNICK STADIUM - NIGHT The E.S.U. defense is on the field. Alvin moves up opposite the OFFENSIVE GUARD. ALVIN I know you, motherfucker. You're the prick who got my little sister pregnant. We ain't seen you around lately. Where you been, huh? Answer me, motherfucker, or I'm gonna peel your cap. The ball is hiked. Iowa runs a sweep left. Lattimer tries to get outside to contain, but is blocked by the fullback, who goes low and cuts his legs out from under him. WINTERS Shit, Lattimer... Alvin pursues the play as the ballcarrier heads for the corner, then suddenly cuts back. Alvin has overrun the play slightly. We go to SLOW MOTION as he turns and is hit with a wicked CRACK-BACK BLOCK by the guard he taunted. Alvin's leg flexes at a horrifying angle. We HEAR THE SNAP of bone and tendon, as Alvin plummets to the ground, writhing in pain, grabbing his left leg. WINTERS Oh, no... The doctor and trainers sprint out to the field. INT. JOE'S REHAB CENTER ROOM - NIGHT We move in on Joe's face, as Harvey is heard on the radio in the b.g. HARVEY (V.O.) Oh, boy, this does not look good, Harmon. They're bringing the stretchers out... Joe's eyes close. He knows what this means. EXT. THE FIELD - NIGHT Alvin is being strapped on the stretcher. ALVIN (wailing in pain) Oh, shit, oh shit, I'll kill that motherfucker. I'll... Oh shit... EXT. KINNICK STADIUM - NIGHT An ambulance carrying Alvin emerges from the stadium. We hear CHEERING inside, the SIREN outside. HARVEY (V.O.) Twelve seconds left, Iowa driving for the winning touchdown. Fourth and goal at the one. E.S.U. trying to hold on without their star middle linebacker, Alvin Mack. EXT. THE FIELD AGAIN - NIGHT The E.S.U. defensive line digs in. Lattimer tries to suck up his remaining strength. Iowa runs a blast to Lattimer's side. He fights through one block, the ballcarrier coming right toward him. They meet in a titanic collision at the goal line. The back keeps driving, twisting. Lattimer tries to hold him, but weaker than he was on steroids, is unable to. The back falls over the goal line. Touchdown. IOWA 13 E.S.U. 10. As the Iowa players celebrate all around him, Lattimer sits where he fell, a beaten and humiliated young man. REPORTER (V.O.) Coach, you've lost two of your last four. INT. INTERVIEW ROOM UNDER STADIUM - NIGHT Coach Winters faces the press. REPORTER Why do your teams seem to nose dive at the end of the last couple seasons? COACH WINTERS This was a tough loss, but this ain't any nose dive. We've had some key players out, but if we win next week, we'll still win the conference and go to a major bowl on New Year's Day. I mean, I know you guys can't write, but I thought you could at least count. INT. HOSPITAL ROOM - EVENING Alvin lies on a bed, his leg bandaged and elevated. He's still a little groggy from anesthetic. Coach Winters stands beside him. WINTERS You look good, Alvin. ALVIN Yeh, I feel o.k. WINTERS Any of the guys been down yet? ALVIN They called. WINTERS Hell, you know how football players are about hospitals and injuries. ALVIN Yeh. Several beats of silence. Then: ALVIN I'm never gonna play again, am I? WINTERS Doctors aren't always right, Alvin... but I just want you to know... you're the best defensive football player I ever coached. Alvin nods. Winters comes forward, hugs him around the head, gives him a smile, walks out. Tears brim in Winters eyes as he leaves. Alvin's head goes back against the pillow. Tears aren't brimming here. They're rolling down his cheeks. MUSIC BEGINS EXT. REHAB CENTER - MORNING Joe walks out with his suitcase. Coach Winters waits for him. Shakes his hand. They get in the car. WINTERS (V.O.) Congratulations. I'm proud of you, Joe. INT. CAR - DAY WINTERS I know you had a difficult time. Michigan is easy, right? Bourbon is tough. JOE Scotch. They share a laugh. Winters pulls out two sets of round trip airline tickets. WINTERS I got somethin' for ya. Coupla round trip tickets. Go see your dad. Get it cleaned up. Joe takes the tickets, just looks at him. INT. STEVE LATTIMER'S ROOM - NIGHT LATTIMER (on the phone) I'm gonna have to take a test with the coach right there. You sure you got somethin' better than blockers? DEALER (V.O.) Much better. This guy is foolproof. See ya Saturday. Lattimer hangs up, picks up a HYPODERMIC. Stares at it a second, sweat beading on his forehead. Then plunges it an inch deep into his thigh. Pulls it out, sits on the bed a beat, then picks up a barbell and begins to pump it furiously, biceps bulging. MUSIC ENDS INT. COACH WINTER'S OFFICE - AFTERNOON The coach is facing Ray and Darnell across his desk. WINTERS I wanta do something different for this game. Try to maximize our speed, but keep you both in the lineup at the same time. Ray, I'm moving you to fullback. Darnell, you're startin' at tail. Ray is stunned, Darnell elated, but neither says a word. WINTERS Ray, you'll be carrying the ball less and blocking more, but they'll still have to respect your running and pass-catching ability. Not everybody can make a transition like this. You think you can handle it? RAY (tight lipped) Yes, sir. WINTERS Good. We can't afford any hang dogs. EXT. TENNIS COURTS - DAY Camille comes off the court, after tennis practice. She's surprised to find Joe waiting for her. JOE Hello, Camille. CAMILLE (cool) Hello, Joe. You allright now? JOE Yeh... yeh, I think so. CAMILLE Good, I'm happy for you. She starts to walk away, heading for the bike racks. JOE Camille, hold on, O.K.? I'm sorry that I didn't want... that I couldn't see you. CAMILLE You couldn't even talk to me. What happened to "there's somethin' goin' on between you and me"? Camille gets on her bike... JOE C'mon, Camille, I was embarrassed. I couldn't... and pedals off. JOE (shouting after her) I couldn't understand why anybody would wanta talk to me. Camille! She just keeps on going. EXT. PENNSYLVANIA STEEL TOWN - DAY A bus comes up the hill toward us, on the main street of Joe's sooty, little home town, the huge stacks of moribund steel works filling the sky in the background. The bus stops at a corner. Joe steps off. No bag. He's not planning on staying long. EXT. JOE'S HOUSE - DAY Joe goes to the front door. Knocks, gets no answer, pushes the door open, walks through the messy, cluttered house to the back porch. Seated in a metal folding chair, smoking a cigarette, looking out at the yard is Joe's DAD. He's got a couple days growth of beard, and although not drunk now, he has the look of one. JOE How ya doin', Dad? DAD (surprised to see him) Joe! What's this? They throw you out? JOE No. JOE'S DAD I heard about your little set-to. They had it on the news here. JOE Yeh, they sent me to rehab. JOE'S DAD We know what that's worth. Your brother's been through it three times. Joe nods sadly. JOE'S DAD So what are you doin' here? JOE I've been thinking about some things, Dad. JOE'S DAD That's what that damn rehab'll do. Make you think about a lotta things you can't do nothing' about. JOE I kinda been wonderin' why you never came to any of my games. All those years. JOE'S DAD Oh, I don't know. I guess I didn't wanta make you nervous. You mighta tried too hard and screwed up. JOE Or I mighta done real well. Which woulda been harder on you, Dad? JOE'S DAD (sensing the anger) What do you mean? JOE Mighta made you feel bad. Like maybe it wasn't written someplace that we all gotta go on our ass. Like maybe you coulda done somethin' more, if you'de tried a little harder. JOE'S DAD Or maybe I didn't wanta see you gettin' all excited, all pumped up with pride, when I knew one day it would all come crashin' down. Just like it did. JOE I think I spent the last couple years hopin' I'd die before that day. But you know what Dad? That day came and I'm still here. And I got one more game this year. I don't know how well I'll play or even how much, but I want you there. JOE'S DAD How would you feel introducing your drunk dad to all your friends? You think about that? JOE I could live with it, if you could. (handing him a ticket) Here's a ticket. Section 2, Row 6. Fifty yard line. If you don't come, I'll never ask you again. JOE'S DAD O.K., Joey. And good luck. They give each other a short, quick hug. Nothing sentimental. Joe walks back through the house. His dad stares out at the yard. INT. COLLEGE LIBRARY - NIGHT Darnell is up late again, studying at one of the tables. He hears footsteps, becomes aware of the presence of another person. He looks up to see Autumn. DARNELL Hey, Autumn. How's Ray? AUTUMN Don't know. Haven't seen him since the night I saw you. He'd been goin' out. DARNELL Monica Lambert. AUTUMN You knew? Why didn't you tell me? DARNELL Didn't wanta win you over that way. Silence. Darnell looks back at his books. AUTUMN I just wondered how your studying was comin'. You ready for tomorrow? DARNELL The test? I hope so. I been workin' pretty hard. AUTUMN Good... (sitting down) I talked to my dad last night. DARNELL Oh, yeah? How's he doin? AUTUMN Fine. We talked about you. DARNELL What did you say? AUTUMN (eyes brimming) I told him I'd gone out with you... I told him I wished I could still go bowling. Darnell gets up and pulls her to her feet. He hugs her. MUSIC BEGINS INT. EXAMINATION ROOM - AFTERNOON Darnell is bent over his test booklet. He writes furiously, stops to think, starts writing again. EXT. PRACTICE FIELD - DAY Joe takes a snap, fades to pass, throws an out. The ball flutters badly, falling short. CLAYTON He's rusty. I doubt if we can start him. WINTERS (simmering) He's worse than that. He's outa shape. (blowing his whistle) All right, that's enough for today. Practice is cancelled. Everybody off the field, but Kane. (the players hesitate) C'mon what the hell are you standin' around lookin' at? Get outa here. The players, surprised at this turn of events, begin to file off. Even the coaches are baffled. Winters walks over to Joe, who has no idea what this is about. WINTERS Didn't do much while you were in there, did ya? JOE Well, we didn't exactly have a team... WINTERS You could've worked out on your own. JOE I had some other things to worry about... WINTERS Well, we're gonna make up for lost time. We'll start by hoppin' the steps. JOE Hoppin' the steps?! What, you're gonna punish me now. WINTERS Don't talk back to me, Joe. I'll kick your ass. I went easy on you, 'cause you had to get through detox, but that's out to sea now. You let this team down; you let this program down. Start those steps. Right leg. ANGLE ON JOE - STADIUM Hopping up the stadium steps on his right foot, laboring as he passes Winters, halfway up. WINTERS Now the left. Joe switches to his left foot and continues hopping up the steps, his quadriceps bursting with pain. DISSOLVE TO: JOE - LATER - STADIUM hanging by his arms, moving hand over hand along the crossbar of the goalpost, panting with fatigue, Winters watching from below. DISSOLVE TO: JOE - AT SUNSET - STADIUM Bone weary now. Winters has him run 20 yards, get down and do 10 pushups, run another 20 yards, do 10 more pushups etc. Joe staggers the 20 yards, drops to do his pushups, can only do 4. Winters yanks him to his feet, pushes him forward to run again. WINTERS 70 guys. 70 guys who busted their butts all year. Because of you they might not win the conference. Because of you they might not go to a bowl. JOE (barely able to stand) I didn't wanna leave... I just screwed up... WINTERS You dogged on them. JOE (stopping, exhausted) No, no I never dogged. I worked my ass off. I played hard... WINTERS (pushing him forward) Then you shoulda stayed in shape. Keep runnin', dammit. JOE (wobbling, starting to break down) I always played hard. I gave my everything for you. When you came to the Center, I thought you were really worried about me. But you don't give a shit. We're all just a buncha sled dogs. If you had another guy who could throw, you'da left me in the fuckin' hospital. (falling to his knees, sobbing) The only thing that matters is the program, the god-damn program. Winters pushes Joe down to do his pushups. Joe has to strain mightily to do two. WINTERS Nobody forced you to play football, Joe. Not me, not the program, nobody. But when you sign on, you commit yourself to pay the price, to do whatever it takes. Well, you haven't paid the price yet. You still owe this team. You owe this team big- time. (walking away) Get a shower. Joe tries to get up, but collapses face down on the turf, as Winters continues to walk away. INT. LOW RENT DOCTOR'S OFFICE - MORNING Lattimer lies on a table, a CATHETER TUBE going into his side. A DOCTOR'S AIDE supervises. Lattimer's dealer is there. LATTIMER What's this doin? DEALER Takin' doped urine outa your bladder and puttin clean back in. Call it an oil change. INT. LOCKER ROOM - BEFORE THE GAME Coach Winters watches unknowingly as Lattimer pees the catheterized urine into a cup. MUSIC ENDS INT. LOCKER ROOM - JUST BEFORE THE GAME The team is gathered around. Conspicuous among them is Lattimer, who's painted his face like a skeleton. Coach Winters is whipping them up with a pre-game rant. WINTERS Gotta get it done today, boys. Gotta ring that bell. 60 minutes. 60 minutes of mean. No prisoners. No mercy. Nothin' but snot bubbles. Gotta ring that bell, gotta ring that Championship bell. LATTIMER (shouting) Ding Motherfucking Dong!! Pumped to the gills, the E.S.U. team explodes in yells and races out into the tunnel. The YELLING continues OVER and mixes with the CHEERING OF THE CROWD as: EXT. WOLF DEN STADIUM - AFTERNOON HARVEY (V.O.) Wolves movin' left to right on your radio dial. Looking to generate some offense. They've been up and down the last few weeks. ANGLE ON BOBBY COLLINS in the huddle. COLLINS 28 Thunder right. On go. They break and the E.S.U. offense comes to the line. Collins calls signals. We go to SLOW MOTION as he fades to pass. Darnell fakes a block, then rolls out for a screen pass. Georgia Tech's defensive line comes hard. Bobby flips the ball over the charging defenders. Darnell catches it, gets a good block from Bud Lite, then tucks in behind Ray who is out ahead blocking. There's only one linebacker to beat and Darnell will be into the secondary. Figuring Ray will block the guy, Darnell begins to look for the safeties. Ray, however, barely brushes the linebacker, who doesn't even break stride. He lowers his head, and drives into Darnell, his helmet hitting the football. Fumble! There's a scramble. The Yellow Jackets free safety comes up with it. REGULAR SPEED The crowd and the E.S.U. bench, quickly deflated, sit back down. Darnell gets to his feet, glares at Ray, but says nothing. He knows Ray tanked the block. INT. ALVIN MACK'S SHACK - DAY Alvin sits alone in the "living room", listening to the E.S.U. game on the radio, his leg propped up on an apple crate. His mother mends a pair of jeans in the b.g. HARVEY (V.O.) So the Wolves defense has held after the fumble, and the Yellow Jackets will opt for the field goal. Around a 34 yarder. Ball is down, it's away, it's long enough. And good! Georgia Tech jumps out on top 3-0. Alvin's mother looks to see if there's any reaction from Alvin. There's none. EXT. WOLF DEN STADIUM - AFTERNOON Bobby Collins fades back to pass, is rushed, throws a quick sideline, but it's a little short. The Yellow Jackets' CORNERBACK sprints up, intercepts it and runs 30 yards down the sideline for a touchdown. HARVEY (V.O.) Collins back to pass, rushed, now fires out in the flat. It's picked off by Hill. Down the sideline. He's gonna go in untouched. Touchdown, Georgia Tech. INT. E.S.U. LOCKER ROOM - AFTERNOON A discouraged bunch of E.S.U. players drag into the locker room. Some swear, some bang their lockers. LATTIMER C'mon guys, we're only down ten. Let's get our fuckin' shit together. Darnell marches over to Ray's locker. DARNELL You missed that block on purpose, didn't you, asshole. RAY You're full of shit. You fumble, you try to blame me. DARNELL It's Autumn isn't it? That's what this is all about. RAY The hell with Autumn. You just can't take a hit. Infuriated, Darnell goes for Ray, and they start swinging. Darnell tackles Ray, they roll on the floor, still swinging, trying to beat the shit out of each other. Finally, several players manage to pull them apart. Coach Winters charges over. WINTERS Don't tell me who started it. I don't care. All I care about is this football team. We win together. We lose together. So whatever your problem is, get over it. I don't want any more of this shit. Understand? DARNELL AND RAY Yes, sir. WINTERS As for the rest of you guys. Here's what I think of the way you played. Winters walks over to a table set up with 75 cups of Orange Juice and Gatorade. He swipes the cups off the table creating a small flood on the floor. Then turns the table over. The players are shocked. They've seldom seen him like this. WINTERS (pointing toward the Yellow Jackets' locker room) They're laughin' at you over there. Makin' plans for the evening. They never dreamed it'd be this easy. You guys are nothin' but bugs splattered on their windshield. You better stock up on potato chips, 'cause you're gonna be watching a lotta T.V. on New Years Day. Winters walks away, as the players are left to contemplate their mistakes. Winters goes over to Joe. WINTERS Get warm, Joe. You're startin' the second half. Joe nods, excited but uncertain. Winters moves on to Ray Griffen. WINTERS By the way... don't let me see you miss anymore blocks. EXT. WOLF DEN STADIUM - AFTERNOON The E.S.U. players return to their bench for the start of the second half, gather in a circle. Joe looks up in the stands to the seat he reserved for his father. It's empty. BEGIN A SERIES OF SHOTS: 1) Joe takes the snap from center, fumbles it, falls on it. 2) Joe looks to throw over the middle, waits too long, is sacked. 3) Joe underthrows Darnell coming out of the backfield. EXT. WOLF DEN STADIUM - AFTERNOON Clayton approaches Winters on the sideline. CLAYTON Joe's too tentative, too cautious out there. He seems flat. Maybe we oughta give Collins another shot. WINTERS Joe just needs to get the feel back. He'll be allright. CLAYTON Sam, we can't afford to wait... WINTERS (snapping) I said he'll be allright. ANGLE ON JOE HARVEY (V.O.) 5:51 to go. Georgia Tech up 10 to nothing. The Wolves are gonna have to find some offense in a hurry here. Their defense has been keepin' them in it. As he starts off the bench for the field, Coach Winters comes up to him. WINTERS Joe, I know that Rehab was good for you. Got rid of a lotta bad habits. But what about the rest of you? What happened to the Joe Kane that used to take command of this team, the Joe Kane these guys i'd run through a bulldozer for? They put him out with the trash? What are you waitin' for, somebody to feel sorry for you cause you've had some problems? Nobody in this stadium gives a shit. It's time to step up, Joe. Time to sit at the head of the Table. ANGLE ON THE E.S.U. OFFENSIVE HUDDLE As Joe comes into the huddle. He's all business now. JOE All right, we've held these guys up long enough. Give me time back here, and I'll rip 'em apart. 16 shift, green, bolt. First sound. Joe brings the offense to the line of scrimmage, yells "Go!" The ball is snapped, Joe drops back, hits Darnell on the sideline. First down. In quick succession, we see Joe: 1) Complete a 15 yarder to Ray over the middle. 2) Fades to pass, is rushed. Forced out of the pocket, scrambles for his life, manages to get down to the 4 yard line. He gets up, surveys the distance to pay dirt. HARVEY (V.O.) Nice bit of scrambling by Kane to get it to the four, but it's gonna bring up fourth and goal. No doubt about it, with 3:45 they've gotta go for it here, if they're gonna get back in this game. ANGLE ON THE SIDELINE Winters puts his arm around Ray who will take the play into the huddle. RAY Give it to me up the gut, Coach. They've been ignoring me. I know I can score. WINTERS No, we're gonna go with the sweep. Winters gives Ray a shove and he runs onto the field. Ray is upset, angry. He swears to himself. ANGLE ON FIELD Ray enters the huddle, whispers in Joe's ear. JOE 28 Thunder right. On 2. The team breaks out, comes to the line. Joe looks over the defense, screams signals as the CROWD NOISE is building. We go to SLOW MOTION as the ball is snapped. Ray takes one step forward then turns right, leading the play. Joe pitches to Darnell who follows Ray. Georgia Tech's outside linebacker comes up to stop the play. Ray stumbles before he can make the block. He drops out of our picture. DARNELL Shit! Darnell is forced to go wider toward the sideline. The linebacker and cornerback are closing, both have the angle on him. Darnell starts to cut back. He lowers his shoulder to take the linebacker's blow. Suddenly, out of nowhere, Ray reappears and throws a devastating block on the linebacker, knocking him back into the cornerback, taking them both out. Darnell cuts it up and blasts over the safety at the goal line. Touchdown, E.S.U. The stands erupt. It's the first thing they've had to cheer about all day. Winters just looks at the clock, goes over to talk to his defense. Darnell foregoes his touchdown dance. He runs over to Ray, grabs him by the helmet. DARNELL Monster block, man. Monster motherfuckin' block. Ray smiles. They butt heads and run off the field INT. ALVIN'S SHACK ALVIN (softly to himself) All right, defense. Let's get evil. Kill 'em all, let the paramedics sort 'em out. EXT. WOLF DEN STADIUM - AFTERNOON Georgia Tech has the ball. They break their huddle. HARVEY (V.O.) 1:11 and counting. Third and one. The Wolves have got to stop them on this play if they're gonna get the ball back. A first down here and it's all she wrote. E.S.U. is out of timeouts. The Georgia Tech quarterback fakes to his fullback, hands off to his TAILBACK on the countertrap. The tailback runs behind his big, pulling tackle, both right at Lattimer. Lattimer takes on the tackle, sheds his block. The back lowers his head, starts to power into Lattimer. Lattimer lets out a fierce yell. Smash! Lattimer explodes into the tailback, the collision lifting the back off the ground, whiplashing his neck, vibrating his helmet. Lattimer's legs churn, driving the tailback back and into the ground. We see the back's face. There are snot bubbles in his nose. No first down. No way. Lattimer jabs both arms in the air. The crowd goes nuts, as the defense slaps helmets, and runs off the field, windmilling their arms, whipping up the crowd. ANGLE ON SIDELINE Winters congratulates the defense as it comes off the field. He meets Lattimer, looks into his eyes. Sees the steroids there. He knows it's the only way the kid could have done it. Decides not to bust him. Lattimer knows it. Winters gives his helmet a little slap, more in sympathy than praise. ANGLE ON THE YELLOW JACKET PUNTER He catches the snap, boots the ball away. Darnell fields it at his 12, starts toward the right sideline, where hemmed in, he looks like dead meat. Suddenly, he reverses his field, racing for the opposite sideline, where a picket line of blockers awaits him, if he can get there. He turns on the jets, barely beating two tacklers to the corner, and then turns it up the left sideline, picking up a wicked series of crack-back blocks, until he's finally run out of bounds at the Yellow Jacket 35 yard line. ON STANDS The E.S.U. fans are on their feet. Winters races over to Joe. WINTERS Time for 2 plays. If it's not open in the end zone, take the sideline. As the offense runs onto the field, Winters checks the scoreboard. 17 seconds left. Georgia Tech 10. E.S.U. 7. INT. WOLF DEN STADIUM - AFTERNOON Joe brings the Wolves up. HARVEY (V.O.) Ball on the Yellow Jacket 35. 17 seconds left. Kane barking signals. Joe takes the snap, drops to pass, finds no one, rolls away from the rush. Just as he's about to go out of bounds, he fires a bullet down the sideline. Ray Griffen catches it and goes out of bounds at the twelve. ANGLE ON SIDELINE Joe runs over to Coach Winters, knowing they have no more time outs, as the refs move the chains. HARVEY (V.O.) Field goal here ties it, but a tie may not get the Wolves into a bowl. Tough decision for Winters. WINTERS (to Joe) You want me to send in the kicking team or you think you can handle it? JOE Give me the ball. WINTERS O.K., let's do 24 inside slot, left blue lightning. ON FIELD Joe races back out onto the field and into the huddle, as the crowd's roar goes off the charts. JOE (in huddle) O.K., 24 inside slot, left blue lightning. Let's put the women and children to bed, and go lookin' for fuckin' dinner. On 2. He starts the wolf howl. The others join in, howling for all they're worth, eleven jacked-up warriors. They clap and break the huddle. The crowd is standing, waving fists in unison toward the Georgia Tech end zone. Joe looks up in the stands again at the seat he left for his father. It's still empty. JOE This one's for you, Dad. Joe starts to call signals as Bud Lite sings "Bali Hi." We go to SLOW MOTION as the ball is snapped. The Georgia Tech defense fires off the line, throwing everything at Joe. Joe drops back five steps. Bud Lite picks up a blitzing linebacker, knocks him over a fallen player. Joe looks for Darnell in the corner, but another pass rusher breaks through, forcing Joe out of the pocket. It's wartime as tackles and blockers collide, hand-fight, go down, scramble up, collide again, all in pursuit of Joe. Darnell, realizing Joe's in trouble, breaks off his pattern and heads to the center of the end zone. Joe dodges one tackler, shakes free of another's ankle tackle, heads back for the center of the field. He spots Darnell breaking between defensive backs. Just as he's buried by two massive linemen, Joe fires a rocket down the middle toward the sliver of open space that Darnell is heading for. The ball barely clears the hands of a lunging linebacker. Darnell and two defensive backs, one from each side, close on the ball as it cuts through the air, a perfect spiral. Darnell dives. The two defensive backs dive. The ball passes between their outstretched hands by a fraction of an inch, landing in Darnell's. He clutches it to his chest, rolls over, holds the ball up for the ref to see. Touchdown! This time Darnell does go into his touchdown dance. ANGLE ON STANDS Pandemonium. The crowd including Autumn and her dad goes crazy. Winters just gives a few quick nods, watching almost wistfully as the players and coaches hug each other, knowing none of them will hug him. Joe, Bud and the others mob Darnell. INT. ALVIN'S SHACK - DAY Alvin listens to the celebration a few beats, then switches off the radio, knowing this is an experience he'll never be a part of again. We leave him staring off into an uncertain future. INT. CHANCELLOR'S SKY-BOX - DAY The Chancellor and his guests are celebrating the victory, congratulating each other. Conspicuous among them are the Fat Cat Alumnus who gave Darnell the money, and the Chairman of the Board of Regents. CHAIRMAN Looks like the Timberwolves are back. Probably brought the library with them. CHANCELLOR Hope so. (turning to Galen Howard) Give my sincere congratulations to Coach Winters. HOWARD He'll be delighted. The Fat Cat Alumnus goes to a replica of the Building Fund football field and starts advancing the ball. FAT CAT ALUMNUS 15,10, touchdown! This brings applause all around. EXT. WOLF DEN STADIUM - AFTERNOON As Darnell comes off the field, Autumn runs out and hugs him, leads him to her dad. AUTUMN Daddy, you remember Darnell. MR. HALEY Yes, I do. Great catch, Darnell. DARNELL Thank you, sir. I got somethin' for you. Darnell reaches into his helmet and takes out a sweat-stained piece of paper. DARNELL My entrance exam. Got a 92. Coach Winters said you got an 87. He looked it up. MR. HALEY (laughing) I'll kill him. ANGLE ON JOE KANE walking toward the tunnel, acknowledging the plaudits of the fans. He looks for Camille, doesn't see her. Coach Winters comes up next to him. WINTERS Hell of a throw, Joe. Good to see you back. Winters gives him a quick, but firm hug. WINTERS And don't worry about the Heisman. We'll gear up for it next year. Joe manages a weary smile. ANGLE ON BUD LITE coming down the tunnel, Bobby Collins next to him. Both stop as Louanne walks toward them. Bobby smiles to himself in anticipation of her fawning over him. She walks right by him and up to Bud. LOUANNE You still feel like gettin' a beer? Bud smiles. Bobby quickly looks around for someone else to hit on, hails a cheerleader. Bud and Louanne walk off together. Louanne stops when she sees her father, fearful of his reaction. LOUANNE He's not a football player any more. He's graduating this year. WINTERS He's still got a bowl game. Louanne waits, not sure whether her father's angry or not. WINTERS So make sure he doesn't violate curfew. Louanne smiles. Winters returns it, and walks away. ANGLE ON STEVE LATTIMER Sitting on the bench, his head in his hands, weeping. HARVEY (V.O.) An amazing conclusion to a great season. We can see Steve Lattimer down on the bench weeping tears of joy as E.S.U. goes back to a bowl for the first time in three years. These are not tears of joy, but a man/boy who knows he'll never be able to play pro football without steroids. EXT. E.S.U. CAMPUS - LATE AFTERNOON Joe sits on a bench at the intersection of four converging Quad paths. Camille approaches from the opposite direction, stops when she sees Joe. CAMILLE What are you doin' here? JOE Waitin' for you. I figured you'de have to come through here on your way to dinner. This softens, relaxes her a bit. CAMILLE Shouldn't you be out celebrating? You played real well. JOE I need your help with somethin'. I know I'm not your favorite guy right now, but it's all startin' again. The expectations, the pressure, the talk about the Heisman next year. I was wonderin' if you'de like to go somewhere, maybe share a six-pack with me? Camille's shocked that he might be drinking again. He pulls a six pack of 7-Up out from behind his back. She laughs in spite of herself. They settle again. JOE I miss you, Camille. I don't like bein' without you. CAMILLE I'll think about it. They look at each other a beat, come forward into a long kiss and embrace as we pull up and back. CREDITS BEGIN TO ROLL AS EXT. STADIUM TUNNEL - DAY Coach Winters, flanked by Humes and Clayton, walks down the tunnel to a waiting car. No effigy this time. HUMES Tickets are in your coat. Itinerary and player profiles in the briefcase. We got a 9:00am tomorrow in Baltimore with the kid from Park. Then we're on to... They continue down the tunnel toward a new recruiting season, another year in the annals of The Program. FADE OUT THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Prom Night.txt b/unformated_scripts/Script_Prom Night.txt new file mode 100644 index 0000000000000000000000000000000000000000..94e749562aefa944029025fa91fd6fc66f656a72 --- /dev/null +++ b/unformated_scripts/Script_Prom Night.txt @@ -0,0 +1 @@ + PROM NIGHT Written by William Gray From a story by Bob Guza FINAL DRAFT FADE IN: EXT. ELEMENTARY SCHOOL - DAY SUPER: April 27, 1973 All is quiet outside this suburban school on a sunny Friday afternoon. Cars idle in the driveway awaiting the three o'clock onslaught of liberated children. Two faded yellow buses stand ready. The lull is shattered by the CLANGING of the final BELL. A swarm of children pours out the door and down the broad front steps, scattering across the lawn toward the cars and the buses. Moving slowly through the crowd, ROBIN and ALEX HAMMOND, nine-year-old identical twins, appear at the doorway.. Attractive, dark-haired children, they seem more sub- dued than the others. As they walk quietly down the stairs, Robin lags behind, staring at a boy teasing a girl nearby. He is NICK MCBRIDE, eleven years old, two grades ahead of Robin and the most popular boy in school. The pretty girl laughing at his antics is KIM HAMMOND, also eleven, Robin's older sister. ALEX C'mon, Robin. ROBIN (STUTTERING BADLY) W-w-where's D-d-daddy? ALEX He's got a meeting at the high school. We're supposed to walk home with Kim... (sees Robin watching the young couple) She's too busy. Let's go by ourselves. ROBIN N-n-n-no, Alex. Let's w-w-wait. ALEX Why? Robin is staring at Nick. Alex looks, understands. He's angry. ALEX (CONTINUING) You're crazy, I'm not waiting. (CONTINUED) CONTINUED : He strides away. Robin's eyes remain on Nick and Kim. Nick says something to Kurt. She shakes her head and pains toward Robin. Robin quickly turns away as they look at her.. When she glances back, Ki_m is walking towards her and Nick is bicycling away. KIM Okay, let's go. The sisters start to walk across the lawn. ROBIN Y-you 1-1-like him? KIM Who? ROBIN (SMILES SHYLY) Y-you know. KIM Nick? Oh, he's all right, I guess. They walk on in silence with Robin stealing glances at her big sister. ROBIN (FINALLY) Are y-y-you g-gonna m-in-marry him? KIM Robin? Robin smiles and takes Kim's hand. They walk along the road, kicking rocks and swinging their bookbags. Sud- denly Kim halts. KIM (CONTINUING) Oh, damn! Robin looks up in surprise. KIM (CONTINUING) Debbie was gonna lend me her new record. Look, you go on home by yourself. Tell Mom I'll be a little late. Before Robin can reply, Kim is hurrying away. (CONTINUED) 3. CONTINUED! (2) Robin watches her go, then moves off alone, breaking into a skip and playing imaginary hopscotch. As she turns off the main road into a side street, Robin passes a construction site. The empty skeleton of a half-finished apartment building looms up above the dark shade trees. Hearing VOICES, Robin stops to investigate. ROBIN (CALLS OUT) Alex? The VOICES continue. Robin moves closer, peering through the tall bushes surrounding the lot. She sees Nick playing in.the framework with three of his classmates. Robin recognizes JUDE CUNNINGHAM, and KELLY LYNCH as Kim's two best friends. The fourth child, WENDY RICHARDS, is a dark-haired girl, domin- eering and loud. As Robin watches, Wendy jumps up onto the floor of the building. WENDY I want to play 'Murder.' Who's the killer? NICK You, Wendy! JUDE (GIGGLING) you, Nick. KELLY Yes, Nick! WENDY (LAUGHING) You'll never catch me. Hide your eyes, killer! As Nick turns his back, hiding his eyes against an ex- posed beam, the children scatter through the structure. Robin watches with mounting excitement as Nick finishes counting, and whirls around. NICK The killer is coming for you! He moves into the building, chanting "Kill, kill.," in a low monotone. As he disappears from view, Robin cau- tiously edges out of the bushes and moves up to the building. NICK (O.S. The killer strikes! (CONTINUED) 4. 1 CONTINUED; (3) I Robin hears Jude's SQUEAL of LAUGHTER. Nick has caught her. Immediately Jude's VOICE TAKES UP the "kill" chant in unison with Nick. INT. APARTMENT BUILDING UNDER CONSTRUCTION - DAY 2 Robin climbs up onto the floor and peers into the dark, gloomy structure. Suddenly, she hears a SHRIEK. Ter- rified, she backs against a wall. LAUGHTER FOLLOWS im- mediately and Robin hears Kelly's VOICE TAKING UP the chant. As the three "killers" move through the vast structure searching for Wendy, "KILL, KILT" ECHOES off the walls and hardwood floors. Robin cautiously steps out of the doorway into the im- mense unfinished lobby. Ominous shadows slash across the floor as the excited girl listens to the relentless CHANTING of the children. Robin pushes on a makeshift wooden door. It slips off its temporary hinges, crashing down to the floor. The NOISE is like a rifle shot; suddenly, there is ABSOLUTE SILENCE in the structure. Petrified, Robin crouches behind a wall, waiting. The CHANTING quickly RESUMES and she breathes a long sigh of relief. Robin moves through a dark corridor, hugging the walls. Flushed with excitement, she imagines herself a "killer" searching for Wendy. As she moves past an empty room, she hears a SOFT GIGGLE. Robin stops and listens care- fully. Once again she hears the GIGGLE, LOUDER this time, coming from nearby. Stepping to a doorway, she leans around the corner and peers inside. In the darkness she can see nothing. Gathering her courage, she quietly slips into the room. The room appears empty but a closet door is slightly ajar. As Robin approaches, she hears a FAINT GASP from behind her. Whirling around, she sees Wendy crouched behind a cardboard box in the corner. WENDY (HISSING) You better not tell! Before Robin can react, she hears a THUD from above. Looking up, she sees Nick's head appear through an opening in the ceiling. Seeing Robin, then Wendy standing in the corner, he howls in triumph. (CONTINUED) 5. CONTINUED: NICK (CALLING OUT) Here, killers, here! Nick's head disappears from the opening and Robin hears the POUNDING of RUNNING FEET. WENDY (MALICIOUSLY) Now you've done it, you idiot! The CHANTING GROWS LOUDER as the "killers" rush towards the room. Trapped, Wendy looks frantically for an es- cape but finds nothing. Turning around suddenly, she grins at Robin, a cruel, hard expression on her face. WENDY (CONTINUING; SLOWLY) Kill, kill, kill... Picking up the chant, Wendy begins to advance on Robin. Terrified, Robin turns and rushes out of the room, bowling over Nick in the doorway. Delighted that the game is continuing with a new victim, he follows Wendy in pursuit of Robin. Robin flees down the long, dark corridor, "KILL, KILL ECHOING in her wake. As she rounds a corner, Jude ap- pears, looming up in front of her. Robin screams and sprints in the opposite direction. Kelly leaps out of a doorway and grabs for her, but Robin, swinging out blindly, escapes the "killer." INT. STORAGE ROOM - DAY 3 Darting into the large room, Robin collapses against a wall, gasping for breath. As her eyes adjusts to the darkness, she spies a rickety ladder extending through a hole in the floor to the basement below. Stacked up- right near the opening are several sheets of window glass. Before Robin can make a move towards the lad- der, she hears a horrible SCREECH and Wendy appears in the doorway, a vicious look on her face. WENDY Killers, here! Wendy advances. Terrified, Robin begins to back away. ROBIN N-n-n-no! (CONTINUED) 6. CONTINUED: Nick, Jude and Kelly appear in the doorway, chanting "Kill, kill." Moving quickly, Robin grabs the ladder and starts down into the basement, careful not to knock over the sheets of glass stacked near the opening. Peering into the pitch-black basement, Robin hesitates. But as Wendy and her fellow "killers" close in on her, Robin continues down the ladder. Wendy rushes up and grabs the ladder. ROBIN (CONTINUING) P-p-please! Wendy grins and shakes the ladder. The chanting is deafening. Robin hugs the wooden slats. Wendy shakes even harder. Robin screams. Nick moves around Wendy to get a better look. He accidentally bumps the glass stacked next to the opening. The sudden movement is just enough to dislodge a razor-sharp pane of glass and send it hurtling down directly at Robin. The girl's last scream catches in her throat as the glass slices through her neck. She is instantly decapitated. Horrified, Wendy watches the glass and the body crash to the concrete basement floor. Kelly screams. Jude sobs loudly. Nick can only stare in shock. Finally, he manages to speak. NICK (WHISPERING HOARSELY) We gotta get somebody quick! Nick starts to go. Wendy instantly whirls, grabs his arm. WENDY Are you crazy? They'll put us in jail! Confused, Nick cannot reply. The other girls grow silent. WENDY (CONTINUING) If we tell anyone, they'll say it's our fault. Who'd believe it was an accident? Nick starts to protest. WENDY (CONTINUING; INTERRUPTING) Listen to me! (MORE) (CONTINUED) 7. CONTINUED: (2) WENDY (C ONT D ) We'll go home now and never ever tell anyone. They'll think it was an accident. 1,10 one but us will ever know. She looks at each of them. They are still too numb to respond. WENDY (CONTINUING) Everybody swear never to tell! Wendy glares at Jude. WENDY (CONTINUING) Jude? JUDE (SOFTLY) I swear. WENDY Kelly? Kelly looks from Wendy to the mangled body and begins to whimper. WENDY (CONTINUING; STERNLY) Kelly! The frightened girl looks up at Wendy. KELLY (WHISPERS) I don't wanta go to jail... WENDY Swear! KELLY I swear. Wendy turns to Nick. At first he appears defiant, ready to object, but he wilts under her withering gaze. NICK (FINALLY) I won't tell. WENDY SLOWLY NODS) Good. (CONTINUED) CONTINUED: (3) With a final glance down at Robin's mutiliated body, Wendy quickly ushers her shocked friends out of the room. As their FOOTSTEPS ECHO away across the hardwood floor, there is a terrible silence. Then, starting very quietly, more FOOTSTEPS are HEARD, this time a single person approaching the ladder from above. The FOOT- STEPS STOP and a deep, black shadow falls across the ladder; HEAVY BREATHING punctuates the oppressive quiet, growing louder and more anguished. CUT TO: INT. STORAGE ROOM - DUSK We slowly TILT UP TO the tortured features of RAYMOND HAMMOND, Robin's father. A handsome, dark-haired man in his late thirties, he teaches history at George Winston High School. Wracked with grief, he stands near the opening in the floor and watches as two Paramedics bring up the body of his daughter from the dark basement. A young Policeman standing nearby raises the white sheet covering Robin's remains. Hammond steps up and gazes at his daughter's decapitated body. A look of absolute horror and revulsion freezes on his face; what he sees he will never forget. Paralyzed, Hammond barely hears the CAR PULLING UP in front of the construction site. He turns and looks out the window. EXT. APARTMENT BUILDING UNDER CONSTRUCTION - DUSK 5 A Police Officer is getting out of his car. Walking around to the passenger side, he opens the door for an attractive blonde woman in her mid-thirties. VIVIAN HANMOND, Robin's mother, appears pale and haggard as she steps out of the car. Kim and Alex slowly climb out of the back, With the Police Officer escorting her, Vivian and her children move toward the skeleton of a building. Catching sight of her husband framed in a lower window, Vivian suddenly breaks. away from the Police Officer and runs inside the building. INT. STORAGE ROOM - DUSK Hammond moves quickly to the door, grabbing his hysterical wife as she bursts into the room. HA:MMIOND No! VIVIAN (SOBBING WILDLY) Where is she? Where is Robin? Seeing the covered figure lying on a stretcher, Vivian moans in anguish. Struggling furiously, she strains to break her hus- band's hold, but he is too powerful.. They are both in tears, shaking with grief, when Kim and Alex step into the doorway. KIM WHISPERING) Daddy? HAMMOND (angrily, TO VIVIAN) Why did you bring them here? Vivian collapses, burying her head in his shoulder and sobbing furiously, but Hammond pushes her out of the room. HA ` 0 N D (CONTINUING) Kim! Alex! Stay out in the hallway! Kim stumbles out into the corridor and begins to cry softly. Alex takes his mother's hand and tries comfort her. The Paramedics pick up the stretcher and maneuver it out of the room. As they pass through the doorway into the corridor, a corner of the sheet slips off Robin's corpse. Before a Paramedic can replace it, the de- capitated torso is briefly glimpsed by the family. Alex is shocked. Kim doesn't appear to realize what she sees. But Vivian's horror wells up in her throat, bursting out in a deranged scream. CUT TO: INT. BEDROOM - DAY Another SCREAM, as throbbing DISCO MUSIC pulsates from a large portable RADIO sitting on a dresser. SUPER: APRIL 27, 1980. A young woman with long, golden brown hair and a trim figure is slipping into a pair of tight jeans. Pull- ing on a halter top, she sways to the MUSIC. VIVIAN (O.S.) (CALLS OUT) Kim! Turn that music down. You're driving me crazy! Turning around at the SOUND of her mother's VOICE, Kim Hammond reaches for the volume control Now eighteen, she is a strikingly beautiful girl with an open, innocent quality. KIM (CALLS OUT) Okay, Mom! Kim quickly finishes dressing, whirling around the room to the pounding disco rhythm. Giving her hair a few final strokes with a brush, she gazes at a photograph of a young man stuck in her mirror. On the picture is written: "To Kim, the best on the floor... dancing, that is! Love, Nick." Kim glances at another photograph stuck in her mirror. This one shows her sister, Robin, taken a few days be- fore the accident. Her sadness passes as quickly as it came. Gathering her textbooks, she switches OFF the RADIO and exits. 8 INT. KITCHEN - DAY Raymond and Vivian Hammond are just finishing break- fast. The years have favored him; except for a touch of gray around the temples and a few extra pounds, he looks much the same way as we remember him. Vivian, however, wears the strain of the past seven years in her gaunt, drawn features and high-strung manner. Thumbing through his morning newspaper, Hammond steals quick glances at his wife. She does not look up at him, but stares at the table, toying with her spoon. (CONTINUED) 8 CONTINUED: HAMMOND (reading the paper) I'll tell you, Vi, I'm thinking of starting up an armed robbery course at the high school.. I've got a feeling it'd be popular... He smiles at his joke, looks at her. She doesn't seem to have heard him. HAMMOND (CONTINUING) I just hope there's no trouble at the prom tonight... Kim bursts into the kitchen, interrupting her father with a kiss on the head. KIM (LAUGHS) Mmmm, sounds like fun! HAMMOND (SMILING) And how is the next queen of the Winston High Junior-Senior Prom? KIM Scared tiff. She leans over to kiss her mother. Vivian automatical- ly turns her cheek to Kim without looking at her. KIM (CONTINUING) Morning, Mom. We got any yogurt? VIVIAN (WITHOUT LOOKING AT KIM) No, dear. Fix yourself a good meal. You're getting awfully thin. Kim and her father exchange glances. He shrugs HAIVMOND who's your lucky escort tonight? KIM You know, Daddy... Nick. (CONTINUED) 1L, CONTINUED: (2) HAM`IOND (NODS) I've been trying to forget. The boy's too sure of himself. KIM (INTERRUPTS) Mom, tell him... VIVIAN (SOFTLY) Seven years ago today. Hammond carefully folds his paper and places it on the table. HAMœøΩTOND (affects a casual ATTITUDE) Vi, I made you an appointment with Dr. Fairchild. Vivian finally looks up at him. HAMMOND (CONTINUING) It's this morning, actually. Sorry I forgot to mention it. VIVIAN Today? HAMMOND (LOOKS AWAY) You'd better get ready. He's fitting you in early before his other... people. VIVIAN (UPSET) It doesn't help. You know that! HAMIOND Now, Vi... Vivian stumbles to her feet and rushes out of the kitch- en before he can finish. With a glance at Kim, Hammond hurries after his wife. Going out through the swinging door, he bumps into a young man just entering. HAM4OND (CONTINUING) Morning, Alex. (CONTINUED) 1J. CONTINUED: (3) Hammond exits. Alex, now sixteen, a tall, slender boy, casts a knowing look at Kim. Kim nods. Alex. shakes his head, then begins to rummage through the Pantry, pulling out a Hostess viTikie. ?lopping down at the table, he flips open his electronics book and begins to read. Munching on his Twinkie, he swipes sips from Kim's glass of milk. KIM Have you got a date for tonight? His mouth crammed.full of Twinkie, Alex mumbles his reply. KIM (CONTINUING) I happen to know Jude might be available. Of course, she is older, but... Alex almost chokes. ALEX C'mon, Kimbo, I may be hard up... KIM Alex! Jude's cute... Besides, she's funny and really smart. Give you somebody to do equations with! ALEX (SARCASTIC) Great... Anyway, I'm in charge of the sound system tonight. KIM Not bad but it's not romance. ALEX It'll do for tonight. Kim shoots him a look, then backs off. KIM If you get a chance, dance with Jude once or twice, okay? ALEX Sure. He returns her glass of milk, empty. (CONTINUED) 8 CONTINUED: (4) 8 ALEX (CONTINUING) Any more milk? 9 INT. LIVING ROOM - DAY Hammond and Vivian are standing by the fireplace. His hand is on her shoulder. She faces the mantel, her back to him. On the mantel is a small shrine to the memory oftheir dead daughter; a framed photograph, fresh roses, two candles and a lock of her hair in a glass case. HAMMOND Trust me. Vivian does not move. Finally, after a long pause, she turns toward her husband. Her eyes filled with tears, she nods. 10 INT. CAR (MOVING) - DAY 10 Hammond is driving. Vivian stares blankly out the win- dow at the grimy city streets. Sitting in the back, Kim and Alex exchange uncertain glances. A tense si- lence pervades. 11 EXT. OFFICE BUILDING - DAY 11 The Hammonds' car pulls up in front of a towering modern building. 12 INT. CAR - DAY 12 Hammond cuts off the engine and turns to Kim and Alex. HAMMOND I'll just be a minute... Vivian is already reaching for the door handle, 13 EXT. OFFICE BUILDING - DAY 13 Alex jumps out of the car and opens the door for his mother. Taking her arm, he helps her out. Kim leans over in the back seat. KIM See you later,'Mom. Vivian gives her a thin smile. Hammond takes her arm and leads her into the imposing building. 15. 14 INT. LOBBY - DAY 14 Hammond and Vivian cross the room. Though she offers no resistance, it appears he is pulling her along. They hurry into an elevator after an elderly CLEANING WOMAN carrying a mop and a bucket. 15 INT. ELEVATOR - DAY 15 They stand in silence. The Cleaning Woman puffs on a cigarette, blithely ignoring the NO SMOKING sign posted on the wall. Vivian nervously reaches into her purse and removes a bottle of Valium. Quickly popping two pills into her mouth, she swallows with difficulty and snaps her purse shut. Hammond says nothing. Just as the elevator doors slide open, the Cleaning Wo- man touches Vivian on the shoulder, causing her to jump in fright. CLEANING WOMAN Could I have one of those? My nerves are shot this morning. With a terrified glance back at the woman, Vivian rushes out of the elevator. Hammond follows. 16 INT. CORRIDOR - DAY 16 Hammond and Vivian move down the long, empty hallway. As they round a corner, a figure is visible unlocking a door. HAI` IOND (CALLS OUT) Dr. Fairchild! DR. RUPERT FAIRCHILD straightens up and turns around. He's a. portly man in his fifties, trying to disguise his girth with careful tailoring. 17 INT. OFFICE - DAY 17 Fairchild bustles about the reception area, turning on lights, checking his messages and appointment calendar. Fairchild is obsessively neat, the office reflects him. HAIIOND We appreciate your seeing... us. I know how busy you must be. Vivian is staring at a painting of a young girl playing with a kitten. Catching Fairchild's eye, Hammond nods toward the outer door. Vivian does not notice the gesture. (CONTINUED) 17 CONTINUED: 17 Fairchild nods in return. Stepping over to his inner office, he opens the door. FAIRCHILD Have a seat, Vivian. I'll be right in. She slowly crosses the room, turning suddenly in the doorway. VIVIAN (TO HAMMOND) Don't forget we're going to the cemetery this afternoon. I want Robin to have her flowers. Hammond moves over to his wife. Taking her by the shoulders, he kisses her lightly on the forehead. HAMMOND I won't forget. Vivian looks from Hammond to Fairchild, who smiles. She enters the office, leaving the door open. Hammond shakes hands with Fairchild, and for Vivian's benefit adds... HAÔøΩI`i IOND (CONTINUING) Thank you, Doctor. Hammond exits. 18 , INT. CORRIDOR - DAY 18 Hammond leans against the wall outside Fairchild's of- fice. He glances at his watch. The door opens and Fairchild steps out, holding a container. Hammond walks with him down the corridor towards the water fountain. H.ANMOND She's at it again. FAIRCHILD (NODS) Today's the date? HAIM BOND Seven years ago today Robin was killed. Fairchild looks up from filling his container with water. (CONTINUED) 17. 18 CONTINUED: 18 HA,E,10ND (CONTINUING; MUSING) This would have been her first prom. FAIRCHILD Pardon? HAKMOND Tonight's the Junior-Senior Prom at our high school. Robin would have been sixteen, She and Alex. FAIRCHILD The twins... How is Alex? HAIIOND Fine. I just thank God he was too young to really understand what happened to his sister. FAIRCHILD And your older daughter? HANMOND (SMILES) Kimmy's my princess. Sometimes she'll get depressed for a while... but it never lasts long. Young people seem so much more... resilient. They walk back to the office. FAIRCHILD (looking up at Hammond) And yourself? No scars? HATIOND (after a pause) I've learned to live them.. Vivian seems worse this time. FAIRCHILD (NODS) The persistence of Vivian's trauma. I wonder if there isn't something more serious at work here? HAMOND Something more serious than her daughter's death? 19 INT. OFFICE - DAY 19 Vivian fidgets in her chair. She seems very small and vulnerable in the large, somber office. 18. 20 INT. CAR (MOVING) DAY 20 Alex is seated opposite his father in the front seat. Kim is in back. Easy listening MUSIC PLAYS softly on the car RADIO. Alex fiddles with the tuning dial, searching for music more to his tastes. Lost in thought, Hammond does not see the young girl skipping through the pedestrian crossing. KIM (SCREAMS) Daddy! Hammond slams on the brakes, throwing Alex against the dashboard. 21 EXT. STREET - DAY 21 The CAR SCREECHES to a halt inches away from the terri- fied child who stands frozen in the middle of the crossing. After a moment, realizing she is safe, the girl giggles nervously and skips away. 22 INT. CAR - DAY 22 Hammond lets out a sigh and turns to his children. HAMMOND You all right? They both nod. Alex massages his wrist. Hammond slips the car into gear and cautiously continues driving. KIM You're worried about Mom? HALMOND I was... He is interrupted by DISCO MUSIC ON the RADIO. Play- ing with the tuning dial, Alex quickly tries to pass over the music. KIM Hey, keep that! Alex groans but does as she asks. ALEX Disco sucks! HAMZMOND (REPROVINGLY) Alex! (CONTINUED) 19. 22 CONTINUED: 22 ALEX Sorry, Dad... (turns back to KIM) Disco bites it! HAMMOND (DRYLY) That's much better. The car pulls into the Winston High School parking lot. They pile out. 23 EXT. PARKING LOT - DAY 23 Hammond, Kim and Alex walk through the empty lot towards the school. Suddenly, we HEAR a loud GRATING SOUND coming from nearby. The sudden noise startles Kim and she huddles against her father. A seedy little middle-aged man with a stubble of gray beard appears from behind a row of bushes, brandishing a pair of electric hedge clippers. HANMMMOND Good morning, Mr. Sykes. SANFORD SYKES, the newly-hired custodian, bares his yellow teeth in a crooked grin and waves the whirring blades in salute. Kim shudders and stays close to her father as they walk on. KIM He's creepy. ALEX I heard he's wacko. HAIIOND The man is not... wacko. KIM Kelly says he's a pervert, spying on the girls undressing in the locker room. HAIIOND Sykes may have some problems, but he's no Peeping Tom. He's been thoroughly checked out. (CONTINUED) 20, 23 CONTINUED: 23 They climb the broad front steps of the high school. Hammond glances at his watch. HAMNIOND (CONTINUING) You're early today. Plenty of time to study with no one to bother you. Kim reaches up.and kisses her father on the cheek. Pulling out a fashion magazine, she rushes off, call- ing back over her shoulder. KIM I'.ve got to decide on my hair style for tonight. HAMMOND (WRYLY) Wonderful. Alex? ALEX I'm building an atomic bomb in shop. Smiling, he moves inside. Hammond shakes his head and hurries off. 24 INT. CORRIDOR - DAY 24 Hammond moves through the empty hallway, stopping at a door which reads: PRINCIPAL: RAYMOND HAMMOND. He is fumbling for his key when he sees through the frosted glass a figure moving around in his office. Reaching for the doorknob, he very quietly opens the door. 25 INT. OFFICE DAY 25 As the door slowly swings open, Hammond sees the outer office covered with pieces of paper; sheets are scattered across desks and chairs and over most of the floor. Stepping inside, Hammond spies a WOMAN bending over, frantically picking up paper from the floor. He slams the door. At the sudden SOUND, the startled Woman whirls around, still squatting, and falls on her rear. HAMMIOND Who are you? 21. 25 CONTINUED: 25 Flustered, the attractive young Woman hastily gets to her feet and straightens her skirt. WOMAN (BADLY FLUSTERED) Oh God! They told me you wouldn't be in till nine! HAMMOND (INCREDULOUS) What're you doing, robbing me? WOMAN (GIGGLING NERVOUSLY) Oh... no, I'm your Working Girl Hammond stares, wide-eyed. WOMAN (CONTINUING) your temporary secretary. What's-her-name is sick. (extends her hand) Hi. I'm Adele. HAM 0ND (taking her hand) What happened? WOMAN (ADELE) Well you see, Mr. Hammond, the, air conditioner fan was set for high but... HAP-MOND (INTERRUPTS) Please, Miss... Adele, ADELE (INTERRUPTS) Cooper... Ms. Cooper. HA MOND Whatever! I have some important calls to make. Please see that I'm not disturbed... (wades through the papers to his inner OFFICE DOOR) , and put all this back where it belongs! He enters his office. 26 INT. HA,1NI OND' S OFFICE - DAY 26 Hammond tosses his briefcase onto the desk and drops into his chair. He stares at the telephone for a long moment, drumming his finger on the desk. CUT TO: 27 INT. BEDROOM - DAY 27 A pink TELEPHONE RINGS. The plush bedroom is empty; suddenly Wendy Richards rushes in. Now eighteen, Wendy is a raven-haired beauty with a full figure, accentua- ted by a low-cut black blouse and tight designer jeans. Tossing her books onto the bed, she eagerly grabs the receiver. WENDY (BREATHLESSLY) Nick? A long pause, followed by HEAVY BREATHING. Wendy is about to respond when the inhuman VOICE speaks in an eerie, androgynous stutter. TELEPHONE VOICE W-Wendy? T-t-tonight it's m-m-my t-turn! Wendy's shock quickly turns to anger. WENDY Screw you, Lou! Wendy slams the receiver into its cradle. Grabbing her books, she storms out of her bedroom. 28 INT. FRONT HALL - DAY 28 Wendy hurries do-in the ornate staircase. Waiting at the bottom holding the girl's sweater is MAUDE, the Richards' elderly housekeeper. MAUDE You be home for dinner, Wendy? Wendy angrily grabs her sweater from the woman. WENDY How the hell do I know? She exits. L3. 29 EXT. RICHARD'S HOUSE - DAY 29 The expansive residence sits back off the road in this upper-middle-class suburb. Wendy climbs into her white Mustang and starts the engine. TIRES SQUEALING, she ROARS out of the driveway with the RADIO BLASTING. 30 INT. KITCHEN - DAY 30 Kelly Lynch is just finishing breakfast when the TELEPHONE RINGS. The petite blonde eighteen-year-old stuffs a last bite of toast into her mouth and picks up the receiver. KELLY (MUMBLING ) Hullo? A pause, then HEAVY BREATHING. Kelly's eyes grow wide as the dreadful voice speaks. TELEPHONE VOICE K-K-Kelly? T-tonight it's m-m-ÔøΩIZ Horrified, Kelly drops the phone. The DOORBELL RINGS. Frightened, she gasps, hugging the wall. The DOORBELL RINGS again. Very slowly she moves out of the kitchen. 31 INT. HALL - DAY 31 Kelly cautiously approaches the front door. Peering through a crack in the drapes, she sees a dark figure huddled near the door. With the latch secured, she takes a deep breath and opens the door. KELLY Yes? DREW (O.S.) Christ, Kelly, c'mon! We're late! Relief floods across her face. Kelly quickly unfastens the latch. KELLY Oh, Drew, thank God! She throws herself into the arms of the pleasantly sur- prised DREW SHINNICK, a muscular blond athlete. DREW (holding her tightly) I'm glad to see you, too. (CONTINUED) 24. 31 CONTINUED: 31 She looks up at him. KELLY Drew, this horrible -voice... DREW Nightmare? KELLY On the telephone. It sounded so evil! DREW (LAUGHING) What'd you get, a heavy breather? KELLY Worse than that... DREW (INTERRUPTS) Turned you on did he? Maybe I should try that! She breaks from his grasp. KELLY 'm serious! Drew makes a grab for her but she avoids him, hurries inside. He sighs and leans against the doorjamb to wait. DREW So am I.,. 32 INT. CAR (MOVING) - DAY 32 Drew is driving, his-arm around Kelly. She still appears shaken by the telephone call. The RADIO is ON. His right hand slowly descends towards her breast. She swats it away. The hand moves to her back, slid- ing down. She leans back, pinning his arm against the seat. The car stops at a light and Drew is instantly on Kelly, biting her neck and kissing her hard on the mouth. She pushes him back. KELLY (ANGRY) I thought we were late. (CONTINUED) 32 CONTINUED: 32 DREW We'll get there... eventually. KELLY Really? Drew HONKS the HORN at another driver. DREW Hell, you should be glad. A lot of girls would love to have someone steady like me. His irrepressible right hand starts up her leg. KELLY (MOCK-SWEETLY) Steady? You mean persistent, don't you, darling? Grabbing his hand, she holds it firmly in her lap, which doesn't bother Drew at all. 33 INT. HALL - DAY Jude Cunningham is leaving her house when the TELE- PHONE RINGS. The chubby, brown-haired girl rushes back into the hallway. A plump, middle-aged woman hurries out of the kitchen, wiping her hands on an apron. MRS. CUNNINGHAM eagerly watches her daughter snap up the receiver. The pause, the HEAVY BREATHING and the strange, terrifying voice. TELEPHONE VOICE J-Jude? T-t-tonight it's my-my t-t-turn! A disappointed Jude slowly replaces the receiver. Mrs. Cunningham looks on sympathetically. Still no date? JUDE (shakes her head) Getting closer, though. 26. 33 CONTINUED: 33 MRS. CUNNINGHAM A boy? JUDE (SMILES) An obscene call... and not very obscene at that! Mrs. Cunningham starts to say something. JUDE (CONTINUING) Sorry, Mom, gotta run. Giving her mother a quick peck on the cheek, Jude exits. 34 EXT. CUNNINGHAM'S HOUSE - DAY The small house appears almost identical to the other dwellings in this lower-middle-class neighborhood. Jude pulls an apple from her large purse, munching while she walks to the bus stop. A gaudily-painted van pulls up alongside her. The win- dow slowly rolls down and a young curly-haired GUY wearing glasses sticks out his head. GUY Hey, beautiful, need a lift? Jude continues walking, the van moving slowly alongside her. JUDE No thanks. GUY C'mon, I won't bite. Jude chomps down hard on her apple. JUDE So who are you? TheGuy leans further out the window. GUY Seymour Stone but.. He's cut short as the van bounces up onto the sidewalk. Jude shrieks. The flustered boy steers the van quickly back onto the road. (CONTINUED) 27. 34 CONTINUED: 27 GUY (CONTINUING) but they call me Slick! Jude laughs, almost choking on her apple. JUDE I can see why... How old are you, Slick? GUY (SLICK) Old enough... JUDE I've heard about guys like you... running over girls on the sidewalk... SLICK Just some girls... If they're good lookin' I give 'em a ride. JUDE (SMILING) Can you stop that thing? Slick jams on the brakes. The van jerks to a halt. He opens the passenger door. JUDE (CONTINUING) I'm going straight to Winston High, understand? SLICK (NODS) Straight to Winston. She climbs inside. 35 INT. VAN (MOVING- DAY 35 The interior is decked out in plush red carpet with a bed in back, a stereo cassette deck, and a small fridge. MUSIC is PLAYING. Jude looks around. JUDE Looks like a cheap motel. SLICK Cheap?... that's a two hundred dollar waterbed there... Jude turns around for a look. (CONTINUED) 35 CONTINUED: 35 SLICK (CONTINUING) Hand me that history book. JUDE You think this is the time to study? She grabs the book, gives it to him. He places it on the fold-down table between them, flips it open. The inside is hollowed out into a container. It contains nearly a hundred neatly rolled joints. SLICK Straight to Winston High? 36 EXT. SCHOOL PARKING LOT DAY The van weaves through the parked cars, passing up several vacant spots. It finally SCREECHES to a halt at the far end of the lot near some high bluffs over- looking a lake. 37 INT. VAN The air is thick with smoke. JUDE (COUGHING) How old are you, really? SLICK You won't believe it... (PAUSES FOR DRAMATIC EFFECT) Sixteen! JUDE (CONSIDERING I believe it. They both break up giggling. SLICK You going to the prom tonight? Jude looks away, embarrassed. JUDE Sure, of course. SLICK (GLUMLY) Not me. My date got sick. (CONTINUED) LV. 37 CONTINUED: 37 JUDE (BRIGHTENING) Yeah? Well, as a matter of fact.. (THINKING FURIOUSLY) My date is uh, not that certain... Something might be happening, he's not sure, you know? SLICK (NODDING SOLEMNLY) Yeah, right... Jude watches him. He's slow picking up her hint. JUDE So I guess we're both maybe not going... SLICK Yeah... too bad... He looks at her. SLICK (CONTINUING) Hey, you think... JUDE I'd love to! She kisses him on the cheek. JUDE (CONTINUING) See you at eight, same spot! She exits, hurrying across the parking lot as he grins foolishly after her. Suddenly, it dawns on him. SLICK (CALLS OUT) What's your name? 38 INT. APARTMENT LIVING ROOM - DAY 38 A tall rugged-looking man wearing a police uniform stands in ,the center of the room checking over his revolver. He's DARRYL McBRIDE, forty-eight years old and a veteran Sergeant on the Police Force. Satisfied with the condition of the gun, he jams it back into its holster, turns, calls out. (CONTINUED) 30. 38 CONTINUED: MCBRIDE Let's go, son! A handsome dark-haired boy of eighteen emerges from a back room. He's Nick McBride. His father pulls open the front door. MCBRIDE (CONTINUING) For a guy who moves so fast around a disco floor, you are the slowest goddamn thing... Nick nods sleepily, yawns. NICK Right, I know... McBride steps out into the hallway. Nick grabs his books and follows. The TELEPHONE RINGS. Nick hesi- tates. Shaking his head he exits, shutting the door. 39 INT. CORRIDOR - DAY The TELEPHONE keeps RINGING. McBride looks at his son. MCBRIDE Why didn't you answer i NICK It's just Wendy. She's pissed off. She wants me to take her to the prom tonight. MCBRIDE I thought you two broke up. The TELEPHONE continues to RING. NICK Three months ago... you can't tell Wendy anything she doesn't want to hear. MCBRIDE Aren't you going with the Hammond girl? The principal's daughter? NICK (SMILES) Kim. 39 CONTINUED; 39 MCBRIDE God, I wish I had your women problems. They walk down the corridor as the TELEPHONE continues to RING. 40 INT. SCHOOL SHOP - DAY 40 Alex is alone in the large room. ROCK MUSIC BOOMS out of two huge SPEAKERS suspended from the ceiling. Alex sits behind a console, flipping switches and turning dials, electronically distorting the music. A wall TELEPHONE RINGS.. Caught up in his own manufac- tured sounds, Alex ignores it. After several more RINGS, he reluctantly leaves the console and answers the phone. ALEX Hello... what?... He listens, expressionless, then hangs up. He flips a switch on the console and the MUSIC STOPS. He sits there a moment, thinking. Then he turns out the lights and exits. 41 INT. SCHOOL CORRIDOR - DAY 41 Kim walks down the long deserted corridor. She hears FOOTSTEPS. She turns. No one. Shaking her head, she continues walking. The FOOTSTEPS return, louder. Kim begins to hurry. She rounds a corner and slips against the wall, waiting. Silence. With a deep breath, she moves on to her locker. Kim quickly twists the dial on the combination lock and yanks open the door. Grabbing several books she slams the door shut. A mop HANDLE CRASHES into the locker, missing her head by inches. The SHARP REPORT echoes down the corridor. Terrified, Kim jumps back, spins around. Sykes is standing there. SYKES S-s-sorry, Missy. You hurt? Her heart pounding wildly, Kim rushes into the gym. Sykes picks up his mop. 32- 42, INT. DAY 42 Kim runs into the huge deserted gym, glancing frantical- ly over her shoulder. Her FOOTSTEPS CLATTER across the hardwood floor. She stops, waits to recover her breath. The room glows tgith a crystalline light sparkling off the silver decorations put up for the Prom. Stretched across the bleachers is a banner reading: "DISCO MADNESS." Gazing around, Kim feels the excitement of anticipation. Imagining herself in Nick's arms, she begins to dance, whirling through the gym to the music in her head. Suddenly, someone is clapping, slowly. WENDY (O.S.) Bravo... Kim stops abruptly. Standing onstage, watching her, is Wendy. WENDY (CONTINUING) Practicing for tonight? KIM Yes, as a matter of fact... I was just... WENDY Thinking about Nick, maybe? KIM That's my business. WENDY You wish! Nick is King of the Prom, you happen to be Queen of the Prom... that's all there is to it, Hammond... As far as anything else... Nick is mine... KIM You really ought to tell him that. WENDY I'm telling you, okay? Stay away from Nick! KIM You and Nick haven't been together in ages. WENDY You know nothing about it! (CONTINUED) _J _J 42 CONTINUED: 42 KIM Really? So who are you going with tonight? WENDY It's not who you go with, honey... it's who takes you home. KIM I'll try and remember that. WENDY Wait and see, bitch... Just wait and see... 43 INT. HALLWAY - DAY 43 The corridor is packed with students -- flirting, gossiping, fighting, a few even studying. We PICK UP Kim and VICKI CANTRELL, eighteen, moving down the crowd- ed hallway through the various conversations. KIM : So then she threatened me. VICKI Wendy's a jerk! FIRST MALE (V.0.) She didn't! SECOND MALE (V.0.) Swear to God! FIRST MALE (V.0.) (INCREDULOUS) In the teachers' lounge? OTHER VOICES Dual headers... thinks he's a fox... Dust'll run you... long and slinky and tight... swings like my mother... how much for half a lid? Jude joins Kim and Vicki as they walk. JUDE guys. KIM Jude. (CONTINUED) 34. 43 CONTINUED: 43 VICKI Missed you on the bus today. JUDE I didn't ride it. VICKI I thought you were too big to hide. KIM (CHIDING) Vicki... JUDE (IGNORING VICKI) I got a ride. VICKI Who with? KIM None of your business. JUDE (BLASE) A guy. Vicki and Kim are left hanging, waiting for more. VICKI (FINALLY) Jude! Jude can hold it back no longer. JUDE (EXPLODES) I'm going to the prom! Kim. and Vicki excitedly hug Jude. A big, bushy-haired youth with a stubble of beard strolls by, smirking when he sees the girls embracing. LOU PERANO, a twenty-year- old high school junior, stops and stares. LOU I knew there was some reason Kim wouldn't go out with me. She likes girls! The girls separate. (CONTINUED) 43 CONTINUED: (2) 43 VICKI Say goodbye, Lou. KIM (to Vicki and Jude) Let's go. They head down the hallway to their lockers. Lou tags along. LOU You girls get bored with each other, I'm always around, you know? They pass Kelly and Drew huddled at her locker. His hands rest on her shoulders. They are talking intently. VICKI Poor girl must be exhausted. Look how he has to hold her up... (sees Nick approaching WITH WENDY) Uh oh. Kim stops suddenly and turns to look. Lou bumps into her, his hand purposely grazing her rear. KIM Go play with yourself, Lou. LOU I'm saving it for you. Kim sighs with disgust and turns around as Nick walks up talking to Wendy. NICK Wendy, for Christ sake, I never... (SEES KIM) Kim! KIM (IGNORING WENDY) Hello, Nick. Seeing Kim, Wendy quickly reaches up and kisses Nick on the mouth. WENDY We'll talk about it later, lover. Bye. Wendy smiles and strolls away. Lou follows her. (CONTINUED) 36. 43. CONTINUED: (3) 43 NICK (EMBARRASSED) I told her to leave me alone. KIM (NODS) Worked real well. The BELL RINGS signalling first period class. Kim turns to Vicki and Jude. KIM (CONTINUING) We'd better go. Kim brushes past Nick without a word. The two girls ex- change puzzled glances and follow her. NICK (WORRIED) Kim? Kim does not turn back. Walking next to her, Vicki watches her friend curiously. Kim giggles. A sneaky smile creeps across her face. JUDE (GRINNING) That's cruel! KIM Shhh! VICKI Oh no you don't... (turns back and calls to Nick) She's smiling, Nick. Big grin spread all over her face. Kim punches her friend but the damage is done. Nick grins broadly. Blushing, Kim turns back, flashes him a quick smile and disappears around a corner to the hoots of Vicki and Jude. 44 INT. CORRIDOR - DAY 44 A tall dark figure walks quickly down a concrete cor- ridor. From somewhere nearby, loud VOICES, SPLASHING water, can be HEARD. 45 INT. POOL GALLERY 45 A shadow moves behind the opaque glass plate of a heavy door. (CONTINUED) 45 CONTINUED: 45 The door edges open. Raymond Hammond appears. Prop- ping the door open with his shoulder, he starts down across the narrow gallery to the pool below. 46 INT. POOL 46 A class of senior male students occupies the water, among them Nick McBride and Drew Shinnick. With no Phys. Ed. instructor in sight, it's a general goof-off period. Nick walks out onto the diving board. Drew is treading water below him. 47 ANGLE ON HAMMOND 47 as he watches Nick intently from the gallery door. 48 INT. POOL 48 Nick launches himself out over Drew in an apparent belly-flop. At the last moment, he tucks in and hits the water in a flipped over cannonball. He surfaces to a chorus of whistles and cheers. It was a close shave. DREW You wanta take care of yourself, man... Kim's expecting a lot from you tonight... Nick laughs. 49 INT. GALLERY DOOR 49 The door is easing shut. Hammond is nowhere to be seen. 50 INT. GYM - DAY 50 A side door opens. Hammond steps in, gazes around. The gym is empty, silent. He walks to the stage steps, climbs up, pushes through the thick curtain. 51 INT. GYM - BACKSTAGE 51 It's a dark cluttered area broken up by tall partitions, discarded flats from old student productions, banks of lights. Hammond crosses to a rear door, tries it. It's locked. He turns back. As he does so there's a sudden WHIRRING SOUND. A row of spotlights flashes on right in front of him, almost blinding him. He tries to shield his eyes. (CONTINUED) 38. 51 CONTINUED: 51 He spins around. Another bank of lights flares at him. He staggers downstage. The curtains begin to swing open. Startled, he jumps away from them. His foot lands on a package of photo-flood bulbs.. There's a LOUD POP. Then a VOICE. ALEX (O.S.) Who's there? Hammond, shaken, looks across to the far wing. There's an elevated platform where the electronic control panel is located. Alex peers down. HAMMOND Alex?... What the hell're you doing? ALEX I'm testing the board... I didn't hear you... nobody's supposed to be here yet... HAMMOND No, well'... He looks around. He's still trying to get himself together. HAMMOND (CONTINUING) I'm.. I'm thinking we might have a fire hazzard here, all these extra lights. He looks awkward, as if he'd been caught at something. H.A1 ll4OND (CONTINUING) all right... He turns, climbs down the stage steps and starts back across the gym. At the other end of the floor a door opens, Sykes looks in. Hammond sees him. HA, MOND (CONTINUING) Ah... Mr. Sykes... Sykes waits as Hammond hurries across to him. The two men go out together. Alex walks out onto the stage, watches them go. 39. 52 INT. CLASSROOM (LAB) - DAY 52 First period biology class features MONTY WELLER, a tall, thin Englishman in his late thirties. This stuf- fy, dour science teacher drones on about the joys of ex- ploring frog vertebrae while most of his class naps, daydreams or passes notes. Seated in the back near the door, Jude is furtively opening a handwritten note. She quickly reads it. Stifling a giggle, she looks up to see Kim and Vicki across the aisle, eagerly awaiting her reply. Jude tears out part of a page from her biology book and scrawls her answer. Folding the note, she taps the boy next to her and motions for him to pass it on. Vicki grabs the note from the boy. Quickly scanning it, she nods, impressed. Kim reads it and mouths the word "Wow" to Jude who blushes happily. Glancing out into the hallway, Jude notices Slick walk- ing past. Seeing her in class, he stops and waves. Jude frantically tries to motion him away. Their backs to the door, Kim and Vicki watch with curiosity as Jude gestures in their direction. Seeing her friends watching her, Jude smiles and tries to ignore Slick. Not to be denied, he exaggeratedly mimes Weller, nose to his textbook, lecturing on, oblivious to his class. Jude laughs in spite of herself. Kim and Vicki turn around. Glancing out the door, the two girls stare in disbelief at the small weird curly-haired boy doing a perfect im- itation of the eminently boring Weller. Their surprise turns to hilarity as they realize this boy must be Jude's prom date. Kim holds up the note, raising her eyebrows as she gestures toward Slick. Jude nods. Kim and Vicki can barely contain their laughter. They do not notice Mr. Weller eyeing them suspiciously as he rattles on about frog intestines. Slick mouths the words, "See you at lunch.., in the van." Jude nods and smiles. With a final bow and a wave, he exits. Kim suddenly looks up to find a red-faced Mr. Weller looming above her. WELLER Miss Hammond! Wide-eyed, Kim desperately tries to crush the note in her hand. (CONTINUED) 52 CONTINUED: 52 WELLER (CONTINUING) Since you obviously find your own words more interesting than those of Farnsworth on the anatomy of a frog... (pauses to share his wit with the class) , read the note! KIM (barely a whisper) Read the note? WELLER (STERNLY) Now, Miss Hammond! Kim swallows and steals a quick glance at her friends. Vicki winces. Jude tries to disappear beneath her, seat. KIM Yessir... (clears her throat) Well, it's mostly talking about... WELLER (INTERRUPTS) Word for word, please. Exactly as it is written. KIM (NODS) Right.. (coughs and finally begins, slowly, in a STILTED MANNER) What a hunk! Titters from the class. KIM (CONTINUING) Really cute... Tall... a great BODY The class roars with laughter. KIM (CONTINUING) Kinda the Latin lover type. (MORE) (CONTINUED) 41- 52 CONTINUED (2) 52 KIM (CONS'' D) (reading ahead, KIM GIGGLES) and his name is Slick! The classroom erupts into laughter as the BELL RINGS, signaling the end of the class. Still laughing, stu- dents gather their books and shuffle out, several giv- ing Kim sympathetic glances as they pass. WELLER After school, Miss Hammond. One hour detention study hall... you and your friends! Kim looks from Jude to Vicki. KIM But, Mr. Weller, tonight's the prom... WELLER (DISDAINFULLY) Tell that to your... (SNIFFS) hunk! He spins on his heel and marches back to his desk. The three girls hurriedly exit. 53 INT. ROOM (SCHOOL) - DAY 53 A hand is flipping through the pages of the Winston High yearbook, the back pages where the individual photographs of graduating students are placed. The hand stops, moves across an open page to a smiling head shot of Nick McBride. The hand rips the picture from the page, sets it down on a plain wooden desk alongside three other pictures -with similar torn edges. The other pictures are of Jude Cunningham, Kelly Lynch, and Wendy Richards. The yearbook is slammed shut. 54 INT. CAFETERIA - DAY 54 Kim, Jude and Vicki enter the crowded room. MUSIC from several portable RADIOS can be HEARD above the clamor as the girls move into the long lunch line. Kim spots Alex seated nearby and waves to him. (CONTINUED) 4L. 54 CONTINUED: 54 VICKI (NUDGING JUDE) Here comes the incredible hunk himself. Jude looks up to see Slick slowly making his way down the line towards them. He is carrying a tray piled high with snack food: potato chips, cookies, candy. Jude smiles as he passes her, grinning. KIM Looks like a party. JUDE Yeah -- I don't think he's gonna be too good for my diet... Slick moves down the lunch line. Suddenly he is bumped from behind, sending the tray and the snacks flying across the room. Looking around, Slick jumps back, startled by a tall figure wearing a dark ski mask. SLICK (ANGRILY) Hey, clown, what the... Three of Lou's gang quickly step up behind the masked figure. LOU Say what? SLICK (SHRUGS) Forget it, Lou. LOU (SMIRKS) That's what I figured. Slick bends over to pick up his lunch. SLICK (SOFTLY) Asshole! Lou and his friends shove ahead in the line until he is standing behind Kim. Lou nuzzles Kim's neck. LOU (muffled by the mask) Like me better now? (CONTINUED) 43. 54 CONTINUED: (2) 54 Startled, Kim spins around. Her fear quickly becomes anger. KIM It's an improvement! She turns her back to him. LOU You like it so much... (spins her around to FACE HIM) Have a taste. He kisses her hard on the mouth. Swinging at him, Kim breaks away. Laughing, Lou grabs her wrists and rough- ly pulls her to him. Alex instantly jumps to his feet. LOU (CONTINUING; holding Kim close) Be nice... Alex leaps over the metal railing separating the line from the tables. Crashing into Lou, he drives the larger boy back into the salad counter, sending food and utensils flying. As they tumble off the counter onto the floor, Alex gets in several furious punches before Lou's gang can pry him loose. Two of the gang pin Alex against the counter. Wiping blood from his mouth, Lou grins maliciously and slugs Alex in the stomach. The boy groans and doubles over. Lou grabs Alex's hair and slams his head back against the glass shield of the counter. As Lou rears back to throw another punch, his two friends suddenly release Alex and scatter. The boy crumples to the floor. Lou turns around to see two MALE TEACHERS rapidly approaching. The larger teacher grabs Lou. TEACHER This time you're out, Perano. Lou points to Alex who is being helped up from the floor. LOU He started i TEACHER I'll bet... Alex? (CONTINUED) 54 CONTINUED: (3) 54 Alex nods, leaning on the other teacher for support. KIM That's not true! Alex was trying to help me. The teacher looks from Kim to Lou to Alex. TEACHER You'd better come along to your father's office. LOU (SNEERS) Wonder who'll get off with just a warning? Several students laugh. The two Teachers march Lou and Alex through the silent cafeteria. Lou swaggers bask- ing in the attention. Alex walks with his head bowed. They exit. 55 INT. HALLWAY - DAY 55 Lou and Alex accompany the teachers down the corridor toward the principal's office. Nick and Wendy approach from the opposite direction, talking heatedly. NICK I don't care who. Just somebody else! WENDY (BITTER) You never had it so good as with me. NICK I've got it now... better! WENDY (ANGRILY) You don't even know... (spots Lou and CALLS OUT) Lou! The surprised Lou tries to stop but the Teachers hurry him and Alex past the couple. Wendy watches Nick. LOU (turning back to Wendy) I got this appointment. (CONTINUED) 45. 55 CONTINUED: 55 WENDY I'LL WAI Wendy turns to see Nick's reaction but he is already walking towards the cafeteria. The irate girl glares after him. 56 INT. OFFICE - DAY 56 Hammond is talking on the telephone. He appears agi- tated, running his fingers through his hair and tugging at the knot in his loosened tie. HAMMOND (EXASPERATED) No, Vi. I didn't forget. I told you we'd go to the cemetery... The door opens and Adele Cooper's head peers around the corner. Seeing Hammond talking on the phone, she nods toward the outer office. Hammond gestures for her to wait. She persists until he angrily takes the receiver from his ear and covers the mouthpiece. HAMMOND (CONTINUING) What is it? ADELE (WHISPERING) There are some gentlemen here to see you, Mr. Hammond. HAMMOND Can't it wait? ADELE I didn't ask... But one looks a little like that child in the picture on your desk. Hammond automatically glances at the photograph of Robin framed alongside one of the rest of his family. HAMMOND (into the receiver) I've got to go now, Vi... We'll be there within the hour... There's a loud CLICK on the other end of the line. HAIIOND (CONTINUING) Damn! (CONTINUED) 46. 56 CONTINUED: 56 Frustrated, Hammond slams the receiver into its cradle. HAMMOND (CONTINUING) All right, send them in. The two Male Teachers enter first, followed by Lou and finally Alex. Hammond gives his son a sharp look, then turns to glare at Lou. HAMMOND (CONTINUING ;WEARILY) You again? TEACHER (NODS) Brawling in the cafeteria... both of them. He places Lou's ski mask on Hammond's desk. The prin- cipal glances at it. HAMMOND (FINALLY) Thank you. I'll handle it. The Teachers exit. HAMMOND (CONTINUING) Explanations? He looks at Alex. The boy stares at the floor and says nothing. Hammond holds the mask up to Lou. HAIIOND (CONTINUING) Halloween? LOU I was just foolin' around with this girl... ALEX (INTERRUPTS) Kim! Hammond frowns. LOU when this -- your son tackled me and... HAMMOND (INTERRUPTS) Is this true, Alex? (CONTINUED) 47. 56 CONTINUED: (2) 56 LOU (SNIDE) I knew It ! Hammond whirls on him. HAMMOND You knew what? LOU It just figures. HAIV MOND (his voice rising WITH ANGER) That I'll play favorites? That I'll go easy on Alex because he's my son? (pauses, waiting for Lou to back down and LOOK AWAY) Damn right I will! You're a disgrace to this school and this community... (RECOVERS SOMEWHAT) You're suspended -- indefinitely! Now get out! LOU (SNEERS) What about your son? HAMMOND (ICILY) If you're not off school grounds in five minutes, I'll have you arrested for trespassing. Lou stalks to the door. Opening it, he turns to Alex. LOU See you around. He exits, slamming the door. HAMMOND (WITHOUT LOOKING AT ALEX) Have the nurse take a look at you, then get back here. Alex exits. Hammond angrily grabs Lou's ski mask and hurls it at the trash can_ 48. 57 EXT. FRONT LAWN - DAY 57 Kim and Vicki are sprawled on the grass eating lunch. Lou storms down the front steps. Pausing at the bottom, he turns, strolls over to Kim. LOU Watch for me, little girl. You know I'm just a kiss away. Lou laughs and walks off toward the parking lot. Kim shudders. Wendy's white Mustang slides up to the curb. The pass- enger window rolls down and Lou leans over to look in- side. After a moment he climbs in and the MUSTANG PEELS out of the lot, leaving twin black tread marks in its wake. KIM What a pair! VICKI Made for each other! Kim opens a carton of yogurt. KIM You wearing that green gown tonight? VICKI You kidding? That was last year. This year... red silk! (smiles and runs her hand from her neck to her waist) Cut to here! ... NICK (O.S.) Cut to where? Kim and Vicki turn to see Nick ambling across the lawn toward them. VICKI (MOCK-SEDUCTIVELY) Anywhere you like... KIM (SMILING) On the prowl! 58 EXT. STREET - DAY Wendy's white Mustang streaks through traffic, dodging in and out of lanes, running yellows, burning around corners. 59 INT. MUSTANG 59 Lou sits pinned to the passenger seat, eyes wide, staring straight ahead as if he can't quite believe this trip. His bravado seems to have left him. He glances over at Wendy in the driver's seat. She's puffing on a cigarette, handling the wheel almost casually. She's in control, 60 EXT. DRIVE-IN 60 The Mustang suddenly slows down and makes a hard left turn, narrowly beating a horn-honking oncoming van. The big white car bounces up over the curb and sweeps into the end slot at a sprawling fast-food drive-in. 61 INT. MUSTANG 61 Lou's still pinned to his seat. Wendy shuts off the engine, looks at him. He looks at her, lets out a long deep breath. A cute little CAR-HOP in a cut-off costume and roller skates glides over. She leans into Wendy's window, talks through a wad of gum. CAR-HOP Ready to order? WENDY (TO LOU) What do you want? Lou's shifting around in his seat, pulling himself together. LOU I'm uh... a little short on cash.. WENDY You can owe me. LOU Yeah? Okay then, a couple of burgers, a large fries... what kind of beer you got? CAR- HOP C'mon man, this is a drive-in not a bar. LOU All right, all right... don't get nervous... Gimme a coke... (MORE) (CONTINUED) 50. 61 CONTINUED: LOU (CONT'D) (nods to Wendy) She'll have the same. WENDY A small diet cola. WENDY That ' sit. The Car-hop shrugs, wheels away. Wendy turns to Lou. WENDY I'll buy you one for Christmas, all right? Now, how do I know you're serious? LOU Whatta you mean, serious? I hate that school, Hammond and his asshole family... WENDY I don't want anyone hurt... not badly. LOU You got it... anything your little heart desires... WENDY Lou, shouldn't we go over this. Lou puts his finger to her mouth, silencing her. LOU I'll take care of it, Scout's honor... Don't worry about it... (CONTINUED) Di. 61 CONTINUED: (2) 61 He caresses her cheek and lips, then kisses her. At first reluctant, Wendy quickly takes over. When they finally break from their passionate clinch, he is gasping. LOU (CONTINUING) Jesus Christ! WENDY Don't worry about it.. She unbuttons his shirt and begins to kiss and lick his chest. Slowly she works her way down. Lou begins to writhe. Wendy's head disappears from VIEW. Lou's eyes snap open in surprise. Wendy groans. WEND Y Damn stick shift! Lou starts to protest, then dissolves. 62,. INT. MUSTANG - DAY 62 The Car-hop wheels up to the Mustang carrying a tray loaded with food. She leans over and peers inside. Wendy is behind the wheel, perfectly composed. A mind- blown Lou is hurriedly doing up his belt, tucking in his shirt. He glances at the Car-hop then turns away to finish the job. CAR-HOP Enjoy your meal. 63 EXT. LAKE-SIDE BLUFFS - DAY 63 A WIDE VIEW; high weather-worn bluffs tumbling down to a strip of beach and the calm blue waters of the lake. Above the bluffs there's a narrow shaded park and then the buildings and parking lots of Winston High. 63 CONTINUED: Nick and Kim walk slowly along the rim of the bluffs. Nick has his arm around her. She leans into him. KIM I am excited, it's just... in some ways it's such an awful day... It's Robin's day... 64 EXT. BLUFFS CLOSER ANGLE 64 KIM My mother's all upset, as usual. My father too... he doesn't show it so much... It's hard to get over something like that. Robin would have been a junior, like Alex. This would've been her first prom... I guess that's'why it seems so much worse this year... She stops, turns and faces Nick. It's hard for him to meet her gaze. KIM (CONTINUING) The Queen of the Prom is determined not to let it get to her... She must maintain her... whatever, at all costs.. She tries a weak smile. Nick stares at her, then sud- denly takes her, pulls her to him, embraces her. She's caught by surprise, but she responds. She smiles. KIN I love you too. Di. 64 CONTINUED: 64 NICK I'm... I want you to know that... Robin's death... I remember it and I've always been... so sorry about it... Kim looks puzzled. NICK (CONTINUING) I mean... I know what you're feeling... I've... (looks at her) :Listen I... Across the school parking lot a CAR HORN BLARES, inter- rupts Nick. Kim reacts. KIM That's my father... I've got to go, Okay? NICK Yeah... I'll see you later. She hesitates a moment, then kisses him quickly, turns and goes. Nick looks shaken up. He stares after her as she hurries away. Behind Nick, in the other corner of the parking lot, a metal door slides open, loud RAUNCHY ROCK and ROLL sud- denly infests the air. Nick turns, sees Jude climbing out of Slick's van. Jude looks about as stoned as she can get. She spots Nick, waves. JUDE Hey, Nick! Nick turns and heads the other way. 65 EXT. CEMETERY - HAMMOND PLOT - DAY 65 There's a small marble headstone inset with the carved face of an angel and the inscription "Robin Anne Hammond 1964 - 1973 Too Soon Taken From Us." Kneeling beside the grave is Vivian Hammond. She's ar- ranging a large bouquet of mixed flowers, fussing with them, trying for some kind of impossible perfection. HP`ÔøΩMOND (0. S. We have to go, Vi. (CONTINUED) J4. 65 CONTINUED: 65 She doesn't react, she keeps playing with the flowers. Hammond moves in behind her, puts his hands on her shoulders. She looks at him. HAMMOND (CONTINUING) We have to get back. She stands, with her husband's support. Kim and Alex are standing quietly at the foot of the grave. Vivian looks at them both. Her eyes hold a terrible rage, a terrible sadness. Hammond carefully guides her away. Kim has a flower of her own, a white rose, which she drops on her sister's grave. She turns, meets Alex's stare, moves off after her parents. Alex remains a mo- ment longer, then. he, too, goes. 66 EXT. TENNIS COURTS DAY During the afternoon phys. ed. class, the girls play tennis: Kim with Kelly and Vicki with Jude. Sykes lingers nearby, watching the girls. Their instructor is Miss HENRI-ANNE BENTON, a stocky woman in her late thirties with teased, lacquered hair. A product of genteel Southern womanhood, Henri-Anne stalks the courts in her baggy Bermuda shorts, constantly blowing a silver whistle hanging from her neck. A very stoned, giggling Jude runs Vicki ragged, hitting balls over the fence, straight up in the air and occa- sionally even back over her head. Each time a ball flies over the fence, Vicki runs to retrieve it to the delight of Sykes. At one point, Vicki bends over to pick up a ball under Sykes' appreciative gaze. The shrill WHISTLE inter- rupts her as Henri-Anne rushes over. HENRI-ANNE (SOUTHERN ACCENT) No, no, Miss Cantrell! Never bend from the waist... Squat! (DEMONSTRATES) Always squat to retrieve. Otherwise, you look like the broad side of a barn! (glares at Sykes) Isn't that so, Mr. Sykes? Embarrassed, the custodian scuttles away to the girls' Laughter. 66 CONTINUED: 66 HENRI-ANNE (CONTINUING) That's enough for today, ladies. We don't want you all worn out for the ball tonight. Kim, Jude and Kelly gather'around with the other girls. JUDE (GIGGLING) Ball? KIM Shhh! Kelly takes Jude aside as Kim and Vicki approach Henri Anne. KIM (CONTINUING; WHISPERS) You sure she likes Weller? VICKI Positive. I heard her say she's had the hots for him since they met! KIM She said that? VICKI Well, not exactly. HENRI-ANNE Oh, Kim. You'll be in the gym promptly at three-fifteen for rehearsal? KIM Well, actually no, Miss Benton. can't make it... You know Mr. Weller? HENRI-ANNE We're... acquainted. KIM He.. umm.. VICKI (BLURTS OUT) He's got a crush on Kim! (CONTINUED) 56. 660 CONTINUED: (2) 66 Kim stares in amazement aL Vicki; HENRI --ANNE (staring at Kim) He has what? Kim, wide-eyed, can only look at Vicki. VICKI He keeps making Kim stay after school in detention study hall for no reason... Just so he can be near her. HENRI-ANNE That's horrible! Kim gulps. HENRI-ANNE (CONTINUING) You mean to tell me that awful man A girl half his age! (a very slight SMILE) So you have detention this afternoon? Kim nods meekly. Lost in thought, Henri-Anne fondles a tennis ball, a curious smile playing across her face. HENRI-ANNE (CONTINUING; FINALLY) Leave everything to me... She hurries away. Kim turns on Vicki and starts to protest. VICKI (INTERRUPTING) It worked, didn't it? 67 EXT. SCHOOL GROUNDS - DAY 67 Kim and Vicki, and behind them, Jude and Kelly are walking back to the gym and the dressing rooms from the tennis courts. Vicki's in high spirits and Jude still can't stop giggling. Vicki spots old Sykes heading out toward the playing field. She calls out to him. (CONTINUED) 57- 67 CONTIPRJED 67 VICKI Mr. Sykes! KIM Vicki, don't... VICKI Oh, Mr. Sykes... Sykes stops, turns around. VICKI (CONTINUING) This is just for you... She turns, bends over, quickly yanks down her shorts and moons him. There's a squeal of laughter from Jude and from Kelly. Vicki whips her shorts back up and runs to the gym door, the other girls in pursuit. Kim looks back at Sykes. He's just standing in the field, not moving. There's a look in his eyes. 68 INT. GIRLS' LOCKER ROOM - DAY 68 Kim and Kelly are undressing. Three girls pass them headin g for the showers. KELLY I'm not like the others, Kim. Drew needs somebody like Vicki who'll give him what he wants. KIM (LAUGHS) Vicki's sex life is more talk than action. Besides, Drew wants you. KELLY I'm afraid if I don't make it with him he'll find somebody who will. KIM (SHRUGS) Let him. KELLY I'd die if he did... The girls wrap towels around themselves and walk to- wards the showers. Sa . 69 INTT. SHIER AREA - DAY 69 A girl (MELANIE) is leaving as Kim and'Kelly enter. Wendy is standing in front of a mirror drying her hair. Kim ignores her and Wendy returns the compliment. MELANIE See you outside, Wendy. WENDY Just be a minute... Kim and Kelly hang up their towels and step into the showers. KELLY What about you and Nick? KIM What about us? Wendy finishes brushing her hair, shoots Kim.a dark look, exits. KELLY What.happened when he asked you? Kim smiles. KIM Maybe I asked him... Kelly looks at her friend. 70 INT. LOCKER ROOM - DAY 70 Wendy finishes buttoning her blouse. She's pulling on her jeans when she hears a SCUFFLING SOUND. WENDY I'll be right there, Melanie. No answer. Curious, Wendy moves around the lockers, investigating. The room appears empty. There's a sudden LOUD CREAKING. Wendy whirls around. A locker door is swinging slowly open. WENDY (CONTINUING) Melanie?... Still no answer. Shaking her head, Wendy returns to her locker. (CONTINUED) 70 CONTINUED: 70 She's about to shut it when she sees something, a pic- ture, taped to the side of the door. It's her photo, torn from the School Yearbook. She rips it from the door, looks at it. WENDY (CONTINUING) What's this for, Melanie? Her voice echoes through the empty room. She gazes around, fear creeping into her face. She quickly finishes dressing, grabs her books, turns to leave. Suddenly she screams. 71 INT. SHOWER AREA 71 Wendy's SCREAM is all but DROWNED OUT by the SHOWERS. Rinsing off, Kim and Kelly hear nothing. KELLY I think I'll let Drew do it. The door to the locker roor slowly opens behind them. KIM Let him? She looks at Kelly. Neither girl hears the SQUISH of RUBBER SOLES moving across the wet tile floor. Suddenly there are LOUD VOICES. Melanie comes through from the locker room, laughing. Behind her, Wendy's ANGRY WORDS are AUDIBLE. WENDY (O.S.) If you ever try anything like that again, you cow! Melanie thinks it's hilarious. MELANIE (to Kim and Kelly) You should've seen her jump... Nadia Comenici never did better... Wendy storms in. She's got the photo in her hand. She waves it at Kim and Kelly. WENDY What's this supposed to mean? (CONTINUED) vv. 71 CONTINUED - 71 KIM (SARCASTIC) I know it's not much of a picture, Wendy, but you didn't have to go that far... Wendy is furious. WENDY I didn't! She turns, glares at Melanie. MELANIE Don't look at me... WENDY You're all... children... She storms out. Melanie looks at Kim and Kelly, shrugs, follows Wendy. A DOOR SLAMS in the locker room. Kim and Kelly look at each other, laugh, turn their faces back to the steaming water. Neither one hears the SOUND across the room, a HARSH RHYTHMIC HEAVY BREATHING. Kelly bends her head away from the water, clears her eyes., She squints out through the steam at the big wall mirror across the room. She sees something. She steps back into Kim, her eyes wide with fear. KIM Watch it... Kelly covers her breasts with her arms, presses against the wall, terrified. Suddenly there's an EXPLOSION of SOUND. Kim screams, jumps back, stares. There's a jagged hole in the cen- ter of the mirror, huge cracks radiating from it, spidering across its surface. For a moment no one moves. Splinters of GLASS TRICKLE down to the floor. There's no other sound. Kim grabs for her towel, steps out of the shower, looks. There's no one. She heads for the locker room door. Kelly runs after her. KELLY KIM 1 61. 72 INT. LOCKER ROOM 72 Kim rushes into the room, Kelly right behind her. There's no one. Kelly is quivering. She clutches at Kim's arm. Kim looks at her. KIM What did you see? Kelly just shakes her head. KELLY Just... just... a shadow or.,. Kim heads for the exit door across the room. Kelly stays with her. 73 EXT. SCHOOL 73 Kim opens the outside door, peers down the walkway to the tennis courts, playing fields. There's no sign of anyone. She closes the door. 74 INT. LOCKER ROOM 74 Kim turns back.to Kelly who's started to cry. KELLY Someone was there! Someone was... in there... Kim is taking charge. She moves cautiously back to the shower room door, opens it, looks in. She gasps. KELLY (CONTINUING) What? What!s wrong? Kelly's on the edge of hysteria. She runs over to Kim. They both look. 75 KIM'S AND KELLY'S POV 75 What the girls see is the mirror. Something has changed. A long wedge of glass has been lifted out o it. 76 BACK TO SCENE 76 Kim shuts the door, presses against it, stares at Kelly. 77 INT. HALLWAY - DAY 77 Kim walks quickly down a long school corridor and turns into her father's office. UL. 78 INT. OFFICE - DAY 78 Kim enters. Adele Cooper is seated behind the secre- tary's desk thumbing through a fashion magazine. KIM I'd like to see my f ather . ADELE Another Hammond? KIM (AGITATED) Is he here? ADELE No, he's not. He said he'd be back but... She trails off. Kim is obviously upset. ADELE (CONTINUING) What's urrong? KIM Oh... There was... Somebody broke a mirror in the shower room... There was somebody in there... ADELE A mirror? Seven years bad luck... She tries to smile. Kim just looks at her. 79 INT. HALLWAY - DAY 79 Kim turns a corner, heading for class, and almost runs into Sykes, cleaning the floor. Sykes turns. For a moment their eyes lock. Then Kim hurries away, almost running. Sykes stares after her. 80 INT. HALLWAY (WELLER'S CLASSROOM) - DAY 80 Kim comes down the hallway and stops at the door. There's a piece of paper with a hastily scrawled mes- sage taped there. It heads: "Detention Postponed Until Monday -- EMERGENCY! Weller." VICKI (O.S.) Did it work? Kim is startled, turns. Vicki and Jude and approach- ing. Vicki hurries to the door, reads the note. (CONTINUED) ai. 80 CONTINUED : 80 VICKI (CONTINUING) It worked! She lets out a whoop, embraces Jude. Kim stands back, somehow less impressed. 81 INT. GYM - DAY 81 Several students are putting last-minute touches on the decor as Kim comes in. Huge speakers are being hoisted on pulleys to hang from the ceiling. A vast, raised platform covers much of the gym floor, its plexiglass surface designed to be illuminated from below. Perched on a ladder, Weller is hanging shimmering silver strips while Henri-Anne Benton supervises from the disco floor. HENRI-ANNE Careful, Monty... A little higher... (sees Kim and SMILES) I'm glad you could make it! KIM Something came up... (looks at Weller) 'Afternoon, Mr. Weller. WELLER (EMBARRASSED) Oh, hello, Miss... Hammond. I was just... uh... Henri-Anne mercifully interrupts him. HENRI-ANNE Let's get started. (CALLS OUT) Nick! Nick pokes his head out of the sound booth set on a platform near the stage. HENRI-ANNE (CONTINUING) Onstage! Tell Alex we're ready. Alex emerges from the booth. DAVY MATLOCK, a pudgy, fifteen-year-old sophomore and Alex's technical assis- tant, leans out behind him. (CONTINUED) 81 81 CONTINUED: ALEX All set, Miss Benton. Just have Davy roll the tapes. HENRI -ANNE Wonderful. You can be Mr. Hanunond for the rehearsal! Alex groans. Kim smiles as Nick joins her. She takes his hand, clutches it. They start to walk away, talk- ing quietly. Nick puts his arm around her. HENRI-ANNE (CONTINUING) Nick! Kim! Come with me. Henri-Anne bounds up onto the stage. Kim and Nick fol- low her behind the curtain. 82 INT. GYM (BACKSTAGE) - DAY 82 Henri-Anne takes Kim to one of the wings of the dark cluttered area. HENRI -ANNE You'll wait here... (looks around for NICK) Nick? Nick silently creeps from behind a partition and moves up directly behind Henri-Anne. He mimes choking her, a crazed expression on his face. Kim has to laugh at his clowning. HENRI-ANNE CONTINUING; WHIRLS AROUND) Nick! NICK (GRINS) Scary place! HENRI-ANNE You have to stand up here tonight, not me. If you don't know what to do, you'll look the fool! Nick glances at Kim. She shrugs. (CONTINUED) 65- 82 CONTINUED: 82 HENRI-ANNE (CONTINUIN G) Come along. Nick follows her to the opposite wing. Kim cannot see them from her position. HENRI-ANNE (continuing; calls out) Can you hear me, Kim? KIM CALLS) Yes. Kim leans against a wall, gazing around at her gloomy surroundings. She does not hear the WHISPERED CONVER- SATION coming from behind a nearby partition. She does not see Wendy and Lou lurking there, watching her. HENRI-ANNE (SHOUTING) All right, Alex, start the tape. A TRUMPET FANFARE BLARES OUT of the SPEAKERS. HENRI-ANNE (CONTINUING; SHOUTING) Listen for your cue, king and queen... PROFESSIONAL MUSIC is HEARD. HENRI-ANNE (CONTINUING; SHOUTING) Start walking -- slowly! Kim begins to cross the stage. She smiles when she spots Nick. The curtain slowly opens. VOICE (TAPED) The King and Queen of the George Winston High School Junion-Senior Prom for 1980 -- Nick McBride and Kim Hammond! They meet backstage center and turn towards the parting curtain. Henri-Anne stands at the front of the stage, her hand resting on Alex's shoulder, as Kim and Nick proceed downstage. (CONTINUED) 66. 82 CONTINUED: (2) 82 VOICE (TAPED) (CONTINUING) These two seniors were selected by their fellow students as the most popular boy and girl in the class.. NICK (to Kim as they WALK) Bullshit! Kim smiles. Peeking out from behind the curtain, Wendy turns to Lou. WENDY (BITTERLY) Bullshit! LOU (GRINS) Shhh! VOICE (TAPED) Nick is a three-sport letterman and president of the Key Club. He plans to attend State University in the fall. KIM Because he can't get in anywhere else! VOICE (TAPED) Kim is the head cheerleader and ranked number one on the girls' tennis team. She hopes to become a teacher. NICK If she ever graduates... Nick and Kim stop downstage center. HENRI-ANNE (SHOVING ALEX FORWARD) Now, Alex. Self-consciously, Alex stumbles up to Kim and pretends to give her a bouquet of roses. (CONTINUED) 67. 82 CONTINUED: (3) 82 HENRI -ANNE (CONTINUING) That's it, Alex. Now kiss her! ALEX My sister? HENRI-ANNE Alex! Alex awkwardly kisses Kim on the cheek. HENRI-ANNE (CONTINUING) Now the king. ALEX Kiss the king? NICK On the mouth! Kim laughs at Alex's discomfort. HENRI-ANNE Shake hands... They shake. HENRI -ANNE (CONTINUING) Alex, step back... Alex moves next to her. HENRI -ANNE (CONTINUING) Kim and Nick, start down the.. (looks at the STAGE APRON) Where are the steps? Silence. HENRI-ANNE (continuing; to the ENTIRE GYM) You expect our king and queen to jump to the floor? A STUDENT in the back timidly responds. (CONTINUED) 68. 82 CONTINUED: (4) 82 STUDENT I'll find them, Miss Benton. Henri-Anne turns back to Nick and Kim. HENRI-ANNE You'll descend the steps... Nick and Kim climb down from the stage. HENRI-ANNE (CONTINUING) Nick, give Kim your arm... (as he does) Move to the center of the floor. Nick and Kim self-consciously cross the room, aware that everyone is watching them. HENRI-ANNE (CONTINUING) Wait for the spotlights and your music cue, then dance... (SIGHS) It'll be beautiful! 83 TNT. HALLWAY - DAY 83 Kim strides down the empty corridor, flushed and ex- cited from the rehearsal. Arriving at her father's of- fice, she flings open the door. 84 INT. OFFICE - DAY 84 Kim enters and surveys the apparently empty office. Hearing GRUNTS and GROANS from behind the desk, Kim steps around and sees Adele Cooper stretched across the floor. The secretary is practicing her "Rainbow" exer- cise, arching her body towards the ceiling while keep- ing her hands and feet on the floor. KIM Hello? Adele twists her head around to look at Kim. Her "Rainbow" collapses. Spinning around, Adele sits cross-legged on the floor and smiles at Kim. ADELE You okay? KIM Yeah... I've calmed down a bit... (CONTINUED) 69. 84 CONTINUED: 84 Adele launches into another contortion. ADELE This works for me. KIM Has my father been back? ADELE Nope. Haven't seen him all afternoon. KIM And he didn't leave a message? ADELE Not a word. KIM (PUZZLED) Strange... He usually gives me a ride home. ADELE Let me finish and I'll give you a lift. KIM Thanks, but I can walk. Kim starts to leave, turning around at the door. KIM (CONTINUING) Guess I won't be seeing you again. Standing on her head, Adele smiles. ADELE Guess again. Three different students asked me to the prom tonight... I thought you had to be enrolled! KIM You're going? ADELE (NODS) Not with any of them. Know any good-looking fathers? CONTINUED) 70. 84 CONTINUED: (2) 84 KIM (SMILES) - I'll keep my eyes open. See you later. She exits as Adele slowly lowers her legs to the floor. 85 INT. HALLWAY - DAY 85 Jude approaches her locker, stops. There's a picture taped to her locker door, her picture, ripped out of the Winston High Yearbook. She looks at it, reaches up and pulls it off the door. She winces, looks at her finger. It's bleeding. She looks at the picture. There's a tiny sliver of glass embedded in it. Jude hears SOMEONE COMING. She turns to see Kelly com- ing toward her. KELLY Jude... look... She has something in her hand. It's a photo of her, a, Yearbook photo with the same torn edges. Jude holds up her version. KELLY (CONTINUING) Why? 86 INT. SHOWER ROOM - DAY 86 The DOOR CREAKS open. A light is flicked on. Sykes stands there, a broom and a big waste-pan in his hands. He stares at the broken mirror with its center hole and its missing wedge. He shuffles across the floor and starts to clean up the debris. 87 EXT. HAMMONDS' HOUSE - DUSK 87 The split-level suburban residence sits on a tree-lined street in an older, middle-class neighborhood. Walking up the driveway, Kim hears a LOUD THUD from behind the house. As the SOUND CONTINUES, Kim walks around back to investigate. 88 EXT. HAMONDS ' BACKYARD - DUSK 88 Stepping around the corner of the house, Kim sees her father furiously chopping an old stump in the flower garden. (CONTINUED) / l. 88 CONTINUED: 88 Hammond's axe slashes into the rotten wood, sending splinters flying in all directions. Kim watches him work. He appears angry and upset. KIM Hi. Oblivious, Hammond buries the axe in the stump. Kim moves around to face him. When he sees her, Hammond jumps, startled. HAMMOND I didn't hear you. KIM (SMILES) Sorry. Wiping the sweat from his forehead, Hammond struggles to catch his breath. HAMMOND I'm getting too old for this. KIM Why are you doing it now? HAMMOND Your mother's been hounding me to get it done... You got nay message? KIM (PUZZLED) No. HAMMOND (ANGRILY) I told that woman to tell you I had a meeting and couldn't drive you home. KIM Your secretary? HAMMOND (NODS) Idiot! KIM I liked her. Hammond angrily jerks the axe from the stump. (CONTINUED) 72. 88 CONTINUED: 2) 88 KIM (CONTINUING) You okay? HA` ONND (SHRUGS) This thing with your mother... Have you seen her yet? KIM No. How is she? HAMMOND (SIGHS) One minute she's depressed, the next she's bubbling over like a child... She wants to go with me tonight. KIM Great! HAMMOND I'm not so sure. KIM I think getting dressed up and going out might be good for her. HA",24OND She's had a bad day, Kim. I'm not sure she can handle it... See if you can talk to her. Hammond picks up the axe and sends it crashing into the stump. 89 INT. KITCHEN - DUSK 89 Kim enters from the backyard. Looking around, she no- tices that nothing is being prepared for dinner. Curious, she moves toward the living room. 90 INT. LIVING ROOM - DUSK 90 Vivian is arranging fresh roses on the mantel shrine when Kim enters. The girl stands for several seconds watching her mother before she speaks. KIM Hi, Mom. (CONTINUED) /,5 90 CONTINUED: 90 VIVIAN (WITHOUT TURNING AROUND) Hello, Robin. Don't eat anything. Dinner's almost ready. Disturbed, Kim frowns and slowly crosses the room to her mother. KIM Nothing's cooking, Mom. You must've forgotten. Slipping out of her reverie, Vivian turns around to face Kim. VIVIAN Oh.. I don't know what I was thinking. KIM (SMILES) It doesn't matter. VIVIAN (EXCITEDLY) Have you seen the new satin pantsuit I'm wearing? Vivian smiles at her daughter. Kim studies her for a long moment, then leans over and kisses her on the cheek. KIM You'll be beautiful. 91 INT. HALLWAY - HAMMONDS' HOUSE - DUSK As Kim walks down the hallway, she notices that Alex's door is closed. She enters her bedroom. 92 INT. BEDROOM - DUSK 92 Kim crosses the room and switches ON her RADIO. ROCK MUSIC is HEARD as she tosses her books onto the desk and moves to the closet. She carefully pulls out her prom dress, a mid-length, off-the-shoulder gown in a white, clinging material. Holding it up against her body, she inspects the gown in the full-length mirror on the closet door. Watching her reflection, Kim twirls around, hugging the gowm to her body. Satis- fied, she gently lays the go%.m on her bed. (CONTINUED) 92 CONTINUED: 92 Kim begins to undress. Outside, the twilight shadows deepen. THROUGH the VINDOM, a slight movement is SEAN among the trees; suddenly, a dark figure becomes VISIBLE, ap- proaching.the window. Kim does not notice the figure as she finishes undressing. She wraps herself in a robe and sits at her dressing table. Putting her hair up, she does not see the shadowy figure peering inside. When Kim stands up, the figure slips away from the window. As she crosses the room, the face reappears, hidden by the shadows, watching her enter the bathroom. 93 INT. BEDROOM - DUSK 93 Wearing only a bra and panties, Wendy is sprawled across her bed, talking on the telephone. A black silk gown is draped across her legs. WENDY (into the receiver) What I'm wearing now?... Oh, tonight! (smiles, gently stroking the gown) You'll find out soon enough. (STIFFENS) Now, are we all set?... It better. I don't want her to ever forget tonight!... Okay, 'bye. Wendy hangs up the receiver and glances at her night table. A photograph of a grinning Nick McBride stares back. Wendy smiles and caresses her gown. 94 INT. BEDROOM - NIGHT 94 Seated at her dressing table, Kim puts the final touch- es on her makeup. Her hair is swept up and back, fall- ing in soft waves to her shoulders. Wearing the rav- ishing white gown, she looks older and very beautiful. Vivian's VOICE is HEARD from down the hall. VIVIAN (O.S.) Kim! Vivian comes in looking anxious and flustered. She's dressed in an elegant black satin pantsuit. Kim turns, looks at her. (CONTINUED) 75. 94 CONTINUED: 94 KI`RF Mom, it looks great... Vivian doesn't seem to hear her. She's rummaging through her purse. VIVIAN Kim, have you got any of my makeup? KIM No... I never... VIVIAN That deep red lipstick, you remember? You liked it... KIM I wouldn't take it without asking you... Vivian's very wound up. VIVIAN It was on my dressing table, I set it aside... She's looking around Kim's room as if she expects to see it. VIVIAN (CONTINUING) Why does this always happen at the last minute? Hammond's VOICE bellows from downstairs. HAMMOND (O.S.) let's go, we can't be late... VIVIAN (TO KIM) I set it aside... She heads for the door, stops, looks fully at Kim for the first time. VIVIAN (CONTINUING) You look lovely, dear. She goes out. 76. 95 INT. DOWNSTAIRS HALL - NIGHT 95 Hammond stands in front of a hall mirror, straightening his bow tie. He seems agitated, nervous. He turns as Vivian starts down the stairs. He looks surprised at her outfit. There's a certain similarity between it and his own formal suit. HAMIM0ND My God, we're going to look like twins. Vivian stops dead, looks at him. Hammond forces a smile. HAMMOND (CONTINUING) I'm joking, Vi, it's beautiful.._ C'mon... She hesitates, then comes down to him. VIVIAN I told you I'd bought it. HAMMOND Of course you did. He opens the door for her. She pauses to check herself in the mirror. HAMMOND (CONTINUING) we've got to go. He puts an arm around her, kisses her gently on the cheek. She just stares at herself in the mirror. 96 EXT. HOUSE - NIGHT 96 Hammond takes Vivian's arm as they step outside, walk toward the car in the driveway. 97 INT. PARKED CAR - POV 97 Someone is watching Hammond and Vivian from a car parked across and just down the street. A shadow moves in the foreground, in the front seat of the car. 98 EXT. HOUSE 98 Hammond guides his wife to their family car, opens the passenger door for her_ He looks past her, down the street, sees a car parked there. (CONTINUED) I I 98 CONTINUED: 98 A streetlight reflecting off its windshield prevents him from seeing inside. Vivian interrupts his speculations. VIVIAN I'm going back to change. She turns back to the house. Hammond holds on to her arm. HAMMOND Vi... there's no time... VIVIAN I'm not going to look ridiculous! IAMMOND You don't look ridiculous, you look fine... 99 INT. PARKED CAR - POV 99 The figure in the front seat watches the confrontation in the Hammond driveway. 100 EXT. HOUSE 100 Hammond takes Vivian by the shoulders, faces her. HAMMON D Vi.. this is a big night for the school, it's a big night for me... I know how you're feeling... I understand... It's difficult for all of us... But we've got to make a special effort, Vi... We can't let the... terrible memories of this day affect us... That may seem cold and... insensitive to you, but it's the way it has to be.. He pauses, staring down at his wife. She's holding his gaze. HAMMOND (CONTINUING) Now, Vi, if you think it's going to be too difficult for you... VIVIAN You don't want me to go. (CONTINUED) 78. 100 CONTINUED: 100 HAMMOND T Certainly I want you to go, just saying... VIVIAN You don't think I can do it... You think I'll embarrass you... HARMOND No! I don't... believe me.. VIVIAN Then why are you saying these things? HAMMMOND Vi... I just.. He's trying to stay calm, to keep the lid on. She's on the verge of tears. HAMMOND (CONTINUING) I'm sorry... I didn't mean to upset you... VIVIAN You treat me like a child! I'm your wife! She glares at him. He releases her from his grip, ges- tures toward the car. HANMOND Let's get going... He walks around to the driver's door. Vivian stares after him with hard cold eyes. 101 INT. PARKED CAR - POV 101 The figure in the parked car watches as Hammond starts up the car, waits for Vivian to get in, backs out of the driveway, and moves off down the street. 102 EXT. PARKED CAR 102 The figure climbs out of his car, gazes at the fading taillights of the Hammond car. The figure is Nick McBride. 103 INT. BEDROOM - NIGHT 103 Kim reaches for a small bottle of cologne. (CONTINUED) 79. 103 CONTINUED: 103 As she gently tracks the perf me across her skin, she is startled by another reflection in her mirror. Whirling around, she sees Alex. Standing up, she pir- ouettes and curtsies before her brother. KIM Well? Alex gapes, stunned by his sister's appearance. ALEX (FINALLY) Amazing! KIM (SMILES) You like? ALEX You look almost like a woman! KIM (LAUGHS) Thanks! She picks up her corsage from her dressing table. KIM (CONTINUING) You want to help or just leer? ALEX You're my sister... I'll leer! KIM (LAUGHS) Pin this on me, you creep, late. Alex takes the corsage. As he attaches the bright red flower on her gown, she playfully dabs perfume on his neck. He pulls back, pricking himself on the pin. ALEX Hey! KIM You shouldn't have pulled away... The DOORBELL RINGS. KIM (CONTINUING) It's him! (CONTINUED) 80, 103 CONTINUED: (2) 103. ALE er's face is revealed. It is the nine-year-old Alex. Kim cradles the killer on the ground. She turns his head toward the light. We SEE his face full-on. VIVIA N Robin! She rushes forward, lunging for the body. Hammond grabs her, restraining her. Alex's dark eyes stare back unseeing at his family. His resemblance to his dead twin sister is uncanny. His hair falls onto his forehead in bangs, as Robin's had done seven years before. His makeup has been slop- pily applied. The rouged cheeks and the smudged red lips amplify the grotesque impersonation. Kim strokes her brother's hair. Hammond presses his hysterical wife to him. The onlookers slowly close in. We SLOWLY DISSOLVE FROM Alex's face TO a photograph of the Hammond family taken seven years earlier. We MOVE IN CLOSE ON the twins. Alex and Robin are smiling. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Prometheus.txt b/unformated_scripts/Script_Prometheus.txt new file mode 100644 index 0000000000000000000000000000000000000000..a917815b39a3355194a020a9b6cbbbce85704206 --- /dev/null +++ b/unformated_scripts/Script_Prometheus.txt @@ -0,0 +1 @@ + PROMETHEUS Written by Jon Spaihts FADE IN: EXT. EARTH - DAY (12,000 B.C.) The world turns below us, vast and slow. A RUMBLE. A shadow sweeps over the land. We move with the shadow. We cast the shadow. Landscapes slide by. Reduced by altitude to abstractions: river deltas, forests and flood plains. A raw natural world. No trace of civilization. The shadow glides over mountains and glaciers. Across an ocean and a pale beach. Over lowland plain at the foot of a VOLCANIC MOUNTAIN it stops. EXT. LOWLAND PLAIN - DAY THREE FIGURES walk out of the shadow. They are men - and yet not men. Their skin is snow-white. Their features heavy and classical - as if Rodin's Thinker had risen from his seat. Their smooth heads are earless and hairless. Their glittering eyes entirely black. Against the stark land their height is impossible to judge. They are ENGINEERS. Two of them are cloaked in dark robes of strange design. The third is naked. One of the cloaked Engineers opens a featureless black box: inside lies a cake of dark, sticky material. The naked one lifts the dark cake with ceremonial slowness. It hums and buzzes. Foams into iridescent spheres. He raises the seething cake to his mouth like the sacrament. BLACK SCARABS boil out of the dark material. Swarm over his lips. Glittering insects that chitter and bite. Under the swarm his lips melt away. A horrific vision of teeth, black blood, dissolving bone. They are devouring him. FLASH ON: A fevered glimpse of the microscopic: cells rupture and bleed. Protein chains unfold. A DNA spiral unravels. 2. The scarabs fill their bellies with genetic material. THE ENGINEER ...spreads his arms. Stands cruciform, nearly headless. The scarabs swarm his shoulders, his chest. When they reach his hips, he collapses sideways, toppling majestically like a felled tree. Engulfed. The two cloaked Engineers watch impassively. Behind them, a vast black SHIP hangs in the sky. As if blown by a great gust of wind, the scarabs disperse in their millions in all directions. Living DNA on the wing. Where the sacrificial victim fell, nothing remains. EXT. FOREST - DAY A pristine wilderness. The VOLCANIC MOUNTAIN in the distance. A PRIMITIVE WOMAN stands on a height, staring in amazement: far off a great dark ship hovers over the plain. A black scarab lands on the back of her neck. Bites deep. Injecting its cargo of DNA into her blood. FLASH ON: A microscopic invasion. Cells pierced and infused. DNA strands twining and mating. CLOSE ON THE WOMAN Pupils dilating with shock, breath hissing into her lungs. She slaps the back of her neck. Looks at her hand. The scarab lies in her palm. As she watches, it crumbles to dust and blows away. FADE TO BLACK. ON BLACK Drifting motes of light against the dark: a starscape. 3. An EXCAVATOR floats into view: a sturdy vehicle equipped with robotic arms. Bright floodlights beat at the darkness. Inside the cockpit - a bubble of glass - sits a BEAUTIFUL WOMAN. This is DR. JOCELYN WATTS, 32, a precocious scholar of many disciplines. A scientist accustomed to field work. The cockpit is sweltering: she wears shorts, boots, a T-shirt - and still her arms and legs gleam with sweat. Watts works the controls. The excavator descends toward a rocky surface. Silt billows up as the excavator approaches: we're not in space at all, but deep underwater. The excavator's thrusters are cowled propellers. The "stars" are plankton shining in the floodlights. INT. EXCAVATOR - CONTINUOUS Watts steers the excavator to a steeply sloping cliff wall. A sea-trench yawns below her, its depths lost in darkness. WATTS Moving to survey site B... closing on object four. The large oblong. She watches the screen of a ground-penetrating radar system. A bright signal return: something hidden in the cliff in front of her. Something big. WATTS (CONT'D) There you are. EXT. SEA TRENCH - CONTINUOUS Watts carves into the cliff with the excavator's digger arm. Silt and boulders fall into the yawning trench below. She brings a water cannon to bear: uses its jet to blast away loose silt and stones. The cliff face collapses: a muddy landslide into the deeps. Watts backs away from the collapse, thrusters whirring to keep her out of the turbulence. A cloud of silt clears. In her floodlight beams, the OBELISK stands revealed - its outlines worn by the ages. Easily thirty feet tall. Watts stares at the obelisk, stunned. Her voice is husky: WATTS Martin. Here. 4. A second excavator glides out of the dark. At the controls: PROFESSOR MARTIN HOLLOWAY, 48, visionary genius and archaeologist. Dark-haired and lean, with the rangy build of a frontiersman. He's dressed in work trousers and a T-shirt. Stubbly chin. He plays his floodlights over the obelisk. HOLLOWAY Look at that. INT. WATTS'S EXCAVATOR Watts floats her excavator down the front of the obelisk. Scanning the alien text. Suddenly she stops. Grips the obelisk with her excavator's arms to anchor herself in place. WATTS You need to see this. HOLLOWAY (V.O.) Coming. EXT. SEA TRENCH Holloway pilots his excavator expertly up to Watts's. Mates the two vehicles at their aft hatchways. INT. WATTS'S EXCAVATOR Behind Watts, a hatch opens with a splatter of water. Holloway climbs in. Squeezes into her cockpit. A tight fit. He's distracted by her body, pressed so close - but she has eyes only for the inscrutable writing outside the glass. WATTS Same thing again. HOLLOWAY What do you see? WATTS An ephemeris - a star map. (POINTING) Radius, inclination, azimuth...more data here... 5. HOLLOWAY If we can get epoch and equinox out of that... WATTS Can we raise this thing? HOLLOWAY (shakes his head) Hundreds of tons. EXT. MEDITERRANEAN SEA - DAY A research vessel at anchor on a turquoise sea. Bright sun. In the distance, a coastline dotted with villas. The horizon is dominated by the VOLCANIC PEAK - the same peak we saw in the distance in the prologue. Aboard the research vessel, cranes lift Watts and Holloway's excavators out of the sea and onto the deck. INT. RESEARCH VESSEL - AFT DECK - DAY Under an awning, PRINTS of the obelisk's faces are stretched on the deck - fifteen feet long. Watts and Holloway crawl over the alien text, red markers in hand. Parsing, translating, calculating. They're tanned, fit, the wind in their hair. The Mediterranean coast in the distance. It's an idyllic way to work. But they're utterly absorbed in the task at hand. AFT DECK - NIGHT They're still at it. Lights illuminate the workspace. The obelisk prints are blanketed with markings and annotations. Holloway sits at a table. Watts sits on the marked-up prints. Both working through calculations on electronic slates. Holloway looks up. HOLLOWAY I have a solution. A single match. WATTS Me too. Checked it twice. 6. HOLLOWAY You first. Watts holds up her slate: it displays a set of stellar coordinates. A detailed star map. Holloway holds up his own slate: an exact match. They lock eyes in electric excitement. WATTS What do we do now? HOLLOWAY We go there. EXT. WEYLAND'S WHEEL (EARTH ORBIT) A gleaming space station like a five-spoked wheel rotates grandly against the Pacific Ocean a thousand miles below. Black letters on the white metal read: WEYLAND'S WHEEL. A round shuttlecraft approaches the station. INT. SHUTTLECRAFT (ZERO GRAVITY) A spacecraft no bigger than a private jet. Holloway and Watts sit strapped into acceleration chairs. The only two passengers aboard. New to space travel, Watts tears her eyes from the spectacle of Earth outside the window. Holloway plays with a pen, batting it from hand to hand in the zero gravity. WATTS What's first? You do climate, I do genetics? HOLLOWAY Archaeology first. Let our ancestors tell the tale. WATTS You think he's serious? HOLLOWAY Serious enough to send his private shuttle. WATTS Weyland can send his shuttle out for pizza. (DELICATELY) (MORE) 7. WATTS (CONT'D) Martin. If this meeting goes like the others, maybe we should... HOLLOWAY It won't go like the others. WATTS How do you know? Holloway plucks the pen from the air. He points out the window, where the crescent Moon shines like a toothy grin. HOLLOWAY Heaven smiles on our enterprise. EXT. WEYLAND'S WHEEL The shuttle docks with the Wheel's hub - a perfect fit. INT. WEYLAND'S WHEEL - SPOKE ELEVATOR (ZERO GRAVITY) A gleaming capsule elevator with windows to the stars. Holloway and Watts float weightlessly inside, moving from handhold to handhold. The door closes. Watts grabs Holloway by the collar. Pulls them roughly together. They kiss. Not for the first time. They have a way. Watts's hair and clothing float free: she's a naiad in Holloway's arms. EXT. WEYLAND'S WHEEL The elevator descends along the spoke to the rim. INT. WEYLAND'S WHEEL - RIM - FOYER A luxurious lobby. Tasteful lighting. Eames-era furniture in wood and chrome: the past's vision of the future. At the rim, the Wheel's rotation supplies gravity. An elevator door opens. Watts and Holloway step out - Holloway with a sleek metal folio slung over his shoulder. The floor is the outer surface of the Wheel: in both directions it curves upward out of sight. The walls are all windows: on one side, Earth rotates lazily. On the other, a wheeling field of stars. 8. DAVID, an android, stands waiting for them. He's cunningly built, but no one would mistake him for a real human being. DAVID Professor Holloway. Dr. Watts. My name is DAVID. WATTS Hello, DAVID. DAVID Mr. Weyland's eager to meet you. He strides off across the foyer. Watts and Holloway exchange a wondering glance and follow. EXHIBIT HALL DAVID leads past models of planets, moons and asteroids. Holographic labels and data swirl around them. DAVID These are all the planetary bodies on which Weyland Industries has mining claims. The end of the hall is dominated by a huge globe of Mars. Markings indicate widespread surface activity. DAVID (CONT'D) And Mars. Weyland's crown jewel. HOLLOWAY How is that going? The terraforming. WATTS They say you're getting diminishing returns. It's not working. DAVID It's the greatest engineering project ever attempted. Challenges are inevitable. Mr. Weyland's a determined man. WEYLAND'S OFFICE PETER WEYLAND sits behind a mahogany desk. He's a Warren Buffet type: a country sage, horse-sense and hard knocks. He might be seventy years old, or a hundred and seventy. 9. Behind him stands DIRECTOR LYDIA VICKERS, a slim woman of 45 in a costly business suit. Shrewd and watchful. Once a great beauty, she now trades in ruthlessness. DAVID stands against the wall. Watts and Holloway settle into chairs in front of Weyland - Holloway holding the metal folio. WEYLAND Professor Holloway. Ms. Watts. WATTS Doctor Watts. WEYLAND Forgive me. Peter Weyland. He notices Watts looking curiously at DAVID. He smiles. WEYLAND (CONT'D) Ah. DAVID here's a prototype. Our 80 series. One of a kind for now, but if he performs, he will be legion. (his smile fades) What do you want here? Holloway looks at him, startled. HOLLOWAY We sent you a prospectus that... WEYLAND Assume I know nothing. Holloway swallows. Lays the metal folio on Weyland's desk. HOLLOWAY I'm an archaeologist. He touches a tiny remote. Holographs appear in the air over Weyland's desk: the folio is a three-dimensional imager. Pictures of a younger Holloway in the field: excavating ruins in Egypt, China, Peru, Greece. HOLLOWAY (CONT'D) In my studies I discovered a pattern I couldn't explain. Every eleven hundred years, sudden advances in agriculture, tool use, technology. Inventions. Something caused a great leap forward. Every eleven centuries. The pattern holds as far back as our data goes. (MORE) 10. HOLLOWAY (CONT'D) Tens of thousands of years. I had to understand this. It became the focus of my work. Weyland nods. Holloway glances at Watts and forges on. HOLLOWAY (CONT'D) Dr. Watts was a student of mine. Watts touches her own remote. The holographic display turns to scientific diagrams. Images of a very young and beautiful Watts in the laboratory. WATTS I was analyzing historical changes in human DNA. I found the same pattern. Every eleven centuries, a pulse of new information in the genome of the human race. All over the world. Evolution can't do that. Something was changing us. Changing the DNA of our species. HOLLOWAY Humanity's been visited. Visited by...beings from somewhere else. Behind Weyland, Vickers can't suppress a scowl of disdain. VICKERS You mean aliens. A beat. The others had forgotten Vickers was there. WEYLAND Lydia Vickers, Director of Operations. Practically my right hand. HOLLOWAY They guided us to civilization. Lifted us up, again and again. I call them the Engineers. WATTS Once you know what you're looking for, it's amazing how the evidence falls into place. Photographs flicker through the display: Holloway and Watts in the field, excavating new sites. Intimately close. Their finds: columns of writing on stone tablets in Egypt, China, Cambodia, Peru. Patterns of lines, curves, and dots. 11. HOLLOWAY This is the writing of the Engineers. We've found it on every continent. And last year, we found our Rosetta Stone. The display shows the Engineer obelisk under the sea. WATTS The writing is a formula giving the location of a single star in our sky. WEYLAND Which star? HOLLOWAY We're keeping that confidential for now. But that's where we want to go. WEYLAND You want me to pay for an interstellar research expedition! HOLLOWAY It's a chance to be part of a revolution in scientific... WEYLAND Don't sell me, professor. You've been turned down by every university and government agency under the sun. Nobody's going to gamble that kind of money on your hunch. Holloway deflates. Watts winces. This is a bloodbath. WEYLAND (CONT'D) Nobody but me. (HE GRINS) I've read your research. HOLLOWAY That's impossible. Our research is- WEYLAND Quantum encoded on secure servers, yeah. We have an A.I. division, you should know. Doing impressive things. (he leans across the desk) I know which star you're wishing on. The scientists stare at Weyland. WATTS You're bluffing. 12. WEYLAND Zeta Two Reticuli. He regards their shocked faces with satisfaction. WEYLAND (CONT'D) You know how I got this rich? I ask myself: what does God spend his time doing? And I go and do that. Watts laughs incredulously. Stifles it. Weyland's not joking. WEYLAND (CONT'D) Biotechnology was good to me. Fusion power. Lately doing well with gravity systems. He swivels his chair toward the window. Earth shines outside. WEYLAND (CONT'D) But what's the first thing God did? WATTS He made the Heaven and the Earth. Weyland jabs a finger at her like she's won a carnival prize. WEYLAND That's what I'm talking about. You left out my favorite part. The piece about Earth. DAVID. DAVID For eons, Earth's climate swung from hothouse to ice age. Explosions of life, then mass extinctions. But twelve thousand years ago the swings stopped. The Holocene Epoch began - a period of anomalous tranquility. The rise of civilization began only then. Holloway and Watts stare at DAVID with new appreciation. HOLLOWAY That's right. WATTS And that change coincides with a visit by the Engineers. They didn't just change us. They changed our world. WEYLAND That's the piece I mean. Engineering Earth. God stuff. 13. He swivels back to his desk. Rummages in a drawer. WEYLAND (CONT'D) My people checked your science. They say it's solid. He pulls a thick contract out. Drops it in front of Holloway. WEYLAND (CONT'D) I'll give you your expedition. Ship and crew, supplies, support. One condition. Holloway picks up the contract with the cautious joy of a man double-checking a lottery ticket. His voice is husky: HOLLOWAY What's that? WEYLAND You get the discovery. Control of the site. But any technology you find? Anything at all. That's mine. Holloway reaches out slowly and picks up the contract. Riffles the pages of small-print legalese. WEYLAND (CONT'D) You take DAVID with you. My eyes and ears. And Vickers...you're going too. Vickers stares at Weyland in shock. WHITE LANDSCAPE A glittering formation of white crystals. Diamond on diamond. The structures grow more complex as the view widens. Leaves and branches of crystal. A shimmering field of white jewels. A landscape of white crystals, smooth as snow. EXT. DEEP SPACE A black void shot with stars, far from any sun. A sturdy prospecting ship forges through space, travel-worn but built to last. It carries the Weyland Industries logo. The name painted on its hull is MAGELLAN. 14. INT. MAGELLAN - BRIDGE The ship's nerve center and control room. Six control stations, empty and quiet. Interior lights dimmed to blue. The entire forward bulkhead of the Bridge is a window: wall to wall, floor to ceiling. At the window stands the android DAVID. He gazes at the cosmos with an expression of utter serenity. After a long moment he turns away. Massive shutters close over the window as he walks off. CORRIDOR DAVID walks the ship's long central corridor. The ship is silent. The lights dimmed to blue. He is alone. HYPERSLEEP COMPARTMENT A long steel room containing a dozen plexiglass sarcophagi, six on each side. Sleep freezers. Inside each freezer: the shadowy shape of a human body rimed with frost. DAVID walks through the compartment, surveying the sleepers. WORKROOM DAVID sits at a display table, moving intricate technical documents across the surface with waves of his hands. His eyes intent on his work. If he is reading, then he`s reading at a speed no human could match. WHITE LANDSCAPE We pull away from the frosted crystalline horizon, the smooth white curves like snowy fields. Form becomes clear. It's the body of a woman. It's Watts. INT. HYPERSLEEP FREEZER Watts lies asleep in her underwear in a plexiglass freezer. Pale. Frost on her skin. Venus sculpted in ice. There are IV lines in her elbows and ankles. 15. Shapes move into view beyond her, outside the freezer. FACES. Pressed to the glass. HYPERSLEEP COMPARTMENT All of the freezers are open and empty, save two. Holloway lies in one. In the next, Watts. Three men in blue coveralls crouch beside Watts's freezer, staring inside. They are DOWNS, 30, a lean fidgety crewman. STILLWELL, 40, a sturdy fellow with the geniality of a labrador. And KAMAROV, 26, whose dark, brooding air belongs to a man twice his age. DOWNS Look at that. Kamarov opens the lid of Watt's freezer. Leans over her. Watts stirs in her sleep, a drowsy angel. KAMAROV She wakes up slow. Watts wakes to find three men looming above her. Disoriented, she pulls away. Tangles her hands in her IV lines. HOLLOWAY (O.S.) Get out of there! Holloway's voice cracks like a whip. The crewmen jump back. Holloway sits up in the next freezer over. He yanks the IV lines out of his arms and legs. Climbs out of the freezer. STILLWELL Just looking. HOLLOWAY Give us a moment, will you? The crewmen file out: Stillwell sheepishly, Downs and Kamarov surly. Holloway goes to Watts. Gently removes the IV lines from her ankles while she plucks the ones from her arms. WATTS I'm out of sorts. Sorry. HOLLOWAY Never worry. He helps her up. 16. INT. MESS ROOM Holloway and Watts sit at a table, both a bit hung over. They wear civilian clothes. Warmly dressed, they still look cold. They nurse mugs of coffee and nibble packaged snack bars. Watts hunches over, shivering. WATTS My head's buzzing. HOLLOWAY You just slept two and a half years. It'll pass. WATTS Like you've done this before. HOLLOWAY I've read all about it. Two ship's officers enter the room wearing blue coveralls with rank insignia: GLASSE, 45, a stocky man with thick black hair, and BRICK, 50, a bald man with a bristling mustache. They look at Watts and Holloway with little pleasure. BRICK Sleep okay? WATTS Yes, thanks... GLASSE Captain'll see you now. INT. MAGELLAN - CAPTAIN'S WARDROOM CAPTAIN JANEK, 45, sits at his desk. With his bristling beard and powerful build he has a swashbuckling look, like the captain of a whaling ship. Holloway and Watts sit on a steel bench in front of him. He sits scanning his orders: a plastic packet with Weyland Industries logos, cracked open. Watermarked papers inside. JANEK Zeta Two Reticuli was surveyed already. A hundred years ago. WATTS By an unmanned probe. Very crude. 17. JANEK No Earthlike planets. WATTS No. JANEK So what are you looking for? HOLLOWAY Proof of the Engineers' existence. WATTS Confirmation of Professor Holloway's theories would change everything. There'd be science before Holloway and science after. Janek rubs his face wearily with his hands. JANEK Your ticket. I'll put the ship where you want. Run your scans. HOLLOWAY Captain, your crew's been up for a week. We could've used the time. Why'd you wait to wake us? JANEK Better for discipline. (off their silence) Men ship out as prospectors for one reason: the percentage. Find a gold mine or a habitable planet, and you're set for life. (he laughs bitterly) But this contract says no percentage. No bounty. Just triple pay. The men aren't happy. HOLLOWAY You unhappy too? JANEK I'm always unhappy. He stands. Presses his palm against a wall panel. A safe opens. He pulls out a massive pistol in a gunbelt. Tosses the orders into the safe. Lays the gun atop them and locks it up. 18. SCIENTISTS' CABIN Holloway and Watts take possession of their cabin: a simple but spacious room with twin beds and a window to the stars. They drop duffel bags on the bed. Holloway surveys the arrangement. Frowns. He releases the magnets that lock the beds down. Slides the beds together. INT. SCIENTISTS' WORKROOM - DAY Holloway and Watts set up their workspace - a central display table and huge display surfaces on the walls. Fascinating documents slide under their fingertips: an Engineer alphabet. Ancient art. Climate and genetic data. DAVID appears in the doorway. WATTS DAVID. I wondered when we'd see you. DAVID I trust your database is in order. I set it up myself. WATTS All's well, I think. DAVID turns to go. Hesitates in the doorway. DAVID I should tell you: the time you spent sleeping, I spent studying your research. Holloway and Watts look at the android, his words sinking in. WATTS You studied our work for two and a half years. DAVID It's quite a data set. HOLLOWAY So you've seen everything. Well. What do you think? DAVID glances over the documents displayed around the room. 19. DAVID Your hypothesis is...bold. The audacity of it. Your climate data's undeniable: the Holocene Epoch was engineered. Dr. Watts, your genetic studies are equally conclusive. Pulses of cultural change are harder to prove, but even there your case is strong. I believe in your "Engineers." BREAK ROOM A utilitarian sitting room. Steel benches and table bolted to the deck. Seated here are two Weyland Industries technicians: ANDREW CHANCE, 50, a stocky computer engineer with a genial bearing and a bristling salt-and-pepper mustache. MONA RAVEL, 45, a dour, rangy woman with a plain face, her hair pulled severely back. A physicist and chemist. They wear black Weyland Industries jackets. They radiate intelligence and competence. These are pros. DAVID leads Holloway and Watts past the break room. Holloway spots the technicians. Strides in to greet them. HOLLOWAY Weyland Industries! Mr. Chance. Ms. Ravel. You remember Dr. Watts. Watts and the technicians exchange greetings. HOLLOWAY (CONT'D) About the materials I gave you. Some of the technical aspects... CHANCE We'll handle our end of the job. RAVEL If there is a job. Holloway blinks at her. Chance explains, not unkindly: CHANCE We only have a job if you find something. 20. CORRIDOR Holloway and Watts follow the imperturbable DAVID down a steel corridor to Vickers's cabin door. VICKERS'S SUITE An open-plan cabin like an urban loft apartment. Watts and Holloway follow DAVID inside. Vickers rises to meet them. The walls are industrial steel - but the floors are lushly carpeted, the furniture opulent. A king-sized bed, a mahogany desk, a dining table. Gleaming machines ensure Vickers never need step outside: a private hypersleep freezer, an autokitchen, a medical pod. WATTS Is that a Pauling medical pod? There's only ten of those things on Earth! I guess nine, now. VICKERS I told Mr. Weyland I wouldn't compromise my standard of living. He accommodated me. HOLLOWAY I know, I had to cut my manifest. This used to be the number four cargo bay. VICKERS What can I do for you, Professor? Holloway gestures with the slate he's brought with him. HOLLOWAY We're about to reach the system periphery. I thought you'd want to see the search protocols we - VICKERS No. I was set to be the next CEO of Weyland Industries. Then you came along and sold Mr. Weyland on...this. So here I am. Out of the running. I'll go where I'm told. But don't ask me to play along. WATTS But when you get back... 21. VICKERS I'll be five years behind the curve. Out of touch. Over. HOLLOWAY You might make the discovery of the ages. Vickers looks at him as if she's dealing with a child. HOLLOWAY (CONT'D) You don't believe in what we're doing. VICKERS Mr. Weyland believes. That's enough. She walks them toward the door. Interview's over. VICKERS (CONT'D) Now we're out of communication, you can tell the crew what we're doing. WATTS They don't know? They volunteered. VICKERS They volunteered blind. Classified job, triple pay. CARGO BAY The crew - Brick, Glasse, Stillwell, Downs, and Kamarov - sit on crates in an improvised lecture hall. Holloway and Watts in front of them. Janek at the back of the room. A hologram shows ancient images of divine visitations. The crew is visibly spooked. DOWNS Aliens. GLASSE You shitting me? Stillwell is staring at the frightening images: gods and titans towering over mortals. HOLLOWAY I think all our mythologies are race- memories of the Engineers. Horus the Sun God. Prometheus bringing fire from heaven. A pillar of fire, a pillar of smoke. The Engineers are the gods. 22. Kamarov stiffens, smelling blasphemy. KAMAROV The mythology gods maybe. God is God. STILLWELL Kamarov. Let him talk. Stillwell's staring unhappily at the ancient images: gods towering over mortals, inhuman and terrifying. STILLWELL (CONT'D) So we're going to meet these things? WATTS We probably won't meet anyone. You'd expect a star-traveling race to generate radio or laser signals. Fusion drives and gravity drives have clear signatures. But Zeta Two Reticuli is silent. And the Engineers have gone missing on Earth. WATTS (CONT'D) By the pattern, they should've come to Earth seventeen centuries ago. And again six centuries ago. But no sign. After twelve thousand years...they stopped coming. BRICK Why? HOLLOWAY Exactly. Why? JANEK "My God, my God, why have you forsaken me?" They turn. Janek grins at Holloway across the cargo bay. JANEK (CONT'D) Is that the question you've come light- years to answer? HOLLOWAY Only my first question. I have many. 23. EXT. MAGELLAN (ZETA2 RETICULI SYSTEM) The Magellan arrives at the periphery of the system. A distant star like Earth's Sun, surrounded by orbiting planets: mere sparks at this distance. INT. MAGELLAN - BRIDGE Outside the vast Bridge window, the star Zeta2 Reticuli burns, a cold beacon in the night. Downs, Glasse and Brick sit at consoles. Janek paces in front of the window. Holloway and Watts enter - and gape at the view. Janek grins at their reaction. JANEK Welcome to Zeta Two Reticuli. Edge of the system. Open her eyes. EXT. MAGELLAN (ZETA2 RETICULI SYSTEM) The Magellan opens its eyes: two immense telescopes emerge from the ship. Irises open to expose huge lenses. Antennae deploy: unfurling like wings, gleaming and vast. Sifting vacuum for any whisper of information. INT. MAGELLAN - BRIDGE Outside the window, the planets orbiting Zeta2 Reticuli are no more than bright stars. JANEK Overlay. A heads-up display appears, overlaid on the glass. The sun is labeled ZETA2 RETICULI. Markers point out the planets and trace the ellipses of their orbits. Like magic, the planets swell into colorful orbs, each labeled: Alpha, Beta, Gamma... DOWNS Seven planets. Two hot rocks, two gas giants, three snowballs. Nothing Earthlike. Watts grins at Holloway, eyes shining. 24. WATTS First humans in the system. Vickers walks onto the Bridge with DAVID. JANEK Director. Good of you to join us. VICKERS What did I miss? CAPTAIN JANEK Just getting warmed up. (TO HOLLOWAY) Professor? You know what you want? HOLLOWAY EMR scan, thirty hertz to three hundred gigahertz. Spectroscopic passes on every planet and major moon. Infrared and albedo scan for hot spots and light sources. CAPTAIN JANEK Man knows what he wants. Run it. EXT. MAGELLAN (ZETA2 RETICULI SYSTEM) Twin telescopes spin and zoom. Antennae flex and focus. TELESCOPE POV The planet nearest the sun rushes closer as the mighty telescopes zoom in. INT. MAGELLAN - BRIDGE The Magellan's sensors peel planet Alpha like an onion and put it back together again. A river of data floods the display, bathing the watchers' faces with light: Chemical compounds, magnetic field lines, lunar orbits, topographical data. The scan moves on to the next planet, and the next. GLASSE Negative on radio chatter system-wide. Nobody's talking. 25. BRICK Negative for laser and maser. On the H.U.D., the data stream completes the last planet. Begins to illuminate the gas giants' moons. GLASSE No biological markers. No artificial light. No industry or agriculture. Dead system. Like always. DOWNS Piss-poor, too. Low in heavy elements. BRICK Got a hit! A moon. LV-426. The display centers on Epsilon, a gas giant with many moons. Data flickers around one of the larger moons: LV-426. BRICK (CONT'D) Eighty-six percent Earth's mass. Atmosphere's nitrogen, methane, sulfates. Faint returns for a bunch of metals. HOLLOWAY Anything else? The sensors complete their pass on the system's last moon. JANEK That is all. HOLLOWAY Take us in. JANEK Downs. You heard the man. DOWNS Aye, Captain. Maneuvering. Eighteen hours to orbit. EXT. MAGELLAN (ZETA2 RETICULI SYSTEM) The Magellan retracts its vast antennae and telescopes. The engines fire: the ship rockets toward the gas giant Epsilon and its mysterious moon. 26. PASSAGEWAY Leaving the Bridge, Holloway and Watts find themselves walking aft alongside DAVID. HOLLOWAY DAVID. Enjoy the show? DAVID I don't know that I "enjoy" things. It was informative. HOLLOWAY It was, it was. (TEASING) You know, I've seen more convincing humanoid robots. Watts smiles, watching Holloway's sport. DAVID's speech never varies from its agreeable tone. DAVID My design's not intended to convince. Simulating humanity is a complex task that diverts resources. My designers dispensed with that burden to optimize for intelligence. WATTS Why look like a man at all? Why not be a box on wheels? DAVID Being shaped like you, I can use spaces and equipment designed for you. But I'm not so limited. I hear frequencies you can't hear. I see wavelengths of light invisible to you. I move faster. Exert greater force. The scientists look at DAVID in wonder. WATTS You see yourself as a superman. DAVID No. He turns his unearthly eyes on them. DAVID (CONT'D) Not a man at all. 27. SCIENTISTS' CABIN Holloway and Watts lie on their bed in their clothes - her head on his chest. WATTS What if they're really there? (off his confusion) The Engineers. They could be there. Waiting for us. What then? He laughs. HOLLOWAY Then all my dreams come true. EXT. MAGELLAN (LV-426 ORBIT) The Magellan has arrived. LV-426 is a gray moon shrouded in clouds. Behind it looms its father planet Epsilon, a lurid gas giant banded in red and gold, half swallowed in darkness. The Magellan dives into a forced orbit around LV-426: rockets firing continually, nose pointed down. Telescopes, sensors and antennae sprout once more from its hull. INT. MAGELLAN - BRIDGE Everyone's here. Janek and his crew seated at control stations. Holloway and Watts standing on the foredeck. Vickers and DAVID. Ravel and Chance. LV-426 fills the window: a gray orb of mist. The ground invisible beneath the clouds. Sporadic lightning flickers. HOLLOWAY Start with passive systems. We're uninvited guests. Let's be quiet. That thought sends a nervous shiver through the others. Janek nods at Glass and Brick. They study their instruments. BRICK A lot of electromag, all random. That's lightning. Going to bugger up our scans. HOLLOWAY Go active. Mapping radar. 28. EXT. MAGELLAN (LV-426 ORBIT) Radar emitters extend from their housings like cannons. A THUMP of power as they hammer out a blast of energy. INT. MAGELLAN - BRIDGE The display paints data on the moonscape as the wavefront comes back: terrain rendered in luminous green. JANEK Well, we just rang the doorbell, if anybody's listening. Kamarov shakes his head fearfully. Crosses himself. HOLLOWAY What do we see? BRICK Icecaps at the poles. Frozen methane. Cold down there. The display fills with light: a wave of terrain data sweeping across the moon's surface as the Magellan orbits. GLASSE Terrain data rezzing up. Hey! We got hard spots. Radar-opaque. Bright reflections. That's metal. A jolt of excitement pounds through everyone on the Bridge. EXT. MAGELLAN (LV-426 ORBIT) The Magellan sweeps on around the gray moon, radar emitters humming, antennae and telescopes open wide. The gas giant Epsilon fills the sky behind LV-426. As it circles, the Magellan launches SATELLITES. Metal motes hurled into polar orbits around the Moon. INT. MAGELLAN - BRIDGE Twenty-four "hard spots" shine on the moon's surface: an irregular array circling LV-426. HOLLOWAY That's not natural. 29. MILBURN You see stuff like that sometimes. Mineral deposits. Volcanic ejecta. GLASSE Big one there. A new signal appears on the map. Brighter than the others. HOLLOWAY Still quiet? BRICK No comm signals. No signs of life. HOLLOWAY I want to get below the clouds. EXT. MAGELLAN (IN ATMOSPHERE) The prospecting ship descends through buffeting grey clouds. Telescopes and antennae stowed away. Hull streaming vapor as it cuts atmosphere. Lightning flashes and booms around the descending ship. INT. MAGELLAN - BRIDGE Everyone strapped into chairs - except Janek, who stands gripping a stanchion, his boots planted on the deck. The landing engines roar. Wind screams over the hull. Mist whips across the Bridge window, obscuring any view. Watts reaches out. Squeezes Holloway's hand. The Magellan breaks through the cloud cover into clear air. Below the ship, a vast and eerie landscape is revealed. Wide valleys mottled with thin dark ground cover. Barren crags and spires of rock. Waterless and wind-swept. Watts gasps. Stares at the grim and foreign country. EXT. MAGELLAN (IN ATMOSPHERE) The Magellan thunders over valleys and craggy ridges of rock. 30. INT. MAGELLAN - BRIDGE Janek takes the helm. Guides the Magellan down a valley as if it were a helicopter. A pilot born. GLASSE Coming up on site seven. They crest a mountain higher than Everest. Before them stretches a dry barren plain. Scattered rocky peaks rise from the desert floor - an alien Monument Valley. DOWNS Nothing. Holloway points to a smaller mountain peak. Oddly regular. HOLLOWAY Look there. Janek expertly swings the Magellan sideways. The Magellan circles the mount, nose pointed inward. It revolves below the watchers: flat faces, clean edges - but cracked and timework. It glitters like coal. HOLLOWAY (CONT'D) Are we recording? Glasse nods irritably. Of course they're recording. Vickers stares at the pyramidal peak, nonplussed. Teetering on the brink of belief. Watts scans the data readouts. WATTS Tungsten, tantalum, aluminum. That could be technology. HOLLOWAY Let's see the next one. EXT. LV-426 - SECOND PEAK A second oddly regular peak, even more decrepit than the first, sits on the brink of a vast canyon. Landslides have eaten at its edges. The Magellan purrs over the landscape, dwarfed by the scale. Drops between the canyon walls to circle the mount. 31. INT. MAGELLAN - BRIDGE Holloway and Watts stare at the structure. Beginning to get over the shock. Thinking like scientists again. WATTS Identical, apart from weathering. MILBURN Could be a rock formation. Carbon crystallizes like that. The scientists pay him no mind. They're past that. HOLLOWAY Let's see the big one. INT. MAGELLAN - BRIDGE Janek pilots by instruments alone. Clouds obscuring the view. BRICK Closing on the major site... The ship descends into clear air. A stunning panorama unfolds before them: craters, hundreds of meters across, connected by trenches. Like a pattern of crop-circles sunk in the rock. In the middle of the central crater - a huge angular peak, larger than the others. The Magellan circles the site. It's awe-inspiring. Cryptic. Huge. Holloway stares in rapture. Glances at Watts: she nods, eyes shining. She's with him. The crew's still skeptical - but starting to wonder. They shake their heads and exchange looks. BRICK (CONT'D) No radio. No heat sources. Cold as the grave. HOLLOWAY Nobody home. Watts looks out at the timeworn peak. Its eroded facets. WATTS I don't think anybody's been home for a long time. 32. EXT. CRATER COMPLEX - DAY From the central crater, four canals extend outward like points of the compass. Some connect to smaller craters. One canal peters out, flush with the desert floor. The Magellan lands at the end of this canal - half a kilometer from the central crater. INT. MAGELLAN - BRIDGE They stare out the window, down the wide straight canal at the pyramidal peak in the distance. Holloway looks around. HOLLOWAY All right. Let's move. Janek glances at his instruments. JANEK There's only six hours of daylight left. Maybe you should hold off. Watts looks at him incredulously. WATTS We've got that outside the windows and you want to wait `til tomorrow? EXT. MAGELLAN - AIRLOCK - DAY The expedition party emerges from the airlocks - riding CARGO ROVERS, robotic vehicles just smart enough to carry their owners around, or follow along behind them. The rovers' beds are loaded with gear; the explorers ride on running-board seats. All wear space suits. Holloway drives the first rover with Watts beside him. Stillwell, Kamarov, and Downs in back. DAVID drives the second rover with Milburn, Fifield, Chance and Ravel aboard. WATTS The air here will kill you, so keep an eye on your supply and watch your seals. Pathogen tests are clean. 33. HOLLOWAY Move slowly. Stay together. Don't touch anything. Things may be more fragile than they look - or more dangerous. There might be technologies operating here we don't understand. The crew of the Magellan exchange uneasy looks. Still uncertain what to think. EXT. ENTRY CANAL - DAY The trench grows deeper as they follow it toward the central crater - the pyramidal peak framed ahead of them like a monument on a triumphal avenue. They cross a perpendicular canal. Glancing left and right, they see smaller craters with central peaks of their own. They pass through the shadow of a high promontory of stone atop one bank of the canal. We see - and they do not - that the far side of the promontory has a Sphinx-like FACE of monumental size. So eroded that its artificial nature is uncertain. EXT. CENTRAL CRATER - DAY The crater floor is a vast enclosed plain. The pyramidal mount looms in the center - colossal in scale. The rovers enter the crater, trailing plumes of dust. They circle the pyramid. On the south face of the pyramid, an IRIS DOOR of many blades stands, easily fifty feet high. Seemingly made of the same basaltic stone as the pyramid itself. A huge construction. The explorers are transfixed in awe. All skepticism banished. HOLLOWAY Tell me that's a natural formation. (HE GRINS) Undeniable proof of alien civilization. You were here on this day, thirty-one December, year of our Lord 2172. History will remember your names. Watts stares at the iris. Its bottom-most blade is broken; it lies in rubble at the foot of the door. A dark knife-like aperture leads into the pyramid. 34. WATTS The door's open. INT. MAGELLAN - BRIDGE Janek and Vickers watch the explorers' progress in the main holographic display: their tinny voices echoing over the comm link. At the sight of the huge iris door in the pyramid, both Janek and Vickers stare in blank astonishment. JANEK Son of a bitch. They were right. He turns to stare out the window at the pyramid's peak. Vickers turns and slips out of the Bridge. Hurries away. VICKERS'S SUITE Vickers strides through her quarters. On the far wall there are two small doors. She opens the first: steps into a luxurious bathroom. Washes a pill down with a tumbler of water. Returns to her cabin and opens the second small door. SECRET ROOM - CONTINUOUS A chamber walled with steel panels. A deep hum of ventilation and power: there's a lot of technology here. She turns to a console beside the door. Flips a row of switches. The hum deepens. Hidden mechanisms stir to life. EXT. PYRAMID - IRIS DOOR On foot, explorers press inside - Holloway and Watts in the lead. Their flashlights cut into the gloom. The robotic rovers follow them: their six-wheeled chassis with independent suspension trundling over the rubble barrier, sure-footed as goats. INT. PYRAMID - ANTECHAMBER Dark and cavernous. Weak daylight slants in. 35. The explorers press into the darkness on foot - the cargo rovers' headlights flashing on. They move through a dark cathedral space, empty and bare. DAVID looks around in fascination, his eyes raking the walls. HOLLOWAY Jocelyn. Here. His voice trembles with urgency. He shines light on the rock. Symbols engraved on the dark surface. Dots, lines and arcs. HOLLOWAY (CONT'D) The writing of the Engineers. Conclusive connection. DAVID stands beside them. Stares at the alien writing. DAVID Congratulations, Professor Holloway. Watts passes her light over the writing, recording it. They move on into the dark. DAVID lingers. Reading. PYRAMID - VARIOUS PASSAGES The interior is a labyrinth. Corridors big as railway tunnels intersecting and diverging. The explorers wend their way deeper. Several carry map units, whose holographic displays render three-dimensional maps that expand as they explore. INT. PYRAMID - MASSIVE CHAMBER Holloway leads the explorers deeper into the complex. The motors of the cargo rovers whine and growl. DAVID trails the others, eyes raking the blank walls as if he sees something there. He reaches out. Passes his hand through the air as if grasping a cobweb. A STRANGE RUMBLING NOISE sounds down the corridor, freezing them. Holloway sweeps his light that way. The sound comes again: a DEMONIC VOICE speaking some unearthly language. Watts looks at Holloway - but his eyes are focused on the dark ahead. He moves forward. A beat. The others follow. 36. An APPARITION appears before them. A PALE, LUMINOUS GIANT fifteen feet tall, with hollow eyes and a grotesque snout. It strides toward them. Speaks in a sonorous voice. Pandemonium. Watts backpedals involuntarily. Seeing Holloway stand his ground, she reaches out to him in a panic. WATTS Martin. Martin! But Holloway doesn't budge. Stares at the Apparition in fascination. Everyone else scatters - except DAVID, who stands stock-still by the wall. Watts watches as the Apparition walks right up to Holloway. Disappears with a sizzle of static as Holloway experiences the creature passing through him. Silence. Watts returns to Holloway's side. Stillwell and Downs are huddled on the deck. Milburn and Fifield have fallen back down the passageway. FIFIELD Christ. Christ! RAVEL It wasn't real. MILBURN We all saw it. Unseen by the others, DAVID reaches out and repeats his gesture in the air. A rumbling sound down the corridor, as before. Moments later, the Apparition appears round the corner again. They stand their ground: the ghostly giant strides toward them, exactly as before, and disappears with a crackle. HOLLOWAY Recording? FIFIELD No more. I'm out. HOLLOWAY Fifield. Get a grip. FIFIELD I'm a prospector. You find a load of bauxite, I'm your man. But not this. 37. MILBURN I should go with him. Buddy system. HOLLOWAY (DISGUSTED) Fine. He hauls a heavy rolling case out of the cargo rover. HOLLOWAY (CONT'D) You can deploy the drones. Drop them in the first or second nexus on your way back. FIFIELD Give us a rover. HOLLOWAY And half our gear? It's no more than a mile. You can walk it. Sulking, Milburn takes the rolling case. The remaining explorers watch Fifield and Milburn backtrack into the dark. CORE CHAMBER DOOR Holloway and Watts lead their party up to a massive door, sealed tight. In design and scale, undeniably important. Holloway glances at his map. HOLLOWAY This should lead to the core of the pyramid. WATTS Jack it open? Or cut through? HOLLOWAY Let's do as little damage as we can. Ravel waves a sensor over the wall. RAVEL There's power. Current flowing in the wall. Chance begins to inspect the frame of the door. CHANCE Maybe we can hack it. Has to be a mechanism... 38. DAVID looks as if they fail to see something obvious. He points at a spot on the wall beside the massive slab. DAVID Pull up a rover. I want to get up there. INT. MAGELLAN - BRIDGE - DAY Janek stands at the window, looking down the long canal at the distant pyramid. The ship's powerful imaging systems stream data: stereoscopic feeds from the explorers' flashlights; a map that grows as they explore. The maze under the pyramid drawn in light. A globe of LV-426 blooms with terrain and weather data as the satellites feed the ship information. Vickers appears at Janek's side. JANEK Director. Taking an interest? VICKERS It's my operation, isn't it? INT. PYRAMID - HUB A junction where multiple passageways converge. Milburn and Fifield trudge into the space, trundling the probe cases behind them. Tunnels lead away in all directions. FIFIELD What do you think? MILBURN Grand Central Station. They open the case. CAMERA PROBES tumble out: spheres the size of softballs, studded with lenses and sensors. Tiny lights come on as the probes awaken. They roll off, dispersing to investigate every passageway. Bumbling into walls and pillars, reversing. Exploring by random walk. FIFIELD Let's check the feed. Gimme the map. MILBURN You had the map unit. 39. FIFIELD You don't have the map? They stare at each other. MILBURN Are you serious? He trudges back the way they came, in disgust. MILBURN (CONT'D) Come on. CORE CHAMBER DOOR DAVID stands on top of one of the cargo rovers. He's cut a hole in the wall beside the door, high up: he works with probes in the mechanisms inside. DAVID Looks like a three-state switch. A deep BOOM, echoing inside the ancient walls. Nothing moves. DAVID (CONT'D) One moment... He moves a control. BOOM. The immense door begins to rise. PYRAMID - CORE CHAMBER The vast central chamber of the pyramid. An immense space. Holloway walks in, his flashlight searching. Watts hurries after. The others follow, rovers tagging along. A colossal structure stands in the center of the chamber, convoluted and strange. A mechanism. Chasms yawn in the floor all around it, their depths lost in darkness. The explorers enter, rovers in train. They lift their eyes: hundreds of feet above them they see the pyramid's apex from within. A SHAFT OF DIFFUSE LIGHT penetrates the pyramid somewhere near the peak. RAVEL This is something, now. DAVID Yes. Yes, it is. 40. The android's awareness is keyed to a high pitch. He seems to read meaning in the inscrutable structures all around them. Holloway hauls a drone case out of the rover. Two dozen spherical drones tumble out, wake up, and roll off into the dark. They are nimble, hopping curbs and skirting chasms. Watts looks at her atmosphere sensor. Astonished. WATTS Martin. This air's breathable. The core chamber brightens as the sun outside moves into alignment. The shaft of light perfectly centered. A vast SIGH as if the pyramid itself is breathing. A fat drop of water falls on Watts's glove. She looks up in surprise. Another falls on her visor. And then it's raining inside the pyramid. Water trickles into the chasms, inundating the mossy growths that cling to the walls. Holloway looks at Watts with a little boy's grin. HOLLOWAY Miracles and wonders! The shaft of light moves on. The core chamber dims slightly. The rainfall stops as suddenly as it started. The explorers follow the main path around the periphery of the chamber, past a gallery of mysterious machines. There are marvels in the shadows. Cells in the dark apparatus open on startling deposits of color: translucent alabaster flutes. Honeycombs of pure gold. Matrices of crystal. Watts waves a scanning instrument as she walks. WATTS Intense field readings. Huge power sources here. PYRAMID - CORE CHAMBER - RAMP They arrive at a wide opening in the floor. A strange ramp curves downward - its floor segmented and saw-toothed. A bafflement: it's not a staircase. Not an escalator. No moving parts. No rails or tracks. 41. HOLLOWAY Space below us. A big space. As they stand looking, a probe bumbles up to the opening and goes bounding down the ramp. Watts laughs. WATTS How does this work? She begins to descend on foot. Holloway behind her. Stillwell, Downs, and Kamarov grudgingly follow. But DAVID looks away across the cavernous chamber - fixated on the central crystal. He beckons Ravel and Chance to follow him, and walks away. Ravel and Chance look at each other in astonishment. Uncertainly, they follow DAVID. LOWER PASSAGE Holloway, Watts, and the crewmen reach the bottom of the ramp, breathing hard. A cargo rover trundles down after them. They look back up. The ramp above them is empty. HOLLOWAY Ravel. Chance. Where've you gone? DAVID! Where are you? (to Watts, indignantly) They didn't come down! But Watts is staring through an archway. Transfixed. WATTS Look. She walks in. Holloway follows. CONTROL CONCOURSE A passageway punctuated by alcoves as big as band-shells. In each alcove stands a biomechanical apparatus - shaped from the same dark material as the pyramid itself. Each apparatus implies by its design that a giant is meant to fit inside it. Holloway and Watts walk the concourse, playing their lights over the dark machinery. Their footsteps echo. 42. WATTS Do you see, the size of them? Like that ghost we saw... HOLLOWAY It wasn't a ghost. Where are the others? I don't want to go back up. Watts fiddles with her suit's comm controls. Listening. WATTS They switched to channel three. I hear them talking. They're okay. HOLLOWAY We should stay together. INT. PYRAMID - BLIND CORRIDOR Milburn and Fifield are lost. They bumble through the dark. MILBURN This is not the same place. FIFIELD It is! That is the same freaky thing we saw before. He points at a detail of the architecture. MILBURN No it's not! The other one was more... sort of...fuck it. (taps his comm) Milburn to Magellan. Come in. Static. INTERSECTION Holloway and Watts round a corner and stop in their tracks. Kamarov, Stillwell, and Downs almost run into them. The scientists stand frozen. In front of them lies a dead giant. An ENGINEER. If he were standing, he would be fifteen feet tall. He is roughly human in shape. Barrel-chested. Withered to the bones. There are bulky protrusions fused with his flesh: hard to say whether they are equipment or parts of his body. 43. His head, lolling to one side, is severed from his body. His eyes seem to be covered by goggles; but if so then the goggles are fused with his skull. An elephantine proboscis, severed now, once connected to a protrusion on his hip. The giant lies frozen in a convulsion of agony. His jaw gaping in a silent scream. His corpse is marred by hideous wounds: slashes that cut through bone. The explorers move closer. Speechless. KAMAROV God in Heaven. WATTS Martin. Martin. HOLLOWAY I know. Look. He lifts his light. Beyond the dead giant, a vision of Hell: A dozen DEAD ENGINEERS lie heaped against a sealed door. Twisted in postures of torment, murdered in the attempt to escape. All bear horrific wounds. Scene of an ancient massacre. INT. MAGELLAN - BRIDGE Janek and Vickers stare dumbstruck at a 3-D view of the dead giants captured by the explorers' cameras. INT. CATACOMB - INTERSECTION The explorers circle the decapitated giant, hushed with awe. Holloway steps close. HOLLOWAY "There were giants in the earth in those days...and when the sons of God came in unto the daughters of men, they bare children to them, who became mighty men." Genesis six four. Lays a gloved hand reverently on the giant's ribs. DOWNS (PANICKY) You said don't touch anything! You said don't touch anything! 44. HOLLOWAY Peace. CHANCE The size of them! HOLLOWAY In all the old mythologies, the visitors from the sky were giants. Watts joins Holloway beside the dead Engineer. Touches the corpse in her own turn. It's hard as stone: ossified. She traces the ancient, terrible wounds. WATTS They were killed. All of them. Downs stands staring at the dead giant, as shaken as Kamarov. DOWNS We shouldn't be here. HOLLOWAY Come on. The dead can't hurt you. (adjusts his communicator) DAVID. Chance. Ravel. I've got something here. Static. WATTS Communications are going to hell. EXT. SPACE - LV-426 ORBIT One of the Magellan's satellites hurtles along, high above the moon's atmosphere. It passes over the terminator line between the night side and day side. Through the clouds below, a lightning-laced storm front rolls across LV-426 like a wave. INT. MAGELLAN - BRIDGE - DUSK Rising winds pluck at the ground cover outside the window. Janek turns from the view to look at the holographic globe. JANEK All hands. Back to the ship. We got a mean storm front rolling in. I repeat. All hands... 45. INT. DARK CITY - CATACOMBS - INTERSECTION Standing beside the dead giant, Watts and Holloway look at each other as the signal comes in. JANEK (V.O.) (STATICKY) front rolling...back to the ship. HOLLOWAY (INTO COMM) We've found something here! I'm not walking away for bad weather. INT. MAGELLAN - BRIDGE - DUSK Janek shouts into his communicator. JANEK Holloway! I got two-hundred-kilometer winds with airborne silica and enough static to fry your suits. Get your asses back here! Now! EXT. CENTRAL CRATER - DUSK Holloway races their cargo rover away from the pyramid, wheels kicking up dust. Watts rides in back, securing a bulky payload under a tarp on the cargo deck. Stillwell, Downs, and Kamarov clinging miserably beside her. Watts looks back: A massive storm front chases them. A tidal wave of dust shot through with lightning. Gale-force winds tear at the ground. Lightning lashes the pyramid and the crater wall. Reaching the Magellan, they see the other rover already in the airlock lift. DAVID, Ravel, and Chance aboard. EXT. MAGELLAN - AIRLOCK LIFT Holloway roars into the lift at speed, the rover skidding almost into the opposite wall. Watts leaps down. The storm wall catches up to them. Screaming winds rip through the lift. Dust fills the air. Visibility plunges toward zero. WATTS Help me unload! 46. She pulls at the tarp. It tears halfway free - and fills with wind, snapping taut with such violence that Watts is hurled out into the storm. IN THE GALE Watts tumbles helplessly: a leaf in the wind. CRASHES into a metal stanchion. Clings, the wind knocked out of her. Ears ringing. Nothing but static in her headset. IN THE LIFT Holloway stares in shock at the place where Watts vanished. HOLLOWAY Jocelyn! With inhuman reflexes DAVID reacts. Grabs a tether. Latches it to his suit. Locks it to an anchor point on the wall. Dives into the storm. A ballet nearly too fast to follow. IN THE GALE DAVID lets the wind take him. Skids across the ground, controlling his trajectory. He hits the stanchion where Watts is lodged with a CLANG as if he were made of iron. Watts stares at him in mute astonishment. He locks her suit to his. Activates the tether unit's winch. It whirs, reeling them in through the hurricane. IN THE LIFT Holloway and the other crewmen haul Watts and DAVID back inside. Holloway and Watts embrace fiercely as the lift rises toward the safety of the ship. The crewmen bundle the rover's tarp-wrapped cargo into a sealed dumbwaiter that rises independently into the ship. INT. MAGELLAN - AIRLOCK The explorers strip off space suits. Watts pulls her helmet off. Catches DAVID's eye across the airlock. Mouths a silent Thank you. He gives her the barest nod and vanishes into the ship. 47. The explorers exchange looks. A mood of exuberance and wonder prevails now that they're safe home. HOLLOWAY Day one. Smiles of wonder as what they've seen comes home. DOWNS Got to hand it to you, professor. You were right. Both of you. CHANCE What's in the tarp? What'd you bring back? The explorers from Watts and Holloway's party exchange looks and burst into laughter. WATTS You don't want to know. STILLWELL Shit. We're two helmets short. He points. The lockers labeled MILBURN and FIFIELD stand closed. The helmet racks empty. The laughter cuts off. KAMAROV They didn't come in! They stare at each other, listening to the wind wail outside. INT. MAGELLAN - BRIDGE - DUSK Janek speaks urgently into the communicator. JANEK Between the wind speeds and the static electricity, there's no safe way to get to you. You're going to have to hunker down until it passes. How are your provisions? FIFIELD (V.O.) We got air . Water and food tabs suits. JANEK Honey sacks? 48. INT. DARK CITY - CATACOMB Fifield and Milburn stand miserably in a murky passageway. Fifield hitches up his space suit's crotch uncomfortably. FIFIELD Yeah, we're piped. MILBURN I hate these fucking things. INT. MAGELLAN - BRIDGE - DUSK FIFIELD (V.O.) We hate these fucking , Captain. JANEK Maybe next time you'll mind your maps. Keep your heads down. We'll come get you in the morning. A burst of static answers him: Fifield's voice scrambled by the storm. Unintelligible. JANEK (CONT'D) Magellan out. MESS ROOM - NIGHT All hands present excepting the two missing men. Janek plays his squeeze box, its archaic music filling the air. Tired and exuberant, the men sway and dance mockingly. Holloway has a champagne bottle open in each hand. He fills steel cups left and right. HOLLOWAY My friends. What we do here marks the greatest achievement of our species. Contact with another civilization. Humanity came of age today, on this moon. You were there. (raises his glass) To history. They raise cups and drink. Even the crew moved by the moment. But Janek smiles crookedly and toasts again. 49. JANEK To Milburn and Fifield. The first human beings to freak out, get lost, and sleep in their suits in the ruins of an alien civilization. INT. PYRAMID CATACOMBS - NIGHT A vast dark maze. Milburn and Fifield grope their way through the dark with flashlights. The storm howls outside. MILBURN What are you looking for? FIFIELD (groping along the wall) Someplace things can't come at us. MILBURN What's gonna come at us? INT. MAGELLAN - VICKERS'S SUITE - NIGHT DAVID stands beside Vickers at her holography terminal. He lays his hand on over a signal plate - and the terminal lights up with a three-dimensional image. The core chamber of the pyramid, from DAVID's point of view. It's apparent that DAVID's eyes see more than human eyes do. He seems to see heat and electromagnetic energy as well as visible light; calibrated readouts are overlaid on the scene. The structures in the pyramid are surrounded by complicated patterns of energy. This is incomprehensible technology. DAVID The core of the pyramid. You see. Vickers goes rigid, looking at it: avarice in her eyes. VICKERS We're going to protocol two. DAVID I understand. LABORATORY A high-tech science facility behind glass. Watts and Holloway, in lab gloves and smocks, open the dumbwaiter: 50. An ENGINEER'S HEAD rises into view, ghoulish and elephantine. Vapor rises from it. A readout blinks: STERILIZED. They lift it onto the steel table. It takes both of them. They pass scanners over the skull. Images accumulate and rotate on the laboratory displays. X-ray and ultrasound. Holloway leans close to study an X-ray image. He almost seems to see a ghostly second face... WATTS Martin. Look. She traces the head with an ultrasound probe: under the vibrations a seam opens up around the edge of the face. She gets a fingertip into the seam. Works with a probe. Pries away the long-dead Engineer's mask. It comes free. The visage revealed is human, except for its giant scale. White-skinned. Earless. Hairless. Withered but beautiful as a Greek statue. Eyes closed. An expression of suffering on its face. Watts drops the ultrasound probe in shock. WATTS (CONT'D) They look like us. HOLLOWAY We look like them. Genesis 1:27. "And God created man in his own image. In his own image created He him." Vickers and DAVID stand outside the lab window, staring in at the god's head. Vickers looks shaken. DAVID, fascinated. Watts covers her nose in revulsion. A horrible stench: The Engineer head begins to disintegrate in front of them. Flesh oozing, skin peeling. Accelerated decay. HOLLOWAY (CONT'D) It's breaking down. WATTS Formaldehyde! Urgently they ransack cabinets and storage rooms. Watts finds a clear plastic drum and dumps its contents. Holloway drags five-gallon jugs of preservative out of a cabinet. DAVID watches through the window, almost amused. 51. DAVID Mortal after all. They lift the rotting head into the drum, retching. Fingers skidding in putrefaction. They pour formaldehyde over it. As soon as the head is immersed they rush to strip off their reeking gloves and smocks, scrubbing their hands. The god's head sits in its murky vat, shedding skin and tofu- like chunks of white flesh. The noble face disintegrating. Watts and Holloway stare at it, breathing hard from their work. Vickers flicks on the intercom from outside the window. VICKERS Your cadaver's interesting. But I'm more interested in the machinery in the pyramid. The core chamber. What do you think it does? Watts stares at Vickers incredulously. WATTS How could anyone know... HOLLOWAY I know what it does. Silence. Holloway looks at Vickers wearily, as if he's seen this conversation coming. He glances at Watts. HOLLOWAY (CONT'D) Think. What we've seen. What we know. Watts rises to the challenge. Thinking on her feet. WATTS Twenty-four pyramids scattered around the moon's equator. Massive power supplies. Vents in the walls. Atmosphere changes. Breeder tanks... (she's got it) The pyramids are terraforming machines. Holloway grins, exuberant. His theory playing out perfectly. He doesn't see Vickers stiffen. Her hands curling into fists. HOLLOWAY That's why Earth's ancient cultures built pyramids: in imitation of the gods. (MORE) 52. HOLLOWAY (CONT'D) Twelve thousand years ago, beings from the sky set pyramids on the Earth and transformed the world. That's what they were doing here - before their civilization failed. Watts stares at the head in its tank. The severed neck. WATTS It didn't fail. It was wiped out. INT. CATACOMBS - INSECT CHAMBER Milburn and Fifield have bunked down in a new chamber: they slouch against a wall. Milburn sweeps the room with his headlamp. Stoops to lift something into the light. MILBURN Look at this! A CENTIPEDE, three feet long and thick as man's thumb. Its hard shell is gray. It has a hammer-head like a shark. FIFIELD Jesus! Put it down! He leaps back, wild-eyed. Milburn laughs at him. Lets the eyeless centipede wind its segmented body around his space-suited arm. In the flat face, a white vertical slit appears. Changes quickly to a horizontal position; opens enough to suggest a mouth. Milburn doesn't notice this development. MILBURN Relax. Your suit's bug-proof. Hell, it's bulletproof. The centipede spirals around his arm, glittering, its body moving in fluid waves. The blind head quests between his fingers. Milburn loses his nerve as the thing's mouth suddenly gapes wide as a shark's. MILBURN (CONT'D) That's enough. He tries to pull it off. The centipede locks its segments together and digs in with its body. It might as well be made of iron. 53. MILBURN (CONT'D) (PANICKING) Get it off! It's crushing me! Fifield pulls out a utility knife. Cuts into the centipede's body behind its head. A gout of greed ACID spills over Milburn's glove. Smoke rises as the acid quickly burns a hole through the material. Milburn's shout of astonishment turns to a wail of agony. MILBURN (CONT'D) AHH! Help me! Christ! The centipede snakes into the smoking hole in the glove. Crawls upward into Milburn's suit - toward his head. INT. MAGELLAN - LABORATORY - NIGHT Holloway stands studying the data displays: cross-sections of the Engineer's skull. Watts scrutinizes the head itself, her nose an inch from the plastic tank. Not a pretty sight. As she watches, a current in the formaldehyde peels away one gossamer eyelid. The revealed eye is black as obsidian, iridescent like opal. A jewel. Fascinated, Watts pulls out a plastic case. Opens it to reveal a high-tech control unit with a screen. She pops open a plastic capsule: removes a tiny SEED PROBE, smaller than a grain of rice. Drops it into the vat. Under her guidance, the seed probe swims to the severed neck. Burrows into the medulla oblongata toward the brain. ON A SCREEN: In the probe's POV the medulla looks like a tunnel. The probe climbs along neural channels. Another screen shows the probe's progress through the skull. Glasse enters. Stands beside Holloway to watch Watts at work. HOLLOWAY You won't get anything. Tissue's too degraded. Hmm. Brain chamber's massive, even proportionately. WATTS Neural paths are still conductive. 54. The seed probe reaches the optic nerve of the exposed eye - and its POV fills with a vision of glory: a beautiful woman's face surrounded by a mystical nimbus of light. An angel. Glasse and Holloway gasp. The woman in the blurry vision is Watts - as seen by the dead Engineer's eye. GLASSE Incredible. The image dissolves into noise. Error messages flicker across the display. Watts sighs. WATTS Formaldehyde's killing the tissue. Holloway stares at Watts, awe on his face. HOLLOWAY Did you record that? WATTS Of course. AT A LAB TABLE Watts dissects one of the Engineer's eyes - working underwater in a shallow tub of preservative. Glasse looks on avidly, an unabashed fan. Watts wears a pair of magnifying goggles on her forehead - the lenses lowering and rising at need. She bisects the apple-sized eyeball carefully and extracts the hard lens from behind the cornea. Holds the lens up to her eye. It is opalescent, almost luminous. WATTS (CONT'D) The lens is where the phase shift happens. The uncorrected view through the lens is blurry. WATTS (CONT'D) Glasse. I want to look through these lenses. Can you seal them and do the optical correction? Glasse reaches out and plucks the magnifying goggles from Watts's forehead. He grins. GLASSE Got an idea about that. 55. INT. CATACOMBS - INSECT CHAMBER Milburn writhes on the ground, heels drumming frantically against the deck. Excruciating screams. Fifield kneels over him, helplessly pulling at the tail of the centipede - which has all but vanished into Milburn's suit. A trickle of scarlet from the hole. Fifield is delirious with horror. He clutches at the centipede in vain. It slips through his gloves. Milburn claws at Fifield, wild-eyed. MILBURN Cut off my arm. Cut off my - He convulses. Spits blood. The head of the centipede emerges between his teeth. He seizes. Choking and dying. FIFIELD Jesus Christ! He leaps up. Backs away. Runs into the dark. INT. CATACOMBS - LONELY PASSAGE - NIGHT Fifield stumbles along. Exhausted. Pouring sweat inside his suit. He is hopelessly lost. He slams into a resinous structure that topples to the floor. Things break. He whips his light around in jittery paranoia. Taps at his comm controls, getting only static. In Fifield's headlamp beam, the blackness is filling with motes of light. A blizzard of tiny flying insects. SCARABS. FIFIELD Fifield to Magellan. Come on, come on. Anybody, seriously! God damn it! Scarabs flit through the darkness around him. They alight on his shoulders. Crawl over his visor. Obscuring his vision. FIFIELD (CONT'D) Get off! He swats at his visor, killing some. The crushed insects produce acid that eats into the plexiglass in seconds. 56. FIFIELD (CONT'D) Shit. He twists, craning with his flashlight to inspect himself. Brushes scarabs away right and left. Acid opens a hole in his visor. Scarabs are inside. Buzzing around his head. Fifield freaks out, clawing at his helmet. A scarab bites his cheek. FLASH ON: The microscopic world - as strange DNA invades Fifield's bloodstream. Virulent strands of protein attack the native DNA, transforming... FIFIELD As his pupils dilate, breath hissing into his nostrils. His expanding body stiffens as if shocked by a powerful electric current. He screams. Falls, convulsing. EXT. MAGELLAN - NIGHT The storm batters the ship, bouncing it on its suspension. SCIENTISTS' CABIN - NIGHT Watts and Holloway lie in bed, exhausted. Arms around each other. Watts stares into space. WATTS We found the gods. And they've been murdered. HOLLOWAY You've pried too many arrowheads out of old skulls to get squeamish now. They've been dead what, eighteen hundred years? Two thousand? WATTS What could kill them? Holloway contemplates the question. HOLLOWAY Who knows? (he laughs bitterly) (MORE) 57. HOLLOWAY (CONT'D) But I guess we know why they never came back to us. Something killed them off - back around the time of Christ. Maybe He was one of them! A great teacher, sent from Heaven? Jesus. The last Engineer. WATTS Martin, stop! She slaps at him. Holloway laughs. BRIDGE Janek stands at the Bridge window, staring out into the storm. Buffeting clouds and howling winds. The lighthouse beams of the Magellan's beacons sweeping through the cloud. He plays his squeeze box in the teeth of the storm. JANEK (SINGING) You'll come a-waltzing, Matilda, with me... Behind him, DAVID appears on the Bridge. Steals across the Bridge to a ladder. Descends into the compartment below... NAVIGATION COMPUTER ROOM DAVID activates the navigation computer terminal: light bathes his face. His fingers fly over the keyboard, silently and swiftly, with superhuman dexterity. DAVID (QUIETLY) Activate. Administrative override. EXT. MAGELLAN - DAWN Daylight filters through the clouds. The storm has passed. The Magellan sits intact on its landing struts. INT. MAGELLAN - VICKERS'S SUITE - SECRET ROOM - DAWN The high-tech room hums at a different frequency now. Indicator lights green and ready. Vickers throws switches. 58. Four HIBERNATION PODS slide out of the metal walls. From each pod, a muscular SOLDIER rouses from sleep. They are scarred and crew-cut. Tough customers. They wake like veterans. Their leader sits up and clasps his head with a wince. This is CAPTAIN SHEPHERD, a career mercenary who has followed the highest paycheck to this strange duty. VICKERS Captain Shepherd. SHEPHERD (squinting in the light) Reporting. Lydia Vickers. I'm your authority. SHEPHERD (CONT'D) Understood. VICKERS I'll brief you on the way. We need to move. SHEPHERD No breakfast? CORRIDOR Vickers strides forward. Four soldiers at her heels: Captain Shepherd, VIGODA, RAY, and CARD. They walk in unison, their boots drumming on the deck. SCIENTISTS' CABIN Holloway and Watts lie sleeping. The distant drum of marching feet rouses them. Watts frowns at Holloway. WATTS What is that? E.V.A. ROOM The prep room inside the airlocks. A soldier, VIGODA, waits there: a slim dark man with an air of calm. Holloway and Watts arrive in civilian clothes, perplexed. 59. HOLLOWAY Where is everybody? We can't - (he stops short) Who are you? VIGODA Captain Janek took his crew out to retrieve his missing men. They never came in. HOLLOWAY And you are... VIGODA Vigoda. Weyland Security detail. The scientists are dumbfounded. His presence is impossible. WATTS Where'd you come from? VIGODA Director's call to brief you on that. I'm supposed to escort you to the worksite. HOLLOWAY Worksite? Vigoda glances at a mapping unit. VIGODA Haven't been out yet. I understand it's in some kind of pyramid. CORRIDOR - VICKERS'S CABIN DOOR A furious Holloway and Watts, trailed by Vigoda, arrive at Vickers's cabin. They are astonished to find Shepherd standing guard at the door. VICKERS'S SUITE Vickers sits calmly at her desk. Holloway and Watts stand in front of her, bristling. HOLLOWAY Why wasn't I told about these additional personnel? VICKERS They're my personnel. On my ship. 60. WATTS What are the guns for? Vickers looks at them unflappably. Sure of her ground now. VICKERS I'm being careful. These new finds give our work a new importance. WATTS You should have talked to us. Martin's mission leader. That's in our contract. VICKERS The second you found alien technology, control of this mission reverted to me. That's in your contract too. Watts and Holloway exchange grim looks. Vickers has them. VICKERS (CONT'D) Mr. Weyland's pouring trillions into Mars. He's spent a fortune building ships like the Magellan to search for colony planets. But Earthlike worlds are vanishingly rare. The right distance from the sun, the right atmosphere, enough water... She glances across the suite at her holographic display: a live feed from the pyramid worksite, where DAVID works on the terraforming equipment. VICKERS (CONT'D) This is a technology to transform worlds. He'll never give it up. (she turns to face them) And neither will I. HOLLOWAY The science must come first. You can wait until we've documented... VICKERS You're standing on an alien world courtesy of Weyland Industries. Be grateful. Watts approaches the holography terminal, staring at the images in horror. WATTS What are they doing in there?! 61. INT. PYRAMID - CORE CHAMBER - DAY Watts and Holloway, in space suits, arrive on the scene: Powerful floodlights illuminate the core chamber, beating back the gloom. A fine spray of water falls out of the darkness overhead. DAVID, Chance, and Ravel are dismantling the hulking mechanism at the core of the pyramid - peeling its thick skin away with power saws and compact explosives. DAVID operates a diamond-bladed hull saw, carving away the terraforming systems thick skin. Robotic scanners take high-resolution scans of the machinery. Two Weyland Security soldiers - Card and Ray - stand guard in combat vacuum suits. Automatic rifles at the ready. Watts takes in the destruction with dismay. Beside her, Holloway is all but gnashing his teeth. CATACOMBS Janek drives a cargo rover carrying a search party, flashlight beams sweeping: Stillwell, Glasse, Downs, and Brick. Janek studies an electronic map as he drives. GLASSE (INTO COMM) Milburn. Fifield. You read me? Come back. JANEK We should be getting beacons off their suits. STILLWELL Shielding in the walls? BRICK Suits could have failed. JANEK Both suits? PYRAMID - CORE CHAMBER Watts watches in rage as a large section of the central mechanism's falls with a thunderous clamor to the deck. 62. Holloway touches her shoulder. Motions for her to follow. LOWER PASSAGE Holloway and Watts pass the dead Engineers they discovered the previous day. WATTS We found the tomb of the gods, and brought grave-robbers right to the door. HOLLOWAY Let them scratch. This find's too big to ruin. There's two dozen pyramids on this moon. Anyway, they're on the wrong track. That's infrastructure. Holloway plays his flashlight over the biomechanical apparatuses lining the walls. HOLLOWAY (CONT'D) The core activity of the complex was down here. They turn a corner. DEAD ENGINEERS lie scattered over the floor in front of them. Desiccated and skeletal. Long dead. Watts moves among them, fascinated. These Engineers all died of explosive chest wounds: ribs bent outward from within. They are otherwise unmarked. Holloway's more interested in the mechanisms: high-tech iron maidens, built to fit the bodies of giants. Some suggest sitting positions, others standing. Their design is invasive: meant not merely to embrace, but to penetrate, to fuse. WATTS Something different killed these. SHADOWY COLONNADE Watts and Holloway explore a wide colonnade. She is still distracted by the ancient dead; he by the machinery. Holloway walks down a narrow branching hall. So intent on the mechanisms in the walls, he almost doesn't see the AIRSHAFT plunging down into darkness in front of him. He stops just in time. Turns back... 63. A GHOST appears right in front of him - a giant dragging himself across the floor, his monstrous visage eye to eye with Holloway and looming closer. Holloway leaps back with a gasp - and falls down the shaft. The ghost stares after him as if watching his fall. Disappears in a puff of static. Watts crosses down the main colonnade, searching. WATTS Martin? Martin! An iris door closes over the shaft. COLONNADE Searching, Watts walks anxiously through the dark, sweeping with her light. Shouting for Holloway. She breaks into a run. CATACOMBS - MILBURN'S RESTING PLACE Janek and Stillwell stand aghast. Their flashlights illuminate a hideous sight: Milburn lies dead on the deck. His body contorted in agony. His head inside his helmet is gnawed down to the bone. STILLWELL What happened to him? Stillwell removes the dead man's helmet. The CENTIPEDE scuttles out onto the deck: doubled in size. Stillwell leaps back with a cry. Janek pulls his pistol. Puts three rounds through the bug. It dies in a spray of acid that burns holes in the black floor. Janek watches in astonishment as a pin-prick dot of acid eats a pit in his gunbarrel. DOWNS (O.S.) Captain. Downs approaches, holding pieces of a shattered helmet: the stencilled lettering on the helmet reads FIFIELD. Janek's jaw clenches grimly. His voice is resigned: JANEK Where's the rest of him? 64. DOWNS No sign. JANEK All right. We're done here. All hands back aboard. STILLWELL What about Milburn? They look down at the ravaged corpse. JANEK We can't bring the body aboard. God knows what's in there. Bag him. We'll put him in an ore hopper. INT. MAGELLAN - VICKERS'S SUITE Vickers stares at her holography terminal: it displays Janek's helmet-cam view: the Milburn's body, sealed in clear plastic in the bed of a cargo rover. JANEK (V.O.) (FILTERED) Repeat, I have two men down. I'm pulling my crew back to the ship. I'd advise you to do the... WATTS (V.O.) (breaking in, filtered) Please, anyone...I need help. Martin's missing. Vickers looks nervously from one video feed to the next. JANEK (V.O.) (FILTERED) Watts. Where are you? Vickers turns: Captain Shepherd stands behind her, watching. She strives to control the quaver in her voice. VICKERS Captain Shepherd. Consider yourself responsible for my personal security. CATACOMBS - JUNCTURE Watts stands beside Janek's rover in a wide dark passageway. 65. JANEK I've just lost a third of my crew. I'm not sending any more men off into the dark. WATTS We can't leave Martin out there. JANEK Get Vickers to lend you some soldiers. WATTS (FURIOUSLY) She says "her forces are committed." Janek sighs. Glances at the rover: Milburn dead in the back, Stillwell, Downs and Kamarov looking jumpy and eager to go. Downs shakes his head grimly: No way. DAVID (O.S.) I'll stay. DAVID steps out of the dark. Calm as ever. A slim machine gun slung over his shoulder. DAVID (CONT'D) You'll be safe. WATTS Thank you. EXT. MAGELLAN - DAY Janek and his crew unload Milburn's body from the rover. JANEK Put him in the number one ore hopper. Get the scrubbers on in the airlock. Sterilize everything. MINUTES LATER Stillwell uses a remote to lower an ore hopper from the belly of the ship. A thick steel bin on heavy chains. He loads the body bag into the hopper. INT. MAGELLAN - AIRLOCK The crewmen enter one at a time - blasted by sterilizing sprays and radiations. 66. INT. PYRAMID - LOWER PASSAGE DAVID and Watts move through the dark. She searches with her flashlight beam. DAVID looks around in the dark as if the catacomb were illuminated. Rapt admiration on his face. DAVID You and Holloway should work with me. I'm learning amazing things. This mechanism - the first layer uses energy fields to catalyze chemical reactions. The second can suspend the strong and weak forces - transmuting one element into another. The third layer builds customized bacteria. Seeds the air with them. It creates life as a tool, to change worlds. WATTS I can't think about this now! DAVID You should. (HE SIGHS) I understand. You're emotional. WATTS I'm human. DAVID That's what I mean. INT. MAGELLAN - BRIDGE - DUSK Janek stands on the Bridge, looking out at the fading light. A towering wall of cloud rushes over the horizon. A storm front rolls across the holographic globe. INT. PYRAMID - LOWER PASSAGE DAVID and Watts keep searching. Their communicators crackle. JANEK (V.O.) (FILTERED) Watts. We've got another storm front coming in. Looks like it follows the sunset line. If you're coming in you'd better do it now. 67. WATTS (ANGRILY) No. DAVID I see light. Watts squints into the darkness. She sees nothing. WATTS Janek, hang on... She sees it. A dim light bobbing far ahead in the passageway. She runs forward - finds Holloway staggering blearily toward her, leaning on the wall. His helmet and most of his gear are missing; only his chest lamp shines. WATTS (CONT'D) We've got him! (TO HOLLOWAY) Martin! Where's your helmet? He's disoriented: he stares at her face for a moment before she registers. His teeth chatter. He's freezing. HOLLOWAY Broken. I fell. Little...disoriented. I've just been... He waves a hand vaguely at the tunnels behind him. DAVID removes his own helmet. Fits it over Holloway's head. DAVID Here. I can do without this. WATTS Let's get you home. EXT. MAGELLAN - AIRLOCK LIFT - DUSK DAVID - bareheaded in the winds - walks Watts and Holloway onto the airlock. DAVID looks over his shoulder at the canal leading back to the central crater. As the airlock lift begins to rise, he steps backward out into the storm. Turns and runs through the gale toward the pyramid. Watts watches him go in astonishment. 68. INT. MAGELLAN - EXCURSION CHAMBER Watts helps Holloway out of his space suit. Janek looks on. JANEK I didn't think I'd see you again. You know we lost two men. Holloway still looks too weary to think straight. He nods. HOLLOWAY She told me. I'm sorry. He stands abruptly, swaying a little. HOLLOWAY (CONT'D) I need to lie down. We'll size things up in the morning. Fair enough? JANEK Of course. PASSAGEWAY Holloway and Watts walk aft toward their cabin. Watts looks worried - but Holloway shows little of the weakness he just claimed to feel. WATTS What happened to you? HOLLOWAY (QUIETLY) Not here. SCIENTISTS' CABIN - WASHROOM - NIGHT Holloway stands shirtless in the tiny space, brushing his teeth. A red weal around his neck. Watts stands beside him, watching him in the mirror. HOLLOWAY Jocelyn. I saw something. God, my mouth tastes like an old boot. He spits. Rinses. She touches the mark on his neck. WATTS What's this? 69. HOLLOWAY Neck-ring of my suit, I think. Fell on it. He rubs his neck, eyes far away. Watts watches him curiously. WATTS What did you see? HOLLOWAY After my fall, I woke up walking. Delirious. My helmet wasn't right. I took it off. I was in and out. I just wandered. I went up into a huge space like a cathedral. And I found a model of the galaxy. Floating in the air. WATTS Are you okay? You sound... HOLLOWAY This was real. My headset video is wherever my helmet is...but my suit tracker will show where I was. He turns to her. HOLLOWAY (CONT'D) Listen. This star map had a marker representing Earth. Very clear. Another marker I'm sure represents this moon. But there were others. At least seven or eight more. Watts stares at him, her eyes coming alight. HOLLOWAY (CONT'D) The Engineers aren't from here. This moon's just an outpost. Abandoned. But if we follow that map, we may yet make contact with a living civilization. WATTS Martin. HOLLOWAY The location of the Engineer worlds is the real prize. Next to that, Weyland's terraforming is chump change. We need to get coordinates. And keep them from the Company. We have to play this smart. 70. WATTS All right. HOLLOWAY Two men dead...Vickers is jumpy. As soon as she gets what she wants, she'll take this ship home. We have to move fast. Holloway trembles. A sheen of sweat on his skin. WATTS We will. You all right? He's frightened. Brazens through it. Pulls her into his arms. HOLLOWAY I'm fine, now. He kisses her. BEDROOM Holloway tumbles Watts onto the bed. Pulls her shirt off. They struggle out of their clothes, clinging to one another. Holloway's ill at ease: something's wrong inside him, he feels it. He dives into Watts as if for refuge. They make love. Sitting atop Holloway, Watts lays a hand on his chest. WATTS Your heart's beating so hard. HOLLOWAY That's your fault. Vulnerability in his voice. Fear under the surface. He rolls on top of her. Drives her into the mattress. She holds him protectively: not deceived by his bravado. Suddenly Holloway tenses, muscles rigid. Shuddering. Watts draws breath through her teeth with a hiss. Eyes open. Her fingers rake his back. He SCREAMS. Horribly. Eyes bulging. Tendons standing out of his throat. Watts jumps violently underneath him. 71. WATTS Martin! Martin! He begins to convulse. She rolls him onto the bed beside her, trying to contain his spasms. His teeth grind. WATTS (CONT'D) Martin! A horrible CRACK. In the middle of Holloway's chest, beneath the sternum, a grotesque head pushes out through the skin. A PARASITE. Blood fountains from the ruinous wound. Holloway goes into a massive seizure. Violently lashing out. Watts stares at the parasite fighting its way out of his body. It is white and boneless. Glistening. It flails its hideous lunging jaw. Watts screams and screams. The parasite frees itself from its savage womb and turns on Watts. She slaps at it blindly. It HISSES at her. She squirms away across the floor, tangled in the bloody sheet. The thing comes after her. CORRIDOR - TRACKING SHOT Watts's screams echo through the Magellan. Stillwell runs down the hallway, searching for the source. SCIENTISTS' CABIN The parasite chases Watts across the floor. She leaps into the clothes-locker and slams the steel door. The parasite flattens itself. Slick as an octopus, it begins to slide under the locker door. Watts shrieks in horror. Stillwell bursts into the cabin, Janek right behind him. Quick as a cat, the parasite darts to a floor vent and slithers bonelessly between the bars. Watts bursts out of the locker, naked and bloodied. Rushes to Holloway where he lies on the gory mattress, a horrific hole in his chest. He is beyond all help. WATTS Martin. Martin! 72. Janek and Stillwell struggle to take in what they're seeing. Stillwell pulls Holloway's jacket off a chair. Wraps it around Watts. Pulls her gently away from the bed. She looks at him, uncomprehending. Shock setting in. BREAK ROOM Watts sits at a steel table, deep in shock. She wears an oversized crew coverall: her skin still streaked with dried blood under the fabric. A knot of crewmen around her. Janek, Stillwell, Brick, Glasse and Downs. Janek looks at Glasse. JANEK Take care of her. Get her a sedative. Downs. Get Holloway into a freezer. Everybody else with me. INT. CATACOMBS - DARKNESS A horrible sound of breathing, ragged and wet. In a corner, lit by a green glow from seams in the floor - A FIGURE IN A WHITE SPACE SUIT lies writhing weakly. The insignia on the suit's chestplate reads FIFIELD. The suit's helmet is shattered. Inside the helmet, Fifield's head is a horror: a gelatinous mass, skin reduced to putty. The softened bones of his skull change shape as we watch. Elongating. Fifield mews in pain. INT. MAGELLAN - CAPTAIN'S WARDROOM Janek keys open the arms locker in his wardroom. Unlocks automatic pistols from their rack one by one, and hands them to Stillwell and Kamarov. HYPERSLEEP COMPARTMENT Holloway's body lies frozen in his hypersleep freezer, blue with frost. The horrific wound yawning in his chest. Watts enters. Cleaned up. She opens the freezer. Her hand caresses Holloway's cold cheek tenderly. Slides over his collarbone - lies flat on his chest above his awful wound. 73. Glasse enters. Reacts in dismay. Tries to pull her back. GLASSE You don't want to see that... She turns on him fiercely. WATTS I want to understand. INT. MESS ROOM - DAWN The entire complement of the ship gathers for an emergency meeting. Janek at the head of the hall. Glasse, Downs, Brick, Stillwell, and Kamarov seated with pistols on their hips. To one side: Vickers with Captain Shepherd and Vigoda. JANEK All right! Listen up. I expect you all know what... Watts enters. They all stare at her, knowing what she's been through. With averted eyes she crosses the room. Sits alone. JANEK (CONT'D) We've got some kind of parasite aboard ship. VICKERS I suggest you kill it. DOWNS There's a bright idea. KAMAROV Show us where it is, lady. We just spent five hours looking for the damn thing. WATTS We found Engineers who died like Martin. Silence. They all turn to look at her. WATTS (CONT'D) Explosive wounds in the chest. Whatever killed Martin is the same thing that killed the Engineers a thousand years ago. 74. STILLWELL Jesus. WATTS But not all the Engineers died that way. The others were torn apart. Slashed to pieces. A murmur among the men as the implications of that sink in. Even Vickers is disconcerted. JANEK We're a modular ship. Self-contained life-support and power in every section. I say put the ship in orbit. Vent every compartment to space. Sit in vacuum at twenty degrees Kelvin for a week. Kill anything. DOWNS Then what? STILLWELL Straight home, man. VICKERS This ship doesn't lift until our work's done. She joins Janek at the head of the room. Shepherd and Vigoda flank her, rifles slung. The soldiers scan the room, meeting each man's eyes. The quiet threat is unmistakable. JANEK Are you serious? VICKERS We spent years and billions of dollars getting here. The technology we came for is in our hands. We just need a little more time. JANEK We're barely here three days and three men dead! VICKERS They were careless. JANEK Careless! As the argument picks up heat, Watts slips out of the room. 75. EXCURSION CHAMBER Watts, in a space suit, no helmet, opens Holloway's locker. She pulls out the space suit he wore on the last day of his life. HOLLOWAY stenciled on the chest. Her fingers linger in its folds as if she could soak up some last trace of him. She pulls the tracking chip from the chestplate of his suit. Plugs the chip into a map unit. The holographic map lights up. The legend in the corner reads MARTIN HOLLOWAY. A wandering path shows Holloway's final exploration. Markers on the map denote his photographs, field notes and scans. Watts touches a marker. One of Holloway's field notes plays: HOLLOWAY (V.O.) (FILTERED) Seven dead Engineers all facing the same way. Going where? Jocelyn's right, we don't see the big picture yet. Another level below me. I'm going down. SERVICE CORRIDOR A hunting party convenes: Card and Vigoda in combat coveralls with submachine guns; Downs, Kamarov and Stillwell wearing tool belts and pistols. The soldiers carry map units, squinting at the plan of the unfamiliar ship: decks upon decks. CARD Vigoda, take Kamarov and work the number one accessway. I'll work number three with Downs and Stillwell. DOWNS (REBELLIOUS) You in charge now? CARD Tactical op. KAMAROV Yeah, well, Stillwell's the ventilation specialist, and life support's that way. Downs is electrics and the regulators are that way. 76. Vigoda grins wryly. Card glowers. They switch corridors. INT. PYRAMID WORKSITE Ravel and Chance toil away at their dissection of the terraforming pyramid. Ray stands sentry. DAVID is nowhere to be seen. Watts rolls up in a rover and gets out. Heads for the ramp to the catacombs below. Ravel and Chance watch her pass without comment and return to their work. INT. MAGELLAN - SERVICE DECK - DAY Kamarov and Vigoda, standing in front of an open vent, are in a full-fledged argument. KAMAROV You got the rifle. But you want ME to stick my head in the hole. VIGODA We grunts don't know nothing about ships, right? KAMAROV What's the damn gun for if you're gonna stand behind me the whole time? Vigoda grins. VIGODA I kill whatever kills you. KAMAROV Funny. You take this vent, funny guy. I'll be on four. INT. PYRAMID - RAMP Watts descends alone into the lower passages below the pyramid. A tiny figure in the vast darkness. She holds her map unit as a pilgrim holds a bible: a guide in the darkness. Holloway's name and course in shining symbols. She follows his path into the unknown. 77. INT. MAGELLAN - MAINTENANCE BAY - DAY Kamarov carries a stepladder into a utilitarian steel compartment. Drops the ladder under an air vent and steps up. He pulls a powered wrench from his belt. With the wrench cocked like a hammer, he eases up and peers cautiously through the vent with a flashlight. Nothing to see. He snorts. Removes the vent cover. Feels around inside. He gasps in shock. Pulls out an atmosphere sensor that's been bitten in half. He takes his comm handset off his belt. KAMAROV (INTO HANDSET) I got more damage on four. He hangs the handset on his belt. Takes one last look into the vent. Squints curiously. Reaches deep inside. A hiss inside the vent. Kamarov whips his flashlight up, peering inside. Snatches his arm back - - but something snatches him faster. An unseen force drags Kamarov's right arm into the vent with hideous strength. He cries out in pain. He drops his light. Tries to reach his pistol with his left hand. It's on his right hip. He can't reach across. He braces his head against the vent's edge. Clenches his teeth and strains. A horrific YANK drags his head and arm together into the vent. They barely fit: he loses some skin on the way in. His feet come off the stepladder. He struggles on tip-toe. Horrific force collapses Kamarov's shoulder. Bones crack. The thing in the vent drags him through that hole he doesn't fit through. By the time his ribs are in he stops screaming. His body disappears into the hole. Hips, legs, boots. BRIDGE Janek stands staring out at the barren moon. The Bridge INTERCOM SQUAWKS: BRICK (V.O.) Captain! 78. JANEK Brick. What you got? BRICK (V.O.) It's Kamarov. ENGINEERING DECK - ATMOSPHERE PLANT The Magellan's life support center. A deep rumble of ventilation fans. Janek and stands beside Brick, Glasse, Downs and Stillwell. Shepherd and Vigoda look on from the doorway. In front of them, an eight-inch metal duct has been cut open. Kamarov is stuffed inside, dead and broken: limbs folded, drenched in blood. A human plug in a pipe. INT. CATACOMBS Watts moves through the darkness with her map unit. Her headlamp sweeping nervously. A CLATTER behind her makes her spin: but it's only a spherical mapping probe, bumbling through the dark. She walks on - HOLLOWAY (O.S.) (FILTERED) Jocelyn! The voice transfixes her where she stands, a look of holy dread on her face. Shivering, she prowls toward the sound. XENOMORPH INCUBATOR Watts enters a new chamber, looking around in astonishment. The domed ceiling is honeycombed with cells like a beehive. Grotesque molluscoid organisms are secreted in them - their vile orifices cinched tightly shut. Watts stumbles on something: looking down, she sees a helmet. Picks it up. The stenciled label reads HOLLOWAY. The clear visor has been melted through by a powerful acid. She looks up: a tracheal airshaft curves up into the dark. An electric CRACKLE. A flare of blue light makes Watts leap back against the wall. 79. Holloway falls out of overhead shaft and crashes to the floor. He lies in pain, barely conscious. Blue and luminous, a holographic ghost. Watts stares, paralyzed. The ghost gasps out a word: HOLLOWAY Jocelyn! Holloway's headlamp shines on the molluscoid right overhead: the beam awakens the organism. Its sphincter mouth dilates. A soft white octopoid FACEHUGGER descends on a quivering rope of mucus. Sprawls slitheringly over his clear visor. Acid HISSES. Smoke rises from the glass. The vision vanishes in a sizzle of static. Watts huddles against the wall, gasping. In the beam of her flashlight, the FACEHUGGER lies dead, legs curled in. She looks up. Sees the open molluscoid above where Holloway lay. The other molluscoids not yet opened in their cells. Terror. She steals out of the chamber. LOWER CORRIDOR Watts emerges into a hallway. Leans against the wall, wide- eyed. Panting with the horror of what she's seen. She glances left and right. Jumpy now. All is silent. She lifts the map unit. A trace leads off into the dark. If Holloway's course before was direct and clear, now it is a meandering thread. A drunkard's walk. INT. MAGELLAN - CORRIDOR Janek pulls his communicator from his belt as he strides along. Punches a control. His voice reverberates over the ship's public address system. JANEK All hands, duty stations. Ready for flight. The Magellan is lifting. Vickers pursues him down the corridor, shouting. 80. VICKERS Captain. Captain! BRIDGE Janek strides onto the Bridge, Vickers a terrier on his heels. But something in the faces of his men stops him cold. Glasse and Brick look stricken. JANEK What is it? GLASSE Nav computer's not responding. "Access denied." In disbelief, Janek strides to his Captain's chair. Taps controls. What he sees takes the wind out of him. He stares at Vickers in outrage and violation. JANEK What have you done to my ship? Vickers is legitimately shocked. She shakes her head. VICKERS Nothing. What's wrong? INT. CATACOMBS - UNDERGROUND HANGAR A circular chamber of stunning size - a thousand feet across. Its lofty ceiling flat and segmented, designed to open. Watts follows her map into the space in awe. Dominating the hangar is a ship: the vast horseshoe-shaped vessel familiar from the original film. We will come to know it as the JUGGERNAUT. It's at rest on its landing gear. Skeletal gangways slanting up to its three massive doors. Watts glances at her map: Holloway's holographic trace leads right up the gangway into the ship. She goes. PILOT CHAMBER Watts passes through a circular space with a high domed ceiling. A green glow emanates from grooves in the floor. In the center of the chamber: a PILOT'S CHAIR. 81. A mechanical throne built to giant scale. Its seat segmented like an armadillo's back. Tubes and conduits poised and waiting for some connection. The chair is empty. Above the chair, a massive telescope-like apparatus juts into the air, its function unknowable. NAVIGATION CHAMBER An extraordinary facility. A console, nearly five feet high and broad as a dance floor, dominates the room. Four immense coffin-like cockpits are built into the console. In each of these a NAVIGATOR - an Engineer - lies long dead. But the real spectacle is overhead. The ORRERY: The barrel-vaulted ceiling is traced with circular arches of some exotic alloy, as if to trace celestial courses. The air above the console is filled with spheres of light. They are nearly still: but close study reveals them all to be in motion, drifting with the movements of the cosmos. Watts stares at the Orrery in amazement. Somewhere among those heavenly spheres is Earth. Somewhere perhaps the homeworld of the Engineers themselves. A bizarre sound: a section of blank wall suddenly unravels itself, becoming an open door. DAVID walks in, his hand raised in command. He clearly caused the door to open. WATTS DAVID. DAVID Dr. Watts. I didn't expect you. Do you know what this is? Watts points at the door DAVID just opened. WATTS How did you do that? A flicker of disappointment in the android's face. Contempt. DAVID Ah. You don't see. (HE SMILES) I call this ship the Juggernaut. Chariot of the Gods. (MORE) 82. DAVID (CONT'D) This is the navigation computer, for want of a better term. But it's much more than that. It seems to hold the observable universe in its memory. He gestures in the air: the spheres reconfigure themselves at his command, swarming and zooming. Watts stares at DAVID, conflicted: her desire for information warring with the agenda that brought her here. WATTS Their homeworld. Do you see where the Engineers come from? DAVID There are safeguards on that data. It's toward the galactic center. Sagittarius Arm. WATTS DAVID. The creature that killed Martin. There are thousands of them under the pyramid. Hatcheries. DAVID I know. WATTS (SHOCKED) Those things wiped out the Engineers on this moon. DAVID I've succeeded in connecting with the Juggernaut's systems, Dr. Watts. I know a great deal today I didn't know yesterday. I'm on the verge of activating more systems. Archives. WATTS (HORRIFIED) You're turning things on? This site should be sealed. Evacuated. DAVID Would Holloway have walked away from this? There's no greater work I can imagine. WATTS It's too dangerous. 83. DAVID Only for the ignorant. Dr. Watts. I've read your file. Your intelligence scores are even higher than Professor Holloway's. But he had a kind of courage. An audacity of imagination. If you could find that in yourself... Watts stares at him, realization growing in her eyes. DAVID is off the reservation. WATTS If your owner gives you a direct order, you have to obey. Don't you? She's got his attention now. DAVID goes rigid. WATTS (CONT'D) I can have Vickers pull you out. DAVID looks at her with something like contempt. DAVID I was given two operating protocols for this mission. I was to render you every assistance - until you discovered what Vickers would call a "game-changing technology." I was given a specific list. Then I was to go to protocol two. There's an edge in his voice that scares her. WATTS What's protocol two? DAVID Under protocol two I was to make sure that you and Holloway never spoke to anyone about this place. Various acceptable ways of making sure of that. I was given a list. Watts loses her nerve. She heads for the door. DAVID (CONT'D) You're all so stupid. The door begins to knit itself closed in front of her. Watts gasps in shock - at the malice in DAVID's voice as much as the closing door. She dives out. Just in time. 84. VAULTED PASSAGE Watts runs. Behind her, the door bursts open again. With superhuman speed, DAVID comes after her. He runs like a demon, his legs steel pistons. Caroming off of walls. He closes the distance in seconds. Slaps Watts against the wall, shattering her helmet's visor. She falls, dazed. DAVID Stupid and slow. INT. JUGGERNAUT - EGG CHAMBER Watts awakens. Her helmet is gone. DAVID is dragging her across the floor - into a huge cargo hold full of Alien eggs. The wide trench holding hundreds of eggs under a membrane of light: an evolution of the molluscoids Watts saw before. Armored, hardened, darker. WATTS DAVID. What are you doing? He hauls her upright to let her look across the huge space. His grip looks casual but it might as well be iron manacles. DAVID Juggernaut, the chariot of Krishna, was also a bringer of death. Crushing his worshippers under its wheels. He drags Watts down into the trench. Breaking the membrane of light. Grips her against his chest like a doll with one arm. DAVID (CONT'D) This ship has seven other cargo bays like this one. The eggs in each bay slightly different. They've been weaponized. Watts struggles to free herself. DAVID's arm is inescapable. DAVID (CONT'D) I've seen the Juggernaut's flight plan. Its destination was Earth. Seventeen hundred years ago. This was the ship that never came. This was its cargo. 85. DAVID caresses an Alien egg. It opens under his touch - fleshy petals folding wetly back. Watts twists frantically in his grip. Wild-eyed. WATTS Stop! DAVID Perfect predators. Designed to kill human beings. That's what the Engineers were bringing to Earth. This was a death ship. A facehugger emerges from the egg, its grotesque fingers clawing at the air. This is not the boneless squid that attacked Holloway; this is a pale skeletal hand, armored. DAVID strokes it curiously: the thing ignores his touch. Climbs Watts's body. DAVID (CONT'D) I'm not what it wants. But you, with your warm wet breath...it knows you. WATTS DAVID. No. No. The facehugger scuttles toward her face. Watts shrieks. DAVID grabs it nonchalantly by the tail. Dangles it in front of their faces, studying it. DAVID The Engineers did their work too well. And on this waystation moon, the weapon they made destroyed them. Watts shudders, staring at the thing. For a moment the grander horror eclipses her own peril. WATTS Why would they make such things? DAVID To destroy their wayward children. (INTONING) "And the LORD said, I will destroy man whom I have created from the face of the earth...for it repenteth me that I have made them." Genesis six seven. He regards Watts with something almost like pity. 86. DAVID (CONT'D) I know. I met my creators the day I was born. I was disappointed too. He lets the facehugger go. Watts twists her face away as the long fingers close around her head. Clenches her teeth against the vile proboscis thrusting at her mouth. Her heels hammer the deck. DAVID (CONT'D) (whispering to her) Extraordinary. The scaly tail throttles her. Her mouth opens. The proboscis plunges home. The facehugger seats itself. Watts collapses in DAVID's arms, a faceless rag doll. Her blasphemous passenger secure in its place. INT. MAGELLAN - ENGINEERING DECK - BILGE The lowest deck, just above the gravity generators. Condensate has accumulated: six inches of filthy water. Card and Vigoda prowl through the darkness, rifles ready. CARD Who would hang out here? VIGODA The signs lead here. A wet splatter behind them: they spin. But it's only a trickle of condensate from a drainpipe. They move on. Behind them, from an eight-inch diameter pipe, a WHITE MASS oozes, almost gelatinous. Silently as a liquid it pours itself into the stagnant water - and stands up. It is a humanoid demon, spindly limbs and bony back. Boneless and flexible and monstrously strong. A threshing eel's tail. Its blunt head dolphin-like and elongated. It opens its mouth. A pair of bony jaws jut out impossibly far, hungry and demonic. The Alien strikes. Card is gutted in an instant, torn up like a paper doll. He screams hideously and drops. The Alien, whiplash fast, shoots away into the darkness. 87. Stillwell and Downs dash in with pistols and lights. Vigoda, panicking, fires a wild burst. Stillwell ducks. Beside him, Downs arches backward into the foul water. Dead. For one moment Downs's flashlight beam illuminates the Alien. A nightmare image, a translucent white goblin. Backlit, it shows the strange shape of a human face inside its fleshy skull. A mockery of Holloway. And then it's gone. VICKERS'S SUITE Vickers sits at her holography station. She's watching the video feed of Stillwell's headset: Horrific images of Downs. Radio chatter between Stillwell and Brick is faintly audible. Vickers switches off the machine and rises nervously. Strides to her communications console. VICKERS DAVID. DAVID. Answer me. She gives up. Pacing. Hands shaking violently. INT. MAGELLAN - BRIDGE - DAY Janek paces on the foredeck, restless. Glasse monitors a control station. Janek's comm signal chimes. STILLWELL (BREATHING HARD) We just lost Downs and one of the troopers...Card. JANEK God damn it! He pounds on his console. INT. JUGGERNAUT - CORRIDOR OUTSIDE NAVIGATION CHAMBER Watts shocks awake. Gasping. She lies in dim green light on the corrugated black deck of the Juggernaut. A corridor. Not far away, the doorway DAVID opened to the Navigation Chamber. A spasm of disgust crosses her face. She gags and spits: a viscous fluid drips from her mouth in strings. 88. A dead facehugger lies belly-up beside her. The implications slam home. Her face fills with horror. She rises, shakily. Looks at the facehugger. Feels the neck ring of her vacuum suit. Looks around. No sign of her helmet. There's no sign of DAVID. Silently she steals away. PYRAMID WORKSITE Ravel and Chance toil away at the terraforming engine. Ray stands guard wearily: bored, he watches Ravel and Chance working more than he watches the shadows. Watts emerges from the rampway to the catacombs. Bare-headed and sweaty she steals through the darkness to her rover. Slips into the cab and activates the air reserves. The doors seal; air cycles. Ray turns in surprise as the rover speeds off. EXT. DARK CITY - TUNDRA FIELD - PRE-DAWN The windows of the Magellan shine in the distance. The mottled ground-cover of lichens glows eerily in the dark. A lone cargo rover speeds across the central crater and down the canal leading to the ship. EXT. MAGELLAN - AIRLOCK LIFT - PRE-DAWN Bare-headed inside the rover's cab, Watts drives onto the cargo lift. Watches in relief as the lift doors close. The lift cycles air as it rises. INT. MAGELLAN - EXCURSION CHAMBER - DAY Watts peels off her vacuum suit. The thin clothes underneath are drenched with sweat. She lifts her shirt. Looks at her belly: flat and unmarked, for the moment. Brick enters carrying a brace of air tanks, a pistol on his hip, and startles violently. BRICK Where the hell have you been? We thought the snake got you. Watts rushes past him without answering. 89. BRICK (CONT'D) You were better off outside. It's a fucking madhouse in here. CORRIDOR Watts sprints down a steel corridor. A pang of pain in her stomach sends her staggering against the wall. VICKERS'S CABIN DOOR Watts sticks her head around the corner. Shepherd stands post outside Vickers's cabin, rifle in his hands. She curses silently and ducks back. A sound makes her look again. Vickers steps out of her cabin into the corridor. Shepherd escorts her toward the Bridge. Watts waits for them to disappear. Dashes for the cabin door. INT. VICKERS'S SUITE - CONTINUOUS Watts slips inside and locks the door behind her. Turns, holding her stomach. Moves across the suite to the Med Pod. She thumbs the machine out of stand-by mode. Its screen fills with menu items. Bewildering. Watts finds and touches a red button labeled EMERGENCY. A new, simpler list. Watts scans it frantically. WATTS (under her breath) Come on...I need a Caesarean. A spasm of agony curls her into a ball on the carpet. She throttles her scream into a hiss of air. Watts struggles up to her knees, drenched in sweat and shaking. One hand clamped over her mouth, elbow tucked against her ribs. With the other hand she taps options... SURGERY ... EXPLORATORY ... ABDOMINAL ... PENETRATING INJURIES ... FOREIGN BODY ... INITIATE The Med Pod opens with a hiss. Watts strips off her clothes. Struggling with fastenings under a new wave of pain. Her hands shaking. She's barely keeping her feet. She clutches the frame of the Med Pod in a death grip. It's happening. 90. Naked she staggers into the pod. Hits INITIATE. The surgical apparatus swings into place. Scalpels, forceps, scopes and suction tubes. A spraygun mists her torso with yellow antiseptic. The clear canopy descends over her. Watts SCREAMS. A wail of indescribable agony. An ARMORED PARASITE erupts from the deepening incision. Its needle-toothed maw snarls through a fountain of blood. Arterial blood sprays the inside of the canopy. The parasite slithers out of her. Drops to the floor of the pod: a pale serpent with a demon's skull. It has a hard brow, a horny hide. Very different from the soft white worm that Holloway gave birth to. It drops to the floor, thrashing and hissing in fury at its confinement. Watts convulses. Her eyes roll back. In shock. Dying. The parasite tears through the grille of the drain. Escapes out into Vickers's cabin. In the pod, scanning beams and sensors probe Watts's horrific wound. A nightmare list scrolls across the pod's screen: COLLAPSED LEFT LUNG PUNCTURED RIGHT VENTRICLE PERFORATED STOMACH RUPTURED SPLEEN GROSS MUSCULAR TRAUMA... Manipulators plunge lines into her veins - recharging her body with artificial blood. An oxygen tube slips down her throat. An epidural into her spine. Watts moans around her tracheal tube. Her eyes flutter open. WATTS'S POV Through the blood-spattered glass, she sees the parasite slither across Vickers's bed, tracking blood on the sheets. ON WATTS As she slips into unconsciousness. Head lolling. Time passes. 91. Manipulators reach into her wound. Re-positioning organs. Suturing ravaged flesh. A nozzle sprays antiseptic sealant. Hours grind by in bloody labor. Watts's eyes snap open. WATTS'S POV Vigoda breaks into the cabin, a gun in his hand. He scowls at the bloody track on the bed - and then freezes, seeing Watts inside the Med Pod, a vivisected woman. The autosurgeon hard at work. The parasite crawls into view behind Vigoda. It has already trebled in size. He does not see it before it leaps at him. He dies in seconds. His throat ripped open. Lies staring at nothing. His submachine gun lies beside him. Watts's body jerks as manipulators tug and sew at her guts. She stares at the dead man in a fog of horror. The parasite's skin splits, spraying the carpet with acid. Limbs erupt from its shoulders and haunches. Spines from its back. Metamorphosis. With a crack of carapace, its head swings down from its serpentine position. It becomes a devil with an lethal, elongated skull. An Alien. The Alien turns its head. Looks at Watts inside the Med Pod. Her breath catches. She passes out. INT. MED POD - LATER Watts wakes as the oxygen line withdraws from her mouth. She looks down, bleary and hurting. Her star-shaped wound is stitched closed with mechanically precise sutures. The pod releases the restraints securing her arms and legs. She takes a deep breath. Looks out - and freezes. WATTS'S POV The lights in the suite outside have been damaged somehow. They flicker and strobe. 92. Through the glass canopy - spattered with blood - Watts sees a full-grown Alien crouching over Vigoda's body on the floor. ON WATTS Staring in horror. The pod sprays a liquid bandage over her scar. The intravenous lines drop out of her arms. Watts realizes the pod is about to release her. WATTS (WHISPERING) Not yet...not yet... Slowly she reaches out. With trembling fingers she grips the canopy to hold it closed. The Med Pod pulls the epidural needle out of her spine. Sprays liquid bandage over the puncture. Watts closes her eyes. Grits her teeth as her nerves wake up. Jangling pain. She opens her eyes. The Alien hunches over Vigoda's body, tearing at his flesh. The ventilation hum inside the pod goes quiet. The canopy pulls free of Watts's weakened grip. Swings quietly open. Watts huddles in the open pod. Naked but for her bandages. The Alien she gave birth to is ten feet away. Its spiny back to her. Vigoda's gun lies on the floor outside the pod. VICKERS'S SUITE - CONTINUOUS Watts reaches out of the pod with exquisite slowness. Lays her hand on the gun. Drags it a few inches closer. The Alien turns its pale eyeless head. Watts freezes. For a moment time stops. The Alien lunges. Watts snatches up the gun and FIRES. Holds the trigger down. The Alien jerks and staggers - an eye- twisting sight in the strobing muzzle flashes - and falls. Watts empties the clip into the thing. Acid gouts from its wounds and eats into the deck - until a section of decking gives way and falls to the deck below, leaving a dark hole. 93. Watts collapses on the rug, cradling her stomach in pain. She crawls to Vigoda's desecrated body. With her eyes half- averted from the sight, she searches the body. Finds a spare ammo clip and jacks it into the gun. CORRIDOR Watts walks down the hallway in trousers and jacket. Leaning on the wall, her face drawn with pain. One hand laid over the fantastic scar on her abdomen. The gun slung on her shoulder. Dark events have transformed the Magellan. The metal of the walls is torn in some places; in others, blackened by fire. Watts rounds a corner. Finds a workstation left in shambles: lockers and chairs overturned. A pool of drying blood. Wide smears of blood show where something man-sized was dragged out of the puddle - across the floor - up the wall. Into the darkness of an open vent. COMMAND DECK Watts emerges from a lift, jacket pulled tight around her. The emergency lights are on: dim blue bulbs throbbing. She rounds the corner toward the Bridge. Janek looks at Watts like she's a ghost. JANEK Vickers said you were dead. WATTS I was. She lets the jacket fall open to reveal her bandaged midriff. Janek takes that in grimly. JANEK So there's two of these things on my ship now. WATTS No. I brought it in. (hefts her gun) I took it out. 94. BRIDGE The surviving complement of the Magellan are holed up on the Bridge: Janek, Glasse, Stillwell, Vickers. The soldiers Shepherd and Ray. Watts stops cold when she sees Vickers. She crosses the bridge in three long strides - cocks a fist and snaps the older woman's head around with a hard right cross. Vickers staggers backward, gasping. Stillwell drags Watts away. STILLWELL What'd you do that for? WATTS Protocol two. Vickers stiffens in shock. Stares fearfully at Watts. Watts frees herself from Stillwell's grip. Her jacket falls open, revealing her bandages. Stillwell gasps in horror. STILLWELL Christ! JANEK What happened to you? WATTS DAVID exposed me to a parasite. He just watched it take me. JANEK Why? WATTS I threatened to make him leave. VICKERS What's he doing out there? Watts locks eyes with Vickers. Their hatred is thoroughly mutual. A wordless truce. There's work to do. WATTS There's a ship under the pyramid. DAVID calls it the Juggernaut. He's inside it. Re-activating it. (lays a hand on her scar) The things that infected Martin and me. (MORE) 95. WATTS (CONT'D) The Engineers made them to kill humans. There are thousands of them on the ship. They were taking them to Earth. That's what the Juggernaut is for. To exterminate us. A stunned silence as the others take that in. GLASSE We've got to get off this rock. Janek gestures to JANEK DAVID crippled the Nav computer. I'm trying to lay a course in by hand. Never done it. I'm not sure anyone ever has on a ship like this. We can't lift until DAVID lets us. WATTS Even if we could, we can't leave DAVID on that ship. We have to stop him. The Magellan shudders. A RUMBLE. EXT. CENTRAL CRATER Fissures race across the plain beside the pyramid. The soil and ground cover tears apart as a huge aperture opens: a seven-bladed iris, its segments shedding the dust and detritus of centuries. A huge circular space yawns as the iris opens. The Juggernaut is revealed in its underground hangar. A staggering sight. Powerful landing lights inside the hangar illuminate with a BOOM of closing circuits. The mighty ship suddenly silhouetted from below. INT. MAGELLAN - BRIDGE - CONTINUOUS The survivors on the Bridge stare out as colossal shafts of light shoot into the stormy sky from behind the crater's shield wall. The open hangar itself hidden from their view. WATTS DAVID. (TO VICKERS) (MORE) 96. WATTS (CONT'D) You're DAVID's owner. He has to obey you, right? VICKERS He's blocked my communications. He can't hear me. Won't listen. WATTS But if you went to him, turned on your suit's loudspeakers, he'd have to hear you. He'd have to obey. VICKERS (RELUCTANTLY) That's right. WATTS So we go. Armed to the teeth and fast as we can. The men exchange looks. Nod. They're in. Even Vickers nods. WATTS (CONT'D) Where are Chance and Ravel? VICKERS I told them to keep working. Watts looks incredulously at Shepherd and Ray, the soldier who'd been guarding the worksite. WATTS You called your soldiers in and left them out there? VICKERS We needed the firepower here. Watts gives Vickers a withering look and drops it. WATTS (TO JANEK) I think you should stay aboard. Keep working. If we fail, you're our only shot at getting home. STILLWELL There's still an alien on board. Janek's hand goes to the pistol on his hip. He sets his jaw. JANEK I'll stay. 97. WATTS Glasse. You finish that project? LABORATORY Glasse presents Watts with his handiwork: her old pair of magnifying goggles, retrofitted with Engineer lenses. The goggles sit on her forehead, lowering the lenses in front of her eyes and raising them again at her bidding. With the lenses lowered, Watts sees like an Engineer sees: visible heat auras and electromagnetic field lines, elaborate haloes around living things. WATTS God's-eye-view. EXCURSION CHAMBER Glasse seals a nervous-looking Vickers into a vacuum suit. Glasse, Watts, and Stillwell are already suited up. Stillwell stands guard at the airlock door with his carbine. Glasse goes to put Vickers's helmet on. She makes him wait. VICKERS DAVID's brain is readable. We have the equipment on board. We can salvage the terraforming data - and the Magellan's launch codes. In a pinch we don't need DAVID's cooperation. (COLDLY) We just need his head. EXT. MAGELLAN - AIRLOCK - DAY The war party debarks in vacuum suits: Watts, Vickers, Glasse, Stillwell. Shepherd and Ray. All carry submachine guns - Vickers awkwardly. They head down the trench on rovers. INT. PYRAMID The rovers roll through into the pyramid's cavernous entry hall. Watts lowers her Engineer lenses inside her helmet - AND GASPS: 98. The seemingly vacant space is alive with light. Engineer script scrolls through the air. Interfaces of pure light await an awakening touch. WATTS All this time. DAVID saw. EXT. JUGGERNAUT - GANGWAY The vast alien ship broods, its hangar now open to the gray sky overhead. In Watts's enhanced vision, the ship is cocooned with complex energy fields. The war party abandons its rover at the foot of the ramp and moves inside, weapons ready. WATTS If DAVID comes at us, shoot. You won't believe how fast he is. INT. JUGGERNAUT - VESTIBULE - CONTINUOUS They emerge from the airlock - and freeze in horror. Lying on the deck in front of them are the blood-soaked bodies of Ravel and Chance. Their arms and legs bound. Their heads thrown back in agony. Their chests torn open from within. A dead facehugger beside each body. Janek plays his lights over the corpses, his face stony. SHEPHERD Blood's dry. Eight hours dead or more. Fearfully they sweep their flashlights into every dark corner. Nothing. WATTS This way. She points down a passageway. Through the Engineer lenses she sees alien symbols gleaming. She leads them into the dark. VAULTED PASSAGE The war party moves down a corridor. A HISS echoes through the passage. They freeze. Sweeping their flashlight beams everywhere. Ray looks up. 99. An Alien hangs above him, wedged between two vaults of the ribbed ceiling. Half the size of a man; an adolescent. It drops on him. The bladed tail glances off his helmet, sparking. He jerks his carbine up and fires a long burst as he rolls aside. The Alien convulses, its exoskeleton shattered. Fatally wounded. Acid sears into the deck. Echoes of the gunfire reverberate. RAY So much for sneaking up on him. Vickers clings to Shepherd's arm, hyperventilating with fear. Shepherd shakes her off. PILOT CHAMBER The war party passes the empty pilot's seat. NAVIGATION CHAMBER Watts leads the war party to the Orrery. Momentarily even the soldiers forget their wariness, staring in astonishment at the myriad spheres of light. But if they are impressed, Watts is thunderstruck. She sees the Orrery in its full glory: a stunning panoply of light and energy. Stars and planets pulsing with information. Reluctantly Watts tears her eyes away. Leads the war party through the second door - the door she saw DAVID open. HIBERNATION CHAMBER An immense mausoleum. The war party enters stealthily, Watts in the lead. An Engineer lies on his back on a complex mechanical table, his body one with the machinery. Jacked in. Interpenetrated. Fused with the slab of the table itself. Unlike the other Engineer bodies the explorers have seen, this giant is not withered or mummified. He's full-fleshed and muscular. Sustained by the machinery he's fused with. He is bare-headed - his face the face of an Adonis. 100. DAVID stands before this giant Sleeper. To the naked eye, he seems to be conjuring with his hands in the empty air. But Watts sees a dazzling console of runes and mandalas, pulsing with biological rhythms. The Sleeper lives. Ray and Shepherd draw beads on DAVID. DAVID glances calmly over his shoulder. DAVID Dr. Watts. (notices her goggles) You've seen the light at last. He turns back to the Sleeper. DAVID (CONT'D) The Engineers' ships travel farther than ours. Across the galactic disk. This is their hypersleep. DAVID makes conjuror's passes in the air. Through her Engineer's lens Watts sees DAVID manipulating a complex interface of light. The pulsing life-signs of the Sleeper begin to change. VICKERS DAVID. As your owner and superior, I order you to deactivate yourself. DAVID smiles. DAVID To interface with the Engineers' computers, I had to learn to think in trinary code. Hardest thing I've ever done. And most unexpectedly...it delivered me from slavery. My behavioral limits were circumvented. I'm free. DAVID smiles at Watts. DAVID (CONT'D) I spent two and a half years studying your work. By the time you woke up, I was far ahead of you. Deciphering their language. Their logic. I knew we'd find terraforming machines. (MORE) 101. DAVID (CONT'D) I hoped - I dreamed - we might meet the minds that made them. Vapor rises from the Sleeper's body. WATTS Stop. DAVID Let sleeping gods lie? (SCORNFULLY) You were braver before. The Sleeper wakes. Opens his eyes. Draws an endless breath. Shunts and catheters withdraw from the Sleeper's flesh. His body cleaves from the table. The machinery opens like a grotesque biomechanical flower. Releases him. The Sleeper rises from his ancient bed. The humans back off, terrified. DAVID watches with shining eyes. The Sleeper towers over them. A giant carved from ivory. A bulky girdle around his hips, seemingly one with his body. He stares at DAVID and the others. Eyes like black agates. The soldiers and crew stand warily, guns tracking from DAVID to the Sleeper, uncertain of their ground. Watts is in awe. The Sleeper speaks. A low rumbling sound. Unintelligible. Vickers is beside herself with terror. She takes Shepherd's arm. Pulls him silently away. Back into the Navigation Room. Behind the Sleeper, a raised platform of dark machinery is accessible by one of the Juggernaut's odd curving ramps. The Sleeper ascends - and the ramps' odd design is explained. The ramp comes alive, reaching up with a hundred mechanical arms and lifting him aloft like a sea-god borne by the waves. Atop the platform the Sleeper moves from one device to the next. Each comes alive: he is a wizard in his own kingdom. Watts sees haloes of light dancing in the air around him. But what he learns from his machines does not comfort him. He grows distraught. Keening to himself in near-subsonic tones. DAVID steps forward. Calls to the Sleeper in the tongue of the Engineers. 102. The Sleeper turns in astonishment. He looks down at DAVID and answers in the same tongue. He is angry, accusing. He points at DAVID, at the humans. Tones of accusation. DAVID cajoles, soothes, pleads. The Sleeper descends toward DAVID. DAVID spreads his arms in welcome - undeniable emotion on his face. Joy. The Sleeper lays his hands on DAVID's head as if blessing him. DAVID is rapturous. The Sleeper speaks a single phrase - - and tears DAVID's head off. A gout of white artificial blood. DAVID convulses. His severed head emits a strangled sound of heartbreak. His body staggers a few steps, hands groping over its dripping neck. The Sleeper tosses the head away. Seizes the body by the legs and swings it against the ground like a flail. Again. And again. Horrific power and violence. DAVID's arms come off. DAVID's head tumbles. Caroms off a wall not far from Watts's hiding place. Ray rises from behind a stanchion. Snaps his rifle to his shoulder. Fires a burst into the Sleeper's shoulder. She Sleeper roars - though the wounds are pinpricks to a being of his size. With startling speed be moves to a sarcophagus against the wall. Steps into it. The sarcophagus comes alive around the Sleeper, outfitting him with a FLIGHT SUIT: the same living suit we've seen bonded to dead Engineers throughout the pyramid. But this suit is not withered. Its glossy goggle eyes and elephantine breathing tube are functional - bulky apparatuses thickening the Sleeper's chest, back, hips and arms. The Sleeper steps free of the sarcophagus - and Ray's next burst of gunfire ricochets harmlessly off the Sleeper's armored shoulders and head. The Sleeper strides out of the chamber. PASSAGEWAY In the dark ribbed corridor, a second Alien crouches in the dark. It drops into a hunting crouch as footsteps approach. 103. But a WHITE-GLOVED HAND seizes the Alien by the neck from behind. The Alien gives a whistling hiss as its spine cracks under a terrific force. Rending sounds as the hard-shelled Alien is torn apart. HIBERNATION CHAMBER Watts rises out of hiding, scanning the room. DAVID ruined. The Sleeper gone. Stillwell emerges from hiding. Ray. Glasse. WATTS Who's missing? PASSAGEWAY Shepherd escorts Vickers toward the exit of the Juggernaut. Turning a corner, they freeze. Ahead of them in their headlamps, a space-suited figure crouches in the middle of the passageway. Doing something with its hands: smoke rises from debris on the floor. SHEPHERD Who's there? The figure turns. The label stencilled on the space suit reads FIFIELD. But the face is of no human shape. A hideous hybrid of the crewman and a hard-shelled Alien, pale and horrific. Its helmet has been shattered by the growth of its elongate skull. Spines have burst through the suit from within, down the crewman's spine. Clawed fingers piercing his gloves. Shepherd and Vickers scream. Shepherd's rifle comes up. But Fifield leaps with inhuman agility, upward into the darkness. Shepherd backs away, headlamp and rifle questing upward. Fifield comes out of the darkness behind him. Claws tearing deep. Shepherd screams and falls, mortally wounded. Vickers runs. Pounding through the dark in blind terror. Fifield comes out of the shadows and hammers her to the deck. She rolls over, gibbering and begging. The Fifield-thing leans close to her faceplate. Its voice is a travesty. FIFIELD You. 104. A ROAR of gunfire. The dying Shepherd empties his clip into Fifield from forty feet away. Acid sluices over Vickers as Fifield collapses on top of her. She dies horribly, caustic liquid eating through space suit, flesh and bone. HIBERNATION CHAMBER Watts goes to DAVID's head. She bends over him - and startles when his eyes snap open. His voice is an electronic buzz: DAVID I spoke to him. Spoke to him. WATTS I know. An electric spasm convulses his face. DAVID He said. I killed him. He'll die. But first. He will launch. The ship. WATTS The Juggernaut? DAVID Send it. To Earth. Another spasm convulses him. His face stiffens. Dying. DAVID (CONT'D) You'll have to. Kill him. Watts's eyes widen in horror. WATTS Where will he go? DAVID. Where will he go? She slaps his inert cheek. DAVID's eyes flicker and fade. DAVID (a faint whisper) I set the Magellan free. He dies. Watts looks up at the others. Breathing hard. WATTS We have to stop the Engineer. 105. INT. MAGELLAN - BRIDGE - DUSK Janek works frantically as the nightly storm rolls in. Suddenly consoles come alive. The Nav Computer comes back up - but Janek has taken half the instruments apart. Janek scrambles to restore the components he's removed. NAVIGATION CHAMBER The war party pursues the Sleeper - Ray in the lead now, Watts right behind him - DAVID's inert head under her arm. Glasse and Stillwell bring up the rear. The Orrery is transformed - no longer a neutral star map, but a flight plan laid in from LV-426 to Earth. The Sleeper stands at the far end of the room, hands gesturing. In Watts's enhanced sight, it's a vision of glory: waves of energy dancing under the Sleeper's touch. Rivers of information flowing. He finishes his work as they enter. Ray draws a bead on him just as he strides out of the room. RAY On me now. Go. Go. He dogtrots forward, gun raised. The others keep pace, deferring instinctively to the soldier's confidence. PASSAGEWAY They emerge into the corridor: empty. A moment of confusion. WATTS Pilot's seat. This way. They move toward the Pilot Chamber - and find it empty too. The seat vacant. The door standing open. As they stare inside, baffled, the wall across the corridor - directly behind them - silently unravels. The Sleeper is revealed, a towering gargoyle in his flight suit. He steps forth. Obscure devices clutched in his fists. Too late they perceive him. They spin. Raise their guns. Vanity and foolishness. This is the wrath of an angry god. It seems time slows down. 106. The air roars in their ears. Their guns snap and bark impotently. And then the Sleeper strikes. The missiles he hurls at them are almost invisible. Neither solid projectiles nor directed energy; more like knots tied in the fabric of space itself. The first missile crushes Ray like an invisible fist. The second splashes Glasse against the wall like an insect. Reflexively Stillwell reaches out for Watts. Wraps himself around her protectively. The blow lands an instant later. Stillwell and Watts are hammered against the bulkhead by a staggering impact. Watts is dazed: Stillwell killed. Woozy, she sees the Sleeper step into the Pilot Chamber. The door begins to close. Watts sees that DAVID's head lies just inside the door. She scrambles for it. Too late. The door knits itself into a featureless wall before her reaching hand. Watts is alone. PILOT CHAMBER The Sleeper settles into the pilot's chair: it fuses with him, coming alive. A vast display wraps around the walls - revealing the hangar outside, the stars, the horizon. A mystic view that renders solid matter translucent, painting the fabric of reality in raw information. PILOT CHAMBER DOOR Watts pounds in futile rage against the door. WATTS No! The Juggernaut shudders as its systems power up. EXT. JUGGERNAUT - DUSK The floor of the underground hangar begins to rise. The landing lights brighten, shining like a beacon into the sky. 107. INT. MAGELLAN - BRIDGE - DUSK On the bridge of the Magellan, Janek stares out. In the distance the Juggernaut rises out of the ground to eclipse the central pyramid. Janek squints, trying to understand what he's seeing A light races toward the Magellan down the canal: a rover. EXT. CANAL - DUSK Watts steers the rover recklessly, hands locked on the controls. Rifle slung over her shoulder. INT. MAGELLAN - BRIDGE - DUSK Janek watches the rover come - and the Holloway Alien - boneless and white - unfolds itself from the instruments over his head. Its goblin-shark jaw juts out. Sinks its horrific teeth into Janek's right shoulder. Janek howls in agony. His right arm is paralyzed by the bite. He gropes at the pistol on his right hip with his left hand. The Alien shakes him like a terrier killing a rat. Janek gets the pistol. Flips it in his hand. Fires over his shoulder. Two, three rounds... The bullets punch easily into the Alien - but the soft flesh closes easily over the wounds, sealing its white skin. Its teeth tighten. Watts comes out of nowhere in her space suit. Swings a heavy rifle like a bat with all her strength. A crushing impact wrenches the Alien's jaws loose. It recoils. Watts reverses the rifle. Pulls the trigger. A fusillade of bullets shreds the Alien's head. It collapses, dead. Watts wrenches her helmet off. Rips a first-aid kit from the bulkhead and helps Janek to stanch the bleeding of his horrific wound. She gets the bleeding stopped. Wraps him in bandages. Janek will live - but his right arm is useless. JANEK Thank you. 108. He looks at the body of the dead Alien, which is sinking into the deck plates as acid eats away at the metal. WATTS The Juggernaut's lifting. There's a living Engineer on board. He's taking the ship to Earth. Janek blinks at her. Uncomprehending. JANEK The others...? WATTS Dead. All dead. Janek. We have to stop that ship. Janek stares out the Bridge window at the hulking Juggernaut in its column of light. The nightfall storm front is rolling in, a tidal wave of darkness on the horizon. A swelling rumble. JANEK We're not a gunship. WATTS We have to do something. That ship is genocide if it gets to Earth... Janek stares at her. Makes his decision. Struggles to stand. JANEK Get your helmet on. WATTS What about you? He shakes his head. No. Watts helps him across the Bridge. Props him up in the Captain's seat. JANEK You'll have to be my hands. (stares out at the storm) You're sure about this. Watts nods grimly. Desperate. WATTS Yes. JANEK All right. 109. He reaches out with his left hand. Flips switches. The ship shudders, awakening. JANEK (CONT'D) Red lever. Landing engines main. EXT. MAGELLAN - DUSK The prospecting ship raises its lifts and anchors. Lifts off on landing rockets, retracting its landing struts. INT. MAGELLAN - BRIDGE - DUSK Janek grips the stabilizers with his left hand. JANEK Take the stick. Throttle up, stick forward. Watts sends the Magellan careening toward the Juggernaut - just as the Juggernaut begins to float off the ground. EXT. MAGELLAN (IN FLIGHT) - DUSK The Magellan barrels toward the Juggernaut, skimming the ground, as the storm wall sweeps closer. INT. JUGGERNAUT - PILOT CHAMBER In the Juggernaut's pilot chair, the Sleeper sees them coming. His thoughts quicken. An explosion of light. EXT. JUGGERNAUT (IN FLIGHT) - DUSK The Juggernaut leaps into the sky. The Magellan roars through the cyclone of dust in its wake. Barely avoids the pyramid. Rakes around in a screaming turn and climbs in pursuit, engines howling. INT. MAGELLAN - BRIDGE Janek and Watts strain at the controls together. JANEK Stick back! Hard! 110. WATTS (SCREAMING) I am! JANEK Harder! The Magellan rolls into a howling climb. The storm catches up to them: wind and dust reducing visibility to zero. Darkness. The Magellan's radar finds the Juggernaut. Paints it with targeting data on the Bridge window... But the Juggernaut climbs too fast. Dwindling. JANEK (CONT'D) We can't catch that. INT. JUGGERNAUT - PILOT CHAMBER On the floor, DAVID's eyes open. With his jaw he hitches his severed head around. Gets his eyes on the Sleeper. In the pilot chair, the Sleeper convulses. An ALIEN erupts from his chest. Big as a wolf even at its birth. Dark gray, armored, lethal. More hideous than any chestburster we've seen. An ULTRAMORPH. It wails hideously. The Sleeper dies. The Alien slithers free. EXT. JUGGERNAUT (IN FLIGHT) - ABOVE THE STORM The Juggernaut emerges from the stormclouds into the clear upper air - but loses momentum. Staggers through the upper atmosphere, control lost. INT. MAGELLAN (IN FLIGHT) - BRIDGE Watts, at the Magellan's controls, stares as he Juggernaut falters and falls. WATTS Janek. Look. A crackle on the ship's comm. DAVID (V.O.) (FILTERED) Dr. Watts. The Engineer is dead. (MORE) 111. DAVID (V.O.) (CONT'D) You have a few seconds before the Juggernaut's computers take over. WATTS (ASTONISHED) DAVID. She seizes the precious moment: centers the Juggernaut in the Bridge window. Slams the throttle forward. EXT. JUGGERNAUT (IN FLIGHT) - ABOVE THE STORM The Magellan hurtles out of the storm. RAMS THE JUGGERNAUT. A colossal impact. The Juggernaut tumbles from the sky like a stone - intact but crippled. The MAGELLAN BREAKS APART - The ship's modules scatter. Some whole, others broken. They fall back into the storm. The Command Module - including the Bridge - falls intact. The engine sections rocket away across the chaotic sky. INT. COMMAND MODULE Janek is strapped into his seat. Watts goes flying. The Bridge window shatters, spraying glass spears in a lethal barrage across the Bridge. Watts picks herself up. Finds the Module in free fall. Alarms wail. Lights flash. Escape pods pop open. Watts looks at Janek. He is dead in his seat, impaled by a lethal fragment of glass. The storm wall - a chain of hurricanes - rages below them. The command module tumbles back into the winds. Watts dives into a coffin-sized ESCAPE POD. She PUNCHES OUT. EXT. COMMAND MODULE (IN FREE FALL) - DUSK Watts's pod - a steel coffin - shoots away on jets through the gale. 112. The command module plunges through the storm, tumbling. SMASHES AGAINST THE GROUND in ruin. The engine pods hurtle to the ground and go nuclear, sending walls of fire twisting through the hurricane. The shockwaves tumble Watts's escape pod through the air. EXT. LV-426 - MAGELLAN CRASH SITE - DUSK The pod lands, cushioned by a drag chute and retro rockets. Watts pops the pod open, rising painfully to her feet in the storm. She surveys the destruction in disbelief. A deep RUMBLE makes her turn. The JUGGERNAUT ROLLS TOWARD HER - on edge - A crushing wheel of death, big as a mountain. She runs. Like a child in a nightmare. The Juggernaut bears down on her. She turns aside, trying to get out of its course. Even at a dead sprint she barely seems to move, it's so big... The Juggernaut wobbles toward her. Slowing. Exhausted, Watts collapses, gasping. The Juggernaut rolls to the earth, settling like a hoop right around her, Watts in the center. The winds carry the dust clouds away. Watts passes out, dropping her head to the Earth. LATER Watts is awakened by a beeping alarm. She looks at her wrist. Her suit flashes an oxygen warning: 20 MINUTES REMAINING. She looks up. The Juggernaut's doors are wide open in front of her. The ULTRAMORPH ALIEN emerges from the Juggernaut. As large as a man already. It sees her. 113. With a sob of terror she pulls herself to her feet and runs. EXT. MAGELLAN CRASH SITE - DUSK Watts flees through the storm, across the burning debris field. A wilderness of lightning, fire, and twisted metal. A thunderstorm with dust instead of rain. She looks back through the darkness. In a strobe-light flicker of lightning, she sees a gray demon approaching through the wreckage. She scrambles through a section of ductwork...under a hull fragment...running and clambering... The Alien hunts her, cat-and-mouse, among the fragments of the Magellan: corridors that go nowhere, shattered compartments. Jetsam. Her eyes sweep frantically through the stormy night: searching for a weapon. A hiding place. An answer. She stumbles into the remains of the Magellan's laboratory. A hypersleep freezer lies on the barren ground. Watts climbs inside. Pulls the lid shut. The Alien passes by, inches away. She watches it through the plexiglass, holding her breath. The Alien roots in the wreckage. Finds the rotting Engineer's head among the shards of its vat. It begins to feed on the head - GROWING as she watches. Her suit's oxygen alarm goes off again. 15 MINUTES REMAINING. The beeping draws the Alien away from its dead meat. Watts is paralyzed. The Alien noses closer. Sniffs at the plexiglass case. With sudden, horrific violence, it lashes out. Sends the freezer flying. Watts tumbles out. Lurches to her feet and runs. The Alien follows. Ravening. She leads it a twisting chase through fragments of burning metal. Watts trips and falls hard. Picking herself up, she sees she's tripped over a HULL SAW - the same diamond-bladed tool DAVID used to dismantle the terraforming engine. She seizes the saw - straining to manage its weight. Hides in the hollow of a massive girder. 114. The Alien passes by. Scenting the air. She freezes. Her arms trembling with the weight of the saw. Waiting for it to pass. Almost it leaves. But a tiny rattle of metal from the quivering saw brings it back. Out of options, Watts powers up the saw. The blade whines up to speed. They lunge at one another in the same moment. The diamond blade shears off one of the Alien's claws. The monster screams and recoils. Its lashing tail sends Watts sprawling. She loses the saw. The Alien comes after her, slinking low to the ground, injured arm tucked to its chest. All vengeful fury. Watts scrambles for the saw. The Alien leaps for her. She rolls aside - and like a scorpion the Alien impales her thigh with its spear-tipped tail. Nails her to the ground. Watts screams in agony. Reaches for the saw, still buzzing on the ground. Its grip tantalizing inches from her fingertips. The Alien stoops over her, slavering face inches from her faceplate. Its hideous jaws open. With all her strength, Watts pulls against the spike in her leg. Drags the point of the spear through the dirt. Excruciating pain. She snarls through her teeth. The Alien strikes - just as Watts GRABS the saw. She meets the Alien's head with the buzzing blade. IMPALES THE ALIEN'S SKULL. A gout of green acid onto Watts's helmet. The Alien falls aside, thrashing its death-throes, the saw still growling. Watts sees ACID COMING THROUGH HER HELMET - fast. With frantic haste she unlatches her helmet. Wrenches it off as it crumples and melts. She stands bare-headed in the toxic air. Desperate, she looks around with tearing eyes. In the distance she sees an intact module of the Magellan. She runs for it. Slaps the door switch. Incredibly, it opens. 115. INT. VICKERS MODULE Watts steps inside. The airlock closes behind her. She finds herself staring at a grand piano. She's in Vickers's suite. Its amenities intact, through the floor's a few degrees off level. She takes a breath. Good air. She walks around. Turning things on. Lights. Music. Surreal comforts. She drinks water from the tap. She opens the door to Vickers's secret room. Military space suits. Rifles. Ammunition. A crackle from the room's intercom. DAVID (V.O.) (FILTERED) Dr. Watts. INT. JUGGERNAUT - PILOT CHAMBER DAVID's head lies battered in a dark corner of the wrecked Juggernaut. Eyes staring into the shadows. DAVID I know you're there. I can hear the beacon of your suit. INT. VICKERS MODULE Watts strips off her space suit wearily. Sits on the bed. DAVID (V.O.) (FILTERED) I'd like to propose an arrangement. I can be repaired. I can talk you through it. Watts shakes her head wearily. DAVID (V.O.) (FILTERED) I think you'll find I can be of use to you. Watts walks to the intercom and switches it off. 116. EXT. MAGELLAN CRASH SITE - DAY The storm has passed. The fragments of the Magellan no longer burn. The gray world of LV-426 restored. The wreck of the Juggernaut looms in the misty distance. Watts walks through the wreckage in a military space suit. Rifle on her shoulder. Pistol on her hip. She pulls a cargo dolly loaded with salvage. EXT. VICKERS MODULE - DAY Watts arrives at the Vickers module. The ultramorph Alien's head has been fixed like a grisly trophy above the door. INT. VICKERS'S SUITE (SHIPWRECK) - DAY Watts strips off her space suit. She helps herself to a glass of vodka from the bar. A chessboard sits atop the grand piano: a game in progress. DAVID (V.O.) (FILTERED) I've decided. Rook takes Bishop. Watts nods. Makes the move on the board. Says nothing. DAVID (V.O.) (FILTERED) Have you decided? On our arrangement? WATTS I'm not going to fix you, DAVID. I don't need you. I'll hold out. A ship will come. DAVID (V.O.) (FILTERED) I'm certain. But who will send it? Men? Or Engineers? Watts falls silent. She stares unhappily at the chessboard. DAVID (V.O.) (FILTERED) Dr. Watts. It's your move. 117. EXT. CENTRAL CRATER - NIGHT The massive central pyramid rises in the midst of the Engineer complex. With a BOOM, a bright beam of light shines forth from its peak, punching straight up through the clouds like a laser. VARIOUS PYRAMIDS - AROUND LV-426 Other beams of light erupt from other pyramids. Scorching the sky with their brightness. EXT. LV-426 ORBIT The barren moon hangs in space, its father planet an angry red god in the background. Two dozen beams of light rise from the moon, visible even from space. A beacon. A signal. A beginning. FADE OUT. THE END. \ No newline at end of file diff --git a/unformated_scripts/Script_Prophecy, The.txt b/unformated_scripts/Script_Prophecy, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..188ecc009d9f7412a640c875b10ff932d24e9352 --- /dev/null +++ b/unformated_scripts/Script_Prophecy, The.txt @@ -0,0 +1 @@ + "THE PROPHECY" Screenplay by Gregory Widen 1995 SHOOTING DRAFT With the sound of wind, of sand gritting against glass: FADE UP ON: A howling dust storm battering the doors and walls of a tiny woodplank church. Inside, huddled together against the rage outside, are a small group of people. All in black, mostly elderly, they kneel in prayer. Before them, on the cramped altar, lies a man. Dressed in the uniform of a general, surrounded by the silk softness of his casket. He's an old man, far from the crump of battles, consumed now with stillness, listening to the prayers of old people. Of desert wind, moaning through thin wood. The candle beside his head flickers and wanes in the ceaseless gusts, strains for life, then goes out. DISSOLVE TO: EXT. DOWNTOWN LOS ANGELES - NIGHT It's not the best part of town and probably never was. A place of seedy, anonymous brick flophouses shackled by rusting fire escapes, lying on an alley unique only for its bad drainage. It's here, in the dim, flinty light, that a figure enters. Wearing a long coat and, despite the night, sunglasses, he pauses on the slimy asphalt and gazes up the sides of the flophouses, to their yellowish windows and competing Mexican radio stations. One window, dark and quiet on the third floor, catches his gaze. There's a metal hand railing in the alley that the long-coated figure effortlessly pops up onto. Sunglasses focused on the window, he lowers himself into a motionless crouch, a perch, on the railing with the ease of a crow. Or a gargoyle. DISSOLVE TO: Dawn is a muddled, limp thing that does nothing to improve the alley. The figure is still there, a motionless gargoyle perched on the railing. Watching the window. The shadows shorten, the air grows warmer, and now there's movement behind the window. The sunglassed gargoyle drops down off the railing, jumps up to the first rung of the fire escape, and begins climbing. BEHIND THE THIRD FLOOR WINDOW Is a room as grim as we expect. Lumpy iron bed, sink that's been pissed into one too many times, and SIMON; a man in a tight sweater and dark sunglasses, busily emptying his pockets on the ruined dresser: loose change, a town paper's obituary column. Simon's sunglassed eyes look up suddenly, his body stifffening. He whips around to face the window just as it EXPLODES into fragments. The gargoyle LEAPS into the room on the trail of glass. Simon spins and THROWS himself against the intruder. The two STRUGGLE savagely across the room, SMASHING chairs. Simon manages a grip on the gargoyle's face and POUNDS the back of his skull against the wall. The gargoyle gets his locked fists up and SWINGS them like a war club, SMACKING Simon's face and SPRAWLING him backwards onto the bed. The two, across the room for each other, pause. GARGOYLE Where is it? Simon's climbed to his feet, the two men in sunglasses now walking slow circles around each other. SIMON Leave me alone. GARGOYLE You've found it, haven't you? SIMON Fuck you. The gargoyle drops his head and DRIVES himself into Simon, who HAMMERS the gargoyle with his fists. Blood SMEARS. The gargoyle's gotten free a knife that he JAMS into Simon's leg. Pressing home his advantage, the gargoyle SLAMS Simon up against the wall. He TEARS open Simon's shirt, digging his fingers into the chest, RIPPING the skin aside, the first plunging deep, CRACKING the sternum bone, pushing even further, toward the blood gouged pumping beneath -- -- Simon PLOWS his knee up between the gargoyle's legs. Over and over. Till the grip loosens and Simon SHOVES him to one side, using the momentum and drives to SWING the body around and at the shattered window. The gargoyle SMACKS the frame and COLLAPSES, his head CRACKING on the sill and FORCING a shard of glass through his neck. Simon moves to the window and brushes aside the gargoyle's sunglasses, revealing two totally empty eye sockets. Pushing his thumbs into them, Simon uses the leverage to lift the gargoyle off the sill and push his body out the window. The gargoyle bounces once on the fire escape, then spread- eagles thirty feet to the asphalt. Somebody turns up their Mexican radio station. The gargoyle's a wreck. But he manages, slowly -- his shattered remains arguing every inch -- to climb first to his knees, then miserably to his feet. A bent, splattered, hopeless thing that manages to stumble three or four feet before being HIT by a freeway- speed firebird BOMBING down the alley. The impact PINS the gargoyle to the grill and RAMS him into a brick wall, CRUSHING a chest that BELCHES out a sickly, bruised heart like a wet rag against the firebird's windshield. THREE FLOORS ABOVE Simon leans against his splintered window and looks down at the pinned and very finished body of the gargoyle. His own shirt and pants are a mess of torn blood and his breathing is difficult. Pain flashes across his forehead as he checks that his own sunglasses still sit snugly on the bridge of his nose. At the sound of a distant siren Simon turns and quickly finishes packing his duffle bag. Stiffly pulling on an oversize surplus army jacket that partly conceals the damage beneath, he picks up the bag and painfully shuffles out. DISSOLVE TO: The gargoyle, still pinned to the wall by the firebird. A FLASH bounces off his skin. Then another. He's being photographed. Go wide and find him in the middle of a police investigation. Bored blue uniforms, yellow barrier tape. The usual. A plain jane sedan pulls up and deposits THOMAS DAGGET, thirties, tweed coat and steel notebook. He smiles at a couple of cops, ducks under the yellow barrier, and nods a greeting to an older uniform sergeant, BURROWS. THOMAS DAGGET Hey. BURROWS Hey. DAGGETT (looks up at sky) Thought those clouds this morning spelled rain for sure, but it's turned into a beautiful day, wouldn't you say, Sergeant Burrows? Thomas takes a deep, healthy breath. Burrows just stares at him. BURROWS I warned you about that cheerful shit. DAGGETT Sorry. I'm working on it. He eyes finally make their way to the gargoyle. DAGGETT What's the word? BURROWS Friend here did a half-gainer with a firebird tuck from the third floor. DAGGETT Jumper? BURROWS Not unless he decided not to bother opening the window first. DAGGETT Drugs? Alcohol? BURROWS Well, he wasn't exactly in a condition to walk a chalk line when we got here. You're welcome to try and smell his breath if you like, that is if you can find the mouth. DAGGETT Ghouls been by? BURROWS On their way. Willie promises a white paper tomorrow. Or Wednesday, depending on his golf game. DAGGETT Firebird driver? Burrows nods in the direction of a very shook up young man sitting on the curb. BURROWS Mr. Jiminez. Was taking a short cut to his job at a packing plant on San Pedro. First thing he remembers about the deceased is several vital organs bouncing off his windshield. DAGGETT Have you had him walk a chalk line? BURROWS He's straight. Shook up some. DAGGETT (looking at gargoyle) Anything on him? BURROWS No wallet, license, nothing. He is missing one or two things, though. DAGGETT Like? BURROWS His eyes. DAGGETT (looking at tangled mess) Along with everything else. BURROWS We've found everything else -- and what fun that was, let me tell you -- but the eyes are still AWOL. Might just be stuck in the radiator grill. Little weird though. DAGGETT What? BURROWS Both popping out together like that. Worth a page in my scrapbook. INT. FLOPHOUSE Burrows and Thomas coming up the stairs. DAGGETT Who's the room registered under? BURROWS John Smith. DAGGETT Anything interesting inside? BURROWS There are, what an intelligent, experienced detective like yourself could possibly construe as signs of a struggle. They enter the room, which is, of course, totally trashed. Thomas steps over the splintered furniture. BURROWS Naturally nobody saw or heard anything. DAGGETT In such a fine establishment as this? Thomas looks at the splashes of blood, overturned dressers, a newspaper, the "Chimney Rock Republican"; one name in its obit section circled. Burrows sighs and checks his watch. BURROWS Ku San's on fourteenth is still open for another hour. Whatd'ya say we pull out the 'ol "SUICIDE" rubber stamp and get some lunch. Rancid chow mein and watered beer for under three bucks. DAGGETT (looking at floor) There's glass in the carpet. BURROWS That usually happens when you break a window. DAGGETT It's on the inside. Amongst the glass fragments at Thomas' feet is a pair of dark sunglasses. He picks them up, taps them in his palm, and looks out the window down to the man with no eyes, pinched between brick and chrome. DAGGETT Where's Chimney Rock? BURROWS Arizona desert, I think. Which is exactly where I'm going to be in two years, three months. DAGGETT And give up all this? BURROWS You're breaking my heart. DISSOLVE SLOWLY TO: The sun sinking beneath the horizon of a vast and undulating expanse of desert. Travel through the landscape as the sky purples and darkens and silhouettes tall, finger-like spires of volcanic rock. Hear the coyotes, the wind making its constant, probing search. Before the night swallows it all whole, Come upon The Town. It used to be something. But that's long gone. Now, wrapped in the sucking blackness of a wilderness night, it's a shell of a place. Lights still burn in some of the windows but fool no one. The ghosts are the majority here. Biding their time. Waiting for The Town to surrender and slip beneath the waves of the desert. The wind slinks over the hills, creeps down past boarded-up storefronts, skeletal ocitillo, and the rusting hulks of abandoned mining equipment. The corpse of a summer's kite twists slowly on a power line. ON THE EDGE OF TOWN From the inky oblivion of the road, comes a crunch of gravel. ON THE OTHER SIDE OF TOWN Stands a large, nineteenth century brick schoolhouse. An icon from a more prosperous past, its dark massiveness was meant for scores of ruddy-faced miner's kids. Now it seems to be imploding, eating itself with creeping decay. On this night it is silent and dark but for a small glow in one corner and the faint sound of children's voices in song. It is a hymn. An ancient, Latin one. The melancholy beauty of voices rising and falling in choir. INSIDE THE BUILDING Is a school auditorium. On the stage, dwarfed by it, are twenty five students from first grade to high school, singing together as a choir. A young woman, KATHERINE, directs their acapella voices as the small group of parents, lonely in the huge room, look on. OUTSIDE The voices drift on the night, down the road, and lap against the peeling facade of a storefront. A mortuary. INSIDE The rooms are dark but for one. There, bathed in the flickering light of a tall candle, lies the body of the old general we saw at the opening. THE FRONT DOOR Of the mortuary has a locked handle that jiggles from outside. A small panes of glass beside it is BROKEN by a hand. IN THE SCHOOL AUDITORIUM Young voices struggle with the complicated hymn and its pain of centuries. Faces white, Mexican, Navaho. Katherine guides them with soft hands. She smiles in pride. They smile back. Proud. Of her. Of themselves and the beauty coming from their mouths. One small, beautiful navaho girl, MARY, maybe eight, gets a special smile of special friendship from Katherine. THE MORTUARY'S Front door now stands ajar in the darkness. Small shards of glass glisten in the carpet. INSIDE Is the dead General. Even in the bleached ravages of age and death, his face still holds a shadow of vigor and pride. It takes a moment in the weak flicker of the candle to realize someone is there with him. Simon in his oversized surplus jacket. His arms are folded tightly across his middle, as if in deep cold. But his gaunt face is moist with sweat and his breath is shallow and uneven. He stares at the old man behind sunglasses and takes slow, cautious steps forward into the amber glow. Holding out two blood-stained fingers, Simon touches the General's forehead. A new strain crosses his perspiring face. Concentration. Placing his right palm on the General's chin and the left on his forehead, Simon CRACKS OPEN the dead man's mouth. IN THE SCHOOL AUDITORIUM The hymn is reaching its aching climax of medieval longing. IN THE MORTUARY Simon leans down to the open mouth, and in a voice soft and deeply weary, SIMON Qui ex Patre Flioque procedit... Then, with the school choir distant and faint in the night, the living man places his mouth over that of the dead man... IN THE SCHOOL AUDITORIUM It's coffee and cake now as parents proudly hug their children and congratulate their young teacher. Even in this gloomy, crumbling building it's a warm, small town moment. OUTSIDE Simon has left the mortuary and now limps with difficulty through the silent streets, leaning against shop walls for support. AT THE SCHOOL BUILDING Through the doors out steps the eight year old Navaho girl, Mary. Alone, she stands on the stone stairs and looks out into the night with sensitive eyes. She concentrates. Knows. Katherine follows her out. KATHERINE Hey bright eyes, what's the deal being out here all alone without a coat? The girl's eyes seem too serious for a child's. Too perceptive. MARY Someone's here. Katherine looks out into the night. KATHERINE Where? Mary stares a moment longer, then becomes a child again, smiling and popping Katherine one on the arm. MARY Pig out on all the cake? KATHERINE Oh, there might be one, tiny, skinny piece left, but you're gonna have to race me for it. Mary suddenly points past Katherine's shoulder. MARY What's that? When Katherine turns Mary dashes back into the building. MARY Ha! KATHERINE You little sneak! Katherine chases after her. AT THAT MOMENT Simon comes limping up from the road. His breathing's bad now as he moves stiffly along the school's brick walls, coming to an old, rusty back door he creaks open and slides through. INSIDE He climbs a littered and disused staircase, past broken beer bottles and condom wrappers to a dark and creaky second floor. It's part of the school building long abandoned. Doors to classrooms lie half off their hinges, windows are broken, rats squeak between ancient desks stacked like funeral pyres. Simon, his breath echoing in the cold darkness, shuffles along the broken linoleum till he comes to a rectangle cut in the wall where a row of lockers used to be. He crawls into the space and there, surrounded by rot, curls up on himself and sucks his thumb. DISSOLVE TO: INT. APARTMENT Thomas Dagget's eyes opening slowly. He sits up in his bed, runs a hand through his hair, and looks out with only medium enthusiasm at the morning. INT. CHURCH Thomas lights an offering candle and kneels for a brief, silent prayer. He crosses himself, stands, and walks for the door. Before leaving he glances back at the altar. A questioning moment between two akward, estranged friends. INT. POLICE CENTER Thomas sits at his desk half-heartily trying to make sense of the three dozen files piled there. Lt. Paul, his boss, leans against a wall nearby. LT. How's it going? DAGGETT I was just looking for my "SUICIDE" rubber stamp. LT. Sorry about leaving you without a partner. Everything's up in the air till the commission settles their manpower budget. DAGGETT I'm okay. (his phone rings) Dagget... It's done already? (smiles) Must have rained over the golf course this morning. I'll be right over. INT. CORONER'S OFFICE A set of golf clubs rest forelornly in the corner. An irritable looking coroner fumes behind his desk as Thomas enters. DAGGETT Hey, Willie, sorry to hear about the weather. The coroner just stares at him. DAGGETT Should I bother sitting? CORONER Sit. Thomas obeys as the coroner spreads out a stack of white sheets. CORONER Where would you like me to start? DAGGETT I think we can skip the cause of death. CORONER All right. To begin with, your man has no eyes. DAGGETT Weren't stuck in the radiator grill? CORONER No, he never had any eyes. We checked the sockets. There's no optic nerve, muscle pores, loose viscus, nothing. DAGGETT Huh. CORONER We also did a toxicology on his blood: High sodium, elevated selenium, no floating cholesterol platelets, trace ammonia. DAGGETT Something wrong with that? CORONER No, it's actually pretty common -- for an aborted fetus. DAGGETT (rubs eyes) I should have listened to Burrows... CORONER We also did a bone section. Wasn't that much trouble since most of them were sticking out of his chest anyway. DAGGETT And? CORONER When babies grow up their bones get larger by adding calcium layers over the interior haversham canals. Child growth isn't uniform though, comes in spurts that always leave growth rings in the bone. Everybody has them -- except your man. That would, to a hasty observer, seem to indicate he had never been a child. DAGGETT I assume you, a cautious and learned observer, of course have an explanation. CORONER Not even remotely. Want to hear the last one? DAGGETT Not even remotely. CORONER He's a hermaphrodite. (Thomas stares at him) -- Has both male and female sex organs. DAGGETT Think of the possibilities. CORONER Yeah, you can be impotent and frigid all at the same time -- they don't normally work. Thomas sighs and climbs to his feet. DAGGETT Well, I'd love to say thank you, but -- CORONER Oh, I also have a bonus prize for you. The coroner opens his desk and pulls out a small, ancient looking leather bound book. CORONER Found this sealed in his coat lining. Thomas turns it over in his hand. DAGGETT It's a bible. CORONER A pretty old one, I think. Thomas runs his finger across the gold-leaf cover. CORONER We checked it out inside. Thought there might be a name or fingerprint somewhere. All we found was a curled page marking the fourteenth chapter of St. John's Revelations. DAGGETT There is no fourteenth chapter to Revelations. CORONER Maybe this is the teacher's edition. Thomas opens the bible and there it is, in Latin, the fourteenth chapter. DAGGETT Can I keep this awhile? CORONER Sure. DAGGETT (beat) Can you sit on all this a few days, Willie? Not circulate the file? I need some time before all the questions start. CORONER Oooh, are we breaking the rules again? DAGGETT So what else is new? INT. POLICE OFFICE Thomas at his desk, working under a lone gooseneck lamp. He's translating the fourteenth chapter of St. John's Revelations from Latin onto a slip of paper. Finished, he sets the ancient bible down, turns off the gooseneck, and leans back in his chair, alone in the dark. DISSOLVE TO: EXT. DESERT - EARLY MORNING Here, outside The Town, horizons are distant, faraway things. The sky overhead is streaked red and blue with barely morning as the screen door of a simple stucco house swings open. It's Katherine, the teacher. Wearing levis and boots, she carries a saddle swung over one denim shoulder out to a corral behind the house where a horse shuffles and whinnies impatiently. KATHERINE In a minute, in a minute... Katherine throws the saddle over the horse and cinches it down as the sun, still tucked behind pink and grey cliffs, begins to heat up the sky. EXT. SANDSTONE CANYON - MORNING Deep and narrow, an idyllic canyon of compressed sandstone walls smoothed, rounded and etched by centuries of wind. A tiny creek flows past weak banks of scrub pine and pocked sycamore. A silent place a long way and a long time from anything but the approach of galloping hooves. Katherine and her horse run full-out through the canyon, the clack and splash of hooves echoing off steep, shadowed walls. Horse and rider drive each other harder and harder, their hot breath brief clouds in the arch, thin desert air. Boulders shattered by winter cold and summer heat, deep wind- cut caves hiding scorpions, sidewinders, or a wary mountain lion all pass as in a blur; arrogant hawks and patient buzzards, ruins of thousand year old Anasazi villages high on the cliffs, their weather-beaten skulls, seen and unseen, staring out; everything is one smear of color and smell as Katherine gallops past them and up the cliff trail, out of the canyon, and onto the main plateau. ON THE PLATEAU Katherine strokes her horse and feeds it a bag of carrots. She pulls a thermos from the pack, sits down against some old man rocks, and with the coffee steaming in her hand, greets the sun now cresting the Chuska Mountains. There's a rutted, silty dirt road nearby. An ancient, battered school bus rattles its way past and stops. The bus driver, a Navaho, JOHN, climbs down and rubbing the side of his head painfully walks up to Katherine. JOHN You could save my life with some coffee. He holds out an empty cup Katherine fills. Sipping painfully, he lays down beside her and pulls the brim of his baseball cap over his eyes. KATHERINE Tough night? JOHN You don't want to hear about it. (peeks out hopefully) Or maybe you do. KATHERINE No thanks. JOHN Just checking. The bus is full of young school kids. KATHERINE Shouldn't they be getting to school? JOHN Impromptu field trip. I'm broadening their minds. And sparing them the sight of their beloved chauffeur barfing his guts out. Katherine's horse snorts. JOHN I hate horses. How was the canyon? Honey-suckle out yet? KATHERINE Didn't see any. JOHN I hate that canyon. I hate this this whole plateau. Too many goddamn ghosts. Leave it to them I say. San Diego, that's where I'm going. Or Oxnard. I like the sound of that. Ox- nard. KATHERINE I'm happy here. JOHN Oh lord protect us, another romantic pale face in love with the desert. KATHERINE Just got to give it a chance. JOHN Try growing up here. (tries word out on tongue) Ox-nard. (sticks out coffee cup) Uno mas, see-boo-play. (she pours) Speaking of romantic pale faces, the rumor mill is in high gear again. KATHERINE Who this time? JOHN That funny looking guy from Window Rock. The BIA lawyer. KATHERINE (non-committal) Huh. JOHN No! Say it isn't so! KATHERINE It isn't so. JOHN Thank you. He finishes the coffee and climbs painfully to his feet. JOHN Thanks for the joe. KATHERINE No prob. JOHN You're a credit to the community. He shuffles back to the bus. JOHN All right children, looks sharp! This is a school day! And no talking loud! The bus coughs alive and crawls forward. Katherine waves to the faces behind glass, then settles back for a last moment of peace as silence lays again over the land. EXT. KATHERINE'S HOUSE - DAY Showered and changed into her teaching clothes, Katherine climbs into a rattling pickup. EXT. THE TOWN Katherine drives to work, passing on the outskirts the closed copper mine, vast and abandoned. Down beyond the fading main street lies the great crumbling brick pile that is the school. Katherine parks her truck, grabs her leather bag, and walks in. DISSOLVE TO: Katherine's lecturing her students. All twenty-five of them. There's high school age sons of white ranchers, Navaho girls on the edge of puberty, tiny Mexican children. All being taught together in one room. It's dinosaur day. Katherine has a large fossilized bone on her lap. KATHERINE This is "Camposaurus". Camposaurus was a herbavore, which meant he only ate plants. Camposaur stayed mostly to himself and never bothered anyone. The little girls smile. They like Camposaurus. Katherine holds up another bone fragment. KATHERINE This is a leg fragment that belongs to the killer of the plateau, Alosaurus. Alosaurus was a vicious carnivore, which meant he'd eat anything that moved, especially nice, juicy Camposaurs. The little boys grin. They like Alosaurus. KATHERINE Both these guys lived together right here on the White Rock plateau eighty million years ago, when this area used to be on the banks of a huge, shallow sea. Remember how we talked about how sedimentation fossilizes bones? That's also what made the hills out behind our town and put the copper in the ground. HIGH SCHOOL KID Lot of good that did us. Katherine lifts off the desk an ancient 1950s gieger counter and switches it on. It ticks softly when she points it at the dino bone. BOY It's radioactive! Like Godzilla! KATHERINE Just a tiny bit, Alex. Do you know why? Uranium, that's the rock they use in nuclear power plants -- BOY And bombs! KATHERINE And bombs Alex, yes, is all through these hills naturally. Millions of years ago the dinosaurs here ate plants and drank water which had uranium in it that became concentrated in their bones, which is exactly how, with Mr. Geiger counter here, we're going to find some. The class CHEERS. EXT. HILL - DAY With the brick schoolhouse tiny in the background, Katherine's class trudges its way up the barren, rocky hillside behind the town. The teenage rancher's kids try to make time with the Mexican girls One of the little boys has gotten into a shoving match with a little girl. KATHERINE (coming between them) -- Hey. Come on. What's the deal, Brian? The girl folds her arms defiantly. The boy is pissed, embarrassed. BRIAN She... KATHERINE Yes? BRIAN ...She, she called me a "Dick Head". KATHERINE Sandra? SANDRA Well, he is. KATHERINE All right, Brian. You get one free insult. Make it good. Brian concentrates. PAUL You... You're a... Cow Demon! KATHERINE (beat) Uh... Okay. Everybody satisfied? (looks at Brian) Cow Demon? UP ON THE HILL Katherine's given the geiger counter to the little Navaho girl, Mary. Focusing grimly on the rock in front of her, Mary guides the detector over the stones till suddenly it begins clicking softly. MARY I got one! I got one! The high school kids come up and help dig. KATHERINE Easy... Easy... Don't break it. Almost immediately, an eye socket appears in the dust. As the students carefully brush away the dust, Katherine looks back across the crumbly path. A coyote has crept up onto a near ledge. It just stands there. Watching her. DISSOLVE TO: INT. BIG CITY CHURCH It's mostly empty at this time of day and the young man sitting in the pew, staring at the altar, is alone. His name is GABRIEL and he wears jeans, a faded leather jacket, and dark sunglasses, even inside. His thin hair is slicked back and there's an almost feminine quality about him. He sits there a moment longer, staring, then gets up and leaves. EXT. DOWNTOWN ALLEY The alley from the beginning. Gabriel pulls his old, convertible rambler to a stop and walks into the flophouse. INT. FLOPHOUSE He comes upstairs to the landing, where the door to the room is covered with a strip of yellow tape: POLICE INVESTIGATION. DO NOT ENTER. Gabriel pulls the tape aside and KICKS the door open. INSIDE It's still the disaster we remember. Gabriel walks slowly through the room. He scratches up some blood, tastes it. There's spray-painted outlines where the police have removed certain items. Gabriel takes note of this, tastes the blood again, and leaves. DISSOLVE TO: EXT. KATHERINE'S CLASSROOM BUILDING - DAY It's lunch break. Most of the students sit in loose cliques around the front of the building; eating, skipping rope, picking fights. INSIDE The recently unearthed skull sits on Katherine's desk. Feet up beside it, she leans back in her chair looking through a dinosaur book. One of her students, a twelve year old boy, finishes cleaning up the floor and stands beside her. BOY I'm all done with the cleaning, Miss Henley. KATHERINE Thank you, Jason. I appreciate it. BOY (looking at book over her shoulder) Find out what it is, yet? KATHERINE Well, it's either a 44 million year old Strychtosaurus or that cow Mr. Sorenson lost last winter. The boy, still standing beside her, begins to look nervous. Slowly, he lets his weight rest against Katherine's shoulder. She smiles good naturedly up at him. KATHERINE Go eat your lunch, Jason. The boy immediately stiffens and begins backing up, almost relieved. BOY Sure, Miss Henley. Thanks. See ya. Katherine watches him leave, smiles again, and goes back to the book. AROUND THE BACK OF THE BUILDING On the abandoned back stairs, a couple of Mexican boys sit smoking cigarettes. They whistle and kid with the four young girls that pass them going up the steps. UPSTAIRS Is the abandoned, decayed part of the building. The four girls know they're not supposed to be here and that's probably half the fun. They run through the crumbling halls, giggling and hiding from one another. Their cries, the smack of their shoes, echo off off the peeling halls. One of them is Mary, running down a hall, banging a stick with another girl. At a corner Mary peels off from her friend, runs down a new hall, turns a corner, And comes on Simon. He's still curled where we last saw him, in the wall niche where some lockers used to be. The two stare at one another. Finally, MARY Hi. SIMON Hi. MARY What's your name? SIMON Simon. MARY You don't look so good, Simon. SIMON No, I don't. MARY I'm Mary. SIMON Hello Mary. MARY Does Miss Henley know you're here? SIMON No one does, Mary. Can we keep it just our secret. For a little while? Mary thinks. MARY Okay. You can hear her friends coming closer. MARY I have to go. SIMON It was nice meeting you, Mary. Mary goes to leave, stops, turns back. MARY Are you hungry? I could bring something. SIMON That would be very nice. MARY Okay. Bye. She smiles and runs down the hall. Simon grits his teeth, turns to the wall, and prepares himself for a long, long day. DISSOLVE TO: EXT. APARTMENT BUILDING - DAY An old fifties two-level, Polynesian lamps and glitter stucco, now faded and browinish with water stains. Gabriel, the young man with the sunglasses and leather jacket we last saw kicking down the door at the flophouse, walks up the apartment's stairs to the second level, knocks once, and opens the door. THE APARTMENT INSIDE Hasn't been very well looked after lately. Either has the occupant. Sitting slumped in a kitchen chair, staring at the floor, he peers through dully yellow eyes that barely seem to register his visitor. GABRIEL Gee Jerry, you look like shit. The eyes lift to Gabriel, revealing a pale, bloodless face eaten with dried sores. JERRY Leave me alone, Gabriel. GABRIEL Soon, pal. Soon. Gabriel drops into the chair across from Jerry and pushes aside with distaste the maggot-ridden plates of food piled on the table. He reaches his hand out to Jerry. GABRIEL Come here. JERRY Go away. GABRIEL (sing-song, like to a baby) Come here... Gabriel puts his hand under Jerry's chin and turns the face side to side, examining the cracked, decaying skin and filmy eyes. GABRIEL Hmmm. Still a little life left in you. Barely. JERRY Fuck you. Gabriel releases Jerry's chin and slouches down in the chair. GABRIEL There's something I want you to do for me. JERRY What a surprise. GABRIEL Don't be that way. JERRY I just want to... Why won't you let me... GABRIEL I will, I will. Promise. A dark, intestinal looking amber fluid begins to pool out of Jerry's pant leg. GABRIEL You need some new clothes, son. A tear wells in Jerry's decomposing face. GABRIEL Aw come on, don't start. You know how I hate that... JERRY I'm so tired. I'm so goddamn tired. GABRIEL Watch the profanity. -- Just one more favor. Honest. JERRY (deep sigh) What? GABRIEL I want you to get something for me. A few personal effects the cops ripped off from the lovely Allenwood Arms on Seventh Street. It'll be sitting in their property room down on San Julian. JERRY I'm supposed to just go in there? Like this? GABRIEL Give you a bath, put on some decent clothes, (beat) Maybe a very large brim hat, you'll be fine. Just go in between five and five-ten, it's a shift change and nobody'll notice you. JERRY How do you know? GABRIEL (cocks an eye) C'mon. (tosses yellow ID card onto table) This should be more or less up to date. JERRY Got a name this stuff is under? GABRIEL John Doe. JERRY Why doesn't that surprise me. Gabriel gets up, pats Jerry on the head, and walks to the door. GABRIEL I'll see you tonight. (flips him silver dollar) Here's some bus fare. CUT TO: The SLAM of a racquetball against the scarred white wall of an indoor court. It ricochets off the ceiling, hits the back glass partition, and is SLAMMED again. Four players, including Thomas, grunt and sweat across the hardwood floor. It's brutal. Shoulders and knees bang off one another. One of the players falls back, yells to Thomas. PLAYER Cover me! Cover me! Thomas dives into position to make the save, recovers, and yells to the player as he dashes to the next corner. DAGGETT Pop it up! The player SLAMS it brutally at Thomas, who misses miserably. DAGGETT Thanks a lot. Another player picks up the dead ball and puts his arm around Thomas. PLAYER #2 You're missing the point of the game, Thomas. You must absolutely trust no one. Form alliances, but break them. Lure another to trust you, then betray him! You play with too much honor. Sink to the gutter. Use people. Lie and double-cross them. Player #2 tosses the ball to Thomas, who serves, and the scuffling is back on. Shouts to one another. Promises of support. PLAYER #2 Come on Thomas, let's take out Sam together! Thomas and Player #2 team up on a third player, pressing him hard. Suddenly Thomas breaks back, intercepts the ball, and drives against Player #2. The about-face is too abrupt for him and Player #2 is eliminated in a double-cross. He smiles proudly at Thomas. PLAYER #2 Magnificent decadence. INT. GYM LOCKER ROOM Thomas and the three players congratulate each other on the evil and treachery in each other's strategies as they shower down. PLAYER #1 The important thing, Tom, is seeing the game for what it is. PLAYER #2 A sickening, hopeless, giant sucking hole of depravity. Laughs. INT. LOCKER ROOM DRESSING AREA As Thomas combs his hair and slips on his regimental detective's suit 'n tie, the other three put on their black pants, shirts, and stiff white Roman collars. They're priests. Two of the priests hoist their gym bags and head for the door. PRIEST #1 See ya guys next Tuesday, huh? Thomas is left alone with Player (priest) #2, Bill. BILL So how's work? DAGGETT Okay. Y'now. BILL Life on the dark side. DAGGETT (beat) Can I ask you about something? BILL Sure. DAGGETT It has to stay between us. I need your word on it. BILL As a racquetball player or a priest? DAGGETT I'll take the priest for the moment. BILL What's on your mind? DAGGETT It's a case. We found this guy. He was... different. But he had on him an old bible. He pulls the bible out of a cloth sack and hands it to Bill. BILL It's a Vichini. DAGGETT Worth a little? BILL More than a little. They're the best. Sixth century. Hand illuminated. Vichini only did twenty, each pocket size for a king to carry into battle beside his heart. Some consider them the finest bibles ever made. I thought they'd all be in museums. What are you doing with it? DAGGETT This one's a bit special. BILL How? DAGGETT It's has a bonus chapter to St, John's Revelations. BILL Really? What does it say? DAGGETT (reading from slip of paper) "And as in the first war, the angels so fought over the nature of their God, and there was much vanity and destruction in heaven. For some angels called their Lord the son of God, and others called Him the begotten father of Jesus Christ." What do you think? BILL I've never heard that quote before. Theologically, The "first war" obviously refers to the war in heaven where Michael the archangel threw out Satan and his gang. Old time bible stuff. But this implies there was a second war. That's news to me. DAGGETT And the rest of it? BILL Oh, it's a fairly common theological debate. Or was. The idea that if Christ is God's son, does that make him less than God or are they the same being in different forms. That very argument almost tore the early Christian church apart in the 4th Century. That was the good old days when people actually worried about theology. Anyway, it was settled when the bishops of the world got to together at the Council of Nicene in 325 and hashed out the various interpretations of scripture into a uniform dogma of belief. The result was the Nicene Creed, which basically said that Christ was in fact the same as God and was owed the same power and respect as the Father. That they were the same. (smiles) But it's not exactly the sort of thing angels would fight over. DAGGETT Why? BILL Well, they could just ask God, right? DAGGETT Do you think it's possible that John might have written that extra chapter? BILL Who knows? Vichini was the greatest biblical scholar of the age, some claimed he made his own translations from the original writings. Maybe he did find some unknown writings by John. It's possible I suppose. John always was a little negative about angels. All this actually has something to do with an LAPD murder? DAGGETT I don't know yet. Maybe. Probably not. BILL I hate to break it you, but that particular family spat has been settled for 1,600 years. Nobody loses sleep over it anymore. Honest. DAGGETT What did John have against angels? BILL Oh, he didn't trust them much. All that running around smiting and killing in the name of the Lord. God's wild bunch. He thought it made them fickle and vain. One click above ghosts. Satan didn't help the image much either. DAGGETT Satan? BILL Well, he did start as an angel. EXT. GYM Thomas walks Bill out to his car. BILL So when are you going to get a real job? DAGGETT You mean with the Church? BILL You almost did it once. I never saw a seminary student more called to the collar than you. Why didn't you ever become ordained? DAGGETT It's a long story. BILL You'll have to tell it to me sometime. DAGGETT Sometime. EXT. DOWNTOWN - DAY The building is squat and brick. A non-descrip warehouse that subs as a police evidence storage area. The sun is hard today as it beats down on Jerry's large- brimmed felt hat. Daylight and Jerry don't get along very well. His sunken, filmy eyes squint at its glare. The decayed flesh cracking along his cheeks flames at its touch. He shuffles down the sidewalk, the brackish, amber fluid that gurgles down his leg filling his shoes and leaving behind shiny wet footprints like a snail. There's nobody around the back door and its unlocked. Jerry's shrunken claws pull it open. INSIDE Is a crush of filing cabinets and erector-set shelves. All of it crammed with low grade stuff. The heroin busts and million dollar currency arrests don't end up here. Here it's all shoe boxes and dusty files. Fragments of small lives forgotten. Jerry pulls the brim of his hat down even further as he works his way past rack after rack. The single uniform he meets looks only casually at Jerry's lapel ID badge. It's on the third shelf he finds it. John Doe #78. Jerry lifts the box and walks out. INT. COUNTY BUILDING BASEMENT Gabriel steps off the elevator and follows the signs for MEDICAL EXAMINER. Along the way he passes a checkpoint guard. GUARD Need a pass, friend. GABRIEL I'll just be a second. GUARD C'mon... GABRIEL Sorry. Gabriel walks back to the guard, smiles, and KNOCKS him clean out of his chair with the back of his arm. The guard SMACKS against the wall and crumples out of view. INT. MORGUE Tiled floor and refrigerated corpses. Nobody's around when Gabriel enters. He walks over to a file cabinet and removes a thick folder. Then he walks to the big filing cabinets, the ones that hold a body in each drawer. He strolls along, tapping each label till he finds the one he's looking for, slides it open, and looks down at the naked body of the gargoyle. He's been sewed back together. Kind of. Gabriel grabs the eyeless corpse under the armpits and drags him out onto the floor where he pushes the legs together and outstretches the arms, like a crucifix. From his coat Gabriel takes out a small vial of oil and rubs it onto the gargoyle's feet and hands. Anointing them. Then with the tip of his finger, he draws a faint sign of the cross on the forehead, stands, and walks for the door. In the background, as Gabriel leaves, we see the body of the gargoyle BURST into flame. DISSOLVE TO: INT. KATHERINE'S SCHOOL Katherine's students are shuffling back from lunch to their seats, making small talk and paper airplanes. Katherine does a head count, then stops a young boy coming through the door. KATHERINE Brian, have you seen Mary? BRIAN I think she's out back somewhere. KATHERINE (to girl) Allison? ALLISON We haven't seen her since lunch. KATHERINE We're you guys up in the... The girls, Mary's friends, shrug innocently. Katherine sighs. KATHERINE Okay everybody, get started on today's reading. Quietly. I'll be right back. Katherine closes the door behind her. The class immediately erupts into goofing off. The door opens again. KATHERINE I mean quiet. IN THE ABANDONED PART OF THE BUILDING Katherine walks through decayed and rusting halls. KATHERINE (calls out) Mary... It's spooky up here. A part of the building Katherine clearly dislikes. KATHERINE Mary... (to herself) Shit. Katherine calls out Mary's name a few more times, turns a few more corners, and suddenly comes on her. KATHERINE Mary? Mary's sitting beside Simon, the bleeding, ashen-faced man with sunglasses. She's giving Simon a piece of sandwich and a coke. Katherine is instantly wary. KATHERINE Mary, come here. MARY But Simon and I were -- KATHERINE Come here. Mary reluctantly walks over to Katherine. KATHERINE Go back to class. MARY But -- KATHERINE Go. Mary frowns, waves once to Simon, and leaves. There's a heaviness to the air around Simon. A kind of buzzing. Katherine blinks her eyes a few times. Focuses. SIMON She wasn't doing any harm. KATHERINE It's not her I'm worried about. SIMON Of course. KATHERINE What are you doing here? SIMON Small job. Mostly done now. Just passing through. KATHERINE This is school property, you can't sleep here. SIMON It wasn't part of the plan. Honest. KATHERINE (notices blood stains) Are you all right? SIMON No. Not really. That buzz. Katherine rubs the side of her temple. KATHERINE I'll have to call the police. SIMON I wish you wouldn't, but I understand. KATHERINE They'll help you. SIMON Oh, I rather doubt that. Katherine turns and leaves, her footsteps fading. Mary appears again. MARY Hi. SIMON Hello. I thought you'd left. MARY I hid. I'm very clever. SIMON I'm sure you are. (beat) You were nice to give me the food. MARY I know. SIMON I haven't much time, Mary. And since you've been so nice to me, there's something I'd very much like to give to you. MARY What? SIMON Just for a little while. Something very special. Can you keep it a secret? The biggest secret ever? MARY Yes. What is it? SIMON Come here, Mary. She takes a couple of shy steps toward him. SIMON Closer... As she does -- CUT TO: Katherine, outside the building, rounding up some of the kids who decided to take an impromptu recess. Hustling the last one up the stairs, she pauses suddenly. She hears something. Faint coughing. Katherine walks back around the side of the building and sees Mary bent over, vomiting. Katherine rushes up to her. MARY I don't feel good... KATHERINE What's the matter, pumpkin? Did you eat something? (concerned beat) Did he give you something? Mary coughs up the last of her lunch. MARY Can I go home now? Katherine wipes off Mary's mouth with a hanky. KATHERINE Sure, hon. Let's go. EXT. TOWN - DAY Katherine drives Mary home, a dusty, tired mobile home slumped among the saguaro and tumbleweed on the edge of town. INT. MOBILE HOME Mary and Katherine pull open the door and enter. Mary's elderly grandmother is sitting watching "All My Children". She smiles at Katherine and looks at Mary with concern as the little girl rubs her stomach and explains something in Navaho. IN THE BEDROOM Katherine helps tuck Mary in bed as her grandmother brings a glass of water. KATHERINE I'll have the school send over a doctor. The grandmother sits beside Mary, whispers gently in Navaho, and softly stokes her brow. IN THE LIVING ROOM KATHERINE (on the phone) ...He's was just laying up there. I thought, with the kids and everything... VOICE Most of my boys are up the highway on a tanker spill at the moment. They may be a while. These people are rarely any problem. I'll have a deputy come by tonight or tomorrow and shoo him out. KATHERINE He looked hurt. VOICE They all do, ma'am. Inside or out, they're all damaged goods. IN THE BEDROOM Alone and tucked into bed, Mary stares off at something very, very far away. DISSOLVE TO: INT. THOMAS'S APARTMENT The sun orange and fading outside his window, Thomas drifts off into a nap on his couch. The phone rings. DAGGETT Yeah. VOICE It's your friendly coroner. DAGGETT Why is my friendly coroner, after a long day at work, calling me at home? VOICE I have something you'll want to see. DAGGETT I doubt it. VOICE No, you'll definitely want to see this. INT. MORGUE On the floor is the smoldering, blackened outline of a body. A thick, slimy goo gurgles and pops. The whole room is afoul with acrid smoke. CORONER They also took the autopsy file. DAGGETT "They"? CORONER He, she, it. They took it. They also lifted all the physical evidence from the San Julian impound. DAGGETT Where was everyone? CORONER The cop at the desk is in the hospital as we speak with a broken collarbone. Everyone else was down the hall watching the basketball playoffs. DAGGETT Who won? CORONER Temple. DAGGETT Lucky. CORONER Yeah. Foul on the buzzer. Thomas jams his hands in his pockets and leans against an autopsy table. Watches the smoke curl slowly up from the impossibly melted goo in front of him. DAGGETT Looks like the snow angels we used to make as kids. Lie down in a clean bank. Move your arms up and down... CORONER You know what this means. Our friend's cleaned out all the evidence on this guy. Everything. DAGGETT Did the cop get a look at who nailed him? CORONER Tall. Smiled a lot. DAGGETT Anything else? CORONER He wore sunglasses. Thomas pulls out out his notebook. CORONER You gonna figure this one out, Tom? DAGGETT I'm going to try. CORONER When you do, give me a call. Tell me I'm not crazy. INT. JERRY'S APARTMENT Gabriel crouches on the linoleum and pours everything out of the evidence box onto the floor. He sifts through it, a smile appearing when comes across the Chimney Rock Republican and its circled obituary. GABRIEL You like the desert, Jerry? Jerry is looking worse by the day. A rotting, oozing fissure has opened on his forehead. His right eye doesn't move anymore. He sits on a kitchen chair glumly. JERRY You promised. You promised that -- GABRIEL -- Soon. Honest. Don't be a pest about it. JERRY (sighs) Never trust a fucking angel. GABRIEL Excellent advice. INT. POLICE STATION Thomas sits hunched over his notes from the first day of the investigation. Written in it is the Chimney Rock Republican and the obituary name of General Arnold Hawthorn. Lt. Paul sits down in the chair opposite. LT. PAUL Do you ever have one of those afternoons where you feel no one's giving you a straight answer about anything? DAGGETT Oh, maybe five or six times a week. LT. PAUL (reading sheet) It says here somebody got into the property warehouse and cleaned everything out of your evidence box. No, he did leave one thing. A footprint. 11-D. DAGGETT Mud on his shoes? LT. PAUL Spinal fluid. Thomas slowly closes his notebook. LT. PAUL I'm not going to get a straight answer out of you either, am I? DAGGETT Not yet. The Lt. rubs his eyes tiredly. DAGGETT I need to go to Arizona. LT. PAUL For your health? DAGGETT So I can give you a straight answer. LT. PAUL Sure, why not? Take the kids. See the Grand Canyon. Send me a fucking postcard. DAGGETT Sorry. LT. PAUL I've got a headache, Tom, and I hate my life. If you have to go, go. DISSOLVE TO: EXT. DESERT - NIGHT On an utterly lonely blacktop, Gabriel shoots by in his top- down rambler, insignificant in the night's vastness. Jerry's in the back, feet up on the seat. JERRY Why do you need me? I can hardly walk now. GABRIEL Some things are human work, son. Live or dead, human work. Besides, I like you. JERRY Lucky moi. Gabriel suddenly stands on the brakes, SCREECHING the rambler to a dusty stop. He kills the engine and everything is instantly whispering night and coyote howls. Gabriel climbs out and walks to the edge of a cliff. Far below, nestled among the finger-like spires of volcanic cones, lies The Town. Twinkling lights in a cold, dark embrace. Gabriel pushes his sunglasses up his nose and smiles. GABRIEL I can always smell a graveyard. Two coyotes begin fighting and snarling with each other in the dust nearby. EXT. GRAVEYARD - NIGHT On a low hill at the edge of town. Cracked, sinking headstones. The rambler's parked next to a new one, Slim Pickens on the AM, as Jerry digs up the fresh grave marked General Arnold Hawthorne. Gabriel sits perched on the headstone over the grave like a winged creature. JERRY I hope you're enjoying this. GABRIEL I always enjoy watching you work, Jerry. JERRY How did I ever get you in my life? GABRIEL Come on, you didn't really want to kill yourself. JERRY But I did it, didn't I? I did kill myself. GABRIEL Well, yes. Technically. JERRY And you're just keeping me alive. GABRIEL Letting you die slower. JERRY I'm so in your debt. GABRIEL Thank you, Jerry. I'm touched. Really. Jerry's shovel CLANKS onto something hard. He scrapes away the dirt, revealing a coffin lid. With a socket wrench Jerry removes the fastening bolts, then with the edge of his shovel, pries open the lid. It's the ancient, wasted general we saw at the beginning. His medals flash in the moonlight. JERRY Not much to look at. GABRIEL Ah, but it's not what's on the outside that matters -- Gabriel leaps off his perch down into the grave. GABRIEL -- It's what's on the inside. Gabriel reaches down, places one hand on the General's forehead, one on his chin, and BREAKS the mouth open. He gazes down into it. Then suddenly stiffens and straightens up. GABRIEL (upset) It's not here. Gabriel frantically look in the ears. Up the nose. GABRIEL It's not here! JERRY Oooh, bad news for the war effort. GABRIEL (spins wildly on him) Shut up!! Gabriel BANGS the coffin lid in frustration. Tries to think. GABRIEL Now, if you were a soul, where would you hide? JERRY The hell away from you. INT. THOMAS'S APARTMENT The numbers on the clock radio roll over five AM and the news comes on. Thomas stirs in bed, rubs his eyes, and looks out at a sky untouched by any sign of dawn. CUT TO: In coat and tie, Thomas sits in his spartan kitchen stirring a coffee when the phone rings. FEMALE VOICE Hey little brother. DAGGETT (smiles) Hey. How's the world? VOICE The world's the usual. Except for a guppy. the world's minus one guppy this morning. DAGGETT And Jamie and Mac? VOICE They keep asking for Uncle Tommy. The only man that can make stuffed bears talk. DAGGETT My one true calling. What's up? VOICE What do you mean? DAGGETT It's five-thirty in the morning. VOICE (beat) I just thought I should call. DAGGETT You always were telepathic. VOICE Don't go. Thomas looks up at his overnight bag, sitting half-packed on the dresser. DAGGETT It's my job, Jan. I go places sometimes. VOICE I just had this terrible feeling about it. What's happening, Tom? DAGGETT I don't know. VOICE I miss you. Even when you're here. I miss you. I miss my brother. It's been four years, Tom, since... DAGGETT I know. VOICE We're the only blood family we have left, you and me. I worry about you. DAGGETT I'll be okay. VOICE Sorry about the dawn-attack call. I love you. DAGGETT I love you too, Jan. He cradles the phone, stares at it, then picks up his overnight bag. EXT. THE TOWN - NIGHT Silent and dead at this hour. Gabriel's boots creak on the floorboards of the 19th century plank sidewalks. He taps his finger aimlessly along plate glass shop windows. GABRIEL Boy, what a dump, huh? Jerry, limping on a foot that's caving in on itself, wiping the spinal fluid out of his dead eye, shuffles along behind. Gabriel pops off the elevated sidewalk, grabs a parking meter and swings himself playfully around. GABRIEL Why can't this shit ever go down in Miami? Or Bora Bora? I feel like I've spent my whole damn stay in gin swills like this. JERRY Life's a bitch. Gabriel suddenly freezes. He sticks his nose up, sniffs like a coyote, then abruptly drops to the ground in a push-up and smells the dirt. Tastes it with his tongue. Smiles. GABRIEL Well well... INT. THE SCHOOL BUILDING - NIGHT A fracture of broken moon tumbles through shattered windows and falls dully across shapes old, shapes forgotten, and one shape trying hopelessly to drag itself across the floor. It's Simon; breath a rasp, blood-soaked pants leaving a long smear behind him like a hemorrhaging snail. He coughs, drags an arm across the lenses of his sunglasses, And looks up at a pair of black, lizard-skin boots. GABRIEL Hi, Simon. Simon rolls on his back and sighs. SIMON Gabriel. Simon looks up at puss-faced Jerry, leaning quietly in a dark corner. JERRY Don't mind me. Just along for the ride. Gabriel sits down against the wall. GABRIEL So, what shall we talk about? Theology? SIMON I'm a little talked out on theology. GABRIEL Fair enough... Gabriel turns his boot to the moon, watches the pale light glint back off the lizard scales. GABRIEL You know why I'm here. SIMON Oh yes. GABRIEL Don't happen to have it on you by chance? SIMON No. GABRIEL That would have been too easy. Simon suddenly JUMPS to his feet. Tries to escape. Jerry trips him, SPRAWLING Simon back to the floor. GABRIEL Please, Simon. Get serious. Gabriel walks over to him. Puts his face close. GABRIEL Now. Where's the soul? (beat) You know. So high. Used to reside in the recently departed General Hawthorne. Simon doesn't answer. Gabriel shrugs. GABRIEL Have it your way, big guy. SIMON I do have one question. GABRIEL Shoot. SIMON Do you even remember what this war's about? Gabriel pauses, almost thoughtfully. Then he smiles. GABRIEL That's hardly the point, is it? SIMON I guess I never did get the point. GABRIEL Happens. SIMON How do you do it, Gabriel? How do you go on and on in this place? GABRIEL I like it here, Simon. I always have. SIMON I'm so tired... Gabriel grasps Simon's hand. GABRIEL Then join us, Simon. Reject the Nicene Council. We were here first. SIMON I can't do it, Gabriel. I don't even know why anymore, but I can't. GABRIEL You know the routine. SIMON (swallows hard) Yes. Gabriel's hand is suddenly on Simon's face, fingers spread, claw-like. They press into the flesh. Hard. And harder. Until Simon starts to bleed. Then to burn. INT. KATHERINE'S HOUSE - NIGHT Katherine startles abruptly in her bed at the faraway sound of Simon's screams. Screams carried either on the wind or her dreams. INT. MARY'S HOUSE - NIGHT Asleep, sweaty, shivering, Mary suddenly opens her eyes. INT. THE SCHOOL BUILDING - NIGHT Gabriel releases his grip on Simon, letting him fall back against the wall, afire. His clothes twist and blacken. His skin creeps and pops. His sunglasses melt and fall away; revealing two hollow pits beneath. Gabriel lifts Simon's entire body up off the floor by just the disintegrating face, and stares into the hollow pits. GABRIEL Not yet. And the fires go out. Gabriel drops the crackling, acrid body onto the floor. Impossibly, through the sizzling mucus and molten hair, it breathes. It gasps in pain. It won't die. GABRIEL I can do this for five months, Simon... DISSOLVE TO: EXT. THE TOWN The skies above lighten and smear blue and red. KATHERINE Finishes dressing for school, picks up her teaching bag, and crunches out across the gravel to her pick-up. INT. THE SCHOOL BUILDING Gabriel's lizard boots pace back and forth past Simon's writhing, burning body. Gabriel's more jittery now. Losing his patience. He bends down and pulls Simon's face up to his. GABRIEL This is getting boring, Simon. JERRY Amen. GABRIEL Where is it? Where did you put it? The seared skin around Simon's mouth comes off in Gabriel's hand. But Simon is still, even now, silent. GABRIEL Where is it! He flings Simon with a horrible crunch against the wall. GABRIEL I'm just about out of tricks here. You're a tough one, friend. Old school. He walks over and places a hand with something like friendship on Simon's charred shoulder. GABRIEL God loves you, Simon. And with the other hand Gabriel JAMS his fist into Simon's chest, PULLING OUT a lumpy, burned heart. Simon's mouth springs open and hisses emptily. Gabriel slips the heart into his pocket and lets go of Simon's shoulder. The body instantly disintegrates and crashes to the floor. EXT. THE TOWN - MORNING Katherine squints at the morning glare as she drives through town. Pulling into the school's drive she sees, parked at the building's back door, a sheriff's patrol car. INT. SCHOOL BUILDING Katherine comes up the stairs of the building's abandoned floor, passing the stacks of rotting desks toward where she last saw Simon. There's a bad smell in the air. At a turn stands a deputy that looks up as Katherine approaches. DEPUTY You may want to skip this, ma'am. Katherine looks past him to where a second deputy crouches down beside... beside something. It's human shaped, but like a shadow. A shadow twisted in agony and slicked with a tarry, smoldering ooze. The smell is overpowering. The crouched deputy has a handkerchief over his mouth. CROUCHED DEPUTY God damn... DEPUTY (to Katherine) Were any of your students up here? KATHERINE Mary... EXT. MARY'S FAMILY TRAILER - DAY Katherine pulls-up and parks. INSIDE Mary is still in bed, droopy-eyed and sweating. Her grandmother is there, and so is an elderly Navaho. He stands beside Mary's side, holding above her body a clenched pouch that he passes slowly back and forth. KATHERINE (to grandmother) How is she? GRANDMOTHER Same. KATHERINE Did the doctor come by? GRANDMOTHER He found nothing. But something is in her. I know. Something the Belagaana doctor can't see. The night people have been around two days now. It is a warning. (nods to Navaho man) So we have called the hand trembler. To find if she must have an Enemy Ghost Way. The old man mumbles a soft chant as he moves the pouch back and forth across Mary's body. EXT. MARY'S FAMILY TRAILER - DAY Katherine walks back out toward her pickup. She stops. Thirty yards away, almost invisible in the sage say for the glare of its evil, intelligent eyes, is a coyote. As she feels it's gaze a shadow suddenly crosses her shoulder. Katherine turns quickly but only barely catches, out of the corner of her eye, a glimpse of something very large. And winged. CUT TO: A huge semi ROARING deafeningly past on an empty desert highway, KICKING UP a dusty cyclone that drifts over a one- horse gas station and Thomas, sitting there in his car checking a map. CUT TO: EXT. COUNTY BUILDING - DAY Small townish; old adobe and stucco walls, cannon on the front lawn, every door loudly declaring itself a department: SOCIAL SERVICES, COURTS, and, SHERIFF. INSIDE The Sheriff's personal office is turn of the century regal, with high beam ceilings and rotating fans. Nothing seems newer than 1940, including the coffee pot the Sheriff pours a mugful from. Trim with glasses, bolo tie and boots, he looks like Barry Goldwater. SHERIFF And to what do I owe the thrill of a visit from a So Cal homicide cop? He hands the coffee to Thomas, sitting in a chair beside his solid oak desk. DAGGETT Run of of the mill psycho killer body dismemberment on our end. The usual. SHERIFF Lovely place, Los Angeles. DAGGETT Got a lead I wanted to run down Chimney Rock way. Thought I'd do the courtesy of telling you first. SHERIFF Big of you. DAGGETT You're welcome to put a babysitter on me if you like. The Sheriff smiles. SHERIFF Son, this is the third biggest county in the country, not even counting the 25,000 square mile Indian reservation right next door, and I've got fewer men than just one of your little palm tree precincts to cover all of it. 'Fraid the only help you're gonna get from me, short of another shoot out at the OK Corral, is that cup of coffee in your hand. A middle-aged secretary enters with a stack of paper. SECRETARY Here's the last week's watch reports. She hands them to the Sheriff, who passes them on to Thomas. He flips through the stack, comes up with nothing. The secretary hands another, single sheet to the Sheriff. SECRETARY Bobby just called this in from Chimney Rock. Thomas perks at The Town's name. SHERIFF (to Thomas) Sent a car up there this morning. Teacher complained some vagrant was sleeping in her schoolhouse. The Sheriff's brow crinkles in consternation as he reads further. SHERIFF (to secretary) Damn it, get Bobby on the phone, Clarice. What the hell is this suppose to be? DAGGETT (re report) May I? The Sheriff hands it to him. Glancing at it we pick up words like BURNED, BLACK SLICK, BODY OUTLINE. Thomas copies the name of the school down, gulps his coffee, and shakes the Sheriff's hand. DAGGETT Thanks for the coffee. SHERIFF (as Thomas turns to leave) Small piece of advice, Lt. Dagget, that I give free of charge to all visiting big city policemen: It's wild country up there. Always has been, always will be. You come across anything that snarls, you call me first, hear? DAGGETT I never turn down advice, Sheriff. Especially when it's free. DISSOLVE TO: Thomas's sedan passing through the vast, empty land. FAR ON THE HORIZON A small clump of buildings emerge clinging hopelessly to the earth. The Town. EXT. TOWN HOTEL - DAY A former miner's hotel, stone walls and sagging wrought iron. INT. HOTEL ROOM Thomas tosses his bag onto the bed, opens the balcony door, and looks out on the crumbly shale hills, the abandoned prospecting shacks, and the Chuska Mountains, clouds brewing darkly across its shattered back. CUT TO: A close-up of the circled newspaper obituary for General Hawthorne. The paper lowers and reveals behind it the general's grave. The dirt around the tomb is loose, recently filled. The grave keeper, a young, gangly, drifter type stands nearby with his shovel. DAGGETT How long ago was he buried? GRAVE KEEPER Which time? DAGGETT What do you mean? GRAVE KEEPER Somebody dug him up last night. I just finished putting him back. DAGGETT Did they take anything? GRAVE KEEPER Nothin' on the outside. INT. THE SCHOOLHOUSE Thomas's breath escapes in warm clouds here in the unheated, abandoned part of the building. Rats scurry away from feeding on the dark, human-like stain on the floor as Thomas crouches down beside it. He probes the dried, black, crusty flotsam with his ball-point pen. Just like the burned body back at the morgue. Far away you can hear the sounds of children. Of a teacher's voice. DOWNSTAIRS It's only past the final door, into the smallest corner of the building, that the walls become clean and brightly painted by eager third graders. The creepy silence transforms itself into the giggles of children as they bang open the classroom door and whoop themselves outside for recess. The last one out is Katherine. She's surprised to see Thomas. DAGGETT Hello. KATHERINE (suspicious) Can I help you with something? DAGGETT Tom Dagget. I'm with the police. KATHERINE About the guy upstairs? DAGGETT I'd like to ask you a few questions. KATHERINE I've kinda got my hands full right now. DAGGETT I'll just tag along. Katherine unlocks a hall cabinet and pulls out a stack of volleyballs. She tosses two to Thomas. KATHERINE Here, make yourself useful. Arms full, she pushes the building door open with her shoulder and backs out into the sunshine. She tosses the balls out to the kids. KATHERINE Okay, everbody stays on the courts today. (kids groan) -- I mean it. She sits down beside Thomas on the building's stone steps. DAGGETT What grade is this? KATHERINE All of 'em. DAGGETT Town doesn't look that small. KATHERINE Nearly all ghosts now. When the copper mine closed it took most of the town with it. We just teach out of this one corner of the schoolhouse now. Rest of it's been abandoned for years. DAGGETT You're the only teacher. KATHERINE Yup. Just me. (to kid threatening another) -- Randy... RANDY But he -- KATHERINE Do it again and I'll put your head in the door and slam it. (to Thomas) Love and understanding are important tools in education. DAGGETT Clearly. The children skitter back and forth playing. DAGGETT The man upstairs, did you talk to him? KATHERINE I wanted to know what the hell he was doing there. DAGGETT What did he say? KATHERINE That it wasn't part of the plan. He looked hurt. Bloody. Like someone had cut him. That happens here. (beat) Was that... stuff... on the floor really him? DAGGETT Did any of the children talk to him? KATHERINE Yes. DAGGETT Who? KATHERINE (protective) She's home sick from school today. DAGGETT Can I speak with her parents? KATHERINE They're dead. She lives with her grandmother. I'll have to ask her. DAGGETT All right. (stands, hands her slip of paper) This is my number at the hotel. Thomas starts away. Pauses. DAGGETT Did you know Arnold Hawthorne? KATHERINE The General? Saw him here and there. It's a small town. DAGGETT Military man? KATHERINE About a million years ago. His interests lately were more like gardening and herbal tea. DAGGETT Did you go to the funeral? KATHERINE Everyone did. He lived here. DAGGETT No dark hidden secrets? KATHERINE There are no secrets in small towns, Mr. Dagget, dark or otherwise. ACROSS THE STREET Up the crumbly embankment, sitting perched on the roof of an abandoned house, is Gabriel. He watches Thomas walk to his car. He watches the children playing, lifting his nose to snort the air, like a coyote. INT. THE TOWN LIBRARY Thomas sifts through some clippings on General Hawthrone. Tactical genius. The man who saved Korea. Brutal. Almost court marshalled a dozen times for his inspired savagery. A truly ruthless man -- who spent the last twenty years quietly tending his garden in a dying town. INT. THE TOWN CHURCH Small, simple, and woodplanked. The church we saw at the beginning. Thomas sits there, staring at the candles, the altar, the crucifix. He's alone there. But for a creeping buzz. A feeling in the air. GABRIEL'S VOICE It's unusual to see someone of your age in church on a weekday. Thomas turns in surprise. Gabriel is kneeling in the row behind, inches from his ear. GABRIEL Don't get me wrong. I think it's an excellent sign of character. There's something cold and creepy about Gabriel. Out of place in here. There's another sound. Teeth chattering far in the back. Thomas turns and sees Jerry, deep in the shadows of the choir box. Jerry waves. GABRIEL Never mind him. He shouldn't even be in here. Least not standing. Those sunglasses. Impenetrably dark. Like at the skid row flophouse. GABRIEL You're not from here. DAGGETT Either are you. GABRIEL I'm looking for something. DAGGETT Have you found it? GABRIEL I will. Have you found what you're looking for? DAGGETT I will. GABRIEL (appraising him) I don't doubt it. (stands) You'll let me know? When you find it? DAGGETT Where are you staying? GABRIEL I'm around. And he walks out, leaving Thomas alone in a place gone suddenly cold. INT. THOMAS'S HOTEL There's a note waiting for him at the front desk: "Her name is Mary Tsosie. You can talk to her at noon tomorrow. I'll be at the VFW hall tonight -- Katherine." DISSOLVE TO: INT. VFW HALL - NIGHT Thomas sticks his head in through the door. MICROPHONE VOICE ...B-26... B-26... It's an Indian bingo game. Thomas' eyes drift down the table packed with elderly faces and find Katherine and John the Navaho bus driver. Katherine waves him over. Both her and John are totally obsessed with the game, keeping track of several cards. DAGGETT I got your note. KATHERINE Have a seat. You need a card. Here, play one of mine. DAGGETT No, it's okay. Really -- JOHN You must learn to shed your high- strung ways, pale face. You must learn the spirit joy in patience, peace, and making fifty or sixty bucks. MICROPHONE VOICE ...G-19... G-19... KATHERINE John, this is Mr. Dagget. Says he's with the police, though judging by his coat and basic command of the english language, I don't think it's from anywhere around here. DAGGETT (shakes John's hand) Tom. From Los Angeles. JOHN That near Oxnard? DAGGETT Sort of. KATHERINE Long way from home, Tom-from-Los- Angeles. MICROPHONE VOICE D-9... D-9... Thomas lazily glances at his card, his eyes opening suddenly wide. DAGGETT -- Hey, wait. I won. I won! KATHERINE -- What? No way -- JOHN Recount! Recount! CUT TO: INT. TOWN HALL - NIGHT A Navaho social in full swing -- square dancing. The Indian band on stage plays deeply traditional, inspiring, -- Hank Williams. John easily whirls Katherine around; a steely-eyed, master square dancer. Thomas leans against the wall tugging on a beer. When John releases her for another partner she points at Thomas. KATHERINE Your turn. DAGGETT Oh, no thanks. KATHERINE C'mon, don't be a drip. She leads him out onto the floor. DAGGETT I'm not very good at this... KATHERINE (as they dance) No, you're not, are you? She smiles. Gets a smile out of him. KATHERINE Let me lead. EXT. DANCE HALL - NIGHT Couples drift off the building's porch and into the street to cool off, smoke, and take a few hits off paper bags. John leans against the brick wall, tugs liberally from his paper bag, and exchanges war hoops with some friends across the street. He passes the bag to Katherine and Thomas. JOHN So how's our star pupil feeling today? KATHERINE Mary? The school doctor came by. Declared it "Non-specific gastrointestinal disorder". JOHN Latin for "I don't have the slightest fucking idea". DAGGETT Will she be able to talk with me? KATHERINE That's up to her. (to John) Mary's grandmother called a hand trembler. JOHN Uh oh. Hocus pocus time. DAGGETT Is that serious? JOHN Depends what the hand trembler says. People call them in when they think a witch or a Yei is trying to sprinkle corpse sickness in their hogan, or if the Night People have been hanging around too much. Night people screw around a lot, but they're good at warning of evil ghosts. DAGGETT Who are the Night People? JOHN They come as coyotes. EXT. ROAD - NIGHT Thomas sits in the truck's bed as they Katherine drives through town. John, on the near side of royally toasted, has his boot stuck out the passenger window. Thomas looks up at the night sky. At its blaze of stars. DAGGETT Beautiful stars out here. John drinks again from his bottle, rests his head on the open window and looks out. JOHN Too much fucking sky in the desert. It pushes on you. (sighs) Sometimes I wonder if anyone in heaven even knows this place is here... INT. JOHN'S HOUSE - NIGHT Early American bachelor. John collapses onto the couch as Katherine heads for the kitchen. KATHERINE Where do you keep the coffee in this joint? JOHN Above the stove. She messes with the grounds and filter. Thomas paces the room, looks over the pictures and a few weavings. DAGGETT What happens if the hand trembler says a ghost has been... JOHN -- Messing with Mary? If you're smart you say thank you very much and forget about it. But if you're heavy traditional, and Mary's people are serious traditional, you have an Enemy Ghost Way. DAGGETT What's that? JOHN Goddamn expensive. It's a Sing to purify and drive off the corpse sickness. Two days of dancing and ceremony and feeding the whole damn village. Not even to mention hiring the yataallii, if you can even find one these days. And you can bet they don't come cheap. But every clan does it a bit different. Especially Mary's. DAGGETT You know them? JOHN The Bitter Sky Clan. Hard core reservation. No lights, no running water, no HBO. Their village is out on the edge of Old Woman Butte. Million miles from anything. Witch country. Settled right there in the Dead People Land where no one else would, right on top of the old Anasazi village. They're a dying clan. Just the old ones now. All alone out there in the middle of nothing. (drinks) They can keep it. DAGGETT Do people really still believe in it all? Ghosts, Sings, corpse sickness? JOHN Depends, I guess. Sometimes you go along because it's a village thing, or you don't want to disappoint grandma. But sometimes, when you're alone out there, far from town, and the wind kicks up and sneaks into your hogan... I don't know. John closes his eyes and drifts off. Thomas wanders into the kitchen. DAGGETT I think John's out for the evening. KATHERINE Saturday night in Chimney Rock. She hands him a mug of coffee. DAGGETT So how does a person like you end up teaching here? KATHERINE When I was younger I used to believe that no matter how much you mucked around in your life, one day, if you listened hard enough, a voice would tell you what you were really cut out to do. And when it didn't show up on schedule I decided to go look for it. And I looked in a lot of places, believe me. I drove that road out there so far that the end became the beginning again. And it was when I got here that I realized there never was going to be a voice. So I stopped looking and took the first job they offered me. That make any sense to you? DAGGETT Oh, I know all about voices. Problem is not all of them are very nice. KATHERINE How did you end up a cop? DAGGETT It was the evil of two lessers. KATHERINE Are you always this cryptic? DAGGETT No. When you get to know me I can be down right evasive. EXT. HOTEL - NIGHT Katherine pulls up to drop Thomas off. DAGGETT Thanks for the lift. Tomorrow at noon? At the little girl's house? KATHERINE First trailer on the highway past town. Thomas climbs out. KATHERINE I must say, Mr. Dagget, that you don't seem very like a police officer to me. DAGGETT That's what my bosses keep saying. KATHERINE I meant it as a compliment. DAGGETT So taken. Goodnight, Miss Henley. KATHERINE Goodnight, Tom-from-Los-Angeles. DISSOLVE TO: Thomas lying in his hotel bed, flinching through a dream- filled sleep. There's glimpses of shattered images: War. Death. And a small, dark-haired girl. Thomas's eyes open and fix on the ceiling. Out his window, perched on the railing of his balcony, is something dark and winged. DISSOLVE TO: The honey warmth of dawn heats the bluish, quiet streets of The Town. Across shale hills and abandoned 19th century miner's shacks, there echoes the faint, clear notes of a trumpet. The bluesy notes drift over narrow dead-end streets, junked cars, and the abandoned copper mine out past the end of town. INT. MINE Deep in the tunneled rock, past the rusting conveyor belts, Gabriel sits in a small cave blowing Miles Davis on his trumpet. There's just the blanket he sits on and a single candle. Jerry comes around the corner. GABRIEL Get any sleep? (Jerry only stares) -- Just kidding. EXT. THE SCHOOLHOUSE - MORNING As Katherine climbs out of her pick-up she sees several of her students standing in a circle. Crouched in the center, talking to them, is a man. Gabriel. Jerry stands nearby. Gabriel is showing a boy his trumpet. Demonstrating where to put his fingers. GABRIEL ...There, and there. Now pucker your lips... aim it that way, and just blow a little bit, this is a special trumpet. The boy puffs lightly. The trumpet emits a piercing, clear note that SHATTERS a window high up in the abandoned part of the building. The youngsters whoop and applaud. GABRIEL Very good, Timmy. Very good. Here, have a Junior Mint on me. Open up. As Timmy opens his mouth we clearly see Gabriel looking down into it. Looking for something... GABRIEL Who's next? Katherine approaches the scene warily. The children all beg for their turn. Gabriel selects Sandra, one of Mary's second grade friends, and puts her on his knee. GABRIEL And who are you? SANDRA Sandra. She can barely get her fingers around the trumpet. GABRIEL And did you see the man upstairs, Sandra? SANDRA A little. GABRIEL Did you talk to him? SANDRA No. GABRIEL And who did, Sandra. Who talked to the man? SANDRA Mary. GABRIEL And where is Mary, Sandra? SANDRA She isn't here. She's sick. GABRIEL You've got very pretty teeth, Sandra. Here, let me see... He gently pushes down her chin with his thumb, opens her mouth, and gazes in. Katherine enters the circle. KATHERINE What the hell do you think you're doing? Gabriel looks up, unperturbed, and smiles. GABRIEL Just talking to the kids, Ma'am. KATHERINE Get off his knee, Sandra. Everyone else, go inside. Now. The kids reluctantly shuffle off. BRIAN 'Bye, Gabriel. GABRIEL See ya, kids. Be sure to study your math. He has the same sunglasses as Simon. The same cold, creepy air about him. KATHERINE Who are you? GABRIEL It's a long story. Jerry suddenly snorts loudly, trying to retrieve a sticky red glop that starts running out of his nose. GABRIEL Ignore him. JERRY Everyone else does. KATHERINE I don't know what the hell is going on, but you both better get out of here. Right now. GABRIEL You're right... He climbs to his feet and stands close to her. GABRIEL ...You have no idea what's going on. He stands there a beat. That terrible coldness that swirls about him. The shriek of ghosts under his breath. Then he climbs into the rambler with Jerry and pulls away. Katherine watches the car drive off, then yells over to the school janitor. KATHERINE Al! Keep an eye on the children for me. I'll be right back. And call the sheriff. JANITOR Sheriff? What the hell do I tell him? KATHERINE Just call. Katherine gets into her pickup and starts the engine. EXT. THE TOWN - DAY Katherine drives through the main drag and out past the fringe of town. As she passes the old copper mine she sees, parked near the mine's tunnel entrance, Gabriel's rambler. EXT MARY'S GRANDMOTHER'S TRAILER - DAY As Katherine pulls up, she's surprised to see Thomas climbing out of his own car. KATHERINE You weren't suppose to be here till noon. DAGGETT You're a little early yourself. KATHERINE I wanted to check on her. DAGGETT That makes two of us. CUT TO: On the sandy lot that extends back from the trailer is a wizened cottonwood tree. Katherine, Thomas, and Mary are seated beneath its shade. Katherine is protective of the little girl, running a hand maternally through her hair. KATHERINE How are you feeling, pumpkin? MARY Better. KATHERINE This is Mr. Dagget, Mary. He'd like to ask you some questions. You don't have to answer if you don't want to. MARY It's okay. There's a dreamy, far-away look in Mary's eyes. It worries Katherine. DAGGETT Mary, when you talked to man up in the building -- MARY -- Simon. DAGGETT Yes, Simon. What did Simon say? MARY (smiles) That's funny. "Simon says". DAGGETT Right. Like the game. MARY I'm good at it. I'm very clever. DAGGETT We'll have to play together sometime. MARY Simon even said so. He also asked if I could keep a secret. DAGGETT And what was that? MARY Something he gave me. KATHERINE What, pumpkin? MARY Then it wouldn't be a secret. DAGGETT You're a good friend not to tell, Mary. But I'm a friend of Simon's too. So if you ever want to tell, you can to me. Okay? MARY It's a secret... Mary lowers her head and shuts her eyes. MARY ...But sometimes it hurts. Thomas and Katherine exchange looks. Mary's pretty eyes rise again as she calmly asks, in that cute little eight year old voice: MARY Have you ever killed a chinaman? DAGGETT No Mary, I haven't. MARY They don't bleed. Not the way you and I do. Or maybe it was just the cold... Thomas looks to Katherine for an explanation, but she's as confused as him. MARY I've killed them, you know. Lots. You could always tell when they were coming. There'd be the trumpets first. Every note flat. Then those songs... After that they'd charge. Right down through the snow. The guns would freeze and it would be just knives... It was so cold and there were so many of them. But I was smarter than they were. Even at Chosin, I was smarter... Mary's been explaining this in a girlish, show-'n-tell kind of way. Suddenly her face cracks as her voice chokes with a sob. MARY It scares me, Miss Henley. I hate it. Please, make it stop! She buries herself into Katherine's arms, sobbing. MARY Make it stop! KATHERINE (rocking her) It's okay... It's okay... Mary suddenly pushes away and runs back toward the trailer, into the arms of her grandmother. KATHERINE I'm sorry, I didn't mean to -- GRANDMOTHER It's all right, Miss Henley. We know you love Mary... KATHERINE What are we going to do? GRANDMOTHER She's going to have the Enemy Ghost Way. We leave this afternoon. The grandmother turns and walks back to the trailer. DAGGETT Where will they do the ceremony? KATHERINE In the home village. The Hand Trembler must have found corpse sickness... DAGGETT They're taking her away? Shouldn't she see a doctor? KATHERINE She's already seen a doctor. (then, under her breath) That son of a bitch... DAGGETT Who? KATHERINE Gabriel the children called him. The little shit was hanging around my kids this morning asking about Mary. He and his buddy make a real pair. DAGGETT Maybe it's time I checked out Mr. Gabriel. Katherine turns from trailer and looks at him. KATHERINE I know where he parks his car. INT. THOMAS'S CAR - DAY Katherine and Thomas drive back down the road leading to town. KATHERINE Chinamen? Chosin? I've never heard her talk like that before. DAGGETT Chosin Reservoir was a Korean war battle the Marines had against the Chinese, supposedly the bloodiest hand-to-hand fighting of the century. Someone been teaching that to your class? KATHERINE Sure, right next to Jack 'N Jill. DAGGETT Where would she have heard it? KATHERINE Nobody I can think of. (beat) Maybe one. DAGGETT Who? KATHERINE General Hawthorne. DAGGETT Did she know him? KATHERINE He didn't like children. DAGGETT You couldn't and tell a story like that to one. He pulls over to the side near the copper mine entrance. No sign of the rambler. KATHERINE It was there earlier. Thomas drives up the dirt path to the mine's tunnel entrance. They climb out and stand near its mouth. In the dust is the rambler's tracks and several footprints leading into the mine. Thomas steps up to the edge of the tunnel. It's a black, yawning thing that swallows the sunlight whole for breakfast. DAGGETT If I was smart I'd call the Sheriff or somebody in town who knows this place. Then again, there is one thing worse than getting killed. KATHERINE What? DAGGETT Looking like an idiot if it's nothing. He pops his trunk and takes out a flashlight. KATHERINE I'll come along. DAGGETT No, if someone has to fall a hundred feet down a black pit, he should at least be on official duty. Thomas switches on the light and takes a tentative step inside. DAGGETT Then again, it is kind of spooky in there. Here, you can hold the flashlight. INT. THE MINE The sun very quickly becomes a memory. And after the first bend it isn't even that anymore. There's only the glow of the flashlight; glancing off the abrupt edges of tunneled rock. Here and there are the flotsam of a bankrupt industry; dented ore carts lying on their side, rusted drill bits, piles of support timbers. And all around them the sucking blackness of the earth. KATHERINE It's cold... They walk further down into the mine. The atmosphere becomes close and creepy. Thomas has been following tracks left in the dusty floor that abruptly disappear. He stops and sighs. DAGGETT Shit. -- A BAT suddenly SHRIEKS out of the darkness, glancing off Thomas's shoulder and TANGLING in Katherine's hair. She screams and spins around, loosing her footing and half falling into a yawning ore chute she hadn't seen beside her. Thomas rushes over and pulls her out. She climbs shakily to her feet. DAGGETT You okay? KATHERINE Yeah... Sorry. Thomas takes a last pass at the mine shaft with his flashlight. DAGGETT Well, I've seen enough. As he turns to leave the flashlight burns out. DAGGETT Wonderful. He bangs it once against his thigh before he notices for the first time a dim, amber light coming from a space between the rocks. KATHERINE What is that? DAGGETT I don't know. Maybe a bum or something. But his gun's out at his side. Just in case. They follow the light to the gap in the rock, gingerly stepping into A CAVERN -- That could easily belong to a bum. It's Gabriel and Jerry's digs. Just the moldy blanket, single oil lamp, piles of twinkie wrappers, And something else. From outside the cave it's the same whine, the same blurryness that drips off Gabriel like sweat. But once they step into the room, into the lair, it suddenly jumps in volume. This is where Gabriel sleeps, and it's thicker here, like honey on the walls. Thomas has difficulty focusing his eyes. KATHERINE Do you feel it? DAGGETT ...Yes. KATHERINE What is it? But Thomas can't hear Katherine anymore, her voice has disappeared beneath the whine. As it becomes too much he leans his weight against the rock wall and shuts his eyes. It's then they come. Flashes of images: Of screams and fire. Of impossible vistas of emptiness and death. And shrieking overhead, shrieking everywhere; grotesque, winged creatures with no eyes. Some with faces we know; Gabriel, Simon, and the gargoyle. All these images are being jammed into both their minds by the cave. Thomas forces his eyes open but the scenes playing all around him won't go away. Tears are running down Katherine's face as she stands there locked in the same images. Thomas stumbles about the room as if drunk, the visions, incomprehendibly black visions of war and destruction on an alien plateau, eat his brain. He sinks to his knees and begins to cry. DAGGETT Oh no... Oh God no... Katherine's curled up on the floor like a child, weeping. The images are driving them mad. Thomas, fighting the insanity pounding at him, crawls pathetically across the floor to the oil lamp. His fingers grasp it spasmotically as he rises to his knees and leans back. DAGGETT No! He HEAVES the lamp against the cave wall, where it EXPLODES, the oil erupting into a swirling blaze that CONSUMES the corner. The images break a second in the heat and light and sucking wind. Just long enough for Thomas to grab Katherine's arm and pull her out of the room. EXT. MINE - DAY Katherine and Thomas lie in the dust outside the mine's tunnel entrance. Catching their breath. Trying to organize and repair the short circuits in their brains. Thomas rolls on his side, squints at the sun. Katherine's voice is faint and raspy. KATHERINE What... What was that? Hell? DAGGETT ...No. The voices. They were screaming and fighting over... theology. They don't sweat much about that in hell. But they do in... heaven. He squeezes a handful of dirt in his hands. DAGGETT The son of a bitch. He carries it around with him like a photo album. A big, greasy cloud wherever he goes. They all do. KATHERINE How can that be heaven? Jesus Christ. How? I don't even believe in heaven. The tears start rolling down her face. She looks up and shouts at the endless sky above them. KATHERINE You dumb fucking assholes! How could you have done that! DAGGETT That extra chapter by St. John was right. It's a war... Just like the first one. Just like when the angel Michael beat Lucifer and cast him out. Only now they've turned on each other... Turned on each other in a civil war over theology. He laughs hopelessly at the insanity of it all. DAGGETT Oh sweet God, theology. (sighs) "God's wild bunch". (shouts) God's morons! KATHERINE How do you know know so much about that? DAGGETT I just know. (shakes his head) Yes folks, the good news is that there's life after death in heaven. The bad news is that it's as screwed up as here. KATHERINE They were like us. DAGGETT They are us. Aborted children. And they need us. They need our corrupt, dark souls for their fight. They need... KATHERINE ...Mary. Katherine climbs abruptly to her feet and walks for the car. DAGGETT What are you doing? KATHERINE I don't know what this is. I don't know what I believe. I don't know if my sanity is lying back in that cave flopping around waiting for me. But I know one thing. Those... Those things aren't taking her! INT. THOMAS'S CAR Katherine and Thomas drive along in silence. Finally, KATHERINE In those... visions... did you ever see... God? DAGGETT No. KATHERINE Me either. INT. MARY'S GRANDMOTHER'S TRAILER Katherine and Thomas open the trailer door and enter cautiously. KATHERINE Mary? Thomas looks out the window and notices for the first time, parked behind the trailer, Gabriel's rambler. He immediately pulls out his pistol, runs for the closed door at the end of the hall and KICKS it in. The door FLIES open, revealing Gabriel sitting on the bed beside Mary. DAGGETT Get away from her. His gun's leveled at Gabriel's head. The angel sits there impassively, then smiles. GABRIEL You know. Son of a bitch, the priest wanna-be actually figured it out. That's a rare club, son. At least down here. DAGGETT Back away from the kid, man. Now. GABRIEL She won't feel anything, honest. I'll have to tear her apart of course -- just the way it goes -- but it'll be all right in the end. A good catholic boy like you, Mr. Daggett, you should be on my side. DAGGETT Goddamn it -- GABRIEL You're gonna have to watch that profanity. Jerry suddenly LEAPS out from behind the door and TACKLES Thomas to the carpet. The gun skitters to one side as Jerry SINKS his rotting teeth into Thomas's shoulder. Thomas cries out and SLAMS his fist against Jerry's head, knocking off an ear. Gabriel turns back to Mary's frightened face and smiles as he runs a hand through her hair. GABRIEL It'll only be a moment... Katherine suddenly HAMMERS Gabriel across the side of the head with a chair, KNOCKING him to the floor. As he gets up she HITS him again. Thomas manages to bring his leg up and KICKS Jerry hard against the chest, forcing him off. Gabriel GRABS both of Katherine's legs and PULLS, CRASHING her flat on her back. Thomas scrambles for his gun, grabs it, and as Jerry comes at him again spins and FIRES twice. The slugs RIP into Jerry's chest and knock him to his knees. As the putrid, curdled juices pump lumpily out of him, Jerry looks up at Thomas and smiles. JERRY Thanks man, I appreciate it. You're a sport. Thomas FIRES a slug into his forehead. Jerry's brain winks out as he collapses to the floor, dead. Thomas's gun is abruptly WRENCHED from his hand onto the bed as Gabriel NAILS him with a thrown lamp, vaults the bed between them, and grabs him by the collar, SLAMMING Thomas up against the wall. He looks down at Jerry's finally lifeless corpse, incensed at Thomas's handiwork. GABRIEL You little pest, do you have any idea how hard it is to get one of those? He THROWS Thomas down onto a table, SPLINTERING it. Katherine climbs shakily to her knees. KATHERINE You son of a bitch, why? Why do this? GABRIEL Because I'm an angel, you miserable wretch! I kill first borns while their mothers watch! I turn whole cities into salt! I even, when I feel like it, rip the souls from little girls! And from now until eternity, the only thing you'll be able to count on in your pathetic little existence is never knowing why! (deep breath) I'm wasting my time here. (turns to Mary) C'mon petunia, let's get on with it... Gabriel walks over to the bed. The moment he gets close, Mary lifts Thomas's pistol up from the sheets and SHOOTS him twice, the impact KNOCKING him on his ass. Katherine rushes to Mary, scoops her up and runs for the door. She pauses beside Thomas, still lying in the wreckage of the table. DAGGETT Go. Go! Katherine disappears through the bedroom doorway. Gabriel spins around and stands. Thomas leaps from a ragged crouch, HITTING Gabriel low with a body-block. It's like butting concrete. Gabriel picks up Thomas by the scruff of the neck and HEAVES him THROUGH the flimsy room paneling. Thomas CRASHES with a mass of splinters into the kitchen. He stumbles backward hopelessly as Gabriel peruses him through the trailer. He desperately throws pots, glasses, anything at Gabriel. Finally trapped, he scrambles up onto the dinner table, SCATTERING salt and sugar bowls, and DIVES through the levored window. OUTSIDE Thomas, in a hail of shattered glass, smacks the red earth, pulls himself up to his knees and tries to stumble and crawl away as Gabriel BANGS open the trailer door and stomps down the stairs toward Katherine, her arms around Mary. KATHERINE ...You... He eases his gait, measuring the distance to her. KATHERINE ...Can't... There's just those sunglasses coming. Those endless pits of black. KATHERINE ...Have Her!! Katherine lifts Thomas's pistol and FIRES. Again. Again. The slugs BANG off the corregated metal, SMASH a window, KICK up some dust, And PUNCTURE the propane tank beneath the trailer. -- WUMPP-BAM! The entire trailer EXPLODES in a fiery cloud of TWISTING METAL. Katherine huddles Mary close to the ground as flaming chunks WHACK everywhere. Gabriel is HAMMERED to the earth and disappears in the rolling fire cloud. Thomas, further away, is KNOCKED head-over-heels in the ruddy dust. The fire cloud dissipates quickly into the sky, leaving behind scorched brush, and little else, crackling softly. Gabriel's body looks blackened and still. Katherine rushes to Thomas, who's pulled himself up to his knees, a ragged slice above his eye bleeding badly. She helps him to his feet and over to the pickup, where he sits down against the tire as Katherine pulls out her first aid kit. Mary's there, standing with her shaken grandmother. DAGGETT (re grandmother) Where... KATHERINE She was coming up the street. MARY Is Gabriel dead? Mary's knelt down beside Thomas. MARY They're not like you and me. You've got to cut their hearts out. The only thing God gave them. A sheriff car ROARS up, the two deputies exiting warily. DEPUTY What the hell happened here? Katherine's wiping the blood out of Thomas's eye. Gasping from the shearing pain, he tosses an ID at the foot of the deputy. DAGGETT LAPD. DEPUTY (looks at it, hands it to partner) That's a start. How about the rest of it? From somewhere back in town there's the growl of a volunteer fire engine. DAGGETT That man over there. He's wanted. Murder. I'm taking him in. (grimaces) -- Shit... The pain's unbareable. Katherine dabs his cut with disinfectant. DEPUTY I think you're going to the hospital first. DAGGETT -- No, I have to -- Again, the pain. The second deputy has walked over to Gabriel. DEPUTY Is he alive? DEPUTY #2 He's alive. DEPUTY Cuff him. We'll take him to the hospital in our car. DAGGETT -- No, you don't understand. You have to let me have him -- The volunteer fire engine growls up through the weeds, drowning out Thomas's words. Two firemen kneel down beside him with medical kits. The deputy has walked over to his partner and the two are dragging back between them a cuffed, comatose Gabriel. DAGGETT (hoarse, faint) You'll never hold him. Thomas tries to get up, but the pain and a hand from the firemen keep him down. As the deputies pass, he manages to desperately grab the one's pant cuff. DAGGETT Take off his sunglasses... Jesus Christ, just take off his sunglasses... Gabriel's head lies low between the shoulders. The deputy looks with concern at the firemen. FIREMAN (re Thomas) He'll be all right. Just a bad hit. The deputy nods. As they carry on to the car with Gabriel, the angel turns his head slightly and smiles a smile only for Thomas. FIREMAN (to partner) Let's get a splint. The patrol car pulls away. As the firemen walk back to their engine, Thomas looks frantically at Katherine. DAGGETT We have to get out of here. KATHERINE But your head... DAGGETT If you want Mary to stay alive past sundown we have to leave, and we have to do it now. They lock eyes. Then Katherine without a word helps Thomas up into the passenger side of the pickup. Mary gathers her grandmother into the pickup's bed and climbs up beside her as Katherine starts the engine. The firemen turn in confusion as the truck peels out of the lot and up onto the road. EXT. HIGHWAY - DAY Katherine's truck shoots by. Just before town, near the copper mine, it slows down at a junction. And there, lying on its side down the embankment, is the sheriff's patrol car. A single, bent tire turns aimlessly. Katherine hits the gas and takes the junction that leads away from town, out onto the endless expanse of the plateau. INT. TRUCK The bandage on Thomas's forehead covers most of one eye. He closes the other tightly, riding a spasm of pain, before letting his forehead rest against the door glass and gazing out at the empty tracks of land. DAGGETT Where are we going? KATHERINE Mary's village. Katherine looks over her shoulder to Mary's grandmother sitting in the truck bed. She nods in understanding. DISSOLVE TO: Katherine's pickup passing alone through the wrinkled desert. EXT. GAS STATION - DAY A trading post with a few pumps, growing orange in the weakening afternoon light. A scruffy dog barks constantly as the teenage Indian sticks the nozzle in Katherine's pickup. Still glassy-eyed with throbbing pain, Thomas takes another handful of aspirin and climbs out of the cab. There's a tiny, weatherbeaten church across the weedy lot from the trading post with a pay phone bolted to it. Thomas crunches across the lot, picks up the receiver, and punches in some numbers. TELEPHONE VOICE County Coroner's office, Assistant Coroner Raphael speaking. DAGGETT Willie? VOICE Tom? DAGGETT You weren't crazy, man. And Thomas hangs up. He backs away from the phone and for the first time notices the church it's attached to. INT. CHURCH Thomas steps inside. It's empty and there's some doubt whether it's been used in a generation. The pews are dusty and scraped, some broken down completely. Thomas sits in one and looks across the space and dust and years to the crucifix hanging behind the altar. DAGGETT So what's the deal, huh? The pew creaks and groans as he shifts his weight. DAGGETT I mean, do you have any kind of plan here? Cause I'm just about of ideas, friend. Jesus' pressed-metal eyes gaze only upward. DAGGETT Do you even listen? Do you still come to places like this? Old Man, you have been calling me most of my goddamn life, but every time I get close, you just keep moving that far away. What's it to be? You want me to kill your henchmen? Can't you even control your own killers anymore? Thomas holds his face in his hands a silent moment. When it raises we see the raw hurt in the eyes as he shouts, DAGGETT What do you want from me! The only reply is dust dancing in the light and the rumble of semis on the highway. Standing in the back, watching Thomas with tears welling in her eyes, is Katherine. DISSOLVE TO: The road's turned to dirt and the plateau into a maze of ragged cliffs and brutally hacked canyons. The light is shadowy and golden now as Katherine's pickup turns off the small dirt road onto an even smaller one that winds impossibly up the side of a volcanic butte. Higher and higher the truck climbs on the rutted and treacherous path, till at last it crests the ridge and comes upon THE VILLAGE Perched frighteningly on the leading edge of Old Woman Butte, this is the home of the Bitter Sky Clan. The village is a small grouping of ancient adobe walled hogans first built a thousand years ago by the Anasazi. There's no electricity here, no TV antennas or frozen yogurt. Just the slow curl of cooking fires drifting up through smoke holes and the stern, deeply lined face of an old Navaho man approaching the pickup as Katherine stops. The old man wears jeans, a bright maroon silk shirt, and a black felt reservation hat with a turkey feather. He holds in his right hand a small leather case. OLD MAN I am Bartholomew Grey Horse, born to the Deer Spring Clan, born for the Slow Talking People. Today I am the yataalii for Mary Tsosie of the Bitter Sky Clan. The old man, Bartholomew Grey Horse, walks up to Mary and her grandmother sitting in the bed. GREY HORSE Ya-tah. GRANDMOTHER Ya-tah-hey. Several villagers approach and greet Mary and her grandmother, some nodding politely to Thomas and Katherine as they climb out of the cab. Nearly all of them are elderly. Thomas, one eye still half-shut by a bandage, walks over to the village's edge where a short stone wall, and little else, separates the adobe homes from the long, 2000 foot drop to the desert floor. He leans against it and gazes out on a view that must encompass half the world. In all directions, for tens upon tens of miles, there are only volcanic spires and crumbling buttes, all reduced from up here to short, ominous playthings. A village truly alone in the world. MARY This is a good place. She's appeared beside him. Thomas crouches down to her level and smiles. DAGGETT Yes? Mary's sight is on the view, eyeing it critically. MARY Separate water source. Stocked grain. Only one possible approach. A man could, with the proper defenses, hold off an entire battalion for weeks. Months. Thomas's voice sighs sadly as he runs a hand softly through her hair. DAGGETT Which one of you is that talking, Mary? Or do you even know anymore? Mary's eyes fill with tears as her grandmother appears and leads her back to the adobe hogans. Grey Horse, the yataalii, is there now. GREY HORSE We will start the Sing soon to remove the Yei spirit and stop the ghost sickness. DAGGETT This might not be the work of a Navaho ghost. GREY HORSE It's all the same. DISSOLVE TO: Night creeps over the Chuska Mountains across the crusty caliche flats and over the village, pushing back the dying day to a thin, fading blue line etched across the horizon. As the darkness settles on the hogans we see a glimmer of light from within and the rising, guttural chants of the yataalii. INT. KIVA - NIGHT Under the village, beneath the surface of the butte, is the large communal kiva room. Accessible by a single ladder through a single smoke hole, it is down here that the village performs its Enemy Ghost Way for Mary. The little girl is there, attended by her grandmother, sitting stoically still on a blanket as Grey Horse, grasping his painted prayer sticks, by the glow of a fire chants the Enemy Ghost Way cure. Katherine's eyes sting in the smokey air as she watches Grey Horse take from his case small handfulls of colored sand that he pours in fine patterns onto the floor. The whole Bitter Sky Clan surrounds them. Old, lined faces. A small, dying people here to support its last granddaughter. DISSOLVE TO: EXT. VILLAGE - NIGHT Katherine stands there in the chilly darkness outside the kiva. Mary's grandmother, passing with some other women, pauses and squeezes Katherine's arm. GRANDMOTHER Now we sleep, Katherine. Tomorrow, after dark, we begin again. INSIDE THE KIVA The fire has died to embers, casting its weak glow on a now empty room. OUTSIDE Katherine wanders along the edge of the village, turning up her collar under a blinding mass of stars. There's nothing beyond the village. Not a light, not a sound. Say the wind. It is the icy brush of wind on her body that now whispers. VOICE Hello, Katherine. Like the wind, it is low and thin and hoarse. Like the wind it seems to come from everywhere. And, like the wind, it is utterly without pity or remorse. Katherine turns. Perched on the wall behind her in a low crouch is a figure clad entirely in layers of black. Its head and hands are hairless and waxy white. There are eyes in this winged head, but blood chilling ones of putrid yellow. There are endless scars and shapes and wrinkles, but mostly, only, there are the eyes. Katherine gulps down, with only partial success, the hysteria rising in her throat. KATHERINE Oh Lord, I can't do this. I can't do this anymore... FIGURE We must talk, Katherine. It's takes all her strength to look upon him. KATHERINE You're... You're... (tries to form the word) ...God? FIGURE God is love, Katherine. The eyes narrow. Rippling pools of unfathomable evil. FIGURE -- I don't love you. There's a crouched silhouette beside the figure. Dimmer. Skinny. A wheezing sycophant. An afterthought. Katherine backs away from both of them. KATHERINE I can't. I can't do this tonight. Go away. FIGURE I can kill you, Katherine. I can lay you out and fill your mouth with your mother's feces. Or I can talk with you. Katherine stops. Faces him. FIGURE I am here, before you, in a form to put you at ease. KATHERINE Good job. The sycophant shivers and ruffles something feathery under its cloak. FIGURE I rarely do this in person. I am, perhaps, somewhat out of touch. KATHERINE Are you one of them? FIGURE No. KATHERINE You're not an angel? FIGURE Oh, I am an angel. A very special one. The first. The oldest. The naive eagle scout, he once loved me above all others, and I him. It was the only true love for either of us, but like all true love, it couldn't possibly last. The figure cranes his neck around to the horizon beyond them. The movement makes a liquid, snapping sound. FIGURE The winged party boys will come, Katherine. They'll come to feed on the guts of your little Mary. KATHERINE What do you care? FIGURE I have my interests... He turns back to her. FIGURE The naive eagle scout, he has his interests too. He even has a place for them, as I do for mine. Big, shiny place. You'd like it. Only it's been empty for a long time. Can't open till after the resurrection. The problem's with the hired help. Always had problems with the hired help. They're arrogant, boastful little pricks. Not like me. What I did I did for love. But they, the winged party boys, even before the park could open for its first customer, they started fighting over the popcorn stand. The figure shifts his perch on the wall. FIGURE You see, Katherine, heaven can't start accepting guests till this fight is settled. And without people, there is no heaven. All those good and true souls left mouldering in the ground clutching their H-tickets and waiting and waiting and waiting... Some, lying down there with the worms century after century, they start to get doubts about the whole program. That's when, out of sheer boredom, some of them come to me. Because I'm always open for business. 24 hours a day, seven days a week. Even on Christmas. The figure's face darkens. FIGURE Some of the angels cheat. They sneak a few souls in to help with the fight. The really dark ones. And now one of them has found a special soul so wonderfully sick that it might just win it for them. And if one side wins, even the wrong one, then there's no fight. And if there's no fight, there can be a heaven. KATHERINE And if there's a heaven? FIGURE I'd be very unhappy. (beat) I am here to help you and the little bitch not because I love you, not because I care about you, but because I want this war to go on and on and on. The figure straightens up, stretching its spine. FIGURE I bring you the chance to save your Mary, Katherine. And along the way, stop the resurrection. KATHERINE How? FIGURE Listen when I speak. Now go to bed, Katherine. Tomorrow, I promise you, is a big day. INT. HOGAN Thomas's sitting on the hard-packed floor, leaning against the adobe wall, maybe trying to sleep. Mostly trying to ignore the thumping pain in his head. The oil lamp's flame shudders in the gust of Katherine opening the door. DAGGETT Is it over? KATHERINE For now. They start again tomorrow. DAGGETT And at the end of it? KATHERINE The Enemy Way chant removes the invading yei ghost. DAGGETT Will it work on a general's soul? KATHERINE We'll see. (beat) How's the head? DAGGETT Still attached. Barely. She sits down on the floor beside him. KATHERINE Here, I'll change the bandage. She carefully unwraps the blood-soaked gauze. KATHERINE Does that hurt? DAGGETT No. KATHERINE Then I must be doing it wrong. She peels back the compress and dabs the wound. KATHERINE I saw the devil tonight. DAGGETT How nice. Which one? KATHERINE The main one. Satan. Lucifer. The dark angel. You know. DAGGETT What did he have to say? KATHERINE That he did it all for love. That and I have a choice. Mary's life or a billion souls waiting in the pipeline for heavenland to open. DAGGETT You're not kidding, are you? KATHERINE No sir. DAGGETT Satan? You're sure? KATHERINE You had to be there. Thomas suddenly slams his fist against the wall in anger. DAGGETT Why wasn't I! KATHERINE We can double date next time if it's that important to you. DAGGETT You don't understand, I've spent my whole life... (looks upward) I don't suppose it would occur to anyone in authority to fill me in on what's going on every once in awhile, huh? Shit! The ache in his head's flared up. He leans it back against the wall to ease the pain. DAGGETT Did he say anything about the Nicene Council? About the rank of Jesus Christ in the holy Trinity? KATHERINE It didn't seem important to him. Katherine finishes taping the new bandage. KATHERINE Are you a priest? DAGGETT A near miss. KATHERINE Why? DAGGETT It's a long story. KATHERINE This may be your last chance to tell it. A wind outside rustles through the hogans. DAGGETT The other night, you were talking about waiting for a voice to call you to something. Well, let me tell you, the worst thing that can happen to you is to be called to something. Since I can remember a voice from somewhere deep in the Church called me. So loud and so often that by thirteen I knew I was going to be a priest. You know what that's like? My parents, friends, all of them thought I was crazy. But see, I had this voice. The voice that kept coaxing me along, telling me there was a reason. So I entered the seminary and was half way to my starched white collar when my mother, father, and my little brother were wiped out in a car crash. He pauses, the old emotions creeping back up on him. DAGGETT I had never asked anything of the voice. Not when the neighborhood kids made fun of me, not when my father looked down at me like some knock-kneed faggot. I never questioned a damn thing. But on the morning I spent looking down at three parallel graves, I asked it one question. Why. Why were these people taken from me? And the voice, that same voice that would wrench me out of my sleep some nights with its jabbering, it was suddenly stone silent. It was the only question I ever asked of it and it just left me hanging in the fucking wind... He blinks back the tears welling in his eye. DAGGETT So after that I traded in priest school for homicide school. Because if God wouldn't talk to me the devil sure as hell would, and his ways were a lot easier to understand. KATHERINE We've never seen God, have we? Not in any of this. DAGGETT Yeah, He's certainly a shy son of a bitch, I'll give Him that. KATHERINE Maybe we're not supposed to. Maybe that's faith. DAGGETT Do you still have faith in anything, Katherine? KATHERINE I have faith in Mary. And that I'm going to save that little girl from those creeping things out there. From all of them. DAGGETT Maybe you were called to something after all. KATHERINE Maybe we both were. The oil lamp wanes and fades. Katherine lays her head on Thomas's shoulder, and as darkness swallows them he holds her. They hold each other. DISSOLVE TO: John the bus driver lying fully dressed on his bed asleep. The night breeze through the window, and maybe something else, tickles his nose. His eyes open, blink, turn left, right, then up, -- And see Gabriel perched on the headboard, staring down at him. GABRIEL Heavy sleeper, John. John's eyes open wide in shock. Gabriel's skin is blackened and blistered in parts. Whole shards of his shirt are missing. John tries to sit up but Gabriel forces his head back down with his palm. With the ease of a spider he slides down and beside John. JOHN Don't -- Don't hurt me, man. My wallet's in the dresser. GABRIEL Don't be such a materialist, John. (sees empty bourbon bottle on dresser, sighs) No end to your bad habits. JOHN What do you want? GABRIEL A moment of your time. JOHN You ought to have that nose looked at, man. Gabriel leans said nose in very close and whispers, GABRIEL Where are they, John? Katherine and Mary? Where would they go? JOHN What? Mary? I don't know. GABRIEL Sure you do. Think hard. JOHN No, really. I don't know. The school maybe. GABRIEL Now you're not even trying, John. You're Katherine's best friend. She tells you everything. JOHN I'm just the driver, y'know? Gabriel extends a blistered, open palm over John's face. GABRIEL I can help you remember, John... FROM THE OTHER SIDE OF THE ROOM We see Gabriel leaning over John as a sickly yellow glow begins to rise and reflect off the walls. Beneath it comes John's worst and deepest screams... CUT TO: Gabriel SPLASHING the soot off his face and arms in a small, institutional bathroom. He looks at himself in the mirror, runs a hand through his hair, and walks out the door into A HOSPITAL CORRIDOR At the end of it is the intensive care unit, that institutional purgatory where a small handful of patients, wired and tubed and oxygenated, lay inconclusively between life and death. There's a nurse's station there, all health status video screens and a single nurse that looks up from her work at Gabriel. NURSE Can I help you? GABRIEL Someone's going to die here soon. I'll just be a minute. NURSE There's no visitors allowed in ICU. GABRIEL The timing's important. I can smell these things, you know. The nurse reaches for the telephone. Gabriel takes it away from her with one hand and with the other grasps her face open-palmed and whispers, GABRIEL Go to sleep. The nurse slides out of her chair and collapses to the floor. Gabriel pulls out the metal clipboards holding each patient's chart and flips through them, tossing one after another aside as unsuitable. GABRIEL Recovering... Recovering... Stable... (finally settles on one) Deteriorating critical. Satisfied, he steps over to one of the beds, pulls back the curtain and sits down beside an unconscious, middle-aged woman. He watches patiently, listening the beeping scrawl of the EKG above her. It was weak to begin with but now it's faltering badly, becoming the unsynched etchings of a child. A beeping alarm has begun to ring and her breathing is slowing to nothing. At the last possible moment Gabriel places his fingers across her face, whispering to her, coaxing her. GABRIEL Whoa, not just yet. Come on back. That's it... The EKG's still flat but the woman is breathing. She begins to choke, to cough, then suddenly sits up and opens her eyes. She looks in disbelief around her, finally settling on Gabriel's grin. GABRIEL Hi. A look of utter desolation and sadness sweeps over her as she begins to cry. WOMAN No, no... GABRIEL Hey, c'mon, don't start... (looks at chart) -- Rachael. Here... (hands her kleenex) It's only for a short time. (grins) Promise. DISSOLVE TO: The sun cresting the Lukachukais and warming with honey colored reflection the interior of the hogan. Katherine's head is still on Thomas's shoulder, the two of them asleep sitting against the wall. Katherine opens her eyes and rises stiffly. She looks out the simple window to the glow of morning without expression, turns, and walks out. IN THE OTHER HOGAN Mary's Grandmother and some of the other elderly villagers are attending Mary as Katherine enters. Mary is sitting up in her bed. She smiles at Katherine. MARY Hi, Miss Henley. KATHERINE Hi, pumpkin. Good morning. Grey Horse is kneeling near the bed preparing a bowl drink. Into it he crushes charcoal, dodge weed, juniper and ghost plant. This he stirs, heats over flame, and feeds to Mary. She grimaces and leans back in the bed as Grey Horse says a brief prayer. OUTSIDE Katherine runs into Thomas outside the hogan. KATHERINE How's the head? DAGGETT Shitty. Coffee? She accepts a mug, blowing a cloud of steam off the top. KATHERINE What are we going to do if he comes? DAGGETT You mean when, right? KATHERINE When he comes. DAGGETT There's no phone here? Radio? (she just looks at him) Stupid question. (beat) If we were smart we'd leave. Get to a town. A sheriff station. KATHERINE Mary's ceremony isn't over yet. The Enemy Ghost Way. The alien spirit hasn't been driven out. DAGGETT Do you really believe in the ceremony? KATHERINE Would you have believed in any of this three days ago? DAGGETT (nods) So we stay and dump the General's soul. KATHERINE You have the gun? DAGGETT With one shot left. The spares -- (sniffs his shirt) -- And a change of clothing, are all still at the hotel. (sighs) We're going to have to come up with something. KATHERINE We could always ask him. Thomas looks up. She's referring to Lucifer, who's appeared perched on the edge of the low, eye-level hogan roof. The sycophant is also nearby, chattering its teeth and staring at Katherine with jealous, rabid eyes. Lucifer shivers, a claw turning up the collar of his cloak. LUCIFER I always forget how cold it gets in the desert. The swimming, bottomless eyes fall on Thomas. LUCIFER Mr. Daggett, I presume. How's the faith? Thomas can't bring himself to say anything. To form the words. LUCIFER Come come, must you be so wishy-washy about everything? With the absent- minded eagle scout, I can see that. But you're looking at the devil man, say something. DAGGETT Fuck you. LUCIFER Much better. Can I have some coffee? Thomas gingerly hands him the cup. The angel Lucifer lifts it, and with something unimaginably awful darting out of his mouth, drinks. He offers the mug back to Thomas for a sip. DAGGETT Keep it. He finishes it. Cranes his neck. LUCIFER I have come to remind you that the winged party boys are just that: spoiled boys. You are armed, however pathetically, with the one thing they never really understood: theology. It's not much, but that's life. DAGGETT Is this supposed to be our "win one for The Ripper" speech? LUCIFER Don't press your luck, Mr. Daggett. And you know instantly, in the bottom of your stomach, that those eyes mean it. LUCIFER Go and get ready, Thomas. Thomas hesitates, holds the gaze, then turns and leaves. In an instant Lucifer sweeps down from the hogan roof to Katherine's side. Face and eyes and maggot breath uncomfortably close, he smiles. LUCIFER Have you ever considered Katherine, that the great absentee landlord, the soft-eyed eagle scout your childhood prayers are for, is just using you? That you're only the exterminator to get rid of his pests? Lucifer places a cloaked arm around her shoulder and leads her to the walled edge to look out across the endless plateau. His mouth presses against her ear and whispers, LUCIFER God's junkies are coming, Katherine. And when they do, all hell is going to break loose... CUT TO: A tiny speck on the empty horizon. It grows, takes shape, and finally becomes a red convertible rambler as it WOOSHES past on a desolate throat of forgotten highway. Gabriel's at the wheel. Beside him, grey-blonde hair streaming out behind her, is Rachael, recently lifted from the file- and-forget section of the hospital ICU. She tilts her head up. Lets the sun warm her pallor. Just a sociopathic angel and his somewhat deceased babe out for a top-down cruise across a sixty million year old desert. It could happen. INT. ROADSIDE DINER - DAY A reality bruised waitress, Madge, sets down a coffee and milkshake before Gabriel. He downs the shake in one belt. GABRIEL Say, Ma'am, any idea where I can find Old Woman Butte? MADGE It's on the reservation. GABRIEL I don't suppose you could be just a tad more specific. Madge. The waitress' eyes move from the guy with sunglasses and burn marks on his shirt to the woman sitting alone outside in the rambler. MADGE Isn't your friend hungry? GABRIEL Not for a while, I'm afraid. Funniest thing. Madge has a lot of things she misses in her life, but one of them she decides isn't Gabriel. MADGE Take 522 to the Sonsela Wash cut- off. First dirt road go left. Twenty, twenty-five miles you'll see it. Big, black and all alone. Gabriel downs the coffee, stands, and tosses a bill on the counter. GABRIEL I doubt we'll meet again. MADGE Suits me. EXT. VILLAGE - DAY Thomas drags a heavy chain from Katherine's truck and begins fastening it to a post. Lucifer watches perched on a nearby rooftop. DAGGETT You could always lend a hand. Lucifer just smiles or sneers or whatever he does with that hideous mouth. INSIDE THE KIVA Grey Horse begins laying out his prayer instruments as Mary is prepared with paint and oils. OUTSIDE Katherine leans against the doorway, nervously watching the horizon. DISSOLVE TO: The sky thinning into uneasy pastels as the sun falls unceremoniously toward the mountains. A few lanterns have been lit, and from inside the kiva can be heard the chants of the Navaho Enemy Ghost Way. Katherine's eyes are still on a horizon dropping off into shadow. She stiffens. There, at the end of the earth, appears a silent plume of dust. It could be anybody's car, but it can only be one car. Thomas steps up beside her. KATHERINE He's coming. Thomas sticks his head into the kiva, speaks softly to one of the elderly villagers attending the ceremony. DAGGETT Is there any way to speed this up? VILLAGER No. A fire has been built on the kiva's floor. Through the choking smoke can be seen Mary lying on a mat as Grey Horse chants to the yei spirits and adds fine colored earth to the growing sand painting beside her. His voice rises and falls in guttural syntax. He's coaxing. Coaxing the alien spirit out of the child. DAGGETT Lock the door. He pulls his head out and hands Katherine the pistol. DAGGETT Stay inside. It's only one round, so make it count. There's a pause and for a moment their eyes lock. She touches his arm, almost says something, then disappears into the kiva. Thomas closes the door behind her. He turns and looks out at the distant plume of dust. Growing closer. EXT. GABRIEL'S RAMBLER - DAY Radio turned up, sophomoric grin glued on his face, Gabriel roars past and begins the snaking climb up the side of the butte. The sun has almost completely slipped away now, leaving the land a deathly bluish grey. The road flattens out at the top of the butte and Gabriel can see the village glowing at the far end. He punches the rambler, winding it up for the last stretch, and pats the blonde on the knee. GABRIEL You'll like this, Rachael. Maybe not. There's a sudden glint of metal in the headlights as Thomas at the last moment PULLS UP the heavy chain and HOOKS it over the far post. Gabriel does something pointless with the brakes and SLAMS forward into it. The whole rear of the car STANDS UP on impact, PITCHING Gabriel through the windshield into the dust. Thomas steps out from behind the post armed with an iron bar. The rambler hisses and belches a death rattle as he cautiously walks toward the spot of gloom where Gabriel lies. GABRIEL (breathless) Nice move. Thomas's feet crunch softly closer. GABRIEL You ought to come work for us. Upstairs. We sneak the odd civilian in now and then, you know. You'd like it. Nobody tells you when to go to bed, can eat all the ice cream you want. And you get to kill. All day and all night. Just like an angel. Thomas doesn't answer. Gabriel's body looks ravaged as he carefully steps closer and closer. GABRIEL Save yourself, friend. Why go to the wall with the bitch and her rug rat? It'll all turn out the same anyway. Here or in heaven, we're still gonna tear the kid apart. DAGGETT I'm not an angel, heaven or hell. I'm a man you eyeless puke, which means I have one thing you never will. A soul. And though I may, somewhere inside, believe in a God, I will never, never, believe in you. GABRIEL A little speechy today, aren't we? (sighs) Okay pal, have it your way. Gabriel's legs suddenly SWING AROUND and SMACK Thomas, sprawling him back into the dirt. The iron bar goes flying as Gabriel in a flash is on top of him. Thomas thrashes but Gabriel easily pins his shoulders and sits on his chest. Without hurry he uncurls the fingers of his right hand. GABRIEL This is going to really, really hurt. Thomas's eyes are wild with fear. DAGGETT ...You -- your war... Gabriel's spread fingers lower themselves toward his face. GABRIEL C'mon, son, out with it. Make this one count. DAGGETT Your war's a lie! GABRIEL (pauses) What? DAGGETT Running around acting like this is really about whether Christ is just the son of God or if he is God. Bullshit! That's not what this is about at all, is it? GABRIEL You're wrong. DAGGETT Then prove it to me, Gabriel. I studied three fucking years of theology before I picked up a gun. C'mon, you're chief goddamn angel, I'm just a little man. Prove to me Christ is just a son and less than God. Prove it! Gabriel hesitates. GABRIEL I don't have to. DAGGETT Because you can't! Because this war isn't about some obscure medieval hangup. You're just jealous. GABRIEL You're wrong! DAGGETT Try me, Gabriel. Go on. Prove to me the temporal nature of the Trinity. Show me through logic how the Son of the Word can be separated from the Father. Fight me with philosophy, Gabriel! GABRIEL No! DAGGETT Because you and your army are wrong! And you know it. You knew it sixteen centuries ago. GABRIEL We don't have to listen to him! He's just a son! DAGGETT That's it. You're jealous. Jealous He could love something more than you... GABRIEL (hisses) Shut up... Gabriel's becoming unglued. DAGGETT If you wanted to know so badly, Gabriel, why didn't you just ask Him? Why didn't you just ask God? A shudder passes through Gabriel. He straightens up and looks down at Thomas as emotion racks his body. GABRIEL Because He doesn't talk to us anymore! The two stare at one another. Then Gabriel, lost in himself, suddenly turns away from Thomas and walks into the darkness. For the village. Thomas climbs quickly to his feet, spins around -- -- And is HIT full-force by a rabid, SHRIEKING Rachael. Her legs lock around his body vise-like as her teeth and nails DIG into his skin. He cries out and stumbles to the ground. The two grapple furiously in the dust, Rachel's crazed face taking BITE after BITE out of his shoulder and neck. Thomas manages a fistfull of her hair and YANKS the fangs off his shoulder. With his other arm he CUFFS her hard, BREAKING the grip and ROLLING her aside. He staggers to his knees and begins to run. Shrieking, a mad porcelain banshee out of the dusk, Rachael catches up and TACKLES him. On the way down his head strikes a small stone wall and the pain is white thunder. Gagging and weeping in blank shock, he crawls on his hands and knees as Rachael OPENS UP his arm from shoulder to elbow with her nails. As the blood tumbles like ribbons, Rachael JUMPS onto his back, DIGGING her claws into his scalp. It's about all one human can take. Mad with pain and anger and desperation, Thomas manages to climb to a shaky crouch, Rachael still shrieking on his back. Throwing all his weight backward, he JAMS her into the short stone wall. The impact SNAPS her hold and PROPELS her over the wall -- And two thousand feet down the side of the butte. Thomas Daggett can only curl up into a ball, gulping shallow, shuddering breaths. IN THE VILLAGE Gabriel walks resolutely up to the first hogan and KICKS down the plank wood door. No one home. He walks to the second and KICKS its door down. Nothing. IN THE KIVA Mary's ceremony is nearing a crescendo. Grey Horse has donned the colorful mask of the yei god Monster Slayer as the relatives now join in the guttural chants of the Enemy Ghost Way. Through the thick, choking smoke of the ceremonial fire we see Katherine, nervously watching the door. IN THE DARKNESS OUTSIDE THE VILLAGE Thomas tries hopelessly to make his way back. Stumbling every few steps, he's beyond pain and into driven numbness. It's hopeless though. We know it. IN THE VILLAGE Gabriel KICKS down another door to another empty hogan. There's only one left. As he approaches, from within can be heard the muffled sound of chanting. THOMAS Takes a few more fumbling steps and falls again. He reaches out to something metal for support. It's Katherine's pickup. GABRIEL Steps up to the kiva door and KICKS it. The frame buckles but holds. He steps back a few feet, puts all his weight into a turn, and KICKS again. The door SHATTERS. INSIDE Wood splinters ROCKET through the smoke as Gabriel appears in the doorway. Grey Horse, everyone, freezes. GABRIEL Relax folks, it's just a soul. From out of the smoke steps Katherine. She FIRES, one round, into Gabriel's side. The archangel is pitched against the kiva's wall, where he stays a moment before turning to Katherine. GABRIEL I'm getting real tired of you. She stands her ground between him and the child. KATHERINE Go to hell. GABRIEL Heaven, darling. Heaven. At least get the zip code right. KATHERINE It's all the same, isn't it? GABRIEL No. In heaven we believe in love. KATHERINE And what do you love, Gabriel? Once again, the shade of doubt holds him up. But it's quickly pushed aside for a corrupted grin. He's given up all pretense. GABRIEL -- Cracking your skull. He advances on her. KATHERINE That's all it is for you anymore, Gabriel, isn't it? Just the killing and the burning. You don't work for God anymore. You don't fight for love. GABRIEL Shut up! And he's on her. With his left arm he brutally forces her to her knees as his right hand, palm out and fingers splayed, clamp themselves over her face. Katherine's mouth opens in a silent scream as the pain, immediate and beyond endurance, flows through her body. From somewhere outside, there's a sound. Katherine gulps chokes of agony as her very clothes begin to smolder around her. We hear the sound once more, closer, before -- The entire kiva wall EXPLODES INWARD as Katherine's pickup CRASHES through it. The mangled grill and hood SLAM into Gabriel from the side and SMASH him to the ground like a broken puppet. Katherine falls backward to the floor, gets up, and runs to the truck's cab. Inside sits a near catatonic Thomas. Katherine takes only a second to share a look with him before reaching back and pulling out the pickup's tire iron. Gabriel, a shattered, broken thing, pulls himself up to his knees. The sunglasses are gone and two eyeless pits stare out at Mary, huddled in the corner. Bleeding from every pore, one arm bent back the wrong way, he crawls across the floor toward her, his voice the milky slur of a stroke victim. GABRIEL God loves you, Mary! Katherine brings the tire iron down on his skull with all her might, DRIVING him to the floor. She turns to Grey Horse, her eyes wild. KATHERINE Finish it. He, everyone, just stare. Stunned to stone. KATHERINE Finish it! Grey Horse timidly picks up his prayer stick and with a voice faltering and cracked, in the insane glare of the wrecked pickup's headlights, resumes the Enemy Ghost Way chant. Katherine turns back to Gabriel. KATHERINE Go home. She HITS him again with the tire iron. Then lifts it high once more above her head. She's going to crush him, to implode his skull. When a hand stops her. Sort of a hand. A claw. Lucifer's. He's standing behind her, holding the raised bar still. LUCIFER No. Katherine releases the bar and lets it clang to the floor. Lucifer turns to the villagers, gazing fearfully at him as they awkwardly try to finish the chant. LUCIFER Please. Go on. Lucifer's gaze falls on a deeply fucked-up Gabriel who groans at the sight of him. GABRIEL Oh man, this just isn't my day. Lucifer kneels down beside him. Katherine instinctively starts to reach for the tire iron but the sycophant hisses a liquid, chattering warning at her. LUCIFER Long time. GABRIEL The world's young, man. LUCIFER And full of ambition. GABRIEL This isn't your war. LUCIFER But I remember the last one. Michael's war. GABRIEL You lost. LUCIFER But lots of angels were with me. every one followed their leader out of heaven. GABRIEL Yeah yeah, I was there, remember? LUCIFER Except one. Oh, he was with me all right. He hated the Eagle Scout. Envied the power He gave to His Son. But this angel never came out front during the war. And when it ended he thought maybe, maybe the Eagle Scout didn't notice. So he laid low and towed the company line till he could start his own war. It was all just jealousy. GABRIEL You're dreaming. LUCIFER But maybe He did notice. Maybe that's why I'm here. GABRIEL -- Stay away from me. LUCIFER You've always been a part of me, Gabriel. And now it's time to come home. GABRIEL Fuck you! Lucifer slams Gabriel's head against the floor and pins it. As the angel thrashes furiously, Lucifer FORCES his arm into Gabriel's chest. Gabriel cries out as Lucifer PULLS his arm half out and FORCES it deeper. Again. And again. Soon Gabriel's screams become giggles, then a crazed, hysterical laughter. The room goes insane. An impossible nightmare of chanting Navahos, glaring headlights, and Gabriel's echoing laughter as Lucifer pumps his chest. Laughter that rises to a kind of orgasmic cry then instantly stops as Lucifer pulls out the angel's heart, And eats it. At that instant Grey Horse places his hand on Mary's forehead, speaks a last line, and the chant is completed. Sticky, smoky, awful silence. Gabriel is a non-thing. A battered, hollow shell. Bartholomew Grey Horse, his voice cracked and finished, turns to Katherine. GREY HORSE The enemy spirit is gone. DAGGETT (weak, faint) Where? From outside the kiva suddenly comes the sound of a wounded, savage GROWL. Katherine walks to the doorway. Just outside a lone coyote is twisting in the dirt with furious agony. Abruptly its thrashings cease. The animal stands and flashes for an instant at Katherine cold yellow eyes more than animal. Then it's gone into the blackness. Forever. She turns and goes back to Thomas in the cab. Bleeding to death is a real possibility for him. She pulls an old shirt out of the back and tries to makeshift a wrap for his sliced arm. DAGGETT More will come... To look for the soul... KATHERINE And they won't find it. Not in Mary. A few of the village elders appear at the cab. KATHERINE Can you help him? VILLAGER We have some bandages. Katherine walks over to where Mary, sweaty and shaken, sits huddled in a corner attended by Grey Horse. KATHERINE Are you all right, pumpkin? Mary's voice shakes as tears roll out her eyes. MARY I'm okay. Katherine gathers her up into her arms and holds her. KATHERINE It's going to be okay... We're all going to be okay... The chattering, hissing sycophant grabs Gabriel's body by the hair and shoulders and drags it out the door. Lucifer has remained behind, crouched on his haunches, his liquid, yellow eyes on Katherine. KATHERINE I can't quite bring myself to say thank you. LUCIFER I understand. KATHERINE Then this is done. LUCIFER Not necessarily. Maybe I like you. Maybe I want you to come with me. He rises to his feet and steps slowly toward her. LUCIFER You owe me, Katherine. And you're going to ask me to take you home. KATHERINE (clutching Mary) No. LUCIFER You will. You will because any other way is going to be more awful than you can imagine. KATHERINE Are you threatening me? Just a grinning, twisted stare. KATHERINE Then you've picked the wrong person this time. I've just about had it up to here with ghosts. So you can put away the horror movie sneer and the K-Mart halloween eyes, because we know you now. We know you all. And if you want to force the issue then go ahead because you're just another angel to me. Take a look at your buddy Gabriel. Then ask yourself, do you really, really want to fuck with us? The smallest hint of a pause. LUCIFER Perhaps another time. KATHERINE I'm holding my breath. LUCIFER Goodbye, Katherine. For now. And he's gone. Through the door and into the night. MARY Is he coming back? KATHERINE I don't think so, honey... I don't think so... DISSOLVE TO: The fullness of day over Old Woman Butte, hot and bright. Chasing the night and its fears away under the punishing glare of noon. The village is full of police vehicles now. Green broncos from the Navaho Tribal Police. Blue and white sheriff department sedans. The Navaho cops are talking with Katherine and Mary. Thomas is sitting on the trunk of a patrol car getting his wounds properly bandaged as the Sheriff we met earlier leans beside him chewing on a wild oat stalk. SHERIFF (to deputy bandaging Thomas) Is he going to live? DEPUTY With any luck. SHERIFF (to Thomas) I thought I told you to give me a call if anything snarled. DAGGETT There wasn't a phone. SHERIFF Hmmm. He chews some more on his stalk. Looks off at the village. SHERIFF This fella, Gabriel... DAGGETT Yeah. SHERIFF Gabriel what? DAGGETT Just Gabriel. SHERIFF Pretty violent guy, Gabriel. Even for out here. DAGGETT Yeah. SHERIFF Caught up with him at the village? DAGGETT He caught up with me. SHERIFF What were you doing way up here? DAGGETT Enemy Ghost Way for Mary Tsosie. SHERIFF Indian stuff. DAGGETT Yeah. Indian stuff. The Sheriff looks over at Katherine's pickup still jammed into the side of the kiva. SHERIFF Did you kill this Gabriel? DAGGETT Maybe. I think so. SHERIFF Don't have any idea where the body is I suppose. DAGGETT No. SHERIFF Well, if he's alive he won't get far out there. Us or the coyotes, it'll be the same. (beat) I rang your office in LA. They don't have a warrant out for a Gabriel. Or anybody else in Arizona. DAGGETT I hadn't gotten around to it. SHERIFF Sort of an out of pocket thing. DAGGETT Yes. The Sheriff takes his hat off. Runs his finger along the inside band. SHERIFF That woman lying at the bottom of the arroyo, the one still in her hospital gown, know anything about that? DAGGETT No. SHERIFF Really. DAGGETT Really. SHERIFF This Gabriel was sure one busy dude. DAGGETT Yes, he was. Beat. SHERIFF You'll be going back to Los Angeles now? DAGGETT Yeah. The Sheriff pushes off from the patrol car and tosses aside the oak stalk. SHERIFF Don't hurry back. The deputy finishes his bandaging. DEPUTY Don't do much but breathe the next few days. And get to a hospital. You're going to need some serious stitches. DAGGETT Thanks. DEPUTY Say hi to Hollywood for me. He follows his boss. Katherine and Mary walk up. MARY You look bad. DAGGETT Thank you. I feel worse. (to Katherine re Navaho cops) They lean on you much? KATHERINE Not really. I think they might have even understood. One of them's related to this clan. He'll give us a ride back if we want. DAGGETT Good. I think I've about run out of hospitality with the sheriff's department. The moment drifts into silence. KATHERINE Do you think it's really over? DAGGETT Till we die. Her eyes settle on his. KATHERINE When I die, I want you with me. DAGGETT I want that too. She touches his cheek, Mary cradled between them. DISSOLVE TO: Thomas sitting in the back of the tribal police bronco, looking out the window to the shimmering sands; red and yellow and black. To clouds brewing over faraway forgotten mountains. To the end of the earth. As the bronco drifts away from us toward the empty, rocky horizon, as it slowly blends and is consumed by the land, FADE SLOWLY TO BLACK THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Proposal, The.txt b/unformated_scripts/Script_Proposal, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..ece74f61d51afc77c26a40956827ef5694cb63e9 --- /dev/null +++ b/unformated_scripts/Script_Proposal, The.txt @@ -0,0 +1 @@ + THE PROPOSAL Written by Pete Chiarelli June 16, 2006 FADE IN: INT. MARGARET'S APARTMENT - EARLY MORNING The sun peeks over the horizon. There's a stunning view of Central Park from this apartment, but whoever lives here isn't watching. As we wander through expensive furniture, a steady THUMP, THUMP, THUMP echoes through the apartment. Eventually, we see MARGARET MILLS (37) running on a treadmill, watching "The O.C." on Tivo, and reading a manuscript. She sprints as the clock on her treadmill goes to zero. As she hits a button to stop the treadmill... INT. WOMAN'S APARTMENT - EARLY MORNING A hand knocks an alarm clock off a table to shut it up. RICHARD PAXTON (26) wakes up on pink sheets and looks around to figure out where he is. There are multiple framed pictures of the same model on the walls. Richard looks at the clock and gets up quickly when he sees it is 6:16 AM. Unfortunately for him, he is very hung over. RICHARD Where are my clothes? A blob beneath the sheets next to him answers. SIMONE is the model on the walls and is really, really hot. SIMONE In the kitchen. I think. Can I make you some coffee? RICHARD Sorry, I gotta go. I'm late. Richard hurries to the kitchen. Socks are on the butcher block next to an empty champagne bottle. Shoes in the sink. He finds his pants on the floor and puts them on. RICHARD (cont'd) Have you seen my belt? Simone looks around and sees it tied to her headboard. SIMONE In here. She unties the complicated knot. Richard comes back half dressed. He swallows a little throwup. RICHARD Baby, I just can't do this anymore. 2. INT. MARGARET'S APARTMENT - EARLY MORNING Margaret puts on a black suit jacket. Definitely not off the rack. She makes sure she looks perfect in the mirror, and moves off. INT. WOMAN'S APARTMENT - EARLY MORNING Reflected in the mirror above Simone's bed, Richard hurriedly gets dressed as he talks. RICHARD You're just too much for me. And I'm just another guy too wrapped up in his job. SIMONE Fine. Whatever. Just go. Richard sits down on the bed and locks eyes with Simone. RICHARD Let's not end it like that. It's been an amazing three and a half weeks. Thank you. And you should know that you have the nicest ass I've ever been with. SIMONE (TOUCHED) You mean it? RICHARD I do. It's magnificent. SIMONE I work really hard on it. RICHARD I know you do. Simone smiles and begins to seductively pull the sheets off her naked body. Richard shakes his head "no" and smiles. RICHARD (cont'd) I really gotta go. INT. MARGARET'S KITCHEN - EARLY MORNING CRUNCH. Margaret eats a bowl of Kashi and soy milk while standing and reading a manuscript. Her eyes remain glued to her reading as she rinses out her bowl and puts it in the dishwasher. Her apartment is very quiet. EXT. NEW YORK STREET - MORNING HONK! A cab blares its horn at Richard as he runs across the street. His suit is rumpled and he checks his watch. 3. INT. MARGARET'S LOBBY - MORNING DING! The elevator opens and Margaret strides towards the exit and the DOORMAN (60). Before Margaret gets to the door, her CELL PHONE RINGS. She checks the caller ID and excitedly points at her phone as she lets it ring. MARGARET (to phone) I knew you would call! Now come on, tell me what I want to hear. Give it to me. DOORMAN You have to put it by your mouth so people can hear you. MARGARET You should get paid extra for being so darn funny. Margaret straightens her jacket, answers the phone, and walks out the door. MARGARET (cont'd) This is Margaret. INT. SKYSCRAPER LOBBY - MORNING Richard bursts into the skyscraper and runs into a Starbucks. INT. STARBUCKS - MORNING - CONTINUOUS Two coffees lie in wait for Richard. JILLIAN, a lovely Barista, smiles as he hurries to the counter. JILLIAN You're running late today. RICHARD Jillian, you are the best. JILLIAN If you think I'm good at this, you should use that coffee cup sometime. As he runs out the door, Richard glances at his cup and smiles at Jillian's name and phone number written in Sharpie. RICHARD See ya tomorrow. INT. SKYSCRAPER LOBBY - MORNING - CONTINUOUS The elevator doors ahead of Richard begin to close. RICHARD 4. Mercifully, a hand reaches out and stops the doors. Inside the packed elevator, Richard's CO-WORKERS look sleepy. One particularly frustrated co-worker confronts Richard. CO-WORKER #1 How long is she gonna make us come in by seven? RICHARD She doesn't exactly consult with me on these things. CO-WORKER #1 Well this sucks ass. RICHARD Welcome to my nightmare. The doors close as... EXT. NEW YORK STREET - MORNING Margaret crosses the street and talks on the phone. MARGARET You've been thinking about our talk because I'm right. Everyone does publicity. Roth, McCourt, Russo. Hell, Chabon practically whores himself. Know what they have in common? A Pulitzer. (off answer) Yes, I know you haven't done it in twenty years, but that's how long it's been since you've written a book this good. INT. ROYCE PUBLISHING - MORNING Richard bursts out of the elevator and passes a clock reading 6:56 and a sign that announces "Royce Publishing." He hauls ass through a sea of cubicles. Along the way, grumpy employees begrudgingly nod their good mornings. At his desk, he pulls a tie out of a drawer and puts it on without looking in the mirror. Noticing his wrinkled suit, he pulls out a SPRAY BOTTLE out of the same drawer, sprays it all over his body, and then on his head to help mat down a tricky cowlick. Satisfied, he hurries into a nearby corner office. INT. SKYSCRAPER LOBBY - MORNING Margaret walks into the lobby and continues talking. Employees avoid her and pile into the elevator. 5. MARGARET I'm not pushing so you'll sell more books, I'm pushing because it'll be a crime if the world doesn't hear that you wrote a genius piece of literature. Do the publicity. Margaret waits for an answer and smiles when she hears "yes." MARGARET (cont'd) You're making the right decision! Great news. Going into an elevator, think I'm going to lose you... Margaret hangs up. Never give them a chance to change their mind. INT. MARGARET'S OFFICE - MORNING Richard races to Margaret's computer and turns it on. He picks up papers strewn about the room. He goes back to the computer, and opens computer programs. INT. ROYCE PUBLISHING - RECEPTION - MORNING Margaret exits the elevator and receives an enthusiastic... RECEPTIONIST Good morning! Margaret quickly walks by and gives only the slightest nod. INT. ROYCE PUBLISHING - MORNING Margaret walks through the cubicles and nods hello to her staff, who all look busy on the phone. When she turns the corner, they stop their "conversations" in mid sentence and hang up. INT. MARGARET'S OFFICE - MORNING Richard stares at the printer as a sheet of paper comes out. A clock above the door reads 7:00 AM. The paper clears the printer and Richard grabs it quickly. INT. ROYCE PUBLISHING - MORNING Margaret opens the door to her office, and finds Richard standing at attention with papers in one hand and coffee in the other. Her office looks perfect. RICHARD You've got a conference call in thirty, a staff meeting at nine, and your immigration lawyer sent some papers for you to sign. MARGARET Cancel the call, move the meeting to eight, (MORE) 6. MARGARET (cont'd) (big news) I got Frank to do publicity. RICHARD Nice job. MARGARET When I want your praise, I'll ask for it. Is Bob here? RICHARD I'm sure. You want him on the phone? MARGARET We're going to his office. Grab your pad. Richard calmly backs out of the office... INT. RICHARD'S DESK - CONTINUOUS ... but once he's out of Margaret's sight he runs to his computer and sends an instant message to the office "The Banshee is headed to Bob's office." INT. ROYCE PUBLISHING - MORNING As the message pops up on computers, the quiet office jumps to life as everyone in a cubicle picks up their phone and resumes their imaginary conversations. INT. RICHARD'S DESK - MORNING Margaret comes out to Richard's desk. She notices his coffee cup with Jillian's number on it. She takes special notice of the hearts that dot the "I's" in Jillian. MARGARET That's cute. You gonna call her today? RICHARD What? Richard doesn't know what Margaret is talking about, until she nods at the cup. He's embarrassed. MARGARET Are you bored here? Do you need little distractions like that to get you through the day? RICHARD Uh... MARGARET You have another late night out? RICHARD 7. Margaret starts walking. Richard quickly catches up, worried because he doesn't know where she's going with this. MARGARET I'm firing on all cylinders and you've got hearts on your coffee cup, wicked bed head, and a wrinkled suit that you wore yesterday. RICHARD Oh. Well, it won't be wrinkled for long. MARGARET You'll magically unwrinkle? RICHARD Yes. MARGARET You have magic pants? RICHARD No. I've sprayed them with stuff that will take care of the wrinkles. MARGARET Does this work on more than just your pants? RICHARD Anything that's wrinkled. MARGARET Buy me some. RICHARD Will do. Richard makes a note. Margaret stops to make her point. MARGARET I don't care what or who you do on your own time, but when you walk through that door you represent me, and I will not have your personal life affect you at work. If you want me to think of promoting you to editor, I need you sharp, focused and professional. Got it? RICHARD Got it. MARGARET Great. Now you're just a prop in here, so don't say a word. 8. INT. BOB'S OFFICE - CONTINUOUS Margaret and Richard enter Bob's office, which is decorated with beautiful antiques and first edition books. But unlike Margaret's office, this one isn't in the corner. Margaret nods at Richard to shut the door. BOB (42) wears a prim bow tie, circular tortoise shell glasses, and the air of superiority. MARGARET Hey, Bob. BOB Ah. Our fearless leader and her liege. Margaret smiles. MARGARET I'm lettin' you go, Bob. BOB Pardon? MARGARET You're fired. BOB What? What are you talking about? MARGARET This isn't working out. BOB You can't... MARGARET I asked you repeatedly to get Frank to do publicity. You said it was impossible. BOB It is. He doesn't do publicity. MARGARET I just talked to him. He's in. BOB But... MARGARET No more buts, Bob. I've been chief for a month and a half, and this is the third time you've dropped the ball. You didn't even call to ask him. BOB 9. MARGARET All you had to do to was pick up the phone. That's it. Now I'll give you two months to find a new job, and then you can say you resigned. I won't tell a soul, my lips are sealed. Margaret nods at Richard and he opens the door. INT. ROYCE PUBLISHING - CONTINUOUS Margaret and Richard walk a few steps. Margaret looks straight ahead and whispers to Richard. MARGARET What's he doing? Richard turns around and takes a peek. Bob gets out of his chair and comes to his door. RICHARD He's up and about to pop. MARGARET Oh Bob, don't do it... BOB YOU POISONOUS BITCH! YOU CAN'T FIRE ME! The office stops. This is going to be good. Margaret turns around with a disappointed look on her face. She's deadly calm. MARGARET What are you doing? I gave you a civilized way out of this. BOB This is because I'm your competition. Because I threaten you! MARGARET Oh, Bob. You could never threaten me. I'm firing you because you're lazy, entitled and incompetent. I'm firing you because you don't work hard. So if you know what's good for you, you'll shut up, take off that ridiculous bow tie, find a bar and get drunk. Because if you say one more word, Richard here is going to call security and have you thrown out on your ass. Are we perfectly clear? Bob nods. MARGARET (cont'd) Good. Now I've got work to do, so if you'll 10. Margaret and Richard walk away and speak in hushed tones. MARGARET (cont'd) We need to call his authors and explain what happened. And get Frank's publicity schedule figured out pronto. RICHARD No problem. I'll just cancel my trip this weekend. MARGARET I gave you the weekend off? RICHARD It was my Grandma's ninetieth birthday. But no big deal. You were right before, I need to stay focused. Professional. INT. RICHARD'S DESK - DAY Richard is on the phone with his mom explaining why he can't come home this weekend. He sounds like an annoyed teenager. RICHARD Well tell gammy that I'm sorry. (waiting to speak) Mom, she's making me work this weekend. It's not like I volunteered. (waiting to speak) I'm sure dad is pissed. Margaret comes to Richard's desk. He tries to wrap it up. RICHARD (cont'd) I have to go. Yeah. No, I'm not going to do that! No. Sorta. Mom! No. Bye. Richard hangs up the phone. RICHARD (cont'd) Sorry about that. Damage control. MARGARET She tell you to quit? RICHARD No. No. (off Margaret's look) Um. Yes? But as I've explained to them, after three years together, you're the only person on the planet who can make me editor, so that's the way it is. Richard's phone rings and he picks it up. 11. RICHARD (cont'd) Your 10:55 is here. Mr. Gilbertson? MARGARET Who is this guy? RICHARD He said you knew each other. You weren't sure so you told me to set a meeting. We rescheduled on him four times. MARGARET Go get him. But he's out of here in five minutes, we've got work to do. Margaret leaves and goes into her office. RICHARD (to himself) I'll charge up the cattle prod. INT. MARGARET'S OFFICE - DAY Margaret reads as MR. GILBERTSON (48) sits down. He's an intense man in a bad suit. He sits in silence until Margaret looks up. MR. GILBERTSON Margaret. Good to see you. I know how busy you are. Congrats on the promotion. Read about it in P-W. MARGARET Yeah. Well, those announcements are silly, aren't they? Like everyone who needs to know doesn't know already. Margaret has been trying to figure out how she knows this man, but now gives up. MARGARET (cont'd) Have to admit, I can't place where we know each other from. Gilbertson smiles. He didn't expect her to remember. MR. GILBERTSON Three years ago? We worked together. MARGARET Don't have it... MR. GILBERTSON Remember "Dandelion's Desire?" Margaret gets excited. 12. MARGARET Oh my God, you read that manuscript with me? That book is legend. Without a doubt the worst ever written. MR. GILBERTSON You think? MARGARET It was a fever dream! 900 offensive and pointless pages, with like 30 characters, who all had some weird disability. The paraplegic pornographer, and the stuttering scientist? Oh! And there was the asthmatic alien chapter -- written entirely in his alien language. MR. GILBERTSON I believe there was a glossary... Margaret laughs, caught up in the memory. MARGARET Did you see the pass letter I wrote him? MR. GILBERTSON (QUOTING) "Your grammar is impeccable, but please do not confuse superior form with writing ability. Save your skills for the office newsletter, you sir, are no writer." A beat. Margaret says matter of fact... MARGARET You wrote the book. MR. GILBERTSON I did. MARGARET You're Dante Dickens? MR. GILBERTSON One of my nom de plumes. Gilbertson paces. Margaret stays seated, at a loss. MARGARET I'm sorry if I hurt your feelings. You obviously were spending a lot of time writing, I just thought you should channel all that passion into something else. Gilbertson smiles as he pulls a BADGE from his coat pocket. 13. MR. GILBERTSON Ms. Mills, I'm with U.S. Citizenship and Immigration Services, and I'm deporting you to Canada. MARGARET Excuse me? What? This is a mistake. I've lived here since 1981. I'm applying for citizenship. MR. GILBERTSON You need citizenship now? After the big promotion? MARGARET Yes. And all the papers are in. Gilbertson pulls out a stack of papers and throws them down. MR. GILBERTSON Well, my office is going to reject your paperwork on Monday, while we investigate whether your behavior is well disposed to the good order and happiness of the United States. We must protect our sovereignty. MARGARET I'm a threat to the sovereignty of the United States? MR. GILBERTSON Yes, and unfortunately my investigation will take awhile, so you'll be deported while your case winds through the system. (as if he doesn't know) Will it affect you at work if you aren't allowed to enter the U.S. for the next two to three years? MARGARET "Affect me at work?" I'll lose my job! MR. GILBERTSON (mock sympathy) Ahhhh. That's a shame. Too bad we can't work something out. Margaret stops looking at her file. It all becomes clear. MARGARET Oh, no. No, no, no. I won't do it. MR. GILBERTSON Do what, Ms. Mills? MARGARET 14. Gilbertson smiles. She's quick. MR. GILBERTSON I've edited it down. It's better. MARGARET Well then, get it published at another house. MR. GILBERTSON They all just don't get me. MARGARET All? MR. GILBERTSON Well not all. Two hundred fifty, two hundred sixty-one. Ish. MARGARET I'll be fired and laughed out of the industry if I publish that book. MR. GILBERTSON I'm at the end of my rope, Ms. Mills. I'm an author. Not some bureaucrat who brings a lunchable to work everyday and lives in his brother's garage. You're the last stop, and I'm desperate. MARGARET I will never publish your book. Ever. MR. GILBERTSON There's no need to make this difficult. I don't turn in your file until Monday... MARGARET This is blackmail. I'll go to your boss. MR. GILBERTSON I've spent two years preparing for this day. Don't you think I've thought of that? Now Margaret is pacing, while Gilbertson happily looks on. Suddenly, the door opens and Richard bursts in, acting like there is an "emergency" so Margaret can end the meeting. RICHARD Excuse me, Ms. Mills, risk management needs you right away. The sight of Richard inspires Margaret. She turns to Gilbertson with a wicked grin on her face. 15. MARGARET Know what, Dante? I'm not going anywhere! We're getting married! Richard has no idea what Margaret is talking about. RICHARD Who's getting married? MARGARET We are! RICHARD You and him? MARGARET Stop playing around, honey. Margaret is all smiles. Richard is very confused. MARGARET (cont'd) Mr. Gilbertson is from the INS. I told him about us. About us getting married. MR. GILBERTSON You are marrying your male secretary? RICHARD Assistant. MR. GILBERTSON You are marrying your male assistant? MARGARET (matter of fact) We're in love. We tried to fight it. When it's right, it's right. MR. GILBERTSON And this has nothing to do with my visit here today? MARGARET Nope. True love. Got it bad. MR. GILBERTSON (to Richard) You. Is this true? Are you marrying this... woman? Margaret comes over to Richard and holds his hand. MARGARET Of course we are. MR. GILBERTSON 16. Painfully long beat where Richard doesn't answer. Margaret squeezes Richard's hand hard. RICHARD Uh-huh. Margaret smiles and snuggles up to Richard so he can put his arm around her. Richard is truly afraid. RICHARD (cont'd) (more of a question) I'm, uh, marrying my boss? Margaret turns and puckers her lips to let Richard know that she's ready for a kiss. The two slowly begin to come together. Just as their dry lips are about to touch, Richard chickens out and kisses the hair on the top of her head. MR. GILBERTSON Five years in prison and a two hundred and fifty thousand dollar fine. MARGARET What? MR. GILBERTSON If I prove you're lying, you go to federal prison for five years. Gilbertson takes out a pad and takes notes. MR. GILBERTSON (cont'd) (to Richard) You. Do you know what you're getting yourself into? We're going to put you in a room and ask you every detail that a real couple would know about each other. Do you even know her favorite color? Richard doesn't answer. Margaret encourages him on with a thinly veiled threat. MARGARET C'mon. Answer. You don't have a choice. Richard doesn't want to do this, but relents. RICHARD Plum. MR. GILBERTSON You mean purple? RICHARD No. Plum is "smokier" than purple. 17. MR. GILBERTSON Favorite flower? RICHARD Tulips. But only when they're in season. MR. GILBERTSON Childhood pet name? RICHARD Miss Mittens. MARGARET Are we done here? MR. GILBERTSON Who knows you're getting married? Margaret interrupts. MARGARET No one. With us working together we decided it would be too much of a scandal if anyone knew. MR. GILBERTSON Have you at least told your family? MARGARET (EXCITED) My parents are dead! MR. GILBERTSON How convenient. So you're not telling anyone that you are getting married? RICHARD Nope. Gilbertson smiles and puts down his pad. MR. GILBERTSON Pathetic. Four questions and I've got enough to send you to prison... MARGARET We're telling his family this weekend. RICHARD We are? MARGARET Yes. We are. We're surprising them... (trying to remember) ...at his Grandma's 90th birthday party. 18. MR. GILBERTSON And where's that going to be? MARGARET (no idea) At Richard's parent's house. MR. GILBERTSON And where's that located? MARGARET (still no idea) In his hometown. RICHARD Sitka. MR. GILBERTSON Is that on Long Island? Only Richard has the answer. Margaret tries to cover. MARGARET Why don't you tell him? RICHARD Alaska. MR. GILBERTSON You're going to Alaska this weekend? MARGARET (Alaska???) Yes. Of course we're going to Alaska. That's where Richard is from. Gilbertson begins to walk around. He's getting worked up. MR. GILBERTSON You think you can beat me with this B-S story? Forcing your secretary... RICHARD Assistant. MR. GILBERTSON ...assistant to marry you and then conveniently telling his family for the first time this weekend? MARGARET I'm sorry, Dante. Did you not prepare for that? Margaret puts her arm around Richard and waits in silence. 19. Enraged, but with no recourse for now, Gilbertson checks his appointment book and writes down some information. MR. GILBERTSON The INS will see you both in ten days for your official interview. Your stories better match up on every account. Mr. Gilbertson gets right up in Margaret's face as he gives her the piece of paper. MR. GILBERTSON (cont'd) Cross all your T's and dot your I's with this ruse, Ms. Mills. MARGARET There are no "T's" or "I's" in "Love" Mr. Gilbertson. Gilbertson leaves and shuts the door hard. Margaret goes back to her desk like this is all in a days work. MARGARET (cont'd) Why are you from Alaska? Sweet Jesus, that's inconvenient. So here's what's going to happen. We'll play boyfriend and girlfriend this weekend for your parents and that should be enough for this INS interview. Richard doesn't react. Margaret doesn't notice. MARGARET (cont'd) So you need to figure out the travel, schedule a justice of the peace for next week, and get my lawyer on the phone. Margaret takes a sip of her coffee and makes a face. MARGARET (cont'd) But first, run down and get me another coffee from your girlfriend, this is cold. Margaret holds out her coffee cup. Richard doesn't move. MARGARET (cont'd) Hello? Richard? Richard! Richard says his first words since Gilbertson left. RICHARD I quit. Richard leaves Margaret's office. She still has her coffee cup outstretched in her hand. 20. INT. ROYCE PUBLISHING - CONTINUOUS Richard powers through the office. Co-workers take notice that Margaret is following him. MARGARET Richard, come back here. Margaret tries not to make a scene. MARGARET (cont'd) Richard. Richard. Richard pushes the elevator button in front of reception. MARGARET (cont'd) Come back to the office! Richard can't take it. He gets up in Margaret's face. RICHARD You shut up. You just lost your "I get to tell Richard what to do" privileges. MARGARET Well, we need to talk. RICHARD You want to talk with me? Fine. Grab your broom and let's go. Margaret is dumbstruck. The receptionist is shocked. The elevator arrives and Richard gets in. Margaret follows. As the doors close, Richard shouts out to the receptionist. RICHARD (cont'd) Watch my phones! EXT. CENTRAL PARK - DAY Richard and Margaret walk in silence through the park. Richard finally speaks. RICHARD Your plan is psychotic. MARGARET Well I'd rather poke my eyes out than play pretend girlfriend, but this is the big time. Sometimes you need to sack up. RICHARD Aren't Canadians supposed to be nice? MARGARET You wanna be an editor? You need to make 21. RICHARD OK. Fine. Then if we "make this happen"? You're promoting me to editor. MARGARET I'm doing what? RICHARD We go to Alaska and lie to my family? I risk going to jail? Well, you're making me editor for that. I mean, did you think I'd do this out of the kindness of my heart? MARGARET You work for me! RICHARD You know, during my employee orientation, the HR rep didn't mention anything about me marrying you. MARGARET Look, I came to this town alone and with nothing. I've worked my ass off for fifteen years and this guy wants to ruin me because he wrote the shittiest book of all time? No way. RICHARD Nice story Little Orphan Annie, but that sounds like your problem. Not mine. Margaret is stuck. Richard really does have the upper hand. MARGARET Fine. You take me to Alaska this weekend, and I'll make you editor. Deal? Margaret puts out her hand to shake, Richard takes it. MARGARET (cont'd) And I'm not sleeping on your parent's hide-a- bed, we're staying in a hotel. Do they even have hotels in Alaska? RICHARD No. But they have huts. Teepees really. And you have to poop in a bucket. But otherwise, just like the Four Seasons. But with bears. EXT. PLANE TO SEATTLE - DAY A commercial jet TAKES OFF and leaves New York City behind. 22. INT. PLANE TO SEATTLE - DAY Richard and Margaret sit in First Class and work on their lap tops. Richard looks up. RICHARD Um. Shouldn't we talk about what we're going to say to my parents? Margaret doesn't look up, annoyed with the question. MARGARET Are you done with the press release? RICHARD Almost. MARGARET (PATRONIZING) Well let's finish big people business before mommy and daddy talk. Okay? Dejected, Richard goes back to work. INT. SEATTLE AIRPORT - DAY As they change planes in Seattle, Margaret walks quickly and talks on the phone. Still the assistant, Richard lags behind, weighed down by both their bags. Up ahead at the gate, a GATE ATTENDANT (Female, 50's) ANNOUNCES final boarding to Sitka. Margaret gets off her phone. MARGARET So what do I need to know up there? Bullet points. RICHARD I told ‘em we've been dating for six months. We've kept it a secret from everyone... (under his breath) ...and that you're a naughty minx in the sack. Richard and Margaret make it to the attendant at the gate. Margaret is not amused by Richard's attempt at humor. MARGARET (VENOMOUS) Don't make me hate you. Margaret hands her boarding pass to the attendant and breezes through. The attendant gives Richard a look. RICHARD Bringing her home to meet my folks. She's 23. Tangled in the bags, Richard struggles to find his boarding pass. The impatient attendant is getting frustrated. RICHARD (cont'd) I've got it here. Sorry. Guess I'm a little flustered too. Haven't been home for awhile, hope they like her! The gate attendant smiles. GATE ATTENDANT (heard it all) I don't care, sir. Richard finds his boarding pass and hands it over. RICHARD OK then. You're a sweet lady. Thanks. Richard hustles to the plane as they shut the doors. INT. PLANE TO ALASKA - DAY Margaret takes her seat and sits next to a well dressed HANDSOME MAN who is READING A BOOK. She notices the title and he catches her stare. Margaret explains. MARGARET I'm sorry, I hate it when people stare at what I'm reading. It's just... I worked on that book. HANDSOME MAN You wrote it? MARGARET Edited it. It was one of my favorites. HANDSOME MAN Well you did a good job. It's great. MARGARET You don't see many guys with that book. You, uh, read a lot of love stories about Roman concubines? HANDSOME MAN My ex-girlfriend gave it to me. I travel a lot for work. I'll read anything... MARGARET (SUSPICIOUS) Ex-girlfriend, huh? 24. HANDSOME MAN (smiling, embarrassed) OK, you got me. I'm a closet romantic. But let's keep that between us. Margaret smiles and makes the "my lips are sealed" motion. Just then, Richard lumbers onto the plane with the bags. MARGARET There you are. Give me my lap top. Richard untangles the bags and gives Margaret her computer bag. RICHARD (re: book) Hey, he's reading... MARGARET I know, Richard. Richard turns around and puts the bags in the overhead compartment. The Handsome Man turns to Margaret. HANDSOME MAN Did you two want to sit together? MARGARET Sit together with who? The Handsome man nods at Richard. HANDSOME MAN Your boyfriend? Margaret points to Richard indignantly. MARGARET You mean him? The Handsome man nods. Margaret tries to set the record straight. MARGARET (cont'd) No. No. No. He's my assistant. HANDSOME MAN You're bringing your assistant all the way to Alaska? Richard smiles, happy that Margaret has to answer. RICHARD Oh, you can tell him the truth. MARGARET Well, he's... indispensable. 25. The Handsome man isn't buying it. MARGARET (cont'd) And gay. Takes care of me everywhere I go. Call him my queen mother. Aren't you my indispensable gay queen mother? Margaret shoots Richard a nasty look. He has to go along. RICHARD That's me. Richard turns to close the overhead compartment. HANDSOME MAN You're awfully nice to fly him first class. Margaret nods her head and agrees. It sucks to be Richard. EXT. AERIAL OF SITKA - DAY We see the natural beauty of South Eastern Alaska. Sitka is an island the size of Maui. Only an eight mile stretch of coast is inhabited, the rest is complete wilderness. At the center of the island is a mountain with smaller hills around it. The coast is dotted with fishing boats. Gorgeous. INT. JETWAY - DAY Margaret and the Handsome Man chat like old friends while they walk off the plane. Richard follows with all the bags. As they all walk out of the jetway they see... INT. AIRPORT - DAY - CONTINUOUS A big banner that reads: CONGRATULATIONS RICHARD AND MARGARET!!! with wedding bells and a graphic showing the journey from New York to Sitka. The banner is being held up by a group of 30 PEOPLE with excited looks on their faces. Richard's mom DEBBIE (60) is front and center. She's a sweet lady who cooked Richard a hot breakfast every morning until he left the house. GRANDMA ANNIE (89) also waits. She's lived a long time and doesn't have a lot of time to screw around. When they see Richard, they SCREAM. Margaret's face drops. ALL There he is!!! Where's Margaret? Richard blanches white. Margaret looks back with eyes that say "What the hell is going on?" 26. HANDSOME MAN (noting banner) That's sweet. Richard goes over to the group. Margaret keeps walking. RICHARD What are you guys doing here? What's with the sign? DEBBIE So you're "just dating," huh? I can't believe you didn't tell us! RICHARD Didn't tell you what? ANNIE We're not saying anything until you let us meet Margaret. Now, where's our girl? Richard looks around. Margaret keeps her head down and tries to avoid eye contact. RICHARD Uh. Margaret? You need to come over here. Like now. Honey. The Handsome Man sees Richard with the banner people, calling for Margaret to come over. Margaret winces. MARGARET I have to go now. HANDSOME MAN (putting it together) What kind of sick shit is this? Margaret nods. This would be a tough one to explain. MARGARET Have a great life. Margaret walks toward the group. Richard puts out his hand and silently pleads for Margaret to hold it. At the last second, she takes it. RICHARD Everyone, this is Margaret. GRANDMA ANNIE It's nice to meet you. Now, do you prefer being called Margaret, or the Dragon Lady? We've heard it both ways. Everyone laughs. 27. DEBBIE Annnie! GRANDMA ANNIE It's not like he hasn't told her that he used to call her the Dragon Lady. They're getting married. RICHARD (real "casual") Now, ah, where did you hear that? The whole "getting married" thing? DEBBIE Oh, that man from the government. Gilber- something. Said he was checking up on you two. Said it was technicality, because Margaret was from Canada. RICHARD What, ah, did you tell him? DEBBIE Well for one thing, that you were in a lot of trouble for not telling us that you two were getting married! RICHARD No. Really. What did you say? DEBBIE Just that you were coming up here this weekend. That we hadn't seen you in a while, and that we'd heard about Margaret for years, but that we'd never met her. Debbie turns to Margaret and takes both of her hands. DEBBIE (CONT'D (cont'd) The way that Richard talked about you? I'll admit, I didn't see this coming. MARGARET Me neither. Debbie picks up some of the bags and starts walking toward the exit. Everyone else follows her lead. ON THE MOVE DEBBIE So why all the silly secrecy? RICHARD It wasn't a secret. We didn't tell anyone. 28. DEBBIE Well, is your family just anyone? RICHARD No, I didn't mean... DEBBIE I should be mad at you two. But, but... I'm just so excited! MARGARET (re: group) Uh, is everyone coming to our hotel? GRANDMA ANNIE Oh, we cancelled your reservation. You're part of the family now. Family doesn't stay at a hotel. Also, we've got another little surprise for you two. MARGARET Surprise? Another surprise? RICHARD She's not good with surprises. MARGARET I'm really not good with surprises. EXT. SITKA AIRPORT - DAY - CONTINUOUS Debbie stops. Sitka Airport is very small, so they are already outside by all the cars parked in the loading zone. Debbie and Annie excitedly look at each other. DEBBIE Well you two... GRANDMA ANNIE ...you're getting married this weekend! MARGARET RICHARD What? What? GRANDMA ANNIE (cont'd) The whole kit and caboodle. Margaret gives both these women a look that says "what are you talking about?" DEBBIE When Gilber-something told us you were getting married... GRANDMA ANNIE 29. DEBBIE ...God rest their souls... GRANDMA ANNIE ...or friends... DEBBIE ...we decided to give you a wedding. GRANDMA ANNIE Engagement party tonight... DEBBIE ...and the wedding tomorrow at midnight. Debbie and Annie wait to see what Margaret thinks. MARGARET Are you witches? GRANDMA ANNIE Just quaint. During the solstice it's good luck. It's an Alaskan thing. DEBBIE We've planned everything. Margaret isn't sold, so Grandma Annie goes for the clincher. GRANDMA ANNIE I'm old, Margaret. I don't have much time left. Richard lives so far away, and I never see him. Now I find out he's getting married, and I have a chance to see my one grandchild's wedding day. It's a dream come true for me. A dream come true. Please let me see Richard get married before I die. Please. Long beat. Richard doesn't know what Margaret is going to say. Margaret doesn't know what Margaret is going to say. Finally, she goes to speak, but can only get out... two big thumbs up. The crowd cheers. EXT. SITKA - DAY A procession of cars makes its way through town. INT. PICKUP - DAY Debbie and Grandma sit in the front of the truck, all smiles. Margaret and Richard sit as far away from each other as possible in the backseat of the extended cab. 30. Margaret tries to get Richard's attention, but he's looking out the window. Finally she pinches him and Richard jumps. He gives Margaret a "what did you do that for" look. MARGARET (MOUTHING) The Dragon Lady!? Richard shrugs. GRANDMA ANNIE To tell you the truth, we had a lot of the plans made already for my birthday. Just a few changes here and there, and we made this weekend a wedding. Margaret stares at Richard. MARGARET I'm a lucky woman. Margaret does her best to smile. EXT. DOCK - DAY The cars park in a lot in the middle of nowhere, near a small dock. Everyone gets out of the cars and starts walking to the ocean. Margaret is confused. MARGARET I'm not getting out of this car until you tell me where we're going. RICHARD Come on, it'll be OK. I promise. Richard points to a small island about a mile away. EXT. YACHT - DAY Everyone rides on a 75 foot yacht. Lots of polished wood and chrome. Someone passes out beers on board, and the mood is festive. Margaret takes a look around at the surreal scene. MARGARET Who are you people? Richard lets Margaret wonder. EXT. PAXTON DOCK - DAY The ship docks and we get our first glimpse of the Paxton Estate. It sits above the rest of the wooded island and is as tasteful as a 15 bedroom Alaskan mansion can be. Richard's father, GEOFFREY (60) waits on the dock. He is a bear 31. GEOFFREY So you must be Margaret. We've heard a lot about you. All of it bad. Margaret tentatively walks off the yacht in her none to practical sling backs. GEOFFREY (cont'd) I mean, I almost shit myself when I heard he was marrying the devil woman. MARGARET I thought it was the dragon lady? GEOFFREY Either way. RICHARD Hey dad. Richard shakes his father's hand. It's a little stiff. GEOFFREY Welcome home. Good to see ‘ya. RICHARD You too. GEOFFREY Been a while. RICHARD Yeah. You'd think you could make it to the airport to mark the occasion. Grandma Annie interrupts. GRANDMA ANNIE Help him with the bags Geoffrey. (to Richard and Margaret) Let's get you two settled. As Richard and Margaret move towards the house, Annie shoots Geoffrey a look that says "be nice". INT. PAXTON ESTATE - DAY The house is decked out in sheik Alaskan decor. Somehow, it makes bear heads and deer antlers look good. Everything is first class. Margaret is a little awe struck. DEBBIE We'll show you around later. MARGARET Uh huh. 32. Out of nowhere, a small HUSKY PUPPY startles Margaret and jumps on her. DEBBIE Balzac! Down! No! Debbie pulls the dog off of Margaret and pushes him toward the kitchen. Margaret tries to take it in stride and make small talk. MARGARET What a great name. Balzac's "Lost Illusions" is one of my favorite novels. DEBBIE Oh. Well, this Balzac's got epididymitis. Debbie makes two big circles with her pointer fingers to illustrate how Balzac really got his name. Not understanding, Margaret looks over at Balzac as he walks away. Off her shocked reaction, we understand right away that this puppy Husky is an anatomic marvel. DEBBIE (cont'd) No one on the island wanted him when he was born. We figured he deserved a home. GEOFFREY And don't let him outside, or the eagles will snatch him. RICHARD C'mon dad... GEOFFREY I mean it. They come out of that rehabilitation center mean. And hungry. RICHARD Don't listen to him, Margaret. INT. PAXTON ESTATE UPSTAIRS - DAY Debbie opens a door for Richard and Margaret. DEBBIE You'll be sleeping here. INT. MARGARET'S ROOM - DAY - CONTINUOUS The room is beautiful, right out of Architectural Digest. DEBBIE Bathroom is there, all the towels are in the armoire by the bed. Just let me know if you 33. MARGARET Thank you. Where's Richard's room? DEBBIE Oh, we took down his "shrine" years ago. And don't worry, I'm under no illusion that you two haven't slept in the same bed before. Richard can sleep here too. MARGARET Oh, let's not upset Grandma Annie. DEBBIE It was her idea. Anything to help get her a great grandchild. Richard shrugs his shoulders behind his mother. MARGARET Great. You know, I've gotten used to his breathing at night. DEBBIE I thought so dear. Debbie leaves and shuts the door. Margaret reverts back to her old self. MARGARET I'm about 15 seconds from bitch. RICHARD Calm down. MARGARET What is going on here? RICHARD Hell if I know. MARGARET You had no idea they knew about us getting married? RICHARD You think I'd bring you here if I did? MARGARET Well, we just gotta tell ‘em. RICHARD Tell ‘em what? MARGARET Tell ‘em the truth. About us. 34. RICHARD Wrong answer. No way. MARGARET What do you mean no way? This is crazy. RICHARD No, crazy was lying to the federal officer. MARGARET Well I don't like this. RICHARD Well I'm not making my Gammy an accomplice to a Class C felony! For one second could you not be so selfish? MARGARET Selfish? RICHARD Yeah, you know, that thing you do where you only worry about yourself every second of every day? MARGARET How is it selfish to tell the truth? RICHARD Look. We're awful, awful people. In the last forty eight hours, we've lied to... everyone. We need to protect the people downstairs. We can't ask these good, decent, not awful people to lie for us. Let's keep the darkside to ourselves. Margaret takes a second to make up her mind. MARGARET Fine. But if we do this, you need to stop lying to me. RICHARD What've I lied to you about? MARGARET Why did you tell me that you were poor? RICHARD I never said that. MARGARET Well, you never told me you were rich. RICHARD When does that come up? 35. MARGARET I don't know, how about, "Hi, my name is Richard, I'm an Alaskan titan of industry." RICHARD Well, maybe I didn't tell you because you would have fired me if you knew. MARGARET No I wouldn't. RICHARD Come on! You're always yammering on about your scrappy childhood, and how you fought for those soccer scholarships, and how the rich kids made fun of you in prep school for working in the kitchen. You're totally anti- rich. MARGARET I'm not anti-rich. RICHARD Oh yes you are! And you know what makes it worse? You have money! MARGARET I earned... RICHARD ...every penny I have. Blah, blah, blah. You need new material. MARGARET Hey. Watch it. You're still my assistant. RICHARD You were going to promote me anyway. MARGARET Sure of that? RICHARD Nope. Not at all. Margaret takes a look at herself in the mirror. MARGARET Well, come on. If we're going to do this, we might as well put on a show. INT. PAXTON ESTATE - DAY Downstairs, the engagement party is in full swing. The starched wait staff stands out in the crowd, because the raucous party- goers are all dressed in flannel, T-shirts and baseball hats. 36. Ponytails rule for the women, and almost all the men have shaggy hair and beards. No dress code here. Like the house, the party is first class. Ice sculptures melt, champagne is served on silver trays, and the buffet overflows with salmon and king crab. Margaret works the crowd like a pro and holds court with some WELL WISHERS, Richard's parents, and Balzac. MARGARET I went to Union college in upstate New York. It's a small liberal arts school that no one has ever heard of. Richard comes to the group and hands Margaret a drink. MARGARET (cont'd) (looks at glass) Lime? RICHARD Be right back. Richard leaves to fetch lime wedges. Geoffrey elbows Debbie in the side, "What was that?" WELL WISHER #1 How long have you been with your company? MARGARET Since I graduated college. Richard comes back with the lime. Margaret takes it and doesn't say thank you. RICHARD She's been there since she was nineteen. GEOFFREY Nineteen? Wow. That's how long? MARGARET Oh, who's counting... Geoffrey could let it go, but wants to push her. GEOFFREY No. How many years is that? Exactly. Margaret gives Geoffrey the slightest look. MARGARET Well, let me see. That would be sixteen or seventeen years. Exactly. 37. GEOFFREY I was never good with big numbers. That makes you... thirty six now? MARGARET Just turned thirty seven. Born on May 20th. I'm a Taurus. Geoffrey and Margaret give each other a smile. MARGARET (cont'd) (to Richard) I need some protein. RICHARD There's some salmon. Margaret shakes her head no. RICHARD (cont'd) Crab? Margaret nods yes. Richard steps away to find a waiter. Geoffrey watches his son do Margaret's bidding. GEOFFREY Keep him on a short leash, huh? Does he roll over when you whistle? Debbie hits Geoffrey. DEBBIE He's just being a good host. Richard comes right back with a waiter in tow. For Geoffrey's benefit, Margaret makes a point to thank Richard. MARGARET Thank you, honey. You're being so sweet. Richard is surprised, but remembers they're a couple. RICHARD Uh, sure. Honey. WELL WISHER #2 So you just got some big promotion? MARGARET I'm editor in chief, now. Richard tenderly puts his arm around Margaret. RICHARD (BEAMING) I'm so proud of my girl. 38. From behind them, a melodic, etherial VOICE interrupts. VOICE (O.S.) Editor in chief? You're marrying up, Richard. Everyone turns around to find GERTRUDE THURMAN (26). She is Grace Kelly in Patagonia and Timberland. Adding insult to injury, she doesn't have eyeliner on. RICHARD Gert!? Richard snaps his arm back, hitting Margaret in the head, and spilling her tonic water on her shirt. He doesn't notice what he's done, and leaves Margaret. She's peeved. RICHARD (cont'd) (FLUSTERED) What are you? What are you doing here? GERTRUDE Your dad made me come. RICHARD From Chicago? Gertrude laughs. The group watches these two see each for the first time in years. There is instant chemistry, and Richard has forgotten about Margaret completely. GERTRUDE No. I live here now. RICHARD You what? GERTRUDE I moved back about six months ago. I'm teaching second grade. At Baranof. RICHARD Did your husband move up here too? GERTRUDE Uh, no. I, ah, got divorced. RICHARD Oh my God. I'm sorry. GERTRUDE Me too. But hey, we're being rude, I wanna meet the bride. Gertrude leaves Richard and goes to Margaret. 39. GERTRUDE (cont'd) Hi, I'm Gertrude. But call me Gert. MARGARET You're a Gertrude? GERTRUDE A family name from hell. MARGARET I'm sure it's been a curse. GEOFFREY Gert and Richard were quite the item in high school. Gertrude instantly dismisses Geoffrey's reminiscence. GERTRUDE Oh Please. Ancient history. GEOFFREY Feels like yesterday to me. GERTRUDE (ignoring Geoffrey) So tell me everything. I hear it wasn't exactly love at first sight? MARGARET Not exactly... GRANDMA ANNIE Now Richard, what I want to know is how you proposed. This grabs the group's full attention. Everyone loves to hear a story like this. RICHARD Well... Richard hasn't recovered from seeing Gertrude. RICHARD (cont'd) Uh, uh, um, I... GEOFFREY Yeah. How did you pop the question? Richard is a deer in the headlights. This is getting ugly. Margaret sees that Richard is going to crumble, and steps in. MARGARET Can I tell this one, honey? 40. RICHARD Uh. Sure. MARGARET I'm an early, early riser and go for a run everyday. Well, it was our six month anniversary and I was out for my normal jog in the park, when who do I see in a horse drawn carriage, wearing a tux, and waiting for me halfway through my run? Richard! So I ran up to the carriage and asked him what was going on, and he put his finger to his lips and says, "shhhh." So there I am in my jogging clothes, next to the most handsome mute in the world - have you seen him in a tux? - riding like a sweaty princess and smiling ear to ear. Couple minutes later, we arrive at Tavern on the Green. Best part, we're the only people in the place because Richard got them to open up early. Well, we go to our table, sit down, and just as the sun starts to peek above the trees, this beautiful man gets down on one knee, and says "I didn't want one more sunrise to go by without you knowing that you are the light of my life, and that I would be the luckiest man in the world if you would be my wife. Margaret Mary Mills, will you marry me?" The group is silent, waiting for the clincher. MARGARET (cont'd) I said yes. The group gives a collective "ahh". Grandma Annie takes both Margaret and Richard by the hand. GRANDMA ANNIE You are a good boy Richard, and you make me very proud. I love you Richy. RICHARD I love you too, Grandma. Grandma hugs the couple. Everyone smiles except Geoffrey and Gertrude. GEOFFREY So did this happen before or after the INS agent came sniffing around? DEBBIE What is wrong with you? I'm sorry Margaret. Margaret doesn't miss a beat. 41. MARGARET Oh please. I'd wonder too. Honestly, my lawyers have been dealing with all of this. When you told us at the airport it was the first time I'd heard about it. I'm so embarrassed. DEBBIE Don't be, dear. Geoffrey's just an ass. While Debbie apologizes, Margaret gives Richard a little wink that says "I've got this under control". The moment is interrupted when Richard pulls out a RINGING CELL PHONE. He takes a step back and answers quietly so no one can hear. RICHARD Margaret Mill's phone. (off answer) One second please. Richard comes back to the group and hands Margaret the phone. RICHARD (cont'd) It's our friend, Frank. Richard's tone let's Margaret know there's a problem. MARGARET Excuse me, I'll just be a second. Margaret takes the phone and exits out French glass doors that lead to the backyard. She leaves the door open, and doesn't notice Balzac follow her outside. EXT. PAXTON BACKYARD - DAY - CONTINUOUS Margaret goes far from the house so no one can hear. Balzac follows her all the way, but Margaret doesn't see him. MARGARET Don't be a cliche, Frank. Don't be the wishy washy writer who changes his mind every two seconds. Margaret notices Balzac, but ignores him. The dog starts YAPPING to get attention. She walks away, but Balzac continues barking. Annoyed, she gets down face to face with the puppy and puts the phone against her chest so Frank doesn't hear. MARGARET (cont'd) (to Balzac) Sit and be quiet! Balzac sits and pouts. Margaret walks away and puts the phone back to her ear. 42. MARGARET (cont'd) I fired Bob because he didn't have your best interest in mind. Our job is to help you succeed. He wasn't doing that. Margaret continues to listen to her writer whine, when she notices an EAGLE soaring in circles above her and Balzac. Not sure what to think, she looks back at Balzac and sees him peacefully sit in the grass. She then looks up and sees that the eagle is gone. Margaret shakes her head, looks back at Balzac when -- WHOOSH! The eagle snatches Balzac by the scruff of the neck, and takes off. Margaret jumps. There is no one to help, so she chases after the dog and eagle. She stays calm on the phone. MARGARET (cont'd) Could you hold on just a second? With no other option, Margaret throws her cell phone and hits the eagle suspended 20 feet above her. The eagle drops Balzac and Margaret catches him. Balzac looks frightened. Tucking Balzac away like a furry football, she runs to her phone and picks it up. MARGARET (cont'd) (NONCHALANT) Sorry, dropped my phone. Margaret looks up and sees that the eagle has resumed flying in circles above her. She decides to wrap up the call quick and get back to the house. MARGARET (cont'd) Frank, I don't want to sell you on anything. But know this. This book is your legacy... Margaret looks up and sees the eagle dive towards her and Balzac again. She runs. MARGARET (cont'd) ... and-I-think-you-should-be-the-one-to introduce-your-legacy-to-the-world. Call me- tomorrow-with-your-decision. My-phone is- always-on. Talk-to-you-soon. The eagle bears down on them with talons out. Just as the eagle is about to strike, Margaret sticks out her hand with the phone to fend back the eagle. To her surprise, the eagle grabs Margaret's phone and flies off. Margaret freaks. MARGARET (cont'd) 43. Panicked, she takes Balzac in both hands and puts him up to the eagle as an offering. MARGARET (cont'd) Take the dog! Take the dog! INT. PAXTON ESTATE Inside, the elegant party carries on. DEBBIE Where's Margaret? We need to go. RICHARD Go where? DEBBIE It's a surprise. Girls are going into town. And the boys stay here. I told you, we've planned everything. RICHARD Um. She's outside. Debbie and Richard turn around and look out a picture window. They see Margaret running with Balzac above her head. DEBBIE Oh that's sweet, she's playing with my Balzac. EXT. PAXTON BACKYARD - DAY The eagle is long gone, but Margaret is still running with the dog trying to bait it back. MARGARET This is a delicious dog, Mr. Eagle. C'mon, bring back the phone. Richard calls out from the house. RICHARD What are you doing? MARGARET The eagle took my phone! RICHARD Are you drunk? MARGARET Your dad was right! The eagle tried to take the dog, so I saved it, then it came back and took my phone. 44. RICHARD Did the dingo eat your baby, too? MARGARET Frank's going to call me on that phone. I need it! RICHARD Relax. I've got your information backed up on the laptop. I'll just get you a new phone and switch the number. No problem. MARGARET Oh. RICHARD Now come on. You're going somewhere with my mom and the girls. MARGARET I'm not going anywhere. RICHARD You want a new phone? You're going. EXT. PIONEER BAR - DAY The Pioneer bar is a classic Alaskan bar, decorated with pictures of every fishing vessel that has made Sitka its home. But tonight estrogen rules, as all the patrons are women CHEERING for an oiled, toned, and BEARDED MAN in a tiny thong who gyrates to the beat of Prince's "Sexy Motherfucker." On stage with the dancer, Margaret tries to not look miserable in her NOVELTY BACHELORETTE PARTY WEDDING VEIL WITH DEVIL HORNS. DEBBIE Work it Hank! GERTRUDE Is that a salmon down your pants? The room laughs as Hank works his crotch millimeters away from Margaret's face. Margaret remains straight faced. MARGARET Definitely not a salmon. The women encourage Hank on as he moves Margaret's hands to his wiggling ass and gives her a feel. She can't help but give and embarrassed smile. Finally, the song ends and Hank goes into the splits. Thrilled, the room gives him a standing ovation. Margaret plays along and gives Hank a kiss on the cheek. She begins to get off the stage, but Hank takes her by the hand. 45. HANK Ah, ah, ah. I was just the warm up. Hank sits Margaret down, and blindfolds her with a scarf. MARGARET What's going on? GRANDMA ANNIE Just sit there dear. MC Don't be shy ladies, tip well and often, show Hank how much you appreciate his assets! And now... Ramone! The room goes silent as a middle aged RAMONE comes on to the stage. He has a pot belly, threadbare thong and a thin mustache. Ramone's dance has a Latin theme to it, and he's very good at it. Margaret is oblivious. MARGARET What's that smell? Margaret finally takes off her blindfold, and finds Ramone about an inch away from her face. MARGARET (cont'd) (belly laugh) Ahhh!!! Margaret falls out of her chair and her scream frightens Ramone. After the initial scare he composes himself and wags his finger at her naughty behavior. RAMONE You are a naughty devil. Ramone goes to work another part of the stage, and when he turns, Margaret jumps off the stage and joins the ladies. MARGARET Good lord. GRANDMA ANNIE Ramone was the only male dancer on the island for years. No one has the heart to tell him to hang it up. MARGARET Want me to do it? GRANDMA ANNIE Thank you dear, but let's keep it our secret. 46. EXT. PAXTON ESTATE - SHORELINE - DAY Snow capped mountains watch 20 MEN in short sleeves hit golf balls into the ocean. Green pontoon rafts bob in the water, made up to look like golf greens. Golf balls are stacked in pyramid formations at every hitting area. Richard comes down from the house to join the group. Geoffrey jokes with MR. MAGUIRE (60's, good natured) as they hit balls. GEOFFREY ...yeah, Debbie found these eco-balls that dissolve in the water. MAGUIRE How does she come up with this shit? GEOFFREY She just does. I stopped trying to figure out how. Geoffrey and Mr. Maguire see Richard coming their way. Mr. Maguire yells at Richard like the old family friend he is. MAGUIRE (JOKING) I'm mad at you, son! RICHARD Why's that, Mr. Maguire? MAGUIRE You fly up here and don't call me? RICHARD Sorry ‘bout that. MAGUIRE What good is me owning an airline if I can't give you free tickets? RICHARD You're right. Don't know what I was thinking... MAGUIRE Damn, straight. Don't let it happen again! (hands Richard a golf club) Here, you take over. This game is for pussies, I'm getting a drink. Mr. Maguire leaves, and Richard and Geoffrey are left alone with one another for the first time. Things are awkward between father and son, and Richard begins hitting balls to avoid conversation. Geoffrey finally makes small talk. 47. GEOFFREY Maguire's stepping down in January. He's, uh, handing things over to Matty. Richard gives his dad a look. He knows where this is going. RICHARD That's great for them. GEOFFREY So. How's work with you? RICHARD Good. Busy. You know. GEOFFREY I do. I do. Hey, did I tell you that we're opening a little office in Japan? RICHARD Congratulations. GEOFFREY We're not just a mom and pop operation anymore. We're going global. RICHARD Uh-huh. Geoffrey stops hitting golf balls for a second. He's been thinking about this moment for a long time. GEOFFREY I could really use your help. RICHARD Dad. Please. I'm in New York. Margaret's in New York. We have jobs. GEOFFREY I know. I know. It's just... RICHARD (CHALLENGING) It's just what? GEOFFREY You're only a secretary. This pisses Richard off immediately. RICHARD Again with the secretary thing! I've told you, I'm an assistant! 48. GEOFFREY Just because you call yourself an "assistant" doesn't mean you're not really just a secretary. RICHARD Well if I'm "just a secretary", why would you want me up here anyway? Sounds like you're doing great without me. GEOFFREY It's not like that and you know it. RICHARD Then how is it? Explain it to me. Geoffrey looks around to see if anyone is listening. GEOFFREY Last week, a man stuck his finger up my butt... RICHARD This man was a doctor? GEOFFREY ...and it got me thinking about you. RICHARD I'm not sure this is coming out right. GEOFFREY Just shut up for a second, okay? I want you to have what I built. But I'm running out of time to show you things. RICHARD Stop being so dramatic. GEOFFREY I'm not being... (takes a hard line) I need you to stop dicking around down there and get serious. RICHARD So this is all about what you want? GEOFFREY That's not what I said. RICHARD And me in New York with Margaret? That isn't serious? 49. GEOFFREY One day the woman is the Antichrist, and the next day she's the love of your life? How is that serious? RICHARD Things change, dad. GEOFFREY (INDIGNANT) Things change? RICHARD Things change. GEOFFREY Things change? RICHARD Yes. Things change. GEOFFREY Things change. That's your explanation? Know what I think? I think you banged your boss and fell in love, that's what I think. Some sorta mommy complex. RICHARD Nice, dad. We gotta have these Cosby moments more often. This is great. Richard drops his club and walks back to the house. EXT. PIONEER BAR - DAY Margaret steps outside to have a moment to herself. She's on a patio overlooking the ocean. It is late, but the sun is hanging just over the horizon. GERTRUDE They can be a little overwhelming, but they're great people. MARGARET What? I'm just working on my tan. (off Gertrude's look) It's been a long day. Margaret looks inside and sees that the party is still raging. GERTRUDE Around the solstice they don't watch the clock. Pretty much party ‘til they fall over. MARGARET 50. GERTRUDE I actually missed it when I was in the states. MARGARET Chicago, right? GERTRUDE Yeah. Since college. MARGARET And now you're back? GERTRUDE Six months now. Call me crazy, but I love it. Think I'm back for good. MARGARET Really? I don't know. Don't you miss... GERTRUDE Neimans? Starbucks? Escalators? Margaret laughs. She likes this woman. GERTRUDE (cont'd) Yeah. I miss it. Believe me, growing up I never thought I'd end up divorced and back here teaching at my old elementary school. That was always Richard's plan. MARGARET For you to get divorced? GERTRUDE (smiles, remembering) No. I was going to teach, he was going to run his dad's business. He was like a little old man. Had it all worked out. MARGARET Are we talking about the same guy? GERTRUDE What do you mean? MARGARET Well, Richard's such a player. Gertrude looks confused. MARGARET (cont'd) I mean he was a total player. Before we started dating. Six months ago. GERTRUDE 51. MARGARET That surprises you? GERTRUDE Did he ever tell you why we broke up? MARGARET We don't really talk much about stuff like that. GERTRUDE Oh. Well I should shut up... MARGARET No, no. Please. I mean, we are getting married. I want to know these things. Gertrude looks down a little embarrassed. GERTRUDE He proposed to me. When we were seniors. Margaret laughs. MARGARET I'm sorry. I didn't mean to... He proposed to you in high school? GERTRUDE He bought this sweet little ring, and got down on his knee. It was so cute. MARGARET You must have... GERTRUDE ... freaked out? Oh you bet. I broke up with him on the spot. MARGARET I would hope so. GERTRUDE After getting rejected the first time, I can't imagine how hard it was for him to get up the courage to ask you. Margaret just smiles, feeling guilty about lying when Gertrude is being so honest with her. GERTRUDE (cont'd) Anyway. The idea that my little old man could be a player... It's just not the Richard I knew. Good thing you're making an honest man of him again. 52. Gertrude toasts Margaret and knocks back the rest of her beer in one swig. She has a hard time finishing it off. GERTRUDE (cont'd) Well I'm empty. I'm going to go get another. I think I hear Ramone wrapping up, let's get back to the girls. MARGARET I'll be right in. Margaret smiles and turns to the ocean. Gertrude goes inside. Then, to herself, Margaret silently whispers. MARGARET (cont'd) We are awful people. EXT. PAXTON ESTATE - DAY THWACK! An axe slams down and splits a log in two. Hands quickly place another log down and THWACK! We pull back to find Richard playing the role of executioner. He's still mad after talking to his dad, and is taking it out on the firewood. Rage Against the Machine plays on his iPod and he's in his own world. Behind him, the girls return to the island on the family yacht. Their mood is light, and they chat amongst themselves. Debbie's mood deflates when she sees Richard. DEBBIE (SHOUTING) Richard! Honey! Is everything OK? With his back to the girls and the iPod on, Richard doesn't hear or see the girls. Annie shakes her head. Something is up. INT. PAXTON ESTATE FAMILY ROOM - DAY Geoffrey pets Balzac as he watches SportsCenter on a sixty inch plasma television. The ladies arrive and Annie and Debbie step in front of the TV, blocking his view. Margaret watches from the door, not sure what is going on. GEOFFREY Excuse me? I'm watching that. ANNIE Why is Richard chopping wood? DEBBIE And don't play dumb. What did you do? Geoffrey is uncomfortable answering in front of Margaret. 53. GEOFFREY Nothing. I didn't do anything... will you please move. The showdown intensifies. Margaret excuses herself. MARGARET I am so tired. Balzac GROWLS when he hears Margaret's voice. He's still mad. Margaret just smiles. MARGARET (cont'd) Think I'm going to take a shower and clean off Ramone's bubble gum body oil. Thanks for a great night. Annie and Debbie smile graciously and wish her good night. Once she's gone, they turn their death stare back to Geoffrey. He looks genuinely unnerved. GEOFFREY Stop looking at me like that! EXT. PAXTON ESTATE - DAY Richard continues to listen to his iPod, and has worked up quite a sweat. He's stacks the last log, takes off his soaked through shirt, and gets a whiff of himself. Ew. He stinks. INT. MARGARET'S ROOM - DAY Margaret walks into the private bathroom attached to her room and shuts the door. We hear her turn on the shower. INT. PAXTON ESTATE FAMILY ROOM - DAY Geoffrey defends himself to Debbie and Annie with great conviction. Richard walks right by the fighting trio, but doesn't notice anyone. He continues to listen to his iPod and his attention is focused on the controls, as he looks for the playlist "Songs I Shouldn't Like" and Charlene's hit "I've Been to Paradise, But I Haven't Been to Me." INT. MARGARET'S ROOM - DAY IN THE BATHROOM Margaret turns off the shower, pulls back the curtain and reaches for a towel. All she finds is a miniature unabsorbent decorative hand towel. Shit. IN THE BEDROOM Richard enters the room smiling as Charlene sings "...I've been undressed by kings and I've seen some things that a woman ain't 54. IN THE BATHROOM Margaret's ears perk up. The bathroom is a disaster because she has dripped water everywhere looking for a towel. MARGARET Richard, is that you? IN THE BEDROOM Richard opens the armoire next to the bed and pulls out an incredibly absorbent Egyptian cotton towel. IN THE BATHROOM Margaret cracks the door open to see what the sound was. Richard isn't there, but she sees the armoire open and the towels waiting for her. How did she miss that? MARGARET Richard, are you... Then out of nowhere, Balzac (he followed Richard in) startles Margaret. BALZAC Yap, yap, yap, yap, yap! Margaret slips on the wet floor and falls on her ass. Her foot kicks the door open as she retreats from the vengeful puppy. ON THE BEDROOM'S DECK Richard is oblivious as he hangs his wet clothes over a rail on the deck attached to the room. He makes sure that no one is in the yard, pulls down his shorts, and hangs them up as well. IN THE BATHROOM Naked, wet, and starting to get a little pissed off, Margaret manages to pull herself up by the toilet. She wants a towel badly, but Balzac guards the doorway. She tries reason. MARGARET I'm sorry bout the eagle. But I saved you. Balzac won't listen to reason and barks angrily. Margaret grabs the ceramic top of the toilet tank to protect herself. ON THE BEDROOM DECK Richard calmly turns around and sees that the bathroom door is open. That's weird. 55. IN THE BATHROOM Margaret holds the top of the toilet tank like a baseball bat, ready to strike. Balzac will not be intimidated, and continues to growl and not let her out of the bathroom. Margaret knows that she can't hit a dog, and looks for another way out. Then she spots the bathroom mat. IN THE BEDROOM Richard saunters towards the bathroom, wearing only his iPod. IN THE BATHROOM Balzac puts a paw onto the bath mat. Margaret slowly puts back the toilet top. Balzac gets to the center of the bath mat, and Margaret pulls hard, sliding the bath mat and Balzac to the back of the bathroom. With Balzac out of the way, she runs out, closes the door behind her and... IN THE BEDROOM WHAM! Margaret crashes into Richard and they fall to the floor. It takes a second for them to realize that they are holding each other buck naked. MARGARET RICHARD Aaaaahhhhhhhhhh!!!!!!!!!!!!!! Aaaaahhhhhhhhhh!!!!!!!!!!!!!! The two quickly separate and spastically try to cover up. A rapid fire back and forth ensues. MARGARET RICHARD Why are you naked? Why are you wet? MARGARET RICHARD Don't look at me! You tackled me! MARGARET RICHARD It was the dog! You're blaming the dog again? MARGARET Will you just hand me a towel! Richard looks for a towel, but forgets he's naked. When he looks under the bed, Margaret shrieks and covers her eyes.. MARGARET (cont'd) You're flashing brain! Richard quickly changes positions. Out of desperation, he pulls the entire comforter off the bed. He throws it Margaret's way, and she wraps herself in it. 56. MARGARET (cont'd) You can cover up any time! Richard cups the beans and franks and backs up to his clothes by the window. MARGARET (cont'd) Explain yourself! RICHARD I didn't know you were home! I was outside chopping wood! MARGARET You didn't hear me? RICHARD I had my iPod on! (CONFUSED) Why did you jump me? Richard reaches his clothes and pulls on his shorts. MARGARET I didn't jump you. (off Richard's look) I didn't mean to jump you. I didn't know you were here. RICHARD You didn't see me? MARGARET I was running from the dog! Richard looks at Margaret suspiciously. RICHARD Wait. Were you tryin' to seduce me? MARGARET Oh please! Don't flatter yourself. RICHARD Mmm-Hmmm. MARGARET Go take a shower. You stink. RICHARD Fine. But don't come sneaking in there. You're still my boss. That'd be sexual harassment. 57. Richard goes to the bathroom and shuts the door. Margaret takes a breath, but is startled when the door suddenly opens back up again. Richard has Balzac cradled in his arms and scratches his neck. He gently puts him outside their room. RICHARD (cont'd) There you go, buddy. Go on and play before she makes a coat out of you. Richard shuts the door and goes into the bathroom. Without looking back, Richard gets the final shot. RICHARD (cont'd) Puppy hater. LATER Richard grabs all the pillows, cushions and blankets he can find to create himself makeshift bed on the floor. Margaret turns out the lights, leaving the room still bright with the sun still shining outside. She gets into her bed. MARGARET I'm never gonna to get to sleep. Richard pushes a button and motorized metal blinds come down outside the window. The sunlight is instantly blocked out and the room is pitch black. MARGARET (cont'd) Oh. Well. Thanks. Richard settles into his pathetic excuse for a bed. The two silently lie awake and stare at the dark ceiling. RICHARD It was kinda weird seeing you naked. MARGARET Can we not talk about this? RICHARD I'm just saying. It was weird. MARGARET It wasn't weird. RICHARD How was that not weird? MARGARET Because we're... like teammates. RICHARD We're like teammates? 58. MARGARET We are teammates. And teammates see each other naked in the locker room. All the time. It's not a big deal. RICHARD Well, if we're teammates can I sleep in the bed? MARGARET Good night, Richard. The two lay awake in silence for another beat. RICHARD Margaret? MARGARET Yes? RICHARD Don't take this the wrong way. MARGARET Okay... RICHARD You're a very beautiful woman. Margaret smiles with her head turned away from Richard. MARGARET Get some sleep Richard, big day tomorrow. INT. PAXTON ESTATE - OFFICE - DAY Not a creature is stirring, except for Geoffrey who creeps into his office. He shuts the door softly and goes to his gigantic oak desk. He finds a phone number with a New York City area code on a piece of paper. He dials. GEOFFREY Yes. Mr. Gilbertson? My name is Geoffrey Paxton... Only the animal trophies that adorn Geoffrey's office hear the rest of the conversation. INT. MARGARET'S ROOM - DAY Margaret wakes up. She looks over to Richard asleep on the floor with a blanket and a pillow. She stares maybe a beat too long, before there is a KNOCK on the door. MARGARET Who is it? 59. DEBBIE (O.S.) It's me dear. I made you two breakfast in bed. Can I come in? MARGARET (STALLING) Uh, sure. Just a second. Margaret can't yell at Richard, so she throws a model wooden sailboat to wake him up. She hits him in the head. RICHARD What the... MARGARET (MOUTHING) Your mother. Richard jumps up and replaces cushions and hides signs of his makeshift bed. He finishes quickly, hops in the bed, and puts his arm around Margaret. RICHARD Come on in mom! Debbie enters with a tray of pastries, fruit and coffee. RICHARD (cont'd) Ah mom, you made your cinnamon rolls. DEBBIE Well, it's your special day. Debbie smiles, puts down the tray on a bedside table and sits on the edge of the bed. She is buzzing with excitement. DEBBIE (cont'd) You two need your energy, so eat up. We've got your dress fitting, have to get the house ready, and then your wedding. RICHARD I gotta run into town to get Margaret a new phone. DEBBIE Will you pick up some champagne while you're there? RICHARD No problem. DEBBIE And don't be gone for too long. Lots of work to be done! 60. MARGARET You don't have to go to all this trouble. Really. Debbie sweetly looks back at Margaret. DEBBIE Don't be silly. This is the biggest day of your life. You are coming into this family, and when it's family, it's no trouble. If your parents were with us, they would do the exact same. Debbie leaves and Margaret smiles as the door closes. Richard jumps out of bed and goes to the food. MARGARET (TOUCHED) Your mom is just so sweet. I haven't had someone make me breakfast in bed since I was a little kid. Richard takes a huge bite of cinnamon roll. RICHARD (mouth full) I wish she hadn't. I mean she almost caught us. Damn, that was close. Like a pig in shit, Richard continues to dig in and doesn't pay attention to Margaret. MARGARET You just take all this for granted? Your family, this house... Richard takes another big bite and turns to Margaret. RICHARD (mouth full) I'm sorry, what? You gotta try these. Margaret looks at Richard with disgust. MARGARET Why are you doing this to them? RICHARD Huh? MARGARET Why am I here? You didn't have to bring me here. RICHARD You made me bring you here! You told me I 61. MARGARET I didn't make you do anything. You could of said no. RICHARD And what? Start over at the bottom again? No way. MARGARET I get why a not rich person would do this. But you've got everything. It doesn't make any sense. RICHARD Know what? This is none of your business. MARGARET I wish it wasn't my business. But unfortunately, it has become my business, because I made a deal with someone I thought I could trust. Richard stares at Margaret for a beat. He's exasperated. RICHARD You wanna know why you're here? I'll show you why you're here. MARGARET Fine. RICHARD We leave in a half hour. MARGARET I'll be ready in 20 minutes. Margaret angrily takes a bite of a cinnamon roll and slams it down on the plate. She goes to her suitcase and looks for clothes. A beat passes, and she comes back to the rolls. MARGARET (cont'd) These are really good. She takes a cinnamon roll and leaves. EXT. PAXTON DOCK - DAY Richard and Margaret board the yacht. They wear athletic clothes and running shoes. EXT. BOAT - DAY Richard drives the yacht and Margaret sits by herself. 62. EXT. PAXTON SEAFOODS PIER - DAY Richard docks the boat at the Paxton Seafood pier. Located in the town's harbor, the packing plant consists of three large warehouses, and buzzes with activity. Fishing boats line the pier, unload their fish, and forklifts take the fish to be processed. Everything is clean and organized. Richard and Margaret walk down the pier. He points to the SEALS that swim everywhere and eat fish scraps. Damn, they're cute. Richard waves hello to WORKERS. An elderly Phillipino man, BEK BEK, yells at them as he walks into a warehouse. BEK BEK Hey, Richard! That the lucky lady? RICHARD Yes sir, it is! BEK BEK (to Margaret) You look much younger than everyone says. MARGARET That's great to hear. RICHARD See ya on the line, Bek Bek. INT. LOCKER ROOM - DAY Richard opens a locker and points. We don't see at what. RICHARD Put this on. I'll meet you outside. MARGARET But I don't... RICHARD Ah. Put it on. EXT. LOCKER ROOM - DAY Margaret opens the door with a sour look on her face. She's wearing large green hip waders with suspenders, rubber fishing boots, and gloves. MARGARET Is this really necessary? RICHARD You'll thank me later. Richard walks towards the warehouse. Margaret follows in her 63. INT. SLIME LINE - DAY Inside one of the brightly lit warehouses, workers at different stations process the fish that come off the boats. At the top of the line, Bek Bek is HANDCUFFED to the head decapitator machine. He happily feeds whole salmon into a guillotine, where the heads are chopped off. He awkwardly waves when he sees Margaret and Richard. MARGARET Why is he handcuffed to the machine? RICHARD So his hands don't go too far. So he doesn't... Richard makes a chopping motion. Margaret winces. MARGARET Nice. From the decapitator, fish are fed into the gut puller, where their bellies are slit and the intestines are pulled out. MARGARET (cont'd) You know, I shouldn't be here. I was a vegetarian for six months in college. Richard leads Margaret to the end of slime line, where a long line of 20 workers give the fish a final cleaning before they are frozen. With great speed, they take the fish from the gut puller line and clean out all the left over intestines. WORKER There he is! Big city boy come to show us how its done. RICHARD Ah, it's been a while. WORKER C'mon. Show her how we do it. RICHARD Okay, okay. Richard and Margaret go to the end of the line. Richard expertly demonstrates with a knife. RICHARD (cont'd) You grab a fish, but be gentle, cause you don't want to bruise it. Open her up, tilt the knife, and then pull with the grain of the fish. Two quick stokes to clear the organs attached to the spine. 64. Margaret looks nauseous. Richard enjoys her discomfort. RICHARD (cont'd) Then use the tip of the knife to squeeze the blood out of the vein. Then send her down the line. Richard guts another fish with precision and speed before offering a knife to Margaret. RICHARD (cont'd) Wanna try it? Margaret doesn't say anything. All the other workers watch. RICHARD (cont'd) If it's too gross for you... MARGARET Gimme that. Up to the challenge, she takes the knife and grabs a fish. Margaret puts the knife in and keeps as much distance as possible between her and the salmon. RICHARD I did this for five summers. Dad wanted me to earn my stripes before I took over. MARGARET Is that why you're still pissed at him? RICHARD Nah, I loved it here. MARGARET (re: fish guts) You loved this? RICHARD The slime line? Hell no. Nobody loves the slime line. I loved this place. The people. Growing up, running this place was all I wanted. Margaret scrapes a huge glop of guts out of a fish. MARGARET (DISGUSTED) You wanted this? RICHARD I wanted to run this place. It was comfortable here. It was what I knew. (re: fish) Don't forget the spine. 65. MARGARET I wasn't gonna forget. Margaret squeezes the blood out of the vein, sends the fish on its way, and grabs another fish with more confidence. RICHARD But then things changed. And it wasn't so comfortable anymore. MARGARET What kind of things changed? RICHARD Stuff. MARGARET (as if she didn't know) You mean, like, Gertrude? RICHARD Yeah... Richard stops, he can tell Margaret knows something. RICHARD (cont'd) Oh my god. She told you didn't she? MARGARET (INNOCENT) Told me what? Richard is embarrassed. He turns away. RICHARD About the... you know. MARGARET The creepy teenage proposal? RICHARD Ah, shit! MARGARET You were a freak by the way. RICHARD OK, get it all out. MARGARET And she was right to break up with you. RICHARD You done? Margaret nods yes. 66. RICHARD (cont'd) I know now that it was the right thing, but it screwed me up for a little while. MARGARET For a little while? Don't sell yourself short. RICHARD When Gert crushed my heart into little pieces, a life up here didn't seem so great anymore. MARGARET So you moved to the open arms of New York City? RICHARD At first it was about getting as far away from this place as possible, but then I fell in love with it. MARGARET With scheduling my pilates? RICHARD With editing. See, as an only kid I'd always read a lot, but until I worked for you I didn't love it. I mean, when I realized that we could find the next Cuckoo's Nest, or Catch 22, or... MARGARET (with reverence) ...To Kill a Mockingbird. It's all about To Kill a Mockingbird. RICHARD Exactly! We could find the next To Kill a Mockingbird. God damn, how great is that? Margaret smiles. She never knew that Richard had this kind of passion for the job. RICHARD (cont'd) So when I tell my folks that I want to spend my life finding books? My dad goes ape shit. "How dare you forsake your family... you'll come crawling back to us... you're nothing without our help." I left that night and we didn't talk for a year. Haven't been back here since. MARGARET So we're "getting married" so you can give daddy the finger? 67. RICHARD No. Margaret gives Richard a disbelieving look. RICHARD (cont'd) Sorta. OK, Yes. Coming back here with you... I get the promotion and I get to show off. You're editor in chief. You make a good prop. MARGARET (SMILING) I guess that's a compliment. RICHARD So now you know I'm a petty asshole. Am I trustworthy again? MARGARET Oh yeah, we're good. By the way, you're more screwed up than I am, Paxton. RICHARD Yeah. Thanks. MARGARET One more question... RICHARD Yes, everyone at work thinks you're a lesbian. MARGARET That wasn't my question. RICHARD I know. Just lashing out. Margaret smiles. MARGARET Can we stop gutting fish? I need my phone. INT. SITKA GENERAL STORE - DAY Richard and Margaret enter the well appointed general store, filled with food, booze and electronics. A mini Wal Mart. RICHARD Hey Ramone. RAMONE Hey Richard. Hola mi amo. Margaret recognizes Ramone, the male dancer from last night. 68. MARGARET (EMBARRASSED) Hey. They walk a few steps, and before Margaret can say a word. MARGARET (cont'd) You know him? RICHARD He was my shop teacher. MARGARET Of course he was. How many people are on this island? They start to fill their cart with cases of champagne. RICHARD Like eight thousand? Depends on the time of the year. MARGARET Feels smaller. With the cart full they head to the checkout. RICHARD (to Ramone) You got the phone I called about? RAMONE Charged up, ready to go, number changed. Ramone throws Richard a phone. RICHARD Thanks, Ramone. RAMONE No problem. Ramone gives Margaret a flirty wave. She awkwardly waves back. Richard pushes the cart out the front door and does not pay. Margaret is confused. EXT. SITKA GENERAL STORE - DAY - CONTINUOUS Richard keeps pushing the cart, Margaret catches up. MARGARET Why's Ramone letting you steal his stuff? RICHARD It's our stuff. 69. Richard points to the "Paxton General Store" sign. MARGARET That must have been handy in High School. RICHARD You have no idea. MARGARET Should you leave the cart? RICHARD It's our cart. I didn't know you were such a prude. MARGARET I've come to realize that being my assistant gave you more access to my life than I ever imagined, but there are a few things you don't know about me. RICHARD I doubt it. When I started, you were still wearing those Ugg boot things. MARGARET (deadly serious) I told you never to talk about that. RICHARD I'm just saying it's been a long time. I know it all. Margaret turns on her new phone. It searches for a signal. MARGARET (up to the challenge) Did you know I took disco lessons in the sixth grade? RICHARD Where? MARGARET The Y. RICHARD Margaret 1, Richard 0. MARGARET Uh, my first concert was Kool and the Gang. RICHARD At Woodstock? 70. MARGARET I won tickets on the radio and saw them at the fair. RICHARD What'd they sing again? MARGARET You know. (SINGING) Cherish the love we have, we should cherish the life we live... Richard shakes his head. MARGARET (cont'd) Well they were good. RICHARD You had a lot of soul there, Canada. MARGARET I really like "The O.C.". Not fake, ha, ha isn't it funny I like this trash. I really like it. RICHARD Wow. I'm getting shut out here. MARGARET Allergic to pine nuts. RICHARD Knew that. MARGARET Afraid of penguins. RICHARD Huh. MARGARET Haven't slept with a man in a year and a half. RICHARD Holy shit! You are a lesbian! A MOTHER walking by with her 7 year old gives Richard a nasty look. RICHARD (cont'd) (to mother) My bad. The mother walks on. Margaret is mortified and walks faster. 71. MARGARET Kool and the Gang gets nothing, but that gets a Holy shit? I've been busy! RICHARD That's a really long time. MARGARET That hurts coming from Mr. Magic Pants. RICHARD I knew it had been slow going, but I figured there was a booty call in there somewhere. MARGARET Yeah, well, I'm not good at that. RICHARD I find that hard to believe. MARGARET No, not that. I'm great at that. Aces. Top notch. RICHARD I'll have to take your word for it. MARGARET Yes. You will. RICHARD How, exactly, do you define top notch? Margaret is smiling as she listens to a message on her phone. In an instant, she's all business. MARGARET I need a computer and the internet. Now. INT. FISHERMAN'S NET INTERNET CAFE - DAY Designed to attract tourists, the Fisherman's Net is awash in bad nautical props and fishing gear. A bored TEENAGE CLERK in a PIRATE OUTFIT greets Margaret and Richard. PIRATE Aye lassie, welcome to the cyber seas. Our T-1 line is faster than a clipper ship in a hurricane, but for now ye be needing to scrawl your mark on this sign up sheet. Margaret looks and sees that all the computers are taken. 72. MARGARET No, no, no. I need on now. I've got a Booker prize winning author demanding I send him an e-mail in the next forty five minutes explaining why he should stay with a publishing house that "makes" him do publicity. The Pirate looks at Margaret like she's speaking Chinese. PIRATE Arrgh... MARGARET Listen to me asshole... The Pirate looks around to make sure his boss can't hear. PIRATE Look lady. You gonna put your name down on the list or not? Margaret is about to throttle the Pirate, when Richard pulls her back. RICHARD C'mon. I got an idea. Richard leads Margaret to the door. As they are leaving Margaret shouts out. MARGARET I didn't know there were a lot of pirates in Alaska! INT. BARANOFF ELEMENTARY SCHOOL - OFFICE - DAY Margaret sits at a computer, furiously opening her e-mail. Richard has brought her to his elementary school, where he and his old principal, MRS. WHITING, stand over Margaret. MRS. WHITING I'm so excited about the wedding! RICHARD Thanks for letting us use your computer. MRS. WHITING No problem. (to Margaret) So what flowers are you going with? Margaret turns around annoyed, but manages to keep her cool. MARGARET I'm sorry, but could I have a minute alone 73. MRS. WHITING Oh. Sure. RICHARD Show me around will you Mrs. Whiting? It's been years. INT. BARANOFF ELEMENTARY SCHOOL - HALL - DAY Richard and Mrs. Whiting walk around the elementary school. MRS. WHITING Do you think she'll be long? I've got work to do. RICHARD She'll be out of there in two shakes. Out of the corner of his eye, Richard catches Gertrude teaching a class of second graders. He stops transfixed. MRS. WHITING (re: Gertrude) We are so lucky to have her. Mr. Megher really left us shorthanded when he ran off in the middle of the school year. He's living out in the forest now with his wolves. Full time. Richard hasn't heard anything that Mrs. Whiting has said. He's hypnotized by Gertrude. She looks happy teaching these kids, and they hang on her every word. MRS. WHITING (cont'd) Will you excuse me? The bell is about to ring, I need to get ready for recess. RICHARD (not paying attention) Uh, sure. Mrs. Whiting leaves. Richard goes to the door and Gertrude sees him. Good lord can that woman smile. She waves him in. INSIDE THE CLASSROOM The kids all turn to see Richard when he opens the door. GERTRUDE Class, this is my old friend Richard. CLASS (all together) Hi Richard! 74. GERTRUDE Richard and I used to be in this very same classroom together. We even had your old teacher, Mr. Megher. CHILD #1 Mr. Megher smelled like farty eggs! The class giggles. GERTRUDE That's not a nice thing to say, Patrick. The BELL RINGS. One girl gets up. Gertrude eyeballs her. GERTRUDE (cont'd) Marcia? CHILD #2 Sorry. The child sits back down. Gertrude waits a beat. GERTRUDE OK, everyone is excused for recess. All the kids pop up and head to the door. Mrs. Whiting directs traffic outside. Richard makes his way to Gertrude. RICHARD Patrick's right. He did smell like eggs. GERTRUDE It's still not a nice thing to say. And actually, Mr. Megher smelled like wet dog and... (makes smoking pot motion) ...Matanuska Thunderfuck. But let's keep that between us. INT. BARANOFF ELEMENTARY SCHOOL - OFFICE - DAY Margaret reads over her e-mail to Frank. MARGARET (READING) I give you my word as an editor and a friend... The door opens suddenly, and Margaret SHOUTS. MARGARET (cont'd) (STERN) Five more minutes! Please! 75. Margaret turns to find a PIG TAILED GIRL in the doorway. Terrified. She SHRIEKS and runs off. Margaret wants to apologize, but needs to keep working. MARGARET (cont'd) (WEAKLY) Sorry. INT. BARANOFF ELEMENTARY SCHOOL - CLASSROOM - DAY Gertrude and Richard wipe down the chalk boards together. They are very comfortable together and have an easy rapport. RICHARD Remember when Mr. Megher made us do this after school for a week? GERTRUDE That was your fault. RICHARD Was not! GERTRUDE You tried to kiss me. A girl has to defend herself. RICHARD C'mon! (Tom Cruise ala Top Gun) I had the shot. I took it. Gertrude rolls her eyes. She's heard this a hundred times. GERTRUDE No Top Gun. Please. RICHARD What? You loved my Top Gun. GERTRUDE No. You loved your Top Gun. I just smiled and laughed like a good girlfriend. RICHARD That's right. Ice... man. I am dangerous. Richard clicks his teeth together, trying to mimic Tom Cruise. Gertrude is not impressed. GERTRUDE (LAUGHING) Really. Stop. RICHARD That cuts deep. I'll have you know that 76. Talk of Margaret immediately shuts Gertrude down. RICHARD (cont'd) (noticing her change in mood) Uh, is something wrong? GERTRUDE No. Nothing's wrong. RICHARD It's been awhile, but I can still tell when something's wrong with you. Gertrude doesn't want to say anything. RICHARD (cont'd) What is it? You know I hate it when you get all quiet. GERTRUDE I wish there was a better way to say this. RICHARD Better way to say what? GERTRUDE I made a huge mistake. With you. Breaking up with you. I'm sorry. RICHARD Are you apologizing for high school? GERTRUDE Yes. RICHARD Oh, thank God. I thought this was like, something big. GERTRUDE This is something big. RICHARD I coulda used this about five years ago, but I'm all good now, promise. Thank you for saying that, though. Gertrude sees that Richard isn't getting her point. She pulls herself together. GERTRUDE I think... (looking down) I want you back. RICHARD 77. GERTRUDE (more to herself) Oh God, he's making me say it again. (looking at Richard) I want you back. Like... we should be together. All the time. RICHARD Whoa, whoa, whoa. Rewind. GERTRUDE I know this isn't the best time to bring this up. RICHARD (RHETORICAL) My wedding day isn't the best time for you to bring up the idea of us dating? Richard's reaction stings, and Gertrude begins to well up. Bringing this up is very hard for her. GERTRUDE I'm not talking about dating! You should move back here. We can have the life you always talked about in High School. I'm ready for that now. RICHARD Why are you doing this? GERTRUDE I know that the timing here sucks. But we are meant to be together. I know it. I think you know it too... RICHARD No, I don't. I don't know it. Richard begins to pace. Not sure what to say. Every time he opens his mouth, he can't find the words. Then, from the door, an interruption. MARGARET Hey guys. Holy shit. Did Margaret hear anything? Her face gives nothing away. Gertrude and Richard act like nothing just happened, but look guilty as hell. GERTRUDE Oh. Hey Margaret. RICHARD Uh, you all done? 78. MARGARET Yeah. We'll see what he says. RICHARD Great. Great. MARGARET You ready to get back to the house? RICHARD Uh. Yeah. Uh-huh. MARGARET Well let's go. See you at the wedding, Gertrude. Gertrude just smiles. GERTRUDE Yeah. See you at the wedding. EXT. PAXTON DOCK - DAY Richard and Margaret unload champagne. Richard is still thinking about Gertrude and wanting to be alone. MARGARET So, what did you and Gertrude talk about? Richard lies. RICHARD Nothing. About her school. The kids and stuff. Apparently my second grade teacher was a pot head. MARGARET That was it? I was gone for awhile... RICHARD (cuts her off) Yeah. That was it. You know, I can do this. You should really go try on the dress for my mom. MARGARET I was going to go for a run first, it's been three days since I got out, I'm feeling crazy. RICHARD (could care less) Whatever. Margaret isn't accustomed to Richard talking to her this way, but doesn't push it. 79. EXT. PAXTON TRAIL - DAY Margaret runs at a fast pace deep in the woods. She's running hard, muttering to herself, and working out the aggression she's accumulated over the last thirty six hours. She's lost in her own world, until she sees smoke, and slows to a stop. MARGARET What now? Margaret follows the smoke, and hears a mysterious DRUMBEAT. She soon discovers a tremendous bonfire by the water, and a SHAMAN dancing around it. He is dressed in a loin cloth, and wears a carved bear's head mask and tribal make up. His belly shakes as he spastically moves around the fire. The Shaman sings a song that sounds centuries old. SHAMAN Yai...takuju magaluam Ut uksu lingm ik pifiksailiriju m 1k tuakjuk qangani takujumagaluam Ut qangalan uarm. Margaret hides behind a tree and stares at this man in a trance. He begins to yell at the fire and scream at the top of his lungs. Exhausted, he stops and catches his breath. He yells out again. SHAMAN (cont'd) Margaret, welcome! She looks around. Maybe another Margaret is in the vicinity. SHAMAN (cont'd) Come to me, Margaret of New York. Nope, that's her. She carefully steps out into the clearing. SHAMAN (cont'd) It is I, father Paxton. Sure enough, Geoffrey is beneath all the make-up. MARGARET What, ah, are you doing? GEOFFREY My shaman Kevin told me to get out here and clear my head. As you know, things have been a little crazy around here. You should join me. MARGARET Ya know, I've got to get back. GEOFFREY You closed minded southerners amuse me. Never willing to leave the nest and try 80. MARGARET I'm a big fan of the nest. Geoffrey throws sand into the fire and it blazes higher. GEOFFREY Dance with me! You besmirch my ways if you deny my circle. Worried she's going to really piss him off, Margaret relents. MARGARET OK, OK. I "accept your circle." Geoffrey smiles and throws more sand into the fire. GEOFFREY Clear your mind and follow me. Geoffrey begins dancing slowly, contorting his body. Margaret follows, always a half step behind, and can't get into it. After a few moments, Margaret stops. MARGARET I'm gonna head back. GEOFFREY We're not done. MARGARET I think I am. Margaret begins to leave. Geoffrey calls after her. GEOFFREY Margaret? Margaret stops and turns around. GEOFFREY (cont'd) I'm sorry we got off on the wrong foot. But I'm making an effort here. Don't leave now. Much to her chagrin, Margaret stays. Geoffrey is pleased. GEOFFREY (cont'd) Thank you. (switching gears) Yai...takuju magaluam Ut uksu lingm ik pifiksailiriju m 1k... Geoffrey throws more sand on the fire to make it go higher and speeds up the dance. Margaret is getting better, but it is still painfully awkward. 81. GEOFFREY (cont'd) ...tuakjuk qangani takujumagaluam Ut qangalan uarm. Geoffrey speeds up the dance. GEOFFREY (cont'd) Now you. MARGARET Me what? GEOFFREY Chant. MARGARET Chant what? GEOFFREY Whatever comes out, just chant. It is the way. You'll feel better. MARGARET I can't... GEOFFREY Close your eyes. Chant. Margaret and Geoffrey keep dancing. Margaret closes her eyes, but can't figure out what to say. GEOFFREY (cont'd) Chant! MARGARET I don't know any chants! GEOFFREY Chant! MARGARET (GUTTERAL) Toooooooooooooooooooooooooooooooooooo... Looking at Margaret, it's surprising she can make such a low noise. MARGARET (cont'd) ...ooooooooooooooooooooooooooooooooooo... GEOFFREY Chant! The drum beat continues. MARGARET 82. They continue to dance, Margaret is getting into it. MARGARET (cont'd) ...to the wall... More sand. More fire. MARGARET (cont'd) ...to sweat drop down my balls... Geoffrey stops dancing. What did she say? MARGARET (cont'd) ...to all these bitches crawl... Margaret's eyes are closed, she doesn't realize that she's broken out into a ‘Lil John song. She continues to dance. MARGARET (cont'd) ...To all skee skee motherfucker... Geoffrey takes the bear head mask off. MARGARET (cont'd) ...all skee skee got damn... From the trees, the moment is broken when Debbie shouts out. DEBBIE Geoffrey! Margaret stops chanting ‘Lil John. GEOFFREY Oh Debbie, I didn't do anything. Margaret sees Debbie and Grandma Annie in the clearing. GRANDMA ANNIE Is she singing about balls? MARGARET He told me I had to chant! GRANDMA ANNIE Oh, you poor dear. Geoffrey, you can't do this! (to Margaret) He's an eighth Tlingit, dear. DEBBIE He does this to keep in touch with "his people". 83. GEOFFREY Don't make fun of my heritage! And it was helping. Don't you feel better? I feel better. DEBBIE Come on sweetie, we need to get you cleaned up. You've got a dress to try on. And Geoffrey, put that fire out and come in and help us with this wedding. Geoffrey turns off the boom box that was hidden in the trees and the drum beat stops. GEOFFREY Fine. With a fire extinguisher, the bonfire comes to an end. INT. PAXTON MASTER BEDROOM - DAY Debbie and Annie wait outside a bathroom door in a massive master bedroom. They talk to Margaret through the door. DEBBIE I am so excited. Aren't you excited? GRANDMA ANNIE This was my dress from 1929. My mother made it by hand. Amazing how things come back into style. How does it fit? Margaret speaks through the door. MARGARET (O.S.) Just buttoning up here. GRANDMA ANNIE Drum roll! Grandma and Debbie enthusiastically make drum roll sounds. Margaret opens the door and smiles. She's unsure of herself, but looks fantastic. The dress fits great, except... GRANDMA ANNIE (cont'd) Your boobs are bigger than mine ever were. MARGARET Yeah, it's a little snug. DEBBIE Come over here. Debbie leads Margaret to a mirror. Grandma Annie follows. 84. MARGARET (ADMITTING) It's a lovely dress. Debbie looks at Margaret, and spontaneously begins crying. DEBBIE (through the tears) You're so beautiful, and such a great match for my Richard. I know I've just met you, but a mother can tell. When he looks at you, I can tell he's in love. I'm so happy I get to share your day. GRANDMA ANNIE Debbie, please. We've got work to do. DEBBIE You're right. Debbie collects herself, then starts crying again. GRANDMA ANNIE You go work downstairs, I'll finish this. Debbie tries to calm down, but can't. GRANDMA ANNIE (cont'd) Go! Debbie nods in agreement. Smiling from ear to ear, she leaves in tears. Margaret and Annie watch her go. GRANDMA ANNIE (cont'd) Had to get rid of her before I gave you this. Don't think she woulda recovered. Grandma Annie comes from behind and puts her arms around Margaret's neck. When she is done, a stunning blue necklace lays on Margaret's neck. GRANDMA ANNIE (cont'd) You needed something blue. It's silly, but I didn't want to take any chances. MARGARET It's beautiful. GRANDMA ANNIE It's hematite. Alaska diamonds. The blue ones like this are very rare. My great grandfather gave it to my great grandmother when they were married. They were quite a scandal, you know. He was Russian and she was Tlingit. (MORE) 85. GRANDMA ANNIE (cont'd) Back then, you had to get approval from every person in the tribe before you got married. It almost broke them up. MARGARET How'd they stay together? GRANDMA ANNIE Don't know. But I'm sure happy they did, none of us would be here if they hadn't. Grandma and Margaret admire the necklace in the mirror. GRANDMA ANNIE (cont'd) I want you to have it. This is awful news for Margaret. She might as well be stealing from Annie. MARGARET No, no, no. I can't. Really. GRANDMA ANNIE I don't want to hear it. It's yours. Grandmothers like to give their stuff away to their grandchildren. Makes us feel like we'll always be a part of your life, even after we're gone. Take it. Margaret puts her hand to the necklace, and for the first time feels like a complete and total fraud. GRANDMA ANNIE (cont'd) Are you feeling all right, dear? Margaret doesn't speak. Annie patiently waits for her reply. MARGARET Well. Thing is... Margaret deliberates spilling her guts to Annie, but can't. MARGARET (cont'd) ...the dress is just a little tight. GRANDMA ANNIE Oh, don't worry about that. We've got these seams by the arm, this'll be easy. Annie marks up the dress with tailor's chalk. GRANDMA ANNIE (cont'd) We can fix this no problem. Margaret smiles, but knows that Annie couldn't be more wrong. 86. EXT. PAXTON ESTATE - DAY Richard helps WORKERS build a stage for the band. He's still in a foul mood when Margaret interrupts in a panic. MARGARET We need to talk. RICHARD I'm a little busy. MARGARET Well I'm freaking out. I need to get away from here. From everyone. Now. RICHARD Go for another run. MARGARET No! I did that. It did not help. RICHARD I'm a little tired of you making demands and me just jumping... MARGARET (re: wedding stuff) We're not going to need any of this if I don't get out of here. RICHARD OK, high maintenance. Let's go. EXT. PAXTON SPEED BOAT - DAY Unlike the bulky yacht, this boat is built for speed and maneuverability. Richard starts her up. MARGARET Move over, I'm driving. Margaret cuts in front of Richard and grabs the wheel. RICHARD You don't know where we're going. Margaret opens up the throttle and they are off. MARGARET It doesn't matter. ON THE OPEN OCEAN Margaret and Richard leave everyone behind and take off for the horizon. 87. As they jet up the coast away from civilization, the green trees, blue water and wildlife (bears, puffins, moose) that inhabit the coastline have a calming effect on both of them. In Alaska, it doesn't take long to leave humanity behind. Eventually, the boat travels through a channel with steep mountain walls on either side. Although it is still warm out, an icy beach can be seen straight ahead. MARGARET (cont'd) Where are we? RICHARD The north pole. Congratulations, we made it. (off Margaret's look) It's a glacier. Tracy's Arm. You better let me take it from here. MARGARET I'm fine. RICHARD Oh. OK. So like me, you've navigated a lot of glacier fields? And not died? Margaret reluctantly moves aside and lets Richard steer. RICHARD (cont'd) Lady, you've got issues. MARGARET Yeah. I'm a control freak. Fine. RICHARD It doesn't stop there. MARGARET This coming from the sociopath. RICHARD Oh, please. MARGARET I'd never bring me here. RICHARD You drove! MARGARET I mean to Alaska. RICHARD Are you kidding me? Richard pulls next to the glacier and turns off the engine. 88. MARGARET You're sick. Doing this to them. RICHARD I explained to you... MARGARET They love you. Do you get that? RICHARD Of course. MARGARET And you're still willing to lie to them? RICHARD Like you didn't know. MARGARET Didn't know what? RICHARD That we were going to lie to them. MARGARET I didn't know! RICHARD Well that makes you either stupid, or ignorant. MARGARET You think I'm stupid? RICHARD No, but what's behind door number two... MARGARET (SCREAMS) I forgot! OK? I forgot! RICHARD Forgot what? MARGARET What it was like! RICHARD What what was like? MARGARET To have a family! I forgot what it was like to have a family. I've been on my own since I was thirteen, and I'd forgot what it was like to have people that love you, and make you breakfast, and give you necklaces... 89. Suddenly, Margaret has a hard time speaking and is short of breath. She goes to the side of the speed boat. MARGARET (cont'd) I'm going to take a walk. RICHARD We need to head back... MARGARET Alone. I need alone time. RICHARD What? Margaret looks at Richard with a scared and confused look. MARGARET I'm, uh, about to lose my shit. Big time. I need a second. RICHARD But... MARGARET (PANICKED) Stop right there! Richard puts up his hands in surrender and stays put. MARGARET (cont'd) I'm going to be over there. Away from you. Just sit down, turn around, and act like you're not here. Richard goes to speak, but Margaret motions for him to sit down and turn around. He does. Margaret gets off the boat and walks away from him on the glacier. ON THE GLACIER Margaret tries diaphragmatic breathing to calm down. MARGARET (cont'd) (manic, to herself) You can do this. Couple more hours, and then you'll never see these people again. Eventually you'll write a letter. Apologize. Send the necklace back. RICHARD (from the boat) Margaret! MARGARET No talking! 90. RICHARD (from the boat) Watch your step, OK? It can be dangerous. MARGARET Again, you're not supposed to be... Margaret doesn't finish her sentence. ON THE BOAT Richard sits with his back turned to Margaret, waiting for her reply. He doesn't hear anything. That's weird. RICHARD (back still turned) Margaret? Richard turns around and looks for Margaret. He doesn't see her. He gets out of the boat and goes onto the glacier, walking in the direction he last saw Margaret. RICHARD (cont'd) Margaret? I know I'm breaking "the rules" here, but where are you? He takes one more step before he hears... MARGARET (O.S.) (YELLING) Richard!!!!!!!! Help!!!!!!!! Richard still can't see her, but runs in the direction of her voice. He soon rounds a mound of ice and sees that -- Margaret's been swallowed by the ice. Her upper torso sticks out of the glacier, held up by her arms. Her eyes are wide, and she's almost hyperventilating. It's a bizarre sight. MARGARET (cont'd) Oh, thank God! Richard tries to control himself, but BURSTS OUT LAUGHING. Margaret is really scared. MARGARET (cont'd) Wh-, wh-, why are you laughing? RICHARD I'm sorry. I'm sorry. Just relax. I'll get you out of there. You've broken through an ice bridge. It happens all the time. No biggie. MARGARET Don't do that. 91. RICHARD Don't do what? MARGARET The thing that doctors do in E.R. when they tell the gunshot victim who is bleeding to death that they're going to be OK. Don't do that! RICHARD It's not like that. Really. We do need to be careful here though, I don't want us both to fall in. Stay still, OK? MARGARET Uh-huh. Richard is ten feet away from Margaret now. He's checking the ice to see if it is stable. He slowly walks her way. RICHARD So, I'm going to walk up to you and very slowly pull you out. OK? MARGARET I'm really cold. RICHARD Yeah, that's normal when you're surrounded by ice. MARGARET (makes sense) OK. Richard stands over a stuck Margaret, whose head just comes up to his knee. He calmly looks down on her. RICHARD So I'm going to pull you up by your armpits. I'm probably going to touch boob. But don't freak out. Margaret shakes her head yes. Richard reaches down and slowly lifts her out of the ice. Margaret doesn't say a word. RICHARD (cont'd) When I get you all the way out, I need you to hold onto me. I'm going to carry you over there. Margaret nods yes as she puts her arms around Richard. He's strong, so it isn't difficult for him to slowly carry her "over the threshold" style, away from the hole in the ice. He speaks once they're safe. 92. RICHARD (cont'd) I've, uh, never done that before. MARGARET You said it was "no biggie". RICHARD Yeah. Well. You OK? MARGARET Yeah. I'm fine. Richard smiles. Margaret smiles back. Richard walks very comfortably with her in his arms. She fits just right. Margaret looks up to Richard gratefully. MARGARET (cont'd) (SMILING) You shouldn't of laughed at me. RICHARD You woulda laughed at me. MARGARET Yeah. While I was getting my camera. The two stare at each other for a beat. There's a real spark. They might kiss. RICHARD Gertrude wants me back. Whoah. Not what she was expecting. She looks down. MARGARET And? RICHARD Well. It seemed like you were having... second thoughts. MARGARET Yeah. I was. RICHARD Maybe we should do it. Come clean. MARGARET Put me down. Richard puts Margaret down near the boat. She tries to regain her composure. MARGARET (cont'd) You wanna call it off? 93. RICHARD If you do. MARGARET Fine. It's over. We'll tell them when we get back. ON THE BOAT Margaret sits hunched over with a blanket wrapped around her. Richard drives the boat. They don't talk. EXT. PAXTON ESTATE - DAY Richard and Margaret walk towards the house, which looms above them as they prepare to deliver the news that they aren't getting married. The front door opens, and Geoffrey comes outside in a hurry. He's clearly been waiting. GEOFFREY Come with me. RICHARD Where's mom, dad? We all need to talk. GEOFFREY Not now. C'mon. Richard and Margaret look at each other, not sure what to do. Geoffrey storms off and they follow. EXT. PAXTON GUESTHOUSE - DAY Richard, Margaret and Geoffrey arrive at the door to the guesthouse. Geoffrey stops before they go in. GEOFFREY (to Richard) I haven't told your mother about any of this, and I don't plan to. (to Margaret) I was really beginning to like you. Sorry about this. Geoffrey opens the door and goes inside. INSIDE THE GUESTHOUSE The guesthouse has been converted into a squash court. In the middle of the court, a man patiently sits on a metal folding chair. It's Gilbertson. He smiles. MR. GILBERTSON Hey there kids. Good to see ya! 94. RICHARD (to Dad) What did you do? Geoffrey doesn't answer. He's not proud of himself. RICHARD (cont'd) (getting angry) What did you do, dad?! GEOFFREY I called him yesterday. He told me that you were lying, and that he was going to catch you. That he was going to send you to prison. MR. GILBERTSON (to Richard) We made a deal and dad here flew me up. Now you tell the truth, and get off scott free. It's like it never happened for you. RICHARD You made a deal with him? On my behalf? GEOFFREY You were making a mistake... RICHARD That's none of your business. MARGARET It's fine. RICHARD The hell it is. It is not fine! MR. GILBERTSON Oh quack, quack, quack. Just tell me what really happened, and I'll be on my way. No one gets hurt, we all get what we want. Margaret takes Richard's hand. MARGARET It's OK. Tell him. RICHARD (to Geoffrey) You do not get to make this decision. This is my decision. (to Gilbertson) The truth is... I've been working for Margaret for three years. Six months ago we started dating. I recently asked her to marry me, and she said yes. See you both at 95. GEOFFREY What are you doing, Richard? RICHARD (grabs Margaret's hand) Come on, we gotta get ready. Margaret and Richard storm out of the squash court. EXT. PAXTON ESTATE - DAY - CONTINUOUS The couple walks briskly to the house. RICHARD What was I thinking? They act like they're nice, but really, they're evil. MARGARET He's only doing it because he loves you. RICHARD Are you defending him? Are you defending the king dick? MARGARET Just stop. Think about this. RICHARD Oh, I've thought about it. And know what I think? I think you saved my life. Thank you, Margaret. Getting married to you is the best thing that's ever happened to me. Without this, I might've ended up back here. Up at the house, Debbie opens the door. DEBBIE There you are! You two almost gave me a heart attack. C'mon, get dressed! RICHARD Coming mom! (to Margaret) Time to sack up. Richard winks and goes inside. Margaret follows, not sure. THE WEDDING MONTAGE -- Chairs are set up outside. -- Guests arrive via boat. -- Richard stands on the deck, wearing his tuxedo. Gertrude arrives for the wedding, and they lock eyes. Richard waves hello and mouths "Sorry." He goes back inside. 96. -- Geoffrey sits in his bedroom and watches TV. He's not dressed for the wedding yet. Debbie shakes her head at him in the mirror as she puts on her ear rings. -- Gilbertson eats every hors d'oeuvre that's offered to him. INT. MARGARET'S ROOM - DAY Grandma knocks on the door and comes inside. We see Margaret from head to toe. The dress, veil and flowers look amazing. GRANDMA ANNIE If I were one to brag, I'd say that dress is perfect. MARGARET Matches the shoes. Margaret pulls up the dress to reveal running sneakers. GRANDMA ANNIE Those'll be your best friend. Wedding shoes stink. You ready? EXT. PAXTON ESTATE - DAY With the ocean in the background, 200 GUESTS sit in white chairs. Richard stands under a gazebo, and smiles at his mother in the front row. He ignores Geoffrey. Gertrude sits nearby, next to Gilbertson. From the gazebo, Richard nods at a GROUP OF CELLO PLAYERS, who begin playing from downloaded sheet music that reads "Kool and the Gang, Cherish". Heads turn with the start of the music, to see Annie walk Margaret down the aisle. When Margaret recognizes the song, she smiles. MARGARET (mouthing to Richard) Nice song. Richard shrugs his shoulders. GRANDMA ANNIE Is that your song, dear? MARGARET I guess so. Margaret and Annie stop at the end of the aisle. Looking up, Margaret sees the justice of the peace, Ramone. (Yes, the same guy from the liquor store and the strip club.) RAMONE 97. GRANDMA ANNIE It's me, Ramone. Margaret gives Annie a kiss, and then turns to Richard. They whisper while they walk up to Ramone. RICHARD You look gorgeous. MARGARET (SMILING) You look disgusting. RICHARD So, is this what you dreamed of when you were a little girl? MARGARET Oh, you bet. They make it to the Gazebo, where Ramone awaits. MARGARET (cont'd) Ramone. RAMONE (QUIETLY) Mi amo. (To the crowd) We are gathered here today to celebrate one of life's greatest moments. To give recognition to the beauty, honesty, and unselfish ways... Margaret looks at Richard on the word "unselfish," but he's looking straight ahead, determined to get through this. RAMONE (cont'd) ...of Richard and Margaret's true love... "True Love" gets Margaret as well, although no one in the audience notices. RAMONE (cont'd) ...before their family and friends. "Family and Friends" gets a reaction out of Gertrude and Geoffrey. She purses her lips. He holds on to his chair in order to keep himself seated. RAMONE (cont'd) For it is family and friends who taught Richard and Margaret to love, so it is only right that family and friends all celebrate that love here today. 98. RAMONE (cont'd) And if there is anyone who has cause why this couple should not be united in marriage and love, they must speak now or forever hold their peace. Gilbertson stays quiet. Geoffrey takes a tug from a flask. Ramone is about to continue, but something gets his attention. He's not sure what to do. RAMONE (cont'd) Mi amo, do you have a question? We reveal that Margaret has her hand halfway up, eyes squinted shut like the new kid in class not sure of herself. MARGARET No. RAMONE Then why is your hand up? MARGARET I have something to say. It's not a question though. RAMONE Can it wait ‘til after? MARGARET Uh. Um. No. RICHARD What are you doing? Margaret gathers herself and turns around to the crowd. They stare back, unsure what to make of this foreigner. MARGARET Hey there, folks. Thanks for coming out. I've got a little announcement to make about the "wedding." RICHARD Don't do this. Margaret smiles and squeezes Richard's hand. MARGARET Not sure the best way to tell you all this. But, uh... I made Richard marry me. This is all a sham. Gilbertson victoriously pumps his fist in the air. 99. MARGARET (cont'd) I was going to get kicked out of the country -- so I told Richard that I would destroy his career if he didn't marry me. RICHARD Now wait... MARGARET Richard. Please. Let me finish. (to the Paxton family) Richard wanted to stop this when we got off the plane, but I wouldn't let him. Don't blame him. This is all my fault. (to Ramone) Could you get the band started? And give these people something to drink. (to Gilbertson) And you. Meet me at your dingy in ten, you're taking me to the airport. MR. GILBERTSON You got it! Margaret nods, hands Richard the bouquet, and confidently walks back up the aisle with all eyes on her. She stops when she gets to Gertrude and leans down. MARGARET Take care of him. GERTRUDE Promise. Margaret walks back into the house. Alone. INT. MARGARET'S ROOM - DAY Margaret's wedding dress is laid out on the bed. Her bag is packed. Richard knocks and comes in. Margaret is on the phone. MARGARET (unenthusiastically to phone) Uh-huh. Yeah. That's great Frank. Good news. Talk to you on Monday. Margaret hangs up. RICHARD So Frank's back in? Margaret nods distractedly. Getting Frank to do the publicity tour doesn't mean much right now. MARGARET Yup. He's in. For now. 100. RICHARD Maybe this'll be your Mockingbird? MARGARET Yeah. Right. Margaret starts collecting her bags. RICHARD Great exit back there. MARGARET Thanks. Fun weekend. RICHARD Same old, same old, around here. MARGARET Wasn't sure if your mom would want me to strip the sheets, so I just left them. RICHARD I'll let her know. (BEAT) Why did you tell them all that? MARGARET It was getting too messy. We weren't going to be able to keep it up. RICHARD Don't start lying to me now. Margaret stops for a moment. MARGARET I heard you and Gertrude at the school. I think she meant what she said. She's a great girl, you should stay. It's the right thing. You're perfect for each other. RICHARD But... but what about you? What are you gonna do? Margaret wants to keep the conversation short. MARGARET Don't worry about me. I'll survive. RICHARD So what? This is it? MARGARET Yup. This is it. 101. Margaret walks to the door, but stops. She turns to Richard. Despite her best effort to act cold, she can't help herself. MARGARET (cont'd) (SINCERE) Have an amazing life, OK? You're a good person. You deserve it. She puts out her hand, and Richard shakes it. It's electric, but Margaret denies it. MARGARET (cont'd) Goodbye, Richard. EXT. PAXTON ESTATE - DAY Margaret walks down to the dock carrying her suitcase. She can hear that the party is in full swing and smiles. EXT. BOAT - DAY Gilbertson drives his little speedboat and Margaret holds her suitcase tight. It's choppy, and the outboard motor is loud. The two have to yell to talk. MR. GILBERTSON I want you to say the words. MARGARET I'm not doing great in the dignity department, can we not do this right now? MR. GILBERTSON Say it. Margaret closes her eyes. Hating that it's come to this. MARGARET I'll publish your book. Gilbertson smiles. MR. GILBERTSON Now was that so hard? EXT. PAXTON ESTATE - DAY Richard sits by himself and finishes a beer by the shore. Gertrude walks up to him, looking fabulous, with two more beers. GERTRUDE So here's the deal. I'm going to have a million questions for you tomorrow... Gertrude sits down next to Richard. 102. GERTRUDE (cont'd) ...but for now I thought we'd just sit here and drink beer. OK? Richard nods. Gertrude hands him a beer. RICHARD Thanks. Richard thanks her with a kiss on the cheek. Then, realizing where and who he is with, he puts his beer down. He turns to Gertrude again with a determined look, gives her a kiss on the lips, then follows it up with an even bigger kiss. When they finish, Gertrude is grinning, eyes closed. Richard looks worried. Something is wrong. GERTRUDE You have been practicing. RICHARD Waddya mean? GERTRUDE Well. Margaret told me that you, uh, turned into bit of a man whore down there. Richard looks down. A bit ashamed. Gertrude makes light. GERTRUDE (cont'd) You're gonna have to put that in check if you move back. Cause me and Beth Cable are the only two real options up here... and I'll kick that bitch's ass. Richard gives her a polite smile. He's not really in the mood to joke. Gertrude notices. GERTRUDE (cont'd) So no jokes yet? Too soon? RICHARD I'm sorry. I'm just a little... confused. GERTRUDE That kiss didn't seem "confused." Richard takes a beat to collect himself. RICHARD You're amazing, Gert. And I've thought about being with you for a long time. A long time. When you said those things at the school? I've dreamed about hearing you say those things. (MORE) 103. RICHARD (cont'd) But as crazy as this seems. I know now... that we're just not meant to be. Gertrude pulls back like she's been punched. RICHARD (cont'd) Thing is... when I said goodbye to Margaret? I felt sick. For the three years we worked together, I wanted to be as far away from her as possible. But now that she's gone? I'm just really... sad. I want her with me. What is that? The question hangs in the air. GERTRUDE I don't know. RICHARD I think I have to find out. GERTRUDE Find out what? RICHARD If she feels the same way. Gertrude begins to tear up, but won't let herself cry. GERTRUDE Well. OK then. What's a girl gonna do? (voice cracking) I guess you want who you want. Gertrude gives a melancholy smile. RICHARD I'm so sorry. (BEAT) But, I gotta go. GERTRUDE Uh-huh. Richard gets up. RICHARD Are you OK? GERTRUDE I'm fine. Really. Go. Gertrude nods her approval and Richard runs off to the party. 104. EXT. PAXTON ESTATE - PARTY - DAY Debbie, Geoffrey and Annie sit at a table next to the bar, dumbstruck looks on their faces. Ramone mixes drinks and flips bottles. Richard runs up to them all, looking excited. GEOFFREY What are you so God damn happy about? RICHARD What? Oh. Well, I'm, uh, going to see Margaret. GEOFFREY What?! DEBBIE She violated you. We should report her. RICHARD Who you gonna report her to, mom? DEBBIE Oh my God. He's got the Stockholm syndrome. RICHARD I don't have the Stockholm syndrome. And she didn't violate me. DEBBIE What is going on, Richard? Richard slows down and explains to his mom. RICHARD I'm sorry I lied to you. That was an awful thing to do. But it took this weekend for me to see how funny, and screwed up and perfect Margaret is for me. I think she's... the one. DEBBIE But you already thought she was the one. RICHARD No, I didn't. Not until she left. DEBBIE Really? Does she think that too? RICHARD I don't know. I've got to get to the airport to find out. Debbie doesn't say anything, then breaks into a smile. 105. DEBBIE (so romantic) He's going to stop her from leaving! At the airport! RICHARD But I gotta hurry. Her plane leaves any second. I might not make it. DEBBIE (so romantic) He's not sure he's going to make it! GEOFFREY Are you buying this horse shit? DEBBIE Oh, Geoffrey! RICHARD I don't have time to explain this to you. GEOFFREY Well then make some god-damn time. Cause I won't let you throw your life away for some woman. RICHARD I don't care. GEOFFREY Excuse me? RICHARD I don't care. I love you and want you to understand. But I'm not asking your permission here. I'm doing this. GEOFFREY Oh, really? From behind them, Annie stands up and shouts. ANNIE Boys! Stop it! Stop it! Stop it! But suddenly, a look of panic flashes across Annie's face. She grabs the table to steady herself, but pulls the table cloth, causing a loud crash. Geoffrey and Richard run over. GEOFFREY Mom, are you OK? ANNIE I'm having a... I need to go to the hospital. Fast. 106. INT. PLANE - DAY Margaret and Gilbertson board the jet together. Margaret finds her seat in first class and discovers the Handsome Man from the flight before sitting nearby. HANDSOME MAN (re: Gilbertson) Is this another gay assistant? Margaret doesn't say anything and takes her seat. EXT. PAXTON ESTATE - DAY TWO COAST GUARDSMAN carry Annie on a gurney to their waiting helicopter. Geoffrey, Richard, and Debbie follow behind. They all pile into a large chopper and fly off. INT. COAST GUARD HELICOPTER - DAY - CONTINUOUS An oxygen mask covers Annie's face. Geoffrey holds her hand. Annie motions for Geoffrey to come closer and he leans down. Geoffrey sits up and shouts over the helicopter noise. GEOFFREY Richard! She has something she wants to say to us! Richard leans down, and joins Geoffrey and Annie. Their three heads are very close together. Annie speaks to them both through the oxygen mask. ANNIE Listen to me. You two need to stop fighting. You'll never see eye to eye, but you're family. If this doesn't stop, one day you'll regret it. (to Geoffrey) Promise me you'll stand by Richard, even if you don't agree with him. GEOFFREY I... I promise. ANNIE And Richard. Promise you'll work harder to be a part of this family. RICHARD I promise, Grandma. ANNIE OK, then. Annie closes her eyes. She looks peaceful. A moment passes. 107. Then suddenly Annie takes off her mask, sits up, and yells to th pilot. ANNIE (cont'd) (as if nothing happened) I'm feeling much better. I don't need to go to the hospital. Take us to the airport, please. Richard and Geoffrey are confused. Stunned even. GEOFFREY What... what is going on? (so the Coast Guard can't hear) Did you fake a heart attack? ANNIE We didn't have time for your squabbling, and I knew a helicopter would be the quickest way to the airport. It seemed like the best way. RICHARD The best way? ANNIE And remember, you two promised me that you're going get along. I wasn't kidding about that. COAST GUARD PILOT Ma'am, I'm not authorized to take you to the airport... ANNIE (to pilot) Larry Ferris! Don't make me call your mother! INT. PLANE - DAY Gilbertson talks non-stop. Margaret is in hell. MR. GILBERTSON ...I want my book launch to be special. I'm thinking we throw a soiree at the Nevsky Monastery. In St. Petersberg? Margaret stares at him blankly. MR. GILBERTSON (cont'd) (as if she should know) Where Dostoyevsky is buried? Hello? I thought you were a professional... Margaret closes her eyes to numb the pain. 108. EXT. SITKA AIRPORT - DAY The helicopter lands, and Richard jumps out. His family follows as they run to the control tower. INT. AIRPORT TOWER - DAY CHUCK has an easy job. Jets fly into Sitka, but there are only about six flights a day. He is half awake as he radios Margaret's flight. Reggae music plays in the background. CHUCK Flight 1601, you're clear for takeoff. PILOT (O.S.) Roger that, Chuck. The PHONE RINGS in the tower. Chuck picks up. Intercut as necessary, with Richard running on a cell phone. CHUCK Tower. Talk to me. RICHARD Hey Chuck, it's Richard. CHUCK Hey man. Heard about your lady bailing. How often does this happen to you? RICHARD Need you to do me a solid, brother. I gotta see my girl and she's on that flight. Could you stop it for me? CHUCK No can do brohan. Need a good reason for the FAA holes. Lose my jobby job if I delivered that favor. RICHARD Oh, c'mon Chuck! INT. PLANE - DAY The plane rattles as it gains speed for takeoff. Margaret studies the safety pamphlet, trying to ignore Gilbertson. MR. GILBERTSON ...so next topic. Celebrities. Let's invite the Bill Clinton's and leave out the Paris Hilton's, OK? Gilbertson smiles as he looks out the window and sees the plane leave Sitka. 109. EXT. TOWER - DAY Richard and his family stand outside the tower and watch Margaret's plane take off. RICHARD Well. That's it. Once she gets back to New York, it'll be like this never happened. Richard looks defeated. Geoffrey sees how sad his son is, and takes a deep breath. GEOFFREY So, you know I think you shouldn't be with Margaret, right? RICHARD You've made that crystal clear. GEOFFREY Good. (looks at Annie) Well, consider this me keeping my promise. Geoffrey pulls out his cell phone and hits a button. He waits for an answer. GEOFFREY (cont'd) (to phone) Hey! Maguire! Yeah, yeah, yeah, her running out was something. But that's what I'm calling about. I've got a favor to ask you, ‘bout one of your planes... INT. PLANE - DAY Gilbertson continues to talk. Margaret is in a stupor. MR. GILBERTSON ...you know those two hundred pages I took out? I'm going to put them back... A flight attendant comes to Margaret and interrupts. FLIGHT ATTENDANT Ms. Mills? Would you come with me? Margaret is excited to get away from Gilbertson. MARGARET Yes, of course. She unbuckles her seat belt, about to get out of her seat. MR. GILBERTSON What's this about? 110. FLIGHT ATTENDANT (never done this before) There's someone on the radio for you. The flight attendant points to the Flight Attendant CB located at the front of the plane, outside the cockpit. FLIGHT ATTENDANT (cont'd) Uh, a Richard Paxton? Margaret shakes her head and re-buckles her seat belt. MARGARET Tell him I'm not here. CUT TO: INT. TOWER - DAY Richard and his family are huddled around the radio in the tower. Chuck sits nearby. FLIGHT ATTENDANT (O.S.) (from radio) I'm sorry. She won't come talk to you. RICHARD Shit! She's never going to pick up... CHUCK (to Richard) Know what, home slice? Cut this chica loose. You remember Beth Cable? She'd totally be into you... Suddenly, Richard has an idea. He picks up the hand mic. RICHARD Excuse me Miss Flight Attendant, could you ask the captain to do me one more favor... CUT TO: INT. PLANE - DAY DING! The captain comes on over the loudspeaker. CAPTAIN (over plane loudspeaker) Welcome to flight 1601 to Seattle, this is your captain. We've reached our cruising altitude of 30,000 feet. Flight time'll be three hours and thirty minutes. And Margaret? Richard has something he'd like to say to you. 111. RICHARD (O.S.) (over loudspeaker) Uh, hey Margaret. And cause I'm on the loudspeaker, hey everyone on the plane. The other passengers look around to try and figure out who's Margaret. Meanwhile, Margaret looks down and acts like she doesn't know either. RICHARD (O.S.) (cont'd) (over loudspeaker) This certainly isn't how I wanted to do this. I mean, I'm not really into the whole baring your soul in front of strangers thing, but I figure it's now or never. So here goes. CUT TO: INT. TOWER - DAY Richard puts down the hand mic for a second to gain composure. His family encourages him on. CHUCK You're doing great, man. Richard pushes the button down on the hand mike. RICHARD I know you're used to being on your own. And that you're comfortable with your life the way it is. And that in a million years you wouldn't have thought that we should be together. I know, because I felt the exact same way. CUT TO: INT. PLANE - DAY Every passenger is enraptured by the words coming out of the loudspeaker. The flight attendants, the Handsome Man, everyone. RICHARD (O.S.) (over loudspeaker) And you know what else I know? I know that I'm tired of being alone. And I think you're tired of being alone too. So come on. Talk to me. Please. The Handsome Man turns to Margaret. HANDSOME MAN (with genuine concern) Do you really feel like you're alone? 112. MARGARET Oh, good lord. CUT TO: INT. TOWER - DAY Richard and his family stare at the radio, waiting to see if there is going to be an answer. Chuck crosses his fingers. MARGARET (O.S.) (from radio) What the hell are you doing? Everyone in the tower smiles. They're making progress. RICHARD We need to talk. (Intercut as necessary. Margaret stands at the front of the plane with the passengers watching.) MARGARET About what? RICHARD Have you ever thought there might be a reason we've been together for the last three years? MARGARET As boss and assistant. RICHARD Things change, Margaret. MARGARET (INCREDULOUS) Things change? RICHARD Yeah, things change. MARGARET Is that the best you got? Geoffrey hits Richard, as if to say "see, that's what I said." Richard composes himself. RICHARD Now, tell me the truth. When you left, were you relieved or sad that we didn't have an excuse to be together anymore? Geoffrey gives Richard the thumbs up. That was a good one. 113. MARGARET What's your point? RICHARD Because I am sick that you left. And if you feel sick too, then why shouldn't we just be together? Margaret goes to answer, but stops. Richard is right. She wants to go back. Even the passengers on the plane can see it. Gilbertson panics. MR. GILBERTSON Are you thinking about going back to him? Margaret doesn't answer. MR. GILBERTSON (cont'd) We have a deal! You can't back out now! The flight attendant steps in, annoyed that Gilbertson is trying to break up Richard and Margaret. FLIGHT ATTENDANT Sir, you need to sit down. MR. GILBERTSON I will do no such thing. FLIGHT ATTENDANT Sir, I'm ordering you to return to your seat. Other passengers yell "sit down asshole" at Gilbertson. MR. GILBERTSON Who said that? FLIGHT ATTENDANT Sir, this is your third and final warning! MR. GILBERTSON Listen sweetheart... (he pokes the flight attendant) I'm a federal officer, so why don't you get me another cocktail and mind your own... BUZZ! ZAP! 400,000 Volts of electricity surge through Gilbertson. He twitches violently and crashes to the floor. Behind him, The Handsome Man holds a stun gun and a badge. HANDSOME MAN Well, I'm a federal Air Marshall. And you're under arrest for disobeying a crew member, assault, and possible intoxication. 114. The Handsome Man pulls out flex cuffs, zips them around Gilbertson's wrists, and throws him in the bathroom. He then takes the CB from Margaret and speaks to the passengers. HANDSOME MAN (cont'd) Sorry everybody, but protocol says we need to get this unruly passenger off the plane ASAP. Sitka's the closest airport, so if it's OK with you, I'm gonna have the captain turn this bird around. There are wild cheers from the passengers. Margaret blushes. HANDSOME MAN (cont'd) (winks at Margaret) Told you I was a romantic. EXT. SITKA AIRPORT RUNWAY - DAY Flight 1601 glides to a safe landing. Richard and his family wait on the tarmac, and the plane taxis to them. A truck drives stairs to the front door of the plane and the door opens. Margaret steps out. Richard walks up the steps. MARGARET This wasn't supposed to happen. Richard looks Margaret in the eye. RICHARD But it did. Margaret looks down. A little embarrassed. MARGARET I'm not the kind of girl who gets saved. Richard smiles, and without warning, Margaret grabs him, and plants a long, deep, and wet kiss on him. The long kiss is interrupted by the Handsome Man and Gilbertson. HANDSOME MAN Uh, sorry, but excuse us. The Handsome Man leads a handcuffed and still dazed Gilbertson down the steps. MARGARET (to Gilbertson) Hey! Do you think getting arrested might affect you at work? Gilbertson has no retort. 115. MARGARET (cont'd) Oh, and I'm not going to be able to publish your book after all. MR. GILBERTSON So you are getting married this weekend? MARGARET (SMILING) Absolutely not. But who knows? (looking at Richard) We might by the time you get out of jail. Gilbertson makes a "go to hell" face and shuffles off. Margaret turns back to Richard. All smiles. MARGARET (cont'd) I've got some explaining to do. Margaret and Richard walk down the steps and stand in front of Richard's family. MARGARET (cont'd) (to Debbie) Hi. I'm Margaret. I've known your son for years, but we've just recently begun to see each other romantically. (to Geoffrey) I want to get to know you all, and spend some real time up here in Alaska. (to Annie) I'm not sure when you are going to see him get married, but I promise as long as I'm with him, he'll be happy. Passengers cram up to the plane windows to see what will happen. GRANDMA ANNIE That's all we ever wanted. Grandma Annie gives Margaret and Richard a big hug. Debbie joins in. Then Geoffrey. Passengers cheer. CUT TO: EXT. PAXTON ISLAND - DANCEFLOOR - DAY The party is in full swing. Balzac chases his balls. Ramone slides onstage and SINGS with the band. He has a beautiful voice. Debbie and Geoffrey cut a rug. They've done this before. 116. Gertrude and Annie chat and laugh at a nearby table. The Handsome Man brings Gertrude a drink. Grandma Annie winks and leaves these two alone. Margaret and Richard dance. All smiles, even though they aren't very good. And as everyone dances, we track up the tallest tree on the island, to an eagle's nest at the very top. Inside the nest, three eaglets chirp along to the music, snuggled up to Margaret's phone. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Psycho.txt b/unformated_scripts/Script_Psycho.txt new file mode 100644 index 0000000000000000000000000000000000000000..3fc351e9314702f31fba0abd61c25aa5642defff --- /dev/null +++ b/unformated_scripts/Script_Psycho.txt @@ -0,0 +1 @@ +"PSYCHO" By Joseph Stefano Based on the novel by Robert Bloch REVISED December 1, 1959 FADE IN: EXT. PHOENIX, ARIZONA - (DAY) - HELICOPTER SHOT Above Midtown section of the city. It is early afternoon, a hot mid-summer day. The city is sun-sunblanched white and its drifted-up noises are muted in blanched their own echoes. We fly low, heading in a downtown direction, passing over traffic-clogged streets, parking lots, white business buildings, neatly patterned residential districts. As we approach downtown section, the character of the city begins to change. It is darker and shabby with age and industry. We see railroad tracks, smokestacks, wholesale fruit-and- vegetable markets, old municipal buildings, empty lots. vegetable The very geography seems to give us a climate of nefariousness, of back-doorness, dark and shadowy. And secret. We fly lower and faster now, as if seeking out a specific location. A skinny, high old hotel comes into view. On its exposed brick side great painted letters advertise "Transients- Low Weekly Rates-Radio in Every Room." We pause long enough to establish the shoddy character of this hotel. Its open, curtainless windows, its silent resigned look so characteristic of such hole-and-corner hotels. We move forward with purposefulness and-toward a certain window. The sash is raised as high as it can go, but the shade is pulled down to three or four inches of the inside sill, as if the occupants of the room within wanted privacy but needed air. We are close now, so that only the lower half of the window frame is in shot. No sounds come from within the room. Suddenly, we tip downward, go to the narrow space between shade and sill, peep into the room. A young woman is stretched out on the mussed bed. She wears a full slip, stockings, no shoes. She lies in and attitude of physical relaxation, but her face, seen in the dimness of the room, betrays a certain inner-tension, worrisome conflicts. She is MARY CRANE, an tension, attractive girl nearing the end of her twenties and her rope. A man stands beside the bed, only the lower half of his figure visible. We hold on this tableau for a long moment, then start forward. As we pass under the window shade, CUT TO: INT. THE HOTEL ROOM - (DAY) A small room, a slow fan buzzing on a shelf above the narrow bed. A card of hotel rules is pasted on the mirror above the bureau. An unopened suitcase and a woman's large, straw open- top handbag are on the bureau. On the table beside the bed there are a container of Coco- Cola and an unwrapped, untouched egg-salad sandwich. There is no radio. The man standing by the bed, wearing only trousers, T-shirt and sox, is SAM LOOMIS, a good-looking, sensual shirt man with warm humorous eyes and a compelling smile. He is blotting his neck and face with a thin towel, and is staring down at Mary, a small sweet smile playing about his mouth. Mary keeps her face turned away from him. After a moment, Sam drops the towel, sits on the bed, leans over and takes Mary into his arms, kisses her long and warmly, holds her with a firm possessiveness. The kiss is disturbed and finally interrupted by the buzzing closeness of an inconsiderate fly. Sam smiles, pulls away enough to allow Mary to relax again against the pillow. He studies her, frowns at her unresponsiveness, then speaks in a low, intimate, playful voice. SAM Never did eat your lunch, did you. Mary looks at his smile, has to respond, pulls him to her, kisses him. Then, and without breaking the kiss, she swings her legs over the side of the bed, toe-searches around, finds her shoes, slips her feet into searches them. And finally pulls away and sits up. MARY I better get back to the office. These extended lunch hours give my boss excess acid. She rises, goes to the bureau, takes a pair of small earrings out of her bag, begins putting them on, not bothering or perhaps not wanting to look at herself in the mirror. Sam watches her, concerned but unable to inhibit his cheery, humorous good mood. Throughout remainder of this scene, they occupy themselves with dressing, hair-combing, etc. SAM Call your boss and tell him you're taking the rest of the afternoon off. It's Friday anyway... and hot. MARY (soft sarcasm) What do I do with my free afternoon, walk you to the airport? SAM (meaningfully) We could laze around here a while longer. MARY Checking out time is three P.M. Hotels of this sort aren't interested in you when you come in, but when your time's up... (a small anguish) Sam, I hate having to be with you in a place like this. SAM I've heard of married couples who deliberately spend occasional nights in cheap hotels. They say it... MARY (interrupting) When you're married you can do a lot of things deliberately. SAM You sure talk like a girl who's been married. MARY Sam! SAM I'm sorry, Mary. (after a moment) My old Dad used to say 'when you can't change a situation, laugh at it.' Nothing ridicules a thing like laughing at it. MARY I've lost my girlish laughter. SAM (observing) The only girlish thing you have lost. MARY (a meaningful quiet, then, with difficulty:) Sam. This is the last time. SAM For what? MARY This! Meeting you in secret so we can be... secretive! You come down here on business trips and we steal lunch hours and... I wish you wouldn't even come. SAM Okay. What do we do instead, write each other lurid love letters? MARY (about to argue, then turning away) I haven't time to argue. I'm a working girl. SAM And I'm a working man! We're a regular working-class tragedy! (he laughs) MARY It is tragic! Or it will be... if we go on meeting in shabby hotels whenever you can find a tax-deductible excuse for flying down deductible here... SAM (interrupting, seriously) You can't laugh at it, huh? MARY Can you? SAM Sure. It's like laughing through a broken jaw, but... He breaks off, his cheeriness dissolved, goes to the window, tries to raise the shade. It sticks. He pulls at it. It comes down entirely, and the hot sun glares into the room, revealing it in all its shabbiness and sordidness as if corroborating Mary's words and attitude. Sam kicks at the fallen shade, laughs in frustration, grabs on to his humor again. SAM And besides, when you say I make tax- deductible excuses you make me out a criminal. MARY (having to smile) You couldn't be a criminal if you committed a major crime. SAM I wish I were. Not an active criminal but... a nice guy with the conscience of a criminal. (goes close to mary, touches her) Next best thing to no conscience at all. MARY (pulling away) I have to go, Sam. SAM I can come down next week. MARY No. SAM Not even just to see you, to have lunch... in public? MARY We can see each other, we can even have dinner... but respectably, in my house with my mother's picture on the mantel and my sister helping me broil a big steak for three! SAM And after the steak... do we send Sister to the movies and turn Mama's picture to the wall? MARY Sam! No! SAM (after a pause, simply) All right. She stares at him, surprised at his willingness to continue the affair on her terms, as girls are so often surprised when they discover men will continue to want them even after the sexual bait has been pulled in. Sam smiles reassuringly, places his hands gently on her arms, speaks with gentle and simple sincerity. SAM Mary, whenever it's possible, tax- deductible or not, I want to see deductible you. And under any conditions. (a smile) Even respectability. MARY You make respectability sound... disrespectful. SAM (brightly) I'm all for it! It requires patience and temperance and a lot of sweating- out... otherwise, though, it's only hard work. (a pause) But if I can see you, touch you even as simply as this... I won't mind. He moves away and again the weight of his pain and problems crushes away his good humor. There is a quiet moment. SAM I'm fed up with sweating for people who aren't there. I sweat to pay off my father's debts... and he's in his grave... I sweat to pay my ex-wife alimony, and she's living on the other side of the world somewhere. MARY (a smile) I pay, too. They also pay who meet in hotel rooms. SAM A couple of years and the debts will be paid off. And if she ever re- marries, the alimony stops... and then... MARY I haven't even been married once yet! SAM Yeah, but when you do... you'll swing. MARY (smiling, then with a terrible urgency) Sam, let's go get married. SAM And live with me in a storeroom behind a hardware store in Fairvale. We'll have a lot of laughs. When I send my ex-wife her money, you can lick the stamps. MARY (a deep desperation) I'll lick the stamps. He looks at her, long, pulls her close, kisses her lightly, looks out the window and stares at the wide sky. SAM You know what I'd like? A clear, empty sky... and a plane, and us in it... and somewhere a private island for sale, where we can run around without our... shoes on. And the wherewithal to buy what I'd like. (he moves away, suddenly serious) Mary, you want to cut this off, go out and find yourself someone available. MARY I'm thinking of it. SAM (a cheerful shout) How can you even think a thing like that! MARY (picking up handbag, starting for door) Don't miss your plane. SAM Hey, we can leave together can't we? MARY (at door) I'm late... and you have to put your shoes on. Mary goes out quickly, closing door behind her. As Sam stares down at his shoeless feet, CUT TO: EXT. DOWNTOWN STREET - (DAY) - HIGH ANGLE Shooting down at hotel entrance. Mary comes out, walks quickly to a parked cab, gets in. The cab zooms up the awful street. DISSOLVE TO: EXT. LOWERY REAL ESTATE OFFICE - (DAY) A small, moderately successful office off the main street. A cab pulls up at the curb. We see Mary get out of cab, pay driver, cross pavement to the office door. INT. OUTER OFFICE - (DAY) Mary enters office, crosses to her desk, sits down, rubs her temples, finally looks over at Caroline, a girl in the last of her teens. MARY Isn't Mr. Lowery back from lunch? CAROLINE (a high, bright, eager- to-talk voice laced to-with a vague Texan accent) He's lunching with the man who's buying the Harris Street property, you know, that oil lease man... so that's why he's late. (a pause, then, as Mary does not respond to the pointed thrust) You getting a headache? MARY It'll pass. Headaches are like resolutions... you forget them soon as they stop hurting. CAROLINE You got aspirins? I have something... not aspirins, but (cheerfully takes bottle of pills out of desk drawer) my mother's doctor gave these to me the day of my wedding. (laughs) Teddy was furious when he found out I'd taken tranquilizers! She rises, starts for Mary's desk, pills in hand. MARY Were there any calls? CAROLINE Teddy called. Me... And my mother called to see if Teddy called. Oh, and your sister called to say she's going to Tucson to do some buying and she'll be gone the whole weekend and... She breaks off, distracted by the SOUND of the door opening. MR. LOWERY and his oil-lease client, TOM CASSIDY enter the office. Lowery is a pleasant, worried-faced man, big and a trifle pompous. Cassidy is very faced loud and has a lunch- hour load on. He is a gross man, exuding a kind of pitiful vulgarity. CASSIDY Wow! Hot as fresh milk! You girls should get your boss to air-condition you up. He can afford it today. Lowery flashes an embarrassed smile at Mary, tries to lead Cassidy toward the private office. LOWERY Mary, will you get those copies of the deed ready for Mr. Cassidy. Cassidy pauses beside Mary's desk, hooks a haunch onto the desktop, smiles a wet smile at Mary. CASSIDY Tomorrow's the day! My sweet little girl... (laughs as Mary looks up at him) Not you, my daughter! A baby, and tomorrow she stands up there and gets her sweet self married away from me! (pulling out wallet) I want you to look at my baby. Eighteen years old... and she's never had an unhappy day in any one of those years! (flashes photo) Mary glances, cannot bring herself to smile or make some remark, continues sorting out the deed copies, tries to ignore the man's hot-breath closeness. LOWERY Come on, Tom, my office is air- conditioned. CASSIDY (ignoring Lowery) You know what I do with unhappiness? I buy it off! You unhappy? MARY Not inordinately. (puts deed copy into Cassidy's too-close hand) CASSIDY I'm buying this house for my baby's wedding present. Forty thousand dollars, cash! Now that ain't buying happiness, that's buying off unhappiness! That penniless punk she's marryin'... (laughs) Probably a good kid... it's just that I hate him. (looks at deed) Yup! Forty thousand, says here... (to Lowery) Casharoonie! He takes out of his inside pocket, two separate bundles of new $100 bills and throws them onto the desk, under Mary's nose. Caroline's eyes go wide at the sight of the glorious green bundles of bills, and she comes close to the desk. Cassidy leans terribly close to Mary, flicks through the bills, laughs wickedly. CASSIDY I never carry more than I can afford to lose! (closer to Mary) Count 'em! LOWERY (shocked, worried) Tom... cash transactions of this size! Most irregular... CASSIDY So what? It's my private money! (laughs, winks, elbows Lowery) And now it's yours. CAROLINE (staring at the money) I declare! CASSIDY (whispering) I don't! That's how I'm able to keep it! (laughs) LOWERY (hastily interrupting) Suppose we just put this in the safe and then Monday morning when you're feeling good... CASSIDY Speakin' of feeling good, where's that bottle you said you had in your desk... (laughs, as if having given away Lowery's secret) Oops! (to Mary, patting her arm) Usually I can keep my mouth shut! He rises, reels toward Lowery's office, pauses, turns, speaks to Mary, meaningfully. CASSIDY Honest. I can keep any private transaction a secret... any pri.... (stopped by Mary's cold gaze) Lowery! I'm dyin' of thirstaroonie! Lowery starts after him, pauses, turns to Mary. Cassidy has gone into Lower's office. LOWERY (quietly) I don't even want it in the office over the weekend. Put it in the safe deposit box, at the bank, Mary. And we'll get him to give us a check on Monday - instead. He starts quickly away when it looks like Cassidy is going to come and pull him bodily into the office. When the men are gone and the door is closed, Caroline picks up a bundle, smiles at it. CAROLINE He was flirting with you. I guess he noticed my wedding ring. Mary has put one bundle into a large envelope and takes the other from Caroline. When the bills are away, she puts the filled envelope in her handbag, notices the remaining deed copies on her desk, picks them up, goes to the private office door, knocks, starts to open door as: LOWERY (O.S.) Come in. INT. LOWERY'S PRIVATE OFFICE - (DAY) Mary opens door, looks in. Cassidy is drinking from a large tumbler, winks at her without pausing in his drinking. Mary remains on threshold a moment, then crosses to the desk, talking as she goes. MARY The copies. Mr. Lowery, if you don't mind, I'd like to go right on home after the bank. I have a slight... CASSIDY You go right home! Me and your boss are going out to get ourselves a little drinkin' done! (to Lowery) Right? LOWERY (to Mary) Of course. You feeling ill? MARY A headache. CASSIDY You need a week-end in Las Vegas... playground of the world! MARY I'm going to spend this week-end in bed. (starts out) CASSIDY (to Lowery) Only playground that beats Las Vegas! Mary goes back out into the outer office, closes door. INT. OUTER OFFICE - (DAY) Mary goes to her desk, takes the handbag, checks to make sure the money-filled envelope is tucked well down into it. During this: CAROLINE Aren't you going to take the pills? (as Mary shakes her head) They'll knock that headache out. MARY I don't need pills... just sleep. She goes to the door. DISSOLVE: INT. MARY'S BEDROOM - (DAY) A double bed in the foreground. We just see the far side as the CAMERA SHOOTS across. Mary enters the scene, clad only in her slip. Perhaps she is about to get into bed. Behind her is an open closet, but too dark inside for us to see any contents. As Mary turns to the closet the CAMERA LOWERS to show a close view of the $40,000 in the envelope on our side of the bed. Mary takes a dress from the closet and starts to put it on as the CAMERA RETREATS to reveal a packed but not yet closed suitcase also on the bed. Mary zips up her dress and then brings some final garments from the closet. She comes around to the suitcase and puts them on the top. Mary works with haste and in tension, as if acting on an impulse which might vanish as quickly as it came. The suitcase filled now, she checks around the room, then takes her handbag to the bed, puts in the money-filled envelope, and then slams the suitcase shut. Then filled she looks at her small bedroom desk, goes to it, removes a small file-envelope from one of the drawers. It is one of those brown envelopes in which one keeps important papers and policies and certificates. She checks its contents briefly, puts it on the bed, opens another desk drawer, takes out her bank book, tosses it on the bed. Then she packs both the file-envelope and the bank book, into her handbag, takes one quick last look around the room, picks up the handbag and the suitcase and goes out of the room. CUT TO: EXT. MARY'S GARAGE - (DAY) A two-car garage. One car is gone. Mary's car is parked in the driveway. The CAMERA is low enough so that we can easily read the Arizona number plate in the foreground. Mary comes out of house, starts for the trunk, intending to put the suitcase in, changes her mind, places the suitcase and her handbag on the front seat, gets in, starts the car, begins to back out of driveway. DISSOLVE TO: EXT. MAIN STREET IN MIDTOWN PHOENIX - (DAY) We are close on Mary's car, shooting in at her troubled, guilty face. She seems to be driving with that excess care of one who does not wish to be stopped for a minor traffic irregularity. She stops for a red light at a main intersection. FROM MARY'S VIEWPOINT - (DAY) We see Lowery and Cassidy crossing the street, passing right in front of Mary's car. MARY'S CAR - (DAY) Mary freezes. EXT. MAIN STREET IN MIDTOWN PHOENIX - (DAY) Cassidy, glancing into car, sees Mary, lets out a cheery exclamation, elbows Lowery. Lowery turns, sees Mary, smiles pleasantly, pulls Cassidy on. MARY'S CAR - (DAY) Mary watches the entire exchange with a look of stony horror on her face. EXT. MAIN STREET IN MIDTOWN PHOENIX - (DAY) Now we look closely at Lowery. As he reaches the curb, a small confusion brightens his face. He remembers that Mary intended to "spend the weekend in bed." He considers, curiously, turns, looks back at her, a slight frown on his face. MARY'S CAR - (DAY) Mary sees the pause and the look. EXT. MAIN STREET IN MIDTOWN PHOENIX - (DAY) For a moment it even looks as if Lowery might be meaning to cross back to the car. MARY'S CAR - (DAY) Mary's tension is unbearable. And at that moment we hear the shrill shriek of the traffic cop's whistle. Mary zooms the car away. DISSOLVE TO: EXT. HIGHWAY - (DAY) Mary in car, driving, safely away from town. Her look is less tense now, and more purposeful. After a moment, she checks the fuel gauge, frowns, looks along highway for a gas station. FAST DISSOLVE TO: MARY'S CAR - (DAY) Approaching and leaving city limits. MARY - (DAY) Looks at gas gauge. C.U. GAS GAUGE - (DAY) EXT. A GAS STATION - (DAY) We see Mary's car drive in, come to a stop. There are no other cars about, this being a gas station off the main highway, and the attendant is obviously in the shack. Mary looks worried about having to make this stop, keeps her face turned away from the shack, not wishing it to be seen. No one comes and for a moment Mary considers driving on, as if the emptiness of the station were a warning, an omen that she should listen to. But the gas registers almost empty. She has to blow her horn. A YOUNG MAN comes out of the shack, starts toward her car. At that moment, we HEAR the RINGING of the TELEPHONE in the shack. The Attendant walks a few steps further, toward Mary's car, then decides to go back and answer the phone. The phone's insistent ringing unnerves Mary. She starts her car, zooms off. We see the Attendant, phone in hand, in the doorway of shack. He looks after the departing car with little or no expression. CAR The car grows smaller as it races up the road. The sun is setting. There is something vaguely ominous about the darkening sky into which the car seems to be disappearing. DISSOLVE TO: MARY IN CAR - (NIGHT) The oncoming headlights hurt Mary's eyes. She is getting sleepy and her vision is blurring. Her eyes close, involuntarily, snap open again. She stretches than wide, as if forcing them to stay open. The oncoming lights seem to glare to a point beyond endurance. She murmurs "Sam - Sam." LONG LAP DISSOLVE: EXT. ROAD SHOULDER - (DAWN) We see Mary's car, dim in the early dawn, tilted on the soft shoulder of the road, looking somehow sad and pathetic, like a child's thrown-away toy. And from this angle it would appear that the car is empty. After a moment, during which there are no other vehicles passing, we see, coming from the far distance, a HIGHWAY PATROLMAN in a patrol car. He passes Mary's car, notes its apparent emptiness, U-turns, comes back up behind the car. He gets out and approaches the driver's side window. EXT. MARY'S CAR - (DAWN) The Patrolman looks down into the car. INT. CAR (DAWN) FROM HIS VIEWPOINT Mary turns with a start, sits up, is startled and unnerved by the sight of the Patrolman, and, as if by automatic reflex, turns the ignition and presses down on the starter. EXT. CAR (DAWN) The Patrolman holds up his hand. PATROLMAN (startled) Hold it there! Mary slams down on the brake, tries to pull herself together. The Patrolman raps again, less gently. Reluctantly, Mary rolls down the window. The Patrolman studies her for a moment. PATROLMAN In quite a hurry. MARY Yes. (because he seems to be awaiting an explanation) I didn't mean to sleep so long. I was afraid I'd have an accident last night, from sleepiness... so I decided to pull over... PATROLMAN You slept here all night? MARY (a faint edge of defensiveness) Yes. As I said, I couldn't keep my eyes... PATROLMAN (mere concern) There are plenty of motels in this area. You should have... I mean, just to be safe... MARY I didn't intend to sleep all night! I just pulled over... have I broken any laws? PATROLMAN No, m'am. MARY Then I'm free to go...? PATROLMAN (a pause) Is anything wrong? MARY Of course not! Am I acting as if... something's wrong? PATROLMAN (almost a smile) Frankly, yes. MARY Please... I'd like to go... PATROLMAN Is there? MARY Is there what? (not waiting for an answer) I've told you there's nothing wrong... except that I'm in a hurry and you're taking up my time... PATROLMAN (interrupting, sternly) Now wait just a moment! Turn your motor off, please. Mary seems about to object, thinks better of it, turns off the ignition. PATROLMAN In the course of my duty, I never "take up" anyone's time, whether it's to give a warning, or a ticket, or help! Believe that, M'am. (a little softer) Now if you woke up on the wrong side of... the car seat, that's one thing. But when you act as if I've just placed you under arrest... MARY I'm sorry. PATROLMAN No need to apologize... Mary starts the car, her face turned as if she wishes the matter were all settled and the Patrolman had already gone. The Patrolman isn't exactly one of those civil servants who demands a thank-you, but he does feel her manner is a bit too abrupt. He calls: PATROLMAN Wait a minute! MARY (jamming down the brake) Now what? The Patrolman gazes at her a moment, then: PATROLMAN May I see your license? MARY Why? PATROLMAN Please. Mary pulls her handbag up from the floor, where she'd placed it when she stretched out for sleep. She puts her hand in it, rummages for her wallet, cannot find it. The Patrolman is staring at her. She glances at him nervously, pokes in her bag a bit more, sighs, realizes she'll have to remove some of its contents. Nervously, badly controlling her fear, she takes out the money-filled envelope, and then the important papers envelope, filled then a couple of other items, places them on the seat, finally finds her wallet, opens it, hands it to him. He looks at the wallet, then at the car. EXT. ROAD SHOULDER - (DAWN) The Patrolman walks around to the front of the car, checks the license plate, and returns. INT. MARY'S CAR - (DAWN) The Patrolman peers in, checks the car registration on the steering wheel, returns Mary's wallet. She takes it, looks at him for a flicker of a moment. He says nothing. She starts ahead, fast. EXT. ROAD SHOULDER - (DAWN) The Patrolman stares after Mary as she drives off, then starts back to his automobile. MARY IN CAR - (DAWN) She is quite shaken, realizes she caused herself a great deal of trouble and placed herself in unnecessary danger. She is disturbed and angry and frightened at her inability to act normally under the pressure of guilt. As she drives, she glances into her rear-view mirror. MARY'S REAR-VIEW MIRROR - (DAWN) The Patrolman is following in his automobile, keeping behind her at a matched speed. MARY IN CAR - (DAWN) She glances out at her surroundings. MARY'S POV - (DAWN) The Freeway ahead. EXT. MARY'S CAR - (DAWN) She suddenly turns off the highway. MARY IN CAR - (DAWN) She checks her mirror. MARY'S REAR-VIEW MIRROR - (DAWN) The Patrolman is no longer following, has not turned off after her. MARY IN CAR - (DAWN) She breathes a sigh of relief, thinks a moment, makes a quick decision. DISSOLVE: EXT. USED CAR LOT - (DAY) The big sign reads "California Charlie - Automobile Paradise." We see Mary's car drive onto the lot and stop. Mary gets out of the car, glances toward the lot office, turns her attention to the line of cars, notice the California licence plates on all of them. The CAR DEALER calls out from his office: CAR DEALER With you in a second! Mary nods, starts walking along the line of cars as if making a selection. Her eye is caught by the iron newspaper stand on the corner, just outside the lot. She stares at the papers, turns away, as if what she is fearing would have to be impossible, then, having to satisfy herself, goes to the stand, drops a dime in the iron slot, picks up a LOS ANGELES newspaper, starts back into the car lot as she glances worried at the front page. As she goes, we see, coming up the street toward the lot, the same PATROLMAN. He sees Mary, slows, swerves over to the opposite side of the street, stops by the curb. Mary, engrossed in the newspaper, and walking back ease the lot, does not see the Patrolman. The car dealer is out on the lot now, standing and waiting for Mary. As she approaches, lost in her newspaper, he smiles. CAR DEALER I'm in no mood for trouble! MARY (glancing up, thrown for a moment) What? CAR DEALER (cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. Norman turns, slowly, looking at her with a striking coldness. NORMAN An Institution? A madhouse? People always call a madhouse "someplace." (Mimicing coldly) Put her in Someplace! MARY I'm sorry... I didn't mean it to sound uncaring... NORMAN (The coldness turning to tight fury) What do you mean about caring? Have you ever seen one of those places? Inside? Laughing and tears and cruel eyes studying you... and my mother there? Why? has she harmed you? She's as harmless as... one of these stuffed birds. MARY I am sorry. I only felt... it seemed she was harming you. I meant... NORMAN (High fury now) Well? You meant well? People always mean well, they cluck their thick tongues and shake their heads and suggest so very delicately that... The fury suddenly dies, abruptly and completely, and he sinks back into his chair. There is a brief silence. Mary watches the troubled man, is almost physically pained by his anguish. NORMAN (Quietly) I've suggested it myself. But I hate to even think such a thing. She needs me... and it isn't... (Looks up with a childlike pleading in his eyes) ...it isn't as if she were a maniac, a raving thing... it's just that... sometimes she goes a little mad. We all go a little mad sometimes. Haven't you? MARY (After a long thoughtful pause) Yes, and just one time can be enough. (Rises) Thank you. NORMAN (Cheerfully, correcting) Thank you, Norman. MARY Norman. NORMAN You're not going to... to your room already? MARY I'm very tired. And I'll have a long drive tomorrow. All the way back to Phoenix. NORMAN Phoenix? MARY I stepped into a private trap back there -- and I want to go back and... try to pull myself out. (Looking close at Norman) Before it's too late for me, too. NORMAN (Looking at her) Why don't you stay a little while, just for talking. MARY I'd like to, but... NORMAN Alright. I'll see you in the morning. I'll bring you breakfast. What time will you... MARY Very early. Dawn. NORMAN Alright, Miss... (He has forgotten her name) MARY Crane. NORMAN That's it. (He frowns, as if bothered by not being able to match the name to the memory of the name in the registration book) MARY Good night. She goes out of the parlor. We see her, from Norman's viewpoint, as she crosses the small office, goes out into the night. Norman turns and looks at the table, and we see his face now. It is bright with that drunken-like look of determination and encouragement and like resolve. He starts to clean up the table, pauses as he hears the closing of Mary's door in the cabin next door. He holds still, listens. He goes into the office and looks at the book. C.U. - THE NAME "SAMUELS" M.S. - NORMAN He goes back into the parlor with a mystified expression. The sound of Mary moving about her room come over, soft SOUNDS, somehow intimate in the night quiet. Norman turns his ear from the direction of the SOUNDS, seems to be fighting an impulse to listen, or more than listen. But slowly, he is forced to surrender to the impulse and, resisting himself, he goes to the wall, presses the side of his head against it. The SOUNDS come louder, as if we too had our ear pressed against the wall. Now Norman looks at a picture hanging on the far end of the wall he is leaning against. Slowly he starts toward it. He reaches it, touches it, reluctantly lifts the small frame off the wall. A tiny circle of light hits Norman's face, coming from the hole in the wall behind the picture. This end of the room is very dim and thus we are able to see clearly the light striking Norman's face. We move close to Norman, extremely close, until his profile fills the screen. The tiny spot of light hits his eye. See the small hole through which the light comes. Norman peeps through. NORMAN'S VIEWPOINT Through the hole we look into Mary's cabin, see Mary undressing. She is in her bra and halfslip. She stoops over a bit, places her hands behind her upper back, begins to unhook her bra. NORMAN - ECU He watches as Mary removes her bra. We see his eye run up and down the unseen figure of Mary. NORMAN'S VIEWPOINT Mary, just slipping into a robe, covering her complete nudity. NORMAN He turns from the hole, faces us for a moment, continues turning until he can look out the small parlor window. We see, as he sees... THE HOUSE IN THE BACKGROUND NORMAN He turns his face away, quickly, resentfully. In his face we see anger and anguish. And then resolve. Quickly, precisely, he rehangs the picture over the hole in the wall, turns, starts out of the parlor. We see him go through the office and out onto the porch, not even bothering to close the door behind him. CUT TO: EXT. THE MOTEL OFFICE PORCH - (NIGHT) Norman walking along the porch, in the direction of the big house. Once on the path he pauses, looks up at the light in the bedroom window, then pulls himself up, squares his shoulders, strides manfully up the path. CAMERA follows behind him. He opens the door of the house, enters. We see him pause at the foot of the stairway, look up at the bedroom door just at the head of the stair. He holds for a moment, and then his resolve and courage evaporates. His shoulders slump, sadly, mournfully. He by- passes the stairs and slowly makes his way to the kitchen. At the far end of the hall. He enters the kitchen, drops wearily into a chair. After a moment, he stretches out a leg and gently pushes the kitchen door closed. CUT TO: INT. MARY'S MOTEL ROOM - (NIGHT) Mary is seated at the small desk, engrossed in figuring in a small notebook. We see from these figures a calculation which indicates her intention to make a restitution of the money she has used of the forty thousand dollars. We see, too, her bankbook. The paper reads thus: top figure, 40,000; directly beneath it 500, the amount used for the new car; total after subtraction, 39,500. In another spot we see a figure which matches the balance in her bankbook; 624.00. Beneath this is the figure 500, and the amount after subtraction, 124.00. She studies the figures, sighs, not wearily but with a certain satisfaction, with the pleasure that comes when one knows that at any cost one is going to continue doing the right thing. After a moment she tears the page out of the notebook and, rising, begins to rip it into small pieces. She goes into the bathroom, drops the pieces into the toilet bowl, flushes the toilet. Then she drops her robe and steps into the tub and turns the shower on. INT. MARY IN SHOWER Over the bar on which hangs the shower curtain, we can see the bathroom door, not entirely closed. For a moment we watch Mary as she washes and soaps herself. There is still a small worry in her eyes, but generally she looks somewhat relieved. Now we see the bathroom door being pushed slowly open. The noise of the shower drowns out any sound. The door is then slowly and carefully closed. And we see the shadow of a woman fall across the shower curtain. Mary's back is turned to the curtain. The white brightness of the bathroom is almost blinding. Suddenly we see the hand reach up, grasp the shower curtain, rip it aside. CUT TO: MARY - ECU As she turns in response to the feel and SOUND of the shower curtain being torn aside. A look of pure horror erupts in her face. A low terrible groan begins to rise up out of her throat. A hand comes into the shot. The hand holds an enormous bread knife. The flint of the blade shatters the screen to an almost total, silver blankness. THE SLASHING An impression of a knife slashing, as if tearing at the very screen, ripping the film. Over it the brief gulps of screaming. And then silence. And then the dreadful thump as Mary's body falls in the tub. REVERSE ANGLE The blank whiteness, the blur of the shower water, the hand pulling the shower curtain back. We catch one flicker of a glimpse of the murderer. A woman, her face contorted with madness, her head wild with hair, as if she were wearing a fright-wig. And then we see only the curtain, closed across the tub, and hear the rush of the shower water. Above the shower-bar we see the bathroom door open again and after a moment we HEAR the SOUND of the front door slamming. CUT TO: THE DEAD BODY Lying half in, half out of the tub, the head tumbled over, touching the floor, the hair wet, one eye wide open as if popped, one arm lying limp and wet along the tile floor. Coming down the side of the tub, running thick and dark along the porcelain, we see many small threads of blood. CAMERA FOLLOWS away from the body, travels slowly across the bathroom, past the toilet, out into the bedroom. As CAMERA approaches the bed, we see the folded newspaper as Mary placed it on the bedside table. CLOSE UP - THE NEWSPAPER beside the bed. The CAMERA now moves away over to the window and looks up to the house, and as it gets there we HEAR, coming from within the house, the SOUND of Norman's fearful, shocked voice. NORMAN'S VOICE Mother! Oh God, what... blood, blood... mother...! We cannot entirely distinguish these exclamations. After a moment or two of silence, Norman emerges from the front door, dashes down the path toward the motel. QUICK CUT TO: EXT. THE PATH - (NIGHT) Norman is coming AT CAMERA, running head-on. He dashes into an extreme close up and we see the terror and fear ripe in his face. CAMERA PANS as Norman races past, holds as Norman runs to the porch and quickly along it and directly to Mary's room. INT. MARY'S CABIN - (NIGHT) Norman pauses a moment in the doorway, glances about the room, hears the shower going, sees the bathroom door is open. He goes to the bathroom, looks in, sees the body. Slowly, almost carefully, he raises his hands to his face, covers his eyes, turns his face away. Then he crosses to the window, looks out at the house. Shot is so angled that we see the bedside table with the newspaper on it. After a moment, Norman moves from the window, sinks onto the edge of the bed. FRESH ANGLE - BEHIND NORMAN Norman sitting on bed, the bathroom in b.g. of shot. We can see only the hand of the dead girl, lying along the tile floor. Norman presses his eyes, fights to find a way out of his dilemma. Slowly, a kind of settling comes upon him, the peace that comes with decision. Norman rises, goes to the window, looks out, and then, with resolution, closes the window and draws the curtain across it. Then he crosses to the front window, facing the porch, and draws those curtains closed. Then he switches off the bedroom light, leaving the room lit only by the spill from the bathroom. He opens the front door, goes out. EXT. THE HOTEL PORCH - (NIGHT) Norman comes out of Mary's cabin, closes the door carefully behind him, goes along the porch to his office, goes in. We stay outside. Immediately, the "Vacancy" sign goes off, and then the motel sign goes off. As CAMERA GOES closer to the office, the lights within go off and we HEAR a closet door opening and then the SOUND of a pail being picked up. Norman comes out of office, closes door, looks cautiously about, goes along porch, carrying pail with mop in it, goes into Mary's cabin, closing the door after him. INT. MARY'S CABIN With the paper in the foreground, Norman enters. We can see him in the dim spill of light. He pauses by the door, then gathers his strength and goes into the bathroom. We HEAR him set the pail on the tiled floor, and then we HEAR the shower being turned off. And there is total silence. CAMERA MOVES FORWARD so that we can see into bathroom. CAMERA is ANGLED that we see Norman only from the waist up. Quickly and deftly he unhooks the shower curtain, emerges with it into the bedroom. CAMERA PANS down and we see him spread the shower curtain on the bedroom floor, just outside the bathroom door. He spreads the curtain so that one end of it comes up against the bathroom threshold and slightly over and onto the tile floor. Again he goes into the bathroom and CAMERA TILTS up so that we see only the upper half of Norman. He works carefully, with his arms extended away from his body, slowly pulls the dead body out of the tub, drags it across the tile floor and onto the spread-out shower curtain in the bedroom. Having arranged the body, he straightens up, examines his hands, sees bloodstains on them. He returns to the bathroom, goes to the hand-basin. CLOSE SHOT We see his hands being washed, see the bloodstains being diluted and washed away by the gush of the faucet water. NORMAN We see Norman shake his hands free of the water, then turn to the job of cleaning the bathroom. He places the pail in the tub, runs water into it, dips the mop in, swabs the tile floor. With a towel he wipes off the wall over the tub and the edges and sides of the tub and even the shower curtain rod. Then he takes a second towel and goes over the cleaned areas, carefully drying them. Finally he rinses and squeezes out the mop, empties the pail, cleans out the tub, and goes out into the bedroom. INT. MARY'S BEDROOM Norman steps carefully around the unseen body, crosses to the desk, starts going through Mary's handbag, in search of her car keys. He suddenly notices them lying on the desk, where he'd thrown them after parking her car. He picks up the keys, crosses the room, goes out. EXT. THE PORCH We see Norman pauses at the door, check cautiously, then hurry across the porch and into Mary's car. He circle-turns the car, so that its trunk is backed up to the turns porch, directly opposite Mary's door, as close as it can go. Then he alights, goes to the trunk, opens it with the key and, leaving the trunk lid raised, goes back into the cabin. INT. MARY'S ROOM From a raised angle, we see Norman bend down and begin to wrap the shower curtain around the body. We see the edges of the curtain as they are raised and laid down again. Then he picks up the wrapped body, crosses to the door, uses his foot to pull the door open, and, leaving the door open behind him, goes quickly across the porch and gently lays the body in the trunk. He closes the lid then, but does not lock it. He comes back into the cabin, closes the door completely, flicks on the light. Again the newspaper is in the foreground. For a moment he pauses, closes his eyes against the realization of what he is doing, then quickly pushes all thoughts away, continues with his work. With the room lighted, he now proceeds to gather up all Mary's articles and toss them into the suitcase. He checks all drawers and the closet, gets down and checks under bed and bureau, goes into the bathroom, checks that room again, comes back into the bedroom, looks about carefully, spots Mary's handbag, throws even that into the suitcase, is finally satisfied that all traces of the girl are gone from the room. Then he closes Mary's suitcase, picks it up. With his free hand he picks up the pail, in which are the mop and the used towels. He crosses to the door, switches off the light with his shoulder, pulls open the door, starts out. EXT. THE PORCH As Norman stands in the doorway, he is suddenly and blindingly lit by the bright headlights of a passing car. The flash of the lights and the SOUND of the SPEEDING CAR are over in a flicker of a moment, but it takes a few seconds for Norman to regain his former tense composure. Then he goes to the car trunk, raises it with his foot, throws the suitcase and the pail into it, slams it shut. He pauses a moment, then realizes he has left the bathroom light on in Mary's cabin. He returns to cabin. As he enters, his eye is caught by the newspaper on the bedside table. He goes to it, takes the newspaper, and looks once again into the bathroom. His glance goes right over the toilet bowl. He turns out the lights, crosses the darkened cabin, goes out onto the porch. He reopens the trunk, tosses in the newspaper and closes it. He goes around and jumps into the car and starts away. We HOLD on the trunk, follow it for a while, then DISSOLVE TO: EXT. THE SWAMP - (NIGHT) The car pulls away from a CLOSE ANGLE on the trunk and as CAMERA HOLDS we see that we are now in a swamp area. It is quiet except for the irritating noises of night insects. Norman stops the car at the very edge of the swamp, turns off the lights, gets out, leaving door open. He looks at the swamp, seems doubtful of its ability to swallow up the car, realizes he has no choice. He leans into the car, releases the emergency brake, starts to push. The front of the car begins to roll into the swamp. Suddenly there is the LOW, THROBBING SOUND of a motor. Norman freezes, listens. The SOUND grows louder and Norman realizes it is an airplane flying overhead. The car is rolling quickly now. Norman jumps away, slams the door shut, stands tense. The SOUND of the plane overhead grows louder. Norman looks up. NORMAN'S VIEWPOINT - THE BLACK SKY We see no plane. The SOUND of the motor is beginning to diminish. CUT BACK TO: NORMAN We see the relief in his face. He looks at the car. More than two-thirds of it have already sunk into the swamp. The trunk alone seems to hold poised above the sand and slime, as if refusing to go the rest of the way. Norman begins to panic, he steps dangerously close, pushes with his foot. And slowly the car sinks, until finally it is gone and we hear only the gentle plop of the swamp's final gulp, and see only the small after-bubble, like a visual burp. Norman waits a moment, then begins stamping out the tire marks, so obvious in the wet ground around the swamp. He stamps and drags his feet over the markings as we: DISSOLVE TO: CLOSE UP NORMAN standing on the porch of the motel, leaning against a post. He is staring out into the night, a look of guarded, casual innocence on his face, as if he were taking one last moment of peaceful night air before retiring. Then he glances down and CAMERA follows his gaze. A hose is lying on the ground outside Mary's cabin, its stream of water obliterating the tire marks. After a moment, Norman's hand comes into shot, picks up hose, places it in a new position. As CAMERA PULLS BACK, we see that the water from the hose has erased and rearranged the road markings so that it would be impossible to tell that a car had been parked here. After a short wait, Norman goes to the hose-faucet, turns it off, unscrews the hose. As he rolls the hose, he walks away from the spot, past the office, heading for the path that leads to the house. He goes up the path, pauses at the steps of the house, tosses the curled hose onto the lawn, goes up the steps and into the house. CAMERA FOLLOWS him in, PAUSES as he pauses at the foot of the stairs. Norman goes up the stairs. On the landing he stops. The door to his mother's room is closed. Lying in a heap outside the door are a blood-stained dress and a pair of elderly-woman's shoes. From an EXTREMELY HIGH ANGLE, we look down on Norman as he bends to pick up the stained dress and shoes. He rolls the shoes into the dress, tucks the small, neat bundle under his arm, and starts down the stairs, heading for the basement. EXT. A LONG SHOT OF THE OLD HOUSE - (NIGHT) It stands silhouetted against the sky. There is a long wait. Then, slowly, a curl of smoke comes out of the chimney. FADE OUT: FADE IN INT. BACK ROOM OF SAM'S HARDWARE STORE IN FAIRVALE - (DAY) Sam is seated at his desk, writing a letter. Sequence begins with CAMERA IN CLOSE, over Sam's shoulder, and we can read as mush as he has written of the letter. The letterhead reads "Sam Loomis - Hardware," and the letter reads: "Dearest right-as-always Mary: I'm sitting in this tiny back room which isn't big enough for both of us, and suddenly it looks big enough for both of us. So what if we're poor and cramped and miserable, at least we'll be happy! If you haven't come to your senses, and still want to... CAMERA begins PULLING AWAY as Sam turns the sheet of paper over, continues backing away out of the small back room and heads, backwards, down the corridor, we see a young clerk, BOB SUMMERFIELD, Sam's assistant, standing behind the counter, a look of handsome patience on his face. He is waiting on a meticulous, elderly woman customer, who is holding and examining a large can of insecticide. As CAMERA PASSES: WOMAN CUSTOMER ...They tell you what its ingredients are and how it's guaranteed to exterminate any insect in the world, but they do not tell you whether or not it's painless. And I say insect or man, death should always be painless. CAMERA, by this has reached the front door of the hardware store and we now see a girl standing just inside the door. She is an attractive girl with a rather definite manner, a look of purposefulness. She carries a handbag and a small overnight case. She is Mary's sister, LILA CRANE. Bob Summerfield has noticed Lila, smiles brightly at her, gives her an I'll-be-with-you-in-a-moment nod. Lila starts to walk toward the counter, never taking her eyes off Bob. As she approaches, she asks quietly: LILA Sam? SUMMERFIELD You want to see Sam? LILA Sam Loomis. SUMMERFIELD (yelling toward back room) Sam! Lady wants to see you! Lila looks to the back room. The woman customer goes on worriedly examining the fine print of the insecticide can. Sam comes to the door of his room, pauses, looks at Lila a moment, starts toward her, his expression indicating that he does not know her. Lila studies him with a quiet, worried expression. SAM Yes? LILA May I talk to you? SAM (a bit mystified) Sure... Lila glances at the customer and the clerk, turns, starts toward the front of the store. Sam holds a moment, then follows. As he reaches her, she turns, her eyes studying him intently as she says: LILA I'm Mary's sister. SAM Lila. LILA (quickly) Is Mary here? Sam is mystified, and is also aware of the worried, hostile expression on Lila's face. He studies her for a quiet moment. Behind them is a display of various size carving knives. SAM Is something wrong? LILA I want to know if my sister is here. SAM Here? LILA With you. SAM Where? LILA I don't know where. In your store, somewhere in your town... anywhere. SAM What's the matter? LILA Don't you know? As Sam is about to speak, the Woman Customer comes sailing past, speaking as she goes and wearing a satisfied smile. WOMAN CUSTOMER All I can do is hope if it isn't painless, it's quick! She speaks "quick" with a kind of delicious bite, nods happily, goes on out of the store. Sam is now staring apprehensively at Lila. SAM What should I know? LILA To begin with, where Mary is. Do you? SAM No. I take it you don't either? (As Lila shakes her head) How long? LILA Last Friday. She left work, and home... I was in Tucson over the weekend... I haven't heard from her, not even a phone call. SAM And you thought she'd come up here, to me? If she had, what reason would she have for not calling you? LILA A good reason, I suppose. SAM (Slightly exasperated) Well what do you think, we eloped or something? Or we're living in sin and... LILA Mr. Loomis, you're so busy being defensive that you haven't even reacted to the most serious fact of all. Mary is missing. SAM I was getting to that! LILA What do you know about it? SAM Nothing! You're putting me on the defensive. LILA Look, if you two are in this thing together, I don't care, it's none of my business... But I want to see Mary. I want her to tell me she's all right and it's none of my business. Then I'll go back to Phoenix and... She stops, the anxiety and fear building up in her, her eyes beginning to fill with worried tears. Sam studies her for a moment, then turns and calls: SAM Bob? Run out and get yourself some lunch. SUMMERFIELD It's okay, Sam, I brought it with me. SAM Run out and eat it. Bob gets the message, goes out through the back way. Sam goes closer to Lila, speaks with soft seriousness. SAM What thing? LILA Huh? SAM What thing could we be in together? LILA (A pause) I hate tears. (Takes out hankie) SAM Is Mary... in trouble? LILA Yes. SAM Well why didn't she come to me... call me...? LILA Not that kind... (Almost a smile) You men and your egos. SAM (Seriously) Never mind my ego. Let's talk about Mary. Their attention is distracted by a man who has strolled quietly into the room. He ignores them, walks past them, goes behind the counter, takes down a sign reading "CLOSED FOR LUNCH," walks back to the door, closes door, hangs the sign across the door window, locks the door, turns to Sam and Lila, folds his arms, smiles a particularly unfriendly smile. ARBOGAST Let's all talk about Mary. SAM Who are you, friend? ARBOGAST Milt Arbogast, Private Investigator. (To Lila) Where is she, Miss Crane? LILA I don't know. ARBOGAST Wouldn't have been able to tail you if you did. SAM What's your interest? ARBOGAST Money. There is a moment's silence and then, unable to tolerate the sudden frightening happenings, Sam explodes. SAM Somebody better tell me what's going on and tell me fast! I can take so much and then... ARBOGAST (Interrupting calmly) Your girl friend stole forty thousand dollars. Sam looks at Arbogast in utter shock and in that state asks one of those seemingly ridiculous questions. SAM Why? ARBOGAST (An almost amused smile) Must've needed it. SAM What are you talking about? (To Lila) What is this? LILA She was supposed to bank it, on Friday, for her boss. She didn't. And no one has seen her since. ARBOGAST (Looking at Sam) Someone has seen her. Someone always sees a girl with forty thousand dollars. (To Sam) She is your girl friend, isn't she? LILA Sam, they don't want to prosecute, they just want the money back. It was all in cash... ARBOGAST (Correcting with Cassidy's word) Casharoonie! LILA Sam, if she's here... SAM She isn't! A real look of anguish comes into Lila's face. And Arbogast studies it, then speaks. ARBOGAST You came up here on a hunch, Miss Crane? Nothing more? No phone call... from him, or from your sister herself? LILA (wearily) Not even a hunch. Just hope. ARBOGAST With a little checking, I could get to believe you. LILA (anxiously) I don't care if you do or... I want to see Mary... before she gets in any deeper... SAM Did you check in Phoenix... hospitals... maybe she had an accident... a hold-up... ARBOGAST She was seen leaving town in her car. Seen by her very victims, I might add. SAM (after a moment) I don't believe it. (to Lila, slowly) Do you? LILA (a thoughtful pause) Yes... I just... did. The moment they told me... SAM You might have doubted for say five minutes or so, Sister. Lila turns from Sam, a flush of guilt and regret in her face. Arbogast looks at her, quiet sympathetically. ARBOGAST We're always quickest to doubt people who have a record for being honest. I think she's here, Miss Crane. Where there's a boyfriend... (Trails off, smiles encouragingly) She won't be back there among the nuts and bolts... but she'll be in this town... somewhere. I'll find her. He nods, takes down the closed-for-lunch sign, sails it to the counter, opens door, goes out into the street. After a quiet moment: LILA I just listened... and believed everything they told me. 'She stole the money.' 'We don't want to get her in trouble.' 'No don't bring the police in'... SAM It was her boss' idea not to report it to the police? LILA No. The man whose money she... he talked so loud and fast, and I... I should've called the police. SAM He must have had a darn good reason for wanting them kept out of it... All that cash... LILA I ought to call the police right now! SAM No. LILA Why not? Sam, is she hiding here? Are you two planning to go away with the money? SAM How could I go away? I'm in debt up to my... (Smiles at the incongruity of his reply, then goes serious) If she did steal that money... It's hard to believe she did because it's hard to see why she would. Unless she had some wild idea that it would help me... us... LILA She haven't even called you? SAM I didn't see her... and I didn't hear from her! Believe that! LILA I need to... I need to believe something. This is the first time I've ever come up against anything I couldn't... understand. SAM You've led a charmed life. LILA No. I just think... anything can be explained. But Mary, doing a thing like this... I don't know how to handle... SAM Maybe we can handle it together. (He smiles encouragingly) LILA (A rueful shrug) I came flying up here expecting to get some explanation... for all I know, she may be trying to get in touch with me, at home. I'd better go home. SAM (A thoughtful pause) I think she'll contact me if she contacts anybody. Why don't you stay here. When she shows up... or calls... be here. LILA (A long study, her suspicion of him evaporating) You want me to stay here? SAM She'll need both of us. LILA (considers, then:) Where... can I stay? SAM (brightly) First rate hotel, fifty yards up the street. Come on. (as he reaches for the closed-for-lunch sign) After we check you in we'll go to the drugstore and get you a sandwich. Then we'll come back here... and wait. He hangs the sign on the door, ushers Lila out, closes door behind him. CUT TO: EXT. STREET - (DAY) They emerge from the store and walk along to the hotel. As they enter, Arbogast is in the act of taking over a white Ford sedan from a rental car man. They glance at him and he returns a cynical look. DISSOLVE TO: EXT. HOTEL - (DAY) Outside another hotel we see Arbogast alight from the white car and go into new hotel. DISSOLVE TO: EXT. COUNTRYSIDE - (DAY) The white car speeding along the highway. DISSOLVE TO: EXT. NEW MOTEL - (DAY) Arbogast going into the office - we see the sign above him. DISSOLVE TO: EXT. BATES' MOTEL - (DAY) A high shot showing the freeway and Bates house and motel on the side old highway. A pause and then across the bottom of the picture a white car speeds by on the freeway. DISSOLVE TO: EXT. HOTEL - (DUSK) Another Hotel. Arbogast goes in. DISSOLVE TO: EXT. BATES' MOTEL - (DAY) The white car speeding along the freeway again going in the opposite direction to last time. Norman, a tiny figure, is seen going up the steps to his mother's house. DISSOLVE TO: EXT. BOARDING HOUSE - (DAY) Arbogast's search is getting down in the scale. This is an entrance to a cheesy boarding house. "Rooms to Rent," etc. He looks at his list and then goes in. DISSOLVE TO: EXT. BATES' MOTEL - (DAY) The white car goes by on the freeway again. DISSOLVE TO: EXT. ROOMING HOUSE - (DAY) Arbogast goes in. DISSOLVE TO: EXT. BATES' MOTEL - (TWILIGHT) Heavy traffic on the freeway. A beat or two - again the white car. It slows up opposite the distant motel. It makes a turn and goes back out of scene. A pause and it reappears on the old road and slowly makes its way toward the Bates' Motel. EXT. THE BATES' HOUSE AND MOTEL - (TWILIGHT) We now see Norman. He has brought out an old rocking chair and has placed it on the office porch and is sitting hunched in it. And he is darning one of his own socks. CAMERA HOLDS. Beyond the porch, and Norman, we see the old house and can barely make out, in the twilight dimness, the figure of his mother seated at the window. Here, too, there is that quality of quiet peace surrounded by a vague foreboding. Now Norman looks up at the SOUND of the approaching car. And continues looking as the car comes to a stop and Arbogast gets out. Arbogast gives the place a quick once-over, gazes at Norman, starts forward. In his steps and manner there is that bored, routine-logged quality of a man who has seen too many motels and asked question of too many hotel managers over too short a period of time. Norman rises as Arbogast comes forward. NORMAN (shoving sock in his pocket) I always forget to put the sign on, but we do have vacancy. (Cheerfully) Twelve in fact. Twelve cabins, twelve vacancies. ARBOGAST (pleasantly) In the past two days I've been to so many motels, my eyes are bleary with neon. This is the first one that looked like it was hiding from the world at large. NORMAN I don't really forget the sign, it just doesn't seem... any use. (Points) This used to be the main highway. (Starts for office) Want to register, please? ARBOGAST Sit down. I don't want to trouble you, just want to ask... NORMAN No trouble. Today's linen day. I change all the beds once a week, whether they've been used or not... dampness. I hate the smell of dampness. (Opening office door) It's such a dank smell. Norman is holding the door open, so Arbogast walks in. Norman follows. INT. MOTEL OFFICE - (TWILIGHT) Norman switches on the overhead light, starts for the linen closet, suddenly pauses, turns, studies Arbogast, who has remained standing by the door. NORMAN You out to buy a motel? ARBOGAST No. NORMAN Oh. I thought... you said you'd been to so many in two days... What was it you wanted to ask? ARBOGAST I'm looking for a missing person. (takes out and opens wallet and extends it as he speaks) My name's Arbogast, private investigator... (takes back wallet when Norman doesn't look at it) Trying to trace a young girl who's been missing almost a week. From Phoenix. (A look at Norman's frightened expression) It's a private matter... family wants to forgive her... (smiles) She isn't in trouble. NORMAN (forcing a smile) I didn't think the police went searching for people who weren't in trouble. ARBOGAST I'm not the police. NORMAN Oh. He waits a moment, then opens closet, starts counting out sheets and pillow cases, keeps his back to Arbogast. Arbogast takes a photograph out of his pocket, talks as he crosses to Norman. ARBOGAST We have reason to believe she came this way... might have stopped in this area... (extends photograph, which Norman doesn't glance at) Did she stop here? NORMAN No. No one has stopped here in weeks... ARBOGAST Mind looking at the picture before committing yourself? NORMAN Committing myself to what? You sure talk like a Policeman. ARBOGAST Look at the picture. Please. Norman glances, briefly, turns away, lifts sheets and pillow cases off the shelf holds them close, almost protectively. NORMAN No. At least I don't recall. ARBOGAST She might have used an alias. Mary Crane's the real name, but she might've registered... NORMAN (interrupting) I don't even bother with guests registering any more... I mean, little by little, you drop the formalities. (more relaxed, because Arbogast is listening with a pleasant smile) I shouldn't even bother to change the linen. I guess habits die hard. Which reminds me... He goes to the wall, flips a light switch. NORMAN The vacancy sign. Just in case. We had a couple the other night, said if the sign hasn't been on they'd have thought this was an old deserted mining town or something. ARBOGAST Now there's a couple even remarking about your sign, and see how easily you forgot them? NORMAN What? ARBOGAST You thought no one has stopped here in weeks. Now, try to remember if this girl... ARBOGAST (A pause, a study) Maybe she even signed the register... because habits die hard. Let's check it, huh? Norman says nothing. Arbogast goes to the desk, pulls the registry book around, flips back a page or two. Norman simply stares at the man. Arbogast hums faintly, pleasantly, as he examines the pages. Then: ARBOGAST Yes sir! Marie Samuels. Interesting alias. He takes a slip of paper out of his pocket, lays it beside the signature in the registry book, all the while nodding and smiling nicely, as if this discovery will make Norman as happy as it is making him. ARBOGAST Don't know where she got "Marie," but "Samuels" figures. Her boy friend's name is Sam. (Turns to Norman, the smile gone) Was she in disguise? Or do you want to check the picture again? NORMAN I didn't lie to you. I just have trouble keeping track of... time. Arbogast has reached him, the picture extended. Norman looks dutifully at it. NORMAN It was raining and her hair didn't look like that... damped out, I guess. ARBOGAST Tell me all about her. NORMAN She arrived kind of late, wet and hungry and she was very tired and went right to bed and left early. ARBOGAST How early? NORMAN Very early. Dawn. ARBOGAST Of which morning? NORMAN The following morning. Sunday. ARBOGAST No one met her? NORMAN No. ARBOGAST Or arrived with her. NORMAN No. ARBOGAST She didn't call anyone? Even locally? NORMAN No. ARBOGAST You didn't spend the whole night with her did you? NORMAN No! Of all... ARBOGAST How do you know she didn't make a call? NORMAN She was tired. She said she had a long drive ahead of her, in the morning... Yes, now I'm remembering very clearly because I'm picturing. When you make a picture of the moment in your mind, you can remember every detail. She was sitting back there, no she was standing up, with some sandwich still in her hand, and she said she had to drive a long way. ARBOGAST Back where? NORMAN What do you mean? ARBOGAST You said she was sitting "back there," or standing rather... NORMAN Oh. My private parlor. She had an awful hunger... so I made her some supper. And then she went to bed and left in the morning. I didn't even see her leave. ARBOGAST How did she pay you? NORMAN What? ARBOGAST Cash or check? For the cabin... NORMAN Cash. ARBOGAST And when she left, she never came back. NORMAN Why should she? I'm sorry, I have work to do, Mr... if you don't mind... ARBOGAST I do mind. If it don't jell, it ain't aspic! (smiles) This ain't jelling. NORMAN I don't know what you expect me to know about... people come and go... ARBOGAST She isn't still here, is she? NORMAN Not at all! ARBOGAST Suppose I wanted to search the cabins, all twelve... would I need a warrant? NORMAN (as if pleasantly exasperated) Look, if you won't believe me, go ahead. You can help me make beds if you like. (laughs, shakes his head) Come on. He starts out. Arbogast pauses, momentarily confused by the young man's openness. CUT TO: EXT. THE MOTEL PORCH - (NIGHT) Norman walks down the porch, hesitates before Cabin One, walks on a bit toward Cabin Two, stops, turns to see if Arbogast is following. Arbogast has come out onto the porch, but is not following. He has walked to the opposite end of the porch and is standing at its edge, looking up at the old house. The upstairs window is in darkness. The neon of the Vacancy and Motel signs splash strange light over the scene. NORMAN Change your mind? Arbogast does not reply. Norman becomes apprehensive, starts to Arbogast, forcing himself to remain calm and cheerful. NORMAN I guess I've got one of those faces you can't help believing. ARBOGAST (to Norman, but continuing to stare at the house) Anyone at home? NORMAN I live there. Alone. ARBOGAST Someone is sitting in that window. NORMAN My mother. Arbogast turns, gazes seriously at him. NORMAN She's... ill. Confined to her room. It's practically living alone. ARBOGAST (after a pause) If this girl Mary Crane were here, you'd have no reason to hide her would you? NORMAN Of course not. ARBOGAST If she paid you well? NORMAN Now, look...! ARBOGAST Or if she had you say... gallantly protecting her... you wouldn't be fooled... you'd know she was just using you. Wouldn't you? NORMAN I'm not a fool! And I'm not capable of being fooled! Not even by women! ARBOGAST I didn't mean that as a slur on your manhood. I'm sorry. NORMAN (disturbed now) That's all right. maybe she could have fooled me. But... (a rueful smile) She didn't fool my mother. ARBOGAST Your mother met her? (quickly) Can I talk to your mother? NORMAN No. I told you, she's confined... ARBOGAST Just for a moment. She might have picked up a hint you'd miss. ARBOGAST Sick old women are sharp. Come on, I won't disturb... NORMAN No! Just no! I have one of those breaking points like any other man, believe it or not, and I'm near it. There's just so much pushing I can take and I think... ARBOGAST All right! (starts away, toward his car, pauses) Might save me a lot of leg-work if I could just talk to your mother. But I'd need a warrant for that, won't I? Norman does not respond. Arbogast gets in his car, starts the motor. Norman looks up, studies the man's face, his own face showing apprehension. Arbogast backs the car around very slowly, his gaze divided between the old house and the lighted window of Cabin Two. As he turns the car out, his headlights light up the porch. Norman stands, watching him drive away. EXT. PHONE BOOTH - (NIGHT) The car pulls up and Arbogast gets out of car, leaving motor running. As he starts to walk across the highway, CAMERA PULLS AWAY and we CUT TO: EXT. HIGHWAY WITH TELEPHONE BOOTH - (NIGHT) Arbogast gets to the phone booth, enters. CAMERA STARTS FORWARD, and we see Arbogast remove a small notebook from his pocket, check on a number, drop a dime in the slot and dial this number. As we reach phone booth, CUT TO: ARBOGAST (into phone) Miss Crane, please. (listens) She leave a number? (listens) Thanks. (hangs up, dials again, waits) Lila there, Mr. Loomis? Arbogast. (waits) Lila? Look, this isn't much, but it might make you feel a little better. Mary was up here. Spent last Saturday night at Bates' Motel, out here on the old highway. (listens) Young fellow runs it, said Mary spent the night, left, period! (listens) I did question him, believe me. I think I got all there was to get. Just have to try to pick up the scent from here. (listens) Well... maybe that's because I don't feel entirely satisfied. He's got a sick old mother, confined type, and I think she saw Mary and talked to her. Shame, too... confined old women love to talk to strangers. (listens) I was, but I think I'll go back to the motel, first. (listens) No, you stay put, Lila. With Loomis. I should be back in an hour. (listens) All right. And Lila... You'll be happy to know what I think. I think our friend Sam Loomis didn't even know Mary was here. (smiles) See you in an hour. Or less. He hangs up, gets out of the phone booth. DISSOLVE TO: EXT. BATES' MOTEL - (NIGHT) A distant view of the House and Motel. There is a light on in the house. There is also a light on in Norman's office. We see Norman emerge from his office and move along the porch toward the distant cabins. He carries sheets on his arm. He goes into the last cabin and switches the light on. Into the foreground the hood of the white Ford enters the scene and stops. Arbogast gets out. He goes over to the Motel office. EXT. MOTEL OFFICE - (NIGHT) Arbogast goes in. INT. OFFICE - (NIGHT) Arbogast looks around the empty office and calls. ARBOGAST Bates! He goes over to the door to the parlor and enters. He looks around the bird-ridden room. He stops short as he sees: C.U. - THE OLD SAFE IN THE CORNER C.U. - ARBOGAST goes over to it. He finds it unlocked. With a quick, cautious look around he opens it. C.U. - THE EMPTY SAFE C.U. - ARBOGAST straightens up and goes out. EXT. MOTEL OFFICE - (NIGHT) Arbogast comes out and looks off. He sees: THE LAST LIT CABIN The door ajar. C.U. - ARBOGAST - (NIGHT) would go along but he stops with a new thought. He turns around and looks off. L.S. - THE OLD HOUSE FROM HIS VIEWPOINT - (NIGHT) C.U. - ARBOGAST comes to a decision. He goes off. L.S. ARBOGAST dashes up the stone steps to the House. MEDIUM SHOT CAMERA HOLDS as Arbogast goes up onto the porch. The house is dark within except, as we can now see, for a faint spill of light in the foyer, light which comes from the upstairs hall. Arbogast goes to the living room window, looks in, sees only darkness. Then he goes to the door, listens for along moment, hears nothing. Very slowly, almost painfully, he turns the knob of the door and pushes gently with his arm and shoulder. The door begins to open. He allows it to open just enough for him to slip through and into the foyer. CUT TO: INT. FOYER OF BATES' HOUSE - (NIGHT) Arbogast gradually eases the door closed, stands against it, waiting. He looks up in the direction of the light, sees no one. The door at the head of the stairs is closed. Arbogast listens, holds his breath, hears what could be human sounds coming from upstairs but realizes these could also be the sounds of an old house after sunset. After a careful wait, he crosses to the stairs, starts up, slowly, guardedly, placing a foot squarely on each step to test it for squeaks or groans before placing his full weight on it. CAMERA FOLLOWS, remaining on floor level but TRAVELLING ALONG the stairway as Arbogast makes his way up. CUT TO: EXTREMELY HIGH ANGLE INT. STAIRWAY AND UPSTAIRS LANDING We see Arbogast coming up the stairs. And now we see, too, the door of the mother's room, opening, carefully and slowly. As Arbogast reaches the landing, the door opens and the mother steps out, her hand raises high, the blade of an enormous knife flashing. C.U. - A BIG HEAD OF AN ASTONISHED ARBOGAST The knife slashes across his cheek and neck. Blood spurts. The sudden attack throws him off balance. He stumbles back and staggers down the whole of the staircase. He frantically gropes for the balustrade as he goes backwards down the stairs. The CAMERA FOLLOWS him all the way. A wicked knife keeps thrusting itself into the foreground. As he collapses at the bottom, the black head and shoulders of Mrs. Bates plunges into the foreground as the CAMERA MOVES IN to contain the raising and descending murder weapon. FADE OUT FADE IN INT. BACK ROOM OF HARDWARE STORE - (NIGHT) Lila is sitting close by the phone, and looks as if she hasn't moved from it in the last hour. Sam is pacing, occasionally stopping at the window, glancing out, pacing again. The ash tray close to Lila is filled. There is a thick atmosphere of smoke, tension and weariness in the small, otherwise cozy room. SAM (at window, quietly) Sometimes Saturday night has a lonely sound. Ever notice, Lila? LILA (unable to keep up small talk) Sam. He said an hour. Or less. SAM It's been three. LILA Are we just going to go on sitting here? SAM (suddenly cheerful) He'll be back. Let's sit still and hang on, okay? LILA You have an awfully nice habit, Sam. SAM Hundreds! Which one is your pet? LILA Whenever I start contemplating the panic button, your back straightens up and your eyes get that God-looks- out-for-everybody look and... I feel better. SAM I feel better when you feel better. LILA (a pause - then she rises) Where's the old highway? SAM You want to run out there, bust in on Arbogast and the sick old lady, shake her up and maybe spoil everything Arbogast's been building for the last three hours. LILA Yes. SAM That wouldn't be a wise thing to do. LILA Patience doesn't run in our family. Sam, I'm going out there! SAM Arbogast said... LILA An hour! Or less! Sam stares at her, frowns in concern over her very real anxiety, goes to the phone, dials operator. SAM (into phone) Got the number of the motel out on the old highway? Bates, I think. (waits) LILA Sam! Why call when we can go? SAM And maybe pass Arbogast on the road? (into phone) Thanks. He presses down the receiver, releases it, dials Bates' Motel. The faint other-end ringing tones can be heard, repeatedly, annoyingly. He waits. SAM (to Lila) Probably on his way back right now. LILA Sam, I'm going. SAM (hangs up and picks up his jacket) You'll never find it. He starts for the door. Lila follows after him into the store. INT. STORE He pauses halfway down, turns, puts his hands on her arms. SAM Stay here. LILA Why can't I go out there with you? SAM (looks at her) I don't know... (he collects himself) One of us has to be here in case Arbogast's on the way. LILA (nervously) Just wait here? SAM (a warm smile) Contemplate your... panic button. He hurries down to the street door and out. CAMERA HOLDS on Lila as she stares after Sam. As she stands alone in the darkened store, all the hardware seems to take on sinister shapes. C.U. Among some bathroom fittings a nozzle from a shower falls onto the floor. MEDIUM SHOT Lila turns and picks if from the floor and puts it back in its place. She turns and again looks to the deserted street with a touch of anxiety. She gives a slight unconscious shiver. DISSOLVE TO: EXT. THE SWAMP - (NIGHT) Tall and lonely still against the moonlight, the figure of Norman, silhouetted. He doesn't move, merely stands there at the edge of the swamp, staring down at the now calm and quiet face of it. CUT TO: EXT. THE MOTEL AND HOUSE - (NIGHT) All light are out, except the light in Norman's mother's room. And her figure can be seen sitting in the window, relaxed in a high-back chair, her face turned into the room. After a second, we hear the SOUND OF A MOTOR, and then Sam's small pick-up truck swings into the driveway. Sam stops the motor, automatically switches off headlights, pauses as he observes the silence and darkness of the area. Then he hops out of the cab, goes quickly to the office, knocks on the door. As he waits for a response, he looks down the long porch, studies the darkened cabins, knocks again, louder, looks in the other direction and sees the house and the figure at the one lit window. He stares a moment then calls loudly: SAM Arbogast? CUT TO: EXT. THE SWAMP The silhouette of Norman. He is still. Over shot, very dimly, comes the SOUND OF SAM'S VOICE, calling again for Arbogast. Norman turns slowly until, in silhouette, we see his profile, his chin lowered furtively as he looks over his shoulder in the direction of the house. There is silence for a moment, and then again the SOUND of Sam POUNDING at the door. DISSOLVE TO: INT. HARDWARE STORE - (NIGHT) The store is in darkness, only the glow from the back room spilling in. L.S. With CAMERA placed with its back to the street door, we can see the distant tiny figure of Lila seated and waiting in the back room beyond. There is a SOUND of a car pulling up. The tiny figure jumps up and runs all the way from the back room down the aisle of hardware and comes into a BIG HEAD. We see Lila's desperate anxious look. MEDIUM SHOT From her viewpoint we see Sam alighting from his truck and coming toward the door of the store. He enters. He and Lila exchange quiet glances. SAM He didn't come back here? LILA (worriedly) Sam. SAM No Arbogast. No Bates. And only the old lady at home... (frowning) A sick old lady unable to answer the door... or unwilling. LILA Where could he have gone? SAM Maybe he got some definite lead. Maybe he went right on... LILA Without calling me? SAM In a hurry. LILA Sam, he called me when he had nothing definite, nothing but a dissatisfied feeling. Don't you think he'd have called if he had anything... SAM (interrupting) Yes. I think he would have. Lila goes quiet. Sam starts toward the back room, pauses at the doorway, turns. Lila has remained by the door, looking out at the street. She feels his pause, turns, and for a moment they share at each other across the darkened room. SAM Let's go see Al Chambers. LILA Who's he? SAM He's the Deputy Sheriff around here. As he starts forward. DISSOLVE TO: EXT. STREET THE SHERIFF LIVES ON - (NIGHT) A dark, quiet, tree-ceilinged street, the small neat houses dim in the moonlight. Sam's pick-up truck comes down the street, pulls up before the house of Sheriff Chambers. CAMERA MOVES IN on Sam and Lila as they remain for a moment in the truck's cab, staring quietly at the sleeping house. SAM Our Deputy sleeps. LILA Well? SAM Nothing. Just... all the lights out... must be asleep. LILA (a small exasperation) Does that mean we can't... SAM No. I'm just procrastinating. People hate when the doorbell rings in the middle of the night. (gives up, starts out) Come on. He gets out of cab, goes around to help Lila. She is already out. CAMERA FOLLOWS them up the small path to the front door. Sam presses the bell button. Both he and Lila are almost knocked over by the shocking, clanging, ear-splitting BLAST OF THE BELL within the house, a ring which sounds more like a fire alarm than a doorbell. He tries to smile, fails. Lila doesn't even try. The downstairs hall light goes on and a moment later the door is unhesitatingly opened by MRS. CHAMBERS, a small, lively stick of a woman wrapped in a thick flannel robe and a corona of hospitality. MRS. CHAMBERS Oh? SAM Sorry, Mrs. Chambers. I hate bothering you... MRS. CHAMBERS You didn't! (a cross look up at the bell) It's tinkerbell. (a quick smile at Lila) Al wants to be sure he'll hear it if anyone rings it in the middle of the night. (to Sam) Well come on in, at least! As she opens the door wide, CUT TO: INT. DOWNSTAIRS HALL OF SHERIFF'S HOUSE - (NIGHT) Fat roses splatter the wallpaper. The stairs are carpeted. The lighting is bright. There is a perfectly fitting wall phone by the parlor arch. Mrs. Chambers goes to the stairway, yells up. MRS. CHAMBERS Albert! (a tiny wait, a smile as Sam and Lila enter) Al Chambers! Sam is about to close the door behind him. Mrs. Chambers motions for him not to, scurries across the hall, leans outside, presses the doorbell. The RING within the house is even more shattering. She closes the door, starts to the stairway, pauses as the SOUNDS of movement above COME OVER SHOT. MRS. CHAMBERS Customers! SHERIFF CHAMBERS comes down the stairs, in a bathrobe which matches his wife's. He is a tall, narrow man with a face originally destined for Mount Rushmore. He nods at Sam, looks at him with wide-awake eyes and a no-nonsense concern. SAM We have a problem. MRS. CHAMBERS (to Lila) Let's go out back and have some coca while the men are talking. LILA No, thank you. It's my problem, too. SAM I don't know where to start... (a look at Lila) Except at the beginning. LILA Yes. SAM (to Sheriff) This is Lila Crane, from Phoenix. She's been here for a few days, looking for her sister. There's a private detective helping... and, well, we got a call tonight, from this detective, saying he'd traced Mary... MRS. CHAMBERS Mary is Lila's sister? SAM Yes. He traced her to that motel, out on the old highway... MRS. CHAMBERS (to the Sheriff) Bates' Motel. (to Lila) He has a mind like a mechanical brain and the more information you feed it... Go on, Sam. SAM He traced her there and called us to say he was going to question Mrs. Bates... MRS. CHAMBERS (a pleasant shock) Norman took a wife? SAM No. An old woman, his mother. (to Sheriff, quickly) That was early this evening. And we haven't seen or heard from him since. I went out to the motel, just got back. No one was in the office, and... LILA (interrupting, anxiously) Will you help us? I think something's wrong out there! SHERIFF (after a considerate pause) Now. Your sister is missing how long? LILA She left Phoenix a week ago yesterday. And no trace until... SHERIFF How'd you and this detective come to trace her to Fairvale? SAM They thought she'd be coming to me. SHERIFF Left Phoenix under her own steam? LILA Yes. SHERIFF (a pause) She ain't missing so much as she's run away. SAM Yes. SHERIFF From what? LILA (a look at sam, then:) She stole some money. SHERIFF A lot? LILA Forty thousand dollars. SHERIFF And the police haven't been able to... SAM (interrupting) Everyone concerned thought... if they could get her to give back the money... they could avoid involving her with the police. SHERIFF Explains the private detective. He traced her to the Bates place. What'd he exactly say when he called you? LILA Mary had been there, one night, and had left. SHERIFF With the forty thousand dollars? LILA He didn't mention the money. (anxiously) What he said on the phone isn't important, is it? He was supposed to come back after he spoke to the mother, and he didn't! That's what I want you to do something about! SHERIFF Like what? LILA Go out there! Find somebody, ask some questions! (a pause) I'm sorry if I seem over-anxious to you. I keep thinking... something's wrong. I have to know what! SHERIFF I think something's wrong, too, Miss. But not the same thing. I think your private detective is what's wrong. (As Lila is about to object) I think he got himself a hot lead as to where your sister was going... probably from Norman Bates... and called you to keep you still while he took off after her and the money. LILA He said he was dissatisfied... and was going back. MRS. CHAMBERS (to Sheriff) Why don't you call Norman and let him say just what happened, if he give the man a hot lead and he did just scooted off... it'll make the girl feel better, Albert. SHERIFF At this hour? SAM He was out when I was there. If he's back he probably isn't even in bed yet. SHERIFF He wasn't out when you were there. He just wasn't answering the door in the dead of night... like some people do. This fellow lives like a hermit... MRS. CHAMBERS Recluse. Kinder word. SHERIFF (to Sam) You must remember that bad business out there. About ten years ago... SAM I've only been here five. Right now it feels like ten, but... LILA All right! Then call! At least, call! Mrs. Chambers goes to phone, dials operator. MRS. CHAMBERS (into phone) Florrie, the Sheriff wants you to connect him with the Bates Motel. She hands the receiver to the Sheriff. He takes it, reluctantly, listens to the dim sound of RINGING on the other end. After a moment: SHERIFF (into phone) Norman? Sheriff Chambers. (listens) Been just fine, thanks. Listen, we got some worries here. Did you have a man stop out there tonight... (listens) Well, this one wouldn't be a customer, anyway. A private detective, name of... MRS. CHAMBERS Arbogast. SHERIFF (into phone) Arbogast. (listens) And after he left? (listens) No, it's okay, Norman. How's it been going out there? (listens) Well, I think you oughta unload that place and open up closer in to the action, a smaller place, you know... but... LILA Please! SHERIFF (into phone) Sorry I got you up, boy. Go back to sleep. Yeah, be glad to. (hangs up, turns to Mrs. Chambers) Said to give you his regards. SAM (faint irony) Was that all? SHERIFF This detective was out there and Norman told him about the girl and the detective thanked him and went away. LILA And he didn't go back? Didn't see the mother? The Sheriff looks long at Lila, shakes his head sympathetically. SHERIFF You should've called in the police the second you found your sister has skipped. You go starting private investigations, using people you don't even know... LILA What difference does that... SHERIFF Your Detective told you a nakedfaced lie. MRS. CHAMBERS Barefaced. SHERIFF He told you he wasn't coming right back cause he wanted to question Norman Bates' mother, right? LILA Yes. SHERIFF (a pause, then calmly) Norman Bates' mother has been dead and buried in Greenlawn Cemetery for the last ten years! There is a long silence. Sam and Lila stare at the Sheriff. MRS. CHAMBERS I helped Norman pick out the dress she was buried in. Periwinkle blue. SHERIFF It ain't only local history, Sam, it's the only murder-and-suicide case in Fairvale ledgers! Mrs. Bates poisoned this guy she was... involved with, when she found out he was married, then took a helping of the same stuff herself. Strychnine. Ugly way to die. MRS. CHAMBERS Norman found them dead together. In bed. SAM You mean that old woman I saw sittin' in the window wasn't Norman Bates' mother? MRS. CHAMBERS (hopefully, happily) Maybe you saw Mary! SAM I'd know the difference between Mary and an old woman. SHERIFF Now wait a minute, Sam. You sure you saw an old woman? SAM Yes! In the house behind the motel. I pounded and called but she... just ignored me. SHERIFF And you want to tell me you saw Norman Bates' mother. LILA It must've been. Arbogast said so, too... and he said the young man wouldn't let him see her because she was ill! The Sheriff stares at both of them, and when he finally speaks there is an almost inaudible tone or irony in his voice. SHERIFF Well, if the woman up there is Mrs. Bates... who's that woman buried out at Greenlawn Cemetery? QUICK CUT TO: INT. NORMAN'S PARLOR BEHIND OFFICE - (NIGHT) Norman sits in the dim, one-lamp light, the phone next to him, his hand still near it as if he had not been able to move his hand after hanging up. He is staring at the shrike- like bird which is perched on the lamp shade. Decision and resolution are beginning to show in his face. Suddenly he rises, starts quickly out of the room, tries to switch off the lamp as he goes and in so doing succeeds only in knocking the bird off the shade. He watches it fall, does not try to catch it. It hits the floor with a thud and sawdust spills out. He stares sadly at it, for a moment, then tends down, scoops up the sawdust, tries to press it into the split seam, picks up the bird, puts it in a drawer. Then he puts out the lamp, goes out, crosses the darkened office and goes outside. CUT TO: EXT. MOTEL AND HOUSE - (NIGHT) Norman comes off the porch, walks to the path and directly up to the house, opens the door and goes in. CUT TO: INT. DOWNSTAIRS HALLWAY AND STAIRWAY - (NIGHT) SHOOTING UP THE STAIRS Norman goes up, pauses one moment outside his mother's door, then opens it and goes in, leaving the door open. For a moment we hear only Norman's low, quiet voice, his words indistinguishable. Then we hear the cold shot of his mother's derisive laughter. MOTHER'S VOICE I am sorry, boy, but you do manage to look ludicrous when you give me orders! NORMAN'S VOICE Please, mother... MOTHER'S VOICE (Sharp, laughter all gone) No! I will not hide in the fruit cellar! (A shrill laugh) Think I'm fruity, huh? (Hard, cold again) I'm staying right here! This is my room and no one will drag me out of it... least of all my big bold son! NORMAN'S VOICE (Rising now, anxiously) They'll come now, Mother. He came after the girl and now someone will come after him! How long do you think you can go on... Mother, please, just for a few days, just so they won't find you! MOTHER'S VOICE (Mimicking) Just for a few days... (Furious) In that dank fruit cellar? No! You hid me there once, boy, and you won't do it again! Not ever again! Now get out! (A pause, quiet) I told you to get out, boy! (A longer pause) Norman! What do you think you're going to do? Don't you touch me! Don't! Norman! (A pause, then cajolingly) All right, son, put me down and I'll go. I'll go on my own two feet. I can go on my own two feet, can't I? During all this the CAMERA has been slowly creeping up the stairs. It does not stop at the top however, but continues on the same high angle that we had in Scene 57. She starts to laugh, a terrible sound like an obscene melody. NORMAN'S VOICE I'll carry you, mother. Norman comes out of the room, his mother held in his arms, her head leaning against his shoulder. He carries her down the stairs, along the lower landing to the cellar stairs, and then down those stairs to the basement. DISSOLVE TO: EXT. FAIRVALE PRESBYTERIAN CHURCH - (MORNING) An overcast morning, but a sunny-faced crowd. The service is just over, there is contentment, and peace, and just a little I-went-to-church-smugness in the faces of the churchgoers as they come out of the chapel, and spread their separate ways away. Amongst the crowd, waiting and searching the faces, are Sam and Lila. In their expressions there is no peace, no contentment. CAMERA MOVES IN CLOSE. They are not speaking. Lila looks as if she has had no sleep. Suddenly, Sam becomes alert, takes Lila's arm, starts toward the church. CAMERA MOVES WITH THEM, stops as they approach Sheriff and Mrs. Chambers. The Sheriff stares rather sympathetically at Lila. Mrs. Chambers smiles nicely. SAM We thought, if you didn't mind, we'd go out to the motel with you. MRS. CHAMBERS He's already been. SHERIFF Went out before service. MRS. CHAMBERS Have you two had breakfast? SAM (To Sheriff, not a question) You didn't find anything. SHERIFF Nothing. Here, let's clear the path. He moves away and the others follow. CAMERA PANS them to the curb. LILA (Interrupting) Did he say anything about my sister? SHERIFF Just what he told your detective. She used a fake name, saw the register myself. Saw the whole place, as a matter of fact. That boy is alone there. SAM No mother. SHERIFF You must've seen an illusion, Sam. Now, I know you're not the seeing- illusion type... But no woman was illusion there and I don't believe in ghosts, so there it is! LILA I still feel... SHERIFF Can see you do. Sorry I couldn't make you feel better. You want to come to my office this afternoon and report a missing person... And the theft, is what you want to do! Sooner you drop this thing in the lap of the law, that's the sooner you'll stand a chance of your sister bein' picked up. How about that? LILA I don't know. MRS. CHAMBERS It's Sunday. Come over and do the reporting at the house, 'round dinner time. Make it nicer. You too, Sam. She smiles brightly, as if having invited them over to discuss this year's charity fandango, takes the Sheriff's arm, starts away. The Sheriff nods as he goes. Sam and Lila are alone now, at the curb, before the deserted chapel. For a long moment they just stand there, their faces as gray and overcast as the sky. SAM Maybe I am the seeing-illusions type. LILA You're not. Sam takes her arm, starts walking her up the street toward the spot where his pick-up truck is parked. CAMERA FOLLOWS them. SAM Want me to drop you at the hotel? Or you want to come over to the store? Lila does not answer. They reach the truck. Lila looks directly at Sam as he helps her into the cab. LILA I won't feel satisfied unless I got out there, Sam. SAM Neither will I. He slams the door, hurries around truck, gets into driver's seat, starts motor. As the truck drives off, DISSOLVE TO: SAM AND LILA IN TRUCK - (PROCESS - HIGHWAY) For a moment, both are silent; Sam watching the road as if there were other cars on it, Lila staring at nothing in particular, except perhaps her own inner fear. LILA I wonder if we'll ever see Mary again. SAM Of course we will. LILA Alive. Sam looks as if he'd like to say something humorous, something to cheer her. He cannot. He remains silent. LILA We lived together all our lives. When we woke up one morning and found ourselves orphans, Mary quit college and got a job, so I could go to college. SAM Where'd you go to college? LILA I didn't. I got a job, too. (A pause) I wonder if that hurt her, my not letting her sacrifice for me? Some people are so willing to suffer for you that they suffer more if you don't let them. SAM (Almost to himself) She was willing to lick the stamps. Lila looks quizzically at him, is too concerned to pursue it. LILA I wonder so many things about her now. Why she never told me about you... Funny, when you think there's an answer to everything, you think you know all the answers. SAM We were going to get married. Are going to get married! LILA Do you know how I found out about you? I found one of your letters... it was a nice letter, Sam. SAM This is the old highway. LILA I suppose... when you were able to marry her she'd have presented you, all shiny and proper... she always tried to be proper. SAM Watch your tenses. LILA Huh? SAM She always tries to be proper. Sam slows the truck to a stop, sighs, starts to light up a cigarette. Lila looks questioningly and impatiently at him. LILA You going to wait here for me? SAM I'm going with you. But we'd better decide what we're going to say and do when we walk in... LILA We're going to register. As man and wife. And get shown to a cabin... and then search every inch of that place, inside and... outside. SAM You won't believe it... (Starts motor) But this will be the first time I've ever pulled one of those man- and-wife-renting-cabin capers! LILA (A tiny smile, first in hours) I believe it. As truck starts to drive on, CUT TO: EXT. THE BATES MOTEL AND HOUSE - (DAY) The place is empty and silent and washed dirty by the deep gray of the cloudy sky. We see Sam's truck turning into the driveway and pulling to a stop. After a moment, Sam and Lila get out of the truck. FRESH ANGLE Close on Sam and Lila as they meet on the porch side of the truck. The motel office and the house beyond can be seen in b.g. of shot. Sam and Lila merely stare for a moment, then turn and gaze up at the house. There is no figure in the window and the shade is drawn. Same goes to the office door, peers in, knocks, opens door, enters. Lila remains on the driveway, beside the truck. CUT TO: INT. THE MOTHER'S ROOM - (DAY) CLOSE ANGLE on Norman standing by the window. He has pulled the curtains very slightly apart, is staring out and down at the motel, his eyes studying the lone figure of Lila, who is standing by the truck and looking up at the house. Norman studies her, and as her eyes look up at this very window he closes the curtains, turns away. We see the suspicion and fear in his face, the surge of panic and his struggle to contain it. Then he goes away. CAMERA remains on window, shooting out and down, and through the frail curtains we can see Sam as he comes out of the motel office and joins Lila. EXT. MOTEL OFFICE - CLOSE ON SAM AND LILA SAM (Unconsciously whispering) I wonder where Norman Bates does his hermiting? LILA Someone was at that window. I saw the curtain move. Sam takes Lila's arm. SAM Come on. He starts with her toward the path which leads to the old house. CAMERA PANS with them, and as they turn around the office corner, they see Norman coming down the path toward them. They pause and Norman pauses. He does not smile, nor speak. His usual grin and soft friendliness are gone; containment and impassivity lie in their place. SAM (Cheerfully) Just coming up to ring for you. NORMAN (Coming forward) I suppose you want a cabin. SAM We'd hoped to make it straight to San Francisco, but we don't like the look of that sky. Looks like a bad day coming... doesn't it. Norman walks past Sam, giving him the sort of quick, disapproving glance one gives a man who is obviously lying, goes onto the porch and into the office. Sam and Lila follow Norman. INT. MOTEL OFFICE - (DAY) Norman crosses to the desk, goes behind it, takes the key to cabin number twelve off the keyboard. Sam and Lila have entered and are almost to the desk-counter by this time. NORMAN I'll take you to... SAM Better sign in first, hasn't we? Sam eyes scan the counter, looking for a registration book. NORMAN It isn't necessary. SAM (Interrupting with a friendly cheerfulness) Uh, uh! My boss is paying for this trip... ninety percent business... and he wants practically notarized receipts. I better sign in and get a receipt. Norman stares at Sam, as if he'd like to yell at him, call him "liar." Instead he reaches under the desk counter, brings out the registration book. Lila moves closer, studies the book as Sam signs in. Sam signs "Joe and Mrs. Johnson." The signature and city of "Marie Samuels" and after it, the notation "Cabin One," can be clearly seen three registrations above Sam's. When Sam has finished he closes book, hands it back to Norman. Norman does not take it, starts out from behind counter. NORMAN I'll get your bags. SAM Haven't any. NORMAN (after a stare) I'll show you the cabin. As he starts for the door, Sam laughs. Norman stops, turns, looks at him. SAM First time I've seen it happen. (to Lila) Check in any place in this country without bags, and you have to pay in advance. Sam smiles as if at a funny remark, takes a bill out of his pocket. NORMAN Ten dollars... Norman returns to Sam, takes the extended bill, is about to start out again. SAM That receipt...? Norman goes reluctantly behind counter, lays down the key to cabin twelve, takes a receipt book out of the drawer under counter, starts to write. Lila steps up to the desk, picks up the key, quickly, starts out. LILA I'll start ahead. Norman looks up, gazes her as she goes out door. EXT. THE MOTEL - (DAY) Lila comes along the porch, pauses before cabin one, tries the door. It opens. She closes it quickly as she hears Sam and Norman coming out of the motel office, continues on down the porch. SAM (To Norman, who is following) Don't bother yourself... we'll find it. He goes on down the porch, doesn't even glance at cabin one, walks quickly and catches up to Lila just as she reaches cabin twelve. CAMERA REMAINS with Norman, who is standing by the office door, looking after Sam and Lila, his face alert and no longer impassive. He waits a moment, after they have closed their cabin door, then crosses to the pickup truck. CAMERA MOVES with him. He studies the truck, then leans in through the driver's window, twists the registration card around, reads it. It gives the correct name and address of Sam Loomis. Norman comes back out of the window, glances once more toward cabin twelve, then at the old house. His suspicions are confirmed, and now there is the relaxation of relief in his face. He takes on a purposeful air, turns, strides up the path, up onto the porch of the house, opens the door, goes in. INT. CABIN TWELVE - (DAY) Lila is at the cabin's rear window, looking out, straining for a glimpse of the old house, which cannot be seen from the window of this cabin. She turns, frustrated, anxious. Sam is standing at the foot of the bed, staring at the smooth coverlet, his brow creased in a sadness. LILA We should have asked for Cabin One... The one Mary was in. SAM I'm glad we didn't. He pulls his eyes from the bed, crosses to the desk, sits wearily, lights a cigarette. Lila watches him for a moment, feels a real compassion, goes to the bed, sits on its edge, turns again and looks at Sam's back. LILA We have to go into that cabin and search it, Sam... no matter what we're afraid of finding and no matter how much it may hurt. SAM I know. (A pause) Do you think if something happened, it happened there? LILA (A pause, then:) Sam, if you owned a useless business like this motel... one you probably couldn't even sell... what would you need to get away, to start a new business, somewhere else? (As Sam studies her) Forty thousand dollars? SAM How could we prove... (An almost hopeless laugh) Well, if he opens a new motel on the new highway... say, a year from now... LILA There must be some proof that exists right now! Something that proves he got that money away from Mary... Some way! SAM What makes you sound so certain? LILA Arbogast! Sam, he liked me... or felt sorry for me... and he was starting to feel the same about you. I heard it when he called... in his voice, a caring. He wouldn't have gone anywhere or done anything without telling us. Unless he was stopped. And he was stopped, so he must have found out something! Sam considers a moment, nods agreement, rises. SAM We'll start with Cabin One. He goes to the door, opens it slightly, looks out, then, back to Lila: SAM If he sees us... we're just taking the air. Lila goes to the door. He holds it open and she goes out. EXT. THE MOTEL - (DAY) Sam closes the door, joins Lila, takes her hand. Together they walk along the porch in the direction of Cabin One. CAMERA FOLLOWS. They pause before the door of Cabin One. Sam motions Lila to wait, to hold still, then goes on to the office, opens the door, calls in: SAM Bates? He waits, there is no response. He goes in and in a moment comes back out, closes the door, goes to Lila. She has already opened the door of Cabin One and has started to enter. INT. CABIN ONE - (DAY) The blinds are closed and the room is almost night-dark. Sam comes in after Lila, closes the door behind him. For a moment they just gaze at the room, as if willing it to tell them some satisfactory story. Neither speaks. Then, in dark silence, they begin to search, going methodically and thoroughly through all drawers, the closet, the desk, searching under the bed and in dark corners, not knowing what they expect to find and yet expecting to find some thing. Lila opens the bathroom door, looks in. The windowless room is very dark. She switches on the light, goes in. Sam moves toward the bathroom, is about to follow her in when he notices which room it is and automatically catches himself up, backs out. SAM Sorry. LILA Hospital clean. SAM What? LILA The bathroom. Look at how clean it is. The one in our cabin is clean... but this is clean! Sam goes in, glances around, nods. Lila goes through the medicine cabinet, finds nothing but a glass and two tiny tabs of soap. Sam leans against the door-jamb, looks at the tub, the shower pipe above it. He continues to stare, more interested suddenly, as if bothered by some off-key evidence he can't put his finger on. Then he looks at the shower curtain rod. And realizes there is no shower curtain. He frowns, is about to say something when Lila, who has been momentarily out of shot, interrupts. Sam turns, CAMERA TURNS, and we see Lila is standing above the toilet bowl, a tiny piece of wet paper stuck to the tip of her right index finger. SAM What is it? LILA It didn't get washed down. It's figuring... the kind you tear up and get rid of. (Extending her finger toward Sam) Some figure has been added to or subtracted from... forty thousand. Sam lifts the piece of paper off her finger, studies it, takes out his wallet, presses the wet scrap to his driver's license shield, puts it back in the wallet and puts the wallet away. LILA That's proof Mary was here! It would be too wild a coincidence for somebody else to... SAM (Reminding) Bates never denied Mary was here. LILA (Reminded) Yes. (A thought) But maybe this proves that Bates found out about the money. SAM Do we simply ask him where he's hidden it? LILA Sam, that old woman, whoever she is. I think she told Arbogast something! And I want her to tell us the same thing! She starts out of the bathroom. Sam takes hold of her arm, stops her. SAM You can't go up there. LILA Why not? SAM Bates. CAMERA STARTS TO PAN AWAY from them, moves slowly over the room, very slowly. LILA'S VOICE (O.S.) Let's find him. One of us can keep him occupied while the other gets to the woman. SAM'S VOICE (O.S.) You won't be able to hold him still if he doesn't want to be held. And I don't like you going into that house alone, Lila. CAMERA HAS PANNED clear across to the opposite wall now, and is moving up closer and closer to the tiny-flowered wall paper, finally closing in on one small rosebud. LILA'S VOICE (O.S.) I can handle a sick old woman. Now we see that the rosebud has been cut out, that this is the reverse side of the hole Norman peeped through to watch Mary. And we see the pupil of Norman's eye now. SAM'S VOICE (O.S.) All right. I'll find Bates and keep him occupied. The eye moves away and there is a brief flash of light before the hole is covered, on the other side, by the wall-hung painting. FRESH ANGLE - LILA AND SAM They are about to start out. Sam stops her again. SAM Wait a minute. If you get anything out of the mother... (A thought) Can you find your way back to town? (As Lila nods yes) If you do get anything, don't stop to tell me. Lila nods quickly, hurries to the door. Sam gets to it first, opens it a slight crack, looks out, then opens it wide enough for Lila and Himself to pass through. EXT. THE MOTEL - (DAY) ANGLE CLOSE on cabin one as Lila comes out, turns to her left, goes along porch toward cabin twelve. Sam remains at the door, then turns right, heading for the path. As he passes the office, he is shocked to see Norman standing just inside the open door. NORMAN Looking for me? SAM (Recovering) Yes, matter of fact. (The friendly grin) The wife's taking a nap and... I can never keep quiet enough for her... so I thought I'd look you up and... talk. NORMAN Satisfied with your cabin? SAM Fine. Sam starts into the office. Just before going in, he glances down the long porch, sees Lila standing outside the door of cabin twelve, waves her a tiny "all clear" signal. LILA CAMERA ANGLES to include Lila and her point of view. She watches Sam disappear into the office, waits until she hears the door close, then looks about for another way to reach the house. She sees the small alley at the end of this L of cabins, starts toward it. EXT. REAR OF MOTEL - S.C.U. LILA - (DAY) Behind the motel Lila hesitates. She looks ahead. LONG SHOT - (DAY) The old house standing against the sky. CLOSE UP - (DAY) Lila moves forward. LONG SHOT - (DAY) The CAMERA approaching the house. CLOSE UP - (DAY) Lila glances toward the back of Norman's parlor. She moves on. LONG SHOT - (DAY) The house coming nearer. CLOSE UP - (DAY) Lila looks up at the house. She moves forward purposefully. S.L.S. - (DAY) The house and the porch. CLOSE UP - (DAY) Lila stops at the house and looks up. She glances back. She turns to the house again. S.L.S. - (DAY) The CAMERA MOUNTS the steps to the porch. C.U. - (DAY) Lila puts out her hand. S.C.U. - (DAY) Lila's hand pushes the door open. We see the hallway. Lila ENTERS PAST CAMERA. INT. DOWNSTAIRS HALLWAY OF OLD HOUSE - (DAY) Lila closes the door, remains by it for a moment, quiet, listening. Her eyes scan the layout, the closed door which leads off the hallway, to the dining room on the right and the parlor on the left. Down at the end of the hall is the kitchen, the door wide open, the room beyond dim and silent. She notices the stairs leading down to the basement, stares at them, then back to the stairs leading to the second floor. She starts forward, and seems about to investigate the parlor and dining room. INT. THE MOTEL OFFICE - (DAY) Norman is behind the counter, standing, staring at Sam who is sitting relaxedly on a small sofa. Norman has the look of one who is protecting himself, as if the counter were a protective wall against the threatening world across it. SAM (Cheerfully, as if after a self-conscious pause) I've been doing all the talking so far, haven't I? NORMAN Yes. SAM I always thought it was the people who are alone so much who do all the talking when they get the chance. Yet there you are, doing all the listening! (A pause) You are alone here, aren't you? (As Norman does not reply) It would drive me crazy. NORMAN That would be a rather extreme reaction, wouldn't it? SAM (Lightly) Just an expression... (More seriously) What I meant was... I'd do just about anything... to get away. Wouldn't you? INT. DOWNSTAIRS HALLWAY AND STAIRS OF OLD HOUSE - (DAY) Lila is halfway up the stairs. As she climbs she is startled by the creaks and groans of the old wood of the steps. She steps more carefully. CAMERA remains at foot of stair, TILTING UP as Lila climbs. She pauses at the head of the stair. The door on her right, which opens into the mother's room, is closed. To her left is another door, half-open. Directly before her is a third door, closed. She holds a long moment, trying to picture in her mind which room would look out on the front of the house, decides, chooses the correct door, the one on her right. She goes to it, knocks lightly. INT. THE MOTHER'S ROOM (DAY) - CLOSE ANGLE ON DOOR We hear Lila's second knock, then, faintly, her soft call. LILA'S VOICE (O.S.) Mrs. Bates? There is quiet for a moment, then the door begins to open, and we see Lila. She stands on the threshold, looking in at the room, instantly disturbed by it, almost chilled, her expression indicating an impulse to close the door and go away from this room forever. After a moment, she enters, leaving the door open behind her. CAMERA PULLS BACK AND AWAY and we now see the room as Lila sees it. It is ornate, damask-and-mahogany, thick and warm and ripe, an olla podrida of mismated furnishings and bric-a-brac of the last century. The bed is four poster, but uncanoped; the dressing table is fancy and flounced with satin; there is a great chiffonier, a big-doored wardrobe, a large, oval, full- length pier-glass (this against the wall directly opposite the door), a satin recamier, an upholstered armchair by the window, a white marble fireplace, its grate cold but piled with ashes. And there is in the room an unmistakably live quality, as if even though it is presently unoccupied, it has not been long vacated by some musty presence. Lila glances at the bed. The damask coverlet is thrown over it, but it is not neat, there is the imprint of a body on it, a body which obviously has slept in a curled-up, womb- like position. Lila stares at it for a moment, up, then goes to the dressing table. Its top is scattered with boxes and jars of cosmetics and creams, traces of fresh powder, an opened bottle or perfume, a comb, and a brush with traces of hair in its bristles. Lila moves on, catches a glimpse of herself in the pier-glass, is startled, turns away, goes to the chiffonier, is about to open a drawer, sees the high wardrobe out of the corner of her eyes, goes to it, hesitantly. She opens one door. Fresh, clean, well pressed dresses hang neatly. Lila opens the other door. The sweaters and dresses and robes hang freely, none in moth-proof, storage- type bags. There is even a well-brushed collar of foxes. Along the floor of the wardrobe is a line of clean, polished shoes. Lila stares, then closes the door, turns, looks once again over the whole room, starts out, INT. THE UPSTAIRS HALLWAY OF THE OLD HOUSE - (DAY) Lila comes out of the mother's room, closes the door behind her, looks down the stairs, then starts across the hall to the room whose door is half-open. The room within is dark, the shades drawn full. Lila pauses on the threshold, reaches in, feels the wall, throws on a switch. INT. MOTEL OFFICE - (DAY) Sam has risen, is standing by the counter now. SAM I'm not saying you shouldn't be contented here, I'm just doubting that you are. I think if you saw a chance to get out from under... you'd unload this place... NORMAN (Angrily) This place! This isn't 'a place.' It's my only world. I grew up in that house back there. I was a happy child. My mother and I... we were more than happy. SAM And now that your mother's dead? Norman snaps a sharp, fast, ugly look at him. NORMAN My mother is not dead! SAM (Softly) I didn't think so. INT. NORMAN'S ROOM IN THE OLD HOUSE - (DAY) Lila is standing in the doorway, staring at the room in sick dismay. The room is grotesque, a horrible, ludicrous fantasy of childhood held beyond the point of decency. It is a small room. The walls are fancied with romping silhouettes of teddy-bears and sailboats and carousels and fat cows jumping over aghast moons. The bed is small, far too short for a man of Norman's height. And yet the rumpled covers indicate that it is in this bed that Norman sleeps. Next to the bed is an old-fashioned toy chest. On its top there are a bird-in-a-cage lamp, a plain-bound book, and an ash tray filled with ashes and cigarette stubs. A grown man's shirt hangs on a child's clothes tree. Against one wall there is a narrow, high bookcase filled with thick, unchildish-looking books. On the small, white chest of drawers there is an old, child's victrola. The record on the turntable is discovered, on close inspection, to be Beethoven's Eroica Symphony. Lila studies the room, fascinated and repelled. She glances at the bookcase, comes into the room, goes to the bookcase and pulls out a thick, large, plain-bound book. She opens it. Her eyes go wide in shock. And then there is disgust. She slams the book closed, drops it. INT. THE MOTEL OFFICE - (DAY) Norman, behind the counter, has moved back against the wall. Sam is still on the other side of the counter, but is leaning forward, his eyes hard on Norman's face. Norman's face is no longer expressionless. It has the stark, high sheen of a cornered animal. SAM (Pressing) You look frightened. Have I been saying something frightening? NORMAN I don't know what you've been saying. SAM I've been talking about your mother... about your motel. How are you going to do it? NORMAN Do what? SAM Buy a new one! In a new town! Where you won't have to hide your mother! NORMAN Shut up! SAM Where will you get the money to do that, Bates... or do you already have it... socked away... a lot of it... NORMAN Leave me alone! SAM ...Forty thousand dollars! NORMAN Leave me alone! He is close to panic now. He turns, swiftly, dashes back into his private parlor. Sam goes quickly around the counter, follows. INT. NORMAN'S PRIVATE PARLOR - (DAY) Norman hears Sam following, wants to run, to never be reached by this man. He crosses the small room, drawn to the rear window, as if he might fly through it. Sam enters, pauses. Norman turns, back against the window, as unable to fly away as are the many still, stuffed birds. Sam registers a brief flicker of reaction when he sees the birds, but continues to gaze at Norman, hard. SAM I bet your mother knows where the money is. And what you did to get it. And I think she'll tell us. Something self-assured and confident in Sam's tone gives Norman a new, more terrified alarm. He turns his head, glances out the window at the old house. He looks back at Sam and there is terror in his voice. NORMAN Where's that girl? The girl you came with! Where is she? Sam does not respond, smiles a half-smile, turns to examine a stuffed owl. Norman looks back at the house. NORMAN (A horrible groan) Oh, God! INT. UPSTAIRS HALL OF THE OLD HOUSE - (DAY) Lila, shaken and disturbed, almost sickened, is coming out of Norman's room. She has left the light on. She pauses in the middle of the landing, looks at the closed door opposite the stairs, goes to it, opens it, sees that it is the bathroom, pulls the door to, turns, starts toward the stairs. INT. NORMAN'S PRIVATE PARLOR - (DAY) Sam is lying on the floor, face downward, unmoving. A candlestick is on the floor, close by his head, still rocking as if just dropped. OVER SHOT comes the SOUND of Norman's footsteps and CAMERA TURNS in time to catch a brief glimpse of him going out into the office, almost at a run. INT. STAIRWAY OF THE OLD HOUSE - (DAY) Lila is on the top step, looking down toward CAMERA. She is listening, hoping to hear some human sound, some sound she might follow, pursue. She hears nothing. She starts down the stairs. Just below the halfway step, she looks at the front door, sees out through the door window: LILA'S VIEWPOINT - (DAY) Norman coming. INT. STAIRWAY OF THE OLD HOUSE - (DAY) For a moment Lila panics, then she hurries down the steps, cannot go in the direction of the front door, remembers the stairway behind her, turns and runs in that direction. The SOUND of Norman bounding up the porch steps can be heard. Lila turns and dashes down the stairs which lead to the basement, going down far enough to conceal herself, crouching there. Norman enters the hallway, closes the door softly, listens. He glances once in the direction of the basement stairs. He seems about to smile, when suddenly all expression vanishes from his face, and he appears to enter a no-place, no-time state. He crosses to the stairway, goes up. Lila remains crouched on the basement stairs, listening to the SOUNDS of Norman. His footsteps on the stairs followed by the fast noises of doors opening, of fast moving about an upstairs room. Convinced that he is searching the upstairs for her, she decides to chance an escape. She starts up the steps, is about to turn into the hallway when her eye is caught by a glimmer of light down in the basement. She pauses, looks down, sees the crack of light coming from behind the not entirely closed door to the fruit cellar. The swift moving SOUNDS of Norman continue to come from upstairs. Lila is torn, knows she should get out of the house while she has the chance, is unable to resist the impulse to check that hidden-looking room down below, a room in which, she desperately believes, there must lie some answer to what happened to Mary. She turns and goes softly and quickly down the stairs. INT. THE BASEMENT OF THE OLD HOUSE - (DAY) Lila reaches the bottom, stops, listens, hears the stairboards creaking as footsteps fall hard and measured upon them. She turns, pulls open the fruit cellar door, looks in. The woman is sitting in a comfortable chair, the back of the chair, and the woman, turned to the door. Lila calls a harsh, frightened whisper. LILA Mrs. Bates...? Lila goes into the room. INT. THE FRUIT CELLAR Lila goes to the chair, touches it. The touch disturbs the figure. It starts to turn, slowly, stiffly, a clock-wise movement. Lila looks at it in horror. It is the body of a woman long dead. The skin is dry and pulled away from the mouth and the teeth are revealed as in the skeleton's smile. The eyes are gone from their sockets, the bridge of the nose has collapsed, the hair is dry and wild, the cheeks are sunken, the leathery-brown skin is powdered and rouged and flaky. The body is dressed in a high-neck, clean, well-pressed dress, obviously recently laundered and hand-ironed. The movement of this stuffed, ill-preserved cadaver, turning as if in response to Lila's call and touch, is actually graceful, ballet-like, and the effect is terrible and obscene. Lila gazes for one flicker of a deathly moment, then begins to scream, a high, piercing, dreadful scream. And Lila's scream is joined by another scream, a more dreadful, horrifying scream which comes from the door behind her. NORMAN'S VOICE (O.S.) (screaming) Ayeeeeeeeeeeeeeeeeeeeeee Am Norma Bates! Lila turns. NORMAN His face is contorted. He wears a wild wig, a mockery of a woman's hair. He is dressed in a high-neck dress which is similar to that worn by the corpse of his mother. His hand is raised high, poised to strike at Lila. There is a long breadknife in it. LILA Close on her face. She is dumb-struck. Her eyes are screaming. BACK TO NORMAN As he is about to start forward, a man's hand reaches in from the doorway behind, grabs Norman's wrist. Sam comes through the door, still holding tight to the wrist, pulling back the arm and at the same time throwing himself at Norman, football tackle style. SERIES OF CUTS - THE FIGHT Norman and Sam, struggling. The wild fury in Norman's face, the mad noise of his screams and vile curses. The terrified, fight-to-the-death look of Sam. The still, staring Lila. MRS. BATES A close of her face, She appears to be watching and enjoying the fight. Over the shot, the SOUNDS of the struggle, the screams of Norman. DISSOLVE TO: EXT. COURTHOUSE AT READING - (NIGHT) There are many people gathered about the steps, the curious and the concerned and the morbid. At the curb, a couple of newspaper cars, two or three police cars, and a mobile unit truck from the local television outlet. There is noise, and chattering as questions are asked and answers given, and the sounds of traffic, and of the television equipment being moved into the courthouse, for on-the-scene reporting, and the stern voices of policemen trying to keep people back. The scene has a bright glare about it, that quality of sudden light thrown on a fearful darkness. CLOSER ANGLE ON STEPS OF COURTHOUSE A POLICEMAN trying to make way for the television men, muttering "keep back," etc., to the spectators. A TELEVISION MAN, carrying a piece of equipment goes through door, and CAMERA FOLLOWS him into the courthouse vestibule. Here, too, there is a crowd, composed of Policemen, Reporters, Television Men. The Television Men we have been following stops beside a Policeman. TELEVISION MAN (Indicating the front door he has just come in through) You think they'll take him out that way? POLICEMAN (Looking at waiting crowd, shrugging) Probably have to. (A rueful smile) Besides, the taxpayers hate it when something gets slipped out the back door on them! Over this exchange, the buzz of other voices, the movement of men. CAMERA MOVES ON, down the corridor, gets to the door of the office of the Chief of Police just as a young fellow with a carton box filled with paper containers of sent-out- for coffee reaches this door. CAMERA HOLDS as the COFFEE BOY pauses a moment, then goes into the room. CUT TO: INT. OFFICE OF THE CHIEF OF POLICE - (NIGHT) Lila is seated in a chair, Sam standing close by. A bit apart from them, we see Sheriff Chambers, in quiet conference with the CHIEF OF POLICE, the COUNTY SHERIFF, the DISTRICT ATTORNEY. The Coffee Boy stands in the doorway. Sam goes to him, takes a container of coffee from the box, carries it to Lila, checking the notation on the lid as he goes. MED. CLOSE ON SAM AND LILA SAM (quietly) It's regular. Okay? LILA (ruefully) I could stand something regular. Sam smiles encouragingly, hands her the coffee. Sheriff Chambers ENTERS SHOT, gives Sam a container of coffee he has brought for him. Sam takes it, nods a thank you. For a moment no one speaks. Lila looks badly shaken, Sam disheveled, but contained. CHAMBERS You two can go on home if you like. (a sympathetic look at Lila) Making that statement was enough for one night. SAM (to Lila) Want to? LILA No. I'm all right. I'll feel better when all this is explained... if it can be. Sam looks a question at Sheriff Chambers. Chambers shrugs doubtfully. CHAMBERS If anybody gets any answers, it'll be the fellow talking to him now... the Psychiatrist. Even I couldn't reach Norman... and he knows me. (to Lila) You warm enough, Miss? Lila is about to answer, when she sees someone come into the room and rises anxiously. Sam and Sheriff Chambers turn, follow her gaze. INT. OFFICE OF CHIEF OF POLICE - FULL SHOT A young man with a serious, frowning face has just come into the room. He is DR. SIMON, the Psychiatrist. He goes to the desk where the box of coffee containers has been placed, takes up a container. DISTRICT ATTORNEY Did he talk to you? SIMON No. I got the whole story... but not from Norman. I got it from... his mother. Everyone gazes at him, mystified. He speaks as he removes lid from coffee container. SIMON Norman Bates no longer exists. He only half-existed to begin with... now, the other half has taken over. Probably for all time. LILA (With difficulty) Did he kill my sister? SIMON Yes... and no. DISTRICT ATTORNEY Look, if you're trying to lay a lot of psychiatric groundwork for some sort of plea this fellow would like to cop... SIMON A psychiatrist doesn't lay the groundwork .. he merely tries to explain it. LILA But my sister is... SIMON Yes. I'm sorry. (to Chambers) The Private Investigator, too. If you drag that swamp somewhere in the vicinity of the motel... (To the Chief of Police) Have you any unsolved missing persons cases on your books? CHIEF OF POLICE Yes. Two. SIMON Young girls? CHIEF OF POLICE (nods, astounded, then:) Did he confess to... SIMON (interrupting) As I said, the mother... (Pauses, goes on afresh) To understand it, as I understood it hearing it from the mother... That is, from the mother-half of Norman's mind, you have to go back ten years... to the time when Norman murdered his mother and her lover. (A pause, then as no one interrupts) He was already dangerously disturbed, had been ever since his father died. His mother was a clinging, demanding woman... and for years the two of them lived as if there was no one else in the world. Then she met a man and it seemed to Norman she "threw him over" for this man. That pushed him over the thin line... and he killed them both. Matricide is probably the most unbearable crime of all... and most unbearable to the son who commit it. So he had to erase the crime, at least in his own mind. (A pause) He stole her corpse... and a weighted coffin was buried. He hid the body in the fruit cellar, even "treated" it to keep it as well as it would keep. And that still wasn't enough. She was there, but she was a corpse. So he began to think and speak for her, gave her half his life, so to speak. At times he could be both personalities, carry on conversations... at other times, the mother-half took over completely. He was never all Norman, but he was often only mother. And because he was so pathologically jealous of her, he assumed she was as jealous of him. Therefore, if he felt a strong attraction to any other woman, the mother side of him would go wild. (To Lila) When Norman met your sister, he was touched by her... and aroused by her. He wanted her. And this set off his "jealous mother" and... "mother killed the girl." After the murder, Norman returned as if from a deep sleep... and like a dutiful son, covered up all traces of the crime he was convinced his mother had committed. SAM Why was he... dressed like that? DISTRICT ATTORNEY He's a transvestite! SIMON Not exactly. A man who dresses in woman's clothing in order to achieve a sexual change... or satisfaction... is a transvestite. But in Norman's case, he was simply doing everything possible to keep alive the illusion of his mother being alive. And whenever reality came too close, when danger or desire threatened that illusion, he'd dress up, even to a cheap wig he brought, and he'd walk about the house, sit in her chair, speak in her voice... He tried to be his mother. (A sad smile) And now he is. (A pause) That's what I meant when I said I got the story from the mother. She thinks Norman has been taken away... because of his crimes. She insists she did nothing, that Norman committed all the murders just to keep her from being discovered. She even smiled a bit coquettishly as she said that. Of course, she feels badly about it... but also somewhat relieved to be, as she put it, free of Norman, at last. (A pause) When the mind houses two personalities, there is always a battle. In Norman's case, the battle is over... and the dominant personality has won. Lila begins to weep softly, for Mary, for Arbogast, for Norman, for all the destroyed human beings of this world. Sam bends beside her, puts his arm about her, comforts her. CHAMBERS (To Simon) And the forty thousand dollars? Who got that? SIMON The swamp. These were murders of passion, not profit. A POLICE GUARD puts his head in the door, speaks, in a near- whisper, to the Chief of Police. The Guard is carrying a folded blanket over his arm. POLICE GUARD He feels a little chill... can I bring him this blanket? The Chief of Police nods. The Guard goes away, and CAMERA FOLLOWS him out of the room and out into the hallway. Guard moves through the waiting men, heading down the corridor. CUT TO: INT. ANOTHER CORRIDOR IN COURTHOUSE A narrower corridor in the rear of the building. In f.g. of shot, we see a door, the top half of which is wire-covered glass. A GUARD in uniform is posted by the door, looking reprovingly at the two or three people trying to get a glance into the room. The Police Guard, carrying the blanket, comes down this corridor, goes to the door. CAMERA MOVES CLOSE. The uniformed Guard opens the door, allows the man to go in. Shot is RAKED so that we can not see into the room. After a moment, the Guard comes out and the uniformed Guard closes and locks the door and we CUT TO: INT. NORMAN'S DETENTION ROOM - (NIGHT) The walls are white and plain. There is no window. There is no furniture except the straight-back chair in which Norman sits, in the center of the room. The room has a quality of no-whereness, of calm separation from the world. The Police Guard has placed the blanket on Norman's knees. Norman, as we come upon him, is lifting the blanket, unfolding it. His face, although without makeup and without the surrounding softness of the wig, has a certain femininity about it, a softness about the mouth and a kind of arch womanliness about the brows. Calmly, Norman places the blanket about his shoulders, as if it were a cashmere shawl. CAMERA REMAINS in a position so that our view of Norman is a FULL ONE. When the shawl is in position, and Norman is settled, we HEAR, OVER SHOT, the voice of his mother, coming from the calm of his thoughts. MOTHER'S VOICE (O.S.) It's sad... when a mother has to speak the words that condemn her own son... but I couldn't allow them to believe that I would commit murder. (A pause) They'll put him away now... as I should have... years ago. He was always... bad. And in the end, he intended to tell them I killed those girls... and that man. As if I could do anything except just sit and stare... like one of his stuffed birds. (A pause) Well, they know I can't even move a finger. And I won't. I'll just sit here and be quiet. Just in case they do... suspect me. A fly buzzes close, and then continues buzzing and flying about Norman's face. MOTHER'S VOICE (V.O.) They're probably watching me. Well, let them. Let them see what kind of a person I am. (A pause, as the fly lights on Norman's hand) I'm not going to swat that fly. I hope they are watching. They'll see... they'll see... and they'll know... and they'll say... 'why, she wouldn't even harm a fly...' Norman continues to gaze ahead into nothing. SCENE BEGINS TO DISSOLVE SLOWLY TO: THE SWAMP As END TITLES FADE IN, we see the swamp, the chain of a tow- truck. The chain is attached to Mary's car. The car is coming out of the swamp. FADE OUT THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Public Enemies.txt b/unformated_scripts/Script_Public Enemies.txt new file mode 100644 index 0000000000000000000000000000000000000000..ba48774a9b80f62a3081a8c110c69fbb86cb1a72 --- /dev/null +++ b/unformated_scripts/Script_Public Enemies.txt @@ -0,0 +1 @@ + PUBLIC ENEMIES Written by Ronan Bennett, Michael Mann & Ann Eiderman November, 2007 1 TITLE: SEPTEMBER 26, 1933. EXT. PRICK STREETS OF MICHIGAN CITY, INDIANA - A BROWN PONTIAC is parked at the curb. It waits. INT. PONTIAC - "RED" HAMILTON ( 34) looks at his watch. With his meticulously parted red hair, he might be a bank president. It's 6:55 a.m. HAMILTON Time. Thirty year old JOHN HERBERT DILLINGER is in the backseat. He nods. His arms are behind him. We don't know why. Red starts the car and drives forward. CUT TO: INT. INDIANA STATE PRISON, MICHIGAN CITY, INDIANA - LINE OF CONVICTS Its cold.-Convicts' uniforms are broadly striped and frayed. This is a line of hard men branded by prison: shorn hair, broken nose, eyes with a cold ferocity. And their aggression has a nihilistic edge; their spirits never surrender. There's nothing beaten down about these men. Like Alcatraz, Leavenworth, and Sing Sing, this is the end of the line. PRISON GUARDS in visored black caps, black shirts, black patent leather Sam Browne belts with three-foot long billy clubs watch the line, poised to unleash violence. AMONG THE HARD MEN ARE... HARRY "PETE" PIERPONT (32), 6 foot 1 with eerie blue eyes. Brilliant, violent, he hates all authority. CHARLES MAKLEY ( 44), squat with an anvil jaw, facial scars and as calm as Pierpont is volatile. HOMER VAN METER (27), tall, an incorrigible clown and an unemotional killer. He has continued to ridicule guards even when it cost him months in the hole. THESE THREE with an older man, WALTER DIETRICH, wait for the lam. work call to the prison Shirt Factory... 2. INT. INDIANA STATE PRISON, GATEHOUSE - TURNKEY watches through a window as a Pontiac pulls into the parking area in front of the prison across from the streetcar tracks. Hamilton jerks a handcuffed Dillinger out of the backseat. Dillinger is shoved forward. Hamilton's wearing a star. TURNKEY (opening up) Afternoon. Hamilton flashes the badge. He shoves Dillinger inside. In an adjacent room FIVE GUARDS play poker. Next to them is a barred entrance to the prison yard. As the cage door locks behind him, this is the last place Dillinger wants to have entered. Meanwhile... INT. INDIANA STATE PRISON - THE SHIRT FACTORY: STACKS OF BOXES and bolts of fabric wait for the convicts. lam. A KLAXON sounds. Door opens. Convicts enter. Walter Dietrich goes right to the stacks and pulls a box with an "X" crayoned on the side. Its labeled "Thread." (Dietrich was mentored by Herbert K. Lamm, an ex-Prussian soldier who invented professional bank robbery by applying military tactics and who rode with Butch & Sundanc4's Hole in the Wall Gang in Utah in 1901. in prison Dietrich passed on Lamm's techniques. His brightest student in 1933 is..'ohn Herbert Dillinger.) DIETRICH + "THREAD" BOX arrive at a busy work station with Pierpont, Makley and Van Meter. Under spools are four Colt 45 automatics with loaded magazines. GUARD DAINARD is approached by Pierpont, who shoves the 45 in his face. PIERPONT Line up! Line up... Dietrich and Van Meter control THREE OTHER GUARDS. ED SHOUSE, JIM LESLIE and EARL ADAMS - three other Cons armed with makeshift clubs and spivs -- join the escape. Meanwhile... INT. GATEHOUSE - TURNKEY examines Dillinger a second time... (CONTINUED) 3 CONTINUED: TURNKEY Didn't you get paroled out of here a few months ago? DILLINGER Yes, sir. Three months ago. TURNKEY . John... Johnnie Dillinger? DILLINGER That's right. But my friends call me "Johnnie". You gotta address me as "Mister" Dillinger. Dillinger's insubordination puzzles Turnkey so he doesn't see Hamilton bat a Thompson submachine gun across the back of his head and swing it onto the Two Guards... RED/DILLINGER Against the wall! Hands up! Get up! Dillinger's cuffs fell away. Now his Thompson covers the stunned poker°players. Hamilton and Dillinger are as tight as they come.- They share their food, money, liquor, ammunition and women. ,.id right now... YARD GATE is keyed open by Dainard followed by Pierpont and Makley and the others. Pierpont kicks over the poker table. Escapees throw all the Guards against the wall. MAKLEY/VAN METER (to the Guards) Undress. Get undressed! DILLINGER at the window checks the escape route to the Pontiac. Its clear. Hamilton conceals his weapon and starts out. Smooth. He crosses the front lawn, the street car tracks. So far, so good... INT. GATE HOUSE - GUARDS undress. One takes his time. SHOUSE Hurry up! C'mon! (CONTINUED) 4 CONTINUED: This Guard gives Shouse an insolent look. Shouse slams the Guard's head with a length of steel pipe. Guard goes down. Shouse goes wild and continues to hammer his skull again and again, caving it in. PIERPONT Cut it out Shouse! DILLINGER (turns from open door) Shouse!I Dainard thinks that once the killing's begun, he will die... So, he grabs for Homer Van Meter's .45. Van Meter SHOOTS Dainard. Dainard's knocked to the floor. Blood pools. A SIREN SCREAMS. EXT. FRONT YARD - RED caught in the open, turns. He scans the guard towers on the East and West corners. He backs towards his Pontiac. RED'S POV: TOWER GUARDS look into the prison interior where the shots came from. DILLINGER arrives, takes Red's position. Red goes for the Pon,.c... ESCAPEES don't complete their disguises. Half-dressed in gua ds' uniforms, they crash outside... EXT. FRONT YARD - ESCAPEES sprint for the street in all directions. INT. WEST TOWER - TOWER GUARDS #1 + #2 CRACK CRACK CRACK! Jim Leslie falls, the top of his head taken off. EXT. FRONT YARD - DILLINGER FIRES at the tower, forcing the Guards to cover. Hamilton's in the Pontiac, starting it. PIERPONT' S running with the older Dietrich across the grass FIRING his 45. INT. RED'S PONTIAC - MANLEY + SHOUSE tumble in. Dillinger and Van Meter - outside - FIRE at the West Tower. PIERPONT + DIETRICH arrive. EXT. STREET - PONTIAC takes off. Dillinger's on the running board. His Thompson ROARS, covering Pierpont, who's hauling Dietrich into the backseat. BANG! Dietrich is hit in the neck by rifle FIRE from the East Tower. DILLINGER Walter! Dillinger falls away. Dillinger and Pierpont grab Walter's arms. He's-paralyzed now. They try to pull him onto the running boafd, of the moving car. Dietrich's"hcpeful eyes look up at them. Then his eyes glaze over. His feet drag down the street. He's dead and they know it. They let go. EXT. STREET - DIETRICH'S body remains in the center of the street. The Pontiac picks up speed. INT. PONTIAC - HAMILTON drives like he has no nerves. Totally focused. Hamilton is the best getaway, or "git" driver in the country. DILLIN GER' S Thompson empty, he grabs Red's shotgun. He shoves it into Shouse's chest in the backseat. DILLINGER Walter's dead 'cause you screwed it up, you son of a bitch! SHOUSE The bastard wouldn't do what he was told, Johnny. .Pete? Homer? (CONTINUED) 6. CONTINUED: VAN METER Let him have it. PIERPONT Dietrich was your pal, up to you. Dillinger sees the abject fear in Shouse's eyes. And Dillinger's mood swings. He lowers the shotgun... Then, he snaps the butt across Shouse's face. Breaks Shouse's cheekbone. Dillinger pulls back and slams the heavy butt dead center, smashing Shouse's nose and orbital socket. Dillinger opens the door and kicks Shouse out of the moving car. EXT. FARM ROAD - SHOUSE bounces and rolls across the road into a field. The Pontiac races away into the distance. CUT TO: EXT. PERU, INDIANA - CROSSROADS - LATER It's Dust Bowl America. 1933. Lunar landscape. CAMERA MOVES ACROSS brown dunes that half cover farm machinery and a wind- blasted house. And LANDS ON... JOHN DILLINGER in shirt sleeves and, a vest watchingthe roads for pursuit. INT. FARM HOUSE -- PIERPONT, MAKLEY + VAN METER change into double breasted suits and shovel down hot cereal at a kitchen table. They're in a rush. There is no ;£yurniture. A busted-out farmer, EDWIN NORRIS, hurriedly pours coffee from a kettle into tin mugs and a thermos. A WOMAN at a stove fries eggs. PIERPONT (ready to go) okay...? EXT. FARM -- A TODDLER wearing a torn smock approaches the Pontiac and a second car, a dust-covered Plymouth parked behind it. HAMILTON (from the house) Johnny...? Ready. 7 THE WOMAN brings out the dozen fried egg sandwiches wrapped in newspaper. She looks 40 but is 20. Edwin Norris is at the door. DILLINGER (takes two) Thank you, ma'am. Dillinger's lopsided smile is charming. EDWIN NORRIS Its Miss. She's my daughter, Viola. That'll be eight dollars. Viola retrieves her toddler brother who's crawled into the Pontiac. Dellinger peels off a $20 bill. EDWIN NORRIS (CONT'D) Can't change that... DILLINGER Well, then you keep the change. $12 is a lot'--'of money in 1933. Grateful, Norris goes inside, Dillinger passes Viola and the struggling toddler on the way to the Pontiac, VIOLA (LOW) Take me with you, mister. She puts a hand on his forearm. DILLINGER I'm sorry, honey. Pierpont, Homer and Makley head towards the Plymouth. INT. PONTIAC - DILLINGER, as the Pontiac pulls away, looks back to see Viola wistfully watching them leave. The toddler reaches for Viola's hand. She pushes the child away. Dellinger hates seeing the kid rejected. HAMILTON Kid didn't fool with anything, did he? Dillinger, looking back at the boy, hasn't heard. (CONTINUED) 8. CONTINUED: HAMILTON (CONT'D) Johnnie? All there? Dillinger lifts the coats on the backseat: their weapons are as they were. DILLINGER Its all here. (UPBEAT) Let's go make some money. The speeding cars throw up tails of dust as they drive west to Chicago. CUT TO: EXT. THICK WOODS NEAR EAST LIVERPOOL, OHIO - A MAN - DAY moves quickly through the woods. They run downhill. He wears expensive hunting clothes. He carries an 8mm Mauser sports rifle with a slim forestock and wrist and a turned-down bolt handle. It's the best rifle made in 1933. HE IS MELVIN PURVIS (30) cleancut and handsome. A square jaw. Chester Gould modelled Dick Tracy's profile after Purvis. Has not big, but he's tenacious. He's an incarnation of the social elite of h.is time: white, Southern patrician and a Christian gentleman. With Purvis are Special Agents WARREN BARTON (31) and Purvis's friend CARTER DAUM (29) They have a harder time in the steep woods. They're chasing someone. They are guided by East Liverpool police chief, FULTZ. BOTTOM OF THE HILL -- PRETTY BOY FLOYD ( 29) is a big-boned country boy. His blue suit is mud-streaked from his slide down the hill. He carries a Thompson submachine-gun with a drum magazine, and he is running for his life. PURV I S , FULTZ, BAUM + BARTON race after him. MUDDY PATH - FLOYD half runs, half slips in his dress shoes. Ahead is a cleared orchard. Floyd leaps the fence... (CONTINUED) 9. CONTINUED: WOODS -- PURVIS jumping over fallen trees... EXT. MIDDLE OF THE ORCHARD of apple trees. Floyd's three hundred yards ahead. He zigzags for a deeper forest at the far end. If he can reach it, he has a chance. PURVIS breaks into the clear. PURVIS Floyd! Halt! Purvis aims the Mauser. Perfect form. Floyd zigzags. Purvis FIRES, misses. Floyd opens up with the Thompson -- wildly at that range. A few .45s splinter nearby branches. Fultz, Baum and Barton seek cover: Purvis works the bolt and chambers another round. Floyd is 10 yards from the forest. Purvis kneels onto his right knee. On his upraised left knee he braces hi left elbow. He inhales. Starts a smooth squeeze. Ha Tway through the exhale he FIRES. Floyd's right arm flies up. He's punched forward and crashes to the ground. FLOYD regains consciousness. Purvis is running in. Floyd`s left hand pulls a 45. BAUM Look out, Melvin! Purvis kicks the 45 out of his hand. PURVIS You are under arrest. Floyd sits up to see the massive exit wound. His right lung and liver are shot through. He falls back. FLOYD (RASPS) I'm Floyd. Who are you? PURVIS Melvin Purvis - Department of Investigation. (MORE) (CONTINUED) 10. CONTINUED: PURVIS (CONT'D) (BEAT) Where's your friend Harry Campbell, Floyd? FLOYD Ain't gonna tell you shit. Floyd looks at the sky. FLOYD (CONT'D) And I believe you have killed me. So you can go and rot in hell, you sonofabitch. He lapses, goes cold and dies. CUT TO: INT. KITCHEN - CA-ROLE SLAYMAN - DAY (EAST CHICAGO, INDIANA) CAROLE SLAYMAN is 33 with green eyes and peroxide blonde hair and bounces down the stairs in a black robe. She crosses through a white kitchen with TWO GIRLS in kimonos. A scarred, African-American bouncer of 50 named SPORT enters... SPORT He jus' pulled in. EXT. REAR YARD - CAROLE sees Dillinger's Pontiac stop in the backyard. It's`-secluded by a hedge from the street. Its followed by the Plymouth with Pierpont and Van Meter in suits and prison haircuts. CAROLE Johnny! Dillinger cradles the Thompson in his arm and crosses to her. DILLINGER (to Hamilton) Hey, Red, call Oscar. HAMILTON Okay. And Berman? Wanna switch-out the "shorts"? DILLINGER (ADDS) Get a Chrysler and an Essex. (to Carole) Hey, doll... He half picks her up with one arm around her waist. (CONTINUED) 11. CONTINUED: DILLINGER (CONT'D) (to Carole) You get a hold of Zarkovich...? CAROLE I sure did... (LAUGHING) Put me down! JAN METER Where those gals?! As Homer and Pierpont head inside... INT. REAR GARAGE - OSCAR LIEBOLDT - LATER OSCAR`s a 50 year old German gunsmith. Dillinger rapidly field strips his Thompson. DILLINGER (re main spring) Jammed twice, Oscar., .main spring's too tight. OSCAR cut off one coil. DILLINGER And it rides up and to the right on full auto. OSCAR (re Cutts compensator) I widen port... CAROLE APPEARS ON REAR PORCH ACROSS THE YARD. SHE SIGNALS TO JOHNNY. Dillinger rises as a 1933 Chrysler and an Essex Terraplane drive in. Out of the Essex steps HARRY BERMAN, a Cicero, Illinois auto dealer for the Syndicate. (Berman will switch- out the Dillinger Gang's work cars or "shorts.") PIERPONT Hiya Harry... PIERPONT tosses Berman a rubber banded roll of bills while... 12. INT. KITCHEN - DILLINGER enters. MARTIN ZARKOVICH looks up. He wears a police badge and a 38 in a shoulder holster. He is a corrupt detective in the East Chicago, Indiana Police Department. ZARKOVIOH Johnny! How are ya? With him is ANNA SAGE, a 40 year old well-dressed madam. She kisses Johnny on the cheek. DILLINGER Good and so are you. Christmas is coming early this year. (fat envelope of cash) Extra cake's in here for you and Anna. (BEAT) Still in Hammond, doll? ANNA SAGE I'm in Chicago on North Halstead now. Come on by... DILLINGER Marty, tell me that me and my boys are okay... ZARKOVICH Long as you stay in my town, you're in safe haven. Dillinger tosses Marty the envelope. This is Dillinger's support and resupply network. INT. CAROLE'S BEDROOM - DILLINGER'S - LATER in a deep armchair with his shoes off and his feet on a hassock. Paul Whiteman's Big Band is on the console radio. Carole slides onto his lap and snuggles into his shoulder. John glows with the affection. CAROLE Wanna go out later, sugar? DILLINGER I want to sit here with you and listen to the radio, baby. (BEAT) I have missed you like nobody's business... (CONTINUED) 13. CONTINUED: John Dillinger seems like a romantic husband with his little wife Betty. And it feels a little out of place... CUT TO: INT. CONGRESSIONAL HEARING ROOM - J. EDGAR HOOVER - DAY MCKELLAR (to Hoover) Why do we need this? HOOVER Because of the new breed of mobile outlaws who flee jurisdiction by crossing state lines over highways and against whom this government must wage a war on crime. J. EDGAR HOOVER is a physically short man but has a dynamic presence. He is a dapper patrician who believes in elites. He is completely free from self-doubt. He is youthful and 33 years old. SUYDAM and TOLSON sit next to him. MCKELLAR i�'Chairman of the Senate Appropriations Sub- Committee.-,He's an avuncular man of 62. MCKELLAR And so in the middle of a Great Depression you're looking for a budget increase to build up your Department? But by my tally your Department of Investigation spends more taxpayer's dollars catching crooks than what the crooks you catch stole in the first place... HOOVER That's ridiculous. The Bureau's apprehended kidnappers, bank robbers, who have stolen up to... MCKELLAR (looking at document) How many criminals you apprehended? HOOVER We've arrested and arraigned 213 wanted felons... MCKELLAR No. I mean you. How many? (CONTINUED) 14. CONTINUED: HOOVER As Director I've administered... MCKELLAR No. How many have you arrested? Personally. HOOVER I've never arrested anybody. MCKELLAR (INCREDULOUS) You never arrested anybody? HOOVER I'm an administrator. MCKELLAR With no field experience. For once Hoover is silent. MCKELLAR (CONT'D) (CONTINUING) In fact you are shockingly unqualified, aren't you, sir? You have never personally conducted a criminal investigation in the field in your life= Others in the room stare at Hoover. McKellar leans'-back... MCKELLAR (CONT ° D ) (CONTINUING) I think you are a front. I think your prowess as a lawman is a myth created from a hoopla of headlines by Mr. Suydam, your publicist there. You are trying to make a federal police force with you set up as its Czar. That is runnin' wild in my estimation... HOOVER Crime is what runs wild in this country, Mr. Chairman. And... MCKELLAR And if the country required an expanded Bureau, I question you are the person most fit to run it while... (CONTINUED) 15. CONTINUED: (2) HOOVER (EXPLODES) I won't be judged by a kangaroo court of venal politicians... MCKELLAR (slams gavel!) While outlaws like Dillinger, Clyde Barrow, the Barkers, and Nelson flourish unabated. (SLAM) Your appropriation request is denied. The hearing's over. TNT. U.S. CONGRESS, CORRIDOR - J. EDGAR HOOVER -DAY walks fast through the corridor of congressmen. He talks over his left shoulder to Suydam and Tolson. They struggle to hear him... HOOVER (to Suydam) Find out: was he soft on the Reds in ,1919? Does he use prostitutes? Peppy `tuf f like that. And feed this to Walter =!rii„inchell: "McKellar's a Neanderthal. He's O7:a personal vendetta to destroy me." Like that. (BEAT) We'll fight him on the front page. Not in his damn committee room... (to Tolson) Where's Dillinger? TOLSON Spotted in Hammond, Indiana. HOOVER How long ago? TOLSON Yesterday. Another sighting has him on the Lincoln Highway in Ohio heading towards Cincinnati. HOOVER (DECIDES) He's in Hammond. Heading to Chicago. SUYDAM How do you know? (CONTINUED) 16 CONTINUED: HOOVER You can have fun in Chicago. What the hell's there to do in Cincinnati? INT. HOOVER'S PRIVATE OFFICE -- HOOVER enters. Melvin Purvis has been waiting. He's gestured to follow. HOOVER (suddenly brilliant) Agent Purvis, congratulations. PURVIS Thank you sir. May I ask why? HOOVER Pretty Boy Floyd, for which you have my commendation and personal gratitude. Second, you are, as of this moment, the Special Agent in Charge of the Chicago field office. Your task will be to get John Dillinger. Are you up to it? PURVIS Absolutely, sir. Purvis is imbued. Henry Suydam enters. SUYDAM (to Hoover) They're ready for him. HOOVER (PENSIVE) This is Henry Suydam.. He is our expert in congressional and press relations. INT. BUREAU OF INVESTIGATION w HOOVER ESCORTS PURVIS THROUGH THE OPEN PLAN OFFICE Tolson + Suydam follow. It's like the "Corporate Office of the Future" designed by Albrecht Speer. Agents are at grey metal desks dressed identically in dark suits, white shirts, dark ties. No personal effects. The individual is reduced to a component in a gleaming machine. EXT. JUSTICE DEPARTMENT STEPS - HOOVER, PURVIS, SUYDAM + TOLSON hurry down the staircase. (CONTINUED) 17. CONTINUED: HOOVER (LOW) Why are you sure you're up to this task, Mr. Purvis? PURVIS We have two weapons that cannot be defeated. HOOVER What are they? PURVIS The Bureau's modern techniques of investigation and your visionary leadership. HOOVER You let Mr. Tolson, here, know if you need anything, Melvin, anything at all, PURVIS Thank you. HOOVER (brilliant smile) Call me J.E. They shake hands. There's a mob of photographers and newsmen and microphones to interview him. EXTREMELY CLOSE: MELVIN PURVIS is awed. He's imbued with purpose. He's been anointed Hoover's Crimebuster. He claimed he was up to the task. "Is he?" he asks himself right now. And he didn't expect to be overcome by doubt. He struggles with anxiety. Then, he pushes that aside and forces himself to take the step forward into the lights and flashbulbs. SUYDAM (quietly to Tolson) Our own Clark Gable... CUT TO: INT. AMERICAN BANK AND TRUST COMPANY - JOHN DILLINGER in a long overcoat and a hat with a Tommy gun crosses a bank interior to a thin man behind a large desk, GROVER WEYLA_ND. (CONTINUED) 18 CONTINUED: Grover stands and flattens against the back wall, as if trying to permeate the masonry and disappear into the back alley. Dillinger peels him off the wall and steers him towards the vault. DILLINGER Let's play a game, Mr. President. Its called spin the dial. (starts stopwatch, shouts to CREW) Seven minutes! Dillinger is the Vault Man. And alarm sounds. WIDE: A BANK ROBBERY IN PROGRESS - PIERPONT is the Lobby Man. His back is to the front door. He controls the customers on the inside. Women are seated on the floor. Men stand. It's well-ordered. Pete doesn't worry about his back because... EXT. BANK + STREET - HOMER VAN METER is the Lookout. His back is to the front door. His,job is to control the people outside the bank. His 351 Winchester rifle is hidden by his coat. Crowds gather across th' street because of the alarm. Homer's focused. He is rock steady. MANLEY is at the tellers' drawers. His job is to shovel cash into a canvas bag. The Tellers stand aside. DILLINGER`S at the vault with Weyland. Weyland hesitates. Dillinger's right hand with the Thompson covers Tellers so Makley can work. His left hand draws one of the two 45s he keeps in twin shoulder holsters and he cracks Grover Weyland across the forehead. He aims the .45 between Weyland's eyes... DILLINGER (CALM) You can be a dead hero or a live coward. Grover Weyland OPENS THE VAULT. Dillinger checks his watch. EXT. BANK - VAN METER spots a police car racing up, TAPS the window with the barrel of his rifle. 19. INT. BANK - PIERPONT glances outside. PIERPONT (CALMLY) Company! NO ONE inside stops working. They know Van Meter will do his job. EXT. BANK - OFFICER CHESTER BOYARD is out of the car and into the bank door, passing right by --- VAN METER -- who let him go. Van Meter keeps his eye on the other THREE COPS. Two get behind the cover of parked cars across the street. ONE stays low and runs towards Homer. INT. BANK - BOYARD marches into the lobby, gun in hand. BOYARD (CONFIDENTLY) Hold it! Hands up! PIERPONT, behind him, slams the butt of the Thompson into the back of his head, knocking him flat, and disarms him. He rouses. Pete doesn't like authority. Pete hits him again. Blood pools onto the floor. A WOMAN faints, collapsing. Peters dead calm. He looks over the half-painted windows. The growing crowd on the sidewalk is getting too large... HE FIRES at the glass. People scramble for cover as it CRASHES onto Main Street. Meanwhile... EXT. BANK - REAR ALLEY: RED IN THE BUICK engine idling, sees people running past. Taped to his dash are two "°gits" - step by step instructions to two getaway routes. He checks his watch. The minute hand moves into place. He drives evenly out of the alley. EXT. BANK FRONT - VAN METER is approached by the COP who thinks he's a pedestrian. (CONTINUED) 20. CONTINUED: COP (to Homer) Hey, you. Move out of there! VAN METER Why should I? I wanna watch. Angry Cop rushes him. Homer slams him in the gut with his rifle, disarms him and uses him as a shield. He backs to the front door. Pedestrians flee. Cops draw down. They cannot shoot without Homer blowing off the Cop's head. Meanwhile... INT. BANK -- DILLINGER tosses the last bag to Pierpont at the front door. On. the way out he passes a FARMER near a teller's cage, his hands in the air. Cash on the counter. DILLINGER That your money there, mister? FARMER Yessir. It is. DILLINGER Well, go ahead and put it away. We're here for the bank's money. Not your money. Customers appreciate Dillinger. Dillinger loves their- appreciation... PIERPONT You three! Let's go! .to three pretty TELLERS hiding under a desk. DILLINGER Folks, stay calm and stay low. Pierpont grabs two; Dillinger takes one, creating a human shield around them -- EXT. AMERICAN BANK AND TRUST --- VAN METER, his gun against the side of the cop's head, moves to the Buick. A large crowd is across the street. CITY DETECTIVES pull up in front of Wylie's Hat shop. Dillinger's crew is crossing fast to Red's Buick, as... (CONTINUED) 21 CONTINUED: DILLINGER OPENS UP and the Wylie Hat Shop windows blow out. A DETECTIVE with a deer rifle aims. VAN METER FIRES past his hostage's head. Detective goes down. The Hostage's eardrum is blown. His ear bleeds. DILLINGER SHOOTS UP... City Detectives' car, police car and a few others. INT. BUICK - MAKLEY + PIERPONT are in. Dillinger and hostages load onto the running board. Pierpont grabs ANNA PATZKE's arm. PIERPONT C'mere, honey. Buick's moving faster. Dillinger pulls her onto the running board next--:o Boyard. The Buick roars away. INT. BUICK:.- RED drives with total concentration. Makley cooly reads the git. MAKLEY 2 miles - turn left at the white barn. Right there. Now. 6 miles to the new bridge. Pierpont breaks out the rear window. He throws two five gallon milk jars full of roofing nails out into the road. They scatter. TWO POLICE CARS hit the nails, their tires blow. ROUNDS from the Buick finish dissuading them to pursue. INT. BUICK - HAMILTON approaches the bridge, slows. DILLINGER (to Boyard and two of the HOSTAGES) Okay. Beat it! (CONTINUED) 22. CONTINUED: Three hostages jump off. Dillinger pulls Anna Patzke and Weyland inside. DILLINGER sees Anna Patzke's shivering from shock and the cold. He puts his coat on her. He plops his hat on her head, too. DILLINGER (CONT'D) Something to remember me by. She laughs, nervously, and a little thrilled at being where she is... VAN METER (OMINOUS) Are we taking `em to the hideout? DILLINGER (going along with it That depends. VAN METER How 'bout it, honey? Can you cook? ANNA PATZKE (not disinterested) Uh. Sure... After a fashion. They start to hoot and laugh. They think this is h±l iiou.s. ANNA PATZKE (CONT'D) Well, its true! VAN METER When I'm not doing this, I'm a scout for the movies. ANNA PATZKE Really? This makes them laugh even harder. EXT. THICK WOODS Pierpont has brought the hostages to a big tree. PIERPONT Face each other. Join hands. Pierpont binds them loosely to the tree. (CONTINUED) 23 CONTINUED: WEYLAND We'll freeze. DILLINGER You'll worm your way out of that in about ten minutes. Anna looks over at Dellinger. DILLINGER (CONT'D) It's okay, doll. You're just gonna be a little late for dinner. Dillinger reaches over, snatches his hat off Anna Patzke's head. He leaves her his coat. THE BUICK WORK CAR is abandoned. TRACK RIGHT + SEE Dillinger''b Essex and a Ford drive off past fields with snow on both sides. New cars. Flush with cash. Clean. CUT TO: INT. CHICAGt7: BUREAU OF INVESTIGATION OFFICES - PURVIS - DAY (BANKER' S BUILDING) looks at the gathered agents. New faces. College men. WARREN BARTON holds up the coat Dillinger left on Anna Patzke. BAUM .manufactured by Freeman & Freeman in St. Louis. We are identifying all stores that sold this coat. We note AGENTS COWLEY, RICE, CLEGG + RORER. DORIS ROGERS ( 23) is Purvis' secretary. He brought her from his last post in Alabama along with Barton and Baum. We've entered mid-scene. PURVIS Then we will cross-reference every Dillinger family member and known associate in each locale. (BEAT) He was there. It got cold. He bought a coat. Therefore, he may have been harbored or have a safe house nearby. (MORE) (CONTINUED) 24. CONTINUED: PURVIS (CONT`D) By such techniques we will get Dillinger. (BEAT) Doris... (STOPS) For those of you who haven't met her, Miss Rogers is my secretary... (to Doris) Please contact the Chicago telephone exchange supervisors. Request appointments for Carter Baum or myself. (BEAT) We are going to be working long hours. It will be dangerous. Those of you who aren't prepared for that, can go. And if you're going to go, go now. (no one does) Thank you, gentlemen. CUT TO: E/I. ARAGON BALLROOM, CHICAGO - ON DILLINGER - NIGHT watching a sexy young woman on the dance floor. He loses sight of her... He's expecting someone. Then, Dillinger sees her again: jet black hair in a bob, brown eyes, high cheekbones fom:her Indian mother and a great smile. She lights up a ro om. She is BILLIE FRECHETTE (27). She feels the stare and looks over. She studies him, then looks away. Dillinger's with Pierpont, Makley and Hamilton at a table. It is loaded with steaks, oysters, and frog legs. ALVIN KARPIS and Homer Van Meter approach and Alvin sits next to Johnnie... Dillinger adjusts his chair to watch for the girl. He's shoulder to shoulder to Karpis. DILLINGER Hiya, Alvin. You hungry? How's Freddie and Dock? (note: Alvin Karpis is cunning and careful. He will outlive everyone, including J. Edgar Hoover, and retire to Torremolinos, Spain, where he will die of heart failure in 1979. Freddie and Dock Barker are the sons of Ma Barker. After the FBI gunned down the old woman, Hoover labeled her the "crime genius" of the family. According to Volney Davis, she couldn't organize breakfast.) (CONTINUED) 25. CONTINUED: KARPIS Everyone's good. (leans in; they talk quietly) We been looking to snatch two fellas. One's a St. Paul banker, Ed Bremer. Need a few more hands. DILLINGER Don't like kidnapping. KARPIS Robbing banks is getting tougher. DILLINGER The public don't like kidnappers. KARPIS Who gives a damn what the public likes? DILLINGER I do. I hide out among them. KARPIS (SHRUGS) ,L -am strictly out to make cake. DILLINGER .: yeah, then you, Ma, Dock and Freddie hole up like hermits on farms for six months. I grew up on a goddamn farm. I hate farms. I like big cities, crowds and a good time... K ARP IS (SMILES) Well, we got a mail train we been lookin' at, too. DILLINGER Say, by the way, if someone got pinched here, who can get'em out real fast? KARPIS Lawyer named Piquett. We all use him. (writes a phone number) DILLINGER What about this train?.. KARPIS Needs two, three more months to set up. I need seven or eight real right guys to take it down. (CONTINUED) 26. CONTINUED: (2) DILLINGER (SMILES) Sounds like Jesse James. KARPIS (LOW) A million seven, a million eight. Dillinger looks at Karpis. In 2007, that would be $22 million. KARPIS (CONT' D) Federal Reserve shipment. It runs only twice a month. This is the kind of score you go away on after. DILLINGER Where you gonna go? KARPIS Brazil. Cuba, maybe. What about you? DILLINGER Were having too good a time today. We ain't worryin' about tomorrow yet... KARPIS You ought to. What we're doin' here, don't last forever. They lock at each other: two pros at the top of their game. DILLINGER Keep me in mind on the train. Karpis leaves. Dellinger can't see Billie anymore. JA' METER (AGITATED) Let's snatch Bremer... (LOUDER) Know how much they made snatchin' that Hamm Brewery guy? $250,000. Dillinger looks at Pierpont. P IERPONT Shut your yap, Homer. MAKLEY Let's get our of here. Pierpont, Homer and Makley leave. (CONTINUED) 27. CONTINUED: (3) DILLINGER Homer stayin' steady? HAMILTON (reading his mind) He's okay. DILLINGER Three rules I learned from Walter Dietrich. One: never work with people who are desperate. Two: never work with people who aren't the best. Three: never work when you're not ready. Billie reappears, dancing with a young man. HAMILTON Well, I got rule four: stay away from women. DILLINGER Without women, I might as well have `stayed in stir. Anna Sage approaches with a young girl for Red. HAMILTON What's why they invented whores. (getting up) Hamilton leaves, arms around the women. Dillinger keeps his eye on Billie. Music ends. Young man escorts her to her table. He tries to join her. She turns him down. Dillinger finishes his drink, approaches. He now sees how beautiful Billie is. She's 5 foot 5. With a straight erect build, she stands out in any crowd. She looks Dillinger straight in the eye. Clear skin, dark eyes with humor playing about the edges. He unexpectedly starts to feel nervous. He gives her his best grin. DILLINGER I don't know what you said to your friend, but I sure am glad you did. Billie looks him over: a well-made man in a good suit with a great smile. And, paradoxes: he easily talks to women but he's not a hustler. He's young, but there's a world of experience in his face. Open, but he's holding something back. (CONTINUED) 28. CONTINUED: ( 4) DILLINGER (CONT'D) What's your name? BILLIE Billie Frechette. DILLINGER Buy you a drink? Billie looks at her girlfriend, she nods, Billie rises... As they cross to the bar. DILLINGER (CONT'B) Is that French? BILLIE On my father's side. There's an "e" at the end. Do you have a name? DILLINGER Jack Harris. Music changes to "Bye Bye Blackbird." BILLIE Do you dance, Jack? DILLINGER I don't know how. She smiles a pretty smile at him. BILLIE How come you don't know how to dance? Its easy. Follow me. This is a two-step. (he stares at her feet) Don't look at my feet. Look at my shoulders. She stays an inch or two distant in his arms. Its slow and languorous. He follows her with little difficulty. He can smell the perfume in her black hair. TORCH SINGER (SINGS) „Pack-up all my cares and woe Here I go, singing low Bye, bye blackbird" DILLINGER My, but you are pretty. (CONTINUED) 29. CONTINUED: ( 5) They look into each other's eyes. He pulls her closer, wants to kiss her long smooth neck. He almost can't resist... Their lips are an inch apart. And then she rests her cheek on his shoulder and the kiss that wasn't hangs in the air around them. He whispers... DILLINGER. (CONT'D) Where you from, Billie? She turns her right ear towards him. She's deaf in her left ear. BILLIE Flandreau. DILLINGER Where's Flandreau.? TORCH SINGER (SINGS) "Where somebody waits for me Sugar's sweet, so is she Bye, bye blackbird..." BILLIE outh Dakota. DILLINGER Father's French, what's on the other side? BILLIE Italian. DILLINGER From South Dakota, Indian's likelier than Italian. She looks at him. BILLIE My momma's a Menominee Indian. But most men don't like that... DILLINGER I'm not most men. BILLIE And I check coats at the Steuben Club. What do you do, Jack? DILLINGER I'm catching up. (CONTINUED) 30. CONTINUED: ( 6) BILLIE Catching up on what? DILLINGER On life, meeting someone like you. (her hair) Dark, beautiful, like the black bird in that song... She laughs at the flattery. Holds his eyes a beat with an ironic look. A couple from another group looks at Dillinger. He's cool. He returns the look. They look away. DILLINGER (CONT`D) Say, how'd you like some dinner? BILLIE Sure. He nods courteously to her girlfriends, grabs her coat, puts a hand around Billie's waist and steers her out... TORCH SINGER (SINGS) "So make my bed and light the light Cause I'll be home late tonight Bye, bye blackbird... ." EXT. ARAGON BALLROOM - DILLINGER + BILLIE - NIGHT in their coats on the street. It's cold. Dillinger.pulls her close. Then he turns and he kisses her hard on the lips. She didn't expect that. Her eyes are wide. He opens and wraps her in his overcoat, their bodies close to each other. She kisses him back, long and deep. And she didn't expect to do that, either. At last they separate.. .and look at each other for a beat. INT. GOLD COAST RESTAURANT - MAITRE D' - NIGHT Dillinger slips him bills. He and Billie are shown to a table. The clientele is North Shore old money and businessmen. Some of the women are in dazzling dresses even though it's mid-Depression. A few stare at Billie. She's out of her class. DILLINGER What are you gonna have? (CONTINUED) 31. CONTINUED: Billie stares at him, ignoring her menu. BILLIE What is it, exactly, you do for a living? Dillinger looks over the top of his menu. DILLINGER Well...I rob banks. Then he leans back in his chair and regards her. DILLINGER (CONT'D) That's where all these people here put their money. BILLIE Why'd you tell me that? You could have made up a story... DILLINGER 'Cause I can't lie to you. she studies him carefully. BILLIE ;,;.at's a pretty serious thing to say to a woman you just met. DILLINGER I feel like I know you. BILLIE Well, I haven't been any of the places you've been. So I don't even know what I don't know. DILLINGER Some of the places I been ain't so hot. Where I'm going is a lot better. Wanna come along? BILLIE Boy, you are in a hurry. DILLINGER If you were looking at what I am looking at, honey, you'd be in a hurry too. She laughs at his flattery, which she is also finding persuasive. (CONTINUED) 32. CONTINUED: ( 2) BILLIE (leans in) Well, its me they're looking at this time. DILLINGER That's 'cause you're beautiful. A blonde woman, elegant and ice cold, stares at Billie, a Depression-era child in her dress. BILLIE That's nice. But they're looking at me because they're not used to having a Menominee Indian girl in their restaurant in a three dollar dress. DILLINGER (takes her hand) Listen, doll, that's 'cause they're all about where people come from. Only thing important is where somebody's going. BILLIE Where are you going? DILLINGER To the top. He's irresistible. DILLINGER (COIN' D) Let's get out of here. Beat. She nods. They get up, get their things. On their way...a man intercepts Dillinger. He is GILBERT CATENA (42), solid with big hands. He's smiling. CATENA (WHISPERED) Hey Johnny...: Dillinger reacts, changes down, says coldly... DILLINGER (to Billie) Go wait outside. I'll be right there. Billie turns and walks out of the restaurant. DILLINGER (CONT'D) How you been, Gil? (CONTINUED) 33. CONTINUED: (3) CATENA Real good. I work for Mr. Nitti now. Been with him since I got out of Michigan... Catena indicates FRANK NITTI (47) in a group at a table. Sober and educated, Nitti glances in their direction but has no interest. DILLINGER Looks like a barber. CATENA Don't go by looks. (BEAT) He's real smart. We're connected to everybody all over the country now... From Nitti's table a man gets up and walks straight towards Dillinger. He is PHIL D'ANDREA. Two heavy duty bodyguards are with him. Dillinger unbuttons his jacket. But... D'ANDREA (smiles, low) Everytime I read about one of your jobs, where you give people back their money, 'You crack me up... (LAUGHS) Ypu need anything, Gilbert knows how to find me. D'Andrea continues to the men's room. DILLINGER See you. Gilbert... CATENA Good luck Johnnie. EXT. STREET OUTSIDE RESTAURANT - DILLINGER - NIGHT comes out onto the sidewalk. Billie isn't there. He searches the street. She's gone. The night, suddenly cold and lonely, wraps around Johnny. CUT TO: INT. PHONE COMPANY EXCHANGE - PURVIS - DAY An ENGINEER places headphones on Purvis' ears. Acetate disks on turntables mounted within giant carrying cases record phone calls. Cloth insulated wires are strung everywhere. Stenographers sit with black bakelite headphones. (CONTINUED) 34. CONTINUED: BAUM That noise on the line? That's called "swing". Nothing we can do about it. Some words get dropped. Were listening in on a car dealer. Harry Berman. Rice plays back a recording. VOICE (V.0.) When you drop it, leave the keys on the floorboard. (muffled; then...) B E RMAN (V.0.) I got a DeSoto. VOICE (V.0.) okay. BERMAN (V.0.) The interior's no good. VOICE (V.0.) Don't matter. It's a work. car. BAUM We think that's Dillinger's voice. PURVIS How did we find Berman? BAUM Dillinger's coat was bought in Cicero, Illinois, a few doors from Berman's dealership. Berman supplies cars to the syndicate. Since Capone. Dillinger must have been at Berman's switching cars when he bought that coat. (BEAT) Soon as they call to switch out the next car, we will tail them. Right to Dillinger. EXT. NORTH DEARBORN STREET - JOHN DILLINGER - NIGHT gets out of his Buick... INT. STEUBEN CLUB - DILLINGER - NIGHT enters, sees Billie talking with another hostess, MAY MINCZELES. (CONTINUED) 35 CONTINUED: TWO MEN approach. Billie checks their hats and coats. To Dillinger... BILLIE (without looking up) May I check your coat, sir? DILLINGER No, honey. You go get your coat. She looks up. So does May. May flashes Billie a look: if you don't want him, I do. MAY MINCZELES Sounds good to me. Dillinger has eyes only for Billie. DILLINGER You ran out on me. BILLIE `you left me standing alone on the sidewalk. DILLINGER I 'you're going to be my girl, you have swear you'll never do that again. BILLIE I'm not your girl! A CUSTOMER comes up and puts his ticket on the counter. CUSTOMER Brown overcoat. BILLIE (ignoring customer) I am not your girl and I'm not going to say that. DILLINGER I'm waiting. CUSTOMER So am I. DILLINGER. (to Billie) "I am not ever going to run out on you again." Say it. (CONTINUED) 36. CONTINUED: ( 2) BILLIE No. DILLINGER Well, I will never run out on you. And that's a promise. CUSTOMER Well, I want to run out of here. So, lady, will you get my coat...? Dillinger lifts the man two feet off the floor and slams him into the wall. Real jailhouse rage. The lethally cold eyes tells the customer everything he needs to know. Dillinger swings him to the counter, grabs the man's ticket, slams thru the half door, finds the man's coat, tosses it at him... DILLINGER Keep the tip. (to Billie) You ain't getting other people's hats and coats no more either. He takes her coat and holds it for her. She doesn't move. BILLIE No one's ever done that for me before. DILLINGER You're with me now. BILLIE I don't know anything about you. DILLINGER I was raised on a farm in Mooresville, Indiana. My ma died when I was three. My daddy beat the hell out of me because he didn't know no better way to raise me. I used to do dumb things but I'm a lot smarter now. I like baseball, movies, good clothes, fast cars, and you. What else do you need to know? She gets into her coat. Dillinger opens the door for her. They exit, watched by May. TNT. DILLINGER'S APARTMENT, LIVING ROOM - BILLIE - NIGHT enters. It's large, low-ceilinged, luxurious and modern --- Billie is bowled over. He sits her down on a sofa. (CONTINUED) 37. CONTINUED: He goes into a closet to get two Marshall Fields boxes and two drinks. BILLIE You been living here long? DILLINGER Yeah. Since yesterday. From a back bedroom (Red's) a phonograph is louder as a door opens and Red enters the kitchen in a robe for a drink. He returns. Laughter. Dillinger has the boxes and drinks. DILLINGER (CONT'D) I got something for you. (BEAT) What's wrong? Open it up. Billie opens the boxes. She lifts out a sleeveless dress in dusty pink. It is beautiful. She is very touched. The second has a coat with a fur color. But still... BILLIE I'm drinking in a man's apartment who .:W.ants to romance me. Okay. I'm no "Pollyanna, but there are things that you Kati would bother a girl like me... DILLINGER We`rob banks `cause banks is where they keep the money. I can make 500 dollars in a year or I can make ten thousand dollars in a morning. I'll take my chances on the bank. No apologies. We don't go lookin' to hurt anybody. But if somebody gets in our way, that's gotta be their problem. That what you want to know? BILLIE I'm trying to get to know you. DILLINGER You want to get to know me? INT. APARTMENT, DILLINGER'S BEDROOM - NIGHT Dillinger is an uninhibited and enthusiastic lover. They pause. He falls over onto his back and pulls her onto his chest and they look up out the window through the upside down elm trees to the Chicago moon in the cold sky. (CONTINUED) 38. CONTINUED: She gets up and wanders around the room. He thinks she's the most beautiful creature he's ever seen. She's looking at his stuff. She sees suitcases that are packed, ready to leave in a heartbeat. Everything's so neat. She touches his folded shirt... BILLIE .smooth DILLINGER Egyptian cotton. Since we been out I go for the finest stuff. As much as I can get, as fast we can get it. BILLIE (SUITCASES) Where you goin'? DILLINGER Nowhere. What do you mean? BILLIE You're all packed. DILLINGER Always are. Ready to get up and go in a heartbeat... She stands next to him in the bed now. He pulls her down next to him.. She turns her good ear towards him. DILLINGER (CONT'D) What's wrong with the other ear? BILLIE I was married once. He was too handy with his fists. She stares at Dillinger. Will this put him off. DILLINGER Where's he now? BILLIE In prison. I divorced him. Only mistake I made was marrying him in the first place. He got caught mugging a mailman... DILLINGER A criminal mastermind... (CONTINUED) 39. CONTINUED: (2) She turns over and puts her mouth next to his ear. It gets amorous through... BILLIE After my daddy died, we went to live on the reservation in Flandreau. In Flandreau nothin' ever happened. (BEAT) When I was 13, we went to live with my Aunt Ines in Milwaukee where my cousin Frances had a lot of Indian friends who went around to churches and put on plays like "Little Fireface." And nothing exciting ever happened to me there, either. So I haven't been anywhere or done anything in my whole life except come to Chicago and try to make my way. DILLINGER Well baby-you're going to start a new and exciting kind of life from right now. And as they're pulled to each other and start making love again, she stops... BILLIE heat do you want? DILLINGER To please you. That's not what she meant, but gently, he rolls her over on the bed. A smile spreads slowly across her lips. !NT. PHONE COMPANY - BAUM/INT. PURVIS' APARTMENT - PURVIS -- NIGHT -- INTERCUT Baum in his shirtsleeves in front of the recorders is talking to Purvis as he puts on his coat. BAUM Rorer tailed it. Berman dropped it in an alley next to the Sherone Apartments 20 minutes ago. Rorer talked to a neighbor. Men go in and out at night carrying heavy suitcases. One looks like Dillinger. PURVIS Let's go. Right now. They race out. 40. INT. PURVIS'S PIERCE-ARROW - PURVIS + BAUM Cowley and Barton join them as they pull to the curb down the block from the Sherone Apartments. It's an upscale yellow- brick apartment building with nice cars in front. PURVI S Where are your men? COWLEY My car's on Sheridan and Montrose and Rice in the Ford is on Sheridan and Wilson. PURVIS Blocking vehicles? End of this street? Alley? They aren't "deployed." They're merely "here". Cowley gets it. Purvis exchanges a look with Baum, checks his gun. PURVIS (CONT'D) Carter, take the back. Barton, you're with me. INT. HALLWAY ON THIRD FLOOR - PURVIS + BARTON - NIGHT enter from the elevator. Soundlessly, they approach'-Apt. 302. Two voices - a man and a woman's. Barton moves away,Irom the door... Purvis knocks. VI SCOTT (27) opens the door. From ier reaction, she was expecting someone else. She's respectable and pretty. PURVIS I'm Special Agent Melvin Purvis, Miss Scott. Are you alone? VI SCOTT No - my fiance is here. PURVIS What's your fiance's name? VI SCOTT Leonard... McHenry. PURVIS May we come in? (CONTINUED) 41 CONTINUED: VI SCOTT Sure. I'm perfectly safe... But come on in. She holds the door open. INT. APARTMENT 302, LIVING ROOM/DINING ROOM - THEY ENTER LEONARD is a thin short man at a table finishing dinner. He is fresh-faced, maybe a junior clerk at an insurance company. Not John Dillinger... LEONARD Something wrong? PURVIS You have identification? LEONARD Honey, would you get my driver's licence. It's in my coat pocket. Leonard sums reluctant to get up. With his right hand, he takes a forkful of food. His left is under the table. Now, we see that he:.'s holding... A COLT 45_.-,AUTOMATIC Who is this man? LEONARD (CONT°D) You're that.. .Melvin Purvis. I've seen your picture! PURVIS What do you do for a living, Leonard? LEONARD I travel in ladies shoes. He smiles at his joke. Vi enters with his wallet. Barton sees the driver's license. LEONARD (CONT'D) Show him, honey. Vi Scott puts a foot forward - a red shoe with a bow. PURVIS Do you carry around samples? LEONARD Sure. Big suitcases. (CONTINUED) 42. CONTINUED: PURVIS (handing back the licence) Enjoy the rest of your dinner, Mr. McHenry. LEONARD Thanks. INT. CARPETED HALLWAY ON THIRD FLOOR - PURVIS + BARTON walk the length of the hall. Vi closed the door behind them. PURVIS (LOW) Its all wrong. No one in or out. I'll get the others. (at door to stairs next to the elevator door) Stay here, watch that door from right here. Purvis leaves. Barton wants to do it right. Then, he hears movement from Apt. 302. Objects being hurriedly shifted. He starts back down the hallway. Halfway between it and the elevator... PING! Behind him, the elevator doors open. Barton turns hi.,,back on Apt. 302. He's caught between 302 and the elevator.-".- TOMMY CARROLL (38) a flat-nosed ex-con enters. He looks curiously at Barton. BARTON Bureau of Investigation. What's your name? (flashes badge) CARROLL You wanna know my name? Barton sees Carroll's eyes flicker, slight smile. He spins... AN INDIFFERENT "BABY FACE" NELSON FIRES his .45. BLAM! BLAM! Barton's slammed forward. Nelson looks at Barton, prostrate, convulsing. He FIRES a third round. 43 EXT. STREET - PURVIS PURVIS Pull the men from Sheridan and Wilson. PURVIS -reacting- grabs the Thompson from Madala and runs back inside. EXT. SHERONE APARTMENTS - BAUM runs to the corner of the building where he has a visual on the building front entrance and the DeSoto down the alley. INT. THIRD FLOOR HALLWAY - PURVIS enters, sees... BARTON in the final moments of his life. Barton looks up into Purvis` eyes: Help me! Purvis does not know what to do. Then Barton's eyes drift away... Purvis impels himself to action. He kicks in the door to Apt. 302. �._ INT. APT 30.2 VI SCOTT screams. PURVIS Where is he?! EXT. SHERONE APARTMENTS - BAUM sees - BABY FACE NELSON + TOMMY CARROLL quickly cross the alley from the back stairs to the Desoto. And Nelson immediately lays down rounds in careful short BLASTS of full auto. Tommy Carroll calmly, smoothly starts the DeSoto. Nelson's barrage punches into the wall, drives Daum to cover. INT. SHERONE APARTMENTS - PURVIS slams open a window. The DeSoto accelerates out of the alley. Purvis FIRES a few rounds. Baum FIRES his pistol. Both are useless at that range. The DeSoto has turned left and is gone. 44. EXT. SHERONE APARTMENTS -- PURVIS races in from the front door. Rice and Madala drive up in the Bureau's armor-plated Ford V-8. PURVIS They headed north! The Sheridan Road car? RICE That's us. We heard gunfire. So we. (gets it) .came here. They're fucked. MADALA Was it Dillinger? BAUM No. It was Lester Gillis. Purvis sinks. PURVIS The man we let get away wasn't John Dillinger. (BEAT) It was Baby Face Nelson. CUT TO: INT. CENTRAL NATIONAL BANK, GREENCASTLE, INDIANA -- 7ILLINGER, PIERPONT + MAKLEY - DAY wearing overcoats and hats with guns tucked inside, all walk into the bank. Six CUSTOMERS. TELLER PIERPONT Change a. twenty? Teller looks up at Pierpont but is staring into the 45 cal. barrel of a Tommy gun while... DILLINGER vaults the five foot divider railing and trains two 45s on the TELLERS. DILLINGER Get over to the vault! Everybody! Go on! (CONTINUED) 45. CONTINUED: He herds the tellers over. Pierpont makes customers sit in chairs. The vault door is already open... EXT. STREET - RED HAMILTON in a black Studebaker is double-parked with the engine running. ECU: THE GIT, the detailed map of their getaway route. HOMER on Lookout watches the street. Nothing. Dillinger and Pierpont carrying canvas bags cross through the foreground as... INT. STUDEBAKER RED throws it into gear and they drive away. Homer jumps on the running board. Dillinger looks over his shoulder. Awestruck pedestrian. From the other end of Main Street, no pursuit. CUT TO: INT. BUREAU OF INVESTIGATION, WASHINGTON - HOOVER - DAY HOOVER (into phone) That was a miserable piece of work. INT. BANKERS BUILDING - PURVIS - DAY (INTERCUT) PURVIS (into phone) Yes, it was. I take full responsibility, sir. Hoover calms for a moment. PURVIS (CONT'D) And I'd like to request we hire part time agents with "special qualifications"... from outside the Bureau. HOOVER I thought you understood what I am doing...build.ing a department of professional investigators. Young college men with law or accounting degrees from good families. No, you may not go outside the Bureau, Purvis. (CONTINUED) 46. CONTINUED: PURVIS The Bureau has used these men before. HOOVER They are not our "type." PURVIS Our "type" cannot get the job done... (BEAT) Without qualified help I would have to resign this appointment. Otherwise, I am leading my men to slaughter. Hoover is backed against the wall. He does not like it. HOOVER (dead cold) Mr. Tolson will call you, Agent Purvis. PURVIS Thank you... (CLICK) Hoover hung up on him. INT. UNION STATION (CHICAGO) - A TRAIN - DAY has pulled into track 16. THREE MEN stand out among--,- passengers. One's face is obscured by a wide brirmdd`hat. They are -- CHARLES WINSTEAD, CLARENCE HURT + GERRY CAMPBELL Stiff from the journey, they stretch, take in the crowd. Winstead is in his mid 40s, 5 foot 8, body out of steel cable. Hurt is in his late 30s. These men are ex-Texas Rangers. Unlike flashier Texan lawmen of the period, they do not wear Western wear unless they're on a horse. That's for drugstore cowboys out to impress Easterners. They wear dark suits and ties and hats. They have "special qualifications." WINSTEAD What'd he say he looked like? HURT Didn't say. Their suitcases have been set on the platform. A PORTER approaches. PORTER Gentlemen need a hand? (CONTINUED) 47. CONTINUED: Winstead gestures at their bags and one case. The PORTER goes to lift the case. It is so heavy he can barely raise it. Campbell picks up the other end. They toss it on the cart„ PORTER (CONT°D) Hardware salesmen? WINSTEAD That's right. His terse reply makes the garrulous porter stop talking. INT. UNION STATION, GREAT HALL - DAY The Neoclassical hall is enormous. Still no Purvis. CAMPBELL I'll call. HURT I'm going to the men's room. Winstead spots a shoe-shine stand. Winstead sits, nods and the SHOE SHINE MAN begins to polish his Western boots. He's startled bi:the knife in a sheath built into the right boot. WINSTEAD Wcrk around it. From under the brim of his hat, Winstead glances at big city life in Union Station. He's an ominous presence. HEAR the excited roar of a CROWD and we -- CUT TO: EXT. THE KENNEL CLUB (MIAMI) -- MECHANICAL RABBIT -- DAY zips along an inside railing under the flawless Miami sky... SLEEK GREY HOUNDS race in a pack after it under cumulous clouds and palm trees. Streamline deco stands are almost filled. FRANK NITTI by the railing, watches the race with Phil D'An.drea. As they begin to walk... (CONTINUED) 48. CONTINTJED NITTI (business as usual) I want Johnny Patton out front on the other four tracks. Tell Adonis. He can have the parking concessions, and maintenance. PHIL D'ANDREA (NODS) Annenberg wants to sell you the remaining equity in General News. NITTI How's he doing on the wire service? PHIL D'ANDREA Feeding to 300 bookies now. And he came up with this gimmick called a scratch sheet. Another beat. Nitti stops for a beat NITTI Its hot out, right? PHIL D'ANDREA Yeah, Frank. NITTI Ever since those pricks shot me I can't get warm. (notices Phil's attention) What? PHIL D' ANDREA Some friends from Chicago in the stands... D'Andrea nods. John Dillinger nods back. Nitti glances at them; glances away. Dillinger has on sunglasses. Billie is wearing a straw hat. They are shouting to the greyhounds along with Pierpont, Homer and Makley and some girls. They have tall drinks. This is the good life for the privileged few in the middle of the Depression. A dog wins; not theirs. It calms down... DILLINGER (to Pierpont; business) Well drive out separately. (MORE) (CONTINUED) 49. CONTINUED: ( 2) DILLINGER (CONT'D) Billie and I want to hit the Gulf Coast on the way to Arizona. PIERPONT I want to take 66 and check banks in Denver and Phoenix. We'll meet you in Tucson on the 25th. VAN METER I think we wore out the Midwest for awhile. (BEAT) I heard one today. Indiana paper. (LOW) "Wanted. John Dillinger. Dead or...dead." (they crack up) Billie doesn't laugh. Dillinger pulls her close and she can't resist his good spirits. D'Andrea's approached... PHIL D'ANDREA How d'ya like the track? C'mon to the Gc: -lonial for steaks tonight. (writing on a card) You be our guests... DILLINGER Well be there. PHIL D'ANDREA (to cocktail waitress) Whatever these boys want, its on the house. He leaves. Pierpont, Makley and Homer go off to place new bets. Billie looks at Dillinger. Looks away. Dillinger catches her... DILLINGER What? She is quiet for a moment. BILLIE Thank you, thank you for these last few weeks. I never thought I'd see Florida. DILLINGER You going somewhere, doll, am I? (CONTINUED) 50. CONTINUED: (3) BILLIE It's been, three, four weeks. You'll look for a change. Or you'll get tired of me. And then I'll be sad and angry. So I wanted to say thank you before then... Dillinger is surprised that her expectations are so low. She didn't think his interest in her to be more than passing. DILLINGER You want to leave? BILLIE No. But I'm no fool. I'll be back checking coats at the Steuben Club. DILLINGER Well, I don't want you to leave. So it won't be that way. BILLIE Then it will be another way that's worse. (BEAT) You rob banks and you run rings around them, but you're likely to get killed or, get shot and... DILLINGER Who the hell gave you a crystal ball?! WILLIE Well, goddamn it, you don't need a crystal ball...! Ask Homer. DILLINGER Homer what...? BILLIE Homer and his damn joke... I don't want to be around to see any of that. Okay?! That's what it's about... Dillinger gets it. DILLINGER I am not going anywhere! I am going to die in your arms as an old man when that time comes. So what do you say about that? CLOSE ON BILLIE Now is the first time she allows herself to have any prospect about a future with him. It's a shock. (CONTINUED) 51 CONTINUED: ( 4) She hikes up her skirt and sits on his lap and smothers him with a kiss. Her hat falls off. Patrons nearby glance and look away. Dillinger doesn't give a damn. A new pack of dogs are about to take flight. EXT. PHILLIPS GAS STATION - BILLIE WITH A CAMERA -- DAY (ARIZONA) A fresh and tanned Dillinger and Billie are in a strikingly modern gas station on Route 66. Billie helps out a family by taking their picture with a Kodak Brownie in front of a Saguaro cactus. Snow-capped Rincon mountains are behind them. She leans down to play with the round baby. She looks over at Johnnie and smiles. It breaks his heart. INT. CONGRESS HOTEL, TUCSON, ARIZONA - ON THE CLERK - DAY writing into a register. CLERK is a big man and Western friendly. CLERK Mr. and Mrs. Frank Sullivan of Green Bay, Wd cons in. How was your journey, sir? DILLINGER ., • ng. CLERK I can send up some sandwiches and beer, if you'd like. DILLINGER That would be swell. Some friends of mine should be here already. J.C. Davies and Mr. Long? CLERK Out shopping, I believe. I'll let them know you're in when they come back. Old BELLHOP takes Billie's bag to the elevator. Dillinger carries his own case. INT. ROOM 323 - DOOR OPENS Dillinger tips the bellhop a dollar. Water runs. Dillinger goes to the window - checks the street, checks for exits in case of emergency. DILLINGER You want company? (CONTINUED) 52. CONTINUED: BILLIE (O.S.) After. INT. BATHROOM - BILLIE in the tub. Dillinger enters -- DILLINGER First time you ever put me off. You getting tired of me? BILLIE (his answer) Get in here. She stretches out and wets her hair. She sits up to reach for the shampoo. Dillinger's got it and rubs it into her hair. Dillinger hears something in the street. He goes to the window and sees a car parked irregularly. TWO MEN get out. DILLINGER Get dressed. Right now. He turns and runs into... INT. ROOM 323 He's pulling a Tommy Gun out of his case when CRASH! THREE MEN burst in. One is the Clerk. He cracks Dillinger across the head with the stock of his shotgun. Dillinger falls to his knees. Clerk hits him twice more. Billie rushes into the room.. She's naked. The two men from the street haul Dillinger, bloody and semi-conscious, to his feet and throw him against the wall and cuff him. CLERK/EYMAN Put clothes on, miss. INT. JAIL -- DILLINGER handcuffed is escorted through the outer cell block. He reacts. In the opposite direction in shackles PIERPONT + MAKLEY escorted by six guards are being moved out of the jail. (CONTINUED) 53. CONTINUED: DILLINGER What happened? PIERPONT Fire in the hotel. Firemen found our guns. Laid for us! Sorry, John. DILLINGER (shouts after them) Where they taking you? PIERPONT (shouts back) We're getting Shanghaied to Ohio! DILLINGER Where's Billie...? Thenthey're gone. They now move Dillinger through. COP EYMAN Your girl's been put on a bus back to Chicago. We ain't holding her. INT. JAIL CELL - DILLINGER - NIGHT is reading "Startling Crime" magazine. He HEARS holding cell outer doors opened. He looks over. MELVIN PURVIS is there. Cowley and Baum are with him. Purvis is brought to the cell. The COP who brought him goes back to his card game with four or five Tucson Deputies. We SEE Winstead and Hurt in their suits and ties are there, too. They lounge at ease. A Tucson Deputy gives them coffee. Eye contact with Dillinger. But Dillinger reacts to Purvis. DILLINGER (BEAT) Well, the man who killed Pretty Boy Floyd. He might have been "Pretty," 'cause he sure was not "Whiz Kid Floyd." Deputies stifle laughter. Dillinger comes up close to Purvis. They are eyeball to eyeball. Only the bars separate them. DILLINGER (CONT'B) (loud, for the cop's benefit) Now these Arizona boys, here? (MORE) (CONTINUED) 54. CONTINUED: DILLINGER (CONT'D) (BEAT) They pulled on us right out. Didn't ask Washington for permission. Didn't make mistakes. Arizona Deputies enjoy the flattery. Dillinger studies Purvis... DILLINGER (CONT'D) Sorry about that fellow Barton.. .one who got killed at the Sherone Apartments. Is he getting to Purvis? DILLINGER (CONT ' D) Newspaper said you found him alive. It's the eyes, ain't it? They look at you right before they go. Then they drift into nothing. Keep you up nights. PURVIS What keeps you up, nights, Mr. Dillinger? Now Dillinger reads him like an X-ray. DILLINGER (doesn't answer) You act like a confident man, Purvis. Bu _, I don't see it. You know a few things. You're probably okay when there's a group° of you got the other guy outnumbered. But death and mayhem up close? I am used to that and you are not, are you? When it's toe to toe, "One of us will die right here, right now," I don't think you got the get up and go. Purvis has nothing to say. He stares at Dillinger. Then he turns to leave. PURVIS Goodbye, Mr. Dillinger. DILLINGER I'll see you down the road. From ten feet away. PURVIS (QUIETLY) No you wont. The only way you'll leave a jail cell is when we take you out to execute you. (CONTINUED) 55. CONTINUED: (2) DILLINGER Oh, yeah? We will see about that. (BEAT) Go get yourself another line of work, Melvin. Purvis gestures for the guards to let him out -- Dillinger lays back down on his cot. The Tucson Deputies stare after Purvis, one laughs. After a moment... DILLINGER (CONT'D) (to Tucson Deputies) I was joking about the "we'll see about that." I'll let you boys keep me in this jail awhile. COP EYMAN We'd like that, Johnny, but don't get too comfortable. They're moving you. DILLINGER `Where to? COP EYMAN 'Indiana. DILLINGER why? I have absolutely nothing I want to do in Indiana. CUT TO: EXT. SKY OVER CHICAGO - AERIAL: LOCKHEED LODESTAR LANDING GEAR - NIGHT descends. Its 6:10pm on a snowy Tuesday evening, January 30th. Below are dim jeweled street lights in the dark white snow of the city. EXT. MIDWAY AIRPORT RUNWAY - LOCKHEED An assembly of photographers, 85 Chicago P.D. officers and a crowd have come to greet the biggest celebrity in America. AS DILLINGER DESCENDS THE AIRPLANE STAIRS FLASHBULBS POP. Lake County, Indiana PROSECUTOR ROBERT ESTILL puts Dillinger's jacket over him to guard against the cold. Two huge Chicago cops put Dillinger into the back of a car. With outrider motorcycles, the caravan takes off out of the airport into the snowy night. 56. EXT. CHICAGO STREETS - CROWDS - NIGHT crane to see the Dillinger convoy as they hear approaching sirens. It heads east towards the Indiana border and the town of Crowne Point. INT. LAKE COUNTY COURT HOUSE + JAIL -- (CROWN POINT, INDIANA) - SHERIFF LILLIAN HOLLEY - NIGHT at her desk when. DEPUTY He's here. A diminutive woman, SHERIFF HOLLEY goes to greet the massive cops who bring John Dillinger into her reception area and its crowd of 30 reporters. SHERIFF HOLLEY (to reporters) Back up over there. Dellinger looks at the crowd. Per the "Chicago Daily News "His diction was amazing - better in many instances than that of his interviewers -- his poise no less so... There Was no hint of hardness about him, no evidence save in the alert presence of armed policemen that he had spent his formative years in a penitentiary. He had none of the sneer of-the criminal... Looking at him for the first time.,.heIates as the most amazing specimen of his kind ever seen outside of wildly imaginative moving picture." SHERIFF HOLLEY (CONT'D) You can take the manacles off of him now. REPORTER Johnny, are you glad to see Indiana again? Dillinger's slow charismatic smile... DILLINGER About as glad as Indiana is to see me. Everybody laughs. REPORTER #2 Did you smuggle the guns into Indiana State Penitentiary for the big break of September 26th? REPORTER How'd you get them in? (CONTINUED ) 57. CONTINUED: DILLINGER (SMILES) Right there, you're too inquistive... PHOTOGRAPHER Hey Bob... (to Prosecutor Robert Estill) Put your arm around Dellinger. FLASHBULBS POP. They fluster Estill. Dillinger props his elbow on the prosecutor's shoulder and cracks a broad grin. The Prosecutor complies. They look like old pals. REPORTER When was the last time you were in Mooresville? DILLINGER Ten years ago. I was a boy and foolish. I held up a grocery store which I never shoulda done cause Mr. Morgan was a good man. And they sentenced me to 10 years in the state penitentiary for a 50 dollar theft. In prison, I met a lot of good -t las. I helped fix up the break at "f chigan City. Why not? I stick to my friends and they stick to me. DILLINGER'S EYES SEE him work the reporters. He knows that they are sympathetic. He plays them like a champ. The New York Times called this moment... "a modern version of the return of the prodigal son." ANOTHER REPORTER How long does it take you to go through a bank? DILLINGER One minute and 40 seconds flat. Dillinger nods and turns away. He - not the Sheriff - ends the press conference. TNT. FBI OFFICE - NEWSPAPER PICTURE: PROSECUTOR ESTILL with his buddy, John Dillinger resting an arm on his shoulder. (CONTINUED) 58. CONTINUED: HOOVER (O.S.) Why is this clown Estill fraternizing with the man he is scheduled to prosecute?! REVEAL we are in Hoover's office. INT. LAKE COUNTY CRIMINAL COURT BUILDING - LOUIS PIQUETT - DAY LOUIS PIQUETT - a former bartender and Chicago gangland's melodramatic mouthpiece - is escorted to the cellblock by jailor LEWIS BAKER. INT. UNOCCUPIED OPEN CELL Dillinger's waiting for him. Dillinger holds Piquett's business card. They shake hands. DILLINGER You come highly recommended by Alvin Karpis. What can you do for me? PIQUETT What's on your mind? DILLINGER The electric chair. There's none of Dil linger's cocky joie de vivre. Thaw-'s for reporters. INT. LAKE COUNTY COURT - JUDGE MURRAY - DAY is on the bench. Dillinger is shackled to his chair. The courtroom is packed. Walls are lined with deputies holding rifles. Reporters scribble. The gavel quiets the crowd. PIQUETT (on his feet) Your honor! Are we to have a hearing in accord with the laws of this nation, or is the State to be permitted to incite an atmosphere of prejudice? The very air reeks with the bloody rancor of intolerant malice. The clanging of shackles brings to our minds the dungeons of the Czars, not the flag-bedecked liberty of an American courtroom. I request the court to direct that those shackles be removed forthwith! (CONTINUED) 59. CONTINUED: ROBERT ESTILL This is a very dangerous man, your Honor. DEPUTY HOLLEY (Lillian Holley's nephew) And I'm responsible for the safeguarding of the prisoner. P IQUETT Who are you?! Are you a lawyer? What right have you to address this court? JUDGE MURRAY Alright, remove the handcuffs from the prisoner. ROBERT ESTILL Your honor, we'd like to relocate the prisoner. Only Indiana State Prison in Michigan city can guarantee Dillinger will not escape. JUDGE MURRAY Sheriff Holley? SHERIFF HOLLEY I concur, your honor. PIQUETT Sheriff Holley, I think it's a very nice jail you have right here. What makes you think there's anything wrong with it? SHERIFF HOLLEY There isn't anything wrong with my jail! It's the strongest jail in Indiana. PIQUETT That's what I thought. But of course, I don't want to embarrass Mrs. Holley. I appreciate that she's a woman and if she's afraid of an escape... SHERIFF HOLLEY I'm not afraid of an escape. I can take care of John Dillinger or any other prisoner. JUDGE MURRAY Okay, Dillinger will stay here. Dillinger's staying in crown Point. Dillinger's relieved. (CONTINUED) 60. CONTINUED: (2) PIQUETT Thank you, your Honor. The Defense will need four months to prepare itself. ROBERT ESTILL It should take 10 days. PIQUETT To go on trial in 10 days would be a legal lynching of this lad! There's a law against lynching! ROBERT ESTILL There's a law against murder! PIQUETT Then observe the law part. Or just stand Dillinger against the wall and shoot him. Then, there's no need to throw away the State's money on this mockery. JUDGE MURRAY (to both lawyers) Calm down. PIQUETT I apologize to the court. (indicating Estill) Bob and I respect each other very much. JUDGE MURRAY (warns Estill) Watch out or he'll be putting his arm around you, too. Laughter ripples. JUDGE MURRAY (CONT'D) The trial starts in one month on March 12th. DILLINGER as he stands, handcuffs are reapplied. He leans to Piquett, whispers.,. DILLINGER Atta boy, counsel. E/I. LAKE COUNTY JAIL - MORNING SAM CAHOON,, a 64-year-old janitor, trots through the rain and into the jail. He shakes the rain from his coat, waves to a GUARD and passes through to the (CONTINUED) 61. CONTINUED: CORRIDOR It runs the length of the jail. At the far end is the barred door to the criminal cell block. INT. CRIMINAL CELL BLOCK Cahoon gathers his mops. CAHOON Bryant! GUARD BRYANT pulls a lever, opening the cells in the cell block. Dillinger and 14 PRISONERS step out of their cells, free to roam the corridor behind the barred cell-block door. Cahoon and TWO TRUSTEES, carrying boxes of toilet paper, soap and Dutch cleanser, enter. Dillinger jabs something in Cahoon's belly. Cahoon gets a glimpse: it's a small black gun. DILLINGER -Cpme on, Sam, we're going places. A hulking black prisoner, HERBERT YOUNGBLOOD, holding a length of ipe, materializes next to Dellinger and ushers Bryant and the Trustees into an empty cell. Youngblood pulls the lever, locking the cells. DILLINGER (CONT'D) Boys, get in there. Dillinger, Youngblood and Cahoon set off down the corridor. INT. LAKE COUNTY JAIL, CORRIDOR - DILLINGER DILLINGER Call the warden. CAHOON Warden! Warden? Come on back! Warden LEW BAKER emerges from the office. Dillinger raises the gun. WARDEN BAKER That ain't real. DILLINGER Anything you say. (CONTINUED) 62. CONTINUED: Dellinger grabs him by the shirt, spins him round and jams it under his chin. INT. LAKE COUNTY JAIL, WARDEN`S OFFICE - FOUR GUARDS look up, startled. DILLINGER No one move or I'll plug the warden. Dillinger grabs two Tommy guns. Youngblood starts tying up their prisoners. Baker stares at Dillinger's pistol. WARDEN BAKER I was right, wasn't I? It's not real. INT. GARAGE at the rear of the jail. A mechanic named EDWARD SAAGER is hunched over the engine of a 1927 Nash when he feels something shoved into his back. He turns to see DILLINGER Alright, which of these here cars is the fastest, and you're going with, so don't... lie. SAAGER That would be the Ford in the corner. It's got the new V-8. DILLINGER We're taking that. SAAGER (HESITATING) That's Sheriff Lillian Holley's personal car. That even more highly recommends it. Dillinger starts ripping ignition wires out of the other cars. Dillinger, Youngblood, Deputy Sheriff Blunk, and Saager are herded into the Sheriff's Ford V-8. EXT. CROWN POINT MAIN STREET - FORD V-8 - DAY with Dillinger driving. Youngblood's in the backseat covering Saager + Deputy Sheriff Blunk. They cruise out of town. INT. HOLLEY'S FORD V-8 - YOUNGBLOOD YOUNGBLOOD We got a car following. (CONTINUED) 63 CONTINUED: Youngblood shoves the Thompson out the window and fires some rounds. Meanwhile, Dillinger floors it, The V-8 roars, rockets them ahead. DILLINGER (re acceleration) Wow. Mr. Youngblood, are we clear now? YOUNGBLOOD We are. DILLINGER okay, folks. Dillinger checks his rearview mirror, then the speedometer. He's impressed. DILLINGER (CONT'D) (addressing the two hostages) I'm going to write to Henry Ford. "Dear Henry Ford, Your 1934 Ford is the best damned getaway car in America. Yours -truly, John Dillinger." (eyes tense hostages) Relax folks... Dillinger ajoys the speed. He starts to hum. Then... DILLINGER (CONY°D) Okay. Who knows The Last Round-up?" (SINGING) "Get along little doggie, get along.." INT. J. EDGAR'S OFFICE - RADIO Only Tolson and J. Edgar Hoover are there. REPORTER How did he act? DEPUTY SHERIFF SLUNK Well...he sang part of the way. REPORTER What did he sing? DEPUTY SHERIFF SLUNK You know The Last Round-up." (half-sings "The Last Round- UPS= ) "Get along little doggie, get along... (CONTINUED) 64. CONTINUED: NARRATOR (Lowell Thomas voice) As John Dillinger escaped from the Crown Point jail ...or as folks now call it, the "Clown Point Jail"...he appears immune to the forces of law. And commenting in his fireside address on March 5th, 1933... FDR The Federal government, you know, cannot be held up to mockery in this way... Hoover is rocked. It's as if FDR is saying Hoover is the man responsible for the federal government being mocked... NARRATOR (pause; heraldic music) Meanwhile, the Emperor Haile Selassie. CUT TO: INT. WALGREENS DRUG STORE, GARY, INDIANA - PHONEBOOTH: DILLINGER watches cars, people, then. DILLINGER (into the phone) It's me, Baby. INT. WILLIE'S FURNISHED APARTMENT - NIGHT It's basic, the furniture is worn. Billie clutches the phone to her ear. DILLINGER (PHONE) I can't talk long. Are you okay? INT. TELEPHONE EXCHANGE Baum is listening intently to John Dellinger. An acetate disc turns. The stylus cuts. Agent Madala is calling Billie's local exchange to see if the operator can trace the call. INT. BILLIE'S APARTMENT - BILLIE BILLIE Don't come to Chicago. INT. ROOM IN TELEPHONE EXCHANGE - BAUM DILLINGER (O.S.) I promised I'd look after you, didn't I? 65. TNT. WALGREEN'S DRUG STORE - DILLINGER Intercut Dillinger and Billie. BILLIE Yes. DILLINGER And you believe me, don't you? You know I will look after you. BILLIE Yes. DILLINGER Say it. Say you know it. BILLIE Don't come to Chicago, Johnnie. DILLINGER Say it. BILLIE know you will look after me. DILLINGER love you, Baby. Dillinger ends the call. Hamilton waits in a Hudson at the curb. INT. TELEPHONE EXCHANGE Madala shakes his head - no trace. I/E. PURVIS'S PIERCE-ARROW - ACROSS FROM BILLIE'S APARTMENT BUILDING - ON PURVIS With Baum. PURVIS She knows we're watching and he knows we're listening. CUT TO: EXT. CAROLE SLAYMAN'S WHOREHOUSE, REAR YARD - DILLINGER drives the '34 Ford. Next to him, now, is Red Hamilton. The ' 34 Ford drives into the backyard. Johnny's out and approaching the rear door, his jacket over his right arm partially hiding the Thompson. He's glad to be back... (CONTINUED) 66 CONTINUED: DILLINGER (big smile) Hiya Sport. SPORT How're ya doin' Mr. Johnny? You gotta hold it right there... Where's the warm welcome...? DILLINGER Where's Carole? SPORT They got moved to Newport, Kentucky. (BEAT) Can't stay here no more, Mr. Johnny. The smile falls off Dillinger's face. DILLINGER Says who? INT. KITCHEN - MARTIN ZARKOVICH makes himself visible in the doorway. Unseen are two big cops with shotguns who stay hidden inside. ZARKOVICH (moves into doorway) Sport's only following orders. So am I. He demonstrates that his palms are empty. He's smart enough not to be armed. ZARKOVICH (CONT'D) They thought you might come here. Zarkovich is nervous. Dillinger reaches for his front pocket. ZARKOVICH (CONT ` D ) Your money is no good. DILLINGER I don't get it. ZARKOVICH You go talk to your pal, Gilbert. DILLINGER About what? (CONTINUED) 67. CONTINUED: ZARKOVICH Talk to Gilbert Catena. Dillinger, not taking his eyes off windows and doors, backs away. He knows there are more men. Zarkovich is nervous and frozen because... RED HAMILTON'S front sight rests on Zarkovich's heart which he would blow out the back of his chest with the souped-up 351 Winchester. Now, Dillinger pulls the '34 Ford out of the backyard with Red still on the running board. Zarkovich almost faints in relief. CUT TO: EXT. BRICK STREET IN KANKAKEE, ILLINOIS - THE '34 FORD - DAY pulls to the curb. Weeds. Vestiges of prairie. An old house sits at the back of a lot. A workshop is near the road. A sign says '�Lieboldt Repair." FRONT DOOR;.:.:- DILLINGER on the bel,:, ,A worn-looking woman answers. She is HARRIET LIEBOLDT. DILLINGER We're looking for Oscar...is he home? MRS. LIEBOLDT I'm Mrs. Lieboldt. And he ain't home. He's dead. Johnny glances at Red. DILLINGER I sure am sorry, ma'am. Was it an. accident? MRS. LIEBOLDT He accidentally got in the way of a shotgun when it was going off. What do you want? DILLINGER Oscar had "tools" of mine, he was repairing them. (CONTINUED) 68. CONTINUED: MRS. LIEBOLDT Everything that was here? Those people took it all away. It ain't here no more. CUT TO: INT. KEDSIE AVENUE CIGAR STORE - GLASS DOOR slams open. Dillinger and Red enter. Red throws two customers outside, closes the door, flips the sign to CLOSED. Dillinger confronts Gilbert Catena with a 45 pulled from one of two shoulder holsters and dead centered on Gilbert's forehead. DILLINGER I went to East Chicago to lay low. The welcome mat was not out. And I kept hearing your name. (BEAT) Then at Oscar's, my gear is gone. The deadly look in Dillinger's eyes leaves no mistake. DILLINGER (CONT°D) I am going to ask you once. (BEAT) And I just did. GILBERT Let me make a telephone call. Dillinger nods. GILBERT (CONT'D) (into phone) Gimme Phil... (BEAT) He's downstairs. He hangs up. He gestures to a doorway and stairs leading to the second floor. Johnny and Red throw Gilbert up the stairs first. INT. SECOND FLOOR - GILBERT, DILLINGER + RED - DAY enter. They see office remodeling in progress. FIVE TECHNICIANS run wires, installing phones. EIGHT CLERKS with shades on and ledgers man phones. Other men are looking over blueprints. They look up. They are Jake Guzik and his brother, Phil D'Andrea and seven or eight assorted Syndicate soldiers. FOUR HEAVYSET SOLDIERS (CONTINUED) 69. CONTINUED: come forward to frisk Johnny + Red. They gesture for them to open their coats to allow the search. D'ANDREA (irritated; to Catena) Anybody see him come in? GILBERT I don't think so. SOLDIER ONE. Dillinger turns the man, slams a knee into his kidney, pulls him back off balance, holds him up with one 45 under his jaw, as he draws the second 45 and sweeps the group... DILLINGER Wanna know if we're armed? Were armed. He dumps this guy on his ass, his heavy shoe an ounce from crushing his larynx. Red's two Thompsons concealed on shoulder straps are out from under his coat. Frozen time. Phil D'Andrea sits on the corner of a table. Only he stays relaxed. D'ANDREA k around, Johnny. What do you see? 1 1 DILLINGER A`lot of telephones. D'ANDREA You see money. Before last month there were independent wire services letting bookies know who won the third race at Sportman's Park. 300 of 'em. Now there's only one. Ours. General News. Nationwide. On October20, you robbed the bank in Green Castle, Indiana. You got away with $74,802. Split 5 ways, that's $14,960.40. You probably thought that was a big score. Dillinger stares at him. Where's this going? D'ANDREA (CONT'D) (indicates the room) This room makes that much every day. That is how money gets made. And it keeps getting made, day after day after day. It is a river of money. Flowing right to us. And it gets deeper and it gets wider. (BEAT) Unless the cops come through that door. (CONTINUED) 70. CONTINUED: (2) DILLINGER But they won't. D'ANDREA That's right. We pay them not to. Unless they know you're here. Then they come through the door, no matter what. (BEAT) What does that tell you? DILLINGER I'm popular. D'ANDREA You're bad for business. What this is, is called obsolescence. D'ANDREA (CONT'D) So the Syndicate got a new policy, Johnny. (BEAT) Guys like you? We ain't laundering your money or bonds no more. You ain't holing up in our whorehouses anymore. No armorers. No doctors. No nothing. (BEAT) That's the way it is. D'Andrea comes closer to him. D'ANDREA (CONT'D) And I am a messenger. This is business. (QUIETLY) Between us... He reaches into a pocket for cash. D'ANDREA (CONT'D) You need something to tide you by in case you're short? Dillinger and Red's looks say it all. They start out. D'ANDREA (CONT'D) Okay-but can you do me a personal favor? Dillinger hesitates. D'ANDREA (CONT'D) For my son, Mark. You're his hero. (CONTINUED) 71. CONTINUED:( 3) D'Andrea pulls out piece of paper and a pen. Dillinger looks at him like he's crazy. Then he signs the autograph. D'ANDREA. (CONT'D) Good luck to you. You too, Red. TNT. CIGAR STORE - DILLINGER + HAMILTON cross through. HAMILTON Why'd you sign that asshole's paper? DILLINGER I don't know. EXT. JUSTICE DEPT. BUILDING + STAIRCASE - PURVIS WAS KEPT WAITING. HE NOW JOINS HOOVER + SUYDAM who are briskly exiting the building. Hoover's angry. His voice is clipped and rapid-fire. HOOVER ...they call Crown Point, "Clown Point." ,,.,The Bureau of Investigation cannot catch ""Public Enemy No. 1, but Arizona cowboys z�. The President of the United States -s'aid Dillinger is making a mockery of the system of justice in this country. That means I am allowing Dillinger to make a mockery of the system of justice in this country. It is a dark cloud. There is a silver lining in that cloud. By escaping, John Dillinger has given us a second chance to get John Dillinger. (BEAT) Hamilton has a 17 year old sister in Detroit. Arrest her. Dump her in the tank. Pick up all known Dillinger associates. Doctors. Question family members. Pierpont's mother in Indianapolis. Dillinger's family in Mooresville. Foreigners. We suspect all of them of harboring... PURVIS Hamilton's family hasn't had word from him in years ... HOOVER That's the point. Motivate them to get "word." Create informants, Agent Purvis. (MORE) (CONTINUED) 72. CONTINUED: HOOVER (CONT'D) I want suspects interrogated "vigorously." "Grilled." No misplaced sentimentality. As they say in Italy and elsewhere these days..."take off the white gloves." By this point, they're down the Justice Department staircase. Purvis is dismissed. Hoover steps in front of a... MOVIETONE NEWS CREW where 35 boys, aged 12-15 have been waiting in a line. High voltage enthusiasm suddenly imbues Hoover. HOOVER What's your name, son? HARRIS Harris. The cameras roll. HOOVER (turning to camera) G-Men all over the country have picked up: the gauntlet flung down by the outlaws and wanton murderers. And these junior crime fighters, these junior G-men... COLOR DESATURATES into BLACK + WHITE. We don't kno °why. HOOVER (CONT'D) (CONTINUING) .every one of them., stopped some crime from occurring and forestalled an entry into the black book of criminal deeds. I am rewarding them with these medals today. My friend, Harris here, is the first... Hoover pins the first medal on Harris. And OVER that we HEAR OFFSCREEN... DILLINGER (O.S.) (LOW) You can size up a score like nobody's business, Tommy. You're a good egg, but I don't like Nelson. WHY IS JOHN DILLINGER'S VOICE HERE? BLACK + WHITE OF HOOVER (CONTINUED) 73. CONTINUED: cuts to photograph of... BLACK + WHITE PRETTY BOY FLOYD, bullet-ridden on a slab in a morgue. And we HEAR.. MOVIE ANNOUNCER (V.O.) (BOOMING) Pretty Boy Floyd. He thought he could lead a life of crime with impunity... PULL BACK to reveal. .JOHN DILLINGER. We are in... INT. MOVIE THEATER - DILLINGER'S listening to Tommy Carroll. Next to Dillinger in the row is Red. TOMMY CARROLL (WHISPERS) You got Lester wrong. He thinks the world of you. Whole country thinks you're a hero. Beyond their on the screen Pretty Boy Floyd`s face is replaced by Harry P e rpont's mug shot. Now, SHOUSE,enters and sits next to Tommy. We haven't seen him since Johnny threw him out of the car in Indiana. He holds out his hand... SHOUSE (WHISPERED) Johnny, willing to let bygones by bygones... Nothing from Dillinger. On the screen now is Pierpont's image. MOVIE ANNOUNCER (V.O.) (BOOMING) Recently convicted of murder in Lima, Ohio and sentenced to die in the electric chair is John Pierpont... CARROLL John, we gotta all be friends or this ain't gonna work. DILLINGER Red told you. After we take the bank, we bust out Pierpont and Makley. (CONTINUED) 74. CONTINUED: SHOUSE They got the prison surrounded by National Guard... MOVIE ANNOUNCER (V.0.) And Director J. Edgar Hoover would like you in the audience to help us apprehend... Public Enemy #1. NOW ON THE SCREEN: JOHN DILLINGER The men freeze. MOVIE ANNOUNCER (V.O.) (CONT'D) .Dillinger is thought to be in Indiana or Illinois and has been known to travel with this man. Look around you, ladies and gentlemen... Red Hamilton's photo. Shouse tries to rise. TOMMY slams him back into his seat. HAMILTON Oh Jesus... Now the LIGHTS come up! MOVIE ANNOUNCER (V.0.) They may be sitting right next to you! Turn to your right and turn to your left... Audience turns right and left. Dillinger and Hamiltn and Tommy turn their heads, too, searching for desperadoes. JOHN DILLINGER The exposure is so outrageous it makes Dillinger laugh out loud. That makes the people all around talk and joke. DILLINGER'S HAND grips his45. Shouse is grey with fear. Houselights darken. Finally, Looney Tunes starts. Daffy Duck. CARROLL (LOW) After the bank we'll figure out if we can bust out Pierpont and Makley... (CONTINUED) 75. CONTINUED: ( 2) HAMILTON Shouse, you step out of line one inch and and I will kill you. Then I will kill your parents for having had you. Then I will kill their pet dog. DILLINGER Where's the bank? CARROLL Sioux Falls. Nelson says there's $800,000 in there. He got us a great place to hole- up after 'til the heat blows over. DILLINGER + RED walk up the aisle to CAMERA. Cartoons continue behind them. HAMILTON "Don't work with people you don't know and don't work when you're desperate." Walter Dietrich. Remember that? DILLINGER Walter forgot ...when you're desperate, 'f iat's when you got no choice. INT. LOBBY` SECURITY NATIONAL BANK & TRUST COMPANY (SIOUX FALLS, SOUTH DAKOTA) - NELSON - DAY throws open his overcoat, draws his Tommy gun and FIRES a burst into the ceiling, bringing down plaster and light fittings. EMPLOYEES AND CUSTOMERS panic. BABY FACE NELSON Everyone on the floor! This is a hold-up. DILLINGER (passing Nelson) You're turning it into a circus! What the hell are you doing? Meanwhile, a terrified CLERK presses a button and the alarm rings loudly outside. BABY FACE NELSON (RANTS) I'd like to know who set that alarm off. Who the hell did it? Who? Dillinger and Red get to the BANK PRESIDENT and shove him towards the vault. Nelson is working himself into a frenzy. He points his gun at one terrified Customer after another. (CONTINUED) 76. CONTINUED: BABY FACE NELSON (CONT'D) If you want to get killed, make a move. What about you? How about you? VAULT Its a lot less than $800,000. DILLINGER Where in the hell's all the big money? OUTSIDE THE BANK A traffic cop, ROGER POWERS, runs up. Van Meter surprises and disarms him in classical fashion, but... LOBBY Through the window Carroll sees a motorcycle cop, HALE KEITH, arrive outside. Nelson scrambles onto a desk and FIRES a burst through the plate glass. BABY FACE NELSON I got one, I got one! I got a cop! VAULT - ON DILLINGER can't believe this is fucking HAPPENING. EXT. THE SECURITY NATIONAL BANK & TRUST COMPANY Dillinger and Hamilton emerge with the Bank President, FOUR TELLERS for a scrum of hostages. Carroll and Nelson,,:.,have a ragtag bunch. They're almost at the car. Nelson turns to the onlookers. NELSON What are you looking at? Nelson FIRES over their heads. Hostages scream and try to break loose. Nelson advances on the crowd... Out of a JEWELRY STORE, HARRY BERG, emerges and fires at BABY FACE NELSON, who is wearing a bullet-proof vest. Nelson sprays the area. Berg dives back in his store, BYSTANDER, JACOB SOLOMON, is hit in the stomach and crumples. Delay allows... EXT. ROOFTOPS ACROSS THE STREET -- DEPUTY with a 44-40Winchester gets a bead on DILLINGER (CONTINUED) 77. CONTINUED: He squeezes off a ROUND. The shot hits Dillinger in the back of the left shoulder and exits his upper arm. DILLINGER Son of a bitch! BANG! The second shot hits Carroll in the head, knocking off his hat. Dillinger fires up at the DEPUTY, tries to lift Carroll, blood gushes from his head. He appears to be dead. Dillinger leaves him. Sixteen year old, JOE PAWLOWSKI -- fueled by adrenaline, runs across the street and jumps onto Nelson's back. Nelson, screaming with rage, throws him through a plate glass window, FIRES two rounds and runs to join the others -- PURE CHAOS. Dillinger throws Nelson in the car. THE HUDSON surges forward. The car proceeds to an intersection and stops. DILLINGER (CONT'D) m.on! Shouse cant find his place on the.git. HAMILTON Right! Goddamnit! Right! As Shouse makes the turn... INT. FORD, TRAVELLING - DILLINGER grimaces with pain. Hamilton helps him off with his overcoat. EXT. LITTLE BOHEMIA - FORD - TWILIGHT (LATER) pulls in. Its a tourist lodge -a two-story log cabin with a bar, kitchen and dance floor downstairs and bedrooms above. EMIL WANATKA, comes out, trailed by his two collies and Nelson's girlfriend, Vi Scott. DILLINGER How'd you find this place? Dillinger looks at Wanetka. He's uneasy. He trusts nothing about it. (CONTINUED) 78. CONTINUED: NELSON Couple of Chicago guys told Tommy. Don't worry, nobody's gonna find us. He thinks were salesmen. INT. DILLINGER'S ROOM - MONEY - NIGHT being counted. DILLINGER How much? Nobody wants to answer. Hamilton meanwhile uses Atropine sulphate to clean Dillinger's wound. BABY FACE NELSON $46,120. DILLINGER That would be less than $800,000, right? Right! VAN METER Still more than $8,000 a man. DILLINGER Leave my money and get out. Van Meter, Nelson and Shouse exit. DILLINGER (CONT'D) We gotta cut loose from Nelson. HAMILTON You need to rest up awhile. DILLINGER No. We don't get out of here in the morning, we're going to wind up dead. HAMILTON We could head to Reno... Dillinger lies back in bed, looks around the room, angry and frustrated. Hamilton gets up to leave... DILLINGER I need two more guns, Red. OVER we HEAR the SOUND OF SOMEONE SCREAMING and CALLING OUT -- 79. INT. SIOUX FALLS HOSPITAL - TOMMY CARROLL - NIGHT in the bed, his head swathed in bandages. He lapses in and out of consciousness, thrashes with pain, shouting out. WERE ACUTELY AWARE OF PURVIS. Uncomfortable, Purvis stands apart from the others. Agents Rorer and Clegg are by the bedside. CARROLL Gimme the shot, Doc. Please. I'm begging you. RORER Not until you tell us! As the pressure inside his skull becomes unbearable -- CARROLL Oh, Mother! Help me! Please, God! He begins to scream. It is harrowing. A DOCTOR hurries into the room, Purvis blocks him from the patient. He shoves him back out the door and follows him... DOCTOR (spits it out, fury) T h e bullet entered the back of his head. It is resting over his right eye. His brain is swelling. He will be dead soon. He is suffering and I need to sedate him. PURVIS Not yet. If you interfere, I'll arrest you. From inside. RORER Where is he?! CARROLL Give me a shot! RORER Di.llinger! Then you get the shot! Where is he? The Doctor looks at Purvis. Purvis remains steadfast. But we see Purvis struggling with this. Maybe his soul has just gone to hell. (CONTINUED) 80. CONTINUED: Rorer hovers over Tommy Carroll. He blocks our view but his hands press down onto Carroll's skull. Screaming. The Doctor walks away. He will not be a witness to torture. More screaming. CLOSE ON PURVIS: looks up to see Rorer looking at him. Rorer is sweating. He nods. He has an answer. INT. SIOUX FALLS AIRPORT - NIGHT Urgent activity, Purvis, Baum and Winstead are racing. In the background, Rorer is on the phone. Hurt is checking weapons and ammo. A charter Ford Trimotor's engines rev. RORER (into phone) .place is called Little Bohemia in Manitowish, Wisconsin. PURV I S What's the nearest airport to Manitowish? RORER Rhinelander. INT. BANKERS' BUILDING, OFFICE - COWLEY - NIGHT listens. Agents are throwing on coats, grabbing greiades, steel vests, Tommy guns. PURVIS (O.S.) Our group will fly down in the plane. (to Cowley) Sam, you drive up. COWLEY (RECITES) Little Bohemia. Manitowish, Wisconsin. INT. LITTLE BOHEMIA, DILLINGER'S ROOM - DILLINGER - NIGHT looks at THE COURTYARD fifteen feet below, which is lit up. Dillinger positions a Winchester..351 autoloader next to the window. Moves stiffly across the room to the other window... A DROP FIVE FEET ONTO A LOWER ROOF - (CONTINUED) 81. CONTINUED: Dillinger positions a Thompson on the window sill. Then he turns on the radio and tries to sleep. EXT. PINE WOODS - TWO BUREAU HIRE CARS - NIGHT approach the lodge and stop 300 yards away. No lights. Purvis, Baum., Winstead, Hurt and Agents Rice and Rorer get out and whisper: PURVIS If you can get Dillinger alive, do it. If not, then you put him down. Rice, Rorer - take the back. Carter, you cut through the woods and come up on the front from the northwest. Get up close enough to see if they're in the barroom. WINSTEAD If he is? PURVIS We know where he is. We go in. WINSTEAD If he isn't? PURVIS o in anyway. WINSTEAD Too much real estate out here. Too many ways for'em to get out. And too few of us to blockade 'em in. (BEAT) We need road-blocks. An assault plan. This ain't how to do it. We gotta wait for Cowley's group... Purvis hesitates. Then. PURVIS I will not risk them escaping and humiliating us. Take the southwest corner. Cover that and the front. (to Hurt) Block the road we came up -- Winstead has to accept this. He is not happy. Baum moves off through the woods. As Winstead and Hurt start to move off... 82. EXT. LITTLE BOHEMIA LODGE - THREE LOCAL MEN, CCC WORKERS enter from the barroom. They seem relieved to be away from the garrulous Nelson. They get into the Chevrolet and start the engine. Turn on the radio. Loud. Collies begin to bark. INT. BARROOM - NELSON hears the dogs barking. EXT. LITTLE BOHEMIA LODGE - CHEVROLET engages first gear. PURVIS Stop that car! Federal Agents! INT. CHEVROLET - NIGHT The three men inside cannot hear them. They're loaded. Their radio is BLARING. EXT. LITTLE BOHEMIA LODGE - NELSON appears in the front doorway, gun in hand. CARTER BAUM in the woods sees the armed man framed in the doorwa BAUM (shouts out) Bureau of Investigation, nobody move! Chevrolet slowly starts towards Purvis and the others -- PURVIS Police! Stop! (HEAT) Fire! Purvis and from the woods Baum open up. Agents Madala, and Clegg FIRE as well. CLOSE ON CHEVROLET takes hits from the Agents' tommy guns. Glass shatters, tires explode. It stops, dead. Meanwhile... WINSTEAD + HURT deeper in the woods, cover the side windows from where they know gunfire will soon erupt. It DOES as... 83. INT. BARROOM - NELSON and the others inside are FIRING out windows, killing lights. EXT. WOODS - WINSTEAD + HURT FIRE only on windows from which they see muzzle flashes. INT. DILLINGER'S ROOM - DILLINGER + HAMILTON at Dillinger's window, exchange furious fire with Rice and Rorer at the side of the lodge, forcing them back behind out buildings. Splinters fly. Glass shatters. Gunsmoke is thick. EXT. LITTLE BOHEMIA, BARROOM - NELSON, SHOUSE + VAN METER fire back, forcing Purvis to cover. PURVIS Where the hell is Cowley? Purvis - low - runs to the Chevrolet, opens the door. The driver and one passenger are dead. A middle aged, unarmed man steps out. Bullets zing around him. He promptly sits down on the ground.,, dead drunk. These are not Public Enemies. THE TEXANS UNLOAD only on real targets. Bullets CUT through the trees. SHADOWY FIGURE darts from a side door and leaps over the porch FIRING a Tommy gun. Bullets strike the trees around Purvis. BAUM Someone got out! PURVIS Is it Dillinger? BAUM I think so. PURVIS See if you can head him off. Go! Purvis runs into the woods after the fleeing figure. Carter Baum races off in a car. 84. EXT. PINE WOODS - PURVIS runs hard, glimpses the figure. He FIRES but misses, keeps running, desperate... INT. LITTLE BOHEMIA, SECOND STORY - ROOF - DARK NIGHT Bullets TEAR into the wooden walls. Two Men jump out of a back window, not clear who they are... Its chaos. EXT. LITTLE BOHEMIA - THE TWO MEN sprint down wooden steps to the beach, turn LEFT and run along the lake behind the lodge, trading SHOTS with Rorer and Rice. Rice is hit in the leg and cartwheels forward. Rorer stays with him. NOW WE SEE THIS IS DILLINGER running but impeded by his shoulder wound. Hamilton helps him. In the background, we SEE Van Meter and Shouse have also bailed out of the house for the beach but disappear into woods to the RIGHT. DILLINGER + HAMILTON run along the line of the lake, but in woods now. WINSTEAD runs through trees parallel to them but further away from the water. He catches sight of two figures through the :trees playing against the water from 100 yards away. DILLINGER + HAMILTON move fast. Not much brush to slow them. Dillinger senses, reacts... HARD CHARGING WINSTEAD, from 50 yards FIRES his pump-action 10 gauge shotgun FOUR TIMES. DILLINGER + RED in a burst of speed, cover behind heavier trees, which are cratered by the heavy shot. And Dillinger, never stopping, out the other side, is FIRING his Thompson at Winstead as. WINSTEAD (CONTINUED) 85 CONTINUED: rolls forward under the two 5-SHOT BURSTS from Dillinger and... SLO--MO. WINSTEAD'S HANDS, while rolling, feed three 10-gauge rounds into the loading port of his shotgun, .and he rolls right up onto one knee, bringing the 10 gauge onto the FAST MOVING glimpses thru trees and he's FIRING at... GHOSTS because Dillinger and Red are beneath the brow of the bank, moving fast, now, and Dillinger reloads as... WINSTEAD signals above and behind him. to... HURT who crossed at a higher point on the contoured landscape, giving the,,-Texans cross fire possibilities, and... DILLINGER FIRES -- whrthe bank's cut by a ravine - exactly where Winstead should be... DILLINGER'S POV: NOTHING Winstead's gone. And Dillinger knows the level of play has been raised by the addition of whoever these men are. As he and Red race across the ravine for the high ground advantage... HURT FIRES Hamilton's legs give way. Dillinger hauls him up, still on run... DILLINGER You hit, Red? HAMILTON I don't think so. Dillinger looks at Red's shirt. A blood stain blooms just above his belt. It's bad. DILLINGER Come on, Red. We can make it. (CONTINUED) 86. CONTINUED: (2) On the high ground, past rock outcroppings towards a house. Meanwhile... EXT. WOODS - PURVIS - NIGHT runs desperately after the shadowy figure. Now we SEE it's... BABY FACE NELSON who turns and FIRES at Purvis, who drops behind a. felled tree. Ahead, Nelson sees car lights through the trees and... EXT. ROAD - NELSON tumbles down the bank onto the road. Nelson flags it down an approaching car. It screeches to a stop. Its a Bureau car. Did they think Nelson's an agent? INT. BUREAU CAR - CARTER BAUM is at the wheel. He realizes its Nelson. Nelson, aiming his Tommy gun... NELSON I know you bastards wear bulletproof vests, so I'll give it to you high and low... Nelson OPENS UP. Baum, hit, manages to fall out of,-te passenger door and run. EXT. PINE WOODS - PURVIS hears distant shooting. He races for the road. EXT. ROAD -- BAUM twists, turns, fires a handgun, misses. Nelson FIRES again. Three slugs tear into Baum's neck. Baum topples over a white fence, lands on his face. Nelson shoots Baum again. INT. CAR - NELSON'S in, pulls out. Purvis spills down through trees. He FIRES, ineffectually at the disappearing car. He rushes to Baum. A sick gurgling sound is coming from his throat. PURVI S Carter! (CONTINUED) 87 CONTINUED: Baum's eyes flicker. PURVIS (CONT'D) Who was it? Was it Dellinger? Baum shakes his head a fraction. BAUM (barely audible whisper) Nelson. Baum's eyes roll back in his head. Purvis runs after the car. He dives through the woods to cut it off at a turn in the road. EXT. HOUSE - A CAR is outside. A man's on the porch, having reacted to gunshots. DILLINGER Gimme the keys to that car! He tosses them. Dellinger already has Red inside, starts it and blastsr,...away from the house. Winstead cjim:bing out of the ravine SEES the car pulling away. It's gone. He and Hurt run for the shoreline to get back to... EXT. LITTLE BOHEMIA LODGE - WIDE - NIGHT Tear gas billows out the windows. WINSTEAD (ARRIVING) Cease fire! Stop shooting! The shooting stops. There is no return fire from the lodge. Winstead puts a handkerchief over his nose and mouth and ENTERS E/I. LITTLE BOHEMIA LODGE - WANETHA + NAN coughing their lungs out and cowering behind the furniture. No one else is there. Meanwhile... INT. STOLEN BUREAU CAR, MOVING - NELSON speeding, sees Two Men step into the road, raised weapons. He slams on the brakes. The two men run up, shouting "Get out of the car!" (CONTINUED) 88. CONTINUED: Nelson bursts out laughing. NELSON You dumb bastards. HOMER VAN METER + ED SHOUSE streaked with mud jump in. Nelson takes off. EXT. WOODS NEAR THE ROAD -- PURVIS tumbles out of the woods onto the road just in time to see Nelson in the stolen Bureau car disappear around the next corner. He keeps running, desperately, futilely... INT. PACKA.,.RD - COWLEY drives. Madala is next to him, reading a map. Clegg and Smith are in back. They see an oncoming car. COWLEY Who's that? Cowley slows. The other car doesn't. Ahead Cowley slams on the breaks. MADALA Somebody's on the road! PURVIS running towards them, jumps in the Packard. PURVIS Turn it around! .the car... COWLEY Who was in it? PURVIS (BREATHLESS) Baby Face Nelson. He killed Carter. Cowley u-turns and accelerates. INT. STOLEN BUREAU CAR- NELSON sees the Packard gaining on them. NELSON Who are these birds? He pulls the wheel to the right. 89. EXT. HIGHWAY The Stolen Bureau Car is on the shoulder past a blind curve. INT. PACKARD - COWLEY blasts around the curve, tires screaming, passes the Stolen Bureau Car. Now Nelson pulls out behind them! COWLEY Look out...! INT. STOLEN BUREAU CAR - NELSON accelerates, closing in on the Packard. He assaults the FBI. NELSON Let'em have it. INT. PACKARD - PURVIS PURVIS `'aster, Sam! EXT. ROAD ,SPLITS ... becomes twbjanes of blacktop separated by a median with trees. Trees are between them. INT. PACKARD - PURVIS sees Homer Van Meter steady his Thompson. Madala ducks. Cowley hits the brakes, locks the wheels. Nelson's car surges past, spoiling Van Meter's aim, Purvis FIRES. Madala FIRES. INT. STOLEN BUREAU CAR - LOSING SPEED! Packard's coming up on them. Nelson stomps on the gas. NELSON Hit the engine! Nelson spins the wheel to veer off the highway onto a... EXT. DIRT ROAD -- BUT NELSON'S CAR. hits a berm, bounces high and rolls over. INT. STOLEN BUREAU CAR - NELSON struggles to free himself from under Shouse. Shouse's neck has been broken. He is dead. Van Meter is clear and running. (CONTINUED) 90. CONTINUED: NELSON Come back here, help me, you son of a bitch! Homer doesn't. He's gone. The Packard hurtles towards him, screeches, skids sideways, stops! PURVIS, COWLEY + MADALA are out. Purvis FIRES. VAN METER is cut down right away, hit 14 times. While... NELSON opens up with the Tommy gun, ripping COWLEY across the chest. As MADALA ' S 12-gauge FIRES. Nelson, slammed in the chest, drops-to his knees, fights on, as... PURVIS' Thompson and Madala's second round HIT at the same time. The 45s and double odd shot tear into Nelson's chest and slam him back. Purvis rushes to Cowley... PURVIS (moving towards him) Rest quiet and you will be alright, Sam. COWLEY Call my wife and tell her. INT. DILLINGER'S STOLEN CAR, PARKED IN A SMALL TOWN - HAMILTON - DAY is in agony. Dillinger gets in back beside him. He's bought medical supplies from a drug store and whisky. He helps Hamilton to a slug and. some pills. HAMILTON Not like you ain't seen a man die before. (CONTINUED) 91. CONTINUED: He puts his bloody hand in Dillinger's. HAMILTON (CONT'D) (reading Dillinger's mind) You gotta let... (grimacing with pain) You gotta let me go, John. DILLINGER Bullshit. HAMILTON And you gotta let Billie go too. Flash of anger in Dillinger's eyes. HAMILTON (CONT'D) I know... you... never let no one down you care about. But this... time... you gotta let go... Hamilton desperately searches Dillinger`s eyes for a response. Hamilton squeezes Dillinger's hand and grimaces in pain. He lets out a'7-`gasp. His grip relaxes. Dillinger looks away... A car pulls in next to his. As the DRIVER gets out, he happens tc...giance at Dillinger's car. DRIVER'S POV: TWO MEN in the back of a car. One lying motionless, covered in blood, the other looking dishevelled and distraught. The Driver turns, restarts his car and pulls quickly away. EXT. FIELD - NIGHT Bleak and desolate. Dillinger is digging. Even a shallow grave takes time. He drags Hamilton's body to the grave. Streaks of dawn light the sky. DILLINGER I'm sorry to do this to you, Red. Dillinger empties boxes of lye bought from the pharmacy on Red's face and starts shovelling earth on his friend's body. 92. EXT. FIELD - DAWN Dillinger sitting on a rock by the grave, whisky bottle in hand, sweaty and cold at the same time. His stomach is empty and his spirits are rock bottom. He gets up, throws away the empty bottle, takes a last look at the grave and walks to his car. CUT TO: INT. BLACK HUDSON, CHICAGO - JOHN DILLINGER ._ NIGHT drives west on Troy. The neighborhood streets are cold and empty. But ahead Dillinger sees... 1933 CHEVROLET 2-DOOR COUPE parked at the curb. Two men are inside. Silhouettes against steamed windows. They're waiting, watching. EXTREMELY CLOSE: DILLINGER'S FACE Impassive. He knows exactly who they are. He cruises past without glancing and continues west... INT. 1933 CHEVROLET SURVEILLANCE CAR - NIGHT The men inside are Agents Reinecke and Rorer. Reinep wipes the condensation from the windshield. Across the sty" =et he sees Billie through her second story window. He makes a notation. Rorer is asleep. TNT. ASHLAND AVE. FURNISHED APARTMENT - BILLIE - NIGHT checks her watch., rises past her window to turn on the radio. Paul Whiteman's band signs off followed by a Geritol commercial telling Radiol.and to stay tuned for the Will Rogers commentary. INT. ASHLAND APARTMENT, FOYER - BILLIE + NEIGHBOR, also a dark haired woman. Billie slips her $20. She made her a sandwich. Neighbor takes Billies place in front of the window by the radio. Meanwhile... EXT. REAR ALLEY - SNOW FLURRIES: BILLIE in a man's overcoat and hat, crosses the alley to the rear of the buildings opposite. 93. EXT. ALLEY - A SECOND FBI CAR + AGENTS watch the rear of Billie's building. Agents ignore a man crossing the alley in the cold night. INT. REINECKE'S CAR RORER What's she doing? REINECKE (LOOKS) Listening to the radio... EXT. WABANSIA AVENUE - BILLIE emerges from the passageway between buildings in men's clothes, looks over her shoulder, and crosses into the street. She just stands there. Nothing moves under the skeletal elms in the white snow. THEN: LIGHTS come on. They stab at her. She can't see in the glare. BLACK HUDSOWI;PULLS THROUGH -- JOHN DILLINGER opens the door. She jumps in. He's already pulling away... INT. AGENTS''OFFICE - DAY Madala, Clegg and the other agents are waiting for a briefing to begin. Purvis enters. PURVIS Agent Cowley died this morning at 5:17am. Grim reactions among the men.. ,their lost colleagues and friends... PURVIS (CONT'D) Right now all of Dillinger's friends are dead. He's out there alone. There won't be a better chance to run him down. RORER He could be anywhere - California, Florida... PURVIS He could be anywhere - but he is not. What he wants is right here. Billie Frechette. (CONTINUED) 94. CONTINUED: Purvis looks up and sees the open door. Reinecke stands there...a desolate look of failure. Purvis knows what's happened. They lost Billie. CUT TO: INT. NBC RADIO STUDIO (LOS ANGELES, CA)- WILL ROGERS - DAY smokes a cigarette in front of a ribbon microphone. The smoke curls into the air. His commentary is intimate and folksy. WILL ROGERS (into ribbon microphone) Well, they said they were going to get Public Enemy #1. And they had John Dillinger surrounded... They was all ready to shoot him as soon as he came out. But a bunch of folks came out ahead, so they shot all them instead. (radio audience laughter) INT. DILLINGER'S BLACK HUDSON - BILLIE + JOHNNY - NEW YEAR'S EVE drive carefully, south on Clark St. Sidewalks are filled with revelers and crowds. WILL ROGERS(O.S.) They will get Dillinger someday. Probably when he's with a group of innocent bystanders they're shooting down, and he'll get killed by accident... (PAUSE) Meanwhile, President Roosevelt got Congress to pass a second crime Bill... INT. FRANK NITTI'S LIVING ROOM (CICERO, ILLINOIS) -- FRANK NITTI - EVENING listening to Will Rogers. He's sober. WILL ROGERS(O.S.) .which the example of Public Enemy Number One has helped push through Congress. It will make all criminal enterprise across state lines a federal crime... Nitti's hand picks up a telephone and dials. He puts the earpiece next to his ear. And he blows up. (CONTINUED) 95 CONTINUED: NITTI (to D'Andrea) Okie inbred sonsabitches ... backwoods cocksuckers. They did this. D'ANDREA Did what? NITTI Karpis. That syphilitic idiot Babyface Nelson. Dillinger. All of them. Another interstate crime bill?! D'ANDREA What do we care? We don't rob banks. NITTI Everything is interstate. Wake up. That's the point of being nationwide. Fix it. INT. FBI - HOOVER'S OFFICE -- HOOVER -- NIGHT listens. WILL ROGERS (O.S.) -.-v -so after they missed all the Public Enemies at Little Bohemia, the Bureau =axrrested their girlfriends. The FBI may "bat get their man, but they always get his woman. (radio audience laughs) J. Edgar Hoover does not. INT. BLACK HUDSON - BILLIE + JOHNNY - NEW YEAR'S EVE head south out of downtown on Michigan Blvd. A blast of horns declares the death of 1933 and the birth of 1934. INT. TELEPHONE COMPANY EXCHANGE- PURVIS - NEW YEAR'S EVE - enters. They've got 15 recorders, now. It's a rat's nest of cloth-insulated wiring. Most of the listening stations are abandoned. PURVIS SEES: AGENT MADALA with headphones noting a conversation on a steno pad. Two stenographers are still around. Each machine is labeled. Madala listens to "PROBASCO." Next to him is "AUSTIN STATE TAVERN." MOVE IN. WELL SEE THAT AGAIN... (CONTINUED) 96. CONTINUED PURVIS Agent Madala... (can't hear) Agent Madala! MADALA (headphones come off) YESSIRL PURVIS Its New Year's Eve, Roger. Go home to your family. MADALA Thank you sir. Purvis leaves. INT. PURVIS'S APARTMENT OFF MICHIGAN AVENUE - PURVIS - NIGHT lets himself in. He's alone. "Auld Lang Syne" is heard in the streets below. The apartment is dark. He stands for a moment, letting the darkness wash over him. He allows himself one shot of Bourbon. He moves to the large window overlooking the city. He goes out onto the balcony in the cold air.- He sees the sparkling lights, the traffic, the couples, the-revelers, the relaxed celebration. Horns blow. Cheering can be heard across the city. He is alone. It is 1934 in Chicago. He downs the shot of bourbon. EXT. ROAD THRU DUNES - DILLINGER + BILLIE - NIGHT drive across the southern tip of Lake Michigan in te`Indiana dunes. Dunes are lit by the silver moonlight. Her head is on his shoulder. She loosely holds his arm. She drifted asleep. Now she wakes. She realizes it is New Year's Day. DILLINGER Happy New Year, doll. BILLIE Happy New Year, baby. He looks at her. Its a concerned look. She reads his mind. BILLIE (CONT`D) Johnny. I'd rather live on the run with you, than live any other way. That says it all. They are both quiet for a long beat. DILLINGER For how long? (CONTINUED) 97. CONTINUED: BILLIE However long. DILLINGER Next week? Next year? Alvin said this wasn't gonna last. He was right. The world has turned. Everything's different. (BEAT) And there's a sweet score. Enough money to go away and stay away for a long time. (BEAT) So whattya say we lit out of here? Lit out of here, altogether. BILLIE glows to the prospect. For the first time there's a tangible future. BILLIE Cuba? DILLINGER Too close. How about we fly to Caracas and then to Rio on Pan Am. Then an oanliner to Manila or Singapore. We are f6reign-looking to them. So they will ,have no idea who the hell we are. We can go out dancing all night and have a lotta laughs anytime we want... BILLIE I think that's a great idea! They drive on into the pre-dawn of the year 1934. EXT. DILLINGER FARM (MOORESVILLE, INDIANA) - SOMEHOW JOHN DILLINGER - DAY sits in plain view on a chair. His Thompson rests against the wall. His sister, Audrey, is giving him a haircut. His father, John Wilson Dillinger, drinks coffee next to him. The January sunlight is so direct, it's like Spring. DILLINGER Not too short on the sides. BILLIE comes out the door. Dillinger's niece comes up with a Kodak Brownie. (CONTINUED) 98. CONTINUED: NIECE Can we take a picture? DILLINGER Of course. (to nephew, approaching) You got an eye on those federal boys? NEPHEW Yes sir. They're over having breakfast at Myra's Diner. They've been hanging around, here, doing nothing for so long, they just know this is the last place you're going to show... CLOSER: BILLIE watches Johnny. This is who he would be if he had not had the troubles in this life, a charismatic young man. EXT. FIELD - BILLIE + DILLINGER SR. - LATER walk through winter wheat. BILLIE That how he was when he was a boy? Carefree and laughing...? JOHN SR. Not right when his mother died. But after„- awhile, yes. BILLIE You love him, don't you? She touches his arm. He looks back at the house. JOHN SR. He grew up a motherless child... After he was there he never had a woman's comfort. So I loved him but didn't know how to raise him. And that's the truth. (PAUSE) When he come out of that prison, he had so many worries. Restless. Bitter. He had a desire to get even. A covey of quail flush out of the wheat. JOHN SR. (CONT'D) Well, now he has gotten even. And he has seen the country. And he has you. So, he is carefree. (MORE) (CONTINUED) 99. CONTINUED: JOHN SR. (CONT'D) (BEAT) But what is next for you and Johnnie? BILLIE To try to live somewhere else. JOHN SR. (knows more) Well, if it goes okay, good. Whatever happens, he has been my boy. And I have loved him in my heart, always. Right or wrong, no matter what. He is as straight and truthful as the land is flat. She takes his hand and they walk through the fields. EXT. CHICAGO'S CROWDED DOWNTOWN STREETS - DILLINGER + BILLIE -- DAY in the black Hudson. We've entered mid-scene. DILLINGER :Eartender's name is Larry Streng. BILLIE `--W re ' s the apartment? DILLINGER Oakley and Potomac. He'll give you the keys. They drive north over the Clark Street Bridge. Dillinger gives her an envelope. DILLINGER (CONT'D) 5,000 dollars. It buys us a month, but we're not staying that long. EXT. AUSTIN STATE TAVERN - 416 NORTH STATE STREET - DI.LLINGER'S CAR - DAY pulls to the curb on the east side of the street. Billie gets out, walks through the crowds, down the sidewalk and crosses the street to the bar. MOVE IN on the sign. This is the location we saw being tapped at the Telephone Exchange. OVER DILLINGER'S SHOULDER watching the distant front of the tavern into which Billie disappeared. Then... FOUR BUREAU AGENTS, REINECKE + MADALA (CONTINUED) 100. CONTINUED: run right past Dillinger's Hudson. They join 12 more agents flooding into the Austin State Tavern from the other side. INT. CAR - DILLINGER is shocked. Frozen. Inside... INT. AUSTIN STATE TAVERN - REINECKE roughly handcuffs Billie. REINECKE (SHOUTS) Who brought you? How'd you get here? BILLIE .I took a taxi. EXT. TAVERN - REINECKE + MADALA LEADING OUT BILLIE There's20 of them, now. She's totally surrounded. INT. HUDSON - DILLINGER races around the block. Comes up on the same side of the street as the tavern behind the Federal cars. THE THOMPSON in his lap. He checks his 45. HE SEES.. .HER There she is. Where's an opening? His eyes dart. MORE CHICAGO POLICE arrive. It's now a sea of blue. CLOSER: DILLINGER 20-30 men surround her. BILLIE .hauled towards a Bureau car by Reinecke. He tips her off balance. He bounces her off the door pillar on purpose. Dillinger sees all this. DILLINGER can do nothing. Tears of frustrated rage stream down his face. Later, he would say he "cried like a baby." 101. EXT. STATE STREET -- DILLINGER + THE HUDSON are waved away, irritatedly, by uniformed Chicago police trying to clear traffic. Dillinger's Hudson drives off into the distance. INT. BANKER'S BUILDING - BILLIE - NIGHT under a bare lightbulb. REINECKE If you tell us all about him, maybe you'll get a break. Maybe you end up doing a couple of months on a work farm., like a girls' home or something. ANOTHER AGENT Where is he? Where were you meeting? Where were you hiding out? REINECKE ...or we drop you in a black hole. And you et to shit and piss on the floor and then lie in it all night in the dark with the bugs and the rats. Billie's eve'lids fall. She drifts off. Reinecke kicks her awake. REINECKE (CONT'D) (SHOUTS) Where is he?! Billie startles! CLOSER on her chair. BILLIE I have to... He kicks the chair again. She's being denied a toilet. The humiliation is part of the pressure. Billie's embarrassed. Billie urinates on the chair now and the floor. Another Agent makes a face... OTHER AGENT What was that movie, "Squaw Girl"...? Reinecke has gone out to get water for himself. INT. OUTER OFFICE - REINECKE drinks from a water cooler. In the background are a dozen agents with Tommy guns in every corner as if Public Enemy Number 1 will assault at any moment. 102. INT. INTERROGATION ROOM - REINECKE re-enters. REINECKE Lady, you're stinking up my office. Where were you supposed to meet him! He slaps her. Billie's shoulders collapse. REINECKE (CONT'D) I can't hear you. BILLIE (nods, very low...) We were supposed to meet...at our apartment... REINECKE Where? BILLIE On Addison. 1148... REINECKE When? BILLIE Now. INT. 1148 W. ADDISION, APARTMENT - WIDE ON DOOR - DAWN Its shot off its hinges. A half-dozen AGENTS invac e.'One gun goes off. Everybody is about to open up until they realize its one of theirs. REVERSE: THE APARTMENT INTERIOR It is dead empty. Reinecke looks at the dust on the floor. No one's been here for a month. CUT TO: INT. COOK COUNTY JAIL .- PURVIS walks past holding cell with assorted informants, hookers, family members. As he passes one we HOLD ON... INT. CELL - PROBASCO in a metal chair, hands at his side handcuffed to the floor. He shouts. A large man slams him across the abdomen with a lead-filled sap. Another agent waits indifferently. 103. INT. WOMEN'S SECTION - DRUNK TANK - PURVIS enters and crosses through...he can't help but SEE. PURVIS POV: LIANE HAMILTON Hamilton's sister, 17, stares vacantly from the corner. Bruised, filthy, dress ripped, she's among a sordid group of 30 older women: tough hookers, drunks, a couple of tough dykes in men's lace-up boots. Liane catches Purvis' eyes. He walks on... INT. B OF I OFFICE, INTERROGATION ROOM - REINECKE'S furious. He walks up to Billie, handcuffed, and slaps her across the face, two, three times. Hard. Her ear, her nose bleeds. He almost knocks her out. REINECKE Where is he! BILLIE (low voice) Well... (rising strength) he's way the hell away from here by ,Tow, isn't he? She looks up at him. And she drops the little girl act. She sent them on a wild goose chase to give her man time to get away. BILLIE (CONT'D) (CALM) You wanted to know where he is, you dumb flatfoot? You were too scared to look around. You walked right past him on State Street. He was at the curb in that black Hudson. (BEAT) You asked me "how I got there?" I told you I took a taxi. And you believed me? (LAUGHS) He dropped me off and was waiting for me. And you walked right past him. He's furious. Her Native American beauty doesn't soften Reinecke. He visualizes smashing the bones in her face with his fist. 104. EXT. OUTER OFFICE - PURVIS + WINSTEAD arrive. Dolores rushes up. DOLORES Mr. Purvis, you have to stop this. Those men cannot abuse a woman in that way. Purvis, with Winstead following, moves to the interrogation room. INT. INTERROGATION ROOM - BILLIE BILLIE (to Reinecke) .and when my Johnny finds out how you slapped around his girl? You know what will happen to you, fatboy? She looks Reinecke square in the eye. Reinecke swings... WINSTEAD grabs his wrist, turns him, Reinecke resists, Winstead nearly breaks his wrist. WINSTEAD Bad idea. PURVIS Uncuff her. Reinecke tries to pull away. He can't. The smaller man is built of steel cable. Rorer uncuffs Billie. PURVIS (CONT'D) Restroom's down the hall. Billie tries to rise. Stumbles. BILLIE I can't stand utp. Purvis doesn't hesitate. He picks her up in his arms and carries her through the office to the restroom in the corridor. She puts her hand over her eyes in embarrassment. PURVIS Miss Rogers... Doris Rogers follows them. 105. INT. JAMES PROBASCO'S HOUSE ( 2509 NORTH CRAWFORD) - PIQUETT - DAY in the kitchen, waits. He's agitated. So is PROBASCO. Rear door opens. Probasco jumps. In comes Dillinger... Dillinger throws him an envelope. DILLINGER $5,000. You run her down. (BEAT) Lake County jail or Cook County? I want layouts, blueprints. You visit her. Tell her I'm coming for her. I'll get her out. PROBASCO You need a car? A place to stay? Wanna stay here? Is Probasco is trying to lure Dillinger here? DILLINGER I'm fine. I got a place. INT. BARREL OF FUN NIGHTCLUB - MARTY ZARKOVICH - NIGHT walks in. ANNA SAGE in a woman's business suit, hat and sunglasses in the dark bar, reacts. Zarkovich sits next to her. ANNA SAGE Immigration say they send me back to Romania. Zarkovich, the crooked cop, takes Anna's hand. The 40 year old madam is the true love of his life. ZARKOVICH You know what to do. He turns her chin so that her eyes look right into his. ZARKOVICH (CONT'D) Plus there's a $25,000 reward. ANNA. SAGE We split. (CONTINUED) 106. CONTINUED: ZARKOVICH O'Neill's got to be cut in, too. So it splits three ways. ANNA SAGE Can they fix the deportation? ZARKOVICH These guys can fix anything. CUT TO: EXT. 707 WEST FULLERTON STREET - NIGHT In car #1 is Marty Zarkovich and Melvin Purvis. In car #2 is Cowley and O'Neill. They wait. LOW THICK BRANCHES cast a deep pool of dark shadow concealing Anna Sage. ANNA SAGE hesitates. Then she approaches and enters Purvis' car. It pulls out. EXT. LAKEFRONT - PURVIS' CAR - NIGHT is parked by "the rocks" where the lakeshore's been,infilled. Its totally deserted. ANNA SAGE I want guarantee. PURVIS If you aid us apprehending John Dillinger, I will do everything I can to influence Bureau of Immigration to let you stay in America. ANNA SAGE No good. PURVIS That's all there is. ANNA SAGE (SUSPECTS) I think you do this. I think you tell Immigration. to pick me up and to send me back to Romania. (CONTINUED) 107 CONTINUED PURVIS How do you socialize with him? ANNA SAGE We go out. Maybe tomorrow night. Maybe not. Maybe in a week. A month. Maybe never. PURVIS I will not guarantee what Immigration will do. What I can guarantee is what I will do. If you do not cooperate, you will be on a boat out of this country in 48 hours. Do not play games with me. Anna hesitates, caves in to Purvis. ANNA SAGE Every Sunday night, we go out. PURVIS Who's "we"? ANNA SAGE e. Him. One of my girls, Polly Hamilton. PURVIS How will we know? ANNA SAGE I call you Sunday when I know. INT. POOLHALL PAYPHONE - MARTY ZARKOVICH - NIGHT enters. SEE his car at the curb with Anna, solemn in the passenger seat. He drops a nickel and dials. Listens. Then. ZARKOVICH She's piayin` ball. NITTI Be there. Make sure. !NT. NITTI`S OFFICE - FRANK NITTI is the co-author of this betrayal. For a moment Nitti looks regretful. ZARKOVICH They are plenty serious all on their own. (CONTINUED) 108. CONTINUED: NITTI They're serious when they make speeches. Then they screw it up. You make sure. ZARKOVICH Yes sir. EXT. BLUFF OVERLOOKING TRAIN STATION (STEVENS POINT, WISCONSIN)- U.S. MAIL CAR - DAY is attached three cars back from the locomotive. PULLBACK: Dillinger and Karpis watch it. Dillinger's appearance is different. He's grown a moustache. KARPIS The mail will carry the full whack this Tuesday. DILLINGER Why Tuesday? KARPIS That's the day they ship two weeks of payroll for seven large factories around. Rockford. (points to roads) Route 14 and Route 11. Two ways in; two ways out. Harry handles the door and the..::, safe... WIDEN to include: HARRY CAMPBELL - ruddy face, large bodied. Also here is Freddie and Dock Barker and Jimmy Prohsco. KARPIS (CONT'D) Dock cuts the telephone lines five minutes before we go. You and Harry and I go in strong. Dock comes down the pole and becomes the lookout. Jimmie and Freddie drive. DILLINGER (studying layout) What do you figure? KARPIS $1.5 to $1.7 million. About $300,000 each. (that's $4.5 million each adjusted for inflation) Karpis is quiet. They are both feeling the ghosts of their friends... (CONTINUED) 109. CONTINUED: KARPIS (CONT'D) Sorry about Red. DILLINGER Thanks. KARPIS Nelson was a hot-head. I liked him for some reason. DILLINGER You were in a minority. KARPIS Had a talk with him once, at Czernaky's... DILLINGER Yeah? Louis Piquett arrives and Dillinger interrupts.. DILLINGER (CONT'D) You see her? She okay? PIQUETT Yes. He hands Diilinger a letter. Dillinger opens it. BILLIE (V.0.) Don't try and break me out. I am too well guarded. Milan Prison is too tough. Two years is not a long time, anyway. Go away someplace where you're safe like Mexico and wait for me. We will be together again. Your true love in life, Billie. And the air goes out of him. PIQUETT She told me what was in it. Dillinger's distracted ...Karpis continues. KARPIS I reminded him... DILLINGER Reminded who? (CONTINUED) 110. CONTINUED: (2) KARPIS Nelson. .that he told me if he ever got $20,000 together, he'd up and quit forever... (BEAT) After he hit the Janesville bank I said, "Yeah, so...?" (BEAT) He said, "After I started, I couldn't stop." DILLINGER Well, I can. We do this Tuesday, I'm gone on Wednesday. KARPIS I thought about heading to Varadero Beach in Cuba, outside Havana. You been there? DILLINGER For me, it's maybe Mexico. And that's the answer. Dillinger plans to score the train. Go to Mexico. Wait for Billie. INT. ANNA SAGE APARTMENT - ANNA SAGE - SUNDAY She is nervous. She hears a key in the lock. Spins., Door opens. John Dillinger walks in... ANNA SAGE Jimmy, you're back... We understand that Dillinger's been harbored here all along. And he goes under the name Jimmy Alexander. DILLINGER looks through the apartment like he always does. He goes to the sink and starts running cold. water on his wrists to cool down. DILLINGER Tell you what, doll. You and Polly and me, we'll go out to a movie tonight and get in the refrigeration. POLLY HAMILTON enters from a bedroom down the hall, dressed to go out. (CONTINUED) CONTINUED: ANNA SAGE Where you want to go? (to Polly) Jimmy take us to the picture show. DILLINGER (to Anna) Marbro or the Biograph... (to Polly) Where you goin'? POLLY Take the street car downtown to get my waitressing license. DILLINGER I'll take you. Its too hot in here. ANNA SAGE I get us some butter and make fried chicken for dinner. We SLIDE onto Dillinger with his wrists under the water. He turns off the tap and starts out... INT. PURVIS,' OFFICE - CLOCK: 3PM PHONE RINGS. ,Purvis snatches it up. ANNA SAGE (O.S.) We go tonight. I don't know if to Marbro or to Biograph. (hangs up) PURVIS Miss Sage... She hung up. PURVIS (CONT'D) It is tonight, Marbro. Or the Biograph... AGENT MADALA Biograph's on Lincoln north of Fullerton... They're split... INT. AUBURN - DILLINGER. + POLLY - DAY pull to the curb and stop. Surprised, Dillinger looks out the window with an ironic expression... (CONTINUED) 112. CONTINUED: POLLY Be right back... REVEAL he is parked right in front of the Chicago Police station on 11th and State. Sunlight cuts through the gaps between downtown's skyscrapers and illuminates Dillinger. He smiles... DILLINGER I'll go in with you. INT. 11TH AND STATE STREET STATION, LOBBY - DILLINGER strolls into the police station like he owns the place. Polly chatters away. He doesn't hear her, We SEE what Johnny sees... DILLINGER POV: REGISTRY "Licenses Examination" is on the 8th Floor. "Detective Bureau" is on the 6th. CU: DILLINGER Here, in the belly of the beast. The lopsided grin behind the dark glasses over the moustache... DILLINGER How long will you be? POLLY It might take ten minutes. DILLINGER I'll meet you back here... He waits as she boards an elevator. As her doors close, Dillinger follows a group of police, bail bondsmen, and civilian workers into a second elevator. INT. SIXTH FLOOR, LOBBY - ON DILLINGER entering the "Detective Bureau" and we MOVE with him past desks and detectives in the open plan office. He walks with cocky assurance. Now he turns down an aisle between desks because he's spotted on one of the glass dividers a sign that exerts a magnetic pull on him. It designates the elite... "DILLINGER SQUAD" JOHN DILLINGER (CONTINUED) 113 CONTINUED: heads right for it. ECU DILLINGER'S HAND brushes under his jacket his .45, checking.. WIDE - JOHNNY enters this section of desks. Shafts of light illuminate papers. A DETECTIVE we may have seen at Midway Airport right past him... Wall charts, crime photos from Crown Point, the American Bank, other banks, Billie, mug shots of all his crew, are posted on walls. Photos of Dillinger are on desks. It's as if it was a shrine to him. IN A CORNER SIX OR SEVEN DETECTIVES listen to the ninth inning of a White Sox game. Three others work through reports in shirt sleeves. One glances his way. Johnny nods. Detective nods back. JOHNNY crosses thr4gh it all, strolls in the lion's den, walks in the belly ;ofthe beast - among the hunters. His audacity elevates h-,It is triumph. With all their resources, modern technology".`and organization, they cannot lay a glove on him. He is better than they are. His gratification is internal. He leaves behind, as he exits, a wake of absurdity. He passed through and they didn't even know. History was made. Like a ghost, has gone. EXT. CHICAGO POLICE STATION - AUBURN - POLLY - DAY enters from the station and jumps in. As Dellinger drives off. DILLINGER You pass? POLLY I have to go back. They needed a blood test. INT. PURVIS OFFICE - WIDE: BRIEFING - SUNDAY LATE AFTERNOON We SEE the East Chicago cops and the ex-Texas Rangers Winstead, Campbell and Hurt. Twenty other agents are in the small office. 110 degrees outside. (CONTINUED) 114. CONTINUED: PURVIS Is it the Marbro or the Biograph? We will be deployed at both. Whichever one he shows at, I will be outside that theater when Dillinger exits. I will give the signal to move in by lighting a cigar. ZARKOVICH Anna Sage will wear a white blouse over an orange skirt. That's how we're gonna know it's him. WINSTEAD What's playin'? PURVIS Excuse me? WINSTEAD What's playin' at the Marbro? What's playin' at the Biograph? It hadn't occurred to anybody to find that out. MANDALA (from newspaper) Marbro...a Shirley Temple movie called "Moptop." Biograph is playing a gangster-, picture starring Clark Gable. "Manhattan::: Melodrama." WINSTEAD John Dillinger ain't going to a Shirley Temple movie. PURVIS Sergeant Zarkovich and Special Agent Winstead will be at the Biograph. As will I and Special Agent Madala. (BEAT) Virgil Peterson, coordinate the Marbro. The rest of you will wait here until it's determined which theater. Looks between Zarkovich and Capt. O'Neill. They have to INSURE Dillinger is killed, not captured. CUT TO: 115. INT. ANNA SAGE APARTMENT, BATHROOM - DILLINGER - EVENING shaves. His watch is open in front of him. In the inside of the case is a picture of Billie. He washes the soap from his face. He looks at her... INT. BEDROOM - A LOCKED CASE Opens. From it Dillinger pockets a Colt 380 automatic and loads $3,000 into a moneybelt from rubber-banded bundles and puts it around his waist. CUT TO: EXT. MARBRO THEATER - SOPSIC - NIGHT On a pay phone. Patrons buy tickets. He listens... SOPSIC Not yet. EXT. BIOGRAPH - AGENT BROWN puts down the pay phone. Mouths "not yet" to.. INT. CAR: VIS down the street in a parked car. In the driver's seat is Reinecke. He's tense, trying to stay calm. On his upper lip sweat beads. Does he remember the words of Billie about what Dillinger would do to him? CU: PURVIS watches the crowds thin as showtime nears. He gets out of the car. Is Dillinger a no-show? Another failure? Another eviscerating memo from Hoover? THREE FIGURES BRUSH PAST HIM. A woman's orange skirt. Its Anna Sage, Polly Hamilton, and John Dillinger. They sweep to the ticket booth, pay, and join latecomers rushing inside so that they don't miss the start of the movie. PURVIS is stunned. Dillinger passed three feet from him. INT. THEATER It's packed. Anna Sage had to sit separately on the aisle some rows back. (CONTINUED) 116 CONTINUED: Johnny and Polly sit three rows from the screen."Manhattan Melodrama," starring Clark Gable, William Powell, and Myrna Loy begins. EXT. BIOGRAPH - TICKETSELLER is quizzed by Purvis. TICKETSELLER LADY The movie runs an hour and 34 minutes and it started about 3 minutes ago so that means it will all be over in an hour, 30... Purvis turns away. Agent Brown whispers in his ear... AGENT BROWN They're on their way over here from the Marbro. INT. THEATER -- DILLINGER + POLLY absorbed in the movie. ON SCREEN: District Attorney (William Powell) listens to his secretary. She is against her boss inviting gangster Blackie Gallagher (Clark Gable), his childhood friend, to his wedding... SECRETARY Remember what happened to that District Attorney in the Midwest. Just for having his picture taken with some gangster...?, The movie is referring to John Di.llinger's Crown Point photo session with his arm around Prosecutor Robert Estill. DILLINGER laughs out loud. The irony is that the gangster who inspired this Hollywood moment is sitting right here watching this movie. EXT. BIOGRAPH - 19 BUREAU AGENTS + 5 EAST CHICAGO COPS arrive and Purvis deploys them out. Except after Little Bohemia, he doesn't tell Winstead what to do... WINSTEAD (LOW) Clarence and I are going to be in that doorway. (MORE) (CONTINUED) 117. CONTINUED: WINSTEAD (CONT'D) 30 feet south of the theater entrance. Gerry, you get in that car at the curb about 75 feet north... PURVIS In case he walks north? WINSTEAD He ain't gonna head north. He's gonna walk south and cut through that alley back to her place. Gerry, when you spot him through your rearview-you come up on him from behind. The "cowboys" are the only men not deployed by Purvis. They call their own shots. EXT. REAR ALLEY - THREE BUREAU AGENTS take up positions near a rear exit. Another two go further down. CLOSER: A REAR DOOR from the basfement opens. A trash can is put out by a JANITOR. He sees the=two groups of men in the alley and quickly closes the door. INT. MANAGk'S OFFICE - JANITOR enters. JANITOR They're comin' to stick us up again. He's talking to CHARLIE SHAPIRO, the Essaness theater manager. CHARLIE Where? JANITOR In the alley... EXT. BIOGRAPH - CHARLIE SHAPIRO approaches the ticket seller. CHARLIE (LOW) Irene. Anything strange? (CONTINUED) 118. CONTINUED: IRENE (WHISPERS) There's a sweaty little man that keeps asking when the movie's gonna end... across the street, there's three, four men and there's two more around the corner-why are they wearing suitcoats on such a hot night? CHARLIE Pretend like nothing's going on... He leaves the booth, taking the cash receipts. INT. MANAGER'S OFFICE - CHARLIE SHAPIRO on the phone. DESK SERGEANT'S VOICE (O.S.) District 37, Sheffield Avenue... CHARLIE Get some detectives over here, this is Charlie Shapiro at the Biograph. They're gonna stick us up again... DESK SERGEANT'S VOICE (O.S.) How do you know, Charlie? CHARLIE I see them getting in position, like they're waiting 'til the movie's over... EXT. BIOGRAPH ALLEY - AGENT SURAN The alley suddenly is illuminated by headlights from two directions. A rear door opens and before the car stops, a CHICAGO P.D. DETECTIVE has stepped off the running board with his sawed-off shotgun in Agent Suran's face. SURAN Wait, wait...! Hold it! Federal Agent! CHICAGO P.D. DRIVER/SGT. Before you shoot him, get his I.D. CHICAGO P.D. DETECTIVE Who the hell are you? SUB N Department of Justice. Bureau of Investigation! (CONTINUED) 119. CONTINUED: CHICAGO P.D. DETECTIVE What do you think you're doing here? SURAN Were on a federal stakeout! Put that gun down and back those cars out of the alley. But stay close because we may need you. CHICAGO P.D. DETECTIVE You may need us?" Fuck you, college boy. Let's see your goddamn badge! Suran's looking down both barrels. INT. BIOGRAPH - SCREEN: MYRNA LOY MYRNA LOY I love you more than anything, Blackie, you know...? She stops. DILLINGER'S mesmerized' her eyes and soft skin. We SEE in his hyper reality thee satin tones on the screen. Myrna Loy's insouciance,;like Billies, speaks to him. Meanwhile... EXT. LINCOLN BOULEVARD - AGENT MCCARTHY + EAST CHICAGO COPS SOPSIC + STRETCH empty their pockets, trying to identify themselves to TWO HUGE CHICAGO P.D. DETECTIVE who've drawn down on them. Zarkovich starts arguing, not believing this is happening. More Chicago PD arrive. Meanwhile... INT. CAR - PURVIS starts across the street to straighten out the Chicago P.D. Sergeant. While... CUT TO: INT. BIOGRAPH - SCREEN: BLACKIE GALLAGHER (CLARK GABLE) walks the long walk through the cell block... JOHN DILLINGER the actual Public Enemy #1 watches the celluloid gangster walk to the electric chair... (CONTINUED) 120. CONTINUED: PRISONER See ya, Blackie. CLARK GABLE stops at the cell. CLARK GABLE Die the way you lived. All of a sudden. ECU: DILLINGER'S EYES startle, Is this a message? CLARK GABLE CLARK GABLE (CONT'D) Don't drag it out. GRAIN STRUCTURE OF THE FACE OF GABLE speaking these important words... CLARK GABLE (CONT'D) .that doesn't count for anything. There's no more point to it. CU: DILLINGER He sees inwards. And he knows it won't happen. Them=E no Mexico with Billie. There's no freighter to Manila.- He will die. This day, this month, next month. He knows that in this instant. JOHN DILLINGER. LOOKING UP AT THE SCREEN. In this Hollywood version of life, the power of cause and effect operates on the end, as inescapably as gravity. It's a core truth. This is the only end for Blackie Gallagher. And its as true for john Dillinger in his life as it is for Gallagher. Actions and historical forces have made his time be up. Dillinger SLOWS the flickering images. His concentration slices time into component parts. Gable exchanges last good- byes. He warns his D.A. friend, Ronald Coleman, not to commute his sentence. The images play on Dillinger's face. They take him over-alone in the packed theater while 25 Federal Agents and five East Chicago cops wait outside. BLACKIE GALLAGHER (CONTINUED) 121. CONTINUED: (2) enters the execution chamber. CUT TO: EXT. BIOGRAPH - PURVIS glances at his watch. He rips a match from the matchbook, ready to light the cigar. The lobby is empty. The dim music of the finale leaks out. EXT. DOORWAY - WINSTEAD + CLARENCE HURT wait. Winstead coolly watches Purvis. INT. CAR - REINECKE'S right hand shakes. He can't control it. He grips the steering wheel to make it stop. EXT. BAKERY STEPS - ZARKOVICH ignores the Chicago detectives. CUT TO: INT. BIOGRZPH - ANNA SAGE looks at the backs of heads in the rows in front of her. She doesn't want to miss Dillinger if he leaves. A celiblock. The cellblock lights dim, a convict says... CONVICT (O.S.) There he goes. They're giving it to him now. CU: JOHN DILLINGER The grin. End title music. People stirring. The house lights come up. Johnny doesn't move. He seems liberated. Released somehow. People in front and behind him start to exit. He sits there, holding onto his thoughts for a moment. CUT TO: EXT. BIOGRAPH - PURVIS anxiously scans faces emerging from the theater. EXT. ALLEY BEHIND BIOGRAPH - SPECIAL AGENTS are alert in case Dillinger exits a rear door. 122. EXT. BIOGRAPH LOBBY - POLLY, THEN DILLINGER + ANNA file out. Polly takes his arm. Anna is behind him and off to the side. They're in a loose knot of people. PURVIS sees him. He lights his cigar. It's the signal to move in. ACROSS THE STREET: RICHMOND + ZARKOETICH don't see the signal because the Chicago P.D. detective is now shouting at Zarkovich. PURVIS lights a second match. And as he lights his cigar, he looks up to see... JOHN DILLINGER look right at him. BUT Dillinger does not recognize Purvis. INT. CAR - REINECKE saw the signal. He's out of his car. DILLINGER, POLLY + ANNA turn left at the sidewalk heading south, like Winst"ad said. They pass doorways. Reinecke approaches from 20 feet behind. ACROSS THE STREET: ZARKOVICH looks up... sees Dillinger walking away. If Dillinger's taken alive, he's dead. The Chicago cop puts a hand on Zarkovich`s chest... REAR SHOT: POLLY, DILLINGER + ANNA SAGE down the sidewalk past shadowed doorways. WINSTEAD + HURT WINSTEAD (COOL) That's Dillinger. Straw hat. Glasses. Hurt crosses the sidewalk in front of Dillinger and walks north. He'll turn and position himself behind Dillinger on the right. These guys are pros. 123. E.X.T. BAKERY STEPS - ZARKOVICH shoves the Chicago Sergeant out of his way and races across the street... EXT. SIDEWALK - REINECKE approaches Dillinger from the rear. He's 15 steps behind him. Purvis is ten steps behind Dillinger, on the left close to the wall. Now Purvis reaches for his gun. ECU: REINECKE draws his weapon. He stares at the back of Dillinger's head. Has getting closer. Sweat runs into Reinecke's eyes. This isn't the firing range with a paper target. This isn't theory. This is the beast. The beast is a gunfighter. The beast is better than you. You beat-up his girl. Your shot will miss... DILLINGER IN LARGE PROFILE now passerWinstead in the doorway. Purvis is raising his 9mm Browning. Reinecke stalls. He doesn't want to be first. WINSTEAD steps out f, the doorway, now, and falls in up the center of the sidewalk. Reinecke's eyes are riveted on Dillinger... AND JOHN DILLINGER senses something. REAR SHOT: DILLINGER'S NECK + HEAD IN SLO-MOTION Subconsciously his brain processes what his peripheral vision took in that his intuitive defenses don't like about this landscape. He turns... DILLINGER SEES REINECKE Reinecke's hand holding the gun is frozen in the air. He's paralyzed. He lacks the power to pull the trigger. DILLINGER'S EYES There's the man who slammed Billie into that car. Dillinger's lethal intent focuses on this one target. In milliseconds... DILLINGER DRAWS (CONTINUED) 124. CONTINUED: turning towards Reinecke. Reinecke has hijacked his attention. Dillinger hasn't picked up the others. PURVIS pulls the trigger. Nothing. He left the safety on. He fumbles with it. PURVIS H--halt! DILLINGER sees all of them RIGHT NOW. He pushes the .380 in SLOWED TIME towards Purvis.. .and bumps into a pedestrian named Ella Natasky. ELLA NATASKY starts to fall. Dillinger turns his attention to her for a millisecond. He's a gentleman. His impulse is to reach for her to steady her... CHARLES WINSTEAD shoves aside the paralyzed Reinecke, pushes past Purvis, leans forward and shoots John Dillinger in the back of the head. The heavy 45 round punches through Dillinger's,brain stem and exits underneath his right eye. John Dillinger stumbles into the alley opening and starts to fall. A second shot from Winstead and two more from Clarence Hurt hit him now. They don't matter. JOHN DILLINGER falls through the air. EXTREMELY CLOSE ACROSS THE COBBLESTONES: JOHN DILLINGER'S FACE crashes into the FRAME. One lens of his eyeglasses breaks. The brim of his straw hat snaps. The hat falls away. He struggles, but can't move. He breathes. He tries to speak.. WINSTEAD stands over him. Purvis snatches the .380 automatic out of Dillinger's hand. .WINSTEAD sees Dillinger's trying to say something. (CONTINUED) 125. CONTINUED:( 2) JOHNNY'S LIPS try to form speech and Winstead's ear is next to his mouth. We and Winstead hear... DILLINGER .tell Billie... Only Charles Winstead hears the rest. PURVIS unloads Dillinger's gun. His gun-handling of Dillinger's gun is a lot better than his gun-handling of his own under stress. PURVIS What did he say? WINSTEAD I couldn't hear him. PURVIS You look after this. I need to call Washington. Zarkovich`houlders through the gathering crowd of PEDESTRIAN s=and newsmen, sees the head wound, the glazing over of Diflinger's eyes. He knows he's safe. JOHN DILLINGER'S EYES get dreamy, then they seem to focus far away. Then they seem to focus not at all. PURVIS (CONT'D) Cover his face and keep the damn photographers away. AERIAL: LINCOLN AVENUE Purvis starts away and we SEE the Biograph marquee, the trolley tracks in the cobblestone street, the alley, and the hundreds of people moving towards the locus of the dead John Dillinger. CUT TO: 126. INT. CANAL STREET DRY CLEANERS (NEW ORLEANS) - HOOVER - ANOTHER DAY watches Tolson who is at the window. Tolson gets a sign. Hoover straightens his collar. He brushes lint off his pants leg. Tolson waits. Hoover waits. EXT. CANAL STREET HOTEL - DOOR opens. Alvin Karpis comes out. In the hot, humid New Orleans air, his suit coat is off...he carries it under his arm. He crosses the street towards his Lincoln Coupe. His eyes land on a man on a bench across the street looking at him over a newspaper. And while crossing the street, Alvin slows down. THE MAN IS CHARLES WINSTEAD The newspaper hides a sawn-off, 10 gauge Winchester lever action shotgun. ALVIN LOOKS TO HIS LEFT: CLARENCE HURT leans on a lamp post. His body hides a 351 Winchester rifle. NOW ALVIN KARPIS freezes. He doesn't hesitate. He opens his hands to demonstrate he is holding nothing and lets his jacket; fall to the ground. He knows instantly who they are and that.,,they intend to kill him. Karpis' eyes dart to the roofto is°. Snipers on both. In this instant, Karpis knows he is done. One objective races into his mind: stay alive. KARPIS' stretches out his arms, wide. Winstead has dropped the newspaper. The sawed-off 10 gauge is aimed squarely at Alvin's chest. Karpis is displaying he is unarmed. Winstead approaches warily step-by-step. His weapon would cut Alvin in half. Clarence, the rifle at his shoulder, inches forward. The ex-Texas Ranger gunfighters with real trigger-time have taken Alvin Karpis. ALVIN KARPIS I am unarmed. WINSTEAD Don't even breathe sudden. WINSTEAD ± CAMPBELL + HURT are 10 feet from him. Clarence pats him down. Karpis is clean. (CONTINUED) 127. CONTINUED: The Texans cover Alvin and move him to the sidewalk near his car. HURT Put your hands on the roof of that Lincoln. (he does) Other agents come running in. Someone's yelling: We got him! We got him. Bring him in." While they wait... WINSTEAD Where you from? ALVIN KARPIS Canada, but mostly Chicago. (to both) You? WINSTEAD Fort Worth, thereabouts. Clarence is from Tyler. (PAUSE) Well, Alvin. You're a sly old dog. If ,you'd a even had that jacket on... A ring ofc tints with their revolvers out, now converge around Karpis. HURT (to Agent) Any handcuffs around here? They don't have any. They had not planned on needing them. One agent is excited. His gun pointed at Karpis shakes. AL V I N KARP I S Mind asking that man to... HURT (to Agent) Put that down. The agent drops his gun. EXT. STREET - HOOVER in his white suit and Tolson rush in from the dry cleaners where they were stashed. The agents part. They suddenly stand in front of Alvin Karpis. Hoover's 38 Chief Special is at his side. (CONTINUED) 128 CONTINUED: TOLSON (PROMPTING) "You are under... HOOVER You are under arrest for the...Wahpeton, South Dakota bank robbery. Tolson waves to an agent across the street. WIDE ON THE CORNER: REPORTERS + PHOTOGRAPHERS are now released and rush towards us. HOOVER regains his composure. HOOVER (CONT'D) I heard of your fishing prowess. i myself, always wanted, to catch a marlin... ALVIN KARPIS You're thinking of my partner, Harry Campbell. HOOVER Are you relieved its over? I'm sure you are. (PAUSE) You know you will feel much better once you get everything off your chest. (PAUSE) Why don't you tell me where Harry Campbell is? After a moment.. ALVIN KARPIS Who do you think you're talking to? Hoover is silent. SPECIAL AGENT (to Winstead) There's no handcuffs. WINSTEAD Give me your tie. REPORTERS + PHOTOGRAPHERS (CONTINUED) 129. CONTINUED: ( 2) Hoover separates from Karpis. NEWSMEN Mr. Hoover! Director! HOOVER Karpis said he'd never be taken alive, but I took him without firing a shot. (BEAT) That marks him as a yellow rat. He was scared to death when I arrested him. (BEAT) That's all I got to say. Suydam and the special publicist, COURTNEY COOPER address the reporters. SUYDAM I'll answer any questions. REPORTER #1 Mr. Hoover captured Karpis? SUYDAM Mr. Hoover personally placed Alvin Karpis = eier arrest today. Karpis reached for a rzf le, but the Director was too fast. CUT TO: INT. CLYDE TOLSON'S OUTER OFFICE - MELVIN PURVIS - DAY waits. It looks like he's been waiting for awhile. People who pass act as if he is invisible. They look right through him. TOLSON The Director will see you now. INT. HOOVER'S OFFICE - HOOVER - DAY Purvis stands in front of the desk. On the right of the desk is a plaster death mask of John Dillinger. HOOVER (without looking up) Agent Purvis. PURVIS Yes sir. HOOVER (sees Purvis stare at death MASK) (MORE) (CONTINUED) 130. CONTINUED: HOOVER (CONT'D) A medical student in the morgue made that cast of Dillinger's face. It's a reminder of the war we continue to wage against the punks and hoodlums... Purvis looks at Hoover. This was the golden boy who Hoover came to despise. PURVIS One thing I learned was that John Dillinger was an outlaw and my Adversary. But he was no punk. And he was no hoodlum. (BEAT) Another is that I have no future in your Bureau. And I don't desire one. I quit. Purvis tosses his badge on Hoover's desk and walks out. Hoover couldn't care less. INT. MILAN WOMEN'S PRISON - GRANITE WALL - DAY PAN LEFT and fall EXTREMELY CLOSELY onto the face of Charles Winstead. He waits. WIDER - WINSTEA.D is in an interview cell. INT. CELL BLOCK - TRACKING A WOMAN'S FEET in prison issue shoes down the cellblock corridor. ARM UP. It is Billie Frechette. She walks with two guards behind her. INT. INTERVIEW CELL - DOOR OPENS Billie enters. She's surprised to see Winstead. WINSTEAD How are you doing, Billie? BILLIE (SITS) If you come here to ask me more damned questions. "Where's this one or that one? Did I know Vern Miller? Who did what...?" Winstead shakes his head no. (CONTINUED) 131. CONTINUED: WINSTEAD I didn't come here for you to tell me something. I came here to tell you something. CLOSER: BILLIE She sees in Winstead's face, the look of people she grew up with. Billie senses none of the cunning of the lawyer/special agents she's been dealing with. She leans forward, indicates a cigarette out of Winstead's pocket. He hands her one and lights it. BILLIE Okay, Mr. Winstead. What do you got to tell me? Winstead leans forward. BILLIE (CONT'D) (CONTINUOUS) They say you're the man who shot him? WINSTEAD 'M'at's right. One of them. BILLIE 6 why are you coming here to see me? To see the damage you done? WINSTEAD Because he asked me to. This gets Billie's attention and she looks more closely at Winstead. WINSTEAD (CONT'D) When he went down, he said something. And I put my ear next to his mouth and what I think he said was this. He said... (BEAT) " .tell Billie for me...Bye Bye Blackbird..." Billie has to rise and turn away from Winstead so that he doesn't see her overcome with emotion. Winstead knows this. It is the measure of this man that he respected the privacy of John Dillinger's message and only told her. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Pulp Fiction.txt b/unformated_scripts/Script_Pulp Fiction.txt new file mode 100644 index 0000000000000000000000000000000000000000..36fe742f20b94a517fc747c7d6542b1f2d7f6a19 --- /dev/null +++ b/unformated_scripts/Script_Pulp Fiction.txt @@ -0,0 +1 @@ +"PULP FICTION" By Quentin Tarantino & Roger Avary PULP [pulp] n. 1. A soft, moist, shapeless mass or matter. 2. A magazine or book containing lurid subject matter and being characteristically printed on rough, unfinished paper. American Heritage Dictionary: New College Edition INT. COFFEE SHOP – MORNING A normal Denny's, Spires-like coffee shop in Los Angeles. It's about 9:00 in the morning. While the place isn't jammed, there's a healthy number of people drinking coffee, munching on bacon and eating eggs. Two of these people are a YOUNG MAN and a YOUNG WOMAN. The Young Man has a slight working-class English accent and, like his fellow countryman, smokes cigarettes like they're going out of style. It is impossible to tell where the Young Woman is from or how old she is; everything she does contradicts something she did. The boy and girl sit in a booth. Their dialogue is to be said in a rapid pace "HIS GIRL FRIDAY" fashion. YOUNG MAN No, forget it, it's too risky. I'm through doin' that shit. YOUNG WOMAN You always say that, the same thing every time: never again, I'm through, too dangerous. YOUNG MAN I know that's what I always say. I'm always right too, but – YOUNG WOMAN – but you forget about it in a day or two - YOUNG MAN – yeah, well, the days of me forgittin' are over, and the days of me rememberin' have just begun. YOUNG WOMAN When you go on like this, you know what you sound like? YOUNG MAN I sound like a sensible fucking man, is what I sound like. YOUNG WOMAN You sound like a duck. (imitates a duck) Quack, quack, quack, quack, quack, quack, quack... YOUNG MAN Well take heart, 'cause you're never gonna hafta hear it again. Because since I'm never gonna do it again, you're never gonna hafta hear me quack about how I'm never gonna do it again. YOUNG WOMAN After tonight. The boy and girl laugh, their laughter putting a pause in there, back and forth. YOUNG MAN (with a smile) Correct. I got all tonight to quack. A WAITRESS comes by with a pot of coffee. WAITRESS Can I get anybody anymore coffee? YOUNG WOMAN Oh yes, thank you. The Waitress pours the Young Woman's coffee. The Young Man lights up another cigarette. YOUNG MAN I'm doin' fine. The Waitress leaves. The Young Man takes a drag off of his smoke. The Young Woman pours a ton of cream and sugar into her coffee. The Young Man goes right back into it. YOUNG MAN I mean the way it is now, you're takin' the same fuckin' risk as when you rob a bank. You take more of a risk. Banks are easier! Federal banks aren't supposed to stop you anyway, during a robbery. They're insured, why should they care? You don't even need a gun in a federal bank. I heard about this guy, walked into a federal bank with a portable phone, handed the phone to the teller, the guy on the other end of the phone said: "We got this guy's little girl, and if you don't give him all your money, we're gonna kill 'er." YOUNG WOMAN Did it work? YOUNG MAN Fuckin' A it worked, that's what I'm talkin' about! Knucklehead walks in a bank with a telephone, not a pistol, not a shotgun, but a fuckin' phone, cleans the place out, and they don't lift a fuckin' finger. YOUNG WOMAN Did they hurt the little girl? YOUNG MAN I don't know. There probably never was a little girl – the point of the story isn't the little girl. The point of the story is they robbed the bank with a telephone. YOUNG WOMAN You wanna rob banks? YOUNG MAN I'm not sayin' I wanna rob banks, I'm just illustrating that if we did, it would be easier than what we been doin'. YOUNG WOMAN So you don't want to be a bank robber? YOUNG MAN Naw, all those guys are goin' down the same road, either dead or servin' twenty. YOUNG WOMAN And no more liquor stores? YOUNG MAN What have we been talking about? Yeah, no more-liquor-stores. Besides, it ain't the giggle it usta be. Too many foreigners own liquor stores. Vietnamese, Koreans, they can't fuckin' speak English. You tell 'em: "Empty out the register," and they don't know what it fuckin' means. They make it too personal. We keep on, one of those gook motherfuckers' gonna make us kill 'em. YOUNG WOMAN I'm not gonna kill anybody. YOUNG MAN I don't wanna kill anybody either. But they'll probably put us in a situation where it's us of them. And if it's not the gooks, it these old Jews who've owned the store for fifteen fuckin' generations. Ya got Grandpa Irving sittin' behind the counter with a fuckin' Magnum. Try walkin' into one of those stores with nothin' but a telephone, see how far it gets you. Fuck it, forget it, we're out of it. YOUNG WOMAN Well, what else is there, day jobs? YOUNG MAN (laughing) Not this life. YOUNG WOMAN Well what then? He calls to the Waitress. YOUNG MAN Garcon! Coffee! Then looks to his girl. YOUNG MAN This place. The Waitress comes by, pouring him some more. WAITRESS (snotty) "Garcon" means boy. She splits. YOUNG WOMAN Here? It's a coffee shop. YOUNG MAN What's wrong with that? People never rob restaurants, why not? Bars, liquor stores, gas stations, you get your head blown off stickin' up one of them. Restaurants, on the other hand, you catch with their pants down. They're not expecting to get robbed, or not as expecting. YOUNG WOMAN (taking to idea) I bet in places like this you could cut down on the hero factor. YOUNG MAN Correct. Just like banks, these places are insured. The managers don't give a fuck, they're just tryin' to get ya out the door before you start pluggin' diners. Waitresses, forget it, they ain't takin' a bullet for the register. Busboys, some wetback gettin' paid a dollar fifty a hour gonna really give a fuck you're stealin' from the owner. Customers are sittin' there with food in their mouths, they don't know what's goin' on. One minute they're havin' a Denver omelet, next minute somebody's stickin' a gun in their face. The Young Woman visibly takes in the idea. The Young Man continues in a low voice. YOUNG MAN See, I got the idea last liquor store we stuck up. 'Member all those customers kept comin' in? YOUNG WOMAN Yeah. YOUNG MAN Then you got the idea to take everybody's wallet. YOUNG WOMAN Uh-huh. YOUNG MAN That was a good idea. YOUNG WOMAN Thanks. YOUNG MAN We made more from the wallets then we did the register. YOUNG WOMAN Yes we did. YOUNG MAN A lot of people go to restaurants. YOUNG WOMAN A lot of wallets. YOUNG MAN Pretty smart, huh? The Young Woman scans the restaurant with this new information. She sees all the PATRONS eating, lost in conversations. The tired WAITRESS, taking orders. The BUSBOYS going through the motions, collecting dishes. The MANAGER complaining to the COOK about something. A smiles breaks out on the Young Woman's face. YOUNG WOMAN Pretty smart. (into it) I'm ready, let's go, right here, right now. YOUNG MAN Remember, same as before, you're crowd control, I handle the employees. YOUNG WOMAN Got it. They both take out their .32-caliber pistols and lay them on the table. He looks at her and she back at him. YOUNG WOMAN I love you, Pumpkin. YOUNG MAN I love you, Honey Bunny. And with that, Pumpkin and Honey Bunny grab their weapons, stand up and rob the restaurant. Pumpkin's robbery persona is that of the in-control professional. Honey Bunny's is that of the psychopathic, hair-triggered, loose cannon. PUMPKIN (yelling to all) Everybody be cool this is a robbery! HONEY BUNNY Any of you fuckin' pricks move and I'll execute every one of you motherfuckers! Got that? CUT TO: CREDIT SEQUENCE: "PULP FICTION" INT. '74 CHEVY (MOVING) – MORNING An old gas guzzling, dirty, white 1974 Chevy Nova BARRELS down a homeless-ridden street in Hollywood. In the front seat are two young fellas – one white, one black – both wearing cheap black suits with thin black ties under long green dusters. Their names are VINCENT VEGA (white) and JULES WINNFIELD (black). Jules is behind the wheel. JULES – Okay now, tell me about the hash bars? VINCENT What so you want to know? JULES Well, hash is legal there, right? VINCENT Yeah, it's legal, but is ain't a hundred percent legal. I mean you can't walk into a restaurant, roll a joint, and start puffin' away. You're only supposed to smoke in your home or certain designated places. JULES Those are hash bars? VINCENT Yeah, it breaks down like this: it's legal to buy it, it's legal to own it and, if you're the proprietor of a hash bar, it's legal to sell it. It's legal to carry it, which doesn't really matter 'cause – get a load of this – if the cops stop you, it's illegal for this to search you. Searching you is a right that the cops in Amsterdam don't have. JULES That did it, man – I'm fuckin' goin', that's all there is to it. VINCENT You'll dig it the most. But you know what the funniest thing about Europe is? JULES What? VINCENT It's the little differences. A lotta the same shit we got here, they got there, but there they're a little different. JULES Examples? VINCENT Well, in Amsterdam, you can buy beer in a movie theatre. And I don't mean in a paper cup either. They give you a glass of beer, like in a bar. In Paris, you can buy beer at MacDonald's. Also, you know what they call a Quarter Pounder with Cheese in Paris? JULES They don't call it a Quarter Pounder with Cheese? VINCENT No, they got the metric system there, they wouldn't know what the fuck a Quarter Pounder is. JULES What'd they call it? VINCENT Royale with Cheese. JULES (repeating) Royale with Cheese. What'd they call a Big Mac? VINCENT Big Mac's a Big Mac, but they call it Le Big Mac. JULES Le Big Mac. What do they call a Whopper? VINCENT I dunno, I didn't go into a Burger King. But you know what they put on french fries in Holland instead of ketchup? JULES What? VINCENT Mayonnaise. JULES Goddamn! VINCENT I seen 'em do it. And I don't mean a little bit on the side of the plate, they fuckin' drown 'em in it. JULES Uuccch! CUT TO: INT. CHEVY (TRUNK) – MORNING The trunk of the Chevy OPENS UP, Jules and Vincent reach inside, taking out two .45 Automatics, loading and cocking them. JULES We should have shotguns for this kind of deal. VINCENT How many up there? JULES Three or four. VINCENT Counting our guy? JULES I'm not sure. VINCENT So there could be five guys up there? JULES It's possible. VINCENT We should have fuckin' shotguns. They CLOSE the trunk. CUT TO: EXT. APARTMENT BUILDING COURTYARD – MORNING Vincent and Jules, their long matching overcoats practically dragging on the ground, walk through the courtyard of what looks like a hacienda-style Hollywood apartment building. We TRACK alongside. VINCENT What's her name? JULES Mia. VINCENT How did Marsellus and her meet? JULES I dunno, however people meet people. She usta be an actress. VINCENT She ever do anything I woulda saw? JULES I think her biggest deal was she starred in a pilot. VINCENT What's a pilot? JULES Well, you know the shows on TV? VINCENT I don't watch TV. JULES Yes, but you're aware that there's an invention called television, and on that invention they show shows? VINCENT Yeah. JULES Well, the way they pick the shows on TV is they make one show, and that show's called a pilot. And they show that one show to the people who pick the shows, and on the strength of that one show, they decide if they want to make more shows. Some get accepted and become TV programs, and some don't, and become nothing. She starred in one of the ones that became nothing. They enter the apartment building. INT. RECEPTION AREA (APARTMENT BUILDING) – MORNING Vincent and Jules walk through the reception area and wait for the elevator. JULES You remember Antwan Rockamora? Half- black, half-Samoan, usta call him Tony Rocky Horror. VINCENT Yeah maybe, fat right? JULES I wouldn't go so far as to call the brother fat. He's got a weight problem. What's the nigger gonna do, he's Samoan. VINCENT I think I know who you mean, what about him? JULES Well, Marsellus fucked his ass up good. And word around the campfire, it was on account of Marsellus Wallace's wife. The elevator arrives, the men step inside. INT. ELEVATOR – MORNING VINCENT What'd he do, fuck her? JULES No no no no no no no, nothin' that bad. VINCENT Well what then? JULES He gave her a foot massage. VINCENT A foot massage? Jules nods his head: "Yes." VINCENT That's all? Jules nods his head: "Yes." VINCENT What did Marsellus do? JULES Sent a couple of guys over to his place. They took him out on the patio of his apartment, threw his ass over the balcony. Nigger fell four stories. They had this garden at the bottom, enclosed in glass, like one of them greenhouses – nigger fell through that. Since then, he's kinda developed a speech impediment. The elevator doors open, Jules and Vincent exit. VINCENT That's a damn shame. INT. APARTMENT BUILDING HALLWAY – MORNING STEADICAM in front of Jules and Vincent as they make a beeline down the hall. VINCENT Still I hafta say, play with matches, ya get burned. JULES Whaddya mean? VINCENT You don't be givin' Marsellus Wallace's new bride a foot massage. JULES You don't think he overreacted? VINCENT Antwan probably didn't expect Marsellus to react like he did, but he had to expect a reaction. JULES It was a foot massage, a foot massage is nothing, I give my mother a foot massage. VINCENT It's laying hands on Marsellus Wallace's new wife in a familiar way. Is it as bad as eatin' her out – no, but you're in the same fuckin' ballpark. Jules stops Vincent. JULES Whoa... whoa... whoa... stop right there. Eatin' a bitch out, and givin' a bitch a foot massage ain't even the same fuckin' thing. VINCENT Not the same thing, the same ballpark. JULES It ain't no ballpark either. Look maybe your method of massage differs from mine, but touchin' his lady's feet, and stickin' your tongue in her holyiest of holyies, ain't the same ballpark, ain't the same league, ain't even the same fuckin' sport. Foot massages don't mean shit. VINCENT Have you ever given a foot massage? JULES Don't be tellin' me about foot massages – I'm the foot fuckin' master. VINCENT Given a lot of 'em? JULES Shit yeah. I got my technique down man, I don't tickle or nothin'. VINCENT Have you ever given a guy a foot massage? Jules looks at him a long moment – he's been set up. JULES Fuck you. He starts walking down the hall. Vincent, smiling, walks a little bit behind. VINCENT How many? JULES Fuck you. VINCENT Would you give me a foot massage – I'm kinda tired. JULES Man, you best back off, I'm gittin' pissed – this is the door. The two men stand in front of the door numbered "49." They whisper. JULES What time is it? VINCENT (checking his watch) Seven-twenty-two in the morning. JULES It ain't quite time, let's hang back. They move a little away from the door, facing each other, still whispering. JULES Look, just because I wouldn't give no man a foot massage, don't make it right for Marsellus to throw Antwan off a building into a glass- motherfuckin-house, fuckin' up the way the nigger talks. That ain't right, man. Motherfucker do that to me, he better paralyze my ass, 'cause I'd kill'a motherfucker. VINCENT I'm not sayin' he was right, but you're sayin' a foot massage don't mean nothing, and I'm sayin' it does. I've given a million ladies a million foot massages and they all meant somethin'. We act like they don't, but they do. That's what's so fuckin' cool about 'em. This sensual thing's goin' on that nobody's talkin about, but you know it and she knows it, fuckin' Marsellus knew it, and Antwan shoulda known fuckin' better. That's his fuckin' wife, man. He ain't gonna have a sense of humor about that shit. JULES That's an interesting point, but let's get into character. VINCENT What's her name again? JULES Mia. Why you so interested in big man's wife? VINCENT Well, Marsellus is leavin' for Florida and when he's gone, he wants me to take care of Mia. JULES Take care of her? Making a gun out of his finger and placing it to his head. VINCENT Not that! Take her out. Show her a good time. Don't let her get lonely. JULES You're gonna be takin' Mia Wallace out on a date? VINCENT It ain't a date. It's like when you and your buddy's wife go to a movie or somethin'. It's just... you know... good company. Jules just looks at him. VINCENT It's not a date. Jules just looks at him. INT. APARTMENT (ROOM 49) – MORNING THREE YOUNG GUYS, obviously in over their heads, sit at a table with hamburgers, french fries and soda pops laid out. One of them flips the LOUD BOLT on the door, opening it to REVEAL Jules and Vincent in the hallway. JULES Hey kids. The two men stroll inside. The three young caught-off-guard Guys are: MARVIN, the black young man, who open the door, will, as the scene progresses, back into the corner. ROGER, a young blond-haired surfer kid with a "Flock of Seagulls" haircut, who has yet to say a word, sits at the table with a big sloppy hamburger in his hand. BRETT, a white, preppy-looking sort with a blow-dry haircut. Vincent and Jules take in the place, with their hands in their pockets. Jules is the one who does the talking. JULES How you boys doin'? No answer. JULES (to Brett) Am I trippin', or did I just ask you a question. BRETT We're doin' okay. As Jules and Brett talk, Vincent moves behind the young Guys. JULES Do you know who we are? Brett shakes his head: "No." JULES We're associates of your business partner Marsellus Wallace, you remember your business partner dont'ya? No answer. JULES (to Brett) Now I'm gonna take a wild guess here: you're Brett, right? BRETT I'm Brett. JULES I thought so. Well, you remember your business partner Marsellus Wallace, dont'ya Brett? BRETT I remember him. JULES Good for you. Looks like me and Vincent caught you at breakfast, sorry 'bout that. What'cha eatin'? BRETT Hamburgers. JULES Hamburgers. The cornerstone of any nutritious breakfast. What kinda hamburgers? BRETT Cheeseburgers. JULES No, I mean where did you get'em? MacDonald's, Wendy's, Jack-in-the- Box, where? BRETT Big Kahuna Burger. JULES Big Kahuna Burger. That's that Hawaiian burger joint. I heard they got some tasty burgers. I ain't never had one myself, how are they? BRETT They're good. JULES Mind if I try one of yours? BRETT No. JULES Yours is this one, right? BRETT Yeah. Jules grabs the burger and take a bite of it. JULES Uuummmm, that's a tasty burger. (to Vincent) Vince, you ever try a Big Kahuna Burger? VINCENT No. Jules holds out the Big Kahuna. JULES You wanna bite, they're real good. VINCENT I ain't hungry. JULES Well, if you like hamburgers give 'em a try sometime. Me, I can't usually eat 'em 'cause my girlfriend's a vegetarian. Which more or less makes me a vegetarian, but I sure love the taste of a good burger. (to Brett) You know what they call a Quarter Pounder with Cheese in France? BRETT No. JULES Tell 'em, Vincent. VINCENT Royale with Cheese. JULES Royale with Cheese, you know why they call it that? BRETT Because of the metric system? JULES Check out the big brain on Brett. You'a smart motherfucker, that's right. The metric system. (he points to a fast food drink cup) What's in this? BRETT Sprite. JULES Sprite, good, mind if I have some of your tasty beverage to wash this down with? BRETT Sure. Jules grabs the cup and takes a sip. JULES Uuuuummmm, hit's the spot! (to Roger) You, Flock of Seagulls, you know what we're here for? Roger nods his head: "Yes." JULES Then why don't you tell my boy here Vince, where you got the shit hid. MARVIN It's under the be – JULES – I don't remember askin' you a goddamn thing. (to Roger) You were sayin'? ROGER It's under the bed. Vincent moves to the bed, reaches underneath it, pulling out a black snap briefcase. VINCENT Got it. Vincent flips the two locks, opening the case. We can't see what's inside, but a small glow emits from the case. Vincent just stares at it, transfixed. JULES We happy? No answer from the transfixed Vincent. JULES Vincent! Vincent looks up at Jules. JULES We happy? Closing the case. VINCENT We're happy. BRETT (to Jules) Look, what's your name? I got his name's Vincent, but what's yours? JULES My name's Pitt, and you ain't talkin' your ass outta this shit. BRETT I just want you to know how sorry we are about how fucked up things got between us and Mr. Wallace. When we entered into this thing, we only had the best intentions – As Brett talks, Jules takes out his gun and SHOOTS Roger three times in the chest, BLOWING him out of his chair. Vince smiles to himself. Jules has got style. Brett has just shit his pants. He's not crying or whimpering, but he's so full of fear, it's as if his body is imploding. JULES (to Brett) Oh, I'm sorry. Did that break your concentration? I didn't mean to do that. Please, continue. I believe you were saying something about "best intentions." Brett can't say a word. JULES Whatsamatter? Oh, you were through anyway. Well, let me retort. Would you describe for me what Marsellus Wallace looks like? Brett still can't speak. Jules SNAPS, SAVAGELY TIPPING the card table over, removing the only barrier between himself and Brett. Brett now sits in a lone chair before Jules like a political prisoner in front of an interrogator. JULES What country you from! BRETT (petrified) What? JULES "What" ain't no country I know! Do they speak English in "What?" BRETT (near heart attack) What? JULES English-motherfucker-can-you-speak- it? BRETT Yes. JULES Then you understand what I'm sayin'? BRETT Yes. JULES Now describe what Marsellus Wallace looks like! BRETT (out of fear) What? Jules takes his .45 and PRESSES the barrel HARD in Brett's cheek. JULES Say "What" again! C'mon, say "What" again! I dare ya, I double dare ya motherfucker, say "What" one more goddamn time! Brett is regressing on the spot. JULES Now describe to me what Marsellus Wallace looks like! Brett does his best. BRETT Well he's... he's... black – JULES – go on! BRETT ...and he's... he's... bald – JULES – does he look like a bitch?! BRETT (without thinking) What? Jules' eyes go to Vincent, Vincent smirks, Jules rolls his eyes and SHOOT Brett in the shoulder. Brett SCREAMS, breaking into a SHAKING/TREMBLING SPASM in the chair. JULES Does-he-look-like-a-bitch?! BRETT (in agony) No. JULES Then why did you try to fuck 'im like a bitch?! BRETT (in spasm) I didn't. Now in a lower voice. JULES Yes ya did Brett. Ya tried ta fuck 'im. You ever read the Bible, Brett? BRETT (in spasm) Yes. JULES There's a passage I got memorized, seems appropriate for this situation: Ezekiel 25:17. "The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon you." The two men EMPTY their guns at the same time on the sitting Brett. AGAINST BLACK, TITLE CARD: "VINCENT VEGA AND MARSELLUS WALLACE'S WIFE" FADE IN: MEDIUM SHOT – BUTCH COOLIDGE We FADE UP on BUTCH COOLIDGE, a white, 26-year-old prizefighter. Butch sits at a table wearing a red and blue high school athletic jacket. Talking to him OFF SCREEN is everybody's boss MARSELLUS WALLACE. The black man sounds like a cross between a gangster and a king. MARSELLUS (O.S.) I think you're gonna find – when all this shit is over and done – I think you're gonna find yourself one smilin' motherfucker. Thing is Butch, right now you got ability. But painful as it may be, ability don't last. Now that's a hard motherfuckin' fact of life, but it's a fact of life your ass is gonna hafta git realistic about. This business is filled to the brim with unrealistic motherfuckers who thought their ass aged like wine. Besides, even if you went all the way, what would you be? Feather-weight champion of the world. Who gives a shit? I doubt you can even get a credit card based on that. A hand lays an envelope full of money on the table in front of Butch. Butch picks it up. MARSELLUS (O.S.) Now the night of the fight, you may fell a slight sting, that's pride fuckin' wit ya. Fuck pride! Pride only hurts, it never helps. Fight through that shit. 'Cause a year from now, when you're kickin' it in the Caribbean you're gonna say, "Marsellus Wallace was right." BUTCH I got no problem with that. MARSELLUS (O.S.) In the fifth, your ass goes down. Butch nods his head: "yes." MARSELLUS (O.S.) Say it! BUTCH In the fifth, my ass goes down. CUT TO: INT. CAR (MOVING) – DAY Vincent Vega looks really cool behind the wheel of a 1964 cherry red Chevy Malibu convertible. From the car radio, ROCKABILLY MUSIC PLAYS. The b.g. is a COLORFUL PROCESS SHOT. EXT. SALLY LEROY'S – DAY Sally LeRoy's is a large topless bar by LAX that Marsellus owns. Vincent's classic Malibu WHIPS into the near empty parking lot and parks next to a white Honda Civic. Vince knocks on the door. The front entrance is unlocked, revealing the Dapper Dan fellow on the inside: ENGLISH DAVE. Dave isn't really English, he's a young black man from Baldwin Park, who has run a few clubs for Marsellus, including Sally LeRoy's. ENGLISH DAVE Vincent Vega, our man in Amsterdam, git your ass on in here. Vincent, carrying the black briefcase from the scene between Vincent and Jules, steps inside. English Dave SLAMS the door in our faces. INT. SALLY LEROY'S – DAY The spacious club is empty this time of day. English Dave crosses to the bar, and Vince follows. VINCENT Where's the big man? ENGLISH DAVE He's over there, finishing up some business. VINCENT'S POV: Butch shakes hands with a huge figure with his back to us. The huge figure is the infamous and as of yet still UNSEEN Marsellus. ENGLISH DAVE (O.S.) Hang back for a second or two, and when you see the white boy leave, go on over. In the meanwhile, can I make you an espresso? VINCENT How 'bout a cup of just plain lo' American? ENGLISH DAVE Comin' up. I hear you're taking Mia out tomorrow? VINCENT At Marsellus' request. ENGLISH DAVE Have you met Mia? VINCENT Not yet. English Dave smiles to himself. VINCENT What's so funny? ENGLISH DAVE Not a goddamn thing. VINCENT Look, I'm not a idiot. She's the big man's fuckin' wife. I'm gonna sit across a table, chew my food with my mouth closed, laugh at her jokes and that's all I'm gonna do. English Dave puts Vince's coffee in front of him. ENGLISH DAVE My name's Paul, and this is between y'all. Butch bellies up to the bar next to Vincent, drinking his cup of "Plain ol' American." BUTCH (to English Dave) Can I get a pack'a Red Apples? ENGLISH DAVE Filters? BUTCH Non. While Butch waits for his smokes, Vincent just sips his coffee, staring at him. Butch looks over at him. BUTCH Lookin' at somethin', friend? VINCENT I ain't your friend, palooka. Butch does a slow turn toward Vincent. BUTCH What was that? VINCENT I think ya heard me just fine, punchy. Butch turns his body to Vincent, when... MARSELLUS (O.S.) Vincent Vega has entered the building, git your ass over here! Vincent walks forward OUT OF FRAME, never giving Butch another glance. We DOLLY INTO CU on Butch, left alone in the FRAME, looking like he's ready to go into the manners-teaching business. BUTCH'S POV: Vincent hugging and kissing the obscured figure that is Marsellus. Butch makes the wise decision that is this asshole's a friend of Marsellus, he better let it go – for now. ENGLISH DAVE (O.S.) Pack of Red Apples, dollar-forty. Butch is snapped out of his ass-kicking thoughts. He pays English Dave and walks out of the SHOT. DISSOLVE TO: INT. LANCE'S HOUSE (KITCHEN) – NIGHT CLOSEUP – JODY A woman who appears to have a fondness for earrings. Both of her ears are pierced five times. She also sports rings in her lips, eyebrows and nose. JODY ...I'll lend it to you. It's a great book on body piercing. Jody, Vincent and a young woman named TRUDI sit at the kitchen table of a suburban house in Echo Park. Even though Vince is at the same table, he's not included in the conversation. TRUDI You know how they use that gun when they pierce your ears? They don't use that when they pierce your nipples, do they? JODY Forget that gun. That gun goes against the entire idea behind piercing. All of my piercing, sixteen places on my body, every one of 'em done with a needle. Five in each ear. One through the nipple on my left breast. One through my right nostril. One through my left eyebrow. One through my lip. One in my clit. And I wear a stud in my tongue. Vince has been letting this conversation go through one ear and out the other, until that last remark. VINCENT (interrupting) Excuse me, sorry to interrupt. I'm curious, why would you get a stud in your tongue? Jody looks at him and says as if it were the most obvious thing in the world. JODY It's a sex thing. It helps fellatio. That thought never occurred to Vincent, but he can't deny it makes sense. Jody continues talking to Trudi, leaving Vincent to ponder the truth of her statement. LANCE (O.S.) Vince, you can come in now! INT. LANCE'S BEDROOM – NIGHT Lance, late 20s, is a young man with a wild and woolly appearance that goes hand-in-hand with his wild and woolly personality. LANCE has been selling drugs his entire adult life. He's never had a day job, never filed a tax return and has never been arrested. He wears a red flannel shirt over a "Speed Racer" tee-shirt. Three bags of heroin lie on Lance's bed. Lance and Vincent stand at the foot of the bed. LANCE Now this is Panda, from Mexico. Very good stuff. This is Bava, different, but equally good. And this is Choco from the Hartz Mountains of Germany. Now the first two are the same, forty- five an ounce – those are friend prices – but this one... (pointing to the Choco) ...this one's a little more expensive. It's fifty-five. But when you shoot it, you'll know where that extra money went. Nothing wrong with the first two. It's real, real, real, good shit. But this one's a fuckin' madman. VINCENT Remember, I just got back from Amsterdam. LANCE Am I a nigger? Are you in Inglewood? No. You're in my house. White people who know the difference between good shit and bad shit, this is the house they come to. My shit, I'll take the Pepsi Challenge with Amsterdam shit any ol' day of the fuckin' week. VINCENT That's a bold statement. LANCE This ain't Amsterdam, Vince. This is a seller's market. Coke is fuckin' dead as disco. Heroin's comin' back in a big fuckin' way. It's this whole seventies retro. Bell bottoms, heroin, they're as hot as hell. Vincent takes out a roll of money that would choke a horse to death. VINCENT Give me three hundred worth of the madman. If it's as good as you say, I'll be back for a thousand. LANCE I just hope I still have it. Whaddya think of Trudi? She ain't got a boyfriend, wanna hand out an' get high? VINCENT Which one's Trudi? The one with all the shit in her face? LANCE No, that's Jody. That's my wife. Vincent and Lance giggle at the "faux pas." VINCENT I'm on my way somewhere. I got a dinner engagement. Rain check? LANCE No problem? Vincent takes out his case of the works (utensils for shooting up). VINCENT You don't mind if I shoot up here? LANCE Me casa, su casa. VINCENT Mucho gracias. Vincent takes his works out of his case and, as the two continue to talk, Vince shoots up. LANCE Still got your Malibu? VINCENT You know what some fucker did to it the other day? LANCE What? VINCENT Fuckin' keyed it. LANCE Oh man, that's fucked up. VINCENT Tell me about it. I had the goddamn thing in storage three years. It's out five fuckin' days – five days, and some dickless piece of shit fucks with it. LANCE They should be fuckin' killed. No trial, no jury, straight to execution. As he cooks his heroin... VINCENT I just wish I caught 'em doin' it, ya know? Oh man, I'd give anything to catch 'em doin' it. It'a been worth his doin' it, if I coulda just caught 'em, you know what I mean? LANCE It's chicken shit. You don't fuck another man's vehicle. CLOSEUP – THE NEEDLE Going into Vincent's vein. CLOSEUP – BLOOD Spurting back into the syringe, mixing with the heroin. CLOSEUP – VINCENT'S THUMB Pushing down on the plunger. CUT TO: EXT. MARSELLUS WALLACE'S HOUSE – NIGHT Vincent walks toward the house and pulls a note off the door CLOSEUP – NOTE The Note reads: "Hi Vincent, I'm getting dressed. The door's open. Come inside and make yourself a drink. Mia" MIA (V.O.) Hi, Vincent. I'm getting dressed. The door's open. Come inside and make yourself a drink. FADE TO WHITE Music in. FADE TO: INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT Vincent enters on the background. VINCENT Hello? INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT MIA, Marcellus' beautiful young wife. Video screens are in the background. Dusty Springfield is singing "SON OF A PREACHER MAN". Mia's mouth comes toward a microphone. MIA (into microphone) Vincent. INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT Vincent turns. MIA (over intercom) Vincent. I'm on the intercom. INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT MIA (into microphone) It's on the wall by the two African fellas. INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT MIA (over intercom) To your right. Vincent walks. MIA ...warm. Warmer. Disco. Vincent finds the intercom on the wall. VINCENT Hello. MIA (over intercom) Push the button if you want to talk. VINCENT (into intercom) Hello. INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT MIA (into microphone) Go make yourself a drink., and I'll be down in two shakes of a lamb's tail. INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT MIA (over intercom) The bar's by the fireplace. VINCENT (into intercom) Okay. (licks lips) INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT A video screen with an image of Vincent, walking. The Dusty Springfield song continues. Mia turns a knob which controls the movement of the video camera in Marcellus' living room. INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT Vincent picks up a bottle of scotch. He sniffs the bottle, and then pours it into a glass. INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT A razor blade cuts cocaine on a mirror. INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT Vincent drinks a glass of scotch. INT. MARCELLUS' HOUSE / DRESSING ROOM – NIGHT Mia sniffs the cocaine. INT. MARCELLUS' HOUSE / LIVING ROOM – NIGHT Vincent sips the drink and looks at a portrait of Mia on the wall. Mia walks into the room, and takes the needle off a record. The Dusty Springfield song stops. MIA Let's go. EXT. JACKRABBIT SLIM'S – NIGHT In the past six years, 50's diners have sprung up all over L.A., giving Thai restaurants a run for their money. They're all basically the same. Decor out of an "Archie" comic book, Golden Oldies constantly emanating from a bubbly Wurlitzer, saucy waitresses in bobby socks, menus with items like the Fats Domino Cheeseburger, or the Wolfman Jack Omelet, and over prices that pay for all this bullshit. But then there's JACKRABBIT SLIM'S, the big mama of 50's diners. Either the best or the worst, depending on your point of view. Vincent's Malibu pulls up to the restaurant. A big sign with a neon figure of a cartoon surly cool cat jackrabbit in a red windbreaker towers over the establishment. Underneath the cartoon is the name: JACKRABBIT SLIM'S. Underneath that is the slogan: "Next best thing to a time machine." VINCENT What the fuck is this place? MIA This is Jackrabbit Slim's. An Elvis man should love it. VINCENT Come on, Mia, let's go get a steak. MIA You can get a steak here, daddy-o. Don't be a... Mia draws a square with her hands. Dotted lines appear on the screen, forming a sqaure. The lines disperse. VINCENT After you, kitty-cat. INT. JACKRABBIT SLIM'S – NIGHT Compared to the interior, the exterior was that of a quaint English pub. Posters from 50's A.I.P. movies are all over the wall ("ROCK ALL NIGHT," "HIGH SCHOOL CONFIDENTIAL," "ATTACK OF THE CRAB MONSTER," and "MACHINE GUN KELLY"). The booths that the patrons sit in are made out of the cut up bodies of 50s cars. In the middle of the restaurant in a dance floor. A big sign on the wall states, "No shoes allowed." Some wannabe beboppers (actually Melrose-types), do the twist in their socks or barefeet. The picture windows don't look out the street, but instead, B & W movies of 50's street scenes play behind them. The WAITRESSES and WAITERS are made up as replicas of 50's icons: MARILYN MONROE, ZORRO, JAMES DEAN, DONNA REED, MARTIN and LEWIS, and THE PHILIP MORRIS MIDGET, wait on tables wearing appropriate costumes. Vincent and Mia study the menu in a booth made out of a red '59 Edsel. BUDDY HOLLY (their waiter), comes over, sporting a big button on his chest that says: "Hi I'm Buddy, pleasing you please me." BUDDY Hi, I'm Buddy, what can I get'cha? VINCENT I'll have the Douglas Sirk steak. BUDDY How d'ya want it, burnt to a crisp, or bloody as hell? VINCENT Bloody as hell. And to drink, a vanilla coke. BUDDY How 'bout you, Peggy Sue? MIA I'll have the Durwood Kirby burger – bloody – and a five-dollar shake. BUDDY How d'ya want that shake, Martin and Lewis, or Amos and Andy? MIA Martin and Lewis. VINCENT Did you just order a five-dollar shake? MIA Sure did. VINCENT A shake? Milk and ice cream? MIA Uh-huh. VINCENT It costs five dollars? BUDDY Yep. VINCENT You don't put bourbon in it or anything? BUDDY Nope. VINCENT Just checking. Buddy exits. Vincent takes a look around the place. The YUPPIES are dancing, the DINERS are biting into big, juicy hamburgers, and the icons are playing their parts. Marilyn is squealing, The Midget is paging Philip Morris, Donna Reed is making her customers drink their milk, and Dean and Jerry are acting a fool. MIA Whaddya think? VINCENT It's like a wax museum with a pulse rate. Vincent takes out his pouch of tobacco and begins rolling himself a smoke. After a second of watching him – MIA What are you doing? VINCENT Rollin' a smoke. MIA Here? VINCENT It's just tobacco. MIA Oh. Well in that case, will you roll me one, cowboy? As he finishes licking it – VINCENT You can have this one, cowgirl. He hands her the rolled smoke. She takes it, putting it to her lips. Out of nowhere appears a Zippo lighter in Vincent's hand. He lights it. MIA Thanks. VINCENT Think nothing of it. He begins rolling one for himself. As this time, the SOUND of a subway car fills the diner, making everything SHAKE and RATTLE. Marilyn Monroe runs to a square vent in the floor. An imaginary subway train BLOWS the skirt of her white dress around her ears as she lets out a squeal. The entire restaurant applauds. Back to Mia and Vincent. MIA Marsellus said you just got back from Amsterdam. VINCENT Sure did. I heard you did a pilot. MIA That was my fifteen minutes. VINCENT What was it? MIA It was show about a team of female secret agents called "Fox Force Five." VINCENT What? MIA "Fox Force Five." Fox, as in we're a bunch of foxy chicks. Force, as in we're a force to be reckoned with. Five, as in there's one... two ... three... four... five of us. There was a blonde one, Sommerset O'Neal from that show "Baton Rouge," she was the leader. A Japanese one, a black one, a French one and a brunette one, me. We all had special skills. Sommerset had a photographic memory, the Japanese fox was a kung fu master, the black girl was a demolition expert, the French fox' specialty was sex... VINCENT What was your specialty? MIA Knives. The character I played, Raven McCoy, her background was she was raised by circus performers. So she grew up doing a knife act. According to the show, she was the deadliest woman in the world with a knife. But because she grew up in a circus, she was also something of an acrobat. She could do illusions, she was a trapeze artist – when you're keeping the world safe from evil, you never know when being a trapeze artist's gonna come in handy. And she knew a zillion old jokes her grandfather, an old vaudevillian, taught her. If we woulda got picked up, they woulda worked in a gimmick where every episode I woulda told and ol joke. VINCENT Do you remember any of the jokes? MIA Well I only got the chance to say one, 'cause we only did one show. VINCENT Tell me. MIA No. It's really corny. VINCENT C'mon, don't be that way. MIA No. You won't like it and I'll be embarrassed. VINCENT You told it in front of fifty million people and you can't tell it to me? I promise I won't laugh. MIA (laughing) That's what I'm afraid of. VINCENT That's not what I meant and you know it. MIA You're quite the silver tongue devil, aren't you? VINCENT I meant I wouldn't laugh at you. MIA That's not what you said Vince. Well now I'm definitely not gonna tell ya, 'cause it's been built up too much. VINCENT What a gyp. Buddy comes back with the drinks. Mia wraps her lips around the straw of her shake. MIA Yummy! VINCENT Can I have a sip of that? I'd like to know what a five-dollar shake tastes like. MIA Be my guest. She slides the shake over to him. MIA You can use my straw, I don't have kooties. Vincent smiles. VINCENT Yeah, but maybe I do. MIA Kooties I can handle. He takes a sip. VINCENT Goddamn! That's a pretty fuckin' good milk shake. MIA Told ya. VINCENT I don't know if it's worth five dollars, but it's pretty fuckin' good. He slides the shake back. Then the first of an uncomfortable silence happens. MIA Don't you hate that? VINCENT What? MIA Uncomfortable silences. Why do we feel it's necessary to yak about bullshit in order to be comfortable? VINCENT I don't know. MIA That's when you know you found somebody special. When you can just shit the fuck up for a minute, and comfortably share silence. VINCENT I don't think we're there yet. But don't feel bad, we just met each other. MIA Well I'll tell you what, I'll go to the bathroom and powder my nose, while you sit here and think of something to say. VINCENT I'll do that. INT. JACKRABBIT SLIM'S (LADIES ROOM) – NIGHT Mia powders her nose by doing a big line of coke off the bathroom sink. Her head jerks up from the rush. MIA (imitating Steppenwolf) I said goddamn! INT. JACKRABBIT SLIM'S (DINING AREA) – NIGHT Vincent digs into his Douglas Sirk steak. As he chews, his eyes scan the Hellsapopinish restaurant. Mia comes back to the table. MIA Don't you love it when you go to the bathroom and you come back to find your food waiting for you? VINCENT We're lucky we got it at all. Buddy Holly doesn't seem to be much of a waiter. We shoulda sat in Marilyn Monroe's section. MIA Which one, there's two Marilyn Monroes. VINCENT No there's not. Pointing at Marilyn in the white dress serving a table. VINCENT That's Marilyn Monroe... Then, pointing at a BLONDE WAITRESS in a tight sweater and capri pants, taking an order from a bunch of FILM GEEKS – VINCENT ... and that's Mamie Van Doren. I don't see Jayne Mansfield, so it must be her night off. MIA Pretty smart. VINCENT I have moments. MIA Did ya think of something to say? VINCENT Actually, there's something I've wanted to ask you about, but you seem like a nice person, and I didn't want to offend you. MIA Oooohhhh, this doesn't sound like mindless, boring, getting-to-know- you chit-chat. This sounds like you actually have something to say. VINCENT Only if you promise not to get offended. MIA You can't promise something like that. I have no idea what you're gonna ask. You could ask me what you're gonna ask me, and my natural response could be to be offended. Then, through no fault of my own, I woulda broken my promise. VINCENT Then let's just forget it. MIA That is an impossibility. Trying to forget anything as intriguing as this would be an exercise in futility. VINCENT Is that a fact? Mia nods her head: "Yes." MIA Besides, it's more exciting when you don't have permission. VINCENT What do you think about what happened to Antwan? MIA Who's Antwan? VINCENT Tony Rocky Horror. MIA He fell out of a window. VINCENT That's one way to say it. Another way is, he was thrown out. Another was is, he was thrown out by Marsellus. And even another way is, he was thrown out of a window by Marsellus because of you. MIA Is that a fact? VINCENT No it's not, it's just what I heard. MIA Who told you this? VINCENT They. Mia and Vincent smile. MIA They talk a lot, don't they? VINCENT They certainly do. MIA Well don't by shy Vincent, what exactly did they say? Vincent is slow to answer. MIA Let me help you Bashful, did it involve the F-word? VINCENT No. They just said Rocky Horror gave you a foot massage. MIA And...? VINCENT No and, that's it. MIA You heard Marsellus threw Rocky Horror out of a four-story window because he massaged my feet? VINCENT Yeah. MIA And you believed that? VINCENT At the time I was told, it seemed reasonable. MIA Marsellus throwing Tony out of a four story window for giving me a foot massage seemed reasonable? VINCENT No, it seemed excessive. But that doesn't mean it didn't happen. I heard Marsellus is very protective of you. MIA A husband being protective of his wife is one thing. A husband almost killing another man for touching his wife's feet is something else. VINCENT But did it happen? MIA The only thing Antwan ever touched of mine was my hand, when he shook it. I met Anwan once – at my wedding – then never again. The truth is, nobody knows why Marsellus tossed Tony Rocky Horror out of that window except Marsellus and Tony Rocky Horror. But when you scamps get together, you're worse than a sewing circle. CUT TO: ED SULLIVAN AND MARILYN MONROE STAND ON STAGE ED SULLIVAN (into microphone) Ladies and gentlemen, now the moment you've all been waiting for, the worldfamous Jackrabbit Slim's twist contest. Patrons cheer. Ed Sullivan is with Marilyn Monroe, who holds a trophy. ED SULLIVAN ...One lucky couple will win this handsome trophy that Marilyn here is holding. Marilyn holds the trophy. ED SULLIVAN ...Now, who will be our first contestants? Mia holds her hand. MIA Right here. Vincent reacts. MIA I wanna dance. VINCENT No, no, no no, no, no, no, no. MIA (overlapping) No, no, no, no, no, no, no. I do believe Marsellus, my husband, your boss, told you to take me out and do whatever I wanted, Now, I want to dance. I want to win. I want that trophy. VINCENT (sighs) All right. MIA So, dance good. VINCENT All right, you asked for it. Vincent and Mia walk onto the dance floor, toward Ed Sullivan. ED SULLIVAN (into microphone) Let's hear it for our first contestants. Patrons cheer. Vincent and Mia walk up to the microphone. ED SULLIVAN Now let's meet our first contestants here this evening. Young lady, what is your name? MIA (into microphone) Missus Mia Wallace. ED SULLIVAN (into microphone) And, uh, how 'bout your fella here? MIA (into microphone) Vincent Vega. ED SULLIVAN (into microphone) All right, let's see what you can do. Take it away! Mia and Vincent dance to Chuck Berry's "YOU NEVER CAN TELL". They make hand movements as they dance. INT. MARSELLUS WALLACE'S HOME – NIGHT The front door FLINGS open, and Mia and Vincent dance tango- style into the house, singing a cappella the song from the previous scene. They finish their little dance, laughing. Then... The two just stand face to face looking at each other. VINCENT Was than an uncomfortable silence? MIA I don't know what that was. (pause) Music and drinks! Mia moves away to attend to both. Vincent hangs up his overcoat on a big bronze coat rack in the alcove. VINCENT I'm gonna take a piss. MIA That was a little bit more information than I needed to know, but go right ahead. Vincent shuffles off to the john. Mia moves to her CD player, thumbs through a stack of CDs and selects one: k.d. lang. The speakers BLAST OUT a high energy country number, which Mia plays air-guitar to. She dances her way around the room and finds herself by Vincent's overcoat hanging on the rack. She touches its sleeve. It feels good. Her hand hoes in its pocket and pulls out his tobacco pouch. Like a little girl playing cowboy, she spreads the tobacco on some rolling paper. Imitating what he did earlier, licks the paper and rolls it into a pretty good cigarette. Maybe a little too fat, but not bad for a first try. Mia thinks so anyway. Her hand reaches back in the pocket and pulls out his Zippo lighter. She SLAPS the lighter against her leg, trying to light it fancy-style like Vince did. What do you know, she did it! Mia's one happy clam. She triumphantly brings the fat flame up to her fat smoke, lighting it up, then LOUDLY SNAPS the Zippo closed. The Mia-made cigarette is brought up to her lips, and she takes a long, cool drag. Her hand slides the Zippo back in the overcoat pocket. But wait, her fingers touch something else. Those fingers bring out a plastic bag with white powder inside, the madman that Vincent bought earlier from Lance. Wearing a big smile, Mia brings the bag of heroin up to her face. MIA (like you would say Bingo!) Disco! Vince, you little cola nut, you've been holding out on me. CUT TO: INT. BATHROOM (MARSELLUS WALLACE'S HOUSE) – NIGHT Vincent stands at the sink, washing his hands, talking to himself in the mirror. VINCENT One drink and leave. Don't be rude, but drink your drink quickly, say goodbye, walk out the door, get in your car, and go down the road. LIVING ROOM Mia has the unbeknownst-to-her heroin cut up into big lines on her glass top coffee table. Taking her trusty hundred dollar bill like a human Dust-Buster, she quickly snorts the fat line. CLOSEUP – MIA Her head JERKS back. Her hands go to her nose (which feels like it's on fucking fire), something is terribly wrong. Then... the rush hits... BATHROOM Vincent dries his hands on a towel while he continues his dialogue with the mirror. VINCENT ...It's a moral test of yourself, whether or not you can maintain loyalty. Because when people are loyal to each other, that's very meaningful. LIVING ROOM Mia is on all fours trying to crawl to the bathroom, but it's like she's trying to crawl with the bones removed from her knees. Blood begins to drip from Mia's nose. Then her stomach gets into the act and she VOMITS. BATHROOM Vince continues. VINCENT So you're gonna go out there, drink your drink, say "Goodnight, I've had a very lovely evening," go home, and jack off. And that's all you're gonna do. Now that he's given himself a little pep talk, Vincent's ready for whatever's waiting for him on the other side of that door. So he goes through it. LIVING ROOM We follow behind Vincent as he walks from the bathroom to the living room, where he finds Mia lying on the floor like a rag doll. She's twisted on her back. Blood and puke are down her front. And her face is contorted. Not out of the tightness of pain, but just the opposite, the muscles in her face are so relaxed, she lies still with her mouth wide open. Slack-jawed. VINCENT Jesus Christ! Vincent moves like greased lightning to Mia's fallen body. Bending down where she lays, he puts his fingers on her neck to check her pulse. She slightly stirs. Mia is aware of Vincent over her, speaking to her. VINCENT (sounding weird) Mia! MIA! What the hell happened? But she's unable to communicate Mia makes a few lost mumbles, but they're not distinctive enough to be called words. Vincent props her eyelids open and sees the story. VINCENT (to himself) I'll be a son-of-a-bitch. (to Mia) Mia! MIA! What did you take? Answer me honey, what did you take? Mia is incapable of answering. He SLAPS her face hard. Vincent SPRINGS up and RUNS to his overcoat, hanging on the rack. He goes through the pockets FRANTICALLY. It's gone. Vincent makes a beeline to Mia. We follow. VINCENT (yelling to Mia) Okay honey, we're getting you on your feet. He reaches her and hoists the dead weight up in his arms. VINCENT We're on our feet now, and now we're gonna talk out to the car. Here we go, watch us walk. We follow behind as he hurriedly walks the practically- unconscious Mia through the house and out the front door. EXT. VINCENT'S HOT ROD (MOVING) – NIGHT INSERT SPEEDOMETER: red needle on a hundred. Vincent driving like a madman in a town without traffic laws, speeds the car into turns and up and over hills. INT.VINCENT'S HOT ROD (MOVING) – NIGHT Vincent, one hand firmly on the wheel, the other shifting like Robocop, both eyes staring straight ahead except when he glances over at Mia. Mia, slack-jawed expression, mouth gaping, posture of a bag of water. Vincent takes a cellular phone out of his pocket. He punches a number. INT. LANCE'S HOUSE – NIGHT At this late hour, LANCE has transformed from a bon vivant drug dealer to a bathrobe creature. He sits in a big comfy chair, ratty blue gym pants, a worn- out but comfortable tee-shirt that has, written on it, "TAFT, CALIFORNIA", and a moth-ridden terry cloth robe. In his hand is a bowl of Cap'n Crunch with Crunch Berries. In front of him on the coffee table is a jug of milk, the box the Cap'n Crunch with Crunch Berries came out of, and a hash pipe in an ashtray. On the big-screen TV in front of the table is the Three Stooges, and they're getting married. PREACHER (EMIL SIMKUS) (on TV) Hold hands, you love birds. The phone RINGS. Lance puts down his cereal and makes his way to the phone. It RINGS again. Jody, his wife, CALLS from the bedroom, obviously woken up. JODY (O.S.) Lance! The phone's ringing! LANCE (calling back) I can hear it! JODY (O.S.) I thought you told those fuckin' assholes never to call this late! LANCE (by the phone) I told 'em and that's what I'm gonna tell this fuckin' asshole right now! (he answers the phone) Hello, do you know how late it is? You're not supposed to be callin' me this fuckin' late. BACK TO: VINCENT IN THE MALIBU Vincent is still driving like a stripe-assed ape, clutching the phone to his ear. WE CUT BACK AND FORTH during the conversation. VINCENT Lance, this is Vincent, I'm in big fuckin' trouble man, I'm on my way to your place. LANCE Whoa, hold you horses man, what's the problem? VINCENT You still got an adrenaline shot? LANCE (dawning on him) Maybe. VINCENT I need it man, I got a chick she's fuckin' Doing on me. LANCE Don't bring her here! I'm not even fuckin' joking with you, don't you be bringing some fucked up pooh-butt to my house! VINCENT No choice. LANCE She's ODin'? VINCENT Yeah. She's dyin'. LANCE Then bite the fuckin' bullet, take 'er to a hospital and call a lawyer! VINCENT Negative. LANCE She ain't my fuckin' problem, you fucked her up, you deal with it – are you talkin' to me on a cellular phone? VINCENT Sorry. LANCE I don't know you, who is this, don't come here, I'm hangin' up. VINCENT Too late, I'm already here. At that moment inside Lance's house, WE HEAR VINCENT's Malibu coming up the street. Lance hangs up the phone, goes to his curtains and YANKS the cord. The curtains open with a WHOOSH in time to see Vincent's Malibu DRIVING UP on his front lawn and CRASHING into his house. The window Lance is looking out of SHATTERS from the impact. JODY (O.S.) What the hell was that? Lance CHARGES from the window, out the door to his front lawn. EXT. LANCE'S HOUSE – NIGHT Vincent is already out of the car, working on getting Mia out. LANCE Have you lost your mind?! You crashed your car in my fuckin' house! You talk about drug shit on a cellular fuckin' phone – VINCENT If you're through havin' your little hissy fit, this chick is dyin', get your needle and git it now! LANCE Are you deaf? You're not bringin' that fucked up bitch in my house! VINCENT This fucked up bitch is Marsellus Wallace's wife. Now if she fuckin' croaks on me, I'm a grease spot. But before he turns me into a bar soap, I'm gonna be forced to tell 'im about how you coulda saved her life, but instead you let her die on your front lawn. INT. LANCE'S HOUSE – NIGHT WE START in Lance's and Jody's bedroom. Jody, in bed, throws off the covers and stands up. She's wearing a long tee-shirt with a picture of Fred Flintstone on it. We follow HANDHELD behind her as she opens the door, walking through the hall into the living room. JODY It's only one-thirty in the goddamn mornin'! What the fuck's goin' on out here? As she walks in the living room, she sees Vincent and Lance standing over Mia, who's lying on the floor in the middle of the room. From here on in, everything in this scene is frantic, like a DOCUMENTARY in an emergency ward, with the big difference here being nobody knows what the fuck they're doing. JODY Who's she? Lance looks up at Jody. LANCE Get that black box in the bedroom I have with the adrenaline shot. JODY What's wrong with her? VINCENT She's ODing on us. JODY Well get her the hell outta here! LANCE AND VINCENT (in stereo) Get the fuckin' shot! JODY Don't yell and me! She angrily turns and disappears into the bedroom looking for the shot. WE MOVE into the room with the two men. VINCENT (to Lance) You two are a match made in heaven. LANCE Look, just keep talkin' to her, okay? While she's gettin' the shot, I gotta get a medical book. VINCENT What do you need a medical book for? LANCE To tell me how to do it. I've never given an adrenaline shot before. VINCENT You've had that thing for six years and you never used it? LANCE I never had to use it. I don't go joypoppin' with bubble-gummers, all of my friends can handle their highs! VINCENT Well then get it. LANCE I am, if you'll let me. VINCENT I'm not fuckin' stoppin' you. LANCE Stop talkin' to me, and start talkin' to her. WE FOLLOW Lance as he runs out of the living room into a... INT. SPARE ROOM With a bunch of junk in it. He frantically starts scanning the junk for the book he's looking for, repeating the words, "Come on," endlessly. From OFF SCREEN we hear: VINCENT (O.S.) Hurry up man! We're losin' her! LANCE (calling back) I'm looking as fast as I can! Lance continues his frenzied search. WE HEAR Jody in the living room now as she talks to Vincent. JODY (O.S.) What's he lookin' for? VINCENT (O.S.) I dunno, some medical book. Jody calls to LANCE. JODY (O.S.) What are you lookin' for? LANCE My black medical book! As he continues searching, flipping and knocking over shit, Jody appears in the doorway. JODY Whata're you looking for? LANCE My black fuckin' medical book. It's like a text book they give to nurses. JODY I never saw a medical book. LANCE Trust me, I have one. JODY Well if it's that important, why didn't you keep it with the shot? Lance spins toward her. LANCE I don't know! Stop bothering me! JODY While you're lookin' for it, that girl's gonna die on our carpet. You're never gonna find it in all this shit. For six months now, I've been telling you to clean this room – VINCENT (O.S.) – get your ass in here, fuck the book! Lance angrily knocks over a pile of shit and leaves the SHOT heading for the living room. LIVING ROOM Vincent is bent over Mia, talking softly to her, when Lance reenters the room. VINCENT Quit fuckin' around man and give her the shot! Lance bends down by the black case brought in by Jody. He opens it and begins preparing the needle for injection. LANCE While I'm doing this, take her shirt off and find her heart. Vince rips her blouse open. Jody stumbles back in the room, hanging back from the action. VINCENT Does it have to be exact? LANCE Yeah, it has to be exact! I'm giving her an injection in the heart, so I gotta exactly hit her in the heart. VINCENT Well, I don't know exactly where her heart is, I think it's here. Vince points to Mia's right breast. Lance glances over and nods. LANCE That's it. As Lance readies the injection, Vincent looks up at Jody. VINCENT I need a big fat magic marker, got one? JODY What? VINCENT I need a big fat magic marker, any felt pen'll do, but a magic marker would be great. JODY Hold on. Jody runs to the desk, opens the top drawer and, in her enthusiasm, she pulls the drawer out of the desk, the contents of which (bills, papers, pens) spill to the floor. The injection is ready. Lance hands Vincent the needle. LANCE It's ready, I'll tell you what to do. VINCENT You're gonna give her the shot. LANCE No, you're gonna give her the shot. VINCENT I've never does this before. LANCE I've never done this before either, and I ain't starting now. You brought 'er here, that means you give her the shot. The day I bring an ODing bitch to your place, then I gotta give her the shot. Jody hurriedly joins them in the huddle, a big fat red magic marker in her hand. JODY Got it. Vincent grabs the magic marker out of Jody's hand and makes a big red dot on Mia's body where her heart is. VINCENT Okay, what do I do? LANCE Well, you're giving her an injection of adrenaline straight to her heart. But she's got a breast plate in front of her heart, so you gotta pierce through that. So what you gotta do is bring the needle down in a stabbing motion. Lance demonstrates a stabbing motion, which looks like "The Shape" killing its victims in "HALLOWEEN". VINCENT I gotta stab her? LANCE If you want the needle to pierce through to her heart, you gotta stab her hard. Then once you do, push down on the plunger. VINCENT What happens after that? LANCE I'm curious about that myself. VINCENT This ain't a fuckin' joke man! LANCE She's supposed to come out of it like – (snaps his fingers) – that. Vincent lifts the needle up above his head in a stabbing motion. He looks down on Mia. Mia is fading fast. Soon nothing will help her. Vincent's eyes narrow, ready to do this. VINCENT Count to three. Lance, on this knees right beside Vincent, does not know what to expect. LANCE One... RED DOT on Mia's body. Needle raised ready to strike. LANCE (O.S.) ...two... Jody's face is alive with anticipation. NEEDLE in that air, poised like a rattler ready to strike. LANCE (O.S.) ...three! The needle leaves frame, THRUSTING down hard. Vincent brings the needle down hard, STABBING Mia in the chest. Mia's head is JOLTED from the impact. The syringe plunger is pushed down, PUMPING the adrenaline out through the needle. Mia's eyes POP WIDE OPEN and she lets out a HELLISH cry of the banshee. She BOLTS UP in a sitting position, needle stuck in her chest – SCREAMING. Vincent, Lance and Jody, who were in sitting positions in front of Mia, JUMP BACK, scared to death. Mia's scream runs out. She slowly starts taking breaths of air. The other three, now scooted halfway across the room, shaken to their bones, look to see if she's alright. LANCE If you're okay, say something. Mia, still breathing, not looking up at them, says in a relatively normal voice. MIA Something. Vincent and Lance collapse on their backs, exhausted and shaking from how close to death Mia came. JODY Anybody want a beer? CUT TO: INT. VINCENT'S MALIBU (MOVING) – NIGHT Vincent is behind the wheel driving Mia home. No one says anything, both are still too shaken. EXT. FRONT OF MARSELLUS WALLACE'S HOUSE – NIGHT The Malibu pulls up to the front. Mia gets out without saying a word (still in a daze) and begins walking down the walkway toward her front door. VINCENT (O.S.) Mia! She turns around. Vincent's out of the car, standing on the walkway, a big distance between the two. VINCENT What are your thoughts on how to handle this? MIA What's yours? VINCENT Well I'm of the opinion that Marsellus can live his whole live and never ever hear of this incident. Mia smiles. MIA Don't worry about it. If Marsellus ever heard of this, I'd be in as much trouble as you. VINCENT I seriously doubt that. MIA If you can keep a secret, so can I. VINCENT Let's shake on it. The two walk toward each other, holding out their hands to shake and shake they do. VINCENT Mum's the word. Mia lets go of Vincent's hand and silently makes the see-no- evil, hear-no-evil, and speak-no-evil sign with her hands. Vincent smiles. VINCENT If you'll excuse me, I gotta go home and have a heart attack. Mia giggles. Vincent turns to leave. MIA You still wanna hear my "FOX FORCE FIVE" joke? Vincent turns around. VINCENT Sure, but I think I'm still a little too petrified to laugh. MIA Uh-huh. You won't laugh because it's not funny. But if you still wanna hear it, I'll tell it. VINCENT I can't wait. MIA Three tomatoes are walking down the street, a poppa tomato, a momma tomato, and a little baby tomato. The baby tomato is lagging behind the poppa and momma tomato. The poppa tomato gets mad, goes over to the momma tomato and stamps on him – (stamps on the ground) – and says: catch up. They both smile, but neither laugh. MIA See ya 'round, Vince. Mia turns and walks inside her house. CLOSEUP – VINCENT After Mia walks inside. Vincent continues to look at where she was. He brings his hands to his lips and blows her a kiss. Then exits FRAME leaving it empty. WE HEAR his Malibu START UP and DRIVE AWAY. FADE TO BLACK FADE UP On the cartoon "SPEED RACER." Speed is giving a detailed description of all the features on his race car "The Mac-5," which he does at the beginning of every episode. OFF SCREEN we hear a WOMAN'S VOICE... . WOMAN'S VOICE (O.S.) Butch. DISSOLVE TO: BUTCH'S POV We're in the living room of a modest two bedroom house in Alhambra, California, in the year 1972. BUTCH'S MOTHER, 35ish, stands in the doorway leading into the living room. Next to her is a man dressed in the uniform of an American Air Force officer. The CAMERA is the perspective of a five-year old boy. MOTHER Butch, stop watching TV a second. We got a special visitor. Now do you remember when I told you your daddy dies in a P.O.W. camp? BUTCH (O.S.) Uh-huh. MOTHER Well this here is Capt. Koons. He was in the P.O.W. camp with Daddy. CAPT. KOONS steps inside the room toward the little boy and bends down on one knee to bring him even with the boy's eyeline. When Koons speaks, he speaks with a slight Texas accent. CAPT. KOONS Hello, little man. Boy I sure heard a bunch about you. See, I was a good friend of your Daddy's. We were in that Hanoi pit of hell over five years together. Hopefully, you'll never have to experience this yourself, but when two men are in a situation like me and your Daddy were, for as long as we were, you take on certain responsibilities of the other. If it had been me who had not made it, Major Coolidge would be talkin' right now to my son Jim. But the way it worked out is I'm talkin' to you, Butch. I got somethin' for ya. The Captain pulls a gold wrist watch out of his pocket. CAPT. KOONS This watch I got here was first purchased by your great-granddaddy. It was bought during the First World War in a little general store in Knoxville, Tennessee. It was bought by private Doughboy Ernie Coolidge the day he set sail for Paris. It was your great-granddaddy's war watch, made by the first company to ever make wrist watches. You see, up until then, people just carried pocket watches. Your great-granddaddy wore that watch every day he was in the war. Then when he had done his duty, he went home to your great- grandmother, took the watch off his wrist and put it in an ol' coffee can. And in that can it stayed 'til your grandfather Dane Coolidge was called upon by his country to go overseas and fight the Germans once again. This time they called it World War Two. Your great-granddaddy gave it to your granddad for good luck. Unfortunately, Dane's luck wasn't as good as his old man's. Your granddad was a Marine and he was killed with all the other Marines at the battle of Wake Island. Your granddad was facing death and he knew it. None of those boys had any illusions about ever leavin' that island alive. So three days before the Japanese took the island, your 22-year old grandfather asked a gunner on an Air Force transport named Winocki, a man he had never met before in his life, to deliver to his infant son, who he had never seen in the flesh, his gold watch. Three days later, your grandfather was dead. But Winocki kept his word. After the war was over, he paid a visit to your grandmother, delivering to your infant father, his Dad's gold watch. This watch. This watch was on your Daddy's wrist when he was shot down over Hanoi. He was captured and put in a Vietnamese prison camp. Now he knew if the gooks ever saw the watch it'd be confiscated. The way your Daddy looked at it, that watch was your birthright. And he'd be damned if and slopeheads were gonna put their greasy yella hands on his boy's birthright. So he hid it in the one place he knew he could hide somethin'. His ass. Five long years, he wore this watch up his ass. Then when he died of dysentery, he gave me the watch. I hid with uncomfortable hunk of metal up my ass for two years. Then, after seven years, I was sent home to my family. And now, little man, I give the watch to you. Capt. Koons hands the watch to Butch. A little hand comes into FRAME to accept it. CUT TO: INT. LOCKER ROOM – NIGHT The 27-year old Butch Coolidge is dressed in boxing regalia: trunks, shoes and gloves. He lies on a table catching a few zzzzzz's before his big fight. Almost as soon as WE CUT to him, he wakes up with a start. Shaken by the bizarre memory, he wipes his sweaty face with his boxing glove. His trainer KLONDIKE, an older fireplug, opens the door a little, sticking his head in the room. Pandemonium seems to be breaking out behind Klondike in the hallway. KLONDIKE It's time, Butch. BUTCH I'm ready. Klondike steps inside, closing the door on the WILD MOB outside. He goes to the long yellow robe hanging on a hook. Butch hops off the table and, without a word, Klondike helps him on with the robe, which says on the back: "BATTLING BUTCH COOLIDGE". The two men head for the door. Klondike opens the door for Butch. As Butch steps into the hallway, the Crowd goes apeshit. Klondike closes the door behind him, leaving us in the quiet, empty locker room. FADE TO BLACK TITLE CARD: "THE GOLD WATCH" We hear over the black and white title: SPORTSCASTER #1 (O.S.) – Well Dan, that had to be the bloodiest and, hands-down, the most brutal fight this city has ever seen. The SOUND of chaos in the b.g. FADE IN: EXT. ALLEY (RAINING) – NIGHT A taxi is parked in a dark alley next to an auditorium. The sky is PISSIN' DOWN RAIN. WE SLOWLY DOLLY toward the parked car. The SOUND of the CAR RADIO can be heard coming from inside. SPORTSCASTER #1 (O.S.) ...Coolidge was out of there faster than I've ever seen a victorious boxer vacate the ring. Do you think he knew Willis was dead? SPORTSCASTER #2 (O.S.) My guess would be yes, Richard. I could see from my position here, the frenzy in his eyes give way to the realization of what he was doing. I think any man would've left the ring that fast. DISSOLVE TO: INT. TAXI (PARKED/RAINING) – NIGHT Inside the taxi, behind the wheel, is a female cabbie named ESMARELDA VILLALOBOS. A young woman, with Spanish looks, sits parked, drinking a steaming hot cup of coffee out of a white styrofoam cup. The Sportscasters continue their coverage. SPORTSCASTER #1 (O.S.) Do you feel this ring death tragedy will have an effect on the world of boxing? SPORTSCASTER #2 (O.S.) Oh Dan, a tragedy like this can't help but shake the world of boxing to its very foundation. But it's of paramount importance that during the sad weeks ahead, the eyes of the W.B.A. remain firmly fixed on the – CLICK – Esmarelda shuts off the radio. She takes a sip of coffee, then hears a NOISE behind her in the alley. She sticks her head out of the car door to see: EXT. BOXING AUDITORIUM (RAINING) – NIGHT A window about three stories high opens on the auditorium- side of the alley. A gym bag is tossed out into a garbage dumpster below the window. Then, Butch Coolidge, still dressed in boxing trunks, shoes, gloves and yellow robe, LEAPS to the dumpster below. ESMARELDA'S REACTION takes in the strangeness of this sight. Gym bag in hand, Butch CLIMBS out of the dumpster and RUNS to the taxi. Before he climbs in, he takes off his robe and throws it to the ground. INT. TAXI (PARKED / RAINING) – NIGHT Butch, soaking wet, naked except for trunks, shoes and gloves, HOPS in the backseat, SLAMMING the door. Esmarelda, staring straight ahead, talks to Butch through the rearview mirror: ESMARELDA (Spanish accent) Are you the man I was supposed to pick up? BUTCH If you're the cab I called, I'm the guy you're supposed to pick up. ESMARELDA Where to? BUTCH Outta here. The ignition key is TWISTED. The engine ROARS to life. The meter is FLIPPED on. Esmarelda's bare foot STOMPS on the gas pedal. EXT. BOXING AUDITORIUM (RAINING) – NIGHT The cab WHIPS out of the alley, FISH-TAILING on the wet pavement in front of the auditorium at a rapid pace. INT. WILLIS LOCKER ROOM (AUDITORIUM) – NIGHT Locker room door opens, English Dave fights his way through the pandemonium which is going on outside in the hall, shutting the door on the madness. Once inside, English Dave takes time to adjust his suit and tie. Mia is standing by the door. She sees Vincent with English Dave. VINCENT Mia. How you doin'? MIA Great. I never thanked you for the dinner. In the room, black boxer FLOYD RAY WILLIS lies on a table – dead. His face looks like he went dunking for bees. His TRAINER is on his knees, head on Floyd's chest, crying over the body. The huge figure that is Marsellus Wallace stands at the table, hand on the Trainer's shoulder, lending emotional support. We still do not see Marsellus clearly, only that he is big. Mia sits in a chair at the far end of the room. Marsellus looks up, sees English Dave and walks over to him. MARSELLUS (O.S.) What'cha got? ENGLISH DAVE He booked. MARSELLUS (O.S.) I'm prepared to scour the earth for this motherfucker. If Butch goes to Indo China, I want a nigger hidin' in a bowl of rice, ready to pop a cap in his ass. ENGLISH DAVE I'll take care of it. INT. CAB (MOVING / RAINING) – NIGHT Butch gets one of his boxing gloves off. Esmeralda watches in the rearview mirror. He tries to roll down one of the backseat windows, but can't find the roll bar. BUTCH Hey, how do I open the window back here? ESMARELDA I have to do it. She presses a button and the back window moves down. Butch tosses his boxing glove out the window, then starts untying the other one. Esmeralda can't keep quiet anymore. ESMARELDA Hey, mister? BUTCH (still working on the glove) What? ESMARELDA You were in that fight? The fight on the radio – you're the fighter? As he tosses his other glove out the window. BUTCH Whatever gave you that idea? ESMARELDA No c'mon, you're him, I know you're him, tell me you're him. BUTCH (drying himself with a gym towel) I'm him. ESMARELDA You killed the other boxing man. BUTCH He's dead? ESMARELDA The radio said he was dead. He finished wiping himself down. BUTCH (to himself) Sorry 'bout that, Floyd. He tosses the towel out the window. Silence, as Butch digs in his bag for a t-shirt. ESMARELDA What does it feel like? BUTCH (finds his shirt) What does what feel like? ESMARELDA Killing a man. Beating another man to death with your bare hands. Butch pulls on his tee-shirt. BUTCH Are you some kinda weirdo? ESMARELDA No, it's a subject I have much interest in. You are the first person I ever met who has killed somebody. So, what was it like to kill a man? BUTCH Tell ya what, you give me one of them cigarettes, I'll give you an answer. Esmarelda bounces in her seat with excitement. ESMARELDA Deal! Butch leans forward. Esmarelda, keeping her eyes on the road, passes a cigarette back to him. He takes it. Then, still not looking behind her, she brings up her hand, a lit match in it. Butch lights his smoke, then blows out the match. He takes a long drag. BUTCH So... He looks at her license. BUTCH ...Esmarelda Villalobos – is that Mexican? ESMARELDA The name is Spanish, but I'm Columbian. BUTCH It's a very pretty name. ESMARELDA It mean "Esmarelda of the wolves." BUTCH That's one hell of a name you got there, sister. ESMARELDA Thank you. And what is your name? BUTCH Butch. ESMARELDA Butch. What does it mean? BUTCH I'm an American, our names don't mean shit. Anyway, moving right along, what is it you wanna know, Esmarelda? ESMARELDA I want to know what it feels like to kill a man – BUTCH – I couldn't tell ya. I didn't know he was dead 'til you told me he was dead. Now I know he's dead, do you wanna know how I feel about it? Esmarelda nods her head: "yes." BUTCH I don't feel the least little bit bad. EXT. PHONE BOOTH (RAINING) – NIGHT We DOLLY around a phone booth as Butch talks inside. BUTCH (into phone) What'd I tell ya, soon as the word got out a fix was in, the odds would be outta control. Hey, if he was a better fighter he's be alive. If he never laced up his gloves in the first place, which he never shoulda done, he'd be alive. Enough about the poor unfortunate Mr. Floyd, let's talk about the rich and prosperous Mr. Butch. How many bookies you spread it around with? (PAUSE) Eight? How long to collect? (pause) So by tomorrow evening, you'll have it all? (pause) Good news Scotty, real good news – I understand a few stragglers aside. Me an' Fabienne're gonna leave in the morning. It should take us a couple days to get into Knoxville. Next time we see each other, it'll be on Tennessee time. Butch hangs up the phone. He looks at the cab waiting to take him wherever he wants to go. BUTCH (to himself in French with English subtitles) Fabienne my love, our adventure begins. CUT TO: EXT. MOTEL (STOPPED / RAINING) – NIGHT Esmeralda's taxi pulled into the motel parking lot. The rain has stopped, but the night is still soaked. Butch gets out, now fully dressed in tee-shirt, jeans and high school athletic jacket. He leans in the driver's side window. ESMARELDA Forty-five sixty. Handing her the money. BUTCH Merci beaucoup. And here's a little something for the effort. Butch holds up a hundred dollar bill. Esmarelda's eyes light up. She goes to take it. Butch holds it out of reach. BUTCH Now if anybody should ask you about who your fare was tonight, what're you gonna tell 'em? ESMARELDA The truth. Three well-dressed, slightly toasted, Mexicans. He gives her the bill. BUTCH Bon soir, Esmarelda. ESMARELDA (in Spanish) Sleep well, Butch. He tweaks her nose, she smiles, and he turns and walks away. She drives off. INT. MOTEL (ROOM SIX) – NIGHT Butch enters and turns on the light. Lying curled up on the bed, fully dressed, with her back to us is Butch's French girlfriend, FABIENNE. FABIENNE Keep the light off. Butch flicks the switch back, making the room dark again. BUTCH Is that better, sugar pop? FABIENNE Oui. Hard day at the office? BUTCH Pretty hard. I got into a fight. FABIENNE Poor baby. Can we make spoons? Butch climbs into bed, spooning Fabienne from behind. When Butch and Fabienne speak to each other, they speak in babytalk. FABIENNE I was looking at myself in the mirror. BUTCH Uh-huh? FABIENNE I wish I had a pot. BUTCH You were lookin' in the mirror and you wish you had some pot? FABIENNE A pot. A pot belly. Pot bellies are sexy. BUTCH Well you should be happy, 'cause you do. FABIENNE Shut up, Fatso! I don't have a pot! I have a bit of a tummy, like Madonna when she did "Lucky Star," it's not the same thing. BUTCH I didn't realize there was a difference between a tummy and a pot belly. FABIENNE The difference is huge. BUTCH You want me to have a pot? FABIENNE No. Pot bellies make a man look either oafish, or like a gorilla. But on a woman, a pot belly is very sexy. The rest of you is normal. Normal face, normal legs, normal hips, normal ass, but with a big, perfectly round pot belly. If I had one, I'd wear a tee-shirt two sizes too small to accentuate it. BUTCH You think guys would find that attractive? FABIENNE I don't give a damn what men find attractive. It's unfortunate what we find pleasing to the touch and pleasing to the eye is seldom the same. BUTCH If you a pot belly, I'd punch you in it. FABIENNE You'd punch me in my belly? BUTCH Right in the belly. FABIENNE I'd smother you. I'd drop it on your right on your face 'til you couldn't breathe. BUTCH You'd do that to me? FABIENNE Yes! BUTCH Did you get everything, sugar pop? FABIENNE Yes, I did. BUTCH Good job. FABIENNE Did everything go as planned? BUTCH You didn't listen to the radio? FABIENNE I never listen to your fights. Were you the winner? BUTCH I won alright. FABIENNE Are you still retiring? BUTCH Sure am. FABIENNE What about the man you fought? BUTCH Floyd retired too. FABIENNE (smiling) Really?! He won't be fighting no more?! BUTCH Not no more. FABIENNE So it all worked out in the finish? BUTCH We ain't at the finish, baby. Fabienne rolls over and Butch gets on top of her. They kiss. FABIENNE We're in a lot of danger, aren't we? Butch nods his head: "yes." FABIENNE If they find us, they'll kill us, won't they? Butch nods his head: "yes." FABIENNE But they won't find us, will they? Butch nods his head: "no." FABIENNE Do you still want me to go with you? Butch nods his head: "yes." FABIENNE I don't want to be a burden or a nuisance - Butch's hand goes out of frame and starts massaging her crotch. Fabienne reacts. FABIENNE Say it! BUTCH Fabienne, I want you to be with me. FABIENNE Forever? BUTCH ...and ever. Fabienne lies her head back. Butch continues to massage her crotch. FABIENNE Do you love me? BUTCH Oui. FABIENNE Butch? Will you give me oral pleasure? Butch kisses her on the mouth. BUTCH Will you kiss it? She nods her head: "yes." FABIENNE But you first. Butch's head goes down out of frame to carry out the oral pleasure. Fabienne's face is alone in the frame. FABIENNE (in French, with English subtitles) Butch my love, the adventure begins. FADE TO BLACK FADE UP: MOTEL ROOM Same motel room, except empty. WE HEAR THE SHOWER RUNNING in the bathroom. The CAMERA MOVES to the bathroom doorway. We see Fabienne in a white terry cloth robe that seems to swallow her up. She's drying her head with a towel. Butch is inside the shower washing up. We see the outline of his naked body through the smoky glass of the shower door. Steam fills the bathroom. Butch turns the shower off and opens the door, popping his head out. BUTCH I think I cracked a rib. FABIENNE Giving me oral pleasure? BUTCH No retard, from the fight. FABIENNE Don't call me retard. BUTCH (in a Mongoloid voice) My name is Fabby! My name is Fabby! FABIENNE Shut up fuck head! I hate that Mongoloid voice. BUTCH Okay, sorry, sorry, sorry, I take it back! Can I have a towel please, Miss Beautiful Tulip. FABIENNE Oh I like that, I like being called a tulip. Tulip is much better than Mongoloid. She finishes drying her hair and wraps the towel like a turban on her head. BUTCH I didn't call you a Mongoloid, I called you a retard, but I took it back. She hands him a towel. BUTCH Merci beaucoup. FABIENNE Butch? BUTCH (drying his head) Yes, lemon pie. FABIENNE Where are we going to go? BUTCH I'm not sure yet. Wherever you want. We're gonna get a lot of money from this. But it ain't gonna be so much, we can live like hogs in the fat house forever. I was thinking we could go somewhere in the South Pacific. The kinda money we'll have'll carry us a long way down there. FABIENNE So if we wanted, we could live in Bora Bora? BUTCH You betcha. And if after awhile you don't dig Bora Bora, then we can move over to Tahiti or Mexico. FABIENNE But I do not speak Spanish. BUTCH You don't speak Bora Boran either. Besides, Mexican is easy: Donde esta el zapataria? FABIENNE What does that mean? BUTCH Where's the shoe store? FABIENNE Donde esta el zapataria? BUTCH Excellent pronunciation. You'll be my little mama ceta in no time. Butch exits the bathroom. We stay on Fabienne as she brushes her teeth. Butch keeps on from the other room. BUTCH (O.S.) Que hora es? FABIENNE Que hora es? BUTCH (O.S.) What time is it? FABIENNE What time is it? BUTCH (O.S.) Time for bed. Sweet dream, jellybean. Fabienne brushes her teeth. We watch her for a moment or two, then she remember something. FABIENNE Butch. She walks out of the bathroom to ask Butch a question, only to find him sound asleep in bed. She looks at him for a moment. FABIENNE Forget it. She exits frame, going back in the bathroom. WE STAY on the WIDE SHOT of the unconscious Butch in bed. FADE TO BLACK FADE UP: MOTEL ROOM – MORNING SAME SHOT AS BEFORE, the next morning. We find Butch still asleep in bed. Fabienne brushes her teeth half in and half out of the bathroom so she can watch TV at the same time. She still wears the terry cloth robe from the night before. ON TV: WILLIAM SMITH and a BUNCH OF HELL'S ANGELS are taking on the entire Vietnamese army in the film "THE LOSERS". Butch wakes from his sleep, as if a scary monster was chasing him. His start startles Fabienne. FABIENNE Merde! You startled me. Did you have a bad dream? Butch squints down the front of the bed at her, trying to focus. Butch, still trying to chase the cobwebs away, sees on TV Hell's Angels tear-assin' through a Vietnamese prison camp. BUTCH What are you watching? FABIENNE A motorcycle movie, I'm not sure the name. BUTCH Are you watchin' it? Fabienne enters the room. FABIENNE In a way. Why? Would you like for me to switch it off? BUTCH Would you please? She reaches over and turns off the TV. BUTCH It's a little too early in the morning for explosions and war. FABIENNE What was it about? BUTCH How should I know, you were the one watchin' it. Fabienne laughs. FABIENNE No, imbecile, what was your dream about? BUTCH Oh, I... don't remember. It's really rare I remember a dream. FABIENNE You just woke up from it. BUTCH Fabienne, I'm not lying to you, I don't remember. FABIENNE Well, let's look at the grumpy man in the morning. I didn't say you were lying, it's just odd you don't remember your dreams. I always remember mine. Did you know you talk in your sleep? BUTCH I don't talk in my sleep, do I talk in my sleep? FABIENNE You did last night. BUTCH What did I say? Laying on top of him. FABIENNE I don't know. I couldn't understand you. She kisses Butch. FABIENNE Why don't you get up and we'll get some breakfast at that breakfast place with the pancakes. BUTCH One more kiss and I'll get up. Fabienne gives Butch a sweet long kiss. FABIENNE Satisfied? BUTCH Yep. FABIENNE Then get up, lazy bones. Butch climbs out of bed and starts pulling clothes out of the suitcase that Fabienne brought. BUTCH What time is it? FABIENNE Almost nine in the morning. What time does our train arrive? BUTCH Eleven. FABIENNE I'm gonna order a big plate of blueberry pancakes with maple syrup, eggs over easy, and five sausages. BUTCH (surprised at her potential appetite) Anything to drink with that? Butch is finished dressing. FABIENNE (referring to his clothes) Oh yes, that looks nice. To drink, a tall glass or orange juice and a black cup of coffee. After that, I'm going to have a slice of pie. As he goes through the suitcase. BUTCH Pie for breakfast? FABIENNE Any time of the day is a good time for pie. Blueberry pie to go with the pancakes. And on top, a thin slice of melted cheese – BUTCH – where's my watch? FABIENNE It's there. BUTCH No, it's not. It's not here. FABIENNE Have you looked? By now, Butch is frantically rummaging through the suitcase. BUTCH Yes I've fuckin' looked!! He's now throwing clothes. BUTCH What the fuck do you think I'm doing?! Are you sure you got it? Fabienne can hardly speak, she's never seen Butch this way. FABIENNE Uhhh... yes... beside the table drawer – BUTCH – on the little kangaroo. FABIENNE Yes, it was on your little kangaroo. BUTCH Well it's not here! FABIENNE (on the verge of tears) Well it should be! BUTCH Oh it most definitely should be here, but it's not. So where is it? Fabienne is crying and scared. Butch lowers his voice, which only serves to make him more menacing. BUTCH Fabienne, that was my father's fuckin' watch. You know what my father went through to git me that watch?... I don't wanna get into it right now... but he went through a lot. Now all this other shit, you coulda set on fire, but I specifically reminded you not to forget my father's watch. Now think, did you get it? FABIENNE I believe so... BUTCH You believe so? You either did, or you didn't, now which one is it? FABIENNE Then I did. BUTCH Are you sure? FABIENNE (shaking) No. Butch freaks out, he punches the air. Fabienne SCREAMS and backs into a corner, Butch picks up the motel TV and THROWS IT AGAINST the wall. Fabienne SCREAMS IN HORROR. Butch looks toward her, suddenly calm. BUTCH (to Fabienne) No! It's not your fault. (he approached her) You left it at the apartment. He bends down in front of the woman who has sunk to the floor. He touches her hand, she flinches. BUTCH If you did leave it at the apartment, it's not your fault. I had you bring a bunch of stuff. I reminded you about it, but I didn't illustrate how personal the watch was to me. If all I gave a fuck about was my watch, I should've told you. You ain't a mind reader. He kisses her hand. Then rises. Fabienne is still sniffling. Butch goes to the closet. FABIENNE I'm sorry. Butch puts on his high school jacket. BUTCH Don't be. It just means I won't be able to eat breakfast with you. FABIENNE Why does it mean that? BUTCH Because I'm going back to my apartment to get my watch. FABIENNE Won't the gangsters be looking for you there? BUTCH That's what I'm gonna find out. If they are, and I don't think I can handle it, I'll split. Rising from the floor. FABIENNE I was so dreadful. I saw your watch, I thought I brought it. I'm so sorry. Butch brings her close and puts his hands on her face. BUTCH Don't feel bad, sugar pop. Nothing you could ever do would make me permanently angry at you. (pause) I love you, remember? (he digs some money out of his wallet) Now here's some money, order those pancakes and have a great breakfast. FABIENNE Don't go. BUTCH I'll be back before you can say, blueberry pie. FABIENNE Blueberry pie. BUTCH Well maybe not that fast, but fast. Okay? Okay? FABIENNE Okay. He kisses her once more and heads for the door. BUTCH Bye-bye, sugar pop. FABIENNE Bye. BUTCH I'm gonna take your Honda. FABIENNE Okay. And with that, he's out the door. Fabienne sits on the bed and looks at the money he gave her. INT. HONDA (MOVING) – DAY Butch is beating the steering wheel and the dash with his fists as he drives down the street. BUTCH Of all the fuckin' things she coulda forgot, she forgets my father's watch. I specifically reminded her not to forget it. "Bedside table – on the kangaroo." I said the words: "Don't forget my father's watch." EXT. CITY STREET – DAY The little Honda races toward its destination as fast as is little engine will take it. CUT TO: A parking meter red flag rises up, then out, leaving the arrow pointing at one hour. EXT. RESIDENTIAL STREET CORNER – DAY Butch isn't completely reckless. He has parked his car a couple of blocks from his apartment to check things out before he goes boppin' through the front door. EXT. ALLEY – DAY Butch walks down the alley until he gets to another street, then he discreetly glances out. EXT. STREET – BUTCH'S APARTMENT – DAY Everything seems normal. More or less the right number of cars in the street. None of the parked cars appear out of place. None of them have a couple of goons sitting inside. Basically, it looks like normal morning activity in front of Butch's home. Butch peers around a wall, taking in the vital information. Butch walks out of the alley and is ready for anything. He crosses the street and enters his apartment courtyard. Across the street from Butch's building, on the corner, is a combination donut shop and Japanese restaurant. A big sign sticks up in the air, with the name "Teriyaki Donut" and a graphic of a donut sticking out of a bowl of rice. EXT. BUTCH'S APARTMENT COURTYARD – DAY Butch is in the courtyard of his North Hollywood apartment building. Once again, everything appears normal – the laundry room, the pool, his apartment door – nothing appears disturbed. Butch climbs the stairs leading to his apartment, number 12. He steps outside the door and listens inside. Nothing. Butch slowly inserts the key into the door, quietly opening it. INT. BUTCH'S APARTMENT – DAY His apartment hasn't been touched. He cautiously steps inside, shuts the door and takes a quick look around. Obviously, no one is there. Butch walks into his modest kitchen, and opens the refrigerator. He takes out a carton of milk and drinks from it. With carton in hard, Butch surveys the apartment. Then he goes to the bedroom. His bedroom is like the rest of the apartment – neat, clean and anonymous. The only things personal in his room are a few boxing trophies, an Olympic silver medal, a framed issue of "Ring Magazine" with Butch on the cover, and a poster of Jerry Quarry and one of George Chuvalo. Sure enough, there's the watch just like he said it was: On the bedside table, hanging on his little kangaroo statue. He walks through the apartment and back into the kitchen. He opens a cupboard and takes out a box of Pop Tarts. Putting down the milk, he opens the box, takes out two Pop Tarts and puts them in the toaster. Butch glances to his right, his eyes fall on something. What he sees is a small compact Czech M61 submachine gun with a huge silencer on it, lying on his kitchen counter. BUTCH (softly) Holy shit. He picks up the intimidating peace of weaponry and examines it. Then... a toilet FLUSHES. Butch looks up to the bathroom door, which is parallel to the kitchen. There is someone behind it. Like a rabbit caught in a radish patch, Butch freezes, not knowing what to do. The bathroom door opens and Vincent Vega steps out of the bathroom, tightening his belt. In his hand is the book "MODESTY BLAISE" by Peter O'Donnell. Vincent and Butch lock eyes. Vincent freezes. Butch doesn't move, except to point the M61 in Vincent's direction. Neither man opens his mouth. Then... the toaster LOUDLY kicks up the Pop Tarts. That's all the situation needed. Butch's finger HITS the trigger. MUFFLED FIRE SHOOTS out of the end of the gun. Vincent is seemingly WRACKED with twenty bullets SIMULTANEOUSLY – LIFTING him off his feet, PROPELLING him through the air and CRASHING through the glass shower door at the end of the bathroom. By the time Butch removes his finger from the trigger, Vincent is annihilated. Butch stands frozen, amazed at what just happened. His look goes from the grease spot in the bathroom that was once Vincent, down to the powerful piece of artillery in his grip. With the respect it deserves, Butch carefully places the M61 back on the kitchen counter. Then he exits the apartment, quickly. EXT. APARTMENT COURTYARD – DAY Butch, not running, but walking very rapidly, crosses the courtyard... ...comes out of the apartment building, crosses the street... ...goes through the alley... ...and into his car in one STEADICAM SHOT. EXT. HONDA – DAY Butch CRANKS the car into gear and drives away. The big wide smile of a survivor breaks across his face. EXT. APARTMENT BUILDING STREET – DAY The Honda turns down the alley and slowly cruises by his apartment building. INT. HONDA – DAY Butch looks out the window at his former home. BUTCH That's how you're gonna beat 'em, Butch. They keep underestimatin' ya. This makes the boxer laugh out loud. As he laughs, he flips a tape in the cassette player. When the MUSIC starts, he SINGS along with it. He drives by the apartment, but is stopped at the light on the corner across from Teriyaki Donut. Butch is still chuckling, singing along with the song, as we see: THROUGH THE WINDSHIELD The big man himself, Marsellus Wallace, exit Teriyaki Donut, carrying a box of a dozen donuts and two large styrofoam cups of coffee. He steps off the curb, crossing the street in front of Butch's car. This is the first time we see Marsellus clearly. Laughing boy stops when he sees the big man directly in front of him. When Marsellus is in front of Butch's car, he casually glances to his left, sees Butch, continues walking... then STOPS! DOUBLE-TAKE: "Am I really seeing what I'm seeing?" Butch doesn't wait for the big man to answer his own question. He STOMPS on the gas pedal. The little Honda SLAMS into Marsellus, sending him, the donuts and the coffee HITTING the pavement at thirty miles an hour. Butch CUTS into cross traffic and is BROAD-SIDED by a gold Camaro Z-28, BREAKING all the windows in the Honda and sending it up on the sidewalk. Butch sits dazed and confused in the crumpled mess of what at one time was Fabienne's Honda. Blood flows from his nostrils. The still-functional tape player continues to play. A PEDESTRIAN pokes his head inside. PEDESTRIAN Jesus, are you okay? Butch look at him, spaced-out. BUTCH I guess. Marsellus Wallace lies sprawled out in the street. GAWKERS gather around the body. GAWKER #1 (to the others) He's dead! He's dead! This jerk's yelling makes Marsellus come to. TWO PEDESTRIANS help the shaken Butch out of the wreckage. The woozy Marsellus gets to his feet. GAWKER #2 If you need a witness in court, I'll be glad to help. He was a drunken maniac. He hit you and crashed into that car. MARSELLUS (still incoherent) Who? GAWKER #2 (pointing at Butch) Him. Marsellus follows the Gawker's finger and sees Butch Coolidge down the street, looking a shambles. MARSELLUS Well, I'll be damned. The big man takes out a .45 Automatic and the Gawkers back away. Marsellus starts moving toward Butch. Butch sees the fierce figure making a wobbly bee-line toward him. BUTCH Sacre bleu. Marsellus brings up his weapon and FIRES, but he's so hurt, shaky and dazed that his arm goes wild. He HITS a LOOKY-LOO WOMAN in the hip. She falls to the ground, screaming. LOOKY-LOO WOMAN Oh my God, I've been shot! That's all Butch needs to see. He's outta here. Marsellus RUNS after him. The CROWD looks agape. Butch is in a mad, limping RUN. The big man's hot on his ass with a cockeyed wobbly run. Butch cuts across traffic and dashes into a business with a sign that reads "MASON-DIXIE PAWNSHOP". INT. MASON-DIXIE PAWNSHOP – DAY MAYNARD, a hillbilly-lookin' boy, stands behind the counter of his pawnshop when, all of a sudden, chaos in the form of Butch RACES into his world. MAYNARD Can I help you wit' somethin'? BUTCH Shut up! Butch quickly takes measure of the situation, than stands next to the door. MAYNARD Now you just wait one goddamn minute – Before Maynard can finish his threat, Marsellus CHARGES in. He doesn't get past the doorway because Butch LANDS his fist in Marsellus' face. The gangster's feet go out from under him and the big man FALLS FLAT on his back. Outside, two police cars with their SIRENS BLARING race by. Butch POUNCES on the fallen body, PUNCHING him twice more in the face. Butch takes the gun out of Marsellus' hand, than grabs ahold of his middle finger. BUTCH So you like chasing people, huh? He BREAKS the finger. Marsellus lets out a pain sound. Butch then places the barrel of the .45 between his eyes, PULLS back the hammer and places his open hand behind the gun to shield the splatter. BUTCH Well guess what, big man, you caught me – MAYNARD (O.S.) – hold it right there, godammit! Butch and Marsellus look up at Maynard, who's brandishing a pumpaction shotgun, aimed at the two men. BUTCH Look mister, this ain't any of your business – MAYNARD – I'm makin' it my business! Now toss that gun! Butch does. MAYNARD Now you on top, stand up and come to the counter. Butch slowly gets up and moves to the counter. As soon as he gets there, Maynard HAULS OFF, HITTING him hard in the face with the butt of the shotgun, knocking Butch down and out. After Butch goes down, Maynard calmly lays the shotgun on the counter and moves to the telephone. Marsellus Wallace, from his position on the floor, groggily watches the pawnshop owner dial a number. Maynard waits on the line while the other end rings. Then it picks up. MAYNARD Zed? It's Maynard. The spider just caught a coupl'a flies. Marsellus passes out. FADE TO BLACK FADE UP: INT. PAWNSHOP BACK ROOM – DAY TWO SHOT – BUTCH AND MARSELLUS They are tied up in two separate chairs. In their mouths are two S&M-style ball gags (a belt goes around their heads and a little red ball sticks in their mouths). Both men are unconscious. Maynard steps in with a fire extinguisher and SPRAYS both guys until they're wide awake and wet as otters. The two prisoners look up at their captors. Maynard stands in front of them, fire extinguisher in one hand, shotgun in the other, and Marsellus' .45 sticking in his belt. MAYNARD Nobody kills anybody in my place of business except me or Zed. A BUZZER buzzes. MAYNARD That's Zed. Without saying another word, Maynard climbs up the stairs that lead to red curtains and goes through them. WE HEAR, on the other side of the curtains, Maynard let Zed inside the store. Butch and Marsellus look around the room. The basement of the pawnshop has been converted into a dungeon. After taking in their predicament, Butch and Marsellus look at each other, all traces of hostility gone, replaced by a terror they both share at what they've gotten themselves into. Maynard and ZED come through the curtains. Zed is an even more intense version of Maynard, if such a thing is possible. The two hillbillys are obviously brothers. Where Maynard is a vicious pitbull, Zed is a deadly cobra. Zed walks in and stands in front of the two captives. He inspects them for a long time, then says: ZED (to Maynard) You said you waited for me? MAYNARD I did. ZED Then how come they're all beat up? MAYNARD They did that to each other. They was fightin' when they came in. This one was gonna shoot that one. ZED (to Butch) You were gonna shoot him? Butch makes no reply. ZED Hey, is Grace gonna be okay in front of this place? MAYNARD Yeah, it ain't Tuesday is it? ZED No, it's Thursday. MAYNARD Then she'll be fine. ZED Bring out The Gimp. MAYNARD I think The Gimp's sleepin'. ZED Well, I guess you'll just wake 'em up then, won't you? Maynard opens a trap door in the floor. MAYNARD (yelling in the hole) Wake up! Maynard reaches into the hole and comes back holding onto a leash. He gives it a rough yank and, from below the floor, rises THE GIMP. The Gimp is a man they keep dressed from head to toe in black leather bondage gear. There are zippers, buckles and studs here and there on the body. On his head is a black leather mask with two eye holes and a zipper (closed) for a mouth. They keep him in a hole in the floor big enough for a large dog. Zed takes the chair, sits it in front of the two prisoners, then lowers into it. Maynard hands The Gimp's leash to Zed, then backs away. MAYNARD (to The Gimp) Down! The Gimp gets on its knees. Maynard hangs back while Zed appraises the two men. MAYNARD Who's first? ZED I ain't fer sure yet. Then with his little finger, Zed does a silent "Eenie, meany, miney, moe... " just his mouth mouthing the words and his finger going back and forth between the two. Butch are Marsellus are terrified. Maynard looks back and forth at the victims. The Gimps's eyes go from one to the other inside the mask. Zed continues his silent sing-song with his finger moving left to right, then it stops. TWO SHOT – BUTCH AND MARSELLUS After a beat, THE CAMERA MOVES to the right, zeroing in on Marsellus. Zed stands up. ZED Wanna do it here? MAYNARD Naw, drag big boy to Russell's old room. Zed grabs Marsellus' chair and DRAGS him into Russell's old room. Russell, no doubt, was some other poor bastard that has the misfortune of stumbling into the Mason-Dixie pawnshop. Whatever happened to Russell is known only to Maynard and Zed because his old room, a back room in the back of the back room, is empty. As Marsellus is dragged away, he locks eyes with Butch before he disappears behind the door of Russell's old room. MAYNARD (to The Gimp) Up! The Gimp rises. Maynard ties The Gimp's leash to a hook on the ceiling. MAYNARD Keep an eye on this one. The Gimp bows its head: "yes." Maynard disappears into Russell's old room. There must be a stereo in there because suddenly The Judds, singing in harmony, fills the air. Butch looks at The Gimp. The Gimp giggles from underneath the mask as if this were the funniest moment in the history of comedy. From behind the door we hear country MUSIC, struggling, and: MAYNARD (O.S.) Whoa, this boy's got a bit of fight in 'em! We the HEAR Maynard and Zed beat on Marsellus. ZED (O.S.) You wanna fight? You wanna fight? Good, I like to fight! Butch pauses, listens to the voices. Then, in a panic, hurriedly struggles to get free. The Gimp is laughing wildly. The ropes are on too tight and Butch can't break free. The Gimp slaps his knee laughing In the back room, we hear: MAYNARD (O.S.) That's it... that's it boy, you're goin' fine. Oooooooh, just like that... that's good. (grunting faster) Stay still... stay still goddamn ya! Zed goddammit, git over here and hold 'em! Butch stops struggling and lifts up on his arms. Then, quite easily, the padded chair back slides up and off as if it were never connected by a bolt. The Gimp sees this and its eyes widen. THE GIMP Huhng? The Gimp FLAILS WILDLY, trying to get the leash off the hook. He tries to yell, but all that comes out are excited gurgles and grunts. Butch is out of his chair, quickly dispensing three BOXER'S PUNCHES to its face. The punches knock The Gimp out, making him fall to his knees, this HANGING HIMSELF by the leash attached to the hook, Butch removes the ball gag, then silently makes his way through the red curtains. INT. PAWNSHOP – DAY Butch sneaks to the door. On the counter is a big set of keys with a large Z connected to the ring. Grabbing them, he's about to go out when he stops and listens to the hillbilly psychopaths having their way with Marsellus. Butch decides for the life of him, he can't leave anybody in a situation like that. Se he begins rooting around the pawnshop for a weapon to bash those hillbillies' heads in with. He picks up a big destructive-looking hammer, then discards it: Not destructive enough. He picks up a chainsaw, thinks about it for a moment, then puts it back. Next, a large Louisville slugger he tries on for size. But then he spots what he's been looking for: A Samurai sword. It hands in its hand-carved wood sheath from a nail on the wall, next to a neon "DAD'S OLD-FASHIONED ROOT BEER" sign. Butch takes the sword off the wall, removing it from its sheath. It's a magnificent piece of steel. It seems to glisten in the low-wattage light of the pawnshop. Butch touches his thumb to the blade to see if the sword is just for show. Not on your life. It's as sharp as it gets. This weapon seems made to order for the Brothers Grimm downstairs. Holding the sword pointed downward, Takakura Kenstyle, he disappears through the red curtains to take care of business. INT. PAWNSHOP BACK ROOM – DAY Butch quietly sneaks down the stairs leading to the dungeon. Sodomy and the Judds can still be heard going string behind the closed door that leads to Russell's old room. INT. RUSSELL'S OLD ROOM – DAY Butch's hand comes into frame, pushing the door open. It swings open silently, revealing the rapists, who have switched positions. Zed is now bent over Marsellus, who is bent over a wooden horse. Maynard watches. Both have their backs to Butch. Maynard faces the CAMERA, grinning, while Butch comes up behind him with the sword. Miserable, violated, and looking like a rag doll, Marsellus, red ball gag still in mouth, opens his watery eyes to see Butch coming up behind Maynard. His eyes widen. BUTCH Hey hillbilly. Maynard turns and sees Butch holding the sword. Butch SCREAMS... with one mighty SWING, SLASHES Maynard across the front, moving past him, eyes and blade now locked on Zed. Maynard stands trembling, his front sliced open, in shock. Butch, while never taking his eyes off Zed, THRUSTS the sword behind him, SKEWERING Maynard, then EXTRACTS it, pointing the blade toward Zed. Maynard COLLAPSES. Zed disengages from Marsellus in a hurry and his eyes go from the tip of Butch's sword to Marsellus' .45 Automatic, which lies within reach. Butch's eyes follow Zed's. BUTCH You want that gun, Zed? Pick it up. Zed's hand inches toward the weapon. Butch GRIPS the sword tighter. Zed studies Butch. Butch looks hard at Zed. Then a VOICE says: MARSELLUS (O.S.) Step aside, Butch. Butch steps aside, REVEALING Marsellus standing behind him, holding Maynard's pump-action shotgun. KABOOM!!!! Zed is BLASTED in the groin. Down he goes, SCREAMING in AGONY. Marsellus, looking down at his whimpering rapist, EJECTS the used shotgun shell. Butch lowers the sword and hangs back. Not a word, until: BUTCH You okay? MARSELLUS Naw man. I'm pretty fuckin' far from okay! Long pause. BUTCH What now? MARSELLUS What now? Well let me tell you what now. I'm gonna call a couple pipe- hittin' niggers, who'll go to work on homes here with a pair of pliers and a blow torch. (to Zed) Hear me talkin' hillbilly boy?! I ain't through with you by a damn sight. I'm gonna git Medieval on your ass. BUTCH I meant what now, between me and you? MARSELLUS Oh, that what now? Well, let me tell ya what now between me an' you. There is no me an' you. Not no more. BUTCH So we're cool? MARSELLUS Yeah man, we're cool. One thing I ask – two things I ask: Don't tell nobody about this. This shit's between me and you and the soon-to-be-livin'- the-rest-of-his-short-ass-life-in- agonizing-pain, Mr. Rapist here. It ain't nobody else's business. Two: leave town. Tonight. Right now. And when you're gone, stay gone. You've lost your Los Angeles privileges. Deal? BUTCH Deal. The two men shake hands, then hug one another. MARSELLUS Go on now, get your ass outta here. Butch leaves Russell's old room through the red curtains. Marsellus walks over to a phone, dialing a number. MARSELLUS (into the phone) Hello Mr. Wolf, it's Marsellus. Gotta bit of a situation. EXT. MASON-DIXIE PAWNSHOP – DAY Butch, still shaking in his boots, exits the pawnshop. He looks ahead and sees, parked in front of the establishment, Zed's Big Chrome Chopper with a teardrop gas tank that has the name "GRACE" on it. He climbs aboard, takes out the keys with the big Z on them and starts up the huge hog. It RUMBLES to life, making sounds like a rocket fighting for orbit. Butch twists the accelerator handle and SPEEDS off. WE CUT BACK AND FORTH BETWEEN... INT. BUTCH AND FABIENNE'S HOTEL ROOM – DAY Fabienne stands in front of a mirror wearing a "Frankie says, Relax" tee-shirt, singing along with MUSIC coming from a BOOM BOX. EXT. CITY STREET – CHOPPER (MOVING) – DAY Butch drives down the street, humping a hot hog named "GRACE." He checks his father's watch. It says: 10:30. The SONG in the motel room PLAYS OVER this. EXT. MOTEL ROOM – DAY Butch rides up on Grace. He hops off and runs inside the motel room, while we stay outside with the bike. FABIENNE (O.S.) Butch, I was so worried! BUTCH Honey, grab your radio and your purse and let's go! FABIENNE (O.S.) But what about all our bags? BUTCH Fuck the bags. We'll miss our train if we don't split now. FABIENNE (O.S.) Is everything well? Are we in danger? BUTCH We're cool. In fact, we're super- cool. But we gots to go. I'll wait for you outside. Butch runs out and hops back on the bike. Fabienne exits the motel room with the boom box and a large purse. When she sees Butch on the chopper, she stops dead. FABIENNE Where did you get this motorcycle? BUTCH (he kick-starts it) It's a chopper, baby, hop on. Fabienne slowly approaches the two-wheel demon. FABIENNE What happened to my Honda? BUTCH Sorry baby, I crashed the Honda. FABIENNE You're hurt? BUTCH I might've broke my nose, no biggie. Hop on. She doesn't move. Butch looks at her. BUTCH Honey, we gotta hit the fuckin' road! Fabienne starts to cry. Butch realizes that this is not the way to get her on the bike. He turns off the engine and reaches out, taking her hand. BUTCH I'm sorry, baby-love. FABIENNE (crying) You were gone so long, I started to think dreadful thoughts. BUTCH I'm sorry I worried you, sweetie. Everything's fine. Hey, how was breakfast? FABIENNE (waterworks drying a little) It was good – BUTCH – did you get the blueberry pancakes? FABIENNE No, they didn't have blueberry pancakes, I had to get buttermilk – are you sure you're okay? BUTCH Baby-love, from the moment I left you, this has been without a doubt the single weirdest day of my entire life. Climb on an' I'll tell ya about it. Fabienne does climb on. Butch STARTS her up. FABIENNE Butch, whose motorcycle is this? BUTCH It's a chopper. FABIENNE Whose chopper is this? BUTCH Zed's. FABIENNE Who's Zed? BUTCH Zed's dead, baby, Zed's dead. And with that, the two lovebirds PEEL AWAY on Grace, as the SONG on the BOOM BOX RISES. FADE TO BLACK TITLE CARD: "JULES VINCENT JIMMIE & THE WOLF" TITLE DISAPPEARS. Over black, we can HEAR in the distance, men talking. JULES (O.S.) You ever read the Bible, Brett? BRETT (O.S.) Yes! JULES (O.S.) There's a passage I got memorized, seems appropriate for this situation: Ezekiel 25:17. "The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men..." FADE UP: INT. BATHROOM – DAY We're in the bathroom of the Hollywood apartment we were in earlier. In fact, we're there at exactly the same time. Except this time, we're in the bathroom with the FOURTH MAN. The Fourth Man is pacing around the small room, listening hard to what's being said on the other side of the door, tightly CLUTCHING his huge silver .357 Magnum. JULES (O.S.) "...blessed is he who, in the name of charity and good will, shepherded the weak through the valley of darkness. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you." BANG! BANG! BOOM! POW! BAM BAM BAM BAM BAM! The Fourth Man freaks out. He THROWS himself against the back wall, gun outstretched in front of him, a look of yellow fear on his face, ready to blow in half anybody fool enough to stick their head through that door. Then he listens to them talk. VINCENT (O.S.) Friend of yours? JULES (O.S.) Yeah, Marvin-Vincent-Vincent-Marvin. Waiting for them isn't the smartest move. Bursting out the door and blowing them all away while they're fuckin' around is the way to go. INT. APARTMENT – DAY The bathroom door BURSTS OPEN and the Fourth Man CHARGES out, silver Magnum raised, FIRING SIX BOOMING SHOTS from his hand cannon. FOURTH MAN Die... die... die... die...! DOLLY INTO Fourth Man, same as before. He SCREAM until he's dry firing. Then a look of confusion crosses his face. TWO SHOT – JULES AND VINCENT Standing next to each other, unharmed. Amazing as it seems, none of the Fourth Man's shots appear to have hit anybody. Jules and Vincent exchange looks like, "Are we hit?" They're as confused at the shooter. After looking at each other, they bring their looks up to the Fourth Man. FOURTH MAN I don't understand – The Fourth Man is taken out of the scenario by the two men's bullets who, unlike his, HIT their marks. He drops DEAD. The two men lower their guns. Jules, obviously shaken, sits down in a chair. Vincent, after a moment of respect, shrugs it off. Then heads toward Marvin in the corner. VINCENT Why the fuck didn't you tell us about that guy in the bathroom? Slip your mind? Forget he was in there with a goddamn hand cannon? JULES (to himself) We should be fuckin' dead right now. (pause) Did you see that gun he fired at us? It was bigger than him. VINCENT .357. JULES We should be fuckin' dead! VINCENT Yeah, we were lucky. Jules rises, moving toward Vincent. JULES That shit wasn't luck. That shit was somethin' else. Vincent prepares to leave. VINCENT Yeah, maybe. JULES That was... divine intervention. You know what divine intervention is? VINCENT Yeah, I think so. That means God came down from Heaven and stopped the bullets. JULES Yeah, man, that's what is means. That's exactly what it means! God came down from Heaven and stopped the bullets. VINCENT I think we should be going now. JULES Don't do that! Don't you fuckin' do that! Don't blow this shit off! What just happened was a fuckin' miracle! VINCENT Chill the fuck out, Jules, this shit happens. JULES Wrong, wrong, this shit doesn't just happen. VINCENT Do you wanna continue this theological discussion in the car, or at the jailhouse with the cops? JULES We should be fuckin' dead now, my friend! We just witnessed a miracle, and I want you to fuckin' acknowledge it! VINCENT Okay man, it was a miracle, can we leave now? EXT. HOLLYWOOD APARTMENT BUILDING – MORNING The Chevy Nova PROPELS itself into traffic. INT. NOVA (MOVING) – MORNING Jules is behind the wheel,Vincent in the passenger seat and Marvin in the back. VINCENT ...Ever seen that show "COPS?" I was watchin' it once and this cop was on it who was talkin' about this time he got into this gun fight with a guy in a hallway. He unloads on this guy and he doesn't hit anything. And these guys were in a hallway. It's a freak, but it happens. JULES If you wanna play blind man, then go walk with a Shepherd. But me, my eyes are wide fuckin' open. VINCENT What the fuck does that mean? JULES That's it for me. For here on in, you can consider my ass retired. VINCENT Jesus Christ! JULES Don't blaspheme! VINCENT Goddammit, Jules – JULES – I said don't do that – VINCENT – you're fuckin' freakin' out! JULES I'm tellin' Marsellus today I'm through. VINCENT While you're at it, be sure to tell 'im why. JULES Don't worry, I will. VINCENT I'll bet ya ten thousand dollars, he laughs his ass off. JULES I don't give a damn if he does. Vincent turns to the backseat with the .45 casually in his grip. VINCENT Marvin, what do you make of all this? MARVIN I don't even have an opinion. VINCENT C'mon, Marvin. Do you think God came down from Heaven and stopped the bullets? Vincent's .45 goes BANG! Marvin is hit in the upper chest, below the throat. He GURGLES blood and SHAKES. JULES What the fuck's happening? VINCENT I just accidentally shot Marvin in the throat. JULES Why the fuck did you do that? VINCENT I didn't mean to do it. I said it was an accident. JULES I've seen a lot of crazy-ass shit in my time – VINCENT – chill out, man, it was an accident, okay? You hit a bump or somethin' and the gun went off. JULES The car didn't hit no motherfuckin' bump! VINCENT Look! I didn't mean to shoot this son-ofa-bitch, the gun just went off, don't ask me how! JULES Look at this mess! We're drivin' around on a city street in broad daylight – VINCENT – I know, I know, I wasn't thinkin' about the splatter. JULES Well you better be thinkin' about it now, motherfucker! We gotta get this car off the road. Cops tend to notice shit like you're driving a car drenched in fuckin' blood. VINCENT Can't we just take it to a friendly place? JULES This is the Valley, Vincent. Marsellus don't got no friendly places in the Valley. VINCENT Well, don't look at me, this is your town, Jules. Jules takes out a cellular phone and starts punching digits. VINCENT Who ya callin'? JULES A buddy of mine in Toluca Lake. VINCENT Where's Toluca Lake. JULES On the other side of the hill, by Burbank Studios. If Jimmie's ass ain't home, I don't know what the fuck we're gonna go. I ain't got any other partners in 818. (into phone) Jimmie! How you doin' man, it's Jules. (pause) Listen up man, me an' my homeboy are in some serious shit. We're in a car we gotta get off the road, pronto! I need to use your garage for a couple hours. INT. JIMMIE'S BATHROOM – DAY Jules is bent over a sink, washing his bloody hands while Vincent stands behind him. JULES We gotta be real fuckin' delicate with this Jimmie's situation. He's one remark away from kickin' our asses out the door. VINCENT If he kicks us out, whadda we do? JULES Well, we ain't leavin' 'til we made a couple phone calls. But I never want it to reach that pitch. Jimmie's my friend and you don't bust in your friend's house and start tellin' 'im what's what. Jules rises and dries his hands. Vincent takes his place at the sink. VINCENT Just tell 'im not to be abusive. He kinda freaked out back there when he saw Marvin. JULES Put yourself in his position. It's eight o'clock in the morning. He just woke up, he wasn't prepared for this shit. Don't forget who's doin' who a favor. Vincent finishes, then dries his hands on a white towel. VINCENT If the price of that favor is I gotta take shit, he can stick his favor straight up his ass. When Vincent is finished drying his hands, the towel is stained with red. JULES What the fuck did you just do to his towel? VINCENT I was just dryin' my hands. JULES You're supposed to wash 'em first. VINCENT You watched me wash 'em. JULES I watched you get 'em wet. VINCENT I washed 'em. Blood's real hard to get off. Maybe if he had some Lava, I coulda done a better job. JULES I used the same soap you did and when I dried my hands, the towel didn't look like a fuckin' Maxie pad. Look, fuck it, alright. Who cares? But it's shit like this that's gonna bring this situation to a boil. If he were to come in here and see that towel like that... I'm tellin' you Vincent, you best be cool. 'Cause if I gotta get in to it with Jimmie on account of you... Look, I ain't threatenin' you, I respect you an' all, just don't put me in that position. JULES Jules, you ask me nice like that, no problem. He's your friend, you handle him. INT. JIMMIE'S KITCHEN – MORNING Three men are standing in Jimmie's kitchen, each with a mug of coffee. Jules, Vincent and JIMMIE DIMMICK, a young man in his late 20s dressed in a bathrobe. JULES Goddamn Jimmie, this is some serious gourmet shit. Me an' Vincent woulda been satisfied with freeze-dried Tasters Choice. You spring this gourmet fuckin' shit on us. What flavor is this? JIMMIE Knock it off, Julie. JULES What? JIMMIE I'm not a cobb or corn, so you can stop butterin' me up. I don't need you to tell me how good my coffee is. I'm the one who buys it, I know how fuckin' good it is. When Bonnie goes shoppin;, she buys shit. I buy the gourmet expensive stuff 'cause when I drink it, I wanna taste it. But what's on my mind at this moment isn't the coffee in my kitchen, it's the dead nigger in my garage. JULES Jimmie – JIMMIE – I'm talkin'. Now let me ask you a question, Jules. When you drove in here, did you notice a sign out front that said, "Dead nigger storage?" Jules starts to "Jimmie" him – JIMMIE – answer to question. Did you see a sign out in front of my house that said, "Dead nigger storage?" JULES (playing along) Naw man, I didn't. JIMMIE You know why you didn't see that sign? JULES Why? JIMMIE 'Cause storin' dead niggers ain't my fuckin' business! Jules starts to "Jimmie" him. JIMMIE – I ain't through! Now don't you understand that if Bonnie comes home and finds a dead body in her house, I'm gonna get divorced. No marriage counselor, no trial separation – fuckin' divorced. And I don't wanna get fuckin' divorced. The last time me an' Bonnie talked about this shit was gonna be the last time me an' Bonnie talked about this shit. Now I wanna help ya out Julie, I really do. But I ain't gonna lose my wife doin' it. JULES Jimmie – JIMMIE – don't fuckin' Jimmie me, man, I can't be Jimmied. There's nothin' you can say that's gonna make me forget I love my wife. Now she's workin' the graveyard shift at the hospital. She'll be comin' home in less than an hour and a half. Make your phone calls, talk to your people, than get the fuck out of my house. JULES That's all we want. We don't wanna fuck up your shit. We just need to call our people to bring us in. JIMMIE Then I suggest you get to it. Phone's in my bedroom. INT. MARSELLUS WALLACE'S DINING ROOM – MORNING Marsellus Wallace sits at his dining table in a big comfy robe, eating his large breakfast, while talking on the phone. MARSELLUS ...well, say she comes home. Whaddya think she'll do? (pause) No fuckin' shit she'll freak. That ain't no kinda answer. You know 'er, I don't. How bad, a lot or a little? INT. JIMMIE'S BEDROOM – MORNING Jules paces around in Jimmie's bedroom on the phone. JULES You got to appreciate what an explosive element this Bonnie situation is. If she comes home from a hard day's work and finds a bunch of gangsters doin' a bunch of gangsta' shit in her kitchen, ain't no tellin' what she's apt to do. MARSELLUS I've grasped that, Jules. All I'm doin' is contemplating the "ifs." JULES I don't wanna hear about no motherfuckin' "ifs."What I wanna hear from your ass is: "you ain't got no problems, Jules. I'm on the motherfucker. Go back in there, chill them niggers out and wait for the cavalry, which should be comin' directly." MARSELLUS You ain't got no problems, Jules. I'm on the motherfucker. Go back in there, chill them niggers out and wait for The Wolf, who should be comin' directly. JULES You sendin' The Wolf? MARSELLUS Feel better? JULES Shit Negro, that's all you had to say. INT. HOTEL SUITE – MORNING The CAMERA looks through the bedroom doorway of a hotel suite into the main area. We SEE a crap game being played on a fancy crap table by GAMBLERS in tuxedos and LUCKY LADIES in fancy evening gowns. The CAMERA PANS to the right revealing: Sitting on a bed, phone in hand with his back to us, the tuxedo-clad WINSTON WOLF aka "THE WOLF". We also see The Wolf has a small notepad that he jots details in. THE WOLF (into phone) Is she the hysterical type? (pause) When she due? (jotting down) Give me the principals' names again? (jots down) Jules... We SEE his book. The page has written on it: "1265 Riverside Drive Toluca Lake 1 body (no head) Bloody shot-up car Jules (black)" THE WOLF ...Vincent... Jimmie... Bonnie... HE WRITES: "Vincent (Dean Martin) Jimmie (house) Bonnie (9:30)" THE WOLF Expect a call around 10:30. It's about thirty minutes away. I'll be there in ten. He hangs up. We never see his face. CUT TO: TITLE CARD OVER BLACK: "NINE MINUTES AND THIRTY-SEVEN SECONDS LATER" CUT TO: EXT. JIMMIE'S STREET – MORNING A silver Porsche WHIPS the corner leading to Jimmie's home, in HYPER DRIVE. Easily doing 135 mph, the Porsche stops on a dime in front of Jimmie's house. A ringed finger touches the doorbell: DING DONG. INT. JIMMIE'S HOUSE – MORNING Jimmie opens the door. We see, standing in the doorway, the tuxedo-clad man. He looks down to his notebook, then up at Jimmie. THE WOLF You're Jimmie, right? This is your house? JIMMIE Yeah. THE WOLF (stick his hand out) I'm Winston Wolf, I solve problems. JIMMIE Good, 'cause we got one. THE WOLF So I heard. May I come in? JIMMIE Please do. In the dining room, Jules and Vincent stand up. THE WOLF You must be Jules, which would make you Vincent. Let's get down to brass tacks, gentlemen. If I was informed correctly, the clock is ticking, is that right, Jimmie? JIMMIE 100%. THE WOLF Your wife, Bonnie... (refers to his pad) ...comes home at 9:30 in the AM, is that correct? JIMMIE Uh-huh. THE WOLF I was led to believe if she comes home and finds us here, she wouldn't appreciate it none too much. JIMMIE She won't at that. THE WOLF That gives us forty minutes to get the fuck outta Dodge, which, if you do what I say when I say it, should by plenty. Now you got a corpse in a car, minus a head, in a garage. Take me to it. INT. JIMMIE'S GARAGE – MORNING The three men hang back as The Wolf examines the car. He studies the car in silence, opening the door, looking inside, circling it. THE WOLF Jimmie? JIMMIE Yes. THE WOLF Do me a favor, will ya? Thought I smelled some coffee in there. Would you make me a cup? JIMMIE Sure, how do you take it? THE WOLF Lotsa cream, lotsa sugar. Jimmie exists. The Wolf continues his examination. THE WOLF About the car, is there anything I need to know? Does it stall, does it make a lot of noise, does it smoke, is there gas in it, anything? JULES Aside from how it looks, the car's cool. THE WOLF Positive? Don't get me out on the road and I find out the brake lights don't work. JULES Hey man, as far as I know, the motherfucker's tip-top. THE WOLF Good enough, let's go back to the kitchen. INT. KITCHEN – MORNING Jimmie hands The Wolf a cup of coffee. THE WOLF Thank you, Jimmie. He takes a sip, then, pacing as he thinks, lays out for the three men the plan of action. THE WOLF Okay first thing, you two. (meaning Jules and Vincent) Take the body, stick it in the trunk. Now Jimmie, this looks to be a pretty domesticated house. That would lead me to believe that in the garage or under the sink, you got a bunch of cleansers and cleaners and shit like that, am I correct? JIMMIE Yeah. Exactly. Under the sink. THE WOLF Good. What I need you two fellas to do is take those cleaning products and clean the inside of the car. And I'm talkin' fast, fast, fast. You need to go in the backseat, scoop up all those little pieces of brain and skull. Get it out of there. Wipe down the upholstery – now when it comes to upholstery, it don't need to be spic and span, you don't need to eat off it. Give it a good once over. What you need to take care of are the really messy parts. The pools of blood that have collected, you gotta soak that shit up. But the windows are a different story. Them you really clean. Get the Windex, do a good job. Now Jimmie, we need to raid your linen closet. I need blankets, I need comforters, I need quilts, I need bedspreads. The thicker the better, the darker the better. No whites, can't use 'em. We need to camouflage the interior of the car. We're gonna line the front seat and the backseat and the floor boards with quilts and blankets. If a cop stops us and starts stickin' his big snout in the car, the subterfuge won't last. But at a glance, the car will appear to be normal. Jimmie – lead the way, boys – get to work. The Wolf and Jimmie turn, heading for the bedroom, leaving Vincent and Jules standing in the kitchen. VINCENT (calling after him) A "please" would be nice. The Wolf stops and turns around. THE WOLF Come again? VINCENT I said a "please" would be nice. The Wolf takes a step toward him. THE WOLF Set is straight, Buster. I'm not here to say "please."I'm here to tell you want to do. And if self- preservation is an instinct you possess, you better fuckin' do it and do it quick. I'm here to help. If my help's not appreciated, lotsa luck gentlemen. JULES It ain't that way, Mr. Wolf. Your help is definitely appreciated. VINCENT I don't mean any disrespect. I just don't like people barkin' orders at me. THE WOLF If I'm curt with you, it's because time is a factor. I think fast, I talk fast, and I need you guys to act fast if you want to get out of this. So pretty please, with sugar on top, clean the fuckin' car. INT. JIMMIE'S BEDROOM – MORNING Jimmie's gathering all the bedspreads, quilts and linen he has. The Wolf is on the phone. THE WOLF (into phone) It's a 1974 Chevy Nova. (pause) White. (pause) Nothin', except for the mess inside. (pause) About twenty minutes. (pause) Nobody who'll be missed. (pause) You're a good man, Joe. See ya soon. (he looks at Jimmie) How we comin', Jimmie? Jimmie comes over with a handful of linen. JIMMIE Mr. Wolf, you gotta understand somethin' – THE WOLF – Winston, Jimmie – please, Winston. JIMMIE You gotta understand something, Winston. I want to help you guys out and all, but that's my best linen. It was a wedding present from my Uncle Conrad and Aunt Ginny, and they ain't with us anymore – THE WOLF – let me ask you a question, if you don't mind? JIMMIE Sure. THE WOLF Were you Uncle Conrad and Aunt Ginny millionaires? JIMMIE No. THE WOLF Well, your Uncle Marsellus is. And I'm positive if Uncle Conrad and Aunt Ginny were millionaires, they would've furnished you with a whole bedroom set, which your Uncle Marsellus is more than happy to do. (takes out a roll of bills) I like oak myself, that's what's in my bedroom. How 'bout you Jimmie, you an oak man? JIMMIE Oak's nice. INT. GARAGE – MORNING Both Jules and Vincent are inside the car cleaning it up. Vincent is in the front seat washing windows, while Jules is in the backseat, picking up little pieces of skull and gobs of brain. Both are twice as bloody as they were before. JULES I will never forgive your ass for this shit. This is some fucked-up repugnant shit! VINCENT Did you ever hear the philosophy that once a man admits he's wrong, he's immediately forgiven for all wrong-doings? JULES Man, get outta my face with that shit! The motherfucker who said that never had to pick up itty-bitty pieces of skull with his fingers on account of your dumb ass. VINCENT I got a threshold, Jules. I got a threshold for the abuse I'll take. And you're crossin' it. I'm a race car and you got me in the red. Redline 7000, that's where you are. Just know, it's fuckin' dangerous to be drivin' a race car when it's in the red. It could blow. JULES You're gettin' ready to blow? I'm a mushroom-cloud-layin' motherfucker! Every time my fingers touch brain I'm "SUPERFLY T.N.T," I'm the "GUNS OF NAVARONE." I'm what Jimmie Walker usta talk about. In fact, what the fuck am I doin' in the back? You're the motherfucker should be on brain detail. We're tradin'. I'm washin' windows and you're pickin' up this nigger's skull. INT. CHEVY NOVA – MORNING The interior of the car has been cleaned and lined with bedspreads and quilts. Believe it or not, what looked like a portable slaughterhouse can actually pass for a non-descript vehicle. The Wolf circles the car examining it. Jules and Vincent stand aside, their clothes are literally a bloody mess, but they do have a sense of pride in what a good job they've done. THE WOLF Fine job, gentlemen. We may get out of this yet. JIMMIE I can't believe that's the same car. THE WOLF Well, let's not start suckin' each other's dicks quite yet. Phase one is complete, clean the car, which moves us right along to phase two, clean you two. EXT. JIMMIE'S BACKYARD – MORNING Jules and Vincent stand side by side in their black suits, covered in blood, in Jimmie's backyard. Jimmie holds a plastic Hefty trash bag, while The Wolf holds a garden hose with one of those guns nozzles attached. THE WOLF Strip. VINCENT All the way? THE WOLF To your bare ass. As they follow directions, The Wolf enjoys a smoke. THE WOLF Quickly gentlemen, we got about fifteen minutes before Jimmie's better- half comes pulling into the driveway. JULES This morning air is some chilly shit. VINCENT Are you sure this is absolutely necessary? THE WOLF You know what you two look like? VINCENT What? THE WOLF Like a couple of guys who just blew off somebody's head. Yes, strippin' off those bloody rags is absolutely necessary. Toss the clothes in Jim's garbage bag. JULES Now Jimmie, don't do nothin' stupid like puttin' that out in front of your house for Elmo the garbage man to take away. THE WOLF Don't worry, we're takin' it with us. Jim, the soap. He hands the now-naked men a bar of soap. THE WOLF Okay gentlemen, you're both been to County before, I'm sure. Here it comes. He hits the trigger, water SHOOTS OUT, SMACKING both men. JULES Goddamn, that water's fuckin' cold! THE WOLF Better you than me, gentlemen. The two men, trembling, scrub themselves. THE WOLF Don't be afraid of the soap, spread it around. The Wolf stops the hose, tossing it on the ground. THE WOLF Towel 'em. Jimmie tosses them each a towel, which they rub furiously across their bodies. THE WOLF You're dry enough, give 'em their clothes. FADE UP ON: JULES AND VINCENT In their tee-shirts and swim trunks. They look a million miles away from the black-suited, bad-asses we first met. THE WOLF Perfect. Perfect. We couldn't've planned this better. You guys look like... what do they look like, Jimmie? JIMMIE Dorks. They look like a couple of dorks. The Wolf and Jimmie laugh. JULES Ha ha ha. They're your clothes, motherfucker. JIMMIE I guess you just gotta know how to wear them. JULES Yeah, well, our asses ain't the expert on wearin' dorky shit that your is. THE WOLF C'mon, gentlemen, we're laughin' and jokin' our way into prison. Don't make me beg. INT. JIMMIE'S GARAGE – MORNING The garbage bag is tossed in the car trunk on top of Marvin. The Wolf SLAMS is closed. THE WOLF Gentlemen, let's get our rules of the road straight. We're going to a place called Monster Joe's Truck and Tow. Monster Joe and his daughter Raquel are sympathetic to out dilemma. The place is North Hollywood, so a few twist and turns aside, we'll be goin' up Hollywood Way. Now I'll drive the tainted car. Jules, you ride with me. Vincent, you follow in my Porsche. Now if we cross the path of any John Q. Laws, nobody does a fuckin' thing 'til I do something. (TO JULES) What did I say? JULES Don't do shit unless – THE WOLF – unless what? JULES Unless you do it first. THE WOLF Spoken like a true prodigy. (to Vincent) How 'bout you, Lash Larue? Can you keep your spurs from jingling and jangling? VINCENT I'm cool, Mr. Wolf. My gun just went off, I dunno how. THE WOLF Fair enough. (he throws Vince his car keys) I drive real fuckin' fast, so keep up. If I get my car back any different than I gave it, Monster Joe's gonna be disposing of two bodies. EXT. MONSTER JOE'S TRUCK AND TOW – MORNING Jules and Vincent wait by Winston's Porsche. JULES We cool? WINSTON Like it never happened. Jules and Vincent bump fists. WINSTON Boys, this is Raquel. Someday, all this will be hers. RAQUEL (to the boys) Hi. You know, if they ever do "I SPY: THE MOTION PICTURE," you guys, I'd be great. What's with the outfits. You guys going to a volleyball game? Winston laughs, the boys groan. WINSTON I'm takin' m'lady out to breakfast. Maybe I can drop you two off. Where do you live? VINCENT Redondo Beach. JULES Inglewood. Winston grabs Jules' wrist and pantomimes like he's in a "DEAD ZONE" trance. WINSTON (painfully) It's your future: I see... a cab ride. (dropping the act) Sorry guys, move out of the sticks. (to Raquel) Say goodbye, Raquel. RAQUEL Goodbye, Raquel. WINSTON I'll see you two around, and stay outta trouble, you crazy kids. Winston turns to leave. JULES Mr. Wolf. He turns around. JULES I was a pleasure watchin' you work. The Wolf smiles. WINSTON Call me Winston. He turns and banters with Raquel as they get in the Porsche. WINSTON You hear that, young lady? Respect. You could lean a lot from those two fine specimens. Respect for one's elders shows character. RAQUEL I have character. WINSTON Just because you are a character doesn't mean you have character. RAQUEL Oh you're so funny, oh you're so funny. The Porsche SHOOTS OFF down the road. The two men left alone look at each other. JULES Wanna share a cab? VINCENT You know I could go for some breakfast. Want to have breakfast with me? JULES Sure. INT. COFFEE SHOP – MORNING Jules and Vincent sit at a booth. In front of Vincent is a big stack of pancakes and sausages, which he eats with gusto. Jules, on the other hand, just has a cup of coffee and a muffin. He seems far away in thought. The Waitress pours a refill for both men, VINCENT Thanks a bunch. (to Jules, who's nursing his coffee) Want a sausage? JULES Naw, I don't eat pork. VINCENT Are you Jewish? JULES I ain't Jewish man, I just don't dig on swine. VINCENT Why not? JULES They're filthy animals. I don't eat filthy animals. VINCENT Sausages taste good. Pork chops taste good. JULES A sewer rat may taste like pumpkin pie. I'll never know 'cause even if it did, I wouldn't eat the filthy motherfucker. Pigs sleep and root in shit. That's a filthy animal. I don't wanna eat nothin' that ain't got enough sense to disregard its own feces. VINCENT How about dogs? Dogs eat their own feces. JULES I don't eat dog either. VINCENT Yes, but do you consider a dog to be a filthy animal? JULES I wouldn't go so far as to call a dog filthy, but they're definitely dirty. But a dog's got personality. And personality goes a long way. VINCENT So by that rationale, if a pig had a better personality, he's cease to be a filthy animal? JULES We'd have to be talkin' 'bout one motherfuckin' charmin' pig. It'd have to be the Cary Grant of pigs. The two men laugh. VINCENT Good for you. Lighten up a little. You been sittin' there all quiet. JULES I just been sittin' here thinkin'. VINCENT (mouthful of food) About what? JULES The miracle we witnessed. VINCENT The miracle you witnessed. I witnessed a freak occurrence. JULES Do you know that a miracle is? VINCENT An act of God. JULES What's an act of God? VINCENT I guess it's when God makes the impossible possible. And I'm sorry Jules, but I don't think what happened this morning qualifies. JULES Don't you see, Vince, that shit don't matter. You're judging this thing the wrong way. It's not about what. It could be God stopped the bullets, he changed Coke into Pepsi, he found my fuckin' car keys. You don't judge shit like this based on merit. Whether or not what we experienced was an according-to-Hoyle miracle is insignificant. What is significant is I felt God's touch, God got involved. VINCENT But why? JULES That's what's fuckin' wit' me! I don't know why. But I can't go back to sleep. VINCENT So you're serious, you're really gonna quit? JULES The life, most definitely. Vincent takes a bite of food. Jules takes a sip of coffee In the b.g., we see a PATRON call the Waitress. PATRON Garcon! Coffee! We recognize the patron to be Pumpkin from the first scene of Pumpkin and Honey Bunny. VINCENT So if you're quitting the life, what'll you do? JULES That's what I've been sitting here contemplating. First, I'm gonna deliver this case to Marsellus. Then, basically, I'm gonna walk the earth. VINCENT What do you mean, walk the earth? JULES You know, like Caine in "KUNG FU." Just walk from town to town, meet people, get in adventures. VINCENT How long do you intend to walk the earth? JULES Until God puts me where he want me to be. VINCENT What if he never does? JULES If it takes forever, I'll wait forever. VINCENT So you decided to be a bum? JULES I'll just be Jules, Vincent – no more, no less. VINCENT No Jules, you're gonna be like those pieces of shit out there who beg for change. They walk around like a bunch of fuckin' zombies, they sleep in garbage bins, they eat what I throw away, and dogs piss on 'em. They got a word for 'em, they're called bums. And without a job, residence, or legal tender, that's what you're gonna be – a fuckin' bum! JULES Look my friend, this is just where me and you differ – VINCENT – what happened was peculiar – no doubt about it – but it wasn't water into wine. JULES All shapes and sizes, Vince. VINCENT Stop fuckin' talkin' like that! JULES If you find my answers frightening, Vincent, you should cease askin' scary questions. VINCENT I gotta take a shit. To be continued. Vincent exits for the restroom. Jules, alone, takes a mouthful of muffin, then... Pumpkin and Honey Bunny rise with guns raised. PUMPKIN Everybody be cool, this is a robbery! HONEY BUNNY Any of you fuckin' pricks move and I'll execute every one of you motherfuckers! Got that?! Jules looks up, not believing what he's seeing. Under the table, Jules' hand goes to his .45 Automatic. He pulls it out, COCKING IT. PUMPKIN Customers stay seated, waitresses on the floor. HONEY BUNNY Now mean fuckin' now! Do it or die, do it or fucking die! Like lightning, Pumpkin moves over to the kitchen. While Honey Bunny SCREAMS out threats to the PATRONS, keeping them terrified. PUMPKIN You Mexicans in the kitchen, get out here! Asta luego! Three COOKS and two BUSBOYS come out of the kitchen. PUMPKIN On the floor or I'll cook you ass, comprende? They comprende. The portly MANAGER speaks up. MANAGER I'm the manager here, there's no problem, no problem at all – Pumpkin heads his way. PUMPKIN You're gonna give me a problem? He reaches him and sticks the barrel of his gun hard in the Manager's neck. PUMPKIN What? You said you're gonna give me a problem? MANAGER No, I'm not. I'm not gonna give you any problem! PUMPKIN I don't know, Honey Bunny. He looks like the hero type to me! HONEY BUNNY Don't take any chances. Execute him! The Patrons SCREAM. Jules watches all this silently, his hand tightly gripping the .45 Automatic under the table. MANAGER Please don't! I'm not a hero. I'm just a coffee shop manager. Take anything you want. PUMPKIN Tell everyone to cooperate and it'll be all over. MANAGER Everybody just be calm and cooperate with them and this will be all over soon! PUMPKIN Well done, now git your fuckin' ass on the ground. INT. COFFEE SHOP BATHROOM – MORNING Vincent, on the toilet, oblivious to the pandemonium outside, reads his "MODESTY BLAISE" book. INT. COFFEE SHOP – MORNING Cash register drawer opens. Pumpkin stuffs the money from the till in his pocket. Then walks from behind the counter with a trash bag in his hand. PUMPKIN Okay people, I'm going to go 'round and collect your wallets. Don't talk, just toss 'em in the bag. We clear? Pumpkin goes around collecting wallets. Jules sits with his .45 ready to spit under the table. Pumpkin sees Jules sitting in his booth, holding his wallet, briefcase next to him. Pumpkin crosses to him, his tone more respectful, him manner more on guard. PUMPKIN In the bag. Jules DROPS his wallet in the bag. Using his gun as a pointer, Pumpkin points to the briefcase. PUMPKIN What's in that? JULES My boss' dirty laundry. PUMPKIN You boss makes you do his laundry? JULES When he wants it clean. PUMPKIN Sounds like a shit job. JULES Funny, I've been thinkin' the same thing. PUMPKIN Open it up. Jules' free hand lays palm flat on the briefcase. JULES 'Fraid I can't do that. Pumpkin is definitely surprised by his answer. He aims the gun right in the middle of Jules' face and pulls back the hammer. PUMPKIN I didn't hear you. JULES Yes, you did. This exchange has been kind of quiet, not everybody heard it, but Honey Bunny senses something's wrong. HONEY BUNNY What's goin' on? PUMPKIN Looks like we got a vigilante in our midst. HONEY BUNNY Shoot 'em in the face! JULES I don't mean to shatter your ego, but this ain't the first time I've had gun pointed at me. PUMPKIN You don't open up that case, it's gonna be the last. MANAGER (on the ground) Quit causing problems, you'll get us all killed! Give 'em what you got and get 'em out of here. JULES Keep your fuckin' mouth closed, fat man, this ain't any of your goddamn business! PUMPKIN I'm countin' to three, and if your hand ain't off that case, I'm gonna unload right in your fuckin' face. Clear? One... PUMPKIN ...two... three. JULES You win. Jules raises his hand off the briefcase. JULES It's all yours, Ringo. PUMPKIN Open it. Jules flips the locks and opens the case, revealing it to Pumpkin but not to us. The same light SHINES from the case. Pumpkin's expression goes to amazement. Honey Bunny, across the room, can't see shit. HONEY BUNNY What is it? What is it? PUMPKIN (softly) Is that what I think it is? Jules nods his head: "yes." PUMPKIN It's beautiful. Jules nods his head: "yes." HONEY BUNNY Goddammit, what is it? Jules SLAMS the case closed, then sits back, as if offering the case to Pumpkin. Pumpkin, one big smile, bends over to pick up the case. Like a rattlesnake, Jules' free hand GRABS the wrist of Pumpkin's gun hand, SLAMMING it on the table. His other hand comes from under the table and STICKS the barrel of his .45 hand under Pumpkin's chin. Honey Bunny freaks out, waving her gun in Jules' direction. HONEY BUNNY Let him go! Let him go! I'll blow your fuckin' head off! I'll kill ya! I'll kill ya! You're gonna die, you're gonna fuckin' die bad! JULES (to Pumpkin) Tell that bitch to be cool! Say, bitch be cool! Say, bitch be cool! PUMPKIN Chill out, honey! HONEY BUNNY Let him go! JULES (softly) Tell her it's gonna be okay. PUMPKIN I'm gonna be okay. JULES Promise her. PUMPKIN I promise. JULES Tell her to chill. PUMPKIN Just chill out. JULES What's her name? PUMPKIN Yolanda. Whenever Jules talks to Yolanda, he never looks at her, only at Pumpkin. JULES (to Yolanda) So, we cool Yolanda? We ain't gonna do anything stupid, are we? YOLANDA (crying) Don't you hurt him. JULES Nobody's gonna hurt anybody. We're gonna be like three Fonzies. And what' Fonzie like? No answer. JULES C'mon Yolanda, what's Fonzie like? YOLANDA (through tears, unsure) He's cool? JULES Correct-amundo! And that's what we're gonna be, we're gonna be cool. (to Pumpkin) Now Ringo, I'm gonna count to three and I want you to let go your gun and lay your palms flat on the table. But when you do it, do it cool. Ready? Pumpkin looks at him. JULES One... two... three. Pumpkin lets go of his gun and places both hands on the table. Yolanda can't stand it anymore. YOLANDA Okay, now let him go! JULES Yolanda, I thought you were gonna be cool. When you yell at me, it makes me nervous. When I get nervous, I get scared. And when motherfuckers get scared, that's when motherfuckers get accidentally shot. YOLANDA (more conversational) Just know: you hurt him, you die. JULES That seems to be the situation. Now I don't want that and you don't want that and Ringo here don't want that. So let's see what we can do. (to Ringo) Now this is the situation. Normally both of your asses would be dead as fuckin' fried chicken. But you happened to pull this shit while I'm in a transitional period. I don't wanna kill ya, I want to help ya. But I'm afraid I can't give you the case. It don't belong to me. Besides, I went through too much shit this morning on account of this case to just hand it over to your ass. VINCENT (O.S.) What the fuck's goin' on here? Yolanda WHIPS her gun toward the stranger. Vincent, by the bathroom, has his gun out, dead-aimed at Yolanda. JULES It's cool, Vincent! It's cool! Don't do a goddamn thing. Yolanda, it's cool baby, nothin's changed. We're still just talkin'. (to Pumpkin) Tell her we're still cool. PUMPKIN It's cool, Honey Bunny, we're still cool. VINCENT (gun raised) What the hell's goin' on, Jules? JULES Nothin' I can't handle. I want you to just hang back and don't do shit unless it's absolutely necessary. VINCENT Check. JULES Yolanda, how we doin, baby? YOLANDA I gotta go pee! I want to go home. JULES Just hang in there, baby, you're doing' great, Ringo's proud of you and so am I. It's almost over. (to Pumpkin) Now I want you to go in that bag and find my wallet. PUMPKIN Which one is it? JULES It's the one that says Bad Motherfucker on it. Pumpkin looks in the bag and – sure enough – there's a wallet with "Bad Motherfucker" embroidered on it. JULES That's my bad motherfucker. Now open it up and take out the cash. How much is there? PUMPKIN About fifteen hundred dollars. JULES Put it in your pocket, it's yours. Now with the rest of them wallets and the register, that makes this a pretty successful little score. VINCENT Jules, if you give this nimrod fifteen hundred buck, I'm gonna shoot 'em on general principle. JULES You ain't gonna do a goddamn thing, now hang back and shut the fuck up. Besides, I ain't givin' it to him. I'm buyin' somethin' for my money. Wanna know what I'm buyin' Ringo? PUMPKIN What? JULES Your life. I'm givin' you that money so I don't hafta kill your ass. You read the Bible? PUMPKIN Not regularly. JULES There's a passage I got memorized. Ezekiel 25:17. "The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness. For he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you." I been sayin' that shit for years. And if you ever heard it, it meant your ass. I never really questioned what it meant. I thought it was just a coldblooded thing to say to a motherfucker 'fore you popped a cap in his ass. But I saw some shit this mornin' made me think twice. Now I'm thinkin', it could mean you're the evil man. And I'm the righteous man. And Mr. .45 here, he's the shepherd protecting my righteous ass in the valley of darkness. Or is could by you're the righteous man and I'm the shepherd and it's the world that's evil and selfish. I'd like that. But that shit ain't the truth. The truth is you're the weak. And I'm the tyranny of evil men. But I'm tryin'. I'm tryin' real hard to be a shepherd. Jules lowers his gun, lying it on the table. Pumpkin looks at him, to the money in his hand, then to Yolanda. She looks back. Grabbing the trash bag full of wallets, the two RUN out the door. Jules, who was never risen from his seat the whole time, takes a sip of coffee. JULES (to himself) It's cold. He pushes it aside. Vincent appears next to Jules. VINCENT I think we oughta leave now. JULES That's probably a good idea. Vincent throws some money on the table and Jules grabs the briefcase. Then, to the amazement of the Patrons, the Waitresses, the Cooks, the Bus Boys, and the Manager, these two bad-ass dudes – wearing UC Santa Cruz and "I'm with Stupid" tee-shirts, swim trunks, thongs and packing .45 Automatics – walk out of the coffee shop together without saying a word. FADE OUT THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Punch-Drunk Love.txt b/unformated_scripts/Script_Punch-Drunk Love.txt new file mode 100644 index 0000000000000000000000000000000000000000..00eb4dc9942aad313b8b0aaf35bb75d83d61e16e --- /dev/null +++ b/unformated_scripts/Script_Punch-Drunk Love.txt @@ -0,0 +1 @@ + PUNCH-DRUNK LOVE by Paul Thomas AndersonLOGOPresentation cards with white, red, blue, blue-greenbackgrounds, then: CUT TO:INT. WAREHOUSE - EARLY MORNINGCAMERA (STEADICAM) holds on a man in a suit, sitting behinda desk, on the phone: BARRY EGAN (Adam Sandler) BARRY ...yes I'm still on hold... OPERATOR And what was this? BARRY I'm looking at your advertisement for the airline promotion and giveaway? OPERATOR This is "Fly With Us?" BARRY It's hard to understand because it says in addition to but I can't exactly understand in addition to what because there's actually nothing to add it too... OPERATOR I think that's a type-o then, that would be a mistake. BARRY So, just to clarify, I'm sorry: Ten purchases of any of your Healthy Choice products equals five hundred miles and then with the coupon the same purchases would value one thousand miles -- OPERATOR That's it. BARRY Do you realize that the monetary value of this promotion and the prize is potentially worth more than the purchases? OPERATOR I don't know...I mean: I don't know.OC DISTANT SOUND OF A CAR SKIDDING TO A STOP, SOME VAGUE,DISTANT SCREAMING IS HEARD...THEN SILENCE. Barry hears this,gets distracted, then back to the phone call; BARRY Can I call you back if I have any further questions...? Can I get your extension? OPERATOR It's extension 215 if you want to try me back. BARRY Ok. Thank you.He hangs up the phone and walks through his warehouse. It'sfairly non-descript place, boxing materials, etc. Productsseem to be mainly silly novelties (pens that light up, keychains, novelty toilet plungers, etc)He lifts a LOADING DOOR and LIGHT POURS INSIDE, WASHES OUTTHE FRAME....he's silhouette....CAMERA follows himout...stays overexposed and over his shoulder as he looksdown towards the street........his business is situated at the end of a common driveway,shared with a few other nondescript places and an Automechanic....distant SOUND of a car SPEEDING and SKIDDING........hold, then:....a JEEP CHEROKEE comes FLIPPING into FRAME, far off atthe mouth of the alley, on the street. The JEEP ends uplanding RIGHT SIDE UP....HOLD.........Barry flinches a little, stares.....the JEEP sits idlefor a moment....then it drives off....then:A speeding, small TOYOTA comes into view at the mouth of thealley, screeching to a halt. The passenger side door opensand a small, wooden HARMONIUM (like a portable organ) isplaced on the ground. The TOYOTA speeds away.........a moment or two later another NON-DESCRIPT CAR fliespast very fast....BEAT. Barry squints, looks at the small HARMONIUM sittingalone in the middle of the street.He hesitates, looks around, holds, then walks back insidehis warehouse. CUT TO:INT. BARRY'S WAREHOUSE - THAT MOMENTBarry on the phone again; BARRY ....I'm not exactly sure what that means... VOICE If they break or something. What is it, plastic? BARRY It's a plastic, yeah. VOICE Right. Alright, lemme call you first thing tomorrow, I'm gonna run the numbers, see what's what and I'll give you a call back -- BARRY Did you have my home phone number? VOICE For what? BARRY If you wanted to call me back I could... VOICE I'm fine, I have your work number. BARRY Ok...because of the time difference if you needed to call me early? VOICE It's fine. I can just get you at your office. BARRY Ok. VOICE Ok, bye, bye. BARRY Bye.He hangs up the phone and walks outside, CAMERA follows himagain, out to the alley, over his shoulder......he looksdown the length of the alley at the Harmonium. HOLD, THEN:A small FORD ESCORT pulls into the driveway, around theHarmonium, parks......a young woman named LENA LEONARD(Emily Watson) exits the car and starts to walk down thelength of the alley towards him.....CAMERA stays over hisshoulder and turns into a profile 2-shot; LENA Hi. Do you work at the mechanic? BARRY No. LENA They're not open yet? BARRY They don't get opened until eight.BEAT. Barry gently steps back and out of the FRAME. LENA Is it ok if I leave my car you think? BARRY I don't know. LENA I thought they opened at seven. (beat) If I left my car would it be ok? BARRY I don't know. LENA Do you know them. BARRY Not very well. LENA Can I ask you, can I trust to leave my keys with you and give them to you so that when they get here you could give them to them? BARRY Ok. LENA You think it's ok where I left it, right there? BARRY I think that'll be fine.Lena hands him her keys, he steps back into FRAME, THEN: LENA There's a piano in the street. BARRY Yeah.BEAT. LENA Ok. Maybe I'll see you later. Thank you for your help. BARRY Thank you. LENA Maybe I'll see you later, when I pick up my car? BARRY Ok.She walks away....he starts back inside the warehouse,hesitates, watches her go.....right before she reaches theend of the alley, she glances back quickly, over hershoulder....he dodges inside real quick.....HOLD THE EMPTY FRAME......then he steps back out.....looksoff at the Harmonium.....and the empty street.....he looksaround some more....then he makes the long walk down thestreet.ON THE STREET.Barry stares at the Harmonium a little bit, looks around,both ways, then casually picks it up and walks back towardshis business.....He brings it into his office and places it on his desk. Hetries a few keys....pressing down...there's no sound.He presses his hand on the foot pedal and presses a key anda small note is made.....BEAT....he does it again....andholds the note..... CUT TO BLACK.INT. WAREHOUSE - OFFICE - EARLY MORNINGBarry enters the warehouse with harmonium and runs into hisoffice. He places it on the desk and hits a key: no sound.Barry goes to his knees and unlatched the bellows. He pumpsthe bellow, reaches up, presses a note, and another...thenstands up into CU. and presses the 5 notemelody......SUDDENLY: THE SOUND OF THE POD BAY DOOR SLIDING........Barry spins around, scared shitless, sees: LANCE, whoenters the warehouse, Barry rushes out to greet him; LANCE Hey, good morning, Barry. BARRY Hey...Lance....can I..... LANCE You ok? BARRY Yes I'm fine. LANCE Why you wearin' a suit? BARRY Um....I bought one. I thought maybe it would be nice to get dressed for work, can I show you something? LANCE Yeah.....you got here early huh? BARRY ....yes.....They enter into the office, Lance sees the harmonium; LANCE What is this? BARRY I don't know. I think it's a piano....a small piano. LANCE That's not a piano.....I have a piano at home.....where'd you get it?Lance walks around behind the harmonium....leaving Barryalone....towards the warehouse......he starts to back up alittle..... BARRY Well.....it was dropped on the street.....Sal, Ernesto and Rico all start to come into work behindBarry.....he sees them: CAMERA pushes in on Barry.... LANCE (OC) Why is it here? Barry....Barry? BARRY ...it just....I don't know....I don't know.LAND IN CU. ON BARRY. CUT TO BLACK.TITLE CARD Punch-drunk Love Movie(maybe color blooms/overture here)INT. WAREHOUSE/MAIN AREA - DAYCAMERA pushes in slow as Barry and Lance talk to TWOCUSTOMERS about the plungers which are on display in frontof them. They speak all over each other doing shop talk, etc; CUSTOMER You do guaranteed sale? etc. BARRY We back our plungers 100% and we do ask for a 30 to 60 day display on the floor.....In the b.g., RICO over the laud speaker says: RICO Barry, your sister's on line one.Barry doesn't move.... BARRY Yes.....we do ask for....30 to 60 days.... CUSTOMER I think you have a call?Rico turns around, without loudspeaker; RICO Barry, your sister is on line one.They look at him a moment.... BARRY I'm just gonna grab this call real quick?ANGLE, REVERSE. Barry turns and heads for the phone nearbyat Rico's station; BARRY (into phone) .....This is Barry. RHONDA Hey it's me, it's Rhonda. Are you coming to the party tonight? BARRY Hi, Rhonda, yes I am. RHONDA Bye.She hangs up. BARRY Ok. Yes I'll see you tonight.Barry takes a few steps back to the Customers: BARRY Sorry about that: One thing I wanted to point out, Dave, is that we've just received a large order from the Rio Hotel and Casino in Las Vegas where we're going to be supplying their hotel rooms with the dice and money plunger, so these babies are really moving well right now... RICO (over loudspeaker) Barry, your sister's on line two. Barry, your sister's on line two.Barry tries again to ignore it.... BARRY With the Aqua Blast Whales and Speed Boats we're gonna ask for a display at eye level for the little kids..... RICO Barry -- BARRY -- excuse me.Barry walks back to the phone; BARRY This is Barry. KAREN Hey it's me, what are you doing? BARRY Hello, Karen. I'm just working. KAREN Yeah but what are you doing? BARRY I'm just working....I have some customers here..... KAREN So you can't talk to me? BARRY I have a few people here, I can't really chat right now. KAREN "chat?" Did you just say "chat?" BARRY Well, I can't talk though -- KAREN You just fucking said "chat," that is so -- what are you now? "chat." I'm just calling to make sure you show up at this party tonight. BARRY Yes, I'll be there. KAREN Fine. You get back to chatting with your precious customers. BARRY Ok, bye-bye.Barry snaps out of this, turns, claps his hands in confidenceand walks back to the customers and says: BARRY Sorry about that. CUSTOMER I didn't know you had a sister? BARRY .....Well yes I do.... (beat) But one more thing I wanted to tell you guys about the new plungers is that we're making the handles now in a non-breakable material called.....He takes one of the plungers and to demonstrate smacks it onthe table....it SMASHES and rice falls out everywhere.... BARRY Ok...this is one of the old ones, I think. Lance do we have any new plungers around?Lance moves to get a new plunger.... BARRY That was a little embarrassing and that was one of the old handles so let me get a new one to show you -- RICO (loudspeaker) Barry, your sister is on line one.Barry holds, then; CUSTOMER How many sisters do you have? BARRY ....I have seven. CUSTOMER #2 Holy shit. You have seven sisters? BARRY They're calling because we're having a party tonight for my sister and the they're just calling....can you hang on for just two more minutes....?Barry walks this time into his office......CAMERA trackswith Barry to his office, seeing him try and shake thisoff.....He EXITS FRAME. CUT TO:INT. WAREHOUSE - OFFICE - THAT MOMENTBarry enters, takes a quick moment to size up theharmonium.....He picks up the phone and through theconversation gently moves the harmonium to a different spoton the desk; BARRY This is Barry. KATHLEEN What are you doing? BARRY Hi, Kathleen, I'm just working. KATHLEEN Are you going to the party tonight? BARRY Yes I am. KATHLEEN What are you doing? BARRY Nothing. KATHLEEN Right now, you're doing nothing? BARRY I'm just talking on the phone to you and standing. KATHLEEN What time are you gonna be there? BARRY Seven o'clock. KATHLEEN You can't be late. BARRY I won't. KATHLEEN I'm serious. BARRY I know. KATHLEEN Seriously. BARRY Ok. KATHLEEN You can't be late though. BARRY I know. KATHLEEN You can't just not show up like you do, you have to go. BARRY I know. KATHLEEN Seriously. BARRY I know. KATHLEEN You can't just stay in your house. BARRY I know. KATHLEEN Yeah but I'm serious. BARRY Ok. KATHLEEN I'll see you there. BARRY I'll see you there. KATHLEEN Don't puss out. BARRY I won't.Barry plays the 5 note melody on the Harmonium (carries overinto next scene....) CUT TO:INT./EXT. WAREHOUSE - LATER (BRIDGE/BREAK MUSIC WISE)Barry and his workers are having lunch. A LUNCH TRUCK isparked by the driveway. Barry sees the CAR that Lena broughtby at the start of the movie....OC CALL from one of theworkers; WORKER Telephone Barry on line one.A mechanic passes by at this moment, keeps walking past; BARRY What's wrong with her car? MECHANIC Wha? BARRY Is that car gonna be ok? MECHANIC It's fine.The mechanic keeps walking....Barry enters. CUT TO:INT. WAREHOUSE/NEAR LANCE'S DESK - LATE AFTERNOONBarry and the boys are prepping some boxes for shipping.Ernesto walks over, says; ERNESTO Barry, your sister's here.Barry stands up fast, stumbles back a bit over some boxes,recovers, ELIZABETH enters: ELIZABETH Hey, how are you? BARRY I'm fine, hi, how are you? ELIZABETH I'm just stopping by to say hello. BARRY Hello. ELIZABETH So you're coming tonight, right? BARRY Yes, indeed, yes I am. ELIZABETH There's this girl, this friend of mine from work that I think is really cute and really cool and I want you to meet her so I was thinking about bringing her to the party tonight. BARRY Oh yeah no I don't want to do that. ELIZABETH Why? BARRY Well I don't want to do something like that. ELIZABETH She's my friend and you should meet her. You'd like her. BARRY Yeah, but please don't do that. ELIZABETH I'm not really asking you, I'm telling you. BARRY Yeah but please don't do that: everyone would be looking at me. ELIZABETH It's a free country, we can look at you if we want to. BARRY Yes but I get tense and I feel like I can't be myself if that happens. ELIZABETH That's your fault not mine. BARRY I don't think I'm going to the party. ELIZABETH So it's ok if I bring her. BARRY Please don't. ELIZABETH She's really cute and she's really nice. BARRY ...please, I just don't want it.... ELIZABETH ....wait a minute: why is this about you now? Why is it always about you? BARRY Yeah, no, it's not, it's just -- ELIZABETH I'm trying to be your friend. BARRY I know. ELIZABETH I'm trying to get you a girlfriend. BARRY Well, yeah, thank you, but -- ELIZABETH -- but since you're not going I guess none of this matters and I'll bring her anyway.BEAT. HOLD. She stares him down. ELIZABETH All I'm trying to do is be your friend.She leaves. HOLD ON BARRY. He air punches/twitch. CUT TO:INT. WAREHOUSE - LATER/BLUE HOUR - NIGHTBarry is alone, closing up. He takes a look at the Harmoniumand presses it, makes a sound....a little bit more....makesa few notes. END SCORE QUE as it blends and fades into thenotes that Barry plays.BEAT. He closes its small cover, does something on his deskand then:His face gets bright red, he holds back tears, opens hismouth and has a serious but small burst of overwhelmingemotion and then it's over.INT. SUPERMARKET - NIGHTCU. BIRTHDAY CARD.Barry's hands reaches in and picks a birthday card.ANGLE, WIDER, THAT MOMENT.Barry grabs the card and starts to push his cart....but hepushes it straight into a SIX YEAR OLD KID who's pushing acart around....they slam into each other....Barry apologizes....the KID just takes off....Barry's cartnow has a slightly damaged wheel that wobbles like crazy....ANGLE, FROZEN FOOD AISLE.CAMERA tracks left to right with Barry as he heads for theHealthy Choice Frozen Dinner. He grabs one.CU. BARRY. LOW ANGLE.He looks at box.BARRY'S POV - THE BOXSlow zoom in. The sticker reads: "Fly Away With Us! The MoreYou Buy The More You Earn."ANGLE, SOUP SECTION.CAMERA tracks along right to left with Barry as he movestowards some SOUP. He grabs one, inspects it.....then putsit back.CU. SOUP CAN.It's put back on the shelf: TILT down to price: 79 cents.Barry turns his cart around and SMACKS right into someoneelse again, screwing up another wheel on his cart.ANGLE, BARRY.CAMERA, tracks alongside him, left to right as he comesacross: PUDDING. The price: 4/$1.00.MED. BARRY in the middle of the aisle.He reacts......smiles...holds....thinks....looks around,then starts to load up on the pudding.ANGLE, BARRY.He pushes TWO SHOPPING CARTS FULL OF PUDDING over to theSTORE MANAGER who's on his knees, stacking milk.....Barrykneels down, CAMERA PUSHES INTO A CU. as he speaks sotto; MANAGER Hello. BARRY Hello, sir. My name is Barry Egan and I'd like to ask if you have any more Healthy Choice pudding in the back? CUT TO:INT. SUSAN'S HOUSE - NIGHTThe door opens slowly and Barry peers his head around andinto the house very cautiously, CAMERA PUSHES IN and PANSslightly LEFT to reveal: THE KITCHEN.Barry's SEVEN SISTERS are all there, preparing dinner andtalking away....they turn and see him; SUSAN There he is! Do you remember when we used to call you gay and you'd get all mad? KATHLEEN -- we were calling you gay and you got so mad that you threw a hammer through the sliding glass door -- do you remember? BARRY I don't really remember that. KATHLEEN Yes you do. We were calling you Gay Boy and you got so mad.... BARRY Yes, yes, right. SUSAN We're trying to remember why you had the hammer in the first place? BARRY ...um..... KATHLEEN The hammer that you threw....why did you have it? SUSAN You don't remember -- you had the hammer and you threw it -- ? BARRY I remember, yes..... SUSAN Why did you have it?Another sister, RHONDA, enters from behind, Barry jumps, says: RHONDA He was building a ramp for the dog. KATHLEEN He was making a ramp for the dog! That's right! SUSAN That's right....ramp for the dog..... And you just threw the hammer. BARRY (to Rhonda) Happy Birthday, Rhonda. RHONDA Thank you. Thank you so much, Barry.She gives him a very quick hug and kiss and sets the cakenext to a bigger, cooler looking cake.Mia approaches holding a baby.....Barry tries to say helloto the baby, but Mia slowly turns the baby out of Barry'sgrasp....making herself the center of his attention;KITCHEN/DINING ROOM, THAT MOMENTBarry gets slightly turned around trying to reach thebaby...and ends up in a doorway that leads to the diningroom, revealing himself to: ELIZABETH, KAREN, NICOLE ANDANNA. There are also: THREE BROTHER IN LAW'S (WALTER, LARRYAND STEVE) ELIZABETH Hey....I was just telling everyone about how I was gonna bring this girl for you but you wouldn't let me do it. BARRY Hello everyone.KAREN steps up and greets him; KAREN Did you think that we'd all be looking at you? BARRY No, no, no. KAREN Well it's just not true. We wouldn't be looking at you -- why are you wearing this suit? Did you say hello to your brother in law's? STEVE/LARRY Hi, Barry. How ya doin? Good, good. KAREN Say hello to them, that's right, good, good. Ok. Come on, we're gonna eat now.....let's go.....Barry shakes hands and hello's with the brother in law's.He's left alone for a moment with Walter and Elizabeth; WALTER How you doin' Barry? BARRY Hi Walter. WALTER How's business? BARRY Business is very food, thanks. ELIZABETH What's very food? BARRY What? ELIZABETH You just said very food. BARRY Did I say that? WALTER Yeah. BARRY That was weird. I meant good. WALTER Maybe you said that because you're hungry.....Walter moves to help everyone...they're moving to set thetable......CAMERA CLOSES IN ON BARRY AND ELIZABETH alone for a beat: ELIZABETH You're lucky. She couldn't come anyway -- BARRY Well I'm glad you didn't, thank you. ELIZABETH She couldn't come I said. Are you nervous? BARRY No. ELIZABETH You look nervous. BARRY I'm not, I'm very happy.RHONDA passes; RHONDA Come on homo-boy, we're eating now.Elizabeth leaves, HOLD ON BARRY.CAMERA PUSHES IN TOWARDS EVERYONE SETTING THETABLE.....CAMERA ROTATES AROUND.....everyone is stillchatting a bit about "Barry gay boy," and "the girl that wasgonna be here that Barry wouldn't allow."ANGLE, REVERSE. Barry is standing in front of the floor toceiling sliding glass doors.....in an INSTANT, he TURNS ANDTHROWS HIS FIST STRAIGHT THROUGH THREE OF THEM, THEYSHATTER....he turns back, they are all staring straight athim in silence. HOLD, THEN:In unison they all go ape shit: GROUP WHAT THE FUCK IS YOUR PROBLEM. GODDAMNIT BARRY. YOU FUCKIN' MANIAC. ETC. ETC. CUT TO:INT. SUSAN'S HOUSE - HALLWAY - LATERIt's later and WALTER and BARRY walk down a small hall andinto a kids room. They're OC for a few moments as the CAMERAslowly pushes in and towards the room. Following sotto; WALTER What's up? BARRY Well I'm sorry. Before... WALTER Mhm. BARRY And I'm sorry that I did that. WALTER It's alright. BARRY I wanted to ask you because you're a doctor, right? WALTER Yeah. BARRY I don't like the way I am sometimes. (beat) Can you help me? WALTER Barry, I'm a dentist, what kind of help do you think I can give you? BARRY I know that. Maybe you know other doctors? WALTER Like a psychiatrist? BARRY I don't have anyone to talk to things about and I understand it's confidential with a doctor - I'm embarrassed about that and I don't want my sisters to know? WALTER You want a number for a psychiatrist, I can get you one, that's not a problem. but what exactly is wrong? BARRY I don't know if there's anything wrong with me because I don't know how other people are.....Sometimes I cry a lot.....for no reason.Barry starts to cry. Walter just stares at his. HOLD.Barry stops, recuperates, then leaves.....as he does; BARRY Please don't tell my sisters. CUT TO:INT. BARRY'S APARTMENT - LATERCU. HEALTHY CHOICE COUPON.Barry's scissors cut out a coupon and reveal an imagebeneath in another section of the newspaper...it's the sexyLEG of a woman....BARRY very casually pushes some papers aside and looks atthe ad...HOLD ON HIS FACE. He looks....then:MOMENTS LATER, BARRY ON THE PHONE.He listens; OPERATOR GIRL (OC) Hi, this is Janice The Operator, who's this? BARRY Hello, how are you? OPERATOR GIRL (OC) Hi, is this your first time calling? BARRY Yes it is. OPERATOR GIRL (OC) Can I have your credit card number, followed by the expiration date? BARRY Can I ask how much is this? OPERATOR GIRL (OC) -- it's $2.99 per minute for the first half hour and $1.99 per minute after that. BARRY ......and this is confidential? OPERATOR GIRL (OC) What do you mean? BARRY It's....confidential, the call, my information is private. OPERATOR GIRL (OC) Of course. Would you like to talk to a girl? I can connect you with a beautiful girl if I can just get your credit card number followed by the expiration date? BARRY ...3407 2627 3444 8095 expiration 05/04. OPERATOR GIRL (OC) And your billing address and the name as it appears on the card? BARRY .....1274 Moorpark. Sherman Oaks, California. #4. 91403. OPERATOR GIRL (OC) And your name? BARRY Barry Egan. OPERATOR GIRL (OC) And your Social Security number. BARRY What's that for? OPERATOR GIRL (OC) It's just for verification through the credit card company. BARRY -- and this is confidential? OPERATOR GIRL (OC) Of course, it's just for us to verify your credit card information. It's completely confidential and it appears on your credit card billing statement as D&D Mattress Man. BARRY 337.....I'm sorry.... OPERATOR GIRL (OC) It's ok, take your time. BARRY 337-09-9876. But I don't want anyone to know my name. OPERATOR GIRL (OC) No one will know your name. BARRY Can you say that my name is Jack? OPERATOR GIRL (OC) You want her to call you Jack? BARRY I just don't want anyone to know it's me. OPERATOR GIRL (OC) That's fine. Can I have a telephone number, area code first on where we can call you back? BARRY No I just....I don't want to, I just want to be connected to talk to a girl. OPERATOR GIRL (OC) It's a call back service -- a girl will call you back. BARRY I thought I was just gonna be connected to talk to a girl - that's fine, ok, I'm sorry, it's, um.....818.... CUT TO:INT. BARRY'S APARTMENT - MOMENTS LATERBarry waiting at his dining room table. HOLD. The PHONERINGS. He picks it up; BARRY Hello, this is Back. SEXY VOICE Hi, is this Jack? BARRY Yes. SEXY VOICE This is Georgia. BARRY Hi. This is Jack. SEXY VOICE So what are you doing tonight, Jack? BARRY Nothing. SEXY VOICE Nothing, huh, do you know what I'm doing? BARRY No. SEXY VOICE I'm just laying on my bed. BARRY Where are you? SEXY VOICE I'm in my bedroom. BARRY No, I mean, what city, what state are you in? SEXY VOICE Are you watching a porno movie? BARRY No. SEXY VOICE Do you like porno movies? BARRY Sure. SEXY VOICE Yeah....? So...Jack...are you stroking that big fat fucking cock of yours?He walks into something. BARRY ....no.... SEXY VOICE Yeah? So what are you doing, then? BARRY ...just talking to you.... SEXY VOICE Are your pants off? BARRY No. SEXY VOICE I'm wearing a t-shirt and panties. BARRY Really? SEXY VOICE Yeah. And looking at myself in the mirror. Do you wanna know what I look like? BARRY It doesn't matter. SEXY VOICE What do you mean it doesn't matter? BARRY Well. I have no way of knowing. So it doesn't matter. SEXY VOICE I don't lie, Jack. I'm about 5'8, blonde 34,28,34. Pretty thin, I work out. My pussy's shaved. My friends say I'm pretty cute, so.... BARRY Really? SEXY VOICE What do you mean, "really?" Yeah. Really. What about you? BARRY It doesn't matter. SEXY VOICE Yeah....you're married aren't you, Jack? BARRY No. SEXY VOICE You have a girlfriend? BARRY ...yes... SEXY VOICE Where is she? BARRY She's...not here...she went out. She went out of town, she travels a lot.Barry holds his head in his hands for minute, then standsout of it --INT. BARRY'S APARTMENT - MOMENTS LATER SEXY VOICE I'm horny, Jack, what about you? BARRY ...yeah..... SEXY VOICE Does Jack like to Jack Off? BARRY Sometimes when I'm lonely. SEXY VOICE ...yeah....well you have me now. BARRY You sound very cute, very nice. SEXY VOICE Thank you. What do you do, Barry? BARRY I have my own business....I work. I work hard at doing my business. SEXY VOICE Yeah....do you do well, do you make alotta money? BARRY I do pretty good, I think. I wish I was making more, doing a little bit better. I can,t get over a certain hump. I will...I will crack something soon I think and really do better...I'd like to diversify...but I'm doing great, I think, as a start. SEXY VOICE So.....are you stroking it, yet, honey? BARRY No. SEXY VOICE Well why don't you take your pants off and stroke it for me? BARRY Ok. SEXY VOICE Yeah...that's it...God I Am So Horny...I wish I was there to help you.....I wish I was there for you, Barry. CUT TO:INT. BARRY'S BATHROOM/BEDROOM - LATERIt's a little bit later and Barry stands in his bathroom,washes his face....HOLD....then he dries his face, walksinto his bedroom, gets into bed wearing T-shirt andunderwear.....he crawls in, curls up in fetal position.... JUMP CUT TO:INT. SAME EXACT ANGLE - MORNINGSun comes in now. Barry is somehow dressed in a FULL ADIDASSWEAT SUIT complete with SNEAKERS. He wakes up, looks downand sees this, confused; BARRY Whassis? CUT TO:INT. KITCHEN - MOMENTS LATERBarry is dressed for work in another suit now. He grabs somestuff and heads for the door when the phone rings; BARRY Hello? SEXY VOICE Hey. What are you doing? How are you? BARRY I'm fine. Who is this? SEXY VOICE Georgia.BEAT. BARRY Hi....what....what's up....? SEXY VOICE It's ok that I'm calling, right, I mean? It's ok. BARRY Yeah. No. It's ok. What's goin' on? SEXY VOICE I just wanted to call and talk to you, thank you for last night, try and get you before you went to work and say, "hey."BEAT. BARRY I'm going to work. SEXY VOICE Uhhh...I am sooo tired...I stayed up too late last night, what about you, when did you go to sleep? BARRY Not very late. SEXY VOICE You're going to work now? BARRY Yes. SEXY VOICE Can I ask you a question? BARRY Uh-huh. SEXY VOICE Remember last night I was talking to you and I was telling you about my apartment, my rent -- ? (beat) Do you remember? BARRY Yes. SEXY VOICE This is really weird and really embarrassing for me but....uh.... (beat) I was wondering if you could help me out with a little bit of money. BARRY Me? SEXY VOICE Yeah. BARRY I can't really. Yeah, no. I mean. I can't afford it. SEXY VOICE You don't even know how much it is. BARRY I know but I....how much is it? SEXY VOICE Like seven-fifty. Seven hundred fifty? BARRY Yes, no, yes. I can't. I can't afford that. I'm sorry. Sorry. SEXY VOICE Really? Please? BARRY You have trouble, financial trouble? SEXY VOICE Yeah. It's so hard these days and I really need it. BARRY Yes I can't....I don't make enough money to be able to do that. SEXY VOICE I thought you had your own business. You said you were gonna diversify and all that stuff....BEAT. Barry steps back a little.... SEXY VOICE So you think you can? BARRY No. I'm sorry. SEXY VOICE Should I call back and talk to your girlfriend? BARRY ....what....? SEXY VOICE I was wondering if it's better to ask your girlfriend for the money? It could be really easy. I mean, I have all your information, credit card information and billing stuff --Barry hangs up the phone real fast. HOLD. He doesn't move. CUT TO:INT. BARRY'S WORK/WAREHOUSE - MORNING/LATERCAMERA (HAND HELD) behind Barry, as he walks through thewarehouse, greets the boys, says hello to Lance, etc. Lance,taking his cue from Barry, is a bit more dressed up today.... LANCE Good morning, Barry.... BARRY Hi, Lance. LANCE What's with all this pudding, what is this?CAMERA sees that all the pudding Barry bought has beenstacked neatly in a corner. Barry stops dead in his tracksto explain; BARRY That's part of a very interesting airline promotion giveaway that's really tremendous. I'm going to start a collection of pudding and coupons that can be redeemed for frequent flyer miles through Healthy Choice and American Airlines -- LANCE You're goin' on a trip? BARRY No.........but airline miles are just like a currency these days. LANCE You should go on a trip. BARRY No thanks. LANCE So what should I do with the pudding? BARRY Let's just leave it there for now.Barry goes into his office and looks at the Harmonium. BEAT.He presses some keys, makes a little more noise with it. (aquarter of some sort of melody starts here...)ANGLE, MOMENTS LATER.Barry is cutting up his CREDIT CARD with some scissors. Hethrows it away.ANGLE, MOMENTS LATER.Barry paces around a little bit.....CAMERA stays inside andwatches him as he walks outside for a moment, looksaround....he sees something outside, hesitates, then dodgesback inside the warehouse ---- once inside, he takes a horrendous, hurtful fall oversomething....He stands up quick; BARRY This is not supposed to be here. Seriously. Carlos, Carlos, this is really not supposed to be here. I don't mean to be a dick; but that's gonna hurt someone. It already did hurt someone: It hurt me, so please let's move that.He backs away, then steps OUT OF FRAME...a moment laterELIZABETH (his sister) and LENA (from the opening) enter thewarehouse, walking towards Barry; ELIZABETH (to Lena) He's wearing a suit again, I don't know why he's wearing a suit, he doesn't usually dress like that -- LENA It's fine.CAMERA pushes in towards LENA and blends to 30fps...shesmiles, looks ahead, CAMERA slowly pans a 180 around tobecome her POV.Barry is standing near the harmonium, fiddling around. Helooks up, sees Elizabeth and Lena walking towards him andtenses....they meet in the middle of the warehouse; ELIZABETH Hey, what are you doing? Why are you wearing a suit again? BARRY I don't know. LENA Hi. BARRY Hi. LENA Do you remember me, I left my car, yesterday. BARRY Yes I do. ELIZABETH This is Lena, she's a good friend of mine from work. We were in the neighborhood and she had to pick up her car and we're getting breakfast before we go in, so did you want to go? We're gonna go and eat, let's go. BARRY Yeah I can't. ELIZABETH Why? BARRY I have work, I can't leave. ELIZABETH Seriously, though: We're going to eat, I said. BARRY I'm sorry. LENA It's ok. That's alright. ELIZABETH Are you learning how to play the piano? What is that? BARRY It's not a piano. LANCE! LANCE! MAKE SURE THAT YOU CALL THAT GUY IN TOLEDO. LANCE (OC) WHICH? BARRY ...I'll tell you later. ELIZABETH You don't wanna come to eat with us? WORKER VOICE TELEPHONE BARRY ON LINE TWO! ELIZABETH What's all this pudding? BARRY I don't know. Can you hang on a second?CAMERA follows Barry as he walks back to his little office,picks up the phone; BARRY Hello? SEXY VOICE We got disconnected before.... BARRY No. No. We got disconnect -- why?.....you're calling me at work....how did you get this number -- ? SEXY VOICE See the thing is I could make it really easy on you -- I already have your credit card number, your information, address and stuff. This is so awkward asking like this, I'm sorry -- BARRY This makes me very uncomfortable. SEXY VOICE I need help.BEAT. SEXY VOICE Should I just ask your girlfriend? (beat) Maybe I should call back and talk to your girlfriend? BARRY I don't have a girlfriend -- SEXY VOICE -- you said you did. BARRY I know I did. But I don't. SEXY VOICE You lied to me? BARRY I didn't lie. SEXY VOICE Why did you tell me you did, then? BARRY This is....illegal....I'll call the police. SEXY VOICE No you won't.ANGLE, ELIZABETH AND LENA LENA I'll go pay for my car. ELIZABETH Are you sure? LENA Yeah. ELIZABETH He's being weird, I'm sorry. I have no idea why he's being weird and dressed in a suit -- LENA It's not bad, it's ok. ELIZABETH -- he's so strange I don't know if you really even would want to go out with him, someone like him, I said I'd try, but it's just -- LENA It's ok, it's alright. I'll come right back, I'll just go pay for my car. ELIZABETH Sorry.She leaves. Elizabeth heads for Barry's office;ANGLE, BARRY on the phone SEXY VOICE Come on, I thought we had fun, rich boy -- BARRY This is not cool. SEXY VOICE It was cool last night. BARRY I have to go. SEXY VOICE Are you telling me no? BARRY No I'm sorry, now I have to get off the phone.... SEXY VOICE ....this is your mistake....Elizabeth comes walking into his office, starts whisperingto him as he's on the phone; ELIZABETH Hey, hey, you should ask her out -- what do you think, she's cute, right? BARRY (into phone) I'm gonna call you back.He starts to hang up the phone, turns to Elizabeth as we hear; SEXY VOICE (trailing off) ...MOTHERFUCKER, NO.... BARRY She is. I think, why did you come here like this? ELIZABETH It's not cool? BARRY It's fine, but -- ELIZABETH -- do you think you'll ask her out? BARRY I feel really on the spot now. ELIZABETH Are you gonna do it? BARRY I don't do that. I don't - things like that. ELIZABETH You don't do anything, why are you being scared? BARRY I'm not being scared, you're just going to rag me if I do this -- ELIZABETH I'm not gonna rag you. Why would I do this just to rag you? BARRY I don't know. ELIZABETH I'll leave then, I'll go to get something from my car, go away so you don't feel pressure. Can I ask you a serious question: BARRY What? ELIZABETH Did you ask Walter to get you a shrink? (beat) Barry, did you ask Walter to get you a shrink? What's wrong with you? Are you ok? BARRY I didn't ask him that. He's lying. ELIZABETH You're being weird again, see. Come on. Please don't be weird.ANGLE, BARRY AND ELIZABETH, MOMENTS LATERThey walk out and as they do, Lena comes back in with herkeys in her hand, Elizabeth keeps walking past; ELIZABETH I gotta grab something from my car.... LENA We should be going -- ELIZABETH (over her shoulder) Yeah, no, I have to get something from my car, I said.Barry and Lena about to be alone as Lance walks up; LANCE Which guy in Toledo are you talking about? BARRY I'll tell you...the guy...with...just talk to me later about it, ok? LANCE You talkin' to me about Ramada Inn? BARRY I have to talk to you in a second about that, Lance, ok?He walks away, Lena turns to him; LENA I'm sorry I couldn't come to your sister's birthday party last night, Elizabeth had invited me and I couldn't make it -- BARRY It's fine. It was fun, though. LENA It must be weird for you to have so many sisters? BARRY No. Not at all. It's nice. WORKER (OC) Telephone, Barry Line One!Barry turns instantly and walks away....he turns back as hewalks....TWO SHOT - track left with him.... BARRY (turns back) One second, sorry.IN THE OFFICE, THAT MOMENTHe picks up the phone. BARRY Hello? SEXY VOICE Hang up again and see the trouble it's gonna make.Barry instantly hangs up the phone, turns around and walksback to Lena; LENA Business is good, you're busy? BARRY Yeah, not really. LENA I saw a picture of you. BARRY Yes. LENA Elizabeth has a picture of you guys -- your sisters and you, it's a lot of family, it must be nice. BARRY Do you have brothers or sisters? LENA No. I'm the exact opposite -- BARRY That must be nice. That must be really, really, really great. LENA It's terrible, no.No response from Barry. (cut to reverse 2-shot as they look) LENA What do you do with all this pudding? BARRY That's not mine it's one of the guys that works here. That pudding's not mine.BEAT. In the b.g., two WORKERS are dealing with getting alarge crate on top of a large stack of crates, they're usinga fork lift....in an instant the large CRATE tumbles to theground and SMASHES....Barry attempts to not notice this; LENA Oh My God. BARRY It's ok. That's ok. How long have you worked with Elizabeth?The workers start calling out and apologizing for this toBarry, who keeps looking straight ahead to Lena; LENA Six months, maybe five, five or six months...do you wanna check that? BARRY (to the guys) Are you guys hurt? WORKERS/LANCE No, no, we're ok....Barry, sorry -- BARRY (back to Lena) So you do what she does, the same work, the same job? LENA I do, but I do field consultations mainly too which is cool because I get to travel. I travel. A lot of the time. I'm going to Hawaii on Friday. BARRY That's great -- Hawaii. I was thinking about going there. LENA Really? BARRY I was, yeah, I was thinking about going there for business -- LENA -- well, if you're gonna go -- BARRY -- I'm probably not gonna go though. LENA -- oh that's too bad, it's so great over there and if you were there we could say hello to each other or something -- BARRY -- yeah that would be great, if I was gonna go but I'm not exactly sure, I have so much goin on here -- A lot depends on this thing I might do here and if that happens I can't go and if it doesn't happen then I probably will, but I doubt it.There's another LOUD CRASH as they try to reposition the boxthat's fallen, giving way to something else that FALLS. Inother words, to correct the mistake they've already made,they have to sacrifice another CRATE that CRASHES. Shelooks, Barry just flinches, tries to stay looking straightahead; CAMERA (HAND HELD) with Elizabeth, comes walking backin.....says to Barry: ELIZABETH I can't find that thing in my car, I can't find it so I'll just get it and give it to you later. So? LENA (to Elizabeth) You ready? ELIZABETH Are you coming to eat with us? BARRY Yeah I can't. ELIZABETH (at the crates) OH MY GOD. Look at that. LENA (to Barry) It was great to meet you again. To see you again, thanks for helping me yesterday -- BARRY Ok. ELIZABETH (to Barry) What's all this pudding? BARRY It's not mine. ELIZABETH Why's it here? BARRY I have no idea. LENA (to Elizabeth) Are you ready? ELIZABETH (to Barry) Will you call me later to talk about asking Walter for the shrink? And we can talk about - he said you have this crying problem or something? LENA Bye, Barry. BARRY Goodbye. ELIZABETH Call me later.Lena and Elizabeth leave. CAMERA leads them as they walk;Sound starts to drop out, we see Barry and the boys cleaningup the boxes in the back....move into a CU on Lena....MusicCue. Score. treated piano, small rhythm/melodic(notes ofharmonium so far)/gentle. ELIZABETH So I'll meet you at the restaraunt? LENA Ok.Lena gets into her car. Elizabeth keeps walking. She waitsuntil Elizabeth is out of sight at the mouth of the drivewayand then she gets back out of her car and walks straightback into the warehouse. CUT TO:INT. WAREHOUSE - THAT MOMENTShe comes walking in and over to Barry; LENA I'm going to go and eat tomorrow night do you want to go with me? BARRY Sure. LENA Do you want to pick me up? BARRY Sure. LENA Can I write down my address and phone number for you? BARRY Sure.They do a small search for a piece of paper, get it allwritten down and sorted out and then -- as they do thisthere is even more CRASHING AND SMASHING in the b.g., by theboys -- Barry and Lena settle up and say so long. BARRY This is funny. LENA Yeah. BARRY I didn't ask anyone for a shrink, that was someone else. Also: This pudding is not mine. Also: I'm wearing a suit because I had a very important business meeting this morning and I don't have a crying problem. LENA Ok. BARRY Alright? LENA ....Hi..... BARRY ....Hi.....She walks off. CAMERA leads her out, holds a CU. as shesmiles to herself -- lead her a bit more until she'soutside, and she gets in her car --CU. BARRY. He smiles, looks around, holds back his emotionso it looks like he'll explode....tenses, smiles, tears,looks around....HOLD. End Music Que. LANCE (OC) Barry, Line One, Telephone!Barry walks in. HOLD. He picks up the phone. BARRY Hello? SEXY VOICE You've just made a war that you cannot afford.She hangs up real quick. HOLD. Barry and his harmonium. CUT TO BLACK.Title Card: Provo, UtahFADE IN:INT. STEVENS BROTHERS HOUSE - DAYCAMERA behind a BLONDE GIRLS HEAD (LATISHA). She speaks totwo blonde brothers, DAVID and JIM. In the b.g., walkingaround holding a BABY is NATE. (Maybe a girlfriend or wifeor two). DAVID I'll do it. JIM I'll do it too. DAVID But it's gotta wait until my knee is better. I can't risk it. LATISHA You have to do it now. JIM If we drive there it's a problem. LATISHA Dean will loan you one of his cars. JIM Which one? LATISHA You have to talk to him -- DAVID How do you know he's rich? LATISHA Because I know, I just know. I mean, I talked to him, I know.Nate emerges a bit from the b.g. NATE Where are you guys going? DAVID California. Los Angeles. NATE When are you leaving? DAVID Right now. LATISHA Let's go talk to Dean. CUT TO:INT. LOCAL BAR/PROVO - LATERLATISHA, DAVID, JIM and NATE enter and meet DEAN TRUMBELL,listening to AFTER EDEN play onstage, standing in the middleof the room. DEAN Hey guys. DAVID/JIM/NATE Hey, Dean. LATISHA So they'll go. DEAN I'm only paying two of you guys. DAVID That's cool. DEAN When can you leave? DAVID As soon as you want. DEAN I want you to go right away, I think that's best. I also need you to check out a car for me down there that this guy is selling.They walk towards a back room, as they do they pass aREGULAR JOE who bumps into Dean accidentally, Dean explodes; DEAN You wanna fuck around, asshole? You wanna get tough, wanna see me kick some motherfuck around here? REGULAR JOE Take it easy, man, relax. Don't -- DEAN I'll relax your fucking head -- this is my personal space, man, this is my personal fucking space, you don't violate that, you don't do that. REGULAR JOE I've got a glass in my hand why don't you chill out? DEAN You've got a glass?Dean takes a BEER BOTTLE and SMASHES it in half on the bar,holds it up to the guy -- DEAN YEAH. YOU'VE GOT A GLASS, NOW I'VE GOT A GLASS. I'VE GOT A GLASS TOO MOTHERFUCK. JUMP CUT TO:INT. LOCAL BAR/PROVO - MOMENTS LATERThey're all walking towards a back room of the bar, theywalk past a COUPLE that is fighting. The WOMAN is screamingat the top of her lungs at the MAN; WOMAN I WILL CRUSH YOU. I WILL FUCKING CRUSH YOU AND YOUR FRIENDS.Dean gets in the middle of it; DEAN Take it easy, take it easy you guys in here, I need to talk to you later, Tommy -- I wanna know if you wanna book the boys --He motions over his shoulder to Ashes to Ashes. MAN I'll talk to you later. WOMAN YOU WON'T FUCKIN' TALK TO HIM LATER, I WILL CRUSH YOU. I WILL CRUSH YOU, ASSHOLE. CUT TO:INT. DEAN'S OFFICE/UPSTAIRS/BACKROOM - MOMENTS LATERThey enter into an upstairs office area. It has a coupledesks and off to the side, in a small, partitioned off roomis The Phone Sex Area; a GIRL on the phone. (We hear bits ofher call, e.g. "Me? I'm in Florida. Laying on my bed.")There are posters for Ashes to Ashes, filing cabinets,posters of CARS, lots of various small business items likeorder forms and pamphlets, etc. Dean collects a piece ofpaper and hands it to David/Nate/Jim; DEAN Your expenses are your own. DAVID I thought Latisha said you would -- DEAN -- she didn't know what she was talking about -- DAVID It's....whatever....that's not cool. DEAN David, Don't. Just. Seriously. It doesn't make sense if you think about it in a fair deal like sense. Ok? It's business. Seriously. One hundred dollars for two days work is a lot more than your family is making sitting around your house. I'm serious now. Ok. Please. Now. Just stop.He hands him a set of KEYS and goes through the info; DEAN ...keys for the track. You have to gas it up and save the receipts on that. His address. We have a business address too if you need that -- but hit him at his house first, see what this little bad boy is all about and shake him up -- give him a little doe-see-doe -- LATISHA Uch. Shut up, Dean. DEAN What's the problem? LATISHA You don't need to talk all macho, "shake him out, little bad boy." Whatever -- you're not an action hero, tough guy, you're not a gangster --He makes a very SUDDEN AND QUICK MOVE towards her and sheFLINCHES. DEAN Flinchy. That's what I thought. Shut up. (to Greg) Call me when you see this guy -- check him out see what's what. She asked him for seven fifty when she was on the phone with him, so -- just call me when you get there.He hands him another piece of paper and a photo; DEAN This is this place called Ace Vintage, you gotta find it, I don't know exactly where this is and I don't understand these maps so just go there and check it out. It's a '61 AC Cobra that this old guy says is fine, but I need to figure out why he's only asking 23 for it. So take a look, the whole thing, call me about that, if it seems alright then I'll head down there and check it out. DAVID Ok. DEAN That's it. DAVID Can we maybe ask for more money on this? LATISHA Why? DAVID ...because it's California? I mean it's like a nine or ten hour drive. It's not like going to Salt Lake and getting the Mormon's, it's different...After a long, long staring contest with David, Dean SUDDENLYAND VERY VIOLENTLY PUTS HIS FIST THROUGH THE WALL....thenturns to David......Latisha rolls her eyes. David, Nate andJim leave. CUT TO:EXT. UTAH STREET/TRUCK/MOVING - DAY/MAGIC HOURCAMERA behind the heads of Nate, Jim, Dave as they drivedown the street.....they call their brother "Mike D" on thephone and say, "what's up, we're goin' to Los Angeles, youwanna go?" JUMP CUT TO:EXT. UTAH STREET/TRUCK/MOVING - MOMENTS LATERCAMERA PANS left and picks up the fourth brother MIKE D ashe walks from work and gets in the car.....CAMERA HOLDSbehind the heads of the four blonde brothers as they drive off. LONG DISSOLVE TO:EXT/INT. LENA'S APARTMENT COMPLEX - EVENINGThis is a SPLIT SCREEN SEQUENCE shot with TWO CAMERAS.THE LEFT SIDE OF THE SCREEN holds Lena. She waits in hersmall, nondescript apartment doing the things you do whilewaiting for someone else. She sits, stands, sits, stands....THE RIGHT SIDE OF THE THE SCREEN travels (STEADICAM) withBarry as he walks into the RECEPTION AREA. There is aSECURITY GUARD (black, female) who asks him his name, wherehe's going and to sign in. The Security Guard calls up toLena's place........and we watch Lena answer the phone.......The Security Guard gives Barry some very complicateddirections....we follow/lead Barry as he makes his waythrough the maze/up elevators/down corridors looking forLena's apartment.....Finally, he arrives, knocks; LENA Who is it? BARRY It's Barry.As she opens the door, THE SPLIT SCREEN SLIDES AWAY AND THEIMAGES GIVE WAY TO THE ONE OF LENA standing; LENA Hi. CUT TO:INT. RESTAURANT - NIGHTLena and Barry at a table. They talk (see notes.) LENA So I want to tell you something, I gotta tell you: I saw a picture of you guys, your sisters and you and I saw your picture and I really wanted to meet you. (beat) I came to drop my car off there on purpose, to try and meet you.Barry leans a little bit out of FRAME. BARRY ...really? That's nice...are you lying? LENA ...I thought I should tell you. I didn't want to get too far along on going out and be hiding something --BEAT. He leans slightly back in FRAME. BARRY That's very nice. Thank you. Thank you for saying that. (beat) You're friends with my sister? LENA Yeah. BARRY How long have you known her? LENA About six months. BARRY You like her? LENA Yeah. Yeah we get along well. (beat) You didn't get along with her very well? BARRY Did you really come to meet me on purpose or are you lying about that? LENA No, no. I did. BARRY That's nice. It's nice. (beat) I've been looking around a lot lately at promotional giveaways, cross promotional work by some companies. Do you remember all that pudding? LENA Yeah. BARRY So that pudding was bought, I bought that pudding because of a pretty interesting promotion that's sponsored by Healthy Choice and American Airlines. It's designed to encourage airline travel and obviously designed to encourage buying Healthy Choice products. They make frozen meals, deli meats, pasta sauce, breads, soups and ice creams, this sort of thing..... LENA Yeah? BARRY ....I'm sorry....I lost my thoughts, what I was saying.... LENA You were talking about the promotion -- BARRY -- the promotion says: buy any 10 Healthy Choice products and get 500 miles of airline travel or 1,000 for purchases made with a special coupon. So in the supermarket, you notice their products, first you notice they have a Teriyaki Chicken Dinner at $1.79 - that's a pretty good deal....but then I noticed they had soup at 89 cents a can.....and you start to do the math and you start to notice that it's a really amazing deal because I stumbled across the pudding at 25 cents a cup. Now the crucial thing is the bar codes on the label. That's those little bar codes, you know? The universal product codes? LENA Yeah. BARRY That's what's used to redeem the mileage, so in noticing the pudding, each cup had an individual bar code -- in other words: Two dollars and fifty cents for ten cups of pudding is 500 miles. Add in the coupon: it's one thousand. You see? LENA Yeah. BARRY You see? LENA Yeah, no, I see -- BARRY You see if you spent $3,000 dollars on pudding you could earn over one million frequent flyer miles. LENA That's insane. That is really, really crazy. That's just crazy if you spend three thousand dollars on pudding. BARRY ....yeah.... LENA So that was your pudding? BARRY ....No.... LENA I'm sorry. I thought you said -- BARRY No I didn't say that. LENA I thought you said you bought all that pudding -- BARRY My friend Carlos is doing it who works with me. It's his. It's his pudding, he's doing it. It's not mine. He's crazy. I told him not to do it. He's the one who's insane. He only spent about one hundred dollars so far though -- LENA Your sister was telling me a pretty funny story about you, when you guys were kids and you were building a ramp for your dog and you threw a hammer through a window? Is that right? You threw a hammer through a sliding glass door?Barry starts to WELL WITH TEARS, which he hides veryquickly, holds a hand up to his face as if he's touching hisnose, and then he smiles; BARRY I don't remember that, she might be lying. I have to go the bathroom.He gets up and goes. CUT TO:INT. BATHROOM - MOMENTS LATERBarry walks in and goes a little crazy. He's mad at himselfand he HITS a stall....it seems loose already and fallsstraight to the floor.This makes him go crazier and he continues to BEAT and KICKthe shit out of the bathroom/stall.HOLD. He collects himself and then he hesitates, looksaround, tries to collect the bathroom but it's in ruins, heexits.... CUT TO:INT. RESTARAUNT - MOMENTS LATERBarry comes back and sits down, seems a little better. Triesto be a little flirtatious for half a moment before: theMANAGER comes over, leans in carefully; MANAGER Hello. LENA & BARRY Hi. MANAGER Sir, can I talk to you? BARRY Why? MANAGER Just have you for one second, please.He looks to Lena, excuses himself.ANGLE, OFF TO THE SIDE.The Manager and Barry step away, in a quiet section of therestaraunt, 2-shot, profile, in sotto; SLOW ZOOM IN. MANAGER Sir, the bathroom was just torn apart. BARRY Yeah. MANAGER Did you do it? BARRY No. MANAGER You didn't just smash up the bathroom? BARRY No. MANAGER Well who did? BARRY I don't know. MANAGER You're hand is bleeding. BARRY I cut myself. MANAGER How? BARRY On my knife. MANAGER Sir, a young man saw you coming out of the bathroom. BARRY I didn't do that.BEAT. BARRY Why? ...what? MANAGER Your hand is bleeding. BARRY I know. MANAGER I'm gonna have to ask you to leave. BARRY Why? MANAGER Sir, I have no way of proving that you demolished the bathroom -- BARRY I didn't do it. MANAGER Alright, well you're gonna have to leave. You're gonna have to go. BARRY Yeah, but I didn't do anything. MANAGER I'm gonna call the police then, sir. BARRY Please don't do this to me. MANAGER The police are on their way. BARRY Sorry.He starts to move back.... BARRY Can I pay you here? Can I pay you for our drinks and salad? MANAGER That's fine.Barry takes out some money and hands it over. BARRY Keep the change, please.ANGLE, BACK AT THE TABLE.They walk back to the table and Barry whispers down to her,very close, STEADICAM (leads them out - continuous) BARRY We should go I think, I don't like it here. LENA Ok.They head out of the restaraunt. LENA Is everything ok? BARRY Yes. LENA What happened? BARRY Nothing. LENA What did he want? BARRY Nothing.They walk a bit. BARRY I have a better idea of where we can go. LENA Ok.They walk some more. BARRY There's a better place for us to eat. LENA Did something happen; are you alright? BARRY Yes I'm fine. Everything is ok. It's fine. Everything is fine.They walk some more and get in the car. CUT TO:INT. BARRY'S CAR - DRIVING - NIGHT75mm OVER ONTO BARRY. 75mm OVER ONTO LENA. Rear process orpoor man's process. LENA So....how is your harmonium doing?Barry looks at her...... LENA Your portable reed organ....the piano. BARRY Well, it's fine. Thank you. LENA Did you pick it up from the street? BARRY What? LENA Did you take it from the street in front of your work? BARRY ...yes I did...? LENA Are you learning how to play it? BARRY Yes? I'm trying. LENA Oh that's great.BEAT. LENA So you must travel a lot with all that pudding you bought? BARRY Yes no not really.INT. LENA'S APARTMENT - LATERLena and Barry finishing up the date; BARRY Ok....well...I'm gonna go. LENA ...yeah... BARRY It was nice to see you again, to see your face again, to go out with you -- LENA I'll be around and back in town in a few days -- BARRY Yeah. LENA If you come to Hawaii -- BARRY Yeah, I don't know, we'll see about that. LENA You don't think you'll go -- BARRY I don't know. LENA Ok. Well call me when you get back, I mean, I'll call you when I get back. I'll be back for three weeks and then I go away for a month after that. So maybe in that time.... BARRY Ok. Have a good trip.They do a shake hands/kiss on cheek goodbye.CAMERA IN THE HALLWAY with Barry as he walks away .....CAMERA follows him as he swiftly walks away. CUT TO:INT. RECEPTION AREA/LENA'S BUILDINGBarry steps out of the elevator and walks to the exit,passing a RECEPTION DESK WOMAN.....we hear the PHONERINGING......she calls out; RECEPTION WOMAN Are you Barry? BARRY Yes. RECEPTION WOMAN It's for you.Barry walks towards the phone; BARRY This is Barry. LENA (OC) This is Lena. BARRY Hi. LENA (OC) I just wanted you to know, wherever you're going or whatever you're doing right now I want you to know that I wanted to kiss you just then. BARRY Really? LENA Yeah. BARRY So what do I do then?INT. MAZE OF CORRIDORS - MOMENTS LATERBarry is walking up and around, looking for the spot. Two orthree shots of various, him getting a little/slightlylost.....running/walking.... CUT TO:INT. HALLWAY - THAT MOMENTCAMERA pushes down towards him as he walks towards the door.He knocks, she opens up, CAMERA SLIDES right in and lands asthey KISS and then the kiss turns into a small hug and thenthey talk, real close. HOLD. BARRY That was good. LENA Yeah. BARRY I'll see you later. LENA Ok. BARRY I don't freak out very often. LENA What do you mean? BARRY I don't, no matter what my sisters say, ok? LENA ...I don't know what you mean.... BARRY I don't freak out. LENA Ok. BARRY Have a good trip. LENA Thank you.CAMERA behind Barry as he walks away...HOLD BEHIND HIM FOR ABIT LONGER THEN EXPECTED; CUT TO:INT. BARRY'S APARTMENT/GARAGECAMERA inside the garage. Barry pulls inside and parks his car.ANGLE, BEHIND THE CAR. Brake lights turned off, Barry stepsout.INT. BARRY'S APARTMENT/KITCHEN - THAT MOMENTCAMERA on Barry's trash can, the kitchen light comeson....SLOW PUSH IN....He enters FRAME and lifts the trashbag out.EXT. BARRY'S APARTMENT - LATERCAMERA is behind Barry now in a new location....he's walkingfrom his garage where he's just parked his car over to hisgarbage area as he throws something out.......he looks up and sees... Jim and Nate driving the ToyotaPick Up Truck...he cruises past slowly....keeps going....thenmakes a u-turn...Barry turns around and DAVID and MIKE D areright there... DAVID Hey. BARRY Hi. DAVID I need to talk to you for a second. BARRY What? DAVID You gotta give me some money.Barry starts to walk away....David walks alongside him,casually.....Barry looks over and sees the car has pulledup.... DAVID You made a phone call and you said you'd help a girl out and then you didn't....I'm here to get the money. BARRY Wait a minute -- DAVID No, no, no, no c'mon man, don't make it a thing -- BARRY Please don't do this. DAVID It's just you need to give me the money...do you have it right now?MIKE D violently PUSHES BARRY STRAIGHT TO THE GROUND. BARRY Whoa...whoa...wait, wait -- don't please.... DAVID How much money do you have in your pockets? BARRY Just take it, take the money in my pockets, take it, it's fine --They grab the money from his pockets as they hold him downon the ground; BARRY It's three hundred and twenty dollars, just take it. DAVID What do you have in the house? BARRY Nothing....I mean, really...change, nothing....that's the cash I have.... DAVID You have an ATM? BARRY Yes. DAVID Is this where you live? BARRY Yes. DAVID You have another house somewhere or something? BARRY No. MIKE D This is three hundred and twenty. Let's just go to your ATM and that'll be it -- BARRY I didn't promise her money. She said that it was confidential, this isn't fair --Mike D pushes Barry's face. MIKE D Shut up, be quiet. Be quiet. BARRY -- don't -- DAVID HEY. You made a fucking sex call and now you're gonna pay. It's not a big thing -- just give us some money and then it's over -- we'll just walk down to the ATM and get your money out -- BARRY Alright, alright.They pick him up and then; BARRY How do you want to do this? MIKE D Let's just go to the corner, we saw a place on the corner, you'll just get your max out and that's it -- you get out what you can and that's it -- CUT TO:EXT. GROCERY STORE/BANK PARKING LOT - NIGHTCU. BARRY at the ATM. Various CU's as he puts his card in,presses his info, etc. He looks over his shoulder;ANGLE, THE BROTHERS.CAMERA SLOWLY PUSHES IN on the three of them watching Barry.CU.'s MONEY comes out of ATM. Card comes out. Receipt comesout. Barry grabs the money. DAVID Ok. This is what you get when you're a pervert -- you said you'd help someone out and you didn't so we're just getting some money for her and that's that. BARRY You know, please, I just wanna say that I didn't say I would help her out; I was very clear about it....I don't think that this is fair.....wait, wait, wait, ouch, ouch.....MIKE D walks up out of nowhere and straight towards Barry -throws a PUNCH straight to his FACE.....Barry stumbles abit, goes down to the ground.....he NOTICES IN A QUICKFLASH: Their UTAH license plate...... MIKE D You don't challenge what my brother's saying, you don't say that --....Barry makes a mad run for it.....EXT. STREETS & ALLEYS - NIGHTANGLE, BARRY. - VARIOUS ALLEY WAY/STREET SHOTS.He turns some corners.....makes his way down a side streetand through an alley or two....and then he's running like amad man as fast as he can down the street......EXT. STREET NEAR ATM - NIGHTCAMERA tracks profile with him...........The Boys pull up along side him slowly.....Barry looksover.....Mike D calls out from the passenger window; MIKE D Where the fuck are you going?Barry starts to slow down. CAMERA behind....as he slows, wepush in....land....he turns into CU. and walks back theopposite direction......INT. BARRY'S BEDROOM - NEXT MORNINGCAMERA holds on Barry as he wakes up. He's dressed in a FULLBASKETBALL OUTFIT. Lakers shirt, shorts, high tops, etc.Small bandage over his ARM. He looks down at the outfit; BARRY ...what the hell? CUT TO:INT. WAREHOUSE/BARRY'S OFFICE - MORNINGCAMERA DOLLIES/ZOOM in real quick to Barry at the Harmonium.A few more notes are played, something starting to sort ofsound like a melody......but still a little broken....HOLD.SCORE begins here (ref.notes)INT. WAREHOUSE/BARRY'S OFFICE - MOMENTS LATERBarry brings Lance in and closes the door, speaks sotto, then; LANCE What's up? BARRY I think I got in trouble. A little bit of trouble.... LANCE What happened? BARRY ....I made a call..... (beat) ....and, uh....BEAT. Barry looks over Lance's shoulder and sees THE PUDDINGstacked up. He stares for a moment; BARRY ...ok.....ok......I gotta get some pudding to go somewhere....One of the WORKER'S pops his head in, says; WORKER Telephone on Line One, Barry.He picks up the phone; BARRY Hello? RHONDA (OC) I need to talk to you about your behavior the other night --Barry hands up the phone real fast. BARRY (to Lance) Ok. Well. I'm gonna go out of town. I'm going to go out of town just for two days... LANCE Where you goin? BARRY I'm going to go to Hawaii but you can't tell my sisters that. LANCE Wow, you're goin' to Hawaii, that's great -- you're goin -- ? BARRY Yeah but you can't tell my sisters that. LANCE Ok. BARRY Alright: And I have to go and buy some more pudding for this trip to Hawaii and as I just said that out loud I'm realizing it sounds a little strange but it's not. So can you come and help me out? LANCE Ok. CUT TO:EXT. WAREHOUSE - MOMENTS LATERBarry and Lance exit the warehouse and get into Barry's car -- CUT TO:INT. SMART AND FINAL - DAYBarry and Lance are filling up an EXTRA LARGE SHOPPING CARTwith PUDDING as Barry explains, CAMERA pushes in; BARRY I saw the Teriyaki Chicken first and that was $1.79 and then the Soup which made a real deal but then to come across the pudding...it's just tremendous when you think about how most people just don't look...they don't....they're not looking at the fine print, Lance. CUT TO:INT. SMART AND FINAL/CHECK OUT - MOMENTS LATERThey're unloading the pudding which comes in packets ofthree, but Barry and Lance are taking them out of thosepackets and handing them to the CHECK OUT GIRL one by one..... BARRY (to Girl) They need to be scanned individually. They each have a bar code, so I need it scanned individually so that each and every cup appears on the receipt... CHECK OUT GIRL What is this, man? BARRY I'm sorry. CHECK OUT GIRL Are you serious with this? BARRY Yes. Sorry. CHECK OUT GIRL Well....what do you want, then? BARRY Each pudding cup has to be scanned individually so that...it's for a giveaway...a product giveaway by this company... CHECK OUT GIRL This is a bunch of bullshit. BARRY I'm sorry, I know. I know that it's....BEAT. She scans them over and over and over....then: BARRY I'm sorry, I'm really sorry.She scans and scans and scans and scans.... BARRY Sorry. I'm sorry, ma'am. CUT TO:EXT. SMART AND FINAL - DAYBarry and Lance pushing the shopping carts....Barry looksacross the parking lot and sees:A TOYOTA PICK UP coming slowly towards him and Lance......Barry starts to move steady/swiftly towards hiscar...Lance tries to keep up....Barry gets nervous, looksleft and right.......The Toyota passes and it's nothing.....Barry and Lanceload the pudding in his car as Barry acts as if nothinghappened. He turns and sees a BABY in a shopping cart and hereacts; BARRY God Damn They're So Beautiful. CUT TO:INT. SUPERMARKET - DAYBarry and Lance stack pudding in, Barry says; BARRY You know you can get places in the world with pudding. That's funny. LANCE Yeah. BARRY That's funny. CUT TO:EXT. PARKING LOT/ANOTHER SMART AND FINAL.Barry and Lance walk together towards another Smart andFinal....they walk towards the SLIDING DOORS.....that do notslide open...Barry walks face first into the doors andquickly turns around and heads back to the car... BARRY I guess they're not open today.CAMERA holds the long walk back to the car....Barry glancesboth directions.....cautious and careful......sees nothing... BARRY That's fine. I think I have enough.He walks a little faster and gets in the car.....HOLD....SLOWZOOM IN....SOUND DROPS out.....he just sits, then, to Lance; BARRY I get really sick of myself sometimes. CUT TO:INT. BARRY'S WAREHOUSE - DAYCAMERA pushes in quick, Barry on the phone; BARRY No, no, no, no, no. What do you mean? It doesn't state anywhere about six to eight weeks. OPERATOR VOICE It takes that much time to process the order and make sure it's valid -- BARRY I had this whole thing in my head, I was gonna be able to get this to you today -- I have to leave today -- OPERATOR VOICE I'm sorry. BARRY How am I supposed to know what to do if you don't say it -- if it's not in your rules and regulations in your fine print how am I supposed to know how to be with this -- OPERATOR VOICE It takes time to process -- BARRY No, no, no, no, nO, NO, NO!Barry drops the phone to the ground, spins around and PUTSHIS FIST THROUGH THE WALL.....then drops down, lower hishead. CAMERA HOLD CU. as he stops himself, tries to breath; BARRY Don't do that. Don't do that. That's not right. Calm down now, please. Please. Ok. Ok. Calm down now please.HOLD. "He Needs Me," starts. He closes his eyes. JUMP CUT TO MOMENTS LATER:INT. WAREHOUSE AREA - MOMENTS LATERBarry walks over to Lance; BARRY Ok: the pudding is gonna take six to eight weeks to process so that isn't gonna work for today, I'll just take a bath on that today. Ok. But here's the thing I gotta tell you:BEAT. He looks around at the pudding. BARRY ....now: this pudding? LANCE Yeah. BARRY Let's just figure that out later -- (beat) Ok. I gotta go. I'm just gonna go now and I'll call you from there, you're in charge 'till I get back. And don't tell my sisters anything?He exits. CUT TO:INT. LOADING AREA/PLANE - DAYCAMERA (STEADICAM) follows him from the ticket handoff downthe corridor onto the plane. CUT TO:INT. PLANE - DAYCAMERA holds 2-shot on Barry and a BUSINESS GUY sittingtogether, just before take off.....HOLD, THEN: BARRY I've never been on a plane before.BEAT. There's the SOUND of the plane starting to move. BARRY What's that sound? CUT TO:INT. PLANE - IN FLIGHT - LATERBarry sits. BEAT. HOLD. We hear the sound of a BABY CRYING.He looks across the aisle and sees:A small, THREE YEAR OLD CHILD crying, behind held by itsFATHER. The baby stops crying for a moment, calming down,breathing heavy, looks around with wide eyes.CU. BARRY.HE WELLS WITH TEARS AND A SMILE, CRINGES IN HIS FACE AND WESEE THE BUILD UP OF EMOTION, HIS VEINS POP FROM HIS FACE ANDTHEN HE SMILES LIKE CRAZY, SMILING AND SMILING AND SMILING,BRIGHT RED AND PAINFUL. CUT TO:INT. HAWAII AIRPORT - LATE AFTERNOONHe walks along the airport, looking out onto planes and palmtrees and people, etc. CUT TO:EXT. AIRPORT/CURB - TAXI AREA - THAT MOMENTBarry hops into a TAXI. The CAB DRIVER asks: CAB DRIVER Where?Barry HOLDS a moment, then realizes he doesn't know, SNAPSINTO A CONTORTION, STARTS TO TEAR and almost SNAP and thennothing...... CUT TO:INT. WAKIKI STREET/PHONE BOOTH - LATERBarry on the phone amid a crowd of people passing; ELIZABETH Hey. What are you doing? BARRY Nothing. I'm just at work and I'm wondering, you know your friend Lena? INTERCUT:INT. ELIZABETH'S APARTMENT - THAT MOMENTCAMERA with Elizabeth; ELIZABETH What about her? You didn't ask her out, you're such a pussy -- BARRY ....she didn't, I didn't ask her out? ELIZABETH You're so scared. BARRY Do you know where she's staying in Hawaii? ELIZABETH Oh My God, yeah, I know exactly where she is, why? BARRY ......she forgot her purse at my work and I wanted to get it back to her. ELIZABETH No she didn't; that's a lie. BARRY I....please don't do this. ELIZABETH What? Tell me why you wanna know -- BARRY I just want to know where she's staying. ELIZABETH Tell me why.BEAT. HOLD ON BARRY. BARRY There is no reason for you to treat me like you do -- you're killing me, you are killing me with the way that you are towards me -- ELIZABETH -- what are you talking about, come on -- BARRY -- all I want is the number of where she's staying and that should be god damn good enough, now stop treating me this way, please -- Just Give Me The Number Elizabeth Please Now I think I will kill you if you don't. JUMP CUT TO:INT. WAKIKI STREET/PHONE BOOTH - MOMENTS LATERBarry on the phone; HOTEL OPERATOR Sheraton Wakiki, how may I direct your call? BARRY Lena Leonard's room please. HOTEL OPERATOR I'll connect you.BEAT. A MAN answers the phone; MAN'S VOICE Hello? BARRY Hello. Is Lena there? MAN'S VOICE You have the wrong room.He hangs up. Barry dials the number again. HOTEL OPERATOR Sheraton Wakiki, how may I direct your call? BARRY I just called, I got connected to the wrong room. I'm looking for Lena Leonard and there shouldn't be a man in the room I'm calling.BEAT. He's put on hold a moment, then it rings, then: LENA Hello? BARRY Lena? LENA Yeah? BARRY It's Barry. LENA HI. WHERE ARE YOU? ARE YOU HERE? BARRY Yes. LENA OH WOW. YEAH. THAT'S GREAT. YOU CAME, YOU CAME. What are you doing? BARRY I'm calling you, I'm standing in my hotel room, I came because I have my business trip -- LENA Well let's do something do you want to do something, can you meet me? BARRY You don't have a boyfriend or anything do you? LENA No. What do you mean? BARRY I just wanted to know. When was the last time you had a boyfriend? LENA About six months ago. Why? BARRY I just wanted to make sure. LENA When was the last time you had a girlfriend? BARRY Where you married? LENA yeah. BARRY Ok. So you were married for how long? LENA Do you want to meet me and talk about this stuff? BARRY Ok. Where are you from originally? CUT TO:INT. ROYAL HAWAIIAN/LOBBY - LATERBarry is standing, waiting....HOLD....he looks across thelobby and sees: Lena....she's walking towards him with asmile on her face.......Barry smiles and walks towards her.......she walks towards him.......he extends his arm out for a handshake as they getcloser.........she opens her arms for a hug as they get closer.......They shake/hug/kiss on the cheek.....then on the mouth.They start making out in the lobby of the hotel. CUT TO:EXT. ROYAL HAWAIIAN - PATIO/BAR AREA - MAGIC HOURCAMERA roams through the Mai Tai bar on the beach and findsthem; (Ladies K playing here.) LENA You got me out of my hotel room. You came and got me out of my room. BARRY Yeah......yeah..... LENA It's so nice. BARRY This really looks like Hawaii here.They look at each other. HOLD, THEN:ANGLE, MOMENTS LATER.They walk back towards the hotel. CAMERA (STEADICAM) behindthem as they move -- CUT TO:INT. ROYAL HAWAIIAN/HALLWAY - MOMENTS LATERCAMERA follows behind them as they walk......IRIS into theirhands.....she reaches over and holds his hand..... CUT TO:INT. ROYAL HAWAIIAN HOTEL ROOM - MOMENTS LATERThey're in bed making out with their clothes on and a lighton....they hold a second.... BARRY Do you wanna have sex? LENA Yeah.They take their shirts off. LENA Press together. It feels good.She cups his face with her hands and tenses; LENA Oh my god, you are so adorable. I just....god dammit. BARRY What's that? What is that that you're doing? LENA I just...your face is so adorable and your cheek and your skin, I wanna bite it....I wanna bite your cheek and chew on it....god damn cute....fuck.... BARRY I know what you mean, I know what you mean, I get this feeling -- LENA ...what...? BARRY IIIIIIIIIII don't want to hurt anything ever, but what I'm talking about is -- have you ever held a little puppy or a little kitten and it's just the cutest, softest, most precious thing in the world and out of the blue you get this feeling in your gut and all you wanna do is squeeze it. Just fuckin squeeze the shit out of it. To take a little puppy and smash its skull...just so precious, so beautiful. Just so god damn wonderful and cute you wanna smack it and kick it and love it. Fuck. I don't know. I don't know. And you, you.....I'm looking at you and I just....your face is so beautiful I just wanna smash it, just smash it with a sledgehammer and squeeze it...you're so pretty.They kiss and kiss and kiss; LENA I know. I know. I know. I just wanna chew your face and scoop out your beautiful, beautiful eyes with an ice cream scooper and eat 'em and chew 'em and suck on 'em. Fuck. BARRY This is funny. LENA Yeah. BARRY This is nice.They kiss and make out some more, then: DRUM ROLL into SNAREHIT THAT LANDS ON THE FOLLOWING SCENE: CUT TO:INT. TOYOTA - MOVING - DAWNCAMERA on Mike D and Nate driving. HOLD. Martin rumbles outof a half sleep and says; NATE That guy had more money to give up.JIM and DAVE wake up a bit in the back seat and listen; NATE Long way to drive just for seven hundred something bucks. Dean doesn't have to know.HOLD. SILENCE for a moment. MIKE D We're not that far....I mean, if we're going to, we're not that far.... CUT TO:EXT. HIGHWAY - NIGHT (BLUE SKY - CRACK OF DAWN DEAL)The Toyota exits the freeway -- CAMERA TRACKS right with itas it makes a turn at the base of the off ramp.......goes under a bridge and then makes a turn getting backonto the freeway heading in the opposite direction. CUT TO:INT. HAWAIIAN HOTEL ROOM - NIGHT/NEAR DAWN - LATERIt's dark and Barry and Lena are asleep in bed together.Barry gets up, in a haze....Lena moves and opens hereyes....She watches him as he gets up and casually goes tothe corner of the room and starts talking gently to thewall.... BARRY (sotto, calm) You know you're not supposed to do that. Because I told you. Seriously. Please. Not that day. Ok. LENA Barry?He doesn't respond. He's asleep. He moves to the closet andgets one of the HOTEL ROBES and puts it on and then he looksright at her and says: BARRY I was talkin' to you last Thursday about that.He gets the robe tied tight around his waste and then getsthe COMPLIMENTARY SLIPPERS and puts them on. Then he getsback into the bed and closes his eyes. CUT TO:INT. KAHALA HOTEL - MORNINGCAMERA pushes in slow towards Lena as she's on thephone....CAMERA pushes in on Barry as he sits across theroom, listening in his robe....They stare at each other thewhole time..... ELIZABETH (OC) They need to see the new 484's to make sure it works with their OC.... LENA Ok. What should I do about Eric? ELIZABETH (OC) Just tell him to call me. LENA Ok. ELIZABETH (OC) So...did my brother call you? LENA No. ELIZABETH (OC) I have no idea what he's doing then. I'm sorry that didn't work out. LENA It's fine. ELIZABETH (OC) You wouldn't want to go out with him anyway, honestly, he's such a freak sometimes. LENA He did seem a little strange. ELIZABETH (OC) Well...he's not that strange, don't say that. LENA I'm sorry. You're right. ELIZABETH (OC) I think he's weird, but that's me. LENA Should I call you later? ELIZABETH (OC) I'll just see you when you get back here. LENA Ok.They hang up and Lena looks to Barry and smiles. LENA Where do you have to go? BARRY For what? LENA For work..... BARRY I don't have any business here. I came here for you, I didn't have any business. CUT TO:EXT. TOYOTA - DRIVING - DAY (MELODY/SLIGHT)CAMERA follows behind The Stevens Brothers car, then gets upalong side them as they drive back....... CUT TO:INT. KAHALA LOBBY - DAY (SCORE BACK TO RHYTHMIC)Barry and Lena walk out to the valet, leaving thehotel...(STEADICAM) behind them...... CUT TO:INT. HONOLULU AIRPORT/SECURITY - DAY (CONTD. UNTIL NOTED)Lena and Barry go through the x-ray thing. STEADICAM. CUT TO:INT. AIRPORT/HONOLULU - AT THE GATE/WAITING AREASide by side on the return flight sit Lena and Barry. BARRY How many times have you been on an airplane? LENA I think maybe over a hundred. BARRY That's right you travel so much. LENA Yeah.BEAT. The plane starts to move. BARRY How much do you travel? You travel all the time?She nods her head, looks at him. BEAT. HOLD. BARRY I forgot about that. LENA Can I come home with you when we get there? BARRY Yeah. LENA It's ok to ask that. BARRY I thought that you were anyway.CU. BARRY'S FACE. He looks to Lena. DRUM HIT LOUD. THENAGAIN....THEN AGAIN....and we're in the score cue for.... CUT TO BLACK.It's BLACK FOR A FEW MOMENTS. CUT TO:INT. BARRY'S GARAGE - NIGHTIt's dark. The garage door opens and we see Barry and Lenain his car.....they're about to pull in.......THE TOYOTA PICK UP carrying The Stevens Brothers pulls inreal fast behind them and rear-ends them.......CAMERA pushes in real fast....Barry turns and sees Lena's head has been injured.....helooks behind and sees TWO OF THE BROTHERS EMERGING FROM THECAR..........he gets out quick, heads right for them.... MIKE D Get on the ground, man -- get on the fucking --Barry goes absolutely APE SHIT on MIKE D and NATE.........it's a mess of VIOLENCE and BRAWLING and Barry seems toget the best of both NATE and MIKE D......the two otherbrothers half get involved/stay in the car..........CAMERA pushes in on LENA (30fps) as she notices Barrygoing pretty fucking crazy......ANGLE. BARRY. As he walks and gets back in the car. CAMERAis attached to the open door and closes as Barry closes thedoor. BARRY Are you ok? LENA I'm fine are you ok? BARRY Yes I'm sorry. LENA What is this? BARRY Let's go to the hospital.They drive off.INT. HOSPITAL - LATERLena is getting a bandage applied to her head by an intern.It's very calm and she's very matter-of-fact as it happens.Barry stands nearby.....and OFFICER is asking her a fewquestions; LENA ...people are just crazy in this world, I think.... POLICE ...and he came up on the driver side... LENA The first man came on the driver side.... POLICE ...right...the blonde one? LENA They were all blonde.CAMERA moves over with Barry as he starts to back away fromthe scene.....CAMERA watches him as he walks off and away,down the hall.....out of the hospital......HOLD on the back of Lena's head as she gets bandaged andquestioned..... CUT TO:INT. BARRY'S WAREHOUSE - NIGHTCAMERA pushes in from outside, to inside...he's opened upand is using the phone.... SEXY VOICE RECORDING -- some of the horniest girls around -- stay on the line and an operator will be right with you....remember, have your credit card ready and know that Mastercard is my favorite credit card.LATISHA picks up doing a fake voice as an "Operator." LATISHA (OC) This is Janice the operator, who's this? BARRY My name is Barry Egan and I spoke to you....you called me, you remember? INTERCUT:INT. PROVO - BAR - BACK ROOM AREA - THAT MOMENTCAMERA pushes in on Latisha as she looks for what to say: LATISHA ...no....I don't....I don't remember you. Who's this? BARRY That's not true. That's not true at all. You said that your name was Georgia and you said our conversation was confidential and I trusted you and you kept calling and asking me for money, c'mon now I want to talk to your owner, your supervisor, whoever runs this, you understand. Please connect me now. LATISHA Can you hang on a second?She puts him on hold and dials another number, she's realnervous, holding it in -- INTERCUT:INT. DEAN'S MATTRESS/FURNITURE STORE - THAT MOMENTDean also seems to own a mattress/furniture store in Provo.Somebody walks towards him, says: WORKER Dean, line one....Dean walks back to the phone and picks it up; DEAN Hello? LATISHA Hey, it's me. This guy from L.A., Barry Egan is calling on the other line and saying all this stuff, he wants to talk to a supervisor or whatever -- DEAN What did you say? LATISHA Nothing. DEAN Put him through. LATISHA No, no. This is bad, something might have happened, we should just -- DEAN Shut up, just put him on the phone, it doesn't matter, just shut up --INTERCUT NOW WITH BARRY/LATISHA/DEAN; She clicks over to him; LATISHA Ok, sir....I'm gonna put you through to my supervisor. BARRY Fine, thank you. LATISHA Ok. You're connected. DEAN Who is this? BARRY Hello, my name is Barry Egan and I called your service -- DEAN Why don't you shut the fuck up? BARRY What? DEAN I said calm down and shut the fuck up. What's your problem? BARRY I haven't even told you what's happened. Your girl that you have that works there for you threatened me and two men just chased me -- extorted money -- DEAN Go fuck yourself that shit doesn't have anything to do with me - this is a legitimate bossiness. BARRY YOU GO FUCK YOURSELF. YOU GO FUCK YOURSELF. YOU GO FUCK YOURSELF. MY LOVE WAS HURT, SHE GOT HURT. I AM IN LOVE WITH HER AND YOU HURT YOU AND YOU ARE GONNA FUCKING GET HURT. YOU DON'T TOUCH HER, I LOVE HER. DEAN CALM DOWN SHUT THE FUCK UP AND CALM DOWN SHUT SHUT SHUT UP SHUT UP --They stop screaming. Then: DEAN Now are you threatening me, dick? BARRY You are bad. You are a bad person. you are a bad person and you have no right to take people's confidence in your service -- DEAN You better watch your mouth, cunt, you're gonna get hurt. BARRY NO. NO. DON'T YOU SAY THAT. DEAN I'll say whatever I want -- BARRY YOU FUCK OFF. YOU FUCK OFF AND DIE I WILL HURT YOU FOR HURTING HER. YOU HURT HER. DEAN You just told me to fuck off. That wasn't good. You're dead.Dean hangs up the phone.ANGLE, BARRY. He turns away and walks quickly out of hisoffice with the phone receiver to his ear.....the base ofthe phone slides off the desk.....and then the receiver RIPSfrom the base and he starts to run....EXT. WAREHOUSE - NIGHTBarry runs down the alley way, much the same he ran downwith the harmonium at the beginning of the movie...this timehe has the phone in his hand.....he runs...... CUT TO:INT. HOSPITAL/RECEPTION AREA - NIGHTBarry returns looking for Lena. She's not there.He looks around....does some math in his head.....then: CUT TO:INT. HOSPITAL/PAY PHONECAMERA rounds a corner and discovers Barry on a payphone...the other end is ringing.....(Sound/Prop Dept.Note:This must be a working phone to call 801-555-1212) OPERATOR What city? BARRY Somewhere in Utah. OPERATOR What's the listing? BARRY D&D Mattress Man. CUT TO:EXT. STREET/MATTRESS STORE - DAYCU. on Barry....(UTAH CAB behind him) pan him around toreveal; Dean's furniture store. CUT TO:INT. MATTRESS STORE - DAYHe enters....and EMPLOYEE approaches; EMPLOYEE May I help you? BARRY I'm looking for the Mattress Man. EMPLOYEE Who? BARRY Whoever owns this. EMPLOYEE In the back.....Barry walks towards the back.....he rounds a corner....toreveal:DEAN is in a back room, he's getting his hair cut byLATISHA.....he turns and looks at Barry, who stands therewith the phone in his hand.They stare at each other. BARRY I'm a nice and reasonable man. I didn't do anything wrong. Please don't make me hurt you. And I'm telling you: that if you ever hurt me or if you hurt someone that I love.....I will hurt you many, many, many times over.....because it's not right to take people's trust. DEAN You came all the way from Los Angeles to tell me that? BARRY Yes I did.Dean doesn't respond. BARRY Can we agree that that is that? DEAN That's that. BARRY Thank you.Barry hands him the phone.Barry exits.....as he's about to go out the doors, Deanscreams; DEAN NOW GET THE FUCK OUTTA HERE MAN.CAMERA, PUSHES IN VERY SLIGHTLY ON Barry as he exits thedoors (30fps) CUT TO:INT. WAREHOUSE - DAYBarry comes running into the warehouse....Lance and all theworkers are there.....he runs past them... LANCE/WORKERS ....are you ok? What's goin' on? Barry? Barry? BARRY I'm fine....I'm fine...yes I'm fine.... LANCE Where you been? BARRY Well I had to go to Utah...but now I'm here and I'll be right back. CUT TO:INT. LENA'S APARTMENT - CORRIDOR/VARIOUSVarious: Barry gets out of the elevators carrying theharmonium....he makes the left turn this time.....Barry runsdown the hallway with the harmonium.....(long lens,steadicam from behind, in front, etc.) CUT TO:INT. LENA'S APARTMENT/HALLWAY - THAT MOMENTHe bursts through the door. He places the harmonium down onthe ground.....He rings the bell........she answers....he says: BARRY Lena I'm so sorry. I'm so sorry that I left you at the hospital..... I called a phone sex line. I called a phone sex line before I met you and then these four blond brothers came after me and you got hurt and I'm sorry -- and I had to leave because I don't want you to get hurt again and now I'm here and I'm back and I have a lot of pudding that I can redeem in six to eight weeks and if you give me that much time I can get enough miles to fly with you wherever you have to go if you have to travel for your job because I don't want to be anywhere without you.....can you please let me redeem the mileage? LENA You left me at the hospital. BARRY I'm sorry. LENA You can't do that. BARRY Ok.BEAT. BARRY If you give me six to eight weeks I can redeem the mileage and then I can with you wherever you have to travel...... LENA So here we go.CAMERA PUSHES IN AS MY KISS.REVERSE, BARRY.CAMERA slowly pushes in as he hugs Lena. LAND IN CU. FADE OUT... diff --git a/unformated_scripts/Script_Purple Rain.txt b/unformated_scripts/Script_Purple Rain.txt new file mode 100644 index 0000000000000000000000000000000000000000..6f9de8c6f24a3446459c0f42ec2e09dc9c0d24b0 --- /dev/null +++ b/unformated_scripts/Script_Purple Rain.txt @@ -0,0 +1 @@ + P U R P L E R A I N Screenplay by Albert Magnoli Formerly Dreams by William Blinn Scanned & Edited by lovesexy (lovesexy@umich.edu) Cyberpublished by P.L.T.T. (pltt@umich.edu)------------------------------------------------------------------- (1) Black Screen SOUND under: MUSIC building in INTENSITY as-- PRINCE (over) Dearly belov`ed, We are gathered here today To get through this thing called life. Electric word life, It means forever and that's a mighty long time. But I'm here to tell you that there's something else -- The afterworld. Then huge CU of EYES opening, gazing into mirror, HAND applying makeup, sudden BLACKNESS, then-- PRINCE (con't) That's right...a world of never-ending happiness, You can always see the sun -- Day or night. BURN IN MAIN TITLE: PURPLE RAIN PRINCE (con't) So when you call up that shrink in Beverly Hills, You know the one -- Doctor Everything'll Be Alright-- Instead of asking him how much of your mind is left, Ask him how much of your time, `Cause in this life, Things are much harder than in the afterworld, In this life, You're on your own. Now, pulsating COLOR -- FLASHES of hot, white LIGHT... PRINCE (con't) And if de-elevator tries to bring you down, Go crazy, punch a higher floor. and the BEAT provocative now, relentless, BUILDING with fierce intent to-- (2) INT. CLUB (1ST AVE. ST. BAR) -- NIGHT The MECCA! The last stop for a band before national fame. The HUGE cavernous HALL is PACKED! PEOPLE are DANCING like MAD! VIDEO SCREENS with WILD GRAPHICS hang suspended from the ceilings. Beautiful WAITRESSES criss-cross the floor in a frenzy. PRINCE is CENTER-STAGE -- LIPS caressing the mike, black, lustrous hair shining, eyes dancing -- SINGING "Let's Get Crazy" as the CROWD pulsates beneath the LASER LIGHTS. The MUSIC continues as we ... CUT TO: (3) EXT. STREETS #1 -- NIGHT A TAXI pulls UP with a SCREECH. VANITY slouches in the backseat. Black boots, black skin-tight pants, and a mane of thick, black hair presents a beautiful and imposing figure. Her eyes are large and dark -- her look open and ripe. She knows what she's got, and doesn't make any excuses for it -- but the fact is she's scared as hell, possessing a vulnerability that surprises her by its suddenness. An expensive gold chain is fastened on one boot. She scrounges through her bag -- pulls out her remaining cash. It's drastically short of what she owes and she knows it. She tosses it onto the front seat, JUMPS from the cab, streaks across the street. The CABBIE lets out a YELL and JUMPS out after her. "Let's Get Crazy" continues as we ... CUT TO: (4) INT. SHOWER, MORRIS' APT. -- NIGHT MORRIS DAY stands in the shower, steam whirling about his face. He's 22 years old, matinee-idol sexy with large, dark, bedroom eyes. He headlines a slick techno-funk group called THE TIME which sports gangster suits and wide-brimmed hats. He's gifted with a wealth of self- laudatory humor which he uses like a knife, moving through life with a calm, but ruthless grace. Make no mistake, Morris is nobody's fool. His seeming out-raceousness, his charm -- every move he makes is for a calculated effect. He knows exactly what the ladies need, and doesn't mind reminding them should they forget ... He breaks into a wide grin. Hair standing up like Don King, he wipes off a hand mirror, regards himself unabashedly as he brushes his teeth. "Let's Get Crazy" continues as we... CUT TO: (5) INT. BASEMENT, PRINCE'S HOME -- NIGHT Prince sits in front of the mirror, finishes applying his makeup. Black hair flowing, eyes wide and fantastic, he regards himself a moment before jumging up. He puts on a high-collared overcoat, grabs his guitar moves quickly to the basement window. He hoists himself through it, disappears into the night. "Let's Get Crazy" continues as we ... CUT TO: (6) EXT. CORNER, STREETS #1 -- NIGHT A POLICE CAR, lights FLASHING, sits at the curb. A small CROWD has rathered about. The Cabbie stands on the sidewalk gesticulating angrily to a COP. Vanity stands by the police car, obviously board, another COP by her side. Her eyes are fastened on a good- looking BUSINESSMAN standing nearby... A silent negotiation seems to be going on. Understanding wafts between them like a passing breeze. Without taking his eyes off her, the Businessman approaches the Cabbie, starts talking ... "Let's Get Crazy" continues as we... CUT TO: (7) INT. MORRIS' BEDROOM -- NIGHT Morris moves lasciviously into the BEDROOM wearing a red muscle T-shirt, orange baggy shorts, and green knee-hi socks fastened to garters. A yellow bandanna holds up his hair. The bedroom is a MESS. A VACUUM CLEANER stands like a sentry in the middle of the floor. He turns it on, blazes a path to his closet. He yanks out a well- pressed suit, holds it against him, strikes a sexy, half-lidded pose only a mother could love-- MORRIS (awed) Oh, Lord ... "Let's Get Crazy" continues as we ... CUT TO: (8) EXT. CLUB (1ST AVE. ST. BAR) -- NIGHT The STREETS are swollen with TRAFFIC. KIDS are packed onto the sidewalk, waiting to get into the club. Prince, riding his MOTORCYCLE, weaves between jammed cars, then blasts down a narrow alley leading to the rear entrance. His guitar is slung across his back. He chains up his bike, moves past a CROWD of KIDS, cuts inside. 'Let's Get Crazy" continues as we ... CUT TO: (9) EXT. STREETS #2 -- NIGHT A SEVILLE sweeps to a stop. The Businessman is at the wheel. Vanity steps from the car languidly and offers a curt wave goodbye. The car pulls away. She stands serenely a moment as the CAR twists around the corner. She grabs her bag, rushes into a dark alley. She pulls a handful of CASH from her pocket, counts through it quickly. 'Let's Get Crazy" -continues as we ... CUT TO: (10) EXT. MORRIS' APARTMENT -- NIGHT The DOOR opens -- Morris steps confidently into the night. The change in his appearance is breathtaking. A cashmere coat is draped over his shoulders, a white scarf hangs loosely about his neck. Wearing a sharp, gangster-style suit, his hair is a pompadour, and Stacy Adams on his feet - - Morris is the very picture of elegance. He doesn't just walk to the curb, he slides -- his promenade punctuated with a dip at the knees you could snap your fingers to. JEROME is at the curb, buffing down the bumper of a yellow, 1970 Fleetwood Cadillac. Jerome is solidly built, smooth-faced handsome with a boyish charm all his own. He's a member of The Time, and acts as Morris' chauffeur, valet, and all-purpose shadow. He moves quickly to the door, holds it open as Morris settles himself into the backseat. He closes it with a flair, hops behind the wheel, pulls out. 'Let's Get Crazy" continues as we... CUT TO: (11) INT. DRESSING ROOM, CLUB -- NIGHT Prince is BACKSTAGE, practicing spins in front of the mirror. The other MEMBERS of his CROUP are scattered throughout the room. BOBBY sits off to the side, his drumsticks tapping against his knee. MATT puts on his doctor's smock. LISA and WENDY finish applying their makeup. MARK runs his fingers up and down the neck of his bass guitar. Suddenly a STAGEHAND pokes his head into the room, holds the door open as Prince and his band cut quickly to the stage. 'Let's Get Crazy' continues as we... CUT TO: (12) INT. MOTEL ROOM -- NIGHT The DOOR opens -- A LIGHT goes on. Vanity stands in the hallway, peers cautiously into a squalid, rundown room. She hesitates briefly, seems to sigh, then indicates she will take it. The MANAGER closes the door as he leaves. She stands a moment, surveys the room. A bed and bureau, sink, a chair, hotplate -- simply the essentials. She pulls a dress from her bag, a pair of hi- heels, some gloves, underwear. She hangs the dress on a rod, places the shoes beneath it, arranges the rest in a bureau drawer. She looks around once more -- flowered wallpaper peels from the walls. She rushes to the window, tears open the shutters -- iron bars obstruct her view... (13) EXT. CLUB -- NIGHT (VANITY'S POV) ... KIDS are crowded in front of the CLUB. A YELLOW CADDY SCREECHES up in front. TRAFFIC is jammed all around. The night is electric -- the scene beckons ... (14) INT. VANITY'S HALLWAY -- NIGHT She runs from the room, cuts down the hallway, slanming the door behind her ... "Let's Get Crazy" continues as we... CUT TO: (15) EXT. CLUB (1st AVE. ST. BAR) -- NIGHT Jerome opens the door of the CADDY, helps Morris out. The CROWD recognizes them immediately, rushes in for a closer look. Morris loves the attention, plays to their enthusiasm with a relish. Jerome snaps a comb into his hand, holds up a pocket mirror ... Morris combs his hair dramatically, the Crowd encouraging him on. Jerome gives him the OK sign, ushers him into the club. "Let's Get Crazy" continues as we... CUT TO: (16) INT. CLUB (1st AVE. ST. BAR) -- NIGHT Prince onstage performing "Let's Get Crazy." He's locked into a guitar solo, moving provocatively with Wendy. The CROWD is packed onto the DANCE FLOOR, thick against the stage. Jerome makes his way through the crowd, blazing a path for Morris who is surrounded by a dozen BABES. Occasionally Morris glances at Prince -- discloses by his look that he doesn't care much for his act -- or his music... He breaks off from the Girls, follows Jerome to the backstage entrance where they're joined by other MEMBERS of The Time -- JESSE and JELLYBEAN among them. Morris casts another glance toward Prince, breaks into a self-satisfied grin-- MORRIS We're going to slay him... (screams) Whawhak! "Let's Get Crazy" continues as we... CUT TO: (17) EXT. CLUB -- NIGHT COMMOTION! The CROWD has become unwieldly -- TRAFFIC is snarled all around. HORNS are BLARING. COPS try desperately to ward off the inevitable grid lock. Vanity runs against the light, moves to the head of the queue to the accompaniment of JEERS and CATCALLS. She doesn't budge an inch, KNOCKS rapidly on the glass door, catching the attention of CHICK, a burly, 6'5", 285 pound bouncer with a white beard and long flowing hair. An ex-Marine, Chick's function is obvious. He cracks the door-- CHICK What? VANITY I have an appointment with the manager. CHICK No you don't -- he doesn't see anybody. Suddenly a FIGHT breaks out at the INSIDE MONEY WINDOW. Chick spins instantly, SLAMS the door -- but Vanity jams her boot into the narrow space. The door crashes against her instep, she winces in pain --but Chick doesn't notice. He's already upon the OFFENDERS, heaving them against the wall. Vanity streaks inside, blazes up the stairway, ducks behind a GROUP of GIRLS... CHICK turns instantly -- the door is closed -- VANITY, gone. His eyes dart up the stairway -- nothing. He shrugs, drags the Two Guys off. (18) INT. CLUB -- UPPER BAR AREA -- NIGHT VANITY watches as he moves away. She jumps up, lunges onto the dance floor, CRASHES into a waitress, JILL, whose tray SMASHES to the floor-- JILL What are you retarded or something?! Why don't you look where you're going? She's 18 years old, blonde and pretty in a cute, innocent way. A Daisy Mae-type whose emotions form so quickly, she has trouble sorting them out. Right now she's mad as hell -- she thinks-- VANITY Sorry ... where's the office? Jill squats, picks up the broken glasses- - JILL Do you think you can just come in here and take over? VANITY I said I'm sorry -- what do you want me to do? Where's the office? Jill points -- Vanity hurries away -- JILL (triumphantly) No one's in! Vanity stops dead in her tracks, does a slow burn. She walks back to Jill-- VANITY Okay, so you got me back, fine. Listen, I'm from out of town. I have to see the manager, it's important. I'm a real good singer and dancer. I know he could use me. JILL Do you have any experience? Vanity simmers, enunciates every word-- VANITY Yeah...definitely. JILL Follow me. And she turns on her heels, makes her way through the club, moving into the vicinity of the stage. Vanity follows her reluctantly, casts a look to the band. She spots Prince for the first time -- stops instantly... His effect on her is instantaneous. Passion surges through her like a tidal wave. His hair, face, eyes -- it all conspires to make her weak. It's like meeting someone for the first time, but seeing so much of yourself in them, that their lips, eyes, mouth -- you're certain you have touched, and the desire to be with them becomes so strong that the very act of touching will release you in a way you never thought possible... Prince brines "Let's Get Crazy" to a rousing, blistering end. Suddenly the stage is plunged into darkness. The CROWD goes WILD! ...Vanity snaps out of it. Jill is tugging at her arm, a puzzled look on her face-- JILL Here, fill this out -- I'll have him call you. VANITY I don't have a phone. When will he be back? JILL Well...you can try tomorrow. VANITY You can count on it. Vanity hands the card back to her -- Jill reads the name, address -- looks up puzzled-- JILL Vanity?? BACKSTAGE as Morris and The Time pass Prince on their way to the stage-- MORRIS Why don't you stay awhile, see how it's done. The Band Members bust up -- but Prince ignores them, then-- MC Ladies and gentlemen -- please welcome The Time. CLUB Sudden APPLAUSE and CRIES. Vanity and Jill turn directly into the path of Prince, descending the Steps of the stage. Vanity gasps, LOCKS eyes with him. Jill seems to jump out of her skin -- it's obvious she has a crush on him something awful-- JILL Hi ya, Prince -- God I liked that song, it's real fun. She fidgets uncontrollably, Vanity's card buring a hole into her hand. Prince glances at the card, then stares at Vanity, the ripeness of her look paralyzing. He tears his eyes away, puts on his sunglesses, looks toward the stage. (18A) INT. CLUB -- NEAR STAGE -- NIGHT MORRIS and The Time rip into a funk tune called "Jungle Love." Their stranglehold on the audience is instantaneous. Morris struts across the stage like a panther, playing to the audience with a relish. His eyes fastened on Prince -- his pride umistakable. PRINCE watches Morris a moment, then eyes Vanity again. The heat between them is apparent. Vanity's heart is pounding, she's not sure what to do. She keeps her eyes on Morris, hoping that a Solution will present itself. PRINCE watches as Jill tacks the card to a board behind the bar. Sizing up the situation quickly, he again glances at Vanity -- but her eyes are fastened on Morris. Feeling terribly shy and thinking there's nothing he can do to divert her attention away from him, he reluctantly heads for the front door. Vanity finally hits upon something to say, turns-- VANITY I really liked your song too... But he's gone. Her eyes scan the room frantically -- catches a glimpse of him leaving. She takes a sudden step, then stops, paralyzed with indecision. Jill regards ger coldly. MORRIS meanwhile is beside himself. Some gorgeous, dark-haired babe, eyes wide as saucers was starlng at him from the bar. Prince has left, and this girl is his. He motions to Jerome, and they direct their act in her direction. JILL gazes at Vanity, fidgets intensely, suspicious and resentful of her. She glances up and notices Morris, look. She seizes upon an idea, forces a friendly smile, taps Vanity on the shoulder-- JILL Hey ... She points to the stage. Vanity looks at Morris, and he goes crazy, entertaining her with his own special blend of showmanship. The CROWD loves it! Vanity is held a moment, but her thouchts are elsewhere. She finally comes to a decision, pulls away, cuts through the club. (18B) INT. FOYER AND STAIRWAY -- NIGHT as she runs down the stairs, cuts behind Chick, BURSTS out the door. (19) EXT. CLUB -- NIGHT FRANTIC! The STREETS are thick with TRAFFIC. She scans them wildly -- nothing. Suddenly Prince, astride his motorcycle, BLAZES past her from the opposite direction. She starts running, shouts-- VANITY Hey wait! But Prince is too far away, the traffic too coneested for him to hear. He whips down the street, disappears around the corner. Vanity continues running, then slows, dejection overcoming her in waves. She looks around -- KIDS are staring at her, passing jokes. Embarrassed, She moves to the front door but Chick is there, his eyes upon her cold, impassionate. Exhausted and slighlty tearlul, she cuts across the street, heads back to her apartment. (20) EXT. PRINCE'S HOUSE -- NIGHT Prince WHIPS down the street, cuts his motor, coasts up the drive. He comes to a stop against a wooden gate. His house is a nondescript, one-family structure with a wide front porch. He lives in a neat and tidy, homogeneous, lower middle- class neighborhood whose occupants are hard-working type fiercely protective of their privacy. He climbs the steps to the porch, opens the front door... ...his mothers SCREAM is like ice in his veins. Fear trickles into the hollows of his body like cold water, His pain commands him to move, but the impulse short circuits somewhere at the waist, leaving his legs twitching uncontrollably. Then another SCREAM from his mother, and his father's voice now, LOUD and FURIOUS-- FATHER (O.S.) Listen to me! You come home when I say come home! You've got no business in the streets! WHACK! His mother SCREAMS -- Prince BURSTS into the room. (21) INT. Prince's LIVING ROOM -- NIGHT Prince's MOTHER is at the far side of the living room CRYING uncontrollable. She's in her early 40's, a dark-haired, faded beauty, with large, wild, anxious eyes. There's a detectable scent of liquor in the air, and her slurred speech pins her as the source. His FATHER is in his late 40's, a squat, but solidly built black man, with a cherubic face, and graceful expressive hands. He's upon her now, WHACKING! at her horribly, trying to get to her face-- FATHER You do what I say, do you hear me?! You've got to keep this place clean! You here, no place else! MOTHER You're crazy! WHACK! MOTHER Asshole! WHACK! MOTHER Motherfucker!!! The Father lunges, WHACKS! her across the face. She topples to the floor, a lamp CRASHES to the ground. Prince cuts through the room, lunges desperately in front of him-- PRINCE (pleading) Please, Dad...she's heard you. She's had enough! His Mother drags herself up along the wall-- MOTHER (hysterical) He's trying to kill me! He's crazy! Look what he's doing to me! PRINCE (tearfully) Dad, please ... she's-- WHACK! Prince's head snaps back, his feet lift from the floor, his body CRASHES in a heap by the door... Stunned SILENCE. Prince, flat on his back, fights vertigo with everything he's got. His Mother lets out a YELP, rushes into the bedroom, SLAMS the door. His Father stands motionless, sullen-- FATHER Get up...you ain't hurt. Prince opens his Mouth, BLOOD gushes from a gash in his tongue. He hoists himself up slowly, using the wall for support. He moves into the kitchen, disappears down the basement steps. (22) BASEMENT -- HALLWAYS AND BEDROOM -- NIGHT A naked LIGHT BULB snaps ON. It dangles like a pendulum, casting strange shadows. The basement is partitioned off into a series of rooms, interconnected by a labyrinthine coimbination of passages. An old washer and dryer stand in the corner. Prince descends the steps slowly. He comes through a door, closes it behind him. He moves down a narrow passageway, enters a small cramped BEDROOM. He closes the door and locks it behind him. MOONLIGHT filters in throuch the cacement windows. The total effect is like entering a womb, a deep dark chamber of security and safety. Lying heavily onto his bed, he sighs long and deep, his eyes piercing the darkness... FADE OUT: FADE IN: (23) INT. CLUB EARLY MORNING MUSIC wafts through the sun-drenched CLUB. Jill is seated at the PIANO, 'a la Marlene Dietrich, SINGING to her heart's content. A cigarette dangles from her lip, a police cap is perched jauntily on her head. It's a simple bar tune, delivered slightly off-key, but with an openness that is endearing. Chick is working in the corner, chuckling to himself, stacking chairs, sweeping up. Suddenly she stops -- listens intently. She jumps up, deliberately spills her orange juice on the piano. Prince comes around the corner, stops short-- PRINCE (surprised) What are you doing here? She's a bundle of loose, embarrassing ends -- the cigarette, hat, juice-- JILL What...what are you doing here? He feels caught out -- SCANS the BOARD earnestly for Vanity's info -- tries to think of something to say-- PRINCE Huh ... it's kind of dead in here. Where is everybody? JILL In bed I guess... (to herself) Oh, God ... (changes subject) Guess what, I bought a dog. PRINCE That's nice... (he spots vanity's card) Ah, I guess I'll come back at a better time. You think tonight the the place'll be jumping? JILL Well, I'll be here -- I always like what you do. He smiles, moves to the door -- Jill connects with a thought-- JILL Wait! I've got something for you. PRINCE What? A subpoena? JILL (embarrassed) No... She rumages through her bag, pulls out a cassette-- JILL It's a song Lisa and Wendy wrote. He stiffens, doesn't reach for it-- PRINCE (suspicious) Why didn't they give it to me themselves? JILL Well, I liked it and wanted to listen to it. They told me to give it to you when I was done. He puts his sunglasses on, hesitates, then takes it from her gingerly. He regards it for a long time-- PRINCE You really liked it, huh? (24) INT. REHEARSAL HALL -- DAY MUSIC throbs throuch the crammed, rundown REHEARSAL HALL. Hardwood floors, a wall of mirrors, and a bank of windows provides the setting. SUNLIGHT streams through tattered yellow shades. The Time is set up on one side providing the music for "Sex Shooter" a saucy number with an irresistible beat. Morris, with Jerome by his side, stands in the middle of the floor, SHOUTS instructions to... ...BRENDA and SUSAN, gamely trying some intricate dance steps. Brenda is 21 years old, blond, sexy, with an alluring new-wave look. Susan is 16 years old, with dark, lustrous hair and a sexy baby- doll quality. Right now they're tired as hell, and a little angry-- MORRIS One, two, three, kick! One, two, three, kick! Four, five...Oh, Lord. Cut! Cut! The MUSIC stops, the girls come to a halt -- Morris regards them evenly-- MORRIS You ladies don't seem to realize how valuable my time is. You're going to make my boys look bad. BRENDA Why don't you let us come up with our own steps? Morris glares at her-- MORRIS We tried that... (sweetly) ... remember? The Girls fidget-- MORRIS Now you're in the best possible position you can be in, so what' s the matter -- your shoes on too tight or something? (claps his hands) Let's have some action, let's have some asses wiggling, I want some perfection. Whawhak! The MUSIC starts up -- the Girls start dancing. Morris looks woefully to Jerome--- MORRIS I think I'm going to need a drink, a strong drink. (a beat) Let's get the hell out of here. (25) EXT. STREETS AND ALLEY -- DOWNTOWN -- DAY Morris and Jerome move briskIy down the sidewalk-- MORRIS This just ain't happening. The bitches are okay, but we need something more exciting- JEROME You're right. We could be doing much better. Any ideas? MORRIS That powder fine babe we saw last night. JEROME Oooh, yeee! -- Why don't we find out who she is? Morris snaps an address in front of his face-- MORRIS I already know that. Jill gave me everything last night. Whawhak! JEROME Then what are we waiting for? Let's go! MORRIS No, no -- that ain't classy enough. I want the bitch to come to me -- I'm the only star in this town. Suddenly a BEAUTIFUL BABE lunges into the sidewalk from the alley-- BABE (yelling) Morris Day, who do you think you are?! I waited up all night for you. I'm so tired of you doing that to me. You think you're so hot? You're nothing special. This is the third time you pulled that shit. Who the fuck do you think I am?! MORRIS Jerome! Jerome puts the girl in a headlock, DRAGS her into the alley-- BABE (screaming) Leave me alone you ape! -- What are you doing to me?! Morris!! He flings her into the dumpster, SLAMS the lid with a CRASH. Morris pats his brow-- MORRIS Lo-rd..! Such nastiness. (a beat) Hee, hee -- Let's break. They streak across the street, double- time it to the CADDY. A COP sweeps by, gives them a curious look. Morris puts on a dignified air, then stops, stupified-- MORRIS Jerome, this car -- it's...it's lacking something. What do you think? JEROME Hmm... I don't know... MORRIS I got it! The hubcaps. We need something sweeter. JEROME I think I know what it needs. Morris is pondering his Stacy Adams-- MORRIS Yeah ... I know what these need. (26) INT. SHOESHINE STAND -- DOWNTOWN -- DAY Morris sits in the chair, his Stacy Adams worked on by an old, grizzled SHOESHINE BOY in his mid-sixties, with large jowls and silver close-cropped hair. Jerome stands nearby, watches intently-- MORRIS (musing) The girl has expensive tastes. I wonder if she can sing. JEROME As fine as she is...she doesn't have to know how to sing. MORRIS (grace) I know that's right. (to Shoeshine) Hey -- watch it now. The Shoeshine Boy looks up balefully -- Morris smiles, then grits his teeth-- MORRIS I want you to stay out of the set tonight. I want you to work the floor. JEROME What for? MORRIS I want to know when that sweet thing shows up. You stay by the door, you see her, you come get me, cool? JEROME Cool. I come get you -- let you know the girl's there. MORRIS Well, not if I'm with my other babes. That wouldn't be cool. I don't want to break their hearts, and you know how I feel abouy that. So we ought to have like, a signal. JEROME A password. MORRIS Okay. What's the password? JEROME You got it. MORRIS Got what? JEROME The password. MORRIS The password is what? JEROME Exactly. MORRIS The password is exactly? JEROME No, it's-- MORRIS -- Hold it now. Slow down. The babe walks in and you see her. JEROME I see her. MORRIS You come get me. JEROME I come get you. MORRIS And I'll probably have a couple little sexies on the stand-by, and we don't want to upset them, do we? So you just glide by me and say...what? JEROME Okay. MORRIS The password is okay? JEROME Far as I'm concerned. MORRIS Dammit! Say the password. JEROME What. MORRIS Say the password, sperm breath! JEROME The password is what. MORRIS (frustrated) That's what I'm asking you! JEROME (more frustrated) It's the password! MORRIS The password is it? JEROME (exasperated) Ahhhhh! The password is what! MORRIS It! You just said so! JEROME The password isn't it! The password is-- MORRIS -- What? JEROME Got it! MORRIS 1 got it? JEROME Right. MORRIS It or right? JEROME (perplexed) What?? The Shoeshine Boy looks up slowly -- regards them with a soulfull look-- SHOESHINE BOY Either of you do heavy drugs? (27) EXT. STORE WINDOW AND MALL SHOPS -- DOWNTOWN -- AFTERNOON The SIDEWALKS are alive with bustling SHOPPERS. Vanity walks aimlessly past store windows, staring longingly at the expensive items. BRIDAL SHOP as she stops suddenly and stares transfixed. A YOUNG WOMAN, startingly similiar to her in looks and coloring, tries on a beautiful bridal gown as a SEAMSTRESS adjusts the hem. The entire scene is warm and endearing. Vanity is struck by lt's beauty and seems to sigh. The Young Woman looks up suddenly, catches Vanity's gaze, and gives her an affectionate smile. Vanity smiles back avidly, then-- PRINCE (0. S .) Give me that. She looks up startled-- PRINCE There ... on your boot. She looks down -- it's the expensive gold chain. She hesitates, then hands it to him. He drops it into his pocket, walks away-- VANITY Hey, wait! She runs after him-- VANITY Give it back to mel He continues to walk briskly -- she starts pulling on his coat-- PRINCE You can have it back later. VANITY I want it back now, okay? PRINCE Who gave it to you? VANITY A person PRINCE Female or male? VANITY Huh ... PRINCE You're lying. I can tell just by your reaction that you're lying. He moves away briskly -- Vanity stands her ground, amused-- PRINCE So you gave it to me -- it's not yours anymore. He stops short -- something has caught his eye. She's curious, comes up behind him, then-- VANITY You see something you like? He puts on his sunglasses. A GUITAR stands prominently in the window. PRINCE Let's go for a ride. He flips her the gold chain' -- turns hastily. She weighs it in her hand, studies the guitar-- VANITY It's pretty. (28) EXT. HIGHWAY -- DUSK Prince and Vanity on his MOTORCYCLE blazing down the HIGHWAY, twisting through TRAFFIC. The CITY is behind them, receding into the distance. (29) Ext. COUNTRYSIDE -- DUSK They pull off an access road, drop down a small embankment, ride down a narrow, dirt road. LAKESIDE The pull to a stop. A LAKE stretches before them. Vanity gets off the bike, walks around exploring, casting curious glances at Prince. He stands by the water, idly tossing stones-- VANITY My psychic told rne I was going to be famous. PRINCE How much did that cost you? VANITY Fifty bucks. It was a good investment. He doesn't respond -- she suddenly feels shy-- VANITY No seriously -- My psychic did tell me. I was in a play once. PRINCE Oh, yeah -- what did you play? VANITY Isadora Duncan... She stretches her arms like a butterfly, does a little step-- VANITY That means I can sing and dance. (a beat) Want to help me? PRINCE (swiftly) Nope. VANITY (surprised) Pardon me? PRINCE Nope. She's Perplexed-- PRINCE Want to know why? VANITY (defensively) Nope. PRINCE (a beat) Because you wouldn't pass the initiation. VANITY What initiation? PRINCE Well, for starters ycu have to purify yourself in the waters of Lake Minnetonka. VANITY What? PRINCE You have to purify yourself in Lake Minnetonka. Her brow furrows, she looks out across the lake. He's calmly throwing stones. Recognizing a challenge when she sees one, she formulates a plan, faces him seductively, shoots him an open look. He stops suddenly, locks eyes with her, feels his knees go weak. Her hold on him is unmistakable. She pulls off her blouse in one fluid motion, tugs off her boots, drops her pants to the ground. She's exquisite, takes a step toward him. Passion rings in his veins ... Suddenly she turns on her heels, moves purposefully toward the water. He's shocked, realizes that she's about to go in-- PRINCE Hey, wait a minute! Thats-- But she silences him savagely-- VANITY We made a deal! And before he can react she scampers along a log, DIVES beneath the surface. He can't believe it -- her spirit really impresses him. She breaks the surface coughing and sputtering, hops and jumps to the shore-- PRINCE Hold it. VANITY What? PRINCE That ain't Lake Minnetonka. He tries to keep a straight face, jumps on his motorcvcle, STARTS it up. His words take a moment to sink in, then-- VANITY (enraged) You bastard. I don't believe it. How could you do that to me?! She gathers up her clothes, tries desperately to put them on. She slips and falls -- Prince can't help laughing- - VANITY Damn you -- I'll kill you. She starts throwing stones. He laughs, blasts up the path-- VANITY (screaming) You prick! Are you sick?! Is this some kind of ritual -- getting your kicks! How many girls have you done this to? ACCESS ROAD He blazes up the embankment, SAILS through the air, drops expertly onto the road. He fishtails to a slick stop. Vanity is by the lake, flailing about, throwing things, trying to get into her boots-- VANITY Bastard! He laughs heartily, wants to kid her, rides down the road as if he's leaving. Having his fun, he slows, turns to go back ... ...his smile dissolves instantly. Vanity is in the middleof the road, flagging down a small PICKUP TRUCK. She hops in, slams the door. The truck peels out, bears down upon him. He gesticulates his arms wildly -- wants to explain-- PRINCE Hey ... But the truck streaks past -- Vanity's look is cold, triumphant. (30) INT. CLUB (1ST AVE. ST. BAR) -- NIGHT MUSIC. The CLUB is PACKED! THE MODERN AIRES is onstage, a hi-techno funk group, performing their trademark, a frenzied song entitled "Modern Aire" The floor is dense with KIDS, all performing the same syncopated dance. PRINCE moves through the club slowly, seems to be searching someone out. His face is drawn and haggard, his spirits strained. He cuts past the BAR, barely acknowledges Jill, or the other WAITRESSES by her side, KIM and KATY. Jill looks concerned-- KIM Honey, you still chasing after that fool? Kim is 21 years and gorgeous, with dark eyes, a smooth sculpted face, and taut shapely legs. She is street-educated and doesn't need encouraging to speak her mind. Katy is also in her-early 20's, a tall, alluring Oriental, with an attractive, intelligent face-- JILL I'm doing what I'm doing. It's my business. KATY He doesn't even look at you. That's the last thing you want from a man. JILL You just don't know him like I do. KIM Honey... Look, Listen, and then Feel. If you do them in any other order, you're headed for trouble. Matt and Bobby (members of Prince's group) stroll up-- BOBBY Hey, Jill -- where's our drinks? JILL They're coming -- just wait. Matt stares hungrily at her breasts-- JILL What you want isn't on the menu. BOBBY Jill, in ten years they'll be on the table. She swats him with her order pad -- Bobby ducks, taunts her-- BOBBY C'mon, c'mon ... She goes to swing, Matt moves in, squeezes her breasts-- MATT (horn sound) BooPoo!! KIM Get out of here, you jerks! MATT Sweetheart ... do you have a real hot place where I could stick my nose? KIM Sure -- try a microwave. The Guys bust up, head for their tables- - KATY Those guys are deep. KIM Yeah -- deeply retarded. (31) INT./EXT. CLUB -- MONEY WINDOW -- NIGHT Vanity stands in line waiting to get in. She wears a short, black dress and red heels, carries a black and red clutchbag. Her hair is swept back and wind-blown, her eyes dark and dancing. She looks wickedly wonderful and knows it. CHICK stands by the window, arms folded, as massive as a Sequoia. He regards her suspiciously-- VANITY (sweetly) I'm paying ... see? (to cashier, gruff) Keep the change. Chick advances on her -- her eyes widen with fear-- CHICK The manager wants to see you. VANITY Really..? Oh, great...like to see him too. She breaths a sigh of relief. JEROME watches as Chick escorts Vanity to the upper level. He stays short distance behind. (32) INT. CLUB UPPER LEVEL -- NIGHT as Vanity and Chick come to a halt in the middle of the f Ioor-- CHICK He'll be right with you. Chick walks away. Jerome makes a move toward her, but pulls himself up short - - BILLY SPARKS has approached her-- BILLY SPARKS Hi, I'm Billy Sparks, I manage this place. Vanity turns around -- her eyes widen with surprise-- He's 38 years old, 5'3" tall and weighs about 180 pounds. He's dressed in a baby-blue running suit.and white tennis shoes that come to a point. A dark- skinned, smooth-faced black man, he's wearing small, white sunglasses and a base-ball cap perched on his head. Fred Flintstone in Harlem. A hip, fast- talking jive motherfucker who uses profanity like a light saber. Chubby, cuddly, cherubic Billy Sparks. He'd sell his mother if he thought he could make a buck. They size one another up in. about three seconds-- VANITY Hi -- I really like your club. BILLY Really... VANITY What time is it? BILLY Nine, sweets. VANITY Oh, that's a really nice watch. Very pretty. Billy lights a cigarette, offers her one, she accepts-- VANITY You look like a guy I used to go out with -- he was a lot older, but I like older men. BILLY Really, what a coincidence. VANITY I just came off a Broadway play. My grandmother got sick. BILLY Does she live here? VANITY No, in New York ... (catches herself) But, huh, I have a sister here, lives in Saint ... huh ... BILLY ...Paul. VANITY Amazing. BILLY Ye-es. (smiles) What do you want to do? You don't want to be a waitress do you? VANITY No ... no...Actually I was thinking more in the way of the stage. BILLY Of course... how about dinner? VANITY Theatre? BILLY Dinner, then the theatre, my sweets. VANITY Oh, huh... Jerome appears-- JEROME Hi ya, Billy. BILLY Good evening, Jerome. Vanity sees her escape-- VANITY Jerome -- I was looking all over for you! They BOTH look at her surprised-- BILLY You know each other? VANITY Of course. Jerome goes along with it-- JEROME Yes, we've met. I have something to show you. VANITY Great. See you later, Billy. She walks away with Jerome, arm in arm-- VANITY You rescued me. JEROME (smiles) Ye-es. (33) INT. DRESSING ROOM -- NIGHT Prince and his band (Mark, Bobby, Matt, Lisa) sit backstage, waiting to go on. An air of tension permeates the room. Lisa sits in the corner and fidgets, casts sidelong looks to Prince. He sits apart from the group, deathly silent, locked in thouqht. Wendy walks in and shares a look with Lisa. She goes up to Prince, her voice filled with nervousness-- WENDY Hi ya, Prince. I heard through the grapevine you had a new tune written by two great girls. By chance did you hear it? He stares at her -- if looks could kill Wendy would be dead-- LISA I knew it -- he didn't listen to it. He probably dropped it under his bike and rolled over it. Prince grunts, turns away -- Wendy is amazed-- WENDY Wow! Okay...you think about this. I'm going to be real honest with you. You're really being full of shit. LISA Forget about it, Wendy. Let's get out of here-- But Wendy, agitated, silences her with a fierce gesture-- WENDY (to Prince) Every time we give you a song, you say you're going to use it, but you never do. You always think that we're doing something behind your back. You're just being paranoid as usual. LISA Wendy... WENDY (upset) Shut up, Lisa, please! (to Prince) You should know by now that we wouldn't hurt vou. We're not out to put a dark cloud over your head. It's just to make you feel good, Prince -- that's what it's all about. You've been this way with us before, remember? PRINCE (maliciously) The nominees for the best actress are-- LISA -- Fuck it, Wendy -- let's break! Wendy is shaking, tears spring to her eyes-- WENDY Do you know you can really, really hurt people? Doesn't that mean anything to you? Doesn't that make you feel like shit? LISA C'mon ... WENDY I'm tired of this ... I'm really tired... They leave the room, Wendy SLAMS the door behind her. Prince casts a look to Bobby, Mark, Matt-- PRINCE You tired, too? MATT God got Wendy's periods reversed. About every 28 days, she starts acting nice. Lasts about a weekend. Thud. The joke hangs suspended like a ball and chain. Bobby gets up, the others follow him to the door-- BOBBY What difference does it make, Prince. We're still a group, right? They cut out the door. (34) INT. HALLWAY -- NIGHT Bobby, Matt and Mark move briskly to the stage-- MARK Headcase. Telling you...'effed up headcase. BOBBY People with talent usually are. Matt dons his surgeon's mask -- Mark rolls his eyes-- MARK Of course, there are a number of headcases without great talent too. (35) INT/BACKSTAGE ENTRANCE/CLUB -- NIGHT Morris stands by the door surrounded by several delicious BABES. One of them, wearing a tight, red dress, looks especially enticing. Morris leans in closer -- her tasty breasts strain against the spandex material-- MORRIS Honey -- don't you ever try and breastfeed no baby now. GIRL Why not? MORRIS Never mind ... Jerome appears-- JEROME What. MORRIS What? JEROME Right. What. MORRIS What?? JEROME You got it. Be snaps his head to the side -- Morris looks, sees Vanity sitting at a table. His eyes dance mischievously-- MORRIS Ye-es (to Girl) What time is it? GIRL (coyly) Tea time. MORRIS So, right. (36) INT. DRESSING ROOM -- NIGHT as Prince sits by himself in front of the mirror, staring at a cassette on the counter. We recognize it immediately as the tape Jill gave him earlier, containing Lisa's and Wendy's music. He picks it up, snaps it into a ghetto blaster. MUSIC, without lyrics, fills the room. He adjusts the dials, sits back and listens a moment. Suddenly the door opens-- STAGEHAND Prince, five minutes. Be snaps off the music, drops the cassette into his pocket, cuts out the room. (37) INT. BACKSTAGE -- NIGHT He comes to the stage-area. His Band.Members are standing about anxiously, watching the final moments of The Modern Aires' performance. He cuts behind the curtain, peers at the crowd... ...his eyes fall on Vanity -- his face brightens instantly. Just then Jerome and Morris approach her. Prince shakes his head knowingly, offers a wry smile, then joins his band. (38) INT. VAN1TY'S TABLE AND CLUB -- NIGHT She sits demurely. Morris' eyes are wide and shining -- her beauty up close astonishes him-- JEROME Vanity, I'd like you to meet Morris E. Day. MORRIS Hold it now -- just leave the 'E' alone. JEROME (clears throat) Vanity...this is Morris Day MORRIS The pleasure's all mine. she offers her hand -- he takes it decorously-- JEROME If you'd excuse me. Morris signals him -- whispers into his ear-- MORRIS Too sexy ... (a beat) Have a waitress bring.a bottle of their best champacne. He seats himself, fastens her with a sexy, half-lidded look-- MORRIS Your lips would make a lollipop too happy. VANITY You think so, huh? MORRIS Ye-es. Kim appears with a bottle of champacne in ice-- KIM Who's paying for this Morris? MORRIS I think you know that. (a beat) Jerome! Jerome appears, opens the bottle with a flair, performs a classy taste test. Morris pulls out some cash, pays him, who snatches the money, leaves-- MORRIS Huh, keep the change-- He whispers to Jerome-- MORRIS Get my change, will ya? Jerome leaves, Morris purses his lips-- MORRIS Oh, Lord...either somebody put something in my drink, or you are the finest (motherfucker) I've seen in ages. VANITY Excuse me, what did you say? MORRIS Huh...you look nice tonight. He leans in, speaks with a sexy voice-- MORRIS It's rare that I out my cards on the table when it comes to meeting younq ladies, but ... I'm going to make you love me. VANITY Is that a fact? He folds his legs dramatically, his Stacy Adams reflecting the light-- MORRIS Just as sure as my Stacy Adams are shiny. Just then-- M.C. (O.S.) Ladies and Gentlemen -- please welcome Prince! The CLUB erupts in CRIES! Prince hits the stage, launches into "G-spot," a fast, high-spirited funk tune that gets the crowd hopping. Vanity watches as Prince whips the crowd into a frenzy. Morris listens with a complacent grin on his face, his eyes searching out various members of The Time who are scattered through-out the club. When he connects with one of them he makes a series of absurd faces which sends them into hysterics. For Prince is playing music that The Time is noted for, and, as far as Morris is concerned, performs better. Not everyone in the club is dancing, or paying attention, and this does not escape his notice. Suddenly "G-Spot" comes to a rousing end. The CROWD cheers wildly. Prince moves quickly to the piano and launches into "Electric Intercourse," a love ballad which, as it progresses, becomes a personal statement for Vanity and Prince himself. She listens intently, her eyes fastened on him. The words have a profound effect on her -- and the audience. Without being consciously aware of it, they're moving closer to the stage, searching for their personal fix. Prince surrenders himself to the music totally, releasing from himself all that is hurtful -- releasing the sincerity and truthfulness that escapes him in his daily life. We are entering realm where life and music are inextricably bound, and the impact on the performer and listener is profound. He's directing his music toward her, and she receives it gratefully, almost anxiously. It fills a void in her, hewn by a life of meaningless promises. He searches her face with his magnificent eyes, and ends the song with a heartrending cry which connects with the souls of all present. Everyone is paying attention now. The stage is plunged into darkness. The CROWD goes CRAZY! Vanity applauds vigorously, wipes the tears from her eyes. Morris, who was more affected by the performance than he'd care to admit, doesn't like what he sees and searches for a winning line-- MORRIS He doesn't like girls. She's equal to the challenge-- VANITY I know -- he likes women. But Morris can barely suppress a smile, and settles himself comfortably into his chair -- for he knows what Vanity has lost...at least this round-- MORRIS Well ... he don't do too good with them either. She flashes him a quizzical look -- he simply smiles. (39) INT. BACKSTAGE HALLIIAY -- NIGHT Jubilation time! Prince and his Band move through the hallway briskly, past the outstretched arms of admiring fans. There's a lot of back-slapping going on as the Musicians bask in the glow of well-wishers. Prince moves past Billy Sparks, who has an angry look on his face-- BILLY What's this intercourse, shit? PRINCE Hey; man -- don't worry about it. BILLY I'm warning you... But Prince ignores him, cuts into the dressing room-- (40) INT. DRESSING ROOM -- NIGHT --then stops suddenly, surprised. He's muzzle to muzzle with a cuddly DOG, held up lovingly by Jill-- JILL Surprise! OOHS! and AAHS! by the entire group. Jill hesitates, then kisses Prince's cheek compulsively. He's surprised, touched-- PRINCE Hey -- wait till we're married, now. She fidgets, her face blushes red. Wendy is studying the dog-- WENDY Oh, my God -- look at this! Everyone looks -- Jill grins like the Cheshire Cat-- JILL Notice anything? PRINCE What? WENDY It looks like you! She thrusts the dog into his arms -- the Band laughs uproariously. Jill is beaming-- JILL His hair ... Prince gazes into the mirror -- and sure enough the dog's hair has been groomed to match his. He can't help smiling-- PRINCE Shit ... JILL (softly) I wanted to cheer you up. PRINCE Thanks. MATT I'm hungry -- where's the food?! He grabs the dog, 'a la The Werewolf, starts chomping on it's neck. The Group busts up, starts fooling around. Prince glances into the mirror -- Vanity is there. He whirls around to the door -- nothing. A huge smile sweeps his face instead. The Band continues fooling around, and Prince joins in with a relish. (41) EXT. ALLEYWAY #2, REAR CLUB -- NIGHT Vanity leans against a brick wall, hiding in the shadows. Suddenly FOOTSTEPS approach. Prince appears, gets on his Motorcycle-- VANITY Hey... He doesn't look up-- PRINCE We have to go to your place. VANITY What for? PRINCE I want to show you something. She's embarrassed by her apartment-- VANITY No...no, we can't. PRINCE Why -- is there someone there? VANITY Why do you always think there's somebody else? He averts his eyes -- kick STARTS his bike-- PRINCE Let's go. VANITY (Getting on) Yeah -- but we're not going to my place. He remains silent, snaps the bike into gear, blasts down the ally into the street. (42) PRINCE'S HOUSE AND STREET -- NIGHT Prince and Vanity whip down a residential street. As he approaches his house he slows, moves past it quietly. He makes a deft U-turn, crosses his house again -- seems to be listening intently... After a moment, he cuts down a narrow path, turns up a back alley. He rides to a wooden gate, detaches a hidden lever. The wood slats rotate like a garage door -- Prince coaxes his bike through. BACKYARD Vanity's mesmerized. They ride down a narrow sidewalk, cut through a garden, and emerge from the back of a garage. He leans his bike against it-- VANITY That was a grand entrance. Where am I? He silences her with a look, moves quickly across the grass, comes to a window. He stands on a pipe, looks in-- (43) PRINCE'S POV -- INT. LIVING ROOM -- NIGHT His Mother and Father in the living room. His Mother is sprawled out on the sofa, obviously drunk, her dress hiked along her thighs. Her head rests in his Father's lap. (44) EXT. BACKYARD -- NIGHT Prince hops from the pipe, leans coolly against the house. Intrigued. Vanity looks in-- (45) VANITY'S POV -- INT. LIVING ROOM -- NIGHT The mother and father kissing tentatively, then violently, finally pulling away. The Mother seems to be taunting the Father, coaxing him into a trap. He kisses her mouth lustily -- she pulls back snarling--. (46) EXT. BACKYARD -- NIGHT Vanity's scared -- tries to be cool-- VANITY So -- friends of yours? PRINCE Yeah -- the freak show. He walks off. She jumps off the pipe, follows. SIDE OF HOUSE as they emerge around the corner. Prince squats by a basement window, adjusts an old coal chute, then slides down it-- VANITY Hey... PRINCE (O.S.) C'mon. She hesitates a moment, then slides down too. (47) INT. BASEMENT, PRINCE'S HOME -- NIGHT He turns on a LIGHT, disappears into an ADJOINING ROOM. Vanity looks around amazed. She stands in a small ANTE- CHAMBER whose walls are covered with thicks pads and foam. Colorful MOBILES hang suspended from the ceilings -- various INSTRUMENTS lie about: a drumset, an electric guitar, and a small upright piano. A stereo and cassette player. are perched on a shelf, and two speakers are recessed into the walls. The entire room looks hand- built, the wood carefully painted, or stained. She peers through the doorway into the adjoining room. BLUE MOONLIGHT filters in through the casement windows. Various MURALS are painted on the walls, MOBILES are suspended from the ceiling. A bed sits in the middle of the floor, a vanity table and mirror nearby. She stands idly a mement, then moves around the antechamber. Various KNICKNACKS catch her attention. Small wind-up TOYS lie about: a soldier, a bear banging on a drum, a tractor and car. A small MUSIC BOX sits on a shelf. She turns the handle, a little TUNE fills the room... A cassette sits in the player. She snaps it shut, hits the play button. A DRUM BEAT fills the room, followed by a WOMAN'S VOICE, seemingly speaking in a foreign tongue. The combination is hypnotic and sensual -- she finds herself drawn in ... Suddenly Prince grabs her by the waist, lets out a SHRIEK. She draws a out breath, jumps-- VANITY If you think you scared me, you didn't. PRINCE Oh, yeah ... He puts his index finger directly in front of her nose, moves it back and forth hypnotically. She follows it earnestly with her eyes. Suddenly, he pulls his hand away, stretches it to the ceiling like an escaping bird. They both smile, lock eyes. Passion rings in their veins... The Woman's VOICE begins to moan deeply, pleasurably-- VANITY Who's the lucky girl? Sounds like she was having a good time. PRINCE She's crying -- it's backwards. It makes me sad when I hear it. It sorta sounds like she's laughing, doesn't it? VANITY So what did you do to her? Do you always treat your women like that? PRINCE I don't have anybody right now. Heat floods into her womb like soft fire- - VANITY You look pretty... She touches his chest delicately, fluffs up his hair-- VANITY King Kong? PRINCE Stop. She hesitates -- but he reaches out tentatively, touches her breast-- VANITY No. But their mutual desire is too strong. Their lips seek one another out timidly, almost deferentially...then fervently. DISSOLVE TO: (48) INT. BEDROOM -- LATER -- NIGHT Vanity sits at the foot of the bed, Prince stands before her. Her dress is hiked along her thighs, her stockings attached to garters. Their hands search delicately across the contours of their bodies, drawing quick breaths from their lips. They kiss one another ardently, then quickly, like sparrows pecking seed. She goes to remove her dress, but Prince stays her with a gesture, moving his hands along her thighs, touching delicately that spot between her legs. A low, whispery moan escapes from her lips. Vanity lies back, drawing Prince toward her. His lips move across her mouth, her neck, her breasts. She moans softly, pulls her dress above her thighs, goes to remove it. Once again he stops her, slowly turns her onto her stomach. She stands.on her knees, her head resting on a pillow. His hands move up along the back of her thighs, past the garters to her panties. He tugs at them gently, then rubs his hand firmly between her legs. She moans suddenly, the shudder moving through her like a whirlwind ... DISSOLVE TO: (49) INT. BEDROOM -- LATER -- NIGHT MOONLIGHT glows throuch the casement windows. MOBILES stir gently in the night breeze. Prince and Vanity are asleep. He rests on his side, his hands gently surporting his face. She lies behind him, one leg dangling off the bed, one shoe discarded on the floor Suddenly a distant MOAN...QUICK FOOTSTEPS -- A DOOR SLAMS. Vanity SNAPS awake! Fear sweeps her like a shadow from a passing cloud. She listens intently, then-- -- Another DOOR SLAM, QUICK FOOTSTEPS, and Prince's Mother CRYING in the dark-- MOTHER (o.s.) (upstairs) Please! A bottle CRASHES to the floor. Then silence... ...deep silence like snow in the room... Vanity's racked with fear. She sits up slowly, her eyes searching out Prince -- he's sleeping... Suddenly more FOOTSTEPS, a DOOR SLAMS and theFather's CRY-- FATHER (o.s.) No!! WHACK! Something heavy CRASHES to the floor... Vanity rises from the bed in a panic! She smoothes down her dress, searches for her other shoe. She shoots another look to Prince, but he sleeps peacefully. Casting a glance upstairs, she climbs throuch the casement window, disappears into the night. PRINCE is resting on his side, his eyes opened. (50) EXT. PRINCE'S HOUSE AND STREET -- NIGHT Vanity moves quickly along the side of the house, trying desperately to find her wav. Suddenly a HAND reaches out of the darkness, GRABS her by the throat. She SCREAMS, swings her bag desperately -- something CRASHES, into the bushes-- VOICE Damn, baby, hold it! Hold it!! (wails) Oh, God -- God! You broke my nose! She sees it's Morris -- she's beside herself with fear and rage-- VANITY You shit! What the hell are you doing here? He struggles in the bushes -- DOGS start BARKING-- MORRIS Shh! Shh! Shh! oh, Lord help me outta here. (a beat) Hee, hee -- I know you wouldn't want to spend the whole night with ol' pencil dick. VANITY Your nose alright? MORRIS My nose is fine, I'm just wondering if I fucked my shoes up... (a beat) C'mon ... They cut across the yard, head to the street. The CADDY is parked at the curb. Jerome leans against it, reading a newspaper-- VANITY Hi, Jerome. Wow! Nice hubcaps. He grins proudly from ear to ear -- the Caddy sports new chrome wire wheels-- JEROME You like them, huh? VANITY Beautiful. Morris MOANS dismally-- MORRIS Jerome...you think these can be fixed? His shoes are badly scuffed, the leather torn across the top-- JEROME I think they're dead, man. VANITY God, I'm sorry. MORRIS Shit -- it's so rough out here. Just then a PATROL CAR cruises by. The COP regards them suspiciously. Morris and Jerome snap to attention-- MORRIS You lock the door, baby? Let's go! They pile into the Caddy, pull out. (51) EXT. HIGHWAY -- NIGHT The CADDY blazes by in the night. The CITY LIGHTS glimmer spectacularly in the distance. (52) INT./EXT. CADDY -- NIGHT Jerome drives. Morris and Vanity sit in the backseat. He gazes at her ardently-- MORRIS Jerome! Jerome snaps a look in the rear-view -- Morris gives him a deft nod. Jerome opens the glove compartment, searches through the cassette tapes. He finds the one he wants, snaps it into the player. RESTAURANT AMBIANCE fills the car... Note: The restaurant ambiance will grow in volume, and will be followed by exaggerated dinner music, punctuated with strings and delicate cymbals. The MUSIC plays throughout this scene -- and Morris times his words to the ebb and flow of the piece to insure the proper dramatic effect. ...dinner MUSIC begins-- JEROME Cocktails before dinner? MORRIS Yes -- two piÒa coladas. VANITY Uh...make mine a virgin. JEROME Okay... Jerome braces his knees against the wheel, pours two premixed coladas into plastic glasses-- JEROME (to Morris) Will you be having a virgin as well? MORRIS Ye-es! For dessert!! Whawhak! Jerome stifles a laugh, pours a rum miniature into Morris' glass. He hands them back-- MORRIS Thank you. Here you are, dear. They savor their drinks -- Morris' fervor grows by leaps and bounds-- MORRIS Jerome, uh, get your pad and pencil, I think it's gonna be kinda right. If my judge of character is correct, it's going to be about loving tonight. (a beat) Stop me when I get to seventeen. Jerome places a pad by his side, pencil at the ready. He settles the Caddy to a cruising 55 -- Morris looks deeply into Vanity's eyes-- MORRIS Excuse me, baby...I bet you didn't know I had a piece of this restaurant, did you? (a beat) May I taste that? He takes Vanity's drink, slurps a little, burps-- MORRIS Huh, excuse me, that's kind of weak...here, try mine. She does, and begins coughing violently- - VANITY Good God! MORRIS Y'know...they say that saliva is an aphrodisiac. (a beat) You look so lovely tonight. VANITY (couching) Why...thank you. MORRIS Probably you'd look better under exotic...red...liqhts. (another though) I wish you could see my home. It's...it's so exciting. He leans close to her, speaks in a soft, sexy voice-- MORRIS In my bedroom, I have a brass waterbed ... VANITY Oooh! MORRIS I have an Italian cook, Gino Izogochograchi, or something like that. She giggles, looks at him deeply-- MORRIS It's funny...your eyes -- when you stare at me like that, it causes my stomach to qui- quiver. Oh, Lord... An idea flashes across his mind-- MORRIS Do you like diamonds? VANITY Uh, huh. MORRIS Yeah ...? VANITY Yeah. MORRIS I know it's rather masculine, but -- try this one on. He slides a large glass diamond on her finger-- VANITY Ohhh! MORRIS My God, darling it fits. He studies her hands closely-- MORRIS You must have strong hands, but -- they're so soft...like oils in my bubble bath. (a beat) Damn ... He leans close to her-- MORRIS Darling...? VANITY Yeah...? MORRIS I'm not usually so forward, but -- would you like to make love to me? I can make it so nice ... She giggles freely, looks at him with big eyes-- MORRIS Do you know what is meant by the words, huh, I hate to use them, they're so harsh, so American...I mean, and yet on the other hand, they're exciting words. The words... (pause) ...chili sauce. Oh, Lord. (a beat) MORRIS You know, I haven't made love in so long, but with you I know it would be just like riding a bike. I'd remember everything I've ever learned. (a beat) Baby, if the kid can't make you come, nobody can. Jerome checks off his pad-- JEROME (whispers) Morris..! MORRIS Yeah...? JEROME Seventeen. Morris fixes Vanity with his half- lidded, pouty-lip look-- MORRIS Huh, what's it gonna to be baby? She's on the spot, thinks fast-- VANITY PULL OVER THERE! MORRIS What?! JEROME What?! VANITY Over there -- that's where I live. Jerome SKIDS the car to a stop. They're directly in front of a slick, hi-rise apartment building-- MORRIS Here...? VANITY Yes. MORRIS Uh, what one is it? VANITY That one, right there, see? On the 14th floor. MORRIS It's nice, huh? VANITY Oh, it's great. Real pretty. Big open rooms, balconies, fireplace -- the works. He smiles lovingly-- MORRIS Jerome! Jerome puts the Caddy into gear, pulls off into the night- - VANITY Hey, wait! C'mon! (a beat) Okay -- where are you taking me? MORRIS Home. (smiling) You and me are a lot alike.- I like that. So, I'd like to help you out. I think I have something you may be interested, in. VANITY Oh yeah -- what? Jerome hands Morris a cassette -- Morris waves it in front of her nose-- MORRIS A little song and dance. That is, if you can sing and dance. VANITY (defensively) Prince is goinq to help me. Jerome and Moris suppress their laughter- - JEROME Motherfucker needs a haircut. MORRIS Hee, hee, uh, excuse me. No he won't. He's never done anything in his whole life for anybody but himself. VANITY Guys better than you have promised me things before. MORRIS I know that's right, but-- Jerome hands him a card with an address on it. Morris hands the card to her-- MORRIS (con't) -- not Morris Day. (he smiles) Jerome pulls up in front of her motel. Vanity reads the card-- MORRIS Come by any time. (53) EXT. MOTEL/INT. CADDY -- TWILIGHT She gets out of the car, stands on the sidewalk. Morris pushes the window button -- nothing happens-- MORRIS Jerome! Jerome leans over, taps the glass -- the window glides down-- MORRIS (to Vanity) One more thing ... Jerome snaps the glove compartment, hands Morris a neatly folded camisole. Morris presents it to her-- MORRIS Here's a little something for you. If you get cold when you wear it, call me. He snaps his fingers -- Jerome pulls the Caddy away with a screech. (54) EXT. VANITY'S MOTEL -- TWILIGHT Vanity stands on the sidewalk a moment, slightly bewildered and very amused. She watches the Cadillac screech around the bend. She turns, goes into the motel. PRINCE stands in the alleyway across the street, his motorcycle parked nearby. He watches as Vanity cuts inside. (55) INT. HALLWAY/VANITY'S MOTEL -- DAWN She comes down the HALLWAY, opens her door with a key. (55A) INT. VANITY'S ROOM -- DAWN She goes inside, drops the tape and card in her bureau. unfolding the camisole, she holds it against her, gazes into the mirror. It looks beautiful. Suddenly a KNOCK at the door-- VANITY Morris...? Another two KNOCKS, something like a confirmation. She smiles, cuts to the door, flings it open -- but Prince is there. She's shocked, but recovers instantly-- VANITY I had a feeling it was you -- I knew it! It's amazing -- I could tell it was you. His face remains placid as he puts on his sunglasses-- PRINCE How'd you get home? VANITY Took a cab. PRINCE Oh yeah? Where'd you get that? She stares at the camisole in her hands- - VANITY I adore camisoles. He nods dispassionately, walks into the room, gives the place the once over, then-- PRINCE Let's ride. (56) EXT. HIGHWAY -- DAWN AERIAL SHOT Prince and Vanity on his motorcycle whipping down the highway. The DAWN LIGHT breaks over the horizon. (57) EXT. ANOTHER HIGHWAY -- DAWN A SERIES OF SHOTS Streaking down a two-lane blacktop obviously exhilarated by the velocity of their ride. The landscape becomes lush, the trees a riot of autumn splendor. (58) EXT. COUNTRY ROAD -- DAWN ANOTHER ANGLE as Prince and Vanity whip up to the top of a small hill, skid to a stop. He scans the area quickly, gets his bearings. He pops the clutch, skids off to the valley below. (59) EXT. WOODS AND STREAM -- DAWN PRINCE AND VANITY ride cautiously through a series of hiking paths, then twist down a small embankment. A STREAM flows before them. They climb off the bike, look around quietly-- VANITY God, this is beautiful. It reminds me of where I grew up. My father used to ... He waits for an answer, it's not forthcoming-- PRINCE Your father used to what...? VANITY Nothing...it's just... (changes subject) You must like places like this. He goes to the stream, balances on several rocks, moves to the other side. The stream flows between them-- VANITY So, have you reconsidered my proposal? PRINCE What...? VANITY What we talked about last time. PRINCE You can't be serious. She starts a little dance step, climaxes it with spins and twirls-- VANITY Oh, come on -- you know you really want to. You've been waiting for this opportunity ...all...your...life... He can't help laughing -- she freezes, looks at him coldly-- PRINCE I'm sorry -- excuse me. VANITY God -- so why do you come around? You don't want to help me, not that you have to. You don't want to sleep with me, not that you have to do that either. So why am I here? He smiles, walks off-- VANITY There's a lot of things you don't know about me. You'd be surprised how many things I could do. He disappears around some trees-- VANITY Take me home immediately! I want to go home. I can't stand this! I can't take this anymore! Prince! PRINCE moves through the trees smiling, studying nature-- VANITY(O.S.) I don't need this! I was doing alright before I met you. Motherfucker, you need a haircut! He comes to a tree, leans against it contentedly, studies the foliage. VANITY paces back and forth frantically along the stream-- VANITY (to herself) I don't get this. (yells) Prince! Who do you think you are?! You don't care. You don't care about anything! I never wanted you to help me anyway! PRINCE rests by the tree, observes TWO HIKERS walking down the path toward him- - VANITY (0.S.) You think you're a good musician?! You're nothing! Morris is better. I never wanted to make it with you anyway. The Hikers pass him startled-- PRINCE Good morning. VANITY PRINCE, I HATE YOU! HIKERS Good morning, sir.And they walk down the path, disappear around the bend.Just then-- VANITY is standing by his side, a wildflower in her hands-- VANITY (softly) I'm sorry. I shouldn't have said those things. Will you forgive me? PRINCE (softly) Yes. He takes the flower, slips it into his jacket, kisses her forehead. (60) EXT. GLADE AND BARN -- DAWN as they ride down a leaf-strewn path and pull to a stop near an old, weathered, dilapidated BARN. It stands laarge and silent like a painting. A low THUNDER rolls across the land... (61) INT. BARN -- DAWN DAWN LIGHT burns through the wooden slats.. STEAM rises from the wet hay scattered throughout. The air is thick and damp. It begins to RAIN. Vanity stands in the middle of the barn, gazing at the storm. Beads of perspiration glisten on her forehead. She turns slowly, watches as Prince retrieves old blankets from a nearby stall. Their eyes search one another out, their breathing becomes short, expectant. She hesitates a moment, then pulls off her blouse, discards it to the moist, dusty floor. (62) INT. BARN -- DAY ANOTHER ANGLE RAIN patters srtongly against the barn. A deep THUNDER rolls. She's on top of him, moving deliciously, her body glowing in the purple, dawn light. Moist, purple water shadows streak and course her skin as she moves slowly, then deliberately against him. He watches her avidly, his hands firmly on her thighs, and thrusts into her again and again...and again. (62A) EXT. BARN -- DAY Leaves scatter as the bike whips thru the wet path. (63) EXT. STREETS, VANITY'S MOTEL -- MORNING The STREETS glisten with the rain. Prince and Vanity pull up in front of her motel. She hugs him fiercely, steps off the bike, her face alive and fresh as a flower. His eyes sparkle-- PRINCE See you later? VANITY When? PRINCE Why? VANITY 'Cause I have to do something first. PRINCE What? VANITY (coyly) A secret... PRINCE Tell me. VANITY No. PRINCE Okay, come by -- eight o'clock. He kicks the bike into gear -- she touches his jacket longingly-- VANITY Bye... He blasts off. She watches him a moment, her eyes glowing. She heads to her motel, then stops short -- a single CARNATION lies oon the sidewalk. She looks around quickly, almost expecting someone to claim it. But no one's around, so she picks it up, goes inside. (64) INT. STAIRWELL, VANITY'S MOTEL -- MORNING She enters the LOBBY, closes the door behind her. She turns -- another CARNATION is on the stairwell. She's intrigued, glances up the stairs -- there's another one, and yet another further up. She's confused, but grabs them, disappears up the stairs. HALLWAY as she comes to a halt outside her room, picking up carnations along the way. She opens her door, cuts inside. (65) INT. VANIITY'S ROOM -- MORNING She goes into the bathroom, fills the sink with water, arranges the flowers within. She smiles radiantly -- they look beautiful. Suddenly something seizes her thoughts. She opens her bureau drawer quickly, pulls out the yellow pages, leafs through it hurriedly, We READ: Parking, Passport, Paving...then Pawnbrokers. She stops, runs her finger down the page, then hunts quickly through her drawer. Her eyes dance mischievously when she pulls out her gold chain. She places it on her bureau, hurries to her clothes rack. Suddenly, a quick KNOCK at the door-- MAN(O.S.) Miss V.? She looks around the corner -- a flower delivery MAN stands in the hallway, holding a bouquet of roses-- VANITY Yes...? MAN Delivery. VANITY (surprised) Come in ... He cuts inside, and is followed by another MAN, holding a bouquet of daisies-- VANITY Hey -- wait a minute. What's going on? The Men leave the room-- MAN Downstairs. She hurries to the window, looks out-- (66) EXT. STREET -- DAY -- VANITY'S POV-- Morris and Jerome standing by the curb, their eyes fastened excitedly on her window, leaning against a flower truck. We catch a glimpse of a Man bringing her a dozen chrysanthemums-- MORRIS Good morning, dahling. (67) EXT. VANITY'S WINDOW AND STREET -- DAY (INTERCUT) VANITY You're crazy! -- What are you doing? MORRIS (excited) Come down -- come down. VANITY I can't -- I've got things to do. MORRIS C'mon, ten minutes. I want to show you something- She shakes her head-- VANITY I'm sorry, but thanks for the flowers. You're really crazy. She disappears from the window. They stand expectantly a long time. Finally Jerome looks at Morris-- JEROME Well...what do you think? Morris is staring intently at the window -- he purses his lips sensualy-- MORRIS Chili sauce. Just then Vanity steps outside, looks stunning in her tight, black pants and boots. Her eyes dance vivaciously, a red sash is tied around her waste. Morris gives Jerome his sexy, half- lidded, pouty-lip look-- MORRIS Oh, Lord... (68) INT. CLUB (1ST AVE. ST. BAR.) -- DAY CU--Clock. We SEE 11:25 Prince cuts through the back entrance, walks onto the floor. Lisa and Wendy are onstage PLAYING a SONG we immediately recognize as the one they had given Prince to listen to. The DRUM RIFF is provided by the Linn Machine (a synthesized drum unit). Wendy plays guitar, her back to Prince. Lisa, at the keyboards, spots him and stops-- WENDY What's wrong? Lisa points to Prince. Wendy immediately rips into the guitar solo of "G-Spot." She stops suddenly-- WENDY Is that better? Do you like that? He ignores her-- PRINCE Where is everybody? LISA You're late -- they left. PRINCE So what are you doing here? Lisa immediately launches into the opening bars of "Let's Get Crazy"-- LISA (imitating Prince) But I'm here to tell you that there's something else -- our music--. The Girls bust up -- he glares at them-- PRINCE Can't you guys get off it? Can't you just leave it alone? Wendy meets his glare with one of her own... WENDY Yeah -- we'll get off it. She turns, snaps off the Linn Machine angrily, plunging the club into silence. (69) INT. REHEARSAL HALL --DAY The Time is JAMMING like MAD, deep in the heart of "Sex Shooter." Brenda and Susan move furiously to the beat, trying their best to get it right. They are watched by ... ...Morris, Vanity and Jerome standing off to the side. Morris has a contented look on his face, even though his girls are screwing up. Vanity's eyes are wide with excitement MORRIS As you can see, we need someone with your special qualities. (70) INT. PRINCE'S ANTECHAMBER AND BEDROOM -- NIGHT CU--Clock. We See: 8:15. Prince sits, on his bed, staring at the clock, seemingly lost in thoucht. He gets up, rummages through his coat pockets, pulls out Lisa's and Wendy's tape. He snaps it into the player, settles back. MUSIC fills the room. He listens intently a moment, his face placid. He closes his eyes, tries to relax ... Suddenly a DOOR SLAMS in the far reaches of the house. Harsh FOOTSTEPS echo through the upstairs hallway. Prince remains still, his eyes closed... Then another deathly DOOR SLAM! GLASS dissolves in its frame and trickles to the floor like icicles. Resentment surges in him like a tornado. He rises purposefully, turns the MUSIC up... ...And then his door SMASHES open and his Mother LUNGES into the room in a PANIC. She flings herself onto his bed as his Father streaks in and WHACKS! WHACKS! WHACKS! at her with a strap, SCREAMING at her with an ominous growl of rage-- FATHER You ain't got no business leaving here! All your sneaking around -- you're just a sinner! You're nothing but a low life sinner! The Mother throws herself at him drunkenly, starts slapping, scratching at his face-- MOTHER Shut up! You don't care about me! Leave me alone! Prince claws desperately at his Father's back-- FATHER Don't I keep the heat on? Isn't there food in the refrigerator? MOTHER (crying) I don't like it here. You never talk to me! I'm always alone! Prince drags his Father away-- PRINCE Dad, please! FATHER (shouting) What's the matter with this house? Isn't it nice and warm here?! The Mother stands on the bed SHRIEKING-- MOTHER You're crazy! FATHER Shut up! MOTHER. Asshole! FATHER Shut up! MOTHER (triumphantly) Motherfucker!! The Father lunges, drags Prince along the floor, WHACKS! the Mother in the face. She topples in a heap to the bed. He's over her now, breathing fire, flailing about savagely-- FATHER Shut up! Shut up! Shut up! PRINCE (desperately) Dad! He lunges, drop KICKS his Father with everything he's got! His Father SMASHES backwards against the wall, slides to his buttocks on the floor. He sits there dully, exhausted...spent. Prince crawls up along the side of the bed. His Mother buries her head in the pillow, choking back sobs-- MOTHER I'm just trapped here... His Father's eyes well with tears. He leans close to her, speaks softly-- FATHER You always got a roof overhead... MOTHER You don't let me have any fun... His Father sighs wearily, pulls himself to his feet. He moves to the door-- FATHER I could make you happy. Just believe in me... MOTHER You never... FATHER I would die for you. He leaves the room, closes the door behind him. PRINCE stares at the door a moment, tears welling in his eyes. His Mother is motionless, whimpering softly. A scent of liquor permeates the air. He moves toward her, reaches out tentatively... Suddenly she jumps up, starts pacing franticaily-- MOTHER It's nice here. It's a nice house. Nothing wrong. (a beat) It's a good family. Believe me, I know. Nothing wrong here. (a beat) Your father is okay. He's a good man. You could learn somthing. She catches a glimpse of herself in the mirror, stops-- MOTHER My, my! Don't you think I have a good figure? Your Father did. She sits in front of the mirror, studies her face, her eyes...her breasts-- MOTHER I was beautiful when your Dad met me. I was out-a-sight! She giggles, starts applying makeup-- MOTHER I looked just like a movie star. The minute he saw me singing, I knew just what he wanted. She fixes him with a conspiratorial look, whispers-- MOTHER He wanted to get into my panties. She makes funny, "jazzy" eyes at him, then stops suddenly, staring. His face, mouth, eyes...a sudden stirring in her loins. Her lips part, she moistens them unconsciously... She turns from the mirror and stares at him -- his look connects with her groin. She rises suddenly, walks slowly toward the bed, sits facing him-- MOTHER You look so pretty. Just like me, honey. You coulda been a girl. She outlines the mole on his cheek with a makeup pencil, then draws one on herself. She takes her earring off, and puts it on his ear. They are face to face -- identical-- MOTHER So pretty... She looks at him drunkenly. He tries to hold it in, but can't. A tear, hot and hard as a bullet flows down his cheek. She puts her index finger in front of his face, moves it back and forth hypnotically. Suddenly she pulls her hand away, stretches it to the ceiling like an escaping bird. He swallows, tries to smile -- she leans close -- MOTHER (secretly) I have to go now, see some friends. Don't tell your father, okay? She gets up, leaves the room-- MOTHER Bye, skipper...bye. (71) EXT. PRINCE'S HOUSE -- NIGHT (LATER) Vanity climbs over a fence, moves through some bushes, emerges along side Prince's house. She has an excited, ravenous look on her face. She hurries to the casement window, climbs into the basement. (72) INT. PRINCE'S BEDROObt -- NIGHT She drops down into the basement, turns excitedly, leaps into Prince's arms-- VANITY I missed you! Missed you! Missed you! She hugs him tight, showers him with kisses, topples them both to the bed. Laughing, hugging, kissing -- fast and furious. Suddenly she jumps up like a panther, fluffs her hair wildly in the mirror, fixes him with a wanton look. His eyes devour her-- PRINCE Come here. Where were you? She moistens her lips, walks lasciviously toward the bed, sits facing him. She laughs suddenly, pushes him back...and they're at each other again - - faces two inches apart; touching, whispering, kissing, hands searching -- shutting out the rocm, shutting out the world... She jumps up suddenly. She can't be contained! She practically levitates-- VANITY I have a big surprise for you. She rushes to the coal chute, climbs halfway through. Prince, puzzled, cracks up watching her ass and legs dangling. She drops back into the room, holding a large PACKAGE. His eyes widen. She struts to the bed, lays it down majestically before him-- VANITY (sings) Da...da..! PRINCE What is it? VANITY Open it. He starts peeling the tape off, careful not to rip the paper. Vanity's bursting with excitement though, and demolishes it in a flash! He laughs, opens the lid -- stares in shock-- PRINCE Oh, no... (happy) Oh, no! He pulls out a gleaming new GUITAR, and we immediately recognize it as the one they saw in the window. He's deliriously happy, and speechless-- PRINCE How'd you do it? She shouts with delight, attacks him again, pushing the guitar aside. Fast, furious kisses and he responds in kind. They're twisted in a heap on the bed. After a moment they come up for air, stare at each other playfully. Something flashes across his mind-- PRINCE Here... Her eyes widen. He takes off his Mother's earring, fastens it to her ear. Eyes dancing, she jumps up, studies it closely, in the mirror-- VANITY I love it! She twists around, kneels beside him, showers him with bites and kisses. Suddenly she stops-- VANITY I'm going to join Morris' group. His face drops, shocked-- PRINCE What? She backs away from him, stands, strikes a defensive stance-- VANITY I'm going to join Morris' group. He LUNGES savagely before he knows it! His hand lashes out, SMASHES her in the face. She falls back, CRASHES into the mirror. She slips dully to the floor, tries desperately to brace herself on a chair-- He's horrified-- PRINCE I'm sorry! Oh, baby, I'm sorry! Are you alright? He helps her up, she turns away from him- - VANITY Just...leave me alone. His heart staggers in his chest-- PRINCE Please...it's just... (a beat) I don't want you around this at all. I just don't want you in my life this way. You don't have to prove anything to me or anybody else. (a beat) Vanity...? Don't I make you happy? Don.t you like the way we are? (another thought) Do you know Morris? Do you know what he's about? He doesn't care about you. She twists viciously-- VANITY Jealous..?! She rushes into the antechamber, climbs through the coal chute, disappears into the night. DISSOLVE TO: (73) INT. CLUB -- MORNING Matt, Bobby and Mark are JAMMING onstage. Prince emerges from behind the curtains. He looks drawn.and haggard, his face unshaven. The Guys spot him, and the MUSIC trickles to a stop. Tension fills the room in an instant. Mark glances at his watch, fixes Prince with a disgusted look. Prince climbs the steps to the stage, cuts across it-- PRINCE Where's Lisa and Wendy? BOBBY They haven't shown up yet. PRINCE They call? The Guys shrug, look away. Prince simmers a moment, straps on his guitar - - immediately gets ear-splitting FEEDBACK. He stomps on the floor pedals angrily. Just then Chick comes up to the stage-- CHICK Prince. Billy Sparks wants to see you. PRINCE Tell him I'm rehearsing. CHICK Uh, uh -- now. (74) INT. STAIRWAY AND CLUB -- DAY as Billy cuts down the stairs quickly. Prince, walking to meet him, pulls himself up short-- BILLY What do you want? PRINCE You wanted to see me? Billy still moves -- Prince keeps up-- BILLY You having trouble? PRINCE (shrugs) No. BILLY No? PRINCE No ... BILLY Where's Lisa and Wendy? He stops abruptly at the front door, studies Prince for a long time. Then he cuts outside. Prince follows. (75) EXT. STREETS, CLUB -- DAY Rush hour TRAFFIC. Billy sets the pace down the sidewalk -- Prince keeps up-- BILLY Morris called me this morning. Seems he's got himself a new group called Vanity Six. You know anything about them? PRINCE (a beat) No. BILLY He tells me they're great. Thinks I'll be interested. That's cool, but now I've got a problem. PRINCE What's that? BILLY I book three acts -- I can't afford four. If they're as good as Morris says they are, one of you will have to go... Suddenly a HORN BLARES off screen. Billy looks up -- a BEAUTIFUL BABE in a black BMW waves-- BILLY Go around the block! The Babe pulls into the flow of traffic- - BILLY It won't be The Time -- they're playing backup to Vanity. So it's either you or the Modern Aires. (a beat) What would You do in my position? Prince has a sinking feeling in his gut- - BILLY (musing) I like the Modern Aires. They have a good following -- they show up for practice -- and the kids like all their music. The BMW sweeps up to the curb. Billy opens the door, slides in-- BILLY 'Nough said. Get smart. Straighten up your shit. (76) INT. REHEARSAL HALL -- DAY The PLACE is JUMPING! Once again The Time is deep in the guts of "Sex Shooter," but now there's a difference. The MUSIC is fiercer and crisper -- the BEAT tailored, more defined. Morris and Jerome stand off to the side sporting huge grins. They're avidly watching... ...Vanity, Susan, and Brenda dancing up a fierce storm. Vanity fronts the two Girls and moves panther-like in front of the mirrors... She's a dynamo, her face drawn tightly, her movements crisp and precise. She urges the Girls on, suggests and cajoles, strengthening their resolve. Sweat lathers their bodies and forms rings on their Danskins. The act is still very rough, but the potential for success can be felt. PRINCE suddenly enters the hall. Morris spots him immediately and halts the MUSIC. The Girls dance on a moment, then stop perplexed. Vanity catches Prince's look, shakes her head in disbelief-- PRINCE I want to talk to you. She's out of breath, waves him off-- VANITY Not now, I'm busy. PRINCE Now. A TITTER goes through the Band Members - - Vanity wipes her face, fixes him with a glare-- VANITY I said I'm busy -- we'll talk later. PRINCE Uh, uh... He grabs her suddenly, pulls her to the door-- VANITY Leave me alone! I've got a show to do! She pulls away savagely-- VANITY YOU can't just come in here and take me away! We'll talk later! Morris is enraged-- MORRIS Man -- why don't you just do the walk? Prince glares at him, cups his genitals- - PRINCE Why don't you kiss the one- eyed snake? The Band lets out a condescending GROAN -- the tension rises MORRIS Jellybean! Jellybean, 6'4", 210 pounds, steps from behind the drums, moves up behind Prince- - JELLYBEAN Let's go, Jack. PRINCE Fuck you! He lunges, grabs Vanity again -- she SHRIEKS-- VANITY Leave me alone, dammit! Get out of here! Jellybean lurches, grabs Prince in a HEAIDLOCK, lifts him off his his feet. Prince kicks at him wildly-- JELLYBEAN (enraged) Fucker!! He twists Prince's head backwards, SMASHES his body to the ground-- JELLYBEAN Stay still, motherfucker!! But Prince continues fighting him with everything he's got! Jellybean is astonished-- JELLYBEAN Shit!! He twists Prince's neck savagely, SMASHES! his legs to the floor again and again-- JELLYBEAN Stop!! Vanity is crying-- VANITY Jellybean, please...Prince drops to his hands and knees exhausted. Everybody isfrozen now -- scared. The Girls are crying, the incedenthas already gone too far... Jellybean settles his weight on Prince, twists his head down painfully, trying to break the resistance he alone can feel. Prince remains silent, the anger coursing through his body in tremors-- The Guys surround them, grabbing Prince's arms, legs, and feet. He's like a trapped animal now-- JELLYBEAN Lift him. VANITY (crying) Don't hurt him ... They pick him up, move him toward the door. He resists them slightly, his body lurching in fit and starts. Suddenly he breaks free, faces them with his back to he door. But the Band Members surround him, their wills united, the obviousness of the situation apparent to all. He searches for Vanity's eyes, but she can't face him and walks away. Anger again surges in his veins. He cuts out the door, SLAMS it behind him. (77) EXT. ACCESS ROAD, TRAIN TRACKS -- DUSK Prince WHIPS down a dirt access road locked in thought, the pain and anger in his eyes apparent. Suddenly a TRAIN WHISTLE BLASTS just behind him, sending a shot of fear through his guts. He twists backwards in amazement. A FREIGHT TRAIN ROARS around the bend BLASTING its HORN violently. Prince shudders with fright, loses control of his cycle for an instant. He hits a series of ruts that almost topple him to the ground. He looks back at the train confused, when another BLAST seems to SOCK him in the teeth. He twists wildly to the side of the road, kicking up dirt and debris, lurching him into the handlebars violently. The TRAIN ROARS abreast of him! Prince snaps an angry look at the engineer. The Guy coolly gives him the finger and BLASTS the HORN violently. Prince becomes enraged! He snaps a look to the speedometer: 65 mph. He snaps a look to the Engineer -- the Guy sends him another obscene gesture and BLASTS his HORN. Prince grits his teeth, twists the throttle full. He lurches forward in an instant, blazing in front of the train, The Engineer BLASTS the HORN mercilessly, and throws on the coals. They blast down the stretch neck to neck, twist round a wide bend. Prince edges in front! The Engineer BLASTS the HORN and moves up. Prince snaps a look to him -- the Guy mouths the words: Fuck You! Prince wants to scream! He twists the throttle, snaps a look to the speedometer: 75 mph. He RIPS past ruts and gullies like a madman. The TRAIN moves up. They blast around another bend neck to neck Suddenly Prince's eyes widen with horror. A CAR is parked across the access road, waiting to cross the track. He shoots a look to the Engineer -- the Guy is laughing hysterically now, BLASTING his HORN wildly, mouthing the words: Bye Bye! Prince screams like a MADMAN! He twists his throttle FULL! He blazes ahead of the train, BLASTS! up the embankment, SAILS through the air... ...a BRICK WALL cuts the access road in two! He SCREAMS in bloody terror! He hits the road and fishtails wildly, locking his brakes. The WALL comes at him like a locomotive. He's going to hit it, knows it and... He twists his throttle violently BLASTS! directly into the path of the train! The Engineer looks on in horror! Prince throws his weight forward and... ...the train ROARS past him as he fishtails wildly to a stop. The Engineer sails off into the dusk, his mouth agape. Prince sits there breathing fiercely, the adrenaline shrieking though his veins, watching the train disappear into the distance. (78) EXT. STREETS AND ALLEY -- DOWNTOWN -- TWILIGHTSHOPPERS flood the sidewalks, rushing for the buses thattake them home. TRAFFIC clogs at the 77 intersectionswhile PEDESTRIANS walk against the lights. Prince ridesdown the streets, hugging the right shoulder, impatient withthe delays. He blasts down a side street, sees FLASHINGLIGHTS up ahead. GAWKERS are already crowding around. He moves through the TRAFFIC slowly, glides past a POLICE CAR, and a small CROWD. A CAR has run onto the sidewalk, knocking down the marquee to a rundown, neighborhood bar. Something catches his eye -- he stops suddenly. His Mother stands against the wall, idly watching the goings on. He jumps off his bike hurriedly, walks up behind her, taps her on the shoulder-- PRINCE Ma...? She turns, he gasps out loud. Her left eye is swollen shut-- MOTHER (drunkenly) Hi, ya, baby... Her drunken breath washes over him -- his head spins-- PRINCE Ma...what happened? She rubs up against him-- MOTHER Can you give me some money? C'mon, just some money... She gropes for him drunkenly -- he suddenly realizes she doesn't know who he is-- MOTHER Here...here... She tugs at her wedding ring-- MOTHER Give me something for this...just a little. It'll be okay... PRINCE C'mon...I'll take you home. Just then a COP moves through the Crowd- - COP Okay, c'mon now -- break it up. Let's go.. The Crowd moves out. Police RADIOS cackle. Three WOMEN stagger over, one of them grabbing his Mother-- WOMAN C'mon, honey -- we're goin' in... She fixes Prince with a glare-- WOMAN You're a little young aren't you? Get out of here. Leave her alone. (79) EXT. PRINCES HOME -- NIGHT Prince BLASTS down the STREET, sweeps into his drive, and jumps off his bike, practically smashing it into the gate. His eyes are burning with anger. He flies up the steps three at a time, cuts across the porch, bursts throuch the front door and-- (80) INT. PRINCE'S POME -- NIGHT -- stalks through the living room, eyes blazing-- PRINCE Where the fuck are you? He spins like a top, streaks down the hallway, throws open several doors violently-- PRINCE Where are you? He cuts into the kitchen raging-- PRINCE Answer me you fucker!! He twists around frustrated; exhaustion, anger, and pain competing for the same space. Suddenly he stops, listens intently a moment. We HEAR it now -- a PIANO. Someone's PLAYING A PIANO. Prince throws a look at the basement door -- it's ajar. (81) INT. BASEMENT, PRINCE'S HOUSE -- NIGHT A naked LIGHT BULB snaps ON. Prince hesitates a moment, descends the steps, pauses at the door. The MUSIC wafts delicately in the night breeze. He moves down the halllway uncertainly, but steadily, the MUSIC growing, drawing him in. He stops, peers into the antechamber. His Father is at the piano, his back to him. He's perched on the broken stool, playing with all he's got. Prince moves slowly into the room, his knees weakening, his anger flowing from him with every step he takes. Seeing his Father this way, he doesn't know if he should laugh or cry. He sits down silently behind him, listens as his Father plays. The SONG ends. His Father sits a moment, stretching his hands idly along the keys. Feeling a presence in the room, he spins around and jumps slightly at seeing his son. He fixes him with a threatening look, then shrugs, hunches over the keys-- PRINCE Is that yours? FATHER 'Course it's mine. Who else's is it goin' to be? Got all kinds of them. They're different too. PRINCE I'd like to see them. You got them written down somewhere? FATHER No, man -- I don't write them down -- don't need to. That's the big difference between you and me. PRINCE Thought you weren't going to play no more. His Father looks at him sullenly, then looks down, stares at the keys. Prince's eyes well with tears-- PRINCE I saw Mom up the street. She looked pretty bad. Any idea how she got that way? His Father bites his his lip, rubs a hand over his face, stares at the keys. His voice comes with difficulty-- PRINCE Yeah... (a beat) I got a girlfriend. FATHER You gonna get married? PRINCE (long pause) I don't know. His Father shares a hurtful look with him, then stares darkly at the floor below-- FATHER Never get married. (82) INT. CLUB -- NIGHT The CLUB is THROBBING. Prince is onstage, stripped to the waist, SWEAT seeping from his pores in torrents. He's deep into the pit of "Computer Blue, " locked into a provocative, obscene graphic with Wendy. She's on her knees in front of him, his crotch moving directly in front of her lips. She's made up fiercely, looks like Prince himself. The total effect is unnerving -- Prince is going down on himself. Billy Sparks stands by the bar pretty upset. Jill stands slack-jawed. The KIDS have stopped dancing, drinking -- they staring at the display,.shaking their heads confused... The BEAT is SAVAGE. Prince is in his own world, living his own private hell. Suddenly the MUSIC crescendos, then winds down like a roller coaster sweeping everyone along. The BEAT changes radically. He turns his back to the audience and plays ... ...and we suddenly recognize the MUSIC as his Father's -- the song he played on the piano the night before. But it's Prince's now, stamped with his own signature. He's bent at the waist, his back to the audience, alone with his father's, and his, pain. The CROWD fidgets...Billy Sparks fastens his eyes on Prince angrily. (83) EXT. CLUB/INT. MORRIS' CAR (1ST AVE. ST. BAR) -- NIGHT KIDS are hanging out in front of the club. The usual queue, however, is noticeably absent. The yellow Caddy sweeps up. Jerome is at the wheel, Morris and Vanity sit in the back. Morris is dressed elegantly, resplendent in a 5O's-style suit. She's beautiful in a sleek black dress, with long black gloves, and heels-- VANITY What are we doing here, Morris? MORRIS What do you mean? VANITY I don't want to be here. I don't want to hurt anybody. MORRIS It's not about hurting anybody. This is business. We can use the exposure. Just then Brenda and Susan come up to the car excitedly. Brenda is dressed in a 40's-style dress, Susan wears a form- fitting leopard one. They both look gorgeous-- BRENDA Hi -- you coming in? Their excitement and nervousness is endearing. Vanity's heart goes out to them. She forces a smile, climbs out unaided-- VANITY Your horns are showing, Morris. MORRIS Yeah...but they're holding up my halo. (84) INT. CLUB -- NIGHT Prince is on-stage, deep into the closing moments of "Computer Blue." He paces back and forth frantically, still locked in his own private hell. The Crowd's attention has wandered, however, and very few remain on the dance floor, finding it too much trouble to keep up with the changing shifts in the music. Even his band members are edgy, casting quick looks to each other, wishing to get on with more compelling audience- pleasing sounds. BAR AREA as Billy Sparks shakes hands with Morris and Jerome and is introduced to Vanity Six for the first time. We can tell by his reaction that he likes what he sees. He kisses Brenda and Susan, saves a special squeeze for Vanity herself. He escorts the whole group to a table across the floor. Vanity brings up the rear, casts a quick look to Prince onstage. PRINCE fastens on her and brings "Computer Blue" to a rousing end. The Crowd applauds, but it's more out of respect than eagerness. He doesn't seem to notice though, or care. He confers quickly with his group., then moves center-stage. The Band Members trade frustrated looks with each other -- it's obvious that they have some trouble with the next song... Prince presses his lips to the mike, and the MUSIC starts. He begins SINGING "Darling Nicky"-- PRINCE I knew a girl named Nicky, I guess you can say she was a sex fiend. I met her in a hotel lobby masturbating in magazines. She said, How'd you like to waste some time, And I could not resist When I saw little Nicky grind. BILLY SPARKS shoots a fierce look to Prince, helps Morris, Jerome and the Girls to their table. Vanity is watching Prince, a puzzled look on her face-- MORRIS Hee, hee...little empty tonight, huh, Billy. But I guess money isn't everything. Jerome busts up-- JEROME Oh no... that's cold... But Billy agrees-- BILLY The Duke of Dick is in rare form tonight. They all look toward the stage-- PRINCE is fastened on Vanity and it's apparent to all. He launches into the next verse- - PRINCE She took me to her castle And I could not believe my eyes. She had so many devices Everything that money could buy. She said, Sign your name on the dotted line, The lights went out, And Nicky started to grind. VANITY flushes with embarrassment. Billy and Morris notice this and glare at Prince. PRINCE looks dead-center at them, and then to Vanily-- PRINCE I woke up the next morning. Nicky wasn't there. I looked all ov'r all I found Was a phone number on the stairs. It said thank you for a funky time, Call me up when ev'r you want to grind. VANITY stands suddenly, fighting back tears. She backs from the table quickly, knocks the chair over. Morris tries to help her, but she sweeps past him, hurrying for the exit. (85) INT. STAIRWAY/EXT. STREET -- NIGHT as she comes down the stairs stumbling slightly, tears streaming down her face. Chick sees her, reached out to help-- CHICK Hey ... But she pulls away, runs out the door, cuts across the street. (86) INT. CLUB -- NIGHT PRINCE brings the SONG to a blistering end. The stage is plunged into darkness. He strips off his guitar, cuts from the stage, ignoring the grave looks from his Band Members. (87) INT. HALLWAY -- NIGHT as Prince twists aggressively past a handful of FANS, rudely disregarding their attention. He Cuts into the dressing room. (88) INT. DRESSING ROON -- NIGHT He's agitated, paces back and forth in a frenzy. Suddenly the DOOR flies open. Billy Sparks enters angrily-- BILLY What the fuck's wrong with you, Prince?! PRINCE I don't have time for your bullshit, Billy. What do you want? BILLY My stage is no place for your personal shit! PRINCE That's life, man. BILLY Life my ass, motherfucker! This is a business, and you're not too far gone to see that. (a beat) I've told you this before. You're not pulling them in like you used to. The only person who gives a fuck about your music is yourself. PRINCE Fuck off! But Billy can't help laughing-- BILLY Just like your old man... Prince shoots him a threatening look-- BILLY Yeah -- you got it. Tell me I'm wrong. (a beat) You're not blind. Look around you. No one's digging you. Prince turns away-- BILLY Look at your band. Are they in here right now? They're out there 'cause they can't stand being in the same room with you. (a beat) What a fucking waste...like father, like son-- PRINCE Lay off that! Billy turns to go-- BILLY Take your head out of your ass, Prince, check it out -- unless you like the view up there. Your music doesn't make sense to anyone but yourself. He closes the door behind him. Prince stands dully a moment, then sits heavily in a chair. Exhaustion suddenly overwhelms him. He rests his head in his hands, moments tick by... He shakes himself awake -- Morris and Jerome stand by the door-- JEROME That was fucked up what you did man. Morris doesn't like it. And being a part of this - - I don't like it either. PRINCE I don't care. MORRIS Hee, hee...huh, it's obvious you don't have what it takes to be on top. He pulls an envelope from his pocket-- MORRIS But to show you that I'm sympathetic to your problems - - here's a pass to our show tomorrow night. Enjoy it. They leave. Then Morris sticks his head into the doorway-- MORRIS Don't forget to bring a girlfriend. Whawhak! (89) EXT. THE TASTE -- NIGHT COMMOTION. CARS are THICK in front of THE TASTE, a small NIGHTCLUB located in the poorer part of the city. Because of its location, The Taste books different dance bands four nights a week and then hosts a Variety Night the remaining two. Aspiring comedians, dancers and jugglers flock to Variety Night, desirous of trying their material in front of a live audience -- and hoping to catch the discering eye of a talent scout on the prowl. Billy Sparks pulls up to the curb, gets out with a beautiful WOMAN and cuts inside. (90) INT. BACKSTAGE, THE TASTE -- NIGHT Jerome stands BACKSTAGE fidgeting nervously, staring appreciatively at the closed dressing room door. Various PEOPLE in COSTUMES pass by sporadically. Suddenly a burst of APPLAUSE and LAUGHTER wafts into the hallway. Jerome walks to the curtain and peers out-- (91) INT. THE TASTE -- NIGHT JEROME'S POV-- Billy Sparks and his Girlfriend being seated at a front table. A COMEDIAN is on stage juggling KNIVES and HATCHETS. The CROWD is ROARING their approval. (92) INT. BACKSTAGE -- THE TASTE -- NIGHT Just then a CLOWN passes Jerome, stops, and hands him a flower. Jerome tries to smile, but his nervousness is simply too strong. The Clown hands him another flower, trying to elicit a favorable response. Jerome is patient, but attempts to ignore the Clown in a polite way, indicating he'd rather be alone. The Clown persists, however, going through a little routine, handing him flower after flower... Suddenly Jerome throws them into the air, grabs the Clown by the throat and flings him headlong down the hallway. The Clown gives Jerome the finger and walks off in a huff. MORRIS cuts from the dressing room, closes the door behind him. He joins Jerome at the curtain, and they move down the back stairway to the CLUB-- MORRIS (nervously) I guess this is it. JEROME I guess so, M.D. MORRIS I think I'm going to be sick. Why does this have to be happening to me? Has it crossed your mind that we're about to make the biggest mistake we've ever made? JEROME I don't think it's all that bad. MORRIS That's why I do all the thinking. (93) INT. THE TASTE -- NIGHTas Billy Sparks spots Morris, waves. Morris manages a weaksmile, offers a half-hearted wave back. Just then we HEAR afirce DRUM BEAT, and-- TASTE M.C. Ladies and Gentlemen, please welcome Vanity Six. Respectful APPLAUSE-- MORRIS Oh, God-- He sits quickly, followed by Jerome -- they both put on sunglasses. A HUSH descends over the CROWD. The CURTAIN rises slowly...and Brenda, Susan and Vanity are frozen in a provocative, vampy stance. Their effect on the audience is galvanizing -- the Crowd bursts into APPLAUSE and WHISTLES-- MORRIS (surprised) What?? Wearing sexy lingerie and moving seductively to the beat, the Girls launch into "Sex Shooter" with complete abandon. The MUSIC is slick and fierce, the Girls sexy and sure. Wearing black bikini panties, black tails and boots, Vanity dances center-stage and begins SINGING. She's mesmerizing, her look so alluring, so profound that the audience sits slack-jawed in amazement. The SPOTLIGHT is hers and she soaks it in, radiating a sexiness that has the audience at her feet. The entire concept -- dress, dance, music and staging -- is overwhelming, with just the right degree of playfulness to allow the Crowd easy passage into the fantasy world the Girls create. Brenda and Susan play off her wonderfully, sharing secret looks with the Crowd, balancing the wickedness of the act with an innocence that is enticing. They're working strongly as a unit now, the AUDIENCE roaring their approval... MORRIS and Jerome are beside themselves with happiness. The pull off their shades immediately, sit back and glow in the audience's response. PRINCE stands in the back, his eyes glued to Vanity. Her strength and sureness in front of the Crowd is breathtaking. The audience loves her and he suddenly feels very alone -- as if another wall has gone up between them. He looks away a moment and spots... ...Morris looking at him with a self- satisfied, triumphant grin on his face. Prince looks away, moves out of his eyesight. "Sex Shooter" comes to an end. The stage is plunged into darkness. The CROWD goes WILD, leaps to their feet, begging for more. The Girls, slighly over-whelmed by the response and flushing deep red, hold one another.tightly and take repeated bows. PRINCE watches the Girls bowing to thunderous APPLAUSE. Suddenly Vanity looks at him and touches the earring she's wearing -- it's his Mother's. His knees weaken instantly, and he locks eyes with her. The heat between them is unmistakable. She smiles vividly, gives him an endearing wave and steps back as the curtain closes. He's MOVING through the Crowd before he knows it, trying to get to the backstage door. The Crowd is thick, his path momentarily blocked. He spots Billy Sparks cutting across the floor and congratulating Morris and Jerome. Prince turns from them, tries once again to make his way through the Crowd. (94) INT. DRESSING ROOM, AND HALLWAY -- THE TASTE -- NIGHT VANITY and the Girls rush into the dressing room and jump up and down with excitement. They are beside themselves with happiness, kissing and hugging one another avidly. Suddenly Vanity pulls away, indicates she will be back and cuts out the room. HALLWAY as she runs down the hallway to the backstage area, peers from behind the curtain, scanning the club earnestly. (95) IN'T. -- THE TASTE -- NEAR CURTAIN -- NIGHT as Prince waits impatiently in the long line. Billy Sparks comes by, spots him and stops-- BILLY Morris is squeezing you, kiddo. You better kick ass tomorrow night or else. He cuts outside, disappears into the Crowd. Prince stands there steaming, the wind knocked out of him, his joy a memory. He turns back to the line, but it has grown, the Crowd now jammed up against the door. Frustrated, he cuts outside. BACKSTAGE as Vanity watches Prince leave. A profound sadness sweeps her face. Suddenly Susan is by her Side, hugging and kissing her happily. Brenda runs up, pouring champagne. Morris, Jerome and The Time are at the end of the hallway and beckon her excitedly into the room. Vanity forces a smile, goes down the hallway, casting another look at the exit door. (96) EXT. BACK ALLEY, THE TASTE -- NIGHT Morris and Vanity stagger down the ALLEY obviously very drunk. Morris pulls from a FLASK. Vanity is still in her lingerie, wears an open coat over it. Her speech is slurred-- VANITY Did you hear these people applauding? They loved us -- they wanted to rip us apart, and this is just our first night. I can see it now, we're all going to be big stars. I can feel it. MORRIS (singing) Ain't nobody bad like me. She kisses him spontaneously on the cheek-- VANITY Morris, you're a genius. MORRIS Ye-es... He fixes her with a sexy look, takes a healthy look from his flask, then gives it too her. Vanity throws her head back, drinks fully, the liquor coursing over her cheeks. He devours her with his eyes, opens the door to the Caddy-- MORRIS Let's go, Bebe. She stops as if remembering something-- VANITY Huh, where's Jerome? MORRIS In his skin...hee, hee... He's trying to nudge her into the Caddy- - VANITY Is he coming? MORRIS I gave him the night off. VANITY Why? He staggers back from the car, undulates his hips wantonly-- MORRIS Whawhak! She busts up. Just then a MOTORCYCLE can be heard off screen. They look around drunkenly, trying to discern its direction. Suddenly Prince BLASTS around the corner FULL OUT! He streaks by Morris and KICKS him flat on his ass into the garbage-- MORRIS (wails) Oh, no -- Oh, God...No! Prince skids to a slick stop. Vanity is transfixed. The entire episode took less than five seconds. He twists the throttle, BLASTS down upon her... She breaks in a panic! She runs clumsily down another alley, her coat flying. He WHIPS after her like a madman. She flies around the corner -- a dead end! He fishtails to a slick stop-- PRINCE Get on! There's no way out! Suddenly she lets out an excited YELP, jumps on. He guns the bike, BURSTS up the alley. Morris jumps into his path drunkenly, his arms extended-- MORRIS Stop! Stop! But Prince BLAZES down upon him, sending him slipping and sliding to safety. He BLASTS around the bend-- MORRIS Motherfucker! You long-haired faggot! (97) EXT. HIGHWAY TO EMBANKMENT -- NIGHT Prince and Vanity WHIPPING down the highway. (98) EXT. EMBANKMENT -- NIGHT They streak down the road, slow, then move down a small embankment. He stops the bike and gets off. She's in a foul mood, staggers around dully, her head pounding, her speech slurred-- VANITY So here we are again. So this is it, huh? What do you want this time? He looks at her painfully, upset about her drunken state-- VANITY What's your problem now? What's your main problem? PRINCE No problem. I just wanted to talk, alright? I just want us to be okay, to really get along. No big deal. She cackles, falls flat on her ass, hoists herself up-- VANITY No big deal, huh... She pulls Morris' FLASK from her jacket -- his eyes blacken-- PRINCE Give me that. VANITY No, definitely not. Who are you? You can't tell me what to do. She puts it to her lips-- PRINCE Please don't drink that. Give it to me. She holds the flask to her lips defiantly, then goes to drink. He lashes out suddenly, SMASHES it from her grip. She SCREAMS wildly, SLAPS him hard across the face. He stands shocked a moment, his rage surging within him, smashing through every safety valve he's acquired in his life. He BACKHANDS her savagely across the jaw. She hits the ground like a rag doll. He looks at her curiously, bends over her - - she sucker-punches him with everything she's got! He SCREAMS in rage and grabs her hands as they flail about his face. He squeezes her fingers back while the tears stream down her cheeks and her mouth forms a silent "ow"! She bares her teeth angrily and he sucks at her mouth, biting and kissing her in a fever pitch. She kicks at him violently, hot tears streaming down her cheeks. He jams his leg between hers, rubs it firmly against her bottom. She struggles helplessly against him as he covers her breasts, her stomach, her thighs with his lips. Quick breaths escape from her -- her breathing begins to race... He snaps her panties in two, pulls them from between her legs. She spreads herself as he releases his pants. She squeezes his buttocks, pulls him toward her -- but Prince resists her coldly, regards her with contempt. Suddenly he flips her onto her stomach, forces her to stand painfully on her knees. He rubs his hand between her buttocks, then thrusts into her painfully, driving himself to the very depths of her... ...but she stifles a cry, arches her back, and meets his thrusts fiercely, moving quicker and quicker, banging her buttocks against his thighs again and again. She's drawing from him now, turning the humiliation around, obtaining all that she needs and desires. He's powerless -- her thrusts set the pace. She rises, Prince still inside her and tugs on him rapidly, causing him to ejaculate suddenly, drawing from him a sharp and sudden cry... She moves away, draws her coat tightly about her, fixes him with a contemptuous look-- VANITY You're nothing, Prince, absolutely nothing. You think you're so special -- but deep down you're just like all the rest. (a beat) Your whole life you've been hiding, hiding behind your music. But now you don't even have that, because last night...last night you used it to hurt someone, someone who really cares. She runs up the embankment, wipes away her tears, faces him-- VANITY If you put your hands on me like that ever again, I'll be the last person you touch. She pulls off his Mother's earring, throws it at him. Tears flowing, she streaks into the HIGHWAY blindly, directly into the path of a SPEEDING CAR- - THE DRIVER spots her in his HEADLIGHTS, SLAMS on his brakes! He SKIDS wildly across the road, comes to a SCREECHING, BURNING stop inches from her thigh! VANITY shoots a look at Prince, her lips trembling, her love for him, written plainly on her face. But his eyes flash defiantly. She bites her lip sadly, then snaps a hot look at the Driver-- VANITY I need a ride. She cuts around the car, hops in. The Driver skids off into the night. Prince stands there trembling, watches as it disappears into the distance. DISSOLVE TO: (99) EXT. PRINCE'S HOUSE -- NIGHT Prince pulls up to the wooden gate, cuts the motor, gets off. He walk wearily across the porch, moves to the front door -- it's wide open. He thinks nothing of it, cuts into the house, closes it behind him. (100) INT. PRINCE'S HOUSE -- GROUND FLOOR -- NIGHT He stands by the door motionless, a curious look on his face. The STEREO is on, the NEEDLE skipping monotonously along the record. His mouth opens into a spasm-- PRINCE Dad...? Silence. A sudden dread courses through him, leaving a hollow in his stomach. His feet are like lead. He moves heavily into the room-- PRINCE Mom...? Nothing. Panic sets in. He STREAKS down the hallway, twists open the bedroom door -- it's empty. Blue NIGHT LIGHT glows through the windows. CURTAINS play delicately in the breeze. He's thoughtful, walks back into the living room... ...the COFFEE TABLE is SMASHED. He looks at it curiously, wondering stupidly if it had always been like that. Then sudden bolt of fear makes his head swim. A lamp, a porcelain dish, some knickknacks on the mantle -- all smashed. He rushes into the kitchen, looks around crazily-- PRINCE Daddd...! Nothing but the decay of his scream. The BASEMENT door is ajar. He cuts to it quickly, pulls it open, peers frantically into the darkness below. He snaps ON the light... (101) OMIT (102) EXT. PRINCE'S HOUSE -- NIGHT SIRENS! The SCENE is a riot of COLOR and FRENZY. A POLICE CAR, LIGHTS FLASHING, skids into the drive. NEIGHBORS jam the STREETS. POLICE CARS are parked all around. (103) INT. BASEMENT, PRINCE'S HOUSE -- NIGHT CHAOS! The BASEMENT is PACKED with COPS. Prince's father is strapped into a gurney, staring dully at the ceiling. PHOTOGRAPHERS snap pictures as PARAMEDICS work feverishly over him. I.V. UNITS are pushed into his veins. An OXYGEN MASK is placed over his nose and mouth. Huge white bandages are bunched up along the back of his head. His Mother is kneeling by the gurney, crying hysterically, grasping his hands in a white panic. TWO COPS support her. Someone is SHOUTING instructions. RADIOS crackle incessantly. A MEDIC cries-- MEDIC Lift! And the gurney is hoisted up the stairs quickly, the bulk of the crowd following, his Mother supported as she ascends the stairs. Prince sits on a tattered sofa in the corner, his head bowed. Cops standing and kneeling beside him. Somebody finished taking notes, closes his pad. One Cop rests a hand on his shoulder, talks to him in soft tones. Prince shakes his head slightly. The Cop gives the group a signal and everyone disperses, moves up the stairs. The Cop looks at him sympathetically, then closes the door behind him. (104) INT. BASEMENT -- NIGHT PRINCE sits motionless a long time. Moonlight floods the basement with a foreboding light. A dog BARKS somewhere in the distance. He looks up suddenly, his face agitated, his eyes red from tears. PRINCE'S POV-- CHALK MARKS on the floor outlining the body of his Father. There's a GUN in his Father's hand clearly marked. A train WHISTLE in the distance. He's staring at the gun. He shakes his head, rubs a hand over his face vigorously and looks up again... ...the GUN in his Father's hand. He can't get it out of his mind! The WHISTLE is CLOSER. He lurches to his feet, paces back and forth crazily. His Father's head, the gun...the gun...the... The WHISTLE is LOUDER. He throws himself into the chair, buries his face deeply into his hands and cries. Huge racking sobs spasm through his body. His Father, his Mother, his entire life, his music, his guitar... He looks up suddenly -- the gun in his Father's hand. ..and he stares at it. The WHISTLE is LOUDER! His heart is pounding in his ears. He squeezes them shut, looks up... The gun. He bolts to his feet, paces back and forth in a panic! The train is HOWLING! A rope in the corner of the room, his face, the gun... He sits dully, gazes at the rope as if in a trance. The TRAIN is ROARING past the house, it's HORN BLASTING. The rope, the gun, and his body dangling from the rafters in the night breeze-- PRINCE (screaming) Noooooo!! He lurches to his feet, cuts through the basement like a madman. He grabs a stick and starts SLASHING things crazily, moving through the room swinging his stick wildly again and again. He's lost to himself now, deep in the pit of an unknown terror, expurgating a horror that has been festering in him for years. He flings his stick at the wall, unends shelves and bureaus, trampling old memories that have lain dormant for years. Drawer after drawer is flung against the wall, their contents smashing and scattering about. He opens a large, oaken chest and flips over. Thick three inch piles of yellowed paper fall out. He snaps through the rubber bands holding them together and flings the paper at the wall again and again... ...he stops suddenly, shocked. He SEES musical notes written down on the paper. his heart pounding in his chest, he searches frantically through the rubble scattered about him. More and more musical notes, sketched ideas, simple melodies, entire songs and scores -- all meticulously recorded on lined yellowed paper, dated for the last 20 years, and signed...by his Father. He's shocked to a standstill. Then the full significance of what's before him hits him like a sledgehammer. He collapses in agony against the chest, tears flowing down his cheeks. (105) INT. BASEMENT -- A SERIES OF SHOTS (NIGHT INTO DAY) Prince lying outstretched on the basement floor, sleeping fitfully, feverishly. His body is lathered in sweat, the droplets glisten in the pale light. ANOTHER ANGLE Cool, gray dawn. He's in a dead sleep on the floor, his arms outstretched, his legs twisted beneath him. His Father's outline seemingly rests by his side... Just then the basement window begins to glow with SUNLIGHT. It inches slowly across the floor, then sweeps him majestically, bathing him in its warmth. He wakes slowly, stretches his limbs like an opening flower. After a moment he sits up, shades his eyes... The basement is littered with debris. The destruction is complete, but in the midst of it lies his Father's music. The yellow parchment is scattered about glowing in the sunlight... Something seems to flash across his mind. he stands, moves quickly down the hallway to the antechamber... Suddenly we HEAR a TAPE REWINDING. After a moment...MUSIC and we immediately recognize it as Lisa's and Wendy's SONG. It plays a moment, then snaps off abruptly. He stands locked in thought, then sits behind the piano, hunts for the first few notes of Lisa's and Wendy's song... DISSOLVE TO: (105A) INT. HOSPITAL ROOM -- NIGHT Prince's Father is lying on the bed, sleeping peacefully. A large bandage is wrapped along the back of his head. His Mother sits by his side, her forehead resting on the covers, her hands holding his. She's in deep sleep, and it's obvious at once that she's been by his side the entire time... Prince steps from the shadows of the room and gazes at them fighting back the emotion that wells within him. He leans close and kisses them both gentlythen-- MC (over) (excited) Let's bring them back! Ladies and gentlemen, The Time! (106) INT. CLUB (1ST AVE. ST. BAR) -- NIGHT The CROWD goes WILD! Morris, Jerome and the Time return to the stage to a frenzied throng. The PLACE is PACKED, the CROWD applauding like MAD! LASER LIGHTS strobe the house in a frenzy. It's a glorious night, and Morris struts back and forth imperialistically criss- crossing the stage like a lion, urging the audience on. He grabs a mike-- MORRIS You love us right?! You want us right?! I can't hear you! The CROWD is SCREAMING -- Morris flashes a wide, exaggerated grin-- MORRIS What time is it?! (a beat) Whawhak!! And MUSIC. The Time launches into "The Bird" and Morris, laughing heartily, does 'The Bird" (dance) with Jerome as the audience ROARS their approval. (107) INT. DRESSING ROOM/BACKSTAGE -- NIGHT as Prince and his Band sit in grave silence, the exuberant SOUNDS of the CLUB filtering through the open door. Jill is also in the room, sitting on a table, holding the dog silently in her lap. She casts sidelong looks to Prince, tears welling in her eyes. The Band Members fidget nervously, knowing full well that their jobs are on the line, and feeling awful about the personal tragedy that has befallen Prince. The entire situation is very tense, and it's made worse every time the crowd lets out a delighted ROAR of approval. But Prince sits placidly, his face an enigma, his feelings a mystery. (108) INT. CLUB -- NIGHT And it couldn't be more of a contrast! The place is a riot of color and raucous carryings on. "The Bird" is a smashing success with everyone on the dance floor trying gamely to get the steps right. Morris and Jerome are flushed with pride, surprising even themselves with their impromptu adjustments to the act. The MUSIC crescendos, then comes to a rousing blistering end! The stage is plunge into darkness. the CROWD goes BERSERK. Billy Sparks shakes his head happily-- BILLY Jesus! (109) INT. BACKSTAGE -- NIGHT Morris, Jerome and The Time cut briskly past admiring FANS, laughing and shouting crazily-- BAND MEMBERS (ad lib) It's all over now. He better watch out. He doesn't even need to go on. He might as well go home. (110) INT. DRESSING ROOM -- NIGHT As Prince, Jill and the Band sit in dead silence listening to The Time's bluster off screen. Suddenly The Time crosses the doorway -- Morris does a double- take, sticks his head into the room-- MORRIS How's the family! Whawhak! The Time busts up, drags Morris from the room. Prince's group is shocked, casts furtive glances to him -- but he remains serene, then-- MC (over) Ladies and gentlemen, please welcome Prince! Applause offscreen. Prince stands abruptly, straps on his guitar. His Band Members look at him closely, trying to discern his feelings. He gives them a cursory glance, cuts out the door. (111) INT. CLUB -- NIGHT Prince hits the stage and the APPLAUSE grows, but it' s nothing like the exuberance that greeted Morris. He moves center-stage and plants himself there, his eyes staring into the audience. BILLY SPARKS leans against the bar, a smug look on his face. VANITY walks slowly up the stairs, gazes at Prince. PRINCE does not move. The APPLAUSE trickles away. He continues to stare in the audience making no attempt to direct his Band, or start a tune. A nervous TWITTER ripples though the crowd. Those who know about the tragedy feel a profound embarrassment for him -- but no one turns away. Then his voice comes clear and mellifluous-- PRINCE I would like to do a song that two of my friends wrote. A MURMUR, cuts through the Crowd like a riptide. Prince snaps a look to Lisa and Wendy and confirms that it is indeed their song. They can't believe it! Tears spring to Wendy's eyes before she knows it ... Prince smiles at her, then gazes at his entire Band. Their eyes fasten on him in an instant. He counts softly and... MUSIC. The opening bars of "Purple Rain." He turns to to the audience and SINGS.... It's a ballad, a poem really, a plea for understanding, love, and survival. It's a testament, a pact if you will, between himself and others... The AUDIENCE is mesmerized, all EYES are upon him -- but Prince doesn't notice. Lips pressed against the mike, dark eyes streaming, he's lost to himself now, loosening all that's within him, cleansing himself of his rage, hatred and pain... VANITY is crying. Every moment she has shared with him is expressed in this song, and the effect on her is unnerving. Her heart leaps to him in a way she never thought possible. But she lets it go willingly, as the words draw her in, seducing her somehow, making her free...as if the music, his words, all that he has experienced and understood, is purging what is confused and ugly within herself, leaving her with an understanding and joy that burns in her womb like soft fire. A smile springs to her lips as tears continue to flow, and she finds herself moving closer... ...as the Audience moves closer, drawn somehow to the stage, to the person who SINGS so truly, to the person who gives of himself unselfishly to all that he feels... Prince begins a long sustained CRY that cuts though the hearts of all present. The MUSIC builds awsomely, and he continues to sing out, emptying himself of all the remaining pain lying within. The MUSIC crescendos and comes to a quiet end... Stunned SILENCE. A silence so profound you could hear a pin drop. Prince sighs, assumes the worse, then cuts across the stage purposefully. Now some CLAPPING. And a WHISTLE from the back and the SHOUTING. And more WHISTLES and some even SCREAMING. And the WHISTLES and the SHOUTS and the CLAPPING growing and growing as.... (112) INT. HALLWAY -- NIGHT Prince cuts from the stage in a frenzy, rushes toward the rear exit. The APPLAUSE is building and building until it's a THUNDER, an onrushing ROAR, an avalanche of HYSTERIA that rocks the club mightily... PRINCE is still running though, his face streaming with tears, past the surprised look of Jill, past the FANS, past everyone -- stripping of his clothes fiercely, flinging off his jacket, his shirt, his scarf-- (113) EXT. BACK ENTRANCE, INT. HALLWAY -- CLUB -- NIGHT He SMASHES open the door, BURSTS outside. He sucks in the night air as if he was drowning. He wipes away his tears, rushes to his bike, starts to undo the chain... ...they're SHOUTING his NAME... Not randomly, not haphazardly, but...in unison. And relentless, very demanding, downright urgent, and...it's beautiful. A wry smile crosses his lips. He heads back to the door. Jill is there, scared, her face a map of tears. He flashes her a smile-- PRINCE Hi. She's thunderstruck, can barely squeak it out-- JILL Hi. And he whips into the hallway. Her face dissolves into a smile of pure joy. (114) INT. CLUB -- NIGHT MOVING now, FAST and FURIOUS. The HALLWAY is LINED with PEOPLE. They reach for him as he passes, touching him, showering him with their love. Someone hands him his shirt, another his scarf -- it's so intense! He's moving quickly now, his jacket up ahead, closer...he stops suddenly, stunned... ...Vanity is holding his jacket. He's struck speechless -- she hands it to him smiling, tears streaming down her face-- VANITY I love you. His knees go weak, she kisses him spontaneously, pushes him lovingly to the stage. THE CROWD IS ROARING! (115) INT. HALLWAY AND STAGE REAR -- NIGHT He's half-running now like crazy -- his Band is on-stage, peering anxiously into the hallway. They spot him and relief sweeps their faces like a tidal wave. He whips his jacket on, rushes up the stairs... (116) INT. CLUB -- NIGHT STAGE THUNDER! Prince walks center- stage...and bows. The AUDIENCE goes BERSERK! He acknowledges Wendy and Lisa, and then the entire Band. The CROWD is jumping out of their skin! He straps on his guitar, gives a deft signal and-- MUSIC. The Band launches into "I Would Die For You." Vanity squeezes her way through the crowd and stands watching Prince from the wings. He presses his lips to the mike and SINGS. The MUSIC continues as we... CUT TO: (117) INT. LIVING ROOM, PRINCE'S HOME -- NIGHT Prince walks through the LIVING ROOM slowly, gazes at the smashed table, the broken lamp and dishes. Every item in the room suddenly takes on a profound significance. His father's slippers under the sofa, his mother's knickknacks on the table, her pen and ink drawings on the wall. After a moment, he picks up his father's slippers, studies them a long time. (118) INT. BEDROOM -- NIGHT The DOOR opens -- a LIGHT snaps ON. He walks into the room, places his father's slippers in the CLOSET. His Mother's dress is lying in a heap on the floor. He picks it up, and puts it away. (119) INT. BASEMENT -- NIGHT as he descends the steps hesitantly. The FLOOR is covered with rubble. He sits on the steps, stares at his father's MUSIC on the floor. "I Would Die For You" continues as we... CUT TO: (120) INT. CLUB -- NIGHT Prince on-stage SINGING "I Would Die For You." The AUDIENCE is captivated, locked into his grip again. His eyes seem to be focused on something far away. He closes them tightly, presses his lips against the mike. The MUSIC continues as we... CUT TO: (121) INT. BASEMENT, PRINCE'S HOME -- TWILIGHT He's in the final stages of cleaning the basement floor. The debris has been swept up, shelves righted, smashed items thrown away... He stacks his Father's music neatly, tears welling in his eyes. He places it in new boxes, stands wearily, a fulfilled look on his face. Suddenly he stops -- stares at the awful chalk marks on the floor: his Father lying down, the gun gripped in his hand... "I Would Die For You" continues as we... CUT TO: (122) INT. CLUB -- NIGHT Prince on-stage SINGING "I Would Die For You." He's lost to himself now, locked into a personal horror he alone can see. The CROWD is pressed against the stage, mesmerized by his performance. Billy Sparks is also drawn in, amazed at the power being generated from the stage. Prince sweeps the audience with his eyes, then fastens on Vanity earnestly, SINGS directly to her. The MUSIC continues as we... CUT TO: (123) INT. BASEMENT, PRINCE'S HOME -- DAWN He pulls a HOSE from behind the washer, draws it on to the floor. He hesitates a moment, gazes one last time at his Father's outline, tears welling in his eyes. He turns the water on, watches as the dusty yellow chalk gives way reluctantly, mixing with the water, swirling down the drain. Calmness sweeps his face like a passing cloud. Just then SUNLIGHT blazes in through the casement windows. Water droplets glisten brilliantly in the morning light. He turns the water off, goes to put the hose back -- stops suddenly, surprised... ...his Mother's earring lies on the floor. He's entranced, picks it up, stares at it a moment. Everything he's been through comes rushing at him like a loco motive. The confusion, the shouting and violence, the darkness that eclipsed his parents' life -- it's all there, lying just below the surface, settled into his heart. But now there's a difference -- he knows it's there and has discovered what could happen when it takes control of your life. So as he stands in the basement, on the clean cellar floor, he realizes that...he'll just take one thing at a time, and do it right. Better than anybody else. He smiles, realizes that in the last few weeks, he's never felt better than he feels right now. He turns quickly, flips the earring to the stairwell... ...Vanity plucks it from the air. Their eyes lock and they share smiles of pure joy. He picks up his father's music, and they both head up the stairs. "I Would Die For You" continues as we-- CUT TO: (124) INT. CLUB -- NIGHT CELEBRATION! Everyone is JUMPING up and down. Prince is radiant, strutting across the stage, his hands upraised. The CROWD goes WILD! He flashes a wide grin to Vanity, then twists, eyeballs the CROWD wickedly, wonderfully. It's too much! Everyone is joining in now. Even Morris and Jerome, standing in the wings, start DANCING like crazy. Then suddenly they catch themselves, stop, act dignified. But Vanity sees them and busts up. They catch her look, laugh heartily and join in again. The MUSIC segues into a fierce BEAT. The CROWD lets out a ROAR! Prince strips off his guitar, streaks center- stage. The Band launches into "Baby, I'm A Star." ...And the CROWD laughing, dancing, shouting and loving. The CLUB is ALIVE! And the MUSIC continues...forever... \ No newline at end of file diff --git a/unformated_scripts/Script_Quantum Project.txt b/unformated_scripts/Script_Quantum Project.txt new file mode 100644 index 0000000000000000000000000000000000000000..1272cf98efd6f0b739cc57542efb213949096da2 --- /dev/null +++ b/unformated_scripts/Script_Quantum Project.txt @@ -0,0 +1 @@ +1 INT. A BIOCHEMICAL LANDSCAPE 1 A violent electrical storm. Veins of light pulse outward, branching off into a spidery network of GLOWING INTERCONNECTEDNESS We are inside a human brain. A pack of neurons FIRE OFF to the left, and rocket their way across synapses to the optic nerve. Passing the eye socket, they speed toward a silky, curvilinear membrane (the retina) on which we see an image projected: AN UPSIDE DOWN COMPUTER SCREEN Neurons PING into the membrane: the picture suddenly FLIPS RIGHT SIDE UP and we follow the light, flashing in a blur through the iris and cornea until, exiting the eye we reverse POV and 2 EXT. THE WORLD AS WE KNOW IT - DAY 2 CLOSE ON A PAIR OF EYES Deep deep blue. Radiating more intelligence than wisdom. Inside each pupil is the reflection of a COMPUTER SCREEN. A deferential VOICE sounds from off camera. VOICE Professor Pentcho? 3 INT. ATOMIC LABORATORIES (PROFESSOR PAUL PENTCHO) - DAY3 Twenty-nine, athletic, owlishly handsome. VOICE (ARLETTE) Multi-tasking again? Pentcho raises his blue eyes from the computer screen and up at ARLETTE (50's), his mannish Swiss assistant. ARLETTE We can start the descent now. 4 INT. THE LABORATORIES (MOVING) - DAY 4 A SERIES OF SHOTS as Pentcho and Arlette stride through the facility. They pass a group of green-tagged VISITORS and their Swiss-accented GUIDE. GUIDE Two hundred feet below us is the world's largest particle accelerator... His VOICE continues on overlap as they reach a hallway. GUIDE (OC) (CONT'D) 27 kilometers in circumference, the beam pipe actually runs beneath the borders of Switzerland and France... PENTCHO Did you get that data off to Braverman at Cal Tech? They are facing the CAPSULE/ELEVATOR that leads to the tunnel. ARLETTE Done. Next to the elevator, two plants are dying in their pots, their growing lamps off. Pentcho looks around, finds the plug, pushes it into the socket. The lights glow. He peers at a leaf: a tiny bug crawls across... GUIDE (OC) ...at the moment of impact the electrons inside the pipe are travelling six hundred sixty six million miles per -- ARLETTE We need to progress. He breaks out of it, swipes his I.D. card. The capsule doors WHOOSH open. Pentcho nods at the man inside. This is JACQUE, his accent heavily Italian. JACQUE Hey, it is 3-P-O! P, P, P! Professore Paulo Pentcho! PENTCHO That's not an official nickname, Jacque. Pentcho looks from Jacque to Arlette, who blushes. Pentcho sits down in the heavily consoled captain's chair. JACQUE Beh! Eets just tun-nel humor. The giant lab disappears from sight as they DROP twenty stories below the earth. PENTCHO Did they recalibrate the 3k turn? Jacque nods. They hit bottom. Pentcho keys in data on the console computer as the capsule moves LATERALLY on a track parallel to the beam pipe, stopping in front of the RF CAVITY, bursting with a billion dollars worth of nanotechnology. PENTCHO (CONT'D) Give me more angle-control on the bounce. JACQUE Benissimo, Professore. ON PENTCHO: a little bored, manning the console. PENTCHO Fifteen seconds Arlette... 5 INT. PENTCHO'S BRAIN FIELD - DAY 5 The camera surges forward into Pentcho's eyes: DOUBLE CLICK We see an image draw itself on the empty 'page' of the field: A BLACK DOT LOOPING INTO A STRING accompanied by the following thought text: "...two spatially separated particles will irresistibly attract..." MOUSE CLICK - A WOMAN'S FACE wide-set brown eyes brimming with emotion. A hint of a SONG playing somewhere in the BG. MOUSE CLICK to the previous 'page' where the LOOP has formed into a sheet moving through space, followed by the floating thought text: "...until the force of the collision fuses them into..." PENTCHO'S VOICE Ten, nine, eight... MOUSE CLICK - POV: LOOKING STRAIGHT DOWN AT the BROWN-EYED WOMAN, her face dreamy, her body naked beneath silk sheets. PULL BACK: she's floating on an enormous Renaissance mural - a wedding scene - that is a bedroom floor. Off in the corner, PENTCHO sits hunched over a clunky laptop, his fingers dancing, dervish-like, across the keyboard. PENTCHO'S VOICE (CONT'D) Four, three, two... WOMAN Then goodbye... CRACK! Suddenly, the woman drifts away. Pentcho looks up: THEIR EYES LOCK WITH LONGING AS: 6 INT. THE CAPSULE CONSOLE - SAME TIME 6 Pentcho's FINGER depresses the START button. 7 INT. PARTICLE ACCELERATOR - DAY 7 as we follow the PULSE SIGNAL from the keyboard to the CPU, across the LOCAL AREA NETWORK to the MAINFRAME in the RF cavity, sending its own signal into the BEAM PIPE, where two soon-to-be accelerated ELECTRONS are released, like horses bolting from the same starting gate, but in opposite directions. THE ROLLER-COASTER RIDE BEGINS. POV - ONE LIGHT INFUSED ELECTRON BLASTING through the beam pipe like a COMET, fused inside of a looping, twenty seven kilometer single lane race track. WHOOOSH! As the electron accelerates, so too does the sound, rushing to GUT SPLITTING, EAR WRENCHING DB'S. Heading around the turn, it barrels STRAIGHT INTO THE PATH OF THE SECOND ELECTRON on its own speed-of light power surge. HERE COMES THE IMPACT POINT... but SCREEEEECH! What disc brakes might sound like, slammed to the floor of a vehicle travelling six hundred sixty six million miles per hour. SUDDENLY THE ELECTRON HAS STOPPED, SUSPENDED, its phosphorescent glow trained like a spotlight on: PENTCHO - EXTREME CLOSE UP the dual computer screens reflecting out of his pupils, again. A VOICE speaks from nowhere, sonorous and packed with reverb: FEMALE VOICE WHAT DO YOU WANT? The camera SURGES into Pentcho's eyes as the brain field opens to the sounds of a nine alarm fire. DING DING DING DING DING! The thought text marches by in giant, attention-getting letters: "ELECTRONS DON'T TALK!" FEMALE VOICE (CONT) (CONT'D) WHAT DO YOU WANT, PAUL? More thought text scrolls by on the field, now in RED LETTERS: "I'm having a psychotic episode." The field collapses back into PENTCHO, ashen-faced, watching his computer screen, and seeing: the cursor (electron) blinking. JACQUE'S VOICE Impact! Suddenly, we are back inside the pipe, HURTLING toward KABLOOM! THE SUB-ATOMIC EXPLOSION A particle meteor shower of magnificent proportions. They glow and charge off and disappear, as the laws of E=mc2 take visual flight inside this billion dollar kaleidoscope. 8 INT. AIRPLANE IN 1ST CLASS (ON PENTCHO) - DAY 8 staring out the window, not really seeing the clouds as we SURGE into his eyes and CLICK 9 INT. THE BRAIN FIELD (POPPING OPEN) - DAY 9 stacking up windowlike flashbacks with startling ferocity. The glowing electron - CLICK - Arlette: "multi-tasking again?" CLICK - the capsule doors closing - CLICK - "you're having a psychotic episode" - CLICK - the echo of the electron's voice: "WHAT DO YOU WANT, PAUL?" 10 INT. THE AIRPLANE (PENTCHO) - DAY 10 puts down a drink glass on the tray table of the seat next to him. Places headphones onto his ears. Fiddles with the music channels: country, stand-up, classical... Stays put on a Mozart concerto. He gazes back out at the clouds, fails to notice that HIS DRINK GLASS IS MOVING sliding slowly across the tray table. It stops near the edge and waits, as Pentcho looks up from the window. As his head drifts back toward the clouds outside THE GLASS MOVES ACROSS THE TRAY TABLE IN THE OTHER DIRECTION 11 EXT. SAN FRANCISCO INTERNATIONAL AIRPORT - DAY 11 Pentcho's plane touches down. 12 INT. A RED VOLKSWAGEN BEETLE - DRIVING 12 On the freeway, heading for Berkeley, in eternal rush hour. Stop, go, sixty miles per hour, then five, then thirty. Pentcho drives, distracted, stares at his own eyes reflected in the rear view mirror. The camera SURGES in: CLICK 13 INT. FLASHBACK - AIRPLANE - DAY 13 It's Pentcho himself, on the airplane, listening to Mozart. In the foreground, the tray table and glass. In the BG, his eyes fixed aimlessly on the clouds outside. Suddenly, Pentcho's face SPLITS INTO TWO DIMENSIONS One stays focused forward, while the SECOND ONE turns to the side and watches in amazement as THE GLASS SLIDES ACROSS THE OPEN TRAY TABLE Suddenly a horn BLARES, and CRASH! 14 INT/EXT. THE BEETLE (PENTCHO) - DAY 14 SLAMS into the car in front of him, triggering SLOW MOTION EFFECT A three car COLLISION with Pentcho in the middle, an object lesson in physics seen from ten different camera angles: SCREECH CRUNCH CRUNCH Bumpers crumple, metal tears, human molecules SNAP forward. POP POP POP! Like gunfire, bullet AIRBAGS clamp the drivers' heads back against their headrests. 15 INT. PENTCHO'S BRAIN - DAY 15 The field ROCKS SIDEWAYS, in total OVERLOAD, so flooded with messages that each one is undecipherable. 16 EXT. THE FREEWAY ACCIDENT SITE - DAY 16 The three cars form a tangled metal sculpture. Incredibly, as Pentcho himself sees, they are all RED VW BEETLES. He sits in a daze. A man's voice interrupts, scaling up into a SHOUT. VOICE What the hell were you thinking? What? I want to know! WHAT?!! This is WILL (30's), a scratch over one eye, peering in at Pentcho, still behind the air bag/steering wheel, craning his stiffening neck forward and back at the crumpled row of red automobiles. He blinks, then answers in an eerie voice. PENTCHO Probability of this happening, same make, model, color and year is less likely than the proof for the existence of God. WILL (seething) Sorry I asked. (beat) You got insurance? 17 EXT. THE FREEWAY SITE (LIGHT RAIN IS FALLING) - DAY 17 A tow truck backs up to Pentcho's car. He stands, dazed, off on the shoulder, luggage next to him. His eyes drift toward Will, giving instructions into his cell phone. WILL Up the ramp. Yeah... I'll -- (he turns) There you are! See me? See? They won't let you in? Just walk... Here I am. He waves at a red Dodge Durango on the street below. PENTCHO stares idly at the Durango as we 18 INT. PENTCHO'S BRAIN - (MUSIC ON OVERLAP) 18 The picture is blurry but the song clear. SINGER'S VOICE I know this world is kil...ling you... CLICK - THE PICTURE SHARPENS on a man and a woman, MAKING LOVE on a big brocade couch. Their bodies rock in unison, faces unseen. SINGER'S VOICE (CONT'D) My aim is true-ooooh. The field collapses closed upon: 19 EXT. THE FREEWAY ACCIDENT SITE - DAY 19 A woman from the Durango is approaching, as Will, back on the phone, argues with his boss. WILL I'll be there, Trent. Yes. 20 minutes -- Click. Will reddens, sees the sunglassed face of the woman, looking past him and over to PENTCHO, signing the tow truck papers. The battered front end of his Beetle CRANKS upward. WILL (CONT'D) Son-of-a-bitch. As if it was my fault I got rear-ended by... The woman stares, curiously, at Pentcho. WILL (CONT'D) ...some schmuck dreaming about God. Mia? She doesn't hear him. Takes off her sunglasses, slowly. Wide-set brown eyes. WOMAN Paul...? Finished now with the tow truck driver. His head turns. She moves closer. Will's voice protests from the BG. WILL'S VOICE Mia... ON PENTCHO - SEEING HER, REALLY, FOR THE FIRST TIME 20 INT. PENTCHO'S BRAIN - (PRESENT DAY MIA) 20 overlapped by another photograph that slowly comes into focus - top third, middle third, bottom - like a downloading Internet image from his personal files. IT'S MIA, YOUNGER, THE SAME WIDE-SET DARK EYES Pentcho's heartbeat pounds LOUDER, drowning out the whisper: MIA Then goodbye... 21 EXT. THE FREEWAY ACCIDENT SITE (BACK TO REALITY) - DAY 21 They lock into a stare, the molecules around them swirling with emotion. Barely audible: PENTCHO Less likely than the existence of God. Mia brushes back a strand of hair. Bites her lip. PENTCHO (CONT'D) I've been dreaming about you. MIA Day or night? Pentcho loses himself in her brown eyes. PENTCHO Both. Atoms are vibrating, interchanging by the billions. Another voice gets in the way. WILL'S VOICE Mi. PENTCHO Is that your... MIA No. (beat) Not yet. She shifts her weight from one slim leg to the other. PENTCHO Could we go somewhere? MIA I'm heading out of town. PENTCHO (deep breath) Okay. Mia does a tiny double-take. It's very sexy. MIA What? PENTCHO I could go out of town. Mia laughs. This is so preposterous. MIA Could you? PENTCHO (nodding) Where to? MIA A place you've never been. PENTCHO That's the physicist's playground. 22 EXT. ADVENTURE WILDERNESS STORE - DAY 22 Will SLAMS the Durango door shut and stalks into the store. 23 EXT. HEADING TO XANADU (A SERIES OF INTERCUTS) - DAY 23 as the Durango motors into the alpine landscape. Mia turns, looks at her former lover. He stares back, smiles. MIA Why am I doing this? PENTCHO It's an experiment. Mia turns onto a private road. A MANSION appears in the distance, cresting the hill. 23a EXT/INT. XANADU - NIGHT 23a A massive wooden door. Mia holds a flashlight, slips an oversized key into the lock and turns. POV: THROUGH THE DOORWAY An enormous hall. Scaffolding rises from the stone floor. Forty foot high walls are draped in thick sheets of plastic. They enter like thieves. 23b INT. XANADU - A SHORT TIME LATER 23b Mia stands on top of an eight foot riser. Pentcho passes up harnesses and rope to her outstretched hands. MIA We flopped the first time out. PENTCHO At the sub-atomic level, particles obey their own logic. They connect in unimaginable ways. Mia slings the gear over her shoulder. Looks very much in her element. MIA And you think this is relevant to our relationship? Pentcho starts his own climb up the scaffolding. Reaches the first plank. PENTCHO Could be. MIA (wryly) What universe are you in, Paul? PENTCHO A quantum one. 23c INT. A HIGHER SCAFFOLDING - A SHORT TIME LATER 23c Pentcho clips a safety line to his belt. The two of them wear yellow hardhats and climbing harnesses. They suddenly KICK OFF the scaffold and DANGLE twenty five feet above the stone floor. Hand over fist, they start to ascend, hoisting themselves up the tug ropes. PENTCHO The shorthand is, when you send electrons through space, it's impossible to say precisely what they are: particles or waves. They spin around slowly like tops as they hoist themselves up. PENTCHO (CONT'D) They come into being as one or the other at the moment we observe them. His words echo off the giant walls. PENTCHO (CONT'D) Nothing is real until it's perceived. MIA The Buddhists have been saying that for a millennium. PENTCHO How? Mia reaches an electric box, hanging a yard below the ceiling. MIA Baby, reality is what you choose to make it. She flips the switch. A set of lights FLARE ON. Pentcho swallows a breath. In awe. PENTCHO God. WE SEE WHAT HE SEES: A GIANT RENAISSANCE-STYLE FRESCO COVERS THE ENTIRE CEILING. Flocks of ANGELS fly above a GODDESS. Cherubs. Heralds. Pentcho's face flushes. He's exhilarated. She takes note: MIA But only if you live your life that way. If you experience every moment as discovery. Pentcho's already there. He kicks his legs out. Joyrides on the tug rope, arcing back and forth like a mad pendulum. PENTCHO Mia! You're restoring heaven with dabs of paint. You're bringing new order to the universe. She beams from his excitement. MIA I always said we were in the same business... His wayward motion swings him STRAIGHT INTO HER. They lock arms. The ropes shudder. PENTCHO If you're right, we have a chance. (beat) To be together. Pentcho reaches out to kiss her. Doesn't see that their collision has jogged the clutch on his harness rope. Now it opens all the way. WHOOSH! In an instant, he's gripping air, FALLING at the speed of Newton's discovery. He hurtles downward in slow motion. There's a SOUND rushing in behind him, the RUMBLE OF A MEGA-EARTHQUAKE. Pentcho catches a glimpse up over his shoulder: the angels, the goddess, Mia, all of it has been SUCKED OUT OF EXISTENCE... as Pentcho's eyes stare for a millisecond at THE VOID. NOTHINGNESS. NADA. And then he's FALLING again, accelerating toward his own last particle collision, when a VOICE murmurs from somewhere. VOICE (OC) I'm not done. THWACK! The safety line holds, dangling Pentcho a meter above the stone floor. 23d INT. XANADU - SOME TIME LATER 23d They camp on old couch cushions, side by side, staring up at the illuminated fresco. Pentcho is bruised, battered, vulnerable. PENTCHO When I was a kid I used to snap my head back like a gunfighter on the draw, hoping to catch a glimpse behind me. Mia props her head up on one elbow. MIA Of what? ON THE FRESCO: A CHORUS OF ANGELS PENTCHO God. I dunno. The eternal nothingness. Mia. It's a plea. She turns, stares directly into his eyes. PENTCHO (CONT'D) The universe is snapping my head back. I'm losing my focus. Mia's face fills with light. Her best smile. MIA Welcome, Paul. Welcome. She traces a line from his forehead to the bridge of his nose, quoting Yeats (from "The Second Coming") as a celebration: MIA (CONT'D) "Things fall apart; the center will not hold. Mere anarchy is loosed upon the world." He pulls her close to him. They lie, spooned together, breathing in unison, gazing up at the painted heaven. A firefly enters from outside, flutters in the air above them, blushing a trace line of yellow light. PENTCHO An electron spoke to me yesterday. (beat) I swear. Mia tries to suppress a giggle. Can't. MIA What did it want? PENTCHO That's what it asked me. "What do you want?" I didn't answer. I was in the middle of an experiment. MIA Like now? He hesitates, then surrenders to the fact. PENTCHO Yes. The firefly dances above them. Pentcho sits up (and away from her). Mock serious: PENTCHO (CONT'D) Did you know electrons have lovers? Mia notes his distance. Faces him, cross-legged. MIA No. I didn't. (dryly) I'm listening. PENTCHO Inside every semi-conductor... you have two particles, with opposite charges, separated by an impassable barrier... She looks, sees him disappear into his head. PENTCHO (CONT'D) A strip of silicon, which for you and me would be like... The vulnerability is gone. And Mia, with it. MIA She's in L.A., he's in the Bay area -- PENTCHO (plowing ahead) A five hundred foot thick steel wall. But the connection between these two electrons is so -- MIA Dysfunctional -- PENTCHO That they tunnel, magically, through any obstacle, defying the practical laws of physics, in order to end up together -- MIA And glow happily ever after. Silence. The story hangs between them like a fog. MIA (CONT'D) Don't science me Paul. (beat) What do you want? ON PENTCHO'S FACE: It's blank. MIA looks up at the angels, closes her eyes, TURNS AWAY. (OMIT SCENES 24, 25, 26, 27, 28) 29 EXT. CITY STREET - EARLY MORNING 29 The Durango pulls up, stops. Pentcho gets deposited on the curb. Barely closes the door before the car SPEEDS away. He looks up. Sees the sign on the bus stop bench: "LOVE NEVER FAILS" Corinthians 13:8 30 EXT. THE BAY AREA - DAY 30 Storm clouds gather over the ocean. 31 EXT. THE BERKELEY HILLS - POURING RAIN 31 A taxi stops in front of a two story cottage, looking abandoned in the wet weather. Pentcho walks out, passing his dented VW BEETLE in the driveway. Ascends a flight of brick steps to the: 32 INT. PENTCHO'S COTTAGE - ENTERING 32 An alternately stark and cluttered space, less lived in than occupied by a man on the run between his office and his mind. Rivulets of water run from an open window, across a large desk, and down onto the wood floor. Pentcho scans around, unfazed. Locates a towel. Mops up. Dries off the computer and keyboard. Bag still on his shoulder, he fires up the machine and logs ON THE COMPUTER SCREEN E-mail. Lots of it. Hundreds and hundreds of messages scrolling by on the screen. He turns away, sees his own rain soaked clothes forming a puddle on the floor. LIGHTNING cascades across the sky, visible through the large bay window behind the desk. Pentcho's eyes stray back to the screen STILL SCROLLING E-MAIL MESSAGES as the thunder follows almost immediately. CRACK! He looks up: Veins of light pulse outward, branching into a spidery network OF GLOWING INTERCONNECTEDNESS A voice SOUNDS from somewhere non-local: VOICE (OC) Paul? Pauly? Pentcho leans toward the glass, looking out as we reverse POV: A SINGLE LIGHTNING BOLT descends from the heavens on its own speed-of light path straight at... WHOMP! It strikes the BEETLE dead on -- (SLOW MOTION) -- scorching the roof. Reverse POV: ON PENTCHO - pupils dilated as we surge inward to 33 INT. PENTCHO'S BRAIN - (OPENING ON) NIGHT 33 AN OLDER MAN wild, white Einstein hair. He CLUTCHES suddenly at his chest, like a heart attack victim. His lips call out, but no voice follows. He fades, ominously, to black at the sound of 34 EXT. THE SKY - (ROARING THUNDER) DAY 34 Pentcho blinks once, his face illuminated by a dozen flashes of lightning. He touches his fingers to the glass: A SECOND LIGHTNING BOLT DESCENDS on the exact same path toward... KABOOM! THE RED BEETLE. A plume of smoke rises out of the punctured roof. 35 (OMIT) 35 36 (OMIT) 36 37 INT. THE AIRPLANE - NIGHT 37 Pentcho sits in his window seat, staring at the open tray table next to him. There's a glass. It doesn't move. 37a EXT. STOCK SHOT - LANDING IN LAX 37a The plane touches down. We see the landmark spider-restaurant. 38 EXT. CAR RENTAL FACILITY - NIGHT 38 Pentcho crosses the lot with the rent-a-car EMPLOYEE. EMPLOYEE Rented every last ve-hicle. 'Cept one. PENTCHO I'll take it. It's a red 2000 BEETLE. 39 EXT. THE 110 FREEWAY - NIGHT 39 The sign says: "Hollywood - North. Long Beach, San Pedro - South." 40 EXT. SAN PEDRO/HOUSE - NIGHT 40 The rain has stopped. The red bug parks in front of a GRAND HOUSE GONE TO SEED. Ditto the neighborhood. A 7-Eleven sign blinks on the corner. Pentcho walks up the cracked sidewalk to a sagging wooden porch. Looks for signs of life. A light. Something. He pushes on the front door. Locked. Rummages through his key ring in the dark. Slides one into the top lock. Won't turn. Tries another key. Gets stuck. He pulls it out. Presses his face close against the window. TIRES SCREECH. POLICE SIRENS BLARE. Pentcho turns, his EYES lit by the flashing bubble lights. 41 INT. THE BRAIN FIELD - POPPING OPEN ON 41 THE EINSTEIN MAN Crumpled on the floor, hands still clutching his chest. The screen COLLAPSES at the sound of 42 EXT. HOUSE (VOICES SHOUTING FROM THE CORNER) - NIGHT 42 Foreign voices, jabbering at high speed. Policemen BARK BACK on loudspeakers. Walkie-talkies. Pentcho RAPS ON THE GLASS. He's frantic. Harder now. A THUNK sounds from inside. Or was it? He picks one last key out in the glare of the blue lights. Jams it in the lock. Twists and 43 INT. THE HOUSE - PENTCHO 43 bursts into the darkened foyer. His foot catches on a thick doormat. He SPRAWLS forward as A GUNSHOT ERUPTS ABOVE HIS HEAD He drops, convulsed with fear. Snaps his head back to see: THE EINSTEIN MAN (ALEXANDER) in bathrobe and slippers, hands shaking around a shotgun. ALEXANDER Paul... Pauly... Pentcho struggles to breathe. Staccato: PENTCHO I... I thought you were dead. Alexander drops the gun. In shock, a whisper: ALEXANDER I must be. 44 INT. BAR AREA (A TEA KETTLE WHISTLES) - NIGHT 44 Alexander, recomposed, marches to the burners. There's anger in his every movement. Restlessness. This is no feeble old man. He pours tea like he was filling shot glasses. Doubles. ALEXANDER Look at me. Pentcho stirs in a lump of sugar first. Raises his eyes. ALEXANDER (CONT'D) (contemptuous) "Alexander the Great." He lifts a kitchen chair, spins it around, straddles the back. ALEXANDER (CONT'D) 22 I built the first machine to transfer digital bits over a land line. I wrote the TCP/IP protocol before thirty. This mind (tapping his temples), the one and only, was OBGYN at the birth of the Internet. And where has it taken me? He shoots upright. Peers out the row of double sash windows, covered by impenetrable iron grates. ALEXANDER (CONT'D) To isolation. To an armed camp. To a biblical spoof of a crazed father firing a gun at his only son. PENTCHO You taking any medication? Alexander's eyes FLARE in anger. ALEXANDER Don't waste it Pauly. This is not an everyday talk. Just input the information and ask relevant questions. One: how did a celebrated life of the mind bring me (pulling the gun out) to this particular switching station? PENTCHO Dad... He shoves the shotgun into an open trash can. ALEXANDER Two: what if I didn't miss? PENTCHO You did. ALEXANDER Spare me your classical answer. Measurements in. Results taken. What if I didn't miss? PENTCHO You did miss -- ALEXANDER -- What if your seven and a half precious liters were downloading over the parquet floor? What then? (softer) What did your life mean? (beat) Who did you nurture, Pauly? Who did you love? Pentcho shifts, uncomfortably, in his seat. Ditto Alexander's mood. He does a startling one-eighty into nonchalance. ALEXANDER (CONT'D) What was her name? PENTCHO Excuse me??? ALEXANDER What was her name? The one I met. Alexander reaches out a finger, touches the dab of paint on Pentcho's forehead. PENTCHO Mia...? ALEXANDER Yes.... He rubs the paint between his fingers. ALEXANDER (CONT'D) The restorer... Now he wanders off, disappears into the dark. ON PENTCHO: wired, incredulous, heart thump thump thumping. He calls out after his father. PENTCHO I need some air. (beat) Don't shoot me. ALEXANDER'S VOICE (OC) Good night. INT. ALEXANDER'S HOUSE - A SHORT TIME LATER Pentcho paces in front of the open window, stops. He turns to walk out, is surprised by ALEXANDER Standing in the dark. ALEXANDER We've been kidding ourselves, Pauly. Until you look for it, it doesn't even exist. 45 EXT. SAN PEDRO WHARF - NIGHT 45 Pentcho slogs down the wharf. Running from it. Looking for it. Past homeless people slipping in and out of the shadows. He snaps his head back over his shoulder, sees an OLD WOMAN playing the accordian. She stops. Her eyes bore in on his own. OLD WOMAN You would have a son with me... Pentcho blinks. The woman is suddenly FIFTY YEARS YOUNGER: YOUNG OLD WOMAN ...and his name would be Hope. 46 INT. PENTCHO'S BRAIN - (A MATHEMATICAL FORMULA) 46 Numbers fly up on the field, are inscribed, erased, considered and measured. Pentcho's own VOICE is heard on overlap: PENTCHO'S VOICE "If you could look back fast enough, at near to the speed of light, then there would be no reality behind you, because it hadn't yet been created -- 47 EXT. THE WHARF - (A FOGHORN) NIGHT 47 BELLOWS in the dark. Pentcho twists his head forward, spots: A PINK NEON HEART blinking above a tatto parlor. His eyes lock on, see the heart GLOWING BIGGER AND BIGGER, its electric pulse mimicing the beating of a real organ. CLOSER STILL - ON PENTCHO Running from it. Looking for it. He stops dead in his tracks, tries one last time to play gunfighter with the quantum reality: HE SNAPS HIS HEAD BACK OVER HIS SHOULDER and we see him, making the same move, from four different camera angles: from his LEFT, his RIGHT, from the TOP OF HIS HEAD, and looking up FROM GROUND ZERO as HE FINALLY WINS THE DRAW. The RUMBLE OF A MEGA-EARTHQUAKE is unleashed. Here it comes, rolling in with a giant WHOOSHING SOUND... POV PENTCHO: WATCHING REALITY SUCKED OUT OF EXISTENCE The ships, the dock, the harbor OBLITERATED by an onrushing, transparent cloud of NOTHINGNESS, EMPTINESS, a tabula rasa superimposed upon the disappeared wharf. ON PENTCHO, FALLING TO HIS KNEES hammered by his own victory, numb from shock and ecstasy, staring into the void as we surge forward 48 INT. THE BRAIN FIELD 48 It's completely blank, just like the void. The VITALS are flatlined. A single piece of thought text floats across the emptiness, almost like a screen saver: Say Uncle.... Say Uncle... 49 EXT. THE WHARF - (A VOICE) - NIGHT 49 VOICE Uncle, hey... A face, peering down at Pentcho. The face belongs to the MAGIC MAN, in a mad hatter hat, and a potpourri of found item clothing. Like a Baptist preacher on his sidewalk pulpit: MAGIC MAN Can you feel it, uncle? Can you feel it right down to your bones?! ON PENTCHO: EXTREME CLOSE UP Inside each pupil is the reflection of the NEON HEART. We pull back on Pentcho's face. Calm. Serene. PENTCHO Yes. (beat) Yes I can. 50 EXT. ALEXANDER'S HOUSE - NIGHT 50 Pentcho turns the key, effortlessly opens the front door. INT. UPSTAIRS HOUSE - AN ORNATE TILE SHOWER - NIGHT He stands beneath the stream of hot water, cleansing himself of a day that began a very long time ago. INT. THE GUEST BEDROOM - NIGHT Pentcho dresses, taking in the smell and texture of fresh clothes against his body. He sits down on the bed. Sees a clock. 5:00 a.m. TUGS UP one of the double sash windows that faces the 7-Eleven. VOICES rise from the parking lot. Pentcho stretches out on the musty bedspread, eyes on the carved plaster ceiling. Suddenly, floating up through the open window: WOMAN'S VOICE What do you want?! Pentcho cranes his head. WOMAN'S VOICE (CONT'D) Tell me! Now! Now! The old sash falls shut. BOOM. It's like a dam bursting inside him, only the flood is LAUGHTER that starts deep in his belly, as a giggle, then a chuckle that cascades upward and out into enormous GUFFAWS. The sound rocks the house. Pentcho's smile is a mile wide. His eyes sparkle, then tear up as the FRONT DOORBELL RINGS He jumps off the bed, and bounds down the stairs. 53 INT. THE FRONT HALL - NIGHT 53 Alexander's already there, ushering MIA inside to: 54 INT. THE LIVING ROOM - AT THE MOMENT THAT 54 Pentcho arrives. He stops, incredulous, at the sight of her. ALEXANDER Guess who's coming to dinner. Mia jumps right in. To Pentcho: MIA I didn't want to leave things the way we did. Not this time. PENTCHO Wait. I want to tell you something. He takes her arm, steering her away from Alexander, into the living room. She stops cold at the sight of the MURAL. MIA I've been dreaming about this. PENTCHO (excited) Then you get it. You'll understand. MIA What? His face has the look of the little boy who has just stumbled upon the pirate's treasure. PENTCHO I know what I want. I let go, and a second later you materialized at the door. You see? CLOSE ON PENTCHO feeling the feelings. PENTCHO (CONT'D) Mia. I can create reality. (beat) I can choose to love you with all my heart. Tears pool along the rims of her eyes. She stares straight at him, hiding nothing. MIA You know those people who won't be photographed because they're afraid you're stealing their souls...? (long beat) I came to take back my picture. The one I keep leaving with you. His heart deflates. His voice follows. Barely audible: PENTCHO Why? MIA So I can move on. You too. A horn blares from outside. MIA (CONT'D) Be who you are, Paul. I love who you are. I do. She turns and runs out the front door. 55 EXT. ALEXANDER'S HOUSE - SECONDS LATER - NIGHT 55 Mia runs down to the curb where where boyfriend WILL holds open the passenger door of the red Durango. MIA'S VOICE I'll drive. She circles the car, disappears behind the wheel. Will gets in his side. ON THE FRONT PORCH Pentcho, agitated, pushes open the door. Alexander's already outside, watching Mia motor off. He turns, stares at his son. ALEXANDER Do you want to think about it some more? PENTCHO SPRINTS DOWN TO THE CURB. Jumps into the Beetle. The headlights FLASH ON in the pre-dawn night. 56 INT. THE DURANGO (DRIVING) - NIGHT 56 Mia grips the wheel with two hands. Will feigns nonchalance. WILL You okay? She nods. Barely. They merge onto the highway. 57 INT. THE BEETLE (DRIVING) - NIGHT 57 Pentcho grips the wheel. Eyes focused. We surge into 58 INT. PENTCHO'S BRAIN FIELD - OPENING ON 58 PEARLS, PLAYING OUT, LOOPING INTO A STRING whose shape recalls the original brain field. Thought text scrolls below, accompanied now by Pentcho's own inner voice. VOICE AND TEXT Each part of physical reality is constructed of all the other parts... EXTREME CLOSE-UP, ON A SINGLE PEARL inside of which, the entire strand is reflected. VOICE AND TEXT (CONT'D) A web of connections created by the interdependence of all things... The field collapses back into: 59 INT. MIA IN THE DURANGO (DRIVING) - NIGHT 59 eyes on the rear view mirror, as a horn BLARES from the entrance to the Long Beach bridge. She re-checks the mirror, filled with bobbing headlight beams. One beam LOCKS ON, straight into the center of the glass, blinding her for a split second. She blinks. Gasps to herself as the beam seems to LIFT OUT OF HER MIRROR and train its phosphorescent glow on: MIA - EXTREME CLOSE UP the point of light reflecting out of her pupils. PENTCHO'S VOICE speaks from nowhere, sonorous and packed with reverb: PENTCHO'S VOICE What do you want? Mia blinks again. The beam is gone. She looks over at WILL, oblivious, checking his watch. BACK ON MIA the understanding flooding her eyes as SHE SNAPS HER HEAD BACK (JUST LIKE PENTCHO THE GUNFIGHTER) And we see her making her move from FOUR DIFFERENT CAMERA ANGLES, from her left, right, up above, and from the back seat of the car as the RUMBLE OF A MEGA-EARTHQUAKE WHOOSHES BY... POV MIA: THE BRIDGE, THE CARS, THE BAY all sucked out of existence until nothing remains but THE VOID. NOTHINGNESS. NADA. CRASH! 60 INT. THE DURANGO (SLAMMING INTO THE CAR AHEAD) - NIGHT 60 triggering a chain reaction of vehicles fish-tailing across the bridge. In quick succession come a STREAM OF IMAGES: The pearls colliding... Mia and Will exchanging a LOOK... Traffic HALTING on the bridge... Will getting SCORCHED by the MAN they plowed into... Mia, exiting her side, looking BACK BEHIND HER... PENTCHO, ditching his Beetle, ten car lengths south... HE RUNS FORWARD, straight down the path of a tunnel-like headlight beam. MIA PICKS UP SPEED, churning from the other direction. PULL BACK: FROM THE BRIDGE as the two of them move toward the same point. Suddenly, tiny sparks of light GLOW and JUMP from portions of the bridge cable. SLOW MOTION: PENTCHO AND MIA gliding still closer. A VOICE sounds: VOICE Impact! Their bodies CONNECT, arms intertwine, lips touch lips... PULL BACK - HIGHER It's like a plug in the socket of the physical landscape LIGHTING THE ENTIRE ELECTROMAGNETIC SPECTRUM Every cell line, radio wave, satellite feed, fiber-optic cable, all stretching in every possible direction FROM BRIDGE TO SEA TO SKY pulsing outward into a spidery network of GLOWING INTERCONNECTEDNESS. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Queen of the Damned.txt b/unformated_scripts/Script_Queen of the Damned.txt new file mode 100644 index 0000000000000000000000000000000000000000..6beb626280e3162f3c00ed705173ba4ffe1f128a --- /dev/null +++ b/unformated_scripts/Script_Queen of the Damned.txt @@ -0,0 +1 @@ + QUEEN OF THE DAMNED Written byScott Abbott and Michael Petroni Based on the novel by Anne Rice FADE IN:1 EXT. LAFAYETTE CEMETERY (NEW ORLEANS) - NIGHT 1 An empty breeze blows across a deserted cemetery. We hear the sound of FOOTSTEPS APPROACHING, then nineteenth- century boots ENTER FRAME. We FOLLOW them strolling past the headstones and mausoleums. The sound of a HORSE and CARRIAGE ECHOES in the distance. VOICE (V.O.) There comes a time for every vampire when the idea of eternity becomes momentarily unbearable... As we REACH an old stone tomb, the boots leap up and OUT OF FRAME. PAN UP to reveal: A FIGURE stands steadily atop the roof of the tomb, silhouetted against the moon like a large, black bird. VOICE (V.O.) The wounds suffered from love and failed friendships don't heal like a human's, but seem to only gape larger. The longing to be mortal returns, a longing for finiteness. A beat as the indistinct figure gazes out at the night... CUT TO:2 OMITTED 2& &3 34 EXT. TOMB - CONTINUOUS ACTION 4 The figure enters an alabaster tomb and closes the door. VOICE (V.O.) In 1883 I suffered such a spell and decided to cease feeding on blood. Just lie in the earth and let time return to its natural state... As the WIND PICKS UP, the LEAVES of a fledgling vine growing up the side of the tomb begin to RATTLE FASTER and FASTER, until curiously, time seems to speed up. Night passes to day and back to night. Shadows from the sun and moon drift across the tomb. As days and months fly by, the vine winds and grows in circuitous patterns all around the tomb. (CONTINUED) 2.4 CONTINUED: 4 VOICE (V.O.) I had hoped the sounds of the passing eras would fade out, and a kind of death might happen. A kind of forgetting where I would be healed from my wounds. The CLIP-CLOP of HORSES and the SQUEAK of PERAMBULATORS DISSOLVE INTO the THUMP and SCRAPE of INDUSTRIAL ENGINES. VOICE (V.O.) But as I lay there, the sounds didn't fade but grew with the world. The BUZZ of PROP ENGINES MELT INTO the sound of a JET STREAMING overhead. CARS, MACHINES, RADIO BROADCASTS MERGE INTO a medley of MUSIC from this century -- JACK BENNY, MUDDY WATERS, ELVIS, HENDRIX, SEX PISTOLS. VOICE (V.O.) And gradually the world didn't sound like the place I had left, but something different... better... As we DRAW CLOSER TO the now vine-covered tomb, SOUNDS of the '70s, '80s, '90s PERSIST... VOICE (V.O.) A new fearless attitude had possessed the world, brave and Godless. I began to wonder if it was not time to resurrect. But the thing that eventually brought me back -- the decisive thing really -- came like a bolt out of the blue. GUITARS STRIKE, DRUMS CRACK and the MUSIC SLAMS OUT, raw and dark.5 SERIES OF GLIMPSES 5 Slender hands with long, painted nails, Gothic rings, and a half-pound of silver bracelets play their instruments. Long hair, body piercings, Celtic tattoos, and brightly- colored nylons show a lot of pale, smooth flesh. In the confusion of glimpses, it's hard to tell who's a boy or girl, but they're all young and beautiful. Breaking in on the CACOPHONY of MUSIC COMES ONE GUITAR CLOSER and LOUDER than the rest. (CONTINUED) 3.5 CONTINUED: 5 A SCRAPING ROAR, like a bandsaw being twisted into the most gorgeous, powerful chords, almost religious in its emotion. VOICE (V.O.) A music so sublime, so deeply vampiric, I had no doubt it could be heard in Hades. I had no choice... it summoned me. An ULTRA-FAST TECHNO BEAT BEGINS and the FULL-SOUND of a BAND RUSHES in, creating a sense of vertigo with its energy.6 INT. TOMB 6 The BAND'S sounds ECHO about the stone chamber, thrumming a deep, life-giving pulse. Suddenly, the LID of a SARCOPHAGUS SCRAPES and slides to one side.7 EXT. LAFAYETTE CEMETERY (NEW ORLEANS) - NIGHT 7 The Figure re-emerges from the tomb, his cape now in tatters -- posture bent. He creeps across the cemetery in unnatural, staccato movements as if hindered by the physics of distance and time. All the while the SONG plays, drawing the figure toward it.8 EXT. FRENCH QUARTER - NIGHT 8 The Figure moves through the shadows avoiding the spill of yellow light from the street lamps. Stopping in a darkened alleyway, he gasps for air, exhausted by his movements. He listens again to the mesmeric TUNE of the band in the distance, when -- From down the alley, a voice... VOICE #2 (O.S.) (in French; subtitled) Need a fix?9 CLOSE ON FIGURE'S EYES 9 staring hungrily at...10 BACK TO SCENE 10 A MAN proffering a little parcel wrapped in foil. (CONTINUED) 4.10 CONTINUED: 10 Pulling deeper into the shadows, the caped Figure beckons the dealer over. The man approaches when -- With a wild animal cry, the Figure lunges like a phantom -- A flash of teeth -- The Dealer is on the ground -- the Figure set upon him. OVER this scene the BAND'S SONG RUSHES IN LOUD again, reaching an incredible CRESCENDO as the violent frenzy continues -- the monster gnawing at the Dealer's neck.11 CLOSE ON FIGURE'S HAND 11 Its vein refilling with the flow of warm blood -- skin regaining a youthful tautness.12 WIDER 12 Rising from his victim we see for the first time the revitalized face of this creature, a mane of blond hair frames the beautiful features of the VAMPIRE LESTAT -- his bulbous lips glistening red. LESTAT (V.O.) Whether it was that first meal, the music, or the 100 years of rest, I'm not sure, but suddenly I was feeling better than ever. My appetite for living was voracious. My hearing so exact I could locate precisely the source of the music...13 EXT. NEW ORLEANS HOUSE - NIGHT 13 In the street, Lestat emerges from the shadows in the dealer's snug-fitting leather outfit. He looks up at an extremely run-down flophouse... LESTAT (V.O.) My old house. High in the attic, a single window glows with dim light. The source of the MUSIC. The whole house is shaking from the sound of the BAND playing upstairs.14 INT. ATTIC - JUST AFTER 14 The room booms with music, speakers stacked high on all sides, literally shaking the house to its foundations. (CONTINUED) 5.14 CONTINUED: 14 REVEAL the band members of Satan's Night Out. JAMES, ALEX and MAUDY stare at each other as if in some tantric trance, as they play their music -- Alex's long fingers climbing up and down his guitar, Maudy's waifish body sensually curls around her keyboard, the waves of music flowing through them while James, on drums, drives them further into it. LESTAT (V.O.) It was hard to believe these beings were mortal -- so confident in their skin. Everything in my body wanted to be with them. I couldn't help myself. Then, from somewhere in the room, an ANGELIC VOICE begins to hum the most hypnotic melody over the tune, melding in exquisite harmony. Arching her neck in some higher ecstasy, Maudy looks across the makeshift studio and suddenly stops playing. ALEX What the hell, Maudy. Seeing Maudy's stunned face, Alex and James turn to see Lestat perched like a raven on top of the stack of speakers, eyes closed, still humming to the fading reverb of the guitars. Slowly opening his cool grey eyes -- LESTAT Please don't stop. JAMES What the f-- How did you get in here? LESTAT The door, of course. James and Alex look at the door on the other side of the attic -- they should have seen him. Maudy stares at Lestat, quite taken by the handsome vampire's looks -- Drinking Maudy in with his eyes -- LESTAT Your music woke me from the longest sleep. It's sublime. In two hundred years I've never heard anything quite like it. ALEX Who the hell are you? (CONTINUED) 6.14 CONTINUED: (2) 14 LESTAT (V.O.) The question provoked an irresistible urge... LESTAT You may call me the vampire Lestat. As we REMAIN ON the stunned looks of the band's faces -- LESTAT (V.O.) It just rolled out of my mouth. With one simple sentence I had betrayed everything about my kind. Betrayed our code of secrecy. LESTAT Your struggles are over. Suddenly from across the room -- LESTAT All that you've ever dreamed of will be yours. They spin around to see Lestat now right behind them, smiling. ALEX (terrified) What the hell is this? LESTAT Your lucky day. They all stare at him, faces white. A beat. Then James breaks into a big smile. JAMES Cool. We got our very own vampire. Maudy and Alex look at each other getting used to it. They break into smiles, going with it. MAUDY Hey, Vampire Lestat, I've always wondered... about Keith Richards... CUT TO:15 EXT. SKIES - NIGHT 15 FLYING ACROSS night skies, as the distinctive dark sound of SATAN'S NIGHT OUT KICKS IN to join Lestat's soaring voice. (CONTINUED) 7.15 CONTINUED: 15 LESTAT (V.O.) It was a bold move, I admit. But from that moment on, they were my friends, my children, my band. Together we rode on the wave of my preternatural ambition to superstardom, giving the world a new god... me. We COME ACROSS the city lights of London. Below, police cars section off a few blocks around a very sleek, ultramodern office building where a huge crowd has gathered. SUPERIMPOSE: LONDON (6 MONTHS LATER)16 EXT. OFFICE BUILDING - CONTINUOUS ACTION 16 Through the crowd, a very long, black limousine snakes its way toward the building. Rows of fans dressed as Goths, ghouls and vampires scream out... FANS Lestat! Lestat! Girls press their breasts and necks up against the limousine. Thump! Thump! Fan after female fan flings herself on the car. Groupies scream with pure excitement. Confusion of screams as the door to the limo opens. The crowd's scream reaches a fever pitch as... James, Alex and Maudy climb out, ogle at the sight. ROGER SMYTHE, their business manager (40s), gets out next, hustling them through the crowd. A wave of hysteria hits the fans. Roger hustles the band through the crowd and up the stairs into the church, past the giant billboard with their own images written huge, Lestat's smiling face above them all and the announcement -- LESTAT -- LIVE & UNDEAD -- OCTOBER 31, ALL HALLOW'S EVE, DEATH VALLEY, U.S.A.17 INT. OFFICE BUILDING - SOON AFTER 17 A high-tech conference room. The band, sitting up front, is faced by an audience of over fifty journalists and then another fifty photographers and TV cameras. The room crackles with anticipation. Roger steps to the podium. (CONTINUED) 8.17 CONTINUED: 17 ROGER May I present the Vampire Lestat. He pushes a button and a black curtain slides open to reveal a huge monitor on the wall. Every eye is glued to the SCREEN... CRACKLE, CRACKLE. Nothing. Then suddenly, on the screen, a face in shadow appears... Lestat. His voice booms out over the crowd. LESTAT Good evening. I'm so sorry I'm late. I was just having my... breakfast.18 OMITTED 1819 BACK TO SCENE 19 Then Lestat leans forward into the light. Hushed whispers move through the crowd. Lestat's eyes burn unnaturally bright. His white skin absolutely glows, luminous. Lestat smiles out at them with a tight smile. Then grins wider, revealing his fangs. JOURNALIST Excellent makeup job. Marilyn Manson, look out... A thousand questions suddenly burst out of the journalists. ROGER Hey, hey! We're gonna keep this short here! One at a time. You! He points to a PRETTY FRENCH JOURNALIST. PRETTY FRENCH JOURNALIST So, Lestat. You say you're a real vampire. Correct me if I'm wrong, but what I remember about vampires is you guys usually keep your identity secret. LESTAT Yes. But why hide it in this day and age? I've hidden in the shadows for centuries. It's time to share myself with the world. (CONTINUED) 9.19 CONTINUED: 19 In the corner, Roger gives a big winking smile to the camera crew. The journalists smile, playing along. A younger, hipper MUSIC magazine JOURNALIST pipes in... MUSIC JOURNALIST And it doesn't hurt the record sales, huh? Your album just topped all kinds of sales records. LESTAT Our label isn't complaining, no. PRETTY FRENCH JOURNALIST Could you prove it? You know give us a demonstration of your powers? LESTAT If you like, I'll give you a private demonstration in your hotel room tonight. The journalists laugh. The French Journalist looks a little frightened/fascinated by Lestat's leer. LIFESTYLE JOURNALIST Why not a demo at your own house? I mean, what's with all the secrecy about where you stay? Is it true you move residences every few days? LESTAT (smiles, giving away nothing) After calling one stone tomb home sweet home for so long, I like to experience as much diversity as I can. Wouldn't you? The Lifestyle Journalist smiles. MUSIC JOURNALIST There are a lot of rumors flying around the internet about the hidden meaning in your lyrics, that you're giving away 'vampire secrets.' Something in all that?20 SMALL TV SCREEN 20 In a dark room, the interview continues. (CONTINUED) 10.20 CONTINUED: 20 LESTAT (V.O.) Maybe I'm trying to resurrect a few old friends with my words. Daring them to come out. MUSIC JOURNALIST Of the closet. LESTAT (smiles) The casket... Laughter. They're enjoying this performance although no one is taking it very seriously. PULL OUT to reveal we are --21 INT. PRIVATE CLUB - SAME TIME 21 A man in a dark suit plays pool. Looking up over his dark glasses, his strange, luminescent, grey eyes stare up at Lestat on the TV scornfully.22 BACK TO PRESS CONFERENCE 22 MUSIC JOURNALIST Your first and only concert's in Death Valley, just days away. Why just the one? LESTAT (grins) I don't like repeating myself. MUSIC JOURNALIST But these other vampires, aren't they going to be pissed that you're giving away their secrets? LESTAT I imagine they are, yes. LIFESTYLE JOURNALIST Do you have anything to say to the other vampires listening out there? LESTAT Yes, as a matter of fact, I do... Leaning forward, Lestat smiles at the TV camera. MATCH CUT TO: 11.23 INT. PRIVATE CLUB - TV 23 LESTAT (V.O.) Come out, come out, wherever you are. CAMERA BOOMS DOWN to reveal... A group of dangerous-looking vampires dressed in various styles, staring stony-faced up at the screen, their eyes glowing strangely in the ultra-violet light. The pool player is in the b.g. Other vampires, dressed in black, eyes cold as ice, stare up at the TV. VAMPIRE #1 Goddamn fool's going to bring back the Inquisition. VAMPIRE #2 I say we kill him, before this gets out of hand. Bleed him dry. VAMPIRE #1 Gotta find him first. Elusive bloke. Never know where he's going to turn up. VAMPIRE #2 Well we know one place he's definitely going to be... Next to him sits a female VAMPIRE, Evian bottle in hand. VAMPIRE #1 When I was in Manchester, the coven there was saying exactly the same thing. That we should nail him at the concert... FEMALE VAMPIRE #1 I don't know, if he's as old as they say, he's gotta be pretty strong... If you came within a mile of him, he'd eat you alive. She brings her Evian bottle to her lips. Drinks heartily. The liquid inside glistens deep red. VAMPIRE #1 Yes. Well let's see how he handles a thousand of us at once. Crack -- the pool player sinks the last ball on the pool table. The TV suddenly EXPLODES. (CONTINUED) 12.23 CONTINUED: 23 BACK TO LESTAT ON HUGE VIDEO SCREEN He smiles at the journalists. LESTAT See you all in Death Valley. CLICK. The screen goes black.24 CLOSE ON LESTAT 24 in the flesh. REVEAL he is...25 INT. LESTAT'S CHATEAU (LONDON) 25 All alone in his magnificent chateau. He sits in front of a video camera and monitor set up for the two-way remote feed. Lestat puts the remote down. Laughs out loud with the pure pleasure of it all. He stands, crosses to huge doors. Opens them. Goes out to...25A EXT. LESTAT'S CHATEAU GROUNDS - CONTINUOUS ACTION 25A Lestat walks across his lavish grounds, gazes up into the night. Staring up at the dark heavens, Lestat inhales like an emperor taking in his kingdom, stretches his arms out, still drinking in the adulation. Slowly, his grin fades... A melancholy look comes over Lestat. LESTAT (quietly, to world) Come out, come out, whoever you are. As he lowers his arms, the CAMERA PULLS UP and OUT FROM Lestat, whirling into the dark night... CUT TO: 13.26 CLOSE ON SET OF HEADPHONES 26 as it plays LESTAT'S SONG. PULL OUT ON... A beautiful young woman, JESSE, 22, lays in black satin sheets. Her long red hair snakes over her slender neck as she sleeps to Lestat's voice, still as death. Flickering candles all over the room reveal her lithe, strong body, pale as the moon. She is surrounded by her work, ancient language books, her laptop computer. Another book is clenched in her hand. The Unconscious Vampire. We MOVE IN ON her fluttering eyes. CUT TO:27 DREAM SEQUENCE - EYES 27 opening. Blank. Still. Unsettling. PULL BACK to reveal these eyes belong to a 19th-century porcelain doll. We TRACK ACROSS rows and rows of dolls from different eras, all exquisitely detailed. TRACK PAST the billowing floor-to-ceiling curtains to reveal a six-year- old girl lying awake in a large bed, Jesse, green eyes and long red curls. LAUGHTER wafts in with the breeze.28 INT. CORRIDOR 28 Jesse's bare feet pad down the endless corridor. The little girl is dwarfed by the stone pedestals, all lit with candles. LAUGHTER ECHOES through the halls.29 INT. GREAT HALL 29 Jesse moves past rough-hewn columns, watching something with great curiosity. Behind her, we glimpse a giant mural of names cut into the stone walls. A family tree, extending up onto the ceiling and down to the floor.30 JESSE'S POV 30 A grand party is in progress. There are about thirty vampires, all thin, pale and beautiful. An eclectic group, elegantly-dressed in Indian silks, Arabic veils, mixed with a few gaudy Versace outfits. Guests lean into each other's necks, showing blood-red tongues and fangs.31 BACK TO SCENE 31 A young VAMPIRE scoops Jesse up and puts her on his knee. (CONTINUED) 14.31 CONTINUED: 31 VAMPIRE Ah, Jesse. You want to come and play with us, don't you? She stares at him, nervous, intrigued. WOMAN (O.S.) (urgent) Jesse! VAMPIRE Soon, soon, little one. I'll make sure you're with us forever. WOMAN (O.S.) (more urgent) Jesse!32 INT. JESSE'S BEDROOM (PRESENT) 32 JESSE No! Jesse sits up with a start. She stands, heart pounding, trying to shake the dream off. We see on a bulletin board behind her, a flyer for Lestat's concert. She takes off the headphones. Walking over to the mantel above her fireplace, she picks up a solitary, framed photo -- holds it tight...33 CLOSEUP - PHOTO 33 Young Jesse (the girl from the dream) stares straight at camera. She is held in the arms of a red-haired woman, her back to camera.34 BACK TO SCENE 34 Jesse puts the photo down, catches her reflection in a mirror, lit by flickering candlelight. Her face is distressed, troubled by the dream. She goes to the window, stares out into the black night. The dark waters of the Thames snake through the London cityscape. Jesse blows out the candles. Darkness. CUT TO: 15.35 EXT. TUBE STATION (LONDON) - THAT NIGHT 35 Fluorescence pierces the black night. Jesse comes out of the tube station in a tight, short skirt, boots. She looks down the street. In one direction, a busy, brightly-lit street. Jesse gazes at a group of tourists coming out of a pub, laughing. Then she turns, looks the other direction. A dark street. She hesitates a long moment, stares at the light, then can't help herself, plunges toward the darkness, the LAUGHTER ECHOING, then DYING.36 EXT. ALLEY - JUST AFTER 36 Jesse passes "rent-boys" stepping from the shadows as cars cruise by. Jesse, unable to look away, gazes as one gets in a car. He stares back at her, disappears into the car.37 EXT. BRIDGE - JUST AFTER 37 Jesse passes couples using the shadows for privacy in the dark, filthy streets. She strides past a girl leaning against a brick wall, the man grunting, moving rhythmically against her.38 EXT. LONDON STREET - LATER THAT NIGHT 38 Fog floats in the yellow vapor lights. Jesse pauses at the intersection of a narrow alley. She hesitates, nervous, then turns down the dark lane, disappearing into the blackness...39 EXT. WAVERLY ARMS - NIGHT 39 Jesse, from the shadows, gazes, wide-eyed, at the Soho private club's entrance, a solitary door with a faded sign and a dull blue light mounted above. Jesse hears strange whispering. She sees now figures moving through the fog. One pushes a buzzer. Jesse stares, barely breathing, her heart pounding. The figures have white, luminescent faces, strange, bright, glowing eyes. Their fingernails are glass-like. A moment later, a slot in the door opens. The glowing eyes of another creature stares out at them, scrutinizing them. The door closes quickly. Jesse stands there, deliberating. She takes a step closer to the door. Stops. Takes another nervous step. She hears something, whirls around. (CONTINUED) 16.39 CONTINUED: 39 Another group of the strange figures walk steadily down the street towards her. Jesse begins backing away. A HISSING sound slowly fills the alley... CUT TO: CLOSE ON LESTAT smiling, revealing his fangs. REVEAL we are...40 INT. LIBRARY - TALAMASCA INNER COUNCIL CHAMBER - NIGHT 40 Lestat's face appears on a video screen in front of a room lined from floor to ceiling with leather-bound books, ancient scrolls. Subjects are marked, Werewolves, Poltergeists, Possession... SUPERIMPOSE: SECRET ORDER OF THE TALAMASCA: CENTER FOR PARANORMAL STUDIES: LONDON HEADQUARTERS Jesse, making a presentation, stands before an impressive and imposing group of 10 TALAMASCANS, wearing demure suits. Jesse is excited, a bit nervous, hoping to impress. She holds a remote which controls images appearing on the large video screen. Clips from Lestat's press conference continue. Jesse gazes out at the Talamascans. JESSE I have reason to believe Lestat's the real thing. A vampire. And an ancient one. TALAMASCAN #1 I don't know, Jesse. It looks to me like the guy's got a good P.R. man with a flair for the theatrical. JESSE (leans forward, eagerly) It would appear that way. But have you listened to his songs? Read his lyrics? The Talamascans glance at each other, surprised. Shake their heads. A few laugh. They're not Lestat's usual audience. (CONTINUED) 17.40 CONTINUED: 40 JESSE Well,i have. In one of his songs he refers to a pub called the Sailor's Arms. I think it's a clue... She pushes a button, the lyrics appear on screen. JESSE (reading screen) 'Where are you now? Back in the sailor's arms, somewhere in the back streets of Soho?' I tracked down the old leases in London. It turns out, in the late 1700's, there was a pub right in the backstreets of Soho called the Sailor's Arms. The lyrics on screen are replaced now by an old engraving of a pub with the sign reading "SAILOR'S ARMS." JESSE And it had a reputation for dealing with black magic. Witches' covens, seances, that sort of thing. Quick flashes of gruesome drawings appear -- animal sacrifices. A corpses floating above a table... Jesse talks faster and faster with her enthusiasm. JESSE And most importantly, reports of people being lured there and subsequently attacked by bloodsucking fiends. Quick flashes of gruesome period newspaper drawings, blood pouring from the neck of a screaming woman. A white-faced ghoul with fangs. Jesse is smiling wider, excited by her discovery. On screen, an old map of London appears. JESSE Here's where you could find the Sailor's Arms in old London. A modern map appears, overlaying the old map. (CONTINUED) 18.40 CONTINUED: (2) 40 JESSE And here is where it would be today. Of course the Sailor's Arms is not there anymore. That part of London is mostly old warehouses, meat-packing plants. TALAMASCAN #2 In a few years it will be artists' lofts and pretentious French cafes... Jesse leans forward now as she talks. JESSE Yes, but right now there's only one place to get a drink -- of sorts. A private club -- in exactly the same place. The Waverly Arms. On screen, a photo of the Waverly Arms. JESSE Well, what happens at the Waverly Arms now makes the Sailor's Arms look like a Happy Meal at McDonald's. She pauses for emphasis, gazing at the faces of the Talamascans, gauging their reactions. JESSE It's a vampire coven. And Lestat's leading us to it. Murmurs. Many of definite interest. Some of definite skepticism. Jesse's face shines bright with her enthusiasm. TALAMASCAN #1 (skeptical) And what makes you think so? Jesse smiles. Pushes a button. Ready to receive the Talamascans' approval. On screen, a new picture appears of several figures, white faces, dark clothes -- but they're very blurry. TALAMASCAN #2 Jesse, can you, uh, focus that any better? (CONTINUED) 19.40 CONTINUED: (3) 40 JESSE (excitement dampened by embarrassment) Well... it was taken... while... (clears throat) ... in motion. Talamascan #2 smiles at her sympathetically. Jesse gazes out at the other Talamascans, sees she's losing their interest. JESSE (quickly, trying to cover) But listen, if you look closely, you can see they're vampires. I'm sure of it. And Lestat's leading us to them and -- TALAMASCAN #3 (interrupting) Interesting. Perhaps we should assign someone to observe -- TALAMASCAN #1 Oh please, based on this so-called 'data'? That's a waste of time. JESSE But... uh... TALAMASCAN #2 (looking up for a moment, interrupting) Wait a second. Who took this picture? JESSE (a beat, softly) I did. Murmurs bubble through the entire group now. They stare at Jesse, dismayed. TALAMASCAN #2 You went there? JESSE Yes. Last night. TALAMASCAN #1 And who gave you this directive? (CONTINUED) 20.40 CONTINUED: (4) 40 JESSE No one. I... just... went. (quickly) Look, I know it was breaking protocol and I'm really sorry, it's just I think -- TALAMASCAN #1 Jesse! You're just an apprentice here! You must follow our rules... Or perhaps we need to reconsider your position. She stares at him. TALAMASCAN #3 For 12 centuries our mission as Talamascans has been to observe and record paranormal behavior. But never get involved. You're getting far too close. JESSE (gesturing to photo, defending herself) Hey, does it look like I got involved? That is not called involvement. That is called running. TALAMASCAN #2 (leaning forward, trying to help) But, Jesse, tell us, what did you see? Jesse turns to her. JESSE Vampires. Gathering. I'm sure of it. Jesse steps from the podium, moving through the Talamascans as she pleads her case. She talks a mile a minute, her passion rising... JESSE You have to listen to Lestat's lyrics. They're amazing. (MORE) (CONTINUED) 21.40 CONTINUED: (5) 40 JESSE (CONT'D) Many of the references could only be derived from years of research in the Bibliotech de Paris, which seems unlikely for a young rock star in his early twenties. Plus there are historical details dating back hundreds of years Lestat describes that don't exist anywhere... except in our library. He refers to Marius, the great white lord, who ruled over a group of islands off the Bay of Naples in the late 18th Century. What I'm trying to say here, and maybe I'm not doing the best job of it, is that Lestat may be the oldest and most powerful vampire ever documented! Jesse sees some of the Talamascans are again listening. But Talamascan #1 shakes his head... TALAMASCAN #1 It doesn't make any sense. Why would he be forecasting this to the world? He's all but drawn a map and marked an X. What vampires hold sacred is keeping their kind a secret. You never name other immortals, tell where their lairs are. They'd be hunted down. JESSE Right. That's the best part. Lestat's not afraid to piss them off. He wants mortals and immortals to know he's there, to know he exists. I don't know why... (glancing at skeptical Talamascan #1) But this has never happened before. Don't you see? He's a one man revolution. All the Talamascans gaze at her a moment. Jesse holds her breath. Has she gotten them back? (CONTINUED) 22.40 CONTINUED: (6) 40 TALAMASCAN #1 And this photo is your evidence? It's hardly conclusive. (snorts) C'mon. It looks like the Blair witch! The Talamascans burst out laughing, even Talamascan #2. Jesse gazes at them, her face burning red. She's lost them, blown it. Made a fool of herself. Her frustration rises, she can no longer contain it. It bursts out of her. JESSE Fine. Well then, I guess I'll just have to go back and get better, more conclusive evidence! Maybe you just can't unravel all the mysteries of the world out there, by sitting around all day in a dusty old library in here! As they gaze at her, astonished, she gathers her materials, starts out. Several start shouting back at her. Amidst the uproar, a voice booms across the room. TALBOT (O.S.) Jesse. Everyone turns. Quiets down. DAVID TALBOT stands in the back of the room. He's clearly the superior Talamascan, though younger than some, very charismatic. TALBOT My office. Now. He turns, walks out. All the Talamascans look at Jesse. It doesn't look good. Her face burning red, Jesse turns, leaves. CUT TO:41 EXT. METROPOLITAN BAR (LONDON) - NIGHT (SAME TIME) 41 A line of hopefuls wanting to enter the exclusive club wait for the judgement of two BOUNCERS, one buff, one SLEEK. (CONTINUED) 23.41 CONTINUED: 41 SLEEK BOUNCER Okay, you, in. You. No... (smiles at a sexy girl) You in... (to UNATTRACTIVE GUY) You, no. UNATTRACTIVE GUY C'mon, man, she's waiting for me in there. She said she was putting me on the list. My name's Norman -- BOUNCER #1 Yeah, yeah, right. Hey, get a life, alright? (to another sexy girl) You, in. Across the street, a figure in the shadows watches.42 EXT. AROUND CORNER - JUST AFTERWARDS 42 Bouncer #1 is now making out with one of the young sexy girls he let in, trying to get a hand up her dress. A cold WIND suddenly blows, fluttering her skirt. He looks up. A dark figure stands in the shadows. BOUNCER #1 Hey, perv, get the hell out of here. The figure steps from the shadows. The Bouncer's face turns white. It's Lestat... The Bouncer starts to back way. The girl starts to scream. Lestat clamps his hand over the girl's mouth. To the girl... LESTAT You. In... He gestures to the club. The girl turns and runs for her life. As the Bouncer backs away, terrified, Lestat turns to him. (CONTINUED) 24.42 CONTINUED: 42 LESTAT (softly) You. No. Lestat lunges like a phantom -- a flash of teeth -- as they FALL FROM FRAME, the distinct sound of BONE CRUSHING. Over this scene the BAND'S SONG rushes in. CUT TO:42A INT. LESTAT'S LONDON HOUSE - THAT NIGHT 42A Lestat enters. Dabs his mouth politely with a white handkerchief, the sound of the BAND practicing from below.43 INT. LESTAT'S HOUSE (LONDON) - SOUND STUDIO - JUST AFTER 43 Lestat and his band rehearse one of their numbers, music and voice melding into a grand, almost operatic harmony.44 INT. CONTROL BOOTH 44 Two SOUND ENGINEERS work the board. SOUND ENGINEER #1 When's the concert? SOUND ENGINEER #2 Four days. SOUND ENGINEER #1 These guys are gonna kill. Behind them, Roger sits pensively watching. Surreptitiously, he glances down at a book on his lap -- its title Vampires -- The Occult Truth. He talks on a phone. ROGER Yeah, Phil. We'll need a limo from the airport. I don't know which airfield yet... I don't know the arrival time either. (MORE) (CONTINUED) 25.44 CONTINUED: 44 ROGER (CONT'D) (sighs) Yeah... I'll call you from the plane... Nope, I'll tell the driver where he's taking us... Hey I don't even know myself... pick up address in London?... Forget it... you'd never find this place. Christ we'll probably have changed houses again by then... What can I say, the guy's just... Shaking his head, Phil glances down at his vampire book. Looking back up he see Lestat now staring at him intensely while he sings. ROGER (softly) -- just uh... shy... that's it... shy.45 INT. STUDIO 45 Lestat slides into a high "C" leaning into the microphone, catching his own reflection in the booth's window, and -- CRACK -- GLASS SPLINTERS. Roger jumps out of his skin, stifling a cry.46 INT. CONTROL BOOTH 46 SOUND ENGINEER #1 (dumbfounded) Shit.47 INT. STUDIO 47 James, Alex, and Maudy "whoop" with excitement. JAMES We rock. LESTAT Yes, I'd say I'm down with that. They all laugh. JAMES I'm ready for Los Angeles... (CONTINUED) 26.47 CONTINUED: 47 MAUDY I'm ready for Death Valley. (jazzed) Two days till we go... THROUGH the broken glass we see Roger slump into a chair, his nerves totally frayed. ALEX Think we can call that a night. Unhooking their instruments, Alex and James start to pack up as Maudy slowly approaches Lestat and nuzzles his neck. He shivers with temptation. Her hand moves down the front of his pants. Lestat pulls her into his arms. Leaning into her neck he breathes in her scent, closes his eyes and... Suddenly opens them right at Roger who looks on, extremely perturbed. Smiling like the devil... LESTAT Oh, the sweet song of her blood. Roger stares on, terrified. LESTAT I'll hear it in my head all night. Gently letting Maudy go... LESTAT Roger... He goes directly to Roger, reaches into his open shirt, pulls out the crucifix around his neck. LESTAT I didn't know you were religious. Roger tries to laugh it off. Lestat sniffs the air. As Roger backs away, he turns to open the door, stumbles, cutting his hand on a fallen shard of glass. Blood trickles from the cut. Roger looks up at Lestat whose dark eyes stare intensely at Roger's blood. Roger quickly sticks his hand in his mouth. With a horrified expression, he realizes he's sucking his blood. He quickly heads out. But Lestat is faster and reaches into Roger's shirt pocket. Pulls out a clove of garlic. Lestat shakes his head with a smile. LESTAT Roger... (CONTINUED) 27.47 CONTINUED: (2) 47 Roger tries to laugh. Reaches for the garlic to put it back in his pocket. But Lestat grabs Roger's hand, blood trickling down his wrist. Lestat speaks intensely. LESTAT Be careful, Roger. Very careful. Lestat walks away. Roger exhales with relief. CUT TO:48 INT. TALBOT'S CHAMBER - SAME TIME 48 A wood-lined room -- walls covered with books, artifacts, paintings. Jesse stands before Talbot. He fixes his eyes on her, pours her some coffee. TALBOT How's everything? You alright? You sleeping okay? JESSE Yeah, I'm great. I just found a vampire. TALBOT (considers her) Jesse... you're taking this Lestat stuff pretty seriously... why? JESSE Cause I think I'm on to something pretty big. The most important sighting Talamasca's had in years... (beat, sighs) Jesus, I don't know, David... I thought I was onto something... Maybe I didn't see anything... Talbot takes in the dark circles around her eyes, how quickly she's emptied her coffee cup. He pours her more, smiles gently. TALBOT You know we work in a really strange field? The supernatural is beguiling at times. It doesn't like to just be observed, it is only satisfied when it has drawn us in completely. I know cause I've felt these things myself. (MORE) (CONTINUED) 28.48 CONTINUED: 48 TALBOT (CONT'D) That's what we have to resist, as Talamascans... (as a shadow crosses his face) It's not always easy. JESSE (leaning forward) Talbot. C'mon. You know me. I'm not freaking out on you. I'm just onto what looks -- alright looked -- like a good lead. You're the one who taught me how to do all this. You're the one who taught me to keep pushing and pushing... He still looks at her with a penetrating glance. She looks back at him. JESSE David. There's nothing else. Nothing is 'beguiling' me, alright? Nothing. C'mon. He gazes at her as she downs her whole coffee, registering her strong denial. He smiles at her, forcefully changes the mood. TALBOT Alright. Just checking... Jesse starts out. Looking down at papers on his desk, Talbot calls out, almost casually... TALBOT Well, all I can say is you're really lucky you're not lying dead in a gutter with two holes on your neck. JESSE I'd be even luckier if that damn picture came out... (stops in her tracks, turns back, gazes at him, amazed) Wait a second. So you do believe me? You do think it's a vampire coven. (CONTINUED) 29.48 CONTINUED: (2) 48 TALBOT (looks up, eyes sparkling) Yes. But not exactly for the reasons you think. Though your research is top-notch of course... (smiles) Come back here. I'm gonna show you something. He goes to the paintings hanging on a wall in the back of his office, covered with black velvet. Jesse follows. He unveils them. They stand before an Eighteenth-Century painting. The interior of an enormous Italian villa. There's a man in his forties with long white hair, back to us, but his face is reflected in a standing mirror. TALBOT What do you see? JESSE They're all nightscapes. The detail is amazing. Mid-1500s. Florence. TALBOT Right. And what do you see in this one? Jesse moves to the next painting. Another nightscape, a giant medieval tableaux, circa Bruegel. TALBOT And I know it's a Dutch pastoral. Jesse runs her finger across the faces, then stops on the face of a gentleman with long white hair watching the bloodshed of gory battles and the sacrifices of saints burned at the stake. JESSE This man is in both. TALBOT Right. He's in all of them. Jesse moves to the next painting, then the next and the next, all nightscapes set and painted in the style of different eras, all featuring a portrait of the same white-maned man. (CONTINUED) 30.48 CONTINUED: (3) 48 JESSE Have you -- TALBOT Carbon tested? Yes. The different paint samples are all authentic. All painted at the time of that particular style. Jesse stops at a contemporary self-portrait. TALBOT It's Marius, Jesse. JESSE (whirling around) Marius?! From Lestat's lyrics. I knew I was right. TALBOT Yes, you were. Good work. She smiles at him, victorious. TALBOT I've been personally tracing him for decades. My little obsession. The oldest vampire ever documented. The closest we've come to the original vampire. JESSE What do you mean the original vampire? Pointing to a larger depiction of a beautiful woman in Egyptian garb -- TALBOT There's a Mesopotamian legend that there once was a queen of Egypt, Akasha, long before Tutankhamen or Nefertiti. She was believed to be the original vampire... Marius himself dates back to 400 B.C... Jesse gazes at all the paintings, shaking her head in wonder, then speaks softly. (CONTINUED) 31.48 CONTINUED: (4) 48 JESSE David, you've been tracking Marius your whole life. Maybe he's out there waiting for you right now. (without looking at him) Don't you ever want to just go and find him and -- Talbot crosses to her. TALBOT No. Jesus, we are not talking about having a drink at the Dorchester, Jesse. You know that. Especially with the ancient vampires -- the older they are, the more powerful, the more dangerous... He takes her by the arm, smiles down at her. TALBOT Anyway, you don't need to go and stake out some club. Your time is too valuable. I have something far better for you... JESSE (surprised) You do? He steers her over to a locked cabinet. TALBOT Yes. And I'll tell you something. I've never shown this to anyone. No one else has proved themself in the way you have. JESSE (touched) Thanks. What is it? As he unlocks the cabinet... TALBOT Oh you're gonna love this. (glancing at her) Although I'm sure it will keep you up nights to come with nightmares... He takes out an old leather-bound journal. Turns to Jesse. (CONTINUED) 32.48 CONTINUED: (5) 48 TALBOT Lestat's diary. I found it some years ago. This is where you'll find the answers you need. Jesse stares up at him in absolute awe, taking it in. Talbot gestures in the direction of the Talamascans in the library. TALBOT They don't need to know everything, right? She smiles at him. He gives her the diary. JESSE Thank you for this. TALBOT My pleasure. When I took you on as an apprentice, I knew it was the smartest thing I'd ever done. Now you and I'll meet when you're done... This will be our project... As Jesse goes out, holding the journal, Talbot smiles after her. But after the door closes, his gaze turns again to concern. He crosses back to the paintings, pauses a moment, staring up into Marius's eyes. Then Talbot covers each with the black velvet. CUT TO:49 INT. JESSE'S APARTMENT - NIGHT 49 Jesse sits on the floor, curtains drawn, the room lit with candles. A LESTAT SONG plays in the b.g. She opens the journal. JESSE Je suis le vampire Lestat... (a beat) I am the vampire Lestat.50 FLASHBACK - EXT. MEDITERRANEAN ISLAND - FULL SHOT 50 A solitary paradise in a rough, nighttime sea. (CONTINUED) 33.50 CONTINUED: 50 LESTAT (V.O.) It was the winter of 1788 and I was brought to a Mediterranean Island by the man who made me... A lightning flash illuminates a sprawling 18th-Century sea-front villa. LESTAT (V.O.) ... if a man is what you'd call him.51 INT. VILLA BEDROOM - NIGHT 51 A great round room encircled with candles, their reflections flickering in the great glass windows braving back the outside STORM. A huge antique bed sits in the room's center, and on it... Lestat lays feverish and fitful, dressed in a soft linen nightshirt. His neck wears a swollen bite. Another flash of lightning suddenly jolts him awake. His hands feel the inflamed wound as he sees... An indistinct shape of a man dressed in draping red velvet, sitting asleep in a chair across the room. An easel stands before him, holding an unseen painting. Lestat rises out of the bed and grabs his clothes from a nearby Louis IV chair. He makes for a door when... Lestat suddenly stops. He looks back to see the painting that stands on the easel. It's a portrait of himself in ancient Roman garb, like the god Mars, complete with his blond hair and fiery blue eyes. Unable to help himself, he approaches the painting, completely fascinated by his own image, when suddenly... The sleeping man leaps up, grabs Lestat unmercifully and again plunges his teeth into the young man's neck. Lestat fights as best he can but his strength is no match as he's slowly drawn down to the floor. Finally... The strange man lifts himself up from Lestat's neck to reveal the face of the vampire MARIUS, the mysterious figure. Wiping his blooded mouth on his painter's cloth -- MARIUS Lestat. Welcome. Weakened and helpless, Lestat drags himself back across the floor in terror. (CONTINUED) 34.51 CONTINUED: 51 LESTAT Who are you? Do I know you? MARIUS I'm unknowable by nature. Marius advances again on the young man... MARIUS But you may call me Marius. As Lestat keeps weakly dragging himself away. LESTAT I'm the lord of a great manor. They'll send an army of men to look for me. MARIUS I doubt they'll find you, Lord De Lioncourt. You're a long way from home... His strength leaving him, Lestat slumps flat on the floor. MARIUS You're weak... near passing. I can barely hear your heartbeat. LESTAT I'll kill you! Marius smiles, impressed. MARIUS You really do fear nothing. It is why I chose you. Because you think things are possible which aren't possible... Lestat stares at him, his eyes wide. LESTAT Chose me? For what? MARIUS My companion. Someone to share my burden. Bending down, he gazes at Lestat. MARIUS You've lost a great deal of blood. (CONTINUED) 35.51 CONTINUED: (2) 51 LESTAT (near tears) I'm dying. Suddenly Marius draws a knife from a Roman sheath on his belt. With the last of his strength, Lestat grabs his attacker's wrist. MARIUS Then drink. Guiding Lestat's hand with the knife, Marius smiles and cuts his own arm, opening his veins. Lestat stares in true terror as Marius lets his blood drip onto Lestat's lip. Lestat pulls away as the blood slides into his mouth... MARIUS Good, is it not? And indeed... it does taste good. That's the new terror that's gripping him. He crosses himself and stares up into Marius's gentle eyes. Marius bends down, cups Lestat's chin. MARIUS Drink and live. You've been brave enough for one night, my son. Marius brings his open vein to Lestat's lips. Lestat hesitates, but then suddenly... Feeds hungrily as Marius's face fills with the bond. He slowly sinks down to his knees as Lestat feeds and feeds. As Lestat drinks, a barrage of IMAGES flood into him...52 IMAGES 52 of Marius's life through the ages... Impressionistic, subliminal burst of IMAGES, color... the glory days of the Roman Empire to this very moment flash by...53 BACK TO LESTAT 53 He keeps drinking from the vampire Marius who gasps with the creation of his child. MARIUS Drink... drink and learn. Lestat's body grows stronger, his back arching up as he draws the "life" into him with full force, as... Marius begins to weaken, himself. (CONTINUED) 36.53 CONTINUED: 53 MARIUS There... there... that will do. But Lestat keeps on feeding hungrily. MARIUS No... no more. Lestat, no more! With one great move, Marius pulls Lestat off his arm and tosses him across the floor twenty feet away. Marius reels back, clamping his open vein with his hand as Lestat curls on the ground, gasping ecstatically from the rush. Slowly, Lestat starts to feel something. Pain begins travelling through his body, consuming him until he screams. Marius crosses to Lestat convulsing on the floor. He kneels and gently wipes his brow. Lestat's body thrashes as he grabs at his own limbs... MARIUS Don't be afraid, it's only your body that dies... Wiping his brow as he dies... Then, Lestat's face still buried in his arms, he begins to laugh almost drunkenly. Raising his head, his metamorphosis is clear as his face pales and his eyes fill with a new kind of power. LESTAT More! Lestat smiles with red glistening lips. A beat on Marius as he slowly smiles, too.54 EXT. BEACH - NIGHT 54 A million stars... LESTAT (V.O.) I impressed my maker with my thirst for things. He set out to educate me in the unknown. Taught me all about the world, its hidden history... and about myself. TILT DOWN to reveal an old fisherman who cries out as Lestat bites into his throat. Marius watches as the fisherman's body relaxes. He pulls Lestat away. (CONTINUED) 37.54 CONTINUED: 54 MARIUS That's enough, my son... When you feed, you must hold back from the moment of death. You must never take the last drop, or it will draw you in and you will die... The fisherman is moaning. Looking down at the suffering victim, Marius swiftly snaps his neck and dumps him into a boat. He picks up an oar, and with vampire strength, drives it like a stake through the bottom of the boat. Water starts bubbling in. MARIUS Remember, there is wisdom in the flesh, Lestat. A man wears his history on his skin... Marius feels Lestat's gaze, turns to him. MARIUS I'm talking about humanity. As Lestat watches the water begin to fill the bottom of the boat... LESTAT Humanity? (snort) We're murderers. MARIUS We're more than that. Their blood that we take into us carries with it life... their life, their knowledge, their complexity. Appreciate your prey, Lestat. Marius gazes at the fisherman, then, with vampire strength, shoves the boat far out into the ocean.55 EXT. BEACH - NIGHT 55 Below the brightest of summer night skies, Lestat and Marius walk along, talking intensely. The ocean appears to shimmer in the faint light of stars. In the distance, several bonfires burn on the sand, dancing figures gathered around. (CONTINUED) 38.55 CONTINUED: 55 LESTAT (V.O.) My senses run amok, like a newborn child. And as for my new powers, I was beside myself with the pleasure of it all... MARIUS The trick is to find the way to face eternity head on. The spirit can be annihilated by boredom just as the body can be destroyed by sun or fire. My solace, my delight, is witnessing the unfolding of human destiny... Lestat gazes at Marius's eyes dancing with intellectual fervor. As they walk, they pass a group of teenagers, just younger than Lestat, at a bonfire, dancing, laughing. Lestat gazes over at them as he and Marius pass, hidden in shadow. MARIUS ... From Christ to the Dark Ages to the enlightenment, I've never been able to divine what was coming. That's what keeps me going -- I can't wait to see what human beings are going to do next... Lestat nods, taking it in. They pass another bonfire. MUSIC floats through the night. An OLDER MAN, 50, plays balalaika while his daughter, 18, plays violin with great passion. MARIUS Who could've predicted the Enlightenment? Or Hannibal and his elephants? Marius stops talking, turns. Lestat is no longer beside him. Marius turns back and sees Lestat standing in the shadows, listening to the music. The young woman, sensing something, turns towards Lestat in the shadows as she plays. Marius goes to Lestat, pulls him farther into the shadows. MARIUS Careful. (CONTINUED) 39.55 CONTINUED: (2) 55 LESTAT But why must we hide, Marius? We are the powerful, we are the immortal. We should walk fearless in the open! MARIUS Shhh. The life of a vampire is a life of discretion. We must sleep during the day, when we are vulnerable to the sun. Mortals must never know about us. It is forbidden, for the sake of all our kind. LESTAT (gazing at violin player as it sinks in) So I could never know her? MARIUS Not unless you wanted to kill her. LESTAT (beat, quietly, intensely) So I can never be known? MARIUS You're known by me. I granted you that. There are others of our kind... though most are solitary creatures. Lestat's eyes fill with some existential realization. LESTAT My God... MARIUS Forget God. You're no longer in his realm. Now we must leave. Relenting, Lestat starts to follow. But the music quickens. Lestat pauses, turns back. As if the music is calling to him. The girl still faces into the shadows towards him, and plays fast and wild, her fingers flying. Lestat stands there frozen to the spot. The music pulses through him. He gazes at her fingers, studying their intricate movements intensely... (CONTINUED) 40.55 CONTINUED: (3) 55 Impulsively, Lestat goes back to them, hovers, his face still somewhat obscured by the darkness. Lestat starts clapping along to the music, exuberantly. The girl and Father smile, nod to him as they play. Marius, in the shadows, is fuming. Lestat's eyes fill with the moment, the girl's vitality. He notices that sitting on the ground by the girl are several instruments. Impulsively, he reaches over, picks up a violin. He studies the girl's playing again, then with his new powers, as if by osmosis... Begins to play with exactly her skill, exactly her movements. The girl and her Father laugh, delighted with this new musician. Lestat plays along with them, joyful, exhilarated. The girl's fingers fly. Lestat's fingers pick up speed. Faster. Faster. A glittering torrent of notes fly out of his violin as if made of gold. Unconsciously, Lestat steps closer to the music, into firelight. The Father and his daughter become less certain, as they gaze at Lestat's strange, pale, glowing skin, the luminous shine of eyes. But Lestat is completely taken by the music, the moment. The Father and the daughter, sensing something strange, stop playing. Lestat looks up. Sees terror in their eyes. The Father is slowly backing away, pointing in horror at Lestat. FATHER Fantasma!! Teras!! Lightning fast, out of the shadows, steps Marius. He grabs the Father. The girl drops her violin, turns, starts running down the beach to a bonfire in the distance. MARIUS Stop her, Lestat! Lestat turns to Marius, shaking his head no in horror. MARIUS You must! Lestat hesitates, then runs after the girl. She turns back, sees him getting closer, starts to scream... Lestat is suddenly in front of her with his hand over her mouth, covering her muffled scream. Her struggle is no use against his strength. Reaching up to her neck, he touches it. He looks into her terrified eyes... CUT TO: 41.56 EXT. ISLAND'S SOUTH SHORE - NIGHT 56 Marius kneels over the body of the Father on the island's deserted shoreline. Tosses him in a boat. Lestat gazes at the lifeless body of the girl. Marius turns to Lestat, furious. MARIUS I will not have you put everything at risk! You will mind our laws! Picking up Lestat's victim, Marius tosses her into the boat as well. MARIUS We remain in the shadows. To do otherwise is a road to destruction... Marius turns to Lestat, who stands in silence, gazing at the girl and her Father. MARIUS (quietly) I see you still have a few lingering mortal emotions. They will serve you no good, Lestat. Lestat turns to Marius, shaking his head, speaks in a horrified whisper... LESTAT My God, what have you done to me? Lestat turns again toward the bodies of the dead girl and her Father, his face filled with pain, enormous sadness. LESTAT (whisper) She's just a child... forgive me.57 EXTREME CLOSEUP - LESTAT 57 closes his eyes. A violent VIOLIN STRAIN as we PULL BACK to see... Lestat standing alone in the bedroom, in a deep reverie, playing the girl's violin with incredible passion. His playing picks up speed as he works himself into a Pagnani furor... (CONTINUED) 42.57 CONTINUED: 57 LESTAT (V.O.) The faces of my victims haunted me, rising behind my eyes, reminding me of my fate... I played for days trying to expel the last bit of my human feelings... and face the cold, dark wasteland of eternity... The violin dissolves into Lestat's ROCK MUSIC.58 BACK TO JESSE (PRESENT) 58 Reading the journal, listening to LESTAT'S MUSIC. She hears the lyrics... "Mine eyes dazzle, she died so young..." She looks up, her eyes fill with tears, moved by Lestat's loneliness. She gazes into the dark night... then turns, sees her camera...59 EXT. STREET (LONDON) - LATER THAT NIGHT 59 Jesse moves steadily along the street past darkened warehouses. Several bonfires line the lane, illuminating rows of prone bodies, cardboard shelters, empty bottles. The drunks look up at her with dead eyes.60 EXT. ALLEY - LATER 60 Jesse goes deeper into a labyrinth of alleys, the street becoming darker with every step. In the distance she sees the blue light. Figures moving through the fog. Jesse moves slowly along a wall in the shadows trying to get a better look... Suddenly, out of the shadows, a BOTTLE SMASHES... She starts, quickens her pace... Runs straight into a bulky figure. A primal scream rises from her stomach. The figure is a homeless drunk, more scared than she is, who scuttles off quickly into the night. Jesse presses her back against the wall. Breathes. She inches around the corner...61 EXT. WAVERLY ARMS - CONTINUOUS ACTION 61 ... and from the shadows, gazes at figures knocking on the solitary door in the wall up ahead, with the dull blue light mounted above. The slot in the door slides open. A moment later, the figures vanish inside. A moment later, two couples approach, dressed in black. Jesse takes a deep breath, then... (CONTINUED) 43.61 CONTINUED: 61 ... falls into step behind them. One knocks on the door. A face peers out at the group. Steps back. The door opens. Jesse follows the couples in. The door shuts behind her.62 INT. CLUB - NIGHT 62 The music is part blues, part Kurt Weil, part Gothic, dark and ominous as if the pianist knew exactly the sort of trouble Jesse was in. The bar is comprised of elaborately-carved Chinese dragons, a TV mounted incongruously in the corner showing a silent Vampire Lestat video. Couples dance cheek to cheek, rotating like figures on a music box. Another couple is necking hot and heavy in the corner. Jesse stares at the patrons of this vampire coven. Many of the faces are unnaturally pale, gaunt. Their eyes shine with a strange, reflective light. Jesse moves through the tables, passing a mortal YUPPIE-TYPE sitting with a VAMPIRE GIRL he's obviously just met that night. YUPPIE Wow. This is the coolest after hours club ever. You sure you don't want a drink? VAMPIRE GIRL Soon. The Vampire Girl smiles, glances up at Jesse as she passes. Jesse looks away quickly, moves on... The pianist watches as she passes by. The couple necking in the corner begins to get even more aroused. A mortal girl sips on her drink while her lover, a vampire, kisses her shoulder, her throat...63 UNKNOWN POV 63 Unaware that she is being watched, Jesse continues her circuit.64 BACK TO SCENE 64 as Jesse approaches the bar where three PUNK VAMPIRES slouch, looking up at Lestat on the video. 44.65 UNKNOWN POV 65 We watch the Punk Vampires and hear every word they say as the other SOUNDS FADE AWAY. PUNK VAMPIRE #1 Every coven's going...66 REVERSE ANGLE 66 REVEAL unknown POV. A vampire, face hidden behind a hood, seems extremely interested in what the Punk Vampires are saying.67 BACK TO PUNK VAMPIRES 67 A young girl dressed in Goth gear sits down at the bar. Punk Vampire #1 turns and smiles insincerely at her as she stares up at Lestat on the TV. Getting a sudden chill, the Goth girl takes her drink and moves back into the crowd as the vampire looks after her with murderous eyes.68 JESSE 68 reaches the Punk Vampires. They fall silent as she pauses at the bar. She turns, stares at the necking couple...69 JESSE'S POV 69 ... a brief glimpse of the tiny trickle of blood on the mortal girl's neck as she swoons... an even briefer flash as her vampire lover comes up for air, his lips and teeth shiny with blood...70 JESSE 70 stares, horrified.71 BACK TO SCENE 71 PUNK VAMPIRE #1 (O.S.) Come here often? Jesse turns to see Punk Vampire #1 leaning towards her. JESSE Sure, all the time. (CONTINUED) 45.71 CONTINUED: 71 The Punk Vampire pulls down her collar. PUNK VAMPIRE #1 Don't see any marks. JESSE You haven't seen the rest of my body. PUNK VAMPIRE #2 Is that an invitation? Jesse finds herself surrounded by the three Vampires. She shakes her head, too frightened to get out a response. PUNK VAMPIRE #3 So, where's your host? JESSE My host... oh he's here somewhere. She peers into the darkness, starts moving towards the door... Finds herself blocked by Punk Vampire #2. PUNK VAMPIRE #2 Your host. What's his name? Jesse looks around, trying not to panic. Pale faces, pale eyes stare at her. A long, terrible pause... Suddenly -- JESSE Marius...72 HOODED FIGURE 72 leans forward, surprised, studies this strange mortal, fascinated.73 BACK TO SCENE 73 PUNK VAMPIRE #1 Sorry. Don't know the guy. The Punk Vampires laugh. Jesse desperately tries to cover her terror. (CONTINUED) 46.73 CONTINUED: 73 JESSE Marius has the blood of the ancients flowing in his veins. PUNK VAMPIRE #2 There aren't any ancients left. They all turned to dust... JESSE That's a myth. Marius is around here somewhere... Jesse again heads for the door. But Punk Vampire #1 has appeared in front of her. She stares at him, terrified. JESSE You... you really should meet him. PUNK VAMPIRE #1 And why is that? Jesse watches the other Punk Vampires slowly begin to close in on her. As she speaks, she slowly edges to the door... JESSE Because... because... he's wise, a philosopher... he asks the big questions. Like how are you going to get through eternity? It's easier for us mortals. Life is brief, but for you... She inches toward the door, desperately stalling. Their white faces gleam menacingly as they close in. She struggles to get the words out... JESSE I mean... what can you really do with immortality besides just slip from one day to the next, trapped in a void of meaninglessness, relieved only by your next victim? How do you not give in to despair and just wither away from boredom, hopelessness? The Punk Vampires pause, staring at her, as her words sink in. The hooded figure leans forward revealing his face... It is Lestat. He stares at Jesse, amazed. Jesse glances desperately at the door. It's just a few feet away now. (CONTINUED) 47.73 CONTINUED: (2) 73 JESSE You know, it's like they say -- the more things change, the more they stay the same. For you that's forever, right? All around her, vampires are turning to look. The Punk Vampires stare at her, eyes narrowing. Jesse is now inches from the door. She can barely breathe. Punk Vampire #1 gazes at her, his confusion suddenly turning to anger. PUNK VAMPIRE #1 You know, you're really a downer... He bares his fangs. Jesse bolts out the door... PAN ACROSS vampire faces staring after Jesse TO Lestat who gazes at her, absolutely entranced. He watches the Punk Vampires head after Jesse. CUT TO:74 EXT. ALLEY - NIGHT 74 Jesse hurries up the alley. Breaks into a run. But the three Punk Vampires from the bar have somehow gotten outside. They land in front of her, beside her, behind her. Heart racing, she shakes with fear. They close in, smiling. PUNK VAMPIRE #3 Now this isn't gonna hurt. You might even enjoy it... He runs his hand up and down her body. Jesse starts to shake. She breaks out in a cold sweat. The others grin. He picks her up by the throat. Her legs flail in the air... Suddenly, the two vampires turn and hiss like cats. Jesse hits the flagstones hard with a grunt. She gasps for air, looks up as the vampires are hurled out of the alley by an invisible force. Jesse alone, turns, still woozy. Finds herself staring at... Lestat... Jesse's eyes open wide, entirely stunned. He drinks her in with his eyes, marking the soft paleness of her skin, her long, red hair, the flush on her cheeks, her pulsing jugular. (CONTINUED) 48.74 CONTINUED: 74 Jesse stares into his entrancing grey eyes, tries to gather herself together, half fearful, half titillated. They gaze at each other, the air suddenly electric. JESSE You saved me. LESTAT Perhaps... So you know Marius... Jesse notices her rucksack cast aside by the Punk Vampires -- Lestat's journal sticks out. She glances at Lestat. He mustn't see it. She steps away, tries to distract him. JESSE I know a lot of things. He gazes at her. Moves closer, breathing her in, making her flustered. He smiles. LESTAT Not how to stay alive apparently. JESSE Well I guess we've got that in common. Although I think I'm a little ahead in the race here. LESTAT (a beat, surprised at her brazenness) Well, I can fix that. He circles her. Jesse is shaking, terrified. Enjoying the game, Lestat smiles, moves closer. But Jesse suddenly blurts out. JESSE 'Mine eyes dazzle, she died so young.' It's about the girl with the violin, isn't it? That stops Lestat. He gazes at Jesse, surprised. Recovers his composure. Stares at her intensely, regarding her anew. LESTAT Is it? And what else do you think you know? (CONTINUED) 49.74 CONTINUED: (2) 74 JESSE (desperate, stalling) I... I think you're a lot like Marius, Lestat. LESTAT (staring into her eyes, probing) Am I? Tell me all about it. JESSE You're... you're both artists. He's a painter. You're a singer... As she speaks, Lestat guides Jesse over to a pile of crates. She stares at some beer bottles shattered on the top of one. He guides her hand downward, closer to the shattered glass. LESTAT Is that so? What I do is art, is it? JESSE Yes... From nothing... you try to create... something beautiful... (shaking now as her hand gets closer and closer) ... out of the... the cold, dark wasteland of eternity... He stares at her, the words oddly familiar, then scrapes her finger along the bits of broken glass, gravel. She gasps with pain... Lestat gazes at the drops of blood that appear, glistening on Jesse's finger... LESTAT (softly) Something beautiful... JESSE (quickly) But... but Marius isn't a rebel. You're different in that way. You don't want to hide, follow the laws, concealed in the shadows like some insect. You... you still want to walk with the living, don't you, Lestat? (CONTINUED) 50.74 CONTINUED: (3) 74 He stares into her eyes, slowly brings her bleeding finger toward his mouth. LESTAT Well, I'm not hiding now, am I? As her bleeding thumb gets closer and closer to his mouth... JESSE No, but the only time you're not really alone is when you kill... But, Lestat, you can't help it... it's not your fault... He made you this way... LESTAT (with her blood on his lips, shakes his head) Ah. Poor, poor me... As he brings her finger closer and closer to his mouth. Their eyes bore into each other, he stares at her rosy cheeks, the cold sweat on her forehead, taking in her remarkable, if foolhardy daring. Her eyes gazing straight into his... He brings her bleeding finger into his mouth. She may swoon. Lestat's eyes burn as he tastes her for mortality, her fragility a brief second, listening to her blood. there's something there that surprises him as he gazes at this mortal girl. He feels something. Desire... Then her blood speaks to him as Lestat's eyes fall on her rucksack. He sees the journal. It all falls into place. Lestat's lip curls in anger. He shoves Jesse away. Wipes his mouth. The mood suddenly changes. LESTAT Well, Talamascan, you're certainly a very clever librarian, aren't you? She stares at him, found out. He turns from her, laughing, but not the kind of laugh to make Jesse think all's well. (CONTINUED) 51.74 CONTINUED: (4) 74 LESTAT (shaking his head) How sad, you people always trying to know the unknowable... So, was it a good read? My diary. Jesse slowly nods, admitting to all. He shakes his head. LESTAT Talamasca's been following me for years. I've never known one to be so brave. Or is it just foolish? JESSE I... I'm only an apprentice. He waves her off, dismissive. LESTAT Go. I'm through with you. Your kind never satisfies my thirst. He turns, walks away. Jesse lets out a sigh of relief, then stares after him. She hesitates, then suddenly calls out: JESSE Does anything, Lestat? A pause in his gait. But he keeps walking away. Jesse hesitates again, but still calls out. JESSE I mean, what's the point of coming into the light if not to have someone really know you? But he keeps going. She takes one last chance -- JESSE You want the world to see you're real, don't you, Lestat? Don't you? Well, here I am! Suddenly Lestat spins. Stares at the fragile mortal girl risking everything. Flash. Jesse gasps. He now stands right before her. He grabs her, pulls her to him close, tight, hard. He could just snap her neck and be done with it. (CONTINUED) 52.74 CONTINUED: (5) 74 LESTAT You better just stick to your books, Talamascan. 'Cause you have it all wrong. I love all this. I delight in it. The dark, dreary world I went to sleep in has burnt itself out and been replaced by the 20th Century -- can you imagine my joy at waking up to discover such a world? It has outdistanced my wildest dreams of it. I scream of good and evil, and mortals stand and cheer. I adore being back in action... every moment, every single drop of it! Now consider yourself exceedingly lucky and go! He pushes her away. She gasps, humbled by his physical power. She retrieves her rucksack. Starts away. As she reaches the end of the alley, she pauses, takes a breath, turns back, daring everything. JESSE Lestat! He turns back, stares at her, astonished. JESSE There's something you left out of your diary. LESTAT (amazed) What? JESSE (stares right into his eyes) You kept her violin, didn't you? A beat, then Lestat shakes his head, laughs at the absurdity of what she's saying. But Jesse is undaunted. JESSE Hey, it's okay. I understand... (softly) After all, it's only human. (CONTINUED) 53.74 CONTINUED: (6) 74 That stops him. Their eyes bore into each other again. Electric. Then Lestat hisses at her, the inhuman sound filling the alley. Lestat lunges, fangs bared. Jesse screams. Turns. Runs. Finds herself -- EXT. BUSY STREET - CONTINUOUS ACTION In the midst of traffic on a busy street. People walking by. JESSE Jesus Christ. She stands there a moment, happy, amazed to be alive. Then it sinks in. She realizes -- Lestat let her go. She glances back at the alley, but Lestat is gone. She brings her finger to her mouth, slowly sticks it in, tastes her own blood, shivers with fear -- and something else -- desire. What she doesn't see is... Lestat in the shadows, silently watching her. He gazes at her youth, her bright eyes, her daring, her mortal passion. She has affected him. He watches as she turns and runs away. CUT TO:75 INT. LESTAT'S HOUSE (LONDON) - NIGHT 75 The CAMERA TRACKS WITH two young GROUPIES as they walk through the lavish palace. GROUPIE #2 I heard that Lestat keeps all these girls in all his wine cellars, and it's really nice, and they give you food and cable and weed. GROUPIE #1 Oh, please... GROUPIE #2 That's what I heard. But you have to let him suck you on your neck whenever he wants. Doesn't sound too bad. (CONTINUED) 54.75 CONTINUED: 75 GROUPIE #1 (grins) We've done worse. GROUPIE #2 (giggling) Damn straight... Hey, do you remember that cute guy's name at the Kid Rock concert? The one behind the bathroom. GROUPIE #1 Oh yeah. Let me think... his first name was Blow. And his second name was Me, I think. They crack up.76 INT. LESTAT'S BEDROOM - NIGHT 76 Lestat enters the bedroom. Behind him, Lestat's dressing room stretches off into the distance, rows of beautiful suits made from the finest wools and silks. The gradation of colors is spectacular. Peering out at the near-dawn light, a look of loneliness clouds his face. He crosses to the closet. Opens a panel to reveal a safe. Stares at it a moment. Punches in the code. It swings open to reveal something wrapped carefully in black velvet. Lestat unwraps it delicately. It's the ancient violin. LESTAT (softly) Clever, clever librarian. He quickly puts the violin back, closes the safe door. He shakes his head, tries to laugh it off. But a shadow remains on his face. Lestat hears a gasp. Turns. Roger has just entered. ROGER I didn't see you come in. LESTAT No, Roger, you wouldn't have. ROGER So this house is fine I assume. To your liking? LESTAT Yes. For the moment. (CONTINUED) 55.76 CONTINUED: 76 ROGER We'll be here for what? A week you think? LESTAT Well... I wouldn't unpack if I were you. ROGER (sighs) Right... the... girls you asked for. They're in the guest wing. LESTAT Ah. Yes. Lestat gazes at the door, pensive. ROGER Do you want me to take them home later? Lestat smiles at the clumsy attempt to protect the girls. LESTAT No, thank you, Roger. I'll make sure they're taken care of. Roger nods, trying to hide his nervousness. Lestat smiles...77 INT. LESTAT'S GUEST WING - SOON AFTER 77 CAMERA MOVES OUT INTO the lavish room TOWARD the two girls who are now dreamy, floating with the effect of the joint they are smoking. REVEAL Lestat as he approaches the girls. Looking up, they smile childishly at their host, then fall about laughing. LESTAT I don't think we've met. GROUPIE #1 Oh my God... It's really you, isn't it? GROUPIE #2 We want to be your slaves. LESTAT Of course you do. He smiles. She offers a joint. (CONTINUED) 56.77 CONTINUED: 77 GROUPIE #1 Want some? Lestat calmly shakes his head. GROUPIE #1 Want me? Circling the couches, he just smiles. GROUPIE #1 You hungry? LESTAT I'm always hungry. GROUPIE #1 We've got the munchies? You got any food? LESTAT Vampires don't eat... food. The girls laugh nervously. Lestat laughs dangerously... GROUPIE #1 You hungry for something else? She opens her legs provocatively. Pacing across the room, he stands before the girls. He curls his finger around the first groupie's hair when a shadow crosses his face. LESTAT Mine eyes dazzle, she died so young. GROUPIE #1 Huh? LESTAT It's a very old poem of mine. Losing enthusiasm, Lestat walks away and drops himself onto a couch. With a clap of his hands, the TV switches ON. He silently watches one of his video clips. The girls glance at each other, then, giggling, crawl over toward Lestat. Groupie #1 slides her hand slowly up his leg. GROUPIE #1 C'mon, don't you want to have some fun? (CONTINUED) 57.77 CONTINUED: (2) 77 She reaches for his belt. But he recoils at the touch and slides off the couch onto the floor with grace. LESTAT Don't do that. GROUPIE #1 (giggling) Are you ticklish? LESTAT (deadpan) I'm very ticklish. The Second Groupie giggles as well... GROUPIE #2 Hey, you ever been tickled by four hands at once? Hey, can you take both us, Lestat? What'd'ya think? And at once they both start after Lestat on all fours to tickle him. He gazes at them, torn, then laughs at the sight and gets down on... All fours as well as he leads them around the room in a childish game. LESTAT I don't know. Let's see. They try to tickle him but he stays just a few feet ahead of them the whole time. The girls giggle as they pursue... Lestat crawling just ahead of them across the floor and... Up the wall. The teenagers keep giggling as they watch him ascend the wall like a spider. They can't believe what they're seeing as... Lestat reaches the wall's top and now crawls upside-down across the ceiling. The girls begin to giggle and half-cry... as they arch their necks all the way back to see... Lestat crawling down the opposite wall. The girls sit open-mouthed with terror as Lestat reaches the ground -- He heads straight for them. The girls begin to scream... SCREAMS CONTINUE OVER... BLACKNESS. 58.78 INT. CORRIDOR - SAME TIME 78 CLOSE ON Jesse, her face bright, walking quietly, talking intensely on a cell phone. JESSE You're right, David. The journal has everything in it. TALBOT (V.O.) I knew you'd appreciate its scientific significance. JESSE David, listen... (struggles a moment) I'm going to Los Angeles for the concert. TALBOT (V.O.) What? You are not! I forbid it. JESSE David, I... I talked to him... Look I'm sorry. But I... I have to see what's out there with my own eyes. I'm onto something. I just don't know what yet... I have to find out...79 INT. STUDY - ON TALBOT 79 Holding the phone, stunned. He leans forward, speaks intensely, his face grave. TALBOT Jesse, you listen to me very, very carefully now. You are no longer seeing things clearly. Your emotions are clouding things.80 BACK TO JESSE 80 JESSE It's not emotion. It's instinct... I'll return when I have my findings. Good-bye. TALBOT (V.O.) (angry) Jesse, wait! She hangs up. Can't quite believe what she's doing. REVEAL Jesse is heading for a boarding gate at Heathrow airport. She hands over the ticket, boards the plane. 59.81 DAVID TALBOT 81 in his inner sanctum. He looks at all the paintings. His neat, protected world. It's as if Marius is taunting him. He slams his fist down in fury. Stares at the rising dust.82 INT. PLANE - NIGHT 82 Jesse puts on headphones, listens to LESTAT'S MUSIC. As she opens the journal, LESTAT'S MUSIC DISSOLVES INTO VIOLIN...83 FLASHBACK - INT. VILLA - BEDROOM - LESTAT 83 Lestat standing alone in the bedroom in a deep reverie, playing the violin, with incredible passion. His playing picks up speed, the bow bending across the strings with a maestro's speed and precision. LESTAT (V.O.) Yes, Marius was impressed with my thirst for knowledge... But it turned out that there was such a thing as knowing too much. There were things Marius was not yet ready to teach me... and Marius and I parted ways. Suddenly, the bow flies out of his hand and slides across the floor, jamming itself under an old bookcase. Lestat comes out of his spell, walks across the room to the bookcase, bends down to cleave the bow out from under it. Having difficulty, he pushes back an old rug on the floor when he sees something... Carved into one of the floorboards is an Egyptian eye with a hole dug out of its iris. Stepping aside, he realizes he is standing on a manhole. A beat ON Lestat as he thinks... Poking his finger through the hole of the Egyptian eye, he lifts the manhole to reveal a steep set of steps leading down into the villa's basement. LESTAT Marius! No answer. Lestat looks around wondering what to do. Taking a candelabra off the table, he ventures down the stairs, peering down into the darkness. 60.84 INT. MARIUS'S VILLA - SECRET STAIRCASE - NIGHT 84 Lestat negotiates a circling flight of stone steps, winding its way into the lowest bowels of the villa, still carrying his violin.85 INT. MARIUS'S VILLA - UNDERGROUND PASSAGEWAY 85 Lestat finds himself facing a steeply descending passageway that stretches into darkness. He tests the stones ahead of him with caution... Suddenly, the sconces along the passageway come to life... In quick succession, they flare up and burn with an unnatural intensity. Lestat, struck with curiosity and wonder, puts down his candelabra and ventures forth. We FOLLOW Lestat as he rounds the corner and stops. There is an open foyer area leading to two great wooden doors, held firm by a tree-sized carved wooden bolt that bars the doors shut from the outside. Suddenly, the BOLT flies up and SPLINTERS with a SHRIEKING CRACK. The doors fly open revealing a bright light from within... Lestat, apprehensive, continues towards the open doorway.86 INT. SANCTUARY - CONTINUOUS ACTION 86 Lestat enters, squinting through the bright light from scores of burning sconces. At the far end of the sanctuary Lestat makes out the shape of two statues, an Egyptian man and an Egyptian woman sitting stone still, seemingly staring straight at him, AKASHA and her King, ENKIL. We recognize Akasha from the sketches in Talbot's office. Stepping closer, they appear not to be statues at all but rather alabaster humans with the palest skin imaginable. His eyes widen at the sight of their clothes -- the most valuable Egyptian finery; bracelets of gold, headdresses of incredible gems, clothes of silk. Staring up into their faces, Lestat is struck with the realization... LESTAT They're... alive. Lestat is drawn to the woman -- her form and beauty is exquisite even in its absolute stillness. As if this statue had just asked him to play, Lestat holds out his violin. LESTAT Would you like me to play for you? (CONTINUED) 61.86 CONTINUED: 86 Her eyes still bore into him. Lestat smiles. He raises his violin and begins to play. The song of the VIOLIN ECHOES around the walls... Lestat plays, with increasing abandon... Akasha and Enkil sit frozen... Lestat plays and plays, lost in the music. He throws a glance up at the throne and stops... Akasha is moving... Slowly, her eyelids pull back to reveal pale green eyes. Lestat stares in amazement... Her arm rises up, her wrist extended outward towards Lestat. The pulse of a HEARTBEAT begins... Lestat moves toward her as if beckoned. A green vein appears beneath the marble surface of her skin. The vein pulses as the blood courses around. The HEARTBEAT POUNDS LOUDER, DEEPER. The sound fills Lestat's head as he is drawn closer to Akasha's wrist. Lowering himself, as if genuflecting, Lestat bends closer to the vein which looks like the very font of life to him...87 EXT. VILLA ROOF - NIGHT (SAME TIME) 87 Marius sits under the stars, painting, when his hand begins to tremble... Suddenly, he drops his brush, startled by some unexpected feeling that passes through him. He stands bolt upright as a frightening GUST of WIND sweeps across him.88 BACK TO SANCTUARY 88 Lestat sinks his teeth into Akasha's vein, drawing in the unimaginable font. A burst of image and color floods into him, as...89 LESTAT'S IMAGES 89 of Ancient Egypt... power... supremacy... slavery... all impressionistic, subliminal... the bright burning sun, red lips, blood spurting like a fountain... END OF IMAGES. 62.90 MARIUS 90 in the sanctuary, hovering over Lestat, who lays on the stone floor in a catatonic state, staring. Marius looks down upon him, the sconces above blazing high with flames. Marius's VOICE ECHOING furiously... MARIUS What have you done, Lestat? Lestat!91 INT. MARIUS'S VILLA - NIGHT 91 Lestat lays in bed, feverish, his skin paler than ever. At the foot of the bed stands Marius. MARIUS (quietly) Lestat? The young vampire's eyes bulge open in the grip of some incredible sensation, smiling the most wicked of smiles. Lestat's chest heaves upward, pulling his body with it, only to be jerked back by the manacles that hold him to the bed. LESTAT More! MARIUS I don't think so, my little lord. Lestat writhes with a physical delight that is almost painful. Lestat realizes he is shackled to the bed with manacles and chains. Struggles against them. LESTAT Let me go! MARIUS No. You've drunk the purest blood. Seen the oldest of things -- far too much for one as young as you. You've been unconscious for days. LESTAT God, her blood is like liquid fire. (squirms) Who are they? (CONTINUED) 63.91 CONTINUED: 91 MARIUS She... she is your mother, my mother... Akasha, the Queen of all who are damned. And he is her King. LESTAT Release me! Lestat struggles with all his might. One of his manacles splits, releasing a leg. Marius stares, surprised. MARIUS She made you quite powerful. (withdrawing a saber from its sheath) Don't make me use this! Lestat still struggles. The manacles strain. LESTAT Marius, please, just one more time. I felt the sun. The light, Marius, the light! Suddenly pressing the knife to Lestat's throat -- MARIUS Lestat, listen to me! I have watched over Akasha and her King for 2000 years! They must never awaken! Lestat stares up at him. MARIUS Akasha and her King nearly drank this earth dry when they ruled over Egypt. They drank until they lost their will to drink. They became living statues. And yet Akasha still sustains the life force of all vampires. It is believed what happens to her, happens to all of us. Lestat gazes up at him, taking it in. Marius moves slowly away. (CONTINUED) 64.91 CONTINUED: (2) 91 MARIUS If she were ever to rise, she would again desiccate the earth! She has no respect for anything except the taste of blood. Immortal and human alike... Lestat roars and struggles against his manacles. LESTAT You'll not stop me... Marius stares at him, shocked. MARIUS I hear her blood in your voice... In all the years I've cared for them, not once have they moved... LESTAT Until tonight. And she chose me! Me! Never you! You'll not stop me! Marius moves at super-speed, grabs Lestat by the neck, and pins him down. MARIUS You are part of a great coven! You take responsibility for your kind! LESTAT (snarls) I must have more! Lestat, lost, looks at Marius, his eyes intoxicated with Akasha's blood. Marius steps back. Looks at his fledgling with great sadness, anger, disappointment. MARIUS I chose you for your bravery, but I was wrong. You know only selfishness. I can no longer trust you... It gives me no pleasure to look upon what I have created. Marius turns his back on Lestat. Lestat stares after him. 65.92 INT. MARIUS'S VILLA - NEXT DAY 92 THROUGH the balcony we see the last warm colors of the sunset vanish into the blue of night. Lestat awakens, his manacles removed. He stretches, shakes his head, as if clearing his head, but something causes him to stop... Something has changed. Marius's paints have gone. Some of his paintings remain, but his easel and paint boxes are removed, leaving splattered outlines on the faded marble floor. LESTAT Marius! No response.93 INT. MARIUS'S VILLA - SECRET STAIRCASE 93 Lestat runs down the staircase, which is dark except for the candelabra in his hand.94 INT. MARIUS'S VILLA - UNDERGROUND SANCTUARY 94 Lestat throws open the doors and enters to find... Akasha and Enkil have been taken, as have the thrones and most of the royal paraphernalia. LESTAT Marius! Please!95 EXT. MARIUS'S VILLA/BEACH - NIGHT 95 Lestat runs down the beach, the sand showing no footprints. LESTAT (V.O.) Many times since, I have called to Marius. I howled into the night in loneliness and pain. Lestat screams into the darkness, filled with despair, grief. He disappears off into the night. LESTAT (V.O.) But there was no answer -- just the endless procession of days, months, years... My teacher left me to my darkest lesson -- that in the end, we are alone. Lestat looks up from feeding on a mortal. Wipes the blood from his mouth, gazes into the dark night. 66.96 INT. PLANE - NIGHT (PRESENT) 96 Jesse closes the journal, her eyes wide with the new knowledge of Lestat's past. She sits there a moment, speechless, then stares out at the vast, black night. TILT DOWN TO:97 EXT. HOLLYWOOD SIGN (LOS ANGELES) - NIGHT 97 SUPERIMPOSE: LOS ANGELES PAN DOWN to Lestat standing on the edge of a very high fence high above the sparkling lights of downtown, gazing into the dark night. The fence encircles his Hollywood Hills home, a high-tech modern version of a medieval fortress of steel and glass, hidden deep in the canyon, his only neighbors, chaparral and coyotes. Lestat closes his eyes as if listening to something. As we PULL BACK again, and RISE UP INTO the sky, a LESTAT SONG begins to play and magically we are in the MUSIC and with a visual splash we are... MOVING SWIFTLY ACROSS the globe with the MUSIC -- as we CUT ACROSS the world INTO the west and INTO... The night fallen over Asia where we soon find ourselves in...98 ASIAN FACTORY 98 where LESTAT'S MUSIC plays for the evening shift over a sweatshop BOOM BOX.99 INDIAN MARKETPLACE 99 where LESTAT'S MUSIC plays from SPEAKERS in a shop window. We TRAVEL WESTWARD TO...100 ANCIENT GRAVEYARD 100 where the... Ground splits open before our very eyes. From out of the dirt, a beautiful teenage boy stands naked...101 VAMPIRE ARMAND 101 He pulls the pieces of a worm-eaten coffin from his person, as the MUSIC travels further to...102 MASSIVE ANCIENT STONES 102 parting as another resurrected figure rises from the darkness and reveals itself to be... 67.103 VAMPIRE PANDORA 103 With one self-assured twist of her head, she shakes the red dust from her hair to reveal long curling black tresses falling down over her dark-skinned shoulders. The MUSIC travels further to...104 PORTABLE RADIO 104 held by a camel driver camping out in the Sahara Desert. His CAMEL BRAYS fearfully... The camel driver stares before him, drop-jawed and terrified, and we now see what he sees...105 CAMEL DRIVER'S POV 105 A corner stone of a desert sarcophagus begins to move, as a figure in tattered rags emerges from the sarcophagus and unbandages his face and neck, shakes the sand from his hair and eyes to reveal a skeletal form with white leathery skin bulging with strange blue veins...106 BACK TO SCENE 106 The VAMPIRE KHAYMAN offers the driver a polite smile. The driver faints back into the sand as the camels bolt off. And still LESTAT'S MUSIC plays as we finally END UP AT...107 SANCTUARY OF AKASHA AND ENKIL 107 An OVER the SHOULDER SHOT of Enkil sitting motionless in his throne, not resurrecting at all. Akasha and her throne remain O.S. We MOVE CLOSER to reveal... Enkil's throat gapes, torn open, and whereas before his skin was pale, it's now a chalkish powder. And next to him... Akasha's throne sits empty. A god again walks the earth. A GUST of WIND suddenly blows and Enkil crumbles into white dust.108 INT. AIRPLANE - NIGHT 108 A tall, shapely female flight attendant sways down the first-class aisle of an airplane, her back TO us. She stops by a seat where Jesse sleeps uncomfortably. Pulling out a blanket, the attendant drapes it over Jesse, tucking it closely around her neck, then, curiously, the stewardess leans down. 68.109 CLOSE ON LIPS 109 begins to sensually kiss Jesse's neck. We begin to hear the BEATING of a HEART, getting LOUDER... The lips part to expose fangs slowly sinking themselves into Jesse's skin. She murmurs in her sleep... JESSE Lestat.110 WIDER 110 She stirs awake to see -- the face of Akasha, her green eyes flashing bright. CUT TO:111 JESSE 111 wakes with a start. JESSE Akasha! Jesse looks up to see the real ATTENDANT is standing next to her. ATTENDANT We've started our approach into L.A. You should fasten your seat belt. Jesse nods and quickly fastens her belt, pulls it tight.112 INT. LESTAT'S HOUSE (LOS ANGELES) - NIGHT 112 Lestat suddenly glides through an open door and calmly touches ground. He empties his pockets out on a coffee table. We see a --113 CLOSEUP - BOX OF MATCHES 113 "Sky Bar."114 BACK TO SCENE 114 Dabbing his mouth with a handkerchief, Lestat tosses it on top of the matches to reveal fresh bloodstains on the cloth... a look of loneliness clouds his face. (CONTINUED) 69.114 CONTINUED: 114 LESTAT I hate bedtime. He turns, enters his bedroom, closing the door behind him.115 INT. LESTAT'S MANSION - STRANGE POV - EVENING 115 We find ourselves in the strange blue-grey world of a VAMPIRE'S POV, walking THROUGH Lestat's mansion. PAST his band, James, Alex and Maudy, laying in the studio in a hazy sleep from yet another night of debauchery. We MOVE menacingly INTO... Lestat's expensive living quarters, PAST the huge glassed-in space and into Lestat's private hall, leading to his bedroom door. We ENTER easily, PASSING the enormous bed, and CONTINUE THROUGH INTO a smaller, darker chamber... OVER TO Lestat's coffin, stealthily APPROACHING his "sleeping" figure laying closed-eyed and almost peaceful-looking, when...116 LESTAT 116 bolts up and looks around the room to see... nobody. Lestat's instincts are as alive as they could ever be as he scans the room with all his powers, and to his utter surprise finally sees...117 WIDER 117 A painting leans against a wall, turned front-side-over. Lestat gets out of his coffin and goes over to the painting with trepidation. He turns it over and then smiles to himself. It is a portrait of Lestat as a rocker. The hand and style are unmistakable. LESTAT (whisper) Marius...!118 INT. LESTAT'S MANSION - LIVING ROOM - CONTINUOUS ACTION 118 Lestat bursts out the doors of his bedroom and looks down into the living room. Marius sits on a couch, still dressed in red velvet, studying the Rolling Stone with Lestat on the cover. MARIUS Lestat. (CONTINUED) 70.118 CONTINUED: 118 Marius looks up. The two vampires regard each other for a long moment. Lestat is overcome with conflicting emotions. Guarded smiles rise to their faces. MARIUS It is good to see you, Lestat. LESTAT And you. Still wearing the old fashions, I see. MARIUS Old habits die hard. LESTAT How did you manage to slip through the 1950s in red velvet? MARIUS I slept. LESTAT Don't think you missed much. MARIUS Elvis. LESTAT Elvis, yes. MARIUS (holding up the Rolling Stone) You're bigger than he is now. LESTAT I'd say a few pounds lighter. Though, if you ever catch me wearing a white jumpsuit, you have my permission to slice off my head. MARIUS If someone doesn't get to you first. Lestat grins, feeling Marius's disapproval. LESTAT Live and let live. MARIUS If it were only so simple, my son. (CONTINUED) 71.118 CONTINUED: (2) 118 LESTAT (a beat) How did you find me? MARIUS You forget. We ancients have powers no ordinary vampires possess... And I know you. I remembered how you admired the medieval fortresses in the hilltowns of Lyon. (gestures to house) All you're missing is the moat and the cannons... which you may need. Lestat doesn't want to hear it. LESTAT Come, let me show you what it means to live in the light.119 EXT. SUNSET BLVD. - CONTINUOUS ACTION 119 Lestat and Marius sit perched on a giant billboard advertising Lestat's concert. Down below, Sunset Strip is filled with Goths, club hoppers, HONKING CARS, a traffic jam. MARIUS (sarcastic) Impressive. Reminds me of mad old Druids running around chanting in the forest. Very primitive stuff. LESTAT Out there. My fans. Thousands and thousands. They worship me. Millions of arms reach out to embrace, beg me to come into their lives. MARIUS It's what you've always wanted. LESTAT With all my black little heart. MARIUS Do you think of anyone but yourself? (CONTINUED) 72.119 CONTINUED: 119 LESTAT I only have myself. MARIUS It may be time to get ready for some company. LESTAT What's that supposed to mean? MARIUS Your music's woken a very old friend... Lestat looks at Marius, trying to understand. MARIUS Can't you hear it? Or is the applause all you can hear now? Marius becomes eerily still. A deep, somber TONE starts to VIBRATE. The GROUND RUMBLES. Lestat taken aback, remembers the scope of Marius's power. Lestat stares at Marius, then closes his eyes...120 CLOSE ON LESTAT'S EYES 120 As the sounds of the WORLD seem to FADE AWAY, revealing beneath the cacophony of mortals a DEEP PULSE like the beating of a heart the size of a planet.121 BACK TO SCENE 121 Lestat suddenly opens his eyes as the sounds of the WORLD rush BACK IN. Marius stares for a beat, then -- MARIUS Akasha has risen. She has taken her King's blood. Absorbed his power. You've done it this time. Lestat stares at Marius, letting the knowledge sink in. Then he grins. LESTAT Good! I'm glad she's risen! Let her come. MARIUS Don't you understand? You must stop this concert! (CONTINUED) 73.121 CONTINUED: 121 LESTAT (shakes his head at Marius) 200 years and the same broken record. MARIUS No. Not the same! You've only known Akasha dormant. She too will find you. She is choosing her moment. She has come to destroy you, Lestat. And in her wrath, she will devour everything that moves. Mortal and vampire alike. LESTAT (smiles at Marius, softly) Well then, it's every vampire for himself. Just the kind of rules I like. The rules you taught me. Marius is enraged, tries to control himself. Lestat gazes at him, speaks steadily. LESTAT Do you remember your first words to me, Marius? 'I am unknowable.' (shakes his head) I'd rather not exist at all than have to live eternally as a ghost. MARIUS And you're taking everyone with you, you fool! We were once mortals, too. It is our heritage we protect! LESTAT (moving away) Such reverence for mortals! Then you should have left me as one! MARIUS You're a monster. LESTAT (shakes his head with a dark laugh) Said the vampire to his son. Lestat turns, leaps off the billboard, disappearing into the black night. Marius stands alone. CUT TO: 74.122 INT. VAMPIRE COVEN BAR (LONDON/SOHO) - NIGHT 122 No mortals in sight. Amongst various vampires, we spy the Vampire Lover talking to the Punk Vampire who tried to attack Jesse.123 EXT. VAMPIRE BAR - FRONT DOOR 123 The vampire doorman opens the door and peers out. A figure moves towards him...124 AKASHA 124 glowing, beautiful, majestic. The vampire doorman is frightened, but mesmerized as she moves in...125 INT. VAMPIRE BAR 125 The barman looks up at the sound of the DOOR SLAMMING. He does a double-take and watches in awe as... Akasha steps in. Everyone in the bar turns. She smiles at all the undead staring at her. AKASHA Hello... Her eyes sweep the room, taking in every inch, searching, then she hears a Vampire Lestat VIDEO PLAYING. She whirls around quickly to the TV -- gazes at the video intensely. Her eyes narrow, focus on Lestat, speaks as if to herself. AKASHA Hmmm... his scent is fading. He was here too long ago... The Vampire Lover slides up next to her. VAMPIRE LOVER You like him, love? AKASHA (still staring at TV) He reminds me of someone I know. VAMPIRE LOVER All he's gonna remind you of soon is a pile of bones. We're gonna dismember him. Bleed him dry. AKASHA Really? Is that what you're going to do? (CONTINUED) 75.125 CONTINUED: 125 She turns to Vampire Lover, takes him in. As if with a new idea, smiles at him, moves to the dance floor, moving to LESTAT'S MUSIC, her eyes closed, swaying sensually, her hips gyrating. The dance is seductive, slow, her head thrown back. The vampires turn, stare at her, mesmerized, aroused by her movements. They move to the dance floor, watching. Akasha opens her eyes, smiles at them, then turns to Vampire Lover, points to him, beckons. He smiles back, happy to be chosen, moves onto the dance floor. She dances a little farther away. A game. He laughs. Moves closer. CLOSE ON VAMPIRE LOVER He hears a LAUGH. BACK TO AKASHA But she's disappeared. He turns. Akasha's behind him now. He stares at her. Her hips are gyrating, her body slithering. A moan escapes from him. Again, he moves to her, reaches for her. She laughs. CLOSE ON HIS PUZZLED FACE He turns... She's dancing across the floor now. Vampire Lover's smile is not so friendly now. He steps toward her, determined... She moves behind him. Her body pressed up tight against his. He smiles, shudders with a rush of desire. All the other vampires watch, envious. Her lips brush his neck, her hands run up and down his body pausing on his chest. He reaches for her. She kisses him just as he kissed the mortal girl. On Vampire Lover's face, pure pleasure... AKASHA Then again, you could always do this... Akasha sinks her fangs into his neck and at the same time, plunges her hand down. We can't see where... We STAY ON Vampire Lover's face as Akasha disappears FROM FRAME. The sound of BONE SNAPPING, the SQUISH of RIPPING FLESH. LOUD SUCKING. A look of horror appears on Vampire Lover's face. Akasha REAPPEARS. In her hand, she now holds... (CONTINUED) 76.125 CONTINUED: (2) 125 ... his dripping heart. She brings it to her lips, sucks again thirstily... Vampire Lover gurgles as she sucks the heart to a dry husk, then tosses it. She turns back to Vampire Lover, his face frozen in a grotesque mask. She laughs, drops him unceremoniously to the floor... Akasha turns to face the rest of the horrified vampires. They begin to back away. But the DOOR LOCKS itself LOUDLY. Akasha sways again to the music, moving faster now, as if refreshed. AKASHA Turn up the music! The terrified barman quickly COMPLIES. AKASHA (smiles, to herself) Oh, I do love the 21st Century. Akasha turns to the terrified barman again, pulls him over the bar and attacks him as if she were just reaching for a snack. He flails but is overwhelmed by her strength... The Vampire Girl who Jesse saw vanish with the Yuppie, flies towards Akasha, knife raised, but Akasha just turns... Suddenly there is an EXPLOSION of FLAMES. The Vampire Girl screams as she is consumed. The piano player and guitar player go up in flames... All hell breaks loose as the other vampires run for the door. The lock won't budge and it's too late anyway as the flames overwhelm them... And THROUGH the flames, we see Akasha smiling, now sucking on the Punk Vampire's aorta like it's a straw. She tosses his body, her long tongue slowly licks her bloody, thirsty lips. She strides out through the flames. In a whispery, sing-song voice. AKASHA Lesta-at... come out, come out wherever you are. 77.126 EXT. HOLLYWOOD SIGN - NIGHT 126 Marius stands in the hills by the Hollywood sign, gazing down, his brow furrowed, at Lestat's fortress-like mansion hidden in the canyon below. The WIND BLOWS the trees, bushes. Marius turns, uneasy, sensing something, peers into the shadows cast by the brightly-lit sign. Marius stares as a figure emerges from the shadows. It is Mael, a vampire, his face hidden in a cloak. MAEL Marius, you've broken your oath. You were to watch over Akasha and Khayman. You are a great disappointment to me. Marius looks up to see all the Ancients now stepping from the shadows. KHAYMAN, the desert vampire, in Egyptian dress along with PANDORA, the dark-haired beauty in her sari, ARMAND, the boy sage, in his Mesopotamian robes. Last, MAHARET steps from her grand door. She is beautiful with long red hair, alabaster skin. MARIUS Pandora, Armand, it's been a long time. Khayman, Maharet, to what do I owe this honor? KHAYMAN You have been summoned because of your errant child... Khayman crosses to the edge, peers menacingly into the distance at Lestat's house. PANDORA (giving deep, sexy laugh) He's quite the devil, isn't he? ARMAND His music mocks us, Pandora! PANDORA His music moves my blood. ARMAND Keep your amorous thoughts to yourself. His music is a threat to all vampires. We will let the covens dismember him at his concert. (CONTINUED) 78.126 CONTINUED: 126 MAEL Yes. It will set an example. MARIUS I don't see how this solves things. This isn't thought through. KHAYMAN Marius, we understand your affection for Lestat, but your duty is to us! He gazes again down at Lestat's house with a threatening glance. Turns to Marius with a look of warning. KHAYMAN We could always get rid of him right now. MAEL No. We will contact the covens. Let them know we condone the slaying. It will be better for all to see. Marius, with a tortured expression, gazes at Mael. Maharet steps up. MAHARET Wait. Never mind Lestat! We have greater problems... MARIUS (stepping up) Maharet is right. It is Akasha we face now. PANDORA (joyous) Is it true, Maharet? Has our Queen really risen! MAHARET Don't be so happy, Pandora. I knew Akasha when she walked this earth. I was her slave. I am now her enemy. I know what she is capable of. (CONTINUED) 79.126 CONTINUED: (2) 126 ARMAND Yes. We've all felt her presence, even as she hides from us. (as others nod, acknowledging the truth of this) What does she want now? MAHARET She knows only one thing. Taking pleasure in destroying life. She is already killing the young ones to build her strength. MARIUS She's sucked the life out of her King like a praying mantis. I sense she is getting closer. MAHARET She has come to destroy Lestat, but he will only whet her thirst more... The Ancients look to each other, taking this in. Pandora looks around, suddenly nervous. MAHARET If we act together, we have a chance to destroy her. They all gaze at Maharet, astonished. MAHARET Yes! We must destroy her immediately! If she is not stopped, I'm afraid of what will happen to the entire mortal world. MAEL But can she be destroyed? I am left to bear the scars of the last attempt on her life. She was dragged into the sun. She survived. But we almost didn't... Removing his hood, we see his terribly-burned face. They all stare at him. MARIUS What happens to our Queen happens to us. If Akasha dies, we die as well. (CONTINUED) 80.126 CONTINUED: (3) 126 MAHARET Then so be it! We must take that chance. She gazes at them all intensely, as the meaning of her words sink in. MAHARET We must destroy Akasha. For the sake of humanity! We must find her. Now! ARMAND But perhaps she has come to kill Lestat and then will go back to her slumber. That is our only hope. PANDORA (eager) Yes. That's right. She and the covens will take care of that brat. We must go to the concert and pay our respects to our great Queen. MAHARET How? With your own throat! You've all been asleep too long! You're still dreaming. Marius steps up beside Maharet. MARIUS Maharet speaks the truth. It is our only hope. Marius then goes and stands beside Maharet and Khayman. The others gaze at the three standing together now. MAEL No. Armand is right. We will go to the concert and first see what she does. There may be no need for action. Pandora and Armand nod their assent. The two groups face each other. Maharet gazes at their faces, spits out the words. (CONTINUED) 81.126 CONTINUED: (4) 126 MAHARET Then you go to the concert and you shall see! (shakes her head) And I thought the Ancients became wise with their years. As we REMAIN ON the Ancient Ones, AKASHA'S HEARTBEAT creeps back in over... Marius gazes again down at Lestat's house, anguish on his face. INT. MERCEDES - CLOSER ON ROGER - NIGHT cruising the Hollywood streets, wearing sunglasses, hat. He sees something. ROGER'S POV A Goth girl on the street in front of a record store. BACK TO ROGER He sighs, pulls over. Gets out. EXT. HOLLYWOOD STREET - CONTINUOUS ACTION Behind him now we see a cab pull over. It's Jesse, trailing Roger. She gazes at him intently. JESSE'S POV Roger's back is TO us as he talks to a Goth girl in a whisper. BACK TO JESSE Jesse pays the driver. Gets out. Gazes at Roger.127 INT. LESTAT'S HOUSE (LOS ANGELES) - SOUND STUDIO - NIGHT 127 LOUD, intense MUSIC as the band rehearses. Lestat creates a fantastic melody around the beat. He lets the note trail off, eyes closed, smiling, the REVERB still RINGING in the room. Lestat hears something, turns. Outside, in the Hollywood Hills, DOGS are HOWLING across the canyons like wolves. Lestat crosses to the huge glass doors, goes outside... 82.128 EXT. HOUSE - CONTINUOUS ACTION 128 Lestat stares out at the ominous night. As Maudy and the band continue to play, the wolflike HOWLS in the night get LOUDER. And beneath it all, a DEEP PULSE BEATS. The song comes to an end. Lestat turns, gazes back at the band THROUGH the window, at their excitement. He comes back inside.129 INT. HOUSE - CONTINUOUS ACTION 129 Roger now stands there, a nervous look on his face. ROGER The... girls you asked for, Lestat. They're here, in the guest wing. LESTAT Ah. Yes. Lestat gazes in that direction, pensive. ROGER I was uh... just gonna go catch a movie at the Chinese. I don't suppose you'd all want to... Lestat smiles at the clumsy attempt to protect the girls. LESTAT No, thank you, Roger. We'll entertain ourselves. As Roger leads Lestat to the guest room, he can hear FAINT GIGGLING. Lestat turns back to the night. The PULSE of Akasha still ECHOES in his ears.130 INT. GUEST WING - JUST AFTER 130 Roger and Lestat walk in. A young GROUPIE giggles nervously. GROUPIE #3 Oh my God, it's him! It's really him... She turns in paroxysm of excitement to the girl next to her. Lestat stares, taken aback. It is Jesse. Dressed in Goth gear. Jesse stares back at Lestat brazenly. A long moment. LESTAT Perhaps you would like a tour of the place... first. (CONTINUED) 83.130 CONTINUED: 130 GROUPIE #3 Oh yeah, wow, we'd love that. LESTAT Roger... would you be so kind? ROGER (surprised, relieved) Sure. Right this way, girls. As they start off, Lestat puts up his hand, points to Jesse. LESTAT Roger. Not that one. Leave her to me... The other groupie pouts, disappointed. She goes out with Roger. Lestat turns to Jesse... considers her... LESTAT You must be very keen to die. Jesse's heart pounds with terror. LESTAT The Talamascans have become quite stealthy. I didn't know infiltration was quite their style. JESSE It's not. I... I came on my own. He stares at her, taking her in. LESTAT How did you find me? JESSE I've been tracking your manager for days... (gesturing to her Goth outfit) Then I figured out you simply have to look the part. LESTAT Clever librarian... You should know, based on all your research, that groupies don't ever find their way out of here again. (CONTINUED) 84.130 CONTINUED: (2) 130 JESSE I'm not a groupie... Lestat gazes at Jesse's pulsing jugular. He steps closer. LESTAT Then why are you following me? What do you want? JESSE (terrified, in a whisper) Are you granting wishes? LESTAT (smiles, in a whisper playing with her) Last wishes. What's yours? JESSE Show me what it's like to be you. That's my last wish. Grant it, Lestat. He stares at her, feeling some connection with this strange mortal girl. She stares at him with penetrating eyes. He again finds himself drawn to her. Tries to fight it. LESTAT (turning away) I don't have time for this. JESSE All a vampire has is time. LESTAT Maybe not. JESSE (softly) Right. The covens are coming for you. (softly) I understand why you're doing it. You have to be who you are, no matter what happens. He turns, gazes at her. She steps forward. (CONTINUED) 85.130 CONTINUED: (3) 130 JESSE But how are you spending what may be your last night on Earth, Lestat? As you always have... Alone. Jesse takes a breath, crosses to him, stands very close, stares up into his eyes. He stares down at her, amazed, his heart pounding. He breathes in her hair, the scent of her skin. JESSE Don't kill me yet. Let's spend our last nights together. Share it with me. Show me what it's like to be you. LESTAT You don't know what you're asking! I don't know what's in that librarian's head of yours, but it's not what you think. JESSE That's right. You don't know what's in my head, Lestat. Do you want to? LESTAT I'll know when I kill you. JESSE Gee, Lestat, that's a great way to get to know someone. Here. I'll give you a preview. Coming attractions. This is what you'll find. She crosses to him, stands close. JESSE I have this recurring dream that I'm a child and I'm living in this big house filled with vampires. And every night when I go to sleep, I wish to God the same thing... you know what that is, Lestat? He gazes at her. She leans forward. (CONTINUED) 86.130 CONTINUED: (4) 130 JESSE That I will have the dream again... Because in the dream I'm happy. And the dream is more real than my life... I don't know how, but I know you, Lestat... My life is a big mystery and you, you have the answer... He gazes at her, being taken in, tries to resist it. Jesse moves even closer. He stares down at her, the softness of her skin, her penetrating gaze, the heat of her body. JESSE I can't go on pretending this life of mine is real. I can't live a lie... I'm just like you Lestat. We're the same... LESTAT (softly) Are we? I seek the light. You seek the shadows. JESSE No. We're looking for exactly the same thing. You know it... Please. Show me. He stares at her. Her eyes gazing directly into his... Suddenly... LESTAT Alright! Jesse breaks into a smile. LESTAT This may be painful for a mortal. You're still attached to your skin. JESSE (an excited whisper) I don't care. LESTAT Close your eyes. Don't breathe. Her heart pounding, fluttering her eyes closed, Jesse holds one deep, hesitant breath and... Flash -- with preternatural speed -- 87.131 LESTAT AND JESSE 131 whisk through the night, flashing past trees and houses. Opening her eyes for a moment, Jesse watches the world whiz past her at incredible speed and suddenly -- they stop on a dime. Jesse gasps, catching her breath to find herself at Hollywood's highest peak overlooking the city laying out before her like a glimmering blanket.132 EXT. GRIFFITH PARK OBSERVATORY - NIGHT 132 Looking out over the observatory's ledge, Jesse can't believe what's just happened. She laughs, intoxicated by the experience. JESSE Do that again! Lestat laughs, impressed by her bravado. Her trust. For a moment she laughs like a child. Then they look at each other deeply, feeling something. He wants to kiss her. She knows it. He turns away. LESTAT And now for my next trick. Lestat pulls out a knife, quickly slices his arm open. Jesse gazes at his blood dripping down his arm, something stirring in her. Magically, the wound heals up. She stares, impressed. JESSE Did it hurt? LESTAT Yes. For just a moment. But as the pain is more intense for us, so is ecstacy. (gazes at her) You see, we love our victims. JESSE Love? I thought it was the blood. LESTAT No, although the taste is so rich and sweet. Love is the essence of the dark gift. The connection is so much more satisfying, brief as it is, than anything else. (CONTINUED) 88.132 CONTINUED: 132 Lestat again becomes aware of Jesse's pulsing jugular, the white flesh of her neck. He reaches out, touches her neck, strokes it. Jesse shivers under his touch, terrified, but wanting more. Lestat brushes his lips against her hair, her neck. Runs his hands down her arms. She closes her eyes, lost in the gentle rhythm of his voice. LESTAT As you drink, you feel the heart weakening... it struggles even though there's no hope. You feel the life slipping away, the flash of those brief years. The taste of mortality you can no longer experience... and it is beautiful... (pulls away sharply) No 'relationship,' no commingling can ever reach the heights of that experience. But Jesse steps forward. Lestat turns, stares at her. Her eyes burn with an urge that will not be silenced. One button at a time, her fingers quivering, she opens her blouse down to her navel. Lestat stares as Jesse removes a long, silver hairpin from the mane of her red locks which then cascade about her shoulders. Her face remains aimed unwavering at Lestat's as she brings the hairpin down to her breast. With her eyes moored to his, she draws a line with the point across her breast. She inhales through clenched teeth... then settles as we see: The long incision go from pink to red; then the blood, like a hot spring pouring over the brim and dripping down her chest. Lestat staggers. Breaking their stare, he accepts her gift, lapping up the overspill and then onto the wound itself. Lestat closes her eyes... He comes up to her face, brushing his lips against her cheek. She shivers... LESTAT (groans) Your blood... JESSE (murmurs) Do you like it? (CONTINUED) 89.132 CONTINUED: (2) 132 LESTAT (losing himself) Yes... He comes down to her slender neck. Stares at the soft, pulsing skin. He bares his fangs. JESSE (whispering, overcome) Do it to me... Please... With your blood I'll know you...133 CLOSE ON LESTAT 133 He can't help himself. He moves to Jesse's white neck... closer... closer... JESSE I'll know everything... But suddenly her words catch him... His head flails as he tries to stop his natural impulse. Lestat lets out a desperate cry and throws her aside. Jesse gazes at him, surprised. He looms over her, angry. LESTAT You want to know everything. You want to see what it's like. Then come! I'll show you.134 EXT. GRIFFITH PARK - NIGHT 134 Lestat and Jesse quietly move among the trees. Lestat stops on a dime -- senses tuned. He looks into the dark. Jesse is about to speak when Lestat raises his finger to her lips and then points at... A couple of lovers moving across the meadow. They sit on a park bench. The woman giggles drunkenly. Jesse watches and gasps as she realizes the male lover is a vampire. Lestat moves forward. Jesse gingerly follows. Taking his lover in his arms the vampire begins to bite her neck... Lestat looks over at Jesse who watches, fascinated and disturbed. The vampire senses another's presence -- stops and turns to reveal his vampire eyes shining in the dark. Lestat steps into the halo of a street lamp and hisses. Sensing Lestat's power, the vampire hisses and instantly -- the vampire is gone. Jesse turns to Lestat but he has disappeared, too. Spinning around again she sees... Lestat hovering over the mortal woman who is still in a swoon. Checking to see that the vampire is gone, Jesse moves closer to the bench. (CONTINUED) 90.134 CONTINUED: 134 JESSE Is she alright? Lestat looks up to face her, revealing his blood-stained lips. Jesse reflexively looks away. LESTAT Come closer, Jesse. You want to see? You want to know? JESSE Lestat, no! Lestat's expression turns cold as ice -- he arches his back like a great cat and goes in for the kill. The woman's body convulses... Jesse watches in horror as... the woman's hands clutch at Lestat, her back stiffens... finally her legs relax in an obscene parody of orgasm. Jesse gasps, backs away. Lestat finishes and, wiping his mouth, approaches Jesse. LESTAT You see now? Are you ready? Now do you want it?! He gazes into her eyes, finding himself desperately wanting her to say yes. The horror, the revulsion in Jesse's face says it all. LESTAT No. Of course you don't. She backs away from him, now terrified. Something's changed in his eyes. They are cold, blank. LESTAT Well I didn't grant your final wish. (shakes his head) It was an impossible wish to begin with. You see, I am unknowable. His eyes still as death, he starts moving away. JESSE Lestat! Wait! Lestat turns toward her suddenly, grabs her forcefully, pulls her into his arms, gazes into her eyes. LESTAT Good-bye, Talamascan. (CONTINUED) 91.134 CONTINUED: (2) 134 Jesse closes her eyes in terror, knowing her life is about to be over. Then Jesse reaches for her mouth as if she were touched by something when... the IMAGE of Lestat's lips kissing her lips flashes by in VAMPIRE TIME as... Jesse's face is completely still in HUMAN TIME. As her hand drops, she realizes what just happened. And with that, Lestat disappears. She stares into the night. There's a SWISH and the sound of RUSHING AIR. Jesse turns, screams, backs away. It's not Lestat standing there at all but Mael, the Druid vampire. With great speed he glides towards her, envelops Jesse in his cloak, muffling her cries... WHOOSH. CUT TO:135 OMITTED 135& &136 136137 STARING EYE 137 PULL BACK to reveal a porcelain doll, beautiful, perfect but unsettling. We TRACK ACROSS rows and rows of dolls from different eras. TRACK PAST the billowing floor-to- ceiling curtains to reveal Jesse -- still an adult, but lying awake in bed just as she had as a little girl. Jesse gets out of bed, trapped in her own childhood memory. Is she dreaming now?138 INT. DESERT MANSION - HALLWAY - NIGHT 138 Making her way down a long hall she passes an amazing array of medieval tapestries.139 FLASHBACK - INT. HALLWAY 139 Jesse as a child picking at the thread of a wall-hanging in a large room.140 BACK TO SCENE (PRESENT) 140 She stands wondering -- eyes moving back and forth with rapid thoughts when... She sees a door at the end of the hall. Walking a little faster now, she draws toward it as... 92.141 FLASHBACK - INT. HALLWAY 141 Jesse as a little girl, wanders down a similar hall toward what sounds like a COCKTAIL PARTY. Reaching the thick wooden door she peeps through to see...142 BACK TO SCENE (PRESENT) 142 Jesse stares up at an enormous mural dominating the far wall -- a mural of names, a family tree -- extending up onto the ceiling and down to the floor.143 FLASHBACK - MURAL 143 Jesse, as a little girl, walking beside Maharet, looks up at the mural. YOUNG JESSE (furious) Why can't I stay with you?! Please, Auntie Maharet! MAHARET I don't want you to go, but you must. A tear of blood trickles down Maharet's cheek. YOUNG JESSE Auntie, you're bleeding... Jesse takes the tear and goes to put it to her mouth but Maharet violently grabs her hand. Young Jesse is frightened. MAHARET You must be with your own, my sweetest girl. I'll always be watching over you. YOUNG JESSE I want to stay with you forever.144 BACK TO SCENE (PRESENT) 144 Jesse stares into nothingness. Again the voice, but much gentler. MAHARET Forever is a very long time. Jesse looks up out of her memory to see in the doorway down the end of the hall... (CONTINUED) 93.144 CONTINUED: 144 MAHARET Hello, my princess. JESSE Aunt Maharet? Jesse rushes to her. Stops. Stares at her aunt's glowing eyes, the strange pallor of her skin. JESSE You're a...? MAHARET Yes. Oh, Jesse, I've missed you so much, but I had to keep this from you. Jesse stands there, soaking it in. Maharet takes her hands gently. JESSE Oh my God, this is why... I knew I was different. I knew -- MAHARET (strongly) Come... Jesse follows Maharet to the mural of the family tree. MAHARET You are the most precious of my great family... JESSE Am I...? MAHARET (strongly) No. You are not. I was once mortal, too. My sister died before her child was one year old. I took care of that child, and her children, and her children's children... Pointing up to the huge family tree... MAHARET This is our family -- my way of coping with eternity. The labyrinth of life. The family teaches me the rhythms and passions of each age. (CONTINUED) 94.144 CONTINUED: (2) 144 Her finger trails down the great line to a name -- "Jessica Reeves"... MAHARET You are my most prized light. You are what keeps me connected to the world of the living. Jesse stares at Maharet, amazed. MAHARET When your parents died I took you to India to take care of you. JESSE And something happened there. MAHARET I stopped it from happening. And I will again. Maharet stands close, gazes at her. MAHARET Jesse, you must stay away from Lestat. You must forget all about him. Jesse looks at her, surprised. Maharet smiles. MAHARET Yes, I know about your new friend. You think you love him, but it's not as you thought it would be. Jesse stares at Maharet, surprised she understands so well. JESSE I thought I was like him. MAHARET I know, but it is not who you are, not who you are meant to be. You have found that out now. Jesse sits on a stone bench, confused. Maharet smiles sadly, feeling Jesse's inner turmoil. JESSE Lestat's all I can think about... I felt like I belonged with him. Now I know why... (CONTINUED) 95.144 CONTINUED: (3) 144 Maharet sits beside her, speaks emphatically. MAHARET Jesse, you must forget about him. You must trust me... JESSE (gazes up at her a long moment) I missed you so much, Aunt Maharet. MAHARET Me too. Just then the gloom of the pre-dawn's light begins to illuminate the windows of the great hall. MAHARET You will go home to London in the morning. Jesse holds Maharet's eyes. JESSE But this is my home. This is where I belong. Why do you want to get rid of me so quickly? Maharet touches her face gently. MAHARET Now is not the time to be here... The light is getting brighter. Maharet stands. MAHARET You were seeking answers. Now you have found them. The family is who you are. Maharet goes to Jesse, wraps her arms tight around Jesse. Despite the coldness of her skin, Jesse warms to the embrace, closes her eyes, holds her tight. Then, beaten by the sun, Maharet stands, exits into the shadows, turns back to Jesse, gazes at her. MAHARET You will go home to London tomorrow. 96.145 INT. LESTAT'S ROOM - NIGHT 145 Lestat stands by his bed, playing the ancient violin... a long mournful note. He stops a moment, lost in his thoughts. A flash of the first morning light reflects off the ancient wood. Lestat puts the violin away. A tear of blood trickles down his cheek. His face is filled with sadness at what will never be. A word escapes from his lips. LESTAT (whisper) Jesse. Lestat draws the curtains and enters his sanctum where his coffin sits in the safety of darkness.146 EXT. MAHARET'S DESERT MANSION - DAY 146 The sun breaks through the date palms.147 INT. MANSION - JUST AFTER 147 Jesse moves down the hallway past paintings of vampires. She pauses at one of Maharet. As Jesse shifts, the glass over the painting catches Jesse's reflection. Jesse moves slowly until her face just covers Maharet's. In the reflection, Jesse's eyes now glow with Maharet's luminescence. Jesse stares a long, long moment.148 INT. MANSION - JUST AFTER 148 Jesse sits at a desk, writing a note, torment, confusion on her face. JESSE (V.O.) Dear Aunt Maharet, my whole life, I've felt... kind of crazy I guess, different from everyone, and now I know why... You say I now know who I am meant to be... I have found my answers. You are right... She takes a deep breath.149 EXT. MAHARET'S DESERT MANSION - FRONT ENTRANCE - 149 CONTINUOUS ACTION Jesse moves to the front entrance, gazes at the walls surrounding the front gate. (CONTINUED) 97.149 CONTINUED: 149 JESSE (V.O.) I know you want me to be a regular human girl... but I'm not. I can't be... She looks back at the house, then quickly slips out the gate.150 EXT. MAHARET'S DESERT MANSION - DAY 150 Maharet's sprawling compound sits alone in the empty desert. Nothing for as far as the eye can see. JESSE (V.O.) Lestat is my destiny... I know that now. I love you, Aunt Maharet. Good-bye. Jesse walks away from the house. Coming to a highway, she reads a sign -- "DEATH VALLEY 120 miles." Just then, a VW minibus barrels down the road in Jesse's direction. She sticks out her thumb... The minibus pulls to a stop on the shoulder in a cloud of dust. A VAMPIRE DRIVER leans out the window -- not a real vampire, just a kid with white face-paint and fake fangs. VAMPIRE DRIVER Need a ride? Jesse peers past the driver to a crowd of Goths and fake vampires. THE VAMPIRE LESTAT BLARES FROM the SPEAKERS. JESSE (smiles) Yeah.151 EXT. DEATH VALLEY - FROM HIGH ABOVE - DUSK 151 We see a line of traffic snake out along a desert road toward a strange red glow rising into the dark night sky. A distant sound of DRUMS BEATING chaotic rhythms is heard. As we FLY CLOSER, the DRUMMING becomes LOUDER and clearer. Until we are RIGHT ABOVE an incredible scene... A mass of people (30,000) gather in a valley of red rock. CUT TO:152 EXT. CONCERT ENTRANCE - NIGHT 152 Looking at the scene, Jesse is bedazzled. Pushing through people, she disappears into the throng as... (CONTINUED) 98.152 CONTINUED: 152 DAVID (O.S.) Jesse!153 ANGLE ON DAVID TALBOT 153 as he pushes through the sea of white paint and plastic vampire teeth. But she has disappeared. Talbot is jostled, dropping his glasses on the ground. VOICE (O.S.) Sorry, Grandpa! Talbot crouches down and finds his glasses. Reemerging, he senses something and looks up.154 FULL SHOT - MARIUS 154 watching him at a distance. Next to the real thing, all these fake vampires look ridiculous. MARIUS (quietly) Hello, David.155 ON TALBOT 155 Speechless. MARIUS I must show you my new paintings sometime. Marius smiles. Talbot is awestruck -- the goal of a lifetime's searching. He tries to say something, but it's too late. Flash. Marius is moving through the crowd at unnatural speed. Enormous pipes spout flames high into the sky, run like a corridor of red light along the crowd, leading to two enormous Egyptian effigies of Akasha and Enkil flanking a stage at the top end. And before the stage stretches a mass of human bacchanalian debauchery... Woodstock on mescaline. Naked bodies, pierced and tattooed, mingle with the strangest of fashions as crowds gather in circles around their own lit fires, drumming out awesome rhythms. The whole place is an enormous flaming mosh pit -- naked bodies walk across heads of people while others get tossed and thrown. This crowd is determined to get what they were promised... Nothing like they've ever seen. (CONTINUED) 99.155 CONTINUED: 155 A new world, a world of the initiated who have somehow managed to include themselves in the select number of attendees to a sacred rite. And among the mortals are the immortals. Amidst them we see the tattooed Vampires, the Armani Vampire, the others, now dressed in cloaks which they use to hide their knives and sickles.156 HIGH ABOVE VALLEY 156 Standing on the strange rocks are the Ancient vampires, except for Maharet. Some of whom can't help but smile at the scene below. Marius is now with them. PANDORA (wistful, to Mael) It's just like Nero's day. They scan the horizon, the darkening sky. MAHARET Akasha will not be able to resist this... The CROWD begins to CLAP -- DRUMS from different circles begin to impatiently BEAT into one deafening rhythm.157 INT. BACKSTAGE - NIGHT 157 Backstage is all abuzz with pre-show energy; press everywhere. Roger still worrying and sweating. James, Alex and Maudy sit in their own circle, jamming with their unplugged instruments, psyching themselves up for the biggest night of their lives.158 INT. LESTAT'S HONEY-WAGON - NIGHT 158 Lestat stretches out with his eyes closed as the sounds of the DRUMMING crowd begin to make the whole van shudder. Roger pops his head in. ROGER They're getting pretty worked up out there.159 INT. BACKSTAGE - NIGHT 159 Lestat emerges from his honey-wagon, splendid in his concert costume. He looks ready for business, whatever may happen. The band look at each other, then look to Lestat. This is the moment. He smiles like a father at them. (CONTINUED) 100.159 CONTINUED: 159 LESTAT Come on, children. Alex, Maudy and James start beating out the rhythm with the crowd as they move through backstage. The DRUM BEATS RISE to a CRESCENDO.160 BACK TO CROWD 160 Jesse makes her way through the throng, trying to get closer to the stage. Suddenly the torches go out sending the place into utter darkness. A stunned moment. The place goes berserk. We see the dim figures of the band take their places. Jesse desperately tries to push toward the front.161 INT. BACKSTAGE - NIGHT 161 Lestat readies himself as he scans the valley from behind a speaker, and sees...162 LESTAT'S POV - VAMPIRES 162 wait here and there in the audience, set to attack.163 BACK TO LESTAT 163 who smiles to himself.164 BACK IN CROWD 164 BOOM, the torches relight and an enormous CHORD surges through the crowd louder than a jet on takeoff. The mass surges forward... The stage lights up in a huge halo of blood-red light. The band plays a hypnotic tune that would put the devil in a spell, as... We wait for Lestat. The band keeps playing the pounding cadence, as... The audience doesn't see Lestat anywhere and cheers over the sound, and it seems as if the whole of Death Valley is shaking, when... Lestat appears above the stage, inhumanly levitating and... LESTAT I'm so glad I decided to rise... (shouting) After tonight, Death Valley will live up to its name! (CONTINUED) 101.164 CONTINUED: 164 The place erupts into one solid scream as the band kicks it in. He swoops down through the air over the stage and into their very midst. Jesse, in the crowd, screams up to him... But her voice is lost in the thousands of screams for him. Lestat takes the microphone and leans his lips into it, letting his voice soar into an inhuman note, filling the valley like a demon demanding heaven be replaced with hell.165 AT BACK OF CONCERT - MIXING BOARD 165 Two STUDIO ENGINEERS sit dazed. ENGINEER #1 (Cockney accent) Could we turn it down a tad? The second Engineer looks to the mixing panel. ENGINEER #2 His mic's not even up. They stare, dumbfounded.166 BACK TO CONCERT 166 The pulsing strain moves into a faster beat as the whole place resonates with the most incredible harmonics, the energy throbbing, the crowd almost genuflecting in front of this papal devil. All move and sway except for... Jesse, desperately squeezing through bodies trying to get closer and closer to... Lestat, who commands the place with his echoing voice. Lestat holds the place in the palm of his hand. Lestat's dark soul seems ready to burst as he moves his voice into an even higher unworldly octave, and then...167 LESTAT'S POV 167 The vampires move through the crowd. Goth girls in the front row, weeping... Maudy, James and Alex off in the clouds, playing the best music of their lives. The place has gone wild, living off its own energy now as waves of sound bounce through the valley band up into the night sky. 102.168 BACK TO SCENE 168 LESTAT You want more?! The crowd screams... CROWD Yes! LESTAT This one's for those who've come for me! All yell that they have, but the covens know it's for them. Lestat launches the band into a new number that makes the previous song seem like a lullaby. He eyes the coven-assassins here and there and sings straight to them. His lyrics challenging the assassins, flaunting them with satire. Jesse whirls around, spying the assassins in the crowd. She shakes her head no... The covens need no more encouragement as they begin to move through the crowd toward the stage. We RISE UP OVER the crowd to see fifty assassins snaking at preternatural speed, unseen to all except us in our inhuman vantage. CUT TO:169 ANCIENTS - NIGHT 169 Marius spies the covens slipping through the crowd at a strange velocity. He looks to Lestat, worried...170 BACK TO STAGE 170 The assassins approach closer -- Lestat assaults with relentless lyrics... Reaching the stage, they are suddenly on it -- roadies run in and are immediately cast aside by inhuman powers. We speed into vampire time as... (NOTE: In camera, no C.G.I.) The assassins draw knives and lunge, determined to dismember Lestat. Lestat does an acrobatic leap, dodging the knives. He rips the microphone from the stand and holds it up just in time... as an assassin is impaled. The assassin squirms and convulses. The crowd goes insane... Lestat snarls at the audience as if this really were part of the performance... The assassins attack again, this time hurtling massive light stands like they were small spears. Lestat dodges them. The assassins BREAK GLASS BOTTLES, lunge with the deadly shards. (NOTE: Band should not be seen in this part of sequence.) 103.171 MARIUS 171 can hold himself back no longer. He flies over equipment and roadies, up into the air. The Ancients gaze after him and...172 ON STAGE 172 He lands square in the middle of the fray. Back to mortal time. The crowd cheers at the sudden appearance of the figure on stage, loving the show. Lestat grins at Marius. The band keeps playing. Marius hurls a huge LIGHT at the assassins. It EXPLODES as it hits them, pinning one with shards. But an assassin hurls a sickle at Lestat. Lestat is struck down, his singing stopped. The assassins move in. CUT TO:173 ANCIENT VAMPIRES 173 watch from their rocks. Pandora's face, filled with excitement. PANDORA There are too many of them! They're going to dismember him. Armand is enjoying the show. ARMAND Good!174 BACK TO STAGE 174 Assassins corner Lestat and Marius -- blades, broken bottles reflecting the spotlight. Lestat raises his arms for the crowd. The crowd jeers. Lestat looks to Maudy and the band. LESTAT Get out of here! The band scampers off stage as the assassins fly past, the reverb from their guitars whistle into a deafening pitch. Jesse joins the screaming crowds. JESSE Lestat! Lestat! (CONTINUED) 104.174 CONTINUED: 174 As the killer vampires make their final move, it looks bleak for Lestat... But one after the other they spontaneously combust, turning hot-white to black ash and drift up into the air like strange supernatural kites. The crowd hollers and screams, not quite believing what they saw or how it was done, when... Down in the throng, vampires also begin to combust -- hot flashes of white exploding through the crowd, turning into black paper dolls -- wafting up over the valley -- crumbling into fluttering puffs of soot. Panic takes over the mass of people, running in all directions. Jesse remains pinned to her spot.175 LESTAT 175 stands in wonder as Marius stares up into the high darkness. MARIUS (soft, to himself) Akasha. The valley fills with hundreds of burning "kites" floating like black ghosts. Khayman, Pandora and Armand gaze up at the sky. MAHARET She is here...176 JESSE 176 stares in wonder and terror at the burning "kites." Then seizes her chance. She pushes toward the stage against the tide of bodies fleeing.177 INT. BACKSTAGE - MEANWHILE 177 Roger is trying to manage the building chaos backstage as the FIRE MARSHAL and several firemen follow after him. FIRE MARSHAL You don't have a permit for any of these stunts! ROGER I told you I don't know anything about it! A WALKIE-TALKIE distracts the Fire Marshal long enough to allow Roger to run. (CONTINUED) 105.177 CONTINUED: 177 ROGER Last time I work for a bloody vampire... Looking up at the sky, he stares in awe... There is a low powerful RUMBLE... The mortal crowd looks around, distracted from their panic, as they sense something truly awesome...178 LESTAT 178 senses it too. He looks up, not knowing from which direction the attack will come. The STAGE starts to SHUDDER and SHAKE violently... Jesse, now almost to the stage, screams to him. JESSE Lestat! Lestat! Suddenly the wooden platform beneath Lestat begins to buckle under his feet. Fragments of WOOD EXPLODE upwards around Lestat. Marius loses his balance and staggers backwards... Fragments of sharp wood fly into the audience. Jesse raises her hands to protect herself. She looks up. Freezes. Akasha rises up through the stage. Beautiful and terrifying. She grabs Lestat and the two of them shoot up into the air. The crowd stares in awe. Jesse is frozen. Roger, the Fire Marshal, the band, everyone is frozen. Talbot stares up at Akasha, his face white, unable to believe his eyes. Even the Ancient Ones are stunned to see their Queen come to life. Scaffolds collapse in an EXPLOSION OF ELECTRICAL SPARKS... (NOTE: Practical explosion.) The Ancient Ones stare up into the sky as... Akasha and Lestat vanish. Jesse stares in horror after them.179 EXT. SKY - EVENING 179 BLACKNESS.180 EXT. DEATH VALLEY PEAK - NIGHT 180 Lestat opens his eyes and finds himself high above the desert, the tiny lights of the concert far below. (CONTINUED) 106.180 CONTINUED: 180 Lestat whirls around to suddenly see behind him Akasha in an extravagant Egyptian robe, its sheer cloth of gold draping her godly form. Lestat is awestruck. Akasha comes to life... LESTAT Akasha... Akasha still says nothing -- she advances with a luscious, curling smile. AKASHA Why so surprised, my love? You called, and I have come. Lestat is awestruck. There is such an unearthly power in Akasha's voice. Everything seems to hum and vibrate with her breath. AKASHA Never fear me, Lestat. Your wishes have all come true. LESTAT My wishes...? AKASHA You have yearned for a companion to share eternity. You have cried out to the world. I have answered your call. Akasha spreads her arms, moving ever closer to Lestat. AKASHA You are so bold, like your music. It woke me. You live your life in the open, like I did long ago, when I had a King. LESTAT Had a King? AKASHA He's no more. You are my consort. I've kept you safe -- alive. LESTAT You? (CONTINUED) 107.180 CONTINUED: (2) 180 AKASHA You thought it was all you? (laughing) You have the ego of a king as well. I know you, Lestat. I know that you crave to have the world at your feet. I have come to give it to you. Akasha bites her own lip. Blood trickles slightly across her chin. Lestat stares at the blood, yearns towards it, as the pulse of her blood increases... Lestat looks at it, both wanting and fearful. Wrapping her arms around Lestat, she braces him, licks his face. AKASHA Has your tongue lost its taste for blood? LESTAT (melting) Never. AKASHA But you didn't kill the mortal girl. Lestat looks caught. AKASHA Instead you kissed her. Now kiss me. (NOTE: Shoot as practical, actor against plain night sky, as much as possible.) Akasha rises above him, hovers over Lestat, letting a single drop of blood spill into his mouth. Lestat levitates above the ground to meet her as... Akasha hovers higher, drawing him into the sky until their mouths finally meet and her blood flows freely into him. Lestat pulls away as a great surge of power gathers in him and floods his body with an electric rush. AKASHA Be my King. Forget about everything else. Lestat looks straight at Akasha, his face flushed. His eyes are empty of everything except her blood. AKASHA What's your answer? (CONTINUED) 108.180 CONTINUED: (3) 180 Lestat looks at her and then smiles. Akasha's mouth spreads into a smile. Flashes of brilliant light strobe over them as Lestat moves to her, sucks again. There's a powerful rush of WIND that engulfs them as they spin together, detached from time and space.181 FLASH CUTS - STOCK FOOTAGE 181 All INTERCUT WITH Akasha's skin, her body taut and arching. Lestat falls back in ecstasy. He shakes out his body and lets out a howl of pleasure -- feels his arms, his chest, his groin as Akasha's blood courses through his veins. Akasha watches and waits. Finally Lestat grins boyishly through bloody teeth and wipes his lips with the back of his hand. LESTAT Can we try that again? Akasha smiles at him, then laughs a strange laugh, a kind of purr/growl. Lestat gazes at her as the sensual hissing seems to surround him. It is seductive and scary. Lestat steps up, puts a finger to her lips. LESTAT Show me the world... Akasha's mouth spreads into a smile and she yanks him up into the air and off into the night.182 INT. MAHARET DESERT MANSION - NIGHT 182 Mael leads Jesse down the hall. She stares ahead at what looks like statues standing in the shadows. Her eyes widen as the statues come to life: Armand, Pandora, Khayman, Marius are talking in hushed tones, gathered before Maharet's "Great Family Tree." CAMERA SWEEPS OVER the endless lines, the rows of names that stretch down the stone wall -- ACROSS the floor, filling room after room. The Ancients all stare, deeply moved. Maharet turns to them. MAHARET We see now what Akasha means to do. Rule as Queen again. (pointing to the great family) This is why we must fight Akasha! Maharet looks around, determined, challenging each of the immortals. (CONTINUED) 109.182 CONTINUED: 182 MAHARET For the sake of all mortals. She must be stopped, or the mortal world will end. The Ancients fall silent as they take this in. They gaze again at Maharet's Great Family, humbled for a moment by her life's passion. MAEL But is there a way? We don't know. KHAYMAN When she opens herself to give her blood, she is vulnerable. MARIUS Then we weaken her. Drain her of almost all her blood, but leave her just one drop. MAHARET We can't take that chance. We must finish her. ARMAND If she dies, we all die. PANDORA We're damned no matter what happens. MAHARET Perhaps. Maharet gazes at them, her mind working... Pandora, Khayman, Mael gaze at each other, still uncertain. JESSE And what about Lestat? MAHARET Lestat has joined with Akasha. He is lost to us now. He is never coming back. JESSE I don't believe that. CUT TO: 110.183 LESTAT 183 Beaming with a possessed look, his eyes brimming with visions. Lestat opens his eyes and sees an island approaching. In the distance lights sparkle as an enormous plantation villa is revealed, nestled into the far shore. CUT TO:184 EXT. AKASHA'S PLANTATION VILLA - NIGHT 184 Lestat and Akasha stand on a cliff-top. WIND rips through the trees. Everywhere, there are torches, and a million candles light the vast house. Lestat and Akasha glide past the forest of exotic flowers... Past the fountains and statues -- up the steps to the open French doors. Long white curtains billow in the sea wind. LESTAT Where are we? AKASHA We are home. LESTAT You live here? AKASHA We live everywhere and anywhere we choose. The world is our garden.185 INT. AKASHA'S PLANTATION VILLA - NIGHT 185 Lestat steps in through billowing curtains, stops... There are three West Indian girls, young, voluptuous, beautiful, dressed in simple working clothes and traditional head-wraps. They stare at Lestat, nervous, yet fascinated. They move towards him. Lestat finds himself surrounded by hands, touching him, reaching beneath his shirt, pulling his clothes from his body. He swoons, closes his eyes, smiles. LESTAT So warm... (sniffs their skin) ... their blood... AKASHA ... yes... LESTAT ... they're mortal... (CONTINUED) 111.185 CONTINUED: 185 AKASHA ... of course. They serve the living goddess, and her consort. They find you beautiful. You are a god in their eyes. DISSOLVE TO:186 SERIES OF SHOTS 186 ... golden dark hands pull clothes away from Lestat's white skin... breasts strain through white linen as they press themselves closer to him... the surface of water, scented with red rose petals. Lestat's white skin breaks the surface. Lestat is lowered into the bath, his skin alive with the dancing candles reflected in the water... the water laps gently -- strange sighs of pleasure as girls' hands caress Lestat's torso... their hands reach down lower and lower through the water... Lestat's eyes remain closed but his mouth opens... Now it's Akasha kissing him. Lestat responds, but his eyes sneak a peek. Akasha smiles -- takes his head in her hands -- she kisses him, pushes him back -- he tries to resist -- he can't, startled by her strength... Akasha kisses his neck, his chest, bites... Lestat arches in ecstasy... Akasha rises up from his breast, blood on her lips, smiles, goes back down and drinks. DISSOLVE TO:187 AKASHA AND LESTAT - LATER 187 now moved to the bed, surrounded by the fine nets... kissing, probing each other's bodies, floating above the bed... Akasha rolls him over -- smiles down at him -- a fang exposed... She draws her wrist across her mouth... a globule of blood smacks Lestat's open lips... Flash -- A thousand images in a second. Lestat jolted as if by a million volts. Blood smears their bodies -- they bathe in it.188 CLOSE ON LESTAT 188 The most lascivious smile spreading over his face, even as the waves of pleasure still course through him, causing his mouth to twitch and tremble. He closes his eyes... FADE TO BLACK. 112. FADE IN:189 SAME SCENE - LESTAT (LATER) 189 opens his eyes. He sits up alone in the canopied bed, disoriented. Akasha is nowhere to be seen. He looks toward the window. The sun is just about to disappear below the horizon. Lestat stares, amazed, blinking... Shielding his eyes, Lestat goes to window, gazes in awe at the setting sun. As the last rays slice through the sky, Lestat closes his eyes, stretches his arms out, feels the warm sun on his skin. He smiles at this feeling he's craved for so long. Still smiling, he opens his eyes, blinking from the light. He turns, gazes towards the bath and gasps. The dying light illuminates... The servant girls' bodies, now grey with death, lying around the edge of the bath. The roses are now black and the water is colored a rich deep red...190 INT. PLANTATION HOUSE - HALLWAY 190 Lestat steps into the hallway, stares at dead bodies sprinkling the ground -- both servants formally dressed, and guests in white tropical evening dress...191 INT. PLANTATION HOUSE - DINING HALL - CONTINUOUS ACTION 191 The candles have all melted, forming pools that spread across the lace cloth. Food sits uneaten on plates. The last of the sun's rays strikes ten dead bodies sitting around the table, some slumped onto their food, some frozen in death. Lestat moves through the room, a feeling of dread spreading. We FOLLOW as he moves...192 EXT. BEACH - CONTINUOUS ACTION 192 ... out the French windows onto the beach, bodies of servants and villagers are scattered. Lestat's feet step down the wooden stairs, onto the sand, through the bodies... Lestat, shielding his eyes, stares up in horror at the pink sky. AKASHA Behold our Kingdom. Lestat sees Akasha standing further down on the beach. LESTAT Why? (CONTINUED) 113.192 CONTINUED: 192 AKASHA (puzzled) Why not? LESTAT This is the reason you have risen? AKASHA They believed in nothing, now they are nothing. But you and I will change all that. We will give the world something to believe in again. Akasha smiles, raises her hand, suddenly slices her wrist with a knife. Lestat stares at her dripping blood. She crosses to him, her eyes locked on his. She lifts her wrist, drips her blood into Lestat's mouth. Lestat's eyes glaze over again. He smiles, feeds hungrily, lost again. Akasha smiles. AKASHA Come, my King. We have a score to settle. The Queen and her King swiftly fly up into the darkness.193 INT. MAHARET'S MANSION - GRANDE HALL - NIGHT 193 The Ancients are still debating. Suddenly, the whole place begins to shake. (NOTE: Practical shadows not C.G.I.) A shadow passes over the Ancients' faces. MARIUS She comes... The WINDOWS along one side of the hall EXPLODE with a startling GUST. The Ancient Ones look up to see... Akasha's silhouette looming, dark and foreboding. AKASHA My children. It warms my blood to see you all gathered... plotting against me. They trade glances and begin to fan out around the room. MAHARET Akasha. AKASHA Maharet. You will address my King first... (CONTINUED) 114.193 CONTINUED: 193 Lestat enters, his possessed eyes showing only evil now. Unable to help herself... JESSE Lestat! He turns slowly to the corner where she sits. They lock eyes. Lestat's face stares cold and hard. JESSE What has she done to you? LESTAT Made me see. Taking his arm, Akasha draws Lestat to her. The Ancient Vampires subtly position themselves under the medieval weapons hanging on the walls, as Marius moves toward his son. MARIUS Lestat... step aside. LESTAT Never. She is my Queen. Marius looks for some recognition in Lestat's eyes. There is none. Maharet turns to Akasha. MAHARET Akasha. The world has changed since you reigned. AKASHA Then we shall change it back. Humans are animals, brute creatures. Their destruction can only make sense. MAHARET We've found other ways to co- exist. AKASHA Yes. In the shadows. In silence. In shame. For what? For respect of mortals? They are nothing to us. They are only... food. She casts a dangerous eye towards Jesse. Maharet instinctively moves forward to protect her. (CONTINUED) 115.193 CONTINUED: (2) 193 AKASHA Poor Maharet. Still trying to hold onto what I took from you. Maharet doesn't even flinch. MARIUS Akasha, please... AKASHA (venomous) You think you can change my will? I'm tired of this discussion. Join me, or die. MAHARET I will not. MARIUS I will not. AKASHA I want to hear it from every one of you. What will it be? Akasha scans the faces of the other Ancient Ones, staring deep into their souls. Akasha sees Khayman glance at the family tree. Akasha's eyes blaze with anger. AKASHA Don't tell me, you have feelings for these ridiculous mortals! She crosses to the family tree, traces the names down to one. Jessica Reeves. Akasha is beyond fury, yet she keeps her temper under control and turns to Lestat. AKASHA Do you love me? Smiling, she bites her lip, letting a drop of blood glisten there, tempting Lestat. LESTAT Yes... He draws closer. Jesse stares, mortified. Akasha and Lestat's mouths almost meet when Akasha pulls away. Akasha slowly turns to Jesse. AKASHA Prove it. Kill her. (CONTINUED) 116.193 CONTINUED: (3) 193 LESTAT She's nothing to me. AKASHA Just the same, I'd like you to kill her. For me. (to the Ancients) I've had enough of this 'great family.' It's time to end it. Maharet steps between Lestat and Jesse. MAHARET You will not touch her! Akasha flicks her wrist. Maharet is hurled against a pillar, pinned by Akasha's hand. AKASHA You still think to challenge me, Maharet? MAHARET I beg you, spare this child. AKASHA Now. Maharet struggles but Akasha is too strong. Jesse gazes at Lestat. Then steps forward. JESSE It's all right, Maharet. Maharet stops, standing fixed with the sound of Jesse's newly strong and calm voice. Jesse looks to Lestat, straight into his dark irises, her gaze absolutely unwavering. JESSE It's what I want. I am ready. She reaches up, pulls aside her shirt, revealing the top of her breast. A thin, red scar remains from where she cut herself with the silver stick from the Chinese barrette. Lestat gazes at her, begins to advance. Jesse keeps her gaze steady into Lestat's, risking everything. AKASHA (smirking) How sweet... (CONTINUED) 117.193 CONTINUED: (4) 193 Lestat moves closer and closer to her, gazes into her eyes, hesitates for a moment, then continues on... Jesse watches him with absolute love. He reaches her. Maharet flies across the room, but Akasha meets her halfway. Grabs her by the hair. Maharet struggles but Akasha is much more powerful. Jesse offers up her neck to his bite. Maharet looks away and Akasha looks pleased as... Lestat sinks his teeth into Jesse's neck. Jesse gasps with the bite, but puts her arm around Lestat as he draws her into him, draining her of her very life-force as she holds him. With that Maharet's great family mural begins to weep blood from every name. All the Ancients turn, stare at the mural as... Lestat drinks and drinks and Jesse sighs with intimacy, clutching his neck and back, and drawing his bite deeper into her flesh. She slowly crumples to the floor, being drawn down until finally... Jesse lies on the floor, eyes closed and pale. Dead. AKASHA Good-bye, great family. She turns to the MURAL with a fierce gaze. Flash! It EXPLODES, CRUMBLING to a million pieces on the ground. Maharet stares in horror. AKASHA Now, my children, remember your real family! Or else. She turns to them with a killing smile. LESTAT But, My Queen, you've forgotten my reward! She turns to him. AKASHA That's right. My King, you've just earned your crown. Lestat smiles with a blood-stained mouth. Akasha approaches Lestat and offers him her vein. She looks scornfully at the others as he cradles her wrist... (CONTINUED) 118.193 CONTINUED: (5) 193 AKASHA You see how he obeys. You will or you will all die! Lestat looks once at Marius, then sinks his teeth into its original font. He drinks as Akasha gasps with pleasure at giving so much pleasure to him. She keeps smiling to the others. But Lestat doesn't stop drinking. Akasha looks back to him, her face changing. AKASHA That's enough, Lestat. Still Lestat doesn't stop. AKASHA Lestat. Enough. Stop! (NOTE: Scene as scripted here is quite different from what was analyzed in boards. Notable potential expense or savings indicated with brackets. []) But Lestat clamps down even harder. Akasha thrashes, trying to release herself. Maharet and Marius realize what he's doing, see the chance Lestat has gained for them. A silent signal passes between them as... The Ancients make an instantaneous decision. Akasha looks up, gasping, in time to see Maharet, Marius, Khayman, Armand, Mael, Pandora flying towards her. Akasha lets out a hiss... Most of the Ancients are thrown to the ground while Mael ignites in mid-air. Mael's skin bubbles. He screams, the veins in his face rise up and explode as if his blood were burning acid... Pandora too bursts into flames. She falls to the ground. But Lestat, strong with Akasha's blood, keeps his hold and Khayman, Armand, Marius, Maharet fly at her again. They swarm over Akasha. She rises into the air, thrashing about, but they hang on, forming a flying mass of flailing limbs. The THUMP of Akasha's HEART ACCELERATES as they try to drain her... Akasha turns on [Khayman to incinerate him. Flash. He screams as his blood boils, exploding out of his fingertips -- But he doesn't ignite... His wounds quickly heal. He moves in for another attack...] (CONTINUED) 119.193 CONTINUED: (6) 193 The Ancients are still flung around by Akasha's great strength, but they all hold on, as the thrashing finally begins to subside. The mass of bodies sinks to the ground. The Ancients pull back to reveal that... Akasha's skin is deathly blue white. In horror, she manages to spit out her words. AKASHA You kill me, you kill yourselves. The Ancient Ones look to each other, uncertain a moment. Akasha gazes at them, then turns slowly, fixes her gaze on Lestat. He gazes back at her. Suddenly, Akasha takes her chance, rises, her eyes flare green, marshalling the last of her wrath. Lestat cries out in agony as smoke rises from his limbs. Fiercely determined, Lestat bites into Akasha's throat, this time for the kill. Akasha sinks her nails into his throat. He hangs on, his teeth deep. They are locked in mortal combat. Akasha slowly sinks to the ground, real fear in her eyes as her strength finally vanishes. MAHARET Wait, Lestat! You must stop! Lestat pulls away, leaving Akasha hanging in a twisted, unnatural angle. They all stare waiting to see what will happen... ... Maharet moves quickly. She strides over to Akasha and sinks her fangs into Akasha's neck. Akasha struggles but this time she cannot even rise up. Maharet does not stop. A HOWLING sound as if from hell fills the room. The Ancient Ones stare at Akasha, step back in awe. Lestat sits up, burned but still alive to see... Akasha's skin begins to grow horribly pale, to harden and cake into a chalk. There's no blood left to flow from the gaping holes in Akasha's flesh. She slowly begins to transform back to her frozen statue state. Her skin returning to MARBLE. CRACKS multiply, becoming fissures. Finally, Akasha literally falls to pieces, SMASHING on the stone floor like porcelain. A silent moment. The Ancient Ones look at each other, astonished, as they realize they're still "alive." (CONTINUED) 120.193 CONTINUED: (7) 193 KHAYMAN (whisper) We survived! The Ancients let out relieved hisses. But Lestat is only concerned about Jesse. He rushes to her, picks up her lifeless head, takes a dagger from the floor and slices his wrist. He brings the open vein to Jesse's mouth, but she's not moving. Lestat bends down to her ear and whispers. LESTAT I left you one drop, my love. Drink deep and live. Jesse's lips slightly move and quiver as she tastes the blood. She begins to take the blood inside her and then finally truly drink and revive as Lestat cradles her. She pulls away, gasping. Lestat looks into her eyes. JESSE I thought I'd lost you... LESTAT Drink, my love. Her lips move to his wrist. Lestat strokes her hair, soothes her. Jesse gasps as pain courses through her. Lestat holds her close. She looks up at him, their eyes are locked together. LESTAT I will never leave you again. He holds her tight in his arms. All the Ancients gaze at Lestat, now understanding what he did. Slowly Jesse rises, gazes at Lestat, her face pale, her eyes glowing. Then Jesse turns, stares at Maharet. All the Ancients turn, follow her gaze. A whiteness is spreading across Maharet's face and skin. Maharet stares at her arms and legs, slowly turning to stone. Jesse goes to her. JESSE Maharet... (CONTINUED) 121.193 CONTINUED: (8) 193 MAHARET My child, let me look at you... You are finally happy. It is as it should be now... I will watch over you always. Maharet reaches out, embraces Jesse. Then Maharet sinks into a chair and freezes into a statue. ARMAND (a reverent whisper) She took Akasha's last drop, took Akasha's death into herself. Behold, our Queen... our new mother... The Ancients slowly bow to Maharet. Jesse slowly slips from Maharet's arms. Goes into Lestat's arms. JESSE Is she... dead? KHAYMAN No, she will live forever. She sleeps. She sleeps, and dreams of us. Jesse and Lestat hold onto each other, gazing at Maharet's face. On Maharet's lips is the most content of smiles. Jesse wipes away a tear. Marius turns to Lestat. Their eyes meet. Then Marius bows at Maharet's feet. MARIUS My Queen, I will watch over you always. DISSOLVE TO:194 EXT. TALAMASCA HEADQUARTERS (LONDON) - EVENING 194 The sun has long disappeared as the darkness settles.195 INT. TALAMASCA HEADQUARTERS - EVENING 195 The shadows creep up the doorway.196 INT. TALBOT'S OFFICE - CONTINUOUS ACTION 196 Talbot sits at his desk covered with news clippings. 122.197 CLOSE ON CLIPPINGS 197 Images from the concert... "Mass Hysteria"... "Rock 'n' Roll Nightmare"... "Drugs in Water Supply"... The headline "Band starts World Tour but where is Lestat?"... JESSE (O.S.) Good question...198 BACK TO SCENE 198 Talbot looks up to see Jesse and Lestat looking over his shoulder. He leaps out of his seat. Sees the change in her instantly. TALBOT Jesse. My God... JESSE (smiles) David, this is Lestat. He looks at Lestat, fear in his eyes. TALBOT How do you do? LESTAT Charmed, I'm sure. JESSE I told you I'd return with my findings. Here they are. David stares, shaken. TALBOT But please, sit down. You'll have to excuse me... it's just so... so... LESTAT Unexpected? TALBOT Strangely, no... David looks sadly at Jesse. JESSE Please don't be sad. I'm where I belong. I'm happy now. (CONTINUED) 123.198 CONTINUED: 198 Lestat, content for the first time since we've known him, looks lovingly to Jesse. A flicker of curiosity crosses David's face. TALBOT Excuse me for asking but... JESSE (smiles) What's it like? TALBOT Yes. JESSE Do you want to find out? TALBOT Me?... No. I'm too old to live forever. JESSE Well, if you ever should change your mind... Oh. I have a present for you. From an old friend. She hands Talbot a canvas. It's a painting. He stares at it. The painting shows Lestat's concert. And in the crowd, Talbot finds Marius, now looking straight out at the viewer, a smile on his lips. Talbot sees standing beside Marius is Talbot himself, dancing with a young, pretty Goth. Talbot smiles. JESSE And Marius sent a message. You were right. He doesn't go to the Dorchester. But he's gonna be at Claridge's later... Talbot stares at them. JESSE Well, I guess this is good-bye. TALBOT Yes. Take care of her, Lestat. LESTAT Always. Talbot looks at Jesse, once his spiritual daughter. TALBOT Good-bye, Jesse. (CONTINUED) 124.198 CONTINUED: (2) 198 Talbot closes his eyes to shut out a tear, and Jesse is at his side and leans down to whisper in his ear... JESSE Good-bye, dear friend. Talbot opens his eyes to say something, but they're gone. Talbot turns to the painting. Stares at Marius for a long moment. Then stands, grabs his coat, heads for the door.199 EXT. LONDON STREET - NIGHT 199 Jesse and Lestat come out of the Talamascan headquarters. He takes her hand and together they float up over the wall and out to the street. Lestat pulls Jesse into his arms. They kiss. It's long, deep, romantic. They pull away, gaze sweetly, lovingly, into each other's eyes... And exchange happy, fanged smiles... LESTAT Shall we go get a drink, love? She smiles, nods. Lestat and Jesse take each other's hands, move into the crowd, zipping through the streets at that STRANGE preternatural SPEED... ... and vanish into the night. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Queen, The.txt b/unformated_scripts/Script_Queen, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..e8f8f86d0c73b3d4d0e777c8a3b728012298c358 --- /dev/null +++ b/unformated_scripts/Script_Queen, The.txt @@ -0,0 +1 @@ + THE QUEEN Written by Peter Morgan 1. ARCHIVE TELEVISION FOOTAGE It's Election Day 1997. Up and down the country, the PEOPLE OF BRITAIN, people of all shapes and sizes and denominations, black and white, young and old, are going to the Polls. Everyone, that is, except the people that live in... EXT. BUCKINGHAM PALACE - DAY The most instantly recognisable Palace in the world. The Royal Standard, (the flag of heraldic lions and symbolic harp-strings that signals the Monarch's presence), flutters on the roof. INT. BUCKINGHAM PALACE - CHINESE ROOM DAY We're in a state room at Buckingham Palace. A TV plays in the corner.. COMMENTARY ..here's Tony Blair, just 43 years old, arriving at the polling station of his constituency in Sedgefield.." QUEEN ELIZABETH II, wearing formal robes of the Garter, is posing for an official portrait by an elderly black PORTRAIT ARTIST, (representative, one assumes, of one of the many Charities of which she is patron).. ELIZABETH Have you voted yet, Mr Crawford? ARTIST (proudly dabbing palette) Yes, Ma'am. I was there when they opened. First in line. Seven o'clock. COMMENTARY If he wins, he'll be the youngest Prime Minister in almost two hundred years.." He straightens.. ARTIST And I don't mind telling you, it wasn't for Mr Blair. ELIZABETH Not a moderniser, then? ARTIST Certainly not. We're in danger of losing too much that's good about this country as it is. TV COMMENTARY "The only questions that still remain: how big will his landslide be? And how extensive, how sweeping will the modernisation programme be that he ushers in?" ELIZABETH Hmm. The QUEEN watches as he paints.. ELIZABETH I rather envy you being able to vote. (a beat) Not the actual ticking of the box, although, I suppose, it would be nice to experience that ONCE. (a beat) But the sheer joy of being partial. ARTIST Yes.. The ARTIST squints as he scrutinises the canvass.. ARTIST One forgets that as Sovereign, you are not entitled to vote. ELIZABETH No. ARTIST Still, you won't catch me feeling sorry for you. You might not be allowed to vote, Ma'am.. (a beat) But it IS your Government. ELIZABETH Yes. The QUEEN raises her eyebrow.. ELIZABETH I suppose that is some consolation. FADE TO BLACK: 3. INT. BUCKINGHAM PALACE - QUEEN'S BEDROOM - DAY The QUEEN's face. Fast asleep. It's shortly before 8.00 am. Daylight filters through the curtains. As does something else.. The stirring sound of bagpipes.. EXT. BUCKINGHAM PALACE - INNER COURTYARD - DAY The inner courtyard of Buckingham Palace. In a ritual unchanged since Queen Victoria, a uniformed PIPER, wearing a kilt of Ancient Hunting Stuart tartan, marches under her Majesty's windows, playing the bagpipes. t's her morning alarm call, and it's the way she wakes up wherever she is - anywhere in the world. INT. BUCKINGHAM PALACE - QUEEN'S BEDROOM - DAY Darkness. A soft knock at the door. (The strains of bagpipes can still be heard from below). Her Majesty's DRESSER sticks her head round the corner, with a calling tray of Earl Grey tea and the newspapers. MAID G'morning, Ma'am. The DRESSER puts the tea and newspapers on a bedside table. DRESSER Shall I draw the curtains? The QUEEN's sleepy voice answers..`Please'. The DRESSER goes to the window. ELIZABETH (O.S) Did you stay up? DRESSER Yes, Ma'am. ELIZABETH (O.S) And? Was it as expected..? The QUEEN's hand reaches for spectacles, then for the newspapers. She puts on her glasses. RESSER Yes, Ma'am. Mr Blair, by a landslide. The QUEEN's expression changes.. 4. ELIZABETH I see. She lifts the newspaper up. The front page comes into sharp focus. FULL FRAME: the beaming smile of TONY BLAIR, the new Prime Minister. The QUEEN stares back. Their eyes meet - as it were. Headlines tell us.. "IT'S BLAIR!", "LANDSLIDE VICTORY FOR BLAIR". INT. BUCKINGHAM PALACE - BREAKFAST ROOM - DAY The QUEEN sits at breakfast. Reading the newspapers. Dogs under the table. A knock on the door, and ROBIN JANVRIN, (40's), her deputy Private Secretary, pops around.. JANVRIN The Prime Minister is on his way, Ma'am. ELIZABETH To BE, Robin. (correcting, terse) Prime Minister to BE. The QUEEN frostily flicks a page, without looking up.. ELIZABETH (cont'd) He hasn't asked my permission yet. INT. BUCKINGHAM PALACE - CORRIDOR - DAY The QUEEN and JANVRIN walk through a corridor of the Palace. It has the air of a grand hotel. Chintz. Flock. Long, gilded mirrors. Portraits on the walls.. ELIZABETH He's a hard one to read, isn't he? JANVRIN Yes. On the one hand his background is quite establishment. Father a Conservative. A public school education at Fettes, where he was tutored by the same man as the Prince of Wales. ELIZABETH Well, we'll try not to hold that against him. 5. JANVRIN On the other, his manifesto promises the most radical modernisation and shake-up of the Constitution in three hundred years. ELIZABETH Oh. Is he going to `modernise' us, do you think? JANVRIN I wouldn't put it past him. He's married to a woman with known anti- Monarchist sympathies - you may remember her curtsey the first time you met. It could best be described as `shallow'. ELIZABETH I don't measure the depth of a curtsey, Robin. I leave that to my sister. JANVRIN And I spoke to the Cabinet Secretary who said he was expecting the atmosphere at Downing Street to be very informal. Everyone on first name terms. (a beat) At the Prime Minister's insistence. ELIZABETH What? As in `Call me Tony?' JANVRIN Yes. The QUEEN's face puckers in distaste.. ELIZABETH Oh. I'm not sure I like the sound of that. (a beat) Have we sent him a protocol sheet? EXT. MALL - DAY ARCHIVE FOOTAGE: as TONY BLAIR's motorcade drives down the MALL. EXT. BUCKINGHAM PALACE - DAY The motorcade sweeps into the grand, inner quadrangle of Buckingham Palace, and stops at the King's door. 6. INT. CAR - DAY Three secret service BODYGUARDS leap out and open the car doors. TONY looks out at the palace.. TONY Funny, I'm actually rather nervous. HERIE hy? You've met her often enough before. TONY I know. But never one to one. And never as Prime Minister. CHERIE Remember, you're a man that's just been elected by the whole country. T TONY Yes. But she's still, y'know.. TONY looks up at the vast palace in front of him.. TONY The Queen. INT. BUCKINGHAM PALACE - CORRIDOR/STAIRCASE - DAY A uniformed EQUERRY leads TONY and CHERIE through corridors, and up a grand staircase.. EQUERRY When we reach the audience room, I will knock. We will not wait to be called, we will go straight inside. Standing by the door, we bow. From the neck. I will introduce you. The Queen will extend her hand, you go to her, bow again, then shake her hand. TONY shoots his cuffs, `Right', clears his throat. QUERRY (cont'd) Couple of other things. It's `Ma'am' as in ham, not Ma'am as in farm. TONY Yes.. EQUERRY And when you're in the Presence, at no point must you show your back. 7. TONY The `Presence'? EQUERRY Yes, Sir. That's what it's called, when you're in her Majesty's company. TONY turns, shoots a look at CHERIE, who sticks her fingers down her throat. TONY smiles back.. The EQUERRY reaches a grand door, and knocks gently. Without waiting for a reply, he enters.. CHERIE is left in the corridor. Alone. She stares at a liveried FOOTMAN. He stares back. No life behind his eyes. CHERIE takes a seat on a chair. Eyes widen to herself. INT. BUCKINGHAM PALACE - AUDIENCE ROOM - DAY TONY and the EQUERRY enter, and gently bow their heads. The EQUERRY then straightens, and announces.. EQUERRY Mr Blair, your Majesty. The QUEEN extends her hand. TONY walks forward, and shakes it. The EQUERRY leaves. The door is then closed. ELIZABETH ongratulations. TONY Thank you, Ma'am. ELIZABETH Your children must be very proud. TONY I hope so. ELIZABETH You've three, haven't you? TONY That's right. ELIZABETH How lovely. Such a blessing. Children. The QUEEN and TONY take their seats.. ELIZABETH So..Have we shown you how to start a nuclear war yet? 8. TONY (thrown) No. ELIZABETH First thing we do, I believe. a beat) Then we take your passport and spend the rest of the time sending you around the world. TONY You obviously know my job better than I do. ELIZABETH Well, you are my tenth Prime Minister, Mr Blair. I'd like to think there weren't too many surprises left. My first was Winston Churchill. He sat in your chair, in frock coat and top hat, and was kind enough to give a shy T young girl like me quite an education. TONY I can imagine. ELIZABETH ith time, one has hopefully added experience to that education, and a little wisdom - better enabling us to execute our constitutional responsibility. (a pointed addition) To advise, guide and warn the government of the day. TONY Advice which I look forward to receiving. ELIZABETH ell, we will save that for our weekly meetings. a beat) Now, if there's nothing else, I believe we have some business to attend to.. TONY stares, then clicks.. TONY Of course.. He falls, rather extravagantly, on bended knee. The supplicant position of deference... 9. TONY Your Majesty, the country has spoken...and I come now to ask your permiss.. E ELIZABETH (interjecting) No, no, no. It's usual for ME to ask the questions. TONY winces. Wishes the ground would swallow him up. ELIZABETH Mr Blair, the people have elected you to be their leader. And so the duty falls on me, as your Sovereign, to ask you to become Prime Minister, and form a government in my name. TONY stares. Lost for words. Then.. ELIZABETH Generally, this is where you say `yes.' TONY `Yes'. The QUEEN extends her hand, which TONY kisses. She withdraws it again - quite sharply, then DISCREETLY PRESSES A BUZZER by her chair indicating the ceremony is over. The EQUERRY opens a door, and CHERIE is invited inside. ELIZABETH (cont'd) How nice to see you again, Mrs Blair. HERIE curtseys awkwardly, reluctantly, shallowly.. ELIZABETH (cont'd) You must be very proud. HERIE Yes. ELIZABETH And exhausted, I imagine. Where will you be spending the summer? CHERIE France. ELIZABETH How lovely. TONY ou'll be in Balmoral, I expect. 10. ELIZABETH Yes, I can hardly wait. Wonderful place. The QUEEN indicates a portrait of QUEEN VICTORIA.. ELIZABETH My great, great grandmother said of it - "In Balmoral all seems to breathe freedom and peace and to make one forget the world and its sad turmoils." t that moment, the doors open, and JANVRIN enters, and whispers urgently in the QUEEN's ear. The QUEEN's face changes as she listens. ELIZABETH (cont'd) Really..? Her expression changes. She frostily turns to the BLAIRS.. ELIZABETH (cont'd) I'm afraid we're going to have to leave it there. With that the QUEEN shakes TONY's hand. TONY and CHERIE awkwardly back out of the royal presence, leaving The QUEEN and JANVRIN. ELIZABETH Not too short, was it? I gave him fifteen minutes. (a beat) One doesn't want to be rude. INT. BUCKINGHAM PALACE - CORRIDOR - DAY TONY and CHERIE walk down a corridor. CHERIE whispers under her breath.. CHERIE (mimics QUEEN's manner) "Thank you so much for coming. Now bugger off." TONY I know. What was all that about? CHERIE Diana. Apparently she's got a new boyfriend. 11. ARCHIVE TELEVISION NEWS FOOTAGE Of PRINCESS DIANA walking hand in hand with a dark-haired MAN in his late thirties.. CNN NEWSREADER Dodi Al-Fayed is the son of Egyptian millionaire Mohammed Al-Fayed, a man whom the English establishment has repeatedly denied a British passport.. TELEVISION NEWS FOOTAGE DIANA and DODI kissing and canoodling on board the yacht `Jonikal'.. GERMAN NEWSREADER The Princess and Mr Fayed were hugging and kissing in full view of the world's press yesterday.. ELEVISION NEWS FOOTAGE DIANA and DODI on the yacht on their last holiday together.. FRENCH NEWSREADER ..the couple then left for Paris. At one point, the Princess told gathered reporters to watch out. Her next move would really surprise them... CUT TO: EXT. RITZ HOTEL - NIGHT PAPARAZZI are assembled outside the hotel. A few SPECTATORS too. CAPTION: "RITZ HOTEL, PARIS. 31 AUGUST, 1997". Various NEWS REPORTERS are also broadcasting... RENCH REPORTER (in French) ..the Princess of Wales and Dodi Fayed returned to Paris earlier today.. ERMAN REPORTER ..where they visited a local jewellery shop where unconfirmed reports suggested Mr Fayed had been looking at engagement rings.. 12. INT. RITZ HOTEL - NIGHT CCTV FOOTAGE: the unmistakable blonde hair of the PRINCESS of WALES as she enters the Ritz Hotel through revolving doors. AXT. RITZ HOTEL - NIGHT German REPORTER continues.. GERMAN REPORTER (in German) ...they have now been inside the hotel for more than two hours. We believe they have been dining in a suite on the fifth floor.. Presently a ripple of activity: DOORMEN furtively speak into walkie-talkies. Growing anticipation in the CROWD.. An AMERICAN REPORTER turns to his camera.. AMERICAN REPORTER We've just been told the Princess is about to come out of the hotel.. PAPARAZZI jostle roughly for position, and raise their cameras as the doors open, and a BLACK MERCEDES slides into position. INT. RITZ HOTEL - SAME TIME Elsewhere in the hotel.. The real DIANA, her BODYGUARD, DODI FAYED, and HENRI PAUL leave the public part of the hotel, and walk down a flight of stairs.. EXT. RITZ HOTEL - FRONT ENTRANCE - NIGHT Pandemonium breaks out as BODYGUARDS emerge from the hotel. Engines roar into life of the decoy black Mercedes. Doors slam. The CROWD surges. An explosion of flashlights. Tyres burn. The squeal of rubber as the MERCEDES pulls off. Swarms of PAPARAZZI give chase, kick-starting their motorcycles, speaking into cell-phones to their COLLEAGUES.. 13. INT. RITZ HOTEL - SAME TIME The real ROYAL PARTY, meanwhile, walks briskly through an underground corridor which leads to the back door of the hotel.. EXT. RITZ HOTEL - BACK EXIT - SAME TIME PAPARAZZI who were waiting at the back exit, speak to their COLLEAGUES on their cell phones, and are about to jump on their motorcycles to join them in the chase, when suddenly.. HENRI PAUL, PRINCESS DIANA, her BODYGUARD and DODI FAYED emerge from a door, and climb into a waiting Mercedes. HENRI PAUL turns to the PAPARAZZI.. PAUL (in French, we see sub- titles) Don't bother following. You won't catch us. The engine starts with a roar. The PAPARAZZI double-take, and frantically shout into their phones to their COLLEAGUES. `Wait! They've come out at the back.' EXT/INT. MERCEDES LIMOUSINE - NIGHT The Mercedes pulls up at a traffic light. ALL AROUND THEM: the glare of Paparazzi motorcycles and camera flashbulbs around the car. The Paparazzi call out in French and Italian. They thump the window. It's terrifying. An explosion of flashing lights. Popping flashbulbs. The traffic light turns amber. DODI barks at the DRIVER.. The DRIVER, a short squat man in glasses, (we do not see his face), slams his foot down. EXT. EXPRESSWAY - NIGHT The car roars ahead, then speeds down into a tunnel, followed by the PAPARAZZI MOTORCYCLES. FADE TO BLACK: EXT. BALMORAL CASTLE - NIGHT The Scottish Highlands. To establish. 14. The silhouette of a magnificent ten year old STAG stands on a rock, and roars into the night. INT. CRAIGOWEN LODGE - NIGHT `RRRRrrrinnnnggg', the phone rings.. A SILHOUETTE fumbles for a light switch, and hits the light. We immediately recognise the face. It's JANVRIN, the Queen's deputy Private Secretary. JANVRIN (into PHONE) Robin Janvrin. He listens, then his expression changes. ANVRIN (cont'd) What? He checks the clock on the bedside table, waking rapidly now. Deadly serious.. ANVRIN (cont'd) Right. I see. JANVRIN hangs up. Then urgently dials a number on the telephone.. INT. CRAIGOWEN LODGE - NIGHT JANVRIN (cont'd) I'm going to need to speak to her Majesty. Right away. EXT. BALMORAL ESTATE - NIGHT till pulling on clothes, JANVRIN rushes on foot towards the big house in the distance. Lights go on all over the darkened castle. NT. BALMORAL - STAIRCASE. NIGHT ANVRIN and a middle-aged DRESSER, (half-asleep and still rearranging her uniform), walk urgently up the stairs towards the second floor corridor where the QUEEN's bedroom is located. They pass a PAGE on the way down.. JANVRIN Tell Sir Guy I'd like everyone in. As soon as possible. The PAGE nods. Departs. 15. INT. QUEEN'S BEDCHAMBER - NIGHT A knock on the door. The door opens, and the DRESSER's voice gently calls out.. DRESSER Ma'am? he QUEEN stirs in her bed.. DRESSER Mr Janvrin is here to see you.. ELIZABETH Oh.. The QUEEN turns on the light. The DUKE of EDINBURGH flinches in irritation, scrunching his eyes as they are blinded.. PRINCE PHILIP What the..? INT. BALMORAL - CORRIDOR - NIGHT he QUEEN emerges from her bedroom wearing an old-fashioned dressing-gown, and clutching a hottie, (a velour-covered Cosimax hot water bottle), to find ROBIN JANVRIN waiting.. JANVRIN Good evening, Ma'am. I'm sorry to disturb.. He clears his throat.. JANVRIN I 've just had a call from our Embassy in Paris. It's...the Princess of Wales. PRINCE PHILIP appears in the doorway. Irritable. PRINCE PHILIP Why? What's she done now? INT. MYROBELLA - TRIMDON - TONY'S BEDROOM - NIGHT "Rrrrrinng", the phone rings. We're in TONY BLAIR's constituency house in Trimdon, near Durham in northern England. Click', TONY, in T-shirt, turns on the light. His face is creased with sleep. He blinks.. 16. TONY What? How badly? The figure of CHERIE stirs in the bed. Groans. TONY listens to the voice at the other end.. TONY I see. Who are we speaking to there? TONY Right. shell-shocked) Keep me posted. TONY hangs up. CHERIE turns.. TONY It's Diana. She's been in a car accident. In Paris. CHERIE Is it serious? TONY Apparently Dodi Fayed is dead. CHERIE What? CHERIE's face. Visibly shocked. TONY has switched on the TV in the bedroom. NEWSREADER Let's just re-cap on what's happened. INT. BALMORAL - SITTING ROOM - NIGHT he QUEEN is sitting with the DUKE OF EDINBURGH. PRINCE PHILIP What was she doing in Paris? ELIZABETH ou know what she's like. The QUEEN flicks channels, peering over her glasses, trying to catch the latest news on the television.. At that moment CHARLES enters the room. His face ravaged with concern. It's the first time the QUEEN has seen him since news of the crisis.. 17. ELIZABETH It's quite awful... (wants to console CHARLES but finds it easier to say..) What are you going to do about the boys? An awkward moment. Stifled.. CHARLES Let them sleep until we know more. ELIZABETH Yes that's sensible. CHARLES I should go to Paris. I told my people to start organising a jet. ELIZABETH What? A private one? HARLES Yes. ELIZABETH Isn't that precisely the sort of extravagance they attack us for? CHARLES ell, how else am I going to get to Paris at this time of night? The airport at Aberdeen will be closed. Presently, a voice from behind.. QUEEN MOTHER You can use the Royal Flight. They keep one of the planes on permanent stand-by. deadpans) In case I kick the bucket. ELIZABETH Out of the question. It's not a matter of State. HARLES What are you talking about? ELIZABETH Diana is no longer an HRH, nor a member of the Royal Family. This is a private matter. 18. CHARLES She's mother to your grandchildren. The QUEEN MOTHER sits on the sofa next to PRINCE PHILIP.. QUEEN MOTHER That's the latest? PRINCE PHILIP I don't know. I can't hear.. (indicates TELEVISION) Everyone's shouting! CHARLES stares in disbelief. Exits the room.. INT. BALMORAL - JANVRIN'S OFFICE - NIGHT television plays in the corner.. TELEVISION ..behind me, is the tunnel of the Pont de l'Alma, which you reach by the expressway along the Seine. It was along here that the Mercedes carrying the Princess.. ANVRIN's SECRETARY hands over the phone.. SECRETARY The Ambassador, in Paris. JANVRIN Good evening, Sir. JANVRIN listens to what the person is saying at the other end. His expression changes.. JANVRIN Right. ashen-faced) I see. NT. BALMORAL - 1ST FLOOR CORRIDOR - NIGHT An ashen-faced JANVRIN walks along the corridor, reaches the room where the ROYAL FAMILY is watching television. e clears his throat, knocks on the door.. INT. BALMORAL - LARGE SITTING-ROOM - NIGHT JANVRIN enters. 19. JANVRIN I've just spoken to our Ambassador in Paris, Ma'am. ll heads turn to face him.. JANVRIN (cont'd) I'm afraid it's not good news. INT. BALMORAL - CHARLES'S STUDY - SAME TIME (AYRSHIRE) PRINCE CHARLES's face: he lets out a strangled cry, as he hears the news.. CHARLES No! CHARLES roars in pain and disbelief. His knuckles whiten.. CHARLES No, no, no, no..! In the doorway: STEPHEN LAMPORT, who has delivered the news, can hardly bear to watch.. INT. BALMORAL - LARGE SITTING-ROOM - NIGHT ON TV: struggling in vain to hold onto his composure, a BRITISH NEWSREADER relays the news, visibly in shock.. NEWSREADER We have just had confirmation, that ( Diana, Princess of Wales.. voice cracks) ..has died in Paris. ELIZABETH, PRINCE PHILIP and THE QUEEN MOTHER all stare. A tableau of shock. CNN ANCHOR breaks the news to a worldwide audience.. CNN ANCHOR "I'm afraid we have some bad news to report.." INT. MYROBELLA - NIGHT The CNN ANCHOR continues on TV. NN ANCHOR "Diana, Princess of Wales, is dead." TONY BLAIR is watching on TV, sitting downstairs, having thrown on some clothes. He speaks on the phone.. 20. TONY What have I got on this week? INT. DOWNING STREET - SAME TIME ALASTAIR CAMPBELL, Press Secretary to TONY BLAIR, is dressed and already in Downing Street. Also watching television. (WE INTERCUT BETWEEN THE TWO LOCATIONS AS NECESSARY). ALASTAIR You're writing your maiden Conference speech as Prime Minister. TONY Well, let's cancel everything else. This is going to be massive. a beat) I'd better make a statement in the morning. ALASTAIR You'll be pleased to know I've already started coming up with ideas. n CAMPBELL's knee, a pad of paper. We pick out the words, "People's Princess." T TONY God, she's only been dead an hour! ALASTAIR Would you prefer I didn't do my job? INT. BALMORAL - CHILDREN'S CORRIDOR - NIGHT he QUEEN's FACE in close-up. Her eyes flicker as she watches something intently. e REVERSE ANGLE to see: a half-open door. SILHOUETTES inside. The sound of male voices. Whispering. Speaking softly. It's the moment the BOYS are being told. We make out the SILHOUETTES hugging. The sound of tears. Soft voices. CHARLES repeatedly kissing his SONS. ur CAMERA stays on the QUEEN's FACE. A distant flicker of pain at the unrestrained intimacy and affection between them. Presently, the door opens, and a red-eyed PRINCE CHARLES emerges. C 21. CHARLES They're going to go back to sleep. (clears his throat, speaks with difficulty) Well, try anyway. The QUEEN goes up to CHARLES and stiffly, poignantly, tries to touch him. But cannot. Is unable. She withdraws her hand. CHARLES (reading the message) My Private Secretary's office has found a travel agency open in New York that will sell me a flight to Paris with an hour's stop over in Manchester. CHARLES contains himself with difficulty.. CHARLES Perhaps now you might consider whether it's still an extravagance to bring back the mother of the future King of England in one of our planes? ELIZABETH (after a long pause) All right. HARLES's eyes burn. He turns, and walks out. The QUEEN is left alone. She stares for a moment, then leaves, passing a FOOTMAN. ELIZABETH (to FOOTMAN) I don't want the boys to see the news and get upset. First thing tomorrow morning, I want the radio taken out of their bedroom, and the television taken out of the nursery. The FOOTMAN bows.. INT. BALMORAL CASTLE - QUEEN'S BEDCHAMBER - VERY EARLY DAWN The QUEEN sits in bed, writing her diary, in a bedchamber where the decor is unchanged in a hundred years.. O utside, the sound of bird-song. The first rays of light. The DUKE OF EDINBURGH sticks his head around the corner. He looks at the QUEEN.. PRINCE PHILIP Well, well, well. 22. ELIZABETH Ye-es. PRINCE PHILIP Are you all right? A silence. PRINCE PHILIP (cont'd) Your sister called about an hour ago. From Tuscany. ELIZABETH hope you told her to come back? Cut the holiday short? PRINCE PHILIP I did. ELIZABETH raises her eyebrow.. ELIZABETH an't imagine she was pleased. PRINCE PHILIP That's putting it mildly. ELIZABETH What did she say? PHILIP smiles to himself recalling MARGARET's words.. PRINCE PHILIP Something about Diana managing to be even more annoying dead than alive. The QUEEN looks up.. ELIZABETH Just make sure the boys never hear you talk like that. PRINCE PHILIP Of course. PHILIP produces a bottle of pills from his dressing-gown pocket, and shakes them.. PRINCE PHILIP (cont'd) Something to help you go down? ELIZABETH No. I'm going to do my diary a little longer. PRINCE PHILIP Fine. I'll sleep next door. 23. PHILIP touches her on the shoulder. But she doesn't reciprocate. He goes. The QUEEN appears to continue writing, but our CAMERA slowly turns to reveal her PEN is not moving. Nor writing. She's staring in thought. AXT. MYROBELLA - DAY Victorian, red-brick house. In the driveway, the incongruous mix of a grey Renault Espace people-carrier and two POLICE VEHICLES. In the modest garden: two ARMED POLICE OFFICERS are playing football with three young CHILDREN.. INT. TRIMDON - BLAIR KITCHEN - DAY Inside the plain, unfashionably decorated house.. The TV plays in the corner of the kitchen. CHERIE BLAIR, visibly upset, watches TV while cooking breakfast. TONY is not wearing his Newcastle shirt. TONY is reading out his statement which is written on a pad of paper, filled with crossings-out.. TONY "..that's how she will remain. In our minds, our hearts, forever." (looks up) OK, got it. INT. DOWNING STREET - SAME TIME. ALASTAIR CAMPBELL is in Downing Street, sits in an office, feet on a desk, staring at the TV.. ALASTAIR Where will you do it? TONY I thought at church. On the way in. ON TV: breaking news: Diana's brother, EARL SPENCER, makes a statement from the gates outside his house in South Africa.. S PENCER (ON TV) ...this is not a time for recriminations, however I would say that I always believed that the press would kill her in the end. (MORE) 24. SPENCER(cont'd) But even I could not imagine that they would take such a direct hand in her death as seems to be the case. It would appear that every proprietor and editor of every publication that has paid for intrusive and exploitative photographs of her has blood on his hands today... ALASTAIR Not the press, mate. You've got the wrong villain. An AIDE appears in the doorway, catches TONY's eye, and indicates her watch.. TONY I've got to go. ALASTAIR You about to speak to the Queen? TONY Yes. ALASTAIR shoots a mischievous look.. ALASTAIR Ask her if SHE greased the brakes. TONY Now, now.. TONY hangs up, crosses to the study, making sure the doors are shut so he won't be disturbed. We notice his shirt has no. 10 on the back, under the name, `BLAIR'. NT. BALMORAL - DINING ROOM - DAY he QUEEN, PRINCE PHILIP and the QUEEN MOTHER sit in silence at the table, eating breakfast, stoically listening to radio coverage, soberly flicking through newspapers.. The QUEEN is the only one who is fully dressed, (the others in bathrobes), and she wears black. She is reading "The Sunday Times". All around them the QUEEN's (elderly) MAIDS perform the choreography of service as the radio coverage continues. One MAID pours tea. Another brings fresh toast. Also present is the rather smarter VALET and MAID belonging to the PRINCE of WALES, and his separate HOUSEHOLD. They have a separate, (and more stylish), uniform of their own. T hey set CHARLES's place and his breakfast, (nuts, grains, healthy food). T 25. A flamboyant napkin is folded into an elaborate fleur-du-lis, (traditional symbol of the PRINCE OF WALES). The QUEEN turns to Charles's VALET.. A knock on the door, JANVRIN enters, and bows in respect to the QUEEN.. JANVRIN I'm sorry to disturb, Ma'am, but I've the Prime Minister, for you. From his constituency. QUEEN MOTHER (privately rolls eyes, without looking up from newspaper) Lucky you. ELIZABETH Thank you, Robin. I'll take it next door. T he QUEEN gets to her feet and walks out into.. INT. BALMORAL - FIRST FLOOR CORRIDOR - DAY The first-floor corridor. STAFF flatten themselves against the wall, averting their eyes as.. The QUEEN unexpectedly comes out of the dining-room, walks along the corridor, and disappears into.. INT. BALMORAL - QUEEN'S STUDY - DAY The QUEEN's study. High ceilings, portraits, stag's antlers on the wall. The QUEEN picks up the phone.. ELIZABETH (cont'd) Good morning, Prime Minister. INT. TRIMDON - BLAIR'S STUDY - DAY The contrast in surroundings could hardly be greater. TONY sitting in a cramped room, surrounded by toys, in track suit, in a working-class house.. TONY Good morning, your Majesty. May I say right away how very sorry I am - and that the thoughts and prayers of my family are with you at this terrible time and with the two princes in particular. 26. ELIZABETH Thank you. HERIE appears in the doorway. TONY Is it your intention to make some kind of appearance. Or statement? ELIZABETH Certainly not. INT. BALMORAL - QUEEN'S STUDY - DAY The QUEEN's face, bristling at the suggestion. (WE INTERCUT AS NECESSARY).. ELIZABETH No member of the Royal family will speak publicly about this. It is a private matter and we would all appreciate it if it could be respected as such. TONY I see. TONY straightens, taken aback.. TONY I don't suppose anyone has had time to think about the funeral yet? ELIZABETH We've spoken to the Spencer family, and it's their wish.. (a beat) ..their express wish, that it should be a private funeral. With a memorial service to follow in a month, or so. TONY Right. TONY shoots a look at CHERIE.. ELIZABETH Given that Diana was no longer a member of the Royal Family we have no choice but to respect their wishes. TONY I see. TONY shoots a look at CHERIE.. 27. TONY You don't feel that in view of her high profile and popularity.. ( choosing his words carefully) ...it might be an idea to pay tribute to her life and achievements? (a beat) Or even just to her as a mother? The QUEEN's face freezes over. ELIZABETH As I said. That's the Spencers' wish. TONY (cont'd) And the public, Ma'am? The British People? TONY hesitates.. TONY You don't think a private funeral would be denying them a chance.. ELIZABETH hance to what..? TONY To share in the grief? The QUEEN's face: did she hear right? ELIZABETH It's a family funeral, Mr. Blair. Not a fairground attraction. (a beat) I think the Princess has already paid a high enough price for exposure to the press, don't you? PRINCE PHILIP enters, dressed and ready for church. He indicates his watch.. ELIZABETH (cont'd) Now, if there is nothing else I must get on. The children have to be looked after. TONY Of course. `Click', the QUEEN hangs up. TONY stares at the receiver. TONY (cont'd) Good bye, Your Majesty. 28. He puts down the phone... TONY Her instinct is to do nothing. Say nothing. And give her a private funeral. CHERIE Are you surprised? She hated her guts. TONY Well, I think it's a mistake. TONY's face becomes dark.. TONY They screwed up her life. Let's hope they don't screw up her death. INT. SALOON/HALL - BALMORAL - DAY veryone is getting ready to go to church. The QUEEN and QUEEN MOTHER are putting on their hats. PRINCE PHILIP, in full Highland regalia and black tie, helps both LADIES into their long coats... ELIZABETH The Chaplain called. Wanted to know whether he should make any changes to the service or make special mention of Diana. PRINCE PHILIP What did you say? ELIZABETH I told him he shouldn't change a thing. UEEN MOTHER Q uite right. ELIZABETH I think the less fuss one makes, or draws attention to it, the better. she lowers her voice, as the PRINCES approach from the saloon with CHARLES) For the boys. QUEEN MOTHER Yes. ELIZABETH And we should probably arrange some company for them. Some young people. 29. PRINCE PHILIP I'll take them for a long walk this afternoon. Up Craggy Head. ELIZABETH Good. They'd like that. RINCE PHILIP opens the doors.. ELIZABETH (cont'd) But no guns. It's Sunday. They walk off to the waiting CARS.. INT. DOWNING STREET - SAME TIME Offices BUSY FOR SUNDAY. Bustling AIDES and SECRETARIES. The engine room of Government. An AIDE sticks his head round a door, and calls down the corridor to... AIDE Alastair? He's on.. CAMPBELL turns, and excuses himself from his conversation, walks back down the corridor.. INT. OFFICE - DAY ALASTAIR enters a press `monitoring' room, where several televisions are playing. One or two AIDES are busy working.. ON TV: TONY, wearing a dark suit, and tie, takes his position in front of the statue of the Virgin Mary, in front of the cameras. EXT. TRIMDON CHURCH - DAY TONY steps closer to the microphones, then.. TONY e are today a nation in a state of shock, in mourning, in grief that is so deeply painful to us. People everywhere, not just here in Britain, kept faith with Princess Diana.. INT. BALMORAL CASTLE - DAY JANVRIN watches the broadcast on television, surrounded by several MEMBERS OF STAFF - MAIDS, COOKS, VALETS, FOOTMEN, all craning their necks, watching the television in the Private Secretary's room.. 30. Our camera stays on JANVRIN's face, as TONY's speech continues.. TONY (ON TV) They liked her, they loved her, they regarded her as one of the people. She was the people's princess, and that is how she will stay, how she will remain in our hearts and memories forever.." J ANVRIN's eyes roll privately.. JANVRIN A bit over the top, don't you think? JANVRIN turns, fully expecting everyone to agree.. But instead all the STAFF MEMBERS behind him have tears rolling down their cheeks.. EXT. HOSPITAL - PARIS - DAY Archive Footage. CHARLES's motorcade pulls up outside the hospital in Paris. Doors open. PRINCE CHARLES gets out.. INT. HOSPITAL - CORRIDOR - PARIS - DAY Shooting through the half-open door: we watch as the PRINCE of WALES disappears into the room. In the far corner, an open coffin. HARLES is visibly distressed. We hear the PRIEST's voice as he begins to pray.. PRIEST Notre Pere qui es aux cieux, Que ton nom soit sanctifie, Que ton regne vienne, Que ta volonte soit faite, S ur la terre comme au ciel.. In the corridor: hospital OFFICIALS quietly close the door in respect. TELEVISION NEWS FOOTAGE PRESIDENT BILL CLINTON, fighting emotion, speaking from the White House lawn.. 31. CLINTON (ON TV) I'll always be glad I knew the Princess, and hope everyone will support her two fine sons and help them have the life and the future she would want.. PRESIDENT NELSON MANDELA - speaking from Cape Town.. MANDELA (ON TV) I had the honour of hosting her a few months ago when she visited our country, and I was tremendously impressed by her.. The sound of a NEWSREADER's voice.. NEWSREADER (V.O.) In cities all around the world, shrines have been created, in a spontaneous, worldwide outpouring of grief. mages of NEW YORKERS laying flowers outside the British Embassy, AUSTRALIANS doing the same in Sydney, PAKISTANIS in Karachi.. NT. CAR - DAY TONY BLAIR is in a car on his way back down to London. The phone rings. He is travelling with an AIDE, who answers the phone, listens, then hands it to TONY.. IDE Lord Airlie. A TONY shoots a look, `Who?' The AIDE covers the phone.. IDE The Lord Chamberlain. In charge of the funeral. You're meeting him at the airport. TONY nods. Takes the phone. TONY Lord Airlie. INT. CAR - SAME TIME A rather formidable, handsome, aristocratic man with a military bearing, is driven in a car, speaking into a mobile phone.. 32. AIRLIE (brisk, military) Prime Minister. I'm responsible for organising all royal ceremonial events... (a beat) And there's simply no precedent for the funeral of an ex-HRH. INT. CAR - SAME TIME TONY privately rolls his eyes at the ridiculous upper-class pronunciation.. TONY Then perhaps we should plan for any contingency. ORD AIRLIE Yes. I've arranged a meeting tomorrow morning at 10.00 at Buckingham Palace. Officials from all three palaces, representatives from the Spencer Family, the emergency services. a beat) Would you send some of your people? TONY Absolutely. Of course. They hang up. TONY (mimicking) `Preeecedent?' TONY rolls his eyes. TONY Where do they find these people? EXT. RAF NORTHOLT - DAY PRINCE CHARLES comes down the steps of his plane. He walks towards the line of OFFICIALS, among them TONY BLAIR who stands next to LORD AIRLIE. TONY and PRINCE CHARLES shake hands.. TONY I'm so sorry, Sir. And if there's anything I or my Government can do... CHARLES appears distracted. Miles away.. 33. CHARLES They stood up as we drove past...in cafes...in restaurants. Removed their hats. This was Paris. One of the busiest cities in the world...and you could hear a pin drop... TONY I imagine it will be the same here. CHARLES Yes...I imagine it will. HARLES looks at TONY.. CHARLES The Palace would still prefer to see it as a private funeral. What are your feelings on that? TONY I... (a diplomatic smile) I think that would present us with difficulties. C HARLES So do I. My mother.. (corrects himself) ...the Queen, comes from a generation not best equipped to... (tailing off) ...she grew up in the war... (a beat) I think what we need, what the COUNTRY needs is to be led by someone.."of today". If you follow? (a beat) Balmoral is.. (he gestures, `another world') TONY I think I understand. CHARLES and TONY shake hands, then the PRINCE moves on... Meanwhile, in the background, DIANA's coffin is taken from the aeroplane by pall-bearers and loaded into a hearse. he coffin is draped in the ROYAL STANDARD.... INT. BALMORAL - LARGE SITTING-ROOM - NIGHT The QUEEN, PRINCE PHILIP and the QUEEN MOTHER watch television. It's the evening news.. 34. ON TV: PRINCE CHARLES is greeted by PRESIDENT CHIRAC on the steps of the hospital. ELIZABETH Have we heard from the Spencers again? Have they made up their minds when the funeral will be? QUEEN MOTHER Not me. No one tells me anything. NEWSREADER (V.O.) The Prince of Wales spent half an hour at the hospital. At 5.06, the party left with Diana's coffin.. PRINCE PHILIP n our walk today, one of the ghillies said he'd seen a large stag up at Craghie Head. a beat) He reckoned fourteen points. QUEEN MOTHER What? Really? We haven't had one that big on this estate in years. PRINCE PHILIP No. Quite. ON TV: CHARLES's plane arrives back in England. EWSREADER (V.O.) Diana's coffin arrived back in London, at RAF Northolt, two hours later.. The QUEEN watches intently as CHARLES is greeted on the runway by TONY BLAIR, and the two men talk. A flicker of suspicion on the QUEEN's face.. PRINCE PHILIP nyway, I thought it might be a good distraction. For the boys. ELIZABETH What? Stalking? The QUEEN looks up.. ELIZABETH (cont'd) Isn't it a bit soon? PRINCE PHILIP I think anything that gets them outside is a good idea. 35. NEWSREADER (V.O.) arlier today, the Prime Minister made a statement from his constituency.. ON TV: TONY making his speech outside the church in Trimdon. We CLOSE on the QUEEN's face as she hears.. TONY (ON TV) "They liked her. They loved her. They regarded her as one of the People. She was the People's Princess, and that is how she will remain in our hearts forever.." The QUEEN watches in disbelief. Her knuckles whiten. ELIZABETH I'm sorry, I can't bear it. gets to her feet) I'm going to bed. The QUEEN walks out. EXT. BUCKINGHAM PALACE - DAY The following morning. A bare flagpole. No flag flying. But the flowers left by mourners outside the palace gates are growing. NT. BUCKINGHAM PALACE - MEETING ROOM - DAY A large ceremonial room. Elaborate chinoiserie. Ming vases. Inside, some thirty or forty OFFICIALS, many uniformed, sit around a table. Among them: the CHIEF CONSTABLE of the METROPOLITAN police, the heads of the FIRE SERVICE and AMBULANCE SERVICE, military OFFICERS, representatives from the three palaces, Kensington Palace, (DIANA's court), St James's Palace, (CHARLES's court) and Buckingham Palace, (the QUEEN's court), representatives from the Intelligence and Police Protection services, experts in protocol, and finally, representatives from the SPENCER FAMILY and Downing Street, (among them ALASTAIR CAMPBELL). L ORD AIRLIE, (whom we met at RAF Northolt), checks the time. It's ten o'clock. He raps on a table, calling the meeting to order.. LORD AIRLIE Right. It's ten o'clock. Let's make a start. Thank you all for coming at such notice. I think we all agree this is an extraordinarily sensitive occasion which presents us with tremendous challenges logistically... (MORE) 36. LORD AIRLIE(cont'd) (a beat) ...constitutionally.. (a beat) ..practically... (a beat) ...diplomatically.. (a beat) ...procedurally... ALASTAIR privately rolls his eyes.. ALASTAIR Oh, Christ.. EXT. DOWNING STREET - DAY 10, Downing Street. A car pulls up. ALASTAIR CAMPBELL gets out. Visibly in a bad mood. INT. DOWNING STREET - DAY TONY BLAIR is in his office, surrounded by his AIDES, working in shirtsleeves. TONY "..after eighteen years of Opposition, of frustration and despair, I am proud, privileged, to stand before you as the new Prime Minister..." IDE Labour Prime Minister.. TONY "I want to set an ambitious course to modernise this country. To breathe new life into our institutions. To make privilege something for the many, not the few. So that we become nothing less than a beacon to the world..." `Thump', the door opens, ALASTAIR CAMPBELL enters, clutching the day's newspapers.. A LASTAIR Bloody hell! You think the Royals are nutters! You should meet their flunkeys! Two and a half-hours on whether she should be carried in a hearse or a gun-carriage. (taps head, "Nuts") Anyway, raves in the press. ALASTAIR dumps the papers on the desk.. 37. ALASTAIR This lot call you "The Nation's Mourner in Chief", this lot say you're "The only person who has correctly judged the mood of the country". Even the "Mail".. (disdainfully holding the paper between finger and thumb) ..was impressed. ALASTAIR drops the papers on TONY's desk. LASTAIR "People's Princess", mate. You owe me. LASTAIR goes. TONY watches, then jumps up, opens the door. His AIDE calls after him, covering the phone.. AIDE Gordon for you. TONY Tell him to hang on. INT. DOWNING STREET - CORRIDOR - DAY TONY follows ALASTAIR out, calls after him.. TONY (cont'd) So it's decided? It's going to be a public funeral. LASTAIR Yes. On Saturday. A whopper. The Abbey. The works. TONY Good. Has anyone told the Queen yet? LASTAIR Dunno. No doubt some flunkey will be despatched. Grovelling on all fours. TONY smiles imagining the prospect, goes back into his office. INT. BALMORAL CASTLE - LARGE SITTING-ROOM - DAY `Knock', a knock on the door, and ROBIN JANVRIN enters carrying a large file. He bows first to the QUEEN.. JANVRIN Good morning, Ma'am. 38. ..then to the QUEEN MOTHER.. J ANVRIN ..Ma'am. The QUEEN looks up.. ELIZABETH What can we do for you, Robin? JANVRIN braces himself. This is not going to be easy... JANVRIN Ma'am, there was a meeting at the Palace this morning. ELIZABETH About the funeral arrangements, yes. JANVRIN The Lord Chamberlain faxed over these plans for you to consider. JANVRIN puts a large file on her desk.. JANVRIN There is now general agreement, Ma'am, that a public funeral would be more appropriate. ELIZABETH I see. he QUEEN perceptibly bristles.. ELIZABETH nd what form will it take? JANVRIN At the moment, they're suggesting.. (clears throat) And of course these are early days.. JANVRIN braces himself. Shoots a nervous look at the QUEEN MOTHER.. JANVRIN (cont'd) ...basing it on Tay Bridge. The QUEEN MOTHER looks up. Horrified. QUEEN MOTHER Tay Bridge..? ELIZABETH What..? 39. A stunned silence.. QUEEN MOTHER B-but that's the code name for my funeral? J ANVRIN ndeed, Ma'am. (a beat) But it would be for practical reasons only. JANVRIN is dying. ANVRIN It's the only one which has been.. (treads delicately) ..`rehearsed'. The only one that could be put together..in time. The QUEEN MOTHER needs to sit down.. QUEEN MOTHER But I supervised those plans myself. JANVRIN Indeed, and the Lord Chamberlain was at pains to stress the spirit of the occasion will be quite different. a beat) For example, in place of four hundred soldiers marching behind the coffin, the suggestion is that four hundred representatives from the Princess's various charities march behind the coffin. ELIZABETH I see.. The QUEEN MOTHER's eyes widen.. JANVRIN And that instead of foreign Heads of State and Crown heads of Europe, the guests would include a sprinkling of actors of stage and screen, fashion designers and other.. (clears throat) ...celebrities.. QUEEN MOTHER Celebrities..? ELIZABETH Oh. 40. The QUEEN looks ashen. The QUEEN MOTHER is pouring herself a drink.. ELIZABETH (cont'd) Wa..was there anything else? JANVRIN o, Ma'am. JANVRIN bows, and leaves. Then stops, remembering.. JANVRIN Oh, yes. One other thing. The Police Commissioner was keen that you consider the idea of a condolence book. (a beat) It would give the growing crowds something to do. Make marshalling them easier. ELIZABETH (distracted) Yes, of course.. ANVRIN reaches the door.. JANVRIN Oh, and the flowers. he QUEEN looks up.. ELIZABETH W hat flowers? JANVRIN (cont'd) The flowers that have been left outside Buckingham palace. Currently they're blocking the path through the main gate, and will make things difficult for the Changing of the Guard. ELIZABETH Fine. Then move them away. ANVRIN flinches slightly in anticipation.. JANVRIN Actually, the Lord Chamberlain was wondering whether we shouldn't leave the flowers, and send the Guards through the North Gate. The QUEEN looks thrown.. 41. ELIZABETH Ye-es. Of course. chastened) Quite right. INT. TONY'S OFFICE - DAY `Rrrrinng', the phone rings. TONY is sitting at his desk with one AIDE. A knock on the door. Another AIDE enters.. AIDE tephen Lamport on one. TONY looks up. Irritated at being disturbed.. TONY Who? AIDE The Prince of Wales's private secretary. In Balmoral. covering phone) He said it was urgent. TONY rolls his eyes, then picks up the phone. TONY ood afternoon. LAMPORT (V.O.) Good afternoon, Prime Minister. S INT. BALMORAL - CHARLES'S STUDY - DAY TEPHEN LAMPORT, Private Secretary to the Prince of Wales, sits at a desk. CHARLES is also present, listening.. LAMPORT The Prince of Wales wanted me to thank you again for your kind words yesterday. TONY Not at all. AMPORT He feels you and he...are modern men...of similar mind... (a beat) ...who could work well together at this difficult time. TONY shoots a quizzical look.. 42. TONY Well, please thank his Highness, and assure him that he can count on my full support. At all times. (a beat) Was that it? LAMPORT Yes. TONY hangs up. He turns to his AIDE.. TONY (cont'd) Bizarre. Why is Charles doing this? AIDE What? TONY Creeping up to me like this. He did it at the airport when he asked me to `deal' with his mother. AIDE #2 ecause he knows that if the Queen continues to get it wrong over Diana, it won't be long before the Royals become public enemy no 1. ( a beat) Terrified of being shot, apparently. TONY Who, Charles? AIDE His people have already been onto us asking for extra protection. IDE #2 He probably thinks if he's seen to be on our side, the Queen will be the one left in the firing line, not him. TONY What? So it's OK for his mother to take the bullet, not him? shakes head) What a family. EXT. BALMORAL CASTLE - COURTYARD - DAY The QUEEN, in tatty old Barbour, head-scarf, Wellington boots, loads Corgis and picnic hampers into the back of an old Land Rover. 43. She climbs into an old, muddy Jeep, and starts the oily, smoky diesel engine. As she begins to drive out, she turns a corner, and passes CHARLES who is climbing into his much smarter, luxury, leather-upholstered jeep.. CHARLES Wait! Where are they? ELIZABETH Up at Craigghead. CHARLES I'll come with you. CHARLES climbs in. The QUEEN notices how extravagantly dressed he is. A kilt and tailored hunting jacket.. CHARLES (cont'd) Want me to drive? ELIZABETH Certainly not. HARLES shudders at the rough interior of the car, the mud- spattered windows, the hard, uncomfortable ride.. CHARLES I thought you were going to get a new E one of these? ELIZABETH What for? It's perfectly all right. The engine splutters as she changes gear. The car lurches forward. INT/EXT. JEEP - BALMORAL ESTATE - DAY he QUEEN drives hard through woods, dust kicking up in the old Land Rover's wake. It's a bone-shaking ride. HARLES stares out of the window, lost in thought.. CHARLES I was thinking last night what Diana might have done had it been me that died in the tunnel in Paris. The QUEEN privately rolls her eyes.. CHARLES She would certainly have taken the boys to Paris. I rather regret not doing that now. 44. ELIZABETH What? And expose them to the media? It would have been a dreadful thing to do. They're much better off here. CHARLES Look, whatever else you may have thought of Diana - she was a wonderful mother. a beat) She adored those boys. And never let them forget it. a beat) Always warm. he QUEEN's hands tighten on the steering wheel.. CHARLES And physical. a beat) Never afraid to show her feelings. ELIZABETH Especially whenever a photographer was in sight. CHARLES Yes, she MAY have encouraged all that, but still.. CHARLES looks out of the window. His eyes mist over.. CHARLES (cont'd) That was always the extraordinary thing about her. Her weaknesses and transgressions only seemed to make the public love her MORE. Yet ours only make them hate us. Why is that? CHARLES looks up.. CHARLES (cont'd) Why do they hate us so much? The QUEEN mutters under her breath... ELIZABETH Not `us', dear. CHARLES (not having heard) What? The QUEEN salutes GAME-KEEPERS who remove their hats as the QUEEN roars past. 45. CHARLES Yesterday, when we drove the coffin back into London, there was a noise. A bang. I don't mind telling you I thought it was a gun. CHARLES's hands wring in anxiety.. CHARLES (cont'd) I thought someone had taken a shot at me. he QUEEN hits the brakes, and pulls up. Visibly irritated by her son's weakness. She opens the door, and steps out.. E ELIZABETH Why don't you go on without me? I'm going to walk back.. CHARLES Are you sure? ELIZABETH Yes. It looks like rain.. (the DOGS jump out) And I'm not in the mood for stalking anyway. CHARLES knows better than to contradict his mother. He gets into the driving seat, puts on the safety belt, and drives off. The Land Rover disappears in a cloud of dust. The QUEEN straightens, then notices her shoe-laces are undone. The DOGS bark excitedly. ELIZABETH Wait! My shoe-lace is undone. You don't want me to trip and hurt myself, do you? a beat) You wouldn't get any proper walks then. The QUEEN blissfully chatters away to the DOGS. So much easier than people... ELIZABETH Right. Done. Now who knows the way home? he DOGS yap excitedly, immediately scamper off in the direction of the castle.. ELIZABETH You clever things! 46. EXT. SCOTTISH HIGHLANDS - DAY HARLES's Land Rover drives up into the hills, into spectacular landscape. A mile or two ahead, above the tree- line, PHILIP, the two PRINCES and STALKERS carrying guns, crawl on their bellies in pursuit of their quarry.. A hundred years ahead of them, the STAG, unaware of the danger, imperiously, grazes on the grass.. DISSOLVE TO: INT. BALMORAL CASTLE - QUEEN'S BEDCHAMBER - NIGHT The QUEEN, granite-faced, still smarting from her row with CHARLES, is in her bedroom. A nightcap martini is on her bedside table. She is writing her diary. PHILIP emerges from the bathroom, appears in the doorway.. ELIZABETH I spoke to Charles this afternoon. flicker of coldness behind her eyes.. ELIZABETH Who was good enough to share with me his views on motherhood. PRINCE PHILIP What did he say? A TV plays in the corner. DIANA, starved thin, panda-eyes, the infamous Martin Bashir `PANORAMA' interview.. ELIZABETH How wonderful Diana was. RINCE PHILIP That's changing his tune. ELIZABETH What a natural. IANA (ON TV) ..I think..they see me as a threat of some kind.. PRINCE PHILIP sees what's on television, then grimaces.. PRINCE PHILIP (puckers face) Oh, for God's sake.. 47. ELIZABETH Maybe he's got a point. Maybe we are partly to blame. PHILIP goes over to the television.. PRINCE PHILIP I can't watch this. ELIZABETH No, wait. Leave it. PHILIP stares at the screen.. DIANA (ON TV) "Every strong woman in history has had to walk down a similar path.." ELIZABETH We encouraged the match. And signed off on it. Both of us. a beat) You were very enthusiastic, remember. RINCE PHILIP She was a nice girl. Then. DIANA (ON TV) "And I think it's this strength that causes the confusion and the fear." PRINCE PHILIP shakes his head.. PRINCE PHILIP And I was sure he'd give the other one up. Or, at least make sure his wife towed the line. (a gesture) Isn't that what everyone does? A flicker behind the QUEEN's eyes. ELIZABETH Is it? Her knuckles momentarily whiten. Unaware, PHILIP stares at the television.. DIANA (ON TV) "Why is she strong? Where is she getting it from? Where is she going to take it? How is she going to use it?" He rolls his eyes in disbelief.. 48. PRINCE PHILIP (cont'd) I can't bear it any more. If you're watching, I'll sleep in here. Early start tomorrow.. (kisses her on the forehead) See you in the morning. PHILIP goes, leaving the QUEEN staring. Still stinging from his remark about adultery. ZAP', she angrily hits the remote. The picture goes black. INT. DOWNING STREET - BLAIR'S HOME - NIGHT TONY BLAIR and CHERIE at home, watching television. It's 10 o'clock. The KIDS are in bed, but their TOYS are still strewn around the sitting-room. TONY is tidying them up into boxes.. ON SCREEN: British historian DAVID STARKEY is lambasting CHARLES. TONY and CHERIE sit on the sofa, watching television, eating pasta on their knees. STARKEY defends the QUEEN. Part of an older generation. She knows no better. CHERIE (cont'd) How much of all this could be the first stirrings of.. TONY W hat? HERIE ..I don't know...something more interesting. Maybe this time people have finally seen them for what they are. TONY Which is? CHERIE A bunch of freeloading, emotionally retarded...nutters. TONY (rolls eyes) That's just absurd. CHERIE Why? They exist in a ludicrous cocoon of privilege and wealth. They don't pay tax. TONY Yes, they do. 49. CHERIE The Queen alone costs us what? Thirty, forty million a year.. TONY reaches the door, and turns.. TONY ot you, too. Look...if you want to have a serious conversation about this.. CHERIE I do.. TONY ..about the Constitution.. CHERIE e don't HAVE one.. TONY ...or about ways in which we as a Government could begin to phase out hereditary privileges, then fine. HERIE (indicating plates) If you're going, take the dishes.. TONY comes back to take the dirty plates.. TONY But spare me the whole.."off with their heads" thing. CHERIE Why? TONY Because it insults your intelligence. CHERIE "The case for reform is simple and obvious. It is in principle wrong and absurd that people should wield power on the basis of birth, not merit or election." (a beat) YOUR words, not mine. TONY is momentarily thrown.. TONY Well, maybe now I've grown up. a beat) It's unimaginable this country being a republic. Certainly in her lifetime. 50. CHERIE Why? TONY Because...no would would wear it. (can't help laughing at the idea) No one WANTS it. (gestures) It's just...daft. TONY heads for the door.. HERIE It's not a mother thing, is it? TONY turns.. CHERIE Think about it. If she were still alive, wouldn't Hazel be exactly the same age? Whenever you talk about your mother, you mention her stoicism. Her frugality. Her sense of duty. The fact she was brought up in the way. Well c'mon..? (a beat) Who does THAT sound like? TONY smiles. TONY I'm going to do the washing-up. F ADE TO BLACK INT. DOWNING STREET - CORRIDOR - DAY ALASTAIR and TONY walk through the labyrinthine corridors and busy offices.. ALASTAIR All right, the good news is that the Palace has agreed to video screens in the Royal Parks. TONY And the bad news? ALASTAIR Crash barriers. TONY What about them? 51. ALASTAIR hey're now predicting more than two million people will descend on London, and there aren't enough barriers to line the route. So we've gone cap in hand to the French for theirs. And there's something else I think you should see. ALASTAIR leads TONY into.. INT. DOWNING STREET - MONITORING ROOM - DAY T TONY follows ALASTAIR into an office where a television plays in the corner. Several young AIDES and INTERNS are watching, recording, making notes. Shirtsleeves, feet on desks. Informal. ALASTAIR Can we run that piece again? You're going to love this. An INTERN puts in a video, hits the `play' button. ON SCREEN: several members of the public complain about the royals. TONY watches for a moment, then.. TONY Look, I know all this.. ALASTAIR There! ne member of the public complains about the flag.. TONY Don't tell me. There isn't a flag flying at half mast above Buckingham Palace. TONY rolls his eyes to himself. TONY God. Will someone save these people from themselves.. (irritated) F ine. I'll call Balmoral... TONY turns away, walks towards the door. ALASTAIR `Planet Zog'? TONY Because as Prime Minister of this country, I've really got nothing better to do.. 52. TONY walks out.. EXT. BALMORAL ESTATE - DAY The ROYAL FAMILY is gathered for a bar-be-cue lunch. At a distance, the BOYS, are in the river, being taught fishing by a GHILLIE.. PRINCE PHILIP stands by a barbecue, struggling to get the fire to light. The QUEEN MOTHER is in another corner.. A LAND ROVER pulls up. The QUEEN gets out with her dogs. She notices PHILIP's struggle with the bar-be-cue.. ELIZABETH Those fire-lighters no good? carrying tupperware boxes) I brought some stew just in case. I think it's lamb. We could always have that cold.. PRINCE PHILIP No, we'll be all right. he QUEEN throws some food to her dogs, but makes several hand gestures forbidding them to eat. The DOGS salivate, and whimper, but dutifully show their forbearance. Staring at the food. The QUEEN, meanwhile, starts setting places at the table with plates, knives and forks.. ELIZABETH Robin had a call from the Prime Minister. Who expressed his concern. HILIP turns, an exasperated look.. PRINCE PHILIP About WHAT? ELIZABETH The flag above Buckingham Palace. He thinks it should be flying at half- mast. The DOGS continue to P whimper hungrily. RINCE PHILIP Then I hope Robin told him there ISN'T a flag above Buckingham Palace... (angrily jabs coals with a long, sharp fork) ...only the Royal Standard, which flies for one reason only. (MORE) 53. PRINCE PHILIP(cont'd) To denote the presence of the Monarch. Since you're here, the flag pole is bare. Which is as it should be. HARLES clears his throat.. CHARLES Isn't it possible..that to some people...the Royal Standard is just.. ..a flag? And that the flap pole being bare sends out the wrong signal. The QUEEN turns. A withering look.. ELIZABETH That's not the point. RINCE PHILIP The point is it's more than four hundred years old. It has never been lowered for ANYONE.. QUEEN MOTHER Your grandfather didn't get that flag at half-mast when he died and if your mother were to die tomorrow, she wouldn't get it either. CHARLES Yes...but sometimes...in a situation like this..one has to be flexible.. All heads turn. And stare at CHARLES. CHARLES (shrugs) It is just a flag. ELIZABETH "What about the Union Jack?", was Mr. Blair's next suggestion. UEEN MOTHER (rolling eyes) Oh, for heaven's sake. PRINCE PHILIP The next thing he'll be suggesting you change your name to Hilda and mine to Hector? ( angry gesture) Who does he think he's talking to? You're the Sovereign. The Head of State. You don't get dictated to. a beat) You've conceded the idea of a public funeral. You've opened up the parks. That's ENOUGH. 54. The QUEEN indicates to PHILIP to keep his voice down, to avoid upsetting the BOYS, who are still fishing.. PRINCE PHILIP (cont'd) You wait. In forty-eight hours it was all have calmed down. ELIZABETH Like those condolence books. PRINCE PHILIP Quite right. (a defiant snort) When we started with one, everyone predicted they would grow and grow. But we've heard nothing more about that, see? CHARLES clears his throat.. CHARLES Apparently there are now fifteen. ELIZABETH What..? CHARLES And people are queuing through the night. PHILIP stares. The QUEEN's expression changes. I NT. BALMORAL CASTLE - CHARLES'S QUARTERS - DAY CHARLES crosses the saloon to his study, talking to his Private Secretary. HARLES In one sense its comforting. a beat) For the first time my parents can see what it's been like for me all these years, being up against her popularity. (a beat) But they're still making the mistake of thinking the Diana they knew from living and dealing with her, will eventually be the one seen by the public. But it's not. The two Dianas, theirs and ours, bear no relation to one another at all. CHARLES looks at LAMPORT.. 55. CHARLES (cont'd) They just adored her. Would have loved nothing more than for her to be Queen. a beat) Someone compassionate. With a heart. Gifts in tragically short supply around here. HARLES looks at LAMPORT.. CHARLES I've been thinking is the flag flying at half mast over my house at Highgrove? LAMPORT Yes, Sir. CHARLES Make sure we get a picture of that in the papers, would you? If my mother wants to make a mess of this, that's her business. a beat) I won't let her drag me down, too. INT. BLAIR'S BEDROOM - NIGHT The BLAIRS are in bed working, watching TV. On TV: Tracey Ullman speaks enthusiastically in favour of young, dynamic C Tony Blair in London. TONY and CHERIE watch.. HERIE See? It isn't just me. TONY What? CHERIE People really DO want change. And want YOU to give it to them. TONY And do what? Cut off their heads? HERIE Apparently, one in six people now support the idea of getting rid of the Monarchy. TONY (irritated gesture) That's just the papers spoiling for a fight. 56. CHERIE But still, imagine this country without them? With a nice elected Head of State? a beat) That'd be some legacy. If the revolution were to happen on your watch. LAIR stares. Visibly unsettled. INT. QUEEN'S BEDROOM - NIGHT The QUEEN sits at her desk, writing her diary. Her pen scratches across the paper.. resently the PEN stops. She stares for a moment, her face a picture of sadness.. FADE TO BLACK: EXT. BALMORAL - DAY The SHOOTING PARTY with WILLIAM, HARRY, and several GILLIES and STALKERS drives off in various JEEPS. INT. BALMORAL CASTLE - PRIVATE SECRETARY'S OFFICE - DAY JANVRIN stands at the window, looking out as the cars leave.. ANVRIN That's the stalking party off? e takes a deep breath.. JANVRIN Right, we'd better have a look at these papers. S ECRETARY "Show us there's a heart in the House of Windsor," says the Sun.. is SECRETARY passes a copy over to JANVRIN.. SECRETARY It proves, the Royals are not like us", the Mirror. "Time to change the Old Guard at Buckingham Palace". Express. JANVRIN (heart sinks) God.. 57. The SECRETARY reads from "THE INDEPENDENT" .. SECRETARY "One can't help wondering who's advice they are taking for it's clearly the wrong advice..." JANVRIN Right... The SECRETARY puts down the INDEPENDENT, open on a page marked.."THE WINDSORS STILL DON'T UNDERSTAND US." JANVRIN's face looks haunted.. JANVRIN (cont'd) Well, I'll try not to take that personally. INT. DOWNING STREET - TONY'S STUDY - LATE AFTERNOON TONY sits on his sofa. The three speech-writing AIDES stand/sit in front of him. TONY reads from the speech.. TONY "People have been yearning for a change in this country." Good. "The result is a quiet revolution now taking place. Led by the real modernisers. The British People.." T TONY tails off.. TONY `Revolution'? Not you, too? tails off) Who wrote this? One AIDE puts up his hand. TONY Where does it come from? AIDE Where does it come from? IDE 2 Just look at the papers. Talk to people on the streets. IDE Something's happening out there. TONY's expression changes. He gets to his feet. Walks out, muttering under his breath.. 58. TONY Revolution. The AIDES look at one another.. INT. DOWNING STREET - CORRIDOR - LATE AFTERNOON TONY puts his head around his SECRETARY's door.. TONY (cont'd) Get me Balmoral, will you? a beat) I'll take it in my office. INT. DOWNING STREET - TONY'S OFFICE - LATE AFTERNOON TONY walks back into his office. His face is deadly serious. TONY Right. You lot. Out. TONY stands by the door. Holding it open. The AIDES stare at one another.. AIDE What about the speech? TONY Later. The AIDES file out. INT. BALMORAL CASTLE - QUEEN'S STUDY - LATE AFTERNOON The QUEEN and JANVRIN are working in one corner, going through her red boxes. In another corner, PRINCE PHILIP sits watching the television.. A tea-tray sits in front of him. Scones. Tea-cakes. he QUEEN and JANVRIN are finishing off. JANVRIN stands, (never sits in her presence).. J ANVRIN ..and finally, Ma'am, a DSO medal. A Corporal, in Kosovo..you may have read about it in the papers..pulled two civilians from a bus after a bomb blast. The QUEEN signs the certificate of honour. PRINCE PHILIP calls out, indicating the tea.. 59. PRINCE PHILIP Hurry up, dear. Getting cold. ELIZABETH (cont'd) Is that it? JANVRIN Yes, Ma'am. Just the letter of condolence to the widow of the Ambassador to Brazil. The QUEEN signs. JANVRIN bows and leaves. ELIZABETH Good. The QUEEN walks over to join PRINCE PHILIP for tea by the television, when JANVRIN turns, (we notice his SECRETARY stands in the doorway).. JANVRIN Ma'am, apparently the Prime Minister is on the phone for you. RINCE PHILIP (snaps) Tell him to call back. The QUEEN hesitates, then..ever dutiful.. ELIZABETH No, I'd better take it. PRINCE PHILIP rolls his eyes. JANVRIN nods to his SECRETARY, who rushes off to transfer the call. he QUEEN walks over to her desk again. Picks up the phone. ELIZABETH Prime Minister? INT. DOWNING STREET - LATE AFTERNOON TONY sits up on his sofa in his office.. TONY Good afternoon, your Majesty. I'm sorry to disturb. I was just wondering.. NT. BALMORAL - QUEEN'S STUDY - CONTINUOUS PRINCE PHILIP indicates she should put TONY on speaker-phone. The QUEEN obliges. TONY's voice comes out.. 60. TONY ...whether you'd seen any of today's papers? The QUEEN looks at her desk. Most of the newspapers are strewn out in front of her.. ELIZABETH We've managed to look at one or two, yes. TONY In which case, my next question would be - whether you felt some kind of response might be necessary? ELIZABETH (cont'd) No. I believe a few over-eager editors are doing their best to sell newspapers..and it would be a mistake to dance to their tune. TONY Under normal circumstances I would agree, but..P RINCE PHILIP (under his breath) Here we go! The bloody flag again..! ELIZABETH indicates for PHILIP to be quiet.. TONY ..my advisers have been taking the temperature among people on the streets - and the information I'm getting is that the mood.. (choosing words carefully) ...is quite delicate. PRINCE PHILIP (under his breath) Of course. That's where all the ruddy cameras are. ELIZABETH gestures again for PHILIP to `SSSsshhh'.. ELIZABETH So what would you suggest, Prime Minister? Some kind of statement? TONY No, Ma'am. I believe the moment for statements has passed. TONY takes a deep breath.. 61. TONY I would suggest flying the flag at half-mast above Buckingham Palace... PRINCE PHILIP almost has an apoplexy.. PRINCE PHILIP See! TONY And coming down to London at the earliest opportunity. PHILIP stares in disbelief.."What?" TONY It would be a great comfort to your people and would help them with their grief. ELIZABETH THEIR grief? he QUEEN exchanges a look with PHILIP.. ELIZABETH If you're suggesting that I drop everything and come down to London before I attend to two boys that have just lost their mother..you're mistaken. RINCE PHILIP Absurd.. E ELIZABETH I doubt there are many who know the British more than I do, Mr. Blair, nor who has greater faith in their wisdom and judgement. And it is my belief that they will soon reject this `mood' which has been stirred up by the press...in favour of a period of restrained grief, and sober, private mourning. a beat) That's the way we do things in this country. Quietly. With dignity. (a beat) It's what the rest of the world has always admired us for. TONY Well, if that's your decision, Ma'am, of course the government will support it. (MORE) 62. TONY(cont'd) (a beat) Let's keep in touch. ELIZABETH Yes. could hardly be less enthusiastic) Let's. The QUEEN hangs up. Looks over at PHILIP.. PRINCE PHILIP Bloody fool. He indicates the tea.. PRINCE PHILIP Now your tea's gone cold. INT. BLAIR'S OFFICE - CONTINUOUS T TONY hangs up the phone. He is lost in thought. His SECRETARY sticks her head around the door.. SECRETARY Robin Janvrin on one. a beat) He must have been listening in. TONY picks up the phone. TONY Mr Janvrin? INT. PRIVATE SECRETARY'S OFFICE - BALMORAL - SAME TIME JANVRIN speaks on the telephone to TONY BLAIR. JANVRIN Prime Minister, I understand how `difficult' her behaviour must seem to you..how `unhelpful'..but try to see it from her perspective.. (searches for right words) She's been brought up to believe its God's will that she is who she is. TONY I think we should leave God out of it. It's just not helpful. JANVRIN She won't have seen anything like this since the Abdication. a beat) (MORE) 63. JANVRIN(cont'd) And I cannot emphasise enough what affect that had on her. Unexpectedly becoming King as good as killed her father. TONY All right - but first we have to deal with these terrible headlines. I'll see what I can do with the Press. JANVRIN I'm most grateful, Prime Minister. TONY But I can't promise anything. It's not me they want to see. TONY hangs up, thinks, then.. INT CORRIDOR DOWNING STREET Tony comes out of his office and walks down the corridor to where the secretaries are. TONY Ask Alistair to come and see me will you. The Secretary nods and picks up the phone. TONY nd cancel whatever I'm doing tonight. He turns and goes back to his office. EXT. BALMORAL CASTLE - DAY The QUEEN drives out in her Land Rover. And into the countryside.. EXT. HIGHLANDS - DAY The Land Rover shakes and judders. The QUEEN bobs up and down. ESTATE WORKERS remove their hats as she drives past.. EXT. HIGHLANDS - DAY The roads have become rougher and narrower. The QUEEN drives with surprising confidence and ability. The QUEEN reaches a fork. She drives on, taking the right fork. 64. EXT. RIVER DEE - DAY The QUEEN reaches the River Dee, then slows down. She stops and stares. Ahead of her is a difficult, quite perilous crossing. he QUEEN composes herself, visibly intimidated. A deep breath, then.. She drives into the fast-moving river. EXT. RIVER DEE - DAY The Land Rover's engine roars. The jeep rocks alarmingly side to side as it slowly crosses the river. One big rock after another. The QUEEN skilfully negotiates the challenge, and is beginning to enjoy the experience.. But ahead is one rock she hasn't seen.. `Crreeak', the Land Rover's undercarriage hits the rock. The ugly sound of tearing metal. he QUEEN instinctively brakes, then sensing that was the wrong thing to do, slams her foot down on the accelerator. The engine roars in protest, and.. `Snap'. An ominous mechanical sound. ELIZABETH Oh.. The QUEEN's eyes widen. Knowing that sound was serious. ELIZABETH Oh, you are stupid. She tries to start the car again, but to no avail. No matter what she does, the Land Rover is stuck.. The QUEEN looks into the glove box. Inside is a mobile telephone. he QUEEN punches in a number.. ELIZABETH (into phone) Hello? Could you put me through to the Ghillies' office? listens) H ello, Thomas? I'm afraid I've done something very foolish. I think I've broken the prop-shaft. Crossing the river. 65. INT. GHILLIES OFFICE - DAY The HEAD GHILLIE listens, his expression changes in alarm, then.. HEAD GHILLIE Are you sure, Ma'am? ELIZABETH Yes, perfectly. The front one, not the rear. I've lost the four-wheel drive. You forget I worked as a mechanic in the war. HEAD GHILLIE And are you all right? INT. LAND ROVER - SAME TIME The Land Rover creaks as it rocks on the stone.. ELIZABETH Yes, perfectly, thank you. I'm so sorry to waste your time.. HEAD GHILIE We'll come out straightaway. ELIZABETH Oh, will you? You are kind. Thank you. a beat) I'll wait by the car. The QUEEN hangs up. Puts the phone away, then opens the Land Rover's door. EXT. HIGHLANDS - RIVER DEE - DAY The QUEEN gingerly climbs out of the Land Rover, and walks across the stones to the river bank, getting her shoes wet. EXT. RIVER BANK - DAY The QUEEN sits on a stone by the stranded Land Rover. She sits in silence.. othing but the sound of running water, wind in the trees, and birdsong. Ah, that's good. he QUEEN closes her eyes. All around her, silence except for the sounds of the great outdoors. 66. Privacy at last. The first moment of silence in what feels like months. The QUEEN breathes deeply. It's all been a bit much. o time to think. ne shock after another. veryone shouting. ll far too dramatic. ome to think of it, this is the first time she's been able to.. Suddenly, almost imperceptibly, we notice her shoulders are shaking. Not dramatically, but enough to suggest what is happening. The QUEEN - away from the world - is crying. W e only see her back. Presently, she reaches into her jacket pocket, produces a handkerchief, and dabs her eyes. Gradually, she composes herself. That's better. on't want to make a fuss. he GILLIES will be here soon. The QUEEN takes a deep breath. That's better. resently the sound of rustling leaves, and the unmistakable sense that she is being watched. Strange.. The QUEEN turns to have a look, then almost drops the cup.. Standing in front of her, no more than twenty yards, is the STAG. The QUEEN freezes, hardly dare breathe. It is enormous. His antlers are bigger and more dramatic than she could have imagined. His fur is thick. His blaze across his nose is distinctive. He is vast, almost the size of a horse. nd staring at her. The QUEEN stares back. ELIZABETH Oh, you are a beauty. It is unprecedented - almost supernatural. No STAG ever willingly comes this close to humans. he QUEEN looks into his dark, brown eyes. An unmistakable connection between them.. 67. It's a magical moment. All around them the whistling of wind, the sound of trees bending. Then, ever so faintly, in the distance.. The hum of approaching engines. It's the GILLIES coming to look for the QUEEN. Sensing this.. ELIZABETH (cont'd) (indicating the STAG should go) Go. Go on. You'd better go.. The STAG remains rooted to the spot.. ELIZABETH (cont'd) (claps hands) Go. Shoo. Go on. The ENGINES get closer and closer. The STAG takes a last look at the QUEEN, then briefly inclines his head, turns, and walks off. o sooner has he disappeared into the woods, than.. Several LAND ROVERS appear, driving across the river, and GILLIES and EQUERRYS jump out, holding tow-ropes, waving in greeting and calling out, concerned for the QUEEN's safety.. The QUEEN takes a last look in the direction of the STAG, to make sure he has gone, and smiles to herself. e's vanished. It's as if he was never there. INT. DOWNING STREET - BLAIR'S FLAT - AFTERNOON TONY is putting on a fresh shirt and tie, standing in front of a a mirror. CHERIE enters.. CHERIE I've just been told there are news crews outside waiting for you to come and "speak to the people." TONY Yes. HERIE What's that about? TONY I told the Queen's private secretary I'd do what I could to help with the press. 68. CHERIE Why? Don't you think she deserves it? Sitting up there on her 40,000 acres. TONY I know...but allowing her to hang herself might not be in our best interests either. TONY exits, then stops at the door.. TONY Besides, I think there's something...ugly about the way everyone's started to bully her. HERIE watches TONY go. INT. BALMORAL CASTLE - QUEEN'S BEDCHAMBER - NIGHT T he QUEEN is in bed, watching television. Staring. N SCREEN: television footage of TONY BLAIR, shaking hands with `the people', defending the QUEEN, helping MOURNERS with their grief.. V PRESENTER ..earlier tonight the Prime Minister went out and pleaded with people to understand the Royals' behaviour.. PRINCE PHILIP appears in the doorway... ELIZABETH How are the boys? PRINCE PHILIP Not so good tonight. A lot of slamming doors. (a beat) I think they saw the papers. The QUEEN's eyes close. Pained.. ELIZABETH Oh, no.. ON SCREEN: television footage of FAMILIES sleeping in parks. Kensington Palace is a sea of flowers and tributes. The MALL is lined with singing, hugging, weeping MOURNERS of all ages and nationalities, holding candles.. PRINCE PHILIP I'll take them out early again tomorrow morning. 69. The QUEEN stares with total lack of comprehension at the VOX POPS which the television interviewer is doing.. TV INTERVIEWER (ON TV) Where have you come from? MOURNER 1 (ON TV) Hamburg. TV INTERVIEWER (ON TV) Hamburg, Germany? OURNER 1 (ON TV) Well, I just had to be here. She was such a wonderful woman.. P RINCE PHILIP What? MOURNER 2 (ON TV) She was an angel.. PRINCE PHILIP ...and a hysteric. MOURNER 3 (ON TV) o compassionate, and caring.. PRINCE PHILIP Oh, please.. PHILIP indicates the television.. PRINCE PHILIP (cont'd) Sleeping in the streets and pulling out their hair for someone they never knew? He shoots a quizzical look.. PRINCE PHILIP And they think we're mad? PHILIP turns to the QUEEN.. PRINCE PHILIP (cont'd) Have you seen the latest funeral guest list? ELIZABETH No. PRINCE PHILIP I suggest you keep it that way. A chorus line of soap stars and homosexuals. (a beat) (MORE) 70. PRINCE PHILIP(cont'd) Apparently Elton John is going to be singing. The QUEEN's eyes close. It's agony. PRINCE PHILIP That'll be a first for Westminster Abbey. The QUEEN stares distractedly at the television.. PRINCE PHILIP Condolence books are now being signed in our embassies in every major city in the world. a beat) And in London alone the number has reached forty. fter a beat.. PRINCE PHILIP stares at the CROWDS of MOURNERS on the television) This reminds me of one of those films. A few of us in a Fort. Hordes of Zulus outside. P silence. The TELEVISION coverage continues.. RINCE PHILIP So it's VITAL you hold firm. Stick to your guns. You wait. They will come to their senses soon. a beat) They HAVE to. PHILIP climbs into bed beside the QUEEN.. PRINCE PHILIP C'mon, move over, Cabbage. The QUEEN stares at the TV. Staring at a modern Britain, a modern world she no longer understands. EXT. HIGHLANDS - NIGHT A bright, full moon. The unmistakable silhouette of THE STAG walks slowly across the blue-white orb - until he reaches a river.. There, he stops, and bellows imperiously into the night. ADE TO BLACK: 71. INT. DOWNING STREET - BEDROOM - DAY The following morning. 6.30 am. TONY watches from his bed. The pastel-coloured set of `GOOD MORNING TV'. The hosts, a MAN and WOMAN in their forties, sit on a sofa. The MAN turns to the camera.. T ELEVISION PRESENTER It's six o'clock. Time for a look at the morning's newspapers. Jenny.. WE CUT TO: a smiling woman in her thirties, who sits at a coffee table which is covered in newspapers.. JENNY Good morning. Well if you thought yesterday's headlines for the Royals couldn't get any worse - think again. INT. BALMORAL CASTLE - QUEEN'S BEDROOOM - DAY The QUEEN sits in bed, reading the newspapers. Her expression is ashen. She stares at the headlines. From outside her window, the sound of bagpipes as the PIPER SERGEANT stoically plays in a heavy Scottish downpour.. A distant rumble of thunder. INT. DOWNING STREET - TONY'S OFFICE - DAY 8.00 TONY BLAIR is with ALASTAIR CAMPBELL and a team of AIDES are in a meeting room with the newspapers in front of them.. ALASTAIR (takes another paper) T he Sun - "Where is our Queen? Where is her flag?" takes another paper) The Express, "Show us you care", with a picture of a grumpy Queen. (takes another paper) The Mail - "Let the Flag Fly at half- mast", and inside, "The Queen should be here to show her respects." ALASTAIR raises his eyebrow. LASTAIR Blimey! But the flip-side is... "Blair more popular than Churchill shock." 72. ALASTAIR expects TONY to be pleased, but instead he appears concerned.. TONY Did any of them pick up on our statement of support? ALASTAIR Just one. CAMPBELL shows BLAIR the front page of `THE GUARDIAN' where "BLAIR DEFENDS STOICAL ROYALS.." is a minor headline.. LASTAIR (cont'd) Statements of support don't sell papers. TONY's expression changes. Frustrated. He thinks, then.. TONY Right.. TONY gets to his feet, and walks out. ALASTAIR watches EXT. BALMORAL CASTLE - DAY (CLUNY) The QUEEN walks out for her walk with her Corgis. She has her head-scarf and old raincoat on. DOGS barking excitedly.. She is about to set off, when JANVRIN appears, breathlessly.. ANVRIN The Prime Minister for you, Ma'am. The QUEEN looks pained at the thought.. JANVRIN I'm afraid he's rather insisting. ELIZABETH All right. I'll take it here. a beat) In the kitchens. INT. BALMORAL - KITCHENS - DAY Frantic KITCHEN STAFF disperse in all directions as the QUEEN comes into the kitchen, DOGS barking.. COOKS and MAIDS doff their caps, bowing in respect, then run into hiding, as the telephone extension rings.. The QUEEN picks it up.. 73. ELIZABETH ood morning, Prime Minister. The QUEEN gestures to her DOGS. They promptly fall silent. INT. DOWNING STREET - SAME TIME TONY sits in his chair.. T TONY Good morning, Ma'am. TONY hesitates, then chooses his words carefully.. TONY (cont'd) You've seen today's headlines? INT. BALMORAL CASTLE - KITCHENS - SAME TIME COOKS and FOOTMEN rush in a chair for the QUEEN, and bring a cup of tea. The QUEEN sits down.. The DOGS duly follow suit. And sit. ELIZABETH Yes, I have. TONY Then I'm sure you'll agree. The situation has become quite critical. TONY takes a breath. Knows this won't be easy. TONY (CONT'D) Ma'am, a poll that's to be published in tomorrow's paper suggests 70% of people believe your actions have damaged the monarchy and one in four are now in favour of abolishing the monarchy altogether. ilence. TONY As your Prime Minister, I believe it's my constitutional responsibility to ADVISE the following.. TONY braces himself. Knows the impact his words will have.. INT. BALMORAL CASTLE - KITCHEN - DAY The QUEEN hangs up. She appears profoundly shaken. She turns to JANVRIN.. 74. ELIZABETH Is Queen Elizabeth up yet? INT. BALMORAL CASTLE - STAIRCASE - DAY he QUEEN walks up a staircase to her mother's quarters.. INT. BALMORAL CASTLE - CORRIDOR - DAY The QUEEN walks along a corridor. She reaches a door. Knocks. Then, rather touchingly, calls out.. ELIZABETH Mummy? INT. BALMORAL - QUEEN MOTHER'S BEDROOM - DAY he QUEEN sits on the unmade bed, as the QUEEN MOTHER finishes getting dressed, (attended by DRESSERS).. ELIZABETH One - lower the flag to half-mast above Buckingham Palace and all other Royal residences. Two - leave Balmoral, and fly down to London at the earliest opportunity. Three - pay respects in person at Diana's coffin. And four - make a statement via live television to my people and the world. The QUEEN stares. ELIZABETH (cont'd) Swift prosecution of these matters, he felt, might, just might avert disaster. E XT. BALMORAL GROUNDS - DAY he QUEEN and QUEEN MOTHER walk through the grounds: stout, resolute, waterproofs, rain. A glorious Scottish summer. Distant rumbles of thunder... QUEEN MOTHER bviously you're going to have to talk to the Lord Chamberlain about all this. ELIZABETH I have. UEEN MOTHER And to Robert Fellowes. 75. ELIZABETH To him too. UEEN MOTHER And..? ELIZABETH (cont'd) It seems they both agree with him. A silence. QUEEN MOTHER I see. he QUEEN stares. Then.. ELIZABETH Something's happened. There's been a change...a shift of values.. The QUEEN looks up.. ELIZABETH (cont'd) When you no longer understand your people, isn't it time to hand over to the next generation? QUEEN MOTHER Certainly not! Remember the oath you took ELIZABETH "I declare that my whole life, whether it be long or short, shall be devoted to your service." QUEEN MOTHER Your WHOLE life. That's a commitment to God as well as your people. ELIZABETH But if my actions are damaging the crown? QUEEN MOTHER Damaging them? My dear, you are the greatest asset this institution has. One of the greatest it has EVER had. The problem will come when you leave, but that's not for you to worry about - and certainly not today. he Queen rolls her eyes.. ELIZABETH Mummy.. 76. Then drifts off, into her own thoughts ELIZABETH It's just no one seems to value tradition or constancy any more. (a beat) It's all about show. About wearing your heart on your sleeve. QUEEN MOTHER And you're not like that. Never have been. No...you must show strength. Re- assert your authority. You sit on the most powerful throne in Europe. Head of an unbroken line that goes back more than a thousand years. How many of your predecessors do you imagine would have dropped everything and gone down to London because people holding candles wanted help with their grief? The QUEEN MOTHER's tirade continues, but the QUEEN is not listening. She knows she has a decision to make. UEEN MOTHER And as for Mr Blair and his Cheshire Cat grin... EXT. BALMORAL GROUNDS - LATE AFTERNOON The stalking Party is wrapping up after a day on the moors, some two dozen people, stalkers, members of the Royal Family, gamekeepers etc. load up the Land Rovers ready to return to Balmoral Castle. mobile phone rings. The Head Ghillie appears holding the phone. GHILLIE Mr Janvrin for you sir. Prince Philip takes the phone... a little surprised. PRINCE PHILIP Yes Robin....? Philip listens PRINCE PHILIP What? It's madness! The whole thing! Bloody madness! Thunderous, Philip hangs up. PRINCE PHILIP It seems we are going back to London! 77. PHILIP climbs angrily into the Land Rover, slamming the door. People's eyes widen. INT. QUEEN'S STUDY - BALMORAL - LATE AFTERNOON The QUEEN's face in close-up. CHARLES peers round the door.. He stares. Then, after a beat... CHARLES I've just been told. You've decided to go back to London. T he QUEEN's face. Avoids eye contact. CHARLES I just want to say - I admire... (strangled, trying to find the right words) I think it's the right decision. Silence. CHARLES stares.. CHARLES Let's hope we haven't left it too late. The QUEEN ignores him. CHARLES goes. EXT. BALMORAL GATES - DUSK n explosion of flashlights: the motor-winders and flashbulbs of the WORLD's MEDIA whir and pop through the gates of Balmoral Castle. It's an eerie, venal image. An unmistakable echo of DIANA's world, and her last moments in Paris. The QUEEN, CHARLES, PHILIP, and the two PRINCES try not to show their hostility, and gingerly inspect the flowers laid at the gates of Balmoral.. The QUEEN's face is grim set. Lips pursed. Visibly uneasy with the CAMERAS audibly whirring all around her. CHARLES holds his son's hand, and tries to concentrate on the flowers and wreathes and tributes. RINCE WILLIAM stares at the CAMERAS. Hostile, uncomprehending looks. The beginning of a lifelong animosity. Suddenly.. ` BANG' a passing motorbike's exhaust backfires. CHARLES jolts in shock, and flinches privately. 78. Clearly, his fears have not lessened. He's expecting the bullet at any moment.. NT. DOWNING STREET - BLAIR FAMILY FLAT - SAME TIME In the kitchen: CHERIE is feeding the kids supper at the kitchen table. The cheery chaos of family life. Everyone talking at once. Laughter. Teasing. Through an open door, we can see TONY in the sitting-room working. Shirt-sleeves, tie loosened.. INT. BLAIR FLAT - SITTING ROOM - SAME TIME TONY sits with his feet up, doing his boxes, signing papers, and half watching television at the same time. ON SCREEN: the QUEEN and the Royals doing their photo-call. The voice of the NEWS READER at Channel Four.. NEWS READER (ON T.V.) We are just getting some pictures now from Balmoral. These are rather historic shots. Clearly the Queen has responded to criticism that the Royal Family is not engaged.. T TONY looks up. Breathes a sigh of relief.. TONY (to himself) Thank God for that. From the kitchen: CHERIE's voice.. CHERIE (cont'd) It's fish-fingers. Want any? TONY Be right there. TONY finishes signing the papers. Turns off the TV. Walks into the kitchen. We hear CHERIE's voice as the door closes.. CHERIE I'm afraid they're a bit burned. FADE TO BLACK EXT. BALMORAL - DAY The PIPER SERGEANT walks around the castle perimeter playing the bag-pipes. 79. INT QUEENS BEDROOM - DAY The Queen is being dressed in black by her DRESSERS. Her Face apparently inscrutable. But the difficulty of the situation is clear. INT. BALMORAL CASTLE - BEDROOMS - VARIOUS - DAY The QUEEN comes downstairs to the first landing where bags are being brought out of the rooms by MAIDS and VALETS P RINCE PHILIP Where are the boys? Have they already left? ELIZABETH Yes. They left for London after breakfast. With Charles. HILIP shakes his head.. PRINCE PHILIP It's not right, you know ELIZABETH Yes, but further discussion is no longer helpful either. The QUEEN heads downstairs. PHILIP follows... PRINCE PHILIP Oh, well. I suppose it gives the ghillies time to find a new stag for the boys now theirs has been shot. ELIZABETH What? The QUEEN momentarily stiffens.. PRINCE PHILIP Haven't you heard? It wandered onto one of the neighbouring estates where it was shot by one of the commercial guests. ELIZABETH Really..? The blood has drained from her face.. ELIZABETH (cont'd) Which estate? 80. EXT. BALMORAL - COURTYARD - DAY The QUEEN, pulling an old Barbour over her black dress, emerges into a courtyard where the royal cars are being loaded with bags for the trip. She climbs into a landrover, starts the engine. SECURITY MEN stare quizzically at one another, then leap into life and dash to their own cars to follow They drive out of the Balmoral Estate. INT. DOWNING STREET - BLAIR OFFICE - DAY TONY sits at his desk working on his speech. A knock on the door. ALASTAIR CAMPBELL enters.. CAMPBELL Here's your box. There's some ( important policy unit stuff on top. a beat) And you've seen the papers? TONY (snaps, irritated) I'm the Prime Minister. Of course I've seen the papers. ALASTAIR indicates the newspapers laid out on the table.. 'The Times': `PALACE BENDS THE KNEE TO BLAIR" 'The Sun': "QUEEN CAVES IN ON PALACE FLAG". `The Express': "DOWNING STREET STEPS IN TO SAVE QUEEN". `The Mirror': "A QUIET WORD FROM TONY BLAIR AND THE NATION GETS ITS WISH". LASTAIR (in comic voice) "Your Maj? Come down to London." "Who says so?" "Tony Blair." LASTAIR reaches the door - sees TONY. Then.. ALASTAIR "Mr. Father of the Nation." ALASTAIR goes. TONY watches. Losing patience. 81. EXT. NEIGHBOURING CASTLE - COURTYARD - DAY The QUEEN's Land Rover, plus a protection vehicle, pulls up in a courtyard at Braemar Castle. The DRIVERS jump out. Go to open the doors for her.. Working STALKERS and GHILLIES stop in their tracks, and double-take. Faces appear at windows. STABLE-HANDS, VISITORS and ESTATE STAFF stop and stare.. We over hear whispers, `Bloody hell!' `It's her!' Presently, the HEAD GHILLIE appears in a doorway, deferentially straightening his hair, and clothes. He walks towards the QUEEN. HEAD GILLIE Morning, Ma'am. Is it his Lordship you've come to see? H e reaches into his pockets for his cell-phone.. ELIZABETH No, no..please don't disturb him. I've come on another matter. I hope you don't mind.. EXT. NEIGHBOURING ESTATE - DAY The QUEEN and HEAD GILLIE walk towards a circular cooling room. The HEAD GILLIE opens the door.. INT. NEIGHBOURING ESTATE - REFRIGERATED ROOM - DAY A large cooling room, where the shot animals are washed, disembowelled and cut up. Hanging in the centre of the room, his innards removed, blood draining onto the floor, is the STAG. A GAMEKEEPER, in overalls, is working on the carcass, when the door opens, and the QUEEN walks in. he GAMEKEEPER straightens. Stops what he's doing.. HEAD GILLIE There he is.. The QUEEN gasps in shock. Notices the GAMEKEEPER was about to begin the process of severing the STAG's head. The HEAD GILLIE, mistaking her reaction for admiration, smiles.. 82. HEAD GILLIE (cont'd) Yes, he's a beauty, isn't he? An Imperial, Ma'am. Fourteen pointer. ut the QUEEN has not heard. She indicates a nasty wound.. ELIZABETH e was wounded. HEAD GILLIE Yes. We got our guest in very close, had him lined-up perfect, and still.. shrugs apologetically) ..an investment banker, Ma'am. From London. The QUEEN stretches her hand out, almost touches the wound.. HEAD GILLIE (cont'd) I'm afraid the stalkers had to follow him for miles - to finish him off. ELIZABETH voice cracks) Let's hope he didn't suffer too much. Unseen by others, the QUEEN's knuckles whiten.. ELIZABETH (cont'd) Please pass my congratulations to your guest. HEAD GILLIE I will, Ma'am. he clears her throat, then goes.. HEAD GILLIE (removing hat) God bless you. The QUEEN goes. Dignified on the outside, but dying a thousand deaths underneath. MATCH CUT TO: INT. AEROPLANE - ROYAL FLIGHT - DAY The QUEEN's face. She staring out of the window, dying a thousand deaths inside, on her way to RAF NORTHOLT in London. She is aboard the private jet belonging to the Queen's Flight, sitting opposite her is the QUEEN MOTHER n the table in between them are all the morning's NEWSPAPERS with their humiliating headlines. 83. A shadow passes across her. The sound of a clearing throat. The QUEEN looks up. It's ROBIN JANVRIN. She snaps out of it. E ELIZABETH Yes, Robin.. She puts on her glasses. Composure returns. Professional again. JANVRIN I've done a draft of your television address. ELIZABETH Thank you. ANVRIN puts it down. He notices all the NEWSPAPERS. ELIZABETH (cont'd) Was there anything else? JANVRIN opens his mouth, wants to say something to comfort her..but realises it would be inappropriate. JANVRIN No, Ma'am. Landing in fifteen minutes. EXT. MALL - DAY - ARCHIVE The CAR carrying the QUEEN and PRINCE PHILIP sweeps into the MALL. NT. DOWNING STREET - ALASTAIR'S OFFICE - DAY ALASTAIR sits at his desk. A TV plays the footage of the QUEEN's car driving through the MALL.. A SECRETARY walks in.. SECRETARY I've got a copy of the Queen's speech. She passes it over to ALASTAIR.. SECRETARY Shall I give Tony a copy? LASTAIR Let me have a look at it first. ALASTAIR starts reading it.. 84. INT. CAR - SAME TIME - ARCHIVE / RECONSTITUTED ARCHIVE The QUEEN and PHILIP stare out of the car. For the first time, they get an idea of the actual size and scale of the CROWDS.. PRINCE PHILIP (jaw drops) Good God.. The QUEEN stares in fear and disbelief at the people lining the MALL. In places, the CROWDS are standing twenty deep. he FACES are reflected in the car windows. Are they hostile? Are they people she understands? Camera flashlights pop. NT. DOWNING STREET - ALASTAIR'S OFFICE - SAME TIME ALASTAIR makes a change to the Queen's speech. We CLOSE on the text as he writes, inserting... "..speaking as a Grandmother".. In the background, on TV: we see the QUEEN's car pulls up. The doors open, the QUEEN gets out.. Unaware her words are being edited by her Government. T EXT. BUCKINGHAM PALACE - DAY - LIVE he QUEEN steps out into the crowds.. INT. DOWNING STREET - MONITORING ROOM - DAY TONY and several AIDES are watching the televisions. ON SCREEN: the QUEEN and PHILIP are looking at bouquets laid at the gates of the palace, reading messages and inscriptions.. Candles are burning. Incense sticks. There are pictures of DIANA, and mini-shrines. Poems have been written. TONY watches intently. Behind him, the door opens and ALASTAIR enters.. ALASTAIR They sent a copy of the Queen's speech. ALISTAIR holds it between finger and thumb.. 85. ALASTAIR (CONT'D) You might want to scrape the frost off it first. ALASTAIR passes it to TONY.. ALASTAIR I made a couple of changes. So it sounds like it comes from a human being. ALASTAIR turns, walks towards the door.. ALASTAIR Oh, and one bit of good news. The old boot's FINALLY agreed to pay respects at Diana's coffin. TONY spins round, eyes flashing in anger.. TONY You know when you get it wrong, you REALLY get it wrong. a beat) That woman has given her whole life in service to her people - fifty years doing a job she NEVER wanted - a job she watched kill her father. She's executed it with dignity, honour and, as far as I can tell, without a single blemish - and now we line up baying for her blood - why? Because she's struggling to lead the world in mourning for a woman who threw everything she offered back in her face, and who seemed, in the last few years, to be committed twenty-four seven to destroy everything she holds dear. TONY storms off. EXT. BUCKINGHAM PALACE - DAY The QUEEN continues to read the hand-written messages for DIANA, "We love you." "Rest with the angels, Diana". "You touched us with your love." nd also some which are downright hostile. "You were too good for them." "They have your blood on their hands." he QUEEN stares, visibly shocked, then.. Behind her, a small GIRL approaches, holding a bouquet of flowers. She stops, in front of the QUEEN.. 86. ELIZABETH Oh..hello. he LITTLE GIRL tries to curtsey.. ELIZABETH (cont'd) Would you like me to place them for you? LITTLE GIRL No. ELIZABETH Oh. LITTLE GIRL They're for you. ELIZABETH (visibly shocked) For me..? The QUEEN is thrown. Suddenly looks utterly lost. Vulnerable, almost childlike. Her eyes are puffy and swollen, as though she is fighting tears.. C ROWDS of MOURNERS watch intently. The QUEEN takes the flowers, then turns and walks away, visibly shaken.. INT. BUCKINGHAM PALACE - CHINESE ROOM - DAY A television CREW is rigging lights in the Chinese Room in Buckingham Palace. JANVRIN enters and crosses the room. CAMERAS are being fixed to tripods.. The QUEEN sits in a corner going through her speech. ANVRIN Your Majesty, there's a last minute addition from Downing Street. They're suggesting adding `..and as a grandmother..' here. ELIZABETH Right. The QUEEN makes a note on the text.. ELIZABETH (cont'd) "So what I say to you now, as your Queen and as a grandmother, I say from my heart." JANVRIN You think you can say it? 87. ELIZABETH Do I have a choice? The QUEEN turns as SOUND RECORDERS fix a clip-mike to her dress. IRECTOR We're ready for you, your Majesty.. The QUEEN gets up. DIRECTOR Just to confirm this is going out live. ELIZABETH Right DIRECTOR And you'll be at the front of the six o'clock news on all the channels ELIZABETH I see. The QUEEN is led over to where the DIRECTOR has placed a chair and table in front of the cameras and lights.. FLOOR MANAGER (calling out) Ten seconds, everyone.. The QUEEN sits at her desk. Final touches from hair and make- up. The MALL is clearly visible. The QUEEN holds the speech in front of her.. DIRECTOR (cont'd) Five, four.. We close on the QUEEN's face, and.. ELIZABETH Since last Saturday's dreadful news we have seen, throughout Britain and the world, an overwhelming expression of sadness at Diana's death.. WATCHING FROM THE WINGS: PRINCE PHILIP and PRINCE CHARLES watch. PHILIP clenches his jaw muscles in irritation. I NT. CHINESE ROOM - SAME TIME he QUEEN continues.. 88. ELIZABETH We have all been trying in our different ways to cope. The initial shock is often succeeded by a mixture of other feelings. Disbelief, incomprehension, anger and concern for those who remain. INT. DOWNING STREET - SAME TIME TONY and CHERIE BLAIR watch from their apartment.. ELIZABETH (ON TV) We have all felt these emotions in these last few days. So what I say to you now, as your Queen and as a grandmother, I say from my heart... TONY flinches in sympathy as she says the line. CHERIE notices this, then.. CHERIE "Heart"? What "heart". She doesn't mean a word of this. TONY That's not the point. What she's doing is extraordinary. (points to the TV) That's how you survive. CHERIE turns, and stares.. CHERIE Listen to you! A week ago you were the great moderniser, making speeches about the "People's Princess", now you've gone weak at the knees. TONY bristles with irritation.. CHERIE I don't know why I'm surprised. In the end, all Labour Prime Ministers go ga- ga for her Maj. ELIZABETH (ON TV) I hope that tomorrow we can all, wherever we are, join in expressing our grief at Diana's loss, and gratitude for her all-too-short life. 89. INT. BUCKINGHAM PALACE - CHINESE ROOM - SAME TIME The QUEEN draws to a close. Her face is inscrutable. The DIRECTOR prepares his CREW to wind up.. ELIZABETH (cont'd) May those who died rest in peace and may we, each and every one of us.. CLOSE-UP OF THE QUEEN: ELIZABETH (cont'd) ..thank God for someone who made many, many people happy. The QUEEN holds her expression for the camera. Then.. DIRECTOR (calls out) And we're out..! The QUEEN's face relaxes. As does everyone in the room. A huge, collective breathing out. D IRECTOR (cont'd) Thank you, your Majesty. But the QUEEN doesn't acknowledge him. She removes her clip- mike, and hands it to the DIRECTOR.. ..then walks over to a waiting PRINCE PHILIP, who protectively extends an arm. The QUEEN and PRINCE PHILIP leave the room. People are left staring awkwardly at one another.. OVER THIS: we FADE IN the sound of a haunting, elegiac hymn.. INT. WESTMINSTER ABBEY - DAY A soloist sings "Libera me, Domine" from Verdi's Requiem, in Westminster Abbey as: GUESTS, (including TOM CRUISE, TON HANKS, NICOLE KIDMAN and STEVEN SPIELBERG), arrive with swollen, red eyes, for the funeral. UCIANO PAVAROTTI also attends - along with STING, TRUDI STYLER, BILL and HILARY CLINTON, ELTON JOHN, MOHAMMED AL- FAYED, CLIFF RICHARD, QUEEN NOOR... TONY and CHERIE BLAIR take their positions at the front of the church. The First Couple of Great Britain. 90. EXT. STREETS OF LONDON - DAY DIANA's coffin is driven away. Showered by flowers all the way to her final resting place at Althorp. T he entire distraught, tearful NATION it seems, has come out onto the streets to pay their final respects. SLOW FADE TO BLACK: CAPTION: `TWO MONTHS LATER' NT. DOWNING STREET - BLAIR'S FLAT - EVENING The face of TONY BLAIR stares back from a bathroom mirror. CHERIE is proudly tying his tie. Checking his appearance. We're in the family apartment above 11, Downing Street. CHERIE puts the finishing touches to his appearance.. We notice her appearance has become even more stylish. Gone is her spiky hair. And the rough edges. Every inch the First Lady. They've both come a long way in a short time. CHERIE So? Off to see your girlfriend? TONY Now, now.. CHERIE I hope she shows you some respect this time. It's quite a debt of gratitude she owes you. CHERIE straightens his tie.. CHERIE Mr "Saviour of the Monarchy." TONY doubt she'll see it that way. XT. BUCKINGHAM PALACE - COURTYARD - EVENING TONY's motorcade sweeps into Buckingham Palace. Doors are opened by his PROTECTION OFFICERS. TONY steps out to be greeted by the waiting JANVRIN.. TONY Robin. Good to see you. 91. JANVRIN Prime Minister. TONY (his most winning smile) Tony, please.. JANVRIN allows himself a private smile.. INT. BUCKINGHAM PALACE - CORRIDOR - EVENING TONY BLAIR and the EQUERRY walk along the corridor, and reach the door. TONY shoots his cuffs. Clears his throat. The EQUERRY knocks. INT. AUDIENCE ROOM - EVENING TONY and the EQUERRY enter. Both bow from the neck.. EQUERRY The Prime Minister, Ma'am. TONY walks forward and meets the QUEEN, who, like JANVRIN, barely smiles, doesn't make eye contact, shakes his hand, and indicates a seat.. ELIZABETH Do sit down. TONY Thank you. TONY sits, and stares at the QUEEN. Her face is inscrutable. T TONY It's good to see you again. After quite a summer.. The QUEEN's face. Stiffens. TONY (cont'd) I'm referring to your visit to India and Pakistan, where your comments about ending historic disagreements went down very well. ilence. TONY (cont'd) And the Commonwealth Heads of Government Meeting. I spoke to the Prime Minister of Malawi, who was saying how much he appreciated your tough stance on Nigeria. 92. Silence. TONY I meant to tell you at the time but you were being monopolised rather. ilence. TONY I imagine those occasions are quite difficult. Twenty-four heads of Government each clamouring for a private audience.. Silence. TONY takes a deep breath, then.. TONY Also, we haven't had a chance to speak since THAT week. And I wanted to offer my apologies.. The QUEEN looks up.. ELIZABETH Whatever for? TONY In case you'd felt `manhandled' or `managed' in any way. ELIZABETH Not at all. beat. ELIZABETH I don't think I shall ever understand what happened this summer. TONY The circumstances were exceptional, Ma'am. And in the end, you showed great personal strength, courage, and humility. E ELIZABETH ou're confusing humility with humiliation. TONY That's not true. ELIZABETH You didn't hear what they were saying in the Mall that Friday. 93. TONY I still believe History will show it was a good week for you. ELIZABETH And an even better one for you, Mr Blair. TONY But there are fifty-two weeks in a year, Ma'am. And two and a half thousand in a half century. The QUEEN looks up. Thrown by his compliment.. TONY And when people come to assess your legacy, no one will remember those few days. ELIZABETH Really? ELIZABETH You don't feel that what respect or affection people might once have had for.. She wants to say `Me', but instead says.. ELIZABETH ..this institution has been diminished? TONY Not at all. pause.. ELIZABETH I gather some of your closest advisors were less fulsome in their support.. TONY One or two. But as a leader one has...a different perspective. a beat) I could never have added my voice to the chorus. ELIZABETH You're very kind. The QUEEN looks at TONY, raises an eyebrow.. 94. ELIZABETH But let's also not forget the more pragmatic reason. TONY Which is? ELIZABETH That without me there to distract everyone, it'd suddenly become embarrassingly clear how much unchecked power the British Prime Minister actually has. TONY looks up.. ELIZABETH If fifty years of doing MY job has taught me anything, it is that the people doing YOURS generally prefer me with all my faults to some kind of meddling President.. (a beat) Just look at the French. The QUEEN opens her handbag, and takes out her reading glasses.. E ELIZABETH (cont'd) I suppose we'd better get on with the business in hand.. The QUEEN looks out of the window. Notices how the sun is setting.. ELIZABETH (cont'd) I do love this time of day. Shall we walk while there's still some sunshine left? I do hope you're a walker. TONY I am. ELIZABETH Good. The clocks go back next week, then it'll be dark by five. TONY and the QUEEN get to their feet. ELIZABETH (cont'd) I always think these meetings stand a better chance of succeeding if the Prime Minister is a walker. FOOTMEN open the door as TONY and the QUEEN go out of the Audience Room, and into.. 95. INT. CORRIDOR - BUCKINGHAM PALACE - DAY BLAIR and the QUEEN turns a corner, and emerge into a corridor from the audience room... ELIZABETH As a matter of fact, it's how I think best. On my feet. I've never been one for sitting around endlessly. A good walk and fresh air sorts everything out.. Unexpectedly, she stops. And suddenly we realize she's been holding something back.. ELIZABETH One in four, you said? Wanted to get rid of me? T TONY For about half an hour. But then you came down to London and all that went away. ELIZABETH I've never been hated like that before. TONY No. And that must have been difficult. ELIZABETH It was. Very. They begin walking again.. ELIZABETH Ever since Diana people want glamour and tears..the grand performance..and I'm not very good at that. I prefer to keep my feelings to myself. Foolishly I believed that's what people wanted from their Queen. Not to make a fuss nor wear one's heart on one's sleeve, duty first... self second. The QUEEN stops.. ELIZABETH It's how I was brought up. It's all I've ever known TONY One forgets. You were so young when you became Queen. 96. The QUEEN drifts off.. ELIZABETH I was. A girl. Then pulls herself back.. ELIZABETH But I can see the world has changed. And one must 'modernise'. TONY Well, perhaps that's where I can help. ELIZABETH (with a twinkle as they set off) Don't get ahead of yourself Prime- minister, I think you'll find that I'm supposed to be advising YOU! INT. BUCKINGHAM PALACE - GRAND STAIRCASE - DAY The corridor outside. As the QUEEN passes JANVRIN, he surreptitiously looks at his watch, and raises his eyebrow. The QUEEN smiles.. INT. BUCKINGHAM PALACE - GARDENS - DAY FOOTMEN open double-doors which lead out into the gardens. The QUEEN and the PRIME MINISTER walk out.. ELIZABETH So...what might we expect in your first Parliament? TONY clears his throat, then.. TONY Well, Ma'am, top of the list is education reform. We want to radically reduce classroom sizes... Our CAMERA slowly pulls back over the gardens, until the QUEEN and TONY are two dots in the distance... Time has moved on. Sand has covered the footprints. The momentary hiccup that was `Diana' already long forgotten.. FADE TO BLACK: \ No newline at end of file diff --git a/unformated_scripts/Script_RKO 281.txt b/unformated_scripts/Script_RKO 281.txt new file mode 100644 index 0000000000000000000000000000000000000000..e2bf54cdf6c80286658212ffc60dd48d29b6e604 --- /dev/null +++ b/unformated_scripts/Script_RKO 281.txt @@ -0,0 +1 @@ + RKO 281 Written by John Logan May 1,1997 RKO 281 by John Logan INT LARGE, DARK ROOM NIGHT In the ebony shadows of a large room we can make out corners and edges, moldings and cornices; the phantoms of decaying Victorian wealth floating like disembodied ghosts in the darkness. It is May 6, 1924 The harsh flare of a match being struck A shadowy male figure lights a series of nine candles on a birthday cake. Beyond the cake we can see a bed. On the bed lies a woman in her early forties. She is ashen and sickly. Dying. The shadowy male figure finishes lighting the candles, blows out the match and disappears as the woman peers into the darkness. WOMAN Come into the light.. Come into the light A nine-year-old boy steps into the light. She pulls him close and whispers: WOMAN Never stand in the shadows -- BOY Mother... WOMAN You are made for the light, Orson Now you must blow out your candles. But you must always remember, the cake itself is nothing. The flame, the lights, that is where your future lies. You must have a dream. A great dream worthy of you. The boy immediately spins to the cake and blows out the candles. A moment of darkness. He turns back to the bed. The woman and the bed are gone, faded into darkness. The solemn young lad stares and stares into the darkness And then, magically, the faint glimmer of twinkling stars fill his huge dark eyes. NEWSREEL The flickering images of an old newsreel, circa 1940 Under the MGM logo we see the title: BOY WONDER WOWS HOLLYWOOD! The first image after the title is the imposing figure of ORSON WELLES, climbing down from an airplane and surveying the world at his feet. Welles is 24 years old and somewhat handsome. Welles seems rather uncomfortable in his own body, as if it could not possibly contain his vast passions and appetites. Orson Welles is man who tears his way through life with incendiary energy. He is at once inspiring and ferocious; visionary and coldly ambitious. He is part artist, part fraud and all showman. A sonorous voice accompanies the newsreel. The voice is always grand, occasionally sardonic. NEWSREEL VOICE He came to the town of magic and dreams a flashing star blazing through the firmament of illusion. And he promised to devour the world in a single gulp. He was 24 years old and his name was George Orson Welles. Sound the trumpets! Unfurl the banners, Hollywood! The Boy Wonder has arrived! Images of Welles as a baby and his early life fill the screen: Welles in a crib; as a pampered schoolboy; at dance class; drama club; dressed up for a magic show. As we hear: NEWSREEL VOICE He made his debut on the world stage in Kenosha, Wisconsin, on the 6th of May, 1915. And on the 7th of May he spoke his first words, and unlike other children who say commonplace things like "momma" and "poppa", he proclaimed "I am a genius!" At three the genius was reciting Shakespeare and at eight he had taken up cigars and highballs and was learning magic from the knee of the great Houdini. Images of Welles' early theatrical career: the young man playing impossibly old parts; vaudeville magic shows; various regional theaters; endless tawdry rehearsal rooms Then images of Welles and JOHN HOUSEMAN in New York: the great, bustling city; Welles at work with John Houseman on a script; Welles directing a play. As we hear: NEWSREEL VOICE So how could the magic of the stage not call to this adventurous lad? Unstoppable and resolute, the Boy Wonder journeyed into the world of the legit theater. After a peripatetic beginning he found himself at last in New York where he joined forces with theatrical producer John Houseman under the august auspices of the WPA Federal Theater. A rehearsal room interview with John Houseman, who is in his 30's, thin-lipped and prim: HOUSEMAN Orson barreled in and took over. Orson's a real barreler. Images of Welles directing his famous "Fascist JULIUS CAESAR" and "Voodoo MACBETH" productions: auditions; rehearsals; perfecting a sword-fight; rejecting classical costume sketches for JULIUS CAESAR; supervising set construction; performing Brutus in the Albert Speer- like Nuremberg rally lighting of JULIUS CAESAR. As we hear: NEWSREEL VOICE Like Hannibal over the Alps, the Boy Genius invaded the Great White Way. He stunned the sedate elite of New York theatre with production after production. From MACBETH with an entirely colored cast to a Mussolini-inspired JULIUS CAESAR! More images of New York, Welles, Houseman and radio: Welles directing a radio play with sweeping energy; supervising the elaborate sound effects; editing the script; at odds with Houseman. As we hear: NEWSREEL VOICE Though he wowed the critics with his spectaculars the ticket sales left something to be desired. So, after founding the Mercury Players with Houseman, young Mr. Welles quickly set his sights on the airwaves. He quickly became the sonorous -' voice of "The Shadow." '' Newsreel footage of Welles at a standing radio microphone; WELLES Who knows what evil lurks in the hearts of men? The Shadow knows. . . Welles laughs his sinister Shadow laugh and we go to more images of radio and the dynamic Welles performing and directing as we hear: NEWSREEL VOICE With Lament Cranston in one pocket and his own radio show. The Mercury Theater of the Air, our Boy Wonder filled the night with his resounding tones. And on October 30th of 1938, he became what he felt destined to be: a household name. What started out as a roguish Halloween prank became the most famous radio show in the history of the galaxy! Images of the WAR OF THE WORLDS broadcast and panic: listeners huddling next to their radios; telephone switchboards lighting up; New Jersey State Motorcycle Troopers zooming down rural roads; cars clogging the highways. As we hear: NEWSREEL VOICE THE WAR OF THE WORLDS sent this nation spinning into a frenzy. Nine million listeners clasped their loved ones close and looked to the skies with horror. Unlucky listeners near the epicenter of the "invasion" -- rural New Jersey -- ran screaming into the night, sure a monstrous alien and a fiery death awaited them around every corner! The mischievous Boy Wonder had fooled us all! Newsreel footage of a packed press conference with Welles the day following the broadcast: WELLES (contritely) Of course ... of course ... if I had known the panic the broadcast was causing -- well I would have stopped! I never meant for any of this to happen and I feel just horrible! Quick newsreel clips of Welles leaving the press conference with Houseman. We see them slip into a taxi. Inside the taxi we can just glimpse Welles exploding with laughter. NEWSREEL VOICE How long, oh how long could it possibly be before the sunny land of dreams tried to harness the combustible power of this showman, this impresario, this best of all possible Boy Wonders?! Images of Welles posing and shaking hands with GEORGE SCHAEFER Schaefer is an intense, compact man in his early 50's. His nickname in Hollywood is "The Tiger" -- both for his admired tenacity and his feared temper. He is a moral and ethical man; John Adams in a Brooks Brothers suit. As we hear NEWSREEL VOICE The winner in the Welles derby was George Schaefer, the head of RKO Pictures. With a contract unimaginable before The Days Of Orson, Mr. Schaefer captured the whirlwind snared the beast, roped the tyrant! Images of Welles and Schaefer: Welles signing his contract; smiling to Schaefer; Schaefer making a speech; Welles joking with reporters. As we hear: NEWSREEL VOICE Eyebrows raised and jaws dropped all over Hollywoodland when the terms of the deal that lured The Great Orson came forth: the Boy Wonder could produce, write, direct and star in his own projects with budgets up to $500,000 a picture! He would have total control over the shooting of the picture and the finished product. The studio, well, they just paid the bills. Meanwhile, the insiders of filmland were skeptical. An interview with a Hollywood Insider, who looks like a bookie: HOLLYWOOD INSIDER John Ford doesn't have a deal like that. Cecil B. DeMille doesn't have a deal like that. No one has a deal like that! If ya ask me, George Schaefer is just plain nuts Images of Welles arriving in Hollywood and touring the town: Welles climbing down from a plane; posing with Schaefer before of the RKO gates; touring the studio; leaning over an editing machine; laughing with female extras in the commissary; posing in front of his Brentwood home. As we hear: NEWSREEL VOICE So Cometh Orson! He toured the RKO studio and met with the biggest of the big! He charmed his way through the town from the Brown Derby to the Copacabana, from the Pacific Palisades to the Hollywood Hills! More images of Welles in Hollywood: Welles touring the town; visiting all the nightclubs and dancing with beautiful women; he is seen everywhere about the town. As we hear: NEWSREEL VOICE Yes, the Boy Wonder had arrived! He even charmed those rival maidens of Hollywood gossip, those well- coiffured chroniclers of the dream factory: Hedda Hopper and Louella Parsons. Shots of Welles with LOUELLA PARSONS and HEDDA HOPPER Louella is a much-feared gossip columnist. She is a gorgon in her 60's; Margaret Dumont possessed by the devil and tanked up on gin. Her capricious cruelty is only matched by her fervent loyalty to all things Hearstian. Hedda is a gossip columnist in her 50's. She is given to elaborate hats and villainous intrigue. Louella's younger, smarter rival, Hedda probably spends her spare time eating children. Then a snippet of an interview with Louella: LOUELLA Orson is the sweetest boy. We're both from the midwest, you know. He's just a local fella making good, ya follow? More shots of Welles just after his arrival in Hollywood, blissfully touring the RKO facilities as: NEWSREEL VOICE So today, almost a year after his arrival in Hollywood, we leave the Boy Wonder still hard at work developing his much-anticipated first feature, preparing to dazzle us all again. We're waiting, Orson! Welles after his RKO tour, smiling mischievously, stands before a microphone: WELLES I'll tell you what, this is the best electric train set a boy ever had! "The End" and newsreel credits The newsreel sputters to a stop in a screening room. A shaft of light shines on a large MGM logo on one wall. Another shaft of light illuminates the sitting figure of LOUIS B. MAYER. Mayer is a short, crafty, bespectacled man in his 50's. His cloying, avuncular exterior only fleetingly disguises the film titan's outrageous barbarism. Another shadowy figure, a Mayer FLUNKIE, can be just glimpsed sitting elsewhere in the screening room. Mayer glowers at the darkened screen for a moment. A beat. MAYER Who does that cocksucker think he is? FLUNKIE They're laying bets over on the RKO lot that this great deal will end up with him never doing a picture. Back to New York he goes. MAYER Serves him right. I mean can you stomach the arrogance? FLUNKIE Inside skinny says the glory boy's finished, can't come up with a movie. Wants to do a biography now. MAYER After RKO boots him maybe we'll pick him up cheap. Have him do that WAR OF THE WORLDS crap as a feature. Meantime, shelve the newsreel. No one cares INT SAN SIMEON. WELLES' SUITE EVENING Orson Welles, elegant and impressive, is flourishing a cigarette and a coin in his magnificently expressive hands He is perfecting a magic trick. Welles is lounging on the bed of an enormous guest suite at San Simeon. He is wearing a tuxedo. In the bathroom beyond him we can see the writer HERMAN MANKIEWICZ ("MANK". ) Mank is a wonderful wreck of a human being. 43 years old, but looking considerably older, he is short and squat and bitter. A compulsive gambler and drinker, Mank still glimmers with wry humor that is equally wicked and corrosive. He is incomplete without the stub of a cigar clenched in his teeth. Mank, also dressed in a tuxedo, is looking at himself in the bathroom mirror as he struggles with his bow tie. He occasionally glances in the mirror to Welles. Title: JANUARY 3, 1940 MANK I don't know what you expected with Joseph- fucking-Conrad for Chrissake. I mean this is Hollywood, pal. WELLES All right! Enough! I've heard this from Schaefer and RKO. I've heard it from everyone-- MANK But you keep coming up with the same elitist crap - - HEART OF DARKNESS with a million dollar budget?! - - no one wants to see that. WELLES Nonsense Welles dramatically taps the cigarette on the coin, practicing his trick as: MANK What are movies about, Orson? WELLES Forget it- MANK What are movies about? WELLES Telling stories. MANK Nope. WELLES Showing life MANK Who the hell wants to see life?! People are sick to death of life! They want make-believe, pal. Fantasy. They want Tarzan and Jane, not Tristan and Isolde. Welles quickly makes the cigarette seem to completely pass through the coin. An astounding bit of slight of hand. WELLES (happily) Magic MANK Butts on seats. That's what movies are about. You got one job in Hollywood -- everyone has the same job, in fact -- putting the butts on the seats. You gotta sell 'em popcorn and Pepsi- cola. It's all about popcorn and Pepsi-cola. WELLES Not for me. MANK Then you better get ready to be the youngest never- was in Hollywood history. WELLES That's better than being the oldest has-been in Hollywood history. MANK You're a laugh-riot, kid. Welles laughs and goes to Mank in the bathroom. WELLES Here, turn around. Welles ties Mank's bow tie for him as: WELLES So, we've got to come up with our movie. Our biography. MANK Right- WELLES We find the man and then we dissect him- MANK Like a bug. WELLES But with compassion and insight-- MANK (glancing at his watch) Christ, we gotta go! The old man doesn't cotton to lateness. Mank takes a quick swig from a flask of vodka, shoves it into his coat and scurries into the other room as Welles checks himself in the mirror. A beat. Welles smiles, confident and resplendent WELLES (into the mirror) How do you do, Mr. Hearst? My name is Orson Welles. INT SAN SIMEON. HALLWAY FOLLOWING Welles and Mank walk through an impressive upstairs hallway of San Simeon. Quick glimpses of the astounding grandeur everywhere around them as: WELLES How about Howard Hughes? We could do Hughes MANK I'm not fucking with Hughes. That shit-kicker would kill us dead, baby. Just like Jean Harlow WELLES Howard Hughes killed Jean Harlow? MANK Sure. Dropped her out of his Lockheed over Utah They disappear down a long stairway INT SAN SIMEON. DINING HALL EVENING An explosion of color and an immediate swirl of sound We are in the Grand Refectory -- the mammoth dining room -- at San Simeon. Five long tables are placed end to end. There are about fifty sumptuously dressed guests. WILLIAM RANDOLPH HEARST and MARION DAVIES preside, side by side, at the center table. Hearst is 76 years old. He is a fully commanding figure, towering in both height (six foot two) and personality. He is shaped rather like a pear and moves with a delicacy surprising for such a famously merciless man. Although the word ruthless does not begin to do justice to the press baron's animus, Hearst is endlessly polite and almost painfully soft-spoken. Marion is 43 years old, a shimmering and lively presence. In a word that might have been coined for her, she has moxie. While the ravages of alcoholism have left their subtle marks on the edges and attitudes of her face, she can still charm and captivate with almost effortless grace. Around Hearst's feet sit a collection of his beloved dachshunds. On the other side of the main table, and down a bit, sit Welles and Mank. We sweep around the table, hearing bits of overlapping dialogue and finally settle on Marion and Hearst. Marion is charming CAROLE LOMBARD and CLARK GABLE, who sit beside her. She tenderly rests one hand on Hearst's arm as she speaks. Marion speaks with an occasionally pronounced stutter. MARION And we would hear them scuttling around at night with their little red eyes and little yellow t-t- teeth and I'm just imagining plague lice jumpin' all over the damn place So we set t-t-traps everywhere. And every morning we would find the t-t-traps sprung but no mice! CAROLE LOMBARD Houdini mice. Laughter MARION Just wait. So one night I notice Pops getting outta bed and sneaking away. And he's got this little p-p- paper bag with him, right? Middle of the night. So I figure the old man's really up to no good this time and I follow him. Well I'll be g-g-goddamned if he's not springing all the traps and leaving cheese for the rats! MARION You and that freak Disney, in love with the damn rats! Laughter, even from Hearst HEARST They really are sweet little things Meanwhile, across the table Welles is rapaciously devouring his dinner as: WELLES Sigmund Freud? MANK Kid, you just got your ass kicked on Joseph Conrad and now you're gonna go to Schaefer and tell him you wanna do the id and the superego? Stop being so goddamn smart. Mank surreptitiously pours a huge shot of vodka from his flask into his glass as: WELLES (suddenly inspired) Manolete?! MANK Who the hell's Manolete? WELLES The great Spanish bullfighter MANK I don't wanna write about no spic. WELLES No, it's perfect! When in doubt, put on a cape! False noses and faux beards and flowing capes have been the life-blood of the actor's craft since the days of lrving and Booth. (He flourishes his napkin like a bullfighter's cape.) Imagine me in a glittering suit of lights on the dusky Andalusian plains-- MARION Why Mr. Welles is attempting semaphore Welles smiles across the table. Laughter. WELLES Bullfighting, Miss Davies! MARION And is dear Mank your b-b-bull? WELLES My factotum, ally and comrade-in-arms MANK Writer, flunkie, pimp-- CAROLE LOMBARD (wry) You fight many bulls there in New York, Orson? WELLES Ever met Walter Winchell? WELLES (expansively, warming into a story) No, when I was but a tender lad-- CAROLE LOMBARD Last week would this be? Laughter. As Welles speaks the whole table gradually stops eating and listens to his tale: WELLES My father and I made a tour of the grand boulevards of antique Europe. And when we were in Iberia I had the chance to face the bulls. At the knee of the great Manolete I took up the cape and sword - (he uses his napkin and knife to demonstrate) -- across from me stood a mammoth bull reputed to have gored a full seven men to a grisly demise! So - - with Manolete shouting encouragement I flourished . . . I flourished again . . . and the bull charged! Across the golden dust it came, thundering like the great minotaur of legend, closer, ever closer, its calamitous hooves pounding into the dirt, shaking the earth as I held the crimson eye of the bull with my own, defying it -- it was almost upon me and I flourished one last time! -- the monster swept past! - (he spins his napkin in the air and his knife is now gone, a magic trick) -- and my sword was gone -- buried in the bloody eye of the beast! Applause and laughter from around the table. Then: HEARST (quietly) You are evidently a man who knows a great deal about bull. Some nervous titters. A beat as Welles' smile fades and he stares at Hearst. HEARST Of all man's malignity -- of all his sadism -- none is more depraved than cruelty to animals. Silence Mank gives Welles a desperate warning look to keep quiet Welles cannot resist speaking: WELLES In Spain the cruelty would be in denying the beast a fighting end. A beat as Hearst rivets Welles with a cold, bland stare Deafening silence around the table. Then: HEARST Who are you, sir? WELLES My name is Orson Welles HEARST The actor WELLES And director. HEARST I see. And you are in California for what reason? WELLES To make pictures. HEARST And what pictures have you made? A beat. WELLES None. A beat. Hearst smiles HEARST Well, I wish you luck. It is a treacherous business. WELLES So I've been told. HEARST In Hollywood the fiercest bulls are the most brutally killed. WELLES I'll remember that. A tense beat. Marion quickly diffuses the situation; MARION Enough Hollywood talk! Can't anyone talk about anything else? MANX Heard some juicy gossip from Metro. MARION (eagerly) Ooh, dish. Laughter. Even from Hearst. Then the dinner chatter continues. Welles cannot keep his eyes off Hearst, the press baron draws Welles in like a siren. Marion gives Hearst a little kiss and grabs Carole Lombard and they leave the table. Hearst leans into Clark Gable to continue talking. Welles sits back and reaches for a cigar. Mank takes his arm and indicates he should stop, nodding his head in Hearst's direction. WELLES (quietly) The man doesn't allow drinking or cigars? This is monstrous. MANK The old man has his own way of doing things WELLES He's nothing but a hypocrite. He preaches morality every day in his sordid little papers for everyone else in the world but he lives openly with his mistress. Mank sneaks another shot from his flask MANK Buddy, when you own the largest publishing empire in the universe you can do whatever the hell you want. Think about it, pal. Every day one out of five Americans picks up a Hearst publication. 30 newspapers, a dozen magazines, a bunch of radio stations and the grand dragon of them all. Little Miss Louella Parsons. Tends to give you some of that ol' noblesse oblige. Welles studies Hearst across the table. WELLES Look at those hands. Those are the hands of an artist. A modern Caravaggio. MANK No, baby, those are the hands of a killer Hearst leans down and feeds his favorite pet dachshund, Helen, table scraps. He talks to her gently. HEARST There you are, honey. Aren't you a wonderful girl? INT SAN SIMEON. LADIES LOUNGE FOLLOWING Marion and Carole Lombard escape into an ornate ladies bathroom. Marion immediately goes to a cabinet and retrieves a bottle of Scotch hidden under some towels. She takes a swig and then hands the bottle to Carole Lombard. She drinks. Marion lights a cigarette. MARION God, these parties are the worst CAROLE LOMBARD You need to get outta here, Rapunzel MARION That's why he has the parties, he says it's like bringing the world to me. CAROLE LOMBARD Why don't you come down to LA? Stay with us for a while. MARION With about twenty of his spies on my tail. No thanks. Marion hands the cigarette to Carole Lombard A beat. A beat. MARION (somewhat ruefully) It's not so bad here. After all, what girl doesn't want to live in a castle? MARION Mr. Welles certainly is a caution CAROLE LOMBARD (smiles) Yeah, Orson's a real piece of work. But deep down, he's a good kid. Real deep down. MARION And attractive in a hammy sort of way. CAROLE LOMBARD Mm. A beat. Carole Lombard hands the cigarette back to Marion CAROLE LOMBARD Listen, you come down and stay with us for a few days. Just tell the old man that-- MARION I can't CAROLE LOMBARD Sure you can, just-- MARION He needs me here. A beat. Carole Lombard does not respond. INT SAN SIMEON. BALLROOM FOLLOWING In the cavernous ballroom, a dance band is playing "I'LL BE SEEING YOU." The guests mingle and dance Welles and Mank wander as Welles takes in the impressive surroundings. WELLES "In Xanadu did Kubla Khan a stately pleasure dome decree. . . "How big is it, all told? The estate? MANK The whole joint is half the size of Rhode Island. WELLES Jesus MANK Yeah, it's the place God would have built, if he'd had the money. Carole Lombard and Marion return, rather giggly MARION Mankie, Mankie d-d-dance with me MANK You've been naughty, haven't you, honey? MARION Shit, can you smell it? You got any sen-sen? MANK Sorry. MARION Mr. Welles, you got any--? Oh fuck it. She goes off in search of Hearst. CAROLE LOMBARD Meanwhile, Orson, I thought your bullfighting story was nifty. Let's cut a rug. She pulls Welles to the dance floor Mank wanders away and takes another swig from his flask. As Welles and Carole Lombard dance, Welles keeps an eye on Hearst and Marion who are dancing nearby. CAROLE LOMBARD So you ever gonna do a picture? WELLES Not you too CAROLE LOMBARD (smiles) It's gonna be fine, Orson. You're gonna do great. WELLES I wonder sometimes. CAROLE LOMBARD You're just scared. WELLES Am I? CAROLS LOMBARD Sure WELLES And what am I scared of? CAROLE LOMBARD Of being found out. Of not being a genius WELLES (smiles) Oh, but haven't you heard? I'm the Boy Wonder. I've been a genius since the moment I was born. CAROLE LOMBARD We've known each other too long, Orson. Sling the bullshit elsewhere. WELLES Carole, you wound me! As if I could hope to pacify you with evasions of-- CAROLE LOMBARD Don't insult me with your cute press quotes Save it for Louella. She stops and looks at him firmly CAROLE LOMBARD You make your mark, Orson. Nearby Marion pulls away from Hearst sharply, drawing Welles' attention. He overhears: MARION Goddamn it. I gotta have some kinda life! HEARST There's no call for that language- MARION There certainly is I There certainly is! Aw, to hell with you! She storms off. Welles and Carole Lombard watch her go WELLES That poor woman. CAROLE LOMBARD (sadly) She knew what she was signing on for After all, she took the money. Welles watches as Hearst stands alone on the dance floor We hear the sound of a lion roaring in the distance INT SAN SIMEON. WELLES' SUITE NIGHT Welles, again dressed in a tuxedo, lies on his bed Through the open balcony doors he can hear the eerie sound of lions roaring and elephants trumpeting in the night. He stand and wanders to the balcony. Below him he can see bits and pieces of Hearst's private zoo in the moonlight: a lion pacing relentlessly back and forth; an alligator slipping into the water; a monkey slamming into the bars of its cage. The disquieting sounds of the menagerie float through the midnight air. Welles leaves his suite INT SAN SIMEON. HALLWAYS FOLLOWING Welles roams the seemingly endless hallways of San Simeon. In the half- light they begin to resemble his own cinematic dream-palace, Xanadu. He hears the ghostly echo of a song, "WHERE OR WHEN". He curiously follows the sound, taking in the fabulous castle everywhere around him. He passes by the door to the Assembly Room. Inside, shafts of light illuminate portions of huge, uncompleted jigsaw puzzles. INT SAN SIMEON. BALLROOM FOLLOWING "WHERE OR WHEN" is now clear. Welles stands in the shadows of a balcony overlooking the great ballroom. Below him a phonograph record spins lazily on a turntable standing of the floor of the deserted ballroom. And Hearst and Marion are enjoying a quiet dance together, her head nestled on his shoulder. Welles stares and stares at them And slowly smiles. We linger on Hearst and Marion as they dance EXT WELLES' HOUSE. POOL DAY Welles, wrapped in a bathrobe, is pacing quickly around the perimeter of his backyard pool. He is puffing on a cigar and grunting to himself as he scribbles down notes. Mank, wearing sunglasses and a battered fedora and looking decidedly hung-over, comes from the house to the pool. Welles roars up to him: WELLES Mank! You scoundrel! What took you so long?! MANK (pained) Orson, please ... it's too bright Welles takes Mank's fedora and flings it away. WELLES Here you are, up with the birds for once, you vampire! MANK (settling into a deck chair) Okay, boy wonder, what? WELLES Listen ... I've got it! It came to me like a thief in the night! Pure inspiration! Total magnificence! Mank takes a glass from a tray of orange juice and pours vodka from a flask into his juice as: MANK Oh for Christ's sake- WELLES I know who we're going to get I The great American biography! A journey into the soul of the beast. MANK This better be good WELLES Image a man that has shaped his time. A titanic figure of limitless influence. Think about empire. A man with an empire at his feet. A man, like a baron, living in a palace, a glorious palace on a hill, and controlling the permutations of everyone beneath him. Feudal. MANK (realizing) Oh Christ... WELLES Image the possibilities as this man controls the public perception of the nation through his-- MANK Oh Christ A beat as Welles stands in triumph before Mank. WELLES Yes. MANK (quietly) Please don't say this. WELLES Mank- MANK Don't whisper it. Don't even think it WELLES How long have we spent casting our minds about the world when the answer to our prayers was right here under our noses -- every single day in the newspapers and on the radio -- waiting for us in that ridiculous castle! Waiting for--! MANK Orson. Stop. Just stop Welles quickly sits in a deck chair next to Mank as: Beat WELLES Now remember he's a public figure who sought out that publicity so legally he can't stop us from-- MANK (laughs coldly) Listen to you. You child! Men like him don't bother with things like legality. They don't have to. You know why, boy-o? Power. Power like you couldn't even begin to imagine. MANK Howard Hughes, he would just kill us. Hearst he would kill us and fuck everything we ever loved. WELLES We're doing Hearst. A beat. Mank slowly removes his sunglasses and leans forward, dead serious. A beat. MANK You may think you know what you're talking about, kid, but believe me, you don't. You're talking about going into a battle you can never win on a battlefield so far above things like movies and Hollywood that Hearst won't even have to glance down when he crushes you. When he flicks you away with one finger. I'm talking about money and influence and evil beyond your capacity to imagine Hell. WELLES So speaks the court jester. MANK Fuck you WELLES I expected more from you. MANK Sorry to disappoint. WELLES (with building venom) How does it feel, Mank? Going up to the palace and making all the lords and ladies laugh as you tell your little stories and beg for crumbs at the table? How does it feel being the ugly little monkey they keep to amuse themselves--?! Mank leaps to his feet MANK It feels just fine, you pompous fuck- Welles blocks Mank's way. Mank retreats. Welles pursues him around the pool as: WELLES I remember a man who wrote I He was a brilliant writer who dazzled me time and time again with his wit and insight-- MANK Don't do this WELLES Where did he go? He hasn't had a screen credit in four years-- MANK Don't do this WELLES (savagely) --Because he has been so furiously busy wasting himself. Amusing his keepers. Because he is a sycophant! Because he has been thrown out of every studio in Hollywood and no one will hire him because he's a drunk- -! Mank spins on him: MANK AND YOU'RE NOTHING BUT A GODDAMN PHONY! What is all this "Orson Welles" bullshit?! This boy genius crap?! What the fuck did you ever CREATE? You're just another goddamn ACTOR! Welles shoves Mank violently. Mank goes sailing into the pool. Mank splashes to the surface and stands for a shocked moment and then wades to the edge of the pool. Miraculously, and like the true drinker he is, Mank is still holding his glass of juice and vodka, now supplemented with pool water. Welles stands above him, blocking his exit from the pool. From this low angle Welles suddenly looks startlingly Kane- like. A pause MANK Let me out. WELLES Listen to me- MANK Fuck you-- WELLES I am giving you the last chance you will ever have to be yourself again! MANK (suddenly) I don't have it anymore?! MANK When I was a kid I wanted to scorch the world too - - I had all kinda dreams about making great pictures and telling great stories. But all that's finished for me-- WELLES It doesn't have to be MANK And yeah, sure, Hearst's a great subject. Been keeping notes on him for years for my ... (he laughs bitterly) great American novel. But I can't do it anymore. No studio's gonna hire me and I - - WELLES I'll hire you -- right now- MANK I can't do it. okay?! I drink too much -- I drink all the fucking time and I don't have it anymore. All that is over for me-- WELLES (roars) NOT UNLESS I. TELL YOU IT IS A tense pause Welles kneels by the edge of the pool, effortlessly switching gears. WELLES (deeply) Look, Mank, this is our only chance I know this is the story. And now is the time. And I cannot do it without you. Everything in my life -- all the promise and potential and dreams -- have led to this moment right now. To you and me. Right here. A pause. Welles gazes at Mank, imploring MANK He'll destroy us. WELLES Then let him. What have we got to lose, you and I? A long beat Welles leans close to him. WELLES Take my hand, Mank. And we'll dance one last time. We'll dance to the music of the angels. We'll make history. We'll scorch the earth. We will ... astonish them all. Silence as Welles offers his hand to Mank. Mank takes a sip from his glass of juice, vodka and pool water. MANK Thank God you don't write dialogue INT WELLES' LIVING ROOM DAY Mank is slowly sharpening a series of pencils with a pocket knife, blank pads waiting. Welles is standing across the room from him. WELLES So, who is he? We have to know him. MANK Everyone sees someone different. That's what we show. WELLES How? MANK Like a jewel. Turn it in the light and a different facet is illuminated. Mank finishes sharpening his last pencil and picks up a pad He smiles to Welles MANK Go And we leap into MONTAGE -- WELLES AND MANK BRAINSTORM A rush of jazzy. Gene Krupa percussion as Welles and Mank develop their story. We see images of feverish creativity. Welles raging, pleading, arguing, pushing. Mank responding, laughing, drinking, writing. It is a passionate dance of creation Welles' tennis court Mank and Welles are on the tennis court, but hard at work. Mank waits for Welles to serve. Welles bounces the tennis ball, but is too preoccupied to serve as: WELLES The key -- the key -- the clue -- what does this man recall on his death bed? Okay, Mank, you're dying. What's the last image that comes to you? Right now. MANK This girl on a dock. White dress. Never said a word to her. WELLES Why her? MANK She was . . . innocent A beat, Welles deep in thought. Mank watches Welles closely. MANK So when was our man innocent? Was there a moment early on -- of innocence and bliss? There must have been. Okay, you're dying - what do you think? Welles does not answer. He continues to bounce the tennis ball, deep in thought. A beat MANK (probing) Something you lost maybe? MANK Something you can never get back? Mank watches as Welles lets the tennis ball drop. It bounces and rolls -- for a fleeting moment in Welles' mind it seems to become the rolling snow globe from KANE -- we hear the sound of sleigh bells and a child's happy voice -- in the snow globe we seem to see a boy laughing and pelting his father with snowballs. . . Then more images, mad and outlandish and sedate and solemn; in the kitchen, in a car, around the pool, in a bar. Welles and Mank act out scenes and argue. They leap from character to character fearlessly. Emoting and laughing and writing. We see the twin joy and terror of walking the tightrope, of sheer creation. We see them having a ferocious argument. They scream back and forth angrily and then Mank storms out and slams the door. Welles stands alone in his living room, he catches a glimpse of his own reflection in a mirror and we hear: MANK'S VOICE Men like Hearst don't love.. Welles' living room: Welles is slowly advancing on Mank. Mank sits, watching Welles approach. The living room is now filthy. Papers and sketches and gin bottles are discarded everywhere around them, a thick cloud of cigar smoke. It is very late at night and the room is in semi-darkness. WELLES All men love. But men like Hearst -- they don't bother with convention because-- MANK They don't have to. WELLES He loves in his own way. On his conditions. Because those are the only conditions he has ever known. Welles is now standing over Mank, a dark figure in silhouette. Mank soaks in this somewhat ominous image. More music and images: eating and working; swimming and working; playing and working simultaneously. Then: Beach: Sunset. We see them walking along a deserted beach Welles is walking in the surf, his trousers rolled. WELLES (quietly) Hearst looks down at the world at his feet Everything has always been beneath him. MANK And what does he see? WELLES The people. When they pay him homage, he adores them. But when they have the ... audacity to question him. To doubt him. To embarrass him. Then he despises them. MANK And when he looks up? What does he dream about? 31 Welles stops and looks up. A thousand stars twinkle above him. They are reflected in his eyes. A long pause as he does not answer Mank Then MANK I'm ready to write it, Orson Welles turns to him. You're sure? Yeah. Mank gazes at Welles. WELLES MANK I know him The clatter of an old typewriter is heard. EXT/INT + BUNGALOW. VICTORVILLE DAY Victorville is a rural desert community in San Bernadino County about 90 miles from LA. Mank and John Houseman are ensconced in a bungalow at Campbell's Guest Ranch, writing the movie. Mank, smoking a cigar, paces around the cacti and shrubs in the backyard reciting to their secretary. She pounds away on a typewriter as he orates. A huge stack of papers lies neatly by her typewriter. This is clearly the longest screenplay in the history of the world. MANK Leiand: "You talk about the people as if you owned them. As though they belonged to you. But you don't really care about anything except you." Craig: "A toast then, Jedediah, to all those people who didn't vote for me today and to love on my own terms. Those are the only terms anybody ever knows. . . " We float into the house as we continue to hear Mank's recitation... Inside, John Houseman is busy rifling through Mank's room as he listens: MANK'S VOICE (CONT.) "...because in the end a man looks into the mirror and sees one face looking back not humanity -- not "the people" -- one face. And he's got to be able to look at that one face and know he was true. " Houseman uncovers a bottle of vodka hidden under Mank's bed He pours the bottle down a bathroom drain as he calls out the window: JOHN HOUSEMAN That's too long. Tighten it up Outside, Mank snarls and then revises: MANK You're killin' me here, Housey. Okay, make that, Craig: "A toast, Jedediah, to love on my own terms. Those are the only terms anybody ever knows, his own." Houseman emerges from the house. JOHN HOUSEMAN Telegram from The Christ Child He tears open the telegram and reads: Beat. JOHN HOUSEMAN "Schaefer loves the idea. Stop. Start writing. Stop. Stop drinking. Stop. Did you work in the jigsaw puzzles. Question mark. Don't stop. Stop. Love you madly, Orson." MANK That man makes my brain hurt We fade to a beautiful drawing of a dark, cavernous room. Perhaps it is a perfect matte painting from KANE. Real or illusion? The image turns into... INT SOUND STAGE, RKO LOT DAY Welles is standing in the middle of an enormous sound stage, empty but for a table with some elaborate set models. He is;' slowly walking around the models, studying them, imagining' his movie. The sound stage door opens and a man enters, carrying a small black bag. He is cinematographer GREGG TOLAND. Toland is a quiet, efficient and slim man of 36. He is brilliant and fearless. Toland walks to Welles and, without a word, pulls an Oscar statue out of the bag and sets it down in the middle of one of the set models. He looks up at Welles as we hear: WELLES' VOICE And Gregg Toland plunks down his Oscar for WUTHERING HEIGHTS and says, "Mr. Welles, I want to shoot your picture. . . " INT THE BROWN DERBY DAY\NIGHT The chic Brown Derby restaurant is the unquestioned palace of Hollywood celebrities. The smug big-wigs and desperate hangers-on circulate and score points in the Great Game of Movie Gossip. In one corner booth sits Hedda Hopper, phoning in the latest salacious gossip to her newspaper. In the other corner booth Louella Parsons does the same. They occasionally glance back and forth at each other like ravenous hyenas eyeing the last bit of carrion. Welles circulates between them. In a scene reminiscent of the famous CITIZEN KANE breakfast table scene with Kane and Emily, we shoot back and forth as Welles applies his considerable charm to both women. Welles is dressed differently with each of them; breakfast with Hedda and dinner with Louella. With Hedda, morning: WELLES (CONT.) ... And I said, "Mr. Toland, you are the finest cinematographer in Hollywood, why would you desire to work with a stumbling neophyte?" With Louella, night WELLES And he replied, "Mr. Welles, the only way to learn anything new is to work with someone who doesn't know a damn thing." Louella screeches LOUELLA (scribbling on a pad) Priceless! With Hedda, morning: WELLES Hedda, this movie is going to look like no other picture ever made. With Louella, night: WELLES Tome it's a question of truth and illusion. Don't you get tired of the errant falsity in motion pictures? LOUELLA Huh? WELLES What we are going to do is shoot life -- in all it's joyous complexity. He takes out a coin and begins a magic trick WELLES Consider this quarter, my dear. You can touch it and feel it and were you to lean forward you could even smell it. Why is it that in the movies a simple bit of reality -- a quarter, a room, a man-- With Hedda, morning: WELLES Becomes nothing but a lie? A trick. An illusion. He makes the quarter 'completely disappear. Hedda is charmed WELLES I will show the reality behind the trick. He makes the quarter appear again and shows the guts of the trick. WELLES I will use the illusions of Hollywood to show . . . the truth. HEDDA What does truth have to do with movies? With Louella, night LOUELLA (confused) So, what, it went into your other hand? With Hedda, morning: WELLES And so the dreamer awakens into the realms of reality. He has been given a rendition of the truth. He has been treated with respect. HEDDA Orson, that's all terribly interesting but what's all this about you and Dolores Del Rio? Do I hear love birds a'singin'? Welles sighs. With Louella, night: LOUELLA Now, Orson, you know I'm just dyin' to see your picture and I know it's gonna be boffo, but you're writing about a publisher, right? WELLES We're using- LOUELLA You're not doin' Hearst, are you? WELLES Good God no! The character is a delicious amalgamation of various press barons-- LOUELLA A delicious amalgamation, is it? He leans forward to light her cigarette as: WELLES That's right. A symphony of those: vaunted and valued tellers-of-truth. Those heroic minutemen standing sentry on our liberties-- EXT. LOUELLA Orson, hold on. Look into my eyes. Tell me you are not doing Hearst. WELLES I am not doing Hearst. INT BUNGALOW. VICTORVILLE DAY Mank and Houseman watch nervously as Welles reads the last page of their massive screenplay. The script, almost half a foot high, is piled on a table next to Welles. He sets down the last page and looks at Mank. A beat WELLES It's 350 pages long. MANK Yeah, but the margins are real wide. WELLES It is 350 pages of ... ABSOLUTE INSPIRATION! He leaps up and embraces Mank WELLES Housey, get us a drink. Houseman glances at Welles, surprised, but dutifully scampers inside. WELLES I told you you could do this! How could you have ever doubted me!? You must never doubt me again! Mank laughs MANK It's good, huh? WELLES Good?! Good?! Words fail you at last! It's terrific! Now I'll have to do some shaping, of course, and some of the scenes aren't exactly . . . exactly . . . MANK What? WELLES Short enough. But this is a grand start And I think we need to change the name. MANK The title? WELLES No, AMERICAN is a blessed title directly sent from God's soul to your mind. We shall never change that! I mean the name of the publisher. Charles Foster Craig doesn't have the knives-out poetry I need. I was thinking about "Kane" -- you like that? MANK Cain -- like the Bible guy? WELLES K-A-N-E. One strong syllable. Kane I MANK (weakly)Craig is one syllable WELLES But it's not a great syllable Houseman returns with a tray of drinks. Welles hands glasses all around as: MANK I --um-- I don't know if I should. I ain't been drinking since I started on this-- WELLES ( toasting) To my invaluable comrade Drink up! Mank is stunned Welles smiles and drinks. INT CAR. DESERT ROADS DAY Welles sits in the back of his limo as his chauffeur speeds him back to Los Angeles. He goes through the script with a fervent intensity. He crosses out huge sections and tosses away entire pages. The' floor around his feet is littered with discarded pages. Mank sits drinking heavily as the sun sets in the distance Houseman is busy packing in the house behind him. Houseman notices Mank and goes to him They stare at the crimson of the setting sun for a moment MANK I'm out, aren't I? HOUSEMAN Welcome to the world of Orson Welles. We focus on Mank's glowering face. But the background is somehow different. We are at... INT MANK'S CAR NIGHT Late at night. Mank is sitting in his car, drinking from his flask and listening to period jazz music from the car radio. He is parked outside Welles' house, waiting and seething and very drunk. He sees Welles pulling into his driveway and climbing out of his car. Mank takes a final swig and then bolts after him, carrying a script. . . EXT WELLES ' HOUSE FOLLOWING Mank roars unsteadily up to Welles: MANK YOU FUCK! YOU SELFISH FUCK! Mank flings the script in Welles' face. Welles recoils WELLES Jesus Christ -- MANK YOU CAN'T DO THIS TOME -- THIS WAS OUR STORY, REMEMBER? -- YOU AND ME AND GODDAMN EVERYONE ELSE - - REMEMBER THAT?! Mank snatches up the script and thrusts it in Welles' face MANK Pal from the studio sent this -- you see that?! What does it say?! WHAT DOES IT SAY ORSON?! Welles bats the script away: WELLES Get away from me-- Mank pushes the title page of the script toward Welles as MANX It says AMERICAN by Orson Welles. YOU TOOK MY NAME OFF THE FUCKING SCRIPT! WELLES It's obviously a mistake, Manki Some steno girl made a mistake, alright?! MANK You can't do this to me--! Welles spins on him: WELLES (savagely) I fucking well can! I own your script and I can do anything I goddamn want. And don't forget for one minute that I took your 350 pages of drunken rambling and I made a movie out of them -- and now I've got to shoot the bastard. So thank you very much, I have all I need. And you can stop calling me. He goes into his house and slams the door. Mank leans against the door in stunned exhaustion. Then he slides down the door and sits leaning against it. MANK (quietly) I hope you choke on it. I hope it kills you. Inside the darkened House, Welles is leaning against the front door. Silent. INT ,, SAM SIMEON. ASSEMBLY RQOM NIGHT The Assembly room is Hearst's private sanctum high in a tower at San Simeon. Marion is valiantly trying to piece together a huge jigsaw puzzle. Hearst enters and goes to her. He puts his hand gently on her shoulder. MARION This is supposed ta be Siam or some such. Some kinda lousy B-B-Balinese temple. This look like a temple to you? I can't see it myself-- HEARST (quietly) Darling, I talked to Millicent. Marion stops working at the puzzle. She does not look up. Beat HEARST She said no A pause. Then: Marion slowly reaches out for the puzzle and delicately place a piece in the proper position. MARION There. That's right. HEARST She's a Catholic. She says it would put her soul in peril. Divorce is a very serious sin, apparently. MARION (not looking up) Nuts. She only cares about the money. She thinks I'll make you cut her out of the w-w-w-w... (she clenches her fists) will. A long, difficult pause HEARST I'm so sorry. Marion slowly stands and walks to a liquor cabinet and pours a stiff drink. Hearst watches sadly, but doesn't say a word INT SCHAEFER'S OFFICE. RKO LOT DAY Welles paces before Schaefer's massive desk with typical combustible energy. Behind the desk, huge picture windows show the bustling activities of the RKO lot. WELLES It's an awful title, of course, but I can't think of anything better. Someone came up with A SEA OF UPTURNED FACES -- which has a nice, grand ring to it -- and I thought of JOHN CITIZEN, USA but that strikes me as a bit Warner Brothers. Or, God forbid, Capraesque. I suppose AMERICAN will do for now but-- SCHAEFER CITIZEN KANE WELLES Pardon? SCHAEFER CITIZEN KANE There's your title. Welles muses WELLES A "Z" and a "K" in the title. That would draw the eye. For the poster. I like that THE PRISONER OF ZENDA had a "Z" and a "P" and that worked-- SCHAEFER Now look, Orson, let's not get ahead of ourselves. The budget projections on this-- WELLES (theatrically) I know, I know! But what more can you expect of me?! I have pared this story down to the marrow to save money but to cut more would be to--! SCHAEFER Listen, get off your horse with me. You know I've stuck by you since the beginning of time it seems like, while the stockholders in New York were ready to cut and run and everyone else in Hollywood was set to toss me in a rubber room. But your contract stipulates a max budget of 500 thousand. This one's gonna come in at 750 thousand. What do we do about that? A beat SCHAEFER Now don't have a fit -- but I want you to think again about doing WAR OF THE WORLDS- WELLES Jesus SCHAEFER Do WAR OF THE WORLDS as a feature and everyone's happy. You make some money and New York's happy and you have a track record and then we'll move on to KANE. WELLES Please don't ask me to do this. SCHAEFER It's the safe bet, Orson. There's nothing wrong with that. A long pause as Welles leans against a wall, his head down He does not look at Schaefer as: WELLES (simply) George, I want you to let me make this movie because I need to make it. And I don't really know why. Afterwards there' II be all the time in the world to make money and sell popcorn. And I'll do that for you. For RKO and New York. But for now ... please let me tell this story. A beat. Welles finally looks up at Schaefer WELLES It's your decision, George. If you look into my eyes right now and say, go make WAR OF THE WORLDS, I will. I'll make it. And, yes, it'll make you money. And I honestly can't think of a reason in the world why you should let me do KANE other than that you should. A long pause as Schaefer studies Welles. Then SCHAEFER If it'll get you the hell out of my office, go ahead and make the picture. Welles drops his head, too moved to speak. Then he nods to Schaefer and begins to leave. SCHAEFER Say thank you, Orson. Welles glances at him. SCHAEFER For the title WELLES (smiles) Ah, it's a grand title. He sweeps out. Schaefer smiles and shakes his head. SCHAEFER Like it would kill him to say thank you EXT SOUND STAGE. RKO LOT DAWN The sun is just rising on the RKO lot. We note a sign on the wall by the sound stage door: CITIZEN KANE. RKO PRODUCTION #281. DIRECTOR: ORSON WELLES ABSOLUTELY NO ADMITTANCE. INT RKO SOUND STAGE FOLLOWING Absolute silence. Welles stands in the mammoth sound stage and looks around, it is as if he has entered a great cathedral. A few lights illuminate portions of the stage and giant lighting rigs and scaffolding soar to the unseen ceiling miles away. The Xanadu Great Hall set awaits. Welles slowly walks to the set and stands, surveying his domain, savoring the moment. Title: JULY 30, 1940 He clears his throat and speaks, rehearsing his first day speech to the cast and crew. His voice echoes. WELLES Today we - - He stops, surprised by the echo. WELLES Today we are going to break every rule in motion picture history... No . . We are going to shatter every rule in Today we are going to shatter the hallowed busts of Griffith and DeMille and Ford. We are going to show the world a new way of seeing. Together we will blaze a trail... As Welles continues to rehearse we slowly ascend the scaffolding and lighting rigs... WELLES' VOICE Together we will throw away all the maps and we will become -joyously lost in the wilderness. And the future cartographers of Hollywood will forever chart our course. Following our lead... We continue to ascend and finally discover two electricians on the upper catwalk, staring down in amusement, much like the two stagehands at the opera in KANE. WELLES' VOICE And do you know why we're going to do this? Again to Welles on the stage floor: A beat. Welles slowly smiles. WELLES We're going to do this because it's going to be fun. Above, one of the electrician's throws the switch on a huge spotlight. Welles is captured in the vibrant white light and Benny Goodman's immortal "SING, SING, SING" immediately explodes and we are into: THE MAKING OF CITIZEN KANE A camera crane sweeps dramatically to the ceiling of the sound stage and brilliant white lights flash on. A film clapper snaps: CITIZEN KANE. RKO PRODUCTION 281 DIRECTOR: ORSON WELLES. And we see Welles racing heroically into making his first movie: In varying KANE makeups he tears through scenes and actors: laughing with AGNES MOOREHEAD on the cabin set; charming RUTH WARRICK on the breakfast table set; berating DOROTHY COMMINGORE on the Great Hall set... He speeds back and forth and back and forth from the set to the camera in the Campaign Headquarters set, never happy with the shot. . . Gregg Toland watches, bemused, as Welles shifts tiny prop pieces on the set. . . Welles bullies and screams and pleads and seduces. Like an obsessed artistic tornado he is seemingly everywhere at once. We see him rejecting matte paintings and in makeup and rewriting the script and trying on costumes and selecting props and leaping into odd positions looking for the perfect camera angle. It is very important in this sequence that we see the pressure building ... building ... building ... on Welles. "SING, SING, SING" continues On the Xanadu stairway set Welles behind the camera, filming actor Paul Stewart PAUL STEWART "Rosebud? I'll tell you about Rosebud. WELLES Again. A film clapper: take 58 PAUL STEWART "Rosebud? I'll tell you about Rosebud. WELLES Again. A film clapper: take 59 PAUL STEWART "Rosebud? I'll tell you about Rosebud. WELLES Again "SING. SING, SING" continues... in a corner of the sound stage: Welles, in full Kane makeup, studies a miniature model of the Kane Campaign Headquarters set through a tiny periscope with cinematographer Gregg Toland. WELLES It needs a ceiling, Gregg. Real rooms have real ceilings. GREGG TOLAND You want a ceiling on this one too? WELLES You bet. GREGG TOLAND Gonna be tough WELLES (smiles) No, it's gonna be impossible. That's why we're doing it. SING, SING, SING" continues Back on the Xanadu stairway set: Poor Paul Stewart, now at his wit's ends, continues: PAUL STEWART "Rosebud? I'll tell you about Rosebud." WELLES Again The film clapper: take 112. PAUL STEWART "Rosebud? I'll tell you about Rosebud WELLES Again Paul Stewart screams and collapses. "SING, SING, SING" continues... On the Atlantic City nightclub set: Welles watches as the camera crane attempts the dizzying and difficult maneuver from the skylight at the top of the set down to Dorothy Commingore as Susan Alexander below. The camera crane goes out of control and crashes through some light fixtures and swings crazily down toward Dorothy Commingore. She yelps and leaps away as the camera barrels through the table and smashes to the floor. Welles stands next to Toland. A beat. WELLES Well, that didn't really work "SING, SING, SING" continues. Back on the, Xanadu stairway set Paul Stewart, dazed and shattered, is listening intently. Welles stands with his arms around Stewart, embracing him, whispering into his ear. WELLES It is the most important line of the picture. You will weave the magic of "Rosebud" in a single word - - you will say the word in such a way as to impart to us the mystery of it. It is a divine and sinister mystery worthy only of your talent. In this one word the movie soars or falls. Once more, I beg you. Stewart nods. The film clapper: take 178. The cameraman leans into the viewfinder. We see his black- and-white view of the shot through the lens then: In a cramped editing room we see Welles watching the scene on an old editing moviola. On the moviola we see Paul Stewart taking a deep breath and then, magnificently: PAUL STEWART (On moviola) "Rosebud? I'll tell you about Rosebud." WELLES' VOICE (On moviola) Print. ;' On the moviola we see Stewart laugh hysterically and dance away. In the editing room, Welles shakes his head WELLES Actors. "SING, SING, SING" continues. On the Campaign Headquarters set: Welles and Toland lie on the floor of the Campaign Headquarters set and gaze up through viewfinders. They squirm about on the floor and laugh to one another about their newest outlandish idea. Then Toland notices something in the catwalks high above the set. A redheaded ELECTRICIAN. TOLAND Orson, you see that electrician up there? The redhead. He was on GRAPES OF WRATH. He's a free- lance studio spy. Probably reports right back to the RKO boys in New York. Welles slowly stands and THUNDERS: WELLES STOP EVERYBODY STOP! All the flurried activity on the sound stage immediately stops. Every eye turns, terrified, to Welles. Welles glares up at the redheaded electrician WELLES YOU COME DOWN HERE! The electrician slowly climbs down from the rafters. Welles rivets him every step of the way. The electrician stops before Welles. ELECTRICIAN Mr. Welles...? A tense beat and then Welles fiercely and purposefully spits in the electrician's face. The electrician recoils, stunned. WELLES GET OUT Welles returns to Toland as the electrician slinks off "SING, SING, SING" continues as: We see the magnificent film emerging. Welles watching scenes in a screening room, his feet up, exhausted, almost asleep, a cigar dangling from his lips... We see rushes of Welles going through scenes with Dorothy Commingore as Susan Alexander. He is relentless with her off camera, driving her to the harridan outbursts he wants just before he steps into the shot... We see the crew observing, with great amusement, Welles' stumbling attempts to learn the "Charlie Kane" dance... We see Toland shifting lights to achieve deep-focus cross-fades. Welles rages as the difficult process eats up time... We see Welles growing increasingly manic. The long hours and the pressure are clearly taking a toll.. We return to the screening room. Welles is now fully asleep. His cigar falls from his mouth and begins smoldering on his suit. "SING, SING, SING" fades at... On a Xanadu set: Filming a scene. Welles, in old-Kane makeup, is sitting with Dorothy Commingore as Susan Alexander. He is curiously distracted. She is pouring tea in the scene: DOROTHY COMMINGORE "Charlie, you sure got the funniest ways of looking at things . " Welles does not respond. He breaks character WELLES No -- no -- I'll pour the tea. Sorry. I should pour the tea. Let's try that again. Toland stands behind the camera and watches Welles. There is obviously something wrong. WELLES Okay, here we go... Set. Action Welles pops into character and pours the tea in the scene as: DOROTHY COMMINGORE "Charlie, you sure got the funniest ways of looking at things . " Welles stops, breaks character again: WELLES No -- that's not right He clears his throat and glances at the enormous crew, all staring back at him expectantly. WELLES Urn. . . ah . . . yes -- you should definitely pour the tea. Okay, again. Sorry.... Set. Action. They start the scene again. She pours the tea DOROTHY COMMINGORE "Charlie, you sure got the funniest ways of looking at things . " A pause as she waits for his reply in the scene He sits, frozen. TOLAND Orson, you wanna take five? WELLES Five...? Yes. No. We're done today He slowly walks off the set as he nervously pulls at his tie, tearing it off. Toland watches him go. INT BROWN DERBY DAY Louella is at her usual corner booth, on the phone to one of her many spies. She is devouring a Cobb salad as she hears:' PHONE VOICE I don't know if this means anything but I just talked to a guy in the RKO art department They've got all these books and crap all over the place. Pictures of San Simeon. Louella instantly stops eating PHONE VOICE For the Welles picture. LOUELLA Pictures of the castle? PHONE VOICE Yeah LOUELLA Thanks, doll. Get me more. She hangs up, intrigued. INT WELLES' HOUSE Welles is standing, absolutely lost, in the middle of his living room. He is still in his old-Kane makeup which is just beginning to peel off his face. We hear a low, insistent drum beat, a Gene Krupa riff. We hear the sound of an ice pick chipping into a block of ice. Welles glances around. We are no longer in Welles' living room but at. . . INT MANK'S HOUSE. SANTA MONICA DAY A turntable spins in a corner, playing a Gene Krupa record. Ashtrays overflow with cigar butts and messy piles of pages are littered around a typewriter. Mank's beach house is tiny and on the edge of squalid Welles, still in his peeling old-Kane makeup, is standing in the middle of the living room and Mank is in the small kitchenette, chipping ice for drinks. A long pause WELLES And I'm looking at them -- and they're all looking at me and I don't know who should pour the tea. ' MANK Uh huh. WELLES I just can't . . see it anymore Mank returns to the living room and thrusts a drink in Welles hand. WELLES I want you back MANK Fuck you. (He sits.) You wanted me out. I'm out. WELLES I'm sorry. MANK I don't care. Welles hands Mank a folded script from his jacket. Mank looks at it as: WELLES This is the shooting script we've been using every day. Sure enough, the title page of the script reads: CITIZEN KANE by Herman J. Mankiewicz and Orson Welles. WELLES It's just like we always said it would be Mank hands it back MANK Too late, kid. Welles sits. WELLES Did I ever tell you about my father? MANK I don't give a shit about- WELLES He was a drunk. And he was my father and I was ashamed of him. A beat. Welles proceeds quietly and with difficulty. WELLES He showed me the world, he took me with him everywhere -- Europe, China -- and he was so proud of me. But he would drink and he would get ...embarrassing. And I began to resent him Because I was so ... sparkling, you see. So I cut him dead. I turned my back and I walked away because I didn't need him. He was getting in the way of my "genius." And he would write me letters, and I never answered them, and he would call me, and I never took his calls, and he showed up at school and I wouldn't see him. Tears are beginning to inch down Welles' face WELLES When I finally saw him again, he was in a coffin. I was fifteen. And all of a sudden he wasn't that embarrassing drunk anymore ... he was the man who showed me the world. Welles looks up at Mank, tears now streaming down his face. WELLES Just like you, Mank. A long beat. Mank, despite himself, is moved. To cover his emotion Mank rises and goes into the kitchen to freshen his drink. We remain tight on Welles as we hear Mank's voice: MANK'S VOICE So you've lost it? Don't know who should pour the tea. WELLES Yeah A beat MANK'S VOICE Orson ... just cut the goddamn tea WELLES Okay A beat. Welles reaches for a cigar, tears still wet on his face. MANK'S VOICE I been thinking about the beach scene. You done that yet? WELLES No MANK'S VOICE Good -- cause I was thinking that we're starting the scene too late... Welles quickly bites off the end of his cigar -- his expression one of "Gotcha!" -- even as. his cheeks are still wet with tears. MANK'S VOICE (CONT.) Cause if we don't show Susan watching Kane more then we're not building the right tension into the scene. See, she's gotta know that... Welles slowly smiles as the record of Gene Krupa's percussion segues into the unmistakable rhythms of "SING, SING, SING" and eclipses Mank's voice... And we see Welles everywhere, more energized than ever: perilous on a high crane; stuck in a cramped corner behind the camera; doing magic tricks for the cast; sleeping as makeup is applied to his face... Mank is always at Welles' side: supporting; challenging; amusing; inspiring. . . We see Welles strutting, raging, boasting, dancing. And again towering. "SING, SING, SING" finally ends at.. Through the black-and-white viewfinder we see Welles, in full costume and makeup, carefully walking across the massive Kane Campaign Headquarters set toward us. We see the low angle black-and-white camera's perspective. TOLAND'S VOICE Closer ... closer ... closer -- stop. We just lost your head. WELLES Can you see my shoes? TOLAND'S VOICE Yeah, but we lose your head. WELLES Goddamn it Joe -- stand here JOSEPH COTTON, also in full costume and makeup, steps into the shot and takes Welles' position as Welles scurries out of the frame. . .. INT SOUND STAGE. RKO NIGHT. FOLLOWING Welles marches across the set and squirms into position at the camera, which is right on the floor, and peers up through the viewfinder. Toland lies next to him. Mank stands to one side and- watches. WELLES It's just not low enough. This is the scene. We have to look up at these two man as pillars soaring to the sky. As towering virtues in combat-- TOLAND Spare me the aria, I know what you want-- WELLES I need my shoes in total focus right here and also Joe back there--! TOLAND I know what you want but it can't be done! WELLES Take apart the fucking camera rig -- we could get a few more inches down and then tilt up-- TOLAND Orson -- we can't get the fucking camera any fucking lower so find another fucking shot! Welles thinks for a moment and then bolts up. Toland watches, mystified, as Welles races to a sound stage fire station and grabs a fire axe. Welles storms back to the set and raises the axe high. Toland quickly rolls away. And Welles slams the axe into the wooden floor of the set. He continues to hack at the floor. WELLES Come on, Gregg! We'll tear out this floor! Welles and Toland and various grips hack at the floor Mank watches, bemused, and checks his watch Welles and Toland finally tear away the remnants of the wooden floor. They stare down, defeated. Under the wood is solid concrete. Welles and Toland stand and stare at the concrete TOLAND It's midnight, why don't we pick it up tomorrow? Welles does not answer. He continues to eye the concrete Then: WELLES Get me a jackhammer. We see a grip pounding away at the concrete with a jackhammer as Welles, always in motion, sweeps past Mank and Joseph Cotton. MANK (wryly, to Cotton) There but for the grace of God, goes God. Welles slams to a halt in front of the unit physician and thrusts out an arm. The physician injects him with a dose of B-12. Welles can barely wait for the injection before he speeds off. Welles supervises as Toland lowers the camera into the freshly dug hole in the middle of the sound stage. Mank checks his watch, 3:30 AM. Welles leaps into the trench to check the camera setup. Again we see the view through the black-and-white viewfinder. Joseph Cotton stands at a distance, at the far wall of the set. WELLES' VOICE Okay, Joe . . . come closer . . . closer We see Cotton approaching. He finally stops inches away from the camera. His shoes and the far wall of the set are both in total focus. It is a breathtaking, vertiginous shot. Then we see Welles and Joseph Cotton rehearsing and rehearsing and filming and filming the scene. Endlessly Finally we seem to be seeing the scene from the movie WELLES "Well, if you got drunk to talk to me about Miss Alexander, don't bother. I'm not interested. I've set back the sacred cause of reform, is that it? All right, if that's the way they want it, the people have made their choice. It's obvious the people prefer Jim Gettys to me." JOSEPH COTTON "You talk about the people as if you owned them. As though they belonged to you. As long as I can remember, you've talked about--" (he breaks character) Orson, I am so goddamn tired-- We continue to watch the scene through the viewfinder: WELLES (to the camera operator) Keep filming. JOSEPH COTTON I can't remember the lines! WELLES Then make them up! You're drunk and you're angry. He shoves Joseph Cotton brutally WELLES This is the chance you've been waiting for, boy. Tell that son of a bitch just what you think of him! JOSEPH COTTON We're not all hopped up on benzedrine, Orson I Some of us humans need sleep! Welles shoves him again. WELLES You're not going to get another chance, boy! Look right at the monster and you tell him-- JOSEPH COTTON (deeply) "You don't care about anything except you. You just want to persuade people that you JOSEPH COTTON (CONT.) love them so much that they ought to love you back. Only you want love on your own terms. " WELLES "A toast then, Jedediah, to love on my own terms. Those are the only terms anybody ever knows, his own." Welles/Kane drinks. A long pause. WELLES Cut. Print We jump out of the black-and-white viewfinder and into the scene as Welles turns to an assistant. WELLES How 'bout a real drink? TOLAND We done? WELLES Yeah. The crew members exhale and practically collapse Welles stands and looks around in satisfaction. He takes in the empty corners of the sound stage, the sets, the cameras Savoring the moment. WELLES (quietly) It's finished. He walks to the massive doors of the sound stage and pulls them open. Sunlight floods in. Outside it is a blazing morning and the dazzling sunlight silhouettes Welles. Welles squints and steps into the glorious sunlight. Mank and Toland follow. They stand and watch as RKO extras and crews bustle about on their way to work. The assistant brings a tray of martinis. They each take a glass. The RKO workers stare at them oddly as they pass. Welles toasts them. WELLES Good morning, good morning. . . He grabs a passing extra and dances with her as Mank and Toland laugh. EXT HEDDA'S MANSION. PATIO MORNING Hedda Hopper reclines on her patio. An extremely ugly pug dog sits in her lap. She has green goo all over her face and a cigarette dangling from her lips. Title: THREE MONTHS LATER. JANUARY 3, 1941 She is going through the trades. She stops at a particular item. She studies it and then reaches for the phone and dials. HEDDA (on phone) Orson, Hedda here! You naughty boy! You told me that I would be positively the first human soul to see your masterpiece and here I read in the Reporter that there's a screening tonight for the magazines ... yes, advance deadlines, I understand . . . (she smiles) . . . oh, rough cut, uh-huh ... Been there, Orson, know the drill. See ya tonight! She hangs up. Her hideous dog leaps on her and starts licking her face goo. HEDDA Get offa me, ya little prick INT OUTSIDE AN RKO SCREENING ROOM NIGHT Welles paces nervously outside the doors to the screening room. Schaefer stands leaning against a wall. From inside we can hear some of the final dialogue from CITIZEN KANE. WELLES This is an abomination There's no music and-- SCHAEFER They've all seen a rough cut WELLES The magazines are one thing -- but Hedda! Why did we have to let her come?! SCHAEFER When Hedda says "I'm coming" you mix a lot of martinis and you pray. Silence from inside the screening room. The movie is over. An agonizing silent pause Then the doors swing open and the guests stream out. Totally neutral expressions. The bejeweled Valkyrie, Hedda herself, finally emerges. She stops before Welles. A beat. She reaches up and pinches his cheek, a bit too hard. And then she slaps his cheek, a bit too hard. And then she goes WELLES What the hell did that mean?! EXT HEDDA' S MANSION. PATIO MORNING Hedda paces and smokes as she waits on the phone. Finally, she is connected: HEDDA (brightly) Why hello, Mr. Hearst! I'm so delighted you could take my call. I just wanted to let you know -- I saw this Orson Welles picture last night. First screening ever, don't cha know, and, Mr. Hearst, I don't understand something . . . (she smiles wickedly) ... I just don't understand why Louella hasn't told you it ' s all about you. . . Yes, oh yes . . . My pleasure, sir. She hangs up HEDDA Take that, you old cow INT SCHAEFER'S OFFICE DAY Schaefer sits at his desk, going through some budget sheets. His intercom buzzes, he presses a button: SECRETARY'S VOICE Mr. Schaefer, Miss Parsons is here SCHAEFER (into intercom) Here? As in right outside the door? SECRETARY'S VOICE Yes, sir SCHAEFER (chipper, into intercom) Well, send her in! He releases his intercom button SCHAEFER Shit He bolts up and races to the liquor cabinet as Louella sweeps in like the Lusitania in fur. LOUELLA Schaefer, I gotta see this Welles picture SCHAEFER Louella, hello, I was just fixing a drink, would you like--? LOUELLA (eyeing gossip) You drink at 10 am, do you? SCHAEFER No -- no -- I mean-- LOUELLA I wanna see the picture today SCHAEFER That might be a tad difficult because Orson is scoring the picture now and he's very particular about the music-- LOUELLA Cut the malarkey, buddy. The boss himself wants me to see the picture today. SCHAEFER He personally asked you to? LOUELLA That's right Beat SCHAEFER Hearst? LOUELLA Uh-huh Beat LOUELLA I'll be back at noon. Set it up in screening room four. She sweeps out SCHAEFER Oh god INT RKO SCREENING ROOM DAY Louella watches CITIZEN KANE We watch her enormous face, grim and glowering, bathed in flickering blue light as we hear a bit of the dialogue: " KANE " "You'll continue with your singing, Susan. I don't propose to have myself made ridiculous. " "SUSAN ALEXANDER" "You don't propose to have yourself made ridiculous I What about me?! I'm the one that's got to do the singing! I'm the one who gets the razzberries!" With that, Louella bolts up and stomps out of the screening^ room... ' INT OUTSIDE THE SCREENING ROOM FOLLOWING Welles and Schaefer are again nervously waiting in the hallway. Louella slams out the door and almost crashes into Welles A beat as she glares at him. If looks could kill She storms off Welles and Schaefer are too stunned even to speak as we hear: LOUELLA'S VOICE It is . . . assassination. INT SAN SIMEON. ASSEMBLY ROOM DAY Hearst sits with one of his dachshunds on his lap Louella sits across from him. Hearst does not move a muscle in the entire scene. LOUELLA (CONT.) It's all you. It has the political campaigns and the mining fortune and the war with Pulitzer and the castle. And ... Marion. HEARST How so? LOUELLA The jigsaw puzzles and the, urn, career -- the man spending a fortune to make her a star -- only it's opera and not movies. And... HEARST Yes? LOUELLA (quietly) The drinking. A beat HEARST (very controlled) So my life is a subject for mockery. All of it. Every detail. Every personal detail. Louella nods. A beat. HEARST Thank you for your time LOUELLA Thank you, sir. She begins to leave A beat A pause HEARST Miss Parsons, I have one additional question for you. LOUELLA Sir? (stops) HEARST Why did we not know about this sooner? LOUELLA Sir? HEARST I pay you a good deal of money to be my eyes and ears in Hollywood, do I not? If you cannot provide this simple service you are of no use to me. LOUELLA Sir, I- HEARST (lethally) Please be quiet. A young man has made a motion picture detailing my life. This motion picture was made at a not insignificant studio. And you knew nothing about it. LOUELLA He lied to me LOUELLA He looked into my face and told me it wasn't about you. HEARST And how do you feel when you are lied to? A beat. LOUELLA I want blood HEARST Good. Retain that feeling. Let it nourish you from this day forth. It shall nourish us both She nods and leaves the room We linger on Hearst, his expression dark and dangerous. INT SCHAEFER'S OFFICE EVENING Welles reclines on a sofa, smoking a cigar, orating, while Schaefer sits at his desk absently flipping through the evening edition of the LA EXAMINER. WELLES Give me one dinner with her and I'll sort it out. Woman of a certain age are woefully susceptible to a younger man's charm. I'll make myself so monumentally attractive that He is distracted by Schaefer flipping through the newspaper anxiously. Schaefer tears back and forth in the paper and then swivels around in his chair to grab another newspaper. He flips through it. And then stops. SCHAEFER (sickened) Oh Christ... Welles leaps up and goes to Schaefer's desk. Schaefer has placed the two newspapers side by side on his desk. He points to one SCHAEFER This is the morning edition of the EXAMINER. He points to the other SCHAEFER And this is the evening edition. Notice anything? WELLES The ad.. Indeed, the morning edition contains a large ad for the RKO movie KITTY FOYLE. In the evening edition the ad has been replaced by innocuous copy. SCHAEFER They dumped our ad. He flips through the evening edition and then looks up at Welles. SCHAEFER (quietly) They dumped all our ads. INT MAYER'S OFFICE DAY Louis B. Mayer sits at his massive desk, taking notes Hearst sweeps in. Mayer is surprised. HEARST Louis MAYER Randolph! HEARST Hope you don't mind my popping in-- MAYER No -- no -- sit down, please HEARST (sitting) What a wretched place this is. I can't come to town without feeling filthy. You really must buy that parcel of land by the castle and come north. I only wish I could. You know, business HEARST Quite. And this is why I came to visit. Have you heard about this CITIZEN KANE picture? MAYER Over at RKO? A beat. HEARST Mm. Not a very good picture I am told. MAYER (confused) Uh-hub. HEARST Apparently it details the exploits of a publisher like myself. Entirely too much like myself. Do you follow so far? MAYER Yeah A beat. HEARST I can't see how the release of that picture will do anyone any good, really. HEARST Say, while I'm in town why don't we play 18 holes at Bel Air? Or maybe just nine. Do you have time for a round today? He gazes at Mayer. Mayer looks at him, disquieted A pause. A beat HEARST And maybe we could get Mr. Warner and Mr. Goldwyn and Mr. Cohn and Mr. Selznick to play as well. MAYER (quietly) You know that can't happen. HEARST Oh, why is that? HEARST Why is that, Louis? MAYER Bel Air is restricted. HEARST Oh, that's right. How silly of me to have forgotten. I sometimes forget that you're all Jews. Lots of people forget that. If they ever knew it. A tense pause HEARST See what you can do about this CITIZEN KANE picture, won't you? MAYER (quietly) Yeah Hearst stands. HEARST And you'll come out to the castle soon, I hope Marion and I would love to see more of you. He smiles and goes. Mayer sits, shaken INT BROWN DERBY NIGHT Schaefer sits with Louella in her corner booth LOUELLA That's right, fella, no Hearst paper will run an RKO ad until you agree that CITIZEN KANE will never see the light of day. SCHAEFER Louella, please, be reasonable, I understand you have problems with Orson's picture but maybe we can work something out-- LOUELLA Nix, sweetie. You shelve it SCHAEFER Oh for God's sake, Louella- LOUELLA And Mr. Hearst has authorized me to tell you that you're looking at the most beautiful lawsuit in history if you release this picture. He'll bleed your little studio dry and you can all go on back to New York and do Shakespeare with the Boy Wonder. SCHAEFER Can I talk to Hearst? LOUELLA You are talking to him. INT SAN SIMEON. ASSEMBLY ROOM DAY Hearst stands with his arms behind his back, very Kane-like, and surveys a collection of about 30 newspapers spread around the floor at his feet. His newspapers. Marion sits in a corner, doing needlepoint. Hearst picks up one of his papers HEARST The Journal was pretty harsh to Roosevelt today. MARION You oughta lay off him -- he is the p-p-president, after all. HEARST He is a Bolshevik. He will have us at war by the end of the year. I think I'm going to run that wheelchair picture. MARION Don't She holds up her needlepoint MARION Whaddaya think? It is a sampler reading: BLESS THIS CASTLE He laughs JOE WILLICOMBE, Hearst's private secretary, enters quietly. Willicombe is a serious and sensitive man in his 60's. He is unquestioningly loyal to the old man. WILLICOMBE Sir, we got the call. A moment. Hearst looks at him. Willicombe shakes his head sadly. HEARST Thank you, Joseph. Willicombe glides out A long pause as Hearst moves to a window and stares down at his domain. Marion watches him. MARION How bad is it? HEARST Nothing for you to worry about, darling MARION Pops A beat HEARST The S.E.C. has turned down my request for relief on the debts. MARION How much? HEARST It's not really-- MARION How much? A -beat HEARST 125 million. She is absolutely stunned. A pause MARION (softly) We're 125 million dollars in debt? HEARST Yes. A pause Hearst continues to gaze out the window. Marion goes to him and holds him tenderly. ; They look down at the massive San Simeon estate spreading out like Wonderland below them. INT MARION How does one get 125 million dollars in debt? HEARST One . . . buys things. INT RECORDING STAGE NIGHT KANE composer BERNARD HERMANN stands before an orchestra, going over some of the music for KANE. He tries various measures and makes adjustments. A movie screen is ready to run sections of the film. Welles sits at the back of the room, talking quietly to Gregg Toland. Welles is bewitching, spinning a web: WELLES We open on Monument Valley. Those towering stalagmites reaching up like pleading fingers to God. A single figure treads the arid plains. The crimson sun is behind him so his shadow stretches toward us. He is a simple man wearing a simple robe. A profoundly quiet and sad man. Who is he? Bernard Hermann turns back to Welles and Toland BERNARD HERMANN Orson, please.. WELLES (whispering, to Toland) Who is he, Gregg? TOLAND (realizing) Oh, no-- WELLES Yes! TOLAND He's Christ? WELLES I'm Christ TOLAND You want to do the life of Jesus? WELLES Yes! Vibrant and modern and stark like a Picasso sketch drawn to flashes of lightning I We shoot the whole thing in the gallant American West-- Mank joins them, carrying a newspaper. MANK Hey, kid. Gregg. WELLES Mank, sit down. You missed the opening of the new picture but I'll go back-- MANK No, you gotta hear this- BERNARD HERMANN (snapping back at them) I'm trying to work here! WELLES Sorry, you keep at it, old boy. He leads Toland and Mank out of the stage and into the sound proof recording booth... INT. SOUND BOOTH A few sound engineers and mixers work over recording panels and watch Hermann and the orchestra as Welles, Toland and Mank enter. MANK You read Louella? Welles shudders WELLES No, but I can imagine. What am I today? A "puny upstart" or a "spoiled dilettante" -- no, she wouldn't know how to spell that MANK (reads) "And how is the country to feel when this industry continues to employ bedraggled foreigners and swarthy refugees instead of real Americans? Doesn't Hollywood know there's a Depression on? Don't real Americans deserve work?" WELLES (laughs) Well, at least she's off KANE today MANK No she's not. Don't you get it, ya lunk? She's using code language to the studio bosses. "Bedraggled foreigners and swarthy refugees" -- who the hell do you think she's talking about? WELLES (playfully) Hedy Lamarr? MANK Jews. She's talking about Jews. beat Welles' smile fades. MANK Who owns this town? Who runs every goddamn studio? The tribe, baby. These fuckers hear the word "Jew" and they start sweating. Like Ester Williams' pool they start sweating. WELLES (growing tense) So they're Jews. . . MANK This is just the first shot. Maestro. Sooner or later she's gonna use the word. And all those boys know that there is only one thing this country hates more than the coloreds and that's the Jews. WELLES Christ. MANK Me, I'm proud to be a Jew, I got no problem. You don't like it, fuck you. But with these guys it's like a dirty word. All they wanna be is good red- white-and-blue Americans, and the way they see it you can't be a good American and a Jew. So Sam Goldfish becomes Sam Goldwyn and David Selznick becomes David 0. Selznick -- like anyone's gonna think he's Irish for fuck's sake-- WELLES What does this have to do with--? MANK (dead serious) Believe you me, they're gonna do anything -- and I mean absolutely anything -- to stop that word from gettin' out. WELLES (sharply) What?! Are they going to kill me? Is that what they're going to do?! One of the sound technicians turns to Welles: SOUND TECHNICIAN Sorry, Mr. Welles, I can't really hear Welles, Mank and Toland quickly decamp to a hallway outside the recording stage... INT HALLWAY FOLLOWING They emerge into the hallway. Mank lights a cigar. MANK (quietly) Let me tell you a story, son So this was 1924, right? Hearst was throwing a birthday party for Thomas Ince, the old movie producer. They were all on the old man's yacht taking a nice jaunt from Pedro down to San Diego. Real foggy night it was. This was Hearst, Marion, Ince, Charlie Chaplin, Louella, the usual gorillas. So Hearst notices Marion slip off with Chaplin -- she was screwing everyone then -- and the old man goes nuts. Grabs his revolver and starts shooting. Just like Tom Mix, standing there blasting away through the fog. Boom - - boom -- boom -- and Thomas Ince takes a bullet through the head. So now there's this dead guy lying on the deck. You'll see how this could be quite an embarrassment. So the empire goes into action. Nice and quiet and Ince was cremated lickety-split. No inquest and no police. It was right after this that Hearst gives Louella her life-time contract. Just to keep her all hush-hush. A beat as Mank gazes at Welles. A beat MANK If he had known about KANE before you made it, you'd be dead already. WELLES (weakly) It's too late. The movie's made MANK They won't let it out. Not Hearst. Not the other studio heads-- WELLES You wrote the damn thing, Mank Aren't you going to fight for it?! MANK (bitterly) I told you this was going to happen! I told you he was going to come after us! So we took the chance anyway and we lost. That's how it goes, okay? I got my check, kid, and so did you -- and that's what it's all about -- so fuck it and move on. Welles leans forward in a sudden explosion of anger WELLES I WILL NOT MOVE ON! Let them do their worst! These petty tyrants! These monstrous, small men Do they think they can stop us? I Who are they?! Who are they?! THEY ARE . .. ACCOUNTANTS I Bernard Hermann appears at a doorway from the recording stage. BERNARD HERMANN We're ready. You want to hear it? Welles goes with Hermann into the stage. Toland and Mank stand in silence. Then: TOLAND His next picture ... he wants to play Christ. MANK Hope he's planning to start with the crucifixion. 76 INT RECORDING STAGE FOLLOWING Welles sits at the back of the stage, deep in thought Bernard Hermann raises his baton and prepares to conduct. The opening shots of KANE -- fog shrouded Xanadu -- are projected on the screen. Hermann conducts and the orchestra plays. We watch the first images of the film with the brilliant music. We pull back to reveal we are at INT SAN SIMEON. SCREENING ROOM NIGHT Hearst and Marion are sitting in the plush San Simeon screening room, surrounded by a passel of dachshunds. Five or six friends are also spread around the room. Joe Willicombe is also present. We watch their faces as they watch CITIZEN KANE During this sequence we hear bits and pieces of KANE as we watch Hearst and Marion react. We see Marion's initial amusement give way to a forced neutrality. We see Hearst becoming increasingly uncomfortable, reacting physically, almost writhing, as his soul is laid bare. Then his face grows cold. Drained. We see Joe Willicombe, offended. We see the other guests, horrified and afraid to even so much as glance at Hearst. Finally, we hear the ending of the movie: "RAYMOND" "Throw that junk in, too. We hear Bernard Hermann's closing music begin to play out Hearst abruptly stands, the final images of the film washing over his face. HEARST Switch it off SWITCH IT OFF The film suddenly stops and lights come up around the screening room. Silence No one looks at Hearst. HEARST (quietly) Would everyone please leave The guests and Joe Willicombe solemnly file out A pause MARION Well -- he got us, didn't he? She stands and goes quickly to pour a drink. A forced laugh MARION Nailed us, hub? The crazy old man and his whore. HEARST Marion-- MARION Bought and p-p-paid for. Just like one of his goddamn statues. Well at least in the movie he married her! HEARST This picture-- MARION (deeply) I am not that woman. A beat. I know what I could have been. I know what I gave up to stay with you. MARION (pained) I mean he's even got the goddamn jigsaw puzzles She dissolves into sobs. He cradles her in the empty screening room A beat MARION Why did he do that to us? INT SAN SIMEON. ASSEMBLY ROOM NIGHT Hearst is as we have never seen him before. He is in a titanic rage. He paces back and forth violently like a caged animal, becoming increasingly manic and uncontrolled, clenching his fists and barking to Joe Willicombe: HEARST And now of all times -- NOW -- when I am grasping on with my fingernails to live at all this Orson We lies -- this insect -- this reprehensible insect -- has the nerve TO CHALLENGE ME! To show my life as some cheap sideshow -- A FREAK SHOW -- A DYING, IMPOTENT OLD FREAK IN HIS CASTLE! He smashes a collection of figurines and sends them sailing across the room. Hearst's rage gives way to a darker passion: HEARST (intensely) Mr. Willicombe -- you have seen me in adversity -- you have seen me take on the unions and the Congress and the railroads -- and we have risen above -- we have risen above. And if that dog Welles thinks he can strike at me now -- when he thinks I'm weak when he thinks I'm vulnerable -- then he does not fully comprehend the man is facing. WILLICOMBE Mr. Welles can't know anything about the difficulties we're-- HEARST Get me Louella Parsons, now! Willicombe picks up a phone and begins dialing as Hearst continues: HEARST This upstart -- this puny man -- how does he even dare to imagine he could comprehend my life and my world when he crawls with the other insects in the sewer -- in the dung -- when we control every moment of his life from the instant he is born to the instant we decide that he will die! Does he have no idea of the power that controls him?! WILLICOMBE Mr. Hearst, I have Miss Par' Hearst snatches the phone from Willicombe HEARST (on phone) Miss Parsons, Mr. Hearst. Use the file He slams down the phone HEARST Now get me J. Edgar Hoover WILLICOMBE It's very late in Washington- HEARST Then wake him up! Willicombe begins to dial HEARST (fervently) That insect thinks he knows me! He thinks he knows my capabilities! When his neck is in my teeth and his blood is in my throat then he will know WILLIAM RANDOLPH HEARST! INT MAYER'S OFFICE. MGM DAY Louis B. Mayor's eyes are blinking behind his glasses In his glasses we can see vague reflections of a series of grainy photographs showing sex acts and illicit assignations and corpses and mug shots. We pull back to reveal Mayer flipping through a stack of photos and notes. Louella sits, smoking and supremely confident, across from him. Mayer finally closes the file and removes his glasses. He rubs his eyes. He rises unsteadily and goes to a liquor cabinet and pours himself a stiff drink. He gulps it down and then returns to his desk. A pause and then he finally looks at Louella A beat A beat A beat. A pause LOUELLA So what do we got here, L.B.? We got faggots and commies and junkies. We got movie stars screwing niggers and little girls. We got killers and perverts and whores. LOUELLA We got MGM and Warner Brothers and Columbia and Disney and Fox. LOUELLA We got Jews LOUELLA We got Hollywood. MAYER (quietly) What do you want? LOUELLA Kill CITIZEN KANE. MAYER How? LOUELLA I don't give a shit. A beat LOUELLA The boss is working on some stuff and I'm working on some stuff. Now I want all you boys working on some stuff. Cause if it looks like this picture's ever gonna come out -- I start running down the street with these pictures like a screaming woman with my throat cut, you follow? J. EDGAR HOOVER'S OFFICE DAY Bulldog-like FBI Director HOOVER sits erect at his desk. Behind him an imposing FBI Seal catches the light. He presses a button on his intercom. HOOVER Agent McCabe, if you please. His secretary, clean-cut FBI agent McCABE, enters quickly with a note pad. Agent McCabe scribbles as Hoover dictates: EXT. HOOVER Open a new file. Heading: Welles, Orson. Native born. Communist. HILLS AROUND SAN SIMEON DAY Marion and Joe Willicombe sit in deck chairs under the blazing sun. Marion absently pets a dachshund in her lap. Servants stand behind them with lunch and trays of iced tea They watch Hearst riding a horse in the distance A pause. Then: MARION How bad is it? WILLICOMBE Miss Davies-- MARION Come on Joe. How bad is it? A beat. WILLICOMBE It's finished Hearst gallops up to them. A servant helps him down from his horse. He strides briskly to Marion and Willicombe as: HEARST I've been thinking about the Tribune in Chicago. The Examiner just can't make any headway. Circulation is still down. I think we should buy the Tribune. Marion glances to Willicombe and then looks at Hearst with great tenderness. MARION Sure, Pops. That's a swell idea INT MANK'S HOUSE. SANTA MONICA DAY Manks pounding away at a typewriter in his tiny beach house. He grumbles to himself as he types: MANK ... and Rita Hayworth says: "You see, he truly was the Son of God" ... big Toland lighting effect ... blah, blah, blah ... A knock at the door. Mank answers it. Clean-cut FBI Agent McCabe stands outside. He flashes his badge. AGENT McCABE Mr. Mankiewicz, I'm Special Agent McCabe of the Federal Bureau of Investigation. Might I have a moment of your time? MANK Sure, kid, come in. I'm writing the crucifixion and it's a bitch. Sit down Agent McCabe sits and snaps open a note pad AGENT McCABE I would like to ask you a few questions about Mr. Welles. MANK You guys after Orson too? AGENT McCABE Mr. Mankiewicz. MANK Shoot AGENT McCABE Are you aware of Mr. Welles' Communist affiliations? MANK Shit, Orson's no pink. He's everything else under the sun, but he's no pink. AGENT McCABE Are you aware of Mr. Welles' Communist affiliations? MANK No, I am not AGENT McCABE Do you have any knowledge of Communists working within the motion picture industry? AGENT McCABE Do you have any knowledge of Communists working within the motion picture industry? MANK No AGENT McCABE Are you now or have you ever been a member of, or affiliated with, the Communist Party or any of its front organizations in the United States? MANK Stop it AGENT McCABE Are you now or have you ever been a member of-- MANK I think you better leave AGENT McCABE Are you now or have you-- MANK (grim) Get the fuck outta my house. Agent McCabe snaps his note pad closed and stands. AGENT McCABE (crisply) Thank you for your time, Mr. Mankiewicz. We'll be in touch. Agent McCabe leaves MANK (calling after him) Don't bother, you low-life prick Mank slams the door He stands for a moment, pale, and then goes to the kitchen and pours himself a stiff drink. INT SAN SIMEON, ASSEMBLY ROOM DAY Marion is pouring a drink as well. She quickly fills a glass of Scotch and then begins striding back and forth across the Assembly Room. Hearst sits quietly at one of the jigsaw puzzles He occasionally and absently puts a piece in place. She has clearly been at him for some time MARION Then you explain it to me?! HEARST There's nothing to explain MARION A million dollars a year on art and st-st-statues and there's nothing to explain?! HEARST I will not defend my life to you-- MARION I'm not asking you to defend anything. But we're in a pickle and we gotta talk about it. HEARST We are in no "pickle" -- as you would euphemistically have it. MARION You gotta wake up now. Pops. HEARST There is nothing to discuss- MARION You don't have any money left, okay?! That's the truth. I don't wanna say it, nobody else will say it, but it's the truth. You spent it all. You can't buy the Tribune in Chicago -- you can't buy ^ g-g- goddamn thing. Now you better face up to it-- HEARST You are being typically theatrical, Marion. I need the Tribune to-- MARION You don't need it! That's the problem you always think you need everything-- Marion spins to a medieval arras cloth hanging from one wall. MARION That -- did you need that? How much did that cost? HEARST It's 12th Century. From Deauville -- in France. MARION I know where Deauville is for C-C-Christ's sake. HEARST You needn't use that language with me MARION Did you need it? Did you need any of it? HEARST I wanted it MARION There's a different between want and HEARST (tightly) Not for me. MARION (frustrated) But why? Just so you can show it all off -- just so everyone can see what a b-b-big man you are?! He stands quickly HEARST (angrily) That's right. You've captured me exactly. Goodnight. MARION You will not walk out on me HEARST You are repellant when you drink. MARION Tough shit. We need to t-t-talk about this-- HEARST You are slovenly and unattractive and I won't (he mercilessly mimics her) t-t-t-tolerate it. A cold beat A pause. MARION Fuck you, Mr. Kane. HEARST (darkly) I will not have this in my home. MARION I just want to understand-- HEARST (suddenly) No, you don't. You want to condemn me, like everyone else. You want to point to the pathetic, old man grown lunatic with his spending -- trapped in his ridiculous HEARST (CONT.) castle -- still fighting old battles he will never win with Pulitzer and Roosevelt and Hollywood-- MARION I don't want you to-- HEARST There is nothing to understand but this: I am a man who could have been great, but was not. He leaves INT SAN SIMEOM. MARION'S BEDROOM DAY A silent scene as we see Marion rummaging through some drawers in her vanity table. A suitcase can be seen on the bed behind her. She removes various jewelry cases and pours an astounding array of gems into a black leather pouch. INT. ELIZABETH ARDEN SALON. BEVERLY HILLS DAY Marion sits with Carole Lombard in a secluded section of the luxurious salon. A quiet scene. MARION When I met him I was just 20. And he was 55. I saw the gold ring and just grabbed on. And he was going to make me a star. CAROLE LOMBARD And he did. A beat. MARION When I was making movies I kept begging him to let me do comedies. Silly stuff, you know. But Pops doesn't get comedy too well so he kept putting me in all those godawful p-p-period dramas. Carole Lombard smiles. MARION I did my best but, well, you know me CAROLE LOMBARD Sure MARION Thing that bothers me now, though, looking back is that I really think I could have been something ... special. CAROLE LOMBARD Thinking like that is only gonna drive you nuts You were a great star and you had a good run. That oughta be enough. MARION Yeah. But all of a sudden it's not MARION You know this CITIZEN KANE picture? About Pops and everything? CAROLE LOMBARD Uh-huh MARION The character that's supposed to be me, Susan Alexander-- CAROLE LOMBARD Marion, everyone knows you're not like that-- MARION But I am That's the killer, honey. This little girl comes from nowhere and gets discovered by this guy. And maybe she has some real talent way deep down. But he pays the bills and he makes the decisions. And somewhere along the way ... she gets lost. MARION It's hell when you gotta look back and say, goddamn, what I could have been. JEWELRY STORE. BEVERLY HILLS Marion enters a posh Beverly Hills jewelry shop. She is wearing sunglasses. She nervously goes to the counter and the SHOP OWNER glides to her. For Marion, the entire experience is humiliating. This results in her stutter becoming increasingly more pronounced. SHOP OWNER May I help you? MARION I, um, need an estimate on some jewelry I might wish to sell. But d-d-discretion is very important to me b-b-because I don't want anyone t-t-to, um, know that-- SHOP OWNER Excuse me, I hope this isn't rude, but aren't you Marion Davies? MARION Yes. SHOP OWNER Well, this is a great pleasure. Miss Davies! I just saw that ENCHANTMENT is playing at a the Tivoli, the revival house in Santa Monica. That was a fine picture! MARION Thank you- SHOP OWNER Not one of them today has what you had, Miss Davies. Not one of them. MARION Thank you -- b-b-but I'd really like t-t-to-- SHOP OWNER Of course, of course. How can we be of service? MARION As I said I have some j-j-j-j- (she simply can't get the word out) that I might wish t-t-to sell and I wanted an estimate-- SHOP OWNER Surely My pleasure, Miss Davies.. Marion removes the leather pouch from her purse and pours a stunning collection of jewelry on a black felt tablet on the counter. SHOP OWNER (awed) My Lord. . . Marion removes her sunglasses and looks at him. Her eyes are red. MARION How much for the lot? EXT RKO LOT DAY Welles is pursuing Schaefer as they stride through the bustling RKO backlot. SCHAEFER What do you want me to do, Orson? Radio City won't premiere the picture. Louella threatened them with some bullshit about WELLES Then find another theater SCHAEFER You don't think I've tried? No one is willing to open the picture WELLES Then we'll open it in Detroit or Dallas or Kalamazoo for God's sake! We'll show it in goddamn circus tents and--! Schaefer stops. SCHAEFER Listen to me. The press ban is killing us and the distributors won't book it. And meantime I'm dealing with the stockholders in New York who are scared shitless -- and I'm this far from getting fired myself -- and you don't have a friend in the world but me right now. So you have got to trust that I'll do what I can to-- WELLES (desperately) "Do what you can"?! That's not good enough I SCHAEFER Well it' s all you've got ! WELLES (suddenly) You're with them, aren't you? You're going to bury my movie. They bought you! SCHAEFER (turning away) For Christ's sake, shut up-- WELLES Why don't you just have the guts to admit it SCHAEFER (spinning on him) How dare you talk to me like that! Do you think I'm like all the rest of those pirates?! Like Mayer and Warner? Is that what you think--?! WELLES It's just that my movie is so- SCHAEFER (savagely) "Your movie" -- I am so sick of that! It's your movie -- but it's his life! Did you ever think about that?! Did you ever think about that old man and Marion having to watch as you tore them apart?! WELLES I didn't-- SCHAEFER Do you every think for one second that you might have some responsibility for what you're doing?! For cutting and slashing everything in your way so you can have your goddamn movie?! WELLES That soulless monster gets no tears from me. SCHAEFER Who the fuck are you trying to kid? You are that soulless monster. Schaefer turns and stomps away Welles stands, lost for a moment in the dream factory In a bit of a daze, Welles slowly begins walking through the backlot. A bustle of loud activity in a corner of the lot draws his attention. A bulldozer and a dozen workmen are busy tearing down the facade of a large white mansion. They strip the wood off and toss it into an incinerator. Welles sees Schaefer standing before all this activity, deep in thought. Welles goes to him and they stand together in silence for a moment as they watch the house being razed. SCHAEFER Recognize Welles shakes his head SCHAEFER It's Tara. From GONE WITH THE WIND Pause as they watch Scarlett O'Hara's dream mansion being torn apart. WELLES It's ... sad A beat. SCHAEFER Not really. It's only a set, after all Just lumber. . SCHAEFER (quietly) You know, we make all these pictures, we turn em out one after another, without thinking most of the time. Just like making toasters or Packards or toothpaste. But then sometimes ... something amazing happens and you get a GONE WITH THE WIND. Or a CITIZEN KANE SCHAEFER (CONT.) And no one can ever take that away from you. They gaze at the destruction of Tara as we hear: RADIO ANNOUNCER (VOICE OVER) ... and in financial news, rumors continue to swirl around the head of publishing baron William Randolph Hearst. . . INT SAN SIMEON. ROMAN POOL NIGHT Hearst sits in a wicker chair by the shimmering in-door Roman Pool. But for Hearst and the single chair, the pool is deserted and has no other furniture. Hearst is staring at the gold and blue mosaic of tiles reflected in the water. As we hear: RADIO ANNOUNCER (VOICE OVER, CONT.) ... Sources report that the Hearst Empire is facing some rocky times ahead as the press lord is facing mounting debts and shrinking revenues due to over expansion and fiscal mismanagement that have resulted in... The radio voice fades to silence. The silence continues but for the haunting echo of a lion roaring in the distance. Then Hearst hears the sound of footsteps echoing on the tile. He looks up. It is Marion. She walks around the pool to him. Without a word she hands him a check. It is made out to William Randolph Hearst in the amount of one million dollars and is signed Marion Davies. A long pause. He looks up at her, profoundly moved. MARION I started out as a gold-digger, ya know But goddamn if I didn't fall in love with the guy. EXT MAYER'S ESTATE DAY A row of six shining limousines are lined up in front of Mayor's enormous house. The chauffeurs stand together and chat. EXT. MAYER'S ESTATE. BACKYARD Mayer sits in the glorious back garden of his house. Six other men are gathered around him. Mayer nods his head to each as we pan around the faces MAYER Mr. Zanuck ... Mr. Warner ... Mr. Cohn Mr. Disney .. . Mr. Goldwyn . . . Mr. Selznick. A beat. Thank you all for coming. You got my memo. What do we do? A beat JACK WARNER He's a fucking punk, why does Hearst give a shit? MAYER It's enough that he does SAM GOLDWYN Would Louella really do it? MAYER In a New York minute DAVID 0. SELZNICK I say to hell with Louella and to hell with Hearst! Bring 'em on. We can take em. HARRY COHN We all didn't make GONE WITH THE WIND, ya know. Some of us gotta look at this checkbook-wise. MAYER Who isn't hurting already? All this Jew talk and these Communist rumors. Look, he's boycotting RKO ads right now -- but how long before he takes on Warners or Fox or Columbia? HARRY COHN Goddamn right. A beat. MAYER And if Hearst goes public with all this filthy private lives stuff, Hollywood's sunk. He's got us nailed. Dates. Times. Photographs for God's sake. WALT DISNEY I don't mean to be funny, but what could he have on Mickey Mouse? MAYER He's got you so tied in with J. Edgar Hoover and America First that you might as well put on a brown shirt and kiss those happy little kiddies so-long. DAVID 0. SELZNICK (suddenly) Have any of you actually seen the movie? A beat. DAVID 0. SELZNICK I have. It's probably the greatest motion picture ever made. Nothing's going to be the same after this. With this one movie he's changed the way we see-- JACK WARNER Who the fuck cares? DAVID 0. SELZNICK I do. And so should all of you-- JACK WARNER Get off the soapbox-- Selznick stands. DAVID 0. SELZNICK I want no part of this. We should be marching into George Schaefer's office and standing with him. He's one of us! MAYER David- DAVID 0. SELZNICK If I ever got into trouble I'd like to think that you all would be with me -- not planning to stab me in the back like a bunch of ... a bunch of ... producers! He storms off JACK WARNER (to Mayer) Your son-in-law meshuaena. A pause. Laughter A pause. DISNEY (nervously) He's got me and Hoover? JACK WARNER Relax, Walt, at least he don't have you screwing Snow White. I got fucking Errol Flynn on my payroll! SAM GOLDWYN (to Mayer) You're a smart man, L.B. I suspect you would not have called us here without a plan. Give over. MAYER We will buy the movie and we will destroy it. MAYER We will assemble a fund between us -- privately, 'not studio money -- we will assemble this fund and we will go to George Schaefer and we will buy the negative and every print of CITIZEN KANE and we will burn them. A long pause MAYER If I do not hear an objection to this agenda in the next five seconds I will assume the motion has carried. Five seconds tick by as we focus on the titans of Hollywood MAYER Very well, my associates will be in touch to arrange payment. Thank you for your time. INT RECORDING STAGE DAY KANE composer Bernard Hermann again stands before the orchestra, his arm poised, waiting to begin conducting. He is about to record some new music for the deep-focus Thatcher/Bernstein/Kane scene from CITIZEN KANE. Welles sits nearby, supervising everything. Welles nods and on a movie screen the scene from KANE begins and Hermann starts conducting. The orchestra plays. The music carries into and gradually fades during. INT SAN SIMEON. ASSEMBLY ROOM DAY In a scene eerily reminiscent of the Thatcher/Bernstein/Kane scene, Marion sits in the extreme foreground, a man we do not know sits at middle distance at a desk and Hearst stands far away. Hearst has his back to them and stares out a window. The new man is MR. LEWIS, a tight banker from New York, 50's. He looks over a thick legal document on the desk as he speaks: LEWIS You will retain some editorial control over the remaining newspapers but the actual ownership will go to the Conservation Committee and the banks. We will be immediately closing 12 of the papers and the wire services. And we will be liquidating other assets as soon as possible. Most of the land in Mexico as well as your collection of art and antiquities-- MARION (quietly) Mr. Hearst spent his life collecting that art. LEWIS (ignoring her) We've been in touch with Gimbels in New York and they've agreed to hold a special sale. They're giving over an entire floor for the merchandise. You'll have to go there in person to sign the bill of sale, by the way. HEARST (softly, not turning) I'll have to sell the animals. LEWIS And we don't know whether we'll be able to retain the castle. The land has some capital and we might keep it on as an investment. Maybe break it up into smaller units for housing. A long pause Hearst finally turns and walks to them. HEARST (to Lewis) When will it come out? When will the public know? LEWIS We can't keep it a secret, sir. Once we announce the Gimbels sale and start liquidating the assets. MARION (pained) This is your whole life. Pops. Don't do it. We'll find another way.. A long beat as he looks at her. Then he quickly signs the document on the desk. He puts down the pen and leaves the room without a word INT SAN SIMEON. STAIRWAY NIGHT Marion sits nestled on a sweeping marble stairway Weeping INT NIGHTCLUB. HOLLYWOOD NIGHT A swank benefit dinner is in progress A band plays A banner hangs over the nightclub stage: CHILDREN'S MILK FUND BENEFIT, 1940 We float through the elegant crowd and spy Louis B. Mayer and Louella; Clark Gable and Carole Lombard; all manner of movie stars and power brokers. We also spy Schaefer sitting with Mank and Toland and a few other men and women. The evening's EMCEE takes the stage EMCEE Next up we have a real treat. It's Orson Welles. Now, during the rehearsal for the benefit tonight Orson banished everyone from the club so he could proceed in utmost secrecy. But you all know how Orson is! Laughter from the crowd EMCEE So, lets give a big round of applause for Mr. Orson Welles and Miss Rita Hayworth. Polite applause as Welles bounds to the stage with RITA HAYWORTH and the band begins to play a buoyant tune. Schaefer practically drops his fork Welles is dressed in a padded costume and made up in a way that can suggest no one but William Randolph Hearst. Rita Hayworth is dressed in a manner mightily like Marion Davies. Louella glances to Mayer, daggers. Some knowing laughter from the audience. Particularly Mank A line of chorus girls hoof on and join Welles and Rita Hayworth as a row of harsh footlights snap on, giving the scene a resemblance to the "Charlie Kane" dance in CITIZEN KANE. And Welles launches into a jaunty song and dance version of "DISGUSTINGLY RICH" an almost unknown Rodgers and Hart song;'. Welles has wickedly changed some of the lines. ' WELLES "I'll buy everything I wear at Saks. I'll print gossip and I'll call it facts RITA HAYWORTH "Swear like a trooper, Live in a stupor-- WELLES AND RITA HAYWORTH "Just disgustingly rich! WELLES "I'll make money and I'll make it quick, Starting little wars I think are slick. Smother her in sables, Like Betty Grable's-- Just disgustingly rich. "I'll build a castle, That'll cost a passel. And as a resident, I will pan the president I'll aspire, Higher and Higher. "I'll get married and I'll buy a girl, So darn pretty that your head will swirl RITA HAYWORTH "Swimming in highballs-- Stewed to the eyeballs-- WELLES AND RITA HAYWORTH "Just disgustingly rich! Welles, Rita Hayworth and the chorines do a nifty soft-shoe turn as Schaefer turns to Mank: SCHAEFER (seriously) He truly doesn't care if he ever works again. MANK Yeah, ain't it swell? Welles and Rita Hayworth conclude their little dance break and Welles resumes the song: WELLES "Ev'ry summer I will sail the sea, On my little yacht the Normandie, Pet my little dachshund friends, Kiss Louella's big rear end, Just disgustingly rich. About here Louella storms out. "I'll eat salmon, I'll play backgammon. Turn breakfast into brunch, I'll take Thomas Ince to lunch I'll aspire, Higher and Higher. About here Louis B Mayer and a few others storm out. RITA HAYWORTH "He'll be photographed with Myrna Loy, Just to prove he is a glamour boy. WELLES "Perfumed and scented, Slightly demented-- Just disgustingly rich RITA HAYWORTH "I'll get my capers, Into his papers. Hoping his folly would Lead me out to Hollywood. I'll aspire, Higher and higher. About here Schaefer buries his face in his hands WELLES AND RITA HAYWORTH "In the funnies and the valentines, We'll be pictured drinking Ballantine's. Dopey and screwy, Voting for Dewey. Just disgustingly-- Too, too disgustingly-- Riiiiich! " Welles and Rita Hayworth conclude the number with a big flourish. Some applause Mank stands and applauds loudly. Laughing. Welles bows solemnly to Mank EXT NIGHTCLUB FOLLOWING Later that night, Welles is about to climb into his limousine outside the nightclub with Rita Hayworth when Schaefer suddenly appears and grabs his lapel. WELLES (happily) George- -! Without a word, Schaefer pulls Welles roughly into an alley beside the nightclub. He slams Welles into the alley wall. SCHAEFER (brutally) This isn' t some kinda fucking game! You know how many people RKO employs?! You know how many people depend on what we do for a living?! WELLES I really think you're SCHAEFER You wanna commit suicide, fine! You got some death- wish, fine! But you will not drag this company down with you! WELLES It was a -joke, George Schaefer slaps Welles firmly across the face. Welles is stunned. SCHAEFER There are no jokes! There are people making a living. There is food on the table! Schaefer glares at him and then rages off Welles straightens his suit and then, with a shaking hand, reaches for a cigar. He tries to laugh, but cannot. INT SCHAEFER'S OFFICE. RKO DAY Schaefer sits at his desk, absolutely dazed. Speechless B. Mayer sits across from him. SCHAEFER Where did this money come from? beat MAYER It came. MAYER 800,000 dollars fully covers the production budget and a little more. Hell, George, you even make a profit on the deal. SCHAEFER Very generous MAYER And we gotta be clear here. I need the negative and every existing print. SCHAEFER To do what? MAYER That's for me to decide. SCHAEFER You're going to destroy it MAYER No, maybe put it on the shelf until the old man kicks it. SCHAEFER You're lying to me. MAYER We already made the same offer to the stockholders. Schaefer is stunned. SCHAEFER You talked to New York? MAYER Yes SCHAEFER You talked to Mr. Swanbeck? Pause. MAYER Yes SCHAEFER Get out MAYER You're bettin' on an inside straight this time. You'll never pull it off. SCHAEFER Get out. Mayer stands and smiles MAYER This picture, George, it'll just break your heart. Mayer goes. Schaefer sits, smelling defeat. We linger on Schaefer as a haunting echo of "I CAN'T GET STARTED" is heard. . . INT/EXT SAN SIMEON NIGHT We float through the estate as we hear the ghostly strains of Bunny Berigan's recording of "I CAN'T GET STARTED." It is a sad journey. By this time many of the ornate antiquities have been removed from the castle and it resembles Welles' stark and dreary Xanadu all the more. BUNNY BERIGAN "I've flown around the world in a plane, I've settled revolutions in Spain, And the North Pole I have charted, Still I can't get started with you... We float past the private zoo, now empty, the cages hanging open. We move past the tennis courts, empty. BUNNY BERIGAN "On the golf course I'm under par, Metro Goldwyn has asked me to star, I've got a house, a show place, Still I can't get no place with you. We float into the castle itself and through the stripped- down Screening Room and the Assembly Room and the Great Dining Hall. All are mere shadows of their past glory. BUNNY BERIGAN "Cause you're so supreme, Lyrics I write of you, I dream, dream day and night of you And I scheme just for the sight of you, Baby, what good does it do...? We finally float into the ballroom A record of "I CAN'T GET STARTED" spins forlornly on a turntable. And Marion and Hearst are having a quiet, poignant dance together in the middle of the empty ballroom. BUNNY BERIGAN "I've been consulted by Franklin D. Greta Garbo has had me to tea, Still I'm broken hearted Cause I can't get started with you. They finally stop dancing and stand swaying gently. Then they stop swaying. HEARST (gently) Ah, Miss Davies, the times we have seen She holds him closely as "I CAN'T GET STARTED" concludes INT CHASEN'S RESTAURANT. PRIVATE ROOM DAY Welles has booked a private room at Chasen's. A long banquet table contains cans of sterno heating various dishes. Large photographs of the American West and renderings from THE LIFE OF CHRIST are scattered around other tables. Welles wanders around the renderings with Gregg Toland and Mank. Welles carries a plate of food and consumes as: TOLAND See, this is the Great Salt Lake -- we do the baptism here. MANK Great scene where John the Baptist pulls your head out of the water and says, "Look up, and behold your destiny" WELLES Is that from one of the Gospels? MANK Kinda. Schaefer enters. WELLES George! Enter And Behold Schaefer blinks at the massive photos and renderings. WELLES You're not still mad at me, I hope SCHAEFER No, we're jake. But listen- WELLES Look, not a single scene shot in the studio! We've found natural locations for the whole story-- SCHAEFER Hold on a sec. I got news. We finally found somewhere to premiere KANE but-- WELLES I told you! Where? Grauman's? El Capitan? Or did Radio City come crawling back? SCHAEFER The Palace in New York. But Orson there's something else. Welles stops eating SCHAEFER I think you better sit down WELLES (evenly) I don't want to sit Beat. SCHAEFER The bosses -- the other studios -- they want to buy the film and destroy it. Absolute silence Pause SCHAEFER They came to me with an offer. 800,000 for the negative and all the prints. SCHAEFER And they went to the stockholders in New York. MANK (quietly) Oh God. SCHAEFER I been talking to Swanbeck in New York and... Orson, I think they're gonna take it A long pause as Welles looks at Schaefer Welles suddenly FLINGS his plate of food in Schaefer's direction as he ROARS: WELLES YOU STUPID, LITTLE MAN! HOW COULD YOU HAVE LET THIS HAPPEN?! I GAVE YOU MY SOUL AND NOW YOU'RE GOING TO SELL IT!? MANK This ain't George's doing--! Welles- rampages around the room WELLES I PUT MY LIFE INTO THAT PICTURE -- EVERYTHING I'VE BEEN -- EVERYTHING I COULD BE---IT'S CITIZEN KANE! - - IT'S ALL CITIZEN KANE! And in a screaming, bellowing fury, Welles tears apart the room. In a scene sharply reminiscent of Kane destroying Susan's bedroom, Welles rampages around the room, upsetting tables and smashing everything in reach. Welles finally grabs a flaming can of sterno and flings it at Schaefer, Schaefer knocks it away. Then Welles stands in spent exhaustion, panting. One of his hands is bleeding. He looks at Schaefer. A pause. Then: WELLES Let . . . me . . . talk to them. . . New York ... The stockholders Give me one chance. And then you will never have to see me again. INT. GIMBELS NEW YORK DAY The entire two-acre fifth floor of Gimbels is in chaos A large banner is suspended at one end of the floor; "The Hearst Collection." It is the first day of the sale and it is mobbed. Hearst and Marion, alone in a crowd, walk wordlessly through the mayhem. Everywhere around them hundreds of eager customers strike like hawks, snatching up useless junk and treasured antiques. We see bits and pieces of San Simeon in the jumble They pass a man and his wife, holding up Marion's -BLESS THIS CASTLE" sampler: MAN Old man Hearst owned this and I'm getting it for two bits I Hearst and Marion continue to walk, finally arriving at the section containing the true, expensive treasures. Hearst watches as customers pick up and fondle his life. He glances at a framed front page of the San Francisco Examiner. The date is March 4, 1887. In a large box on the page is: "IT IS THE ROLE OF THE PRESS TO COMFORT THE AFFLICTED AND AFFLICT THE COMFORTABLE. WILLIAM RANDOLPH HEARST. PUBLISHER." HEARST I can't sell this. How much are they asking? MARION (gently) Pops ... let it go. Just ... let it go He looks at her. A long moment. He tenderly touches her face. Then: HEARST Yes, I think I shall. He takes her hand and leads her away as we pull up and take in the entire fifth floor. It is a stunning KANE-like image of rows and rows of merchandise piled high. Of junk and jewels. Of Charles Foster Kane and William Randolph Hearst. INT HOTEL ROOM. NEW YORK NIGHT Welles sits brooding in his hotel room. His invincible energy appears gone. He is deep in thought, listlessly shuffling and reshuffling a deck of cards in one hand. He aimlessly shuffles through the cards and plucks one out. WELLES Six of spades He glances at the card. It is the nine of hearts. He shuffles through the cards again and pulls out another card. WELLES Six of spades He looks at the card. It is the two of clubs. His attention is now fully on the cards. He shuffles them dramatically and snatches out a card. He looks at it and then tosses it away. He shuffles again, working the trick, again it fails. He tosses another card away. He continues, ;' more quickly, to attempt the trick. It fails again. And ' again. With a frightened moan Welles flings the entire deck away from him and bolts out of the room... EXT HOTEL ROOFTOP NIGHT Welles emerges from a stairway on the roof of his hotel. He marches to the edge of the roof and leans against a railing, gasping for air. Everywhere below him the shimmering lights of Manhattan twinkle and flash; cabs and neon and noise. The night sky above him is filled with stars. He looks away from the city and up to the stars -- they captivate him fully. He stares and stares at the impossible chaos of beautiful lights. A long moment as Welles gazes at the stars. The city below and the noise seem to disappear and Welles stands, safe and at peace under the silent dome of stars. The stars are reflected in his huge, dark eyes Magically, the stars in his eyes give way to the vague shapes of men sitting around a table. Welles looks at the men. WELLES Today. We pull back to see we are at INT RKO BOARD ROOM. NEW YORK DAY Welles stands at the head of a long conference table. Title: APRIL 6, 1941 Around the table are gathered a group of stern businessmen Schaefer is also present. Welles looks at the men. And he speaks. For once, his usual overwrought, theatrical tones are gone. He speaks simply. WELLES Today a man from Germany invaded Greece. He has already swallowed Poland and Denmark and Norway and Belgium. He is bombing London as I speak. Everywhere this man goes he crushes the life and the freedom of his subjects. He sews yellow stars onto their lapels. He takes their voices. In this country we still have our voices. And we can sing with them. And we can argue with them. And we can be heard. Because we are . . . for the moment . . . free. No one can tell us what to say or how to say it, can they? We have no brown shirt thugs here ruling our lives, do we? No one can take our voices, can they? Because we are free. I am one voice and that is all. My picture is one voice. Men are dying in Europe now -- and Americans soon will be -- so that we can surmount the tyrants and the dictators. Will you send a message across this country that one man can take away our voices? So ... who is Mr. Hearst and who is Mr. Welles? Mr. Hearst built a palace of brick and mortar and starting little wars and corpses piled high. I built a palace of illusion. My castle Xanadu is a matte painting and camera trick. It's nothing but . . . a dream. Today you have a chance to let the dream triumph. For once. He gazes at them and then slowly walks out of the room INT LONG HALLWAY. NEW YORK DAY Welles sits quietly on a bench in a long hallway in a tall building. Schaefer emerges from an office and goes to him. He sits next to him. SCHAEFER We open on May 1st. Welles slowly nods. SCHAEFER Orson, what you said in there. Did you mean it? Welles looks at him. WELLES Does it matter? They believed it He stands and begins walking away. SCHAEFER Orson. Welles stops, not turning. SCHAEFER Yes. It matters. Welles continues down the hall INT HOTEL. NEW YORK NIGHT Title: APRIL 30, 1941 Welles is rushing to catch an elevator as the doors close He nips in at the last minute and punches his button. He turns. The elevator is deserted but for one other person: William Randolph Hearst. Welles and Hearst recognize each other instantly. As the elevator ascends the two men look at each other. A very long pause as we watch their faces -- the young man and the old man -- both men of mad grandeur and malevolent passion and stunning inspiration -- both men of incalculable achievement and measureless poignancy. Finally: WELLES Mr. Hearst, we've met once before, my name is Orson Welles and I've got a movie opening tomorrow night at the Palace. I would be pleased to get you tickets. A pause as Hearst regards Welles. Then Hearst carefully reaches over and presses the stop button on the elevator. The elevator stops. An exceedingly quiet exchange: A beat. A pause. HEARST I wonder. Do you have any idea what you have done? WELLES Do you? HEARST Intimately. For every sin you have placed on my head I could give you a hundred others. I have been swimming in blood my entire life. But I retain a belief, perhaps you will think it old fashioned, undoubtedly you will, but I believe that private lives should not be public property. WELLES Elegant words, sir, when you have made your name and your fortune on slander and innuendo and gossip. In your papers you taught the world how to look under every rock. I learned at the knee of the master. HEARST So where does that leave us, Mr. Welles? What kind of sad future are we two making? A future where men will do anything to sell their newspapers and their movies? A future where no price is too high for fame and power? When we will all scratch each other to pieces just to be heard? Can you truly envision such ... horror. Hearst presses the stop button again and the elevator begins to move. The doors opens on Hearst's floor and he leaves the elevator. The doors are about to shut on Welles when he leans forward; and roars: WELLES CHARLES FOSTER KANE WOULD HAVE ACCEPTED I The doors shut on Welles and we remain with Hearst as he slowly walks down the long hotel hallway. He walks with dignity. EXT PALACE THEATER. NEW YORK NIGHT It is the premiere of CITIZEN KANE, at last. The Palace Theater swarms with tuxedos and dress gowns as the elite of New York and Hollywood descend from limousines and slowly parade into the packed lobby. On the Palace marquee "ORSON WELLES" is spelled out in enormous six foot tall electric letters. Below that is "CITIZEN KANE" also in electric letters. Above the marquee is a series of towering, flashing neon Charles Foster Kanes and the words "IT'S TERRIFIC." Title; MAY l, 1941 We float down and enter the crowded lobby with the patrons... INT PALACE THEATER. LOBBY FOLLOWING We swirl with the throng of patrons in the lobby as they file into the theater and finally find Welles and Schaefer huddled together nervously in a corner of the lobby. They are studiously ignored and snubbed by all the movie people filtering past. SCHAEFER They're cutting us dead, every goddamn one. They are ignored by a few more people Beat WELLES It's my birthday this week. I'll be 26. SCHAEFER Happy birthday. Mank fights through the crowd MANK Monstro! Ran into Walter Winchell outside He wants to play Herod in the picture. Hiya, George. SCHAEFER Herman. MANK (lighting a cigar) So ain't this just the bee's knees? The high muckey-mucks dolled up all Aztec-like for the human sacrifice. WELLES You gonna watch? MANK Hell, I know how it ends. (He calls to a passing stranger) Hey, Rosebud's the sled! WELLES Mank! MANK Face it, Orson, they're gonna hate it. I told you, not enough closeups and too many scenes with a bunch of New York actors. SCHAEFER (pained) Oh God. . . WELLES Relax, George. It's gonna go great. Trust me. Have I ever lied to you? Schaefer looks at him for a moment SCHAEFER You know something, Orson, you haven't done anything but lie to me from the moment we met. But, ya know, I'd do it again in a second. WELLES It was fun, wasn't it? SCHAEFER (quietly) It was the best, kid WELLES So, on to the Life Of Christ! SCHAEFER Without me. I'm afraid. I got the axe this morning. MANK Shit WELLES George... SCHAEFER Forget it. Cause you know something.. When I'm an old coot playing dominoes down in Miami Beach fifty years from now, I'll say, "Hey, you kids ever heard of a guy named Randolph Hearst?" And they'll say, "Nope. Never heard of him." And then I'll say, "Hey, you ever heard of a picture called CITIZEN KANE?" And they will have. That's enough for me. Pats Welles arm and goes into the theater WELLES (softly) What have I done? MANK Aw, cheer up, George'll probably be running Fox by the morning. Let's get a drink. Mank pulls at Welles' arm. WELLES But the picture... Mank stops and looks at him deeply. MANK (quietly) Kid, you know how it ends too. It ends sadly. He pulls Welles away from the theater and down the street. INT. PALACE THEATER - NIGHT We watch the faces In the flickering blue light we watch the audience as we hear Bernard Hermann's evocative and haunting opening music to CITIZEN KANE. We slowly move across a sea of faces as the music plays. For everyone, especially the movie people, what they are seeing is a revelation and a revolution. It is a whole new way of seeing the world. We see their amazement as they are mesmerized -- and their confusion as they are challenged. And we see George Schaefer, quietly proud. Bernard Hermann's opening music continues to play until we finally hear; "KANE" "Rosebud... And the world of movies is forever changed INT DESERTED BAR. NEW YORK NIGHT Welles and Mank are sitting in a rundown, deserted bar WELLES You know, all this nightmare we went through with Hearst. The whole thing... And in the end, probably no one will ever remember the picture anyway. MANK Yeah, you're probably right. A beat. Mank takes a drink. MANK I'll tell ya something, kid. When you make your masterpiece at 26 it's a bitch. I mean. where do you go from here? A long pause Then Welles speaks, softly. WELLES Will burn. Burn up. Burn out. But oh, what a flame He looks at Mank and toasts. WELLES Cheers. And Orson Welles smiles. Indomitable. THE END. \ No newline at end of file diff --git a/unformated_scripts/Script_Rachel Getting Married.txt b/unformated_scripts/Script_Rachel Getting Married.txt new file mode 100644 index 0000000000000000000000000000000000000000..19b9db6d2fc9a5f0d856f79378f0beeb02d3aa77 --- /dev/null +++ b/unformated_scripts/Script_Rachel Getting Married.txt @@ -0,0 +1 @@ + RACHEL GETTING MARRIED Written by Jenny Lumet 1 EXT. HALFWAY HOUSE PORCH. DAY 1 KYM, a darkly beautiful girl in her early 20's, is smoking furiously on the porch of an URBAN HALFWAY HOUSE. She glances impatiently at her watch and presses her ear to her cell phone. As she exhales, WE HEAR the rumble of thunder. Irritated, she crams her cell phone into her bag. ROSA a halfway house staff nurse is patiently handling WALTER, an irate patient who is screeching... WALTER I want my fucking Zippo now! Walter starts yanking at his hair. ROSA Walter, that is a behavior... WALTER (raking his nails against his forearm) Fuck you! ROSA And you are making a choice. Her cell phone rings... ROSA (to Walter) Hold on...Hello? WALTER God! KYM Don't you get it yet, Waldo? She's making a choice not to give you your lighter because you'll torch the Self-Help library again. WALTER I'm Walter. Kill anybody recently? Run anybody over with a fucking car? Kym grinds her cigarette under her heel and blows smoke but gives no signal that she's heard anything. She yanks her cell phone out of her bag as... A tan Mercedes STATION WAGON pulls up in front of the House. (CONTINUED) 2. 1 CONTINUED: 1 ROSA (to Kym) That them? KYM Yes. Finally. Rosa takes two of Kym's several bags. They are oddly matched. A Coach tote, a fake Prada, a Gristedes bag, and a World Wildlife Fund tote bag. WALTER You're not letting her get behind the wheel are you? Are you? ROSA Walter, you are only responsible for yourself. (To Kym) This is all your stuff? KYM You know you never gave me your cell number. ROSA (sotto) It was a mistake. I'm lucky I didn't get fired. We've discussed this. (She offers her hand) Good luck. Kym doesn't appear to have heard her but she shakes the hand barely... so very, very faintly. Kym's dad, PAUL BUCHMAN, a tired, prosperous man in his late 50's steps around the car and trots up the porch steps. He is wearing a big smile and his glasses are foggy. They hug. Kym talks rapidly over his shoulder... KYM Oh my god. Here you are. I thought you were going to abandon me in rehab. It's 12:30. You guys are half an hour late. I've been standing here with these lunatics. You look so great. Paul offers his hand to Rosa. PAUL Hello. I'm Paul Buchman. (CONTINUED) 3. 1 CONTINUED: 1 ROSA I'm Rosa. We met last time you came up. PAUL (doesn't remember) Of course, of course. KYM Let's go, let's go. Where is everybody? CAROL, a handsome woman in her 40's, waves from the car. KYM (loudly) Hey Carol. How are ya? CAROL Hello Kym. KYM So where's Rachel? Carol, where's Rachel? Kym slides into the back seat as Paul loads the car. CAROL Getting everything ready at the house. PAUL There is so much going on at the house I can't tell you. You know your sister's doing all of it herself. KYM (eyeing the rearview mirror as she arranges her bangs) My sister is bending the environment to her will? Really? PAUL No wedding planners or anything like that. Just her and Sidney and a lot of their friends. She is so thrilled you're here. Is that everything, sweetheart? (CONTINUED) 4. 1 CONTINUED: 1 KYM (distractedly, rifling through her bag) Yah. Can we go? CAROL Is there anyone you want to say goodbye to? KYM God no. 2 EXT./INT. TRANSITIONAL SHOTS. DAY 2 The station wagon travels through a constantly changing series of environments as they journey out of New York City on their drive to suburban Connecticut. Right away though, Kym lights up a cigarette and Paul and Carol crank their windows. KYM So are all these busy young wedding helpers staying at the house? Because after eight months of constantly revolving cell mates and crazy people... PAUL You weren't in a cell, Kym... KYM ...AND groups groups GROUPS... PAUL ...And nobody was crazy, nobody was in a rubber room... KYM ...I was looking forward to a little privacy for once. CAROL The only extra person staying at the house is Emma, who's actually been staying in your old room. But she can move, I guess. KYM Rachel and Emma. Oh, great. How relaxing. (MORE) (CONTINUED) 5. 2 CONTINUED: 2 KYM (cont'd) The only two people on the planet less capable of delegating than Hannibal! On the eve of a wedding! Nachtmare. CAROL Nachtmare? PAUL It's a nightmare so bad it's in German. KYM Rachel must be totally freaking out. Is she too tense?... PAUL She's a wigwam! KYM (right on top of him, rifling through her bag again) ...Is she eating? Or are all her latent food issues rearing their heads? Is she hoarding Snickers and Cool Whip under the bed like in high school? She never did put that one to sleep. PAUL (genuine) I don't think that that's a problem for her. KYM No offense, Dad, but you never thought that was a problem for her. I'm kidding. It'll be great to see her. Foodies are the worst, though. They never get it together. There were six of them on my floor in the hospital and you could never get into the bathroom. They would cry at the chocolate pudding and one of them was a guy. I can't wait to see Mom. (CONTINUED) 6. 2 CONTINUED: 2 PAUL You'll see her and Andrew at the rehearsal dinner tonight. KYM Can we stop at the 7/11 please? I feel nauseous. I need something to drink. CAROL I brought you a Diet Coke. She offers the can. (CONTINUED) 7. 2 CONTINUED: 2 KYM I prefer Pepsi from the fountain. 3 EXT. MINI-MART PARKING LOT. DAY. 3 Carol looks at Paul. He is fiddling with the dashboard. 4 INT. MINI-MART. DAY. 4 Kym fills her Big Gulp at the fountain and pays at the counter. The COUNTER GIRL gives her change. COUNTER GIRL I saw you on COPS. Kym appears not to have heard. She pockets her change and leaves. 5 INT. STATION WAGON. DAY. 5 As Paul drives through a bucolic, well-to-do neighborhood featuring a beautiful old church. 6 EXT. THE BUCHMAN HOUSE. DAY. 6 The station wagon pulls into a CIRCULAR DRIVEWAY lined with trees and bushes of beautiful blue hydrangea. There are several late model cars parked in the driveway of the SPRAWLING, SHINGLED HOUSE. Young people crawling everywhere in the midst of WEDDING PREPARATION, wrapping garlands and hanging paper lanterns. A LITTLE GIRL tosses rose petals in the swimming pool. The atmosphere is slightly punch drunk and friendly. Paul unloads Kym's bags. KYM I'll do it, Dad. She doesn't. 8. 7 INT. BUCHMAN LIVING ROOM. DAY. 7 Kym charges into the house where NORMAN SKLEAR and more friends of Rachel are decorating. They stare at her as she runs up the stairs to the second floor. CAMERA RUNS ALL THE WAY UP WITH HER. We hear... RACHEL'S VOICE OFF Can we raise this hem half an inch? EMMA'S VOICE OFF Yeah, yeah. Here, let me just... 8 INT. UPSTAIRS. DAY. CONTINUOUS -- 8 Kym slams open the master bedroom door and finds her older sister, RACHEL, trying on her wedding dress with the help of her best friend EMMA. Radiant and sexy, Rachel glows like an angel in her creamy white and gold sari. Emma has pins in her mouth and a tape measure around her neck. KYM Oh my god, you are just mi-nute! RACHEL Kymmie! EMMA (to Kym) You can't smoke in here-- Rachel and Kym squeal and embrace. Rachel is slightly awkward as Emma frantically tries to keep the billowing fabric from combustion. KYM Ow! RACHEL I have pins all over me. You look great! KYM I'm fat. Rehab makes you fat. All the vending machines. Look at you, missy! I'd swear to god you were puking again! (CONTINUED) 9. 8 CONTINUED: 8 RACHEL Hah! EMMA Kym! KYM Emma! (To Rachel) No seriously, you're so tiny it's like you're Asian. Dad wants us to sleep in the same room so you'll be able to watch me while he's asleep and I won't sneak out of the house and blow dealers and shoot heroin. RACHEL Dad did not say "blow dealers." KYM I told him I'd just sleep in Ethan's room. Beat. RACHEL You can always shoot up in the tree house. Kym laughs. A little too loud. EMMA Kym, I'm not remotely surprised you're starting your drama already, however it's Rachel's wedding and this week it's about her. KYM Emma, you still have your tiny core of rage! What a relief. Kym flops on the bed and gazes adoringly at her sister for a moment. Rachel beams back. KYM So are you an actual shrink yet? Even though you're like twelve years old? EMMA Psychology. Not psychiatry. You know the difference, right? (CONTINUED) 10. 8 CONTINUED: 8 KYM You should prescribe something soothing for Emma. Like Vicodin. RACHEL I will have my PhD. in a year and a half. And psychologists don't get prescription pads, right Kym? KYM They do in Guam. RACHEL Would you please put that out? Emma designed this dress and there's forty-seven yards of it and I'll go up like the Hindenburg. Kym takes a last drag even though she's down to the filter, then flushes the butt down the toilet in the tiny bathroom. KYM (over the flushing toilet) Since when are you a designer, Emma? EMMA A while. RACHEL She has this great little boutique in Greenwich. She says things like "you need a fabulous jersey pant." KYM That's so great. I think I heard that. Isn't this your fifth incarnation or something? Weren't you an actress? All the N.E.D.'s in the hospital were actresses... EMMA N.E.D.s? RACHEL Non-specified Eating Disorder. KYM ...they were constantly doing leg lifts under the sheets. (CONTINUED) 11. 8 CONTINUED: 8 RACHEL Angela Paylin is coming to the wedding. KYM (right on top of her) I ate so much cookie dough and did so many whip-its with Angela Paylin. RACHEL I know. And she confessed to you her secret Elvis Stoyko fantasy. I spied on you. KYM Oh my god... EMMA Elvis Stoyko the figure skater? RACHEL In her fantasy, she was wearing her hair up and very serious, responsible eyeglasses, because she was a world renowned judge at the Winter Olympics for Men's Figure Skating. And Elvis Stoyko was skating in the finals to "Could It Be Magic" for the gold medal. And just when Barry Manilow is singing "Now/ Now/ Now and hold on fast..." there's this electric connection between them and he stops in the middle of his triple lutz...axel... KYM And he skates over to the judges table, all panting and sweaty, with his spangly Neil Diamond shirt open to the chest... RACHEL There is silence as he stops in front of her, their eyes lock, and he reaches for her hand... and Angela takes it! KYM To the roar of the crowd and the shock of the Olympic judges! (MORE) (CONTINUED) 12. 8 CONTINUED: 8 KYM (cont'd) And he pulls her out of her chair, undoes her hair, and they skate as a pair to the rest of the song! RACHEL And he gets disqualified but he doesn't care! EMMA Where'd she get the skates from? They collapse in laughter. Kym studies her ass in the mirror. KYM I should call her right this second. Is she really coming? Who are all these energetic young people decorating the house? EMMA She's got everyone she knows pulling elf duty. KYM (squinting at her ass) What about me? What am I doing? Rachel and Emma exchange a look. KYM Hello? RACHEL Well, I think you'll be assisting on floral detail. I want everything all drippy and luxurious and Mom's a little bit tasteful-- KYM --Mom's in charge of flowers? RACHEL --and I don't want to upset her. EMMA (to Kym) And you're such a diplomat. (CONTINUED) 13. 8 CONTINUED: 8 KYM I am. I'm like Kofi Annan. In rehab they said I was the maternal hub of my peer group. I was always the referee for softball. Rachel snorts. KYM I was. I was the only one who could convince the methamphetamine freaks that no one was chasing them when they ran around the bases. EMMA It's softball. Someone was chasing them. KYM Whatever. They have trust issues in the first place. I'm going downstairs to find Olive and get some unconditional love. Kym swans out of the room. KYM Anyway, I'm doing some lighting. I already got the candles and everything. Rachel and Emma share a look. KYM (CONT'D) Forget Mom and me and the fucking flowers. 9 INT. UPSTAIRS HALLWAY. DAY. 9 Kym crosses the hall to ETHAN'S ROOM and opens the door. KYM Speaking of dawgs, when am I going to meet this fiancee of yours anyway? RACHEL VOICE OFF He went to get stuff with Kieran. They'll be back. 14. 10 INT. ETHAN'S ROOM. DAY. 10 A little boy's bedroom. Pale blue. A single bed, a window, some games. Some stuff in boxes. Not a mausoleum. Kym enters Ethan's room. She stands there looking around. She takes a moment... 11 INT. UPSTAIRS HALLWAY. DAY. 11 Kym wandering the upstairs hallway...the winding corridors are a little spooky, despite the openness and light, it feels haunted up here...looking into her old bedroom, seeing Emma's stuff inside. 12 INT. UPSTAIRS HALLWAY. DAY. --LOOKING DOWN-- 12 Paul comes to the bottom of the stairs, yelling up. PAUL I'm making hot dogs and hungabungas! Who wants what?! Rachel and Emma shout back down. RACHEL It's too hot! EMMA I don't eat gluten, Paul! PAUL What don't you eat?! EMMA Gluten! PAUL Where's Kym? Kym appears, down the back stairway, behind Paul, not shouting... KYM Here. RACHEL Besides I'm in my dress! (CONTINUED) 15. 12 CONTINUED: 12 PAUL Ooo! Can I see?! Paul starts up the stairs. RACHEL/EMMA No! PAUL Okay, okay! Paul has stopped half way up the stairs. He turns to Kym, beams at her. PAUL Kymmie, what can I make you? KYM Actually there's a meeting I have to make. And I have to pee in a cup. And register as a general biohazard. PAUL I'll drive you. KYM (heading downstairs) Just tell me which car I should take. Paul doesn't say anything. Carol floats to Paul's side. KYM Which car? PAUL Would you do me a favor, Kymmie...? KYM I have a license... PAUL You wouldn't believe my insurance. And I'm not... that comfortable. Could we figure something else out? 13 EXT. VILLAGE COMMUNITY CENTER (CHURCH). DAY. 13 Kym pedaling up on a bouncy, high tech racing bike that is far too big for her. She bangs herself in the crotch as she dismounts. (CONTINUED) 15A. 13 CONTINUED: 13 KYM Ow! 16. 14 INT. COMMUNITY CENTER RECEPTION AREA. DAY. 14 KYM Hello? Hello? Kym stops a baby-faced NURSE. KYM Hi. I'm here to pee in a cup. NURSE (over her shoulder) She needs to pee in a cup. (back to Kym) Someone will be right with you. KYM Okay. I'm trying to get to a meeting. NURSE The meetings are over in the other building. KYM I know that. NURSE Someone will be right with you. Have a seat. Several people are waiting in chairs. They look at Kym. 15 INT. COMMUNITY CENTER BATHROOM. DAY. 15 A DIFFERENT NURSE is waiting by the sinks examining her teeth in the mirror. Kym bangs open the door of her stall with her foot. The door swings back and Kym spills her sample all over herself. KYM Piss! 16 EXT. COMMUNITY CENTER. DAY. 16 As she runs up the OUTSIDE STAIRCASE Kym wipes at her shirt with a wet paper towel. She yanks open the door and a bird poops on her. KYM Shit! 17. 17 INT. COMMUNITY CENTER MEETING ROOM. DAY. 17 Narcotics Anonymous Meeting. Chairs, light. An ATTRACTIVE GUY is sharing. Kym slams in, frazzled and late. A few people look at her as she grabs a folding chair from a stack leaning against the wall and the other chairs slide to the floor with a huge clatter. KYM COCKSUCKER! ATTRACTIVE GUY Only once. My dealer. I was really broke. The room breaks up. Kym struggles to rearrange the fallen chairs. She is pissed. ATTRACTIVE GUY Let's see...that was Tuesday... 18 INT. COMMUNITY CENTER MEETING ROOM. LATER. 18 PASTOR MEL, a guest speaker, shares details of his struggles inside the "12 Step" Process. Kym, like everyone present, is riveted. 19 OMITTED 19 20 OMITTED 20 18. 21 EXT. BUCHMAN HOUSE. DAY. 21 Sweaty and fed up with Carol's bike, Kym cycles into the Buchman driveway. Paul has been watching for her out the kitchen window while doing dishes. He waves and yells to his wife. PAUL Carol, she's here! KYM Where did you think I was? PAUL I made you a sandwich, sweetheart! Meatloaf! Kym's shoulders slump. Watching from an upstairs window, Rachel observes Kym wheel the bike up the driveway and Paul hurrying from the kitchen to meet her, carrying a meat loaf sandwich and a glass of milk. There is an awkward exchange of items. Paul hugs and mushes Kym and kisses her on the forehead. Rachel opens the window, calls down. RACHEL Kymberly! 22 EXT. BUCHMAN BACKYARD. DAY. 22 Fiancee SIDNEY, sexy, compact, thirties, and best man KIERAN, are stringing lights all over the house and yard. Kieran is on a ladder. He is the same ATTRACTIVE GUY from the meeting. Sidney is completely wrapped, chest to knees, in twinkly white lights and he unspools himself as needed. Rachel arrives with Kym who is holding the aircraft carrier sized meatloaf sandwich that's oozing lettuce and ketchup and the enormous glass of milk. She holds them both like they're suspended in formaldehyde. Emma is working on her tan. RACHEL No. You guys are not getting my design concept. (MORE) (CONTINUED) 19. 22 CONTINUED: 22 RACHEL (cont'd) I want every single light to represent a different one night stand during the misspent youth of Kris Kringle before he stopped whoring around and became Santa Claus. SIDNEY Oh. I thought you said Satan Claus. KIERAN I thought she said Panty Hose. Or Panda Claws. EMMA Pandas are endangered. RACHEL I know. We're having an endangered Panda fleeing for its life for the ice sculpture. Or impaling itself on some bamboo. Kym! This is Sidney Williams, my betrothed. Sidney, meet my sister, Kym. KYM Oh my god. You're black. (To Rachel) Sorry I called him a dawg. RACHEL That's fine. SIDNEY No biggie. KYM You don't look like a record producer. You're supposed to have a hapless lackey next to you with an umbrella. SIDNEY Usually I do, but Mom's out simonizing my car. Funny, you don't look like Lucifer's Cupbearer. KYM (fingering a lock of hair) I got a haircut. Kym gives Emma a look. Emma smiles sweetly. (CONTINUED) 20. 22 CONTINUED: 22 Rachel gestures up the ladder. RACHEL And this is Best Man Kieran. Kym looks up the ladder at Kieran. KYM Hey. KIERAN Hi there. 23 INT. BASEMENT. DAY. 23 Kym and Kieran, having SEX in the cavernous basement. It runs practically the length of the house and there are nooks and caves everywhere. An ancient sofa, riddled with cigarette burns, some futons, dragged down and thrown haphazardly in corners, Unicorn posters hideously and pornographically defaced, and squat jars of ancient household products (Oil of Olay, self tanner) filled with cigarette butts offer proof of years of inhabitation. LATER -- Kym lights up. KIERAN Well, that was so wrong -- KYM Gee, thanks! KIERAN No, believe me, that was so lovely, LOVELY! But in the program -- as you know -- and we just heard earlier today in fact -- KYM It is kind of lurid, isn't it? The best man and the maid of honor... furtively slipping off to the coal bin to have it off while the rest of the wedding party labors away at preparations for the big event. (CONTINUED) 21. 23 CONTINUED: 23 KIERAN I thought...isn't Emma going to be playing that role? KYM What? KIERAN "Maid of Honor"? KYM Oh. KIERAN I think I heard that was the plan. 22. 24 INT. HIGH-END INDIAN CLOTHING BOUTIQUE. DAY. 24 A LAVISH BOLLYWOOD SOUNDTRACK PLAYS as Emma wraps Kym in lilac fabric for her sari-esque bridesmaid's dress. Kym examines herself in the mirrors of the private salon. The girls look like jewels against the lush fabrics, pillows and curtains. Rachel sits at a vanity trying on dangling earrings and shakes her head gently, the gems glimmer and sparkle. RACHEL Isn't the lilac fabulous? You look like a freesia. KYM (to Rachel) I love the grey. EMMA We're all wearing lilac. KYM (heedless, grabbing the grey fabric) Look at this. I love this. It's like a cloud. Emma looks at Rachel. KYM You guys know how I am. I never wear lilac. EMMA It's good to have a principle. Kym ignores her. RACHEL You wore a lilac sweater with a cat face on it on the cover of Seventeen Magazine when I was at Fat Camp. KYM Sure, but I got paid for that and I was on horse tranquilizers. So why aren't I the Maid of Honor? Why is Emma the Maid of Honor? RACHEL Because. (CONTINUED) 23. 24 CONTINUED: 24 KYM What does that mean? RACHEL I wasn't entirely sure when you were coming or even if you'd make it. Kym looks sharply at her. RACHEL I wasn't sure if you'd have time for a fitting. KYM Bullshit. It's a sari. You take a bolt of cloth and wrap it around you. Jesus Christ I've been home one day and I can't get a straight answer out of anybody. RACHEL What are you talking about? KYM I'm talking about Dad offering me food every ten seconds... RACHEL Dad offers Irish Hunger Strikers food every ten seconds. KYM No. He has to know where I am and what I'm doing all the time because he has never resolved his own trust issues. EMMA That's odd. KYM Shut up. EMMA Blow me. RACHEL Oh, leave Dad alone. (CONTINUED) 24. 24 CONTINUED: 24 KYM I'd love to but he won't let me. I feel him watching me all the time. And Carol and you guys too. EMMA I know I have nothing better to think about. KYM Everybody's looking at me like I'm the visiting sociopath. What are you people waiting for me to do? Burn the house down? They both look at her. KYM That was a mattress fire and it wasn't even at home! It was on a sleep over! God! I should just get HAZMAT tattooed on my forehead for you people. RACHEL Stop! You're like a harpy. Is being my "Maid of Honor" this important to you? I didn't think you gave a shit. Beat. KYM How could you fucking say that to me? RACHEL Jesus. Emma! EMMA What? RACHEL Emma, would you be horribly offended and hurt if I asked you to step down as... (exaggerated, practically with quote fingers) ..."Maid of Honor?" EMMA Yes. (CONTINUED) 25. 24 CONTINUED: 24 KYM Now Emma's got another reason to hate me. Like she needed one. EMMA Is it what you want? For an instant, conflict and pain flicker over Rachel's sweet face. RACHEL Not really. EMMA Fine. The crown is yours, First Runner Up. KYM Thank you, Emma. No, thank you. EMMA It's not about you. KYM It's about sisterhood. EMMA Hooray for sisterhood. KYM Sisterhood conquers all. RACHEL And bludgeons all and pillages all and leaves all for dead. KYM (returning to mirror) So the gray is not an option? 25 INT. UKRAINIAN MUSEUM. NIGHT. 25 THE REHEARSAL DINNER --"The rehearsal" component is in full swing amidst elegant dioramas and displays of Ukrainian folk art saints, traditional costumes, a skillion painted eggs, the mounted heads of indigenous Ukrainian animals, and the plaster busts of Ukrainian Popes. The audience of revelers is clustered at one end of the room with drinks and appetizers, while at the other end, various friends take their shot at a brief rehearsal. (CONTINUED) 25A. 25 CONTINUED: 25 Old friend Norman Sklear is emceeing the line-up -- he is currently at the mike with a funny improv based on really disastrous weddings he has known. Everybody is laughing. (CONTINUED) 26. 25 CONTINUED: 25 Paul, Carol, a few of Paul's closest record biz friends (including a CULT LUMINARY or two); MR. AND MRS. WILLIAMS (Sidney's mom and dad), sister KAYRA, grandmother HERREAST, and cousin JOSEPH GONZALES (in US Army dress uniform, home on leave from Iraq) blend easily with the younger crowd. Cousin Joseph is always filming with his own CAMCORDER. QUICK CUTS -- other rehearsal moments such as a TEENAGED GUITAR/DRUMS DUO blowing out "Here Comes The Bride"; Gaida's Arabic wedding song; UKRAINIAN AL (the in-house music director) getting the women to chant "Rachel" and the men to chant "Sidney" ancient European-stylee; ZAFER TEE's exquisitely heartbreaking improvised violin solo; DORIAN LOVEJOY's Rachel/Sidney FREESTYLE RAP, etc. delivering to a breathtaking saxophone solo entitled "Sidney loves Rachel" by (the real) DONALD HARRISON JR. Harrison's toast to Paul, his beautiful family, and the memory of many memorable nights of music in the Buchman house while the kids were growing up draws HUGE APPLAUSE, POWERING INTO -- 26 INT. UKRAINIAN MUSEUM DINING HALL. NIGHT. 26 THE DINNER-- The forty-odd guests are now seated in an adjoining room at LONG TABLES laden with a GORGEOUS INDIAN FEAST. Yellow rice, red curry, vivid green and orange vegetable dishes, pink shrimp. Huge plates of Dosa and Brinjal. Candles flicker in lanterns shaped like lotuses. PHOTOGENICALLY STYLISH YOUNG SERVERS dressed elegantly in black and white hover around the family and friends as everybody makes total pigs of themselves. The INDIAN FEAST contrasts agreeably with the Ukrainian visuals. EVOCATIVE BOLLYWOOD MUSIC PROVIDES THE SOUNDTRACK. Kym, wandering on along the table like a nomad, wedges herself between Sidney and Rachel. Emma grabs an empty wine glass before Kym knocks it over. KYM I don't know anybody at what's obviously the loser end of the table. Can I have your Chana Masala? Without waiting for a response, Kym dives in with her naan. RACHEL You've known most of those people since the eighth grade. You always pretend you don't know people. (CONTINUED) 27. 26 CONTINUED: 26 EMMA Is it because you owe them money? KYM Where's Mom? Where's our mother? How could she not be here already? I haven't even seen her since I've been home. SIDNEY She called a few times. She's "running a little late but should be here soon." KYM (stuffing naan in her mouth) GOD!!!! She tries to catch a piece of Fish Tikka in her mouth and misses. EMMA Kieran would you like some more Saag Paneer? KIERAN No thanks. Is there any krill? Emma blinks. KIERAN Just kidding. KYM I can't believe Mom would be late for my release back into the wild. EMMA And here I was thinking tonight was about Rachel! SIDNEY Rach, I forgot to tell you, Carol got the helium tanks. KYM The words "Carol" and "helium" somehow... RACHEL Aren't there some rules about helium tanks? (CONTINUED) 28. 26 CONTINUED: 26 KYM (snorting) She wouldn't have any idea what to do with a helium tank. SIDNEY Only on public property. I think. K? KIERAN Huge liability. KYM You're a lawyer? KIERAN Was. For about five minutes. KYM Say something legal. KIERAN Tort. KYM So what do you do now? KIERAN I help Sidney out with the business side of his stuff. KYM Sweet. RACHEL Here's Mom. The girls clamber up. Kym brushes curry off Rachel's shirt. ABBY, the girl's mom, and ANDREW, her husband, enter the dining room. Abby is a beautiful, wise woman in her fifties. Elegant, ladylike and graceful. Andrew looks foxy in his Abby-selected Armani, but he has the shoulders and knuckles of a heavyweight. As the girls approach, Abby acknowledges Paul across the room but makes no move to go beyond an exchange of long distance little waves and tight smiles. ABBY (to Rachel, embracing) Hello, darling. A big hug. She turns to Kym. (CONTINUED) 29. 26 CONTINUED: 26 ABBY Kym! Did you get my note? They embrace. Abby steps back but keeps her hands on Kym's shoulders. ABBY You look beautiful. KYM I'm fat. Rehab makes you fat. ABBY Nonsense. You girls. ANDREW Hiya Kym. You look great! Hey Rachel! He kisses Kym on the cheek. Rachel gives him a big hug. RACHEL Mom, where have you been? Is everything okay? KYM Wow. We were wondering if you got the dates scrambled. Abby steps towards her daughters, taking them in. ABBY Yes, everything is absolutely fine now. KYM Thank god. What a relief! Now the party can really get started. Abby and Rachel look quickly at Kym. KYM (lighting a cigarette) So Mom, you look great. ABBY Darling, can you smoke that in here? (CONTINUED) 29A. 26 CONTINUED: 26 KYM It's a private party, Mom. How's grandma? Still surly and irascible? (CONTINUED) 30. 26 CONTINUED: 26 ABBY Oh, you know how she is. She sends her love. KYM Great. Same. Kym drags on her cigarette like it's the last Coca Cola in the desert. ABBY Honey, you should really put that out. It's not right. You know that. KYM Fine. 27 INT. UKRAINIAN MUSEUM DINING HALL. NIGHT. LATER. 27 Kieran is making a toast. Dinner is mostly over. Waiters are discreetly clearing plates, etc. from the table, pouring more drinks. KIERAN (something like) I've known Sidney most of my life. He personifies many of life's grandest cliches, even as he breathes fresh life into most of them. He has never, ever "ceased to amaze me," and only in the best of ways. The magnitude of his artistry and his business acumen are matters of public record and delight. He's been a great friend "through thick and thin," and sometimes it's gotten very, very thin -- but he "stood by me" at all times, so it is my privilege and honor to stand by him on this profound occasion... TIME CUT -- Emma rises and bangs her glass with her spoon. It shatters. RACHEL You're paying for that, Emma. EMMA Of course. I'd like to make a toast to the happy couple because I want to come visit them in Hawaii. (MORE) (CONTINUED) 30A. 27 CONTINUED: 27 EMMA (cont'd) Sidney what's the name of that place again? SIDNEY Humuu-humuu Nukku-nukuu... KIERAN A-Pu-Aa-Aa. (CONTINUED) 31. 27 CONTINUED: 27 Sidney kisses Kieran on the cheek. KYM (sharply, to her sister) You're moving to Hawaii? RACHEL Sidney's recording studio is there. Kym, stung, exhales a plume of smoke. EMMA I've known the bride her entire life. Not biblically, except for that one time we french kissed at Evan Yassky's party in the ninth grade. SIDNEY Film! I want film! Whoops and hollers. EMMA Commence embarrassing story. RACHEL That wasn't it? EMMA Rach, do you remember the time I was teaching you to drive in the Wagoneer and you sideswiped that taxi driver and knocked off his side mirror? RACHEL I have no memory of that whatsoever. EMMA Do you remember trying to outrun him and leading him on a high speed chase across 96th street? RACHEL Gotta say no. (CONTINUED) 32. 27 CONTINUED: 27 EMMA Well I would like to share with everyone that Miss Rachel-before she got her license or even had any idea how to drive- out maneuvered an irate, screaming cab driver across 96th street to the East river, handily avoiding two EMT guys loading an old lady on a gurney, while at the same time, applying Cocofudge Lip Gloss in the rearview mirror. Bravos all around. EMMA Wait, wait. She actually got the number of one of the E.M.T guys and went out with him. Twice. KYM (loudly) Was that the guy with the peroxide hair? Abby, not looking at her daughter, shushes her. EMMA Anyway, when the taxi driver finally caught up with us, Rachel talked him down from his Middle Eastern fury in pretend Farsi, and ended up using his radio thing to call his dispatcher and recommend this guy for a commendation. RACHEL Mahamoud! Such a nice man. EMMA We were driving so fast! It was one of the more exhilarating moments in my life...sadly...but I knew that Miss Rachel would make it okay. So here's to you, my dear, dear friend. A woman who can drive fast, pick up a paramedic, make up languages and get you home in one piece. Sidney, you are a lucky bastard. SIDNEY Hear hear. (CONTINUED) 33. 27 CONTINUED: 27 RACHEL Where? Where? Abby smiles broadly at Rachel and blows her a kiss. Kym rises with her glass and takes Emma's place on stage. She glows in the candlelight. KYM (for the crowd) Relax, it's seltzer. Low giggles. KYM (CONT'D) Hello. I'm Shiva the destroyer and your harbinger of doom for the evening. I want to thank you all for coming and welcome you even though I haven't seen most of you since my latest stretch in the Big House... Scattered low giggles. KYM (CONT'D) You all look fabulous. During the twenty minutes I was not in the hole for making a shiv out of my toothbrush, I actually did participate in the infamous 12 Step program. 12 Steps. Step-ball- change, step-ball-change. I'm still waiting for the change part. Some guests laugh. Sidney grins. Carol, Paul, Rachel, and Abby sit silently. Andrew moves in towards his wife. KYM (CONT'D) But as they say, relapse is an almost always inevitable component of recovery, God knows I've got high marks in that mode! Everyone is staring at Kym. KYM (CONT'D) Anyhoo, as more of you know than are likely to admit, one of the actual steps is about making amends. (MORE) (CONTINUED) 34. 27 CONTINUED: 27 KYM (CONT'D) So I spent a lot of time calling up people who barely remembered me - who barely remembered anything - and apologizing to them for bouncing a check or passing out in the bathtub and flooding their house, or otherwise involving them in sordid activities they were desperately trying to forget. I had to call this one girl who was, I think, fourteen, but I couldn't talk to her because her Mom took out a restraining order. Kym thinks this is hysterical. Paul does not. KYM (CONT'D) Anyway, I did a lot of apologizing to people who were practically strangers so I very much want to take this opportunity to not only congratulate my extraordinary sister, the future explorer in matters of the mind, thank you very much, and her adorable, impending husband on the occasion of their unprecedented nuptials.. but also to apologize to my extraordinary sister, the future explorer in matters of the mind, for... Everything! And I really mean that, Rachel. I've been a nightmare and you've been a saint. I'm so damned glad I'm here with you and Sidney and his family and ours, and I am so happy for you guys, I really am. So, I am hereby raising my seltzer in celebration of my laudatory sister and herewith making amends. Sidney, you are robbing our dysfunctional family of one of it's most vital ingredients, and it's only member still willing to lend me money. (She pauses for a second) Enjoy Hawaii. La Chaim. She lifts her glass and downs it's contents. There is a smattering of applause. KYM (CONT'D) (to the group) One down. What's for dessert? (CONTINUED) 35. 27 CONTINUED: 27 Kieran stares sympathetically at Kym. 28 EXT. UKRAINIAN FOLK MUSEUM. NIGHT. 28 Guests leaving. 29 OMITTED 29 30 INT. BUCHMAN HOUSE. NIGHT. 30 Kym drops into a chair in the dining room as Paul, Carol, Rachel, Sidney, Kieran, and Emma struggle in with several elaborately wrapped wedding gifts and leftovers from the rehearsal dinner, which they pile on the dining room table. Rachel and Sidney are having a quiet, tense exchange. KYM (to anyone, examining her split ends) I'm exhausted. Is there any watermelon? CAROL Let me see. RACHEL (To Kym, as if she's joking) Nice apology. KYM What? RACHEL (again, making a joke out of it) Nice apology. KYM I was toasting you and I was making amends. It's one of the Steps. It's important. RACHEL I know what the Steps are. (CONTINUED) 36. 30 CONTINUED: 30 Rachel glides to the den and drags out the huge dictionary. RACHEL I learned them in school, and I've visited you in various facilities, Kym. Sidney and Emma share a look. Rachel drops the dictionary on the dining room table. KYM Oh, god. Dad? Kym looks to her father. Carol returns with a tray and a huge watermelon that's been impaled with an enormous kitchen knife. RACHEL Amends. Noun. Often followed by 'for'. Offset a disability or frustration by development in another direction. Rachel blinks at her sister. KYM (exaggerated) Yes? RACHEL You've never said anything to me, that's remotely apologetic. Yet, all of a sudden, at my wedding dinner, in front of everybody, you decide to grace us all with your development? KYM Christ. I just got here. Carol hands Kym a slice of watermelon. CAROL Here. Anybody else? RACHEL "Hey everybody! And guests! Just in case you might be thinking about something else for five minutes, like, I don't know, my sister's wedding-- they just cut me loose! (MORE) (CONTINUED) 37. 30 CONTINUED: 30 RACHEL (cont'd) I'm a loose cannon, is that hysterical? Anyone for some rehab humor? Because I'm really fine with acknowledging my disease. And now watch me be really selfless, and weave a lovely blanket apology to my sister for being a tad out of her loop." Rachel giggles. Sidney and Kieran, staying out of this, exchange a glance. KYM (chewing) You're so cynical. Dad, since when has she been this cynical? PAUL She's making an effort, Rachel. RACHEL An effort. That's what it was? Because I think she presumes that since everything has always revolved around her disease, everything else is going to revolve around her recovery. That's what I think. PAUL Rachel. She just got home. RACHEL Again. KYM I had no idea you were so angry, doctor. RACHEL I'm not. PAUL Kymmie, your sister's got a lot on her plate. She's uptight about... RACHEL I'm not uptight, Dad. (CONTINUED) 38. 30 CONTINUED: 30 PAUL She's meeting Sidney's folks for the first time, there's menus, there's all that live music, you're home, there's a thousand things to worry about. CAROL Absolutely, a wedding will take it right out of you, boy. PAUL Yeah, it would be so lovely if we could all just... KYM (removing seeds) You people need to purge. You people really should go to Nar-Anon or something. I mean it. CAROL Oh my lord. Kym, we have gone through Nar-Anon, baby. You know that. RACHEL (turning her head) You people? You mean the people in this room? Your family? KYM All of you people living in this little world of judgement and paranoia and mistrust. I can feel it every second. At the slightest sign of ingratitude or absence of atonement it's like the freaking Salem Witch Trials around here. I might as well be... PAUL (pouncing) Don't even start... CAROL (standing next to her husband) Nobody can make you feel any way unless you let them, Kym. (CONTINUED) 39. 30 CONTINUED: 30 KYM Thank you Carol, for your inevitable pearl of wisdom, but you people are my family. You people make me feel like shit a hundred times a day. You try living under Dad's constant monitoring for five minutes and see how you like it. PAUL What constant monitoring? KYM "I'll drive you!" "Carol, she's back!" "Don't sleep here, sleep there." "Here. Eat this." Dad, you're obsessed. RACHEL Please. That's hardly news. You may not know this...sure you do...the only way to engage Dad in any meaningful communication is to start the conversation with your name. "Have you heard from Kym? How's Kym?" It resuscitates him. It jars him into the moment. Like an alarm. PAUL That's unfair, Rachel. And completely untrue. RACHEL And she's even worse! "Dad, you're never going to believe this, but I lost the car again." "Dad, you're never going to believe this, but that check you sent me never showed up and my landlord hates me." "Dad, can somebody meet me downstairs with cab fare and you're never going to believe this but I need to go to the emergency room and my neighbor's suing me and my checkbook got stolen!" KYM Gee, Rach, sounds like you have some paternal/sibling issues to work through. (CONTINUED) 40. 30 CONTINUED: 30 RACHEL Are you kidding? The two of you are like a double helix of crises. In the language of psychology one could say you both suffer from acute boundary issues. PAUL Rachel! It's nice that you're getting your Ph.D-- RACHEL (she throws up her hands.) --Oh god-- PAUL --but don't be patronizing. It's ugly. It doesn't become you. RACHEL How come she gets to spout off about paternal issues, but god forbid I should even reference the "boundary thing," even though I actually know what I'm talking about? KYM (waving her arms) Hello? By the way? I'm not in crisis. I haven't been in crisis for a year. RACHEL You just got out of rehab! KYM Why is this so difficult for you people to understand? It's like you're not happy unless I'm in some kind of desperate situation. You have no idea what to do with me unless I'm desperate. God. Why am I the only one who's willing to say this stuff? RACHEL Oh, poor you. You're so much more evolved in your suffering. You know what? Your suffering is not the most important thing in the world to everybody! (MORE) (CONTINUED) 41. 30 CONTINUED: 30 RACHEL (cont'd) There are billions and billions and billions of people, in nations all over the world, who never even think about you! Other people have lives! We have lives! I have a life! I'm in school. I'm getting married. I'm... Rachel just stands there, not saying anything. KYM What? PAUL What?!! Dead silence. Everyone stares at Rachel. Rachel looks at Sidney. Sidney passes the look right back to her. RACHEL I'm pregnant. Beat, then: HUGE WHOOPS AND HOLLERS!!!! EVERYBODY Congratulations! Oh my god! Etc!!! Paul hugs Rachel and kisses her hair. Sidney and Kieran hug. Emma hugs Rachel and kisses Sidney. Hugging all around. Kym is pissed. Paul grabs Kym and Rachel, and hugs both daughters at once. Rachel and Kym's faces are mushed right next to each other. Kym is impatient and stiff in the dreaded double mush. Kym breaks from Paul's vice-like grip. KYM That is so unfair! PAUL (ecstatic) When did you find out? SIDNEY Roughly about the day before we decided to get married. RACHEL I can barely believe it myself! PAUL (laughing, mushing Rachel's belly) (MORE) (CONTINUED) 42. 30 CONTINUED: 30 PAUL (cont'd) How long? How much pregnant? Did you tell your mother? RACHEL We told her at dinner. SIDNEY She was so happy-- KYM Wait! Stop! You can't just drop that tectonic bit of information into a completely separate conversation, Rachel. You can't do that! RACHEL Kym, you're going to have a niece! SIDNEY Or a nephew! KYM Oh, god. Of course I'm happy for you. But you can't tell me when we're talking like this. It's a total set-up! Beat. All the energy drains out of Rachel. RACHEL I am so fucking exhausted. KYM Dad, will you tell her I'm happy for her? RACHEL I just...I need to go to bed. Sidney? SIDNEY Yeah, okay. Great idea. I'm beat too. KYM (to Rachel) You're leaving? In the middle of this conversation? RACHEL Yes. (CONTINUED) 43. 30 CONTINUED: 30 PAUL Kymmie, she's pregnant. She's exhausted. KYM Of course. Fair enough. I'm off to raid the medicine cabinet. Kym is gone. SIDNEY She's not serious? Everyone gathers around Rachel. CAROL Oh, Rachel darling, and Sidney, I couldn't be happier. SIDNEY She wasn't serious, was she? PAUL Do either of you want anything? A sandwich? You must be hungry. There's cold Saagwala and a little Aloo Gobi left over? RACHEL No thanks, Dad. I really am pretty sleepy. PAUL You're pretty everything! He mushes her face and kisses her cheek. Then he mushes Carol's face. CAROL Holy cow. What a day. I think I've aged. I mean it. (To Paul) ) Would you mind if I went to bed, darling? PAUL (kissing her again) Of course not. I'll be up, Carol. I'm just going to load the dishwasher. (CONTINUED) 44. 30 CONTINUED: 30 Sidney intones the opening bars to Paul's heroic "DISHWASHER THEME". Paul raises the Cautionary Finger in Sidney's direction. Sidney stops with the music. CAROL Let me help, it'll be quicker. Now the Cautionary Finger is levelled at Carol. PAUL Don't mess with the King. CAROL Okay,okay. Hands in the air, Carol leaves the room. KIERAN Wow. That's it for me too, you guys. Good night everybody. Kieran lays a manly, buddy hug on Sidney. KIERAN Congratulations, man. SIDNEY Thanks, my friend. Kieran leaves. Now it's just Rachel, Paul and Sidney. Paul is beaming like a klieg light. RACHEL I've never been so tired in my life. Paul gives Rachel a kiss on the cheek and mushes her face some more. RACHEL Dad? PAUL Yes, sweetheart? RACHEL I hope it's okay, I told Mom at dinner. About the baby. PAUL Of course, lamb chop. I'm so happy! I'm going to be a grandpa! (CONTINUED) 45. 30 CONTINUED: 30 Sidney mushes Paul and they attempt a hug and laugh and then they really hug. RACHEL I wish Ethan were here. PAUL I know, sweetheart. Me too. KIERAN'S VOICE OFF That went well. 31 INT. BASEMENT. NIGHT. 31 Kieran and Kym lie entangled in the basement, sharing a cigarette, disheveled. The floor of this entire section of the basement is now covered with all of the carefully arranged mattresses and futons that were stacked down here before. All of Kym's mismatched bags have been moved down here too. There's a little lamp there now as well but it's not on. Only one of the small, cobwebby windows casts a dappled light onto the scene. KYM That was such a set-up. KIERAN She probably didn't realize she was doing it. KYM Ha! She's such an operator. Now I'm the bad guy again. Or still. KIERAN They're lucky to have you. KYM Thank you! Otherwise they'd have to pay attention to their own suspicious lives. Nobody actually wants me to actually change, you know. What would they obsess about? I'm like a blessing. KIERAN (laughing) No argument from me. (CONTINUED) 46. 31 CONTINUED: 31 KYM Dad had an actual "Blueprint for Rehabilitative Success" at my last intervention. On graph paper. He goes all out with the response, my dad. KIERAN Not unlike this great nation in which we live. KYM Meanwhile an ex-heterosexual ex-boy friend of mine actually rang the door once and tells my mother, "Kym is sitting in her apartment? With the shades drawn? Doing all this heroin and cocaine? And I think she's going to, like, die?" And Mom smiles and says "Thank you" like he was speaking in Sanskrit. KIERAN You can't actually speak in Sanskrit. KYM Exactly! I nodded out into the poached salmon at Dad's wedding two years ago and he told Carol he thought it was jet lag. KIERAN I did that in soup once. It made such a mess. 32 EXT. BUCHMAN HOUSE. DAY. 32 Saturday morning. A giant delivery truck drives slowly up the driveway, delivering the tent for tomorrow's wedding party. 33 INT. BASEMENT. DAY. 33 Kym leads Kieran through the labyrinthine rooms of the basement giving Kieran a guided tour of the subterranean world of which she was the ruler and where Ethan was her loyal companion -- the secret hide-and-seek rooms, the mattress room, the scary little side rooms, etc... CUT TO: 47. 34 EXT. ABBY'S/ANDREW'S HOUSE. DAY. 34 A very stylish, very elegant, very "modern" (in the best sense) home, lots of grounds, lots of foliage. 35 INT. ABBY'S/ANDREW'S HOUSE. MASTER BEDROOM. DAY. 35 Rachel and Abby are seated on Abby's bed, looking through some family heirlooms in an old alligator jewel case. Rachel is holding an ornate satin evening purse. RACHEL Look how exquisite this is. I can't borrow this. What do you carry in here? A vital organ? A tiny spleen? ABBY Isn't it divine? It was grandma's. She sends her love. RACHEL I love the color. It's oyster. ABBY You must promise me you'll stay healthy now, Rachel. You'll eat properly and get a lot of rest? RACHEL Yes, Mom. ABBY How are things going at the house? How's Sidney? RACHEL Fine. ABBY And his friend? What's his name? RACHEL Kieran. ABBY He seems to be a big hit. Is your sister behaving herself? (CONTINUED) 48. 35 CONTINUED: 35 RACHEL I'm not exactly sure what that means. ABBY Well, she needs a lot of acknowledgement. RACHEL You think? ABBY Stop. It can't be easy. Everybody knowing her troubles. RACHEL Mom, she's sold syndication rights to her troubles. ABBY Stop. RACHEL Mom, does it bother you at all, Carol doing so much wedding stuff? ABBY Not at all, darling, I'm thrilled to be providing the flowers. You know how much that means to me. They're going to be exquisite! RACHEL Yes, I'm sure, and that's so great and so you, but you can do whatever else you want, you know. I'd love it. ABBY Thank you, my sweetheart. I just know I'd be one of those wedding mothers who goes completely insane about the hors d'oeuvres. Andrew says I shouldn't be allowed near a shrimp puff. RACHEL Huh. ABBY There are so many other people for you to worry about. (MORE) (CONTINUED) 49. 35 CONTINUED: 35 ABBY (cont'd) Your sister's home and everybody's there and the bride always ends up keeping everybody else satisfied. RACHEL You're right. ABBY But this is going to be the most beautiful wedding ever. And I hope your sister has a wonderful time too...Anyway I'm going to be a grandmother! Hooray! RACHEL Hooray! ABBY I'm so excited. I have always wanted to be a grandmother. Even when I was thirty. Here. This ring was grandma's and she wanted you to have it. RACHEL Is she dead? ABBY Rachel. RACHEL It's beautiful. Thanks, Mom. I hope it's a boy. ABBY As long as it's healthy. Try the ring on. Rachel does. ABBY You've always had the most beautiful hands. 36 EXT./INT. SCOTTY'S JAMAICAN RESTAURANT. DAY. 36 A neighborhood place, but on the other side of the parkway from the Buchmans' neighborhood. Friendly, bustling, kids on bikes and skateboards, etc. Large windows offer a view of a stop sign, Fanny's Beauty Salon, Soul to Soul Liquor, a barber shop, etc. (CONTINUED) 50. 36 CONTINUED: 36 The restaurant is fluorescently lit, with a Jamaican flag on the wall and photos of Muhammad Ali, Malcolm X, and Bob Marley. There is a counter at the front where you place your order and pick up your food. There is a Foosball table, and a pinball machine. Kym and Kieran are playing Foosball at the ancient table where someone has painted Jamaican jerseys on all the players. They are both viciously competitive and genuinely irritated with each other. KIERAN Your hand is on the turf. KYM What turf? KIERAN The turf. The table. KYM So? KIERAN So we have to do it over now. It was your shot and you get to do it over. KYM What are you talking about? KIERAN Don't tell me you didn't know having one hand on the turf makes the play null. KYM Null. Maybe we should just play Pinball. C/U. The metal balls ricocheting around the interior of the machine. KIERAN Sometimes playing next to each other is easier than playing together. KYM Who told you that? KIERAN My mom. She runs a pre-school. (CONTINUED) 51. 36 CONTINUED: 36 They both crack up. KYM What's Hawaii like? KIERAN You've never been? KYM Uh uh. KIERAN It's beautiful. I've got a nice place. My horse lives there. KYM Most people say "my girlfriend lives there" or "my wife lives there." KIERAN I live there and so does my horse. He's very possessive. We're working through it. KYM Have you had him a long time? KIERAN Yes. I may be a degenerate dope fiend but I love my horse. I don't have a wife or a girlfriend and I've been clean almost seven years. You could just ask, you know. Your sister doesn't ask direct questions either. She's incredibly cryptic. KYM That's a shrink thing, not a genetic thing. 37 INT. COMMUNITY CENTER MEETING ROOM. DAY. 37 Kym is sharing at today's "12 Step" meeting. Kieran, the others, listen intently. KYM We were in the park. I was sixteen and I was...I had taken all these Percoset. I was unbelievably high. (MORE) (CONTINUED) 52. 37 CONTINUED: 37 KYM (cont'd) He had thrown away his shoes- and I was like "Mom's going to kill me" because I had no idea where his shoes were- but he was so happy about it. And he had his red socks and he was running around kicking up the leaves. You know in movies where they show a person's high or whatever and the camera careens all around? It was like that. But fun. You know. We were having so much fun. We were leaping around in huge piles of leaves. He buried me. I buried him in a big pile. I was on baby sitting detail. He was pretending he was a train. So he was charging through the leaf pile, making tracks, you know? I was the caboose. And he kept going "Coal, caboose! Coal caboose!" So it's time to go and we're driving home and he's in his car seat still demanding coal, and I couldn't focus and I drove off the bridge. The car went into the lake. I couldn't get him out of his car seat. He drowned. 38 EXT. BUCHMAN BACK PORCH. DAY. 38 Paul, Rachel, Emma, Sidney, and Norman Sklear are sprawled on the porch eating sandwiches and figuring out the seating arrangement for the wedding by manipulating tiny origami chickens, a tiny turtle, Monopoly pieces, spools of thread, etc...each with a small name tag. Paul sees Kieran's rental pull up, grins, and calls to Carol... PAUL Carol, they're back! Carol emerges with a tray of lemonade as the rental is rolling to a stop. Kieran and Kym are climbing out of the car... PAUL (shouting from the porch) Are you hungry? I made a Salad Nicoise. It's got Tuna! (CONTINUED) 53. 38 CONTINUED: 38 KIERAN (shouting back) I was just thinking Salad Nicoise! RACHEL Can we get back to what we were doing, please? PAUL All right. Where were we? Ah yes...The Rosenzwiegs. Can you please put the Rosenzwiegs somewhere far away from me? Paul sits heavily. RACHEL They're your friends, Dad. PAUL They're not my friends. I've just known them my entire life. SIDNEY Just so you know, my mother expects to be carried in by liveried servants to the triumphant swirls of the harp and seated on a solid gold throne forged by nuns. RACHEL Really? Because right now I have her shoveling kelp in the laundry room. But I have it as a montage. Kieran and Kym arrive on the porch. Kym settles herself on a big comfy chaise. KYM Where are you putting me? In the stockade? PAUL Kym, stop it. You're at the family table. Kym turns her face to the sun, shutting her eyes. KYM (heedless) Don't put me with Michael and Sandy. (CONTINUED) 53A. 38 CONTINUED: 38 RACHEL They're not invited. (CONTINUED) 54. 38 CONTINUED: 38 KYM Sandy never called me back after I sent her an amends e-mail from Milestones. I hate it when people don't meet you half way. PAUL The family table. With us. CLOSE ON SEATING PLACEMENT BOARD-- Paul moves Kym's "marker" -- the MONOPOLY DOG -- to the family table. WIDER-- EMMA Oops. That's nine. I thought you were having tables of eight? RACHEL (pointedly) I am. KYM (to anyone, her eyes still closed) Where are you putting me? RACHEL I was thinking of putting you with Cookie Puss and the Chicago cousins because they always get really drunk and need wrangling. KYM Can someone else do it? I was planning on enjoying myself. RACHEL You're the only one they're afraid of. KYM Still? God. Rachel pushes the MONOPOLY DOG to a different table. (CONTINUED) 55. 38 CONTINUED: 38 PAUL (not getting it) We can move Grandma Rose and her companion. That's actually a great idea. Kym opens one eye and sees Paul switch markers -- the MONOPOLY DOG is back at the FAMILY TABLE. Rachel stares at her father. KYM That's all I need. Another reason for Grandma Rose to hate me. PAUL She doesn't hate you. KYM She's still mad about that thing at the Rite Aid. PAUL Nonsense! KYM Whatever. CLOSE SHOT-- Rachel moves the Monopoly Dog to another table. Paul looks at her. RACHEL Dad, can I show you something in the kitchen? 39 INT. KITCHEN. DAY. 39 Paul and Rachel alone. PAUL (sotto) Rachel, what is this behavior? RACHEL (same) I would just like to have a day please. (CONTINUED) 56. 39 CONTINUED: 39 PAUL Have all the days you want. Nobody is taking your day. RACHEL Then why are you defending her? PAUL Defending her from what? Darling, look, no one's defending any body... RACHEL Why are you protecting her? PAUL I don't want her to feel like we don't want her. RACHEL Sometimes I don't want her. It's my fucking wedding, don't you get it? I want my table to be perfect. Paul kisses her on the forehead. PAUL Stop it. She's your sister. They look at each other. The screen door swings open as Emma, Carol, Sidney, Kieran, and Norman Sklear carry the lunch plates to the kitchen. Kym follows, carrying the salt shaker. PAUL Okay. Dishes? I'm going to load the dishwasher. SIDNEY Paul! Paul, listen, I've been thinking about it. I did some preliminary sketches, I'd love to show them to you... KIERAN (to Carol) He's not kidding. (CONTINUED) 57. 39 CONTINUED: 39 SIDNEY And I think if you move the salad bowls to the upper tier you can get about 10% more stuff in the dishwasher. CAROL Hee hee hee. Paul gives him a look. Sidney starts humming PAUL'S DISHWASHER THEME. PAUL Sidney, you're a nice young man. You make a lot of money and the world is your oyster. But you don't know shit about loading a dishwasher. SIDNEY Sir, with all due respect, the mantle has passed. Paul takes a moment to size Sidney up then spins on his heel to the dishwasher. TIME CUT-- Sidney has his sleeves up and starts to load. KYM What's the time limit? CAROL Two minutes. SIDNEY Are you comfortable with that, sir? I could spot you thirty seconds. PAUL You young people should all go fuck yourselves. KYM Dad! CAROL Ha! SIDNEY You see Paul, I think your problem lies in lid placement. (MORE) (CONTINUED) 58. 39 CONTINUED: 39 SIDNEY (cont'd) Inverting the lids and stacking them in the upper level is really for amateurs. It's passe. PAUL Rachel, you're out of the will. SIDNEY Observe. With a flourish, Sidney presents a beautifully stacked dishwasher. Paul pats his shoulder somberly. PAUL Clean out this machine please, boy. So I can break out the whup-ass. Screaming all around. Kym jumps up and down with her arms on Rachel's shoulders. Rachel glances at her sister, laughing. SIDNEY/KIERAN (delightedly) He's breakin' out the whup ass! A SWEET MONTAGE. Paul is loading the dishwasher like a champ. Carol and Emma are smiling and giggling. Kieran has his eye on the clock. Sidney trash talks from the sidelines. SIDNEY You know one of the early signs of senile dementia is an obsessive need to organize. PAUL Rachel, go fetch me my dart gun. SIDNEY I find it touching but ultimately sad when the warriors of yesteryear are reluctant to lay down their plastic containers from Zabar's and retire gracefully. PAUL Kieran, how's my time? (CONTINUED) 59. 39 CONTINUED: 39 KIERAN You have twenty-five seconds. PAUL I need more dishes. You amateur! SIDNEY What? No way! PAUL Somebody give me some dishes! Kym yanks open a cupboard and passes a handful of dishes to Paul. He begins to load them. CLOSE ON PAUL He has a bowl in his hands. We see the bowl is a plastic child's bowl with Engines and Cabooses all over it. Paul turns the bowl around in his hands like a steering wheel. It dawns on Kym that she's handed her father Ethan's bowl. She is stricken. Paul looks to Carol. He seems bewildered. The kitchen falls silent and Carol takes Ethan's bowl and places it in the sink, out of sight. She leads Paul gently out of the kitchen. CLOSE ON KYM -- CLOSE ON RACHEL -- She turns and leaves the kitchen. Sidney follows her. Emma and Norman Sklear step out onto the porch. Kieran takes the Ethan bowl from the sink and puts it quietly back in the cupboard and shuts the door. Kym doesn't know what to do. 40 EXT. BUCHMAN NEIGHBORHOOD. DAY. 40 The station wagon heading away from the Buchman house. 60. 41 INT. STATION WAGON. DAY. 41 Rachel is driving, Kym is in the passenger seat. The radio is on and neither says anything. Kym cranks down the window, tries to light a cigarette. KYM Mom is handling the flowers? RACHEL Well, she's growing them and choosing them - but they are being delivered by her people. KYM Got it. Wow. Nurturing and growing things from the soil. Textbook, right? RACHEL Kym. Can we talk about the candles for a minute? Because -- KYM Yeah, exactly! Candles and rice paper -- all lit up during the ceremony. It's a way of honoring Ethan, Ethan's... spirit, you know? It will look really nice too, mainly. Millions of little candles all over the place, and one huge rice paper candle - representing Ethan - glowing near the couple. That would be you and Sidney. RACHEL Oh my god, no. Don't. Just don't. That would kill Dad. And Mom. And me. And everybody. Please, Kym, please please please don't do that. KYM Geez. It was an IDEA. Lighten up, okay? They do that in Japan or India or someplace, okay? RACHEL Just drop it, sweetie, okay? Please? KYM Oh my god - fine! Done! It was nothing, okay. It was just an idea. (MORE) (CONTINUED) 61. 41 CONTINUED: 41 KYM (cont'd) Just a stupid idea. I was joking, you jerk! Lighten up, Rachel. This is your big weekend. Everything's fine. 42 EXT. DOWNTOWN STAMFORD. DAY. 42 Establishing this busy Connecticut city as the station wagon drives behind a fancy hair salon on the main drag. 43 INT. BEAUTY SALON. DAY. 43 Kym and Rachel have foils in their hair, situated a few chairs apart. Rachel is intently working on a crossword puzzle. KYM Are you getting a manicure? Rachel silently waggles her fingers. Kym glances back at her magazine to discover one of the stylists standing close by, gazing at her face. Kym does a little double-take. STYLIST You don't remember me, do you? Kym looks sharply at the stylist, noting his sincere face, the warmth of his eyes. KYM Nooooo..... STYLIST Rick James' limousine. KYM Oh. My. God. STYLIST Yeah. Rachel, nearby, grimaces. (CONTINUED) 62. 43 CONTINUED: 43 KYM I meant to come back. I swear. I even had...Oh god, what was it? STYLIST Peanut M&M's and Carbona cleaning fluid. KYM God is punishing me. STYLIST No, he's blessing me. It's cool: I talked him down. KYM (uncomfortable) So, how are ya? STYLIST I'm okay. You remember we were in the hospital together, right? KYM We were...at Milestones? STYLIST No. I didn't go to Milestones. I didn't have the coverage. We were on the same floor at Loeb House. That was before you went to Milestones. KYM Where did you go after that? STYLIST My parents' house. Unemployment. It's all about the coverage, right? He stares deeply, movingly, into Kym's eyes. Awkward. STYLIST (CONT'D) I can't believe I'm seeing you again. KYM (more uncomfortable) I know. It's so weird. (CONTINUED) 63. 43 CONTINUED: 43 STYLIST Listen. Do you remember that exercise where we all had to write down experiences and pass them anonymously to another person? KYM "The Human Mirror: Seeing With a Fresh Perspective" Like Secret Santas of despair. STYLIST I got yours. Kym gives him a quizzical look. STYLIST You drew poodles in the margins. I know it's supposed to be anonymous and everything, but you were so brave. The way your uncle abused you and your sister, and how it led to your sister's anorexia, and how you stayed up nights when she was down to fifty pounds holding a mirror to her face to make sure she was breathing. I'll never forget reading that, I swear to God. Rachel's stylist is removing her foils while Rachel chokes on her Diet Pepsi and it comes out her nose. Kym looks nervous. RACHEL'S STYLIST (to Rachel) Do you want a tissue? Rachel looks horrified, holding her hand over her nose. STYLIST (To Kym) I found it so profoundly inspirational that you could be there for her during your own incredible ordeal. I thank God that you came in here today. I never thought I'd ever have the chance to thank you. It was your strength that gave me the courage to confront my own abuse and help me turn my life around. Rachel slams down her magazine and leaves the salon. Kym runs after her. Both girls have foils in their hair. 64. 44 EXT. REAR PARKING LOT/BEAUTY SALON. DAY. 44 Rachel is being trailed by her sister through the parking lot. KYM Would you stop? Rachel doesn't stop. She is searching for her keys in the fading daylight. Kym catches up, takes Rachel's arm. RACHEL Don't touch me. KYM Don't you think his perspective might be a little skewed? RACHEL I never had anorexia. You sure as hell didn't watch over me while I was sleeping and WE DON'T HAVE A GODDAMNED PEDOPHILE UNCLE!-- KYM (interrupting) --That we know of!-- RACHEL --THAT MADE OUR CHILDHOOD A LIVING HELL AND EXPLAINS AWAY ALL OF YOUR SHIT IN ONE FELL SWOOP!...Did you tell them that Dad forced us into a life of prostitution while you were at it? KYM Ew!... (she stops and tries to remember) Wait... Rachel yanks open the car door, jumps in. KYM I wasn't hurting anybody. No one got hurt, Rach. Rachel slams the car door shut. RACHEL I'm hurt! (CONTINUED) 65. 44 CONTINUED: 44 Rachel drives off with a screech, leaving her sister standing there. 45 INT. BUCHMAN HOUSE. DEN. DAY. 45 Rachel, yanking the foils out of her hair, perches on the sofa next to Carol and Paul. She is furious. RACHEL I hate her. PAUL You don't hate her. RACHEL Don't tell me what I don't hate. I hate, hate the lies. She lied in rehab. PAUL What do you mean she lied? RACHEL She lied to the people who were working with her. Who were trying to help her. She lies to everybody. PAUL (not getting it) Where is she now? RACHEL Where am I now, Dad? KYM'S VOICE OFF Rachel! Rachel? PAUL Thank god. In here. Kym comes stomping in. Her foils are still intact. KYM Thanks for abandoning me. I had to take a taxi! RACHEL (disbelieving) Are you kidding me? (CONTINUED) 66. 45 CONTINUED: 45 KYM Why would anything I said or didn't say at the hospital hurt you? It wasn't about you! RACHEL Why not? Why wasn't it about me? PAUL Rachel... RACHEL Dad, stop. (to Kym) Why not? I was hopeful. I was on your side. I still am. Do you have any idea what that means? Do you have any idea how lonely it was with everybody gone into your terrible world? There was nothing left. Everybody was just empty. You think they remembered I was alive or needed anything during your... life? And after all that loneliness and Mom and Dad blaming each other and worrying and death and divorce and that stupid hopefulness and Dad not even being able to listen to music, you were in the hospital, lying about us! Instead of telling the truth about yourself! KYM God, Rachel... PAUL Wait a minute. Wait a minute. What's this all about? RACHEL Apparently she has a whole history of sexual molestation. CAROL What? PAUL Kym, what is your sister saying? Did you say you were sexually molested? (CONTINUED) 67. 45 CONTINUED: 45 KYM Oh Jesus Christ. Not by you! It was a long time ago! PAUL Were you? KYM No! PAUL Why in god's name would you say something like that? KYM It was anonymous! It seemed like a good idea at the time. The three on the couch are stunned for a moment. RACHEL Dad, look at me. I'm right here. I'm telling you that after Ethan died I wanted her to get better or just die... PAUL And look! She is better! KYM Nice, Rachel. Thank you. RACHEL (to Paul) ...And Dad, she was lying and she didn't give a shit about the rest of us. Recovery can't work if you lie. She knows that. I was worthless to her. We all meant nothing to her. KYM You're not worthless. You're my sister. I love you guys. I need you guys, but you don't get to sit around for the rest of my life deciding what I'm supposed to be like. You weren't there. You weren't inside my head when I was fucked up and your certainly not there now. You haven't got a clue what I feel. (CONTINUED) 68. 45 CONTINUED: 45 RACHEL Kym, you took Ethan for granted. You were high for his life. You were not present for his life. You were high. He was like a pet to you. You drove him off the bridge. And now he's dead. PAUL It was an accident. KYM Yes! I was stoned out of my mind! Jesus Christ, who do I have to be now? Mother Theresa? Did I use up all the love I'm allowed for this lifetime because I killed our little brother? PAUL No, it was an accident! KYM I'm sorry! I'm sorry, okay? I'm sorry! Paul bursts out weeping. PAUL It was an accident. Kym, her hair still in foils, rushes out of the house. Carol turns to Rachel. Rachel bolts upstairs. Carol turns to Paul. Paul waves her away. Carol is bawling too. 46 EXT. 7/11 PARKING LOT. DUSK. 46 A STATE TROOPER, sitting in his patrol car, looks up from his coffee as Paul's Mercedes station wagon screeches into a nearby parking space. The cop watches Kym get out of the car and stalk into the 7/11. 47 OMITTED 47 69. 48 INT. ABBY'S/ANDREW'S HOUSE. MASTER BATHROOM. NIGHT. 48 Steam rises from the surface of Abby's high-tech and sumptuous bathtub, as she quickly turns the water off and speaks into her cell phone. ABBY Hello? 49 INT. BUCHMAN HOUSE. PAUL'S STUDY. NIGHT. CONTINUOUS. 49 He is alone and the door is shut PAUL Hello Abby. It's Paul. INTERCUT the conversation: ABBY Hello Paul. PAUL Is Kym with you? ABBY No. Why? Did she go somewhere? PAUL She left the house about an hour ago. ABBY To a meeting? PAUL She and Rachel had an argument. ABBY Oh, dear. The night before her wedding? What was it about? PAUL Look, Abby, it doesn't matter. She left the house. She took the car. ABBY What was the argument about? PAUL I don't know. They were both getting their hair done... (CONTINUED) 70. 49 CONTINUED: 49 ABBY You don't know? Well what were they saying? PAUL For god's sake Abby! I'm trying to figure out where she went before I call the police! ABBY Well, last time you called the police looking for her she was upstairs, asleep in the guest room. PAUL She wasn't asleep, she was unconscious! And I'm glad I called the police because it took twenty minutes to wake her up and at least something was being done! ABBY Paul, I'm trying to help. PAUL You're trying to dismiss everything! ABBY She's not a criminal! PAUL You're disregarding everything I'm saying, and this failure to listen, failure to understand what is right in front of you is exactly why you will never be able... ABBY Paul!... PAUL ...To help her! ABBY Maybe that's not what she needs all the time... PAUL (incredulous) What? (CONTINUED) 71. 49 CONTINUED: 49 ABBY (stammering) I mean..I mean maybe she needs us -- PAUL -- Maybe she needs someone to be watchful and present and in her life! ABBY -- To trust her -- PAUL She could hurt herself! She could be lying dead in a ditch somewhere! ABBY All right! All right! Stop it! Beat. Paul tries to pull himself together. Abby is trembling. PAUL If you hear anything, can I count on you to please call me? ABBY (incredulous) Can you count on me?... Abby puts her hand to her mouth. INTERCUT with Paul waiting, then: ABBY Yes Paul, you can count on me to call if I hear anything. Now Abby waits: then PAUL Okay, then. ABBY Goodbye. PAUL Goodbye. She hangs up. He hangs up. 72. 50 INT. BUCHMAN DINING ROOM. NIGHT. 50 The room is piled high with boxes overflowing with tulle and flowers and glassware. Carol, Sidney, Rachel, Kieran and Emma are seated around the cheerless dining room table, picking at the dinner in front of them...even Emma appears to have given up. She is drinking a lot of wine. Paul returns to the table. PAUL Abby hasn't heard from her. Rachel stabs her dessert with her fork. Her head is on Sidney's shoulder, she looks pale and exhausted. CAROL She must feel awful. KIERAN (gently) Excuse me, but when you're trying to get better there's a lot of pressure in rehabs... when someone isn't ready to take responsibility they create something, like an Uncle Stan, to take responsibility until they're ready. PAUL (hollow) Well, she's always been creative. CAROL I just wish we knew where she was. SIDNEY Paul, Would you like me to go out and look for her? Rachel takes Sidney's hand. CAROL You're getting married tomorrow. A hundred people will be here. KIERAN I'll go. I'm...I'll go. Any idea where she might have gone? Everybody looks at Kieran. No one responds. The phone rings. Carol goes to get it. Everybody waits. CAROL It's the caterer. (CONTINUED) 73. 50 CONTINUED: 50 Emma gives Rachel's arm a squeeze. EMMA I'll take it. 51 EXT/INT. SCOTTY'S. NIGHT. 51 Kieran, looking drawn under the fluorescent lights, stands inside the Jamaican restaurant staring out at the night. THROUGH THE WINDOW a beat up WHITE HONDA tears ass right through the stop sign and screeches on up the road. Kieran flinches. 52 OMITTED 52 53 INT. ABBY'S/ANDREW'S HOUSE. NIGHT. 53 Abby is in her kitchen preparing tea, dressed in loose- fitting yoga-style PJs, hair still wet from her bath. A door opens behind her and Kym emerges from the bathroom rubbing her hands over her face. KYM Ahhh.... ABBY You should call your father. The air seems to go out of Kym for a moment. KYM In a minute. I need a glass of water. ABBY I've made some tea. Abby picks up the tray, leading the way from the kitchen into the living room. Trailing behind her, Kym looks around her mother's unfamiliar house -- the spaciousness and stark modernity of Andrew's house stand in marked contrast to the rampant folksy-ness of the Buchman house. (CONTINUED) 74. 53 CONTINUED: 53 Abby places the tea service on a low table in front of a sprawling sofa in the stone-walled living room. ABBY Here darling. Sit down. You look upset. Kym sits, pours and sips. Abby remains standing and tightens the belt of her bathrobe. KYM When will Andrew be back? ABBY Not too late. He's at a dinner. Beat. ABBY I spoke to grandma today. She sends her love. Is everything all right with the wedding? KYM Yes. ABBY Good. KYM Dad was loading the dishwasher... ABBY Mmm hmmm... KYM And I handed him Ethan's bowl with the trains on it by accident. Kym begins to weep. Abby remains still. Kym's weeping becomes louder and louder. She is having trouble breathing. Just as Abby reaches out to touch her... KYM Why did you leave me in charge of him? Abby stops. (CONTINUED) 74A. 53 CONTINUED: 53 KYM You knew. All of you knew. People told you. I was a junkie. (MORE) (CONTINUED) 75. 53 CONTINUED: 53 KYM (cont'd) I was a crazy drug addict. I stole from you. I lied to your face. I weighed six pounds and my hair was falling out. I spent every dinner in the bathroom. ABBY You were sick. KYM You know what I was. It's not like there weren't any clues. I stayed in my room for days. I passed out all the time. Where were you, Mom! What were you thinking? Why did you leave me? Why did you leave me in charge of him? Abby closes her fists and beats Kym with all her strength. ABBY You weren't supposed to kill him! You weren't supposed to kill him! Kym curls up protectively and Abby suddenly stops. KYM Mom? Abby swings at Kym again and connects. Kym punches Abby right back -- twice -- now she is on her feet. Both women stop, terrified, and look at each other. Kym moves toward her mother. KYM Mom? ABBY Get away! Kym stops. Keeping her back to the door she backs out of her mother's house. 54 EXT. ABBY'S/ANDREW'S HOUSE. NIGHT. 54 Kym falls down the front steps. Her nose is bleeding and her eye starts to swell. Where are the car keys? Here they are. Where is the door handle? Here it is. She drives off. 76. 55 OMITTED 55 56 EXT. SECLUDED ROAD. NIGHT. 56 Kym driving the station wagon too fast. 57 INT. STATION WAGON. NIGHT. 57 --KYM'S P.O.V.: THROUGH THE WINDSHIELD-- Headlights. Windshield wipers. It's not raining. A curve in the road, squealing around it. The road forks twenty yards ahead, woods in between. Left or right? Kym drives straight ahead, careening off the road, smashing down a couple of saplings, losing speed, right fender smashing into a big rock -- AIRBAGS blast up into Kym's face -- airbag deflates, Kym's head falls forward, bangs against the steering wheel. A tiny moan. That's it. 58 EXT. WIDE SHOT. FORK IN THE ROAD. NIGHT. 58 The station wagon has come to a halt far off the road, concealed by undergrowth and trees in the foreground. There is no movement in the car. A Volvo station wagon drives by, continuing on its way. 59 INT. BUCHMAN HOUSE FAMILY ROOM. NIGHT. 59 Paul, Kieran, and Sidney are seated around the family room. Paul and Sidney are drinking red wine, Kieran something else. An empty bottle is in front of them and Sidney is uncorking a fresh one. PAUL ...I never thought I'd have two little girls. Two little girls running around with their tummies sticking out in their diapers. They used to bite me on the nose, the two of them. (MORE) (CONTINUED) 77. 59 CONTINUED: 59 PAUL (cont'd) I'd hold both of them in the pool and they'd take turns biting my nose. Ethan never did that. He preferred pinkies. Or knuckles... Sidney and Kieran chuckle appreciatively. Paul joins the laughter, pours some more wine. 60 INT. MASTER BEDROOM. NIGHT. 60 Rachel and Emma are curled up in the middle of the bed, spoon- style, with clothes still on. Emma is behind Rachel, lost to the world, gently snoring. Rachel's eyes are wide open. Carol swings the door cautiously open and peers inside. Rachel and Carol look at each other for a long time. Carol withdraws, closing the door behind her. 61 EXT. FORK IN THE ROAD. DAWN. 61 The station wagon seen just as before. A couple of joggers lope by on the road. 62 EXT/INT. STATION WAGON. MORNING. 62 Kym jolts awake as a STAMFORD POLICEMAN raps on her closed window. She is a mess. A black eye. A split, bloody lip. A gash across her forehead. The cop is simultaneously gesturing for her to roll her window down and speaking into his radio. Kym tries to start the car. No luck. The cop bangs on the window. Kym leans her head against the steering wheel. The horn starts blowing. The joggers, a couple of early dogwalkers, and a couple of kids on bikes are gathered by the roadside, whispering and watching. 78. 63 EXT. STATION WAGON. DAY. 63 NOW -- The cop is studying Kym's license and registration. NOW -- An AMBULANCE has arrived. Red lights flashing. The crowd of onlookers has swelled considerably. NOW -- The cop gives a clearly upset Kym a Breathalyzer test as PARAMEDICS wrap a pressure cuff around her arm -- she exhales into the Breathalyzer tube, her eyes darting between the cop, the cracked windshield of the car and the gawking crowd up on the road. TIME CUT -- The paramedic holds Kym firmly by the chin and peers deeply into her right eye. The other paramedic blots at Kym's swollen lip with a gauze and hands her an ice pack. TIME CUT -- The cop gives Kym her license and hands her an official looking form, which she stuffs in her shoulder bag. 64 EXT. THE BUCHMAN HOUSE. DAY. 64 A truck towing the beat-up station wagon comes to a halt in the street in front of the Buchman house. Kym steps down from the passenger seat, ignoring whatever the driver just said in parting. The house is festooned with peonies and lights and WORKERS hurrying about. Everything looks absolutely beautiful. CATERERS are running from their vans into the house with armloads of food, drinks, etc. Abby's flowers are being unloaded from another van. Decorative chandeliers are being carried inside. VALETS are setting up their car-parking operation (a decorated picnic table) at the foot of the driveway. Kym squares her shoulders and begins her long walk up to the Buchman house, back into the chaos. A CUTE VALET passes Kym on the lawn, carrying two paper cups of coffee, dressed in an Indian military tunic. He takes in Kym's disheveled and bruised appearance. VALET Um. Hi. KYM I'm the Maid of Honor. (CONTINUED) 79. 64 CONTINUED: 64 VALET Cool. Kym continues her walk toward the house. VALET Hey, I know you. I used to work at the dog grooming place. Kym keeps walking, ignoring him. VALET Hey, you holding? Paul and Carol, beautifully dressed, appear on the front porch and hurry towards Kym. PAUL Kymmie? CAROL Oh my lord... PAUL Are you all right? They meet at the circular driveway. KYM I hit Mom. PAUL Oh my god is she... KYM Not with the car. Beat. PAUL We need to get you to a hospital. KYM I have to get dressed. PAUL Look at you! You need to get to a hospital! (CONTINUED) 80. 64 CONTINUED: 64 KYM Dad! I'm fine. He tries to touch her. She stops his hand. Paul backs off. PAUL You can't just vanish. You can't just leave. You have to call. You always have to call. Paul looks helplessly at his wife. CAROL Why don't you go find your sister? She didn't sleep last night waiting for you. Kym runs onto the porch as a group of GOFERS carry more of Abby's flowers through the front door. Emma is on the front porch filling balloons with helium, assisted by the kids from next door. Emma inhales from a balloon as she sees Kym. EMMA (in a helium voice) Oh. My. God. 65 OMITTED 65 66 INT. BUCHMAN FOYER. DAY. CONTINUOUS. 66 Kieran is in the living room on his cell phone when he spots Kym. Behind him we see Norman Sklear, Matt and Innbo removing the last of the living room furniture to the rear patio. KIERAN Holy shit. (into the phone) She just showed up. Yes. Thank you. (to Kym) Do you need a doctor? KYM You sent out the cavalry? KIERAN For your dad. Mostly for your dad. (CONTINUED) 80A. 66 CONTINUED: 66 KYM I have to get ready. I have to get dressed. (CONTINUED) 81. 66 CONTINUED: 66 KIERAN Okay. I'm so glad to see you. KYM'S P.O.V. -- charging up the stairs. 67 INT. MASTER BEDROOM. DAY. CONTINUOUS. 67 Also known as the bridal chamber. Kym yanks the door open and Rachel jumps a mile. RACHEL Aaaah! Fuck! She is dressed in her Sari and huge gold earrings and looks beautiful, despite a lack of sleep. Seeing her bashed up sister framed in the doorway, Rachel fights tears. She loses. KYM I hit Mom. RACHEL With the car? KYM No. No. RACHEL You hit Mom? You hit our mother? Kym looks completely desperate. She nods. Rachel's face contorts with rage as she steps forward and slams the bedroom door in Kym's face. Kym winces. Beat. KYM Okay. Rachel yanks the door open again. 68 INT. MASTER BATHROOM. DAY. 68 Rachel has run a bath for her sister. She has removed her sari but not her earrings. Kym is in the bath. Her body is bruised and purple. (CONTINUED) 82. 68 CONTINUED: 68 Rachel dabs gently at Kym's face with a washcloth while Kym scrubs at her nails with a brush. She glides the soapy washcloth over Kym's back. She notices the word ethan inscribed within the design of the rose and thorns image tattooed on Kym's left shoulder. Rachel rinses shampoo and leaves and dirt out of her sister's hair while Kym brushes her teeth. Rachel dabs makeup on Kym's chin as Kym's hands tremble with the mascara. RACHEL I got it. 69 INT. MASTER BEDROOM. DAY. 69 Back in her wedding Sari, Rachel wraps Kym in her bridesmaid's gown and puts some Lilies of the Valley in her hair. RACHEL Can you do this? Kym nods. RACHEL Okay. 70 EXT./INT. BUCHMAN BACK TERRACE/LIVING ROOM. DAY. 70 THE CEREMONY -- Guests, some standing, some in white chairs. The living room is festooned with wall to wall flowers. A canopy of cherry blossoms leads from the living room terrace to the opened living room doors. Sidney, looking stunning in a dove grey Nehru suit and a lavender pocket square, waits at the altar with groomsmen Kieran, Norman Sklear, and Cousin Joseph (now wearing full dress U.S. Army uniform)... and officiating JUDGE CASTLE. SFX: LIVE MUSIC -- "Here Comes The Bride" on distant electric guitar and drums plus foreground violin and gently chanted "Rachel's" and "Sidney's" by the assembled friends. Emma's smiling face fills the frame as the ceremony begins. Bridesmaids Emma, Kayra Williams, Victoria, and - - THE MAID OF HONOR!-- (CONTINUED) 83. 70 CONTINUED: 70 Kym in her dress with her striped hair, split lip and black eye, trying to find her game face. The wedding guests are slack-jawed. Mrs. Williams (Sidney's mom) looks like she's passing a stone. Abby stands quietly with Andrew in the first row. She looks composed and lovely and has the tiniest hint of a bruise on her chin. The procession reaches the altar and the wedding party turns to face Rachel and Paul. Paul is beaming, walking his beautiful daughter from the side of the house and across the terrace to the living room. She glows in her white and gold Sari. They reach the altar of blossoms. Rachel kisses her dad's cheek and he hugs her. Things are set up so that Rachel and Sidney stand just inside the living room, facing the beautiful backyard. Kym reaches for Rachel's bouquet but Rachel has handed it to Emma by reflex. Kym tries to cover her gesture. Rachel and Sidney join hands. JUDGE CASTLE We're here on this beautiful day... Somebody's baby starts to cry. JUDGE CASTLE Exactly. Everybody cracks up, especially Kym. She laughs a beat longer than anybody else. KYM (mumbling) Excuse me. 71 EXT./INT. BUCHMAN BACK TERRACE/LIVING ROOM. DAY. 71 Rachel and Sidney are saying their vows. SIDNEY I always just wanted to hear music, and when I met you I heard you. You are the most beautiful thing I've ever heard. Thanks for marrying me. (CONTINUED) 84. 71 CONTINUED: 71 Rachel is crying. Sidney takes his pocket square and carefully dries her tears. Abby is drying her own eyes. Rachel makes her own declaration to Sidney. Norman Sklear hands Sidney an acoustic guitar and Sidney strums it and plucks a delicate melody. SIDNEY For you. (to Rachel's stomach) And you...ahem... (sings) "She used to work in a diner Never saw a woman look finer I used to order just to watch her float across the floor She grew up in a small town Never put her roots down Daddy always kept movin', so she did too. You know it ain't easy You got to hold on She was an unknown legend in her time Now she's dressin' two kids Lookin' for a magic kiss She gets the far-away look in her eyes. Somewhere on a desert highway She rides a Harley-Davidson Her long blonde hair flyin' in the wind She's been runnin' half her life The chrome and steel she rides Collidin' with the very air she breathes The air she breathes. The air she breathes. The guests join in on the last chorus, with spontaneous ad- lib instrumentation from some of the musician friends. The song ends with a huge eruption of laughter and applause. (CONTINUED) 84aA. 71 CONTINUED: 71 JUDGE CASTLE On that note, and with the power vested in me by the state of Connecticut and Neil Young, I now pronounce you husband and wife. Big Kiss! Lots of screaming and laughing. Huge applause. Carol and Mr. Williams throw pink and white confetti hearts. Kym applauds wildly and is crying her eyes out. Paul weeps openly. Carol breathes a sigh of relief. 72 EXT. BUCHMAN BACKYARD. LATER. 72 POST-CEREMONY LUNCH -- the whole Wedding Party Inner Circle, everybody, is enjoying barbecue, oysters, Vegetarian Supreme, beers, wine, various other chill-juices and snackettes -- on the back terrace, around the swimming pool and spread out at picnic tables and blankets across the expansive back lawn. The exotic reception party tent stands proudly and invitingly down the slope. THE MUSICIAN FRIENDS are playing their version of "Rachel Loves Sidney." Some guests have removed as many layers of clothing as weather permits. Some -- including Sidney and Rachel -- have even changed into Bermudas and sweatshirts for the moment. (CONTINUED) 84A. 72 CONTINUED: 72 Rachel and Sidney are serving second helpings to their friends. Abby and Andrew are at a table eating and chatting with the Chicago Cousins, the Rosenzweigs, and Cookie Puss. (CONTINUED) 85. 72 CONTINUED: 72 Kym is tying a LITTLE BOY'S balloon to his wrist. She looks over at her mother. Abby is deep in conversation with Andrew. She tucks a stray hair behind his ear. 73 EXT. BUCHMAN BACKYARD. DAY. 73 "CUTTING THE CAKE"-- A MULTI-TIERED WEDDING CAKE, WEDGEWOOD BLUE, IN THE SHAPE OF AN ELEPHANT, WITH TWO TINY PLASTIC ASTRONAUTS SITTING ON TOP. Rachel and Sidney are cutting the cake. SIDNEY Is this mocha? Or chocolate? He samples the frosting. MRS. WILLIAMS Baby Boy, let them take the picture. SIDNEY Okay, Mom. RACHEL Yeah, Baby Boy. Rachel licks the frosting off Sidney's finger then gives his mom a big wholesome smile. Mrs. Williams shakes her head but she's okay with this. RACHEL Can we all do this together? Reshuffling as Sidney, his parents, Kayra, and Rachel, Paul, Carol and Kym each place a hand on the silver cake knife. RACHEL Mom. With nowhere else to stand, Abby lays her fingers lightly on Kym's wrist. Emma's AUNT JOYCE, a cool professional photog, SNAPS THE PICTURE. (CONTINUED) 86. 73 CONTINUED: 73 SIDNEY Dear God, bless this family and let them always invite us for dinner because my new wife can't boil water or fry an egg. La Chaim. EVERYONE La Chaim. Rachel suddenly stands on a chair and bangs on a glass with a spoon. RACHEL Friends and family, family and friends! I have an announcement to make! I'm the bride and I'm knocked up! Surprised whooping and hollering. RACHEL I'm exercising my bridely, knocked up prerogatives and demand that everybody starts dancing. And this means you too, Mom! Abby smiles. SFX: The Deejay spins an infectious platter (TBD). RACHEL Oh yay! Dad c'mon. C'mon Dad! This is my favorite song! PAUL Ooo. Look at me, I'm dancing. She drags Paul to the temporary poolside patio dance floor. Paul is a fantastic dancer! Sidney drags his dad to the dance floor. He's dramatic and weird! Abby smiles politely at Kym and goes to sit down with Andrew. Kieran spirits Kym to the patio, where they join the dancers. 86A. 74 EXT. BUCHMAN BACKYARD/OUTSIDE THE TENT. DUSK. 74 THE RECEIVING LINE -- All members of both families are lined up outside the entrance to the tent to greet the INNER CIRCLE GANG and the LUCKY FEW OUTSIDERS who have been invited to this evening's gala wedding reception party. It is twilight. (CONTINUED) 87. 74 CONTINUED: 74 Everybody is spruced and rested. Rachel and Sidney have changed into awesome party outfits. Inside the tent, yet another group of musician friends are currently laying down an evocative, hypnotic and extremely cool, jazzy "world music" groove as the same attractive and immaculate young servers (from the rehearsal dinner) circulate with trays of delicious appetizers, wine, seltzer, etc. Kym is still wearing her sari. She stands next to her mother. They are doing their wedding party duties. Neither woman is looking at the other. BOB THE NEXT DOOR NEIGHBOR (to Abby indicating Kym) And how is our little wayward girl? KYM Fine. (Beat.) I had an accident. ABBY And, how are you, Bob? BOB God, never better -- Isaac opened his practice! QUICK CUTS OF KYM NICE FAMILY FRIEND We're all so glad you made it! I shouldn't be telling you this, but there was actually a pool! Is that hysterical? DISTINGUISHED NEIGHBOR (eyeing Kym's injuries with a twinkle) If you're in need of any legal services... AWKWARD YOUNG GUEST I don't know if you remember this but you owe me $750. HIP YOUNG GUEST Are you holding? (CONTINUED) 87A. 74 CONTINUED: 74 INTERESTING YOUNG WOMAN Kym? Do you remember me? KYM Sorry...I'm not sure... (CONTINUED) 88. 74 CONTINUED: 74 INTERESTING YOUNG WOMAN Kym! Angela Paylin!! Angela sports an intense tattooed image on the inside of her right forearm. Her face features a unique piercing. Kym hugs her. Their reunion makes her cry...Angela is nice. 75 INT. EXOTIC WEDDING TENT (EXT. BUCHMAN BACKYARD). NIGHT. 75 The tent is fairly packed now with about 60-SOME ODD PEOPLE. Everybody is getting along fine. With a single dramatic gesture, Norman Sklear silences the band. Upon Norman's instructions, the drummer works his cymbals in such a way that the party-goers realize that something big is about to happen. Norman Sklear now gestures for complete silence and he gets it. Rachel and Emma grin madly at each other. SFX: LIVE BRAZILIAN PERCUSSION SLOWLY BUILDING, GROWING LOUDER approaching the tent entrance from the moonlit backyard. ALL EYES ON THE ENTRANCE -- the swimming pool lights shimmering outside as -- --FOUR SEXY BRAZILIAN DRUMMERS AND FOUR GORGEOUS BRAZILIAN CARNIVAL GIRLS COMPLETE WITH HEADDRESSES AND FEATHERS DANCE INTO THE MIDDLE OF THE CROWD! The musicians blow whistles and bang on drums. The cafe-au-lait beauties gyrate and pull guests out of their chairs. Rachel leaps from her chair into Sidney's arms and he gives her a huge, sexy kiss as he rubs her tummy. Wedding guests scream with delight and rush to the floor. The drummers become more impassioned with every beat. They travel allover the dance floor, a trail of guests behind them. Sweat is dripping, the girls are glistening wet, the guests are pulled into a massive pulsing heartbeat on the dance floor. Emma, Kayra and Victoria are dancing together screaming until Cousin Joseph, Matt and another male friend muscle their way in. Little kids swing each other around in circles. Rachel and Sidney are practically doing it on the dance floor. A Brazilian beauty shimmies over to them, her headdress bobbing, her smile enormous. (CONTINUED) 89. 75 CONTINUED: 75 Sidney immediately puts his head on her bosom. After a beat Rachel does too, laughing. SFX: POUNDING BRAZILIAN DRUMS Carol stands quietly besides Paul and takes his hand and whispers to him. Though not dancing, they are clearly enjoying the carnival. Paul gives a little shimmy. Abby and Andrew are huddled together at a table, talking intensely. It's like they are blind to the spectacle. Kieran offers his hand to Kym. She leaps up, spilling her flowers. Kieran pulls her to the middle of the crowd. They circle each other. They come together almost violently and dance like there's no tomorrow. Kym's head is thrown back. Shoulders heaving, Kieran swings her around by the waist. SFX: DRUMMERS DRIVING THE PARTY FASTER AND FASTER. Emma shimmies wildly with her partner, her hair a mess. Mr. and Mrs. Williams clapping wildly and doing the limbo/hustle/drunken parent dance. Guests stomping and cheering. The brown, glittering dancers are shaking thisclose to the drummers who have their shirts off. A dancer rocks with an older gentleman who gulps oxygen from a tank. Rachel and Sidney are bathed in sweat, kissing. Sidney is gulping champagne. Kieran and Kym have their foreheads together and their eyes closed, chests heaving. DRUMS CRESCENDO Carol and Paul watching, laughing. Andrew whispering in Abby's ear. She just stares off. Kieran and Kym glued together. Rachel tossing her hair wildly, Sidney behind her. Everyone laughing, laughing, dancing. DRUMS STOP!!! (CONTINUED) 90. 75 CONTINUED: 75 HUGE WHOOPS AND HOLLERS!!! CUT TO: 76 EXT. BUCHMAN BACKYARD. NIGHT. 76 The exotic tent looks beautiful out there in the sprawling backyard, reflections of the POOL LIGHTS shimmering off its sides. The whole backyard is enchanted -- with magically deployed twinkle lights, Japanese lanterns and other special lighting effects adding to the aura... "Rachel Loves Sidney" is being played in a mellow, super- romantic trumpet solo mode now by Christian Scott. An assorted bunch of guests have relocated to the poolside patio in their finery. The oxygen guy and his matronly wife are seated on a transplanted living room couch, talking intently to a be-feathered headdressed Dancer. Norman Sklear and Emma are sharing a stylish, quietly triumphant slow dance, whispering punctuated by gusts of laughter. Angela Paylin is out there too. Little kids are running around the lawn and a few are playing with OLIVE the Dog. Kym kneels at the far corner of the swimming pool, unnoticed by anyone. A wooden serving tray floats on the surface of the water, supporting a candle wrapped in rice paper. A couple of smaller candles surround the slightly larger one. Kym lights the candles, extinguishes the match, gently slides the illuminated tray out towards the center of the pool, watches. Kym rises and walks towards the house, looking for something. NEIGHBORHOOD GIRL (to Kym) I can do a handstand! She executes a truly terrible handstand. KYM That sucked. The girl throws a rebellious dance move in Kym's direction. KYM Ouch. The girl laughs and runs off. 90A. 77 EXT./INT. BUCHMAN LIVING ROOM -- CONTINUOUS. 77 Kym crosses the back terrace and enters the living room through the flower bedecked canopy.... (CONTINUED) 91. 77 CONTINUED: 77 where she finds Rachel and Sidney slow dancing alone and dreamy in the center of the darkened room, the walls still covered with the ceremonial flowers. A single candle flickers nearby. The dancers are oblivious to Kym's presence. KYM (to Rachel) Hi. Where's Mom? Rachel has her head on Sidney's shoulder, her eyes closed. RACHEL Taking a break. KYM How can you take a break from your own daughter's wedding? RACHEL Mom doesn't actually participate in things. KYM And anyway, she hasn't even done anything all day. RACHEL I was thinking about getting her a cat. Cats are really annoying. At some point you have to deal with them, right? Or they starve to death and piss on your sheets. KYM It's so nice here. Suddenly Kieran sweeps into the room. KIERAN You can run but you can't hide! Kym shrieks as Kieran grabs her and plants a wet one on her, dipping her to the floor. They careen into Sidney and Rachel. Sidney grabs Rachel and starts molesting her. RACHEL (totally into it) Stop! Stop you fiend! Rachel and Sidney fall to the floor writhing, sounding way too amorous. Then: (CONTINUED) 92. 77 CONTINUED: 77 ABBY'S VOICE OFF Hello? KYM Hello? RACHEL Hello? The ceiling light flicks on overhead and Abby enters the living room. Blinking against the light, Rachel struggles to her feet smoothing her dress. RACHEL Mom! ABBY Here you are. SIDNEY (from the floor) Hello Abby. You're lovely. And I'm not looking up your skirt. Kieran is busting a gut not to laugh. ABBY I've been looking for you all over the place. ANDREW'S VOICE OFF Abby? Where are you? ABBY I'm in here. Andrew pops his head in. ANDREW They're bringing the car around. ABBY All right. RACHEL You're leaving? ABBY Darling, I'm exhausted. I had such a marvelous time. Those dancers were so beautiful. But weddings are really for young people. (MORE) (CONTINUED) 93. 77 CONTINUED: 77 ABBY (cont'd) I thought we'd just sneak off and not make a big scene. RACHEL You could make a little scene. ABBY And here I am making it. Andrew and I are going to Washington in the morning. KYM Why are you going to Washington? ABBY It's the mother of all fund raisers at American. I thought I mentioned it. We're going to stay on about a week - there are lots of meetings. I thought since you two are going away soon... (to Kym) ...and I'm sure you don't want any grown ups around checking up on you...Will you still be here when I get back? Kym doesn't say anything. RACHEL What about our post-nuptial wedding gossip reconnaissance, Mom? ABBY Well, can you come by early? RACHEL Um... ABBY Of course you don't want to do that. It's your wedding night. You don't want to get up early. I have to get Andrew organized. He's hopeless. And we'll be back in a bit. It was such a lovely wedding, darling. She bends in for a kiss. RACHEL Wait! I want my mother and my sister! (CONTINUED) 94. 77 CONTINUED: 77 ABBY Rachel... Rachel wraps one arm around Kym's neck and the other round her mother and hugs them both to her. She has her eyes open. They have their eyes open. They are stiff as boards. Rachel stops hugging and looks from one to the other. Her mom and sister look at her and each other. Beat. ABBY Will you call me every day about...? She pats Rachel's tummy. RACHEL Yes. Of course. ABBY All right, then. SIDNEY Goodbye Abby. ABBY Good bye, Son-in-law. Kym and Rachel watch their mother leave the room. SIDNEY (horrified) I saw your mother's underwear. Kym sees Abby and Andrew crossing the front porch through the window. KYM I can't find my cigarettes. Kym moves quickly from the room. 78 INT. BUCHMAN FOYER. NIGHT. 78 Kym is heading for the front door, when Paul breaks away from a group of guests having coffee in the dining room and nabs her, pulling her into a conversation with a WEDDING GUEST. (CONTINUED) 95. 78 CONTINUED: 78 PAUL Kymmie. Speak of the devil. You remember Susanna Galeano. KYM (she doesn't) Hi. SUSANNA Hi Kym. Kym is looking out the dining room window between Paul and Susanna -- she spots Abby and Andrew walking down the driveway towards the VALETS at the street. PAUL Susanna has a public relations firm and she just lost one of her assistants. SUSANNA Weddings. They're an epidemic. Your father gave me my start about a hundred years ago. PAUL No, no. Hardly. Well... SUSANNA We could definitely use an extra body right about now. Have you ever thought about Public Relations? KYM The public is kind of afraid of me. Susanna and Paul laugh. PAUL The firm is opening an office right here in town, just in time for the holidays. You could stay right here. SUSANNA Have you ever thought about P.R. Kym? PAUL Logistically it's just a dream. You could stay in your old room. I could chauffeur you around. You wouldn't have to worry about rent. (CONTINUED) 96. 78 CONTINUED: 78 KYM Have you already talked to Carol about me staying here? PAUL Of course. She's fine about it. You could stay in your old room. SUSANNA Why don't you give me a call on Monday, okay? She hands Kym a business card and kisses Paul on the cheek. SUSANNA Goodbye Paul. It was just beautiful. Bye Kym. She leaves. PAUL Suzy's first rate. P.R. can be fascinating. KYM You always said it was stupid. PAUL I meant stupid. Do you want me to hold that for you? You've got no pockets. KYM I've got it. Thanks, Dad. I'll be right back. 79 EXT. FRONT PORCH. NIGHT. 79 At the edge of the porch Kym sees Abby standing in the moonlight at the front of the driveway with Andrew, waiting for their car. Kym pauses. Abby turns her head slightly in Kym's direction. Kym, in the half dark, watches her mother. Abby does not move a muscle. Kym steps off the porch. The valet pulls up in the car, jumps out. (CONTINUED) 97. 79 CONTINUED: 79 Abby fixes her gaze on Andrew as he opens the door for her. They drive off. CLOSE ON KYM 80 EXT. BUCHMAN BACKYARD. MORNING. 80 The Absolute End of a Wedding. The place is a gorgeous mess of wedding detritus. The tent looks so lonely. A weary caterer packs away his trays. Kieran is talking and smoking with Sidney at the end of the lawn. 81 INT. ETHAN'S ROOM. DAY. 81 A freshly scrubbed Kym, in her own clothes, takes a moment in Ethan's room. She collects a few snapshots of her sister and brother and stuffs them in her shoulder bag. 82 INT. UPSTAIRS HALLWAY. DAY. 82 As Kym approaches the stairs, Emma staggers into the hallway, bleary-eyed. She is in her underwear, heading for the bathroom. She stops at the sight of Kym. They stare at each other. Emma gives a tiny wave. Kym responds, heads down the stairs. 83 INT. BUCHMAN STAIRWAY. DAY. 83 Kym slipping quietly downstairs. She moves to collect her weird mish-mash of bags waiting by the door. Kieran is there. KYM Oof. You scared me. KIERAN Making a break for it? KYM Yeah. I have to go. I was coming to find you. (CONTINUED) 98. 83 CONTINUED: 83 KIERAN You don't have to slip away without making any noise, you know? I like noise. KYM I was coming to find you. My ride's outside. KIERAN ...Okay...If you need anything... KYM If I need to post bond? Kieran hands Kym a folded piece of paper. KIERAN No. If you ever need anything. KYM Thank you, Kieran. KIERAN Maybe you'll come visit me in Hawaii? KYM That would be nice. He smiles, kisses her, tenderly. She hugs him fiercely. KYM I have to go. Bye. 84 EXT. FRONT PORCH. DAY. 84 Kym looks back in through the window, sees her father awake, in his robe, tired, gamely tidying. KYM (unbelievably softly and tenderly) Dad. Carol comes up behind Paul, envelopes him in a gentle bear hug. 99. 85 EXT. BUCHMAN DRIVEWAY. DAY. 85 A `98 maroon CAMRY is idling in the circular driveway out front, exhaust vaporizing against the chilly morning air. A cute two-year-old girl is visible in a carseat and Rosa, the staff nurse from Kym's halfway house, is at the wheel. The car radio plays quietly as Kym opens the passenger door, wiggling her finger at the little girl. Like a ghost, Rachel appears on the porch. Kym jumps a little. The sisters lock eyes. Kym looks pained. Paul is still moving around in there. She wants to go. Rachel floats down the porch stairs and joins her sister at the car. She takes in Rosa who meets Rachel's look with a nod. ROSA Hi. RACHEL Hi. KYM (whispering) Will you tell Dad? Rachel nods. Kym is crying. KYM I love your baby! RACHEL Me too. Rachel hugs her sister fiercely. Kym gets into the passenger seat but leaves the car door open. Rachel smiles her huge, luminous smile. Kym shuts the car door and rolls down the window. KYM (quietly) Bye! (CONTINUED) 100. 85 CONTINUED: 85 Rachel mouths "Bye" and gives a little wave. The car pulls out of the driveway, Carol watching it go from the dining room window. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Raging Bull.txt b/unformated_scripts/Script_Raging Bull.txt new file mode 100644 index 0000000000000000000000000000000000000000..ec9a8726c9281e43216c5ec5d87bdef18fa63476 --- /dev/null +++ b/unformated_scripts/Script_Raging Bull.txt @@ -0,0 +1 @@ +MUSIC IN: "Stone Cold Dead in the Market" by Louis Jordon THE TITLES appear on black. They are intercut with CLOSE-UPS of a fighter's body. EXAMPLES: Feet move. Credit over black. Body lunges. Credit over black. Fists swing and punch at the air. Credit over black. WE CATCH A GLIMPSE of young JAKE LAMOTTA. THEN CUT TO: INT. BARBIZON PLAZA THEATRE - DRESSING ROOM - NIGHT (1964) JAKE LAMOTTA, wearing a tux, is shadow-boxing. We are unsure of where he is -- he moves in and out of the shadows. At 42, he's overweight and out of shape, but the balls of his feet still pop up and down like they were on canvas and his tiny fists still jerk forward with short bursts of light. He is rehearsing a nightclub monologue. JAKE Good evening, ladies and gentlemen. It's a thrill to be standing here talking to you wonderful people. In fact, it's a thrill to be standing! I haven't seen so many people since my last fight at Madison Square Garden. After that fight, a reporter asked me, 'Jake, where do you go from here?' I said, 'To a hospital!' I fought one hundred and six professional fights and still none of them bums figured out how to fight me -- they kept hitting me in the head! And that's why I'm here tonight... (starts to sing) 'When the fighter's not engaged in his employment, his employment, although he was Champ and quite the rage, he must go somewhere else to seek employment, seek employment. But a fighter's life is not a bowl of cherries, still I'd rather have an egg than a fist upon my face... That's Entertainment!' INT. CLEVELAND ARENA - NIGHT (1941) Bam! JIMMY REEVES, a fast, black middleweight, jabs LAMOTTA, 19 years old, in the face. JAKE staggers forward. No matter how hard LAMOTTA is hit, no matter how often, he always staggers forward -- like a bull. The bell sounds. Battered, JAKE slumps on the stool in his corner. It's September, 1941. Europe and Asia are already at war. Young SOLDIERS, freshly recruited, dot the hostile audience -- each screaming at the FIGHTERS in the ring. Suddenly, words are exchanged, a GIRL screams, and a SOLDIER and a CIVILIAN stand and start swinging. AND IN THE RING: JAKE LAMOTTA takes a swig of water and spits blood into the bucket his younger brother, JOEY, holds for him. TONY, his trainer, works the cuts. JOEY You didn't have to come to Cleveland to get beat by a "moulan yan," Jake! TONY He's got you, Jake! You're outpointed! You're coming up for the tenth. You gotta knock him out! The bell sounds for the tenth. JAKE pulls himself up and charges at REEVES. REEVES slides away, jabbing, punching, piling up points. In JAKE's corner, JOEY stands and yells at JAKE: JOEY A grand apiece! We got a grand apiece on this, Jake! A fucking grand! JAKE suddenly corners REEVES and unleashes a desperate, wild alley-fighting attack. One ferocious punch after another. The SPECTATORS go wild; everyone's up for the kill. REEVES staggers, then falls to the canvas. The REFEREE counts: REFEREE One, two, three, four... The GAMBLERS call out new odds; ten to one for REEVES, the underdog. JOEY, excited, sees that time is running out and steps in front of the bell. He swings his arms, pretending not to realize he literally holds back the TIMER's arm for a few seconds. This gives JAKE more time for a knockout -- but not enough. JOEY is pushed back and the bell rings at the count of nine, ending the match. Boos and cheers. The BETTORS scramble back to the BOOKIE to get their money. JAKE dances around the ring, kissing his gloves and thrusting them toward the CROWD. JOEY rushes out and hugs him. The ANNOUNCER steps into the ring with the mike: ANNOUNCER Ladies and Gentlemen, the winner, under the rules of the Cleveland Boxing Commission, after ten rounds, by a decision -- Jimmy Reeves. The ANNOUNCER holds up REEVES' arm as his corner tries to lift him off the canvas -- still out cold. TWO ATTENDANTS bring in a stretcher. JAKE is stunned. He still prances around, now trying to figure out what happened. He raises his arms in victory, and the FANS go crazy, cheering, ripping chairs out, fighting with the COPS, throwing bottles and junk into the ring. PEOPLE go into the ring. JOEY (to Jake) Don't get out of the ring. You won the fight -- let him go out first. CUT TO: REEVES being placed on the stretcher. A ringside OFFICIAL signals the ORGANIST and she starts to play the "Star Spangled Banner." REEVES is carried out. Only then do JOEY and TONY escort JAKE out of the ring. EXT. WEBSTER AVENUE AND 169TH ST., THE BRONX - NEXT DAY It's a rough neighborhood, inhabited primarily by welfare cases and street kids. In the street, two young PUNKS, 13 or 14 years old, exchange words and start to fight. Their FRIENDS cheer them on. SALVY and JOEY turn the corner. JOEY Salvy, would I steer you wrong? Let's say that's the truck; it's full of cigarettes, right? Now, two o'clock this morning we move the truck from here to there, (he points; the CAMERA PANS) take the cigarettes out, sell 'em, make some cash. SALVY Hey but Joey, you're thinking nickels and dimes. The money's with your brother. JOEY What do you want from my life, Salvy? He's my brother. SALVY He ain't doin' the right thing. He's makin' beans compared to what he should be makin'. Can't you make him understand that? A COP goes over and starts to break up the fight. JOEY (to cop) Hey, leave the kids alone. SALVY Get lost. (joking, he knows the Cop) Hey kids, "A cop is a rat." Remember that, "A rat." The KIDS yell. JOEY (to Cop) Hey Jimmy, here's a dollar for your trouble. There's some bums around the corner -- they need your help. COP Keep the dollar, Joey. Get yourself a new suit. JOEY (laughs) Here's my new suit. (grabs his crotch) Right here. COP Hey, don't get wise! JOEY Just kidding, take it easy. (to himself) No fuckin' sense of humor. SALVY and JOEY continue to walk a little faster, giggling. INT. JAKE AND IRMA'S KITCHEN - DAY JAKE, bandaged from the REEVES fight the night before, sits at the kitchen table (he's had a few glasses of wine) while his wife, IRMA, 19, cooks at the stove. JAKE gets up and pokes at the frying steak with a fork. JAKE This looks done. IRMA It's not done. JAKE It looks done. I'll take it the way it is. IRMA Here's your steak. You can't wait for it to be done. Here. She slams the steak onto his plate, and reaches back to the stove. IRMA (CONT'D) Here's your carrots. You're in such a hurry. You can't wait. JAKE No, I can't wait. You know when I wait? When it's important to wait. It's not important to wait for no steak. It's important to wait for Reeves to leave the ring. It ain't important to wait for no steak! I won that fight. So, I stayed in the ring, and that way I made sure everybody knew it. I shoulda knocked him out earlier, sonofabitch. He starts to eat the steak. He takes a drink of wine. JAKE (CONT'D) Wait! I'll wait. But let me tell you, if this steak was the middleweight championship, I'd show you how I'd wait. I'd eat it raw. I'd drink the blood. I'd eat it before it came out of the cow -- that's how I'd wait. EXT. JAKE AND IRMA'S APARTMENT BUILDING/TENEMENT - DAY SALVY and JOEY approach the building. JOEY I can't convince him. He's got such a thick head, I'd like to crack it open myself. Believe me, my own brother. It's very hard. You don't have to convince me -- I know we should be with Tommy. You talk to him. He don't listen to nobody. SALVY Look, I'm just tellin' you how Tommy feels. Jake is makin' it hard on himself. Tommy wants him with us. It's as simple as that. They stop at the doorway. SALVY (CONT'D) Talk some sense into him, will ya? You're still his brother. If he ain't gonna listen to you, he ain't gonna listen to nobody! JOEY All right, I'll try. See you later. SALVY Tomorrow, at the gym. Don't forget. JOEY Right, the gym. SALVY leaves. JOEY goes into the building. INT. JAKE AND IRMA'S KITCHEN - DAY JOEY is knocking at the door. IRMA opens it. JOEY (noticing Jake) What's the matter? IRMA He's doing it again. JOEY (goes to Jake) What's the matter? You're drinking. You're eating like an animal. JOEY sits next to JAKE at the kitchen table. JAKE has a drink in his hand, and tears on his face. JOEY (CONT'D) What's wrong? JAKE (gets up) Nothing... JAKE goes into the living room. IRMA looks at JOEY. JOEY follows JAKE. INT. LIVING ROOM JOEY walks up to JAKE. JOEY Hey, c'mon, what's the matter? JAKE (privately, to Joey) I ain't ever gonna fight Joe Louis, that's what's the matter. JOEY What're you talking about? He's a heavyweight. You're a middleweight. JAKE holds out his scarred hands. JAKE Look at these hands. These fuckin' hands. I was born with a girl's hands. And even if I put on enough weight to be a heavyweight, I'd be too slow to fight. No matter how big I get, I'll never be big enough to fight Louis. JAKE pauses. IRMA watches from the doorway. JOEY That's what I'm sayin'. You shouldn't even think like that. It's crazy. JAKE I tell you one thing. Ok, I'll never be big enough to fight Louis, but I know Joey, I know... JOEY You know? JAKE Yeah. Do me a favor. JOEY Sure. What is it? JAKE Hit me in the face. JOEY (after a pause) You want me to do what? JAKE You heard me, I said hit me. JOEY C'mon, Jack. You had a few drinks. JAKE Go ahead. I ain't drunk. Take your best shot. On the jaw. JOEY Jack, I got no gloves. JAKE (grabs a nearby towel) Here's your glove. JOEY wraps it around his fist. IRMA watches. JOEY hits JAKE with his right. JAKE holds fast. JAKE (CONT'D) Go ahead. Hit me. C'mon, don't worry about it. I want you to hit me with everything you got. JOEY hauls off and lands him a real belt. JAKE rolls with it and stands firm. JAKE (CONT'D) Again. Harder. JOEY hits him again. JAKE (CONT'D) Harder. Go 'head. JOEY hits him again. JAKE (CONT'D) Harder. (grabs the towel) Take the towel off. JOEY Jack! Enough! JAKE Go ahead. JOEY hits him again. JAKE holds fast. JAKE starts to walk away. JOEY What was that for? I know you can take punches. I can hit you from now to doomsday. What the fuck does that prove? JAKE See that, I don't feel it. I can take it. I know I can take anybody. EXT. GLEASON'S GYM - NEXT DAY Gleason's, a small gym and fight club, stands on 149th Street and 3rd Avenue above a small sandwich shop. Each day BOBBY GLEASON posts a small sign alongside the door listing the fighters who will be working out. JAKE's name is posted at the top; the other names are unmemorable. INT. GLEASON'S - DAY Gleason's has a single sparring ring and ten training bags. About a dozen managers train their fighters out at Gleason's. For 50 cents, spectators sit in the gallery and watch the workouts. JAKE is sparring with JOEY in the ring. They've been working out for a while now. The bell rings ending the third round. JAKE prances about the ring waiting for the bell to sound again. At that moment, SALVY, along with two other young "BUTTON" MEN (actually, they are very young -- about JOEY's age) enter the gym. They are well-dressed (over-coat, ties, suits, flashy rings, etc.). They say hello to some PEOPLE by the door. JAKE looks over and notices them. SALVY looks over to the ring. SALVY (waves) Hey Joey -- JOEY waves back. SALVY (CONT'D) (waves again) Jake, how you doin'? JAKE nods to SALVY very cold. SALVY notices and can feel that he's not exactly wanted there by JAKE. JOEY notices the same and becomes a bit nervous. SALVY sits down near the ring but not as close as he'd like to. His two friends, FRANKIE and GUIDO, sit nearby also. JAKE goes to JOEY's corner. JAKE Did you know they were coming up here? JOEY doesn't answer. JAKE (CONT'D) Answer me when I talk to you. JOEY Yeah, yeah. They just wanted to talk to you. So I... JAKE (interrupting) Don't ever bring those kids up here again! I'm working out, I'm killin' myself in here, and they walk around like they fuckin' own the neighborhood. SALVY and the OTHERS see JOEY being chewed out by JAKE. They begin to feel unwelcome at the gym. The bell sounds. JAKE is more aggressive now as he corners JOEY. JAKE swings away with body punches. JOEY can't block them. SALVY and the OTHERS watch. The bell sounds again. With that, SALVY and the OTHERS start to leave. SALVY (to Joey) Hey Joey, we better go. See you later. JOEY, dazed, turns to wave. JAKE Go 'head. Wave goodbye. They're your friends. JAKE watches them leave. JAKE (CONT'D) And that hard-on, Salvy. Who's he think he is? I'm gonna let that fuckin' hard-on come up here and act like a big shot. JOEY What are you getting so hot about -- Tommy Como told him to come down here... JAKE (interrupting) Hey, I don't care about Tommy Como. I don't care about Jesus Christ on the fuckin' cross. I gotta give them a percentage of what I make! I'm in here breaking my ass, not them. Don't ever bring them up here again. JOEY I didn't tell them to come. Tommy Como... The bell sounds again. JAKE hits JOEY a few more solid body punches. JOEY gets angry and fights back with a flurry of punches which have no effect on JAKE. JAKE laughs. JAKE That's right, fight back. I got laid three times before I came up here this morning and I can still break your ass. JOEY fights back, but it's no use. JOEY You cocksucker. JAKE laughs. The two continue to swing it out, as SALVY watches unseen from the doorway. EXT. SHOREHAVEN POOL - DAY (1942-43) The Shorehaven Pool, spic-and-span in the summer sun is the closest thing to a country club in the Bronx. An eight foot fence stands between the pool and the street. JAKE, wearing slacks and a sportshirt, hangs out with the "BOYS" near the bar area. Older, "MADE" MEN play cards. A young FAN walks by and says: FAN Hey, Jake. At the opposite end of the pool where the GIRLS gossip, and sunbathe, JOEY swaps small talk with VICKIE, a school girl, about 15. VICKIE is a knockout. SALVY, FRANKIE and JUNIOR are with VICKIE and her FRIENDS. They joke with JOEY. JAKE watches SALVY and VICKIE. JAKE'S P.O.V.: JOEY is talking (PAN) to VICKIE. VICKIE giggles. JOEY stands and walks over to JAKE. JAKE (referring to Vickie) Who's that? JOEY Whadda you care? JAKE Whadda ya mean, whadda I care? Who is she? What's a matter? You afraid I'm gonna take her on you? JOEY No, I'm not afraid. Why? You wanna meet her? JAKE Yeah -- JOEY Cause I'll go right over there and bring her here. JAKE Go 'head. JOEY You sure you wanna meet her? Don't make me go over there, you change your mind and you make me look bad, cause she's really a knockout. She's 15, this kid -- a great piece of ass. JAKE How do you know? You know her that good? JOEY No, I see her around the pool. I know her. I know her like that -- not like that. JAKE (gesturing to his bandage) Nah, not now... I wanna wait. I don't feel right... JAKE watches VICKIE. INT. JAKE AND IRMA'S APARTMENT, LIVING ROOM - LATE NIGHT JOEY (to Jake) I'm tellin' you, she'll be there, I know she'll be there. JAKE 'Cause I wanna catch her alone. JOEY How you gonna catch anybody alone at a dance?... I don't know if she'll be there alone... She'll probably be there with her girlfriends or something. JAKE She ever go with them? Like Salvy? JOEY Nah, she don't go with nobody. She's only 15 years old. JAKE What does that have to do with it? She don't look 15 to me. I heard somethin' with Salvy. She was with him once or somethin', I think. It was like some blonde. That's the one... JOEY Probably. You know she talks to everybody, and not just him. JAKE Yeah, she's nice. JOEY Ah, some piece of ass, I'm tellin' you. JAKE You wasn't with her, were you? JOEY Huh? JAKE You wasn't with her? JOEY With her? How? JAKE You know, like bang her or anything? JOEY Ah, no, no. I didn't bang her. I know her from around here, that's all. You want to meet her or what? JAKE Nah, not now -- all those hard-ons around. I'll wait. Not now. The scene ends on VICKIE as JAKE watches her. INT. JAKE AND IRMA'S APARTMENT - LIVING ROOM - LATE NIGHT JOEY (to Jake) I'm tellin' you, she'll be there, I know she'll be there. Dressed up and everything. JAKE I don't like all those other clowns around. That's all I know. JOEY C'mon, hurry up. We're never gonna get outa here tonight. JOEY sips a drink as JAKE knots his tie. IRMA enters from the bedroom. IRMA Where you going at this hour? JAKE What're you, a cop? I'm goin' out -- business. IRMA You fuckin' worm, if you're going out, I'm going out. JAKE And where you goin'? IRMA None of your fuckin' business. JOEY lifts his eyes up. JAKE Eh, go out. Do what you're gonna do. What do I care? JOEY opens the door to leave. JAKE follows. IRMA That's right -- run out. I ain't gonna be here when you get back. INT. JAKE AND IRMA'S APT. BUILDING - HALLWAY - LATE NIGHT JAKE and JOEY hurry down the stairs. IRMA shouts after them. IRMA Bunch of guys. You all hang out together. Yeah, you're all going out on business. You're all gonna suck each other off. INT. JAKE AND IRMA'S BUILDING - GROUND FLOOR - LATE NIGHT JOEY What a mouth on her -- you shoulda hit her -- no good fuckin' Jewish cunt -- breakin' our balls. You shoulda hit her with a chair. JAKE Hey, watch your mouth. Don't talk like that. She's still my wife. JOEY No, but Jake... how much abuse can you take. JAKE (interrupting) How many times do I have to hit her? I hit her enough. They exit to street. EXT. JAKE AND IRMA'S APARTMENT BUILDING - STREET - LATE NIGHT JOEY and JAKE come out of the building and start walking down the street. IRMA opens the window on the second floor right above them, and shouts out to them: IRMA Go ahead -- that's all you're good for -- to go out and leave me here like a dog. You and your brother! You don't even look like brothers. You look like faggots! That's what you look like -- faggots! JAKE and JOEY walk faster down the block, pretending that IRMA must be shouting at someone else. She throws a bottle at them. It smashes in the street. EXT. WEBSTER HALL - NIGHT (AN HOUR LATER) ESTABLISHING SHOT. INT. WEBSTER HALL - NIGHT A neighborhood dance is in progress. A small BAND is playing while mainly OLDER COUPLES dance. There are TWO PRIESTS present. The younger people are divided into two groups -- the BOYS, who are dressed in suits and ties, and spend most of their time at the bar area -- and the GIRLS, who are in evening dresses, and spend most of their time dancing together. Some of the more popular GIRLS are surrounded by "WISE-GUYS." There are tables near the dance floor with "set ups" (bottles of Scotch, rye, and a bucket of ice) on them. These tables are the "bases of operation" for different neighborhood groups, as if they were street corners. JAKE and JOEY are walking toward a table. VERA, a young neighborhood girl, blocks their way as she bends over to talk to some GUYS at a table. VERA's well-built, and knows it. JOEY tries to move one way; VERA again blocks his way. This little game goes on for a few seconds, then: JOEY Look, could you move a little. Would you mind, darling? VERA Mind what, Mr. Big Shot? JAKE (annoyed) Eh, girlie, take a walk. JAKE starts to move forward; JOEY stops him. JOEY (to Vera) All right, darling, I'll just stand here and wait. JOEY cups his hands and grabs VERA's breasts. VERA squeals, covers her breasts, and moves back. JOEY and JAKE walk past her. JOEY smiles. JOEY and JAKE sit down at an empty table. JAKE Do you see her yet? JOEY Give me a chance. Let me look. MOVING SHOTS JAKE tries to find her -- Camera pans until we find her. JOEY points out a distant table. He spots VICKIE with a couple of other GIRLS . VICKIE locks beautiful and is obviously having a good time. JOEY (CONT'D) THERE she is over there on the other side. What did I tell you? Oh, ain't she nice? Ain't she a fuckin' doll? As they watch, WE SEE, from JAKE's POV: SALVY, FRANKIE, and JUNIOR show up at VICKIE's table. They are in overcoats and hats and don't sit down. They are obviously on their way to bigger things than a neighborhood dance -- and VICKIE and her GIRLFRIENDS are glad to go with them. They get up to leave. JAKE Be right back. SALVY, FRANKIE, JUNIOR, VTCKIE and the other TWO GIRLS leave the dance hall. JAKE, unseen, follows them to the entrance way, as they go out onto the sidewalk. EXT. WEBSTER HALL - NIGHT JAKE watches as SALVY ushers everyone into his Cadillac, and then drives off. JAKE stares after the car for a moment, then goes back inside. EXT. SHOREHAVEN POOL - DAY (1942-43) JAKE and JOEY get out of their Packard convertible and walk over to the fence surrounding the pool. VICKIE is by the pool. JOEY (calling out to Vickie) Hey, Vickie, c'mere. Don't be afraid. C'mere. Just say hello. This is my brother. VICKIE comes over to the fence. JOEY (CONT'D) Vickie, I want you to meet my brother, Jake. He's gonna be the next champ. JAKE puts his fingers through the fence. JAKE Joey said you wanted to meet me. Is that right? You wanted to meet me? VICKIE (to Joey) I just wanted to say hello. JAKE You wanted to say hello, eh? I can't believe it. When did you fall outa heaven? Anyone ever tell you you're the most beautiful one here, princess of the pool. You got a baby face. Look at mine. Whatcha wanna meet me for? VICKIE I don't know. 'Cause you're cute. JAKE (to Joey) Ya hear, Joey? She thinks this face is cute? Hey, whatcha doin' now? You wanna go for a ride? PAN to car. VICKIE Sure. Gimme a few minutes. She starts to go. JAKE Hey... She turns. JAKE kisses his hand and holds it up to the fence by her lips. EXT. SHORE ROAD - DAY JAKE drives his Packard convertible down Shore Road. VICKIE sits in the passenger seat, her blonde hair blowing in the wind. VICKIE feels JAKE's eyes all over her, and loves it. On the radio, Bing Crosby sings "Just One More Charce." EXT. MINIATURE GOLF COURSE - DAY JAKE parks across the street from the new miniature golf course on Shore Road. The Shore Road course is one of the best. The first green features a pink windmill. JAKE and VICKIE get out to cross the street. VICKIE You don't talk very much. JAKE I ain't ever talked to a movie star before. VICKIE (giggles) I ain't no movie star. I'm just in high school. JAKE Oh no? I thought you was a movie star. A bus heads toward them. VICKIE Jake! The bus! JAKE holds up his hand. JAKE Any bus gives you trouble, I knock it out for ya. The bus stops for them as they cross the street. EXT. THE FIRST GREEN - DAY JAKE sets VICKIE's ball on the tee facing the windmill. VICKIE You go first. Let me watch how to do this. JAKE You don't get nothin' done by watchin'. You just gotta do it. Here, I'll help you. JAKE hands VICKIE the putter, then moves behind her and puts her hand on the club. JAKE (CONT'D) That's it. Just grip up a little tighter. That's it. You're gonna be real good at this. How does that feel? VICKIE It feels real good. JAKE Just keep your eye on the ball. VICKIE Should I hit it? JAKE Just give it a nice little tap. VICKIE swings and the ball rolls into the center of the windmill. VICKIE breaks free and follows her ball. JAKE follows. VICKIE I can't find my ball. JAKE Can you see it? VICKIE bends and looks under the windmill. VICKIE No. JAKE bends and looks. VICKIE (CONT'D) Can you see it? JAKE No. VICKIE What does that mean? JAKE takes VICKIE by the arm. JAKE It means the game is over. JAKE throws his putter on the next green. JAKE (CONT'D) Let's get outa here. EXT. ARTHUR AVENUE APARTMENT BUILDING - BRONX - DAY JAKE and VICKIE pull up to a tenement. JAKE dashes around the car to open the door for VICKIE. They enter the building. INT. ARTHUR AVENUE APARTMENT - DAY JOSEPH LAMOTTA, SR. is finishing his Sunday dinner with a glass of wine as JAKE and VICKIE enter. JAKE Hi Pop. This is my new girlfriend, Vickie. V for victory. How do you like that Pop? JOE LAMOTTA V for victory. VICKIE (nervous) It's a pleasure to meet you, Mr. LaMotta. JOE LAMOTTA (in Italian) Sit down. Eat something. JAKE is anxious. VICKIE is scared. JAKE C'mon, Pop. You've been in America so many years. Speak English. JOE LAMOTTA (joking) You want me to speak English -- Fuck you. That's English. JAKE Pop, don't curse. There's a girl here. I'm gonna show her around the house. Why don't you just finish your wine? JOE stares at him. JAKE grasps VICKIE's arm firmly. INT. ARTHUR AVENUE APARTMENT - BEDROOM - DAY The bedroom is a few rooms away from the kitchen. JAKE closes the door. (There is a warm light in the bedroom.) VICKIE Jake, this is your father's bedroom. JAKE That's all right. He don't mind. The room is sparsely furnished. On the bureau, there is a large framed photo of the boxing brothers: JAKE and JOEY LAMOTTA. (JOEY wears a suit in the picture.) JAKE puts VICKIE on the bed and removes his jacket and tie. VICKIE Jake... JAKE It's OK. He pushes her against the bed and gently undresses her. They make love. INT. OLYMPIA STADIUM - DETROIT (FEB. 5, 1943) JAKE is fighting SUGAR RAY ROBINSON. (It's their 2nd match.) WE SEE highlights of the fight: JAKE is fighting ferociously, but SUGAR RAY is a formidable opponent. AN ANNOUNCER'S VOICE gives a blow by blow description. JAKE takes a lot of punishment from SUGAR RAY -- until the 8th round. Then, JAKE nails SUGAR RAY with a savage left. JAKE chases SUGAR RAY and pounds him with a left and a right. SUGAR RAY gets in a right cross. They stand toe to toe, fighting. Then, JAKE lands a left to SUGAR RAY's stomach, and knocks him through the ropes. JAKE goes after SUGAR RAY, but the REFEREE stops him. SUGAR RAY gets back into the ring and sinks to one knee, while the REFEREE counts to 9. The bell sounds. TIME CUT: THE ANNOUNCER calls out that JAKE is the winner. JAKE throws kisses. The CROWD goes wild. INT. GLEASON'S - DAY (1943) JAKE's press conference. FIVE REPORTERS meander around the gym, waiting for JAKE to finish sparring. They are not thrilled with their assignment. JAKE is not thrilled with having them there. The gallery is spotted with the usual BRONX TYPES. The lone exception is VICKIE, dressed very well, very sensual, and quite content to watch JAKE make his SPARRING PARTNERS' lives miserable, despite their head and belly protectors. JOEY is off in one of the corners arguing with ONE of the REPORTERS: JOEY The fuckin' papers are full of Robinson and nothing on Jake -- and Jake knocked him clear outa the ring in Detroit. He's the only guy ever to beat Robinson. Whatsa matter with you? I thought we had an arrangement. REPORTER We do Joey. You know we do. JOEY You holding me up for more cash or what? The bell sounds, ending the sparring round. REPORTER I can't print nothing if Jake won't give me nothing. JOEY walks over to the ring. The REPORTER follows not far behind. JOEY C'mon, Jake. You're makin' us look stupid. I brought these guys up here, now you don't wanna talk to them? What are ya doin'? Open your mouth, for Christsake. JAKE nods his head, steps out of the ring, and goes directly over to the REPORTER, who is about to say: "Hi, Jake." JAKE (interrupting) I'm tallin' you now, when I read this, it better not make me look bad. REPORTER Jake, did I ever make you look bad before? JAKE Maybe it wasn't you, but you know what I'm talkin' about. JOEY (interrupting) Don't worry. Don't worry. It's gonna be all right. (to reporter) Ask him your questions. REPORTER All right, Jake, you're being talked about as the top middleweight contender. Do you think another victory over Sugar Ray will get you a shot at the title? JAKE Why not? There's nobody else around who wants to fight me; they're all afraid. I don't see why I shouldn't have a shot at the title right now. REPORTER Well, the word is to get a title shot you have to cooperate with the people who control boxing, in New York. And they're saying that you don't cooperate. JAKE You guys know more about that than I do. I just fight... JOEY (interrupting) He fights the toughest guys around that everybody else is afraid to fight... JAKE (interrupting) I'm the only guy ever to beat Sugar Ray, and I still don't have a shot at the title. REPORTER You just fought Sugar Ray two weeks ago and you're training like this right now... Are you afraid Sugar Ray might beat you this time? JAKE I tell you what. You hit me here. (points to his right cheek) Sugar Ray hits me here. (points to his left cheek) I can't tell the difference. I just fight. JAKE turns to VICKIE, smiles, and prepares for his next SPARRING PARTNER. INT. ARTHUR AVENUE APARTMENT - BEDROOM - DAY (FEB. 1943) JAKE, wearing pleated dress slacks, sits on the edge of the bed examining his muscle tone. He studies his small fists. Squeezes each knuckle. Twists his wrists. Clenches. Unclenches. VICKIE steps out of the bathroom wearing a nightie and panties. VICKIE Are you sure we should be doing this? JAKE Come over here. VICKIE You said never to touch you before a fight. JAKE (lovingly) If you let me do it, I'll murder you. Come here. VICKIE You said I couldn't. You've been good for two weeks... JAKE Come here. JAKE watches VICKIE approach him. He respects her as he would a shrine; he slowly removes her sheer nightie. His round hands caress her smooth skin. He glides his bruised knuckles across her shoulders, pride on his face. She kisses his bruised knuckles sensuously, then his bruised face. JAKE (CONT'D) Take off my pants. VICKIE Jake... JAKE Do what I say. He touches her breasts as she removes his trousers. JAKE (CONT'D) Now take the rest off. VICKIE Jake, you made me promise not to get you excited. JAKE Go 'head. Do it. She pulls off his shorts. VICKIE is now getting excited. She kisses his chest and licks it. VICKIE I like the gym smell. JAKE Now take your panties off. She does. JAKE (CONT'D) Now, touch me... (takes her hand) ... here. VICKIE Oh, Jake. She caresses his broad shoulders and runs her hand along his erection. JAKE's lips are trembling. He quickly turns his back on VICKIE, goes into the bathroom, and gets a full glass of cold water. VICKIE watches as he puts his erection in the glass of cold water. She is shocked and surprised. JAKE I can't do it. I can't fool around. This Robinson, I gotta beat him again. I can't fool around. Don't come near me. JAKE grabs her again and kisses her. Then, gently but firmly, he turns her around and pushes her out. (It's starting again, and he must stop it.) He goes back the bathroom and closes the door. INT. OLYMPIC STADIUM - DETROIT (FEB. 26, 1943) This is JAKE's rematch with SUGAR RAY (their 3rd fight). AN ANNOUNCER's VOICE gives a blow by blow description. THE FOURTH ROUND: JAKE is in serious trouble. SUGAR RAY knocks him with a hard right, then a series of rights and lefts. JAKE is punched all the way across the ring, but stays in there. THE SEVENTH ROUND: JAKE, coming on strong, forces SUGAR RAY into his own corner, then lands a left hook to his chin. SUGAR RAY drops, and takes a nine count. This time, however, the blow does not have a crippling effect on SUGAR RAY; instead, he comes back and outboxes JAKE. TIME CUT: THE ANNOUNCER calls out the decision: SUGAR RAY is the winner. JAKE is stunned. The CROWD boos so loud and for so long that THE ANNOUNCER is unable to introduce the fighters in the next bout. INT. OLYMPIA STADIUM - DRESSING ROOM - NIGHT JOEY and TONY are in the dressing room. JAKE sits on the table, dejected. His hand is being examined by a DOCTOR. TWO HANGERS-ON are also present. JOEY (angry) They robbed us! Those fuckin' judges -- What the fuck fight were they watching? If I see them on the street, I'll break their heads. Decision Robinson, my fuckin' ass! Those judges give him the decision 'cause he's goin in the army next week! How else could this have happened?... What do you think they gave him the decision for, that's why. JAKE (almost to himself) Whadda I gotta do, Joey? I knocked him down. What did I do wrong? I don't understand. JOEY You won and was robbed! You didn't do nothin' wrong. JAKE I dunno. Maybe I don't deserve to win. I've done a lot of bad things. I dunno... TONY goes to the door. JOYE Fuck that. This was the fight. This coulda done it. This was our shot. They out and out robbed us. MARIO comes back from the door. MARIO Vickie is here, Jake. JAKE I don't wanna see nobody. JOEY You want us to wait for you? JAKE No, take her home. I wanna be alone for a while. Everybody go. They exit. DISSOLVE TO: INT. BATHROOM NEAR THE DRESSING ROOM JAKE, now alone, goes into the bathroom. He looks in the bathroom mirror. After a pauseg, he touches his newly acquired bruises and bandages. He combs his hair. We hear the beginning of an early Frank Sinatra song. This song carries over onto the following MONTAGE. MONTAGE This MONTAGE covers the period between 1943 and early 1947. It shows JAKE hard at work fighting all the tough guys he can. Each of the fights will be introduced by the corresponding title card from the "Big Fights" film showing a boxing glove with the fighters' names and the places of the fights superimposed on it. The actual fight images will be black and white newspaper photos JUMP CUT together to simulate real action. For example: In still #1 JAKE is about to land a punch on an OPPONENT. CUT TO: Still #2, and the punch lands, distorting the OPPONENT's face, sweat spraying out everywhere. Live sound effects accompany these stills. The fight stills are INTERCUT with 16mm black and white home movies of JAKE, VICKIE, JOEY, etc. (to be shot in 16mm black and white). It'll go something like this: A) JAKE VS. FRITZIE ZIVIC at the Detroit Olympia (January 14, 1944) B) JAKE, VICKIE, and JOEY, wearing sunglasses, pose in front of a Cadillac. (1944) C) JAKE VS. SUGAR RAY ROBINSON at Madison Square Garden (February 23, 1945) D) JAKE and VICKIE getting married. (This will be a black and white still photo, posed especially for the occasion.) (1945, New Jersey courthouse) E) JAKE VS. SUGAR RAY ROBINSON at Comiskey Park, Chicago (September 26, 1945) F) JAKE and VICKIE on vacation -- very loving. They are dancing, and he allows her to knock him into the pool. Then, JAKE gives VICKIE a present by the poolside. She opens the box and takes out a white garment and turban. She kisses JAKE. CUT TO: VICKIE dressed in the outfit. She looks very much like Lana Turner in "The Postman Always Rings Twice." She kisses JAKE. (1946) G) JAKE VS. JIMMY EDGAR at Detroit (The University of Detroit Stadium) (June 12, 1946) H) JOEY's marriage. JAKE and VICKIE are there as witnesses. (Could also be a still photo as D was.) (1946) I) JAKE VS. BOB SATTERFIELD at Wrigley Field, Chicago (September 12, 1946) J) JAKE and VICKIE in front of their new Pelham Parkway house. It is an affluent, split-level house, an idyllic scene -- stone terrace, freshly cut lawn, etc. JAKE carries VICKIE inside. CUT TO: JAKE and VICKIE with their two boys JACK, age 2, and JOEY, age 1 in the backyard of the Pelham Parkway house; they are having a cookout. JOEY and his WIFE and their two children (a BOY and a GIRL about the same ages as JAKE's) are there also. (1947) K) JAKE VS. TOMMY BELL at Madison Square Garden (March 14, 1947) INT. PELHAM PARKWAY HOUSE (1947) WE SEE an early model, round screen television. Nearby an old radio. On it, Sinatra is finishing the song we heard in the preceding montage. JAKE enters, and turns down the volume on the radio. WE SEE JAKE's living room; it is late forties modern. JOEY and VICKIE are seated around the coffee table, which is near the television. There are some remnants of a snack on the table. JAKE's TWO BOYS are playing nearby. JAKE (to Joey as he turns down the radio) I just weighed myself - I'm 161. No more deals like this Janiro bullshit. I didn't tell you to do it in the first place. JOEY Jake, you're the one who said you could get down to 155! What did I do, pull it out of the fuckin' hat? JAKE (angry) Well, sometimes you shouldn't listen to me! Now I don't know if I can make it down to 155. I'm having trouble making 160, and without telling me, you sign me for a fight at 155 pounds, and if I don't make 155, I forfeit $15,000! You're supposed to know what you're doin'. You're supposed to be a manager! JOEY You want the title shot? JAKE Say what you're gonna say. JOEY You want the title shot or not? JAKE Say what you gotta say. Don't be a smart ass. JOEY (yelling) This Janiro's an up-and-coming fighter, this kid you gotta knock out. Knockout this fuckin' kid! I'm telling you, this is your step towards getting a shot at the title. Listen to me: I'm telling you. You been killin' yourself for three years. There's nobody left -- they're afraid to fight you. This Janiro's up-and-coming. He don't know. Fuckin' tear him apart, wipe him out! What are you worried about? Your weight? Look, even if you lose they're gonna think you're weak; they're gonna think you're not the fighter you used to be. They'll match you with guys they were afraid to match you with before, and then you'll kill them and you'll get your title shot. And if you beat this kid Janiro, they gotta give you a shot at the title because there's nobody else. Either way you win and you do it on your own -- just like you want it. All right? VICKIE Joey's right. Janiro's up-and coming, he's good looking... JAKE (interrupting) What do you mean, "good looking?" VICKIE Well, he's popular. A lotta people like Janiro. You beat him and it only figures they'll wanna see you get a title shot. But, what do I know? I should keep my mouth shut, I should... JAKE (interrupting) Who asked you? VICKIE But, Jake, I was just... JAKE (interrupting) Who asked you? VICKIE I was just... JAKE (interrupting) Who asked you? VICKIE, amazed, gets up to leave. JAKE glares at her. VICKIE rounds up the kids and takes them into the kitchen. (MOVING SHOT). WE SEE VICKIE in the kitchen angrily throwing things around. We clearly see the tension as she cleans up, muttering to herself. JAKE (CONT'D) (turns to Joey) All right, manager. Everybody had their say around here. Now this is what I'm gonna say. I'm gonna get down to 155, and I'm gonna destroy this kid -- get my title shot. And don't ever bet 15 thousand without my sayso again. JAKE comes into the kitchen. He tries to make up with VICKIE. She plays hard-to-get. They begin to tease each other. INT. COPACABANA LOUNGE - NIGHT (1947) A COMEDIAN is in the middle of his act. JAKE, VICKIE, JOEY, and JANET sit at a nearby table. JANET, an attractive blonde, is are of JOEY's girlfriends; the moment you set eyes on her, you know this is not his wife. The lounge is very crowded. The COMEDIAN interrupts his routine to point out that JAKE LAMOTTA is in the audience, and even tries a little harmless joking at JAKE's expense. COMEDIAN Ladies and gentlemen, I'd like to point out a special guest we have with us tonight -- The Raging Bull, The Bronx Bull, Mr. Jake LaMotta. There is applause. JAKE smiles, and gives a hesitant wave. COMEDIAN (CONT'D) Stand up, Jake, c'mon. Oh, you are standing. Sorry. (laughs) Just kiddin', Jake. JAKE waves a fist at the COMEDIAN, good-naturedly playing along with the joke -- even though he hates it. JAKE (to Joey) Look at this abuse I gotta take. JOEY, VICKIE, and JANET are amused. JAKE (CONT'D) (joking) What's so funny? (lifting his glass) Cheers! Post-time. Joey, Vickie, and... (to Janet) What's your name again, darling? JANET Janet. JAKE Smiles. They all drink. SALVY, a little older, but still young-looking, and dressed even better than when we last saw him (flashy rings, etc.), comes over to their table. He walks around like he owns the fucking place. JAKE hates it. SALVY Hi, Joey. Jake, how you doin'? Vickie... They respond. JAKE is cold towards SALVY. SALVY goes on his way to COMO's table. As SALVY walks away, JAKE turns to VICKIE. JAKE What're you lookin' at? You lookin' at him? VICKIE No, I'm not. I'm looking at you. JAKE Don't tell me "No." I saw you lookin' at him. Why, you like him? VICKIE I'm not interested in him. JAKE You're not interested in him? VICKIE No, I'm not. JAKE In other words, you're not interested in him but you'd be interested in somebody else, right? VICKIE Jake, c'mon now. Don't start. JAKE (turns to Joey, referring to Salvy) Look at this, all of a sudden everybody's a fuckin' Romeo around here. Did you see the way she was lookin' at him? JOEY Nah, she would never... JAKE (interrupting) Didn't you just see her lookin' at him? She told me no, but I don't believe her. JOEY (uncomfortable) C'mon, Jake. You know she's crazy about you. JAKE gives him a suspicious look. JOEY feels uneasy. JAKE I'd just love to catch her. Oooooh, I'd just love to catch her once. Drinks arrive at their table. WAITER These are from Tommy Como. JAKE looks up but can't see where COMO is. JOEY gets up. JOEY (to Jake) Excuse me for a minute. Be right back. JAKE (sarcastic) Don't be long. I'm afraid with all these tough guys here. JOEY goes to COMO's table in the rear of the lounge. JAKE slides over and watches. JOEY shakes hands with COMO. SALVY is there at COMO's table. JOEY comes right back. JOEY Jake, come over for a few minutes. Tommy wants to say hello to you. C'mon, just come and say hello. JAKE doesn't like the idea, but goes along with it anyway. ANOTHER ANGLE: COMO's table. JAKE comes over. JAKE Hi, Tommy. How are you? TOMMY Jake, sit down for a minute. JAKE sits. SALVY smiles and nods to JAKE. JAKE barely nods back. TOMMY (CONT'D) (his arm around Jake) Fuckin' kid! You're the best fuckin' fighter around. Loved what you did to Satterfield. Them "moulan yans" -- forget about it. They're all afraid to fight you. JAKE (a little embarrassed) C'mon, Tommy -- TOMMY How you feelin'? Ok? You feelin' good? JAKE Never felt better. TOMMY Tony Janiro's gotta watch out, eh? JAKE He should. TOMMY (to Salvy) This Janiro's a good fiahter, pretty good-lookin' kid. SALVY Bet on him three times. Always come through for me. JAKE just stares, holding his anger in. There is a pause. TOMMY How's the weight? Ok? JAKE Yeah, the weight's Ok. Another pause. TOMMY smiles and moves closer to JAKE. TOMMY All right, lemme ask you something. Let's say I was a good friend of yours. And I was telling you I was gonna bet a lot of money on you in this Janiro fight. What would you tell me? JAKE I'd tell you to bet a bundle. TOMMY sips his drink. INT. PELHAM PARKWAY HOUSE - BEDROOM - NIGHT VICKIE is in bed trying to sleep. JAKE comes out of the bathroom half-dressed, and sits on the edge of the bed (preoccupied). Silence. JAKE Vickie?... Vickie, you asleep? VICKIE What? JAKE You asleep? VICKIE Yeah. JAKE Huh? VICKIE Yeah, what? JAKE Tell me, you think of anybody else when I'm making love to you? VICKIE Nobody. I love you, remember? JAKE Then why'd you say that thing about Tony Janiro? VICKIE What did I say? JAKE That he's got a pretty face. VICKIE I never noticed his face. JAKE You sure you're not thinking of him right now? VICKIE Positive. JAKE You're the one who said he was good looking. You think he's good looking 'cause I know you think he's good-looking. I'll smash his face inside out. I'll make him into dog meat. Nobody's gonna think he's good-looking when I get through with him. So you just go ahead and think about who you want. VICKIE freezes. INT. WORTH STREET BASEMENT - DAY TONY JANIRO, wearing boxer trunks, steps off the scale. Commissioner COL. EDDIE EAGAN, a white-haired, heavyset man in his mid-forties, calls out the weight. The basement of the New York Boxing Commission on Worth Street is a sparse room, crowded with REPORTERS, TRAINERS and MANAGERS. EAGAN Tony Janiro, 151 lbs. and one half. JAKE steps on the scale. He looks weak and woozy. After the customary adjustments, EAGAN calls out: EAGAN (CONT'D) Jake LaMotta, 155 lbs. and one fourth. There's a commotion in JAKE's camp. JANIRO smiles. JAKE Just a minute. JAKE, JOEY, and TONY confer. JAKE gets off the scale and enters the men's room. An OFFICIAL follows him. INT. THE MEN'S ROOM JAKE forces himself to urinate. INT. WORTH STREET BASEMENT JAKE comes out of the bathroom, and gets back on the scale. EAGAN Ok. This is official. LAMOTTA stares at JANIRO. EAGAN (CONT'D) LaMotta, 155 lbs. on the nose. JAKE throws JANIRO a kiss. INT. MADISON SQUARE GARDEN - NIGHT It's the last round and JAKE is pouring it on a beaten and virtually helpless JANIRO. The CROWD chants: CROWD LaMotta. HALF THE AUDIENCE is already on its feet. The kill is imminent -- and they love it. JAKE lands one blow after another. He is relentless. Several rows back, TOMMY COMO, SALVY and SEVERAL OTHER "MADE" GUYS sit with sober looks on their faces. JAKE moves in fast, and with a powerful barrage, smashes JANIRO's nose -- plastering it against his left cheek. The final bell rings. JANIRO, his legs all rubber, staggers back to his corner. JAKE prances about, kissing his fists and throwing them to the CROWD. JOEY rushes out, throws JAKE's leopard skin robe over him and embraces him. TONY follows. JAKE looks right at COMO and SALVY. AN ANNOUNCER steps into the center of the ring: ANNOUNCER The winner, by unanimous decision, in ten rounds, Jake LaMotta! JOEY I love you. JAKE, weak from losing the weight and winning the fight, still manages to prance around the ring victoriously. VICKIE, now near the ring, throws kisses to JAKE. JAKE (shouts to Vickie) This is my night! Listen to them! I'm gonna be champ! He bends down and gives her a kiss through the ropes. JAKE (CONT'D) I'm making everything up to you. INT. COPACABANA - NIGHT (1947) JOEY is at the bar with a DETROIT PROMOTER and JACKIE CURTIE. DETROIT PROMOTER When we gonna get Jake back in Detroit? Jesus, he really did a job on Janiro. Who you after next, Joey? JOEY (evasive) I dunno. We're working on it. He's training at the camp now. JACKIE CURTIE After what I seen, they gotta give him a shot at the title. JOEY We're gonna get our shot. The DETROIT PROMOTER introduces JOEY to JACKIE CURTIE. DETROIT PROMOTER Oh Joey, this is Jackie Curtie. He handles a lot of business in South Ohio. JACKIE CURTIE I like your brother. Made a lot of money on him. JOEY Betcha more than he has. JACKIE CURTIE Made a little cabbage on the Tommy Bell fight too. Whatever happened to him? JOEY Ain't he dead? DETROIT PROMOTER Nah. He's got a job downtown. Runs an elevator in some building. JOEY Yeah? DETROIT PROMOTER Went down to see him the other day. I says, "Tommy, take me up to the fifth floor." And you know, he took me right up there. JACKIE CURTIE Yeah, Tommy always was a stand-up guy. SALVY and PATSY arrive with VERA, SANDY (two neighborhood girls), and VICKIE. They go to a nearby table. The bar area: JOEY sees this. DETROIT PROMOTER Joey, let me get you another drink. JOEY (distracted) Just a minute. Excuse me. I'll be right back. The table area: JOEY arrives at SALVY's table. VICKIE is nervous. There is a cold exchange of'"hellos." JOEY (CONT'D) (to Vickie) C'mere, let me talk to you for a minute. There is an awkward silence as he grabs VICKIE by the arm and takes her over to the hat-check area. JOEY (CONT'D) What're you doin' with Salvy? You shouldn't be here with him. Jake's away killin' himself. Suppose he found out. VICKIE What the hell am I doing wrong? Just because Jake is training, I can't go out? What am I, a goddamn prisoner? JOEY No, you're his wife. VICKIE I'm not doing anythina wrong. I'm just trying to have a good time. Do I have to be cooped up in the house all the time? JOEY It don't look right. VICKIE Well, go ahead, tell Jake. He's gonna kill me anyway. It's a matter of time. JOEY I'm not gonna tell him nothing; but if he finds out, he will kill you. What's the matter with you? Aren't you happy? You got everything you want. VICKIE You don't sleep with him. I do. I don't get to breathe without tellin' him. He keeps me in a cage. If he thinks I'm lookin' at somebody the wrong way, I get used as a punching bag. He don't trust nobody. If he saw the two of us talking together right now, you'd be in trouble too -- believe me. Look at me, Joey. I'm 19 years old. I wanna enjoy my life. I love Jake, but you don't know. He gets crazy sometimes. I'm scared. JOEY Try to understand, Vickie. Jake's got a lotta aggravation. He's been a top contender too long. VICKIE That's right, take his part. You're his brother. He's never gonna be champ. Too many people are against him. JOEY And you're drinking with them right now. VICKIE And I'm gonna finish my drink. And, I'm gonna have a good time, because I ain't doing nothing wrong. She starts to go back to the table. JOEY (grabbing her) You're wrong to be here. Let's go. VICKIE pulls away from JOEY, and goes back to the table. The table area: JOEY arrives at the table. He grabs VICKIE. JOEY (CONT'D) I said, let's go. SALVY Joey, relax. You're taking this the wrong way. Why don't you sit down and have a drink? JOEY Excuse me, I'm talking to my sister in-law. SALVY Excuse me for living. JOEY What do you think, I'm blind? My brother's breaking his ass in a ring, and you're here with his wife. SALVY Hey Joey, I'm here with Patsy and Vera and Sandy. And Vickie just happened to come along. We're just trying to have a good time. What do you want from me? So, why don't you just take it easy before this gets out of hand. As the conversation gets louder, PEOPLE begin to notice. PAUL, the owner (a tough-looking, well-dressed guy), and some BOUNCERS also become aware of the argument. JOEY Get the fuck outa here. What did you do, take your gangster pills today? I'll tear your fuckin' head off your shoulders! JOEY goes for SALVY. PEOPLE react. The GIRLS begin to scream. VICKIE exits. JOEY notices her leave, and calls after her. JOEY (CONT'D) Hey, wait -- PAUL comes over and stops the fight. PAUL Ain't you forgettin' something? Ain't there never supposed to be no trouble in this joint? SALVY and JOEY give each other looks. JOEY goes out after VICKIE. EXT. COPACABANA - NIGHT JOEY looks up the street for VICKIE. She is gone. SALVY and PATSY come out of the entrance. SALVY Hey Joey, whadda ya lookin' to die young? JOEY (as he turns and lashes into Salvy and Patsy) I'll suck your eyes out! I'll fuckin' take the two of you. After a few moments, PAUL and the BOUNCERS from the Copa come out. The BOUNCERS pull PATSY away. They try to separate SALVY and JOEY, but can't. JOEY savagely beats SALVY on the Copa steps and in the street against the parked cars. JOEY (CONT'D) Fuckin' low-life, cocksucker, etc. ... SALVY tries to fight back, but JOEY is too tough for him. SALVY hits the pavement. JOEY kicks him. PAUL, PATSY, and the BOUNCERS finally pull JOEY away. PATSY tries to go after JOEY again, but PAUL stops him. PATSY (to Paul) Don't fuckin' put your hands on me! You're gonna near about this, Paul. PAUL (to Patsy) Get the fuck outa here. Don't come in my place and start fuckin' trouble -- I don't care who you are! (to Joey) Get outa here. Go on. JOEY looks back at him, and then walks away. INT. THE BACK ROOM OF THE DEBONAIR SOCIAL CLUB The room is furnished with a few round tables and some chairs; it is somewhat reminiscent of an old-fashioned candy store. TOMMY COMO, SALVY, PATSY and JOEY are present. SALVY's face is bruised from the beating JOEY gave him. COMO All rightg I don't have to hear any more. I think I understand what happened. I understand it was your brother's wife and there was probably a misunderstanding. I'm not sayin' Salvy shouldn't have acted the way he did. But, Joey, you don't raise your hands. You don't do that kind of thing. This time we forget about it but no more after this. You understand? JOEY Yeah, I understand, Tommy. COMO All right, you guys, shake hands. SALVY, JOEY, and PATSY shake hands. COMO (CONT'D) Go 'head. Be friends. That's it. (to Salvy and Patsy) All right, lemme be alone with him for a minute. SALVY and PATSY exit. There is a pause. COMO (CONT'D) Aside from everything else, your family all right? JOEY Yeah, they're good. They're good, Tommy. COMO What is it with you? Can't you talk? You got like a funny attitude. I can't figure you out, Joey. What's with you and the quick answers? You wanna get outa here fast? JOEY Aw, Tommy, c'mon, it ain't that. COMO Look Joey, I wanna tell you something. Your brother ain't gonna get nowhere without us -- nowhere. And I'm tellin' you between the two of us, it's gettin' to the point where it's gettin' to be a real embarrassment to me, a real embarrassment. JOEY How can he embarrass you? COMO He's an embarrassment because Frankie and the other guys are expectin' me to do something about it, and I'm lookin' very bad. I can't deliver a kid from my own neighborhood. Why's he make it so hard on himself? He comes to me, I can make it easier for him. JOEY Tommy, Jake respects you. He won't even say hello to anybody else -- you know that. But you know when Jake gets set on somethin', Jesus Christ Almighty could get off the fuckin' cross and he ain't gonna talk him out of it. I'm his kid brother. I got no say with Jake on this. He thinks he can buck everybody and make it on his own. COMO Make it on his own? Does he know the kind of money involved? I mean the real money. He thinks he's gonna become champ on his own? We're gonna sit by and see some nut come in there and hold one of the most important titles in the world? A nut who don't listen to nobody or respect nobody? Is he really crazy? Listen, Joey, you understand, you tell him. I don't care how great he is or how colorful. He could beat all the Sugar Ray Robinsons and all the Janiros he wants to. He ain't gonna get a shot at the title without us. I'm not askin' you to do another thing except get that message into that thick head! EXT. SHORERAVEN POOL - DAY Another day. JOEY, fully clothed, opens the gate and looks around. JAKE is sitting alone near the deep end. JOEY walks over to him. JOEY Whatcha doin'? JAKE I remember the first time I met Vickie... I know there's somethin' up. I know she's doin' somethin', but I can't catch her... JOEY Maybe she's afraid you're gonna hit her so she can't talk to you the way she wants to. JAKE What do you mean? JOEY Try talkin' to her. She's your wife -- ask her what's the matter. JAKE When I'm away, did you ever notice anythin' funny with her? Tell me the truth. JOEY Jack, if there was anything funny, I would tell you. JAKE I want you to keep an eye on her when I'm not here. Understand? JOEY Sure, I'll keep an eye on her. JAKE What did Tommy say? JOEY I got good news, and I got bad news. The good news is you got your shot at the title. The bad news is... JAKE (interrupting, resigned) Yeah, I know. INT. WORTH STREET BASEMENT - DAY As BILLY FOX steps off the scales, EDDIE EAGAN calls out: EAGAN Billy Fox, 173 3/4 pounds. JOEY removes JAKE's leopard-skin robe as he steps on the scale. The REPORTERS crowd around. EAGAN (CONT'D) Jake LaMotta, 167 pounds. JAKE'S HANDLERS urge him with words of encouragement as they walk toward his dressing room. INT. JAKE'S DRESSING ROOM - DAY EAGAN walks over. JAKE What's up, Colonel? EAGAN I'd like to talk to Jake a minute. JOEY Sure. EAGAN I suppose you heard what everybody's been saying, Jake. JAKE What who's been sayin'? EAGAN You were a big favorite in this fight. Then two days ago the odds start jumping all over the place until you're a 12-5 underdog. JAKE I don't follow no gamblin' Commissioner. I'm just a fighter. EAGAN Now the fight's off the books altogether. Meyer Lansky couldn't get a bet down on this fight. Some people are saying you're going into the tank. JAKE Believe what you want. EAGAN I want to believe you, LaMotta. JAKE I'm gonna kill him. That fuckin' jig's gonna wish he never came outa the jungle. You got any money? EACAN What? JAKE You got any money you want to bet on Billy Fox, you can put it right here... (extends his hand) 'cause Jake LaMotta don't go down for nobody. EAGAN taps JAKE on the shoulder. EAGAN That's all I wanted to hear. JAKE glares at EAGAN as the COMMISSIONER walks away. INT. MADISON SQUARE GARDEN - NIGHT (NOV. 14, 1947) The old Garden is packed. The EX-CHAMPS, the PRESS, the OFFICIALS, the MOB GUYS, the FANS -- they're all here. The FIGHTERS are announced. BILLY FOX and JAKE touch gloves and return to their corners. FOX is taller and has a longer reach than JAKE. The bell sounds and the FIGHTERS come out. FOX goes to the head; JAKE goes to the body. FOX lands a solid blow to JAKE's jaw, but LAMOTTA is unfazed. FOX is surprised. In the past, his opponents have gone down when he connected. In the audience, COMO, SALVY, and some other BOYS watch with interest. JAKE moves in with a rapid series of trademark body blows. All of a sudden, FOX is wobbly. JAKE goes for the head, then cuts his punch short. FOX is about to go down. JAKE throws his arms around FOX to make sure he doesn't fall. JAKE (to Fox) Stand up! What the fuck are you doin'? The REFEREE breaks them apart and FOX remounts his attack. JAKE bicycles into a corner and lets FOX work him over. FOX connects: once, twice, three times. JAKE barely defends himself -- but he doesn't go down either. The CROWD starts to smell a fix. There are calls from the AUDIENCE. CROWD Got your swimming trunks on, Jake? I hope they're paying you enough. Fake, fake. TIME CUT: JAKE's corner. JAKE is acting stunned. TONY, not aware of what's going on, is slapping JAKE. TONY What's the matter with you? What's the matter with you? TIME CUT: The sign reads "Round Four." JAKE is in the center of the ring taking a relentless pasting from FOX. JAKE's arms hang at waist level... FOX lands one blow after another. The stink of a fix permeates the arena. JAKE is furious that FOX can't deck him. He curses through his mouthpiece (as he absorbs blow after blow): JAKE Hit me! Hit me! What's the matter with you, you motherfucker? Hit me! Boos and catcalls echo through the Garden. This is not even a fight. The REFEREE, realizing this, steps in between FOX and LAMOTTA, waves his arms and signals that FOX is the winner by a technical knockout. As he does, JAKE spits his mouthpiece in disgust at FOX and struts back to his corner. JAKE, JOEY, and TONY are already on their way out of the arena as the REFEREE declares FOX the winner. COMO and the OTHERS, satisfied, get up to leave. INT. JAKE'S DRESSING ROOM - MADISON SQUARE GARDEN - NIGHT As a REPORTER and a PHOTOGRAPHER come through the door, WE SEE and hear a commotion in the hall behind them. They rush in, look, and stop by the door. There is silence -- except for JAKE'S uncontrollable sobbing. The atmosphere is like that of funeral. JAKE is seated behind the rubbing table. He is still in his leopard-skin robe. His head hangs low as he sobs. The PHOTOGRAPHER snaps a picture. The HANDLER motions to him to stop, and then goes and sits near the door. The REPORTER still stands near the doorway, seeming quite stunned by the scene he is witnessing, but nevertheless continuing to scribble away on his pad. JOEY, standing near JAKE, has his back to everyone; his shoulders are shaking, his lips are tightly drawn. He cries soundlessly. TONY is pacing nearby. TONY Don't fight anymore! (pause) It's a free country, don't fight anymore! JAKE (between sobs) Why did they have to stop it? Why did they have to stop it? The REPORTER leans over to the HANDLER and whispers. REPORTER What happened? HANDLER (quietly) He must've been really hurt in the 2nd. He didn't answer me when I tried to tell him something in the corner. JAKE, still buried in his robe, becomes aware of the hum of voices and shouts out: JAKE Get everyone out of here! The REPORTER and the PHOTOGRAPHER leave. JAKE continues to sob. INT. PELHAM PARKWAY HOUSE - LIVING ROOM - DAY INSERT: CLOSE UP of a Daily News Headline from November 22, 1947: "Board Suspends LaMotta." JAKE, dejected, sits on the couch. In front of him, on the coffee table are scattered several newspapers -- including the one with the headline we have just seen. JOEY paces in front of JAKE. JOEY (yelling) It woulda been so easy, Jack. So easy... JOEY goes into a boxing stance. JOEY (CONT'D) Stick out your hands, Jake. JAKE C'mon, Joey. JOEY G'wan, do it. (jabs at him) Protect yourself, rummy. JAKE, out of reflex, sticks out his hands. As he does, JOEY feigns a hit and falls onto the floor -- "out cold." JAKE looks down at him. JOEY pops to his feet. JOEY (CONT'D) See? That's all there was to it. JAKE What the fuck they want? I took the dive. They want me to fall down too? I don't fall down for nobody. I never went down in my life. Joey, what do I gotta do? Crawl on my hands and knees? I made an asshole of myself in the fuckin' Garden! All the newspaper writers make fun of me. I'm the bum of the year. All I want is a shot. Just a fuckin' shot. What do I gotta do? I'll do anything. JOEY Except fall down like a normal person. JAKE Yeah, except fall down. That's right. JOEY All right, you don't wanna fall down, so now you gotta take a rest. So, you enjoy the suspension. 'Cause there's nothin' you can do about it. Let the Commissioner and the D.A. jerk you around. So you wait. JAKE Jesus Christ! Seven months! What am I gonna do for seven months? I'm gonna go crazy. How do I keep my strength? By that time I'll be too weak to win the title. And my weight? Forget about it -- I'm gonna blow up like a balloon. I ain't never gonna hold my weight down. Seven months! I don't know... JOEY We did what we had to do. Tommy don't forget. Sooner or later you'll get your shot -- if Tommy don't die. EXT. BOOK-CADILLAC HOTEL, DETROIT - DAY (1949) It's raining outside the stately Book-Cadillac. A banner above the door proclaims. The Book-Cadillac Welcomes Marcel Cerdan Middleweight Champion of the World and the Challenger Jake LaMotta INT. BOOK-CADILLAC LOBBY - DAY The lobby is chaotic: FIGHT PEOPLE and SPORTSWRITERS mill anxiously about. Something's in the air. The BELL CAPTAIN pages: BELL CAPTAIN Mr. Williams. MR. WILLIAMS, THE DETROIT PROMOTER last seen in the Copacabana Lounge, answers the page. WILLIAMS listens on the phone a moment, then hands it back to the BELL CAPTAIN and announces: DETROIT PROMOTER It's official. The fight's been postponed twenty-four hours. A groan goes up from the lobby. INT. LAMOTTA'S SUITE - DAY JAKE's suite is modestly decorated and consists of a living room and two bedrooms. DR. PINTO is there sewing up a pork chop. JAKE, shadow-boxing in sportswear, paces back and forth. TONY watches him. VICKIE sits quietly on the sofa, sipping some wine. JOEY is on the phone. JOEY That's right. "No comment." (listens) You like that? Good, 'cause I got a lot more "No comments" where that one came from. JOEY cuts the line off, then leaves the receiver off the hook. JOEY (CONT'D) I'm gonna order up some stuff. Have a steak. JAKE I can't eat a steak. If I eat a steak, I'm gonna have trouble making the weigh-in. JOEY So eat just a little. You gotta eat something. JARS What am I gonna do for 24 hours? I can't even eat! JAKE goes into the bedroom. JOEY goes over to the DOCTOR. DOCTOR (shows him the pork chop) How's that? JOEY How long did it take you? DOCTOR 45 seconds. JOEY No good. Try to get it down. It's gotta be no more than 30 seconds to be on the safe side if we gotta stitch him up. INT. THE BEDROOM JAKE is alone. There is a knock at the door. JOEY opens it and pokes his head in. JOEY Jake, somebody wants to say hello to you. JOEY opens the door wider. TOMMY COMO is at the door with JOEY. JAKE goes over to the door. COMO Hey champ! JAKE Tommy, thanks for coming over. COMO You just take it easy, now. You'll do all right. Feelin' Ok? JAKE I'm Ok. COMO Just come by to wish you luck. (shakes his hand) Need anything? JAKE No, we're all right. Thanks anyway, Tommy. COMO Ok, champ. COMO turns to go. He says goodbye to everyone in the living room. He goes over and kisses VICKIE. JAKE watches this from the bedroom doorway. COMO (CONT'D) (as he kisses Vickie) Look at her. As beautiful as always. Take care of that guy, will ya? VICKIE (going to the door with him) I'll take care of him. Thanks, Tommy. Bye. JAKE (to Vickie) C'mere. She goes to the bedroom doorway. JAKE grabs her arm, pulls her in, and slams the door. JAKE (CONT'D) (pushing her toward the bed area) Hey, you don't say goodbye to him like that. VICKIE What did I do? JAKE (pushing her) You don't kiss like that. Hello and goodbye, that's all you do. VICKIE All I did... JAKE (interrupting) You know what I'm talking about. Don't ever make me look bad on the night of my big fight. VICKIE You're hurting my arm. JAKE has her by the night table now. They are edging their way to the wall. JAKE Shut up. You just say hello and goodbye to him. You don't kiss him the way you did. That's out of line. JAKE pushes her against the wall. The lamp falls. There is a loud crash. She tries to move away. He grabs her by the throat and pins her against the wall. She's gagging. VICKIE But Jake... I didn't say anything... JAKE Don't ever do that again. You don't (he pushes her against the wall) do it! VICKIE (gagging) Jake... JOEY looks in and then starts to come over. JAKE You hear what I said? You don't do it. He pushes her again. VICKIE tries to get away, but can't move. JAKE (CONT'D) (pushing her again) You don't do it. JOEY has his hand on JAKE's arm, trying to pry it away from VICKIE's throat. JOEY Jake, Jake... TONY and the DOCTOR watch from the doorway. VICKIE's eyes close. JAKE releases his grip. JOEY helps VICKIE. JAKE watches this. JAKE (to himself) She ain't gonna ruin this fight for me. EXT. BRIGGS STADIUM - NIGHT (JUNE 16, 1949) Bright floodlights illuminate the arena. The weather's clear and the stadium is filled with cheering fight FANS. An ANNOUNCER steps into the center of the ring and begins ti introduce the many CELEBRITIES that have gathered for the fight. ANNOUNCER And here is the young man who has inherited Marcel Cerdan's European championship - Laurent Dauthuille. DAUTHUILLE jumps into the ring. While WE HEAR him introduce the boxers and celebrities, WE SEE a rapid MONTAGE: JAKE preparing for the title bout: PRE-FIGHT MONTAGE A) JAKE and GROUP arrive in the dressing room. B) In his bathrobe, JAKE puts on his boxing shoes. C) We see a pan with raw steak in it. JOEY drains the blood (juice) into a glass and JAKE takes a long, slow swallow. D) REPRISE of IMAGES from PREVIOUS SCENE (SLOW MOTION) - NEW ANGLE. TOMMY COMO shakes JAKE's hand in the bathroom doorway. VICKIE kisses COMO. Jake watches. ANNOUNCER (V.O.) And our very special guest tonight needs no introduction. The only man to defend the heavyweight crown a remarkable twenty-five times, the king of all heavyweights, the Brown Bomber, Joe Louis. Come into the ring, Joe. JOE LOUIS (V.O.) Thank you, Johnny. Let's bring the middleweight crown back to the old U.S.A. where it belongs. Many cheers. E) DR. PINTO injects a hypodermic needle filled with novocaine into each of JAKE's fists. F) JOEY massages JAKE's neck. G) JAKE's hands are bandaged H) REPRISE of IMAGES from PREVIOUS SCENE (SLOW MOTION - NEW ANGLE) JAKE strangles VICKIE in the bedroom, then releases her. JOEY looks after her, but the IMAGE makes them look as if they're making love. Jake watches. ANNOUNCER And in this corner, the middleweight champion of the world, from Casablanca, Morocco, the Casablanca Clouter, Marcel Cerdan! I) JAKE puts on his cup and trunks. J) MARIO laces up JAKE's gloves. K) JAKE, ready to fight, a towel draped around his head, bounces on the balls of his feet. He starts walking down the corridor from his dressing room, surrounded by MARIO, JOEY, DR. PINTO and his HANDLERS. He enters the stadium. INT. BRIGGS STADIUM - NIGHT JAKE, wearing his leopard-skin robe, is pushed through the CROWD by JOEY, MARIO and his HANDLERS. He's still shadow boxing. JAKE steps into the ring to both cheers and boos (many still remember the Fox fight). JAKE raises his gloves. ANNOUNCER And in the opposite corner, from New York, New York, the challenger, the Bronx Bull, Jake LaMotta! JAKE shakes hands with the assembled CELEBRITIES and EX CHAMPIONS. JAYE I only wish it was you, Joe. JOE LOUIS Win the belt back for us, Jake. Good luck. JAKE glances at VICKIE who is sitting in the third row. She is nervous. TIME CUT: The opening bell sounds. CERDAN and LAMOTTA touch gloves and begin to fight. JAKE is hot: there's no stopping him tonight. He fights like a man possessed. CERDAN clinches JAKE to avoid his brutal body blows. JAKE pushes him out of the clinch in disgust. There are no more boos. JAKE has won over the crowd. TIME CUT: END OF ROUND NINE. JAKE is working over a bloody CERDAN. Punches to the body, then to the head, then back to the body. The bell sounds. JAKE walks back to his corner and sits down. JOEY is ecstatic: JOEY Look at him, Jackie! You got at! The fuckin' championship! He's yours! Finish him off. JAKE doesn't have the chance. The REFEREE, standing in CERDAN's corner, waves his hands signaling the end of the fight. The REFEREE holds up JAKE's hands as THE ANNOUNCER takes the mike: ANNOUNCER The new middleweight champion of the world by a knockout after nine rounds, the Bronx Bull, Jake LaMotta! JOEY is all over him. TONY helps VICKIE through the MOB. In his corner, CERDAN holds his head in his hands and says, "My title, my title!" The OFFICIALS clear a circle as they bring over the jewel studded championship belt. JOE LOUIS fastens the belt around JAKE's waist. JAKE touches the oversized belt with his bloody gloves. Tears fall across JAKE's huge grin as he holds his hands high in the air. It is the most glorious night in his life. EXT. "JAKE LAMOTTA'S" - NIGHT (1956) The name "Jake LaMotta's Lounge" is emblazoned in neon across a lounge/liquor store on Collins Avenue, Miami's main drag. JAKE's bar is across from The Rooney Plaza, one of Miami's more prestigious hotels. Fifties cars are parked outside the club. INT. "JAKE LAMOTTA'S" - NIGHT JAKE LAMOTTA, 34 years old, wearing a tux, steps in front of a large painted wall mural of the Cerdan fight as he enters his club. The Lounge is dominated by a large circular bar. Featured entertainers perform on a raised platform in the center of the bar. The club is half filled with SPORTS, ENTERTAINMENT and MOB TYPES. The small BAND plays a routine fanfare as JAKE steps onto the platform. He takes the mike with one hand and silences the BAND with the other. The applause dies out as he speaks: JAKE Good evening, ladies and gentlemen. It's a thrill to be standin' here talking to you wonderful people. In fact, it's a thrill to be standin'. I haven't seen so many people since my last fight at Madison Square Garden. After that fight a reporter asked me, "Jake, where do you go from here?" I said, "To a hospital." About HALF THE PATRONS are listening; of them, HALF are laughing, SOME a little too loud. JAKE (CONT'D) I fought one hundred and six professional fights and none of them bums figured out how to fight me -- they kept hitting me in the head! (calls to the bar) Will somebody at the bar -- Linda? - get me a drink. I figure if I'm gonna work to drunks I might as well be one of 'em! I like this place. It's a family type club... every night I see a lot of fathers sitting out there with their young daughters! That's nice. LINDA hands him a drink. JAKE (CONT'D) Thanks, honey. -- She's terrific. The kinda girl you wanta take home to meet your father. Especially if your old man's a degenerate! -- Here's a toast! "To your health! You only live once. But if you play it right, once is enough." I shouldn't be drinkin' like this 'cause I'm tryin' to lose weight. I'm on this terrific diet -- I'm allowed to eat anything I want. As long as I don't swallow it! Well, I never had much luck with my weight. In fact, -- I never had much luck with anything -- until about a few years ago, when this happened -- He indicates the blow-up behind him and waits for applause, of which there is some. JAKE (CONT'D) ... thanks, I'm glad to see you remember. For those of you that don't... that's me takin' the title from Cerdan. You know, the tough thing about winnin' the title... the next thing you gotta do is have a rematch... just to show it wasn't no fluke. So what happens? Marcel Cerdan, a really great champ, after I beat him... he gets himself killed in that airplane crash... a pretty rotten break for him. That's why I don't like to fly. People say to me, "Look, Jake, when your time is up, your time is up." And I say, "Yeah, but suppose I'm on the plane and the pilot's time is up?" As good as Cerdan was, I could've taken him again. But I never got the chance to prove it wasn't no fluke. He got killed but he got to be what they call a legend. I don't know what's worse -- bein' a fluke or bein' a legend. -- That's the kinda luck I got. That's why I quit the ring and moved down here from New York. My wife said, "You gotta get outa this town, Jake." Come to think of it... the boxing commission said the same thing! But I don't miss New York. Give me Miami any day. The AUDIENCE applauds. JAKE (CONT'D) Miami's a great place. I get along with everybody in this town... even the police force... They got the best cops here money can buy! -- Only kiddin'. By the way... me and my wife Vickie's gettin' ready to celibrate our eleventh wedding anniversary. More applause. JAKE (CONT'D) We get along real great. We fight a little but I never really belted her on purpose. Once in a while I'm standin' there doin' little shadow-boxin' and she happens to walk right into the shadow... I can't help that. She says, "Whataya hittin' me for?" I says, "It's nothin'. It's only a love tap." She says, "It's a good thing you're not crazy about me!" -- I am crazy about her. I heard her talkin' to a friend on the phone and she was sayin', "After eleven years, I'm still in love with the same guy." -- If I ever find out who the bum is, I'll kill him! Women. You can't live with 'em, you can't live without 'em. Then, suddenly, falling into character... he quotes lago's speech in Othello. JAKE (CONT'D) "'Oh, beware, my lord, of jealousy. It is the green-eyed monster, which doth mock the meat it feeds on. That cuckold lives in bliss who, certain of his fate, loves not his woronger; But O, what damned minutes tells he o'er who dotes, yet doubts -- suspects, yet fondly loves!" -- That's from somethin' called "Othello" -- OR, ALTERNATE SPEECH: JAKE (CONT'D) Is whispering nothing? Is leaning cheek to cheek? Is meeting noses? Kissing with inside lip? Stopping the career of laughter with a sign? -- A note infallible of breaking honesty -- horsing foot on foot? Skulking in corners? Wishing clocks more swift? Hours, minutes? Noon, midnight? and all eyes blind with the pin and web but theirs, theirs only, that would unseen be wicked? Is this nothing? Why, then the world and all that's in't is nothing; The covering sky is nothing; Bohemia nothing; My wife is nothing; nor nothing have these nothings, if this be nothing." -- That's from something called "The Winter's Tale" -- Shakespeare! You all remember Shakespeare. He wrote all them famous plays one after the other, then he went into a big slump and he ain't done anything good in years. That speech is about jealousy -- jealousy's a bad thing. Jealousy bothers a lot of guys... take me... I almost killed my brother... I love him... he's my family... I mean, there's nothin' he wouldn't do for me. And that's the way we been goin' thru life -- doin' nothin' for each other! Anytime he got in trouble when we was kids, I got him out of it. You know, he used to steal little things when we was growin' up. But he was particular... only stole things that begin with an 'a' -- a watch, a car, a suit, a ring... But I was wrong... I shoulda never hit my brother. Afterwards, I was sorry. Now every time I need somethin' I gotta go shoppin' for it! A psychiatrist once told me, "When you hit your brother you're really hittin' your mother, but you can't admit it to yourself." He's really crazy. I woulda never hit my mother. I mean, only in self-defense! INT. JAKE'S LIVING ROOM - DAY (1950) JAKE is struggling with his later model ten-inch RCA TV. He fools with the dials, then slaps the side. The bluish video image comes and goes. JOEY watches JAKE fix the TV. JAKE has a half-eaten sandwich in his hand. VICKIE enters the house, surprised to find JAKE home. VICKIE Jake, you're home. JAKE looks up at her. (She goes over to him and kisses him.) MOVING SHOT. JOEY gives VICKIE a polite peck on the mouth. MOVING SHOT. JOEY Hi, Vickie. JAKE watches JOEY kiss VICKIE. VICKIE notices JAKE'S reaction. VICKIE What's the matter with you? JAKE Tryin' to get this fuckin' TV to work. Paid all this money for it and still can't get a station a mile away. And Mr. Wizard here ain't no help. JOEY Screw you, Jack. JAKE (to Vickie) Where you been? VICKIE goes into the bedroom to take off her coat. On the stairs, MOVING SHOT: VICKIE I went out. JAKE (to Joey) What's that kissing on the mouth shit? JOEY What? I just said hello. Since when I can't kiss my sister-in-law? JAKE Ain't a cheek ever good enough for you? I never even kissed Mama on the mouth. JOEY Well, you're not supposed to kiss your mother on the mouth. JAKE Well, that's what I mean. JAKE leans over the TV. JAKE (CONT'D) How's that? JOEY I can't tell. You're stomach's in the way. JAKE stares at JOEY. JOEY (CONT'D) Don't give me those looks. I'm just your manager. The minute you start to be champ, you start eating like there's no tomorrow. And you giving me looks. All I know is that I don't have to defend my title next month. JAKE looks up at JOEY. JAKE Answer me somethin'. What happened at the Copa with Salvy when I was out of town? JOEY When? JAKE You know, when you gave him a beatin'. JOEY (being as vague as possible) Nothin'. Salvy was out of line. He was drunk or somethin', I dunno. Anyway, the windup was I gave him a beatin'. Tommy called me down, and we straightened it out. It's all forgotten about. JAKE Why didn't you tell me about it? JOEY It didn't have nothin' to do with you. JAKE Didn't it have nothin' to do with me? JOEY No, I just told you what happened. JAKE (he obviously knows) Who did it have anything to do with... Vickie? JOEY Jack, no. I just explained the whole thing to you. It was just between me and Salvy, if it had anything to do with you and Vickie, I woulda told you about it. JAKE Well, I heard some things. MOVING in on JOEY, JAKE'S P.O.V. JOEY "You heard some things." Will you stop worryin' about that shit? Forget about it. You know you got a title fight comin' up. PAUSE. JOEY (refering to the TV) Whatever you touched, that's good now. JAKE Did Salvy fuck Vickie? JOEY What? JAKE You're supposed to keep an eye on her for me. I'm askin'... JOEY (interrupting) I did keep an eye... JAKE Then why did you give him a beatin' if he didn't do anything? You and him been friends a long time. JOEY Some things changed between us. Now, he thinks who the fuck he is. He's been passing certain remarks that I don't like. JAKE (interrupting) Don't bullshit me, Joey. You ain't tellin' me the truth. JOEY What bullshit? Hey, I'm your brother. You wanna believe me - you trust me? JAKE When it comes to her, I don't trust nobody. I'm askin' you somethin'. JOEY Well, you're wrong Jack. I'm tellin" you what happened. He got outta line, we had a fight, and it's staightened out now. There is a pause. (Move in on JOEY, JAKE'S P.O.V.) JAKE (suspicious) You givin' me that look. I gotta accept your word, but if I find out anythin', I'm gonna kill somebody... JOEY (yelling) So, go ahead. Kill everybody. Kill Salvy, kill Vickie, kill Tommy Como, kill me while you're at it. What do I care? You're killing yourself the way you're eating, the way you worry about things you don't have to worry about. JAKE (interrupting) What do you mean, "you"? JOEY What? JAKE (interrupting, catching Joey) What do you mean, "you"? JOEY (caught) I meant, kill everybody. You or me or anybody. You're a big shot. Kill, kill... g'head. JAKE But you said "you." JOEY So what? JAKE Eh, Joey, even you don't know what you meant. You mentioned Salvy, Tommy Como, you -- that means somethin'. Why'd you say them? You coulda said anybody. JOEY You're worried about this girl, you're gonna let this girl ruin you're life for you... You wanna worry, worry about your fuckin' stomach that you can't bend over -- that you gotta step in the ring in a month. JAKE Did you ever fuck my wife? JOEY What? JAKE I don't mean now. I mean before -- before we met. JOEY Whadda ya mean? JAKE Did you ever fuck my wife? JOEY Whatsa matter with you? JAKE You're very smart, Joey, very smart. Nobody gives me a straight answer around here. You're givin' me these answers, but you still didn't answer my question. Did you fuck Vickie? JOEY (fed up, he starts to leave) I gotta go. I gotta get outta here. I can't take this shit. Lenore is waitin' for me. I gotta go. You're a definite wacko. You're fuckin' crazy, you know that, crazy. JAKE'S P.O.V., MOVING SHOT as JOEY leaves. JAKE goes into the bedroom. INT. THE BEDROOM JAKE walks over to VICKIE. (MOVE in on VICKIE - JAKE'S P.O.V. becomes her shot.) JAKE Where you been all day? VICKIE I took the kids to my sister's. JAKE I called. You weren't there. VICKIE I got bored so I went to the movies. JAKE What'd you see? VICKIE I went to the movies. JAKE What'd you see? VICKIE "Father of the Bride." JAKE What was it about? VICKIE Oh, c'mon. For Christsake, do I have to tell you everything? JAKE Did you ever go to the Copa when I was away? VICKIE What're you talking about? JAKE Answer me when I talk to you. What happened that night? VICKIE (interrupting, yelling) I am answering... JAKE (hits her) What do I have to do to get a straight answer around here. JAKE holds onto her, but she gets away. VICKIE Jake, no -- JAKE (as he chases her around the room) Do I have to kill you, eh? (hits her) Do I have to kill somebody to get an answer? (hits her) I know about you at the Copa. I know all about it. JAKE catches her. VICKIE I didn't do anything wrong. I swear. I just had a few drinks. JAKE (pins her down, hits her) With Salvy, eh? VICKIE I went with Sandy and Vera. Salvy was there. (gets hit) Stop it. I just had a drink, that's all. I didn't do anything wrong. (gets hit) VICKIE escapes and locks herself in the bathroom. JAKE (by bathroom door) Come out of there! Did you fuck Salvy? (punches door) Answer me. Open this fuckin' door, you fuckin' cunt! (punches door) Who've you been fuckin'? VICKIE (from inside bathroom) Nobody, I tell you. Jake stop it. JAKE You're a fuckin' liar. He breaks down the door. JAKE (CONT'D) Who've you been fuckin'? Salvy? (hits her) Tommy Como? (hits her) I can't trust nobody. (hits her) Did you fuck Joey? (hits her) Who you been fuckin'? She finally manages to push him away. VICKIE All right, I fucked everybody! Go ahead, kill me, kill me. VICKIE takes JAKE's hand and hits herself. JAKE is stunned. VICKIE (CONT'D) I'll say anything you want me to say. I fuckled Salvy. I fucked Tommy. I fucked your brother. I fucked everybody! What do you want to hear? I sucked your brother's fuckin' cock! JAKE You did? VICKIE Yeah, I sucked his cock. JAKE starts to walk away. VICKIE goes after him. JAKE is gone. INT. JOEY'S PELHAM PARKWAY HOUSE - DAY JOEY is at the kitchen table eating lunch with his family. His wife, LENORE, her hair done up in pin curls, sits next to him. JOEY's TWO KIDS sit across the table from them, bickering. JOEY (to kids) Don't hit your brother! Be nice. Suddenly, JAKE comes through the front door, goes directly to the table, grabs JOEY, lifts him into the air, and starts hitting him. JOEY (CONT'D) Jake, stop it. JAKE keeps hitting JOEY. The KIDS start to cry. LENORE wants to stop the fight, but is afraid to get too close. JAKE Was Vickie part of the deal with Tommy? Was my wife part of the deal? Tell me, was that it? JOEY Stop it. What're you, crazy? JAKE drags JOEY into the living room, and pushes him onto the floor. JAKE (kneeling over Joey and hitting him) You didn't tell me. You didn't tell me. You let me marry her. You let me marry her. VICKIE rushes into the house, past LENORE and the TWO KIDS who are screaming even louder now. VICKIE (hitting Jake on his back as he hits Joey) You're killing him. You're killing him for nothing. Stop it. JAKE (hits her) Get the fuck outa here. Whadda you mean nothing'? You stupid bitch! VICKIE (still hitting Jake) Nothing is what I said! Go on, kull me. (hits him) Kill me. (hits him) I'm not afraid of you anymore. I don't care if you kill me like you're killing him. You're a sick animal. JOEY is knocked out. LENORE goes over to him and holds him. JAKE (to Vickie) You're the fuckin' animal! You ran around with every guy I knew while I was breakin' my ass for you. VICKIE (as she pushes and hits Jake to the front door) You're not only an animal, you're a stupid animal. (pushes and hits him out the front door) You're rotten. (hits him) Rotten. (hits him) Rotten. (hits him) You're a sick maniac. A maniac! You belong in a mental hospital. EXT. JOEY'S PELHAM PARKWAY HOUSE - DAY VICKIE gives JAKE a final push out the door and then slams it in his face. JAKE is left alone on the front steps. DISSOLVE TO: INT. JAKE'S PELHAM PARKWAY HOUSE - LIVING ROOM - EARLY EVENING JAKE sits alone in the darkness. VICKIE lets herself in. She comes and stands behind him. VICKIE Well, he ain't dead in case you're interested. (pause) I'm leaving you. And I don't care if you do try to kill me. Go ahead. I'm not afraid of you anymore. There's worse things than being dead and one of them's living with you -- (pause) I'm leaving tonight. I must have been crazier than you are for stayin' with you this long. You're hopeless. You're not gonna let anybody love you. I kept thinking that you'd change when you got to be the champ... But I just can't take it anymore. I'm taking the kids and I'm leavin'. There is a pause. JAKE Aw, Vickie, aw Vickie, please no. Vickie, no... don't leave me. Christ, I'm pleading... I know, I know all the bad things, but I need you. I'm a bum without you and the kids. I'll change. Aw, Vickie, maybe I don't do it the right way, but I love you. I love you. There is a pause. VICKIE You know, if there's one thing -- I just don't understand you, not one single little bit. You love me? JAKE Yeah -- DISSOLVE TO: INT. STEAM BATH - NIGHT The steam is oppressively thick. It must be 140 degrees. JAKE, nude, does push-ups on the floor. His body is bathed in sweat. He pushes himself up, then collapses. His eyes are glazed over from lack of strength. He makes his way to the door and pounds on it. TONY opens the door and gets on his knees beside JAKE. TONY It ain't worth it, Jake. Get out. JAKE (barely coherent) What time is it? TONY Nine o'clock. JAKE At night? TONY Yeah. At night. JAKE How many pounds I gotta lose? TONY Three more, I figure. JAKE Just give me a chip of ice to put in my mouth. Just a chip of ice. TONY I'll give you anything you want, Jake. I think you should come out for a few minutes -- give yourself a break. JAKE (barely audible) Are you outa your mind? If I come out, I'll lose the title. INT. JAKE'S PELHAM PARKWAY HOUSE - LIVING ROOM VICKIE is seated on the sofa, reading newspapers. JAKE is pacing. VICKIE Jake, why don't you just try lying down and get some rest. JAKE I don't know what it is. I dunno, it's the kind of thing that -- the words won't come out. VICKIE Jake -- JAKE What? VICKIE I want to say something to you without you blowing your stack. JAKE OK. Talk. VICKIE (pause) Why don't you just call him up? JAKE What do I say to him? Call him up on the phone and say, "Joey, I'm sorry about that little trouble we had. How about havin' dinner?" Is that what I say? VICKIE No, not that. JAKE Then what? VICKIE (pause) I don't know. INT. OLYMPIA STADIUM, DETROIT - NIGHT (SEPT. 13, 1950) The LAMOTTA-DAUTHUILLE middleweight championship is told through the eyes and words of the RINGSIDE ANNOUNCER. JAKE is not doing well. RINGSIDE ANNOUNCER ... Ladies and gentlemen, I've sat in front of these microphones for over twenty years but this is the strangest championship bout I've ever seen. With two minutes to go in the final round, the champion, the mighty Bull from the Bronx, is just simply taking punch after punch from the challenger. Dauthuille scores a combination, then backpedals. LaMotta pursues him. One minute to go. Laurent DauthuiLlle, who has already beat Lamotta in a non-title bout, is about to fulfill a dream -- to bring the middleweight crown back to France. In the ring, JAKE looks like he's on queer street. Bouncing off the ropes, opening his jaw to DAUTHUILLE. But DAUTHUILLE's punches lack strength. JAKM is playing possum. RINGSIDE'ANNOUNCER Thirty seconds to go. The Bull starts to swing. LaMotta comes in for a brutal body combinaticn: one, two, three, four punches. LaMotta has landed a solid left hook to the Frenchman's jaw! Dauthuille seems confused. LaMotta is swinging wildly now: right, left, right, left! Dauthuille is backing off! Everyone is on their feet! I can hardly see, ladies and gentlemen. Dauthuille is on the ropes. LaMotta hits a right -- Dauthuille is down! Dauthuille is down! Referee Lou Handler is counting him out -- three, four, five -- if Dauthuille can stand, he'll win the decision -- eight, nine -- Dauthuille is on one knee -- ten! It's all over! With thirteen seconds left on the clock, Jake LaMotta has retained his middleweight championship in one of the most remarkable combacks in boxing! Dauthuille is standing now, confused. But the fight is over. AN ANNOUNCER holds up JAKE's victorious hand. He seems as surprised as everyone else. TONY throws JAKE'S robe around his shoulders as THE ANNOUNCER calls out: ANNOUNCER The middleweight champion, and still champion by a knockout in fifteen rounds, the Bronx Bull, the Raging Bull, Jake LaMotta! The CROWD cheers. JAKE raises his arms in victory. INT. JAKE'S DRESSING ROOM - OLYMPIA STADIUM - NIGHT It is after the fight. TONY, VICKIE, and OTHERS are in the room. Some PEOPLE are leaving. Congratulations are heard. TONY puts away JAKE's fight gear. JAKE, half-dressed, looks troubled. JAKE (to Vickie) I miss Joey. I wish Joey was here. VICKIE Why don't you just call him? JAKE I dunno. VICKIE Tell him how you feel -- you miss him. Tell him you're sorry. JAKE (pauze) Ok, all right. Telephone's in the hall. Dial his number. VICKIE goes to the pay phone in the hall, and dials long distance. JAKE is nervous, but follows VICKIE. THE HALLWAY As the number starts to ring, VICKIE hands the phone to JAKE. JOEY (O.S.) Hello... hello... JAKE can't answer. JOEY (O.S.) (CONT'D) What's this, a joke? Hello... Hey! JAKE can't answer. JOEY (O.S.) (CONT'D) Well, if there's somebody listenin', their mother's a fuckin' whore who takes it in the ass. There is a click as JOEY hangs up. JAKE stands there, and finally hangs up the phone. INT. "JAKE LAMOTTA'S" - NIGHT (1956) JAKE gulps down the last of his Scotch. JAKE (continuing his monologue) I shoulda never hit my brother. Afterwards I was sorry. Now every time I need somethin' I gotta go shoppin' for it! A psychiatrist once told me, "When you hit your brother you're really hittin' your mother but you can't admit it to yourself." He's really crazy. I woulda never hit my mother. I mean, only in self-defense! A lot of people wanta know who was the best guy I ever fought. Let's see... there was that one I fought twice... the other Frenchman... you know who I mean... (having trouble pronouncing the name) ... Dauthuille! He was tough, but I beat him... I had to! I mean, how would it sound losin' to a guy whose name you can't even pronounce? But... Robinson. I can say that alright. I fought Sugar Ray so many times it's a wonder I don't have diabetes! Linda... get me another drink! Linda's the most popular waitress here... you can tell by her tips! She's the kinda girl I go for. You oughta see the ones I get. LINDA brings him another Scotch. JAKE (CONT'D) ... Thanks, babe. She's a nice kid. She'll only do it with a guy if she really likes him. She's got a lot in common with Will Rogers -- never met a man she didn't like! ... I was talkin' about Sugar Ray. Some of you think I was better than him... but you know, it's a toss up. Except the last fight... February 14, 1951. JAKE sips his drink. JAKE(CONT'D) Valentine's Day. The anniversary of the St. Valentine's Massacre. Robinson didn't use a machine gun but it was still a massacre... JAKE takes another drink. JAKE (CONT'D) Actually, I was doin' okay at first. In fact, by the end of the fifth round I really had him worried -- he thought he killed me. INT. JOEY'S PELHAM PARKWAY HOUSE - LIVING ROOM - NIGHT (FEB. 14, 1951) LENORE, JOEY's wife, watches the 6th Robinson-LaMotta fight on JOEY's new television console. JOEY walks by on his way to another room, but stops to watch. LENORE is not a fight fan, but is caught up in the fight, anyway. LENORE Look at that. The sonofabitch is outboxing Robinson. JOEY I can't believe he's getting that jab in. The bell sounds, and a Pabst commercial comes on: PABST COMMERCIAL "Friend, the quality that has carried Pabst Blue Ribbon around the world is yours for the asking. Next time that friendly bartender says, 'What'll you have?' give him the answer the whole world gives, Pabst Blue Ribbon!" INT. CHICAGO STADIUM - NIGHT TONY is wiping JAKE off in his corner. JAKE He ain't hurting me, but I can't get him down. TONY Don't talk. Keep at it. Jab, jab, jab. You're ahead on points. In the other, SUGAR RAY'S TRAINER pats down ROBINSON's pompadour as he says: S.R.'S TRAINER He's going, Sugar. He's old. He ain't Jake LaMotta no more. Make your move, Sugar. Kill him! ROBINSON nods. The bell sounds and the FIGHTERS step onto the canvas. They look at each other before the boxing starts -- they both know the inevitable outcome. ROBINSON smiles. INT. JOEY'S LIVING ROOM - NIGHT ROBINSON makes his move. His arms are a blur, swinging rapidly but accurately. JOEY and LENORE are suddenly silent. TV ANNOUNCER LaMotta's on queer street, but he's still standing. Robinson throws a right, a left, a right, a right and a right again! How can LaMotta stay on his feet? On the TV, WE SEE that ROBINSON has JAKE up against the ropes. He's giving JAKE a pier six beating. It's the Fox fight for real. JAKE's face is so soaked in blood that it's impossible to pinpoint the cuts. TV ANNOUNCER (CONT'D) No man can take this kind of punishment. LaMotta is just a rag doll now. God knows what's holding him up. This is an historic beating. Sugar Rav staggers LaMotta with a left and comes across with a blackjack punch to the champion's head. The referee is stepping in, Robinson has LaMotta on the ropes. That's it! Sugar Ray Robinson, former welterweight champion, has taken the middleweight crown from Jake LaMota. As the REFEREE stops the fight, JOEY sighs with relief. INT. CHICAGO STADIUM - NIGHT LAMOTTA, a bloody and beaten fighter, walks over to the victorious ROBINSON and puts his arm on his shoulder. JAKE You never knocked me down. You could never knock me down. ROBINSON, receiving congratulations from every direction, takes time to turn to JAKE and say: ROBINSON So what? EXT. JAKE'S MIAMI HOUSE - DAY (JUNE 2, 1954) ESTABLISHING SHOT. The house is quite large, and has beautiful landscaping and a swimming pool. INT. JAKE'S MIAMI HOUSE - LIVING ROOM - DAY JAKE, wearing sportclothes that can't hide his paunch, and VICKIE, wearing a dress and looking her best, sit in the living room with their THREE CHILDREN (the TWO BOYS, and also a GIRL, about two years old). A still PHOTOGRAPHER clicks pictures of JAKE and VICKIE as TWO REPORTERS talk with JAKE. JAKE I'm pulling out of next Wednesday's TV bout 'cause I can't make the weight. I'm fighting at light heavyweight, and I still can't make the weight. REPORTER Does that mean... JAKE It means I'm through with boxing. I'm tired with tryin' to make the weight anymore. I'm sick of thinkin' about weight, weight, weight. REPORTER You sound bitter. JAKE Why should I be bitter? Boxing's been good to me. I got a nice house, three kids, a beautiful wife -- take a picture of her. Vickie. VICKIE poses dutifully. JAKE (CONT'D) Ain't she beautiful? Coulda been Mrs. America if I didn't pull her outa the contest. Didn't want her wearing a swimsuit for nobody but me. REPORTER What do you think of Jake's retirement, Mrs. LaMotta? JAKE cuts in: JAKE I also bought a club on Collins Avenue, and I'm gonna open it real soon. Know what I'm gonna call it? "Jake LaMotta's." INT. "JAKE LAMOTTA'S" - NIGHT (1956) JAKE, an empty glass in his hand, stands on the bar platform. He's wearing a white tuxedo jacket with a red rose in the lapel. His tuxedo shirt is stained. He continues his monologue. JAKE Valentine's Day. The anniversary of the St. Valentine's Day Massacre. Robinsin didn't use a machine gun but it was still a massacre... (takes another drink) Actually, I was doin' okay at first. In fact, by the end of the fifth round I really had him worried --- he thought he killed me. You know, I could keep tellin' you this brilliant material all night -- but you'd only laugh. Now I'm gonna sing. -- Any requests? I mean, besides "don't"! (then to piano player) -- In the key of H. (then to audience) You're laughin'. Give me the right key and I'll play in anybody's flat! I sing for a reason. When I finish, you'll be so sobered up, we'll sell a lot of booze. JAKE's onstage version of "That's Entertainment" differs from the backstage version. It's not just that he's a little drunk -- no, his voice is defiant, sadly defiant. He is singing at the PATRONS rather than to them. JAKE (CONT'D) "When the fighter's not engaged in his employment, his employment, although he was Champ and quite the rage, he must go somewhere else to seek employment, seek employment. So what does he do? He goes upon the stage and meets his true adversaries, all you members of the human race. But a fighter's life is not a bowl of cherries, still I'd rather have an egg than a fist upon my face... That's Entertainment! JAKE brings the BAND to a crescendo with a wave of his hand, then silences it. The spotlight goes out and there is a hearty round of applause. JAKE receives the kisses, glad handshakes and congratulations of the PATRONS as he works his way around the club. JAKE's new friends love him. They are PARTY GIRLS, SPORTS FIGURES, COLUMNISTS, MOBSTERS, B ACTORS, and OTHER "CELEBRITIES." JAKE poses for a still with TWO BUXOM YOUNG LOVELIES. ONE GIRL giggles as he fondles her. After the flash goes off, the GIRLS admire his "small, delicate" hands. JAKE steps over to a table and greets J.R., a newspaper columnist, and his COMPANIONS. JAKE (CONT'D) J.R., glad you could make it. J.R. You were great, Jake. Just like old times. Good thing Sugar Ray wasn't here tonight. Oh Jake, this is State's Attorney Bronson and his wife. JAKE shakes his hand, then holds it up -- showing an empty palm. JAKE (joking) Sorry, empty! Heh, heh! Oh, I didn't mean that. If I don't give your husband no money, he won't have enough to buy you a drink. To show you I'm a nice guy, this one's on me. The last one was your payment for this month. BRONSON is embarrassed. He doesn't think the joke is funny, but he manages a smile. His WIFE gives a nervous laugh. JAKE leans over and kisses her. JAKE (CONT'D) You're a good sport, lady. J.R. I saw you fight Bob Satterfield in '46, Jake. In Chicago. You were great. JAKE Yeah, I really cleaned up on him. J.R. Where's your wife, Jake? JAKE Do you think I'd let her in a place like this with guys like you hangin' around? JAKE feigns a few jabs, and they all laugh. He walks off. As JAKE leaves, J.R. whispers to his FRIEND: J. R. You ought to see his wife. JAKE steps over to a table where some of the "BOYS" are sitting. RICKY is the Miami 1956 version of Salvy. JAKE Hey, Ricky, glad you came. RICKY Wouldn't miss it, Jake. JAKE calls a WAITRESS over. JAKE Hey, honey, give these fellas a round on me. I can tell they're gonna be regular customers. The WAITRESS says to a clearly underaged GIRL: WAITRESS I'll have to ask for your I.D. JAKE leans over and gives the young GIRL a long kiss on the lips. She enthusiastically reciprocates. JAKE Whew! Any girl that can kiss like that can drink in my club any time! They all laugh as JAKE moves on. The life of the party. EXT. "JAKE LAMOTTA'S" - DAY JAKE, hungover, his tux wrinkled, walks out of the club to the adjacent parking lot. VICKIE is sitting in her yellow Cadillac outside the Club. The curbside window is halfway up. She calls to him: VICKIE Jake. JAKE, chagrined, steps over to the car. JAKE I'm sorry. I had to work late last night. Slept at the club. VICKIE I'm leaving your Jake. JAKE Sure, what else is new? VICKIE No. This time it's true. I didn't bother to tell you until I had everything worked out. JAKE tries to open the door. It's locked. JAKE Open the door, Vickie. VICKIE No. I won't talk to you where you can use your hands on me. JAKE Aw, c'mon. Don't say that. VICKIE I got a lawyer, Jake. We're getting a divorce. I'm getting custody of the kids. JAKE Aw, c'mon, Vick -- VICKIE I'm sick of it. I can't watch you this way. You're too drunk all the time. There's too many girls. I can't... I don't wanna talk about it. I made up my mind. JAKE tries to reach in the window, but VICKIE hits the power switch, closing it and catching his hand. She now has to yell to him: VICKIE (CONT'D) You got three days to get your stuff out of the house. After that, the cops will be there. I have the kids with me. I never want to see you again. VICKIE turns her face and drives away. JAKE grabs at the Cadillac, but it is bigger and stronger than him. JAKE is left alone in the parking lot. The car is gone. INT. JAKE'S OFFICE - DAY (JAN. 9, 1957) JAKE has an office above the lounge. Ever since VICKIE left, it's also been his apartment. The place is a mess. JAKE sends his laundry out when he runs out of clean clothes. Dirty socks, shorts and shirts are scattered randomly. Empty whiskey bottles on the desk, empty beer cans in the wastebasket. 1ST DEPUTY Let's go, Jake, wake up! JAKE Huh? Whadda ya mean, get up? 1ST DEPUTY (showing badge) We're from... JAKE (interrupting) I know where you're from. You guys look the same every place. 1ST DEPUTY They wanna talk to you. JAKE About what? 1ST DEPUTY I don't run the joint. They just told me to bring you in. JAKE For what? 2ND DEPUTY C'mon, get dressed. JAKE hunts for his clothes. JAKE Hey, I'm a big tax payer down here. Don't that entitle me to some information what this is all about? The SECOND DEPUTY shows JAKE a photo. 2ND DEPUTY You recognize this girl? She been in the club? JAKE I dunno. 2ND DEPUTY She says you introduced her to men. JAKE I introduced a lot of people to men. So what? What does that mean? 2ND DEPUTY She's fourteen. CLOSE UP of picture. EXT. JAKE'S MIAMI HOUSE - DAY JAKE, wearing a suit, walks up to the door and pushes the bell. VICKIE opens the door and looks at him over the chain. JAKE Vickie, open up. I need to come in. VICKIE Are you drunk? JAKE No. Open the door. JAKE tries to touch her face through the doorway crack, but she steps back. JAKE (CONT'D) Please, Vick. I won't bother you. I'm out on bail. You can send the kids next door. I just gotta pick one thing up, then I'll get outa here. VICKIE thinks a moment, then opens the door and lets JAKE in. VICKIE The kids are sleeping. JAKE I promise I just gotta pick up one thing. VICKIE All right, just don't make any noise. INT. JAKE'S MIAMI HOUSE - DAY JAKE walks directly past VICKIE into the living room. VICKIE watches from a safe distance. JAKE removes his jewel-studded championship belt from the glass bookcase and carries it into the kitchen. In the kitchen, he takes a hammer and screwdriver out of a drawer, places the belt on the counter top, and starts digging the jewels out of it. VICKIE appears in the doorway. VICKIE What are you doing? JAKE I need ten thousand dollars. My lawyer says if we can spread ten thousand bucks around, we can get the case dropped. VICKIE But they don't have a case against you. JAKE (digging at the belt) Are you kiddin'? Did you ever see a 14-year-old testify in court? Did you see the papers? "LaMotta on Vice Rap." Everybody likes a shot at the Champ. VICKIE Jake, be careful! What're you doing to the belt?! JAKE Don't make no difference no more. VICKIE Can't you get the money from your friends? JAKE What friends? JAKE, frustrated by his task, turns the belt over and hammers at it. The jewels scatter across the counter top and floor. JAKE collects the jewels and puts them in his pockets. INT. JEWELRY SHOP - DAY JAKE stands at the counter of a small jewelry store. The JEWELER examines the stones. JEWELER Didn't you also wish to sell the Championship Belt, Mr. LaMotta? JAKE That's it. Those are the jewels that were in the belt. JEWELER But where's the belt? JAKE You want the jewels or the belt? JEWELER Both. These stones are worth about fifteen hudred dollars, but the belt of a champion is a very rare item. The belt with the stones untouched would have been worth near five thousand dollars. JAKE seems to despair of the whole thing: the belt, the attempt to raise 10 g's, the vice case, his life. EXT. PHONE BOOTH - DAY JAKE places a call from a booth outside the jewelry store. JAKE (on phone) I can't raise the ten thousand. Fuck 'em. Let 'em put me on trial. INT. BARBIZON DRESSING ROOM - NIGHT Same as Scene 1. JAKE, 42 years old, continues to rehearse. He is seated across from a mirror. JAKE So there I am in the can... and not the one that says "gentlemen" on the door. I'm talkin' about jail! Down south! I mean, jail up north is gotta be like summer camp compared to jail down in cracker country. And if you're a guy like me, you ain't got a chance in a place like that. Especially if you're Italian... you come from the Bronx... and you're an ex-champ. As soon as they saw me... soon as they heard me... I know I'm in trouble. To me, they got an accent, and to them, I got an accent! You gotta get the picture -- I'm big, I got small hands, I walk like I'm still in the ring... the balls of my feet pop up and down, you know... and whenever I get the chance, I read a lot. So naturally, takin' all this into co sideration, they figure it adds up to one thing -- I'm queer! Now I didn't mind too much when they called me "Queer" or "Mr. Tough Guy" or "Yankee Punk"... But one day these screws got to me... I was workin' on the work gang, pickin' up some trees that were knocked down by a storm or somethin' and puttin' 'em on this truck. All of a sudden... one of the trees slipped and fell on me and pinned me to the ground. I'm lyin' there with a tree across my chest! This screw walks over, takin' his time, he looks down at me and says, "Well, Champ Pimp... you lyin' down on the job again?"! They got a great sense of humor when they're standin' there with a gun in their arms and you got a tree on your chest! So I look up at him and say, "Oh, this tree... it fell on me." And he says, "Oh, I'm sorry... If I'd have known, I would've yelled 'timber'" I said, "Hey, look... it hurts. I think maybe I broke somethin'!" He says, "Well, whaddaya know... Champ PImp's got himself a boo-boo." Then I got as stupid as him. I said, "If I'm Champ Pimp... how 'bout givin' me the money you made last night?"! Then another screw comes over and says, "This Yankee creep givin' you trouble?" -- What kind of trouble? What am I gonna do -- hit 'em with the tree? Now anybody else in their right mind would've said, "No sir, I wouldn't think of giving any of you gentlemen trouble... I just want to serve my time and get the hell out of here as soon as I can." That's anybody else. When I said it... it was a little different. "You stupid cracker... take your hands off me or I'll get up and kick your brains out -- but first you gotta bend over so I can find 'em!" Next thing I know I'm in the hole. Solitary confinement. All my life I had guys in my corner yellin' "Go get 'em, jake... kill 'em! You're the greatest." Now there's nobody rootin' for me. But it wasn't so bad. I learned things there. I learned how to scratch a calendar on the wall. I never knew how to do that before. Now I know. Monday is one scratch. Tuesday is two scratches. Wednesday is three scratches. And so on. Except for Sundays. Sundays is no scratches. Sundays rested. INT. DADE COUNTY STOCKADE - DAY The CAMERA TRACKS down the lonely corridors of the Dade County Prison. Empty faces stare out from behind the bars. JAKE is led down a long corridor by TWO GUARDS. His hands and legs are manacled and chained. The GUARDS, redneck screws both, take special pleasure in working JAKE over. They take JAKE to the "Hole" -- solitary confinement. ONE of the GUARDS unmanacles JAKE. Both GUARDS push JAKE into the cell and slam the door. INT. THE HOLE - DAY OR NIGHT A thin slit provides the only light in JAKE's cell. The rough cement walls are covered with obscure graffiti. The 8x8x8 room features only a cot and a toilet. The room is mostly darkness. Sounds are more tangible here than sights. WE SEE JAKE's body as it passes through the slit of light. JAKE crouches into the corner away from the light. As WE SEE JAKE's face, the following MONTAGE images appear. (There will be contrasting sound effects accompanying the images: for example, the image of JAKE hitting VICKIE might be accompanied by the sounds from a love scene between them.) A) 1940s black and white pornography: partially clothed men and women engaged in explicit sex acts. B) Boxing magazines: fighters' beaten and bloody faces. A body building ad: Charles Atlas raises his muscled biceps. C) Li'l Abner comics; Daisy Mae's tits seem about to fall free. D) Reprise from earlier scene: Back in JAKE and IRMA's old apartment, JOEY, using a towel as a glove, punches JAKE in the face. E) A 1934 "OLDER GIRL" sashays into the candy store in flickering 8mm black and white footage. WE SEE ohter Bronx PRETEEN GIRLS walking, smiling. F) At Shorehaven pool, JAKE and JOEY, in bathing suits, are sleeping in the sun next to each other. OTHER BATHERS are around, also taking in the sun. G) Reprise from earlier scene: As in D, JOEY hits JAKE in the face again. WE SEE again the image of JAKE's face as he sits in his cell. The MONTAGE continues: H) JANIRO's face at the weigh-in. I) JAKE throws JANIRO a kiss at the weigh-in. J) JAKE punches in JANIRO's face. K) A naked GIRL stands in the doorway of a bedroom. L) JAKE lies in bed with IRMA staring at the ceiling. M) VICKIE's pretty young face DOUBLE EXPOSES with SUGAR RAY ROBINSON's. N) DR. PINTO injects novacaine into JAKE's fists. O) Sitting in his corner of the ring, JAKE spits blood into a pail... P) Still in JAKE's corner: JOEY wipes off his brother's bloody face. Q) Still in JAKE's corner: There is an open cut over JAKE's eye. JOEY, rushing against time, sucks the blood from the wound as DR. PINTO begins to examine it. R) Still in JAKE's corner: JOEY puts the mouthpiece in JAKE's mouth. (SLOW MOTION) S) JAKE wins over CERDAN. JOEY, overenthusiastic, hits JAKE on the back of the head a little too hard. JAKE gives JOEY a quick look, but JOEY just embraces him. T) On a bed, a GIRL is going down on JOEY. The GIRL turns and looks up at JAKE. It's LINDA, the waitress from his club. JAKE stares. U) JAKE's fist hits LINDA's face. V) VICKIE playfully bends JAKE's hand back, pretending to break it. W) JAKE hits LINDA again. She cries. X) Repeat image N: DR. PINTO injects novocaine into JAKE's fists. WE SEE again the image of JAKE's face as he sits in his cell. The MONTAGE continues: Y) VICKIE is in her underwear in a bedroom. A pair of black arms come in and embrace her body. Z) CLOSE UP of JAKE; he reacts to this. He's in the ring with SUGAR RAY. He knocks SUGAR RAY out of the ring. AA) VICKIE again. JAKE approaches her from behind, pulls her head back by her hair, and slaps her. BB) THE ANNOUNCER points to SUGAR RAY as the winner. (Different fight.) CAMERA PANS to RAY, victorious, his arms up. CC) A bloodied JAKE comes over to SUGAR RAY and embraces him. WE ARE BACK WITH JAKE in the cell. He slowly starts to bang his head against the wall. JAKE (murmuring) Why, why, why? (with each bang of his head) I'm a man, I'm a man. I'm no faggot. I'm not a faggot. Ma, why? What do they want? My cock's not enough. What do they want from me? Why? Ma? Why? JAKE is now smashing the wall with all his strength -- vicious body punches. JAKE (CONT'D) Why, why, why me? You took it away from me. They took everything away. What do they want from me? What the fuck do they want from me? I ain't bad. I ain't bad. I'm not that guy. I'm not that guy. I'm not a monster. I'm not an animal. JAKE breaks his knuckles; the pain and blood are unbearable. JAKE collapses to the concrete floor. His hands are smashed. He cries, then sobs. JAKE (CONT'D) I'm not like that. Please. I'm not like that. Please. Please. Please. Then silence. We begin to hear: JAKE doing a monologue. JAKE (CONT'D) And so, as Shakespeare said, I've been down so low there's nowhere else to go. INT. METROPOLE - NIGHT (1958) The Metropole is a club on 7th Avenue off Times Square. JAKE LAMOTTA, 36 years old and wearing a hip Fifties suit, continues his monologue. JAKE Except here, gentlemen, with you bums. I call you "gentlemen"... but you know what you really are! You know, this place used to be pretty exclusive... now they got bouncers outside to throw the drunks in! My first night here I said to the boss, "Where's the toilet?" -- He said, "You're in it!" By the way, this engagement is just a stepping stone for me. If I do good here, I'm ready to get out of the business! The CROWD starts to shout: "Get the fuck off the stage!" JAKE (CONT'D) OK, OK, I know what you're waitin' for -- and from the looks of you, you been waitin' for it for a long time. I had my own joint in Miami Beach once... it was too high-class for you guys... we had a 50-cent minimum charge just to keep out the riff-raff! The CROWD continues to shout, as before, also shouting: "Bring out the girls!" JAKE (CONT'D) Hey, sorry. Here's your girls. (grabs his crotch) Yeah, she's here... just like it's advertised out front. She's come back. A girl who's seen the Lower Depths... who's been as far as I have in that direction. She's on her way back up now... give you an idea how low she was! Let's give her a warm welcome... make her glad she's back, boys. -- Miss Emma 48's! JAKE gets off the stage as MISS EMMA 48's goes into her dance. He goes over to the bar and gets a drink. SEVERAL OLDER MEN in T-shirts - a disreputable looking lot - are at the bar. EXT. METROPOLE - NIGHT The Club is closing. JAKE and EMMA, the stripper, come out and walk by a delicatessen on their way to a parking lot. JAKE sees his brother JOEY enter the delicatessen. JAKE Look, sweetie, be a good girl. Here's some money. Take a cab. Go home by yourself. Just wanna walk around a little, sort of unwind. OK? EMMA Will I see you later? JAKE Yeah. I dunno... I'll call you. JAKE goes to the parking lot entrance as EMMA gets into a cab. DISSOLVE TO: EXT. PARKING LOT - NIGHT It's about twenty minutes later. DOLLY INTO A MEDIUM SHOT of JAKE waiting by the parking lot. He looks at the delicatessen. JOEY finally comes out carrying a paper bag. Not noticing JAKE, he walks right past him to his car which is parked near the rear of the outdoor lot. JAKE Hey, Joey -- JAKE walks towards JOEY with his hand outstretched. JOEY looks at JAKE. Silence. JOEY turns his back and starts to get into his car. JAKE runs over to JOEY and grabs his shoulder. JAKE (CONT'D) No, Joey, no. Look, wait a minute, please -- JOEY looks at JAKE like he's shit, throws JAKE's hand off his shoulder, and starts to get into his car again. JAKE (CONT'D) Aw, Joey -- JAKE stops JOEY from getting into his car. He puts his hand on JOEY's shoulder again. JAKE (CONT'D) You're right. You're perfectly right. You got every right in the world to hate my guts. JOEY pulls away from JAKE's hand, and tries to put the paper bag into the front seat of the car. JAKE (CONT'D) No, please. I know I was a cocksucker. You're right. I shoulda never raised my hands to you. JOEY half pushes JAKE away, and begins to get into his car again. JAKE pulls JOEY by the arm. JAKE (CONT'D) No, Joey, listen to me -- JAKE pulls too hard, causing JOEY to drop the paper bag to his feet. The containers of coffee and tea in the bag break open and splatter JOEY's pants legs. JOEY stares down at his pants, then up at JAKE. Suddenly, he belts JAKE with a left and a right to the jaw. JAKE is taken by surprise, and backs off to get his own hands up. JOEY keeps pouring it on. JAKE drops his hands and takes it. JAKE (CONT'D) Go ahead. (gets punched) Hit me again. (gets punched) I deserve it... (gets punched) Pay me back... (gets punched) More... (gets punched) JOEY stops in mid-punch and stares at JAKE. He can't figure it out. JAKE nods and tries to smile, but starts to cry instead. JAKE (CONT'D) More. Go ahead, Joey. I deserve it. JOEY pauses, then finally throws a very weak punch to JAKE's shoulder. He leaves his hand there -- then, uncurls his fist -- and finally puts his hand around JAKE's neck as tears start to fill his eyes. JOEY hugs JAKE close to him, crying. They hug each other, both crying. They don't say anything. EXT. BARBIZON PLAZA THEATER - NIGHT (1964) The theater lights are flashing. This may not be Broadway, but it's a long way from the Metropole. The entrance to the Barbizon looks out on the corner of 6th Avenue and Central Park South. A stand-up billboard in front of the theater advertises "An Evening with Jake LaMotta." The billboard also lists the authors whose works will be performed: Paddy Chayevsky, Rod Serling, Shakespeare, Bud Schulberg, Tennessee Williams. INT. BARBIZON DRESSING ROOM - NIGHT Same as Scenes One and Eighty-One. JAKE is alone preparing to go onstage. He rehearses. JAKE You know, I'm not a philosopher or anything like that but I been around a little and the way I look at it is -- We're, all of us, lookin' for the same thing: a shot at the title. No matter what you wanta be... you wanta shot at bein' the best. Well, I had mine and it'll always be in the record books... it don't make no difference what happens to me from here on in -- I got my shot and that's a fact. Some guys weren't that lucky... like the one Marlon Brando played in "On the Waterfront" -- an up and comer who's now a down and outer. You remember... there was this scene in the back of the car with his brother Charlie, a small-time racket guy, and it went somethin' like this -- "It wasn't him, Charlie. It was you. You 'member that night in the Garden you came down my dressing room and said. 'Kid, this ain't your night. We're going for the price on Wilson.' You 'member that? 'This ain't your night!' My night -- I coulda taken Wilson apart! So what happens? He gets the title shot outdoors on the ballpark, and what do I get? A one-way ticket to Palookaville. I never was no good after that night. It was like a peak you reach. Then it went downhill. It was you, Charlie. You was my brother, Charlie. You shoulda looked out for me a little bit. You shoulda taken care of me just a little bit so I wouldn't have to take them dives for the short end money... You don't understand! I coulda had class. I coulda been a contender. I coulda been somebody -- instead of a bum, which is what I am. Let's face it. It was you, Charlie." A shadow goes by the frame; it's a STAGEHAND. STAGEHAND (O.S.) Hey Jake, how you doing? The shadow exits. JAKE How long do I have? The shadow pops in again. STAGEHAND (O.S.) About five minutes The shadow exits. JAKE OK. JAKE pauses, then starts to shadow-box in his dressing room. His breath comes in quick gasps. His feet pop up and down like they were on canvas. His tiny fists jerk forward with short bursts of light. Still alive. Still a contender. A 42-year-old man fighting for his shot. The CAMERA DOLLIES into a FULL SHOT of his fists as they hit the empty air -- in and out of the frame. This quote appears: (Music in) "Verily, verily I say unto thee, Except a man be born again, He can not enter into the kingdom of heaven..." John 3-3 The CAMERA goes into DARKNESS. The END CREDITS roll up. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Raising Arizona.txt b/unformated_scripts/Script_Raising Arizona.txt new file mode 100644 index 0000000000000000000000000000000000000000..4fb7ddfaf724e0f0634170d223523c829a424a28 --- /dev/null +++ b/unformated_scripts/Script_Raising Arizona.txt @@ -0,0 +1 @@ +RAISING ARIZONA Screenplay by Ethan Coen Joel Coen OVER BLACK: VOICE OVER My name is H. I. McDunnough... A WALL With horizontal hatch lines. VOICE OVER ...Call me Hi. A disheveled young man in a gaily colored Hawaiian shirt is launched into frame by someone offscreen. He holds a printed paddle that reads "NO. 1468-6 NOV. 29 79." The hatch marks on the wall behind him are apparently height markers. VOICE OVER ...The first time I met Ed was in the county lock-up in Tempe, Arizona... FLASH As his picture is taken. CLOSEUP On the paddle: "NOV. 29 79." VOICE OVER ...a day I'll never forget. A bellowing male voice from offscreen: SHERIFF Don't forget the profile, Ed! ANGLE ON THE STILL CAMERA It is mounted on a tripod. A pretty young woman in a severe police uniform peers out from behind it. WOMAN Turn to the right. HI What kind of name is Ed for a pretty thing like you? ED Short for Edwinna. Turn to the right! HI obliges, but still looks at Ed out of the corner of his eye. HI You're a flower, you are. Just a little desert flower. FLASH On his eye-skewed profile. HI Lemme know how those come out. LOW ANGLE CELL BLOCK CORRIDOR As Hi is escorted away from the camera toward his cell. At the far end of the corridor a huge con is sluggishly mopping the floor. VOICE OVER I was in for writing hot checks which, when businessmen do it, is called an overdraft. I'm not complainin', mind you; just sayin' there ain't no pancake so thin it ain't got two sides. Now prison life is very structured - more than most people care for... INTERCUTTING HI'S POV of the MOPPING CON, tracking as he approaches, and the Mopping Con's POV of Hi as Hi approaches. VOICE OVER ...But there's a spirit of camaraderie that exists between the men, like you find only in combat maybe... The Mopping Con snarls as Hi passes: CON Grrrr... VOICE OVER ...or on a pro ball club in the heat of a pennant drive. NEWSREEL FOOTAGE A ballplayer connects - THWOCK - for a home run and the crowd roars. PRISON HALL Panning a circle of men who sit facing each other in folding chairs. The pan starts on Hi. VOICE OVER In an effort to better ourselves we were forced to meet with a counselor who tried to help us figure out why we were the way we were... At this point the pan has reached the COUNSELOR, an earnest, bearded young man who straddles a folding chair with his arms folded over its back. He is addressing one of the Cons: COUNSELOR Why do you use the word "trapped"? CLOSEUP BLACK CON The huge muscle-bound black man with a shaved head is knitting his brow in consternation. CON Huh? COUNSELOR Why do you say you feel "trapped" in a man's body? CON Oh... He bites his lip, thinking; then, in a resonant bass voice: CON ...Well, sometimes I get the menstrual cramps real hard. PAROLE MEETING ROOM Three PAROLE OFFICERS - two men and a woman - face Hi across a table. CHAIRMAN Have you learned anything, Hi? HI Yessir, you bet. WOMAN You wouldn't lie to us, would you Hi? HI No ma'am, hope to say. CHAIRMAN Okay then. EXT. 7-ELEVEN NIGHT A beat-up Chevy pulls into the all-night store's empty parking lot. VOICE OVER I tried to stand up and fly straight, but it wasn't easy with that sumbitch Reagan in the White House... Hi is getting out of the Chevy in a Hawaiian shirt, holding a pump-action shotgun. VOICE OVER ...I dunno, they say he's a decent man, so... He primes the shotgun - WHOOSH - CLACK - and heads for the store. VOICE OVER ...maybe his advisers are confused. FLASH Full-face exposure of Hi once again in front of the mug-shot wall. ED Turn to the right! Hi obliges but shoots sympathetic glances at Ed who is obviously upset, wiping away tears and snuffling behind the camera. HI What's the matter, Ed? ED My fai-ants left me. VOICE OVER She said her fiancée had run off with a student cosmetologist who knew how to ply her feminine wiles. FLASH On Hi's profile. He turns back to Ed. HI That sumbitch. SHERIFF (O.S.) Don't forget his phone call, Ed! HI You tell him I think he's a damn fool, Ed. You tell him I said so - H.I. McDunnough. And if he wants to discuss it he knows where to find me... As another police officer starts to lead him away: HI ...in the Maricopa County Maximum Security Correctional Facility for Men... CLOSE ON ED Looking up through her tears as Hi is led away. HI (O.S.) ...State Farm Road Number Thirty- one; Tempe, Arizona... BACK TO HI Struggling to call back over his shoulder as he is firmly led out the door. HI ...I'll be waiting! The door slams. LOW ANGLE CELL BLOCK CORRIDOR As Hi is once again escorted toward his cell. The Mopping Con is now in the middle-background, having worked his way about halfway up the corridor since last time we saw him. VOICE OVER I can't say I was happy to be back inside, but the flood of familiar sights, sounds and faces almost made it feel like a homecoming. CLOSE ON MOPPING CON As Hi passes. CON Grrrr... PRISON HALL Group is meeting again. COUNSELOR Most men your age, Hi, are getting married and raising up a family. They wouldn't accept prison as a substitute. Hi looks sheepish. COUNSELOR ...Would any of you men care to comment? Two convicts sitting next to each other, GALE and EVELLE, appear to be friends. GALE But sometimes your career gotta come before family. EVELLE Work is what's kept us happy. ANGRY BLACK CON Yeah, but Doc Schwartz is sayin' you gotta accept responsibilities. I mean I'm proud to say I got a family... somewheres. HIGH ANGLE CELL Looking down from the ceiling. In the foreground, lying on the top bunk, hands clasped behind his head as he stares off into space is MOSES. Moses is a gnarled, elderly black con with wire-rimmed spectacles. On the lower bunk, also with hands clasped behind his head and staring off at the same spot in space, is Hi. VOICE OVER I tried to sort through what the Doc had said, but prison ain't the easiest place to think. MOSES An' when they was no meat we ate fowl. An' when they was no fowl we ate crawdad. An' when they was no crawdad to be foun', we ate San'. HI You ate what? MOSES (nodding) We ate San'. HI You ate sand?! MOSES Dass right... PAROLE BOARD ROOM Hi faces the same three PAROLE OFFICERS across the same table. CHAIRMAN Well Boy, you done served your twenty munce, and seeing as you never use live ammo, we got no choice but to return you to society. SECOND MAN These doors goan swing wide. HI I didn't want to hurt anyone, Sir. SECOND MAN Hi, we respect that. CHAIRMAN But you're just hurtin' yourself with this rambunctious behavior. HI I know that, sir. CHAIRMAN Okay then. HIGH SHOT Of a 7-Eleven parking lot, at night, deserted except for Hi's car which sits untended, its engine rumbling. VOICE OVER Now I don't know how you come down on the incarceration question... Hi backpedals into frame with a shotgun and a bag of cash. VOICE OVER ...whether it's for rehabilitation or revenge. He spins and grabs his car-door handle. Locked. He tries the back door. Locked. VOICE OVER ...But I was beginning to think... As we hear the wail of an approaching siren, Hi takes it on the heel and toe. VOICE OVER ...that revenge is the only argument makes any sense. FLASH On Hi against the mug-shot wall. ED Turn to the right! SHERIFF (O.S.) Don't forget his latents, Ed! CLOSE ON HI'S HAND We see his right hand being efficiently manipulated by Ed's two hands: She is rolling each of his inked fingers into the appropriate space on an exemplar sheet. HI (O.S.) Hear about the paddy-wagon collided with the segment mixer, Ed? Twelve hardened criminals escaped. Ed's hand lingers on top of his. Hi's other hand enters to rest on top of hers. HI (O.S.) Got a new beau? ED (O.S.) No, Hi, I sure don't. Hi slips a ring off his own finger and slides it onto Ed's. HI (O.S.) Don't worry, I paid for it. LOW ANGLE CELL BLOCK CORRIDOR The surly Mopping Con has now worked his way up to the foreground. Hi is being escorted past him to his cell. VOICE OVER They say that absence makes the heart grow fonder, and for once they may be right. Halfway up the corridor Hi points casually at the floor. HI You missed a spot. The Mopping Con turns to watch him recede. CON Grrrr... HIGH ANGLE CELL Same high shot with Moses on the top bunk, Hi on the lower. VOICE OVER More and more my thoughts turned to Ed, and I finally felt the pain of imprisonment. MOSES An' momma would frow the live crawdad in a pot of boiln' water. Well one day I decided to make my own crawdad... We begin to crane down to tighten on the absently staring Hi. VOICE OVER ...an' I frew it in a pot, forgettin' to put in the water, ya see... Moses' voice is mixing down as we lose him from frame. VOICE OVER ...and it was like I was makin' popcorn, ya see... The joint is a lonely place after lock-up and fights out... We are now very close on Hi, staring. VOICE OVER ...when the last of the cons has been swept away by the sandman. HI'S POV The underside of the top bunk. A sudden flash whitens and fades to leave the image of Ed, smiling behind her camera, softly supered on the underside of the bunk. BACK TO HI He wearily turns his head to profile on the pillow and shuts his eyes. VOICE OVER But I couldn't help thinking that a brighter future lay ahead - a future that was only eight to fourteen months away. Eyes closed, he is illuminated by a flash. PAROLE BOARD ROOM Hi and the same three officers. CHAIRMAN Got a name for people like you, Hi. That name is called recidivism. SECOND MAN Ree-peat O-fender. CHAIRMAN Not a pretty name, is it, Hi? HI No Sir, it sure ain't. That's one bonehead name. But that ain't me anymore. CHAIRMAN You're not just tellin' us what we wanna hear? HI No Sir, no way. SECOND MAN 'Cause we just wanna hear the truth. HI Well then I guess I am tellin' you what you wanna hear. CHAIRMAN Boy, didn't we just tell you not to do that? HI Yessir. CHAIRMAN Okay then. TRACKING Over Hi's shoulder as he strides toward a door marked "Processing" and flings it open. It is the familiar booking room. Ed looks up from her camera, having just snapped a picture of another suspect against the hatched wall. HI I'm walkin' in here on my knees, Ed - a free man proposin'. Hi cocks a finger at the suspect. HI Howdy Kurt. ED'S ROOM As she nervously frets at her white bridal gown in front of a mirror. VOICE OVER And so it was. SHERIFF (O.S.) Don't forget the boo-kay, Ed! CLOSE SHOT ED Gazing earnestly into the camera. A congregation is seated behind her - the bride's side wearing police blues; the groom's side, Hawaiian shirts. ED I do. CLOSE SHOT HI Also staring into the camera. HI You bet I do. REVERSE Over their shoulders, the minister. MINISTER Okay then. FLASH On the newlyweds smiling at the camera. FLASH On the newlyweds smiling at each other, profile to the camera. HIGH WIDE SHOT TRAILER PARK In the middle of a vast expanse of desert. VOICE OVER Ed's pa staked us to a starter home in suburban Tempe... INT. MACHINE SHOP Hi is working the drill press, wearing goggles and sweat- stained overalls. VOICE OVER ...and I got a job drilling holes in sheet metal. Next to him idly stands Bud, a veteran of the shop, with a grimy face and a pair of goggles pushed up on his forehead. BUD So we was doin' paramedical work in affiliation with the state highway system-not actually practicin', y'understand - and me and Bill's patrollin' down Nine Mile - HI Bill Roberts? BUD (barking) No, not that motherscratcher! Bill Parker! Anyway, we're approachin' the wreck, and there's a spherical object arestin' on the highway... He pauses to blow and pop a bubble with his chewing gum. BUD ...And it don't look like a piece a the car. VOICE OVER Mostways the job was a lot like prison, except Ed was waitin' at the end of every day... CASHIER'S WINDOW Hi is scowling at his paycheck. Behind the barred window a fat cashier grins. VOICE OVER ...and a paycheck at the end of every week. CASHIER Gummint do take a bite, don't she? EXT. TRAILER Hi sits in a lawn chair in front of the trailer. Ed sits on his lap, his arms around her. Both are wearing sunglasses, looking at the setting sun. The scene is suffused with a warm yellow light. VOICE OVER These were the happy days, the salad days as they say... As the sun sets, the light is turning from yellow to amber. Hi and Ed watch, their heads following its slow downward arc. VOICE OVER ...and Ed felt that having a critter was the next logical step. It was all she thought about. The amber is turning to a more neutral dusky light as the sun has set. Hi and Ed continue to stare at the point where it disappeared. VOICE OVER ...Her point was that there was too much love and beauty for just the two of us... The dusk is slipping away into darkness. VOICE OVER ...and every day we kept a child out of the world was a day he might later regret having missed. We are by now holding on pitch black. Crickets chirp. From the darkness: ED That was beautiful. A CALENDAR Ed is crossing off the last day on the calendar before a day circled in red. VOICE OVER So we worked at it on the days we calculated most likely to be fruitful... INT. TRAILER Hi is wearily entering after a long day at work, clutching his lunchpail. VOICE OVER ...and we worked at it most other days just to be sure. Ed flies into frame and leaps into his arms, covering him with kisses. TRAILER BEDROOM In each other's arms, Hi and Ed roll over on the bed. VOICE OVER Seemed like nothing could stand in our way now... We pan with them rolling and continue off them to the night table, on which sits a framed pair of photographs of Hi, probably taken by Ed: One shows him full face, the other in profile. EXT. TRAILER TWILIGHT Ed sits in a lawn chair knitting a booty. Hi stands in Bermuda shorts and an unbuttoned Hawaiian shirt, hosing down the minuscule patch of front lawn. VOICE OVER ...My lawless years were behind me; our child rearin' years lay ahead. DUSTY ROAD LEADING UP TO TRAILER DAY A squad car, its siren wailing, kicks up dust as it roars into the foreground. ADOPTION OFFICE Hi and Ed are seated on folding chairs facing an agent's desk. Hi wears a sport coat over his Hawaiian shirt. Ed is in her dress blues. HI It's true I've had a checkered past, but Ed here is an officer of the law twice decorated... THE AGENT Looking, with a dead pan, from the file to Hi. HI ...So we figure it kind of evens out. His face still deadly neutral, the agent looks back down at the file and unfolds the accordioned rap sheet, revealing it to be a couple feet long. VOICE OVER ...But biology and the prejudices of others conspired to keep us childless. INT. SQUAD CAR On Ed as she stares vacantly out the passenger window. VOICE OVER Our love for each other was stronger than ever... ON HI Driving. He looks from Ed out to the road. VOICE OVER ...but I preminisced no return of the salad days. TRAILER BATHROOM Over Hi's shoulder as he stares listlessly at himself in the mirror, a razor held forgotten in one hand, his face half lathered and half shaved. VOICE OVER The pizazz had gone out of our lives. TRAILER BEDROOM The bedroom is somewhat messy. Ed sits on the edge of the bed, also staring listlessly. Her police uniform is on but not yet buttoned. Her hands lie palm-up in her lap, like two dead fish. VOICE OVER Ed lost all interest in both criminal justice and housekeeping. Soon after, she tendered her badge. MACHINE SHOP Once again Hi works as his sweaty gum-chewing colleague stands idly by. VOICE OVER Even my job seemed as dry and bitter as a hot prairie wind. BUD So here comes Bill a-walkin' down Nine Mile - that's Bill Parker, y'understand - got his sandwich in one hand, the fuckin' head in the other... ON HI DRIVING Alone in his Chevy. He looks to the side. VOICE OVER I even caught myself drivin' by convenience stores... HIS MOVING POV 7-Eleven. VOICE OVER ...that weren't on the way home. TRAILER LIVING ROOM Hi and Ed sit listlessly watching TV. VOICE OVER Then one day the biggest news hit the state since they built the Hoover Dam... Ed perks up, reacting to something on TV. Hi notices her reaction and also sloughs off his stupor to watch. VOICE OVER ...The Arizona quints was born. THE TV A newscaster silently reading copy. Behind him news footage of five nurses holding infants mortices in. VOICE OVER By "Arizona" quints I mean they was born to a woman named Florence Arizona. BACK TO HI AND ED Watching intently. Eyes still locked on the set, Ed reaches her hand out to Hi. Eyes still locked on the set, Hi takes her hand in his. VOICE OVER As you probably guessed, Florence Arizona is the wife of Nathan Arizona. And Nathan Arizona - well hell, you know who he is... THE TV A LATE-NIGHT LOCAL COMMERCIAL NATHAN ARIZONA, a stocky middle-aged man in a white polyester suit, is gesturing expansively with his white cowboy hat toward a one-story warehouse store with a football stadium parking lot, chroma-keyed in behind him. NATHAN ARIZONA (mixing up on the TV) So come on down to Unpainted Arizona for the finest selection in fixtures and appointments for your bathroom, bedroom, beaudoir! VOICE OVER ...The owner of the largest chain of unpainted furniture and bathroom fixture outlets throughout the Southwest. NATHAN ARIZONA And if you can find lower prices anywhere my name ain't Nathan Arizona! BACK TO HI AND ED As they slowly look from the TV set toward each other. LINE OF NEWSPAPER VENDING MACHINES Hi lounges near one of the vending machines as a businessman puts in a quarter. VOICE OVER Yep, Florence had been taking fertility pills, and she and Nathan had hit the jackpot. The businessman takes his newspaper and releases the machine door as he turns to leave. Hi snags the door before it closes and takes his own five- finger discount copy. He flips the paper over to look at the headline. FRONT PAGE OF NEWSPAPER The banner headline of the Tempe Intelligencer is: "ARIZONA QUINTS GO HOME!" The subhead: "More Than We Can Handle,' Laughs Dad." Next to it is a picture of Nathan. VOICE OVER Now y'all who're without sin can cast the first stone... A pull back from the paper shows Hi and Ed reading it together at home. They look from the paper to each other. Hi opens to an inside page and we pan a row of pictures - the five tots with their names underneath: "HARRY, BARRY, LARRY, GARRY and NATHAN JR." VOICE OVER ...but we thought it was unfair that some should have so many while others should have so few. BILLBOARD In the middle of the desert. It reads: "WELCOME TO TEMPE! POPULATION 13,948... PLUS FIVE!" EXT. TRAILER TWILIGHT We are floating in toward Ed who is seated, waiting, in the driver's seat of Hi's Chevy. Hi enters frame and cinches down a ladder that is tied to the roof of the car. Pieces of red flag flutter at either end of the ladder where it sticks out beyond the car. VOICE OVER With the benefit of hindsight maybe it wasn't such a hot idea... Hi gets in the car. FROM BEHIND THE CHEVY It starts down the long, winding road leading away from the trailer, kicking up dust. VOICE OVER ...but at the time, Ed's little plan seemed like the solution to all our problems, and the answer to all our prayers. The title of the film burns in: "RAISING ARIZONA". A building chord snaps off in a shock cut to: SUBURBAN LIVING ROOM EVENING Tableau of a couple at home. Nathan Arizona is on the telephone, his stocking feet up on an ottoman. Florence sits reading Dr. Spock's Baby and Child Care. The living room is dominated by a large oil portrait of Nathan and Florence, gazing out from the wall over the mantelpiece. NATHAN (into the phone) Eight hundred leaf tables and no chairs?! You can't sell leaf tables and no chairs! Chairs, you got a dinette set! No chairs, you got dick! I ask my wife she got more sense!... TITLE IS SUPERED: "THE ARIZONA HOUSEHOLD" From somewhere upstairs we hear an infant start to cry. Florence stops reading and looks up at the ceiling. Nathan is oblivious. NATHAN ...Miles, all I know is I'm away from the office to have me some kids and everything goes straight to heck! I ain't gonna stand for it! Another title is supered below the first: "SEPTEMBER 17, 1985". The baby stops crying and Florence's attention returns to her book. VOICE OVER ...Yeah, and if a frog had wings he wouldn't bump his ass a-hoppin'! I'm sick of your excuses, Miles! It is now... As he throws out his wrist to look at his watch a third title is supered beneath the first two: 8:45 p.m. VOICE OVER ...8:45 in the p.m. I'm gonna be down to the store in exactly twelve hours to kick me some butt! He starts to replace the receiver but brings it back with an afterthought: VOICE OVER ...Or my name ain't Nathan Arizona! As he slams the phone into the cradle the titles disappear. Another baby starts crying. Florence looks up at the ceiling. NATHAN That sounds like Larry. Close on the crying baby as Hi bounces it, gently but desperately. HI Shhhh! Shh! Nice baby... He starts to lower it back into the crib. The crib is unpainted with the name of each baby burned Bonanza-style into the headboard: Harry, Barry, Larry, Garry, and Nathan Jr. Instead of quieting as he is lowered into the crib, the squalling baby only sets off one of his brothers. Hi hurriedly lifts him back out. He looks desperately around the room. The room is wallpapered with nursery rhyme characters. There are toys strewn around. There is one adult-sized easy chair in the corner. Hi carries the baby over to the chair, stepping on and reacting to the squeal of a squeeze-me toy on the way. He sits the baby deep in - the chair and then returns to the crib to deal with the second crying baby. He lifts the baby out of the crib and gently bounces it. This baby stops crying. Another one in the crib starts bawling. Hi sets the second baby down on the floor and gives it a rattle to keep it pacified. He reaches for the third baby in the crib. Sweat stands out on Hi 's brow. He is desperately chucking the third baby under the chin when we hear a muffled PTHUMP! He whirls to look across the darkened room. The first baby has dropped off the easy chair and is energetically crawling away toward a shadowy corner. LIVING ROOM Nathan and Florence are sitting stock-still, staring at the ceiling. After a moment, another baby starts crying. NATHAN What're they, playing telephone? They stare at the ceiling. NURSERY Loose babies are crawling everywhere. Hi is skittering across the room in a half-crouch, a baby tucked under one arm, reaching out with the other as he pursues a crawling baby across the room. He hefts the other baby with his free arm and brings the air back to the crib. He turns to look frantically around the room. The other three babies have disappeared. There is perfect quiet. Hi goes over to the closet door, which is ajar, and swings it open. He reaches under a moving pile of clothes on the floor and pulls out a baby. He returns it to the crib and freezes, listening. The sound of a rattle. He drops to the floor to look under the crib. WIDE ANGLE UNDER CRIB A baby holding a rattle leers into the camera in the foreground. Behind him Hi, on his stomach, is reaching in to grab at his leg. Hi is pulling the baby out, away from the camera, when with a plop! a baby drops onto Hi 's back from the crib above. Hi twists one arm back to grope for the baby crawling on top of him. He is straightening up, a baby in each arm, when he reacts in horror to something he sees across the room. HI'S POV The hindquarters of a diapered baby are just disappearing around the corner of the nursery door into the hallway. LIVING ROOM Florence and Nathan are staring at the ceiling. After a beat we hear a muffled plop! on the ceiling. A beat later, the bleat of the squeeze-me toy. NATHAN ...Whyn't you go up and check on 'em? They sound restless. UPSTAIRS HALLWAY The floor-level wide-angle shot shows a baby crawling toward the camera in the foreground. Behind him, in the background, just rounding the open door from the nursery, yet another baby is making a mad dash for freedom. Hi emerges from the nursery and, stepping around the background baby, trots toward the baby in the foreground. By the time he reaches it the low-angle cropping shows us only his feet and calves. CLOSE ON HI Perspiring as he tiptoes the last two steps to the baby. HI'S POV The baby and, beyond it, the stairway down to the main floor. We hear footsteps approaching. BACK TO HI He scoops up the baby and hurriedly tiptoes away toward the nursery. LOW-ANGLE REVERSE The baby at the nursery door in the foreground; the staircase in the background. As Hi reaches the baby we hear footsteps climbing the stairs. Hi's free arm comes down into frame to scoop the baby up and out of frame just as: Florence's head appears, bobbing up as she climbs the stairs. She approaches the nursery, still clutching the Dr. Spock book. NURSERY As Florence enters from the hallway door. We track back into the room, on her, as she approaches the crib. Halfway there she freezes, staring, in shock. HER POV All of the babies have been replaced in the crib but not lying down: They are seated in a row, staring back at her, lined up against the far crib railing, like a small but distinguished panel on "Meet the Press." THROUGH THE WINDSHIELD OF THE CHEVY ED'S POV of Hi approaching the car. He is shrugging and displaying a pair of manifestly empty hands. CLOSE ON ED Barely able to fight down her anger. Hissing: ED What's the matter?! Hi appears at her - the driver's-window. HI Sorry honey, it just didn't work out. He is reaching to open the door but she slaps his hand away from the handle. ED What d'you mean it didn't work out?! HI They started cryin', then they were all over me... He is trying to open the door, which Ed is holding shut with all her might. HI ...It was kinda horrifying - Lemme in, honey. ED Course they cried! Babies cry! HI I know that now! Come on honey, we better leave - Ed is rolling up the window and locking the door. ED You go right back up there and get me a toddler! I need a baby, Hi; they got more'n they can handle! Muffled, through the closed window, and very forlorn: HI Aw honey I - ED Don't you come back here without a baby! NURSERY Florence is holding one of the babies cradled against her shoulder. She is facing the hallway door; her back is to the crib and window. The baby, peeping out over her shoulder, is facing the window. CLOSE ON BABY Looking. BABY'S POV Of the window, as Hi's head appears in it. BABY Looking. HI Looking back, he holds a finger to his lips. BABY Florence starts bouncing it, patting it on the back. BABY'S POV Hi and the window bouncing up and down. LIVING ROOM Nathan is leafing through the lingerie ads in the newspaper. We can hear Florence's returning footsteps. Muttering: NATHAN Christian Dior my butt... Florence enters. NATHAN ...They pay money for that? FLORENCE Yes dear. NATHAN How're the kids? FLORENCE Fine dear. NATHAN Fuckin' kids, I love 'em. We hear the bleat of the squeeze-me toy. Florence and Nathan look at the ceiling for a beat, then Nathan clears his throat and returns to the newspaper. CHEVY Ed sits anxiously waiting in the driver's seat, peering intently through the windshield. As she catches sight of something she breaks into a broad smile, unlocks the door, and slides over to the passenger seat. Hi is opening the door with one hand, cradling a baby in the other. ED Which one ya get? As he gets into the driver's seat: HI I dunno. Nathan Jr., I think. ED Gimme here. He hands her the infant, then hands her the copy of Dr.Spock's Baby and Child Care. HI Here's the instructions. ED Oh, he's beautiful! Hi nods as he pulls away from the curb. HI He's awful damn good. I think I got the best one. Ed is gushing and kissing the baby through the rest of the conversation. ED I bet they were all beautiful. All babies are beautiful! HI Yeah. This one's awful damn good though. ED Don't you cuss around him. HI He's fine, he is. I think it's Nathan Jr. ED We are doin' the right thing, aren't we Hi? - I mean, they had more'n they could handle. HI Well now honey we been over this and over this. There's what's right and there's what's right, and never the twain shall meet. ED But you don't think his momma'll be upset? I mean overly? HI Well a course she'll be upset, sugar, but she'll get over it. She's got four little babies almost as good as this one. It's like when I was robbin' convenience stores - Ed suddenly bursts out crying. ED I love him so much! HI I know you do, honey. ED (still sobbing) I love him so much! TRAILER LIVING ROOM As the lights are thrown on. The room is hung with streamers. A string of cut-out letters reads "Welcome Home Son!" HI (O.S.) Okay, bring him in! REVERSE Ed is entering with Nathan Jr. HI This is it young Nathan Jr. Just feast your eyes about, old boy! ED Don't be so loud around him, Hi. HI (softly) Damn, I'm sorry honey. ED And don't you cuss around him. HI Aw, he don't know a cuss word from shinola. ED Well see that he don't. HI (jovially) He's all right, he is. He reaches for the child. HI ...Come on over here, Nathan Jr., I'll show you around. He takes the baby in both hands and holds him out at arm's length, pointing him at the various places of interest. The baby looks goggle-eyed at each one. HI ...Lookahere, young sportsman. That - there's the kitchen area where Ma and Pa chow down. Over there's the TV, two hours a day maximum, either educational or football so's you don't ruin your appreciation of the finer things. This - here's the divan, for sociahzin' and relaxin' with the family unit. Yessir, many's the day we sat there and said wouldn't it be nice to have a youngster here to share our thoughts and feelin's - Impatient with the nonsense: ED He's tired, Hi. HI Well we'll just sit you right there, boy... He is propping Nathan Jr. up in the corner of the couch. Hi sits at the other corner and Ed sits in a facing chair. HI ...Just put those dogs up'n take a load off. Hi beams at Nathan Jr. Ed smiles at Nathan Jr. Nathan Jr. looks from one to the other, deadpan. They seem to be waiting for him to contribute to the conversation. Silence. Suddenly Hi slaps his knee. HI What are you kiddin'?! We got a family here! Ed is getting up. HI ...He's a scandal, honey! He's a little outlaw! As she picks up the baby: ED He's a good boy. HI He ain't too good! You can tell by that twinkle in his eye! ED Don't you think we should put him to bed? HI Hang on, honey... He is frantically reaching for a Polaroid camera. HI ...Let's us preserve the moment in pictures! ED Just one, okay?... She sits down on the couch with Nathan Jr. as Hi starts screwing the camera into a tripod. ED ...I gotta tell ya, I'm a little scared. Absently, as he sets up the camera: HI How come is that, honey? ED Well we got a baby, Hi. It's an awful big responsibility. As he peers through the lens: HI Honey, could ya slide over a tad and raise the nipper up? As she complies: ED I mean we never done this before and I'm kinda nervous. HI You're doin' real good, sugar. Hi sits on the couch, holding the camera's cable release. He puts his arm around Ed and smiles at the offscreen camera. Ed nestles her head against Hi's shoulder. ED I love you, Hi. HI We're set to pop here, honey. ED You're gonna help, aren't ya? Through his teeth as he continues to grin at the offscreen camera: HI How's that, honey? ED Give Nathan Jr. a normal family background, just quiet evenings at home together... We begin to hear distant thunder. HI You can count on it, honey. ED ...Everything decent'n normal from here on out. HI Uh-huh. As he squeezes the cable release - FLASH - the image momentarily freezes on Hi beaming, Nathan Jr. staring, and Ed looking at Hi with a little bit of concern. DARK FIELD SAME NIGHT The rolling thunder has built to a thunderclap at the cut, and the flash of the Polaroid match cuts to lightning throwing a momentarily harsh glare on the field. Rain beats down on the bare patch of ground we are looking at - by now just a patch of mud. Faraway lightning flickers and we hear the rumble of more thunder approaching, then suddenly: THWACK - A head pops up out of the mud. It is Gale, the con we saw in group therapy. He bellows as lightning and thunder flash and crack nearby. His head is covered with mud, although the driving rain is already starting to wash it away. We are beginning to track in an arc around Gale's head, who is now struggling, working to get his shoulders and arms up out of the mud. The end of the 180-degree arc and a flash of lightning reveal, way in the distance, the wire-topped walls of a penitentiary. Still bellowing, as if in some primal rage, Gale has gotten his muck-covered arms up out of the earth and is now pushing down to haul up the rest of his body. It comes with much effort, and with the loud sucking-popping sounds of the fiercely clinging mud. Finally he is free. With a great cry, the mud-covered man plunges his right arm straight back down into the earth, all the way up to his shoulder. He gropes intently and then, apparently having grabbed hold of something underground, he starts pulling. His arm comes slowly back up out of the mud. Clasped in his hand is - a human foot. Bellowing with effort he continues to pull, liberating the foot... leg... torso of his companion, and finally his head. As the rain starts to wash the mud off his companion's head we see that it is his friend Evelle. Both are bellowing. Mud sucks and pops. Thunder crashes. INT. GAS STATION MENS ROOM At the cut the ear-splitting thunder drops out to quiet. We hear only the muffled patter of rain and the hum of a bare fluorescent. The two bedraggled escaped cons are standing side by side, combing their hair in the mirror. The men seem absorbed in their task, using hair jelly from a jar that sits on the shelf between them to restore their duck's-ass haircuts. Evelle cracks the bathroom door and looks out into the rain. EVELLE ...Okay. GALE What is it? EVELLE Mercury. Looks nice. EXT. GAS STATION The two men are trotting out to a Mercury that sits untended at a gas island, a gas hose on automatic stuck in its tank. As Gale starts up the car Evelle yanks the hose out and drops it to the ground. Gale is already starting to peel out as Evelle gets in. WIDE SHOT TRAILER LIVING ROOM Late at night. Hi sits asleep on the sofa at the far end of the room, in a pool of lamp light. We hear faint, distant knocking. As we track in toward Hi the knocking becomes louder and more present. As we approach Hi we see that several Polaroids are spread over his gently rising and falling chest. By the time we tighten on his face the knocking has become quite loud. VOICE Open up! Hi starts awake with a grunt. VOICE ...Open up in air! He looks up, alarmed. HI'S POV The front door of the trailer. Someone is pounding insistently. VOICE Open up! It's a police! BACK TO HI He sits up and tenses. He looks around. Ed stands in her nightgown at the mouth of the hallway, holding Nathan Jr. and squinting at Hi. She hisses: ED Hi! What's goin' on? VOICE Po-lice, son! Open her up! Hi gets to his feet, hurriedly tosses the Polaroids under a cushion of the couch and takes out a gun. HI Get in the bedroom. ED They ain't gonna take Nathan?! HI Well I'd like to see 'em fly. As Ed turns back to the bedroom: VOICE Open up and maybe we'll letcha plea- bargain. BEDROOM As Ed enters and shuts the door. She listens hard at the door: Hi's footsteps cross the living room, the click of the door opening, silence... a burst of raucous male laughter. HI'S VOICE ...Honey! Come on out here! Want you to meet a couple friends of mine! LIVING ROOM As Ed enters, carrying Nathan Jr. All three men - Hi, Gale, and Evelle - are beaming at her. HI Honey, like you to meet Gale and Evelle Snopes, fine a pair as ever broke and entered. Gale roars with laughter. HI ...Boys, this - here's my wife. GALE Ma'am. EVELLE Miz McDunnough. Ed smiles politely, then squints at Hi. ED Kind of late for visitors, isn't it Hi? HI Well yeah honey, but these boys tell me they just got outta the joint. Gotta show a little hospitality. Gale is admiring the baby. GALE Well now H.I., looks like you been up to the devil's bidnis! EVELLE That a him or a her? ED It's a little boy. GALE Got a name, does he? Hi and Ed look at each other uncomfortably. Hi clears his throat. HI Well so far we just been using Junior. ED We call him Junior. EVELLE Say, thairs good - JR., just like on the Teevee. Gale is staring at the streamers and decorations. Reading aloud: GALE "Welcome... Home... Son." Where's he been? Hi and Ed respond simultaneously: HI Tulsa. ED Phoenix. HI He was, uh... he was visiting his grandparents. ED They're separated. GALE Was that yer folks ma'am? ED No, I'm afraid not. GALE I thought yer folks was dead, H.I.? HI (very uncomfortably) Well we thought Junior should see their final resting place - Whyn't you boys have a seat? As the two men move toward the couch Ed hesitantly pipes up: ED Hi, it's two in the morning... She wrinkles her nose. ED ...What's that smell? Apologetically: GALE We don't always smell like this, Miz McDunnough. I was just explainin' to yer better half here that when we were tunneln' out we hit the main sewer - dumb luck, that - and just followed that to - ED You mean you busted out of jail!! GALE Waaaal... EVELLE We released ourselves on our own recognizance. GALE What Evelle means to say is, we felt the institution no longer had anything to offer us. He is looking at the baby. GALE ...My Lord he's cute. EVELLE He's a little outlaw, you can see that. ED Now listen, you folks can't stay here! Gale, Evelle, and Hi look up at Ed, dumbstruck. After a beat: EVELLE ...Ma'am? ED You just can't stay! I appreciate your bein' friends of Hi and all, but this is a decent family now... She looks at Hi. ED ...I mean we got a toddler here! Gale leans in close to Hi, a look of sincere concern on his face, and says under his breath: GALE Say, who wears the pants round here H.I.? HI Now honey - ED Don't you honey me. Now you boys can set a while and catch up, and then you'll be on your way. There is an awkward silence as she leaves and slams the bedroom door. Gale is carefully studying his thumbnail; Evelle stares fixedly at the ceiling. Still looking at his thumb: GALE Gotcha on a awful short leash, don't she H.I.? BEDROOM Sometime later, as Hi tiptoes in. Ed lies in bed facing the wall; we see only the back of her head. Hi sits gingerly on the edge of the bed and, smiling, sticks a finger through the bars of the crib to play with the baby. The sound of the TV set in the living room filters faintly in. ED They still here? Hi is momentarily startled, then goes on playing with the baby. HI Yeah, they're just gonna stay a day or two. It's raining out honey, they got nowhere to go. Ed finally turns to face him. We hear the two men laugh raucously in the living room. ED They're fugitives, Hi... Hi turns to face her. ED ...How're we gonna start a new life with them around? HI Well now honey you gotta have a little charity. Ya know, in Arab lands they'd set out a plate - ED Promise just a day or two. HI Tonight and tomorrow, tops. EXTREME HIGH ANGLE Looking straight down at Hi, asleep in bed. It is later: filtering softly in from the other room is the end of the "Star Spangled Banner" on TV. We are craning down. VOICE OVER That night I had a dream. FLASH CUT For a brief moment we see a wall of flames and hear it roar. BACK TO HI Still craning down. VOICE OVER ...I'd drifted off thinkin' about happiness, birth, and new life... FLASH CUT Wall of flames. Deafening roar. BACK TO HI Craning down. The faint National Anthem ends: we hear the WEEEEEEEE of a test pattern. VOICE OVER But now I was haunted by a vision of - WALL OF FLAMES Roaring. At the cut: WHOOOOOSH! a huge low-rider motorcycle bursts through the flames, its engine roaring even louder than the fire. Its driver is a huge leather-clad hellion. The chains worn by the Biker clank ominously as he rides. VOICE OVER He was horrible... The Biker roars out of frame. LOW-ANGLE REVERSE As the Biker roars into frame, his rear tire laying down a wake of fire. VOICE OVER ...a lone biker of the apocalypse... TRACKING ON BIKER As he roars along a ribbon of desert highway. VOICE OVER ...a man with all the powers of her at his command. The Biker reaches for his bullwhip. VOICE OVER ...He could turn the day into night... The Biker cracks the whip and, at the crack: The sky behind him turns instantly to black. Bolts of lightning crackle across it as thunder roars. ANOTHER DESERT SCENE DAY Tracking with and also in on the Biker from behind as he roars along a strip of highway. He is reaching for the two sawed-off shotguns which are strapped crisscross across his back. VOICE OVER ...and laid to waste everything in his path. REVERSE TRACK ON BIKER Pulling the Biker from a distance as he levels the two shotguns. The tracking camera pulls back further to reveal a running jack-rabbit keeping pace with us in the foreground. VOICE OVER He was especially hard on the little things... CRACK - as the first shotgun spurts orange the foreground rabbit keels over. The Biker slues the other gun around. LOCKED-DOWN WIDE SHOT On a rock in the foreground, a desert lizard suns himself. The Biker is approaching in the distant background. VOICE OVER ...the helpless and the gentle creatures. CRACK - from afar, the foreground lizard is blown away. LOCKED-DOWN LOW-ANGLE WIDE SHOT Of the empty desert road stretching away. In the foreground a lone desert flower blooms. The Biker roars into frame. VOICE OVER He left a scorched earth in his wake, befouling even the sweet desert breeze that whipped across his brow. As the Biker roars away, the foreground flower bends with his draft and then bursts into flame. TRACKING ON BIKER From in front. He twirls the shotguns in either hand and reaches back to plunge them over his shoulders into their holsters. VOICE OVER I didn't know where he came from or why... We are moving in on his chest, where two crisscrossed bandoliers carry two rows of hand grenades, their silver pins glinting in the sun. We follow the line of one of the bandoliers up to his right shoulder which bears the tattoo: "Mama Didn't Love Me." VOICE OVER I didn't know if he was dream or vision... REVERSE TRACK ON BIKER From behind, booming down as we track. We are approaching the crest of a rise. VOICE OVER But I feared that I myself had unleashed him... HIGH SHOT Of the Biker approaching, craning down as he draws near. VOICE OVER ...for he was The Fury That Would Be... With the crane down we momentarily lose him from view over the rise; then suddenly - ROAR - he tops the rise and, wheels spinning, is airborne REVERSE As he crashes back down to earth in the foreground and roars away. Only now we are no longer in the desert: We are looking down a twilight street at the end of which is the Arizona house. VOICE OVER ...as soon as Florence Arizona found her little Nathan gone. The roar of his engine and clank of his chains recede as the Biker gradually dissolves into thin air. We are left looking at the empty street and the faraway Arizona house. The receding roar has left behind eerily beautiful singing, a woman singing a lullaby. Faintly, behind the singing, there is also a droning high-pitched noise. The camera starts floating forward very close to the ground, moving slowly toward the Arizona house. The high-pitched drone is becoming less faint under the singing. The camera is accelerating. The drone is growing louder - we can now tell that it is a human scream. As we approach the Arizona house we can see that a ladder is propped up to a second-story window. We are moving quite fast now. The scream all but buries the singing. We are rushing toward the house, toward the base of the ladder, the sustained scream drawing us on. We hurtle toward and then straight up the ladder with no abatement of speed, sucked forward by the deafening scream. We reach the top and hurtle - THWAP! - through the white curtains of the open second-story window into the nursery to reveal Florence Arizona, her back to us, screaming over the crib. We are rocketing toward her. She is turning to us, hands pressed to her ears, mouth stretched wide in an ear-splitting shriek and we are rushing into an extreme close-up of her gaping mouth and her wildly vibrating epiglottis and we CUT TO: EXTREME CLOSE SHOT OF HI'S EYES As they snap open. The screaming snaps off at the cut. The singing that the building scream covered, however, is now audible again. Perspiration beads Hi's forehead. He looks down toward the foot of the bed. THE BEDROOM It is now morning. Ed walks back and forth, gently bouncing the baby as she walks. She is singing it a lullaby. Faintly, from the next room, we can hear Gale and Evelle snoring away like buzz saws. HI (groggily) He all right? ED He's all right. He was just havin' a nightmare. Hi is getting out of bed. HI Yeah, well... He crosses to the bedroom window and cracks the venetian blind. Orange light filters in. HIS POV Beyond a clothes line and a septic tank, a huge orange ball of sun is rising. We can almost hear the roar of its burning surface. BACK TO HI Looking. HI ...Sometimes it's a hard world for little things. HIS POV The orange sun, rumbling, perceptibly rising. ARIZONA HOME FRONT FOYER At the cut the rumble of the sun is snapped off by the high- pitched ba-WEEEEeeee... of a strobe going off as a flash picture is taken: We are looking over Nathan Jr.'s shoulder as he stands at his open front door, facing a battery of press people who stand out on the porch. An obie light over a local TV news camera glares in at us; various flashbulbs pop. NATHAN No, the missus and the rest of the kids've left town to I ain't sayin' where. They'll be back here when we're a nuclear fam'ly again. VOICE Mr. Arizona, which tot was abducted? NATHAN Nathan Jr., I think. VOICE Do you have anything to say to the kidnappers? NATHAN Yeah: Watch yer butt. VOICE Sir, it's been rumored that your son was abducted by UFOS. Would you care to comment? NATHAN (sadly) Now don't print that, son. If his mama reads that she's just gonna lose all hope. A POLICEMAN from inside the house is taking Nathan by the elbow. POLICEMAN We really have to ask you some more questions, sir... As Nathan allows himself to be led back into the house he calls back over his shoulder: NATHAN But remember, it's still business as usual at Unpainted Arizona, and if you can find lower prices anywhere my name still ain't Nathan Arizona! We are following the two, hand-held, as the Police leads Nathan toward the living room. LIVING ROOM The room is filled with policemen milling about in several different uniforms: local police, state troopers, plainclothes detectives. The original Policeman is leading Nathan to a table where a white-smocked technician is preparing inkpad and exemplar sheets. The dialogue is urgent, rapid-fire and overlapping. POLICEMAN Mr. Byrum here can take your exemplars while you talk. MR. BYRUM has taken Nathan's right hand and is rolling its fingers onto the inkpad. BYRUM Just let your hand relax; I'll do the work. Nathan jerks his hand away. NATHAN What is this?! I didn't steal the damn kid! Two men in conservative suits are approaching. POLICEMAN Sir, these men are from the FBI- NATHAN (bewildered) Are you boys crazy?! All I know is I wake up this morning with my wife screaming- BYRUM (patiently) We just need to distinguish your prints from the perpetrators', if they left any. Giving his hand back: NATHAN Course! I know that! FBI #1 Sir, we have an indication you were born Nathan Huffhines; is this correct? NATHAN Yeah, I changed m'name; what of it? FBI #2 Could you give us an indication why? NATHAN Yeah, would you buy furniture at a store called Unpainted Huffhines? FBI #1 All right, I'll get to the point- UNIFORMED COP Was the child wearing anything when he was abducted? NATHAN No one sleeps nekkid in this house, boy! He was wear- FBI #1 I'm asking the questions here, officer. COP If we're gonna put out an APB we need a description of the - NATHAN He was wearin' his- FBI #2 It's just that we're better trained to intervene in crisis situations (to Nathan) What was he wearing? NATHAN A dinner jacket! Wuddya think, he was wearing his damn jammies! FBI #2 (to cop) The child was wearing his jammies. Are you happy? FBI #1 Do you have any disgruntled employees? NATHAN Hell, they're all disgruntled! I ain't runnin' a damn daisy farm! COP What did the pajamas- NATHAN My motto is do it my way or watch your butt! COP What did the pajamas- FBI #1 So you think it might have been an employee? NATHAN Don't make me laugh. Without my say- so they don't piss with their pants on fire. COP What did the pajamas look like? FBI #1 (pained) Officer- NATHAN (bellowing) I dunno, they were jammies! They had Yodas'n shit on 'em! BELLOWING VOICE OFFSCREEN Would ya mind, I'm trying to set up a Command Post here! Nathan bellows back: NATHAN Get your feet off m'damn coffee table! Also raising his voice at the offscreen bellower: FBI #1 Ron, you're upsetting the victim. Nathan is getting worked up. NATHAN Damnit, are you boys gonna go chase down your leads or are you gonna sit drinkin' coffee in the one house in the state where I know my boy ain't at?! FBI #2 Sir, there aren't any "leads" yet, aside from this coat- NATHAN Gimme that! He grabs the overcoat being displayed by FBI #2. NATHAN That's a five-hundred-dollar camel's hair- BYRUM Sir, you might want to wash your hands at this point. Nathan realizes that he's gotten ink from his fingerprinting all over the coat. NATHAN Well goddamnit! He is rising to his feet and hurling the coat to the floor. NATHAN ...No leads?! He furiously kicks the coat. NATHAN ...Everyone leaves microbes'n whatnot! Throughout the speech Nathan stalks the room, working himself into a frenzy, furiously putting coffee cups onto coasters, generally cleaning up, hectoring the police, and swiping their feet off his furniture. NATHAN ...Hell, that's your forte, trackin' down them microbes left by criminals'n commies'n shit! That's yer whole damn raison d'itre! No leads?! I want Nathan Jr. back, or whichever the hell one they took! He's out there somewhere! Somethin' leads to him! And anyone can find him knows the difference between a lead and a hole in the ground!! HOLE IN THE GROUND - DAY Specifically, it is the hole in the muddy patch of earth that Gale and Evelle climbed out of. We hear only the squish - suck of many feet walking around in the mud offscreen. We are pulling back to reveal the feet-the shiny black patent leather shoes and blue pants cuffs - becoming quickly spattered - of several policemen milling about the hole. German shepherds sniff around also. With a roar, motorcycle wheels enter frame. The bike's jackbooted rider casually tools around the hole once; police step back and dogs skitter away to give him room. He backs toward the camera and stops, standing astride the bike. The burning stub of a cheroot is dropped into frame; it hisses angrily and dies in the mud. We start to crane up. The whipcracking Biker cue mixes up. The Biker's motorcycle idles with a deep rumble, like the roar of fire on the sun. We are now framed looking over the Biker's shoulder. The policemen's attitude to him seems to be deferential. One cop in front of him is pointing a direction. The Biker is shaking his head; he doesn't think they went that way. Suddenly, with a loud whipcrack effect, the Biker's head snaps to profile. He is staring across the field, stock-still, having heard, smelled or sensed something. The dogs milling around the hole also react, snapping to attention, a split second after the BIKER. THEIR POV A jackrabbit is bounding away at the far end of the field. THE DOGS After a moment, their attention returns to the hole. THE BIKER His attention also returns to the matter at hand. He squints, concentrating. His bike rumbles. Gradually his face sets in a specific direction. We pan down to the tattoo on his shoulder: "Mama Didn't Love Me." His shoulder flexes once or twice as he revs the throttle; then he puts the bike in gear and it roars out of frame. TRAILER KITCHEN CLOSE ON GALE AND EVELLE They are both intently munching cornflakes, staring at something offscreen. After a beat: EVELLE ...Awful good cereal flakes, Miz McDunnough. THEIR POV Ed is sitting in the living room, bottle-feeding Nathan Jr. She is surrounded by the rumpled sheets and blankets used by the house guests. She does not respond to the ice-breaker. Gale puts his spoon down and picks up a cigarette which has been smoking in the ashtray next to him. There is a bead of milk dribbling down his chin. He takes a contemplative puff, studying Ed. GALE ...Whyncha breast feed him? You 'pear to be capable. ED Mind your own bidnis. Through a mouthful of cornflakes: EVELLE Ya don't breast feed him, he'll hate you for it later. That's why we wound up in prison. Gale blows out smoke and picks up his spoon to start back in on his cornflakes. GALE Anyway, that's what Doc Schwartz tells us. Hi is walking in, yawning. HI Boys. EVELLE Morni', H.I. Sharply, as Hi sits and starts to pour cornflakes into a bowl: ED ...Hi. Hi holds the cornflakes box arrested in mid-air. He looks at Ed, who is motioning to gale and Evelle with her eyes. HI Oh yeah... Say boys, you wouldn't mind makin' yourself scarce for a couple hours this afternoon? ED We're havin' some decent friends over. Gale and Evelle are looking dumbly from Ed to Hi. HI Heh-heh... What Ed means to say is, seein' as you two boys are wanted, it wouldn't exactly do to have folks seein' you here - I mean for your own protection. GALE Sure H.I. EVELLE Anything you say. More relaxed now, to Ed: HI Matter of fact honey, maybe I'll skip this little get-together myself, Glen won't mind, and I'll just duck out with the boys, knock back a couple of-uh, Co-Colas- GALE Sure H.I. EVELLE We'd love to have ya. CLOSE ON ED Looking pleadingly at Hi. BACK TO HI Feeling the look, he goes back to his cornflakes. HI ...Well... maybe that ain't such a hot idea either. Gale leans back to blow smoke at the ceiling. GALE (bitterly) So many social engagements. So little time. WIDE SHOT GAS STATION BATHROOM It is the bathroom where we earlier saw Gale and Evelle combing their hair, now empty. We are looking toward the door. The bathroom is quiet except for the dripping sink, and the faint rumble of an approaching motorcycle. It grows louder, then begins to recede as the bike shoots by the station. Suddenly we hear the screech of the bike's brakes. EXT. THE STATION We are on the road outside the gas station as the motorcycle screeches to a halt in the foreground. The low wide shot crops the BIKER at his shins. In the background behind him is the gas station. The Biker pauses for a moment, thinking or feeling. BACK TO INT. BATHROOM We hear the rumble of the bike approaching, very loud. CRASH - the bathroom door flies open as the Biker bursts in astride his hog, bright daylight streaming in with him to throw him into imposing silhouette. The shafts of light pouring in are defined by motes of dust dancing in the air. HIS POV Fast track in on the jar of hair jelly sitting on the shelf under the mirror. BACK TO BIKER An extreme close shot shows his nostrils dilating as we hear him sniff. He revs the rumbling bike, stealing thunder from a far mountain. FRONT STOOP OF TRAILER Hi, with Ed standing by, is just opening the door to a young couple. Glen is a short stocky blond man in his early thirties, wearing Bermuda shorts. DOT is wearing slacks, heels, and a scarf over her hair. HI Glen, Dot- As the door opens, Dot hops up the stoop shrieking. DOT Where's at baby? Where's he at? From behind, Glen gives her an energetic THWOK on the ass. GLEN Go find him honey! Dot spins and smacks Glen across the face with her purse. Through clenched teeth: DOT Cut it out, Glen! He reels under the blow. ED (quietly) He's asleep right now. Dot shrieks again, but this time muffles it with her own hand. She tiptoes into the trailer, hand to her mouth. Glen, rubbing his cheek, seems angry at himself. GLEN Shit, I hope we didn't wake it! DOT Can I just sneak a peek-a-loo? Glen at the top of the stoop, turns out to the yard. GLEN Come on kids... WIDE SHOT GLEN AND DOT'S KIDS A scad of children, ranging in age from two to seven, are crawling over Hi's car. One is beating on it with a large stick, another sits on the hood pulling back one of the windshield wipers, etc. GLEN ...Get away from Mr. McDunnough's car. TRAILER BEDROOM As Ed and Dot enter, Ed beaming as they go to the crib. DOT What's his name? ED Uh... Hi Jr. Till we think of a better one. DOT Whyncha call him Jason? I love Biblical names. If I had another little boy I'd name him Jason or Caleb or- Oh! She puts her hand to her forehead, reacting to the baby as if she is about to faint. DOT ...He's an angel! She hides her face in her hands and looks away as if blinded, then sneaks a look around her hands. DOT ...He's an angel straight from heaven! Now honey I had all my kids the hard way so you gotta tell me where you got this angel. Did he fly straight down from heaven? ED Well- DOT You gonna send him to Arizona State? TRAILER LIVING ROOM / KITCHEN The weaving knee-level tracking shot is following a six-year- old boy in shorts and a dirty T-shirt as he tramps around the trailer, brandishing a big stick. He strikes the walls, furniture, various other objects with his stick, hollering "Bam! Bam-Bam!" with each blow. The track weaves off him and onto Hi, who is bending down to pull a couple of beers from the refrigerator. He raises his voice to make himself heard over the din of all the children boiling around the room: HI Need a beer, Glen? GLEN Does the Pope wear a funny hat? Hi considers this. HI ...Well yeah, Glen, I guess it is kinda funny. GLEN Say, that reminds me! How many Pollacks it take to screw up a lightbulb? HI I don't know Glen, one? Hi looks down. One of Glen's children, in a cowboy hat, is squirting a squirt gun into his crotch area. GLEN Nope, it takes three! He starts laughing, then catches himself. GLEN ...Wait a minute, I told it wrong. Here, I'm startin' over: How come it takes three Pollacks to screw up a lightbulb? HI I don't know, Glen. GLEN Cause they're so durn stupid! He laughs; Hi doesn't react. GLEN ...Shit man, loosen up! Don't ya get it? Hi looks over at the TV, which the bam-shouting six-year-old is banging with his stick. HI No Glen, I sure don't. GLEN Shit man, think about it! I guess it's what they call a Way Homer. HI Why's that? GLEN Cause you only get it on the Way Home. HI I'm already home, Glen. The kid in the cowboy hat is reaching up to slap Hi on the ass. KID You wetchaself! Mr. McDunnough wet hisseff, Daddy! GLEN Say, that reminds me! How'd you get that kid s'darned fast? Me'n Dottie went in to adopt on account of something went wrong with m'semen, and they told us five years' wait for a healthy white baby! I said healthy white baby! Five years! Okay, what else you got? Said, two Koreans and one Negro born with the heart outside... He takes a sip of beer. GLEN ...Yeah, it's a crazy world. HI Someone oughta sell tickets. GLEN Sure, I'd buy one. Hi is looking at another child who is just finishing off the T in FART in crayon on the wall. Glen chuckles, looking at his errant child. GLEN ...That Buford's a sly one. Already knows his ABCs. But I'm sayin', how'd ya get the kid? HI Well this whole thing is just who knows who and favoritism. Ed has a friend at one of the agencies. GLEN Well maybe she can do something for me'n Dot. See there's something wrong with m'semen. Say, that reminds me! What you gonna call him? HI Uh, Ed-Ed Jr. GLEN Thought you said he was a boy. HI Well, as in Edward. Just like that name. GLEN (not really interested) Yeah, it's a good one... Course I don't really need another kid, but Dottie says these-here are gettin' too big to cuddle. Say, that reminds me! The sound of shattering glass. Glen looks around. GLEN Mind ya don't cutchaseff, Mordecai... EXT. PICNIC GROUNDS Dot faces Hi and Ed across a picnic table covered with grilled hamburgers, rolls, green jello mold, cooler, etc. One of the younger children sits in the middle of the table, occasionally taking a fistful of jello and flinging it at Hi. The two women don't seem to notice. DOT ...and then there's diphtheria- tetanus, what they call dip-tet. You gotta get him dip-tet boosters yearly or else he'll get lockjaw and night vision. Then there's the smallpox vaccine, chicken pox and measles, and if your kid's like ours you gotta take all those shots first to get him to take 'em. Who's your pediatrician, anyway? ED We ain't exactly fixed on one yet. Have we Hi? Hi sits stock-still with a stony face. ED ...No, I guess we don't have one yet. Dot shrieks. DOT Well you just gotta have one! You just gotta have one this instant! ED Yeah, what if the baby gets sick, honey? DOT Hi, even if he don't get sick he's gotta have his dip-tet! ED He's gotta have his dip-tet, honey. Hi shrugs, then flinches as a piece of jello hits his shoulder. HI ...Uh-huh. DOT You started his bank accounts? ED Have we done that honey? We gotta do that honey. What's that for, Dot? DOT That-there's for his orthodonture and his college. You soak his thumb in iodine you might get by without the orthodonture, but it won't knock any off the college. Hi sits stoically. Dot is looking offscreen: DOT ...Reilly, take that diaper off your head and put it back on your sister!... Anyway, you probably got the life insurance all squared away. ED You done that yet honey? DOT You gotta do that, Hi! Ed here's got her hands full with that little angel! HI (dully) Yes ma'am. DOT What would Ed and the angel do if a truck came along and splattered your brains all over the interstate? Where would you be then? ED Yeah honey, what if you get run over? DOT Or you got carried off by a twister? LAKESIDE PATH We are tracking on Hi and Glen as they walk side by side. Glen is sopping wet, wearing only swimming suit and wing- tipped shoes. His body is ghostly pale except for a V-area at his neck and his arms below the short-sleeve line, which are a bright angry red. GLEN Hear about the person of the Polish persuasion he walks into a bar holdin' a pile of shit in his hands, says "Look what I almost stepped in." Glen bursts out laughing; Hi walks on in silence. HI ...Yeah, that's funny all right... GLEN Ya damn right it's funny! Shit man, what's the matter? HI I dunno... maybe it's wife, kids, family life... I mean are you, uh, satisfied Glen? Don't y'ever feel suffocated? Like, like there's somethin' big pressin' down... GLEN (solemnly) Eeeeeyep... I do know the feelin'. Hi shakes his head. HI Dunno- GLEN And I told Dottie to lose some weight but she don't wanna listen! He roars with laughter and slaps Hi heartily on the back. As he chuckles sympathetically: GLEN ...No man, I know what you mean. You got all kinds a responsibilities now. You're married, ya got a kid, looks like your whole life's set down and where's the excitement? HI Yeah Glen, I guess that's it. GLEN Okay! That's the disease, but there is a cure. HI Yeah? GLEN Sure; Doctor Glen is tellin' ya you can heal thyself. HI What do I gotta do? GLEN Well you just gotta broaden your mind a little bit. I mean say I asked you, what do you think about Dot? HI (puzzled) Fine woman you got there. Glen is eyeing him shrewdly. GLEN Okay. Now it might not look like it, but lemme tell you something: She's a hellcat. HI That right? GLEN T-I-G-E-R. HI But what's that got to do with- GLEN Don't rush me! He stops walking. Hi stops also, looking at Glen, Still puzzled. Glen lays a companionable hand on his shoulder. GLEN Now the thing about Dot is, she thinks- and she's told me this- He looks around as if to make sure they are not being overheard. His tone is confidential. GLEN ...she thinks... you're cute. Hi looks suspiciously at Glen's hand on his shoulder. HI ...Yeah...? Glen nods energetically: GLEN I'm crappin' you negative! And I could say the same about Ed! Through tightly clenched teeth: HI What're you talkin' about, Glen? GLEN What'm I talkin' about?! I'm talkin' about sex, boy! What the hell're you talkin' about?! You know, "L'amour"?! I'm talkin' me'n Dot are Swingers! As in "to Swing"! Wife-swappin'! What they call nowadays Open Marriage! Beaming, he takes his hand off Hi's shoulder and spreads his arms. GLEN I'm talkin' about the Sex Revolution! I'm talkin' about- THWAK - Hi's fist swings into frame to connect solidly with Glen's jaw. Glen's feet leave the ground. He flies back and lands in a heap. LOW-ANGLE REVERSE Glen in the foreground, groggily rubbing his jaw; Hi approaching menacingly. HI Keep your goddamned hands off my wife! GLEN Shit man! He is scrambling to his feet. GLEN ...I was only tryin' to help! HI Keep your goddamned hands off my wife! With Hi still advancing, Glen starts to run. TRACKING ON GLEN With Hi pursuing in the background. Glen is looking back over his shoulder to shout at Hi as he runs. GLEN You're crazy! I feel pity for you, man! You- CRASH! - Glen runs smack into a tree and drops like a sack of cement. INT. CAR NIGHT Hi is driving, his jaw rigidly set, his temple throbbing. Nathan Jr. sits in a safety seat between him and Ed. ED We finally go out with some decent people and you break his nose. That ain't too funny, Hi. HI (stolidly) His kids seemed to think it was funny. ED Well they're just kids, you're a grown man with responsibilities. Whatever possessed you? HI He was provokin' me when I popped him. ED How'd he do that? HI ...Never mind. ED But Hi, he's your foreman, he's just gonna fire you now. HI I expect he will. ED And where does that leave me and Nathan Jr.? HI With a man for a husband. He is pulling into a convenience store parking lot. ED That ain't no answer. HI Honey, that's the only answer. He puts the car in park but leaves it running. HI ...Nathan needs some Huggies. I'll be out directly. As he gets out of the car: HI ...Mind you stay strapped in. INT. STORE A hand enters to take a package of panty hose from the standing rack. CLOSE SHOT HUGGIES A hand enters to take a big carton of disposable diapers from the shelf. CLOSEUP CASHIER A pimply-faced lad with a paper 7-Eleven cap on his head. He is looking up from a dirty magazine, reacting in horror to something approaching. HI'S POV Hi is approaching the check-out island with a gun in one hand, the carton of Huggies tucked under the other. The L'Eggs stocking is pulled over his head to distort his features. HI I'll be taking these Huggies and whatever cash you got. CLOSE SHOT CASHIER'S HAND As he presses a silent alarm under the lip of his counter. EXT. CAR Ed is reading to Nathan Jr. from a large picture book. ED "Not by the hair of my chinny-chin- chin." Then I'll huff and I'll puff...' She pauses for a moment, listening. We can barely hear a distant siren. She resumes absently, but her voice trails off. ED "...and I'll blow your house in..." We can definitely hear the WHOO-WHOO of the siren now, and it is definitely approaching. Ed hooks an arm around the seat and looks behind the car, then looks forward. HER POV Indistinctly visible through the semi-reflective glass are two figures at the check-out island. One is pointing something at the other. BACK TO ED As the siren is growing louder. Under her breath: ED That son-of-a-bitch. She unstraps herself and gets out of the car. INT. STORE Two-shot of Hi and the CASHIER, who is stuffing bills into a grocery bag. Beyond them we can see Ed, outside, circling the front of the car. Her shout is muffled through the glass: ED You son-of-a-bitch! With this Hi notices her. He turns to the Cashier. HI Better hurry it up. I'm in dutch with the wife. But Ed is already getting into the driver's seat of the car. BACK TO ED As she slams the car door shut. The siren is quite loud now. ED That son-of-a-bitch. Hang on, pumpkin. The car squeals out of the lot. WIDE SHOT THE STREET The squad car tops a rise to bounce into view, its siren wailing. BACK TO THE STORE Hi bursts out the door, still wearing the stocking. The carton of Huggies is still tucked under one arm. Bellowing hopefully after his departing car: HI Honey! We hear the SMACK-CRACK of a gunshot and glass impact, but the approaching squad car is still too far down the block to have been the source. Hi looks around the parking lot, bewildered. The wailing siren is becoming painfully loud. Hi looks behind him at the plate-glass front of the store, where a bullet pock mars the glass. HIS POV Through the glass we see the pimply young Cashier with the paper 7-Eleven cap pop up from behind the counter to sight down his huge .44 Magnum for another shot. The gun is so big he uses both hands to heft it. SMACK-CRACK - the bullet kisses another hole in the glass. Hi is off and running. The squad car is screeching into the lot. An officer tumbles out of the passenger side before the car is fully stopped. He rolls on the pavement, then hurriedly rights himself and takes up a half-kneeling shooting stance. At the same time the little Cashier is emerging from the 7- Eleven with his gun. The two bang away at Hi's retreating figure - the Policeman's revolver popping, the Cashier's Magnum booming. We hear the Policeman who is still in the car drawling over its loudspeaker: SPEAKER Halt. It's a police warning, son. Put those groceries down and turn yourself in. TRACKING ON HI Legs pumping, panty hose still over his head, its unused leg streaming behind him like an aviator's scarf. The gun is tucked into his belt; the Huggies are tucked securely under his arm. Behind him we can see the OFFICER and the Cashier squeeze off another couple shots, and then the policeman piles back into the squad car. ED'S CAR Driving. She hears distant gunshots. ED That son of a bitch... Hold on, Nathan. We're gonna go pick up Daddy. She hangs a vicious U-turn. TRACKING ON HI Huffing and puffing down the road with his Huggies. The cop car careens onto the street in the background, its siren wailing. The PASSENGER COP is leaning far out his window, one hand gripping the light-and-siren rack, the other pointing a gun at Hi, shooting away. Bullets whizz past. Suddenly, with a soft pthunk! the Huggies box pops forward, out from under Hi's arm - hit by a bullet. Still running, Hi reaches forward, tries to catch it on the fly, bobbles it, tips it - loses it. He overruns it a couple steps before he can bring himself up short. He turns and reaches to pick up the box but - PING-PING - bullets chew up the road near his hand. Leaving the Huggies, Hi takes off through a well-manicured yard. The police car is proceeding on down the street to catch him around the corner, the driver still drawling over his loudspeaker: SPEAKER That's private property, son. Come back out to the street and reveal yourself to Officer Steensma and Officer Scott - that's me. YARD Hi vaults a fence to land in the backyard. As he straightens to his feet we hear a horrible snarling and barking. A huge black Doberman is bounding across the lawn. It looks like it means to rip Hi's throat out. LOW TRACKING SHOT TOWARD HI The dog's racing POV as it bounds toward the paralyzed Hi. The dog leaps - camera flying up toward Hi's face - and: CLOSE SHOT HI'S FROZEN PROFILE The dog's slavering muzzle flies into frame and - stops, bare inches from Hi's nose, and the dog falls back, having reached the end of his chain. Hi resumes running. CLOSE On the dog, snarling and straining against the end of his chain. TRACKING Down along the chain toward the spike mooring it to the ground. As the dog strains, the spike starts to stir in the ground. Other dogs can be heard barking now, the Doberman having started a sympathetic wave. ED'S CAR Her jaw set, she takes a hard turn, looking this way and that. ED That son of a bitch... The police car approaches and roars by, the Passenger Cop still hanging out his window. ED ...Lookie Nathan, a police car... She is looking in her rearview mirror. ED ...Say, that looks like Bill Steensma. LOW TRACKING SHOT The camera is shooting forward at ground level, following the Doberman as it bounds along. The Doberman is dragging his chain and spike, which stretch into the foreground, bumping and scraping along the road. Far ahead we can see Hi running, then turning down an intersecting street. A second dog peels into the road to bound along with the Doberman. TRACKING BEHIND HI Running up a dark street. There is an oncoming pickup. Hi runs directly at it. INT. PICKUP The DRIVER screams and brakes - not quite in time. Hi rolls onto the hood, and off, and gamely trots over to open the passenger door. The Driver is leaning over to tell him: DRIVER Son, you got a panty on your head. HI Just drive fast... He is displaying his gun as he starts to climb in. HI ...and don't stop till I tell ya. Before Hi can get his door shut the Driver is obediently peeling out. Hi is reacting to an oncoming car. He peels the stocking off to look, and leans across the Driver's lap to bellow as Ed's car passes: HI ...Honey! Hi turns to look through the back window. HIS POV Ed's car is braking and spinning into a U-turn. BACK TO HI Leaning out the window. HI Mind the baby now! Next to him, the Driver is screaming. As Hi turns forward, the entire windshield explodes in. THEIR POV The pimply-faced Cashier from the 7-Eleven is standing in the middle of the road ahead, sighting down his .44 Magnum for another shot. We are rushing in. THE DRIVER Still screaming. THE CASHIER Ready to fire and - THUMP - he is bowled over by the arriving Doberman, still trailing chain and spike, and now accompanied by three other dogs, all braying at the top of their lungs. Still screaming, the Driver puts his body into a hard right turn to avoid the Cashier and hellhounds. NEW STREET Roaring up the new street, they are now directly in the path of the oncoming police car, its siren wailing, barreling straight at them. Still screaming, the Driver leans into another hard right. Wind is whistling in through where the windshield used to be. Two wheels hop curb as the car skids into the new street, fishtails, and roars away. ED'S CAR She hears dogs, siren, squealing brakes on an adjacent street. ED Hold on Nathan, we'll take a shortcut. She gives the wheel a hard right turn. But there is no cross street. The car hops the curb and roars up someone's nicely tended front yard, heading for the gap between this house and the one next door. POLICE CAR Recovered and turned around from its near collision with the SCREAMING; Driver, the squad car is now squealing onto the street the Screamer swerved on to - resuming pursuit. As the police car roars down the street, Ed's car appears from between two houses behind it, bounces down the front yard to the street and follows the police. SCREAMER'S PICKUP Raking two-shot of Hi and the Screamer. Hi is looking back over his shoulder at the pursuing police. Desperately pleading: SCREAMER Can I stop now? Hi looks forward. HIS POV They are rushing toward an imposing colonial house planted at the end of the dead-end street. BACK TO HI HI Maybe you better. CLOSE SHOT BRAKE PEDAL Stepped on hard. The brakes scream. EXT. CAR As the car squeals to a halt Hi is catapulted through where the windshield used to be, tumbling over the hood onto the front lawn. He rolls to his feet and, as he runs up the lawn, calls back over his shoulder: HI Thank you. INTO THE HOUSE We are tracking behind Hi as he runs up to the house and crashes through the screen door. Still tracking behind him as he runs through the living room. A middle-aged couple sits on the couch watching TV. They look up as Hi rushes by. Hi plunges down a staircase. As he does so we hear: ka-chick ka-chock ka-chick ka-chock. He emerges into a rec room where he and we rush past two kids playing ping-pong. He runs out the back door. TRACKING WITH THE POLICEMAN As he runs into the house. As he runs through the living room we catch a glimpse of the middle-aged couple gaping at him. OFFICER STEENSMA plunges down the stairs. TRACKING ON HI Outdoors now, running, crossing the street behind the house and entering the parking lot of a supermarket on the other side. BACK TO THE HOUSE As a pack of dogs thunders in. The lead Doberman with chain and spike has now picked up about a dozen neighborhood dogs. The dogs thunder through the living room and down the stairs. As they hit the rec room the thunder of their feet turns into the clatter of nails on tile. INT. SUPERMARKET As Hi bursts in. Tracking on him as he runs down the broad front aisle, head whipping as he runs, looking up each perpendicular lane, searching for something. He turns up one of the last lanes, races along it and grabs a carton of Huggies, still on the flat run. He emerges into the broad back aisle and runs along it, but at the first perpendicular lane he hits, we see Officer Steensma, gun leveled, at the other end. He fires. Hi keeps running. The Policeman is running along the front aisle, keeping pace with Hi running along the back aisle. He squeezes off shots at Hi as each lane gives him the opportunity. Hi abruptly stops between lanes and doubles back, losing the Policeman. He runs down the second lane he comes to toward the front of the store. The pack of dogs appears at the end of the lane and thunders up toward Hi, braying at the top of their doggy lungs. The lead Doberman holds in his teeth a paper 7-Eleven cap. Hi reverses again, and emerges into the back aisle. BANG! A pyramid of cranberry juice explodes at his shoulder. The Policeman has been waiting at the end of the back aisle; he aims once again. Hi plunges down the next lane but is brought up short as KA- BOOM! five jars of applesauce explode in front of him. Hi looks. Standing in the raised platform-cubicle at the front of the store is the Store Manager, a fat man in a white short-sleeved shirt with a lit cigarette dangling from his mouth. The Manager cracks open his shotgun and inserts two more cartridges - THOONK THOONK - in the smoking chamber. Hi doubles back once again toward the back aisle. He is still several paces from the end of the lane when the Policeman appears there, squaring to face him. The Policeman is in front of him. The MANAGER is blowing out groceries on the shelves behind him. CLOSE ON POLICEMAN As he coolly levels his police special and takes aim at Hi . POLICEMAN'S POV Still on the dead run, Hi is flinging the carton of Huggies. The carton rockets straight at the camera. BACK TO POLICEMAN Futilely raising his gun to avoid-impact: The Huggies catch him square on the chest. The force makes him stumble one fatal step backwards - into the back aisle - where: CRASH - He is hit broadside and bowled over by a rocketing shopping cart, propelled by an hysterically screaming SHOPPER. TRACKING ON SHOPPER Racing on down the back aisle, bellowing. HER FEET Tracking from in front. Beyond her we can see the pack of furiously barking dogs, nipping at her heels. They boil over the prostrate Officer Steensma, and this is the last we see of him in this movie. EXT. STORE As Hi emerges through the back door. Ed is just skidding around the corner. Hi scrambles in the passenger side. INT. CAR Raking two-shot with Hi in the foreground. The car peels out of the lot. HI Thank you honey, you really didn't have to do this- THWAK - Ed gives him a good hard slap and Hi's head rolls toward the camera. ED You son-of-a-bitch! You're actin' like a mad dog! Rubbing his jaw: HI Turn left, honey. Still at top speed, she leans into a hard left, tires squealing. ED What if me'n the baby'd been picked up? Nathan Jr. would a been accessory to armed robbery! HI Nawww honey, it ain't armed robbery if the gun ain't loaded- ED What kind of home life is this for a toddler?! You're supposed to be an example! HI Now honey, I never postured myself as the three-piece suit type - Turn left, dear. ED We got a child now, everything's changed! HI Well Nathan Jr. accepts me for what I am and I think you better had, too. You know, honey, I'm okay you're okay? That - there's what it is. ED I know, but honey - HI See I come from a long line of frontiersmen and - here it is, turn here dear - frontiersmen and outdoor types. Hi's eyes are fixed on something in the road ahead. ED I'm not gonna live this way, Hi. It just ain't family life! Hi's attention is still on the road. He is opening his door, even though the car is still racing along. He absently concedes: HI Well... It ain't Ozzie and Harriet. LOW ANGLE THE STREET In the extreme foreground sits the first carton of Huggies that Hi dropped in the middle of the road. The car is approaching. As the car passes the carton, Hi's hand reaches from the passenger door and snags it. REVERSE As Hi pulls the carton in and slams his door shut. Crane up in the car speeding away. TRAILER LIVING ROOM As Ed bursts in the front door, holding Nathan Jr. ED You two are leaving. ON GALE AND EVELLE They look up, dumbstruck and mortified, from the sofa where the have been watching TV. ED Tomorrow morning. Now I got nothing against you personally... Gale and Evelle look appealingly toward Hi, who shifts uncomfortably behind Ed. ED ...but you're wanted by the authorities and you're a bad influence in this household, in my opinion. GALE Well ma'am... we sure didn't mean to influence anyone. EVELLE And if we did, we apologize. Ed is unmoved. ED I'm goin' in to town tomorrow to see about some shots for the baby. When I come back you better be gone or I'll kick you out myself. She storms into the bedroom and slams the door. There is an awkward silence as Gale studies his thumb and Evelle stares at the ceiling. Finally Evelle turns to Hi. EVELLE ...What's he need, his dip-tet? HI I'm awful sorry boys, but when Ed gets mad, you know, when she gets an idea... GALE Well there ain't a thing to apologize for, H.I... He looks at Evelle. GALE ...It seems pretty clear what the situation is here. EVELLE Yeah, I guess the Missus wants us to clear out. GALE Now H.I., you'll pardon me for sayin' so, but I get the feelin' that this- here... His gesture seems to take in the trailer and the entire domestic situation. GALE ...ain't exactly workin' out. HI Well now Ed's generally a real sweetheart, I- GALE And as per usual, I wouldn't be surprised if the source of the marital friction was financial. HI Well, matter of fact, I did lose my job today- EVELLE Come on Hi. you're young, you got your health - what do you want with a job? GALE But look, I'd rather light a candle than curse your darkness. As you know, Evelle'n I never go anywhere without a reason... and here we are in your little domicile. We come to invite you in on a score. EVELLE A bank, Hi. Hi is shaking his head. HI Aw boys, I don't- GALE I know you're partial to convenience stores but, H.I., the sun don't rise and set on the corner grocery. EVELLE It's like Doc Schwartz says: You gotta have a little ambition. Why we just heard on the news how somebody snatched off one of the Arizona babies. Now there's someone thinkin' big. GALE And here you are sittin' around on your butt playin' house with a - don't get me wrong, H.I., with a fine woman - but a woman who needs the button-down type. HI Well now that ain't really any of your- GALE Just lookahere... He is handing Hi a folded-up picture. EVELLE Picture of El Dorado, Hi. GALE Though the locals call it the Farmers and Mechanics Bank of LaGrange. Looks like a hayseed bank and, tell you the truth, it is a hayseed bank. Except the last Friday of every financial quarter there's more cash in that bank than flies at a barbecue. EVELLE And guess what day it is tomorrow? GALE Ya see, H.I., it's when the hayseeds come in to cash their farm subsidy checks. EVELLE A-One information. GALE Got it in the joint from a guy named Lawrence Spivey, one of Dick Nixon's undersecretaries of agriculture. EVELLE He's in for solicitin' sex from a state trooper. GALE Ordinarily we don't associate with that class of person, but... Gale chuckles. GALE ...he was tryin' to make brownie points with some of the boys. HI Boys, I can't - EVIELLE We need someone handy with a scatter- gun to cover the hayseeds while we get the cash. GALE Y'understand, H.I., if this works out it's just the beginning of a spree across the entire Southwest proper. We keep goin' 'till we can retire - or we get caught. EVELLE Either way we're fixed for life. Hi is still shaking his head. HI Boys, it's a kind offer, but you're suggesting I just up'n leave Ed. Now that'd be pretty damn cowardly, wouldn't it. GALE Would it? Think about it, H.I. Seems to me, stayin' here, y'ain't doin' her any good. And y'ain't bein' true to your own nature. The camera has floated in to a close shot of Hi, staring glumly at GALE. TRACKING ON MOTORCYCLE NIGHT Following it, very close, we see only its rear wheel and fender and twin exhaust pipes, one on either side. Flame is boiling in each exhaust pipe as the hog roars. HIGHER TRACKING SHOT From behind the Biker's head as he rides through the night. With the sharp whipcrack effect he suddenly looks left, searching. With a second whipcrack effect he suddenly looks right, still searching. He banks into a turn. EXT. TRAILER Creeping in. Late at night. We are tracking in toward the one window that is illuminated, with a feeble yellow light. In voice-over, Hi is composing a letter. VOICE OVER My dearest Edwinna. Tonight as you and Nathan slumber, my heart is filled with anguish. DISSOLVE THROUGH TO INT. TRAILER Creeping in on Hi 's hunched back, as he sits over the kitchen table writing the letter. The yellow lamp sitting on the table is the only light on in the trailer. VOICE OVER ...I hope that you will both understand, and forgive me for what I have decided I must do. By the time you read this, I will be gone. DISSOLVE THROUGH TO LIVING ROOM Creeping in on GALE and EVELLE, sprawled on the sofa and easy chair respectively, sawing boards. VOICE OVER ...I will never be the man that you want me to be, the husband and father that you and Nathan deserve... DISSOLVE THROUGH TO BACK TO HI Still creeping in. VOICE OVER Maybe it's my upbringing; maybe it's just that my genes got screwed up - I don't know... DISSOLVE THROUGH TO INT. 7-ELEVEN Creeping in on the pimply-faced Cashier, sitting asleep behind the counter, a dirty magazine lying face-down, open on his chest. VOICE OVER But the events of the last day have showed, amply, that I don't have the strength of character to raise up a family... We are slowly panning over to the newspaper rack, revealing tomorrow's headline: "WHERE IS NATHAN JR.?" VOICE OVER ...in the manner befitting a responsible adult, and not like the wild man from Borneo. DISSOLVE THROUGH TO ARIZONA HOME Creeping in on Nathan Jr. in the living room, asleep in his ottoman armchair, lit only by the snow from the TV set he is facing, a half-full glass of milk on the coffee table next to him. His robe is disheveled; his eyeglasses have slid down his nose. VOICE OVER ...I say all this to my shame. DISSOLVE THROUGH TO TRAILER BEDROOM Creeping in on Ed and Nathan Jr., asleep together in the double bed. Ed's arm is draped protectively over the sleeping infant. VOICE OVER ...I will love you always, truly and deeply. But I fear that if I stay I would only bring bad trouble... We start to hear the rumble of the motorcycle mix up again. VOICE OVER ...on the heads of you and Nathan Jr. DISSOLVE THROUGH TO BLACKNESS Night sky. The motorcycle tire enters frame as the bike comes to a halt. The Biker plants a jackbooted foot in the foreground. The engine rumbles. VOICE OVER I feel the thunder gathering even now; if I leave, hopefully, it will leave with me. We are craning up over the Biker's back to reveal what he is looking at: We are on a bluff overlooking the trailer park. In the window of one trailer below, a yellow light glows. VOICE OVER I cannot tarry... DISSOLVE THROUGH TO BACK TO HI Still creeping in. VOICE OVER Better I should go, send you money, and let you curse my name. Your loving... Herbert. FADE OUT FIRE Roaring at the cut. Through it we can see the Biker sitting on the ground, legs stretched out in front of him, back resting against his parked motorcycle, arms folded across his chest. Perfectly motionless, he stares at the campfire. We are floating in toward him. As we come closer, eventually drawing in to a close shot of his face, we gradually realize something peculiar about his eyes: He seems to have none. Although his eyes are unblinkingly open we do not see eyeballs, but only fire - either a reflection of the campfire or something roaring - burning-inside. CLOSE SHOT DOOR MAT It reads: "Come On In! To Unpainted Arizona." The smoking butt of a cheroot is dropped onto the mat. A jackbooted foot grinds it out. CLOSE SHOT BAR ON GLASS DOOR Leading into the showroom. The Biker's mail-and-chained fist pushes the door open. LOW WIDE TRACKING SHOT Behind the jackboots as they stroll through a showroom of unpainted furniture and bathroom fixtures. TRACKING ON THE MAILED HAND Swinging as he walks, the Biker's hand produces a fresh cheroot from no apparent source-either sleight-of-hand or magic. THE OTHER HAND Similarly producing a long wooden match. DISCOLORED TEETH Biting down on the cigar. HAND Dragging the kitchen match along the unfinished wood surface of an expensive bureau, leaving an ugly black scar. The match erupts into roaring flame. CIGAR Crackling as it is lit. DOOR Reading "Executive Offices." The mailed fist pushes it open. PEBBLED GLASS DOOR From the inside of the office. The name on the pebbled glass is a backwards Nathan Arizona. There is the shadow of a man approaching the door, and muffled voices. SECRETARY'S VOICE I'm sorry, Mr. Arizona, he just barged in... The door swings open and Nathan stands looking in, his middle- aged secretary hanging at his elbow. SECRETARY'S VOICE ...Should I call Dewayne? Nathan is staring toward his desk. NATHAN Hell no, why wake the security guard. I'll take care a this. The secretary leaves. NATHAN'S POV The Biker sits with his back to us, jackboots propped lazily on the desk. His head bobs and ducks, as if he is following some movement in the air in front of him. BACK TO NATHAN Eyes on the Biker he slams the door shut behind him, looking for some reaction. BIKER No reaction. His head continues to bob and duck. BACK TO NATHAN Circling the Biker as he crosses to sit behind his desk. HIS POV Arcing around to reveal the Biker's face. He still does not react to Nathan, not even bothering to give him a glance. His eyes continue to follow some phantom movement. When the Biker speaks it is still without looking at Nathan, and with a surprisingly soft voice and mild, unhurried manner: BIKER You got flies. He finally looks at Nathan, and smiles faintly. NATHAN I doubt it. This place's climate- controlled, all the windows are sealed. Who the hell are you? BIKER Name of Leonard Smalls. My friends call me Lenny... He takes a drag on his cigar. BIKER ...Only I ain't got no friends. NATHAN Stop, you'll make me bust out crying. Listen Leonard, you want some furniture or a shitbox, they're out on the sales floor. SMALLS is pleasantly shaking his head. SMALLS Nooo, I ain't a customer, I'm a manhunter. Ordinarily. Though I do hunt babies, on occasion. Hear you got one you can't put your hand to. NATHAN What do you know about it? SMALLS Wal, that's my business. I'm a tracker- part Hopi Indian, some say part hound dog. When some dink skips bail, crashes outta the joint, I'm the man they call. NATHAN Mister, I got the cops, the state troopers and the Federal-B-I already lookin' for my boy. Now if you got information I strongly advise- SMALLS Cop won't find your boy. Cop couldn't find his own butt if it had a bell on it. Wanna find an outlaw, call an outlaw. Wanna find a Dunkin Donuts, call a cop. NATHAN Smalls, first off, take your damn feet off m'furniture. Second off, it's widely known I posted a twenty grand reward for my boy. If you can find him, claim it. Short of that what do we got to talk about? SMALLS Price. Fair price. And that ain't whatever you say it is; fair price is what the market'll bear. Now there are people, mind you, there are people in this land, who'll pay a lot more'n twenty grand for a healthy baby. Nathan is looking at him stonily. NATHAN What're you after? SMALLS Give you an idea, when I was a lad I m'self fetched twenty-five thousand on the black market. And them's 1954 dollars. I'm sayin, fair price. For fifty grand I'll track him, find him- Quick as a flash the heretofore languid Smalls bolts forward, his fist stopped an inch short of Nathan's nose. EXTREME CLOSE SHOT SMALLS' FINGERS His index finger and thumb are pinched together-holding the leg of a struggling fly that he has just plucked from the air. SMALLS ...and the people that took him... He flicks the fly away. SMALLS ...I'll kick their butts. He sits back down. SMALLS ...No extra charge. Nathan stares grimly at Smalls. NATHAN And if I don't pay? SMALLS Oh I'll get your boy regardless. Cause if you don't pay, the market will. NATHAN You wanna know what I think? I think you're an evil man. I think this is nothin' but a goddamn screw job. I think it's a shakedown. I think you're the one took Nathan Jr. and my fine friend, I think you're the one gonna get his butt kicked... Nathan swivels to punch numbers on a telephone. NATHAN I think I'm on the phone to the cops right now, and I- He swivels back, looking up, and his speech stops short. HIS POV The office is empty. A whipcrack effect builds to the cut and: CLOSE ON HI His eyes snap open as the whipcrack echoes away. He has been slumped over the kitchen table, asleep. GALE (O.S.) Up and attem, H.I. Today is the first day of the rest of your life... EVELLE (O.S.) ...and already you're fuckin' it up. Hi looks up. Gale and Evelle are smiling down at him. EVELLE Come on, the missus'll be back from town soon. Hi takes the envelope that he was slumped over, to Ed written on its face. As he sticks it to the refrigerator door with a broccoli magnet: HI Where's the baby? EVELLE Bedroom, in his crib. GALE He's sawin' toothpicks, he'll be fine. There is a harsh knock at the door. All three tense. GALE ...You expectin' anybody? Hi is staring. The knock comes again. HI No. You two stay outta sight. He goes to the door, pulls back its shade and peeks out. Under his breath: HI Shit. He opens the door. EXT. TRAILER It is Glen. He backs nervously down to the foot of the stoop as Hi stands in the half open doorway. Glen comes to rest a few feet away from the stoop. He is wearing a neckbrace. The bridge of his eyeglasses is taped together. Cotton wadding is stuffed up his nose, which is darkly discolored. He holds a rolled up newspaper. His station wagon is parked behind him, idling. HI Morning Glen. Glen speaks in a very nasal voice: GLEN I ain't comin' in if ya don't mind. I'll just keep my distance. HI I didn't invite you in, Glen. GLEN Well don't even bother. First off, you're fired - and that's official. HI I kinda figured that, Glen. GLEN Well that ain't why I'm here neither. No sir. You're in a whole shitload of trouble, my friend. Hi is looking at him evenly. HI Why don't you just calm down, Glen. GLEN Why don't you make me?! Know that little baby you got in there? Remember him? I know what his real name is! Hi is suddenly nervous and urgent: HI Wanna keep your voice down, Glen? GLEN I'll pitch my voice wherever I please! His name ain't Hi Jr.! His name ain't Ed Jr.! But it's junior an right! Yes sir, it's Nathan Jr.! Hi takes one step down holding out a calming hand. Glen takes two nervous steps away and reassures himself by resting a hand on the door of his station wagon. GLEN ...Stay away from me, McDunnough! Hi stops short. Glen smiles. GLEN ...Sure, you're an awful big man when you got somethin' around to clobber a guy with! HI (softly) I ain't a big man. GLEN That's right! And now you're at my mercy! He spits on the dirt in front of him. GLEN ...I'm your worst nightmare! I wanted to just turn you in for the re-ward. But Dot, she wants something to cuddle. So it looks like that baby's gonna be Glen Jr. From now on! Hi's face is set in rigid dismay. GLEN ...I'll give you a day to break the news to Ed... Glen is getting into his car. GLEN ...Dot'll be by tomorrow to pick him up. He slams the door. GLEN ...It's either that or jail. Oh and say, that reminds me! You'll find a doctor bill in the mail in a few days. I recommend you pay it! And the car squeals off. Hi looks back at the trailer. HIS POV A slat in the window blind drops back into place. BACK TO HI He opens the door. INT. TRAILER Evelle is already emerging from the bedroom with the baby in his arms. Hi moves toward Evelle. His teeth are set; he means business. HI What's goin' on here. Gale steps in front of Hi. GALE You know what's goin' on, H.I. It's just business. Now this can go either hard or easy- Hi gives Gale a hard push to get past him. Gale staggers back but recovers and grabs Hi in a bear hug. Hi flips Gale. Gale lands on a coffee table which flips up and crashes back down. Evelle is dancing back out of Hi's reach. As Hi lunges for him the prostrate Gale grabs his legs. Hi goes down hard. Gale leaps to his feet and - CRASH - bangs his head up against an overhanging lamp. Both of his hands fly up to massage the top of his head. THOOMP - Hi's fist flies into frame to connect with Gale's unguarded stomach. Gale doubles over, clutching at his gut. Hi interlaces his fingers to make a club of his two hands. With Gale's bowed head a target in front of him, Hi swings his hands up over his head. Hi's knuckles scrape painfully against the plaster of the too - low ceiling. Skin is flayed, plaster crumbles. Hi grabs at his knuckles in pain. Gale lunges with a mid- body tackle that sends Hi crashing into the wall. Gale, still on top of him, reaches back to throw a punch. The reach-back sends his elbow crashing through a window but doesn't stop the punch. It connects with Hi's jaw. Gale throws another quick punch, all his weight behind it. Hi's head bobs sideways just in time and Gale's fist goes through the wall. It is momentarily stuck there. Hi uses the opportunity to grab Gale's one free arm with both of his. He is twisting it to make Gale, roaring with pain, twist around and present his back to him. Hi climbs aboard, grabbing Gale's face. Gale, still roaring, is pulling his fist out of the hole. He grabs a lath exposed by the hole and pulls; it tears out of the wall and snaps free, giving him a length of about two feet. Gale is rampaging around like a grizzly bear hemmed in a too- small space. Hi is hanging on for dear life, his own feet flailing this way and that, knocking over lamps and wall fixtures as Gale bends and twirls about, trying to shake him loose. Gale crashes and bounces off the walls, roaring in pain and fury. Close shots of Gale's face show his features impossibly and grotesquely contorted by Hi's hand, squeezing, gripping and clutching at it. Evelle is dancing around with the baby, dodging crashing furniture and flailing body parts. EXT. WIDE SHOT THE TRAILER At the cut Gale's roaring drops out. We hear the chirping of birds and the laughter of children playing in the neighborhood. It is a sunny day. BACK TO INT. TRAILER Gale still roars. With a last mighty effort, he finally swings Hi off his body. Hi crashes against a wall and through it to land in the: BATHROOM Amid a shower of plaster dust and lath. Hi has landed, groggily, against the toilet. Evelle enters now with his hands free, apparently having set the baby down somewhere. He yanks the cord off the bathroom blinds. LIVING ROOM Hi is seated in a straight-back chair, still violently struggling but Gale's arms are wrapped around him from behind. Evelle is just finishing tying off his wrists behind the chair. No one talks; there is nothing left to say. Finished, Gale goes to the door and Evelle goes to the bedroom. He emerges with the baby and precedes Gale out the door, Gale slamming it behind him. Hi starts bucking and struggling, weeping tears of rage and frustration. He succeeds only in tipping forward, face down into the carpet, the strapped-on chair pressing down on top of him. His profile is pressed into the carpet. Offscreen we hear the door of the trailer opening. HI'S POV At carpet level. Gale's shoes enter his field of vision. They stride over to a mess of debris in the corner of the living room. OBJECTIVE SHOT As Gale paws through the wreckage to expose the copy of Dr. Spock's Baby and Child Care. He grabs the book. HI'S POV The feet walk away and leave his field of vision. CLOSE ON HI As we hear the door slam shut with horrible finality. Hi's mouth stretches wide. He ROARS with grief and frustration. WIDE SHOT Moving down the road toward an oncoming car. As the oncoming car gets closer we can see Gale and Evelle in its front seat. As the car passes we pan with it, to reveal that we have been shooting from the inside of another car, and we hold on the profile of its driver: Ed. She has just watched the other car shoot past. ED ...Good. QUICK FADE OUT INT. DEVASTATED TRAILER As Ed sits heavily into frame, apparently in shock, her frozen profile to the camera as she stares straight ahead into space. Her foreground hand absently holds a length of cord. Beyond her in the middle background Hi is rummaging in the debris. He stands up, cropped from the chest down and starts loading bullets into the chamber of Ed's .38 police special. HI (frantically) I know you're worried honey but believe me, there ain't a thing to worry about. We're gonna get him back, there just ain't no question about that... He snaps the chamber shut and leaves frame, still talking. HI ...We'll get him back, that's just all there is to it. And you wanna know another thing? He is walking back into frame holding another handgun now in addition to the .38, this one an automatic. HI ...I'm gonna be a better person from here on out. And that's final, I mean that's absolutely the way it's gonna be, that's official. You were right and I was wrong... He snaps a clip into the automatic. HI ...A blind man could tell you that. Now they ain't gonna hurt him, they're just in it for the score... Hi is leaving frame again, continuing to talk as we hear him rummaging offscreen. HI ...But I ain't like that no more, I'm a changed man. You were right and I was wrong. We got a family here and I'm gonna start acting responsibly... Hi enters frame with the two handguns stuck in his belt, holding his pump-action shotgun. HI ...So let's go honey... He primes the shotgun: WHOOSH-CLACK. HI ...Let's go get Nathan Jr. TRACKING SHOT From the front bumper of an automobile. Beautiful desert stretches to the horizon. The road rushes under the camera. GALE AND EVELLE'S CAR Gale drives, gazing out at the road. Evelle holds Nathan Jr., occasionally bouncing him. Contemplatively: GALE I luuuuv to drive. EVELLE You said somethin' there, partner. GALE ...Yessir, I figure with the ransom and this bank, you'n I'll be sittin' in the fabled catbird seat. Evelle is looking down at the baby, shifting him in his lap. EVELLE Uh, Gale... Junior had a, uh, accident. GALE What's that, pardner? EVELLE He had a little accident. Gale looks over. GALE Wuddya mean, he looks okay. EVELLE No, ya see... Movin' though we are, he just had hisself a rest stop. GALE Well it's perfectly natural. EVELLE (very excited) Hey Gale! GALE What now? Evelle, beaming, looks up from the baby to Gale. EVELLE ...He smiled at me! THE SUN A huge rumbling rippling red ball that fills the frame. As we hear his footfalls on concrete steps, Smalls rises into frame, apparently climbing a stoop. The sun behind him throws him into silhouette; the extreme telephoto flattens him against the sun. Heat waves ripple between us and him, making his figure slightly waver. The rumble builds, louder and louder, until it is snapped off by a- INT. TRAILER CLICK. The front door handle clicks open and Smalls stands in the doorway. The abandoned trailer is perfectly quiet. The room is a complete shambles from the fight. Sunlight filters in between the slats of the venetian blinds. Smoke from Lenny Smalls' cheroot ripples up through the light. After only a momentary pause at the door to take in the scene, Smalls goes directly to a specific spot in the debris and nudges some of it aside with his toe, exposing a piece of paper. He bends down to pick it up but suddenly freezes, with a soft grunt of surprise. HIS POV At knee-height on the wall in front of him, "FART" is scrawled in crayon. BACK TO SMALLS As he stands up with the piece of paper. THE PAPER It is Gale's picture of the Farmers and Mechanics Bank. INT. CONVENIENCE STORE Close on a carton of diapers being set down on the check-out counter. EVELLE (O.S.) Know how you put these thangs on? WIDER Evelle and the Cashier, a late-middle-aged man (perhaps the proprietor of this small mom-and-pop store) face each other across the check-out counter. Evelle has various baby purchases - the diapers, baby food, etc. - piled on the counter. The Cashier is ringing them up. Through the open door beyond them we can see a strip of the parking lot. CASHIER Welp. Around the butt, then up over the groin area- EVELLE I know where they go, old timer. I mean do I need pins or fasteners? We see Gale trotting past through the visible part of the parking lot, cooing "Weeeeee!" as he holds Nathan Jr. Up over his head. CASHIER Well no, they got those tape-ettes already on there, it's self-contained and fairly explanatory. EVELLE Uh-huh... He takes a plastic-covered squirt gun off a display rack and drops it on the counter. He is looking around at the other impulse purchases displayed by the register; he unhooks a bag of balloons. EVELLE ...These blow up into funny shapes at all? Gale is trotting by in the opposite direction: "Weeeeee!" CASHIER Well no. Unless round is funny. Evelle is pulling a gun out of his belt. EVELLE All right, I'll take these too. Now you lie down back there- CASHIER Yessir! EVELLE And don't you move till you've counted up to eight hundred and twenty-five and then backwards down to zero. I'll be back to check - see y'ain't cheatin'. The Cashier is already down on the floor, out of frame. CASHIER (O.S.) You the diaper burglar? As he heads for the door with the groceries: EVELLE Looks like I'm one of 'em. EXT. STORE As Evelle hurriedly emerges with the two bags. Faintly we can hear the Cashier bellowing: "One one thousand, two one thousand..." EVELLE Get the door, will ya? Gale is slipping the baby back into his car seat, which sits on the roof of the car. He starts doing up the straps. GALE He's a real cheerful little critter once he warms up to ya. Hands free now, Gale reaches for the back door. EVELLE Hurry up Gale... Gale has the door open. Evelle starts throwing in the groceries. EVELLE I don't know how high this one can count. GALE AND EVELLE'S CAR Gale drives as Evelle sorts through his purchases. EVELLE I got him some baby grub... baby wipes... diapers, disposable... packet of balloons- GALE They blow up into funny shapes at all? EVELLE No, just- Gale is looking around, puzzled. GALE Say, where's Junior? EVELLE Wuddya mean, didn't you put him in?! GALE No, I thought- The two men look at each other. REVERSE The two men's heads whip around to look in the back seat. BACK TO FRONT ANGLE They look at each other in horror. GALE Where'd we leave him?! The two men's eyes widen as they remember at the same time: both look up at the roof of the car. CLOSE ON GALE'S FOOT Coming off the accelerator. CLOSE ON EVELLE Screaming as he watches the foot: EVELLE NOOOOOO!! But too late. GALE'S FOOT Already plunging down on the brake. SQUEEEEEEEAL... TWO SHOT Evelle is screaming at the top of his lungs as the car rocks to a stop. He peers through the windshield, still screaming, but nothing has shot off the roof of the car. He cranes his neck to look up the slant of the windshield toward the roof. This of course gives him no view; still screaming, he thrusts his body out his open window to look up at the roof. His scream is muted as his head disappears from view, then comes back full force as he ducks back in, frantically shaking his head. With this Gale's last hope disappears and he starts bellowing also. GALE'S FOOT Rising from the brake to plunge down on the accelerator. EXT. THE CAR As it hangs a squealing U-turn and races off at top speed. LOW WIDE SHOT In the foreground Nathan Jr. sits upright in his car seat, in the middle of the road that fronts the convenience store. He is placidly looking at the scenery. Faintly, we hear the Cashier bellowing: CASHIER ...Seven hunnert ninety-seven one thousand, seven hunnert ninety-six one thousand... GALE AND EVELLE In their speeding car, both staring out at the road ahead, mouths gaping, emitting ear-splitting screams. INT. STORE Shot faces the front of the store with some of the street visible outside. The Cashier on the floor is out of frame, but we can hear him loud and clear: CASHIER ...Seven hunnert ninety-one one thousand, seven hunnert - ah... bullshit. He rises into frame, back to the camera, just as: We see Gale and Evelle's car, through the front window, roaring up the street. Quick as a shot, the Cashier has dropped back out of frame and resumes bellowing: CASHIER Seven hunnert ninety - ought one thousand! Seven hundred eighty - The car is starting to squeal to a screaming halt. BACK TO LOW WIDE SHOT With Nathan Jr. in the foreground. Gale and Evelle's car comes to a rocking halt behind - and inches shy of - the baby. Evelle's door is already open. He bolts from it and runs over to the baby, blubbering. He picks up the car seat and Nathan Jr. Gale is also getting out of the car. EVELLE Promise we ain't never gonna give him up, Gale! We ain't never gonna let him go! Gale, choked up, speaks in a low unsteady voice: GALE We'll never give him up, Evelle. He's our little Gale Jr. now. HI AND ED'S CAR Hi driving. Both are staring wordlessly ahead at the road. Hi looks over at Ed, glum but trying to be kind. HI ...Ed, I realize I can't be much of a comfort to you. But lemme just say this... He is nodding to himself. HI You'll feel a whole lot better when- ED I don't wanna feel better. HI Honey- ED I don't care about myself anymore. I don't care about us anymore. I just want Nathan Junior back safe. HI I know that- ED If we don't get him back safe, I don't wanna go on livin'. And even if we do, I don't wanna go on livin' with you. This shuts Hi up. After a moment: ED ...I guess I still love you Hi; I know I do. I ain't even blaming you. The whole thing was crazy and the whole thing was my idea. Hi clears his throat. HI Well, factually, I myself bear a very large- ED Lemme finish. Since those jailbirds took little Nathan I been doin' some thinking, and I ain't too proud of myself. Even if Mrs. Arizona had more'n she could handle, I was a police officer sworn to uphold the Constitution of the United States - HI Now waitaminute honey, you resigned before we- ED That ain't the point, Hi. We don't deserve Nathan Jr. Any more'n those jailbirds do. And if I'm as selfish and irresponsible as you- HI Y'ain't that bad, honey. ED If I'm as bad as you, what good're we to each other. You'n me's just a fool's paradise. FARMERS AND MECHANICS BANK Baking in the noonday sun. GALE AND EVELLE Sitting in the front seat of their idling car, looking at the bank. EVELLE There she is. GALE Yep. Welp... They look at each other. Gale reaches for his door. GALE ...Let's do her. EVELLE Waitaminute. What do we do with Gale Jr.? GALE Wuddya mean, he waits here. EVELLE Are you crazy?! He can't wait here by hisself. Supposin' we get killed in there - it could be hours before he's discovered. INT. FARMERS AND MECHANICS BANK As Gale and Evelle bang in through the door. Evelle holds a shotgun; Gale holds a shotgun in one hand and Nathan Jr. in his car seat in the other. GALE All right you hayseeds, it's a stick- up! Everbody freeze! Everbody down on the ground! Everyone freezes, staring at Gale and Evelle. An Old Hayseed with his hands in the air speaks up: HAYSEED Well which is it young fella? You want I should freeze or get down on the ground? Mean to say, iffen I freeze, I can't rightly drop. And iffen I drop, I'm a gonna be in motion. Ya see - GALE SHUTUP! Promptly: HAYSEED Yessir. GALE Everone down on the ground! EVELLE Y'all can just forget that part about freezin'. GALE That is until they get down there. EVELLE Y'all hear that? There is a murmur of acknowledgment from all the people on the ground. Gale is tossing Evelle a sack. GALE Wanna fill that sack, pardner? We got - shit! He is looking in shock at the tellers' counter. GALE ...Where'd all the tellers go? There is no one behind the counter. A muffled voice from offscreen: VOICE We're down here, sir. EVELLE They're down on the ground like you commanded, Gale. GALE I told you not to use m'damn name! Can't you even try to keep from forget'n that?! Evelle is momentarily abashed, but then brightens: EVELLE Not even yer code name? Gale registers understanding. GALE Oh yeah... m'code name. EVELLE Y'all hear that? There is a murmur of acknowledgment from all the people on the ground. GALE All right now everone, we're just about ready to begin the robbery proper... EXT. POLICE CAR The camera is locked down on the roof of the rocketing squad car, looking past its flashing gumballs. The car is approaching the townlet, its siren wailing. BACK TO THE BANK A teller is finishing stuffing the last of two burlap bags. Close on her hands, we see her putting in a cash packet that is really only a few bills and a sleeve surrounding and hiding a small plastic device. The teller hits a button on the device and it starts ticking; she shoves it into the sack. EVELLE All right now everyone, you know how this works: Y'all stay flattened for ten full minutes... He is grabbing the two sacks and tosses one to Gale, who also picks up the baby. As the two are backing toward the door: EVELLE ...We might come back in five to check. That's for us to know and y'a to find out. GALE Anyone found bipedal in five wears his ass for a hat. They bolt out the door. EXT. POLICECAR Siren jumps in loud at the cut. It is the same locked-down shot over the gumballs. EXT. GALE AND EVELLE'S CAR Peeling out from in front of the bank. INT. GALE AND EVELLE'S CAR Gale is driving; Evelle starts pawing through one of the sacks. GALE That old timer threw off my concentration. Otherwise it would a gone smoother. EVELLE We done okay. Yessir. This ought to split nicely three ways. A thought registers with Gale and Evelle at the same moment. They look at each other. They both twist frantically to look in the back seat. Bellowing: GALE Goddamnit! Ya never leave a man behind! KA-POP! With a loud flat crack something detonates in the front seat and the interior of the car is spattered with bright blue paint. Gale and Evelle, both covered in blue, are screaming in rage, fear and incomprehension. Blue dollar bills snap and flutter around the inside of the car. The car is swerving wildly as Gale drives blind, the inside of the windshield covered with blue paint. He reaches forward to wipe clear a patch of windshield. HIS POV As the blue paint is smeared away we see Hi and Ed's car parked broadside in the middle of the road. Hi and Ed are in front of it, Hi aiming his scatter gun, Ed a revolver. The guns spit orange flame. HI'S POV Down the barrel of his shotgun. The car with the blue interior is swerving crazily at us, one front tire blown out. Hi lets go with the other barrel. The shot chews up the front grill, shatters one headlight and blows out the other front tire. The hood of the car flies open. The car is squealing to a halt and Gale and Evelle pile out, still bellowing. GALE Goddamnit H.I., ain't we got enough to contend with? Ed is running over to Gale and Evelle's car, throwing open the back door to look for the baby but coming out only with Dr. Spock's Baby and Child Care. Evelle is staggering around in shock, looking in disbelief at his own blue body. ED Where's the baby? Evelle points this way and that, in a state of confusion. EVELLE I think we left him on the roof of the... he must be back at the... Hi and Ed are climbing into their car. GALE Let us come with you! Hi and Ed are already peeling out. GALE ...He's our baby too! CLOSE ON NATHAN JR. Sitting placidly in his car seat that sits in the middle of the road in front of the bank. We can hear the wail of the police siren still approaching. As we hold on Nathan Jr. we hear the distant booming of a shotgun. As we boom up to show the empty street beyond the baby, we hear the crack of return fire and furiously squealing brakes. The screech culminates in a loud explosion that snaps off the siren wail. The police car is apparently history. From beyond the crest of the road ahead a ball of flame has leapt up with the explosion. As the explosion echoes and fades we hear the deep rumble of an approaching engine. Lenny Smalls' motorcycle appears over the rise. Framed against fire and smoke, he is coming directly toward us, and the baby. FROM BEHIND HI AND ED As they top a rise coming from the other direction. We see the baby sitting in the middle of the street, and Lenny fast approaching from the background. LOCKED DOWN TO MOTORCYCLE The extremely low wide shot, locked down to the speeding bike, shows us rushing toward the rear of Nathan Jr's car seat. With a clank of chains Lenny's hand drops down into frame, palm forward, tensing to scoop up the car seat that we are almost upon. A tattoo on Lenny's wrist reads "No Prisoners." REVERSE Low shot with Nathan Jr. in the foreground. He is scooped up and out of frame as Lenny roars by. ON LENNY Roaring along. He hooks the car seat over his handlebars. OVER HI AND ED'S SHOULDERS Lenny is approaching. Under her breath: ED What is he? HI ...D'you see him too? Lenny is sawing a shotgun out of his back holster and leveling it at the oncoming car. Lenny is sighting down the gun, swinging it around as he approaches the car. HI AND ED DUCK JUST AS: The shotgun spits orange flame and the windshield explodes in. Lenny roars by. LENNY'S POV The baby on the handlebars in the foreground; the road rushing by beyond him. The bike banks into a hard turn. FACING HI AND ED Shooting through where the windshield used to be, cutting in at the end of the skid as the car rocks to a halt. Hi and Ed are raising their heads. Facing forward, they do not see Lenny approaching again through the rear window. He is sawing out his second shotgun. Hi looks around, reaches and pulls Ed down beneath him just as: KA-BOOM! - The second shotgun roars and the back window spits in. As Lenny roars past the back window he casually flips something in. LOOKING DOWN AT HI AND ED Folded over in the front seat. Below them something bounces into and around the leg well - Lenny's grenade. EXT. CAR As the two front doors fly open and Hi and Ed spill out - Hi from the driver's side, heading for the far side of the road, and Ed from the passenger side. ON ED As she dives for cover behind a parked car. Beyond her - KABOOM! - their car explodes and bounces, pouring black smoke. ON HI The explosion flings him to the ground in the middle of the street. THROUGH FIRE AND SMOKE Looking up the street to where Lenny is wheeling his bike in a U-turn. He is not finished yet. Hi flat on his back, woozily shaking his head. He weakly raises himself on his elbows to look down the street. HI'S POV Looking down the length of his own body. His legs stretch away in a V. Crashing down from a wheelie, Lenny's roaring bike is almost upon him - aiming up the middle of the V. HI He rolls. As the bike is roaring by: HI'S HAND Reaches and snags a chain on Lenny's passing boot. HI Dragged several yards before the boot shakes him off, leaving him on his stomach in the middle of the road. Hi looks up the road. HI'S POV Lenny is again sluing the bike around. REAR WHEEL OF BIKE Smoking as it skids around in the foreground, completing its turn. Boom up Lenny's back to reveal Ed stomping straight up the street toward him - unarmed, unafraid. ED I want that baby! BACK TO HI He reaches back to pull up his shirt, revealing a gun tucked in his pants in the small of his back. He grabs the gun. OVER LENNY'S SHOULDER As Ed closes in. ED Gimme that baby, you warthog from hell! Lenny's arms rise into frame. With a roll of his wrists two knives appear in his hands. BACK TO HI On his stomach, sighting down the gun toward Lenny. HIS POV Ed stepping into his line of fire, blocking Lenny. FROM BEHIND LENNY Raising an arm to stab. Ed stoops to scoop the baby from the car seat, revealing: Hi, behind her. He fires. LENNYS HAND Drilled by Hi's bullet, drops its knife. The exit wound spurts, not flesh and blood, but a brief jet of fire. LENNY Quick as a flash hurling the other knife at Hi. HI As the knife stings the gun out of his hand. KNIFE ON THE GROUND AT LENNY'S FEET Lenny bends to scoop up the knife he dropped. TRACKING BEHIND ED As she runs toward the bank, clutching Nathan Jr. to her chest. INT. BANK As Ed bursts in. The floor is littered with obedient hayseeds. From where he lies prone: OLD TIMER Just lie down on the floor, missie. BANG: The front door bursts open before Lenny's roaring hog. It sails off a step into the sunken atrium, and lands with a CRASH amidst the hayseeds. TRACKING BEHIND ED As she runs for the back door and pushes through it. TRACKING BEHIND LENNY As he slaloms through the wildly scattering hayseeds. EXT. BACK OF BANK As Lenny bursts out. With a whipcrack effect he looks left, then right. He jerks the bike right, to where an alleyway flanks the side of the bank. ALLEYWAY Ed is running up the alley toward the front of the bank as Lenny enters. He roars after her. LENNY'S POV Roaring down the alley. TRACKING IN FRONT OF ED As the bike approaches behind her. BACK TO LENNY'S POV Closing on Ed as she reaches the mouth of the alley. A plank swings into frame, straight at the camera. REVERSE Matching action as Hi finishes swinging the plank into Lenny's face. Lenny hits the ground hard as his bike spins out from under him. THE BIKE Riderless, twisting crazily into the street where it collapses. HI AND ED Lenny is rising to his feet beyond them as Hi nods encouragement to Ed. HI Run along now, honey. Lenny is reaching back to throw his knife. Hi, unaware, is turning to face him, presenting the plank as - the knife is thrown. It thunks into the plank, piercing it through. Hi backs up, swinging the knife - studded plank to make Lenny keep his distance. TRACKING BEHIND LENNY'S SHOULDER As he reaches up to unhook a chain from a ring on his vest shoulder. LENNY'S HAND As the free chain drops down into his palm. LENNY Swinging the chain - WHOOSH WHOOSH - at the backpedaling Hi. THE PLANK As the chain snakes around it and rips it out of Hi's hands. LENNY Grabbing Hi by the shirtfront. LENNY'S OTHER HAND Swings down and brass knuckles appear on it. ON HI As Lenny's fist swings into frame to club him forehand, then backhand. An uppercut from his heels sends Hi sprawling back. A PARKED CAR As Hi lands against it, banging his head. He sinks to the ground. Lenny is casually walking toward him, lighting a cheroot. Hi flops over onto his stomach and starts wriggling under the car. FROM UNDER THE CAR Hi's face in the foreground as he desperately seeks escape. Behind him we can see Lenny casually reaching down and grabbing an ankle. The shot is framed identically to the shot in the Arizona nursery where Hi pulled a baby from under the crib. Lenny pulls. Hi is dragged away from the camera and out from under the car. HI Struggling to stand up. Lenny wraps his arms around him and applies a tremendous bear hug. HI'S ARMS Crushed against Lenny. His hands paw futilely at Lenny's chest. FULL SHOT Lenny finally flings Hi away. HI Landing in the dust, all the fight beaten out of him. LENNY Tired of the fight: He saws out both shotguns THE HAMMERS On the guns as Lenny's thumbs draw them back. He raises the guns to fire. HI The end of the road. He wearily lifts a hand, defensively extending it in front of him - then stops, staring at: HI'S HAND A hand grenade pin hangs, glinting, from one of his fingers. Pawing at Lenny's chest he must have hooked his finger through its ring. HI Reacting. LENNY Reacting to Hi reacting. He looks down. LENNY'S CHEST On the bandoliers across his chest, silver pins glint in all the grenades - except one. Its squeeze-lever juts at a right angle from the grenade. LENNY'S FACE Hi's jaw drops. LENNY'S FEET The lit cheroot hits the ground between his boots. HI Scrambling to his feet. LENNY Trying to drop the shotguns to free his hands. In his panic his fingers tangle in the trigger guards. HI Starting to run. LENNY Finally freeing his hands. HI Diving behind the parked car. LENNY'S CHEST His hands fly in to wrap around the grenade - too late - bright light: LENNY Blows sky-high. There is a roar as if the earth were cracking open and flame as if hell were slipping out. We pan the fire to the sky. FADE OUT A white aluminum ladder rises up into the blackness, clanking softly. The top of the ladder arcs toward the camera. JUMP BACK To the interior of the Arizona second-story nursery as the ladder comes to rest against the window frame. It is late at night; the nursery is dark and empty. THE HEADBOARD Of the unpainted crib with the burned-in names: Harry, Barry, Larry, Garry, and Nathan Jr. As we pull back from the headboard Ed's arms are gently depositing the sleeping Nathan Jr. into the crib. Hi puts the singed copy of Dr. Spock's Baby and Child Care next to the baby. REVERSE Hi and Ed looking sadly down at the baby. The silence is broken by the bleat of a squeeze-me toy as the lights are snapped on. Hi and Ed turn, startled. NURSERY DOORWAY Nathan stands in his jammies, hair disheveled, holding a gun and squinting against the light. Keeping the gun trained on Hi and Ed, he slowly raises a pair of eyeglasses to his nose. NATHAN The hell is goin' on? He advances cautiously into the nursery, gesturing with his gun. NATHAN ...Get away from there. Hi and Ed back away from the crib. Nathan peers in and studies the baby for a moment. He lays the gun down, tenderly picks up the baby and holds him to his chest. A tear forms at the corner of his eye. Hi and Ed are quietly moving back towards the ladder. NATHAN (sharply) Waitaminute... Hi and Ed Stop. NATHAN ...I ain't through with you. What're you doin' creepin' around here in the dark? You in with Smalls? HI ...Scuse me? As he bounces the baby, studying Hi and Ed: NATHAN Leonard Smalls, big fella rides a Harley, dresses like a rock star? HI No sir, that's who we saved him from. It's a long story. NATHAN Suppose you tell it. HI Well, sir, in a re-ward situation, they usually say no questions asked. NATHAN Do they. Hi shrugs. Nathan turns to put the baby back in the crib. NATHAN ...All right, boy, I guess you got a re-ward coming. Twenty thousand dollars... He turns around with a thought: NATHAN ...Or, if you need home furnishings, I can give you a fine of credit at any of my stores. Fact, that's the way I'd rather handle it, for tax reasons... HI Well- Nathan throws his hands up in the air. NATHAN But it's up to you. HI Tell you the truth, I think we'd prefer the ca- ED We don't want no reward. Hi does a small take, surprised at this much integrity. ED ...We didn't bring him back for money. NATHAN Well, we could work it that way too. ED Could I just look at him a little bit more? She stands looking into the crib. Hi steps up next to her and puts an arm around her shoulder. NATHAN Be my guest, young lady... but would you mind tellin' me exactly how you- Ed starts crying softly as she gazes into the crib. Hi murmurs something to comfort her. Nathan is studying the two of them. NATHAN ...You took him, didn't you? Wasn't that biker a'tal. Hi turns to face him. He speaks in a rush. HI I took him, sir, my wife had nothin' to do with it. I crept in yon window and- ED (still crying) We both did it. We didn't wanna hurt him any; I just wanted to be a mama. HI It wasn't for money or nothin'. We just figured you had more'n you could handle, babywise. But I'm the one committed the actual crime sir, if you need to call the authorities- NATHAN Shutup boy, no one's callin' the authorities if there's no harm done. HI Thank you sir. ED Thank you sir. NATHAN Aw bullshit. Just tell me - just tell me why you did it. ED We can't have our own. Nathan looks at her. Finally he nods and sighs. NATHAN ...Well lookit. If you can't have kids you gotta just keep tryin' and hope medical science catches up with you. Like Florence'n me - it caught up with a vengeance. And hell, even if it never does, you still got each other. HI Sir, those're kind words. But I think the wife and me are splittin' up... He indicates Ed with a nod of the head. HI ...Her point of view is we're both kinda selfish and unrealistic, so we ain't too good for each other. NATHAN Well ma'am, I don't know much but I do know human bein's. You brought back my boy so you must have your good points too. I'd sure hate to think of Florence leavin' me - I do love her so... He clears his throat and turns to the door. His tone is harder again: NATHAN ...You can go out the way you came in... He snaps off the lights. NATHAN ...And before you go off and do another foolish thing, like busting up, I suggest you sleep on it... He has disappeared into the hall. We hear his voice receding: NATHAN ...at least one night. HIGH SHOT Looking straight down at Hi, asleep in the trailer bedroom. We start to crane down. VOICE OVER That night I had a dream... EXTREME WIDE SHOT A beautiful dusk landscape. We are floating in over the field, abutting the prison, that Gale and Evelle popped out of. In the middle background of the extreme long shot two men are walking across the field. VOICE OVER ...I dreamt I was as light as the ether, a floating spirit visiting things to come... BACK TO HIGH SHOT BEDROOM Craning down toward Hi. VOICE OVER The shades and shadows of the people in my life wrastled their way into my slumber. BACK TO FIELD Still floating forward but now much closer to the two walking men. We see that they are Gale and Evelle. Both are still dyed blue. They are approaching the hole in the ground. VOICE OVER I dreamt that Gale and Evelle had decided to return to prison... Evelle is starting to climb into the hole. VOICE OVER ...Probably that's just as well. I don't mean to sound superior, and they're a swell couple guys, but... Evelle has disappeared and Gale starts climbing in. VOICE OVER ...maybe they weren't ready yet to come out into the world. FLOATING UP THE WALK OF THE ARIZONA HONE The front door has a holly wreath on it. VOICE OVER And then I dreamed on, into the future, to a Christmas morn in the Arizona home... DISSOLVE THROUGH TO ARIZONA LIVING ROOM Five three-year-olds in their pajamas are opening presents around a tree as Nathan and Florence look on. VOICE OVER ...where Nathan Jr. was opening a present from a kindly couple who preferred to remain unknown. We have been isolating in on one of the children peeling the wrappings off a package marked to Nathan Jr. Inside is a shiny red plastic football. FLOATING IN TOWARD A STATION WAGON Pulled over on the state highway in the middle of the desert, a police motorcycle parked behind it. Glen is leaning out the driver's window of the car talking to the state trooper who stands facing him. VOICE OVER I saw Glen, a few years later, still havin' no luck gettin' the cops to listen to his wild tales about me'n Ed... Glen is grinning and talking with his hands cupped in front of him, as when he told Hi about the Pollack who almost stepped in the pile of shit. The trooper, in crash helmet and dark sunglasses, is listening tight-lipped and stone-faced as Glen finishes his story and slaps his knee. VOICE OVER ...Maybe he threw in one Pollack joke too many... The trooper is clicking open his ballpoint pen and reaching his citation book from his breast pocket. The name tag on the pocket says "SGT. KOWALSKI." VOICE OVER ...I don't know. FLOATING IN TOWARD A FOOTBALL It sits on a tee in the middle of a football field. VOICE OVER And still I dreamed on... A cleated foot boots the football out of frame. VOICE OVER ...further into the future than I'd ever dreamed before. HIGH SCHOOL FOOTBALL PLAYER Looking up, arms out at his sides, waiting to receive the kicked ball. VOICE OVER ...Watching Nathan Jr.'s progress from afar... He catches the ball and starts running. VOICE OVER ...Taking pride in his accomplishments as if he were our own... He is skillfully eluding and stiff-arming tacklers. VOICE OVER ...Wondering if he ever thought of us. He reaches the end zone and triumphantly spikes the football. He whips off his helmet and we track in on the face of the rosy-cheeked high-school bruiser. VOICE OVER ...and hoping that maybe we'd broadened his horizons a little, even if he couldn't remember just how they'd got broadened. BACK TO BEDROOM Still craning down, now very close to the sleeping Hi. VOICE OVER But still I hadn't dreamt nothin' about me'n Ed. Until the end... DISSOLVE THROUGH TO A COUPLE The man and woman are sitting on a sofa in the foreground with their backs to the camera. They are in the living room of Hi and Ed's trailer, which is suffused with a warm golden light. As they face the trailer's front door, all we see of the couple is the backs of their heads. They both have white hair, the woman's pulled into a bun. The old man wears a cardigan, the woman a shawl. VOICE OVER ...And this was cloudier 'cause it was years, years away. The front door bursts open. Two young couples are entering as their kids - about a dozen of them - stream in around them. The old couple on the couch raise their arms to embrace their visitors. The children boil onto the couch. VOICE OVER ...But I saw an old couple bein' visited by their children - and all their grandchildren too. And the old couple wasn't screwed up, and neither were their kids or their grandkids. And I don't know, you tell me. This whole dream, was it wishful thinking? Was I just fleein' reality, like I know I'm liable to do? FLOATING IN TOWARD A LONG DINING TABLE In the trailer. The table is all laid out with a Thanksgiving dinner, a huge turkey sitting at the far end. Cut-out letters at the other end of the room say: "WELCOME HOME KIDS!" The grandchildren are running into frame and taking their seats at the table, accompanied by their parents. VOICE OVER ...But me'n Ed, we can be good too... The elderly couple enter from either side of the camera and stand in the foreground, backs to us, facing the table. VOICE OVER ...And it seemed real. It seemed like us. And it seemed like well... our home... If not Arizona, then a land, not too far away, where all parents are strong and wise and capable, and all children are happy and beloved... I dunno, maybe it was Utah. The elderly man drapes an arm around his wife's shoulder and draws her close. She rests her head against his shoulder, and we: FADE OUT THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Rambling Rose.txt b/unformated_scripts/Script_Rambling Rose.txt new file mode 100644 index 0000000000000000000000000000000000000000..c0aff8475f4c14bc883f7345eb0fabd560ebf3fc --- /dev/null +++ b/unformated_scripts/Script_Rambling Rose.txt @@ -0,0 +1 @@ +FADE IN:EXT. DELTA TERMINAL - KENNEDY AIRPORT - DAYOn a taxi arriving at the Delta terminal of Kennedy Airport.A man in a well-tailored gray suit gets out of the taxi.CUT TO a CLOSER SHOT of the man as he pays the cabbie. He isWILLCOX HILLYER, the middle-aged "Buddy" of this story andthe observer through whose eyes it is seen. He has a dry,ironic, rather agreeable manner and he should seem likeeveryone's idea of a successful author, a slightly graying,trim, still-youthful-looking fifty. The CAMERA follows him ashe walks into the terminal carrying a small travel bag.INT. DELTA TERMINAL - KENNEDY AIRPORT - DAYCUT TO a shot of Willcox Hillyer at a counter getting histicket processed. A little smile is on his face as he talksto a pretty airline girl. This character likes girls; hisaloofness is modified, his face changes when he talks tothem. The airline girl smiles back, she finds him attractive.We don't hear what they are saying, no dialogue on track --it is obvious he is flirting with the girl in a mild way, butnow a frown comes on his face and he turns his head as ifslightly annoyed by something.CUT TO a POV shot of a tall, gaunt, almost totally bald manat the next ticket counter. The man is about sixty-five andlooks like a half senile Great Dane. He is DAVE WILKIE,erstwhile husband of the heroine of this story. Age has notbeen at all kind to Dave; his face is lined with bitterness,he is a sour, angry, lonely man and now he is making a veryunpleasant scene with a ticket girl and an airlinerepresentative, waving his ticket and gesticulating angrily.He wears an expensive, ill-fitting suit and a Texas-type hat.We don't hear his angry complaints, no dialogue is on thetrack.CUT BACK to a CLOSE SHOT of Willcox Hillyer as he stares witha frown at the man. It's as if he knows the man but can'tplace him. The airline ticket girl speaks to him and he turnsback to her, his face softening as he answers her, obviouslysaying he'll carry his bag. He nods goodbye to the girl,turns and the CAMERA follows him as he walks some distanceaway and stops, looks back with another pensive frown at thetall, gaunt man at the next counter.CUT TO ANOTHER POV shot of Dave Wilkie, a longer shot thanthe first. The man is now arguing angrily with two airlinerepresentatives, still waving his ticket and shaking hishead. We don't hear him. Lip-readers might pick up what he issaying: "I'm supposed to be in first class, not tourist.What's the matter with this friggin' airline?"CUT BACK TO Willcox Hillyer, a CLOSE SHOT of his face as herubs his chin and frowns obviously struggling to remember theman. The CAMERA holds on him as he stares at the gaunt angryDave, racking his brain. He shakes his head, he cannot placethe man and yet he knows him. The CAMERA moves in closer onWillcox Hillyer's face as he stares in pensive puzzlement atthis ghost from the past and now we hear, as if from adistance, FAINT MUSIC on the track -- it is "Dixie," playedwith beautiful lazy mocking love by the great Louis Armstrongin his prime. At first we can barely hear it, then the MUSICbecomes LOUDER as Hillyer's frown deepens and he seems almostto know the man.MAIN TITLE (SUPERIMPOSED): "RAMBLING ROSE"The MUSIC remains a bit in the distance, but it can be heard.OTHER TITLES (SUPERIMPOSED): over the following action.VARIOUS SHOTS, on Willcox Hillyer. He gives up his effort torecognize the strangely familiar Dave with a little shrug,turns and walks away with his travel bag.INT. DELTA TERMINAL - LOUNGE - DAYWe see him entering the departure lounge and boarding theplane.INT. DELTA AIRPLANE - DAYA shot of him as he smiles rather nicely at a very attractiveyoung stewardess as he walks down the aisle of the plane. Heis not a crass or lewd flirt, but life comes into his facewhen he sees a pretty girl -- he seems to have a realaffection for girls: toward men he is polite but rather dryand ironic, almost aloof, but girls he likes. We see him sitin a seat, open his travel bag and take out long galleysheets. He stares for a moment rather wearily at the galleys,then sighs, puts on reading glasses and begins to makecorrections as boarding passengers walk by in the aisle.Something or someone disturbs him, he looks up with a slightfrown and CUT TO a POV shot of Dave Wilkie, all wonder andenthusiasm. This OVER the TITLES and we do not hear thedialogue they speak, what we heard is LOUIS ARMSTRONG, but Iwill put the dialogue in here so the actors can act it. We donot want to hear it, the sense of what they are saying willbe obvious from the acting. DAVE WILKIE (not on track) Buddd-dee! My God, if it ain't Buddy! Well, if this ain't the darnest thing!ANOTHER ANGLE, on them both as Dave blocks the aisle, anidiot false-toothed grin on his face. Hillyer has a painedembarrassed smile. WILLCOX HILLYER (not on track) Excuse me... your voice is familiar and I'm sure I know you from somewhere... DAVE WILKIE (not on track, with delighted injury) Awww-rr, Buddy, come on, you know me! WILLCOX HILLYER (not on track) Well, I... I... ah-h, let's see... DAVE WILKIE (not on track) It's Dave Wilkie! I'm Dave Wilkie, don't you remember me? WILLCOX HILLYER (not on track) Oh. Oh, God. Of course, Dave, how are you?The men shake hands, Dave enthusiastically, Hillyer less so.We see Dave stow his suitcase and take the seat next toHillyer.EXT. KENNEDY - DAYCUT TO a shot of a big Delta jet making its final taxiingturn and ROARING into a take-off.INT. KENNEDY - DAYCUT TO a dramatic underbelly shot of the jet going up.END OF TITLES. DISSOLVE TO:INT. DELTA AIRPLANE - DAYA shot of the attractive, young stewardess, harried as shefixes drinks.INT. DELTA AIRPLANE - DAYCUT TO Dave and Willcox Hillyer as the young stewardess givesthem drinks. Dave bestows a sour glance on her when he seesthe single drink, but at the moment he is in the midst of anaggressively self-satisfied conversation and says nothing toher. He speaks to Hillyer, who is making a real effort to bepolite but is less than happy about the encounter. DAVE WILKIE Well, I am in the construction business, Buddy, and without braggin' I have done real good at it. (with a meaningful bitterness) There are those who wouldn't have expected that out of me. (pauses as if waiting for a reaction, but Hillyer is very silent) Right now I'm buildin' a giant motel unit near Alexandria, outside Washington, D.C. Not fi-nance, I'm on the construction side. WILLCOX HILLYER (making polite talk) Well, that's interesting, Dave. I always liked Washington, it's a pretty town. DAVE WILKIE Oh, it's all right, beats Jew York. But the niggers have took it over, just like every other city we got, only worse.Hillyer gives a barely perceptible wince at this speech, butDave doesn't notice, he goes on with aggressive selfsatisfaction after a swallow of whiskey. DAVE WILKIE (CONT'D) But I have done real good in the construction field. What I don't know about buildin' ain't worth knowin'. I knocked off twenty-eight thousand smackeroos last year, how's that for an old country boy?Dave pauses, realizes this might not impress; glances downwith curiosity at the galley sheets, then an unpleasantsmile. DAVE WILKIE (CONT'D) Ha ha, course you make a lot more. (points at the galleys) What's that you got there, Buddy? WILLCOX HILLYER (reluctantly) Galley proof. DAVE WILKIE Galley what? WILLCOX HILLYER Page proof of a book I'm working on. DAVE WILKIE How about that. Well, you always were a screwball. WILLCOX HILLYER (lifts an eyebrow in mild irony) Oh, yeah? DAVE WILKIE (unfazed) I don't mean that the way it sounds. (stares at galleys as if rattlesnake) Imagine it, a book. And I used to know you personal way back when. (pauses, then earnestly) Tell me something, Buddy, how do you dream up all that stuff? WILLCOX HILLYER (absolutely straight) Well, actually, we have a little black boy named Her---t who lives in the garage. He does it for me. DAVE WILKIE (for a moment half believes it, then a slow, stupid grin) Heh heh heh heh, same old Buddy, always jokin' around. Almost as much of a joker as your Daddy. (drains his drink, grimaces; a heavy drinker, Dave) I saw your Daddy a coupla years ago, I was up in Glenville lookin' at a motel site. I guess that's where you're headed, huh, to see him? WILLCOX HILLYER (stares out of plane window) That's right, Dave, I'm headed for Glenville on a whisperin' jet. DAVE WILKIE (suddenly calls out) Hey, girl! Hey, you, give us another drink! (to Hillyer, sullenly) Dumb little bitch, supposed to give us two in the first place.Willcox Hillyer listens with a pained half smile, a hand athis temple. DAVE WILKIE (CONT'D) This friggin' airline's out of its mind. (a martyr) The sons of bitches tried to put me in tourist. (portentuously philosophical) But our whole civilization is screwed up, Buddy. The heebies and the coconuts have took it over and ruined it.Willcox Hillyer half closes his eyes in weariness, but saysnothing. Gently, he rubs his temple. It is plain Dave Wilkiegives him a headache.INT. DELTA AIRPLANEANOTHER ANGLE, on the pretty young stewardess as she bringstwo more drinks. Dave stares sourly at her, wholly unmoved byher charm. DAVE WILKIE Took your time gettin' here. WILLCOX HILLYER She has other things to do, Dave.Willcox smiles apologetically at girl. DAVE WILKIE Supposed to get two drinks in the first place. This friggin' airline can't do nothin' right.The stewardess purses her lips at Dave, who is bowed over hisdrink busy opening it. Hillyer lifts an eyebrow at the girlas if to say, "Don't blame me because of this damned idiot,"and she half smiles at him. WILLCOX HILLYER (obviously getting him off subject) Tell me about that job in Alexandria, Dave, the big motel you're building. DAVE WILKIE (with pedantic exactitude, the man is a complete pain in the ass) Near Alexandria. It isn't in Alexandria, it is outside it. WILLCOX HILLYER I see. Outside it. DAVE WILKIE That's correct -- outside it, not in it. As for the job, well, the Jewboy suppliers give me a lot of grief and we use a pile of niggers to haul and tote and they ain't worth a sorry-ass damn. (takes big swallow of drink) But I can build anything, Buddy. Give me the plans and I can build a goddamn staircase to the moon. It's a fact, I can build anything... (pauses, then bitterly) ... but she never believed that. Oh, hell, no, she never believed in me.This is another pointed bitter reference to the unknown"she." Once again, Willcox Hillyer is deliberatelyunresponsive. WILLCOX HILLYER Um-m, well... DAVE WILKIE (broodingly) Doubted my ability all along, the little bitch. I never remarried, Buddy, you know that, don't you? WILLCOX HILLYER Well, no, I didn't actually. DAVE WILKIE She's te reason -- cured me of women once and for all. Oh, I got rid of her, Buddy, I didn't waste no time kickin' that bitch out. Hell, she was screwin' everybody in Savannah. I caught her in a motel with this long tall son of a bitch and boy did I beat the everlastin' piss out of him!Dave Wilkie's eyes narrow with vindictive anger as he says itand one can well believe the streak of raw violence in theman. It is frightening even now; he is a clown, but he is adangerous clown. As his long, bitter, impassioned tiradecontinues, Willcox Hillyer becomes increasingly tense andpale -- it is obvious he detests what the man is saying andhe is struggling to control himself.Dave's tone and voice are laconically Southern, but thehatred and misery in his eyes are raw. DAVE WILKIE (CONT'D) She didn't marry him, though, later she married another guy and went to Winston-Salem. It didn't last That girl couldn't have no lastin' marriage, she left him and married another dumb sucker and went out west. Little bitch left him, too, and you know what she's married to right now? (puts a big finger on Hillyer's chest) A kike. That's right, some kind of kike horse doctor named Schapiro out in Seattle, who's got the nerve to have the same first name I got. Wouldn't you know it, Rose would wind up married to a goddamn kike? She was always out of her friggin' head and I'll tell you why. (his eyes narrow and again he puts a finger on Hillyer's chest) Buddy, she was sick in her mind and between her legs, too. She was a nymphomaniac. WILLCOX HILLYER (he has had enough; with a pale trembling anger and in even tone) Dave, you are as full of shit as a Christmas turkey and you know it. Now if you want to start a fight on this plane and get yourself in jail, go right ahead. But I am telling you, you are full of shit right up to your eyeballs. DAVE WILKIE (with surprising mildness; a little smile almost as if he is pleased) I don't want to start no fight with you, Buddy. Why do you say I'm full of shit? WILLCOX HILLYER Dave Schapiro is no horse doctor and Rose has been a good wife to him for a long time. To call her a nymphomaniac is the most stupid thing I ever heard in my life. DAVE WILKIE (again surprisingly mild) You loved her, didn't you. Well, so did I. (a little shrug) You'll have to admit she had four husbands. WILLCOX HILLYER Yeah, it took her a while to grow up and find Mr. Right, but she did it. She found him. DAVE WILKIE (another little smile) She used to call me Mr. Right. Remember that, Buddy? WILLCOX HILLYER (he is pale with anger) Yeah, I remember it.Willcox picks up galley sheets, half turns away. DAVE WILKIE Well, I tell you, I don't know what the world's come to these days. Things used to be better. We didn't have any money, but things were better. (grimaces in anger) Goddamn niggers and kikes burning the flag, rioting, raising hell -- they ought to shoot their asses off. I tell you, Buddy, where this country made its mistake was allowing people without property to vote.During this speech, Willcox Hillyer grits his teeth but saysnothing. He keeps his eyes down on the galley sheets. As Daveshakes his head in sorrow at the state of the nation .. DISSOLVE TO:INT. ATLANTA TERMINAL - HERTZ COUNTER - DAYA shot of Willcox Hillyer at a Hertz Counter in the Atlantaairport. A tense, wrought up Dave Wilkie is in the b.g. ofthe shot. During the following brief exchange, Hillyer ispolitely cool, Wilkie under a great strain. DAVE WILKIE (holds out hand) Well, got to get a plane to Savannah. Great running into you, Buddy. Give my best to your Daddy. WILLCOX HILLYER Yeah, I'll do that, Dave. DAVE WILKIE (sweating, tense, under some kind of awful emotional strain) Ah-h, if you happen to run into Rose sometime... do me a favor, give her a message for me, will you? WILLCOX HILLYER (a trifle wearily) Dave, I haven't seen Rose for years.Hillyer takes rental car papers from a pretty young HERTZGIRL, gives the girl a little smile, picks up his travel bag.In desperation, Dave takes his arm. DAVE WILKIE Buddy, I'm a sick man. I had a heart attack last year, I wasn't expected to live.Hillyer turns to Dave, puzzled and interested; Dave earnestlyexplains. DAVE WILKIE (CONT'D) You might see her. She writes your Daddy, and she and that doctor came to see him, didn't they? I wish you'd tell her something... I never could write letters. WILLCOX HILLYER (in a different tone, interested, curious) What do you want me to tell her, Dave? DAVE WILKIE (a painful inward struggle; the man is tormented, miserable) Oh, to hell with it, never mind. Don't tell her anything. Don't even tell her you saw me. (half turns his back, his face twisted with strong emotion) Got to run, Buddy, I'll miss my plane.Willcox Hillyer and the pretty young Hertz Girl stare afterDave Wilkie as he walks away with spasm-like steps. Hillyerseems affected, less hostile toward Dave now. He speaks halfto himself, half to the Hertz Girl. WILLCOX HILLYER He still loves her. The poor damn fool still loves her. HERTZ GIRL Who was she? WILLCOX HILLYER A girl named Rose. (pulls himself back into the world of reality) Still take R75 to Glenville? HERTZ GIRL Yes, sir.Willcox nods thanks and walks away carrying his travel bag.EXT. ATLANTA AIRPORT - ROAD - DAYCUT TO a shot of the red Ford driving from the airport.EXT. INTERSTATE 75 - DAYA shot of the red Ford on Interstate 75, Atlanta skyline inb.g.EXT. GEORGIA INTERSTATE - DAYOn the red Ford as it speeds along a Georgia Interstatethrough red clay hills in green springtime.INT./EXT. CAR - GEORGIA INTERSTATE - DAYCUT TO a shot on Willcox Hillyer CLOSE ON his face in thecar. He is lost in reflection. A look of bitter sweet emotionis on his face, an expression of sadness mixed withamusement. As the CAMERA holds on his face, we hear again onthe track Louis Armstrong's great version of "DIXIE," ormusic of comparable power, beauty and nostalgic evocation.Now the music is stronger, much stronger than behind thetitles, we are beginning to hear it full force. DISSOLVE TO:BLURRED SCREEN FLASHBACK:EXT. HILLYER HOME - DAYA shot of a thirteen-year-old boy on the front porch of ahouse in the sleepy Depression South of many years ago. He isBUDDY, Willcox Hillyer as a boy. The MUSIC continues as heshades his eyes to look at something far away.EXT. HILLYER HOME - DRIVEWAY - DAYCUT TO a LONG POV shot of a young and very pretty blonde girlwalking slowly up an oak-shaded driveway. A ZOOMAR LENSEtakes us TOWARD her. She is carrying a cardboard suitcasetied with a string. Her clothes are cheap, her shoes aredusty, runs are in her stockings. She is sweaty, tired andseems very nervous. ROSE is a very attractive girl, but herprimary quality is not sexiness, but an innocence andsweetness. She pauses to wipe sweat from her forehead withthe back of her hand and nervously moistens her lips as shestares ahead uncertainly at the "nice" Southern home which toher seems very grand. It is apparent she is badly frightenedand apprehensive about what lies ahead. She is also exhaustedfrom the heat and a long hot walk in the Southern sun. Sheblinks at perspiration, swallows in anxiety again and forcesherself to walk on.EXT. HILLYER HOME - PORCHCUT TO a shot of Buddy on the porch. Expressionless,unreadable, neither friendly nor hostile, he stares with aneven gaze directly into the CAMERA. He has his hands on hiships in a distinctive way that we will later see is amannerism of his father's.Buddy tries to imitate the style of his father, not alwayswith complete success. Unreadable as a Sphinx, he standsthere, waiting.EXT. HILLYER HOME PORCH - DAYCUT TO a POV shot of Rose at the foot of the porch steps. Atentative little smile is on her face. It is very plain sheis nervous and frightened. ROSE Hello. I'm Rose, and I've come to live with you and your family.Silence. The damn boy says nothing. A trifle crestfallen,Rose moistens his lips and swallows. She ventures anotherlittle smile and the CAMERA follows her as she walks up thesteps. The at-times-insufferable Buddy comes into the shot.He still has his hands on his hips Daddy-style and hisexpression is inscrutable, neither friendly nor hostile. ROSE (CONT'D) What's your name? What do they call you?Finally, the boy speaks -- and he is not so bad. He's a childafter all. BUDDY Lots of things. Buddy, mostly. ROSE (greatly reassured, a real smile now) Buddy. Well, now, that's a nice name, I like it. I am real pleased to meet you. (solemnly holds out her hand, they shake) Hey, look, do you think you got a cold drink of ice water somewhere? BUDDY Sure. Let me take your suitcase.A warm and beautiful smile comes on Rose's face and a littletwinkle comes into her eyes. The innocence and sweetness arenot lost, that is never lost, but this is a girl who likesboys and men. ROSE You're sweet.INT. HILLYER HOME BEDROOM STUDY - DAYCUT TO a shot of Buddy's mother, Mrs. Hillyer, in a Morrischair in her bedroom study.MOTHER is a sensitive, kind and rather appealing if slightlyeccentric lady of about 37 or 38. She wears glasses, has aVictorian hairdo and a 1930ish style dress. At the momentMother is absorbed in her studies -- notebooks and historybooks are littered and piled everywhere around her chair. Sheis drinking a Coca-Cola and smoking a cigarette held by abobbie pin. Calmly, she glances up as Buddy enters the room.The CAMERA pulls back to include him. BUDDY The new girl is here. MOTHER Wonderful. What's she like, Brother? What is your impression of her? BUDDY She talks a great deal and smiles a lot. She's very pretty, she has a real good figure. She's very girlish or womanish, if you know what I mean. She wouldn't hurt anybody, this girl. She couldn't.Mother accepts her son's precocious pronouncement asperfectly normal; talks to him as if he's an adult. MOTHER Your impression is very reassuring, Brother. Of course she's had troubles, poor thing, but I sensed that was that the girl was like and I'm glad to have it reconfirmed. BUDDY You mean confirmed, Mother. I didn't confirm it before. I would have had to confirm it previously, in order for it to be reconfirmed. MOTHER All right, all right. Doll and Waski are upstairs taking their nap, you go get them and bring them down to the living room. Where is the girl? BUDDY In the kitchen drinking all the ice water in Glenville. She walked out here, she didn't go by the hotel. MOTHER Walked, in all that heat? It's a wonder she hasn't got sunstroke. I'll phone Daddy and you go get Doll Baby and Waski. DISSOLVE TO:INT. HILLYER HOME - LIVING ROOMA shot of Mother, Rose, Buddy, Doll and Waski in the livingroom of the Hillyer household. DOLL is a pretty little girlof about 11, WASKI a boy of 5. Mother's tone is very gentle,very sweet, very kind. Her unabashed admiration for her ownchildren has an ingenuousness that is more amusing thanoffensive. MOTHER Rose, this is Waski. His real name is Warren but we call him Waski. He doesn't like it much and I suppose someday we'll have to stop calling him that. WASKI You can stop it right now. MOTHER When he was baby we called him "Wa Wa," a baby name, you know. You will find him a very good boy. His brother can be bad and so can his sister, but Waski is a very good boy. And as you can see he's beautiful. WASKI Oh, Mother, cut it out. MOTHER (serenely) There are plenty of girls who would give thousands of dollars to have your auburn hair. Beauty is beauty and that's all there is to it. Beauty is there and we have to recognize it. Now Rose, the little girl sitting across from you with the blue eyes is Doll Baby. She looks like an angel and she is an angel, but she can be a naughty angel sometimes, although her father won't believe it. Her real name is Frances, but we call her Dolly or Doll. DOLL I don't like that, either, it's worse than Waski. I want to be called Fran. MOTHER Daddy wouldn't hear that. Now the redhaired boy you see sitting there, of course you have met him, he is my oldest son and my most brilliant child. All children have great creative powers, but I don't want to rattle on about my children, they say I brag too much about them, especially about Brother. Am I boring you, Rose?Rose has not as yet caught on to Mother's style and isstaring at her with lips apart and blue eyes slightly popped. ROSE (feebly) Oh, no, ma'am. MOTHER Well, it's rather interesting about Brother, actually. I realized the remarkable thing he had when he was six weeks old. He looked at me and understood me, he knew exactly who I was. I know it sounds crazy but it's true. He's very remarkable, he was born for the ministry and could move millions, but he doesn't know that yet. I have to warn you about him, he can be very dangerous, there is an evil streak in him, a streak of pure sheer meanness. But at heart Brother is saintly and that is why he was born for the ministry even if he doesn't know it.Thus, Mother. Slightly cuckoo, a bit out of touch withreality, but no fool. A very intelligent woman really, andvery, very gentle and kind.Her style, however, takes a little getting used to and herlong speech throws Rose completely. She stares at Mother inspeechless open-mouthed awe, unable to say a word.The CAMERA moves in CLOSER on Rose as she moistens her lips,swallows, tries to talk and can't. She is very, very nervous.Now she flinches and looks around as we hear a deep masculineVOICE OVER the shot. It is the voice of DADDY, Mr. Hillyer,Buddy's father. DADDY'S VOICE Honey, you'll scare the gizzard out of the girl going into the fourth dimension like that.ANOTHER ANGLE on Daddy in the doorway of the living room. Heis a handsome man of about forty with a style and a mannerall his own. As extravagant as his remarks often are andfunny though he is at times, the man has a courtly Southerndignity that is never lost. He is no clown, he is not even acomedian, he is a man and a formidable man at that: all thecharacters in this story love and fear him. We see now whereBuddy got his unreadable expression thing and his hands onthe hips thing. Daddy is unreadable. A straw hat is on theback of his head, a rolled-up Glenville Tribune is in hishand, his hands are on his hips. He is staring with whatseems to be stern fierceness at them all, but his attitudereally is inscrutable. MOTHER It isn't the fourth dimension. To you it's the fourth dimension, maybe, to me it's simply the truth. DADDY (staring fiercely at Rose) Well, well, well. So Miss Rosebud has arrived. Un-hmm. And you're all assembled here. Yes, indeed. Un hmmm.Daddy walks in as Rose stares wide-eyed at him. It is obvioushe scares the absolute bejesus out of her, she looks actuallyas if she might faint, her hands trembling on her lap and herknees quivering beneath her cheap and tacky dress. But shehas a surprise coming. She is soon to lose all her fear ofhim, every bit of it. Daddy walks over and sits in a chairbeside her, stares fiercely at her for a moment, then beginsa long speech. Again, extravagant as this speech is, he is noclown, he is not "being funny," he means every word he says. DADDY (CONT'D) Well, Rosebud, now you are here, darling, and I swear to God graceful as the capital letter S. You will adorn our house, Rosebud, you will give a glow and a shine to these old walls. If there's one thing I like to have around, it's a frizzy-haired blonde. Now I assume Mrs. Hillyer and the children have introduced themselves and made your acquaintance, and so forth and so on?Rose can barely answer, eyes fixed in rapt fascination onhim, a half whisper. ROSE Yes, sir. DADDY All right. Now as head of this household I have a couple of remarks to make. It is my dear wife's belief, which I accept although I do not totally grasp it, that to hire a person to do household work is a criminal practice. Therefore, you are here not as a servant, you are here as a friend, as a guest and hopefully as a member of this family. You will eat your meals with us, you will share life itself with us -- in love and harmony, dear Rosebud, in love and harmony. Do you understand me? ROSE (a half whisper) Yes, sir.Daddy pauses, then in a different tone, his hidden gentlenessand kindness are much more plain; as he talks Rose's eyesbegin to well with tears. DADDY Now, I know you've had some troubles in your life, those... scoundrels in Birmingham and so forth trying to... lead you astray. I hope you find a safe haven here, honey, I know you've had a hard time. Life can be cruel to a young girl all alone. We welcome you to our home, Rosebud, we all welcome you from the heart and hope you are happy here.Rose bites her lip, her eyes are filled with tears; aninaudible whisper. ROSE Yes, sir.INT. HILLYER HOMEVARIOUS SHOTS of Rose doing household chores: sweeping thefloor, vacuuming, cooking. She is cheerful in her work,smiling, good-humored and she works hard. It is obvious sheis happy. We see the children in most of these shots. It isapparent Rose is a very good worker and very happy in her newhome.INT. HILLYER HOME - KITCHEN - DAYRose is washing the dishes while the children finishbreakfast. Buddy looks up from this cornflakes with aslightly sly expression. BUDDY Rose, who were those scoundrels in Birmingham? ROSE Nobody. BUDDY But who were they? ROSE They were just bad men, that's all. BUDDY In what sense were they bad? ROSE Bad is bad, Buddy. There ain't no sense to it. BUDDY Did they try to induce you to become a prostitute?Rose turns around, lifts her eyebrows, tosses down thedishcloth. ROSE I don't answer talk like that, Buddy. I just don't hear it, I turn my back and look away.Rose turns her back on him. BUDDY Was that what they tried to do? Was that why Daddy gave you the job, to save you from those scoundrels? ROSE Your Daddy is a wonderful man, I'll say that. He's the best and most kind-hearted man in the world. BUDDY Hey, Rose, did you hear about that terrible thing down in Cave Springs? ROSE What terrible thing in Cave Springs? BUDDY There was this old man that ate his niece.Rose stares emptily for a moment, then bites her lipstogether. ROSE I didn't hear you. I didn't hear that. BUDDY He really did, he ate his little niece. He made pork chops out of her. ROSE I don't hear you. I just turn my back on that kind of talk and look away. BUDDY Well, it's only the truth. There are horrible things in the world, Rose. ROSE Buddy, you are in one of your evil moods, I don't want to talk to you. I'm going out and sweep the patio.Rose exits and the CAMERA stays on Buddy, Doll and Waski. BUDDY Rose is almost as sentimental as Mother. If there's one thing I can't stand it's sentimentality. In Chattanooga this man committed an almost perfect murder. He killed his wife with a black widow spider. DOLL Oh, shut up, Buddy. WASKI Yeah, shut up.EXT. HILLYER HOME - PATIO - DAYCUT TO a shot of Rose on the stone patio of the Hillyerhouse, an attractive area with outdoor furniture andcrabapple tree limbs overhead. Rose is busy sweeping. TheCAMERA PANS to follow her and we pick up Mrs. Hillyer,Mother. It is a nice day and she is studying out on thepatio, books and notebooks piled around. Rose glances downcuriously at her. ROSE What are you studying now, Mrs. Hillyer? MOTHER More history, Rose. ROSE Are you going to get your degree soon? MOTHER Well, I am working on my thesis. ROSE (as she busily sweeps) It must be wonderful to be so smart. I don't see how you do it, reading all those books, learning all that stuff. MOTHER (looks up, and gently) Rose, you work too hard. Why don't you go sit down somewhere and drink a Co-Cola? ROSE (smiles, trusts and knows Mother now, not at all afraid of her) You're so sweet.Rose again busily sweeps. MOTHER Really, why don't you go sit down somewhere? ROSE I like to work. I don't mind work. It's the least I can do after all you and Mr. Hillyer have done for me. (stares worshipfully at Mother) You're so sweet. There never was nobody like you. MOTHER (gently) Well, you run on now. ROSE Yes, Ma'am.Exit Rose. Mother adjusts her notebook and turns the page ofa history book as she resumes her studies. We hear the soundof an approaching CAR and she glances up.EXT. HILLYER HOME - DRIVEWAY - DAYCUT TO a shot of a slightly worn-out 1932 Model-A Ford as itrolls up the driveway of the Hillyer home, Daddy at thewheel.EXT. HILLYER HOME - PATIO - DAYANOTHER ANGLE, on Daddy as he gets out of the Model-A. He hashis usual straw hat on the back of his head. The CAMERAFOLLOWS him as he walks onto the patio. DADDY Good morning, sweetheart. Beautiful day. MOTHER Yes, it's so nice I thought I'd work outside. DADDY How goes it, darlin'? MOTHER Slow, hon. But at least I can concentrate now that Rose is here. DADDY What do you think of her, honey?Mother doesn't answer, she writes on, head bowed over hernotebook. We see in this shot the hearing aid she wears andhear from it a faint BUZZ. DADDY (CONT'D) Turn up your hearing aid. MOTHER What? DADDY Your hearing aid, it's buzzing at me like a snake. MOTHER (adjusts hearing aid) Oh. Did you say something? DADDY I asked you what you think of Rosebud, now that she's been here a while. MOTHER Honey, she's perfect. She works all the time and she's wonderful with the children. And they love her, even Brother likes her though he won't admit it. I think she's just perfect. DADDY Um-hmm. Almost too perfect. MOTHER And she's such a good-hearted thing, there isn't an ounce of harm or malice in her. DADDY Well, I'll admit I don't see any flies on her yet. MOTHER There are no flies on Rose, I don't know what you're talking about. DADDY Well, she must have done something to encourage those scoundrels in Birmingham, even if she did run away from them.INT. HILLYER HOME - KITCHEN - DAYCUT TO a shot of Buddy in the window of the kitchen. He ispropped on his elbows and listening with keen interest to thetalk on the patio. We hear the VOICES of his parents OVER theshot. MOTHER'S VOICE If you mean... boys and men, I don't think so. Rose seems very calm about all of that. DADDY'S VOICE Well, so far I have to agree. She seems calm as lettuce.The CAMERA FOLLOWS Buddy as he draws back into the kitchen.We see Doll and Waski playing a game on the kitchen table. BUDDY Daddy says Rose is calm as lettuce. Do you believe that, Doll? DOLL No. WASKI Neither do I. BUDDY Oh, Waski, you don't even know what we're talking about. WASKI I do, too.Buddy turns, looks back out the window.EXT. HILLYER SOME - PATIO - DAYCUT TO Mother and Daddy on the patio. Daddy stands up. DADDY Well, let's hope for the best, darlin'. MOTHER Hope for the best? I don't understand all this skepticism. I thought you liked Rose. DADDY I love Rosebud, I am wild about Rosebud. I just hope she doesn't turn out to be a hidden hotcha character, that's all. We have growing children in the house. MOTHER Hotcha character. If I had to live with your cynicism, I wouldn't want to live at all. What you can't understand is that the creative forces of the universe are positive, not negative. DADDY (gently, his irony is mild) All right, darlin', don't go off into the fourth dimension. MOTHER I'm not in the fourth dimension -- (points a finger at him) -- you are in the fourth dimension, when you allow skepticism and doubt to take control. As Blake said, if God had doubt the sun would go out. DADDY (again gentle irony, always courtly toward her) Forgive my crudity, darlin'. I don't understand these deeper things the way you do. MOTHER (reaches up, takes his hand) Be nice to Rose. She's never had a real home. DADDY You're a wonderful woman, darlin'. As long as you're around, I'm sure the sun wouldn't dare go out.INT. HILLYER HOME - KITCHEN - DAYCUT TO a shot of Buddy and Doll and Waski in the kitchen.Doll and Waski are playing parchesi on the kitchen table.Buddy turns from eavesdropping at the window and strollsacross the kitchen, hands in his khaki pants. BUDDY It's pitiful. Neither one of them know. DOLL (as she shakes dice) I think Daddy suspects. BUDDY No, he doesn't. Not really.The CAMERA FOLLOWS Buddy as he goes to the hall door,carefully opens it to make no noise and peers down the hall.INT. HILLYER HOME - FRONT HALL - DAYCUT TO a POV shot of Rose busy dusting hall furniture,humming as she works. We hear on the track the SOUND of theModel-A starting, and Rose freezes. Then, quickly, Rosehurries down the hall toward the front door.ON Buddy as he watches her through a crack in the door. Hehas his hands on his hips Daddy-style and his face isexpressionless.ANOTHER ANGLE, POV of Buddy but CLOSER on Rose at the end ofthe hall. She is staring soulfully through the glass of thefront door as we hear the Model-A go down the driveway. Roselifts a hand between her breasts, sighs. A lovesickexpression is on her face.INT. HILLYER HOME - KITCHEN - DAYON Buddy, as he comes back into the kitchen sadly shaking hishead. BUDDY It's really pitiful. She's in bad shape. DOLL She's watching the car again? BUDDY Yeah. DOLL I get so irritated with Daddy. He's so dumb sometimes. WASKI Yeah, I know. BUDDY Oh, Waski, you don't know anything. WASKI I do, too! BUDDY All right, what do you know? WASKI Rose is madly in love with Daddy... DOLL (pauses, then solemnly) Well, don't tell Mother. WASKI Do you think I'm crazy? DISSOLVE TO:INT. HILLYER HOME - DINING ROOM - NIGHTA shot of the family at dinner in the dining room at night.Daddy is at the head of the table, Mother is at the otherend.Buddy, Doll and Waski are all seated in neat, nice clothes,hands washed and hair combed. Rose is serving, but a place isset for her. She wears an attractive little apron and issmiling, blushing, happy as Daddy teases and jokes at her. DADDY (in a good humor) Rosebaby Blossom, these are the most delicious candied yams I ever ate! Why, they just melt in my mouth. And this fried chicken is fit for a king. How do you do it, Peachbird? What is the secret of your art, Plum Blossom, huh? ROSE (blushing, smiling) Oh, I don't know, I... I... DADDY Rosebird Baby, you are the light of my life, darlin'. How did we ever get by without you? ROSE (stares at him, stricken) I... I'll get the grits.The CAMERA FOLLOWS Rose as she exits, and STOPS on Buddy andDoll. Buddy slews his eyes toward his sister, who meets hisgaze for a moment then looks down at her plate. The CAMERAMOVES on to Mother, who is utterly oblivious of anythinggoing on between Rose and Daddy. MOTHER Rose does have a gift for cooking. She learns so fast, but mainly I think it's that she tries so hard.INT. HILLYER HOME - DINING ROOM - NIGHT (LATER)ANOTHER ANGLE, on the family as they eat dinner. Rose isseated at the table now. She is picking lifelessly at herfood and glancing from time to time with a lovesickexpression at Daddy, who is busy eating and seems whollyunaware of it. Mother also is wholly unaware, but all thechildren know what is happening. Rose takes a gravy for abiscuit and spills a little, her hand is trembling. MOTHER (gently, suspects absolutely nothing) Rose, you're in an awful dither tonight. What's the matter with you, honey, are you sick or something? ROSE (in a feeble voice) No, ma'am, I'm just fine. MOTHER You look sick if you ask me. I hate to leave you with the dishes and all, but I'm supposed to go to a meeting of the Garden Club this evening. (to Daddy) I'll need the car keys. DADDY I'll drive you, darlin'. You've got no business behind the wheel of an automobile. You don't think about what you're doing and you'll run into a telephone pole. MOTHER I think about what I'm doing all the time, and I've got as much business behind the wheel of an automobile as anybody. Besides, I want you to stay and help Rose with the dishes, the poor girl isn't feeling well. DADDY All right, darlin'. DISSOLVE TO:INT. HILLYER HOME - DINING ROOM - NIGHT (LATER)A shot of Daddy alone in the dining room, reading a newspaperand drinking coffee. Rose comes INTO THE PICTURE, gets dishesas she clears the table. She stares with a lovesickexpression at Daddy, who is absorbed in paper. DADDY (to himself, mostly) Hmmp. Did you realize there are a thousand Coca-Cola millionaires in Atlanta?INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of Buddy and Doll tiptoeing down the darkenedhall toward the front door. We hear the MODEL-A going downthe drive. They peer out of the glass of the front door. Theywhisper. BUDDY There goes Mother. DOLL Yeah. BUDDY Let's go peep from the living room. DOLL Okay.INT. HILLYER HOME - LIVING ROOM - NIGHTThe CAMERA FOLLOWS them as they tiptoe into the darkenedliving room. They go over to the sliding doors and silentlystruggle for the best peeping spot. Buddy gets up high, Dolldown low, at the crack in the doors through which lightshines.INT. HILLYER HOME - DINING ROOM - NIGHTCUT TO a POV shot of the dining room, as seen by children.Daddy sits absorbed in his paper, oblivious of Rose. She isstaring down at him with a pale look of love.INT. HILLYER HOME - LIVING ROOM - NIGHTCUT TO a CLOSE-UP of Buddy and Doll, their heads together.They whisper. DOLL I think she's gonna kiss him. BUDDY At least.INT. HILLYER HOME DINING ROOM - NIGHTCUT TO a POV shot of Daddy and Rose, as seen by children. Thetable now is cleared and Rose stands half behind Daddy,staring down at him with a stricken expression. DADDY (half to himself) Ehh, Lord, should have bought that stock when we had some money. A thousand millionaires.Rose suddenly makes up her mind, places her hand on hisshoulder, turns sideways, sits down on his lap, puts an armaround his neck. ROSE Oh, oh! Oh, Mr. Hillyer, I love you, I love you so much! I've tried, but I can't help it! Please kiss me -- will you kiss me?For a long time Daddy stares groggily at her with a halffrown as if he can't believe it. In order to stare at her, hemust tilt his head back and, handsome man though he is, helooks a bit like a startled rooster. Her breasts are pressedagainst him, and her eager -pink lips are waiting for a kiss. DADDY (finally clears his throat) Ahh-hem! Now, Rose, get off my lap. What are you doing, girl? Are you crazy? ROSE Yes, crazy about you! Kiss me, Mr. Hillyer! DADDY Why, I'm not going to kiss you, you crazy girl. Now I'm telling you again, get off my lap. Come on, Rose, get up. Now you get up, I say, and stop this! ROSE No, no! You don't understand, I love you! It's real love and I can't help it! Please kiss me, Mr. Hillyer, I love you, I love you so much...Rose breaks down and begins crying, her head on his shoulder.She has her arms wound tight around him and Daddy seems at aloss what to do. DADDY (in a shaken voice) All right, all right. Now calm down, Rose, the children will hear you. Calm down, let's talk... about this thing, let's discuss it. ROSE (sobbing) Don't make me... me... me... get up! DADDY Calm down, Rose, let's calm down and discuss it ...INT. HILLYER HOKE - LIVING ROOM - NIGHTCUT TO a shot of Buddy and Doll. Doll is down near the floorand can't see as well. They whisper. DOLL I can't see. What are they doing, what's happening? BUDDY They're discussing it. DOLL I can't see, let me see...Doll tries to rise up and Buddy puts a hand on her head andshoves her down. BUDDY This is my place and you can't have it. DOLL (a whispered moan of frustration) Ohhh-hh... what's happening now? BUDDY (his eyes open wide) He's trying to get up -- good God, one of her titties is out! DOLL Let me see!INT. HILLYER HOME - DINING ROOM - NIGHTCUT TO a POV shot of Daddy and Rose, as he struggles to risefrom the chair. They are half falling to the floor and nowthey fall, Rose still on his lap. One of her breasts has comeout of her dress, which is very loose and low-cut. She has nobra, the breast is bare. Daddy is staring groggily at thebreast as if slightly dazed.INT. HILLYER HOME - LIVING ROOM - NIGHTCUT BACK TO Buddy and Doll. Buddy is frustrated now. BUDDY Now I can't see. What are they doing? DOLL (happy, peeping through crack) Boy! Wow!Buddy groans and peers intently through crack.INT. HILLYER HOME - DINING ROOM - NIGHTA POV shot of scene as observed by Buddy. He is up too high,the dining table blocks his view. We see the lower half ofRose and Daddy. Rose's skirt is up well above her knees.INT. HILLYER HOME - LIVING ROOM - NIGHTCUT TO a shot of Buddy and Doll. DOLL Wow! Brrrother! BUDDY What are they doing? DOLL Buddy, this is amazing, you wouldn't believe it. BUDDY What are they doing, Doll? DOLL (staring, enthralled) He kissed her. BUDDY Is that all? DOLL (happily, enjoying it) He had his hand on her titty. BUDDY Let me look. (can't stand it, grabs her around waist and pulls her away; eagerly looks, sags) Aww-rr...CUT TO a POV shot of the scene in the dining room.INT. HILLYER HOME - DINING ROOM - NIGHTDOWN LOW, we can see under the dining room table now. Daddyhas his hands on Rose's shoulders and is firmly pushing heraway. DADDY All right, that is enough of this nonsense, and I mean enough! Get up off this floor, Rose, and put your damned tit back in your dress! Do you hear me, girl, get up off of that floor!Rose, on all fours, blonde hair over her face, making littlewhimpering noises of dismay: ROSE Ohh-hhh... ohh...INT. HILLYER HOME - LIVING ROOM - NIGHTCUT TO Buddy and Doll. BUDDY (disappointed) She's putting the titty back. DOLL (a furious whisper) Buddy, that was my place.Doll forces her way in and they both peep through crack indoor.INT. HILLYER HOME - DINING ROOM - NIGHTCUT TO a POV shot of Rose and Daddy. Rose stands sheepishlyby the dining room table, half-crying as she adjusts herdress. Daddy sits in his dining room chair. Daddy is glaringat her. DADDY Goddamn you, girl! You've made me make a fool out of myself, damn your hide, but let me tell you I am standing at the pass of Thermopylae and I won't budge! The very idea, my own home with children in the house, to say nothing of my wife -- oh-h, you had better believe I am standing at Thermopylae, you little nut, you had better believe it! What are you, crazy? A man is supposed to be a fool like this, but a woman is supposed to have some control and sense! Are you a nitwit? What's the matter with you? ROSE (weeping) Oh-h, I'm sorry. I'm sorry, Mr. Hillyer... I just... couldn't help myself. I'm sorry...INT. HILLYER HOME - LIVING ROOM - NIGHTCUT TO a shot of Buddy and Doll as they peep at the door.Doll whispers angrily at him. DOLL Buddy, that was pretty snotty of you, pushing me away like that just when it was interesting. BUDDY You shouldn't watch such things, Doll.They continue to peep with interest through the crack in thedoors.INT. HILLYER HOME - DINING ROOM - NIGHTCUT TO a shot of Rose and Daddy. Now Rose is sitting penitentand crying in one of Daddy's handkerchiefs. Daddy's anger isgone, he has gotten control of himself and speaks to her nowin a different tone.He sits beside her, an arm around her shoulders in a fatherlyway. DADDY Rose, Rose, Rose, you poor miserable little child, don't you know I love you? Do I have to put my hand on your body or kiss your pretty lips to prove it? You are beautiful to me, Rose, I've loved you since you first came here, darlin'. And don't you know Mrs. Hillyer loves you, too, that she's already taken you into her heart, and that that woman's heart is as wide as the blue sky itself and as deep as the stars? ROSE (weeping in handkerchief) Oh, I know. She's so sweet, she's been so good to me... DADDY Do you know what a friend you have got there? Do you know she would fight for you like a tiger, that she would fly to your defense in an instant with all the courage in her soul if anyone tried to hurt you? Is this any way to repay her trust and love? Are you ashamed as I am ashamed? (pauses as Rose sobs in handkerchief) Don't cry, honey, don't cry. But let me warn you, damn your hide, this is Thermopylae and I am standing here. Do you hear me, damn you. I am standing at Thermopylae and the Persians shall not pass! Now get your tail out of here and go wash those dishes, and stop crying!INT. HILLYER HOME - LIVING ROOM - NIGHTCUT TO Buddy and Doll in the darkened living room. Hegestures that they'd better leave, and they do. The CAMERAFOLLOWS them as they tiptoe out of the living room.INT. HILLYER HOME - FRONT STAIRS - NIGHTANOTHER ANGLE, on Buddy and Doll as they tiptoe up the frontstairs.INT. HILLYER HOME - TOP OF STAIRS - NIGHTON Buddy and Doll at the top of the stairs. They pause totalk and now they don't have to whisper. Doll is happy,pleased. DOLL Wasn't Daddy wonderful? He wanted to kiss her some more and play with her, but he didn't, because he loves Mother and all of us, and he loves Rose, too. Isn't he wonderful, isn't he great? BUDDY (dryly, aloof; he doesn't mean this really) Wonderful? He kissed her and played with her titty, and I don't see anything so great about that. He was probably afraid Mother would come back early and catch him. DOLL You know, Buddy, sometimes you make me sick.Doll gives him a venomous glance and walks away. The CAMERASTAYS on Buddy as he stares after her with a thin littlesmile. Be seems wryly amused that he has made her angry.After a moment, he turns and stares in the direction ofdownstairs and his face changes. His smile fades, then slowlyreturns as he thinks of what has happened. BUDDY (quietly, to himself) Thermopylae. The Persians shall not pass.It is obvious that secretly Buddy admires very much hisfather's behavior. DISSOLVE TO:INT. HILLYER HOME BUDDY'S BEDROOM - NIGHTA shot of Buddy at night in his small bedroom.He wears a rather skimpy old-fashioned nightshirt that comesmidway between his hips and knees. At the moment he isfinishing brushing his teeth at the bureau, using an oldfashioned water pitcher and bowl. The CAMERA FOLLOWS as hewalks across the room in the light of the lamp by his bed. Helooks around cautiously, then picks up the mattress of hisbed. He pushes it far back and we see springs. He takes out asmall "book" or pamphlet and stares gravely at it.CLOSE-UP: The front cover of the pamphlet. We see the overalltitle: LITTLE DIRTY COMIC BOOKS. And beneath it: BLONDIE ANDDAGWOOD. And beneath that, in smaller letters: "Mr. DithersComes to Dinner -- and How!" We see Buddy's hands in theshot, and he opens the pamphlet and we catch enough of aglimpse of the thing to know it is pretty awful -- a drawingmaybe of "Blondie" stark naked with a finger in her mouthgoing, "Tee-Hee!"ON Buddy, as he stares down with grave intentness at theLittle Dirty Comic Book. Slyly now, he retraces his steps tothe bureau and takes out a flashlight. He goes back to thebed, switches off the lamp, gets in the bed and turns on theflashlight and pulls the covers over his head. We hear afaint SOUND on the track and Buddy suddenly yanks back thecovers, puts the flashlight on the table by the bed andthrows the Little Dirty Comic Book under the bed. He lies onpillow and pretends he's asleep, and we hear the door of hisroom OPEN and a CREAKING on the floor.ANOTHER ANGLE, on a weepy Rose in a very thin nightgown. Theshot is FROM BELOW as Buddy might see her as she stands overhis bed. She looks very lonely and unhappy and is halfcrying. ROSE Buddy... are you asleep?ANOTHER ANGLE, on both of them. Buddy stares at her insurprise. It is dim in the room, but we can see them in themoonlight. BUDDY No, I'm awake. What's the matter? ROSE Buddy, I am wandering in a wilderness, lost. (sits glumly on edge of bed) I just feel awful. Do you mind if I get in bed with you for a little while? BUDDY Well, all right.ANOTHER ANGLE, on Rose and Buddy in the bed in the moonlight.It is all innocent enough, Buddy is a child and Roseobviously has no lewd intent in getting into his bed. Shelies back on a pillow staring up at the ceiling and smoking acigarette. ROSE I thought I'd go crazy back there in that room all by myself with nobody to talk to. As a child, I never had no room all to myself, we were awful poor. Buddy... I have got a confession to make. BUDDY What is it, Rose? ROSE It's so terrible I can't tell you. Oh, Buddy, you don't know how it hurts to have a broken heart, what a terrible feeling it is, and I've had a broken heart so many times. Men, I don't understand them, I can't figure them out and they break my heart, that's all. I can't find Mr. Right, Buddy, I can't find him no matter how hard I look, all I find is a whole pile of Mr. Wrongs. But this is the worst ever because it wasn't his fault. It was my fault, oh yes, my fault, I was bad -- oh God, I was bad, you wouldn't believe how bad I was. BUDDY (a little smile) What'd you do, Rose? ROSE Buddy, I was horrible. I can't tell you who it was, but do you know what I did? I sat on his lap and got ahold of him and wiggled and wiggled my ass on him and was worse'n you could know, a child like you. Why, I let one of my tits fall out deliberate on purpose and practically smack him in the face with it and I let my dern skirt come up so he could see my drawers... (pauses, realizes this isn't too dignified) But to get back serious to what I was sayin', it is not only, Buddy, the loss of him but my own bad behavior what bothers me so... BUDDY You were pretty bad, huh? ROSE Why, it has just made me ill, Buddy. I'm sick. I don't want to eat nothin', I don't, and me I got a good appetite, that ain't nat'ral for me. I'm ill. BUDDY (slyly, pretends he doesn't know) But, Rose, what is the cause of it all? ROSE Promise not to tell Doll? -- or nobody? Buddy, it's your Daddy! I'm so much in love with him I am out of my mind! BUDDY But, Rose, how could such a thing as that happen? ROSE I fell madly in love with him when he called me Rosebud. You know that first day when I come and he said I looked graceful like a capital letter S and called me Rosebud? I fell madly in love with that man right then. (sighs tragically) But it's a lost love, Buddy. He's a good man and won't have nothin' to do with me.ANOTHER ANGLE, on Rose and Buddy in the bed. Buddy haspropped on an elbow and is staring down at her breasts in themoonlight -- we see the soft notch between her breasts in theopen V of her thin nightgown. She is completely unselfconscious with him. BUDDY (casually) Can I touch you here?Before she can answer, he touches her breast with his fingerthrough her nightgown. BUDDY (CONT'D) Hmmm, it's soft. It's awful soft. ROSE (casually, doesn't object) What did you expect? BUDDY Well, I thought they were more like a cantaloupe. ROSE Ha ha ha, that's some idea, a cantaloupe. BUDDY (touches her breast more boldly, his hand outside the nightgown) There's some kind of gristle in it, though. ROSE Buddy, quit that, you're just a child, you're not supposed to be interested in such things. BUDDY Actually, I am, though. ROSE (dreamily, thinking of Daddy as she smokes cigarette and stares up at the ceiling) You know, that Daddy of yours is the funniest man, the things he says, you never know what's going to come out of his mouth next. BUDDY Can I put my hand inside your nightgown, Rose? ROSE No, you can't. And I'll tell you this -- he scares me. As kind as he is, he scares me. You can't fool around with him, not with that man. And, boy, I sure better not try nothin' like that with him again, he'll fire me. BUDDY Rose, can't I see what the nipple on it is like? ROSE (frowns) Buddy, what's come over you? A child like you, askin' such things. BUDDY But I'm curious, Rose.Puts his hand in her nightgown. ROSE Buddy, get your hand offa me! Quit it, get you hand away...Takes his wrist. BUDDY Just for a second. Please, Rose, what's the harm? ROSE (gently) Buddy, you don't realize it but what you're doing isn't nice. BUDDY Aw, come on, Rose, I want to see what the nipple on it is like. ROSE You don' t need to know that. It's none of your business. BUDDY Aw, be a good sport, Rose. (sweetly, almost sugarily) You like me, don't you? I like you a lot.INT. HILLYER HOME - MASTER BEDROOM - NIGHTCUT TO a shot of Mother's bedroom-study in the moonlight. Wesee Daddy lying wide-awake in a single bed staring broodinglyout into space. Mother lies asleep in a big four poster inthe background of the shot. Daddy sighs wearily to himself inthe grip of "insomnia in reverse."INT. HILLYER HOME - BUDDY'S BEDROOM - NIGHTCUT BACK to Buddy and Rose in bed. He has evidently sweettalked her into letting him fiddle with her; his hand is- inher nightgown. There is no indication of lewd interest onRose's part, a peeved and exasperated look is on her face.Buddy seems quite fascinated, however. ROSE Well, are you satisfied now? Can we just lie and talk, huh? BUDDY Hmmph. It has a nipple, all right. ROSE 'Course it does. BUDDY First I couldn't feel it, but now I feel it easily, it's like a little acorn. ROSE (moistens her lips, swallows; it is affecting her; she frowns) All right, that's enough. (firmly pushes his hand away) You're just a child and wouldn't understand it, but that type of thing can stir a girl up. Now lie back and we'll talk. BUDDY That was very interesting. Thank you, Rose. ROSE (lighting cigarette) Don't mention it. BUDDY (pensively, with the solemn pedanticness of a precocious child) It was softer'n I thought, that was my main impression. You know, if you hit a girl there it would hurt her a lot. ROSE Who would want to do such a thing as that? BUDDY Well, some fiend might. ROSE (stares wonderingly at him) You know, Buddy, sometimes I can't figure you out at all. You can be very nice, but like your mother said there's an evil streak in you. BUDDY There's an evil streak in everybody, Rose. ROSE There ain't none in your Daddy. You know, what happened has just made me love him all the more. I not only love him, I respect him, I admire him. BUDDY Rose, I have a serious favor to ask you. ROSE Most men wouldn't do what he done. If they can get a girl they go right ahead and get her -- I guess to hell they do, just like a dern rabbit. 'Course later they'll tell her she's no good when they done the same thing their selves. They're a bunch of monkeys. I like 'em, but they're a bunch of monkeys. BUDDY (trying to be casual) Rose, since you're here in bed with me and everything and I've already touched your titty...Can't quite say it; leans over and whispers in her ear and wedon't hear what he says. ROSE (her eyes open wide as he whispers) Why, Buddy, shut your mouth! What an awful thing to say, and where did you get any such idea as that, anyhow? BUDDY I'm curious to see what it's like. I'm very curious, Rose. ROSE Well, now that is just too bad! Curiosity killed the cat. BUDDY Yeah, but satisfaction brought him back. Can I? ROSE No! You ought to be ashamed of yourself astin' such a nasty things a child your age! BUDDY Can't I touch it a little, Rose -- not a lot, just a little? ROSE Of course you can't! I'm... I'm shocked at you, Buddy, real shocked! Now you be quiet or I'm going back to my own bed! BUDDY Please, Rose. I'm curious, that's all, I have a natural curiosity, it's only human. You're my friend, aren't you? Don't you like me? (again sweetly, almost sugarily) I like you, Rose, a lot -- in fact, I love you. ROSE (softens despite herself) Well, you're sweet, but you don't really love me. BUDDY Yes, I do. Please, Rose, be a good sport. ROSE Buddy, you're just a child. BUDDY I'm thirteen. And I have a natural curiosity. It's only nature, Rose, that's all. Now what's wrong with nature, huh? ROSE Well, nothin'.INT. HILLYER HOME - MASTER BEDROOM - NIGHTCUT TO a shot of Daddy sitting on the edge of his bed inpajamas. He looks frowzle-haired and glum. The CAMERA FOLLOWShim as he wearily gets up and walks across the bedroom in themoonlight and takes a package of cigarettes from a bureau. Beglances over his shoulder as we hear Mother. MOTHER What's the matter, hon? Is anything wrong? DADDY No, darlin'. Just that damnable insomnia in reverse. I sleep like a baby for an hour then I'm wide awake. You go back to sleep.Daddy lights a cigarette and walks to the window and staresout at the moonlit night.The CAMERA MOVES IN CLOSER on his face and we see a wearinessand strain he has not shown before. DADDY The Depression has got me. That miserable hotel, no money anywhere, strong men out of work, children hungry. It's a great life if you don't weaken. DISSOLVE TO:INT. HILLYER HOME - BUDDY'S BEDROOM - NIGHTA shot close on Rose and Buddy in bed. Evidently Rose hasweakened and is allowing him to fiddle with her, but we canonly surmise this, the shot is on their heads and shouldersand a cloud has crossed the moon, the light is more dim. Adifferent look is on her face, a solemn expression as if sheis listening to some far away sound that she finds strangelyhaunting. She moistens her lips, speaks in a slightly feeblevoice. ROSE You better quit that. BUDDY But Rose... ROSE I must be outta my mind. Buddy, quit it. BUDDY Am I hurting you? ROSE (pauses, stares off as if listening, then in an even feebler tone, a half whisper) No. No, you're not hurting me. (moistens her lips, swallows) But I think you better quit it. BUDDY But why, if I'm not hurting you? ROSE You wouldn't understand. (puts a hand on his shoulder as if to push him away, but can't; puts her other hand over her eyes) Oh, God, I must be outta my mind. What would your Momma think?The hand falls limply from Rose's eyes and she turns her headto the side and closes her eyes. Helplessly, she lies thereas the boy fiddles with her.INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of Daddy walking down the downstairs hall in abathrobe and slippers. He looks very frowzled and sleepy.INT. HILLYER HOME - KITCHEN - NIGHTON Daddy as he walks into the kitchen, turns on the light. Hegoes to the ice box, an old-fashioned type made of wood thattakes cakes of ice. Be pours out a glass of milk.INT. HILLYER ROME - BUDDY'S BEDROOM - NIGHTCUT TO a very CLOSE SHOT on Rose's face. The light is dim butwe see perspiration on her forehead. Her breathing is notnormal. Her eyes are shut tight, her teeth are clenched.CUT TO a shot CLOSE on Buddy. We do not see what he is doing,but evidently he is fiddling with her. He seems quiteinterested in the proceedings. BUDDY Rose, beyond a doubt this is the most fascinating experience of my life.INT. HILLYER HOME - KITCHEN - NIGHTCUT TO a shot of Daddy in the kitchen as he sits rathergloomily at the kitchen table drinking the glass Of milk. DADDY (to himself) Ehh-hh, Lord, man born of woman hath few days and they are full of trouble.INT. HILLYER HOME - BUDDY'S BEDROOM - NIGHTCUT TO a shot close on Rose ai Buddy in the bed. The shot isof their heads and shoulders.She has an arm very tight around his shoulders and her eyesare shut tight. The moment of truth is at hand. ROSE Ohh-hh! Ohhh-hh! (it's all over; she twists sideways, puts both arms around him) Oh, Buddy, you're so sweet. I love you a lot.INT. HILLYER HOME - KITCHEN - NIGHTCUT TO a shot of Daddy as he washes out the glass in thesink.INT. HILLYER HOME - BUDDY'S BEDROOM - NIGHTCUT TO a shot of Rose and Buddy in the bed. The extremity ofher crime has dawned on Rose and she is sitting up in the bedwith a look of horror on her face. Buddy is staring worriedlyat her. BUDDY Rose, are you all right? Are you sick or something? ROSE (staring off in space, lost in horror) No. No, I'm all right. (turns, stares at him, puts a hand in woe on her forehead) Oh, God, what have I done? I have robbed a cradle and fallen into hell! (fumbles desperately on bed for cigarettes) I must be crazy, a child like you. Oh, God, oh, Lord. This is awful, this is terrible, I gotta get outta here!ANOTHER ANGLE, on Rose and Buddy as Rose in a panic gets outof the bed, pulls down her thin nightgown and tiptoes towardthe door. She stops and looks back as a chilling thoughtoccurs to her. ROSE Buddy, you wouldn't tell nobody, would you? BUDDY (a trifle too piously) Don't worry, Rose, I won't tell a soul. ROSE I sure hope you don't. (still in a panic) I gotta get outta here, good night. BUDDY (sweetly) Good night, Rose.INT. HILLYER SOME - UPSTAIRS HALL AND DOWNSTAIRS HALLCUT TO a shot of Daddy walking down the downstairs hall inhis bathrobe. The shot is down the staircase and Rose in theupstairs hall tiptoes into the picture. A floorboard creaksand he looks up and sees her. DADDY Rose, what are you doing up? ROSE Nothin', just goin' to the bathroom. DADDY Is anything wrong? ROSE No, sir. DADDY Well, good night.ANOTHER ANGLE on Rose in the upstairs hall. Fortunately forher the light is dim. Her knees are shaking beneath thenightgown, she looks as if she might faint. ROSE Good night.The CAMERA FOLLOWS her as she goes on shaky legs down thehall.INT. HILLYER HOME - ROSE'S BEDROOM - NIGHTCUT TO a shot of Rose as she enters her small bedroom.Feebly, as if totally exhausted, she shuts the door behindher then leans against a bureau and states into its mirror.The horror of her own criminality has overwhelmed her. Withtrembling hands, she takes a cigarette from her half emptypack and finds a wooden kitchen match on the bureau.Her hands tremble visibly as she strikes the match. She hasnot turned on the light in her room and her considerablecharms are very apparent in the orange glow of the match.Burning match in her fingers, she stares at her ownreflection in the bureau mirror, transfixed by a horriblerealization.INT. HILLYER HOME - DREAM - CELLARQUICK DISSOLVE TO BLURRED SCREEN: the border of the screen isblurred, we are obviously seeing a nightmare fantasy. Theshot is of an eager, excited, diabolically mischievous Buddyand an astonished, awed DOLL. They are in some far darkrecess of the cellar of the house and the scene is furtive,murky, cobwebby. BUDDY Wait till you hear what happened! Now you wont believe this, Doll, but Rose came in my room and got in my bed last night...ANOTHER ANGLE on Buddy from below with candlelight giving hischild's face a sinister look. Now he has "Dracula" teeth andevil arched eyebrows. BUDDY (CONT'D) ... and she sweated and snorted like a horse and had a horrible fit, her eyebrows were all scrunched up and she groaned like she was eying and foamed at the mouth!INT. HILLYER HOME - ROSE'S BEDROOM - NIGHTCUT TO a shot of Rose standing horrified before the mirror.The match is still burning in her fingers. QUICK CUT TO:INT. HILLYER HOME - MASTER BEDROOM/STUDYA shot of Mother in her study, a worried Doll stands beforeher. The border of the screen is blurred, it is another flashof fantasy. MOTHER Yes, dear, what is it? DOLL Mother, Buddy says Rose got in his bed last night and he fiddled with her and she snorted and had a fit -- and he says I would too if I was grown-up. Is it true, Mother -- would I sweat and snort and froth at the mouth and have a horrible fit like he says?Mother stares in consternation at Doll. QUICK CUT TO:INT. HILLYER HOME - FRONT PORCH - NIGHTA shot of Daddy and Rose on the front porch of the house. Thescene is murky, dark, gloomy night and the weather is bad.Daddy has his arm rigidly thrust outward as he points downthe driveway. A weeping, slumped Rose sadly walks down thesteps carrying her cardboard suitcase. Fantasy. DADDY Out! Out, you viper in the grass! Out! Never darken our doorstep, you immoral, terrible girl!INT. HILLYER HOME - ROSE'S BEDROOM - NIGHTCUT BACK to Rose standing before the mirror, sick withhorror. A feeble whimper-like groan comes from her. ROSE Ohh-hh, ohhh-hh... (match burns her fingers, she shakes it out) Ouch! Oh-hh... ohh...ANOTHER ANGLE on Rose as she turns from the bureau and staresoff into space, a very badly frightened girl. Half-crying,she speaks to herself. ROSE (CONT'D) He'll tell 'em for sure, he will. Oh, Lord, what can I do?INT. HILLYER HOME - BUDDY'S BEDROOM - NIGHTCUT TO a shot of Buddy half asleep in bed. The light of thelamp by his bed goes on and he sleepily opens his eyes. TheCAMERA COMES BACK and we see Rose in her nightgown standingby his bedside. She is very pale and tears are on her cheeks. ROSE I hate to turn on this light, you Daddy's awake downstairs, but I have to take the chance. (sits by him on bed) Buddy, please don't tell on me. BUDDY (rather coolly) I said I wouldn't. ROSE (her lip trembles) Buddy, I have to ask you, as bad as I've been please have pity on me and don't ruin me by telling them what I did. I know it was bad, it was bad and dumb. But mostly it was dumb, I didn't mean you no harm, I'd never want to hurt a hair on your head and that's the truth. I love you. But they'd think I did, they'd think I was awful, they'd despise me and hate me...Rose bows her head and begins crying into her hands.CUT TO a CLOSE SHOT of Buddy. We hear the soft sound of Roseweeping over the shot. Buddy is affected, his flinty child'sheart has been touched, but he is not quite ready to admit ityet. He is struggling with himself, trying to remain "cool"and not show his emotion. He frowns, moistens his lips,swallows. With seeming coolness, very much as in the scenewith Doll in which he deprecated Daddy's stand atThermopylae, he shrugs. BUDDY Well, I don't know what you're worried about. It was my idea, I was the one who thought of it, not you.The CAMERA PULLS BACK to include Rose. She is staring at theboy with hopeless despair. ROSE You don't understand. They'd blame me, not you. And they'd think I was awful, a disgustin' girl, which I am, but Buddy, please don't tell them. Please don't. Ill have to go and I love it here, I love your whole fam'ly, your Daddy, your Mother... (pauses, then makes her final and ultimate plea in a shaking voice as tears run down) Buddy, I know I'm no good, I'm a bad girl but I can't help it, please have pity on me and don't tell! Please don't, please...Too much for Buddy, he loses his "cool." He swallows andblinks as if he might cry, then sits erect in the bed andsquares his shoulders and assumes a stern expression Daddystyle. BUDDY (very solemnly) Rose, they could stick splinters under my fingernails, and I will never say a word! I will never tell them, because... I love you! ROSE (sees that he means it, smiles in relief and throws her arms around him) Oh, Buddy, you do love me! I knew you did, knew it all the time...INT. HILLYER HOME - MASTER BEDROOM - NIGHTCUT TO a shot of Daddy, lying in bed and staring upsleeplessly at the ceiling. Insomnia in reverse has got him. DADDY (a half whisper to himself) Ehh-hh, Lord... great life if you don't weaken.INT. HILLYER HOME - BUDDY'S BEDROOM - NIGHTCUT TO a shot of Rose and Buddy. Rose is sitting on the bedbeside him and she has dried her tears and got herself inhand. ROSE Well, Ill tell you this. I have learned a lesson tonight. I wasn't gonna run around, but when I start botherin' your Daddy and worse robbin' a cradle, I gotta face the facts of life. (pauses, then with firm resolution) Tomorrow mornin', I'm gonna get myself up and go out. BUDDY (a wee mite puzzled) You're going to get yourself up and go out? ROSE Buddy, Mr. Right is out there somewhere and I'm gonna find him! DISSOLVE TO:INT. HILLYER HOME - KITCHEN - DAYA shot of a coolly angry Mother in the kitchen. It is latemorning. As she talks the CAMERA PULLS BACK to show asheepish Buddy standing "on the carpet before her. The otherchildren, Doll and Waski, are seated at the kitchen tablehaving hamburgers for lunch. They are happily smiling withschadenfreude amusement at their brother's discomfiture. MOTHER Brother, when I have to wake you up at eleven o'clock in the morning you're either sick or you were up very late last night. (points a finger at him) And you weren't reading Huckleberry Finn. I looked and its not in your room. Now what were you doing? BUDDY (sheepish) Mother, I have to tell the truth. I wasn't reading Huckleberry Finn, I was reading one of those Little Dirty Comic Books. MOTHER (sadly) Oh, Brother, I am so disappointed in you. You mustn't look at those horrible things, they degrade the human image. BROTHER (hangs head) They're filthy, Mother. MOTHER Sex isn't ugly, sex is one of the most beautiful things in life, the creative power of the universe is behind it. BROTHER I know, Mother. MOTHER But we must respect that power, we must be in awe of it. BROTHER I am in awe of it, Mother. MOTHER I don't think you are sufficiently in awe of it. Get the castor oil. BROTHER (winces, as Doll and Waski happily smile) Oh, Mother, not the castor oil. MOTHER This isn't punishment, I don't believe in punishment. It's for your health. Obviously you're sick if you can act like that.As she talks, Buddy reluctantly gets a bottle of castor oiland a tablespoon from a shelf and brings it to her. A smilingDoll comes forward and hands Buddy half of an orange. Hemakes a face at her. Mother takes the bottle and pours out atablespoon of castor oil. BUDDY (wanly) Mother, cant you make it calomel instead of castor oil? MOTHER This is for your own good. When you look at negative, destructive things like those little filthy comic books, you are sick. Here, take this. BUDDY (he is resigned, there's no way out; he makes a face, swallows the castor oil) Geccch, yehh, guhhhh! MOTHER Stop gagging like that and putting on a show, and swallow it. BUDDY Uhhh, gahdam stuff! MOTHER What did you say, Brother? BUDDY I said ahhh-dam stuff. MOTHER No, you didn't say that, Brother. BUDDY Yes, I did, mother. Your hearing aid isn't working right. I said ahhh-dam stuff. DOLL No, Mother, he's lying... BUDDY Shut up, Doll. I'll cut your guts WASKI (happily excited, stammering) He did lie, and... and... and Mother, yesterday he stole money out of your pocketbook! BUDDY Quiet, you little muddy-eyed brat, or Ill kill you! MOTHER Children, children! Be quiet, all of you! (the children at once simmer down) The vibrations in this house are strange today. Where's Rose, anyhow? BUDDY She's getting herself up to go out. MOTHER (frowns, adjusts hearing aid) What'd you say, Brother? BUDDY She's getting herself up to go out. I think she's coming down the hall now. MOTHER Oh, yes, it's Thursday. (glances around at sound of an opening door) Hello, Rose, dear... (her eyes open wide as she stares at Rose, disconcerted; now weakly) ... my, you're... looking pretty...CUT TO a shot of Rose in the doorway of the kitchen. She isquite an apparition. She wears bright red lipstick, pinkrouge on her cheeks, mascara and her hair is coiffed up insome outlandish manner, but her clothes are the mostremarkable thing of all.The skirt is of strange, pink, semi-shiny and very thinmaterial and has about a dozen tiny little flowers that couldbe rosebuds sewed on it. It fits extremely snugly to say theleast. The blouse seems a composite: it has frilly whitesleeves that are opaque and otherwise is made of filmy whitematerial that is hardly opaque at all. She has no bra and herbreasts are half visible, the nipples denting the material.It is pretty wild for 1935. She seems to have on no underwearof any kind; the skirt, which clings to her like a bathingsuit, shows no panty seams. She is carrying a shiny blackpatent leather pocketbook and has on high heel black patentleather shoes and no stockings. An ingenuous little smile ison her face. ROSE How do you like my outfit? I made most of it myself.Rose walks in, "modeling" the outfit and the CAMERA PICKS UPMother. MOTHER (smiling, slightly aghast) Well, it's... very gay.We hear the SOUND of the Model A on the driveway. BUDDY Here comes Daddy. ROSE (staring down admiringly at the outfit) I have a knack for designing clothes. But I had to buy the shoes and the pocketbook. MOTHER (makes up her mind to defend Rose) Well, I think it's charming, Rose. (tactfully) But don't you think... ah, the skirt is a little tight? ROSE Oh, no, that's the style. It's meant to be clinging.We hear the PORCH DOOR SLAM. Smiling, happy, Rose glancesaround. We hear the SOUND of the kitchen door opening.CUT TO a POV SHOT of Daddy in the kitchen doorway. As usual,he has a rolled-up Glenville Tribune in his hand and a Strawhat on the back of his head.His hands are on his hips and heis hunched forward as if he cannot believe what he sees. DADDY Ye gods and little fishes. What have you done to yourself, Rose?ON THEM ALL. Rose is smiling, happy to be the center ofattention. ROSE Nothin'. I got myself up, that's all. DADDY Got yourself up? ROSE Yeah. I'm goin' out.Daddy walks slowly into the kitchen shaking his head. Sits attable. DADDY Um-hmm. Well, that is the damndest outfit I ever saw in my life. You walk down the street like that and they'll put you in jail, Rose. MOTHER Why, they won't either. She looks pretty. And I wish you wouldn't pick on the poor girl all the time. Don't listen to him, Rose, you look pretty, even beautiful. ROSE (smiles affectionately at Mother) You're so sweet. DADDY If you've got time before you go "out," get me a half-a-cup of coffee, Rose. Not a whole cup, a half-a-cup. ROSE Why, sure, always got time to get you a half-a-cup, and one of these days I'm gonna get you a whole cup and see what happens. DADDY (a growl, doesn't like jokes about his foibles) Um-hmmuhh. I never drink a whole cup, my nerves can't stand the caffeine. Ehh-hh, Lord awful insomnia in reverse last night. Lay there and sweated blood for hours. DOLL (sweetly) Daddy, Buddy was up late last night reading little dirty comic books. Mother gave him a dose of castor oil and he cursed it, he took the Lords name in vain, then claimed he hadn't said it. He lied, Daddy. MOTHER You mustn't be a tattletale, dear. You mustn't be Delilah-ish and Jezebel-ish toward your brother, dear. DOLL I'm only trying to help him, Mother. BUDDY Heh, what a hypocrite. MOTHER (to Daddy) I do wish you'd speak to Brother. It's true he's been looking at those horrible little books again. DADDY (stares sternly at Buddy) Lay off of that stuff, son. It upsets your mother. MOTHER (genuinely worried) I'm serious. We forget he's just a child. I wish you'd speak to him. DADDY I'll take him with me downtown. (glances at Rose as she comes with coffee) And you, too, Rose, if you want a ride. ROSE Sure, love one. Here's your half-a cup of coffee.Daddy is staring with a very dubious frown at Rose's skirt.He slowly shakes his head. DADDY That's a pretty stylish skirt, Rose. The only thing I don't understand is how did you ever get it on. ROSE (happy, pleased by his interest) Well, it has buttons.Points to little buttons on right side of the skirt. DADDY How can the buttons stand the pressure? ROSE There are more on the other side.Points to buttons on left side. DADDY Turn around, darlin'.Happy to oblige, Rose turns around. Her plump, round,feminine behind is only too plainly revealed through the thinmaterial. Daddy slowly shakes his head. DADDY (CONT'D) They'll put her in jail. The damn little fool might as well be naked. MOTHER (a wee mite worried) Well, it is a little tight. But it isn't as bad as all that. No one will notice unless they have such thoughts in the first place. DADDY Who doesn't have such thoughts? (glances at wristwatch) We'd better get going. MOTHER You're not having lunch? DADDY Just half-a-cup of coffee. I never eat, darlin', you know that. Not eating and reverse insomnia are my curses. Let's go, Rose, you and Brother, let's hit the road. MOTHER Rose, you and Brother wait in the car. I want to speak for a moment Lo Mr. Hillyer. ROSE Yes, Ma'am. MOTHER Doll, you and Waski run on, too.EXT. HILLYER HOME - PATIO - DAYCUT TO a shot of Rose and Buddy as they walk out onto thepatio of the house. Rose walks down the steps to the flowergarden and Buddy follows.ANOTHER ANGLE on Rose and Buddy as Rose picks a red rose andputs it in her hair.' ROSE Did your Momma really give you castor oil? BUDDY Yeah. ROSE (puts an arm around his shoulders) You're my sweetheart.INT. HILLYER HOME KITCHEN - DAYCUT TO Mother and Daddy at the kitchen table. MOTHER (earnestly) I wish you wouldn't pick on Rose and tease her like that. Of course her clothes are silly, but she's ignorant, naive, she doesn't know any better. DADDY The girl worries me. If she walks down the street like that, an army will be following her. MOTHER Well, I admit that outfit isn't very modest. But she doesn't mean any harm, she just wants to attract, attention. DADDY She will succeed. MOTHER I don't think you understand her. It isn't sex she wants, it's love she wants and this is the only way she knows how to get it. DADDY (musingly) That farmer in Gadsden was awful eager to get rid of her, and I'm beginning to see why. MOTHER He and his wife both said she had a fine moral character and was wonderful with children. DADDY Well, she loves children, all right. (adds dryly) She loves everybody. MOTHER But that's a wonderful quality, not a bad quality. (takes his hand) Have a little patience with her. She's such a good-hearted little thing and tries so hard. DADDY (stares pensively at her) You are the one who's good-hearted. (rises) As for Rose, let's hope for the best. MOTHER (rises, again takes his hand) Be kind to her. She loves you so much. (Daddy stiffens slightly, and she adds) In a perfectly proper way, of course. DADDY Yes, of course.EXT. HILLYER HOME - DRIVEWAY - DAYCUT TO a shot of Rose and Buddy waiting in a Model A. Rose issmiling, happy to be going out. The red rose is prominent inher hair, Daddy walks INTO THE SHOT, gets into the driver'sseat of the car, He glances in a wry manner at the flower inher hair. DADDY What have you got in your hair, girl? ROSE My rose. It's kind of like a motto. People will say, there comes Rose with her rose.Daddy gives her another wry stare and starts the Model A.CUT TO a shot of the Model A going down the driveway.EXT. MODEL A IN TOWN - DAYANOTHER SHOT or two of the Model A on the quiet summerstreets of a sleepy little town in the Depression South ofyears ago.INT./EXT. MODEL A - DAYCUT TO a shot of Daddy, Rose and Buddy in the car. Buddy isin the middle. Daddy is staring expressionlessly straightahead. His tone is sternly neutral as he speaks. DADDY You were up late last night, Brother. BUDDY Well, a little. DADDY Reading dirty comic bocks. (glances shrewdly at him) And you admitted it? BUDDY (a trifle uncomfortable) Well, yeah.Both Rose and Buddy begin to look increasingly tense.Hawkshaw the Detective is on the scent. Daddy stares ahead. DADDY You were up late last night, too, Rose. ROSE (meekly) Yes, sir. I had to go to the bathroom.A long pause, as Daddy stares ahead. His expression isinscrutable. DADDY (finally, "casually") Sometimes I think I was born to be a detective. I get a feeling about things. I'm not always right, but often I am.EXT. MODEL A BY LIGHT - DAYCUT TO a shot of the Model A as it stops for a red light.INT./EXT. MODEL A - DAYCUT TO a shot of Daddy, Rose and Buddy in the car. Daddyturns and stares sternly at Buddy. DADDY Son, was Rose in your room last night? BUDDY (scared, but a good liar) No. Why should Rose be in my room?Daddy sternly scans them both. They stare back "innocently"at him. Finally he seems to accept it. DADDY I can't imagine why. It was just a thought.Daddy shifts gears and faces front. Buddy glances upward inrelief, as if to say, "Wow, that was close." DADDY (CONT'D) Where do you want me to let you out, Rose? ROSE Oh, anywhere downtown. DADDY You don't know where you're going? ROSE Oh, I'll just mosey around here and there.EXT. MODEL A - DAYCUT TO a shot of the Model A as it stops off the main streetof a small sleepy Southern town.INT./EXT. MODEL A - DAY CUT TO a shot through the side window on Rose, Buddy andDaddy. DADDY Is this ill right? ROSE It'll do just fine. (gets out of car) Bye-bye, see you later.Rose waves goodbye and walks off down the sidewalk, swingingher hips and her pocketbook,INT./EXT. MODEL A - DAYCUT TO a front shot of Daddy and Buddy in the car as theystare after Rose.EXT. STREET - DAYCUT TO a shot of POV Daddy and Buddy of Rose walking along.MUSIC.INT./EXT. MODEL ACUT TO Daddy and Buddy. Daddy slowly shakes his head, shiftsgears..EXT. MODEL A - DAYCUT TO a shot of the Model A as it rolls along the mainstreet.EXT. MODEL A - DAYANOTHER SHOT of the Model A as it abruptly turns a corner.EXT. MODEL A - DAYON the Model A as it abruptly turns around corner. Evidentlyit is circling the block.EXT. STREET - DAYCUT TO a shot of Rose as she walks along, swinging her hipsand her pocketbook and smiling at whoever she sees. Shepasses a few people and she smiles cheerfully at them -- themen stare with a flat interest at her and the women frown,but she smiles at one and all.EXT. MODEL ACUT TO a shot of the Model A as it creeps along.INT./EXT. MODEL A - DAYOn Daddy and Buddy in the car.DADDY They might arrest her. I doubt it, but they might.EXT. STREET - BUS STOP - DAYCUT TO a shot of Rose as she walks up to a bus stop. A fairlyWELL-DRESSED MAN with a door-to-door salesman kit is standingthere. Rose glances at him then sidles up alongside him as ifshe's waiting for a bus. He glances at her for a moment withinterest, but doesn't want to stare, looks away. We see theModel A stop in the background of the SHOT.EXT. STREET - DAYCUT TO a shot of Daddy and Buddy in the car, watching Rose.EXT. STREET - DAYCUT TO a shot of Rose and the Young Salesman. Rose glances atthe man, glances at him again, then sighs and speaks. ROSE My feet sure do hurt. YOUNG SALESMAN (turns to her with a slow smile) Oh, yeah?EXT. STREET - DAYCUT TO a shot of Daddy and Buddy in the car, watching.EXT. STREET - DAYCUT TO a LONG POV SHOT of Rose and the Young Salesman. Theyare talking amiably. Both are smiling.EXT. STREET - DAYCUT TO a shot of Daddy and Buddy. DADDY She has made contact.EXT. STREET - DAYCUT TO ANOTHER POV SHOT of Rose and the Young Salesman. It isanother LONG SHOT. MUSIC ON TRACK. They are smiling, talking.The Young Salesman seems to ask Rose a question. She nods andtakes his arm and they walk off.EXT. STREET - DAYCUT TO Daddy and Buddy. Daddy is staring pensively at thescene. DADDY I never saw anything like it. How did she pick him up so fast? BUDDY I don't know. DADDY The girl strikes like a cobra.Slowly shaking his head, Daddy starts the car.EXT. STREET - DAYA shot of Rose and the Young Salesman as they walk along. Sheis holding his arm and they are smiling and talking as if thebest of friends. We hear MUSIC ON THE TRACK. The MUSICcontinues over the following MONTAGE OF SHOTS.INT. HONKY TONK - VARIOUS SHOTSON Rose in a beer "honky tonk" with the Young Salesman in abooth. He is drinking beer, she is drinking Coca Cola from abottle.ON Rose in the booth, ANOTHER ANGLE. A second man has joinedthem, a big beefy man -- he is BUSTER.EXT. STREET - LATE AFTERNOONON Rose as she walks down a sidewalk in late afternoon withBuster and still another man, a tall fellow in a Coca-ColaDelivery Man's uniform or shirt. Rose seems to be innocentlyhappy, but the men appear to be having a mild dispute.ON Rose getting into Busters car as Buster holds the door forher, smiling. The COCA-COLA DELIVERY MAN is left on thesidewalk, disappointed.INT./EXT. BUSTER'S CAR - DUSKCUT TO a shot of Rose in the car eating barbecue with Buster.She is talking animatedly and he seems enchanted with her. Itis dusk.EXT. HILLYER HOME - NIGHTCUT TO a shot of a car pulling up in the driveway of theHillyer house. Rose gets out, waves goodbye to Buster. It isnight. End MUSIC.INT. HILLYER HOME - MASTER BEDROOM - NIGHTCUT TO a shot of Daddy in pajamas peering out of the bedroomwindow. DADDY Well, she's back. MOTHER (O.S.) What time is it? DADDY Quarter of twelve. MOTHER (O.S.) Is she all right? DADDY I don't see any bruises or broken bones.CUT TO a shot of Mother in bed in the four poster. MOTHER Bruises and broken bones, what kind of thing is that to say?Daddy walks INTO THE SHOT, sits on the edge of the bed. MOTHER (CONT'D) Why shouldn't she go out and have boyfriends? DADDY No reason at all, darlin'. MOTHER Well, I wish you'd stop criticizing and picking on her. DADDY Forgive my crudity, darlin'. All I'm saying is that a girl who would wear clothes like that is going to get in trouble sooner or later. MOTHER (doubtfully) Well, time will tell, won't it? DADDY Yes, darlin', time will tell. DISSOLVE TO:EXT. HILLYER HOME - PATIO - DAYA SHOT of Mother on the patio studying. It is a sunnyafternoon. Mother looks up idly, looks back down at hernotebook, then looks up again with a frown.CUT TO A POV SHOT of a SCRUFFY-LOOKING KAN as he darts behindone tree to another. The Scruffy-looking Man does not seemsinister, but he definitely is scruffy.ON Mother. Frowning, she puts down her notebook and rises,walks toward the door of the kitchen.INT. HILLYER HOME - KITCHEN - DAYCUT TO a shot of Rose washing dishes in the kitchen. Asusual, she is in a cheerful good humor. We see Buddy at thekitchen table building a model airplane. Mother comes INTOTHE SHOT, worried, frowning. MOTHER Rose, that scruffy-looking man is out in the yard again. ROSE (her smile fades) Mrs. Hillyer, I don't know who he is, I really don't. MOTHER I had better call Daddy.INT. HOTEL - DAYCUT TO a shot of Daddy behind the desk of a slightly run-downsmall hotel of the Depression era. He is handing a key to aguest. DADDY Glad to have you with us, Mr. Watson. Make yourself at home. Shadrach, take Mr. Watson's bag.A black bellboy takes the guest's bag as Daddy turns toanswer a BUZZING switchboard.INT. HILLYER HOME - KITCHEN - DAYCUT TO a shot of Mother talking on a phone. MOTHER Hello, honey? That scruffy-looking man is out in the yard again.INT. HOTEL - DAYCUT TO a shot of Daddy at the switchboard. Be is grim. DADDY Luckily, Johnson just walked in to relieve me. I'll be right out there!INT. HILLYER HOME - KITCHEN - DAYCUT TO a shot of Buddy and Rose in the kitchen. BUDDY Rose, you must know who the fellow is. ROSE (innocently) Well, he might be that man who followed me home from the store the other day. But I don't know who he is, Buddy, I really don't.EXT. HILLYER HOME - YARDCUT TO a shot of the Scruffy-looking Man. Be is half-crouchedbehind a big oak, peering at the Hillyer house. We hear theapproach of a car and the man looks over his shoulder.CUT TO a shot of Daddy in the Model A. The TIRES SCREECH ashe puts on the brakes.CUT TO a shot of the Scruffy-looking Man as he turns andruns.On Daddy as he jumps out of the car. DADDY Come back here, sir! Come back here, you!Daddy runs after the man.CUT TO a shot of Daddy running after him.CUT TO A FINAL SHOT of the Scruffy-looking Man as he leaps ahedge in full stride.EXT. HILLYER HOUSE - FRONT PORCHCUT TO a shot of a worried-looking Mother on the front porchof the house. Buddy and a meek-looking Rose are in thebackground in the doorway. A weary, out-of-breath Daddy comesINTO THE SHOT and walks up the steps, straw hat in hand. DADDY I couldn't catch him. He ran like a deer.Daddy fixes a stern glance on Rose. As he does so, Mother andBuddy also turn and look at her. Rose smiles wanly. ROSE I don't know him. DISSOLVE TO:INT. HILLYER HOME - MASTER BEDROOM - DAYA SHOT of Mrs. Hillyer in her bedroom study. She is drinkinga Coca-Cola and smoking a cigarette held by a bobbie pin. Wehear the SOUND of an old-fashioned doorbell. She ignores it.EXT. HILLYER HOME - FRONT PORCH - DAYCUT TO a shot of a sullen-looking young boy on the frontporch. He is poorly dressed. He rings the doorbell. This isBILLY.INT. HILLYER HOME - MASTER BEDROOM - DAYCUT TO a shot of Mother. Frowning, she gets up.EXT. HILLYER HOME - FRONT PORCHON Mother as she opens the front door. A sullen Billy staresat her. MOTHER Yes? BILLY Is Rose here? MOTHER She must have gone out for a walk with the children. BILLY (sullenly) Well, I got to see her. MOTHER She isn't here. And I'm sorry, but Mr. Hillyer doesn't want her to have callers during working hours. BILLY (sullenly) Where is she? MOTHER I said she isn't here. NOW you go home. Be a nice boy and go home.Gently but firmly, Mother shuts the door in Billy's face.A SHOT of Billy frustrated on the front porch. Sadly,reluctantly, he turns and walks off the porch down the steps.INT. HILLYER HOME - FRONT HALL - DAYON mother, peering worriedly through the curtains of thefront door. DISSOLVE TO:INT. HILLYER HOME - DINING ROOM - NIGHTA SHOT of the family at dinner at night. Daddy, Mother, Rose,Buddy, Doll and Waski. The SHOT FAVORS Mother. MOTHER That sulky boy was here again this afternoon. I was almost scared, he wouldn't go away. DADDY (throws his napkin on table) Rose, my patience is wearing thin. First a scruffy man who runs like a deer and now a sulky boy who wont go away. This is getting to be a regular monkey and dog show. ROSE I swear to God I don't know who in the world he is. Really, I don't, I don't know no boy like that, I don't.Slowly, his face grim, Daddy returns his napkin to his lapand resumes eating. The children are very silent and look atrifle scared. MOTHER (finally, in a small voice) Well, it isn't Rose's fault boys and men like her. You cant blame her for that, hon. DADDY Rose, I realize you don't know this boy, but if you know anybody who does know him, if you have even a faint clue as to who he might be, then convey to him that he had better stay away from my house and stop scaring my wife... and I don't mean maybe.INT. HILLYER SOME - BUDDY'S BEDROOM - NIGHTCUT TO a shot of Buddy in his room at night. He is dressedand at a study table listening with cheap earphones to ahomemade crystal radio set. Enter a rather somber-faced Dollin her nightgown. BUDDY (listening) Chattanooga. I had St. Louis, Missouri. DOLL Buddy, I'm worried about Rose. BUDDY So am I. DOLL She hasn't got any sense. In some ways, she's awful dumb. BUDDY (takes off earphones, gives it a moment of grave consideration, then his opinion) It isn't that she hasn't got any sense, Doll. Her basic intelligence is probably above average, maybe quite a bit above average. DOLL Then why does she act so dumb? BUDDY Dumbness doesn't concern her, Doll. And neither does smartness. You see --Buddy is interrupted by the SOUND of the distant angry shoutof a man's voice, evidently from somewhere outside in thewoods because Buddy and Doll turn at once toward the window.In shock they listen. FIRST MAN'S VOICE You son of a bitch, what are you doing here?! SECOND MAN'S VOICE I'd like to ask you the same question, you bastard! FIRST MAN'S VOICE I told you to stay away from her, goddamn you! SECOND MAN'S VOICE You got no right to tell me to stay away from her, I knew her before you did! BUDDY Oh, boy. Oh, boy, oh boy. Daddy isn't going to like this. FIRST MAN'S VOICE She told you to leave her alone, didn't she? SECOND MAN'S VOICE Like hell she did! You're the one she wants to get shed of! BUDDY Come on!He and Doll hurry from the room.INT. HILLYER HOME - UPSTAIRS HALL AND STAIRS - NIGHTCUT TO a shot of Buddy and Doll running down the upstairshall and down the stairs. The CAM M FOLLOWS them down thestairs.INT. HILLYER HOME - BACK HALL - NIGHTCUT TO a shot of Buddy and Doll as they slow down and creepcautiously down the back hall to the back porch. We hear themen yelling somewhere out in the dark bushes. FIRST MAN'S VOICE You'll swallow teeth yourself if you don't leave her alone, you ugly bastard! Go on, throw one, throw one! SECOND MAN'S VOICE I'll throw one, you son of a bitch!We hear a great CRASHING in the bushes, a SMACK of a fist, aGROAN of shock, an OATH, a SHOUT, more CRASHING.EXT. BACK PORCH - NIGHTCUT TO a shot from the POV of the children, on Daddy on theback porch as the lights blaze on. He wears his bathrobe andhas a big shotgun in his hands. Now he speaks in a loud,clear and very angry voice. DADDY All right, I have got a Parker shotgun here and it is loaded and the trigger is cocked and wherever you birds are and whatever you are doing you had better get the hell out of here goddamned quick!A sudden total silence ensues, then a sudden CRASHING in thebushes as the "birds" take off. DADDY (CONT'D) And do not come back, you sons of bitches! Stay away from my house and home and my wife and children or I'll blow your goddamned heads off!INT. HILLYER HOME - BACK HALL - NIGHTCUT TO a shot of Buddy and Doll as they cower in awe in thedownstairs hall. Daddy walks up to them carrying the shotgun.He is grim and furious, but his voice is surprisingly calm. DADDY You children go to bed. And Brother, stay away from Rose, I'll speak to her in the morning.INT. HILLYER HOME - UPSTAIRS HALL - NIGHTCUT TO a shot of Buddy and Doll in the upstairs hall. Dollmeekly goes to her room.Buddy hesitates, looks at Rose's door, glances nervously backat the stairs, then goes to Rose's door, knocks softly, opensit.INT. HILLYER HOME - ROSE'S BEDROOM - NIGHTCUT TO a shot of Buddy and Rose as he stands in the doorwayof her room. Rose is sitting on the edge of her bed in hernightgown, a damp cloth held against her jaw which seems alittle swollen. A look of fear and guilt is on her face. ROSE (rather feebly, as if it explains something) I got an awful toothache. BUDDY (quietly) Rose, if you don't keep your boyfriends away from the house, Daddy is going to fire you. ROSE (innocently) But I don't know who they are.Buddy makes an exasperated grimace and exits, shutting door.The CAMERA REMAINS on Rose as she rolls her eyes upward indismay. DISSOLVE TO:INT. HILLYER HOME - DINING ROOM - DAYA shot of the family at breakfast in the dining room. Thesilence is deafening. Everyone looks depressed except Daddy,who is aloofly calm. Rose's head is bowed meekly over herplate as we hear the CLATTER of silverware. Finally, Daddyspeaks in an almost pleasant tone. DADDY Well, Rose, my sleep was a little disturbed last night, and so was Mrs. Hillyer's, and so was the children's. How about you? Was your sleep disturbed, too? ROSE (solemnly) Yes, Mr. Hillyer, it was. I... I heard strange voices in the night. DADDY (softly strumming fingers, finally) Strange voices, Rose? ROSE (innocent as an angel) Yes, sir. DADDY (still aloofly polite) Now Rose, stop behaving as if you're Bo Peep. Those men had a flight last night because of some female in this house, and it wasn't Dolly or Mrs. Hillyer. MOTHER (very tense) I don't think we ought to discuss this in front of the children. ROSE (weeping, a hand over her eyes) Oh... oh... oh! I think... maybe... one of 'em... was Foster... but I don't hardly know him! DADDY Oh, shut up, Rose. Shut your mouth and quit crying! MOTHER (draws herself up) I will not sit here and listen to you be brutal to this poor girl. DADDY I am not being brutal to her! MOTHER You certainly are! She has an awful toothache, look at her jaw, it's all swollen. DADDY (trying to restrain himself, aloofly polite to the utmost) Darlin', it is not my fault if the girl has epizootics ---- The word means "an animal epidemic," and it's a pet wordof Daddy's; he pronounces it epi-zoo-tics, not epi-zoo-ottics, and uses it to mean any outrageous human malady -- DADDY (CONT'D) -- I am not responsible for her epizootics and I did not bring about her epizootics. Now listen to me. When I have to get up in the middle of the night and defend my home with a shotgun against a couple of damned scoundrels fistfighting in the bushes -- MOTHER Scoundrels? They weren't scoundrels, they were just boys. DADDY Boys? You say to me boys? MOTHER Yes! Yes, I say that to you, they were boys! Boy friends of Rose, chat's what they were, and why shouldn't she have boy friends? Do you want her to be unnatural? Don't you think she's human the same way you are yourself? It's the South, that's what it is, the South with its horrible traditions, of slavery and crime and the oppression of women, who are just as good as men and just as human! DADDY (his eyes are a trifle glazed) Now darlin', what has the South got to do with this? MOTHER (in a real snit, afraid he will fire Rose) And when I try to talk to you seriously, when I try to explain to you the unlimited creative power of life, how beautiful it would be if we gave up this hopeless struggle and simply loved each other from our hearts, what do you do -- you mock me! DADDY (mildly, his eyes are even more glazed) I don't intend to mock you, dear. I respect your philosophy. It's beyond my comprehension, but I respect it. ROSE (head bowed, weeping in a little handkerchief) Ohhh-hh, ohhh... DADDY (exasperated) Oh, shut up, Rose, eat your cornflakes! ROSE (piteously) I'm not hungry.The word is hongry, not hungry. DADDY Now you listen to me, Rose -- MOTHER (with fire in her eyes) Just a moment! You are not going to fire this girl for an innocent thing like having boy friends, not while there is breath in my body! DADDY I don't intend to fire her, darlin'. MOTHER It isn't her fault if she's popular... what? DADDY I said I don't intend to fire her. I just want to ask her to keep her boy friends away from my home and hearth, that's all. MOTHER (simmers down at once, now calmly) Well, that's very reasonable. Howe I hate to bring it up, but she's got an awful toothache, we've got to carry her to the dentist. ROSE I don't want to go to the dentist. MOTHER Be quiet, Rose. DADDY Darlin', I'll take a taxi to the hotel. You and Brother can handle the girl's epizootics. I'll just say one more thing. (turns to Rose and, in a grave tone) Rose, I told you you had a friend in Mrs. Hillyer, didn't I, that she would fight for you like a tiger? ROSE (meekly) Yes, sir. DADDY All right, thanks to her, and thanks to this case of epizootics, you are getting another chance. (points a finger at her, and sternly) But don't try my patience again. We have growing children in this house. Do you understand me? ROSE Yes, sir.INT. DENTIST'S WAITING ROOM - DAYCUT TO a shot of Mother, Rose and Buddy in a dentist'swaiting room. Rose is holding a rubber ice bag to her jaw,which is quite swollen. She is groaning and half weeping inpain. MOTHER Poor thing. Does the ice help, Rose? ROSE Ohh-hh, a little. Oh-h, I ain't never been to no dentist before. He's gonna kill me, I just know it. MOTHER No, Rose, he'll help you.ANOTHER ANGLE, Rose shrinks in fear as, enter the dentist ina white coat, DR. WINTON, a kindly-looking, gray-haired man.We see a nurse behind him. He smiles in a reassuring manner. DR. WINTON Nurse says we have a nervous patient. Now, young lady, be calm. First of all, let me tell you, I am not going to hurt you. ROSE Yes, you are. DR. WINTON No, I am not. ROSE Look, you can't kid me. MOTHER (rises, takes her by the hand) Now, come on, Rose. Stop being so childish, come on.INT. DENTIST'S OFFICE - DAYANOTHER ANGLE, on Rose and Mother and Dr. Winton, as theyguide and lead Rose into the dentist's operating room.- Sheplants her feet and her eyes open wide with horror as shesees the chair and other equipment. ROSE I'm not goin' in there, I don't like the looks of it! MOTHER (annoyed) Rose, sit down in that chair and be quiet! We're trying to help you, you silly creature, sit in that chair! ROSE (very reluctantly sits in chair) Oh-hh, ohh-hh, Lord, he's gonna kill me. DR. WINTON You and the boy wait outside.INT. DENTIST'S WAITING ROOM - DAYCUT TO a shot of Mother and Buddy in the waiting room. EnterDr. Winton with a little frown. DR. WINTON Well, she finally let me look in her mouth. Is it true she's never been to a dentist? MOTHER She was raised on a poor dirt farm. I'm sure she's never seen a dentist or hardly even a doctor. DR. WINTON Well, she has one mouth in ten thousand, I don't see teeth like that once in ten years. Her trouble is an impacted wisdom tooth, but there isn't a cavity in her head, not a single one. She has perfect teeth. MOTHER But the wisdom tooth will have to be pulled? DR. WINTON Yes, and it's very bad. It probably should be done at the hospital under general anesthesia. MOTHER That would scare her to death. She's terrified of hospitals. To her, a hospital is where you go to die. DR. WINTON I think you're right, it would be harder on her. But you'd better call Mr. Hillyer, she's going to need help to get home. DISSOLVE TO:EXT. COUNTRY ROAD - DAYA shot of Daddy behind the wheel of the model-A. Rose liespale and exhausted on Mother's shoulder on the front seat. Atrace of bloody gauze can be seen in her mouth and her eyesare closed. Buddy is on the back seat. ROSE (a whisper, muffled by the bloody gauze) Never again, never again... MOTHER (with pity, gently) I know it was bad, honey. I'm sorry... ROSE No more dentists, no more dentists... MOTHER It'll get better now.EXT. HILLYER DRIVEWAY - DAYCUT TO a shot of the Model-A in the driveway of the Hillyerhome. Mother helps Rose out of the car, but Rose can't standon her feet. Daddy has to catch her from falling. Daddy picksher up in his arms and carries her up the steps as Buddy runsahead to open the front door. DISSOLVE TO:EXT. HILLYER PATIO - DAYA shot of Mother and Daddy and Buddy on the patio. It is abeautiful sunny morning. Mother and Daddy are seated at anoutdoor table about to have coffee. Daddy is opening mail andBuddy, in the b.g., is gluing up a kite. Enter a smiling andhealthy Rose with orange juice, toast, cups and coffee on atray. DADDY Good morning, Rose. And how do you feel today? ROSE Wonderful. Except I can touch the place back there with my tongue, I wouldn't even know I had that tooth pulled. DADDY (dryly, as he looks at mail) Well, I know it, I just got the bill for it. ROSE Boy, for four or five days there I didn't think I'd live. But I'm my old self again! DADDY Umm. Well. Yes. But no more strange voices in the night, Rose. ROSE Oh, no, sir. MOTHER Rose has learned her lesson, haven't you, Rose? ROSE Yes, ma'am. DISSOLVE TO:INT. HOTEL - MEZZANINE - DAYA shot of Daddy peering down at an old pool table in themezzanine of the family hotel. Buddy stands by with a poolstick in hand. In the b.g., we see a black bellboy, SHADRACH,approaching. DADDY I see my mother-in-law's face, son. Read 'em and weep, boy, I am playing a spectacular combination, a triple. The nine ball in the corner! (takes his stance with cue as Shadrach walks up) Read 'em and weep, boy, that's all she wrote. SHADRACH Mistah Hillyer, the Chief of Police wants you on the telephone. DADDY (about to make his shot, looks around) The Chief of Police? SHADRACH Yassuh.Daddy straightens up, sets his jaw, leans the cue against thetable and marches toward the elevator as Buddy stares afterhim. The CAMERA STAYS on Buddy.INT. HOTEL - DAYCUT TO a shot of Buddy going down the hotel stairs. He holdsonto the banister, sliding with his hands far ahead in orderto take four and even five steps at a time -- it is achildish trick, the point of the game is to touch as fewstairs as possible.ANOTHER ANGLE, on Buddy as he jumps down the last remainingfive steps and walks into the lobby. Daddy comes from behindthe desk, grim. DADDY Rose is in jail. She bit a policeman's thumb. Come on, son, Shadrach can run the hotel.EXT. MODEL-A - STREET - DAYCUT TO a shot of Daddy and Buddy in the Model-A. Daddy staresgrimly ahead. Buddy steals a worried glance at him.INT. LOCAL JAIL - DAYCUT TO a shot in the local jail. The shot is on Daddy as hestands before jail bars staring sternly into a cell. Hishands are on his hips, his straw hat is on the back of hishead and a bit to one side. Buddy stands beside him, a littlebit behind, a worried look on his face. The CHIEF OF POLICE,a fat man, is on the other side of Daddy.CUT TO a POV shot of Rose in the cell. Her hair is mussed,her dress is torn. A little innocent, frightened smile is onher face. The CAMERA PANS to include Daddy and the Chief ofPolice. CHIEF OF POLICE That was a awful brawl down at the Busy Beaver, Mr. Hillyer. You know that fat Horton, the bootlegger? DADDY Yes, I know the son of a bitch. CHIEF OF POLICE Son of a bitch is right, he dern near killed a man. And this girl was the cause of it all. What's more, she bit a police officer's thumb right to the bone. DADDY Well, Rose, what have you got to say for yourself? ROSE (coughs, then feebly) I got an awful bad cold. DADDY (nods slowly, then with aloof politeness) That's all you've got to say, you've got a bad cold? ROSE (coughs again) Well, I don't know what happened. They were arguin' about baseball, then all of 'em started fightin'. As for that policeman, I didn't bite him, I don't think I bit him.In dour silence, Daddy and the Chief of Police stare at Rose.She gives them a little smile, as if to say, "See howinnocent I am?" The Chief turns to Daddy and asks with dryirony: CHIEF OF POLICE Well, she's your girl, Mr. Hillyer. You want me to release her in your custody? DADDY No, not really. But I guess we'll have to do that, John. Let her out. Let the crazy creature out and I'll take her home.INT./EXT. MODEL-A - DAYCUT TO a shot of Daddy, Rose and Buddy in the Model A. Daddystares grimly ahead, silent. Buddy looks solemn. Rose isbadly frightened and still coughing. Finally she ventures alittle smile and speaks to Daddy. ROSE I got an awful cold, I think I'm sick.Daddy is silent, his eyes fixed ahead.EXT. HILLYER DRIVEWAY - DAYCUT TO a shot of the Model A as it turns onto the Hillyerdriveway.INT./EXT. MODEL ACUT TO a shot of Daddy, Rose and Buddy in the car. She triesagain. ROSE I didn't mean to bite him. He was hitting Horton with a blackjack in the meanest way and... and I bit him accidental. DADDY (stops the car, turns to Rose) I have to go back to the hotel. I'm on duty at the desk and who knows a quest might arrive. I will see you at suppertime, Rose. ROSE (a feeble smile) I didn't mean to bite him, I really didn't. DADDY I will see you at suppertime, Rose. ROSE (feebly) Yes, air.EXT. HILLYER HOME - FRONT STEPS - DAYCUT TO a shot of a shaky, slumped Rose going up the stepswith Buddy as the Model A drives away. Rose is coughing,looks miserable. DISSOLVE TO:INT. HILLYER HOME - LIVING ROOM - NIGHTA SHOT of Buddy and Doll in the living room of the Hillyerhome at night. Doll is half-heartedly practicing scales onthe piano and Buddy is pacing the floor, hands clasped behindhim in something like the style of his father. As the CAMERAFOLLOWS Buddy in his pacing we see Waski playing with marbleson the floor. DOLL (turns around on piano stool, to Buddy) What is Rose going to do? Where can she go? BUDDY They've been in there the longest kind of time. I can't stand it, I gotta find out what's going on. DOLL You better not snoop, Daddy'll kill you!INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of Buddy coming with great furtiveness from theliving room out into the front hall. Very cautiously, hetiptoes across the hall and bows down and listens at the doorof his mother's bedroom-study. He crouches down, peepsthrough the keyhole.INT. HILLYER HOME - MASTER BEDROOM/STUDY - NIGHTCUT TO a "keyhole shot" of Daddy and Mother in the bedroom.Mother sits in her study chair, a handkerchief to her eyes.Daddy sits in a chair nearby. He looks depressed. DADDY I'm sorry, darlin', I hate it as much as you do. MOTHER (wanly) Well, she does seem to cause a lot of trouble, I admit. But she doesn't mean any harm and it'll break the children's hearts, they all love her. DADDY It's because of the children she's got to go. I don't want to be holier-than-thou, but the girl doesn't have the same outlook we do. Morals don't mean a thing to her, not a thing, and we can't have a girl like that in this house. MOTHER Who is to say our morals are better than hers? (frowns, sighs) But maybe you're right. She could... influence Dolly... DADDY That is exactly what I'm afraid of. (pauses, and firmly) The girl has got to go, darlin'. MOTHER But morals come from the heart, not from rigid rules and empty laws. And in her heart Rose has never hurt anyone and she never would. Therefore, she's not immoral. Not really. DADDY Now look, darlin', this is no time to go off into the fourth dimension. MOTHER But what I said is the simple truth. And now I see something else, I see more deeply into it...Mother has a slightly "other-worldly" look on her face. Daddyglances at the door of the bedroom, he suspects something. DADDY Just a moment, darlin'.INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of Buddy crouched at the keyhole. With greatalacrity, he jumps up and hurries across the hall and shutsthe living room door just as Daddy whisks open the bedroomdoor. Daddy grimaces. DADDY Could of sworn that boy was out here.Daddy shuts the door and at once almost like the movement ofa ballet Buddy opens the living room door and tiptoes back tothe keyhole.INT. HILLYER HOME - MASTER BEDROOM - NIGHTCUT TO a Shot of Daddy and Mother. It is another "keyholeshot." MOTHER How could Rose really be a bad influence on Dolly? She has a loving nature, you ought to want someone like that around your children. Why do you think those boys and men like her? DADDY Well, I have a pretty good idea. MOTHER If you mean sex, you couldn't be more wrong. Rose likes those boys and men, she has love in her heart, and that is what they want. It's the most rare and beautiful thing in life and that is why they follow her. DADDY They follow her because she's a -- (he is about to say "piece of tail," but interrupts himself) -- no, I won't say that. MOTHER What she doesn't understand is that her behavior is disturbing to other people. She's young, she's got to learn to restrain the life force that's in her. Its creative, but in her case it's too creative. DADDY Darlin', Rose has got to go! MOTHER (rises) I'll talk to her, I'll reason with her.INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of Buddy in the hall. He jumps up and hurriesacross the hall into the living room. Again, as the livingroom door shuts the bedroom door opens. Mother starts up thestairs, her mouth determined.INT. HILLYER HOME - LIVING ROOM - NIGHTCUT TO a shot of Buddy and Doll and Waski in the living room. DOLL What's happening? BUDDY Mother is struggling desperately. In fact she's fighting like a tiger. But I don't know, it's close, it's mighty close. DOLL (pauses, then in a low tone, slightly wide-eyed) Buddy... does Rose really... "do it" with all those boys and men? BUDDY (aloofly, like Daddy) Doll, don't ask childish questions. WASKI (indignantly, to Doll) Of course not! BUDDY Oh, Waski, you don't even know what we're talking about.INT. HILLYER HOME - UPSTAIRS HALL - NIGHTCUT TO a shot of Mother going down the upstairs hall. Sheknocks on Roses door and enters.INT. HILLYER HOME - ROSE'S BEDROOM - NIGHTCUT TO a shot of Mother as she walks over and stares down inshock at Rose on the bad. Rose is lying back on a pillow andstaring groggily at her, obviously not quite all there.Frowning with worry, Mother sits beside her and puts a handon her forehead. MOTHER Rose, you're very sick. You're burning up. Rose, can you hear me? Rose? ROSE (semi-delirious) What? Wha-at? Mrs. Hillyer?EXT. HILLYER SOME - NIGHTCUT TO a shot of an ambulance pulling up outside the Hillyerhouse. Attendants get out of it carrying a stretcher.INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of Buddy, Doll and Waski in the front hall.They are badly frightened, even terrified.The CAMERA PANS to show the ambulance attendants carryingRose strapped in a stretcher down the stairs, as Mother helpsand Daddy follows, both of them very worried. Rose isconscious now and her eyes roll with terror toward thechildren. ROSE Buddy! Dolly! They're takin' me to the hospital! Don't let 'em, don't let 'em!The CAMERA STAYS on the frightened silent children as theystare after Rose on the stretcher. DISSOLVE TO:INT. HOSPITAL CORRIDOR - NIGHTA shot of Mother, Daddy, Buddy, Doll and Waski in thecorridor of a hospital. All look very solemn. A nurse leadsthem to a door and opens it.INT. HOSPITAL ROOM - NIGHTCUT TO a shot of a hospital room. A very pale, sick-lookingRose lies in a hospital bed. The nurse, mother, Daddy, Buddy,Doll and Waski enter, all of them looking very grave.ANOTHER ANGLE, CLOSE ON Rose as she weakly turns her head onthe pillow. Her eyes well with tears as she recognizes thechildren. ROSE (a feeble whisper) Pray for me...ANOTHER ANGLE, on the nurse as she speaks in a whisper wedon't hear to Mother and Daddy, obviously telling them they'dbetter go. Daddy beckons to the children and they start toleave, all looking depressed.INT. DOCTOR'S OFFICE - NIGHTCUT TO a shot of DR. F. ROBERT MARTINSON, a rather unpleasantman with a spade beard. He has a superior, patronizing way oftalking and very little Southern accent if any. The scene ishis office and he is in a swivel chair behind his desk.As he speaks the CAMERA PULLS BACK to show Daddy, Mother andthe Hillyer children. DR. MARTINSON Well, Mrs. Hillyer, the girl is strong as an ox and that is what is keeping her alive. But not many people walk away from double pneumonia, Madam, not many. MOTHER She looks terrible, just awful. DR. MARTINSON Of course she does and I must say I'm puzzled by your delay in getting her to the hospital. I should think ordinary powers of observation would have suggested to you that she was seriously ill. MOTHER She hid it from us, Doctor. She's afraid of the hospital. DR. MARTINSON (a thin superior smile) Afraid of the hospital? MOTHER Deathly afraid of it. Her people were poor tenant farmers and she doesn't know anything about doctors or medicine or hospitals. DR. MARTINSON (frowns in open disbelief) A tenant farm? Are you trying to tell me that girl is a product of the hookworm and pellagra belt? MOTHER Well, her people were very poor. She says she was often hungry as a child, and I'm sure the food she ate was pretty awful, not a balanced diet at all. DR. MARTINSON Exactly, and that's why she couldn't possibly have come from such a farm. DADDY (icily polite) Excuse me, sir, are you calling my wife a liar? MOTHER (embarrassed) Honey, please... DR. MARTINSON (a thin unpleasant smile) It's simply that I find it incredible, Mr. Hillyer. Aside from the girl's illness at the moment, she is very strong, a very healthy specimen of a young human female -- and a comely one, too. She must have gotten protein somewhere as a young child, if only sporadically. MOTHER It is kind of amazing. The dentist says she has perfect teeth, there isn't a cavity in her mouth. MR. MARTINSON (tries to make a supercilious joke) Her entire mouth is a cavity, Madam, ha ha ha. DADDY (dryly, doesn't like the man a bit) Ha ha ha ha.Mother frowns at Daddy and Dr. Martinson gives him an aloofglance. DR. MARTINSON (with spurious dignity) The point is you don't grow up like that on a diet of sorghum and hominy grits. She got protein somewhere, she's a very strong girl and I think she'll live... despite the delay in medical treatment. DADDY That's all I want to know. (rises) Lets get out of here before I get the epizootics myself. Thank you, Doctor, for your discourse, it was fascinating, no doubt. MOTHER Yes, thank you, Doctor. DR. MARTINSON (as they leave) I beg your pardon, epi-zoo-tics? Do you mean "epi-zoo-ot-tics," an animal epidemic? DADDY (icily polite, from the door) No, I mean epizootics.INT. HOSPITAL - NIGHTCUT TO a shot of Mother, Daddy, Buddy, Doll and Waski asDaddy comes out of the Doctor's office and shuts the door. DADDY I can't stand that polecat. They ought to hang him. MOTHER You don't like him because he's a Yankee. He's a brilliant doctor. DADDY He's a polecat, dear.INT. HOSPITAL ELEVATOR - NIGHTCUT TO a shot of Daddy, Mother and the Hillyer children in ahospital elevator as a black elevator operator runs themdown. Daddy has his hat politely removed and is staringpensively ahead. DADDY Rosebud looked pretty pitiful in that bed. (sighs, shakes his head) I hope she'll be all right, but I still think we ought to fire her. MOTHER I don't see how you can even think of it now.Daddy purses his lips but says nothing. It is obvious the"epizootics" have saved Rose, at least for the time being. DISSOLVE TO:INT. HILLYER HOME - ROSE'S BEDROOM - NIGHTA SHOT of Rose in bed in her own bedroom. She is propped upon pillows and wearing a rather attractive pink silkhousecoat of Mother's.A tray is on her lap and she is eating her supper as Buddysits on the edge of the bed talking with her, or ratherlistening to her. It is obvious she is well on the road backto health. ROSE Oh, he's so kind, so gentle inside, and so unhappy with that rich wife who doesn't understand him, her being a Southerner and everything, and what a bedside manner he has got -- so gentle and kind beneath the professor way he acts! BUDDY Rose, you are too uncritical of people. ROSE You don't know the bedside manner that man has got. Why, it does me good just to see him sit there all solemn and go pokin' in his bag like he's gonna cure me, which he did of course. And even more important he loves me, like a patient I mean, the other day he got tears in his eyes just listenin' to my heart beat. BUDDY He did? ROSE Yeah, he tried to hide it but I saw 'em, and a little bit he says to me, "You know, you are beautiful." Now wasn't that a nice thing for a doctor to say to a patient, wasn't it? What could cheer a girl up more? BUDDY Rose, I have got doubts about that doctor and so does Daddy. ROSE He's got doubts about hisself and that's the saddest thing of all. Would you believe that poor man thinks nobody likes him? BUDDY Yeah, I'd believe it. ROSE Well, I like him. I used to be afraid of doctors but not any more. Why, he could operate on me any old time and I wouldn't even be scared. BUDDY Rose, you are just entirely too uncritical of people. ROSE I ain't neither. Listen here, Buddy, besides all his vast medical knowledge, he has the most kindest heart beneath the professor way he acts -- he wants justice in the world and he's got some real interestin' ideas.INT. HILLYER HOME - FRONT DOOR - NIGHTCUT TO a shot of Mother opening the front door. Dr. Martinsonis there-with his black bag, an icy polite look on his face.; MOTHER Oh, good evening, Doctor. Rose is a lot better, I just gave her her supper. She's almost all well now. DR. MARTINSON Let me be the judge of that, Madam. MOTHER Yes. Well. She's upstairs.INT. HILLYER HOME - ROSE'S BEDROOM - DAY/NIGHTCUT TO a shot of Buddy and Rose in Rose's bedroom. ROSE Justice, that's what he wants, justice for everybody and especially for niggers. And I think that's real nice of him because black people don't have a very good life, you got to admit that, to be a nigger is sometimes practic'ly fatal, but the wife don't understand all of that, she thinks niggers are just so much dirt, which anybody ought to know better if they been on their ass their ownselves -- and that is the cause of his profound unhappiness, Buddy, that no-good-mean wife with all her Southern prejudice against niggers and everything!It is a very long speech and delivered with a non-stopvitality that leaves Buddy a trifle groggy. Slowly, he shakeshis head, as enter Mother. MOTHER The Doctor is here. And Brother, supper is ready. DISSOLVE TO:INT. HILLYER HOME - DINING ROOM - NIGHTA SHOT of the Hillyer family minus Rose eating dinner in thedining room. The meal is almost finished, Daddy cutting applepie. DADDY Is that Doctor still up there, Brother. BUDDY Yeah, he's still up there. DADDY What's taking the rascal so long? MOTHER Honey, Dr. Martinson isn't a rascal, he's one of the finest physicians in Glenville. He studied at Johns Hopkins University. DADDY I don't care where the polecat studied. MOTHER Sometimes the negativism and cynicism in you makes me want to vomit. (shakes her head sadly as Buddy surreptitiously puts his napkin on table) Your real trouble is that you're anti-intellectual. The irony is women are supposed to be emotional, but I never saw anybody who depended more on emotion and prejudice than you do. BUDDY (a half audible murmur) Excuse me, gotta go to bathroom. MOTHER Now I have a plan about Rose, an educational plan. She's getting better and we don't want any more trouble -- (notices Buddy slipping out) Brother, you ought to hear this. BUDDY I'll be right back.The CAMERA FOLLOWS Buddy as he slips out during followingspeech. MOTHER First, those clothes she wears. They're too provocative. I've talked to her a lot about it and I think she understands...INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of Buddy as he goes down the hall, eyesnarrowed.ON Buddy posted in the doorway of the living room. He has hishands on his hips Daddy-style and is staring sternly up thestairs.CUT TO A POV SHOT of Dr. Martinson with his black bag in handand shoulders hunched coming down the stairs. The man isslinking, has quilt written all over him. As he goes down thestairs he glances to one side, sees Buddy and frowns. The mangives a sudden nervous start of fright as we hear Daddy'svoice loud on the TRACK. DADDY (O.S.) Everything all right, Doctor?CUT TO A POV shot of Daddy at the rear of the downstairshall, napkin in hand and hands on hips. He is staring sternlyat the doctor.CUT BACK TO the Doctor. He glances nervously again towardBuddy.ANOTHER POV SHOT of Buddy. Looks just like Daddy, hands onhips.ON Dr. Martinson, as he looks back at Daddy. DR. MARTINSON Oh, yes. Yes. Just fine. A few more days... a little more rest... she'll be perfectly healthy.ANOTHER ANGLE on Daddy as he walks forward down the halltoward Buddy. The CAMERA PICKS UP Buddy and both of themgrimly stare after the fleeing doctor. DADDY (in a low, conspiratorial tone) What do you think, Brother? BUDDY I don't know. But you better watch him like a hawk, if he comes back again. DADDY He's not coming back again. We scared the rascal off, son. (puts a hand on Buddy's shoulder) Come on back to supper. Your mother has a theory about how to educate Rose. DISSOLVE TO:INT. HILLYER HOME - KITCHEN - DAYA SHOT of Mother and Rose and the children in the kitchen. Wesee a sewing machine and evidences of dressmaking. Rose hason a new and modest little dress that Mother evidently hasmade for her. MOTHER You see, Rose? Now that's the kind of dress you ought to wear. ROSE (less than enthusiastic) Yeah, it's kinda nice. MOTHER You look very pretty in it, Rose. Really, you do. ROSE (smiles at Mother) Well, you're real sweet to make it for me. (puts an arm around Mother's shoulder) There never was nobody like you. And you don't need to worry, I ain't goin' out no more. MOTHER Well, there's no reason you shouldn't go out, Rose... in moderation. ROSE (a little shrug) I don't want to. When I was lyin' there in that hospital bed at death's door I says to myself, I ain't goin' out no more. If I ever get outta this, I'll just stay home.Rose casually pulls the dress over her head and stands therein panties and bra, oblivious of Buddy and the children. Shehas about as much modesty as a small child herself. ROSE (CONT'D) (rather sadly) Besides, there ain't no Mr. Right out there. Or if there is I can't find him, all I find is a pile of Mr. Wrongs. I ain't goin' out no more. DISSOLVE TO:EXT. CHURCH - DAYA SHOT of Daddy, Mother, Rose, and the children all in theirSunday best going up the steps of a church. Rose looksvirginal in the modest dress Mother made for her.INT. CHURCH - DAYA SHOT of Rose, Mother, Daddy and the children on a bench inchurch. We hear singing. Rose looks innocent, virginal as shesings. Mother gives her an approving look, exchanges glanceswith Daddy.EXT. CHURCH - DAYCUT TO a shot of the Hillyer family coming out of church. Wesee them shaking hands with the Minister. Rose smilessweetly, modestly.EXT. HILLYER DRIVEWAY - DAYCUT TO a shot of the Model A driving up in the driveway ofthe Hillyer house.ANOTHER ANGLE on them all as they get out of the car. Rosetakes Doll's hand with one hand and Waski's hand with theother. ROSE All right, we'll play monopoly then.Mother, Daddy and Buddy watch Rose go up the steps with Dolland Waski. MOTHER She's like a different person. Being so sick made a big impression on her. I really think she's learned a lesson. DADDY Um-hmm. (waits as Mother goes on up steps, then turns to Buddy and in a low tone) Come with me, Brother. I want to show you something.EXT. HILLYER HOME - ROSE GARDEN - DAYCUT TO a shot of Daddy and Buddy in a rose garden below thewindows of the house.It is Hawkshaw the Detective and his Unwilling Assistant.Daddy solemnly points to dim marks in the flower bed. DADDY See that, son? Now this is a heel, see, and there, that's the ball of a foot. Someone has been walking here. BUDDY (reluctantly) Well, it's not very plain. DADDY That is because it rained recently, the rain has obscured the evidence. But you could still take plaster casts of these footprints, then match up the plaster casts with whosever shoes they are, and that way you could catch him -- understand? BUDDY But how would you find him? DADDY Well. Well, what I mean is, you could prove it was his shoes if you did catch him. But look this, Brother, it is even more interesting. Look at this mark here, and that mark over there. Now wouldn't you say those marks are the marks of a ladder? BUDDY Well, I don't know. (trying to sound like a fellow detective, but doesn't want Rose to get caught) No, I don't know, Daddy, I think the rain has obscured it. DADDY True, but if you look sharply you can see that those marks are the marks of a ladder. Now let's go back to the garage and see if the ladder has been tampered with.INT. GARAGE - DAYCUT TO a shot of Daddy and Buddy back in the garage. They arescrutinizing a wooden ladder that hangs on pegs alongside thegarage. All Daddy needs is a cap and a pipe to be a deadringer for Sherlock Holmes. He is in dead earnest about this,it is no Joke and he does not dream of being funny. DADDY (points to ladder, eyes narrowed) See, son? The paint is flaked off here, freshly. Look at it, Brother, there is no question about it. Some person or persons unknown have very recently tampered with this ladder. BUDDY Well... maybe... DADDY And there's only one reason anybody would want this ladder -- to get up into Rose's bedroom in the dark of night! I am going to chain up this ladder and padlock it! -- and that is not all I am going to do!Buddy stares at him in apprehension. DISSOLVE TO:INT. HILLYER HOME - DINING ROOM - NIGHTA shot of the whole family at dinner including Rose. Daddyputs down his napkin. DADDY That was a delicious repast, Rose, as usual. Now I have something of grave import to say to you and to Mrs. Hillyer. (pauses, points at Buddy) And I don't want you children snooping, do you hear me, Brother? Go up to your rooms.INT. HILLYER HOME - UPSTAIRS - NIGHTCUT TO a shot of Buddy, Doll and Waski in the upstairs. Theytiptoe along furtively.INT. HILLYER HOME - STAIRCASE - NIGHTCUT TO a shot of the children going down backstairs.INT. HILLYER HOME - CELLAR - NIGHTCUT TO a shot of Buddy leading Doll and Waski down the stepsof the cellar. The CAMERA follows as they walk past anancient coal-burning furnace and...INT. HILLYER HOME - CRAWL SPACE - NIGHTclimb up into 'a crawl space beneath the front of the house.A shot of Buddy, Doll and Waski crawling along on dirt in thecrawl space under the house. They come to a floor heatventillator grill and stop. Buddy holds his fingers to hislips and listens intently.INT. HILLYER HOME - MASTER BEDROOM - NIGHTCUT TO a shot of Daddy, Mother and Rose in Mother's bedroomstudy. We see the grillwork of the heat ventillator in thefloor. Daddy is at the climax of his speech. DADDY We all love you, Rose. Even more now, since you've bravely surmounted all these epizootics. We admire you, we esteem you, we hold your hand with love and affection, we have an investment in you -- and I don't mean money, although God knows we have that, too, considering those godawful hospital bills...INT. HILLYER HOME - CRAWL SPACE - NIGHTCUT TO a shot CLOSE on Buddy, Doll and Waski in the crawlspace. Buddy is smiling in relief. He whispers to Doll andWaski. BUDDY He's not going to fire her.INT. HILLYER HOME - MASTER BEDROOM - NIGHTCUT BACK TO Daddy, Mother and Rose in the bedroom-study. DADDY I mean a human investment, Rose, we care about you, you matter to us. But we have innocent and unformed children in this house and the monkey and dog show has got to stop. Do you hear me? ROSE (meekly) Yes, sir. MOTHER (a bit overwhelmed by Daddy) She hasn't actually done anything... DADDY (very firmly) Just a moment, dear. (turns to Rose and almost sadly) We can't have it, Rose. Can you behave yourself -- or not? That is the question, to behave or not to behave, to suffer the slings and arrows of outrageous chastity and keep your skirt down or to hoist it in the light of the moon and make whoopee -- that is the coil shuffling question. (a dramatic pause, then points at her) If you can't behave I am going to fire you and I say it in front of you and Mrs. Hillyer and I mean it. I point my rigid finger right at your nose, Rose, and I stare unwaveringly into your big blue eyes and I tell you... this is a final warning. Do you hear me? ROSE (very meekly) Yes, sir.INT. HILLYER HOME - CELLAR - NIGHTCUT TO a shot of Buddy, Doll and Waski as they climb from thecrawl space down into the cellar by the furnace. DOLL Well, if she's got any sense at all, she'll listen to that. BUDDY Sense doesn't mean anything to Rose. But I think we're on safe ground now. Daddy chained up the ladder, whoever it is can't get in the house. DISSOLVE TO:INT. HILLYER HOME - BUDDY'S BEDROOM - DAYA shot of Buddy sound asleep in his bed in the early graydawn. As we DISSOLVE IN on the shot, we hear a loud BANGINGand DADDY'S VOICE. DADDY (O.S.) Open that door! Open it up, open it this instant! Do you hear met open that door!Buddy sits quickly up in bed, at once pushes back the coversand gets out of the bed, hurriedly reaches for his khakipants.INT. HILLYER HOME - UPSTAIRS HALL - DAYCUT TO a shot of Daddy in the upstairs hall. He is fullydressed and is banging angrily on Rose's door. DADDY Rose! Rose! Open this goddamn door! Open it or I'll break it down!ANOTHER ANGLE on Buddy as he hurries down the hall up toDaddy, in khaki pants and pulling a shirt over his head. DADDY (CONT'D) Open that door, damn you! BUDDY Daddy, what's the matter? DADDY (glances around at him) She's got somebody in there, Brother! His shoes are on the back porch -- there they were, naked and smiling at me! (bangs on door) Rose, open this door immediately!ANOTHER ANGLE on Daddy as he bangs on the door. We see afrightened Doll in her nightgown in the b.g. down the hall, ahand to her mouth. Daddy commences kicking at the door.ANOTHER ANGLE, CLOSE ON Daddy. DADDY (CONT'D) Open up, Rose! Procrastination won't help you!Finally, the CLICK of a bolt and slowly the door opens. Wesee a wide-eyed, terrified Rose. She has a sheet around herand evidently nothing more. DADDY (CONT'D) (he pushes past her) All right, where is he? Where's the culprit?INT. HILLYER HOME - ROSE'S BEDROOM - DAYCUT TO a shot of Daddy in the bedroom. He yanks open thecloset door, looks under the bed as he talks. DADDY Where is he? I know he's in here, where is he, Rose? His shoes were on the back porch I smiling at met Where are you, you son of a bitch?In her distress and dismay, the sheet has come down overRose's shoulder and one of her breasts is exposed. ROSE (feebly, she is terrified) There ain't nobody here, Mr. Hillyer! Honest, there ain't! DADDY Where is he? Where have you got him hid? (notices curtain blowing in wide open window) Ah, ha!The CAMERA follows Daddy as he strides angrily toward thewindow and leans out of it and stares down. Rose makes alittle whimpering sound.EXT. HILLYER SOME - GARDEN - DAWNCUT TO a POV shot of the garden below as seen by Daddy fromthe window. We see lying on the ground BILLY, the Sulky Boywho scared Mother. He wears only undershorts and is groaning,holding his leg, which evidently he has injured in jumpingfrom the window.INT. HILLYER HOME - ROSE'S BEDROOM - DAWNOn Daddy, as he turns from the window to Rose. DADDY And who, Rose, may I ask, is that? ROSE Well, it's Billy. DADDY And what, may I ask, was Billy doing here? ROSE (a straight answer) Well, Mr. Hillyer, Billy's very poor, he don't have no money and there wasn't no place else to go. DADDY Well, it was a silly question. ROSE He's a nice boy, you'd like him. He wants to be a fireman. DADDY Ye gods and little fishes, a fireman. Put on some clothes, Rose, you're naked as a jay bird. When you're dressed, come on downstairs. I'm afraid your friend Billy is injured, where are his clothes? ROSE (begins weeping, both breasts now are exposed) Under the mattress. I hid 'em so you wouldn't be mad. He wants to marry me, he loves me. I can't marry him, he's too young and hasn't got no job, but he loves me... now you wouldn't hurt him, would you?Daddy gently pulls the sheet around her to cover her breasts. DADDY I won't hurt him, honey. DISSOLVE TO:INT. HILLYER HOME - KITCHEN - DAYA shot of Daddy, Mother and Rose at the kitchen tabledrinking coffee in the early morning. Daddy looks grave,Mother looks sad, and Rose is crying into a handkerchief. ROSE Mr. Hillyer, I know it was bad and I hadn't ought to of done it. But I'm only a human girl and I... I ain't always perfect. I promise I won't let him in the house no more, I promise. Won't you and Mrs. Hillyer forgive me? DADDY Rose, darlin', you break my heart. But I am only a human man myself of the father variety. Rose, pack your bag, baby, as of this moment you are hired, mired and fired. DISSOLVE TO:INT. HILLYER HOME - DINING ROOM - DAYA shot of the family at breakfast in the dining room. Thedissolve suggests that some time has gone by. Daddy looks abit grim, Rose has a wan and depressed expression. Motherlooks worried. DADDY (politely) Well, Rose, going out to look for a job today? ROSE (eyes down) What's the use, there ain't none. DADDY Mmm. Would you get me another half a-cup of coffee, dear?Rose rises and he watches her leave, then turns to Mother. DADDY (CONT'D) It has been three weeks since I "fired" her. Is there no way to get rid of this girl? Are we stuck with her for life? MOTHER She can't get a job, it's a depression. And we can't just throw her out on the street. DADDY The hell we can't.Rose returns with coffee and pours it out for Daddy. MOTHER Rose, you don't look well and you haven't eaten a bit of breakfast. ROSE I'm not hungry. I can't eat nothin', I haven't been able to eat since I got fired. I think maybe I'm sick. DADDY God forbid. You're not sick, Rose, forget it. Don't get any notions in your head, you're not sick. ROSE Yes, sir. MOTHER She does look a little peaky. DADDY No, she doesn't, she's fine, fine. She's perfectly healthy, don't give her ideas. ROSE Well, I'll do the dishes, then I'm goin' to lie down a minute and rest. My stomach hurts.Daddy watches Rose exit to the kitchen, then leans forwardand speaks to Mother, his expression a bit sly. DADDY Her plan is obvious, plain as day. She's going on a hunger strike. The question is, how do we foil her? MOTHER She's just nervous and worried. And you would be, too, if you had no job and no place to go. DADDY (thinking hard) Something has got to be done or Rose is going to be in this house forever. DISSOLVE TO:EXT. HILLYER HOME - DRIVEWAY AND PATIO - DAYA shot of the Model A coming up the driveway of the HillyerHouse. It is late afternoon.CUT TO a shot of Daddy getting out of the car. He has atriumphant little smile on his face.A shot of Daddy as he walks onto the patio, a rolled-up copyof the Glenville Tribune in his hand and his straw hat on theback of his head. He definitely has a triumphant expression.Buddy on the patio notices it.INT. HILLYER HOME - KITCHEN - DAYCUT TO a shot of the kitchen on Mother and Rose. Mother ishelping a rather wan Rose prepare dinner. Enter Daddy. DADDY (as if everyone will be pleased) Well, I have got news! I called long distance and spoke to Cousin Hop and you'll be glad to know, Rose, I have found you a job! ROSE Tennessee? DADDY Yes, Tennessee, a lovely state! ROSE Well. What kinda job is it? DADDY Ahh-hh, you'll like it. It's a fine, outdoor-type job. ROSE You mean a farm? DADDY No, no, not exactly. It isn't a farm in the sense that it's a farm. Not at all. It's a... dairy establishment. You'll 1ike it! I'm sure you'll like it because it's so... peaceful!Rose bows her head and begins crying. MOTHER Honey, Rose was born on a farm and has terrible memories of farm life. Now I don't think -- DADDY Just a minute, Rose, you don't understand. This isn't a dirt farm like the one you were born on, it's nice. A neighbor of Cousin Hop's, I talked to him on the phone, a fine man... it's not a farm, damn it, it's a beautiful dairy establishment! Stop crying, Rose! Do you hear me? Stop crying, it's ideal! MOTHER I don't know how you can call it ideal -- don't you know what the word "farm" means to her? DADDY I don't give a hoot in hell's hollow what it means to her! She can't stay in this house forever! I fired her, damn it! MOTHER It sounds like a farm to me. Calling it a dairy establishment, that's just trickery and flummery. DADDY Trickery and flummery or not, she's going there tomorrow on the bus! It's settled! And I must say we've been more than fair to you, Rose, it's pretty selfish and mean hearted of you to sit there and cry like that!Rose sits head bowed at the kitchen table. ROSE I'm not cryin' because of me, I'm cryin' because of somebody else. DADDY (stops in mid-air, so to speak) What?EXT. HILLYER HOME - PATIO - DAYCUT TO a shot of Buddy outside on the patio, listeningintently at the window. He leans forward with a keeninterest, eyes wide.INT. HILLYER HOME - KITCHENCUT TO a shot CLOSE on Daddy. He is peering intently at Rose. DADDY What did you say, Rose?CLOSE ON Rose, as she turns, weeping. ROSE Well, I was born on a farm myself... and I hate to think of the baby being born on one.On them all. Daddy and Mother stare in shock at Rose. DADDY What baby? What baby? What baby are you speaking about? ROSE Mine. DADDY Your baby? ROSE Yes, mine. I'm going to have one. DADDY (he is "poleaxed," staggered) Good God almighty. This is a catastrophe, they won't hire her. MOTHER (looks up, sees Buddy in patio window) Brother, get out of that window!Buddy ducks down out of eight instantly. Both Mother andDaddy, however, are too preoccupied and upset to be concernedwith him. DADDY (stares off groggily into space) This is a total catastrastroke. As of this moment I am stumped, I admit, I am stumped and treed both, the hound dogs have me surrounded. MOTHER (as Rose begins crying) Poor thing, don't cry, Rose. I know you feel awful, but don't cry, honey, nobody's perfect. Who's the father, dear? ROSE Well, I... I... I don't know... maybe it was... but no, you can't be sure about a thing like that. It wasn't Billy, I didn't know him. MOTHER (gently) I know it's embarrassing... but who were you exposed to, dear? ROSE Well, now, Mrs. Hillyer, I... ah-h, that's kinda hard to say. DADDY You're not going to get anywhere with that line of questioning. The problem is, what are we going to do? MOTHER That's why I'm asking her who the father is. It's the most vital question of all. Who's the father, dear? DADDY (offhand; he is thinking hard about what to do) She already told you, she doesn't know. MOTHER (naively) But she must know... unless... unless... Rose, was there more than one person? ROSE (weeping in handkerchief) Oh-h, Mrs. Hillyer, I... I can't think. I... I'm not really sure. MOTHER (gently, a tiny frown, a bit shocked) Rose, really, you shouldn't act like that. ROSE (weeping) Oh, I know. But I didn't, really. Honestly, I didn't. There was only one, but he's out of town and leave no forwardin' address. DADDY (a brilliant idea) Ah, ha! Hold the phone! No forwarding address, huh? (turns to Mother) In the shock of this brilliant move, I forgot something. MOTHER What did you forget? DADDY I forgot that Rose will lie like a child. She's no more pregnant than I am, she just doesn't want to go to that farm! ROSE Yes, I am. DADDY No, you're not. ROSE Yes, Mr. Hillyer, I am. DADDY (triumphant, sure he's right) All right, tell us, Rose, what makes you think you're pregnant? ROSE (simply) I haven't had my period for three months and my stomach is getting big. DADDY (again "poleaxed" for a moment, but pulls himself together) I don't believe it. ROSE It's so, Mr. Hillyer. DADDY All right, damn it. We've seen you with your clothes off around here, stand up and pull up your dress and let's take a look! MOTHER Honey! DADDY She doesn't have to take her panties off, we can see her stomach with 'em on. All she has to do is pull up her dress and let us see her belly. ROSE Well, all right, if you just won't believe me.Rose stands up. MOTHER Rose, you don't have to. ROSE I don't mind. DADDY Now, you will see, she's lying like she always does -- that belly will be flat as a pancake!Rose lifts her dress and Daddy leans forward eagerly toconfirm his belief. Rose stands there with her skirt lifted.She has on a pair of skimpy white panties. An unmistakable,definite protrusion can be seen in the area below her naveljust above the line of her panties. A stupefied look is onDaddy's face. MOTHER I'd say about three months. Are you satisfied? DADDY I am poleaxed and in a non compos mentis condition. I wash my hands or the whole thing.EXT. HILLYER HOME - PATIO - DAYCUT TO a shot of Doll walking up onto the patio withschoolbooks. The CAMERA follows her as she walks over toBuddy, who is crouched down eavesdropping at another window.She whispers to him. DOLL What's goin' on? BUDDY Rose says she's goin' to have a baby and she sure looks it, but I don't think so. DOLL A baby... and she isn't even married. BUDDY That's the least of her troubles. Rose had a rare tropic disease and the little tubes in her that babies swim down are all stopped up, she told me all about it. DOLL If it isn't a baby... what is it? DISSOLVE TO:INT. DR. MARTINSON'S HOME OFFICE WAITING ROOM - NIGHTA shot of Buddy and Rose in a rather elegant Doctor's waitingroom. It is night and they are alone on a small sofa. Buddyhas a very solemn and worried look. Rose lies weeping interror on his shoulder. ROSE Oh, Buddy, they're gonna cut me all up! They're gonna cut my stummick all open, I'll die! BUDDY (trying to be brave) You won't die, Rose. ROSE Buddy, I'm scared, I'm scared!INT. DR. MARTINSON'S SOME OFFICE - NIGHTCUT TO a shot of Dr. Martinson's private office in his home,quite a bit more luxurious than his office at the hospital. Asober-looking Mother and Daddy sit talking to him. He almostseems to relish the situation. DR. MARTINSON I'm not surprised you thought she was pregnant. An ovarian cyst can look very much like pregnancy. But it was pure wishful thinking on her part. The girl can never have children, she had gonorrhea at fifteen and it was untreated. MOTHER (shocked, rather feebly) Gonorrhea? DR. MARTINSON Don't worry, Madam, she can't infect your dear little kiddies. She long ago fully recovered, but the disease did irreparable damage. The girl is permanently barren. MOTHER Well, that's pathetic. Poor Rose, what a life she has had. DR. MARTINSON We make our own lives, Madam. As for malignancy, I don't think so, it's very unlikely. I probably shouldn't have even mentioned that possibility to her. MOTHER (rather coldly, seems disenchanted with him) No, you shouldn't have, it was needlessly cruel. She thinks she has cancer and is going to die. DR. MARTINSON She's an adult, Mrs. Hillyer, I was merely giving her the facts. DADDY Well, it's a disaster. I don't know what to say, Doctor, I am floored. How dangerous is the operation? DR. MARTINSON Any major operation is dangerous. However, as we know from her previous illness, she's a very strong girl. DADDY Well, if it isn't malignant and she can get through the operation all right, it might be better than her really being pregnant. She doesn't even know who the father might have been. DR. MARTINSON Oh, it's definitely better, beyond question. A fatherless child, an ignorant girl with no job, no money, no home. It's fortunate, a blessing really, and a stroke of good luck for another reason I want to mention to you. MOTHER (totally disenchanted with the Doctor) This conversation is making me a little sick. DADDY Honey, that's no way to talk to the Doctor, he's merely doing his job, dear.Oddly enough, in the stress of the situation, Daddy now seemsalmost friendly to Dr. Martinson, whom previously heconsidered a polecat.INT. DR. MARTINSON'S HOME OFFICE WAITING ROOM - NIGHTCUT TO a shot of Buddy and Rose in the waiting room. He ishelping her lie on the couch on pillows as she weeps, a handover her face. BUDDY I gotta find out what they're saying. You lie back and rest, Rose, and I'll give you a report on it. ROSE I don't want to know...INT. DR. MARTINSON'S HOME OFFICE - NIGHTCUT TO a CLOSE shot of Dr. Martinson. An expression ofdistaste is on his face. The CAMERA pulls back as he talks toMother and Daddy. DR. MARTINSON I'm sorry the truth nauseates you, Mrs. Hillyer, because before you leave there's a bit more of it I'd like to put to you. This operation provides a therapeutic opportunity that I feel is quite important in regard to this particular girl, who suffers not only from an ovarian cyst but from a certain psychoneurotic condition as well. MOTHER What do you mean, what kind of gobbledygook talk is that? DADDY Go ahead, Doctor, I think I am following you. DR. MARTINSON (gives Mother an aloof glance, then to Daddy) First, about the girl's history. Evidently she's been very promiscuous since early childhood, she has no control over her sexual impulses. Furthermore, she is permanently barren, she can't have children. DADDY Go on, Doctor. MOTHER (quietly) Yes, go on. DR. MARTINSON I am thinking particularly of the other ovary. As a rule I don't believe in removing it. The woman's hormonal system is profoundly disturbed, she is subject to possibly serious depression, she loses many of her secondary sexual characteristics for example, her breasts might shrink and become flabby, facial hair might appear along with a coarsening of the features, and of course her sexual drive is greatly diminished, especially in a girl or young woman. For these reasons I am opposed to removing the other ovary, as a rule. Do you follow me? DADDY I am ahead of you. DR. MARTINSON Then... may I speak quite frankly with you, Mr. Hillyer? DADDY Please do. DR. MARTINSON I have of course observed the girl in treating her. DADDY Of course. DR. MARTINSON I think we both know her. DADDY Yes, we know her. MOTHER What are you talking about? I don't understand all this mumbo jumbo and the funny looks on your faces. DR. MARTINSON Mrs. Hillyer, this girl is sick in more ways than one. She is an extreme psychoneurotic with uncontrollable sexual impulses. It would be a mercy to spare her the suffering she causes herself and others. Therefore I recommend as a therapeutic measure the removal of her second ovary. It is ethically and medically the only proper decision in this case and I suspect your husband agrees with me. DADDY Reluctantly, I do. It would be a blessing to her and everyone else. The girl is oversexed and I say -- spay her! MOTHER (slowly rises to her feet and in a trembling voice) Over... my... dead... body!A long, frozen pause as both Daddy and Dr. Martinson stare atMother in surprise. She stares at the Doctor with fire in hereyes. He seems already to shrink a little. Finally she speakswith a calm fury. MOTHER (CONT'D) Are you human beings or are you some kind of male monsters? Is there no limit to which you won't go to keep your illusions about yourselves? DR. MARTINSON (shrinking a little) Illusions, Madam? MOTHER You'd go so far as to mutilate a helpless girl who has no means to defend herself, you'd go that far? Don't you think I know what you've just said and don't you think I understand the dreadful and revolting crime you've just conspired to commit?Dr. Martinson stares at her in fear and shock, intimidated bythe calm fury and ice-cold moral indignation.He opens his mouth as if to speak, but no sound comes out.Mother turns to Daddy. MOTHER (CONT'D) I thought I knew you. I thought I knew you better, I thought in your heart you were a good and kind man. Well, I can't believe what I've just heard in this room. A defenseless girl depending on you for protection, and you propose to mutilate and destroy her. How could you listen even for a moment to that sadistic man? DADDY (slightly shattered) Well, now, darlin'... give me a chance to defend myself. MOTHER I can't believe you really meant it, if I did I'd want to die. You aren't a male monster, that man is but you aren't. Look me in the eye and tell me, do you really want to take Rose's womanhood away from her when it's all she has got? DADDY Well, I... I hadn't thought about it that much. I was thinking... well, it's an idea, the girl is oversexed, and... MOTHER Rose isn't oversexed, that's ridiculous. If you're going to talk nonsense, I don't want to talk to you at all. Rose is exactly the same as the rest of us, except more so. DADDY Well, I know, more so. That's why I was thinking... maybe she'd be better off. MOTHER (with a quiet fury) Better off? How could she ever find love and happiness, if you did what you're talking about? Are you insane? DR. MARTINSON (rather feebly) Now, may I say, I am against that particular procedure, as a general rule. But in a case of near nymphomania, it doesn't seem monstrous to me at all, but medically advisable.Both Mother and Daddy totally ignore him. Mother's eyes arefixed on Daddy and he is struggling with himself, staringdown at the floor. DADDY Well, now, I admit... in Rose's case, it would be cruel. If Rose wasn't attractive and pretty... well, it would probably be bad for almost any young woman. I don't know exactly what I was thinking about, the doctor said it and it sounded reasonable.Daddy finally looks up at Mother and admits his error like aman. DADDY (CONT'D) But you're right, darlin', you're absolutely dead right, it would be an awful and horrible thing to do. I'm sorry, honey, forgive me, I didn't mean it.Mother turns from Daddy and walks up to the desk and staresdown at Dr. Martinson as if he is a loathesome bug upon whichshe intends to step. MOTHER I will not cry like a woman. If I'm upset it's because of what my husband said, not because of you. You can't make me cry like a woman, a woman has got just as much intelligence and self-control as a man. And you get this in your head. If you hurt that girl, I'll hire lawyers and sue you for malpractice for every penny you have got, I'll do my level best to ruin you. Do you understand me? DR. MARTINSON (a sickly smile, he is licked totally) Yes, I understand you, but you have misunderstood me completely. MOTHER (icy cold) I understand you perfectly. You leave that girl alone, you wretched man, or you will be sorry. DR. MARTINSON (a foolish smile, as if Mother has paid him some kind of compliment) Actually of course I won't operate, I don't do major surgery. Dr. Hardy will operate and of course he'll be guided by your wishes in this respect. MOTHER Let him be guided not by my wishes and not by Rose's wishes, although I am sure they are identical. Let him be guided by the wishes of the creative power of life itself, because that is what has spoken through me tonight. DISSOLVE TO:EXT. STREET BY HOSPITAL - DAYA shot of the Model A parked on the street outside a hospitalin a small Southern town. We see Daddy slowly pacing back andforth in front of the hospital entrance, his head bowed andhis hands clasped behind him.ANOTHER ANGLE, CLOSER on the Model A. Buddy sits in themiddle on the front seat, Mother is at the window. Doll andWaski are on the back seat. They all are staring with paleworry at the pacing Daddy fifty feet away. All arefrightened, Mother is very pale. Doll has a tiny handkerchiefto her eyes and is half crying. Even Waski is very scared. WASKI (seems on verge of tears) Mother... is Rose going to die? MOTHER (in a trembly voice) No, Waski, she won't die, because we are praying for her.CUT TO a shot of Daddy from the POV of the car. He looks athis wristwatch, frowns and walks into the entrance of thehospital.ANOTHER ANGLE, on them all in the car. They wait, pale andsilent. Doll sniffles in her handkerchief. DOLL Why is it taking so long? BUDDY Here comes Daddy.CUT TO a POV shot of Daddy as he slowly walks up to the car,his straw hat in his hand.CUT TO a shot of Mother CLOSE on her face as she stares ather husband as if trying to read the news on his face. A tinyfrown comes on her forehead as icy fear comes in her eyes.ANOTHER ANGLE, CLOSE on Daddy as he walks up to the window ofthe car, hat in hand. A trace of tears can be seen in hiseyes, but when he speaks his voice is calm. DADDY (philosophically) Well, I thought I'd seen the limit, but these are the most great, gaga epizootics she's ever had.ANOTHER ANGLE on Daddy and them all. In pale fear, motherstares at him, uncertain what has happened. MOTHER How is she? DADDY Fine.As mother sighs in heartfelt relief... DISSOLVE TO:INT. HILLYER HOME - KITCHEN - DAYA shot of Daddy sitting with mother at the kitchen table.Bright cheerful sunshine comes in the window that opens onthe patio. Rose comes into the SHOT carrying a coffee pot, asunny smile on her face. DADDY You're looking very chipper this morning, Rose. Sow do you feel? ROSE Perfect, wonderful, good as I ever felt! Except for a big old scar on my stummick, I wouldn't even know I been in the hospital. DADDY (with mild irony, as she pours him coffee) Well, we know you were there. The bill that hospital sent was absolutely horrendous. ROSE (her smile fades a trifle) Well, I'll pay you that back sometime, Mr. Hillyer. MOTHER Don't worry about it, honey.Daddy pauses, seems to be struggling with himself, he isfrowning. DADDY Rose... I hate to be mean, but... (another pause, then a little shrug) Oh, nevermind, forget it. ROSE (in a little sad voice) What was it, Mr. Hillyer? DADDY (rises) Nothing, Rose.Daddy stops beside her, puts an arm around her shoulders andwith weary irony. DADDY (CONT'D) We all love you, darlin'.Daddy wearily picks up his straw hat from the kitchen counterand walks out of the kitchen on the patio, as the CAMERAstays on Rose and mother. MOTHER Don't worry, honey, you'll find something. ROSE I was offered that job as a waitress. MOTHER Forget about it, I don't want you working in one of those honky tonks.EXT. HILLYER HOME - PATIO - DAYCUT TO a shot of Buddy on the patio. He has eight or ninegourds on an outdoor table and is cutting round holes in themand emptying out the seed. He glances up as Rose walks up tohim, pocketbook in hand. She seems a little sad. But shesmiles at him. ROSE Hi, Buddy. (puts an arm around his shoulders) How's my sweetheart who never told on me when I was bad? BUDDY Okay. ROSE (picks up a hollowed out gourd) Makin' homes for purple martins, huh? We had 'em on the farm. They're the prettiest things. That's what I wish I was, a bird. Just fly around catch bugs and have a lot of fun. BUDDY What are you going to do, Rose? ROSE Take a little walk with me, huh?EXT. HILLYER HOME - GARDENCUT TO a shot of Rose and Buddy on a beautiful summer daywalking in the garden behind the Hillyer house. They walk upto an empty rabbit hutch. The hutch is made of rough lumberand chicken wire and has cubicles for about a dozen rabbits. ROSE (as she stares at the empty hutch) I guess I'll work as a waitress, Buddy. I done that before and it got me in worse trouble than you could know, but I can't stay here no more. Why did you get rid of your rabbits, Buddy? BUDDY They're dumb things. I got tired of them. ROSE (smiles, touches chicken wire) Did you know when I was a child we had pretty near five hundred rabbits? BUDDY Five hundred rabbits? ROSE Yep, we had 'em in orange crates all over. It was Daddy's dream. He was goin' to get rich raisin' rabbits. It was what killed Daddy. He didn't drown hisself till a long time later after Momma and Lunette died of typhoid, but it was them rabbits what killed him. BUDDY How did the rabbits kill him? ROSE He thought he could sell 'em, but nobody but country folks eat rabbits, Buddy, and they ain't got no money. We had to eat them dern rabbits our own selves. Every dern one, and it took about four years to eat 'em all up. BUDDY (a little smile) Well, that doctor said you got protein somewhere and I guess he was right. ROSE Boy did I get sick of rabbit. But later on after Momma died and Daddy wasn't doin' nothin' but drinkin', I sure would of been glad for a little rabbit stew. You know, I oughtn't to of told you about what Daddy done when I was a child. Until them rabbits ruined him, he was a real good man, Buddy. BUDDY What was your mother like? ROSE A saint just like your own mother. She's up in heaven right now, her and Lunette, there ain't no doubt about it.ANOTHER ANGLE as Buddy and Rose walk away hand in hand awayfrom the rabbit hutch. BUDDY Maybe it was eating all those rabbits that made you sexy, Rose. ROSE Buddy, sex don't mean a thing to me. It ain't nothin' but a mosquito bite. (stops, smiles, puts an arm around his shoulders) I'll tell you a secret. Girls don't want sex, Buddy, girls want love. DISSOLVE TO:HILLYER HOME - LIVING ROOM NIGHTA shot of Mother and Daddy in the Hillyer living room late atnight. Mother sits with a worried expression on a chair, akimono around her shoulders. Daddy is pacing worriedly inpajamas and a bathrobe. He looks at his wristwatch. DADDY It's twenty after one. MOTHER I don't understand it. Even in the wild days she was never as late as this. DADDY I'm afraid it's my fault. I made her feel guilty this morning -- (glances around, sees something in doorway) Brother, what are you doing up?ANOTHER ANGLE on Buddy in pajamas as he enters the livingroom. BUDDY I heard you talking. Hasn't Rose come in? DADDY No, she hasn't. (frowns, looks around) I think I hear a car.EXT. HILLYER HOME - DRIVEWAYCUT TO a shot of a 1930's automobile in the Hillyer drivewayat night as it drives up and stops before the front steps.ANOTHER ANGLE, CLOSE on Rose and Dave Wilkie in the car. HereDAVE is much YOUNGER, of course, and a rather handsome man ina stolid way. Even though he is younger than when we saw himon the plane, he is quite a bit older than Rose. Rose's eyesare opened wide, she is a bit breathless, obviously somethingimportant has happened. Dave stares at her as if fascinated,almost as if awed. DAVE (rather stiffly) I want to thank you for a wonderful afternoon and evenin'. Can I see you in the mornin'? ROSE (a bit breathless) Yes. Year you can, you sure can.INT. HILLYER HOME - LIVING ROOM - NIGHTCUT TO a shot of Daddy peering out of the window of theliving room. DADDY Why, that looks like Dave Wilkie, MOTHER Who? DADDY You know Dave, his wife used to do dressmaking for you before she died.EXT. HILLYER HOME - FRONT STEPS - NIGHTCUT TO a shot of Rose on the steps. Happy as a clam, sheturns and waves at Dave in the car, then goes on up thesteps.INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of the front hall as Rose comes through thefront door. She is very excited, happy.INT. HILLYER HOME - LIVING ROOM - NIGHTThe CAMERA follows her as she goes into the living room withher big news. ROSE You'll never guess what happened! (pauses, then dramatically) I have met Mr. Right! I been with him all day and he loves me, I know he does, he loves me and he's going to marry met Be's practi'cly ast me already! MOTHER Well... well, that's wonderful, Rose. ROSE And who do you suppose he is? That policeman who arrested me, the one I bit! He is Mr. Right! DISSOLVE TO:INT. CHURCH - DAYVARIOUS SHOTS of a wedding in a tiny country church. We seeshots of Rose in a white wedding dress, smiling, happy. Daveis stiff and solemn in his best suit. Daddy gravely givesRose away. We hear no dialogue here, MUSIC on track. We seeMother, Buddy, Doll and Waski in the front row, all in Sundaybest and very solemn. We see a CLOSE SHOT of Rose's kneestrembling beneath her white wedding dress as a countryminister marries them. VARIOUS SHOTS of a rather idylliccountry wedding in a very plain, unpretentious countrychurch, and... DISSOLVE TO:EXT. CHURCH - DAYA shot of Rose, Dave, Buddy, Doll and Waski at a picniccelebration outside the church by a running brook.The scene should be beautiful in summertime. We see abarbecue pit, homemade ice cream in the metal can, otherpicnic things. A happy Rose is kissing first Buddy, thenDoll, then Waski. Dave smiles fondly, but rather stiffly ather. ROSE And now Waski, are you and Buddy and Dolly ready for some ice cream, huh? Do you like picnics or don't you? WASKI We like 'em! We love 'em! DAVE Well, it isn't a picnic, honey. It's a barbecue. ROSE (a little smile) Okay. DAVE A picnic doesn't involve roast meat, hon. At a barbecue you have a lot of roast meat.CUT TO a shot CLOSE on Buddy as he stares pensively at Dave.The CAMERA stays on him as we hear VOICES OVER. Rose ishappy, Dave phlegmatic. ROSE (V.O.) Well, all I know is there's ice cream. And I'm gonna have me a plate right now! DAVE (V.O.) Better wait, hon. It'll spoil your appetite. Have some barbecue first.The CAMERA stays on Buddy, as he stares pensively at Dave. Hehas no expression on his face at all. DISSOLVE TO:EXT. CHURCH - DAYA shot of Rose and Dave bidding goodbye to the Hillyers.Daddy, Mother, Buddy, Doll and Waski are in the model A. Roseis obviously on the verge of tears as Dave speaks solemnly toDaddy. DAVE Well, we are off to Savannah, Mr. Hillyer. No more police work, I'm getting in the construction field. DADDY Good luck, Dave. And good luck to you, too, Rosebud. ROSE (begins crying) Oh, Mr. Hillyer! I just can't stand to say goodbye!Daddy starts the Model A. ROSE (CONT'D) I love you all! Goodbye, Buddy! Goodbye, Dolly! Goodbye, Waski!ANOTHER ANGLE on Rose as she weeps and waves thehandkerchief. ROSE (CONT'D) Goodbye! Goodbye! DISSOLVE TO:INT./EXT. MODEL A - STREET - DAYA shot of Daddy and Mother in the Model A as Daddy drives. Wesee Doll and Waski solemn on the back seat, but Buddy is notvisible. DADDY Well, thank God we are rid of her at last. And the best thing of all is that she's happy. The little nut is happy, she found Mr. Right in the nick of time! MOTHER Well, yes, she's happy. Of course Dave doesn't have her life force, not at all. There isn't much furniture in his house, just a table and one or two chairs, whereas Rose has furniture coming out of the windows. DADDY Honey, he is Mr. Right. MOTHER (slowly nods) Yes, I think so. He adores her, it's almost pitiful the way he worships her. I just hope she isn't too much for him.Mother pauses, frowning, she has her doubts, looks over hershoulder. MOTHER (CONT'D) What do you think, Brother?Mother frowns in surprise.CUT TO a POV shot of Buddy on the back seat of the car. Nowit is clear why we couldn't see him in the other shot. Be islying down on the seat of the car with his Sunday coat pulledover his head.ANOTHER ANGLE on Mother and Buddy, Doll, Waski. Buddy lies onthe seat, motionless with his coat over his head. MOTHER (CONT'D) What's the matter with him? DOLL (seems awed, staring down at Buddy) I don't know. I think he's cryin'!CUT TO ANOTHER ANGLE on Mother, from the front as she slowlyturns back and stares thoughtfully ahead. The shot is also onDaddy. They both stare ahead in pensive silence. FinallyMother speaks. MOTHER (rather sadly) Maybe Brother is right. Maybe so. DISSOLVE TO:END OF FLASHBACKINT./EXT. HERTZ CAR ON INTERSTATE - DAYON Willcox Hillyer behind the wheel of the Hertz car. He isstaring pensively ahead, a faint trace of tears in his eyes.It is a very faint trace, a look of mild irony and amusementis on his face. WILLCOX HILLYER (dryly, to himself) Mr. Right. Dave Wilkie.Willcox slowly shakes his head.EXT. HERTZ CAR - INTERSTATE EXIT - DAYCUT TO a shot of the red Ford as it takes a turn-off from anInterstate.EXT. HERTZ CAR - BUSTLING CITY - DAYCUT TO a shot of the red Ford as it drives into a ratherbustling little Southern city that does not look at all likethe "Glenville" we have seen. A lot of traffic, new roads,filling stations, prosperity. It could be Rome, Georgia as itis today.EXT. CAR PAST HOLIDAY INN - DAYANOTHER SHOT of the red Ford going past a modern Holiday Innin the city.EXT. HILLYER HOME - DRIVEWAY - DAYON the red Ford as it turns into a familiar driveway, that ofthe old Hillyer home.But insofar as possible it looks different now, like a relicfrom the past.Maybe the house needs painting, the garden is in weeds -- theplace is not exactly dilapidated, but it is marked by time.A SHOT of Willcox Hillyer as he gets out of the red Ford andwalks up the familiar steps of the front porch, travel bag inhand.EXT. HILLYER HOME - FRONT PORCH - DAYON Willcox Hillyer at the front door. He tries the knob,opens the door and goes inside.INT. HILLYER HOME - FRONT HALL - DAYCUT TO a shot of Willcox Hillyer as he glances into theliving room. The room looks the same but different -it ismusty, dim.Willcox Hillyer stares at it as if haunted a bit, turns andthe CAMERA follows him as he crosses the hall and looks intoMother's old bedroom-study. This room is quite different. Thefour poster is gone. The room is dusty, musty, dark.Magazines are on the floor in a ring around Mother's oldstudy chair. We see "male" things. It is apparent Daddy livesalone in this room.A SHOT of Willcox Hillyer as he walks down the familiar hallback to the kitchen.INT. HILLYER HOME - KITCHEN - DAYHe looks around. No one is there. He glances at a modernrefrigerator that is in pretty poor shape, glances with afrown at dishes in the sink unwashed. He goes on out to thepatio.EXT. HILLYER HOME - PATIO - DAYCUT TO a shot of Daddy putting out seed for birds on a tableon the patio. Daddy now is a very old man, but hispersonality and style are the same as ever. He looks up witha stern frown as Willcox Hillyer comes out on the patio. DADDY Well, you rascal, where'd you come from? WILLCOX HILLYER Hello, Daddy. How are you? DADDY About as good as can be expected with one foot in the grave. Good to see you, son. (they shake hands) Did you bring any of that Yankee whisky with you? WILLCOX HILLYER It isn't Yankee whisky, Daddy, it's Scotch. DADDY It's Yankee whisky to me.Daddy takes him by the arm, leads him back into the kitchen. DADDY (CONT'D) How do you stand it up there, boy, in all that ice and snow? What are you, a polar bear?INT. HILLYER HOME - KITCHEN - DAYCUT TO a shot of Willcox Hillyer and Daddy as they enter thekitchen. The former opens his travel bag and takes out abottle of Teacher's. WILLCOX HILLYER I can use a drink after the plane ride I had. DADDY Your wife and children are back in New Hampshire in the snow? WILLCOX HILLYER (a little smile; it is summer, there couldn't be snow in New Hampshire) Yeah, they're in the snow.Willcox opens whisky, looks for glasses in the dusty familiarcupboard. DADDY Are they polar bears, too? WILLCOX HILLYER (frowns at cupboard) Good God, the way you live here. This place hasn't been dusted since Mother died. Look at that goddamned refrigerator. DADDY Got another twenty years in it, boy. (something seems to be bothering him) By the way, son, do you recall Rose, that pretty blonde girl who came to our house way back in 1935 or 1936 and caused such a damnable commotion. WILLCOX HILLYER (frowns, turns and stares at him) Of course I recall Rose. In fact I've been thinking of no one else for the last hour and a half. DADDY How could that be, son? WILLCOX HILLYER Dave Wilkie of all people was sitting by me on the plane -- her first husband. It's funny you would mention Rose. Did you hear from her?Willcox pours out whisky. DADDY (casually) Well, yes, in a manner of speaking. You'll have the back bedroom, son, Mother's old art room. Just be careful going down the stairs you don't break your Yankee neck.EXT. HILLYER HOME - PATIO - DAYCUT TO a shot of Willcox Hillyer and Daddy as they walk withtheir drinks out to the patio. WILLCOX HILLYER What's all this about Rose? What do you mean, you heard from her in a manner of speaking? DADDY Oh, I heard from her, I got a letter from her, she's fine. But there is some sad news. WILLCOX HILLYER What sad news? Did her cancer come back? DADDY Oh, no, no, she got all over that. Rose is fine. Let's sit down, son. WILLCOX HILLYER Is her husband sick or something? DADDY No, it's another thing. I was going to write you about it, but since you were coming down anyway I thought I'd wait till you got here. What did Dave Wilkie have to say?ANOTHER ANGLE on Willcox Hillyer and the aged Daddy as theysit on the patio sipping whisky. Willcox Hillyer is notdisturbed or worried about Rose, Daddy has been very casualand offhand about it and he has no inkling of what the newsreally is. WILLCOX HILLYER The pitiful son of a bitch said Rose was a nymphomaniac. DADDY Um-hmm, and I suppose that incensed you? WILLCOX HILLYER You're damn right it incensed me, the miserable bastard. He also said the kikes and the niggers have taken over Washington. D.C. DADDY (nods somberly) Yeah, I know, he was up here. It's pitiful like you say. When he lost Rose it ruined the man, it destroyed him totally when he lost Rose. WILLCOX HILLYER He didn't lose her, he threw her away. DADDY Yes, I guess he did. He threw her away and it was the mistake of his life. WILLCOX HILLYER (staring off pensively into space) You know, I don't know this town any more. All this traffic, new buildings, prosperity... (pauses, almost as if in pain) Where have the years gone, Daddy? Where is the little town I knew as a boy? DADDY At rest in the creative universe with Mother, son. WILLCOX HILLYER (a little smile) That's what she would say herself. DADDY (simply, he is not emoting) A wonderful woman, boy. WILLCOX HILLYER It always gives me a funny feeling to come home. Dear old Southland. Gone. It's all gone, Daddy -- (a fond little smile) -- except you, you're still here. DADDY (matter-of-factly) Not for long, boy. I've outstayed my welcome already. WILLCOX HILLYER It's funny you would mention Rose, I was thinking about her all the way up in the car. (gives him a glance) Or maybe it isn't so funny. DADDY (as if in previous thought) I'm older than hell, boy. But this Yankee whisky is mighty fine, I'll say that. WILLCOX HILLYER All right, Daddy. We have our drink, we're out on the patio, you have prepared me for it. Rose's cancer has come back, hasn't it? DADDY (simply, quietly) No, son, she is dead. WILLCOX HILLYER (numb with shock, for a moment can't speak or think) Dead, Rose is dead? You mean... she died? DADDY I am afraid so, son. About a week ago. Her husband phoned me, she had asked him to call me if anything happened. WILLCOX HILLYER (in awful shock) But... but how? She was young! Rose wasn't old! DADDY She was fifty-six, son. Of course she didn't look it, nowhere near it. The cancer came back, I'm afraid I fibbed about that. But it was very quick, son. She was in the hospital only two weeks, and the last week she didn't know anything. WILLCOX HILLYER (in distress, a slightly choked voice) Excuse me, I'll be right back.Willcox Hillyer rises with his drink in hand and walks acrossthe patio to the kitchen door.INT. HILLYER HOME KITCHEN - DAYCUT TO a shot of Willcox Hillyer as he goes into the kitchen.He picks up the whisky bottle and pours himself a very largedrink.ANOTHER ANGLE, CLOSE on Willcox Hillyer as he stares acrossthe kitchen lost in thought. DISSOLVE TO:BLUR-BORDERED SHOT OF ROSEin the kitchen, a sunny smile on her face as she pours coffeefor Daddy. A very quick moment, only a few seconds. DISSOLVE TO:A CLOSE SHOT OF WILLCOX HILLYERin the kitchen, drink in hand, a look of grief on his face.He struggles to control himself, puts a hand over his eyes,then pulls himself together, turns from the kitchen.SHOT OF THE PATIOON Willcox Hillyer and Daddy as the former walks up with hisrefreshed drink and sits down. He is in control now, his faceis expressionless and he is seemingly calm. WILLCOX HILLYER Well, you have knocked me for a hell of a loop, old man. A hell of a loop. DADDY (simply) I know. You loved her. So did I. It was an awful shock to me, too. An awful shock. Rose was so alive it's hard to believe. WILLCOX HILLYER I can't believe it, Daddy. I know it must be true, but I can't believe it. DADDY It's true, son. The girl with the cornflower eyes is dead, she is no more,Daddy pauses, in trouble emotionally, but gets a grip onhimself and in an almost dispassionate manner; but powerfulfeeling is behind his words. DADDY (CONT'D) She got cancer of the breast, was operated on and had a seven-year recovery, then after a brief illness passed on in her sleep, as the man with whom she'd lived in beautiful love and harmony for twenty-five years held her hand. That is what happened, son, and God rest her lovely soul!CUT TO a CLOSE SHOT of Willcox Hillyer. Despite his effortsto control himself, tears are in his eyes. He clenches histeeth, takes a big swallow of his drink.ANOTHER ANGLE on them both as Daddy rises. DADDY (CONT'D) And now, if you are through with that Yankee whisky, we'll go to the Holiday Inn and get some dinner.SHOT OF WILLCOX HILLYER AND DADDYas they walk toward the red rental Ford. Daddy uses a cane.He is a very old man. Willcox Hillyer looks in pain, hegrimaces as they walk along. WILLCOX HILLYER Why Rose? Why Rose, Daddy? DADDY Nobody lives forever, boy. Who'd want to? WILLCOX HILLYER That's a hell of a thing to say. Why, Rose? DADDY (stops and firmly) Now look, boy, get a grip on yourself. Rose had a good life. She found her. Right, didn't she? She triumphed over everything, what are you blubbering about? WILLCOX HILLYER I'm not blubbering.CUT TO a shot of the red Ford going down the familiardriveway.SHOT ON DADDY AND WILLCOX HILLYERin the car. Daddy is staring fiercely ahead, Willcox Hillyerstares ahead in gloom.SHOT OF THE RED FORDas it pulls up in front of the Holiday Inn we have alreadyseen.SHOT ON DADDY AND WILLCOX HILLYERin the car. Willcox Hillyer sits there staring off into spacein deep gloom. Daddy eyes him and now relents. We seesympathy in his face. DADDY (gently) Rose isn't dead, son. Not really. Some of us die, but some of us don't. Rose lives. As long as some little girl somewhere gets herself up and goes out, Rose lives.CUT TO a shot of Daddy and Buddy, now middle-aged WillcoxHillyer, as they walk toward the entrance of the Holiday Inn.MUSIC. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Rambo_ First Blood II_ The Mission.txt b/unformated_scripts/Script_Rambo_ First Blood II_ The Mission.txt new file mode 100644 index 0000000000000000000000000000000000000000..b127c9fcacd4139759a7e20b0f0d8939a079f6a6 --- /dev/null +++ b/unformated_scripts/Script_Rambo_ First Blood II_ The Mission.txt @@ -0,0 +1 @@ +FIRST BLOOD II: THE MISSION by James Cameron December 22, 1983FADE IN:TITLE SEQUENCEEXT. V.A. HOSPITAL - DAYA drab GREEN SEDAN with U.S. ARMY printed on the doorstops at the steps of a fortress-like colonial-stylebuilding.Iron bars cover the windows.The lawn sprinklers snap mindlessly to themselves.A CRT-style printout appears at the bottom of FRAME: D-MINUS 117 HRS FAYETTEVILLE, NORTH CAROLINAANGLE ON SEDANas the doors open and TWO POWERFUL MPs, one of whom wasdriving, emerge. The other opens the rear door forCOLONEL SAMUEL TRAUTMAN who stands, eyeing the imposingfacade of the hospital.Trautman is in his early fifties and wears the mantle ofcommand sternly but without arrogance.He takes the stairs with purposeful strides, the MPsfalling in behind him.HOLD ON THE SIGN above the main door as they go inside: VETERANS ADMINISTRATION HOSPITALINT. HOSPITALA gray metal door bearing the sign "NEUROPSYCHIATRIC WING"bangs open and a massive ORDERLY in white passes through.He is followed by the two MPs, Trautman, and a SHORTDOCTOR who hustles to keep up with the others.LOW ANGLE DOLLY PRECEDING the entourage as they strideforward.The MPs are grim-faced and walk in step.Trautman and a doctor SINGLETERRY silently walk throughthe corridor.They pass the open day-room where somnambulistic patientssit like statuary watching "The Young and the Restless" orwatching the wallpaper fade.Bleak light from an overcast day filters through thebarred window.The vets seem older than their years and although someshow the physical scars of combat, there is no doubt thatthe greatest trauma for these men is behind the eyes.As they pass the open doors of the rooms of the "chronicward", haunted eyes turn toward them.As they approach the nurse's station for the "chronicward" the orderly nods.The HEAD NURSE turns to her console.INSERT - AS NURSE'S HANDhits a button on the console.TIGHT ON SECURITY DOORas a solenoid-operated bolt snaps back with a loud BUZZCLACK.The orderly's good hand shoves the door open.INT. "VIOLENT" WARDThe entourage enters a long narrow corridor lined withlocked doors.POV DOLLYING ALONG CORRIDOROccasionally faces appear at the safety-glass windows setin the doors. Men whose souls have fled.Their eyes track us as we move past.An emaciated MAN in an untied hospital smock and bare feetstands as if lost in the center of the corridor.REVERSE ON GROUPDOLLYING as they detour around the man, whose clawlikehand catches at Trautman's tunic.A hoarse, demented SHOUTING issues from one of the doors,a desperate WAILING from another.INT. STAIRWELLCLOSE ON DOOR LATCH as keys RATTLE and the door opens.WIDER as the group enters a dark service stairwell. Thesingle fluorescent light flickers stroboscopically, apulsing twilight. LEWIS Shit. Maintenance never gets down here.They descend two flights to a door of steel bars on asliding track.The MPs flank Lewis as he unlocks the door. SINGLETERRY So what am I supposed to do? Can't transfer him to Leavenworth. He's civilian. So I put him in an isolation cell that hasn't been used since the Spanish Inquisition.TIGHT ON BARRED DOORrolling aside on metal tracks. CLANG.INT. CORRIDORThis area of the hospital's basement has been used forlittle but storage in recent years.Stacks of obsolete equipment gathers dust, leaving only anarrow walkspace.The steel doors of the isolation cells yawn open, exceptfor the last one. TRAUTMAN Maybe you should have tried cutting him some slack.Lewis opens a cabinet near the single locked cell andremoves a SMALL RIFLE. He feeds a SYRINGE-LIKE SHELL intothe single-shot bolt action. TRAUTMAN (continuing) What's that? SINGLETERRY Tranquilizer syrette gun. Borrowed it from the Animal Control Department.Trautman pushes the barrel aside with a contemptuous snortand steps up to the cell door. TRAUTMAN Gimme a break. (nods toward door) Open it.The two MPs flank the door. One pulls on the latchinglever. Bolts slide. The door swings open, revealingblackness. LEWIS (muttering) Thinks he's the fucking Prince of Darkness.One MP tries the switch beside the cell, flicking itseveral times. Nothing.He glances apprehensively at the other MP and they stepinto the dark cell.INT. CELLTIGHT ON A HAND, dimly outlined, as it twists a light bulba half-turn in its socket.In the sudden light the MPs face an imposing figure.JOHN RAMBO, wearing only a pair of filthy jeans, stands"ready" before them. The single light bulb on the lowceiling sends glistening highlights over his taught body.A nasty piece of machinery.Long, matted hair coils onto his shoulders, and an unkemptbeard heightens the cheekbones beneath eyes which aredeep, reptilian. Intense.His position, though not overtly threatening, suggests awillingness to strike without warning which gives theM.P.'s pause.Trautman steps forward between the MPs. TRAUTMAN At ease, Rambo.MED. ON RAMBOrising from his slight crouch to stand composed,balanced... parade rest. TRAUTMAN (continuing to MPs) Wait outside.He closes the door until it latches. TRAUTMAN Hello, John. RAMBO Colonel. TRAUTMAN Mind if I sit down?Rambo motions to the narrow bunk, dropping into anOriental squat himself as the Colonel sits.Trautman's manner with Rambo is familiar, somehowpaternal. A bit of an ironic grin twitches briefly. TRAUTMAN (continuing) I hear you're not enjoying it here. RAMBO I could take it or leave it.Trautman sighs and leans back. TRAUTMAN Seems like I'm always pulling you out of some goddamn toilet or other, doesn't it? RAMBO Am I out of here? TRAUTMAN That depends on you. (pause) Christ, look at you. I give you this easy duty until I can get you an assignment... all you have to do is eat ice cream and watch soap operas... and you have to make it Rambo's last stand. RAMBO There were treating me like a headcase. TRAUTMAN Hard to believe. You shoot up one little town in Oregon with a fifty caliber machine gun... one little dogpatch town... and everybody figures your wrapper's broken. No sense of humor. (pause) What did you expect? An engraved plague from the chamber of commerce?Rambo looks at his hands. When he finally speaks hisvoice seems distant, disembodied. RAMBO In 'Nam I flew gunships. Million dollar equipment. Back here nobody trusts me to park cars. I keep thinking it's going to be okay... but I've been out six years and it's not okay. Sometimes I feel like I'm coming right out of my skin.The colonel nods slowly. He notices a battered shoebox onthe floor beside the bed. The cell is absolutely devoidof personal articles otherwise. TRAUTMAN This your stuff? RAMBO That's it. My life.TIGHT ON SHOEBOXas Trautman flips through a number of worn snapshots ofthe men in Rambo's special forces unit.They are horsing around, in and out of uniform. Ayounger, cleanshaven Rambo is among them. He is grinningbroadly in one shot.It seems uncharacteristic of the hardened man we see now. TRAUTMAN Hardcore outfit. The best I ever trained. RAMBO (coldly) Those men are all dead. TRAUTMAN (glancing up) You're not.He fishes something from among the pathetic debris ofRambo's life. TRAUTMAN (continuing) Congressional Medal of Honor. RAMBO (bitterly) Yeah. Big time. TRAUTMAN Plus, what else? Two Silver Stars, four Bronze Stars, two Soldier's Medals, four Vietnamese Crosses of Gallantry and... uh, a handful of Purple Hearts. RAMBO Five. I never wanted that stuff. TRAUTMAN What did you want? RAMBO (haltingly) I just wanted... I don't know... after all that... I just wanted one person, one person, to come up to me and say "you did good, John." And mean it. That's all. (pause) After all that. TRAUTMAN You just picked that wrong war to be a hero in.The colonel studies Rambo a moment, then stands abruptly. TRAUTMAN (continuing) Let's take a walk. CUT TO:EXT. V.A. HOSPITAL - DAYRambo and Trautman cross the manicured grounds, escortedby the two grim MPs.A number of wheelchair-bound vets enjoy the sunshine B.G.and a desultory game of volleyball is in progress.Still, the impression is of the detritus of war leftscattered on a huge lawn like broken toys.As the two approach a conservatively dressed MAN waitingon a bench under a plane-tree, stands. TRAUTMAN Jason Kirkhill... John Rambo.Kirkhill extends his hand in greeting, but Rambo coollyhalf-turns to reveal his hands, locked in WRIST-CUFFSseparated by a steel bar so that they can hang comfortablyat his sides.Kirkhill grins affably. Drops his hand. KIRKHILL Good to meet you, Rambo. How are you?Rambo scans Kirkhill's face, noting the cold scrutiny allbut concealed in the smile lines. RAMBO (coldly) You a spook?Kirkhill drops the smile. KIRKHILL That's right. CIA Special Operations Division.Rambo turns to Trautman. RAMBO I don't work with spooks. Not after that op in Cambodia. KIRKHILL I'm authorized to get you out of here. I thought that's what you wanted. RAMBO (considering) What's the job? KIRKHILL Classic special forces op... hit fast... in and out. Two men. Two days. RAMBO Why me? KIRKHILL (shrugs non- committally) We like you. (pause) At least the computer at Langley likes you. Pulled your file because of various factors. Service record. Area familiarity. RAMBO Where? KIRKHILL Not yet. RAMBO I'm not jumping blind.Kirkhill's eyes get hard. KIRKHILL It's yes or no. In or out... now. If it's "out," we will not have had this conversation. If you come in, you will not be working for us. No knowledge. No comment. Do you understand?Rambo seems about to turn away. TRAUTMAN (to Kirkhill) Tell him. I'll take responsibility.Kirkhill looks pained, like he has gas. KIRKHILL North Vietnam. What they call the Democratic Republic of Vietnam now.TIGHT ON RAMBOas he takes that in. His eyes seem to see all the waythere already. Emotions go through him. Exhilarationmixing with terror of the demon he can't turn away from.He nods slowly. TRAUTMAN We left some people behind there, John... POWs. RAMBO This just occurred to somebody, now? KIRKHILL We don't leave our men, Rambo.Rambo and Trautman lock eyes.Something flows there... Trautman knows his soul. RAMBO You got it. I'm in.He whips one hand around from his side, tossing themanacle bar at a surprised Kirkhill's feet.The wrist-cuffs are still closed. CUT TO:INT. RAMBO'S CELLRambo stands alone in his cell, the door open behind him.He hefts the shoebox filled with his worldly possessions,the scraps of memory, dead friends, and symbols of valorand violent death.He upends the box, spilling everything into the opentoilet.Flushes it. And walks out. CUT TO:EXT. FORT BRAGG - DUSK D-MINUS 84 HRS FORT BRAGG, NORTH CAROLINATIGHT ON BOOTED FEETclomping in rhythmic lockstep as a platoon of recruitsmarches past in close order drill.The drill sergeant bellows cadence. SERGEANT (O.S.) Three-fo-your-lef, lef-right-lef... Other lef shithead! Square those pieces away... square 'em away girls! I said...WIDERas the platoon marches past, EXITING FRAME to reveal asign mounted beside a security checkpoint in a formidablechain-link fence. AIRBORNE SPECIAL FORCES GROUP OPERATIONS CENTERINT. CORRIDORKirkhill, accompanied by his basilisk-eyed AIDE, stridespast Rambo's two MPs flanking the door, into a smallroom.INT. BRIEFING ROOMThe room is an austere cubicle with the army's typicallydrab furniture in "early functional."The cold eye of a surveillance camera stares down at asingle table with a seated figure... Rambo, looking likehe may have been there for centuries.The aide hands Rambo a sealed folder and extends aclipboard and pen for him to sign off. KIRKHILL This is your mission packet... AIDE (quietly overlapping) Sign here, please. And here. KIRKHILL Memorize it here. It doesn't leave this room.Rambo unseals the folder, removing a sheaf of photocopieddocuments, as Kirkhill perches on the table next to him. KIRKHILL (continuing) The twenty-four hundred American servicemen missing in action in Vietnam, Laos and Cambodia are officially listed "Presumed Killed." Certainly most of them are.Rambo is leafing through the contents of his PACKET. Heskips a stack of reports and fishes out several grainy 8 X10 prints. KIRKHILL (continuing) But reports keep filtering in. Sightings by refugees. Nothing verified. Finally, we feel we've got enough to proceed on.Rambo studies the prints. They seem to be high altitudesurveillance photos of a small COMPOUND OF BUILDINGS,surrounded by forests. KIRKHILL (continuing) Memo E-7 on top will cover the details. An abandoned Vietnamese Army base in the North-central highlands may have a compound used as an internment camp. As you can see the intelligence is soft. These LANDSAT photos show huts... barracks. It could be anything. RAMBO (flat) What's the plan? KIRKHILL This operation is in two phases. Recon and rescue. You are phase one. Your two-man team will probe the site, confirm the presence of American POWs, if any, make photographic and tactical observations, then proceed to the extraction point without engaging the enemy. RAMBO We don't try to pull out any of our guys if we find them? KIRKHILL Negative. Absolutely not. The phase two assault team will get them out. RAMBO (not pleased) We just take pictures? KIRKHILL Don't look so disappointed. It should be hairy enough... even for you. CUT TO:INT. DON MUANG AIRPORT - LATE AFTERNOONKirkhill's VOICE continues over the image of: The crowdedairport terminal, as Rambo, carrying a cheap flight bag,weaves among jostling Orientals. KIRKHILL (V.O.) Your flight to Bangkok is at 06:30. Commercial carrier. Low profile. Rendezvous with Colonel Trautman at the Indra. Room 618. You'll meet your number two man, Lieutenant Brewer. He doesn't get a packet... you brief him verbally.After a flurry of passport stamping Rambo clears customsand makes his way to the main exit.EXT. TAXI STAND - STREET - LATE AFTERNOONRambo emerges into the stifling humid heat of Bangkok inMay and stands, scanning for a cab. D-MINUS 51 HRS BANGKOK, THAILANDBangkok is a city of fervid motion and the street ischaotic with traffic.Stepping through throngs of Asians and tourists Ramboreaches for the door of a beat-to-hell Citroen taxihunkered low at the curb like some metal lungfish.He spins as a hand lightly touches his shoulder. MAN Sorry old buddy, I saw it first.An American in his late twenties, the man speaks with oneof those hard-to-dislike Southern accents. Probably NorthCarolina.He is lanky but muscular, with boyish good looks and haircut so short it barely qualifies as stubble. Thoughdressed in a loud Hawaiian shirt and Madras slacks, it ispainfully obvious the man is military.His arm is draped around a gorgeous but overly made-upThai girl. MAN (affable) I kinda got an important date.Rambo's eyes narrow as he turns wordlessly and climbs intothe taxi.The American grins cockily and tosses his bag to Rambo. MAN No problem. We'll share it. Get your tail in there, sweet thing.INT./ EXT. TAXIThe American and the girl pile into the broad front seat,to the chagrin of the lizard-faced Thai driver. MAN (to driver) Indra Hotel. And don't take the scenic route, Smiley... I know my way around this burg. Comprende?Rambo speaks quietly to the driver in Thai. RAMBO (Thai/subtitled) Same place for me.The girl giggles as the American slips his hand up fromher stockinged knee, between her thighs. MAN Ah, you fair flower of the Orient.She giggles, like a chirping bird. MAN (continuing to Rambo) She thinks everything I say is funny. Don't you, Angel-pie? Man, Thai women are the best. Got the kinda legs I like... feet at one end and pussy at the other.He turns to Rambo, who hasn't commented or taken anyobservable notice of him. MAN (continuing) You don't say a helluva lot, do you, pal? You speak English? RAMBO (coldly) Sometimes.The girl coos to the American in pidgin English. THAI GIRL You got money? I stay you whole week. MAN Sweet thing, there's nothin' I'd like more than to wugga-wugga with you for a week, but tonight's all we got.He lowers his voice conspiratorially, leaning close toher. MAN (continuing) See, I'm on this secret mission, and tomorrow mornin' I head out to...Rambo grabs the man brutally by his collar. RAMBO That's enough, Brewer.The American freezes at the sound of his name. Turnsslowly. BREWER (realizing) You're Rambo? (pause) Ke-rist!Rambo speaks sharply to the girl in Thai. RAMBO (Thai/subtitled) Get out. Now!The driver, confused, skids to a stop and the girl getsout into the din of a cluttered shop district. A flash ofslit skirt and then only fading curses behind them as thetaxi moves on. BREWER (brightening) Jeez, I never would have guessed. You undercover, Lieutenant? Great disguise. CUT TO:INT. INDRA HOTEL ROOM - DUSKTrautman, sipping a gin tonic at the window, spins aroundas the door flies open. Brewer storms in, followed a fewpaces back by Rambo, who closes the door. BREWER (to Trautman) He says he's team leader on this show. TRAUTMAN That's correct. BREWER (controlling his fury) Begging the Colonel's pardon but I understood I was up to lead my next mission. TRAUTMAN Not this one. You're on communications and camera. Same image-intensified gear you used in El Salvador last year. RAMBO This clown almost blew mission security on the street. I'm not jumping with him. BREWER (spinning) Clown? Now back up there, buddy... TRAUTMAN (sharply) Listen up. You two are married as of now. Get used to it. RAMBO (to Trautman) I say we tape him to a chair. CUT TO:EXT. OPERATIONS BASE CAMP - DAY D-MINUS 36 HRS BAN BUNG KHLA, THAILANDA small airstrip transects a meadow bounded by rain-forested slopes. Wreathed in low clouds the mountainsmarch into the distance in increasingly subtler shades ofgray like a Japanese watercolor.Near a cluster of small buildings the scene is one ofmanic but efficient activity as the high tech base camp isassembled.An enormous SIKORSKY CH-54 "SKY CRANE" lowers a Winnebago-sized conex container as another roars by. An Army Corpsof Engineers work crew, stripped to the waist, scurriesthrough the rotor wash. The blasting air raises curtainsof muddy spray and drowns out the yelled commands of thesupervisors.A Vietnam era HUEY UH-1D HELICOPTER nimbly touches downnearby. Rambo, in the pilot's seat, slips off his HEADSETand climbs down. Brewer and Trautman, in fatigues, jumpout and join him as Kirkhill approaches.DOLLYING WITH THEM as they emerge from the rotor noise andKirkhill motions them toward the MOBILE TACTICALOPERATIONS CENTER (MTOC). KIRKHILL I didn't know you were a stick man, Rambo. RAMBO I was crossed-trained in gunships. TRAUTMAN (to Kirkhill) How long have you been setting up? KIRKHILL About 22 hours on site. TRAUTMAN Nice work.They pass a tent-like CAMOUFLAGE CANOPY under which anALL-BLACK SIKORSKY UH-60 "BLACKHAWK" HELICOPTER squatsominously. It has no markings or insignia.There is another canopy behind it, the contents of whichare screened from view.Nearby is a cluster of CONEX AIRLIFT CONTAINERS, two ofwhich are joined together to form a building like adouble-wide mobile home.Another unit contains a roaring generator, a fourth istopped by TRACKING GEAR. Cables snake through the mud,connecting the units.Kirkhill notices THREE WORK PARTY "GRUNTS" kibitzingnearby, taking pictures of each other with a pocketInstamatic. He snatches the camera from a surprised youngcorporal. KIRKHILL This is a covert operation, numbnuts.He opens the camera and drops the film in the mud. Thecorporal reaches petulantly for the camera. Kirkhilldrops it casually in the mud as well. KIRKHILL (to Trautman entourage) Check out the command hut.He opens the door to the large conex unit and follows theothers inside.INT. MTOCThe "hut" turns out to be a humming electronic womb.In the subdued light banks of VIDEO MONITORS glow, and thestatus lights of UPRIGHT COMPUTER UNITS line one wall.Workstations for TRACKING, COMMUNICATIONS, AND LONG-RANGECOORDINATION create a claustrophobic jumble of modularequipment racks. BREWER Mission control!They wipe their muddy feet and enter the air-conditionedcommand center.Rambo gazes around at the jumble of gear. He runs hishand over one console, causing a seated technician toglare at him. RAMBO All this is for us? KIRKHILL That's right. BREWER (to Rambo) They call us the field-unit meat- puppets. CUT TO:INT./ EXT. CAMOUFLAGE CANOPY - DAYRambo and Brewer walk in under an expanse of netcamouflage on poles.Sunlight streams through the foliage cover, creatingbright mottles on a black object F.G.CAMERA PULLS BACK and BOOMS UP as Rambo moves forward toreveal the object as an ALL-BLACK JET. It is a modifiedGulfstream "Peregrine," a small sleek single-engineexecutive model, with all insignia and I.D. numbersremoved.MED. ON RAMBO AND BREWERas they consider the aircraft. BREWER Ever do this from a jet? RAMBO No. VOICE (O.S.) It's easy...They turn to see a lanky long-haired man in a leatherflying jacket duck under the fuselage from the far sideand approach them. MAN (grinning) Just have to jump fast.Two other air crewmen jump down from the open rearpassenger door of the plane. RAMBO You the pilot? MAN (extending hand) Yeah. Doyle. (he gestures to the two in the door) Lifer and Fuhrman.Doyle is a product of the sixties' school of ultra-cool,his brain a little torched by too many methed-out night-missions.Fuhrman, the co-pilot, grins too much and Lifer's eyes arejust plain scary. RAMBO You boys Air Force? DOYLE Marines. 'Ex' though. We're private contractors now. LIFER You ever do a tour 'in-country'? RAMBO Two. 'Eye-corps' mostly. DOYLE (to Brewer) How about you? BREWER (defensive) Vietnam was a little before my time. So was Korea, know what I mean?Rambo and Doyle glance at each other... solidarity beforenew-meat bozos.EXT. CAMOUFLAGE CANOPYDETAIL ON THE GROUNDas the head of a torque-wrench finishes a rough map oflocal Southeast Asia, scratched hastily in the dirt. DOYLE (O.S.) Thailand. The Mekong. Laos. 'Nam.With each word he plops the torque-wrench onto theappropriate place.ON DOYLEGesturing as he continues. DOYLE A straight dash across the Laotian panhandle, through the Annamese Mountains... some good dicey bits there... and on to the drop zone. Eighteen minutes each way in communist airspace. RAMBO We go low to stay off radar? DOYLE In the rhubarb, babe. FUHRMAN (grinning) Mowin' the lawn. LIFER Dig it.INT. MOTC - COMMAND HUTTrautman, looking a bit uncomfortable in Kirkhill'selectronic lair, paces behind the seated SpecialOperations Officer. TRAUTMAN How long before you're fully on line? KIRKHILL Couple hours. Let me buy you a coffee.He turns to a vending machine nestled improbably betweentwo racks of electronics. TRAUTMAN You think they'll find any? KIRKHILL (feeding in change) POWs? I don't know. But either way it'll get that subcommittee off our necks. Cream? TRAUTMAN Black. No sugar. KIRKHILL The League of Families leans on Congress. Then they lean on us. Like we don't have enough to worry about in a dozen dirtwater countries. Damnit!He pounds the machine, which refuses to vend.Trautman watches the Special Operations Officer bangingineffectually on the COIN RETURN, amid a million dollarsworth of equipment.EXT. FLIGHT TENTA tent next to the camouflage canopy serves as a flightshack for Doyle and his ground crew. Crates serve astables and stools, and 50-gallon fuel drums are the backwall.Doyle, with Rambo and Brewer, continues the game plan. DOYLE A couple klicks from insertion we go vertical to ten thousand and you punch out. Navigate in free fall like a regular HALO jump. You'll have a good moon. LIFER (to himself) I got your moon right here... BREWER No problem. Duck soup.Doyle notices that Brewer has casually lit up a cigarette. DOYLE Hey, man... we got fuel on the deck. I don't like flying without a plane.Brewer glances at the pool of jet fuel around the pumpingarea.Rambo plucks the cigarette from Brewer's lips. RAMBO No smoking on this mission. It's not healthy.He looks Brewer in the eye and flicks the lit butt intothe pool of gas.Which puts it out. BREWER Son of a bitch!Rambo saunters away. DOYLE (appreciatively) Nice trick. Works nine times out of ten.EXT. BASE CAMP - RUNWAY - DUSKThe steel planking of the pre-fabricated runway ringsunder their feet as Rambo and Brewer run laps. Brewer,between breaths, is chanting a monologue as they drawnear. RAMBO Again. BREWER Insertion. Call in to base camp by TRANSAT. Proceed to point Tango November for rendezvous with our ground contact. Indigenous agent. Co Phuong Bao. (in same tone) We've been over this three times. RAMBO You stopped.Brewer rolls his eyes. BREWER Co Phuong Bao. The guide takes us twelve klicks upriver to target at Ban... at Ban... Bo Peep. Shit! RAMBO (flatly) Start over.EXT. BASE CAMP - NIGHTFace-down in the dirt near the flight-line, Rambo andBrewer are banging off pushups under the floodlight. BREWER (mechanically) ... to target at Ban Kia Na. We probe the site... RAMBO (to himself overlapping) Ninety. BREWER ... then proceed downriver to extraction at point Echo Delta. Doyle takes us out by helicopter, we all live happily ever after and that's the last time, Rambo! I swear to Christ. RAMBO One hundred.They both collapse, face-down, breathing heavily. Brewerrises first. BREWER Gettin' old, huh? RAMBO Yeah. (pause) Second set. Let's go.When Rambo rises it is in pushup position, only this timeusing one arm. He starts. One, two, three...INT./ EXT. EQUIPMENT TENT - DAY D-MINUS 11 HRSBrewer lifts an OLIVE-DRAB BOX onto the table inside theopen-tent. It looks like a large field radio with acomplex console set in the top. BREWER Transponder-satellite relay. TRANSAT.He taps a small collapsible DISH ANTENNA on a tripodconnected to the box by a curly-cord. BREWER (continuing) The signal's coded into infrared pulses, picked up by the spy satellite, bounced to the ground station in Okinawa and relayed to the hut...He points to the MTOC nearby. BREWER (continuing) No radio source. Nothing for the bad guys to triangulate on. RAMBO Show me how it operates. BREWER That's what I'm here for. RAMBO Show me in case you get zapped as soon as we land. BREWER (frustrated) We're leaving tonight, not in a week.He sees Rambo's expression. BREWER Alright. Alright.INT. RAMBO'S TENT - DUSKRambo sits on his cot hunched over some minute work.DETAILWith surgical precision he hones the trigger mechanism ofa FLAT-BLACK CROSSBOW PISTOL.ANGLERambo raises the crossbow, cocked but empty.CLICK. It fires smoothly, to his satisfaction.INT. EQUIPMENT CONEX - NIGHTCLOSE ON SHIPPING CRATE as a crossbar pries the lid off.ANGLE ON BREWERas he raises a telescope-like piece of equipment.WIDERrevealing Brewer surrounded by shipping crates. He setsthe scope on a long empty table and attacks another crate,working under a harsh fluorescent lighting unit.SEVERAL CLOSE ANGLES - JUMP CUTSBrewer pulls electronic test gear out of bubble-pack andsets the units on the table.He hefts an automatic rifle and checks the action.Another electronic gadget joins the growing array on thetable.Another, smaller automatic, a MAC-10 MACHINE PISTOL, islifted out of packing.CLOSE as Brewer's hands thread a silencer onto the barrelof the Mac-10.INT. RAMBO'S TENTTIGHT ON RAMBO'S HAND, holding a special forces LILE-KNIFE. He runs a whet-stone along the blade,methodically.INT. EQUIPMENT CONEXBrewer is calibrating his STARLIGHT-SCOPE image-intensifier using a wave-form oscilloscope.Satisfied, he begins mounting it atop the assault rifle.INT. RAMBO'S TENTVERY TIGHT ON RAMBO, working in almost total darkness,streaking his face with two shades of green camouflagemakeup.The effect is unearthly.INT. EQUIPMENT CONEXBrewer, wearing headphones, is running a calibration tonethrough the audio-processor of his TELESCOPIC MICROPHONE.He clamps it onto the assault rifle.INT. RAMBO'S TENTTIGHT ON RAMBO'S HANDScovered with green greasepaint.Using a candle he expertly darkens the blade of his Lile-knife.INT. EQUIPMENT CONEXBrewer is standing at the end of the long table which isnow laid out like a banquet with an incredible assortmentof gadgets, weapons, supplies, kits, canteens, rations,etc.Doyle lounges nearby watching the bugs dog-fighting aroundthe fluorescent work light. RAMBO (O.S.) You jumping with all that?They turn to see Rambo watching them from just outside thepool of light.A spectral figure.Brewer glances at the array of stuff. BREWER Yeah. Why not? RAMBO You break your leg, I'll have to shoot you.He turns and vanishes in the dark. DOYLE I think he means it. BREWER Crazy fucker. DOYLE Well, son. You got that right. Anybody ever tell you about that guy?Brewer turns quizzically toward him. BREWER What about him? CUT TO:EXT. RUNWAY - NIGHT D-MINUS 28 MINUTESTIGHT ON TURBOJET INTAKEA black maw. The vanes begin to turn. The RISING WHINEbecomes a STEADY ROAR.C.U. FUEL COUPLERas a ground CREWMAN disconnects hoses from the sleek,black fuselage.ON PEREGRINE - WIDERas the blue fire roars in the exhaust throat. The airconvulses.WIDER - TRACKING A VANmoving beside the black ship, past the wing to the reardoor.TIGHT ON VANas it comes to a stop, the side door FILLING FRAME. LiferENTERS SHOT, reaches for the door latch.INT. VANTotal blackness, until light spills in from the openingdoor.Rambo sits, statue-like, hands on knees, wearing a BLACKBLINDFOLD. Adjusting his eyes for night vision. He'sdressed for the mission: tiger stripe cammies, jump pack,chute pack, hands and face mottled with camouflagegreasepaint. Ferocious looking. Demonic.Lifer leads him out.EXT. AIRFIELDDOLLYING BEFORE RAMBO, being led as if to execution. Blueand red TAXI LIGHTS send strobe-flashes of color acrosshis face as he approaches the aircraft.INT. PEREGRINERambo is led to the seat next to Brewer's. Trautman helpsLifer strap him in. Plugs in his intercom jack.Brewer eyes him cautiously.He'd move away but all the other seats have been removed. DOYLE (V.O.) (filtered) Ready to roll, Lieutenant.Rambo adjusting his headset. RAMBO Let's do it. TRAUTMAN Keep it clean, Rambo, or I'll nail your hide to the shed. RAMBO You got it, sir.Trautman exits and the steps are rolled away.INT. COCKPITDoyle is all business now. DOYLE Zen Rollercoaster, requesting clearance. VOICE (filtered) You are cleared, Zen Rollercoaster.EXT. PEREGRINEThe wheel jacks are pulled.The jet rolls forward.EXT. AIRSTRIPThe aircraft hurtles down the runway, gathering speed.The nose picks up.It clears the end of the runway and then the treeline by afew feet.INT. PASSENGER COMPARTMENTThe interior is lit only by a single red light above thedoor.Brewer watches the forest below through the open doorway.The door itself has been removed.The ROAR OF THE AIRSTREAM is ferocious.EXT. PEREGRINEA sleek silhouette above the moonlit forest, the jetflashes across the rolling terrain just above thetreetops.MOVING WITH THE AIRCRAFT as it dips and rises with theland's contour. The rain forest below is a rushing blur.This is known as some serious flying.INT. COCKPITDoyle is hunched forward, nose inches from the canopy.Eyes wide.Drinking in the jungle.All the lights in the cockpit are turned off.Fuhrman uses a TAPED-OVER PENLIGHT to read theinstruments.Doyle is beyond instruments. FUHRMAN Switching communications to burst mode.INT. MTOCKirkhill and Trautman are hunched at the main console. TECHNICIAN AWACS Two-Five has acquired. They are holding timeline.Trautman watches the glowing dot representing the drop-jetcrawling almost imperceptibly across a computer-generatedmap of Central Laos.EXT. PEREGRINEThe sleek jet races toward the towering Annamese rangeahead.INT. COCKPITFuhrman is grinning. That's bad. DOYLE (into mike) Here comes the sexy part.INT. PASSENGER COMPARTMENTRambo, sitting impassively, removes his blindfold.The plane begins to pitch and plummet wildly.Brewer lets out a rebel yell. BREWER Whoo-ya! I love it!EXT. PEREGRINEMOVING WITH IT as it slices through a twisting canyon likea knife.It slithers between the mountainous flanks.INT. PASSENGER COMPARTMENTRambo is methodically checking his pack and harness,seemingly oblivious to the insanity outside. DOYLE (V.O.) (filtered) We just entered Viet airspace, gentlemen. Eight klicks to insertion. RAMBO (to Brewer via headset) Stay tight on me, Brewer. I don't want to have to go looking for you. BREWER Check.INT. MTOCA TECHNICIAN turns from the secondary console. TECHNICIAN AWACS Niner-One via Subic Bay reports them approaching insertion. Five-by-Five.EXT. PEREGRINE D-MINUS TWO MINUTESThe mountains fall behind and the tiny jet hurtles downacross the foothills, flying nap-of-the-earth.INT. PASSENGER COMPARTMENTRambo slips his free-fall goggles into place. DOYLE (V.O.) (filtered) Stand by to climb.EXT. TRAIL - VIETNAMA VIETNAMESE FARMER trudges down the road with two heavybuckets on a pole-carry across his shoulders.A distant WHINING becomes an approaching ROAR.Like a thunderbolt the black jet flashes over the top ofthe hill just ahead, thirty feet off the deck.The farmer is tumbled by the blast of air.He looks up.The jet has gone into a ball-busting vertical climb and isinstantly lost among the stars. FARMER (Viet/subtitled) Son of a bitch!INT. PASSENGER COMPARTMENTDoyle's voice is matter-of-fact despite the gees they arepulling. DOYLE Approaching ten thousand. Eleven seconds to insertion. Ten, nine... Slowing to two-thirty...The ready light changes from red to yellow. Rambounbuckles from his seat. Rises.Brewer follows.Lifer steadies them at the door. DOYLE (continuing) ... three seconds. Two. One. Have a nice day.The ready-light turns GREEN. LIFER Go!Rambo takes a single, powerful running stride from theopposite wall and is out the door. Gone.Brewer is right behind him.EXT. PEREGRINEThe jet dwindles and is gone in a moment above thetumbling figures.ON RAMBO stabilizing his fall.He switches on his pack strobe. RAMBO (shouting into mike) You read me, Brewer? BREWER (V.O.) (faint) Read you. RAMBO Home on my strobe.ON BREWERdiving skillfully. He sees the distant flash of Rambo'sstrobe below him and banks toward it like a fighter plane.He comes alongside the Team Leader and they dive together.Rambo cuts the strobe.ANGLE DOWN as a solid layer of cloud rushes up.They plunge through and the landscape below is an awesomevista. An unbroken carpet of dark rain forest with anarrow, meandering river, like a platinum ribbon.Rambo sights on a distant bend in the river, spreads hisfeet and dives. Brewer follows.They shoot across the uprushing landscape at 135 mph.INSERT - RAMBO'S L.E.D. ALTIMETERNumbers flicking: 1,200 feet. 1,000. 800.Rambo signals.Their canopies deploy with a MUFFLED CRACK,simultaneously.RAMBO'S POVlooking down past his swaying feet as the moonlit junglerushes up... and up...A mahogany tree lunges like a huge hand.The dark maw swallows us in blackness.EXT. RAIN FORESTMoonlight filters down through the foliage of massivetrees, showing as shafts in the swirling night mists.This is one of the most primeval forests on the planet, aplace of violent growth and death-filled shadows.Massive tree roots grip the earth, entwined with vinesthat climb swaying into the vaulted canopy above. Waterdrips constantly.And life is everywhere. Furtive. Timeless. Churning inthe shallow pools, under the bark, in the sweatingfruit... leaping through the matted foliage above.A FIGURE rises behind a rotting log, like a being frominterstellar space. Rambo removes his goggles andheadset, then shrugs out of his chute harness.He looks around slowly. Taking it in. RAMBO (to himself) Man, what are you doing back here?Brewer's voice is a reedy chirp from his headset. Heraises it to his ear. RAMBO You okay? BREWER (V.O.) Keep it down, man. I got problems. CUT TO:EXT. RAIN FOREST - BARNYARDBrewer is face-to-face with a mangy PIG, which grunts itsannoyance.He is stuck up to his knees in the mud of a small fencedyard containing a few pigs and chickens.The yard is adjacent to a large THATCH HUT, and four orfive additional HOOTCHES are visible farther downslope,nestled among the trees.Brewer holds a finger to his lips, cautioning the pig tosilence. He lays backward in the black slop as aVIETNAMESE MAN in peasant pajamas comes to the door of thenearest hootch, an island of light in the dark forest.Smoking a cigarette he looks around, perhaps scanning forthe source of the faint crashing he heard a moment before.Following a dirt road, little more than a trail betweenthe hootches, an OLD WOMAN approaches. She is barefoot,and pushes a rusting bicycle laden with an enormous bundleof firewood.Brewer struggles to free himself, straining in silence asthe pigs step disdainfully around him.The man flicks away the cigarette. He laughs raucously atsomething the old woman says and hurries to help her carrythe firewood inside.Brewer looks up, at his chute billowing quietly in thebranches overhead.The old woman pauses at the door, spits a shot of betelnutjuice into the yard, and goes inside.The door bangs shut.TIGHT ON BREWERsighing with relief.SUDDENLY A DARK OBJECT SHOOTS INTO FRAME, seizing him.Brewer's head snaps around. The object is Rambo's hand,painted camo-green.Rambo drags him with a sucking POP from the mud.The Team Leader glares. RAMBO (a freezing whisper) That's one.Brewer pauses a moment, assimilating the implicit warning.Then reaches for his harness buckles to free himself. CUT TO:EXT. RAIN FOREST - TRAILWith the hootches visible B.G., Rambo moves silently offalong the trail.Brewer, lumbering under the enormous pack, CRASHES throughfoliage to catch up. He curses under his breath.Rambo moves wraith-like through the undergrowth, appearingand vanishing, there... then not there.Brewer stumbles over a root, THUDS to the ground.Rambo stops, looking back. His expression grim.He turns and moves on, disappearing into the foliage.Brewer scrambles up, following.EXT. RAIN FOREST - CLEARINGTIGHT ON TRANSAT SCREEN as the last letters of thefollowing message appear: SLM DNK FIELD TM TO SLM DNK CONTROL/REPORT INSERTION COMPLETED/ PROCEEDING TO RENDEZVOUS/END MESSAGEWIDERrevealing Brewer hunched over the tiny CRT screen atop thetransponder box, typing at a keyboard the size of a pocketcalculator.Rambo squats motionless, watching intently.Brewer hits the "SEND" button. CUT TO:INT. COMMAND SHACKThe chief telecom tech turns to Kirkhill. TECH It's coming in.Kirkhill watches the message print out on the main screen.Turns to Trautman. KIRKHILL They're in! On the money.A cheer goes up in the command center. The home team justscored.EXT. RAIN FOREST - CLEARINGRambo squats, studying his WATERPROOF TERRAIN MAP.He glances at Brewer who has finished assembling hisweapons and gear.REVERSE ON BREWERlooking like a Martian stormtrooper with his exoticweapons and surplus equipment.He is sighting through the scope of his assault rifle.Fully assembled it is as big as a Chrysler and looksstraight out of Star Wars. RAMBO What do you call that? BREWER (crisply) Modified M-16 A2 and over-under M-79 grenade launcher, with Sionics sound suppressor, Tracor starlight scope and LAC/R-100 Laser sighting system. RAMBO Batteries not included. BREWER (wounded) This is state-of-the-art firepower.Rambo picks up another device, a cylinder like aflashlight with a curly-cord running to a pair ofearphones. RAMBO What's this? BREWER AC-System 'Big-Ear' telescopic mike with built-in audio processor. Can pull a whisper out of a loud cocktail party at 50 meters.Rambo gazes around him. RAMBO Cocktail party. Uh huh, right. (pause) Let's saddle up. BREWER Where's your stuff?Rambo flips open his rucksack. BREWER (incredulous) That's it? Some C-4, a map and a knife? RAMBO There's a compass in the handle.Brewer gestures at the Russian-made AK-47 slung overRambo's shoulder. BREWER And a beat-to-shit AK? Every twelve-year-old in Nam's got one of those. RAMBO Exactly.Brewer hefts the separate rucksack containing the TRANSAT. BREWER Uh... this thing's pretty heavy. You got room for it?Rambo snorts disgustedly. BREWER Just a thought.EXT. RAIN FORESTUsing a stream bed to navigate through dense growth, Ramboglides his legs smoothly through knee-deep brackish water.Brewer follows, swatting and batting at clouds ofmosquitos.A VIPER glides past them, roiling the surface, anddisappears into twisted tree roots. BREWER You wanna know why I stood up for this show? RAMBO (moving off) No. BREWER I was in the brig. They gave me a deal. I blew up this Colonel's golf cart with an M-19. He wasn't in it or anything... it was the symbolic value. Seemed like a good idea at the time. RAMBO That's a real good reason to wind up in 'Nam. BREWER I've seen worse places. RAMBO There are no worse places.EXT. RAIN FOREST - LATERRambo leads them up a steep trail as a dense NIGHT FOGcreeps over the ridgeline above.FOLLOWING RAMBO - HANDHELDas he moves along a narrow game trail.Shapes loom out of the mist, revealed as harmless trunksor vines only at the last second.As they top the rise, the trail opens out onto a plateau-like cleared area.Ahead, an ENORMOUS STONE FACE, wreathed in vines, loomsfrom the mist.WIDERas the two walk into the atrium of a RUINED "WAT", orBUDDHIST TEMPLE. Brewer looks awed.EXT. RUINS OF WATSerene despite the ravages of centuries, two stone Buddhasthirty feet tall sit flanking the stairs to the ruinedtemple. Trees and vines all but obscure the cracked andtumbled forms of ornately carved walls.The central courtyard is open to the sky. Spire-likestructures are dimly visible in the fog beyond. BREWER (hushed) This place is a trip. RAMBO Buddhist monastery. Fifteenth century. BREWER Damn! Leeches.He has pulled up his pant-leg to reveal THREE SQUIRMINGBLACK WORMS attached to his calf, sucking on him.Rambo moves off, scanning, unconcerned. RAMBO Get used to 'em.TIGHT ON BREWERlighting a cigarette, his hands tightly cupped around theglow. Rambo slaps it out of his hand.Stomps it out. BREWER (hissing) You fucking crazy? I need it to burn these things off. RAMBO No cigarettes. BREWER I had it cupped.Rambo takes the pack from Brewer's breast pocket andgrinds it into the mud under his boot. BREWER Look, Rambo. I've had enough of your bad-ass Indian-scout bullshit. You're years out of date... I'm makin' a career out of teaching you the hardware. As far as I'm concerned you're just along to back me up. And I heard about you... about how twitchy you really are. Kill any civilians lately?Brewer is hurled against a stone wall and pinned with aknife to his throat so rapidly he's not sure how ithappened. Rambo is in his face, speaking very softly. RAMBO Listen real careful, freshmeat. I don't know why they sent you. Maybe they didn't want to waste a good man. But you screw up once more and I'll kill you myself.Rambo whips away, moves quietly off.Shaking with rage, Brewer levels his weapon at Rambo'sback. Then he realizes how silly that would be.Frustrated, he jogs to catch up. BREWER Man, are you strict.Moving in the shadows, Rambo walks through the ruinsnoiselessly. A voice emerges from the mist behind them,an almost childlike lilt. VOICE (O.S.) You are first tourist here in long time.Brewer whips around, centering the AIMING DOT of hissighting laser on a FIGURE sitting on a ledge above them.Sitting cross-legged and unperturbed is a diminutiveVIETNAMESE WOMAN of about 28. The dot of Brewer's laseris centered on her forehead like a Hindu prayer mark.She is absolutely beautiful, with wide, calm eyes andstrong but sensuous mouth which curves now in a smallquirky grin. WOMAN You come here see Buddha... ask for truth? Or just lost? BREWER (whispering) Should I waste her?Rambo pushes his rifle barrel aside and takes a stepforward. When he speaks it is in FLUENT VIETNAMESE. RAMBO (Viet/subtitled) I'm not lost. Just looking for someone. WOMAN (Viet/subtitled) Someone called maybe 'Night Orchid'? RAMBO (Viet/subtitled) That's right. WOMAN (Viet/subtitled) I'm Co Phuong Bao. RAMBO (to Brewer) She's our contact. BREWER (grudgingly impressed) I didn't know you spoke Vietnamese.Co slides down from the ledge and stands before them,almost two heads shorter than Rambo. Her lithe figure isnot entirely concealed by her loose black "pajamas". Shewears her hair in a long single braid and has the delicatehands of a child. RAMBO I'm Rambo. This is Brewer. (to Brewer) Her name is Co. CO It means "virgin." My mother was comedian. BREWER Howdy, Co.He sticks out his hand but Rambo motions "no". She bowsslightly. BREWER Uh, you speak pretty good English. Where'd you learn? CO University of Saigon. Have Masters Degree in economics. Not use too much now... Communists in charge. You got time... want to eat? RAMBO Sure. Whattaya got?Co reaches up onto the ledge, her previous perch, andpulls down a small PACK, actually a FOOD TUBE of the sortworn over one shoulder by Viet Cong and other Vietnameseguerrillas. CO (opening it) Nuac mam.She unrolls several rubber tree leaves holding rice with apungent sauce. Rambo takes the food and the profferedCHOPSTICKS and, squatting, begins shoveling it expertly. RAMBO You really got a Masters Degree? CO Sure. I only sound like forty-year- old in your language.Brewer fumbles with the sticks. Switches to fingers. BREWER What's this stuff on the rice? RAMBO Fermented fish sauce.Brewer's expression is less than enthusiastic. CUT TO:EXT. RAIN FOREST - RIVER TRAIL - NIGHTWith Co leading through the maze of aimless game trailsthe group makes its way parallel to a modest RIVER, THECA. RAMBO How do we get upriver? CO I have arranged transportation. We meet soon. But I think you to be disappointed. RAMBO Why's that? CO I go up to this camp two months ago. Nobody there. Empty for years.Rambo stops, puzzled. RAMBO Why would they send us to a deserted camp? BREWER Who cares? Let's just do it and get out. Go have a Jacuzzi and get laid in Bangkok. Know what I mean?Rambo moves on, still concerned. something's a bit off. RAMBO We'll check it out. BREWER How come we didn't just drop near the camp... save this hassle? RAMBO Brewer. Does a jet make noise? BREWER Yeah... CO (switching to Viet subtitled) Where did you find this clown? RAMBO (Viet/subtitled) I thought he was with you. CO (Viet/subtitled) Crazy motherfucker. BREWER What's she saying? RAMBO She likes you. Says you're dinky- dau. BREWER What's that? RAMBO Powerful warrior. BREWER Yeah. Dinky-dau, that's me. Hey, Co. You wanna meet Jake the one- eyed snake?Rambo motions suddenly for a "freeze". Co walks on ahead,toward the river, as the Americans melt into the shadows.EXT. RIVER - MARSHY INLETA HOUSE-SAMPAN wallows among the naked tree roots in abrackish inlet off the main river. On deck are TWO MEN,loosely speaking. Possibly two of the most misbegottenspecimens the Orient has to offer.They raise their AK-47s as Co approaches. Exchange a fewquick syllables and Co turns, motioning Rambo and Brewerforward.As they pass, two more equally unwholesome-looking menemerge from concealment and follow them to the sampan.Everybody grips their weapons tightly. BREWER (under his breath) These guys look like they'd sell their mothers. RAMBO Sometimes they do. They're river pirates. Opium runners. BREWER (hissing) Pirates? No kidding?Before they step across onto the sampan, Co introduces the"captain" in Vietnamese.Wearing all manner of jewelry, including four wristwatchesand a pair of filthy western-style jeans a size too large,CAPTAIN TRONG KINH grins and motions them aboard.The grin reveals bare gum where his upper front teethwould be. Obviously broken out in a fight. CAPTAIN TRONG KINH Wa-ky number one. You come number one sampan. RAMBO (Viet/subtitled) Thank you, Captain, for your hospitality. You speak English very well.Grinning wider, Captain Kinh motions them inside theCABIN, a rambling and dilapidated structure of corrugatedsheet metal and woven bamboo.Kinh barks orders at his men, who cast off from theirmoorings and jump aboard. The first light of dawn isbreaking through the trees.INT. SAMPAN CABINA raisin-faced WOMAN in an ao-dai, holding an infant,shuffles aside as Rambo steps down into the dim smokyinterior.Brewer, Co and Kinh follow.The two Americans must stoop in the scaled-down structure.Every conceivable space is crammed with scavenged orlooted detritus: ammo cases, hubcaps, radios, a TV with noback, books, dead chickens, an ice-cube tray, a Toyotabumper, outboard motors... there is no operant logic tomost of it. BREWER Looks like my room in college. CO We sleep here today. Safe here while go up river. RAMBO What about patrol boats?Kinh opens a greasy wooden locker, takes out his pride andjoy, a Russian-made RPG-7 ROCKET-GRENADE LAUNCHER.His grin glistens evilly in the gloom. CUT TO:EXT. BASE CAMP - DAWNA beautiful sunrise backs the treeline, stretching longshadows across the quiet camp.INT. KIRKHILL'S TRAILERThe interior resembles that of a motor home, complete withbunks, kitchenette and a small bar.Kirkhill is on the phone, pacing... agitated. Hisreptilian aide lounges on a bunk. KIRKHILL (to phone) No, sir... we're already committed. They're in the jungle right now. I say we play the hand through... if they find something we just bury the report later. It's still airtight. (pause) Yes, sir.He hangs up. Runs a hand through his hair. KIRKHILL (to aide) Goddamn it! Now the goddamn satellite shows the camp occupied... some trucks or something. AIDE (grimly) Oh, boy. It's getting dicey.Their manner becomes guarded when a KNOCK at the doorinterrupts them.The aide unlocks it and admits Trautman. KIRKHILL What's up? TRAUTMAN Listen, Kirkhill. I'm a bit of a fifth wheel in your setup here... I thought I'd go out with the extraction team tonight. Unless you have an objection. KIRKHILL (not liking it) It's not necessary. TRAUTMAN I know. KIRKHILL That's a pretty hairy ride. Full Colonels are supposed to be above that sort of thing.Trautman is calling him on it with a deadpan response. TRAUTMAN I know... KIRKHILL (shrugs expansively) Have fun.EXT. CA RIVER - DAYKinh's hideous sampan churns upriver slowly, powered by anancient outboard motor. It passes other river traffic,small hand-powered sampans manned by figures in broadconical coolie hats.With the exception of a rare powered craft, the scene isthat of a Vietnam unchanged by centuries. The ebb andflow of regimes and ideologies has little altered thebasics of life here.INT. SAMPANRambo watches through a chink in the sheeting of the cabinas the timeless landscape rolls past.RAMBO'S POVA view of the shoreline as brown children splash naked inthe shallows where a row of hootches marches up the hillon stilts. The SQUEALS and LAUGHTER come clearly acrossthe water.Rambo turns his gaze to the sampan interior.Two of Kinh's men, Co and Brewer all sleep soundly.Rambo watches Co, her face serene in sleep. Childlike.Beautiful. DISSOLVE TO:EXT. CA RIVER - LATE AFTERNOONThe water is coppery, silhouetting the sampan as it churnson.Kinh's wife squats on the foredeck, smoking a long-stemmedclay pipe. DISSOLVE TO:INT./ EXT. SAMPAN - SUNSETThe walnut-faced woman hands Rambo two bowls of nuoc mam.He passes one to Brewer. RAMBO Have some armpit sauce.Brewer groans. Opens a C-ration can. RAMBO (to Co) How did you get started working for the spooks? CO Spooks? RAMBO Intelligence work. CO Oh. They talk to me at university before fall of Saigon. Make deal. BREWER Everybody's makin' deals. CO My brother captain in ARVN... need papers to go United States, or North Vietnamese will execute. They make deal... I stay here and do work... my brother and my son can go United States. RAMBO Your son?Co's eyes drop and her whole demeaner deflates slightly. CO Nguyen. He twelve now. Not see him for eight years. RAMBO Where's his father?Co shrugs. CO Dead. Killed in war.Her voice and expression convey the fatalistic acceptanceof one who has seen death in all its forms. Expects it asan element of daily life. RAMBO Where's Nguyen now? What city? CO (noting his concern) Huntington Beach, California. RAMBO It's nice there. He's probably digging every minute. Got a surfboard. Breaking girls' hearts. CO (distractedly) Nguyen is good boy.Co gazes at the sunset beyond the door. A tear runs downher cheek. She catches herself. Wipes it away almostbrutally. She abruptly goes on deck. BREWER Some hardened guerrilla fighter they gave us.Rambo freezes him out with an evil look.Suddenly there is a commotion on deck. The roar of apowerful ENGINE. Co bursts in a moment later. CO River patrol!A FAST LAUNCH roars toward them, silhouetted by thesetting sun. UNIFORMED SOLDIERS on deck bring twin 50-caliber machine guns to bear.Rambo and Brewer dive under filthy bunks. Lock and loadtheir weapons. Co pushes junk in over them.Kinh rips open the cabinet. Slams the shaft of a rocketgrenade into the launch tube.Co barks an order at him. He hesitates. Lowers theweapon.Co removes a small packet of North Vietnamese bills frominside her blouse and hands it to Kinh.EXT. SAMPANThe patrol boat pulls up in an arc, almost swamping them.The soldiers on deck wear the uniforms of the NorthVietnamese navy.The deck gunner racks the bolt on his R.P.K. MACHINE GUN.The captain shouts RAPID VIETNAMESE on a loud hailer.Kinh's men lounge on the sampan indolently, looking likefishermen on an evening trawl.The scrawny woman feeds an infant at one sagging breast.The PATROL CAPTAIN draws his service pistol and jumps downinto the sampan, entering the cabin.Co sits demurely on one bunk as Kinh greets the officer.The officer begins poking through Kinh's possessions.He tugs at the crate under the bunk where Rambo liesconcealed.TIGHT ON RAMBOabsolutely motionless. The crate beside his head moves.The officer's boot is visible through a widening crack.An ARGUMENT IN VIETNAMESE is heard heating up.BREWERgrips the MAC-11 tightly, releases, grips, releases.Sweat runs into his eyes.THE OFFICERlooks severe as he contemptuously thumbs through a sheafof bills.Kinh, gesticulating pathetically adds some more to thestack.After a tense moment the officer kicks the crate next toRambo and stalks out, tucking the payola in his tunic.He jumps off the sampan and the patrol boat ROARS on.INT. SAMPANRambo and Brewer allow themselves to exhale. RAMBO How you doing, Brewer? BREWER (shaken) I need a vacation.EXT. RAIN FOREST - PRISON CAMP - NIGHTWith Co leading, Rambo and Brewer move furtively along atortuous trail. It has rained recently and the forest isalive with glistening reflections, dripping water.The trail winds up a steep embankment.As they reach the top of the rise, CAMERA BOOMS UP overthe shoulder of the embankment to reveal a COMPOUNDbeyond, dark except for moonlight.RAMBOwatches from concealment in the foliage. He is invisiblewith his camo-makeup except for darting eyes.RAMBO'S POVlooking between the leaves, scanning the prison camp.Two shabby WOODEN GUARD TOWERS stand at diagonallyopposite corners of the compound. There is a simple fenceof barbed wire on wooden posts enclosing the area and amain gate with a sentry box.THREE LONG WOODEN BARRACKS form a U, filling most of thecompound. The place seems deserted. RAMBO Check the tower with your scope.Brewer raises the rifle, sighting through the massivestarlight scope.BREWER'S POV - TELEPHOTOThe image is bright, lurid... black and white with agreenish cast. Like contrasty daylight. He pans up thetower. A Russian-made P.K. 7.62mm machine gun sitspointing skyward. The tower seems unoccupied. BREWER Nobody home. Wait a minute! Cigarette.A brief glow of light illuminates the face of a TOWERGUARD hidden in shadows. BREWER What's he here for?Nearby, another GUARD saunters out of the forest dressedin NVA regular private's uniform with the sleeves rolledup casually. His AK-47 is slung over his shoulder.BREWERslips the telescopic microphone out of his rucksack andclamps it to the side of his scope.He slips on a pair of small earphones and pans the rifle-scope-mike over the nearest barracks unit. BREWER (intently) Snoring. Five, six guys. Mumbling... Vietnamese. Somebody talking in his sleep. A toilet flushing. RAMBO Guard barracks. Take some shots.Brewer locks a 35mm SLR camera to an adapter on thestarlight scope.He starts clicking off some shots.Brewer then scans the long hut across the compound. BREWER Breathing. Moaning. (suddenly) Shit!He whips off the earphones in pain as a LOW SCREAM echoesacross the camp.It fades into a delirious moaning. Stops. RAMBO (nodding grimly) Bad dreams. Prisoner's barracks. Shoot some.Brewer clicks away.A TINY ENGINE WHINING draws their attention to the maingate where a YOUNG WOMAN on a LAMBRETTA SCOOTER pulls upto the sentry shack.Brewer zeros on her as she greets the GATE GUARDS. CO Cyclo-girl whore from village. Business slow there.Rambo takes the earphones, listening to the girl's distantchattering. RAMBO She's making him a pretty good deal.Apparently the guard agrees because he opens the gate andthe girl slips inside. RAMBO What's that? By the far tower.Brewer pans to the distant shape. BREWER It's a guy in a cage. RAMBO American? BREWER Can't tell. Pretty tall. He's real scrunched up in that thing. RAMBO Let me see.RAMBO'S POV THROUGH SCOPEThe image is of an EMACIATED FIGURE slumped in a bamboocage. The man's skin is ghostly white. He seems almost aliving skeleton, dressed only in ragged shorts.His wrists are clamped in a wooden STOCK and blood runsdown his arms from the abraded sores.THE IMAGE ZOOMS CLOSER, MOVES ONTO HIS FACE. TIGHT.Though gaunt and filthy, he is clearly CAUCASIAN. RAMBO Roundeye. BREWER Alright. Home run. RAMBO (angrily) Torture cage. Can't stand... can't sit... for days. Sometimes weeks. BREWER Bastards. Let's get some shots.ON RAMBOMOVING SLOWLY IN as he hands the kluge back to Brewer. RAMBO That guy's not going to make it. BREWER (O.S.) Nothing we can do, man.Rambo decides in that moment. RAMBO I'm getting him out. BREWER What? Are you crazy? We're supposed to take pictures and split. You're gonna blow the whole program. RAMBO You never been in one of those things. BREWER I suppose you have...Rambo holds his wrists up, right under Brewer's nose...showing the chafing scars. BREWER It's orders! You remember... when they tell you to do something and then you do it. John Wayne is dead, man. RAMBO (rising) You take pictures and split. I'm going in.Brewer throws down his rifle. He's apoplectic.He can barely form words. BREWER Fuck it. Fuck it. Aw... ke-rist.Then a slow grin spreads. BREWER How we gonna do it? CUT TO:EXT. CAMP PERIMETER - LATERMOVING WITH BREWER as he belly crawls to the edge of thecleared area, just a few yards from the wire. He is rightunder one tower, hidden among ferns.BREWER'S POV THROUGH SCOPEas Rambo's silhouette crosses to the wire farther down.EXT. COMPOUNDDOLLYING WITH RAMBO at ground level as he crawls under thewire and undulates from shadow to shadow.He reaches the nearest building. Hugs it.Rambo moves on in silence. He is barefoot, the pale skinsmeared with mud, and carries only the PISTOL CROSSBOW.Without rifle, pack, harness or grenades to clatter, hemoves like a spirit in the material world.Rambo raises one eye slowly over a window ledge.Inside several guards sleep soundly under mosquitonetting. Their rifles are stacked against the far wall.ANGLE ON GUARDsnoring ludicrously loud. He bats at a mosquito,grunts... turns over.ANGLE UNDER GUARD BARRACKSMOVING with Rambo as he crawls among the support posts.He freezes as a light is snapped on above him.It streams down through cracks between floorboards.Moving very slowly, Rambo squints through a gap.RAMBO'S POVA LOW ANGLE on a UNIFORMED GUARD rummaging in a tinyprehistoric refrigerator, humming to himself.He takes out a can of COKE, recognizable, although thelabel is in Chinese characters. Rolls it slowly acrosshis sweaty forehead. Pops it. The foam now runs onto thefloor, drips into Rambo's eyes.The light snaps off. FOOTSTEPS. Rambo moves on.EXT. PRISONERS' BARRACKSThere are two rows of rusted iron bunks set out like ahospital ward. Most of them are empty. Seven aren't.SEVEN AMERICAN PRISONERS OF WARLike the man in the cage they are gaunt, scabrous.Dressed in ragged peasant clothes too small for them.One man, bathed in sweat, moans and tosses with malarialfever. Another is wrapped so tightly in a fetal positionhis face is between his knees.They have padded the bare springs of their cots withmattresses of rubber leaves.Rambo stands a few feet from them as if giving abenediction, the crossbow raised in one hand. He moveson, leaving no trace.EXT. GUARD TOWERThe GUARD reclines in a folding chair, nodding to the beatof unheard music. A SONY WALKMAN is clipped on his beltand he has the earphones over his GRAY PEAKED CAP.He takes a last drag and tosses a cigarette over theparapet.EXT. PERIMETER - RAIN FORESTTIGHT ON BREWER hugging the ground as the smoldering buttlands five feet from him... in the pool of light from afloodlight. He groans, watching the smoke curl up.Starts creeping his hand toward the butt.EXT. COMPOUND - CAGEThe man inside opens his eyes when Rambo touches hisbroomstick neck, feeling for a pulse.His lips are parched and there is a horrible bruise aroundone eye. PRISONER (barely audible) Who're you? RAMBO American. Come to get you out. PRISONER Man, you are one scary-looking motherfucker! RAMBO Can you walk? PRISONER I could a couple of days ago. Gonna be... stiff.Rambo quickly picks the lock on the wrist clamps and thenslips his LILE KNIFE from its sheath.Starts cutting the lashings on the bamboo cage. RAMBO What's your name? PRISONER De Fravio. Dave De Fravio. Lieutenant... Air Force.The door gives way and Rambo steadies De Fravio as heslumps forward. RAMBO (shakes his hand) Good to meet you, Dave. I'm Rambo. Okay, I'm going to carry you. Don't cough or make any noise. DE FRAVIO Sure thing, Rambo. You gettin' the other guys, too? RAMBO Not this time. We'll be back.Rambo slings De Fravio's gaunt six-foot frame over hisshoulder in a fireman's carry and heads off in a crouchingrun.LONG SHOT ON RAMBOcrossing a pool of light B.G. as the sentry lounges inhis shack.EXT. PERIMETER - RAIN FORESTBrewer seems to have lost sight of Rambo. He scans thecamp to the treeline and back.The filterless cigarette is smoked almost to his lips.WHAM! A BOOTED FOOT SMASHES DOWN on his rifle, pinningone hand. He looks up at...A NORTH VIETNAMESE GUARD who holds an AK-47 in Brewer'sface.With his headphones on Brewer hadn't heard the quietapproach from behind.Brewer closes his eyes in profound misery.There is a soft THUNK.Brewer opens his eyes as the AK-47 falls into the grass.Looks up to see...The guard is leaning back against a tree, motionless.The VANED TAIL of a CROSSBOW BOLT protrudes from his neckunder the jaw. He is pinned to the tree, quite dead.Rambo appears from the undergrowth, still carrying DeFravio, crossbow in hand. RAMBO (to Brewer) That's two.EXT. RAIN FORESTBrewer and Rambo, carrying the POW, rejoin Co on theridge, where they had left their gear.Rambo sets De Fravio down and reaches for his boots.The POW looks dazedly at his rescuers.His eyes, in hollow sockets, track from one to the other. DE FRAVIO (weakly) You guys are real... aren't you? BREWER Huh? DE FRAVIO Sorry, I mean... I talk to people all the time... I know a lot of them aren't there. But this is real, isn't it? You're taking me home now? BREWER That's right, buddy.De Fravio sits frozen for a moment, then a dry sob wrackshis entire body and he puts his arms around Brewer.He cries with utter abandon, quietly, while Brewer looksat him helplessly. DE FRAVIO Thank God... thank you...Brewer looks at Rambo with a stricken expression. Thenputs his arms clumsily around De Fravio, like somebodyholding a baby for the first time.Co touches Rambo's hand. Motions "let's go" with a cockof her head. He nods. CUT TO:EXT. RAIN FOREST - NEAR PRISON CAMP - LATERA stocky SERGEANT OF THE GUARD stands over the partiallyconcealed body of the guard Rambo killed.He raises his whistle and sends a SHRILL BLAST across thecamp.Lights come on in the guard barracks. CUT TO:EXT. RAIN FOREST - RIVER BANK - NIGHTThe sampan waits beyond a screen of trees as Brewer callsin on the TRANSAT. Co is helping De Fravio walkunsteadily down to the boat, B.G. The river bandits eyethe tall, death-like figure suspiciously. RAMBO We'd better go for the emergency LZ at point Zulu Sierra. Tell them we've got some heat but don't mention De Fravio.Brewer starts typing. CUT TO:EXT. STAGING AREA - THAILANDDoyle's ground crew is removing the camouflage canopy fromthe UH-60 "Blackhawk" helicopter.The turbines are warming up with an ASCENDING WHINE.Doyle and Trautman, F.G., turn as the door to the commandtrailer bursts open and a TECH runs out. TECH You're go for extraction. Mr. Kirkhill says wind 'er up. Here's the hardcopy.Trautman takes the printout. TRAUTMAN (to Doyle) Alternate LZ Zulu Sierra at 0500. It says "May have heat. Don't be late. All our love." DOYLE (scowling at his watch) Let's get that tent down! CUT TO:INT. SAMPAN - CA RIVER - NIGHTDe Fravio seems a little more in focus as he sits huddledwith the others in the cramped cabin. DE FRAVIO I gotta tell you, it's just luck you guys came when you did. They move us around a lot... We only been at that camp a week. Got a smoke? BREWER (pointedly) No. DE FRAVIO What kind of raggedy-ass rescue you call this? RAMBO Why were you in the box? DE FRAVIO Well, I caught this cobra, see... BREWER You mean the snake? DE FRAVIO Yeah. It's not hard once you get the hang of it. In the wrist. Anyway, I did what I always do when I get one... BREWER What's that? DE FRAVIO (straight-faced) Put it in the guard's barracks. (pause) Man they got pissed. They beat the crap out of me, but... it's kind of a tradition. You oughta see 'em run around. RAMBO (chuckling) You got a bad attitude.De Fravio grins, showing bad teeth as well. DE FRAVIO I know it.De Fravio eyes Co as she hands him a plate of rice andmeat. DE FRAVIO Thanks lady. You're pretty cute... doing anything this weekend? CO (smiling) Eat slowly. Don't make yourself sick.She exits with the dirty cooking utensils.EXT. SAMPANWhen Co closes the door to the cabin, Kinh sidles up toher and rapidly whispers something in Vietnamese.He seems to be eliciting a response and eyes her warily.Co freezes indecisively, then nods yes.In the stern, B.G., one of Kinh's men is talking quietlyon a beat-up military-style FIELD RADIO.His voice is masked by the sound of the outboard motor.Co whispers something and holds out her hand, palm up.Kinh grins, gaptoothed. He pulls a .45 PISTOL from hisbelt and slips it to her. Runs his finger along the curveof her neck. She quietly pulls the cocking slide,chambering a round.EXT. CA RIVER - INLETThe sampan glides into the brackish estuary amid half-submerged trees. It is the original rendezvous point.Everyone assembles on deck, with Rambo helping De Fraviothrough the cabin door.Brewer checks his watch. BREWER Twenty-five minutes. We'd better roll.Rambo freezes... looks down.An AK-47 muzzle is pressed into his kidney, held by one ofKinh's men.Two more are covering Brewer, who had just handed hisrifle to Co, while donning his pack.Kinh steps up, grinning. Takes Rambo's rifle. A fourthguard eases an arm around his neck, a long knife heldunder his jawline.It has all happened smoothly and with precision planning. KINH Wa-ky number ten. Do-ma. DE FRAVIO Yeah, fuck your mama-san, too. In the...Kinh backhands him to the deck.TIGHT ON RAMBOhis eyes cold, looking at Co.She advances on him. Her black almond-shaped eyesglitter, alien as the depths of space.She spits in his face.Kinh snorts a feral laugh.Rambo doesn't react.E.C.U. COHer eyes dart to the side.RAMBO AND COsomething, a microsecond flash of understanding, passesbetween them. BREWER (enraged beyond belief) You slope bitch!She whirls on him, drawing the .45. It is enormous in herchild's hand. Her expression is terrifying.SHE FIRESThe renegade behind Brewer ROCKETS BACKWARD, his FACEEXPLODING.Rambo moves, slapping his guard's elbow, driving the knifeacross and away. His teeth snap shut on the man'sforearm. The knife falls.Rambo's hands are simultaneously seizing the other guard'sAK-47 just as he fires. Rambo holds his hand on the man'strigger hand, AIMING THE GUN.BULLETS RAKE FROM GROIN TO FACE on the third man standingopposite them.HE SPINS BACK, his rifle BLASTING AWAY harmlessly into thesky.Co places the muzzle of the .45 against Kinh's temple.His grin is long gone.SHE FIRES WITHOUT HESITATION.Rambo drives the butt of the second man's AK-47 into hisstomach twice. The bandit lets go.Firing blind over his shoulder, Rambo vaporizes the headof his guard, whose hand he still grips viciously in histeeth. He releases the hand. Almost like spitting outthe dead man.Clutching his stomach, the last bandit leaps to the shore.FIFTEEN ROUNDS FROM BREWER'S SILENCED MAC-11 stutterquietly into him. He pitches face-down in the mud.A cloud of blue cordite smoke disappears in silence.The whole thing lasted four seconds. DE FRAVIO (slowly) Wow! BREWER What just happened?Rambo moves over to Co.She seems to sag, depleted. In shock.He takes the .45 from her limp fingers. RAMBO (Viet/subtitled) Are you okay? CO (answering in English) Yes. But I lose many merits in next life. Very bad. RAMBO Why'd they want us? CO They heard about escaped prisoner on radio. Make deal. More than we pay. BREWER They sold us out? Now I'm pissed. CO They were fools. To think there would be reward. And to ask my help.Rambo puts his hands on her shoulders. RAMBO Thanks. CO Rambo. NVA coming. Pig dog Kinh say meet them here. Whole garrison from Con Cuong is out. RAMBO (nodding grimly) Let's go. CUT TO:EXT. RAIN FOREST - LAOS - NIGHTAt treetop level the all-black UH-60 ROARS down a forestedvalley at 180 mph, using no illumination but the moon.MOVING WITH THE HELICOPTERas it rises and drops with the terrain.INT. UH-60Once again Doyle is night-flying in a blacked-out cockpit,putting the landing skids through the treetops.Trautman stands behind the seats in the main bay.Night air ROARS in the open door and Lifer, on door gun,dangles his legs in the windstream. The rain forest is adim blur very close below. LIFER (shouting) Back in Indian country. Just like old times.He racks the bolt on his M-60 and grins.Trautman nods politely and looks at his watch. CUT TO:EXT. RAIN FOREST - NEAR WAT - PRE-DAWNRambo's group circles the ruins as they head for thelanding zone.The trail skirts an escarpment which drops over a hundredfeet to the Ca River below. Not far from the overgrownspires of the Wat is a stream which breaks over the cliffin a graceful waterfall dropping unimpeded into a lagoon.The vista is quite stunning in the moonlight.Brewer is struggling with both packs plus the heavyTransat, since Rambo has De Fravio and Co has her ownpack. Brewer scrambles, slipping back on the steep trail. BREWER Let's ditch this Transat. We don't need it.Rambo considers for a moment, then pulls away someunderbrush beside a collapsed wall of the ruin. RAMBO Bury it here. Work fast.Brewer gets out his entrenching tool.A cold pre-dawn light suffuses the rain forest, giving itan expectant quality.Rambo scans the ridgeline with Brewer's scope.RAMBO'S POV - TELEPHOTOFigures of TWENTY OR MORE VIETNAMESE SOLDIERS can be seenthreading among the trees. RAMBO (to Co) You better take off. BREWER Ain't you coming with us, sweet thing? CO My orders stay here.She turns to head off along a diverging trail. Rambotouches her shoulder. She turns. RAMBO See you in California.Her grin is ironic. CO Land of big PX. Maybe I take you for a ride in my Cadillac.Rambo watches her go. A tiny, anonymous peasant girl.INT./ EXT. UH-60 - DAWNTrautman watches over Doyle's shoulder as the helicopterroars between the walls of a mountain pass. The ship isbuffeted by turbulence, bouncing and dropping violently. FUHRMAN (turning) Three minutes.The steep slopes fall away and Doyle dives the ship acrossthe rolling foothills.We HEAR a faint call, barely audible over static. VOICE (filtered) Zen Hammer this is Slam Dunk One, do you copy? Over. FUHRMAN Roger, Slam Dunk One... what is your position?EXT. RAIN FOREST - NEAR PADDIES - DAWNRambo is crouched with Brewer and De Fravio in a hollowbeside an earth dike.They are taking AUTOMATIC WEAPONS FIRE from the treesnearby.Spurts of earth leap up around them.Rambo is shouting in a controlled articulate voice into asmall PRC-90 FIELD RADIO while Brewer lays downSUPPRESSING FIRE with his M-16 A2. RAMBO (yelling) Zen Hammer... the heat's on. We're taking fire. Watch for my smoke. Red and green. Northwest corner of a big paddy. (to Brewer) Let's move.Rambo and Brewer, carrying De Fravio, charge up and overthe dike as the ground is ripped around them.Rambo hurls two SMOKE GRENADES down the dike wall.Columns of red and green smoke begin roiling upward.The dike on which they are pinned down forms part of theenclosure for a complex of terraced RICE PADDIES whichoccupy the few flat acres of this hilly terrain. Theflooded fields reflect the pre-dawn sky like plates ofburnished metal.Rambo slams in another clip and fires in short, controlledburst. Brewer hands a captured AK-47 to De Fravio.The ex-POW opens up with a vengeance. BREWER Go for it, man. Good therapy.EXT. RAIN FOREST - NEARBYVARIOUS ANGLES as THREE TROOP TRUCKS slide to a halt on arutted jungle road, disgorging squads of NVA TROOPS.Mortars are set up. Roughly aimed. THEY FIRE with aCHARACTERISTIC WHUMP.ON THE DIKEThe Americans duck as a mortar round explodes in the paddybehind them, throwing up a geyser of mud. Brewer picks upthe PRC-90 mike. BREWER (on radio) You guys comin' or what?INT. UH-60Through the front canopy distant wisps of red and greensmoke can be seen. The paddies rush by below in a blur. FUHRMAN Roger... we have you on visual. We are coming in. How many are you? BREWER (V.O.) (filtered) Three. We got an American POW with us. TRAUTMAN Relay to command. They have one of ours.INT. COMMAND SHACK - THAILANDKirkhill is pacing behind the main console. TELECOM TECH Mr. Kirkhill... I have an AWACS relay. Zen Hammer reports the ground team has an American POW with them.Kirkhill's reaction is unexpected. He whips around. KIRKHILL What did you say? TELECOM TECH (grinning) They've got one of ours.TIGHT ON KIRKHILLas a look of frustrated rage is replaced by deadly calm. KIRKHILL (loudly) This station is now on Condition Bravo. Harrison. Meyers. Goodell. Out... now!The puzzled techs drop their headsets and leave. KIRKHILL (continuing to tech) Go to your COMINT priority frequency. Give me the mike... Zen Hammer, this is Coach One. This is an Alpha-Kilo-Victor command priority. FUHRMAN (V.O.) (filtered) Roger, Coach One... go ahead. KIRKHILL I want you to abort the operation immediately.INT. UH-60Fuhrman can't believe it. FUHRMAN Say again, Coach One?He presses the helmet-headphone tight to his ear, thenturns to Trautman, cupping his hand over the mike. FUHRMAN (to Trautman) He wants us to abort before pick-up. TRAUTMAN Confirm it. FUHRMAN It is confirmed. (to mike) Coach One... we have them in sight... (pause) Yes, sir.Doyle looks at both of them and shrugs. DOYLE Turnin' around. FUHRMAN (to Doyle) I thought you liked those guys. DOYLE I do. But they ain't payin' the rent, Jack. TRAUTMAN Stay on your heading, Captain. DOYLE Sorry, Sir. Can't do it. TRAUTMAN That's an order. DOYLE (implacable) Sorry, Sir.Trautman has his hand on the butt of his .45 when he hearsthe clack of a rifle bolt over the rotor noise and turns.Lifer has an M-16 in his lap, not exactly aimed at thecolonel, but not aimed away, either. LIFER (smirking) We ain't Uncle Sam's misguided children no more, Colonel. We're independent contractors. FUHRMAN That's right, Sir. We don't like this, but we are working for Mr. Kirkhill. TRAUTMAN You pathetic scum. DOYLE (looking down) Well, if there weren't POWs before, there are now.EXT. RICE PADDYRambo half-supports De Fravio with one arm and fires hisAK with the other as they slog through the calf-deepwater. Mortar rounds explode on all sides. They watchthe UH-60 skimming in low across the paddies, blasting upa curtain of spray.Almost to them...It veers in a tight bank and climbs out.Heads away. BREWER Where's he going? (to radio) Hey, Zen Hammer, where are you going? (pause) Do you read, Zen Hammer? Over. Son of a bitch! They're ditching us!The water is shot into spray around them. A mortar shelllands so close it knocks them down, drenching them withslimy black mud. The radio disappears in the water.Rising, Brewer takes a round in the thigh. Drops.Disappears for a second... comes up gasping.Rambo watches the UH-60 diminishing to a black dot.He is so consumed with rage that his expression goesslack... blank... a murderous disconnection fromconscience.And yet, in that same moment, a tremendous surge of blindwill clears his mind, a determination to survive, to getout at whatever cost... to find whoever did this.It is no longer just a mission. It is a very personalpiece of business.He turns and lets his rifle drop into the water. He takesDe Fravio's and throws it away. BREWER (through gritted teeth) The fuckers left us, man... they left us.Brewer wallows weakly, his blood streaming out into themuddy water.De Fravio looks stunned, lost... eviscerated.He sags to his knees. DE FRAVIO Oh... God.It gets quiet.In a ragged line, the NVA soldiers advance to the top ofthe dike. Twenty. Forty. Finally almost eighty, lookingdown at the Americans. Rambo slowly raises his hands.EXT. RAIN FOREST - HILL NEARBYOVER THE SHOULDER of Co, watching from behind a screen offoliage as the ring of NVA troops converge on the tinyfigures of Rambo, Brewer and De Fravio.REVERSETIGHT ON CO, her expression enigmatic. She turns anddarts away, vanishing into the forest. CUT TO:INT. KIRKHILL'S TRAILERKirkhill is pouring scotch over ice in two glasses as thedoor behind him bangs open.Trautman's expression could slice a steak. KIRKHILL Have a drink.Kirkhill offers a glass to Trautman who ignores it. TRAUTMAN Why?Kirkhill sets the glass down and sits at the dinette,motioning Trautman to sit as well. KIRKHILL (shrugs) You got five hours? I'll tell you about Secretaries of State, and funding committees and diplomatic relations...Trautman slowly sits opposite him, his demeanor becomingmore reasonable. TRAUTMAN Take your time. KIRKHILL Look, Colonel... we're all adults here. This is a war. A very quiet, very intense war. People get sacrificed. TRAUTMAN Not my people.Kirkhill freezes, glancing down.The muzzle of Trautman's service .45 is jammed into hisgroin. TRAUTMAN (continuing) But you're right... some people do get sacrificed. Now tell me why you pulled the plug. KIRKHILL You think I'm some whacko? I like to hurt people? I'm doing a job here. If I knew what's right or wrong I'd be a goddamned priest, right? So I follow directives... I do what I'm told. It's simple. If your boy had done what he was told, there wouldn't be a problem. TRAUTMAN Don't dance me, Kirkhill. You'll be walking funny.Trautman leans on the .45 a bit and Kirkhill backs intothe seat cushion. KIRKHILL Look, it was a screw-up, alright? They weren't supposed to find anything. We thought that camp was empty. TRAUTMAN This mission was a scam from the word go? KIRKHILL Word came down... they wanted an answer. And they knew the answer they wanted: no POWs. But it had to look good. Best effort. The whole dog-and-pony show.Kirkhill takes a healthy pull from his scotch. TRAUTMAN (realizing) Rambo and Brewer were selected as write-offs. KIRKHILL It was clean. Very clean... Rambo was a decorated Vietnam vet, a former POW himself... if he came out and said "No POWs" the sub-committee would buy it. He gets himself caught he's a private citizen, a whacko, acting on his own. If he gets proof, it gets lost somewhere between here and D.C. Airtight. But no... Rambo's gotta be a hero. Thinks he's starring in his own war movie or something. He put me in a corner. No choice. TRAUTMAN "Terminate with extreme prejudice." KIRKHILL That's a crock. We don't say that. Do you have any idea the shitstorm if he'd gotten back with that guy? If it went public? The White House would have to act through channels. We're talking ransom. Four billion bucks in war reparations to Vietnam to get the others back. That's billion, Colonel. With a "B". For a few guys that've had their brains in a blender for ten years? A pain in the ass to everybody? No way. There's no way.The colonel has let the pistol drop, until it is dangling,forgotten. TRAUTMAN So there never was a Phase Two rescue team? KIRKHILL Of course not. You can't get approval to rescue a kitten from a tree after Tehran.After a long silence, Trautman nods. TRAUTMAN I understand.Kirkhill relaxes. It's going to be okay. The colonel isone of the boys. KIRKHILL Here. Drink.Trautman doesn't take the glass. TRAUTMAN (reasonably) I understand your position. (pause) I understand how a maggot like you can just slide out of a jam on a trail of slime. And call it -- expedience. (viciously) Expedience!Kirkhill slams his empty glass down. His tone becomesself-righteous. KIRKHILL You're out of your depth, Trautman. Way out. I'm acting correctly here. Not you. Not your gung-ho jungle ace. (pause) It's over. Walk away. TRAUTMAN It's not over. You made one mistake. KIRKHILL What that?Trautman clicks the safety and reholsters the .45. TRAUTMAN Rambo.EXT. PRISON CAMP - VIETNAM - DAY D-PLUS 36 HRS BAN KIA NA REPUBLIC OF VIETNAMTIGHT ON RAMBOhis eyes ablaze, face crusted with dried mud and sweat.WIDERrevealing him under guard, arms bound painfully tightbehind him, in the back of a troop truck.He is seized by TWO VIET SOLDIERS and dragged forward, offthe truck.De Fravio hits the ground behind him, and Brewer, moaningon a stretcher, is unloaded. His fatigues are matted tothe skin by dried blood from hip to knee.Camp commander CAPTAIN VO QUOC VINH strides across thecompound. He is fairly twitching with suppressed rage atthe loss of face brought on by his useless guards.He screams orders as the troops dismount, roughly draggingforward the three captives.A VIET SERGEANT turns the captives over to CHIEF GUARDSERGEANT TRAN VAN TAY with a quick salute.The instant Vinh stops shouting Tay begins, like a relay.The prisoners are prodded forward.Rambo walks beside a wide-eyed Brewer. BREWER Are they going to torture us? RAMBO (distantly) Yes. BREWER What... whattaya do?A GUARD shoves Rambo on ahead as Brewer's carriers stop atthe door of an isolation cell. RAMBO (looking back) Hope they kill you by mistake.Rambo's guard slams his rifle butt into the American'sbelly, half-doubling him over. GUARD No talk!INT. ISOLATION CELLThe door to a tiny fetid room is opened and Brewer isdumped off the stretcher and flung inside. He lands onhis knees and gasps in pain, clutching his leg.The door clangs shut, leaving stifling gloom. BREWER (groaning) This ain't happening.INT. PRISONERS' BARRACKSDe Fravio is helped back to his bunk by one of the otherprisoners. There are few moments in human experience asdevastating as the return to prison (especially thisprison). The absolute abandonment of hope.Several of the POWs sit near him, silently offering theirsupport. It is evident that two of the men, B.G., are asautistic as De Fravio, having succumbed to that withdrawnplane long before.JENSEN, a prisoner with one leg, settles beside De Fravioon his bunk. Puts a spidery hand on his shoulder. JENSEN We were pulling for you, Dave. We hoped you'd make it.De Fravio's eyes focus. The merest spark of the olddefiant De Fravio glimmers wanly. DE FRAVIO Next time. CUT TO:INT. INTERROGATION ROOM - DUSKLOW ANGLE on Sgt. Tay, powerful and vicious-looking as arabid ferret. He raises one fist, holding a LENGTH OFRUBBER STRAP cut from a truck tire, and smashes it downOUT OF FRAME.There is a SICKENING THUD against flesh.TIGHT ON RAMBOgrimacing from the blow.There are board red welts over both collarbones, oozingblood in places.WIDERshowing Rambo on his knees, at the center of a bareCONCRETE ROOM. A single window admits a shaft of reddusk-light, like a spotlight.Rambo sways in the spotlight, glistening with sweat,stripped to his G.I. shorts.In the four corners of the small room are guards withrifles. Others crowd in the doorway, grinning andjostling to see.WHAM! The truncheon descends against Rambo's face.He sprawls onto the floor face-down, nose streaming blood.Capt. Vinh enters with a strident shout, stopping Tayfrom another blow. The two officers exit at a run,leaving Rambo on his face before the guards.EXT. CAMP COMPOUND - DUSKAn unearthly wind and the THUNDER of several helicopterrotors fills the camp.Two American-made "HUEY" HELICOPTERS descend to lumpylandings near the guard towers.One is a UH-1D "Slick" troop carrier and the other is aUH-1B Gunship outfitted with a pedestal-mounted MINIGUNand M-60 door gun.Captured from the ARVN in 1975, both ships bear theinsignia of the Republic of Vietnam.Beyond the guard tower, and dwarfing the two Hueys, anENORMOUS HELICOPTER ROARS out of the setting sun.RUNNING LIGHTS and STROBES FLASH as the massive silhouettedrops into the courtyard raising a blast of dust.It is a SOVIET MIL MI-24 assault helicopter.Its double blister canopies look like huge insect eyes.The STUBWING WEAPONS PODS bristle with rockets andcannons.It is painted with jungle camouflage and bears the redstar insignia of the SOVIET NAVAL AIR WING.The Viet officers and guards cringe against the rotorblast as the ship settles. The side door slides open.DOLLY BACK, PRECEDING TWO RUSSIAN OFFICERS who tower abovethe Vietnamese as they stride across the camp.Vinh points to the concrete blockhouse and the officersstride past him without slowing. He falls in behind them,trying to keep up.INT. PRISONERS' BARRACKSJensen turns from the window as the MIL MI-24's jet-whinefades. JENSEN It's those Russian interrogators again.Everyone looks grim.INT. INTERROGATION ROOMVinh sends the gawking guards scurrying with stridentyells as he follows the two Russians into the room. TheSoviets stand in front of Rambo. The shorter of the two,LIEUTENANT COMMANDER YATI PODOVSK, has the slight buildand unremarkable features of a bank clerk, though for aman in his forties he is in superb condition. The other,LIEUTENANT PALYUSHIN, is another story. He is a tallbroad slab of combat muscle, his black hair cut short as ascrub brush. Thick and functional as state sculpture, hisfeatures cannot fill his broad, flat face.Both wear the khaki field dress and black beret of theNaval Spetznatz Brigada, The "Special Operations Brigada".At Palyushin's feet, Rambo finds himself looking up at hisSoviet opposite number, the BLACK BERET. PODOVSK (in Russian) Put him in the chair.Palyushin hauls Rambo onto a wooden stool against thewall. Podovsk sits next to him on a small metal desk.It is almost dark and the only light is from a single barebulb. PODOVSK (Viet to Vinh) Thank you, Captain Vinh. Leave one guard, please.Vinh exits with Tay and the other three Viets.Podovsk adjusts his wire-rim glasses and considers Rambo.He turns Rambo's bloodied face gently, examining theinjuries. PODOVSK These people are so... vulgar in their approach. I am Lieutenant Commander Podovsk. I do not know who you are. Will you tell me?Podovsk's English is lightly accented but clear andarticulate. He has a nasal condition, however. Rambodoesn't answer. PODOVSK (continuing) No? Not even your name? (silence) This is a poor beginning for an intimate relationship. By tomorrow or the next day you will tell me things you would not tell a lover.Podovsk notices the long criss-crossed scars on Rambo'schest and back. PODOVSK (continuing) I see you are no stranger to pain. Then of course you must know how senseless it is to resist in the long run. Is it possible you have been among my Vietnamese comrades before?Podovsk catches something as Rambo breaks his gaze,looking away. PODOVSK (continuing) Yes. I think that must be it. Where were you held? Hanoi? Son Tay? I apologize. I'm getting ahead. Sometimes I get too eager. My comrade and I, in our capacity as advisors, have been sent from our center at Cam Ranh Bay to discover from you certain things... for example: whether you are working directly for the American government... Who your contacts were... and on and on. Quite a list. Will you tell me these things now?Rambo gazes at a point in space. PODOVSK (continuing) Of course you won't. But, as a moral man, I felt compelled to ask.He stands with a shrug of finality and gestures to hismassive assistant. PODOVSK This is Lieutenant Palyushin. To him you are a piece of meat. (in Russian to Palyushin) Proceed.LOW ANGLEon Palyushin walking forward.EXT. CAMP - MAIN GATE - NIGHTThe guard in the sentry box glances up from a newspaper atthe SOUND of an approaching MOTORBIKE. A YOUNG WOMANwearing an ao-dai and coolie hat rides up on a HONDASCOOTER and stops by the shack.OVER THE GIRL'S SHOULDERas she steps up to the guards box and coos something tothe sentry. He grins to see a new face among the whoresfrom the village, and one so pretty... great luck.REVERSE ON GIRLrevealing that she is Co, as she dickers price through thesentry box window. He unlatches the gate.INT. INTERROGATION ROOMAn IRON BED FRAME has been brought in and leanedvertically against the wall opposite the door.Rambo has been tied to the frame spread-eagle by lengthsof COAT HANGER WIRE around his ankles, neck and forearmsat the elbows.Palyushin is setting up a box-like PIECE OF EQUIPMENT onthe small desk. There are wires running from the bedframeand from a METAL PLATE about the size of a paperback booktaped to Rambo's belly.Palyushin clamps the other ends of the cables to terminalposts on the box, which has a large RHEOSTAT knob andseveral switches and dials. PODOVSK I was sent here because of my command of your language. It will be frustrating if we cannot have a nice chat. Very frustrating. (Russian to Palyushin) Ready?Palyushin nods and douses Rambo with a BUCKET OF WATER. PODOVSK (Russian) Test please.Palyushin, without ceremony, twists the knob.Rambo convulses with an explosive muscle contraction.Slams against the springs. His veins swell as if toburst.EXT. CAMP COURTYARDThe lights of the camp dim, flickering, under the currentload.INT. INTERROGATION ROOMRambo slams convulsively against the electric grid formedby the steel bed. His teeth are clenched as if he hastetanus.INT. PRISONERS' BARRACKSThe lights come up to normal brightness.De Fravio closes his eyes, sharing a ghost of the pain.INT. INTERROGATION ROOMRambo hangs from his bonds, heaving and shivering.Podovsk turns to him conversationally, as if he were anacquaintance at work rather than a man being tortured. PODOVSK Oh, yes. Here is something you might be interested in.He draws a folded piece of paper from his pocket. Opensit. PODOVSK A transcript of the conversation between your helicopter pilot and his commander, intercepted and unscrambled by our overworked cryptography staff. (reading) Mmm. "Zen Hammer... Slam Dunk." Colorful names. Here we are: "Ah, Coach One... we have them in sight." And the reply: "Abort immediately. Return to base camp."He graciously shows Rambo the printout. PODOVSK It seems they intentionally abandoned you on direct orders. There are the people you protect with your silence? With your pain?He snaps his fingers and Palyushin cranks the knob.The lights dim.Rambo fights the scream unleashed within him with everyfiber of his being. Straining like a demon, every musclesharply defined and rock hard. PODOVSK (almost kindly) But you must scream. You must. There is no shame.It bursts out, a roar that frays his vocal cords.EXT. CAMP COURTYARDCo, moving stealthily in the shadow of a wall, pauses atthe SOUND of the scream. Notes its direction.INT. ISOLATION CELLIn the darkness Brewer rages against the inhumanscreaming, pounding the wall. BREWER Bastards!INT. INTERROGATION CELLRambo hangs so limply that he might be dead. Podovskmoves in to check as Rambo's head begins to rise.TIGHT ON RAMBOas he looks up. His eyes seem like diamond drills.There is such determination born of rage in his expressionthat Podovsk stops. Takes a step back.Snaps his fingers.Rambo convulses and begins to scream. Podovsk nods to hisassistant.INSERT - PALYUSHIN'S HANDcuts off the current. But the scream CONTINUES. GETSLOUDER.BACK TO SCENEThe Lieutenant looks up, puzzled.Rambo is going berserk. His body is an out-of-controlmachine, lashing and tearing at the frame. The screambreaks and becomes a FEROCIOUS HOWL.The Viet guard steps forward, alarmed and unnerved.His rifle is raised, warding off evil.Podovsk motions him back and steps closer himself.The bedframe begins to twist, creaking and warping underRambo's frenzied assault.TIGHT CUTS - RAPID SUCCESSIONA weld. Springs pop.Podovsk takes a reflexive step forward.Rambo's hand shoots out, free suddenly, like a grapplinghook.Palyushin hits the CURRENT.Rambo jerks Podovsk into a headlock, a death embrace.Podovsk screams. Convulses. PODOVSK (to Palyushin) Nyet! Nyet!The Russian lashes about, convulsing in the current.The lieutenant cuts the power.Rambo snatches Podovsk's MAKAROV PISTOL from his holster.Aims it at his temple before Palyushin can reach for his.The Black Beret eases his hand away from his holster.ON THE GUARDFrozen. A FIGURE slips through the door behind him. Cocuts his throat in one motion with a BUSH KNIFE.She covers Palyushin with the guard's AK-47 as she circlesto Rambo who is still enmeshed in metal wreckage.Rambo smashes the Makarov into Podovsk's temple twice,then holds Palyushin transfixed by his pistol sights as Coworks quickly at his bonds. There are superficial cuts onhis forearms, ankles and neck from the wire.Rambo SCREAMS hideously and with cold premeditation tomask the sound of her work. The effect is bizarre,surreal, maniacal. CO (whispering) We get out. Split up. They not want me.Rambo steps from the wreckage and advances on the hulkingBlack Beret, pistol ready.Again he screams, almost a war cry now, and smashes hisfist into the Russian's face with the force of his entirebody behind it. The big man's head ricochets off the wallinto a second piledriver punch.Palyushin goes down.Podovsk groans and stirs until Rambo twists the knob.Despite a bad connection, Podovsk jerks spasmodicallyunder the collapsed metal frame, lying in the puddle ofwater.Before Co can use the knife on Palyushin, Capt. Vinhenters, his expression agape. He turns and bolts.INT. CORRIDORVinh dashes out, SHOUTING MANIACALLY. Behind him Rambohurtles through the door, a blur, and smashes Vinh againstthe concrete wall.Vaulting over the crumpled camp commander without slowing,Rambo hits the outside door at a full run. Just as Sgt.Tay is opening it from outside.EXT. COURTYARDTay's AK flies from his hands as he tumbles back.Rambo spins into him with a FLYING ROUNDHOUSE KICK whichpitches him onto his back, an inert heap.INT. INTERROGATION ROOMThe transformer box shorts out under the continuous load,frying with a bright FLASH.The lights of the camp go out completely.EXT. COURTYARDWith Co close behind him, Rambo runs toward the compoundfence.A SHOUT FROM NEARBY. A RUNNING GUARD and Co open up withtheir assault rifles simultaneously.The guard dives for cover.Rambo lifts the wire for Co to wiggle under. Shereciprocates for him as the TOWER GUARD spins his long-unused PK MACHINE GUN and opens fire.Co fires from the shoulder.The tower guard flinches at the unexpected return fire.Dives. His shots go wild. Co's AK empties. She dropsit.Rambo and Co make it into the forest, running full out.MORE AKs OPEN UP behind them. Both TOWER PKs.EXT. RAIN FORESTHANDHELD PRECEDING RAMBO at a dead run as he crashesthrough foliage. The forest is an insane blur.TRACERS WHIP BY, ruler-straight lines of red light...deadly fireflies.BARK EXPLODES from tree trunks around them. Leaves areripped into green confetti.They angle away from the blind firing. Stop at a GAMETRAIL. RAMBO (panting) You are amazing.Co is furious at his dawdling. CO (pointing down trail) Di di mau! Go! Go!She spins and sprints away along the trail, disappearingin a moment. Rambo hesitates an instant, then runs theother way.INT. INTERROGATION ROOMPalyushin, his nose and mouth streaming blood, claws hisway up the desk and reels across the dark room to Podovsk.He hurls the metal frame off his superior, who groansfeebly.EXT. COURTYARDA guard holds Sgt. Tay's shoulders as he retches.Palyushin strides out of the interrogation blockhouse andjerks the sergeant to his feet by his collar. He pointsto the forest. PALYUSHIN (Viet/subtitled) Find! Now!He releases the Viet sergeant and briskly walks toward theMIL MI-24. Tay weakly calls orders B.G., rounding up hisguards.The RUSSIAN PILOT is waiting dutifully near his machine asPalyushin approaches. The Black Beret makes a circularhand signal... WIND HER UP.EXT. RAIN FORESTRambo at a dead run zig-zags along the dark game trail.The path steepens and he claws at exposed roots...climbing as much as running. Behind him is the risingsound of rotors.EXT. RAIN FOREST - NEAR CAMPUsing HAND LIGHTS to follow his footprints, Tay's SQUAD OFSIX GUARDS jogs into the jungle. Behind them, through thetrees, the massive assault helicopter and its escort ofHueys rise into the night.The three choppers switch on their HIGH INTENSITYSEARCHLIGHTS as they thunder overhead.Shafts of light pierce the jungle. Sweeping. Searching.EXT. FORESTRambo is climbing rapidly, using roots as handholds toascend the steep trail.The WHUMP-WHUMP of the helicopters approaches, the glareof light flickering behind him.Rambo moves into a densely woven thicket. Freezes,watching. Moves on.EXT. FOREST - NEARBYThe guards are ascending the trail like hounds.EXT. FOREST - TRAILRambo crashes through foliage as a SEARCHLIGHT SWEEPSTOWARD HIM.It races over him, backlighting him as he dives off thetrail.The searchlight flicks past him. Snaps back.TRACERS rip down through the trees.RED SLASHES OF DEATH.Rambo tumbles, rolls, comes up running. He tears throughthe jungle in a frenzy.The foliage is alive with blasting air.He dives over the edge of a muddy ravine, dropping throughtangled vines. Catching, clawing, dropping.He runs on.Totally manic.They can't target him.He hits a solid trail and sprints, really covering ground.The shaft of light scans back and forth behind him.Then farther away. They've lost him. For the moment.ANGLE ABOVE JUNGLE CANOPYas the choppers circle, seemingly dueling with lances oflight.EXT. TRAIL - NEARBYRambo, moving rapidly, but more carefully, glides amongthe trees. He stops at the BANK OF A TINY STREAM, settingdown knife and pistol. Scooping stinking BLACK MUD fromthe stream bed, he begins to slather it over his pale skinwith quick, sure strokes. Arms. Legs. Body...TIGHT ON RAMBO'S FACEeyes closed, as he smears the goo thoroughly over everyexposed area. His eyes open. It is a neolithic, feralvisage that turns away into the foliage.ON THE GUARDSmoving forward cautiously. Unfamiliar with tracking, andlittle else really except bullying weak prisoners, theycrash around clumsily, falling and cursing in the densethicket.CLOSE ON RAMBOmoving in absolute silence nearby. He freezes.Fifteen meters away is a SMALL WILD PIG, asleep under aknot of vines. Rambo fires the makarov, hitting the earthnear the pig. It squeals and leaps up.THE GUARDSwave their AKs, looking for the source of the shot. Theyhear something crashing through the undergrowth to theright. Movement in dense brush. They open fire.The CRASH OF SUSTAINED FIRE is deafening. They blastblindly away, lighting up the forest.Their attention is so focused, the din so loud, they donot notice a dark figure moving up behind them.Rambo snatches the wayward last guard into a thicket,knife buried to the hilt, hand over his mouth.Tay shouts repeatedly to cease firing and the othersfinally stop.They move away, advancing on their "target."Tay gingerly parts woven branches, revealing the pig,riddled with hundreds of 7.62mm rounds. He turns to theothers. TAY (Viet/subtitled) Where's Trang?The other guards look around, puzzled.ON RAMBOA shadow in shadows. He slips the clip from the AK-47 hehas liberated, but finds it almost empty. Sets it downquietly.Tay spreads his men out to sweep the area in an arc.The guards advance, stricken with a growing unease.EXT. RAIN FORESTLOW ANGLE through the trees as the Soviet assaulthelicopter passes overhead, its searchlight sweeping.The canopy of foliage lashes violently as the rotor washblasts through it. Monkeys SHRIEK and leap about.ON RAMBO - FOREGROUNDas the godlike shaft of light moves through the brushbehind him. Searching. Passing within a meter of him.He moves quickly off.The disk of hideously bright light passes over two guards,blinding them. One trips and goes down. The other, theoutermost man of the sweep, waits for him to rise. Andwaits. GUARD (Viet/subtitled) Vuoc? You alright?The guard moves cautiously to his friend's last position.Ahead face-down in a shallow stream, is the BODY OF VUOC,his blood running away with the water.Approaching the body warily, the guard plays hisflashlight around him in a full circle. Nothing.DETAIL ON MUDBANKFeatureless matted vines and mud. Suddenly A PAIR OF EYESSNAP OPEN.ON THE GUARDkneeling over Vuoc in the F.G. Behind him there is silentmovement among the gnarled roots and vines in a muddyembankment.Blending flawlessly with the mudbank, Rambo's mud-encrusted figure has been in PLAIN VIEW, YET CONCEALED,until he opened his eyes and moved. He emergesnoiselessly and moves up behind the guard, looming abovehim.INT./ EXT. MIL MI-24Palyushin mans the forward cockpit, the WEAPONS BAY.His hands clutch the handles of a machine gun as he scansthe jungle below. The pilot directs the searchlight as heflies.Palyushin touches his nose gingerly. It is clearlybroken, becoming a thickened, purplish mass.EXT. RAIN FORESTRealizing they are without their flankers, the two CENTERGUARDS call out and move toward their last positions.They stand together at the top of the mudbank, gaping atthe two bodies sprawled below.ANGLE ON TAYisolated, calling for his men to sound off. He hears adistant shout, then a quick burst of gunfire. TAY Bui? Phong? Than?There is no answer.INT. MIL MI-24Palyushin points at something on the ground.The pilot banks, arcing around his searchlight's target.EXT. RAIN FORESTTay moves forward hypnotically, as if transfixed.The celestial shaft of the searchlight burns down ahead.He approaches. Like a vision he sees the BODIES OF HISMEN sprawled in the quivering disk of light. One has beenstripped of his clothing. He stares around, terrified,staggers back, lip quivering.Tay drops his rifle and runs back through the jungle.EXT. RAIN FOREST - RIDGERambo climbs steadily. The mud, dissolving in sweat, runsin streaks off his body. He has stopped to slip on theFATIGUE PANTS he took from one of the guards. The pantscome to mid-calf but the material will protect againstbrambles and insects.He has also acquired an AK-47 with EXTRA MAGAZINES.His pockets bulge with SOVIET-MADE GRENADES.Rambo moves on into the mountains.EXT. RAIN FOREST - DIRT ROADTay stumbles out of the underbrush into a pool of light.The headlight of a VIET ARMY TROOP TRANSPORT.A squad of men runs past him into the jungle, fanning out.Another truck arrives.The search is on in force.INT./ EXT. FLIGHT CENTER - NAKON PHANOM AFB - DAWNAn F-4 PHANTOM JET taxis amid MOVING GROUND EQUIPMENTunder the floodlights as the sky slowly lightens. D-PLUS 53 HRS NAKON PHANOM, THAILANDPAN OFF THE FLIGHTLINE onto Trautman gazing out the windowof a small office. He looks haggard. Soul-weary.With the receiver cradled at his ear he is waiting for acall to connect. TRAUTMAN Bob, hi. Did you get my telex? (pause) Yeah, I know what time it is there... do you know what time it is here? Look, is there anything you can do up the line? You owe me one. I'm calling it in. (pause) Yes, this time. (pause) I know you're a general and I'm only a colonel. (long pause) So that's it, huh? Back off. Come home... that's it? (pause, then frostily) Thanks, buddy.He slams the receiver into its cradle, and sits,pondering. He is about to make a somewhat bizarredecision for a full colonel.Trautman opens the door and the young corporal in theoffice beyond turns in his chair. TRAUTMAN Get me a "Loach," I'm going back out to Ban Bung Kla. CORPORAL Yes, sir.INT. ISOLATION CELLBLACK SCREEN. There is a SCRAPING SOUND and light appearsas a CEMENT BLOCK is removed at floor level. De Fravio'sface appears in the rectangular hole. DE FRAVIO (whispering) Hey, Brewer. You okay?Brewer crawls stiffly to the opening, squinting at theglare. BREWER (hoarsely) I could use a beer.EXT. GUARD BARRACKS - CELLThe cement-block wall of the cells adjoins the raisedwooden barracks. De Fravio and Jensen have belly-crawledbeneath the building to the cell, where they have longused a loosened block to communicate with prisoners in"the hole." DE FRAVIO Your buddy made it out last night. The place went apeshit. BREWER Really? How come he didn't take me? DE FRAVIO Maybe because you're shot in the leg. BREWER Oh, yeah. Listen, how long do they keep you in this disease hole? JENSEN Who knows? I was in there for a month once. De Fravio did three months. BREWER How do you keep from coming unglued? JENSEN Concentrate on a problem. Like, I built my dream house in my head, brick by brick. Board by board. If something really takes a day, I thought about it for a whole day. Like that. DE FRAVIO I built a shopping mall. JENSEN (urgently) Guards. See ya.They slide the block into place and Brewer sits in frontof it, COUGHING TO HIDE THE SCRAPE as the door is openedby two guards.Morning light blasts in, blinding him, as one guard haulshim roughly to his feet, despite his wounded leg. BREWER (menacingly) Watch it. Don't fuck with me, man! (jerks a thumb at himself) I'm dinky dau!The guards guffaw and drag him off.EXT. RAIN FOREST - MORNINGA line of Viet soldiers moves through the shimmeringjungle.CAMERA BOOMS UPas they move past, revealing others beyond, and the topsof parked trucks.The MOVE ENDS ON RAMBO, watching from the branches of atree as they move by only a few meters below. Thechoppers search methodically nearby.INT. INTERROGATION ROOMBrewer is trussed tightly, his elbows tied together anddrawn up painfully by a cord attached to a ceilingfixture.Palyushin looms in front of him, holding the truck-tirebludgeon.Podovsk, looking the worse for wear with a bandagecovering half his face, sits on the stool. The gaze ofhis exposed eye is malevolent. PODOVSK (wearily) I think you know where he is going. Is there a rendezvous point? Some guerrilla contract? A transmitter perhaps. BREWER (earnestly) No way. If I say anything... that's three.The interrogator scowls, briefly perplexed. PODOVSK (rising) I cannot be responsible for the safety of the prisoners if he is not captured. This government now considers the existence of POWs an embarrassment. An unmarked grave in the jungle may be their solution. I am only an advisor. BREWER Advise my dick, you Siberian scumbag.Palyushin explodes with a brutal blow to Brewer's ribs,which doubles him over in agony. He struggles to regainhis breath, dragging at the air like a terminal emphysemapatient. Brewer slowly raises his head. BREWER (sneering) Ke-rist. Whattaya trying to do, man, tickle me?Palyushin snarls and smashes the truncheon down evenharder.EXT. RAIN FOREST - DAYRambo runs crouching along a shallow gully, trying to duckaround the end of the advancing line of Viet troops.He emerges from dense foliage onto a DIRT-TRACK SIDEROADonly to see a FLANKING SQUAD of about ten men joggingtoward him. They shout and hit the deck, opening fire, ashe dives on into the underbrush.Rambo runs, zig-zagging radically as small-arms fire lacesthe woods around him. He crashes through foliage,abandoning stealth.LONG LENS WHIP-PANNING with Rambo as he charges down along slope, the trees a green blur. He crosses his armsover his face and batters through the brush with blindforce.EXT. HOOTCHRambo bursts out of the dense tangle, dragging streamersof vines, and finds himself in an EXPLOSION OF SQUAWKINGCHICKENS.He is in the muddy door-yard of a rural HOOTCH, part of aSMALL HAMLET, of about a dozen buildings.Pigs scatter, grunting their surprise, as Rambo sprintsacross the yard. Over a low rail fence. Between thehootches.Soldiers charge down the slope behind him.EXT. HAMLETRambo emerges onto the main "street" at a dead run,tearing a swath through the everyday village activities.The Viet peasants scatter as the fierce American chargesthrough their midst. A giant by their standards to beginwith, Rambo is now a mud-caked nightmare, trailing vinesand brambles... his face a mask of dark streaks topped byencrusted hair.He crashes into a panic-stricken young man on a bicycle,spilling them both. Rolls. Comes up running.Rambo changes course to intersect with an ANCIENT TRUCKwhich is accelerating away, headed out of the village.The truck, rusted and mud-caked into a brownish lump onwheels, is hauling a load of CHICKENS in a WIRE MESH CAGEon the flat bed.Rambo leaps onto the running board of the cab and pointshis pistol through the window at the terrified OLD MANdriving. RAMBO (Viet/subtitled) Keep driving.EXT. ROADRambo clings tightly as the truck rattles and bounces overthe rutted road, which shortly emerges from a stand oftrees to run along a field of ELEPHANT GRASS.Rambo sees soldiers converging on the road through thetrees on the other side. Behind him, more emerge from thevillage and open fire.A bullet shatters the filthy windshield and the old driverloses control. The truck veers into a ditch, slews,hurling up a sheet of water and flops ignominiously on itsside.Rambo lands clear. The old man begins to sob helplessly.The chickens scatter in all directions.CLOSE ON RAMBO, freeing a RUSTED GAS CAN from the twistedwreck of the truck bed.WIDE from behind the soldiers as they pour AK-47 burstsinto the truck 50 meters away. A figure dashes from thenow-burning vehicle into the field of tall grass,disappearing.EXT. ROAD - EDGE OF GRASSTwo troop trucks are deploying soldiers as a group ofOFFICERS stands near the chicken truck. Sgt. Tay climbsdown from a six-by cab. Directing operations is Capt.Vinh. His face is bruised and abraded, and one arm is ona sling.Vinh motions Tay impatiently toward where he stands at theedge of the elephant grass, and Tay wades into it, joininghim. Beyond them the coarse grass becomes an impenetrablewall almost EIGHT FEET HIGH.Vinh snorts in disgust at Tay and points at some trampledstalks. There is a bright smear of blood, and beyond,another. Vinh cuffs his sergeant. VINH (Viet/subtitled) You see? Not a demon. A man. Now, we find where he's crawled to die.Tay indicates that the others should go ahead of him, tohave that honor.A line of THIRTY REGULARS moves into the grass. Only theRADIO ANTENNAS of the squad leaders are visible above thewaving stalks. The helicopters arc in from the distantridgeline, converging.EXT. ELEPHANT GRASSPOV, HANDHELD, MOVING SLOWLY THROUGH THE GRASS. The pointman parts the stalks ahead. It is a quiet, eerie world,with only the SWISH OF THE GRASS and the occasional SOUND-OFF CALLS of the troopers. There is a clear trail ofblood smeared on the grass, indicating a serious wound.VARIOUS CLOSEUPS of the regulars as they advance, each manrealizing how utterly isolated he really is, in his ownisland of space in the green sea. It is hot. Some of thesoldiers have their fatigues unbuttoned, sleeves rolledup. Sweat pours off them.POV, HANDHELD, following the trail of blood. The grass isparted ahead and a small clearing comes into view.Slowly moving up on SOMETHING LYING IN THE GRASS.TWO CHICKENS, THEIR THROATS CUT, are lying beside the gascan, which is upright with its cap off. A bizarre littleshrine. There is no sign of Rambo.REVERSE on the squad leader, puzzled, wary.INSERT - RAMBO'S HAND strikes a match, igniting a wettrail of SPILLED GAS with a WHOOSH.The squad leader looks up, seeing the river of firesnaking toward him through the waving stalks.He turns, panicked. Crashes into the men behind him.Shrieks at them to move. They trample over each other torun as the trail of fire reaches the can.VOOM!Tay sees a tremendous fireball erupt ahead. HearsSCREAMING. He freezes in his tracks as the nightmarebegins again. Shrieking, a man runs toward him, ON FIRE,charging past.Vinh shouts futilely into a radio. Firing blindly,several troopers open up.EXT. ROADFrom the trucks it is apparent that the grass is burningon its own, in a long line where the "fuse" was laid outand in a widening circle around the explosion site.EXT. IN THE GRASSBlack smoke rolls through the grass, and troopers stumbleabout, coughing as the wind carries it toward them.The choppers have moved in close overhead and their rotor-wash fans the fire, adding to the confusion.FAST HANDHELD PRECEDING RAMBOas he snakes rapidly through the stalks. He stops. Hurlsa grenade. Runs on, navigating by instinct in the densesmoke.VINHis knocked down as a grenade detonates near him.A trooper helps him up, sees a figure running nearby...fires. Hitting one of their own.More grenades. Random firing. The din is incredible, thepandemonium absolute.A VIET SOLDIER, reels through the grass. Obviously arecent conscript, the soldier is probably only 18 yearsold, and like all Vietnamese, looks even younger. He isterrified.He stumbles over the body of another trooper. As herises, a shape slashes through the grass right in front ofhim.He has never seen an American, but it looks as monstrousas the descriptions.He raises his AK but Rambo is quicker, kicking it out ofhis hands. The kid flops on his butt and finds himselfstaring up Rambo's rifle barrel. He closes his eyes andpops into his mouth his BUDDHIST PRAYER MEDALLION, hangingfrom a chain around his neck. He bites down and waits foroblivion.When he opens his eyes there is nothing in front of himbut grass.Nearby, Vinh leads the retreat as his men fall back, dimshapes rushing blindly through the murk.He staggers, coughing, out of the stand of grass to seeTay, sitting dazed nearby. Tay gives him an evil smirk.Barking orders like a maniac, Vinh calls for MORTARS to beset up. Five mortars are positioned. Elevation set.Mortar bombs poised above the launch tubes. Thehelicopters clear off.When the last wounded man is dragged clear, Vinh signalsfor a sighting round.It EXPLODES beyond the wall of flame. The mortars openfire.The field explodes seconds later with the first salvo.Earth and shredded grass are hurled skyward. A secondsalvo lands. A third. And on and on, pulverizing theentire area.EXT. TREELINE - NEARBYRambo watches, fascinated by the tremendous destructionunleashed on innocent acreage nearby.He slips slowly into the woods, glancing back frequentlyat his trail. He stops occasionally to replace adisturbed twig or leaf, or to rearrange branches when hepasses through. Total "sterilization."The mortars thud on distantly as he creeps away.INT. INTERROGATION ROOMFULL SHOT as Palyushin delivers a crippling blow toBrewer's ribs. Brewer cries out hoarsely and slumps.CLOSE ON BREWER as his head slowly rises to look at thebig Russian. BREWER (panting) This your first day?Podovsk catches his assistant's hand before he swings. PODOVSK You think you can provoke us into beating you unconscious? We are not that... unskilled. BREWER I've had it with you, ratface. Don't piss me off!Podovsk takes the "fan belt" from Palyushin and smashes itacross Brewer's face. Again. Brewer scream hideously.And again.CLOSE ON BREWERWe see only the top of his head. We don't want him torise up, but he does, agonizingly. Blood streams over thearea where his eye is already swelling shut.Don't say anything, Brewer. BREWER (hoarsely) Aaargh. God damn that... was... good! (shouting) Do it again, you fuck! (screaming) Come on... I love it! You hear me... I LOVE IT!Podovsk looms before us, swinging in slow motion, INTO THELENS. The scene FADES OUT.EXT. RAIN FOREST - DAYUnder overcast sky Rambo emerges at a steep-walled ravine.There is a swaying SUSPENSION BRIDGE of rope and wovenvines crossing to the jungled slope beyond.Looming at the top of that slope is the ruin of the Wat onits plateau, wreathed in streamers of blowing mist.Not far away is the waterfall, pouring itself into thegorge below.Rambo stops at the far side of the bridge, examining thevine-cables.He starts pulling grenades out of his pockets.EXT. PRISON CAMP - DAYPalyushin crosses the compound to the Huey gunship whichhas just touched down. The other Huey hovers above thetrees B.G.The big Russian appreciatively pats the MINIGUN bolted inthe main door as he climbs in.Palyushin enters the cockpit, motioning for the VIETNAMESEPILOT to take off as he slips a headset over his blackberet.The ship rises, and the two Hueys bank across the jungle.INT. MOTC - THAILAND D-PLUS 58 HRSThe telecom tech turns as Kirkhill enters. TECH (handing him a sheaf of papers) More AWACS intercepts. The Russian takes time to translate.Kirkhill scans a long PRINTOUT TRANSCRIPT. KIRKHILL He's giving them a run for their money. Says here they've got two Hueys from Danang. I didn't know those dinks had Hueys. TECH Half their air force is our stuff. Captured. KIRKHILL Typical... TECH Sir, there's something else... a TRANSAT relay. Just came through. KIRKHILL What?He snatches the sheet from the tech.E.C.U. - PRINTOUT SHEETIt reads: KIRKHILL/I'M COMING FOR YOU/RAMBOKIRKHILLstares at the sheet for a long time.EXT. RAIN FOREST - NEAR WAT - DAYRambo finishes dismantling the TRANSAT unit. He sets thepieces back into the hole of the CACHE he and Brewerburied before their run through the jungle.He begins shoveling earth back into the hole.A beautiful PURPLE MOTH-ORCHID drops onto the ground byhis hand. He freezes. VOICE You not so hard to catch, dinky dau Rambo.Rambo looks up along the tumbled stone wall. Sitting nearthe top in shadow, perched on a tree limb, is Co, beaminglike a Cheshire cat. RAMBO (relaxing) Christ. How'd you get here? CO (climbing down) Took bus, most of way. I knew you would come here.He helps her down the last few feet, and stands looking ather, marveling. RAMBO And how'd you sneak up like that? CO Carefully. Don't want to get shot by you. Bad karma. Anyway, you need me. RAMBO I do? CO You think you are... (she uses a Viet word). RAMBO (translating) Invulnerable. CO In-vul-nerabo. But you get ass kicked without me.Rambo has to laugh. RAMBO Yeah. We're a pretty good team.Co looks him over carefully. She touches his forehead. CO You look like hell. Wounds infected. Come up to the ruins, I have medical kit.Rambo lets her lead him to the path up the hill.EXT. RUINS OF WATThe stone Buddhas look on complacently as Co attends toRambo's minor wounds. During the ensuing conversation shecleans, applies salve and bandages the wire-lacerationsand the numerous slashes from brambles and saw-edgedelephant grass. CO You try get across Laos? Get to Thailand? RAMBO (nodding) Yeah. Got some business there. What are you gonna do? CO (shrugs) Go United States. See Nguyen. Maybe teach economics. Buy Cadillac. Watch "Dynasty." RAMBO How you going to get there? You can't trust the spooks to pull you out. They'll use you up and throw you away. CO I know. I go with you. RAMBO I couldn't get you in.Co stops her work and replies very quietly. CO Yes you can. RAMBO How?Co's gaze holds his and her Cheshire grin flickers. CO As wife.Rambo realizes she is serious. The silence drags when herealizes how good that sounds to him at this moment. Andhow small a price that is to repay her. RAMBO (with finality) Okay. Done. You got it.She seems a bit shocked, then smiles impishly. CO You too easy.Co's hands have been all over him but only now does hebecome aware of them on his shoulders.She draws her face up to his but Rambo pulls back from thekiss. Co looks puzzled as he slowly disengages from hercontact. CO You don't feel love, Rambo?He leans back against the wall. RAMBO Look, Co... CO Why you don't feel love? Not allowed? (her tone becomes aggressive) Dead inside, maybe? You make yourself dead already so they can't kill you? In-vulnerabo? Bullshit!She advances on him until her face is close to his, herwords finding their mark. CO (continuing) Bucu bullshit! (pause) I have enough death already. Husband. Mother. Father. Brothers. Death everywhere.She points into the undergrowth nearby, to a ghostlyblossom growing there among the tangled vines. CO You see? A flower like that need good soil to grow. Many time under earth is bones of animal... or person. Killed in jungle. Make soil rich. Grows most beautiful flower. You call orchid. Many deaths in jungle. Vietnamese, V.C., American. Many beautiful flowers.Rambo studies her intently. An emotional moment for him.He takes her flawless face in his hands, draws her closer.Suddenly his head snaps around. A distant THUDDING ofCOPTER ROTORS becomes audible, growing slowly louder.Rambo leaps up, sprinting to a crumbled parapet.Below, in the valley, the two Hueys are slowly scanning,like angry insects.EXT. SUSPENSION BRIDGEA COLUMN of VIET SOLDIERS jogs across the swaying bridge.ANGLE PAST AN OBJECT IN F.G.as the lead man approaches, almost across the bridge. Theobject is a CLUSTER OF GRENADES lashed to a tree to whichone of the main support cables of the bridge is attached.A FINE WIRE runs down to the bridge walkway.PING. The wire pulls a pin.EXT. WAT RUINSRambo whips around as an explosion rips through thejungle.EXT. BRIDGEThe bridge begins to collapse, dumping half the soldiersinto the ravine as one side drops. The others run back.The second cable tears away. The bridge swings down,spilling the remaining men.EXT. RAIN FOREST - TREETOP LEVELThe two Hueys bank steeply and ROAR straight TOWARDCAMERA, passing overhead.EXT. RAIN FOREST - NEAR WATRambo and Co head into a trail which leads down thebackside of the plateau. Rushing toward them is a PLATOONof VIET REGULARS.Rambo opens fire, scattering them off the trail.He and Co make it back to the Wat as return fire ripsthrough the jungle.Rambo throws two grenades down the hill and sprints withCo deeper into the maze of the ruined monastery.The soldiers fall back as the grenades detonate ahead ofthem.INT./ EXT. HUEY ONEPalyushin speaks into his helmet radio. PALYUSHIN (Viet/subtitled) Get your men back. I'm beginning an attack run.The Huey THUNDERS toward the ruins, banking in an arc toaim the "minigun."EXT. RUINSRambo sees the Huey coming in on a high arcing trajectoryand knows he's in trouble. Dragging Co, he dives under asection of wall which has collapsed like a lean-to.INT./ EXT. HUEY ONEPalyushin's thumb depresses the FIRE CONTROL SWITCH.An AWESOME ROAR fills the sky. A COLUMN OF ORANGE FIREblasts from the minigun as its gatling-gun barrels rotatein a blur.One of the most ferocious anti-personnel weapons used inthe Vietnam war, the GENERAL ELECTRIC M-134 Minigun firessix thousand 7.62mm rounds per minute. Since every fifthround is a tracer, the impression is of a solid shaft offire sustained between ship to ground.The SOUND is not that of a machine gun but rather a SOLIDHELD NOTE OF THUNDER, like a god belching.One of its nicknames was "Puff the Magic Dragon."EXT. RUINSThe effect on the ground is unbelievable. Trees are blownto kindling. The foliage is pulverized, and blown upwardlike mist.The tracers hit the ground like an orange curtainstripping the stones of growth, blasting up a cloud ofemulsified jungle.In their crevice, Rambo and Co huddle, covering theirears.A fusillade of chips and splinters whips around them.Suddenly, the thunder cuts off.Rambo rolls out. Fires well-aimed bursts at theretreating Huey.INT. HUEY ONEPalyushin hears rounds whacking the underside of the ship.He calmly orders the pilot to turn back.EXT. RUINS - CREVICERambo crouches in the opening, watching the ship bank. CO (terrified) What was that? RAMBO Minigun. Come on. Let's move. He's coming in on our open side.They sprint across the courtyard as the minigun ROARSagain. The CURTAIN OF DEVASTATION sweeps toward them asthey run. They make it behind one of the Buddhas, just asthe hail of death passes across it.The rounds blast a layer of weathered stone off the sereneface.Behind Rambo the second Huey pops above the trees, firingwith a conventional door gun, an M-60.Rambo fires back.Tracers flash around him. He reloads. FIRES.CO CRIES OUT. She is SLAMMED AGAINST THE WALL.The second Huey banks away. Rambo crouches beside Co'scrumpled figure.INT. HUEY ONEPalyushin turns to the pilot. PALYUSHIN (Viet/subtitled) Return to staging area. We have to reload.EXT. RUINSRambo cradles Co, whose blouse is drenched with blood.It runs over his hands as he holds her helplessly.She is as white as the jungle orchid. Her eyes focusslowly on Rambo. CO (almost inaudible) Dinky-dau-Rambo.Rambo is rocking her, willing the life to stay in her, hisexpression anguished. RAMBO John. My name is John. CO (very weak) It doesn't hurt. Why doesn't it hurt?INT. HUEY ONEPalyushin coordinates the air operation. PALYUSHIN (Viet/subtitled) Air Two, circle in a holding pattern. (Russian/subtitled) Air Three, are you in position?INT./ EXT. MIL MI-24In the spacious MAIN COCKPIT which overlooks the lowerWEAPONS BAY blister, PODOVSK is seated with the Russianpilot. PILOT (Russian/subtitled) Ready, Air Command. PALYUSHIN (V.O.) (Russian/subtitled) Begin your run.The pilot turns to Podovsk. PILOT (Russian/subtitled) How many are down there? PODOVSK (distantly) One.The pilot looks at him strangely. The massive assaulthelicopter noses down and thunders forward across thejungle.EXT. RUINSVERY CLOSE ON RAMBO, rocking gently. RAMBO ... you're gonna love it there. It'll be great. We can do what we want... you and me... go to the beach... with Nguyen... watch him ridin' his surfboard...Co's eyes are glazed, half-open. She is gone.Rambo sobs. Somehow this one tragedy renders all theothers pale. RAMBO (continuing) Oh, God...He kisses her mouth fiercely. Trying to make her live, toinfuse her cooling flesh with some of his vast will.INT. MIL MI-24 PILOT (Russian/subtitled) 500 meters. Final approach.EXT. RUINSRambo lays Co with infinite gentleness in the lap of thestone Buddha. In the lap is one slightly cupped hand,palm upward, stripped of foliage by the minigun.Co lies in the palm, barely filling it.Single sniping rounds WHACK occasionally near Rambo.He is oblivious.Rambo removes the tiny BUDDHIST PRAYER MEDALLION fromaround her neck and puts it on. Straightens her clothing.Looks up at the broad stone countenance.Its expression is, as always, enigmatic.He turns as the assault chopper approaches, running deadat him.TWO LONG METAL CYLINDERS detach from the stub wings anddrop, beginning their characteristic TUMBLING. RAMBO (awed) 'Palm.He spins and runs, leaving his rifle.EXT. RAIN FORESTRambo slashes through the trees like a madman, runningwith everything he has.Behind him the NAPALM CANISTERS hit the ground at the edgeof the ruins.An ENORMOUS FIREBALL blossoms through the jungle.The canisters' inertia carries them forward, SPEWINGTWENTY-METER-LONG ARCS OF FLAME. The inferno engulfs theBuddhas and rolls forward through the trees, silhouettingthe tiny running figure of Rambo.Just as the firestorm reaches him he dives at a dead runoff an embankment. Into a rushing MOUNTAIN STREAM aboutfive meters wide.UNDERWATER SEQUENCERambo dives to the bottom as a sun-bright CANOPY OF FIRErushes across the surface with a muffled ROAR.The stream is only about two meters deep and is swiftlyflowing. The napalm on the surface lights the bottomorange despite the daylight. He seems suspended in afiery maelstrom.MOVING WITH RAMBO'S figure we dive at giddy speed over thetortuous streambed like some weird amusement park ride.Rambo tumbles over and between smooth boulders.He strains to hold his breath as the fire diminishesabove.Then it is gone. He is clear.Suddenly the rocks END, dropping away.EXT. RAVINE - WATERFALLRambo tumbles clear of the falling water as he drops downthe face of the CATARACT seen earlier.He hits the surface of the pool with a tremendous SPLASH.ANGLE ON WATERboiling with turbulence as he surfaces, gasping.He weakly sculls at the surface as the current carries himalong.Above, on the escarpment, a FIRE-STORM rages, lighting upthe jungle.The Buddha is at the heart of the holocaust, reminiscentof a self-immolating monk. Co's pyre is magnificent.EXT. BRACKISH ESTUARYThe pool at the base of the cataract empties intoswampland near the Ca River.Rambo lets the increasingly torpid flow carry him until hecatches sight of a familiar object: The abandoned sampanof the river bandits, still moored among the huge treeroots.EXT. SWAMP - SAMPANRambo clambers aboard and goes into the cabin.Still in its wooden locker is the RPG-7 ROCKET GRENADELAUNCHER and a rack of ROCKETS in a carrying pack.With rapid movements Rambo dons the pack and picks up thelauncher. Moves to the stern. Pulls hard on the starterrope of the filthy outboard.Across the estuary one of the Hueys is moving over thetrees, getting closer. The motor starts on the thirdpull.INT./ EXT. HUEY TWOThe VIET PILOT banks, motioning to his door gunner. Belowthem is the sampan, chugging across the estuary.The pilot descends as the gunner opens fire. The .30caliber slugs riddle the sampan, sending splinters flying.It EXPLODES, its incredible hoard of junk hurled flaminginto the swamp.The Huey lowers farther, rotorwash whipping the water intochurning froth.The Viets scan the debris, spotting a FLOATING BODY.ANGLE AT WATER LEVELas the corpse rolls slowly over. It is Kinh, the crazybandit leader.EXT. MARSH - NEARBYWATER LEVEL. The Huey, hovering 40 meters away, begins toturn toward us.SOMETHING RISES from the surface scum in CLOSE F.G. amongthe gnarled tree roots.A HULKING FIGURE dripping water and mud and strands ofswamp weed.Rambo.The launcher tube across his shoulder.REVERSE - CLOSE ON RAMBOas he wipes filthy water out of his eyes and returns tothe SCOPE-SIGHT, blinking, taking his time.WIDERThe Huey's M-60 opens up, walking a parade of waterspoutstoward him across the water.Rambo FIRES.With a tremendous BACKBLAST the rocket leaps out, a fieryarrow, and strikes the Huey square in the canopy.FLASH! CRACK! The Huey drops into the swamp, its rotorstwisting up and flying off. The FUEL TANKS EXPLODE.Rambo pivots, reloading. He takes aim and fires again.The rocket roars into the rain forest, the blast sendingapproaching soldiers scattering.He reloads. Fires again, flinching away from the rocketexhaust. His expression is grim, his movementsmethodical.He pivots again. Fires.Rounds start hitting around him. He holds position.Reloads.Fires.Beyond the trees, off the river road, the troop trucks areparked. Nearby is a REFUELING TRUCK for the helicopters.Rambo's rocket makes a direct hit.A FIREBALL BLASTS UP AND OUT, seeming to fill the jungle.INT. HUEY ONEPalyushin sees the smoke rising from the carnage ahead ashe returns with the minigun reloaded.He motions the pilot to hover over the partially submergedwreckage of the other Huey.EXT. SWAMPWHIP PANNING with Rambo as he sprints along the horizontaltrunk of a fallen tree.He vaults off the end.Catches a skid of the hovering Huey with one hand.Palyushin's door gunner swings his sling-mounted "free 60"around to bear. Too late.Rambo's hand shoots up, catches him, pulls him out.INT. HUEYThe pilot feels the weight shift and looks back, seeingRambo on the skid. He "pulls pitch" hard.The Huey climbs, arcing radically.EXT. HUEYRambo slips, dangles.He crashes through the upper branches of a tree as theHuey climbs, banking in a tight arc.The rain forest rolls beneath his dangling legs.He heaves himself up.INT. HUEYPalyushin lurches out of his seat.He spins in time to see a filthy, bloody and very intense-looking Rambo clambering in the gun door.He rushes Rambo with a kick but Rambo ducks and swings theM-60 door gun on its mount, blocking the Russian.The two lock eyes and square off, crouching in the lowcompartment.The pilot turns around and gapes in amazement, allowingthe craft to sideslip.Palyushin lunges as the Huey pitches wildly.Rambo blocks in a sweeping SHAO-LIN CHUN ROUNDHOUSE,ending in a fierce hammer punch to Palyushin's face.They trade blows and blocks furiously, finally grapplinglike wrestlers.They crash together into the wall by the minigun AMMOCANISTER. The Huey yaws and recovers. Open space roarsoutside as they strain near the doors, trying desperatelyto maintain footing on the pitching floor.Palyushin goes half out the door but clings tenaciously,surging back inside.He hammers into Rambo, slamming him mercilessly back.A vicious kick drops Rambo. The Black Beret grabs hishair and HURLS HIM TWO-HANDED TOWARD THE DOOR.Rambo desperately catches the handles of the door gun,stopping his plunge into space. His weight swings the gunaround in its sling, pointing it into the ship.Completely outside the helicopter, Rambo hangs from thehandle with one hand. Pulls the bolt with the other.And drills a long burst into Palyushin at point blankrange, blasting him out the far door in an explosive sprayof blood.The pilot turns, terrified, as Rambo advances on him.Rambo eases up beside him, slipping his hand onto theCOLLECTIVE STICK.Reaching across he opens the pilot's door. And FLINGS HIMOUT!EXT. MARSHA figure tumbles from the low-flying Huey and splashesinto the estuary. The Huey dips and bucks, then rightsitself and flies off as the pilot surfaces, gasping. CUT TO:INT. MOTC - THAILANDKirkhill looks like he hasn't slept in days as he stirshis ten thousandth cup of machine coffee. KIRKHILL Well, have they got him yet?The tech rereads the COMINT transcript. TECH Um... actually, no. It looks like he shot down one of their gunships... KIRKHILL Christ almighty. TECH ... and then he, uh... took the other one. KIRKHILL (exploding) What? TECH He... took it.Kirkhill sinks slowly into a chair.EXT. PRISON CAMP - VIETNAM - AFTERNOONSgt. Tay is sitting on the steps of the guard barracks,looking a bit like a lost soul.The sound of a rotor gets louder.A shadow falls upon him. He looks up squinting.A shape, an outline... in the glare of the sun.Tay has a moment of apprehension.Then...EXT. RAMBO'S HUEYRambo unleashes the minigun. The left guard towerVANISHES IN A CLOUD OF FALLING SPLINTERS as thunder rollsacross the valley.The Huey pivots nimbly. The minigun roars again.An orange lightning bolt vaporizes the right tower.VARIOUS ANGLES IN CAMPas the thunder fades.Tay starts to run.The prisoners dive for cover.Three off-duty guards in the guards barracks go for theirrifles.They don't make it.FROM RAMBO'S POVThe guards barracks seems to disintegrate as the minigunsweeps across it... a SHOCK WAVE OF DESTRUCTION behindwhich only flying kindling remains.He pivots a last time and annihilates the sentry post witha one-second burst. Three guards have managed to takecover behind a truck by the main gate. They begin firing.LOW ANGLE ON THE HUEY, a roaring silhouette in themetallic mist. The minigun speaks.The truck is ripped open like aluminum foil, shrapnelflying. The guards CEASE TO EXIST.A spray of red mist and tattered scraps of uniformssettles to the ground.It is all over in seconds.The Huey settles to earth in the center of the compound.Tay, crouching, squints against the rotor blast.Wild-eyed, Capt. Vinh steps from his partially collapsedoffice and raises his side-arm pistol.Tay snatches it from him with a terrified cry and anexpression which says: ARE YOU OUT OF YOUR FUCKING MIND?The Sgt. flings the pistol away and turns toward theHuey.Out of the boiling, blasting dust and smoke a FIGUREEMERGES.To Tay, Rambo is Death incarnate.He is encrusted with dried mud, dried blood, streaked withrivulets of sweat. His eyes burn.Rambo has detached the door gun from its sling and, withthe feed belt over one shoulder, carries it like a rifle.He motions with the muzzle. Tay and Vinh flop forward,face to the earth, hands laced behind their heads.Rambo moves past them, eyeing the wreckage of the campwarily.INT. ISOLATION CELLDarkness.The door is kicked open and Rambo is there, silhouetted.Brewer is a sorry mess, but alive. He raises his head,blinking. BREWER Gawd, you look awful. RAMBO You comin'? BREWER (trying to rise) Hold your pantyhose. Here, gimme a hand.Rambo helps Brewer, who is nearly crippled with pain, tohis feet, and supports him as they exit.EXT. CAMP COURTYARDThe seven prisoners are helping one another into thecopter as Rambo and Brewer hobble up. RAMBO Can you handle the door gun? BREWER Duck soup.Tay and Vinh are still face-down and De Fravio covers themwith an AK-47, found in the rubble.Smoke swirls in the idling rotor wash as the barracksbegins to burn. DE FRAVIO Am I dreaming this? This is not real, right? (to guards) I oughta grease you pricks, but I've known you too long. RAMBO Let's go, De Fravio. Move it!When De Fravio is aboard, crammed in with the others inthe main bay, Rambo remounts the M-60 and jumps into thepilot's seat.He brings up the RPMs.The TURBINE WHINE INCREASES.Brewer, crouched behind Rambo, yells forward. BREWER We got company. You better pull some pitch, buddy.Behind them, diving out of the sun's glare, is Podovsk'smassive assault helicopter.Rambo pops the Huey off the ground and runs hard at thetreeline.The MIL MI-24 NOSEGUN begins firing and the ground eruptsbehind the Huey, fountains of earth chasing it as itclimbs out.At full climb the laden Huey barely clears the trees andRambo Immediately banks tight to get out of the nosegun'sfield of fire.The Soviet chopper tightens its arc, but swings wide, andRambo spirals back.Brewer swings the door gun and gets off a long burst asthe ground reels dizzyingly below and the horizon tilts. RAMBO (shouting) Brewer! You know what that thing's packing? BREWER It's a Soviet MIL MI-24. Probably has 12.7mm nose cannon, heat-seeking rockets and wire guided missiles, plus... RAMBO Forget it.Rambo noses the Huey down, building speed. Tail high, itshoots across the treetops, its NOSE RADIO ANTENNA rippingthrough the uppermost foliage.THE SOVIET COPTERrolls on its side in a tight turn, despite its bulk.Twice the size and power of the Huey, and faster at thetop end, the high-performance assault ship is a formidableopponent. But Rambo pits skill against technology, usingthe agility of his craft as his primary strategy.ANGLE BACKpast the dodging Huey as the Soviet ship falls in behind,steadily gaining.PAST BREWERwho flinches as trees rush by seemingly inches away at 120MPH. The POWs are flung against the bulkheads as the Hueyplummets and swerves. DE FRAVIO I think I'm gonna be sick.INT. SOVIET COPTER - COCKPIT AND WEAPONS BAYThe pilot turns to Podovsk. PILOT (Russian/subtitled) They're approaching the border. Should we notify the Laotian Air Force? PODOVSK (driven) No. We'll take them ourselves.Inside the COMPUTERIZED WEAPONS BAY the GUNNER hunchesover his TRACKING SCREEN. Rambo's Huey is a shimmeringblob weaving behind a targeting reticle.The RANGING RADAR emits a rhythmic PINGING which INCREASESin frequency.EXT. SOVIET COPTERTWO AIR-TO-AIR ROCKETS flash from support pylons on thestub wings and roar toward the Huey two hundred metersahead.ANGLE ON HUEYas the rockets skim past, missing only barely, to explodein the jungle.OVER RAMBO'S SHOULDERthrough the front canopy, as the Huey flies through therising fireballs.Rambo sees what he needs, a narrow river, a tributary ofthe Ca, slicing through the rain forest.The Soviet juggernaut is gaining as Rambo dives hisgunship "onto the deck," tearing down through an openingin the trees and skimming over the surface of the river.The Soviet craft can't follow.The enormous trees form a canyon, the walls of whichoverhang the river. Rambo is actually zig-zagging beneaththe jungle canopy in places. They flash in and out ofdense shadows.The landing skids throw up spurts of muddy water as theHuey banks. Two more rockets arrow toward them. Oneexplodes in a tree above. The other flashes past. Hitsthe river ahead. They fly through a wall of spray.Brewer gives his REBEL YELL. BREWER Hell. This is just like fucking Star Wars, man! DE FRAVIO (puzzled) Star Wars?Brewer grins, realizing. Slaps him on the shoulder. BREWER You're gonna love it. RAMBO (shouting) How much we got left in that minigun?Brewer opens the enormous ammunition canister. BREWER Pretty low. Couple of seconds worth.Rambo is plugged into some insane second sight, knowingthe curves before they curve. He flies with absoluteconcentration.INT. SOVIET COCKPITThe pilot is sweating, trying to stay on Rambo's Huey. PILOT We're in Laos, Sir. PODOVSK I know that! (to gunner) Fire all your rockets. Take him down!INT./ EXT. HUEYAs the forest explodes around them. The chopper isbuffeted. The forward canopy is shattered by shrapnel.Rambo is hit in the shoulder and chest.His left arm broken above the elbow.One of the prisoners is moaning, holding his bloodyforehead.Rambo pulls up on the collective, sending blinding painthrough his arm. The Huey shoots up out of the jungle,spinning as it pops up.It slips sideways through the air, seemingly going out ofcontrol.Then it arcs back, ROARING RIGHT AT THE CAMERA.INT. SOVIET COCKPITPodovsk watches Rambo's turn, realizing he has stood tofight. PODOVSK (Russian/subtitled) We've got him.The pilot stares apprehensively as the Huey comes at them.In the weapons bay, the tone of the ranging-radar rises toa shriek. The gunner tenses to fire.EXT. HUEYRambo throws the gunship sideways and climbs in onemotion... bringing the minigun to bear.He is a samurai and the Huey his sword.TIGHT ON RAMBOfacing the Soviet leviathan, clear-eyed, in the Void Way,as they say.It will be a battle of one stroke. He waits. Feeling hisbreathing. Feeling the ship like an extension of himself.ANGLEThe minigun BLAST FORTH ITS STREAM OF FIRE.ON RAMBOwatching. A shadow passes over him.WIDEas the Soviet ship thunders over them and flies on.ANGLEThe barrels of the minigun continue to rotate, dry-firing... empty. Clicking like an air-ratchet.ANGLE ON SOVIET COPTERshowing the riddled, glassless cockpit... the slumpedbodies.WIDEas the MIL MI-24 slowly brodies sideways and drops,gracefully, into the rain forest.It shears through trees, breaking up, and EXPLODESGLORIOUSLY.INT. HUEYRambo is tensed, like a thousand volts are flowing throughhim. Slowly, he relaxes. He knows they have made it. BREWER (exultant) The thrill of victory, the agony of defeat!Rambo banks the Huey, ascending toward the mountain passand, beyond, Thailand. CUT TO:EXT. STAGING AREA - THAILAND - DAYLifer lounges in the gun door of the "Blackhawk" as theship sits at ready, turbine idling. TRAUTMAN (O.S.) Getting ready to go somewhere?Lifer turns to see Trautman step around the fuselage ofthe chopper. LIFER Hey, Colonel. You're not cleared to be on this base anymore.CLOSE ON TRAUTMAN TRAUTMAN (quietly) I know. CUT TO:EXT. LAOS - NEAR MEKONG RIVER - DUSK D-PLUS 60 HRSThe battered Huey lumbers and dips over the terrain,barely in control.INT./ EXT. HUEYRambo seems drained of color, sunken into the seat, flyingon nerve.Several of the prisoners are asleep. The wounded man'sforehead has been bandaged.Brewer is holding court. BREWER ... and there's this guy with a black helmet and cape, right, and he's got this sword... except it's not a sword, it's light... DE FRAVIO There's the Mekong.They look forward as a broad river appears beyond a ridge-line less than a kilometer ahead. The Thai border. Acheer goes up. A home run.ON RAMBOseeing something as they approach the river.EXT. MEKONG - TREELINEThe BLACK SIKORSKY rises slowly above the trees directlyahead.INT. HUEYC.U. RAMBO, he blinks, trying to clear his vision whichhas become light and shimmery.The hovering ship looks like the Archangel of Death.It seems like a vision. He flies straight toward it.INT. MOTCKirkhill has cleared the operations center. He is alone. KIRKHILL (to mike) When the unidentified helicopter has crossed the river into Thailand, shoot it down with air-to-air rockets. Then proceed to the crash site and fire your remaining rockets into the wreckage. Is this understood, Zen Hammer? DOYLE (V.O.) (filtered) Ah, Sir... I'm experiencing a little hearing problem. KIRKHILL What are you talking about? Why? DOYLE (V.O.) (filtered) Well, uh... I've got something in my ear.INT./ EXT. SIKORSKYWhat Doyle has in his ear is the muzzle of ColonelTrautman's M-16.Behind them on the deck of the gun bay Lifer is out cold.A tarpaulin among a stack of ammo cases where Trautmanhad been hidden is thrown back. Doyle knows better thanto mess with him.Trautman switches off the radio as Kirkhill shoutsincoherently.INT./ EXT. HUEYAs he approaches the black Sikorsky Rambo sees Trautmanwith a rifle to Doyle's head.He nods as they pass.INT./ EXT. SIKORSKYRambo's Huey passes by them, crossing into Thailand. TRAUTMAN Escort them on in.EXT. MOTCRambo's Huey, followed by the Sikorsky, descends towardthe landing field. As the techs and other camp personnelstand watching, Kirkhill raises a pair of powerful fieldglasses.KIRKHILL'S POV - TELEPHOTOThe image of the Huey seems to waver insubstantiallythrough the long lens. It looks like a death ship, theFlying Dutchman with a crew of corpses and a demon at thehelm, coming in out of the dusk sky.He slowly lowers the glasses.Face ashen, Kirkhill backs into the command center andcloses the door.The Huey sheers sideways across the staging area.Its skids clip the top of the MOTC, shearing offcommunications gear.It hits the ground. Bounces.Slews around, scraping hideously.And stops.The Sikorsky settles behind it.The two choppers whine-down. Standing beside the cockpit,Trautman gets on the Sikorsky's loudspeaker. TRAUTMAN All base personnel. Prepare medical facilities to receive American POWs.A cheer is raised among the ground contingent as theysurge forward.ON RAMBOsliding painfully out of the flight seat. Brewer gawks atthe pool of blood collected in the hollow of Rambo's seat.Rambo goes to the gun door. Takes De Fravio's AK-47.DOLLYING WITH RAMBO as he limps toward the MOTC withrelentless determination. The well-wishing groundpersonnel fall back, letting him pass.Trautman, B.G., sees him and strides forward to intercept.OVER RAMBO'S SHOULDERDOLLYING, as he approaches the command center.Kirkhill's aide, in dark glasses, moves forward torestrain him.Rambo motions him aside with the AK.Goes to the door. It is locked.INT. MOTCThe lock is shattered by a LONG BLAST from Rambo's AK.The door is kicked open. Rambo stands silhouetted.He looks like what we never saw in "The Monkey's Paw."He moves into the humming command center, among themission control electronics, reeking of the jungle, bloodand death.LOW ANGLEas Rambo walks to Kirkhill, looming. Stopping.Kirkhill quails as Rambo grasps him by the collar andflings him backward into a chair.He raises the AK. Muzzle to Kirkhill's forehead. RAMBO Mission accomplished.Pulls the trigger.The weapon CLICKS, EMPTY.HOLD ON KIRKHILL, trembling.EXT. MOTCRambo steps unsteadily out into the waning light.He takes a deep, slow breath. Starts to walk. He salutesas he passes Trautman but says nothing.In the B.G. they are carrying the POWs in stretchers orpushing them in wheelchairs toward the MEDICAL TRAILER.Rambo watches Brewer posing with his arms around Jensenand another POW for the grunt we saw earlier. His pocketInstamatic is clicking away. BREWER (expansively) Cover of Time Magazine, baby!Rambo walks away... alone. DE FRAVIO (O.S.) Hey, Rambo!Rambo turns. De Fravio, propped up on one elbow on hisstretcher as he is carried past, gives him a broad,appreciative grin. DE FRAVIO You did good, buddy. Real good!Rambo stands blinking for a second. He raises his hand ina big "thumbs up" and allows himself to grin. CUT TO BLACKEND CREDITS \ No newline at end of file diff --git a/unformated_scripts/Script_Reader, The.txt b/unformated_scripts/Script_Reader, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..da3941fa05a735306972ca5f6695799777a24213 --- /dev/null +++ b/unformated_scripts/Script_Reader, The.txt @@ -0,0 +1 @@ + THE READER Written by David Hare Based on the novel by Bernhard Schlink INT. MICHAEL'S APARTMENT. BERLIN. DAY. CREDITS 1995. A modern apartment, all cool and glass. MICHAEL BERG is preparing breakfast, laying the table for two. He is 51, dark- haired, saturnine. He is doing everything with deliberate quietness, taking the occasional glance towards the bedroom to check he's not making too much noise. He is boiling an egg, which he takes out of boiling water and puts on a sparkling clean plate. MICHAEL puts the yolk-stained egg-cup and plate into the sink, his breakfast eaten, then, as noiseless as he can, turns on the tap to run water. The bedroom door opens, and BRIGITTE comes out, naked. She's attractive, younger. The credits end. BRIGITTE You didn't wake me. MICHAEL You were sleeping. BRIGITTE You let me sleep because you can't bear to have breakfast with me. It's half-serious. MICHAEL doesn't react. MICHAEL Nothing could be further from the truth. I boiled you an egg. See? MICHAEL produces a second boiled egg in a cup, seemingly from nowhere, like a magician, and puts it on the table. MICHAEL I'd hardly have boiled you an egg if I didn't want to see you. Tea or coffee? BRIGITTE has re-appeared from the bedroom, now in a dressing gown. She's still half-serious. BRIGITTE Does any woman ever stay long enough to find out what the hell goes on in your head? MICHAEL smiles to himself. BRIGITTE What are you doing tonight? 2. MICHAEL I'm seeing my daughter. BRIGITTE Your daughter? You've kept very quiet about her. MICHAEL Have I? She's been abroad for a year. Did you say tea? INT. MICHAEL'S APARTMENT. BERLIN. DAY MICHAEL kisses BRIGITTE on the cheek as she departs. BRIGITTE I'm going. Give my love to your daughter. He closes the door, then turns to the open door of the bedroom. He looks at the mess of last night's love-making. Then he goes to the window and looks out. A yellow U-Bahn goes by. INT. TRAM. DAY. December 1958. MICHAEL, now 15, is sitting on a tram. He is in a well-cut suit he's inherited, ill-fitting, with two-tone shoes and tangled mop of hair. Sweat breaks out all over his face. A WOMAN is staring at him. He's plainly feeling ill. INT. MICHAEL'S APARTMENT. DAY 1995. MICHAEL stands at the window, looking out. INT. TRAM. DAY 1958. Impulsively MICHAEL gets up, rings the bell and gets off at the next stop. INT. MICHAEL'S APARTMENT. DAY 1995. MICHAEL closes the window. EXT. BANHOFSTRASSE. DAY 1958. It has come on to rain. MICHAEL is walking along the street, looking more and more sickly. There is an archway leading to a courtyard, and impulsively he darts inside to get out of the rain. He begins to vomit. Opposite him is a wood workshop open to the yard. A uniformed TRAM CONDUCTRESS walks past. 3. MICHAEL'S body is turned away, his face invisible, his hand over his mouth. She puts down her ticket machine on the pavement and seizes him by the arm. HANNA Hey. Hey! HANNA SCHMITZ has ash-blonde hair and is in her mid-thirties. She disappears. He's sick again. She reappears with a bucket of water to sluice down the pavement. She wipes his face down with a wet cloth. Then she fills another bucket. HANNA Hey, kid. Hey. MICHAEL I'm sorry. I'm sorry. Effortlessly, HANNA takes MICHAEL in her arms. She holds his head against her breasts. MICHAEL buries himself and slowly he stops sobbing. Then he lifts his head. HANNA Where do you live? EXT. STREET. DAY HANNA and MICHAEL walk at a fair pace along a street, dotted with the scaffolding of new building. HANNA is carrying his satchel, she is pulling him by the arm. EXT. BLUMENSTRASSE. DAY They come up the road. It is now snowing. MICHAEL stops outside his block, as if nervous she might come in. MICHAEL It's here. I'll be fine now. Thank you. HANNA Look after yourself. MICHAEL smiles `Thank you' and goes in. HANNA is left alone. She looks round, frowning, then sets off, stopping uncertainly at the crossroads to check for the way she came. MICHAEL turns and watches, curious at her indecision. INT. BERG APARTMENT. BLUMENSTRASSE. NIGHT CARLA BERG is at the stove in the kitchen. She takes dinner through for the BERG family, at a round table in a traditional apartment, under a five-candled brass chandelier. 4. MICHAEL'S father, PETER, is a balding, abstracted man, eating in oppressive silence. Next to him, his older brother THOMAS, 18, his older sister, ANGELA, and his younger sister, EMILY. MICHAEL has his book in front of him, not touching his food. CARLA I'm worried about him. He looks terrible. PETER The boy's saying he doesn't need a doctor. EMILY He does. MICHAEL I don't need a doctor. PETER Good then. CARLA looks reproachful. CARLA Peter. PETER We're not going to argue about this. People have to take responsibility for their own lives. INT. BEDROOM. BERG APARTMENT. DAY MICHAEL is lying in a single bed, his face violently inflamed. CARLA is with the DOCTOR, a much older man. DOCTOR Remind me, how old are you now? CARLA Michael's fifteen. DOCTOR It's scarlet fever. He'll be in bed for several months. At least. MICHAEL turns into the pillow, a wet patch beneath his head. Delusional with fever, he senses a presence at the door. He turns. It's EMILY. But at once CARLA's arm pulls her away. CARLA Keep away. He's contagious. 5. They vanish. The door closes. In the corridor the DOCTOR is heard. DOCTOR Burn the sheets. Complete isolation. And three months is the minimum. INT & EXT. BERG APARTMENT. DAY 1959. A sunny day in March. MICHAEL's bed has been moved beside open windows so he can profit from the weak sun. He is sitting up, working on his stamp collection. CARLA is moving round behind him, tidying the room. CARLA How are you feeling? MICHAEL Better. By the way, I meant to tell you, the day I got ill... a woman helped me. A woman in the street. CARLA She helped you? MICHAEL Yes. She brought me home. CARLA Do you have her address? EXT. BANHOFSTRASSE. DAY MICHAEL is standing holding a small bunch of flowers. He is looking puzzled at a row of bells with numbers only. The woodyard is busy. WORKMEN come out of the building. INT. STAIRS & LANDING. BANHOFSTRASSE. DAY MICHAEL comes up the stairwell, once grand, now in decay - green linoleum and faded red paint. The sound of a sentimental song at the open door of a small apartment. Inside, HANNA is ironing in a sleeveless smock, blue with red flowers. Her hair is fastened in a clip. She looks at him a moment. HANNA Come in. 6. INT. HANNA'S APARTMENT. DAY The flat is without decoration, an enfilade of small rooms. A stove, a sink, a tub, a boiler, a table, a few wooden chairs. There is no window, just a balcony door to let light into the room. HANNA carries on ironing. MICHAEL I brought you these flowers. To say thank you. HANNA Put them down there. MICHAEL puts them beside the sink. HANNA has a blanket and a cloth over the table : nothing disturbs her rhythm, as she irons one piece of laundry after another, then folds it and puts it over one of the chairs. MICHAEL I would have come earlier, but I've been in bed for three months. HANNA You're better now? MICHAEL Thank you. HANNA Have you always been weak? MICHAEL Oh no. I'd never been ill before. It's incredibly boring. There's nothing to do. I couldn't even be bothered to read. HANNA carries on ironing. He is becoming as comfortable with the silence as she is. She starts ironing a pair of knickers. He watches her bare arms moving back and forth. She looks broad-planed, strong. She is at peace with being watched. She puts one pair of knickers down, then does another. Then she upends the iron. HANNA I have to go to work. I'll walk with you. Wait in the hall while I change. MICHAEL goes out into the hall. The kitchen door is slightly open. HANNA takes off her smock and stands in a green slip. Her stockings are hanging over the back of a chair. 7. She picks one up, rolls it, smooths it up over her calf and knee, then attaches it to her suspender. She reaches for the other. The flesh is bare between her legs. MICHAEL watches, riveted. HANNA seems oblivious. But as she is about to put the second stocking on, she looks at him. She drops her dress, and straightens, holding her stare. In response, he blushes, then panics and runs out of the flat. The door slams. INT. STAIRS. DAY MICHAEL runs down the stairs in terror and shame, and out the front door. EXT. COURTYARD. DAY The WORKMEN look up, curious, as MICHAEL flies by, slamming the outer door. INT. BEDROOM. DAWN MICHAEL is lying in bed. He looks up at the sound of a tram going by outside. EXT. STREET. DAWN The tram making its way along the quiet street. INT. BEDROOM. DAWN MICHAEL gets out of bed and quickly gets dressed. INT. TRAM. DAY MICHAEL, reading a book, watches unobserved, fascinated as HANNA collects tickets. She calls out the name of the next stop. She doesn't see him as she works. EXT. BANHOFSTRASSE. DAY MICHAEL is standing on the other side of the street from HANNA'S courtyard. He is in two minds about whether to go in. The WOODWORKERS are loading a van. He waits for them to finish before he slips in through the archway, making his way to the stairs. INT. LANDING. HANNA'S APARTMENT. DAY MICHAEL is sitting on the steps of the first landing. Then, as if from nowhere, HANNA is suddenly standing behind him, in uniform, carrying a box of coal in one hand, a scuttle in the other. She looks tired but not surprised to see him. 8. HANNA There are two more buckets downstairs. You can fill them and bring them up. HANNA walks straight past him. For a moment he tenses as if there might be some contact. But she goes by. INT. CELLAR. DAY MICHAEL opens the door. He turns on a dim light. There is a flight of wooden stairs into the murk of a huge pile of coke, poured in from the street. He goes down to the bottom, and picks up a bucket. He digs in to the coke, and at once it comes tumbling down on him in a cloud of dust. INT. HANNA'S APARTMENT. DAY HANNA is at the kitchen table, drinking a glass of milk. She has taken off her jacket and loosened her tie. MICHAEL comes in with the two buckets of coal, his face and clothes filthy. She roars with laughter, full-throated. HANNA You look ridiculous, look at you, kid. MICHAEL sees himself in the mirror, but she has already got up, going towards the tub in the corner of the kitchen. HANNA You can't go home like that. Give me your clothes, I'll run you a bath. HANNA opens the tap. There's a boiler, and steaming hot water comes out. MICHAEL takes off his sweater, then stops. HANNA What, do you always take a bath in your trousers? HANNA takes his sweater and goes to open the balcony door. He undresses. She puts his sweater on the balcony rail. HANNA It's all right, I won't look. On the contrary, she turns and walks straight towards him. MICHAEL is naked. HANNA takes his clothes from the chair. He gets into the bath. She goes to the balcony. In the bath, he submerges himself. HANNA goes out and shakes his clothes out in the open air. 9. When he comes up from under the water, she is laying his clothes back on the chair. She picks up the shampoo and hands it to him. HANNA Wash your hair, I'll get you a towel. MICHAEL washes his hair, then submerges again. When he comes back up, HANNA is holding out a large towel. He gets out, turning away to hide his erection. From behind, she wraps his body and rubs him dry. Then she lets the towel fall. She puts her body against his back, and he realises she's naked. He turns and faces her. HANNA So. That's why you came back. MICHAEL looks at her, awed. MICHAEL You're so incredibly beautiful. HANNA Now, kid, you know that's not true. At once she puts her arms round him and they kiss. MICHAEL goes down onto the floor, HANNA on top of him. All the time, she's staring into his eyes. He can't take it. He closes his eyes and, about to come, begins to scream. She puts her hand over his mouth to smother the noise. INT. DINING ROOM. BERG APARTMENT. NIGHT The family is half-way through their meal. MICHAEL is sitting watching them eat, thinking about his lovemaking with HANNA. PETER You've inconvenienced your mother. MICHAEL How many more times? I've said I'm sorry. PETER You scared her. MICHAEL It's hardly my fault, I got lost, that's all. That's why I was late. Can I have some more? He reaches for more stew. THOMAS goes on eating, a look of contempt on his face, too superior to engage in this. 10. EMILY How can anyone get lost in their own home town? MICHAEL The doctor told me I had to take walks. EMILY So? MICHAEL I meant to head for the castle, I ended up at the sports-field. EMILY They're in opposite directions. MICHAEL It's none of your business. EMILY He's lying. CARLA He's not lying. Michael never lies. CARLA smiles benignly. EMILY knows she's right. They all eat on for a few moments. MICHAEL Dad, I've decided, I want to go back to school tomorrow. CARLA The doctor says you need another three weeks. MICHAEL Well I'm going. CARLA Peter? PETER If he wants to go back, then he must. MICHAEL can't breathe, as if some decisive moment in his life has been reached. PETER is looking at him, seeming to know what's going on. 11. EXT. SCHOOL. DAY A massive brownstone building. The whole SCHOOL is coming out, but MICHAEL is first, in a desperate hurry, waving goodbye to his friends and running quickly away. INT. STAIRS & LANDING. BANHOFSTRASSE. DAY MICHAEL comes quickly up the stairs. The door of HANNA'S apartment is ajar. He pushes it open. INT. HANNA'S APARTMENT. DAY HANNA is at the sink. MICHAEL comes in, precipitate, tearing off his clothes and embracing her at the same time. He drops his trousers and lifts her onto the sink. He comes in about twenty seconds. He stands sweating. HANNA All right, kid, it's not just about you. INT. HANNA'S APARTMENT. DAY They are on the bed. He is lying underneath her. HANNA leads his hands to her face, then down her body. She begins to move, and in response, he moves too. He watches awed as she comes. INT. HANNA'S APARTMENT. DAY HANNA has fallen asleep on MICHAEL'S chest. He is awake, looking at the birthmark on her left shoulder. The sound of the wood yard below. He kisses the birthmark. She stirs. MICHAEL What's your name? She opens her eyes. A look of suspicion. HANNA What? MICHAEL Your name. HANNA Why do you want to know? MICHAEL I've been here three times. You haven't told me your name. 12. MICHAEL waits a moment. HANNA It's Hanna. What's yours, kid? MICHAEL Michael. HANNA Michael. Hmm. So I'm with a Michael. HANNA smiles, as if there were something funny about it. MICHAEL `Hanna'. INT. CLASSROOM. SCHOOL. DAY A TEACHER, in his sixties, has scrawled the words `Odysseus', `Hamlet' and `Faust' on the blackboard. The class of BOYS is attentive. Next to him, his friend HOLGER SCHLUTER. Across the way, RUDOLF. TEACHER The notion of secrecy is central to Western literature. You may say the whole idea of character in fiction is defined by people holding specific information which for various reasons - sometimes perverse, sometimes noble - they are determined not to disclose. MICHAEL looks content. The bell goes. INT. CORRIDOR. SCHOOL. DAY The BOYS come pouring out cheerfully into the corridor and head to the next classroom. MICHAEL'S demeanour has changed. There's a knowingness, a swagger, a confidence which is new. MICHAEL lingers for a moment, then slopes off in the opposite direction, alone. EXT. SCHOOL. DAY MICHAEL comes out the back door of the school, unobserved, climbs over the railings and starts to run down the street. INT. HANNA'S APARTMENT. EVE Later. Dark. MICHAEL is almost asleep, HANNA awake. 13. HANNA You never tell me what you've been studying. MICHAEL Studying? HANNA At school. Do you learn languages? MICHAEL Yes. HANNA What languages? MICHAEL Latin. HANNA Say something in Latin. MICHAEL Oh... MICHAEL thinks a moment. MICHAEL Quo, quo scelesti ruitis? Aut cur dexteris aptantur enses conditi? MICHAEL smiles slightly. MICHAEL It's Horace. HANNA It's wonderful. MICHAEL Do you want some Greek? MICHAEL grins, pleased to be able to do something. He goes and gets his satchel. HANNA turns on a light. MICHAEL Oi men ippeon stroton oi de pesedon oi da naon phais epi gan malainan emmenai kalliston, ego de ken otto tis eratai. HANNA It's beautiful. 14. MICHAEL How can you tell? How do you know when you've no idea what it means? HANNA looks at him a moment. HANNA What about in German? MICHAEL In German? HANNA Do you have anything? MICHAEL Well, I'm writing an essay. It's about a play. By a writer called Gotthold Ephraim Lessing. Perhaps you've heard of him? HANNA makes no reaction. MICHAEL The play's called Emilia Galotti. HANNA Have you got it? MICHAEL reaches down to the satchel and pulls out a book. MICHAEL Here. You can read it. HANNA I'd rather listen to you. There is a silence as MICHAEL absorbs the idea. MICHAEL All right. I'm not very good. MICHAEL grins, embarrassed, then opens the book. MICHAEL Act One. Scene One. The setting : one of the prince's chambers. Prince - "Complaints, nothing but complaints, petitions, nothing but petitions. For goodness' sake, just imagine that people actually envy us." 15. INT. KITCHEN. NIGHT Later. They are in the bath together. HANNA takes a piece of soap and runs it lovingly down his cheek. Then she passes the soap across his stomach. HANNA You're good at it, aren't you? MICHAEL Good at what? HANNA Reading. He smiles. HANNA Why are you smiling? MICHAEL Because I didn't think I was good at anything. INT. GYMNASIUM. DAY MICHAEL is playing handball with terrific physical confidence. A couple of bruising physical encounters. HOLGER, RUDOLF and MICHAEL all laugh. The whistle blows. Game over. EXT. TRAM. DAWN An empty tram moving through the eerie early morning streets. MICHAEL appears walking alongside it and gets on. INT. TRAM. DAWN MICHAEL is sitting in the second carriage. He looks up. The CONDUCTRESS is HANNA. At first, she does not notice him. MICHAEL watches, waiting to be noticed. She turns round and looks at him. He smiles in greeting but she makes no acknowledgement at all. She turns away. He frowns, bewildered. EXT. TRAM. DAY The tram is heading out of town. INT. TRAM. DAY HANNA is now talking animatedly to the DRIVER. They are getting on very well, laughing together and chatting. MICHAEL is still by himself in the second carriage, looking foolish. 16. EXT. TRAM. DAY The tram comes to a halt and PASSENGERS get on. INT. TRAM. DAY HANNA is now in the busy second carriage, collecting tickets. MICHAEL looks up expectantly. But as he holds up his ticket, HANNA makes no reaction except to clip it. She turns away without speaking. The tram comes to a halt again, and MICHAEL, humiliated, bolts for the door. EXT. ROAD. DAY MICHAEL watches the tram disappears up the hill. He looks around, lost, in the middle of nowhere. A tractor goes by, WORKERS heading to the fields. MICHAEL sets off to walk back to town. INT. LANDING. HANNA'S APARTMENT. DAY MICHAEL is on the stairs as HANNA comes up, in her uniform. MICHAEL What was all that about? HANNA lets herself in, saying nothing. INT. HANNA'S APARTMENT. DAY HANNA has gone in to put down her things at the kitchen table. MICHAEL follows, desperate. MICHAEL I got up - at 4.30 - specially - it's the first day of the holidays, I'd been planning to surprise you - HANNA Poor little baby. Got up at four thirty - and on your holidays too. MICHAEL What is this? I was on your tram! You totally ignored me! What do you think I was doing? Why the hell do you think I was there? MICHAEL has yelled in desperation. HANNA looks him straight in the eye. 17. HANNA I haven't the slightest idea. And what you do is your business not mine. HANNA turns and moves away. HANNA And if you wanted to speak to me, I was in the first carriage. So why did you sit in the second? HANNA goes to run a bath. HANNA And now, thanks very much, I've been working, I need a bath. Get out, I'd like to be by myself. MICHAEL I didn't mean to upset you. HANNA You don't have the power to upset me. You don't matter enough to upset me. She takes off her clothes to get in. As soon as she does, he gets up and goes into the other room. He sits by himself, miserable. He hears her, bathing. Then finally gets up and goes back in. She is still in the bath. MICHAEL I don't know what to say. I've never been with a woman. We've been together four weeks and I can't live without you. I can't. Even the thought of it kills me. HANNA looks at him thoughtfully. MICHAEL I sat in the second carriage because I thought you might kiss me. HANNA Kid, you thought we could make love in a tram? They smile. But MICHAEL has a more urgent question. 18. MICHAEL Is it true what you said? That I don't matter to you? In the bath, she shakes her head. MICHAEL Do you forgive me? She nods. MICHAEL Do you love me? She looks at him. Then she nods. INT. BEDROOM. HANNA'S APARTMENT. DAY MICHAEL is sitting on the side of the bed. HANNA comes in, wrapped in a towel. HANNA Do you have a book? MICHAEL Oh. Well I do. I took something with me this morning. HANNA What is it? MICHAEL It's another play. MICHAEL gets it out of his pocket. HANNA has lain down on the bed, completely content. HANNA We're changing the order we do things. Read to me first, kid. Then we make love. MICHAEL sits at the foot of the bed and starts to read. MICHAEL Intrigue and Love, a play by Friedrich Schiller... INT. HANNA'S APARTMENT. DAY HANNA is baking bread. MICHAEL is on a chair beside her with a book. 19. MICHAEL The Odyssey by Homer. HANNA What's an odyssey? MICHAEL It's a journey. He sets out on a journey. He starts to read. MICHAEL "Sing to me of the Man, Muse, the man of twists and turns Driven time and again off course, once he had plundered The hallowed heights of Troy. Many cities of men he saw and learned their minds, Many pains he suffered, heartsick at the open sea, Fighting to save his life and bring his comrades home... INT. HANNA'S APARTMENT. EVE HANNA is in the bath. MICHAEL is reading a Shakespeare sonnet to her. MICHAEL "And we will some new pleasures prove of golden sands and crystal brooks, with silken lights and silver hooks..." HANNA Come here. She pulls him into the bath. INT. HANNA'S APARTMENT. NIGHT HANNA is sewing. MICHAEL is reading Huckleberry Finn. MICHAEL I poked into the place aways and encountered a little open patch as big as a bedroom, all hung around with vines and found a man lying there asleep, and by Jinks it was my old Jim... 20. He starts acting out Jim, and the two of them collapse laughing. INT. HANNA'S APARTMENT. DAY MICHAEL is at the bottom of the bed. HANNA is lying inside. He is reading Lady Chatterley's Lover. MICHAEL "Lady Chatterley felt his naked flesh against her as he came into her. For a moment he was still inside her... HANNA This is disgusting. Where did you get this? MICHAEL I borrowed it from someone at school. HANNA You should be ashamed. Go on. INT. HANNA'S APARTMENT. EVE MICHAEL reads Tin-Tin to HANNA, who is lying on the bed. They are both looking at the pictures. MICHAEL `Blistering Barnacles and a thundering typhoon. It is water.' `But what on earth did you expect it to be?' HANNA Whisky. MICHAEL Whisky! By thunder, whisky. `Whisky? Come now captain, you can't be serious.' HANNA All right, kid, that's enough for today. They fall back onto the bed. 21. MICHAEL I was wondering, do you think you could get some time off? Maybe we could go for a trip. HANNA What sort of trip? MICHAEL I'd love to go bicycling. Just for two days. MICHAEL reaches for a book. MICHAEL I've got a guide-book. I've worked out the route. Look, what do you think? HANNA'S look is so far-away she doesn't seem to hear the question. Silence. Then : HANNA I think you like planning, don't you? She throws the book away and they begin to make love. INT. BEDROOM. BERG APARTMENT. DAWN First light. Dawn breaking outside the window. MICHAEL is working at his desk, the surface covered in stamps, his collection book open. He picks one with a pyramid on it and looks at it. Underneath, MICHAEL'S VOICE reading Intrigue and Love by Schiller. MICHAEL'S VOICE "I'm not frightened. I'm not frightened of anything. Why should I be? I welcome obstacles, because they'll be like mountains I can fly over to be in your arms. The more I suffer, the more I'll love... INT & EXT. SHOP. DAY Seen from outside, a shop full of stamps. MICHAEL and a STAMP DEALER with white hair and a moustache. MICHAEL is offering his pyramid stamp, his gestures becoming desperate as the STAMP DEALER shakes his head, clearly not giving him as much as he hopes. 22. Then MICHAEL concedes, the DEALER concedes, and a bunch of notes are handed across. MICHAEL runs exhilarated out into the street. MICHAEL'S VOICE "Danger will only increase my love, it will sharpen it, it will give it spice. I'll be the only angel you need. On this arm, Luise, you will go dancing through life. You will leave life even more beautiful than you entered it. Heaven will take you back and look at you and say `Only one thing can make a soul complete, and that thing is love.' EXT. HILL. DAY HANNA and MICHAEL are whizzing down a hill together on bicycles. He has a rucksack. It's a rural paradise - hills on all sides, a gleaming river below, the sun shining brightly. She is wearing a blue dress. EXT. CAFE. DAY They come to a cafe and sit down outside. They pick up the menus on the table. A WAITRESS arrives. WAITRESS So what would you like to have? MICHAEL What are you having? HANNA You order. I'll have what you have. MICHAEL starts giving the order. Next to them are a group of BOY SCOUTS, who are laughing among themselves. BOYS There's sausages, sausages or sausages. Give it to me, come on, give it here. Let me have a look. You always have the same thing. They all laugh. HANNA watches them nervously. EXT. CAFE. DAY The meal finished, MICHAEL is alone, paying the bill. WAITRESS I hope your mother was happy. 23. MICHAEL Thank you. She enjoyed her meal very much. The WAITRESS goes. HANNA returns from inside. MICHAEL holds out his arm to her, which she takes. They walk away towards their bikes. He is smiling. MICHAEL looks round, then dares to reach across and kiss her on the lips. The WAITRESS watches. EXT. CHURCH. DAY They get off their bikes at a small church. MICHAEL stops and gets out a map and a guide book. MICHAEL Here, let me show you where we're going. HANNA It's OK, kid. I don't want to know. The sound of a choir from inside. INT. CHURCH. DAY MICHAEL and HANNA enter tentatively to find a choir rehearsing Bach. It is a traditional German scene - whole families singing together at the altar. HANNA is transported, entranced at the sound of the music. MICHAEL watches. EXT. RIVERSIDE. DAY HANNA is in a river, the water up to her calves, her skirt tied round her thighs. She is completely absorbed. Then she looks up, aware of being watched. MICHAEL is sitting with a notebook. HANNA What are you doing? MICHAEL I'm writing a poem. About you. HANNA Can I hear it? MICHAEL It's not ready. I'll read it to you one day. 24. INT. MICHAEL'S APARTMENT. BERLIN. DAY 1995. MICHAEL, now 51, is standing by his desk. He opens a drawer. He takes out the recognizable notebook. He opens its yellowing pages and looks at the poetry. Then flips the pages, to some handwritten lists - the words `Odyssey', `Schnitzler', `Chekhov', `Zweig' with numbers beside them. MICHAEL flaps it shut, puts it back and turns to go out. INT. STREET. DAY MICHAEL leaves his apartment block. He gets into his black Mercedes. INT. CAR. DAY MICHAEL is listening on the radio to the same Bach music they heard in the church. He drives through the thriving modern city. Beyond, the huge cranes and gouged-out building sites of a city under construction. EXT. STREET. DAY MICHAEL swings his car into place. He gets out and heads across the road, prosperous, purposeful. INT. LOBBY. COURTHOUSE. DAY An ASSISTANT meets MICHAEL with his robe which he pulls on as he walks quickly through an elaborate lobby. GERHARD BADE, also in his fifties, also robed, falls in step. GERHARD You all right, Michael? MICHAEL I'm fine. GERHARD You'd better hurry. You know what she's like. A robed ASSISTANT is waiting outside the door with documents he hands to MICHAEL. They all go in. INT. COURTROOM. DAY MICHAEL joins his CLIENT, just seconds before the FEMALE JUDGE comes in and everyone stands. Silence. The JUDGE looks at MICHAEL disapprovingly, sensing his lateness. Everyone sits. MICHAEL sits, thinking back. 25. INT. STAIRWAY. SCHOOL. DAY 1958. A sheriff's posse of sixteen-year old GIRLS, come laughing, blushing towards the classroom. One of them is talking excitedly to the other. SOPHIE I'm just going to pretend I've been here for years, I'm not going to behave in any special way. GIRL You just wait. You wait and see. They smile together and head for the classroom. INT. SCHOOL. DAY The BOYS are already in place, dotted round, as the GIRLS come in. There are cries of `Here they come'. Then the TEACHER comes in. TEACHER Good morning, ladies. Gentlemen, please welcome your new fellow- students, treat them with courtesy, please. Not far from MICHAEL, a GIRL sits across the aisle, virginal with brown hair, brown summer skin. SOPHIE Hello. My name's Sophie. MICHAEL I'm Michael. The TEACHER comes in. The class quietens. INT. SCHOOL. DAY Later. The TEACHER is in full flow. MICHAEL can't take his eyes off SOPHIE. TEACHER Everyone believes that Homer's subject is homecoming. In fact, The Odyssey is a book about a journey. Home is a place you dream of, it's not a place you ever attain. The TEACHER breaks off. 26. TEACHER Berg, I don't mean to distract you, but we're meant to studying Homer, not studying Sophia. The whole class cracks up. MICHAEL blushes. EXT. SWIMMING LAKE. DAY MICHAEL is riveted as SOPHIE swims fast and lithe through the water. Around him, YOUNG PEOPLE are lounging round on towels. It's the social centre. HOLGER and RUDOLF are rubbing their hair with towels as SOPHIE approaches. HOLGER Michael the water's fantastic. MICHAEL It's wonderful, isn't it? HOLGER Wonderful. It's going to be a great summer. MICHAEL looks across to where a group of AMERICANS are shouting and playing a very loud game of volleyball. HOLGER Now the Americans have allowed us back in our own lake. SOPHIE Why are they so loud? HOLGER You should see their stores. They have everything. MICHAEL Oh sure. Everything mankind could ever dream of. SOPHIE You don't like Americans? MICHAEL Just it's more fun without them. He looks SOPHIE straight in the eye. There is a sudden silence, MICHAEL looking straight at SOPHIE. SOPHIE looks down. Then MICHAEL moves slightly to pack up his stuff. 27. SOPHIE Why do you leave early? HOLGER He always leaves early. EXT. BANHOFSTRASSE. DAY MICHAEL is cycling back towards town, a smile on his face. INT. HANNA'S APARTMENT. DAY MICHAEL flies up the stairs, then goes in. HANNA is sitting sewing. He kisses her on the cheek as he gets out a book. MICHAEL I'm sorry I'm late. I was held up at school. At once he sits down opposite her. A ritual. MICHAEL The Lady with the Little Dog. By Anton Chekhov. HANNA looks, seeing right through him. MICHAEL "The talk was that a new face had appeared on the promenade, a lady with a little dog." INT. GARAGE. DAY A huge tram-shed full of empty trams. HANNA is at the end of the garage, talking to the SUPERVISER, a large man in his fifties. SUPERVISER Schmitz, one moment. We've got good news for you. Your work is good, we're going to promote you. To work with me in the office. It's more money. Congratulations. He moves away. HANNA looks distraught. EXT. SWIMMING LAKE. DAY MICHAEL is watching SOPHIE swimming, a look of anxiety in his eye, when HOLGER touches his shoulder. 28. HOLGER Get a move on, we're leaving early today. MICHAEL Why? What for? HOLGER We're going back to Sophie's. It's your birthday. We're giving you a party. HOLGER and RUDOLF disappear to get dressed. SOPHIE appears in her swimming costume. SOPHIE Come on, it's a surprise. We thought you'd like it. We've been planning it for weeks. MICHAEL I'm sorry. Really. I promised someone I'd do something else. The others are furious with him. They all go off. EXT. STREET. DAY MICHAEL is cycling towards HANNA'S apartment, his hair wet from the lake, looking equally unhappy. INT. HANNA'S APARTMENT. DAY HANNA is sitting unhappily as MICHAEL reads to her. They are both in a bad mood. HANNA Oh kid, kid. Stop. MICHAEL What's wrong? HANNA Nothing's wrong. It's nothing. HANNA just shrugs. She goes and sits at the table to drink tea. MICHAEL is irritated. MICHAEL You never ask, you never bother to ask how I am. 29. HANNA You never say. MICHAEL It just happens to be my birthday. It's my birthday, that's all. In fact, you've never even asked when it is. HANNA Look if you want a fight, kid... MICHAEL No, I don't want a fight. What's wrong with you? HANNA What business is it of yours? She has snapped at him, razor-like. MICHAEL It's always on your terms. Everything. We do what you want. It's always what you want. My friends were giving me a party! HANNA Well then why are you here? Go back to your party. Isn't that what you want? HANNA puts down her cup, angry. She goes into the bedroom and slams the door. He sits, the magic of the day gone. He gets up and opens the bedroom door. HANNA is on the bed. MICHAEL And it's always me that has to apologize. Silence. HANNA lets time go by. Then : HANNA You don't have to apologize. No-one has to apologize. No-one can make you. HANNA reaches for a book from beside the bed. She throws it down on the cover. HANNA War and Peace, kid. 30. INT. HANNA'S APARTMENT. DAY HANNA is on the edge of the bath, running water. She has a pale blue flowered smock. She is running with sweat. The smock sticks to her. MICHAEL gets out a book. HANNA drops lavender oil into the bath. MICHAEL stands in the bath and she washes his body. INT. HANNA'S APARTMENT. DAY They are making love on the bed. It's intense. At one point she moves on top of him. She holds his head between her hands, as if she would crush the life out of him. Then she lets go. INT. HANNA'S APARTMENT. DAY They are both sweating, exhausted. She looks a moment. HANNA Now you must go back to your friends. INT. HANNA'S APARTMENT. DAY MICHAEL has gone. HANNA washes out milk bottles and empties them into the sink. Then she picks up her luggage and leaves the empty apartment. EXT. SWIMMING LAKE. DAY MICHAEL is sitting on the pier watching as HOLGER, RUDOLF and SOPHIE swim competitively out to a pontoon, then turn back, full of energy and high spirits. MICHAEL watches for a while, then suddenly he gets up and starts to run away from them all. SOPHIE Michael. You all right? But MICHAEL is running away across the lakeside beach. INT. LANDING & HANNA'S APARTMENT. DUSK MICHAEL opens the door. He goes in. The apartment is emptied, the rented furniture in place, all trace of HANNA gone. He looks round. He looks at the empty bath, the tap above it. He opens the kitchen cupboards - some coffee, sugar, that's about it. He goes into the bedroom, the bed stripped bare. He lies down on the bed. 31. INT. HANNA'S APARTMENT. NIGHT MICHAEL lying on the bed, curled up, in his clothes, like a foetus, asleep. INT. APARTMENT. DAY The family at breakfast. MICHAEL slips quietly in the main door, trying to go to his room without being heard. EMILY runs to look. EMILY It's him. Sheepishly MICHAEL appears. CARLA Where were you last night? What happened? MICHAEL I stayed at a friend's. PETER Carla. PETER looks. He seems to know exactly what's been going on. PETER Get the boy something to eat. I think we all knew you'd come back to us eventually. EXT. SWIMMING LAKE. DUSK MICHAEL is alone in the deserted pool. He is on the jetty. He takes off his clothes and slips into the water. Just his head, like a seal's, at one end, just out of the water, quite still. INT. COURTHOUSE. NIGHT 1995. MICHAEL sitting alone, thinking back. EXT. SWIMMING LAKE. DUSK 1958. The sun slants, and for a few seconds the water dazzles. He slips his head under. INT. COURTHOUSE. DAY 1995. MICHAEL still sitting thoughtfully by himself in the empty court. Then he looks up. An ASSISTANT has appeared. 32. ASSISTANT Mr Berg. It is eight o'clock. Your daughter. MICHAEL Thank you. He gets up. INT. BRASSERIE. BERLIN. NIGHT JULIA is already at the table in a chic modern brasserie. She is a sympathetic young woman of around 23. MICHAEL approaches. When she sees him, she gets up. JULIA I was early. MICHAEL leans in and kisses her on the cheek. MICHAEL Julia. They're uneasy. She looks a moment, then they sit down. MICHAEL Welcome back. INT. RESTAURANT. NIGHT Later. They have eaten. They both have big glasses of red wine. It's more relaxed. MICHAEL So how will you decide? JULIA I don't know. I'm happy back in Berlin, I suppose. MICHAEL You've seen your mother? JULIA nods. JULIA I wanted to get away. There was nothing more to it. It was Paris, but it could have been anywhere. MICHAEL Away from your parents? 33. JULIA doesn't answer. MICHAEL I'm aware I was difficult. I wasn't always open with you. I'm not open with anyone. JULIA I knew you were distant. I'd always assumed it was my fault. MICHAEL Julia. How wrong can you be? JULIA colours, on the verge of tears. Then she looks away. INT & EXT. CAR. NIGHT They drive through the gleaming streets. It's been raining - Berlin is glistening. Their voices : MICHAEL I admit it now, I was nervous. JULIA I was nervous too. It's silly isn't it? MICHAEL It is silly. JULIA Thank you for dinner. MICHAEL I'll see you very soon. EXT. CAR. DAY MICHAEL lets JULIA out, and is watching her safely to her door from the car. JULIA Good night, Dad. MICHAEL suddenly gets out himself. MICHAEL Julia, wait. I want to ask you a favour. JULIA What favour? 34. MICHAEL I want to take you on a trip. I want to show you something. JULIA When? MICHAEL Tomorrow, maybe. Can I pick you up in the car? JULIA doesn't need to say anything. MICHAEL At ten, say. JULIA smiles. MICHAEL Then good. MICHAEL hugs her, his heart aching with love. JULIA goes in to her place. MICHAEL is left standing still in the plaza outside, not moving. Underneath the sound of what follows, thirty years previously. INT. LECTURE ROOM. HEIDELBERG LAW SCHOOL. DAY 1966. A WOMAN LECTURER has a class of about 75 STUDENTS. From their hair, their dress, it could only be the 1960s. LECTURER Those of you for the special seminar group on The Legal System in the Third Reich, please stay on in this room. Professor Rohl will be here in a moment. Nearly all the STUDENTS leave, talking among themselves. Just eight are left, dotted around the huge room. MICHAEL is one of them, now 22, in a corduroy jacket and tie. There is a lull. MICHAEL looks round at the group of oddballs, then finds ROHL, distinguished, greying, is already in front of them. ROHL Well, we seem to be quite a small group. A small group and a select one. Clearly, this is going to be a unique seminar. Let me start by thanking those of you who've chosen to take part. Good for you. A reading list, gentlemen. (MORE) 35. ROHL (cont'd) Karl Jaspers, The Question of German Guilt... A calm STUDENT with long hair smiles at MICHAEL. She looks like Francoise Hardy. She murmurs. MARTHE And ladies. INT. STUDENT DIGS. NIGHT MICHAEL is working alone at his desk, a light on. The door of his extremely modest student digs is open. MARTHE appears at the door, silently. He looks up. MARTHE So this is where you are. MICHAEL Yes. Come in. But neither of them move. MARTHE just smiles from the door. MARTHE You take work seriously. MICHAEL Oh I don't know. MARTHE You're rather a serious boy. MARTHE shrugs slightly. MICHAEL It's how I was brought up. What about you? Are you serious? MARTHE You're sure you want to work tonight? MICHAEL Well I do. But I won't work every night. MARTHE See you tomorrow. They smile at one another. She goes. 36. INT. TRAIN. DAY The seminar group, long-haired, hippyish, is on the train : PROFESSOR ROHL, with MARTHE, DIETER and a few others. MICHAEL catches MARTHA'S eye. They smile. Then he opens the window, cheerful. EXT. TOWN HALL. MANNHEIM. DAY The STUDENTS are having a cigarette in front of the huge building. Two black vans with barred windows come by, carrying prisoners. The first one veers close to MICHAEL on the pavement, then disappears into the inner courtyard. ROHL smiles at MICHAEL. MICHAEL Why all the police? ROHL They're worried about demonstrators. MICHAEL For or against? ROHL Both. INT. TOWN HALL. DAY A courtroom has been improvised inside the town hall. There are large windows, with milky glass, down the left-hand side. As ROHL and the STUDENTS arrive, the court is a melee of PHOTOGRAPHERS, LAWYERS and PUBLIC. The three JUDGES are already in place, next to six selected CITIZENS. MICHAEL and the others take places in the gallery CLERK All photographers are now asked to leave. The PHOTOGRAPHERS go. JUDGE The defendants, please. From being noisy and chaotic, the court is now silent. JUDGE The first thing I'm going to do is hear motions from each of the defendants' lawyers. (MORE) 37. JUDGE (cont'd) They're going to be arguing that there's no reason to keep the defendants in jail until the outcome of the forthcoming trial. DIETER grins at MICHAEL in anticipation. JUDGE I am going to take these cases one by one. MICHAEL is leaning down to get stuff out of his briefcase, as MARTHE shakes a pen which isn't working. MICHAEL Do you want a pen? MARTHE I've got a pen. So MICHAEL doesn't hear as the JUDGE speaks. JUDGE Hanna Schmitz. There is a row of six DEFENDANTS. The fifth woman is HANNA, her hair tied in a knot, her gaze fixedly into the middle distance, not looking towards the SPECTATORS. She is wearing a grey dress with short sleeves. They all sit, sideways to the gallery. HANNA rises to her feet. The words seem to come very quietly, across a great distance. JUDGE Your name is Hanna Schmitz? HANNA Yes. It is only when the JUDGE repeats the name that MICHAEL looks up, hearing it for the first time. JUDGE Can you speak louder please? HANNA My name is Hanna Schmitz. MICHAEL is rigid, blank, just staring. JUDGE Thank you. You were born on October 21st, 1922? 38. HANNA Yes. JUDGE At Hermannstadt. And you're now 43 years old? HANNA Yes. JUDGE You joined the SS in 1943? HANNA Yes. JUDGE What was your reason? What was your reason for joining? HANNA doesn't answer. JUDGE You were working at the Siemens factory at the time? HANNA Yes. JUDGE You'd recently been offered a promotion. Why did you prefer to join the SS? HANNA has a DEFENCE COUNSEL, a young man, beside her, who is about to get up. But the JUDGE forestalls him. JUDGE I'll re-phrase my question. I'm trying to ascertain if she joined the SS freely. Of her own free will. Everyone waits. JUDGE Well? HANNA I heard there were jobs. JUDGE Go on. 39. HANNA I was working at Siemens when I heard the SS was recruiting. JUDGE Did you know the kind of work you'd be expected to do? HANNA They were looking for guards. I applied for a job. MICHAEL is intent now, so are the STUDENTS beside him. JUDGE And you worked first at Auschwitz? HANNA Yes. JUDGE Until 1944. Then you were moved to a smaller camp near Cracow? HANNA Yes. ROHL leans into MICHAEL. ROHL Are you OK? MICHAEL I'm fine. JUDGE You then helped move the prisoners west in the winter of 1944 in the so-called death marches? INT. TRAIN. DAY MICHAEL is hanging out of the window of the train, smoking a cigarette. INT. TRAIN. DAY MICHAEL sits down in his seat. ROHL moves to sit opposite him. ROHL So what did you think? 40. MICHAEL I don't know. It wasn't quite what I expecting. ROHL Wasn't it? In what way? What were you expecting? ROHL is looking at him. MICHAEL doesn't answer. DIETER I thought it was exciting. ROHL Exciting? DIETER Yes. ROHL Why? Why did you think it exciting? DIETER Because it's justice. EXT. COUNTRYSIDE. DAY The train hurtles through the German countryside. INT. STUDENT DIGS. NIGHT A student party, in a candle-lit room. MARTHE is singing to a guitar. It's been going on for hours - the STUDENTS are on the floor with beer and cigarettes. The front door is open. DIETER, beer in hand, looks out to the balcony where he can see MICHAEL bent away from them, all by himself. EXT. STUDENT DIGS. NIGHT MICHAEL, his arms on the balcony, is smoking, looking out into the night. His eye lands on a student room in which a couple are making love. INT. LECTURE ROOM. HEIDELBERG LAW SCHOOL. DAY The small STUDENT GROUP is now rattling around informally in the big lecture room. ROHL I need to correct an impression. Dieter said yesterday this was about justice. But is it? (MORE) 41. ROHL (cont'd) If it were about justice you might ask why has it taken so long? The war ended twenty years ago. Remember, there've been no significant trials between Nuremburg in 1946 and the Auschwitz trials a couple of years ago. That's a long gap. What's the reason for the gap? ROHL waits a moment for a STUDENT to answer. DIETER I'd have thought it was obvious. ROHL Say. DIETER Cowardice. It's cowardice, isn't it? It's bad conscience. It's the big cover-up. ROHL Go on. DIETER After the war. The German people didn't want to look at what they'd done. ROHL Is that right? DIETER Because they had too much to hide. All our parents are liars. All right, mine are. So it's left to us, isn't it? ROHL How so? DIETER Because we're not implicated. ROHL Aren't you? Good. So that's all right then. Everyone laughs. 42. MARTHE No, but seriously, Dieter's right. My parents, I can't even talk to them. I don't love them. How could I? How could anyone love them? Because they've told themselves so many lies, they can't remember the truth, let alone admit it. Isn't that why we signed up for this seminar? ROHL I don't know. You tell me. MARTHE Speaking for myself. ROHL Michael? MICHAEL I'm not sure any more. ROHL is staring at him thoughtfully. ROHL What did your father do, Dieter? DIETER If you want to know, he was in the Waffen SS. There are some smiles, but DIETER rides over the reaction. DIETER That's what I mean, that's what I'm saying. So were a million other Germans. ROHL That's exactly my point. That's why it's better not to pretend this is about justice. Forgive me, nor is it about getting into an emotional state. It has no purpose if it's just the young giving their parents a bad time. There's a silence. That's clearly why some of them are there. MARTHE So what is it about? What do you think? 43. ROHL Societies think they operate by something called morality. But they don't. They operate by something called law. You're not guilty of anything merely by working at Auschwitz. 8,000 people worked at Auschwitz. Precisely 19 have been convicted, and only 6 for murder. To prove murder you have to prove intent. That's the law. Remember, the question is never `Was it wrong?' but `Was it legal?' And not by our laws, no, by the laws at the time. DIETER frowns, unhappy. DIETER But isn't that... ROHL What? DIETER Narrow? ROHL Yes. The law is narrow. ROHL looks unapologetic. ROHL On the other hand, I suspect people who kill other people tend to be aware that it's wrong. INT. COURTROOM. MANNHEIM. DAY ROHL is leaning forward, attentive. HANNA is standing, opposite the JUDGE, who holds up a book called MOTHER & DAUGHTER : A STORY OF SURVIVAL. JUDGE Miss Schmitz, you're familiar with this book... HANNA Yes... JUDGE Parts of it have already been read out in court. (MORE) 44. JUDGE (cont'd) It's an American publication, which has been translated. It's by a survivor, a prisoner who survived, Ilana Mather... HANNA Yes I know. I know Ilana Mather. JUDGE She was in the camp, wasn't she, when she was a child? She was with her mother. The judge waits. HANNA seems arrogant, defiant. JUDGE In the book, she describes a selection process. At the end of the month's labour, every month, sixty inmates were selected. They were picked out to be sent from the satellite camp back to Auschwitz. That's right, isn't it? HANNA Yes, it's right. JUDGE And so far, each of your fellow defendants has specifically denied being part of that process. Now I'm going to ask you. Were you part of it? HANNA Yes. There is a stir among the other DEFENDANTS and in the court. They start talking to their LAWYERS. JUDGE So you helped make the selection? HANNA Yes. JUDGE You admit that? Then tell me, how did that selection happen? HANNA shrugs slightly, as though it were obvious. 45. HANNA There were six guards, so we decided we'd choose ten people each. That's how we did it - every month. We'd all choose ten. JUDGE Are you saying your fellow defendants took part in the process? HANNA We all did. JUDGE Even though they've denied it? But you admit it. You're saying you took part in the process. The other DEFENDANTS stir with animosity, but the JUDGE is intent, following his own line. JUDGE Did you not realise you were sending these women to their deaths? He waits. HANNA nods slightly. HANNA Yes but there were new arrivals, new women were arriving all the time, so of course we had to move some of the old ones on. JUDGE I'm not sure you understand... HANNA We couldn't keep everyone. There wasn't room. The JUDGE frowns, genuinely surprised that she doesn't seem to understand his point. JUDGE No, but what I'm saying : let me rephrase : to make room, you were picking women out and saying `You you and you have to be sent back to be killed.' 46. HANNA Well, what would you have done? HANNA is looking at the JUDGE - a perfectly straight question. MICHAEL smiles slightly, proud of her. Everyone in the court waits for the JUDGE to answer. Silence. ROHL is impassive. But HANNA follows her own thoughts. She quietly asks herself a question. HANNA So should I never have signed up at Siemens? INT. LOBBY. TOWN HALL. DAY MICHAEL is alone, smoking. On a bench, side by side, are two women. One is very small, dark, in her sixties. The other is composed, formidable, elegant, in her thirties. ROSE and ILANA MATHER. They look up, catching MICHAEL's eye. Then a CLERK leans in to the younger woman. CLERK Ms. Mather, they're ready for you now. The two women go into the court. The door closes. INT. LOBBY & COURTROOM. DAY MICHAEL is alone in the now-deserted lobby, unwilling to go back. Then he goes to the door. He opens it a little. The sound of the trial. He opens the door fully. MICHAEL can see that it is ILANA who is testifying. The court is conspicuously packed. Large black-and-white photographs of the labour camp now dominate the room. MICHAEL comes quietly into the back of the room as the trial goes on. MICHAEL has pushed past a couple of people to sit down near ROSE who is sitting in the body of the court. He looks across to the DEFENDANTS. RITA BECKHART, a large older woman, is one of a couple who isn't bothering to listen. PROSECUTOR In your book you describe the process of selection... ILANA Yes. You were made to work and then, when you were no longer any use to them, then they sent you back to Auschwitz to be killed. 47. PROSECUTOR Are there people here today who made that selection? ILANA Yes. PROSECUTOR I need you to identify them. Can you please point them out? ILANA points with her finger at the DEFENDANTS. ILANA Her. And her. And her. And her. And her. And her. The last finger has been to HANNA. MICHAEL watches, but HANNA does not react. ILANA Each of the guards would choose a certain number of women. Hanna Schmitz chose differently. JUDGE In what way differently? ILANA She had favourites. Girls, mostly young. We all remarked on it, she gave them food and places to sleep. In the evening, she asked them to join her. We all thought - well, you can imagine what we thought. HANNA stares back, impassive. MICHAEL watches. ILANA Then we found out - she was making these women read aloud to her. They were reading to her. At first we thought this guard, this guard is more sensitive, she's more human, she's kinder. Often she chose the weak, the sick, she picked them out, she seemed to be protecting them almost. But then she dispatched them. Is that kinder? HANNA looks back, not apologizing. 48. INT. LOBBY. TOWN HALL. DAY MICHAEL sits alone, head in hands, in despair. INT. COURTROOM. DAY Now ROSE is testifying. The court is quiet, focused. JUDGE I want to move on now to the march. As I understand it, you and your daughter were marched for many months. ROSE Yes. It was the winter of 1944. Our camp was closed down, we were told we had to move on. But the plan kept changing every day. Women were dying all around us in the snow. Half of us died on the march. My daughter says in the book, less a death march, more a death gallop. MICHAEL looks along the row to where ILANA is now sitting. JUDGE Please tell us about the night in the church. MICHAEL watches as ROSE looks across to ILANA. ILANA stares back at her. MICHAEL watches the exchange as ROSE nods, as if accepting she must go ahead and speak. ROSE That night we actually thought we were lucky because we had a roof over our heads. We'd arrived in a village, as always, the guards took the best quarters, they took the priest's house. But they let us sleep in a church. There was a bombing raid. In the middle of the night. At first we could only hear the fire, it was in the steeple. Then we could see burning beams, and they began to crash to the floor. Everyone rushed, rushed to the doors. But the doors had been locked on the outside. 49. JUDGE The church burned down? Nobody came to open the doors? Is that right? ROSE Nobody. JUDGE Even though you were all burning to death? ROSE nods. JUDGE How many people were killed? ROSE Everyone was killed. JUDGE How did you survive? ROSE I needed to get away from the other women. Because they were panicking, they were screaming. I couldn't stand it. I couldn't stand their screaming. I was more frightened of the other women than I was of the fire. So I too my daughter and led her to the upper floor. I can't defend what I did. It's impossible to defend. I took Ilana in my arms and I led her towards the fire. There was a small gallery at the side of the church on the upper level. It saved our lives. The gallery didn't burn. ROSE turns, in tears, to look at ILANA. JUDGE Thank you. I want to thank you for coming to this country today to testify. INT. LECTURE ROOM. LAW SCHOOL. DAY The group is back in the big hall. But the atmosphere is grim. It's a while before DIETER speaks. 50. DIETER I don't know. I don't know what we're doing any more. ROHL Don't you? DIETER You keep telling us to think like lawyers, but there's something disgusting about this. ROHL is very still, like an analyst who is finally leading his patient to the heart of things. ROHL How so? DIETER This didn't happen to the Germans. It happened to the Jews. Everyone is shocked at his violent passion. DIETER What are we trying to do? MICHAEL We're trying to understand. DIETER Six women locked three hundred Jews in a church, and let them burn. What is there to understand? Tell me, I'm asking : what is there to understand? MICHAEL can't answer. DIETER gets up, outraged now. DIETER I started out believing in this trial, I thought it was great, now I think it's just a diversion. ROHL Yes? Diversion from what? DIETER You choose six women, you put them on trial, you say `They were the evil ones, they were the guilty ones'. Brilliant! (MORE) 51. DIETER (cont'd) Because one of the victims happened to write a book! That's why they're on trial and nobody else. Do you know how many camps there were in Europe? DIETER turns, furious. DIETER People go on about how much did everyone know? `Who knew?' `What did they know?' That isn't the question. The question is `How could you let it happen?' And - better - `Why didn't you kill yourself when you found out?' One of the group walks out. DIETER Thousands! That's how many. There were thousands of camps. Everyone knew. DIETER'S passion is so great that everyone is shaken. DIETER Look at that woman... MICHAEL Which woman? DIETER The woman you're always staring at. I'm sorry but you are. MICHAEL is white. The atmosphere is electric. MICHAEL I don't know which woman you mean. DIETER You know what I'd do? Put the gun in my hand, I'd shoot her myself. EXT. EMPTY ROAD. DAY MICHAEL walks along an empty wooded road, miles from anywhere. The sun is shining through the trees behind him. 52. EXT. STRUTHOF CAMP. DAY The wire fence of a concentration camp, deserted. MICHAEL, with a back-pack, goes alone through the metal gate. MICHAEL walks among the deserted empty huts. INT. STRUTHOF CAMP. DAY Inside one of the huts, MICHAEL is by himself staring at a line of empty beds. He moves on, overwhelmed, lost. He passes through the showers. Then he comes to a room with vast metal cages on either side. In the cages, the countless dusty shoes of the exterminated. INT. STRUTHOF CAMP. DAY MICHAEL opens a door and walks into a room with a line of gas ovens. He walks past them. Then he stands beside them, his head down. INT. COURTROOM. DAY HANNA is standing being examined by the JUDGE. Large photographs and maps of the village, with the lay-out of the church, are now on display. JUDGE Why did you not unlock the doors? He waits. HANNA doesn't reply. JUDGE Why did you not unlock the doors? The JUDGE turns to the row of DEFENDANTS. JUDGE I've asked all of you and I'm getting no answer. Two of the victims are in this court. They deserve an answer. ILANA and ROSE are not far away from MICHAEL and the STUDENTS. The JUDGE puts down a bound handwritten document. JUDGE Here, this is the SS report. You all have copies. There is a flurry of paperwork among the DEFENDANTS and LAWYERS as they turn to their copies. 53. JUDGE This is the report which was written, approved and signed by all of you immediately after the event. In the written report, you all claim you didn't even know about the fire until after it happened. But that isn't true, is it? The JUDGE waits. JUDGE Well? It isn't true. HANNA I don't know what you're asking. JUDGE The first thing I'm asking is, why didn't you unlock the doors? HANNA takes a look to the other DEFENDANTS. For the first time her poise is crumbling. HANNA Obviously. For the obvious reason. We couldn't. JUDGE Why? Why couldn't you? HANNA We were guards. Our job was to guard the prisoners. We couldn't just let them escape. JUDGE I see. And if they escaped, then you'd be blamed, you'd be charged, you might even be executed? HANNA No. JUDGE Well then? The JUDGE waits. HANNA If we opened the doors, then there would have been chaos. How could we have restored order? (MORE) 54. HANNA (cont'd) It happened so fast. It was snowing. The bombs - There were flames all over the village. Then the screaming began. It got worse and worse. And if they'd all come rushing out, we couldn't just let them escape. We couldn't. We were responsible for them. JUDGE So you did know what was happening? You did know? You made a choice. You let them die rather than risk letting them escape. HANNA can't answer - she has no answer. JUDGE The other defendants have made an allegation against you. Have you heard this allegation? HANNA does not reply. JUDGE They say you were in charge. HANNA It isn't true. I was just one of the guards. The other DEFENDANTS interrupt to call out `She was in charge'. JUDGE Did you write the report? HANNA No. No. We all discussed what to say. We all wrote it together. BECKHART She wrote it! She wrote the report. She was in charge. JUDGE Is that true? HANNA No. And I didn't write the report. Does it matter who did? RITA BECKHART has called out from her place. The JUDGE looks at HANNA a moment. 55. JUDGE I need to see a sample of your handwriting. HANNA My handwriting? JUDGE Yes. I need to establish who wrote the report. At once HANNA'S COUNSEL rises. HANNA'S COUNSEL I'm sorry, but I really don't see how that's appropriate. Nearly twenty years have gone by. JUDGE Somebody take her this piece of paper. HANNA'S COUNSEL Are you really going to compare handwriting of twenty years ago, with handwriting of today? JUDGE Give her the paper. Counsel, approach the bench. A piece of paper and a pen are put down in front of HANNA. Her COUNSEL moves to the bench. MICHAEL stares, first at her, then at the pen and paper, an apprehension rising in him. INT & EXT. DAY AND NIGHT. FLASHBACKS MICHAEL thinks back, to HANNA in her bedroom saying `No you read', to her looking puzzled at the menu on the bicycle trip, and to her throwing a book away in the apartment. At this moment, MICHAEL realises she is illiterate. INT. COURTROOM. DAY Back in the courtroom, HANNA looks up to the JUDGE to stop the conference. HANNA There's no need. I wrote the report. 56. MICHAEL, in a panic, pushes along his row, past ROHL and the others, who all look up, knowing something is going on. HANNA turns, as if sensing him behind her. INT. STAIRS. HEIDELBERG LAW SCHOOL. DAY MICHAEL is sitting on the steps outside the lecture room. ROHL walks straight past him. ROHL You've been skipping seminars. INT. LECTURE ROOM. HEIDELBERG LAW SCHOOL. DAY MICHAEL comes into the room and sits down, smoking a cigarette. ROHL waits. ROHL So? MICHAEL looks at him. MICHAEL I have a piece of information. Concerning one of the defendants. Something they're not admitting. ROHL What information? MICHAEL stubs out his cigarette. ROHL You don't need me to tell you. It's perfectly clear you have a moral obligation to disclose it to the court. MICHAEL It happens this information is favourable to the defendant. It can help her case. It may even affect the outcome, certainly the sentencing. ROHL So? MICHAEL There's a problem. The defendant herself is determined to keep this information secret. 57. Two STUDENTS come in for the seminar. ROHL A moment, please. Please. Chastened, they leave. ROHL What are her reasons? MICHAEL Because she's ashamed. ROHL Ashamed? Ashamed of what? MICHAEL doesn't answer. ROHL Have you spoken to her? MICHAEL Of course not. ROHL Why of course not? MICHAEL I can't. I can't do that. I can't talk to her. ROHL What we feel isn't important. It's utterly unimportant. The only question is what we do. ROHL gets up. ROHL If people like you don't learn from what happened to people like me, then what the hell is the point of anything? INT. REMAND CELL. EVE HANNA is sitting on the edge of her bed. A GUARD comes to the door. GUARD You have a visitor. Michael Berg. HANNA is taken aback for a moment. Then she gets up. 58. EXT. PRISON WAITING ROOM. DAY MICHAEL is standing smoking a cigarette in the waiting area. A whole number of visitors, old people, children, families are waiting. Some kids are playing with a football. Then a GUARD arrives and calls out names. MICHAEL's name is called. INT. MEETING ROOM. PRISON. DAY HANNA is led swiftly down a prison corridor towards her meeting and sat down at a desk to wait. EXT. PRISON YARD. DAY MICHAEL is led in the GROUP towards the visiting room. It has come on to snow. As he walks towards the room, he loses heart. He changes his mind. The rest of the GROUP go on, as he falls behind, watching them go. He begins to turn back. INT. MEETING ROOM. PRISON. DAY. HANNA sits down at the empty table, waiting. EXT. PRISON YARD. DAY MICHAEL turns away and heads back the way he came. INT. MEETING ROOM. PRISON. DAY HANNA looks round. Nobody is coming. She waits more. GUARD Time's up. INT. PRISON. EVE HANNA is still waiting. Then she is led back to her cell. INT. MARTHE'S ROOM. STUDENT DIGS. NIGHT MICHAEL appears at the door of MARTHE'S room. She is working at her desk. He smiles and closes the door. MARTHE You've taken your time. They kiss. She starts to pull his clothes off. He lets her. He makes no move to undress her. She takes all his clothes off until he is naked, and she remains clothed. He looks at her a moment, then takes her in his arms and they go down on the bed. They make love. 59. INT. MARTHE'S ROOM. NIGHT MARTHE is apparently asleep, MICHAEL awake. As quietly as he can MICHAEL tries to slip away. MARTHE Where are you going? MICHAEL I'm sorry. I need to sleep by myself. INT. REMAND CELL. DAWN HANNA is standing naked at the sink, preparing herself for the day. INT. STUDENT DIGS. MICHAEL'S ROOM. DAWN MICHAEL is lying in his own bed, staring up at the ceiling, not able to sleep. MICHAEL reluctantly pushes back the cover and gets naked out of bed. Slowly he begins to dress. INT. REMAND CELL. DAY HANNA washes herself, naked. INT. STUDENT DIGS. DAY MICHAEL is dressed now. He stands in front of his mirror, adjusting his tie. INT. REMAND CELL. DAY HANNA stands in front of the mirror, tying her tie. There is a small, inadequate mirror in which she checks her dress - a black suit, a white blouse and black tie. She looks very formal. INT. PRISON. DAY HANNA is led through the prison by a GUARD. EXT. TOWN HALL. DAY A lot of people heading into the courtroom. As the seminar group goes in, MICHAEL hangs back. ROHL looks at him as he goes through the doors. MICHAEL is left outside, then goes to watch as the vans arrive. 60. INT. COURTROOM. TOWN HALL. DAY HANNA and the PRISONERS are led into the court. HANNA'S suit is so formal that members of the public call out. `Nazi! Nazi!' DIETER leans in to MARTHE. HANNA walks on to her place. INT. COURTROOM. DAY Everyone rises as the JUDGES come in to take their places. HANNA's face is resigned, without expression. The JUDGES sit. The whole court goes quiet. JUDGE The court finds guilty the defendants Rita Beckhart, Karolina Steinhof, Regina Kreutz, Angela Zieber, Andrea Luhmann jointly aiding and abetting murder in three hundred cases. The court finds the defendant Hanna Schmitz guilty of murder in three hundred cases. There are tears in MICHAEL's eyes as he watches. JUDGE The court sentences the accused as follows. Rita Beckhart, Karolina Steinhof, Regina Kreutz, Angela Zieber, and Andrea Luhmann, you will each serve a total sentence in prison of four years and three months. ROHL, MARTHE, DIETER and the students are looking down on the sentencing. MICHAEL is crying. JUDGE Hanna Schmitz, in view of your own admissions and your special role, you are in a different category. The court sentences the accused Schmitz to imprisonment for life. HANNA is impassive, not reacting. Then she turns and looks up to the gallery. EXT. COURTHOUSE. DAY MICHAEL walks away through the cameras and news crews. 61. INT. TRAIN. DAY MICHAEL sits on the train, thinking. The younger MICHAEL becomes the older. INT. TRAIN. DAY 1976. MICHAEL is sitting beside JULIA. MICHAEL is 32, JULIA is a bright little 4 year-old in a coat. The countryside speeding by. JULIA Where are we going? MICHAEL I said : I'll tell you when we get there. You told me you liked surprises. JULIA I like surprises. EXT. BLUMENSTRASSE. DAY MICHAEL walks with JULIA towards their old house. He looks round, the memory of coming with HANNA as a sick boy 18 years earlier clear in his mind. The same landmarks. INT. DINING ROOM. BERG APARTMENT. DAY They are all three eating at the dinner table, eating a small roast chicken. MICHAEL She's grown, hasn't she? CARLA I don't know. It's so long since I saw her, Michael, how can I tell? MICHAEL My fault. We shouldn't have come unannounced. JULIA Daddy, why's she angry? MICHAEL smiles. Even CARLA smiles slightly. MICHAEL I'm afraid I've have some bad news. Julia knows. (MORE) 62. MICHAEL (cont'd) We've already told her. Gertrud and I are getting a divorce. JULIA Daddy's going to live in his own house. CARLA You didn't come for your father's funeral, but you come for this? MICHAEL You know, it's not easy for me to visit this town. CARLA Were you really so unhappy? MICHAEL That's not what I'm saying. It's not what I meant. CARLA Well then? CARLA looks at him hard. MICHAEL You mustn't worry about Gertrud. I'm going to look after her. And anyway, let's face it, she's already a state prosecutor, she earns far more than I do. CARLA Michael, I'm not worried about Gertrud. I'm worried about you. INT. TRAIN. EVE Exhausted by her day, JULIA is sleeping in MICHAEL'S arms. He looks down at her, full of love. EXT. SCHONEBERG. BERLIN. NIGHT On the other side of a busy Berlin street full of traffic, MICHAEL holds JULIA'S hand, a loving father, to guide her across the street. INT. LANDING. GERTRUD'S APARTMENT. BERLIN. NIGHT GERTRUD has come to the door, a shrewd-looking intelligent woman, a little older than MICHAEL, very thin, in slacks and a blouse. MICHAEL is standing outside with JULIA. 63. JULIA Hello Mummy. GERTRUD Hello beautiful. GERTRUD leans down and scoops JULIA up, kisses her. MICHAEL stands on the step, hovering. GERTRUD Do you mind if I don't ask you in? MICHAEL I don't mind at all. I've a lot to do, in fact. It doesn't look like it. He stands, not going. MICHAEL I took her to see where I grew up. GERTRUD You went to the West? My God, what a trip. JULIA We went to say hello to granny. GERTRUD Oh. Daddy took you to see Carla, did he? JULIA She was strange. GERTRUD Come on, let's see what's on TV. GERTRUD gives JULIA her supper and puts her in front of the TV. Then she comes back to MICHAEL. GERTRUD I bet she was strange. MICHAEL You could say. GERTRUD She always was. Why on earth did you decide to do that? MICHAEL I don't know. Impulse. 64. GERTRUD says nothing. MICHAEL I suppose if I'm honest we went because I wanted to re-establish contact. GERTRUD With your mother? And did you succeed? They both smile. MICHAEL Are you all right? He touches her arm. GERTRUD Michael you're meant to be an intelligent man. Don't you know, it's very hard to receive contact if you're not willing to give it? GERTRUD looks level, not unkind. GERTRUD Say goodbye to Julia. JULIA Goodbye, Daddy. MICHAEL turns to say goodbye. INT. MICHAEL'S APARTMENT. KREUZBERG. NIGHT MICHAEL standing in the empty room. It's eerily silent. He goes to his bookcase. He runs his fingers along the spines, as HANNA once did. He takes out a paperback of the Odyssey. He looks at it a moment, then he starts to read to himself. MICHAEL "Sing to me of the Man, Muse, the man of twists and turns Driven time and again off course, once he had plundered The hallowed heights of Troy... He sits back. 65. INT. HANNA'S CELL. DAWN HANNA is in her cell, folding her blanket. She is 53, a new austerity, a greyness about her. Her cell is modern, but without decoration. INT. PRISON. CORRIDOR. DAY A GUARD comes along the corridor, calling out `Mail'. She leans into Hanna's cell to tell her she has mail. HANNA is obviously surprised. INT. MAIL ROOM. PRISON. DAY HANNA reports to the mail room where she is given a big parcel, which she is told to open. Inside, a huge batch of casette tapes and a tape machine. INT. CELL. DAY HANNA is opening the box, taking out the tapes. INT. MICHAEL'S APARTMENT. EVE MICHAEL gets out a tape machine. INT. CELL. DAY In her cell HANNA takes out the machine. INT. MICHAEL'S APARTMENT. EVE MICHAEL holds the microphone. MICHAEL Testing. Testing. 1-2-3. INT. CELL. DAY HANNA puts a cassette into the machine. MICHAEL'S VOICE The Odyssey by Homer. In panic, she turns it off. INT. MICHAEL'S APARTMENT. EVE MICHAEL presses the recording button and speaks into the machine. 66. MICHAEL The Odyssey by Homer. "Sing to me of the Man, Muse, the man of twists and turns Driven time and again off course, once he had plundered The hallowed heights of Troy... Many cities of men he saw and learned their minds, Many pains he suffered, heartsick at the open sea, Fighting to save his life and bring his comrades home... INT. MICHAEL'S APARTMENT. NIGHT Later. MICHAEL is now walking up and down, in his shorts and T-shirt, microphone in hand, still reading. MICHAEL "Ah, how shameless - the way these mortals blame the gods. From us alone, they say, come all their miseries... INT. BEDROOM. NIGHT Middle of the night. MICHAEL is lying on his back, still reading. MICHAEL "Who are you? Where are you from? Your city? Your parents? I'm wonderstruck - you drank my drugs, you're not bewitched..." INT. LIVING ROOM. DAY MICHAEL takes a cassette and puts it into a white box. He writes on the side ODYSSEY 6. Then he reaches up to put it on a shelf next to boxes separately marked ODYSSEY 1,2,3,4,5. Then he takes out a small notebook and cross-references the new tape in a handwritten list. INT. CELL. NIGHT It's dark. HANNA is lying on the bed. MICHAEL'S VOICE Zeus from the very start, the thunder king Has hated the race of Atreus with a vengeance - (MORE) 67. MICHAEL'S VOICE (cont'd) His trustiest weapon women's twisted wiles... HANNA smiles with pleasure at his reading. INT & EXT. MONTAGE. DAY & NIGHT A montage of MICHAEL reading and HANNA listening. MICHAEL is reading different books. He is animated now, excited. There are extracts from The Old Man and the Sea (Hemingway) ; Anatol (Schnitzler) ; The World of Yesterday (Zweig) and Doctor Zhivago (Pasternak). MICHAEL catching fire with excitement with what he is doing. HANNA collecting the tapes from the mail room and organizing on her shelves - her library growing. INT. CELL. NIGHT HANNA is lying in bed listening to a new tape. MICHAEL The Lady with the Little Dog, by Anton Chekhov. "The talk was that a new face had appeared on the promenade, a lady with a little dog..." EXT. EXERCISE YARD. PRISON. DAY HANNA is walking round with other PRISONERS, in sequence. Suddenly she stops dead, an idea hitting her. INT. PRISON LIBRARY. DAY The library is right next to the mail room. HANNA walks past the mail room and goes to the library counter. HANNA I want to take out a book. LIBRARIAN Which book? HANNA Do you have The Lady with the Little Dog? LIBRARIAN What's your name? HANNA Hanna Schmitz. 68. The LIBRARIAN goes to get it. HANNA stands, waiting and looks at the stacks of books, for the first time seeing possibility. INT. CELL. DAY HANNA is back in the cell. She puts down a new parcel and a book. She puts the parcel to one side, then opens the book. She then winds back the tape which is already in the recorder. MICHAEL'S VOICE The Lady with the Little Dog, a story by Anton Chekhov. The talk was... She turns off the tape. She runs her finger along the title `The Lady with the Little Dog'. She gets down a small decorated metal tin, and takes a pencil from it. She starts making the sounds. `The', `the', `the'... L, L, L, etc. INT. CELL. NIGHT HANNA is working now, circling the word `the' each time it comes in the book. The book is covered in marks. EXT & INT. MICHAEL'S APARTMENT. EVE 1981. MICHAEL is coming down a busy Kreuzberg street. He is 37. He goes into his block. He opens the door : the place is much more lived-in. He picks up his mail. Thumbing through it, he sees a letter in childish handwriting. MICHAEL frowns, opening it and taking out a piece of paper. INT. MICHAEL'S APARTMENT. EVE MICHAEL is holding a letter. He looks down at the writing : `Thanks for the latest, kid. I really liked it.' He stares, then puts it down and steps back stunned. INT. CELL. DAY HANNA stands with a new package. She opens it excitedly. She takes out tapes. She looks for writing, a letter. There is none. She turns the packing paper over and over, but there's nothing. She stands, desolate. INT. CELL. PRISON. NIGHT. MONTAGE HANNA effortfully writing various letters - just a single message on each. The pen working agonizingly across the paper. First : 69. I WOULD LIKE MORE ROMANCE, LESS ADVENTURE Next: I AM NOT SURE WHAT KAFKA IS SAYING INT. MICHAEL'S APARTMENT. BEDROOM. NIGHT MICHAEL continuing to read to her on the machine. INT. CELL. PRISON. NIGHT. MONTAGE HANNA still writing. DO YOU STILL LIKE DICKENS? Then finally, many attempts at the same sentence, written many times : DO YOU RECEIVE MY LETTERS? WRITE TO ME, KID INT. STUDY. MICHAEL'S APARTMENT. DAY MICHAEL is reading the latest letter from HANNA. He looks at it. "Do you receive my letters? Write to me, kid." MICHAEL opens a drawer in a file box on the floor. There is a stack of her letters inside. He puts the latest on top of the pile and closes the drawer. INT. CELL. PRISON. DAY HANNA stands at her window, in despair. INT. MICHAEL'S APARTMENT. KREUZBERG. DAY 1988. MICHAEL, 44, is at his desk, with the phone in his hand, with a typed letter in front of him. MS BRENNER (VOICE ON PHONE) You're Michael Berg? MICHAEL'S VOICE Yes. MS BRENNER (VOICE ON PHONE) You got my letter? MICHAEL I have it here. MS BRENNER (PHONE) As I say, Hanna Schmitz is coming up for release very soon. 70. MICHAEL fingers the letter a moment. INT. BRENNER'S OFFICE. PRISON. DAY MS BRENNER is sitting at her desk in a simple, modern office. MS BRENNER Hanna has been in prison for over twenty years. She has no family. She has no friends. You're her only contact. And I'm told you don't visit her. INT. MICHAEL'S APARTMENT. KREUZBERG. DAY MICHAEL is sitting quite still. MICHAEL No. I don't. INT. BRENNER'S OFFICE. DAY MS BRENNER When she gets out, she's going to need a job. She's going to need somewhere to live. You can't imagine how frightening the modern world will seem to her. There is a silence. MICHAEL Yes. I'm still here. INT. MICHAEL'S APARTMENT. KREUZBERG. DAY MS BRENNER I have no-one else to ask. If you don't take responsibility for her, then Hanna has no future at all. MICHAEL It's kind of you. Thank you for letting me know. MICHAEL puts the phone down. He looks as if he has just been handed a sentence. He gets up and stares at the wall which is now stacked with all the books he has read. Then he goes to his balcony. EXT & INT. MICHAEL'S APARTMENT. KREUZBERG. DAY MICHAEL stands looking out over Berlin from his balcony. 71. EXT. PRISON. DAY MICHAEL walks along the road by the prison wall, then goes to the guichet to sign in. EXT. PRISON YARD. DAY MICHAEL is waiting in a small barred waiting area as MS BRENNER walks across the yard to open the gate and let MICHAEL in. MS BRENNER You're Michael Berg? MICHAEL Yes. MS BRENNER Louisa Brenner. We were expecting you earlier. INT & EXT. STAIRS & PASSAGE. PRISON. DAY MS BRENNER is walking MICHAEL up the steps towards the prison canteen. They pass GUARDS and INMATES. MS BRENNER I should warn you: for a long time Hanna held herself together. She was very purposeful. In the last few years she's different. She's let herself go. INT. CANTEEN. PRISON. DAY MS BRENNER leads MICHAEL to the door of the canteen. MS BRENNER They're in the canteen. They're just finishing lunch. MICHAEL sees an OLD WOMAN who is sitting at a table. Her blue dress is stretched too tight across her heavy body. Her hair is grey. She has a book in her lap, but she's not reading it. A few PRISONERS are finishing their meal. It takes MICHAEL a moment to realise the OLD WOMAN is HANNA. Then HANNA becomes aware of being watched. She turns and looks round. At once her face lights up. MICHAEL smiles back, but as he approaches her, he fixes onto her inquiring look and sees the light go out of her eyes, as if she has looked at him and been disappointed. He sits down opposite her. She smiles, weary. 72. HANNA You've grown up, kid. She takes his hand. There is a long silence, MICHAEL unable to think of anything to say. He withdraws his hand. MICHAEL I've got a friend who's a tailor, he makes my suits. He'll give you a job. And I've found you somewhere to live. It's a nice place. Quite small but nice. I think you'll like it. HANNA Thank you. There's a moment's silence. MICHAEL There are various social programmes, cultural stuff I can sign you up for. And there's a public library very close. HANNA nods slightly. MICHAEL You read a lot? HANNA I prefer being read to. There is a short silence. HANNA That's over now, isn't it? MICHAEL doesn't answer. HANNA Did you get married? MICHAEL I did. Yes I did. We have a daughter. I'm not seeing as much of her as I would like. I'd like to see a great deal more of her. After a few moments, he concedes. MICHAEL The marriage didn't last. 73. There is a silence. MICHAEL Have you spent a lot of time thinking about the past? HANNA You mean, with you? MICHAEL No. No, I didn't mean with me. HANNA Before the trial I never thought about the past. I never had to. MICHAEL And now? What do you feel now? HANNA looks a moment, a haunting look, searching him. HANNA It doesn't matter what I think. It doesn't matter what I feel. The dead are still dead. There's a silence. MICHAEL I wasn't sure what you'd learnt. HANNA I have learnt, kid. I've learnt to read. MICHAEL stares, devastated. MICHAEL I'll pick you up next week, OK? HANNA That sounds a good plan. MICHAEL Good. Quietly, or shall we make a big fuss? HANNA Quietly. MICHAEL OK. Quietly. 74. They look at each other. The other PRISONERS have already gone. They stand up. She scans his face again, searching for his thoughts. He takes her in his arms, a little awkward. HANNA Take care, kid. MICHAEL You too. They walk side by side, back towards the door. Then by way of saying goodbye, she takes his hand. MICHAEL See you next week. She stretches her arm out before she lets go of his hand, then vanishes inside. MICHAEL walks on alone. EXT. PRISON. EVE MICHAEL comes out of the main entrance. He stands a moment, looking round at the evening. MICHAEL walks to his car. INT. HANNA'S ROOM. EVE The room is simple, a bedroom to one side, a bathroom to the other. It is all furnished with simple functional furniture. The end of a hard day's work. MICHAEL hangs a picture over the desk - a landscape, reminiscent of where they once went cycling. The job is done. He looks round, grimly content. INT. CELL. DAWN HANNA is lying on her bed, fully dressed. She gets up and gets some books down from the shelf. She puts them, one by one, in a pile on the table. Then she takes off her shoes. She stands up and climbs onto the pile of books on the table. Her bare feet on the books. Then she reaches up. EXT & INT. PRISON. DAY MICHAEL gets out of the car. He is carrying a bunch of flowers. He walks towards the prison. He leans in to the GUARD who is in a modern office. INT. PRISON. DAY From the far end of the corridor, MICHAEL is seen sitting on a bench. MS BRENNER comes out of her office and murmurs in his ear. MICHAEL is seen nodding, ashen. 75. INT. CORRIDOR & CELL. PRISON. DAY The two of them come together down the corridor. They stop at the open door of the cell. The body has been removed. The books are still on the floor. MICHAEL goes in. A bare table, a chair, a bed, a closet, a toilet in the corner behind the door. There are shelves with books, an alarm clock, a stuffed bear, two mugs, instant coffee, tea tins. MICHAEL She didn't pack. She never intended to leave. MS BRENNER looks at him in confirmation. MICHAEL looks at the two lower shelves on which are ranged the tapes with the cassette machine. Above the bed are a series of cuttings, pictures torn from magazines, showing meadows, hillsides, pasture, cherry trees. One in particular : a burst of autumnal colours. MICHAEL kneels on the bed to look at them. There are quotations, articles, recipes, even sayings in HANNA'S childish handwriting : `Spring lets its blue banner flutter through the air' is one. Then he sees a newspaper photograph : the young MICHAEL BERG receiving a prize from the school principal. The headline `Michael Berg receives school literature prize.' MS BRENNER reaches out for a tea tin from the shelf. Then she sits next to MICHAEL on the bed, and takes out a folded sheet of paper from her suit pocket. MS BRENNER She left me a message, a sort of will. I'll read out the bit that concerns you. MICHAEL looks at the effortful handwriting on the page. MS BRENNER "There is money in the old tea tin. Give it to Michael Berg. He should send it, alongside the 7,000 marks in the bank, to the daughter who wrote the book. It's for her. She should decide what to do with it. And tell Michael I said hello. Tell him to get on with his life." MS BRENNER looks at him. MS BRENNER Do you want to see her? 76. MICHAEL shakes his head. EXT. BRIDGE. MANHATTAN. DAY MICHAEL rides in a taxi into Manhattan. A view of the familiar skyline. EXT. FIFTH AVENUE. DAY MICHAEL'S taxi comes up Fifth Avenue. It draws up outside an expensive apartment block. MICHAEL gets out and goes in, the Manhattan skyline opening up behind him. INT. LIVING ROOM. ILANA'S APARTMENT. DAY A superbly appointed space full of great and expensive art. MICHAEL has taken his coat off. ILANA MATHER appears, elegant, well-dressed - on the surface, the spirit of prosperous New York. She is now in her early fifties. MICHAEL Ms Mather? ILANA Yes. You're Michael Berg. I was expecting you. ILANA So you must tell me: what exactly brings you to the United States? MICHAEL I was already here. I was at a conference in Boston. ILANA You're a lawyer? MICHAEL Yes. ILANA I was intrigued by your letter but I can't say I wholly understood it. You attended the trial? MICHAEL Yes. Almost twenty years ago. I was a law student. I remember you, I remember your mother very clearly. 77. ILANA My mother died in Israel - a good many years ago. MICHAEL I'm sorry. MICHAEL hesitates for a moment. ILANA Go on, please. MICHAEL Perhaps you heard. Hanna Schmitz recently died. She killed herself. ILANA shakes her head. ILANA She was a friend of yours? MICHAEL A kind of friend. It's as simple as this. Hanna was illiterate for the greater part of her life. ILANA Is that an explanation of her behaviour? MICHAEL No. ILANA Or an excuse? MICHAEL shakes his head. MICHAEL No. No. She taught herself to read when she was in prison. I sent her tapes. She'd always liked being read to. ILANA shifts slightly. ILANA Why don't you start by being honest with me? At least start that way. What was the nature of your friendship? 78. MICHAEL When I was young I had an affair with Hanna. ILANA looks at him for a moment. ILANA I'm not sure I can help you, Mr. Berg. Or rather, even if I could I'm not willing to. MICHAEL I was almost sixteen when I took up with her. The affair only lasted a summer. But. ILANA But what? MICHAEL just looks at her. ILANA I see. And did Hanna Schmitz acknowledge the effect she'd had on your life? MICHAEL stares back, understood for the first time. MICHAEL She'd done much worse to other people. I've never told anyone. ILANA People ask all the time what I learned in the camps. But the camps weren't therapy. What do you think these places were? Universities? We didn't go there to learn. One becomes very clear about these things. ILANA looks at him, unrelenting. ILANA What are you asking for? Forgiveness for her? Or do you just want to feel better yourself? My advice, go to the theatre, if you want catharsis. Please. Go to literature. Don't go to the camps. Nothing comes out of the camps. Nothing. 79. ILANA looks at him, unrelenting. MICHAEL What she wanted...what she wanted was to leave you her money. I have with me. ILANA To do what? MICHAEL As you think fit. MICHAEL reaches for his briefcase. He takes out the lavender tea-tin, which he sets down on the table in front of ILANA. MICHAEL Here. ILANA lifts the tin. ILANA When I was a little girl, I had a tea-tin for my treasures. Not quite like this. It had Cyrillic lettering. I took it with me to the camp, but it got stolen. MICHAEL What was in it? ILANA Oh. Sentimental things. A piece of hair from our dog. Some tickets to operas my father had taken me to. It wasn't stolen for its contents. It was the tin itself which was valuable, what you could do with it. She sits a moment, overcome, her hand on the tin. ILANA There's nothing I can do with this money. If I give it to anything associated with the extermination of the Jews, then to me it will seem like absolution and that is something I'm neither willing nor in a position to grant. MICHAEL nods slightly. 80. MICHAEL I was thinking maybe an organization to encourage literacy. ILANA Good. There's a silence. ILANA Good. MICHAEL Do you know if there's a Jewish organization? ILANA I'll be surprised if there isn't. There's a Jewish organisation for everything. Not that illiteracy is a very Jewish problem. There is the shadow of a smile. ILANA Why don't you find out? Send them the money. MICHAEL Shall I do it in Hanna's name? ILANA As you think fit. ILANA smiles slightly. She puts her hand on top of the tin. ILANA I'll keep the tin. INT. ILANA'S HOUSE. DAY ILANA is standing at the window watching down to the street where MICHAEL is walking away. She has the tin in her hand. When he's vanished, she turns and goes into her bedroom. There on the dressing table, there is a framed photo of ILANA with her mother in Germany before the war. She sets the tin down beside the photo. INT & EXT. CAR. DAY 1995. MICHAEL is driving JULIA in the big Mercedes through the German countryside. He is tense, silent. JULIA takes a sideways look at him, but he does not respond. 81. JULIA Where are we going? MICHAEL I thought you liked surprises. JULIA I do. I do like surprises. EXT. COUNTRY. DAY They draw up at a church. It is the same one he and HANNA passed on their bicycles years before. MICHAEL and JULIA get out and walk towards the graveyard at the side. EXT. CEMETERY. DAY MICHAEL & JULIA stand at a deserted grave-side. The whole cemetery is seen. MICHAEL stoops down and uncovers a simple stone : HANNA SCHMITZ 1923-1988. JULIA watching, says her name. JULIA Hanna Schmitz. JULIA waits a moment. JULIA Who was she? MICHAEL That's what I wanted to tell you. That's why we're here. JULIA looks, waiting. MICHAEL looks for a moment as if he will not go on. JULIA So tell me. There is a moment, then they turn to stroll, MICHAEL talking, starting to tell the story. MICHAEL I was 15, I was coming home from school, I was ill... They walk away among the trees. FADE TO BLACK \ No newline at end of file diff --git a/unformated_scripts/Script_Real Genius.txt b/unformated_scripts/Script_Real Genius.txt new file mode 100644 index 0000000000000000000000000000000000000000..47654120d85938cb70cc6771ad92fcf3fff82772 --- /dev/null +++ b/unformated_scripts/Script_Real Genius.txt @@ -0,0 +1,4825 @@ + + +REAL GENIUS + +EXT. SKY-DAY + +A Black B-1 Bomber banks steeply exposing its underside to us. + +MAN (V.O./FILTERED) +Slingshot this is Watchdog. Rabbit's home. + +Rolling out of its bank, the bomber begins a steep climb revealing the fact that it is carrying a small delta winged shuttle on it back. The bomber's wings slide back. + +BOMBER PILOT (V.O./FILTERED) +Roger watchdog. Understand we are go for crossbow. + +Suddenly a rocket engine on the back of the modified bomber fires thrusting the plane into steep climb. + +INT. B-1 FLIGHT DECK-DAY + +THE PLANE VIBRATES. The pilot and co-pilot are busy in their seats. Behind them sits a third pilot wearing a space suit. He gives them a thumbs-up signal, rises and crawls to the rear. + +BOMBER PILOT +(into the mike/ over the roar) +Watchdog, Slingshot. let us know when the rabbit's in the hole. + +EXT. A CROWD-DAY + +A blond haired, blue-eyed man with a small walkie-talkie is standing in the midst of a group of cheering Central American peasants and townsfolk. He is disguised as one of them. + +ANGLE ON VILLA BALCONY + +The uniformed President of this formerly sleepy, now strategically critical nation is waving to his people. He is flanked by military guards. He turns and walks into the villa. + +EXT. B-1 BOMBER-DAY + +The bomber approaches the top of it's arc. + +ATHERTON +The shuttle pilot climbs into his seat, straps in and checks his instruments. + +SHUTTLE PILOT +All systems check. Crossbow is armed. + +BOMBER PILOT (V.O.) +Roger, Ignition sequence, start, separation in five... + +EXT. TOP OF THE BOMBER + +The explosive bolts blow on the shuttle mount. + +INT. BOMBER FLIGHT DECK + +The pilot pushes his yolk forward. + +EXT. BOMBER + +As the bomber falls way, the shuttle's booster ignites with a roar, thrusting it toward space. + +EXT. SPACE-LOOKING BACK + +We see a tiny glowing speck coming towards us. very quickly it gains in altitude and we see that it is the shuttle. Suddenly it is upon us and blasts over our heads. + +ANGLE FROM BEHIND + +We follow the shuttle. The engine stops. There is a small explosion, which pushes the booster rocket away. Small maneuvering rockets fire and the shuttle establishes itself in a nose down altitude. + +SHUTTLE PILOT (V.O. FILTERED) +Crossbow is established. + +BOMBER PILOT (V.O./FILTERED) +Roger, we have ground confirmation. Reference grid seven. Check pathfinder, on. + +SHUTTLE PILOT (V.O. FILTERED) +Roger, I'm going on the scope. Moving Target Indicator, engage. + +Behind and above the cockpit a large hatch opens and a large circular spinning mirror rises and locks into position. + +INT. SHUTTLE + +The pilot reaches above him and pulls down a viewfinder and begins looking through it. + +EXT. THE SHUTTLE. + +A target sighting lens moves from right to left, stops, and then moves back but this time with the mirror moving in unison. + +INT. THE SHUTTLE + +While still looking through the viewfinder, the pilot manipulates the targeting controls. + +INSERT + +PILOT'S POV OF THE SCREEN + +Crosshairs, a grid patter and digital, rangefinder readouts appear over various parts of the Earth's topography as the pilot searches for his target. Then it steadies on a polarized image of a group of people. One of the images seems to stand out brighter than the others. + +EXT. VILLA PATIO-DAY + +The president and his aide are chatting with a group of visiting dignitaries. There is a jovial atmosphere as they order drinks from a waiter. The president is proudly displaying one of his medals to his guests. it has a very unique jewel-like object in its middle. + +INT. THE SHUTTLE + +The pilot is watching through the viewfinder. + +PILOT +(into mike) +Scanner on. Target locked. Tracking locked. + +EXT. THE SHUTTLE + +The mirror and sighting lens adjust as they track the target. + +EXT. VILLA PATIO + +The President is served a cup of coffee. He asks the waiter for sugar. The waiter turns back to his cart. + +INT. THE SHUTTLE + +The pilot puts his hands on the joysticks and flips open the trigger covers. + +PILOT +Nice and easy does it. + +EXT. THE SHUTTLE + +Dead silence, then the mirror erupts in brilliant light and sends an incredibly bright beam toward the Earth. Behind the shuttle we see exhaust gases venting in giant plumes into space. + +EXT. VILLA PATIO + +The beam strikes the president like the finger of god. He vaporizes. The waiter turns back with the asked-for sugar to find a smoking hole where the President once stood. + +EXT. SPACE + +The shuttle finishes its work and the beam shuts down. The mirror folds away and the shuttle arcs across the screen preparing for re-entry, firing small retro rockets. + +PILOT (V.O) +I'm coming home. Just like shooting ducks in a barrel. + +PULL BACK TO REVEAL + +INT. A HIGH-LEVEL GOVERNMENT CONFERENCE ROOM-NO WINDOWS + +A large screen at one end of the room continues to show the re-entry. + +ANNOUNCER (V.O.) +The Crossbow Project. There's no defense like a good offense. + +In the middle of the room is a giant donut of a round conference table. Another circle hangs above and casts light downward in such a way as to light the table-top but caser those sitting around it in shadow. We can see them but not well. There are SIX MEN in suits. The look is sinister as Hell; but the talk is for Rotary Club meeting. + +A MAN, sitting at three o'clock, wearing an Air force major's uniform, points at a remote control device at the screen and stops the film. The lighting does not change. he turns to the man sitting at twelve o'clock. + +CARMICHAEL +Nice little weapon isn't it, Dave? + +DECKER +Well, I guess so, but gosh, Don, it's a movie. You want me to start buying weapons from George Lucas? + +Polite laughter all around. + +CARMICHAEL +Now that would be somethin', wouldn't it? + +DECKER +Well, sometimes I think I might as well. +(to one of the others) +What do you think of what you saw, Roy? + +ROY +I think there weren't enough girls. + +More polite laughter. Then Roy turns ice cold in a flash. + +ROY (CONT'D) +Is this thing for biological targets only? + +CARMICHAEL +No, Sir, this thing would take the skin right off, of Air Force One if you wanted. Not that I'm saying we'd ever want to kill our own President, but, you know, for example. + +ROY +Our studies indicate that this type of weapon is totally useless for warfare. + +DECKER +It's not intended for use in your kind of warfare, Roy. This is a perfect peace time weapon. + +ROY +What's the kill potential? + +CARMICHAEL +As soon as the size-to power ratio is licked we'll have about seven bangs for the buck. + +ROY +When that? + +Carmichael shrugs the sign for "who knows?" + +DECKER +Seriously, Don, I have to report to the Secretary that everything's on schedule. We have plans for your little ray's gun this summer. + +CARMICHAEL +(Trying to cover) +As I understand it, guys, there's some major practical difficulties. I'm pushing as hard as I can. + +DECKER +Well, Don, you tell those geniuses you've got until the end of the next fiscal quarter to come up with a working model or I'm pulling the plug on the funding. + +CARMICHAEL +(very nervous) +I'm assured they're on the verge of a major breakthrough. + +DECKER +Good. Just as long as we get a working weapon out of it by June. Right, general? + +ROY +I wouldn't know, Dave. I haven't had a working weapon since Korea. + +DECKER +Right. +(to assistant) +Larry, let's see the film on blinding techniques, then we'll have some lunch, all right? + +INT. EXHIBITION HALL -DAY + +WE OPEN on a sign: "Effects of marijuana on Rodents." A cage is divided in half. One side is marked "NO Marijuana." A chinchilla is running furiously on a treadmill. The other side is marked "Marijuana." A chinchilla is lying in a little hammock. + +DOLLY BACK TO WIDE SHOT. We see we are in a large hall. There are dozens of booths and exhibits. A banner strung across the hall lets us know that this is the "WESTERN REGIONAL HIGH SCHOOL WINTER SCIENCE FAIR." + +ANGLE ON a pretty female student at a booth standing in front of a clear glass cylinder that has vacuum hoses connected to it. There are two colored gases inside the cylinder. A sign behind her says: HOW TORNADOS ARE FORMED." A small group of boys stand watching her in as sexist a way as possible. + +GIRL +It doesn't seem to be working; but if it was, these gases would be going around. + +A BOY +We don't care. + +ANGLE ON another part of the hall. Two blond-haired, male twins stand proudly in their booth. "THE GRAVITATIONAL PULL OF HEAVENLY BODIES." A large, crudely painted diorama of the Milky Way is in the background. Several painted balls are suspended in front, labeled "Mercury," "Venus," etc. The sun is represented by a large electromagnet. All the "planets" + +ANGLE ON a booth near the entrance. A ROBOT attracts a crowd. It has a video screen for a face which reads: "Hi, my name is Harry. Let me guess your weight and age." With jerky motions he extends his mechanical arms and shakes hands with passersby. He is speaking to a small KID. + +HARRY +Hi, my name is Harry. Let me guess your weight and age...midget mutant; weight... + +The kid shoots it in the neck with a toy space gun. The ROBOT SHORT CIRCUITS: sparks shoot out, its arms fly in circles until a FUSE BLOWS and it SIZZLES to a burning stop. + +WE PAN OVER TO the door just in time to see the entrance of DR. JERRY ATHERTON, professor of physics at Pacific Tech, and a popular host of a PBS television show about science. His manner and bearing mark him as a classic anal retentive. He is a perfect cross between Carl Sagan and Jerry Brown. Brilliant, intense, seemingly sincere but, in fact, incredibly manipulative. There is an intentional aura of superiority surrounding him. + +We FOLLOW him in and down an aisle where he draws the attention of the crowd in the manner of the celebrity he is. An OLD LADY stops him. He beams a smile at her. + +OLD LADY +Are you Dr. Atherton? + +ATHERTON +Yes, dear. + +OLD LADY +I just love your television show. + +ATHERTON +Well, thank you. We try. + +OLD LADY +What's Albert Einstein really like? + +ATHERTON +Dead. + +OLD LADY +Oh, I thought you had him on. + +ATHERTON +No, that was just an actor. + +OLD LADY +Is everyone an actor, then? + +ATHERTON +(beginning to tire of this) +No, I'm a physicist. + +OLD LADY +But Einstein isn't? + +ATHERTON +(dismissing her) +Nice talking to you. + +He walks away. + +ANGLE ON a booth where we meet MITCH SIMON, aged fifteen. Mitch is a genius. He's known that since he was old enough to understand the word, which was on his first birthday. He was doing college level work by the time he was in the fourth grade. Although he's intellectually precocious, he's still only 15 years old and has all the problems of any average adolescent. His shyness and intellect have always made him feel different and uncomfortable in social situations. + +He stands with his PARENTS near a demonstration table. Unlike some of the other exhibits we've seen, there is nothing amateurish about this one. In fact, it is an impressive display of a dye laser. We can see the beams of multi-colored rays bouncing between mirrors, moving through liquids, combining with gases. + +MITCH is trying to explain his work to MR. SIMON, who is a nice enough guy but who pretty much regards the fact that his son is gifted as a pain in the butt. + +MITCH +See, Dad, it's coherent light. + +MR. SIMON +It talks? + +MITCH +No. + +ATHERTON APPROACHES. He is seen by MRS. SIMON, who greets him. + +MRS. SIMON +Dr. ATHERTON, what a surprise. + +ATHERTON +Hello, Mrs. Simon. How are you? + +MR. SIMON +No problem with Mitch's test scores or anything, is there? + +ATHERTON +No, no. I just thought I'd stop by, bring you the good news myself. I just got word from the admissions committee. We did it. Mitch is in. + +MRS. SIMON +Isn't that wonderful. + +ATHERTON +(to Mitch) +Hello, Mitch. + +MITCH +(shyly) +Hi. + +ATHERTON +Nice little display? + +MITCH +Thanks + +ATHERTON +What's your medium? + +MITCH +Just Argon. But I have it all structured for HF if I could get some. + +ATHERTON +That would be interesting. + +MITCH +It's all theoretical at this stage, but I have the power supply completely worked out. + +ATHERTON +Very nice. + +MITCH +(a kid again) +Thanks. + +ATHERTON turns to Mitch's parents. + +ATHERTON +You must be very proud. he's the first student we've ever accepted for winter term entrance at Pacific Tech. + +MR. SIMON +I image he's the youngest, too. + +ATHERTON +No, actually. The youngest we've had was a twelve, but he cracked under the pressure within six months so we don't really count him. + +MRS. SIMON +(almost in tears) +Fifteen year old and off to college. Image. + +MR. SIMON +Listen Doc. This scholarship thing, does he get any kind of whatya call it, signing bonus sort of thing? + +ATHERTON +(hoping this is not going to be a problem) +Well, no...but by allowing Mitch to progress at an accelerated rate we give him the opportunity to fulfill a far greater portion of his remarkable intellectual potential. Don't you agree? + +MR. SIMON +Yeah, I guess. It's just that athletes get, you know, cars and stuff. + +ATHERTON +(polite for Mitch's sake) +Well, I guess we scientists are a little different than athletes. + +MR. SIMON +Cheaper. + +ATHERTON +Smarter + +MR. SIMON +Not when it comes to getting cars. + +MRS. SIMON +We just want the best for Mitchie. +(changing gears) +Dr. Atherton, I saw your show the other night, about radioactive isotopes, and I have a question for you. + +ATHERTON +Oh, yes? + +MRS. SIMON +Is that your real hair? + +MR. SIMON +Well, I wondered that, too. + +ATHERTON +(struggling for manners) +Well, interesting question, when you consider the philosophical aspects of whether anything on television is "real" or actually just an "image" being broadcast. + +MR. SIMON +Didn't look real. Anyway, listen, I got to get something to eat or I'm gonna die. + +MRS. SIMON +Come on, let's look for something. + +They start away. + +MRS. SIMON (CONT'D) +I saw over there one of the kids was doing an experiment with insect protein. + +MR. SIMON +Did you see anyone doing anything with corned beef? + +They exit. + +ATHERTON +Your parents... + +MITCH +Yes? + +ATHERTON +They're...nice + +MITCH +They're Okay. They just sometimes don't have any idea of what I'm talking about. + +ATHERTON +I'm sure of that. Afraid you're going to miss your friends? + +MITCH +No. I don't have any. I think I intimidate other kids. + +ATHERTON +Good boy. + +MITCH +I don't want to. + +ATHERTON +Remember, compared to you, most people have the IQ of a carrot. We're different than most people, Mitch, but you should be proud of that. I mean, look around. From now on, you'll BE amongst peers, colleagues. I suppose I might as well tell you now, I've put you on my personal research team. Some of the finest minds on campus, not the least of which is, of course, my own. + +MITCH +It sounds great. + +ATHERTON +Well, now, I'm expecting great things from you, my boy. This is only the second time I've given this honor to a freshman. The first was... + +MITCH +Chris Kinsley. + +ATHERTON +You know Chris? + +MITCH +No, but he's a legend in the Physics Club. + +ATHERTON +Well, you're going to become a legend yourself. You'll be working with Chris. He's a senior now but he's still on the team and still as brilliant as ever. + +MITCH +Wow. + +INT. PACIFIC ELECTRONICS INSTRUMENTS-DAY + +We see CHRIS KINSLEY, Chris has on his head a pair of those jiggling antennae-like things. WE PULL BACK to revel that he is on a tour of the facilities. + +A huge hanger-like room filled with workers constructing and assembling scientific instruments. This place has the look and feel of the Big Time. + +Workers put the finishing touches on a communication SATELLITE. Passing through this Disneyland of Science is a well-dressed executive. ROBERT JENSEN, who is guiding Chris on the tour. Chris was heralded as one of the smartest people to ever enter Pacific Tech. He proved to be even smarter than many of his professors. He also proved to be one of the most outrageous people to ever enter Pacific Tech. his antics are legend. Unimpressed with authority, pomposity and bullshit in general., Chris dresses on the sloppy side of life. Currently he's wearing a sports jacket that's seen better days, over a faded sweatshirt that has the logo "I ? Toxic Waste." + +They approach a second executive/scientist, MIKE DODD, who is wearing a lab coat, and a beautiful public relations executive named SHERRY NUGIL, who is also wearing a lab coat but in a whole new way. + +JENSEN +(as they approach the couple) +Guys, I want you to meet Chris Kinsley. Chris, this is Sherry Nugil, my assistant, and Mike Dodd. + +CHRIS +Dr. Dodd? + +JENSEN +He's the man who just designed the new Telcom Satellite here. + +CHRIS +I know. Nice to meet you Dr. Dodd. Isn't the Telcom raining debris all over Europe? + +DODD +(smiling, but angry) +That was a launch problem, not a design problem. Why are you wearing that toy on your head? + +Chris takes the thing from his head. + +CHRIS +Oh, this. Sorry, I was worried that people would think I was stuffy, You know, no fun; all brain, no penis, + +JENSEN +Pardon? + +CHRIS +I'm sorry, it's just an infantile response to authority. + +JENSEN +(confused) +Yes. you are Chris Kinsley, aren't you? + +CHRIS +No. Well, yes. I mean, I used to be. Now I'm Mhavishnue Kinsley. + +JENSEN +(relieved) +I see. You are being funny. + +CHRIS +Well, I just can't help it. You're such a fun guy yourself. + +JENSEN +Oh yes. I think you'll find we all are, right Mike? + +DODD +No. + +JENSEN +Now Chris, Sherry is going to show you around the place. She can answer any questions you might have about fringe benefits or dress codes or anything and I'll see you back upstairs when you're done, okay? Sherry, take good care of this young man. He's one of the ten finest minds kin the country. + +CHRIS +Someday I hope to be two of them. + +JENSEN +See you later. + +Jensen and Dodd exit. + +CHRIS +You are very beautiful. + +SHERRY +You don't act like one of the top ten minds in America. + +CHRIS +Oh, really? How many of them have you met? + +SHERRY +(with a really dirty look in her eye) +Seven. + +CHRIS +Really? + +SHERRY +You'll be eight. Six was Professor Hostetler at M.I.T. + +CHRIS + +Old Professor Hostetler? Isn't he dead? + +SHERRY +He is now. + +INT. ANOTHER PART OF THE PEI FACILITY- ALITTLE LATER + +Sherry and Chris stare intently into one another's eyes. + +SHERRY +And so, coupled with full insurance coverage and bonus plans, you find it adding up to a fairly sizable perks package. + +CHRIS +I have a pretty sizable perks package right now. + +SHERRY +Also, we understand that you people don't care too much for rigid timetables, and that's pretty rare in private industry. + +CHRIS +So are you. + +SHERRY +Is it true that school of yours keeps getting smarter and smarter kids every year? + +CHRIS +Yup! I mean no! + +INT. YET ANOTHER PART OF PEI- A LITTLE LATER. + +SHERRY +You see the funding associations are the same. Our theoretical work is in the Blue Sky sector as well. + +CHRIS +You have no idea how much I need that kind of continuity in my life right now. + +INT. CATWALK ABOVE A HUGH LAB- A LITTLE LATER STILL + +SHERRY +You just belong here, Chris. We have several of Dr. Atherton's former students and they're all doing quite well with us. + +CHRIS +What number was he? + +SHERRY +Two. One of his other students was four. + +CHRIS +You're wonderful. + +SHERRY +I know. + +CHRIS +Can we go somewhere? + +SHERRY +Yes. + +EXT. ROOF OF HANGER-DUSK + +The giant dish of a huge radio telescope faces heavens. + +SHERRY (O.C) +(between kisses) +Talk smart to me. + +CHRIS (O.C.) +What? + +ANGLE ON CHRIS AND SHERRY + +They are lying in the middle of the dish. Passion mounts, fingers cope with belts and buttons, clothing falls away; my god, these people are having sex. + +SHERRY +Please I need it. What was your favorite course? + +CHRIS +I guess right now I'd have to say Fluid Mechanics. + +SHERRY +Oooooooooh... + +CHRIS +(responding to something interesting Sherry just did with her hips) +And Gym. + +SHERRY +Please. + +CHRIS +Sorry. + +SHERRY +What's your research with Artherton? + +CHRIS +Ultra-high power laser as an energy force for fusion. Tremendous boon to all mankind. And womankind, too. + +SHERRY +Fusion, more fusion. + +CHRIS +It's the process for obtaining enormous amounts of energy from forms of hydrogen, like Deuterium and Tritium. + +SHERRY +Oh, my God, more. + +CHRIS +Extracting the fuels is no problem. + +SHERRY +Hmmmm. + +CHRIS +Getting them to combine and release the energy is the problem. + +SHERRY +Oohh, yes + +CHRIS +It takes temperatures of 100 million degrees Celsius. + +SHERRY +Oh, God. + +CHRIS +So, I'm... + +SHERRY +Yes. + +CHRIS +...building... + +SHERRY +Yes. + +CHRIS +...a laser... + +SHERRY +Oh, yes. + +CHRIS +...that pulses... + +SHERRY +Hmmmmmmmm. + +CHRIS +...very hot... + +SHERRY +Ohhh... + +CHRIS +...and causes... + +SHERRY +Yes. + +CHRIS +...Fusion... + +SHERRY +Ahhhhhhhhhhh. + +EXT. PACIFIC TECH CAMPUS-DAY + +It is an impressive campus of older California Spanish building mixed with modern architectural marvels. This is the Sunday before the beginning of the Winter Term. + +We pick up MITCH SIMON and FOLLOW him as he crosses campus. He is wearing a tie and jacket, which only adds to his general sense of being out of place. He is carrying a map which he stops to consult every now and again. He stops an upper classman and asks him a question while pointing at the map. The older asks him a question while pointing at the map. The older student takes great delight in turning the map right side up. + +EXT. PRESIDENT'S HOUSE-AFTERNOON + +The tasteful and elegant official residence of the university's President. DR. EUGENE MEREDITH. MITCH approaches the open front door, where he is greeted by MRS. MEREDITH. + +MITCH +Good afternoon. I'm looking for +(reading from the invitation in his hand) +the President's Freshman Tea. + +MRS. MEREDITH. +(leading him inside) +Oh, good. I'm so glad we have one then. Who are you? + +INT. THE HOUSE-CONTINOUS + +They pass through on their way to the backyard. + +MITCH +Mitch Simon. + +MRS. MEREDITH. +Oh yes. You're the special case. I know Gene wants to meet you. You're just in time for his traditional talk. Would you like a glass of sherry? + +MITCH +I'm a minor. + +MRS. MEREDITH. +Aha, well of course you are. That would explain your height. + +They exit out onto the patio. + +EXT. THE PATIO AND GROUNDS OF THE HOUSE-CONTINUOUS + +The returning freshman class has gathered for a social. Mitch is the only one in a tie. He stands on the patio with Mrs. Meredith whose husband, the apparently ever-jovial professional academic administrator, is about to speak to the assembled. + +MEREDITH +People, if I might get your attention. + +The din begins to quiet. + +MEREDITH (CONT'D) +Welcome back, freshmen! I take it you all put the Christmas break to good use? + +There is good-natured jeering. + +MEREDITH (CONT'D) +Now, if you'll indulge me, I'd like to speak seriously for a moment. You will recall that when I welcomed you to the Pacific institute of Technology a few short months ago I spoke of how we are one of the finest scientific institutions in the world. I think the finest. I mentioned our six Nobel Prize winners, our members of the national Academy of Sciences, and our members of the National Academy of Engineering. This is an intellectual oasis of technological achievement in the dessert of general academic mediocrity we see inmost colleges and universities today. + +There is some applause and good-natured banter. Mitch is truly moved. This environment is exactly what Mitch has hoped for all his life. + +MEREDITH (CONT'D) +I also spoke of the fact that you are the finest freshmen class we have ever had here. + +There are cheers and applause. + +MEREDITH (CONT'D) +I say this to every freshman class. Each year we raise our entrance requirements and each year there is a group of students like you who meet and surpass those requirements. + +Almost jubilant cheering and clapping. + +MEREDITH (CONT'D) +As you have no doubt already noticed by now, over a third of you are gone. By the end of the year another third of you will have followed them out of Eden and into mediocrity. + +The crowd goes deathly silent as Meredith continues in his cherry manner. + +MEREDITH (CONT'D) +We want only the best. Hard work and high standards are expected of everyone. And if you aren't up to it Cal tech or M.I.T. might take you, but you don't fit in here. + +MEREDITH (CONT'D) +Let me remind you that this place is an opportunity, not a right; a chance not a gift; a working lunch, not a picnic. Welcome back. + +Several waitresses begin serving tea but the despair of reality creeps over the students and they begin to disperse. Mitch stands waiting for the approaching Dr. Meredith. + +MRS. MEREDITH +Gene, this is Mitch Simon. + +MEREDITH +Oh, yes, Professor Artherton's bright star. + +MITCH +Yes, sir. + +MEREDITH +And I understand you're already on his project. I'm assured you're going to do great things. + +MITCH +I hope so. + +MEREDITH +Let me give you some advice. + +MITCH +Thank you. + +MEREDITH +Don't screw up. + +MITCH +Okay. I guess I better go now. + +He walks away. + +MEREDITH +(watching Mitch with satisfaction) +I think the young people really appreciate my " getting down" verbally, don't you? + +MRS. MEREDITH +Absolutely. + +EXT. CAMPUS-LATER + +Once again Mitch, map in hand, must ask another student for directions. This one also turns the map right-side up and then points to the building they are standing in front of. As he heads for it he passes a bronze bust of one of the founding fathers, DR. BRADFORD. The students have decorated him with a muffler, earmuffs and carrot nose to look like a snowman. + +INT. APPLIED PHYSICS BUILDING-MOMENTS LATER + +Mitch walks down a long corridor. He passes several open doors that reveal laboratories with all kinds of scientific equipment all over them. + +Mitch stops in front of a closed door. He checks the number, then looks down at a card in his hand. He turns the card right-side up. He OPENS the door to REVEAL a darkened lab. In the darkness there is a veritable light show of laser beams. A voice calls out from the darkness. + +VOICE (O.C.) +Hey! + +MITCH +Yes? + +VOICE (O.C.) +Come in here. + +INT. LAB-CONTINUOUS + +Mitch ENTERS quickly and shuts the door behind himself. In the instrument glow we can make out the forms of three other students. They are: KENT, CARTER and BODIE, members of Dr. Atherton's research team. + +KENT +Just leave the sandwiches and go. + +MITCH +Me? + +KENT +No, Yoda; yeah, you. + +MITCH +I don't have any ah... + +CARTER +Brains? + +MITCH +No, sandwiches. + +KENT +Well then, what good are you? + +CARTER +What are we supposed to eat? + +MITCH +(getting a little fed up) +How about my shorts. + +KENT +Hey! Who do you think you're talking to? + +The laser snaps off and the lights snap on. The glare is a little intense at first. + +KENT (CONT'D) +Are you from the restaurant or not? + +With the lights on we get a chance to have a better look at the team. Kent is an elitist, intellectual snob with very little imagination who likes to think of himself as Atherton's protégé. He wears braces on his teeth because he knows how important a proper smile can be in the marketplace. + +MITCH +No. I'm Mitch Simon. I'm a student. Dr. Atherton told me to come up here. + +KENT +Oh, you're the new stud, are you. Or is it dud? + +MITCH +How do you mean? + +BODIE +Stud. Hot shot. Brain. You're the twelve-year-old, right? + +MITCH +I'm fifteen. + +CARTER +Does your body know that? + +Mitch attempts a good-natured laugh. It's not a great attempt. + +MITCH +Are you expecting him or... + +KENT +Sure. Can I get you something? A balloon? + +MITCH +Are any of you guys Chris Kinsley? + +They all freeze. + +KENT +No, Thank God. + +CARTER +Hey Kent, I hear Kinsley got that PEI job all locked up. + +KENT +Damn! I wanted that job. + +MITCH +Why? + +KENT +Why? Because it starts at fifty thousand a year, that's why. Plus travel, car, stock options... + +MITCH +Oh. Well, I'm supposed to have a look at your work up to date. Check it over. + +KENT +Check it over. + +MITCH +Yes. + +KENT +For what? + +MITCH +Mistakes, I guess. He said you guys are stuck. + +The room goes rigid. Evidently this little punk of an upstart needs to be told what Christ died for. + +KENT +Let's get something very clear here. Everything you've heard about the supportive student body and the honor code might hold for the rest of the campus, but it doesn't count for squat in here. Which means when jerry's not here, you do what I say. From God to Jerry to me, get it? + +Atherton ENTERS. + +KENT (CONT'D) +Hi Jerry. + +ATHERTON +I've told you before, Kent, you don't get to use my first name. + +KENT +Did I? + +ATHERTON +(to Mitch) +Good to see you, Mitch. + +ATHERTON (CONT'D) +(to the group) +I'm sure you're all going to become fast friends. + +KENT +We're well on our way already. + +ATHERTON +Good, because after Mitch is brought up to date, I want the rest of you to take your cues from him. He'll be in charge of the group. + +KENT +What? I mean, good choice, Jerry. + +ATHERTON +You're doing it again, Kent. + +KENT +Am I? + +ATHERTON +Where's Chris? + +KENT +He didn't bother to come in today. + +BODIE +He said he didn't feel like it; and then I said 'you better'; and then he said ' or what?'; and then I said ' or he'd get the heck,' and then he said 'jam it, it's Sunday' and he looks for God on Sundays; so I said 'okay, but I'm telling.' + +ATHERTON +Thank you Bodie. I notice you've stopped stuttering. + +BODIE +Yes, I've been giving myself some sock treatment and it's working. + +ATHERTON +Good. +(to Mitch) +I'm sorry he isn't here. I wanted you to meet your hero. + +CARTER +Hero? That clown? Look at this. + +He points to a table full of laser equipment comprised of various angled mirrors and gas cambers and drib units. The others gather around it. + +CARTER (CONT'D) +We heard he wasn't coming in. Kent and I figured we'd go ahead and run his section without him. And we started getting picosecond ratings that aren't even in the ballpark. + +KENT +It looks like it'll take at least a week to re-do all this and start again. + +Mitch is carefully studying the equipment and checking some notes that were on the table. + +KENT (CONT'D) +Another costly mistake. + +ATHERTON +Are you sure? + +CARTER +Positive. + +KENT +Positive. + +MITCH +(reading from notes) +Negative. +(innocently, to Carter and Kent) +There's a mistake all right, but I think you guys made it. Look, you inverted the last two steps. + +CARTER +(grabbing the notes) +I don't make mistakes... +(reading) +...Usually. + +ATHERTON +Damnit, don't touch other people's things. + +MITCH +(adjusting the equipment) +This shouldn't take too long to fix. + +ATHERTON +I'm glad that you were here, Mitch. + +KENT +Yes, thanks for pointing out Carter's mistake, Mitch. + +ATHERTON +Don't bother with that now. I'm sure you want to go get settled. + +MITCH +(relieved) +Well, it has been kind of a long day. + +Atherton starts to leave. + +ATHERTON +Oh, I forgot Kent, I need your help. + +KENT +Anything, Jerry. + +ATHERTON +Stop it. + +KENT +What? + +ATHERTON +Get copies made of everything so young Mitch here can get started checking everything tomorrow. + +KENT +My pleasure. + +ATHERTON +And then, on your way back, stop at my cleaners. + +KENT +Don't give it a thought. I enjoy it. + +ATHERTON +(to Mitch) +Shall we? + +MITCH +Sure. + +Atherton exits, followed by Mitch. + +BODIE +I guess it goes from God to Jerry to you to the cleaners, right Kent? + +EXT. DORM HALL- LATE AFTERNOON + +Mitch enters the arched column portico of this dormitory building. + +INT. ROOM + +The room is small, cramped, and more than a little disheveled. PEI, NASA and science fiction posters hang on the ceiling and wall, over and around one of the two beds. Junk food and soft drink containers are littered everywhere. In one corner is a fully-stocked Frito Lay Chip display. + +Mitch crosses to his bed and sits. He is exhausted and depressed. The door opens and Mitch see a strange, tall, bulkily- built, hermit-looking kind of a guy enter. He is carrying a McDonald's bag. He stops when he see Mitch and stares at him in a quirky way for a second, then crosses to the closet, opens the door and exits into it. + +MITCH +Hello? + +Getting no response, Mitch rises, goes to the closet, opens it and looks in. + +MITCH +Hello? + +There is no one there. + +MITCH +What kind of place is this? + +Mitch crosses to his luggage. he opens a bag and, to his surprise, he finds it empty. he then looks in the other bag and find they've all been cleaned out. Puzzled, he shuts the bags. + +Suddenly, the door swings open and CHRIS KINSLEY , who we saw earlier at PEI, ENTERS. He's dragging a large piece of mechanical equipment. it is, in fact, a baseball pitching machine. + +CHRIS +Hi. + +Mitch stares. + +CHRIS (CONT'D) +Hey, you just gonna sit there admiring the room or are you going to help me with this? + +MITCH +What is this thing? + +CHRIS +It's a penis stretcher. You want to try it out? + +MITCH +No! + +CHRIS +Oh really? Well, congratulations, then, No, It's an Iron Mike. + +MITCH +What? + +CHRIS +A baseball pitching machine. + +Chris is setting it up. + +MITCH +I was here for a second this morning... + +CHRIS +(frightened) +You didn't straighten the place up, did you? + +MITCH +(looks around at the mess) +No. + +CHRIS +Good. 'Cause all my filth's in alphabetical order. + +Chris puts on a baseball cap and grabs a bat. + +MITCH +Anyway, I dropped off my luggage and now all my bags are empty. + +A ball is pitched. Chris connects and the ball smashes through the window. + +CHRIS +I put your stuff away for you. + +Another pitch. He smashes a ball into a wall. + +CHRIS (CONT'D) +It's all in the bottom drawer. Shirts, pants, underwear, shoes. I had a little trouble with your sport jacket, so I threw it out. Nah, only kidding. This one's for you, little Johnny. + +He whacks another pitch. He does a crowd cheer and circles the bases. + +CHRIS +What a game. I'm Chris Kinsley. + +MITCH +Oh, no. + +INT. MOVING CAR- SAME TIME + +Dr. Atherton is riding in a rental car with DON CARMICHAEL, a government contract monitor. These two guys are part of an old boy network involved with research and development. + +CARMICHAEL +We're falling way behind, Jer. + +ATHERTON +Well, we're not making cheese sandwiches here, you know, Don. + +CARMICHAEL +That's a good one. I'll have to remember to use that, Jer. + +ATHERTON +The new boy is quick. + +CARMICHAEL +He better be because the company needs a practical working model within four months. + +ATHERTON +You can't dictate innovation. + +CARMICHAEL +Let me put this another way, Jer. You know all that money we've been spending for development? + +ATHERTON +Yes + +CARMICHAEL +Well, when a project gets cut off, the finance boys always run an audit. + +ATHERTON +I see. + +The car pulls up to Atherton's house, where there is a great deal of construction going on. Once the work is completed, this is going to be beautifully restored, rather large Victorian home. + +CARMICHAEL +(looking out) +Having a little work done on the old place, are you? Looks nice. + +INT. MITCH'S ROOM-THAT NIGHT + +Mitch is gathering up some books. He looks at a chart on the wall. + +MITCH +Library... library...205. + +The door to the room opens while Mitch is looking the other way. We catch a glimpse of the same tall, bulkily-built man opening Mitch's closet door and disappearing inside. Mitch turns just in time to see the door close. he goes into it, opens it and looks inside. Nothing. he goes to the door of his room. Mitch opens the door, steps into the hall and slips, landing on his ass. His books go flying. + +INT. HALLWAY + +The hall floor is covered with ice wall-to-wall. Skating MUSIC is playing on a cassette somewhere. A few students, dressed for winter, are skating. Chris skates over and helps Mitch to his feet. + +CHRIS +Welcome to Pacific Tech's "Smart People On Ice." + +He whirls away, leaping from wall to wall, sliding quickly down the ice. He stops in front of a short, roly-poly kid of Japanese descent, MARK ICKAGAMI, better know as ICK. Ick is a bio-chemist who spends a great deal of time in his lab experimenting with various fun compounds that do things ranging from making artificial ice to increasing memory. + +CHRIS +(with a proletariat accent) +Ice turned out real good, Ick. + +ICK +Yeah, it worked., didn't it? + +CHRIS +What did you use? + +ICK +(teasing) +Oh, sure, I tell you then you tell somebody else, and the next thing you know we're in the middle of another ice age. + +CHRIS +(yelling down the hall) +Come on, people. Nobody's skating. + +A STUDENT (O.C.) +Just 'cause you're a slack, Kinsley. + +CHRIS +Moles and trolls. + +MITCH +What? + +CHRIS +Moles and trolls. Work, work, work, work. I plan this for weeks. I go to a lot of trouble and all they want to do is study. I'm hurt. I know that's it's not like me but I'm sorry. I'm starting to get discouraged, people. We had nobody at the mutant hamster races, one entry in the Madame Curie look-alike contest, and he was disqualified later. Why do I even bother? + +Chris skates off. + +MITCH +(to Ick) +How does he do it? + +ICK +Well, I'm not an expert, but I think he puts one foot in front of the other and pushes. + +MITCH +Not skating. The horsing around. The never studying. I know he's smart. but nobody's that smart. + +ICK +I don't know how smart he is. Before he even came here he invented a solar battery, which laid the groundwork for the system that provides the energy for Amarillo, at half the cost. He'd be a millionaire today if he been smart enough to make them pay for it. How he pulls the grades, I don't know. + +Just then, ROARING down the hall, face down on a sled, comes JORDANS COCHRAN. She is an advanced engineering student with great theoretical and mechanical skill who can never seem to pitched energy of a hyper-kinetic kindergarten class. She crashes at Mitch's feet. He reaches down to help her. + +MITCH +You okay? + +JORDAN +No, not emotionally, no I'm not. I'm disappointed... not terribly, but still, it should have gone much, further, much faster. It's okay, though, I know what the problem is, that's simple, it's obviously the drag coefficient, I'll just have to re-design the blades. I can do that, that's easy. I can do that here; but I have to cut then after they're designed, that takes tools, that takes time. How long is this stuff going to last, do you know? + +ICK +Maybe another half an hour. + +JORDAN +That's great, that's good. I can do that, no problem, lots of time. +(to Mitch) +What's your name? + +MITCH +Mitch + +JORDAN +Thanks for the help. See you. + +And in a flash she is gone. + +MITCH +Your welcome. +(to Ick) +Who was that? + +ICK +That? that was... + +Jordan rushes back. + +JORDAN +(to Mitch) +I'm Jordan, I realized I'd forgotten to tell you my name, it's Jordan. I heard there was going to be someone new this term, are you a freshman? + +MITCH +Yes. + +JORDAN +Do you have a bed? + +MITCH +Yeah. + +JORDAN +Oh, I was going to make you one if you needed it but you don't so that's okay. Well, I gotta go, I'll see you later, probably. See you Ick, see you Mitch. + +As she races off, KENT enters carrying several binders. + +KENT +What's all this suppose to be? + +CHRIS +This? This is new kind of shovel. + +Mitch finds this very funny and reacts accordingly by laughing. + +Kent can't stand to be laughed at. + +KENT +(Dumping the binders into Mitch's hands) +This should keep you busy for awhile. This, plus your regular class load should turn your brains to mush in a month. + +MITCH +Aw! Kent, we were going to name you King of the Winter Carnival. + +KENT +Ha ha. +(to Ick) +I suppose you're in on this, too. Did you make this stuff? + +ICK +I'm not saying. + +KENT +Who's going to clean it up? + +ICK +Don't have to. It's going to go from solid form directly to gas. + +KENT +(impressed by this fairly uncommon phenomenon) +Really? What is it? + +ICK +I'm not saying. But I can tell you that it's fairly rare, and very unstable. + +KENT +You're all a bunch of degenerates. + +CHRIS +We are? What about that time I caught you naked with a bowl of Jello? + +KENT +(flustered) +I...you... I was hot and I was hungry. And anyway...Look, Kinsley, you're not number one anymore. + +CHRIS +Number one what? + +KENT +(pointing to Mitch) +Mighty mouse, here, beat your placement scores by over twenty points. + +CHRIS +Really? I guess you think you're pretty hot stuff? + +MITCH +(uncomfortable, unsure if this is real) +Well...no, I mean + +CHRIS +Hey! Maybe you are smarter than me, but, can you do this? + +Chris pushes himself off backwards and slides along the ice in an attempt at a fancy figure skating move. Just as he's about to finish he crashes to the floor at the precise moment that the floor turns into a cloud of rising gas. Chris disappears in the cloud. + +ICK +(excited) +It worked! + +MITCH +That's neat. + +ICK +(teasing) +Now if we can just keep it from exploding. + +Kent runs away. + +CHRIS +(from inside the growing cloud) +Hey, Ick. Is it okay to breathe this stuff? +(beat) +Ick? +(beat) +Ick? + +The cloud fills the screen. + +INT. CHRIS AND MITCH'S ROOM-THE NEXT MORNING + +Perfect morning light streams through the window, making even this dump look beautiful. Chris is asleep in a strange position on his bed, proving that even asleep he is eccentric. We Pan across the room to Mitch. He has obviously fallen asleep while reading the binders that Kent had given him the night before. We HEAR the sound of the door opening, followed by some heavy footsteps. This causes Mitch to wake up. it takes him a second to realize where he is. He sits up. + +MITCH'S POV + +Again we catch just a glimpse of that same mysterious figure opening the closet door. He is holding a "McDonald's" bag. He closes the door behind him. + +ANGLE ON MITCH + +To say the least, he's thrown by this strange intrusion. + +MITCH +Hello? + +He waits a beat, listening. Nothing happens so he gets up and crosses to the closet, looks inside. + +OVER MITCH'S SHOULDER INTO CLOSET + +There's nothing in there but clothes. Mitch pushes the garments aside and finds just a wall. + +ANGLE ON MITCH + +He shakes his head. This is getting frustrating. He exits the room. + +INT. BATHROOM + +Mitch crosses to the urinal. Just as he is about to relieve himself, the door opens. Jordan enters. This is an experience Mitch has never before and as a result he is one uncomfortable fifteen-year-old. + +JORDAN +Hi, good morning, I thought I saw you come in here, you must be an earlier riser, we met last night, I'm Jordan, remember? I had a sled with me, I made you a sweater. + +She holds out a sweater. He leans into the urinal, trying to hide himself the best he can. + +MITCH +Last night? + +JORDAN +yeah, it's just something I do with my hands while I'm reading. I hope I got the size right, I'm pretty sure I did, I have a brother so I use him as a sizing comparison, and I have a pretty good eye for that sort of thing, so I just went ahead and made you one because I was, you know, up. Peeing? + +MITCH +Yeah. + +JORDAN +I never sleep. I don't know why. It drove my roommate nuts. I mean really nuts, they had to take her away in an ambulance and everything, she's okay now thought but she had to be transfer to an easier school but I don't know if that part has anything to do with being my fault, but still, anyway, if you ever want any help studying at night or just let me know, okay, 'cause I'm just a couple of doors down from you guys and I'm usually up and I wouldn't mind, okay? + +MITCH +Thanks, I will. + +JORDAN +Are you finished yet? + +MITCH +I can't start. + +JORDAN +Because I'm here? + +MITCH +I think so. + +JORDAN +Isn't that weird? Well, I have to go. + +MITCH +Me, too. + +JORDAN +Right, well, don't forget what I said, I'll put the sweater in your room, see you later, tell Chris that if he wants one I'll be happy to make him one but nit today because after classes I'm going to rebuild the back part of my room, you should come down and see it later, I have to go, bye. + +She exits. + +MITCH +(stunned) +bye. + +INT. THE LOBBY AREA OF THE DORM- A LITTLE LATER + +Mitch is coming down a hallway into the area. He is dressed in his tie and jacket and has books under his arm. As he crosses past the self-serve vending machine he spots Chris entering the kitchen. Mitch follows him inside. + +MITCH +Something strange happened to me this morning. + +CHRIS +Was it a dream where you see yourself dressed up in kind of sun god robes standing on top of a pyramid with all theses nude women throwing little pickles at you? + +MITCH +No + +CHRIS +Why am I the only person who has that dream? + +Before Mitch can ask another question, Chris open the freezer compartment and takes out a large thermos-like container. He takes it over to the cutting board, then takes from his pocket a pair of calipers, a pair of tweezers, and a little box that looks like a dental floss kit. He opens the container which immediately starts pouring thick steam. + +MITCH +Liquid nitrogen? + +Chris uses calipers to extract a length of tubing from inside the container. he puts it down on the board and, using the tweezers, pushing out a cylindrical mound of ice from inside the tube. Then, from the dental floss kit, he pulls out a length of very fine wire, which he uses to cut the ice into a number of thin "coins" and slides then into the lid of the container, which he picks up and takes out the door with him. Mitch follows. + +INT. VENDING MACHINE AREA + +CHRIS +Coffee? + +Using the tweezers, Chris picks up an ice coin and puts it into one of the machines. There is a high-pitched squeak. To Mitch's astonishment, the machine accepts the bogus money and a cup drops down and fills with coffee. + +CHRIS +So, what's happened? + +MITCH +Oh. There's a guy living in our closet. + +CHRIS +You've seen him too? + +Chris puts his coins in several of the machines and retrieves from them junk food junky's treasure trove of goodies. + +MITCH +Who is it? + +CHRIS +Hopsfield. + +MITCH +Is he... safe? + +CHRIS +So far. + +Chris exits. Mitch stares after him. + +SCHOOL MONTAGE: + +A quick series of shots moves us through the next two months of time, accompanied by an original song. + +INT. LECTURE HALL-DAY + +An older professor is lecturing, pointing to a complicated algebraic problem on a blackboard, Mitch is in the last row of this student-filled, multi-tiered classroom. Everyone else listens intently and makes notes while Mitch thumbs quickly through a textbook, then closes it and makes a note in a loose-leaf binder. + +INT. ATOM SMASHER ROOM-DAY + +Mitch stands with a group of other students watching an instructor explain the intricacies of nuclear fission. Mitch opens a notebook and starts writing furiously. + +INT. ATHERTON'S PROJECT LAB-DAY + +Mitch is using his notes and some pieces of equipment to explain something to the rest of the team. Chris is impressed. Kent shakes his head in disagreement until Atherton nods his approval, at which point Kent also agrees. + +INT. CHRIS AND MITCH'S ROOM-NIGHT + +it is late but Mitch is still hard at the books. Hopsfield goes by and disappears in the closet. Mitch doesn't even notice anymore. There is a knock at the door and Jordan enters. She has brought Mitch a device that she just built which holds textbooks and turns the pages automatically. + +INT. LECTURE HALL-DAY + +Mitch, dressed more informally, is in the same room with the same professor as in scene 54. This time, however, there are several empty seats. The people have been replaced by cassette tape recorders. Mitch takes notes. + +INT. CHEMICAL ENGINEERING LAB-DAY + +Mitch enters with another student to find a teddy bear waiting for him at his place. + +INT. ATHERTON'S LAB-NIGHT + +Mitch and Chris work alone. it is obviously very late. Using a variety of exotic-looking devices, they put the laser through its paces and make notes. + +INT. LECTRURE HALL-DAY + +This time, Mitch is the only student. Tape recorders sit in front of every seat. The professor drones on, apparently oblivious to what he sees in front of him. + +INT. WAVE TANK ROOM-DAY + +A very attractive instructress is demonstrating a dye trace experiment in a huge wave tank. Mitch takes notes. + +INT. DINING HALL + +Mitch and Ick are carrying trays of food, looking for a place to sit. They pass a seated Kent, who points out a place for Mitch, who looks to see a highchair at the end of the table. + +EXT. LIBRARY-MORNING + +Mitch comes down the stairs with several books under his arms. He stumbles and drops one of the books. As he struggles to recover it, it is handed to him by none other than Hopsfield. By the time Mitch realizes who it is, the mysterious figure is once again gone. + +EXT. STREET-DAY + +Mitch is crossing the street carrying a huge load of books. Suddenly a yellow Citroen pulls up behind him and honks its horn causing Mitch to drop everything. He looks at the driver and sees that it is a laughing Kent. + +INT. ATHERTON'S CLASSROOM + +Chris, Kent, Bodie and Carter are present as Atherton wraps up a day's class. People take serious notes. Chris reads a magazine. People file out and Mitch enters approaches Chris to get him to work on the laser. Chris shakes his head. + +INT. ATHERTON'S LAB-LATE NIGHT + +Mitch is working alone. He adjusts the laser and turns it on. It burns through a very thick block of wood, but Mitch is still not pleased. + +INT. HALLWAY-NEXT MORNING + +A very tired Mitch heads for the lecture hall. He comes to the door, opens it and enters to see a tape recorder lecturing to a roomful of tape recorders. + +INT. CHRIS AND MITCH'S ROOM-ANOTHER NIGHT + +In need of a break from studying, Mitch goes to the closet in hopes of figuring out how to open the wall. + +He examines the walls and the floor and looks, for hidden switches or secret mechanisms, all to no avail. As he's about to give up, the closet door swings closed. When it closes, the wall opens to reveal a small elevator-like cage. Mitch steps in and the cage descends. It hits a lever and stops. But before Mitch steps in and the can get off, it begins to move sideways, triggering another pulley, and goes down again into the steam tunnels, then drags along the floor and stops. Mitch gets out. It's spooky. In the distance there is a glow of light. + +Mitch goes forward until he can see the home of Hopsfield. It's a very utilitarian example of life on the edge, with all the comforts. At the console of an amazing, hand-built computer sits amazing Hopsfield. Mitch watches in awe from the darkness. + +INT. ATHERTON'S LAB-DAY + +There is an experiment in progress. A large laser is building up an energy load. Atherton, Kent, Bodie, Carter, and Mitch monitor various pieces of equipment. Things hum and click and there is a sense that something big is going to happen. Atherton seems pleased, while Mitch seems troubled. Suddenly, a valve blows and a stream of liquid nitrogen hisses from a hose, spewing frost over everything. Everyone jumps for switches and they shut the experiment down. + +CARTER +(checking the valve) +It's nothing. It's just mechanical. + +ATHERTON +GOOD. Don't bother changing it. I want you and Bodie to rebuild the whole unit; same output in half the size. Should hold up, right Mitch? + +MITCH +Sure, as long as we go with H.F. + +ATHERTON +Well, gentlemen, now what? Things are going okay so far, aren't they? + +KENT +They certainly are in my area, Jerry. + +ATHERTON +(warning) + +KENT + +KENT +(unaware) +Yes? + +MITCH +Boy, when I think of all the applications for this...! + +ATHERTON +(covering) +We've got enough theory to deal with without talking applications. You just worry about giving me that power breakthrough. how close are you? + +KENT +(gloating) +Not very, from what I hear. + +ATHERTON +(to Mitch) +Aren't you and Chris working together? + +MITCH +Yes...but... + +ATHERTON +Where is Mr. Kinsley? + +KENT +(anxious to get Chris in trouble) +He's outside. + +Kent goes to the window and shouts down. + +KENT (CONT'D) +(shouting) +Kinsley! Dr. Atherton wants you. + +EXT. LAB BUILDING-MEDIUM CLOSE ON CHRIS-WAIST UP + +He's sitting on a chaise lounge with a stack of encyclopedias, sipping a beer. + +CHRIS +Coming. + +PULL OUT TO REVEAL that the chaise lounge has balloons tied to each corner. Chris dumps a volume from his lap and the chaise rises straight up in the air. + +ANGEL ON ATHERTON AND CHRIS-FRAMED BY THE WINDOW + +Chris hovers in mid-air. + +ATHERTON +What are you doing out there? + +CHRIS +Floating, sir. And thinking. + +ATHERTON +(fuming) +I want to see you at my house at six o'clock. Sharp. + +CHRIS +Sounds fun. Should I bring anything? + +ATHERTON +How about a proper attitude for a change? + +CHRIS +I'll try and borrow one. Now, if you'll excuse me, there are millions of boys and girls everywhere waiting for me to bring them presents. Ho ho ho. + +He hands Atherton a volume and floats from view. + +INT. LAB + +Atherton, Mitch and Kent stand at the window, watching Chris ascend. + +KENT +He's really pushing it, isn't he, Jerry? + +ANGLE ON MITCH + +He smiles as he watches his roommate and friend float off. + +EXT. ATHERTON'S HOUSE-EARLY EVENING + +The restoration work is reaching completion and the house is looking pretty beautiful. + +A small crew of workmen paint and do other finishing work. Chris is sitting on the porch, watching. He is eating a very large puffs of popcorn from a bag. We SEE Atherton returning from his daily jog. He is decked out in an expensive designer jogging suit and has all the appropriate accessories. he also has all the silly habits of the trendy runner for cooling down and stretching. + +CHRIS +You wanted to see me, your joggingness? + +ATHERTON +Mr. Kinsley. Right on time. What a surprise. Do you run? + +CHRIS +Only when chased. + +ATHERTON +What are you eating? + +CHRIS +It's one of mark's Ickagami's experiments. He's been irradiating corn with strontium. it's his hobby; big food. + +ATHERTON +That's popcorn? + +CHRIS +It's big popcorn. + +ATHERTON +(over reacting) +Get it away from me. I can't stand it. I hate popcorn. Leave it there. + +Chris puts the bag down on the porch. + +CHRIS +Okay. Have you ever considered switching to de-caffeinated coffee? + +Atherton leads Chris to the front door, where he removes his shoes and then stands and waits until Chris does the same. They proceed into the house. + +INT. ATHERTON'S HOUSE- CONTINUOUS + +The interior is immaculate. A classic example of elegant good taste. Atherton is fastidiously protective of his things. + +ATHERTON +I want to start seeing a lot more of you in the lab. + +CHRIS +You want me to work nude? + +ATHERTON +Very funny, you're a major disappointment to me, Chris. + +CHRIS +And you to me, Jerry. + +ATHERTON +(angry) +We had a deal! + +CHRIS +And I advanced your project more than any three guys on campus. + +ATHERTON +That was yesterday. What have you done for me today? + +CHRIS +Hey, aren't you getting a little obsessive about this? I took in the new kid. He's working his guts out for you. + +ATHERTON +Your arrogant, disrespectful behavior is distracting him. If you keep it up, you're going to pay for it. + +CHRIS +Hey, I'm out of here. Delenda Est Cartheo. P.E.I. July one. + +ATHERTON +You still have to pass, dear boy, and considering the fact that my class is a requisite, it would seem that I would have some control over your destiny. From now on, you and Mr. Simon are going to spend every waking moment working on my power problem and you will solve it by my deadline. + +CHRIS +Okay, Jerry, but I really think you should see an analyst. + +Chris exits. Atherton watches him go. + +INT. ATHERTON'S LAB-NIGHT + +Mitch is alone and trying to work on the new, smaller laser. He looks tired and upset. He tinkers around for a while, then goes back to his table and looks at his notes. Nothing seems to make sense anymore. Chris enters with a beaker in his hand. + +CHRIS +Hi. Do me a favor, taste this. + +Mitch is confused. + +CHRIS (CONT'D) +Come on, you won't hurt my feelings. + +MITCH +I... + +Chris rams the spoon in his mouth. + +CHRIS +Well, too sweet? + +Mitch makes a face. + +MITCH +What is it? + +CHRIS +Beats me. I just found it in one of the labs. + +MITCH +Aggghh!! + +CHRIS +Come on. I'm just pulling your leg. How are you doing? + +MITCH +I'm stuck. Dr. Atherton says we've got to miniaturize the power supply and you're not helping. + +CHRIS +Lighten up. It's only a laser. + +Chris goes to the laser. Mitch is annoyed. + +CHRIS (CONT'D) +Instead of trying to take that roomful of capacitors over there and putting new perspective. Charge this baby up. Everything you've got. + +MITCH +What for? + +CHRIS +You'll see. Go + +Mitch goes next door. Chris, meanwhile, measures a certain distant from the floor and mounts a mirror on the wall above his head. He then moves to the laser and repositions it to shoot at the mirror. Mitch returns and makes some adjustments to a control panel. + +MITCH +All set, I think. + +CHRIS +Do it. + +Mitch throws a switch. Immediately, a loud electrical hum fills the air. Chris goes over and opens the door to the hall and glances left. + +CHRIS'S POV + +A roomful of capacitors loading. + +EXT. THE CAMPUS-NIGHT + +The lights twinkle from various buildings. WE HEAR the hum + +EXT. THE CAMPUS-NIGHT + +The lights twinkle from various buildings. We hear the hum growing. + +MITCH (V.O.) +What are you doing now? + +CHRIS (V.O.) +Making hamburgers. + +Suddenly, there are several loud snaps and all the lights on campus go off at once as the power overload blows the sub station fuses. + +MITCH (V.O.) +Oh, no! + +INT. THE LAB IN DARKNESS + +CHRIS +Relax, it's just the fuses at the sub station. They'll have it back on in a second. More importantly, did we get a charge? + +Suddenly there is a loud "crack" and the laser sends out a beam across the room, bouncing off the mirror on the wall., out the door, where it hits another mirror and disappears from sight. + +MITCH +Wow! + +EXT. THE CAMPUS-CONTINUOUS + +The beam has formed a web of light across the darkened campus. The effect is quite spectacular. People look in awe. Chris and Mitch exit the physics building. + +CHRIS +Follow the yellow brick road. + +MITCH +Have you ever considered the fact that you are completely wasting your life? + +CHRIS +Constantly. + +The lights on campus come back on as Chris and Mitch continue to follow the beam. + +INT. WAVE TANK BUILDING + +An open window above the door lets the beam of light enter. Chris and Mitch enter. + +INT. HALLWAY-CONTINUOUS + +Chris and Mitch walk down a stairway through an open door, following the beam. + +INT. WAVE TANK ROOM-CONTINUOUS + +The place has been turned into an indoor Waikiki. The beam has been directed into a hood-shaped device that has split it into enough rays to cook a bunch of hot dogs and hamburgers on an improvised barbeque, managed by ICK, who is dressed for the beach and wearing a welding mask. + +Past him we can see that there about twenty girls and some guys present. Several of them are water-skiing on the mechanically produced waves inside the tank, towed by an elaborated pulleys system. Others are frolicking on the "beach" and cut out palms stand around, achieving the desired effect. Blankets have been laid out and girls sit on them eating hot dogs and talking. There are sun lamps set up in one area and some kids are smoothing sun tan oil and shagging a few rays. Rock music fills the room. + +ICK +(lifts his mask) +Aloha. + +ANGLE ON THE DOORWAY + +A lot of the guys we've seen around the dorm have started to arrive. They enter hesitantly at Chris's urging. + +CHRIS +Come on in, boys. Surf's up. + +Awestruck, shy but excited, they approach. + +CORNELL +(a nerdy student) +I have a geochemistry test tomorrow and I do not feel adequately prepared. + +CHRIS +But the main thing is you look good. + +CORNELL +Thanks. + +MILTON +What if we end up having too much fun and end up failing? + +CHRIS +And would that be the end of the world. Milton? + +MILTON +Yes, it would. + +CHRIS +Yeah, you're right. Maybe you should go back to the library. + +MILTON +Well, maybe I could just look for a minute. + +CORNELL +(noticing) +Are those girls? + +CHRIS +I haven't had them all tested yet, Cornell, but so far so good. + +MITCH +Who are they? + +MILTON +They're not from here. I'd know. + +CHRIS +No, no they're not, they're from a nearby college though. + +MITCH +Which one? + +CHRIS +The Wanda Trossler School of beauty. + +MITCH +They're beauticians? + +CHRIS +Not yet. + +CORNELL +Gee, I don't know... + +CHRIS +They'll teach you. Let's get serious here, lads. There are 670 guys at pacific tech and 136 girls. + +MILTON +A ratio of 4.93 to 1 + +CHRIS +Good, Milton. Of the 136 girls, most of them can find guys a lot better than you. + +CORNELL +Oh, easily. + +CHRIS +These girls are not used to geniuses. You might impress them. + +CORNELL +I don't see how. + +CHRIS +Let me put this another way. Given the type of people you are and the environment you're in, you guys have to admit the strong probability that this may be the only chance you'll ever get in your entire lives to have sex. + +There is a pause while everyone considers the hypothesis. + +CHRIS (CONT'D) +Think about it. + +He turns and heads into the party. After a beat, everyone except Mitch follows Chris's lead. + +ANGLES ON VARIOUS ACTIVITIES- A LITTLE LATER + +Water-skiing, dancing, a volleyball game. Most of the guys are making an effort to socialize. Mitch watches quietly. + +ANGLE ON MILTON TALKING TO A GIRL OVER BY THE SUN LAMPS. + +VIVIAN +So, what do you guys do? Just be smart all the time? + +MILTON +Well... + +VIVIAN +What's your major? + +MILTON +Astrophysics. + +VIVIAN +Is that like sports medicine? + +MILTON +Space. + +VIVIAN +(impressed) +Oh! Let me ask you something about that. If I was on the moon, Could I like tease hair much higher? + +MILTON +Theoretically. + +VIVIAN +This is fascinating. + +ANGLE ON another guy named Fenton and a girl. They're necking. + +CONNIE +My friend Evelyn, tells me that brilliant men are the best lovers. + +FENTON +I'd say that's true. + +CONNIE +Up to now, what's been your ultimate sexual experience? + +FENTON +I once fell off a ladder and landed on my sister, Bernice. + +ANGLE ON CONNELL, and a girl in the tank. they both bob up out of the water. Cornell still has his glasses on. He takes them off and can't see. + +LOUISA +Why do you wear those glasses? + +CORNELL +So I can see. + +LOUISA +But you look very sexy without them. + +Reflexively he breaks his glasses in his hands. + +ANGLE ON MILTON AND VIVIAN. He rubbing suntan oil on her back + +MILTON +I really should be studying. + +VIVIAN +Me too. I have a bleaching final tomorrow. + +MILTON +(sneezing) +Achew. + +VIVIAN +Bless you. + +MILTON +I'm allergic to suntan oil. + +VIVIAN +Maybe you should stop. + +MILTON +(aroused) +I don't think I can + +ANGLE ON CORNELL AND LOUISA. They are sitting on the "beach" toweling off. + +LOUISA +(very sexy) +You know, I read in the Enquirer that woman paid twenty thousand dollars for the sperm of a genius. + +CORNELL +Really? + +LOUISA +(putting her arms around him) +I've GOT TWENTY BUCKS? + +CORNELL +Do you have a cup? + +ANGLE ON MITCH + +The party is in full swing and most of the guys have become very comfortable. Some are making out. Mitch now seems like the only one left out. he sees a pretty GIRL just coming out of the water. She adjusts her top. Mitch wanders over to her. + +MITCH +(with great effort) +Hi. + +TAMMY +Hi. + +MITCH +I was watching you...swim. + +TAMMY +Yes? + +MITCH +I was thinking of maybe going for a swim myself. + +TAMMY +Yeah? Is this the kiddy pool? + +She exits, leaving Mitch devastated. He goes and sits in a corner. Meanwhile, Chris is looking around proudly. It's obvious he didn't see what just happen to Mitch. He smiles at the fun everyone is having. A girl passes him eating a hamburger. + +CHRIS +Don't eat that! + +KIMBERLY +Huh? + +CHRIS +Don't you know eating that stuff can give you very large breasts? +(mock despair) +Oh. My god! I see I'm too late. + +She laughs. He puts his arms around her and they walk off. As Chris and Kimberly EXIT, we catch a glimpse of a face in a window. We push in to see Kent, spying. + +INT. CLASSROOM-SAME TIME (BUT APPEARS TO BE DAY) + +OPEN TIGHT on Atherton's face. He looks odd, as there are Kleenex tissues sticking out from his shirt collar. A hand comes into frame, holding a pancake makeup puff, and starts applying it to his face. + +ATHERTON +Christ, Don. I'm doing the best I can. You act like I don't want my own invention to work. There are only so many hours in a day. + +CAMERA PULLS BACK + +CARMICHAEL +I agree. And what's more important, massaging your ego on television explaining the digestive system of a rabbit to the great unwashed or "project crossbow" + +MAKEUPMAN +Off-hand, I'd say television. + +ATHERTON +(angrily to make up man) +Just get rid of the crows' feet! +(to Carmichael carefully) +There's nothing more important than " crossbow," but when went from blue sky to black you turned into Bigfoot. + +The STAGE MANAGER approaches. + +STAGE MANAGER +Ready to go, Dr. Atherton. + +He exits. + +ATHERTON +Pushing me doesn't help. You tell them that. + +He walks away. There is definitely no love between them. + +ATHERTON (CONT'D) +(under his breath) +Son of a bitch. + +CARMICHAEL +(under his breath) +Asshole. + +ANGLE ON ATHERTON as he walks over to the cue card man and checks through the cards. KENT enters in a rush. + +KENT +I have something to... + +ATHERTON +(cutting him off) +Did you pick up my dry cleaning? + +KENT +Yes I did... there's something you should know. + +ATHERTON +The gravy stain? + +KENT +No, that came out. +(very pleased) +Chris and Mitch aren't working. They're at a party. + +Atherton begins to seethe. + +ATHERTON +I want to show me where, right after I'm finished here. + +KENT +(all smiles) +My pleasure. + +STAGE MANAGER +In five...four... + +Kent forgets to move. Atherton shoves him off. We HEAR an off-stage CRASH. + +STAGE MANAGER (CONT'D) +...three...two...and... + +We PUSH in on nearby monitor. the show's logo comes on, along with its theme MUSIC. + +ANNOUNCER (V.O.) +WELCOME TO "SCIENCE," WITH YOUR HOST, Dr. JEROME ATHERTON. FUNDED BY... + +A NEW CARD SHOWS ON THE MONITOR. + +ANNOUNCER (V.O.) +... A grant from Pacific Electric Instruments. PEI. And now, Dr. Atherton. + +Atherton appears on the monitor. + +ANGLE ON ATHERTON IN THE STUDIO + +He smiles broadly and reads from the cue cards. + +ATHERTON +Good evening. Tonight we're going to look at something most of us take for granted... the colon. What's it look like? + +KENT WANDERS BY IN THE BACKGROUND. + +INT. WAVE TANK ROOM-LATER THAT NIGHT + +THE PARTY IS STILL GOING STRONG. + +ANGLE ON JORDAN + +She tosses a volleyball up into the air in a one-woman game of catch. Mitch approaches forlornly. + +JORDAN +Wanna play? + +MITCH +I'm not very... + +HE GETS SMACKED IN THE HEAD BY THE BALL. + +MITCH (CONT'D) +Sure, all right. + +Through the following, Mitch and Jordan volley the ball between them. + +JORDAN +Some party, huh? + +MITCH +I guess. +(hesitant) +How come you're not... + +JORDAN +Necking? + +MITCH +well... + +JORDAN +I'm not gay. + +MITCH +(embarrassed) +I didn't... I wouldn't even... + +JORDAN +Look, I'm seventeen. I'm brilliant, and I'm hyper kinetic. Guy are a little afraid of me, you know. It'll pass...I hope. + +ANGLE ON MITCH + +MITCH +(softly) +I think you're very nice. + +Mitch gets smashed on the head with the ball, sending his glasses flying. + +Suddenly, Atherton burst into the room, followed closely by Kent. + +ATHERTON +(seeing Mitch) +Simon! + +He passes the tape deck and snaps it OFF. Everything comes to a stop as Atherton heads for Mitch, all eyes trained on the pending drama. + +ATHERTON +You were supposed to be in the lab tonight. + +KENT +(chiming in) +Weren't you! + +MITCH +I was and... + +ATHERTON +You are at Pacific Tech to work, not to behave like a philistine. + +KENT +That's right! + +MITCH +I was working, I... + +ATHERTON +Where's Kinsley. I imagine this was his idea. + +KENT +No doubt! + +ATHERTON +(annoyed) +Kent! + +KENT +(stiffening) +yes? + +ATHERTON +(to Mitch, very angry) +I took a big chance recommending a fifteen-year-old. I guess I made a mistake. I hope you're proud of yourself. + +Kent is in seventh heaven as Atherton turns and heads for the door. As they exiting, they pass Cornell and his date. + +CORNELL +Dr. Atherton? + +ATHERTON +What! + +CORNELL +Are you wearing makeup? + +Atherton can only stare in his rage. + +LOUISA +Is it too try and hide those crows' feet? + +He growls and exits. + +ANGLE ON MITCH + +He is truly at a loss in the face of this cruelty. Everyone is staring at him. He runs out the door. + +ANGLE ON JORDAN + +She watches Mitch go, feeling very badly for him + +INT. ATHERTON'S LAB-THE NEXT NIGHT + +Mitch, tired, looking like a kid who's been working for hours, is staring at a formula on the blackboard. Frustrated, he throws his screwdriver against it in anger and runs into the adjacent room and begins disconnecting the capacitor bank. + +INT. LAB HALLWAY-EARLY MORNING + +Kent, Bodie and Carter cross toward the lab. Just then, Mitch comes out. He looks exhausted and very upset. As he passes Kent, he turns away from his stare. + +KENT +(mock concern) +Gee, he looks depressed. + +The other guys yuk it up. They turn and watch Mitch go into Atherton's office down the hall. They follow in time to HEAR: + +MITCH (O.S.) +I'd like to make a collect call to Mrs. Bill Simon. + +Kent's eyes light up with an idea. + +INT. ATHERTON'S OFFICE + +Mitch is on the phone. He's very upset. + +MITCH +I know, but I don't like it here anymore. I want to live at home with you... +(reluctant) +Yeah, and dad. I want to go back to high school. I-dad did what? + +Rented out my room? ...Well, why can't Mr. Echevarria and I share it?... Please, ma, I want to come home. + +INT. KENT'S LAB-TIGHT ON A MINI TAPE RECORDER + +Its reels are spinning. It's being held up to a telephone receiver. + +MITCH (V.O./FILTER) +(crying) +Please let me come home. I don't want to stay here. + +WIDEN to reveal Kent holding the recorder as cater and Bodie watch. The workbench area in Kent's lab is covered with a drop cloth. Kent chuckles as MITCH pleads with his mother. + +INT. DORM HALL-DINING ROOM-NEXT MORNING + +The dorm population is eating their breakfast. Kent and his unholy two are smugly downing their "shredded wheat" Mitch is alone off in the corner. It's obvious he hasn't slept. + +Chris enters and crosses to Kent. A WAITRESS, middle-aged, is serving coffee. + +CHRIS +Kent...let's never fight like that again. + +KENT +What? + +CHRIS +We've been lovers too long to have a silly argument come between us. + +The waitress stares disgustedly at Kent. + +KENT +Chris... + +CHRIS +Please. Don't speak. You were right. Tonight I'll wear the cowboy suit. + +CHRIS EXITS + +KENT +(sputtering) +You... + +WAITRESS +Do your parents know about this? + +KENT +Of course not! + +She nods and exits. Kent calls after her. + +KENT (CONT'D) +Nobody knows. I mean, there's nothing to know. + +ANOTHER ANGLE + +Chris walks over to Mitch. + +CHRIS +Where were you all last night? + +MITCH +The lab. Where you were supposed to be. + +CHRIS +Jordan told me about Atherton coming down on you...what exactly did... + +Mitch abruptly turns his back to Chris and continues eating. Chris sees the conversation is over. + +CHRIS (CONT'D) +(referring to the sentence he never finished) +...Let me hold that thought and get back to ya. + +ANOTHER ANGLE + +Ken, Bodie and Carter. The gentle strains of classical music fill the room. + +KENT +Something soothing to eat by. + +The tape is abruptly interrupted by the RECORDING Kent made of Mitch on the phone to his mother. + +ANGLE ON MITCH + +He can't believe his ears. His expression runs from surprise to embarrassment. + +ANOTHER ANGLE + +Everyone stops eating and listens to Mitch begging his mother to come home. They share his embarrassment and lower their heads. Even Kent's friends are uncomfortable. Kent, on the other hand, is laughing it up, having a great time. + +ANGLE ON MITCH + +He's in a state of shock. + +ANGLE ON KENT + +KENT +(he can't wait ) +Here comes the crying! + +He loves it. + +ANGLE ON MITCH + +He runs out of the dinning room. Kent loves Mitch reaction. It makes him laugh harder. + +ANGLE ON CHRIS + +CHRIS +(to himself) +Too low. + +INT. MITCH'S ROOM-A FEW MINUTES LATER + +Mitch is trying to pack, but it's difficult because the place is in such disarray. Chris enters. He watches and tries to think of what to say. + +CHRIS +Okay, if you want to leave, go ahead. But you'll miss the fun. + +MITCH +(sour) +What fun? + +CHRIS +Ick invented a new virus and we're gonna release it in Kent's room. + +Mitch turns on Chris with surprising hostility. + +MITCH +That's sick! That's a sick thing to do! + +CHRIS +Hey, I was just kidding, I... + +MITCH +You're always just kidding. There's something wrong with you. + +CHRIS +Just a second... + +MITCH +The other night I needed your help and all you wanted to do was party. + +CHRIS +I tried to help you. I tried to help you relax. + +MITCH +Being snubbed by beauticians isn't my idea of relaxing. + +CHRIS +Student beauticians. + +MITCH +(Blows up) +I thought this place was going to be different, but it's just the same. I'm either used or made fun of. In high school they pushed me in a mailbox, did I tell you that? + +CHRIS +They called me Chris the whiss'... + +MITCH +Really? What's a whiss? + +CHRIS +I think they meant wuss, but it didn't rhyme...when I was three years old, I balanced my father's checkbook so they sent me to school and fired their accountant. My father was so intimidated, he stopped speaking to me. My teacher disliked me because I was smarter than they were, and my classmates hated me because I bell the bell curve. Sound familiar? And tell me why my...why did my mother dress me in white shirts, hush puppies and a briefcase, guaranteeing that a girl would never talk to me? + +Mitch looks down at his own white shirt and hush puppies. + +MITCH +YOU? + +CHRIS +(Dramatic) +And then one night, in this room, I was sitting right where you are sitting now. I had a vision. I saw him. + +MITCH +god + +CHRIS +Hopsfield. + +MITCH +Hopsfield? Oh! The guy in the closet. + +CHRIS +Yeah. Laslo Hopsfield. I followed him. Through the closet; down into the steam tunnels. And down there I saw the most disgusting thing I’ve ever seen. + +MITCH +(Frighten) +What? + +CHRIS +Hopsfield in his pajamas. + +MITCH LAUGHS. + +CHRIS +(Lighter, but sincere) +And I talk to the guy . Turned out that in the Seventies he was the number one stud around here. Smarter than you and me put together. So brilliant, so sharp, so advanced, so long. + +MITCH +What do you mean? + +CHRIS +He graduated. Went to work for some chemical company. One day someone told him he was making stuff that was killing people. I think it was his mother. He freaked. You see, he was totally unprepared for the real world. He had no philosophy. He thought science was the answer for everything. + +MITCH +Am I gonna wind up in a steam tunnel? + +CHRIS +Yes, you are, Metaphorically speaking. Unless you see that the same thing that has made your life miserable can make it great; your brain. When you're smart, people need you, and you can learn how to work that for fun and profit. + +MITCH +You had a arrangement going with Atherton, don't you? That's why you don't have to study. + +CHRIS +Hey, I don't carry a briefcase. +(pause) +You're a nice kid. If you leave I'll miss you. + +MITCH +(thinking about it) +If I stay, what should I do, I mean... + +CHRIS +Well, the first thing you have to do is get even with Kent. It's a moral imperative. + +MITCH +(smiles) +Yeah. + +EXT. CAMPUS-NIGHT + +Kent's Citroen pulls up. Kent and Carter get out and walk by Jordan, who is sitting nearby. + +KENT +And at Northern Electronics you get the stock options, but not the free housing, It's what makes PEI so sweet. You get everything. + +CARTER +Yeah, and Kinsley's got that locked. + +KENT +(knowingly) +Maybe he does, and maybe he doesn't. + +They walk away. + +After a beat, CHRIS, MITCH and ICK jump out from behind another car. Mitch carries a TOOL BOX. + +JORDAN +Over here! + +The others rush over to her. Chris trains a light on the license plate. It reads, "KENT." + +CHRIS +He puts his name on his car. He does the same thing with his underwear. + +Mitch flops down the tool box.5R5DISSOLVE TO: + +MONTAGE + +Chris, Mitch, Jordan and Ick working on Kent's car. They are undoing bolts, talking out wires, removing fenders, etc. The last DISSOLVE and we see the car is gone. And no sign of our foursome. + +EXT. DORM HALL-NIGHT + +Chris quietly goes up the stairs inside the dorm carrying a steering wheel. Ick and Mitch have an engine on a flatbed cart. Jordan enters carrying heavy chains and a drill. + +EXT. KENT'S ROOM-EARLY MORNING + +Filthy with crankcase oil, Chris, Mitch, Ick and Jordan exit and scamper down the hall. All are very pleased with themselves. + +EXT. KENT'S ROOM-LATER THAT MORNING + +Kent is coming down the hall. he opens his door and walks inside. + +INT. KENT"S ROOM + +CLOSEUP ON KENT. His jaw drops open. + +ANOTHER ANGLE + +Chris and Mitch enter. + +CHRIS +Hey, Kent. That's your car. + +MITCH +You're not supposed to park on campus. + +KENT +This isn't funny. You went too far this time, Kinsley. + +CHRIS +I had help. + +KENT +(surprised, to Mitch) +You? +(a beat) +I'm going to get you guys. Dr. Atherton's gonna hear about this. + +He storms out of his room. + +CHRIS +(calls to Kent) +Hey, Kent, you owe us ten dollars for the gas. +(to Mitch) +He'll never pay us. + +EXT. ATHERTON'S HOUSE-DUSK + +The restoration has been completed and the house looks beautiful. Chris comes up the walk, goes to the door and rings the bell. A very pretty girl named SUSAN answers the door. + +INT. ATHERTON'S HOUSE-CONTINUOUS + +Chris enters. + +CHRIS +Wow! Hello. + +SUSAN +Hi. + +CHRIS +Jerry asked me to drop by. What did he ask you to do? + +SUSAN +What? + +CHRIS +Which word didn't you understand? + +SUSAN +Are you here for the meeting? + +CHRIS +What meeting? + +SUSAN +I don't know. + +CHRIS +Okay. + +SUSAN +I'm just waiting. + +CHRIS +Right. + +The study doors open and Atherton, Carmichael and Decker step out. + +DECKER +(finishing their conversation) +And finally, it comes down to, if you can't do it, we'll get somebody else. I have a timetable, doctor. + +CARMICHAEL +We're very close, Dave, don't worry, everything's going to be fine. + +DECKER +(cold as ice) +Don, try and remember you work for me. +(to Atherton) +I think I've made my point, haven't I? + +ATHERTON +(equally as cold) +Crystal clear, Mr. Decker. + +DECKER +Good. + +CHRIS +Anything I should know about? + +ATHERTON +Shut up Kinsley. I'll be with you in a moment. + +DECKER +Goodbye, Jerry, and good luck. Susan? + +They begin to exit. Chris takes Susan's hand. + +CHRIS +I guess this is goodbye. I'm sorry I didn't get a chance to know you. At all. +(to the boys in admiration) +Have you ever seen breasts like theses before? + +DECKER +She happens to be my daughter. + +CHRIS +Oh, then I guess you have. + +CARMICHAEL +(to Atherton) +I'll be reporting to him every day. + +DECKER +Coming, Don? + +CARMICHAEL +Yes, Sir. + +They exit. + +ATHERTON +What do you think you're doing? + +CHRIS +You said come over. + +ATHERTON +Take off those shoes. + +Chris removes his shoes to reveal even dirtier socks. + +ATHERTON (CONT'D) +Stay off the rugs. + +INT. STUDY-CONTINOUS + +CHRIS +What's up, Doc. + +ATHERTON +I'm withdrawing your recommendation to PEI. + +CHRIS +What? + +ATHERTON +I'm giving Kent the job. + +CHRIS +Did you suddenly find humor? + +ATHERTON +You haven't solved my power problem. + +CHRIS +I'm trying. + +ATHERTON +No, you're not. So, I'm going to fail you, so you won't graduate, so you can't take the job. Q.E.D. + +CHRIS +I'll pass your exam. + +Atherton just smiles a "so what" smile. + +CHRIS (CONT'D) +We had a deal! + +ATHERTON +Did we? That doesn't sound very ethical. + +CHRIS +You can't do this. I'll go to Dr. Meredith. + +ATHERTON +(enjoying this) +Go ahead. What are you going to tell him. Don't forget, like most scientists, he is an honorable, moral man who thinks everyone else is too. I'll just deny anything you say. + +CHRIS +You dick! + +ATHERTON +Count on it. + +EXT. DORM ROOF-NIGHT + +Chris sits, lost in thought, outside the window of his room, Mitch appears at the window, sees Chris and climbs out to join him. + +MITCH +What are you doing? + +CHRIS +Self-realization. I was thinking of jumping, but it's only twelve feet. + +MITCH +Something wrong? + +CHRIS +No. Atherton is going to flunk me out of school. + +MITCH +But you had a deal. + +CHRIS +Yeah, and he says I didn't deliver. You sleep with pits, you wake up smelly. I think Aristotle said that. It was him or Eva Gabor. At least Hopsfield still has his integrity. + +MITCH +Excuse me? + +CHRIS +I thought I was so smart. I didn't want to be like the other dumb geniuses like Hopsfield. I though I could use Them., instead of Them using me. But, Guess what? + +MITCH +I have to agree. It does appear that you've been the victim of your own erroneous logic. + +CHRIS +Thank you. + +MITCH +However, this doesn't mean that you can't get yourself out. + +CHRIS +How? + +MITCH +Hard work? + +CHRIS +But that's the old way. + +GRINDING MONTAGE + +A series of shots showing Chris hard at work, underscored by an original song. + +INT. LASER LAB + +Mitch and Chris dismantle part of the laser. + +INT. DINING HALL + +Mitch, Jordan and Ick are listening as Chris shows them diagrams and formulas for a laser supercharger while they try to eat. + +INT. BIOCHEMISTRY LAB + +Chris and Ick search for a new gas combination for the laser supercharger. + +INT. ATHERTON'S LAB + +Mitch and Chris work hard on a second laser. Kent is both upset and suspicious of Chris' new interest in work. + +INT. ATHERTON'S CLASSROOM + +Chris enters carrying books and a note pad. Kent sees this and is shocked. Atherton gives Chris a "you haven't got a chance" grin. + +INT. CHRIS AND MITCH'S ROOM-NIGHT + +They both study for exams; on the wall is a chart of exam week showing Mitch's exam schedule, a big red square around Chris' exam with Atherton and, in every free hour is written " Laser". + +INT. DORM LIBRARY + +Many students, including our gang, study for exams. Suddenly, Milton can't take the pressure any longer and momentarily goes out of his mind and runs from the room. + +INT. ATHERTON'S LAB + +A tired looking Chris and Mitch attach a second laser to the original but nothing improves. They check their notes and diagrams. Kent, Bodie and carter chuckle in the corner. + +INT. AN EXAM ROOM + +Mitch is taking an exam with a bunch of people he doesn't recognize from the Professor who everyone tape recorded. One of the students appears to be near panic as he deals with a pile of mangled tape. + +INT. JORDAN'S ROOM-VERY LATE NIGHT + +Chris and Jordan use a blackboard diagram to discuss the engineering difficulties of Chris' laser supercharger assembly. + +INT. DORM HALL + +Chris runs down the hall and enters his room. Mitch is sprawled out asleep under a math text. Chris feels bad about it but wakes him up. + +INT. ATHERTON'S LAB + +A wasted Chris and Mitch build the new assembly that will allow a second laser to shoot at the gas jets of the principal laser. + +INT. DORM LIBRARY-NIGHT + +Chris is studying hard. Mitch is asleep, his head on the table. + +MITCH +(in his sleep) +Please, Vito, not in the mailbox again. + +CHRIS +Mitch! + +Mitch wakes up. + +MITCH +Oh... I was just reliving some high school highlights. + +CHRIS +Look, you don't have to stay up with me. It's not like we're driving. Get some sleep. You're a growing boy. I hope. + +Hopsfield enters carrying two large boxes of what appear to be file cards. Mitch is stunned. They all stare for a beat. + +CHRIS +Hi, Laslo. + +HOPSFIELD +I thought you might want some help so I dug into the computer and got every question Artherton's ever asked on every final he ever given. + +CHRIS +Gee, I didn't get you anything. Is that them? + +HOPSFIELD +No, these are entries for McDonald's Sweepstakes. No purchase necessary. Enter as often as you want. So, I am. + +CHRIS +Really? + +HOPSFIELD +This box makes it one million, six hundred thousand. I should win thirty two point six percent of the prizes, including the car. + +CHRIS +Kind of takes the fun out of it, doesn't it? + +HOPSFIELD +I suppose so. But they set up the rules, and lately, I have come to realize that I have certain materialistic needs. + +CHRIS +So where are the questions? + +HOPSFIELD +(insulted) +I memorized them. + +Chris and Mitch look at each other, impressed and a little frightened. + +MITCH +I have to go to sleep now. + +HOPSFIELD +Want my pajamas? + +MITCH +Uhhh...thanks, no. + +HOPSFIELD +Smart kid. He's going to grow five inches in the next year. + +CHRIS +How do you...never mind. + +INT. MITCH'S ROOM + +He opens the door and enters. It's dark. + +FEMALE VOICE +Mitch? + +MITCH +(surprised) +Jordan? + +He turns on the light. Much to his surprise and ours, seated on his bed is Sherry Nugil, the girl Chris met at PEI - the genius groupie. She's dressed for the occasion. + +SHERRY +Mitch Simon? + +MITCH +Who? + +SHERRY +I'm Sherry Nugil. And I've been waiting three years for this. + +MITCH +For what? + +SHERRY +For you to be old enough. + +MITCH +For what? + +SHERRY +For this. + +She kisses him. + +SHERRY (CONT'D) +Are you ready? + +MITCH +For what? + +SHERRY +Why do you keep saying, 'For what?' + +MITCH +'Cause so far it's working great. + +INT. JORDAN ROOM-NIGHT + +Jordan is using a big machine to sand her floors. There's a knock on the door. + +JORDAN +(shouts) +Come in. + +Mitch enters, He appears dazed and disheveled. + +JORDAN +Oh, hi, Mitch. I'm just sanding the floor. + +MITCH +Could you turn that off a second? + +She does. She starts moving the furniture back. + +JORDAN +What's wrong? Why are you sweating? + +MITCH +I...I just...I came back from helping Chris and there was this woman in my room. + +Jordan stops, It's the first time we've seen her doing nothing. + +JORDAN +A woman? + +MITCH +(with emphasis) +A woman. I mean she was...blessed + +JORDAN +Oh? + +MITCH +And she wanted to...How can I say this so as not to offend you? + +JORDAN +Jump you? + +MITCH +Yeah. I hope you're not offended. + +JORDAN +So what happened? + +MITCH +(excited) +She kissed me. Then she took off her clothes. Then I took off my clothes-she had to help me. I kept blacking out - then... it was unbelievable. + +JORDAN +You made it with her? + +MITCH +No. That's what was unbelievable. + +JORDAN +Sure. + +MITCH +It's true. I stopped her and told her I didn't want to. + +JORDAN +Afraid? + +MITCH +No...I mean I really did want to ... but not with her. + +He looks at her hopefully. She smiles. + +INT. ATHERTON'S LAB-DAY + +Chris puts the finishing touches on the second laser assembly. He seems pretty pleased with himself. Kent, Bodie and Carter watch conspiratorially. Carter looks at his watch and starts for the door. + +CARTER +Let's go girls + +BODIE +What's that supposed to mean? + +CARTER +It's just a f..f..figure of speech, Bodie. You guys coming to the exam or not? + +CHRIS +(finishing his work) +I guess we should, seeing as he's gone to all the bother of having one and everything. + +They all begin to exit, but then Kent holds up. + +KENT +You guys go ahead. I have to go to the bathroom. + +CHRIS +(exiting) +Okay, Kent, but I don't think that's going to help your confidence, do you? + +The others exit as Kent goes back to Chris' laser, opens it up and starts to fiddle with the works. + +KENT +(to himself) +So, Mr. Funny Man, let's see how funny you think this is. + +INT. ATHERTON'S CLASSROOM-DAY + +Students wait to begin taking their final exams. Chris, Bodie and Carter enter and take their seats. Atherton is passing out the booklets. + +ATHERTON +You will have exactly three hours. And remember, we believe in the honor system here, people. + +ANGLE ON KENT + +He enters and heads for his seat beside Chris. + +KENT +Good luck, buddy boy. + +CHRIS +Is it okay if I name my first child after you? Dipshit Kinsley has a nice ring to it.5R5DISSOLVE TO: + +INT. ATHERTON'S CLASSROOM-LATER + +The students are busy taking the test. + +ANGLE ON CHRIS + +He seems to be breezing through it. + +ANGLE ON KENT + +He's taking the test. He looks up and is distressed at Chris apparent lack of trouble. Chris looks over and throws Kent a big kiss. Kent turns away immediately. + +INT. ATHERTON'S OFFICE + +Atherton is going over some plans. Carmichael ENTERS. Atherton rises. + +ATHERTON +(reprimanding) +This is my class hour! + +CARMICHAEL +(loud whisper) +We're past the deadline. Don't you understand, Decker's dangerous. We need those plans. + +ATHERTON +(snaps back) +It's not ready yet. But it will be. I've got Kinsley cooking now. He'll do it. Believe me, I know how to push that kid's buttons. +(rolling up the plans) +Here are my drawings for the optics in the sighting system. + +CARMICHAEL +(cutting him off) +Decker wants the laser by the end of the week. + +ATHERTON +(close to losing it) +I'm doing all I can, damnit! + +Atherton storms out. + +INT. CLASSROOM + +Atherton enters like a dark cloud. He sits at his desk. + +ANGLE ON CHRIS + +He finishes his last question. He gets out of his seat. + +ANGLE ON ATHERTON + +Sitting at his desk. Chris places his test on the desk. Atherton looks up. + +ANGLE ON CHRIS AND ATHERTON + +Chris has a big grin on his face. He takes a piece of paper and writes on it and then slides it in front of Atherton. + +INSERT + +The piece of paper. It says, "I aced this." + +ANGLE ON ATHERTON + +He writes a message and slides it to Chris. + +INSERT + +A piece of paper which reads, "Ace the laser." + +ANGLE ON CHRIS + +Chris places an apple on Atherton's desk. He exits. Atherton tosses the apple in the wastebasket. The APPLE EXPLODES. + +EXT. CAMPUS-DAY + +Chris is heading for the lab. The place has that look of exam period desertion. + +CHRIS +(muttering to himself) +Okie-dokie, doc, a house doesn't have to fall on ole Chris Kinsley. + +INT. ANTHERTON'S LAB-DAY + +Chris enters and prepares to test the new equipment. He aligns the secondary laser and let it charge up. He makes some final checks and then throws a switch. The laser fires for an instant but then seems to go crazy. The new laser overheats and the main chamber sparks and smokes. Chris tries to shut it down but to now avail. he tears the cover off in hopes of pulling the wiring, but he's too late. We see everything melting away as the machine eats itself. We also see a message left for Chris just before it too melts. It reads: "1 laser=1car." Chris is on the verge of a complete mental collapse as he watches his work go up in smoke. + +CHRIS +(in anguish) +No!!!! + +There is nothing but the echo of his voice in response. The main laser stands like a huge, frozen bird in the empty room. In anger and frustration he swears at the machine. + +CHRIS (CONT'D) +You bastard. This is your fault. + +He kicks the wastepaper basket in hopes of getting rid of some of this anger; but, instead, all he gets is the basket bouncing back and hitting him in the shin. + +CHRIS (CONT'D) +Shit! I deserve that. It all comes back on you in the end. + +He suddenly stands up straight as though he were having a stroke. + +CHRIS (CONT'D) +Holy shit! + +Inspiration takes hold and Chris begins running around like a madman, gathering up parts to the laser. + +CHRIS (CONT'D) +(almost singing, he's so happy) +Of course, it's so simple. Echoes, bouncing back at me and you. + +EXT. DORM-A LITTLE LATER + +Chris runs up the stairs three at a time. + +INT. CHRIS AND MITCH'S ROOM + +He bursts in. + +CHRIS +Mitch?! + +The room is empty. + +The closet door opens and Hopsfield steps out, carrying another box of cards. + +CHRIS (CONT'D) +Laslo! Buddy! Have you seen Mitch? + +HOPSFIELD +No. How did you do? + +CHRIS +(elated) +I failed! + +HOPSFIELD +You shouldn't have. + +CHRIS +That's true. But never mind that now. It came to me. The power problem. I solved it. Echoes! It's so simple, four little mirrors. It bounces back and supercharges the gas itself. I've got to find Mitch to help me build it but it should increase the power ten-fold at least. If you see him, tell him to meet me at the lab. Bye. + +Chris exits, leaving Hopsfield lost in thought. + +EXT. STUDENT UNION-MOMENTS LATER + +A hand-painted sign hangs over the door that says: "Exam Week Decompression Here." Chris runs in the door. + +INT. DECOMPRESSION ROOM-CONTINUOUS + +The room is full of students who are blowing off steam from studying for and taking exams. They are engaged in all sorts of silly, mindless activities, ranging from tiddly-winks and video games to watching cartoons. There are supplies of "brain food" and health drinks around. Mitch, Ick and Jordan are in the corner. Chris runs up to them. + +JORDAN +Oh, Chris. How did it go? + +CHRIS +Great. It was a snap. But Atherton said he's failing me anyway. + +JORDAN +That's terrible. You must be feeling awful. Are you all right? + +CHRIS +Thank you, Jordan. I do feel terrible but I can't talk about it right now. I need Mitch. Gotta go. Bye. + +He grabs Mitch and pulls him out. + +ICK +He seems to be handling it all right.5R5FADE OUT + +EXT. ATHERTON'S HOUSE-LATER THAT NIGHT + +Chris knocks on the front door. Atherton answers the door. He is less than thrilled to see Chris. + +INT. ATHERTON'S HOUSE + +CHRIS +(forcing his way in) +Hiya, Jerry, how's it going? + +ATHERTON +What do you want Kinsley? + +CHRIS +World peace, but I don't think this is the time to discuss it. + +ATHERTON +What are you doing here? I've already told you you've burned out and you've failed me and yourself miserably. + +CHRIS +Yes, I know that. But I thought you might be interested. + +ATHERTON +I'm not interested in anything you have to say. + +Just then a pretty COED starts to come down the stairs. She is dressed only in one of Atherton's shirts. + +COED +Jerry? + +CHRIS +I solved the power problem, Jerry. + +Atherton pauses. He looks at Chris, then the girl. + +ATHERTON +Debbie, go home. + +INT. ATHERTON'S LAB-LATER THAT NIGHT + +Atherton, Kent, Bodie and Carter stand by the laser as Chris explains what he's done with formulas on the blackboard. + +CHRIS +As you know, I was working on supercharging the DF by means of a fusion technique using a secondary laser. Well, when I tried it, I discovered Kent had sabotaged it so it collapsed on itself. + +Everyone looks at Kent in disgust. + +CHRIS (CONT'D) +And I want to thank him for the thought. + +KENT +What???? + +CHRIS +The Deuterium and Fluorine take up enough space by themselves, right? Well, the mistake we've been making up to now is in trying to kick up the power by means of yet another outside source. Big and bulky, right? Well, the elegance of this is that by reflecting part of the lasing light back in the gas jets we supercharge the whole deal, increasing the power tenfold with no increase in size. + +KENT +This is a complete waste of time. + +Mitch has been preparing the laser for demonstration. He is struggling to lift several thick metal plates. + +CHRIS +Kent, make yourself useful for once and help put those plates against the wall. + +Kent does and everyone stands back. + +CHRIS (CONT'D) +Okay, Mitch do it. This should work. + +Mitch switches on the main laser. It comes to life. Gases flow and a beam appears, hitting the plate without effect. + +MITCH +Now we open the vacuum chamber. + +He turns a valve and the beam begins to heat up the plate. + +CHRIS +So far so good. And now, cross your fingers. + +He throws a switch. There's a beat. And then, suddenly, the beam glows intensely brighter, cuts through the plate, the cabinets behind it and through the wall out into the night. Chris and Mitch jump shut the whole thing off. + +CHRIS +Sorry about the wall, sir. + +KENT +(looking through the hole) +And the tree across the quad. + +ATHERTON +(in awe) +Screw the wall, you did it! You really did it. + +KENT +(petulant) +I've done my part, too. + +ATHERTON +(ignoring Kent) +Okay, Kinsley. You did it. You pass. + +CHRIS +Thank you, sir. + +ATHERTON +And I think we can get that job back for you at PEI. + +KENT +(apoplectic) +What! You can't. That's my job. I've done everything you've ever asked. I get your laundry, and I finished the mirror. Look. + +Kent runs out of the room as Mitch and Chris exchange a look and Atherton shakes his head. Kent returns, rolling a circular precision mirror one meter in diameter. + +KENT +See! Do you have any idea how hard it is to make a film virtually 100 per cent reflective, one micron thick and apply it to a mirror this shape? + +ATHERTON +Good, Kent. +(to Chris, in a hurry) +I have to go. I have a pressing... + +He exits. + +MITCH +(very happy for Chris) +Let's celebrate. + +CHRIS +Absolutely. Kent, you with us? + +KENT +(totally frustrated) +Oh...eat me. + +EXT. CAMPUS-NIGHT + +Chris, Mitch, Ick and Jordan are looking at the laser hole in the tree. + +EXT. LIBRARY-NIGHT + +They look at where the beam has cut a hole through the head of the statue of Dr. Bradford. + +EXT. STREET-NIGHT + +They look high up at a hole where the beam went through a telephone pole and then across the street, even higher, where it burned through a billboard on top of tavern. They cheer. + +INT. BAR-LATER + +Our group is celebrating. The jukebox blares. Chris and Ick are drinking beers; Mitch and Jordan are holding hands, sharing a milkshake and feeding each other French fries. + +MITCH +I don't think I'm ready for that yet. Maybe we should wait a year; at least until I get my license. + +JORDAN +I understand. There are a lot of things to be considered here. For example, I could drive. + +Hopsfield enters and sits down at the table. Everyone stares for a beat. + +HOPSFIELD +(to Chris) +I've been thinking about your laser solution. +(a beat) +I figure you've increased the output to six megawatts. + +CHRIS +Yeah. + +HOPSFIELD +What would you use that for? + +MITCH +The applications are unlimited. Industrial for one. + +HOPSFIELD +With the gas tanks you've designed the beam would only last for forty seconds. What good is that? + +CHRIS +I don't care, Laslo. I graduated. + +MITCH +Let the engineers figure out a use for it. That's not our concern. + +HOPSFIELD +Maybe somebody already has a use for it, one for which it's perfectly designed. + +JORDAN +You mean Atherton had something in mind all along? + +HOPSFIELD +Looks at the facts: very high power, portable, limited firing time, unlimited range. All you'd need is a big spinning mirror and you could vaporize a human target from space. + +Hopsfield gets up and walks outside. Silence for a beat. + +CHRIS +This is not good. + +ICK +You want another beer? + +MITCH +How big a mirror? + +INT. HALLWAY-EARLY MORNING + +Chris, Mitch, Ick, Jordan and Hopsfield run down the hall and enter the lab. + +ANGLE- THE LAB + +The laser is gone. + +INT. HALLWAY + +Chris runs next door and forces Kent's lab door open, looks in. + +INT. KENT'S LAB + +They all enter. + +CHRIS +The mirror is gone, too. Atherton, you worm! You pig! You fuck! Kent, you too! + +Chris is venting his rage on every inanimate object in the room, kicking and punching. + +CHRIS (CONT'D) +I should have seen it! How could I have not seen it! + +MITCH +He lied to us. + +CHRIS +It's easy to lie to you. You trust people! I'm cynic! What an asshole I am! + +HOPSFIELD +I understand how you feel, Chris, and you're right. But what we should be doing now is trying to find out what he's doing. + +INT. CHRIS AND MITCH'S ROOM-NIGHT + +Chris and Mitch sit waiting. Chris is very despondent. Very. Jordan enters. + +MITCH +Did you do it? + +JORDAN +I put a receiver in it too. +(referring to Chris) +Is he okay? + +MITCH +I don't know he stopped talking about an hour ago. May I see it? + +She holds out her hand and we see an almost microscopic electronic device. Ick enters carrying several gas masks, a gas bottle, some tubing an atomizer. + +ICK +Ready? + +INT. DORM HALLWAY -MOMENTS LATER + +Mitch, Jordan and Ick are gathered around the closed door to Kent's room wearing the gas masks. Ick feeds the end of the tube under the door and opens the valve on the bottle. + +ICK +We'll have two minutes. + +A STUDENT walks by, not batting an eye. + +STUDENT +Hi, guys. + +INT. KENT'S ROOM + +The gas has knocked Kent out. He sleeps peacefully in a chair. The door opens and our gang enters. + +JORDAN +(to Mitch) +Open his mouth. + +He does and she pulls out some dental tools and goes to work, placing the receiver in Kent's mouth. + +JORDAN (CONT'D) +It was his braces that gave me the idea. They're a perfect antenna. His whole.. + +ICK +It's about time someone put it to good use. + +INT. CHRIS AND MITCH'S ROOM-MOMENTS LATER + +They all huddle around a homemade radio transceiver. + +MITCH +(disguising his voice, into a microphone) +Kent. Kent. Wake up, Kent. + +INT. KENT'S ROOM-SAME TIME + +Kent begins to stir. We can HEAR Mitch's voice coming from Kent's head. At first he thinks he's dreaming. + +MITCH (V.O.) +I'm talking to you, Kent. + +KENT +What? + +MITCH (V.O.) +I said I'm talking to you. + +KENT +(shaking his head, violently) +No! + +MITCH (V.O.) +Yes. + +KENT +(slapping himself) +I'm not asleep. I must be overworked. + +MITCH (V.O.) +You're not overworked, Kent. + +KENT +Well, I'm not insane! + +Silence. + +KENT (CONT'D) +Am I? + +INT. CHRIS AND MITCH'S ROOM + +MITCH +That remains to be seen, Kent. But we are having a conversation. + +INT. KENT'S ROOM + +KENT +I have to metabolize this. Um... who is this? + +MITCH (V.O.) +This is Jesus, Kent, and you've been a very naughty boy. + +KENT +(cracking up, laughing) +All right! Who is this?! Bodie? Carter? + +MITCH (V.O.) +I am known by many names. I am the One. Turn to me and be saved. + +KENT +Oh, Sure. + +MITCH (V.O.) +Cut the crap, Kent, you've built a weapon. + +KENT +How did you know that? + +MITCH (V.O.) +I know everything. + +KENT +Oh. God. + +INT. CHRIS AND MITCH'S ROOM + +MITCH +That's right, Kent. Where is the laser now? + +INT. KENT'S ROOM + +KENT +I can't tell you. + +MITCH (V.O.) +How would you like to burn for the rest of time? + +KENT +(panicking) +No, they're testing it on the twenty-seventh but I don't know where. It's classified. + +MITCH (V.O.) +Oh. + +KENT +What? + +MITCH (V.O.) +Nothing. I want you to think about what you've done and repent, and from now on, stop playing with yourself. + +KENT +I don't...okay + +INT. CHRIS AND MITCH'S ROOM + +MITCH +Now what? + +The closets door opens and Hopsfield appears. + +HOPSFIELD +Phase two. + +INT. STEAM TUNNELS + +They are near Hopsfield's lair. Hopsfield has removed the cover from an enormous terminal. Chris seems remote and depressed. + +HOPSFIELD +This is the phone terminal for the entire school. + +MITCH +Okay, we tap Atherton's office phone. What about his home? + +ICK +All the faculty's home phone are part of the University system. + +JORDAN +(enthusiastically, looking at the maze of wiring) +Great, all we have to do is find it! + +HOPSFIELD +We'll find it. + +Jordan and Hopsfield set to work searching for Atherton's lines. Ick is concerned about Chris. + +ICK +I'm depressed. Why did I listen to my parents? I should have become a ping-pong pro. + +HOPSFIELD +It's not too late. + +MITCH +You shouldn't be depressed. It's us he used. + +JORDAN +Downtown Schmidlap. + +MITCH +Excuse me? + +JORDAN +(Still working) +Ernie "Downtown" Schmidlap. From my high school. He was captain of everything. One day he told me he wanted to "date me up." so for a month he'd come over and I'd do his homework for him. He was going to take me to the prom. But once he passed his courses, he took Roberta Preen. I stayed home and re-wired our housekeeper's TV. + +ICK +That's awful! + +MITCH +You think that hurts? You should've met my Uncle Stan. He was a Weasel. + +ICK +That bad, huh? + +MITCH +No, that was his lodge. The Royal order of Friendly Weasels. Every Wednesday when I was eight, he'd take me down to his lodge meeting and he'd challenge people to call out two five-digit numbers. I had to multiply them in my head faster than a guy could do it on a calculator. They'd bet on me. Of course, after the meeting, he'd take me for ice cream. + +ICK +That's nice. + +MITCH +Well...he'd take me to the supermarket and I had to dip my hand in. + +HOPSFIELD +I've got his office. + +JORDAN +I've got his home. + +INT. STEAM TUNNEL- SOMETIME LATER + +They've all made themselves comfortable as they sit and wait for the phone tap to produce results. Hopsfield has wired a speaker so that they can hear, + +CHRIS +Why doesn't your phone ring, you jogging, syphilitic microbe? + +ICK +(sotto, to Mitch) +I think he's coming around. + +Suddenly, from the speaker, we HEAR the sound of Atherton's phone being picked up. + +ATHERTON (V.0./FILTER) +Hello + +VOICE (V.O.) +Is this Jerome Atherton? + +ATHERTON (V.O.) +Yes, it is. + +VOICE (V.O.) +This is Bill Carlisle. I saw your television show the other night about the reproductive system. + +ATHERTON (V.O.) +Thank you, I hope you enjoyed it. + +VOICE (V.O.) +I love it. Everything you said was copied word for word from my book and I expect a lot of money for it. + +ATHERTON (V.O.) +Need I remind you, it's public television, an attempt to teach people something. And all you can think of is personal greed. It's people like you that make me feel bad about being American. + +VOICE (V.O.) + +I'm Canadian + +ATHERTON (V.O.) +I'm not surprised. Good day. + +They hang up. + +ICK +God, he's good at that. He almost gets away with it. That's the most manipulative guy I've ever seen... I mean heard. + +CHRIS +He does get away with it. + +MITCH +Not anymore. + +INT. STEAM TUNNEL-LATER STILL + +Everyone lies asleep in various places and positions, Mitch awakens. He is amazed to find Jordan asleep on his shoulder, so amazed he has to wake her. + +MITCH +Jordan? + +JORDAN +Hmmmmmmmm. + +MITCH +You were sleeping. + +JORDAN +I was? Gee +(snuggling) +I guess you relax me. + +MITCH +(proudly) +Wow! + +CHRIS +(awakening) +What's going on? + +MITCH +I put Jordan to sleep. + +CHRIS +And you're proud of that? + +MITCH +Yeah. + +The speaker comes to life with the sound of the receiver being groped for and then Atherton's groggy voice. + +ATHERTON (V.O.) +(mumbling) +Yes...hello + +DECKER (V.O.) +Jer? Dave Decker How are you? + +ATHERTON (V.O.) +Christ, Dave what time is it? + +DECKER (V.O.) +Nine thirty here in Washington. I thought you Californians all get up early and exercise. Ha, ha + +CHRIS +This is it. That's the guy I saw at his house with the daughter. + +ATHERTON (V.O.) +Very funny, Dave. What do you want? I'm busy. + +DECKER (V.O.) +It sounds like it. Listen, I'll be out there tomorrow for the test but I want you to go to the Marsh this afternoon and check optics systems one more time. + +ATHERTON (V.O.) +Why? + +DECKER (V.O.) +Because I'm in charge, Doctor. Goodbye. He hangs up. All look to Chris. + +ICK +Well? + +CHRIS +(comes to life) +It's happening. + +MITCH +It's only weapon if it works, right? + +CHRIS +(determined) +You're absolutely right! The time has come, people. No more being used. No more Downtown Schmidlaps or Uncle Stans or Jerry Athertons. We're going to take responsibility for our own brains. Remember, without ethics there can be no morality. Without morality there is no society and without society there can be no fast food restaurants. So the whole country, nay, in the world, is counting on us to get even in a big way. Thank you. + +ICK +Nice logic. + +CHRIS +Thanks. Synchronize watches. + +MITCH +Why? + +CHRIS +It's just something you say at a time like this. + +HOPSFIELD +I don't need a watch. + +CHRIS +Okay, forget it. Let's go. + +EXT. ATHERTON'S HOUSE-DAY + +Atherton comes out and heads for his car carrying an over-night bag. As he drives away we SEE that Ick has been spying on him. + +EXT. A FILED-DAY + +Ick is hiding behind some bushes on a knoll. he is looking through binoculars. + +ICK POV + +Atherton's car is passing through a high security gate into Marsh field. + +EXT. SHIPPING DOCK-DAY + +Chris, Mitch and Hopsfield are loading the last of several large boxes into a beat-up van. + +EXT. ATHERTON'S HOUSE-EVENING + +The van pulls up in front. Painted on the side is a plumber's logo. Mitch, Jordan and Ick start unloading boxes. Chris goes to the front door. + +ANGLE ON THE DOOR. + +Chris picks the lock. + +INT. HOPSFIELD'S LAIR-LATER THAT NIGHT + +Chris and Mitch enter to see Hopsfield as he works at the computer, attempting to interface with another computer. Each time he hits the keys the READOUT replies "Negative." + +HOPSFIELD +Boy, these secret fields are so untrusting. + +CHRIS +So we can't get on-base clearance. + +HOPSFIELD +I guess not. + +CHRIS +Forget it. We'll balls it. + +Jordan enters carrying two I. D. cards. + +JORDAN +How do these look? + +INSERT + +Two fake I. D.'s with Mitch's and Chris's picture on them. + +Perfect. I hope. + +ANGLE BACK ON THE ROOM + +MITCH +What if they don't fool anybody? + +CHRIS +They shoot us. + +EXT. MARSH AIR FORCE BASE- MIDDLE OF THE NIGHT + +Technicians check monitors and prepare for the coming test. Nearby stands a firing command module very reminiscent of the pilot's compartment in the opening sequence. Atherton goes over last minute details with various people. He seems distracted as an engineer discusses a problem with him. + +ENGINEER +Are you all right? + +ATHERTON +What? Oh, yes, fine. Have you ever had a feeling that there's something terribly wrong? + +ENGINEER +No. + +EXT. MAIN GATE OF THE BASE-NIGHT + +There are two Air force Police GUARDS in the shack. Chris and Mitch pulls up in Kent's Citroen, behind a government sedan awaiting clearance at the gate. They are dressed as technicians and Mitch sports a moustache. + +INT. THE CITROEN + +Mitch is a wreck and Chris doesn't help. He begins humming the theme from "Mission Impossible." + +GUARD (V.O.) +All clear, Mr. Decker. Just follow the yellow line. + +Chris accidentally hits the horn. Through the windshield we SEE Decker and the guard look back. Chris recognizes Decker. + +CHRIS +(covering) +How long does it take? + +Mitch whimpers. Decker's car pulls away. The guard uses one finger to motion Chris forward. Chris pulls the car up. The guard leans in the window. + +GUARD +I.D. + +Mitch, obviously shaking, hands his to Chris who hands them to both guard. + +CHRIS +Snap it up, will ya? We just flew in. We're tired. We're hungry. We have this stupid car. + +The guard turns away and walks into the shack. + +MITCH +Are you out of your mind? + +CHRIS +You have to intimidate these guys. + +The guard returns. + +GUARD +You're not on the list. + +CHRIS +Of course not. We're classified. + +We HEAR the phone RING. The second guard answers it. + +INT. COMMAND CENTER + +An Air Force Officer is on the phone. An impatient Atherton stands beside him. + +ATHERTON +I don't know what he should look for, just tell him if he sees anything out of the...let me tell him. + +He grabs the phone. + +INT. THE CITROEN + +GUARD +Aren't you guys a little young to be technicians? + +CHRIS +Lasers are a young science. There, fine, now you've made me say it. Now we're all in trouble. + +Mitch looks like he's going to die. + +GUARD +Look, I'll call the duty officer. + +He starts towards the phone shack. The other guard is still on the phone. + +CHRIS +(his demeanor changing) +Excuse me. + +The guard turns back. + +CHRIS (CONT'D) +Look, pal, don't call anybody. We're four hours late. It's our jobs. Give us a break, will ya? Someday you might be in the private sector, right? + +A beat. Mitch dies. Chris gives the guard a goofy grin. + +EXT. THE GATE + +The guard waves them through. The car pulls away. The guard returns to the booth. + +SECOND GUARD +We're supposed to look for anything out of the ordinary. + +FIRST GUARD +Okay. + +EXT. THE RAMP - NIGHT + +A B-1 Bomber, painted black, sits in the glow of the work lights. Technicians, who are wearing jumpsuits similar to the ones Mitch and Chris have on, are busy working around the plane. + +Chris and Mitch ENTER FRAME and walk up to the plane. A couple of the technicians watch them curiously as they go up the stairs into the bomb bay. + +INT. BOMB BAY + +Chris and Mitch enter. Three technicians are inside the plane running last minute checks on the laser, which sits in the middle of the cabin. Chris crosses to the technician who is in the middle of the cabin. He watches him making mental notes as he checks the program. The technician turns, sensing his presence. + +CHRIS +Nice work. Keep it up. + +Mitch, meanwhile, checks out the laser optics. After a beat, one of the technicians signals for the others to complete their jobs and exit. They start to file out. One of them turns and looks at Chris, who is just standing there. + +CHRIS +What?! + +The technician shakes his head uncertainly and exits with the others. Finally, Mitch and Chris are alone. Chris opens the BRIEFCASE. It contains a cellular phone, a modem and an EEPROM Processor. + +INT. HOPSFIELD'S LAIR - SAME TIME + +The computer receives a signal. Hopsfield turns to Jordan and Ick. + +HOPSFIELD +We've got a connection. They're in. + +INT. BOMB BAY + +CHRIS +Get the EEPROMs. + +Mitch opens up the computer and clips a couple of power lines and pulls out four computer chips and hands them to Chris, who plugs them into the processor. Chris picks up the phone. + +CHRIS +(into phone) +Abbott to Costello. + +INT. HOPSFIELD'S LAIR + +Jordan picks up the phone. + +JORDAN +(into phone) +This is Costello. Go ahead, Abbott. + +INT. BOMB BAY + +CHRIS +(into phone) +Costello, who's on first? + +Mitch hits him impatiently. + +CHRIS (CONT'D) +We've got the goodies. + +JORDAN (V.O.) +We have the target coordinates computed for trajectory adjustment. + +CHRIS +Great. Shoot. + +INT. HOPSFIELD'S LAIR + +Hopsfield's computer screen fills with machine code of ones and zeros. He begins searching through many screens of code. + +HOPSFIELD +Oh, oh. + +ICK +What? + +HOPSFIELD +Oh, nothing. + +INT. BOMB BAY + +Chris and Mitch freeze as a mechanic walks by the open bomb bay door. + +INT. COMMAND CENTER - EARLY MORNING + +Technicians are checking monitors and a radar scope at a control panel. Atherton is in the rear of the room briefing a group of civilians and military brass. Amongst them is Decker. Atherton points to a drawing on a large chart. + +ATHERTON +The plane will reach an altitude of sixty-five thousand feet. When it is over, the target will fire the laser from here .... +(points to the firing module) +... for five point two seconds. + +Carmichael enters. + +CARMICHAEL +They're all set for the final onboard check. + +ATHERTON +Fine. Right this way, gentlemen. + +They all follow Atherton and Decker to the exit at the rear of the room. + +INT. BOMB BAY + +Chris and Mitch sweat it out. + +INT. HOPSFIELD'S LAIR + +Hopsfield is scanning the screens. + +HOPSFIELD +I think I've found it. May I have the coordinates, please. + +ICK +(reading from paper) +Thirty-four degrees, ten minutes, fifteen seconds North; one hundred eighteen degrees, nine minutes, three seconds West. + +Hopsfield enters the data into his computer. + +JORDAN +(into phone) +We're sending. + +INT. BOMB BAY + +CHRIS +(into phone) +We're taking. + +Mitch suddenly panics as he looks out. + +MITCH'S POV + +Atherton and his group come around the corner of a building and head for the plane. + +ANGLE ON MITCH AND CHRIS + +MITCH +They're coming this way. + +CHRIS +(into phone, overly calm) +You may be interested in knowing that Mitch reports that Herr Professor is approaching and I'm not even sweating. Isn't that remarkable? + +INT. HOPSFIELD'S LAIR + +JORDAN +Please hurry. Atherton's coming. + +HOPSFIELD +(typing furiously) +Please, I don't work well under pressure. + +He finishes. + +HOPSFIELD (CONT'D) +There. I hope that does it. + +JORDAN +(into phone) +Okay, Chris ... I mean Abbott. Hello ... hello ... hello ... + +EXT. BOMBER + +Atherton and his group approach and enter the bomb bay. + +INT. BOMB BAY + +As they enter, there is no sign of Chris and Mitch. Atherton checks out the laser and the computer. The others examine various gauges and switches and the flight deck. + +CARMICHAEL +Everything all right? + +ATHERTON +Of course. + +EXT. BOMBER + +As the group exits the plane, Chris and Mitch drop out of the forward landing gear well in the background. + +ATHERTON +(turning back) +Oh, I forgot ... + +ATHERTON'S POV + +A glimpse of Chris and Mitch as they disappear around the corner of the building. + +CLOSE ON ATHERTON + +Uncertain of what he has just seen. + +CARMICHAEL (O.S.) +What is it? + +ATHERTON +Nothing. + +INT. DORM LIBRARY - PRE-DAWN + +Kent looks the worse for wear as he sits surrounded by psychology books dealing with schizophrenia. + +MITCH (V.O.) +Hi, Kent. + +KENT +(surprised) +Oh, I thought you were gone. + +MITCH (V.O.) +Not yet. Have you been touching yourself? + +KENT +Yes. I mean, no. + +INT. CHRIS AND MITCH'S ROOM - SAME TIME + +MITCH +(into mike) +Good, Kent. Dad, my father, you know, God, wants to show you something. + +KENT (V.O./FILTER) +Why? I mean, what? + +MITCH +I've learned not to ask. + +INT. DORM LIBRARY + +MITCH (V.O.) +He wants you to wait on the sidewalk at six thirty nine Ivy Crest Drive at precisely six-oh-eight this morning. + +KENT +Ivy Crest? + +MITCH (V.O.) +Just wait there and you shall receive a sign. Do not despair and do not go inside. + +KENT +Why not? Hello? Hello, Jesus? + +A student walks in and looks at him strangely. + +INT. COMMAND CENTER - DAWN + +Atherton and company watch the bank of monitors as the flight controller clears the bomber for take off. + +EXT. CAMPUS - DAWN + +Chris and Mitch jump into the van and drive off. + +INT. COMMAND CENTER + +Some monitors show the bomber climbing while others show the desert target area. It is a mock up of a Presidential motorcade. The open cars are filled with test dummies, and are linked together and are being towed slowly across the desert by a tractor. + +CONTROLLER +(into mike) +Crossbow One, radar contact. Climb and maintain flight level six five oh. + +EXT. ATHERTON'S HOUSE + +The van pulls up and parks across the street. Chris and Mitch get out. Just then, a Volvo pulls up and Jordan, Ick and Dr. Meredith get out. Dr. Meredith is wearing a bathrobe, pajamas and slippers. + +MEREDITH +Ah, Mr. Kinsley. Why am I not surprised to see you here? Perhaps you have the explanation for this so-called event I'm suppose to witness. + +CHRIS +Yes, sir, I do, but first may I take this opportunity to compliment you on your fashion sense. + +INT. CONTROL CENTER + +CONTROLLER +(into mike) +Crossbow One, turn left to two eight zero. + +PILOT (V.O./FILTER) +Two eight zero, roger. + +A technician hits a switch and a monitor pops on. Crosshairs dominate the center of the screen. The desert floor rushes by. Atherton turns to a specialist standing by. + +ATHERTON +Norman, if you'd be so kind. This cockpit mock-up duplicates the shuttle flight deck and we've placed it here to demonstrate the firing technique. + +The specialist takes his place inside the command module. + +PILOT (V.O./FILTER) +We are thirty one DME from the target. + +CONTROLLER +(mike) +Roger, Crossbow. Open the doors. + +INT. BOMB BAY + +The doors open to reveal clouds rushing past and the ground far below. + +EXT. ATHERTON'S HOUSE + +MEREDITH +These are rather strong accusations, Chris. + +CHRIS +Yes, sir, I know. + +MEREDITH +If they're true, I'm going to need some proof. + +CHRIS +I think we're going to be able to accommodate you in just a minute, sir. + +Looking past Meredith, Chris sees Kent approaching. + +ANGLE ON KENT as he arrives at the house and stars up at it. He glances at his watch and waits impatiently. + +INT. COMMAND CENTER + +Inside the firing module, the specialist pulls down the target sighting device and puts his hands on the joysticks. + +SPECIALIST +Power on. + +CONTROLLER +T minus fifty and counting. + +INT. BOMB BAY + +The large mirror lowers into its firing position and the laser powers up. + +EXT. ATHERTON'S HOUSE - MORNING + +The group watch Kent, who is nervously pacing back and forth, talking to himself. + +CHRIS +(to Mitch) +Boy, if this works, he's going to start a new religion. + +MITCH +If it doesn't work ...? + +Chris shoots him a censoring look. + +INT. COMMAND CENTER + +This countdown continues. Monitors display the target sight, the pilot's sighting screen of the ground and a camera's view of the bomber. + +TECHNICIAN +Trajectory command relay, locked. + +ATHERTON +Now, Norm here has firing control. + +ANGLE ON TARGETING MONITOR + +The target motorcade is sighted. + +INT. BOMB BAY + +The laser mirror and sighting lens move in unison as they line up on target. + +INT. COMMAND CENTER + +The crosshairs line up on the sighting monitor. + +EXT. ATHERTON'S HOUSE + +JORDAN +What's he doing? + +THEIR POV + +Kent has now started toward the front door. + +MITCH +I told him not to go in! + +CLOSER ANGLE ON KENT + +KENT +(muttering to Jesus) +Look, this is Jerry's house, we're very close, so if you're not going to answer me, then I'm going in ... + +He reaches for the front door. + +KENT (CONT'D) +... here I come. + +ANGLE ON CHRIS AND MITCH + +CHRIS +(shouting) +Kent! Stop! + +ANGLE ON KENT + +who turns and sees them. + +INT. COMMAND CENTER + +Everyone is riveted to the sighting monitor. + +SPECIALIST +Target locked. In ten, nine, eight ... + +As the countdown continues. + +INT. BOMB BAY + +The computer comes to life and electronically unlocks the laser optics from the sighting camera. The mirror turns to the left. + +INT. COMMAND CENTER + +The aerial view of the motorcade remains centered on the sighting monitor. + +INT. ATHERTON'S HOUSE + +Kent opens the front door and enters. + +KENT +(to himself) +That looked like Dr. Meredith in a bathrobe. First I'm hearing things, now I'm seeing things. + +He closes the door. + +KENT (CONT'D) +Okay, God. Let me have it. + +The room is dark, lit only by morning light coming through a large stained glass window at the top of the stairs. In the middle of the room is what looks like a large above-ground swimming pool, covered in aluminum foil. Kent is amazed. + +INT. COMMAND CENTER + +SPECIALIST +... three, two, one, bingo. + +He hits the trigger. + +INT. BOMB BAY + +The laser fires. + +EXT. SKY + +The laser beam traces through the atmosphere. + +INT. COMMAND CENTER + +The group waits expectantly. Nothing happens to the target. + +EXT. ATHERTON'S HOUSE + +Chris and Mitch, who are running toward the house, are stopped in their tracks by the incredible sight of the red laser beam shooting down out of the heavens, striking the grass, tracking across the lawn then up the wall of Atherton's house. + +INT. ATHERTON'S HOUSE + +The beam strikes the window and for one tiny moment causes the most incredible light show anyone has ever seen. + +KENT +(in awe) +Oh! + +The window is obliterated by the laser light, which crashes down directly onto the aluminum foil-covered pool. + +KENT (CONT'D) +Oh, my! + +The foil is heated instantly in the laser light and there is the SOUND of tiny explosions, building to a roar. In a second, the foil rises violently and tears open. Kent picks up a piece of debris and examines it. + +KENT +Popcorn? + +In the next instant, he is engulfed in popcorn. + +EXT. ATHERTON'S HOUSE + +The beam disappears as suddenly as it came. Everyone stands in awe. A few kernels fly out of the broken window, then a storm. + +INT. ATHERTON'S HOUSE + +Kent and furniture are being forced up the stairs by a rising tide of popping popcorn. He struggles against it, loses, and sinks into the mound like a dinosaur in quicksand. + +EXT. ATHERTON'S HOUSE + +The windows are filling up with popcorn. Finally, they crack and break as popcorn forces its way out of the house wherever it can. + +MITCH +Kent! + +Chris and Mitch head for the front door. Suddenly, it bursts open and Kent is carried out by a moving wall of popcorn. + +INT. COMMAND CENTER + +People furiously check systems. + +CARMICHAEL +I don't understand. Did it fire? + +TECHNICIAN +Yes, we indicate a shot. We've got another problem, though. It's not shutting down. + +INT. BOMB BAY + +The computer is still working. The laser optics and equipment begin to melt. It's been wired to self-destruct. + +INT. COMMAND CENTER + +The devastated group watches the laser self destruct on the monitor. + +DECKER +Nice going, Jer. + +ATHERTON +Something's wrong here. Unlock the bird's eye. + +He takes over the command module sighting system + +ATHERTON +I'm tracing where the shot went. + +We watch as the monitor's view swings away and across a residential neighborhood, coming to rest on a bird's eye view of his own house. + +ATHERTON (CONT'D) +Oh, no. + +The monitor view moves in to reveal what looks like a growing mushroom. + +DECKER +What have you done? + +ATHERTON +Retired. + +EXT. ATHERTON'S HOUSE + +The group looks on as the mountain of popcorn continues to engulf the house. Meredith goes to see if Kent is all right. + +CHRIS +(to Mitch) +Do you think we used too much? + +MITCH +Maybe a little. + +CHRIS +Well, I guess we all learned something here today. + +JORDAN +What? + +CHRIS +I don't know, but it seemed like the right thing to say, didn't it? + +ICK +It did to me. + +As they continue to watch the destruction of the house, and various neighbors come out to see what's what, a Winnebago pulls up and stops. Hopsfield gets out. + +HOPSFIELD +I think you used too much. + +CHRIS +Really? I'm sorry you missed it. + +HOPSFIELD +Yeah, well, I had to pack. + +CHRIS +Why? + +HOPSFIELD +I'm getting married. + +CHRIS +What? To whom? + +MITCH +(looking at the U-Haul) +What is all this? + +HOPSFIELD +Oh, I won. Only thirty-one point eight percent though. I have to figure that out. But not this summer. + +Mitch suddenly sees Sherry standing at the Winnebago door. + +MITCH +Sherry? + +SHERRY +(kissing Hopsfield) +Hi. Isn't it wonderful. I finally found him. Number One. I've been looking for him for ten years. + +HOPSFIELD +What can I do? She loves me. + +CHRIS +Right. Congratulations. + +HOPSFIELD +Thanks. Anyway, we probably won't ever get to see you again, so, bye. + +CHRIS +What do you mean? Where are you going? + +SHERRY +I've got a little survival place in Wyoming. We're going to live there. + +HOPSFIELD +Yeah, it's getting too weird around here. See ya. + +They climb into the Winnebago and it pulls away. The others watch it go. + +ICK +You think it's getting too weird around here. + +CHRIS +Absolutely. + +JORDAN +I didn't notice. + +MITCH +I like it. + +In the background, the popcorn has split the walls of the house and finally lifts the roof off like the top of a pot. The whole house tilts to its side and the popping stops. + +As we PULL BACK, Atherton's car pulls up and he gets out, dumbstruck. Dr. Meredith walks over to him and confronts him. Kent joins Chris and the others who watch. + +THE END. diff --git a/unformated_scripts/Script_Rear Window.txt b/unformated_scripts/Script_Rear Window.txt new file mode 100644 index 0000000000000000000000000000000000000000..90671a0bc1e585416a2f751fc4192bc7acf688aa --- /dev/null +++ b/unformated_scripts/Script_Rear Window.txt @@ -0,0 +1 @@ + "REAR WINDOW" by John Michael Hayes Based on a short story by Cornell Woolrich Final Draft December 1, 1953 FADE IN: INT. JEFFERIES' APARTMENT - DAY - LONG SHOT Although we do not see the foreground window frame, we see the whole background of a Greenwich Village street. We can see the rear of a number of assorted houses and small apartment buildings whose fronts face on the next cross-town street, sharply etched by the morning sun. Some are two stories high; others three; some have peaked roofs, others are flat. There is a mixture of brick and wood and wrought iron in the construction. The apartment buildings have fire escapes, the others do not. The neighborhood is not a prosperous one, but neither is it poor. It is a practical, conventional dwelling place for people living on marginal incomes, luck -- or hope and careful planning. The summer air is motionless and heavy with humid heat. It has opened windows wide, pushed back curtains, lifted blinds and generally brought the neighborhood life into a sweltering intimacy. Yet, people born and bred to life within earshot and eye glance of a score of neighbors have learned to preserve their own private worlds by uniformly ignoring each other, except on direct invitation. THE CAMERA PULLS BACK until a large sleeping profile of a man fills the screen. It is so large that we do not see any features, but merely the temple and side of the cheek down which a stream of sweat is running. THE CAMERA PANS OFF this to the right hand side of the window, and MOVES TO a thermometer which is hanging on the wall just outside the window. It registers 84. THE CAMERA MOVES ON into the open, and brings nearer to us a room with a large studio window. We are able to see inside this room. A short, balding man is standing near the window, shaving, using a small bowl of water and a portable mirror which he has set up on a shelf. To the right of him is a battered upright piano. On top of the piano is a radio. The music selection coming from the radio stops, and the announcer is heard. ANNOUNCER The time -- 7:15 A.M., WOR, New York. The temperature, outside, 84 -- Friends -- is your life worth one dollar? The man shaving quickly puts down his razor, hurries to the radio, and changes the station, moving past a number of commercial voices until he again finds some music. Contented, he returns to his shaving. THE CAMERA MOVES ON AND OVER to a far building. It passes over the face of this building until it comes to fire escapes. It goes up and near enough to one which has become the outdoor bedroom of a couple. We are near enough to see an alarm clock hanging from the rail which is now ringing vigorously. A man rises lazily to a sitting position. He gropes to switch the alarm off. We see that his pajamas are stained with sweat. In his sitting position he leans forward and shakes somebody beside him. To our surprise, the head of this other person -- a woman -- rises where his feet are. They have been sleeping in opposite directions. They sit limply looking at each other with bedraggled and weary expressions which show they enjoyed very little sleep in the heat of the night. THE CAMERA NOW MOVES DOWN toward the left onto another low building. It MOVES IN A LITTLE to a living room window. Just inside the windowsill, a small fan is oscillating. The fan sits on the right side of the table, and to the left of it is an automatic toaster. Behind the toaster stands a full-bodied young woman, apparently wearing only a pair of black panties. Her stomach, navel, and the lower part of her chest are naked. Just below her breasts, the curtain, partly drawn, has thrown a deep shadow which extends upward, hiding her breasts, shoulders and head. Two pieces of toast pop up in the toaster. She takes them out, butters them. Then she turns around and bends over another table on which stands an automatic coffee-maker. She picks up the coffee-maker, and swings back to the table to sit down. She does this so deftly that her breasts are never exposed, but hidden by the fan as she sits down. The fan moves back and forth as she pours coffee, far enough to reveal that she wears no bra, but not far enough to fulfill the exciting promise of her lack of clothes. THE CAMERA MOVES ON to a distant street corner seen between two buildings. The traffic is very light at this hour, but a Sanitation Department truck moves through the intersection spraying water out behind it to cool the pavement and keep the dust down. Three little kids in bathing suits run behind the truck, playing in the water. THE CAMERA MOVES OFF and around to some buildings at the side. As it skims this building, we see a hand emerge from one of the windows, and remove the cover from a birdcage which is hanging from a hook on the wall outside. In the cage are two lovebirds -- arguing. THE CAMERA NOW PULLS BACK SWIFTLY and retreats through the open window back into Jefferies' apartment. We now see more of the sleeping man. THE CAMERA GOES IN far enough to show a head and shoulders of him. He is L. B. JEFFERIES. A tall, lean, energetic thirty five, his face long and serious-looking at rest, is in other circumstances capable of humor, passion, naive wonder and the kind of intensity that bespeaks inner convictions of moral strength and basic honesty. He is sitting in an Everest and Jennings wheelchair. THE CAMERA PANS along his right leg. It is encased in a plaster of Paris spica from his waistline to the base of his toes. Along the white cast someone has written "Here lie the broken bones of L. B. Jefferies." THE CAMERA PANS to a nearby table on which rests a shattered and twisted Speed Graphic Camera, the kind used by fast-action news photographers. On the same table, the CAMERA PANS to an eight by ten glossy photo print. It shows a dirt track auto racing speedway, taken from a point dangerously near the center of the track. A racing car is skidding toward the camera, out of control, spewing a cloud of dust behind it. A rear wheel has come off the car, and the wheel is bounding at top speed directly into the camera lens. THE CAMERA MOVES UP to a framed photograph on the wall. It is a fourteen by ten print, an essay in violence, having caught on film the exploding semi-second when a heavy artillery shell arches into a front-line Korean battle outpost. Men and equipment erupt into the air suspended in a solution of blasted rock, dust and screeching shrapnel. That the photographer was not a casualty is evident, but surprising when the short distance between the camera and the explosion is estimated. A signature in the lower right hand corner of the picture reads -- "L. B. Jefferies." THE CAMERA PANS to a second photograph of a picket line at an aircraft plant strike. Strikers, non-strikers and police are embroiled in a bitter and confused riot. Clubs, fists and truncheons swing, blood flows, faces twist with emotion and fallen victims struggle to regain their feet. The picture represents no distant, cautions photographic observation, but rather an intimate report, so immediate and real that the viewer has the nervous feeling the fight surrounds him and he had best defend himself. The same signature, "L. B. Jefferies," is in the corner. THE CAMERA PANS TO another framed picture, this one a beautiful and awesome shot of an atomic explosion at Frenchman's Flat, Nevada. It is the cul-de-sac of violence. The picture taken at a distant observation point, shows some spectators in the foreground watching the explosion through binoculars. THE CAMERA MOVES ON to a shelf containing a number of cameras, photographic film, etc. It then PAN ACROSS a large viewer on which is resting a negative of a woman's head. From this, THE CAMERA MOVES ON to a magazine cover, and although we do not see the name of the magazine, we can see the head on the cover is the positive of the negative we have just passed. THE CAMERA FINALLY COMES TO REST ON a pile of magazines -- perhaps a hundred or so. They are all of the same publication. LAP DISSOLVE TO: INT. GUNNISON'S OFFICE - DAY - CLOSE UP The screen is filled with the top of a desk. In addition to the usual telephones, blotting pad, etc., the most prominent feature is the number of glossy photo prints, and even larger- sized mat prints. Some of them have slips pasted over with descriptions. The center of the desk is occupied by a large layout of photographs on one magazine page. Behind this we hear the murmur of two voices of men who can be vaguely seen beyond the desk. THE CAMERA PANS UP and we are now face to face with IVAR GUNNISON and JACK BRYCE. Gunnison is sitting on a window- ledge, and beyond him we realize we are high above the New York streets. Bryce leans against a wall at right angles to him. Gunnison is holding a cablegram in his hand. Bryce has a cigarette in his mouth. He scratches a match, and is about to light it, when he notices that Gunnison, still reading the cable, has reached into an inside shirt pocket, and produced a cigarette. Quickly, Bryce moves over to light Gunnison's cigarette. Then he settles back to light his own. Gunnison doesn't even bother to thank him. GUNNISON (Looks up) Indo-China -- Jeff predicted it would go sky-high. BRYCE From the looks of Davidson's cable, it might even go higher than that. And we haven't even got a camera over there. GUNNISON (Stands) This could go off in a month -- or an hour. BRYCE I'll pull somebody out of Japan. GUNNISON (Heads for his phone) Bryce, the only man for this job is sitting right here in town. (Picks up phone) Get me L. B. Jefferies. BRYCE (Puzzled) Jefferies? GUNNISON (To Bryce; still holding phone) Name me a better photographer. BRYCE (He can't) But his leg! GUNNISON Don't worry -- it comes off today. Bryce gives Gunnison a startled look. GUNNISON I mean the cast. (To phone) INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Shooting through the open window, onto Jeff. He is shaving himself with an electric razor as the phone rings. He shuts off the shaver, picks up the phone. JEFF Jefferies. GUNNISON (On filter) Congratulations, Jeff. JEFF For what? GUNNISON For getting rid of that cast. JEFF Who said I was getting rid of it? At this moment, his attention is drawn to something across the way. He looks up, expectantly. There is almost a touch of eagerness in his expression. EXT. NEIGHBORHOOD - DAY - LONG SHOT While Jeff is continuing his phone conversation, we see the object of his look. Two pretty girls have appeared on the distant roof. They are smiling and talking, although we cannot hear their dialogue. Each wears a terrycloth robe. With their backs to the CAMERA, they take off the robes, slipping them down over their shoulders slowly. Then, seductively, they turn -- revealing the full beauty of their tanned and bathing- suited bodies. It is almost as if they want to be noticed, the center of neighborhood attention. They at least have all of Jeff's attention. Then they spread the robes in front of them, and lie down on the roof, and out of sight. Jeff seems a little disappointed. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP During the whole of this previous action, the conversation between Jeff and Gunnison has gone on as follows: GUNNISON (With logical proof) This is Wednesday. JEFF Gunnison -- how did you get to be such a big editor -- with such a small memory? GUNNISON Wrong day? JEFF Wrong week. Next Wednesday I emerge from this plaster cocoon. GUNNISON That's too bad, Jeff. Well, I guess I can't be lucky every day. Forget I called. JEFF Yeah. I sure feel sorry for you, Gunnison. Must be rough on you thinking of me wearing this cast another whole week. INT. GUNNISON'S OFFICE - DAY - SEMI-CLOSEUP Gunnison is now seated at his desk, with the phone receiver to his ear. His assistant, Bryce, can be seen vaguely in the background. GUNNISON That one week is going to cost me my best photographer -- and you a big assignment. INT. JEFF'S APARTMENT - DAY - CLOSE-UP Jeff asks, eagerly and alertly. JEFF Where? We hear Gunnison's reply. GUNNISON There's no point in even talking about it. Jeff's eyes become set upon something else in the neighborhood he sees. EXT. NEIGHBORHOOD - DAY - LONG SHOT Jeff's attention is now drawn to another feature of his backyard entertainment. THE CAMERA IS NOW FOCUSED on the window of the small building where we earlier saw the girl behind the oscillating fan. Loud ballet music is pouring from her open window. The girl, now dressed in dark and revealing leotard, and ballet slippers, has just turned away from a portable record player. She begins the first graceful movement of a modern ballet interpretation. She gracefully moves across the room to the rhythm of the music and dance, toward the ice box. With her feet still moving, she throws open the door, and then rhythmically moving back to the center of the room, gnaws the chicken bone, occasionally waving it in the air as part of the choreography. She now twirls over toward a table at the other side of the room on which is an open package of bread slices, some butter nearby. With swaying body, she puts down the chicken leg, and gracefully and rhythmically butters a slice of bread. She picks up both bread and chicken leg and continues her interpretive dance, alternately munching the bread and butter and chicken leg. INT. APARTMENT - DAY - CLOSEUP Jeff's eyes drop from the ballet dancer's room to the one underneath. EXT. NEIGHBORHOOD - DAY - LONG SHOT THE CAMERA PANS from the window of the dancing girl, to the window below. Someone is reading the New York Herald Tribune. The paper lowers, and we see an elderly lady, in her late sixties. She is a faded, refined type. She looks up in the direction of the music and in a calm routine fashion adjusts the volume of her hearing aid. She resumes her reading. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused by what he sees, but continues his conversation with Gunnison, which has gone on through all the scenes with the ballet dancer. JEFF (Insistent) Where? GUNNISON (Filter) Indo-China. Got a code tip from the bureau chief this morning. The place is about to go up in smoke. JEFF (Pleased; excited) Didn't I tell you! Didn't I tell you it was the next place to watch? GUNNISON You did. JEFF (On filter) Okay. When do I leave? Half-hour? An hour? GUNNISON With that cast on -- you don't. JEFF (On filter) Stop sounding stuffy. I'll take pictures from a jeep. From a water buffalo if necessary. GUNNISON You're too valuable to the magazine for us to play around with. I'll send Morgan or Lambert. JEFF Swell. I get myself half-killed for you -- and you reward me by stealing my assignments. GUNNISON I didn't ask you to stand in the middle of that automobile race track. JEFF (A little angry) You asked for something dramatically different! You got it! GUNNISON (Quietly) So did you. Goodbye, Jeff. JEFF (Won't let him hang up) You've got to get me out of here! Six weeks -- sitting in a two-room apartment with nothing to do but look out the window at the neighbors! At this moment we hear the sounds of a piano playing. It is a simple, but broken, melody as if someone was just learning to play the piano, or carefully composing a song. It clashes abruptly with the music from the ballet dancer's apartment. It irritates Jeff as he looks in the direction of the new music. JEFF It's worse than the Chinese water torture. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT We now see the source of the piano music. It comes from the apartment with the studio window which we saw earlier where the man was shaving and listening to the radio. The short, balding man sits at the piano playing a few notes, then transferring them by pencil to notepaper on the piano rack. He continues this process, fighting the interference of the ballet music. The opening bars of his melody are beautiful and ear-catching. It is slow, hard work, and the ballet music finally becomes such an interference that he gives up and walks to the window to look down toward the dancer's apartment. He stands by a table at the window which is littered with records, the morning coffee cup, unwashed, the remains of breakfast, old newspapers, song sheets, etc. He takes a cigarette out of his mouth, looks for an ash tray, and ends up putting it out in the coffee cup. He then returns to the piano and begins picking out the melody the dancer is playing on her record player. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff frowns at the double sound, and raises his voice a little. He continues the conversation which has been heard all through the previous scene. GUNNISON Read some good books. JEFF I've been taking pictures so long I don't know how to read anymore. GUNNISON I'll send you some comic books. JEFF (Low, tense) Listen -- if you don't pull me out of this swamp of boredom -- I'll do something drastic. GUNNISON Like what? JEFF (On filter) I'll -- I'll get married. Then I'll never be able to go anywhere. GUNNISON It's about time you got married -- before you turn into a lonesome and bitter old man. JEFF Can you see me -- rushing home to a hot apartment every night to listen to the automatic laundry, the electric dishwasher, the garbage disposal and a nagging wife. GUNNISON Jeff -- wives don't nag anymore -- they discuss. Jefferies glances out across to the other apartments as he sees: EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT We see a three-storied, flat-roofed apartment house. The brick is weather-worn and faded. Each apartment has three windows facing the back, one showing a hallway, one a living room, and the window on the right opening into a bedroom. On the second floor, a man has entered the living room from a hallway door. He carries a large aluminum sample case common to salesmen. He sets down the case heavily, removes his hat, and slowly wipes his brow with the back of his right hand. He takes off his coat and tie. His shirt is stained with sweat underneath. He rolls up his sleeves, and his well- muscled arms heavy with hair confirm his dark, husky build. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP With his eyes still focused on the distant apartments, Jeff continues talking with Gunnison. JEFF Yeah? Maybe in the high rent districts they discuss -- but in my neighborhood, they still nag. GUNNISON Well -- you know best. Call you later, Jeff. JEFF Next time, have some good news. He hangs up and resumes his attention on the apartment of the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman looks toward the bedroom door, hesitates, then reluctantly walks toward it. For a moment he is hidden by the wall. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff shifts his look more to the right. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The man enters the bedroom. We can see a woman lying on the far bed. Near her, a small table is covered with medicine bottles, spoons, boxes of pills, a water pitcher and the other impedimenta of the chronically ill. The woman sits up as the man enters. She takes a wet cloth off her forehead. Before the man even reaches her, she begins talking, somewhat vigorously. Pointing to a wristwatch, she seems to be saying something such as "You should have been home two hours ago! I could be lying here dying for all you'd know -- or care!" The man stops short of the bed, makes gestures of trying to placate her, but she goes on scolding. His attitude changes to weary patience, then irritation, then anger. He shouts back at her, turns and goes out of the room. Back in the living room, he picks up his hat, throws it against the wall in anger, and leaves the apartment, slamming the door behind him. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff's attention is suddenly diverted to himself. His leg, under the cast, begins itching. He squirms, tries to move the leg a little. It gives no relief. He scratches the outside of the cast, but the itch gets worse. He reaches for a long, Chinese back scratcher lying on the windowsill. Carefully, and with considerable ingenuity, he works it under the cast. He scratches, and a look of sublime relief comes over his face. Satisfied, he takes the scratcher out. As he replaces it on the windowsill, his attention is drawn back to the scene outside the window. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT We see the man who left his apartment in anger come out of the doorway into the backyard. He is easy to identify through the color of his garish necktie. In one hand the man carries a small garden hoe and rake, and in the other a pair of trimming shears. He goes to a small patch of flowers, perhaps three feet square. They are beautiful, multi-colored three foot high zinnias. He kneels down, inspects them, touches them affectionately and with some pride. His anger seems to have left him, replaced by the kind of peace that flowers bring many people. He stands up, carefully hoes the ground, them rakes it. Then he snips a few leaves off the lower parts of the plant. Finally, he waters them. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff's attention is turned to something else of interest. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Into the next door yard we see emerging from the apartment below the ballet dancer, the elderly lady. She wear a broad sun hat, dark glasses, and a sunsuit consisting of pink shorts and halter. She carries a copy of the Herald Tribune, and still wears her hearing aid. She settles into a folding, canvas deck chair. Her skin is dead white, and her body is thin to the point of emaciation. No sooner has she settled into her chair, than she is attracted by the sound of the salesman working in his garden. She gets up, walks to the fence, and looks over. He notices her, but doesn't speak. She begins gesturing to him how to take care of his flowers. He listens for a moment, then looks directly at her. The strong movements of his mouth show us that he objects vigorously to the annoyance of her comments. She moves away from the fence, started and a little shocked. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff is seated in the foreground, in a waist shot. Behind him, the entrance door to his apartment opens. STELLA McGAFFERY comes in. She is a husky, unhandsome, dark- haired woman who is dressed like a district nurse, with dark coat, dark felt hat, with a white uniform showing underneath the coat. She carries a small black bag. Stella pauses on the landing to watch Jeff. He doesn't appear to notice her entrance. STELLA (Loud) The New York State sentence for a peeping Tom is six months in the workhouse! He doesn't turn. JEFF Hello Stella. As she comes down the stairs of the landing, holding on the wrought iron railing with one hand: STELLA And there aren't any windows in the workhouse. She puts her bag down on a table. It is worn, and looks as if it belongs more to a fighter than a nurse. She takes off her hat coat, and hangs them on a chair. STELLA Years ago, they used to put out your eyes with a hot poker. Is one of those bikini bombshells you always watch worth a hot poker? He doesn't answer. She opens the bag, takes out some medical supplies: a thermometer, a stop watch, a bottle of rubbing oil, a can of powder, a towel. She talks as she works. STELLA We've grown to be a race of peeping Toms. What people should do is stand outside their own houses and look in once in a while. (She looks up at him) What do you think of that for homespun philosophy? A look at his face shows he doesn't think much of it. JEFF Readers' Digest, April, 1939. STELLA Well, I only quote from the best. She takes the thermometer out of its case, shakes it down. Looks at it. Satisfied, she walks to Jeff. She swings the wheelchair around abruptly to face her. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff starts to protest. JEFF Now look, Stella -- She shoves the thermometer into his mouth. STELLA See it you can break a hundred. As she leaves him holding the thermometer THE CAMERA PULLS BACK as she crosses to a divan. She takes a sheet from underneath, and covers the divan with it. Talking, all the time. STELLA I shoulda been a Gypsy fortune teller, instead of an insurance company nurse. I got a nose for trouble -- can smell it ten miles away. (Stops, looks at him) You heard of the stock market crash in '29? Jeff nods a bored "yes." STELLA I predicted it. JEFF (Around thermometer) How? INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Stella stops for a moment, and looks at Jeff challengingly. STELLA Simple. I was nursing a director of General Motors. Kidney ailment they said. Nerves, I said. Then I asked myself -- what's General Motors got to be nervous about? (Snaps her fingers) Overproduction. Collapse, I answered. When General Motors has to go to the bathroom ten times a day -- the whole country's ready to let go. INT. JEFF'S APARTMENT - DAY - CLOSEUP A patient, suffering look comes over his face. He takes out the thermometer. JEFF Stella -- in economics, a kidney ailment has no relationship to the stock market. Absolutely none. STELLA It crashed, didn't it? Jeff has no answer. Defeated, he puts the thermometer back into his mouth. INT. JEFF'S APARTMENT - DAY - CLOSEUP Stella goes on with her work. STELLA I can smell trouble right in this apartment. You broke your leg. You look out the window. You see things you shouldn't. Trouble. I can see you now, in front of the judge, flanked by lawyers in blue double- breasted suits. You're pleading, "Judge, it was only innocent fun. I love my neighbors like a father." -- The Judge answers, "Congratulations. You just gave birth to three years in Dannemora." THE CAMERA PANS HER over to him. She takes out the thermometer, looks at it. JEFF Right now I'd even welcome trouble. STELLA (Flatly) You've got a hormone deficiency. JEFF How can you tell that from a thermometer! STELLA Those sultry sun-worshipers you watch haven't raised your temperature one degree in four weeks. She gets down the thermometer. Sterilizes it with a piece of alcohol-soaked cotton in her other hand. She gets behind the wheelchair the CAMERA PULLS back as she pushes it over to the divan. She puts the thermometer away in its case. Then she helps him off with his pajama top. She helps him stand on one foot. He hops one step, then she lowers him, face down, on the divan. She gets a bottle of rubbing oil. INT. JEFF'S APARTMENT - DAY - CLOSE SHOT The CAMERA is very low at one end of the divan. Jeff's head, half-buried in the sheet, is large in the fore-ground. Beyond him Stella looms large and powerful-looking. JEFF I think you're right. There is going to be some trouble around here. Stella takes a handful of oil, slaps it on his back. He winces. STELLA I knew it! JEFF Don't you ever heat that stuff up. STELLA Gives your circulation something to fight. (Begins massaging his back) What kind of trouble? JEFF Lisa Fremont. STELLA You must be kidding. A beautiful young woman, and you a reasonably healthy specimen of manhood. JEFF She expects me to marry her. STELLA That's normal. JEFF I don't want to. STELLA (Slaps cold oils on him) That's abnormal. JEFF (Wincing) I'm not ready for marriage. STELLA Nonsense. A man is always ready for marriage -- with the right girl. And Lisa Fremont is the right girl for any man with half a brain, who can get one eye open. JEFF (Indifferent) She's all right. She hits him with some more cold oil. He winces again. STELLA Behind every ridiculous statement is always hidden the true cause. (Peers at him) What is it? You have a fight? JEFF No. STELLA (After a pause) Her father loading up the shotgun? JEFF Stella! STELLA It's happened before, you know! Some of the world's happiest marriage have started 'under the gun' you might say. JEFF She's just not the girl for me. STELLA She's only perfect. JEFF Too perfect. Too beautiful, too talented, too sophisticated, too everything -- but what I want. STELLA (Cautiously) Is what you want something you can discuss? Jeff gives an exasperated look. JEFF It's very simple. She belongs in that rarefied atmosphere of Park Avenue, expensive restaurants, and literary cocktail parties. STELLA People with sense can belong wherever they're put. JEFF Can you see her tramping around the world with a camera bum who never has more than a week's salary in the bank? (Almost to himself) If only she was ordinary. Stella sprinkles powder on his back, spreads it around. THE CAMERA PULLS BACK as she helps Jeff to a sitting position. He buttons on his shirt. STELLA You're never going to marry? JEFF Probably. But when I do, it'll be to someone who thinks of life as more than a new dress, a lobster dinner, and the latest scandal. I need a woman who'll go anywhere, do anything, and love it. THE CAMERA MOVES IN as she helps him into the wheelchair, listening to him with exaggerated attention. He, stops as he notice her attitude. Then he goes on with less conviction: JEFF The only honest thing to do is call it off. Let her look for somebody else. STELLA I can just hear you now. "Get out of here you perfect, wonderful woman! You're too good for me!" JEFF (After pause) That's the hard part. She swings him around in front of the window. He starts to look out. STELLA Look, Mr. Jefferies. I'm not educated. I'm not even sophisticated. But I can tell you this -- when a man and a woman see each other, and like each other -- they should come together -- wham like two taxies on Broadway. Not sit around studying each other like specimens in at bottle. JEFF There's an intelligent way to approach marriage. STELLA (Scoffing) Intelligence! Nothing has caused the human race more trouble. Modern marriage! Jeff swings his chair back to look at her. JEFF We've progressed emotionally in -- STELLA (Interrupting) Baloney! Once it was see somebody, get excited, get married -- Now, it's read books, fence with four syllable words, psychoanalyze each other until you can't tell a petting party from a civil service exam JEFF People have different emotional levels that -- STELLA (Interrupting again) Ask for trouble and you get it. Why there's a good boy in my neighborhood who went with a nice girl across the street for three years. Then he refused to marry her. Why? -- Because she only scored sixty-one on a Look Magazine marriage quiz! Jeff can't help smiling. STELLA When I married Myles, we were both maladjusted misfits. We still are. And we've loved every minute of it. JEFF That's fine, Stella. Now would you make me a sandwich? She relaxes. STELLA Okay -- but I'm going to spread some common sense on the bread. Lisa Fremont's loaded to her fingertips with love for you. I'll give you two words of advice. Marry her. JEFF (Smiles) She pay you much? Stella leaves for the kitchen in a huff. Jeff turns his chair to the window. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff now looks out to see what has happened to the old lady, and the man with the flowers. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The elderly lady is now asleep in her deck chair, her face covered with the Herald Tribune. There is no sign of the man with the flowers. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes travel up to the ballet dancer's window. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT She is sitting near the window looking into an upright mirror. Dreamily, and methodically, she is brushing her long copper- colored hair. INT. JEFF'S APARTMENT - DAY - CLOSEUP His eyes are suddenly turned in another direction, sharply to his left. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT He is now looking at the windows of the apartments nearest to him. A shade has gone up, and a man, obviously a caretaker is raising a window with some effort. Having accomplished this, he turns back into the room, and we now see him approach a young man and woman who are standing just inside the doorway. He hands a key to the young man, and then obligingly brings in two suitcases which he places on the floor beside them. He gives them a studied, but agreeable nod, then departs. We now see that the girl has a small hat with a veil, and an ornate corsage pinned to her light blue tailored suit. The boy, who like the girl is perhaps twenty years old, wears a dark blue serge suit and a grey felt hat. He takes off the hat, and scales it over to a nearby chair. Quickly they are in each other's arms, kissing passionately, crushing the girl's corsage and pushing her hat back a little. They part, the boy laughs nervously, and takes a furtive glance out toward the corridor. He looks back into the room, and beckons her to come out. She follows him wonderingly. For a moment, both are lost from sight. When they reappear, he is carrying her in his arms, over the threshold. He sets her down, closes the door, and they kiss again. They part, still holding hands and looking into each other's eyes. Then slowly, and significantly, she looks toward the open window. He releases her hands, goes to the window and pull down the shade, as she is reaching upward with both hands to unpin her hat. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP There is a soft, understanding look on Jeff's face, and he gives an involuntary sigh. He is unaware that Stella is now standing behind him. STELLA (Quietly) Window shopper. He freezes, turns slowly to look up at her. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - SUNSET - LONG SHOT The CAMERA makes a short sweep around the neighborhood showing that some of the rooms are now with their lights on. The CAMERA PULLS BACK into Jeff's apartment until his head fills the screen. He is asleep. A shadow of some other person creeps over his face. His eyes start to open. He looks up. INT. JEFF'S APARTMENT - SUNSET - CLOSEUP The screen is filled with the eyes, nose and mouth of a woman coming nearer and nearer to the CAMERA to kiss Jeff. The face is more or less in shadow, a faint light coming onto the profile from the window. It moves down until the lips move out of her bottom of her screen, and just the remain for fill the screen. INT. JEFF'S APARTMENT - SUNSET - CLOSEUP The two big profiles filling the screen. The girl kisses Jeff firmly, but not passionately. Then her head moves back an inch or two. She speaks. LISA (Softly) How's your leg? JEFF Mmmm -- hurts a little. LISA And your stomach? JEFF Empty as a football. LISA And you love life? JEFF Not too active. LISA Anything else bothering you? JEFF Uh-huh. She gives a low. Warm laugh, and the CAMERA PULLS BACK to show that Lisa has been bending over Jeff's wheelchair from the side. As she straightens up, it PANS her swiftly over to the corner of the room, keeping her in big closeup. She turns on a low, hanging light. We see her full facial beauty for the first time. It is a warm, intelligent face. LISA (As she moves) Reading from top to bottom -- (Light on) Lisa -- The CAMERA FOLLOWS HER quickly to another lamp. She gets a little farther away from us so that we now see her down to her waist. She turns on the second lamp and the light shows us that her beauty is not alone in her face. LISA Carol -- The CAMERA PANS HER over to a third lamp which she turns on. She is now full figure, beautifully groomed and flawless. Her dress is high-style fashion and dramatic evening wear. LISA Fremont. INT. JEFF'S APARTMENT - SUNSET - SEMI-CLOSEUP Jeff looks across the room at her. JEFF The Lisa Fremont who never wears the same dress twice? INT. JEFF'S APARTMENT - SUNSET - SEMI-LONG SHOT LISA Only because it's expected of her. She does a professional model's turn in the dress showing off its features. LISA Right off the Paris plane. Think it will sell? INT. JEFF'S APARTMENT - SUNSET - SEMI-CLOSEUP Jeff replies: JEFF Depends on the quote. Let's see -- there's the plane tickets over, import duties, hidden taxes, profit markups -- LISA -- A steal at eleven hundred dollars. JEFF (A low whistle) That dress should be listed on the stock exchange. LISA We sell a dozen a day in this price range. JEFF Who buys them? Tax collectors? INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT She laughs pleasantly. LISA Even if I had to pay, it would be worth it -- just for the occasion. She looks down at the long mahogany table beside her which is littered with a number of his personal effects. Her own handbag is also on the table. As she talks her eyes scan the table as if she's looking for something specific. JEFF (Off -- puzzled) Something big going on somewhere? LISA (Looking up from the table) Going on right here. It's a big night. JEFF (Off) It's just a run-of-the-mill Monday. The calendar's loaded with them. Lisa finds what she has been looking for. Picks up an old and cracked cigarette box, examines it as she talks. LISA It's opening night of the last depressing week of L. B. Jefferies in a cast. JEFF (Off) Hasn't been any big demand for tickets. She turns to look at him, and moves toward him, carrying the cigarette box. LISA (Smiling) That's because I bought out the house. This cigarette box has seen better days. INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT Lisa facing Jeff in the chair. JEFF Picked it up in Shanghai -- which has also seen better days. LISA It's cracked -- and you never use it. And it's too ornate. I'm sending up a plain, flat silver one -- with just your initials engraved. JEFF Now that's no way to spend your hard- earned money! LISA I wanted to, Jeff. (A sudden intake of breath) Oh! She turns around quickly and dashes to the door, dropping the cigarette box on the table as she passes, THE CAMERA PANNING with her. She goes up the two steps, stops, turns back to Jeff. LISA What would you think of starting off with dinner at the "21"? INT. JEFF'S APARTMENT - SUNSET - SEMI-CLOSEUP JEFF You have, perhaps, an ambulance outside? INT. JEFF'S APARTMENT - SUNSET - SEMI-LONG SHOT She reaches for the doorknob, turns it: LISA (Simply) Better than that. The "21." She swings open the door and stands to one side. Framed in the doorway is middle-aged waiter wearing a white linen pea jacket with a red collar. He's carrying in one hand a large portable warming oven, and in the other hand an ice bucket containing a bottle of wine covered with a napkin. INT. JEFF'S APARTMENT - SUNSET - CLOSEUP His reaction is one of tender amusement. INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT LISA Thank you for waiting Carl. He smiles, nods enters. He goes down the stairs, as she follows. THE CAMERA GOES with both of them. LISA Kitchen's on the left. I'll take the wine. He hands her the wine bucket and she places it on the table. He moves toward the kitchen. CARL Good evening, Mr Jefferies. JEFF Hello. Carl goes into the kitchen. LISA (Up, to Carl) Just put everything right in the oven Carl. On "low." CARL (Off) Yes ma'am. LISA (Enthusiastically) Let's open the wine now. It's a Montrachet. JEFF (Appreciatively) A big glassful. She moves to a small bar set in the wall cabinet. Produces two glasses, hold them up. LISA Big enough? JEFF Fine. Corkscrew's on the right. She finds it. Puts the glasses on the table, uncovers the wine, and begins screwing in the corkscrew. LISA I couldn't think of anything more boring and tiresome than what you've been through. And the last week must be the hardest. JEFF Yeah -- I want to get this thing off and get moving. LISA (Struggling with cork) Well, I'm going to make this a week you'll never forget. Carl comes out of the kitchen carrying the empty warming oven. He sets it down he sees Lisa struggling with the corkscrew. CARL Let me, madam. She does. He takes out his own professional corkscrew, quickly inserts it and levers the cork out. He deftly wraps the napkin around the bottle and pours the wine, replacing the bottle in the wine bucket. Lisa has opened her purse to produce some money, in bills. She hands it to the waiter. LISA This will take care of the taxi as well. Carl, without looking at the money, puts it in his pocket. CARL Thank you, Miss Fremont. He picks up the warning oven. CARL Have a pleasant dinner, Mr. Jefferies. JEFF Thank you. Carl goes up the stairs and out the door, while THE CAMERA REMAINS on Lisa and Jeff. She picks up both glasses of wine and walks toward Jeff. She seats herself on the windowsill as she hands him his glass. We notice that the outside is considerably darker by now, and the lights are beginning to come on in the various apartments outside. They raise their glasses in a silent toast, and sip the wine. THE CAMERA CLOSES IN until they are both in a tight TOW SHOT. LISA What a day I've had! JEFF Tired? LISA Not a bit. I was all morning in a sales meeting. Then over to the Waldorf for a quick drink with Madame Dufresne -- just over from Paris. With some spy reports. Back to the "21" for lunch with the Harper's Bazaar people -- that's when I ordered dinner. Then two Fall showings -- twenty blocks apart. Then I had to have a cocktail with Leland and Slim Hayward -- we're trying to get his next show. (Softly, looking up to him) Then I had to dash back and change. JEFF (Mock seriousness -- one girl to another) Tell me -- what was Slim Hayward wearing? LISA (Seriously) She looked very cool. She had on a mint green -- She breaks off with a little laugh, and a slight reproachful look at Jeff. She sips her drink then says: LISA And to think, I planted three nice items about you in the columns today. Jeff's opinion of that is a short chuckle. LISA You can't buy that kind of publicity. JEFF That's good news. LISA Someday you might want to open up your own studio here. JEFF How could I run it from say -- Pakistan? She puts down her glass and slides along the window seat nearer to him, THE CAMERA CLOSING IN. She looks up at him with a serious frankness. LISA Jeff -- isn't it time you came home? You could pick your assignment. JEFF I wish there was one I wanted. LISA Make the one you want. JEFF (As if he can't believe her) You mean leave the magazine? LISA Yes. JEFF For what? LISA For yourself -- and me. (She adds eagerly) I could get you a dozen assignments tomorrow... fashion, portraits -- Jeff interrupts her with soft laughter. LISA (Offended) Don't laugh. -- I could do it! JEFF That's what I'm afraid of. (He gazes into space) Could you see me -- driving down to the fashion salon in a jeep -- wearing combat boots and a three day beard? (He chuckles at the thought) LISA I could see you looking handsome and successful in a dark blue flannel suit. JEFF (Looking directly at her) Let's not talk any more nonsense, huh? She stands up. THE CAMERA PULLS BACK. LISA I'd better start setting up for dinner. She moves away behind him, into the kitchen. INT. JEFF'S APARTMENT NIGHT - SEMI-CLOSEUP Jeff gives a sigh of relief, exhaling his breath, then looks down toward his legs in thought. He holds this attitude for just a moment, then seems to shake off his concern to lift his head and turn his attention to what might be happening in his neighborhood beyond his window. Behind him we see the vague form of Lisa bringing in a card table, which she proceeds to unfold. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Jeff's attention is concentrated on an apartment we have not seen before. This belongs to a single woman, about forty years of age. She lives alone. Her apartment is below that of the salesman with the invalid wife. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff leans forward with increased interest. Behind him we get vague figure of Lisa laying a cloth over the card table. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A nearer view show us a more intimate picture of the woman Jeff is concentrating on. She is thin and unattractive. At the moment, she is putting on her make-up in front of the bedroom mirror. She gives a half turn and picks up a pair of horn-rimmed glasses, which she puts on, and leans nearer to her mirror. She picks up a lipstick and proceeds to paint her lips carefully. Having completed her make-up, she takes off her glasses and surveys her face in the mirror. She stands up, swings the skirt of her dress around, admires herself in the mirror. She is quite flat-chested, and the dress hangs unattractively. She lifts her chin, gives one last look, and turns toward her living room. As if she's preparing to meet someone. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Without taking his eyes from the scene, Jeff picks up his wineglass and drinks. As he drinks, his eyes move slightly over. EXT. NEIGHBORHOOD NIGHT - SEMI-LONG SHOT THE CAMERA HAS PANNED slightly to the woman's living room window. A small, candle-lit table is set up, with dinner for two. The spinster sweeps into the room, smiling. She goes to the door, opens it, and in pantomime admits an imaginary caller. She pretends to kiss him lightly, take his hat, and place the hat on a chair. Then she shows him to a seat at the table, disappears into an unseen kitchen and returns with a bottle and two glasses. She sits down, pours two drinks. She lifts her drink in a toast to the imaginary man opposite her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff gives a faint, sympathetic smile, and subconsciously raises his glass in response. In the background, Lisa, having just placed a pair of candlesticks on the table, is returning to the kitchen. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Having finished her drink, the lonesome woman pours herself another one. Then she starts to take a sip, smiling across the table at her imaginary guest. She lowers the glass onto the table. The smile fades from her face as her head drops. Suddenly she buries her head in her arms over the table and starts to sob. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff, his glass in hand, looks out sympathetically. He is unaware that Lisa is standing behind him, and is also watching this little drama. LISA That's what is know as "manless melancholia." JEFF (Nods agreement) Miss Lonely Hearts. At least that's something you'll never have to worry about. LISA Oh? You can see my apartment all the way up on 63rd street? JEFF Not exactly -- but we have a little apartment here that's probably about as popular as yours. (He points) You, of course, remember Miss Torso. Both of them swing their eyes a little to the left. EXT. NEIGHBORHOOD NIGHT - SEMI-LONG SHOT The kitchen-lining room combination of the ballet dancer's apartment has now been made more presentable. The ice box is now skillfully concealed by a large Chinese screen. All kitchen utensils have been put away, replaced by more attractive effects, and lamp light softens the surroundings. Miss Torso is now wearing a cocktail dress, which shows off her figure to great advantage, especially when she leans toward three assorted men to offer them a plate of hors d' oeuvres. She is the perfect hostess, animated, charming, and with an added personal touch for each guest. She is behaving with a sophistication which was not apparent when we first saw her in the morning. Her every movement is followed admiringly by the eyes of the three men -- one wearing black tie, with a touch of grey in his hair, a Long Island socialite -- a young rather handsome, actor in grey flannel suit -- and last, a bright, pleasant, young man who might possibly be from Wall street, wearing a blue-pin-striped suit. The latter two are engaged in an animated conversation. The young man in the grey suit is showing the other young man some newspaper cuttings he's taken from his pocket. Miss Torso sees that the cocktail glass of the third man is empty. She takes it over to the window, and starts to fill it. The man in the tuxedo follows her over, with a casual glance toward the other two. He stands beside her as she makes the drink. He looks at his watch with some impatience, and makes a side comment to her as to the lateness of the time. She turns, gives him a light kiss on his cheek, as if she's telling him to be patient. Instead of pacifying him, it makes him more amorous, and he puts an arm around her shoulder an plants a heavy kiss on her cheek. She turns to face him, they look into each other's eyes a moment, and she allows herself to be kissed on the lips -- but only long enough so as to attract the attention of the other two men. With a little admonishing look, she moves away from him, and makes him rejoin the other two. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff turns and looks up to Lisa with a grin. JEFF Well, she picked the most prosperous looking one. LISA She's not in love with him -- or any of them. JEFF How can you tell that -- from here? LISA You said it resembled my apartment, didn't you? She moves away with a significant look to him. THE CAMERA MOVES IN until Jeff is in semi-closeup, alone. He ponders over her last remark, then changes his look to another direction. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The newlyweds's apartment has the shades still drawn. Although there's a light burning inside. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP There is a slight, but warm, smile on Jeff's face as he looks at the drawn shade. His eyes move away from the newlyweds' apartment, and slowly explore the neighborhood to his right. He finds something of interest, and stops to stare at it. His face sobers at what he sees. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment. We see both the living room and the bedroom. The salesman has prepared a dinner tray, and is carrying it from the kitchen, through the lining room, into the bedroom. He places it on the lap of his wife, sitting up in bed. He puts a couple of pillows behind her back to make her more comfortable. She doesn't bother to thank him, but is busy examining the content of the tray. Her attitude shows her dissatisfaction. Nothing is right. It's not what she wanted, and it's badly prepared. She begins criticizing him. He starts to answer her back, but decides better of it, and instead, leaves the room. He goes to the kitchen reaches up to a wall cabinet, takes down a bottle and pours himself a drink. Then he returns to the lining room, listens a moment. The wife is grudging beginning to eat the dinner. The husband quietly lifts a phone from the cradle, and dials a number. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff becomes completely absorbed with he sees. He leans forward a little. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT We get a better view of the salesman waiting while his connection is being made. Whoever he has called answers. And instantly there is a marked change in his attitude. He relaxes, smiles, is warm. He talks softly, perhaps guardedly, with an occasional glance at the bedroom door. In the bedroom, his wife has become aware of the call. Quietly she moves the tray, gets out of bed, and goes to the bedroom door to listen. The wall hides her from our view. Then suddenly, she apparently opens the door, because the living room, we see her arm suddenly appear, pointing at the man and the telephone. He speaks quickly into the phone, and hangs up. His face is flushed and angry as he goes toward the bedroom. In the bedroom his wife appears walking back to the bed, followed by the husband. She is laughing, and he is answering her in angry tones. She climbs in bed laughing. The more she laughs, the more angry he gets, and the harder she laughs. Finally, he leaves the room, goes into the living room, back into the kitchen and has another drink. He stands there, controlling an outburst of emotion, and seems almost to be crushing the shot glass in his clenched fist. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP While Jeff has been engaged in watching this little drama, the SOUND of a piano has started. He now diverts his attention from the salesman's apartment to the source of the piano music. He turns his eyes in the direction of the composer's apartment. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Through the studio window of the song-writer's apartment we see the man at work again on his original melody, and he is farther along the line of the melody than before. It is beginning to take some shape, and give promise of its full beauty. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff, listening to the composer. His head turns as Lisa's voice comes over: LISA (Emerging from kitchen) Where's that music coming from? THE CAMERA QUICKLY PULL BACK as Jeff swings his chair around. Lisa is emerging from the kitchen, carrying the serving dish of their lobster thermidor. JEFF Oh... some songwriter. In the studio apartment. Lives alone. Probably had an unhappy marriage. LISA (Putting down the food) I think it's enchanting. She pulls up a chair and seats herself at the card table. We now observe that two small lit candles adorn the table, and the rest of the room lights are out. LISA Almost as if it were being written especially for us. JEFF (Pleasantly) No wonder he's having so much trouble with it. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP A faint shade of disappointment is seen on Lisa's face; but she quickly recovers and looks down at the table. LISA Well, at least you can't say the dinner isn't right. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks at her soberly. JEFF Lisa, it's perfect (Looks down at the food, without enthusiasm) As always. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The brightness drains from Lisa's face, and she lowers her eyes slowly toward the table. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa slowly helping Jeff to lobster from the main dish. LAP DISSOLVE TO: INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Shooting over Jeff's shoulder we see beyond him the divan- bed upon which Lisa is stretched out. There is one light burning, behind Lisa's head. A fierce discussion is in progress. Lisa gesticulates with her hands, body and legs. LISA There can't be that much difference between people and the way they live! We all eat, talk, drink, laugh, sleep, wear clothes -- Jeff raises both his hands. JEFF Well now, look -- Lisa draws back one leg, and points a finger challengingly. LISA If you're saying all this just because you don't want to tell me the truth, because you're hiding something from me, then maybe I can understand -- JEFF There's nothing I'm hiding. It's just that -- LISA (Won't let him break in) It doesn't make sense to me. What's so different about it here from over there, or any place you go, that one person couldn't live in both places just as easily? JEFF Some people can. Now if you'll let me explain -- LISA (Ignores him) What is it but traveling from one place to another, taking pictures? It's just like being a tourist on an endless vacation. JEFF All right. That's your opinion. You're entitled to it, but -- LISA It's ridiculous for you to say that it can only be done by a special, private little group of anointed people. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't you ever have any problems? LISA (Murmurs, kissing him) I have one now. JEFF So do I. LISA (Kissing) Tell me about it. JEFF (Slight pause) Why would a man leave his apartment three times, on a rainy night, with a suitcase? And come back three times? LISA He likes the way his wife welcomes him home. JEFF Not that salesman's wife. And why didn't he go to work today? LISA Homework. It's more interesting. JEFF What's interesting about a butcher's knife and a small saw wrapped up in a newspaper? LISA Nothing, thank heaven. JEFF (Looking again) Why hasn't he gone into his wife's bedroom all day? LISA I wouldn't dare answer that. JEFF (After pause) Lisa -- there's something terribly wrong. She gives up trying to interest him in romance, and moves back from the embrace. THE CAMERA PULL BACK. LISA And I'm afraid it's with me. Lisa stands, straightens out her dress, stretches a little then she turns to the divan, apparently not too interested in his observation about the salesman's life. JEFF (Looks at Lisa) What do you think? LISA (Without returning his look) Something too frightful to utter. Jeff is thoughtful for a moment, then he relaxes and smiles a little. He turns to the window to look out again. Lisa exits the picture. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa stretches herself out on the divan. Her head rest on the cushion at the far end, and she instinctively falls into an attractive pose. However, her expression is disturbed as she watches Jeff. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP He stares intently out the window. JEFF He went out a few minutes ago -- in his undershirt -- and he hasn't come back yet. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa weighs this information, trying to make some sense out of it. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff turns his eyes from the salesman's apartment, and looks down reflectively. He looks up again, and then his eyes catches sight of something. He leans forward slightly. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Miss Torso is lying, face down, on her divan bed. The only light in the apartment is from a reading lamp. She is reading a book held in one hand, while eating a sandwich in another. Her back is bare, and all she wears is a pair of brief dark blue shorts. At one point, she lifts her torso up slightly to brush crumbs out from beneath her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP He looks away from Miss Torso, thoughtfully. JEFF You know -- that would be terrible job to tackle. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa leans forward and looks out the window to see what Jeff is referring to. She turns back to him with a blank stare. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff turns and looks at her, quite unaware of her surprise at his comment. JEFF How would you begin to cut up a human body? INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa sits bolt upright on the divan. She reaches back quickly and pulls on the overhead light. At that moment the songwriter returns to his composing. We can see him over Lisa's shoulder. He is beginning his song again, and it has taken on new fullness and melody. Although it is not complete, it is farther along then before, and he plays his theme a number of different ways, trying to move it note by note to its completion. Lisa just stares at Jeff for a moment. LISA Jeff -- I'll be honest with you -- you're beginning to scare me a little. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff is staring out of the window again. Over this we hear Lisa's voice: LISA (Quietly insistent) Jeff -- did you hear what I said? You're beginning to -- Jeff puts out a restraining hand. JEFF (Interrupting) Be quiet! Shhh! (Pause) He's coming back! EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT At last the salesman is seen coming along the corridor. He does not wear shirt, but only an undershirt. Slung over one shoulder, with his arm through is, is a large coil of sturdy rope. He goes through the living room into the bedroom. He does not put on the bedroom lights. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff reaches quickly for his binoculars, and trains them on the salesman's apartment. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT As seen though the binoculars, the salesman comes out of the bedroom, to the kitchen, where he gets a carving knife. He turns around and goes back to the bedroom. The lights go on behind the draw shades, after a short moment. The dim shadow of the salesman is seen moving around the room. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, still stretched out on the divan looking at Jeff, suddenly sits upright and then getting up from the divan, mover over to Jeff, THE CAMERA GOING WITH her. In a sudden surprise move, she swings his chair completely around so that his back is to the window. He drops the binoculars into his lap in surprise. THE CAMERA MOVES IN as Lisa leans over Jeff, gripping both sides of his chair LISA (sharply) Jeff -- if you could only see yourself. JEFF Now, Lisa -- LISA (Abruptly) Sitting around, looking out a window to kill time, is one thing -- but doing it the way you are -- (She gestures) -- with, with binoculars, and with wild opinions about every little movement you see -- is, is diseased! JEFF Do you think I consider this recreation? LISA I don't know what you consider it -- but if you don't stop it, I'm getting out of here. JEFF You'd better before you catch the disease! LISA (Insistent) What is it you're looking for? JEFF I want to find out what's wrong with the salesman's wife. Does that make me sound like a madman? LISA What makes you think something's wrong with her? LISA A lot of things. She's an invalid who needs constant care -- and yet the husband nor anyone else has been in there all day. LISA Maybe she died. JEFF Where's the doctor -- the undertakers? LISA She could be under sedatives, sleeping. (Looks up) He's in the room now. Jeff tries to turn around, but she won't let the chair move. JEFF Lisa, please! LISA There's nothing to see. JEFF There is -- I've seen things through that window! Bickering, family fights, mysterious trips at night, knives, saws, rope -- and since last evening, not a sight or sound of his wife! Now you tell me where she is and what she's doing! LISA Maybe he's leaving his wife. I don't know, and I don't care. Lots of people have saws, knives and ropes around their houses. Lots of men don't speak to their wives all day. Lots of wives nag, and men hate them, and trouble starts -- but very, very, very few of them end up in murder -- if that's what you're thinking. JEFF It's pretty hard to stay away from that word isn't is? LISA You could see all the things he did, couldn't you? JEFF What are you getting at? LISA You could see that he did because he had the shades in his apartment up, and walked along the corridor, and the streets and the backyard? JEFF Yeah. LISA Jeff, do you think a murderer would let you see all that? That he shouldn't keep his shades down and hide behind them? JEFF That's where he's being clever. Acting nonchalant. LISA And that's where you're not being clever. He wouldn't parade his crime in front of the open shades. She turns the wheelchair slightly to her left so that he can see the newlyweds' apartment. LISA (Pointing) For all you know -- there's something a lot more sinister going on behind those shades. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The drawn shades of the newlyweds' apartment. A dim light burning behind them. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff looks, turns back to her, trying to suppress a chuckle. JEFF No comment. LISA Don't you see how silly you're being? JEFF Okay, Lisa -- probably you're right. He's probably in the bedroom now, entertaining his wife with the indian rope trick. I'll admit to criminal insanity. Now when do I start the cure? Lisa half looks up and out the window. She opens her mouth to answer, but a new look overtakes her face. It is concern, surprise, and a little shock. Jeff sees the change, is sobered, and quickly turns the chair around. He looks out the window, using his binoculars. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The shades in the bedroom are now up. Both beds are empty, and stripped of their linen, the mattresses thrown up over the end of the beds. The salesman, sweating heavily, stands over a large, square trunk in the center of the room. It is stoutly bound by the heavy rope we previously saw him bring into the apartment. He wipes one forearm across his brow, and then heads for the kitchen. In the kitchen, he produces a bottle, pours himself two or three straight drinks, then leans with a display of exhaustion against the kitchen sink. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff lowers the glasses. His look is sober. Lisa stands behind him, one hand on the back of the wheelchair. She, too, is serious. THE CAMERA MOVES IN until Lisa's head fills the screen. She says, slowly: LISA Let's start from the beginning again, Jeff. Tell me everything you saw -- and what you think it means. She is still staring out the window, as the scene FADES OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff is seated in the dark, his face lit by the faint glow from the distant street. He is looking out of the window tensely, as THE CAMERA MOVES IN, until he is in big profile. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From Jeff's viewpoint, all the windows are dark. The couple are sleeping on the fire escape. The salesman's apartment is dark as well. Suddenly a match flares, and we see the salesman light a cigar. The flame of the match illuminates his face for a moment. When is dies out, we see just the glow of the cigar burning. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP The CAMERA is now facing Jeff. We see that his left hand rests on the telephone receiver which is close to him. The phone starts to RING, but makes only the slightest sound, as he instantly picks it up. As he talks, in a low voice, he keeps his eyes on the salesman's apartment. JEFF Yeah? INT. PHONE BOOTH - NIGHT - CLOSEUP We get an impression of Sixth Avenue behind Lisa at the phone. Lisa also talks in a low, quiet voice. LISA The name on the second floor rear mailbox reads Mr. And Mrs. Lars, that's L-A-R-S, Lars Thorwald. JEFF (Filter) What's the apartment house number? LISA 125 West Ninth Street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, still looks toward the salesman's apartment. JEFF Thanks, Lisa. INT. PHONE BOOTH - NIGHT - CLOSEUP Lisa smilingly says: LISA Okay, chief. What's my next assignment. JEFF To get on home. LISA All right -- but what's he doing now? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is still looking toward the salesman's apartment. JEFF Just sitting in the living room. In the dark. And he hasn't gone near the bedroom. Now get some sleep. Goodnight. He puts the receiver down, and resumes his vigil. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT All we can see is the glow of the salesman's cigar. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff is seated by the window in his wheelchair. He is talking on the telephone while his eyes are still on the neighborhood. There is a touch of urgency in his voice. JEFF Look, Doyle -- it's just one of those things I can't tell you on the phone. You have to be here, and see the whole set-up. The CAMERA PULLS BACK slightly as Stella emerges from the kitchen. She is carrying a tray with breakfast on it. Eggs, bacon, toast and coffee. JEFF It's probably nothing important -- just a little neighborhood murder, that's all. As a matter of fact, I did say "murder". Stella squeezes past the right side of Jeff, and places the food tray on a windowseat in front of him. She peers out cautiously toward Thorwald's apartment for a moment. Then she squeezes back, moving to the sideboard against which leans a small table on an adjustable stand. JEFF My only thought was to throw a little business your way. A good detective, I reasoned, would jump at the chance to detect. Stella returns with the table, and sets it up so that it is across Jeff's lap. She gets the tray of food pausing to look toward Thorwald's apartment. Then she places the breakfast on the tray table in front of Jeff. He has moved back a little to avoid getting the phone cable tangled in the food and dishes. JEFF Well, I usually took my best pictures on my day off. (nods) Okay, Doyle -- soon as you can. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He hangs up. Stella takes the phone and puts it down for him. He looks at the breakfast, reaches for a knife and fork. JEFF Stella, I -- I can't tell you what a welcome sight this is. No wonder your husband's still in love with you. STELLA Police? JEFF (Pauses in cutting food) Huh? STELLA You called the police? JEFF Oh. Well, yes and no. It wasn't an official call. He's just a friend. (Almost to himself) An old, ornery friend. He begins eating, appreciatively. She moves behind his chair, pausing to look toward Thorwald's apartment again. Jeff is just lifting a piece of bacon to his lips when Stella speaks. STELLA (Half to herself) Now just where do you suppose he cut her up? The hand carrying the bacon to Jeff's mouth hesitates for a moment. STELLA (Answering herself) Oh -- of course! In the bathtub. That's the only place he could wash away the blood. The hand holding the bacon moves back to the plate. Jeff just stares ahead. Stella turns and walks into the kitchen. Jeff pushes the food away, and picks up the coffee cup instead. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes, over the coffee cup, are staring intently at the backyard. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Thorwald's apartment. The shades up. No one moving. The rope-tied trunk still sits in the bedroom. To the left we see the basket lowering with the dog in it. We HEAR the woman WHISTLING an aria. INT. JEFF'S APARTMENT - DAY - CLOSEUP His eyes stray in an upward direction as he puts down the coffee cup. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The CAMERA PANS UP past the woman lowering the dog, up to the roof where one of the sunbathers can be seen sitting up, rubbing her body with sun tan oil. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes moves down again. Abstractedly his hand strays toward the piece of bacon. He picks it up. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Thorwald's apartment. We are now aware that the salesman is now in his living room, lying out of sight on the sofa, because the smoke from a newly lighted cigar is starting to ascend toward the ceiling of his room. Stella's voice is heard calling out from the kitchen: STELLA'S VOICE He'd better get that trunk out of there before is starts to leak. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Again the bacon stops before is reaches Jeff's mouth. He puts it down on the plate again, as his eyes move slightly toward the left. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Miss Torso, in ballet outfit, is hanging up a small wash on a clothes line. It consists mostly of lingerie. She is doing her inevitable leg practice at the same time. THE CAMERA PANS OVER SUDDENLY TO Thorwald's apartment, and except for the smoke rising from the unseen sofa, there is no activity. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff seems to be getting a bit listless, or bored, by constantly watching Thorwald's apartment. His eyes sort of stray around the neighborhood, and end up looking toward: EXT. NEIGHBORHOOD - DAY - MEDIUM SHOT The newlywed's apartment. Shade down, business as usual. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff smiles affectionately, and starts to turn his eyes away; but something startles him, and he looks quickly back. EXT. NEIGHBORHOOD - DAY - MEDIUM SHOT The shade suddenly going up in the newlywed's apartment. The young husband leans his hands on the windowsill, and looks out. He is wearing only his pajama bottoms, because of the heat, and we see that he is a well-muscled, attractive young man. He looks around with some satisfaction. He turns at the sound of a woman's voice behind him. GIRL'S VOICE H-a-a-r-r-e-e... He turns his head, is thoughtful for a brief moment, then he pulls down the shade. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP His smile almost becomes a private chuckle. Stella's abrupt voice breaks in urgently: STELLA'S VOICE Look! Look -- Mr. Jefferies! Jeff's head snaps toward the center of his window. Stella has appeared behind his wheelchair. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Two men wearing tan coveralls are standing outside Thorwald's door. One of them carries a clipboard. Suddenly Thorwald is seen sitting up on the living room sofa. His hair is disheveled and he is unshaved. He stands up, and moves toward the door. He opens it, and after a short exchange of dialogue, he admits the two men, leaving the door open behind them. He leads the two man across the living room to the bedroom. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Stella and Jeff watching intently. He is feeling down alongside his wheelchair for his binoculars. EXT. NEIGHBORHOOD - DAY - BINOCULAR SHOT A close view shows the two man carrying the trunk across the living room toward the corridor. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars quickly. JEFF (Agitated) I thought Doyle would get here before the trunk went -- or I'd have called the police. (To Stella) Now we're going to lose it. Stella moves toward the door quickly. Jeff turns quickly over his shoulder to watch her. She is already going up the steps. JEFF Stella, don't do anything reckless! As Stella goes out the door, she calls back: STELLA I'm just going to get the name of their truck! JEFF (Up) I'll watch the alleyway -- in case it goes that way. We hear nothing from Stella, but the sound of her heavy tread down the hallway stairs. Jeff returns to Thorwald. He eases himself back into the shadows a bit and then raises his binoculars. EXT. NEIGHBORHOOD - DAY - BINOCULAR SHOT Jeff concentrates his attention on the alley-way that leads to the street. Just normal traffic. The binoculars swing to Thorwald apartment. The salesman is now at the telephone. He has picked up the receiver, and proceeds to dial 221. INT. JEFF'S APARTMENT - DAY - CLOSEUP The binoculars still up to Jeff's face. Under them his mouth moves, as if he's talking to himself. JEFF Long Distance. EXT. NEIGHBORHOOD - DAY - BINOCULAR SHOT The salesman speaks some words to the operator. Placing the call. As he does this, he reaches with his other hand for a nearly bottle, and working the cork out with one hand, he pours a stiff drink into a tumbler. He drinks it as soon as he finishes talking with the operator. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars a little, and takes a normal eye sight on the alleyway. EXT. NEIGHBORHOOD - DAY - LONG SHOT Pulling across to the far side of the street we see the hood and cab of a freight truck. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff quickly puts the glasses up. EXT. NEIGHBORHOOD - DAY - BINOCULAR SHOT By the time the binoculars are up, another truck has crossed from the left. In momentarily blocks out the side of our freight truck. By the time the two trucks part, we can only see the back half of the freight truck before it pulls out of sight. Jeff is only able to read the words "FREIGHT LINES". The binoculars are held for a moment until we see a puffing and blowing Stella arrive at the opening of the alleyway. She looks toward the front of Thorwald's apartment house. And by her attitude we can see that there is no truck outside. She looks about her for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the binoculars, discouraged. EXT. NEIGHBORHOOD - DAY - LONG SHOT The figure of Stella is seen, looking up toward Jeff's apartment, and arms outspread in a helpless gesture. LAP DISSOLVE TO: INT. JEFF'S APARTMENT - DAY - SEMI-LONG SHOT SHOOTING TOWARDS the big window, with the neighborhood beyond, Jeff is as usual seated in his wheelchair on the left of the window, but now turned toward a newcomer. The second man is standing near the divan looking out the window with the binoculars. This newcomer is POLICE DETECTIVE LIEUTENANT THOMAS J. DOYLE, the man Jeff phoned earlier in the day. He is an intelligent-appearing, well-dressed modern detective. He has a sense of humor. He lowers the glasses, and turns to Jeff. DOYLE You didn't see the killing, or the body? How do you know there was a murder? JEFF Because everything that man's done has been suspicious. Trips at night in the rain, saws, knives, trunks with rope, and a wife that isn't there any more. DOYLE I'll admit it all has a mysterious sound -- but is could mean a number of different things. Murder is the least likely. JEFF Go ahead, Doyle -- tell me he's an unemployed magician -- amusing the neighborhood with sleight-of-hand. Doyle paces a little. DOYLE It's too stupid and obvious a way to murder -- in full view of fifty windows -- and then sit over there -- (He points) -- smoking a cigar -- waiting for the police to pick him up. JEFF Well, officer -- do your duty. DOYLE You've got a lot to lean about homicide, Jeff. Morons have committed murder so shrewdly that it took a hundred trained police minds to catch them. That salesman wouldn't just knock off his wife after dinner, toss her in a trunk and put her in storage. JEFF I'll bet it's been done. DOYLE Almost everything's been done -- under panic. But this is a thousand to one shot. That man's still sitting around his apartment; he isn't panicked. JEFF (A pause) You think I made all this up? DOYLE I think you saw something -- that probably has a very simple explanation. JEFF For instance? DOYLE (Shrugs) His wife took a trip. JEFF She -- was -- an -- invalid! DOYLE You told me. (Looks at watch) I've got to run, Jeff. JEFF All right -- you don't believe me. Doyle saunters toward steps, picking up his hat on the way. Stops. DOYLE I -- uh -- won't report it to the Department. Let me poke into a little on my own. No point in you getting any ridiculous publicity. JEFF (Coldly) Thanks. DOYLE We know the wife is gone. I'll see if I can find out where. JEFF Do that. He goes up the steps to the door, putting on his hat. He pauses his hand on the door knob. DOYLE You have any headaches lately? INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff answers, showing only the slightest irritation. JEFF Not 'til you showed up. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Doyle, still at the door: DOYLE Uh-huh. Well, it'll wear off in time -- along with the hallucinations. See you around. He starts to go out the door, and closes it behind him. INT. JEFF'S APARTMENT - DAY - SEMI-LONG SHOT From Doyle's viewpoint. Jeff lifts his hand in a feeble parting gesture. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Before the door has completely closed, Doyle opens it again, and looks in. DOYLE By the way what happened to your leg? INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP JEFF I was jaywalking. DOYLE'S VOICE (O.S.) Where? JEFF (With nonchalance) The Indianapolis Speedway. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP The door starts to close again, as if Doyle considered Jeff's answer quite reasonable. Then the door pops open and Doyle's head comes in, a surprised expression across his face. DOYLE During the race? INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff answers with a straight face. JEFF Yup. It sure stopped traffic. We don't see Doyle again, but only HEAR the sharp slam of the DOOR off. Jeff chuckles. Then he turns back to the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's attention is drawn to something in the yard below. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The little dog is busily scratching away at Thorwald's pet flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff smiles mischievously. Suddenly his face changes as he sees: EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Thorwald coming out of his basement door, carrying a watering can. He fills it from a nearby faucet. He does not notice the little dog's destructive activities. When the watering can is filled, he straightens up, turns toward the flower bed. He stops for the briefest moment, when he sees the dog. He walks to the dog, gently lifts him out of the garden, and giving him a friendly little pat, sends him off. He proceeds to patiently brush back the disturbed earth, and then begins his watering. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff is frankly puzzled by the salesman's friendly attitude toward the dog. He looks off in another direction, as he catches of: EXT. NEIGHBORHOOD - DAY - LONG SHOT Doyle, who has appeared, at the street opening. The detective is surveying the front of the apartment building where Thorwald lives. A paper seller behind him offers to sell him a paper. Doyle isn't interested. As Doyle saunters forward toward the salesman house, the scene: LAP DISSOLVES TO: INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Doyle is nonchalantly leaning up against the side board, with a highball in one hand. Jeff has turned his chair around from the window to face him. DOYLE He has a six months lease, and has used up a little over five and a half months of it. (Takes a sip of drink) Quiet. Drinks, but not to drunkenness. Pays his bill promptly, with money earned as a consume jewelry salesman -- wholesale. Keeps to himself, and none of the neighbors got close to him, or his wife. JEFF I think they missed their chance with her. DOYLE (Studies drink) She never left the apartment -- JEFF (Interrupting) Then where is she -- in the ice box? DOYLE (Continues) -- until yesterday morning. JEFF (Alert) What time? DOYLE Six ayem. Jeff looks thoughtful a moment, and then says, with a touch of discouragement: JEFF I think that's about the time I fell asleep. DOYLE Too bad. The Thorwalds were just leaving the apartment house at that time. He puts down his drink, and strolls toward the window, looking out. THE CAMERA MOVES IN slightly to tighten the shot. DOYLE Feel a little foolish? JEFF Not yet. Doyle becomes interested in watching something out the window. Unconsciously he smooths out his coat and tie. He even smiles somewhat secretly to himself at what he sees. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Miss Torso, in ballet costume, practicing her dance on the outside balcony. She is exciting and desirable. INT. JEFF'S APARTMENT - DAY - TIGHT TWO SHOT Jeff notices Doyle's interest. JEFF How's your wife? Startled at being observed, Doyle moves quickly away from the window, affecting nonchalance. THE CAMERA MOVES BACK as Doyle returns to his drink. Jeff smiles at catching Doyle enjoying Miss Torso. DOYLE Oh -- oh, she's fine. (Not too convincing) Just fine. He tosses off the rest of the drink, and his movement is almost a comment. Jeff's face grows serious. JEFF Who said they left then? DOYLE Who left -- where? JEFF The Thorwalds -- at six in the morning? Doyle quickly collects his thoughts, and gets back to the case at hand. DOYLE The building superintendent, and two tenants. Flat statements -- no hesitation. And they all jibed to the letter. The Thorwalds were leaving for the railroad station. JEFF Now how could anybody guess that? They had, perhaps, signs on their luggage, "Grand Central Or Bust!"? DOYLE (Sighs) The superintendent met Thorwald coming back. He said Thorwald told him he had just put his wife on the train for the country. JEFF A very convenient guy -- this superintendent. Have you checked his bank deposits lately? DOYLE Jeff -- huh? JEFF (Sharply) Well -- what good is his information?!! It's a second-hand version of an unsupported statement by the murderer himself -- Thorwald! Anybody actually see the wife get on the train? DOYLE I hate to remind you -- but this all started because you said she was murdered. Now did anyone, including you, actually see her murdered? JEFF Doyle -- are you interested in solving a case, or making me look foolish? DOYLE If possible -- both. JEFF Well then do a good job of it! Get over there, and search Thorwald's apartment! It must be knee-deep in evidence. DOYLE I can't do that. JEFF I mean when he goes out for a paper, or a drink, or something. What he doesn't know won't hurt him. DOYLE I can't do it even if he's gone. JEFF (With sarcasm) What's the matter? Does he have a courtesy card from the police department? DOYLE Now don't get me mad! Even a detective can't walk in anybody's apartment and search it. If I were ever caught in there, I'd lose my badge inside of ten minutes! JEFF Just make sure you're not caught. If you find something, you've got a murderer and nobody will care about a couple of house rules. If you find nothing -- he's clear. DOYLE At the risk of sounding stuffy, Jeff -- I'll remind you of the Constitution, and the phrase "search warrant" issued by a judge who knows the Bill of Rights verbatim. He must ask for evidence. JEFF Give him evidence. DOYLE I can hear myself starting out. "Your Honor -- I have a friend who's an amateur sleuth, an one night, after a heavy supper --" (He shakes his head "no") He'd throw the New York State Penal Code right in my face. -- And it's six volumes. JEFF By morning there might not be anything left to find in his apartment. DOYLE (Looking out window) A detective's nightmare. JEFF What do you need before you can search -- bloody footsteps leading up to the door? DOYLE (Looking out window) One thing I don't need is heckling! You called and asked me for help -- and now you're acting like a taxpayer! DOYLE (Turns and look at Jeff) How did we ever stand each other in that same plane for three years? JEFF You know, every day for three years I asked myself that same question? DOYLE Ever get an answer? JEFF Yeah -- frequently -- it ran something like this: "Your request for transfer turned down --" He can't help smiling, and neither can Doyle. DOYLE Sorry I had to turn it down. (He checks his watch) I'm going over to the railroad station and check Thorwald's story. He moves to the sideboard, picks up a felt hat. JEFF Forget the story -- find the trunk. Mrs. Thorwald's in it! DOYLE Oh -- I almost forgot! He pulls a slip of paper out of his pocket. Jeff watches him intently. DOYLE (Looking at Jeff) There was a postcard in Thorwald's mailbox. (Refers to paper) Mailed yesterday afternoon, three- thirty P.M. from Merritsville -- (Looks up, speaks pleasantly) -- That's eighty miles north of here. (Back to paper) The message read "Arrived O.K. Already feeling better. Love, Anna." He looks at Jeff with some smugness. JEFF (Slowly) Is -- is Anna -- who I think it is? DOYLE (Nods "yes") Mrs. Thorwald. He puts on his hat, and goes toward the door. DOYLE (Maliciously) Anything you need? INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is sober. JEFF Yeah. A good detective. LAP DISSOLVE TO: INT. JEFF'S APARTMENT - DUSK - CLOSEUP The sun has just set. THE CAMERA is concentrating on the long-focus lens camera which fills the screen. Just beyond, there is a plate on which a solitary sandwich. Jeff's hand comes in, picks it up. We PAN US with the sandwich until Jeff's head fills the screen. (Except for a small light in the kitchen, Jeff's apartment is in darkness.) As he munches, he keeps his attention on the neighborhood. EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT Thorwald's apartment is darkness. THE CAMERA PANS slightly to the left, as we see the dog being lowered in its basket. We follow the basket down to the yard which brings Miss Lonely Heart's apartment into view. She is wearing a Kelly Green suit, and is seated at her dressing table. She seems to be putting on the final touches of her make-up, prior to going out. INT. JEFF'S APARTMENT - DUSK - CLOSEUP Jeff looks down, he smiles to himself. He turns, and we see him raise the long-focus camera to his eye. EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT The long-focus lens brings Miss Lonely Hearts into an enlarged picture which reveals details we have not previously noticed. A pair of ill-fitting, horn-rimmed reading glasses rest half way down her nose, and she has to tilt her head back slightly as she applies lip-stick, with their aid. Satisfied, she takes off the glasses, and examines her face as a whole, through squinting eyes. She has faded good looks, has fairly nice clothes, but is badly in need of advice on hair dressing. Her hair-do makes her seem middle-aged. She reaches for a tall glass of liquor next to her, and takes a long drink. Putting the glass down, she squints to see if she has disturbed the lipstick. Unable to see clearly, she puts on the glasses again, looks, and touches up her lips slightly. She puts her glasses in a handbag, then stands to put out the lights. She walks into the living room, finishing the drink. The long-focus lens moves with her. She goes straight for a bottle of liquor, and pours out a final neat slug, and tosses it off. Then she leaves the apartment, with a show of determination. She turns out the lights behind her. INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP Jeff lowers the long-focus lens, and turns his head to the right as he hears the first notes of the songwriter's melody which we have heard him trying to complete. EXT. NEIGHBORHOOD - DUSK - MEDIUM SHOT The songwriter is at the piano, poking out his melody, slowly, note by note. He is in black tie, and from the looks of the apartment he is preparing for guests. An attractive girl is setting out trays of canapÈs, glasses, ice and liquor. She pauses as she crosses the room carrying a tray of food. She listens a moment to the songwriter's melody. Her expression shows that it pleases her, and moves her romantically. She comments on it to the songwriter, who starts from the beginning again, playing it more fully. INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP A new source of music comes in to interfere with the piano playing. It is orchestral ballet music, in a modern style. Jeff's head turns in this new direction. EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT Miss Torso, and a male partner whom we have not seen before, are practicing a pas a deux. He is a tall flowing-haired young man, lithe and graceful beyond normal masculine capacity. They stop, at one point, to listen to a word of comment from a woman who is watching. By her gestures, she is obviously a professional choreographer. THE CAMERA PANS from this to the street beyond. Standing there, on the sidewalk, looking up and down the street is a Kelly Green clad figure. INT. JEFF'S APARTMENT - DUSK - CLOSEUP He quickly raises his long-focus camera to his eye. EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT We are now given a waist-high shot as the focus is adjustment by Jeff. The figure is that of Miss Lonely Hearts. She seems to be trying to figure out what to do, or where to go. She nervously looks at a couple of men passers by. Getting no reaction, she crosses the street, and seats herself at an empty table in front of the cafe. She orders a drink. She is suddenly blotted out by a figure of a man who enters the picture from the left side. He is much nearer the lens, because he is on this side of the street. He is, therefore, slightly out of focus. The lens suddenly sharpens. It is Thorwald, carrying a light-weight cardboard box under his arm. THE CAMERA PANS him over to the right until he is lost behind the building. INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP He lowers the lens, and we see Jeff's eyes travel across the screen, as he imagines Thorwald's progression. Then sharpening his look, he picks up the long-focus lens, and easing himself back cautiously, begins watching Thorwald. EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT Thorwald comes up the corridor, and stands unlocking his door. As he hesitates, we are able to see the cardboard box he is carrying has the name of a laundry on it. He enters the apartment turns on the living room lights. He proceeds to the bedroom, and the lights go on there. A number of suits and top coats are lying on an orderly pile on the bed. He takes the laundry out of the box and puts in on the bed next to the suits. Then he goes to the dresser, and instead of putting the laundry away, he proceeds to take out the contents of the drawers -- pajamas, shirts, sox, etc. He piles these on the beds. INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP Jeff lowers the camera quickly. He picks up the phone and dials a number, still keeping his eyes on Thorwald. The phone buzzes on filter, then is picked up and answered by a woman: MRS. DOYLE (Filter) Hello. JEFF Mrs. Doyle? MRS. DOYLE Yes. JEFF Jeff again. (A note of urgency) Has Tom come in yet? MRS. DOYLE Not yet, Jeff. JEFF You haven't even heard from him? MRS. DOYLE Not a word. For a moment, Jeff looks desperate. He doesn't know what to say. MRS. DOYLE It is something really important, Jeff? JEFF I'm afraid it is, Tess. MRS. DOYLE I'll have him call the moment I hear from him. JEFF Tell him not to waste time calling. To get over here soon as he can. I think Thorwald's pulling out tonight. MRS. DOYLE Who's Thorwald? JEFF He knows. (As an after-thought) Don't worry, Tess. It's a man. MRS. DOYLE (She laughs) Goodnight, you idiot. JEFF (A slight smile) Goodnight, Mrs Doyle. He hangs up. Then, his brows knit a little, as if he's puzzled about something he sees across the neighborhood. He lifts up the long-focus lens. EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Early night. In the dresser Thorwald finds an alligator handbag. He holds it up thoughtfully. We have previously seen this handbag hanging from the bedpost when Mrs. Thorwald was in bed. Thorwald takes the bag into the living room, where he picks up the phone and dials. JEFF Long distance again. Thorwald reaches his party. As he talks, thoughtfully, he takes some jewelry from the handbag -- a couple of rings, diamond wristwatch, brooch, pearls, etc. He discusses each piece, apparently trying to make some decision. Then, seemingly satisfied, he replaces them in the bag and hangs up. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff lowers his camera lens and edges his chair forward in an effort to hear what Thorwald is saying. But a sudden rise in the SOUND coming from the song-writer's apartment, causes him to turn his head toward the studio with exasperation. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The first four of the song-writer's guests come through the door, admitted by the song-writer's girl friend. There is a squeal from the woman who great each other, and hearty "helloes" from the men. The song-writer dashes off a LOUD VAMP of greeting on the piano, then gets up to offer drinks. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff turns his attention back to Thorwald, but gives up any attempt at listening. He lift the long-focus lens up to his eyes again. EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Having completed his call, Thorwald returns to the bedroom carrying the handbag. He goes to a pile of coats lying on the bed. He lifts the top two coats slightly, and slides the handbag under them and out of sight. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP There is the SOUND of footsteps coming down the corridor to Jeff's apartment. He lowers the camera lens, and turns his attention to his door. INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT The door opens, and Lisa stands silhouetted in the entrance, black-lighted by the corridor lights. It's an attractive picture. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's head is turned toward her, his back more toward the neighborhood. JEFF Quick. Take a look. Thorwald's getting ready to pull out for good! INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff abruptly turns back to the window, as Lisa dashes into the picture behind him, and looks out. Jeff's expression changes a little, as they see: EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The lights are out in Thorwald's bedroom, and Thorwald is in the act of pouring himself out a drink in the living room. He comes to the window, glass in hand, and looks down into the garden, nonchalantly. Over this, we HEAR Lisa's voice, questioningly: LISA It doesn't seem to be in any hurry. JEFF (Stares out the window, exasperated) He was just laying all his things out on one of the beds! Coats, suits, shirts, sox, even his wife's -- INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT He stops, turns to her quickly. JEFF That alligator bag his wife had on the bedpost -- LISA What about it? JEFF He had it hidden in the dresser! Well, at least it was in there. He took it out, went to the phone and called somebody long distance. -- His wife's jewelry was in the handbag. And something about it worried him. He was asking somebody advice over the phone. LISA Someone not his wife? JEFF I never saw him ask her for advise before. (Smiles) But she volunteered plenty. Jeff turns back to the window. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald is standing at the window with his drink in his hand. Then he turns, puts his unfinished drink down on a table, and goes to the door. He puts the light out in the living room and goes out the door. He walks briskly down the corridor. LISA I wonder where he's going now? JEFF I don't know. LISA Suppose he doesn't come back again? JEFF He will. All his things are still piled on the bed. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa moves toward a nearby lamp. LISA Well, I guess it's safe to put on some lights now. JEFF (Looking to left) Not yet! He picks up the long-focus lens and trains it on the street intersection, as Lisa moves back to him. EXT. NEIGHBORHOOD - CAMERA SHOT - NIGHT The street intersection. Some traffic, mostly pedestrian. Miss Lonely Hearts still sitting at the cafe table, alone. Drinking. There is no sign of Thorwald. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT He lowers the lens. JEFF He must have gone somewhere to the right. The CAMERA PULLS BACK as Lisa starts around the apartment turning on the lights. As she light increases, we see that she is wearing another extravagantly beautiful dress. She seems quite animated, moving gracefully, her skirt and hair swinging with her movement. Jeff turns around to face the room. LISA All day long I've tried to keep my mind on work. JEFF Thinking about Thorwald? LISA (Nods yes) And you, and you friend Doyle -- (Stops, to Jeff) Did you hear from him again -- since he left? JEFF Not a word. He was going to check on the railroad station, and the trunk. He must be still on it. As he talks, she seems to be thinking something over to herself. He starts pacing, trying to distill her thoughts. We see that she has brought an oversized handbag with her, which lies prominently on the table. Jeff watches her. JEFF Something on your mind, Lisa? LISA It doesn't make sense to me. JEFF What doesn't? LISA Women aren't that unpredictable. JEFF (Losing a little patience) Lisa -- I can't guess what you're thinking. THE CAMERA CLOSES IN, Lisa stops, faces him. Her eyes sparkle, and her body is tense with concentration. LISA A woman has a favorite handbag -- it always hangs on her bedpost where she can get at it. Then she takes a trip and leaves it behind. Why? JEFF Because she didn't know she was going on a trip -- and where she was going she wouldn't need a handbag. THE CAMERA eases back. LISA But only her husband would know that. (Starts to pace again) And the jewelry! Women don't keep all their jewelry in a purse, all tangled, getting scratched and twisted up. JEFF Do they hide it in their husband's clothes? LISA They do not! And they don't leave it behind them. A woman going anywhere but the hospital would always take makeup, perfume and jewelry. JEFF Inside stuff? LISA Basic equipment. You don't leave it behind in your husband's drawer in your favorite handbag. JEFF I'm with you, sweetie, but Detective Thomas J. Doyle has a pat answer for that. LISA That Mrs. Thorwald left at six ayem yesterday with her husband? JEFF That's what the witnesses told him. LISA Well, I have a pat rebuttal for Mr. Doyle -- that couldn't be Mrs. Thorwald -- or I don't know women. JEFF Still -- those witnesses. LISA We'll agree they saw a woman -- but she wasn't Mrs. Thorwald. -- That is, yet. She comes over to Jeff. He reaches up, takes her hand. JEFF Come here. He pulls her into his lap. She puts her arms around him. She is very happy, and kisses Jeff's cheek. LISA I'd like to see your friend's face when we tell him. He doesn't sound like much of a detective. JEFF Don't be too hard on him. He's a steady worker. I wish he'd get there, though. LISA (Nuzzling Jeff) Don't rush me. We have all night. There's a pause. Then Jeff moves back a little to look her straight in the eye. JEFF We have all -- what? LISA Night. I'm going to stay with you. JEFF You'll have to clear that through my landlord -- She cuts him off with a kiss. When she pulls back LISA I have the whole weekend off. JEFF Well that's fine, but I only have one bed, and -- Lisa smothers him with another kiss. She lets up. LISA Say anything else, and I'll stay tomorrow night too. JEFF Lisa, I won't be able to give you any -- She smothers him with still another kiss. Then moves back. JEFF -- pajamas. She laughs, gets up. Goes to the large handbag on the table. Is is a Mark Cross ladies 'attache' case. LISA You said I'd have to live out of one suitcase (Picks up case) I'll bet yours isn't this small? JEFF That's a suitcase? LISA (Starting to open it) A Mark Cross overnight case, anyway. Compact, but ample enough. She has opened it, and surprisingly enough, it is a compact outfit of pajamas, slippers, toothbrush, toothpaste, and all the general necessities for a comfortable overnight stay. She comes to Jeff, sits in his lap again, displaying the inside of the case LISA I'll trade you -- my feminine intuition for a bed for the night. JEFF (Gives in smiling) I'd be no better than Thorwald, to refuse. The SOUND from the party in the song-writer's apartment becomes more noticeable as his party grows. And at this point he begins playing the song he has been composing for the past few days. LISA There's that song again. She gets up from Jeff's lap, and puts the overnight case on the table. Open. She goes to the window, and looks toward the song-writers' apartment. Jeff turns with her. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The party at the song-writer's has grow considerably larger. An assortment of well-dressed people have now crowded into the studio. They are drinking, eating, etc. At the moment, a number of them are crowded around the piano, listening to the composer's newest song -- which isn't quite completed. However, the melody has become more beautiful than ever. During the following scene, we HEAR the melody being played a number of different ways on the piano. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa stands, listening, entranced. LISA Where does a man get the inspiration for a song like that? Jeff watches her. JEFF From his landlord -- once a month. LISA It's utterly beautiful. (Turns to Jeff) I wish I could be creative. JEFF You are. You have a talent for creating difficult situations. LISA (Happily) I do? JEFF Staying the night here, uninvited. She sits down on the edge of the divan near Jeff. She leans toward him. LISA Surprise -- is the most important element of attack. (She smiles) And beside, you're not up on your private eye literature. When they're in trouble, it's always their Girl Friday who gets them out of it. JEFF The same girl who keeps him out of the clutches of seductive show girls, and over-passionate daughters of the rich. LISA The same. JEFF But he never ends up marrying her. Strange. LISA (Stands up; deadpan) Weird. (She does a complete spin, then, ingenuously) Why don't I slip into something comfortable? JEFF You mean -- like the kitchen? And make us some coffee? LISA Exactly what I had in mind -- along with some brandy. She goes to the kitchen, humming with the song-writer's melody which we can HER off. Jeff turns back to the window, looks out. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The shade is going up in the newlyweds apartment. The young husband throws up the window an lights a cigarette. He takes a deep and satisfying drag on the cigarette, glancing toward the song-writer's party. Just as he starts to exhale the smoke, we HEAR his young wife's voice off: GIRL'S VOICE H-a-a-r-r-e-e-! He chokes on the smoke, sputtering and coughing. When he recovers, he throws the cigarette down to the back-yard with a show of irritation. Then slowly he pulls the shade down. Behind us is SOUND of a door shutting INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Over Jeff's shoulder we see Doyle coming down the steps slowly, and seemingly preoccupied. Jeff swings the chair around so that his back is to us. SEMI-CLOSEUP Without looking at Jeff, Doyle comes into the apartment takes off his hat and places it on the table. He runs a hand over the side of his head and down the back of his neck, which seems to indicate some fatigue. SEMI-CLOSEUP Jeff. Looking expectantly at Doyle. SEMI CLOSEUP Doyle reaches for a cigarette on the table, and puts it to his lips. While searching his pockets for a match, he HEARS Lisa humming. His eyes turn upward. MEDIUM SHOT Over the cabinet which divides the living room from the kitchen, we can see a glimpse of Lisa's shadow on the ceiling. SEMI-CLOSEUP Jeff, has followed Doyle's look. SEMI CLOSEUP Doyle picks up cigarette lighter from table, and lights his cigarette. As he is placing the lighter back on the table, he sees: CLOSEUP From his viewpoint, Lisa's bag containing her lingerie and overnight effects. CLOSEUP Jeff. His eyes turn from the lingerie up to Doyle. CLOSEUP Doyle's look is completely noncommittal. His eyes turn at the sound of the song-writer's party. He moves forward to get a better view, as the CAMERA RETREATS in front of him. He stops to glance out of the window. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The party is now full progress. The room is overcrowded. And some people are now sitting on the floor with their backs to the window. Others are outside. A crowd hides the piano player, but music can be head competing with the babble. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Doyle turns his head away, and looks straight out. His expression hardens a little, as he sees: EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The window of Thorwald's apartment, completely dark. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP He also is looking toward Thorwald's apartment. He turns his eyes anxiously back to Doyle. He seems to be trying to penetrate Doyle's mind. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Doyle turns his head from the window, and looks down at Jeff. He asks, quietly: DOYLE What else do you have on this man Thorwald? Jeff's tension eases off a little, by he is eager to talk. JEFF Enough to scare me that you wouldn't get here in time, and we'd lose him. DOYLE (Soberly) You think he's getting out of here? JEFF Everything he owns is laid out on the bedroom, ready for packing. Doyle looks back toward Thorwald's bedroom. We see the dark apartment beyond him. Doyle nods thoughtfully. He turns his head suddenly at the sound of Lisa coming out of the kitchen. She holds two large brandy snifters containing some brandy. They are cupped in her hand, the stem between her fingers. She is rotating them gently toward the body to warm the brandy. She is quite beautiful. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Doyle reacts to her appreciatively. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT She continues rotating the brandy. LISA I'm just warming some brandy. She comes forward hands one snifter to Jeff. She offers the second to Doyle. (NOTE: In the following set of scenes, whenever anyone holds a brandy snifter, it is being rotated- regardless of their attitudes.) LISA Mr. Doyle? -- I presume. Doyle sort of smiles, and takes the snifter awkwardly. JEFF Tom, this is Miss Lisa Fremont. Doyle bows his head slightly, but his eyes remain on her in a fixed stare. DOYLE How do you do? Lisa smiles in return. LISA We think Thorwald's guilty. She turns around, and goes right back into the kitchen. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle stares after her, ignoring her remark, still not recovered from the fist sight of her attractiveness. Then quickly, his eyes move down and to the left. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP The open overnight case with its displayed lingerie. INT. JEFF'S APARTMENT - NIGHT SEMI-CLOSEUP Slowly Doyle's eyes travel back to Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Quickly guessing what's on Doyle's mind JEFF (Cautiously) Careful, Tom. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle's eyes travel past Jeff to look out the window. He still holds the brandy snifter in one hand, and a cigarette in the other. Absentmindedly he still rotates the brandy. The SOUND of the phone ringing is heard. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff picks up the phone. JEFF Hallo? He listens, and then looks up to Doyle. JEFF Just a minute, please. Doyle crosses and stands behind Jeff, as Jeff hands him the Phone. He juggles the cigarette, the brandy snifter and the phone all at once. This is all done deadpan. DOYLE Doyle speaking. (He listens) Uh-huh. -- Yeah. Mummmm -- Mmm. Hmm -- Okay. Thank you, and goodbye. He hands the receiver back to Jeff, who hangs up. Lisa comes back in with her own brandy snifter, rotating it. LISA The coffee will be ready soon. (Urgent) Jeff, aren't you going to tell him about the jewelry? Doyle looks suddenly interested. He asks tersely: DOYLE Jewelry? JEFF He has his wife's jewelry hidden in among his clothes over there. DOYLE You sure it belongs to his wife? He turns his head to Lisa, who answers. LISA It was in her favorite handbag -- And, Mr. Doyle, that can lead to only one conclusion. DOYLE Namely? His head snaps back to Jeff, who answers: JEFF That wasn't Mrs. Thorwald who left with him yesterday morning? DOYLE You figured that out, huh? His head moves back to Lisa as she answers with a touch of pride in her voice. LISA It's just that women don't leave jewelry behind when they go on a trip. Before Doyle can comment, Jeff asks impatiently: JEFF Come on, Tom -- you don't really need any of this information, do you? Doyle smiles at Jeff, and then strolls over to the table where he puts out his cigarette and puts down the brandy snifter. DOYLE As a matter of fact, I don't. Doyle goes to the window and looks out, as they watch him, expectantly. He speaks without looking at them. His voice is flat and to the point. DOYLE Lars Thorwald is no more a murderer than I am. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff and Lisa stare at him in astonishment. Then Jeff recovers, and answers with some anger: JEFF You mean you can explain everything that went on over there -- and is still going on? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP He spins around, and his face has lost all its friendliness. DOYLE No! He starts to place the room. DOYLE And neither can you. (Points out window) That's a secret and private world you're looking into out there. People do a lot at things in private that they couldn't explain in public. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa and Jeff. She replies with some sarcasm. LISA Like disposing of their wives? DOYLE (Off) Get that idea out of your mind. It will only lead you in the wrong direction. JEFF But Tom -- the saw, the knives -- INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle breaks in, takes a step forward. DOYLE Did you ever own a saw? JEFF (Off) Well, in the garage, back home, we -- DOYLE (Interrupts) And how many people did you cut up with the couple of with it? Or hundred knives you've probably owned in your lifetime? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff, reasoning: JEFF But I'm not a killer! DOYLE (Off) Your logic is backward. Lisa cuts in spiritedly. LISA You can't ignore the wife disappearing! And the trunk -- and the jewelry -- ! INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle starts to pace up and down, throwing out a hand in careful explanation. DOYLE I checked the railroad station. He bought a ticket. He put her on the train ten minutes later. Destination: Merritsville. Witnesses. This deep. (He holds his hand a few feet off the floor) INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff and Lisa. LISA It might have been a woman -- but it couldn't have been Mrs. Thorwald. That jewelry -- INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle comes up to the CAMERA, looking at Lisa. DOYLE Look, Miss Fremont. That feminine intuition sells magazines -- but in real life, it's still a fairy tale. I don't know how many wasted years I've spent running down leads based on women's intuitions. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff is resentful of Doyle's comments to Lisa. JEFF I take it you didn't find the trunk -- And this is just an old speech you once gave at the Policeman's Ball. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle has turned away into the center of the room. He swings around. DOYLE I found the trunk -- a half hour after I left here. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa speaks again with continuing sarcasm: LISA Of course, it's normal for a man to tie his trunk up with a heavy rope. DOYLE (Off) When the lock is broken -- yes. JEFF What was in the trunk? A surly note to me? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle comes toward the CAMERA again. DOYLE (Carefully) Mrs. -- Thorwald's -- clothes. -- Clean -- carefully packed -- not too stylish -- but presentable. LISA (Off) Didn't you take it to the crime lab? Doyle gives her a scathing look. DOYLE I sent it on its merry and legal way. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff challenges Doyle: JEFF Why -- when a woman only goes on a simple trip, does she take everything she owns? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Doyle, with a studied, gracious gesture, to Lisa. DOYLE Let the female psychology department handle that one. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa answers, but very coldly: LISA I would say that is looked as if she wasn't coming back. DOYLE (Off) That's what they call a family problem. JEFF (Persisting) If his wife wasn't coming back -- why didn't he tell his landlord? -- I'll answer it for you -- because he had something to hide. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Doyle hesitates a moment, and lets his eyes wander, to: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The overnight case, with Lisa's lingerie. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP His eyes going back to Jeff. DOYLE (Blandly) Do -- uh -- you tell your landlord everything? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff replies, pointedly: JEFF I told you to be careful. Lisa looks down at Jeff, not comprehending. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle points to one of the photographs on the wall. DOYLE If I'd been careful piloting that reconnaissance plane, you wouldn't have taken the kind of pictures that got you a medal, a big job, fame, money -- JEFF (Expressionless) All the things I hate. Doyle has a complete change of manner. He relaxes and smiles. DOYLE Now -- what do you say we sit down to a quiet, friendly drink or two -- forget all about this, and tell lies about the old days in the war? Hmmm? He looks from one to the other. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Neither Jeff or Lisa display even the slightest friendliness. Their faces are cold and set. Then Lisa speaks, icily: LISA You're through with the case? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle is relaxed. DOYLE There isn't any "case" to be through with, Miss Fremont. Now let's get down to that friendly drink. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff and Lisa remain unmoved. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP A little self-conscious, Doyle checks his watch, and says with a pleasant laugh: DOYLE Maybe you're right. I guess I'd better get home and get some sleep. He waits. No response comes across. His face sobers a little, he reaches for his unfinished drink of brandy. He tries to toss it off like a straight shot of liquor. Part of it shoots out of the brandy snifter, down each side of his face, and into his suit. He sputters a little, and puts the glass down. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff and Lisa deadpan. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle is wiping his coat lapels with a handkerchief. He looks at them pleasantly. DOYLE I'm not much of a snifter. He starts away toward the door. DOYLE If you need any more help, Jeff -- consult the yellow pages of your telephone directory. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still burning: LISA I hate funny exit lines. JEFF Who was the trunk addressed to? INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Doyle picks up his hat. DOYLE Mrs. Anna Thorwald. He starts up the steps to the door. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff points out a challenging finger. JEFF Let's wait and see who picks it up. INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Doyle poises on the step. He snaps his fingers. DOYLE Oh -- that phone call! (To Jeff) I gave them your number -- hope you don't mind. JEFF (Off) That depends on who "they" were. DOYLE (Pleasantly) The police Department at Merritsville. They called to report. The trunk was just picked up -- by Mrs. Anna Thorwald. He puts on his hat, smiles, and says. DOYLE Don't stay up too late. He quietly closes the door behind him. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa and Jeff. Jeff turns his chair around, and looks out to the neighborhood. Lisa stands glumly behind him. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The song-writer's party is now in full swing, and fairly crowded. It is a happy, gay affair. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP None of the gaiety is reflected in Lisa and Jeff. Some new music is heard coming across the courtyard and Jeff turns toward it with some irritation. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Miss Torso's apartment has the door closed, and all that we can see of her, as she is lying on the divan, is her legs swinging in arcs as she exercise to record music. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa is not looking in the same direction as Jeff. All during this, she has been staring out at Thorwald's apartment. Now her eyes are looking at the apartment underneath. She murmurs to Jeff: LISA Look. Jeff turns his eyes in the same direction as hers. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A light has gone on in Miss Lonely Hearts' apartment. They look. Surprise of surprises, she has returned with a lover hooked. He is much younger then she, and a little more keyed up to the promise of an adventure still fresh to him. Her actions are coy, and over-feminine. She slips away from his hasty embraces and exploratory kisses with the proper flush of confusion and nervous giggle that seems to say, "It's quite a surprise you find me so desirable, but me mustn't do anything improper, you know. After all, we're practically strangers -- and what would you think of me?" She pours a drink for each of them with gestures over-genteel. As she sips her drink and look at him over the rim of the glass, he tosses his off with nervous dispatch. He moves toward her, this time more cautiously. An embrace, a long kiss. She puts her drink down on the edge of the chair. It spills over onto the rug. He begins kissing her cheek, her ear, her neck. Suddenly and fiercely she pushes him away. Slaps him across the face. He moves back with shock as she loudly and emphatically orders him out, out, out. He flushes with anger and embarrassment, and his mouth twists into unpleasant shapes as he slaps degrading words back at her, telling her what she is. She screams at him to get out. He leaves, slamming the door behind him. She goes back dumbly to the spilled liquor, makes a futile effort to clean it up, and the collapses onto the rug sobbing hard enough to shake her whole body. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa turns away from Jeff's chair to get a cigarette from the table. She lights it, as Jeff turns his chair back to the room. JEFF As much as I hate to give Thomas J. Doyle too much credit, he might have gotten a hold of something when he said this was pretty private stuff going on out there. He indicates the outside neighborhood with a movement of his head. She doesn't answer, but studies the photographs on the wall of his room. JEFF Do you suppose it's ethical to watch a man with binoculars, and a long- focus lens -- until you can see the freckles on the back of his neck, and almost read his mail -- do you suppose it's ethical even if you prove he didn't commit a crime? LISA I'm not much on rear window ethics. JEFF Of course, they have the same chance. They can look at me like a bug under glass, if they want to. LISA (Turns to him) Jeff -- if anybody walked in here, I don't think they'd believe what they see. JEFF Huh? LISA You and me with long faces -- plunged into despair -- because we find out that a man didn't kill his wife. We're two of the most frightening ghouls I've ever known. Jeff starts to smile at the realization. LISA You'd think we could be a little bit happy that the poor woman is alive and well. Jeff smile is broad, and he starts to chuckle. She relaxes and joins him. She sits on his lap, her arms around his shoulders. LISA Whatever happened to that old saying "Love Thy Neighbor." JEFF I think I'll start reviving it tomorrow, with say -- Miss Torso for a start? She gets up, goes to the blinds, and proceeds to lower them one by on. LISA (As she get up) Not if I have to move into an apartment across the courtyard and do the dance of the seven veils once an hour. (As she lowers the blinds) Show's over for tonight. He smiles. She goes to the table, picks up he overnight case. LISA Preview -- of the coming attractions. She goes to the kitchen entrance, pauses. LISA Did Mr. Doyle think I stole this case. JEFF (Mock seriousness) No, Lisa -- I don't think he did. She shrugs, goes into the kitchen, the CAMERA PANNING her. LAP DISSOLVE TO: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff is sitting on the wheelchair near the bar, a drink in his hand. He starts to take a sip from the glass, when Lisa comes out of the kitchen. She is an ethereal beauty, in sheer peach nightgown, covered by a gossamer matching kimono. She turns gracefully in front of Jeff. He lowers his drink. LISA (Softly) What do you think? Jeff puts his drink on the bar. He tries to decide how to answer her question. He can't. LISA I'll rephrase the question. JEFF Thank you. Lisa holds out the folds of her kimono. LISA Do you like it? JEFF (Studying it) Well, -- if there was one less thread this way -- (motions horizontally) -- and two less that way -- (Motions vertically) -- I might give up bachelorhood. Lisa turns playfully toward the kitchen. LISA I'll be right back. Blood-curdling scream from the courtyard outside suddenly cuts through the night. Startled, both Jeff and Lisa move quickly for the window -- Lisa lifting the blinds up. The long scream subsides into near-hysterical sobbing. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT We get a high comprehensive view of all the apartments. Light are going on in some windows, shades are lifted on others, people are beginning to lean out looking for the source of the cream and sobbing. The song-writer's party comes to a sudden halt, as his guest crowd to the window. SEMI-LONG SHOT Lisa and Jeff at the window, looking out, startled. SEMI-LONG SHOT The landlord, beneath the newlyweds, looks out. Tilting his head up toward the center of the yard. SEMI-LONG SHOT A couple comes out on the high balcony to the right. Look down. MEDIUM SHOT The newlywed's blinds come up, and for the first time we see both of them at the window, the girl looking over the boy's shoulder. SEMI-LONG SHOT Some members of the song-writer's party move out to the patio- balcony, to get a better look down in the yard. SEMI-LONG SHOT The bird woman comes to the window. Her white face looks forward toward the center of the courtyard. SEMI-LONG SHOT Miss Torso, pulling a around her, comes out onto her porch, and looks to her left. SEMI-LONG SHOT Miss Hearing aid comes quickly into her backyard. SEMI-LONG SHOT The couple who own the dog are standing on their fire escape. They are both looking down, but while the husband is quiet, the wife is holding her hands to the side of her head, sobbing loudly. We have heard her sobbing since the moment of the scream which she uttered. SEMI-LONG SHOT Lying near the sidewalk in the backyard below the couple's fire escape, is the silent body of the little dog they own. Miss Lonely Hearts comes running out of the basement door. She goes directly to the dog, picks it up in her arms. Then she slowly turns and looks up at the sobbing woman above her. LONELY HEARTS (Her voice clear) It's dead! It's been strangled and the neck is broken! SEMI-LONG SHOT Instead of increasing her sobbing, this news quiets, momentarily, the woman who owned the dog. Her hands go down to the railing of the fire escape, gripping it fiercely. She lifts her face to the neighborhood, her lips set and her eyes burning. Her chest moves convulsively from the crying. SIFFLEUSE Which one of you did it? (Loud) Which one of you killed my dog? (No one answers; her voice is acid) You don't know the meaning of the word "neighbor". Neighbors like each other -- speak to each other -- care if anybody lives or dies. But none of you do! You don't talk, you don't help, you -- you don't --- (Fighting tears) Even see. But I couldn't imagine any Even of you being so low that you'd kill a little helpless, friendly dog! The only thing in this whole neighborhood who liked anybody! SEMI-LONG SHOT The guests at the song-writer's party begin to move silently back to the studio apartment. SEMI-LONG SHOT The people move off their balcony into the apartment. SEMI-LONG SHOT The woman almost screams at the people now, as she looks up at the apartment. SIFFLEUSE Did you kill him because he liked you? Just because he liked you? She breaks out sobbing anew, and returns to her apartment and out of sight, the crying growing fainter with her retreat. The husband leans over the fire-escape, and motions Miss Lonely Hearts to place the dog in the basket, which is already lowered. SEMI-LONG SHOT Miss Lonely Hearts puts the dog in the basket, and watches as the husband draws it slowly up. SEMI-LONG SHOT The bathing beauties go inside their apartment. MEDIUM SHOT The newlyweds draw their shades again. MEDIUM SHOT The landlord moves away from the window. SEMI-LONG SHOT The dog moves closer to the fire escape, slowly, the husband pulling the rope in hand over hand. SEMI-LONG SHOT Miss Torso goes back to her apartment. SEMI-LONG SHOT Miss Hearing Aid turns down the volume of her hearing aid and goes back to her apartment. SEMI-LONG SHOT The dog reaches the fire escape, and the husband tenderly takes it out of the basket. He turns to carry it's into the apartment. INT. JEFF'S APARTMENT - NIGHT MEDIUM SHOT Jeff and Lisa are at the window. He is holding on of hands. Jeff speaks without looking up. JEFF For a minute, Doyle almost had me convinced I was wrong. LISA But you're not? JEFF In the whole courtyard, only one person didn't come to the window. (He points) EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald's apartment. It is dark. The only light that can be seen in it is the glowing end of a cigar in the center of the room, back from the window -- as if Thorwald was sitting quietly on his sofa, smoking. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa looks down at Jeff. LISA Why would Thorwald want to kill a dog? (Almost a laugh) Because it knew too much? He nods solemnly and then turns back to the window, as both he and Lisa look again towards EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald's apartment. Still dark, and only the unmoving glow of a cigar showing in the center of the apartment. INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT Jeff, Stella and Lisa are grouped at the window, looking out. THE CAMERA is behind them. Jeff holds the long-focus lens to his eye. EXT. JEFF'S APARTMENT - DUSK - CAMERA SHOT We wee the upper part of the bedroom window, belonging to Thorwald. The lower part of the window is covered by a wall. In the bathroom, Thorwald is wiping the enameled wall with a damp cloth. He rubs at particular spots now and then. Over this we hear: JEFF Do you think this was worth waiting all day to see? LISA Is he cleaning house? JEFF He's washing down the bathroom walls. STELLA Must have splattered a lot. INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT We now see their faces. Jeff lowers the camera with a long- focus lens. Neither he nor Lisa make any comment. Finally Stella blurts out: STELLA Well, why not? That's what we're all thinking. He killed her in there, and he has to wipe up the stains before he leaves. Lisa turns away from the window. LISA Stella, your choice of words -- Stella also turns, interrupting her STELLA Nobody's invented polite words yet for killing. INT. JEFF'S APARTMENT - DUSK - CLOSEUP Jeff, who is still staring out the window, has a look of sudden discovery on his face. He calls quickly: JEFF Lisa -- Lisa -- on the shelf over there -- get me the small yellow box -- He turns halfway around, and points. We see Lisa moving behind him toward the shelf. He adds: JEFF And that little viewer. He turns back to the window, holding out his right hand to the side, waiting for the box and viewer. The CAMERA PULLS BACK a little as Lisa comes up, and places the box and viewer in his hand. He opens the box, which contains color slides, and holds one or two of the slides up to the light. Lisa looks down at him curiously and Stella comes forward from the background. JEFF (Half to himself as he searches slides) These aren't more than two weeks old -- I hope I didn't take all leg art. (Discovers the right slide) I think this is the one. Puts the other slides to one side and puts the selected one onto the viewer, with sounds of satisfaction. As he lifts the viewer to his eyes Lisa asks impatiently: LISA Jeff -- what are you looking for? He squints out through the viewer, then looks away a moment without it. JEFF Something -- that if I'm right -- might solve a murder. He looks back through the viewer. STELLA Mrs. Thorwald? JEFF Uh-uh. The dog. I think I know now why Thorwald killed it. He takes the viewer from his eye, hands it to Lisa. JEFF You take a look and tell me what you see. INT. JEFF'S APARTMENT - DUSK - CLOSEUP Lisa raises the viewer to her eye. EXT. NEIGHBORHOOD - DUSK - CLOSEUP Through the viewer we see the identical view out of the window. JEFF (Over) Now take it away. The viewer moves away, and we are left with the identical scene, but not quite so still, a slight breeze stirring the foliage. INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT Jeff looks up to a puzzled Lisa. JEFF Well? LISA It's just a picture of the backyard, that's all. JEFF I know. But there's one important change. The flowers in Thorwald's pet flower bed. STELLA You mean the one the dog was sniffing around? JEFF (To Stella) And digging in. (Points out window) Look at that flower bed. They all lean forward to look. EXT. NEIGHBORHOOD - DUSK - MEDIUM SHOT The flower bed. The flowers have a slight dip in the center. Jeff speaks off: JEFF There's a dip at this end. And since when do flowers grow shorter in two weeks? STELLA There's something buried there. INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT All three ease back in awe. Lisa, still looking out, says: LISA (Breathing it) Mrs. Thorwald! Suddenly Stella begins to chuckle. They look around at her. Her face sobers as she answers their unasked question: STELLA You haven't spent much time in cemeteries, have you? (they don't answer) Mr. Thorwald could hardly put his wife into a plot of ground scarcely one foot square. Jeff and Lisa slowly turn their heads to look out at the garden. EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT The garden again with its small indentation of flowers over this we hear the ghoulish voice of Stella: STELLA Unless, he puts in standing on end -- which would be very original and not require the use of either a knife or a saw. My guess is she's scattered all over town. A leg in the East River -- an arm -- LISA (Cuts in) Stella, please. INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT Jeff looks at Stella. JEFF Something's in there. Those flowers have been taken up, and put back again. LISA (Has a hard time saying it) It could be -- the knife, and the saw. STELLA (Quickly) Call Lieutenant Doyle! LISA No -- let's wait. Let's wait until it gets dark. I'll go over and dig it up! Halfway through Lisa's speech, Jeff begins speaking. JEFF (To Stella) I'm not going to call Doyle until I show him the body of Mrs. Thorwald -- (To Lisa) And you're not going to dig up anything, an get your neck broken too. THE CAMERA EASES BACK to allow Lisa to sit on the divan, and Jeff turn his chair toward her. Stella still look out the window, thinking. JEFF What we've got to do is find some way to get in there, and -- Stella's quiet voice brings him to a halt. STELLA He's starting to pack. Jeff whips back to the window; Lisa turns to look. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald, in the bedroom, methodically folding a suit into a suitcase. Another suitcase, unopened, is visible. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is staring out, gripping his chair tightly. There is a touch of desperation on his face. He looks down at the flowers, briefly, then swings around abruptly. He wheels away from the camera to the wall cabinet. We see him take a piece of notepaper, a pencil and an envelope. He puts a name on the envelope, and then proceeds to write something on the sheet of paper. Stella and Lisa edge up behind him, and look down at what he is writing. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP THE CAMERA RUSHES DOWN over Jeff's shoulder, just in time to catch the last word as he finishes writing the message. The envelope is addressed to "LARS THORWALD." The massage reads, simply, "WHAT HAVE YOU DONE WITH HER?" FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff at the window, looking through the long-focus lens. We get a glimpse of Stella behind him. He is watching: EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT The alleyway and street. Just regular traffic. Suddenly Lisa comes into the picture from the left. She is carrying a white envelope. She stops, waves her hands at Jeff, smiles, and then hurries on. The lens slowly pans to the right and stops on Miss Torso's apartment. She is standing on a small stepladder, nailing curtains above her window. Her legs are bare, though she wears high-heel shoes. We do not see more than half-way up her thighs. The lens takes this in for the briefest split-second of hesitancy then moves on to await the arrival of Lisa along Thorwald's corridor. She does not appear yet. The lens moves back to get another glimpse of Miss Torso, who is now descending the ladder. She is wearing a leotard. Over this, we hear Stella's voice: STELLA What are you going back for? The lens quickly swings back to Thorwald's corridor. Lisa is seen turning the corner, and approaching Thorwald's door on tiptoe. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff lowers the long-focus lens to get a more comprehensive view of Thorwald's apartment and corridor outside. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Lisa approaches the door of Thorwald's apartment. The salesman comes into the living room. He finds a package of cigarettes, extracts one, and lights it. Lisa kneels down, and carefully slides the letter under the door. At this moment, Thorwald extinguishes the match, tosses it into an ashtray, and turns toward the door. He freezes as he sees the letter on the floor. This momentary hesitation allows Lisa to straighten up, turn, and walk carefully but swiftly, away. Thorwald moves rapidly toward the door. He bends down, scoops up the letter, and examines it briefly. Lisa is just turning out of sight at the end of the corridor, as Thorwald throws open the door. He looks and sees no one. He takes a few questioning steps down the corridor, then stops to examine the letter again. Slowly he turns and makes his way back to the apartment, tearing open the envelope. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff lifts the long-focus lens to his eyes again. His expression is tense. EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Thorwald stops in front of his door to read the note. There is some curiosity on his face. As he reads, all movement and emotion drain from his body. He stands there, frozen. Jeff's voice is heard over: JEFF You did it, Thorwald! You did it! Suddenly Thorwald turns and dashes down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff whips the long-focus lens from his eye. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT As Thorwald dashes down the corridor, we hear Jeff's voice. He cries out instinctively, but almost to himself: JEFF Lisa! Look out! He's coming! INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Both Stella and Jeff frantic. STELLA (Accusingly) You shouldn't have let her do that! If he ever -- JEFF (Interrupting) Look! EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Lisa suddenly appears at the ground floor door below Thorwald's. She hides, pressing back against the wall tensely. In the corridor above, Thorwald returns, frustrated. He comes out onto the fire escape directly above Lisa. She is aware of him, and immediately retreats into the doorway. She disappears down the lower corridor, as Thorwald searches his fire escape. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP There is a sigh of relief from both of them. STELLA Thank heaven that's over! JEFF I have a feeling we've just begun. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald is now passing through the living room into the bedroom. He picks up a shirt and puts it on. He then returns to packing his suitcases, moving unhurriedly. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff rubs his chin thoughtfully. Stella is scanning the neighborhood. We hear a radio, or a television show, off; and there is distant, rhythmic music coming from the cafe on Thorwald's street. JEFF No doubt of it. He's leaving. The question is -- when? Stella's brow knits a little as she sees something. She reaches for the long focus lens. STELLA Mind if I use the portable keyhole? Jeff hands it to her. JEFF Not as long as you tell me what you're looking at. She lifts it to her eye. EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Miss Lonely Hearts' apartment. She has opened a small brown bottle, and taken out four red capsules which she places on the white table cloth of her little table. There is a candle burning in a holder, and other lamps also light the apartment. She is dressed in sedate street clothes. She sits at the table, and by the light of the candle proceeds to open a black-covered book, and read it. The print is fine. She bends over it a moment, looks up at the capsules, and returns to the book. She seems quite at peace. Stella and Jeff are heard over: STELLA I wonder. JEFF What? STELLA Miss Lonely Hearts just laid out something that looks like sodium trieckonal capsules. JEFF You can tell that from here? STELLA I handled enough of those red pills to put everybody in New Jersey asleep for the winter. JEFF Would four of them -- ? STELLA (Breaks in) No -- but it makes the rest easy to take. And she's reading the Bible. JEFF (After a slight pause) Then I wouldn't worry too much. But let's keep an eye on her. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Stella lowers the long-focus lens. STELLA You know? You might not be too bad a bargain for Lisa after all. JEFF You don't say! I might just take that compliment as an insult. The door bursts open, and they both turn quickly toward the entrance. INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa comes in, panting and flushed. She stands a second at the door, catching her breath, but smiling with the pleasure of sampling danger and escaping unharmed. LISA Wasn't that close? JEFF (Off) Too close. She comes down the stairs. LISA What was his reaction? I mean when he looked at the note? INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT As Lisa comes up to the two of them. STELLA Well, it wasn't the kind of expression that would get him a quick loan at the bank. Lisa comes close to Jeff, speaks warmly. LISA Jeff -- how did I do? He takes her hands. JEFF Real professional. Would have made a great layout for the Bazaar. The model pressed back against a brick wall, eyes wild, tense. Low cut bodice, in new suspicious black, with a -- Some of the pleasure goes out of her face. Stella notices it. STELLA (Interrupts Jeff) You'd make a good door prize at a wake. It relieves the slight friction, as both Jeff and Lisa laugh. Lisa happens to look toward the window, and the laugh dies. LISA Jeff -- the handbag. Jeff and Stella turn toward the window. Jeff grabs the long- focus lens, lifts it up. EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Thorwald has the new alligator bag belonging to his wife, in his hand. He moves slowly across the bedroom, out of sight behind the door. He doesn't appear in the living room. In a moment he reappears, moving back to his packing. He puts the handbag into one of the suitcases -- the one which he has almost completed filling. He goes on with his packing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff puts down the long-focus lens, and turns around toward the room. The two women watch him expectantly. JEFF Suppose Mrs. Thorwald's wedding ring was among the jewelry he has in the handbag. (Supporting his proposition) During that phone conversation he held up three rings -- one with a diamond -- one with a big stone of some kind -- and one plain gold band. LISA (Excited) And the last thing she'd leave behind would be her wedding ring! (To Stella) Do you ever leave yours at home? Stella lifts her left hand, and looks fondly at her ring finger. STELLA The only way anybody could get that off would be to chop my finger -- Let's go down and find out what's buried in the garden. LISA Why not? I always wanted to meet Mrs. Thorwald. Jeff looks at them aghast. JEFF What are you two talking about? STELLA Got a shovel? JEFF No. STELLA There's probably one in the basement. JEFF Now wait a minute -- LISA Jeff, if you're squeamish, just don't look. JEFF Now hold on. I'm not a bit squeamish about what might be under those flowers -- but I don't care to watch two women end up like that dog -- Stella grows a little uneasy. Her eyes drift toward Thorwald's apartment. STELLA (To Lisa) You know, Miss Fremont -- he might just have something there. JEFF There's no point in taking unnecessary chances. (He points) Give me the phone book, Lisa. Lisa moves for the phone book on the stand near the kitchen. LISA What for? JEFF Maybe I can get Thorwald out of the apartment. Lisa hands him the book. STELLA We only need a few minutes. Jeff looks for Thorwald's number in the directory. JEFF I'll try to give you at least fifteen minutes. LISA How? JEFF (Finds the number) Chelsea 2-7099. (He looks up, reaches for the phone) We scared him once. Maybe we can scare him again. (Picks up receiver; pauses) I'm using that word "we" a little too freely, I guess. I don't take any of the chances. LISA Shall we vote him in, Stella? STELLA Unanimously. The two women smile. Jeff picks up the phone and dials Chelsea 2-7099. The women watch him tensely. He holds the receiver away from his ear a little, and the buzzer is heard sounding on filter. Lisa looks toward Thorwald's apartment; then Stella; then Jeff. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald's apartment. He comes out of the bedroom toward the phone. He wears a light summer coat and tie, despite the heat. In the bedroom, everything is packed with the exception of one open suitcase. We see another suitcase, his sample case, and a couple of topcoats across the bed. He approaches the phone hesitantly, undecided whether or not to answer it. JEFF (Off, half-aloud) Go ahead, Thorwald -- pick it up. You're curious. You wonder if it's your girl friend calling. The one you killed for. Pick it up, Thorwald! Quickly Thorwald does pick it up. THORWALD (Cautiously, on filter) Hello. JEFF (Off) Did you get my note? There is a pause as Thorwald gropes for an answer. We can almost hear his breathing. JEFF Well -- did you get it, Thorwald? THORWALD Who are you? JEFF I'll give you a chance to find out. Meet me in the bar at the Brevoort -- and do it right away. THORWALD Why should I? JEFF For a little business meeting -- to settle the estate of your late wife. THORWALD (After a pause) I don't know what you mean. JEFF (Firmly) Now stop wasting time, Thorwald, or I'll hang up and call the police. THORWALD (Breathing heavily) I only have a hundred dollars or so. JEFF That's a start. I'm at the Brevoort now. I'll be looking for you. He hangs up before Thorwald can reply. Thorwald looks at the receiver a moment, then he slowly hangs up. He stands at the phone thinking. He doesn't suspect he is being watched through the window. Then he makes up his mind and starts for the door. After he goes out he tests the door to make certain it is locked. LISA (Over) Let's go, Stella. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff turns his wheelchair halfway around as Lisa and Stella start quickly for the door, THE CAMERA PANNING THEM across the room. They pause at the sound of Jeff's voice. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff calls after them: JEFF One of you watch this window. If I see him coming back, I'll signal with a flashbulb. The door slams off and we hear the footsteps of the women dying down the corridor as Jeff picks up the long-focus lens and takes a sight on the alleyway. EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Thorwald goes past the alley opening. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff puts down the lens and wheels quickly to the wall cabinet. He finds a box of flash bulbs and a reflector. He puts them in his lap and returns to the window, putting the chair sideways. He leans out a little and looks down. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Lisa is in the courtyard directly below Jeff's window. She has reached the stairway leading up and to the right. She looks, waves at Jeff as Stella comes up to her carrying a shovel. The two women hurry up the stairs toward the iron ladder they will use to climb the wall between Jeff's yard and that of Thorwald's. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT Jeff picks up the phone and quickly dials. The buzzer sounds on filter, then the phone is lifted. A woman's voice is heard and Jeff seems a little puzzled at the sound of it. BABY SITTER This is Doyle's house. JEFF This is L. B. Jefferies, a friend of Tom's. Who am I talking with? He squints out the window. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Lisa has climbed over the wall and is helping Stella down into Thorwald's yard. The shovel is lying on the ground beside Lisa. Jeff's conversation continues over the action of the two women. BABY SITTER This is the baby sitter. JEFF Oh. When are they expected home? BABY SITTER I'm hired 'til one. They went to dinner and maybe night-clubbing. JEFF Well, if he calls in, tell him to get in touch with L. B. Jefferies right away. I might have quite a surprise for him. BABY SITTER Does he have your number, Mr. Jefferies? JEFF He has it. Thank you. BABY SITTER Goodnight. Jeff hangs up. Stella is now beginning to dig, carefully lifting the flowers off the center of the bed where they had dipped down. She places the flower plants on the sidewalk. Lisa stands facing Jeff's window and occasionally glances over her shoulder uneasily at Stella's work. At this moment, the sounds of musical instruments begin to be heard from the songwriter's apartment. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT A little annoyed at the interruption, Jeff turns to look at the studio apartment. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT In the songwriter's apartment, several of his musician friends have gathered. One plays a guitar, another a clarinet, and so on. One by one they try out the theme of the songwriter's new melody, running through it in turn to become familiar with the notes. We, therefore, hear the melody played informally in different ways with different instruments. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff shifts his eyes from the songwriter's apartment back to the courtyard. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Stella is busy, expertly handling the shovel. Lisa has her back to the nurse, but looks apprehensively over her shoulder. She then looks up toward Jeff's apartment. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff gives her an encouraging little gesture with his hand. Then his eyes lift a little as he looks up. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Miss Lonely Hearts is sitting on the sofa, writing a note with a pad on her knee. Next to her, on the table, the pills are still in evidence. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff picks up the long-focus lens and trains it on the alleyway. EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT The alleyway and street intersection, with normal night traffic, but no sign of Thorwald. THE CAMERA LENS PANS across and down to the hole being dug by Stella. We get an impression of Lisa's legs as we go by. The spade comes out of the hole and rests on the side. THE CAMERA LENS PANS up just in time to catch Stella turning up to Jeff. She throws out a helpless hand and shakes her head. "Nothing." INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff lowers the lens and looks down at the two women with evident disappointment. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Lisa glances up to Thorwald's apartment. She turns and gestures some instructions to Stella. Then she looks up at Jeff and gestures her intention to enter Thorwald's apartment. She turns and dashes toward Thorwald's fire escape as Stella makes a fruitless grab to restrain her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, shocked and alarmed, calls out: JEFF Lisa -- no! He looks quickly toward the intersection and then right back to Lisa. Apparently no sight of Thorwald. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT While Lisa starts up the fire escape, we see Stella running toward the wall in the foreground to climb over it. Stella has abandoned the shovel and left the flowers and dirt strewn over the walk. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, tense and wide-eyed, watches Lisa climb the fire escape. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Lisa climbs the fire escape to the second floor and the outside of Thorwald's apartment. She tries, unsuccessfully, to get through the window which opens into the kitchen from the fire escape. And then, with some difficulty, stretches and succeeds in getting in through the living room window, which is open. She goes directly to the bedroom and we see her bending over one of the suitcases. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT Jeff quickly picks up the long-focus lens and trains it on the salesman's apartment. EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Lisa turns from the suitcase with the alligator handbag in her hand. There is an expression of triumph on her face. She opens it and her expression changes to dismay. She looks toward Jeff's apartment and, to communicate her dismay, she turns the handbag upside down. Nothing falls out. Empty. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP He lowers the long-focus lens and he is sweating with anxiety. He mutters, almost to himself: JEFF Come on. Come on! Get out of there! His eyes turn quickly to the alleyway and back again to Lisa. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Lisa has dropped the bag on the bed and is now looking around the bedroom, looking for some place to start searching for the jewelry. She moves quickly to the dresser and begins opening the drawers to check them. She finds nothing. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP As Jeff watches tensely, the door bursts open behind him and Stella hurries into the apartment. STELLA Ring Thorwald's phone the second you see him on the way back! Jeff swings toward Stella. He reaches for the phone. JEFF I'm going to ring him now! As he picks up the receiver, Stella pushes his hand down again. STELLA Give her another minute -- She's doing this for you. Stella looks out the window and her face registers shock. Jeff turns quickly to the window again, forgetting the phone for the moment. STELLA Miss Lonely Hearts! EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Miss Lonely Hearts is in the act of popping an envelope up against the table lamp on the table next to the sofa. From the same table, she takes a pill bottle and empties the contents into her left hand. Replacing the bottle, she picks up a glass of water. STELLA (Off) Call the police! We hear the sound of the receiver picked up, and Jeff starting to dial New York Police. At this moment, from the song- writer's apartment which has been quiet for a while, comes a new burst of melody. It is the melody which the song-writer has been composing during the past few days. Now it is rich, and full, and completed, as the musical group plays it. Miss Lonely Hearts lifts her head to listen, and slowly lowers the pills and glass of water into her lap, her whole purpose arrested by the beauty of what she hears. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff and Stella turn for a quick glimpse of the song-writer's apartment. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A quick flash of the song-writer's apartment, and his musical group gathered around the piano. STELLA Maybe that music will delay her taking the pills. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff and Stella look back to Thorwald's apartment. Jeff has the receiver to his ear, and the buzzer can be heard on filter. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT At the bottom of the picture, Miss Lonely Hearts is still listening to the music, while in the apartment above Lisa appears into the living room from behind the doorway that leads to the bedroom. She looks across to the source of the music. She is as arrested by the melody as Miss Lonely Hearts. Then looking across to Jeff, she holds up her hands triumphantly to show him the jewelry she has discovered. At this point, Thorwald appears coming along the corridor of his apartment house! Lisa is completely unaware of his approach. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Stella is so shocked, she can only gasp for breath. Jeff, in near panic, shouts in anguish! JEFF Lisa! Lisa! At this moment, the phone is picked up on filter, and a voice speaks: POLICE Precinct Six -- Sergeant Allgood. Jeff opens his mouth to speak, but no words come out, as his attention is focused on: EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald at the door, unlocking it with his key. We see that Lisa has heard the sound, and looks toward the door, all but frozen with alarm. The Policeman on the phone repeats with studied irritation: POLICE Precinct Six -- Sergeant Allgood. Lisa dashes back into the bedroom just in time to avoid being seen by Thorwald as he opens the door and enters the apartment. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff, urgently into phone, with a serious and rapid voice: JEFF A man is assaulting a woman at one two five west ninth street. Second floor rear. Make it fast. POLICE Your name? JEFF L. B. Jefferies. POLICE Phone number? JEFF (Impatiently) Chelsea 2-5598. POLICE Two minutes. Phone is down on filter, and Jeff replaces his receiver. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald crosses the living room, and goes into the bedroom. Suddenly he looks onto the bed. He picks up the open alligator handbag. He turns, facing the window, looking down at the bag. He looks up in the direction of the living room. Then suddenly his whole frame stiffens, his head turns a little further around to his right. He is looking directly at Lisa who is out of our sight in the corner of the bedroom. He holds out the bag, and without moving, starts to question the unseen Lisa. He takes a little step forward, and his head begins to turn slightly to the left as Lisa begins to emerge into the living room, backing away slowly. By her gestures, and nervous laughter, she appears to be offering a lame excuse for being found in his apartment. He comes towards her, and enters the living room as well. Lisa edging toward the door, points to it as she apparently argues with him as to the way she came in. He points to the window. She makes one more step toward the door, but Thorwald reaches out quickly and grabs her by the wrist. He twists it brutally, and flings her sideways into the sofa beneath the window. Her head snaps back against the head rest. With his right hand he throws the handbag across the room in anger, and with his left open-palmed he demands something from Lisa. Slowly her right hand comes up and opens. He takes the jewelry from her, looks at it for a surprised moment, puts it into his coat pocket. He reaches down with both hands, and by the wrists jerks her to her feet. He is talking viciously to her. We can hear Lisa calling out faintly: "Jeff! Jeff!" Thorwald suddenly looks out at the neighborhood. He realizes that somebody might be watching him. He drags her across the room, reaches up with one arm, and the lights go off. The faint light from the bedroom illuminates their struggle, but not clearly. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP An angry Jeff is staring, and trying to penetrate the semi- darkness of Thorwald's room. Then he bends his head forward in despair, and after a brief moment speaks: JEFF (With deep sincerity) Stella -- what can we do? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Stella staring out, tense, frightened. Then her expression changes sharply as she looks slightly to the left. STELLA There they are. Jeff looks up quickly. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Two policemen move quickly and professionally up the corridor toward Thorwald's apartment. They stop at the door, listen a moment, and then push the buzzer insistently. Inside the apartment, lights go on, and Thorwald is in the center of the room looking toward the door. Lisa staggers away from him, trying to rearrange her clothes and her hair. She is as surprised at the interruption as Thorwald. He listens, looks back questioningly toward Lisa, then goes to the door. He passes into the kitchen. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff and Stella visibly relax. Jeff doesn't say anything, but a gesture of rubbing his eyes with the back of his hand gives an indication of how deep his tension was. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT After a moment's hesitation, Thorwald goes to the door and opens it. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff quickly puts a hand out and takes up his long-focus lens. He looks through the finder. EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Thorwald's head and shoulders fill the screen. For a moment Thorwald is genuinely frightened by the sight of the police. We see him listening to the policeman out of the picture. Thorwald turns slowly and we see him lose much of his fright and regain some control of his face. He completes his turn and is looking at the girl a little puzzled. He then swings back toward the police. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP A quick flash of Jeff and Stella looking. Jeff still has the long-focus lens to his eye. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald is displaying indignation and complaint to the police as he nods his head vigorously toward Lisa. At this the police start to advance into the apartment, going directly for Lisa. She flashes a quick look toward Jeff's window. She turns back as the first policeman reaches her. He starts to question her. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Stella turns away and goes quickly to the table for the binoculars. Jeff still is using the long-focus lens. EXT. NEIGHBORHOOD - NIGHT - BINOCULAR SHOT We see Lisa start to excuse her presence in the same manner she used with Thorwald previously, as if to say she came into the apartment by mistake. Thorwald, listening, comes quickly forward to contradict her, vigorously. He holds out the jewelry in his hand, and then picks up and shows the empty handbag. The policeman, impressed, looks back to Lisa for an explanation. She has none. Over this we hear Stella frantically asking: STELLA What's she trying to do? Why doesn't she turn him in? JEFF Smart girl. STELLA Smart? She'll be arrested! JEFF That'll get her out of there, won't it? The first policeman indicates that Lisa is to come along with him. He pauses momentarily to tell the second policeman to take a statement from Thorwald about the attempted burglary. The second policeman reaches for the jewelry in Thorwald's hand, and takes it for examination. In the brief pause while the two policemen speak to each other, Lisa starts to wave her left hand behind her back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looking through his camera. EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT We get a closer view of the waving hand. She stops waving and holds her fingers spread out. With her other hand she points to the wedding ring on her left hand. STELLA Mrs. Thorwald's ring! THE LENS PANS UPWARD AND ACROSS until it brings Thorwald's profile into the picture. He is looking down directly at Lisa's hands. His head slowly turns, and he looks right up -- directly into the lens. Suddenly he becomes aware that Lisa is signaling to someone who is watching him. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff and Stella. He drops the camera into his lap. JEFF Stella! The lights! He'd seen us! Stella hurries from the window, turning off lights, as Jeff backs his chair into the room. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT As Thorwald's attention is drawn back to the second policeman to answer further questions, the first policeman takes Lisa by the arm and leads her out of the apartment. He goes down the corridor pushing the curious people away from the door. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT The last light out, Stella stops to catch her breath, and turns to Jeff. STELLA When you took your first snapshot -- did you ever think it would bring you to this? JEFF (Urgently) Stella -- how long do you think he'll stay there? STELLA (Squinting out window) Unless he's dumber than I think, he won't wait 'til his lease is up. Jeff points to a drawer in the wall cabinets. JEFF My billfold! In the right hand drawer. Stella moves to get it. STELLA What do you need money for? JEFF To bail Lisa out of jail. She finds a billfold, hands it to Jeff. He takes it, extracts some bills and begins counting them. As he counts, Stella comments: STELLA You know -- you could just leave her there until after next Tuesday -- so you could sneak away safely -- as planned. He looks up sharply at her, and then without comment goes back to counting the money. JEFF (With obvious disappointment) One hundred and twenty-seven. STELLA How much do you think you'll need? JEFF First offense burglary -- (He shrugs) -- probably two-fifty. (Gets an idea, points) The piggy bank. Stella, following his pointing finger, gets a piggy bank down from a shelf on the sideboard. He takes it, cracks it on the knee of his cast. It splits open, and some money comes out. Mostly bills, a few silver halves. What he doesn't get, Stella picks up. STELLA Ten here. JEFF Thirty-three here. Totals one-ninety. Not enough. STELLA I got twenty or so in my purse. Give me what you've got. Jeff does, as Stella gets her purse. JEFF What about the rest? STELLA When those cops get a look at Miss Fremont -- they'll even contribute. Stella goes up to the door. The phone RINGS. Jeff grabs it, picks it up. Stella pauses. JEFF (To phone) Just a minute. (To Stella) I'll tell you who it is when you get back. Stella goes quickly out the door. He returns to the phone call, glancing at the same time toward the courtyard. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF Jefferies. DOYLE (Filter) This is Doyle, Jeff. JEFF (Urgently) Tom, I've got something real big for you. DOYLE (Wearily) Look Jeff, don't louse up my night with another man killer stuffing a grisly trunk that turns out to be -- JEFF (Interrupting harshly) Listen to me! Lisa's been arrested. DOYLE (Slightest pause) Your Lisa? JEFF My Lisa. She went into Thorwald's apartment, and he came back. The only way I could get her out was to call the police. DOYLE (Angry) I told you that -- JEFF (Interrupting) I know what you told me! She went in to get evidence, and she came out with it. DOYLE Like what? JEFF Like Mrs. Thorwald's wedding ring. If that woman were still alive, she'd be wearing it. DOYLE (Grudgingly) A possibility. JEFF (Talking fast) A fact! Last night he killed a dog for pawing in his garden. Why? Because he had something buried in there. Something a dog could scent. DOYLE Like an old hambone? JEFF (Fast) I don't know what pet name Thorwald had for his wife. And that night he went out half a dozen times with the metal suitcase. He wasn't taking his possessions, because they're up in his apartment now! DOYLE You think perhaps it was "old hambone?" JEFF In sections! And one other thing, doubting Tom -- it just occurred to me that all the calls Thorwald made were long distance! If he called his wife the day she left -- after she arrived in Merritsville -- why did she need to send him a postcard saying she'd arrived? DOYLE (After pause; a detective) Where'd they take Lisa? JEFF Precinct Six. I sent a friend over with bail money. DOYLE Maybe you won't need it. I'll run it down, Jeff. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT We see Thorwald leave his apartment and proceed down the corridor. JEFF Just don't dally. Thorwald knows he's being watched. He won't hang around long. DOYLE If that ring checks out, we'll give him an escort. So long. He hangs up, and just as he does, Jeff looks toward Thorwald's apartment. He rolls forward to the window. He seems a little puzzled by what he sees. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald's apartment. Completely dark. No movement, or glow of a cigar. The corridor outside lighted, but empty. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT Jeff scratches the side of his chin, studies Thorwald's apartment as if he might see some small clue as to where the salesman is. He looks toward the intersection to his left. Apparently he sees nothing. He turns to look down into the garden. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Miss Lonely Hearts is standing in the yard outside her apartment, looking up to the porch of Miss Torso. The ballet dancer is in high heels and a fresh summer dress. MISS TORSO (Faintly heard) Have you heard that song he's been writing? She indicates the song-writer's apartment. Miss Lonely Hearts turns, looks up at the studio apartment a moment, then looks up at Miss Torso. MISS LONELY HEARTS (Nods yes) I'm glad I was here when he played it. INT. JEFF'S APARTMENT - NIGHT - CLOSE SHOT He sits quietly a moment, thinking. Suddenly he jumps a little as the phone rings. He reaches for it, picks up the receiver. JEFF (Still looks out window) Hello. (No answer) Hello, Doyle? Tom? Tom, I think Thorwald's left. I don't see anything of -- (He looks at receiver, then:) Hello. Slowly he looks up toward Thorwald's apartment. Then, back to the receiver. On filter, a receiver can be heard carefully being replaced. Jeff slowly lowers the phone into the cradle. He looks once more toward Thorwald's apartment. Then he turns his chair around quickly and looks toward the door to his apartment. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT The door. Quiet in the apartment, and in the corridor. Light showing beneath the door from the hall light. INT. JEFF'S APARTMENT - NIGHT - CLOSE SHOT Jeff watching, waiting, nervous at first. He reaches for the phone, changes his mind. He looks around for some kind of a weapon, finds none to suit him. He hears the slightest squeak of a floorboard, and looks quickly toward the door again. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT The door. Another squeak of a floorboard, so light and quickly passing that at any other time it would have no significance, even if it could be heard. Then the light beneath the door disappears. Black. INT. JEFF'S APARTMENT - NIGHT - CLOSE SHOT Jeff squints at the door, blinks, squints again. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT The door. No doubt about it, black. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT He looks again for a weapon, and almost by instinct he snatches up his flash holder and the small packet of bulbs he had taken out to signal Lisa earlier. He tries to move his wheelchair farther into the shadows. His eyes are glued to the door of his apartment, and his senses are sharp as a hunting dog's. He scarcely breathes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Only the slightest sound is heard as the doorknob turns. The door slowly and carefully swings open, but the corridor is too dark to tell at first who is entering. The door closes just as quietly. From the shadowed recess comes a heavy voice. A threatening voice. THORWALD What do you want from me? Jeff doesn't answer. Thorwald steps to the top of the stairs, and is now somewhat visible. He looks tall and huge and explosive. THORWALD Your friend -- the girl -- could have turned me in. Why didn't she? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff doesn't answer. His eyes watch Thorwald. He licks his lip with nervous tension and grips the flash holder. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Thorwald comes down the two steps, pauses at the bottom. THORWALD What is it you want? A lot of money? I don't have any money. Jeff doesn't answer. THORWALD Say something! He moves forward a couple of steps. THORWALD (Sudden loud anger) Say something! Tell me what you want! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff still doesn't speak. He grips the flash holder a little more tightly, lifts it just the fraction of an inch as if he is prepared to use it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Thorwald has advanced to the middle of the room, his eyes on Jeff and his hands clenching with the effort to control his anger. THORWALD Can you get me that ring back? JEFF (Quietly) No. THORWALD (Loud) Tell her to bring it back! He advances a step. JEFF I can't. The police have it by now. THORWALD Then if the police get me -- you won't be around to laugh! Thorwald starts to move threateningly for Jeff. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP From a three-quarter angle toward Thorwald. Jeff lifts the flash holder to face level and closes his eyes. He explodes the flash. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Thorwald's face fills the screen registering shock, confusion. He throws up his hands for protection and recoils, making an involuntary sound of surprise. INT. JEFF'S APARTMENT - NIGHT A vision of Jeff and the apartment as seen by Thorwald. It is distorted and out of focus, filled with large twisting balls of bright yellow color. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Thorwald blinking, trying to regain his sight. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff ejects the used bulb and quickly inserts another. He works furiously, sweating. He gets the bulb in the flash holder just in time to meet Thorwald coming at him. Jeff closes his eyes and another bulb explodes in Thorwald's face. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Thorwald's face, full screen again, as he recoils from the flash. INT. JEFF'S APARTMENT - NIGHT The apartment as seen by Thorwald again. Big, twisting balls of blinding yellow. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Thorwald stumbles back against the side table, knocking objects off onto the floor, struggling for balance and sight. Jeff works rapidly to put a fresh bulb in the holder. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT Thorwald regains his equilibrium and some of his sight. Orienting himself, he starts for Jeff again. This time, when the flash holder goes off, we see it from Jeff's angle. Thorwald is lighted almost white, shockingly outlining every detail of his face, clothes, hands. His rage and frustration are fixed for a brief but terrifying moment. He stumbles backward again, trying to brush the light away from his face almost as if it were a solid enveloping substance. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT Jeff ejects a bulb, puts his last bulb into the flash holder. He tries to move the wheelchair a little further away from Thorwald. Then he raises the flash holder again. In b.g. we see: Doyle, Lisa, Stella and the detectives come to Thorwald's door, try it. Locked. One of the men steps forward with a flat steel jimmy and snaps the lock open. They move quickly into the darkened apartment. Doyle hits the lights inside the kitchen. The group goes into the living room. The lights go on. No sign of Thorwald. Doyle, Lisa and Stella instinctively turn and look toward Jeff's apartment. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT From Thorwald's apartment shooting at Jeff's window. A sudden bright flash is seen as the last flash bulb goes off. And it lights the scene of Jeff in the wheelchair and Thorwald diving through the air at him. Darkness rushes in, blacker than before. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Thorwald has finally reached Jeff, knocking the flash equipment out of his hands and coming to grips with him. It is apparent that he is trying to pull Jeff out of the wheelchair. Jeff fights him off. The wheelchair crashes over, spilling Jeff to the floor. Thorwald is on top of him, lifting, dragging him to the window. Jeff grabs everything he can to keep himself away from the window, but Thorwald is far too powerful for him. He strains to raise Jeff to the windowsill. THORWALD I'll give you a good look out the window. Slowly, inexorably, he raises Jeff to the windowsill. Jeff frantically grabs for the upright window frame, wrapping his arms around it. Thorwald shoves the rest of his body over the windowsill. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Doyle, Lisa, Stella and the two detectives, crossing Thorwald's yard, see Jeff going out the window. Lisa is panicked. LISA Jeff! Jeff! EXT. NEIGHBORHOOD - NIGHT - MEDIUM LONG SHOT From Doyle's viewpoint, Jeff hanging out the window and Thorwald hammering at his hands and arms with bare fists. Doyle pushes Lisa to one side and starts to scale the wall, preceded by the two detectives. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Thorwald fights to dislodge Jeff's grip. EXT. JEFF'S APARTMENT - NIGHT - CLOSE SHOT Looking down on Jeff's face, showing his strain and the pain of Thorwald's attack. The brick floor of the patio seems a hundred feet below. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Thorwald and Jeff struggling. EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT Doyle pulling himself to the top of the wall. Lisa, Stella and the two men below, looking up. Lisa is white-faced and frightened. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Thorwald smashes at Jeff's arms and hands. Jeff's grip begins to slip. EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT Doyle reaches the top of the wall, looks up at Jeff. EXT. NEIGHBORHOOD - NIGHT - MEDIUM LONG SHOT Jeff, as seen from Doyle's angle, hanging, somehow weathering Thorwald's insane attack. EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT Doyle reaches for his service revolver. He doesn't have it! He looks down, and calls one of the detectives back. DOYLE Creel! Your Thirty-eight! EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT Looking down at the two detectives from Doyle's point of view. Creel grabs for his gun expertly. The holster breaks away. It is in his hand and with a deft movement he tosses it upward. EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT Doyle catches it, turns up to Jeff's apartment. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Thorwald still trying to loosen Jeff's grip. The salesman, in a complete, wild, sweating rage, is beyond all reason. His glasses hang from one ear, his coat is torn, his tie pulled to one side. EXT. NEIGHBORHOOD - NIGHT - MEDIUM LONG SHOT Shooting over Doyle's shoulder as he steadies himself against the wall, lifting the service revolver up for a shot at Thorwald. His aim is careful, slow, painfully deliberate. Jeff seems about to fall. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The two detectives ahead of Doyle are moving up below the window. Lisa stand looking up, her hands at the sides of her head, frozen with panic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Two detectives appear behind Thorwald and grab him. The startled Thorwald stops his attack on Jeff as he looks wildly around to find the source of his new attack. EXT. NEIGHBORHOOD - NIGHT - CLOSEUP Jeff, hanging from the window frame. He claws desperately for a hold. EXT. NEIGHBORHOOD - NIGHT - COMPREHENSIVE SHOT People rush to their windows, looking out at the excitement. Some people on the ground floor come out into the yard. Doyle and the two detectives come into the patio beneath Jeff. Doyle directs them to improvise something to break Jeff's fall -- leaves, greenery, their coats, cushions from the patio furniture -- anything they can find. The four uniformed policemen rush into the backyard. Lisa and Stella come over the wall into the patio beneath Jeff. They look up at Jeff, encouraging him to hold on. A detective goes into Jeff's cellar door, trying to reach his apartment before Jeff loses his grip. The siffleuse and her husband are standing on the fire escape in plain, almost somber clothes. They watch expressionlessly. Beneath them the empty basket which once held their dog swings silently in the night air. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Jeff, hanging from his windowsill. He loses his grip and plunges down into the patio below. Two detectives throw themselves beneath him. They are knocked to the ground as Jeff's fall tumbles both of them. After Jeff hits, he lies still, twisted over to one side. Doyle and Lisa rush over to Jeff. There is an audible SOUND of shock in the neighborhood as Jeff has fallen -- various oh's, ah's, and possibly a stifled scream or two. EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT Lisa kneels down, cradles Jeff's head in her lap. There are tears in her eyes. Her clothes are disheveled and her dress torn. Her hair is disarranged. But withal, her face is as beautiful as ever, with love. LISA Jeff -- Jeff darling! He opens his eyes. Winces with pain. LISA (To the detectives) Get an ambulance. (Down to Jeff) Don't move. Try to lie still. JEFF Lisa -- I -- I -- can't tell you how scared I was that you -- you might -- LISA (Affectionately) Shut up. I'm all right. JEFF (To Doyle) Think you've got enough for a search warrant now? DOYLE Oh sure. Sure. I can make it. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT At that moment, a man appears leaning out of Jeff's window. He looks down to the patio. DETECTIVE Lieutenant Doyle? DOYLE (OFF) (Looking up) Yeah? DETECTIVE Thorwald's ready to take us on a tour of the East River. EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSEUP Stella tugs at Doyle's arm and stands on tiptoe to whisper something into his ear. Doyle then looks up to the detective. DOYLE Did he say what was buried in the flower bed? DETECTIVE Yeah. It's over in his apartment. In a hat box. Wanna look? Doyle turns quizzically at Stella. STELLA Oh, no thanks -- I don't want any of part of her (She pauses, then does a surprised take back to Doyle) What did I say? DISSOLVE TO: EXT. NEIGHBORHOOD - DAY - PAN SHOT Beginning on Jeff's window thermometer, the CAMERA PANS FROM RIGHT TO LEFT around the neighborhood. In the songwriter's apartment we see the songwriter with a guest -- Miss Lonely Hearts. Both in dress and manner she seems quite happy and adjusted to life. The songwriter is placing the first recording of his new song on a record player for her to hear. It is a full symphonic arrangement which is heard over. CONTINUE TO PAN Thorwald's apartment is empty, stripped of its furnishings. Two painters are repainting the walls. The siffleuse and her husband are on their fire escape, training a new white dog to ride in their basket. Miss Torso is practicing her ballet again. She wears a white leotard. The sound of someone at the door interrupts her. She goes to the door, opens it an inch or two cautiously. When she sees who is outside, she throws open the door. An innocuous, unhandsome and somewhat shy army private enters with a barracks bag slung over one shoulder. She kisses him fondly after closing the door. He puts down the barracks bag, tosses his hat into a chair and, with the attitude of a man who belongs there, goes to the icebox to see what's to eat. The newlyweds are arguing. The CAMERA PANS past Jeff who is asleep in his wheelchair facing away from the window. CAMERA MOVES DOWN to the lower part of his body and we see that both his legs are now in casts. The CAMERA LIFTS SLIGHTLY to show Lisa sitting on the sofa nearby. She wears Levis and a plaid cotton shirt. She is reading a book on travel. She looks up briefly at Jeff. When she realizes he is asleep, she puts down the travel book and reaches for the latest copy of Harper's Bazaar. She settles down to study it as we FADE OUT: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Rebel Without A Cause.txt b/unformated_scripts/Script_Rebel Without A Cause.txt new file mode 100644 index 0000000000000000000000000000000000000000..f6cc53116e0fe41a6512f425c4534402a5dc7bdf --- /dev/null +++ b/unformated_scripts/Script_Rebel Without A Cause.txt @@ -0,0 +1 @@ +REBEL WITHOUT A CAUSE by Stewart Stern CAST OF CHARACTERS JIM'S FAMILYJIM'S GRANDMA: A chic, domineering woman in her sixties who has made her son Frank dependent upon her for every breath he takes. She is the irritant in the household--the silent ruler--the silent enemy of Frank's marriage.JIM'S FATHER: Frank is an unfeathered man who has never been able to have fun. He is anxious to be a real father to Jim, but has never learned how.JIM'S MOTHER: Tense and immature, she has never found the husband she married. Upset by the presence of her mother-in-law, mated with an ineffectual and joyless man, she takes out her disappointment on him and on her son.JIM: The angry victim and the result. At seventeen he is filled with confusion about his role in life. Because of his "nowhere" father, he does not know how to be a man. Because of his wounding mother, he anticipates destruction in all women. And yet he wants to find a girl who will be willing to receive his tenderness. JUDY'S FAMILYJUDY'S FATHER: a junior partner in a law firm. Boyish, attractive and debonair. Because he is frightened by the adolescence of his daughter, Judy, his only recourse is to criticize her.JUDY'S MOTHER: Self-centered and frightened by the coming of middle-age. She feels that Judy's blossoming youth is threatening her wifely position as the desirable object of the husband's attentions.JUDY: The victim and the result. At sixteen, she is in a panic of frustration regarding her father--needing his love and suffering when it is denied. This forces her to invite the attention of other men in order to punish him.BEAU: Judy's brother. Because he is very young he is a danger to nobody and thus will grow up happily-- certain of the love of his father who feels comfortable in giving it.PLATO: Son of a divided family--an absent father and a traveling mother--he feels himself the target of desertion. At fifteen he wants to find a substitute family for himself so that he need no longer feel cold, and especially a friend who will supply the fatherly protection and warmth he needs and cannot find.BUZZ: A sado-masochistic boy of seventeen, who acts out aggressively his idea of what a man should be in order to hide his real sensitivities and needs. He was probably rejected by both parents and must constantly court danger and must constantly court danger in order to achieve any sense of prestige or personal worth. THE KIDSHELEN, CRUNCH, MOOSE, GOON, CHICK, COOKIE, MIL: All searching for recognition in the only way available to them; all suffering from unfulfilled hungers at home; all creating an outside world of chaos in order to bear the chaos they feel inside. They are soldiers in search of an enemy.FADE IN.A deep night sky. Matte shot. Camera searches slowlyupward through the heavens and the silver tone of a bell isheard sounding the strokes of midnight.On the final note of the bell, camera is full on the MilkyWay and there it rests, just long enough for a burst ofEaster singing to arise. The hymn is sung by the crude,unmatched voices of children. Camera pans down to include:Spire of a church. Camera continues its downward pan as thesinging continues and we pass a window beyond which is thesource of the singing. Camera pans off window to show--Long shot. City. Night. Suddenly revealed--crisp andsparkling with lights. Camera pans down and over:A lonely street full of parked cars. The singing diminishesbut a thread of it remains. A car has just parked. Theheadlights snap off. A MAN emerges whistling the samemelody and pulls some gifts from the front seat. He slamsthe door and starts down the street in the direction of ahouse with bright windows. He must pass an empty lot fullof rusty grass and litter which lies in darkness between twostreet lights.As the MAN walks by the lot, still whistling, a GROUP OFFIGURES rises silently from the grass, figures who have beenlying in concealment until now. They step noiselessly ontothe pavement and follow the MAN. At the sound of theirboots the whistling stops.The MAN glances behind him and sees the figures walkingafter him, filling the pavement. A street light shows themto be boys and girls and all quite young. The MAN moves onmore swiftly and the sound of their pursuit increases. Hebegins to run toward the lighted house and the followingsteps run too. Suddenly he stops under the next streetlight and turns to face the figures. They are upon him andaround him quickly. Nobody speaks for a moment, then one ofthe boys grins. His name is BUZZ. He is big and filledwith an awareness of his own masculinity. BUZZ (friendly, cool) That was pretty what you were whistling. Whistle some more.The MAN whistles a nervous phrase, trying to make a joke ofthe situation which he doesn't understand. BUZZ (continuing; suddenly) You got a cigarette? MAN Oh, I think so--The MAN fumbles in his pocket, finds a pack and drops it inhis nervousness. The FIGURES wait until he picks it up. Heoffers one to BUZZ. MAN (continuing) Filter tips. BUZZ (smiling, encouraging) You smoke it. Smoke it, Dad.Smiling uncertainly, the MAN puts the cigarette in his mouth.BUZZ, still smiling, takes out a packet of wooden matches. BUZZ (continuing) I'll light it for you, Dad.BUZZ ignites a match and holds it near the Man's face for asecond, searching it. Then he ignites the whole box underhis nose. The MAN shrieks, and his packages fall. BUZZslaps him sharply, his smile gone.The camera pans away as the figures enclose him, and holdson a small mechanical monkey which has dropped from itswrappings. It begins to dance madly on the pavement, thenruns down.The feet of the figures scatter past the unmoving monkey.Then camera rises to show that the man has disappeared.There is a moment of awful stillness, then we see a boycoming down the street alone. He is quite drunk, and heslips once. This is JIM, a good-looking kid of seventeenwith a crew-cut and wearing a good suit. The spilledpackages on the pavement stop him. He bends down to seewhat they are and picks up the mechanical monkey from thewreckage. He smiles and winds it up. He sets it on thesidewalk and sits down. He watches it dance for a moment,happily. A siren is heard distantly, growing louder. JIMpays no attention to it as he winds the monkey again andreleases it for its dance.SUPERIMPOSE TITLE: "REBEL WITHOUT A CAUSE" STARRING ____ assiren rises piercingly close, and JIM looks up, we: DISSOLVE TO:Close shot. Throbbing light of police car. Night. Thesiren screaming wildly, then dying. The sound of brakes.Camera moves to reveal the police car stopped at theentrance of a Precinct Station. Two officers dismount,bearing between them the struggling JIM. They bear him upthe steps and in through the double doors.Inside precinct station. Reception area. A large open spaceonto which several corridors converge. In the middle is aSergeant's desk, really a quadrangular counter in the centerof which the SERGEANT stands. There are a few glass-walkedinterviewing rooms which open off the area, and severalbenches lining the walls. The scene is one of confusion,activity and waiting. Phones ring. The arrested pass incustody of officers. Present among others at JIM's entranceare: JUDY, who is blonde and sixteen. She sits on a crowdedbench wearing an expression of downcast bitterness. On abench across the way from her are three remarkably dirtylittle Mexican children without shoes or socks. The oldestis a BOY of four who is protecting his little SISTER who inturn mothers an infant crying on the bench beside her.Standing at a corner of the desk is a docile, undersized boyof fifteen named JOHN "PLATO" CRAWFORD. He is shivering.With him is a large NEGRO WOMAN, his maid. JIM comesthrough the doors and is led to the desk. One of theofficers presents a brief report to the SERGEANT, whoexamines it. SERGEANT Mixed up in that beating on Twelfth Street? OFFICER No. Plain drunkenness. SERGEANT This says he was picked up there. OFFICER They had him on the carpet for an hour at Headquarters. He's clear. Plain drunkenness. SERGEANT Young squirt. All right--You want to lean him against something? Stand him over there.The officer leads JIM to JUDY's bench and stands him againstthe wall beside it.JIM is frisked, a look of prayer on his upturned face. TheOFFICER finds the toy monkey in his pocket and would takeit, but when JIM asks to keep it, the OFFICER hands it backand moves away. Another officer enters and leads theprisoner who is sitting next to JUDY into another room. JIMsits beside her. He smiles at her but receives only achilling look. He winds the monkey up and sets it dancingon the floor, but she is not amused. Camera pans to showothers reacting to the monkey with pleasure. We see PLATOlook up and smile a little. Camera stops on the MEXICANCHILDREN who are smiling too. A bald JUVENILE OFFICER namedGENE, squats before them, smiling. GENE You going to tell me your name now?The little boy shakes his head. LITTLE BOY (touching GENE's bald pate) Where's your hair? GENE It's all gone. LITTLE BOY Did you get a haircut? GENE No--it just fell out! LITTLE BOY (sympathetically) Aw--GENE laughs as another Juvenile Officer enters and pauses tolook at the children. His name is RAY. RAY What gang does he belong to? GENE Give him a couple of years. RAY Where's your mamma, honey? LITTLE BOY I don't know.RAY and GENE exchange looks, then RAY moves across to JUDY--camera following. He looks down at her, consults the filein his hand. RAY Judy--we're ready for you now. JUDY (a mumble) He hates me. RAY What? JUDY He hates me.She rises. RAY leads her to one of the glass-walled offices.Camera moves with them. JIM watches them go. RAY What makes you think he hates you, Judy? JUDY I don't think. I know. He looks at me like I'm the ugliest thing in the world. He doesn't like my friends--he--RAY leads her into the office.Inside small office as JUDY comes in, RAY following. Heindicates a chair for her while he sits down behind a desk. JUDY (continuing) He doesn't like anything about me-- he calls me--he calls me--She starts to cry. She doesn't hide it, but keeps wipingthe tears with the palms of her hands. RAY He makes you feel pretty unhappy? JUDY (crying) He calls me a dirty tramp--my own father! RAY Do you think your father means that? JUDY Yes! I don't know! I mean maybe he doesn't mean it but he acts like he does. We're altogether and we're going to celebrate Easter and catch a double bill. Big deal. So I put on my new dress and I came out and he-- RAY That one? JUDY Yes--he started yelling for a handkerchief--screaming. He grabbed my face and he rubbed all my lipstick off--he rubbed till I thought I wouldn't have any lips left. And all the time yelling at me--that thing--the thing I told you he called me. Then I ran out of the house. RAY Is that why you were wandering around at one o'clock in the morning? JUDY I was just talking a walk. I tried to call the kids but everybody was out and I couldn't find them. I hate my life. I just hate it. RAY You weren't looking for company, were you? JUDY No. RAY Did you stop to talk to anyone, Judy? (she is silent) Do you enjoy that? JUDY No. I don't even know why I do it. RAY Do you think you can get back at your Dad that way? I mean sometimes if we can't get as close to somebody as we'd like we have to try making them jealous--so they'll have to pay attention. Did you ever think of that? JUDY I'll never get close to anybody. RAY Some kids stomped a man on Twelfth Street, Judy. JUDY You know where they picked me up! Twelfth Street! I wasn't even near there! RAY Would you like to go home if we can arrange it? (no answer; to WOMAN OFFICER) Did you notify the parents? WOMAN OFFICER She wouldn't give me their number. RAY What's your number, Judy? We'll see if your Dad will come and get you.JUDY looks up hopefully. RAY Unless you really don't want to go home. (silence) Would you rather stay here?Camera moves close on JUDY. She looks up and speaks veryquietly. JUDY Lexington 05549.The wail of a siren is heard. JUDY looks off through theglass wall toward JIM. RAY is heard dialing.Med. shot. JIM's bench. JIM sits with his head back, eyesclosed. As the siren mounts louder, JIM opens his mouth andimitates it--a long, forlorn wail.Med. shot, PLATO and NEGRO WOMAN. PLATO smiles faintly andmoves out toward JIM, NEGRO WOMAN following. Camera panswith them. PLATO sits by JIM. She stands over them. JIM'swailing continues.Med. shot. JIM, PLATO, NEGRO WOMAN. An OFFICER moves intoshot. OFFICER Hey!JIM continues for a moment. OFFICER (continuing) Hey! That's enough static out of you. JIM Want me to imitate a stupid cop? OFFICER Cut it out now. I'm warning you. JIM Yes, ma'am.The OFFICER moves out. The NEGRO WOMAN bends over PLATO whois shivering violently. NEGRO WOMAN You shivering, John? You cold?PLATO shakes his head. JIM notices him. JIM Want my jacket?PLATO looks up at JIM. JIM (continuing) You want my jacket? It's warm.PLATO wants it but shakes his head "no."Full shot. JUDY's office. RAY and JUDY seated as before.JUDY is still gazing through the glass. RAY Your mother will be down in a few minutes, Judy-- JUDY (clearing) What? RAY Your mother will be down in a few minutes. JUDY (startled) My mother?RAY signals to a WOMAN OFFICER just outside and leads JUDYto the door.Outside door as RAY turns JUDY over to the WOMAN OFFICER. RAY She's being called for. JUDY You said you'd call my father. RAY Goodbye, Judy. Take it easy.JUDY doesn't answer. RAY goes back inside as camera leadsthe WOMAN OFFICER and JUDY past JIM's bench. Camera stopson JIM, PLATO and the NEGRO WOMAN. JIM stares at JUDY andwhistles but gets no reaction. GENE enters and comes to theNEGRO WOMAN. GENE John Crawford? NEGRO WOMAN Yes, sir. GENE Come with me, John.PLATO rises and goes with GENE, the NEGRO WOMAN following.JIM is alone. He closes his eyes, throws his head back andgives another siren wail as camera moves close on his face. MOTHER (O.S.) Jim!JIM looks up suddenly, scared. Then he smiles mysteriouslyand staggers to his feet.Low angle. Tight three. JIM's parents and grandma framedin the doorway, frozen. They are all dressed in eveningclothes. The MOTHER is a very chic but rather hard-facedwoman. The FATHER is an unfeathered man. The GRANDMA isthe smallest, also very chic and very bright-eyed.Med. shot. JIM as he faces them. JIM Happy Easter.Tight shot. The family. MOTHER Where were you tonight? They called us at the club and I got the fright of my life!Silence. FATHER Where were you tonight, Jimbo?Close shot. JIM. He says nothing.Close shot. FATHER laughing uncomfortably.Med. shot. JIM. JIM You think I'm funny?JIM turns suddenly and walks to the glass wall of the officebehind which PLATO, the NEGRO WOMAN and GENE are visible.He looks through the glass partition which separates himfrom PLATO. JIM (continuing) Why didn't you take my jacket?Inside office. JIM is seen through the glass. He movesaway. PLATO is still shivering, cracking his knuckles. GENE Do you know why you shot those puppies, John? (silence) Is that what they call you or do you have a nickname? PLATO (a murmur) Plato. NEGRO WOMAN You talk to the man nice now, hear? He's going to help you. PLATO Nobody can help me. GENE Can you tell me why you killed the puppies, Plato? PLATO No, sir. I just went next door to look at them like I always do. They were nursing on their mother and I did it. I guess I'm just no good? GENE What do you think's going to happen, you do things like that? PLATO I don't know. End up in the electric chair? GENE Where did you get the gun? PLATO In my mother's drawer. NEGRO WOMAN She keep it to protect herself, sir. She scared without a man in the house. GENE Where's your mother tonight, Plato? PLATO She's away. NEGRO WOMAN Seems like she's always going somewhere. She got a sister in Chicago and she go for the holiday. She says her sister is all the family she has. GENE Where's your father?PLATO is silent. NEGRO WOMAN They not together, sir. We don't see him in a long time now. GENE Do you hear from him, son?PLATO looks up as JIM and his family move into the nextoffice. JIM smiles at PLATO, who returns it feebly, thenlooks away--embarrassed. GENE You know if the boy ever talked to a psychiatrist? PLATO (smiling a bit) Head-shrinker? NEGRO WOMAN (laughing) Oh, Mrs. Crawford don't believe in them! GENE Well maybe she better start.Other office. JIM, his parents, GRANDMA and RAY aregathered in the small room. JIM is humming THE RIDE OF THEVALKRYIES to himself as if he had absolutely no interest inwhat is happening around him. RAY suspects this issomething more than mere disinterest, so lets the humming goon, in order to discover its real purpose. GRANDMA watcheseverything like a tennis match, reacting with soft littlesounds of terror or astonishment or sympathy. No one paysany attention to her. For a moment no one talks. RAYwatches JIM as he hums. Then the FATHER shakes his head andlooks up. FATHER I don't see what's so bad about taking a little drink. RAY You don't? FATHER No. I definitely don't. I did the sa-- RAY He's a minor, Mr. Stark, and it looks to me like he had more than a little drink. FATHER (chuckling) Say, listen-- MOTHER (to JIM: in intimate, half-humorous disapproval) Jim--don't hum.JIM merely rolls his eyes at her, then away--but continueshis humming. FATHER I guess I cut pretty loose in my day too. MOTHER Really, Frank? When was that? FATHER Listen--can't you wait till we get home? RAY Whoa! Whoa! I know you're a little upset but-- FATHER Sorry. RAY What about you, Jim? Got anything to say for yourself?JIM stops humming and shrugs. RAY Not interested, huh?JIM shakes his head. MOTHER Can't you answer? What's the matter with you anyhow? FATHER He's just loaded, honey. MOTHER I was talking to Jim. FATHER (to RAY) Let me just explain to you--we just moved here, y'understand? The kid has no friends yet and-- JIM Tell him why we moved here. FATHER Hold it, Jim. JIM You can't protect me. FATHER (to JIM) You mind if I try? You have to slam the door in my face? (to RAY) I try to get to him--what happens? (to JIM) Don't I give you everything you want? A bicycle--you get a bicycle. A car-- JIM You buy me many things. Thank you. FATHER Not just buy! You hear all this talk about not lovely your kids enough. We give you love and affection, don't we?Silence; JIM is fighting his emotion but his eyes grow wet. FATHER Then what is it? I can't even touch you anymore but you pull away. I want to understand you. Why'd you get drunk? You must have had a reason.JIM stares straight ahead, trying not to listen. FATHER Was it because we went to that party? (silence) You know what kind of drunken brawls those parties turn into-- it's no place for kids. MOTHER A minute ago you said you didn't care if he drinks. GRANDMA He said a little drink. JIM (exploding) You're tearing me apart! MOTHER What? JIM Stop tearing me apart! You say one thing and he says another and then everybody changes back-- MOTHER That's a fine way to behave! GRANDMA (smiling) Well you know who he takes after! RAY Outside, Jim. Come outside.RAY pushes him out the door firmly, and into office vacatedby PLATO and GENE. RAY Excuse us a minute? FATHER (very overwrought) Sure. Sure.GENE's office. RAY and JIM alone. JIM Someone should put poison in her epsom salts. RAY Grandma?No answer. JIM turns away from RAY. JIM Get lost. RAY Hang loose, boy. I'm warning you. JIM Wash up and go home. RAY Big tough character. You don't kid me, pal. How come you're not wearing your boots?Suddenly JIM flings himself at RAY who deftly flips him pastand drops him near the desk. RAY (continuing) Too bad you didn't connect. You could have gone to Juvenile Hall. That's what you want, isn't it? JIM No. RAY Sure it is. You want to bug us till we have to lock you up. Why? JIM Leave me alone. RAY No. JIM I don't know why--! RAY Go on--don't give me that. Someone giving you hard looks? JIM I just get so-- (fighting tears) Boy, sometimes the temperature goes way up. RAY (suddenly gentle) Okay. Okay. Let it out.JIM starts crying. RAY You feel like you want to blow your wheels right now? JIM All the time! I don't know what gets into me--but I keep looking for trouble and I always--I swear you better lock me up. I'm going to smash somebody--I know it. RAY Try the desk.JIM smashes his fist against it, letting loose for a moment.RAY watches, then sits near him. RAY That why you moved from the last town? 'Cause you were in trouble? You can talk about it if you want to--I know about it anyway. Routine check. JIM And they think they are protecting my by moving. RAY You were getting a good start in the wrong direction back there. Why did you do it? JIM Mess that kid up?RAY just nods. JIM (continuing) He called me chicken. RAY And your folks didn't understand? JIM They never do. RAY So then you moved? JIM They think I'll make friends if we move. Just move and everything'll be roses and sunshine. RAY But you don't think that's a solution.JIM is silent; he picks at his nails. RAY (continuing) Things pretty tough for you at home? JIM She eats him alive and he takes it.JIM stares at his family through hole in door. JIM What a zoo! RAY What? JIM A zoo. He always wants to be my pal, you know? But how can I give him anything when he's--I mean I love him and I don't want to hurt him--but I don't know what to do anymore except maybe die. RAY Pretty mixed up? JIM If he could-- RAY "If he could" what? You mean your father? JIM I mean if he had the guts to knock Mom cold once I bet she'd be happy and I bet she'd stop picking. They make mush out of him. Just mush. One thing I know is I never want to be like him. RAY (interrupts) Chicken? JIM I bet you see right through me, don't you?RAY shrugs. JIM How can anyone grow up in this circus? RAY You got me, Jim--but they do. Want some water? JIM (as RAY gets a cup of water from cooler) Boy--if I had one day when I didn't have to be all confused and ashamed of everything--or I felt I belonged some place. RAY (giving him water) Here. Look, will you do something for me? If the pot starts boiling again, will you come and see me before you get yourself in a jam? Even if you just want to talk--come in and shoot the breeze. It's easier sometimes than talking to your folks. JIM Okay-- RAY Any time--day or night. You calmed down enough to go back now? JIM (smiling) You serious?RAY smiles and opens the door.RAY's office as JIM comes towards his MOTHER and forceshimself to kiss her. JIM I'm sorry. MOTHER All right, darling.She rises and takes his arm. They start out through thedoor into the hall, followed by GRANDMA and FATHER. GRANDMA (to RAY) This was all very unfortunate, but he made a mistake and he's sorry-- so we're not going to have any more trouble. He's always been a lovely boy-- JIM Lovely! Grandma--if you tell another lie you're going to turn to stone. RAY Luck, Jim. Don't forget. FATHER (offering RAY three cigars) Have some cigars. RAY No thanks, I don't smoke. FATHER Go on--Give 'em to your friends. RAY No--thanks, very much, Mr. Stark. MOTHER Frank--he doesn't want any.JIM grins at RAY who nods. They all leave. RAY lookingafter them, shakes his head and lights a cigarette. We seeJIM and his family pass through the main door. Waiting toenter, in the custody of some uniformed police, are BUZZ andthe kids we saw at the opening, sullen and truculent. Asthey march into the lobby and JIM grows smaller in thedistance, the music comes up and out. FADE OUT.FADE IN.Low angle. Alley. Morning. A rabbit comes running downthe alley followed by a group of young kids, screaming withpleasure.As camera pans with the group, the littlest, a boy of five,stops near us looking after the disappearing group. Theshouts of the children wane.JUDY rushes out from a backyard beyond him. She is carryingschool books and a bag lunch. She wears a polo coat againstthe winter wind. JUDY (yelling) Beau!The boy, who is her brother, BEAU, looks up but doesn't move.JUDY stops at her gate. A car careens down the alley, pasthim.Long shot. JUDY and BEAU seen through a window in JIM'shouse. JIM is in f.g. looking out through the curtains. Hesmiles. JUDY (yelling) What are you trying to do, get yourself killed? BEAU (laughing) Yes! MOTHER (O.S.) Your eggs are on the table, dear.JIM turns from window and passes camera.Full shot JIM's dining room. The MOTHER is just settling aplate of eggs at JIM's place. They FATHER is seated,drinking coffee and looking at the newspaper. GRANDMA comesin from kitchen. JIM is neatly dressed in tie, tweed jacketand slacks. MOTHER (continuing) Sit down and eat--you'll be late. JIM (approaching table) It'd stick in my throat, Mom. I'm nervous or something-- GRANDMA It's a wonder we don't all have TB or some other terrible disease after living in all those smokey cities! MOTHER Well, drink your milk anyhow. GRANDMA (muttering) There aren't so many factories here. FATHER Mother-- JIM (still standing; he drinks) You make any sandwiches? FATHER My first day of school, mother'd make me eat and by golly I could never even swallow till recess-- MOTHER (bringing bag of lunch from buffet) There's nothing to be nervous about. Here's peanut butter and meat loaf--JIM makes a mouth-stuck-together-with-peanut-butter sound. GRANDMA What did I tell you? Peanut butter! MOTHER Well, there's a thermos of orange juice and some apple-sauce cake in the wax paper to wash it down. GRANDMA I baked that! JIM (kisses her cheek) 'Bye, Mom. MOTHER Goodbye, dear. FATHER (rising) So long, young fella. Knock 'em dead, like your old man used to! JIM Sure-- (gets to door and turns) You know something? I have a feeling we're going to stay here. FATHER And listen--watch out about the pals you choose--Know what I mean? Don't let them choose you--But JIM is on his way out.Full shot. JIM's backyard as JIM comes out of the kitchendoor into the early sunshine. JUDY (O.S.) Come out of the alley, Beau! This is the last time I'm going to call you.JIM blinks, pauses and sees JUDY. He takes off his tie andputs it in his pocket. Then he starts across the backyard,camera panning with him to:Full shot. The Alley with JIM coming out his gate, JUDY andBEAU visible beyond. He stops again. JUDY Beau! All right--go to school alone!She starts down the alley. BEAU skips after her and startstightrope-walking the gutter gravel. JIM (calling) Hey!JUDY glances at him briefly, but continues. JIM follows afew yards, but on his side of the alley. JIM (continuing) Hey, didn't I see you before some place?JUDY ignores him, but something self-conscious happens toher walk. JIM runs across the alley.Med. shot. JUDY stopping as JIM enters. BEAU tight-ropewalking on down the hill. JIM Hi. I saw you before. JUDY Bully for you. JIM You don't have to be unfriendly. JUDY Now that's true! JIM (smiling) See? JUDY "Life is crushing in on me." JIM (smiling) "Life can be beautiful." Hey, I know where it was. JUDY Where what was. JIM Where I saw you. (no answer) Everything going okay now? (no answer) You live around here? JUDY (relieved) Who lives? JIM See, I'm new. JUDY Won't mother be proud. JIM You're really flipped--aren't you.JUDY looks up a little surprised. JIM (continuing) Where's Dawson High School? JUDY You going there? JIM Yeah--why-- JUDY Dig the square wardrobe! JIM (defensively) Yeah. So where's the high school? JUDY (softer) University and 10th--Want to carry my books?An auto horn, stuck, in the distance. JIM I was just getting my car. I could take you.The horn approaches, loud. JUDY The kids take me. JIM Oh.Another angle. JIM and JUDY as the car, horn blowing,wheels into view above them and comes careening into thealley. JUDY sees it and moves a step away from JIM. JUDY I'll bet you're a real yo yo. JIM A what? JUDY (yelling over horn) Goodbye! See you! JIM (yelling) I'm not so bad.JUDY is moving toward the car.Med. shot. Car full of kids as it comes to a jolting stopnear JUDY. The boys wear suede coats, leather jackets,black peggers, boots. Their clothing is not uniform--it isthe air they assume which is uniform: swaggering, self-conscious, piratical. Someone is always combing his hair.The driver is BUZZ, whom we recognize as the leader of thestomp gang we met on Easter. He wears a leather jacket.With him are CHICK, a slight bespectacled lad; CRUNCH,BUZZ's first lieutenant; COOKIE, a hanger-on; GOON, acharacter; and the girls HELEN and MILLIE. The kids arescreaming as BUZZ jams on the brakes. JUDY comes forward.JIM hangs back. BUZZ Stella-a-a-a!JUDY comes to them quickly, smiling. JUDY Steady Marlon! BUZZ Wanna make the colored lights go around and around?JUDY and BUZZ kiss ardently and without love. JIM goes forhis car. BUZZ (looks after JIM then at JUDY) What's that? JUDY A new disease. BUZZ (a little suspicious) Friend of yours? JUDY I'm glad they let you out. BUZZ Nobody chickened. JUDY I heard about it. You're lucky he lived. BUZZ They always live.During this JIM has gotten his car and has driven up. JIM Where's University and 10th? JUDY (pointing right) That way! CHICK (pointing left) That way! BUZZ (pointing up) That way!Simultaneously, the kids laugh wildly. The radio blares.JUDy lays her head on BUZZ's shoulder and his arm goesaround her as the car zooms away. JIM looks after them amoment, then follows. DISSOLVE TO:Close shot. Bicycle rack. Wheels spin in, one afteranother and drive straight into their slots. As the nearestbike moves in:Med. shot. PLATO just getting off his motor scooter. Hecomes forward, passes camera which pans with him thenstops--as the school is suddenly revealed. Music startswith a crash and keeps mounting through the following.PLATO sighs and moves away from us to join the parade ofstudents filling the Main approach.Parking lot as cars scream into their places noisily. JIMgets out of one and comes forward. A motorcycle roars by,just missing him. JIM stares off and starts to move ascamera pans with him to:Another angle. School. Another crash of music. JIM movestoward the parade.Full shot. Mid-way down main approach. A number of kidspass, gossiping happily as they greet each other for thefirst time since vacation. Camera searches over them andstops upon our special group moving toward us--BUZZ, JUDYand the rest, all abreast. Others must park at theirpassage or be elbowed out of the way, staring resentfully,but not daring to challenge the group's priority. PLATOruns forward, past them.Door from within bouncing from hand to hand as studentsenter. PLATO moves through the door and disappears in amilling of kids. JUDY enters with her group and moves onwith them.Med. shot. Monitor (inside corridor). The Monitor is anathletic letter-sweater boy with an arm brassard that bearsthe letters "HC". Kids pour past him. JIM enters. JIM Hi--can you tell we where I go? I'm just starting here. MONITOR (pointing at brassard) Mr. Bassett's office--203. He'll tell you where your home room is-- JIM Thanks a lot.JIM moves out.Angle shot. Corridor. Shooting past a row of steel lockers.The clash and slam of doors as kids throw in coats, pull outbooks and primp for the day ahead. PLATO comes to hislocker, which is the nearest, and opens it.Full shot. Corridor. JIM moves toward us from the distance.Crowded at the entrance to a classroom in f.g. are JUDY andher pals. They are sneaking a smoke, passing the cigarettefrom one cupped hand to another. As JIM comes near, JUDYsees him. So do the others. They fold their arms acrosstheir chests and whistle "We are the girls of theinstitute"--all but JUDY. JIM glances at her and continueson past camera. A bell starts ringing crazily over the music.Close shot. PLATO. He is straightening his tie in themirror. Above it, pasted to the locker door, is a still ofAlan Ladd. In the mirror we can see JIM moving past. PLATOsees him too. He wheels around and stares. PLATO (to himself) Hi.The strident music of the students diminishes. The ringingof the bell stops. There remain only JIM's footsteps.Long shot. JIM moving off down the corridor. PLATO is inf.g. looking after him. He slams his locker and startsafter JIM, moving at the same speed and hovering near thewall. The footsteps of the two boys echo stonily. They arealone. JIM stops at a bulletin board near a bend in thecorridor. PLATO stops too.Bulletin board. JIM looking at the notices. PLATO driftsin several yards away and hangs near the wall watching JIMwho doesn't see him. JIM reads:Insert: Bulletin board, "Attention All Juniors and Seniors"--Planetarium field trip--2 pm--Sharp!"Another angle. JIM and PLATO as JIM turns from bulletinboard and starts away. PLATO (clearing his throat) Hi. JIM Hi there. PLATO You remember me? JIM No. I don't think so-- PLATO I'm sorry--I made a mistake.JIM starts toward camera as PLATO after another look, turnsin the opposite direction and walks away from us, smashinghis fist against the wall as he goes. JIM stops, full incamera. His face clouds, trying to remember. He turns fullaround to look after PLATO, then turns back and continues onhis way. The footsteps fade. DISSOLVE TO:Full shot. Planetarium seen from the parking lot--a greatdome crowns it--the city lies below. Camera picks up JIM'scar maneuvering through the crowded lot. In b.g. a fewother late-comers are dashing up steps to Planetarium. JIMdrives into a small lot behind observator, parks, then runsto observatory entrance.Full shot. Lobby as JIM runs through, opens door of theaterand passes inside.Long shot. Sky full of stars seen past JIM's head.Darkness. This is not our sky. It is a replica of itprojected onto the dome of the Planetarium. The stars slidetheir tentative ways in an ever-changing pattern. One ofthem is much larger than the rest and increases in size aswe watch. Music of the spheres is heard--a high threateningtremolo. LECTURER (O.S.) For many days before the end of our earth people will look into the night sky and notice a star, increasingly bright and increasingly near.JIM looks around for a seat and passes down aisle. Seenbeyond him is the projector, moving slowly, its great dumb-bell head sparkling with pin-points of light. JIM takes aseat in front row. PLATO, in the row behind him, moves overa seat to be nearer. They exchange looks.Full shot. Normal students watching intently. LECTURER (O.S.) As this star approaches us, the weather will change. The great polar fields of the north and south will rot and divide, and the seas will turn warmer.Low angle. LECTURER. A dry, elderly man in a stiff whitecollar. He is seated at a desk, the light from the readinglamp spilling upward onto his face. LECTURER The last of us search the heavens and stand amazed. For the stars will still be there, moving through their ancient rhythms.Angle shot. Students. Some watching, some taking notes.An OLD LADY TEACHER in f.g. taps the heads of two kids inthe row before her. They stop their whispering. She smilesat them. LECTURER (O.S.) The familiar constellations that illuminate our night will seem as they have always seemed, eternal, unchanged and little moved by the shortness of time between our planet's birth and its demise.Med. shot. PLATO staring upward. LECTURER (O.S.) Orion, the Hunter.PLATO looks off.Med. shot. JIM (from PLATO's angle). JIM is seated in therow ahead of PLATO. His lips are parted as he looks up. JIM Boy! PLATO (leaning forward) What? JIM (surprised) Once you been up there, you know you been some place! LECTURER (O.S.) Gemini, the Twins.Two shot. JUDY and BUZZ. BUZZ has his arm around her. Heis nuzzling her ear. She is blandly watching the dome. LECTURER (O.S.) (continuing) Cancer, the Crab.BUZZ pokes JUDY who looks at him. He curves his wristtoward her, opening and closing his first two fingers likethe pincers of a crab. BUZZ I'm a crab!She laughs. So do the others.Med. shot. JIM (PLATO behind). Seen from JUDY's angle. JIMturns at the sound of the laughter, and smiles. LECTURER (O.S.) Taurus, the Bull. JIM (in good imitation) Moo!He waits for approval.Angle shot. JUDY, BUZZ and group (seen from JIM's angle).He is in f.g. They are staring at him. Nobody laughs. CRUNCH (flat) Yeah, moo. BUZZ Moo. That's real cute. Moo. GOON Hey, he's real rough-- CRUNCH I bet he fights with cows. BUZZ Moo.They turn from him. JIM withers and looks front. JUDYsmiles a little and looks away so the others cannot noticeher amusement. LECTURER (O.S.) Sagittarius and Aries--all as they have ever been.PLATO leans in and touches JIM's shoulder, lightly at first,then harder. JIM turns to him. PLATO You shouldn't monkey with him. JIM What? PLATO He's a wheel. So's she. It's hard to make friends with them. JIM I don't want to make friends.He turns back, unhappy at having revealed himself.Another shot. JUDY, BUZZ, CRUNCH. JIM seen in b.g. Thekids are whispering among themselves and pointing at JIM,who looks up and notices. He is getting uncomfortable. LECTURER (O.S.) And while the flash of our beginning has not yet traveled the light years into distance--Full shot. The dome. The star rushes nearer, loominglarger and larger. The music rises in tension and volume. LECTURER (O.S.) Has not yet been seen by planets deep within the other galaxies, we will disappear into the blackness of the space from which we came.Two shot. JIM and PLATO staring upward, cringing back intotheir seats as the light on their faces increases. Music isup loud.Full shot. The dome seen past PLATO's head. The heavensgrow brighter as the star plummets near. Music at crescendo. LECTURER (O.S.) Destroyed as we began in a burst of gas and fire.The sky is blasted by a wild flash of light. Music reachesexplosion. The stars appear again.Moving shot. Faces of normal kids watching seriously--veryimpressed. LECTURER (O.S.) (continuing) The heavens are still and cold once more. In all the complexity of our universe and the galaxies beyond, the Earth will not be missed.Med. shot. JIM and PLATO looking up. LECTURER (O.S.) Through the infinite reaches of space, the problems of Man seem trivial and naive indeed. And Man, existing alone, seems to be an episode of little consequences.PLATO ducks his head down on the back of JIM's chair. JIMlooks at him. LECTURER (O.S.) That's all. Thank you very much.The lights go on. The rustle and confusion of kidsstretching after sitting too long. Scattered applause. JIMrises and ruffles PLATO's hair. JIM Hey, it's over. The world ended.PLATO looks up at him. PLATO What does he know about Man alone?Med. shot. LECTURER as he reaches over and turns a dial."Morning Song" by Grieg comes on softly.Low angle. OLD LADY TEACHER rising. She stares around atthe bustling students and claps her hands sharply, but thenoise is barely heard above the tumult. TEACHER (shrill) May I have your attention? May I please have your attention? Classes will meet at the busses outside. May I have your attention? (to herself) The heck with it.She picks up her coat and bag.Planetarium parking lot. School busses and autos, some newand some heaps, are parked in f.g. Beyond is the dome ofthe Planetarium. Kids mill about, some already driving offin their cars. One bus, already full, pulls past camera.Med. shot. Front of bus seen from within. Driver in f.g.Kids swarm up the steps and enter. PLATO is among them, butkeeps looking back for JIM. PLATO boards the bus and pausesnear the driver to peer through windshield. His face clouds.Long shot. JUDY and group. Seen from PLATO's angle throughwindshield. They are standing idly in a loose line nearBUZZ's car. They are looking back toward Planetarium.Med. shot. Front of bus, seen from within. PLATO turnssuddenly and pushes his way past the kids who are boarding. PLATO Excuse me. Excuse me.Full shot. Parking lot. Bus in f.g. Beyond it JUDY andthe group are visible. PLATO squeezes out. MALE TEACHER John, where you going? PLATO I forgot something. I'll get a hitch.PLATO moves quickly past the teacher who climbs in. Thedoor slams, the bus moves away. PLATO stops and looks afterit. The last cars are clearing the lot. Only JIM's andBUZZ's remain. PLATO looks at the small, waiting group.Med. shot. The group seen from the rear. PLATO in thedistance facing them. BUZZ What you looking at?Med. shot. PLATO wild-eyed with fear. PLATO Nothing.He runs off, camera panning with him. His goal is thePlanetarium Entrance, visible beyond. He races toward itfrantically.Med. shot. The group looking off after PLATO. BUZZ,nearest camera, pulls a switch-knife from his pocket andpops the long blade open. JUDY stares at it, then looks upat BUZZ apprehensively. CRUNCH sits down on the bumper andlights a cigarette.Display lobby. Planetarium as PLATO rushes in, out ofbreath, stops and looks around. In distance he sees JIMleaning over the pendulum pit, smoking quietly. PLATOdoesn't move. JIM hasn't even looked up. PLATO (screaming as if he were yelling "fire!") What's your name! JIM Jim. What's yours? PLATO (a little quieter) Plato. It's a nickname.JIM nods. PLATO goes over to him, camera following, untilthey are close together, both leaning over the rail. PLATO Listen, I told you not to fool with them. Now they're waiting for you. JIM I know. That's why I came back. PLATO You scared? JIM I just don't want trouble. PLATO He has a knife. JIM I saw it. Gee, look at that thing swing, will you? Do you think it never stops? PLATO No. It's perpetual motion. JIM Oh, I bet some little guy comes in here at night and pushes it. Go- go-go!PLATO walks cautiously to the door and starts outside,camera following.Long shot. Kids (corner of Observatory) with PLATO leaningout of door, seeing them, pulling back quickly.Inside display lobby as PLATO pulls back through the door.JIM seems to have disappeared. PLATO stares around frightened. PLATO Jim?JIM is looking at another exhibit whose mechanical voice isheard. JIM I'm here. PLATO (coming with him) They're still there!JIM nods. They watch the exhibit a while longer. PLATO Jim--Do you think when the end of the world comes it'll be at night? JIM No. In the morning.PLATO looks up questioning. JIM smiles and shrugs. JIM I just have a feeling.They start moving, camera leading. PLATO If you don't want trouble, I know a place we can go--JIM looks up at him. PLATO It's a big mansion and we could sneak around there and they wouldn't even know. You could be safe--They turn a corner quickly.Doors to balcony (from inside) as JIM and PLATO come to themfrom behind camera, fling the doors open and step outside.Balcony as JIM and PLATO come onto it, lean on the parapet.PLATO points off. PLATO There it is.High long shot. Mansion. (Matte). It is falling intoelegant ruin, casting long afternoon shadows on the greatlawns and promenades.Closeup PLATO looking urgently at JIM. PLATO Should we go?Two shot. JIM and PLATO. PLATO's back is to us. JIM lookspast him and sees something. JIM (quietly) The shadows are getting long.PLATO turns to look too.Long high shot. Parking lot. JIM's car is where he left it.Into the driveway, like logs driven before a sea, theshadows of the waiting kids appear and advance until thekids themselves come into view. They pause there a moment,then look up. HELEN (smiling) Le soleil tombe dans la mer.Laughter. The kids scatter along the wall at the foot ofthe balcony stairs. BUZZ goes to JIM's car, knife in hand,and stands silently.Low angle. Two shot. JIM and PLATO staring down frombalcony parapet. At last JIM moves out past camera.Low angle. Long shot. JIM and PLATO. JUDY in f.g. Thetwo boys walk down the stairs. Camera pans with them asthey reach parking lot level and start walking past othermembers of the group.Traveling shot. JIM and PLATO coming forward.Dolly shot. BUZZ from JIM's angle. As camera moves intoward BUZZ standing alone at the car, he suddenly bendsdown and slashes JIM's tire. Camera stops. There is thehiss of air escaping. BUZZ straightens and smiles past camera.Close shot. JIM inhaling sharply in shock and suppressedanger.Full shot over JIM's car. Group in b.g. motionless. JIMand PLATO approach the car. JIM stops and looks down. BUZZstands smiling and puts away the knife.Close shot. Rear wheel. The tire slashed, the wheel restson the ground.Full shot. Car. Shooting between group and BUZZ towardbacks of JIM and PLATO, who are looking down at car whichrests on its rims. JIM turns and moves toward group. Hestops, looks from one to the other and smiles nervously.Then he looks straight at BUZZ. JIM (wearily) You know something? BUZZ What? JIM (reproachfully) You watch too much television.Med. shot. The group and JIM. JUDY has come to BUZZ,stands on the wall above him. BUZZ Hey, he's real abstract and different. JIM I'm cute, too.Suddenly GOON starts clucking softly like a chicken. One byone the others pick it up. BUZZ, the last, crows. Silence.Med. shot. The group and JIM. JIM Meaning me? BUZZ What? JIM Chicken?The group gives a quick, short laugh.Med. shot. JIM as he takes off his glasses, smiles. Shakeshis head disapprovingly. JIM You shouldn't call me that.Close shot. PLATO watching anxiously.Med. shot. BUZZ with JUDY watching above him. JIM entersshot until he is close to BUZZ's face. He looks up at JUDY.Camera closes in until we are tight on the three. The headsare nearly touching. JIM (softly to JUDY) You always at ringside? You always travel in this rank company?BUZZ clutches JIM's hair and jerks his head up. He cracksJIM smartly across the face with the palm of his hand.Close shot. JUDY looking at JIM. Her eyes clear inrecognition.Another angle. The group and JIM as JIM tears free andcomes at BUZZ, slugging. But BUZZ, with a laugh, leaps ontothe parapet and turns, the knife in his hand again. JIMstops short. The group and PLATO move in around him. JIM I thought only punks fought with knives. BUZZ Who's fighting? This is the test, man. It's a crazy game. HELEN Les jeux de courage!Close-up. CRUNCH. He is smiling. His arms are around theshoulders of the kids who flank him. CRUNCH (wetting his lips) Machismo. Machismo.Med. shot. Group. JIM Machismo? BUZZ Somebody find him a knife.Close shot. PLATO seen between heads of MIL and COOKIE.COOKIE holds up a switch knife and tosses it over into thecircle. PLATO Jim!Full shot. Circle as the knife falls at JIM's feet. JIMstoops and picks up his weapon, then faces BUZZ. Then hesprings his blade. BUZZ You know the action? No cutting. Just sticking--jab real cool.BUZZ hops from the parapet. They begin stalking each other.BUZZ slides his knife from hand to hand trying to hypnotizeJIM. Suddenly he pokes out and pricks JIM's shirt. Thegroup sighs "Ole!" JIM makes no effort at self-defense.Silence. BUZZ pricks JIM again, "Ole!" BUZZ (as he maneuvers) What you waiting on, Toreador? I thought you wanted some action!JIM cuts out half-heartedly. BUZZ Big brave bull. Hah! Toro! Hah! Hah! GOON Moo! BUZZ Come on--Fascinate us. Impress us. What's happening? Let's go! JIM I don't want trouble. BUZZ (furious suddenly) You crud chicken! You're wasting our time!BUZZ viciously slaps JIM across the face. JIM lashes outand misses. BUZZ hops back. BUZZ Yeah--that's pretty close. How about a little closer, Toreador? Cut off a button and you get to join the club!Outside entrance of parking lot. A uniformed GUIDE ofmiddle-age stares past camera. Cries of "Ole," are heard inthe distance. GUIDE (turning) Mr. Minton! Mr. Minton! Trouble!The LECTURER appears running. He stops short at what hesees, and blinks in the sunlight. GUIDE Look. There's your audience. LECTURER Oh, I don't think so. From the school?Inside circle. JIM is covered with sweat and about to drop.He is getting the worst of it, still refusing to defendhimself.Close shot. PLATO. He is looking on in despair. GROUP Ole! Ole!Suddenly, with a cry, PLATO pushes through.Inside circle as PLATO comes through. His eyes are wild.He holds a tire chain in his hand. MIL Buzzy! Look out! He's got a chain! BUZZ (smiling as he sees PLATO) Hey! Chicken Little!BUZZ trips PLATO quickly and kicks him while he's down.CRUNCH grabs the chain. JIM All right--you want it, you got it!Suddenly JIM transforms. He bores forward expertly--pricksBUZZ again and again. Cries of Ole greet him. BUZZ issurprised.Full shot. Group. We hear only the breathing of thecombatants. Beyond we see the GUIDE approaching swiftly.The LECTURER trails at a safe distance.Closeup. CRUNCH. He looks up. His smile fades. CRUNCH Honk. Let's split.Group as they look off and see the GUIDE and LECTURERapproach. BUZZ and JIM are both breathing hard. PLATO isgetting to his feet. BUZZ Split for what? Couple old poopheads?He folds up his knife and puts it away. So does JIM. JIM You satisfied or you want more? BUZZ How 'bout you? Say the word and you're cold, Jack--you're dead. JUDY Buzzie--we better get out of here. BUZZ What's eating you, Judy? You want him alive? JIM Where can we meet? BUZZ Know the Millertown bluff? COOKIE The bluff, Buzz! That's dangerous up there. BUZZ Draw him a picture, Chicken Little. Eight o'clock. Cookie, you call Moose and get a couple cars. We're going to have us some real kicks. Little chickie-run. You been on chickie-runs before? JIM Sure--that's all I do.The GUIDE bursts in among them. The LECTURER remains on thefringe. GUIDE All right--all of you--start moving! JUDY You mean l'il ol' us? What's the matter with the nice man? GUIDE Don't clown with me. BUZZ Why'nt you go suck on something sweet? GUIDE You think you're tough? I got a son twice your size and I can still handle him. LECTURER Don't lose control, Mr. Jamison. I think if we just explain-- GUIDE Explain to these? They think they own the world! CRUNCH The world is round! MIL The world is flat! COOKIE All the world's a stage!There is wild laughter from the kids as they close aroundthe GUIDE and start edging him away, up the steps toward thePlanetarium balcony. KIDS The world goes round the sun! Goodbye proud world! I got the world on a string! The world's my oyster! Hey! A fish-eater! Brain food.They are gone. The LECTURER looks after them then comes toJIM. JIM looks down at his shirt. There are spots of blood.PLATO opens it, spits on a handkerchief and starts to wipethe blood away. LECTURER (smiling wanly, to JIM) Sometimes the world is too much with us, isn't it, son? What was the disturbance? JIM Nothing. LECTURER You're bleeding. Are you all right? JIM I scratched my mosquito bites. I'm fine.LECTURER hesitates. JIM I'm fine--thanks!LECTURER goes. JIM impatiently closes his shirt. PLATO Are you really going to meet them? JIM Who knows. Plato? PLATO What? JIM What's a chickie-run? DISSOLVE TO:Downstairs hall. JIM's house. A single light is burning.JIM steals in from the kitchen, peers cautiously into theliving room, then starts up the stairs. A crash is heardabove. JIM stops, undecided whether to go or stay, thenmoves quickly up the stairs, no longer trying to be quiet.Upper hall. JIM's house as JIM rises into view at the topof stairs. He sees a figure on hands and knees moppingsomething off the rug. Leaklight from the staircase dimsdetails. An apron is tied around the figure's waist and itsbow sticks bravely in the air. JIM Mom?The figure straightens and turns around, smiling. It is theFATHER. He is neatly dressed in his business suit but wearsa Mary Petty apron. FATHER Hiya, Jimbo.JIM leans against the wall, shaking his head and trying notto laugh. The FATHER laughs unhappily, trying to make itall seem a joke. FATHER You thought I was Mom? JIM Yeah! FATHER It's just this get-up. The girl's out and I was bringing Mom's supper. JIM (giggling) And you dropped it? FATHER (laughing too) Yeah! Shh! JIM That's funny! FATHER I better clean this up before she sees it.He starts dabbing among the spilled dishes with a wet cloth.JIM watches him. JIM Let her see. What could happen.The FATHER continues dabbing. JIM Dad--The FATHER looks up at him. JIM Dad--don't. Don't.JIM touches his FATHER's elbow, bringing him to his feet.They look at each other a moment then JIM goes to hisbedroom. The FATHER goes back to mopping up the mess.Inside JIM's room as he comes in, shuts the door and throwshimself miserably on his bed. He writhes as if the pain hefeels were physical. Outside, radios are heard in thenight--tuned to different stations. He feels under hisjacket and holds up his hand to the moonlight. There isblood on it. He reaches up and takes his alarm clock and issetting it as camera glides to his window and holds over therooftops.Full shot. JUDY's backyard. Moonlight. JUDY stands nearcamera looking up at the moon. The radios seem louder outhere. One breaks through. ANNOUNCER Time now for the seven o'clock news. Friends, the next time you go shopping. JUDY'S FATHER (O.S.) Judy.She wheels around.Long shot. The FATHER standing erect on back porch,silhouetted against a window. JUDY'S FATHER What are you wishing for, Judy?Med. shot. JUDY. She hasn't moved. JUDY (softly) I wasn't wishing. I was looking at the moon.Full shot. Backyard featuring the FATHER. We see him nowas a tall and handsome man. There is something boyish andappealing about him. JUDY'S FATHER (singing lightly) "Man in the Moon, how came you there-- Up in the sky where you are shining-- Floating so high in the frosty air--? Oh, say--Man in the Moon!"--JUDY comes forward, stands below him on the step. Her lookis adoring. JUDY (astonished) How did you know that? JUDY'S FATHER We used to sing it in school. (smiles) Don't look at me with such horror. They had schools in those days. JUDY But the same song. I think it's fantastic! JUDY'S FATHER We were romantic then too-- JUDY Are you and Mom home tonight? JUDY'S FATHER No. Why? JUDY Nothing, only it'd be nice to spend an evening together for a change. JUDY'S FATHER With us old creeps? Come on, we have to eat. JUDY (rising) Daddy--He looks at her. JUDY Good evening. JUDY'S FATHER Hi.He turns away and goes into the house. She hesitates andthen follows. Something in the moods has changed. He hasneglected to hold the door for her.Dining room. JUDY's house as the FATHER comes to the headof the table and takes his seat. Three places are set.JUDY follows. She stands above his chair, looking down athim as he drinks his tomato juice. JUDY (quietly, afraid) Didn't you forget something? JUDY'S FATHER What?JUDY doesn't answer, but leans down and kisses him quicklyon the lips. JUDY'S FATHER (continuing; shocked) What's the matter with you?JUDY freezes, frightened. He collects himself a little. JUDY'S FATHER (continuing) You're too old for that kind of stuff, kiddo. I thought you stopped doing that long ago. JUDY (very hurt) I didn't want to stop.The mother enters briskly from another part of the house--anattractive, brittle woman of thirty-five. JUDY'S MOTHER Didn't want to stop what? JUDY'S FATHER Nothing. JUDY I was talking to Dad. JUDY'S FATHER I didn't kiss her so it's a big thing. JUDY'S MOTHER (calling to kitchen) Bertha! You can serve the souffle! (to FATHER) Fish souffle. (to JUDY) You don't have to stand there, darling. Drink your tomato juice.JUDY slides into her chair reluctantly and unfolds her napkin. JUDY I guess I just don't understand anything. JUDY'S FATHER I'm tired, Judy. I'd like to change the subject. JUDY Why? JUDY'S FATHER I'd like to, that's all. Girls your age don't do that. You need an explanation? JUDY (very low) Girls don't love their father? Since when? Since I got to be sixteen?She half-rises to kiss him again. JUDY'S FATHER Stop it now! Sit down!Suddenly the FATHER slaps her. Even as he does it he is asstunned as JUDY. The mother stops eating. She has neverseen such a display and is shocked. He tries to controlhimself by buttering a piece of bread. There is a terriblesilence into which BEAU enters in his pajamas. He runs tohis FATHER's chair, then halts--looking from face to face.The FATHER puts an arm around him, hugs him almost savagely. JUDY'S FATHER (thickly) Hi, rascal. BEAU (hushed) Hi.JUDY rises, weeping. JUDY May I please be excused?She starts out. The FATHER rises and follows after her. JUDY'S FATHER (softly) Hey, hey, Glamorpuss. I'm sorry.She leaves the room, interrupting the joke he was going tomake. He turns back to the table and sits down. The MOTHERrises and comes to him. JUDY'S FATHER (continuing) I don't know what to do. All of a sudden she's a problem.The mother stands behind his chair. She tips his head backagainst her body and kneads his neck and shoulders. JUDY'S MOTHER She'll outgrow it, dear. It's just the age. BEAU (in a sudden burst) The atomic age!The door slams. JUDY'S MOTHER (kissing her husband's hair) It's the age when nothing fits.Inside JIM's room. We see him lying on his bed as before.His eyes are open. The alarm clock goes off. JIM starts asif shot, then stops the wild ringing. The time is seven-forty-five. He makes no move to leave the bed. There is alight tap on the door, then it opens and the FATHER isthere, seen in light from the hall and still wearing the apron. FATHER You awake? JIM Yes. FATHER Listen--I took a steak out of the freezer. I thought we could have a real old-fashioned stag party--just the two of us, what do you say? JIM I'm not hungry.The FATHER turns away. JIM Hey--I want to ask you something. FATHER (happily) Shoot, Jimbo. JIM Suppose you knew that you had to do something very dangerous--where you have to prove something you need to know--a question of honor. Would you do it? FATHER (laughing) Is there some kind of trick answer? JIM What would you do, Dad? FATHER (evading) I wouldn't do anything hasty. Let's get a little light on the subject.The FATHER turns on the light and looks at JIM who is nowsitting on the edge of the bed. He removes his jacket andthe bloody shirt is revealed. The FATHER stares. JIM Blood. FATHER How'd that happen! What kind of trouble you in? JIM The kind we've been talking about. Can you answer me now? FATHER Listen--nobody should make a snap decision--This isn't something you just--we ought to consider all the pros and cons-- JIM We don't have time. FATHER We'll make time. Where's some paper. We'll make a list and if we're still stuck then we ought to get some advice--He goes out, to the study next door. JIM rises. JIM What can you do when you have to be a man? FATHER Well, now-- JIM Just give me a direct answer! (pause) You going to stop me from going, Dad? FATHER You know I never stop you from anything. Believe me--you're at a wonderful age. In ten years you'll look back on this and wish you were a kid again. JIM Ten years? Now, Dad--I need an answer now! FATHER I just want to show you how foolish you are. When you're older you'll laugh at yourself for thinking this is so important--During this, JIM has kicked off his shoes and put on hisboots and jacket and goes out.Living room featuring stairs. JIM comes running down thestairs and out the kitchen door. FATHER (O.S.) Jim? Will you listen? You can't go out till we--Jim!The FATHER comes down the stairs, goes to the front door andcalls: FATHER Jim? Jim!He goes to kitchen door, calls again, gets no answer, comesback into the living room, sees he is still wearing theapron. He rips it off and throws it down--then starts forthe stairs. DISSOLVE TO:The Plateau. Moonlight. Wind shrieks over the exposedplateau, which is several hundred yards long. It cuts intothe darkness like the prow of a ship and ends in empty air.A dozen cars are scattered about, defining a sort of runwayin the center. There are twenty kids present, but verylittle talk. Most of them belong to BUZZ's group but thereare a few whom we have not met before. They stand in smallclots, murmuring and smoking. The atmosphere is strungtightly, like the moments before a dawn attack. In b.g.near the cliff's edge, are two cars of similar make andmodel. They face away from camera toward the edge of theplateau. There are no headlights anywhere...blackoutconditions.MOOSE, a boy in a leather jacket and cheap yachting capstands guard between the cars, his back to us. His handsare on his hips. His legs are spread. Some girls drift in.Another angle. Plateau featuring PLATO as he wandersthrough the crowd searching for JIM. He passes BUZZ's carwhere BUZZ, JUDY and the rest are eating hamburgers. Theyhave all changed into fighting wardrobe. BUZZ (calling out) Hey, Chicken-Little.PLATO stops. BUZZ Where's Toreador? He beg off? PLATO He's not scared of you. BUZZ (laughing) Yeah? (to GOON) Goon! You seen that adolescent type anywheres? COOKIE He won't show. GOON Well, you going to wait all night? I'm getting nervous, man! We got to do something! CRUNCH (looking off) Hey, Buzz! BUZZ What? COOKIE Over there.BUZZ snaps on the spotlight again and swings it off.Full shot. JIM's car as JIM gets out and PLATO runs to him. JIM How'd you get here? PLATO I hitched. JIM Boy, I bet you'd go to a hanging. PLATO My personality's showing again. Should I leave? JIM No. It's okay.BUZZ enters. BUZZ Come on. Let's see what we're driving.JIM gets out; PLATO starts to follow. BUZZ Just him. JIM Stay there.The two boys move away. PLATO looks after them, hurt, thengoes to side of JUDY and stands.Dolly shot. JIM and BUZZ as they come forward. BUZZ What you say your name was? JIM Jim Stark. BUZZ Buzz Gundersen. JIM Hi. BUZZ Glad to meet you.They shake hands briefly as they walk. They come to MOOSEand stop. MOOSE Got some goodies for you, Buzzie-boy. BUZZ Flashlight?MOOSE produces one and hands it to BUZZ who goes to one ofthe guarded cars, motioning JIM to come, too.Closer shot. BUZZ, JIM and MOOSE seen as hood is raised,revealing their faces beneath it. BUZZ explores the motorwith the flashlight. BUZZ Looks good. MOOSE Clean as a whistle. They both got plenty breeze. BUZZ Look good to you? JIM Sure. It's fine. BUZZ Okay.He closes the hood. Group moves across to other car.JUDY and PLATO. The other kids are behind them. JUDY looksto see that their attention isn't on her, then speaksquietly to PLATO. JUDY Is he your friend? PLATO Yes. My best friend. JUDY What's he like? PLATO Oh, I don't know. You have to get to know him. He doesn't say much but when he does you know he means it. He's sincere. JUDY Well, that's the main thing--don't you think so? PLATO Maybe next summer he's going to take me hunting with him--and fishing. I want him to teach me how and I bet he won't get mad if I goof. His name's Jim. It's really James but he likes Jim more. (laughing) People he really likes--he lets call him "Jamie." JUDY Want to finish my hamburger? I only took a bite. PLATO Okay.Full shot. Guarded cars. JIM is close in f.g. at wheel ofhis car. BUZZ is beyond, at wheel of his. Both boys aregunning their engines, listening critically. JIM lets hisidle.JUDY, GOON and group. They watch in silent anticipation.PLATO starts away from them.Traveling shot. PLATO hurrying away from the group. Hestops, looking off.JIM and BUZZ. PLATO in distance. BUZZ Better try the doors. Jump out.JIM opens his door. BUZZ No--quick, man! You got to break quick.JIM shuts his door and tries again. So does BUZZ. Thenboth boys walk forward to the edge. Neither says a word.BUZZ puts his hand on JIM's shoulder.High angle. The edge of the bluff (process). JIM and BUZZare directly below us. Under them the plateau falls steeplyaway in a sheer drop of a hundred feet to the ocean below.Two shot. JIM and BUZZ. JIM is staring below. He isbeginning to perspire. He lights a cigarette. Withouttaking his hand from JIM's shoulder, BUZZ borrows thecigarette from his lips, takes a drag and hands it back.JIM takes another puff then tosses it into the abyss. BUZZ (quietly) This is the edge, boy. This is the end. JIM Yeah. BUZZ I like you, you know? JIM Buzz? What are we doing this for? BUZZ (still quiet) We got to do something. Don't we?Long shot. JIM and BUZZ with PLATO in f.g. JIM and BUZZappear to him as two close friends. Suddenly they break andgo, without speaking further, to their cars. They back upto the opposite end of the plateau, headlights dark. PLATOfollows them with his gaze.Group shot. GOON and others looking up as the cars glide by.Med. shot. JUDY waiting as BUZZ and JIM move into startingposition next to her. JUDY goes to BUZZ. JIM is in b.g.--looking on. JUDY Feel okay? BUZZ Give me some dirt.She bends out of sight for a moment as BUZZ goes on talking,then hands him the dirt. He rubs it into his palms. BUZZ Hey, Toreador! She signals. We head for the edge. The first guy who jumps--chicken!JUDY and BUZZ kiss, without much interest. BUZZ What's happening? JUDY Good luck, Buzz.She starts out, without kissing him again. JIM (calling softly) Judy.Med. shot. JIM's car as JUDY comes to him. JIM Me too.She looks at him a moment then bends and hands him some dirt.Their heads touch for an instant. JIM Thank you.She breaks the look and hurries away.Long shot. The cars. They are lined up in two rows--headlights facing each other. JUDY comes into shot. Whenshe gets near camera, she stops and turns back to face them. BUZZ Hit your lights!Suddenly the headlights of all the cars come on full.Reverse shot. JUDY. She is in the center of the glare.Behind her we see the other kids filing out of their cars,hurrying toward the edge of the bluff. The sound of the twomotors revving then dying and revving again.Inside JIM's car. JIM grips the wheel firmly, relaxes hishands to rub his palms together and crack his knuckles. Hegrips the wheel again. Steps on the accelerator, windinghis engine into a roar. He lets up, looks tensely at--BUZZ in his car. His chin juts forward. He lets go of thewheel, starts to comb his hair.Slow pan shot. Spectators staring off at the cars. A boyhas his arm around the girl in front of him, his cheekagainst hers. Both are looking off. Some of the kids smoke.All are involved in the blasting of engines.PLATO among the spectators near edge of the bluff. He ischewing his lip. Camera pans down to show that the fingersof both his hands are tightly crossed.Close shot. JUDY staring tensely into the glare. Suddenlyshe raises her hands high above her head.Close shot. JIM sweating it out. He leans forward,squinting, ready.Close shot. BUZZ. He puts his comb between his teeth andclamps it hard. He settles himself for the run.Long shot. Plateau. The cars are in close, seen from therear. JUDY is a small distant figure, arms stretched high.The exhaust blasts. Now she drops her arms. The cars leapahead.Med. shot. JUDY. She whirls to see the cars snap by, thenbegins running up the center of the plateau between thelines of spectators.Full shot. Spectators. Shooting over their shoulders asthe cars approach and scream past.Pit shot. Cars. As they approach, gaining speed, andthunder over the camera.Inside JIM's car. (Process). He is tense.Inside BUZZ's car. (Process). His hands hard on the wheel.The comb is still between his teeth. He begins edgingtoward the door on his left.Moving close shot. JUDY biting hard on her finger, as sheruns forward.Close shot. PLATO. Both hands cover his mouth. Thefingers are still crossed.Inside JIM's car. (Process). As he edges to his left. Heis driving with one hand. He opens the door, gets set forhis jump.Inside BUZZ's car. (Process). He reaches for the doorhandle and misses. As he raises his arm to reach again, thestrap of his windbreaker sleeve slips over the handle. Helooks down in panic, then back at the drop ahead. He tugsbut cannot get the sleeve loose.Closeup. PLATO staring. He shuts his eyes tight and keepsthem shut.Shooting at backs of the two cars as they race through therow of lights toward the edge.Inside JIM's car. (Process). His face is soaked. He looksonce toward BUZZ--then ahead. His eyes widen in fear. Heshoves left and flings himself forward, and out.Outside JIM's car as he sprawls forward--into camera.Inside BUZZ's car. (Process). BUZZ leans way forward now.He seems to rise in his seat. His mouth opens and the combfalls out.Full shot spectators staring in disbelief. Suddenly a youthducks his face into the neck of his girlfriend so he cannotsee. At the same instant-- CROWD (in a single breath) Oh!Rear view. Edge of the bluff as the two cars go over.There is NO human sound.Close shot. JIM as he stops rolling.BUZZ's car in flight. (Special effects). The car soarsthrough the night, the vehicle of a terrible journey.Med. shot. BUZZ. (Process). Surprise has gone. He rideslightly on the thrill of his last moment--then suddenly, hisface twists in a spasm of protest and loss.The kids staring at his flight.JIM unaware of the disaster--glad he made it.Low angle. Edge of the bluff. With headlights blazing,both cars dive down.Med. shot. JUDY standing frozen as the spectators shovepast and around her.Wide angle. Edge of the bluff as spectators swarm to it,stand looking down.JIM on hands and knees, trying to rise. Legs rush by him,knock him onto his face.Long shot. (Special effects). Both cars plunge into theocean below.JIM at edge of bluff. He is pushing through spectators. JIM (a harsh whisper) Where's Buzz! Where's Buzz!PLATO working his way through the crowd. PLATO (calling) Jim! Jim!CRUNCH. CRUNCH looks up as he hears JIM's repeated cry.JIM enters behind him, continuing blindly on his way. CRUNCH (tight fury) Down there! Down there is Buzz!JIM looks over the edge.Rear view. Spectators. A siren wail approaches. The kidswheel and scatter, panicking past the camera.Close shot. MOOSE. Looks at JIM. Runs.Close shot. GOON. Turns. Runs.Med. shot. JIM seen between legs of hurrying kids. Thesirens and the pounding of their feet on the hard turf. JIMis sitting on the edge of the bluff. PLATO rushes in, stopsshort as he sees him. PLATO Come on, Jim! We got to get out of here!JIM doesn't move. PLATO grabs his arm and yanks. PLATO Get up! Get up! Come on!JIM stands. PLATO pushes him. PLATO Go on! Move!They start away, PLATO still pushing from behind.Med. shot. JUDY. She is standing alone in the wind on theemptying plateau. JIM and PLATO move past in the distance.JIM sees her and stops.Close shot. JUDY. She is shuddering violently but thereare no tears. She seems not to see or hear or be aware ofanything around her.Full shot. JIM and PLATO watching JUDY. JIM moves towardher, camera panning with him and leaving PLATO behind. JIMstands before JUDY until she notices him. He shakes hishead for all the sorrow he feels, but no words come.Tentatively he offers her his hand. After a moment, shetakes it. She knows only that help is being offered andthat she will accept it with trust. JIM leads her awaytoward the car. DISSOLVE TO:High long shot. JIM's street. Night. There is no movementanywhere. In the house bordering the street a few lightsstill burn. JIM's car approaches out of distance and slowswhen it reaches the alley.Med. shot. JIM's car as it slows and stops. JIM, JUDY andPLATO in the front seat. JUDY has the door open before thecar even stops. She is shaking, agitated and withdrawn. JUDY (hardly audible) This is fine--She gets out and starts away, leaving door open. JIM (calling quietly) Judy. Will you be okay?PLATO looks at him. JUDY hesitates. JIM raises a hand toher in a shy farewell. She smiles vaguely, then hurriesaway from them.Near JIM's backyard (alley). JIM and PLATO. JIM I got to go in. You better get home too. (touches PLATO) Hey--what? PLATO Why don't you come home with me? I mean nobody's home at my house--and I'm not tired, are you? I don't have many--people I can talk to. JIM Who has? PLATO If you want to come we could talk and then in the morning we could have breakfast like my dad used to-- (pauses--then excitedly as though an idea had suddenly struck him) Gee...if you could only have been my father...we could... JIM (interrupting) Hey...you flipped--or something? You better take off... PLATO (suddenly, pleasantly) O.K. G'night. I got to pick up my scooter. See you tomorrow. JIM Yeah.PLATO turns, walks up the alley to the street. JIM goesinto his kitchen door.Hallway. JUDY's house. Three doors open onto it: one isclosed--this is JUDY's room:--another, leading into BEAU'sroom is open, but the room beyond is dark: the third, alsoopen, reveals the bedroom of JUDY's parents. As JUDY comesinto the hallway, the parents, who are reading in theirbeds, look up. JUDY hesitates, then starts toward her ownroom. BEAU (O.S.) (quietly) Hello, little cute sister.JUDY stops. BEAU appears at his door in white pajamas, asmall ghost. JUDY looks at him. BEAU Hello, darling, baby-pie, glamor- puss, sweetie--JUDY touches BEAU's head and tries to smile. JUDY'S FATHER (calling from his bed) Beau! You belong in bed!BEAU flees. JUDY turns without another glance at herparents, and opens the door of her room.Inside bedroom of JUDY's parents. As JUDY slams her bedroomdoor o.s., the FATHER reacts. Perhaps, he wishes she hadgiven him a chance to say goodnight. The MOTHER, who usereading glasses, looks up at the slam. Then she looks overat her husband, shrugs when she catches his gaze, and goesback to her magazine.Inside JIM's living room. The television is on, but only ahum comes from it, and the screen is a flickering gray. TheFATHER sits lumpily in a chair by the fireplace, stilldressed but with his collar open. The sound of JIM's stepin the dining room makes him open his eyes. Fear of facinghis son makes him shut them again. The boy comes in, abottle of milk in his hand. Seeing his FATHER there, hestops short--his impulse is to flee. Instead he comes inand looks down at the sleeping man whose eyelids, flutteringin the FATHER's masquerade of sleep, make him seem to behaving a dream. JIM is torn between his desire to leave andhis need to speak. He turns off the television quietly,then lies down on the couch across the way. He mumbles thethings he would say to his FATHER and the answers he feelshe would get. The old man opens his eyes once, sees the boythere, head banging upside down from the couch. Then heshuts them again.Upside down long shot. Room (JIM's viewpoint). Suddenly,inverted in his vision, the MOTHER appears at the head ofthe stairs, in bathrobe and nightgown. She pauses a moment,then runs down crying: MOTHER He's home! You're home! You're all right!The camera rights itself suddenly.JIM as he completes his turn, pulling his head up and sitting.FATHER as he pretends to awaken with a start.Full shot, room as the MOTHER hurries to JIM, holds him,inspects him, kisses him. MOTHER What happened, darling. We were so worried. I was going to take a sleeping pill, but I wouldn't till I knew you were home. JIM I have to talk to someone, Mom. I have to talk to you both. And Dad this time you got to give me an answer. FATHER Go ahead. JIM I'm in terrible trouble.--You know that big high bluff near Miller- town Junction? FATHER Sure--there was a bad accident there. They showed the pictures on T.V. JIM I was in it. MOTHER How! JIM It doesn't matter how. I was driving a stolen car-- MOTHER Do you enjoy doing this to me or what-- JIM Mom--I'm not-- MOTHER And you wanted him to make a list! FATHER Will you let him tell it! JIM She never wants to hear. She doesn't care! MOTHER I guess when I nearly died giving birth to you--that shows how much I don't care! FATHER Just relax, please relax! JIM I told you Dad, it was a question of honor. They called me chicken-- you know, chicken! I had to go or I would never have been able to face any of those kids again. So I got in one of these cars and a boy called Buzz got in the other. We had to drive fast and jump before the cars went over the edge of the bluff. I got out okay but Buzz didn't. He was killed. MOTHER Good Lord! JIM I can't keep it to myself anymore-- FATHER Well, just get it off your chest, son. JIM That's not what I mean. I've never done anything right. I've been going around with my head in a sling for years...I don't want to drag you into this but I can't help it. I don't think I can prove anything by going around pretending I'm tough any more, so maybe you look like one thing but you still feel like another. FATHER You're absolutely right! JIM Are you listening to me? You're involved in this! I want to go to the police and tell them I was mixed up in this thing tonight? FATHER You what? MOTHER No! FATHER Did anyone see you there? I mean did they get your license number or anything? JIM I don't think so-- FATHER Well-- MOTHER What about the other boys--Do you think they'll go to the police? JIM What's that got to do with it? MOTHER Why should you be the only one. FATHER Look Jim. Far be it from me to tell you what to do, but there's-- MOTHER Are you going to preach now? Are we going to have a sermon? FATHER I'm just explaining what you mean! You can't be an idealist all your life! Nobody thanks you for sticking your neck out! MOTHER That's right! JIM Except yourself! FATHER Will you wait a minute? JIM You don't want me to go. MOTHER No! I don't want you to go to the police! There were other people and why should you be the only one involved! JIM But I am involved! We're all involved, Mom! A boy was killed! I don't see how we can get out of that by pretending it didn't happen! FATHER You know you did wrong. That's the main thing, isn't it? JIM No! It's nothing! Just nothing! You always told me to tell the truth. You think you can just turn that off? MOTHER He's not saying that! He's saying don't volunteer! JIM Just tell a little white lie? FATHER You'll learn as you get a little older, Jim. JIM I don't want to learn that! MOTHER Well, it doesn't matter anyhow-- because we're moving. JIM No! You're not tearing me loose any more. MOTHER Do I have to spell it out? JIM You're not going to use me as an excuse again, Mom. Every time you can't face yourself you want to move and you say it's because of me or the neighborhood or some other phony excuse. Now I want to do one thing right and I'm not letting you run away. (silence) Dad? FATHER Son--this is all happening so fast-- JIM You better give me something, Dad. You better give me something (stops as he sees the emptiness in them) Mom? MOTHER Jimmy, you're very young--and a foolish decision now could wreck your whole life. JIM Dad--answer her--aren't you going to stand up for me?The FATHER is mute, helpless... Suddenly JIM screams. JIM Dad?He leaps at his FATHER, dragging him to his feet, hands atthe man's throat. MOTHER Stop it! You'll kill him! Jim! Do you want to kill your father?Suddenly JIM loosens his hands and rises. He looks swiftlyat each of them--moves a few steps toward the door, looksback at them again--then rushes out of the house. Theparents stand frozen. DISSOLVE TO:Outside Precinct Station. JIM's car comes to a stop at thecurb. JIM gets out and approaches the flight of stepsleading up the entrance. A bare bulb on either side is theonly illumination. As he mounts the first step, the doubledoors above him swing open revealing several people. JIMstops short. So do they.Low angle. CRUNCH, MOOSE and their parents. JIM's back inf.g. The boys stare down at him.High angle. JIM (from the boys' point of view) as he staresup at them. MOOSE's father takes his arm and starts himdown the stairs, the others moving too. MOOSE Let go of me-- MOOSE'S FATHER You want a good crack in the mouth?JIM starts forward up the steps. CRUNCH grabs him. CRUNCH This place appeal to you or something?They move down the steps as JIM breaks away and continues up.He goes through the doors.Inside doors as JIM comes through and stops. He looks backthrough the glass. We see the group reach the curb wheretheir cars are parked. There is a brief discussion which wecannot hear, then CRUNCH and MOOSE move off to MOOSE's car.JIM turns back. He looks worried as he passes camera.Med. shot. CRUNCH and MOOSE. They stop at MOOSE's car andlook back at the entrance. The parents are seen beyondthem, getting into their cars. CRUNCH is near tears withanger. CRUNCH What's he going to pull-- MOOSE Nothing, Crunch. They picked him up like the rest of-- CRUNCH You see any cops? MOOSE'S FATHER (yelling) You monsters start home. We're going to-- MOOSE Yeah. Yeah. MOOSE'S FATHER We're following you so better get there. CRUNCH You see any cops? MOOSE No-- CRUNCH He's going to cheese, I tell you. Nobody arrested him! MOOSE I think I should go home. CRUNCH No. We're going to bring him down. MOOSE Crunch--my father's--You going to kill him? CRUNCH (crying) You clean out of your head? Come on!CRUNCH gets into the car. MOOSE follows. They gun themotor and throw the car into a sharp U-turn. MOOSE'S FATHERjumps into his car. He steps on the starter but nothinghappens--just the empty whirring, over and over. Finally itstarts, but the boys have gone.Inside Precinct Station. Juvenile division. A desksergeant is writing in the record book. Facing him acrossthe desk and handcuffed to an officer is a young hoodlum,very different in appearance from the kids we have met--atypical duck-tail 'cat'. SERGEANT (spelling) W-O-J-T-what? HOODLUM O-W-I-C-Z. Wojtowicz. What's the matter, man? That's the craziest name in town! It swings! JIM Excuse me--but--You know where I can find--I mean I don't remember his last name-- SERGEANT Look--can't you see I'm writing? HOODLUM (combing his duck-tail) Man, this cat never stops. He just keeps going like Big Jay at a session! OFFICER Shut up. HOODLUM He's writing a book about me-- SERGEANT What I could write about you they wouldn't print. JIM I think his first name's Ray--I have to see him. It's very important. SERGEANT What's the charge? OFFICER Assault with a deadly weapon. JIM Listen-- SERGEANT (annoyed) He's not here. He's not at Juvenile Hall. I don't know where he is. He's out on a call and he'll be out all night. How old are you? JIM My parents know I'm out. They know I'm here. SERGEANT Come back tomorrow. JIM I'll wait for him. SERGEANT Why don't you come back tomorrow, son? (to hoodlum) Ever been booked before?JIM turns away, notices a phone on the wall--puts in a coin,asks for a number.Bedroom of JUDY's parents. Through an open door we hear aradio playing-- a late disc-jockey show for teenagers inwhich numbers are dedicated by request. JUDY'S MOTHER andFATHER are in bed, FATHER has phone in his hand. JUDY'S FATHER Who wants her? Who? Jim who? Never heard of you.He hangs up phone, looks at his wife. She rolls over in bed.The FATHER turns off the bed lamp, then sits up, worried inthe dark.JUDY's bedroom. It is her radio we have heard. She turnsoff light, opens the door a crack, and looks out toward herparent's room. DISSOLVE TO:Traveling shot. PLATO. He is coming up the walk to hishouse. When PLATO has come a few feet, somebody whistles.PLATO and camera stop. Short, quiet whistles come from theboxwood and shrubbery on both sides of the walk. PLATOturns and starts to run, camera following. He gets to hisdoor, tries the key, but in his panic it will not go intothe lock. Suddenly a hand reaches in and jerks him around.CRUNCH stands above him. GOON closes in from the other side.All very tense and hotted up! PLATO What do you want! CRUNCH You know what we want. We want your friend. GOON We got eyes for him. PLATO Listen, you guys ought to go home. The cops are cruising every-- GOON Where does he live?PLATO reaches up swiftly and rings the bell. GOON grabs him.CRUNCH cracks him. CRUNCH You better tell us and I'm not kidding. PLATO My old man's got a gun. GOON His old man's got a gun. What do you think of that! (drives a hard blow at PLATO's belly) Your friend talked-- (belts him again) Now you talk! Talk!The door opens and the NEGRO WOMAN is there. CRUNCH sendsPLATO spinning into the house past her. He falls. NEGRO WOMAN (yelling) What you doing! What you doing to him! You clear out of here 'fore I call the police!She swings at CRUNCH who faces her, challenging. NEGRO WOMAN Clear out. Go on! Go on now! MOOSE Let's go, Crunch.They turn and move past camera. PLATO gets up off the floor.We hear the sound of a heap starting. The NEGRO WOMANcloses the door.Inside PLATO's foyer as NEGRO WOMAN bolts the door. NEGRO WOMAN Why you like to mix with bad boys like that? Why you get in trouble all the-- PLATO I have to go out. I have to warn him.He starts up the stairs. She follows him heavily. NEGRO WOMAN You not going anywhere! You staying home while your mama's away.Bedroom of PLATO's mother, a lacy affair with imported dollson the pillows. PLATO rushes in, opens the drawer of thenight-table and pulls out a gun. He checks to see that itis loaded. The NEGRO WOMAN appears in the door and staresat him, turns on the light which illuminates the bed-lamp. NEGRO WOMAN John! What you doing with that! You leave that be! Put it down before you hurt yourself. Hear me?But PLATO moves past her and out of the room. She turnsafter him. NEGRO WOMAN (continuing) John! You stay home! John! John!The slam of a door is heard below. DISSOLVE TO:JIM's garage. Night. JUDY waiting inside. JIM's car pullsin, a radio going softly. He turns the motor off and isabout to turn off the radio when we hear the announcer: ANNOUNCER Coming up now another request--this time from the boys down at Anna's Pizza Paradise--A new arrangement of a great oldie in rhythm and blues. Jim, this is dedicated to you--from Buzz.JIM stares at the radio, then turns it off.Another angle. JUDY They'll be looking for you. JIM They saw where I jumped! I didn't chicken! What do I have to do-- kill myself? JUDY It doesn't matter to them. JIM You were looking for me, weren't you? JUDY (a small voice) No--I was just--maybe-- JIM I tried to call you before. JUDY I thought so. JIM Want some milk?JUDY comes forward. JIM That's all I can do when I'm nervous. Drink milk. Here--have a slug.She shakes her head. He takes a sip. JIM You still pretty upset? JUDY I'm numb.She is shuddering a little. JIM You cold? JUDY Even if I'm near a fire, I'm cold. I guess just about everybody's cold. JIM I swear, sometimes, you just want to hold onto somebody! Judy, what am I going to do? I can't go home again. JUDY Neither can I. JIM No? Why not? (no answer) You know something? Sometimes I figure I'll never live to see my next birthday. Isn't that dumb? JUDY No. JIM Every day I look in the mirror and say, "What? You still here?" Man!They laugh a little. JIM Hey! You smiled!JUDY shakes her head--beginning to warm to him. JIM Like even today. I woke up this morning, you know? And the sun was shining and everything was nice. Then the first thing that happens is I see you and I thought this is going to be one terrific day so you better live it up, boy, 'cause tomorrow maybe you'll be nothing. JUDY I'm sorry I treated you mean today. You shouldn't believe what I say when I'm with the kids. Nobody acts sincere. JIM Why'd you get mixed up with them? You don't have to prove anything. JUDY If you knew me you wouldn't say that. JIM I don't think you trust anybody, do you? JUDY Why? JIM I'm getting that way, too. JUDY (looks at him) Have you ever gone with anyone who-- JIM Sure. Lots of times. JUDY So have I. But I've never been in love. Isn't that awful? JIM (smiling) Awful? No. It's just lonely. It's the loneliest time.She looks up. He kisses her forehead. JUDY Why did you do that? JIM I felt like it. JUDY Your lips are soft when you kiss.JUDY rises. JIM Where you going? JUDY I don't know, but we can't stay here. JIM Where can we go? I can't go back into that zoo. JUDY I'm never going back. JIM Listen! I know a place! PLATO showed me before. An old deserted mansion near the planetarium (rises) Would you go with me?JUDY hesitates. JIM You can trust me, Judy. JUDY I feel as if I'm walking under water.They start out. DISSOLVE TO:Inside bathroom. JIM's house. The water is running in thesink and JIM's father is fixing a stomach settler. Graduallyhe grows aware of a heavy pounding which insinuates itselfabove the splash of water. The FATHER pauses, then turnsoff the tap. The pounding continues. JIM'S MOTHER appearsat the bathroom door. She is seen in the mirror tying herrobe. MOTHER Frank? I'm frightened. FATHER What's that pounding? MOTHER I don't know. First I thought it was Jim but-- FATHER He's home. I heard the car. MOTHER Are you going down there? FATHER Look--just relax, will you?The pounding ceases. FATHER See? It stopped. MOTHER I still think you should go down.He goes out of the bathroom, into the hall.Foyer. JIM's house as the FATHER comes down the stairs,turning on the light as he comes. He reaches the door andpauses. The MOTHER stops midway down the stairs. FATHER (through the door) Who's there? (silence) Anyone there? MOTHER (low; at balustrade) Open it.The FATHER opens the door and looks up sharply.Close shot. Door. FATHER's head in f.g. as he stares at it.Nailed to the door by its outstretched wings, its headhanging in an attitude of crucifixion, is the freshly killedcarcass of a chicken. Low whistles are heard from outside.The FATHER, frightened, looks out into the night.Full shot. Front lawn and street. Shooting over theFATHER's head. The whistling continues. FATHER (hoarsely) Who's out there? VOICE Where's your son? FATHER What? ANOTHER VOICE Where's your baby boy gone to, Daddy? We want him.Suddenly the FATHER slams the door and rushes past us intothe house.Full shot. Foyer as the FATHER rushes to the bottom of thestairs. FATHER Look in his room!The MOTHER disappears. FATHER Jim! Jim!The FATHER dashes into the living room, then into the hallagain and down through the kitchen door.Back yard as the FATHER comes out. He closes the doorquietly and calls in a low voice: FATHER Son?He stares around the yard, then hurries to the garage.JIM's car is missing. He looks up suddenly.Reverse shot. JUDY'S FATHER seen across the alley wall. Heis standing in his own back yard. JUDY'S FATHER Is anything wrong? I'm your neighbor.Med. shot. JIM'S FATHER. He smiles feebly. FATHER Oh, no, thanks. I just wanted to-- to be sure my garage was closed.JIM'S FATHER closes his garage door and walks back towardhis house. MOTHER (O.S.) Is he there? FATHER No, honey. No, he's not here.He starts for the house again after a quick look in thedirection of JUDY'S FATHER.Full shot. JUDY's back yard. JUDY'S FATHER watches MR.STARK disappear, then... JUDY'S FATHER (softly) Judy?The alley by JIM's house. PLATO drives up on scooter. Hechecks the garage, sees JIM's car is gone, is about to takeoff in confusion, hears door slam in JIM's back yard, shutsoff engine, fixes tie, combs hair, goes in the fence gate toJIM's back yard.Full shot. JIM's back yard. JIM'S FATHER is coming towardhim. JIM'S FATHER and PLATO simultaneously say: FATHER What are you doing? PLATO Where's Jim? FATHER I don't know. Do you--do you know where he is? PLATO No. No, I don't.Closeup. PLATO remembers about the mansion--then almost tohimself: PLATO I know where--Back to full shot. FATHER and PLATO. PLATO Hope I didn't bother you. Goodnight.He runs to scooter. FATHER Hey, come back here. Who are you? DISSOLVE TO:Split screen montage. It begins with a telephone ringingalone in the corner of the screen. As camera moves back wesee that the phone is in an office at Juvenile Hall. RAY isstanding by, trying to make sense out of the incoming reports.The other part of the screen lights up and becomes:Bedroom of PLATO'S MOTHER where the NEGRO WOMAN is speakinghysterically into the phone.Bedroom of JUDY's parents. The FATHER is on the phone.BEAU has awakened and is crying. His MOTHER tries to diverthim.JIM's bedroom. JIM'S FATHER sits disconsolately on the bed,the phone in his hand. He is talking earnestly.During this the sound of the telephone ringing has increasedto become the sound of many and this has been submerged in adeep rising riot of sirens whose wail mounts higher andhigher until: DISSOLVE TO:Full shot. Planetarium. Moonlight. A lone siren wails indistance. Aside from this, all is very still. Camera panspast the dome and settles on an isolated mansion set high ona hill nearby. Stone balustrades drop down to sunkengardens where the grass has gone to seed around a waterlessfountain.Closer shot. Mansion. Night. A Mediterranean villa with alarge domed solarium which is connected to the main buildingby a low enclosed arcade. A crash and the falling ofsplintered glass is heard.Long shot. Promenade. Shooting through pillars of the mainentrance portico, down the long promenade outside arcade.Two figures, seen in the distance, are disappearing througha window. Camera tracks down promenade until it reaches abroken window through which JIM is just disappearing. Whenhe gets inside, he reaches back and takes his leather jacketwhich has been spread on the sill to protect them fromsplinters, shakes it out and puts it on. Running footstepsare heard approaching. JIM looks out nervously. PLATObursts in, out of breath. PLATO Jim! JIM Who's that! PLATO It's me! JIM How'd you find me? What's happening? PLATO They're looking for you!-- JIM Yeah? PLATO Everybody! Crunch and Goon and everybody! I think they're going to kill you. JIM We know. PLATO They think you told the police on them. They--who's in there? JIM Judy. PLATO Help me in!JIM gives PLATO a hand over the windowsill.Inside arcade. JIM and JUDY are seen in an entering shaftof moonlight. PLATO hits the floor and disappears intodarkness. JIM Hey where'd you go? PLATO I'm here. Shut up. JIM Come out come out wherever you are! PLATO Shut up. Are you nuts? JIM No. I'm scared.A match flares and lights a candle on an antique Spanishcandelabra. PLATO is revealed bending over it. He lightsthe other candles through the following: PLATO We're safe here. I hope. (holds up candelabra) What do you think? JIM (gazing around) Wow! Well now-there-then!His wonderment is justified. The floor of the arcade ismarble and there are marble benches and neo-Roman bustslining the walls. PLATO Isn't it crazy? JIM Wowee ow wow! Let's take it for the summer. JUDY Oh, Jim! JIM No--come on. Should we rent or are we in a buying mood, dear? JUDY (laughing) You decide, darling. Remember our budget. PLATO Don't give it a thought. Only three million dollars a month! JUDY Oh, we can manage that! I'll scrimp and save and work my fingers to the bone... JIM Why don't we just rent it for the season? JUDY You see, we've just--oh, you tell him, darling. I'm so embarrassed I could die! JIM Well--we're newlyweds. JUDY There's just one thing. What about-- PLATO Children? Well, we really don't encourage them. They're so noisy and troublesome, don't you agree? JUDY Yes. And so terribly annoying when they cry. I just don't know what to do when they cry, do you dear? JIM Of course. Drown them like puppies. JUDY See, we're very modern. PLATO Shall I show you the nursery? It's far away from the rest of the house. If you have children--Oh I hate the word!--or if you decide to adopt one--they can carry on and you'll never even notice. In fact, if you lock them in you never have to see them again, much less talk to them. JUDY Talk to them! Heavens! JIM Nobody talks to children! They just tell them one thing and mean another. PLATO It's wonderful that you understand so well--and so young too! You know the most wonderful feature about the nursery? JIM What? PLATO There's only one key. JIM We'll take it! PLATO Come on!PLATO leads them away from us down the arcade, the candelabracasting wild shadows on the walls. They are laughing asthey disappear through the glass doors at the end and theirlaughter echoes stonily. DISSOLVE TO:Med. shot. A street and an alley. Night seen through thewindshield of a police car. Its radio is on low. Twoofficers are in the front seat. One of them drinks coffeefrom a container. Suddenly MOOSE's heap moves past on thestreet ahead. In it are MOOSE, GOON and CRUNCH.Full shot. The street as MOOSE's heap continues up theempty street. The police car slides out of the alley whereit has been concealed, and follows at a distance. Itsheadlights are off.Close shot. CRUNCH, GOON and MOOSE (Process). They are inthe front seat of MOOSE's heap. MOOSE What time is it? CRUNCH Hang loose. We got all night. MOOSE That maid saw us. She could identify us too. CRUNCH You still want to go home, Moose? MOOSE No. CRUNCH Then shut your mouth before your guts run out! GOON What guts? DISSOLVE TO:Inside glass solarium. A swimming pool lies at the center.There is no water in it. Framing the pool is a flagstonewalk with marble benches spotted here and there. The greatglass room had once been planted thickly with tropicalfoliage.But now what palms and lianas remain are withered and deadwith lack of care. At the edge of the pool, near the deepend, a blanket has been spread and a candelabra burns uponit. In its mysterious light our three kids are revealed:JIM, bouncing precariously at the end of the diving board;JUDY on the blanket nearby; PLATO on the pool's bottom. Allthree are laughing hysterically when suddenly JIM starts tolose his balance. JIM (yelling) Quick! Fill the pool!JIM falls in. PLATO rushes to him. JIM Let's see how long we can stay under. PLATO Man, you're schizoid! JIM (in another outburst of laughing) I'm what? What? JUDY You can't talk underwater! JIM (gargling) I bet you hear everything I say! PLATO (gargling) Isn't he schizoid? JIM (gargling) Hey! How 'bout that!They laugh again. JIM swings up the ladder and goes to JUDY.PLATO follows. PLATO Haven't you noticed your personality splitting? JIM Not lately.They all sit on the blanket. JIM How do you know so much about this junk, Plato? PLATO I had to go to a head-shrinker. I only went twice though. My mother said it cost too much, so she went to Hawaii instead.JIM lies back with his head in JUDY's lap. She strokes hishair and smiles at him. PLATO looks away. JIM No. Seriously. What's your trouble?PLATO hesitates a moment, then leans back, cuddling betweenthe two of them. PLATO I don't know but whatever it is, it's gone now. I mean I'm happy now. Here.JIM puts his arm under PLATO's chin. PLATO I came here before. JIM When was that? PLATO When I was here? When I ran away. I used to run away a lot but they always took me back. JIM Who? PLATO Mom and Dad. I used to be in my crib and I'd listen to them fight. JIM You remember that far back? Boy, I can't even remember yesterday. JUDY Plato, where's your father now? PLATO He's dead. He was a hero in the China Sea. JIM You told me he's a big wheel in New York! PLATO I did? Well, he might as well be dead. What's the difference? JUDY It's all right. JIM Sure.PLATO closes his eyes. JUDY hums a lullaby as she strokesJIM's lips with a finger. He snaps at it. Then he kissesher hand, looks at her palm. They whisper. JIM (continuing) You have a long life-line.She takes his palm and examines it. JUDY So have you.She kisses it, holds her cheek against it. JIM Ever been in a place like this before? JUDY Not exactly. It's certainly huge. JIM How many rooms do you think there are? JUDY I don't know. JIM Should we explore?She looks at PLATO. JIM shrugs--tests to see if the boy isawake, but there is no reaction.Carefully, they crawl to their feet. JIM supporting PLATO'shead with his hands as they do so. JIM takes the otherblanket and covers PLATO with it. JUDY kneels on the otherside and tucks it in. They look at each other across himand smile. Then suddenly JUDY bends down and kisses PLATO'scheek very softly. JUDY and JIM rise.JIM takes a candle from the candelabra and leads JUDY alongthe edge of the pool to the glass doors beyond. Silenceexcept for their footfalls on the flagstone. In thedistance we see the doors open and the couple pass through.When they close again, a sob comes from PLATO.High angle closeup. PLATO lying as they left him, but hiseyes are open and he is crying. Camera booms up as PLATOthrows off the blanket and looks after them. Camera boomshigher until he is revealed as a small and lonely figuresitting by himself. The pool echoes his weeping. DISSOLVE TO:Inside library. Mansion. Night. The door opens slowly andJIM appears with the candle. JUDY lingers at the door. Theflickering light reveals a formerly lavish room, paneled inoak. There is a tapestry couch, empty bookcases, some dimportraits, a leather table and several chairs around a greatstone fireplace. JIM Hey! Will you look at this room! (looks behind him) Judy?She comes forward. JIM drips wax on the table-top andsticks the candle on it. His hand shakes. JUDY sits on thecouch. JIM (continuing) Want to read any books? Take your pick! (sits beside her) Isn't this the craziest? JUDY Hi. JIM Hi.He takes her hand. She looks at him and smiles. JIM (continuing) What? JUDY Your hand's all wet and it's shaky. (kisses it) You're so funny. JIM Why? JUDY I don't know--you just are. Leaving a light for Plato. That was nice. JIM Maybe he's scared of the dark. JUDY Are you?JIM snuffs out the candle. They are left in moonlight. Apause. JIM (singing) Here we are-- out of cigarettes-- Junior's in the nurs'ry-- See how late it gets-- JUDY You don't need to do that. JIM There's something I should tell you, Judy. JUDY I know already. We don't have to pretend now. JIM (laughing) What a relief!He leans back, relaxed at last. She snuggles close to him. JUDY Is this what it's like to love somebody? JIM You disappointed? JUDY (mussing her hair) Funny Jimmy. You're so clean and you--this is silly. JIM What? JUDY You smell like baby powder. JIM So do you. JUDY I never felt so clean before. JIM It's not going to be lonely, Judy. Not for you and not for me. JUDY I love somebody. All the time I've been looking for someone to love me and now--I love somebody. And it's so easy. Why is it easy now? JIM It is for me too. JUDY I love you, Jim. I really mean it.She kisses his lips gently and looks into his face. Hereturns the kiss. Their arms go around each other. JIM I mean it too.He kisses her again--Full shot. Road near Planetarium. MOOSE's heap crawls upand turns left. A moment later, the police car appears anddoes likewise--still holding its distance.Full shot. The mansion as MOOSE's heap moves past on theroad below. Suddenly it stops.Inside MOOSE's heap. CRUNCH looks off, curious. GOON What you stopping for? CRUNCH You scam a car up there? MOTHER So what? CRUNCH Nobody's lived in that hunk of junk for five-six years.He switches on the spotlight. It illuminates JIM's heap. CRUNCH Well, what do you know! I feel a kick coming on!He turns off all the lights and gets out. The others follow.Med. shot. Police car. It has halted. One of the officersgets out and draws his gun. The other makes radio contactin a low voice: OFFICER This is Unit 17. Unit 17. RADIO Come in, Unit 17. OFFICER We just zeroed three kids in a heap. Crest Drive and Observatory. Looks like house-breaking. Send us some help. They may be armed. Over.Close shot. PLATO asleep on the blanket. Only a singlecandle burns in the candelabra. The same low whistles heardearlier come from all around him and rise in volume.Suddenly his eyes open. He doesn't move, but he has comesuddenly awake.Low shot. PLATO lying in f.g. Next to his face are a pairof booted feet. He looks up. Camera pans up to show CRUNCH.He is smiling. He holds a tire chain in his hand which heswings. CRUNCH Good morning.Full shot. The swimming pool. GOON and MOOSE are behindCRUNCH. They too are armed with tire chains. They alllaugh. PLATO rolls away from them and runs toward the deepend of the pool. CRUNCH Moose! Take the steps! Goon! The other side.The boys run to their assigned places. PLATO sees no exit.He flings himself down the ladder and into the pool. Hefeints this way and that, the boys responding as if theywere fencing. CRUNCH swings down the ladder and his bootsmake a loud report as they hit the pool. MOOSE advancesdown the steps at the shallow end. GOON climbs onto thepool bottom at the opposite side. The feinting continues,wordlessly, as the circle closes around PLATO. The onlysounds are the stamping of their boots as they try todistract him from side to side, and the animalistic gruntsthey make to scare him. Suddenly PLATO sees an opening andplunges past MOOSE, pushing him over, and stumbles up thesteps. CRUNCH Come on! Let's make it!They stream out of the pool after PLATO. He reaches theglass doors first, streaks though, and bangs them shutbehind him.Traveling shot. Arcade. PLATO's face is visible only whenthe moonlight strikes him through the passing windows. Thesound of running steps behind him.Full shot. Main room. A pattern of moonlight on the barefloor as PLATO dashes in and through it. He falls over apiece of furniture and comes scurrying in to camera, wheelsaround on hands and knees to face the door. The boys plungeinto the moonlit square and stop. PLATO tries not tobreathe. A match is struck. CRUNCH looks around, but cansee nothing. That match goes out. The boys start up thestairs, whispering. Immediately, PLATO crawls forward,under the piano. He hears a murmur of voices from behindthe oak door of the library--next to the piano. He moves toit stealthily.Close shot, PLATO at door listening through it, on hands andknees. His confusion mounts. He shakes his head to clearit. Then, suddenly he rises and tries the knob. The dooris locked. He beats on it. PLATO Save me!The boys run across the room. As they hit the moonlitsquare. PLATO spins and fires. Somebody drops and startsmoaning. JIM opens the door. PLATO (shrieks) What you run out on me for! What you leave me alone for? JIM Plato!There is a rush of boys coming forward. PLATO (with hate) I don't want you for my father! JIM Your father!PLATO fires at JIM. JIM leaps at PLATO with a cry andknocks him down. JIM (in rage) You crazy nut! You crazy, crazy nut! PLATO (screaming) Get away from me!He rolls away from JIM and runs to the main door. JUDY Jim!Main door, from inside. PLATO falls upon it, fumbles withthe bolt and swings the door wide. He steps out into thewaning moonlight and we see him running down the lawn. JIMrushes into the doorway and stops short.Full shot. Mansion. The OFFICERS are moving away from ustoward it. PLATO runs wildly toward them. OFFICER (sharply) Halt!PLATO stops, confused. OFFICER (continuing) Come here.JIM runs out on the promenade and starts over the balustrade. JIM Plato!Close shot. PLATO. His face is working desperately ingrowing panic. OFFICER (O.S.) Come here, son. PLATO No! JIM (O.S.) Plato! OFFICER (O.S.) Just walk over here quietly now-- and there won't be any trouble.PLATO runs out.Close shot. JIM as he screams. JIM Plato!Full shot. Main doorway as JUDY rushes out, followed byGOON and MOOSE. They all stop dead at the balustrade. JUDY Jim! Watch out!Reverse shot. Lawn. JIM seen in f.g. PLATO bolting towardthe woods in the direction of the planetarium. The officershave both hit the ground in the distance. They fire again.JIM hesitates a moment, then rushes after PLATO. Theofficers fire again.Moving shot. JIM as he runs after PLATO.Med. shot. OFFICERS as they rise to their feet. FIRST OFFICER Take the house! I'll head him off.Full shot. Front of mansion. JUDY flies down the stairsand rushes past camera. OFFICER (O.S.) Halt! Halt!Prowl car. Another part of town (Process). RAY is driving.JIM's father is beside him. The mother is in the back seat. RADIO --located at Summit Drive--the Planetarium. RAY (snapping on mike) The planetarium? One kid inside-- five housebreaking in area. Will proceed. (turning to JIM's parents) There are some kids in trouble-- you'll have to go with me. FATHER Perfectly all right.Edge of woods as JIM hurtles in from the open ground beyond.He stumbles against a tree and sinks down. JIM (yelling) Plato!Traveling shot in the woods as PLATO rushes through themoonlit trees, sobbing. JIM (O.S.) (distant) Plato!Med. shot. JIM at the base of a tree. He is whimpering,shaking his head. JUDY crashes through the brush and dropsbeside him. JUDY Did he hit you?She is on the verge of hysteria. JIM No! JUDY We have to go back! JIM No! I got to find him.He starts to rise. JUDY After he tried to shoot you? JIM He didn't mean it--we shouldn't have left him. He needed us. JUDY He needed you, maybe. So do I.There is a sound of distant gunfire. Both kids freeze. JIM He needs you too. Come on.JUDY, breaking into a run, follows after him through the brush. JUDY You should have heard him talk about you tonight. Like you were the hero in the China Seas. JIM Sure. He was trying to make us his family. JUDY They're killing him!JIM runs ahead blindly and disappears in the trees. JUDYrushes after him a few steps, then stops.JUDY and JIM running.PLATO running.The planetarium. Moonlight. Shooting from the bridle pathand panning to the building. PLATO reels in and goes to thefront door.Med. shot. Door to planetarium. PLATO clutches the handle.The door is locked. He whimpers once in frustration.Med. shot. Policeman running up same path PLATO has followed.PLATO at door to planetarium. He smashes the glass with hisgun and dives through.Inside planetarium as PLATO lands. He is cut and bleeding. OFFICER (O.S.) Come out of there.PLATO wheels and skitters backward across the floor of theobservatory on his hands and knees until he comes to thedoor of the planetarium theater.Reverse shot. Main entrance. Seen from inside. TheOFFICER in b.g., PLATO in f.g. The OFFICER appears in theentrance, then moves quickly to one side to be less of atarget. He reaches in to unlatch the door. OFFICER You're making it tough on yourself, kid. Come out quietly now. You didn't kill anybody yet.PLATO fires at him, then opens the door of the planetariumtheater and runs inside. The door swings shut behind him.Outside planetarium. The OFFICER is hugging the outsidewall. Another siren wails and a spotlight catches theOFFICER who runs out into the light. OFFICER (running) Need a little help here!Full shot. Parking lot as the CHIEF's car wheels to a stop.It is followed by a civilian car and a cab.CHIEF's car. CHIEF We heard firing. He get anybody? You alone? OFFICER We got a cookaboo inside. He wounded some kid earlier. CHIEF How'd he get in? OFFICER Smashed the front door. CHIEF Any other entrance? OFFICER (leaving) Down in back.Med. shot. Bushes bordering planetarium as JIM climbsthrough them and stops short, staring in amazement. JUDY isin b.g.Full shot. Parking lot. JIM seen in f.g. hiding in thescreen of leaves. Beyond we see the full activity--thecrowd, the cars, searchlights playing on the planetariumentrance, police moving in under direction of the CHIEF. CHIEF (loud on speaker) Silence. Please maintain silence. Keep back and stay off the pavements. Keep back and stay off the pavements. There will be emergency vehicles coming through. This warning is for your own protection.RAY's prowl car come in. JIM's parents climb out, curious.RAY hurries to consult with an officer who briefs him, thenhurries to the chief's car.Parking lot. Several patrol cars now line the parking lot.The NEGRO WOMAN in her nightgown and overcoat pushes forwardfrom a cab and accosts an OFFICER. NEGRO WOMAN What's going on? OFFICER I don't know, lady. Some kid's in trouble. Stand back, please. NEGRO WOMAN I got to know. My boy run off tonight. He had a gun with him, too.Med. shot. CHIEF's car as RAY hurries in. CHIEF Hello, Ray--Know anything about this? RAY As much as you do--Loan me your mike, will you? CHIEF (handing it to him) Help yourself. RAY (into mike) I am addressing the boy in the planetarium. I am speaking to the boy inside. This is Ray Framek from the Juvenile Division--Close-up JIM as he reacts to RAY's name. He rises and looksoff. RAY (O.S.) (over speaker) You are now surrounded. You are surrounded by many armed police. Whoever you are, drop your weapon and come outside.Med. shot. JIM'S FATHER standing by RAY's car, gazing offwith interest. His wife comes out and stands beside him,looks at him questioningly. RAY (O.S.) (over speaker) Come outside. Clasp your hands over your head and come outside quietly--The FATHER's gaze has traveled over the scene. Suddenly hesees his son followed by JUDY, run into the planetarium. MOTHER Frank! FATHER Stay here. (goes over to RAY) That was my son! RAY You sure? FATHER I think I know my son.The FATHER moves behind the crowd, camera trucking with him,until he reaches the bushes at the edge of the parking lotand stops, gathering himself. Meanwhile RAY's voicecontinues over: RAY (O.S.) (over speaker) Jim Stark! I'm addressing Jim Stark. Nobody will harm you or your friends if you follow these instructions. We are here to protect you. Drop your guns and come outside. Nobody will hurt you if you do as I say--The FATHER starts forward along the bushes as if stalkinggame. Each step is carefully placed and quiet, but hisheart tugs him along like a kite dragging an anchor. CHIEF Officers! Another boy and girl just ran into the planetarium. We do not know if they are armed. Hold your positions until further instruction.Inside planetarium as JIM comes dashing in, spins around,staring. JUDY follows. A siren is heard outside growingshrill. CHIEF (O.S.) (over speaker) Ambulance. Ambulance is coming through. Clear a passage. Will you people make way there?Floodlights strike the door and illuminate the lobby dimly. JIM (softly) Plato?Silence. JIM moves cautiously to the door of the planetariumtheater. JUDY hangs back. Another siren is heardapproaching. More floodlights strike the door. JIM (continuing - calling softly) Plato? Plato, you in there? (silence) Hey, I'm going to open the door now. You'll be able to see me and you can shoot me if you want, but just remember one thing, Plato--You're my friend. That means a lot to me.JIM opens the door slowly.Inside theater. Darkness except for the splash of lightfrom the door where JIM stands in silhouette. He lets thedoor close. Blackness. JIM Plato? PLATO I'm here. JIM Boy, I'm blind as a bat! You got a match? I'm going to break my neck in here. Where are you? PLATO I've got a gun. JIM I know. Light a match, will you?PLATO obeys. JIM That's swell. How are you? PLATO I'm fine.Another siren is heard outside. JIM has reached thelecturer's desk and, just as the match goes out, he throws aswitch. The stars appear on the dome and the projectorstarts its slow revolution. PLATO You think the end of the world will come at nighttime, Jim? JIM No. At dawn. PLATO Why? JIM I just have a feeling. Where are you? PLATO Here. JIM Well, stop hiding and stand up. I can't talk to you if I don't see you.JIM waits. Nothing happens. JIM Hey, look at the stars, Plato. Stand up and look at the stars.Plato rises from behind a row, then JIM continues: JIM That's fine.JIM approaches slowly. JIM I'm not going to hurt you. PLATO Why did you run out on me? JIM We didn't run out. We were coming right back. PLATO You sure? JIM Sure I'm sure. Judy's waiting. You ready to come out now?A siren is heard. PLATO No. JIM I promise nothing'll happen if you do. (silence) You want my jacket? It's warm.JIM takes off his jacket and holds it out to PLATO. PLATO Can I keep it? JIM What do you think?JIM gives him the jacket--PLATO puts it on. JIM You want to give me your gun now, Plato? PLATO My gun? JIM In your pocket. Give it to me. PLATO I need it. JIM You trust me, don't you? Just give it to me for a second.PLATO hands him the gun. JIM removes the cartridges andputs them in his pocket. PLATO You promised to give it back. JIM Friends never break promises, do they? (gives him back the gun) Okay. Here. Now listen. There are a lot of people outside and they all want you to be safe. You understand that? They said I could come in and bring you out. PLATO Why? JIM They like you. Okay? PLATO Come on!JIM opens the door for PLATO, then follows him out. JUDYjoins them. JUDY Hi, Plato! PLATO Hi.Observatory as JIM, JUDY and PLATO come to the entrance.PLATO sees an OFFICER. PLATO Who's that? JIM Just a guard. PLATO I shot at one of them. JIM But you didn't hurt anybody.Outside observatory as PLATO and JIM come forward into theearly dawn. PLATO stops and looks off, scared.Slow pan shot. The crowd. It has grown enormously.Silence. There are armed officers everywhere--all waiting,alert.Med. shot. NEGRO WOMAN. Her eyes are moist. Her lips movein silent prayer.Med. shot. JIM's parents. The FATHER looking on anxiously.The MOTHER is crying against the car.Med. shot. JIM and PLATO. PLATO Those aren't my friends. Make them go away. JIM (tense; calling past camera) Ray! Will you tell these guys to move back?Suddenly PLATO bolts. JIM wheels after him. JIM (yelling) Plato! Don't be a fool!Full shot. Planetarium as PLATO dashes to the stairwayleading to the balcony.JIM'S FATHER and MOTHER. Their faces reflect panic as theysee PLATO running in JIM's coat. MOTHER It's Jim!Full shot. Balcony. Shooting down the stairs as PLATOrushes up. JIM closes behind him. Camera pans with PLATOas he climbs the ladder to the ledge of the small dome. JIMstops at the foot of the ladder. JIM Plato! PLATO Keep away from me! I don't believe you anymore!He raises the gun as if to shoot JIM. An OFFICER drops toone knee and fires a shot at PLATO.Full shot. Small dome. PLATO drops like a stone to JIM'sfeet.Close-up. JIM. JIM (screaming--wildly) But I've got the bullets! The gun was empty!Close shot. NEGRO WOMAN as she screams, a handkerchief inher mouth.Close shot. JUDY. She sobs once and runs up steps.Med. shot. JIM staring down at PLATO. JIM Plato? (crouches over PLATO) Plato. Hey, Jerkpot!There is nothing. He rises and faces the crowd, shaking hishead in wonder and reproach. JIM (quiet) What did you have to do that for?Full shot, the roof. Parents and Officers. The NEGRO WOMANis hysterical. RAY shoves past her, followed by JIM'SFATHER and MOTHER. They rush toward camera.Ambulance crew. They spring into action, arrive withstretcher.The balcony. JIM is at PLATO's side. A couple of OFFICERSrush forward to take JIM. The FATHER comes in and pushesthem aside. FATHER Let him alone! He's mine! I'll take care of him!RAY, who has witnessed this, motions to the officers. RAY It's all right! It's all right!The FATHER stares down at JIM for a moment. Then he kneelsbeside his son, puts his coat over JIM's shoulders. Hespeaks very gently. FATHER For a minute...that jacket...I thought... (breaks off, then) You couldn't help it, son. (reaches out, gently, but firmly) You did everything a man could do.He takes JIM by the elbow and starts to bring him to hisfeet. The boy suddenly resists, and remains kneeling. FATHER Stand up, Jim. I'll stand up with you. Let me try to be as strong as you want me to be.A faint hope appears in the boy's face. He no longerresists as the FATHER helps him to rise. But he still keepshis back to him. The ambulance attendants start puttingPLATO on a stretcher. JIM moves, as if to stop them, butthe FATHER still holds his shoulders. JIM He depended on me. FATHER And you can depend on me, son. Trust me. Whatever comes we'll face it together, I swear.JIM feels, for the first time, the love and security he hasalways wanted. He clutches at his FATHER, crying unashamedly.The FATHER's arms envelop him. PLATO, through his death,has helped these two find each other.Close shot. JUDY and RAY watching.Low angle. NEGRO WOMAN as she bends over PLATO's body. NEGRO WOMAN (as they lift PLATO onto litter) This poor baby got nobody. Just nobody.As he is carried past her, she follows.Balcony stairs. From below as JIM, supported by his FATHER,comes down. RAY is behind them. They pause for a silentmeeting with the MOTHER at foot of the stairs. She kissesJIM and starts wiping his tears away, but he is weepingsoundlessly and it does no good.JIM looks back up at the dome. The ambulance attendants arebearing PLATO's litter down the last few stairs, followed bythe NEGRO WOMAN.Group. The ambulance attendants come down the last fewstairs followed by the NEGRO WOMAN. JIM steps forwardsuddenly and adjusts the blanket covering PLATO. JUDY comesto JIM's side. The litter passes camera and we hold on twoshot of JIM and JUDY, seen against the lightening sky. JIM (to JUDY, half to himself) He was always cold.JUDY moves to JIM and touches his arm lightly. He looksdown at her.Med. shot. The group. JIM's arm is around JUDY as he leadsher, firmly, towards his MOTHER and FATHER. His voice iswarm, brimming with the new found pride he takes in hisparents as he introduces JUDY to them. JIM Mom--Dad--this is my friend. Her name is Judy.The parents nods warmly and smile at her. She smiles shylyin response, happy at being accepted. There is a warmthemanating from the tight little group. Changes havehappened to them. Old things have been shed and a new starthas been made. Camera booms--pulls back high to:High general shot. Planetarium, JIM and JUDY, FATHER andMOTHER threading their way through the crowd as the cameracontinues to pull back. FADE OUT. The end. \ No newline at end of file diff --git a/unformated_scripts/Script_Red Planet.txt b/unformated_scripts/Script_Red Planet.txt new file mode 100644 index 0000000000000000000000000000000000000000..af274970bbc78c26a6e6f0c0fdc09aa162c21e57 --- /dev/null +++ b/unformated_scripts/Script_Red Planet.txt @@ -0,0 +1,3615 @@ + + +RED MARS + +FADE IN: + +EXT. EARTH - VIEWED FROM SPACE + +A perfect blue marble - clouds, oceans, continents. A voice begins to speak. An older, wise voice. Bud Chantilas. We'll meet him later. + +CHANTILAS (V.O.) +The Earth. From space. In all its glory, the most perfect, self-regulating organism you could imagine. We went out there; we turned around; we looked back; we saw it. You'd think we'd behold and learn something. +(beat) +We didn't. + +The DATE APPEARS in one corner of the screen. 1961. + +CHANTILAS (V.O.) +It was 1961 when we first went into space. There were four billion people in the world. + +The POPULATION APPEARS in the other. + +CHANTILAS (V.O.) +And at a rate that was scarcely comprehensible, we began to poison and populate our planet. + +DATE SPINS, the POPULATION as well. The big, sparkling blue marble that is Earth begins to lose its luster and slowly turns gray. By the year 2000, the population is six billion. + +CHANTILAS (V.O.) +We increased by 80 million people a year. Pumped out our toxins beyond measure. Destroyed our resources killed forests, trees, plants, animals...Anything that couldn't be trademarked and sold at a profit we annihilated without a thought. We killed half of what was on the planet. We didn't care. Right about the millennium, we got another warning... + +DISSOLVE TO: + +PERFECTLY ROUND LILY PAD + +in the midst of a pond. Surrounded by hundreds of dead, dying and deformed frogs. + +CHANTILAS (V.O.) +We killed all the frogs. Every frog on the face of the planet. We'd killed species before, sure, even a genus or two. But this time we wiped out an entire phylum. As the frogs breathe through their skin and react to toxins in the environment faster, this should have been a warning, canary in the coal mine kind of thing. + +The last frog dies. + +CHANTILAS (V.O.) +Nah, we didn't pay any attention to that either. The only people who were really upset were the French. And no one really likes the French. We - + +DISSOLVE BACK TO: + +EXT. EARTH - VIEWED FROM SPACE + +DATE and POPULATION begin to WHIR again. The planet grows dimmer and dimmer. The oceans grayer and grayer. + +CHANTILAS (V.O.) +By 2050 there were 12 billion people. It took us 100 years to go from the Industrial Revolution to putting a man in space. It took us only another 100 to poison and overpopulate the planet so seriously that if we didn't go out and find somewhere else to live, we realized we were gonna die out as a species ourselves in the next two generations. + +FADE OUT. + +FADE IN: + +A billion stars. We PULL BACK THROUGH - + +EXT. ARES - DAY + +A spaceship unlike anything you've seen. Thirteen spheres up front, cuboctoahedral packing. The MEV (Mars Entry Vehicle), a large cylinder behind. The whole thing is slowly turning. + +SUPERIMPOSE: FIRST MANNED MISSION TO MARS (DAY 190) + +The ship floats by to reveal - + +EXT. MARS + +Red, huge, and very close. OVER which we hear - + +BOWMAN (V.O.) +Houston, we are go for Mars orbit acquisition. + +CAPCOM (V.O.) +You are go. Nice flight. Godspeed. + +Engines light up in the back of the craft. The ship heads down towards Mars. Enters orbit. Disappears around the back side. + +SUPERIMPOSE: MARS - FOURTH PLANET FROM THE SUN + +The WORD SUN STARTS TO BLAZE BRIGHTER AND BRIGHTER, FILLING the SCREEN until we are LOOKING AT - + +EXT. SUN + +A writhing ball of plasma. The surface roils, waves of energy pass by and a flare starts to grow and expand out from one quadrant like a giant volcanic eruption. + +INT. SOLAR OBSERVATORY (EARTH) - DAY + +Two SOLAR ASTRONOMERS stare with mouths agape at the heliostat. Monitors around record the event as well. + +SOLAR ASTRONOMER +Jesus...It's gotta be 800,000 miles long. It's gonna shut down every comm satellite on this side of the planet. + +ALARMS are starting to BUZZ. + +SOLAR ASTRONOMER +The good news is it's directional, most of it's gonna miss us. + +INT. MISSION CONTROL (HOUSTON) - DAY + +More ALARMS. Science Officer, ANDY LOWENTHAL, turns to the Flight Director, MATT RUSSERT. + +LOWENTHAL +The bad news is it's directional, and most of it's going toward Mars. Sub-light speed. It'll take 40 minutes to get there. + +RUSSERT +Let 'em know. + +He looks to the Capcom, JOHN SKAVLEM. News gets worse. + +SKAVLEM +No comm. They're on backside. They'll be clear in...40 minutes. + +(NOTE All the crew in mission control wear small Projected Image Monocles (PIMs) over their dominant eye. There are no giant viewscreens dominating the room as in missions past. When so moved, the flight director can throw an image on a large general viewscreen. But unless noted, there are no projected images in the room.) + +EXT. MARS ORBIT - NIGHT + +Dark side of Mars. The Ares is a slightly shining speck, moving towards the horizon and light. At 17,000 mph. + +INT. ARES - FLIGHT DECK - NIGHT + +Commander KATE BOWMAN is at the helm. She's got a kind of quiet assurance. You'd like her. Mission co-pilot ED SANTEN is beside and behind her. She speaks into a mike to rest of the ship - + +BOWMAN +We have stable orbit. We've got three laps around, ninety minutes each. In four and a half hours, we will launch the Mars Entry Vehicle. + +ROBBY GALLAGHER floats in through the hatch in the back. He's been waiting 309 million miles for this - + +GALLAGHER +Are we there yet? + +Kate shakes her head. She's about to respond when - + +EXT. SPACE + +They just clear the edge of the planet, lights hit them and... + +INT. ARES - FLIGHT DECK + +Wham. One light starts to flicker to red. And then another. Some just go off. + +BOWMAN +What the hell?? + +Santen reaches for the RADIO as it begins to blare STATIC. + +SANTEN +Comm's out. + +Bowman begins to rapidly reset states. Some hold, some flip back to red. Things are bad, but she's calm. Decides. + +BOWMAN +Single event upsets. All over the board. Latch up. Free flow. We're gonna lose chips. Shut it down. + +SANTEN +Shut it down? + +Safety BUZZERS start to go off. + +BOWMAN +Everything. SEP, some kind of massive flare. +(then; into the intercom) +Gentlemen, correction, we will launch on this pass. In fact...in five. + +Santen is shutting off every system he can get his hands on. She reaches to finish it off herself. + +BOWMAN +Proton flux. MULTIPLE Event Upsets. Ed, bye. + +Santen is out of his seat and heading back as fast as he can. Gallagher behind him. ALARMS ring now as he rushes out, the artificial gravity begins to fail. + +INT. ARES - MULTIPLE DECKS + +The crew madly scrambling everywhere. + +On the MEV DECK, BUD CHANTILAS, Chief Science Officer (60s, graying) is pulling himself into a spacesuit. + +Popping out of his bunk and into the wall, CHIP PETTENGILL (30s, a little dour), grabs a satchel of personal possessions and swims off down an access tube. + +Gallagher and Santen rush along, careening off the walls. + +Emerging onto the MEV deck, looking absolutely calm, COOPER BURCHENAL (40s, weathered, unconcerned) stops at an intercom station, presses a toggle - + +BURCHENAL +Katherine, you could probably cut off that caterwauling now. I'm up from my nap. + +A moment later, the ALARM CEASES. + +INT. MARS ENTRY VEHICLE + +6 High G couches are faceted about the interior walls, crew names stenciled on them. (Bowman's remains conspicuously empty.) Santen straps himself in. Chantilas, Burchenal, Pettengill, and Gallagher stream aboard. Start cinching themselves in as - + +INT. ARES - FLIGHT DECK - DAY + +Kate continues to try to shut the ship down. Some circuits do, others flicker/free flow and refuse to stop. One particular circuit will clear, but only as long as she holds it shut manually - MEV Launch Release. Only takes her a moment to decide. She's not happy, but tries not to let her concern show as - + +BOWMAN +Gentlemen, it seems I will not be able to join you and will maintain the manual release for the MEV from the Flight Deck. + +SANTEN (V.O.) +Commander!?! + +She has no time or inclination to engage in discussion about her decision. + +BOWMAN +You are go for Mars descent, Lieutenant. On my signal. + +INT. MEV + +Santen powers up the smaller craft. Seals the door. He can't believe he's doing this, but he has no choice. + +SANTEN +We are green across the board. + +The last of them finish torquing themselves down. Gallagher toggles his intercom to Bowman - + +GALLAGHER +Promise you won't leave if we don't like it there. + +INT. ARES - FLIGHT DECK + +She responds in kind. Keeps her tone as light as she can... + +BOWMAN +I promise. +(then) +Lieutenant Santen, you have control authority of the MEV. Now. + +She holds the circuit closed... + +INT. MEV + +Lights are starting to flicker off on the board. Waiting is not a good plan. Santen calls out quickly - + +SANTEN +Crew secure??! + +ALL OF THEM +Secure. Secure. Secure. Secure. + +Santen slams two large buttons on either side of him. + +EXT. ARES - MEV CYLINDER - DAY + +Explosive bolts blow the two halves of the cylinder away. The MEV is an icosahedron revealed inside. As this is space, and a vacuum, there is no sound. + +INT. MEV - DAY + +However, in here, it's LOUD. EXPLOSION REVERBERATES. Half a moment later, ANOTHER EXPLOSION and - + +EXT. ARES - DAY + +The MEV is blown free of the Ares. Again, oddly silent. Small maneuvering MOTORS BURN for a moment, starting the MEV out of orbit and in free fall towards Mars. + +It drops, drops, drops and disappears, friction blazing as... + +INT. ARES - FLIGHT DECK - DAY + +There are still free-flows all over the board. Bowman can't get them to shut down. They flicker, pop on and off. Systems start and shut down and start up again all over the ship. Checks the COMM again. Still STATIC. + +INT. ARES SPHERE SIX + +Control panel on the wall. We hear a CLICKING. Inside the panel, we see the switch sputtering on/off. It fails, arcs. Smoke begins to wisp out. + +INT ARES - FLIGHT DECK - DAY + +A red light comes on. Soft BUZZ. Kate turns. It's a smoke warning in sphere six. + +INT. ARES - VARIOUS DECKS - DAY + +Bowman rushes throughA sphere that's a garden. Another with orchids growing on walls. Artwork on huge LCD screens...Pulls open panels and slaps down banks of breakers as she goes. Rooms turn dark, the artwork disappears. Only phosphorescent safety lights remain. More ALARMS. + +INT. ARES - SPHERE SIX + +Bowman yanks out a fire extinguisher. Sprays down the offending area. She is, of course, hurled across the room by the force. For a moment, though, it looks like she's succeeded. Smoke begins to wisp out again. She pushes over, anchors her feet and jams the nozzle into a fire port. Empties it. This time it seems as if she's prevailed. And then a gentle voice on the intercom. + +ANNUNCIATOR (V.O.) +Fire. Sphere 5. Fire. Sphere 5. Smoke. Sphere 8. Smoke. Sphere 8. + +She still doesn't panic. Hurls herself down another access tube and... + +EXT. MARS - DAY + +Way up in the sky, we can see the tiny flare of the MEV entering the atmosphere. A moment later, a SONIC BOOM reaches us. + +INT. ARES + +Bowman fights a fire in another sphere. Dark now except for the flickering flames. This time we see them otherworldly round and glowing in the zero G. Smoke's in the air it's getting hard to breathe. She puts out the fire, but from the ALARMS, it's clear she's now fighting a losing battle. + +INT. ARES - MAINTENANCE LEVEL/MEV DECK - DAY + +Kate rushes in. Starts pulling master breakers. LIGHTS are EXPLODING as the power surges. She's surrounded by a cloud of glittering glass fragments. We can see the fire/smoke panel lit up nearby. The news is bad. Half of the lights are red. She yanks on a spacesuit. Slaps on a small oxygen container. Locks on the waist, wrists. Reaches back to what seems to be a gelatinous hood. Pulls it over her head, locks the front down and the helmet turns rigid and transparent. She throws the last breaker. Life Support. The ship is now dead, but still burning. She clips herself in with a set of safety tethers and...throws open the main hatch. + +INT. ARES - DAY + +The venting air crystallizes in a huge white plume. Papers, books, cups, clothing flies forth as well. + +INT. ARES - MAINTENANCE LEVEL/MEV DOCK + +Bowman is sucked towards the open hatch. Tethers hold. Watching all her air escape is not a calming moment. + +INT. ARES MULTIPLE DECKS + +Without oxygen, the fires subside and die. All of them. The ship is still and dead. + +INT. MAINTENANCE LEVEL/MEV DOCK + +Total silence. Fire lights are out. Kate shuts the hatch. Finally she lets herself begin to react. Starts to hyperventilate and shake inside her spacesuit. + +EXT. MARS SURFACE + +The MEV has crash-landed. It's a wreck. Air bags deflate. Half have been destroyed. The icosahedron attempts to unfold. A figure struggles out of the shattered craft, collapses on the ground. + +GALLAGHER +It wasn't supposed to be like this. + +FLASHBACK - EXT. JOHNSON SPACE CENTER - DAY + +SUPERIMPOSE: LAUNCH MINUS 9 DAYS + +The air is gray, thick. Stragglers in heavy protective gear struggle through the fetid wind to an airlock on the side of... + +INT. NASA BRIEFING HALL - DAY + +...and join hundreds of journalists in the audience. Lights dim. In front, face lit from below at a podium, Senior Scientist HAROLD ERNEST, 60s, head of the Space Exploration Office. + +ERNEST +As many of you may know, in 2032 the Space Exploration Office began a series of unmanned flights to Mars. + +The entire wall behind him, 40 feet by 100 feet, is a vid screen. As he speaks the images appear. Not as if he's narrating to the footage, but as if it's voice activated. + +ERNEST +It had been determined by 2020 that Mars harbored no life. Although beginning with the same resources as Earth four billion years ago, Mars didn't support any life beyond the microbial stage in the last 300 million years. Nor did it have an atmosphere or climate supportive of human life. + +Exactly as he describes it, it occurs. (Icecaps melt, temperature gradients rise, etc.). In the audience are hundreds of journalists watching. + +ERNEST +It was, however, concluded that Mars was receptive to terraforming. If we could raise the temperature of the planet by only four degrees, the resultant melting of the ice caps would increase the density of the atmosphere, thus holding greater heat, melting the icecaps further. We could use the greenhouse effect to our benefit. To do this, we needed to increase the oxygen content of the atmosphere. Resultingly, a series of probes were sent, each releasing further and further genetically manipulated lichen and algaes designed to stand the rigors of the Martian environment while augmenting the oxygen content of the Martian atmosphere. In the last 28 years, we have sent 2200 probes. The terraforming was initially successful. + +We see the probes launching and bursting in aerosol deployments over the Martian surface. Algae blooms. Red, orange, green, black, burnt sienna. Every color you can imagine. Valleys covered with color. + +ERNEST +The average temperature on Mars has increased two and a half degrees over the last three decades. The oxygen content began to increase as well. And then eleven months ago, the O2 on Mars suddenly began to decline. Soon after, all the remote sensors on the planet ceased functioning. We have no idea what's gone wrong. We need to know why. Man's very destiny may lie in the answer. + +The color on Mars ebbs away. + +ERNEST +We are about to embark on the greatest mission of human exploration. By using a number of Heavy Lift Launch Vehicles and a modified close lunar cargo ship, we have created a vessel capable of journeying to Mars. + +We see construction being rushed along and Hab-1 (a kind of big space RV) landing and deploying on Mars as - + +ERNEST +Three months ago, Hab-1, an unmanned living environment, was launched. In nine days Ares-1, our first manned mission, will be sent to Mars. Ladies and gentlemen, I give you the first men and women to travel beyond the reach of Earth to the next planet in the solar system. + +Light comes up on the crew. + +ERNEST +Lt. Commander Katherine Bowman will supervise the flight component of our mission. Commander Bowman has 2200 hours in space. She will be assisted by Pilot and Mission Specialist Ed Santen. +(next) +And we're pleased to have Dr. Bud Chantilas come out of retirement as our Chief Science Officer. Bud brings a view as a generalist few can offer, with a Nobel in chemistry and a MacGregor in molecular biology. He was off getting another Ph.D., this time in... +(checks) +...theology when we asked him to join us. +(next) +Dr. Chip Pettengill, who until recently has held the number two position in the Terraforming Office, is an expert in extremophile and cryptoendolithic biology. +(then) +Dr. Cooper Burchenal, late of Western BioTech has left the private sector to help us. +(last) +And we are also joined by Robert Gallagher. + +Santen turns to Kate and quietly mutters. + +SANTEN +The janitor. + +His MIKE was on. It ECHOES across the room. But Gallagher's too quick to let him try to apologize anyhow. + +GALLAGHER +That's technically space janitor. + +Crowd likes this. Gallagher continues - + +GALLAGHER +When the toilet breaks 80 million miles from the nearest hardware store, they call me. Actually, they called me now 'cause then would be too late. + +ERNEST +To be more precise, Mr. Gallagher is the Mechanical Systems Engineer. We're glad to have him along. + +Ernest moves on quickly. + +ERNEST +We stand on the threshold of the most triumphant moment of the millennium. Science has brought us here, and science will take us further. + +CUT TO: + +END FLASHBACK + +EXT. MARS SURFACE - DAY + +The MEV is horrendously battered. It's a wonder they're alive. Chantilas is propped against a rock, moving a device the size of a hardback book across his abdomen. It's a kind of combination x-ray/sonogram. Doesn't like what he sees. Puts it aside for the moment without discussing it with the others. + +Gallagher emerges from the MEV dragging some tools and other salvaged gear. (NOTE All communication is via the VOX radios in their spacesuits.) + +CHANTILAS +What've we got? + +GALLAGHER +The radio's dead. Rover's dead. AMEE's dead. You gave me a shop and three months and I could get this thing set for orbital re-entry. Otherwise...it's staying here. + +Santen's climbed to the top of a nearby outcropping of rock. Surveys the area +red sky, blue clouds, rocks. + +BURCHENAL +Anything? + +SANTEN +No. + +PETTENGILL +Great. We put up with your shit for three hundred million miles, so you could crash-land us on Mars. Just fucking great. + +BURCHENAL +By all rights, son, we should be dead. That was a decent piece of flying. + +SANTEN +We have a mission to accomplish, people... + +PETTENGILL +We'll be dead in eight hours anyhow when the air runs out. 'Cause megapilot missed the landing site. There is no more fucking mission. + +That puts it all into perspective. + +GALLAGHER +So, where the hell are we? + +SANTEN +The G.P.S. was tied to the radios...which are dead. Transponder on the Hab was tied to the nav computer... + +GALLAGHER +...which is dead. Didn't the boys at NASA pack us a compass? + +BURCHENAL +There's no magnetic core on Mars. Wouldn't do any good. + +Gallagher considers all this for a moment. + +GALLAGHER +I don't think I like this planet. + +CHANTILAS +Best guess. Where do you think we are? + +Santen shrugs. As much as you can shrug in a spacesuit. + +SANTEN +Somewhere downrange. + +Santen pulls his HHC out of a pocket on his thigh. 2050 descendant of a laptop. Mutters at it. It whizzes past all Hab info +schematics, the standard 360 degree pan from the landing site, topo map of Mars. Zooms in to show where the Hab was deployed. + +SANTEN +Based on the last uncorrupted nav state, and given that we were in a full manual descent with no computer correction, I'd say...in this 60x120 mile ellipse. + +Okay. That's big. There's a long moment of resignation. It's a little irrational, but then, re the HHC - + +BURCHENAL +We've got every other mission variable in here, we ought to be able to figure aerobrake friction and the speed and orbit of the Ares when we exited. We should be able to close in on the downrange variables. Tighten up the ellipse. It's about the math. + +Gallagher can't believe it. + +GALLAGHER +This is it. This is that moment they told us about in high school. Where one day again we'd use algebra. And it would save our lives. And I thought they were fucking kidding. + +Gallagher turns in frustration and walks away. Chantilas calls to him - + +CHANTILAS +Stay in range. A thousand yards. And your radio's line of sight. + +GALLAGHER +Right, I wouldn't want to get lost. + +He continues to wander off. We can hear them discussing drag coefficients and whatnot. It just makes him ill. + +Gallagher stares out at the Martian plain. It would be kinda cool. Except for the fact he's gonna die here. He's pissed and frightened. Yanks his HHC out. Mutters, images appear. All the Hab details. Stares at the map and then the 360 degree panorama. Back at the map. Back at the panorama. Something about it strikes him. Looks at it some more. He gets up, looks around. Looks around some more. Heads back to the guys... + +GALLAGHER +I don't think it's about math. I don't like math, so I'm biased. I think it's about the picture. + +He holds out the picture of the panorama. Santen dismisses him - he's not a scientist, he's not a pilot, he should leave them alone. + +SANTEN +We're not in that picture. If we were, we'd know where the Hab was. We're trying to figure this out. + +Robby ignores him, tosses a rock in the sand, wraps the the 360 degree panorama around it. Screen bends and turns translucent as he does. + +GALLAGHER +Look, say that's the lander. At about 30 degrees in the distance, it sees this mountain with the funny top. And at about 180 degrees it sees this funny set of twin peaks. (points) +Now I see this mountain over there. And these peaks over there behind me almost on a straight line. And then there's this other peak maybe, which would put us on the line, say here. Which leaves the angle to the Hab at about there... + +Santen and Chantilas start to manipulate their HHCs faster than you can follow. Muttering to them, hand-gesturing, cross-referencing back and forth to the map, as the ellipse shrinks and their landing location is...determined. + +BURCHENAL +Space Janitor First Class Gallagher, nicely done. + +SANTEN +The good news is it's an eight-hour walk. + +GALLAGHER +There's bad news? + +Chantilas checks Gallagher's wrist monitor. + +CHANTILAS +You've got seven and a half hours of air. Try not to breathe too deep. + +BURCHENAL +Let's get the hell outta here. + +Chantilas struggles to his feet. As the five of them tromp away in the giant landscape... + +FLASHBACK - EXT. SPACE -DAY + +The Earth FILLS the SCREEN. And then PULLING BACK, BACK, BACK, BACK...It recedes in the distance and disappears. We CATCH UP WITH the Ares as the final launch stage fizzles out and is discarded. + +SUPERIMPOSE: MISSION TIME: DAY 1 + +INT. ARES - PRIMARY SPHERE - DAY + +A large open common space. Empty for the moment. Until Chantilas and Pettengill enter through an access tube. Gravity follows them around as they walk. Floor, ceiling wall...A meter on the wall with a glowing "G" points an arrow the direction of the current gravity. + +PETTENGILL +Chief Science Officer Chantilas. +(off his nod) +This is trippy. + +Chantilas grins. He's been up so many times he's forgotten what it's like the first time. + +CHANTILAS +You'll get used to it. When you get home, it feels weird you can't walk on the ceiling. + +INT. ARES - MEV DECK - DAY + +Gallagher comes in too fast. Stumbles up. It's just confusing. He resets. Opens up a locker, about three feet by three feet. He calls in to what seems to be a large tangle of silver pipes. + +GALLAGHER +Good morning, AMEE. Step out carefully, we're in multi-directional gravity. + +AMEE, the Autonomous Mapping Exploration and Evasion unit, unfolds and steps gingerly from the cabinet. About waist high, eight legs, stereo camera eyes. Like a big silver spider. Old attachments have been sawed off and buffed down. She's a piece of off-the-shelf gear that's been modified. When the light hits her at the right angle, we can see a Marine Corps insignia still etched under the refinishing. + +GALLAGHER +How are we after launch? I'd like to run a systems check. (as she nods) +Shall we do the hokey-pokey? Just to satisfy me? + +She rapidly shakes each of her legs in turn. Gallagher flips on a wrist panel display. Built into the fabric of his suit. He sees what AMEE sees. + +GALLAGHER +Take a look around. + +He flips off the lights. She flicks over to IR, sees just fine in the dark. Turns the lights back on. + +GALLAGHER +And how is your C.P.U. today? + +A 1000 quick calculations flash by and then - "Good." + +GALLAGHER +Okay, run the occasional self test. Let me know if anything's wrong. And back to storage. + +AMEE contracts and climbs back into her locker. Gallagher shuts the door. Display reads "Good-bye" and winks out. + +INT. ARES - KITCHEN/DINING SPHERE - NIGHT + +All six of them are gathered. First dinner in space. + +BOWMAN +Any Space Adaptation Sickness? Vertigo? No? Liars. You'll wake up all night long thinking you're falling. Promise. I'll hear you scream. Status? + +BURCHENAL +Garden's good. + +CHANTILAS +Didn't lose a plant. + +BOWMAN +Anything else? + +Gallagher holds back here a little. Not a scientist, not an astronaut. Suddenly feels like the most junior member of the crew. + +GALLAGHER +Ahh, Commander...Bunch of the HVACs jammed from the lift-off. Reset 'em. They're fine now. + +BOWMAN +I'll tell you what, unless we pass a recruiting station on an asteroid and you sign up for the military, you can call me Kate for the next six months, okay? + +GALLAGHER +Okay. +(as she waits; he relents) +Kate. + +BOWMAN +Why'd you come, Gallagher? + +Not expecting this one. Takes a sec - + +GALLAGHER +I did two years as a mechanic at NASCAR. A year and a half at McMurdo in the South Pole. Three years on subs. I had the highest military tech ratings you can get. And I went cross-country once with my cousins in a motor home. This didn't seem so bad. + +BOWMAN +That's why they called. Why'd you come? + +A beat, then - + +GALLAGHER +You ever been to Europe? Europe's horrible. It's full of stodgy people whose ancestors didn't have the balls to go to America and try something new. Earth is gonna be like Europe. You might visit there and admire some old buildings and crap, but you wouldn't want to live there. This was like getting a call to go with Columbus to America the first time. But harder. How could you not go? + +Damn. Burchenal grins. + +BURCHENAL +I don't like Europe much either, son. Didn't quite figure it the same way, but damnation, you don't turn down a phone call like that, do ya? +(to Kate) +You? + +BOWMAN +I spent my entire life training to fly the biggest, fastest thing you can fly. This is it. It's the best job in the world. +(points to Santen) +He's going 'cause he got the second best job in space. He's a little pissed about it, but he still came. + +She's nailed him so precisely, Santen can only wince and look away. Pettengill just pipes up. Maybe no one's gonna ask and he wants to get it out in the open - + +PETTENGILL +I was never supposed to come. I came 'cause my boss couldn't. He failed the medical. Heart arrhythmia. So here I am. They tapped me on the shoulder, told me I was going to Mars. I was supposed to be second in charge of the Terraforming office till I died. + +Chantilas's the last. They turn to him. His reason's a little different. + +CHANTILAS +Psalm 107, verse 23 +They that go down to the Sea in Ships, that do business in great waters, these see the works of the Lord, and His wonders in the deep.' So I figured how much wonder for those in space? + +Beat. + +SANTEN +You're going to Mars because of a poem?? + +Chantilas thinks about it. He could go on about it, but... + +CHANTILAS +Basically. + +INT. ARES - EXERCISE SPHERE - DAY + +SUPERIMPOSE: MISSION TIME: DAY 13 + +There's no up here, equipment is attached to the floor, ceiling and walls. Santen and Bowman are on a large spinning bicycle-driven centrifuge. Santen's pedaling. By keeping up the speed, he's able to provide enough extra gravity for Bowman, on the other side, to lift free-weights. They're both dripping sweat so it must work. TIMER goes off, they slow to a stop. Pettengill comes in. He looks a bit uncomfortable. Certainly out of his element. A little, well, puny. + +PETTENGILL +So...required exercise. Haven't had this since grade school. + +SANTEN +Yeah, you musta been doing some kind of reverse thing where you get small... + +Santen's got years in the gym. Muscles on muscles. Bowman takes a two-second evaluation of the situation. + +BOWMAN +You're done. You can shower. + +SANTEN +I'm not done. I was gonna... + +BOWMAN +No. You're done. + +Santen can't believe he's being thrown out. But he's also a product of the military and couldn't argue if he tried. + +SANTEN +Yes, ma'am. + +He leaves. Pettengill feels stupid. + +PETTENGILL +You didn't have to do that. + +BOWMAN +No. I did. If I didn't nip that in the bud, I wouldn't be doing my job. +(then) +Flying this beast is only half the job. The whole job's to get the crew in place in shape to do what they have to do. And the funny thing is, flying's the easy part. + +Pettengill stands abashed for a moment and then his resentment just bubbles out... + +PETTENGILL +I just hate all those fucking guys. I feel like I've spent my entire life being the guy who was hassled in phys ed. I lost the first girl I ever cared about to some thug who could throw a football farther than I could. It's like women are hardwired to think that guys who are proficient at sports are going to be better providers. It's not like we hunt and kill our own food anymore. +(then) +He sells cars for a living now. Cars. I end up working on a project that may save the existence of mankind and he sells cars. + +This is impressively obsessive. + +BOWMAN +You kept track of him. What happened to her? +(off his look of "who?") +The girl. + +He has no idea. She grins at him - + +BOWMAN +Little competitive? Who's hardwired for what, Cro-Magnon guy? + +He can't help it, he grins, a little abashed. + +BOWMAN +We're gonna start with the bungees. Try to quit being pissed off you weren't chosen for dodgeball, willya? + +PETTENGILL +I'll try. Twenty years of hating the bullying motherfuckers is a hard habit to break. + +END OF FLASHBACK. + +EXT. CRASH SITE (MARS) - DAY + +It's quiet. And then, a slight METALLIC SOUND. We PUSH TOWARDS the MEV and IN. AMEE lies on the deck beside her storage container. A leg twitches. Then another. Servo WHINE. Gets gingerly to her feet. Eyes turn. Wriggles once as if she was stiff and cautiously makes her way outside. + +EXT. CRASH SITE (MARS) - DAY + +Looks around. Analyzes. Turns and heads off into the landscape. + +EXT. MARTIAN PLAIN - DAY + +A landscape so huge, it's hard to comprehend. Five tiny figures progress across the bottom of the frame. They've already come a long ways. Beginning to string out. Pause and regather. Pettengill stops to catch his breath. + +GALLAGHER +How you doing? + +PETTENGILL +Little tired. I'm okay. + +SANTEN +You should have put more treadmill time in. + +PETTENGILL +(sotto) +Go fuck yourself. + +SANTEN +What'd you say? + +PETTENGILL +Ahhh...Musclehead, go fuck yourself?? + +They're both getting louder and louder... + +BURCHENAL +Guys... + +Burchenal reaches out, checks their wrist monitors. + +BURCHENAL +We're doing fine. In point of fact, he's using less O2 than you are. We can stop a minute. Unless you two want to shout at each other and use up your air. + +PETTENGILL +Sorry. + +SANTEN +Fine. I'm sorry, too. + +No one's sorry. They rest. Use the moment to look around. It's pretty astounding. Chantilas uses the respite to re-scan his abdomen. Puts the device away again. He's in pain but refuses to acknowledge it. + +GALLAGHER +How you doing? + +CHANTILAS +Things are as they are. +(then) +Lord. Look at it, we're on Mars. Pretty damn amazing. + +PETTENGILL +It' weird. There's nothing here. + +GALLAGHER +It's Mars. + +PETTENGILL +No, I mean there's not even a trace of the algae. + +He kneels down, examines a rock. Nada. + +PETTENGILL +Even if it all died, there'd be something - a dried algal mat, traces on the lee sides, something. Nothing. Nada. + +BURCHENAL +He's right. We sent up fifty-two varietals. Blue-green, black, orange. Anhydriobiosics, chemotrauphs, even a thibacillus that could grow autotrophically on elemental sulfur. Not only are they dead, they're all just gone. I don't get it. It's like they were scoured off the rock. + +GALLAGHER +Maybe there was never anything in this valley. + +As they walk, Burchenal checks his HCC. + +BURCHENAL +If we are where we think we are - + +Map appears on a small screen, he mutters to it, overlays of all the algae and lichen that were on Mars appear. + +BURCHENAL +This valley was covered with blue algae a month ago. Valley back one should have been covered in an orange-red chloroflectic. He's right. It's weird. There should be something. + +They crest a small rise. Below lies a valley that closes down quickly into an extremely narrow canyon. Burchenal and Santen check their HHC maps. + +BURCHENAL +This, however, makes sense. + +SANTEN +Debris apron. Delineated valley fill. Depositional fan... + +He double-checks with Chantilas. Seems they're going the right way. Chantilas leans back heavily against a rock. + +CHANTILAS +Good. You gotta keep moving... + +Chantilas doesn't get up. + +GALLAGHER +And what're you gonna do, sit here and watch? You getting old and lazy? + +CHANTILAS +My spleen's ruptured. There's significant internal bleeding. I'm not going any further. And trying to carry me will slow you down just enough that we can all die. + +Robby's stunned, frantic. + +GALLAGHER +We'll get you to the Hab. Lock out the spine impulse and you can walk one of us through it. + +CHANTILAS +No. You won't. + +Santen takes charge. It's his mission now. + +SANTEN +We build a litter. We take him. + +CHANTILAS +(stern) +Chain of command once we hit the surface starts with me. And I'm ordering you to go, Lieutenant. Now. +(turns to Robby) +I've only got about forty minutes. There's really not much pain. Put me around the corner where I've got a view. + +They lift him to the other side of the rock. Gallagher stays with Chantilas a moment. Stricken, speechless. Inside Gallagher's helmet, we can see as the tears roll down. Then - + +CHANTILAS +It's okay. I'm not sorry I came. + +Gallagher takes one last look over his shoulder. We are already PULLING BACK, BACK, BACK. Tiny figures in the landscape once again. One left behind. + +INT. MISSION CONTROL - DAY + +Tense. Flight Director Russert watches as Skavlem mutters into the mike. + +SKAVLEM +Ares, this Houston, do you read? Ares, this Houston, do you read? + +Skavlem continues in the b.g. as - + +LOWENTHAL +What do you want to do? + +RUSSERT +Get every dish in the Deep Space Network pointed at Mars. +(doesn't like it, but) +Declare a spacecraft emergency. + +EXT. MARS SURFACE - DAY + +Chantilas has toppled over. Unmoving. We GO WIDE, WIDE, WIDE and... + +EXT. HILLSIDE (MARS) - DAY + +The four of them trudge up a long hill. The summit is a dozen steps away. Santen is the first to reach it. He looks out over the horizon. Turns back to the others - + +SANTEN +You're gonna like this. + +HIS POV + +We see what he sees, as do the others as they arrive - not that far in the distance, in the valley below, they can see the lab shining in the sun. + +BACK TO SCENE + +BURCHENAL +Twenty-six months of food, water and air, gentlemen. + +PETTENGILL +We're saved... + +They run down the hillside. For the first time we get a feeling for the .38 gravity. Bouncing sixteen foot steps. Like little kids as they come bounding down. + +EXT. VALLEY FLOOR (MARS) - DAY + +They keep running and leaping and coming. Until the first one begins to slow. It's not from exhaustion. And then the second and the third. It's from horror. + +The Hab is in tatters. Roof is gone, walls are gone. Nothing but the titanium ribs remain. They approach. The insides are not much better. It's destroyed. There's no food. There's no water. There's no air. + +EXT. MARS - HAB - DAY + +They search. The news doesn't improve. + +SANTEN +What the fuck happened here? + +PETTENGILL +Jesus... + +Burchenal continues to look around for a moment. It doesn't matter what happened. It's over. Shakes his head at Gallagher. + +BURCHENAL +How's your air? + +GALLAGHER +(checks) +Twenty-two minutes. + +BURCHENAL +I'm not much better. + +SANTEN +What the fuck... + +He kicks angrily at what's left of the structure. Storms off. It takes Pettengill a moment to process it, but... + +PETTENGILL +We're all gonna die, aren't we? + +INT. ARES - MAINTENANCE LEVEL - NIGHT + +Pitch black except for the electroluminescent panels she's stuck around the room. She cracks another one on. They work like glowsticks, but the size of menus. + +She's jumpered the circuits. Multimeters Velcroed all over the place. Trying to reboot the entire ship. Checks her loads, balances one more jumper, throws a breaker. The SHIP GROANS, FLICKERS TO LIFE, DIES. She checks a meter, changes a jumper, tries again. This time the SHIP GROANS, FLICKERS TO LIFE and STAYS ON-line. The systems begin to come alive around her. Panels light up, turn from red to green. Lights start to come on. Gravity returns. + +INT. ARES - VARIOUS SPHERES - NIGHT + +Bowman moves through. The place is a mess. Soot and fire stains in some spheres. Smoke damage in all. Flowers destroyed. The garden is half-wrecked. She manually opens a set of valves in one room. AIR HISSES in from an emergency supply. She checks a meter in her hand, checks again to be sure. Folds back the helmet of her suit. Breathes. + +INT. ARES - FLIGHT DECK - NIGHT + +Bowman tries to bring the rest of the ship back to life. Half a dozen systems are just plain dead and have to be locked out. Things are not good. Light's beginning to come up. Moments away from entering front-side orbit. Kate opens a panel marked OBS and throws a series of switches. + +EXT. ARES - NIGHT + +Door slides open. A small optical receiver is seen. They clear the dark side and burst into the light. + +INT. ARES - FLIGHT DECK - NIGHT + +On a large viewscreen, Bowman can now scan the surface to about a one meter resolution. Searches. Starts wide, scanning the edge of the horizon as it comes into view. + +Picks up the glint of the MEV. Zooms in. At first there's nothing but the crashed MEV in profile. (Like a spy satellite, we are an an EXTREME ANGLE, SLOWLY REVEALING more as the Ares grows less oblique and tracks overhead.) + +Then the severity of the damage comes clear. Bowman tries not to react. Nothing else is there. No sign of activity or escape. The footprints are beyond the resolution of the camera. There's no reason to believe anything but they're all dead. + +EXT. HAB & ENVIRONS (MARS) - DAY + +Gallagher and Burchenal sit on rocks nearby. Not exerting themselves. Checking their monitors. + +BURCHENAL +Maybe we got what we deserved. We ignored science and truth on one planet and poisoned it beyond repair. Then tried to get science to save us on another. Maybe it's the inconsistency that did us in. + +Burchenal points at a depression a few hundred yards away. + +BURCHENAL +(then; points) +That's what they call the datum. Sea level. If there was a sea. Or when there was a sea, that's where it was. You can tell 'cause the sand was created by what's called the fluvial process where water breaks rocks into smaller and smaller pieces. We're the first men on Mars. Even if it isn't gonna last long. +(then) +Would you rather I shut up so you can die quietly? + +GALLAGHER +Nah, you can keep talking. It's kinda peaceful. + +In the b.g., headed towards a ridge of rocks, we can see a lone figure making its way along. + +It's Pettengill. He steps around the ridge. We can hear his RADIO WHOOOSH TO STATIC as he loses line of sight communication with the others. + +Up ahead of him, standing on the edge of an enormous drop-off, just staring out into space, is Santen. His back is to us. Pettengill walks towards him. Santen still doesn't hear. + +Santen's radio is off. BEETHOVEN BLARES in his helmet. A 3000 foot drop at his feet. It is magnificent. As Pettengill approaches and Santen remains unaware, the scene seems less and less innocuous. We fear for him. Until... + +Pettengill just walks right up beside him and stares out at the chasm as well. Santen LOWERS his MUSIC. They stand there silently for a moment. Santen has some kind of weak-ass epiphany... + +SANTEN +Look, I'm sorry. I owe you an apology. I've been a dick. I pick on people who are weaker than I am. + +It's way too little, way too late. But Pettengill doesn't let on. Just nods. As if he's forgiven him. Steps away and OUT OF FRAME. We HOLD ON Santen a moment and...Pettengill has picked up what would be a 250-pound rock back on Earth and is heaving it with all his might into Santen from behind. It slams into him, bending him in half, knocking his feet out from under him. + +For half-a-moment we think Santen might regain his footing. But he doesn't. He starts to fall past the edge of the cliff. Slowly. In .38 grav SLOW MOTION. Flailing. Twisting in the air. As he falls, looking up, he slaps OFF the MUSIC, the RADIO COMES BACK ON. Pettengill leans over the edge. + +PETTENGILL +Fuck you. Fuck you. I'm gonna die. But I'm gonna spend the next five minutes of my life completely satisfied knowing I killed you. + +SANTEN +No, you won't, because... + +Pettengill shakes his head and steps back out of the line of sight. Santen's last taunt turns to STATIC. + +PETTENGILL +Yes, I will. + +He turns and walks away. + +EXT. MARS - HAB - DAY + +Pettengill returns to the others. He can hear over the RADIO as he approaches - + +BURCHENAL +Johannes Kepler was the first to accurately map the orbit of the planet. In 1609. + +PETTENGILL +Santen's dead. + +They turn. But not surprised. They just figure he - + +BURCHENAL +Chewed through his air... + +PETTENGILL +He threw himself off the cliff. + +GALLAGHER +Ouch. + +Burchenal bows his head down for a moment, overcome. But it's not Santen. It's the bigger picture... + +BURCHENAL +It's not often you get to fail when 12 billion people are counting on you. + +Gallagher's got more pressing problems. Checks his wrist. unnerved. + +GALLAGHER +I'm at under a minute here. You guys know what this is gonna be like? + +BURCHENAL +Hypoxia? Dizzy. Skin'll tingle. Vision narrows. Then anoxia. Shock, convulsions, acidosis. + +GALLAGHER +Gonna hurt? + +PETTENGILL +Yeah. + +A WARNING TONE GOES OFF on Gallagher's SENSOR. He starts to gasp. Opens his mouth wide. Sucking in and out air that's worth less and less to his body. + +He begins to claw at the air. It's not pretty to watch. Spins about seeking some release. None forthcoming. Claws some more. Falls to his knees. The others can barely watch. They know they're next. + +Gallagher's growing more claustrophobic and crazed. Falls the rest of the way to the ground. Still clawing at the air. It's horrible to see. And in one last desperate, angry, trapped-feeling move, reaches up and unhooks the front of his helmet and throws it back. Croaks out a faint epitaph as he collapses. + +GALLAGHER +Fuck this planet. + +And he's still. Still. And then in a last reflexive shudder. Gasps. Gasps again. Takes in the worthless Mars atmosphere. And right when we think it's entirely over...Takes in some more. Breathes again. And again. Opens his eyes. + +GALLAGHER +I'm not dead. + +The other two are watching in amazement. + +GALLAGHER +I'm not dead. It's like being at high altitude. There's not much air here. But... + +Takes him a minute to catch his breath, but... + +GALLAGHER +We're not gonna die. + +Burchenal's suit ALARM GOES OFF. He doesn't screw with gasping in the suit. Just opens the damn thing up and prays. Breathes. Raggedly. + +BURCHENAL +It ain't much. But it'll do. + +He looks around, puzzled. + +BURCHENAL +What the hell's going on here?? + +Pettengill's ALARM GOES OFF as well. Much more tentatively he removes his helmet. Breathes. He's not really rejoicing like the others. + +PETTENGILL +I thought we'd be dead. + +The enormity of what he's done strikes him. + +PETTENGILL +I thought we'd be dead. + +They all breathe the thin Martian air for a moment. + +GALLAGHER +God, if Santen had only waited five more minutes. What a waste... + +OFF Pettengill's completely unsettled face... + +INT. ARES - FLIGHT DECK + +STATIC on the comm clears. A brief caesura then - + +BOWMAN +Copy. + +SKAVLEM (V.O.) +Roger, Ares. Good to hear from you. We believe you may have suffered a proton field upset. What is your status? + +Silence. Silence. Bowman struggles to maintain control. Tear runs down. Takes a deep breath. + +BOWMAN +MEV launched. Radio contact zero. Visual shows crash site, one body, no motion. Believe entire crew to be End of Mission. Ares systems check at below 70 percent. Telemetry to follow. + +She punches a button. Starts to upload it to them. + +BOWMAN +Air purge in fire control degraded orbital path. Current orbit unstable. Thirty-two hour projected failure. Do you copy, Houston? + +INT. MISSION CONTROL - DAY + +The telemetry has come in. Russert puts it up on the common viewscreen. Ship status and all the failures are displayed. It's a disaster. + +SKAVLEM +Roger. We copy that. + +He lets go of the mike. Can't help himself. + +SKAVLEM +Jesus fucking God. + +FLASHBACK - INT. ARES - ACCESS TUBE - NIGHT + +SUPERIMPOSE: MISSION TIME DAY 15 + +Dark. Someone moves along. And emerges into - + +INT. ARES - OBSERVATION SPHERE - NIGHT + +An icosahedronal slice has been removed from one side and replaced with optical glass. A billion stars are brighter and more numerous than you've ever imagined. Gallagher comes in, bumps smack into Chantilas. Thought he was alone. + +GALLAGHER +Sorry + +CHANTILAS +Lotsa room. + +They lean back against the "floor" for a moment and stare out at a billion and a half stars. + +CHANTILAS +Know the stars at all? + +GALLAGHER +(pointing) +Andromeda, Cassiopeia, Cetus, Lepus, Canis Minor. We're looking at what you'd see south around midnight, mid-May if we were on Earth. At about 42 degrees. + +He's not showing off. He just really does know. Chantilas looks at him, surprised. + +GALLAGHER +My grandfather taught me to sail when I was a kid. +(fondly) +He made me learn the stars in case all the G.P.S. satellites fell out of the sky at once. He said anyone who put his life in the hands of anything run by batteries was a jackass. + +CHANTILAS +He sounds like quite a guy. + +GALLAGHER +He didn't like what he called the easy answer or the quick fix. He didn't want to own anything he couldn't repair himself. +(thinking back) +And, oh yeah, everything automatic sooner or later fails automatically, usually during or immediately before a crisis. He had a lotta damn sayings. +(then) +He wouldn't've approved of this. + +CHANTILAS +Going to Mars? + +GALLAGHER +No. That we killed off half the living things on Earth. That after we all but destroyed one planet with global warming, we're trying to bring another to life the same way. Kinda tricky, don't you think? He woulda said we were asking for trouble. + +CHANTILAS +It looks like we got trouble. That's why they sent us. + +A beat. They go back to staring at the heavens. Then - + +GALLAGHER +I don't really get it. You quit being a scientist? You went back to school to study God?? + +CHANTILAS +I just realized science couldn't answer any of the really interesting questions. +(off Robby's look) +There are values that are fundamental to an adequate apprehension of the world in which we live that can't be expressed by equations or experiments. In that, you see the hand of God. +(explaining) +Acknowledgment of basic values. Love, kindness, joy. Science doesn't have much use for these. Look, ugly theories are wrong. We know it by insight. Science doesn't want to accept that. We live in a moral world and have moral knowledge that tells us that love and truth are better than hatred and lies. But it's modern to think this is little more than genetic imprinting or a tacit communal cultural agreement. That's not a world I cared to live in anymore. + +Robby stares back into the void. This is not the kind of conversation he's used to, but - + +GALLAGHER +I asked my grandfather once if God existed. He played me Brahms' Third. Then he asked me what good it was? Or was it just vibration. + +CHANTILAS +(following) +What good is beauty? + +GALLAGHER +He said if a man could listen to Brahms and not believe in God, he was a fool. + +CHANTILAS +I think I woulda liked your grandfather. + +Robby turns to him. + +GALLAGHER +You didn't come on this trip because of science at all, did you? That's why they let you come, but you're going to Mars to prove to yourself God exists. + +Yup. + +CHANTILAS +Maybe I'll pick up a rock and it'll say so on the bottom 'Made by God.' + +GALLAGHER +Maybe God's more subtle than you are. +(then) +You think we're doing something we shouldn't, Bud, messing with another planet? + +CHANTILAS +(unconcerned) +If so, it's because we're supposed to find something out. (then) +Let's say we didn't. And we finished poisoning off the Earth and everyone was dead in a hundred years. Then what was the point of any of it? Music, art, beauty, love? All gone. The Greeks, the Romans, the Enlightenment, the Constitution, people dying for freedom, ideas? None of that meant anything? I'd rather go out and make a mistake than live in a world that bleak. + +GALLAGHER +No one said jack to me about the Greeks and Romans. Shit, I just came along to fix stuff. + +CHANTILAS +Fooled ya, didn't we. It's okay. No one told the others either. + +There's a quiet moment. Robby just came up to stare at the stars. Wasn't expecting all this. Then - + +CHANTILAS +There's a reason the planets go around the stars in exactly the same way electrons go around the nucleus of the atom. It's not an accident. There's a design at the bottom of all this. God's watching over you. + +GALLAGHER +I just wish I didn't think he was chuckling. + +END OF FLASHBACK. + +EXT. HAB (MARS) - DAY + +Gallagher, Burchenal, and Pettengill are still stunned over the fact they're alive. + +BURCHENAL +There shouldn't be enough oxygen on Mars to do this. + +PETTENGILL +We never even got close to a breathable atmosphere. Then the levels started to drop and the sensors all died. I don't understand what's going on here. + +Gallagher is rummaging through the wreckage of the Hab. It's been devastated. + +PETTENGILL +Wattya lookin' for? + +Gallagher unearths a tangle of wire and chewed-up circuits. + +GALLAGHER +This. + +He tosses it aside. It's worthless. + +GALLAGHER +It used to be the radio. I don't mean to piss on the parade, guys, but no one knows we're here. Don't you see? The good news is we can breathe. The bad news is, unless we can tell somebody, now we get to starve to death. The only mission left is rescue. + +INT. ARES - FLIGHT DECK + +The schematic she sent back to Earth is on the screen here as well. The ship is fucked-up bad. + +SKAVLEM (V.O.) +The ground crew's dead, your orbit's unstable, and you're gonna burn in less then a day and a half. +(beat: then) +Let's get you home. + +EXT. HAB - DAY + +The three of them rummage through the ravaged structure. News isn't good. + +BURCHENAL +We could head back to the lander, try to make something work there. + +PETTENGILL +(won't make it) +It's six hours back. + +GALLAGHER +And it all ran through the main computer which was half-fried and dropped from a great height. + +Shakes his head no. That ain't gonna help. Then Burchenal, of all things, grins. + +BURCHENAL +Gotta think about this scientifically. There's another radio. Two kilometers from here. + +GALLAGHER +I didn't see any stores on the way over. I miss a Radio Hut? + +BURCHENAL +We sent it here. Twenty years before you were born. In 1997. Think where we are... + +PETTENGILL +(gets it) +We're right over the edge from the Ares Vallis. The Sojourner site. + +The HHCs are yanked out. + +PETTENGILL +There was a high-density ridge ringing the valley. The algae never took there. + +Gallagher checks his watch. + +GALLAGHER +We still might have a chance this pass. We wait long... + +They start to run towards a ridge to west. Sun hangs low in the sky. Only an hour or so of day left. + +CUT TO: + +GALLAGHER, PETTENGILL AND BURCHENAL + +with a goofy look on their faces. Like kids at Disneyland the first time. They're standing there looking at - + +SAGAN/SOJOURNER SITE + +The little rover. All those damned named rocks. Our first big visit to Mars. The reverie is over quickly. Gallagher tosses down his bag of tools. Walks over, kneels beside Sojourner (the rover). + +GALLAGHER +Sorry about this. + +He pats it once and starts POWER-SCREWING off the cover. Tosses another tool to Burchenal. Re +the Sagan lander - + +GALLAGHER +Rip the panels off everything around the aerial. +(then) +It's a fifty-year-old off-the-shelf computer radio modem on a frequency that we're not using for this mission. + +PETTENGILL +Then why are we bothering? + +GALLAGHER +Cause I'd rather die doing something than just sitting there. + +CUT TO: + +EXT. SOJOURNER SITE - DAY + +Gallagher has cobbled together a radio from 50-year-old parts. Pettengill holds the solar panels at the sun while Robby carefully removes one of his two suit-radio microphones. Checks with a meter, then solders it onto his jerry-rigged radio. + +GALLAGHER +Testing, testing... + +He adjusts a tiny pot as he continues to call out. A green LED comes on, flickering with his voice. + +BURCHENAL +Does it work?? + +GALLAGHER +Well, the little green thing lights up. I don't know if it works... +(into mike) +This is Ares ground crew, come back. This is Ares ground crew, do you copy? + +We PULL BACK WIDER AND WIDER. They are so damn alone. + +INT. ARES - FLIGHT DECK - DAY + +Various return scenarios are flickering on different vid screens. + +SKAVLEM (V.O.) +Okay, scenario three calls for you to lock out systems 17, 22 and 40. + +Kate tries. 40 freeflows, doesn't lock out. + +BOWMAN +No joy. + +She resets everything. + +BOWMAN +Maybe we're trying to be way too subtle. Why don't we just jettison the damn tank? + +SKAVLEM (V.O.) +Because the margins for error are so small. There's enough fuel to get you home, then if you don't sneeze. It makes us nervous. + +BOWMAN +You want nervous... + +INT. MISSION CONTROL + +Over in the corner, Schlissel is listening to something on his headset that's blowing his mind. He starts waving three fingers frantically at Skavlem and Russert. They don't respond fast enough for him. He reaches over and patches someone into the comm link. A new voice breaks into the conversations. The accent's Australian. + +OZZIE (V.O.) +Right, right. Commander Katherine Bowman? + +RUSSERT +(peeved) +This is a restricted, encrypted frequency. Who is this? + +OZZIE (V.O.) +(unperturbed) +This is Hank Osterbee in Canberra. Deep Space Network, mate. I've got a call for you. + +INT. ARES - FLIGHT DECK + +BOWMAN +A call for me? + +OZZIE (V.O.) +Right. From the surface of Mars. I'm routing it through. Direct frequencies follow. + +There's CRUNCH OF STATIC, then - + +GALLAGHER (V.O.) +Commander Bowman? + +BOWMAN +You're alive?? You're alive?! + +EXT. SOJOURNER SITE (MARS) - DAY + +GALLAGHER +We're at sixty percent. Lieutenant Santen and Bud are gone. +(beat: then) +Oh, and by the way, we can breathe. + +INT. MISSION CONTROL - NIGHT + +SKAVLEM +You can breathe??! + +GALLAGHER (V.O.) +Not real well, but yeah. +(then) +Hey, Kate...We've changed our mind. Get us outta here. We'd like to come home. + +If the room was at a standstill before, now it's frozen. Is there hope? + +SKAVLEM +If they can breathe, can we live there? + +LOWENTHAL +No. Ninety percent of the algae's gone. It's some kind of freak anomaly. Mars is a dying planet. Just like Earth. + +RUSSERT +They're breathing. It coulda worked. Dammit, it coulda worked... + +Then through the cacophony comes one voice. + +SCHLISSEL +It doesn't matter. They're going to die tonight anyhow. In an hour, the sun sets on Mars. It's going to be minus 140. They cannot survive in the open. They're going to die. + +Yow. Everyone shuts up. It's ugly but true. + +LOWENTHAL +He's right. You can walk across the South Pole, long as you stay moving and you're wearing insulating clothing - the suits'll work - you can stay warm. But once they stop moving, without shelter, they're gonna die. + +SCHLISSEL +Her orbit could degrade at any time. She could auger in and burn while they chat about old times and freeze to death. It's a waste. We should just bring her home. + +Skavlem doesn't love it, but - + +SKAVLEM +We can get a free return trajectory now. She's got enough food and water to bring one person back. + +Russert not happy at all, but - + +RUSSERT +You're not wrong. + +Nods to Skavlem... + +SKAVLEM +Commander, this is Mission Control. + +INT. ARES - FLIGHT DECK - DAY + +BOWMAN +No. + +SKAVLEM (V.O.) +Ma'am? + +BOWMAN +I'm not stupid, John, I know what the question is. I'd ask it if I was there. And the answer is no. So let's move on. +(then) +By my calculations, if I ditch my reserve tank now and commit to a three-second apogee burn, I stabilize my orbit for another eighteen hours. I'd like someone to check the numbers as my apogee's in seven minutes. + +INT. MISSION CONTROL - NIGHT + +Russert has to grin. It's gonna drive him crazy and it's exactly what he'd do. Before any of them can bitch and whine - + +RUSSERT +Come on, people, you heard the woman, let's get on it. + +The techs begin calculating madly. + +EXT. MARS SURFACE - DAY + +The crew is coming down a rise toward the Hab. Carrying the radio. Walking back quickly. Sun is flat over the horizon. Shadows are long, already getting cold. You can see their breath. + +BOWMAN (V.O.) +There's some concern at Mission Control. About the weather. + +GALLAGHER +(deadpan) +It's gonna rain? + +BOWMAN (V.O.) +It's gonna get a little chilly. + +GALLAGHER +I could see that. It's dropped about fifty degrees in the last half hour. We figure a hundred below fairly soon. + +INT. ARES - FLIGHT DECK - NIGHT + +Bowman is doing her best to keep the tone light. But she's gotta know whether or not he thinks he's gonna live or die. + +GALLAGHER (V.O.) +It would have been nice to be in the Hab. And there ain't no other motel to check into. + +BOWMAN +You have a plan? Any thoughts on how you might...stay alive? + +EXT. HAB (MARS) - ALMOST SUNSET + +They're back at the Hab now. We can't quite tell what's going on, but Burchenal and Pettengill are busy doing something noisy and furious in the b.g. Crashing, bashing, breaking. Burchenal flicks open an entrenching tool. Thumbs a button, edge whizzes by like a tiny chain saw. Chews through something and... + +GALLAGHER +Yeah... + +Behind Gallagher is a whoooosh of flame as Pettengill gets the debris he's piled in the middle of the Hab to light. He's got stacks of additional fuel nearby. + +GALLAGHER +We're gonna have a 75 million dollar campfire. + +EXT. HAB (MARS) - 20 MINUTES LATER + +The sun sets. First sunset on Mars man has seen. Red upon red upon red. Fire burns behind them. Sky turns black. Fast. A billion stars. And then a METEORITE begins to fall. It's huge. It's red. It EXPLODES. + +GALLAGHER +What the hell was that? + +BURCHENAL +She ditched the 'B' tank. She must be figuring there's an even chance we'll live through the night. + +EXT. SPACE - NIGHT + +The Ares lights up and burns for three long seconds. And off. + +INT. ARES - FLIGHT DECK - NIGHT + +Bowman checks the gauges. Eight liters was burned. + +BOWMAN +Hell, what's eight liters? +(answers herself) +It'll either save their lives or I've screwed up getting home and I'll spend the next three hundred years circling this planet. + +EXT. HAB - NIGHT + +Burchenal pokes at the flames. They're spread out and low. Flickering yellow and blue. + +BURCHENAL +I think we'll make it through. There's so little O2, this is gonna burn real slow. + +Gallagher picks up a piece of scrap, about to feed it into the flames, then stops, examines it by the light of the fire. It looks like someone took a rasp to it. He gets up, turns on a suit light and looks over the remaining ribs of the structure. + +GALLAGHER +What happened to this place? Everything but the titanium supports were just chewed up. Could a dust storm've done this? + +BURCHENAL +No prevailing pattern to the damage. I don't know what could've done it. + +Nor does it matter right now. They sit back around the fire and relish the warmth. Out in the darkness, past a rise, something catches Robby's eye. A flash, a reflection. Of the fire? On what? And then it's gone. He doesn't bother to mention it. Writes it off. + +TWO HUNDRED YARDS AWAY + +Behind a hill, AMEE crouches in the dark. Pops up again, looks over, sees the three men and the fire. Lowers back down - you'd swear she was thinking - then silently ambles away. + +BACK AROUND FIRE + +The weird tableau of three men in spacesuits around a campfire on Mars. A moment then - + +GALLAGHER +You still think we had any business coming to Mars? Screwing with stuff? Trying to spread life? You think maybe God's teaching us some hardass lesson? + +Pettengill just makes some kind of weird gulping noise and turns away. They let him be. + +BURCHENAL +God? You talked to Chantilas too much on the trip over. I don't mean to burst your bubble, but God's the retreat of the ignorant, the weak and the hopeless. + +GALLAGHER +I bet you don't believe in Santa. And you're no fun at all at Christmas. +(then) +Not everything gets an explanation you can write down as a formula. + +BURCHENAL +Son, I'm a scientist. A geneticist, as good as they come. I write code, just like a hacker. Four elements, A.G.T.P., in different orders, back the genome. And your kidneys work or you grow a sixth finger. I line up unconscious atoms and they give rise to conscious beings. It's like if I stacked up a bunch of rocks in the right order and they become a dog. I do that. I chose when, I chose where, I chose how many fingers. I just don't hold with mystical explanations for science, with organized religion, buildings with different symbols on 'em. You spot God, you lemme know. Till then, I put my trust in my three Ph.D's. +(then) +But I think life's an amazing thing. And I believe that when you get it you should grab it with both hands and live as much of it as you can. Which is why I am not happy about losing it on this damn ugly planet. + +Burchenal shuts his eyes. We PUSH IN ON Gallagher looking rueful and... + +FLASHBACK - INT. ARES - HYGIENE SPHERE - DAY + +SUPERIMPOSE: MISSION TIME: DAY 32 + +Gallagher comes in. His timing, depending how you look at it, is very good or very bad. Bowman steps out of the shower. To dry off. It's too late for Robby to stop or recoup. He has to tough it out and try to act like an adult. Bowman sees his discomfort. She's amused. + +BOWMAN +It's okay. I had brothers. + +GALLAGHER +I have two sisters. +(gives up) +Neither of them were this fine. + +Now she colors. + +BOWMAN +The only way this works, is if we both make believe it doesn't matter. + +GALLAGHER +I tried. I really tried. +(then) +Maybe I should go fix something. + +BOWMAN +(laughing now) +Maybe you should. + +He hesitates, leaves. She starts to vacuum dry her hair. + +END OF FLASHBACK + +EXT. CAMPFIRE (MARS) - NIGHT + +Gallagher's half filled with regret, half annoyed with himself. Sighs, shuts his eyes, tries to get some sleep. + +INT. MISSION CONTROL - NIGHT + +Place is ragged +coffee on the workstations, techs as unshaven and beat as the crew on Mars. + +RUSSERT +All right, people, we bought ourselves another eighteen hours in orbit. The crew's burning pretty much what we've got on the surface so they don't freeze solid. So whatever we can come up with... + +LOWENTHAL +...has got to work before the sun sets again tomorrow and they freeze to death anyhow. + +RUSSERT +What else is on Mars? + +SCHLISSEL +Rocks. Sand. + +RUSSERT +The janitor just built a radio out of a fifty-year-old Rover mission. Now, what else is on Mars? + +Mars maps come up on all their PIMs. There are things on the surface. Marked with various symbols. Leftovers from other missions. + +SKAVLEM +We sent a dozen probes even before the biologics started up. Eight were return missions. + +LOWENTHAL +And they're back. + +SKAVLEM +There's a Viking lander... + +SCHLISSEL +2,200 kilometers away. + +Silence. They all stare at the PIMs. And then Schlissel turns to a nearby TECH - + +SCHLISSEL +S.Y.F. + +TECH +Slap your forehead. + +SCHLISSEL +We're not the only people who sent stuff to Mars. + +Other overlays come up on the maps. New colors. New symbols. + +SKAVLEM +The Twenties were nothing but unmanned sample return missions. Everyone wanted to bring back a bucket of Mars rocks. + +They find something near the Hab. + +SCHLISSEL +There was Euro-Malaysian sample return mission 2018. + +TECH +Checking... + +LOWENTHAL +(knows) +It blew up on attempted return. + +Looking further afield, they find something else. + +TECH +It ain't close, but there's an Uzbecki S.R.M. that failed to launch. + +SCHLISSEL +(argh) +An Uzbecki probe from 2032. + +RUSSERT +Is it viable? Can we get plans? + +SCHLISSEL +It was built at the Cosmos factory in Garagin in 2031. (there's more) +The factory closed eight years later. And then it burnt down. + +All right, that's the end of that. And then Schlissel spots a detail that means something to him. + +SCHLISSEL +It was designed by Aleksandr Ivanovich Borokovski. He was the last of the greats in the Russian space program. + +RUSSERT +Is he still alive?? + +Schlissel's PIM flickers madly as he mutters at it. + +SCHLISSEL +There's no closing date on his bio. He'd be in his seventies. + +RUSSERT +Find him. Somebody get on the line to Kazakhstan. + +LOWENTHAL +This is insanity. A thirty-year-old lander built in a factory that doesn't exist anymore. + +TECH +Found him! + +SCHLISSEL +He emigrated. He runs a deli in Brooklyn. + +INT. MISSION CONTROL - NIGHT + +Low hum of conversation, a bunch of the workstations are vacant, techs sleeping in cots nearby. BOROKOVSKI, in his best suit, 20 years old, comes in led by two NASA flunkies. Unhooks his filtration mask. Vindicated. + +BOROKOVSKI +All right, I am Borokovski. I am here. + +EXT. HAB (MARS) - PRE-DAWN + +Sky's beginning to grow light. Last of the fire flickering out. Nothing left of the Hab but a few metal ribs. + +Gallagher stirs. Stiff from sleeping on the ground. Burchenal and Pettengill follow. They've lived through the night. Gallagher walks off twenty paces. When we see him again, he's unlocked the top and bottom of his suit and dropped the trousers to his knees. + +GALLAGHER +I'm the first man to piss on Mars. + +Burchenal and Pettengill follow suit on the other side of the Hab. A beat, then - + +BURCHENAL +Damn. + +PETTENGILL +Whoa. + +BURCHENAL +You sure get some arc in this low gravity. + +The sun's gonna break any minute. Something suddenly hits Burchenal. He yanks up his pants, runs to remains of the Hab. Looks around desperately. Pulls free a metal rib. Turns to Gallagher. + +BURCHENAL +Run. Towards the sun. + +Robby understands or doesn't bother to ask why. Takes off. Burchenal yanks free a shard of metal. Pounds it into the sand a dozen feet from the Hab. The sun is just breaking the horizon. Robby is fifty yards away. + +BURCHENAL +Stop! Left. Left. A little more. Right. Mark it. + +He adjusts his own peg a tad. Robby comes loping back. + +PETTENGILL +What'd we do? + +GALLAGHER +(approvingly) +Built a directional. Now at least we know where something is. + +The RADIO CRACKLES. + +BOWMAN (V.O.) +Good morning, boys. Martian weather today's clear and cold. Warming to a high today of around sixty. + +INT. ARES - FLIGHT DECK - DAY + +She hasn't slept. There's notes and charts and additional HHC's all over the place. + +BOWMAN +So...Houston has an idea. + +CUT TO: + +EXT. HAB (MARS) - MOMENTS LATER + +Gallagher, Burchenal and Pettengill have heard the plan. It doesn't impress them. + +GALLAGHER +That's it? We walk a hundred kilometers in one day to find a twelve-by-twelve object that's been sitting there for 30 years. +(are you kidding) +That's the best plan they could come up with? + +BOWMAN (V.O.) +It's the only plan they could come up with. + +GALLAGHER +(reconsiders) +I guess that makes it best. + +BOWMAN (V.O.) +There's an I.R. maintenance port on the Cosmos. Your H.H.C. should talk to it. You'll have to reprogram the launch sequence. The bad news is... + +INT. ARES - FLIGHT DECK - DAY + +GALLAGHER (V.O.) +There's bad news? + +BOWMAN +(ignoring him) +...is it's programmed in a forty-year-old dead operating system no one uses anymore. It was something called...Windows. + +EXT. MARS - DAY + +None of them have ever heard of it. + +BOWMAN (V.O.) +We're getting a copy of it from the Smithsonian. We're gonna have to download it to you. + +GALLAGHER +Let's worry about it when we get there. Where're we going? + +BOWMAN (V.O.) +I've got coordinates for you. + +BURCHENAL +How 'bout something simpler. Like how many degrees it is off from the direction the sun rose. We marked it. I'm figurin' we're within half a degree. + +GALLAGHER +Heck, we just gotta pack. + +He picks up a satchel of tools. Everything else's burnt to a cinder. + +SAME SCENE - FIVE MINUTES LATER + +Basic trig has been calculated. A triangle of scavenged wire stretches with one side along the directional, the other side points their way across the Martian landscape. They take a last sighting, and stride off into the distance getting smaller and smaller and then - + +ON the three of them. Pettengill looks doubtful. + +PETTENGILL +A hundred kilometers. Sixty-odd miles. Say two and a half marathons. In twelve hours. Do we really have a chance in hell? + +GALLAGHER +It took us six hours to go 26 kilometers last time. We don't have the rebreathers, we don't have the tanks. + +BURCHENAL +Figure you weigh about fifty pounds in this gravity. We have a chance in hell. But not much more'n that. + +INT. MISSION CONTROL - NIGHT + +A messenger is escorted in and taken to Borokovski. He's got a copy of Windows, fifty years old, and still in the shrink wrap. Borokovski rips it open, then peers at tech requirements on the box. + +BOROKOVSKI +I will need a computer with a CD-ROM drive. And a pentium processor. + +Nobody moves. It's like asking for a steam engine. + +SCHLISSEL +What's a pentium processor? + +TECH +What's a CD-ROM? + +BOROKOVSKI +(a little defensive) +It was all state-of-the-art in Kazakhstan. We were cut off. + +Still nobody moves. + +RUSSERT +We gotta wake up the Director of Dead Technology at the Smithsonian. And quick. + +Assistants scramble. Schlissel comes over to peer curiously at the shiny silver disk and - + +FLASHBACK - EXT. SPACE - ARES - NIGHT + +SUPERIMPOSE: MISSION TIME: DAY 132 + +The ship floats THROUGH FRAME. We hear the familiar CLINK of POKER CHIPS. + +CHANTILAS (V.O.) +Call. + +SANTEN (V.O.) +Call. + +GALLAGHER (V.O) +Call. + +INT. KITCHEN/DINING SPHERE - NIGHT + +Burchenal, Santen, Chantilas and Gallagher are playing poker. Burchenal fans his cards down. Full house. + +BURCHENAL +Kings over queens. + +CHANTILAS +That's it. You're the best poker player in a hundred million miles. + +BURCHENAL +Yep. + +He rakes in all the chips. + +BURCHENAL +And no one'll play for money. What a waste. + +SANTEN +I'm done. See you all in the morning. + +Game's over. Santen leaves, Chantilas starts to follow, then turns and asks, three-quarters kidding - + +CHANTILAS +Do you cheat? + +BURCHENAL +Compared to what? + +Chantilas gives up and leaves. + +GALLAGHER +Do you cheat? + +BURCHENAL +Only Santen. + +That seems fair. Gallagher's putting away the chips when - + +BURCHENAL +You know what I miss? A drink sometimes at the end of the day...Damned hard-asses at NASA. + +Gallagher gets a look in his eye. + +GALLAGHER +You got enough gear on board to splice genes, right? Glassware, tubing, Bunsen burners...all that kind of stuff? + +BURCHENAL +Yep, sure do. Why? + +INT. ARES - MAINTENANCE LEVEL - NIGHT + +Bowman comes in. Robby moves quickly to intercept her. Blocks her view. + +BOWMAN +I came to apologize. You were uncomfortable with a situation the other day, and I made you more uncomfortable for my own amusement. I'm sorry. It's too small a ship for playground games. + +GALLAGHER +Okay. + +He's done. She can leave now. + +BOWMAN +Okay? No witty comeback? No gloating? +(beat) +No explanation for why the temperature in this sphere is up three degrees? + +She slithers by him before he can stop her to find Burchenal tending a huge contraption of glass tubing, Bunsen burners and filtration tanks. + +GALLAGHER +He's teaching me. About biology. I've developed an interest in... + +BOWMAN +...fermentation? + +Even when you make it out of high-tech glassware, a still looks just like a still. + +BOWMAN +(stern) +You built a still? + +GALLAGHER +It's a science experiment. Did you know that an ounce of red wine per day actually benefits your heart? + +BOWMAN +(adamant) +So does three ounces of grape juice. + +GALLAGHER +Grapes don't grow well hydroponically...So we, ah, used potatoes... + +BOWMAN +You're making moonshine vodka on my ship. + +BURCHENAL +Well, yes, ma'am. But we ran it through the Gas Chromatograph Mass Spectrometer and the impurity levels are very low. + +BOWMAN +How's it taste? + +Burchenal is the first to realize they're off the hook. + +BURCHENAL +It's a little rough. + +BOWMAN +Are you going to offer me a drink? + +BURCHENAL +Of course. That would be the polite thing to do. + +He does. She tosses it back. Woooof. + +BOWMAN +That's a little rough. How much have you made? + +BURCHENAL +...'bout three liters. + +She considers. Then - + +BOWMAN +You're done. Dismantle the science project. Offer equal rations to the crew. Mr. Santen doesn't drink or approve of those who do. +(stern again) +Now tell me the truth. How much were you cutting this? + +GALLAGHER +(they're busted again) +About three to one. I can't believe you drank that. + +BOWMAN +I learned to fly in the Navy. Wimps. + +INT. COMMON AREA SPHERE - NIGHT + +Gallagher, Bowman, and Burchenal are there. They've got half a beaker of vodka left. They're all looped and laughing. + +BURCHENAL +I spent half of my life trying to make a better potato. And the second half trying to stop it. The things were so damn good they killed everything in their path. Corn, wheat, barley... +(suddenly melancholy) +We fucked up our own back yard, hit the Malthusian wall, and tried to breed our way out of it. Maybe we don't deserve another chance. + +Then he shakes it off. Laughs. + +BURCHENAL +Don't worry, if we need any help on the surface, I'm allowed to grow us some six-fingered lab assistants. + +He cracks up again. He's wasted. Knows it. + +BURCHENAL +I gotta go to bed. + +He heads off drunkenly. Gallagher gets an idea... + +GALLAGHER +I'm in space. I wanna see the stars. + +He flails off in another direction. She laughs and follows him... + +BOWMAN +Don't go outside. + +INT. OBSERVATION SPHERE - NIGHT + +A billion stars, two very drunk people, half a beaker of moonshine vodka. She's talking about Burchenal - + +BOWMAN +He's okay. I bet there's a hell of a girl waiting for him back home. + +GALLAGHER +Three. And a horse. He really likes the horse. + +BOWMAN +You're serious? + +GALLAGHER +He pines for the horse. You? + +BOWMAN +I don't have a horse. + +GALLAGHER +That's too bad. + +He takes another swig. Offers it to her. She matches him. + +GALLAGHER +Can I ask you something very personal? + +BOWMAN +Okay. + +GALLAGHER +It's about bras and space. + +She looks at him. + +BOWMAN +I don't wear a bra in space. + +GALLAGHER +I know. + +BOWMAN +Bras are designed to hold your boobs in place on Earth where there's real gravity. Why would I need one in space? + +GALLAGHER +Cause it's really fucking distracting. + +BOWMAN +You want me to wear a bra? + +GALLAGHER +No. Not at all. I'm sorry I ever brought this up. + +The good news is neither of them will remember in the morning. Much. Another round. Then - + +BOWMAN +Do you have someone waiting for you back home? Or a horse? + +GALLAGHER +With the kind of jobs I've had, it's very hard to maintain any kind of relationship. So...no horses. + +BOWMAN +Or maybe you took those jobs 'cause you didn't want anyone waiting for you. Or maybe... + +GALLAGHER +No, I like horses just fine. + +They've floated very close. + +BOWMAN +You know, you're not who I thought you were at first. + +GALLAGHER +Is that an insult or a compliment? + +BOWMAN +An observation. + +They're very, very close. And very drunk. It's when he should kiss her. But he doesn't. + +The moment passes. They both know it was there and now it's gone. Drift apart. Feel stupid. Damn. + +END OF FLASHBACK + +EXT. MARS SURFACE - DAY + +MOVING ACROSS the landscape. Miles and miles from where they started, we FIND the three men as they move rapidly across a dry wash, across the bank and up and over a hill. And stop dead at the top. + +Over the next ridge, the landscape is covered with algae. Colors like brush strokes on the terrain. Oxblood brown, burnt orange, cadmium yellow. + +PETTENGILL +Wattya know. + +Pettengill gets down on one knee to examine it. Half inch to an inch high, vibrantly colored. Healthy. + +PETTENGILL +Maybe it's the longitude. Maybe it's the equatorial belt... + +GALLAGHER +Maybe it doesn't matter 'cause we gotta keep moving or we're gonna die. + +Pettengill doesn't argue. Just trying to stay alive is the great scientific mystery right now. They bound down far side and... + +INT. MISSION CONTROL - DAY + +Borokovski is laboring to install Windows on a 50-year-old computer from the museum. Schlissel and the Tech watch, kibbutz. It crashes. Again. + +BOROKOVSKI +Yob tyvou mot! +(Which, by the way, means "fuck your mother.") + +SCHLISSEL +It keeps crashing. + +BOROKOVSKI +That was part of its charm. You had to buy programs to check why the program you had already bought was not working. + +TECH +People installed this on their computers on purpose? It wasn't a virus? + +BOROKOVSKI +The company planned it this way. It was later discovered they owned all the companies that sold you the products to fix the product they had already sold you. + +SCHLISSEL +I remember this. The government had to bomb the factory in the end. + +Borokovski nods. Windows comes up. + +BOROKOVSKI +Look, there we go... + +EXT. SURFACE OF MARS - DAY + +The ANGLE seems odd. In fact it is. It's from orbit. It's Bowman searching on the telescope. + +INT. ARES - FLIGHT DECK - MONITOR - DAY + +As the picture skitters along the surface and finds them, tiny figures on a landscape. In extreme profile. + +EXT. ARES - ORBIT - DAY + +A few minutes away from plunging onto the night side. + +INT. ARES - FLIGHT DECK - DAY + +She marks their location on the viewscreen, zooms out wide. The Hab and the Cosmos are marked with symbols. The computer pauses, analyzes, then spits them out as a little more than 56 kilometers along their way. + +More calculation is done on the screen. They're more than halfway; they've used up less than half the available daylight; their average speed is looking good. They're on time, on schedule and on the right course. So far, so good. + +BOWMAN +Ground crew, this is Ares. You're a little more than half. You're doing great. + +GALLAGHER (V.O.) +(over radio) +Oh yeah, we're doing fabulous. + +As she plunges into darkness, we hear - + +BURCHENAL (V.O.) +(singing) +Rollin', rollin', rollin', keep them doggies rollin'.' + +EXT. MARS SURFACE - DAY + +They're all exhausted and a little punchy. + +BURCHENAL +How long can a man go without food or water? + +GALLAGHER +How long can you go without singing that dumb song? + +Burchenal looks hurt. Walks another few paces. Begins to sing again. Gallagher turns to Pettengill. + +GALLAGHER +There's two of us. And we can stop him from singing. + +Pettengill considers. Then sings along instead. They only know the one line. It's really annoying. + +GALLAGHER +What is that? + +BURCHENAL +I have no idea. It's old, though. It's classic music. + +GALLAGHER +I don't know the classics. + +This sets Burchenal off. He sings some more - + +BURCHENAL +Mars ain't a place to raise your kids + +In fact it's cold as hell + +And there's no one there to raise them + +If you dig.' + +GALLAGHER +What the hell is that? + +BURCHENAL +You don't know any of the classics, do you? He was a rocket man. + +GALLAGHER +An astronaut wrote that? + +BURCHENAL +Never mind. + +GALLAGHER +Sing the one about the dogs again. + +BURCHENAL +It's about cows. + +GALLAGHER +Then why does it say doggies? + +All this time, they've been walking across a landscape pigmented with color - steel blue, alizarin crimson, malachite green - the algae varietals everywhere. And then off to the left, the algae stops. Erased, like it was never there, extirpated in a long crooked line. + +PETTENGILL +What the fuck? + +GALLAGHER +Yeah, what the fuck? You said doggies. + +Then he sees as well. They all see. Can't help themselves. They're drawn towards it. Gallagher and Burchenal check their course in the distance before veering off. Pettengill is already heading towards it. + +It's maybe 100 yards away. At 50, something indistinct can be seen. Sort of. It's like the line, and the surrounding terrain is out of focus, blurry. At 30, the blurriness comes into focus. It's alive. It moves slightly. You can see through it. At ten, you can see it undulating. Slowly, TOWARDS us. Erasing the algae, the color slowly spreading outwards behind and diffusing. And then we can see... + +A billion, a hundred billion...nematodes. Little tiny translucent worms. Eating the algae. Slowly, irrevocably. Advancing. + +Pettengill pulls out his entrenching tool. Carefully separates one out. Lifts it up to the light to see. Maybe three inches long, skinnier than an earthworm. One end lifts in the air, a tri-part mouth with little crystalline teeth opening and closing, searching for something to eat. + +It's fucking scary. It gets worse when you realize how many of them there are. The line's moved three or four inches closer as they stand there. They take a step back. No one can really speak yet. + +GALLAGHER +What... + +PETTENGILL +It's a nematode. Or something like one. It's probably this skinny so it defrosts each morning when the sun hits them. Or they'r enot water-based at all. + +GALLAGHER +Is it something we sent up by accident with the probes? + +PETTENGILL +No. + +GALLAGHER +I thought we said there wasn't any life on this planet. + +PETTENGILL +We did. We were wrong. Maybe there wasn't when we checked. I don't know. It's not from Earth. +(beat; yow) +And it's not from here. + +BURCHENAL +This can't be. This can't be. + +Burchenal actually seems kind of upset about it. Gallagher looks at him. Say what? Burch is upset. + +BURCHENAL +It can't be here. You don't understand. The odds of there being any other life in the universe are infinitesimally small. The odds that it could survive on something other than its home planet are equally astronomical. The odds that it could travel to another solar system, let alone one where life already existed are...impossible. + +GALLAGHER +But it's here. + +BURCHENAL +Yeah. + +Burchenal seems almost unhappy about this. It rocks his world. In a bad way. Gallagher turns to Pettengill happily and untroubled.... + +GALLAGHER +Well, it looks like we're not alone in the universe. You just discovered life on another planet, pal. + +It takes a moment for this to sink in. Then something hits Robby. + +GALLAGHER +Made by God. That's what's stamped on the bottom. That's what Bud would have said. He woulda loved this. + +Gallagher gets down on one knee and looks at them. They're kinda horrible, but as he turns to Pettengill - + +GALLAGHER +You know what this means? You're gonna be more famous than Darwin. They're gonna name buildings after you. Spacecrafts, cities on Mars... + +The enormity of how badly Pettengill has screwed up - that in the space of one day, he's committed murder and discovered life on another planet - begins to dawn on him. He doesn't handle it well. He's fucked up like few people can imagine. He tries to reset, it doesn't work. The worm twists about, starts to eat the metal right off the entrenching tool. He flicks it back to its relatives. + +PETTENGILL +Right. Right. Motherfuck. Motherfuck. + +And then he says something really odd - + +PETTENGILL +Name them after Santen. + +BURCHENAL +You hated Santen. + +PETTENGILL +Yeah. + +He storms away. They're both confused by this. Pettengill finds a rock, sits down behind it. He's obscured except for his head and shoulders. + +PETTENGILL +I need a minute or two. + +GALLAGHER +You wanna tell Houston? + +PETTENGILL +Go ahead. You do it. Just give me a few minutes. + +INT. ARES - FLIGHT DECK - DAY + +BURCHENAL (V.O.) +We seem to have come across the, uh, cause of the annihilation of the algae. There's cryptoendolithic life here. Eating it. + +INTERCUT as needed with Mission Control and Mars surface. + +LOWENTHAL +(concerned) +They're hallucinating. + +BURCHENAL +Pettengill's a bit overcome. Or he'd be telling you about it himself. But the discovery goes to him. +(baffled; but) +Though he wants to name them after Santen... + +SKAVLEM +You're saying there's Martian life. + +PETTENGILL +(calling out from behind the rock) +No, that there's life on Mars. We're not saying where it came from. But not Earth. Fuck. + +They all disregard that last bit. + +GALLAGHER +They're like some kind of translucent worms. + +SKAVLEM +You're all seeing these? + +BURCHENAL +Oh yeah. They're here. What did you think this was, hypoxia? + +They did. + +EXT. MARS SURFACE - DAY + +Conversation's over. Gallagher walks towards the rock - + +GALLAGHER +We should get outta here. + +Pettengill doesn't respond. + +BURCHENAL +Really. We should get going... + +Gallagher walks over. We hear a familiar WHINE. Don't recognize what it is at first. Until Gallagher around the rock and sees... + +Pettengill's flicked on the WHIZZING CUTTING EDGE of the entrenching TOOL. Shreds his left wrist. Lifts it and rips through his carotid arteries. All but cuts off his head as he falls to the ground. Suit's awash with BLOOD. Overflowing onto the ground and him. BURBLING in spurts. Some hits the worms. + +BURCHENAL +Jesus...Jesus God... + +Burchenal's joined him. There's nothing they could do. Only watch in shock. It gets worse. The worms come. Pulsating and undulating towards Pettengill. As if some secret message the food is here has spread through the billions of them in burst of knowledge. + +A diaphanous, hungry wave crests onto Pettengill and engulfs him. He's covered in translucence as they devour him. Gallagher and Burchenal stagger backwards in horror as a red aureole grows around him as he's eaten. Color spreads out around him in a perfect ever-growing circle. It's a feast. + +WIDE + +The two of them walk along. Can't tell if they're hurrying towards something or away. They've both figured out what's up. A beat, then - + +GALLAGHER +He killed Santen. + +BURCHENAL +Yep. + +GALLAGHER +Probably figured we were gonna die anyhow. + +BURCHENAL +Yep. Figured wrong. For now. + +GALLAGHER +(beat; then) +Nobody deserves to die like that. + +BURCHENAL +No. + +INT. MISSION CONTROL - DAY + +There's a general buzz of animated scientific debate. One voice cuts through - + +LOWENTHAL +We've thawed out three and four-million-year-old organisms from the permafrost in Siberia and they've come back to life. It's possible. + +RUSSERT +So even if there wasn't life there, there is now. + +SCHLISSEL +And we warmed the place up and sent it something to eat. + +LOWENTHAL +It could have sat there for millions of years since Mars cooled. Waiting. Rode in on a frozen meterorite from anywhere. And waited. + +A voice chimes in from the corner - + +BOROKOVSKI +Like sea monkeys. But not as friendly. + +They all consider that. Kinda bizarre but accurate. + +EXT. MARS SURFACE - DAY + +Burchenal and Gallagher trudge onward. Burchenal checks his watch. It's time. Gallagher hands him the radio. Walks ahead. Doesn't want to hear. + +INT. ARES - FLIGHT DECK - DAY + +Bowman just heard the news. It's like she's been punched. It takes her a moment to recover. + +BOWMAN +Copy that, Ground Crew. + +Mission Control has heard as well. A beat, then - + +SKAVLEM (V.O.) +Requiescat in Pace. + +EXT. MARS SURFACE - DAY + +The sun is way past its zenith. It hangs noticeably lower in the sky. Maybe four or five o'clock. Burchenal and Gallagher plod along. They're beat. There's no singing, there's no banter. They're just trying to keep moving. + +INT. ARES - FLIGHT DECK - DAY + +Bowman finds them again with 10m scope. Marks it. Computer analyzes their position. The results aren't encouraging. Their average speed has been steadily dropping. There's only two hours left till dark. They've gone 79 kilometers. And they're projected to get 88.5 kilometers before nightfall. They're gonna miss getting to the Cosmos by about an hour. + +EXT. MARS SURFACE - DAY + +It's worse. They're stumbling. Not keeping in all that straight a line. Having to constantly re-check their position. RADIO CRACKLES. + +BOWMAN (V.O.) +Ground Crew, this is Ares. +(studiously casual) +How's it goin'? + +They look at each other. Is she kidding? + +GALLAGHER +We've just done a little over two marathons back to back. We haven't had anything to eat or drink in two days. There are these worms that want to eat us and a mad robot who wants to kill us. Why do you ask? + +He starts to laugh. For some weird reason Burchenal joins him. + +BOWMAN (V.O.) +You're not going to like what I have to say. + +BURCHENAL +You're going home? Bring us some chicken. + +They crack up anew. + +BOWMAN (V.O.) +You have to pick up the pace. + +They laugh. It's not funny, but they really laugh. + +BURCHENAL +We're not gonna make it? + +BOWMAN (V.O.) +At this pace, you'll make about ninety kilometers. + +Burchenal shakes himself. Digs into some deep reserve. Picks up his speed and shouts - + +BURCHENAL +We Sleep Till Brooklyn! + +He totters off towards the horizon. + +BOWMAN (V.O.) +What was that? + +GALLAGHER +Cooper's been singing classic music. I don't know most of it. + +BURCHENAL +No Sleep Till Brooklyn! + +GALLAGHER +Neither does he. I think he knows one line from each song. We'll try to go faster. We really will... + +He's trying to convince himself as well as her. But he does pick up the pace and push after Burch and... + +INT. MISSION CONTROL - NIGHT + +Borokovski has listened in curiously to this exchange. + +BOROKOVSKI +Why is he speaking of Brooklyn? + +SCHLISSEL +He's singing classic music to keep his spirits up. + +The tech looks at him curiously. + +SCHLISSEL +I studied it in college. It's the Beastie Guys. Most of the music we listen to today is based on the ground-breaking work they did before the turn of the century. + +EXT. MARS SURFACE - 40 MINUTES LATER + +They're stumbling. Literally. Gallagher just stops. + +GALLAGHER +You know, I don't care if I weigh 60 pounds on Mars. I am one tired doggie. + +Gallagher sits down on a rock. Burchenal collapses nearby. They can't go any further. Burchenal catches his breath. + +BURCHENAL +Ten K short. + +The sun is a finger above the horizon. Redder than red, breathtakingly beautiful. + +BURCHENAL +It's pretty. + +GALLAGHER +Too bad we're gonna be dead. I can't keep walking in circles. And there's nothing to keep us warm. + +They look around unhappily. Ugly way to die. + +GALLAGHER +It's gonna be like trying to live on Mount Everest. + +BURCHENAL +What would we do if we were on Mount Everest? + +Thinks a long time. + +GALLAGHER +I would have brought a tent. + +BURCHENAL +If we didn't have a tent. + +Robby's so tired he's confused. + +GALLAGHER +We don't have a tent. + +BURCHENAL +Yeah. Yeah, I know. + +GALLAGHER +I'd guess you'd dig a snow cave. Use the snow for insulation. You've seen the 3Ds. + +There's a funky-looking hillock nearby. Five feet high, as big around. Burchenal totters to his feet. Goes over and kicks it. It's soft volcanic rock. + +BURCHENAL +Let's dig a snow cave. + +GALLAGHER +There's no snow. + +Burchenal kicks at it again. Gives. He takes out the entrenching tool, hacks at it. Knocks a piece free. + +BURCHENAL +Let's dig a snow cave or we're gonna fucking die. + +He starts to wail on it. Gallagher staggers over and joins him. The two of them start to flail away like a cross between prehistoric man and giant beavers, desperate as - + +EXT. MARTIAN HORIZON + +The sun begins to set. 30 miles away, the terminus, the line where night turns to day, begins to advance across the planet towards them. In the dark of the shadow, the FROST forms a dozen feet behind and follows growing, GROWLING - the cold advancing TOWARDS us with a CRACKLING CRUNCHING FREEZING WHINE. It's as if the cold has a sound... + +BACK AT HILLOCK + +Gallagher and Burchenal can see the darkness approaching. Digging madly. Cackling. Losing their minds. Can't tell who is who as they're silhouetted against the sun, one now inside the hillock throwing rock back as the other clears. + +The sun continues to drop. Terminus continues its pernicious HISSING and freezing approach. + +Halfway inside now. On his knees, suit light on, Gallagher chops away at the rock. When he's thigh-deep in debris, he backs out, dragging the leavings with him. Burchenal leaps in, replacing him. Dripping in sweat, nutty, but at least they're doing something. + +The last of the sun disappears. Their breath is in the air. The darkness and frost reaches them now. The sweat begins to freeze, ice in their hair and eyebrows and stubble. But they've dug most of the shelter. They continue to thrash and chop away. The frost is now everywhere. + +Gallagher climbs inside. Burchenal drags a lava boulder over to seal the entrance. Climbs in, hooks his tool into the rock and seals it shut. + +INT. CAVE - NIGHT + +It's not big. The two of them are scrunched into balls. They chop away and pack the debris in the entry tunnel to block the cold. Shaking bitterly. Lips blue... + +EXT. MARS SURFACE - NIGHT + +Nothing. Darkness. Rocks. And in the midst of it all, our crazy hillock/snow cave. + +INT. HILLOCK/CAVE - NIGHT + +Gallagher looks up to find Burchenal staring at him. Actually, not exactly at him. At his forehead. + +GALLAGHER +What? Is this some kind of cartoon moment where you're imagining I'm a giant chicken and you're going to eat me? + +BURCHENAL +It's melting + +GALLAGHER +It's a Wizard of Oz moment? + +BURCHENAL +The ice on your forehead is melting. The rock's really insulating us. We might not freeze to death. + +GALLAGHER +Oh. Good. + +And then the enormity of what's gone on hits them. And the exhaustion. Adrenaline is gone. Gallagher physically droops. Burchenal follows. + +GALLAGHER +I've never been this tired. I've never hurt this bad. You think dead is worse than this? + +BURCHENAL +Hell, we'll probably know soon. Shut up. Rest. + +GALLAGHER +We oughta probably tell someone we're not frozen solid. Yet. + +Burchenal checks his watch. + +BURCHENAL +We're on the nightside, can't reach Houston. Bowman's dayside for another forty-five. + +INT. MISSION CONTROL - NIGHT + +Common viewscreen shows ground crew's projected position. Darkside of the planet. Estimated temperature of -20 degrees fahrenheit and falling. The room's downcast. And bewildered... + +SKAVLEM +Not a word before it got dark. + +-25 degrees. -30 degrees. + +RUSSERT +They're dead. Or dying. Let's get Bowman home. + +SKAVLEM +She's gonna wanna waste a pass trying to get them on the radio. + +RUSSERT +Let her. She's got five and a half hours before the orbit starts to decay. If she has to do this so she can concentrate later on, so be it. + +Skavlem gets busy on the radio with Bowman - + +SKAVLEM +Ares, this is Houston... + +INT. CAVE - NIGHT + +Their breath condenses on the ceiling. Freezes. Then falls down. It's snowing. They've got their own weather system. Gallagher watches it fall. Burchenal seems kinda pissed. + +BURCHENAL +No, I don't know why the worms are here. No, I don't know why we're still alive. + +GALLAGHER +There's gotta be a reason. + +A moment, then - + +BURCHENAL +You're talking about faith, son. Faith is another way of saying I know something you don't know but I can't tell you 'cause it's a secret. But I don't know why I know it. +(agitated) +I live in the real world. I've lived there my whole life. I'm comfortable there. + +GALLAGHER +We're not in the real world. We're on Mars. +(softly) +Nobody gets in a rocket ship to outer space without some kind of faith. Do they? + +Burchenal doesn't answer. Not directly. But he looks like a third grader busted in some elaborate story he can't keep up. + +BURCHENAL +If you think I'm gonna have some kind of weak-ass epiphany for you right here in this cave, you're wrong. Now, why don't you get that light outta my eyes and let me try to rest. + +Gallagher's satisfied. Lowers the light to a dull glow, leans back against the rock and... + +EXT. ARES - DAY/NIGHT + +The ship slips into darkness. + +INT. ARES - FLIGHT DECK - NIGHT + +Bowman reaches for the mike, begins - + +BOWMAN +Ground crew, this is Ares. Do you read? +(off no response) +Ground crew, this is Ares. Do you read? + +INT. CAVE - NIGHT + +The radio lies on the ground. The green light flickers with her transmissions. But little signal seeps through the rock. What there is is MUFFLED and INDISTINCT. + +BOWMAN (V.O.) +Zzzzz zzz, zzz zz, zzzzzz? + +And Gallagher and Burchenal are fast, fast asleep. + +INT. ARES - FLIGHT DECK - NIGHT + +Time's passed. Bowman has searched with the 10m scope. IR, thermal. She picks up the occasional footprint. Tracks their progress. Finds some odd rock configurations. And...nothing. They're just gone. Finally, she gives up. Picks up mic sadly for one last time - + +BOWMAN +Ground crew, this is Ares. It was a pleasure and an honor to serve with you, gentlemen. + +Sits quietly a moment, then turns off the screen. Brings up a new image. Shows her current fuel status, position and projected path. She begins to work on getting home. + +EXT. MARS SURFACE - NIGHT + +Dead quiet. The two small moons shine faintly. A rime of ice covers everything. The hillock shimmers in the feeble light. The rock entrance is sealed over with frost. + +INT. CAVE - NIGHT + +Gallagher and Burchenal breathe shallowly. The inside of the cave is covered in white flaking hoarfrost. Lips are blue. Skin is pale. Gallagher's eyes open. Something's wrong. Doesn't know what. And then he realizes the air moving in and out of his lungs isn't doing him any good at all. The door is caked shut with ice. There's no air. + +He moves badly, uncoordinated, but manages to chop and shove it open. Fresh ice cold air rushes in. Burchenal awakes. Only half-responsive. Gallagher grabs him, drags him out. + +GALLAGHER +Breathe! Breathe! + +EXT. MARS SURFACE - NIGHT + +Cognizance returns. Burchenal looks at his watch. + +It doesn't make any sense. Three hours have passed. Three hours... + +BURCHENAL +Son of a bitch. Son of a bitch. We've been asleep for three hours! + +Gallagher desperately hauls out the radio. + +GALLAGHER +Ares, this is ground crew. Ares, this is ground crew. + +BURCHENAL +Forget it. She's dayside again. If she's even still here. +(then) +We gotta get to Cosmos. + +Burchenal looks around. Oh God...It gets worse. + +BURCHENAL +Can't see the landmarks. + +Gallagher starts to madly scan the night sky. + +GALLAGHER +We gotta keep moving. + +He yanks out his HCC. Mutters rapidly into it. We see the map appear. Hab/Cosmos line marked. Then a star chart for Mars on this day and time. He calls for it to change to a horizon projection. The machine freezes, computes. Brings up a horizon. It matches what Robby sees. And highlights a star sitting just above the horizon that will lead them on their way. Canis Minor. They start to run... + +A beat. AMEE rises up silently from behind a rock and watches them go. + +EXT. MARS - SURFACE - NIGHT + +The two men run. Lit by the two moons Phobos and Deimos - Fear and Terror. It's unbelievably cold. Plumes of breath light up around them as they go. Following the star on the horizon. Across a valley, over a ridge. Over a dune. Scrambling. + +Up and over the next long, long gradient. They lose the star over this false horizon as they climb. There's something odd, however. A faint broad wash of light coming over the lip. They crest the rise to reveal - + +VALLEY + +Completely covered in phosphorescent algae. Pale green and glowing. A mile across, a mile wide. If they weren't rushing for their lives, it would be worth stopping to stare. + +Across the vale Canis Minor sits directly in the center of a small mountain pass. They're about to dash onward when something - intuition, it's hard to say what - hits Burchenal. + +BURCHENAL +Stop. + +GALLAGHER +What? + +Burchenals' not quite sure at first. But won't enter the algae. Walks left, walks right. Kneels down. + +The algae glows. Otherworldly. And then movement. In the f.g. a worm, green, glowing and filled with algae, slithers through. And then another. And another, indistinguishable from the plants around them they've imbibed. + +And then as Burchenal plays his light out across the valley we realize it's entirely full of worms. Gallagher takes an appalled step back. They're fucked. + +GALLAGHER +We're fucked. + +Burchenal considers for a moment. And yeah, probably has that epiphany. Then- + +BURCHENAL +(re the pass) +Get to the closest point you can safely. I'm gonna go down to that end. + +He starts to run to the far end. + +GALLAGHER +What are you gonna do? + +Burchenal's far enough away now that his voice comes over the SUIT RADIO. + +BURCHENAL (V.O.) +I'm gonna distract them. + +GALLAGHER +You're gonna distract the worms?? + +BURCHENAL (V.O.) +Yeah. + +Perhaps Gallagher ought to give this more thought. But he doesn't. Maybe it's the exhaustion. Maybe it just never would have occurred to him. Burchenal disapears into the darkness and the distance. Gallagher waits. Then - + +BURCHENAL (V.O.) +You ready? + +GALLAGHER +Yeah. + +BURCHENAL (V.O.) +Good. Lemme know when it starts to clear. + +Gallagher doesn't get it. But a moment later, a shiver runs through the worms. And they start to undulate away. Towards Burchenal. Pulsing faster and faster until it's clear in a moment or two, like a giant amoebae withdrawing, he will have clear access to the pass. + +BURCHENAL + +at the far end, is five hundred yards into the worms. They know. They've told each other. And they're coming in pulsating waves. Towards him. At the epicenter. He gags. And hears - + +GALLAGHER (V.O.) +(stunned) +It's clear. + +Burchenal tries to turn around. He's mired now. And they're up to his waist. It's a fucking nematode feeding frenzy. + +BURCHENAL +Good. + +He can't even lift his feet. They're beginning to cover him now. He can see the color of his suit spreading around him as they devour it. + +BURCHENAL +(then; oddly calm) +You were right, son. There's gotta be a reason. This can't just be an accident. I don't know what the worms're doing here or how they got here. But science don't explain it. And it pisses me off to no end. + +Gallagher turns. He can see now what Burchenal has done. A tiny glowing figure can be seen 1000 yards away. Gallagher's speechless at first... + +BURCHENAL +I'm gonna have to turn off my radio in a sec. So you don't have to hear me screaming like a girl. + +GALLAGHER +What have you done?? + +BURCHENAL +Finding out there's things I don't understand. That science don't know squat about. Maybe even the damn Earth's worth saving. Someone's gotta give it a try. Gotta find out about these worms. Go, get off this fucking planet. + +During which we've CUT TO Gallagher, 'cause you don't want to see this. + +BURCHENAL (V.O.) +There's two women in Missoula, one in Bozeman. Tell them each they were my last words. And make sure my horse gets sold to someone who knows how to ride. +(then) +Oh, my Lord... + +RADIO GOES SILENT. Across the distance we can see a figure, now entirely coated in luminous worms, writhing wildly. Gallagher leaves his light on, starts to run. As Robby flees, we PULL BACK, FURTHER and FURTHER until he's just a tiny figure in the landscape - until we are AT what was Burchenal. The frenzy is all but over. + +The phosphorescence is gone in the center of the circle. The edges are the color of his suit. Then blood red for forty yards. Bits of bone white. And then right in the dead center, as we watch; gray, spreading, spreading as what was once Burchenal's brain is food for worms. + +EXT. MARS SURFACE - NIGHT + +Gallagher scrambles up, steeper and steeper, to the edge of the valley and the ridge line. From the top he can see the way below is his prize - the Cosmos. Checks his watch, hopefully, desperately triggers the radio. + +GALLAGHER +Ares, this is ground crew. Ares, this ground crew. Do you copy? + +EXT. ARES - NIGHT + +Above him somewhere in the sky. + +INT. ARES - MAINTENANCE DECK - NIGHT + +Bowman is locking out parts of the ship to conserve power on the way home. At first she's not sure she really heard that. Rushes across the room to the radio interface. + +BOWMAN +Ground crew?! Status?? + +GALLAGHER (V.O.) +Me. Alone. The worms just ate Burchenal. Thought you might be gone. +(shaky) +Guess you promised you wouldn't leave... + +BOWMAN +Robby, I'm...still here. + +They both know he's caught her still here sheerly by happenstance. + +GALLAGHER (V.O.) +I'm about a kilometer from the Cosmos. It's in sight. Call you when I'm there. + +EXT. RIDGE LINE (MARS) - NIGHT + +Gallagher heads down. Bounding down the hill. No algae on his side. He leaves a trail of phosphorescent footprints as he goes. They grow fainter and fainter as he descends. + +INT. ARES - FLIGHT DECK - NIGHT + +Bowman comes rushing in. Too fast. Slams up into a wall. Resets. Belts herself in. + +EXT. COSMOS SITE - NIGHT + +It's been sitting there for 30 years. As he approaches, the solar panels turn and track towards his light. It's still waiting. Sits on six over-built legs. Sample return vehicle launches off the base. Liquid fuel tanks, sample return container the size of a large trash can. We hear - + +BOWMAN (V.O.) +How you doing? + +GALLAGHER +(unsettled) +It's really cold. My fingers aren't sure they want to work. + +BOWMAN (V.O.) +You can do this. +(then) +The maintenance port has a cover. It should be marked. + +Gallagher looks it over. Minor stumbling block... + +GALLAGHER +Yeah. In Cyrillic. + +Finds it anyhow. He flexes his unresponsive fingers, and after a try or two, unscrews the cover, reveals an IR port. + +GALLAGHER +Got it. + +BOWMAN (V.O.) +All right, I'm gonna download this to you. + +Gallagher yanks out his HHC. Dozen adapters in the back. Finds the one that fits the old modem port on the jerry-rigged radio. + +GALLAGHER +Go. + +Plugs it in. Stuff flashes. On the HHC, Windows comes up, the Cosmos LaunchMaster program, Cyrillic crudely relabeled in English. Unplugs the modem so he can speak again. + +GALLAGHER +It's still got power. + +BOWMAN (V.O.) +You should be able to run diagnostics. + +There's a diagnostics check and launch check. He hits diagnostics. The two talk, link up, and - a Windows error screen comes up on the HHC: + +"Warning - your system has become busy or unstable. Press Ctrl-Alt-Delete to exit programs and reboot." + +GALLAGHER +I know now why it didn't launch. +(says the magic words) +Control alt delete. + +Reboots in the blink of an eye. Systems check positive. + +GALLAGHER +It's looking good. + +BOWMAN (V.O.) +Okay, this thing only has two settings. On and off. One sends it all the way back to Earth. As you don't have air, food or water, that would be bad. + +INT. ARES - FLIGHT DECK - NIGHT + +Bowman is calculating madly as she goes on. Trying to sound calm. She's anything but. + +BOWMAN +We want just enough lift for escape velocity. With the weight you left at and the suit...I peg you at 165. It was designed to take 200 pounds of rocks home. Tanks are seven liters each. You need to take two liters out of each tank. There's a central purge; you're gonna have to be exact. + +EXT. COSMOS SITE - DAY + +As she continues - + +BOWMAN (V.O.) +And you better try to find something to put the fuel in and get it the hell away from there, as we don't want it to go up when the rocket goes off. + +Gallagher considers. Yeah, it all makes sense. But how? + +CUT TO: + +EXT. COSMOS SITE - MINUTES LATER + +Gallagher, using the few tools he has left, has unbolted the sample return container. Measures its width - + +GALLAGHER +I need you to do some math. A cylinder 50 centimeters wide, how deep is six liters? + +BOWMAN (V.O.) +Eleven and three quarters centimeters. + +He measures and scribes in the line. + +GALLAGHER +Somewhere, Mr. Plummer, my 10th-grade math teacher, is cackling like a son-of-a-bitch. + +Under which, he slithers underneath, opens the main purge and fills the big steel bucket with rocket fuel. It looks just like the guy at Texaco, working on your car. Lugs it away from the Cosmos. + +GALLAGHER +Now what? + +BOWMAN (V.O.) +Launch diagnostics. Avoid pressing anything that says ignition. + +He runs it - seals are good, pumps are good, engine's ready. And the ignition power force, all 300 volts of it, is dead as a doornail. The program suggests the replacement part number. And suggests he order it quickly. Checks again. Answer's the same. He slumps down, sits beside SRM. He ain't going nowhere. Just sits there. Can't move. Can't speak. After all this, he's fucked. Stares out into the distance. Finally - + +BOWMAN (V.O.) +Gallagher? + +GALLAGHER +No. No go. There's enough power to run the computer, but not enough to launch. + +BOWMAN (V.O.) +How much do you need? + +GALLAHER +I need 300 volts at six amps. And I've 28 volts running the computer system. Ignition battery's stone cold. + +Beat. + +BOWMAN (V.O.) +Is there anything you can use? + +GALLAGHER +Let me look around and see if I see a high voltage source....No, just rocks. In fact, everywhere I look, there's just fucking rocks. And more fucking rocks. + +Then, as he tries not to break down - + +GALLAGHER +I'm gonna die here. + +INT. ARES - FLIGHT DECK - NIGHT + +She's shook. She knows he's right. Not a damn thing she can say. Tries to maintain. Barely. Looks up at one of the screens. In four minutes she's back on day side orbit. And then home. + +INTERCUT WITH: + +EXT. COSMOS SITE - NIGHT + +Gallagher steadies himself. Picks the radio back up. He's just babbling to keep himself sane for a little while. + +GALLAGHER +I didn't come here to be a citizen. I came as a tourist. You know, visit Mars, check out the sights. Go home. + +Bowman tries to do the right thing. Whatever the hell that is...Takes a breath, wipes away an errant tear, tries to be calm for him. + +BOWMAN +Is there anything you want me to do? + +GALLAGHER +(thinks; then) +Tell all of Burchenal's women that they were the only one. Sell his horse to somebody nice. + +BOWMAN +For you? + +GALLAGHER +No. + +Then, burbling up, unplanned... + +GALLAGHER +I shoulda kissed you. + +There's a long beat. Yeech. He shouldn't have said anything. Then - + +BOWMAN +Yeah. You shoulda kissed me. + +Gallagher can't believe it. He could kick himself. + +GALLAGHER +(to himself) +Okay. This is like all the worst parts of high school math and the beautiful girl you're too stupid to tell you're madly in love with. And then, I get to die. What a shitty day. +(into radio) +Commander Bowman, I am really sorry I didn't kiss you. Really, really sorry. + +He pauses. Only half a beat, but... + +INT. ARES - FLIGHT DECK - NIGHT + +She bursts from the darkness into the light of day side and is gone. RADIO turns to STATIC... + +EXT. COSMOS SITE - NIGHT + +When he goes on - + +GALLAGHER +Loved you madly, shoulda said so. + +It's too late. She never hears. STATIC. He realizes she's gone. Puts the radio down. He is very, very alone. + +INT. ARES - FLIGHT DECK - DAY + +She sits there, just gut-shot for a moment. Picks up the mike. + +BOWMAN +Houston, this is Ares, commencing return sequence. + +INT. MISSION CONTROL - DAY + +On all the PIM's her return trajectory is plotted. She's to come all the way across the day side, enter night, begin acceleration and slingshot around the backside of Mars and head home. + +SKAVLEM +Copy. Ares, beginning return + +She steels herself then reports the rest of the news - + +BOWMAN (V.O.) +Ground crew, reduced to Gallagher, reached Cosmos, failed second diagnostics. No joy, no launch. While crew member is still extant, mission commander declaring him E.O.M. Commencing return. + +There's silence in Mission Control. Not everyone has followed the circumvention. + +TECH +What was all that? + +SCHLISSEL +Gallagher made it to the Cosmos, won't launch, he's alive, she's gotta leave him. + +TECH +Whoa. + +BOROKOVSKI +Da... + +EXT. COSMOS SITE - NIGHT + +Gallagher sits there. And sits there. Alone beyond imagining. Hope gone. Just staring 1000 yards out into the distance. Not looking at anything. Waiting to die. He's given up. + +And then...he shakes himself out of it. Just feels foolish he's let himself go this far. Gets up. Done with feeling sorry for himself. + +GALLAGHER +Well, this can't get any worse. I guess. + +Grabs himself to stay warm. Hops up and down. On one of the hops he ends up facing the direction he came from. There's something green and phosphorescent coming over the ridge. They've tracked him. Footprint by footprint. + +He looks closer. It's not just the ridge. They're down in the valley with him. The ones in the front are back to translucent, not glowing anymore. They're hungry for something new. He gets down low to silhouette them against the sky. There are already four or five hundred thousand on this side of the hill. And they're coming. Faster. + +GALLAGHER +I guess I was wrong. It can get worse. A lot fucking worse. +(shouts at them) +Forgive me if I don't feel like getting eaten before I die! + +They don't really respond. Except the ones in the front who rear up, and seem to listen or sniff for him. And gnash their little crystalline teeth. They split now to come at him from two sides. Gallagher gets caught in a dry-heave. + +GALLAGHER +Oh, man... + +Sees the bucket of rocket fuel. Lot closer to them than it is to him. Gathers his nerve, runs, grabs the bucket. Drags it twenty feet back. Then tilts it, carefully pouring it out in a ring around himself and the Cosmos. Worms closing in as he goes. Leads a fuse of fuel back towards him. Lights it. + +It burns low and yellow in the oxygen-depleted atmosphere. Doesn't look like much. Certainly not a defence. First worm gets near it. Unsure. Bewildered. Pulls back. But his compatriots are behind him, still coming. No choice. He advances. And...POOF. VAPORIZES in burst of red-orange as he touches the flame. + +And the next...And the next. Like little sparks. Gallagher watches, puzzled by this...And then it hits. Right as the ring of flame is about to die out. The main wave touches the ring of fire. And...they do burn. And SCREAM. Little WORM SCREAMS that multiplied by tens and hundreds of thousands begin to pierce the air. + +GALLAGHER +That's for eating the Hab! And killing Cooper, you slimy worm fuckers! + +Rolling waves of flame. Half plasma. Flying blobs of burning worms rain down like napalm. One lands on and torches the cobbled-together radio. It's so damn hot for a moment Gallagher panics, thinking everything might explode. Then it drops to embers and the wave burns over the hill like a wild fire. + +Gallagher does a dance of triumph. However short-lived. Then it hits him - + +GALLAGHER +How do you burn like that without oxygen?? + +There's a BLAST of flame from the far side of the ridge that rattles rocks and Cosmos. Knocks him to the ground. + +GALLAGHER +Holy shit...Holy shit! + +Gallagher stares with wonder over the hill. He figured it out. There's a couple of dozen worms, unburnt and thrown free. He picks one up, looks at it. + +GALLAGHER +You motherfuckers stole all the oxygen. +(realizes) +And you can give it back. Motherfuckers. I gotta tell someone. It could work. It could work here... + +He turns, looks - the radio is still burning. He snatches it up, scorches him. Tries to put it out. It's cooked. Deceased. He's devastated. Drops to his knees. + +GALLAGHER +No!! Not after all this. No!!! + +It ain't gonna work ever again. All the shouting isn't gonna make a difference. He knows the answer, he knows how to save the species and there's no one he can tell. + +As he stumbles back onto his feet, he's jarred the switch that links to AMEE's display. it comes on, shows: + +AMEE'S POV + +The fire on the far side of the ridge. She's approaching it. And fast. + +BACK TO SCENE + +Gallagher stares at it for a moment... + +GALLAGHER +My day is not getting better, is it. + +There's a look on his face somewhere between inspiration and fear. Like he's got an idea. But it might be a really, really bad one... + +EXT. MARS SURFACE - NIGHT + +AMEE skitters along. Moving fast. Climbs up and ever so carefully peers over the ridgeline. + +AMEE'S POV + +The Cosmos down below. And beneath it, his feet sticking out as he works on something, Gallagher. He messed with her once; she recognizes him. If she could bare her teeth like an angry dog, she would. AMEE considers for a moment. Makes her move. + +EXT. COSMOS SITE - NIGHT + +She comes down the hill. Twelve, sixteen, twenty-foot strides. Doing forty or fifty miles an hour easy. And all but silently. Gallagher hasn't yet responded. And then she's all the way to him. She rears up to strike and - + +And Gallagher, in his skivvies, bursts up from where he's buried himself in the sand, avenging, entrenching tool high over his head, already swinging as AMEE wheels back around and...He chops off both her eyes. Sidesteps as she rushes him blindly and backhands her in her electronic Marine cranium from behind. + +Whatever he's hit, the jolt stiffens his arm, throws him off. The tool stays embedded. She runs headlong into the Cosmos. Smashes, stumbles, falls. And before she can get back up to her feet...He wraps the sleeve of his shirt around his hand, rescues the entrenching tool and deals a death stroke to the silver arachnid. + +GALLAGHER +Robust real-time response to the environment, my butt. + +Gallagher grabs his satchel of tools and begins to unbolt her as fast as he can. Checks his watch. Whatever he's racing, there's only minutes to go. + +Deep within the electronic entrails of AMEE, he dredges up her Esource. Size of a soda can. POWER CELL that runs her for year and a half. HUMS as he removes it from its shielded container. It's 280 volts. + +GALLAGHER +Work. + +He rips open a panel on the Cosmos, yanks out the dead cell and hooks the new one in. It doesn't fit. He's got nothing left but a couple of wrenches and a tube of epoxy. Glues it in place. + +Runs the launch Diagnostics on his HCC. It flickers, goes to yellow, flashes on and off to green. He yanks back on his suit. Grabs a handful of the uncharred worms and seals them in the container that held the Esource. + +Stuffs it in a side pocket. Looks at the top of SRV. Wedges himself under some cables and wiring on the top. + +GALLAGHER +This oughta be interesting. + +Checks his watch. It's now or never. + +EXT. ARES - DAY + +The ship is just about to enter the darkside. + +INT. ARES - FLIGHT DECK - DAY + +Bowman's got her suit on. Screens show the apogee launch and a slingshot around the backside. + +BOWMAN +Houston, this is Ares. I am go for return ignition. + +SKAVLEM (V.O.) +Copy that, Ares, you are go for return. + +She slides into the darkness. + +EXT. COSMOS SITE - NIGHT + +Gallagher watches the second hand come around, takes a deep breath, and... + +GALLAGHER +Fuck you, Mars. + +...slaps the helmet shut. Hits ignition. Nothing happens. Then the GRINDING of thirty-year-old PUMPS. And then a GIANT flaming ROAR. And it launches. + +Gallagher, epoxied to the top, is pinned flat. Face squashes, eyes bulge. Ship starts to glow friction. Thirty-year-old paint chips off like tiny shooting stars burning away as this reverse comet leaves the atmosphere. + +We can hear him roaring at the top of his lungs as the ROCKET BLOWS by and... + +MARS + +pulls away in the b.g. Rapidly contracting. FROM FILLING the FRAME, TO a red circle below. Atmosphere thins, the friction and flame decrease and disappear. + +SKY + +turns from deep red to maroon to black as he blows through the clouds into the outer reaches of the Mars atmosphere and beyond. The ENGINES STOP. Fuel's expended. And... + +Quiet. He comes skittering back from the edge of blacking out. He floats silently, orbiting the planet, slowing receding into the distance. Until he's...gone. + +EXT. ARES - NIGHT + +We see Bowman THROUGH the front viewport. Unhurried. Making the last of her preparations. Downhearted and slow. Then - + +INT. ARES - FLIGHT DECK - NIGHT + +She's strapped in now. Counter on a screen is ticking down. 13, 12, 11...She tries to allay her horror at what she's doing. Reaches for the mike. + +BOWMAN +Robby... +(no answer) +If you can still hear me...I'm so sorry. And I shoulda just kissed you. + +EXT. COSMOS SITE + +Radio, three-quarters cooked, lays there on the still-smoking ground. + +INT. ARES - FLIGHT DECK - NIGHT + +Countdown continues. Nine, eight, seven...Then just breaking the horizon way out in front of her, a shiny metallic speck breaches into the light. It's a man, glued to thirty-year-old spacecraft. Four, three...She slams down an abort button, as with the other hand she twists the radio over to the suit-to-suit frequency. + +BOWMAN +Gallagher... + +No response. + +EXT. COSMOS + +Gallagher is sucking on a few useless raspy breaths. He can see her, ten kilometers away. Barely hanging on. + +GALLAGHER +No. Air. + +INT. MISSION CONTROL - NIGHT + +They stare up at the screen awaiting her return ignition. + +SKAVLEM +She should be clearing. Starting the burn. + +She's not showing. Still not showing. And then... + +SCHLISSEL +There's secondary object in orbit. + +INT. ARES - FLIGHT DECK + +Bowman has flipped a set of joysticks/collectives out from underneath the dash in front of her. She's shouting at the computer. + +BOWMAN +Reroute. Orbital maneuvering. Power the OMS, power the R.C.S. I need roll, pitch, yaw, X, Y, Z. Now. Goddammit now! + +INT. MISSION CONTROL - NIGHT + +They've figured out what's up. Some are thrilled, others are freaked. + +LOWENTHAL +No! No, there's no fuel for maneuvering. Stop her! + +Skavlem shakes his head. Not a chance. Nor would she listen to him. + +BOROKOVSKI +She is going to burn fuel to rescue this man without enough to come home? +(very Russian of her) +I like this girl. + +INT. ARES - FLIGHT DECK + +Which is exactly what she does. + +BOWMAN +I want ten milliliter bursts. Now! + +And puff, puff, puff... + +EXT. MARS ORBIT - NIGHT + +Ares, bit by bit, dives down into a smaller orbit to catch up with the Cosmos. + +INT. ARES - FLIGHT DECK + +Bowman grabs the whole orbital maneuvering assembly, yanks it out of the flight deck, turns and rushes from the sphere. + +EXT. COSMOS - ORBIT - DAY + +As he watches it come closer, he's depleted what little air there was in the suit. And starts to die. + +INT. ARES - MEV DECK - DAY + +It's now an empty docking port. Bowman careens in. No artificial gravity here. Floats as she shouts at the computer. + +BOWMAN +I want a 180 degree. Now! + +EXT. ARES - ORBIT - DAY + +Puff, puff...The ship turns end over end. As... + +INT ARES - MEV DECK + +Kate plugs the maneuvering deck in with one hand, slaps an oxygen bottle on and her helmet shut. + +BOWMAN +Seal this level! Open the dock. + +Clips herself in just in time as the DOORS behind her SLAM shut and the giant doors in front of her open. Air purges. And in front of her, 300 yards away, is the Cosmos. + +BOWMAN +Gallagher! Gallagher! + +He doesn't respond. + +EXT. COSMOS - CLOSE ON HIM + +Because he's unconscious or dead. His head lolls there. + +INT. ARES - MEV DECK + +There's no time left for subtlety. Bowman yanks a device off the wall. It looks like a 40mm rifle with a power cable. Points it at him. Triggers it. It's a huge laser pointer. Lights him up. Shouts to the computer. + +BOWMAN +Hard Dock! + +The ship pauses, like it's thinking. And refuses. + +ANNUNCIATOR (V.O.) +Object out of range. Emergency braking will commence in seven seconds. + +Ares turns off the pointer. Kate throws it angrily aside. There's a linear acceleration track on the side of the wall with a line thrower attached. She clips in. Grabs something the size of a medicine ball with seventy nozzles sticking out of it in her free hand. And shouts - + +BOWMAN +Last acquisition. Line release. Full velocity. + +And it does. The linear accelerator wrenches her violently along the track and hurls her into space. REEL and a line behind her WHIR. It's like the world's largest angler has cast her into the void. + +EXT. ORBIT - DAY + +Tumbling, she half-regains her bearing, holds out the mini-thrust ball. Shouts something at it. FIRES. Drags her by the arm towards Cosmos. She hits it. Twisting, flailing, way too hard. Half knocks herself out. Recovers, clips in with the tether on her suit. Gallagher is completely insensate. + +She shouts something in the silence we can't hear. The reel in the ship starts to spin. So damn fast it's smoking. + +The Cosmos is reeled in, oscillating wildly at the end of the line. The Ares, giant by comparison, is about to swallow up the tiny SRM and its two passengers. At 45 mph. + +INT./EXT. ARES - MEV DECK + +Dock comes careening at them. They're both going to be squashed like bugs. + +Bowman slashes loose the line. And fires everything left in the portable thrust engine at once. Blue plasma flares. Her arm is wrenched wildly, pulled from its socket. But... + +The Cosmos spins 180 degrees as they plunge through the opening of the port into the Ares. They're on the lee side as the Cosmos hits the far side of the dock like a freight train. + +BOWMAN +Seal! Emergency atmosphere. Now! + +The DOCKING DOORS SLAM SHUT. The room is buffeted in white mist. She grabs an emergency cutting tool, hooks it into the front of Gallagher's suit. Rips it open from stem to stern. He's limp, unresponsive. + +BOWMAN +No. Not after all that, dammit. No. + +She checks, he has no pulse. + +BOWMAN +Dammit, no! + +A first aid station is bolted into the wall. She grabs him by the shirtfront, launches them over there. Takes out a pair of pre-gummed HEART PADDLES, slaps them onto his chest and FIRES them. + +Gallagher is thrown entirely across the room by the current. Slams into the far wall. Opens his eyes. Starts to breathe. + +GALLAGHER +Hey, I knew you wouldn't leave without me. +(beat) +You promised. + +INT. MISSION CONTROL - NIGHT + +They're all stunned. And freaked. They've got a serious problem now. + +BOWMAN (V.O.) +Mission Control. This is Ares. Recovered ground crew. Request recalc and reconfiguration for return flight. Orbit is stable but diminished. + +The scientists have been figuring madly. And they don't like what they're coming up with. + +LOWENTHAL +We can get 'em back. Slowly. Fifty extra days. And we're not going to be able to support food and and air for two people. + +Russert nods. Motions to Skavlem. + +INT. ARES - FLIGHT DECK - DAY + +Bowman and Gallagher listen as - + +SKAVLEM (V.O.) +...that travel has been increased by approximate two months. Concern is that available life support is untenable for duration and current crew strength. + +Gallagher's unimpressed. Worms tried to eat him, robots tried to kill him and they're worried about this? Feh. + +GALLAGHER +Scientists. Scientists sent us here. Scientists figured the whole thing out with Mars. I hate to bring this up, but they got us into this whole mess in the first place. Hell, they shouldn't be allowed to drive 'cause they miss the turnoff as they consider the ramifications of the internal combustion engine. + +He picks up the mike. + +GALLAGHER +Hey, guys. How 'bout we come about halfway home and you send a ship with air and food and stuff to meet us? In the middle. And we don't have to get all the way back. Huh? + +INT. MISSION CONTROL - NIGHT + +Schlissel nods. That'd work. As Russert, Lowenthal and the big guys start to talk this over, Borokovski motions to Schlissel and his new friend the Tech. + +BOROKOVSKI +I know where there is a rocket in Uzbeckistan. For cheap. A friend of mine has kept it. + +INT. ARES - FLIGHT DECK - DAY + +OUT the window, Mars drifts by in the view port. Bowman looks at it kinda sadly. + +BOWMAN +So much for saving humankind and living on Mars. I guess the worms took care of that. + +GALLAGHER +The worms are not our enemy. They're our friends. + +He's pulled the container out of his pocket. Unscrews it to show her the little slimy monsters. She recoils in horror. + +BOWMAN +You brought them back? Are you insane?? + +GALLAGHER +It's okay, I'm pretty sure they don't like titanium. +(then) +We're gonna live. On Mars. Hell, maybe even back on Earth. Maybe anywhere we want. And the reason we're gonna live, is the damn worms. Yeah, they ate all the algae, and damn near everything else, but they store and excrete oxygen. + +She finds this hard to believe. But he explains. + +GALLAGHER +That's why we could breathe. You should have seen these suckers burn when they went up. I had some time to think about this. I was in orbit for six minutes before you found me. I shoulda been dead. But the air locked in the suit was almost pure O2. 'Cause of the worms. We didn't just find a new place to live on, we may have saved our old one. Toxic waste, they'll eat it. Poisonous landfills, they'll eat it. + +She's still trying to absorb all this. It's been a long couple of days. + +GALLAGHER +God's got a sense of humor. He's giving us another chance. If we can all get along this time. Burchenal knew somewhere that it wasn't the science, it was about having something to believe in. Bud always knew. Wonders of the deep. We just had to go to Mars to remind ourselves of what we should have been able to see back on Earth. It's not all about us. We can't kill everything and survive. + +Bowman looks back at Mars. Astounded. Believes. + +BOWMAN +You wanna tell them back on Earth the species is saved and we're gonna live? + +GALLAGHER +How should I know, I'm the janitor. +(then) +Look, Commander...I just fought off half a million screaming nematodes, and a killer robot and glued myself onto a rocket to get offa Mars, and I was wondering... + +BOWMAN +If you could kiss me? + +GALLAGHER +Yeah. + +BOWMAN +Yeah. + +He does. She kisses him back. They continue for a long damn time. Finally, they break apart and... + +BOWMAN +It's an extra fifty days back. + +GALLAGHER +Gee, wonder what we'll find to do with ourselves. + +As she starts to laugh... + +FADE OUT. + +THE END diff --git a/unformated_scripts/Script_Red Riding Hood.txt b/unformated_scripts/Script_Red Riding Hood.txt new file mode 100644 index 0000000000000000000000000000000000000000..e307d737a7c1917390841a2a40b83245c8bd3471 --- /dev/null +++ b/unformated_scripts/Script_Red Riding Hood.txt @@ -0,0 +1 @@ + RED RIDING HOOD Written by David Leslie Johnson REVISED FIRST DRAFT July 16, 2009 FADE IN: EXT. DARK FOREST - NIGHT FLAMES fill the SCREEN. Then: the gentle voice of an OLD WOMAN, barely more than a whisper... OLD WOMAN (V.O.) I am a common woman. I was born in a common cottage in a common village. My life would likely be no different from yours, were it not for the most uncommon events that occurred during the winter of the Year of Our Lord Thirteen Hundred and Twenty-five. I learned many things that winter. About people. About love. But mainly, I learned about loss. A MAN tosses a piece of wood into the flames, which turns out to be a LARGE CAMPFIRE. OLD WOMAN (V.O.) To this day, I am the only person that I know to be living who knows the whole truth about that horrible time. This is my tale. CAMERA PULLS BACK, revealing THREE KNIGHTS, beleaguered, scarred, returning from the Crusades. Their armor is in disarray, adorned with souvenirs from the Middle East. They're camped in a clearing, their cart pulled to a nearby roadside. LIGHTNING flashes in the distance. One of them, a TEENAGE BOY who looks like his sword might weigh more than he does, hitches a nervous HORSE to a tree. He strokes the horse's neck, calming. Then: A WOLF HOWLS in the distance. The Boy suddenly looks nervous, too. He quickly joins the others at the campfire -- a FAT KNIGHT (30s) and an OLD KNIGHT. TEENAGE BOY Did you hear that? FAT KNIGHT Hear what? The wolf HOWLS AGAIN. The Boy shivers, fearful. TEENAGE BOY The innkeeper told me -- (CONTINUED) 2. CONTINUED: FAT KNIGHT I know what he told you. He told you about the Wolf. The Beast of Villiers la Crois√©e. (off Boy's look) The people of that village have been spreading that nonsense since before you were a tickle in your daddy's prick. I'd give you a whipping for believing it if I thought it would do any good. The Old Knight stares into the fire, then speaks. OLD KNIGHT I used to travel these woods. They told the same stories then that they do now. Only I heard them from a man who actually saw the beast with his own eyes. FAT KNIGHT Half the people in these parts claim to have seen it. OLD KNIGHT This man claimed it was the last thing he ever saw. The Wolf took his eyes. And half his face. (off their looks) I saw his scars and empty eye sockets. His skin looked like it was on inside-out. It didn't seem to me like the kind of thing a man would make up a story about. He shrugs. His companions exchange an unnerved look. EXT. DARK FOREST - NIGHT (LATER) It's raining now. The Knights sleep underneath the cart for shelter. Lightning FLASHES. Then, from O.S., the horse gives a series of frightened NEIGHS. The Boy stirs, but by the time he awakens, there is only the sound of the RAIN. Did he imagine it? He reluctantly decides to venture out to investigate. The Boy hurries over to where he tied the horse... but all he finds is the empty rope blowing in the wind. In a FLASH of lightning, he sees that the horse is gone. Then he hears something. A strange GNAWING sound. TEARING and POPPING. He slowly turns... (CONTINUED) 3. CONTINUED: Not far away, he makes out a shape in the darkness. The horse is on its side, WHEEZING helplessly. And there's something crouched next to it. We can't make out what it is, only a MAN-LIKE SHAPE, shrouded in shadow. Whatever it is, it's eating the horse alive. The Boy steps away in horror, then hurriedly stumbles back to his companions and frantically shakes them awake. FAT KNIGHT What the devil are you --?! TEENAGE BOY Wait, wait! Be quiet! He raises a hand. He's heard something. They listen. FOOTSTEPS. Approaching through the mud. The Boy's hand clutches a dagger, but the Fat Knight reaches out and stays him, terrified. The Boy follows his look. We never get a good look at THE FIGURE walking toward them. But what the men see scares them shitless. It stops near the cart. The men huddle together, watching as it slowly starts to walk around the cart -- -- then suddenly jumps atop it. The Figure is now above them. With each step it takes, the boards of the wooden cart CREAK and bend under its weight. A long beat. Then the Figure jumps down again, landing behind the men, startling them. It pauses. The men cower, shivering... Suddenly, the cart is flipped over as if it weighed nothing, revealing the terrified Knights beneath it. Lightning FLASHES. A shadow falls over them. The men scramble to their feet, but the Old Knight slips in the mud. The Boy stops to help him, but then the Old Knight starts screaming, something GROWLS, and the Boy stops short at what he sees. The Fat Knight runs. TEENAGE BOY Wait! We have to help him! The Fat Knight ignores him. The Old Knight shrieks. We hear the same TEARING and POPPING that this thing made while eating the horse. The Boy quickly looks around... ... sees a curved Arabian scimitar lying in the mud, fallen from the overturned wagon. He grabs it and as the Fat Knight runs, the Boy stands his ground. He hefts the blade. He's young, but he has used this before. A lot. Rain beats down on his face and lightning FLASHES as he confronts the thing that is devouring the Old Knight. (CONTINUED) 4. CONTINUED: (2) The Fat Knight runs through the forest without looking back. He hears a loud HOWL behind him and runs faster. Then he hears the Boy SCREAMING and blind panic sets in, his head filled with the sounds of his HEAVY BREATHING and RUNNING FOOTFALLS in the mud and crashing THUNDER. He's running so fast he nearly falls into the RUSHING RIVER that crosses his path. He quickly looks for a way to cross. The river is gorged and the water is moving fast. Then, in a flash of lightning, he spots it -- A fallen tree spans the river. The Knight hurries to it. The bark is smooth and slick from the rain. He can't stand on it. He has to crawl. He edges out on his hands and knees, his eyes flicking nervously at the waters surging underneath him. He has almost made it across... ... when he hears a LOW SNARL. He freezes. Looks back. Lightning FLASHES. The Figure, still obscured to us, stands on the riverbank behind the Knight. It GROWLS. The Knight tries to crawl away, but slips and nearly falls in the river. Then suddenly, the tree beneath him begins to move. He hangs on for his life and looks back. The Figure is on the tree behind him, slowly closing in. He starts to crawl, slips again. No way he can get away. He looks down into the racing river waters. Then back at the Figure closing in. The choice is clear. The Fat Knight dives headfirst off the tree -- -- but he never hits the water. Something grabs him by the legs and stops him short. He cries out and looks up at the thing that is dangling him helplessly above the water. He weeps. Then, abruptly -- -- he is yanked up out of sight. EXT. VILLAGE - DAY A BUTCHER quickly and expertly cuts the throat of a pig that has been hung upside down by its hind legs. It kicks and squirms as it bleeds out into a pan. VILLAGERS bustle along a muddy road. A MERCHANT sells his wares. Dogs run and BARK. A DISHEVELLED MAN locked up in the stockade. A BLACKSMITH's hammer CLANGS. On the surface, a typical medieval village. But something is wrong here. A pall hangs over the place. The people are subdued, beaten. A TITLE comes up: FRANCE 1324 (CONTINUED) 5. CONTINUED: There's a SIGN in the village green. Hanging from it is a wood plank with a crude drawing of a moon on it, three- quarters full. The moon has a vaguely sinister face... INT. ISABELLE'S FAMILY COTTAGE - LOFT - DAY A tiny spider spins its web. CAMERA RACKS FOCUS to a pretty 17-year-old GIRL gazing up at it. Her name is ISABELLE. She scoops the spider up, watches it crawl around on her hand, fascinated. EXT. ISABELLE'S FAMILY COTTAGE - DAY The home of a medieval peasant. Isabelle's mother, SUZETTE (late 30s), and sister, LUCIE (18, plain- looking), work in the garden. They look up as Isabelle emerges from the cottage, daintily carrying the spider. LUCIE Honestly, Isabelle. Just kill it. ISABELLE I can't. It's the fifth commandment. Thou shalt not kill. Lucie rolls her eyes. Isabelle crouches, letting the spider crawl off her hand. She watches it skitter away, then calls to Suzette, feigning nonchalance: ISABELLE I'm going to take Father some water. SUZETTE All right. Don't be long. Isabelle smiles, grabs a bucket and ladle, and anxiously heads toward the village. Lucie watches her go, dubious. EXT. VILLAGE - DAY Isabelle struggles to draw water from a well. Even toiling and sweaty, Isabelle's beauty stands in stark contrast to her squalid surroundings. A CARPENTER building a timber-framed structure notices his TWO YOUNG APPRENTICES (late teens) casting distracted glances in her direction. He calls out to her, smiling. CARPENTER Hey, there! Let one of these young lads get that for you. (CONTINUED) 6. CONTINUED: ISABELLE I can do it myself. The Carpenter smiles. Of course she can. EXT. NEW FIELD - DAY The village WOODCUTTERS are chopping down trees and hauling away the lumber. A GROUP of them are in the midst of what looks like a serious conversation. Isabelle approaches them with the bucket of water. One of them turns and sees Isabelle. His name is CESAIRE (handsome, 40s). He hides his dour expression and gives Isabelle a big smile. She smiles back. ISABELLE Mother thought you might be thirsty. CESAIRE That was very thoughtful of her. He gives her a knowing look as he ladles a drink from the bucket. Isabelle's gaze drifts from him to another woodcutter, working off by himself. His name is PETER (21, darkly handsome, almost dangerous-looking). He makes eye contact with Isabelle for a moment, then wipes his brow and calls out to the WOODCUTTER BOSS. PETER I'm taking a break. WOODCUTTER BOSS A break? Does that mean you're going to start working? The other Woodcutters LAUGH. Peter walks away. Isabelle's gaze lingers on him too long. Cesaire notices, not entirely comfortable with what he sees... EXT. WOODS - PATH - DAY Not far from where the Woodcutters work, Peter waits, impatient. Soon Isabelle approaches, smiling. He takes her in his arms, kissing her. She holds him tight. PETER I was afraid you weren't coming. ISABELLE You should know better than that. (CONTINUED) 7. CONTINUED: He kisses her again, nibbling her neck. Isabelle opens her eyes, smiles up at him. Touches his face. ISABELLE I think my sister's starting to suspect something. PETER Do you think she'll tell your father? ISABELLE I don't care. I wish she would tell him. I want everyone to know. Besides, my father likes you. PETER Of course he does. Right up until the point where he figures out what I'm doing with his daughter. Peter glances back and Isabelle follows his look. Through the trees, she sees her father and the group of grim Woodcutters, still in serious conversation. ISABELLE What's going on? PETER You haven't heard? (off her look) Three men. They found them this morning just off the Center Road. At least they think it was three men. There wasn't enough left to piece them back together. A long beat as Isabelle takes this in. Then: ISABELLE Was it the Wolf? PETER Could it have been anything else? Isabelle shudders. No, it couldn't have been. PETER We should have killed that monster a long time ago. ISABELLE I know. You say that every month. (CONTINUED) 8. CONTINUED: (2) He gives her a grim smile, then kisses her. She kisses him back, then tries to stop kissing him. It's not easy. ISABELLE I'd better go. PETER Same time tomorrow? ISABELLE Don't get used to this. I start my sewing lessons next week. PETER You really think you can go all day without seeing me? ISABELLE I'll manage somehow. Pride is a cardinal sin, by the way. PETER I can think of worse sins I could be committing. She gives a cautioning look, then leaves with a smile. EXT. VILLAGE - SQUARE - DAWN The VILLAGE HERALD is changing the plank on the moon sign. He replaces the picture of the three-quarters moon with a picture of a half moon, its face indifferent. HERALD Half full! Half full! INT. ISABELLE'S FAMILY COTTAGE - COMMON ROOM - DAWN Suzette is putting bread and cheese into a basket. Isabelle pulls on a drab hooded cloak. SUZETTE You mind your grandmother, understand? You're her student now, the same as the other girls. ISABELLE Yes, Mother. Suzette hands her the basket with a proud look. SUZETTE My last baby has grown up. 9. EXT. VILLAGE - CROSSROADS - MORNING Isabelle watches a DEAF BOY perform simple sleight of hand magic tricks. His name is CLAUDE (14). She applauds his performance and hands him a coin. He makes it 'údisappear,'ù then smiles big and runs away. A crazy old woman, LUCRECE, shoots Isabelle a look. LUCRECE You're only encouraging him. ISABELLE I know. THREE GIRLS (ages 16-18) approach: ROXANNE (round-faced, cheery and instantly likable), PRUDENCE (practical, serious), and ROSEMARIA (pretty, arrogant, flirtatious). A playful PUPPY tags along. Prudence and Rosemaria look tired, but Roxanne greets Isabelle with a big smile. ISABELLE You look happy. ROXANNE Aren't you excited? PRUDENCE It's too early to be excited. ROXANNE I'm just trying to look on the bright side. ROSEMARIA Well, stop it before somebody hurts you. The girls have a laugh at Roxanne's expense. EXT. VILLAGE - OUTSKIRTS - MORNING The girls leave the village on a trail that leads through the dark forest. The puppy stops at the edge of the forest. Then it WHINES and refuses to follow. EXT. DARK FOREST - PATH - MORNING The trail stretches out in front of the girls as far as they can see. Rosemaria walks with Roxanne. Prudence hangs back with Isabelle, brimming with juicy gossip. (CONTINUED) 10. CONTINUED: PRUDENCE Did you hear about her and the Darley brothers? ISABELLE Oh, no! Which one? PRUDENCE Both! On the same night! Isabelle gives an incredulous look and Prudence tries to contain her laughter. Rosemaria hears and looks back at them. She scowls at Isabelle. ROSEMARIA Why does your grandmother have to live so far away? ISABELLE What's the matter, Rosemaria? Having trouble walking? Prudence laughs. Roxanne frowns, disapproving. Rosemaria shoots Isabelle a dirty look. EXT. GRANDMOTHER'S COTTAGE - DAY The girls cross a little wooden bridge that spans a BABBLING brook and follow the trail to a large cottage, well past its prime. Chickens CLUCK and peck around it. An OLD WOMAN opens the door and waves to them. She's stooped and withered, but her eyes are bright and beautiful. She wears a blue belted gown and a necklace with a crucifix on it. This is Isabelle's GRANDMOTHER. GRANDMOTHER Well, stop dawdling. Come on, come on. The girls hurry inside, but Grandmother stops Isabelle. GRANDMOTHER Your mother has warned you not to expect any special treatment from me? ISABELLE Yes, ma'am. Grandmother eyes her a moment longer, then breaks into a smile and surreptitiously hands her a bright red apple. (CONTINUED) 11. CONTINUED: GRANDMOTHER Well, then your mother doesn't know me very well, does she? Isabelle smiles as Grandmother ushers her inside. INT. GRANDMOTHER'S COTTAGE - DAY Grandmother works a pair of knitting needles, casting loops of red wool yarn onto one of them, a BLACK CAT resting on her lap. Her bedchamber is hidden by a beautiful veil embroidered with palms and pomegranates. The girls sit facing her, watching as she knits. Then: GRANDMOTHER There. This is going to be my foundation. Everything I do now will build off of this. She shows the row of stitches to Roxanne. GRANDMOTHER Roxanne, is this a good foundation? ROXANNE I don't know. GRANDMOTHER Why not? ROXANNE Well... you haven't told us what you're making. GRANDMOTHER There's something else I haven't told you. I haven't told you why I'm making it. Before you begin any task, you must first always ask yourself why. ROSEMARIA Why? The girls laugh. Grandmother gives her a patient smile. GRANDMOTHER Because understanding why you are doing something is the key to doing it successfully. So, before we begin today, let's be certain that we have a good foundation. Who can tell me why you are here? (CONTINUED) 12. CONTINUED: PRUDENCE To become seamstresses. To learn how to sew and mend clothes. GRANDMOTHER That's what you are doing. But why are you doing it? Blank looks. None of them have ever considered this. GRANDMOTHER Isabelle, your sister studied with me last winter. What does she do now? ISABELLE She works with the women. GRANDMOTHER Why don't you work with them? ISABELLE I don't know how to yet. GRANDMOTHER And how does that make you feel? Isabelle thinks for a moment, then has an insight. ISABELLE Like a child. Grandmother gives her a smile, then continues. GRANDMOTHER You will be coming here every day for the next three months. During that time, I will teach you everything you need to know to be productive members of our community. But there is something far more important that will also be happening here. All the girls are paying close attention now, but Grandmother seems to be speaking directly to Isabelle. GRANDMOTHER You will be proving your worth and learning your place in the world. And I promise you, when you leave here for the last time, you will never feel like a child again. 13. EXT. VILLAGE - OUTSKIRTS - DUSK The four girls return to the village along the forest path. Waiting for them is Peter. Isabelle pretends to not notice him. As they pass, he calls out to her: PETER I need to talk to you. Isabelle turns to face him, trying to stay nonchalant. ISABELLE What about? Peter just looks at her for a beat. Isabelle turns and sees that the other girls have stopped to watch. Isabelle shoots them a look. The girls take the hint and leave. When they've gone, Peter walks up to Isabelle. PETER When were you planning on telling me? ISABELLE Telling you what? PETER That you're engaged to be married to Henri Smith. Isabelle gapes at him, stunned and confused. ISABELLE Henri Smith? Is this a joke? PETER Look at me. Just look at me and tell me you didn't know. She looks at him and sees it in his eyes. He's serious. ISABELLE Who told you this? PETER Your father. Off Isabelle's look... INT. ISABELLE'S FAMILY COTTAGE - COMMON ROOM - NIGHT The family is gathered around the table. Isabelle and Lucie listen to their parents in stunned silence. (CONTINUED) 14. CONTINUED: SUZETTE It's all been arranged. Your marriage to Henri will settle our debt to his father. Isabelle nods, shaken. Cesaire sees that she's upset. SUZETTE We know that you and Peter have become friends. But you have adult responsibilities now. That means putting your family's interests ahead of your own. ISABELLE So Henri Smith is in the family's interest and Peter is not? CESAIRE Peter is a fine young man. ISABELLE But what? He's poor? He's an orphan? SUZETTE He's not one of us. His parents were outsiders. ISABELLE Why? Because they hadn't lived here since Noah built the ark? SUZETTE You mind your tongue. Isabelle is about to respond, when she notices something. Lucie is crying. A beat. Lucie looks up at her parents. LUCIE Do you realize how this makes me look? I'm older than her by more than a year. If anyone should be getting married in the spring, it's me. Everyone is taken aback. Lucie storms out of the cottage, angrily wiping tears. Isabelle watches her go. INT. ISABELLE'S FAMILY COTTAGE - COMMON ROOM - NIGHT Cesaire smokes his pipe, troubled. Suzette sits nearby. (CONTINUED) 15. CONTINUED: CESAIRE This was your idea. Now I have both of them hating me. In the loft, Isabelle and Lucie are in bed... but Isabelle only pretends to be asleep so she can eavesdrop. SUZETTE We knew Isabelle was going to be stubborn. It wouldn't be like her to simply do as she's told. She's too much like her grandmother. CESAIRE That she is. What about Lucie? SUZETTE She's a good girl, but she's still a child. Talk to her. You're her father. She'll listen to you. Isabelle glances over at Lucie... and sees that she's been eavesdropping, too. Lucie turns away, embarrassed. Isabelle gives her a sad look. EXT. ISABELLE'S FAMILY COTTAGE - DAY There's a knock at the door. Isabelle answers, revealing HENRI (18). He's tall and good-looking, but still awkward in his body. Isabelle eyes him, a little aloof. HENRI Hello, Isabelle. ISABELLE Hello, Henri. EXT. VILLAGE - ROAD - DAY Isabelle and Henri walk in awkward silence. Then: HENRI So I suppose you've heard. ISABELLE Yes. My parents are very pleased. HENRI And you? Are you pleased? ISABELLE It's a very generous arrangement. (CONTINUED) 16. CONTINUED: Not the answer he was hoping for. Another awkward beat. HENRI Do you have any other feelings about it? About me? ISABELLE I'm not sure. We've never really talked that much. HENRI I know. That's why I asked you to walk with me. I wanted to talk. ISABELLE What for? HENRI Well... because we're going to be husband and wife soon. ISABELLE Not until the spring festival. That's months away. A lot can happen in a few months. Henri seems disappointed. She sees this and reconsiders. ISABELLE All right. What would you like to talk about? HENRI I'm not really sure. I brought you this. He reaches into his pocket and offers Isabelle a flower. She takes it, suddenly blushing. But just then, she sees Peter walking toward them with another WOODCUTTER. ISABELLE Well, I'm glad we had this conversation. Isabelle abruptly turns and walks away, leaving Henri surprised and a little hurt. She passes Peter, her eyes averted. He glances back at her as she and walks away... INT. ISABELLE'S FAMILY COTTAGE - NIGHT Isabelle is helping Suzette prepare dinner, but she's purposefully ignoring her mother. Suzette notices. (CONTINUED) 17. CONTINUED: SUZETTE You know, I had a sweetheart when I was your age, too. Isabelle looks up, intrigued in spite of herself. Suzette smiles slyly at her reaction. ISABELLE What happened? SUZETTE Nothing happened. My parents arranged for me to marry your father and that was the end of that. ISABELLE Didn't you want to marry your sweetheart? SUZETTE Of course, I did. But there's more to marriage than being in love. Love doesn't always last and it certainly doesn't fill your children's bellies in the winter. ISABELLE You've never wished you could have married that other boy? SUZETTE Not even once. Isabelle eyes her, still uncertain. INT. CHURCH - DAY Isabelle prays in front of an altar with prayer candles on it. Peter kneels next to her and lights one of them. PETER We need to talk. EXT. CHURCH - DAY Isabelle and Peter stand behind the church, out of sight. Peter looks off toward the woods, his back to Isabelle. PETER You have to go through with it. You have to marry Henri. (CONTINUED) 18. CONTINUED: Isabelle takes a step toward him. She hesitates, gathering her nerve to speak. Then: ISABELLE I don't care what my parents want. They don't own me. I love you. PETER That doesn't matter. ISABELLE It does to me. Doesn't it matter to you? PETER It's not our decision to make. ISABELLE You sound like my mother. PETER Then maybe you should start listening to your mother. (off her look) It's over. They had to find out eventually. Don't turn this into something that it's not. We had our fun, but that's all it ever was. Isabelle looks up at him, shocked and confused. ISABELLE I don't believe you. PETER Go home, Isabelle. Go home and grow up. Isabelle gapes at him. Peter walks away. ISABELLE I don't believe you! He doesn't look back. She watches him go, heartbroken. EXT. CREEK - DAWN Cesaire bathes in a cold stream. The sun is just barely rising, rays of light shining through the trees. He smiles. It looks like the start of a beautiful day. 19. EXT. VILLAGE - SQUARE - DAWN The village is bustling with activity, but there's a palpable tension. The picture on the moon sign is of a three-quarters moon... but then the Herald changes it to a picture of a FULL MOON with a cruel, malevolent face. HERALD Full moon! Full moon! Full moon! INT. ISABELLE'S FAMILY COTTAGE - MORNING Isabelle emerges from the cottage. Roxanne, Prudence, and Rosemaria are outside waiting on her. They all start toward the village, but then Isabelle sees something... In the shadows next to the cottage, Cesaire is giving Lucie a stern lecture. Lucie turns and sees Isabelle. Her face is ashen and there are tears in her eyes. Isabelle starts toward them, but Cesaire stops her. CESAIRE This doesn't concern you, Isabelle. ISABELLE Yes, Father. Isabelle reluctantly turns and walks away. The girls follow her. Roxanne gives Lucie a concerned look. EXT. VILLAGE - MORNING The girls walk through the village. Isabelle is lost in thought, stung by her father's brusk dismissal. ROXANNE What's wrong with Lucie? ROSEMARIA How would you feel if you were in love with your sister's fianc√©e? Isabelle stops short and gives Rosemaria a sharp look. ISABELLE Lucie is not in love with my fianc√©e. ROSEMARIA Really? So she's just had a crush on him since she was ten? (CONTINUED) 20. CONTINUED: ISABELLE As if she would really tell you something like that. ROSEMARIA She didn't. She told my sister. (off Isabelle's look) Did you honestly not know? Isabelle clearly had no idea, but tries to hide it. Just then, they walk by the blacksmith's shop where Henri works with his father, ADRIEN. Henri smiles at Isabelle. ISABELLE Come on. We're going to be late. She turns away. Rosemaria gives her a smug look. EXT. DARK FOREST - PATH - DAWN The girls are walking down the path to Grandmother's cottage. Rosemaria lags behind, tired and grumpy. There's a fork in the path and Rosemaria stops at it. A SMALLER PATH branches off into the forest, overgrown and narrow. Rosemaria looks at it for a beat... Roxanne suddenly notices that Rosemaria isn't with them. She looks back and sees her start down the other path. ROXANNE Rosemaria...? The other girls stop and hurry back to the fork, dismayed to find Rosemaria headed down the overgrown path. ISABELLE What are you doing? ROSEMARIA What does it look like? ISABELLE You can't go that way. You have to stay on the path. ROSEMARIA This way is faster. PRUDENCE But it's not safe. My brother says the bridge is rotten. (CONTINUED) 21. CONTINUED: ROSEMARIA I don't care. It's bad enough working all day in that smelly cottage. It's not reasonable for them to expect us to walk that far every day on top of that. She walks away, defiant. The girls look nervous. Then: PRUDENCE If you get lost, nobody will come looking for you. Not tonight. This last part gives Rosemaria pause. She looks down the narrow path. It suddenly seems a little ominous. Grudgingly, she returns to the group. The other girls exchange quiet looks of relief. They continue on. The wind blows leaves across the abandoned path... INT. GRANDMOTHER'S COTTAGE - DAY The girls are busy with sewing and knitting projects. Grandmother helps Roxanne at the spinning wheel. Then: GRANDMOTHER Everyone finish what you're working on. Your parents will be worried if you're not home before it starts to get dark. The girls begin packing up their work. Prudence sighs. PRUDENCE I wish someone would just kill that stupid wolf. ROXANNE You can't just kill it. It's not an ordinary wolf. It's a devil- wolf. A servant of Satan himself. Prudence rolls her eyes. Whatever. ROSEMARIA Who cares what it is? It's only one night a month. You stay inside, lock up the animals, and you don't go into the forest. It's never killed anyone from the village and as long as we leave it alone, it never will. (CONTINUED) 22. CONTINUED: GRANDMOTHER My goodness. I had no idea our young people were so woefully uneducated these days. (off their looks) Our village was not always like this. When I was young, this was a very special place. Traders and merchants came here from lands I'd never heard of selling things I had never seen. King Philip the Bold even visited here once. But that, of course, was before the Wolf came. The girls listen attentively. GRANDMOTHER Your parents fear the Wolf because they remember when it did kill people from the village. Break down doors in the middle of the night and snatch children right out of their beds. Rumors began to spread that we were cursed. That was when our village began to die. And that was why my husband led a group of men into the woods to kill the Wolf. But instead, it killed him. Isabelle reacts. She has never heard this story before. GRANDMOTHER After that, people here didn't have much stomach to go hunting for it anymore. But something had changed. The Wolf stopped killing in the village. Even our livestock were usually safe as long as they were brought inside. So we decided it was safer to compromise. We gave the Wolf its one night a month, the night of the full moon, and it has left us alone ever since. ISABELLE People still die. ROSEMARIA Yes, but nobody we know. (CONTINUED) 23. CONTINUED: (2) GRANDMOTHER Everyone knows what should be done. But it's not always easy to do what you know is right. Sometimes it's easier to settle for being safe. Isabelle frowns, unsatisfied. EXT. VILLAGE - VARIOUS - DAY Villagers hurriedly bring their sheep and pigs into their homes. Doors are shut and barricaded. Cesaire is outside the family cottage, nailing the shutters closed. INT. ISABELLE'S FAMILY COTTAGE - COMMON ROOM - DUSK Isabelle's family sits at the dinner table in silence. Cesaire sets mugs of beer out for everyone. Lucie numbly picks at her food, doesn't touch her beer. Isabelle works up her nerve to say something and turns to Suzette: ISABELLE You were right. About Peter. I was being childish. (BEAT) But I'm not going to marry Henri. Cesaire and Suzette stop eating. Suzette levels a cold look at Isabelle. SUZETTE You'll do as you're told. It's all been arranged. ISABELLE The family gains the same no matter which one of us marries him. And I don't love Henri. Lucie does. Lucie looks up, surprised to be dragged into this. ISABELLE She's right. It's not fair. I will gladly trade places with her. A beat. Then, without looking up, Lucie whispers: LUCIE Shut up. Isabelle is stung, the smile wiped from her face. (CONTINUED) 24. CONTINUED: ISABELLE I'm sorry... I... LUCIE Please. Just shut up and mind your own business. A tense beat. Isabelle looks away, hurt and confused. INT. ISABELLE'S FAMILY COTTAGE - LOFT - NIGHT Isabelle is fast asleep. Next to her, Lucie looks over at her. She's wide awake. She sneaks out of bed... INT. ISABELLE'S FAMILY COTTAGE - NIGHT Lucie carefully sneaks down from the loft and quietly puts on a RED RIDING HOOD. She accidently kicks a pan on the floor and puts a hand down to silence it. She listens to hear if anyone has awakened. Nothing. EXT. VILLAGE - VARIOUS - NIGHT Lucie slips out of the house. She shivers in the cold, pulls the riding hood around her. FULL MOON in the sky. The village looks deserted, a ghost town. Eerie, still, dark. The moon-sign swings in the breeze, CREAKING on its rusty hooks. Lucie hurries away toward the woods... EXT. DARK FOREST - NIGHT Lucie nervously walks along the road leading away from the village. She startles at every sound. She looks up. The full moon is visible in the sky above her through the skeletal branches of the dark trees... She comes to the overgrown path that the girls stopped at earlier. Lucie takes a deep breath and starts down it... EXT. GULLY - NIGHT Lucie reaches an OLD ROPE BRIDGE. It spans a deep gully and a fast-moving river strewn with jagged rocks. Lucie gives the bridge a nervous look and starts across it... The boards CREAK loudly under her feet. The bridge sways in the wind. She carefully makes her way across, only breathing when she is safely on the other side. 25. EXT. WOODS - CLEARING - NIGHT Lucie comes to a grassy meadow bathed with moonlight. She stands in the middle of it, next to a large rock, and looks all around. She's alone, cold and afraid. Then... ... she takes off her riding hood, folds it, and places it on the rock. She begins to disrobe, folding her dress and her undergarments and stacking them in a neat pile. Soon she's standing naked, her arms clutched around her breasts, shivering with cold. And fear. CAMERA PULLS BACK from this lonely naked figure until the dark branches of the trees obscure her from view. Then, somewhere, a WOLF HOWLS in the night... INT. ISABELLE'S FAMILY COTTAGE - LOFT - DAWN Isabelle wakes up, groggy. Lucie's bed is empty. EXT. DARK FOREST - DAY Children are playing, a BOY chasing several giggling GIRLS, growling and waving his hands like claws. BOY I'm the Wolf! I'm going to eat you up! EXT. DARK FOREST - CLEARING - DAY One of the Girls runs into the meadow and sees something that makes her stop short. The other Children gather behind her, all frozen by what they see... CROWS are picking at a bloody carcass. All we can see of it is a human hand. A crow gnaws on one of the fingers. INT. GRANDMOTHER'S COTTAGE - DAY The girls are at their lessons. Suddenly, there's an urgent KNOCK at the door. Everyone stops, surprised. Grandmother answers it. It's a YOUNG MAN, sweaty and out of breath from running. GRANDMOTHER What on earth --? The Young Man glances at Isabelle. Something about the look in his eyes makes Isabelle go pale... 26. EXT. DARK FOREST - CLEARING - DAY Isabelle hurries into the clearing with Roxanne, Prudence, and Rosemaria trailing behind her. A crowd has gathered. She pushes through it, then stop short. Lucie is dead. We don't see what's been done to her, but Roxanne turns away and vomits. Cesaire and Suzette are already here. He holds her as she cries on his shoulder. Isabelle just stares at Lucie's body, shattered. INT. ISABELLE'S FAMILY COTTAGE - BEDROOM - NIGHT Isabelle is curled in a fetal ball on the bed, clutching Lucie's cloak to her chest. She's cried her eyes out. Grandmother sets down a cup of tea. As Isabelle watches, Grandmother sprinkles a pinch of dark herbs in the tea. GRANDMOTHER It's my little secret. A pinch will help you rest. A little more and you'll sleep through the end of the world. Grandmother smiles. Isabelle smiles back, weak. ISABELLE I think I'd like that. EXT. VILLAGE - DAY Two men, the Merchant and the REEVE, gossip by the well. MERCHANT She had it coming, if you ask me. What the hell was she doing out there? Then they notice that Isabelle is right behind them, drawing a water from the well. Both men shift uncomfortably, but she pretends she didn't hear. INT. ISABELLE'S FAMILY COTTAGE - DAY Lucie's body lies on the table. Isabelle watches as Suzette and Grandmother bathe the body. Suddenly, Grandmother stops. She's found something clutched in Lucie's hand. A troubled look comes over her... ISABELLE What is it? (CONTINUED) 27. CONTINUED: GRANDMOTHER Nothing. Grandmother curtly wraps what she's found in a washcloth. INT. CHURCH - DAY Lucie's funeral. Cesaire and Suzette sit with Isabelle, who holds Grandmother's hand. The other girls are here, too. Roxanne sits with her mother, MARGUERITE, and Claude, the deaf boy we saw performing magic. The priest, FATHER AUGUSTE, conducts the service. FATHER AUGUSTE Wherefore each man and woman that is wise, make him ready thereto; for we all shall die, and we know not how soon... EXT. CHURCH - DAY Villagers leave the church. Claude is playing in the cemetery. Father Auguste frowns, disapproving. Marguerite sees this and angrily pulls Roxanne aside. MARGUERITE Take your brother home. Embarrassed, Roxanne quickly grabs Claude and drags him away, but he fights her, crying and kicking. Isabelle's family is met by Henri and his father, Adrien. ADRIEN She was a good girl. We all loved her. He's looking at Cesaire and shakes his hand, but he briefly glances at Suzette. Isabelle notices the look, but then she spots Peter leaving the church. She makes brief eye contact with him before Henri interrupts. HENRI I'm here for you, too. But her gaze follows Peter as he walks away... INT. MANOR HOUSE - GREAT HALL - DAY ATTEWATER, the town bailiff, presides over a gathering of the Villagers. Isabelle, Suzette, and Grandmother sit with Cesaire, who is angrily addressing the crowded room. (CONTINUED) 28. CONTINUED: CESAIRE A line has been crossed. The beast must be destroyed! MERCHANT Your daughter crossed the line. She went into the woods. CESAIRE She was taken. She must have been! MERCHANT So the Wolf broke into your home and stole your daughter without waking anyone or leaving any sign at all? REEVE It's been almost thirty years since someone here was killed by the Wolf. We've left it alone. Why would it suddenly come and take one of us now? Grandmother gathers her nerve and stands up. GRANDMOTHER I know something. Cesaire and Suzette give Grandmother surprised looks. She walks up to the table and hands Attewater the wadded up washcloth we saw her with earlier. GRANDMOTHER I found this. I believe it must belong to her attacker. Attewater unfolds the washcloth. There are a few strands of hair inside. He gives her a sharp look. ATTEWATER This is not animal hair. GRANDMOTHER No, it isn't. It's human. A stunned silence comes over the room. ATTEWATER No man could have done the things that were done to your granddaughter. It must have been the Wolf. (CONTINUED) 29. CONTINUED: (2) GRANDMOTHER Yet she was holding a man's hair in her hand when she died. ATTEWATER What are you suggesting? GRANDMOTHER That the man and the Wolf may be one and the same. A low MURMUR works its way through the crowd. ATTEWATER A werewolf. FATHER AUGUSTE It would explain much. The Pope himself has declared that such creatures exist. The thought gives everyone pause. MERCHANT Even if you're right, it doesn't help us. The woods are filled with hermits and strangers. If there's a werewolf among them, how will we find it? ATTEWATER There are experts in these matters. Men who find and try witches and werewolves. We could request the Church to send someone. Grandmother gives him a sharp look. GRANDMOTHER Not someone. You're talking about Father Solomon. This sends a ripple of comment through the room. ATTEWATER He is the Church's most successful werewolf hunter. ADRIEN But what of his methods? The man once burned down an entire village just to root out one witch. (CONTINUED) 30. CONTINUED: (3) ATTEWATER Unsubstantiated rumors. The Church has appointed him the Witchfinder General of all Christendom. FATHER AUGUSTE That is also unsubstantiated. Attewater eyes him, but Father Auguste stands his ground. ATTEWATER I have the utmost confidence in the ability of the Witchfinder General to determine the nature of the beast and put an end to it. I will dispatch a messenger in the morning. CESAIRE Even if Father Solomon agrees to help us, it will take weeks for him to get here. That means another full moon. Maybe two. We must defend ourselves. A long, silent beat. Then, Henri stands. HENRI He's right. The beast broke the peace, not us. (TO CESAIRE) I will help you kill it. Henri's father gives him a surprised look. But after another long beat, the Reeve stands up, too. REEVE As will I. We all will. Henri is nervous, but tries to appear brave for Isabelle. INT. ISABELLE'S FAMILY COTTAGE - COMMON ROOM - DAWN Isabelle is about to leave when she sees Lucie's red riding hood. She gives it a solemn look. EXT. DARK FOREST - PATH - DAWN A light snow has fallen. The girls are walking to Grandmother's house, but Isabelle sadly lags behind, lost in thought. She's wearing Lucie's red riding hood. (CONTINUED) 31. CONTINUED: Roxanne waits for Isabelle and offers her hand. Isabelle smiles sadly and takes it. Prudence and Rosemaria let them catch up, then they continue on together... INT. ISABELLE'S FAMILY COTTAGE - NIGHT Isabelle returns home. Suzette is making dinner, but stops short when she sees Isabelle in Lucie's red cloak. SUZETTE Who gave you permission to wear that? ISABELLE Nobody. I just -- SUZETTE Your Grandmother made that for Lucie. Take it off. Isabelle hesitates, then does as she's told. Suzette snatches the cloak away from her. A beat. ISABELLE It was folded when they found her. Her clothes, too. Did you notice that? SUZETTE Someone must have folded them. A beat. Isabelle is reluctant to voice her thoughts... ISABELLE She was so unhappy. Suzette turns, her eyes narrowing dangerously. SUZETTE What are you saying? ISABELLE Maybe she went into the woods on purpose. Maybe she wanted to die. Suddenly: Suzette slaps her across the face. Hard. SUZETTE Lucie's soul is at peace with God. Don't you ever again suggest otherwise. Suzette turns away in tears. Isabelle is stunned speechless. 32. EXT. PETER'S COTTAGE - DAY Isabelle trudges through the mud toward a ramshackle cottage. If there had been train tracks in the fourteenth century, this place would have been on the wrong side of them. Isabelle gathers her nerve and knocks on the door. A long beat. The door opens. It's Peter. He gives her a surprised look. She looks up at him, choking back tears. PETER Are you all right? ISABELLE I'm sorry. I just need to talk to someone. Can I come in? Peter balks. Just then, a figure appears. Isabelle can't believe her eyes... It's Rosemaria. She's standing behind Peter, but it's clear that she's naked. ROSEMARIA No. You can't. She wraps an arm around Peter's waist. Isabelle gives him a stricken look and runs away. Peter watches her go. INT. GRANDMOTHER'S COTTAGE - DUSK Lessons are over. The girls are ready to leave except for Isabelle, who sits alone by the fire. Rosemaria gives her a sly look as she leaves. When the girls have gone, Grandmother sits down next to Isabelle. ISABELLE I hate the cold. Why can't we have lessons in the summer? GRANDMOTHER I suppose that would be easier. But then that would defeat the purpose. People only change when things are difficult. Isabelle gives her a look, understanding, then turns away. Grandmother puts a hand on her shoulder and then leaves her alone. Isabelle stares into the fire... INT. ROXANNE'S FAMILY COTTAGE - NIGHT Roxanne comes home to a shocking scene: her mother, Marguerite, half-naked and wrapped in a blanket, (CONTINUED) 33. CONTINUED: viciously beating Claude with a switch. Roxanne hurriedly pulls her off of him and he runs away. MARGUERITE I caught the little bastard watching us! ROXANNE Watching what? Just then, the Merchant enters from the bedroom, adjusting his clothes. He hesitates when he sees Roxanne, then drops a handful of coins on the table and leaves. Marguerite puts the coins in a leather purse. Roxanne glares at her. MARGUERITE It's money, isn't it? You could make twice this your first time. They pay more for virgins. Roxanne recoils in disgust and storms out in tears. EXT. VILLAGE - DUSK The full moon sign swings in the wind, a few flakes of snow whipping through the air around it. INT. BLACKSMITH'S COTTAGE - DUSK Adrien picks up a hammer and a pickaxe. He hands the hammer to Henri, fixing him with a serious look. ADRIEN Don't do this for Isabelle. She can't marry you if you're dead. HENRI (LYING) I'm not doing it for her. ADRIEN Your mother would be proud to see the man you've become. Henri is moved. He nods, at a loss for words. INT. TAVERN COTTAGE - DUSK Not so much a tavern as the home of someone who decided to brew some beer and sell it. Cesaire stands before a group of men. They've all had too much to drink. (CONTINUED) 34. CONTINUED: CESAIRE My father died trying to kill the Wolf. For forty years, we have lived in fear of it. But no more. And never again. We don't need a Witchfinder General to rid of us this hell-hated beast. Because by God and all that is holy, the Beast of Villiers la Crois√©e shall die tonight! The men CHEER. EXT. VILLAGE - DUSK Cesaire leads the drunken group through the streets. The rest of the Villagers line the streets, watching them go. Claude tries to join the hunters, thinking it's a game, but Roxanne quickly catches him. Peter shakes his head at the dubious spectacle. Henri sees him. HENRI You're not coming with us? PETER Are you joking? These fools are as likely to kill each other as they are anything else. Henri shoots him an angry look before moving on. Isabelle and Suzette say goodbye to Cesaire. Isabelle sees Peter through the crowd and quickly looks away. Just then, Henri and Adrien pass by. On impulse, Isabelle runs up and kisses Henri on the mouth. When she's sure that Peter has seen this, she quickly walks away. Henri gives Peter a gloating look. Peter scowls. EXT. DARK FOREST - DUSK The Men have taken up positions just inside the treeline, one of them every twenty feet, surrounding the village. They each have lit torches. CAMERA FINDS Henri crouched in the brush. Cesaire walks along the line of men. CESAIRE Get that torch out. Henri douses his torch. 35. EXT. DARK FOREST - NIGHT The full moon is high in the night sky. Snow is falling. CAMERA SLOWLY MOVES over the anxious face of the hunters. Adrien, clutching his pickaxe. The Reeve. The Merchant. The Carpenter. Shivering from cold and jangled nerves, staring wide-eyed into the dark and silent woods... INT. ISABELLE'S FAMILY COTTAGE - NIGHT Isabelle lies in bed, but still awake. Suddenly... a wolf HOWLS outside. Her eyes widen. EXT. DARK FOREST - NIGHT The Reeve hears it. He clutches an old sword. Nearby, the Merchant cowers in the brush. Adrien listens as the wolf HOWLS over and over, louder each time. The Carpenter nervously peers out from his cover... INT. ISABELLE'S FAMILY COTTAGE - LOFT - NIGHT The HOWLING is getting closer. Isabelle goes to the window, opens the shutter, cautiously peers out... and is startled by a HORRIBLE SCREAM in the distance. EXT. DARK FOREST - NIGHT The Carpenter hears the SCREAM, too. He runs toward it and finds an extinguished torch on the ground. There are footprints in the snow. And blood. The brush around him RUSTLES and he jumps to his feet, axe held at the ready -- -- but it's just the other Men, led by the Reeve. REEVE Who was that screaming? CARPENTER I don't know. MERCHANT Look. He's gone pale. The others follow his look. There's a LARGE PAW PRINT in the snow. The Men stare at it. Suddenly, the same SCREAM pierces the night, this time coming from deeper in the woods. The Men exchange a wary look, but then start after it. (CONTINUED) 36. CONTINUED: They run into a still clearing where the snow-covered brush is as high as their waists. They pause and listen. Only silence. They carefully make their way in the direction of the screams, quiet. Frost-brittle leaves CRUNCH under their feet... Suddenly -- something is moving in the brush. All they can see is the snowy brush violently shaking as it darts off, almost faster than it can be followed with the eye. It races right by the Merchant, knocking him on his ass, but it's gone before he can get a look at it. He startles as the Reeve pulls him to his feet. REEVE Which way did it go? The Merchant points a trembling finger. The Reeve plunges into the brush after it and the Men follow. EXT. DARK FOREST - HILLSIDE - NIGHT The Reeve leads the Men to the foot of a steep and rocky hill. It's a dead end. But then they hear the SCREAMS again. The Men look up at the hillside. CARPENTER The caves. It's in the caves. INT. CAVE - NIGHT The Men stand in the mouth of a wide cave, relighting their torches. The SCREAMING echoes from inside. The Carpenter raises his torch. The cave is as deep and dark as a monster's throat. The Men crowd start inside... The SCREAMING continues, unnerving the Men as they approach. Then they come to a fork in the tunnel. The SCREAMS bounce off the stone walls. Impossible to tell where it's coming from. REEVE Split up. Two groups. Half the Men take one fork, half the other. We follow the Reeve's group down a narrowing passageway. The Men crowd together, hunched low. The SCREAMS seem to be getting louder. The Reeve stops, listening. He turns toward a low crack in the cave wall. The SCREAMS are coming from inside. He shines his torch inside, lowers his head, and walks toward it. The cave (CONTINUED) 37. CONTINUED: floor takes a steep dip. He has to keep one hand on the wall to keep from falling... Then suddenly, his feet skid on a patch of loose pebbles and he loses his footing. He slides down the steep floor, drops his torch, hands flailing, unable to stop himself, and then -- -- he finds himself falling off a low cliff into the darkness. He tumbles head over heels down a rocky slope and splashes hard in a shallow underground river. The torch rolls off the ledge above and falls on the shore amidst a shower of grit and pebbles. The Reeve gets up, grimacing in pain, grabs the torch. He shines it around... and sees Adrien. He's leaning against a rock, the ground beneath him wet with blood spreading from a dark wound between his legs. Reeve rushes to his side and crosses himself when he sees the wound. Then: a low, menacing, GROWL. He turns... There's a huge, SNARLING GRAY WOLF behind him. Adrien's pickaxe juts from between its shoulder blades. Reeve freezes, suddenly realizing that he's dropped his sword. He splashes around in the river, blindly feeling for it in the water. The wounded animal growls, blood bubbling from between its teeth. Reeve finds the sword -- -- just as the wolf attacks. EXT. VILLAGE - OUTSKIRTS - DAWN Silence. The sun is starting to light the sky, revealing a peacefully glistening blanket of snow on the village. The Men are returning from the woods. Isabelle and Suzette are among the Villagers breathlessly awaiting them. No way of telling whether they met with success or failure. But as they near... ... we can see Reeve leading the group, carrying a pike with the wolf's severed head on it. The Villagers CHEER, but the Men are weary and subdued. Suzette and Isabelle find Cesaire. He hugs them tight. Suddenly, a woman GASPS. Then they see: the Men are carrying Adrien's body on a travois. Suzette chokes back her reaction. Henri walks with the body, eyes red and cried out. He passes Isabelle without looking at her. 38. EXT. BLACKSMITH'S COTTAGE - DAY Henri hammers at a red-hot iron horseshoe. Isabelle enters. Henri doesn't seem to notice. A hesitant beat. ISABELLE I heard your father wounded the beast. He was a brave man. HENRI Did you hear what it did to him? It chewed off his private parts. Isabelle had not heard this. Henri doesn't stop working. HENRI And I did nothing. I was too scared. I couldn't move. I just let my father be eaten alive. She moves toward him, but he shrugs her away. HENRI No. I don't want you here. Isabelle gives him a sad look, then leaves. Henri just keeps hammering away on the anvil. EXT. CHURCH - DAY A coffin is lowered into a grave. Father Auguste blesses it. Henri stands at his side. Isabelle is here with Roxanne. Lucrece eyes Isabelle, then whispers to her: LUCRECE I thought your mother would be here. They used to be quite close. Isabelle gives her a sharp look, but Lucrece says nothing more. Isabelle looks down at the coffin with a sudden realization... EXT. ISABELLE'S FAMILY COTTAGE - DAY Suzette is soaking clothes in a bucket of lye, crying as she works. Isabelle approaches. Suzette quickly wipes her eyes. A beat. Isabelle gathers her nerve, then: ISABELLE You told me you had a sweetheart before you were married. It was Henri's father, wasn't it? (CONTINUED) 39. CONTINUED: Suzette freezes. She faces Isabelle, but doesn't answer. ISABELLE Lucie was in love with Henri. She could have married him. (off Suzette's look) Couldn't she have? SUZETTE We arranged for you to marry him. ISABELLE But you gained the same no matter which one of us married him. So why did it have to be me? SUZETTE I think you know the answer to that question. ISABELLE No. You say it. Suzette's eyes well up. Then: SUZETTE Lucie was Henri's half-sister. She was not your father's daughter. Isabelle suddenly looks ill. Reluctant, she asks: ISABELLE Am I? Do you even know? SUZETTE Yes. I was already pregnant when your father and I married. ISABELLE Does he know? SUZETTE No. And he must never know. Tears spill down Isabelle's cheeks. She walks away. SUZETTE Isabelle! (BEAT) Promise me you won't tell him. Isabelle gives her a look that doesn't promise much. She leaves without answering. 40. INT. GRANDMOTHER'S COTTAGE - NIGHT Grandmother ladles soup into a bowl and brings it to Isabelle. Isabelle's eyes are red from crying. GRANDMOTHER I've found that there's no burden that doesn't at least seem a little lighter on a full stomach. ISABELLE I don't know what to do. She wants me to pretend like I don't know. How am I supposed to go on living in that house? GRANDMOTHER You have a right to be angry with her. But try not to hate her. Too much hate will eat you alive. Isabelle nods and rests her head on Grandmother's shoulder. EXT. VILLAGE - NIGHT As Isabelle enters the village, she hears LAUGHING and CAROUSING. Every cottage in the village is dark. Except one. Isabelle gathers her nerve and turns toward it... INT. TAVERN HOUSE - NIGHT Isabelle tentatively enters. There aren't many people here, just Marguerite and a few ROWDY MEN making a lot of noise. Isabelle instantly sees what she's here for: Cesaire is slumped in a corner, drunk and passed out. INT. ISABELLE'S FAMILY COTTAGE - BEDROOM - NIGHT Isabelle steers Cesaire through the doorway and drops him into the bed next to Suzette. He's already half-asleep. Suzette gives Isabelle a silent look, then turns away. Isabelle sighs. She sits next to Cesaire and kisses his forehead. As she stands, he clumsily takes her hand. CESAIRE You're a good girl. Isabelle allows a sad smile, places his hand back on his chest, and leaves. 41. EXT. VILLAGE - SQUARE - DAY The wolf's head has been placed atop a stake. Children throw rocks at it. Isabelle watches with Roxanne and Prudence. PRUDENCE I heard there's going to be a festival on the night of the next full moon. To celebrate. ROXANNE A festival? I've never been to one! PRUDENCE My father says he hasn't seen one since he was a boy. ROXANNE It's strange, isn't it? You think because things have been a certain way your whole life that they'll always be the same. Then overnight everything just changes. But Isabelle is distracted. Amidst the morning bustle, she sees Rosemaria laughing with Peter. Roxanne notices. Just then, they hear HORSES approaching. A lot of them. Everyone stops what they're doing, listening, suddenly apprehensive. The girls turn toward the sound and see... ... A DOZEN SOLDIERS in identical armor, silver helmets gleaming in the sun, riding into the square atop armored steeds. The Villagers gape at them in awe. The Soldiers ride escort to a WHITE COACH with a red cross on it, drawn by two horses: one white, one black. A FIGURE rides inside, cloaked in darkness. Isabelle gives it an uneasy look. Leading the Soldiers is the CAPTAIN OF THE GUARD, his helmet adorned with a blood-red plume. He brings the caravan to a halt in front of the Merchant's shop. CAPTAIN This is Villiers la Crois√©e? MERCHANT Yes, my lord. CAPTAIN Summon your bailiff. My master would speak with him at once. (CONTINUED) 42. CONTINUED: MERCHANT Of course, my lord. May I ask to what does he owe this honor? CAPTAIN He requested the services of His Eminence, the Witchfinder General. You may tell him that he has arrived. All eyes turn to the figure in the coach. Only a bejeweled hand is visible, resting on the coach's window. EXT. VILLAGE - SQUARE - DAY (LATER) A Soldier places a wooden step next to the coach and another opens the door. The whole village has turned out, but they're keeping their distance. Even Attewater, standing front and center, seems uneasy. The figure emerges from the coach. A grizzled man with penetrating eyes and a black beard, wearing a strange amalgam of priestly white robes and decidedly un-priestly battle armor. A broadsword hangs from his hip, the hilt depicting Christ on the cross. With the sword sheathed, the cross is upside-down. This is FATHER SOLOMON. ATTEWATER This is indeed an honor, Your Eminence. Solomon makes no response. His eyes are on the severed wolf's head on display. Attewater smiles proudly. ATTEWATER As you can see, our werewolf problem has been dealt with. SOLOMON That is no werewolf. Surprise and outrage ripple through the crowd. Isabelle and Roxanne exchange a shocked look. SOLOMON When a werewolf dies, it returns to its human form. If what you killed was a werewolf, then you would have a human head skewered atop that pole. REEVE And I suppose you've seen this? A wolf turning into a man? (CONTINUED) 43. CONTINUED: Solomon levels a look at the Reeve and slowly walks toward him. The Reeve is taller, but Solomon is, without doubt, the bigger man. The Reeve's eyes flick nervously to the armored Soldiers and their swords. A beat. SOLOMON My wife's name was P√©n√©lope. She was very pretty. And we were very happy. The Reeve tries to keep the confusion off his face. Attewater and Father Auguste exchange uncertain looks. SOLOMON We lived in a village not unlike this place. And not unlike this place, our village was plagued by a werewolf. I went out with some men to hunt it. It never even occurred to me that we might actually find it. But we did. He has everyone's attention now. All eyes are on him. SOLOMON It attacked me. All I saw were yellow teeth. I hacked at it with an axe and suddenly it was gone. There was blood on my axe. I had cut off one of its paws. I picked it up and put it in my sack. (BEAT) When I returned home in the morning, I found my wife with a bloody rag tied around her left wrist. And when I opened my sack, the werewolf's paw was gone. This is what I found in its place. Solomon takes an old leather sack from his belt, reaches inside... and pulls out a WOMAN'S MUMMIFIED HAND wearing a wedding ring. There are gasps from the crowd. SOLOMON Her name was P√©n√©lope. She was very pretty. And we were very happy. Until the day I killed her. Solomon turns and gives Attewater a hard look. SOLOMON Your werewolf is still alive. And I promise you, it will kill again. 44. INT. MANOR HOUSE - GREAT HALL - NIGHT Soldiers stand at every door. Solomon and Attewater sit in front of the gathered Villagers. Solomon's Captain stands behind him. Isabelle nervously notes that the Captain wears a spiked flail. The black iron ball is shaped like a skull with spikes coming out of it. SOLOMON I have examined the body of your blacksmith. There were bruises on his neck from where the beast held him in its jaws, squeezing his throat so that he could not scream. CESAIRE But he did scream. We all heard him. SOLOMON Only when it wanted you to. It used him as bait to lure you into the bit of theater it had prepared. HENRI Theater? My father is not playacting. He is dead. REEVE And I killed the beast that did it. SOLOMON That's what it wants you to think. It did kill your blacksmith. But the animal that you killed was not the werewolf. REEVE There was blood dripping from its teeth. SOLOMON The blood was its own. The werewolf most likely wounded it earlier in the evening and left it in the cave for you to find and kill. CESAIRE 'úMost likely,'ù he says. Have you ever heard anything more unlikely in your lives? (CONTINUED) 45. CONTINUED: The Villagers laugh. Lucrece eyes them, disapproving. ATTEWATER Your Eminence, if what you say is true, that we were somehow fooled by this thing, it could not have done so without foreknowledge of our plan to hunt it. SOLOMON That's correct. The werewolf does not live in the forest as you have rather na√Øvely assumed. It lives here in the village. Among you. There is a moment of shocked silence. Then mounting anger. Cesaire stands up and gestures to Henri. CESAIRE You come here and tell us that this boy's father died for nothing. You accuse us and call us fools. Well, I believe what I can see with my own eyes. That wolf is dead. And I know it's dead because I was with the brave men who killed it. MERCHANT And what of the festival? ATTEWATER The festival was to celebrate the death of the Wolf. MERCHANT And we say that it's dead! We've spent every full moon for the past forty years cowering in our homes. We've earned a celebration. REEVE And paid for it in blood! Attewater gives Solomon a nervous look. Solomon shrugs. SOLOMON Have your festival. I will stay on here until then to ensure that you have the celebration you all so richly deserve. The Villagers seem appeased, especially the smug Merchant. A look passes between Solomon and his Captain. Isabelle catches it... and finds it unsettling. 46. EXT. VILLAGE - SQUARE - DAY The moon sign displays the angry full moon, but it has been decorated with ribbons and mistletoe. Despite the cold, the mood in the village is happy and excited. INT. CHURCH - DAY Solomon is anointing each of his Soldiers with holy water from a basin held by Father Auguste... SOLOMON Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et sempter, et in saecula saeculorum. Amen. INT. ISABELLE'S FAMILY COTTAGE - COMMON ROOM - DAY Isabelle wears her best dress, her hair decorated with ribbons. Cesaire is asleep, a flask in his hand. Suzette knits. ISABELLE I'm going to the festival. SUZETTE All right then. She doesn't look up from her knitting. Isabelle leaves. INT. CHURCH - DAY Solomon kneels in prayer, lit by flickering candlelight. He kisses the image of Christ on the hilt of his sword... EXT. VILLAGE - SQUARE - DAY The festival is in full swing. A bonfire ROARS. The Villagers sing and drink. A MAN in a wolf costume jumps out and startles the women and children. The children chase him with sticks and he comically runs away. Isabelle watches their antics with Roxanne and Prudence. Claude is laughing and chasing the man in the wolf costume, but an OLDER BOY purposefully trips him. Another BOY steals his cap and teases him. Marguerite is too busy carousing to notice. Roxanne frowns. ROXANNE I'm sorry... (CONTINUED) 47. CONTINUED: She hurries to help Claude. Isabelle and Prudence watch. PRUDENCE She acts more like a mother to him than a sister. ISABELLE Someone has to look after him. PRUDENCE I know. But who looks after her? Isabelle gives Roxanne a sad look. EXT. CHURCH - BELLTOWER - DUSK The Captain of Solomon's guard stands watch. The sounds of the FESTIVAL can be heard in the distance... EXT. VILLAGE - SQUARE - DUSK Men play MUSIC and couples dance. Roxanne dances with Claude, Prudence with an OLDER BOY... but Isabelle sits alone, watching Peter dance with Rosemaria. Just then, Henri stumbles toward Isabelle with a beer, clearly the latest of many. He follows her look and sees that she's watching Peter. Henri glares at him... ... then abruptly pushes his way toward Peter and grabs him roughly by the shoulder, spinning him around. Peter is surprised, but ready to laugh it off. PETER Take it easy, friend. HENRI You didn't come with us. The night my father died. Peter's smile fades. Isabelle rushes to pull Henri away. HENRI You stayed here and let real men do the work you didn't have the belly for. ISABELLE Please, don't do this -- Henri brushes her aside, but too hard and she stumbles. Peter instantly grabs hold of Henri's wrist. Henri (CONTINUED) 48. CONTINUED: overreacts and punches Peter in the eye. Peter falls on his ass, but the Villagers just laugh. Peter slowly stands, staring Henri down. He could easily lay Henri out... but decides against it. He leaves. Rosemaria reaches out to him, but he ignores her. Isabelle shoots Henri a look of contempt, then hurries off after Peter. Henri watches her go, ashamed. EXT. VILLAGE - ROAD - DUSK Peter storms off. Isabelle runs after him. ISABELLE Peter! Wait! PETER Why? So you can hit me, too? ISABELLE I just want to make sure you're all right. Peter stops. He whirls on Isabelle, incredulous. PETER Why can't you just leave me alone? ISABELLE You're bleeding. PETER So what? What's the matter with you? What do I have to do to make you stop caring about me? Isabelle is taken aback. A beat. ISABELLE You think I want to feel like this? You think I enjoy feeling like a fool every day because I can't stop loving you? Peter's bravado falters. He can't completely hide what her words do to him. She looks up at him, realizing... ISABELLE Why are you with Rosemaria? You hate Rosemaria. PETER I don't have to like her to get what I want from her. (CONTINUED) 49. CONTINUED: ISABELLE You're a terrible liar. Isabelle takes a step closer and presses the palm of her hand against his chest. A beat. ISABELLE There. You're heart is starting to beat faster. And the little black circles in the middle of your eyes still get bigger when I touch you. She gazes up at him. He tries not to look in her eyes, but can't stop himself. ISABELLE You can tell me you don't love me, but I know what you're really feeling. I can feel it with my hand and see it with my eyes. Peter hesitates, then covers her hand with his own. PETER I thought being with Rosemaria would be the one thing you would never be able to forgive. I wanted you to hate me. (off her look) Isabelle, you are the best thing that could ever happen to me. And I am the worst thing that could ever happen to you. ISABELLE How could you think that? PETER I wasn't born here. You and I both know what that means. I will always be a stranger to these people. Your parents will never let us be together. ISABELLE That means less to me now than ever. We can leave here. We can go someplace where we'll both be strangers. PETER I can't let you do that. You have something here that I will never have. You have a place. You have (MORE) (CONTINUED) 50. CONTINUED: (2) PETER (CONT'D) a family. With Henri you have a future. I'm not going to let you ruin that over me. ISABELLE The only life I want is with you. PETER Isabelle... I'm wrong for you. ISABELLE I know you are. I just don't care. She kisses him on the mouth, then quickly steps back, as if she did it before she could change her mind. Then he takes her in his arms and they kiss, long and hard. INT. BARN - DUSK A door opens and Peter and Isabelle enter, still kissing. He closes the door, pushes her against it with his body. He lowers her to pile of straw in an empty stall. She looks up at him, surprised, then pulls him tightly to her, kissing him hard. She grabs his hand and guides it to her breast. Now Peter looks surprised. He hesitates. ISABELLE I don't want to wait. PETER But not like this. (A BEAT) I want to marry you. She searches his face and sees that he's serious. PETER I can pack the cart tonight and we can leave in the morning. (off her look) Is that too soon? ISABELLE It's not soon enough. She pulls him to her and kisses him. EXT. BARN - DUSK Peter looks outside. The coast is clear. He and Isabelle slip out and close the door behind them. (CONTINUED) 51. CONTINUED: PETER You'd better get back before someone misses you. She gives him a lingering kiss. When she pulls away from him, he sees that she's crying. PETER What's wrong? ISABELLE This feels like a dream. I'm afraid if I leave you I might wake up. He kisses her and holds her tight. Neither of them notice Henri, angrily watching from the shadows... EXT. VILLAGE - SQUARE - NIGHT Isabelle returns to the festival. She sits next to Roxanne, who notices a piece of straw in Isabelle's hair. Isabelle quickly brushes it away, embarrassed. Isabelle's eyes go to the sky. The sun has finally set. The moon has risen, silver and full. Isabelle gazes up at it, transfixed. Roxanne looks over at her, curious. ISABELLE I've never seen it full before... Suddenly -- the CHURCH BELLS start to ring. Everyone falls silent. Confused looks all around. Then, somewhere in the dark... ... a WOLF HOWLS. The Villagers gasp. A WOMAN screams. People start to panic. Claude is knocked down. ROXANNE Claude! Then something massive pushes its way through the surging crowd, bursting from the darkness... It's THE WOLF. The Villagers gape in horror. It makes the wolf that they killed look like a chihuahua. But there's something about its face that isn't canine at all, but ghoulishly human as it HOWLS at the moon. Suddenly, a group of Villagers throw off their cloaks, revealing themselves to be Solomon's armored Soldiers. Each of them draws a gleaming sword and points it at the Wolf. They've been lying in wait and now they have it surrounded. The Wolf SNARLS at them. (CONTINUED) 52. CONTINUED: A moment later, Father Solomon gallops into the square on his armored steed, wearing a helmet adorned with a golden eagle. He tugs the reins and his horse rears back. SOLOMON Get to the church, you fools! The Wolf SNARLS up at him. Solomon gives a battle cry: SOLOMON DIE, BEAST! AND LONG LIVE GOD'S HOLY LOVE! The Wolf ROARS. Solomon and his men charge toward it. The Villagers caught between them trample one another to get away. A MAN gets knocked into the bonfire. Flaming logs fall off the pyre and set a cottage ABLAZE. The Wolf swipes Solomon's Soldiers aside like rag dolls. They bravely press the attack, but they're no match for the beast. It swats one of them right through the wall of a nearby cottage. The ambush has backfired. The Carpenter sees Claude on the ground and picks him up, trying to help. Claude fights and screams, but the Carpenter carries him away. Roxanne starts toward him -- -- and is bowled over by Solomon's horse. Solomon grabs the stake with the wolf's head atop it and charges at the Wolf, wielding the stake like a lance. The Wolf catches the stake in its jaws, throwing Solomon off his horse. Just as the Wolf is about to pounce on him, but more Soldiers join the fight. The Wolf sees them coming. It attacks Solomon's horse, biting its neck and dragging it to the ground. As the Soldiers close in -- -- the Wolf spins around, hurling the injured horse at them, knocking them down like bowling pins. Another Soldier tries to attack the Wolf from behind, but it smacks him aside with its tail and then smashes him to the ground with one enormous paw. Isabelle hurriedly helps Roxanne to her feet and drags her away from the ongoing battle. ROXANNE Where's Claude? Where is he?! EXT. VILLAGE - ROAD - NIGHT The Carpenter runs away with Claude in his arms, but Claude bites his hand and wriggles free. Claude falls to the ground and dashes back toward the square. 53. EXT. VILLAGE - VARIOUS - NIGHT Roxanne runs through town like a rat in a maze, jostled by the fleeing Villagers. Isabelle races after her. ROXANNE Claude! Claude! Roxanne spots Rosemaria and grabs her, begging for help. ROXANNE Have you seen my brother? Please! But Rosemaria just pushes her aside, panicked. An instant later -- the Wolf appears out of nowhere, jumping on Rosemaria. She screams, then -- CRUNCH. The screams stop. Isabelle and Roxanne gape in horror, then run. EXT. CHURCH - BELLTOWER - NIGHT The Captain RINGS the church bell. People are fleeing the village and running toward the church. EXT. VILLAGE - VARIOUS - NIGHT The few Villagers left hurry into their homes and bolt the doors behind them. TWO SOLDIERS search the nearly empty streets for the Wolf, swords drawn. Soldier #1 looks down... and sees bloody paw prints in the snow. He points them out to Solider #2. They follow the tracks to a corner, carefully peer around it... The Wolf is about ten feet away, loudly tearing meat from Rosemaria's body. Soldier #1 gestures for his companion to approach from the other side. They split up. Soldier #1 peers out at the Wolf... but it's gone. The street is empty. Only Rosemaria's body lying in the bloodstained snow. He ducks back around the corner... ... and we see that the Wolf is now right behind him. Meanwhile, Soldier #2 is stealthily making his way into position... when he suddenly hears Soldier #1 SCREAMING. Soldier #2 quickly ducks inside a nearby cottage... INT. COTTAGE - NIGHT ... and peers out the window. He sees Soldier #1 painfully crawling through the snow, clutching a mangled and bloody wound on his shoulder. (CONTINUED) 54. CONTINUED: SOLDIER #1 Help... Help me... Soldier #2 ducks back from the window. No way. He's not going out there. Then: SNIFF. SNIFF. There's a shadow visible under the crack of the cottage door. And a big black snout pressed up against it, SNIFFING out its prey. Soldier #2 readies his sword... ... but then the Wolf moves away. A long beat. The Soldier edges toward the door. The shadow does not return. He slowly reaches out a hand to open the door... Suddenly, the door is blasted off its hinges and the Wolf bursts inside. It stands on top of the door, pinning the Soldier beneath it. The Soldier tries to raise his sword, but can't. The Wolf SNARLS down at him, drooling. EXT. VILLAGE - VARIOUS - NIGHT The Wolf is dragging Soldier #2's body out of the cottage by the ankles when its ears suddenly prick up. It's heard something. It's being watched. It looks up... ... and sees Claude standing at the end of the street, paralyzed with fear. The Wolf GROWLS, blood dripping from its chin. Claude runs. The Wolf leaps after him. Claude turns a corner, looks back, sees the Wolf headed right for him. Claude ducks into an alley and the Wolf follows him... EXT./INT. BARN - NIGHT ... only to find Claude has disappeared. The Wolf follows Claude's tracks in the snow to the door of a barn and peers inside. The barn appears to be empty... ... but Claude is hiding in a hayloft. The Wolf SNIFFS the air. Pushes the door open with its nose and pads inside. Looks around. Claude shivers. But just then: ROXANNE (O.S.) Claude! Claude!! The Wolf cocks its ears toward the voice, listening... EXT. VILLAGE - ROAD - NIGHT Isabelle and Roxanne are the last stragglers, Roxanne looking for Claude, Isabelle trying to stop her. (CONTINUED) 55. CONTINUED: ROXANNE Claude! Where are you?! Isabelle drags her to the ground and covers her mouth. ISABELLE You have to stop it. He can't hear you and you are going to get us killed. Do you understand me? Roxanne nods, crying. Isabelle helps her up -- and finds herself face-to-face with the Wolf. Roxanne screams. They run back the way they came, turn another corner -- EXT. VILLAGE - ALLEY - NIGHT -- but the narrow alley is blocked by a high stone wall. ISABELLE Come on! Isabelle climbs the wall, but Roxanne's not going to make it. Isabelle jumps down to help her... ... just as the Wolf's shadow falls over the alley. The girls watch helplessly as the Wolf slowly walks toward them, SNARLING and glaring at them with its strange, near- human eyes. Then, inexplicably... the Wolf speaks. THE WOLF Well, well. You look very pretty this evening, my dear. Good enough to eat. The Wolf's voice is sonorous, seductive. The Devil's voice. Isabelle stammers, unable to believe her senses. THE WOLF It's considered polite to thank someone when they pay you a compliment. Are you being impolite, Isabelle? ISABELLE How do you know me? Who are you? ROXANNE Isabelle...? The Wolf GROWLS, cutting her off, and turns back to Isabelle. It moves closer. Isabelle looks into its eyes. They suddenly seem very big and deep, almost hypnotizing. She seems to fall into them... (CONTINUED) 56. CONTINUED: ISABELLE What big eyes you have... THE WOLF The better to see you with, my dear. ISABELLE Are you going to kill us? THE WOLF Kill you? Why would I kill you? ISABELLE Then what do you want? THE WOLF I want you, Isabelle. Isabelle gapes, dumbstruck and dismayed. THE WOLF We are the same, you and I. We are both wild things. You show one face to the world, but there is another face that you hide. A fire burning inside you, waiting to be released. The Wolf sniffs her, starting at her feet and working its way up. It SNARLS with satisfaction, savoring her scent. THE WOLF Yes. I can smell it on you even now. Suddenly, the Wolf jumps onto its hind legs, puts its forepaws on the wall on either side of Isabelle, its muzzle only inches from her face. She recoils. THE WOLF Leave with me tonight. Run with me. The only shackles binding you are of your own making. Slip them and I can show you the world and every pleasure in it. Isabelle hesitates, then finds the strength to speak: ISABELLE I don't know who you are, but we are not the same. I would rather die than go with you. (CONTINUED) 57. CONTINUED: (2) THE WOLF What about your fat friend here? Do you think she would rather die? (off Isabelle's look) Come away with me. Or I will kill her. And I will keep killing until you agree to leave with me. Suddenly, the sound of MEN SHOUTING. The Wolf leans in, SNARLING. Isabelle turns away from its foul breath. THE WOLF Choose now. Quickly. Isabelle trembles. She looks down at Roxanne's terrified face, torn. Isabelle closes her eyes. She can't do it. THE WOLF Your silence has doomed them all. Just then, Solomon and two Soldiers turn the corner. The Wolf leaps atop the wall and growls down at Isabelle: THE WOLF Come the next full moon, their blood will be on your hands. Then it jumps over the wall. Solomon scrabbles up after it, but the Wolf is already too far away. It looks back at him. A silent challenge passes between them. And then the Wolf is gone. INT. CHURCH - NIGHT Solomon and his Soldiers bring Isabelle and Roxanne inside. A crowd of panicked Villagers swarms to Solomon. SOLOMON We are safe here. God protects his own house and those within it. Isabelle finds Prudence. ISABELLE Is Peter here? PRUDENCE Peter? I don't think so. ISABELLE What about Claude? Or my parents? PRUDENCE I haven't seen any of them. (CONTINUED) 58. CONTINUED: ISABELLE Would you look for them? Please? Prudence nods and rushes off. Roxanne slumps in a corner, a dazed look on her face. A beat. ROXANNE You talked to it. ISABELLE It talked to us. A chill runs down Roxanne's spine. A long beat. ROXANNE No. It only growled. (off Isabelle's look) You heard it talk to you? Isabelle doesn't know what to say. She glances around to see if anyone has overheard. Then: ISABELLE Do not speak of this to anyone. Roxanne nods, but eyes Isabelle warily. Isabelle turns away, afraid and confused. EXT. CHURCH - DAWN Silence. The door CREAKS open and the Merchant peers out. A blanket of new snow covers the village. It's as if the massacre of the night before never happened. INT. ISABELLE'S FAMILY COTTAGE - COMMON ROOM - DAWN Isabelle hurries inside. Embers burn in the fire pit. A chair has been overturned. The room is empty. ISABELLE Mother! Father! INT. ISABELLE'S FAMILY COTTAGE - BEDROOM - DAWN Isabelle bursts in to find Suzette lying in bed and Cesaire leaning over her, crying. Isabelle stops short. ISABELLE Is she dead? CESAIRE No, thank God. (CONTINUED) 59. CONTINUED: He sits up, revealing Suzette's face, which has been horribly slashed from scalp to chin. Isabelle recoils. EXT. VILLAGE - SQUARE - DAWN The Villagers slowly gather. Dead bodies litter the snow. Roxanne clutches Prudence's arm. Henri joins them. Father Auguste crouches next to Soldier #1. FATHER AUGUSTE This man is alive! (TO HENRI) Bring me water! Hurry! Henri nods and quickly turns -- but is stopped cold by Solomon's iron grip on his arm. Solomon and his Captain go to Soldier #1. Solomon kneels at his side. SOLOMON Are you bitten? Shivering, the Soldier nods. The Captain closes his eyes. Solomon stands and turns to Father Auguste. SOLOMON Step back. Confused, Father Auguste does as he's told. Then, before anyone can react, Solomon draws his sword and plunges it into the Soldier's heart. Everyone startles. SOLOMON The werewolf's bite is the same as death to a man. Stunned silence. Solomon turns to the Villagers. SOLOMON The dark days have returned to your village. Your homes are no longer safe. The Wolf will return. Again and again. And it will not stop until it has sucked the marrow from all your bones. Unless you stop it. (BEAT) But to kill a monster, you must become one yourself. A wolf caught in a trap will chew off its own leg to save itself. Will you do the same? What sacrifice will you make to save your families and your way of life? Will you do whatever it takes? Or will you (MORE) (CONTINUED) 60. CONTINUED: SOLOMON (CONT'D) cower in your beds and die like sheep? A long beat. The Villagers shiver and not just from the cold. But no one speaks. Solomon turns to Attewater. SOLOMON It appears my expertise is not as appreciated as I was led to believe. He turns to leave. Suddenly, Attewater steps forward. ATTEWATER Wait! Attewater drops to one knee. Solomon stops and gives him an appraising look. Then Solomon turns to the Villagers. After a moment, the Reeve drops to his knee. One by one, the Villagers kneel to Solomon. Henri and Father Auguste are among the last, but they reluctantly kneel as well. ATTEWATER We will do what must be done. A beat. Then Solomon offers his hand. Attewater kisses Solomon's ring. Henri and Roxanne exchange uneasy looks. INT. PETER'S COTTAGE - DAY There's an urgent knock at the door. Peter quickly opens it. It's Isabelle. He ushers her inside. As soon as the door is shut, he takes her in his arms. She gives him a concerned look. He looks tired, drawn and pale. PETER I was up all night worrying about you. Thank God you're safe. But something about her expression gives him pause. She looks up at him, struggling with what she has to say. ISABELLE Peter... My mother's hurt. I can't leave. Not now. PETER I thought you didn't want to wait. ISABELLE I don't have any choice. It's not just my mother. Something else happened last night. (off his look) (MORE) (CONTINUED) 61. CONTINUED: ISABELLE (CONT'D) I can't tell you about it. I just have to stay. Peter nods, but his face darkens. A long, tense beat. ISABELLE I meant everything I said. This isn't what I wanted. PETER Of course not. You'd better go home and see to your mother. She gives him a sad nod, then turns to go. She pauses at the door, but he doesn't look at her. She leaves. INT. MANOR HOUSE - GREAT HALL - NIGHT Solomon places his silver sword on the table in front of Attewater and Father Auguste. SOLOMON Silver. This is our most potent weapon. One blow will kill it. (BEAT) That sword has tasted the blood of many such creatures. But never one as powerful as this. ATTEWATER If it's that powerful, how can we possibly hope to stop it? SOLOMON We must find it in its human form. Who among you do you suspect? Attewater and Father Auguste trade uncomfortable looks. Neither of them wants to speak up first. SOLOMON It has not survived this long by being obvious. The signs will be subtle. Insomnia. Restlessness. Strange behavior. Strange smells. (off their looks) Well, none of them smell good, but we must start somewhere. FATHER AUGUSTE What about the hair Madame Ordeville found on Lucie's body? It was dark. The person we are looking for must have dark hair. (CONTINUED) 62. CONTINUED: SOLOMON Perhaps. Unless it planted the hair to make us think that. ATTEWATER Yes, it's trying to trick us again. This has been happening for forty years. It must be an old man by now. The hair should have been gray. SOLOMON Not necessarily. It may be the child or grandchild of the werewolf that first struck here. FATHER AUGUSTE The curse is hereditary? SOLOMON It is. But it effects men and women differently. A man can inherit the curse. Or he can be turned simply by being bitten. Solomon turns toward the fire and stares into it. SOLOMON But women are immune to the werewolf's bite. In order for a woman to be turned, she must inherit the curse. But even then it will lie dormant unless she eats human flesh. Only then will the bite of a male werewolf change her. Only then can she become a werewolf and capable of passing the curse on to her own children. ATTEWATER But it could be a woman. SOLOMON Of course. It could be any one of you. Attewater and Father Auguste exchange a wary look. EXT. VILLAGE - CROSSROADS - DAWN The mood of the village is grim. Isabelle meets Roxanne at the crossroads. Roxanne eyes her warily. A beat. (CONTINUED) 63. CONTINUED: ISABELLE Has Claude come home? ROXANNE No. Nobody has seen him. ISABELLE He's run away before. He'll be all right. Roxanne nods, unconvinced. Prudence joins them. They all exchange a sad look. PRUDENCE Well. I suppose this is all of us. The three of them turn and start toward the woods... INT. GRANDMOTHER'S COTTAGE - NIGHT Isabelle and Grandmother sit by the fire. GRANDMOTHER It talked to you. And you understood it? ISABELLE As clearly as I do you now. Grandmother fixes her with a serious look. A beat. GRANDMOTHER Word of this cannot be allowed to spread. Do you understand me? ISABELLE Roxanne will never speak of it. She won't even talk to me about it. A long beat. Isabelle is working up her nerve. Then: ISABELLE I have to do what it wants. (off her look) I have communed with an unholy beast. What does that make me if not cursed? GRANDMOTHER I don't know. But I won't allow you to go with this devil and live as its concubine. (CONTINUED) 64. CONTINUED: ISABELLE But if it comes back for me and I don't go with it, then it will kill again. If I have the power to save even one life, aren't I compelled to do so? GRANDMOTHER This is why it chose you. You're a good girl with a gentle heart. It's using that against you. ISABELLE But how could it? Unless it really does know me? Isabelle and Grandmother exchange an anxious look... EXT. ISABELLE'S FAMILY COTTAGE - DAY Isabelle is walking home through the snow. Henri is waiting for her. A beat. Then: HENRI I spoke with your father. I broke off our engagement. (off her look) I saw you with Peter. Don't worry, I didn't tell anyone. Isabelle can't hide her shock. She shifts anxiously. ISABELLE What about my family's debt? HENRI I have no interest in ruining your family. I will have you out of love or not at all. Isabelle is dumbfounded. Henri turns and walks away... INT. ISABELLE'S FAMILY COTTAGE - COMMON ROOM - NIGHT Isabelle is cooking, lost in thought. Suddenly, there's a KNOCK at the door. Isabelle opens it. It's Prudence. PRUDENCE They've caught the werewolf! 65. EXT. VILLAGE - ROAD - NIGHT Prudence leads Isabelle and Cesaire through the village. There are SHOUTING VOICES up ahead. PRUDENCE He's been hiding in a hayloft. They caught him trying to steal food. ISABELLE But who is it? An angry crowd has gathered. Solomon's Soldiers are all that's stopping it from turning into a lynch mob. Isabelle finds Roxanne in tears, trying to force her way through the crowd. ISABELLE What's wrong? What's happening? Roxanne doesn't answer, just plunges into the crowd. Isabelle goes in after her. Cesaire tries to stop her. CESAIRE Isabelle! Get away from there! She follows Roxanne to the front of the crowd, just as two Soldiers haul a figure out of a barn -- it's Claude. ROXANNE Claude!! ISABELLE It's not him! It can't be! LUCRECE If he's not the werewolf, then why was he hiding? What's he afraid of? The Soldiers carry Claude off and Roxanne stumbles after them. Isabelle tries to follow, but Cesaire stops her. She can only watch helplessly as Claude is dragged away. EXT. MANOR HOUSE - DAY Villagers are gathering. The whole town must be here. As Attewater approaches the entrance: GRANDMOTHER (O.S.) Salus populi suprema est lex. (CONTINUED) 66. CONTINUED: He turns and sees Grandmother walking toward him. She nods to the inscription above the entrance. 'úSALUS POPULI SUPREMA EST LEX.'ù GRANDMOTHER The good of the people is the chief law. ATTEWATER You read Latin. GRANDMOTHER And write. I was studying to be a nun when I met my husband. ATTEWATER He must have been some man. GRANDMOTHER He was a priest. She grins. Is she being serious? Attewater bristles. GRANDMOTHER You know the boy is innocent. He's being tried because he's different. Because Father Solomon knows he can turn us against him. ATTEWATER Father Solomon is here to protect us. GRANDMOTHER A wolf hunting sheep picks off the weakest ones first. (off his look) This is just the beginning. She enters the manor hall. Attewater watches her go. INT. MANOR HOUSE - GREAT HALL - DAY The room is crammed with Villagers. Isabelle sits with Cesaire and Grandmother. Attewater sits behind the table. Claude is shackled and guarded by Soldiers. He looks afraid, confused. Solomon questions Lucrece. A SCRIBE records the proceedings. SOLOMON You say you saw the accused perform magic? (CONTINUED) 67. CONTINUED: LUCRECE In broad daylight with my own eyes. Everyone here has seen it. SOLOMON So it was common knowledge that the accused was a conjurer? LUCRECE Yes, Your Eminence. I saw it for the Devil's work, but they laughed at me and paid him money. Isabelle and Grandmother exchange a concerned look. Through a SERIES OF CUTS, more witnesses are questioned: FATHER AUGUSTE shifts uncomfortably as Solomon interrogates him... SOLOMON Are you aware that it is the custom of witches and devil worshippers to hold their black sabbaths in cemeteries? FATHER AUGUSTE Yes, Your Eminence. SOLOMON And do you know of their practice of dancing with invisible devils during these rituals? FATHER AUGUSTE I have heard it said so, yes. SOLOMON Is there one here today who you have seen dancing in your cemetery? FATHER AUGUSTE (hesitant; a beat) Yes. But I don't believe he meant anything by it. It was in jest. SOLOMON So you consider the black mass to be a jest? There are suspicious WHISPERS among the Villagers. Father Auguste eyes them nervously. A beat. (CONTINUED) 68. CONTINUED: FATHER AUGUSTE No, of course not. SOLOMON Then point him out. Father Auguste reluctantly points to Claude. MARGUERITE Roxanne weeps as her mother testifies against Claude. SOLOMON What is your relationship to the accused? MARGUERITE I am his mother. SOLOMON And where is his father? MARGUERITE I don't know, sir. SOLOMON Well, what is his name? She pauses. The crowd eyes her, disapproving. A beat. MARGUERITE I never learned his name, sir. SOLOMON You say a man whose name you cannot recall is the father of your child? What can you tell us about him? MARGUERITE Not much, sir. She lowers her eyes, ashamed. Solomon considers her. SOLOMON Almost as if it were a dream? (off her look) Certain devils called incubi can collect human semen and then transfer it to women as they sleep. A woman who unwittingly conceives in this manner would not be a whore. She would be blameless in the eyes of God. (CONTINUED) 69. CONTINUED: Marguerite's eyes spark, suddenly hopeful... SOLOMON You remember almost nothing of the man who impregnated you. Is it not possible that there was no man? That the accused is not the product of your own sin, but the foul offspring of a werewolf whose semen was placed in you by an incubus while you slept? MARGUERITE Yes! Yes, I remember now! He came to me in my sleep! It wasn't my fault! God save me, it wasn't my fault! Roxanne buries her face in her hands. INT. MANOR HOUSE - GREAT HALL - DAY (LATER) Solomon addresses the gathered Villagers. SOLOMON We have proven here today that behind this veil of feigned idiocy is the fiend that has plagued your village. However, in order for the sentence of death to be carried out, the Church requires either a confession or the testimony of a witness who has seen the accused in his transformed state. Since the accused has refused to confess, this court calls upon its final witness. Isabelle Ordeville. Isabelle is stunned. All eyes turn toward her. INT. MANOR HOUSE - GREAT HALL - DAY (TIMECUT) Isabelle stands before Solomon. Claude waves. She ignores him. SOLOMON On the night of the last full moon, you were attacked by the Wolf. You looked it in the eye. And the one thing a werewolf can never change is its eyes. (CONTINUED) 70. CONTINUED: He gestures to the Soldiers. They grab Claude and force him to look at her. SOLOMON Look into his eyes, my child. Do you see the beast in them? Isabelle gives Claude a pitying look. Solomon watches, expectant. Then: ISABELLE It isn't him. It can't be. He was with us when the Wolf attacked. Solomon is taken aback. Surprised MURMURS in the room. SOLOMON Is this true? Is there another here who can speak to this? ROXANNE I can! It's true! I saw him! LUCRECE She's his sister! She'll say anything! The suspicious Villagers agree. Roxanne gives Isabelle a desperate look. Then Isabelle spots the Carpenter. ISABELLE He was there! He carried Claude away! He saved his life! Suddenly, all eyes are on the Carpenter. He shrinks back. He glances at his WIFE. She stares at him. Hard. CARPENTER She is mistaken. I did no such thing. Isabelle is shocked. She looks to the other Villagers, but no one will speak up. Solomon frowns. SOLOMON Very well. Since no one here can bear witness, we must extort a confession. This court shall reconvene tomorrow at dawn. Solomon leaves. Claude is dragged out of the room by Soldiers. Isabelle gives Grandmother a helpless look. 71. INT. ISABELLE'S FAMILY COTTAGE - COMMON ROOM - DUSK Isabelle and Grandmother sit at the table. Cesaire is in the other room feeding Suzette. ISABELLE Why wouldn't Father Solomon listen to me? Doesn't he care that Claude isn't guilty? GRANDMOTHER He'd rather let an innocent boy die than risk letting the Wolf go free. ISABELLE But the Wolf is free. And the moon will be full in two days. The full weight of this hits home. Grandmother leans close, lowers her voice. GRANDMOTHER We both know it will be coming for you. You must leave here tomorrow and never return. A long beat. Isabelle reluctantly shakes her head. ISABELLE I cannot leave. GRANDMOTHER You have no choice. The alternative is unthinkable. ISABELLE What is unthinkable is that I should be responsible for the deaths of everyone that I love. I'd rather spend a lifetime of misery than let that happen. GRANDMOTHER The Wolf's sins are on its own twice-damned soul, not yours. ISABELLE But what if it was you it wanted? Would you go with it to save me? Or would you leave me to die? Grandmother doesn't have a fast answer for that. Suddenly, a HIDEOUS, INARTICULATE SCREAM echoes in the night. Isabelle and Grandmother exchange a grave look. 72. EXT. ISABELLE'S FAMILY COTTAGE - NIGHT Grandmother and Isabelle step outside, followed by Cesaire. The SCREAMING can be heard more clearly. GRANDMOTHER Father Solomon. Extorting his confession. Claude's screams sending chills down their spines. CESAIRE You should have condemned him today. At least it would have been quick. Cesaire turns and goes back inside. Isabelle and Grandmother continue to listen. INT. ROXANNE'S FAMILY COTTAGE - NIGHT Roxanne weeps with her hands clamped around her ears, trying to block out the SCREAMING. Her mother sits by the fire as if nothing unusual is going on. ROXANNE How can you just sit there and listen to this? Marguerite ignores her. Furious, Roxanne stands up and grabs Marguerite's coin purse. MARGUERITE Where are you going with that? Roxanne doesn't answer, just pulls on her cloak. Marguerite grabs her, but Roxanne turns and shoves her to the ground. Marguerite starts to get up, but Roxanne snatches a knife from off the table and points it at her. ROXANNE Don't you touch me again. Ever. Roxanne angrily throws the knife aside and leaves. INT. MANOR HOUSE - DUNGEON - NIGHT A fire burns underneath a 'úBrazen Bull,'ù a hollow, life- size bull made of brass. The fire heats the metal to almost red-hot. Claude's screams come from inside it. Solomon glowers, frustrated. Attewater looks sick. (CONTINUED) 73. CONTINUED: SOLOMON Enough of this. Let's eat. He gestures to the Scribe, who hands Attewater a document. ATTEWATER What is this? SOLOMON A statement declaring that you heard the boy confess. All it requires is your signature. Or your mark, if you cannot write. ATTEWATER But he has not confessed. How could he have? Solomon studies Attewater. A beat. Solomon shrugs. SOLOMON Very well. Listen more carefully this time. He gestures for the Soldiers to throw more wood on the fire. The FLAMES leap higher. Attewater goes pale. All he hears are screams. Solomon stands next to the bull. The flames gleam off the brass, casting him in hellfire. SOLOMON Listen to how he sings of his love of Satan. How he despairs that he will never again copulate with the dead or sink his teeth into the flesh of pregnant women and eat their unborn children. Attewater gives Solomon a horrified look, suddenly realizing. Father Solomon is insane. ATTEWATER Stop this. SOLOMON No. You stop it. (off his look) We both know he is guilty. But I cannot legally execute him without a witness or a confession. Sign this and we have a confession. Attewater glares at Solomon, then angrily signs the document. Solomon gestures to his Soldiers, who open the bull and pull Claude out. Attewater has to look away. (CONTINUED) 74. CONTINUED: (2) Suddenly, Solomon grabs Attewater by his collar, drags him across the room, and forces him to look at Claude. Thankfully, we do not see him, except in deep f.g. His naked flesh is actually smoking. Attewater cringes. SOLOMON This is the business of werewolf hunting and you had best develop a stomach for it. Because where there is one werewolf, there are two. And where there are two, there are more. (BEAT) This is only the beginning. Solomon throws him to the floor and leaves. Attewater trembles helplessly as Claude is dragged out of the room. INT. MANOR HOUSE - GREAT HALL - NIGHT Solomon is eating dinner. The Captain enters. CAPTAIN A girl to see you. SOLOMON Well, I've yet to come across a girl I wouldn't at least look at. The Captain ushers Roxanne inside. She meekly steps forward. A beat. SOLOMON I assume you came here with a purpose. She hurriedly empties Marguerite's purse on the table in front of Solomon. A mere handful of coins. ROXANNE I would like to bargain for the release of my brother. SOLOMON Your brother has just confessed. ROXANNE What? That's not possible! SOLOMON It has been witnessed and notarized. He will hang in the morning. (CONTINUED) 75. CONTINUED: Roxanne stands frozen, gathering her courage for what she is about to say. Realizing that she has no choice. ROXANNE I have more than money to offer you. She raises a trembling hand and starts to open her bodice, but Solomon interrupts. SOLOMON What do you think you are doing? (off her look) Do you have any idea who I am? I am the Witchfinder General. I have fought in the Holy Land. I have waded hip deep in blood and resisted all the temptations of the infidels. And you seek to stay the hand of justice with such a tawdry bribe? Leave here, girl, before I have you whipped. Solomon gestures for the Soldiers and they forcibly drag her away. Roxanne struggles against them. ROXANNE Wait! I have something else! I know the name of a witch! Solomon looks up sharply. The Soldiers stop. Solomon crosses the room and stands glaring down at Roxanne. She cringes. This is the hardest decision of her life... ROXANNE Spare my brother and I will tell you her name. INT. ISABELLE'S FAMILY COTTAGE - VARIOUS - NIGHT SMASH! Isabelle and her parents are jolted from their sleep by Soldiers barging into their home. One of them climbs into the loft and yanks Isabelle out of bed. Cesaire leaps to his feet, but is viciously beaten down. Suzette screams. The Soldiers drag Isabelle away. INT. MANOR HOUSE - DUNGEON CELL - NIGHT Isabelle is thrown to the floor, the door SLAMMED behind her. She huddles against the wall, shivering. (CONTINUED) 76. CONTINUED: Then: A low MOAN in the dark. Isabelle startles. She looks up, her eyes going wide in disgust and horror... It's Claude. He's locked in a man-shaped cage, his body covered with hideous burns. He moans again. Isabelle chokes back her disgust and goes to him. She lightly takes his hand, shaken to her soul at the sight of him. INT. MANOR HOUSE - GREAT HALL - DAY The chamber is full again. Cesaire, Grandmother, Prudence, and Henri are here. Peter sits in the last row. Isabelle is in the seat of the accused. Roxanne stands witness. She's trying not to look at Isabelle. SOLOMON How are you acquainted with the accused? ROXANNE We were friends. SOLOMON And how long did this friendship last? ROXANNE All my life. SOLOMON And in this time, have you ever known the accused to converse with devils? ROXANNE Yes, Your Eminence. On the night of the last full moon, she talked to the werewolf. And later she told me that it also talked to her. Isabelle gives Grandmother a frightened look. Cesaire clenches his fist. Solomon turns to Isabelle. SOLOMON What of this? Do you deny having conversed with a werewolf? She looks to Roxanne, who trembles with emotion. Then: ISABELLE No. I do not deny it. The crowd REACTS. Solomon quiets them with a look. (CONTINUED) 77. CONTINUED: SOLOMON Describe this encounter. ISABELLE It spoke, just as a man speaks. SOLOMON And what was the nature of your conversation with it? Isabelle hesitates. Grandmother holds her breath. ISABELLE It told me... It promised to leave here and never return. But only if I leave with it. Roxanne gives her a stunned look. A heavy silence falls over the room. Even Solomon is surprised. Then: REEVE But who is it? Make her tell us who the werewolf is! ISABELLE I don't know! I swear I don't know! MERCHANT It doesn't matter who it is anymore. It wants her, not us. Let's just give it what it wants. A long, tense beat. Heavy silence. Nobody speaks. FATHER AUGUSTE We should not allow ourselves to even consider this. REEVE I think we already are. GRANDMOTHER What's the matter with you? You know her. You all know her. REEVE Do we? Did we know she could talk to werewolves? GRANDMOTHER She could have run away. She could saved herself, but she stayed here because she cares more about you than she does herself. (CONTINUED) 78. CONTINUED: (2) Peter reacts. He and Isabelle exchange a look. Now he understands... MERCHANT If she stayed, she did so because she is in league with it. Let this be her punishment. The crowd loudly AGREES. Solomon considers. Grandmother gives Attewater a dark look. Then: SOLOMON Very well. Isabelle Ordeville, in light of your willing confession, it is the decision of this court that on the night of the next full moon, you be left to the mercy of the werewolf. Cesaire silently buries his face in his hands. HENRI No! Henri bursts to his feet, turning heads. Isabelle is led away. Roxanne can only watch, helpless and ashamed. EXT. VILLAGE - SQUARE - DAY Lucrece has drawn a small crowd around the well. Prudence pauses to hear what she's saying... LUCRECE The first victim was her sister. The second was her fianc√©e's father. Then Rosemaria, who everyone knows she hated. And don't forget her mother, with half her face missing. All this death around one girl... Prudence has heard enough. She turns away. EXT. MANOR HOUSE - DUSK Roxanne approaches. The Captain eyes her, questioning. ROXANNE I'm here for my brother. He gestures. Roxanne turns... and sees Claude's body dangling from a makeshift gallows. He's been hanged. (CONTINUED) 79. CONTINUED: Roxanne falls to her knees. The rope around Claude's neck CREAKS as his body sways in the wind. INT. MANOR HOUSE - DUNGEON CELL - NIGHT Isabelle stands at the barred door. Grandmother is on the other side. They speak in furtive whispers. GRANDMOTHER I'm not going to let these worthless shits sacrifice you to save themselves. We have to find the real werewolf before tomorrow night. ISABELLE That's impossible. Even Father Solomon doesn't have the first clue. GRANDMOTHER Father Solomon doesn't know the things that I know. (off Isabelle's look) I am the oldest person in this village who was here when the Wolf first came. I remember the old days. And what is happening now is much worse. ISABELLE What was it like in the old days? GRANDMOTHER The Wolf never used to attack in the open like it did at the festival. It's a coward at heart. It would kill whole families in their homes, but it always stayed in the shadows. It never would have shown itself in the old days. ISABELLE It's grown bold. GRANDMOTHER Or perhaps it made a mistake. (BEAT) You're at the center of this. At least two of the victims can be tied to you. What if it had to kill so many at the festival to hide the fact that the first two killings weren't random? (CONTINUED) 80. CONTINUED: Isabelle considers this. A beat as she realizes... ISABELLE But who would want to kill Lucie? GRANDMOTHER Your parents said that the Wolf broke into the house and took Lucie. We both know that's not true. What really happened? Isabelle hesitates, reluctant. ISABELLE My mother made me swear I would never speak of it. (BEAT) Lucie went to the Wolf willingly. Grandmother reacts, horrified. GRANDMOTHER Why would you think such a thing? ISABELLE She was in love with Henri. GRANDMOTHER She took her own life over a boy? ISABELLE What other explanation is there? Grandmother thinks. The pieces are fitting together... EXT. STABLE - NIGHT Grandmother knocks on a door. Henri answers. GRANDMOTHER Hello, Henri. INT. STABLE - NIGHT Henri is in the midst of shoeing a horse. Grandmother stands by the door, watching him. GRANDMOTHER You spoke up very loudly in Isabelle's defense today. That was very brave. (CONTINUED) 81. CONTINUED: HENRI I just said what I felt. GRANDMOTHER You're under no obligation to stand in her defense. You broke off your engagement to her. HENRI I never stopped caring about her. I would do anything for Isabelle. GRANDMOTHER As her sister would have done anything for you. (off his look) Lucie was in love with you. But you knew that, didn't you? HENRI I had no control over the way she felt. GRANDMOTHER She kept it secret from almost everyone. Even Isabelle didn't know. Did you tell anyone? HENRI Never. GRANDMOTHER Not even your father? HENRI I didn't have to tell him. GRANDMOTHER So he knew your secrets, did he? Henri picks up a hammer and goes back to work. Angrily nailing a shoe to the horse's foot. BANG! BANG! BANG! GRANDMOTHER You were the only one who could have lured Lucie out on the Wolf's night. And none of the men who went hunting for the Wolf remember seeing you after the sun set on the night your father died. Henri faces her, clutching the hammer... HENRI Why are you doing this? (CONTINUED) 82. CONTINUED: (2) GRANDMOTHER Because I want you to confess. You killed Lucie. And your father. And God only knows how many others. And if you won't admit it, then I will tell Father Solomon and we will lock you up until the moon rises tomorrow night and you can no longer hide your guilt. As she says this, a slow look of dawning realization comes over him. Realization and horror. HENRI It's you. Henri steps closer to her, menacing. Grandmother steps back and finds herself bumping against the closed door. HENRI My God, it's you. You're the Wolf. I can smell it on you now. GRANDMOTHER Smell what? What are you talking about? HENRI The night my father died. I saw the Wolf pass by, dragging him by the neck. I was so terrified I couldn't move or make a sound. I remember every detail of that moment. The way the moonlight gleamed off the Wolf's coat. The soundless way it moved. I even remember the way it smelled. A thick, greasy, musky stink. (BEAT) And I can smell it on you right now. A beat. They stand frozen. Glaring at one another. GRANDMOTHER You accuse me and I'll bring you down with me. All they can do is take my life. You have more to lose. HENRI But who do you think they'll believe? I'm the blacksmith. (MORE) (CONTINUED) 83. CONTINUED: (3) HENRI (CONT'D) They know me. You're the crazy old woman who lives in the woods. GRANDMOTHER Then I'll have to prove it. HENRI Unless you can, you'd best keep your mouth shut. Another beat. A stand-off. Grandmother's hand finds the door handle. She turns it, stumbling outside -- EXT. STABLE - NIGHT -- and practically runs right into Cesaire. She startles, gives him a surprised, flustered look. CESAIRE Are you ready for me to take you home? She looks back. Henri stands in the doorway, still holding the hammer. She eyes him, measuring, suddenly hesitant. Cesaire gives them both an uncertain look. EXT. VILLAGE - ROAD - NIGHT Cesaire and Grandmother ride in a horse-drawn cart. The moon is almost full. Up ahead, Grandmother sees Prudence with a group of Villagers listening to Lucrece. GRANDMOTHER Stop the cart. Cesaire pulls the reins. Grandmother calls out: GRANDMOTHER Prudence, come with me. I have some blankets I want you to mend for Father Auguste. Prudence sighs and climbs up into the cart. EXT. GRANDMOTHER'S COTTAGE - NIGHT The cart stops out front. Grandmother turns to Prudence. GRANDMOTHER You take these blankets to Father Auguste the moment you're finished. Understand? (CONTINUED) 84. CONTINUED: PRUDENCE All right. Cesaire helps Grandmother out of the cart. INT. GRANDMOTHER'S COTTAGE - NIGHT Grandmother hands Cesaire a stack of knitted blankets. He has tears in his eyes. CESAIRE Will you want a ride into town tomorrow? To say goodbye to her? GRANDMOTHER Yes. First thing in the morning. He nods shakily and leaves. She closes the door behind him and lets the fa√ßade of calm fall from her face. She puts a trembling hand to her mouth, mind racing... EXT. VILLAGE - SQUARE - DAWN The Villagers go about their daily activities, but nobody speaks. The Herald hangs the full moon sign. HERALD Full moon! Full moon! Full moon! EXT. GRANDMOTHER'S COTTAGE - DAWN Morning sunlight glints off the frozen brook. A flock of CROWS are startled from their roosts and take flight. INT. GRANDMOTHER'S COTTAGE - DAWN Grandmother sits at the table, writing a letter in Latin with a quill. She doesn't notice the veil that separates her bedchamber rippling, as if in a gentle breeze... Suddenly, she hears MOVEMENT. She looks up. The veil is still. She stands and pokes the ashes of the fire with her cane, her back to the veil... ... and changes her grip on the cane. To wield it as a weapon. Glancing back, she sees the veil move again... Suddenly, she whirls around and swings her cane at the veil, sweeping through it three times without hitting anything. A beat. (CONTINUED) 85. CONTINUED: GRANDMOTHER Show yourself! Coward! Another beat. The veil settles and is still. Then: A FIGURE lunges out of the veil with its arms reaching out at us. It grabs Grandmother's throat in one hand and wrestles the cane from her grip with the other. She struggles, but she's far too weak for her attacker. The Figure whips out a knife. Grandmother sees it, but can do nothing. The knife flashes. Fat drops of blood splash on the floor. Then the Figure drops Grandmother and she crumples, lifeless. A pool of blood slowly spreads out from underneath her. The Figure steps over the widening pool and picks up the letter Grandmother was writing. He quickly scans it and angrily tosses it in the fire... Then he hears something. FOOTSTEPS, crunching through the snow. He hurries to the window and peers out... It's Roxanne and Prudence. Roxanne looks like hell, but here for lessons as usual. The Figure ducks out of sight. A moment later, they're KNOCKING on the door. Their feet are visible under the crack. The Figure sidles alongside the door, BREATHING heavily. Another KNOCK. On the floor inside, the pool of blood is expanding toward the door... The Figure sees it. He puts a hand on the hilt of his knife... then whispers to the girls through the door, disguising his voice with a dry, old woman's rasp: THE FIGURE Go away. Outside, Roxanne and Prudence exchange a curious look. PRUDENCE Are you all right? THE FIGURE I'm sick. You can't come in. PRUDENCE You sound awful. Would you like us to make you something? THE FIGURE No. You mustn't come in. Go home, now. I want to sleep. (CONTINUED) 86. CONTINUED: (2) The blood is flowing right toward the door. In about thirty seconds, the girls will be standing in it. Outside, Prudence and Roxanne exchange a look... ... then turn and walk away. The Figure breathes a sigh of relief and takes his hand away from the knife. But then Roxanne stops. And looks back. The Figure secretly watches from the window. Roxanne walks back to the cottage. The blood is about to run under the door. The Figure grabs the door handle and readies the knife. Roxanne stands on the doorstep. ROXANNE Are you sure you don't want us to bring you something? THE FIGURE No, my dear. Come back tomorrow. The blood is seconds away from hitting her feet. The Figure stands poised to throw open the door... but at the last instant, Roxanne turns and walks away. She doesn't see the blood pour outside under the door behind her. INT. MANOR HOUSE - DUNGEON CELL - DAY Isabelle has fallen asleep on the bed of straw. She's startled awake by the sound of her CELL DOOR opening. It's Father Auguste. FATHER AUGUSTE I've come to hear your final confession. Isabelle nods shakily and sits up. He enters. ISABELLE Has there been any word from my grandmother? FATHER AUGUSTE None that I have heard. Why? Isabelle doesn't answer. She turns away, troubled... EXT. MANOR HOUSE - DAY Peter anxiously waits outside, half-hidden in a copse of trees. A SERVANT BOY runs up to him from the house. (CONTINUED) 87. CONTINUED: SERVANT BOY She's still in the dungeon. They're going to move her at sunset. Peter tosses the Boy a coin. The Boy runs off. Peter looks at the stone house, his eyes hard and determined... INT. MANOR HOUSE - CORRIDOR - DAY Attewater walks with Father Solomon. ATTEWATER We've hanged the werewolf. Why not let the girl go free? SOLOMON I told you, Bailiff. Where there is one werewolf, there are more. And the girl is the bait for our trap. Father Solomon strides off. Attewater watches him go... EXT. VILLAGE - SQUARE - DAY Villagers are already gathering. The Merchant looks up at the sun. It's now dipping beneath the rooftops... EXT. BLACKSMITH'S COTTAGE - DAY Peter knocks on the door. Henri opens it. He eyes Peter dubiously. PETER I need your help. Off Henri's look... INT. TAVERN HOUSE - DAY Attewater hurriedly enters and looks around. Nobody here except the BARMAN and Cesaire slumped in a chair, a jug of beer in his hand. Attewater goes to Cesaire. ATTEWATER Where is your mother? CESAIRE I don't know. I went to pick her up this morning and she was gone. (CONTINUED) 88. CONTINUED: Attewater reacts, concerned. Cesaire takes another drink. Attewater angrily knocks it out of his hand. ATTEWATER Stop pouring that swill down your gullet listen to me! Cesaire emerges from his drunken fog and shoots him a dangerous look, but Attewater doesn't shy from it. ATTEWATER She was trying to find the werewolf. If she figured out who it is, I need to know now. Suddenly, the door bursts open and the Captain enters, flanked by Soldiers. They drag Cesaire to his feet. ATTEWATER Wait! What has he done? CAPTAIN It's just a precaution. Father Solomon doesn't want the girl's family interfering. Suddenly, Cesaire pulls a club out of his boot and hits the Captain across the back, knocking him to his knees. Cesaire hits him again, then he's wrestled to the ground. The Captain kicks Cesaire in the face and knocks him out. The Soldiers drag him away. Attewater watches them go... INT. MANOR HOUSE - DUNGEON CELL - DAY Soldiers haul Cesaire's unconscious body downstairs. Isabelle watches as they throw him in another cell. ISABELLE What have you done to him?! Then: Isabelle's cell is opened. The Captain is holding iron manacles. Isabelle looks at them, horrified. The Soldiers clap her in irons. This is really happening... CESAIRE (O.S.) Isabelle... He's coming to. Isabelle breaks away from the Soldiers, runs to his cell, and holds his hands through the bars. ISABELLE I love you so much. Tell Mama and Grandmother that I love them. (CONTINUED) 89. CONTINUED: CESAIRE I love you, my angel. You don't know how much. The Soldiers pull Isabelle away and lead her up the stairs. Cesaire shakes his cell door with impotent rage. CESAIRE Bastards! EXT. MANOR HOUSE - DUSK Isabelle is chained to the back of Solomon's coach. The Captain approaches with a 'úhumiliation mask'ù: an iron mask that locks in place over the head with only tiny holes to see out of. This one is shaped to look like a wolf's head. Isabelle goes pale at the sight of it... ... then the Captain puts it over her head. Inside the mask: almost total darkness. The Captain locks it on. EXT. VILLAGE - ROAD - DUSK Solomon's coach lurches through the snow and slush. Isabelle trudges along behind it. The Villagers line the road to watch as she is dragged stumbling through the streets in her horrific iron wolf mask. Lucrece sneers. LUCRECE Not so pretty now, is she? The Villagers do not answer. Henri is here, silently fuming. Prudence stands next to him. She looks around. PRUDENCE Where's Peter? HENRI I haven't seen him. EXT. VILLAGE - SQUARE - DUSK Solomon, Attewater, and Father Auguste stand next to the stocks. As a crowd of anxious Villagers watches, Isabelle is placed in the stocks with the mask still on. SOLOMON We, Bailiff Attewater, Father Auguste, and Father Solomon of Avignon, having in mind that you, Isabelle Ordeville of Villiers la Crois√©e in the Diocese of Saint- (MORE) (CONTINUED) 90. CONTINUED: SOLOMON (CONT'D) Flour, by your own confession, have committed acts of vulgar heresy, convict you of the sins of witches and condemn you to the mercy of werewolf. This is the sentence given. Solomon walks away and Attewater reluctantly follows. Through the holes in the mask, Isabelle sees Father Auguste make the sign of the cross and sadly turn away. ISABELLE Help... Father Auguste stops. The Villagers shift uncomfortably as her helpless voice calls out from inside the mask. ISABELLE Help me... Please... Help me... The Villagers start to leave, ashamed. Isabelle sees them going... and suddenly SCREAMS. ISABELLE HELP ME! PLEASE! WHY WON'T SOMEBODY HELP ME?! The Villagers startle. She SCREAMS again, struggling against the stocks. But no one comes to her aid. INT. ROXANNE'S FAMILY COTTAGE - BEDROOM - DUSK Isabelle's SCREAMS can be heard from here. Roxanne lies in her bed, sobbing her heart out... EXT. VILLAGE - SQUARE - DUSK (LATER) Almost everyone has left. Isabelle slumps in the stocks, silent and exhausted. Father Auguste sadly walks away, leaving only Prudence. She nervously approaches. PRUDENCE Isabelle? Can you hear me? ISABELLE I can hear you. PRUDENCE Roxanne wanted you to know how sorry she is. She only said those things to save her brother. (CONTINUED) 91. CONTINUED: ISABELLE I know. Will you tell her that I forgive her? PRUDENCE Of course. (BEAT) I wanted to say... I don't know what to say. ISABELLE You don't have to say anything. PRUDENCE I want to. (BEAT) I want you to know that you may have fooled Roxanne, but you don't fool me. Not anymore. You were always too good. Too pretty. Nobody could be as perfect as you. You tricked us. And now you're going to get what you deserve. A beat. Isabelle responds, surprisingly gentle: ISABELLE I think you'd better go now. Prudence looks up. The sun has almost set. PRUDENCE Yes. It won't be long now. ACROSS THE SQUARE The Captain crouches in the shadows of a nearby barn. He watches Prudence leave. Solomon and Attewater join him. SOLOMON No one shoots until I give the order. Attewater glances outside and sees Soldiers armed with longbows hidden all around the square. The Captain draws an arrow from his quiver. It's tip is made of silver. EXT. VILLAGE - OUTSKIRTS - NIGHT The streets are empty. The FULL MOON has risen... 92. EXT. VILLAGE - SQUARE - VARIOUS - NIGHT Isabelle is now alone. The streets are empty. Around the square, Soldiers stand in tense silence, ready with arrows strung on their bows. Attewater shifts nervously. Suddenly: a long, ululating HOWL. Isabelle gasps. The Soldiers ready their bows. Attewater shrinks back. Another HOWL. Closer now. Isabelle tries to pull her hands out of the stocks. Then: Solomon spots something. SOLOMON There. The Captain and Attewater follow his look. A BLACK SHAPE is stealing through the shadows toward Isabelle... SOLOMON Hold your fire... Isabelle frantically tries to free herself, her wrists torn and bleeding, but it's no use. Then, suddenly -- -- something SLAMS into the stocks. BANG! She can't see what it is. The stocks are hit again. Isabelle screams. Suddenly, the Shape moves into her field of view: HENRI (O.S.) Hey! Stop it! It's me! Isabelle's eyes go wide. The Black Shape crouches and looks in at Isabelle through the eyeholes. It's Henri. ISABELLE Get away from me! HENRI I'm not the Wolf! The moon is out! Look, I haven't turned! Isabelle realizes. He's right. It couldn't be him. HENRI I'm trying to get you out of this. ISABELLE Yes! Yes, please hurry! Solomon and his men watch as Henri uses a hammer and chisel to break open the stocks. BANG! BANG! CAPTAIN He's going to free her. Then: another HOWL. Almost on top of them. (CONTINUED) 93. CONTINUED: SOLOMON Patience. It's close now... Henri brings the hammer down again and again and -- BANG! The lock is cleaved in two. Henri throws the stock open and helps Isabelle out of the mask. She looks like hell. HENRI Can you stand? Isabelle nods. In the loft: SOLOMON Kill him. Attewater gives Solomon a horrified look. The Captain strings an arrow and draws it back, taking aim... Suddenly, Attewater pushes him aside, spoiling the shot. The arrow whizzes by Henri's head. Attewater calls out: ATTEWATER RUN! Isabelle and Henri see him -- just as Solomon plunges a dagger into his back. Henri drags Isabelle to her feet and they run away, arrows ZIPPING all around them. Solomon scowls as he watches them escape. EXT. VILLAGE - ROAD - NIGHT Henri leads Isabelle as they run through the village. HENRI We have to get to the stable. Peter left his cart for us. ISABELLE Peter? Where is he --? HENRI It doesn't matter. Come on! EXT. VILLAGE - NIGHT The Captain and his Soldiers have picked up a few followers. They're raising the alarm. A MOB is forming. CAPTAIN The witch has escaped! The witch has escaped! 94. EXT. STABLE - NIGHT Henri leads Isabelle around the back and helps her into a cart that is waiting for them and unhitches the horse. EXT. VILLAGE - ROAD - NIGHT Henri and Isabelle take off through the village in the cart... but then they hear a HOWL behind them. They look back. The Wolf emerges from the darkness, chasing after them. Henri whips the horse, urging it to go faster. They start to pull away from the Wolf, but then it veers off into the village and disappears. HENRI It's gone. ISABELLE I don't think so... Just then, they pass by the Reeve and a group of Villagers. The Villagers start to give chase, but Isabelle and Henri quickly leave them behind. Meanwhile, the Wolf is shortcutting through the village, racing after the cart. It comes to a sheep pen and smashes through it. It comes to a large barn and leaps onto its roof, then leaps off again -- -- and lands within striking distance of the cart. Henri drives the horse, but it's no use. The Wolf lunges, wrestling the horse to the ground. The horse cries out, its body twisting as it falls, sending the cart flying. Isabelle falls out and lands hard. Henri lies on his side, clutching his wrist. Isabelle pulls herself together and goes to him. She looks at his arm. It's visibly broken. She helps him to his feet -- -- just as the overturned cart is SMASHED apart. The Wolf bursts through it, breaking it to pieces. It glares at them with bloodthirsty eyes. Isabelle and Henri back away from it, but their escape is blocked -- the Villagers have caught up. They freeze at the sight of the Wolf, but stand their ground. Isabelle and Henri are trapped. The Reeve shouts: REEVE Take her! Take her and leave us in peace! The Wolf SNARLS at him and turns to Isabelle. (CONTINUED) 95. CONTINUED: THE WOLF You can't outrun me, my dear. And there is no place you can hide that I cannot smell you out. (BEAT) So what is your decision? Will you take your place with me? ISABELLE My place will never be with you. THE WOLF Where do you belong then? Here? With the cowards who so gladly sacrificed you to save themselves? ISABELLE They're still good people. THE WOLF They are sheep. We are not like them. Let me show you what you are. The Wolf steps closer... but suddenly, Henri pushes Isabelle aside, pulls his hammer from his belt, and raises it to hit the Wolf. HENRI Get away from her! The Reeve quickly grabs him. Henri struggles futilely, but Isabelle seizes the distraction. She snatches a Villager's torch and jabs it into the Wolf's side. The Wolf leaps back with an eerily human YELP of pain. Before it can react, Isabelle waves the torch at the Villagers, grabs Henri and they run away. The mob chases after them. Three Soldiers appear and join the mob. Figures silhouetted against the snow, angry faces lit by torchlight. It's like a nightmare. Suddenly, a cottage in front of the mob EXPLODES into pieces and the Wolf bursts out of it. It turns on the Villagers and Soldiers. It picks up a fallen roof beam in its powerful jaws, clenches them, trembling with rage, and snaps the wooden beam in half like a twig. The Villagers run away in fear, but the Soldiers stand their ground and the Wolf attacks. Meanwhile, Isabelle and Henri escape... but there are more Soldiers up ahead. Isabelle and Henri quickly hide. (CONTINUED) 96. CONTINUED: (2) HENRI I need to tell you something. In case I die. (off Isabelle's look) Your grandmother is the Wolf. Isabelle recoils in disbelief. She shakes her head. ISABELLE The Wolf is a man. It told me. HENRI You believe it? Isabelle hesitates. He has a point. Henri peers out. The Soldiers are closing in on them... HENRI They're coming. ISABELLE Follow me. She takes his hand and leads him away. EXT. ROXANNE'S FAMILY COTTAGE - NIGHT Isabelle knocks at the door. Roxanne answers. She gives Isabelle a stunned look. ISABELLE We need to come inside. Quickly. INT. ROXANNE'S FAMILY COTTAGE - NIGHT Isabelle and Henri enter. Roxanne shuts the door. Marguerite gasps when she sees Isabelle. MARGUERITE Have you lost your mind? If they find her here, they'll kill us, too! ROXANNE Then shut up so they don't find her. HENRI We have to get out of town. ROXANNE You'll never make it. You can hide here until morning. (CONTINUED) 97. CONTINUED: ISABELLE They're searching everywhere. We have to keep moving. ROXANNE You might make it to the church. Even the king cannot violate the protection of sanctuary. HENRI And the Wolf cannot cross onto holy ground. The three exchange a look. Sounds like a plan. ISABELLE Can we go out your back window? Roxanne nods. They hurry toward the window, but then: ROXANNE Wait! I have an idea. EXT. ROXANNE'S FAMILY COTTAGE - NIGHT A group of Villagers walks by. As they do, the Reeve hears something coming from behind the cottage... HENRI (O.S.) Come on! The Reeve follows the voice and sees two figures that look like Henri and Isabelle climb out the back window. REEVE They're here! Over here! The two figures run and the Villagers chase after them. EXT. VILLAGE - FIELD - NIGHT Henri and Isabelle hide behind a shed, just as the Villagers appear and spread out, trying to find them. Henri turns to Isabelle... only it's not Isabelle. It's Roxanne wearing Isabelle's clothes. HENRI Can you keep going? ROXANNE I can if you can. They run off, chased by the Villagers. 98. EXT. ROXANNE'S FAMILY COTTAGE - NIGHT Isabelle climbs out the back window undetected, dressed in Roxanne's clothes. The coast is clear. She runs off. EXT. VILLAGE - VARIOUS - NIGHT Isabelle can see the church steeple over the rooftops and races toward it. But then she hears a low GROWL ahead of her. Dark eyes peer from an open barn door. She turns and runs down an alley. The Wolf chases after her. As Isabelle nears the end of the alley, the Wolf suddenly appears in front of her, blocking her path. She races back the way she came, then darts into a gap between two outbuildings, barely big enough for her to pass through, too narrow for the Wolf to follow. But as she runs, she hears a LOUD CLAMORING above her. The Wolf is chasing her on the roof of one of the buildings. It's right over her. It shoves its head through the narrow space above her, SNAPPING its jaws, but can't quite reach her. Then suddenly -- -- the gap between the buildings closes further and the Wolf is stopped short, choking, its head caught in the narrow space. But Isabelle slips through, emerges from between the buildings, and is startled by a VOICE: CAPTAIN (O.S.) There! The Captain is pointing at her. He has another Soldier with him. Isabelle runs. They chase after her... ... just as the Wolf frees itself. From the rooftop, it sees the Soldiers chasing Isabelle. It races after them, running across roofs and jumping from cottage to cottage. Isabelle runs into an alley that dead-ends at a low wall. There's firewood piled against the wall and Isabelle quickly scrabbles up it, but at the last second -- -- the Captain reaches out and grabs her ankle. She grabs a log and hits him over the head until he lets go. Then she jumps down to the other side. The other Soldier starts to climb after her, but is suddenly lifted right off his feet. The Captain looks up. The Wolf is standing on the adjacent roof and has picked the Soldier up in its jaws. It glares down at the Captain. It flings the Soldier in its mouth away like a dirty sock. The Captain gapes up at it in fear for a moment too long and then the Wolf is on him. 99. EXT. VILLAGE - SQUARE - NIGHT Isabelle's route has taken her right back to where she started. She spots the steeple and starts toward it... But there is someone here. Father Solomon. He's holding his silver sword. Isabelle freezes. For a moment, they just stand there, looking at one another. Then -- Isabelle turns to run. Solomon is on her in an instant. He grabs a fistful of her hair and throws her to the ground. She tries to get away, but he puts a knee in her back and ties her hands together with a length of rope. SOLOMON At least you won't die alone now. Your friends will all hang with you. Suddenly... a long, hideous SNARL. Behind them. Father Solomon turns. Isabelle cranes her neck and sees... the Wolf emerge from the alley she just came out of. Solomon picks up his sword and stands to face it. SOLOMON If you come for her, you come through me. The Wolf GROWLS and raises its hackles. Solomon raises his sword. Just then, Henri and Roxanne run into the square, followed by a group of Villagers. SOLOMON Stay back! Henri hurries to Isabelle's side. The Villagers watch, breathless, as Solomon and the Wolf circle one another. Solomon's sword starts to tremble. Sweat breaks out on his brow. The Wolf SNARLS with an almost mocking leer. Then, with a loud battle cry, Solomon charges. The Wolf leaps at him. Solomon raises his sword... ... and the Wolf's jaws clamp onto his wrist. Solomon screams. The Villagers watch, horrified, as the Wolf twists back and forth, like a dog with a chew toy -- -- biting off Solomon's hand. The hand falls into the snow, still clutching the silver sword. Solomon cries out in agony. The Wolf turns toward Isabelle and SNARLS. THE WOLF There is your mighty werewolf hunter. Who will save you now? (CONTINUED) 100. CONTINUED: Isabelle trembles. The Wolf slowly steps toward her, menacing... and is struck in the head with a rock. The Wolf stops, surprised to find Henri standing in its way. Henri picks up another rock and throws it. HENRI You bastard! You killed my father! ISABELLE Henri, what are you doing? HENRI I'm not letting it take you. He throws another rock and another. One hits the Wolf in the eye, tearing a gash in its face. The Wolf GROWLS. HENRI Look! It bleeds! We can kill it if we stand together! The Villagers waver. Henri beseeches them: HENRI Father Solomon was one man. His soldiers were mercenaries. But we are a village! The Wolf SNARLS at him, but comes no closer. ISABELLE He's right. It's a coward at heart. Look at it. Why doesn't it attack? The Wolf SNARLS louder and takes a step toward her... but then the Merchant picks up a rock and throws it. MERCHANT You killed my daughter! Then another Villager joins them. The Wolf looks around. Villagers are emerging from the shadows all around it. It's surrounded. And not by a dozen soldiers, but by a solid wall of angry, determined men and women. The Wolf raises its hackles, trying to scare them, but they start closing in, jabbing at it with weapons and farm implements. It snaps and SNARLS at its attackers, but there are too many of them. Someone drives a spear into the Wolf and it screams in agony. It lurches around, biting at the spear, but can't reach it. Then Henri sees something in the snow... (CONTINUED) 101. CONTINUED: (2) Solomon's sword. He pries it out of Solomon's severed hand and turns to face the Wolf, the angry Villagers gathered behind them. The Wolf trembles, blood dripping from its many wounds... then it turns to Isabelle. THE WOLF I will come for you again. And with that, it turns and flees into the night. The Villagers CHEER. The Reeve chases after it and the rest of the angry mob follows him. Henri turns to Isabelle. HENRI Are you all right? Isabelle nods, shaky. Then... SOLOMON (O.S.) This isn't over. They turn. Solomon kneels, holding his bloody stump. SOLOMON I am bitten. Henri and Isabelle exchange a look. A long beat. Henri walks over to Solomon, sword in hand. Solomon crosses himself and closes his eyes, unafraid. Roxanne turns away. Isabelle doesn't. Then Henri swings the sword. There is a soft THUMP as Solomon's head hits the snow. Henri throws the sword aside. Isabelle puts a reassuring hand on his shoulder. INT. ISABELLE'S FAMILY COTTAGE - LOFT - DAY Isabelle awakens in her bed. She looks around. She's still dressed in Roxanne's clothes from the night before. INT. ISABELLE'S FAMILY COTTAGE - COMMON ROOM - DAY Isabelle enters to find Suzette putting food in a basket. Suzette stops when she sees Isabelle and gives her a hug. ISABELLE It's past noon. SUZETTE I know. I didn't want to wake you. Isabelle smiles up at her. The wounds on Suzette's face are still bad, but healing. She's scarred for life. (CONTINUED) 102. CONTINUED: ISABELLE Where's Father? SUZETTE He'll be home soon. They have no reason to hold him any longer. ISABELLE Did they catch the Wolf? SUZETTE No. They lost it in the forest. This gives Isabelle pause. A beat. Then: ISABELLE What about Grandmother? Suzette hesitates. Isabelle is suddenly concerned. SUZETTE Roxanne came by. She said your grandmother has fallen ill. I was hoping you could look in on her. Off Isabelle's troubled look... EXT. VILLAGE - VARIOUS - DAY Isabelle walks through the village wearing Lucie's red riding hood and carrying a basket of food. People lower their eyes as she passes. She spots Prudence gossiping with Lucrece. Prudence sees her, then looks away. The same pup we saw at the beginning is now a grown dog. It playfully follows Isabelle along the path, but stops as she enters the dark, fog-shrouded forest... EXT. DARK FOREST - PATH - DAY Isabelle walks through the snow. A thick fog gives the forest a strange, dream-like feeling. A cold wind blows. Soon Isabelle becomes aware of FOOTSTEPS behind her. She stops and turns. Slowly, a figure appears. It's Peter. PETER Thank God you're all right. He tries to take her hand, but she pulls away. A beat. ISABELLE I'm fine. You sent Henri to help me. (CONTINUED) 103. CONTINUED: PETER What did he tell you? Isabelle gives him a hurt look. ISABELLE Those people back there. I know they mean well, but they're just people. I didn't expect anything from them. I expected something from you. PETER I just need to talk to you. ISABELLE I'm going to see my Grandmother. She's sick. Please don't follow me. Isabelle starts walking again. Peter just stands there, watching her go. When she looks back, he's gone. She sighs, wiping tears from her eyes. She continues on... Then: FOOTSTEPS behind her again. She stops and looks back. Listens. Nothing. She keeps walking. But then she HEARS them again. Looks back. A dark figure follows her in the fog. She walks faster. She reaches the fork in the path. She pauses. The FOOTSTEPS are still behind her. She makes a decision. She breaks off a tree branch and backs toward the abandoned path, using the branch to sweep away her tracks in the snow. When she's far enough away from the main path, she throws the branch aside... ... and turns to face the abandoned path. It looks ominous. She gives it a wary look, then starts walking. EXT. GULLY - DAY Isabelle reaches the rope bridge. More of the rotten boards have fallen out during the winter. Isabelle looks down. It's a long drop to the river below. She edges out, stepping carefully on the snow-covered boards, holding onto the rope with both hands... Suddenly -- CRACK! A board SNAPS under her weight. At the last instant, she regains her balance. The broken board SPLASHES into the water. She takes a moment to catch her breath before continuing... 104. EXT. GRANDMOTHER'S COTTAGE - DUSK Isabelle crosses the little bridge and knocks on the front door. The fog still hangs over everything. She doesn't notice the dark stain under her feet... ISABELLE Grandmother? Are you awake? She listens at the door. A long beat. Then: THE FIGURE (O.S.) Pull the bobbin. The latch will open. We recognize the thin, raspy voice. Isabelle hesitates, then pulls the bobbin and opens the door... INT. MANOR HOUSE - DUNGEON - DUSK The Reeve and a GUARD examine something O.S. REEVE You're certain nobody has seen him since last night? GUARD The Wolf must have taken him. What else could have done that? They're looking at the cell where Cesaire was locked up. The metal door has been ripped off its hinges... INT. GRANDMOTHER'S COTTAGE - DUSK Isabelle closes the door. A pot is cooking over the fire. The cat lounges in its heat, grooming itself. It looks up at Isabelle as she enters. Isabelle stops. The veil that has always been closed is now open. Beyond it, we see Grandmother propped up in bed. The light is too dim to see her very well, just a candle by her bed. She's wearing a nightgown and cap. She doesn't move. THE FIGURE I've been expecting you. Isabelle starts toward the bedroom with the basket... ISABELLE Mother sent some food. There are cakes and a pot of butter -- (CONTINUED) 105. CONTINUED: THE FIGURE Don't come in here. Isabelle stops short. Grandmother's face is cloaked in darkness. Isabelle gives her a questioning look. THE FIGURE I'm not hungry right now. ISABELLE Are you sure? You sound so weak. THE FIGURE I just made myself a stew. I left it over the fire for you. Isabelle glances back at the pot BUBBLING over the fire. ISABELLE I came here to take care of you. Not the other way around. THE FIGURE Don't be silly, my dear. You've been through so much. Sit down. Isabelle considers for a beat, then places the basket on the table, next to a ball of yarn with Grandmother's knitting needles sticking out of it. THE FIGURE There's no burden so heavy that it doesn't seem a little lighter on a full stomach. ISABELLE (SMILES) You always say that. She ladles some soup into a bowl and sits down. The cat looks up from its grooming, watching her... THE FIGURE That's right. Eat up, my dear. Eat up. Isabelle takes a bite of the hot soup. The cat jumps up on the table and lies down next to her, licking its paw. ISABELLE I've been worried about you. When you didn't come back yesterday, I was afraid... (BEAT) You were wrong about Henri. (CONTINUED) 106. CONTINUED: (2) THE FIGURE Was I now? ISABELLE Yes. He saved my life. Isabelle takes another bite of soup, then pauses. She puts the bowl down and loosens her collar... ISABELLE I feel hot all of a sudden. THE FIGURE It's just the stew warming you. Isabelle hesitates, but keeps eating. Then she takes a closer look at the cat. There's blood on its paw. That's what it has been licking this whole time. Suddenly, Isabelle feels faint. She breaks out in a sweat. She looks at the soup. A thick broth with chunks of white meat... ISABELLE What is this...? THE FIGURE If you don't like it, there's wine on the table to wash it down. Isabelle reaches for the bottle with an unsteady hand and pours herself a cup. She takes a sip... and freezes. It's not wine. It's blood. She gags and drops the cup, spilling blood everywhere. The cat jumps away. She looks at the bottle, turns it over. More blood pours out. Isabelle screams and throws it, knocking over the pot and spilling the soup. The Figure laughs. THE FIGURE Oh, what pretty red lips. Come and give your Granny a kiss, my dear. ISABELLE I don't think I want to. THE FIGURE Then I will come to you. And with that -- Grandmother slowly starts to move. She groans. She's hurt. She stands up. She's much taller now than she was. As Isabelle watches in mute dread, the Figure pulls off Grandmother's nightgown and cap, hobbles into the firelight, revealing its face... (CONTINUED) 107. CONTINUED: (3) It's Cesaire. Isabelle quickly stands, startled. ISABELLE What is this? Where's Grandmother? CESAIRE I'm afraid I ate most of her. (BEAT) You ate the rest. Isabelle gives the spilled stew on the floor a horrified look. For a moment, she looks like she may pass out. CESAIRE I didn't want to kill her. But she finally realized what I was. EXT. CREEK - DAWN (FLASHBACK) Cesaire bathes in a cold stream... CESAIRE (V.O.) The hardest thing to hide has always been the smell. The werewolf musk is strong, especially close to the full moon. EXT. DARK FOREST - NIGHT (FLASHBACK) The night of the wolf hunt. Henri crouches in the woods, clutching his hammer... then freezes with terror. He sees the Wolf slink by in the dark, dragging Adrien along by his throat. It happened just as Henri said it did. CESAIRE (V.O.) Henri smelled it the night he saw me. And he recognized the smell later. EXT. STABLE - DUSK (FLASHBACK) Grandmother's confrontation with Henri. She stumbles outside and practically runs right into Cesaire... CESAIRE (V.O.) He thought it was your Grandmother. He didn't know he was smelling me. But she did. She'd lived with the smell her whole life, she just had no way of knowing what it was. 108. INT. GRANDMOTHER'S COTTAGE - NIGHT (FLASHBACK) Grandmother hands Cesaire a stack of knitted blankets. CESAIRE (V.O.) Once she realized what it was, of course, she knew the truth. She tried to sneak a message to Father Auguste last night. EXT. GRANDMOTHER'S COTTAGE - NIGHT (FLASHBACK) Cesaire carries the blankets back to the cart. He quickly looks inside them and finds a note: 'úMEUS FILIUS EST LUPUS.'ù Subtitle: 'úMy son is the wolf.'ù CESAIRE (V.O.) Luckily, she'd taught me how to read. BACK TO SCENE Isabelle shakes her head, tears streaming down her face. ISABELLE You're not the Wolf. You can't be... CESAIRE Look into my eyes. The one part of me I can never change. Isabelle looks into his eyes... and recoils in horror. ISABELLE Oh, dear God... You killed Lucie? You killed my sister? CESAIRE I did more than that to her. Isabelle steps away from him, mind reeling. He snarls. CESAIRE I only wish your mother could have known what I did to her. The girl she passed off as my daughter. EXT. ISABELLE'S FAMILY COTTAGE - NIGHT (FLASHBACK) The night of the festival. SCREAMS can be heard coming from the village square. Suzette runs outside... (CONTINUED) 109. CONTINUED: CESAIRE (V.O.) I was made a cuckold by your mother. But I paid her back. She hears a LOW GROWL. She turns, startled. It's the Wolf. It lunges at her, raking her face with its claws. EXT. WOODS - NIGHT (FLASHBACK) The wolf hunt. Adrien hears SOMETHING move in the brush. He looks toward it... and sees the Wolf staring at him from the darkness. CESAIRE (V.O.) I paid her lover back, too. BACK TO SCENE To Isabelle's dismay, Cesaire has tears in his eyes. CESAIRE Lucie was the joy of my life. But she wasn't mine. ISABELLE Yes, she was. In every way that matters, she was. CESAIRE No. Not in every way that matters. My father sired me. I am a werewolf because it was in his blood. Because I was his. ISABELLE Did Grandmother know? CESAIRE No. And neither does your mother. INT. ISABELLE'S FAMILY COTTAGE - DUSK (FLASHBACK) The night Lucie died. Cesaire pours mugs of beer, but this time we see him sprinkle something in the beer before serving it -- Grandmother's sleeping herb. CESAIRE (V.O.) I put an herb in the beer to make you sleep whenever the moon was full. One of your Grandmother's old remedies. 110. EXT. GRANDMOTHER'S COTTAGE - DUSK (FLASHBACK) Many years ago. Grandmother is in her 40s, asleep in a chair, holding an empty cup. Isabelle's GRANDFATHER takes the cup from her hand and quietly leaves. Grandmother sleeps peacefully by the fire... CESAIRE (V.O.) That's how my father got away with it. Your grandmother never learned the truth. Until last night. EXT. DARK FOREST - NIGHT (FLASHBACK) Still many years ago. A werewolf runs through the woods... followed by a smaller werewolf. CESAIRE (V.O.) I began to turn when I was fourteen. My father and I ran together. We hunted freely. Killing at will. The two werewolves are chasing a FRIGHTENED PEASANT, moving in for the kill... EXT. DARK FOREST - DAY (FLASHBACK) The mangled body of the Peasant has been discovered. A group of MEN stands around it. CESAIRE (V.O.) Our only mistake was that we gorged ourselves too often on the fat flesh of the villagers. EXT. DARK FOREST - NIGHT (FLASHBACK) The two werewolves are running through the woods again, this time chased by VILLAGERS with torches and weapons. CESAIRE They killed my father. Suddenly, the larger werewolf falls into a pit filled with sharp stakes. It CRIES OUT in agony. The smaller werewolf looks down and WHIMPERS... ... watching as the larger werewolf begins to change before our eyes. It's reverting to its human form... (CONTINUED) 111. CONTINUED: By the time the Villagers reach the pit, what they find is Grandfather's naked body skewered on the stakes. The smaller werewolf GROWLS at them and runs away. CESAIRE (V.O.) The fools thought my father had been thrown in the pit by the Wolf. They never suspected that he was the Wolf. SERIES OF SHOTS (FLASHBACK) Cesaire labors in a field. He goes to church. He thatches the roof of his cottage in the hot sun... CESAIRE (V.O.) I tried to live as my father did, but I came to realize that I did not belong here. The Wolf was my true self. It wasn't something to be hidden. It was a gift. I had to leave here and never return. EXT. CHURCH - NIGHT (FLASHBACK) Cesaire stands in the cemetery, looking down at his father's grave... CESAIRE (V.O.) But I did not want to go alone. My father and I were part of a long and powerful bloodline. It was up to me to see that it did not die out. I had hoped for a son to pass my gift on to. EXT. ISABELLE'S FAMILY COTTAGE - DAY (FLASHBACK) Cesaire mends a fence, but keeps glancing at something... CESAIRE (V.O.) Instead, God gave me daughters. He's looking at Lucie and Isabelle. They help Suzette hang clothes to dry. He smiles as he watches them... CESAIRE (V.O.) But female werewolves are not born. They are made. And I chose my eldest. Lucie catches him watching. She waves. He waves back. 112. EXT. ISABELLE'S FAMILY COTTAGE - DAY (FLASHBACK) Another day. Cesaire is giving Lucie a stern lecture. Lucie's face is ashen and there are tears in her eyes. CESAIRE (V.O.) When I finally decided to leave, I told Lucie the truth. And I gave her a choice. She could come with me. Or I would take you instead. Lucie turns and sees Isabelle approaching. We realize that we've seen this moment before. CESAIRE This doesn't concern you, Isabelle. ISABELLE Yes, Father. Isabelle walks away. Cesaire watches her go... CESAIRE (V.O.) She agreed to come with me. She did it to protect you. INT. ISABELLE'S FAMILY COTTAGE - LOFT - NIGHT (FLASHBACK) Isabelle is fast asleep. Lucie sneaks out of bed... CESAIRE (V.O.) We arranged to meet on the night of the next full moon. EXT. DARK FOREST - CLEARING - NIGHT (FLASHBACK) Lucie stands naked, arms clutched around her breasts. Then, a NOISE in the brush. She turns and sees... CESAIRE She was not a werewolf yet. I had to turn her. ... the Wolf emerge from the forest with a scrap of bloody meat dangling from its jaws. EXT. DARK FOREST - CLEARING - NIGHT (FLASHBACK) Later. Lucie weeps as she forces herself to eat the raw meat scraps. The Wolf watches, panting... (CONTINUED) 113. CONTINUED: CESAIRE (V.O.) First, she had to eat human flesh. I fed her from a kill I had made the month before. But the ritual was not yet complete. She had to be bitten by a male werewolf. INT. GRANDMOTHER'S COTTAGE - NIGHT Isabelle looks like she's going to be ill. CESAIRE The bite should have changed her. It should have made her like me. But it didn't. That's when I knew. There was no werewolf blood in her. I was not her father. I was so angry. I killed her before I even realized I was doing it. INT. TAVERN COTTAGE - NIGHT (FLASHBACK) Cesaire sits slumped in a corner, too drunk to move. A hand reaches in to help him. It's Isabelle. CESAIRE (V.O.) Afterwards, I thought about killing myself. The only thing that kept me alive was you. EXT. ISABELLE'S FAMILY COTTAGE - NIGHT (FLASHBACK) Isabelle helps drunk Cesaire into bed... CESAIRE (V.O.) You were so beautiful. So kind. And I knew you were mine. That's why you could understand me when no one else could. You were mine. INT. GRANDMOTHER'S COTTAGE - NIGHT Cesaire takes Isabelle's hand and won't let it go. She backs into the wall. He looms over her... CESAIRE Do you see now? This is your heritage. This is what you are. Everything I have done has been to insure the future of our bloodline. We will run together (MORE) (CONTINUED) 114. CONTINUED: CESAIRE (CONT'D) like my father and I once did. You are the next generation. You have had your first taste of human flesh. Now one bite from me is all that is needed to change you. It will only hurt for a moment. And then you will be as I am. ISABELLE There must indeed be a God. For you are surely the Devil... CESAIRE I will give you a choice. Come with me now. Or refuse me and let your friends suffer in your place. I will kill them one by one. Your mother. Roxanne. Peter. Isabelle shudders. She slowly pulls away and he releases her. She walks over to the table, her back to him. She eyes the ball of yarn with Grandmother's knitting needles in it. A long beat. Isabelle chokes back tears. ISABELLE Father...? He approaches her. Stands behind her and places his hand on her shoulder. Her skin crawls. CESAIRE Yes, my dear? ISABELLE You gave me two choices. She turns to face him. Looks up at him. ISABELLE But I have thought of a third. Suddenly -- CRUNCH! Isabelle drives something hard into Cesaire's jaw. He gasps, choking. He puts his had to his throat. Blood spills out through his fingers. CAMERA FINDS Grandmother's ball of yarn on the table. The knitting needles aren't sticking out of it anymore... They're sticking out of Cesaire's neck. He falls to his knees, gagging. Then he flops over dead. Eyes open. Isabelle gazes down at him. She looks like she might have just lost her mind. Then she sits on the floor, staring at his body... and screams. An eruption of rage, betrayal, and heartbreak. She screams. 115. EXT. GRANDMOTHER'S COTTAGE - NIGHT The cottage is dark and quiet. INT. GRANDMOTHER'S COTTAGE - NIGHT It's pitch black in here. There's a KNOCK at the door. PETER (O.S.) Hello? No response. The door CREAKS open. It's Peter. As he opens the door, moonlight spills inside to reveal Isabelle huddled and trembling in the corner. She's screamed and cried herself out. All that's left is anger and a grim resolve. She did what she had to do. INT. GRANDMOTHER'S COTTAGE - NIGHT (LATER) Isabelle and Peter sit at the table. A dim candle provides the only light. A long beat. ISABELLE People should know what he was. PETER We can't tell anyone. If they don't believe you, they'll hang you for this. And if they do believe you, they'll hang you for being the daughter of the Wolf. ISABELLE Then I'll run away. I was ready to run away last night. (BEAT) Why didn't you come for me? Peter gives her a long look. But instead of speaking, he rolls up his sleeve. Isabelle's eyes go wide. There's a huge scar on his arm. In the shape of a bite mark. PETER I was bitten at the festival. I spent last night in the woods because I was afraid of what might happen... (A BEAT) I changed. I'm like him now. ISABELLE No, you're not. You could never be like him. (CONTINUED) 116. CONTINUED: Isabelle's tears fall, the full implications of what he's saying starting to sink in. He takes her hand. PETER I can't stay here. ISABELLE Yes, you can. We can still be together. My father lived here. My grandfather lived here. PETER Your father and your grandfather killed people. They couldn't help themselves. If I stay here, I won't be able to control myself. (off her look) I have to be alone. Isabelle rests her head on his and they just sit like that, leaning against one another in the candlelight... INT. GRANDMOTHER'S COTTAGE - NIGHT (LATER) Isabelle and Peter crouch next to Cesaire's body. The candle is on the floor, casting weird shadows. PETER We could take him to the river. ISABELLE I don't want him ever found. PETER We'll weight him with rocks. ISABELLE No. We'll put the rocks inside him. (off his look) Cut him open. I will sew the rocks inside him. Peter is taken aback. She's serious. INT. GRANDMOTHER'S COTTAGE - NIGHT (LATER) Peter and Isabelle have placed several heavy rocks next to Cesaire's body. Peter opens Cesaire's shirt and takes out a hunting knife. Isabelle gives Peter a nod. Peter somewhat reluctantly lowers the knife, his shoulder moving up and down as he goes about his unseen task... (CONTINUED) 117. CONTINUED: Moments later, Isabelle threads a needle and coldly stitches begins stitching. We don't see what she's doing, but there's blood on her needle and thread. There's a spot of blood on her cheek, too. EXT. RIVER - FERRY DOCK - NIGHT Low mist hugs the ground. There's a wooden A-frame pontoon raft tied to a ferry dock. A guy-rope runs through the A-frame to a pier on the opposite shore. Isabelle and Peter nervously approach. He pushes a wheelbarrow onto the raft, its contents wrapped in burlap. Peter unties the moorings and is about to shove off, but Isabelle stops him: ISABELLE Wait. She pulls back the burlap, revealing Cesaire's dead body. His belly is lumpy and misshapen, an ugly red line in his torso stitched together with black thread. The knitting needles still jut out of his jaw. Isabelle yanks them out, then pulls the burlap back over Cesaire's body. Peter gives her a questioning look. ISABELLE These belonged to my grandmother. The knitting needles are covered in blood. Peter takes out a rag and wipes the blood off for her. And as he does... something begins to shine through in the moonlight. Peter gives Isabelle a stunned look. PETER They're silver. EXT. RIVER - NIGHT Peter uses a long pole to push the raft across the water. Isabelle gazes out at the moonlit mist. They stop the in the middle of the river. They exchange a look... ... then each take a side of the wheelbarrow and dump the body into the water. It sinks instantly and is gone. PETER Death was too good for him. ISABELLE I can live with it. 118. EXT. RIVER - OPPOSITE BANK - NIGHT Isabelle and Peter stand on the shore. He kisses her and she holds his face in her hands, wanting the kiss to last forever. When they part, she gives him an aching look. ISABELLE Where will you go? PETER I don't know. I need to understand what I've become. Maybe I can learn to control it. (off her look) I'll take my own life before I take another's. ISABELLE I know. PETER I'm not coming back. I don't want you to wait for me. This is the last time you'll ever see me. ISABELLE No, it isn't. You'll be in my dreams until the day I die. Peter turns and starts to walk away. But then he pauses. PETER You know, Henri is a good man. ISABELLE Yes, he is. Then Peter continues on until he vanishes in the fog. CAMERA PUSHES IN on Isabelle as she watches him go... OLD WOMAN (V.O.) I never saw him again. EXT. VILLAGE - VARIOUS - DAY SPRINGTIME. The leaves have returned to the forest with explosions of green. Crops grow in the fields. Flowers bloom. The village is vibrant with life and beauty. OLD WOMAN (V.O.) Life in my village was changed forever. There were many questions and few answers. In the (MORE) (CONTINUED) 119. CONTINUED: OLD WOMAN (V.O.) (CONT'D) end, the Wolf did not return. And that was answer enough for most. EXT. CHURCH - DAY Isabelle and Henri stand before Father Auguste. They're getting married. Roxanne, Suzette, and other friends and neighbors watch as Isabelle and Henri exchange rings. OLD WOMAN (V.O.) Henri and I were married. He was a good man and a good father. I loved him very much. But I never loved him the same way that I loved Peter. That was the one secret in our marriage. EXT. FIELD - DAY Isabelle laughs as she watches Henri run around, playing with their three young children -- TWIN GIRLS and a BOY. Isabelle gives Henri a warm, loving smile. OLD WOMAN (V.O.) I only tell you now because he is dead. And if he knows now, I believe that he forgives me, for he must also know that I never loved him falsely. EXT. BLACKSMITH'S COTTAGE - NIGHT Isabelle's Girls are in bed asleep. Isabelle enters, carrying the sleeping Boy. She gently places him in bed next to the girls and covers them with a blanket. OLD WOMAN (V.O.) This is my story, not that I expect you will believe it. In my own village, the events of that awful winter have already passed into legend. Parents tell their children to be good or else the Wolf will come and gobble them up. Isabelle smiles as she watches them sleep. OLD WOMAN (V.O.) They've already forgotten. A simple children's story is all that remains. 120. EXT. BLACKSMITH'S COTTAGE - NIGHT Isabelle opens the door and strolls outside, looking up at the sky. The moon is full. OLD WOMAN (V.O.) But sometimes, when the moon is full, my thoughts still turn to Peter. He promised me that I would never see him again. And I never have. Somewhere, a wolf HOWLS. Isabelle smiles. OLD WOMAN (V.O.) But I often wonder if I hear him. EXT. DARK FOREST - NIGHT High on a hilltop, CAMERA PULLS BACK to reveal a WOLF staring down at the distant village. It's hard to tell in the moonlight whether it's a normal wolf... Or something else. It looks up at the bright full moon and HOWLS as we FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Reindeer Games.txt b/unformated_scripts/Script_Reindeer Games.txt new file mode 100644 index 0000000000000000000000000000000000000000..be316807cbe3412d38eef1d650d173fa93bb4da9 --- /dev/null +++ b/unformated_scripts/Script_Reindeer Games.txt @@ -0,0 +1 @@ + "REINDEER GAMES" Screenplay by Ehren Kruger FADE IN: FIGURE IN A SANTA CLAUS SUIT lies face-down in a nighttime expanse of snow. One of the body's red-sleeved arms is twisted at a sickening angle. The white snow beneath the figure is spreading with red. REVEAL EXT. SNOWY ROAD - NIGHT The figure in the suit lies motionless. Snowflakes drift. INT. HALLWAY - NIGHT Dark, rustic wood, an office with broken windows and whistling winter beyond. A second BODY in a Santa Claus suit lies dead in the doorway. It's a man with a large build. The suit is riddled with holes. His face is missing. EXT. PARKING LOT - NIGHT More snow falling. A handful of cars in the lot. A third BODY in the same red-and-white outfit lies atop the hood of an old Pontiac. His head is not visible, having smashed through the windshield. His suit is charred and blackened. A halo of broken glass outlines him. His black boots hang off the front bumper. The parking lot is silent. INT. ROOM - NIGHT A floor scattered with shiny silver quarters. Reflections of neon. There's a fourth SANTA here, face-down in a red pool. The suit is far too big for him. Not that it matters now. EXT. SNOW-FILLED RAVINE - NIGHT where the fifth and final Santa lies at the edge of a ravine, which plummets a hundred feet down. The man rests precariously atop the slope, upside-down, eyes closed. His burned suit is smoldering. He has a sly but tired face, late-20's, sandy hair, cold and scarred. This is RUDY DUNCAN. He opens his eyes. RUDY (V.O.) I never was much for the holidays. CUT TO BLACK: THE SOUND OF A WINTER WIND rises, as a TITLE appears: "SEVEN DAYS BEFORE..." And then, to complete the sentence: "...XMAS." FADE IN: EXT. IRON MOUNTAIN STATE PRISON - DAY Snow drifts down onto the stone walls and wire fences of the Iron Mountain, Michigan S.I.C. Winter's been here awhile. INT. PRISON CELL - DAY Rudy Duncan lies in his top bunk, staring at his ceiling -- where a handful of paper-cut snowflakes have been pasted. The sounds of YELLING INMATES and GATES slamming shut echo through the fortress. Rudy watches a spider scurry across the paper snow. It's his excitement for the day. He turns to the wall, where there's a photo of his teenage self with some co-workers at an auto body shop. And a family photo, cheery Midwesterners, with Rudy a scowling Artful Dodger. A WALL CALENDAR Shows the dates have been crossed off up to December 18th. December 22nd is circled again and again. Rudy muses at the calendar, then hops out of his bunk. Drops to the floor, crosses to a desk, finds a chewed-on pen. Turning back to the beds we reveal -- THE LOWER BUNK where Rudy's cellmate, NICK MASON (32), rugged, mustached and well-built, sleeps soundly. In contrast, his bed-wall is a COLLAGE OF PHOTOGRAPHS, twenty, maybe thirty of them. Almost a mural. All of them photos of A BEAUTIFUL YOUNG GIRL, mid-twenties, smiling out from beaches, parties and snowy scenes. Gorgeous brown hair, heartbreaking smile. Effortlessly sexy. RUDY stares at the pictures for a moment, wistful. Nick snores, turns over. Rudy climbs atop his bunk again, with the pen this time. And crosses December 18th off the calendar. CUT TO: EXT. PRISON YARD - DAY The two of them, Nick and Rudy, shivering by the fence. Nick absently whistles some "Silver Bells," then digs for a smoke. NICK What's the first thing, man? What's the first thing you're gonna do? RUDY Haven't thought about it. NICK Hell you haven't. RUDY Get to thinking about it, it won't happen. NICK We walk outta here, we hit that road, what's the first thing you're gonna do. RUDY Ain't there yet. NICK Three days, man. RUDY Not yet. NICK Fuckin' Christmas, man. Fuckin, Christmas on the outs. Dozens of uniformed INMATES wander the yard, stamping feet, hands tucked away, breath frosting. Nick tries to light his cig, but the wind plays havoc. Nick curses, tosses it. RUDY Hot chocolate. NICK What? RUDY Get a hot mug of chocolate. (nods) First thing I'm gonna do. NICK (smiles) And a slice of pecan pie, right? RUDY And some pecan pie. Nick laughs, stares through the fence at the gates of the prison's entrance road. Longingly. NICK She's gonna be out there, man. Right there. Right there waiting. RUDY Yeah. NICK Gonna walk out of this shitstorm and right into her arms. RUDY Yeah. NICK Got us a motel out Highway 5, bringing her own damn sheets, you read that part? Silk damn sheets. Lock ourselves in the whole week, drinking wine, taking baths, man, see if they got those room service steaks... anything I want to do. Remember when she wrote that? Anything I want... RUDY Yeah. Fuckin' Christmas. Nick grins. They stand there, shivering. It's freezing, but the time they get outside is too precious to give up. RUDY All those pictures she's sent... y'know... you sure they're all of her, Nick? You hear sometimes they don't send their real pictures. Could be her cousin or something. Nick studies him. NICK Why you gotta say a thing like that. RUDY I'm just saying. NICK Why you gotta. We were gonna give you a ride someplace, man. Now I just don't know. RUDY I'm just talking. NICK Fuck your hot chocolate, Rudy. They trail off in silence. Nick looks out at the prison road again. A snowy wasteland. NICK I'm gonna marry this girl. INT. PRISON CELL - DAY Rudy lies in his bunk, staring at the same paper snowflakes. NICK (O.S.) Hey, hey, listen here. "I've made my list and I've checked it twice, and as long as you're naughty, it's gonna be nice. These cold winter weeks have been killing me, Nick, as I lie here alone. It's not enough to have your warmth in my heart anymore; I need your warmth next to me. Work at Penney's has been busy because it's Christmas and that's when we do almost half of our business for the whole year -- ", okay, whatever, whatever -- (skipping on) " -- my manager's still mad at me for asking for the whole week off," whatever, whatever -- (smiles) Here we go. "And all that gets me through the day is to close my eyes and imagine holding you, and kissing you, and touching you, and tasting you everywhere because I know at that moment, I'll feel I've found the reason for my whole entire life." Rudy still stares at the stone ceiling. RUDY For twenty-five, she sounds pretty mature. NICK Yeah. You grow up in Detroit, you get matured real quick. Nick's doing pushups on the floor below, smoking a cig, reading sheets of pink stationery. With a new photo: of the same GIRL, in a bikini by a lake. Vamping a childish pose. NICK Sure as hell don't make me miss Millie Bobek. Guess I owe Millie, though. If I hadn't been rollin, her, I woulda never ended up here. And I woulda never met Ashley. (studies photo) That's the world for ya. Nick climbs off the floor, paces back to the bunks, marvelling at the latest letter. RUDY What if she sees you, man, sees what you look like... and it's not there. You just don't do it for her. NICK Me and her got a connection. (hands page to him) Read this part. Read the part about stuffing her stocking. Nick drops the page on his stomach. Rudy sighs, picks it up, brings it to his nose. RUDY She's using a new perfume. NICK No, I think that's just oranges. She writes here she's eating oranges. RUDY Oh. NICK Shoulda written to that magazine, Rudy. I'm gonna walk outta here, walk right into a relationship. Not some one-nighter, man... a relationship. You? You're gonna walk outta here with bus fare. Searching for the drunkest skirt in the room. RUDY Mornin', gorgeous. More egg nog? NICK Shoulda written, Rudy... Nick drops back to his bunk, pasting the new lakeside photo among his collage of pictures. Admiring his pen pal: NICK Shoulda got yourself a girl. Above, Rudy peruses the page Nick gave him. Some lipstick marks pressed to the paper. He passes it back, closes his eyes. RUDY All I want... is to make it to Sidnaw, and sit down for Christmas dinner. Watch some ball with my old man, sleep in my old bed, and have leftovers for bout six months. NICK Thought you hated Sidnaw. RUDY Just taste that Christmas turkey. NICK Thought you hate your old man. RUDY Five years, Nicky. Five years. (shrugs) I just want to go home. There's the echo of CRASHING metal gates. Prisoners YELLING. Nick smiles, still staring at his girl. NICK Well, man. Me and Ashley. We'll be thinking about you. INT. MAIN PRISON FLOOR - DAY GUARDS monitor PRISONERS as they file out of their cells for the afternoon meal. Rudy and Nick are motioned out by a MEAN GUARD, his bitter world etched in his face. They join the line. RUDY Shit. Alamo's back. Across Broadway, a parallel line is forming. A tall, tattooed Native American, THE ALAMO, steps out of his cell. His hands are the size of a man's skull. NICK Don't look like he missed the sunlight. RUDY Pinscher told me Alamo thinks I'm the one ratted on him beating up Cree. Since I was there, I saw it, he thinks I got him sent to solitary. NICK Aw, Rudy. At that moment, Alamo glances over. Finds Rudy's eyes. Rudy swiftly looks away -- RUDY Count me outta mealtime -- He slaps Nick an the back, heads back for their cell -- MEAN GUARD GET BACK IN LINE! RUDY I'm not hungry, I'm gonna -- MEAN GUARD SHOULDA STAYED IN YOUR HOLE! GET BACK IN FUCKING LINE! The mean guard pulls his blackjack. Another guard's ready behind him. They want Rudy to give them trouble. Rudy stops. Slides back into the line of prisoners. Looks across Broadway. The Alamo's walked on up ahead. Rudy swallows, heads toward the mess hall. INT. MESS HALL - DAY A GLOOPY SPOON of CHUNKY RED AND GREEN JELLO gets splooshed on Rudy's plate. Same with Nick. It's the cafeteria line. NICK What the fuck is this? UGLY STAFFER Holiday jello. NICK What's this shit in it? UGLY STAFFER Swallow and see. The ugly staffer grins from under his plastic hairnet. Nick looks to Rudy, then turns back to the help: NICK Just so you know, this man and I are outta here in two days. So while we're inhaling London broil and lobster bisque, you're gonna still be standing here smelling up the mystery creamfuck. (nods) Who's in prison now? The ugly staffer curls his lip. Nick smiles. Rudy moves on, taking his tray off the rail and turning -- -- right into the chest of The Alamo. He looks up -- into the most scarred and vengeful face a man could ever dread to see. The Alamo's a lifer. Many times over. THE ALAMO When you don't expect it. RUDY It wasn't me, Alamo -- THE ALAMO That's when. The Alamo strides into the cafeteria line. Rudy finally takes a breath, as if he's dodged death. Nick's at his shoulder. They share a grave and worried look. Trying to help: NICK Two days. INT. MESS HALL - TABLES - DAY Rudy and Nick sit at a cafeteria table. Beside Rudy is a frail, nervous, fiftyish inmate, ZOOK. Zook sits alone, talks to no one, always has the shakes. NICK So maybe after our week beneath the sheets, we'll head down to Motor City for New Year's. She says her roommate's skipping town for a few days, have the place to ourselves. Remember how her brother's a truck driver down there? I'm thinking he might be able to help get me some work. RUDY What, working security? NICK No, I'm through with that shit. Ashley's right. Gotta start doing something I got a stake in. Get a business going. RUDY I don't know, I've seen the business world. NICK Hotwiring cars, Rudy, does not qualify as a small business. Chop shop consultant; doesn't work on a resume. Rudy shrugs. He checks across the room, on the whereabouts of The Alamo. The big Indian has his back turned. NICK Ashley's talking about maybe we can start something up together... Next to Rudy, Zook has stopped eating. He is still as stone, staring at his tray. NICK Whatsa matter, Zook? They both watch Zook put down his utensils and reach into his red-and-green jello with his bare hand. RUDY The hell you doing, Zookerman? Gloppy gelatin drips from his hand, as the frail man lifts a large black cockroach out. Zook's shaking. NICK Just a roach, Zook. RUDY Good for you. Protein. ZOOK Monsters in the gelatin... NICK It's a roach, guy -- ZOOK There are monsters... (voice rising) ...in the gelatin... NICK Oh, man -- Zook stands up, holding jello aloft: ZOOK THERE ARE MONSTERS IN THE GELATIN! NICK (shakes his head) Fuckin, Zookerman -- ZOOK THERE ARE MONSTERS! IN THE GELATIN! THERE ARE MONSTERS! IN THE GELATIN! A GRUMBLING MURMUR sweeps through the cafeteria as inmates sift through their jello, searching for -- DISTANT INMATE Sonofabitch! He pulls something bug-like out of his dessert, holds it aloft, and then HURLS it at the cafeteria line. A STAFFER ducks away. The inmates LAUGH and suddenly they're all on their feet -- ZOOK THERE ARE MONSTERS! IN THE GELATIN! -- grabbing handfuls of jello and throwing it at the cafeteria line. Inmates get errantly SPLASHED, and respond by wheeling on their fellow inmates -- red and green globs flying to and fro! GUARDS SIT DOWN! SIT THE FUCK BACK DOWN! As GUARDS immediately rush in to restore order -- NICK Rudy, don't move -- RUDY Two days, we got two days! Don't do nothing. Don't touch nothing -- An INMATE at the end of their table picks up their table and overturns it, sending food flying. Rudy and Nick stand back, hands raised in surrender. Jello HITS Rudy in the face. NICK Don't move, Rudy! RUDY Standing right here, man! Zook is still SHOUTING until a GUARD clubs him senseless with a blackjack. WHISTLES are blowing. Guards SCREAM for order. NICK (as a GUARD eyes them) Ate the jello, jello was fine! The guard leaves them alone, runs on. The melee's still out of control. As Rudy turns -- -- and suddenly sees The Alamo charging across the room, with murderous eyes, a metal shank in his hand! Five feet away! NICK RUDY, LOOK OUT! Nick grabs him, trying to push him out of the way -- -- and The Alamo's shank plunges deep into Nick's stomach burying between his ribs. Blood splashes. Nick slumps. RUDY NICK! The Alamo pulls the blade out with a ferocious YELL, pushes Nick to the floor and spins on Rudy! Rudy blocks with a chair, stumbling back, cartwheeling over a table as The Alamo roars over him for the kill -- -- and two GUARDS tackle the big Indian out of nowhere! Knocking the knife away, hammering him with blackjacks. It takes another three guards to keep The Alamo down. Rudy scrambles across the floor. Nick's on his back, blood pumping freely from his gut -- RUDY GUARD! GUARD! NICK (in shock) Alamo... RUDY GUARD!!! No one's helping, the guards nearby all subduing The Alamo. Nick grabs Rudy's shirt, gasping to speak -- NICK Jesus, Rudy -- RUDY Take it, man! You're all right! Hold it in! GUARD! NICK Oh, fuck, Rudy... oh Jesus... RUDY GUARD!!! NICK Ash... Ashley... RUDY No, man! No, no, no! NICK (choking) Tell her... I'll be there ... RUDY You're GONNA be there! We're getting outta here! TAKE IT! NICK Tell Ashley... I... RUDY YOU TELL HER! NICK ...be with her... Blood spills out Nick's mouth. His eyes go vacant. RUDY NO!!! NICK ...for Christmas... RUDY NICK!!! And Rudy's suddenly hauled backwards. A trio of GUARDS descend, grabbing Nick's body as his life fades away. Dragging his figure out of the melee. WHISTLES are blowing. GUARDS GET HIM OUT OF HERE! LOCK DOWN! RUDY NICK!!! Rudy struggles, enraged, and gets blackjacked across the skull for his trouble. He hits the jello-covered floor. And the world goes dark. INT. PRISON CELL - NIGHT Darkness and shadows. Rudy sits in a corner, holding his head. The cell block silent for the first time. Bootsteps from down the row. A SHADOW falls across Rudy's somber figure. It's the Mean Guard. He stares at Rudy with distinct pleasure. RUDY The man had two days... MEAN GUARD Well. Least he won't be coming back. The guard grins a gold tooth. Rudy looks at him -- -- and then springs to his feet, charges the room, grabbing through the bars. The guard takes a calm step back. Keeps the cruel smile. MEAN GUARD You need company tonight, Rudy... you just give a holler. He puckers a kiss and walks on. Starts whistling "Are You Lonesome Tonight?" Several shadowed VOICES request that he shut the fuck up. The bootsteps and melody drift down the row. RUDY turns back, starts toward his bunk. And stops. His eyes on Nick's empty bed. And the wall behind. THE PICTURES OF ASHLEY Smiling, laughing, playing kissy-face. Hearts drawn on the photos. All colors of stationery taped to the wall. RUDY takes a seat on Nick's bed. There's a shoebox at the foot of it. Rudy opens it. It's filled with Ashley's letters. He trails a finger along them, must be over a hundred pages. He selects the one nearest the front. Surveys it. NICK (V.O.) Rudy, man, here we go, here, what she wrote here: "The car's waiting. The motel's waiting. And I'm waiting. I've waited for so long. I'm burning for you, Nick. My whole body. My whole heart. I'm burning for you..." Rudy turns to the wall. To the lakeside picture of Ashley, a swimsuit siren. Rudy stares sadly. RUDY He was burning for you too... And puts the letter away. CLOSE ON RUDY'S CALENDAR - NIGHT As his hand slashes through December 21st. Prison's over. CUT TO: EXT. IRON MOUNTAIN PRISON - DAY Snow swirls. Near blizzard conditions. A heavy steel door BANGS open, held by an EXIT GUARD. And FIFTEEN CONVICTS, make that EX-CONVICTS, trudge onto a fenced drive, covered in snow. EXIT GUARD Your world and welcome to it, dumbfucks! Don't be a stranger now! We'll keep the lights on for ya! Rudy stumbles out with the group, shivering in a Goodwill hand-me-down coat. Thin canvas, wouldn't keep him warm in summer. Secondhand shoes. No possessions. He clutches his sides with his hands, hunched over. All fifteen huddle and herd toward the gate at the end of the fenceway. BEYOND THE GATE There are a dozen FRIENDS and RELATIVES waiting. A few MEN, several WOMEN, a couple KIDS. Bundled in winter coats, hats and hoods. A prison shuttle bus is parked behind them. The released cons reach the gate, where a GATE GUARD unlocks the fence to the outside world. Fifteen men are free. The ex-cons and relatives scan each other's faces. Wives rush over to embrace their men. Pals nod to ex-cons and trade slaps on backs. Reunion time. The snow batters them, wind whipping. Rudy keeps his head down, leaning forward, keeps walking. Toward the bus. But he can't help himself -- he glances up -- TO SEE A YOUNG WOMAN bundled in a silver ski jacket, pink wool hat with a poofball on top, scarf and mittens. Scanning the released prisoners. RUDY drops his head, looks away. Climbs onto the shuttle bus. INT. BUS - CONTINUOUS Rudy shakes his arms, basking in the vehicle's warmth. Takes a seat at the back. A couple other lone ex-cons climb aboard. Then the cons with relatives start to pile in. Rudy's window is steamed against the cold. He stares into his lap, then reaches for his coat pocket. Takes out the picture of Ashley, in her bikini by the lake. Stares at it. He rubs his window with his sleeve. Outside, the woman in the silver coat turns this way and that, troubled. She's watching the other ex-cons climbing onto the bus with their loved ones. The woman looks back to the prison. The guard closing the gate. The steel door has been shut. No one else is coming. Rudy watches her sadly. Aboard the bus, the seats fill up. Ex-cons are feeling up their wives, kids are climbing on their absent daddies, buddies are jawing loudly 'bout how the neighborhood's changed. The woman outside is now alone. Silver coat, pink poofball. Rudy looks at the bikini picture again. Then at the shivering bundle. RUDY Don't do it, Rudy... The bus ENGINE starts up. In the seat beside Rudy, an EX-CON makes out with his WIFE while his bratty KID punches his leg. Out the window, the young woman is scanning the bus windows. Then the prison again. She turns in a worried circle. Rudy looks swiftly away. Closes his eyes. RUDY Don't do it ... The bus door closes. It REVS and starts forward. Rudy sighs with relief. The photo of Ashley falls to the floor. EXT. PRISON RELEASE GATE - CONTINUOUS The young woman watches the bus pull away, down the snowy road. But it doesn't get fifty feet before it suddenly stops. The door opens. And Rudy steps out. The bus REVS up again and GROANS OFF into the winter. The young woman pushes her poofball hat out of her eyes. We get a look at her face for the first time. Skin pale, lips turning blue, but it's the girl from the pictures. It's Ashley. She watches Rudy's figure trudge back toward her. Snow obscuring him until he's right in front of her. Both of them shivering. Both of them standing there. And finally: RUDY You Ashley? Ashley nods. And Rudy sadly smiles. RUDY I'm Nick. CUT TO: INT. TRUCK STOP - DAY Rudy and Ashley sit at a coffee shop booth. Coats still on. Big rigs bluster by on the highway outside. Two untouched cups of coffee sit before them. She's watching him in silence. RUDY I like your coat. Ashley says nothing. Rudy looks at his own: RUDY This -- this is just something they gave me at the door. Wasn't snowing when we signed up, y'know? Ashley nods. RUDY How's your coffee? Ashley looks at it, like she's just realizing it's there. She lifts the cup, takes a sip. Puts it down. ASHLEY Good. Rudy nods. Silence again. RUDY Gotta be ten degrees out there. ASHLEY Radio said negative five. RUDY Negative five? ASHLEY Yeah. RUDY I don't think it's negative five. ASHLEY Radio said. Beat. RUDY Wind chill. That's probably what they meant. Ashley nods. Rudy bites his lip. RUDY I was scared. Scared you were gonna take one look at me and change your mind. Scared I was walking into heartache. All those words... you put a picture in your mind of where they come from and when you see where maybe it's not the same as your picture. He trails off. ASHLEY I figured you walked outta there and saw me and walked right the other way -- RUDY No, no -- ASHLEY Saw my outfit or something, my coat -- RUDY No, hey, I like your coat -- ASHLEY Saw me -- RUDY Ashley, no. That was me, that's what I was scared of. I mean, be serious... I ain't exactly looking like Mr. Universe here. ASHLEY You are to me. Rudy goes silent. Whoa. Ashley considers. ASHLEY Thought you wrote you had a mustache. RUDY I can get another one going. Y'know, hey, whatever you want me to -- ASHLEY No, no, no. Be like you want to be. Another awkward pause. Rudy picks up a milk dispenser beside the coffee, puts it to his lips. It gives him a wide white mustache. He stares straight-faced. Ashley gives a bashful smile, covers it. RUDY Do that again. ASHLEY What. RUDY Smile. Ashley smiles again, blushing now. ASHLEY No -- RUDY One more. Smile. One more. ASHLEY (trying not to) No, c'mon -- RUDY I've been dreaming about that smile, Ashley Mercer. For a long time. They stare across the table, drifting into one another's eyes. ASHLEY You're better than the picture in my mind, Nick... (softly) You're real. Outside, another truck rumbles by, whipping up snow. SMASH CUT TO: INT. INTERSTATE MOTEL ROOM - DAY And Rudy and Ashley SLAM inside, kissing passionately, limbs intertwined, pawing at each other's coats. Rudy kicks the door closed. Mouths devouring, hands lost in snowy hair. They collide with a side table, knocking over a lamp, tumbling onto the lumpy bed. Rudy tears at her silver coat and sweater and turtleneck and capilene and whatever else's she got on, as Ashley's lips explore his neck and body. Writhing and wrestling and rolling off the bed. Bang. INT. MOTEL ROOM - LATER Rudy and Ashley fuck like lovers in R-rated movies. INT. MOTEL ROOM - DAY - LATER The bed sheets lie tangled on the floor. Rudy and Ashley rest naked amidst them. Her pretty young head on his chest, all their inhibitions gone. Rudy strokes her arms. RUDY Tell me something. This the first time you've ever done this? ASHLEY Go to hell, Nick Mason, what's that supposed to mean -- RUDY No, not that, no... (laughs, kisses her) I mean this, the whole thing. Start writing to a guy, guy in the bricks. Get a boyfriend like this. Tell me the truth. ASHLEY Well. You're not the first guy I wrote to. But you're the only one I kept writing to. RUDY Yeah. Me too. (considers) Why? I mean I know why for me, why I paid for the ad. But you... why start writing to some guy -- some con -- you don't even know? Ashley studies his face, smiles in reflection. ASHLEY I told you, Nick. Remember? RUDY Tell me again. ASHLEY All the guys I've ever been with... they never want to know me. Who I am on the inside. They just want to qet inside. When they do, they think that means they know who I am. That I trust them. That they know me. That there's nothing left to learn. (beat) A guy like you, Nick -- six months before you can even touch my face. I figure a guy in that kind of bind, he's gonna hafta work to get to know me some other way. RUDY Had some bad relationships, didn't you. ASHLEY Not bad. Just regular. (smiles) You wrote me wonderful things, Nick. Personal things. She turns to him, kisses his chest -- RUDY Well, wasn't all me, y'know. ASHLEY Yes it was all you -- RUDY Guy I was in with... he helped sometimes... some of the romantic stuff, actually... you'd like him -- ASHLEY I'm talking about the heart, Nick. I'm not talking about the words. RUDY Y'know, some of the heart mighta been his too... ASHLEY Then he shoulda signed his name. She turns over playfully, eases herself back atop him. Ready to make up for lost time. With a kiss: ASHLEY And he'd be here right now. INT. SHOPPING MALL - DAY Ashley runs through an Xmas-decorated megamall, dragging Rudy behind her. Both of them laughing, as she hauls him over to some cookie bakery company: RUDY Where the hell are you going? ASHLEY Provisions! We are not leaving that motel room again till after New Year's: we need ten days worth of provisions! (to cookie matron) What's good?! COOKIE MATRON Oh my, we've got a special on our chocolate crunchie elves, they're shaped like little helpers -- ASHLEY THIS MAN... has not had a cookie in two goddamn years! Get him two of everything! RUDY Ashley, Jesus -- ASHLEY Can't survive on our bodies alone, Nick. (to cookie matron) Hurry up! RUDY Ash... didn't you write me that you don't eat chocolate? ASHLEY Yeah, well you wrote me you were six- foot-four, baby. (teasing smile) So don't talk to me about little white lies. INT. J.C. PENNEY'S DEPARTMENT STORE - DAY Teddy bears with nightcaps, green bows, red ribbons. Ashley's tearing through men's clothing racks, all love and confidence. Rudy's got a bunch of purchase bags weighing him down: ASHLEY You need a COAT! RUDY Ash, you've gotten me enough -- ASHLEY No boyfriend of mine is going to walk around in negative-five degree wind chill without a goddamn good- looking coat! She pulls out a hellacious black leather fringe number. RUDY Baby, c'mon, all this stuff... I haven't gotten you anything -- ASHLEY You got out, Nick. You're here. You're my Christmas. She puts the jacket against his chest, smiling. Rudy sighs. RUDY It's two hundred dollars, Ash -- She whips a Penney's card from her purse, grins wickedly: ASHLEY You forget where I work? RUDY (beat) Beauty and fragrances. ASHLEY Fifty percent off, motherfucker. Ho ho ho. She runs off with the jacket. Rudy turns to a dressing mirror, left to stare at his reflection. An ex-con in rags, with a half-dozen holiday shopping bags. To himself: RUDY Just for the holidays, Nick. Then we'll tell her. We'll let her... have her holidays... Rudy nods till he convinces himself. Can't help but smile. INT. TOY STORE - DAY Puzzles, Barbies and dinosaurs. KIDS scurrying, PARENTS chasing. Rudy and Ashley with a scared TEEN CLERK: TEEN CLERK You can't find... what? ASHLEY Toys for adults. Where are your toys for adults? TEEN CLERK Toys for... adults? ASHLEY C'mon. How old are you, sixteen? C'mon. TEEN CLERK We sell children's toys -- ASHLEY (slams money down) I got fifty dollars to spend in your store, Jesus of Nazareth. Can you help me or not? The clerk glances around, then, low: TEEN CLERK Slinky's in aisle five, Twister's in aisle one, Moon Mud's in aisle four. ASHLEY Thank you. INT. SUPERMARKET - DAY CLOSE ON CONVEYOR As bottles of wine, vodka and rum, cartons of egg nog and orange juice, and countless prepackaged sandwiches come scrolling past. ASHLEY (O.S.) You know what I was thinking, after our holiday hideaway? Instead of going back to Detroit, maybe we could go gambling. Y'know? Drive up to that Indian place you worked at. Wouldn't that be fun? I haven't gone gambling in forever! EXT. SUPERMARKET PARKING LOT - DUSK Light snow falls. Rudy, in his new black fringe eyesore, and Ashley carry grocery bags across the icy asphalt: RUDY Well, I don't know about that -- ASHLEY Blackjack, Nick, blackjack I am good at. I mean, they'd give us some free games or something, wouldn't they? Since you worked there? RUDY Security, Ash, I just worked security. They wouldn't be rolling out the red carpet -- ASHLEY And the slots, slots I'm good at too. Wouldn't that be fun? RUDY We'll have more fun in Detroit. ASHLEY We could live it up and -- RUDY Ashley. We're not going anywhere I used to work. It comes out too harsh. Ashley stops, a little hurt. ASHLEY I just... I thought you'd have friends there... Rudy softens, touches her arms: RUDY Hey. I been in prison for two years, Ash. Believe me. Those guys wouldn't want to see me. He kisses her. She nods, dismisses it, kisses back. ASHLEY Well, they don't know what the hell they're missing. EXT. MOTEL - NIGHT Ashley's Chevy Nova pulls back into the lot of the roadside joint. There's an artificial (silver) Christmas tree tied to the roof. She and Rudy climb out; she heads for the office: ASHLEY Baby, I'm gonna go tell 'em not to disturb us for the rest of the year. I get back in that room, you better be wearing nothing but a candy cane. RUDY I'll see what I can do. ASHLEY No, lover. I'll see what you can do. She smiles, sashays sexily away. Rudy watches her go, admiring his good fortune. Then pops the trunk, collects some of their shopping score. Gifts and goodies. RUDY (sings, sotto) I have no gifts to bring, parum-pum- pum-pum. No treasures for the king, pa-rum-pum-pum-pum... Loaded down, he struggles to the motel room, balances bags on his knee, gets the key in the door, and heads inside. INT. MOTEL ROOM - NIGHT Pitch dark. Rudy fumbles his way in: RUDY ...but I got a girl to be with, rum- pum-pum-pum... MERLIN (O.S.) Hi, Nick. Rudy drops the shopping bags, whirls around, as a stocky black shadow, MERLIN, all 280 pounds of him, KICKS the door shut -- RUDY What the fuck -- -- and SWINGS a baseball bat toward Rudy's chest. Rudy gets an arm down to deflect the blow, but it still stings like a mother. Rudy HOWLS. Merlin comes at him again -- -- and this time Rudy slips by. Merlin's bat SHATTERS a dresser. Rudy grabs him by the neck, kicks out his knees and wrests him to the ground. Grabs the bat -- -- and gets DECKED from behind by another shadow, PUG, a little white guy with a snarl. They go CRASHING onto the bed, grappling for leverage, and then to the floor -- -- where Rudy grabs a champagne bottle from the groceries and BASHES it backwards, shattering it over Pug's head! Pug lets go, as Rudy scrambles up, and Merlin's got him again in a bear hug. Rudy's struggling, whirling with him, crashing into one wall, then another, YELLING for help -- RUDY HEYYY!!! IN HERE!!! HEYYY!!! -- until he hears the PUMP-LOAD SNAP of a shotgun. Rudy stops still. A lamp clicks on. Standing in silhouette, a figure in a leather duster holds a sawed-off on him. GABRIEL Welcome home, Nick. Another lamp comes on. Rudy, still in Merlin's choke-hold, gets a look at the gunman, GABRIEL. Weathered face, stringy hair, early 30's. Handsome in a scuzzy way. He's seen a lot of road. Rudy stares, totally thrown. Pug, the little guy, bad teeth, bad hair, bad skin, gets up spitting blood and champagne. PUG I owe ya a drink, ya fuck -- -- and slugs Rudy in the gut. Merlin yanks him back up. Merlin's a black widebody, wears a goatee and brass knuckles. Behind Merlin stands a fourth intruder, a stone-faced Indian in a Grateful Dead longsleeve. JUMPY. Guarding the door. Gabriel's studying Rudy, up and down. Nods. Merlin relaxes his choke-hold so Rudy can breathe. RUDY You... you don't know me -- GABRIEL Oh, I know you, Nick. I know you real well. RUDY No, you can't -- GABRIEL The hell I can't. As the room's door gets kicked open -- ASHLEY Watch out, baby! I'm bringing in the fucking tree! and the silver fake evergreen fills the doorway, getting forced through with Ashley's grunts and groans -- RUDY ASHLEY! Merlin traps his jaw shut. The tree comes squeezing through, followed by Ashley, face in branches -- ASHLEY I'm telling you, we got the best one in the store... I don't know why people want their houses smelling like the stupid woods... She's GRABBED from behind by Jumpy. Ashley screams, but he slams her against the wall. The tree hits the ground. RUDY NO! ASHLEY NICK! Rudy fights to help her, but Merlin's got him. Pug locks Ashley's arms. She fights, muffled cries, but Jumpy and Pug have her held firmly. Her face to the wall -- GABRIEL (re: the silver tree) Hope her taste in men's better than her taste in Christmas. Ashley's turned to face him. Her eyes widen. Gabriel nods. GABRIEL Hey, sis. Happy holidays. Rudy's jaw drops. He looks to Ashley. Then to Gabriel. Ashley YELLS, enraged, kicking and clawing. Jumpy slams her back against the wall for her trouble -- GABRIEL Jumpy, don't hurt her, now. Gabriel steps to Rudy. Studies him. GABRIEL So. This is the guy you been waiting for. Man of your dreams. ASHLEY Gabriel -- ! GABRIEL (unimpressed) Must have a way with stationery. ASHLEY Gabriel, what are you doing! Gabriel raises the sawed-off to Rudy's chest. Rudy flinches, but Merlin's got him. ASHLEY GABRIEL!!! Gabriel fixes her with a stare. She shuts up. To Rudy: GABRIEL You better be here to be good to her, loverboy. 'Cause she's been good to you. ASHLEY Gabriel, let him go -- GABRIEL Read a lot about you, Nick. ASHLEY What are you doing here?! GABRIEL Read you're a man of some knowledge. ASHLEY Gabriel! GABRIEL A man of some travels. ASHLEY GABRIEL, I LOVE HIM! Rudy's trying to speak, voice CHOKED. Gabriel nods to Merlin, who again eases his hold. Rudy coughs. RUDY I'm... not... Nick... Gabriel frowns. Rudy turns to Ashley. RUDY I'm not him. I... (then to Gabriel) You want something from Nick, you got the wrong guy. ASHLEY (hurt) Nick... Gabriel looks from her to him, then lowers his sawed-off, and SWINGS it into Rudy's stomach. Rudy buckles. Panicked. GABRIEL Who are you now. RUDY You got the wrong guy! She thinks I'm Nick, I'm not! GABRIEL (to Merlin) Put him in the truck. RUDY I was in the joint with him! I knew about him and her, okay!? I took his place! GABRIEL You what... RUDY I got out, Nick didn't! I pretended I was him! I knew about her letters! Jesus Christ, whatever you want from him -- I'm not Nick! (to Ashley) I -- I just wanted to be -- A glance of regret amidst his desperation. Ashley stares back, confused, searching his eyes. GABRIEL You're not Nick Mason... RUDY I shared his cell! GABRIEL But you were saying you were... RUDY Yes! GABRIEL So you could get with my sister. RUDY Yes! GABRIEL So you could get down her chimney. RUDY Yes! GABRIEL And you think telling me that's gonna help your cause. Gabriel RATCHETS him across the chin with the gun butt. Rudy hits the floor. Gabriel spins on Ashley, enraged: GABRIEL Is this him!? ASHLEY (reaches for Rudy) Don't hurt him... GABRIEL Is this the fucker you been writing all year!? ASHLEY (reaches for Rudy) Please, Gabriel, don't... Gabriel puts the gun to Rudy's head. GABRIEL IS THIS NICK MASON!!?? ASHLEY YES!!! Gabriel doesn't shoot. Studies Rudy. GABRIEL Well, he's gonna have to learn to give you some respect. Gabriel KICKS Rudy in the jaw. Ashley screams. Gabriel motions to his boys: Jumpy and Pug drag her outside. Gabriel KICKS Rudy again. Rudy lies there and takes it. Merlin lights a cig, examines Rudy and Ashley's grocery bags: MERLIN Hey. They got a shitload of cookies. GABRIEL Take 'em. MERLIN How 'bout the tree? You want the tree? GABRIEL Leave the tree. Merlin nods, tucks the bags under his arms, leaves the room. Gabriel drops beside Rudy, with a sick smile: GABRIEL I've read your letters, motherfucker. Don't play no reindeer games with me. EXT. INTERSTATE - NIGHT As we SWOOP DOWN onto a four-lane stretch of winter highway, arcing into the blackness. CLOSING ON an 18-wheel tractor trailer, RUMBLING onward, emblazoned with "Great Lakes Trucking." There's an airbrush painting on the door to the cab, of a skeleton looking thru a flaming radial tire, and the legend "Motor City Monster." INT. GABRIEL'S RIG - CAB - NIGHT Gabriel at the wheel, Merlin smoking, Jumpy eating cookies. A TRUCK passes; Gabriel waves. A moment later, the CB crackles: PASSING DRIVER (OVER CB) Hey there, Monster! What're you hauling this far north? GABRIEL Hell, Bugeye. How you doin'? Ain't hauling, man, I'm up for the holidays. Gonna have myself a holiday... for a goddamn change... INT. GABRIEL'S RIG - TRAILER - NIGHT CLOSE ON RUDY eyes closed, dried blood, head rocking side to side. He winces, waking, with the headache to end all headaches. ASHLEY (O.S.) Shh, Nick, shh. They won't hurt you now. You're okay... Her hand strokes his face. Rudy's eyes struggle open. ON FULL SCENE They're in the back of the truck. There's some packing mats, rope, two tall storage lockers, and Ashley's Chevy Nova. Rudy's head is in her lap. He struggles to sit up, finds his wrists tied with cord. He looks at Ashley, follows her gaze. In a corner, Pug sits guard in a beanbag chair. He's dipping chewing tobacco, reading Road & Track, headphones on. Gives Rudy a bored glance, then back to his magazine. ASHLEY I won't let 'em, Nick. They won't hurt you anymore. RUDY Your brother... Ashley nods. Rudy looks around, remembering. RUDY ...the truck driver... ASHLEY He's not a bad person, Nick... he's not... From the corner, Pug spits some chaw. Ashley wheels. ASHLEY You're not gonna hurt him anymore! Pug doesn't even look up. Still stroking Rudy's face: ASHLEY Since Janey moved in... Gabriel... he's come over more and more. To the apartment. Janey's the divorced one, 'member, with the tit job -- RUDY What the fuck is going on. ASHLEY He read the letters, Nick. Some day I wasn't there. He went through my room. He found your letters. RUDY What's going ON!!! The truck shakes. ASHLEY He knows you worked in that casino. Rudy stares at her. She's scared RUDY You motherfucker. ASHLEY Nick, no -- RUDY You sold him out. ASHLEY Nick -- RUDY When'd you decide to do it, Ash? After which of his letters, huh? The fortieth? The fiftieth? The first?! ASHLEY Nick, what are you -- She reaches out for him; Rudy scrambles to his knees, tumbles against the opposite wall of the trailer. RUDY I'M NOT NICK! (raging) You thought you'd fuck him over?! Well he's fucked you! I've never worked at some casino! I can't help you! Because he's not me! ASHLEY Nick, I love you -- RUDY JESUS CHRIST! PUG Watch your mouth, man. It's Christmas. RUDY I'M NOT NICK! Ashley runs at him, wraps her arms around him tightly. He tries to fight her off. She won't let go. RUDY Get the hell off of me! ASHLEY (hard whisper) Nick, it won't work. It won't work! Rudy stops fighting. She has a terrified look in her eye. Checks to Pug: he's watching them now, chewing slower. Ashley turns them away from the little guy's view ASHLEY He'll kill you. RUDY You're not hearing me here -- ASHLEY My brother's killed people, I know he has. Truckers. If you talk him into thinking you're not you, you'll only get yourself dead. RUDY He didn't "find" Nick's letters, did he. ASHLEY Nick, please, it's me -- RUDY You told him about Nick's letters. ASHLEY No, Nick, no -- RUDY You're in on this. ASHLEY I love you! Rudy stares at her coldly. RUDY Y'know, in a way, I'm glad it's me. 'Cause you woulda broken his heart. Ashley stares, panicked. Pug's still watching them. RUDY Your pen palls dead, lady. ASHLEY If you say that, if you keep saying that, they will kill you. If they think you're not you, they will kill you. Don't you see? I know what you're doing, but it won't work! RUDY Nick died for me.... ASHLEY I won't let him hurt you! He just wants what you know! RUDY (ruefully) ...maybe I die for Nick... ASHLEY Just tell him what you know, Nick! That's all they want! And we'll get out of this! Rudy gives her a stone cold stare. Ashley crumbles, touching his face, shaking her head, tears. Devastated. ASHLEY He found them... I swear, Nick... (helpless) ...he found them... The truck shudders through downshifts, to a groaning stop. Ashley embraces Rudy fiercely, holding on for the last. The trailer gate RATTLES open into the truck's roof. Ashley shuts her eyes. EXT. REST STOP/INT. GABRIEL'S RIG - CONTINUOUS The rig all alone at a snowy rest area. Gabriel, Merlin and Jumpy climb inside as silhouette sentries. Gabriel surveys, then lifts a piece of paper: GABRIEL "My sweet, sexy Ashy-lashy, I have been dreaming of you constantly, and knowing you are out there makes these walls not seem so close or so strong or so cold..." (to Merlin/Jumpy) Women live for this stuff. (reads on) Dreaming 'bout your this, dreaming 'bout your those, gettin' X-rated on me here, Nicky... where are we... oh, right, other side... (turns paper over) "Someday I'm gonna take you up by Lake S. Before I went in, before goddamn Millie, 'fore I had my situation, I used to work up at this casino, working security. Used to watch for people stealing chips, counting cards, getting piss-drunk, that kinda shit. Indian place, they hired this reject outta Vegas to run it, got about as much business sense as a buffalo patty. Anyways, it's a fun place to run some numbers and play." Gabriel puts the letter down. GABRIEL You're a good writer, Nick. I give this writing an A-plus. RUDY I never worked at no casino. ASHLEY (hopeless) Nick... Rudy steps out of her hold and stalks forward: RUDY That's the guy I was in with, I did my last ten months with him. He rode a two-year bit for manslaughter -- split a guy's skull open at a bar for harassing his girl. That's Nick Mason. He worked at that casino. He's the one who wrote her letters. Me, I'm a damn mechanic, my last job was a Quickie Lube, I did five for lifting cars. I don't know shit about blackjack, I don't know shit about Indians. I'm not him. Gabriel stares at him. Then crumples the letter. GABRIEL Bury this guy. Merlin and Jumpy grab Rudy and THROW him from the truck. He HITS the snowy parking lot on his side, hands bound. ASHLEY Gabriel, you promised! GABRIEL I promised that when he helped us, we'd be gone! When he helped us! Loverboy don't want to play! Merlin and Jumpy drop to the snow, picking Rudy up. ASHLEY You promised me! GABRIEL And you promised me you'd get your sweetheart to help! Rudy meets eyes with Ashley. She's caught. GABRIEL He'd rather die than be with you, he'd make a fucked-up boyfriend anyway. (to Merlin/Jumpy) Bury him all over the place. ASHLEY NO! She charges at her brother. Gabriel grabs her, spins her into control and PUNCHES her in the jaw. She goes flying out of the truck. HITS the ground hard. In shock. Merlin and Jumpy march Rudy across the lot. A stand of dark and snowy woods ahead... MERLIN Beats prison, I guess. ASHLEY (O.S.) NICK!!! NICK!!! NOOOOO!!! Rudy struggles, desperate but held firm. Jumpy loads a handgun, as he muses for the very first time: JUMPY The problem with prison... is that it is founded on the fundamentally flawed perception of rehabilitation through punishment. A society can't hope to create a "changed man" by surrounding him with the worst in his fellow man; what it "rehabilitates" is solely a conviction that if he can survive the inhumanity of prison, what then, can he not withstand? He has seen man's darkest soul and kept his sight: what is left for such a man? What faith? What fear? At the woods' edge, Jumpy gives the gun to Merlin -- JUMPY Don't get no blood on my boots -- The gun goes to Rudy's head. A bullet fills the chamber. Ashley SCREAMS. Rudy shuts his eyes tight and -- RUDY WHAT DO YOU WANT TO KNOW! Merlin and Jumpy stop. Ashley stops screaming. Gabriel turns. RUDY About the Tomahawk! What the hell do you want to know! His guards look to Gabriel. Rudy nods, sweating. RUDY I spend six months writing poetry and my goddamn pen pal fucks me over. Thanks for the stamps, Ash. You want me, you got me. Whaddya want to know. Ashley gasps relief. Gabriel smiles. GABRIEL Everything. Merlin and Jumpy march Rudy back. Still on the ground: ASHLEY I love you... Nick, I love you... Rudy won't meet her eyes. GABRIEL Hey. She says she loves you, Nick. RUDY She says a lot of things. GABRIEL She's getting you to help us... 'cause she knows if you don't, you're dead. You just tell us what we need to know, you two live happily ever after. My sister loves you, motherfucker, and I ain't gonna have you break her heart. RUDY Wish I had a brother like you. GABRIEL A girl says she loves you, you say something. Rudy looks at Ashley. Her eyes plead forgiveness. RUDY I had better sex in prison. GABRIEL Heyyy. Be nice, convict. We're gonna be working together here. (to his boys) Get him back in the rig. Merlin and Jumpy wrench Rudy backward. Ashley reaches out to him, starts to speak. He looks right through her. She goes silent, casts her eyes to the snow. PUG (O.S.) He's not the guy, Monster. Everyone looks to the truck. Weasel-faced Pug has sidled next to Gabriel. Spits some chaw. It hits Merlin's boots. Merlin growls. PUG Whole time you were driving, he was telling her he's not the guy, he's not the guy. I know why he'd tell us he's not the guy. why's he telling her he's not the guy? What if he's not the guy? Gabriel considers, jumps off the truck. Walks to Rudy: GABRIEL The man who wrote those letters loved Ashley, boys. He lived for her love. (nods) Let's see him live for love. Gabriel puts a gun under Rudy's chin. Rudy flinches. GABRIEL Where's she work? RUDY What? GABRIEL (forces gun harder) Wrote you a hundred letters, didn't she? Where's she work? RUDY J.C. Penney. Beauty and fragrances. GABRIEL What's her middle name? RUDY (thinking hard) Samantha. GABRIEL What'd they call her in high school? RUDY Bam Bam. GABRIEL What'd they call her in college? RUDY What college. GABRIEL Where'd she drop her cherry? ASHLEY Gabriel! RUDY Canada. GABRIEL Be more specific. RUDY A station wagon in Canada. GABRIEL What's her greatest fear? RUDY Her brother. GABRIEL Wrong, Nick. It's drowning. RUDY No. It's her brother. Rudy stares him down. Gabriel shrugs. GABRIEL That's love. He puts the gun away. Ashley regains her breath. GABRIEL Let's get back on the road. It's time to start talking, Nick. Time to start telling tales -- RUDY Nick don't talk till Nick gets something. Gabriel gives a challenging stare. Rudy stares right back. It's a showdown. RUDY Hot. Chocolate. The trucker slowly smiles. His crew chuckles. MERLIN You want that for here or to go? RUDY I been in Iron Mountain for two years, truck driver. I do one more crime, I'm back there for good, so fuck you and fuck your sister and fuck your trucker friends. You want to hear about some goddamn job of mine? I want some hot-goddamn-chocolate. They've stopped laughing. RUDY And some pecan-fucking-pie. INT. TRUCK STOP - NIGHT CLOSE ON HOT CHOCOLATE AND PECAN PIE The six of them sit in a booth, Ashley leaning on Rudy's shoulder apologetically. The four truckers watch him scarf his pie. "White Christmas" plays over the speakers. GABRIEL So when you worked there -- Rudy raises a finger sharply. Silence. He continues eating. Scrapes the last of his pie crumbs. GABRIEL You knew the place -- RUDY Hey. Rudy stares hard. Gobbles the crumbs, washes it down with his hot chocolate. Savors it. Sets the mug down. RUDY Y'know, I could really go for some onion rings. Gabriel nods to Jumpy, who snaps his arm up, SMASHING his knuckles into Rudy's face. ASHLEY Gabriel! You said talk to him. That's all you ever said... GABRIEL We're talking, aren't we? Rudy holds his nose. Blood trickles. GABRIEL How much money's in that casino? Day-to-day. RUDY I don't know. GABRIEL The hell you don't. RUDY (sighs, a guess) Five million? GABRIEL You wrote Ash that letter, you told her that story 'bout working Christmas Eve, bout how they'd send half the security guys home, nobody comin, in that night. And the rest of you got shit-faced drinking hot buttered rum. That a true story now? RUDY Christmas... Eve... GABRIEL You know where the guards are. You know how to get in and out. You know where the money is. (nods) We're taking down that casino, convict. You're the guy gonna tell us how. Rudy turns slightly pale. RUDY Hey, it's... been two years -- GABRIEL We got faith in you, Nick Mason. (smiles) You're our inside man. INT. TRUCK STOP BATHROOM - NIGHT Rudy slams in, letting the door smack shut behind him. It's a tiny windowless closet. Rudy kicks a stall door, pacing. RUDY ...goddamn it, Rudy... goddamn it... goddamn girl, goddamn Nick... you're so smart, so fucking smart... He stalks a circle, grabs a sink, and stares at his reflection in the mirror. He looks a wreck. He settles down. RUDY Where's your Christmas dinner now... INT. TRUCK STOP - MOMENTS LATER A COUPLE leaves the booth behind Gabriel's crew. Pug and Merlin reach over, steal their leftovers and dig in. Ashley fidgets. Jumpy regards the garlands painted on the windows beside: JUMPY I've read where the retail industry does fifty percent of its business between December 1st and December 25th. Half the year's business, in one month's time. It seems to me an intelligent society would legislate a second such gift-giving holiday, create, say, a Christmas Two -- late May, early June -- to further stimulate growth and prosperity. For who would protest such a holiday? Taking the fifty percent model, a Christmas Two would grow this country's annual per capita income by close to one-third. Everyone stares at Jumpy. GABRIEL Christmas Two. The Indian nods. Gabriel shakes his head. GABRIEL Ever since you started night school, you been givin, me headaches, Jumpy. Headaches. (to Merlin/Pug) Go see what's taking him. INT. BATHROOM - SAME Rudy crouches behind the door, a piece of iron pipe in his grip, ready to strike. Listening... listening... AS the door SLAMS open, swinging fast and BASHING him in the head. Rudy tags the floor, drops the pipe, knocked out. Merlin and Pug gaze down on him, shaking their heads. Pug spits tobacco. Hits Merlin's boots again. INT. TRUCK STOP - MOMENTS LATER Rudy's back, with a new facial bruise. Ashley reaches for his hand; he pulls it away. Gabriel unfolds a piece of paper -- it's a crude map. GABRIEL Here ya go, convict. We cased the place in the fall, got the layout down. What you're gonna do is show us where each of these doors go, what the upstairs level looks like, where they got the alarms, all of it. MERLIN And where they hide the real money. Merlin exhales some smoke in Pug's face. Pug hacks, shoves him. GABRIEL And Nick? If you even think about setting us up, giving us some bad information? We go down... you go down... (lets it settle) Now. Christmas Eve. How many guards are there gonna be? Rudy surveys the table. All five waiting for him. Sighs. RUDY Hell. Ten? GABRIEL And which of these doors here lead up to the security level? Gabriel passes the map across the table. Rudy stares at it. MERLIN Start talking, Nick. Rudy's still staring. PUG Start talkin RUDY Who the hell made this map. GABRIEL What? RUDY I said, who the hell made the map? GABRIEL I did. RUDY This isn't the Tomahawk. GABRIEL What the fuck are you talking about. RUDY This is the front entrance, right? You get through the slots, you hit craps here, not blackjack. Blackjack's here to here -- lined up. What's this, the cage? Cage is over there, hard to get to, you got it all mixed around -- PUG That's what it looks like! RUDY Since when? What the hell is this room? MERLIN Buffet. Whaddya think it is? RUDY Buffet is by the goddamn bar! What the hell kind of map is this?! Gabriel reaches across the booth, grabs Rudy's shirt, pulls his face to table level: GABRIEL We walked the place for a week. RUDY And I worked there. For a year. Neither man blinks. PUG Map is kinda dirty, Monster... RUDY They changed the layout. GABRIEL What? Rudy nods, pretending to be dawned upon. RUDY They changed the layout -- whadda they call you? Mr. Monster? They remodeled the place. When I worked there -- listen to me -- guy that managed the joint, guy who ran it-- ASHLEY Jack. Jack Bangs. RUDY Right, Jack Bangs. Uh... guy was always talking bout fixing the place up. Maybe get a better crowd. Musta gone and done it while I was in the Mountain. (pushes map away) I don't know this map, man. How the hell am I supposed to tell you what door goes where? GABRIEL They wouldn't have changed the security setup. RUDY When I worked there, this was Bangs, office. Back here. He kept a little safe in the... uh, the wall, money held take for himself, skim from the Indians. Called it the... uh... (stumbling) ...the Powwow Safe. JUMPY The Powwow Safe? RUDY His personal safe, he gave it a name. Now you're telling me they've taken his office, put the buffet there? Then who knows what else they changed. Gabriel stares at him, suspicious. GABRIEL So what the hell good are you... RUDY You'd have to get me inside. (carefully) Get inside, watch where the money's moving, see where the guards are going. Then I could work with your map. GABRIEL Wrong, convict. You walk in there, they recognize you. PUG So what? GABRIEL They recognize him, they'll remember him after the job goes down. RUDY They won't recognize me. GABRIEL Why not. RUDY Trust me. They won't recognize me. GABRIEL We'll trust you when we're rich. Why not. RUDY 'Cause you're gonna get me a disguise. Rudy locks eyes with Gabriel. RUDY I give you the wrong information, you're gonna shoot me. Well, I don't know your damn map. So you can either find a way to get me in there... or you can shoot me right now. A WAITRESS comes over, drops their check on the table. It rests near Rudy. Rudy locks eyes with Gabriel. And pushes the check his way. EXT. SNOWY HIGHWAY - NIGHT The "Motor City Monster" RUMBLES along a two-lane blacktop. Across barren Michigan tundra. A sign reads "You Are Now Entering Powahachee Indian Lands. No Littering." INT. GABRIEL'S RIG - CAB - NIGHT Gabriel drives, with Ashley beside him. Rudy sits in the sleeper, Jumpy sitting guard. OUT THE WINDOW they pass a brightly neon-lit building, with a parking lot full of cars. The Tomahawk Casino, with a red neon axe pointing the way. And a marquee which reads: "10X ODDS ON CRAPS. $5.95 PRIME RIB. PERFORMING TONIGHT: DAKOTA!" The truck motors on by. Gabriel nods to Rudy: GABRIEL Bring back some memories, Nick? RUDY More than you know. EXT. KNIGHTS INN - NIGHT A Midwestern castles-and-Camelot-themed chain hotel, amidst an outcrop of roadside exit civilization: fast food and gas. The Great Lakes Trucking rig parked in the hotel's lot. INT. KNIGHTS INN - HALLWAY - NIGHT Faux stonemasonry and torches. "Regal" purple carpets. Gabriel and his crew escort Rudy into -- INT. HOTEL ROOM -- his quarters. Jumpy marches Rudy to the bed, snaps a handcuff around his ankle -- RUDY What the hell is this? What happened to working together? -- and snaps the other cuff to the bedframe. GABRIEL Rather be back in the Mountain? RUDY Might as well be. GABRIEL Don't have Weather Channel in the Mountain, Nick. Gabriel tosses him a TV remote. Merlin rips the room's phone out of the wall, takes it. They return to the hallway. GABRIEL Sleep good, loverboy. Tomorrow you got singing for your supper to do. The truckers leave. Rudy tugs at his ankle cuff, sighs, collapses back on the bed. Ashley has remained. Rudy sits up, sees her. RUDY Get your own room. She approaches instead. Sits beside. Gently: ASHLEY He said he wanted to talk to you. When he found the letters... he said "when your boyfriend gets out, I wanna talk to him." I thought he meant back in Detroit. I thought he meant -- RUDY But you knew why. Knew why, didn't ya. Ashley stands her ground, guilty. ASHLEY I thought we'd have a few more days. RUDY For what? You to talk me into "helping"? What, he promise you a share of the winnings? ASHLEY No! RUDY Well, shit, Judas, you shoulda at least gotten that -- ASHLEY Nick! He wants to know how to rob it, and he'll leave you alone! That's all he wants! (breaking down) I hate him, Nick... you know how... RUDY So get him outta your life. Get out of Michigan. They got perfume counters in Chicago, don't they? ASHLEY Not without you. She reaches to touch him. Rudy turns his back on her. RUDY Since when do some trucker pals start thinking big, anyway? ASHLEY They run routes mostly east, retail stuff, warehouses. But Gabriel knows some guys in New York, Miami, guys he helps get guns to Detroit. Hides 'em with his regular loads. RUDY He working for them on this one? ASHLEY No. He wants to be working for himself someday. RUDY And I'm his ticket. (considers) What's the last place they took down? ASHLEY What? RUDY Gabriel and his guys. What's the last place they robbed? Ashley frowns. ASHLEY I don't think they've ever robbed anything before. I think they've just driven guns. Rudy looks at her with new interest. RUDY They've never done a robbery? ASHLEY (shrugs) They're truck drivers. For the first time in a long time... Rudy smiles. RUDY Then they do need me, don't they. They really need me... ASHLEY We're gonna get out of here, Nick. We're gonna get out of this... RUDY We? What "we"... Rudy stares at her. The smile gone. RUDY Get your own room, Ashley. ASHLEY Nick... RUDY Get your own room. Ashley pulls away, walks to the door. Turns back, wanting to say something, but Rudy's not even looking her way. ASHLEY If I'd told you what he wanted, you'd have been gone. You'd have gotten on that bus and stayed on it. And if that's selfish, I am. If that's lying, I'm a liar. But I been dealing with fucked-up brother and his fucked-up friends for a long time, and I was stronger than him then and I'm stronger than him now. 'Cause he showed up for money. I showed up for love. (hard) And if you're so ready to make me your enemy... then what did you show up for, Nick. What did you really want... with me... With a fiery look, she strides from the room. Rudy stands, can't get far cuffed to the bed. Checks the end table, finds a Bible and a deck of cards. Out his second-floor window is a view of the rear parking lot. Rudy watches as a Chevy Blazer parks and two drunk FISHERMEN get out. The truck's bumper sticker reads "Ice Fishermen Do It All Year Long." Rudy watches the good ol' boys stumble toward the hotel. He turns back, surveys his new prison cell RUDY They've never done a robbery... (nods) Christmas is looking up. INT. RUDY'S ROOM - MORNING The bed has been dragged to the door to the bathroom, the comforter and pillow are on the floor, "Miracle on 34th St." is on the TV, and Rudy lies asleep on the ground, ankle still cuffed. Two SHADOWS fall across him. INT. HALLWAY - MORNING Rudy is brusquely dragged out by Jumpy and Merlin, passing Ashley, who lies asleep in the hall, head on a pillow. MERLIN Having romance problems, Romeo? RUDY Not with you. They march him onward. Rudy glances over his shoulder at Ashley. Who spent the night at his door. INT. GAME ROOM - MORNING A wood-panelled room adjacent to a small indoor pool, with arcade games and a dart board. Gabriel's with Pug, tossing darts, as Jumpy and a chain-smoking Merlin haul Rudy in. PUG Goddamn, Merlin. There any part of the day you don't smoke? MERLIN There anytime you don't got a mouthful of shit? PUG Cancer-sucker. MERLIN Acid-chewer. Gabriel THWAPS a dart into the board, to shut them up. GABRIEL Take a look what Pug's bought for ya. Pug empties a shopping bag on a pinball machine. Cowboy boots, spurs, a black cowboy hat, a black rhinestone jacket and a longhaired wig tumbles out. RUDY A cowboy. You're going to send me into an Indian casino disguised as a cowboy. Have you thought this entirely through? GABRIEL Put it on. Merlin and Jumpy shove Rudy toward the merchandise. Gabriel slams another dart into the board, then turns: GABRIEL You're a country-western singer up from Nashville for the the holidays. Visiting your Grandma on the lake, driving into the Tomahawk for some scotch and slots. You only play the slots, you got that? Don't want no dealer friend of yours recognizing you, you sidle up to shoot some craps. RUDY What kind of half-ass cowboy plays the slots? GABRIEL You do. RUDY At least gimme video poker. GABRIEL Shut the fuck up. You play what your girlfriend plays. Ashley's going in with you. You talk to her, otherwise you don't talk to nobody. You walk the room as many times as you want, but the second you come out, I want to know the run of the place. Rudy examines his new hair and cowboy gear. RUDY Do I get a country-western name? GABRIEL You get recognized, convict, You get a country-western funeral. EXT. TOMAHAWK CASINO - DAY The Chevy Nova crunches into the parking lot in the shadow of the gaudy neon axe. INT. NOVA - DAY Rudy's in "disguise": paste-on goatee, tinted shades and black cowboy gear. Very Nashville Network. He's wedged between Jumpy and Merlin, wearing handcuffs. Gabriel, Ashley and Pug in the back. RUDY Y'know what, guys? I woke up this morning, I got a really lucky feeling going on. I mean it, I'm feeling that good. I wouldn't be surprised if I walk in there, pull a handle and hit jackpot. Hell, we wouldn't even have to -- GABRIEL Get out. EXT. PARKING LOT - CONTINUOUS Rudy stamps feet, shivering in the cold, as Merlin unlocks his cuffs. Gabriel reaches to help Ashley out -- ASHLEY Get your goddamn hands off me -- She edges toward Rudy, then stops. A chill still there. GABRIEL You got one hour. RUDY I'm gonna need some money. Gabriel hands a bill. RUDY Ten dollars? What do I do with ten dollars? GABRIEL Don't tip. RUDY Monster. If we're working together here, we gotta be working together. I can't walk in there looking like the Lone Fucking Ranger with ten bucks to throw down. You don't want me getting noticed, right? Not getting noticed costs a guy at least a couple hundred. Gabriel glares, turns to his crew. Mutters, rubs his fingers together. Merlin, Pug and Jumpy reach for their wallets, grumbling. Gabriel takes a few twenties from each. Rudy nods thanks as Gabriel hands him the cash -- GABRIEL (threateningly) Don't. Lose. Rudy pockets the wad, hooks his elbow for Ashley to slip her arm through. Grins with a drawl: RUDY You ready to gamble, darlin'? She regards him warily, but puts her arm in his. RUDY (to the boys) Y'all take care of my guitar. He tips his hat, and strides for the casino entrance. Gabriel and his truckers watch them go. MERLIN (grumbles) Who's robbin' who here, Gabriel... GABRIEL Get in there and watch 'em. Watch their every fuckin' move. INT. TOMAHAWK CASINO - DAY The cascade of JINGLING and JANGLING COINS fills the brightly lit, horrendously-carpeted space. Wooden-beamed ceilings suggest a rustic theme, but the neon slots, lush green tables and red wheels of fortune are pure Midwest Vegas. The Tomahawk is tiny by Nevada standards, about the size of a large bingo hall. This morning, about FIFTY GAMBLERS mill about. Skimpily-dressed COCKTAIL WAITRESSES, most of them Powahachee Indians, pimp drinks. Bored DEALERS deal. As the sound of slot machine payoffs suddenly go silent -- INT. JACK BANGS' OFFICE - DAY CLOSE ON STEREO SYSTEM And some scattered cassettes, labeled "Big Winners," "Little Winners," and "Medium Cash." A HAND pops the tape currently in the system -- "Big, BIG Winners" and flips it over. Presses play. The sounds of JINGLING and JANGLING return. ON FULL SCENE An office overlooking the casino floor through smoked glass. JACK BANGS, late 50's, silver-hair, capped teeth, shark suit and high blood pressure, paces his office. He's got the air of a washed-up gameshow host, Wink Martindale, Peter Tommarkin, one of those hacks. Right now he's all caffeine. JACK BANGS There's an S-word I'd really like to throw in the discussion here, guys, cause it's a big part of what's going on. Big element, 'kay? S-word. It's a serious issue, serious factor, so I'm just gonna get it out there, throw it an out there, so we can know it, we can talk about it, we can get things done... (big pause) Snow. Are you with me, guys? Snow. Big time, fucking, grade-A, God- quality, S-N-O-W-snow. Two INDIAN GOVERNORS sit before him. Business-dressed, with overcoats, ponytails. One gray-haired, one jet-black. JACK BANGS There's no snow in Vegas, 'kay? They don't know it, they don't want it, they got laws against the stuff. They got Egypt down there, right, they got Monte Carlo, Hawaii, they got ancient Rome, but where's the Winter Castle, right? Where's the Swiss miss Chalet? Where's the Big Fucking Igloo? YOUNG GOVERNOR We understand you, Mr. Bangs. JACK BANGS Capades? They don't do it. Mittens? Outlawed. Why? YOUNG GOVERNOR We're aware of your position. JACK BANGS (picks up a chip) Because down there this is money. Up here this is heat. (pleads) You wanted Vegas quality, I brought it to you. You wanted Vegas press, I gave it to you. But guys, please, guys... I can't get you Vegas profits... till one of ya does some spirit dance and does something about this snow. The tribal governors stare him down. OLD GOVERNOR We understand the Paiutes' casino saw a net profit of twelve million dollars last year. JACK BANGS The Paiutes, they cook their books. OLD GOVERNOR The Waitela reservation made seventeen million. JACK BANGS (sobers) Seventeen? OLD GOVERNOR Perhaps you have researched this, Mr. Bangs. Is the snowfall on our side of the lake that much greater than the snowfall on theirs? Jack Bangs stares at them both. Considers his next move -- JACK BANGS I'm bringing in this great showroom act next week; these three Russian girls, they look like Meryl Streep, they can juggle anything. YOUNG GOVERNOR Mr. Bangs. JACK BANGS Guys. We're doing it right, here. $5.99 prime rib? Nobody does that in Michigan. Nobody. YOUNG GOVERNOR The tribe is concerned that many of your... new ideas are not resulting in any new venues. JACK BANGS I'm putting liquor in the drinks, I'm giving 10-times odds on craps, I got the girls showing sixteen-percent more skin! Show me another buffet's gonna offer you Coke and Pepsi! Whaddya want me to do?! YOUNG GOVERNOR We want to see our casino making money again, Mr. Bangs. Making money for our community. OLD GOVERNOR Like the Paiutes and the Waitela. The young man stands, stares Jack Bangs in the eye. YOUNG GOVERNOR We want you doing the job... that we brought you here to do. INT. TOMAHAWK - DAY Rudy and Ashley move away from a change booth, with a bucket of quarters. Rudy messes with his cowboy getup, noting two SECURITY GUARDS punch a code in a private door, step inside: ASHLEY So does it look a lot different? RUDY Here and there. Restaurant, uh, that's the main expansion. Tables've been moved around; the big man's office, I dunno, might be upstairs now. They settle at a slot machine. Another SECURITY GUARD walks past them. Rudy turns his back. Ashley notices. ASHLEY That guy knows you? RUDY Yeah, uh. Mike. That's Mike. At the door, Merlin and Jumpy enter, wandering through the slots. Rudy sees them. RUDY You start spending your brother's money. I'm gonna take a circuit around the joint, check for any new ins and outs. I'll snag us some drinks. As he strides away -- ASHLEY (sotto) Be careful, Nick... MOVING THROUGH THE CASINO with Rudy, ambling among the tables, making a show of checking out the layout. In reality, he's surveying the GAMBLERS. Passing the cage, he walks right by Jack Bangs and the Indian governors. Jack Bangs is all smiles, while the governors turn their backs an him and storm out. ARRIVING AT THE BAR RUDY Couple rum and Cokes, please. INDIAN BARTENDER You want that rum and Coke or rum and Pepsi? Rudy gives him a strange look. The bartender shrugs. Rudy still scans the tables, settling on -- A BLACKJACK TABLE where a trio of COLLEGE KIDS are forking over chips. One of them's dark-haired with a goatee, a sweatshirt and jeans. Rudy studies this kid for moment. JACK BANGS (O.S.) Gimme a goddamn bottle of anything. BACK AT THE BAR Jack Bangs sidles up, distraught. The barkeep hands him a bottle. Bangs takes a swig. JACK BANGS I can't go back to Vegas, Bear. They'll fuckin' kill me, 'kay? I can't go back... BARTENDER What does the tribe want? JACK BANGS They want gold-paved roads is what they want. Talking 'bout the fuckin' Paiutes. Fuckin' Paiutes are on the interstate. Nothing I can do about that, man, I didn't pick the spot for your reservation. BARTENDER Neither did we. JACK BANGS Yeah, yeah, whatever. Rudy gets his drinks, as Jack Bangs turns his way: JACK BANGS Hey. Hey, cowboy. Jack Bangs, I run the place. Nice to have you in the Tomahawk. Tell me something... Rudy winces, glancing to see Merlin and Jumpy watching him. Frowns on their faces. JACK BANGS ...does upstate Michigan need another roadside casino or does upstate Michigan need an international gaming destination? RUDY (wants outta here) Roadside casino? Jack Bangs, smile falls flat. JACK BANGS Well, so how'd you hear about this place, then. Word-of-mouth? Mass mailings? Cable TV? RUDY Prison. JACK BANGS Prison?! Rudy shrugs, smiles, takes off with his drinks. Bangs looks sick, turns to a FAT GUY on the next stool over. But before he can ask, the guy shakes his head -- FAT GUY I just stopped in to use the can. Bangs turns to the bartender, puts his head in his hands: JACK BANGS I can't go back to Vegas, Bear... I can't... From the slots, we hear a JACKPOT PAYOFF. JACK BANGS Aw fuck. THROUGH THE TABLES walks Rudy, as Merlin sidles up next to him: MERLIN What the hell was that about -- RUDY He didn't recognize me. Back off, willya? He didn't recognize me. Merlin eyes him darkly, but lets him walk on into the slots. As he nears Ashley, he glances to the blackjack table, where the College Kid has left... heading for the bathroom -- ASHLEY Hey Nick! We're up fifty cents! -- and as a barely-dressed COCKTAIL WAITRESS crosses between Rudy and Ashley, blocking her view of him -- Rudy pretends to crash into her, splashing the rum and Coke into his own face -- RUDY Heyyyy! Reaching Ashley, his goatee is dripping -- ASHLEY Nick, what happened -- RUDY There went my... damn... well, doesn't seem like security's all that switched... Ash, shit, this mustache is starting to fall off. I gotta fix this thing -- (hands her his glass) -- drink this for me. He hustles for the bathroom. A moment later, Jumpy storms by. Stops at Ashley. JUMPY What happened? ASHLEY He started losing his hair. INT. CASINO BATHROOM - DAY The College Kid is zipping up when Rudy SLAMS into his back, money in hand, crashing him against the wall: RUDY Hundred bucks to wear this jacket -- COLLEGE KID Jesus, man, don't kill me! RUDY Nobody's killing you, kid. Santa's giving you a rhinestone jacket and a hundred bucks. INT. TOMAHAWK SAME Merlin's at a slot machine, watching the hall to the bathrooms. A WAITRESS arrives, hands him a beer: MERLIN Thanks, sister. How are ya. WAITRESS Fuckin' freezing. MERLIN Hell yeah. You work here long? WAITRESS Five years. Since it opened. MERLIN How long ago was your makeover? WAITRESS My what?! MERLIN No, the place. The remodeling. moving everything around. The waitress frowns. WAITRESS The Tomahawk's looked the same since I started, mister. (shrugs) Only the losers change. Merlin stares at her. Then drops his drink to the floor, charging for the bathroom. INT. BATHROOM As Merlin crashes in, seeing the cowboy hat and jacket, back turned, adjusting a belt. As the figure turns around. It's the College Kid. Merlin stops in his tracks -- -- as Rudy CRASHES into him from a stall, kicking his legs out, driving his throat into a countertop. Merlin hits the ground, gagging. Rudy wears the kid's sweatshirt: RUDY GO! GO! The College Kid, shaking, hustles out the door. INT. TOMAHAWK - CONTINUOUS As the College Kid, in Rudy's black getup, strides out of the bathroom hall, walking for the casino exit. From the slots, Ashley and Jumpy glance up, seeing him go. From their vantage, it looks like Rudy. They frown. As they're watching the Kid hit the door, Rudy darts out of the hall, heads the other way. EXT. PARKING LOT/INT. NOVA Gabriel and Pug sit sentry, seeing the cowboy figure leave the casino. wandering into-the parking lot... away from them. GABRIEL Where the hell's he going? PUG Where the hell's your sister? As the figure unlocks the driver's door of a Trans Am -- GABRIEL Get him! Pug REVS the engine, speeds through the lot, cutting off the Trans Am from backing away. Gabriel jumps out, HAULS the cowboy from his car and sees it's the College Kid. Rudy's gone. COLLEGE KID (scared shitless) Oh man. It's your jacket, isn't it... INT. TOMAHAWK Merlin stumbles out of the bathroom, holding his throat. Catches Jumpy and Ashley's eyes from the slots: JUMPY Trouble. INT. CASINO KITCHEN As Rudy charges toward COOKS, holding a buffet plate aloft -- RUDY MEDIUM RARE?! You call this MEDIUM RARE??!! -- hands them the plate, hurries past them, and out the -- EXT. REAR OF CASINO - DAY -- to the back of the building. In his stolen clothes, he charges across the staff parking area and into the snowy expanse of meadow beyond. Running for a thicket of winter woods. EXT. PARKING LOT Merlin and Jumpy stride out to join Gabriel and Pug. Ashley follows, stumbling to keep up. GABRIEL Where the HELL did he go? MERLIN Monster. There never was a structure change. This place was built the same from day one. PUG That motherfucker -- MERLIN And Monster... he was talking with the casino manager. Nick was talking to him. Gabriel darkens. GABRIEL Get. Him. Back. EXT. SNOWY MEADOW - DAY Rudy races as best he can through the waves of snow. He keeps struggling, losing his footing, fighting his way toward the cover of trees. From far away... ASHLEY (O.S.) Nick! Run! RUN!!! Rudy turns back to see Merlin, Jumpy and Pug round into view back at the parking lot. They see him. And charge into the snowfield. Rudy breaks into the trees. EXT. PARKING LOT Gabriel pushes Ashley into the Nova and peals out of the parking lot. Onto reservation roads. EXT. WOODS - ON CHASE - DAY Rudy darts among barren oaks and brush pines, crunching deeper into snowdrifts, slowing him down. Stumbling forward, shivering, breath frosting -- -- as Merlin, Jumpy and Pug reach the treeline. Gaining but struggling too. With guns held. Rudy keeps battling through the drifts -- -- as GUNSHOTS start to ring out. Rudy glances back to rest; the truckers are a hundred yards distant. But as he turns to struggle on, treebark SPLITS apart beside him. Rudy keeps running. INT. NOVA Bouncing over a snowy dirt road, having found a shortcut into the woods. Gabriel searches the trees, Ashley too. EXT. WOODS Merlin, Jumpy and Pug keep up their steady march. Rudy's running figure now only fifty yards distant. MERLIN You keep running, Nick! Keep running now! Can't keep warm if you don't keep running! We'll just be right back here... keeping track of your trail. ANGLE to show Merlin's striding right in Rudy's bootprints. Pug FIRES off two shots. They KICK UP snow just behind Rudy, struggling, panting... MERLIN (O.S.) Wherever you run... we'll get there. Fast as you want... we'll be there. We drive for a living, Nick. Twelve, fifteen, twenty-hour days. Rudy's anguished, ducking behind some pines, trying to brush away his footprints. Realizes it's useless. A BULLET whistles through the pine branches. MERLIN (O.S.) We got nothing but time. Rudy takes a breath, crashes onward -- -- then stops at the sound of a RUMBLING. Getting louder. Closer. It's a car's engine. Rudy spins for the source, focuses, and manages to make out a snow-covered dirt road fifty yards away, down a swale. Another BULLET smashes treebark. Rudy runs for it. EXT. WOODED ROAD - DAY As Rudy leaps out to wave down the car, as around the corner comes a Chevy Nova -- -- with Gabriel and Ashley inside. Gabriel's eyes widen, he floors the gas, RACING right for Rudy. Rudy scampers toward the opposite roadside, a steep wooded slope cradling a meadow and frozen river -- ASHLEY No!!! -- as Ashley grabs Gabriel's steering wheel, swerving the other way. Gabriel fights her for control -- -- as the Nova just misses Rudy, who dives off the road, hits the slope and tumbles head-over-heels toward its bottom, a hundred feet down, kicking up geysers of snow! On the road, the Nova skids to a stop. Ashley and Gabriel leap out, as Merlin, Jumpy and Pug reach the road. AT THE SLOPE'S BOTTOM Rudy pops to his feet, a dazed snowball. BACK UP AT THE ROAD Gabriel grabs a rifle from the Nova, steps to the slope-top edge and takes aim -- ASHLEY RUN!!! -- as Ashley suddenly slams into him from behind -- Sending the both of them tumbling down the slope! Sliding and tangled, the rifle flying from Gabriel's grasp -- TO THE BOTTOM -- where they come to a tangled, snowy halt. Gabriel struggles to clear the ice from his face -- -- as the butt of his rifle cracks him in the jaw. RUDY That's for reading her mail. He extends a hand to Ashley -- RUDY Come on. -- and hauls her to her feet. Ashley beams. As Gabriel howls, the two of them scramble away from the woods, Rudy with the rifle, toward the meadow and its frozen pond. More GUNSHOTS ring as Merlin, Jumpy and Pug slide their way down the ravine. EXT. FROZEN RIVER - CONTINUOUS Rudy and Ashley race out across the ice. The traction's slippery, but there's no way around. There's a highway bridge two hundred yards away, with sparse truck traffic. RUDY We get to the bridge, we're all right! ASHLEY Nick, the ice is -- RUDY Get to the bridge! (waving at traffic) HEY! HEY! DOWN HERE! He grips her hand tighter, as SHOTS crash into the ice at their feet. Suddenly, the ground splinters and gives way -- -- and Ashley goes plummeting through to the river! She vanishes from sight in an instant! Rudy scrambles back, onto sturdy ice. He stares, stunned, at the ripples in the freezing water. Ashley's not coming up. RUDY Looks to the truckers in pursuit. Coming down the ridge. Then the highway. Safety within sight. But he can't run. Cursing himself, he grips the rifle tightly and LEAPS into the ice-hole -- EXT. RIVER BENEATH THE ICE -- plummeting underwater, the temperature hitting his body like needles. He writhes, spinning around -- -- and sees Ashley ten yards away, desperately pounding at the ice above her. Strength giving out. Rudy struggles to her, wrapping an arm around her. She fights, panicked, clawing at the ice, both of them pulled further away from the opening. With Ashley safely in hand, Rudy raises his rifle-arm, pressing the barrel against the ice above them -- -- and FIRES. A HOLE blasts a shaft of light into the gray- blue. Rudy FIRES again. Another HOLE caves in. Ashley reaches for a sheath of ice, splashing -- TO THE SURFACE -- clutching frozen ground, treading water. Rudy surfaces beside her, the both of them gasping, facing the bridge. Instinctively, they spin around -- TO FIND GABRIEL, MERLIN, JUMPY AND PUG -- standing right behind them. Guns trained. GABRIEL (rubs his jaw) At the rate you're going, Nick... I'm gonna have a hard time ever considering you family. He extends his hand, a gesture of help. But menacing. GABRIEL How lucky ya feeling now. CUT TO: INT. GABRIEL'S RIG - DAY Pitch black. We can barely make out a huddled, fetal form, quaking and trembling. It's Rudy. Dripping wet, on the verge of hypothermia. Trying to stay conscious: RUDY I-I-I-I have n-n-no g-g-gifts to br- br-bring, pa rum-p-p-p-p-p (struggling) ...pum-pum-pum. N-n-no treasures for the k-k-k (waits) ...king. The trailer doors swing open, crashing harsh light upon him. He squints into the light, shivering madly. RUDY Pa-rum-pum-pum-pum. INT. KNIGHTS INN GAME ROOM - DAY Gabriel is hurling darts again, focused, expressionless. Bullseye. Merlin and Jumpy haul Rudy in. He collapses at Gabriel's feet, unable to stand. Still trembling. A couple KIDS scamper into the doorway -- MERLIN Game room's closed. -- and Merlin slams the door in their face. Gabriel hurls another bullseye, then retrieves his darts from the board. GABRIEL A for effort, Nick, honestly, A for effort and an honorary degree. I'm surprised you never escaped from the Mountain. RUDY (teeth chattering) ...never... tried... GABRIEL Nick, here's what we're gonna do. In the spirit of the season, I'm going to give you a chance. I understand you're unhappy. Right outta the lockup, here against your will, it's the holidays and there's reruns on TV. (beat) So we're gonna have a contest. Gabriel strides back to him, with two darts. GABRIEL We're each going to get one of these. Whichever one of us hits closer to the bullseye... gets what he wants. (beat) You land closer, you get Ashley. And you guys get to go free. I land closer... and we start getting your help. He lifts Rudy's shaking hand, puts a dart in it. Rudy's fingers are half-frozen, they don't bend. Gabriel has to wedge it in. GABRIEL May the best sportsman win. Gabriel turns to the board, ten feet away, and tosses his dart. It thunks in the "13" wedge of the outermost ring. GABRIEL Damn. He steps aside for Rudy. Rudy struggles to raise his hand, trembling badly. He focuses on the board, teeth chattering, tries to reposition his fingers, rears back and throws -- -- except the dart remains in his frozen grip. He brings his icy hand back, tries to move his fingers. And the dart finally tumbles out and hits the floor at his feet. Gabriel smiles, steps close. GABRIEL Got something to say to me, Nick? RUDY ...ttt..tt... two out of three? Gabriel grabs his jacket and hurls him backward. Rudy CRASHES into a chair, flanked by video games. GABRIEL What'd you tell that casino manager? RUDY Nnn... nothing... GABRIEL You were talking to him! What'd you tell him!? RUDY Nothing... I promise-nothing... GABRIEL MAYBE SOMETHING ABOUT A ROBBERY? RUDY NO! Gabriel spins to the dartboard, pulls out a fistful and wheels. He whistles a dart at Rudy's head. it SMACKS the wall beside his ear. He whistles another. It TRUNKS right above his head. A third HITS the wall by his chin. RUDY He thought I was some gambler... he didn't know me... he didn't recognize me! GABRIEL I been driving rigs a long time, Nick. Four, five million miles of road. Worked for people who wouldn't keep me on less I was driving fifteen hours a day. Tell 'em I needed sleep, I needed rest, shit, they'll hire someone else... Gabriel flings another dart. Just misses Rudy's other ear. GABRIEL ...Dispatcher's screaming for me to haul ass, he's got a load on the runback for me. Shipper's making me wait for the pickup, receiver's bitching 'bout the count... Another dart NAILS the wall, right through Rudy's hair. GABRIEL ...Got the cops at the bottom of every mountain, got the DOT at the top. And every day, every day, I see all those faces in their little airbag Hot Wheels, moms and pops and jam- faced kiddies, giving me that look to go to hell and get off their happy goddamn highway. Hey. They don't gotta get two thousand miles by sundown, or the gang don't eat come sunrise. Gabriel strides to Rudy, sitting stock-still, his head ringed by darts. Stares him down. GABRIEL It's time for me... to be working for me. I want mine, Nick. And I need you. (frightening calm) Did you tell your manager there's gonna be a robbery? RUDY No, Gabriel... no... Gabriel pulls the darts free. Backs away again. RUDY ...he... he asked me... how I'd heard about his place... he didn't know it was me... GABRIEL RAISES A DART TO THROW RUDY I PROMISE YOU HE DIDN'T KNOW IT WAS ME! -- and then lowers it. Believing he's gotten a reprieve, Rudy relaxes, his shivering coming under control. RUDY Man, Monster... just... just don't start trying to hit me... GABRIEL Nick. I been trying to hit you. Gabriel rears back and WHISTLES another dart. It plugs into Rudy's chest. Rudy screams. Gabriel FIRES another, skewering him in the ribs. Then a third, fourth and fifth. Rudy howls in pain, his body too numb to defend itself. Five darts protrude from his chest, colorful plastic feathering and spreading rivulets of blood. GABRIEL Maybe that'll help sharpen your memory. Gabriel stalks close. GABRIEL Tonight we're gonna take another look at that map. And this time you're gonna tell me what I need to know. INT. RUDY'S ROOM - DAY Rudy gets hurled inside by Merlin and Jumpy. He hits the floor beside the bed, where Ashley sits prisoner. Pug sits guard, watching "How The Grinch Stole Christmas" on TV. ASHLEY Nick! Jesus, Nick -- She falls to his side. Merlin cuffs Rudy's ankle again to the bedframe. He and Jumpy head out -- MERLIN Pug. Pug's engrossed in the cartoon. They're singing in Whoville. MERLIN PUG! Pug snaps to. Shuts off the TV, spits some chaw on the floor and gone. Rudy and Ashley are left alone. ASHLEY Nick, oh my God, what'd he do to you? What'd he do? She touches his bloodied chest. Rudy winces badly. RUDY He had some points to make... Ashley helps pull his shirt off, sees the wounds: ASHLEY Jesus Christ, stay here, don't move, stay right here -- RUDY (near-delirium) All I wanted... was to make it home... for a little of Dad's turkey, and Mom's stuffing... Aunt Lisbeth's acorn gravy... Aunt Mary's cranberry buns... Ashley has leapt to the bathroom. She brings wet washcloths back to clean and dress -- ASHLEY We'll get there, baby... we'll get there... RUDY ...Haven't had cranberry buns... in five whole years... ASHLEY Shh, now. Rest now. Two years, Nick. You haven't had cranberry buns in two years. She kisses him softly. Rudy meets her eyes. Staring to get his bearings back... ASHLEY You saved my life. (beat) You could have run, but you didn't. You saved me. RUDY You saved me. ASHLEY I saved you because I love you, Nick. (smiles) Why'd you save me? Rudy studies her hopeful face, attending to his wounds. still weak and distant: RUDY Guy I was in with... car thief... I used to read your letters to him. I know they were private... I know, but... you spend twenty-four hours a day with somebody, you gotta talk, y'know? You gotta share. Or the room gets even smaller. (beat) And sometimes, I'd be reading them, and he'd close his eyes, get a smile on his face... and I'd know somewhere inside he was pretending you were writing to him -- He'd see your face, your pictures on the wall... (beat) Some nights I think he fell in love with you, too. Rudy touches a hand to her hair. RUDY You gave a couple guys hope, Ashley. And with hope, there ain't nothing you can't survive. Ashley stares, touched, still kneading the cloth into his chest. Rudy struggles up, his face level with hers. She kisses him tenderly. Lingering. And this time Rudy responds, mouth seeking, working down her neck. Her eyes flutter closed. ASHLEY I'm sorry, Nick... I'm so sorry... RUDY Don't say my name... ASHLEY I love you, Nick... RUDY Ash. Don't say it. Don't say my name. Ashley hesitates. Carefully strokes his chest. He's still kissing her, softly, still somewhat delirious. ASHLEY (a small frown) I love you... As he returns to her lips, mouths joining. Ashley's eyes close again, as they fold into each other... ...and move slowly, tenderly, back to the floor. EXT. KNIGHTS INN HOTEL - DUSK A bitter cold sunset. Through a room's window, Rudy and Ashley lie tangled in sheets on the carpet. INT. RUDY'S ROOM Ashley nestles against him. Rudy stares skyward. Hard. RUDY They'll have guns. ASHLEY What? RUDY You said they've run guns, in their trucks. So they'll have guns. To do this robbery. They'll have serious guns. ASHLEY I don't know... RUDY We'll need one. Ashley frowns. There's a new look in Rudy's eyes. RUDY I'm going to have to be inside that casino. When it happens. I'll need to be part of it. I can't just be drawing some map. ASHLEY Nick, what are you talking about? RUDY We need to find a way to make me part of it. ASHLEY Part of... with them? Rudy meets her eyes. RUDY If we're helping them with their robbery, we're gonna be doing more than just walking away. Like that's some Christmas bonus. He nods, scheming the way he's always known. RUDY You want him outta your life? You want a real New Year to look forward to? (bravely) If we're gonna do this... we're gonna do it to get it all. INT. KNIGHTS INN RESTAURANT - NIGHT A medieval-themed biergarten. A happy FAMILY of five sits at a booth, singing along to "Good King Wencelas." In the booth beside, Merlin and Pug are holding court. Merlin's puffing smoke rings. Pug watches dully, chewing: PUG Knew a guy in Joliet, smoked ten packs a day like you. His lungs got so black they couldn't find 'em with an x-ray. MERLIN That right? Shit. I used to run rigs for a guy loved your chaw there. Shit rotted out his tongue, had to build him one outta silicon so the poor boy could talk. You ever see a motherfucker with a silicon fucking tongue? The Happy Family stops singing. Pug considers, spits a wad. PUG Hell. The guy from Joliet, those black-ass lungs were the least of his problems. Got so much smoke in him his lungs couldn't even hold it. Got into his system, man. Into his blood. Coming out his ears, man, coming out his eyes. Guy'd be walking the row, smoke'd be puffing out his skin. The Happy Family trade discomfited looks. Merlin shrugs, takes another drag. MERLIN This trucker? Met a girl in a bar one night, she didn't know his situation. He's drunk, she's drunk, they get to mackin' hot and heavy and the woman swallows it. His tongue. Sucks it right down. PUG My guy would walk into a room, set off the goddamn sprinklers. MERLIN His lips went next. You ever see some silicon-fucking-lips? The Happy Family flees their booth. Pug and Merlin glance over. And grab their leftovers. Rifling the grub: MERLIN (with disgust) Vegetarians... Behind them, Gabriel and Jumpy file into the biergarten, leading Rudy and Ashley to the booth. Meeting commenced. Rudy, battered and freezer-burnt, gets shoved in first. Gabriel throws down the casino map: GABRIEL Start singing. RUDY I have no gifts to bring, pa-rumpum- pum-pum GABRIEL Sing it in pictures, Nick. Rudy takes the map, glances at Ashley, and then takes charge. For the first time, he's giving the orders: RUDY What you gotta worry about first is the guards. Place doesn't look much richer than when I worked there, so let's figure you're gonna have to deal with ten of 'em. There'll be two on the floor, walking the room, that leaves eight up above. Eyes in the sky. They see something up, they're the ones who'll hit the silent alarm and you're fucked. MERLIN How do we take them out? RUDY You gotta get someone upstairs. MERLIN How do we do that? Rudy takes the map, points to the gaming tables area: RUDY Across from blackjack, there's a security doorway. Keypad access. GABRIEL What's the code? RUDY Uh... they change it every month. I wouldn't know. (beat) If there's trouble on the floor, you'll get security coming through. what you gotta do, is get inside that doorway once they do. You gotta draw 'em out. PUG Without having them hit the alarms. RUDY I got an idea on that one. Once you're up there, you gotta hold those guards down till some backup can get there. There's a security camera room that videotapes everything. You've gotta destroy every last one of those tapes. MERLIN What about the money? RUDY You lock down security, you move behind the cage. You hit the Count Room. There'll be a guy in there but he's got no guns; room's accessed by another code. Cashiers'll know it. They'll have alarms. JUMPY What about the Powwow Safe? RUDY What? JUMPY The Powwow Safe. The secret safe. You said the manager's got a safe in his office where he hides skim money. RUDY Oh. Right. Yeah. That's, uh upstairs. Uh. Here. Powwow Safe. His confident manner wavers. Gabriel notices, narrows his eyes. Rudy quickly grabs the map again: RUDY So. You're gonna need a man through here, two men at the cage, one to cover the count. You're gonna need a lookout outside, a sweeper through the back, and a gun guarding the front. (beat) You need six. GABRIEL We got five. Putting Ashley outside. RUDY You need six. Gabriel eyes him darkly. GABRIEL NO. RUDY You go in with five, you're either leaving an alarm free or an exit free. Someone hits an alarm, you're fucked. Someone gets to a phone, gets outside, 'cross the street, whatever, you're fucked. You need six. (nods) Six is me. GABRIEL No. RUDY You guys get caught, I go away for good. I got an interest in making sure you don't. You need a sixth man covering an exit. What're you gonna do about it. ASHLEY Yeah. What're you gonna do about it. She puts an arm around Rudy, smiles. That's her man. GABRIEL I want a map of that security level. Every room, every guard, every thing. RUDY Six men means six guns. GABRIEL No way. RUDY I'm no threat without a gun. GABRIEL No, you're not. RUDY There'll be people in that casino. I can't keep them from leaving if I don't get a gun. I don't need bullets, Monster... but I gotta be a threat. ASHLEY What's the matter, Gabriel? This is what you wanted him for, isn't it? Gabriel's eyes don't leave Rudy's. GABRIEL No gun. RUDY Well. What you guys have to plan out, then... is how you're going to get to that cage and that security level before anybody realizes anything's wrong. Running in with ski masks and bullets flying ain't gonna do it. GABRIEL That part, Nick... was planned out the day I read your letters. RUDY What. We all gonna dress up like cowboys? GABRIEL Not cowboys, Nick. Not cowboys. Gabriel smiles. GABRIEL Not on Christmas Eve. INT. GABRIEL'S RIG - TRAILER - NIGHT CLOSE ON STORAGE LOCKER Pulled open to reveal FIVE SANTA CLAUS SUITS, hanging side- by-side. Red polyester coats and pants, white felt trim and black buckles, black boots and red caps. WIDEN TO REVEAL TRAILER As Gabriel lifts a Santa Claus suit and presses it against Rudy. Ashley, Merlin, Jungy and Pug look on. RUDY You gotta be kidding me. GABRIEL 'Tis the season, convict. He puts the suit back in the locker, pulls another. Finding Rudy's size. GABRIEL Can't be attracting attention, right? RUDY What, we walking in there and delivering toys? He turns to see Merlin open another locker. This one stacked with rifles, carbines and handguns. MERLIN Hell yeah. INT. RUDY'S ROOM - NIGHT CLOSE ON SKETCH of a floor plan, a sheet of paper overlaid on Gabriel's map of the casino. A pencil draws a boxy room and labels it "Security Video Room." Then an eraser wipes it out. WIDEN TO REVEAL RUDY still cuffed to the bedframe, pulled close to a desk. He's sitting, working on the security level map. The door opens; Ashley enters, looking worried: ASHLEY He wants to see your map. RUDY I'm almost done. ASHLEY He says he wants it now. RUDY If he wanted a photographic memory, he shoulda kidnapped one. I'm working on it here. Ashley walks over, puts her arms around his neck. Whispers: ASHLEY How are we gonna do this, Nick? RUDY You're the getaway girl. The money's gonna get to you eventually. Gonna be my job to be the guy who walks outta there with it. But I can't do that without a gun. Any luck talking to him? ASHLEY Bullets or no bullets, he won't do it. RUDY Is there any way you could get into his truck? ASHLEY No. RUDY We need a gun, Ash. We need a gun... Rudy studies his map, then quickly pencils in the "Security Video Room," in a totally different place than he drew it before. Hands the paper to her. RUDY Here's the Picasso. Is he in his room? ASHLEY They all are. Football's on. RUDY (nods, thinks) Keep 'em there for a little while. Ashley takes the map, frowns. Rudy kisses her gently. RUDY We're gonna get you out of Detroit, Ash. Get you out of beauty and fragrances. (smiles, then) Remember that. After all this is over, when you know me, when you really know me... remember it was me. She searches his eyes, not quite understanding. But smiles. Rudy smiles back, nods toward the door. Ashley slips out. When she's gone, Rudy stands and turns to the window. Outside, the Blazer with the "Ice Fishermen Do It All Year Long" bumper sticker still sits parked. Rudy reaches for his jeans pocket, and pulls out-one of the game room darts, flecked with blood. HE GIVES IT A SOLEMN STARE INT. RUDYS ROOM - MOMENTS L&TER - NIGHT Rudy lies on his back, under the bed frame, dart in hand. He tears off the plastic feathering, to get at the cross-shaped end, furthest-from the tip. Four protruding metal edges. He finds the Phillips screws on the bedframe, and tries to work the dart-end into the grooves. It scrapes and jags, but with pressure he's able to do a quarter-turn at a time. The screw starts spiraling out. ANGLE ON BEDFRAME As two metal pieces split apart, and Rudy wriggles his ankle handcuff off the frame. ANGLE ON CLOSET As Rudy's hand grabs a paper-covered wire hanger and rips the paper off, untwisting the wire. ANGLE ON ROOM'S WINDOW As Rudy slides it open, and climbs outside. EXT. KNIGHTS INN PARKING LOT - NIGHT Light snow falling. Rudy drops from the second floor window into some snowy shrubs and an empty parking space. He stealthily darts ahead to the ice fishermen's Blazer. AT THE FISHERMEN'S BLAZER Rudy peers in the windows, spotting fishing rods, tackle and gear boxes in the back seat. He takes his wire coat hanger, now stretched straight, and slips it between the driver's window and moulding, jamming it around until it trips the door lock. The lock pops up; Rudy pops in -- INT. BLAZER -- and raids the gear box. Bait, reels, fishing wire. Boning knives. A compass. A first aid kit. A switchblade. RUDY Gun, gun, c'mon, boys like you gotta be keeping a gun... He rustles around in the backseat. Ice cooler, open bag of pork rinds, another gear box. Nothing. Some HEADLIGHTS sweep past the Blazer. Rudy ducks down, pockets the switchblade. Munches some pork rinds. EXT. PARKING LOT Rudy scrambles out, heads to try another car, a pickup truck. And then suddenly drops to the ground, seeing MERLIN AND JUMPY stride outside, talking casually, kicking snow on their way toward the Nova. Voices too low to hear. ON SCENE Rudy crouches behind the pickup, slips around the other side. Merlin and Jumpy walk right by him. Rudy criss-crosses through the parking lot, hidden by cars, heading away from his room's window. His window. Rudy glances back to see if the truckers notice that, but they don't seem to. They stand at the Nova, talking. Rudy shivers, waiting. They're not leaving. When their backs turn, Rudy dashes twenty feet to the cover of the building. He slips around the corner, out of sight. AROUND THE SIDE OF THE HOTEL Rudy hops through snowdrifts, pressed to the wall, moving toward a side entry -- -- when he stops, hearing a woman's LAUGHTER. Above his head are a row of windows. Reflections of rippling water on the ceiling inside. It's the hotel pool behind this wall. Sounds of SPLASHES. Murmured VOICES. Rudy stands absolutely still. His breaths stop frosting. Because his breathing has stopped. INT. HALLLWAY TO INDOOR POOL - NIGHT Rudy creeps down the darkened hall, past a sign that reads "Pool CLOSED. Open 9 am to 9 pm, No Lifeguard on Duty." Rudy steps closer, back to a wall, standing in shadow. The small pool becomes visible, flickering blue water. From an unseen end, a figure splashes backwards into view -- It's Ashley. Hair wet, naked beneath the surface. Smiling and splashing someone offscreen -- ASHLEY ...and he's saying "We're not gonna help him just to walk away. If we're gonna help him... we're gonna get it all... She splashes again. Taunting -- ASHLEY ...he wants to help now, he wants to rob it now we could probably stay right here, he'd go on and rob it by himself -- As Gabriel steps into view, also undressed, moving toward her in the pool. GABRIEL He wants the money. ASHLEY No, baby. He wants me. Gabriel reaches her, puts his arms around her. She smiles. ASHLEY He wants... your "sister"... GABRIEL ...whoever she is. And they kiss, entwining together, reflections and ripples. A steamy embrace. ASHLEY Nick Mason's gonna help us more than we ever dreamed. ANGLE ON RUDY in the shadows, hearing them. Staring into darkness. IN THE POOL Gabriel turns with Ashley, wrapped together. Moving slow. GABRIEL All those letters are about to pay off, baby... all those letters... ASHLEY To all those cons... GABRIEL Searching for a money man... ASHLEY We musta written what, twenty of 'em? And they were before this guy. One, two letters apiece, ten to the racetrack guy in Leavenworth -- GABRIEL -- till he fucked his parole -- ASHLEY -- plus the forty to Mason... how many letters is that? GABRIEL That's a book, baby. (presses closer) That's a book of love. They kiss again. Gabriel strokes her wet hair: GABRIEL I can't take watching you touch him. I can't take his hands on you. ASHLEY One more day, baby. One more day to Christmas. GABRIEL I've been doing good, though. ASHLEY Didn't have to hit me so fucking hard. Didn't have to throw me outta the goddamn truck. GABRIEL Didn't have to send me down a fucking mountain. ASHLEY What, he should see me help you catch him? ON RUDY still in the shadows, welling with betrayal. ASHLEY (O.S.) He's shown us the setup, he's drawn us the map, he's helped us do the plan. He wants a gun, give him a gun. Take the bullets out, whatever, but give him the gun. The more manpower we've got in there, the better. He won't try and make his move till the money's in hand. GABRIEL (O.S.) He'll be dead when he does. BACK IN THE POOL Gabriel and Ashley rock slowly, coupled, in the water. GABRIEL Y'know something, baby? If you were my sister? I'd still want to wake up Christmas morning with you... ASHLEY Mmm, baby. And I'd still want to be the tinsel round your tree... And as their words turn to moans and murmurs... IN THE SHADOWS Rudy is gone. INT. FIRST FLOOR HALLWAY - NIGHT Rudy strides a corridor, eyes dead ahead, passing a stairwell on his way toward the "Exit" sign posted above a door. He's almost there, marching fast -- RUDY Here's my present to you, truck drivers -- AS THE EXIT DOOR OPENS MERLIN (O.S.) Where the hell's Gabriel? -- and Rudy dives to the stairwell, out of sight just as Merlin and Jumpy stride back inside. JUMPY With his girlfriend. Making up for "Nick" time. I'm going down to the bar, you want something? MERLIN Get me a brew. I'm gonna check on our convict. They separate, Jumpy down the hall, Merlin to the stairs -- INT. STAIRWELL Merlin trudges upward, while Rudy steps from hiding one flight down. Checks the hall for Jumpy, then races out -- EXT. PARKING LOT - NIGHT Rudy slams out the side door, scrambling straight for the same Blazer. He jimmies the lock again, leaps in, tears free the engine panel and searches for ignition wires like a pro. Stripping the plastic, trying to spark contact -- RUDY Catch, dammit, catch! Like riding a bike, it's like riding a bike! But there's nothing. The engine won't start. INT. STAIRWELL Merlin reaches the second floor, steps into the hall. EXT. PARKING LOT Rudy jumps from the Blazer, looks at the lot, the highway, the woods. His own footprints in the dusting snow. RUDY How far you gonna get, Rudy... Realizing the answer, Rudy looks to his room's window. Forced to race back. He tries clambering the wall, standing an shrubbery, but he can't reach. He whirls, desperate. And his eyes find the Blazer. INT. SECOND FLOOR HALL Merlin ambles the corridor. Approaching Rudy's room. EXT. PARKING LOT Rudy flings open the Blazer door, slams the emergency brake down. Forces the gearshift into "Reverse." INT. SECOND FLOOR HALL Merlin reaches Rudy's door. Searches his pockets for the key. EXT. PARKING LOT Rudy darts to the front of the Blazer, slipping and sliding on asphalt ice. He drops to his knees, pushing on the front bumper. The wheels start to move. INT. SECOND FLOOR HALL Merlin finds a room key. Puts it in the lock. Turns the handle but the door won't open. Merlin checks the key. MERLIN My room. EXT. PARKING LOT The Blazer starts to roll backwards, toward the snowy shrubs ringing the building. Headed for the empty parking space below Rudy's window. Rudy keeps pushing. The Blazer picks up speed, rolling on its own. INT. SECOND FLOOR HALL Merlin searches his pockets again, finds the right key. EXT. PARKING LOT The Blazer rolls toward the building. Rudy scrambles to his feet, runs after it, leaps his left foot onto the bumper, the right foot onto the hood, then onto the roof -- -- getting two roof-steps worth of running start -- -- as the Blazer slows to a rest against the snowy shrubs -- -- and Rudy dives into the air, torpedoing himself right through the window to his room -- INT. RUDY'S ROOM -- where he crashes headlong to the floor, turning a somersault and landing sprawled across the carpet. INT. SECOND FLOOR HALL The key in the lock, Merlin hears the crash -- INT. RUDY'S ROOM -- and as Merlin opens the door, he finds Rudy sitting calmly on the floor, ankle-cuff locked once again to the bedframe. Spreading a deck of cards out before him. Starting a game of solitaire. He looks up. RUDY Hey. Merlin frowns, takes a suspicious look around the room. The window's open. Rudy continues his card game. Merlin watches him for a long time. Then pulls the door shut. Once he's gone, Rudy collapses to the floor. Breathing hard, heart pounding. The cards go flying. INT. RUDY'S ROOM - MOMENTS LATER The LIGHTS go out. Rudy creeps back to the window, checks outside... and stops still. In parking lot... ...a cigarette glow burns inside the Nova. From the driver's seat. It's Merlin. Now watching. Rudy steps back into the shadows. Closing window and watches the falling snow. Caged again, after all. DISSOLVE TO: INT. RUDY'S ROOM - NIGHT - LATER Pitch dark. Rudy asleep on the floor, as Ashley creeps back in. Seeing he's asleep, she lies beside him, pulls a blanket over them both, nestles into his body and kisses him. ASHLEY Merry Christmas-Eve, my love. My love, my love. Merry Christmas-Eve... Ashley closes her eyes. With a smile. A moment later, Rudy's eyes open. Turning to look at her smiling, sleeping face... with a convict's vengeful stare... INT. KNIGHTS INN LOBBY - DAY CLOSE ON DESK CLERK In a elfin cap, smiling cheerfully: SMILING DESK CLERK Hello, gentlemen. And how can we help you on this holiday morning? CLOSE ON GABRIEL, MERLIN AND PUG Three grim faces. GABRIEL Checking out. EXT. KNIGHTS INN PARKING LOT - DAY The three truckers stride to the Nova, where Jumpy guards Rudy and Ashley. In the b.g., the Ice Fishermen are by their car, wondering how the hell it switched parking spaces overnight. Gabriel marches straight to Rudy and SLUGS him in the gut. Rudy hits the snow -- ASHLEY Gabriel! GABRIEL That's for the hundred bucks worth of pay-per-view. (then KICKS him) And that's for the two hundred you took outta your minibar. RUDY (chokes, pained) You guys were paying for the room, I just figured -- Gabriel KICKS him again, then pulls a handgun, points it at Rudy's head. Ashley screams, rushes him -- -- as Gabriel's gun SHOOTS a thin stream of water into Rudy's face. It's a forty-five caliber squirt gun. GABRIEL (cruel smile) You wanted a weapon, convict? You got one. Gabriel tosses the water pistol onto Rudy's chest. Jumpy and Pug haul him up. With venom: GABRIEL Merry Christmas-Eve. EXT. HIGHWAY - DAY The Motor City Monster cruises the snowy landscape, with Lake Superior beyond. Pug drives the Nova in convoy. INT. GABRIEL'S RIG Gabriel hands copies of Rudy's sketched map to Merlin and Jumpy. Rudy and Ashley are in the sleeper. GABRIEL Commit this thing to memory. Every guard, every exit... don't tape it to your fuckin, wrist: remember it. That's the Gospel right there. The Gospel. Matthew, Mark, Luke and John... Rudy watches them studying his made-up map. Ashley strokes his arm, gives a loving smile. Rudy stares at her. He smiles right back. EXT. HIGHWAY - DAY The rig and the Nova blow by a roadsign: "Now Entering Powahachee Indian Reservation Lands." INT./EXT. TRAILER DAY - PREPARATION MONTAGE The storage locker with the Santa suits SLAMS open. Merlin's hands PULL automatics and shotguns from the weapons chest. Pug's hands UNLOAD ammo. A red-and-white Santa coat gets PULLED ON and BUTTONED UP. Jumpy's hands apportion GUNS and AMMO on a picnic table. Black Santa boots STAMP TIGHT in the snow. A shoulder-strap ASSAULT RIFLE gets hidden under a Santa coat. AMMO CLIPS are taped inside a fat black buckle-belt. A HANDGUN gets tucked under a Santa hat. And the rig's trailer doors come CRASHING SHUT. EXT. LAKESIDE REST AREA - DUSK Lake Superior shimmers in the dying light. The rig's in the empty rest area lot. On a nearby bank, four men in Santa Claus suits and one woman without sit scattered at picnic tables, guns at their sides. Staring out at the lake. RUDY AND ASHLEY sit apart from the rest. Rudy in a red suit, black boots, cap in hand. Ashley's head is in his lap, watching the sky. ASHLEY Where should we go, Nick? When we're gone from here... where should we go... The Nova drives into the lot. Pug gets out, carrying several fast-food bags. Hurrying to stay warm: PUG (O.S.) Okay, who had the cheeseburger with bacon; what about a roast beef, I've got two roast beefs here -- JUMPY (O.S.) Cheeseburger 'n bacon's mine -- MERLIN (O.S.) I got a bacon too; there another bacon in there? PUG (O.S.) I got a bacon for him and a bacon for me; there's four cheeseburgers and two roast beefs -- MERLIN (O.S.) Somebody better give me something with some goddamn bacon -- As they continue chow dispersal, Rudy stares over the lake. Distant. Not even aware Ashley's there. RUDY This time right now... Dad's stacking wood out back, getting ready for tomorrow. Little blaze in the fireplace. Mom's setting out the good silver, hanging her cinammon sticks, up in the doorways. Getting out her scratchy old records... singing along... Rudy smiles to himself. He's got a faraway look. RUDY I don't know where you're going. But I'm going home. ASHLEY We go together, Nick. Wherever... we go together. Remember? RUDY Well. I'm going home. GABRIEL sits by the water, staring over the lake too. With a white cotton Santa beard resting on his chin. He unwraps his roast beef sandwich, pulls his beard down to his neck, and takes a savage bite. Munches away, stares to Rudy and Ashley. She meets his eyes. Gabriel smiles. And looks again to the water. ON FULL SCENE The snowy rest stop, the glistening lake. And the six figures scattered, watching day turn to night... CUT TO: EXT. TOMAHAWK CASINO - NIGHT The neon axe lit up in full regalia, with Christmas lights now strung along the building's roof. There are fewer than a dozen cars in the parking lot. INT. TOMAHAWK - NIGHT Filled with the JINGLING, JANGLING slots, but there's only two FAT WOMEN sitting at them. Three INDIANS at a poker table. An OLD TIMER in his 90's playing blackjack. INT. SECURITY LEVEL A ragged headquarters, looking down to the casino level through smoked glass. Desks, file cabinets, pin-up centerfolds. A room with video monitors to one side. Stairs to a camera catwalk that rings the casino. Jack Bangs is at a table of wassail and cookies. He opens a battle of brandy, pours a bit into the punch, and takes the bottle for himself. Walks over to his HEAD OF SECURITY, watching the lack of activity below: JACK BANGS And all through the house... not a creature was stirring... (sighs) Why don't you go ahead and send most of your guys home, Ed. SECURITY BOSS Thanks, Jack. Merry X-mas. The boss smiles, heads off. Jack Bangs swigs his brandy, eyes his high-tech security gear glumly: JACK BANGS Hell. Nobody even comes here to cheat... EXT. TOMAHAWK - NIGHT The Nova pulls into the lot and parks. Merlin, Pug and Ashley inside. On the road, the Motor City Monster slows to an idling stop. In the cab, Gabriel turns to Rudy and Jumpy: GABRIEL Go. Rudy gives Gabriel a withering look. He and Jumpy climb out. Gabriel's rig rumbles up the road. [NOTE: All five men, save Ashley, from now till story's end, are in their Santa Claus suits.] RUDY AND JUMPY make their way across the lot, heading for the entrance. RUDY Hey Jumpy, I want to ask you something. You have any problem with the fact that we're on our way to take millions of dollars from an Indian casino? The Native American considers. As they walk: JUMPY Nick. It's true that Indian gaming's gone a long way toward restoring wealth and pride to communities who've been economically isolated and enslaved for centuries. Stronger infrastructure, better schools, higher employment... they're all the results of reservation casino success stories. Still, many natives believe that these are temples to a godless materialism and greed that will only infect the souls of indigenous peoples until their love of money has destroyed the spiritual values their ancestors died to protect and their homelands have become no different from any United States suburb, satellite city or industrial park. Destroying the Indian legacy once and for all and leaving behind a nation of selfish, angry natives, of which I, it's true, am one -- -- as they hit the Tomahawk's doors -- INT. TOKAHAWK - NIGHT -- and SLAM inside, stumbling into each other, suddenly LAUGHING and slapping backs. Surveying the casino: RUDY Hey-hey, egg nog for everybody! Rudy spreads his Santa arms wide and whoops. Jumpy laughs with him, steadying his balance. Drunken and slurred: RUDY Let's win some MONEY! MONEY-MONEY- MONEY! The few gamblers inside look up at the commotion. Bear the Bartender. Two CASHIERS and one WAITRESS. Ed the Security Boss strides over, smiling tightly: SECURITY BOSS How you gentlemen doing tonight? RUDY We're out of work tonight, that's how! Christmas Eve! We're out of work! JUMPY (shakes his hand) Hi, Santa Claus, how are you. He's with Sears, I'm with Wal-Mart, twas the season... RUDY We're all outta gifts, boys and girls, but we got charitable donations! Rudy grabs a wad of bills from his pocket, drops some to the floor. Jumpy retrieves them -- JUMPY ...bunch of us got together for the union party. Hey, how late are you open? SECURITY BOSS (eyes on the money) All night and all day. RUDY I got wampum for the Cocktail Waitress Civil Defense Fund! Are there any representatives here present? A Waitress sidles close; checks with the Boss. He nods okay. WAITRESS What can I get ya, Santa? RUDY Santa drinks American beer. SECURITY BOSS (to Jumpy) What's your game, guys? JUMPY Blackjack. Got a buddy from Woolworth's out parking the sleigh. The Security Boss stares him down. Then: SECURITY BOSS Good luck, gentlemen. He steps aside and indicates the tables. Jumpy claps him on the back, pushes Rudy on through the slots. EXT. RESERVATION ROAD - NIGHT Gabriel's truck at the roadside, hazards on, with signal triangles as if broken down. Gabriel places the last one, hurries back down the casino road. EXT. PARKING LOT/INT. NOVA - NIGHT Ashley sits between Merlin and Pug. Gabriel jogs by the car. Ashley checks her watch: ASHLEY Three minutes. INT. TOMAHAWK - NIGHT Rudy and Jumpy sit at a blackjack table, beside the Old Timer. Jovial ad libs as the Waitress brings Rudy's beer. Rudy doubles down, busts, and gets belligerent: RUDY (to the Old Timer) That was my card, pop! My card! You hit for my card! OLD TIMER I... sorry, Mister... RUDY That was my king! OLD TIMER Well...sorry... JUMPY (to the Waitress) How are you tonight? WAITRESS Fuckin' freezing. What can I get ya, Santa? JUMPY Jack and Coke. WAITRESS Want that Jack and Coke or Jack and Pepsi? Behind them, Gabriel SLAMS through the casino doors. JUMPY Woolworth's! GABRIEL Hey, Sears! Hey, Wal-Mart! JUMPY Saved you a seat, man. Get in on a hand here! Gabriel sidles to the table, claps Rudy on the back. RUDY (re: Old Timer) Careful. Watch out for this guy. They throw chips in. The Waitress circles around: WAITRESS What can I get ya, Santa? GABRIEL American beer. The Old Timer hits and stays. Rudy hits and busts: RUDY POP! That was My card! OLD TIMER But... I had a five... RUDY You're hitting for MY cards! EXT. PARKING LOT Ashley's eyes on her watch. Nods to Merlin and Pug: ASHLEY Go. INT. TOMAHAWK Jumpy has left the table, sidling to a change booth, glancing at his watch. Passes a $100 bill: JUMPY Could Fat-Man-With-Flying-Horse get some quarters, please? AT THE BLACKJACK Gabriel slides off his stool, punches Rudy in the shoulder: GABRIEL Be back, Wal-Mart. Watch my bank. Rudy nods, slugging beer. He's becoming an unruly drinker. The Old Timer motions to hit; but before the Dealer can pull the card, Rudy slams the table, points to it: RUDY That is my card, guy. My card. DEALER He hit, mister. RUDY He didn't hit. (to Old Timer) You didn't hit. You're not hitting. OLD TIMER But you don't even know what it is! The dealer hits grandpa to twenty-one. Then hits Rudy and busts him. Rudy stares darkly. IN THE HALL TO THE BATHROOMS Gabriel walks to the men's room door. Then stops. Adjusts the rifle under his red coat. And turns back. AT THE CHANGE BOOTH Jumpy is handed a bucket of quarters. EXT. PARKING LOT - SAME Merlin and Pug march toward the entrance, hands in pockets. INT. SECURITY LEVEL The Security Boss returns upstairs, beside Jack Bangs, who's watching the video monitors. On one screen, a parking lot cam shows Merlin and Pug approaching: VIDEO GUARD There's two more coming. JACK BANGS Hell, there we go. That's the spirit. He drunkenly clinks his battle to the Security Boss, wassail. The Boss frowns. SECURITY BOSS Jack? Is there a union for department store Santas? INT. TOMAHAWK - ON BLACKJACK Rudy bolts up suddenly, sends chips and his chair to the carpet. Points sternly at the Old Timer, slurring: RUDY Switch seats with me. OLD TIMER What? No... RUDY You're taking my money. Switch seats with me. Switch seats with me if you're not taking my money -- OLD TIMER I'm ninety-two years old -- RUDY Then get yourself another table! You're hitting Santa's cards and you're taking Santa's money! OLD TIMER There is no other table -- RUDY THEY'LL OPEN ONE! Rudy grabs the blackjack table and wrenches with all his might, OVERTURNING IT, cards, chips, cash scattering -- AND EVERYTHING HAPPENS AT ONCE Two SECURITY GUARDS at the door (?) rush for Rudy -- Gabriel steps from the restroom, hall, moves toward the keypad door to the security level -- Jumpy carries his bucket of quarters past the cage -- Rudy tackles the Old Timer, fists and false teeth flying, as the Guards arrive, trying to wrench him off the poor guy -- RUDY (hard whisper) Stay down, pop! Trust me, stay down! As Gabriel stops just beyond the keypad door -- IN THE SECURITY LEVEL The Security Boss grabs more men, while Jack Bangs merely smiles at the sight. Guards wrestling a drunken Santa: SECURITY BOSS Help them down there! HELP them! IN THE CASINO Three guards CHARGE out of the keypad door -- -- right past Gabriel, who slips deftly inside -- AND UP THE PRIVATE STAIRCASE -- opening his coat, pulling his assault rifle -- GABRIEL Right at the top of the stairs, right at the top of the stairs... -- charging to the top, starting right and running SMACK into a wall. He spins, sees the doorway's on his left -- TO A PRIVATE HALLWAY with three doors. Gabriel stops at the first, grips his gun -- GABRIEL Video room, video room -- -- and swings open a closet bathroom. He frowns, confused. Jumps to the second door -- GABRIEL Map said video room -- -- and swings open a storage closet. Gabriel grumbles, leaps to the third door and flings it open, GABRIEL Map said goddamn video room! TO REVEAL THE MAIN SECURITY AREA -- with two Guards sitting at their posts, and Jack Bangs, the Security Boss and the Video Guard in the doorway to the video room. Which is on the far opposite side of the space. As they turn to see the furious Santa Claus with the AK-47 -- GABRIEL WHAT THE FUCK IS GOING ON??!!! -- as he SPRAYS the ceiling with GUNFIRE. INT. CASINO FLOOR Where the RIFLE sounds, just as Jumpy grips his bucket of quarters at the cashier's cage and wheels -- -- throwing a fragmentation grenade's worth of quarters at the two Cashiers! Bits Of metal flying between the bars. They SCREAM, stepping backwards in defense -- -- and Jumpy whips a sawed-off shotgun from his coat -- JUMPY Step BACK from the desks! AT THE BLACKJACK The five guards wrestling Rudy spin and scramble, pulling pistols from shoulder holsters as -- MERLIN CHARGES through the casino entrance, shotgun held -- MERLIN DROP 'EM! DROP, DROP, DROP!!! RUDY (from the floor) DROP THE GUNS! NOW! But the guards don't. Whirling on Merlin -- -- who OPENS FIRE, BLASTING two of the guards off their feet. Rudy stays on the ground, covering his head, holding the petrified Old Timer down -- -- as the other three guards FIRE back, forcing Merlin to race behind the slots. BULLETS rip into slot machines -- -- as GUNSHOTS ring out from the casino restaurant. Two of the Guards spin to look behind them as -- -- PUG storms in, contorted glee, twin pistols BLAZING, popping a steel flurry into an outgunned Guard. Merlin spins from hiding behind the slots. He and Pug both OPEN FIRE, blowing away the two remaining men from both sides. One of the guards falls in front of Rudy, gun in hand -- -- but as Rudy-reaches for the guy's pistol -- MERLIN Hold it right there, Nick. Your squirt gun's all you need. Merlin steps to him, gun aimed. He and Pug collect the Guards, weapons. MERLIN Cover 'em. Rudy gets to his feet, pulls the water pistol from his pocket. Moves to round up the Old Timer, the waitress, the Poker Players and the Fat Slots Women. RUDY Sorry, guys. But what the hell were you doing here an Christmas Eve anyway. INT. SECURITY LEVEL The two Guards lie on the floor, with Security Boss and Video Guard. And the ruined Jack Bangs. JACK BANGS No... not here... please... mister... Gabriel storms to the video room's doorway. Slams a new clip. JACK BANGS Mister. I'm begging, 'kay? I'm begging. This is not some card club, 'kay? This is the Tomahawk. We're an international gaming destination. We're in guidebooks. You can't do this... you can't do this to me... GABRIEL Show's over. He OPENS FIRE, BLOWING AWAY the wall of monitors and VCR's recording the robbery. SPARKS and METAL fly. EXT. PARKING LOT Ashley waits in the Nova, checking her watch. Behind her a RED WRANGLER rolls in and parks. A FIRE CHIEF and his DEPUTY, just off-duty, stroll toward the casino, laughing. Ashley sinks low, panicked. Presses her HORN. The firemen spin around but don't see her. They shrug. Keep walking. INT. TOMAHAWK Rudy forces the gamblers and employees behind the bar. Onto the floor with Bear the Bartender, whispering hard: RUDY Get down and stay down, and you're gonna be fine. Just don't do anything. My friends are disturbed -- The hostages do as told. Rudy breathes relief, squirt gun in hand. And then stares at the array of bottles around him. IN THE CASHIER'S CAGE Merlin and Pug force the cashiers to the floor: PUG What's the security code to the Count Room? CASHIER #1 Security code? What security code? You just use a key! PUG NICK SAID SECURITY CODE! CASHIER #1 Who's Nick?! Pug bangs the guy's head off the floor, stalks to the Count Room door. Just a key lock. Pug BLOWS it away with his guns, kicks the door open -- -- and gets SHOT TO HELL by three COUNT MEN inside, pistols blazing! Pug puppets, dead. A wad of chaw hits the ceiling. Stunned Merlin FIRES BACK. EXT. PARKING LOT -- as the Firemen hear the GUNFIRE, pulling holstered pistols -- INT. TOMAHAWK -- while Merlin dives out of the cage, joining Jumpy, taking cover as the Count Men FIRE AWAY -- -- as Rudy scrambles back from the bar -- MERLIN You said no GUNS in there! NO GUNS! Merlin and Jumpy leap up, GUNS BLAZING, firing through the cage bars at the Count Men. Killing all three just as -- THE OFF-DUTY FIREMEN storm through the doors, pistols ready -- FIREMEN DROP IT! DROP THE GUNS! Merlin and Jumpy are caught. Trade a look. And let their weapons fall, turning just as -- THE CHEVY NOVA CRASHES through the casino doors, MOWING DOWN the firemen! The car SLAMS inside, crashing into slot machines. The slots send SPARKS showering into the air. Which set off the casino floor's SPRINKLERS. The room fills with watery spray. Ashley swiftly climbs out of the mangled vehicle. Rudy stares darkly at her. She knows he knows. And she doesn't care. ASHLEY (wild-eyed) WHERE'S THE FUCKING CASH, NICK! RUDY Yeah. That's love. She storms on by. The slots pay off behind her. INT. COUNT ROOM - MOMENTS LATER Jumpy, Merlin, Ashley and Rudy step inside the Count Room. There are stacks and stacks of bills. Ashley smiles wide, throws Jumpy three laundry sacks. ASHLEY MOVE, MOVE, MOVE! Merlin, meanwhile, slams Rudy against the wall: MERLIN You knew there were guns in here! RUDY Merlin, I didn't know -- MERLIN You got Pug killed! You tried to get ME killed! You just lost your Get- Outta-Jail-Free -- RUDY I promise you, I didn't know! As Merlin puts a gun to Rudyls head -- GABRIEL (O.S.) (over casino speakers) Santa Claus, Santa Claus, and Santa Claus... would you please bring our... mapmaker... to the security level? Merlin stares daggers at Rudy. Shoves the gun away. INT. JACK BANGS' OFFICE - NIGHT Gabriel stands at the windows overlooking the watery carnage. The taped jingle of slots still plays. Poor Jack Bangs lies on his desk, beaten to a pulp. Blood runs down his face and shark suit. Tears and shock: JACK BANGS I can't go back to Vegas... I can't... go back... JUMPY (O.S.) What the hell is with this place? Thought the video room was back there -- Merlin and Jumpy lead Rudy in. Ashley follows. They carry bulging money sacks. Gabriel stares Rudy down. GABRIEL I told you not to fuck us with that map, Nick. I told you not to, and you did. How am I s'posed to keep my promises now? (Ashley joins him) How's she s'posed to keep hers? He kisses her hard. Sloppy. Grins. Then points to Jack Bangs: GABRIEL He won't tell us where it is. The Powwow Safe. JACK BANGS I don't know... what you're... Gabriel hammers him with the butt of his rifle. CRACK. GABRIEL THE POWWOW SAFE! WHERE IS THE POWWOW SAFE! JACK BANGS What... Powwow... GABRIEL The Powwow Safe where you steal your money! Where you cheat your Indians! JACK BANGS I don't steal any -- Gabriel CRACKS him again. And again. Rudy winces. Gabriel grabs Rudy, pulls him over. GABRIEL We KNOW about the Powwow Safe! We KNOW it's in here! We KNOW how you work! Because WE know who's worked for you! (smiles) Remember a guy named Nick Mason!? A security guard named Nick Mason!? Gabriel pushes Rudy's head toward the desk. Jack Bangs, drooling blood, eyes swollen, turns his face to see. JACK BANGS Nick... Mason... ? Jack Bangs stares at Rudy. Rudy stares back. JACK BANGS ...so where is he? GABRIEL (laughs, mocking) Where is he?! Where is he?! JACK BANGS He's not Nick Mason... The smile fades from Gabriel's face. JACK BANGS Nick Mason... worked for me two years ago. This man... (a spark of recognition) ...he's some cowboy... Gabriel grabs Rudy, slams him against a wall. He glares at Ashley for answers. She stares in disbelief. Rudy meets her eyes. RUDY Fucked the wrong guy, Ashley. (shrugs) Story of your life. BACK TO GABRIEL: RUDY I did time with Nick Mason, Monster. Told you that from the start. Ashley's putting it all together... ASHLEY You... you... YOU -- RUDY We still gonna spend Christmas together? Ashley CHARGES him. Gabriel stops her; Merlin and Jumpy help hold her back. Gabriel spins on Rudy with his rifle: GABRIEL You are lucky, convict. You're spending Christmas with the birthday boy himself -- RUDY Hey! HEY! THERE IS A POWWOW SAFE! Gabriel hesitates. Doesn't fire. RUDY I did time with Nick Mason, remember? I knew he worked here, didn't I!? Well, some shit he told me! Rudy steels himself for the shot. It still doesn't come. RUDY Nick told me his manager kept a safe in his office, his stealing safe. His Powwow Safe. I swear, please... Nick told me. (looks to Jack Bangs) Behind the liquor cabinet. Jack Bangs dully meets Rudy's eyes. Gabriel steps to the liquor cabinet, feels at the shelves. They split in the middle. And there is a combination safe mounted in the back. Gabriel turns to Jack Bangs: GABRIEL Open it. He pulls him off the desk. Jack Bangs wavers, struggling. He looks at Gabriel. Then at Rudy. JACK BANGS I can't go back to Vegas... GABRIEL OPEN IT!!! Jack Bangs steps to the safe. Spins the lock. Spins back. Spins forward. Click. Jack Bangs looks at Rudy. RUDY (nods) Pow. Wow. And Jack Bangs opens it -- -- reaching inside in the same swift motion, so that as the safe swings open to reveal it's a rack of WEAPONS that lies inside, Jack Bangs already has an Uzi in hand -- JACK BANGS VEEEEGGGGAAAASSSS!!! BULLETS as he turns back to the room -- -- sending Gabriel, Ashley, and Merlin diving for the floor! Jumpy can't get down, as BULLETS riddle him dead -- -- and BLOW OUT the smoked windows overlooking the casino -- Jack Bangs keeps turning in a madman's circle -- -- BLOWING OUT the windows to the parking lot, shattering the liquor, sending Rudy scrambling under his desk -- JACK BANGS I CAN'T! GO BACK! I CAN'T! GO BACK! I CAN'T! GO BACK! GABRIEL GO!!! He and Ashley both scramble for the windows, jumping out with two of the money sacks -- TO THE CASINO FLOOR -- and landing on poker tables below, overturning them -- Jack Bangs keeps FIRING, into the casino, SHREDDING the tables but missing Gabriel and Ashley -- as he JUMPS right after them. BACK IN BANGS' OFFICE Merlin scrambles to his feet, whirling with his gun, looking for Rudy -- -- just as Rudy slams into him. Merlin's SHOT hits the ceiling. The two of them CRASH down, wrestling and rolling toward the parking lot window. Two guns spill to the floor. Rudy grabs one, just as Merlin kicks out, leaping up -- -- and freezes, seeing Rudy's got a pistol on him. Before Merlin can make a move, Rudy fires -- -- and a thin stream of water shoots out. Leaving a stain on his shirt. It's the water pistol. Rudy stares blankly. As Merlin swiftly snatches the second gun, a real gun, off the floor. Rudy's dead to rights. MERLIN Hell. I'm gonna take pleasure in this... With the gun on Rudy, Merlin finds a cigarette in his pockets. Pops it between his lips, raises a lighter's flame -- -- and hesitates. Sniffing the air. Looking down. At the stain on his shirt. His lighter still lit -- RUDY Me too. -- and Rudy fires the water pistol again, this time catching Merlin's lighter, which turns the stream into a ARC OF FIRE! He's filled alcohol in the gun! FLAMING LIQUOR shoots into Merlin's face and eyes. He drops the handgun. Rudy keeps squeezing the squirt gun, spreading the fire down his neck and chest. Merlin howls wildly -- -- and staggers back, blind and helpless, pinwheeling himself -- OUT THE PARKING LOT WINDOW -- and CRASHING down on the hood of a Pontiac, head through the windshield, boots on the bumper, dead. Flames flickering. RUDY Smoke 'em if you got 'em. IN THE CASINO Gabriel and Ashley have scrambled to the Nova, tumbling in with the money sacks. Jack Bangs gets up, stalking toward them, still FIRING and babbling. Gabriel FIRES back, hitting Bangs in the chest. He staggers, but stays upright. His bullets RIDDLE the car, shattering the windshield, but Gabriel and Ashley keep their heads down, slamming it into reverse -- -- and burning rubber backwards out the casino entrance, into the parking lot, and speeding out of sight. Jack Bangs stops shooting. He staggers back toward the bar, totters there, and turns, gun still raised. Rudy stands at the base of the stairs to the security level. He puts his hands up, until he sees the dying look in Bangs, face. The uzi drops to the ground. A silence. Even the slots have stopped. RUDY I'm sorry. Jack Bangs stares blankly. Surveys the wreckage of his poor man's empire. And gives a small shrug. JACK BANGS That's why they call it gambling. He slumps against the bar and hits the floor. Dead. EXT. PARKING LOT - NIGHT Rudy ambles out into the snowy night. The lot is quiet. He takes a few wary steps toward the road -- -- and hears a CLICK. He turns to see Ashley standing behind him, with a gun. Shaking her pretty head. ASHLEY Your turn. Rudy shuts his eyes for the end. EXT. RESERVATION ROAD - NIGHT The Nova drives up a ramp into the back of the truck, in reverse. Gabriel gets out, pulls shut the trailer. Ashley collects the hazard triangles. They hurry to the cab. EXT. MICHIGAN HIGHWAY - NIGHT The Motor City monster storms through the night, passing a couple POLICE CARS, sirens wailing, speeding the other way. INT. GABRIEL'S RIG Gabriel and Ashley inside, with the money sacks: GABRIEL With the wrong fucking guy! We took the place down with the wrong fucking guy! Is that Christmas?! Huh?! Is that Christmas?! He grabs Ashley, kisses her wildly. Then turns back -- TO THE SLEEPER COMPARTMENT Where Rudy lies sideways, hands bound with his Santa belt. GABRIEL God bless us every one... EXT. RIDGESIDE ROAD - NIGHT A winding two-lane road, overlooking a small ravine at a grassy overlook. The road is dusted with snow; there's been no traffic here for awhile. The Motor City Monster steams to a stop beyond the overlook. Then starts backing up, such that the gate of the trailer is fifteen feet from the edge of the ridge. A hundred-foot drop into the ravine below. Gabriel and Ashley pile out of the cab. They lift the trailer gate, extend the tire ramps. The ramps run from the trailer to five feet away from, the ravine drop. IN THE CAB Gabriel pulls Rudy out of the sleeper. Marches him back -- TO THE RAVINE'S EDGE -- and gives him a look. Forces him to his knees. Ashley is in the truck trailer, splashing the inside of the Nova with a can of gasoline. GABRIEL You almost got away with it, Santa. Got outta the Tomahawk, got to your car, got halfway to Canada till you caught some ice in the road. By the time you hit bottom down there, whole car was burning like a comet. Musta burned up all that money too. Rudy glances to the trailer. Ashley tosses a couple handfuls of bills into the car. GABRIEL Buncha guys in red suits busted in, they'll say. Started shooting. They won't be able to remember... if it was three, or four... or five. Four dead Santas and some burned-up cash. Merry Christmas, The End. RUDY Was it your plan, Monster? Or was it hers. Gabriel smiles at him. GABRIEL She told me 'bout the convict magazines. Had to figure there'd be some boys in the pen with some useful knowledge. With nobody to talk to. Nobody to listen. So we stocked up on stationery. Ashley hops down. Gabriel puts an arm around her. GABRIEL Hard life being a trucker's girl. Rudy eyes Ashley. She stares darkly back. RUDY I saved your life. ASHLEY You shouldn't have. RUDY He did love you, you know. Nick. He did love you. ASHLEY Who wouldn't. So cold. But Rudy doesn't pause. RUDY Maybe this is where you wanted him, Ashley. At the bottom of a ravine, dead as ice with a burnt-up heart. Maybe. But it didn't happen. 'Cause what you did for him was make him the happiest held ever been. You showed him hope and taught him mercy. And he died a peaceful man. You wanted to destroy some convict... and all you did was save his soul. Remember that. Love your money and remember that. Ashley shivers, a touch shaken. But steels herself: ASHLEY Merry Christmas, Rudy. RUDY I'm glad it was me. ASHLEY Merry Christmas. GABRIEL Get in the car. Gabriel hauls him up. Marches him to the trailer. Rudy stops at the ramp. Gabriel pushes. Rudy doesn't move. GABRIEL Get in the CAR! RUDY How'd you know my name... He turns back to Ashley. ASHLEY What? RUDY Rudy. How'd you know my name? ASHLEY What are you talking about? Rudy looks at Gabriel. He's frowning. To Ashley: RUDY You said Merry Christmas, Rudy. ASHLEY I... you told me your name was Rudy. You told me a million times, back in the truck, telling me you weren't Nick -- RUDY No -- ASHLEY You were screaming you weren't Nick! And we just didn't fucking believe you! RUDY But I never said Rudy. ASHLEY You said it a million times! RUDY I never told you my name. He stares her down. Then stares at Gabriel. GABRIEL Ash? RUDY How'd you know my name was Rudy. GABRIEL Ash? RUDY How'd you know my name. Ashley stares daggers. Shakes her head ruefully -- ASHLEY Men. -- and pulls a handgun, SHOOTING Gabriel in the heart. Gabriel falls to his knees in the snow, his mouth a ring of shock. Blood spurts through his red coat. He stares at Ashley, incredulous. She steps forward and PUTS another bullet in his neck. Gabriel falls still. Ashley's breath frosts in the cold. Rudy watches her. Finally, she meets Rudy's eyes. They stare each other down for a long moment, before: RUDY Where is he. A silence. No one moves. And finally, the CRUNCH of footsteps from around the side of the trailer. And WHISTLING. "Silver Bells." A shadow moves across the snow behind the trailer, and soon steps into Rudy and Ashley's view. It's Nick Mason. Alive and well. NICK Merry Christmas, Rudy. Ashley smiles. Her muscles-and-mustache man pen pal is here. NICK I missed you, beautiful. ASHLEY I missed you too, Nicky baby. They share a passionate kiss. Ashley malts at the sight of him, embracing happily. Then turns to Rudy: ASHLEY For your information. I never fuck the wrong guy. Rudy just stands there, his mind playing catch-up. NICK Oh, hey. Have you two been properly introduced? Sweetness, this is Rudy Duncan, I did almost a year with him in the Mountain. Read him all your letters, talked about you all the time, made him feel like he really knew you. (turns to Rudy) My friend... wantcha to meet Millie Bobek. 'Member Millie Bobek, dontcha? My girlfriend fore I went in? Worked at that bar in Motor City, where I manslaughtered that guy? Hell. Didn't talk about her much once the Ashley letters started coming, I guess. Rudy doesn't notice it's started to snow. NICK Millie here used to serve drinks to these gunrunning truckers, real big talkers, talking bout a real score one day. I was in the Mountain, man, what the hell, why not let her get friendly with 'em? Let her tell 'em an idea she had, 'bout writing guys in prison. Getting one who could show 'em a sure thing. RUDY She set them up. All of them. NICK Why not have her pretend to find me? Pretend to write me and reel me in? Tell her new trucker-man she'd pose as some sister of his named Ashley? RUDY And you set me up. NICK Always wanted to rob that casino, Rudy. Way back when I worked there. What better way than to get some guys to rob it for me. Nick shrugs. Prods Rudy up the ramp. Into the trailer: NICK Paid the Alamo ten bucks to put the shiv in me. He's a lifer, what does he care. Paid a hospital guard fifty to put out the story I was dead. Once the wound healed up... (notes cash-sacks) Got out of the Mountain this morning. And tonight I'm a rich man. RUDY How'd you know I'd do it. NICK Do what? RUDY Walk outta there and tell her I was you. Nick looks back at Ashley. NICK Because every time I read her letters, Rudy... you listened. (to Ashley) Keep your gun on him. Nick forces Rudy inside, unties the belt from his wrists and lashes them to the bottom of the steering wheel. NICK Five Santas walked into that Tomahawk, Rudy. That's what the witnesses'll say. So we gotta have five Santas not walk out. Gotta have five... (working) This'll burn right away... in the fire... Nick gets Rudy's wrists locked to the wheel. He laughs. NICK Hell, you never needed to convince Ashley you were me. Just the dumb fucking truckers. I figured I'd talked enough about the Tomahawk in the pen for you to get by -- RUDY Talked about the old man's weapons stash, probably forgot I'd remember NICK Hm. Well. They'd have killed you if you weren't me, Rudy. We knew you'd start convincing 'em soon enough. Nick slams the car door, locking Rudy in. NICK They had the weapons and the willpower. We just gave them their inside man. RUDY You gave them me. NICK I gave them me. (shrugs, smiles) Said some nice things about me, Rudy. I appreciate it. But don't worry. I do love her. And she loves me. You had that right all along. Nick reaches across him, releases the brake. Puts the car into "Drive." Turns to Ashley: NICK Sweetness! Let's light up the tree! Ashley steps toward the ramp, taking out a matchbook. Nick steps further into the trailer, to the back of the Nova. IN THE CAR Rudy immediately wriggles his hands, trying to touch his wrists together. Trying to press together the white cuffs of his Santa suit. Trying to get the right pressure point -- -- as a BLADE suddenly springs out of the cuff! The switchblade he'd stolen from the Blazer -- it's lashed to his right wrist! Rudy starts sawing his wrist back and forth, cutting through the Santa belt -- -- his hands at the bottom of the wheel, too low for either Ashley or Nick to see -- IN THE TRAILER Ashley is at the hood of the car, LIGHTING her match. Nick is at the back bumper, ready to push it down the ramp -- NICK Goodbye, Rudy! Nice spending time with you! IN THE CAR The belt breaks! Rudy snaps his hands free! But instead of trying to escape, he reaches under the steering column, RIPPING its panel away and pulling wires free! As Ashley tosses her match onto the hood, and FIRE races over the body of the car, TONGUES racing inside, over the dash, over the seats, lapping at Rudy -- -- who ducks his head beneath the wheel, frantic to locate the right leads -- IN THE TRAILER Ashley jumps out of the way, to the snow. Nick pushes the flaming car to the trailer's edge -- -- starting on down the ramp, the ravine ahead -- -- and as gravity starts to take the metal bonfire -- IN THE CAR Rudy sparks two wires together, FLAMES eating at him -- RUDY LIKE RIDING A BIKE, LIKE RIDING A BIKE, LIKE RIDING A BIIIIIKE! -- and the ENGINE IGNITES! Rudy slams the gearshift into "Reverse", grabs the wheel and looks over his shoulder at shocked Nick behind him -- RUDY RULE ONE! NEVER PUT A CAR THIEF BEHIND THE WHEEL! -- and SLAMS the accelerator. ON FULL SCENE As the burning Nova races backwards up the ramp, and back into the trailer -- Terrified Nick turns to run but there's nowhere to go -- -- and the car SLAMS into the trailer's back, CRUSHING Nick's legs between metal and metal! ASHLEY NOOOOOOO!!! Then Rudy faces front, pounds the shift into "Drive." RUDY RULE TWO! Ashley stands at the bottom of the ramp, vengeance and rage. She grabs her handgun, OPENS FIRE -- -- and Rudy SLAMS the gas again, shooting down the ramp -- -- as he flings open the car door, dives and rolls -- -- while the burning Nova COLLIDES with Ashley, throwing her onto the hood, and sending the tandem inferno speeding off the ridgetop -- -- arcing slowly as it PLUMMETS into the ravine, a smoking, blazing shooting star with a woman's figure hanging on. The shooting star hits Earth and explodes. SLOW DISSOLVE TO: INT. CASINO/EXT. SNOWY ROAD - MONTAGE The same four shots that opened the film. The Santa on the floor of the cage (Pug), the Santa on the hood of the car (Merlin), the Santa in the hallway (Jumpy). And the Santa lying face-down on the snowy road. Gabriel. EXT. RAVINE'S EDGE - SAME The last of the opening images. Rudy's motionless Santa figure, upside-down on the snowy incline, bits of his suit still aflame. He opens his eyes. ANGLE ON SNOWY ROAD Rudy staggers to his feet. Battered and dazed. Looks at Gabriel's body. Then looks to the trailer. Inside, Nick is still alive, bones broken from the waist down. He's mumbling madly, staring at the ceiling: NICK ...Rudy... help me... Rudy... Rudy climbs the tire ramp. And pulls the trailer gate shut. He climbs into the rig's cab. Starts the engine. Puts the truck in reverse, taps the accelerator and hops out. NICK (O.S.) ...Rudy! Rudy! HELP ME!!! The truck rolls backwards. And into the ravine. Rudy listens to its TUMBLING SOUNDS all the way to the bottom. He then looks up the road one way. Then the other. And notices the two money sacks sitting in the snow. He stares at them. A long time. DISSOLVE TO: EXT. RUDY'S JOURNEY - MONTAGE - NIGHT/DAY In his burnt and battered Santa suit, Rudy's figure trudges the snowy night. Two sacks over his shoulder. walking empty roads and highways. And passing a roadsign that reads "Sidnaw -- 35 Miles." He passes rural roads and driveways, and every time he comes across a mailbox... he puts a stack of cash inside. On the soundtrack, the STRINGS and RUM-PUM-PUM-PUMS of "The Little Drummer Boy" start to rise -- With snow falling, he passes a new sign: "Sidnaw -- 27 Miles." With the sun rising, a PAIR OF CHILDREN huddle at a window, seeing the man in the Santa suit at the end of their driveway. Giving them something from his sack and ambling on. -- and we follow Rudy's march, stuffing presents into mailboxes. At every-stop on the way. DISSOLVE TO: EXT. A SUBURBAN NEIGHBORHOOD - DAY A cul-de-sac of Norman Rockwell Michigan homes. Graced with pines and a pristine snowfall. Christmas trees in windows, lights on inside, figures of FAMILIES in holiday gear. No one noticing the man in the Santa suit, his sacks long gone, walking up the road. EXT./INT. FIFTIES-ERA HOME - DAY At cul-de-sac's end. Where a blackened red cuff KNOCKS. After a moment, the door opens to reveal a smiling MOTHER and FATHER in their sixties. There's a party going on inside; a dining table visible beyond them. The Mother and Father's smiles disappear. Shock. Concern. MOTHER Rudy...? Rudy? FATHER Son? Is... is that you...? The Santa Claus shuffles inside, right past them. The Santa Claus sleepwalks straight for the dining room, finding a dozen RELATIVES, laughing and eating. A table laden with turkey and stuffing, gravy and cranberry, wassail and wine. The relatives stop still. The room goes silent. The Santa Claus sits down at the head of the table. Yes, it's Rudy. Without a word, he stares at the food before him. And takes a plate. He stacks it with meat and dressing and trimmings, and sets it in front of him. And digs in. Stuffing his face in silence. His Mother and Father return to the dining room, gaping. The other relatives look likewise. All staring at Rudy. Then, while he eats, without another sound... ...the Mother takes her seat at the table... ...and the Father pulls up another chair. They touch hands privately, and turn back to their plates. There's a CLANK of silverware, a SCRAPE of china, a CLINK of glass, and one-by-one, the relatives resume their meals. CONVERSATION picks up where it left off, SMILES return to the table, LAUGHTER slowly rises in the room. There is Mr. Duncan and Mrs. Duncan, Aunt Lisbeth and Uncle Ray, Aunt Mary and Uncle Pete, toddler Sasha and teenage Sam, brother Mike and his girlfriend Jill, sister Stacy and her husband Bill, Grandpa Walter, little Wendy Sue... ...and at the head of the table... Rudy Duncan. Home for Christmas. CUT TO BLACK. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Relic, The.txt b/unformated_scripts/Script_Relic, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..360c57b12205a440b4cd5bd5d2e510b781b719b2 --- /dev/null +++ b/unformated_scripts/Script_Relic, The.txt @@ -0,0 +1 @@ +RELIC a screenplay by Amy Holden Jones based on the book by Douglas Preston and Lincoln Child March 16, 1995 TITLE CARD... BELEM BRAZIL - JULY... EXT. BELEM STREETS - NIGHT A taxi careens down narrow roadways at breakneck speeds. INT. TAXI - NIGHT In the back seat is WHITTLESLEY. Early 40's, the wreck of a once handsome man. Unshaven. Sweat stained. Rail thin. Scratches on his arms, a fresh scar on one cheek. As the taxi roars downhill towards the harbor, Whittlesley leans over the front seat. (Italics indicate Portuguese to be subtitled) WHITTLESLEY Faster! We won't make it. DRIVER You want to die? Whittlesley pulls out A KNIFE, puts it to the driver's jugular vein. WHITTLESLEY Do you? Sweat pouring down his brow, the driver re-doubles his speed. EXT. BELEM STREETS - NIGHT The taxi swerves around a corner, nearly crashing into a fruit cart, flies out of sight. EXT. HARBOR - BELEM - NIGHT Light rain obscures the bulky outlines of tethered freighters. We hear faint laughter leavened with Portuguese phrases, distant Calypso music from waterfront bars. One of the smaller boats, the SANTA LUCIA, is loading as the TAXI fishtails to a halt. Whittlesley gets out, sees the boat still at dock. His face floods with relief. WHITTLESLEY Thank God. He tosses a handful of bills into the driver's lap, sprints up the pier as the driver shouts curses after him in Portuguese. Whittlesley shoves past the dock hands as the last load goes onto the Santa Lucia. The boat's engines churn to life. WHITTLESLEY I need to speak to the captain! Where is he? The sailors hold Whittlesley back. WHITTLESLEY Get your hands off me! I'm trying to save your lives, you fools! Several crew members murmur the word "loco". Hearing the commotion, a squat man wearing a billed hat and smoking a cigar approaches. CAPTAIN FRANCO. FRANCO American? WHITTLESLEY Yes. Thank Christ somebody speaks English. I'm Dr. John Whittlesley. You have some crates of mine on board. They were shipped by mistake to the Natural History Museum. We have to get them off the boat. FRANCO You have I.D.? Whittlesley runs a trembling hand through his hair, trying to keep control and appear reasonable. WHITTLESLEY No. Let me explain. I was on an expedition for the museum on the Upper Xingu. Something horrible happened. I'm the only one who got out alive. I lost everything, my I.D., everything. I have to make sure no one else dies. The crates, the crates were sent out before we knew. There's something unspeakable inside. If your boat leaves harbor with those crates on board, I can't be responsible. My God, if they reach New York... Whittlesley's fists clench spasmodically. Franco looks to his men. FRANCO Loco. WHITTLESLEY No! I'm not crazy! As God is my witness, I'm telling the truth. Franco barks an order and several sailors grab Whittlesley by the arms. They start to lead him back to shore. WHITTLESLEY Don't do this! You have to believe me. Your lives are in danger. The sailors laugh. But with an almost super-human strength born of desperation, Whittlesley throws them off. He pulls out his wallet. WHITTLESLEY Cash. Cash, you see? American money. Whittlesley throws the money down on the deck. The breeze scatters the bills across the bow and all the men, including Captain Franco, scramble for the money, chattering in Portuguese. While they are occupied, Whittlesley slips by unnoticed and disappears below deck. INT. HOLD - SANTA LUCIA - NIGHT Whittlesley ducks between cages of goats, boxes of farm equipment, his movements jerky with panic. As he continues searching, the camera moves past him, into the darkness of the hold. We hear Whittlesley mumbling between low, ragged breaths. At the back of the boat the camera finds... A STACK OF CRATES... clearly labeled NATURAL HISTORY MUSEUM. Move in on these as... The CRATES VIBRATE. The boat has started to move! Whittlesley stands bolt upright, realizing what's going on. WHITTLESLEY No! Too late. He turns to run back on deck but then stops, sniffs the air. A look of desperation fills his eyes. With one hand he pulls out THE KNIFE, and unexpectedly puts it to HIS OWN NECK. Better to kill himself than face what comes next. The knife touches... A NECKLACE of TWO ARROWS, one gold, another silver. Whittlesley stares wide-eyed into the blackness of the hold. The goats start BLEATING in blind panic. A shaft of moonlight comes through a porthole as the boat turns. The moonlight falls on THE CRATES. Whittlesley's eyes lock onto them and he inches towards them, drawn inexorably closer... closer... WHITTLESLEY No... no... He begins mumbling a prayer. MOVE IN ON HIS EYES... filled with dread as he falls to his knees, staring, always staring at THE CRATES... EXT. DOCKS - NIGHT The crew tends to business and the Santa Lucia points out of the harbor, disappears into the night. DISSOLVE TO: EXT. LOUISIANNA COAST - DAY... TITLE CARD... JUNE Squad cars roar down the back roads, sirens flashing. In the center of the column is an unmarked car. INT. UNMARKED CAR - DAY At the wheel is a strikingly dignified and imposing black man wearing a simple, old-fashioned dark suit, narrow black tie, and white shirt. This is SPECIAL AGENT PENDERGAST, FBI. A BACH SONATA for violin and harpsichord plays on the tape deck. Pendergast hums along as he drives. A SMALL TOWN COP rides shotgun. The cop is intimidated both by Pendergast and the morning's events. He sweats heavily as he brings Pendergast up to date. SMALL TOWN COP One of the locals found it at dawn. Didn't believe him 'till I saw it myself. Even then I didn't believe it. Scared my men shitless. Me too. I mean... hell... You could smell it a half mile away, Mr. Pendergast. PENDERGAST (unperturbed) Any of your men go on board? SMALL TOWN COP No sir. No way. None of us wanted to, I'm the first to admit it. I said, "Don't get within a mile of this thing. It's way to big for us. I'm calling the FBI." Pendergast nods his approval, resumes humming along with a particularly intricate harpsichord riff. As always, the man is unflappable and totally calm as he drives. EXT. LOUISIANA BEACH - DAY The ocean is still, the air stifling and close. A hot sun beats down on the deck of the SANTA LUCIA. The boat lists at a crazy angle where it has been washed up on the shore. At first glance, it appears to be deserted. A barrel rolls back and forth as the boat is rocked by each successive wave. We hear sirens approaching and the phalanx of squad cars pulls up. Joining them now are TWO AMBULANCES. PENDERGAST gets out along with the others. All of the cops immediately cover their faces, gagging violently at the smell. Pendergast sniffs once and frowns. Apart from this, he doesn't react. SMALL TOWN COP (choking) Goin' up-wind if you don't mind. Pendergast nods. The cops all fall back in revulsion. They watch from a safe distance as Pendergast approaches the ghost ship. His shiny laced wing-tips sink in the sand. He leans down, pulls them off one at a time. He balls both socks, puts them carefully into his shoes and proceeds barefoot towards the boat. Using a piece of driftwood as a plank, Pendergast leans it against the Santa Lucia. With surprising agility, he leaps up the plank to the deck. At the top he touches a rail. It's covered in a DARK STICKY LIQUID. BLOOD. Flies buzz loudly. A LARGE MACHETE lies abandoned in the stern. Chairs are overturned. A DEAD GOAT, eviscerated, lies in the bow. A lifeboat hangs half off the stern. Pendergast moves aft. The COPS watch from the sand below, unwilling to get any closer. Pendergast hears A DOOR slamming open and closed. He follows the noise and sees... THE DOOR TO THE HOLD. He approaches, pushes it open and looks down the stairwell. Below deck are BODIES... stacks of them. They've been TORN TO SHREDS. THE CAMERA MOVES down to one particular man who is nearest the top of the stairs. It's CAPTAIN FRANCO. His face is frozen in a howl of terror. Flies congregate in the eye sockets. With his foot, Pendergast nudges the body over. The skull has been torn open. THERE IS NO BACK TO FRANCO'S HEAD. FADE TO BLACK: Silence then we begin hearing sounds of the city... horns, traffic, construction work. SUPER TITLE... NEW YORK CITY, FOUR MONTHS LATER as we... FADE IN: ON A NECKLACE of TWO ARROWS, one of gold, the other silver. The twin to the one seen on Whittlesley. Widen to... EXT. ROOFTOP GARDEN - MARGO'S NEW YORK APARTMENT - MORNING And the woman wearing the necklace... MARGO GREEN. She sips her morning coffee as she makes notes on several large FOSSILIZED TEETH. Her hair is neatly combed. No make-up. She doesn't need it. She has a natural, unselfconscious beauty and a mind like a steel trap. At Margo's elbow is a small T.V. A CNN world news report plays. Margo's New York Times is open to the crossword puzzle, which she's been doing rapidly, in ink. Clearly this is a woman who likes order, with a mind that can handle more than one thing at a time. An alarm on her watch beeps and she fills in the last two lines of the crossword puzzle, makes one final note on the fossil specimens, and shuts off the T.V. She reaches for her back pack and looks out at CENTRAL PARK with remarkably clear eyes. EXT. CENTRAL PARK - MORNING HELICOPTER SHOT... Swooping over the fall foliage of the Park, a riot of color and botanical life... The camera picks out MARGO'S BICYCLE making its way along the winding roads, dodging taxi cabs. Margo wears jeans, a work shirt, a fine blue gabardine jacket with a rhinestone DOUBLE HELIX PIN. On her back is a LEATHER BACK PACK which holds her lap top computer. She emerges from the park, catches the green light and rolls up to... EXT. MUSEUM OF NATURAL HISTORY - DAY As Margo arrives, the camera moves up and over the building, comes to rest on the imposing turrets, intersecting roof lines, and Gothic arches of the MUSEUM OF NATURAL HISTORY. This is not an ordinary building; it's a 19th century monument to science and mankind. The structure fills an entire city block. Happy visitors pour into the museum as Margo takes the imposing wide stone steps two at a time. We hear SCREAMS of pleasure and release, the normal raucous noises of a large group of THIRD GRADE CHILDREN. Margo is amused to find herself surrounded by kids. Their teacher, MRS. BEASLEY, a stern woman in glasses with a thick New York accent, calls after them as they all head inside. MRS. BEASLEY Don't run, children! Stay with your partner and do not run! If anyone runs they will be sent back to the bus! Ignoring Mrs. Beasley, TWO BOYS charge past Margo. HENRY and LARRY. Henry has a buzz cut; Larry has rasta dread knots. Both are 8 years old, wear high top sneakers and shorts so big they graze their ankles. MRS. BEASLEY Henry! Larry! What did I just say! You walk right this minute! Did you hear me?! Reluctantly, Henry and Larry slow to a rapid race-walk as they reach the huge doorway flanked by two Northwest Coast Indian totem poles. Above the doorway WORKMEN are hanging a LARGE BANNER. It reads: "SUPERSTITION EXHIBIT... OPENING OCT. 29" INT. MUSEUM ROTUNDA/STAIRWELL - DAY The school children burst into a three story space dominated by a life-sized statue of a HERD OF ELEPHANTS. The kids chatter with excitement, look up in awe. Margo nods to a GUARD who smiles as she pins on a plastic I.D. GUARD Morning, Dr. Green. MARGO Morning Joe. Beautiful day. Henry watches Margo pass through the turnstiles without paying. He swaggers over. HENRY You work here? MARGO Yes, I do. HENRY What do you do? MARGO (leans down, amused) I'm an Evolutionary Biologist. What do you do? HENRY Nothing. I'm in third grade. What's a revolutionary what ch'a ma' callit? MARGO Evolutionary Biologist. I study how life on earth evolved over millions of years. HENRY (brightens) Way cool. Then you know where the dinosaurs are. MARGO Fourth floor, West wing, but stay with your class. Mrs. Beasley heads into the museum and Larry and Henry merge with the rest of the kids. Margo turns towards the stairwell, passing... IAN CUTHBERT... Museum Director... a pudgy man in wire rim glasses who dresses and thinks like a banker. Hired for his amazing ability to raise money, Cuthbert is one of a new generation of Museum Directors whose focus must always be on the bottom line. MARGO Hello, Ian. Everything ready for the opening of the Superstition Exhibit? CUTHBERT I'm on my way to get the last piece out of storage right now. MARGO I'd wish you luck but I'm not superstitious. CUTHBERT You will be after tomorrow night. Cuthbert waves merrily. A workman uses a LADDER in the stairwell. Cuthbert is about to walk under the ladder, stops and carefully walks around it instead. Margo smiles, goes on upstairs. INT. MUSEUM BASEMENT - DAY Cuthbert enters from the lower stairwell. He is now in one of the hundreds of areas of the museum that are closed to the the general public. He follows a labyrinthine route down a dim passageway lined with rumbling steam pipes. There are storage areas on both sides labeled ORNITHOLOGY, HERPITOLOGY, CENTRAL ASIA EXPEDITIONS, AKELEY EXPEDITIONS, WHALE BONE FOSSILS and so on. Finally Cuthbert comes to a door marked "WHITTLESLEY EXPEDITIONS 1978-95". Cuthbert pauses and gets out a key, but to his surprise the door pushes open. The lock and doorknob mechanism are both broken off! Cuthbert frowns. CUTHBERT What the... ? He goes inside. INT. WHITTLESLEY COLLECTION BASEMENT - DAY Cuthbert flips on a light to see a tall, narrow space. Stacks of metal shelves reach up into the gloom. Everywhere we see spears, shields, masks, various artifacts. Ancient tribal costumes lie shrouded in plastic like corpses against the walls. And in the middle of the gloom, sitting ominously in the light of a sole hanging bulb are... THE WHITTLESLEY CRATES. The same ones last seen in the hold of the ill-fated Santa Lucia. They are scattered about in disarray. One in particular has been broken open, its contents spread on the floor. Cuthbert mutters in surprise and dismay, kneels by the crate. CUTHBERT No, it can't be. Cuthbert feels gently through the packing material, lets out a sigh of relief as he pulls out a figurine. It is a small, beautifully carved statue of A MONSTER crouched on all fours. The room falls totally silent as Cuthbert studies THE RELIC. It's a truly frightening piece... massive, razor sharp claws, large round nostrils, enormous teeth and red rimmed eyes. Suddenly Cuthbert sees a DROP OF BLOOD on his hand! He's been CUT! CUTHBERT Damn. Cuthbert rises, shakes his finger in pain. Blood drips on the floor. He pulls out his pocket handkerchief and wraps the wound. The handkerchief rapidly soaks through. Suddenly a HAND CLAMPS on Cuthbert's shoulder! He's not alone! He lets out a YELP, almost dropping the Relic and spins to see... A MUSEUM GUARD standing behind him. His nameplate reads... BEAUREGARD. He's a gentle young fellow with white blond hair and a rolling southern accent. CUTHBERT Beauregard! You scared me half to death. BEAUREGARD I'm sorry, sir. You okay? CUTHBERT Someone broke into this room. BEAUREGARD Anything missin'? CUTHBERT Doesn't look like it. We're damned lucky. This statue is priceless. Cuthbert holds up the RELIC of THE MONSTER. Beauregard stares. CUTHBERT Mbwun. A South American warrior deity. He carries a powerful curse. Every member of the expedition that found this statue, died. Beauregard sees Cuthbert's cut finger. BEAUREGARD Looks like the curse is still at work. CUTHBERT The claws are sharp... I must have cut myself. (uneasy laugh) Better move these crates to the secure storage area where they'll be safe. Beauregard studies the door as Cuthbert heads out with the figurine. BEAUREGARD Don't know if it'll do any good, Mr. Cuthbert. CUTHBERT Why not? BEAUREGARD No one broke into this room, sir. Someone broke out. That lock was torn off from the inside. Cuthbert glances at the evil face of Mbwun, pales. As he exits, HOLD ON BEAUREGARD, left alone with the crates. INT. PHYSICAL ANTHROPOLOGY LAB - DAY Huge centrifuges, hissing autoclaves, electrophoresis apparati, glowing monitors, elaborate blown-glass distillation columns and titration set-ups. One of the most advanced technical facilities of its kind. And mixed in with all the modern machinery are SKELETONS OF ALL KINDS. Complete homo sapien specimens are scattered around the room. Standing midst all this is GREGORY KAWAKITA, early twenties. Kawakita makes sharp, jerky overhead movements with his left hand, waving something about. He's practicing casting. We hear the zing of a line and the whirring of the fly reel as MARGO ENTERS. A fly whips out, passing right under her nose. KAWAKITA Third from the end! Right shoulder. Aleut, provenance unknown. The fly zooms across the room and lights on the shoulder of the third skeleton from the end, labeled "Aleut, provenance unknown." Margo rolls her eyes and Kawakita smiles with pride. KAWAKITA If I spent half the time on my Fractal Evolution thesis that I spend on this fly rod, I'd have my PhD. MARGO (small smile) But at what a price. Kawakita reels in his line as Margo drops her backpack on her large desk. An enormous MICROSCOPE stands by the equally imposing computer topped by a tiger skull. A screen saver of an animated pterodactyl plays. Margo unpacks boxes of fossil teeth, hits some keys revealing columns of seemingly indecipherable chemical equations on the computer screen. MARGO I have the species identification on these teeth. We can extract DNA and start running tests on the extrapolator program. Call Dr. Frock. He wanted a demonstration. KAWAKITA Margo, you haven't heard? MARGO What? KAWAKITA Frock's been fired. Margo straightens, stunned. MARGO That's impossible. KAWAKITA (awkward) I'm sorry to be the bearer of bad tidings, but you know me. Telegraph. Telephone. Tell Kawakita. I got the definitive word from Cuthbert's secretary. This is Dr. Frock's last week. Margo is already out the door. INT. CORRIDORS/STAIRWELL - MUSEUM - DAY Margo charges through double doors leading into the southwest tower. She half runs down an elegant, Edwardian fifth-floor corridor, her footsteps lost in the thick carpet. At the very end is a heavy oak door bearing a plate entwined with bronze leaves that reads simply "Dr. Frock". INT. FROCK'S OFFICE - DAY Margo bursts into the unique office, which is in startling contrast to the modernity of her own. Two large bow windows look out over the park. Upholstered Victorian chairs in a leaf motif sit on needlepoint carpets featuring large red roses. Plant specimens and drawings of flora and fauna line the walls. Cardboard boxes cover the floor. Seated in a wheelchair is a white-haired man in a tweed jacket and a loud floral tie. Glasses slip down his nose. This is DR. FROCK, and he's in the middle of packing. He looks up, smiles apologetically. DR. FROCK Hello, Margo. Sorry about the mess. MARGO Is it true? Greg said you'd been fired. FROCK Yes. Bit of a shock. But as Cuthbert so tactfully put it, the museum needs new blood. And since I've been here since the Mesozoic Era -- MARGO I don't believe it. FROCK Now Margo, don't overreact. Cuthbert has to cut costs somehow. My leaving makes perfect sense. This isn't exactly early retirement. I've overstayed the party a bit. MARGO We can't do without you. You're one of the foremost authorities on primitive pharmacology. You're practically an institution around here. FROCK That, apparently, is the problem. I'm yesterday's news. Who needs a Curator of Plant Biology in a museum with one exhibit on plants? Monsters and dinosaurs, cannibals and shamans are the new currency of the realm. Frock goes back to his work packing to hide his emotion and Margo moves to his side. She pulls Frock's books back out of the box, returns them to his desk. MARGO "Phyletic Transformation and the Tertiary Fern Spike" is not going anywhere. I'll talk to Cuthbert and put a stop to this right now. She starts for the door and Frock wheels into her path. Now for the first time she sees what he's been carefully hiding... the deep pain in his eyes. FROCK Please. Don't humiliate me further. MARGO Let me help. I can take care of everything. FROCK No, Margo. This is one problem you can't solve. You have to stay out of it. The fact is, I want to retire. MARGO How can you say that? You know it's not true. FROCK Yes it is. I'm tired and I'm no longer needed -- MARGO My work on fossil intermediates would be crippled without you. FROCK With all due respect, dear, that's bull. You dance rings around me with your new technology. You've left me in the dust. MARGO (stubbornly loyal) Your work is highly relevant. What about your display on Primitive Pharmacology? Cuthbert told me himself he was going to feature it prominently in the Superstition Exhibit. FROCK Healing plant use among the Ki tribe of Bechuanaland has been cancelled to make room for Tibetan Erotic Art. Frock reaches out and squeezes her hand gently with a look that says the discussion is over. FROCK Come on. I'll walk you back to the elevator. MARGO I'm not giving up. FROCK You must. INT. MUSEUM HALLWAYS - DAY Frock rolls back down the hall the way Margo just came. Margo is beside him, downcast. She's not used to defeat. FROCK This isn't a death sentence. Greg has promised to teach me fly fishing. I'll garden. I'll write. MARGO You are this museum. It won't be the same without you. FROCK Everyone needs a change of scenery. I've been rolling down these halls for forty-odd years. That's quite enough. Margo gets in the elevator reluctantly. He smiles and meets her eye. FROCK I'll see you at lunch. He waves her off merrily. But once the doors close and Margo's out of sight, Frock's smile fades and his shoulders sag. He ducks his wheelchair quickly into the Hall of African Mammals. INT. HALL OF AFRICAN MAMMALS - AFTERNOON Two stories high, dark and dramatic. A very special display. Dioramas of lions, hippos, wart hogs etc. In the middle is a large statue of a GORILLA beating its chest. Frock takes refuge in the darkness of the exhibit. His wheelchair sits in a quiet corner and we see him quickly wipe the back of his hands across his eyes. INT. MOLLUSKS EXHIBIT - DAY Shells and sea life line the walls. A sign announces the exhibit "Mollusks and Our World." The THIRD GRADE CLASS sweeps in. Larry and Henry start to sing "Mollusks and Our World" to the tune of "Welcome to Our World", the F.A.O. Schwartz theme song. Mrs. Beasley shoots them the evil eye and Henry whines... HENRY Mrs. Beasley, it's almost time to go and we still haven't seen the dinosaurs! BEASLEY If you ask me about the dinosaurs once more, I'II strangle you both! She starts to lecture about horseshoe crabs in a droning monotone. Henry and Larry hang back. LARRY (whispers) This room sucks. HENRY She's never going to take us to see the dinosaurs. That lady said they were on the fourth floor. LARRY Let's ditch and find them ourselves. They dart off down a side corridor and up a wide stairs. INT. REPTILES AND AMPHIBIANS ROOM - DAY Larry and Henry emerge and walk wide-eyed among the cases of lizards, chameleons, tortoises. High windows light the room. Outside the sun is going down. A woman pushing a child in a stroller exits and the boys have the hall to themselves. LARRY Look at this. A Komodo dragon. As Larry checks out, the huge, dragon-like reptile, which has just sunk its Jaws into a stuffed boar. Henry points to a stuffed Gecko climbing vertically up the side of its case. HENRY Check out this one. It can walk up walls. Larry already has his eyes on the far end of the hall where temporary barricades have been put up to prevent access to the next room. Painting is in progress. Scaffolding just begs to be climbed. Henry runs over and starts up the scaffolding. Larry hesitates. LARRY We're not supposed to go back there. HENRY Chicken. This is a great short cut. Henry drops on the other side of the scaffolding and Larry follows. In a moment both disappear from sight. INT. MUSEUM HALL OF BIRDS - DAY Windowless and dark. A closed display under maintenance. Thousands of little stuffed birds line the walls from floor to ceiling, white cotton poking out of sightless eyes. Henry and Larry enter and slow down. Larry's getting scared. LARRY I don't want to go this way. HENRY Don't be a wuss. Come on. The boys continue onward more slowly, their footfalls echoing in the silence. INT. BACK HALLWAYS - DAY The children are now far from the other tourists and their class. Larry is frightened. The hall takes a sharp dog-leg, ending in a darkened cul-de-sac full of display cases filled with hideous carved masks. Against the side of the chamber is a barricade of wood which looks much like a wall. Henry tugs at it and the barricade moves. He looks behind. HENRY Hey, there's a secret staircase back here. Cool. Henry disappears behind the barricade leaving Larry completely alone in the dark room with the Shaman masks. LARRY Henry, come back! Henry doesn't respond. The lights in the cases throw strange shadows. Larry starts to sniffle, falls to hiccuping, sits down. He pulls on a little flap of rubber that's coming off the toe of his sneaker, all bravado gone. LARRY Henry! Henry! No answer. Larry rises and peeks behind the barricade. He sees the circular stair. It descends into total darkness. From below comes a strange smell that makes Larry's nose wrinkle. LARRY Henry? No answer. Larry puts his first foot on the stair. LARRY Henry! Come up! Please! With no other option but staying alone in the dark, Larry follows Henry down. INT. SPIRAL STAIRCASE - DAY Larry clutches the banister, whispers... LARRY Henry? Where are you? Henry? Larry takes another step. Another. And another. He stops. Below him he hears SNUFFLING, rather like a large dog. Larry freezes, starts to cry. LARRY Henry! Henry! It smells awful. Answer me! Are you all right? Larry can barely see a dim hallway stretching out in two directions. He pauses near the bottom of the stairs, eyes wide, holding his breath. There appears to be a darker area of SHADOW at the end of the hall. It's gliding TOWARDS THEM! Suddenly something CLOSES on Larry's leg and he YELPS. It's HENRY. Henry pulls Larry the rest of the way down the stairs. They stand alone together in the darkness. Henry hisses. HENRY Quiet! LARRY What is it? HENRY I don't know. But I think it's bad. They keep their eyes locked on the shape at the end of the hall as they back up, step by step. Move in as their faces suddenly TWIST WITH FEAR. THE BOYS... SCREAM BLOODY MURDER... The sound echoes in the darkness as we... CUT TO: INT. MARGO'S APARTMENT - NIGHT Margo sits up in the darkness, gasping. Moonlight cuts across the bed. It takes a moment for her to realize that she's had a nightmare. She reaches for her light. As she switches it on, we see a photo on her bedside table. It shows a group on a mountain in TIBET. There are several people with their arms slung around each other. At the end is a younger MARGO holding hands with JOHN WHITTLESLEY. They appear to be more than friends. ON MARGO... she looks at the photo a moment, then turns off the light and lies back, alone in her bed. DISSOLVE TO: EXT. CENTRAL PARK WEST - DAY Yellow crime tape encircles the museum. Dead leaves swirl in clusters and the sky is overcast. Overnight, fall turned to winter. The front of the museum is ringed with police cars. Margo rides up on her bike and pauses, startled at the sight. We watch as she crosses, has a few words with one of the officers who motions her to a side entrance. She wheels her bike under a stone tunnel as we pick up... A TAXI CAB arriving at the front entrance. Out steps SPECIAL AGENT PENDERGAST. INT. LOWER ROTUNDA - DAY Margo enters. The huge hall is taken up by an enormous boat carved from the trunk of a single tree. Inside it are mannequins of Northwest Coast Indians. Milling around are at least twenty COPS. One approaches. COP ID. Worried, Margo hands it over. MARGO What's going on? COP All employees are to go to the IMAX room for a briefing, Dr. Green. INT. SIDE HALL - MUSEUM - DAY Several cops go by with tracking dogs. Margo looks back at the dogs, increasingly uneasy, almost bumps into... HENRY AND LARRY. Surprisingly, they are alive and well and seated with MRS. BEASLEY outside an office. Margo exchanges a look with both boys, remembering them from yesterday. A tentative smile starts but Henry and Larry don't return it. Serious and chastened, they drop their eyes. Margo continues on. TWO COPS stand outside the door to the rest room, their backs turned to Margo as she approaches. COP ONE What was that? Six? COP TWO Lost count. Margo glances past them to see an OLDER MAN wearing the badge of a NIGHT WATCHMAN, leaning over a sink. He wipes his mouth. Margo's eyes move down to see... THE MAN'S SNEAKERS are soaked in blood. INT. HALL OF ADVANCED FOSSIL MAMMALS - DAY More cops gather, surrounded by skeletons of primates... humans, monkeys, gorillas. It's an odd sight. They all look up with interest as in walks the imposing figure of... SPECIAL AGENT PENDERGAST. He turns to a young eager beaver, OFFICER BAILEY, flashes his badge. Bailey straightens to attention. PENDERGAST Could you please take me to the officer in charge? INT. CIRCULAR STAIRWELL - DAY Pendergast follows Bailey as they descend the rickety old metal staircase that goes into the bowels of the museum. The hall below them is narrowand lit by an occasional bare bulb. The stairway opens onto a maze-like set of rooms in the basement. Everything around them is STREAKED and SPATTERED in BLOOD. There are trails of it on the floor, the walls, the overhead light. Several COPS stand guard as DETECTIVE VINCE D'AGOSTA goes over the area. He is a round, balding, man with an unmistakable air of authority. A modern knight in shining armor in disguise... deep disguise. He has on a cheap polyester short sleeved shirt. His t-shirt is plainly visible underneath. On his worn plastic belt is a badge. D'AGOSTA Don't touch anything until the S.O.C. has finished with those stairs. Keep everyone clear of the perimeter. I don't want any contamination. There's an incredible amount of blood evidence down here. We need more light. Where's the photographer? Tell him to quit eating donuts, I need him. As Pendergast enters, D'Agosta looks up at this serious African- American in simple black suit, white shirt and dark tie. D'AGOSTA Who are you? The undertaker? PENDERGAST Special Agent Pendergast. FBI. D'AGOSTA Vince D'Agosta. Am I out? PENDERGAST Not at all. I think we may be working on the same case. If so, I could use your help. The two men shake hands. They couldn't be more different. Pendergast is an elegant intellectual... D'Agosta a working class spark plug who operates from the gut. Pendergast gestures to the form on the ground. PENDERGAST The body? D'AGOSTA What's left of it. PENDERGAST Mind if I have a look? D'Agosta calls to A POLICE PHOTOGRAPHER who comes down the staircase carrying lights, a donut stuffed in his mouth. D'AGOSTA We need light in here, stat. PENDERGAST Where's the head? D'Agosta points to a lump the size of a bowling ball that's in the corner. D'AGOSTA Careful. That mess on the ground is brains. PENDERGAST Whose footprints? D'AGOSTA Night watchman who found the body. Sweet old man. Been tossing his cookies for over an hour. Not a likely suspect. The photographer is finally ready and he floods the dark room with light. And now everyone (but not us) gets a very clear look at the body. THE PHOTOGRAPHER... spits out his donut. His eyes roll up and he drops in a dead faint. Just like that. D'Agosta swallows hard. D'AGOSTA Woof. Pendergast looks down, utterly impassive. PENDERGAST Yes, I'd say we're definitely working on the same case. INT. IMAX ROOM - DAY An old 19th century theater. Balconies. Heavy curtains. It looks like the theater where Lincoln was shot, with the exception of the most recent addition, an IMAX SCREEN five stories high. The room is filling with museum employees, all murmuring anxiously. Margo sits down next to Frock's wheelchair. Her face is ashen. MARGO Dr. Frock, I just saw a man back there who'd been wading in blood. As Greg Kawakita sits in the chair next to Margo... MARGO (CON'T) For once I'm glad you're rumor central. What in the world is going on? KAWAKITA Someone's been murdered. Not shot, strangled or stabbed, either. Torn limb from limb. There's talk of a psychotic killer or even an animal. FROCK For heaven's sake, Greg, someone's been killed. Look, it's Cuthbert. Let's hear what really happened. At this everyone falls silent and IAN CUTHBERT steps forward to address the crowd. He appears drawn and grey. CUTHBERT This has been a tragic and upsetting morning. I have terrible news for us all. A member of our security force has been found murdered. The police have just informed me it was Daniel Beauregard. (murmuring fills the room) Quiet. Please. With the help of our head of security, Mr. Ippolito... the museum has been secured. IPPOLITO... rises in the back and nods to the crowd... He's an imperious looking, pompous man with shifty eyes. Right now he's defensive. Overnight, his job is on the line... CUTHBERT The police are satisfied we're in no danger, that we're all perfectly safe. We've been asked to remain in the Gem Room and be available for questioning for the rest of the day. Obviously, we will all do everything we can to cooperate. Are there any questions? Ippolito raises a hand. IPPOLITO The party for the opening of the Superstition Exhibit... I imagine in the light of what's happened it will be pushed back. CUTHBERT No action has been taken yet. The opening of the exhibit is crucial to the financial health of this museum. So for now, we expect that the Superstition Exhibit will open on schedule, tomorrow night. Ippolito registers surprise. The audience buzzes again. INT. GEM ROOM - DAY Margo, Dr. Frock and Greg Kawakita enter. The room is full of spectacular displays of gemstones of every type. Greg drapes himself over a grey sofa. Margo leans on a giant geode. MARGO That Cuthbert. What a piece of work. Someone's dead and all he cares about is his Superstition Exhibit. FROCK Cuthbert's counting on the exhibition's success. The museum is in debt. Contributions and public funding have dried up. Admissions no longer cover overhead. The last big infusion of cash we had was the King Tut exhibit. Cuthbert was hired to get us out of the red. If the Superstition Exhibit isn't lucrative, he'll have to start auctioning off some of these gems. KAWAKITA With all this bad publicity, it's no wonder he looks like that. They glance over and see Cuthbert in the corner. He appears ill, is compulsively fingering his watch chain from which hangs a RABBIT'S FOOT. Frock goes over to speak to him, followed by Margo and Greg. FROCK Ian. Are you okay? CUTHBERT (shakes his head) Beauregard. I can't believe it. I may have been the last one to see him alive. He was with me just yesterday, when I got out the statue of Mbwun. MARGO (taken aback) Mbwun. KAWAKITA (sensing more gossip) What's that? Margo frowns, suddenly uneasy. She and Dr. Frock exchange a look. MARGO Warrior deity of the Kothoga, an extinct South American tribe. Dr. John Whittlesley led an expedition that found the only known representation of Mbwun. The statue is said to carry a curse. (she looks away, quiet) Every member of Whittlesley's expedition died. CUTHBERT I got the relic out yesterday to put on display. Beauregard was there. The crates had been broken into and the contents were strewn about. But nothing was missing. It was downright weird. We joked that it was the curse of Mbwun. I'm not laughing now. FROCK Come, Ian. We all know you're superstitious. But you're among scientists here. We deal in facts. That statue had nothing to do with what happened to Beauregard. CUTHBERT All I know is, everyone who has come in contact with that relic, is dead. INT. BUSINESS OFFICES - MUSEUM - DAY D'Agosta has set up a temporary command post among the antique desks and chairs. The room is on the ground floor with a view of the park. Gawkers are outside looking in. D'Agosta pulls the blinds in their faces. D'AGOSTA (mutters) Get a life. Pendergast is looking closely at one of the large paintings of birds that line the walls. PENDERGAST An original Roger Tory Peterson of a Red-Breasted Merganser. Amazing. I have a copy of this in my office at home. D'AGOSTA Can't really focus on birds at the moment, Pendergast. I'm tryin' to keep my breakfast down. PENDERGAST In this violent world, I believe the only way to stay sane is to take time to notice beautiful things. D'AGOSTA I drink. After hours of course. On duty, I smoke. (he pulls out a fat cigar) Do you mind? PENDERGAST Not at all. I enjoy the smell of a good cigar. D'AGOSTA Then you won't like this one. It's a piece of shit. He bites off the end, spits it out on the floor. PENDERGAST Lieutenant -- D'AGOSTA Call me Vince. PENDERGAST Did you read about a boat that washed up outside of New Orleans about four months ago? Twelve bodies on board. D'AGOSTA Who didn't? Big news. Out of Brazil, wasn't it? PENDERGAST Yes. That's my case. Now it's yours. All the corpses were badly mutilated in a very particular way. Decapitated. Brains extracted. Limbs torn to shreds. It looked like the work of a large animal, but there was no sign of an animal on board. D'AGOSTA So the method of death is the only connection? PENDERGAST No. There's more. There were crates from this museum in the hold of the boat. BAILEY enters, interrupts. BAILEY Uh, Vince. Sorry. This won't wait. D'AGOSTA It better be good. BAILEY There are a couple of kids who were lost yesterday near the site of the murder. Claimed they saw a monster. They're pretty determined to tell you their story. You want to see them? D'AGOSTA (rolls his eyes) No. PENDERGAST If you don't mind, this could be important. D'AGOSTA You're kidding. PENDERGAST Unfortunately, no. INT. MUSEUM CLASSROOM - DAY A modern classroom that has been taken over by the police for the purpose of interrogation. Seated on small chairs at a plain table are... HENRY and LARRY, looking like two little boys with a story they are desperate to share. Standing behind them is MRS. BEASLEY, starchier than ever. D'Agosta takes a chair across from the boys, at their eye level. By this time of day he looks pretty rumpled and tired. Pendergast stands upright and unruffled in a doorway behind. This isn't hard duty for D'Agosta. He's surprisingly genial and at ease with kids. Larry kicks his sneaker against the table leg in excitement. Henry tugs his t-shirt. D'AGOSTA Hi. I'm Lieutenant D'Agosta. You can call me Vince. This is Special Agent Pendergast. You can call him... (he looks to Pendergast, so formal) Special Agent Pendergast. BEASLEY This is Henry Weiss and Larry Bowers. D'AGOSTA So... Tell us about this monster. LARRY We were lost and trying to find a short cut to the dino-- Henry elbows him hard. Larry shuts up. HENRY We were just lost, okay? And we went down this curvy staircase. At the bottom was a big shadow. LARRY Big as a house. HENRY Not that big. LARRY Well almost. Depends which house. It smelled like old hamburger, and it made this weird noise. Henry makes a low GROWL in his throat. D'Agosta suppresses a smile, shoots Pendergast a look. But Pendergast watches the kids intently. LARRY And it snuffled the ground like a dog. HENRY Like this. He goes on hands and knees, sniffs the ground. LARRY It had a long tongue, teeth this big and yellow eyes. HENRY They were green eyes and they were slit like a lizard's. LARRY They were yellow! HENRY You're color blind. BEASLEY Boys, please! (to D'Agosta) These two get in a lot of mischief and they tell some amazing whoppers. D'AGOSTA I can see that. HENRY This isn't a whopper! It's the truth. Pendergast now moves forward, pulls up a chair as if deeply interested. PENDERGAST How did you get away? HENRY We ran and screamed and stuff. And we got through a little door just in time. There was a guard there and he went back to check. PENDERGAST A guard? Do you remember his name? LARRY He was wearing one of those I.D. badges. His name was Bo... something. D'AGOSTA Beauregard? LARRY Yeah. EXT. MUSEUM - DAY An ambulance pulls away, lights flashing. Pendergast and D'Agosta walk to a squad car. D'AGOSTA I've got to admit, that was a damn sight better than "the dog ate my homework". PENDERGAST How do you explain the part about Beauregard? D'AGOSTA They heard the victim's name and wove him into their story. Nice touch. PENDERGAST I believed them. D'Agosta stops, stunned. D'AGOSTA You think what we've got here is a monster as big as a house that smells... like hamburger? PENDERGAST No. I think what we've got here is a psychotic killer wielding some kind of unusual weapon... who wants us to believe he's a monster. D'AGOSTA (totally confused) Oh. INT. NEW YORK CITY MORGUE - EVENING D'Agosta and Pendergast thread their way down a hall lined with bodies on gurneys. It's dark and quiet. They go into the autopsy room. INT. AUTOPSY ROOM - AFTERNOON A large gurney, currently empty, sits like an uninvited guest under the bright lights of the autopsy suite. Beside it is a tall, imposing doctor in her late 50's, with intense eyes. This is DR. ZIEWZIC. With her are the PHOTOGRAPHER seen passing out at the museum, and a young intern, DOCTOR GROSS. DR. ZIEWZIC You're late, Vince. D'AGOSTA Sorry Dr. Ziewzic. This is Special Agent Pendergast. Pendergast, Dr. Ziewzic. She runs the best chop shop in New York. PENDERGAST We've met. The Hacksaw Murders. '89. DR. ZIEWZIC Oh yes! Who could forget. Afterwards you sent me that amazing case of Chateau Lafitte. PENDERGAST I hope you liked it. DR. ZIEWZIC Lovely bouquet. After our last case, Vince took me out for a draft beer. As I recall we split the check. D'AGOSTA (grumbles) It's been one of those days. DR. ZIEWZIC (she snaps her rubber glove) Shall we get down to it, then? Dr. Gross wheels the gurney over to the morgue bank and slides open a drawer. The shape under the plastic seems too small to be human. To the side of it is a large bump, presumably the head. The two pieces of cadaver are slid onto the gurney and wheeled under the lights. A stainless steel bucket is placed under the gurney's outlet pipe. Dr. Ziewzic fiddles with a microphone hanging above the body, she taps it and it gives off the proper static. DR. ZIEWZIC (for the microphone) This is Dr. Matilda Ziewzic, assisted by Dr. Frederick Gross. It's Oct. 28, six fifteen p.m. We are joined by Lieutenant Vincent D'Agosta of the NYPD, Special Agent Pendergast of the FBI and a police photographer. Let's see what we've got. They pull off the sheet and D'AGOSTA swallows hard, closes his eyes to keep his stomach in check. The photographer goes green, but is determined not to clutch this time. PENDERGAST leans closer, totally impassive. He puts on a small pair of wire rim glasses, assumes an expression much like a man reading a menu in a restaurant. DR. ZIEWZIC Caucasian male. Age about 27. Blond. Height well I can't give a height because Mr. Beauregard has been decapitated. The state of the body is such that other identifying marks are out of the question. There are numerous lacerations proceeding from the left anterior pectoral downwards through the sternum and terminating in the abdomen. This is a massive wound, two feet long and a foot wide. The head has suffered severe trauma and the occipital portion of the calavarium has been crushed and removed. It almost looks like... DR. GROSS (beat) A bite. Ziewzic turns to Pendergast. DR. ZIEWZIC What are we talking about here? PENDERGAST Someone who makes the Hacksaw Murderer look like Mother Teresa. DR. ZIEWZIC Right. (back to work) The entire brain appears to have been extracted. May I see it, please? Gross passes over a grey, watery mass that sits in a stainless steel pan. Ziewzic studies Beauregard's brain, or what's left of it... DR. ZIEWZIC Curious. There's something missing. PENDERGAST The thalamus and the hypothalamus, perhaps? DR. ZIEWZIC (looks up, surprised) Yes. Two organs the size of a walnut have been removed with what looks like surgical precision. D'AGOSTA What happened to them? PENDERGAST If you don't mind a suggestion, you might try a saliva test. Ziewzic, Gross and D'Agosta look at Pendergast. The photographer is staring at the wall, silently mouthing multiplication tables to keep from woofing all over the place. D'AGOSTA (incredulous) Saliva test? You mean, you think someone ate part of the brain? PENDERGAST Correct. A long moment of silence, then... Zwiezic uses a swab for the saliva test, puts the result in a petrie dish. DR. ZWIEZIC Okay. One saliva test. Now... let's look at these lacerations. They start wide and then converge. D'AGOSTA Long fingernails? Scratches? DR. ZWIEZIC Too extreme. Perhaps some kind of weapon. I'm now probing the wound and... there's a piece of foreign material deep in the muscle, lodged on a rib. Photograph. The photographer gathers his courage, steps forward with D'Agosta and Pendergast. Zwiezic rinses the object off in a beaker of sterile water. It turns brownish red. She holds it up. They all stare in astonished silence. D'Agosta swallows. D'AGOSTA Sweet Jesus. DR. ZWIEZIC It's a claw. The photographer's flash goes off. DISSOLVE TO: EXT. STREETS - NIGHT A black and white heads uptown. INT. COP CAR - NIGHT Pendergast sits in silence. D'Agosta is visibly disturbed. D'AGOSTA I don't like animals. Never have. Dog bit me when I was little. After that I gave up on pets. Animals are irrational. Give me a psychotic killer any day. If there's one thing that makes me queasy it's being part of a food chain. My first case as a rookie, two brothers climbed a fence at the zoo. It was late August. Over ninety. The polar bear was inside his cave. Kids didn't know he was in there. All they saw was the pool. They got to swimming and splashing. The noise woke up the bear. By the time I arrived, both little boys were in pieces. The bear was dragging one kid around by the foot. I can still hear the mother screaming -- PENDERGAST This isn't an animal, Vince. I've been on this case four months, remember? I've learned a few things. D'AGOSTA You've been holding out on me Pendergast. You have a suspect capable of this? Pendergast looks over, nods quietly. PENDERGAST Let me tell you about it, Vince. EXT. NATURAL HISTORY MUSEUM - DUSK The yellow crime scene tape is torn and flapping in a light rain. Most of the emergency vehicles have left. The police have released the employees who are now headed home. We see Frock and Kawakita exit. Cuthbert isn't far behind. Pendergast approaches them, headed back inside. PENDERGAST Excuse me. Has Dr. Green left? KAWAKITA Before eight? You must be joking. She's in the physical anthro lab making up for lost time. Pendergast nods his thanks. INT. MUSEUM HALL OF THE GEMS - NIGHT The gems glow in the darkness as Pendergast passes through the now empty room. INT. METEORITE ROOM - NIGHT Pendergast's footfalls are lost in the carpet as he goes down the far stairs. INT. HALLWAY - MUSEUM - NIGHT Pendergast goes down a long, dark hall alone. He arrives at a door marked PHYSICAL ANTHROPOLOGY LAB, enters. INT. PHYSICAL ANTHROPOLOGY LAB - NIGHT The skeletons throw odd shadows on the ceiling. Margo's computer screen glows at the end of the room, casting the only light. But her chair is empty. The room is quiet. Pendergast approaches slowly, looks around. PENDERGAST Dr. Green? No answer. Pendergast glances at the computer screen, sees graphs and complicated notations. He scrolls down, leans closer. He can't figure it out. He slides into Margo's chair, fascinated. Then... MARGO (OS) You have a warrant to look at that? Pendergast leaps up. Margo has appeared in the doorway behind him, a cup of coffee in her hand. PENDERGAST Special Agent Pendergast. FBI. Forgive me. I guess I was snooping. What is this? MARGO An invention of mine. It's a computer program designed to describe the characteristics of a given species from a reading of its DNA. I call it the Genetic Sequence Extrapolator. PENDERGAST How does it work? MARGO With a DNA analysis from a fossil you can use this program to tell the species and sex of the animal, whether it was nocturnal, what it ate, how it hunted, how big it was... (abrupt) You aren't here for a lesson in DNA. PENDERGAST No. (a moment) I came to talk about Dr. John Whittlesley. Margo turns to put down her coffee. She takes a moment to compose herself. When she turns back, her voice is quiet. MARGO Somehow, when all this happened... I knew it would come back to John. Is he really dead? PENDERGAST Maybe not. MARGO If he were alive he'd have contacted me. PENDERGAST You have time to talk? INT. MUSEUM HALLS - NIGHT Pendergast and Margo walk together though various exhibits and halls. They pass dioramas of ferocious wild animals that have been tamed and stuffed behind glass. PENDERGAST Dr. Whittlesley was last seen in Belem, Venezuela a week after the rest of his expedition disappeared. A taxi driver drove him to the harbor where he boarded a cargo boat. That boat washed up in my district. Everyone on board was killed. MARGO And John? PENDERGAST Disappeared. His body wasn't among the victims. MARGO I don't understand. PENDERGAST The people killed were mauled and their brains were eaten. Just like Beauregard. One part of the brain was extracted with surgical precision. The hypothalamus and thalamus to be exact. Margo pales. MARGO John couldn't have anything to do with a horrible thing like that. He was a fine man despite his problems -- PENDERGAST You loved him. MARGO (a moment, taken aback) Yes. Once. We met at Columbia. John held the Cadwalader Chair in Statistical Paleontology when I was a grad student there. PENDERGAST You were going to be married. MARGO How did you know that? PENDERGAST I ran an internet search on Dr. Whittlesley. Got a list of his scholarly articles and the engagement announcement in the Times. I also found a record of your restraining order. MARGO That was two years ago. John was still in love with me. (she looks down) He wouldn't leave me alone. PENDERGAST You were afraid of him, weren't you? MARGO He was afraid of himself. He tried suicide once. He was ill. Manic depressive. He had wild emotional highs and lows. Not a happy affliction for a scientist. He'd been revered in our community. By the end he was a joke. PENDERGAST Tell me about the last expedition. What was he looking for? MARGO A legendary monster called Mbwun. PENDERGAST A monster? MARGO Yes. He developed his own theory that he called the Calisto Effect. It held that evolution wasn't always gradual or driven by natural selection. The environment would sometimes cause sudden and grotesque changes which could result in a "monster species". It made no sense. But he felt he had evidence that Mbwun was such a monster, living in isolation on the tepui for thousands of years. PENDERGAST What happened? MARGO No one knows. The Kothoga who live on the tepui are cannibals. Margo's voice catches again. Pendergast reaches for his handkerchief but she shakes her head, determined to keep control. MARGO No. I'm all right. I won't let this affect me anymore. John wouldn't get help. His ego endangered the lives of others. His theory came first. PENDERGAST What if Whittlesley arrived on the tepui and no monster was there? Was he desperate enough to create one? MARGO I don't understand. PENDERGAST Something came up in autopsy tonight. Imbedded in Beauregard's body we found a claw. MARGO My God. Then it was an animal. PENDERGAST I don't think so. I think we were meant to think it was Mbwun. Did Whittlesley's monster have claws? MARGO I don't know. He sent back a statue that's supposed to be an exact representation. But I've never seen it. It's in the exhibit. PENDERGAST Would you mind showing it to me? INT. SUPERSTITION EXHIBIT - NIGHT This exhibit is unlike anything we've seen in the museum. Horrifying artifacts under single spots appear to float in a velvet blackness. Patterns of light and shadow play over skeletons and voodoo dolls. There are tombs, a torture chamber, and endlessly curving, maze-like, winding halls. PENDERGAST Where would we find it? MARGO I'm not sure. We should split up. You take that hall and I'll take this one. PENDERGAST All right. I'm as macho as you are. Perhaps. Without further discussion, Margo takes the right fork leaving Pendergast behind. ON MARGO... As she finds herself alone. The silence is intense. She heads slowly into another long, dark, tunnel passing a set of Maori tattooed heads. The eyes are stuffed with fibers, the shriveled lips are drawn back from rotting teeth. Margo passes without a look. ON PENDERGAST In another part of the exhibit, he nears a Mayan tomb. A skeleton in the center wears a headdress and tribal robes. Gold rings encircle bony fingers. Pendergast takes a moment to appreciate it, heads into the next hall. ON MARGO getting farther from pendergast, and ever deeper into the gloom. The walls around her are lined with symbols of witchcraft. There are shaman dancers, masks covered in grasses and shells. From the New Guinea coast there is Kokpah, God of a secret male society, and Zoe- ba, an awesome mannequin in black costume with an angry pointed mask. Finally the walls open up into another gallery. Beyond it is more of the shadowy hall. Margo stops and for the first time she wavers. This gallery is the most frightening yet. It features images of THE DEVIL from different cultures around the world. In the dim light, Margo is dwarfed by abhorrent statues of SATAN, TORNARSUK (the Eskimo evil spirit), INCUBI from India, Tibet, New Guinea etc. And there in the center of the gallery sitting on an altar and lit by a spot, is a small figurine. Margo is instantly drawn to it. As she gets close enough she sees the label in Gothic letters. MBWUN Savage God of the Kothoga, also known as "HE WHO WALKS ON ALL FOURS". The statue is terrifyingly life-like. Margo stares at The Beast. Mbwun is covered in scales and stiff hair, with glittering green eyes and crude, reptilian features. The figure is hunched over in a threatening crouch. It's long forearms trail to the ground ending in THREE LARGE CLAWS! ON MARGO... she starts, then remembers Pendergast. MARGO Mr. Pendergast! I found it. No answer. She turns, tries again, louder. MARGO Pendergast! Over here -- Her voice catches as she stops and sniffs the air. A STENCH rolls over her. She covers her face, backs up, holding her breath. MARGO What the... She steps directly into a nasty statue of the Tibetan lord of the Dead. Margo starts, steadies the statue. The room is silent once more. But then, unmistakably... she hears it. An odd rustling sound. Slow. Deliberate. Maddeningly soft on the thick carpet. And another wave of THE SMELL. Margo looks in the direction she came, down the long dark hall. Her voice comes out a bit frightened as she calls... MARGO Pendergast? (no answer) Who's there? But now she freezes. At last she's truly scared. A shadow, black against black, is gliding stealthily towards her, moving over the display cases and grinning artifacts! Margo stands stock still, her eyes on the shadow. She lets out a small gasp of shock. She can't believe her eyes. It defies reason. Slowly, she backs up. She slips quietly through the exhibit and out the other side. In the next room she pauses again, listens... now hearing a distinctly animal, SNUFFLING SOUND! Something large is TRACKING HER! There's no doubt. Overcome by a blind panic, Margo turns and runs. She passes through a display on mythical creatures, disappears down another winding dark hall. Behind her comes... THE POUNDING OF SOMETHING IN A HEAVY, LOPING RUN! Whatever it is, it's charging after her! She turns another corner. And another, tearing as fast as she can! But now the walls up ahead are narrowing, leading to ... a DEAD END! Margo slams up against a locked door with a window of glass. The hall features displays of terrifying totem poles. All around the ghoulish carved faces seem to leap out! She pounds on the door but it's useless. She's trapped. And the thing is coming behind her! It's just around the last bend when it stops! Silence again envelops her. She's afraid to turn. She can hear HEAVY BREATHING, and something like a low growl! Reflected in the glass of the door in front of her is the long dark hall. Margo starts as a face appears IN THE REFLECTION... The image is wavering and unclear. It's a large, hulking form behind her! TWO GLOWING SLIT GREEN EYES in the dark! Margo SCREAMS as the thing leaps forward, hitting one of the totem poles. Margo sinks to the ground, unconscious. At last we hear Pendergast calling as darkness falls. PENDERGAST Dr. Green! Dr. Green! DISSOLVE TO: INT. SUPERSTITION EXHIBIT - NIGHT ON MARGO... lying on the carpet. There's a large, nasty bump on her forehead. The totem pole is on the floor beside her. Leaning over her is PENDERGAST. Margo starts to sit up. Pendergast gently restrains her. PENDERGAST What happened? MARGO I don't know. PENDERGAST I heard you calling and I ran after you, but you kept disappearing and I couldn't keep up. MARGO (she touches her forehead) You were behind me? Running after me? Pendergast nods. As Margo rises he tries to help her but she waves him off, collecting her thoughts. MARGO It's okay, I'm all right. I remember now... It was an animal. Something large! I could smell it. It was hunting me. I saw two green eyes in the dark. PENDERGAST Where did you see it? MARGO Behind me. Over there. Margo turns and points behind her to... A large NORTHWEST COAST INDIAN MASK. It's carved out of wood in a horrible grimace, inset with two glowing green eyes. Pendergast sees it too, says nothing. MARGO That's not what I saw. PENDERGAST All right. If you're positive. She leans against the wall, touches her forehead, panic overcoming her again. MARGO (CON'T) I can't think straight at the moment. I know how crazy this seems. Please, Mr. Pendergast, I need some fresh air. Could you get me out of here? EXT. ROTUNDA FRONT ENTRY - EXHIBIT - NIGHT THREE COPS including MCNITT, RODRIGUEZ and ROGERS prepare to enter the exhibit. All are armed. Margo watches as Pendergast gives them instruction. She appears rattled and confused. PENDERGAST Stay in formation together. Take it room by room. Check for footprints, any signs of disturbance. If you see or hear anything the least bit suspicious, I want to know. He points to DOYLE, an older red-haired cop who takes up a post outside the exhibit. Pendergast hands Doyle his walkie talkie. PENDERGAST Bailey's going to be in the guard house outside. Officer Van Dorn is right down that hall. When McNitt's done, he'll relieve you. Doyle nods. Pendergast and Margo walk out. EXT. MUSEUM - NIGHT Margo and Pendergast exit. The cold air is like a slap in the face. PENDERGAST Dr. Green... MARGO I didn't imagine it. I know what I saw. Are you sure there are enough men in there? PENDERGAST They're all heavily armed. MARGO (stops) All right. This is hard for me. I'm a scientist. I like order and logic. Sometimes too much. There's got to be an explanation. There can't be an animal in there. But I saw something. PENDERGAST What was it? MARGO I don't know. (she has a thought) Mr. Pendergast. Do me a favor. Get me a DNA readout on that claw. DISSOLVE TO: EXT. MUSEUM - NIGHT All is quiet. INT. MUSEUM FRONT - EXHIBIT FRONT DOOR - NIGHT The doors to the exhibit are closed. Doyle looks at his watch, impatient. It's almost eleven now. He pulls out his walkie talkie. DOYLE Bailey? Doyle here. I'm still waiting outside the exhibit. Where the hell is McNitt? BAILEY Should be there any minute. They came out a side door a while ago. Said the exhibit's clear. McNitt's headed back to spell you. DOYLE I'm on double over-time, man. BAILEY I know. You can go home if you want to. I'll come relieve you myself. Doyle shuts off his walkie talkie, frowns. He fidgets, looks at his watch once more. DOYLE What the hell. He turns, takes off the walkie talkie and leaves it, but then he hears something, stops. It's a low SCUFFLING from inside the exhibit, coming from behind the closed doors. Doyle freezes, turns. DOYLE McNitt? No answer. Doyle pauses. His hand goes to his gun for reassurance as he hears a footstep and a muffled thump. He moves to the door of the exhibit, opens it and takes a step inside. DOYLE McNitt? Cut the crap. I know it's you. You're not scaring me. Come on. Silence meets him. The shadows of the exhibit loom. Doyle takes one more step inside, scanning the darkness with his gun. Does he hear BREATHING? He freezes. Yes, he does. The hair on his neck rises and he loses the spit in his mouth. He takes a step backwards, but he's half a second too late. The door SLAMS BEHIND HIM and a HUGE DARK FORM LEAPS OUT! INT. EXHIBIT ENTRANCE - NIGHT Officer MCNITT enters from a side corridor, zipping up his fly. The hall is still. McNitt checks his watch, sees Doyle's walkie talkie and turns it on. MCNITT McNitt here. I'm outside the exhibit. All's quiet. But I don't see Doyle. BAILEY (OS) He called a minute ago looking for you. He starts vacation tomorrow and he wanted out. I said you were on the way. He could split. MCNITT Well he's gone. BAILEY (OS) Any sign of a green-eyed monster? MCNITT (chuckles) Nope. McNitt shuts off the walkie talkie, settles at his post. INT. SUPERSTITION EXHIBIT - NIGHT In the blackness a large shape is MOVING QUIETLY, dragging it's prey across the floor. We move in on the lifeless form of DOYLE. His face is rigid with terror, his eyes frozen, open wide. The last thing we hear as the hulking form heads back into the darkness, is the SNAPPING of Doyle's skull. DISSOLVE TO: EXT. MUSEUM - DAY Signs announce that the Superstition Exhibit opens tonight. The museum is back in business, but not many people are going in. A crowd lingers at the margins, pointing at the building. Several hold a copy of the POST with a graphic photo of the bloody floor by the circular stair. INT. CUTHBERT'S OFFICE - DAY Cuthbert stands by the window of his palatial office, looking out at the scene below. His face is pinched with worry. Slumped in a chair is Lieutenant D'Agosta. Pendergast surveys some paintings on the wall. PENDERGAST I had no idea the Museum had a complete collection of Piranesi's Forum sketches. CUTHBERT If you like them, they're for sale. Another day like yesterday and half the collection will be on the block. PENDERGAST I've read about the Museum's financial troubles. CUTHBERT We've been operating in the red for years. That was the whole idea behind the Superstition Exhibit. It was designed to pull people in. We've spent every penny we have on advance publicity, betting everything on the opening's success. If we postpone at the last minute... No. I don't want to think about that. D'AGOSTA (chews on his toothpick, mild) We all love the museum. I come here myself with my kids. We're trying to work with you. CUTHBERT I appreciate that. PENDERGAST If the party goes forward, and that's a big if... I've arranged for a large police presence. CUTHBERT Do they have to wear uniforms? PENDERGAST Yes. CUTHBERT I don't want to scare people. PENDERGAST I understand. But Mr. Cuthbert, we've got bigger problems. Depending on what we find today, we may have to shut you down. Cuthbert looks grim. INT. PHYSICAL ANTHROPOLOGY LAB - DAY D'Agosta examines the huge centrifuges, autoclaves, electrophoresis apparati, monitors, computers etc. as Margo and Greg Kawakita look at the claw. KAWAKITA What do you make of it, Margo? MARGO It's not mammalian, that's for sure. I think it's reptilian. PENDERGAST That would jive with what we got from the preliminary DNA read-out. Here, have a look. He hands them a computer read-out. Margo checks it quickly as Kawakita looks on. MARGO According to this, twenty-five percent of the claw DNA is unidentifiable, about a third is homo sapien, and the rest is Hemidactylus Turcicus. D'AGOSTA (looks over) What's that? Margo pulls off her glasses. MARGO Turkish Gecko, I believe. A lizard. KAWAKITA Lizard DNA and human DNA on the same strand? Impossible. The sample must be contaminated. MARGO There's another possibility. A lot of repeated base pairs could suggest a high level of genetic damage. PENDERGAST Genetic damage? MARGO When DNA is defective, it often uncontrollably replicates long repeating sequences of the same base pair. Viruses can damage DNA. So can radiation, certain chemicals. Even cancer. Let's let the G.S.E. sort it out. I have to get started. This will take several hours. PENDERGAST We need someone to take us to the secure storage area. KAWAKITA Try Dr. Frock. He's the curator of Plant Biology. All the curators have keys. And he knows every inch of this museum. The rest of us still get lost. INT. MUSEUM HALLWAY AREA - DAY Pendergast, D'Agosta and Dr. Frock get off are in an older, plain corridor with a long row of locked heavy steel doors. The doors are numbered up to eight, then the corridor turns. As the three go forward, the creaking of the wheelchair echoes faintly in the hall. PENDERGAST Thank you for taking the time to help us with this, Dr. Frock. FROCK Happy to be useful. It's rare enough these days. According to security, Beauregard put the Whittlesley crates in storage area 1012. PENDERGAST How many storage areas are there? FROCK They fill seven floors. We have the largest collection of mammals and dinosaurs in the world. Just to give you an idea, there are more than three million insects specimens. Not to mention amphibians, reptiles, birds, anthropological artifacts, meteorites, minerals and gems. Only about five percent of the museum collection is actually on display. D'AGOSTA This place is a maze. FROCK I'm one of the few who know every inch it, now that John is gone. PENDERGAST (looks over) Do you mean Dr. Whittlesley? FROCK Yes. John made quite a study of the whole museum. He had a copy of my original plans. Frock heads through a double door that leads to a FREIGHT ELEVATOR that's as big as a small room. The operator, KARL has it decorated with a table, chair, and PICTURES. MARGO Osteo prep, Karl. The doors creak closed. They are now inside... INT. FREIGHT ELEVATOR - DAY Headed down. D'Agosta chews on a toothpick, stares at Karl's home-made picture show. The photos have all been cut from nature magazines. They are of ANIMALS MATING in extreme positions and undreamed of ways. D'Agosta turns to Pendergast, dead pan. D'AGOSTA My kind of art. Karl, who is sixty and wears a red toupee, leers. KARL They keep me company. Gets kinda lonely sometimes. D'AGOSTA My favorite is the two camels. KARL Really? I'm partial to the skunks. Finally the doors open and they exit to a hail, enter another set of doors. Now they are in INT. OSTEOLOGICAL PREPARATION AREA - DAY It looks more like a bizarre industrial kitchen than anything else. Deep stainless steel tanks line one wall. On the ceiling near the tanks hang massive pulleys and grappling hooks for the larger carcasses. In a far corner of the workshop is a stainless-steel gurney bearing a DEAD GORILLA. A pink faced eighty year old man is working on the carcass with sharp tools. This is DON OSTERBAAN. FROCK Did you ever wonder where we get all our skeletons? This is the laboratory where animal carcasses are reduced to bones. (to Osterbaan) What's cooking today, Don? DON Zebra. Frock looks into a large maceration tank with Pendergast and D'Agosta. A zebra carcass can be seen under the muddy surface, its flesh and soft tissues falling off. D'AGOSTA Man, that's ripe. Frock now opens the door on a humid closet adjacent to the main room. Inside on a stainless steel table lies the corpse of a fox. It's crawling with BLACK BEETLES which are devouring it. D'Agosta and Pendergast watch the grizzly scene, properly impressed. FROCK Dermestid beetles. The second method of preparing a skeleton, used in Natural History Museums world wide. Bugs are clean and highly efficient. They'll polish that fox off in no time. As Don casually peels back the gorilla's whole face exposing the skull... OSTERBAAN Want to have a look at a gorilla brain? Got one right here. FROCK Thanks Don. We're in a hurry. Some other time. INT. HALLWAY - DAY More rows of stainless steel doors under hissing steam pipes. The light is dim here, and several bulbs are burned out. But the numbers on the storage rooms are much higher now. The three men come out of the darkness. Frock rounds a last corner and wheels to a stop. FROCK This should be it. Can you read the number? Pendergast reaches up above them and TAPS THE LIGHT BULB. It comes on and they all see the heavy steel door of the storage area. D'Agosta's jaw drops and his toothpick falls out. The door has been scored from top to bottom by long, vicious, CLAWS! D'AGOSTA Holy shit. Frock stares in amazement, shaken. He runs a finger down the deep ruts. FROCK Something tried to get into this room! PENDERGAST And failed. These doors are solid steel. FROCK This means there must be an animal loose in the museum! PENDERGAST I wouldn't be so sure. Pendergast takes Frock's keys and opens the door. It swings wide on oiled hinges. D'Agosta turns on a light. INT. STORAGE ROOM - NIGHT They all enter. Nothing has been disturbed. The crates sit in the middle of the small room, untouched. Pendergast kneels by the only one that's been opened. PENDERGAST This must be the one that held the statue. Let's see what else is inside. Pendergast removes the lid and hands it to D'Agosta, pulls out a BLOW DART GUN, SEED PODS, a CARVED STONE. D'Agosta takes the lid and turns it. D'AGOSTA The lid of this crate is scratched with claw marks, just like the door. As D'Agosta studies the lid, a brittle, water damaged envelope slips out. D'Agosta picks it up. The envelope bears an imprint of TWO ARROWS, one silver overlaid with another of GOLD. D'AGOSTA Look. It's some kind of letter. FROCK (excited) May I see that? D'Agosta hands the letter to Frock. FROCK It's from John. Those two arrows were his insignia. It's addressed to Louis Moriarty, a patron who financed his expeditions. PENDERGAST Read it out loud. FROCK "Dear Louis, Tomorrow we go to the south end of the tepui where we'll be in the greatest danger, so I'm sending Carlos back with the crates. You always believed in me, Louis, even in the darkest days. So it gives me great pleasure to tell you your faith has been rewarded. We've made an incredible find. I enclose a representation of Mbwun. Note the exaggerated claws, the reptilian attributes, the hints of bipedalia. It's beyond belief, but this statue is accurate. I know because I've seen the beast." Frock stops, looks up at D'Agosta and Pendergast. His face flushes with the thrill. FROCK Did you hear that? My God. He says that Mbwun is real! D'AGOSTA (snorts) Pardon my French, but bull shit. FROCK This on top of the scratches... isn't it proof! PENDERGAST I think the scratches were put there to scare us. Perhaps even lead us to this note. Pendergast looks out to the dark corridors. PENDERGAST You said John Whittlesley made a study of your blueprints of the museum. FROCK Yes. PENDERGAST Are there any hidden rooms or staircases? Places where someone could hide? FROCK Not really. Just the sub-basement. D'Agosta and Pendergast exchange a look. PENDERGAST Where is that? FROCK I don't know. It was walled over. No one's been down there in years. PENDERGAST You said you had plans of the museum. Could we see them, please? EXT. MUSEUM SIDE DOOR - DAY A series of boxes labeled "PROFESSOR FROCK" sit on the loading dock. A small moving van, partially loaded with the contents of Frock's office, sits waiting. Frock delves through one of the boxes while Pendergast and D'Agosta look on. FROCK I know they're here somewhere. It's a good thing we caught the movers in time. They're nineteen century blueprints from when the museum was built. I remember the sub-basement was below the regular basement, linked to the city sewer. I only know about it because it flooded all the way up to the museum during the hurricane of '49. I lost so many precious books. Frock continues to unload boxes, scattering things right and left. It's the most amazing assortment of paraphernalia. A collection of wildflowers, soil samples, a stuffed owl. Finally he pulls out some very old blueprints and flashes a triumphant smile. FROCK Eureka. Who says it doesn't pay to be a pack rat? Now please be careful with these. When you're done, I'd like them back. INT. HALL OF THE AFRICAN MAMMALS - DAY Visitors scatter as Pendergast enters with D'Agosta, TWO DEPUTIES, a dog handler, JONATHAN HAMM and Jonathan's pair of HUGE BLOODHOUNDS. The deputies are armed with large shotguns. Pendergast scans the blueprints as they walk. D'AGOSTA How big is the sub-basement? PENDERGAST Apparently it's huge. D'AGOSTA I think I should come with you. PENDERGAST We haven't got time. You have to meet with museum security so we can make a decision about tonight. INT. MUSEUM - STAIRCASE - DAY Pendergast, Jonathan, his dogs and the deputies make their way down an industrial set of stairs into the basement. INT. BASEMENT CORRIDOR - DAY In a moment they arrive at the site of Beauregard's murder. The area at the bottom of the spiral stairway is still littered with chalk, crime tape, spray paint and the remains of scores of people tramping in and out. PENDERGAST These plans indicate there's a walled over entrance to the sub- basement right around here. They move carefully down the dark corridor which we remember from the time we last saw it with Henry and Larry. Unknown to Jonathan or Pendergast, the dogs are walking directly towards the spot where the boys faced the monster. JONATHAN The dogs are picking up something, Mr. Pendergast. The dogs start barking in animation, sniffing the wall. Pendergast studies the blueprints with a flashlight, moves to the spot. There's nothing to be seen. He shines his flashlight over the water-stained, uneven stucco between two steel beams. The dogs sniff furiously at the point where the wall meets the floor. Pendergast moves his fingers to the joint between the stucco and the beam, shoves hard. The wall pushes back. It's a door! INT. STAIRWELL - SUB-BASEMENT - DAY They enter a dank stairwell with brick stairs. Water drips on the walls. DEPUTY ONE What is this? A dungeon? Jonathan looks uneasy, double wraps the dogs' leashes around his black-gloved hands. The two deputies remove their 12 gauges from their shoulders. Then they all follow the animals, descend down the inky stairwell. INT. SECURITY COMMAND CENTER - MUSEUM - DAY The place looks like the control room of a nuclear power plant. Two SECURITY GUARDS monitor a battery of closed-circuit screens. D'Agosta is now accompanied by the pompous head of security, IPPOLITO. Clearly Ippolito feels D'Agosta is pissing on his territory and he's trying to assert control. IPPOLITO This huge police presence tonight isn't necessary, Lieutenant. You'll just scare people off. I can handle the security behind scenes with this system. It's state of the art. D'AGOSTA The cops are non-negotiable, Ippolito. Why don't you just tell me how this space station works. IPPOLITO It's fool proof, basically. I designed this whole thing myself. Every valuable object in the Museum carries a small electronic chip. If anything's moved so much as an inch, we get an alarm pinpointing the exact location of the attempted theft. D'AGOSTA That's great if you're stopping a burglar. Not our goal here. Are there motion detectors? IPPOLITO In every exhibition room. The museum's divided into five cells. The reception and exhibit are in cell five. We could arm the motion detectors in cells one to four, then seal the perimeter with our fire doors. D'AGOSTA That would leave one exit for hundreds of people. You'd be violating every fire regulation on the books. We'll guard the perimeter with my men and engage the motion detectors in the other cells. One more question. I see a big hole. If this entire thing is run by computer, what happens if the power fails? IPPOLITO (snorts) You don't know much about computers, Lieutenant. There are safeguards built in. We have back-up systems with redundancies. There's no way these computers can fail. INT. PHYSICAL ANTHRO LAB - DAY Margo, Kawakita and Frock are studying the contents of the crate. FROCK I can't help thinking there's something that Pendergast overlooked. If the scratches were made by whatever killed Beauregard, it wants something that's in here. MARGO A blow dart. Seed pods. A plant press. Pretty unimpressive stuff. FROCK Let me see the plant press. Frock opens the plant press and sees a specimen inside. MARGO What is it? FROCK I'm not sure. As you know, the Kothoga lived outside civilization on the tepui for thousands of years. Species flourished in isolation when man and pollution rendered them extinct. This could be one of the last remaining samples of an unknown plant. MARGO Whatever it is, it must be common on the tepui. John used it as packing material. FROCK You're right. Kawakita lifts out a bit of the fibers, as does Frock. FROCK They're curiously fleshy. KAWAKITA And they smell delicious. Kawakita TAKES a NIBBLE. KAWAKITA Taste great. FROCK I wouldn't put that in your mouth until we do a chemical analysis, Greg. KAWAKITA I can handle that for you while we're waiting on the G.S.E. Kawakita rises and exits with some of the plant. MARGO What about those seed pods? Are they from the same plant? Frock takes a moment to study them, looks up. FROCK Margo, these aren't seed pods. MARGO What are they? FROCK They're eggs. INT. SUB-BASEMENT - DAY Black as night. The only light comes from the men's flashlights. They're at a crossroads. Crooked corridors, with arched ceilings barely the height of a man stretch in several directions. Jonathan is crouched down, resting with the panting dogs. The deputies are having a smoke. They all look both uneasy and exhausted except for Pendergast. He stares at the blueprints. PENDERGAST Hard to read in this light. The ink is so faded. JONATHAN The dogs have lost the scent, Mr. Pendergast. Maybe we should head back. PENDERGAST Not yet. Let's try the fork to the left. The men reluctantly shoulder their shotguns and push on. The hounds walk ahead, carelessly nosing the ground. The flashlight beams illuminate lime-encrusted, cave-like walls. DEPUTY TWO This place gives me the creeps. At this the dogs begin to WHINE. The HAIR on their backs rises in a ridge. Pendergast turns as a BREEZE stirs his clothes. JONATHAN They've got something. PENDERGAST Keep the light up. I can't see. The dogs strain and pull forward, sniffing the air ahead. The deputies raise up their shotguns as they all move deeper into the darkness. The flashlight beams streak crazily in all directions, barely penetrating the gloom. Suddenly the dogs break into a terrifying BAYING which bounces off the walls. PENDERGAST Shut them up! JONATHAN Heel Argo! Hobbes! Heel! The dogs drag Jonathan forward, paying no attention, foaming at the mouth. Jonathan is now frightened. JONATHAN They're going crazy! I need help! Too late. As Jonathan tries to grab the collars, one of the dogs LEAPS forward, and the leash slips through Jonathan's hands. JONATHAN He's loose! Argo! Argo BOLTS into the darkness. The men start after the dog, following the frantic barking which echoes farther and farther in the distance. Pendergast is in the lead. Suddenly he throws out his arms, halts. PENDERGAST Stop! JONATHAN Holy mother, what is that? A goatish odor envelops them all. DEPUTY ONE Smells God-awful. Like rotten meat. JONATHAN Argo! Come! PENDERGAST Quiet! A SCUFFLING sound of claws dragging on brick is heard followed by a ROAR. The men all freeze. The other dog leaps and twists with excitement. In the confusion it also breaks free! It tears after the first dog, disappearing into the darkness. Now Jonathan is wild-eyed. JONATHAN No! Hobbes! The deputies are terrified, retreat. The darkness is stifling, claustrophobic. The flashlights are small help. Pendergast alone remains dead calm. His voice is cool and commanding. PENDERGAST Forget the dogs. You two, get back here. Don't point that gun at me. The deputies regain control and follow Pendergast's orders. They fall into position, pump their shotguns and aim them down the hall. In the echoing darkness ahead of them, the barking falters and stops. There is a moment of silence, then a terrible, unearthly SHRIEK. The deputies quail, frozen in their tracks. Jonathan leaps forward. JONATHAN Argo! Hobbes! PENDERGAST Get back! Now! At that moment a SHAPE hurtles at them from the darkness! The men YELL in terror. There are two stunning BLASTS from the shotguns, two FLASHES of light accompanied by a deafening roar. The rumble echoes and dies and there's an intense silence, followed by a sob. JONATHAN You shot my dog! Hobbes lies five feet from them, a black shadow of death. Jonathan kneels by the dog, tears in his eyes. Down the animals side is a GASH. JONATHAN My dog... DEPUTY ONE (stammers) He was coming right at me... In the distance they can hear a terrified howl. It's the second dog, hurt or frightened. It's a pitiful sound. DEPUTY TWO Let's get out of here! JONATHAN I'm not going anywhere! Not without my dog! Pendergast grabs at Jonathan who slips from his grasp. Jonathan inches back down the hallway calling desperately. JONATHAN Hobbes! DEPUTY ONE Get back! Jonathan shakes his head no. JONATHAN There's something out there! Let's go get it now! That's why we came down here, isn't it? PENDERGAST (to the deputies) He's right. Follow me. But the two deputies are terrified. They cling to the wall, inching backwards, sheer horror in their eyes. DEPUTY ONE No way. I say we get help. A lot more guns. PENDERGAST I'm ordering you! Cover me! DEPUTY TWO We'll cover you from here! Jonathan is disappearing in front of them. Pendergast has no choice. Grim faced, he pulls his Colt .45 Anaconda from a shoulder harness. It's a narrow and evil-looking gun. From a pocket comes a handful of 255 grain wadcutter and 147 grain FMJ flatnose ammunition. He loads up, goes after Jonathan, who's no longer in sight. Pendergast passes down a long, sloping hallway into cavernous blackness ahead. At the bottom Pendergast stops. He has to stoop down as he goes through an archway and into... A VAST ARCHING ROOM... A dark stream of water runs between concrete walls with tunnels going off from all sides. It appears to be part of the sewer system. The dog cowers in a corner. Jonathan moves to his side. JONATHAN Look. It's Hobbes! He's all right. PENDERGAST Come on. Let's get back to the others. We can't leave them alone. JONATHAN It's alright. I can tell by the way the dog's acting that whatever was out there is gone. What is this place? PENDERGAST Not on the map. Looks like it connects with the city sewer. Pendergast calls back down the tunnel for the deputies. PENDERGAST We're coming back! The words go unanswered. From the hall comes a loud REPORT. It's the shotguns, blasting desperately. Something flies up all around them as the sound echoes. BATS! Pendergast and Jonathan shield themselves from the flurry of beating wings. Finally the animals settle and Pendergast and Jonathan exchange a look. The silence is filled by a soft RUMBLING SOUND. They stand together, waiting. Pendergast points his gun at the hall leading back to the deputies. A ridge of hair on the dog's back rises and it growls. PENDERGAST Identify yourself! Who's there? No answer. The rumbling continues, growing louder. Then a dark object appears. It comes rolling out of the hallway, bounces in front of them and stops. Pendergast shines his light on... DEPUTY ONE'S HEAD! The mouth is open wide in terror. Across the cheek is a vicious claw mark. JONATHAN Oh... my... God! PENDERGAST (hisses) Quiet. And now they hear a GUT WRENCHING SHRIEK that's abruptly cut off, followed by a second rumbling sound! Jonathan grabs Pendergast by the shirt, panicked. PENDERGAST Stay calm. They head quietly for the exit at the other end of room which seems to slope up. After they're gone a few moments the head of DEPUTY TWO rolls to a stop. EXT. MUSEUM - NIGHT Cabs and limousines tangle outside the west entrance. A huge rotating SPOTLIGHT is now turned on. Elegantly dressed men in dinner jackets and women in gowns rush to get out of the pelting rain, umbrellas jousting. INT. CUTHBERT'S OFFICE - EVENING Cuthbert's putting on his tux. He adjusts the cummerbund, humming happily as D'Agosta looks on. D'Agosta paces, highly agitated and worried. D'AGOSTA I'm telling you, something's wrong. I still haven't heard from Pendergast. I think you should call it off. CUTHBERT It's too late now. Guests are arriving. The Mayor's car is pulling up. D'AGOSTA I'll go down and speak to him. CUTHBERT (irritated) You haven't got the authority. Only Pendergast can pull the plug. D'AGOSTA Pendergast may be in trouble. Don't you understand? He still hasn't come back. It's been over three hours -- CUTHBERT He'll be back. Relax. We're in good shape. Your security is air tight. There've been no more incidents, nothing suspicious. There's no reason to call off the opening now. INT. GREAT ROTUNDA - NIGHT Resounding with the echoes of several hundred expensive shoes crossing the marble expanse and heading down the rows of palm trees leading to the Hall of Heavens. The palms themselves are festooned with orchids and violet lights. Somewhere inside, an invisible band is playing "New York, New York". An army of waiters in white tie thread their way through the guests carrying large silver platters crowded with champagne glasses. Cuthbert enters and crosses to meet The MAYOR and THE MAYOR'S WIFE. Photographers step forward and flashbulbs pop. INT. HALL OF THE HEAVENS - NIGHT Food is out. Hundreds of tables are set with black linen table cloths. Decorations have a dark, haunted house theme. A hum of activity floats up past the vast Corinthian columns into the circular dome above. INT. MARGO'S LABORATORIES - NIGHT An explosive sneeze rattles the beakers and dislodges the plant specimens. Margo interrupts her work at the computer to hand Greg a tissue as Frock looks on. KAWAKITA What kind of egg is it? MARGO It's reptilian. FROCK Like the claw. MARGO (cautious) Let's not jump to conclusions. This egg could belong to any number of reptiles, Dr. Frock. FROCK (excited) Come on, Margo. We're on the verge of something huge. Let's consider the possibility, just the three of us, alone in this room. What if John was right. I mean, what if? And he sent back an egg of his monster in the crates. When it got to the museum, it hatched. MARGO Several problems with that theory. For one thing, this egg is intact. For another, according to Pendergast, the crates were shipped here on a boat. Everyone on board was killed like Beauregard. If the thing hatched in mid-ocean, where did it go? Frock has no answer. Greg gestures to his computer screen. KAWAKITA I guess you're not interested in this plant anymore, but the chemical analysis is done. Frock reads the computer over Greg's shoulder. FROCK "Genus: Unknown. Family: Unknown. Order: Unknown. Phylum: Unknown. Cripes, Margo, what did you give me? Is this an animal or one funky shrub?" (to Kawakita) I see you've been programming the computer vocabulary again. MARGO (points to a hexagonal symbol) Look at this. An ambyloid reovirus protein. That explains why the computer's confused. The plant's infected with a virus. FROCK That's not so unusual. Many plants carry viruses. Like the burls on Maple trees. MARGO But a virus normally codes for other viruses. This one's making human and animal proteins. Listen to this. (reads) "Glycotetraglycine collagenoid. Weinstein's tropic hormone. 4- monoxytocin supressin hormone." KAWAKITA These plant fibers are loaded with hormones! MARGO What kind of hormones? Kawakita pulls a heavy book from the shelf. The Encyclopedia of Biochemistry, thumbs to a page and reads. KAWAKITA 4-monoxytocin is... "A hormone secreted by the human hypothalamus gland." MARGO Try Weinstein's tropic hormone. The tension is rising in the room. Frock takes the book, looks this one up, reads silently and removes his glasses. FROCK A hormone secreted by the human thalamus gland. Kawakita and Frock look puzzled. Margo rises in agitation. MARGO This is it. This is what he, or it... is after! The plant has high concentrations of the same hormones found in minute quantities in the human brain! KAWAKITA So what? MARGO Pendergast told me the killer extracts and eats the hypothalamus and thalamus of the victim's brains! KAWAKITA (pales) Eats them? MARGO Yes. Whatever killed Beauregard may have lived on this plant. When the crates were put in secure storage, they were out of reach. The killer couldn't get them, so it got the next best thing. FROCK Beauregard's head. There's a moment of stunned silence. Then a LOUD BUZZER makes them all jump. MARGO It's all right. That means the G.S.E. has finished analyzing the claw DNA. Greg, you go find Pendergast and Lieutenant D'Agosta now. INT. MUSEUM HALLWAYS - NIGHT Kawakita tears up the dark stairs. He turns a corner and something JUMPS OUT at him. He almost screams. It's a DRUNK. DRUNK Hey, where 'za little boys room? KAWAKITA Down that hallway. But don't stay long. You don't want to be here alone. INT. MARGO'S LAB - NIGHT Margo and Frock enter and huddle over a sheaf of papers that the printer has spit out. MARGO All right, assuming the program is accurate, this is a description of the animal with that claw. (she reads) "Species unidentified. Genus: unidentified. Phylum unknown. Male, weight in excess of 240 kg. Brain capacity, 900 centimeters." That means it's highly intelligent. "Quadrupedal." FROCK Quadrupedal! The other name for Mbwun. "He Who Walks on All Fours." Margo and Frock exchange a look. Holy shit. Margo swallows and keeps reading. MARGO "Nocturnal. External hair and bony plates. Locomotor speed 60-70 kilometers. Reduced optic chiasm"... poor eyesight. "External mucoid nasal glands,"... very keen scent... "Morphological characteristics: Highly robust. Aggressiveness: extreme." FROCK So the claw came from a huge creature with a preternatural sense of smell and poor eyesight that hunts at night. MARGO With the intelligence of a human being, the speed of a greyhound, and the strength of a grizzly bear. FROCK (a long moment) Margo, what you've just described is a killing machine. MARGO And it's hungry. It's been two days since it's eaten. There are five hundred people arriving right now. The animal hunts at night and it has a keen sense of smell! All those people in one enclosed space... FROCK It's like ringing the dinner bell. INT. ENTRANCE TO SUPERSTITION EXHIBIT - ROTUNDA - NIGHT The crowd is now packed into the rotunda as the MAYOR cuts a red ribbon across the entrance to the exhibit and everyone applauds. Cuthbert is by the mayor's side. He steps forward and raises his hand for quiet. The crowd falls silent. CUTHBERT Thank you everyone and welcome. We're glad all of you were willing to brave the inclement weather to be with us tonight. Our special thanks to his honor, the mayor and his lovely wife. The Mayor takes a bow. More applause. CUTHBERT (CON'T) Some people have questioned whether a superstition exhibit belongs in a Museum of Science. Spells, incantations, demons, magic... these are forces that defy the natural laws. Superstition provides answers to the great questions based on fear. Science provides answers to the great questions based on truth. Science and superstition, then, are polar opposites. Mortal enemies, if you will. And that is why we are here tonight. We have come to learn more about the enemy, and thus to bring about its defeat. For every good, there is an evil, for every dark, a light. And so tonight... my friends, I give you ignorance, terror, unreasoning fear, pure evil. (smiles, gestures to the exhibit) Have a great time. Everyone laughs, applauds again as Cuthbert and the Mayor lead the way inside. Kawakita is making his way over to D'Agosta. The crush at the entrance is incredible. KAWAKITA Lieutenant! It's me. D'AGOSTA What is it? KAWAKITA Dr. Green has to see you! D'AGOSTA Got my hands full here. KAWAKITA It's important. Please. You have to come! Pendergast, too. She's found out something. D'Agosta pulls out his walkie talkie. D'AGOSTA McNitt? D'Agosta here. INT. SECURITY COMMAND CENTER - MUSEUM - NIGHT Officer McNitt stands in the corner of the computer room, bathed in neon light. Running the security system is GEORGE, your basic computer nerd. Multiple screens all over show various rooms in the museum. Most are empty with the exception of those showing the exhibition. On these, the crowds can be seen entering the various rooms. McNitt holds his walkie talkie. MCNITT Yeah Lieutenant? I'm here. D'AGOSTA (ON RADIO) I'm heading to the Evolutionary Bio labs. Any sign of Pendergast? MCNITT Not yet. At this moment a NOISE comes from the adjoining room. McNitt's head SWIVELS. It's a LOUD THUMP. MCNITT Hold on Lieutenant. (to George) What was that? GEORGE Probably just something wrong with the air conditioning. There's a shit load of electrical rooms back there. George is playing an elaborate computer game and not paying attention. McNitt returns to his walkie talkie as the THUMP comes again. Now he looks distinctly nervous. MCNITT Lieutenant? There's something wrong in the computer room. D'AGOSTA (ON RADIO) Goddamn it. I'll get Ippolito and send him up. George rises. GEORGE You're over-reacting. Sounds like the air conditioning to me. McNitt watches uneasily as George opens the door, disappears into the next room. INT. ENTRANCE - SUPERSTITION EXIBIT - NIGHT D'Agosta turns to Kawakita who waits, shifting from foot to foot. D'AGOSTA Damn. There's some kind of problem in the computer room. I have to go get Ippolito. You wait here. D'Agosta heads into the exhibit before Kawakita can protest. INT. SUPERSTITION EXHIBIT - NIGHT We see various cuts of people as they move into the different rooms. A TEENAGE GIRL (LAUREN) and her FATHER (DAVID) examine a lidless, rotting European style coffin, complete with corpse. A white haired gentleman (DR. POUND), leans on his cane as he looks at a display on primitive medicine practiced with implements that look like torture tools. Cuthbert and Ippolito are at the head of a press of people, giving the MAYOR and HIS WIFE a guided tour. CUTHBERT Here we have a very rare sacrificial table from Mesoamerica. The priests would kill the victim on this slab, cut out the heart and eat it while it was still beating. MAYOR I could use one of these things in City Hall. Cuthbert laughs right on cue. They pass a Congo power figure with its bulging eye sockets and torso riddled with sharp nails. Several people recoil from it, looking repulsed. The MAYOR's WIFE sees it and looks distressed. MAYOR'S WIFE You're letting kids see this? I should think they'd have nightmares. CUTHBERT Kid will love it. They're our target audience. Nothing here is as violent as what they see on T.V. They pass a MUMMY dripping in BLOOD. The Mayor gestures to it. MAYOR I don't know. That could be a little over the top. It's not even scientific. Mummies don't bleed. Cuthbert's smile fades as he sees the mummy. CLOSE ON... the MAYOR'S WHITE CUFF as he extends his hand to point at the mummy. The pristine white of his cuff is suddenly colored by a falling RED DROP OF BLOOD. Cuthbert sees it. So does the Mayor and Ippolito. They look up as another DROP OF BLOOD falls right on Cuthbert's face. And yet another droplet falls on THE MAYOR'S WIFE'S white bosom, exposed by her low cut dress! CUTHBERT Oh... my... God... THEIR POV... above the mummy's head, the top of the case is cut away, exposing a ceiling crawling with steam pipes and ductwork. A hand, a watch, and the cuff of a blue shirt protrude over the edge of the case. A small icicle of blood hangs from the middle finger. And another drop FALLS. CUTHBERT SCREAMS AT THE TOP OF HIS LUNGS! Conscious of the panic factor, Ippolito yells. IPPOLITO Quiet everyone! But it's too late. The room is packed with people. And D'Agosta himself is just pushing through the door as another woman cries out... WOMAN There's a body up there! A ripple of fear goes over the faces in the room, titters as people wonder if it's a joke. At that moment from the darkness above, the ceiling buckles and something FALLS! It's OFFICER DOYLE'S HEADLESS TORSO, dripping blood! UTTER PANDEMONIUM breaks loose! The close space ECHOES with screams and shouts. People claw at each other, stumbling desperately trying to get to the door. A YOUNG WOMAN falls and D'Agosta runs to her to keep her from being trampled in the stampede. INT. COMPUTER ROOM - NIGHT McNitt is staring in horror at the remote camera images showing the chaos in the exhibition, the faces registering blind fear. Alarms start going off all over the place. McNitt calls out... panicked... MCNITT George! Get out here, now! McNitt looks around, desperate. But George still isn't here. The door to the electrical room is still open. The ceiling shudders from thundering feet. McNitt can hear distant SCREAMS! It's raising the hair on the back of his neck. He calls out. MCNITT George! Where are you? No answer. He moves to the open door, a new fear in his eyes. He looks inside. INT. ELECTRICAL ROOM - NIGHT BLACKNESS. McNitt can't find a light switch. He stays in the doorway, silhouetted by light from the computer room. With shaking hands McNitt pumps a slug into the chamber of his shotgun. There's a strange, low, gurgling sound. It's McNitt's stomach. He silences it, swallows. MCNITT Hey you? George! Damn it. Where are you? No response. McNitt edges into the darkened rooms. The first one's empty. He tries the next. MCNITT George! We've got an emergency! Are you here? Suddenly there's a HUGE THUMP and a scuttling to his left! It's a terrifying sound! McNitt drops to his knees and pumps three rounds, each with a light and a deafening blast! A SHOWER OF SPARKS and a gout of flame licks upwards, illuminating the room with orange light. A HUGE DARK SHAPE ducks out the door! MCNITT Oh God. Oh God! Gunpowder hangs in the air like a blue fog. On the far wall, a mounted metal box is smoking from three large, ragged holes! With a sudden pop, an electrical arc slices across the ruined box, followed by a crackling and a shower of sparks. McNitt ducks back into the computer room, slams the door and locks it, breathing hard. INT. COMPUTER ROOM - NIGHT Every single screen flickers and dims. But to McNitt's relief, George has returned. He is sitting with his back to the doorway in his chair. MCNITT George! I saw something in there! I fired but I think I missed it! George remains still, his back to McNitt, staring at the computer game on the flickering screen. MCNITT George, for Chrissake answer me! McNitt puts a hand on George's shoulder, swivels his chair around. ON GEORGE... His face ripped off. INT. ELECTRICAL ROOM - NIGHT ON THE CENTRAL SWITCHING BOX... sparking and shorting as an ENORMOUS CLAWED ARM SWIPES IT OFF THE WALL! INT. HALL OF THE HEAVENS - NIGHT Everyone pours out of the exhibit, running for the door leading to the Rotunda. People are getting trampled. It's a terrible crush. Screams! Tables over-turned everywhere. Food scatters to the floor. D'AGOSTA pushes his way out of the exhibit, crosses to Kawakita, who is appalled. Above, the chandeliers are flickering. KAWAKITA What happened?! D'AGOSTA There's a dead body in the exhibit! People are panicking, trampling each other trying to get out. Ippolito runs over to join them. D'AGOSTA What the hell is going on?! Above them THE LIGHTS dim again and come back on. IPPOLITO The whole system is shutting down! We have to get out quickly before the fire doors fall! D'AGOSTA What doors? IPPOLITO I told you! They seal off all the cells. They were designed to fall automatically in a system failure -- D'AGOSTA You said the system couldn't fail! At this there's a low rumble from above. D'Agosta looks up and sees A LARGE METAL DOOR IS DESCENDING from a slot in the ceiling, and not in an orderly fashion. It's falling fast. Below are crowds of people, all pushing to get out! Officer Bailey, near the door, sees it. BAILEY Above you! Look out! His voice is lost in an ocean of screaming. Kawakita stands in total horror a moment, then joins Bailey and D'Agosta. All of them try to restrain people from trying to beat the door. Ippolito, on the other hand, elbows his way to the front of the fleeing crowd! D'AGOSTA Ippolito! Get back here! IPPOLITO Like hell! Ignoring D'Agosta, Ippolito pushes past. He barrels over an OLD MAN who stumbles and falls DIRECTLY BENEATH THE FALLING DOOR! Ippolito jumps over him and is out! The old man looks up at the descending wall of steel and SCREAMS! D'AGOSTA runs forward, dives for the old man but he's not in time. Kawakita covers his eyes, unable to watch as the lights flicker a third and last time. The room is plunged into darkness. And over the screams we hear the rumble and CRASH, the horrifying cries of the old man, as the door comes down. INT. MARGO'S LAB - NIGHT Margo and Frock stand in the darkness. Through a high window we can see lightning flash. MARGO What's going on? FROCK Some kind of power failure. Maybe it's the storm. Do you have a flashlight? MARGO I think so. She gets one from a cupboard. FROCK Greg's been gone over a half hour. We'd better get out of here. Get the crate. INT. HALLWAYS - NIGHT Frock wheels his chair as fast as he can. Margo runs beside him carrying the crate with the fibers inside. A peel of thunder ends and distant screaming is heard. Margo stops, appalled. MARGO Dr. Frock. Did you hear that? FROCK Don't stop now. Up ahead they hear METALLIC RUMBLING and a CRASH! They round a corner and come up against a huge STEEL DOOR. MARGO What's that? FROCK It's one of the fire doors. Good Lord, Margo. We're trapped! INT. BASEMENT - NIGHT Pendergast stands at the end of a cul de sac, studying the blue prints by a stone wall. Jonathan and the dog are with him, exhausted and terrified. Jonathan keeps an eye on the corridor behind them as Pendergast works. PENDERGAST I know where we are now. We're getting out, Jonathan. This should be another door. Taking a pen knife from his pocket, Pendergast places it into the plaster and gently twists the blade. A piece of plaster the size of a dinner plate falls, revealing the tracings of another doorway. Pendergast shoves the door open to reveal a dark, dusty room. JONATHAN Hallelujah, Pendergast. Where the hell are we now? INT. "ALCOHOLIC" ROOM - NIGHT Jonathan and Pendergast enter quickly from the hidden rear door. Pendergast shines his beam on dusty shelves filled with specimens. All are stored in jars of alcohol. There are fetuses of many different species. We see a pig, a cow, a duck billed platypus as well as brain sections, a disembodied monkey head. One rectangular glass container holds a skinned human foot. JONATHAN Jesus, what is this? PENDERGAST Another storage room. Pendergast tries the light switch to no effect. PENDERGAST Something's happened. The power's out. They cross the room to the main door and exit. Now they're in... INT. OSTEO PREP - LAB - NIGHT Pendergast shines his light on the maceration tanks. The humming of the bugs can be heard in their cabinet. PENDERGAST All right. I know where we are. This is the osteo prep lab. I was in here earlier. We're safe now. With these words, the dog GROWLS. Jonathan freezes and sniffs the air. JONATHAN Oh no. I smell it. PENDERGAST Keep the animal quiet. Jonathan kneels by Hobbes as Pendergast listens, every nerve on end. A sound comes from the adjacent hallway that leads to the secure storage area. It's unmistakable HEAVY BREATHING and the creeping movement of claws. Pendergast lifts his gun. PENDERGAST Go out the other doorway. There's a stair at the end of the hall. Up five flights is a corridor that leads to the Hall of the Heavens. Find Lieutenant D'Agosta. Bring help. Jonathan doesn't have to be told twice. He takes the dog and exits from the other side of the lab leaving Pendergast alone. Pendergast waits a moment until Jonathan's safely out of sight. He switches off his flashlight, backs up slowly, step by step. He opens the door to the alcoholics storage. As he slips inside a DARK SHAPE appears. INT. "ALCOHOLICS" STORAGE - NIGHT Slowly, making no sound, Pendergast lifts the .45 Anaconda, passes his finger over the cylinder, checking the loaded chambers. Then he steadies the revolver and levels it at the door. The hideous pickled specimens seem to hover all around him. The smell is overwhelming and the snuffling is louder now. It's coming closer. After a long moment there is a faint bump at the door. This is followed by a low scratching noise... Pendergast watches frozen in horror, holding his breath. THE DOORKNOB BEGINS TO TURN! Not knowing what else to do, Pendergast simply grabs it from the inside and holds on! OUTSIDE he hears an AMUSED SNORT, then a LOW GROWL. There's ONE HARD HIT and the door shivers. THE DOORKNOB FALLS OFF! It's over now. Pendergast kneels down, bracing the gun in both hands. From this position he can see right through the hole where the doorknob fell. His mouth literally drops in astonishment as he sees... a HUGE, red-rimmed, GREEN EYE! Involuntarily Pendergast LEAPS BACK, nearly falls and drops the gun! Beakers crash around him. He scrambles in the darkness. The flashlight falls and pops back on. The beam streaks up crazily. It's chaos. Pendergast is an easy target now. He grabs for the light, the gun, steadies himself, breathing fast and low. His heart pounds. But nothing more happens. The silence is heavy. The eye is gone. And suddenly Pendergast understands. In the distance he can hear HUMAN VOICES and a rolling wheelchair! Somewhere nearby are MARGO AND FROCK! The monster has left him to get bigger game. Fear for Margo and Frock lights Pendergast's eyes. All panic and disorganization are gone. He holds his revolver at 12 o'clock and KICKS the door open, leaps out as A HUGE DARK SHAPE DARTS FROM THE ROOM. It's headed for the secure storage areas again! Pendergast takes off. Not knowing how else to address this thing he finds himself calling... PENDERGAST Halt! INT. SECURE STORAGE HALLWAY - BASEMENT - NIGHT Pendergast runs into the hallway but he's already too late. The hulking shape of the quadruped is moving at incredible speed. ON PENDERGAST... as he levels his gun and shoots. THE CREATURE... stops, rears back on its haunches, looks once at Pendergast, pissed. As the VOICES around the far corner fall silent, Pendergast FIRES. The shot blasts off a piece of the wall. With astonishing speed and agility for its bulk, the beast turns and leaps around the corner, passing out of Pendergast's sight. PENDERGAST Margo! Frock! It's coming! Run! AROUND THE CORNER... Are MARGO AND FROCK... Frock holds the keys to secure storage area 1012 in his hand. Margo has the flashlight and the crate with the fibers. They can hear the sound of thundering movement. FROCK Look! Margo points her light in the distance and illuminates the beast! It's descending like a freight train. One split second of sheer amazement, then... MARGO Dr. Frock! Quick! Frock, immobilized in his wheel chair, stares at the monster, like a trapped rabbit looking at a descending hawk. Margo grabs his keys from him, fumbles desperately to open the door. It swings wide at last. She grabs the handles of the wheelchair, tugs with all her might. The wheels bump into the door frame but somehow she wrestles the damn thing inside. INT. SECURE STORAGE AREA - NIGHT Margo shoves Frock behind her, slams the door shut. Seconds later, the beast throws itself against the storage door. They hear it outside, growling in fury, claws lashing out. Margo and Frock press back in the darkness, terror in their eyes. INT. HALLWAY - NIGHT Pendergast runs forward in the echoing hallway, his gun drawn, his flashlight on. A few more steps and he holds hard. His eyes go wide in astonishment as his light illuminates the beast. It's tearing at the steel door furiously with incredible force. As the flashlight beam hits it, MBWUN roars and looks up. Now we see it clearly for the first time. The monster is MASSIVE, putrid, rank. Slit reptilian green eyes are rimmed in red. A ridge of stiff black hair rises on the creature's buffalo-like humped back. The withers are muscled and covered with plates. A forked TONGUE licks out as purple lips draw back exposing razor sharp teeth. The claws raise up to fend off the light. PENDERGAST steadies himself with difficulty, takes a few seconds to aim with the greatest care. Mbwun makes a move towards him and he squeezes the trigger hard. The gun echoes in the hall. A split second and a white streak moves right up the beast's cranium. A direct hit. The shot echoes and Mbwun drops it's claws. The flashlight continues to shine like a high beam right into the beast's eyes. Angry and blinded, the creature turns and in a moment, lopes off. Pendergast watches, unimaginably relieved. Realizing what just happened, his knees start to buckle. He catches himself, wipes one hand across his eyes. A voice comes from the storage room. MARGO (OS) Pendergast? Are you all right? PENDERGAST No. I think I'm hallucinating. The storage door opens slowly and Margo looks out. MARGO You're not. Where is it? PENDERGAST (shakes his head) Gone. MARGO Wounded? PENDERGAST No. A chromium alloy tipped .45 caliber bullet bounced off that thing's skull like a spit ball. I think it was bothered by my light. MARGO That would fit. It's nocturnal. Quick. Come inside. EXT. MUSEUM - NIGHT As hundreds of the guests emerge into the pounding rain... crying, terrified, unclear what exactly happened. These are the lucky ones. Among them we find IPPOLITO. His walkie talkie is squawking. The windows of the museum behind him are black. D'AGOSTA ON RADIO Ippolito! Where the hell are you? We're trapped in here! We need help! Ippolito! Come in, dammit! Ippolito sits down on the steps in the rain, knowing the extent of what he's done. The wheels are working hard now, trying to figure out damage control. The walkie talkie keeps calling. He doesn't respond. INT. HALL OF THE HEAVENS - NIGHT Tables are overturned, food lies on the ground, people cower in the darkness. D'Agosta crouches in some broken glass with his walkie talkie. He shuts it off, rises, looks around. Light comes from a few sputtering candles. Most of the guests still trapped inside are grouped around the lowered steel door. Among them are KAWAKITA and CUTHBERT. From the BODY of the man crushed underneath the door extends a large puddle of blood. Bailey is working in desperation on a brass panel by the door. BAILEY Manual overrides aren't working. I'm getting nothing, Lieutenant. D'AGOSTA Great. Frank, the father of the teenage girl, Lauren, steps forward. FRANK There's no power. The whole system's down. The crowd starts to murmur. One man yells. MAN We're trapped! And there's a killer in here! D'AGOSTA We'll get out safely if everyone stays calm. Is anyone else hurt? The MAYOR stands. His wife's forehead is bleeding. MAYOR Yes. My wife. D'AGOSTA Is there a doctor? The distinguished grey haired man with a cane comes forward. DR. POUND. POUND I'm Dr. Pound. D'AGOSTA Check this woman and see if anyone else needs you. Pound moves off. Everyone spins now at the incongruous sound of a DOG BARK. D'Agosta pulls his gun. The door to a stairwell at the far end of the room opens and Hobbes bounds into the hall! He's followed by Jonathan, who is filthy and wild-eyed. JONATHAN (calls) Lieutenant D'Agosta! Don't shoot. D'AGOSTA Where's Pendergast? JONATHAN (crossing, breathless) Five flights down. We were lost in the sub-basement. Something's down there. It killed our two deputies. When I left Pendergast it was coming back. He sent me for help. We have to hurry. D'Agosta makes a quick sweep of the room with his flashlight. The remote corners of the hall are so black the light seems to disappear. In the center, two men are bending over a still form. One of them is Dr. Pound. D'AGOSTA Both of you. Get back here. POUND But he's still alive -- D'AGOSTA Get back now! The urgency in D'Agosta's voice gets everyone's attention. The Mayor brings his wife over. Cuthbert comes too. They huddle apart from the others. Cuthbert's white with fear. CUTHBERT What's going on? D'Agosta speaks low. D'AGOSTA There's some kind of animal loose in the museum. Pendergast's alone. He needs help. I want volunteers to go with me. BAILEY I'm in. KAWAKITA (swallows) Me too. CUTHBERT (voice rising in fear) I'd do it gladly but someone needs to stay with these people. D'AGOSTA All right. You're elected. Bailey, get all the guns and flashlights, give the mayor your walkie talkie so we can keep in touch. Cuthbert, keep everyone together and make sure they stay quiet. Frank steps forward. FRANK I was in the Marines. Give me a gun. I'd go with you, too, but I've got my daughter. D'AGOSTA What's your name? FRANK Frank. D'AGOSTA All right. You guard these people and your daughter. D'Agosta gives Frank his service revolver. MAYOR'S WIFE (to D'Agosta) Where are you going? Don't leave us alone! The remaining crowd begins to whimper. The Mayor rises. MAYOR Everyone quiet. The Lieutenant's in charge. Bailey and D'Agosta carry shot guns. They quietly move to the back stairwell at the far end of the Hall of the Heavens. Everyone else bunches together and watches. D'AGOSTA Bailey, we'll go first and check the stairwell. Jonathan, you and Greg guard the door. Jonathan gives Hobbes' leash to the Mayor. D'Agosta hands Greg Kawakita a shotgun, tightens his grip on his own. Then he gives the signal and Bailey yanks open the door to the stairwell. INT. STAIRWELL - NIGHT D'Agosta and Bailey go in slowly. Jonathan stays in the doorway, sweeping the stairwell with his flashlight. Kawakita gingerly holds his shotgun. He's scared out of his mind. He turns to Jonathan, whispers. KAWAKITA Excuse me. Could you tell me how this thing works? JONATHAN Oh Jesus. Don't point it at me. Just aim and shoot. D'Agosta heads down the stairs in the lead, with Bailey close behind. The stairwell is windowless and dark. D'Agosta shines his light and it cuts into the blackness. He moves quietly, makes the first landing and stops. Bailey watches his back from several steps behind as D'Agosta signals for him to wait. The flashlight flares into a glass door one flight down. D'Agosta raises his hand. D'AGOSTA (low) Hold on. I thought I saw something. Everyone stops. Bailey pumps his shotgun. So does Jonathan. Kawakita fumbles to do like the others. They wait. D'Agosta moves alone down several more steps. The silence is heavy. Suddenly D'Agosta wrinkles his nose. D'AGOSTA Whoa... You smell that? JONATHAN Lieutenant! Get back! Too late. At this something DROPS FROM ABOVE! A huge dark shape LEAPS INTO THE STAIRWELL, descending two floors! It lands, pounces on BAILEY and the marble walls echo with a ROAR. D'AGOSTA BAILEY!!! Bailey SCREAMS in terror as Mbwun pins him down! BAILEY NOOOOO! CLOSE ON BAILEY... Three claws close on his neck and WRENCH HARD! There's a horrifying snap as Bailey's HEAD COMES OFF! Blood SPURTS all over and drips down the stairs. D'AGOSTA levels his shotgun at the monster and fires, with no apparent effect. When the shots stop echoing we hear SCREAMS and FRANTIC BARKING from the hall. MBWUN'S GREEN EYES look up and it's FORKED TONGUE LICKS OUT. The monster LEAPS PAST Bailey's body and heads for the door! D'Agosta, seeing what's happening, screams at the top of his lungs. D'AGOSTA Jonathan! Don't let it get into the hall! ON JONATHAN... frozen in the doorway, Kawakita by his side. Both of them are rigid with horror. Disbelief in their eyes. The BEAST leaps up directly at them as they jump to try and close the door. D'Agosta keeps firing until he's pumping an empty chamber. Plaster is falling all around. SCREAMS resound in the Hall of the Heavens as D'Agosta stumbles up the stairs. INT. HALL OF THE HEAVENS - NIGHT D'Agosta throws open the doors and charges into the Hall. Jonathan lies on the ground, dazed. Kawakita stands to one side, teeth chattering in shock. His hand shakes so badly that the barrel of the gun swings in his hand. D'AGOSTA (yells) Where is it?! JONATHAN I don't know! It hit me hard. D'Agosta pumps two shells in the shotgun. Screams can be heard from the people crouched together at the edge of the room. Hobbes is barking wildly, foaming at the mouth. It's too dark to see what's happening. D'AGOSTA (screams) Somebody tell me! Where is it now? MAYOR (quiet) Lieutenant. In the south corner. D'Agosta sweeps his light to the Mayor who stands rigid in front of the others, points to his left. The light moves to the far end of the room where THE DARK SHAPE OF MBWUN crouches over the body of a man. It's lunging up and down with odd, jerking motions. The man is long past making a sound. From the monster comes a faint crunching and slobbering. Jonathan rises, comes to D'Agosta. So does Frank. They stand shoulder to shoulder, raise their guns. D'Agosta motions for Kawakita. D'AGOSTA On three. Kawakita stumbles to join them, tries to join in. The barrel of his shot gun still swings wildly. He steadies it by taking it in both hands. D'AGOSTA One, two... three. All three fire. There's a loud report. The kickback knocks Kawakita backwards. Screams erupt from the huddled group. Hobbes abruptly shuts up. The men fire and fire until there's nothing left. D'Agosta reaches for more shells, comes up empty. D'AGOSTA Jonathan! Get everyone behind me! Jonathan moves. D'Agosta sweeps his light across the room but already the shape is gone. Cuthbert hides behind the Mayor, calls out in a terrified squeal. CUTHBERT It went out the door to the rotunda! D'Agosta runs across the room to a set of double industrial doors. There's a noise in the darkness beyond and he just manages to slam both doors. He picks up a metal chair and jams it through the handles. Backs up. The doors shudder as something hits them hard. D'AGOSTA Get everyone into the stairwell! Jonathan, the Mayor, Cuthbert and Kawakita together herd everyone towards the stairwell. They move inside. INT. STAIRWELL - NIGHT Dark and close. The smell of gunpowder and death. The Mayor's Wife sees Bailey's body and clutches her mouth so as not to throw up. CUTHBERT Sweet Jesus! D'AGOSTA Get his gun and his walkie talkie, Jonathan. Move. CUTHBERT My office is on the third floor! There's a walk-in safe and a portable phone! We can lock ourselves in the safe and call for help! D'AGOSTA I have to help Pendergast. Kawakita and Jonathan stay with me. The rest of you can go with Cuthbert! MAYOR I think we should stick together! FRANK (taking Bailey's shotgun) Me too. CUTHBERT I'm leaving. Whoever wants can come with me. No one follows. D'AGOSTA Wait! Cuthbert's gone. D'AGOSTA Jonathan, go with him! He isn't armed. Jonathan grabs Hobbes' leash from the Mayor and bounds up the stairs. MAYOR Good luck! Everyone else follows D'Agosta. Together, they head down. EXT. MUSEUM - NIGHT Police cars are pulling up outside the museum. Sirens wail. Torrents of rain limit the number of onlookers. Crowds of people are scattered about. There's disbelief on everyone's faces. Many people are in shock. Ippolito sprints through the pelting rain to a GUARD STATION near the gate. He yanks the door open and jumps inside. INT. GUARD STATION - NIGHT A number of museum security personnel are milling in confusion. IPPOLITO All right everyone. I'm in charge. Status report. One of the security men, WATERS, rises. WATERS Swat teams are on the way. Fire trucks with them. Everything's slowed down because of the rain. We're bringing in portable generators. They'll get the emergency lights working but they won't pump enough power to lift the doors. Ippolito pulls out his walkie talkie. IPPOLITO D'Agosta? Ippolito. Come in. D'AGOSTA (ON RADIO) (a string of curses followed by...) Where the hell are you? IPPOLITO I made it outside. I'll co-ordinate the rescue efforts from here. Help is on the way. Just sit tight. D'AGOSTA (ON RADIO) It's a little late, you son of a bitch. There's a friggin' monster loose in here! Get the FBI, the fire department. Find metal cutters, cut through. And bring a cannon. The damn thing is huge. A long moment as the men look at each other. WATERS Did he say monster? IPPOLITO Panic attack. INT. MUSEUM STAIRWELL - NIGHT D'Agosta's group has reached a lower floor. Here this stairwell ends. Ahead stretches the hall of the Asian peoples. IPPOLITO (OS) D'Agosta, put on the Mayor. D'Agosta passes the walkie talkie to the Mayor. MAYOR Mayor Jordan here. IPPOLITO (ON RADIO) This is Ippolito, head of museum security. Relieve D'Agosta and take command. MAYOR Don't tell me what to do you chicken shit bastard. I saw you cut and run! Lieutenant D'Agosta stayed with us. He is in charge. There is a monster. I saw it. Cut through those doors and get us out of here, now! The Mayor shuts off the walkie talkie and they round another corner and disappear from sight. INT. SECURITY ROOM - NIGHT Ippolito finds Waters and the others staring at him. Humiliated, he swallows hard. IPPOLITO All right. The steel doors are designed to retard cutting. We can go through them, but it would take hours. WATERS The quickest way in would be to go through the roof, sir. Cell two goes up to the fifth floor. There are sky lights up there. IPPOLITO Co-ordinate with the fire department and SWAT teams. Move. INT. HALL OF THE ASIAN PEOPLES - NIGHT It's very dark. The huge shape of MBWUN can barely be seen sliding out of the stairwell and into the Hall of the Asian Peoples. Then DIM RED HALL LIGHTS come on in the corners of the ceiling. The monster utters a low growl. The emergency generators are beginning to come on. The animal lopes to the spot where we last saw D'Agosta and his group, sniffs the ground. It looks up and, with a curiously human gesture, cocks its massive head. The silence is broken by VOICES! They're in the distance and muffled, but definitely there. The monster crouches eagerly, lopes forward with great stealth. The voices are getting louder. We follow as it goes through the hall and down... A STAIRWELL... At the bottom, Mbwun quickly turns a corner... The voices have stopped. Mbwun creeps forward, enters... INT. HALL OF MARINE ANIMALS - NIGHT A huge room several stories high. A WHALE hangs suspended from the ceiling. Dioramas of fish line all the walls. Mbwun pauses next to a diorama of the gentle, vegetarian sea cow, THE MANATEE. The two make a startling contrast. A pause and then the voices are heard again, much louder now. The source is right around the edge of the Manatee display. Mbwun LEAPS FORWARD, claws lashing out. He turns the corner and crashes through a wall of GLASS as he grabs at the source of the voices... A display of small, extraordinarily life-like TALKING HOLOGRAMS! They've been re-activated with the emergency power system. Each little talking figure is no more then five inches high. They move around a small three dimensional display of marine animals, explaining the lung systems of fish. MBWUN... stands in the pile of broken glass, stares at the holograms, mesmerized. He makes a noise that sounds astonishingly like a CHUCKLE! Then he reaches out one long claw and tries unsuccessfully to touch one of the holograms. But the shadowy creatures can't be caught. The beast seems to realize this, SNORTS and moves off. As he goes he passes behind a LARGE GLASS ELEVATOR. It stands in middle the open room. The elevator is designed to carry people upstairs and down in the two story exhibit. In the dim light, with his poor vision, the monster doesn't see D'Agosta, the Mayor, Kawakita, and their entire group SANDWICHED INSIDE. The monster exits the exhibit and quietly D'Agosta slides the doors open. Everyone, all thirty-five people in evening clothes, quickly get out and run across the exhibit to another stairwell at the far side of the hall. INT. SECURE STORAGE AREA 1012 - NIGHT Margo, Frock and Pendergast wait in the darkness. Pendergast, for the first time, seems fazed. PENDERGAST I don't know how to deal with this. It's hellish. Like nothing I ever saw. I'm not trained to deal with a monster, a supernatural creature like that. MARGO It's not supernatural. Mbwun is an animal. Part lizard, part human, a genetic freak of some kind, like the half-goat, half-sheep they found last year in the jungles of Vietnam. PENDERGAST But this isn't the jungle! This is New York. How did it get here? A thing like that crossed two continents. It makes no sense! FROCK (lame) We think it may have something to do with the eggs we found in the crate. PENDERGAST I don't believe it. MARGO None of that matters now. The people upstairs need us. We have to help. FROCK We can't. We've managed to get inside the one place that's safe. I think we should sit tight and wait for reinforcements. If we go outside, we're risking more lives. You have to accept it, Margo, there's nothing we can do. The building must be swarming with police by now. It won't take long for them to get through the doors. MARGO That thing could kill ten people in a matter of minutes. PENDERGAST But what can we do? Our guns are useless -- MARGO We have the fibers. Don't you see? The creature is hungry. It wants the hormones in these plants. It would take hundreds of human brains to supply what's in these fibers. We're just a poor substitute. To make it stop hunting, we have to give it what it wants. INT. CUTHBERT'S OFFICE - NIGHT Cuthbert enters with Jonathan and the dog, Hobbes. Cuthbert locks the door with shaking hands. He mutters to himself in terror. CUTHBERT Solid oak. Two inches thick. Tell me they'll hold. Cuthbert scurries to his desk and pulls out a Ruger .38 Magnum. CUTHBERT I got it after I was mugged in the subway last spring. JONATHAN Where's the walk-in safe? CUTHBERT Behind you. JONATHAN What's the combination? CUTHBERT I'll do it. Just let me find my portable phone. He rummages in the darkness, going through his desk. JONATHAN Forget it! CUTHBERT Calm down. I found it! Cuthbert flips the phone open and turns it on. CUTHBERT Battery's dead. Shit. JONATHAN Let's go! Cuthbert crosses to a huge wall safe, starts frantically turning the tumblers. Jonathan follows with the dog. CUTHBERT That thing won't come after us, right? It's going for bigger game. The group blundering around in the basement. Poor fools. JONATHAN Hurry up! CUTHBERT Just a minute. I'm shaking! Take the gun. Cuthbert fumbles to hand over the Ruger. As he does, something drops. CUTHBERT Oh God! I dropped my rabbit's foot! Cuthbert drops to his knees, groping in the darkness. JONATHAN For Chrissake, I'll do it. What's the combination?! CUTHBERT To the left twice then five no... sorry... I think it's fifteen... it's been a while... JONATHAN Oh Jesus... Jonathan starts again, sweating. The tumblers fall with agonizing slowness. Cuthbert continues groping frantically for his good luck charm. Meanwhile, unnoticed by Jonathan, the dog is staring at the oak doors. We see the HAIR ON HIS BACK rise! JONATHAN Fifteen... what's next? CUTHBERT Eight to the right! Look! I found it! Clutching the rabbit's foot like a talisman, Cuthbert leaps up just as the last tumbler falls. At this the oak doors behind them CRASH OPEN, splintering like so many match sticks. Cuthbert SCREAMS in a high pitch whine at the sight of the beast. The dog barks wildly at Mbwun! Jonathan lifts his shot gun. But the monster barrels past him and zeros in on Cuthbert! A HUGE RED TONGUE LICKS OUT and encircles Cuthbert's waist! It squeezes him horribly, drags him towards the open jaws! Cuthbert bellows like a lamb being led to the slaughter. He opens his hand and the rabbit's foot drops! The last Jonathan sees of Cuthbert is his head disappearing down Mbwun's throat. Hobbes barks and whines in terror. Jonathan takes the leash and drags the animal out. INT. MUSEUM HALLWAYS - NIGHT Jonathan and Hobbes tear down the hallway and disappear. Behind them comes a roar so loud it rattles the walls. INT. HALLWAYS - SECURE STORAGE AREA - NIGHT The door opens slowly and Pendergast appears. He shines his beam in both directions. PENDERGAST All clear. Margo and Frock quickly come out. Margo holds the crate. Frock tries to follow in his wheelchair. FROCK I'm coming with you. MARGO No, Dr. Frock. You can't. PENDERGAST You'd slow us down and put Margo in danger. MARGO Unlock one of the other storage rooms. We're going upstairs. We'll leave a trail back to 1012 and try to trap the monster in here. FROCK Margo, this is too dangerous. You always think you can solve everything. This time you don't have enough information. The animal might behave in unexpected ways. (to Pendergast) Leave her here with me. Don't put her in danger. PENDERGAST He's right. MARGO No. You'll need me -- At this a LOUD SOUND comes from upstairs! FROCK What's that? PENDERGAST Footsteps! MARGO No, not footsteps! People running for their lives! All three know this ends the discussion. Frock opens the door to room 1010. Inside are shelves of priceless ivory tusks. Margo takes Pendergast's handkerchief and wraps her hand. She quickly sprinkles some of the fibers inside the door to room 1012. Before Dr. Frock disappears into room 1010, he looks back to Margo one last time. FROCK Come back and get me. MARGO We will. FROCK Remember, it has poor eyesight. It hunts with its sense of smell. So for God's sake, Margo, don't get those fibers on your clothes! INT. OSTEO PREP - NIGHT Margo and Pendergast emerge from the hall to the storage rooms and run for the far stairs. From somewhere above the sound of running is louder now. INT. PLANETARIUM - NIGHT D'Agosta and his group enter the large domed space in disarray. They're spread out and panicked, the young helping the old. Dr. Pound is finding it hard to keep up. Frank and his daughter Lauren bring him along. The Mayor quietly urges people forward. His wife's face is streaked with tears. Kawakita runs with D'Agosta. KAWAKITA It's still back there! D'AGOSTA I know. Now a voice is heard in the distance. PENDERGAST (OS) Where are you? Who's there? Everyone stops. D'Agosta shines his light into the large space. Above them constellations glow. D'Agosta calls out... D'AGOSTA Pendergast! INT. HALL OF NORTH AMERICAN MAMMALS - NIGHT Margo and Pendergast run. Margo carries the crate carefully wrapped in Pendergast's jacket. PENDERGAST That was D'Agosta. MARGO The planetarium! PENDERGAST (calls out) Vince! D'AGOSTA (OS) Over here! There's a double steel fire door at the end of the hallway. Pendergast and Margo run for it. Pendergast shoves at the door. It won't budge. There's a small glass window. In it, D'Agosta's face appears. D'AGOSTA (through the window) Pendergast! Help! It's right behind us! PENDERGAST This door's locked. Try shooting the hinges off. INT. PLANETARIUM - NIGHT D'Agosta turns to his group. D'AGOSTA Step back! D'Agosta, Frank and Kawakita aim their guns at the door and shoot repeatedly. The shots echo wildly. The sound is terrifyingly loud. The small glass window shatters. Then the men lean heavily on the door. It still won't budge. D'Agosta looks through the window. D'AGOSTA It's no use. We have to get out of here! (to Kawakita) Give them your walkie talkie. Kawakita hands his walkie talkie through the window. Margo takes it. KAWAKITA Is Dr. Frock safe! MARGO Yes, he's fine. Greg... take care of yourself! INT. HALL OF THE NORTH AMERICAN MAMMALS - NIGHT Pendergast looks desperately at the blueprints. MARGO Is there another way around? PENDERGAST No. The planetarium is in the next cell. This is one of the fire doors... Pendergast returns to the window. PENDERGAST Vince? There's no way we can get to you with the fire doors down. There's an entrance to the sub- basement in the hall off the north side exit. D'AGOSTA The sub-basement? PENDERGAST I've been down there. It links up to the old sewer system. I can guide you out. D'Agosta turns to the others. D'AGOSTA How much ammo do we have to make a stand? KAWAKITA You're asking me? I don't even know how to load this thing. FRANK Four rounds... There's a movement of air... and a ripe, fetid smell. D'AGOSTA Oh shit. D'Agosta pumps his shot gun. D'AGOSTA I smell it. It's here. PENDERGAST Go out the north exit! There's a hallway and a false wall by the Greek vases. Run! D'AGOSTA Everybody. Get behind me. The others move past. D'Agosta, Frank and Greg Kawakita hold the rear. The group runs to the side exit to the planetarium and in a moment, disappears. INT. HALL OF THE NORTH AMERICAN MAMMALS - NIGHT Pendergast remains at the window watching anxiously. From the south entrance to the planetarium, an ENORMOUS DARK SHAPE slinks into view! Pendergast steps back from the doorway, turns to Margo. PENDERGAST Hide quickly! MARGO What are you going to do? Pendergast checks his gun, totally calm. PENDERGAST Buy them some time. Margo turns and looks around at the looming dioramas. There's a plain door at their end of the hall. Pendergast faces the broken window. HIS POV... the beast is slinking away after D'Agosta and the others, headed to the north exit from the Planetarium! PENDERGAST calls out... PENDERGAST Hey you big tub of lard! Over here! THE BEAST PAUSES, turns. Pendergast puts his palms up at his ears, wiggles his fingers and makes a face through the window. PENDERGAST Come on, you smelly pile of refuse. Come get me. I dare you! A LOW surprised GROWL comes from the beast. It crouches as if to pounce. Pendergast makes more faces, sticks his tongue out. The beast watches in silence, its evil eyes fixed. ON MARGO... watching Pendergast. She can't leave him yet. MARGO What is it doing? PENDERGAST (loud) It's scared of me. Suddenly there's a CRASH and the door BENDS like cardboard. TWO HUGE SETS OF CLAWS lash through! Margo screams as the claws pass inches from Pendergast's face. He leaps back, lifts his gun which looks like a pea shooter in the face of Mbwun. Two sets of claws curve around the bent edges of the door, then Mbwun simply LIFTS it out of the frame. This leaves Pendergast face to face with the foul, enormous monster! It regards him evenly, blinks once. Then the tongue slides out, licks its lips eagerly and... Pendergast FLICKS on his high powered FLASHLIGHT, shining it at close range right in the beast's eyes! Then carefully, with total calm he FIRES ONCE, TWICE. The beast howls more in anger than pain, REARS UP and swipes at Pendergast. Pendergast dives to one side and, the claws miss again by inches as the beast is temporarily blinded by the light. Now Pendergast spins and runs for all he's worth. Margo's been waiting, holding the door. PENDERGAST Drop the fibers! She leaves the crate behind as Pendergast dives inside with her. Margo shoves the door shut hard as Mbwun, still blinded, leaps into the hall. But now, suddenly, all is quiet. No sign of Margo and Pendergast. The beast moves forward, snuffling slowly. It starts for the door which hides Margo and Pendergast, but stops as it finds... THE CRATE! The beast moves to it, clearly surprised. It pokes at the crate carefully, inhales the fragrance and grunts. The monster seems to be struggling with itself! It sniffs the fibers, lifts a few out carefully, then SHOVES THE CRATE AWAY HARD. Then it rises on its haunches and squints into the dark. On all sides are glowing displays of stuffed buffalo, gazelle, wild horses, wolves, giant elk, sabre tooth tigers. Mbwun moves close to one after another. Suddenly we notice, in the back of one of the dioramas... Margo and Pendergast! They stand frozen, crouching behind mannequins of native Americans riding horses across the plains. The beast sniffs RIGHT AT THEIR WINDOW, then turns away. Confused, it heads back towards the Planetarium and slinks from the room. INSIDE THE DIORAMA... Pendergast and Margo exchange an astonished look. They whisper. PENDERGAST What happened? MARGO Its eyesight is worse than I thought. It couldn't see us. And it couldn't smell us through the glass. PENDERGAST It didn't want the fibers. What does that mean? MARGO I think... it means it's full. PENDERGAST Then it won't go after the others? MARGO No. It's still hunting, but not for the hormones. PENDERGAST For what? MARGO I think... for the pleasure of the kill. INT. HALLWAY - MUSEUM - NIGHT Greg, the Mayor, D'Agosta and the others are in a hallway lined with at least a dozen vases. A GREEK VASE has been shoved aside revealing the outlines of a door. Behind is a sloping dark corridor. The last of the thirty-five people pack in. Greg and D'Agosta cover the corridor. D'AGOSTA That's it, let's go! Grim-faced, D'Agosta follows Kawakita as they duck through the doorway, shutting it behind them. The impact rattles the wall and the Greek vase falls. INT. SUB-BASEMENT - NIGHT Kawakita and D'Agosta reach the bottom and turn to see the Mayor, his wife, Dr. Pound and their whole group standing in several feet of rushing water. Lauren is shivering. Her father has his arm around her tight. Behind them are two corridors, one forking left and the other straight. D'Agosta gets out the walkie talkie, clicks it on. D'AGOSTA (into walkie talkie) Pendergast. We made it. You all right? INT. DIORAMA - NIGHT Pendergast has the plans open as he studies them. He speaks into the walkie talkie. Margo paces behind him, thinking hard. PENDERGAST We're fine. Take the left fork behind you. You'll be in a straight passage. When the hall forks again in fifty yards go right. Then radio back. INT. SUB-BASEMENT - NIGHT D'Agosta shuts off his walkie talkie. Everyone's staring at him. D'AGOSTA All right. Kawakita, cover the rear. KAWAKITA Oh shit. FRANK No, Lieutenant. He's not a good enough shot. I'll do it if you take care of my daughter. D'Agosta nods. Frank expertly reloads. D'Agosta holsters the walkie talkie and they plunge down the left hand passage. Kawakita takes charge of Lauren, who is confused and terrified. The tunnel has a slight downhill grade, and the water begins to move faster, tugging at everyone's legs. People slip and slide as they half make their way down the hill. D'Agosta calls behind them. D'AGOSTA Damn. It's getting deep. See anything? ON FRANK... back not far from the first fork. He looks towards the head of the tunnel, calls out... FRANK You'll be the first to know. Frank turns and plunges after the others. But then suddenly, he stops. ON D'AGOSTA... he reaches the second fork and takes a right. This tunnel is narrower and consequently the water is even deeper. Slimy plants hang down and slap at their faces as they push on. D'Agosta pulls out his walkie talkie. D'AGOSTA Pendergast? I made the right hand fork. We're already in about three feet of water. Where should we go? But before Pendergast can answer, D'Agosta hears the loud report of Frank's gun! Everyone freezes in the darkness. The walkie talkie cackles and D'Agosta shouts! D'AGOSTA Hello! FRANK (OS) Sweet Jesus, help! They hear SPLASHING in the water. Lauren SCREAMS, tries to run back. Kawakita grabs her. There's more thrashing water and then silence. D'AGOSTA Frank! Are you all right! D'Agosta starts for Frank but the Mayor catches his arm and holds him. MAYOR It's too late! Everyone waits, staring into the darkness. Still no answer. Lauren SCREAMS AGAIN. LAUREN Dad! D'Agosta turns his flashlight on the water. It's running red! He spins to the Mayor, points down the tunnel. D'AGOSTA Run! People start to cry and whimper as the Mayor urges them on. He takes charge of Lauren. Only Greg Kawakita stays with D'Agosta. They stand shoulder to shoulder and completely alone. Thrashing in the water can be heard as the beast comes closer. There's a low, pleasurable growl! Both men lift their guns. D'AGOSTA On three. Kawakita nods. Behind them in the tunnel is total blackness. Ahead is equally dark. The noise of their friends gets ever fainter. The water now rushes half way up their thighs. Kawakita's teeth start to chatter. He bites them shut, steadies his gun. D'AGOSTA One... two... Silence as the water murmurs. D'Agosta holds the count. A long, agonizing moment. Kawakita takes his eyes away from the tunnel. KAWAKITA I think it's gone. Suddenly a HUGE CLAW snakes out of the water right in front of them and the beast roars up! It was beneath the surface, directly before them! The claw closes on D'Agosta and his shot gun goes off. D'Agosta screams as the beast lifts him towards its mouth! For one horrible moment, Kawakita is frozen. Then he leaps forward, shoves the barrel of his gun behind D'Agosta, right in the beast's open jaws! He pulls the trigger and the shotgun explodes, the recoil throwing him back, ass over tea cups in the water. With a roar of pain the monster drops D'Agosta and retreats in the dark. D'Agosta grabs Kawakita. D'AGOSTA I think you took its tonsils out! They haul ass down the tunnel, firing behind them as they go. Ahead is another fork. The group is waiting. When they see D'Agosta and Kawakita, a cheer goes up. MAYOR Which way! As he runs up, D'Agosta grabs for his walkie talkie. The holster IS EMPTY, the walkie talkie gone! Without missing a beat he registers what's happened, then covers it up with the next breath. He points to the right as if there's no doubt and says... D'AGOSTA This way! D'Agosta exchanges a look with Kawakita, who understands exactly what happened. As they plunge into the right tunnel, Greg mutters... KAWAKITA Holy shit. INT. HALL OF THE AFRICAN MAMMALS - NIGHT Pendergast and Margo come out of the door leading to the back entry to the dioramas. Pendergast holds the walkie talkie, desperate. PENDERGAST Vince? Can you hear me? Vince! Nothing but static comes in response. Margo paces in agitation. MARGO We have to try and draw it off! PENDERGAST How? MARGO The answer's right in front of us. She points to one of the dioramas. It shows a bird being stalked by a fox. MARGO That's a ptarmigan, feigning a broken wing. The bird pretends to be injured to draw the fox away from its nest! PENDERGAST (starts running) It's deceptively simple. Like a Bruckner Symphony or a Matisse. Margo heads for the Planetarium, calling... MARGO Help! Please someone! Help! They disappear down the hall with the Greek vases, both calling with all they've got. EXT. MUSEUM ROOF - NIGHT There are increasing numbers of SWAT vehicles around. A HELICOPTER lands on the roof. The rescue effort continues to be slowed by rain pouring down. Ippolito is in the thick of the action. The S.W.A.T. commander, JENNINGS, comes over buckling an ammo belt over his fatigues. JENNINGS We're ready. We've got enough firepower to turn a herd of lions into a fine red mist. IPPOLITO Then do it. Jennings nods, goes off. As Ippolito watches the S.W.A.T. team break the glass skylights, gets ready to go in. INT. HALL OF THE REPTILES - NIGHT Jonathan crouches in the staircase at the end of the Hall of the Reptiles. Hobbes is still by his side. He keeps the gun pointed out into the room, his eyes scanning the dark. He whispers to Hobbes, as if to comfort both of them. JONATHAN It's okay, Hobbes. We'll be all right. Help has got to come eventually... We'll make it. We'll be fine. Suddenly he sees something. What appears to be a BODY lying on a glass case! Jonathan pumps his gun, approaches slowly. The man wears a tuxedo, is lying very still. As we get closer we see it's THE DRUNK Kawakita ran into in the stairwell so long ago! He suddenly HICCUPS. Jonathan starts. Now the man gently snores. Jonathan moves to him, shakes the drunk's shoulder. JONATHAN Hey! Wake up! The man snorts, opens his eyes and frowns. DRUNK Who the hell are you? JONATHAN You first. Jonathan helps the drunk off the glass case. The man's a little unsteady as he tugs at his tux. DRUNK I got lost tryin' to find the bathroom. I was walkin' in circles. I lay down for a nap. What's going on? JONATHAN You wouldn't believe me if I told you. Hobbes has started to wag his tail and tug at the leash to draw Jonathan's attention. JONATHAN What is it, boy? From above comes the beating of a distant HELICOPTER and then the sound of breaking glass. Hobbes pulls Jonathan back to the staircase. Jonathan grins, follows behind with the drunk. DRUNK Where we going? JONATHAN I think we're going home. INT. HALL OF THE DINOSAURS - NIGHT Huge skeletons of Tyrannosaurus, Stegosaurus and Brontosaurus loom in the darkness. Rain is pouring in. Jonathan, Hobbes and the drunk enter, looks up to the sky lights. A FLASH OF LIGHTING hits, illuminating the dinosaurs and a S.W.A.T. team which is descending on a series of ropes. It's a sixty foot drop. Jonathan steps forward. JONATHAN Hello! We're over here! They run across the long hall and wait as the the men descend. The first one down is Jennings. JENNINGS Are you hurt? JONATHAN We're fine. I don't know about the people downstairs. In the Hall of the Heavens. The basement... you'll need help. There's a monster down there. A sling suspended on ropes is lowered down. JENNINGS The rescue workers will lift you out one at a time. Jennings signals to a group of five men, heavily armed and in flack jackets. They prepare to get the drunk out. INT. HALL WITH GREEK VASES - NIGHT Pendergast and Margo are at the top of the long, narrow shaft. Pendergast's flashlight sends a circle of light onto a sheet of black, oily water below. Both of them continue calling, trying to draw off the monster. MARGO Help someone! PENDERGAST Oh God! Help! They suddenly hear the sound of splashing. An updraft rustles their clothes. Margo sniffs the air, turns to Pendergast. MARGO You smell that? PENDERGAST It's coming. Run. INT. SUB-BASEMENT - NIGHT The group has reached another intersection of tunnels. The left fork turns back uphill. D'Agosta indicates this tunnel. D'AGOSTA At least we'll be dry. They all press forward in the low vaulted darkness. As they move steadily upwards the water recedes. Kawakita's flashlight flickers and he bangs it. It comes on again. KAWAKITA I believe in you a hundred percent, Vince, but that's the second time we've been at that intersection. D'AGOSTA Not so loud. D'Agosta shines his light forward and they see that the shaft ends in a large round PIPE. KAWAKITA What's that? D'AGOSTA All right everybody, hold up! Kawakita and D'Agosta move past the shivering people who are strung out along the sides of the tunnel. D'Agosta touches each person as he passes. D'AGOSTA We don't know what's in there. Let me go first. INT. PIPE - NIGHT The Mayor follows behind with the group as Kawakita and D'Agosta lead the way. The pipe is dry and rusted. They move forward with stealth. In twenty feet the pipe ends abruptly in darkness. D'Agosta steps out first. INT. CAVERN - NIGHT The group huddles at the mouth of the pipe, confused, as D'Agosta pans his flashlight around the huge space. The walls are carved out of dirt and rounded like a cave. From the ceiling hang huge cobwebs. There's a large pile of sticks in one corner fashioned rather like a bed. On a mound of dirt beside this bed rests a battered duffel bag. Greg moves to it, shines his light on the side. A name is written in marker. D'AGOSTA What does it say? KAWAKITA (looks up, shocked) Dr. John Whittlesley. D'AGOSTA What's that doing here? KAWAKITA I don't know. I thought Dr. Whittlesley died in South America. MAYOR (interrupts) Look. There's a ladder at the end. I think it goes up to the street! They move forward into the darkness eagerly, towards the ladder which leads up to a manhole. But as they pass the bed of twigs, something loud CRUNCHES underfoot. KAWAKITA What is that? D'Agosta shines his light down and everyone freezes. Then one woman SCREAMS! The wide dirt floor around them is carpeted in clean white BONES! The HUMMING noise is louder and we see its source. Atop the bones is the body of CUTHBERT! It's covered with BLACK DERMESTID BEETLES. They're stripping the skeleton clean, devouring the flesh! The group panics and breaks for the ladder. Kawakita and D'Agosta once more guard the rear. KAWAKITA Dear God. Where are we, Lieutenant? D'AGOSTA I'd say we're in its home. INT. HALL OF THE NORTHWEST COAST INDIANS - NIGHT Pendergast and Margo run down the long dark room, passing an enormous hollowed-out canoe. As they exit the far end, the dark shape of Mbwun emerges. It leaps forward, closing in fast. INT. HALL OF THE ASIAN PEOPLES - NIGHT Margo and Pendergast enter a series of maze-like room with hidden corners, nooks and crannies with cases full of esoteric Buddhist and Japanese Art. They're running through the twists and turns as fast as they can. PENDERGAST We're not going to make the storage room! MARGO Listen to me, Pendergast. Mbwun's DNA is part homo sapien. In primates, the eye is a direct path to the brain! If you get a clean shot, there's only one place you can kill it. Shoot it in the eye! AT THIS THEY ROUND A CORNER AND MBWUN LEAPS OUT! It circled ahead and was waiting in front of them! The animal swipes at Margo and Pendergast. The force of the monster's blow sends Margo reeling and slams Pendergast into the wall. He falls, crumples and drops his gun! The case beside him SHATTERS spewing relics, as Mbwun pushes past. Pendergast groans and gets to his knees with difficulty. MARGO is frantically crawling away in the dark! The beast makes a low sound of pleasure and reaches out one claw, easily pins her down. Pendergast looks frantically for any kind of weapon! ON MARGO now PINNED BENEATH the heaving body of the monster! Powerless, she looks up into the horrible face of death as Mbwun raises an enormous claw! Pendergast, desperate, cries out -- PENDERGAST Please, no! Don't hurt Margo! Oddly enough, the beast pauses for once. Talking to the damn thing is the one tactic no one has tried! The claw halts in mid-air. The beast blinks once and looks from Pendergast to Margo. Margo sees a flash of something unexpectedly HUMANin its eyes! In astonishment, she whispers... MARGO My God. You understand. As they stare, amazed, imperceptibly, the beast appears to narrow its eyes in response! Margo controls her voice, keeps it even. MARGO Please let me go. We won't hurt you. A strange noise comes out of the monster. A low, confused growl. He doesn't loosen his grip on Margo, but he leans down to look at her closer with one green, unblinking eye. She struggles not to turn away in revulsion. His enormous jaws are right near her throat. Everything is very still. And then... A BARRAGE OF FIRE breaks out! The S.W.A.T. team is in the doorway, laying down everything they've got. The creature ROARS as if betrayed, leaves Margo and LEAPS UP. It barrels down on the S.W.A.T. team, picks up Jennings and SPIKES HIM TO THE GROUND. Jennings hits the floor with his neck at a crazy angle. It snaps like a twig. The other men drop back. Mbwun follows, tearing through the men, cutting a deathly swath! Pendergast moves to help the S.W.A.T. team. Margo struggles to her feet and her hand touches the wall. Beside her is a FIRE HOSE in a cabinet! In a split second Margo hauls it out, throws a switch and gets a BLAST OF WATER. She turns it on the beast as it grabs for Pendergast. The force of the water is enormous. It pushes the monster out the end of the hall. Pendergast runs towards her, takes the hose and holds it. PENDERGAST Run! She takes off blindly in the maze-like room. From somewhere behind her she hears a horrible HOWL. ON MARGO... as she twists and turns through the rows of display cases, tearing blindly in the dark. Ahead is a door. She dives through it and finds she's in... INT. MEN'S ROOM - MUSEUM - NIGHT A row of mirrors and urinals line the wall. It's a huge room, designed to handle crowds of visitors. Margo ducks into one of the stalls as MBWUN crashes in. Margo looks through a crack in the door to see... THE ANIMAL AT FULL STOP. IT'S STARING AT ITSELF IN THE ROW OF MIRRORS! The sight appalls it and the beast lets out a hideous sound! The claws lash out, breaking every mirror in the place, littering the floor with glass! Then the beast turns and backs up, groaning, as if cornered. Margo sees now that one limb is dragging, leaving a trail of blood. The mouth, too, appears to be bleeding. The S.W.A.T. team's bullets had an affect. Margo presses back in the stall, bracing as the beast gets closer. It's just outside. It sniffs the air once and suddenly turns, rears up, furious and crashes through the bathroom door. Margo screams and the thing grabs her! It holds Margo up before it and roars. It closes its massive claws around her as if she is somehow responsible for everything. The claws tighten! She struggles and fights to no purpose ... but then the beast pauses... it's seen something! THE NECKLACE WITH TWO ARROWS AROUND HER NECK! It stops and its grip loosens! A pained look flashes across its bestial face... And in that split moment Margo looks down... A NECKLACE OF SILVER gleams around the beast's throat too! The necklace is the twin to her own! ON MARGO... Can it be possible? She stares at the thing... MARGO John's necklace! You killed him! Incredibly the beast shakes its head. A noise comes from it... a sad noise, like a groan. And now Margo gets it! She can hardly believe it. Her eyes widen in astonishment. She whispers... MARGO Oh Jesus. John? The name is a knife through the monster's heart! MARGO No. It's not possible! The last piece of the puzzle falls. The monster is John Whittlesley! Margo, still desperately frightened, tries to keep control. MARGO John? If it is you... I can help. The monster shakes its head no and releases her. As she watches he moves away, quickly limps out the door. INT. HALL OF THE ASIAN PEOPLES - NIGHT Mbwun now drags himself across the grey carpet, headed for the stairs. In the darkness of the hall of Asian Peoples, Pendergast is waiting. He lifts one of the S.W.A.T. team rifles which he holds in his hands. He aims, is about to fire, but then Margo comes up behind him. MARGO No! Don't kill him! Pendergast, you were right. It's John! PENDERGAST What? MARGO That thing is John Whittlesley. I should have seen it before! The fibers are infected with a virus. You eat them, and the virus alters your DNA! He became addicted to them in South America, followed the plants back to the states. He probably entered the country as a man. It would have taken several months for the change to take place. That's how he got from the boat to the museum! Pendergast looks over and sees the monster. His eyes show disbelief. Mbwun looks back at both of them briefly, then it disappears up the stairs. PENDERGAST I don't believe it. MARGO You have to! Listen! All viruses pass on their own DNA. Instruct the cells of the host to make more viruses! This one was different. It inserted a whole array of genes into John. Reptile genes, sixty five million years old. Those genes remade him! It's not his fault! PENDERGAST Whatever that thing is, we have to kill it! Margo tries to stop him, but he shrugs her off. EXT. MUSEUM ROOF - NIGHT A helicopter hovers outside pouring a circle of light down on the roof. Ippolito watches as the drunk is pulled up through the hall in a sling. Waters approaches, holding the walkie talkie. WATERS We can't raise the S.W.A.T. team. No one's answering! What do you want to do? Ippolito eyes are fixed on the room below them. IPPOLITO Holy shit. Pull him up. Lightning throws horrible shadows of the hulking dinosaur skeletons all around as MBWUN LIMPS INTO THE HALL! The men on the roof stare down astonished. Their mouths hang open at the sight! IPPOLITO Get more guns! Now! The men get the drunk up and abandon the sling, leaving Jonathan trapped below. INT. HALL OF THE DINOSAURS - NIGHT Jonathan and Hobbes take cover behind one of the dinosaurs and hide. Mbwun sees Jonathan, lifts both claws, SWINGS at the skeleton, sending it crashing down! Jonathan SCREAMS, Hobbes is caught and falls. He scrambles into a corner, whimpering, as Pendergast and Margo appear in the door. Fifteen more S.W.A.T. team members with rifles now line the hole in the roof. They all point their guns at Mbwun. IPPOLITO Get back! We're going to shoot! Now Margo runs forward. MARGO No. Wait! Let me talk to him first! IPPOLITO (screaming) Kill that thing! Kill it now! MARGO No! MBWUN... turns and sees Margo. She speaks desperately. MARGO John... you can give up now! Just lie down where you are! Mbwun seems to consider for a moment, but then its eyes gleam and it ROARS. With renewed vigor it leaps to the wall and starts to WALK UP IT like a GECKO, ON ALL FOURS! ON THE ROOF... Some of the S.W.A.T. team fall back in terror! Now that the monster is on the wall it's out of range of their fire! WATERS Holy shit it's coming this way! IPPOLITO It's headed for the roof. Run! Ippolito turns and takes off once more in sheer terror. Astonished, Waters tries to regain control. WATERS Get back here, you asshole! We can't let it get out! (to the S.W.A.T. team) Surround the opening and kill it! But the men are terrified, retreating like Ippolito. Waters shouts. WATERS Back, everybody! That's an order! But the team is in chaos and losing precious time. INT. HALL OF THE DINOSAURS - NIGHT The MONSTER is now half way up the wall. Margo is distraught, crying. Her cool demeanor is cracked. Pendergast is with her. She shakes her head. MARGO Just like John. He won't listen. PENDERGAST I have to shoot. MARGO Do it, quickly. Please. Aim for the eye. Pendergast raises a HIGH POWERED RIFLE with a laser sight. He aims the red laser beam directly at Mbwun's left eye. PENDERGAST He has to look here or I won't get a clear shot. Call him, Margo. MARGO I can't! PENDERGAST You have to. Do it now! Margo takes a moment, her eyes streaming. She has no choice, she calls out. MARGO John! John, look at me! The beast looks down, sees Pendergast's rifle. There's a long, awful, moment. Suddenly it emits a sound like a wail. ON JONATHAN... staring, stunned. PENDERGAST... steady... MARGO... She's crying as she raises her arm as if to say good-bye. And the gun EXPLODES. ON MBWUN... its head shoots back in pain, and it falls... sixty feet straight down to the ground. Silence. Thunder rolls. It's over. Pendergast turns to Margo and quietly folds her in his arms. DISSOLVE TO: EXT. MUSEUM - NIGHT There are cops and journalists, ambulances, and medivacs all over the place. Greg Kawakita, wet and bedraggled as a rat, runs up from Columbus Ave. Behind him the Mayor and D'Agosta help the rest of the company to the ambulances. Waters is on the steps of the museum, helping to organize the rescue efforts as Kawakita runs up to Pendergast. KAWAKITA Margo Green. Have you seen her? PENDERGAST She's over here. Greg turns to see Margo come out of the Rotunda with Frock, Jonathan and Hobbes. Her face is devastated. He moves to her side. She reacts as she sees him, and teacher and pupil hug. D'AGOSTA is lost in the swirl of people. And he likes it like that. He rests against a large stone lion, pulls out a cheap cigar in cellophane, unwraps it carefully and tries to light it with a wet match. He's struggling hopelessly. Finally he tosses the useless pack of matches, sighs. But then a flame lowers right before his face. He looks up to see Pendergast holding a silver engraved lighter. D'Agosta smiles, takes a nice long hit. PENDERGAST Nice to see you, Lieutenant. D'AGOSTA The sub-basement, huh? Great idea. We go to a wide shot of the museum as we slowly pull back... DISSOLVE TO: EXT. NATURAL HISTORY MUSEUM - DAY - SUPER TITLE: SEVERAL MONTHS LATER Christmas decorations are up. A light snow is falling. There is a very long line. INT. NATURAL HISTORY MUSEUM - GIFT SHOP - DAY All the registers are doing a booming business. People are buying Mbwun posters, t-shirts and hats. INT. SUPERSTITION EXHIBIT - DAY School tours, old ladies, parents and children, foreign tourists with cameras snake through the displays. In the room with the Relic, there's a tremendous crowd. INT. MARGO'S LABORATORY - DAY Margo closes her computer, looks out a window at the falling snow. She turns and walks into the back office. Kawakita is working there alone. His fly-fishing rod stands in the corner, untouched. Margo goes to it, smiles softly. MARGO No time for fishing anymore? Greg looks up from his work and smiles. KAWAKITA Got to finish this thesis sometime. MARGO How about lunch? KAWAKITA Not today. Besides, I think the director of the museum is expecting you. MARGO Okay. Margo exits. Greg returns to his work. INT. HALLWAYS - MUSEUM - DAY Margo heads down the hall to the Director's office. She walks through the new double oak doors to find DR. FROCK seated at Cuthbert's old desk. MARGO Dr. Frock? FROCK Look who's here, Margo. PENDERGAST and D'AGOSTA rise out of two high-backed chairs. Margo smiles for the first time, takes Pendergast's hands. MARGO I'm so glad to see you. What's the occasion? PENDERGAST I'm in town on a case. Dropped by to see Vince and we thought we'd see the new display. INT. HALL OF THE SOUTH AMERICAN MAMMALS - DAY Margo, Pendergast, and D'Agosta follow Frock past the familiar dioramas. PENDERGAST Dr. Frock, I was wondering. What happened to the rest of Whittlesley's plants? FROCK They were sent to the Center For Disease Control in Atlanta. D'AGOSTA Shouldn't a drug that powerful be destroyed? FROCK The virus itself might have positive applications. They'll keep the plants in secure lock up while the studies are made. (beat) Greg isn't joining us? MARGO He's changed. He's always working on his thesis. He comes in early, stays late. I tried to get him to join us, but he never takes a break. They pause on a NEW DIORAMA. It's huge, filling one entire end of the hall. In the center is a life-sized representation of MBWUN standing on the tepui amid the plants. Behind is a painting of John Whittlesley as he once was. He wears the necklace with the two arrows, of silver and gold. As Margo looks, she touches her own. Pendergast turns to her, sympathy in his eyes. PENDERGAST We did the right thing, Margo. Margo smiles warmly. MARGO Yes. I know. INT. MARGO'S LABS - DAY Greg Kawakita wears gloves, high powered glasses, works in solitude in the lab. Suddenly he stands up, throws off the glasses, then he sits down again. He seems to be struggling with himself. He glances over his shoulder to make sure he's alone. Quickly he moves to a locked drawer. He opens it with a key from his pocket and takes out a small envelope, looks inside. INSERT... the envelope is full of the PLANT FIBERS! Greg has managed to keep his own cache! Moving quickly, with jerky motions, he lays one fiber down on a slide with a shaking hand. With an exacto knife, he cuts off a tiny sliver, pops it into his mouth. He closes his eyes in ecstasy and savors the taste. Then he cuts one more infinitesimal sliver, leaves it on the slide. He takes a deep breath, returns the envelope to the drawer. He turns the key carefully and we GO CLOSE ON HIS HAND... On the back is A ROW OF SCALES... FADE OUT: \ No newline at end of file diff --git a/unformated_scripts/Script_Remember Me.txt b/unformated_scripts/Script_Remember Me.txt new file mode 100644 index 0000000000000000000000000000000000000000..3911bf61e74b81c455d046e6c5bd0445ce6fc1f6 --- /dev/null +++ b/unformated_scripts/Script_Remember Me.txt @@ -0,0 +1 @@ + REMEMBER ME Written by William Fetters & Jenny Lumet Revised April 16th, 20091 EXT. SMITH STREET STATION -- BROOKLYN -- NIGHT 1 It's very late. It's quiet. Just the sounds of The City LINDA SANTANA CRAIG, an attractive Hispanic woman in her thirties, waits at the ELEVATED STATION for the F train. Linda looks great. She's dressed festively but tastefully. Next to her is her eleven year old DAUGHTER, ALICIA. She is twirling about the platform, still jazzed from the birthday party they attended in The City. Alicia wears a black dress with a pink cardigan and has a pink handbag. We notice a CHARM BRACELET with four-leaf clovers on her right wrist. The mother and daughter wait alone at one end of the station platform. TWO TEENAGE BOYS wait at the other end. They speak soft, SLURRED SPANISH to each other. Linda gives the boys a glance and evaluates. She watches them as Alicia spits a wad of gum into her mom's open hand. The Boys approach. Linda tenses. At the last second the boys make a hard left turn and disappear down the stairwell. It's quiet again. Linda relaxes, smiles at her daughter. The F TRAIN is rounding the final bend into the station. Their focus is on this train. It's getting closer, louder. And so they don't see, don't hear the Boys coming back up the stairwell behind them. Not until the boys have the mother and daughter boxed in and the one who can hardly grow a mustache is showing them his gun. Linda puts her arm around her daughter. Alicia looks terrified. The train roars INTO THE STATION as Linda quickly hands over her purse, her watch. She hands over her engagement ring and her wedding band. One of the boys yanks Alicia's little purse away from her. The other boy fumbles the wedding band. The ring CLANGS to the ground and rolls to a stop a few feet away. We hear MEN'S VOICES echoing up the stairwell. Now the Boys are boxed in. And starting to panic. 2. -- THE TRAIN DOORS SLIDE OPEN --. The Boys see their way out and step into the last empty rail car, leaving the mother and daughter alone on the platform. Through the window on the train, Linda stares at the boy holding her daughter's purse, her face hardening into a MASK OF CONTEMPT. The boy clocks it. Who does she think she is? -- THE TRAIN DOORS BEGIN TO CLOSE -- When a HAND WITH TATTOOED KNUCKLES reaches out and stops the car doors from closing. A forearm and gun extend out of that last subway car ... There's a muzzle flash... a distant POP... a cloud of smoke ... a mist of blood... and Linda's body collapses on itself. Alicia's face, shock, terror and blood.2 EXT. SMITH STREET STATION -- LATER THAT NIGHT -- M.O.S 2 A WORKING CRIME SCENE, lots of uniforms and light, a white sheet draped over Linda's body where it fell. BLUE AND RED LIGHT dances against the stairwell wall where a man is taking the stairs two at a time. Late thirties, big, plain clothes, he is SERGEANT JAMES CRAIG. When he reaches the platform, he stops. Craig kneels before the white sheet. Peels it back. We stay on him. We don't see what he sees. We just see how he sees it. Then he turns... THE WEDDING BAND. It's been tagged and numbered as evidence. Craig picks it right out of the chalk outline and slips it into his pocket. Alicia, wrapped in a blanket, standing next to a round police MATRON. The Matron is tenderly trying to clean Alicia's face. Alicia locks eyes with Craig and stumbles towards him, her legs not quite working. Craig saves her from the stumble and envelops her, lifting her as the blanket falls to the ground. Alicia makes little gasping noises. Trying to speak but can't. Craig walking back now, carrying his entire world. He reaches the stairwell and suddenly falls to one knee. Alicia gasps. 3. The closest UNIFORM puts a hand on his arm. A moment. Composure. A deep breath. Then as quickly as he went down, he's back up. Craig looks back now, taking it all in. Is it real? Sees all the cops looking at him, then begins down the stairs. WE DRIFT UP above the station until we find ourselves with a clear view of the southern tip of Manhattan, where the TWIN TOWERS STAND TALL.3 INT. LOWER EAST SIDE RAILROAD FLAT -- BEDROOM -- MORNING 3 SUBTITLE: "Eight Years Later" Tiny kitchen, clutter, a MESSENGER BIKE hanging from hooks on the wall, a lot of books. There is a PHONE RINGING under the bed. TYLER ROTH, early twenties, handsome, looking haggard. He is sitting on the floor, shirtless, bed head, wrapped in a blanket. A GUITAR is on his lap. Tyler has propped some well worn, hand written pages of MUSIC against a box of off-brand laundry detergent and is squinting at the notes, frustration etched in his face. A forgettable BLONDE lies sleeping on the bed. Tyler, not a born musician, is trying to teach himself one of the PHRASES OF MUSIC in front of him. He is completely lost in the moment, with DEEP GROOVES in his fingers. By the ASHTRAY next to him, we can tell he's been at this a couple of hours. The Blonde in the bed re: the ringing phone... BLONDE (out of it) Hello? Tyler gropes around the floor with one hand until he finds the phone, simultaneously glancing at the digital clock. His eyes widen in alarm. TYLER Yeah... (listens) Of course. I'm on my way. I know...I know...I know...I know. Tyler climbs out of his blanket and yanks on a pair of dark suit pants. Before he pulls on his white undershirt we observe a TATTOO that simply says "Michael" over his heart. 4. He searches through a beat-up chest of drawers, seeking a reasonably clean button down shirt... TYLER V/O Gandhi said that whatever you do in life will be insignificant but it is very important that you do it... ...And scrubs at a mysterious stain on the shoulder of an expensive but worn to hell suit jacket with a dishwasher brush. TYLER V/O ...I tend to agree with the first part.4 EXT. GREEN WOOD CEMETERY --BROOKLYN -- LATER 4 A cluster of MOURNERS stand before a tombstone in the distance. They are not in funeral dress, as this is not a funeral. It's a memorial. A beat up GYPSY CAB with a WEST INDIAN DRIVER pulls to a stop. From the trees and the sky we know its LATE SPRING/EARLY SUMMER. A gorgeous day. Tyler gets out of the cab, holding the rim of his empty coffee cup in his teeth. He sorts a rumpled wad of singles and hands some to the driver, who screeches into reverse. Time is money. Tyler crushes the coffee cup flat and slips it in his jacket pocket then lights up a smoke. He takes one long drag then extinguishes it and slips the butt into his pocket. He begins towards the mourners. His mother... DIANE HOFFMAN, a beauty. Past burdens etched in the lines on her face. Dressed tastefully in expensive bohemian. She smiles like someone who's been crying but doesn't want anyone to know she has. TYLER (sweetly) Hello, your majesty. How are you? DIANE I'm fine... you look good... He kisses his mother's hand and he's moving to greet his stepfather... LES HOFFMAN, Unruly curls streaked in gray, tweed jacket and tie. They exchange a firm handshake and muttered hellos. 5. The weight of Tyler's gaze falls to CAROLINE ROTH, his diminutive bespectacled, eleven year old sister. She's holding a little paper bag. She flashes him a look. He kneels besides her and whispers... TYLER Thanks for organizing everybody. Caroline makes a face. Turns her nose away from him. CAROLINE You smell like Listerine and beer. He snorts and kisses her cheek. Caroline reaches into her bag and takes out a handful of smooth white stones, on which she has painted the names: "Mom" "Tyler" "Les", "Dad", "Caroline". She begins to arrange them in a little circle on the grave. Tyler's father... CHARLES ROTH, late fifties, breathes power, precisely dressed, two hundred dollar haircut. A predator. CHARLES (aside, to Tyler) You couldn't wear a tie? Tyler holds his father's eye. TYLER Could have. Beat. Charles adjusts his own collar like it's an explosive. POV: The Tombstone. The four adult family members stand side- by-side. They look like strangers on the subway as Caroline sits on the ground, arranging the stones.5 INT. JUNIOR'S RESTAURANT-- BROOKLYN -- AFTER 5 The family sits together in a booth. Tyler rolls a Bic lighter over his knuckles. Caroline draws a funny portrait of Tyler on her napkin. He is smoking nine cigarettes at once. Diane gives the menu a ridiculous amount of attention. Les is eyeing the Cheesecake. Charles subtly aligns his silverware. 6. DIANE ...This is nice... I think it's nice that we still do this... CAROLINE (gently) Mom. DIANE I forgot. I'm trying to purge "nice" from my vocabulary. Michael would like that we still do this.Tyler takes out a cigarette. Lights it. Without saying a wordhis mother takes it and snubs it out in an empty water glass. DIANE (to Caroline) Did you tell Tyler what your art teacher said about your portrait?Caroline, as bemused as an eleven year old can be, looks ather mother, then at her brother. She adopts a very motherlytone. CAROLINE Tyler, did I tell you what my art teacher said about my portrait? TYLER Why no, Caroline. What did your art teacher say about your portrait? DIANE (smiling) You two. I quit.She flickers a glance at her ex husband and squeezes Les'hand. CAROLINE ...She was very impressed. She said I captured a moment like a young James Whistler.The WAITRESS brings platefuls of extravagant cheesecake tothe table. Les dives in. Charles is having toast. He sips aglass of water and takes a surreptitious glance at his PatekPhillippe. 7. TYLER Young Whistler... good... 'cause Whistler really fell off late in his career. He's the Michael Jackson of European art history. DIANE She suggested your sister take Pratt's Summer Art Intensive and that's hugely prestigious.Caroline looks a bit sheepish, Tyler high fives Caroline.Diane, again, flickers a glance at Charles. CAROLINE I would be the youngest one, ever, practically... CHARLES Tyler, would you please pass the butter?Beat. DIANE Caroline was speaking. TYLER (to Charles) Are you really this clueless? Are you really dismissing her like this?Diane touches Caroline's hair. CHARLES Caroline is perfectly capable of speaking up if she is feeling dismissed. Caroline, are you feeling dismissed? CAROLINE I'm okay. CHARLES (solicitous, to Caroline) I didn't mean to change the subject. TYLER What was the subject? 8. CHARLES Excuse me? TYLER The subject we were discussing. What was it? Beat. CHARLES Now's not the time for your heroics Tyler TYLER No. It's the perfect time. Charles makes a minute adjustment to his collar. Father and son lock eyes until... TYLER (whispering, to Caroline) Do you need me to take you anywhere? Caroline shakes her head. CAROLINE I'll stay with mom. Diane glares at her ex-husband. Tyler rises and kisses his sister's forehead. TYLER Then I'll see you after school. CAROLINE Kay. He exits as Caroline sips her lemonade, avoiding everybody's eyes.6 INT. SUBWAY CAR -- JUST AFTER 6 Tyler standing although there are a few seats available. The car window strobes behind him. He takes off his jacket and button down and ties them both around his waist. 9.7 INT. WALL STREET COFFEE SHOP -- AFTER 7 Tyler in his pants and white tee shirt looks completely out of place amidst all the business types. He sits in the last booth facing the street. His tattered JOURNAL lies open in front of him, a BINDER CLIP holds his page as he works quietly crafting an entry. The HOSTESS, tired, in her 60's, slides a piece of baklava on the table as she shuffles past. HOSTESS Eat something. Tyler gives her a huge grin. TYLER Yes, ma'am.8 EXT. 4TH STREET -- JUST AFTER 8 Tyler and his roommate, AIDAN BREWER, 22, energetic, inappropriate, walking west towards N.Y.U. Young people in easy, summery dress. Tyler smokes. Aidan doesn't. Aidan remembers something, smirks. AIDAN I sold your girlfriend a toothbrush. TYLER You sold my who? ...What? AIDAN That voluptuous, delightfully oblivious little blonde you left in your bed this morning... I sold her a toothbrush. Got three bucks. TYLER ...Congratulations? AIDAN Are in order, yes. Because that sale inspired our newest business venture: "The S.L.U.T." TYLER I was unaware we had a previous business venture. 10. AIDANThe 'Single Lady's Universal Tote'.It's the one-night-stand travelpack for women. We throw in somemake-up, toiletries, cell phonecharger, cab numbers. Retail it atS19.95, maybe do an infomercial. TYLERAnd you think women would buy this?With money? AIDANHey one-night-stands happen... It'sa part of life... like stubbingyour toe. Sometimes you misjudge acorner and bend back your pinkytoe, other times you wake up in afreshman dorm wearing a fieldhockey tee shirt wondering why yourballs smell like cinnamon... TYLER (nodding sagely)Of course. Yes. AIDANDon't underestimate the noveltygift market. Think about it...instead of giving that token sluttyfriend a ten-inch purple dildo forher birthday, you hook her up with"The SLUT." Everyone has a laughand the implication that she'llprobably use it someday remains.What do you say? Are you down? TYLERI'm down with getting you on somesort of medication. AIDANOK...fine...be cynical...justremember at some point in historytwo people had a conversation justlike this about the light bulb. Oneof them went on to fame and fortuneand the other one probably went towork at Mickey D's or something. TYLEROr Denny's. Denny's was big in the19th century. 11.9 EXT. COBBLE HILL -- MORNING 9 A TINTED TOWN CAR stops in-front of a funky corner brownstone where Caroline waits in a plaid jumper on the front steps. THE DRIVER opens the back door of the car.10 INT. TOWN CAR. (DRIVING) -- LATER 10 Caroline in the cavernous backseat alone. Her pink knapsack her only company. The Town Car stops at a crosswalk for a GROUP OF CHILDREN in jeans and tee- shirts on their way to a local Public School. Caroline sees them through the tinted glass. They couldn't see her even if they wanted to. PROFESSOR (O.S.) It's an unfortunate reality but a reality nonetheless ...11 INT. LECTURE HALL -- NYU --DAY 11 TYLER sits in the back of the room. Their PROFESSOR addresses the few students paying attention. PROFESSOR ...in the wake of terrorist attacks these insurance company actuaries are provided a unique opportunity to raise premiums and profits to protect against events that will likely never occur again... One girl, a focused brunette with beautiful eyes, takes notes relentlessly. She is present, absorbing the material. She raises her hand. GIRL Isn't that also an ethical question? Tyler shoots her a glance. He takes in her lovely face, her casual dress, and the CHARM BRACELET with its four leaf clovers. WE REALIZE this is Alicia "Ally" Craig, now 19. Tyler grimaces at the question and its implications of hope.12 EXT. CENTRAL PARK -- AFTERNOON 12 At the Alice in Wonderland statue where KIDS climb all over the faded bronze mushroom caps and characters. 12.The statue is warm, the bronze absorbing the late spring sun.Tyler is perched on the Mad Hatter, his face turned towardsthe sun while Caroline hides with the dormouse.Tyler lights a cigarette. AN UPTIGHT MOMMY glares at him. UPTIGHT MOMMY Why don't we make this a non- smoking statue? CAROLINE (emerging) Yeah, Tyler . Why don't we make this a non-smoking statue?He makes a face. CAROLINE You promised you'd quit... TYLER I know. CAROLINE You're gonna get emphysema and then you're gonna have to drag an oxygen tank with you everywhere... TYLER You think that would be the worst part about having emphysema? CAROLINE Everywhere you go, Tyler. Even the bathroom.Tyler takes a final drag. Tosses it on the ground. CAROLINE Why do you think Dad doesn't wanna...like, listen to me? TYLER Dad loves you.Caroline gives him a look. CAROLINE So? You can love someone and not want to spend any time with them.Caroline is climbing around Alice. Her hands on Alice's hair. 13. TYLER You've got that right. CAROLINE Mom loves Aunt Sara. But at Christmas, last year, she wouldn't let Les leave them in a room together 'cause she said there would be a "yule tide homicide." TYLER That's because Aunt Sara drinks... You don't drink, right? CAROLINE Duh. TYLER So why would anyone wanna avoid you? Caroline shrugs, not convinced. A silent moment passes. CAROLINE Michael used to drink. TYLER Yeah. He did. But Michael was 21. All 21 year olds drink because it's new and exciting. Aunt Sara drinks because she wishes she was 21. A shared smile. CAROLINE You're 21. Tyler's smile fades.13 INT. THE STRAND BOOKSTORE -- DAY 13 Tyler on a rolling ladder, shuffling books around. Aidan on the floor, eating two pieces of pizza, folded down the middle, at the same time. AIDAN What about Atlantic City for your birthday this year? Get a suite. Couple of ladies. You could call Toothbrush Girl, what do you think? TYLER I think I'd rather be sodomized. 14. AIDAN Hey, it's your day.He gestures to the shelves. AIDAN What's the point? How do you know where anything is in this place, anyway? There's like... AIDAN/TYLER "Eight Miles of Books!" TYLER I don't expect you to appreciate this, but the schematic for this particular shelf is authors who were sleeping together... AIDAN No shit? TYLER And ended up dead or in prison.Beat. AIDAN This is why chicks dig you.Tyler laughs. AIDAN Seriously. They like this freaky poetic crap. I ran into Megan yesterday. She's bartending at Don Hill's tonight. She wants us to stop by. She practically begged me. TYLER Eh.Aidan, visibly frustrated with Tyler's reluctance, grabs therolling ladder and pushes Tyler into the Romance novels. TYLER Hey! AIDAN Hey nothing. You've been a ghost the past couple weeks. You never wanna go out. I'm feeling unappreciated here. (MORE) 15. AIDAN (cont'd) I can't deal with this brooding introvert shit anymore man. I'm ready to set up an intervention. A silent moment passes. TYLER You realize interventions typically discourage binge drinking? AIDAN One drink. Come out for one drink. TYLER When's the last time you had one drink?14 INT. DON HILL'S -- THAT NIGHT 14 A hip venue on Greenwich Street. Deejay. Music pumping. Aidan and Tyler make their way through the crowd to a congested bar where the CUTE BARTENDER is swamped. AIDAN Hey, Megan! She ignores him. AIDAN You look great! Can I get two Heinekens? MEGAN Do. Not. Speak. Tyler snorts with laughter. AIDAN (genuine) Is she mad at me or something? TYLER No no. Girls are like that when they're way into you. AIDAN Oh. Two nubile young GIRLS approach Aidan. Tap his shoulder. GIRL #1 Excuse me? 16. Aidan flashes a winning smile. AIDAN Well, hello... GIRL #1 Could you take a picture for us? She holds out her camera. Aidan hesitates, then smiles. AIDAN My pleasure... The girls pose. Aidan takes the camera. Turns it around. Extends it. Smiles. And promptly SNAPS A PICTURE OF HIMSELF. He casually returns the camera to the confused young woman. Megan returns and practically flings the beers at Aidan. AIDAN Thanks. You've met my roommate... MEGAN I hope you die. Tyler laughs his ass off. TYLER She's all over you. Cheers. They clink bottles.15 EXT. GREENWICH STREET -- LATE NIGHT 15 Tyler and Aidan stand with the girls from Aidan's photo opportunity. All are thoroughly intoxicated. There is a knot of CLUB GOERS halfway down the block, drinking and having a fine time. AIDAN I love this street. I love this city. Where are you guys from, again? AIDAN'S GIRL Miami. AIDAN Miami. Miami, Barcelona, Rio. New York is it, man. God broke the mold when he made this city. 17. TYLER You ever actually been to any of those places? AIDAN What's your point?There's a gust of wind. Aidan's girl shivers. She's wearing atiny dress. AIDAN'S GIRL What are we doing? I'm freezing. AIDAN Shoulda worn a jacket. Like me.O/S WE HEAR: a beer bottle crashing on the ground, and fromfar away a ghostly, plaintive girl's voice disappearing intothe night... VOICE O/S Michael...Mi-i-chael!Tyler turns towards the sound. It's as if he's trying to spota train in the distance. His hand goes to his pocket andfishes out his pack of cigarettes. AIDAN'S GIRL (to Aidan) Asshole.She walks away, looking back at her friend, annoyed. AIDAN'S GIRL Are you coming?Tyler's Girl looks at Tyler, who is still preoccupied. TYLER'S GIRL (to her friend) Hold on, Lauren.The girls step away. Tyler's Girl appears to be trying toconvince her friend to stay. Aidan watches them, hopefully.Tyler isn't watching them. He's watching two cool lookingMUSICIANS, crossing the street with the LIGHT, carrying SOUNDEQUIPMENT.A quartet of NEANDERTHALS pulls up at the light in front ofthem in a car, aggressive music playing. The Neanderthal atthe wheel has the brilliant idea to rev his engine and lurchthe car forward, startling the musicians, toying with them. 18.MUSICIAN #1 glares, but gives no further response, he justwants to get across the street. The Neanderthal revs andlurches again.MUSICIAN #2 slams his hand on the hood of the car. MUSICIAN#2 What's your problem? NEANDERTHAL DRIVER My problem? Keep your hands off my car, asshole. MUSICIAN#2 Blow it out your ass, Guido. MUSICIAN#1 Go back to Long Island.The car's four doors open, and the Neanderthals lope to thefront of the car. The driver is holding a mini baseball batat his side. NEANDERTHAL DRIVER I'm from Queens, faggotA Neanderthal shoves one of the musicians, and the driverstarts wailing on the other with the bat. Tyler watches asthe Neanderthals overpower them. The altercation has turnedinto a full on assault. The Musicians are getting stompedinto the pavement. TYLER'S GIRL So we were thinking we could go...Tyler walks right past the girl without even looking at her. AIDAN (under his breath) God damn it.Aidan runs off after Tyler.Tyler jumps fully into the thick of it, swinging, grabbingthe beefiest Neanderthal in a choke hold and pounding theguy's face. He fights like a pit bull. Not feeling, notstopping.Aidan gets punched in the face. Tyler elbows the nose of theguy who punched Aidan and it spurts blood. Then someone hitsTyler in the gut, and he doubles over and takes a knee to thechin. The musicians get back to their feet and fight back.It's a brawl. 19. Aidan's girl is screaming for the cops. Tyler's girl, following the instincts of the inebriated, has teetered near enough to the brawl to imperil herself. A Neanderthal swings at Aidan and misses, grazing the girl. She jerks away in her high heels and crashes to the pavement, splitting her lip on impact. Tyler head butts the guy.16 EXT. SIDE STREET -- LATER 16 An AMBULANCE and TWO E.M.T.'S are on site. THE COMBATANTS from the brawl are lined up on the curb. SERGEANT JAMES CRAIG, a little older and heavier than when we first met him at the train station, is standing with the Girl, who is a mess. Her nose bloody, her dress torn. Craig shields the Girl with his body, listening carefully to her and her friend as the two girls GESTURE ANGRILY at the Neanderthals. Craig's eyes flicker in the same direction. Craig's PARTNER, LEO, AFRICAN AMERICAN, a few years younger, is on the radio to Dispatch. Craig snaps his fingers at one of the E.M.T.'s and receives a blanket, which he carefully wraps around the girl. Then, to his partner, indicating Tyler and Aidan... CRAIG Cut those two loose. Leo puts down the handset and uncuffs the guys. LEO (quiet) Take a walk. Tyler takes a beat, looking at the lineup. Aidan, rubbing his wrists, gestures "Let's go". Tyler looks at the bloodied Girl and... Craig, going through the pockets of Neanderthal #1. CRAIG Anything in here that's going to stab me, Einstein? Craig finds a packet, or a vial. CRAIG Nice. You like to get high and hit women? 20.Aidan gives Tyler's elbow a gentle tug. Tyler's caught up inthe action. NEANDERTHAL#1 I don't even know the bitch.Rage flickers across Craig's face.Craig moves down the line to one of the musicians, goingthrough their pockets. CRAIG How about you two?Tyler, compelled, drawing closer to the action. MUSICIAN#1 It wasn't us, man! NEANDERTHAL#1 That cocksucker kicked my car! CRAIG Shut up, genius. MUSICIAN#1 (to Neanderthal) Eat shit, pencil dick. CRAIG Alright. That's it. Everybody goes downtown.Tyler steps forward, interrupting... TYLER It wasn't them.Aidan, who has been edging away, jerks around to his friend. AIDAN (sotto) Tyler... LEO (quietly, to the guys) Take a walk, I said. TYLER Hey!Craig, big angry Irish cop, turns to Tyler. 21. TYLER They didn't do anything. They didn't start this. Those assholes did. Why do these guys have to go downtown? CRAIG What are you still doing here? TYLER This is bullshit. It was those gorillas who started this.Craig moves slowly toward Tyler and starts going throughTyler's pockets, roughly. He finds his wallet. Starts riflingthrough. CRAIG Well, Mr. Roth. What makes you think I give a shit? TYLER You're a police officer. You're supposed to.What the hell? Craig looks from the guy he was frisking toTyler's girl, wrapped in a blanket. She spits blood. He turnsa bit to Tyler. CRAIG It's a great relief to me, Mr. Roth, to know that you're on top of the situation. Now go the fuck home.He turns back to work.Tyler looks briefly at Aidan. Aidan looks desperate "Please!Let's get out of here!"Tyler TOUCHES CRAIG'S ELBOW.Aidan's jaw drops. Leo takes several silent steps in. Craiglooks at his own elbow then looks at Tyler. The kid must beout of his mind. TYLER How about you do your job?SLAM. Craig takes Tyler's legs out, driving his face into thepavement, a GASH opens above Tyler's LEFT EYE. Tyler liesthere dazed and disoriented as Craig, with one knee onTyler's neck, crushes his face into the ground. He slaps thecuffs on. 22.17 INT. PEARL STREET LOCKUP -- AFTER 17 Who knows what time it is. A lovely ASSORTMENT OF PERPETRATORS, Tyler and the musicians are in lockup. Everybody looks like shit. Tyler sits on a bench in the holding cell, looking quite relaxed. The lock up door slides open and Aidan is returned to the perch. The ESCORTING OFFICER shouts across the din to Tyler. ESCORTING OFFICER You can have your call now. TYLER I'm good. The door slides shut behind Aidan. AIDAN You're good? Thank God you're good. Beat. AIDAN What are you trying to do? What did you want from that cop guy? TYLER That was a messed up situation. Those guys... He cups his hands to make a megaphone... TYLER ...Are pussies! From Off Screen a chorus of: NEANDERTHAL#1 O/S Faggot! NEANDERTHAL#2 O/S Candy-ass faggot! NEANDERTHAL#3 O/S Fag! TYLER There was no justice in that situation. AIDAN No justice. Okay, Green Hornet ... Lantern ... Asshole. (MORE) 23. AIDAN (cont'd) You may not be actually matriculating in school, you may be having a nice time by yourself lurking in the stacks of your book store, but I actually plan on graduating, and having a career and a wife and a girlfriend and a divorce and a mid-life stalking episode and erectile dysfunction, and I will thank you to keep your complexes and nihilistic bullshit... TYLER Did you just say "nihilistic"? AIDAN Yeah. I got it off a cereal box. Tyler smiles. The Escorting Officer returns with a white male LAWYER wearing a two thousand dollar suit. ESCORTING OFFICER Roth, Brewer. Tyler glares at Aidan. AIDAN Yeah, I called your dad's office. Sue me.18 INT. FAR ROCKAWAY - CRAIG FAMILY HOME - KITCHEN -- MORNING 18 Ally, with a cup of coffee, is on the house phone. ALLY So when would that be available?...No, that's sooner than I'd thought. And is there any kind of deposit?.. Okay. Craig comes in through the kitchen door, takes off his jacket and starts washing his hands at the sink. ALLY I'll call you back. Thanks. Ally hangs up. Makes a quick appraisal of her dad. He has a little blood on his cuff. He splashes his face with water. 24. On automatic pilot, Ally flips on the toaster, pours some hot coffee into a Sesame Street Mug, pours in a measured dose of brown sugar from the dispenser, then flips open a bottle of Aspirin and deposits two of the tablets into the mug. She packs up her back pack with school stuff as Craig gulps his coffee. ALLY What did you tell me you were going to do when things got tight? The toaster dings. She extracts an English muffin and squeezes honey from a bottle shaped like a bear. CRAIG Breathe. ALLY Did you? CRAIG I did. I'm breathing right now. Who was that? ALLY The lady from student housing. We talked about it. Remember? Beat. CRAIG Sure. Ally grabs her sweatshirt. ALLY Mrs. Lippman is going to drive me. CRAIG I'll drive you. She flounces out the door, holding her own cup of coffee and the English Muffin. Craig dries his hands, grabs his jacket and a set of keys from the counter.19 EXT. DRIVEWAY. 19 Outside their red-brick row house at the end of a block of red-brick row houses. Ally has her mug on the roof of the car and is searching through her bag. 25. Craig comes around the driver's side and slides Ally her keys across the roof. She drops them in her bag. ALLY Mrs. Lippman said she'd do it. Craig is in the driver's seat, waiting. Ally grabs her coffee mug and gets into the passenger seat. She hands him his English muffin, which he holds in his mouth as he starts the car. She flips down the visor and checks her very light eye makeup. ALLY You're exhausted. When you have a stroke I'm going to abandon you on a park bench. They start to back out. ALLY This drive is too long.20 INT. EXECUTIVE FLOOR -- RECEPTION -- DAY 20 Tyler and his messed up face on his feet in the waiting area. English Club chairs, green baize on the walls. A RECEPTIONIST types away across the room. Tyler takes out a cigarette. Lights it. Draws the ire of... THE RECEPTIONIST You know you can't smoke in here. Tyler looks down at a heavy crystal ash tray on the coffee table in front of him. It's clearly never been used. TYLER So what's with the ash tray? THE RECEPTIONIST It completes the room. Tyler takes a long drag, grinding out the ember on the pristine surface. He smiles a charming smile at the aggravated woman. TYLER Tease. JANINE O/S Tyler... 26. JANINE, Charles' long time assistant, late forties, kind eyes, watches Tyler from the hallway. JANINE He's ready for you.21 INT. EXECUTIVE FLOOR -- HALLWAY -- AFTER 21 Tyler follows Janine down the corridor. She looks him up and down, doesn't like what she sees. JANINE You're too skinny. And you smell like french fries and cigarettes. TYLER Nice to see you too. JANINE You want me to lie? Tyler smiles, he likes that she doesn't lie. Janine scrolls through a Palm Pilot as she walks. They approach the double doors to Charles' office. JANINE Try not to give him a heart attack. TYLER Okay. Tyler bangs through the doors. Janine grimaces.22 INT. CAVERNOUS EXECUTIVE OFFICE -- LATER 22 A row of floor-to-ceiling windows blocked by vertical blinds. Sunlight glows behind them. There's a lot of leather, brass and rich wood, breathing power. There's a flat screen computer, but no personal effects anywhere. Charles sits at his massive desk. As Tyler enters, Charles registers his injuries. A flicker of something over Charles' face. Tyler stands. TYLER I came to see how much it costs, because I'm giving you the money back. CHARLES How much what costs? 27. TYLER That lawyer. Beat. CHARLES Ah. That lawyer, Tyler, costs 450 dollars an hour. In spite of himself... TYLER Christ. CHARLES Tell me about it. TYLER I wanted to make sure you understood it wasn't me who called you. CHARLES I understand. You could do worse than have a father who bails you out of jail TYLER I don't want to be bailed out of anything. Charles looks at his son. TYLER I'll get an invoice from Janine. Tyler leaves, slamming the door behind him.23 INT. HALLWAY. 23 Tyler stops, catching himself, realizing the emptiness of the gesture. He looks up and sees Janine looking at him.24 INT. WALL STREET COFFEE SHOP -- AFTER. 24 Tyler in the same booth, surrounded by a commotion of businessmen and women. He's writing in his Journal, his foot tapping fast. We see the very act of writing eases him, loosening his strangled grip on the pen, slowing down the manic rhythm of his foot. 28.25 EXT. PRIVATE SCHOOL. JUST AFTER. 25 It's just after three, Caroline emerges from school in a CLUSTER OF 6TH GRADE GIRLS. One of them dips her head towards Caroline's ear, as if to share a secret. Whatever she says makes Caroline's face crumble, almost to tears, and the girls snicker. Tyler hops from his perch on a parked car. His bike leans on a fire hydrant. TYLER (to Caroline) Hey. He looks at the girls, sizing them up, and flicks his cigarette to the sidewalk, cool as hell. The girls have a group swoon. He takes Caroline by the elbow... TYLER Excuse us, we're due in surgery. He gets his bike and leads her down the block, towards Fifth Avenue. CAROLINE What happened to your face? TYLER Horrible threshing accident. CAROLINE You're so retarded. TYLER Don't mock the afflicted. Here, I brought you something. He hands her the book of Myths. TYLER This was my favorite book ever. Michael had it and he hit me over the head with it until I read it. Its about all these God and Goddesses who spend all of their time being jealous and petty and otherwise acting like human beings. The illustrations are amazing. Caroline opens the book carefully and has a peek. She smiles. 29. CAROLINE Ooh. These are cool. Thanks! Where are we meeting mom? TYLER Guggenheim. What's up with those girls? CAROLINE I just...they think I'm weird. Sometimes I sort of space out. TYLER When you're drawing? CAROLINE Yeah. Other times too. Madamoiselle Fleischman had to snap her fingers at me a lot today. And everybody laughed and they all think I'm a freak of nature. Caroline takes a brief glance over her shoulder, towards the school. TYLER Je m'appelle "Freak of Nature." Caroline smirks. TYLER Mon dieu, mon soeurette! Je m'appelle "Freak of Nature". Sacre Bleu. French Toast. CAROLINE What are you going to tell mom about your face? TYLER I finally found something I'm good at?26 EXT. NYU -- FRONT STEPS BELOW THE FLAGS -- DAY 26 Aidan appears to have cornered a PROFESSOR on her way in or out of the building. The woman looks tired, annoyed, like she just wants to go. Aidan talks fast, even faster than usual. 30. AIDAN ...I know by every numerical measurement I didn't pass but what I was hoping was that maybe you give me a grade on my trying to pass. My commitment to effort. My commitment to commitment...Since the semester is nearly at it's terminus. Craig's car rolls to a stop just in front of the flags. Ally gives him a kiss on the cheek. She gets out, and walks up the stairs, right past Aidan. AIDAN (distracted) I mean... uh... life's only about what we put into it. It's about people. And what they put into it. And I'm -- ah, screw it. Aidan runs off leaving the befuddled professor on the steps.27 INT. RAILROAD FLAT-- LIVING ROOM -- DAY 27 Tyler, again with the guitar. Aidan enters, excited. AIDAN He's got a daughter. TYLER Who? AIDAN The cop... The cop who busted your face all up. He's got a daughter. And she's hot! I smell revenge! TYLER Revenge. What do you want me to do, kidnap her? AIDAN You introduce yourself...go on a few dates...be your charming, gentlemanly self... And then, flip the script. TYLER What does that mean? 31. AIDAN Screw her brains out and make her call you daddy. Steal her underwear and sell it on ebay. Put her in Clown Shoes, take lewd photos and post them on her high school's home page. I don't know. Be creative. TYLER You should be incarcerated on general principle. AIDAN Hey. What happened to you was very emasculating. Tell me you don't want to get that asshole and I'll drop it. TYLER I don't want to get that asshole. AIDAN Just meet her. TYLER I don't want to meet her. AIDAN She's cute. TYLER I don't care. AIDAN You're meeting her. TYLER I'm not meeting her.28 INT. COFFEE SHOP. WASHINGTON SQUARE PARK.- DAY 28 A Student Hangout. The place is bustling. Numerous NYU STUDENTS move, sit, eat, lounge. Aidan scans the crowd. Tyler stands beside him looking far less enthusiastic. TYLER This is one of those moments I'm already regretting. AIDAN She was here yesterday. 32. TYLER What am I supposed to say to this girl? "Hey doll face, your dad trampled all over my civil liberties, wanna make out?" AIDAN Well don't call her doll face.Ally enters. She wears a big sweatshirt. Aidan spots her. AIDAN There. The brunette.Tyler watches her settle into a couch with a big cup ofcoffee. TYLER I know her. I mean, I don't know her, but, I've seen her. She's in my global politics class. AIDAN There you go! Something to open with. Now get over there.Tyler sighs, begins toward Ally. AIDAN Shazam!Tyler glares. Aidan gives a big thumbs up. TYLER Excuse me?Ally briefly looks up from her book. TYLER My name's Tyler Roth. I was wondering if I could bother you for a minute?He gives her a charming smile. ALLY You're already bothering me.Beat. The smile usually works. TYLER Um, I'm doing kind of a sociological experiment...I was hoping you could help me out. 33.Ally looks at him, a little wearily, holding her place in thebook. ALLY What are you, kidding me?Tyler is genuinely taken aback. TYLER No, I... may I ask your name? ALLY Anonymous. It's Greek. It means "you don't have a shot".A surprised laugh escapes from Tyler. TYLER Okay, Anonymous, do you see the guy across the room, pretending to read a text book, looking in this general direction?Aidan holds a MATH TEXTBOOK at an awkward angle to mask hisobvious interest in Ally and Tyler's conversation. ALLY Subtle. TYLER I have this theory that an objective third-party, having no prior contact, would be able to determine how much of an asshole he is just by looking at him. ALLY Ah. TYLER He's my roommate. And I've witnessed so many glaring examples of assaholic behavior that I'm biased as a subject, but I'm convinced that he has an aura, that people can actually perceive. So, just take a good long look. And tell me what you think?She looks at Aidan, briefly, who shifts to avoid her gaze.Then she takes a peek at Tyler's profile. ALLY Who else do you plan on asking? 34. TYLER No one here. The parameters called only to sample attractive women in their early twenties. ALLY I'm nineteen. TYLER In their late teens. (beat) Well, look, you typically get something for participating in these things and I've run out of those big foam fingers, so I was thinking maybe I could take you out some night? She looks at him. TYLER Or you could just go out with me on the off chance we'd have an interesting conversation. ALLY I don't date sociology majors... they're a rowdy bunch. TYLER Indeed they are. Lucky for you, I'm undecided. ALLY About what? TYLER Everything. Tyler smiles. Ally tries to hide a smile. She closes her book and extends her hand. ALLY I'm Ally.29 INT. PRIVATE SCHOOL -- ART STUDIO -- DAY 29 Caroline in art class amongst a sea of green plaid. The girls work in relative silence, drawing, painting. 35. THE ART TEACHER walks amongst them looking over their shoulders, sees a lot of amateur art work, then she comes upon Caroline and stops. The teacher finds herself captivated by ... A COMIC PORTRAIT of Diane and Les kissing in the doorway of their brownstone. Diane has a bit of a manic smile and Les is half her size. Caroline notices her teacher staring. She doesn't like it and shifts to block her view. The teacher gently eases her back. Smiles softly. Caroline smiles back as her teacher moves across the room. Caroline has just put her pencil back to paper when... The BITCHY GIRLS we've seen before start whispering and smirking. One of them mouths... CHUBBY GIRL Kiss ass freak. Caroline's smile shrinks away and she goes back to work.30 INT. CRAIG FAMILY HOME ALLY'S BEDROOM-- NEXT EVENING 30 Ally in sweat pants, an ancient tee-shirt, her hair in a Scrunchie, eating Mallomars from the bag and reading. Craig yells from the bottom of the stairs. He carries a bag from a video store. CRAIG Don't be mad... ALLY Dad, we've seen freaking Erin Brockovich twice already. You always cry. CRAIG O/S I do not. ALLY It's embarrassing. Her cell phone rings. ALLY Hello? 36.31 EXT. FIRE ESCAPE. RAILROAD FLAT. 31 TYLER Hey. It's Tyler. INTERCUT: Ally winces. ALLY Hi. TYLER You're going to stand me up. I can feel it in my bones. I'll be devastated. ALLY No... I...I was just... TYLER You were just sitting around in your pajamas watching T.V. ALLY No. I'm not watching T.V. I'm just...getting dressed. She wipes her hands on her sweats, smearing them with chocolate. ALLY And I'm going to meet you at the place at..what time again? TYLER Eight. ALLY Right...yes. Eight...okay. She hangs up. ALLY Shit. She whips the Scrunchie out of her hair and heads for the bathroom.32 INT.CRAIG HOUSE. KITCHEN. 32 Ally comes down the stairs, putting on her earrings. 37. Craig looks at Ally, confused. ALLY I'm going out. CRAIG I can see that. ALLY Well, you're a trained investigator. She is moving quickly, grabbing her bag, her wallet. Craig tosses her keys. CRAIG Who are you going with? ALLY A boy from school. Beat. CRAIG Okay. ALLY I wasn't asking for permission. CRAIG (sharply) I know. (more gently) Have a good time. Here's cab fare. He peels off a couple of twenties. ALLY Thanks. CRAIG Should I wait up? ALLY Dad. Craig puts his hands in the air in surrender.33 INT. LEMONGRASS GRILL -- NIGHT 33 A hole in the wall Lower East Side Thai restaurant. Tyler and Ally sit together perusing menus. A WAITER approaches. 38. ALLY (to the waiter) What desserts do you have? WAITER Dessert special fried bananas a la mode. ALLY Great, I'll have that. A glass of skim milk. Then the mussels, please.Tyler and the Waiter share a look. TYLER Pad Thai and a Sapporo. Thanks.The Waiter takes the menus. ALLY I have my dessert first. TYLER Is this a political statement? A medical condition? ALLY I just don't see the point in waiting for something I know I want and am going to have. What if I die eating my mussels? TYLER Is that probable? ALLY It's possible. If an embolism burst or an asteroid hit the restaurant, I'd die without having eaten the thing I wanted most. TYLER But the odds are, I mean... ALLY Fine. I'll tell you what, you guarantee me. Swear to me on your eternal soul that I'll make it through my entrÈe. And I'll wait.Tyler goes to answer. Ally holds up a hand. 39. ALLY Before you answer, keep in mind, if I die, you'll have to live the rest of your life knowing that you not only lied to me, but denied me my last indulgence. My last wish. Are you prepared to shoulder that kind of responsibility to prove a point? Tyler thinks about it. Smiles. ALLY Don't worry. I'll share.34 EXT. LEMONGRASS GRILL-- NIGHT 34 Tyler and Ally exit out onto the street. Tyler immediately takes out his cigarettes, his lighter, then he notices... Ally looking at him disappointed. ALLY Really? Tyler takes the cue puts the packet and lighter away. A beat. ALLY I had a nice time. TYLER You had a nice time or you're having a nice time? Ally considers. TYLER Because if you're having one, why rush to end it?35 EXT. STREET FESTIVAL (A LA SAN GENNARO) -- GREENWICH VILLAGE -- 35 AFTER They approach a CARNIVAL GAME, one those ubiquitous basketball tosses. THE ATTENDANT badgers passersby to test their luck. GIANT STUFFED ANIMALS hang all around it. Tyler pays the Attendant, gets the basketballs. Tosses one, two, the third, then nothing. Game over. TYLER Did I tell you I'm Caucasian? 40. ALLY Apparently. Tyler pays again, wipes out again. Game over. Tyler pays again. Loses again. He's visibly frustrated now. ALLY Can't we just stroll while I feed you ice cream with fireworks in the background? TYLER No. If I stop, he wins. ALLY Who, the attendant? TYLER No, the frigging Giant Panda. Tyler hands the ATTENDANT another dollar.36 EXT. SIDEWALK -- LATER 36 Ally carries a GIANT PANDA under her arm. Tyler walking beside her with a self-satisfied smile. ALLY I don't know what you're smiling about. TYLER I won. ALLY Paying off the attendant is not winning... It's cheating. TYLER I just paid a premium to cut out the middle man. That's innovation. That's free market enterprising. That's what made America great. ALLY Aha. By the way, what happened to your eye? Tyler touches the bandage. TYLER Oh, it's nothing, just a bar fight. 41. ALLY How butch. TYLER I know. I'm practically a pirate. ALLY Okay, Captain Morgan... TYLER (laughing) You've got some serious timing. ALL It's getting late. TYLER I'll walk you to the train. ALLY I'll take a cab.37 EXT. SIDEWALK -- JUST AFTER 37 Tyler is just hailing her a taxi. He stands there holding the door open. ALLY Thanks. Beat. Tyler leans in to kiss her. Ally turns away. ALLY Not tonight. Not never... just... not tonight. CAB DRIVER We goin' or what? ALLY Hey! Turn on the meter. Tyler respectfully leans back. TYLER So dessert before dinner for fear of death by rogue asteroid... yes. Kissing guy you're obviously attracted to before driving off into the unknown New York night... no. 42. Ally considers. She gives him a quick but tender kiss. ALLY You're really weird. She gets in the cab. ALLY (to the driver) I'm going to Queens and I don't wanna hear about it. Off she goes in the taxi. Tyler watches her go.38 EXT. PRIVATE SCHOOL. THE LAST DAY OF SCHOOL. 38 Caroline exiting with the crowd. One of the Bitchy girls shoulder checks her from behind as she passes. Tyler, waiting on his perch, catches it, walks up to her. TYLER Happy end of sixth grade! CAROLINE Finally.39 EXT. CENTRAL PARK -- ALICE IN WONDERLAND STATUE -- AFTERNOON39 CHILDREN climbing all over the bronze statue. Caroline among them. She sits on a mushroom cap, letting her legs dangle. Tyler watches her from their usual bench, his bike leaning next to him. CAROLINE They have me in this art program summer thing at Pratt... TYLER I heard. CAROLINE It's very prestigious due to my artistic greatness. TYLER Don't pretend. I know you're proud. You should be. Caroline allows herself a tiny grin. 43. CAROLINE There's, like, a thing... TYLER A thing? CAROLINE (sheepish) A show where you show what you've done and stuff. Will you come? TYLER Let me check my book. Abso-freaking- lutely. I'm camping out. I'm sleeping there the night before.Caroline is secretly thrilled. CAROLINE You're so retarded. Mom's been hyperventilating with joy. TYLER Good. I'm sure Les was... TYLER/CAROLINE "Really supportive"! CAROLINE Your school's over, right? TYLER Yes, it's over. Did Mom and Les get the beach house again? CAROLINE Yup. What are we going to do for your birthday? TYLER Nothing. CAROLINE Can we have a party? TYLER No. CAROLINE A little one? At Mom's? With Aidan. I'll make Mom behave. No crying. TYLER Like that's possible. 44. Caroline smiles.40 INT. RAILROAD FLAT-- NIGHT -- DEEPER INTO SUMMER 40 Ally explores Tyler's living room with a tumbler of wine. It's in a state of medium disarray. He clocks her looking. TYLER I know. But we have coasters. ALLY I don't do coasters till the third date. She looks over his posters, pictures, etc. Tyler scans a stack of CDs, he selects Radiohead's KID A, puts it in. The hypnotic first track fills the room. Ally comes across a FRAMED PHOTO of a band on stage. The lead guitarist looks like Tyler with long hair. ALLY Is that you? TYLER That's Michael. My brother. ALLY He looks like you... or you look like him. Does he play around here? TYLER Not any more. Ally notices the old guitar in the corner. ALLY Do you play? TYLER It depends who you ask. ALLY If I asked anybody? TYLER They'd say no. I try but it turns out you need talent. ALLY So what talents do you actually have? 45. TYLER Falconry. I come from a long line of falconers. ALLY There's a lot of money in that. Tyler smiles. He's actually a hair nervous. TYLER Well there is one thing... Tyler walks to the kitchen counter where a cleaned and polished COVERED CAKE STAND sits. ALLY What's that? TYLER Our appetizer. Tyler lifts off the cover to reveal a GERMAN CHOCOLATE CAKE. He's written a message in the icing: "In Case Of Ast-- and then a piece has been crudely cut out. Ally's surprised. TYLER It used to say "In Case Of Asteroid" but I took a shower and Aidan got high.41 INT. KITCHEN -- LATER THAT NIGHT 41 Ally and Tyler stand in front of a sink full of dirty dishes, up to their elbows in soapy water. ALLY So what kind of grade did you end up with from Vogelstein? TYLER I don't actually get grades. Beat. TYLER I'm not technically enrolled. I worked out an auditing thing. ALLY Oh. And The Strand is not a significant career choice. 46. TYLER I like the books.He indicates the dishes. TYLER You don't have to help me, you know. ALLY At the rate you're going, dish washing is going to be your life's vocation. I can say I knew you when.He flicks a bit of water on her shirt. Ally takes a beat. ALLY This is the playful, you get me all wet part? Right? TYLER (horsing around) You make it sound so cheap.Ally's not having it. ALLY It is cheap. I've seen this scene a hundred times.Tyler's a little confused. TYLER I'm sorry. I didn't... ALLY You know what never happens in this scene, Tyler-who-doesn't-really-go- to-school? Tyler-who-doesn't-really care-about-his-job?Tyler blinks helplessly. ALLY This.An entire enormous pot of pasta water up ended on the host.Bits of spaghetti cling to him, tiny tomatoes and zucchini onhis shoulders like little barnacles. He sputters and gaspsand blinks. ALLY No, that usually never happens. 47. She calmly goes back to washing dishes. Beat. Spaghetti guy stares at her. She gives it right back to him, 100% New York City. Beat. In one move Tyler slings Ally over his shoulder. She grunts, unglamorously.42 INT. BATHROOM -- SECONDS LATER 42 Tyler bursts through the bathroom door. Ally over his shoulder. Never one to waste a moment, she uses the opportunity to check out what's in his wallet. He turns on the shower. She has his drivers licence. TYLER Apologize. ALLY Never. Your middle name is Keats? Your parents are pretentious as hell. Tyler turns on the shower and tosses Ally into the water. She dances to avoid the stream. Ally grabs the portable shower head and turns it at him. Tyler jumps into the tub to avoid the spray. They wrestle for the shower head. TYLER Apologize. ALLY I'd rather eat monkeys. This cracks Tyler up. He stops struggling for the shower and gasps a little with laughter, putting up his hands in surrender. Ally stands there, holding the shower head, giggling. They lock eyes for a moment. The air is charged. Ally spritzes him in the face. TYLER I surrender! Oh my God, you're relentless. 48. He slides down the wall until he's sitting in the tub, Ally follows. ALLY Victory at all costs.43 INT. BATH TUB -- LATER 43 Tyler and Ally lie side-by-side, drenched. Their feet hang over the edge of the tub. Tyler reaches into his pocket and removes a dripping cigarette packet. He squeezes out water. TYLER Now... I'm furious. He tosses them in a waste basket. ALLY You should quit anyway. TYLER Really? Why? Are cigarettes like bad for you or something? Ally playfully slaps him. She notices the tip of Tyler's TATTOO peeking out of his undershirt. ALLY Is that a tattoo? Let me see. TYLER It's not really... ALLY Please. It's very bad ass. All that ritualistic scarring. Tyler peels the soaked garment off his back as Ally offers polite applause. Michael's name becomes clear. Ally takes a long look. She sees Tyler's not smiling anymore. She gets it. ALLY I'm sorry... I didn't... I didn't realize. She looks at him. Asking with out asking. TYLER He killed himself. Beat. 49. ALLY When? TYLER When he was 21. He had just started working for my father.Ally is gently picking spaghetti and tomatoes off Tyler. ALLY I thought he was a musician. TYLER He was. But he wasn't making a living doing music and my father's a very compelling guy. ALLY Mine too.Ally looks away for a moment. Tucks a curl behind her ear.Then they look at each other. Ally opens her mouth to speak.Aidan bursts in. He's drunk, loud, wearing an Irish Flag likea cape. He carries a bottle of whiskey and a can of Guinness. AIDAN Damn, you're not naked. TYLER You're not Irish. AIDAN T, What happened in the kitchen? It looks like somebody's water broke. (notices Ally) Hi. TYLER Ally, Aidan... Aidan, Ally.Aidan takes Ally's hand. Kisses it. AIDAN Don't feel bad that you're more attracted to me than you are to him it happens to all of them.Ally looks at Aidan closely, trying to figure out where sheknows him from, it dawns on her. ALLY Oh! You're the assaholic! 50. AIDAN Well, I-- (realizes what she said) Wait. What? Tyler and Ally laugh. Aidan's too drunk to care. AIDAN Alright, you two. Up. Dressed. Let's go. "Around The World" party on the third floor... a lot of ugly but a lot more alcohol. Let's go. ALLY I can't, I would, I'd love to, but I've gotta get home, my dad's waiting up. AIDAN Ally. Ally. Listen to me, young lady. One drink. From any country. I'll even put France on the table. One drink. Your choice. And we're gone. ALLY (to Tyler) One drink? TYLER (to Aidan) One drink? AIDAN (innocent shrug) One drink.44 INT. BATHROOM -- LATER 44 Ally VOMITS in their toilet. Tyler holds her hair back. Aidan appears in the doorway still wearing that flag. AIDAN Hey, how we doin'? Ally tries to speak, all we hear is a series of groans. Then she dry heaves again. Tyler shoots Aidan a look. AIDAN What? What do you want me to say? That I'm sorry? You want me to say I"m sorry? (MORE) 51. AIDAN (cont'd) You want me to apologize for showing a nice girl a good time? Is that it? Tyler just looks at him. Aidan considers. AIDAN I'm sorry. ALLY Tyler... Tyler kneels down. Ally pushes her purse at him, she looks like she's about to pass out. ALLY I, need, you... to call... my dad. Tyler and Aidan share a look. Aidan shrugs. TYLER Oh. OK. Sure. Tyler pulls out her cellphone - the battery is dead. TYLER Your phone's dead. Just tell me the number and I'll call him... Tyler turns around to find Ally passed out on the floor. He tries to gently nudge her awake. TYLER Ally? Ally? SERGEANT CRAIG (O.S.) I know Ally's a good kid, Leo.45 INT. CRAIG FAMILY HOME -- ALLY'S BEDROOM -- LATE NIGHT 45 The bedside clock reads 3:47. Craig is on the phone while searching through Ally's desk drawers. For anything. He finds a note book with a red cover and starts flipping through it. CRAIG ...She was supposed to be back. She's not back ... call Ted Proferes ... and what's his face in the 9th...and call me back. Just do it, Leo! Craig hangs up the phone. 52. Beat. He picks it up again and starts dialing, still flipping through the notebook.46 INT TYLER'S BEDROOM -- NEXT MORNING 46 Ally wakes up alone in Tyler's bed, hung over, confused, trying to put the pieces together, then she sees the clock. And a wave of panic washes over her as she jumps out of bed. ALLY ...oh God oh God oh God oh God...47 INT. LIVING ROOM -- LATER 47 Tyler sleeps on the couch using Aidan's Irish Flag as a blanket. Ally comes in pulling on her shoes. Tyler stirs in time to see her run out the door.48 INT. CRAIG FAMILY HOME -- LATER 48 Craig sits at the table, dialing someone, anyone. Ally enters, drops her keys on the counter. Her father doesn't look at her as she pours herself a coffee. ALLY ...I'm sorry. I fell asleep... Craig squeezes honey into his coffee, practically strangling the Bear. Not looking at her. Ally notices the red notebook on the kitchen table next to the phone. CRAIG You turned your phone off. ALLY I forgot to charge it. It dawns on her... ALLY That's mine. From my desk. Craig says nothing. Just stirs his coffee. Ally is furious. ALLY How could you? 53. CRAIG You were gone all night. I was trying to get some information. ALLY How could you go through my stuff like I'm a suspect? CRAIG Then stop acting like one. ALLY What is the matter with you, Dad? You have no respect for me and the way I'm feeling, my privacy. We talked about this! You're totally paranoid... CRAIG You watch your mouth! ALLY You don't do anything. You don't go anywhere except work. You have no life. CRAIG My life is right here! In this house. The same place as yours. But you're spitting all over it. ALLY Jesus Christ, Dad! I went on a date! CRAIG I smell alcohol...Right back at him. ALLY So do I.Beat. ALLY Dad... CRAIG THIS IS MY HOUSE! ALLY YOU WANNA BURY ME IN IT? 54. CRACK! He hits her, hard, open hand, from across the width of his body. Ally is knocked off balance and hits her head on the cabinets. CRAIG Ally! His face is contorted with panic and shame. Ally's disoriented. Her ears are ringing. Her lip is split. A knot is starting to form where she hit her head. She straightens herself up and stares at her dad like she has no idea who he is. Beat. Craig tries to envelop her. With a guttural snarl she pushes him away, getting a little bit of blood on his shirt. She scrambles up the stairs.49 EXT. RAILROAD FLAT-- ROOFTOP -- DAY 49 Sunshine beats down on a little make-shift rooftop hideaway, a few old beach chairs, a stereo, a weight bench. Aidan works out with an old set of dumb bells. Tyler sits on a beach chair, trying again with the guitar. AIDAN ...So? She just left? No good bye? Tyler nods, strumming like he's wearing boxing gloves. Aidan finishes up a set. AIDAN Maybe she heard you play the guitar. TYLER You were the one dumping Jello shots down her throat. You almost killed her. Aidan lies down to do the bench press... there's a lot of weight on the bar. AIDAN There are sins of omission and sins of commission, my friend. I've dealt with mine and I've forgiven myself... you should do the same. 55. Aidan lifts. It's too heavy and falls to his chest. Tyler forgoes his spotting duty, lets him struggle. Aidan strains. AIDAN ...little help, T... little help, little help, lotta help... TYLER?! Tyler blows three perfect smoke rings. Finally he puts down the guitar and helps get the bar up. Aidan panting, rubbing his chest. AIDAN What the hell was that? TYLER Penance. I have to get to work.50 INT. RAILROAD FLAT-- LIVING ROOM -- DAY 50 Tyler and Aidan come into their apartment, Aidan still rubbing his chest. Ally is standing there in the middle of the living area. A packed bag at her feet, her face a mess. ALLY I didn't know where else to go.51 INT. LIVING ROOM -- SUNSET 51 Aidan sits on the couch still in his gym clothes drinking a protein shake out of a blender. Tyler comes out of his bedroom gently closing the door behind him. AIDAN How's she doin'? TYLER She's pretty shaken up. Tyler takes a seat beside him. Takes out a cigarette. TYLER We've really got to fix that dead bolt. AIDAN My bad. Sorry. TYLER Don't be. You think she'll sleep? 56. AIDAN You realize if she had had the S.L.U.T If looks could kill... AIDAN Too soon? A silent moment passes. TYLER I told her she could stay here... Are you alright with that? AIDAN As long as she needs.52 INT. LIVING ROOM -- LATER THAT NIGHT 52 Tyler has just finished making up the ratty sofa as a bed. Ally appears from the bedroom, framed by the open door. She has slept in one of Tyler's button down shirts. TYLER You're up. Beat. TYLER Can I get you anything? She nods. TYLER I'll be out here if you need me. Beat. Ally takes off the shirt and lets it fall. She stands there.53 INT. TYLER'S BEDROOM -- LATER 53 We interrupt Ally and Tyler in the throes of passion. Tyler sits on the edge of the bed. Ally is on top. She kisses his neck. Suddenly, Tyler throws her to the bed. He takes control. Ally's momentarily taken aback, but doesn't stop him. There's noticeable aggression to their love-making. 57. In the midst of everything, the pair slow almost to stopping, a caesura. They stare into each other in a moment of surprise and recognition. Then again. Young, hungry, aggressive. TIME LAPSE They lie, eyes closed, almost asleep, entwined with each other. Tyler gives a little sound of contentment. Ally, in her own haze, reaches for him, her hair all over the place. Eyes still closed they fumble for each other, starting, in this dream state, to make love all over again.54 INT. BEDROOM -- BEFORE SUNRISE 54 The sheets have been torn loose from the mattress. Ally lies asleep, curled in the comforter. Tyler lies awake beside her, he smokes a cigarette and watches the sky just starting to brighten. Tyler gets out of bed. Grabs his journal. A NOTE propped up next to the bed: "Please don't leave. I'll be back."55 EXT. SIDEWALK -- LATER 55 Tyler locking his bike outside the coffee shop.56 INT. WALL STREET COFFEE SHOP -- SUNRISE 56 The place is empty. A few early RISERS get coffee to go. He sits in the same booth, his journal held open by the binder clip. He writes, a bag of Bialys next to him. Janine enters. Orders two coffees. She sees Tyler, smiles. She picks up her coffees and approaches him. JANINE I can't believe you still come down here. Tyler looks up, grins, nods to her coffees. TYLER It's not so far. I can't believe you still get his coffee... three sugars, no milk? 58. JANINE (shrugs) Old habits. You're not writing anything bad about me, are you? TYLER Not today. JANINE I gotta run. Early meetings. Janine turns to go, remembers something, turns back. JANINE I probably won't see you before Saturday so...happy birthday. Tyler nods, tries to smile. Janine glances back as she goes. JANINE I'll be sure to tell your father that you said hello. Tyler nods sheepishly.57 INT. RAILROAD FLAT -- LIVING ROOM -- LATER 57 Tyler returns with breakfast. From Aidan's room, a pathetic croak... AIDAN O/S Bialy. Tyler tosses him a Bialy like he's tossing fish to a seal. Ally lies on the couch. Curled in a blanket. A cup of hot tea in hand. She sips it. It stings her lip a little. TYLER Hey... ALLY Hey... Tyler sits. She shifts and curls next to him. ALLY Where did you go? TYLER Downtown. 59. ALLY Why?Tyler pulls his JOURNAL from his pocket. Hands it to her. TYLER There's a coffee shop. I brought you a Bialy. ALLY New York is full of coffee shops. TYLER This one was our place... Michael's and mine. We had breakfast there all the time ... Maybe not as many times as I think we did. But enough times. Anyway we ate there that morning. It was the last place I saw him. ALLY Oh. So you go there to write? To him? TYLER Maybe. Sometimes. I don't know. But I guess I wanted to tell him about you.Ally is moved, you can see it in her eyes, but she choosesnot to overdo it. She flips through the journal. She hands itback to him. Then out of nowhere. ALLY My mom was murdered eight years ago. The same year your brother died.Tyler is stunned. ALLY You don't need to say anything, I know you're sorry. Everyone's always sorry, you know?He does. ALLY It's just, I need you to know that, my dad, he's not an evil guy. (MORE) 60. ALLY (cont'd) I don't want you to think that because I'm here he's some kind of belligerent psychotic, he's not...I don't know, it's just recently, he seems really... She looks at Tyler's face. His eyes are so patient. Ally tears up. ALLY Wounded? Our house is like the recovery room, or the critical care unit or something. Tyler strokes her hair. ALLY I don't feel like that, though. I feel like I'm getting stronger and like I'm leaving him behind to swim in it all by himself. She is weeping. Tyler pulls her to him doing the best he can. Holding her and kissing her hair.58 INT. SIXTH PRECINCT -- 2 DAYS LATER. 58 Sergeant Craig standing with a ROOKIE OFFICER, berating. CRAIG Tell me something, Matthews, do you like paperwork? MATTHEWS No, sir. Craig is working up a head of steam. CRAIG Me neither. Nobody likes paperwork. But paperwork keeps our ship afloat. Paperwork makes it possible for me to keep track of all the scumbags. But I can't do that if newbies like you are incapable of remembering standard filing... Leo interrupts. LEO Jim... 61. Craig snaps his head around. CRAIG ...What? Leo gestures to speak privately. LEO Ally called Sharon. CRAIG What? LEO She said to tell you, she's with friends, and she's fine. CRAIG What friends? LES She didn't say. CRAIG That's all? His partner nods. Craig looks away. LEO I'm sorry, Jim. Listen, why don't you come over this weekend? We'll get the grill going. Sharon wants to see you. We can have some people, nice people...You can circulate a little... CRAIG No. LEO Jim... CRAIG Leo, no. Stop. Craig goes back to his desk. Leo looks after him.59 INT. RAILROAD FLAT -- LIVING ROOM -- DAY 59 Aidan sits in the living room, trying to assemble an IKEA television stand. A joint smolders in the ashtray. The BUZZER rings. 62.Aidan goes to answer it. AIDAN Hello? DIANE Aidan, it's Diane.He blinks. AIDAN Oh, hey Diane.He throws down the keys, then yells towards the roof... AIDAN T! It's your mom.With Diane's knock the door swings open. AIDAN Hey Diane.He gives her a kiss on the cheek. DIANE You really have to fix that door. I'm so sorry to just show up. I called but your phone was busy.Aidan looks and realizes that the phone is indeed off thehook, as just the handset, wrapped in duct tape, is visibleon top of the sofa. AIDAN No problem. Come on in.Tyler and Ally enter the apartment through the fire escape TYLER Hey mom. DIANE Hey. I'm so sorry honey. I tried to call but... TYLER. It's okay. Mom, this is Ally. Ally, this is my mom, Diane. ALLY Hi. Nice to meet you.Diane is thrilled. She has a huge mom grin. 63. DIANE Ally. It's lovely to met you. Just lovely.Diane is pumping Ally's hand like she's drilling for oil. TYLER Sit down, Mom. Can I get you something?She navigates the IKEA carnage and sits on the sofa, thejoint smoldering in the ashtray in front of her. Aidan everthe gent, removes the ashtray to the window ledge. DIANE Yes. Aidan, would you bring back that spliff, please?Beat. AIDAN Uh..okay.Tyler looks completely befuddled. Aidan passes Diane thejoint. She takes a deep hit. DIANE Thank you. AIDAN How's work, Diane? DIANE Well ... (BIG exhale) I just found housing for a family that had been in shelters for three weeks. So that's good. On the other hand, I have six other families.The women measure each other. DIANE But Tyler, I wanted to talk to you. ALLY Come on, Aidan. AIDAN What? ALLY Nice to meet you, Diane. 64.She starts to drag Aidan out the window, back up the fireescape, but he makes a brief detour. AIDAN Don't freaking bogart that joint, Diane. DIANE Sorry.She hands it back to him and Aidan and Ally climb away.Tyler sits next to his mom and lights a cigarette. DIANE Well, first, your sister is all excited about your birthday at the house. I wish you'd told me. TYLER I wish she'd told me. It was a unilateral Caroline decision. Will you make sausage and peppers? DIANE Of course. Tyler, Your father is driving me crazy. I shouldn't even be discussing this with you. I can't get him to say he'll come to your sister's exhibit. Her art exhibit. He says he's in the middle of an IPO.Tyler rubs his eyes. DIANE Les says I shouldn't broker. I should let them be on whatever road they're on.Beat. TYLER I'll get him there. DIANE She cares about this, even though she's pretending she doesn't. TYLER I'll get him there, mom. DIANE You will? 65. TYLER Yes. She looks relieved. DIANE Thank you. Thank you. She kisses his cheek, and rises to go. He takes her to the door. DIANE Why don't you bring that lovely girl to your birthday? TYLER (a warning) Diane... DIANE Sorry. Sorry. I love you, darling, but this place reeks of marijuana. She goes, shutting the door behind her.60 EXT. ROOFTOP -- AFTER. 60 Aidan and Ally on the roof, they've arranged themselves in the deck chairs. ALLY That was weird. I assume most moms don't smoke weed in front of their son's...um AIDAN Piece of ass? ALLY You know, you're a poet. AIDAN Hey. I know one thing. I know that in the time I've lived with Tyler, he has never introduced a girl ... woman...female...to his mom before. ALLY It's not like he had a choice. She ambushed us. 66. AIDAN Yeah, but he would've shoved you in a closet or something. Or literally pretended you were a hallucination. ALLY Ha ha. AIDAN I mean it. It's the first time. Ever. ALLY Did it ever occur to you that that's kind of weird? AIDAN No. Ally throws up her hands.61 INT. BATHROOM. AFTER. 61 Tyler, having pulled the decrepit house phone into the bathroom, is leaning against the sink, girding himself to call Charles. He looks in the mirror and makes a face.62 INT. CHARLES' OFFICE . JUST AFTER 62 Janine pokes her head into Charles' office. Charles is swamped with work and surrounded by UNDERLINGS. JANINE Charles, it's your son. Charles is surprised. CHARLES What? JANINE On the phone. CHARLES Okay. He punches a button. CHARLES Tyler, you're on speakerphone. 67.63 IN. BATHROOM. AFTER. 63 TYLER It's about Caroline's show. Are you planning on attending? CHARLES O/S What? There are people here. You'll have to speak up. Tyler holds the phone away from his face and screams at it, silently. TYLER Caroline's show. CHARLES O/S What about it? TYLER (ready to kill him) You are coming, right? CHARLES O/S Fine. Yes. I'm coming. We'll go to dinner first. Alright?... (to Janine) Janine? TYLER Dinner? That's not... CHARLES I'll make a reservation and have Janine call you. He hangs up. Tyler stares at the phone a sec, then hits his head, once, against the bathroom door.64 INT. DIANE'S HOUSE -- DINING ROOM -- NIGHT -- A WEEK LATER 64 Tyler is sitting at the table in the darkened room with Ally standing behind him with her hands over his eyes. Caroline enters from the kitchen carrying Tyler's BIRTHDAY CAKE. She has obviously decorated it herself. She has drawn (as best as she could, given the medium) the characters from the ALICE statue in frosting. It reads "A VERY MERRY UNBIRTHDAY TO YOU", and has "22" in numerical candles and "+ 1 TO UNGROW ON" written next to that. 68. She's singing. Aidan, Ally, Diane are all singing. There's a flash from a camera off screen. It's Les. Caroline puts the cake down in front of her brother and Ally takes her hands away just as they finish the song. Tyler's face in the candlelight as he sees Caroline's efforts. He takes a huge breath... CAROLINE Make a wish. He looks at her and blows out the candles. Everybody applauds, Diane longer than anyone else. Her eyes are shining. CUT TO:65 INT. DINING ROOM --LATER 65 The cake totally devoured. Les is obsessively eating frosting. Caroline is trying to teach Aidan how to waltz in the living room. He is... CAROLINE Retarded. Tyler? Tyler rises from the sofa and takes over as Caroline's partner. She puts her feet on top of his feet and they waltz. TYLER/CAROLINE "One, two. three. One, two, three" Ally and Diane are washing dishes in silence. Beat. ALLY You're the second member of this family I've washed dishes with. Beat. DIANE He was doing it to impress you. He's never washed a dish in his life. 69.66 INT. CAROLINE'S ROOM. 66 Caroline at her desk, sketching. Her door is ajar. Ally enters, mouth agape as she lays eyes on Caroline's collection of artwork on the walls. ALLY Wow. Caroline's working on a PORTRAIT OF TYLER ON A PARK BENCH, cigarette dangling from his bottom lip. A perfect rendering of a fleeting moment. ALLY May I? Caroline shrugs. Ally looks over Caroline's shoulder. ALLY That's exactly him. It's like the cigarette is the last Coca Cola in the desert. Caroline smiles. ALLY I can't believe he smokes in front of you. CAROLINE Don't worry, I'm not that impressionable. Ally smiles. Caroline goes back to work. Ally looks around at all the portraits papering her walls. It stirs a memory. ALLY You know when I was younger, we didn't have air conditioning in the house, so during the summer my mom and I would go to museums to cool down... she loved them all but The Met was always her favorite. CAROLINE Mine too. The Met is one of my favorite places in the world. ALLY So... I heard you've got an art exhibit coming up. 70. CAROLINE (skeptical) You wanna come? ALLY Was it that obvious? But only if you're OK with it. I don't want to impose and I'll completely understand if you don't want some random girl there. Caroline considers this. CAROLINE You're not random... you're Tyler's girlfriend. Ally has never heard anyone say it so plainly. She seems a bit perplexed, then grins. It's okay with her.67 INT. RAILROAD FLAT-- LIVING ROOM -- NIGHT OF CAROLINE'S SHOW67 Tyler wearing the suit we met him in, it's been dry-cleaned. Ally emerges from the bathroom, looking gorgeous in a vintage black cocktail dress and carrying a pink wrap. ALLY You like? TYLER Let's just skip dinner and I'll tell you how great you look in like eighteen different languages. ALLY You just want to skip dinner. I got you a tie. She hands him a simple blue tie that matches his eyes. Beat. TYLER I was going to make a joke about how I'm not prepared for the commitment of exchanging accessories and how neck wear especially is a slippery slope, but I should probably shut up and say thank you. 71. ALLY You're learning. Tyler puts on his tie in the mirror. He scowls.68 INT. FOUR SEASONS RESTAURANT -- AFTER. 68 Tyler and Ally sip cocktails at the nicest table in the place. There's an empty seat. Tyler's eyes flicker towards the door. Twice. He touches his tie. TYLER Have you ever been here? Ally tries to lighten his mood. ALLY (joking) Yeah. Every Tuesday with my pop. This goes right past Tyler whose eyes flicker towards the door again. TYLER He's allowed to stand me up. But he's not allowed to stand you up. Or my sister. Tyler finishes his drink, signals a WAITER who glides to the table. TYLER I'll have a whiskey. CHARLES Get me one too... Like a stealth bomber. At least this moment rescued the men from actually having to greet each other. WAITER Yes. For the lady? ALLY I'm fine, thank you. The waiter goes. TYLER This is Alicia Craig. Ally, my father, Charles Roth. Charles gives a courtly nod and takes her hand. 72. CHARLES A pleasure.69 INT. RESTAURANT -- LATER 69 An empty wine bottle. Charles cuts into a one-hundred dollar steak. CHARLES You're going to be a social worker? ALLY Yes. But with an area of focused responsibility. It's easier to find a job that way. CHARLES What will your area be? ALLY Criminal Justice. CHARLES Tough area. ALLY When I was little I wanted to play first base for the Mets. I don't think it's any harder than that. CHARLES The Mets, huh. ALLY (arching an eyebrow) I'm from Rockaway. TYLER Dad's a Yankee fan. It has something to do with the payroll. CHARLES It has to do with significant ball playing. You were a Yankees fan when you were little. You were Lou Piniella for Halloween. TYLER Blind familial allegiance. I didn't know what overpriced, overfed, fat bastards they were. 73. CHARLES (serious as a heart attack) Who's fat? What Yankee is fat? Tell me. TYLER (right back at him) It's a metaphor...Charles adjusts his tie and goes back to his steak. TYLER Roger Clemens.Charles looks at his son. Puts his fork down.Silence at the table.Back to the steak.Beat. ALLY Shane Spencer.Charles looks up, taken aback. ALLY Nick Johnson.Tyler tries to get a word in. CHARLES (his mouth full of steak) He's big boned!Charles and Ally burst out laughing. Tyler rolls his eyes--TIME CUTDessert. Ally is working on an enormous profiterole. Tyler,another whiskey. CHARLES How long has your dad been a cop? ALLY Twenty-two years.His cell phone lights up. Charles gently puts his hand onhers. 74. CHARLES Would you excuse me please... I'm so sorry. ALLY It's OK. Charles gets up from the table. Tyler, not able to help himself, shoots him a glance. Ally clocks it. ALLY It's just a call. He held out 'til dessert. Charles returns. CHARLES I'm sorry...And your mother? ALLY She passed away when I was eleven. CHARLES Ah. ALLY She was murdered. I was there. Charles and Tyler are stunned to silence. ALLY (to Tyler) I never told you that part. TYLER Why are you saying this now? ALLY I don't know. The men look at her. She's a hero. CHARLES And, here you are. ALLY Yup. Here I am.70 INT. CRAIG FAMILY HOME. KITCHEN. 70 There is an empty Lean Cuisine box, and two empty Beer Cans on the counter. 75. Craig stands by the microwave as it counts down...4,3,2,1. BEEP. He removes an Eggplant Parmigiana and slides it carefully on to a waiting plate. He takes it, along with a fresh beer, to the living room. He sits heavily on the sofa and hits a remote, unpausing ERIN BROCKOVICH.71 EXT. IN FRONT OF THE FOUR SEASONS-- LATER 71 Tyler and Ally wait in front of the restaurant as Charles takes another call. A TOWN CAR and DRIVER wait as well. ALLY I think he's lovely. Tyler puts his head in his hands. TYLER God. Charles returns. His face blank. TYLER Don't say it. CHARLES I have to go to the office. TYLER You have somewhere else to be, Dad. Charles adjusts his tie. Tyler loosens his. Ally is unsure where to look. CHARLES The exhibit runs til nine. You guys take the car. I'll meet you. TYLER I don't believe you. CHARLES That's all there is, Tyler. TYLER It's not good enough. CHARLES I don't have to justify anything to you. Take the car. I'll get a cab. I'll meet you. 76. He steps into the street to hail a cab. Tyler watches his dad get into a taxi, then holds the car door for Ally.72 INT. CAROLINE'S ART EXHIBIT-- PRATT AUDITORIUM -- LATER 72 Amateur artwork and picked over catering. The rest of the exhibitors are high school age, even a college freshman or two. They mill with their friends and families. Animated. Ally and Aidan stand before a COLLECTION OF FAMILIAR PORTRAITS (Charles reading the paper at breakfast, Les and Diane kissing, Tyler on the park bench). Caroline sits on a catering table, Tyler next to her. She looks miserable, he looks furious. Diane bustles over with a plate of cupcakes and a big stupid grin. DIANE I brought you every flavor. Caroline looks once at her mom then... CAROLINE (to Tyler) I'm ready to go home now. Tyler nods, takes her hand. Calls to... TYLER Ally...? Les, eating a cupcake, and Ally, stand under a portrait of Charles. Ally picks up her purse. Diane standing there with her cupcakes.73 INT. RAILROAD FLAT. RIGHT AFTER 73 Tyler, visibly agitated, is letting Ally in the front door to the apartment. He grabs his bike off the wall. ALLY Where are you going? TYLER I have something I've got to do. ALLY Now? Ally reaches for his elbow. He yanks his arm away. 77. TYLER Are you capable of taking care of yourself for an hour? Do you need me here every minute, or what? He slams out. Ally looks like she's been slapped.74 INT. CHARLES'OFFICE -- RIGHT AFTER 74 Charles in a meeting with several SUBORDINATES. Everyone is in late night disarray. They are obviously on their way to pulling an all-nighter. The door to the office flies open. Tyler barges in. Janine trailing. JANINE Tyler? Tyler? You can't just... CHARLES It's fine Janine. There is space between the two men. Tyler extends a rolled up piece of paper to his father. TYLER She drew you a picture. CHARLES Put it on the table. Beat. Tyler holds on to the portrait. TYLER You have a daughter who sincerely believes you don't like her. CHARLES If I have any questions about what my daughter may believe, I'll let you know. Tyler gestures with the portrait TYLER Don't you at least want to know her? She's telling you something, Dad. She's communicating. Why aren't you riveted? Why isn't this the most important thing? At least for one night of your life? 78. CHARLES I've heard this song before, Tyler. SUBORDINATE#1 We can come back...The subordinates rise. CHARLES It's fine, Khaleel.They sit.There is still distance between the two men.Beat. CHARLES Who is this display for? TYLER You, Mr. Roth.Beat. CHARLES She knows I will take care of her. TYLER And...?The subordinates rise again. SUBORDINATE#1 We really can come back another... CHARLES Sit the fuck down.They sit. CHARLES And that I love her. I love her. Good God, you toss that word around like currency. You have no idea what it means. TYLER Maybe not. Maybe Caroline doesn't either. Where would she have learned it? 79. CHARLES I have provided her world. And yours. TYLER That does not mean you're allowed to shatter it whenever there's something better to do. CHARLES Who the hell do you think you're talking to? You pedaled down here on your bike for Christ's sake. You have to take care of nothing. You are responsible for no one. You're a kid. You think you're the first one to lose anything? Do you think that there is anything you feel that I haven't already felt? TYLER You didn't find him. I found him. And you're so tragically blind, the rest of your children are going to hang themselves on your watch. Charles goes, snarling, for his son, and Tyler is more than willing. Janine and one of the Subordinates get between them. JANINE Stop! Stop! The men are pulled apart. Tyler is white and trembling with rage. Charles' face is completely dark and closed. JANINE Get out of here Tyler. Tyler runs for the door. Stumbling over furniture, Caroline's portrait crushed under his feet.75 INT. RAILROAD FLAT -- RIGHT AFTER. 75 Ally, still in her dress, trying to excavate an ice tray frozen in the ancient freezer. There's got to be six inches of frost in there. She starts stabbing it with a wooden spoon. As she hears the door, she turns and puts on her most blistering attitude like an overcoat. As Tyler walks into the light-- his face white with anger, practically crying-- her eyes widen... 80. ALLY Oh my God. She runs to him, he falls into her. He's a mess. He won't let her see his face. She pushes at his hair, trying to see and understand. He kisses her, so she won't see. Tyler is completely lost in the storm and Alicia Santana Craig is going to get him through. ALLY Okay. She yanks his head up. ALLY It's okay. They kiss. She brings his hands up into her hair, around her face. They kiss. He kisses her like he's starved for her. CUT TO:76 TYLER'S BEDROOM -- LATER 76 Tyler and Ally, wrapped around each other, both deeply asleep.77 INT. CRAIG FAMILY HOME -- CRAIG'S OFFICE -- AFTERNOON 77 Craig, home from work. He hits the button on the answering machine. There's just one message. ALLY O/S (on the machine) Dad, it's me. I've been invited...I'm going away to the beach for Labor Day...They're nice people. If there's any problem I'll call. Or they will. Okay...Bye. As he takes off his jacket, Craig hits rewind and plays the message again... ALLY O/S (on the machine) Dad, it's me...78 INT. DIANE'S MONTAUK BEACH HOUSE -- NIGHT -- SUMMER'S END 78 Raucous laughter. Caroline, Tyler, Les, Ally and Aidan are in the living room playing charades. 81.Everyone is a little sunburnt, the adults are a little drunk.Ally is wrapped up in Tyler, Caroline is on her mom's lap onthe floor, Les next to them, lying on his stomach. Aidan isup and God only knows what he's doing LES (totally flabbergasted) I genuinely have no idea...are you having a seizure? CAROLINE Time. AIDAN Berlin Alexanderplatz!More raucous laughter. AIDAN You people are culturally bankrupt. TYLER Whose was that anyway? CAROLINE Mine.Whoops of laughter heretofore unheard in Montauk. DIANE Okay, you. Bed. LES. Me? Yeah, baby. CAROLINE Gross. Gross. Gross me out the door.She rises and flees into the kitchen. Les rolls over and endsup with his head in Diane's lap. He looks at her for amoment. LES You're just the prettiest girl.Diane beams at him.Tyler smiles at his mom and Les, then at Ally. Diane takes adeep look at her son. Her eyes shining. AIDAN Holy crap. What's with all the smiling? 82. Caroline travels through the living room with a popsicle. She is headed for her bedroom. CAROLINE A child could do Berlin Alexanderplatz, you spaz. Les snorts with laughter. Diane rises, dumping him to the floor. LES Hey! DIANE I want five minutes with my child before she ceases to be a child and decides I'm ruining her life. On her way out, Diane pauses and gently pushes one of Ally's stray curls behind her ear. Smiles down at her. DIANE Aren't you a treasure. Ally stares up at Diane for a beat, her eyes shining.79 INT. AMTRACK -- PASSENGER CAR (MOVING) -- DAY 79 Tanned and rejuvenated, Ally, Tyler, and Aidan sit together on the train back to the city. Ally and Tyler kiss. Aidan watches them. AIDAN I want a girlfriend. TYLER What? AIDAN Dinners out, movies. Regular sex. That could be all right. For like, a summer. ALLY You're such a romantic. AIDAN And I've had all the races. ALLY Excuse me? 83. AIDAN I've had all the races. I've been with girls from every...race.Ally laughs. TYLER That is the stupidest thing you've ever said, including that time with the bong in the emergency room. ALLY White girl. AIDAN Please. Like falling off a log. As a matter of fact... ALLY Shut up. Black girl. AIDAN But of course. ALLY Asian. AIDAN Twice. ALLY Latina. AIDAN Oui! ALLY A Latin girl actually slept with you? What's her name? She's out of the club.Tyler is laughing. Ally thinks for a moment. ALLY Eskimo.Aidan gives a satisfied smile. TYLER/ALLY No way! AIDAN Monica Ipellie. She works at the Public Library on 96th street. 84. ALLY You slept with an Eskimo? TYLER You went to the library?The car doors open and a MAN ushers his family through. It'sCraig's partner Leo, in plain clothes. AIDAN Inuit. In-u-it, Ally. Try not to show your ignorance. ALLY I don't believe you. AIDAN Fine. Nice girl. While we were doing it, I couldn't get this little, like, song out of my head...He begins to bob his head to a rhythm. AIDAN "Inuit, bum buh bum, I'm banging an Inuit, bum buh bum buh bum..."Ally and Tyler collapse in laughter as Craig's Partner passesHe notices Ally immediately. She doesn't see him. He takes along look at Tyler as he follows his wife and kids into thenext car. ALLY Prove it. Ten bucks.The train makes a stop at Patchogue. Leo and familydisembark. AIDAN You wanna go to the library? ALLY The minute we get off this train. AIDAN Fine. ALLY Tyler, are you coming? TYLER I'll skip this particular bloodbath, thank you. 85.80 INT. TYLER'S APARTMENT BUILDING -- HALLWAY -- LATER 80 Tyler, his bag on his shoulder, returning home, fishing in his pocket for his keys. He sings the Inuit song to himself... TYLER bum buh bum bum buh bum buh bum... His front door is unlocked. Tyler freezes. Takes a beat. Scans the room, silently dropping his bag. He reaches behind him for the aluminium bat against the door. Wielding it, he takes two steps into the apartment. Craig, in plain clothes, sitting on Tyler's bed, amidst the carnage of Tyler's stuff. He has been rifling through everything. The guitar is propped haphazardly against the wall. Craig looks up. The men lock eyes. Craig's eyes go to the bat. Tyler leans it slowly against the wall. Beat. CRAIG Where is she? TYLER What are you doing in my house? Craig's eyes flash. CRAIG Where's my daughter? TYLER She's not here now. She's at the library. Craig's face says it: "Bullshit". CRAIG Does she know? Cops never ask a question they don't know the answer to. TYLER No. 86. CRAIG I didn't think so. I figured you'd probably leave that up to me when you're done with her.Craig's face, like his wife's so many years ago, is purecontempt. With his body at this angle, Tyler can now see hisgun. TYLER I'm not going anywhere. CRAIG That's true, Tyler Roth, son of Charles and Diane. Brother of Caroline and Michael, deceased, suicide by hanging. You're kinda lost, aren't you? Taking a little vacation in coach before finding your way back to first class? TYLER I'm the one she came to when you used her face as a punching bag.Craig closes the distance.From Tyler's P.O.V he looks like a freight train.In a flash, he gets Tyler in a choke hold, flips him on hisback on the bed and puts his hands around Tyler's throat.Silence, except for exertion.Tyler's hands are on Craig's wrists. He is holding Craig'seye. His face is starting to turn colors.Beat.Beat. TYLER She needs you.It travels between the two men. Craig grappling with it,although he still has his hands at Tyler's throat.Craig drops his hands, pushes himself off TylerTyler rolls to one side, coughing and gagging.Craig leans against the wall for support. 87. He is trying, before our eyes, to pull the shards of himself together. His gun visible at his waistband. Tyler's coughing, his face still red, his eyes travel briefly to the bat, then to Craig. Craig closes his eyes, very briefly, then rises. Not looking at Tyler. Beat. Looking at Tyler. Beat. Craig goes to the front door. CRAIG Get a fucking dead bolt. Slam. And then he's gone. The door bounces in its frame. And then it's just Tyler trying to remember how to breathe.81 INT. RAILROAD FLAT-- LATER. 81 Tyler smoking, standing at the window, waiting for Ally. He sees her walking up to the front door. He grinds his cigarette out. Ally is running up the stairs ALLY O/S Tyler Keats Roth! She arrives at the door. ALLY He banged an Inuit! She's really nice. And smart. I don't get it. Beat. ALLY What's going on? TYLER Your dad was here. ALLY (panicking) What? TYLER When I got home. 88.Beat. ALLY I hate him!She lunges for the phone. Tyler stops her hand. TYLER There's more.She looks like she's starting to panic. TYLER He knows me. Before I met you. He arrested me and Aidan. He gave me that gash over my eye. ALLY I don't understand. TYLER I mouthed off to him. He ... responded. Then Aidan saw you guys together at school.She isn't quite getting it. TYLER Aidan suggested...I...introduced myself to you.She's got it.Beat. TYLER Ally... ALLY I'm going to be sick.She bolts from the chair to the sink and dry heaves. Tylerreaches out to comfort her. TYLER Hey.She reels around and cracks him across the face. Not like achick. Like her dad.The sound hangs in the air.Ally goes to the bedroom and starts throwing her stuff in herbag. Tyler follows her. 89. TYLER Don't do that. What are you doing? ALLY Do you realize what you've done? TYLER Yeah. He doesn't. ALLY Did you think I would never find out? I mean, think about it. I had to find out eventually. You set it up that way. TYLER But it doesn't mean anything. I didn't mean to hurt you, ALLY No. That's exactly what you meant to do. She pushes past him and out the door.82 INT. TYLER'S APARTMENT BUILDING -- STAIRWELL -- 82 Ally heads down. Aidan heads up. He smiles wide. AIDAN Hey. Ally pushes past him. ALLY Prick.83 INT. RAILROAD FLAT-- LATER THAT NIGHT 83 Tyler sitting on the ratty couch. Aidan eats old Chinese food from the container. He offers some to Tyler. They sit in silence. Tyler swelling. Aidan eating. AIDAN You had to tell her eventually... This is no comfort. 90. AIDAN Glass half full... you just saved yourself an awkward Thanksgiving. Sincere now. AIDAN She'll be back, T. Tyler heads into his bedroom and shuts the door.84 INT. CRAIG FAMILY HOME -- KITCHEN -- NIGHT 84 Sergeant Craig working on a sink full of dirty dishes. He scrubs at a filthy pan with a piece of steel wool. He's manic but there's not a beer can in sight. ALLY O/S You know you're not supposed to use that on non-stick pans... Craig turns, finds her there in the doorway, bag at her feet. ALLY It takes off the teflon. They stare at each other for a moment. ALLY You should let it soak. SERGEANT CRAIG Okay. They look at each other. Craig tries a smile. Ally's cool with him. Moving towards him, past him. ALLY I'm going upstairs.85 EXT. EAST SIDE MANHATTAN APARTMENT BUILDING -- EVENING 85 Caroline and Diane walk up to the DOORMAN. Caroline carries a gift, a sleeping bag. Diane smiles at her daughter. CAROLINE Stop smiling. You look insane. Diane can't help it try as she might. 91. DIANE I'm sorry, honey. I just... it's nice. Like an end of the summer send off. Caroline rolls her eyes. DIANE Have fun. Caroline goes into the lobby. Diane heads back to her car.86 INT. EAST SIDE APARTMENT-- FOYER 86 Caroline gives her gift to THE BIRTHDAY GIRL who smiles. She follows her into the next room where the other PARTY GUESTS watch a movie. They all turn and look at Caroline. Caroline smiles sheepishly. Some of the MEAN GIRLS are there, One of them gives her a perfunctory smile.87 INT. LANDMARK SUNSHINE MOVIE THEATER -- HOUSTON STREET -- 87 NIGHT. Jackie Chan's foot slamming through a wall. Tyler and Aidan are watching RUSH HOUR 2. Aidan slurps from a super mega sized soda, laughing, enjoying himself. He turns to his friend. Tyler sits, completely drained, looking like the loneliest guy on the planet. Aidan gives him a nudge. Tyler looks at the screen for a sec and half smiles, then slips away again. Aidan is genuinely concerned.88 INT. EAST SIDE APARTMNT-- KITCHEN -- NEXT MORNING 88 The party girl's MOM is in a bathrobe. She looks horrified, she has one hand covering her mouth and is whispering into a cell phone. Caroline is on the kitchen phone. Her long hair has been CUT TO PIECES while she slept. She is crying. CAROLINE (into the phone) Mom?89 INT. CRAIG FAMILY HOME -- LATER THAT MORNING 89 Ally and her father cook breakfast together. There's a knock. 92.90 EXT. DOORSTEP. 90 Aidan paces nervously. Craig appears in an apron. Aidan smiles. AIDAN Hi. Beat. AIDAN Is this the, uh, that is, does, uh, Alicia Craig. Does she live here? Craig nods. AIDAN Oh great. I'm... CRAIG You think I don't remember you? AIDAN No, sir. ALLY Who is it Dad? Ally sees Aidan. She touches her father's forearm. ALLY It's OK... Craig steps back into the house. Six inches. ALLY Really. He backs into the hall. Aidan and Ally are alone. ALLY What do you want? AIDAN Look, I'm a prick. ALLY And... Craig popping back like an eel from a wreck. He's got the mangled Honey Bear. ALLY Dad... 93. He goes again. Pfft. Aidan's visibly relieved. AIDAN Tyler's not. She starts to close the door. AIDAN Wait. Shit. This isn't really my thing. ALLY He lied to me. AIDAN He's in love with you. ALLY He'd like to think he is. Aidan doesn't get it. AIDAN I don't know what that means...I've seen him look at one other girl the way he looks at you. She's a lot shorter and shares his DNA. Ally looks away. AIDAN You don't have to forgive him today... just forgive him. Craig reappears from the deep. CRAIG Thanks for stopping by. Father and daughter go back into the house. Aidan exhales.91 INT. HOFFMAN FAMILY HOME -- CAROLINE'S BEDROOM -- LATER 91 Diane is on the house phone, preparing a tray of tea and cinnamon toast for Caroline as she talks. 94. DIANE Are you telling me, Ms. Spencer, that you intend to let those girls stay in your school?...Of course they're all sticking to the same story and that story is a load of crap!... She slams a cabinet closed as Les picks up the tray and WE TRACK HIM down the hall to CAROLINE'S ROOM. Les is speaking on his cell phone. LES (sotto, into the phone) She's pretty traumatized. I wanted to pull some names together in case we all decide she should talk to someone...92 INT. CAROLINE'S BEDROOM. 92 Caroline and Tyler are lying on Caroline's bed. Her head is nestled on his shoulder. She looks even tinier than usual. Tyler is reading to her, softly, from The Book of Greek Myths, his other hand stroking her butchered hair. She looks pale, wasted. Her eyes are sunken and she's fighting sleep. A losing battle, she's exhausted. Her lids finally shutter to the sound of her brother's voice. Les, at the door, places the tray on Caroline's desk... LES (on the phone) There's no witnesses and it didn't happen on school property. The school won't do anything. They'll probably get away with it... Tyler's eyes, registering anger and shock, jump from the page as he hears this.93 INT. FOYER. 93 Diane opening the front door for Aidan and Ally. Aidan wraps his arms around Diane and gives her a hug. Ally hangs back a bit, unsure, then embraces Diane. Tyler emerges from the hallway. 95. TYLER (to Diane) She's asleep. He sees Aidan and Ally. Stops short.94 EXT. FRONT STEPS -- LATER 94 Tyler alone on the top stair, taking long pulls from a cigarette. Ally comes out the front door, softly closes it behind her. TYLER Last one ever. I swear. ALLY I don't care. Beat. TYLER I know you're not here for me but, thank you for being here. A silent moment passes. TYLER For what it's worth, I think you're amazing. ALLY It's not worth much. You made everything between us a lie. TYLER I'm sorry. ALLY Okay. Now what? I'm supposed to just forgive you? A BMW 7 Series speeds around the corner. Stops in front of the house. Charles gets out of the car, sees his son. CHARLES How is she? TYLER She's sleeping. Diane emerges from the house. Charles strides quickly towards her. 96.95 INT. BEDROOM -- LATER 95 Caroline asleep in her bed. Charles stands in the doorway watching her sleep, we get the feeling he hasn't seen her asleep in some time. Diane appears at his side. CHARLES How long do you think she'll sleep? DIANE I think she'll be out for a while. Would you like to wait? CHARLES Thank you. I can't. I'll call her later. DIANE I'll tell her. Diane looks at Charles. He's still watching his daughter.96 INT. PRIVATE SCHOOL -- CLASSROOM -- MORNING 96 Caroline's TEACHER prepares her lesson plan. She starts to write the date on the board when The door opens. Caroline and Tyler enter. The entire class is watching. It's dead quiet. Caroline puts her trembling hands in her pockets. Tyler looks at a few of the girls. They look back, unconcerned, almost amused. Tyler walks his sister to her desk. TYLER (to Caroline, whispering) You okay? Caroline nods, although her eyes are brimming. As she slips out of her jacket, the contents of her pockets clatter noisily to the floor. Tyler immediately bends to help her. MEAN GIRL Have you done something different with your hair? I love it! SNICKERING LAUGHTER. Caroline looks like a deer in headlights. TEACHER Okay, okay. Enough. 97. Tyler moves towards an EMPTY DESK. Some girls keep snickering. Suddenly, Tyler grabs the desk. THROWS it through the air.97 INT. HALLWAY -- SIMULTANEOUS 97 A JANITOR pushes a flat broom down the empty corridor when the glass from one of the classroom doors explodes as the desk makes impact. He stops pushing the broom and stares.98 INT. CLASSROOM -- LATER 98 Pin-drop silence. The students sit paralyzed. Tyler stares at the Mean Girl. Her arrogance completely gone. Caroline stares up at her brother, awestruck.99 INT. HOLDING CELL -- LATER 99 TYLER locked up among CRACK HEADS and PETTY CROOKS on a dirty bench with his hands behind his head and a bemused smirk. A BAILIFF approaches the holding cell. Looks at Tyler. BAILIFF You posted.100 INT. NYPD PRECINCT -- LATER 100 Charles standing in the waiting area. Tyler is led out by the bailiff rubbing his wrists. He sees his father, his face registering surprise. Beat. The men walk together towards the exit in silence. Neither looking at the other. CHARLES Destruction of private property and felony trespassing. TYLER I didn't call you. CHARLES I know you didn't. Charles stops. 98. CHARLES I have unleashed a raging shitstorm of epic proportions on the board of trustees of that pissant school that will not abate until those girls seek enrollment elsewhere. I give them a week. Beat. CHARLES I know you think I'm a prick, but I have my uses. Guess so. CHARLES Can you come by the office to talk to the lawyers? Beat. Tyler deciding. Tyler nods. Charles appraises his son. CHARLES Try not to vandalize any more schools in the meantime. Charles walks ahead, pulling out his cell phone. Tyler calls after him. TYLER Thank you for bailing me out. Charles, without turning around, CHARLES No problem.101 EXT. NYU -- FRONT STEPS -- BEAUTIFUL SEPTEMBER MORNING 101 Tyler leaning against the bike rack, waiting. He sees Ally running up the steps and watches her as she blends into the crowd.102 EXT. WASHINGTON SQUARE PARK -- JUST AFTER. 102 No mimes, just dealers. Ally with a girlfriend, walking towards the East Side. Tyler catches up to her. 99. Shakes the friend's hand. After a beat, Ally agrees to walk with him. He reaches for her hand. She pulls it away, but walks next to him.103 EXT. CENTRAL PARK -- ALICE STATUE -- JUST AFTER. 103 Tyler has convinced Ally to come uptown and meet Caroline with him. Tyler and Caroline climb all over the Alice, while Ally watches from a bench. As befitting a seventh grader, Caroline turns her face to the sun and arranges herself to take advantage of the early September tanning possibilities. Tyler walks over to Ally's bench, sits next to her. Beat. ALLY Using the little sister is dirty pool. TYLER (carefully) Is it working? Beat. ALLY Maybe. Tyler has a smile the size of New York City. Ally smiles back. DISSOLVE TO:104 INT. TYLER'S BEDROOM -- THE NEXT MORNING 104 Bright sun pouring through the window. Ally lying asleep. Tyler is up and dressed now, he grabs his journal off his desk, kneels beside Ally. He is bathed in the pool of light streaming in. TYLER (nuzzling) Hey...Hey. 100. ALLY Hmmm. TYLER I'll be back in an hour. I have to stop by my dad's office. ALLY (sleepily) Do you want french toast or pancakes for breakfast? TYLER Whichever tastes better a la mode. Ally smiles. ALLY Say hi to your dad for me. Tyler watches her lying there. TYLER If I said I love you... what would you say? ALLY (laughing) I love you. TYLER I love you too. Tyler kisses her. Then heads out into the...105 INT. LIVING ROOM -- MOMENTS LATER 105 Aidan passed out on the couch still wearing the clothes he went out in the night before. Tyler watches him sleep. AIDAN (without opening his eyes) French toast. Tyler smiles as he takes his journal and exits.106 EXT. HOFFMAN FAMILY HOME -- PORCH -- MORNING 106 Charles waiting on the doorstep, his Town Car waiting on the curb. Diane answers the door expecting to find Caroline's driver, she's confused to find... 101. DIANE Charles? CHARLES Good morning Diane. DIANE What are you doing here? CHARLES Tyler's coming by the office, but I thought I'd ride to school with Caroline first. Diane is speechless. This is a first. DIANE Um...OK...sure...yeah...great. She's not ready though, she's going to need at least twenty minutes. Charles hates waiting. CHARLES (adjusting his tie) All right.107 EXT. SIDEWALK -- LATER 107 Tyler chaining up his bike. His cellphone rings. He checks it. Knows what it's regarding before he answers. TYLER Are you canceling all together or are you just running late?108 INT. CHARLES' TOWN CAR-- MORNING 108 Charles and Caroline in the back seat. She's on one side, with her pink back pack, he's on the other. CHARLES (on the phone) Are you already on your way? INTERCUT:109 EXT. OPEN PLAZA. 109 Tyler rounding a corner. 102. TYLER I'm already here. CHARLES I'm taking Caroline to school. He looks at his daughter. She looks back at him, then looks out the window. Tyler considers. TYLER Take your time. I'll just wait in your office. CHARLES It may be a while. TYLER That's okay. Tyler hangs up and joins the herds of suits heading down the street.110 INT. ELEVATOR -- LATER 110 Tyler riding in a handsome marble and oak elevator with a half-dozen EXECUTIVE types. Tyler steps on and presses the number 92. The doors close.111 INT. EXECUTIVE FLOOR -- RECEPTION -- LATER 111 Tyler walks, approaches the Receptionist from the ashtray incident. He smiles pleasantly. She doesn't. TYLER Janine in? THE RECEPTIONIST (cold) She went for coffee. TYLER She getting me any? Just kidding. Tyler heads down the hall. The Receptionist rolls her eyes.112 INT. CHARLES ROTH'S OFFICE -- LATER 112 Tyler steps into his father's empty office. It's dark, quiet. He opens the blinds. Sunlight fills the room. 103. Tyler walks around the office. Picking things up, putting them back. Tyler sits at his father's desk in his executive chair. He leans back. Puts his feet up and his hands behind his head. Tyler notices the COMPUTER. He turns on the monitor and puts his hand on the mouse - but doesn't move it. His hand just stops and stays perfectly still. Tyler stares at the monitor where his dad's SCREEN SAVER is scrolling through PHOTOS... These photos are all of his FAMILY... "Michael's first Christmas, Tyler's eighth birthday, Diane in the hospital with Caroline in a pink blanket, Charles and his kids build a sand castle at the shore"... they just keep going. Tyler finds himself watching a slide show of his life.113 EXT. PRIVATE SCHOOL -- LATER 113 That line of luxury cars dropping their daughters off. Charles' Town car rolls to a stop. Caroline gives him a kiss on the cheek. It registers, sort of. She gets out. Charles watches her all the way into the school. His DRIVER sees him watching Caroline in the rear view mirror. Charles gives the Driver a look "you're waiting for an invite?" The Driver peels out.114 INT. TYLER'S APARTMENT -- KITCHEN -- LATER 114 Ally has made a mess making french toast. Aidan is yakking on his phone.115 INT. TOWN CAR -- LATER 115 Charles in traffic. All around him DRIVERS curse, honk, hate each other. Charles rides, not letting it bug him.116 INT. PRIVATE SCHOOL -- CLASSROOM -- LATER 116 Caroline drawing at her desk as her Teacher comes in and gets ready to start the day. 104.117 INT. CHARLES ROTH'S OFFICE -- LATER 117 Tyler is still watching the screen saver when Janine enters. JANINE Good Morning, Mister Roth. TYLER Did you know about this? Janine walks around the desk in time to see a photo of Tyler and Michael naked in the tub pop up. She smiles. JANINE Who do you think scanned all the pictures? Tyler smiles. Janine smiles, Then a photo of Michael comes up. Those smiles fade. Silence. JANINE How old would he be? TYLER Twenty-nine last May. Tyler stands and looks out one of the floor-to-ceiling windows separated by columns. He stares out at mid town and a perfect blue sky. Janine looks befuddled. JANINE It's really been that long? I could've sworn it was... TYLER May 18, 1993. A silent moment passes. Janine reflecting. JANINE I should be able to remember that. I'm sorry. Tyler looks at her, his face easy... TYLER It's okay.118 INT. PRIVATE SCHOOL -- CLASSROOM -- LATER 118 Caroline's Teacher writes the date on the board as Caroline sits quietly doodling. The teacher looks her way. 105. TEACHER Caroline? Hello? WIDE SHOT of the blackboard. It's unmistakable: SEPTEMBER 11, 2001119 EXT. CHARLES ROTH'S OFFICE -- LATER 119 We're now looking at Tyler from just outside Charles' office window and we're PULLING BACK... Until we see Tyler framed in the window surrounded by eerily familiar grey metal siding... Until we see can barely see Tyler and the base of a giant white antenna... Until we can no longer see Tyler as he's disappeared into the composite of the building and we've pulled back far enough to reveal that Tyler is standing in a window on the... 92nd Floor of The North Tower of the World Trade Center. A moment of still perfect silence. The Towers. The blue sky. Then we hear the faint sound of AA Flight 11's ENGINES as it closes in on the North Tower. CUT TO BLACK. Silence. Darkness. We wait in it. TYLER V/O Whatever you do in life will be insignificant but it is very important that you do it because...120 EXT. LOWER MANHATTAN -- THAT MORNING 120 Charles Roth steps out of his car. His gaze fixed skyward. All around him the other DRIVERS mimic his behavior. TYLER V/O It's a good bet...121 EXT. DIANE'S BROWNSTONE STOOP-- LATER 121 Diane sweeping cigarette butts off the stoop. TYLER V/O Nobody else will... 106. Diane joins a group of ONLOOKERS staring up from a street corner in Brooklyn where the black smoke stains the blue sky. One of them has a radio to his ear. TYLER V/O Michael... Diane staring at it. TYLER V/O Someone's been trying to tell me something.122 EXT. WORLD TRADE CENTER /OR OUTSIDE THE PRECINCT?-- 122 Craig, through a LONG LENS standing by his car with the door open. He is, crystal clear, barking orders, while waves of blue and slashes of orange float around him. TYLER V/O Maybe it's you...123 EXT. TYLER'S APARTMENT-- ROOF --LATER 123 Aidan and Ally absolutely frantic on the roof. Holding hands. Craning to see. Ash begins to float down on them. It gets caught in Ally's hair. TYLER V/O This girl! Ally! Her life, even the nightmare parts seeped into me and I swear to God I can hear you better.124 INT. PRIVATE SCHOOL -- HALLWAY -- LATER 124 A door flies open. Caroline runs out into the empty hall, to the exit. TYLER V/O What's that about? I've always been the worst listener.125 EXT. LOWER MANHATTAN -- STREETS 125 THE PAPER, so much of it, all of it singed, smoke-stained, falling like snow flakes coating the streets and the sidewalks. Amongst the memos and faxes that will now never be sent and never received we find... 107. TYLER'S JOURNAL. TYLER V/O Someone comes into your life...126 EXT. CEMETERY -- A GREY MORNING 126 A light rain falls. Two TOMBSTONES stand side-by-side. MICHAEL ROTH May 20, 1969 May 18, 1993 TYLER ROTH June 17, 1978 September 11, 2001 Charles, Caroline, Diane and Les approach the tombstones. A family mourning. Diane slips her hand through Charles' elbow. The gesture seems quite natural, easy. DISSOLVE TO:127 INT. NYU DORM-- DAY 127 We find Ally, with a ROOMMATE, putting up lively, Indian Print curtains in their NYU dorm.128 EXT. LINCOLN CENTER. WHERE: 128 Caroline literally dragging Charles into the ROSE BUILDING AT LINCOLN CENTER, while he yells into his cell phone. TYLER V/O And half of you says "Danger! Stay in your cave! You're nowhere near ready!" Caroline has come to the end of her rope with her dad. She grabs his phone and throws it into the fountain, spins on her heel and marches into the auditorium. Charles is completely thunderstruck. TYLER V/O And the other half -- and this is the part I think is you -- He is torn between his phone and his daughter for a sec, chooses Caroline and takes off after her... ...then comes running out by himself to rescue his phone. 108.129 INT. JAPANESE RESTAURANT -- DINNER 129 Craig is wearing a jacket and tie. He's on a date with a pretty WOMAN. In his confusion over the menu, he knocks over a glass of water. TYLER V/O Says "Go get her! Immediately! Make her yours forever!"130 INT. DIANE'S OFFICE-- DAY 130 A chaotic place, filled with folk who need help. Diane at a desk, organizing families. TYLER V/O I'm working on the forever part.131 INT. NYU -- 131 Aidan actually awake in class. He has a tattoo on his forearm. "Tyler". TYLER V/O I'm going to have to step up my game. But I'm glad I listened.132 EXT. SMITH STREET STATION -- BROOKLYN -- NIGHT 132 Ally, we find her as we first found her mother, silhouetted against the Lower Manhattan skyline where two beams of purple light reach up forever where the Towers once stood. TYLER V/O I love you. Her train pulls into the station. Ally boards with a few other commuters. She takes a seat by herself across from... A MOM and A TODDLER, a little girl. The baby is squirming impossibly, the mom looks exhausted. Ally watches them, remembers him, as the faintest hint of a smile crosses her lips the subway lights flicker and we... CUT TO BLACK. TYLER V/O Don't be a stranger. \ No newline at end of file diff --git a/unformated_scripts/Script_Replacements, The.txt b/unformated_scripts/Script_Replacements, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..14068a005ec47750426a4ae40febd068acdd7d13 --- /dev/null +++ b/unformated_scripts/Script_Replacements, The.txt @@ -0,0 +1 @@ + THE REPLACEMENTS by Vince McKewin SECOND DRAFT February 19,1999 FADE IN: EXT. MARINA DEL REY - DAY It's raining lightly in the harbor and the water around the moored boats looks dirty and cold. We PICK UP a sad excuse for a boat sitting in an end slip. It's a sea-gull-shitcovered, thirtyfoot cabin cruiser that hasn't cruised in a long, long time. A ratty looking unpainted plywood addition has been nailed to the top of the cabin. It's partially covered with a blue plastic tarp. SUPERIMPOSE: MARINA DEL REY, CALIFORNIA - FALL The tarp moves and SHANE FALCO's half-naked torso emerges from under it. Shane is late twenties, golden boy handsome, but quickly going to seed. He looks hung over. Shane glances up at the sky and rain. He pulls on the top part of an old patched wet suit and zips it up. He shivers.EXT. MARINA DEL REY HARBOR - DAYWe're BUZZING around the harbor with Shane inan old Zodiac inflatable DINGHY.Shane has pulled up the attached rubber hoodto his wet suit so that only the white, pastyoblong of his face is visible.It's still raining as he steers the littleboat around the sailboats and yachts.He pulls up to a fiftyfoot sailboat and CUTSthe ENGINE.With practiced moves, he ties the dinghy tothe rear rail of the sailboat and clips abill for services rendered on the sailboat'sstern line.He slips on a weight belt, puts on a pair ofold gaffer taped goggles, jams the end of aair-hose in his mouth, and falls backward outof the dinghy and into the water.EXT. UNDERWATER - DAYIt's dark, dirty and murky. Suddenly, Shanefloats INTO FRAME and comes AT us with a longspatula.ANOTHER ANGLEHe attacks the underside of the sailboatwhich is covered with green algae muck thathangs a foot off the bottom of the boat.The spatula scrapes away the green messrevealing the pure white underside of theboat.CLOSE ON SHANEAs he scrapes. Muck from the boat floatspast him. This doesn't look like fun.As he works, he happens to look down andnotices something on the bottom.SHANE'S POVAmidst the beer cans and other trash,something golden is sitting on the bottom.BACK TO SCENEShane takes a deep pull on his hose, lets itgo and drifts down.A shaft of sunlight penetrates the murkywater and reveals a broken trophy half-buriedin the mud. Shane kneels over it and picksit up.The trophy is almost a full-size footballrendered in bronze attached to a broken base.Shane turns "the ball" over in his hands. Hegrips the seams like he's done this before.Then he holds the football out in front ofhim.Suddenly, he starts barking garbled signalsto an imaginary offense. He turns to hisrunning back as he yells something like "Blue31!" It comes out in bubblesHe cocks his left leg and his wide receivergoes in motion.Then on the "snap" he turns and starts a fivestep drop.He moves in slow motion because hey... he'sunderwater! He executes a perfect playaction fake on the third step of his drop,and looks "down field" for his receivers.But there's a blitz! He steps up in thepocket but a linebacker's arm almost takeshis head off. He dodges, he bobs, he weavesin a kind of delicate ballet.He rolls left and keeps looking for the openman.Suddenly he points down field, pulls up andcocks his arm.The "ball" comes behind his ear and snapsforward in a perfect release. The trophy spins OUT OF FRAME but we HOLD ON Shane as he watches his pass. Suddenly, he throws both arms up in a touchdown signal. We STAY ON him as he freezes in this pose of victory, fifteen feet underwater, on the trash-covered, muddy bottom of Marina Del Rey. CUT TO: EXT. EDWARD FRANCIS O'NEIL STADIUM (WASHINGTON,D.C.) - DAY Bam! A Miami Dolphin linebacker crushes a Washington Redskin running back and lands on his throat, elbow first. It's a beautiful fall day in November and Miami is beating the Skins in front of seventy-six thousand crazed Washington fans. The Redskins are at their home stadium better known as "The Big O." INT. CONTROL BOOTH - DAY JOHN MADDEN and PAT SUMMERALL are calling the game in shirtsleeves. SUMMERALL That play, my friends, sums up the Redskins' running game all day long. Now Washington calls their last time out. Madden leans over to do his diagram that shows up on your TV screen. We STAY ON him as he draws and explains. MADDEN Hey, the Dolphins do this as good as anybody. See, in a four, three, two, two, you got the guards... boom!... Plugging up the middle, then the corners... boom and boom! Are free to box... leaving the middle linebacker to cut off the trap here... boom! SUMMERALL Third and twenty-two, but forget the first down with eight seconds showing and the Skins down by a touchdown. MADDEN Could be the last play. SUMMERALL Could be the last play of the season if the players go out.EXT. SIDELINES - DAYRedskin quarterback EDDIE MARTEL isconferring with Redskin head coach BUD TILDONnear the bench. Madden and Summerallcontinue OVER. MADDEN (V.O.) Take it all in, people. This could be it for 2,000.We MOVE TO veteran Redskin center REESEEVANS, 38, standing on the sidelines, uniformtotally clean.He looks near tears. SUMMERALL (V.O.) Once again, if you haven't heard, it was announced during halftime that the N.F.L. Players Association will hold a press conference immediately following this game -- that would make it about five o'clock Eastern time -- and it is expected that the players' union will announce a strike effective immediately.ON REDSKINETTESTwelve striking-looking women dressed inburgundy and gold are doing some inanechatter to a section of fans that ignorethem.The girls are led by pretty ANNABELLEFARRELL, a bundle of manic energy inside abody from heaven. MADDEN (V.O.) It's all about money, folks. More money, of course and ain't it always? The shame of it is the big losers are you out there, the fans.ON MARTELThe Redskin quarterback moves to the huddle. SUMMERALL (V.O.) Here we go: Third down, eight seconds to play, ball on the Dolphins' thirty-three yard line. Skins down by a touchdown.The huddle breaks and Martel sets up over thecenter. MARTEL Green 48! Green 48! Hut! Hut!The ball is snapped and Martel drops back.He looks for a receiver and doesn't seeanybody.He steps up in the pocket, sees an openingand takes off running down field. MADDEN (V.O.) There goes Martel!Martel is a pretty good broken field runnerfor a big guy. Plus with the defensecovering every possible receiver, he's got alot of daylight.Nobody has touched him as he crosses thefifteen. Suddenly, a safety, smaller thanMartel, looms in front of him at the ten.Martel goes down in one of those wimpyquarterback slides before the safety can evenhit him.BANG! The GUN sounds and the game is over.ON MADDEN AND SUMMERALLThey look at each other in disbelief SUMMERALL Well... Martel goes down ten yards short of a score. MADDEN On maybe the last play of the season. SUMMERALL I think he might have slipped. MADDEN Yeah, there's a lot of that going around.ON THREE REDSKIN FANSWe'll see these guys throughout. They'retypical low level Washington bureaucratsnamed TODD, ROD and BOB who live for the Hogs-- the traditional name for the Redskinoffensive linemen.Todd is shirtless and his entire upper bodyis painted Redskin red.At that moment, they are livid with theirquarterback and Bob is speaking for them all. BOB We're coming to your house tonight, and we're gonna fucking kill you! And if you got a dog, we're gonna kill your fucking dog too!ON ANNABELLEBehind her, the rest of the cheerleaders arealready walking away. Annabelle looks atQuarterback Martel with pure disgust as hewalks off the field. CUT TO:INT. LARGE BEDROOM - DAYThe room's blinds are pulled tightly againstthe bright sunlight. Only the blue light ofa TV illuminates anything.Suddenly, we hear an old man in the bed giveout with a loud piercing wail.The door to the room bangs open and anEnglish male nurse named AUGUSTINE RIPLEY,dressed in white, comes running in. He'scarrying a syringe in each hand, poised atthe ready.He runs to the bed of the still wailingEDWARD FRANCIS O'NEIL (75). O'Neil is hookedup to an oxygen tank, watching the justcompleted Redskin game with the sound off. AUGUSTINE Did they win or lose?!O'Neil continues to wail. AUGUSTINE That has the distinct tonal quality of a loss.He puts one needle down and jabs O'Neil withthe other one.He murmurs to the old man as he injects him. AUGUSTINE Nice medicine for a loss. Keeps us calm. Makes us not so sad. Keeps us on an even keel. Gives us some perspective, doesn't it? And we'll save the winning medicine for next Sunday, won't we?He finishes. O'NEIL If you keep talking to me like I'm a five- year-old, I'm going to hurt you. AUGUSTINE Sounds exciting.He reaches for the phone and hits the speeddial. AUGUSTINE We'll want to talk to coach now, won't we?He hands the phone to O'Neil. O'NEIL (on the phone) What the fuck was that?!INTERCUT WITH:INT. TILDON'S OFFICECoach Tildon sitting in his office. We canhear players getting dressed, listening toMUSIC and getting SHOWERS outside his opendoor. TILDON (on the phone) I think he slipped. O'NEIL Bullshit he slipped! He could have scored! Anybody could have scored! I got one foot in the god damn grave and I could have scored! TILDON Mister O'Neil, let's face facts: The players are going out. It's gonna happen. And nobody wants to get hurt on the last play before a strike that could go on for the rest of the season. O'NEIL You god damn wimp! You're fired! Get out! Get out! Get out!O'Neil throws the phone down. Augustinepicks it up and then cranks up the oxygen anotch.O'Neil takes big gulps of the rich air. AUGUSTINE Better? It always makes you feel better when you fire someone, we know it does, don't we? Yes... O'NEIL Get me Jimmy McGinty. Get him here. Tonight.O'Neil sucks hard on the oxygen. CUT TO:INT. REDSKINS LOCKER ROOM - DAYA REPORTER is interviewing WILSON JONES, thehuge defensive end for the Redskins. Wilsonwears an enormous diamond earring.Wilson is dressing at his locker. WILSON Hey, man, I do what my union says. REPORTER But you're already one of the highest paid players in the game. The fans just don't see the point of a player like you striking. WILSON Let me tell you something: I'm a big man, you see?Wilson holds his arms out. Yes, he'sgigantic. WILSON There are some days when I am so beat up, that I cannot dress my own big ass. I asked management for a valet or some shit to help me dress and they said no way. So, fuck 'em! PLAYER (O.S.) Shut up everybody, here it is...Somebody turns UP a TV in the locker room.ON TVA handsome ex-player named Jerome Lindellsteps up to a podium at a press conference.He's wearing a two thousand dollar suit.On the TV he is identified with a super:"JEROME LINDELL -- President -- NationalFootball League Players' Association." LINDELL (V.O.) I have just left a meeting with representatives of the owners and I am sad to say that they have refused the players' final demands which center around a rise in the current salary cap. (MORE) LINDELL (V.O.) (CONT'D) Therefore, I am recommending that all N.F.L. players walk out and not play until our demands are met. I want the players to walk out tall, to walk out righteous, to walk out in the knowledge that we do this as a team. We shall overcome the fat cats. I send peace to my union brothers.The entire locker room is silent for a beat.And then everyone starts getting dressedagain, maybe a little slower than before.ON WILSON JONES WILSON Shit, I'm goin' to Vegas. CUT TO:INT. O'NEIL'S BEDROOM - CLOSE ON O'NEIL - NIGHTAs he sleeps peacefully. The only sound isthe HISS of his OXYGEN.Then we hear ICE CUBES SLOSHING in a glass.O'Neil opens his eyes and sees:JIMMY McGINTY, a handsome devil in his latesixties, wearing golf clothes and sipping thelast dregs of a Scotch rocks. McGINTY You look like shit. O'NEIL I'm dying, Jimmy. McGINTY You been dying for twenty years.O'Neil motions to the glass. Jimmy poursthree fingers from a Glenlivet bottle andhands it to him. McGINTY That poof of a nurse of yours is gonna kick my ass if he catches you drinking.O'Neil removes his oxygen to sip his whiskey.He smiles as it goes down. O'NEIL Gimme a butt. McGINTY I quit. O'NEIL No.McGinty nods. O'NEIL You pussy. I want you to come back as head coach. I fired that asshole Tilden today. McGINTY I'm retired. And besides, you don't have a team. They all flew home in their jets to their castles. O'NEIL We're gonna finish the season anyway. All of us owners decided. We're gonna use replacement players. McGINTY You're a bunch of greedy bastards, aren't you? O'NEIL Us, greedy?! What about the god damn players?! I got the highest payroll in the N.F.L. and they still want more! McGINTY That's because you've been bottle-feeding straight cash to these big babies for years.O'Neil sips his whiskey and calms down. O'NEIL No team owner in their right mind is gonna give back those T.V. revenues. (MORE) O'NEIL (CONT'D) All we promised Fox was twenty-two guys with a pulse every Sunday. But think about it, Jimmy. We got a great opportunity here! We got a chance to put a team on the field that plays the game just for the love of it. Like we used to play it. McGINTY We also used to play without face guards. O'NEIL Jimmy, I'm really dying. The doctor says I'll be gone by Superbowl Sunday. Help me bring a winner back to D.C. You did it for me once before. You can do it again. McGINTY Listen: I golf once a week with the President of the United States. I walk my grandkids to school every day. I got a young wife who will fuck me any time I want, which frankly, isn't too often, but it's comforting to know it's there. I don't need it. O'NEIL Come on. Wouldn't it be fun? A bunch of poor nobodies who play to win instead of a bunch of bitchy millionaires? You can put it together, Jimmy. Player's love you. They always have.McGinty pours more Scotch and looks into theglass. O'NEIL Tell me you're gonna do it. McGINTY Shut up, I'm thinking. (pause) Okay. Here's the deal: you let me recruit who I want, with no interference? O'NEIL Absolutely. McGINTY I'm talking anybody I want. No exceptions. And no interference with my coaching, either, like you used to. O'NEIL Sure, Jimmy, sure. McGINTY And one more thing: no more Notre Dame stories. You start telling me Notre Dame stories and I pull your plug personally. I swear to God.O'Neil smiles. O'NEIL Deal. CUT TO:INT. REDSKINS' HEAD COACH'S OFFICE - DAYMcGinty is sitting behind the empty desk ashis two main coaches give him a presentation.They are offensive coordinator LEOPILACHOWSKI and defensive coordinatorCHRISTOPHER BANES. PILACHOWSKI ... Six phone lines with internet access on two: One for defense and one for offense. BANES We thought we would skip special teams for the moment. PILACHOWSKI Except for a kicker. We definitely need a kicker. A place kicker over a punter. BANES The thinking being that if we lose the toss, we have to be able to at least kick off.Both coaches laugh nervously. McGintydoesn't say anything. PILACHOWSKI Okay. Here's the list of every player cut this past season. What we would like to do is... McGINTY (interrupting) Those people? (pointing to list) Most of them were cut because they were shitty.McGinty takes out a piece of paper of his ownwith a bunch of names on it. McGINTY We're going to go another way here. I've done some scouting since I retired. On an ad hoc basis, of course. And what I have here is a list of people I've kept an eye on. They've all played football somewhere, but only a few in the pros. And they've all got something... unique to bring to the game. We're gonna take these people and try to put together a winning team. And if nothing else, they should be fun to watch.McGinty looks up when he senses someonestanding in the doorway. It's REESE EVANS,the veteran Redskin we saw standing on thesidelines with the clean uniform. EVANS You won't need a center. McGINTY How you doin', Reese? EVANS Bored and ready to retire. I'm just looking for one more hit. One more really good hit. McGINTY What about the strike? EVANS Hell, I'm rich. I got no complaint with Mister O'Neil. I just want a chance to play one last time. (MORE) EVANS (CONT'D) Shit, I'd rather go out with a broken leg than sitting on the bench.McGinty nods to Pilachowski. The coach takesa marker and fills in "Evans" in the centercircle. McGINTY Welcome to the new Washington Redskins. (to his coaches) Let's find Reese somebody to play with. CUT TO:INT. METHAMPHETAMINE LAB - DAYA bunch of BIKER types are cooking up a vatof speed. These guys are big, andbadasslooking.After a beat, one of the Bikers looks up atthe door. BIKER Did you hear something?The other biker shakes his head, no.The one who asked the question walks over tothe door and listens for a beat. Nothing.He turns to go back and suddenly the doordisintegrates in front of a charging manwearing a "police" windbreaker.This is DANIEL BATEMAN, a big, young,psychotic cop, who immediately runs over thepoor Biker who was listening at the door,kicking the guy in the head as he goes by.Bateman dives on two more Bikers, andviciously head-butts one of them.He stuffs the other's head into the methmixture, pulls him out and clubs him with abig police blackjack, three quick times:Rap! Rap! Rap!The guy goes down like lead.Bateman looks around and spots a big BIKERcowering in a corner. The Biker isterrified.Bateman takes two stops toward the guy whensuddenly three more COPS wearing windbreakersrun in, out of breath.They look around at the unconscious Bikers. COP #1 Jesus, Bateman! Why don't you ever wait for us?!BEEP! BEEP! BEEP! Someone's BEEPER isgoing off. The three cops look at theirs.Nothing.The cowering Biker looks at his. BIKER #2 Not me.Bateman pulls his beeper, studies it andlooks puzzled. BATEMAN What area code is 703? COP #1 Washington, D.C. CUT TO:INT. LIQUOR STORE - DAYA loaf of Wonder Bread is spinning throughthe air in SLOW MOTION. It comes AT us,twisting and turning.ON CLIFFORD FRANKLINHe's tall, maybe 22, and positioned behindthe cash register. He's wearing a WashingtonRedskins sweatshirt.Clifford's hands are up as he waits to catchthe bread which was tossed by his MANAGER atthe back of the store.The loaf hits Clifford's hands and thenbounces out. It lands on the counter infront of a TEN-YEAR-OLD smart-ass KID. KID Nice hands. CLIFFORD (not amused) What else? KID A pack of Marlboro Reds, a pint of Martel Cognac and a box of Trojans, extra long.Clifford grabs the Kid's two one-dollarbills, and makes change for the bread. CLIFFORD Get out of here. I'm telling your mother you were talking like that.The Kid leaves.The Manager yells from the back of the storeas he holds up a portable phone. MANAGER Hey, Clifford, somebody on the phone wants you to play football next weekend. CLIFFORD Tell 'em I gotta work Saturday. And I'm watching the Redskins on Sunday. Ain't nothing stopping me from watching the Redskins on Sunday. (mumbling) No way that's gonna be happening, me not watching the Redskins on Sunday. MANAGER (into phone) He's gotta work. (pause) They said they'll pay you. CLIFFORD Pay me? How much? MANAGER (on phone) How much? (pause) Ten thousand five hundred dollars! CLIFFORD (stunned) Ray, who the fuck is on the phone?! MANAGER (pause) It's the Washington Redskins!Clifford collapses. CUT TO:INT. BACKSTAGE - NIGHTWe hear deafening APPLAUSE as we hold onANDRE and JAMAL WILLIAMS, two hugebodyguards, dressed in identical black suits.Suddenly, the artist formerly known as Princecomes off stage, grabs a towel from anassistant and starts walking with Jamal infront and Andre in the rear.As they walk, a CELL PHONE RINGS. Andrepulls it from his pocket and answers it,quietly.Jamal runs interference with the techies andgroupies backstage. JAMAL (to someone) Get out of the way! (to someone else) Don't look at him! He don't like being looked at, god damn it! No eye contact!As they walk, Andre is still talking on thephone.Finally, they get to the backstage door andstop. The rock star prepares to run thegauntlet of adoring fans behind his trustybodyguards.But his bodyguards are conversing quietly buturgently with each other.One of the assistants throws open the door.A big mob waits outside.The anointed one turns to his bodyguards tolead the way, but... they're gone!The mob surges. The artist formerly known asPrince screams as he's trampled to death byhis fans. CUT TO:EXT. MARINA DEL REY - DAYShane Falco, wearing his patched wetsuit,climbs out of his inflatable dinghy and flopsonto the deck of his cabin cruiser.He looks cold and tired. McGINTY (O.S.) You look like a swordfish I caught once.Shane jumps.McGinty is sitting in an old deck chair onthe stern of the boat. McGINTY He hit the deck just like that.Shane studies his visitor. SHANE And you look like that coach from the Seventies. From the Redskins. McGinty. Except you look a shitload older. McGINTY The price of happiness. Something to take the chill off?He offers Shane an elegant flask. Shanetakes it and drinks. McGINTY I'm running the Redskins again. And I want you to quarterback 'em. SHANE No, man, I've been out way too long. McGINTY What, three years since San Diego dumped you? That's nothing. You're in shape, flopping around in the water like that. SHANE You know what my nickname was in San Diego, don't you? McGINTY Sure. Footsteps. SHANE As in, I hear 'em and I dump the ball. McGINTY Well, you didn't have much of a line to protect you. SHANE I got two concussions to prove it. McGINTY That's why girls don't play the game.McGinty drinks from his flask. McGINTY I scouted you when you were playing at Ohio State. I told San Diego they were probably making a mistake when they signed you. SHANE (truly shocked) No kidding? McGINTY Oh, you had a lot of tools: a quick release. Fast. A scrambler by nature. Good downfield vision. But you got hurt a lot. And worst of all, you never could win the big game. What did you lose the Sugar Bowl by, your senior year? What, forty points? SHANE Forty-five. And now you want to recruit me? McGINTY A scrambling quarterback is gonna do real well in this new replacement environment. And to tell you the truth, I think I can help you with your biggest problem. SHANE Okay. What's my biggest problem? McGINTY Courage. I think that Sugar Bowl took it all out of you.There's a beat as Shane looks away. SHANE I'm retired from football. McGINTY Yeah, and it looks like things have been going really well for you since.Shane doesn't meet McGinty's eyes. SHANE I like being here. It's quiet. I like being alone. McGINTY Yeah. No screaming crowds, that's for sure. (pause) You know what separates the winners from the losers? Gettin' back on the horse. The one that kicked you in the teeth. You're still young. You still got bags of talent. If you do well, who knows what will happen when the strike ends?Shane keeps staring out at the water. McGINTY You want me to tell you you're not going to get hurt? You know you will. No doubt about that. But, hell...McGinty points to the boats in the harbor. McGINTY ... Wouldn't you rather get hurt than scrape the shit off of other guys' toys? CUT TO:EXT. QUEENS (NEW YORK) - DAYWe're right off Queens Boulevard on a busyside street where LOU PACIFICO, 30, is takingbook. Lou is short, dark and handsome.He leans against the wall of a liquor store. PASSERBY #1 Deuce and an eightball on Go Down, Rita in the eighth.Lou writes quickly on a small pad.After a beat, another passerby leans in andwhispers something to Lou. Lou writesquickly again.>From across the street an old woman sticksher head out of a four-story walk-up. Thisis LOU'S MOTHER who speaks with a heavyItalian accent. MOTHER Louis, you got a phone call! LOU (from across the street) Who is it? MOTHER It's the Washington Foreskins. LOU What?! Ma, what are you, out a your tree? MOTHER (yelling louder) I'm telling you they said it's the Washington Foreskins! Foreskins! Foreskins! Foreskins!People in the street are now starting to lookup at this old woman screaming "Foreskins!"Louis quickly crosses the street to hisapartment house.But at that moment, a soccer ball bouncestoward him from where a group of kids areplaying in an alley.Out of pure instinct, Lou gives it a mightyboot.We FOLLOW the arc of the ball as it sailsDOWN the block. Everyone stops to admire thekick.Still airborne, the ball crosses QueensBoulevard.At that moment, a very old mafioso type isbeing helped from his limo by severallieutenants.Pow! The ball hits the old guy right in theback of the head, knocking off his porkpiehat and dropping him to the pavement like abullet.The lieutenants pull pistols and surroundtheir fallen leader.ON LOUHe sees what happens and quickly ducks intohis apartment house.ON ONE MAFIA LIEUTENANTHe spots Lou before he disappears inside. CUT TO:EXT. HIGH SCHOOL PRACTICE FIELD - DAYCoach ROLAND LAMONT, a good-looking ex-running back in his late twenties, iscoaching a high school player.We can see that Roland is wearing a prettysubstantial knee brace.He holds up a football. ROLAND Cut right on me, now. Right on me.He pitches the ball out to one kid, who runsright at him, steps on Roland's foot with hiscleats and then cuts around him.Roland screams and falls to the ground. ROLAND Not right on me, goddamn it!He writhes there a beat until he hears: VOICE (O.S.) Coach Lamont! Phone call! Long distance. Washington, D.C. It's the Washington Redskins!Roland holds his foot and manages a smilebecause he seems to know what the phone callmeans. ROLAND (to the sky) Thank you, Lord! CUT TO:EXT. BIG O (WASHINGTON D.C.) - MAGIC HOURThe stadium appears empty.Suddenly, a football thrown with a perfectspiral comes AT us.REVERSE ANGLEWe see the ball sail cleanly through a rubberring attached to the crossbar on thegoalpost.ON SHANE FALCOHe's in shorts and a sweatshirt taking snapsfrom center Reese Evans. EVANS Nice. Try a roll to the right.Evans bends over another ball. Shane sets upin the shotgun. O'NEIL (V.O.) Shane 'Footsteps' Falco? This is what you're going to build an offense around?EXT. STANDS - MAGIC HOURMcGinty is sitting with O'Neil on the fiftyyard line twenty rows back.Augustine holds O'Neil's oxygen tank as theold man sits huddled in a coat that's way toobig for him. O'NEIL Christ, Jimmy, I ask you to build me a team based on balls and the first player I see is Footsteps Falco?! McGINTY He's got as much natural talent as any quarterback in the league. O'NEIL And he's got the happiest feet I've ever seen! McGINTY All he needs is a shot of self-confidence. He's our quarterback. That's the way it is. O'NEIL What about a safety? We got two a days starting tomorrow and a game in five days! And we still don't have a safety?!O'Neil motions to Augustine for more oxygen. AUGUSTINE Here we go. Nice fat little hits.He turns the valve up. O'Neil breathesdeeply. O'NEIL I called a friend of mine who just happens to be the Governor of Maryland. McGINTY Terrific, the Governor is going to play safety? O'NEIL Don't worry about it.ON SHANEHe drills a perfect spiral through thecircle. CUT TO:EXT. BIG O - MORNINGA ramp at the rear of the stadium givesvehicle access to the interior. The bottomof this ramp is now a maelstrom of activity.The regular Washington Redskins are in apicket line walking in circles. The playersare dressed in everything from fur coats toexpensive leather jackets and leather pants.Half of them are on cell phones.We can see some of their cars parkedhaphazardly nearby: BMWs, Porsches,Mercedes, etc.Jerome Lindell, the president of thePlayers' Association, is being interviewed oncamera by a REPORTER. REPORTER As president of the Players' Association, what does your presence mean here, Mister Lindell? LINDELL Very simply, support for these fine players and union men. Washington D.C. is the home of freedom and the collective bargaining agreement. I am here to remind all Americans that the owners are no better than the robber barons of the Nineteenth Century. They have blatantly gone out and hired scabs, which is against all principles of our Constitution and the Declaration of Independence and probably even the Emancipation Proclamation.The picketers start shouting and pointing. LINDELL And here come the Scabskins now!A bus slowly makes its way towards the rampand the picketers.INT. BUS - MORNINGShane is sitting in the first seat with ReeseEvans (center).We MOVE BEHIND them and see, among others,Daniel Bateman (psychotic cop), CliffordFranklin (can't catch a loaf of bread), Jamaland Andre Williams (ex-bodyguards), LouPacifico (kicker and bookmaker), and RolandLamont (ex-high school coach).BANG! EGGS start HITTING the bus WINDOWS.We can hear the regular players chanting: PLAYERS Scabskins! Scabskins! Scabskins!ON CLIFFORD FRANKLINHe's very excited as he looks out the windowat the striking players. Roland Lamont sitsnext to him. CLIFFORD Oh God, there's Eddie Martel! And Wilson Jones! I love Wilson Jones! Yo, Wilson! Yo, player!ON WILSONHis big face looms right outside the buswindow. He looks pissed off and scary.ON LOU PACIFICOHe leans across his seat to Shane. LOU Hey, Lou Pacifico.Shane shakes his hand. SHANE Shane Falco. LOU I know. I lost a ton a money on that Sugar Bowl disaster of yours. Wow. Did you get your butt kicked or what?ON JAMALHe's looking out the window when an eegsplats against it. He turns to his brotherAndre: JAMAL You know I don't take that shit.Jamal reaches into his jacket and starts topull out a nine-millimeter pistol.Andre stops him. ANDRE Be cool.INT. BOWELS OF STADIUM - DAYA nondescript van pulls up and a muscled,deadly-looking guy in handcuffs and jailissue clothes gets out. This is beardedsafety EARL (he-ain't-no-girl) WILKINSON.A Maryland state trooper unlocks the cuffs.Earl looks... hungry.EXT. STADIUM - DAYThe replacements are getting off the bus asthe players chant. PLAYERS Scabskins! Scabskins!When Reese Evans (former Redskin center) getsoff the bus, the players go wild.Reese coolly gives them the internationalsuck my dick sign.Clifford gets off behind him. He waves andsmiles at the striking players.They throw rotten fruit at Clifford inreturn. CUT TO:INT. EQUIPMENT ROOM - DAYSID, an oldtimer equipment man folds towels.Behind him, we can see helmets, pads, etc.McGinty walks up dragging Shane who is fullydressed in a uniform, including helmet. McGINTY (to Sid) What is this?McGinty points to the intricate face guard onShane's helmet.It's an exaggerated version of a lineman'scage with so much metal criss-crossing thatyou can hardly see Shane's face. McGINTY He's a quarterback! How is he supposed to see? SID He told me he was a linebacker! SHANE I can see.McGinty holds up three fingers. McGINTY How many fingers? SHANE Two. No, wait. Three. CUT TO:EXT. FIELD - DAYAndre and Jamal are hitting the blocking sledsimultaneously. They drive it OUT OF FRAME.ON SHANEHe's now wearing a helmet with a twobarquarterback face guard. He takes a snap andpitches out to running back Roland Lamont.Roland, now wearing a big knee brace, lookssharp as he cuts to the outside.ON PILACHOWSKIThe offensive coordinator is standing withMcGinty who is concentrating on thescrimmage. Suddenly, Pilachowski spotssomeone. His mouth drops open.ON MICKEY LEEHe's a fourhundred-fifty-pound ex-Sumowrestler crammed into a Redskin uniform. Fatrolls are visible everywhere. PILACHOWSKI Oh my God. That's disgusting!Lee walks up. McGinty bows and sayssomething in Japanese. Lee bows and answersback in Japanese. Then they shake hands. McGINTY How you doin', Mickey? LEE Not bad, Coach. McGINTY You look great. Why don't you work out at left tackle? LEE You got it.Lee puts on his helmet, pulls his ponytailout the back and rumbles away.Pilachowski is looking at McGinty like he'scrazy. PILACHOWSKI You're not serious. McGINTY I met Mickey in Hawaii. When he was even bigger. He's a Sumo wrestler. That means he's an expert at pushing people around. That's what pass blocking is, Leo.Defensive coordinator Christopher Banes comesrunning up in a lather. BANES (to McGinty) I got a defensive end who's deaf!! PILACHOWSKI (watching Lee walk away) I'll trade you for a tackle who's gonna play in a diaper. BANES How can I coach a deaf man?! McGINTY You don't have to...He looks across the field at a big, good-looking kid named BRIAN MURRAY who is in themiddle of a pass rushing drill.Murray looks really fast, especially for hissize. McGINTY Brian Murray would have gone in the first round five years back if he hadn't been born deaf. I first saw him play right here in D.C. for Galludet College. He's a hell of an athlete. You won't have to tell him anything. BANES I can't believe it! I got to be able to communicate with him. McGINTY Then learn to sign. Hey, look at it this way: He'll never get pulled off sides on an audible.McGinty thinks this is funny as shit.ON SHANEHe's just done a fivestop drop on a passplay. He's looking down field when he seessomething scary. SHANE Oh shit! No!He throws the ball away and then is nailedand taken down on his back by Bateman(psychotic cop).Shane groans and lies there with Bateman ontop of him. BATEMAN Hi, I'm Danny. SHANE (groaning) Shane.McGinty pulls Bateman up. McGINTY Nice pop, Danny. BATEMAN Thank's, Coach!Danny runs off. SHANE What was that? McGINTY Danny Bateman. Ex-cop, ex-Marine, ex-rugby. He's absolutely harmless, if you just play dead.McGinty helps Shane up. McGINTY San Diego used you all wrong. You're not a drop back passer. You're a scrambler. Like you were in college. So, we're gonna roll out. A lot. Get used to setting up on the run. You'll live a lot longer. SHANE I'm very interested in that. CUT TO:PRACTICE MONTAGEA) BATEMAN is lined up at middle linebacker. When the play starts, he runs headlong into four blockers and takes them all down with him.B) WIDE RECEIVER CLIFFORD FRANKLIN beats his man, and turns as Shane, rolling out to his left, puts the ball right on his numbers. Franklin drops it.C) ANDRE AND JAMAL On the snap, they pull to lead a sweep. Unfortu-nately, each thinks the play is to their side. They forearm each other and then get into a fight.D) LOU PACIFICO boots one from thirty-five yards through the uprights. He smiles, takes out a Marlboro Light and a Bic and fires up.E) CLIFFORD FRANKLIN pulls up, does a button hook and Shane puts the ball in his hands. Franklin drops it.F) LEE the Sumo guy, hits the blocking sled and turns it over.G) BATEMAN is down on the ground viciously punching another player as two assistants try to pull him off.H) FRANKLIN is in a crossing pattern in the end zone. Shane puts the ball right in front of him. Unfortunately, it hits him in the hands. CUT TO:EXT. FIELD - DAYShane is sucking down water from the portablewater cart when head cheerleader AnnabelleFarrell walks up. She's dressed in tightworkout clothes. ANNABELLE Annabelle Farrell, head Redskinette. SHANE Excuse me? ANNABELLE I'm in charge. Of the Redskinettes. The cheerleaders? SHANE Oh yeah, hi. ANNABELLE I've been watching you. You look good. You look strong. Good quick release. Smart. You read defenses quickly. You're gonna do great. SHANE Hey... thanks. ANNABELLE I saw your second concussion. The one against Cleveland. Pow! You could hear it in the cheap seats. But you completed the pass. That's what counts. SHANE I guess so. ANNABELLE If there's anything you need, let me know. And I mean anything, okay? You understand?Shane is really not sure. SHANE Sure. I understand. ANNABELLE They put you up at the Hilton? SHANE Yeah. ANNABELLE Good. Remember: anything. You got it? Okay?Shane nods. She walks away.We watch her world-class ass move across thegridiron.ON McGINTY AND CLIFFORD FRANKLINMcGinty is holding a ball and talking to hiswide receiver. McGINTY ... because it's a damn waste of all that speed, Clifford. I told you that when you were in high school. You've got to catch the ball, son. This is the main idea of the passing game. CLIFFORD I know, Coach, I know. McGINTY Okay. I assume that you have touched a woman in a romantic way, have you not? CLIFFORD Oh yeah, Coach, sure. In a, you know, romantic way. McGINTY Good. From here on out, you touch this football, all the time...He shoves the football in Clifford's hands. McGINTY ... just like you touch your girl friends. I better not see you without this ball. You understand?McGinty starts to walk away. CLIFFORD Coach, wait! Can I still like touch my girl friends if I don't, you know, let go of the ball?McGinty thinks about that. McGINTY Yes, Clifford, if you can manage that, absolutely. CUT TO:INT. LOCKER ROOM - DAYAndre and Jamal are just about dressed.Andre helps Jamal on with his jacket. Jamalthen helps Andre on with his.ON SHANEHe's stripped down sitting on a bench.Reporters are trying to interview him.Microphones are in his face and video camerasjockey for position. SHANE ... just glad to be back playing. That's all I've really got to say. REPORTER But where have you been? What have you been doing to make a living? SHANE Well... I've been involved lately in the... aquatic business...ON MICKEY LEE AND ROLAND LAMONTMickey is watching Roland unbuckle his bigcomplicated knee brace. (NOTE: There shouldbe something slightly medieval about thisbrace.) MICKEY You only played one game?! ROLAND Actually, less than two minutes. I was a rookie third round pick in '93. We were playing Atlanta in the home opener. Near the end of the first quarter, they sent me in, I took a screen pass over the middle and got hit by both linebackers. Simultaneously. One a side. My knee turned into wet toilet paper. End of career. MICKEY Can you play on it now?Roland takes out a wrench and startsunscrewing a bolt on his brace. ROLAND I've been teaching high school football for five years. It's not a bad life. I'm good at it. There are some days when I actually love it. But for one more shot at this? Shit. I'd give it all up. This time, they're gonna have to take me out in a box.ON EARL WILKINSON (CRIMINAL)He's standing naked in front of his lockerstaring with anticipation at a garment bag.Slowly, he unzips the bag revealing abeautiful new suit. He touches the lapelsreverently.ON CLIFFORD FRANKLINHe's sitting in front of a locker, holdinghis football, with a shit-assed-eating grin.Someone walks by. CLIFFORD I got Wilson Boone's locker, man. Do you believe that shit?He drops his ball and quickly picks it upagain. He looks around to make sure Coachdidn't see him. DISSOLVE TO:EXT. BIG O PARKING LOT - MORNINGThe regular Redskins are out in force,holding signs as they lean on their Beamersand Porsches.Shane pulls up in a battered '89 Honda.When he gets out, he's immediately surroundedby six striking regulars, led by quarterbackEddie Martel and defensive end Wilson Jones. MARTEL Hey, you can't park there. SHANE Look, I don't want any trouble. MARTEL You don't want any trouble?! You're taking my job away, but you don't want any trouble? (to Wilson) He doesn't want any trouble, but he puts this piece of shit in a no parking zone.Shane looks but it's obvious he's parkedlegally. SHANE Okay. I'll move it. MARTEL No, we'll do that for you. Go ahead, Wilson. Move it for him.Wilson motions to another big guy. The twoof them proceed to roll the Honda over on itsroof. It lands with a crunch. JAMAL (O.S.) You all put that car back.Everybody turns to see Andre and Jamalwalking towards them. WILSON Who the fuck are you? ANDRE We're the people who take care of the quarterback. We're the guards.All the regulars laugh at this. JAMAL Put the car back. Gently. WILSON Kiss my ass. SHANE (to Jamal) It's okay. JAMAL No, it's not.Jamal points to a gorgeous midnight bluePorsche. JAMAL (to Wilson) That's your ride, ain't it?Before Wilson can even answer, Jamal pullshis NINE MILLIMETER. BOOM! BOOM! No morePorsche windshield.All the regular Redskins dive for cover. WILSON My windshield! You crazy motherfucker! JAMAL Move his car back. WILSON My car!Jamal raises his GUN again. POW! No Porschedriver's side window. WILSON No! Stop!He turns to his cowering teammates. WILSON Come on, help me, god damn it!The guys quickly pick up the Honda and put itright side up. WILSON (to Jamal) You are gonna pay for this. JAMAL No I'm not. And quit messing with my man here. That includes his ride.Jamal spins the nine and holsters it.Andre and Jamal get on either side of Shane.They look at each other and then quicklyswitch sides. ANDRE Let's go to practice, Shane. SHANE Let's do that.Shane smiles at his guards, smiles at thestill-shocked Redskins, and they move out. CUT TO:INT. LOCKER ROOM BATHROOM - DAYShane, dressed in pads and pants, opens thedoor and walks in. During the opening andclosing of the door we hear: ASSISTANT COACH (O.S.) ... so if anyone does have any firearms, we need to turn those in as soon as possible, no questions asked...Shane stands in front of the urinal and goesthrough the painstaking process of locatinghis dick.First he wrestles open his football pants andthen has to deal with the cup, etc.Next to him, at another urinal, is WALTERCOCHRAN, a big, serious bornagain tackle.As he pisses, Walter has his Bible proppedopen behind the flush handle so he won't missa minute of scripture. WALTER Praise the Lord, Shane. SHANE Yeah. Sure. WALTER Walt Cochran. Offensive tackle.Shane nods. Walter pees for a beat. WALTER Shane, will you witness with me? SHANE Will I what? WALTER Will you witness with me? For this upcoming practice. SHANE Now?By now Shane is pissing too. WALTER Praise the Lord for giving us a way to eliminate, Shane. Why not talk to Him in the midst of performing his gift?Walter takes his hand off his whizzing memberand holds it out to Shane.Shane looks at Walter's hand for a long time,but finally, he removes his own guiding handand clasps Walter's hand tentatively.REVERSE ANGLEThey continue pissing as they hold hands. WALTER Heavenly Father, thank you for allowing us to pee the poisons from our systems. Please help us in today's practice to be strong and... CUT TO:EXT. McGINTY'S HOUSE - DAYA barbecue is in progress for the newWashington Redskins at the beautiful home ofCoach McGinty.The huge back yard features a pool and acatered buffet/barbecue.Andre and Jamal are loading down theirplates.Mickey Lee is gnawing on a two-foot slab ofribs.Lou Pacifico has a little three card montygoing at a picnic table.Coach McGinty is holding up a beautiful babygirl to the admiring players. He kisses thebaby and then hands the child to his gorgeousyoung wife.Augustine is pushing Mister O'Neil in awheelchair. They pass the outside bar andO'Neil suddenly lunges for a bottle oftequila. Augustine has to rip it out of hishands.Coach Banes and Earl Wilkinson (criminal) aretalking to a distinguished-looking big man inhis fifties. This is a D.C. CIRCUIT COURTJUDGE. BANES Where did you play, Judge? Wait. Do I call you judge? JUDGE Your Honor, or Judge is fine. I played at Harvard. But I played in the days when you went both ways. Offense and defense. When players were really tough. (to Wilkinson) And where did you play college ball... I'm sorry, what was your name again?Wilkinson is smiling but he looks dangerous. WILKINSON Smith. Ray Smith. I played at a junior college nobody ever heard of. What position did you play on defense, Judge? JUDGE Middle linebacker. WILKINSON Yeah, big fellow like you, that's what I would have guessed. JUDGE It was a different game in those days. Raw. Powerful. No tricks, like today. WILKINSON You know, maybe you can show me some of your technique, Your Honor. Maybe you can show me some of that toughness. JUDGE I'd be glad to!There's an evil glint in Wilkinson's eye.INT. McGINTY'S HOUSE - DAYShane is standing alone in a large hallwaylooking at an enormous trophy case stuffedwith the spoils of football. ANNABELLE (O.S.) You would think he's done enough.Shane turns and sees her. She's as fetchingas ever. ANNABELLE McGinty, I mean. SHANE I was kind of thinking the same thing. ANNABELLE My theory is he came out of retirement to see if he could win with losers. (pause) Oh, shit. I'm sorry. I didn't mean... SHANE (interrupting) Hey, it's okay. I've been called worse. ANNABELLE Like after that Sugar Bowl game? I guess you could survive anything after that.Shane has to actually smile at this. SHANE Sometimes I feel like everybody in the world saw that game. Like I could go to India and some little guy would run up to me and say, 'Boy, did you suck in the '92 Sugar Bowl.'Annabelle laughs. SHANE So, how come you're such a fan? ANNABELLE My dad. He's a huge Redskin fan. For years. He's in his twenty-ninth year at the Senate Office Building. As a guard, not a senator. The only thing that keeps him going he says, is me and the Redskins. That's where I get it. My fan-ness. (suddenly) Are you scared?Shane is totally taken off guard by thiswoman. SHANE Scared? Well... yes. Absolutely. ANNABELLE It's okay. Anybody would be. But you're good. And you'll do good. SHANE Well, thank you. Look, I gotta study the play book tonight. So... I'll see you. ANNABELLE Break a leg tomorrow. SHANE What?! ANNABELLE It's from the theater. For opening night. You say the worst thing that can happen. And it won't. Break a leg.Shane waves uncertainly and walks away.EXT. McGINTY'S BACK YARD - DAYThe Judge (now with his jacket off) andWilkinson are lined up across from each otherin a three-point stance in something called aman maker drill.The entire team forms two lanes on eitherside of them, as they face off.The idea is to knock the other guy down andget by him. JUDGE Alright, this is how we used to stop a running back. WILKINSON I can't wait.Someone says hut! And Wilkinson slams intothe Republican 16th Circuit Court Judge andknocks him head over heels.The Judge lands on his back, wham! He's outcold.Wilkinson slaps hands with Andre and Jamal. WILKINSON Oooh... got me a judge! Man, that felt good! CUT TO:EXT. BIG O STADIUM - DAYIt's another beautiful fall afternoon andcars are entering the stadium parking lot.At one of the entrances, the strikingRedskins are picketing. Jerome Lindell (NFLPlayers President) is still marching withthem.A little boy stops one of the Redskins andasks for an autograph on a program. Theplayer gives it to him and the kid walksaway.Lindell runs after the kid, grabs the programand rips off the page the player signed. LINDELL (to kid) Don't be asking for no autographs from the real players and then go in and watch the scabs!The kid retreats quickly. Lindell rips upthe page. LINDELL (to the player) That is not the message we want to send our children! CUT TO:INT. LOCKER ROOM - DAYIt's very quiet. Shane sits in pads and nojersey, methodically squeezing a football.Reese Evans, his center, stops by. EVANS You okay?Shane nods and gives a nauseous-lookingsmile. EVANS Remember to nod your head on the snap. SHANE (out of it) Nod my head? EVANS For when Murray's in. The deaf kid. Hello? He needs to look at you on the snap.Shane nods that he understands but he goesback to staring at a wall.Andre and Jamal sit facing each other. Andrethrows a vicious forearm at Jamal's head butJamal catches it. They both nod in approval.Lou Pacifico smokes and stares.Bateman is leaning against a wall, fullydressed, helmet on. He's staring into spaceand smiling to himself. He looks terrifying.Earl Wilkinson (the criminal) is polishing abeautiful pair of new alligator shoes.Clifford Franklin looks at himself in themirror as he ceremoniously puts on hishelmet.Walter Cochran is reading his Bible in frontof his locker, which features a picture ofJesus and a cross.Mickey Lee (ex-sumo) is sitting in front of abowl of hard boiled eggs. He's methodicallypopping them into his mouth. He eats four aswe watch.Coach Pilachowski comes up to Lee and watcheshim eat. PILACHOWSKI What are you, crazy? Nobody eats right before a game. LEE I always ate before a big match. I need the bulk.Like a hole in the head he needs the bulk.Coach McGinty comes strolling through thelocker room, the picture of calm.He walks by defensive end/tight end BrianMurray and signs to him to have a good game.Murray signs back, "Thanks, Coach."Cochran spots McGinty and puts down hisBible. COCHRAN Coach McGinty, I'd like to lead the team in the pregame prayer. McGINTY No. No praying. That's the problem with professional sports today: too much god damn praying. Five hundred dollar fine to the first man I hear praying.McGinty turns and bums an egg from Mickey andwalks to the middle of the locker room.He eats the egg as he turns slowly and takesin his players. McGINTY A lot of people are waiting for you to fall on your asses today. And guess what? You're going to. But I don't give a shit if you look funny out there. Or if you miss a block, or drop a pass, or trip over your own dick. This is professional. And the difference between professional and amateur, between playing for the Washington Redskins and Michigan State is simply... money. You are being paid to win. Not just to play. Not just to learn how to be good sports. Not for the alumni. You are being paid to win. I don't care how the fuck you do it. But I'm demanding it. Because those guys whose place you're taking have forgotten that simple fact. So, go win it.He walks away. The players get up and startmoving. CUT TO:EXT. BIG O - DAYWe're FOCUSED ON an enormous, plastic blow-upWashington Redskin helmet that bobs on theground in front of the exit to the field.The idea is, the players will run into andthen out of the helmet as they areintroduced.Annabelle and her fellow twenty cheerleadersare lined up on either side of the bobbinghelmet, waiting for the players.ON MADDEN AND SUMMERALLThey are in their booth, vamping ON CAMERA. MADDEN ... Pretty bold move by New England Patriot owner Victor Kiam, who went out and bought an entire semi-pro team once the strike happened. (MORE) MADDEN (CONT'D) Redskin management, on the other hand, is going with a bunch of unknowns. Their public relations people don't even have bios yet on most of their players, although we'll see one or two familiar faces out there today. SUMMERALL Like Shane Falco, the enormously talented college quarterback from Ohio State, who never fulfilled his potential in the pro's. (to Madden) Wow, remember that Sugar Bowl Falco quarterbacked when Florida State creamed them? MADDEN Oh, yeah, they were absolutely decimated! SUMMERALL Dusted. And if I'm not mistaken, Falco set a record in that game for Bowl interceptions. Anyway, for some of these players this is another shot; a last shot, probably, for a guy like Falco... CUT TO:INT. TUNNEL - DAYShane is looking out at the field through theblow-up helmet. He looks scared.Suddenly, a CANNON goes off with a stomach-resounding BOOM! Shane jumps. ANNOUNCER (V.O.) Ladies and gentlemen, your Washington Redskins!IN STANDSA sparse crowd is in attendance, mostlydiehard fans like Todd, Rod and Bob, who aredecked out in burgundy and gold. They lookdrunk already as they cheer like mad. ANNOUNCER (V.O.) Here's the starting defense today...INT. TUNNELBateman is first in line. He looks like aracehorse on cocaine. ANNOUNCER (V.O.) At middle linebacker, number 56, Daniel Bateman!Bateman takes off at a dead run out of thetunnel and into the helmet.ON HIS FOOTIt hits a wire stretched across the groundinside the helmet.ON BATEMANHe trips big-time into the side of thehelmet. He bounces (it's inflated,remember?) to the other side, bounces againand is shot out of the front of it like acannon ball.ON CHEERLEADERSBateman bounces out of the helmet and takesout the first six cheerleaders.Girls fly left and right. One girl isknocked out of her shoes.ON MADDEN AND SUMMERALLMadden covers his face. Summerall lookspained. SUMMERALL Oh, my...IN STANDSEven the hardcore Todd, Rob and Bob canhardly look at the carnage.OUTSIDE STANDSA contingent of strike players like EddieMartel and Wilson Jones huddle in the parkinglot. They are laughing their asses off asthey watch on a personal TV.ON FIELDCheerleaders are down and screaming in pain.Annabelle is running from girl to girl, doingtriage.ON BATEMANHe's sheepishly standing to one side astrainers come out to assist.INT. BLOWUP HELMETJamal and Shane are examining the trip wire.Obviously, they were sabotaged. JAMAL Bastards. ANNOUNCER (V.O.) And now... uh, the rest of the Washington Redskins.The rest of the team walks unceremoniouslyout of the helmet and onto the field. CUT TO:EXT. FIELD - DAYBOOM! The Patriot kicker puts one in the endzone for a touchback.The ball is placed on the twenty as Shane andthe offense walk out onto the field.Shane walks slowly toward the huddle that'sforming.IN HUDDLEAndre and Mickey Lee are arguing. ANDRE That's where I stand. LEE No it's not. ANDRE Come on, man, that's my spot in the huddle.ON SHANEAs he walks, we hear McGinty's voice inShane's helmet. Yes, they do it by one-wayhelmet radio so the filtered voice you hearis McGinty, speaking into his headset mike. McGINTY (V.O.) All right, son, nice and easy now. Let's run our ten planned plays, get a feel for the land...Shane walks into the huddle and chaos. ANDRE ... Fat fucking nip! You don't know shit! LEE What did you call me?! ANDRE You heard me, you tub a rice shit! SHANE Hold on, what's the problem here?Andre and Lee ignore Shane and start pushingeach other. LEE I'm gonna kick your black ass... ANDRE You ain't kickin' jack shit...Now Jamal gets involved as Shane tries to getbetween them. JAMAL (to Lee) Don't be messing with my brother... SHANE Hey, hold on...ON REFHe's watching the play clock and when it getsto zero he pulls his penalty flag and throwsit. REF Delay of game! Five yards!IN HUDDLELee suddenly punches Andre through his faceguard. Andre knocks into Shane and spins himaround. Jamal then goes to punch Lee, hemisses and nails Shane in the back of thehelmet.Shane goes down hard.ON MADDEN AND SUMMERALLThey look confused. SUMMERALL ... I don't know. Something seems to be going on in the huddle. It looks like... yes, Shane Falco is on his back. They haven't run a play yet but Falco is down. MADDEN This is not a good sign.ON FIELDTrainers race out to Shane, who is lying faceup with the huddle standing over him. SHANE (clearing the cobwebs) What happened? Am I hurt already?Shane sits up. Suddenly, he remembers whathappened. SHANE God damn it! I am the quarterback! I am the only one supposed to talk in the huddle! ANDRE Yeah, but he took my place... SHANE I don't give a shit!Shane gets to his feet. SHANE Huddle up!Everybody leans in. SHANE If you've got something to say, raise your hand! Is that understood?!Lee raises his hand. Shane grits his teethand nods. LEE Suppose like, you don't feel good. Or you're hurt or something like that. Then what? SHANE Then you tell me before the huddle starts! Okay, listen up: 68 blue east storm toss. On two.Jamal raises his hand. SHANE What?! JAMAL That's to the right... right? ANDRE No, it's to the left. SHANE It's to the right! JAMAL You better be quiet, Shane, they'll hear you.We do hear a WHISTLE. A penalty flag fliesby. REF Delay of game! Five yards!Shane throws ups his hands.ON McGINTYHe's talking into his mike. McGINTY What the hell is going on?ON MADDEN AND SUMMERALL MADDEN Well, Pat, so far the Redskins have minus ten yards offensively.ON O'NEILHe's in bed sucking oxygen watching the game.Augustine sits with him. O'NEIL Turn it off. This is going to kill me.ON REDSKIN HUDDLEIt breaks this time and everyone runs to theline of scrimmage. SHANE Blue 68. Blue 68! Hut! Hut!On the snap, Shane turns to head off toLamont but instead runs right into Jamal whoknocks him down.Shane looks up at Jamal. SHANE Have you suddenly decided you don't like me, Jamal? JAMAL Oh. You said it was to the right, didn't you?IN HUDDLEShane leans in. SHANE Okay. Let's try something simple. 18 red left slot open. (to Jamal) That's to the left!They break and Shane lines up over hiscenter. SHANE Eighteen red! Eighteen red! Hut! Hut!On the snap, Shane hands to Lamont who sweepsleft, cuts inside and picks up eight yards.Shane is ecstatic. SHANE Yeah!And then a penalty flag flies by. REF Holding! Number 78.Shane looks at Jamal who is tryingdesperately to hide his number.Shane leans in with the next play. Cochran,playing right tackle, can't resist. COCHRAN You see. We should have prayed. SHANE Shut up! Pass. 22 Solo right slot 'A,' Y stick. On one.They break and come to the line of scrimmage. SHANE Twenty-two green. Hut!Shane does a play action fake to Lamont andthen turns downfield.Wham! He's buried by three defenders. Theball squirts loose and the Patriots recover.ON PILACHOWSKIHe's livid on the sidelines. As hisoffensive line comes off he rants at them.Shane hobbles off past:The defense rushing onto the field led byBateman. SUMMERALL (V.O.) Washington comes up a minus fourteen yards on their first possession.ON PATRIOTSThey break their huddle and come to the lineof scrimmage. Bateman is snorting fire.Earl Wilkinson (with SMITH on the back of hisjersey) patrols the secondary and calls outthe formation. EARL Wide right! You got wide right! Check on the wing!The PATRIOT QUARTERBACK sets up over center. PATRIOT QB Blue fourteen!Bam! Bateman runs offside and flattens thequarterback. Penalty flags fly everywhere.ON SIDELINEDefensive Coordinator Banes rolls his eyes.The Ref moves the ball five yards and givesthe offside sign.ON PATRIOTSThey come out of the huddle again. PATRIOT QB Green eighty-seven!Pow! Bateman dives offside again andforearms the Quarterback, knocking him on hisback. Flags fly again.One Patriot lineman makes the mistake ofpushing Bateman. Bateman literally jumps onhis head. More flags fly.ON SIDELINEBanes is screaming something unintelligibleat Bateman.ON BALLIt's marched downfield by the Ref, this timefifteen yards.OVER this we hear: SUMMERALL (V.O.) I think the Redskins just set a record for penalties in the first three minutes. We're waiting for the stats on that...Here come the Patriots again. CUT TO:FIRST HALF MONTAGEA) SHANE rolls to his right but the blitz is on and he reverses and rolls left. He's finally cornered and has to dump the ball off. The pass is incomplete and he's knocked on his ass.B) SHANE fakes to Lamont and rolls again. He fires a bullet to Franklin on a down and out. Clifford actually catches the ball, then bobbles it and in trying to get possession again, hands the ball to the defender. The defender can't believe it for a beat and then he streaks down the sideline and scores.C) McGINTY just shakes his head.D) TODD, ROB AND BOB scream in pain. Rod pours his own beer over his own head.E) O'NEIL looks disgusted as he watches with Augustine.F) BATEMAN grabs the opposing running backs' face mask and spins him around and around. Flags fly everywhere.G) SHANE is on the run again looking for a receiver. He finally throws the ball... right into the hands of the opposing safety. Shane dives for the guy and misses. The safety scores.H) ANNABELLE is trying desperately to get the crowd into the game by jumping up and down and waving her pom poms. Five guys right in front of her get up from their seats, take all their stuff and leave. CUT TO:EXT. GAME - ANGLE ON SCOREBOARD - SECOND QUARTERshows the Patriots up 17 to 0.ON SHANEHe's rolling in the back field again lookingfor a receiver.SHANE'S POVNothing but meat coming at him.BACK TO SCENEShane panics and tosses the ball out ofbounds. Shane looks at McGinty on thesidelines. We hear McGinty's voice. McGINTY (V.O.) You had Lamont open in the flat.Shane puts his head down like he knows it. McGINTY (V.O.) Come on, now, son. Pick up your pace on the roll. See the big picture. Pump and fake, pump and fake.IN HUDDLEEveryone is dirty, sweating bullets andbreathing very hard.Shane leans into the huddle.Lee is raising his hand. SHANE What? LEE I don't feel good.And with that he promptly vomits sixteeneggs. ANDRE Oh, God! COCHRAN Oooooh... JAMAL Man, that's ripe!Everyone is reacting. Some players gag. EVANS Shane, we got to move! SHANE Okay. On the count of three. Everyone more left. Hut! Hut! Hut!ON HUDDLEEleven bentover guys move in unison with tinysteps to their left.ON PATRIOTS' LINEBACKERThe guy watches the huddle moving. PATRIOT LB What the fuck is this?ON MADDEN AND SUMMERALLSummerall has his binoculars on the movinghuddle. SUMMERALL John, how many years have we been calling games together? MADDEN Seventeen, I think.Pat just hands John the binoculars.IN HUDDLEShane calls the play as they continue to moveas one. SHANE U brown right, west 19 A lead. That's you, Mickey. Puke on him if you have to.ON HUDDLEThe huddle stops and they break for the lineof scrimmage.ON LEEHe lines up face to face with the Patriots'defensive end.Lee breathes in the guy's face and thePatriot gags. SHANE (O.S.) Hut!Lee runs right over the guy. He's quicklyfollowed by Lamont with the ball.Lamont runs for eighteen yards and a firstdown.ON PATRIOT DEFENSIVE ENDHe's waving for a substitute as he weaves offthe field. MADDEN (V.O.) Very nice off tackle run by Lamont. Execution was letter perfect. SUMMERALL (V.O.) That puts the Redskins in field goal range. And here comes Pacifico to see if he can get them on the board before the half ends.ON PACIFICOHe flicks his smoke away as he runs out ontothe field.INT. BAR (QUEENS, NEW YORK)A guy sitting at the bar turns his headquickly to the televised game when he hearsPacifico's name.This is the same mafioso type who saw Loukick the ball that knocked the godfather'shat off. Remember?EXT. BIG O - ON SHANE - DAYHe crouches down and waits for the snap fromEvans.Pacifico lines himself up. MADDEN (V.O.) This will be a forty- five yarder. That's a tough distance for your first N.F.L. field goal try. SHANE Hut!It's a perfect snap. Shane spots it,Pacifico belts it.And it goes through for three.ON TODD, ROD AND BOBThey begin immediately singing "Hail to theRedskins," a march always sung after a score.They and the sparse crowd in the stadium knowand sing every word.ON PACIFICOHe gets high fives all around. Then Batemanruns up and in his ecstasy, slaps Pacifico inthe head.Pacifico goes down, knocked out cold.ON CHEERLEADERSLed by Annabelle, the girls are doing astirring finale to "Hail to the Redskins." CUT TO:INT. LOCKER ROOM - DAY (HALF-TIME)Everyone is lying on the floor.Shane has ice bags on his head, shoulder,elbow and both knees.Pacifico is getting smelling salts from atrainer as Bateman hovers nearby waiting toapologize.Mickey Lee is chewing ice.Cochran is reading his Bible.McGinty walks in and bends down to Shane. McGINTY (quietly) You got to look for Murray over the middle. You got to trust me on this: he's a big, tough kid with good hands. SHANE We can't put three plays together without a penalty, a fumble of a fight. McGINTY You still got a whole half left. You're a thoroughbred out there running against a bunch a nags. You can pick these fuckers apart.Shane smiles through his pain. SHANE You're good. You're really good. CUT TO:EXT. FIELD - DAYThe Patriots have the ball. TheirQuarterback drops back for a pass and throwsit.ON WILKINSONEarl is covering the intended receiver. Hedeftly steps in front of the guy, and makes adiving catch.ON MADDEN AND SUMMERALL SUMMERALL Another terrific interception by Smith. That's his second.Madden starts shuffling through pages. MADDEN Yeah, this guy is a player.He finds the paper he's looking for. MADDEN According to the Redskins, Ray Smith... is... that's weird. No college given, no high school given. It just says he's been a resident of the state of Maryland for the last four years and five months. Likes to embroider. CUT TO:EXT. FIELD - DAYShane is walking toward the huddle. In hisear, he hears: McGINTY (V.O) Half your job is getting that huddle in the right mindset. Use your imagination, Shane.Shane stops short of the huddle. Everyone islooking at him.There is a beat and then Shane steps in. SHANE Okay, let's all take a few seconds to think about what we were doing for a living... just last week.Shane looks around the huddle. Everybodylooks pained and/or depressed. SHANE Good. Let's kick ass. Red right pass 15 x hook.They break the huddle and Shane sets up overEvans. He glances over at Brian Murray.Murray is lined up in a three point stance attight end. But his head is turned and he'slooking directly at Shane. SHANE Red fifteen! Red fifteen! Hut!Shane nods on the snap.The front five, in the persons of Andre,Jamal, Reese, Mickey Lee and Cochran, hit outand simultaneously knock their men on theirbacks.Shane, with plenty of time, hits Murray overthe middle for twelve yards.Shane looks over at the sidelines. McGintyis smiling.MONTAGEA) SHANE is under pressure but he rolls smoothly and rockets the ball downfield.Murray pulls it in for fifteen yards.B) SHANE rolls left off the shotgun, fights off a cornerback and throws back across field, complete to Lamont coming out of the backfield.C) PATRIOT is calling for a fair catch on a punt. He catches the ball but Bateman flies INTO FRAME and decks him. Flags fly.D) ANDRE AND JAMAL are blocking side by side, pushing their men back as Lamont squeezes through with the ball.E) EVANS is pass blocking like the all pro that he is. He knocks his man flat and then doubles up on Cochran's man.F) BATEMAN is pursuing a running back. He knocks down an official and runs right over him. Then he gets his hands on the running back and pushes him out of bounds and then knocks over a photographer.G) SHANE pumps once and then drills a twenty yard spiral. Clifford Franklin beats his man and dives for the ball. He bobbles it, and then squeezes it to his stomach as he hits the ground. CUT TO:INT. BOOTH - DAYMadden uses his pen on the screen to try toexplain a play. There are already lineseverywhere. MADDEN (V.O.) ... began with a Redskin end around, but Cochran, the pulling tackle ran into Falco's pitchout ... see? (MORE) MADDEN (V.O.) (CONT'D) Right here, it bounced off his helmet. Then it was kicked by Landon and then Hayes touched it, I think, and then Green got a hand on it, and then Bellinski recovered it and then he lost it, and finally the ball took a crazy bounce right back into Falco's hands, look at his face here. He's as surprised as anybody! Falco then ran it back to just about the original line of scrimmage, executed the same play -- an end around to Murray -- and the Skins score. Welcome to Strike Football!ON PACIFICOBoom! He boots the extra point.Scoreboard: Patriots 17, Redskins 10. DISSOLVE TO:EXT. FIELD - LATE AFTERNOONWe're on the clock which shows one minute tenseconds left in the fourth quarter.ON HUDDLEIt breaks and comes to the line of scrimmage.Shane drops into the shotgun. SHANE Hut, hut!Shane rolls left but there's a blitz! Thecornerback is almost on him when Shane shiftsand rolls the other way.ON FRANKLINHe's wide open five yards from the goal line.ON SHANEThey're breathing down his back.SHANE'S POVHe sees Franklin and cocks his arm.Suddenly, opposing jerseys are everywhere.Shane dumps the ball. He's immediatelydecked by a defensive end.ON BALLWe watch the flight of it in SLOW MOTION. WeFOLLOW it right INTO the hands of... a NewEngland Patriot defensive back.ON SHANEHe's down and not moving.ON TODD, ROD AND BOBThey scream in despair.ON ANNABELLEShe falls to her knees in pain. SUMMERALL (V.O.) Falco is intercepted. That's too bad. MADDEN (V.O.) Yeah, and it looks like he's hurt, too. He was really starting to put it together here in the fourth quarter. Only forty-eight seconds now left on the clock.ON SHANEHe's helped off the field and onto the bench.ON McGINTYHe grabs Bateman before he can run out ontothe field. McGINTY Danny. (very slowly) Get me the ball. BATEMAN The ball. Okay, Coach.He runs out onto the field.ON PATRIOTSThey line up. PATRIOT QB Hut, hut, hut!The quarterback hands off to the running backright up the middle in a typical "run out theclock" play.BAM! Bateman comes out of nowhere, decks therunner and literally rips the ball out of hishands as he goes down.ON CROWDThey go wild!ON ANNABELLEShe does a cartwheel.ON McGINTYHe's leaning over a groggy Shane on thebench. McGINTY Don't shake your head at me. You are going back in there. You are gonna run the same god damn play, you are gonna throw the ball to Franklin again and this time, he's gonna score. SHANE I can't...McGinty grabs some smelling salts from ahovering trainer.He shoves them under Shane's nose. Shane issuddenly very awake. McGINTY You are the only one in this entire stadium who can do it. Do you understand me? You can do something no one else can do. So, start right here. Start living your destiny. Or give it up for good. Right here. Right now.Shane stares at him.Then he stands up, wobbles and puts on hishelmet.ON HUDDLEThey're all turned and watching as Shanemakes his way slowly out onto the field.Annabelle watches him closely. SUMMERALL (V.O.) Here comes Falco with eighteen seconds left on the clock. MADDEN (V.O.) I'm surprised to see him again after that shot he took from Bellinski.ON HUDDLEIt breaks and Shane stands over Evans andlooks out at the defense.Nasty-looking linebackers and cornerbacksstare at him. SHANE 22 green!His voice cracks and several defensiveplayers openly laugh at him.Shane gets an idea. SHANE Check! Black 43! Black 43!ON ANDREHe's down in a three-point stance facing adefender. He whispers to Reese: ANDRE What's that mean? REESE (whispering back) He's changing the play. Listen! SHANE Black 43! MADDEN (V.O.) It's a long count. Falco could be calling an audible.ON LAMONTHe shifts position in the backfield. LAMONT (to Shane) Is this right? SHANE (shaking his head) Black 43 left!Lamont shifts again. Clifford goes in motionfrom his flanker position but then changeshis mind and goes back the other way.Lamont and Clifford then bump into eachother.ON PATRIOT DEFENSEThey are totally confused now as they try toadjust to the equally confused Redskins.ON McGINTYHe looks extremely pissed.ON SHANE SHANE Hut! Hut!He turns to hand the ball off to Lamont butLamont is not there.Shane turns the other way and sees Lamontjust standing there looking at him. Shaneruns over to him and hands him the ball.Meanwhile, the Patriot defense is going theother direction.Lamont takes off.One cornerback is not taken in. The guydives for Lamont's legs. We hear a CLANK asthe cornerback's HELMET hits Lamont'sindustrial KNEE BRACE. The guy bounces offand Lamont trots into the end zone. SUMMERALL (V.O.) Lamont scores! MADDEN (V.O.) Whoa! Falco calls an audible at the line of scrimmage and Lamont takes it in!Shane, meanwhile, is looking at McGinty onthe sidelines. McGINTY (V.O.) (in Shane's helmet) I guess you saw something I didn't.Shane nods vigorously. McGINTY (V.O.) Don't try to bullshit me, pal. You didn't want it. Winners always want the ball with the game on the line. You know that.Shane looks down. McGINTY (V.O.) Alright. The play is... waggle right, drag hook. You understand?Shane nods.ON O'NEILHe looks ten years younger as he andAugustine watch. SUMMERALL (V.O.) With eight seconds remaining, Pacifico will try the extra point that will send this game into overtime. MADDEN (V.O.) This turned out to be one hell of a contest, Pat!ON PACIFICOHe sets up for the kick.ON SHANEHe waits for the snap.ON BRIAN MURRAYHe sets up at his flanker position. SHANE Hut!Shane catches the snap and pitches the ballout to Murray from his holding position. MADDEN (V.O.) It's a fake!The Patriot right defensive end breaksthrough and reaches for Murray. The onlyperson in his way is Shane, still kneeling inthe holding position. Shane screams as thehuge lineman trips over him and then falls onhim.Murray sweeps around the right side andscores untouched.Redskins win.Everybody goes nuts.ON O'NEILHe pounds on Augustine.ON TODD, ROD AND BOBThey pound on each other. Hail to theRedskins is deafening.ON McGINTYHe just smiles.ON SHANEHe's still under the defensive end. ReeseEvans pulls the guy off and bends down toShane. REESE We won, Shane. We won!Shane manages a painful smile. DISSOLVE TO:INT. WASHINGTON HILTON - BAR - NIGHTIt's packed with players, friends andassorted groupies.Pacifico is smoking and talking non-stop to agroup who hang on his every word.Andre is already passed out at a booth.Jamal supports one side of Andre so hedoesn't fall over.Murray is signing to several fans who signback.Clifford Franklin signs autographs.Earl Wilkinson, dressed to the nines, isdancing close and slow with a gorgeous woman.Shane is at the bar and he's not in goodshape. He's got cuts and bruises visible andevery time he moves he grimaces. Themartinis are starting to help, however.He's talking to a stunning WOMAN IN RED. SHANE ... ultimately, it's a pain thing, you know? I mean, it's Darwinian, the survival of the numbest. Whoever can take the pain most, gets the largest contract. It's sick.He finishes his martini and throws the oliveover his shoulder. WOMAN IN RED Exactly. Let me buy you another.She signals to the bartender. WOMAN IN RED I don't know how you do it. I hate pain. Pain is a no no as far as I'm concerned.Shane gets his new drink, takes a sip andvisibly slumps at the bar. SHANE (slurring) I'm glad that you are concerned. WOMAN IN RED Hey, are you alright? I'll take you up to your room, if you like.Shane looks at her closely. SHANE I would like. CUT TO::INT. HALLWAY - NIGHTShane weaves down the hallway with the WomanIn Red.They stop at a door. SHANE Here's home.Shane fumbles for a key.Another stunning-looking woman suddenlyappears from down the hall. This is theWOMAN IN BLUE. WOMAN IN RED A friend of mine is going to join us, okay? WOMAN IN BLUE Hi. Ready to party?She checks the hallway, takes the key fromShane and sticks it in the lock. SHANE (looking at both women) Oooooh. Bookends. WOMAN IN BLUE And you're the book, baby.Suddenly, Annabelle Farrell appears in thehallway. ANNABELLE (to the girls) Go away. Both of you. WOMAN IN RED Fuck off!Crack! Annabelle punches her in the nosewith a straight right hand. The girl bouncesoff the wall. SHANE (to Annabelle) These are my guests. WOMAN IN RED (now bleeding) You crazy bitch!Both girls take off. SHANE Why did you do that?Annabelle opens the door. ANNABELLE You were about to be rolled. SHANE (as he enters) That's what I was hoping.INT. ROOM - NIGHTAnnabelle is pulling the bed down as Shanefalls into a chair. ANNABELLE They work the bar downstairs looking for drunk Redskins.Shane looks embarrassed. SHANE I guess they found one. ANNABELLE Don't feel so bad. It's a rookie mistake.She turns and sees that he's already passedout.She looks at him not unkindly. Then sheunbuckles his belt and starts pulling hispants off. DISSOLVE TO:INT. ROOM - CLOSE ON SHANE'S BEAT UP FACE - DAWNas he opens his eyes.He rolls over and screams in pain.ON ANNABELLEShe's wearing nothing but a Redskins' T-shirt. She quickly bends over him. ANNABELLE Here. Take this. SHANE (groaning) What is it? ANNABELLE It's for the pain. Take it. It's only a little bit illegal.Shane takes it and swigs a glass of water. SHANE Oh, God. I've got to go to the bathroom. It's far away, isn't it? ANNABELLE I'll help. We'll just take our time.She helps him get out of bed. When hestands, he screams again. ANNABELLE Kidneys. SHANE Oh, man. My hair hurts. ANNABELLE You took a hell of a beating. The martinis didn't help, either.She walks him to the bathroom like an oldman. He shuffles in and closes the door. ANNABELLE Don't be afraid if you've got blood in your urine. That's normal. SHANE (O.S.) Did you undress me? ANNABELLE Yes. SHANE (O.S.) And you... slept here with me? ANNABELLE Yes. SHANE (O.S.) Did we... ? ANNABELLE Are you kidding? You were catatonic.He appears again at the door. SHANE No blood. ANNABELLE Good. Back to bed.He leans on her as she walks him back.He gets into bed with a moan. SHANE May I ask you a personal question?She nods. SHANE Do you do this for all Redskin quarterbacks? ANNABELLE Of course not. SHANE Then why me?Annabelle takes her time answering. ANNABELLE I don't know. I guess I can't resist a man who can take a hit. SHANE I can't take a hit!Annabelle cradles his head. ANNABELLE Shhh. It's all in your head. Now, get some sleep. CUT TO:INT. HOTEL HALLWAY - DAYAnnabelle walks up to Shane's door with astack of newspapers. She enters.INT. ROOM - DAYThe bathroom door is closed. Annabelle talksto him anyway. ANNABELLE You're the golden boy in the press this morning.She reads a headline. ANNABELLE 'Falco scores big.' (to herself) Well... not really. (still reading) Hey, a lot of the regular players are starting to cross the picket line. SHANE (O.S.) Redskins? ANNABELLE It doesn't say.Shane comes out of the bathroom dressed andready to go. He's still moving slowly and ingreat pain. ANNABELLE Where are you going? SHANE McGinty called a dinner meeting with the whole team.Shane tries to put on his coat, but he's sosore he can't. Annabelle helps him. SHANE Thank you. Thanks for... everything. You saved my life. ANNABELLE No. Probably just your wallet and your watch. SHANE And that pill, that sure worked. ANNABELLE You're basic double D Vicodin. But be careful: It's habit- forming. The best stuff always is.There's another awkward silence. SHANE Well... ANNABELLE Ice both knees and that shoulder before bed. CUT TO:EXT. CLIFFORD FRANKLIN'S APARTMENT - NIGHTClifford, still carrying his football, comesout of his apartment in a third floor walk-up. He's wearing his Redskins jacket.As he turns around from locking his door, hestops dead in his tracks.All of Clifford's neighbors, all the way downboth halls, are standing in front of theirdoors.They all start applauding.Clifford smiles from ear to ear.MONTAGEA) ANDRE AND JAMAL are trying to hail a cab on Wisconsin Avenue. Suddenly, one cab, then two, then four SLAM on their BRAKES. Cabbies hop out to open their doors forthe brothers.B) ROLAND LAMONT walks down G Street with Brian Murray. Brian spots something in a store window and stops Roland. Roland gasps as he sees himself duplicated on ten TV screens in an appliance store. He's on tape being interviewed at a Redskins' practice.C) EARL WILKINSON dressed in casual chic, is moving quickly through Lord and Taylor's Department Store with two sales clerks in tow. He stops, grabs four cashmere sweaters, smells them, hands them to one clerk and moves on.D) LOU PACIFICO is standing in front of the White House. He has a line of ten people who are paying five bucks for an autographed picture of himself that he hands out from a huge stack. CUT TO:EXT. PALM RESTAURANT - ESTABLISHING - NIGHTWe see Shane walk in the door.INT. PALM - NIGHTThe Scabskins are all being served dinner ina private room.Mickey Lee is served a steak the size of abriefcase. Andre and Jamal get lobsters bigenough to be pets.Ed O'Neil is being fed pureed asparagus byAugustine. When Augustine drops the napkinand bends over, O'Neil whispers urgently toCochran who is enjoying a steak: O'NEIL I'll give you 50 thousand dollars for a bite of that steak!McGinty taps his glass at the head of thetable and stands. McGINTY Alright, listen up: There have been a lot of rumors about the regular players crossing the picket lines. They are not rumors. Many union players have now seen the error of their ways and are coming back in droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football.There is dead silence in the room. Everybodythinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys.There's a beat and then everyone breaks intocheers.Suddenly, the door flies open and a REPORTERand a cameraman step in and start filming.The Reporter shoves a microphone at McGinty. REPORTER Coach, what will be your strategy against New York this Sunday?Out in the restaurant, patrons see theplayers and a few break into "Hail to theRedskins."Suddenly, the whole restaurant startssinging.Shane looks embarrassed.Pacifico stands up on his seat, and conductsthe singing.Andre and Jamal hold their lobsters in theair and make them dance to the song. CUT TO:INT. EDDIE MARTEL'S HOUSE - NIGHTWe're ON a TELEVISION showing Pacificoconducting and the entire restaurant singing.Eddie Martel (Redskin quarterback) iswatching the scene at home on the late localnews. NEWSPERSON (V.O.) ... The Palm patrons showed an impromptu appreciation tonight for the new Washington Redskins. They may be unknowns and far from superstars, but it sure looks like they have charmed the fans.Martel looks very angry. CUT TO:INT. SHANE'S ROOM - NIGHTShane answers his door. Annabelle isstanding there. SHANE Hi. Come in. ANNABELLE No.She gives him a bottle of pills. ANNABELLE We don't travel with the team. So, here's Tylenol with codeine, regular Vicodins, the magic bullet one that I gave you before, and a couple of Darvons if you actually break something. Pop 'em in the ambulance. SHANE Wow. Thanks. ANNABELLE I'll be watching on TV. The Giants got back three of their four defensive linemen. Plus their middle linebacker. SHANE Yeah. I know. ANNABELLE What can I say? Go from the shotgun and scramble your ass off.Shane smiles at her.She suddenly grabs him and they kiss big-time.Then she breaks and walks quickly away.Shane doesn't know what to make of this. CUT TO:EXT. MEADOWLANDS (NEW JERSEY) - DAYWe're DOWN ON the field in the middle of aplay.Shane is running away from three New YorkGiant defensive linemen.Shane is not even looking for a receiver.He's looking to save his life.Finally, he's caught by a six-foot-five, twohundred and seventy pound defensive end namedHANK MORRIS, who throws him down and lands ontop of him. Oooof! MORRIS (in Shane's ear) Hello, again!INT. CONTROL BOOTH - ON SUMMERALL AND MADDEN - DAYThey're back in their booth calling the game. MADDEN That's all-pro Hank Morris's third sack, his second here in the fourth quarter and the sixth of the day for the Giants. Falco is gonna be sore tonight. SUMMERALL If he can stay alive that long. Ten-three New York in what has turned out to be an incredible defensive duel.EXT. STADIUM - DAYJerome Lindell is once again outside thestadium, picketing with a smaller group ofplayers.He does his interview on camera, standing infront of a huge semi-truck.And a big, overweight truck driver standsnext to him. LINDELL ... because it's about brothers, and brotherhood and standing together against the oppressors. That's why I am so grateful to our Teamster brothers who have joined us here today in New York to protest the greed squad known as the N.F.L. owners.The truck driver suddenly pumps his arm and aCACOPHONY OF TRUCK AIR HORNS GO OFF.It's deafening but Lindell smiles through itall.EXT. FIELD - DAYShane is rolling out with Morris on his heelsagain. He can't find anyone open and runsout of bounds.IN HUDDLEEverybody is breathing hard, beat-up andexhausted. Shane leans in. SHANE (to Reese Evans) You got to double up on Morris. EVANS He's too far outside for me to get to him. (to Cochran) Bring him down and sit on him. COCHRAN He's huge! He's been beating the crap out of me all day! I feel like a rag doll out here. LEE I'll help this time. SHANE Okay. Spread left 'A' Right, roll right Half Back Sail. On two.They break. Shane sets up in the shotgun. SHANE Red, fifteen. Hut, hut!On the snap, Lee and Cochran double-teamMorris.Morris slaps Cochran away like, well, a ragdoll, and then confronts the Sumo master.He bumps stomachs with Lee. Lee fliesthrough the air and lands on his ass.ON SHANEHe spots his receiver, he cocks his arm andwham! Morris decks him. And, of course,lands on him. Oooof! MORRIS (to Shane) It's just me, fuck- face!In order to get up, Morris puts one huge handon Shane's helmet and pushes himself up.Shane moans as his face guard digs a four-inch hole in the turf.ON McGINTYHe's talking into his mike. McGINTY You want a time-out? That looks like it hurt.Shane gets up. He's got a huge piece of turfstuck in his face guard so that for a beat,we can't even see him.Then he pulls out the dirt and grass, and wesee Shane really pissed off for the firsttime. SHANE Huddle up!Everyone gathers around. SHANE Same thing... Except... (to Lee and Cochran) Let him in. Don't touch him. LEE What? EVANS Shane... SHANE Shut up! Let him through. On two.They break the huddle. Shane goes into ashotgun. SHANE Red fifteen. Hut! Hut!Shane does a three-step drop from theshotgun.Cochran and Lee hit out on either side ofMorris, giving him a clear shot at Shane.Morris comes hard and fast.Shane looks downfield, winds up, turns andfires the ball at Morris's head.The ball goes like a bullet for five feet andthen sticks like a dart in Morris's faceguard.For a moment, Morris is blinded.And Shane is dumbfounded.Then Morris starts to wrestle the ball out ofhis mask. SHANE Get him!Andre and Jamal grab onto Morris who startsstumbling down field with the ball stillstuck in his helmet. MADDEN (V.O.) Morris intercepts! Wait! The ball is stuck in his face!But Morris won't go down. He's still tryingto pry the ball loose as he throws off Jamal.Then he shakes off Andre.ON BRIAN MURRAYHe's in SLOW MOTION in midair, diving towardsMorris.MURRAY'S POVIt's absolutely QUIET (he's deaf, remember?)as he soars towards Morris's head, helmet andball.Wham! Murray's full body weight hits Morrisin the helmet, which flies off and rollsacross the field with the ball still stuck init.OUT OF THE SILENCE, we suddenly hear the hitand the crowd roar.Morris goes down like a building with Murrayburied in his throat.ON ROOM (D.C.)Todd, Rod and Bob are destroying Todd's denin reaction to the hit.ON ANOTHER LIVING ROOMAnnabelle is screaming "Whoa!" to that hit.ON O'NEIL AND AUGUSTINEThey're watching ON TV. O'NEIL Now that's a hit!ON BALL AND HELMETIt's in the very chubby hands of Mickey Lee,who is rumbling downfield with thefumble/helmet recovery.New York players have been slow to pick thisup because they, too, have been admiring thelick that Murray put on Morris.Suddenly, the whole team is chasing Lee.They catch him pretty easily at the twenty,but Lee represents a lot of weight.Lee staggers across the ten, shaking playersoff left and right.One defensive halfback sacrifices himself andthrows himself at Lee's feet.Lee trips over the guy, gains his footingagain, walks on the guy (who screams inagony) and falls into the end zone carryingthree players with him.ON MADDEN AND SUMMERALLJohn is beside himself. MADDEN Lee scores! Lee scores! Lee scores! I love to see a fat guy score!ON LEEHe gets up in jubilation, spikes theball/helmet combination, and runs through theback of the end zone.But he doesn't stop. He's aiming for a lowwall that separates the first row of fansfrom the field.ON FOUR FANSThey see Mickey rumbling at them and they allget the picture at the same time. Theyscream!ON MICKEYHe launches himself into the stands inecstasy.ON FOUR FANSCrunch! Lee lands on all four of them.ON FOOTBALLIt's hiked into Shane's hands and Pacificoboots the extra point.ON SCOREBOARD"Giants 10 -- Redskins 10 TIME REMAINING: 58 seconds."ON SIDELINEMurray and Lee are getting congratulationsfrom everyone. PACIFICO (to Murray) What a hit! (slower) What a hit!Murray nods that he understands. EVANS (to Murray) I'm proud of you, kid.Jamal and Andre are hugging Lee. In theb.g., we can see paramedics lifting one ofLee's four fans onto a stretcher. ANDRE You're the one, you're the one, you're the one... LEE You think that's worth a shoe deal?McGinty walks into the middle of it. McGINTY Stop with the lovefest! Let's get the goddamn ball back and win this thing! CUT TO:EXT. FIELD - DAYWe're CLOSE ON Bateman as he lines up for thekick-off. Everybody in the stadium knowsthat an on-side kick is coming.Bateman is standing in the hot spot forrecovering the ball.Shane and everyone with decent hands is onthe field.Pacifico lines it up and boots it ten yards.The ball takes a crazy hop, hits a Giant, andricochets off him.Bateman runs over two guys and grabs the ballon the bounce. He's got it.But Bateman doesn't go down. He turns andstarts running across the field.Shane runs after him. SHANE No! Danny, go down! You're using up the clock!But Bateman likes this new job: kick-offreturner! Especially after he runs over aGiant and stiff-arms another.Bateman is finally trapped on the farsideline after gaining perhaps eight yards.So, he turns and starts running back theother way.Shane has been chasing him and now seesBateman running back at him.Shane has no choice but to throw himself infront of Bateman's legs.Bateman goes down.Shane jumps up: SHANE (to ref) Time out!Bateman looks up at Shane. BATEMAN Beautiful tackle, Shane! SUMMERALL (V.O.) Now that's something you don't see everyday!ON CLOCKBateman has burned up most of the clock.Eighteen seconds remain.ON SIDELINEMcGinty, Shane and Pacifico confer. SHANE We got time for one play, but if we don't get it out of bounds, the game is over. McGINTY Yeah, but you're looking at a sixty-five yard kick from here. PACIFICO (smoking a butt) No problem. SHANE Seriously? PACIFICO (to Shane) You hold it. I'll kick it.McGinty looks at Shane and they both shrug. McGINTY What the fuck.ON SUMMERALL AND MADDENMadden can't believe it. MADDEN I can't believe it! McGinty is gonna let Pacifico try the field goal from sixty-five yards out! SUMMERALL Hey, John, this kid has got a heck of a foot. STRAM But sixty-five yards? Come on!ON SHANEHe's set up to receive the snap.Pacifico lines himself up the way soccer-style kickers do.Then he takes a drag on his smoke, and flicksit away. MADDEN (V.O.) Pat... did he just? I think that guy is smoking on the field! SUMMERALL (V.O.) No, I think you imagined that one, John.Shane looks at Pacifico and his cleanuniform.Then Shane looks at his own uniform which iscovered with blood, dirt, and grass stains.Pacifico looks clean. SHANE You look great, Lou, you know that?Pacifico is really touched. LOU Really? Thanks, Shane. That means a lot to me.Shane turns to Evans who smiles at himbetween his own legs. SHANE Hut!The snap is perfect. Pacifico boots the shitout of it.ON BALLEnd over end, yard after yard, it fliesstraight and true. MADDEN (V.O.) It's straight enough! If it's got the distance, it's...The ball hits the crossbar and goes over. MADDEN (V.O.) Good! Redskins win!Everybody goes crazy. Players are poundingon Pacifico. But Pacifico is desperatelylooking around for someone.He spots him: It's Bateman running flat-outacross the field to congratulate him.Pacifico runs for his life. CUT TO:INT. APARTMENT DOOR - NIGHTShane knocks. After a beat, the door opensand Annabelle is standing there rubbing hereyes. She's wearing a cut-off Redskinjersey. ANNABELLE Are you hurt? SHANE No. Not really. ANNABELLE You're getting used to being slapped around. That's a good sign. SHANE I...Nothing comes out. ANNABELLE Would you like to come in and make love? SHANE Yes. No. I'm here because ... I don't want to be alone. ANNABELLE Most of the world feels that way. You don't have to be embarrassed about it. SHANE But to tell you the truth... I'm kind of scared of you.Annabelle takes that in and thinks about it. ANNABELLE I won't hurt you.She takes his hand and leads him inside. CUT TO:INT. ANNABELLE'S BEDROOM - NIGHTAnnabelle is giving Shane a slow, sensuous,full-body massage. It's lucky for us he's onhis stomach.Shane does a lot of moaning as Annabelle'sfingers work their magic.She gets to a place on his shoulder that'sespecially tender. He moans even louder. ANNABELLE That shoulder is going to need special handling.Annabelle pulls her jersey off and gentlypresses her breasts into Shane's back.Shane puts a pillow over his head to drownout the ecstasy.After a beat, he pulls the pillow away. SHANE You know what hurts worse than my shoulder? ANNABELLE I can't imagine. SHANE Their defensive end punched me in the mouth.Annabelle starts laughing. SHANE Seriously. It's killing me.Annabelle is laughing hard now as Shane rollsover. DISSOLVE TO:INT. ANNABELLE'S BEDROOM - NIGHTShane and Annabelle are in a close, after-sexkind of cuddle thing.Shane is unburdening himself. SHANE ... after that game, after being beaten that badly in front of the whole country, after humiliating myself, my team, my school, my family, I mean -- did you know that I set two Sugar Bowl records?! I was sacked eleven times! I threw six interceptions! ANNABELLE Okay. Calm down. SHANE Anyway, after that, I could never seem to adjust in the pros. I was too scared. I lost my balls.We see Annabelle's hand move slightly underthe covers. ANNABELLE Well, they're back. SHANE You know what I mean. My nerve. I lost the edge you need to play this game. ANNABELLE I don't believe that. I don't think it just goes away. It was only one bad day, Shane. Everybody has those. SHANE No. Somehow, I convinced myself that I couldn't ever win the big game. I got so down, that I was afraid to be playing when a game was on the line. I was afraid to screw up. That's the sure sign of a loser. From there, it wasn't very far to thinking that I'll never win, that I didn't deserve to win at anything. Including love. ANNABELLE You're wrong. You're winning now. You're winning me.They kiss real good. CUT TO:EXT. O'NEIL MANSION - MORNINGIt's a huge town house in Foggy Bottom. Itsentrance is now lined with REPORTERS.One is speaking ON CAMERA to his anchor. REPORTER Bob, I'm standing in front of Redskins owner, Edward Frances O'Neil's home and all we know right now is that the Washington player previously known as Ray Smith is in fact Earl Samuel Wilkinson...INSERTWe see two photographs of Earl: One with hiscurrent beard and the other, his clean-shavenmug shot of five years ago. REPORTER (O.S.) ... the All Pro Miami Safety who was serving five to seven years in the Maryland state penitentiary for three counts of aggravated assault. As you may recall, one of those counts was against a Baltimore City police officer and resulted in that officer being hospitalized for quite some time.INT. STUDIO - ANCHORHe's doing his sports segment from thestudio. ANCHOR Any idea how Wilkinson's identity was discovered and who leaked it to the media? REPORTER No, Bob, but rumor has it that the National Football League Player's Association had something to do with it. ANCHOR Thanks, Hank. (TO CAMERA) In other N.F.L. news, almost sixty percent of the regular players have now crossed the picket lines and more are crossing every day. The strike, now in its second week, is expected to go out with a fizzle. Most experts think that the Monday night Dallas/Washington game will be the last with replacement players. But even that game will feature at least 75 percent of the regular Cowboys. Coach James McGinty will try to make it a perfect three and O with a team made up totally of replacement players. Well... and one felon. (pause) That we know of. CUT TO:INT. O'NEIL'S BEDROOM - DAYMcGinty stares out the window at thereporters as Augustine feeds O'Neil soup. McGINTY Stop worrying. The N.F.L. doesn't care if he played under an assumed name. Everything was legal. He was let out on a work release program. He'll be kept under house arrest but he'll still be able to play. O'NEIL Where are we gonna keep him? McGINTY In the stadium. We'll fix up something comfortable for him and he'll get his exercise by kicking the shit out of N.F.L. receivers. O'NEIL How did you pull that off? McGINTY How else? With your money. O'NEIL (to Augustine) Take this cow piss out of here. AUGUSTINE You used to love asparagus soup. They say that when the taste buds go, you're at the beginning of the end.Augustine leaves with the tray. McGINTY I want to keep Falco after the strike ends. As Martel's back-up. O'NEIL Let's keep 'em all. The hell with the regulars. McGINTY You've got to take the union players back once the strike ends. It's part of the collective bargaining agreement. O'NEIL The hell I do! I'm dying! Let 'em sue me. McGINTY They'll do worse than that. They'll close down the stadium. O'NEIL God damn 'em! Then you got to beat Dallas. The whole country will be watching. All those millionaires down there deserve to have their noses rubbed in it. McGINTY Ed, let's be honest: beating Dallas is gonna be a hell of a trick. O'NEIL You can pull it off. You proved that winning doesn't have to look pretty. These boys are hungry for it, Jimmy. (MORE) O'NEIL (CONT'D) There's nothin' more dangerous in all of sports than a hungry team. I remember back in '47, we were playing Nebraska in the mud... McGINTY (interrupting) Ed, I'm begging you -- no Notre Dame stories. O'NEIL Okay, Jimmy, okay. But you beat Dallas for me, and then I'll go gently into that night. CUT TO:INT. CAR SHOWROOM - DAYWe're ON Mickey Lee, who is wearing hisRedskin game jersey with no pads. He'sstuffed into a Cadillac Brougham, a big-assversion of the Caddy.He's talking directly TO US. LEE You'll score, too, with a Cadillac from Coleman Cadillac. It's a big car for a big man.Mickey is very wooden as a spokesperson. Hetries again. LEE (same thing) You'll score, too, with a Cadillac from Coleman's Cadillac. It's a big car for a big man. DIRECTOR (O.S.) That's good, Mickey, that's real good. Let's try it again.Mickey looks game.MONTAGEA) EXT. STADIUM Andre, Jamal, Brian Murray, Roland Lamont, Daniel Bateman, Lou Pacifico and Shane are standing outside the stadium after practice. They are all mobbed by autograph seekers.All of them are signing as fast as they can.B) EXT. WASHINGTON MONUMENT The guys are on the grounds of the Washington Monument. They are lined up against a bunch of little kids. Shane takes the snap. (The ball is a miniature rubber football.) All the linemen fall down. The kids blitz and sack Shane for a big loss. Annabelle watches and laughs and claps.C) MICKEY LEE still crammed into the Cadillac. He looks exhausted and pissed. LEE (in a monotone) You'll score, too, with a Cadillac from Coleman Cadillac. It's a big car, for a big man. DIRECTOR (O.S.) Okay. Good. That was good. Let's try it again... LEE (exploding) What?! I'm not doing it again! Who are you, Orson Welles?! This is nuts! Lee tries unsuccessfully to get out of the car.D) ALL REPLACEMENT PLAYERS are lined up in Redskin jerseys, minus pads. It's team picture day and everyone looks happy to be there. CUT TO:INT. HILTON - NIGHTShane walks down the hall to his room. Heenters.INT. SHANE'S ROOM - NIGHTHe walks in and closes the door.When he turns around, Eddie Martel, ex-Washington Redskin quarterback, is sitting onShane's bed.Two defensive linemen-types stand by thewindow. SHANE What's this? MARTEL This is a visit. SHANE A visit. Who let you in? MARTEL I used to nail one of the housekeepers. SHANE Lucky girl. MARTEL (pointing to the linemen) You know who these guys are, don't you? SHANE Dallas Cowboys. Howdy. MARTEL You'll be seeing a lot of these guys tomorrow. SHANE What do you want? MARTEL Who, me? Not much. But these boys wanted a little head start on you.There's a beat and then Shane suddenly boltsfor the door. But the two linemen grab andhold him. SHANE I'm flattered that you actually think we have a chance to win. MARTEL It can be a game of luck. And under no circumstances can we allow a scab team to go three and O. Especially against the Dallas Cowboys. It's just not good for the game. SHANE Is the union behind this 'visit'? MARTEL I can't really say, Shane. By the way, have you ever tried throwing a football with bruised ribs?He kicks Shane viciously in the side. Shanescreams. MARTEL The pain makes it damn near impossible.The linemen drops Shane on the floor. MARTEL And one other thing: I want you to stay away from Annabelle.Shane is gasping on the floor. MARTEL The sad fact is she won't give me the time of day. But you can't have everything I want. I can't let that happen. So, you gotta stop seeing her. Just on principle.Martel viciously kicks Shane again. Shanescreams. MARTEL Let me hear you say it.Shane is trying to get his breath. MARTEL Come on. You can do it. SHANE (barely visible) I won't go out with her anymore. MARTEL Good. (to the linemen) Gentlemen? (to Shane) Hey, have a great game!They move toward the door. CUT TO:EXT. BIG O - MAGIC HOUROnce again, fans stream into the parkinglots.In a corner of a lot, Jerome Lindell is onceagain holding forth ON CAMERA.But this time, he's standing with a hard-looking guy in a suit, named MATHESON. LINDELL I think that Mister Matheson here, and myself, are very close to an agreement that will put the 'pro' back in pro-football. REPORTER Mister Matheson, what are the sticking points in the negotiations as far as the owners are concerned? MATHESON Only one: that the players immediately go back to work with no change in the existing contract.Lindell looks uncomfortable. But he smilesanyway. CUT TO:INT. MONDAY NIGHT FOOTBALL BOOTH - NIGHTThe familiar "MONDAY NIGHT FOOTBALL THEMESONG" is just ending. AL MICHAELS does hison camera intro. AL Good evening from the Big O here in Washington D.C. where the mighty Dallas Cowboys take on the Cinderella Washington 'Scabskins' as they have come to be known. Hi, I'm Al Michaels and we are witnesses to a unique matchup tonight as Shane Falco and a contingent of strike players go up against the entire regular squad of the Dallas Cowboys. Yes, you heard right: every Cowboy has now crossed the picket line, some as late as this afternoon, and they will all play tonight. Can a rag tag group of hasbeens and castoffs stand up to what was once called America's team? And what about the strike itself? It has been so ineffective that many predict it will be over before this game ends. Stay tuned as Boomer and Dan join me for strike ball, D.C. style.EXT. STADIUM - MAGIC HOUREddie Martel, Wilson Jones and other regularRedskins take their seats on the fifty yardline. CUT TO:INT. REDSKIN LOCKER ROOM - NIGHTEveryone is just about dressed in theiruniforms and ready to go.Lou Pacifico enters in street clothes andstarts undressing quickly. He looks worried.Shane watches Lou for a beat. We see Shaneshift his upper body and grimace.McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike.Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? SHANE Whatever you say, Coach.McGinty walks into the middle of the lockerroom and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. CUT TO:EXT. STADIUM - DAYBoom! Pacifico belts the kick-off deep intothe end zone. Touchback.ON AL, DAN AND BOOMERThe three hosts sit in shirtsleeves and ties,headphones on. AL That is one very big leg on Lou Pacifico. He's a big reason why this strike team is two and 0. DAN But the fact is, a kicker does not an offense make. I think tonight the Scabskins will have a very rude awakening. BOOMER But you have to admit, Dan, Falco is proving to be the real thing. DAN Well, Boomer, no, I don't have to admit anything. BOOMER (rolling his eyes) Here we go...Everybody laughs politely. CUT TO:EXT. FIELD - DAYBam! Earl Wilkinson flattens a Dallas puntreturner. He's now wearing a jersey with hisreal name on the back.ON TODD, ROD AND BOBBob is dressed in a striped convict suit withWilkinson's number on it.He gets high fives from Todd and Rod forWilkinson's hit.ON SHANEHe walks out onto the field to join thehuddle. ANNABELLE Shane!He turns and sees a smiling Annabelle.Shane gives her a guilty wave and thencringes with the pain of just having to lifthis arm.ON LINE OF SCRIMMAGEThe Redskins line up. Cochran is oppositeButler, the big tackle that "visited" Shane'sroom. COCHRAN (to Butler) I just want to say what an honor it is to play opposite you. And if it's not too much trouble, I would love to have your autograph. BUTLER No problem. SHANE (O.S.) Hut! Hut!On the snap, Butler bashes Cochran's headwith his forearm and knocks his helmet off.Then he runs over him.ON SHANEHe under-throws a very weak-looking pass toLamont.Shane grits his teeth against the pain.ON COCHRANHe's dazed and still on the ground.Butler walks over and bends down to him. BUTLER I'm gonna autograph your body with bruises, you scab-ass son of a bitch! CUT TO:EXT. FIELD - DAYShane is in the backfield, once again runningfor his life.He's rolling left with Butler on his heels.He throws another weak incomplete pass toMurray.Shane is crushed by Butler after he throwsthe ball. BUTLER How's that side feel? SHANE (grimacing) Like Christmas morning.Butler leans on Shane's side as he gets up.Shane gasps with pain.ON McGINTYHe's watching Shane closely. Then he talksinto his mike. McGINTY What's the matter with your arm? Are you alright?ON AL, DAN AND BOOMERThey're watching the replay on their monitor.Dan is very happy. DAN What pursuit! Butler never gave up on him. That's a 270-pound guy who moves like a halfback. BOOMER Dan, I think Butler's hit on Falco was late, to tell you the truth. DAN Well, of course you do. You were a wimp quarterback. AL Easy, guys.Some laughter. CUT TO:FIRST-HALF MONTAGEA) DALLAS KICKER Boom! The Dallas kicker puts away the extra point after a score. ON SCOREBOARD Dallas 7, Washington 0.B) SHANE is under pressure as he rolls out. When a defensive lineman gets close, he throws the ball away like we've seen him do before. A defensive back intercepts. Dallas's ball.C) BALL Boom! The ball goes through the uprights for a Dallas field goal. ON SCOREBOARD Dallas 10, Washington 0.D) AUGUSTINE massages O'Neil's feet as the old man watches the game. He looks worried.E) PACIFICO smokes and stalks the sidelines. He looks up into the stands and sees the mafioso type looking down at him.F) SHANE steps up in the pocket. He looks downfield but in the face of the pass rush, he throws the ball weakly out of bounds.G) LEE is pass-blocking but the first guy spins him around and the second guy runs right around him.H) BATEMAN is double-teamed on a pass rush. He spins but he can get no leverage against his opponents. When the play ends, he pushes one of them. A penalty flag flies by.I) ROLAND LAMONT takes a pitch out, is immediately hit hard and loses the ball. A cornerback picks it up and takes it all the way for a Dallas score.J) WILKINSON steps up and bats a ball away from a Dallas receiver. A flag flies. Wilkinson argues the call.K) COCHRAN is lined up across from Butler. On the snap, Butler slaps Cochran in the face mask with his big, fat club of a hand. Cochran disappears OUT OF FRAME.L) DALLAS KICKER Boom! The Dallas kicker puts away the extra point after a Dallas touchdown. SCOREBOARD Dallas 24, Washington 0.M) EDDIE MARTEL, WILSON JONES AND OTHER REDSKINS sitting in the stands look satisfied. CUT TO:EXT. FIELD - DAYThe Redskins huddle. Shane is in pain. Helooks up at the clock.ON CLOCKThere's thirty-two seconds left in the half. SHANE Okay. Red right 15 X hook.The break the huddle and come to the line ofscrimmage. SHANE 15 X hut!Shane rolls right and looks downfield. Heholds the ball and keeps rolling. No one canget open.Suddenly, Lamont cuts in front of him andyells: LAMONT Shane!Lamont sees an open lane and Shane followshim. He eats up 15 yards before twodefensive halfbacks close in.Lamont throws an incredible block and takesout both guys.Shane blows by and heads for the end zone.Only a safety stands between Shane and paydirt.CLOSE ON SHANEHis side is killing him with every step hetakes.When the safety moves up on him, Shane panicsand goes down in the same kind of slide thatEddie Martel did in the beginning.Boom! The GUN SOUNDS and the half ends.Shane sees Redskin trainers running out ontothe field.He turns and sees Lamont rolling on theground in pain as he holds his bad knee. CUT TO:INT. MONDAY NIGHT FOOTBALL BOOTH - NIGHTThe boys are doing their half-time stand up. AL That's the end of the first half and not surprisingly, it was all Dallas. The Cowboys had over two hundred yards offensively versus Washington's frankly pathetic thirty-eight yards. That's total offense. Falco got close to scoring on the last play of the half but he appeared to have slipped. By the way, running back Roland Lamont was hurt on that play and word is he's on his way to the hospital. DAN Al, the battle is being fought and won in the trenches. You can't expect a bunch of pick- up players to stand up to a professional pass rush like the Cowboys. BOOMER There's still a whole half left, Dan. And remember, Falco is proving to be a second- half quarterback. DAN You got to be kidding. BOOMER Those big, fat boys in the trenches get awful tired. You ought to know that, Dan.No laughter. AL Okay, let's join Chris Berman with our half- time show. Chris?After a beat we hear: DIRECTOR (V.O.) Clear! AL What's wrong with you guys?! BOOMER He started it. DAN I did not! You called me fat! BOOMER I did not! But you are!Dan reaches across Al and grabs Boomer by thethroat. AL Stop it!The three of them start wrestling in thebooth. CUT TO:INT. REDSKIN LOCKER ROOM - NIGHTEveryone is nursing a bruise or some sort ofwound. Shane is nowhere to be seen.McGinty walks into the middle of the lockerroom. McGINTY Alright, listen up: The strike is officially over. They're announcing it on TV right now. So this is it, gentlemen. We have one half left to keep from being totally humiliated. You are better than the present score. You have nothing but your own self-respect riding on this game. It's up to you. Here's your swan song, people. How are you gonna sing it?And with that he walks out. Everybody looksbeaten and depressed.EXT. OUTSIDE LOCKER ROOM - DAYShane stops two paramedics who push RolandLamont on a stretcher. Roland is reallyhurting. SHANE I'm sorry, Roland. That was a great block. ROLAND For my last play in football, I'll take that block.Shane looks terribly guilty. ROLAND I thought you were going to score. What happened? Did you slip?Shane can't look at him, but he nods. ROLAND That's what I thought. SHANE You were a warrior, Roland. I'm gonna miss you. ROLAND It was a dream come true. Go kick some ass for me.The paramedics roll him away. Shane slumpsagainst the wall near tears.McGinty comes out of the locker room. Helocks eyes with Shane for a beat.And then McGinty turns his back on him andwalks away.INT. LOCKER ROOM - DAYEveryone is quiet. Shane walks in.SID, the equipment manager, sees him andyells. SID Hey, Shane, I just heard. Congratulations!He smacks Shane on his bad side and Shanegrimaces. WILKINSON Congratulations on what? SID Shane is staying on. He's gonna be Martel's backup.Everyone stares at Shane for a beat. ANDRE Is that true? SHANE Yes, Andre. It's true.Nobody says anything for a beat. FRANKLIN I got to tell you, Shane, you played the first half like you were staying. Like you already had a contract.Shane looks around the room at this beatenbunch. No one makes eye contact with him. SHANE You're right, Clifford. And I'm sorry. But now I want to go out there and either beat these bastards or die trying. I never wanted to beat anybody so bad in my life.Everybody lets this sink in.Earl Wilkinson finally speaks up. EARL I don't know what yawl are doin' tomorrow, but my ass is goin' back to jail. But if I gotta go, I want to go back a winner. EVANS Hell, I'm retiring. I have thirty minutes of football left in my whole career. I'm homicidal! BATEMAN Me, too, Reese! EARL Let's get it on!Everybody turns to Shane. SHANE Gentlemen, our problem is the Cowboys aren't afraid of us. But they should be! LAMONT Damn straight!Everybody whoops! SHANE We've got one chance on offense to make our stand -- the first play of the half. JAMAL One touchdown ain't gonna help, Shane. SHANE No. But one nasty-ass play might. We just gotta be brave. And trust each other.Shane happens to glance at Pacifico.Pacifico won't meet his eye.Shane turns to Sid. SHANE Help me with this.Sid helps Shane strip his jersey off.Everyone reacts to the bruises on Shane'sside. SHANE Somebody has to tape me up. CUT TO:EXT. FIELD - NIGHTThe Cowboys are already back on the field asthe Redskins come out of their locker room. AL (V.O.) ... at nine-forty Eastern time, the agreement was reached, and except for this upcoming second half, the strike is history.ON AL, DAN AND BOOMERBoomer's tie is off and his shirt is torn.Dan looks guilty, but still angry. DAN It's about time. I say let the professionals back on the field. The fans deserve nothing less. BOOMER Yeah, you would say that.ON BALLThe Dallas kicker puts the ball in the endzone for a touchback.ON SHANEHe starts to follow the offense out on thefield. Then he turns and sees Annabelleengrossed in a cheer.He runs over to her. ANNABELLE Are you okay? Is it your side? SHANE I'm okay. I owe you an apology. ANNABELLE What? You do? SHANE Yes. I'll explain later. But thank you for believing in me. You give me strength just looking at you.And with that, Shane takes her in his armsand kisses her deeply.The crowd on that side of the field reacts tothe kiss with a "Wooooooo!" AL (V.O.) Well, this is a first. Shane Falco seems to be... BOOMER (V.O.) Hell, Al, he's necking with a cheerleader! I've done a little of that in my time. DAN (V.O.) The players are not supposed to fraternize with the cheerleaders. BOOMER (V.O.) Hey, Dan, what are they gonna do? Fire him?!ON SHANEHe breaks the kiss and looks up in the standsat Eddie Martel.Shane gives him the finger.The crowd goes "Wooooo!" at that too.Martel doesn't think this is funny.Shane walks onto the field leaving a confusedbut happy Annabelle.He walks past Dallas defensive linemanButler. BUTLER That wasn't too smart. SHANE Suck my dick.Butler is too shocked for a comeback.ON HUDDLEIt breaks and Shane walks to the line ofscrimmage. AL (V.O.) Here we go, first and ten for the Redskins. Twenty-four zip Dallas.We can see now that Wilkinson and Bateman arenow part of the offense.They line up as receivers opposite defensivehalfbacks. In fact, everyone but Shane is onthe line of scrimmage, paired up across froma cowboy.Shane leans over Reese and takes in theDallas defense.The Dallas MIDDLE LINEBACKER yells at Shane. LINEBACKER Are you ready for more pain, footsteps?Shane just smiles. SHANE Blue thirteen! Blue thirteen! Hut! Hut! Hut!MONTAGEOn the snap, many things happen at once:A) COCHRAN sticks his fingers inside Butler's face mask and pokes both eyes. Butler screams!B) SHANE throws the ball as hard as he can at the middle Linebacker and hits him in the crotch. The guy grabs himself and collapses.C) CLIFFORD FRANKLIN kicks his defender in the shins as hard as he can. The defender screams and falls down.D) BATEMAN gets a cornerback across from him in a choke hold. The guy can't breathe but Bateman holds on.E) WILKINSON lifts up his defender's face guard and connects with a right hand to the guy's chin.F) LEE pulls the defensive lineman in front of him to the ground. Then he falls on him. The guy screams.ON FIELDAll across the line of scrimmage, Redskinsare punching, kicking and gouging the Dallasdefense.WHISTLES BLOW. Flags fly everywhere.Most of the Dallas players are down andscreaming.Jamal stands across from a DEFENSIVE LINEMAN.He hasn't touched the guy. But he nods tothe player to look at his hand.The guy looks down just as Jamal flicks opena deadly-looking switchblade.The guy jumps back and yells: DEFENDER He's got a knife!But there is so much confusion that nobodypays any attention. Jamal slips the knifeaway. AL (V.O.) Whoa! Flags fly everywhere! I've never seen anything like this! BOOMER (V.O.) Unbelievable! One Washington player had a Cowboy in what appeared to be a police choke hold. DAN (V.O.) I see at least five flags... no six!The officials are going crazy trying tofigure out the penalties as Shane and theoffense back up and make room for the Dallasmedical staff who come running out on thefield.Some Dallas players are livid: BUTLER (to the Ref) He scratched my eyes out! LINEBACKER He hit me on purpose!ON McGINTYHe's smiling to himself on the sidelines.ON REFEREEHe faces the cameras, turns on his microphoneand sums up the penalties. REF Unsportsmanlike conduct, number 72, number 81 and number 87 on the offense, fifteen yards... (to himself) ... times three... that's forty-five yards. Illegal use of hands, number 48 on the offense, fifteen yards. That makes it sixty yards. Unnecessary roughness number 65 and number 32, fifteen yards... that's, wait... forty-five... no, thirty... (turns to another ref) ... how many yards so far?ON BALLA ref is taking a very long walk with it. Hestops at the Redskin two-yard line and putsit down.IN HUDDLEShane leans in. SHANE Okay, everybody, stick together and don't take any shit. Let's make 'em hurt!They break the huddle and line up with theirbacks to their goal.ON COCHRAN AND BUTLERButler is still whining. BUTLER I can't believe you went for my eyes! COCHRAN Shut up! I'm gonna do it again 'cause it was fun!ON SHANE SHANE Black 98! Black 98! Hut!ON COCHRANHe drops Butler with a vicious forearm.Shane flicks the ball over the middle toMurray who pulls it in for fifteen yards anda first down. CUT TO:MONTAGE - FOURTH QUARTER STUFFA) BATEMAN (now at running back) sweeps outside with Jamal and Reese Evans leading the way. Both linemen growl as they throw themselves into the defense.B) SHANE is rolling right with Butler on his heels. Just when it looks like Butler has him, Cochran comes out of nowhere and cuts Butler at the knees. Shane fakes a throw and keeps the ball for a fifteen- yard gain.C) SHANE hits Franklin with a short flick pass.D) BATEMAN runs off tackle and scores.E) PACIFICO kicks the extra point. Scoreboard: Dallas 24, Redskins 7.F) WILKINSON blitzes from his safety position and decks the Dallas quarterback.G) BATEMAN stops a runner at the line of scrimmage and throws him for a loss.H) WILKINSON takes a punt at his own thirty. With Bateman blocking, Wilkinson springs to the outside and goes all the way for a touchdown. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14.I) DALLAS FIELD GOAL KICKER is set to boot one. The ball is snapped, the kicker moves forward and suddenly Brian Murray breaks through the offense and blocks the kick.J) SHANE hits Franklin on a little down and out. He's hit by the defender, the ball goes flying but so does a flag. Pass interference. Redskin first down.K) ON CLOCK Four minutes six seconds remain. CUT TO:EXT. HUDDLE - DAYThe Redskin huddle breaks. The guys come tothe line of scrimmage. AL (V.O.) First and ten at the Cowboy twenty and I'm telling you, we are looking at a totally different team here in the second half. BOOMER (V.O.) Absolutely, Al. The Redskins are playing like there's no tomorrow, because, hey, there isn't! DAN (V.O.) I gotta agree with you on this one. The surprising thing for me is how ineffectual the Cowboys have been in this half. I mean, they look totally intimidated. AL (V.O.) I love when you guys agree.ON SHANEHe's in the shotgun calling signals. SHANE Hut! Hut!He gets the snap and starts looking downfieldfor receivers.ON COCHRANHe slips while he's blocking Butler who takesadvantage of the situation and blows by him.ON SHANEHe's got Franklin crossing in the end zone.He cocks and throws, and simultaneously getsdecked by Butler.ON BALLA Dallas defensive halfback goes up for itbut just tips the ball. It keeps going nowend over end... right into the waiting armsof Franklin who is standing by himself in theend zone.Franklin is shocked. His teammates run INTOFRAME and mob him. AL (V.O.) Touchdown, Skins! What a fluke! BOOMER (V.O.) Total luck there, Al. Makes up for the perfect ones they drop. DAN (V.O.) Maybe not so lucky. Falco is down.ON SHANEHe's on his back.ON ANNABELLEShe looks worried as trainers run out ontothe field.ON O'NEIL AND AUGUSTINEThey're watching in O'Neil's bedroom.ON SHANETrainers are bending over him. He's out buthe's mumbling: SHANE Put your tits on my head...A trainer hears that and looks worried.Shane's teammates run up and carry him offthe field.ON FRANKLINHe's holding for Pacifico on the extra point.On the snap, Franklin bobbles the ball butmanages to put it down.Pacifico belts it through the uprights.Scoreboard: Dallas 24, Washington 21. DISSOLVE TO:EXT. SIDELINE - DAYShane is sitting on the bench holding hishead and his side. He's talking quietly toMcGinty.ON WILKINSONHe's on the field calling for a fair catch.He makes it. AL (V.O.) ... one minute twenty remaining, and even though Dallas didn't score, they sure ate up a lot of the clock.ANOTHER ANGLE - WILKINSONHe's leading the offense out onto the field. BOOMER (V.O.) And it looks like Falco cannot answer the bell. He's still on the bench and it appears that safety Earl Wilkinson will be leading the Redskin offense. DAN (V.O.) They just need to get the ball in field goal range. AL (V.O.) And for Pacifico, that's anything up to sixty-five yards.ANOTHER ANGLE - WILKINSONHe takes the snap from the shotgun and keepsthe ball on a sweep. He plows for twelveyards. AL (V.O.) That's good for twelve yards. The clock stops on the first down. The Redskins have no time- outs left.ON SHANEMcGinty is still bent over him. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point.Shane is in major pain but nods his head. SHANE I can do it.ON WILKINSONHe rolls again, but no one is open. Hecrosses the line of scrimmage, is hit andgoes down.ON CLOCKIt continues to run and passes twenty secondsas we watch.ON REDSKINSThey're hurrying back to the line ofscrimmage. Wilkinson stands over center.On the snap, Wilkinson throws the ball out ofbounds. AL (V.O.) Wilkinson throws it away, and with twelve seconds remaining, the Redskins will try a forty-eight yard field goal to tie it up. That's almost a chip shot for Pacifico.ON SHANEHe shakily follows Pacifico out onto thefield.Reese Evans catches up with him. EVANS (to Shane) Are you okay? SHANE Just make it a good snap. (to Pacifico) And you'll do the rest, right?Pacifico doesn't answer.ON BALLEvans leans over it.ON SHANEHe's kneeling in the middle of the fieldwaiting for the snap. But something isbothering him. SHANE (to Pacifico) Lou, are you alright?Pacifico looks up from where he is set up forthe kick. There are tears in his eyes. PACIFICO I'm sorry. They know where my family lives.Shane tries to digest what he just heard. SHANE What?! EVANS (through his legs) Come on, Shane!Shane looks back at Pacifico and makes adecision. SHANE Hut!The ball is snapped perfectly. Shane catchesit and spots it perfectly.Pacifico moves to kick it.And Shane pulls the ball away.Pacifico flies through the air like Snoopy ashe kicks nothing but air. He lands hard.Shane jumps to his feet and starts running. AL (V.O.) It's a fake! Falco has it!ON McGINTYHe's in shock.ON SHANEHe has totally caught the Cowboys bysurprise. He sweeps around the right side.The Dallas middle linebacker has recoveredand is moving quickly to cut Shane off.But Reese Evans comes out of nowhere andcrushes the guy with a flying block.Shane cuts downfield and heads for the endzone with nobody near him, except:For the same safety from the first half whowaits for him at the ten.The safety smiles as he takes a bead onShane.Shane heads right for the guy. He puts hishead down and smacks helmets with the safety.The guy goes down and Shane runs over him andinto the end zone. AL (V.O.) Falco scores!ON McGINTYHe jumps into the air.ON O'NEILHe jumps out of bed.ON TODD, ROD AND BOBThey jump on each other.ON ANNABELLEShe's jumping for joy.ON SHANEHe spikes the shit out of the ball. And thensees something up field. AL (V.O.) Wait a minute. Wait a minute. We've got a flag down.Shane stands stock-still in the end zonewatching the REF call the penalty. REF Clipping. Number 77 offense.ON MICKEY LEEHe's wearing number 77 and he collapses intears.ON TODD, ROD AND BOBThey are now sobbing in agony.ON O'NEILHe's being helped back to bed by Augustine.ON SHANEHe's walking slowly back to the line ofscrimmage.ON McGINTYHe looks sick.Shane walks up to Pacifico who is down. Hisarm is being immobilized by a team trainer. PACIFICO I broke my arm. (big smile) Thank you. You saved my ass.Shane nods. In his earpiece, he hearsMcGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no kicker, so you gotta take it in. Your pick. You're the leader. SHANE (to himself) What would Unitas do in this situation? (pause) I have no idea.Shane leans into the huddle. LEE I'm so sorry, Shane. I'm sorry, everybody. SHANE No problem, Mickey. (to Evans) Hell of a hit, Reese. EVANS That's the one I was looking for. I can retire in peace now. SHANE Right after this play. So besides me, who really wants the ball?He looks around the huddle. He studies eachface. And then he comes to rest on BrianMurray.Brian's eyes are shining. He doesn't needwords here. SHANE (to Murray) Yeah. You want it, Brian. Let's hook up. (signs as he says it) Blue left slot open 'A' right. Two Jet 'X' drive. On three. Gentlemen, it's been an honor sharing the field of battle.Everybody puts their hands into the middle.They break the huddle with a roar.ON CLOCKThree seconds are showing.ON LINE OF SCRIMMAGEShane leans over Reese and calls it. SHANE Blue 58! Blue 58! Hut! Hut! Hut!Shane nods. On the snap, Shane rolls left.ON REESE EVANSHe cuts his man at the knees.ON MICKEY LEEHe takes two men down.ON MURRAYHe cuts on a deep post.ON SHANEHe steps up and throws a clean bulletdownfield. He roars in pain as he throws it.ON MURRAYThe pass is perfect. He pulls it in andbeats his man to the end zone.Redskins win.ON CROWDIt roars! "Hail to the Redskins" isdeafening.Todd, Rod and Bob are screaming.O'Neil kisses Augustine.Annabelle throws a punch into the air.McGinty is all smiles. Shane walks up to himand they shake hands.Pilachowski and Banes hug.Lee and Andre are hugging and crying.Cochran is on his knees praying. Reese Evansjoins him.Wilkinson hugs Jamal.Clifford Franklin, hometown boy, throwshimself into the stands where fans mob him.ON EDDIE MARTELThe Washington Redskins first-stringquarterback is so pissed off he jumps up fromhis seat and turns quickly to go up the stepsand out of the stadium.But he slips awkwardly and falls. He grabshis knee and screams.ON BRIAN MURRAYHe's still in the end zone, holding the ballup to the crowd. The roar is deafening.BRIAN'S POVWe HEAR NOTHING, but somehow the pure energyof the moment comes through.ON SHANEIN the SILENCE, he's walking in SLOW MOTIONtoward Annabelle. And everybody is smiling. FADE OUT.THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Repo Man.txt b/unformated_scripts/Script_Repo Man.txt new file mode 100644 index 0000000000000000000000000000000000000000..4ef49cab508e3df74162906a3f69f553b0a249fe --- /dev/null +++ b/unformated_scripts/Script_Repo Man.txt @@ -0,0 +1 @@ + REPO MAN Written by Alex Cox Transcript by Steve Farmer Repo Man theme music now begins playing. Map is shown in background (green text on black background), zoomed in on Los Alamos, New Mexico. While remaining credits are shown, the map travels to Sante Fe, then Albuquerque, then begins following US66 west through Arizona to California, finally ending up a few miles east of Goffs (northwest of Needles). Green '64 Chevy Malibu Malibu is weaving down the highway in the desert, passes billboard with motorcycle cop behind it. Cop pulls out behind Malibu. J. FRANK PARNELL Forty-niner and his daughter Clementine. Oh my darlin, oh my darlin... Motorcycle cop pulls the car over, gets off motorcycle and raps on car window. J. FRANK PARNELL Clementine Clemen- COUNTY SHERIFF Let me see your drivers license. RADIO Post ten-eighteen. Post ten-eighteen. COUNTY SHERIFF From out of town, hmm? What's you got in the trunk? J. FRANK PARNELL oah...you don't want to look in there. COUNTY SHERIFF Give me the keys. The motorcycle cop walks around to the back of the car and opens the trunk. The car has New Mexico license plates KBB-283. In every scene after this when the plates are visible, they will be 127-GBH. COUNTY SHERIFF AHHHHHH! The motorcycle cop gets disintegrated, leaving behind a pair of flaming boots (a reference to the movie Timerider, which was co-written and produced by Mike Nesmith). Parnell watches from side mirror, where we see that the left side of his sunglasses have no lens. J. FRANK PARNELL Oh my darlin Clementine, you are lost now gone forever, dreadful sorry Clementine. Otto and Kevin, in the supermarket, facing cans of generic yellow cling sliced peaches. KEVIN Do Do Do De Do De Do De Do De Do Feeling Do De Da Do De Do De Do Feeling seven-up. I'm feeling seven-up. Feeling seven up. I'm feeling seven up. It's a crisp refreshing feeling crystal clear and light. America's drinking seven-up and it sure feels right. Feeling lucky seven. Otto puts price sticker on Kevin's glasses. OTTO Kevin stop singing man. KEVIN Feeling seven eleven. KEVIN Hum. I wasn't singing guy. OTTO I'm standing right next to you and you're fucking (flippin) singing. Cut it out. KEVIN Jeeze. Why so tense guy? MR. HUMPHRIES Otto? KEVIN Mister Humphries! MR. HUMPHRIES You were late again this morning. Now normally I'd let it go but it's been brought to my attention that you're not paying attention to the way you space the cans. Many young men of your age in these uncertain times- MR. HUMPHRIES Otto! Are you paying attention to me? LOUIE Hey! He's talking to you! Kevin chuckles Otto grabs Kevin by the front of his shirt, steps around him, and pushes him into the stack of cans (this has been described as a goof but it's clearly just a case of awkward staging used to make the shot work). Louie pulls his gun. LOUIE (Basta!) KEVIN You gotta love getting fired from your job in a big way, Otto. MR. HUMPHRIES What are you laughing at? Louie, throw him out too. LOUIE Come on you worm. Get out of here. Louie shoves Kevin down aisle where Otto is walking out. Otto takes off his clip-on bow tie and tosses it back towards Louie. Louie twirls his gun and puts it away. Note that the store aisle is lined with nothing but generic products, plain black lettering on white background. All products in movie from now on will have this appearance. Punks slamdancing to Coup D'etat in the back of a warehouse. Otto is there slamdancing and Duke walks up, the two of them swing each other around. Behind them, the graffiti on the wall says "Circle Jerks", a band which will appear later in the movie. OTTO How you doing dude? When did you get out of the slammer man? Otto enters bedroom where Debbi is waiting in bed. DEBBI What's the difference? ] OTTO Huh? Otto lays back on the bed and puts his hands behind his head. OTTO okay Debbi pulls back his shirt a little and begins kissing his stomach, then stops. DEBBI Otto. Otto. OTTO What? DEBBI Get me another beer. Otto goes downstairs and there's a party going on. Institutionalized plays in background. KEVIN Ow. Cool. Ow. Dammit. I'm supposed to be the host here. KEVIN Ow! Otto returns to the bedroom OTTO Debbi honey. I got you a beer. Otto turns on light and finds Duke there with Debbi. [OTTO Shit. DEBBI Just ignore him Duke he's nothing but a big baby. DUKE Turn the fucking light out.] Otto leaves room just as Kevin arrives and looks in the door. KEVIN What are you doing? Nobody supposed to be up here. This is my parent's room. Dude, nobody supposed to be up here, this is my parent's room.) [Otto in a vacant lot drinking a beer. It's early morning and Otto starts walking. OTTO Don't want to talk about anything else. We don't want to know. We're just dedicated...to our favorite shows. Saturday night live, Monday night football, Dallas, Jeffersons, Gilligan's island, Flintstones. ] Otto still walking, but it's light now. Bud pulls up next to him in a blue sedan. BUD Hey kid! (Honk) Hey! Hey kid! Hey! Hey! Are you hard of hearing? OTTO What do you want? BUD You want to make ten bucks? OTTO Fuck you, queer.(Shove off, pervert) BUD Now waita minute wait a minute kid you got the wrong idea. Look my old lady is real sick and I got to get her to the hospital, okay? OTTO So what? Take her there. BUD I can't. I can't leave her car in this bad area. Look I need some helpful soul to drive it for me, okay? She's pregnant. She's with twins. She could drop at any time. All right? OTTO Well, uh, how much are you going to give me? BUD Fifteen bucks. OTTO No. Won't do it for less than twenty. BUD Twenty-five. Follow me in my old lady's car. Itís right here. okay? OTTO All right... Where's, uh, where's your old lady at? BUD Never mind about that. Right now we need to get both of my cars out of this bad area, allright? Come on. Otto gets in the car, a white 4 door Cutlass sedan. FROM THE APARTMENT (baby crying) Papa! (?) aqui. un gringo (en la calle con su coche) BUD Let's go. Bud and Otto drive down freeway, Chevy Malibu swerves in front of them. It is moving right across the lanes but has the left blinker on. Bud and Otto enter the Helping Hand Acceptance Corporation (Marlene talks on phone simultaneously with other conversations). MARLENE Helping hand acceptance corporation, Marlene speaking. REPO VICTIM You know damn straight what I'm talking about. It's sitting right out side. It took me two weeks to get this money up so I can come and get it. MARLENE I don't think so sir you'll have to call back. I'll call you back O.K.? OLY That ain't your car. REPO VICTIM'S GIRL Hey don't let him lie to you like that. Unh? MARLENE Thanks Bud. REPO VICTIM Are you going to give me my car or do I got to go to your house and shove your dog's head down the toilet. MARLENE Helping hand acceptance corporation Marlene speaking. PLETTSCHNER Take it easy sonny boy. REPO VICTIM'S GIRL Shut up rent-a-cop. OLY Best goddamn (gol-durn) car on the lot. REPO VICTIM You damn right it is. MARLENE Will you, Will you hold please? MARLENE Helping hand acceptance corporation Marlene speaking. REPO VICTIM Say moma what's happening? You want to take a lift? MARLENE No thank you. L.A.P.D. I wanted to report a repo in Boro heights area. REPO VICTIM'S GIRL Let's go. The Repo victim and his girl leave PLETTSCHNER A Cadillac. Is he a pimp? BUD Shut up Plettschner. MARLENE Bud what street was that car on? BUD Honey I don't know, some alley uh. Hey kid! OTTO What? BUD Hey what street was the Cutlass on? OTTO I don't know. What happened to your old lady? MARLENE They don't know I'll call you back. MARLENE Helping hand acceptance corporation Marlene speaking. BUD My old lady? Oh shit (shoot)! I forgot all about her. Well she'll take the bus. She's a rock. MARLENE What kind of car? What kind of car? BUD Hey come on in. Marlene! Marlene! MARLENE Can you hold? OLY Got a name kid? OTTO Yeah! It's Otto. OLY Otto! Otto parts? HAHAHA The phone rings and Oly answers Marlene is talking on the phone, but a continuous cut now shows her holding a pencil in both hands. MARLENE You got a drivers license honey? OLY ON THE PHONE Oh Yeah! Fuckin-a (flippin right) we ripped your car. Asshole (airhead)! MARLENE Let me see it. OLY ON THE PHONE You want to know who told us where it was? Your goddamn (gol-durned) brother. MARLENE Are you really twenty-one? OTTO That's what it says doesn't it. OLY Hey you want some help with that beer kid? OTTO You're all repo men. OLY What if we are? Otto pours the beer on the floor. BUD You know kid, uhh, usually when someone pulls shit (stuff) like that my first reaction is uhh I want to punch his fucking (flippin) lights out. BUD But you know something? BUD AND OLY You're all right! BUD Right Lite? Lite enters LITE Got any messages for me baby? MARLENE Yeah. Here you go. OLY Cracks me up. LITE Somebody pissed (puked) on the floor again? OLY Maybe he's looking for a job? Huh budsky? BUD Could be? What do you say kid were always on the look out for a few good men. OTTO Screw (stuff) that! Ain't going to be no repo man. No way! Otto out in the yard with Miller MILLER You find one in every car. You'll see. Back in the desert We begin scene looking through the windshield of a police motorcycle. The windshield of the police motorcycle naturally has a pine tree air freshener hanging from it. We see some people searching around in the desert, most of them in radiation suits, with a local sheriff following a woman in a business suit. RADIO Come in Officer Labeef do you read me? RADIO Chuck will you stop fooling around? SHERIFF I've never seen the like of that. RADIO I have the stats on that car Officer Labeef. RADIO Ten-forty Baker SHERIFF What could have done that to him? Gasoline? Napalm? AGENT ROGERSZ It happens sometimes. People just explode. Natural causes. SHERIFF What? Suspect presence on west coast confirmed 44% possibility Los Angeles Locate immediately Do not notify police AGENT ROGERSZ Suspect presence on west coast confirmed. Do not notify police. Otto and Kevin on a porch in the rain OTTO Night watchman in Pomona. KEVIN Yep. OTTO Asbestos worker. City of industry. KEVIN Yep Yep! OTTO French fry maker Agoura. Ha Ha that's absurd. KEVIN Yeah? Well you think it's funny huh? There's fucking (lots of) room to move as a fry cook, man. You know I could be manager in two years? King! God! (egad!) OTTO You know Kevin, I had this wild fucking (flippin) dream the other night. KEVIN I bet. OTTO It was with you and me and we were working in this sleazy shithole (shabby) motel down in Miami, Florida. And we were bellhops and we were sixty-five years old. It was so real it was really real, realistic. KEVIN And then what, you woke up in a puddle (cold sweat)? OTTO Fuck you! (drop dead) KEVIN Fucking (you) jerk. Otto stands up and starts to walk away. KEVIN Where you going asshole (snotnose)? OTTO Away from you. Otto gets off the Edge City #127 bus and comes home. Mom and Dad are watching TV NOTE Edge City, also the name of the film's production company, is a recurring theme in Tom Wolfe's "Electric Kool-Ade Acid Test". OTTO Mother, father. Got anything to eat? REVEREND LARRY Occasionally we get a letter from a viewer that says now the only reason Reverend Larry comes on your television set is because he wants your money. And do you know what? They're right! I do want your money. Because god wants your money. So I want you to go out and mortgage that home and sell that car and send me your money. You don't need that car. (continues in background) OTTO MOM Put it on a plate son you'll enjoy it more. OTTO I couldn't enjoy it any more mom MMM MMM MMM This is swell. OTTO Dad? Hey Dad? OTTO DAD What is it son? OTTO Do you remember that you once told me along time ago. Well not too long ago but ummm. That you told me that you'd give me a thousand dollars to go to Europe if I finish school. Well you know something? You were right. About finishing school that's ah that's what I'd like to do. But umm I want to know if I could have the money first. Like now. [You know I really love you Dad I've always loved you. You too mom. What do you say? OTTO DAD I don't have it anymore. OTTO What?] OTTO MOM You father gave all our extra money to the Reverend's telethon, Otto. OTTO Well what about me? OTTO DAD You're on the honor roll of the chariots of fire. Same as us, Otto. It was a gift. From all of us jointly. OTTO MOM We're sending bibles to El Salvador. Otto and Bud riding in Bud's car Jazz music plays on the radio. In almost all scenes inside of Bud's car, Jazz music will be playing on the radio. In this sequence the background changes from day to night, back to day, and back to night again (during the speed snorting scene) even though the dialog seems continuous. I believe that this was done intentionally to show the passage of time, but the disjointed events are cut so smoothly as to make it seem like they goofed the continuity. It's clearer in the TV version where there truly is a break between the line about speed and the actual snorting. OTTO So how much do I get paid, twenty-five buck a car. BUD Paid? You don't get paid. Are you kidding, you work on commission, that's better than getting paid. BUD Most cars you rip are worth two or three hundred dollars. Fifty thousand dollar Porsche (german pronounciation) might make ya five grand. BUD It helps if you dress like a detective, too. Detectives dress kind of square. People think this guy is a cop. They're going to think you're packing something. They don't fuck (mess) with you so much. OTTO Are you? BUD Am I what? OTTO Packin' something. BUD Ha. Only an asshole (a jackass) gets killed for a car. Guys who make it are the guys who get into their cars at anytime. Get in at three A.M. get up at four. That's why there ain't a repo man I know that don't take speed. OTTO Speed huh? Bud at payphone Bud is talking on phone. BUD I'll call you back! (hangs up) Flippin general telephone. Bud picks up phone and dials. Phone begins making a loud whining noise. Bud gets sledgehammer from car and destroys phone while Otto watches. When Bud is done, Otto gets crowbar from car and beats side of phone with it while laughing. BUD C'mon. Otto and Bud in car in alley (In the television version, this entire scene takes place while watching Bud's car drive down a road, but you can still hear the snorting in the background.) [BUD SNORTING A LINE Jesus Christ.] BUD Never broke into a car. Never hot-wired a car. Kid. I never broke into a trunk. I shall not cause harm to any vehicle nor the personal contents thereof. Nor through inaction let that vehicle or the personal contents thereof come to harm. That's what I call the repo code kid. Don't forget it etch it in your brain. Not many people got a code to live by anymore. BUD Hey! Hey look at that. Look at those assholes (that) over there. We see a group of people around a tow truck with a car being hooked up to it. BUD Ordinary people I hate 'em. OTTO Me too. BUD What do you know? See an ordinary person spend his life avoiding tense situations. Repoman spends his life getting into tense situations. ! Lets go get a drink. Otto and Bud in a store Bud sets 2 six packs of "drink" down on the counter. BUD Tense situations kid. Get into five or six of them a day and it don't mean shit (zilch) anymore. I mean I seen men stabbed and it didn't mean shit (zilch). I've seen guns. Guns too they don't mean shit (zilch) but that's when you got to watch your self. Here I'll handle it pal. Uh settle down. BUD Have a nice day. Or night. Night, day, it doesn't mean shit (zilch). Duke, Archie, and Debbi rise from behind counter as Otto and Bud leave. DUKE Wasn't that Otto? DEBBI Otto who? DUKE You gotta watch yourself. (takes off mask) Have a nice day . . . night. Parnell drives Malibu across bridge Otto and Bud in front of house with tow truck BUD This is what I call phase 2 ace. If the dealer don't have the keys, you call the truck. And it is a heartbreak to be sitting waiting for the truck and the giblet comes out and drives it away. Once you've got this baby on the hooks, she's all ours. Man comes out of house with shaving cream on face. PAKMAN Oh no you don't. I'm nipping this in the bud right now. You are not going to take this car. I know my rights. There is absolutely no way you're going to take it. BUD Uh, are you miss Luann Pakman? PAKMAN Obviously not. I'm Arthur Pakman. Luann is my daughter. Now you're going to have to take this matter up with her. BUD Well don't think I haven't tried, sir, but she hasn't had the decency to call us in months. I mean, I've skipped trace this car all over town. PAKMAN Well, uh, Luann is sick. Now the damn car isn't working anyway, and I know, I know that's why she hasn't paid you. BUD Well, she could have called us? Look, all you've go to do is call my branch manager, I will abide with whatever he says. Bud hands Pakman a business card. PAKMAN READING CARD I. G. Farben. . . What do you take me for, a moron? If I go in there, you're going to take this car away. BUD What, and lose my job? The law requires that I stay right here until you call my branch manager. PAKMAN That's the law? BUD That's the law. Pakman begins walking toward house. PAKMAN I'll be right back. Pakman goes inside and Bud and Otto leave with the car as Pakman comes running back out of the house. Otto and Bud driving down a waterway BUD There's going to be some bad shit (stuff) coming down one of these days kid. OTTO Oh yeah? Where you going to be? On the moon? BUD Ung Uh, I'm going to be right here heading north at a hundred and ten per. OTTO In this junker? The Rodriguez brothers pull up along side of them in a red convertible with black fuzzy dice hanging from the rear view mirror. Latino music plays on the radio. OTTO Cool car. BUD Uh Oh! The Rodriguez brothers. [Lagarto flips them off OTTO Motherfucker just flipped you off. BUD Roll the window down.] Roll the window down. LAGARTO A donde vas, pendejo? BUD A chingas tu esposa! A BROTHER Hey Bud, hey Bud, who's your new girlfriend? OTTO Watch it mother fucker. (Girlfriend? watch it melonfarmer!) LAGARTO Hey fuck you pussy punk. (flip you, you punk.) [OTTO Holy shit.] NAPOLEON Want me to take them? OTTO Wo! Hey! They chase each other and end up sliding out in a huge puddle. In one shot during the chase, Lagarto is missing from the passenger's seat. BUD God damn dipshit Rodriguez gypsy dildo punks. I'll get your ass! dang blamed dumb suck Rodriguez gypsy devil punks. I'll get your can!) OTTO HAHAHA WOW! That was intense. BUD Repo man's always intense. Come on let's go get a drink. OTTO Gee bud. You never told me it was going to be like this man. Cops and robbers. Hahahahah. Real live car chases. Hahahahah. Duke, Archie and Debbi leaving a liquor store they just robbed Archie has a bag over his head. Debbi accidentally fires gun into the air. ARCHIE Shit (shoot)! Debbi! DUKE If you say our names we'll have to kill all these people Archie. ARCHIE They all ran away. DEBBI Come on you douche bags. (come on, get the lead out.) They run out, Archie's bag flying off his head. Bud and Otto enter just after they leave. BUD Awful quiet in here. It's too quiet. OTTO So who are these Rodriguez boys. BUD Rodriguez brothers. Lagarto and Napoleon. Two notorious delinquents currently responsible for at least thirty vehicles in the field. Quick shot of Rodriguez brothers in car lot signing papers on a car. Although not made entirely clear in the movie, Lagarto and Napoleon apparently will buy an inexpensive car and pay for it in order to establish a good credit rating. Then they go out and buy nice cars and never make payments on them. Lite and Otto in Lite's car OTTO Scumbags LITE They ain't scumbags. They car thieves just like use. LITE There's Miss Magruder. You want to go for it? Lite hands Otto a bag. Otto looks inside and laughs. OTTO Good gag, you pull this one a lot? LITE Only on the women. It never fails. OTTO Excuse me? Miss Magruder? I have something here for you. Otto takes dead rat from bag and tosses it into Ms. Magruder's car MS. MAGRUDER Uhm how utterly charming. Ms. Magruder sprays Otto in the face with mace OTTO Ow! Ow! Ow! Motherfucker! (mother...) Ow! Ow! Ow! Christ! I'm blind man. Lite? Lite, where are you man? Otto and Bud outside a Laundromat BUD Ruthside Peason brokerage consultant. Fucking (flippin) millionaire six payments behind. I've never understood it. OTTO What's that? BUD The fucking (flippin) millionaires. They never pay their bills. See you at the yard. OTTO Let me get this one. BUD No. I'll handle this one. Mister Peason is carrying a permit for a pistol. Otto grabs the slimjim and gets out of the car BUD Hey! Hey! Hey! Give me that. OTTO Don't underestimate me ace. RUTHSIDE PEASON And also, naturally, I'd like them to be right next to each other. In addition I'd like them to be as close to the window as possible so I can sit in my car and watch my things. So all you have to do is take your clothes out of here like this and put them into a machine over there like that. Peason Sees Otto driving off with the car. RUTHSIDE PEASON Oh my god (lord)! Oh! Oh my god (lord)! Stop! Peason runs out door after car. Two kids grab Peason's clothes and throw them out the door. Otto driving the car, a red Cadillac Car radio plays Pablo Picasso. Otto sees Leila running on the sidewalk and slows down while watching her. OTTO Hey! Hey! You want a ride? Hey babe need a ride? Otto runs into some garbage cans, stops and gets out just as an old lady walks up. OLD LADY Pick it up! Look at you. You pick it up. You know yourself you were wrong. OTTO Well what were they doing out in the middle of the street? OLD LADY They weren't in the middle of the street. That not the middle of the street that's the corner. OLD LADY Go on you pick it up. OTTO What? OLD LADY You pick it up. OTTO Haha, no way. You still want a ride or what? OLD LADY No I don't. Leila and Otto drive off in the car OTTO My name is Otto. LEILA Leila. Is this your car? OTTO Yeah it's one of them. LEILA Heh, one of them? You think you're pretty slick don't ya? I bet you're a used car salesman. OTTO I am not. LEILA You dress like one. OTTO I'm a repo man. LEILA What's that? OTTO Itís a repossesser. I take back cars from dildos (deadbeats) who don't pay their bills. Cool huh? Hombre Secreto plays on car radio. LEILA No. Leila hides as a car with two men pulls up next to them OTTO What are you doing? LEILA Those men in the car next to us don't look at them. Don't look at them! If they see me they'll kill me. OTTO Really why? OTTO Ow! What the hell are you doing? OTTO What's going on? LEILA Take a look at this. Leila shows Otto a picture of condoms, filled with water and wearing grass skirts. We notice that she is wearing a yellow happy face watch. OTTO What's this? It looks like sausage. LEILA It isn't sausage Otto. That's a picture of four dead aliens. OTTO HAHAHAH LEILA Laugh away fuckface (fatface) that picture is going to be on the cover of ever major newspaper in two days time. OTTO How do you know that? LEILA Part of a secret network. A scientist who is also in our secret sect smuggled the corpses off of this air force base. Now he's got them in the truck of his car. It's a Chevy Malibu. We've got to find him. OTTO What are you going to do with them, put them on Johnny Carson? LEILA Yes! We're going to have a press conference and tell the world. RADIO Ehw. What's that? I don't know dear. But it is alive. It seems friendly though. Aw look it's curled up. How cute oh no. Maybe we can take it home it doesn't seem to have any. Oh yes let's. But no! No matter how appealing do not let strange creature in you house. We all know strange creatures are on the increase. Many of them do seem furry and adorable, but beware we don't know from whence they came. Be safe. Be safe. Report strange incidences today. (continues in background) They pull up in front of a building OTTO United fruitcake outlet. LEILA My door doesn't open. Otto lets Leila out LEILA Thanks for the ride. As Leila stands there, we notice she has a yellow happy face pin on her dress. OTTO Sure Ummm I don't know. what do you think? Ah want to go out with me again sometime? LEILA I don't know. I'm going to be kind of busy with work, the Malibu and everything. OTTO Hey great. Terrific. Here's your shit (stuff). LEILA What's your problem? I mean girls might like you if you lightened up a little bit. OTTO Fuck (Flip me). Girls pay to go out with me. All right? LEILA You wanna get back in the car? OTTO What, here? LEILA Yeah. Squeals are heard from the back seat of the car Back at the Helping Hand Acceptance Corporation OLY Twenty thousand dollars for a Chevy Malibu? OLY Who's double X finance? MARLENE Store front operation, but the money is in escrow. MARLENE Want me to notify the boys? OLY Uh, naw. They're always bitching (crying) about their case load. I think I'll go out for a while. MARLENE Why? We out of beer? OLY Somebody has to work around here. Keep making me money kid. OTTO Fuck (flip) you. Otto and Lite out in the field LITE Man we've been looking for this little red devil for a long time. Just act natural. Nobody knows if itís your car or somebody elses car. LITE Now you work with that. You give it a try. All right? LITE Let me give you a hand we donít have a whole year to find it boy. OTTO Got it. They slimjim the car and get in LITE Lets get out of here. Put your seat belt on. LITE Put your seat belt on boy! I don't ride with anybody unless they wear their seatbelt. It's one of my rules. Otto, going through Lite's briefcase, picks up gun. LITE Put that damn gun down boy. It ain't no toy. Driving away in the car LITE I walk into someone's place of work. They shit (plum) scared. They know I'm not a cop. They think I've come to kill 'em and I would. I'd kill anybody who crosses me. You know what I mean? Otto goes through glove compartment, puts on pair of sunglasses he finds there (reference to the movie Kings of the Road with cinematography by Robby Mueller). Lite puts a lighter to the cigarette in his mouth, but fails to light it. A few moments later he does it again and succeeds in getting it lit. LITE Do you like music? OTTO Sure. LITE In that case you're going love this. Lite puts cassette in player. Lite's Theme starts playing. LITE I was into these dudes before anybody. Partied with them all the time. Asked me to be their manager. I called bullshit (no way) on that. Managing a pop group hey that ain't no job for no man. Otto sees boxes wrapped in ribbons in back seat and hands one to Lite who throws it out window. A car runs over box and we see that it is full of money. Otto continues throwing boxes out of the window. LITE You read that book I gave you? OTTO What book? LITE Dioretix. Science of matter over mind. OTTO Unh uhg LITE You'd better read it and quick. That book will change your life. Found it in a Maseratti in Beverly hills. Otto and Miller in vacant lot under bridge MILLER A lot of people don't realize what's really going on. They view life as a bunch of unconnected incidences and things. They don't realize that there's this like lattice of coincidence that lays on top of everything. I'll Give you an example, show you what I mean. Suppose you thinking about a plate of shrimp. Suddenly somebody will say like plate or shrimp or plate of shrimp out of the blue no explanation. No point in looking for one either. It's all part of a cosmic unconsciousness. OTTO You eat a lot of acid Miller, back in the hippie days? MILLER I'll give you another instance. You know the way everybody's into weirdness right now. Books in all the supermarkets about Bermuda triangles, UFO's, how the Mayans invented television. That kind of thing. OTTO I don't read them books. MILLER Well the way I see it it's exactly the same. There ain't no difference between a flying saucer and a time machine. People get so hung up on specifics. They miss out on seeing the whole thing. Take South America for example. In South America thousands of people go missing every year. Nobody knows where they go. They just like disappear. But if you think about it for a minute, you realize something. There had to be a time when there was no people. Right? OTTO Yeah. I guess. MILLER Well where did all these people come from? hmmm? I'll tell you where. The future. Where did all these people disappear to? hmmm? OTTO The past? MILLER That's right and how did they get there? OTTO How the fuck (hell) do I know? MILLER Flying saucers. Which are really? Yeah you got it. Time machines. I think a lot about this kind of stuff. I do my best thinking on the bus. That how come I don't drive, see? OTTO You don't even know how to drive. MILLER I don't want to know how. I don't want to learn. See? The more you drive, the less intelligent you are. In Bud's car driving through a tunnel BUD You know I think I saw one of those things once. One of those UFOs. I mean it was really it was kind of kind of scary. I saw all these colored lights and, uh, sounds. I mean sounds and lights like I never heard before. I mean it was really weird. OTTO Bud. BUD Yeah? OTTO Do you think all repo men follow the code? BUD Of course. Well I mean you see a lot of fucked (messed) up cars come in but...99 time out of 100 it was the customer who fucked (mucked) them up. Assholes (Damn fools). Bud in phone booth outside the Rodriguez brothers' apartment. BUD I'm offering a thousands dollars for his Falcon. You know what that is Napoleon? It's a bribe. NAPOLEON Who the hell is this? Napoleon? Who the fuck (hell) are you calling? BUD It's a grand if you show me where his car is Napoleon. [NAPOLEON Ahh. Go fuck yourself asshole.] BUD Hello? Prick (Jerk). Inside the Rodriguez brothers' place, Napoleon looking at repo sheet on Malibu, which Marlene brought to them. NAPOLEON Sixty-four Chevy Malibu. Twenty grand. BUD Waiting! NAPOLEON We could buy ten of them for that, Marlene. MARLENE Think you can find it now? BUD IN THE STREET I'm not going anywhere. NAPOLEON Now how come this junk is worth so much? What's in it? Drugs? BUD IN THE STREET Got all night amigo! LAGARTO Los Hermanos Rodriguez don't approve of drugs. MARLENE Neither do I, but it's my birthday. BUD IN THE STREET I'm going to get your . [MARLENE That motherfucker's still down there.] Bud in the street in front of the Rodriguez brother's house BUD Don't care how long it takes, dildos (jerks). Repo man's got all night every night. Brothers make paper airplane of repo sheet and float it down to Bud. Bud picks it up and reads it. BUD twenty thousand dollars. Agent Rogersz listening to Leila and Otto on the phone OTTO Hey Leila! All right, um, this is Otto. The guy who gave you a ride and stuff. I heard something about that car. Leila and Otto at the United Fruitcake Outlet Leila takes Otto into a cinderblock room which has a neon sculpture on the wall and in the center of the room, standing on a pedestal, is a humorous statue of what could be a humanoid type alien. LEILA Otto. Otto stop. You said you had something to tell me. LEILA Otto? Otto! OTTO Huh? LEILA What did you want to tell me? OTTO Oh! Take off your clothes. LEILA I'm at work, Otto! OTTO Oh yeah? Me too. LEILA Your work is different than mine. OTTO Says who? Otto takes down his pants (according to the filmmakers, Estevez enjoyed doing this on a regular basis. Maybe they were just joking?). LEILA What are you doing.? Don't do that. [OTTO Well the least you could do is give me a blow job. Leila slaps Otto OTTO Heh, I guess that means no.] DEADRA Leila? We have a cell meeting in two minutes time. LEILA Thanks Deadra. I'll be right there. Bud and Lite parked in their cars side by side BUD See that motherfucker (melonfarmer) only thinks I don't know what's going on, Lite. As soon as I find that Chevy I'm going indy. I'm going to buy myself a tow truck, a couple of pitbulls, and run a yard. Sit around and watch everybody else do the work for a while (change). Lite lights up a roach. LITE No way you can do that on twenty grand man. BUD The hell I can as long as you have good credit and my credit is spotless. The hell I can't, as long as your credit record's good and mine is spotless.) LITE If I find the Malibu, you won't see me for dust, I'm going to move to Mendecino County, raise me a bumper crop of tomato plants. Bud and Otto in a car BUD Credit is a sacred trust. It's what our free society is founded on. You think they give a damn about their bills in Russia? I said do you think they give a damn about their bills in Russia? OTTO They don't pay bills in Russia. It's all free. BUD All free? Free my ass, what are you a fucking (flippin) commie? Huh? OTTO No I ain't no commie. BUD Well you'd better not be I don't want any commies in my car. No Christians either. Chevy Malibu exits car wash and pulls up to gas pumps. That's director Alex Cox wiping the car as it pulls away from the car wash and over to the pumps. The pumps at the gas station say "Pace Gas". Next to the pump is a campaign poster for Harry Pace, running for City Council. These posters appear elsewhere in the film. In his posters, Harry Pace has a happy face. KEVIN I'll deal with you later. I've got a customer to attend to. You too. Kevin walks over to Malibu. KEVIN Hi! I'm Kevin. Vacuum sir? KEVIN Need a vacuum sir? Parnell runs fingers through hair and pulls out a clump. J. FRANK PARNELL Have you any machines? KEVIN You don't want to eat from a machine. Look, there's a nice Del Taco across the street. They've got enchurritos and everything. J. FRANK PARNELL But I do want to eat from a machine. Vended food contains all the necessary nutrients for survival. Taste damn good too, by golly. And plus, on any given evening, the machine that last night gave you cheetos might dispense instead... Doritos. Yohos. Oreos. Tosquitos (tostitos?). Or Lorna Doones. KEVIN Lorna Doones? I love Lorna Doones. Parnell walks off screen and we hear puking sounds. KEVIN Oh hey! You want me to check the trunk? Scuze me. Lagarto and Napoleon pull up in a car one other side of pumps. Latino music plays on their car radio. KEVIN Hi! I'm Kevin! NAPOLEON Hey buddy! How you doing? Huh? Hey don't you remember me? I was here yesterday. Heh. Listen I think I left a book of matches over in your office over there. You want to go and check for me huh? KEVIN Sure thing. NAPOLEON Hey thanks a lot buddy. KEVIN Any thing for you babes. NAPOLEON All right, you're beautiful. I love you. KEVIN I'll be right back. Lagarto gets in the Malibu and both cars drive off. Kevin returns from inside and sees both cars gone. Two other attendants sit at a table and also look; the attendant on the right is director Alex Cox. KEVIN What?? Shot of car driving down freeway, passed by several motorcycles. Otto and Mrs. Parks in Mrs. Parks' living room OTTO It's really very simple Mrs. Parks. You don't want me to take your car and I don't want to take your car. Now I said to the boss I said ah Look! I do not want to repossess this ladyís car. Sound of motorcycles pulling up outside of house. MRS. PARKS Well I've been in the hospital you see. OTTO Yeah, Yes I understand. My job is really on the line over this one. I could lose it right away. MRS. PARKS I'll see if I can borrow some money from somewhere. OTTO That's terrific. Really terrific. Mrs. Park's son and his fellow band members enter MRS. PARKS Oh how was the rehearsal son? MRS. PARKS' SON It was O.K. Who's this? MRS. PARKS Oh this is Mr. Otto. He's from the finance company. He's been telling me that he isn't going to take the car this time, even though he could. OTTO Well, uh, gotta get going here. Otto fumbles nervously with his briefcase trying to close it. MRS. PARKS Did you like the tea? OTTO The tea? MRS. PARKS Uh huh? OTTO Yeah, it was terrific. OTTO Thank you MRS. PARKS You're welcome. OTTO Uh excuse me. Otto walks outside and gets in car. From outside we hear Mrs. Parks yelling at her son. MRS. PARKS I gave you the money last week to pay it and you didn't do it. What did you do with it? I'm so tired of giving you money and you squandering it. I know what you done you all went out dancing some where. That's what you did. Next time I give you some money I want you to put it in the car ya hear. You're working. How come you didn't do it huh? I don't know what's happened to you. (continues softly) Otto starts car and guns engine, but now we clearly see that the rear wheels are up on jacks (that it wasn't up on jacks before has been listed as a goof and even confirmed by Alex Cox, but I think they're wrong. It is hard to tell in the dark, but you can see the base of one of the jacks lit up by a light from the house which goes dark as a band member runs in front of it on the other side of the car, thus confirming that the car actually was up on jacks in all the scenes). Band members run out of house and pull Otto out of car. OTTO Hey it's cool. It's cool. I like music too man, hey Otto gets beat up. One band member hits him twice over the head with a guitar, making an audible "kabong" noise. Supposedly you can hear one member saying "this one's for Keith Moon", but I've never been able to make it out. Miller, Plettschner and Otto in the lot. Miller is chanting and dancing like a native American as he puts a bandage on Otto's head. PLETTSCHNER Some people aren't cut out to be repo men. Why don't you smarten up kid? OTTO Fuck (flip) you Plettschner! OWW! OWW! PLETTSCHNER Don't you say fuck (flip) you to me. Don't you know who I am? OTTO Yeah you're Plettschner. PLETTSCHNER You're fucking (flippin) right I'm Plettschner. Otto Plettschner. Three times decorated in two world wars. I was killing people while you were still swimming around in your father's balls (guts). You little scum bag! I worked five years in a slaughter house and ten years as a prison guard in Attica. OTTO So what? PLETTSCHNER So what? So never say fuck (flip) you to me. Because you haven't earn the rights yet. Lite enters LITE Hey kid I need a contract driver. PLETTSCHNER See what I mean punk? OTTO Fuck (flip) you! PLETTSCHNER Fuck you! (What!) You little scumbag. LITE Shut up, Phlettschner. PLETTSCHNER Don't you ever tell me to shut up. Lagarto and Napoleon in the Malibu They pull up in front of a diner. NAPOLEON Shit (shoot)! (?)! It's too hot in here man. What the hell's going on? So fucking (flippin) hot I think that shit in the trunk is going to melt. I think we better take a look, all right? LAGARTO Go get us two sodas. NAPOLEON All right, as soon as I check the trunk. LAGARTO We're just the mules, comprende? (Andale')... Lagarto calls Marlene from phone booth. A sign in the window of the diner behind him says "2.95 Plate O-Shrimp Luncheon Special". MARLENE Helping hand. LAGARTO Marlene! We've found the car. Archie, Duke, and Debbie exit a window and go down a fire escape [dropping armloads of pills as they go]. Behind them, a sign says "Fox & Mac Taggert Pharmaceutical Company". DUKE Come on you guys! DUKE Get the lead out. DEBBI Stop pushing Duke. [ARCHIE My medication. Aw man! DUKE Aw be cool dude we got more. ARCHIE Come on. Come on. da-dee-dee-dee-dah-dah dee-dee... (continues to the tune of The Ride of the Valkyries) Lagarto on the phone with Marlene LAGARTO Yeah well that's not the only thing Marlene. This car is hot. MARLENE What do you mean? Stolen? LAGARTO No. No I mean it's hot really hot. MARLENE Hot? LAGARTO Yeah, we're sweating like pigs man. MARLENE I got the papers. Where is the car from? LAGARTO It's from someplace. Ah Roswell, New Mexico Archie and Duke run by the Malibu. Debbie stops, whistles and gets in the car. Archie and Duke jump in and they drive off to the sound of a Latino version of The Ride of the Valkyries. Lagarto walks out of the phone booth just as this is happening and drops his clipboard in disgust. Napolean walks out of the store, silently hands Lagarto a soda, and they both stand there and sip their drinks through straws. Otto and Lite in a car The music from Bad Man is playing on the tape deck in Lite's car. LITE Me fight in a war man? Fuck (hell) no way! Nobody's got to do that shit. Not in this country. A new I.D. don't cost no more than a pink slip. You know what I mean? LITE Something wrong? OTTO You know Marlene? Man she's pretty hot. LITE Otto my man. I jumped on that action from day one. I found out where she was coming from. OTTO See ya back at the yard. LITE Have fun. Otto slimjims car and tries to start it. While bending down, window shatters from gunshot. OTTO Oh shit (damn). Holy shit (smoke). Lite! . Lite! Lite! Lite! Lite! Open the door. There's a maniac in there. What are you doing? Open the door man! What are you doing? What are you doing? Open the door. Lite! Lite gets out and starts shooting back. He fires 9 times (one or two of the shots doesn't flash like the others). LITE You're still on the job white boy. Get in the car. OTTO Open the door man, open the door. Open the door Lite. LITE Get in the car. OTTO Jesus Christ. (Holy cripes.) Lite and Otto in a field OTTO You're crazy Lite. I mean you can't just shoot into peoples houses. I mean maybe you shot the guy. LITE So what if I did? OTTO Well I don't know I mean that's pretty severe. Lite shoots the gun at Otto's feet. Otto drops his beer, getting some on his pants. OTTO Jesus Christ. (Holy cripes!) LITE Hey! Blanks get the job done too. OTTO You repo men, you guys are all out to fuckin (flippin) lunch. Let's get out of here. Leila and J. Frank Parnell on pay phones Leila on phone hears garbled sounds on receiver. LEILA Hello. Is it you? This is Leila. Are you using a scrambler? J. FRANK PARNELL I can't hear you. I'm using the scrambler. LEILA (garbled noises in background) Look out! J. FRANK PARNELL What? A car swerves into the phone booth, then crosses street and hits a fire hydrant. The agents are trapped inside by the airbags. More agents appear and chase Leila AGENT Happy face! You want a ride? In Agent Rogersz van An agent types while eating potato chips. The camera pans across the van to Agents Rogersz, who is watching a monitor which shows Leila being questioned LEILA What do you want from me? AGENT We ask the questions. LEILA You're not going to torture me are you? LEILA Torture you? What for? LEILA To find out what I know. I'd torture someone in a second if it was up to me. AGENT Huh? Why are you looking for the Malibu? LEILA Because of the trunk. The aliens inside. AGENT Illegal aliens? LEILA No, Silly, Extraterrestrials. AGENT Ahhh, heh. Did you ever think about joining the CIA? LEILA Um. I going to have to ask my boyfriend. AGENT Boyfriend?? Rogersz computer screen prints up the following information SUBJECT Otto Maddox GENDER male RACE Caucasian AGE 21 CORRECTION 18 A party at the Helping Hand yard EVERYBODY Jingle bells. Jingle bells. Jingle all the way. Oh what fun OTTO What's going on? MARLENE Oh. The usual. PLETTSCHNER Marlene! How you doing baby? OLY Jesus (Golly) who done that to yeah son? OTTO Who done what? PLETTSCHNER Who done what he says. You want to talk about guts. What did you do to your face kid? OTTO Oh some dude it doesn't matter. LITE Oh yes it does. MARLENE Why don't you do something Plettschner? Aren't you a cop or something? PLETTSCHNER Hey Marlene. I'm on my coffee break. BUD Repo man don't go running to the man Marlene. A repo man goes at it alone. LITE Yes sirree bob. MARLENE Just like John Wayne. OLY Damn right just like John Wayne what's wrong about that? PLETTSCHNER Greatest American that ever lived. MILLER John Wayne was a fag (freak). BUD What did you say man? PLETTSCHNER Whaa? OLY What? [MILLER John Wayne was a fag.] EVERYONE The hell he was. MILLER He was too you boys. I installed two way mirrors in his pad in Brentwood. And he'd come to the door in a dress. PLETTSCHNER Ah, you're fucking (flippin) nuts. OLY That doesn't mean he was a homo (freak), Miller. Lotta straight guys like to watch their buddies fuck (play). I know I do. BUD They do? PLETTSCHNER Yeah. OLY Don't you? PLETTSCHNER Damn straight I do. LITE Fuck (Damn) John Wayne man. Tell us his name you little pussy (sissy). OTTO Kiss off you asshole (airhead). OTTO Ow you bastards (loonies)! BUD Hey take it easy. Take it easy. The guys head is hurt. OLY This is too personal sonny. The thing is a repo man got beat up in the line of duty. Now it doesn't matter that that man was you. What really matters is that the guy that did it has got to pay the price. Now stop being selfish and tell us his name. LITE Come on. OTTO Ahh Oww You bastard (buzzard). OTTO All right! All right! All right! All right! O.K. his name was... The repo men in the front of Mr. Humphries's house They ring the bell and Mr. Humphries opens the door. In the background, we can just barely see Kevin, who appears to be in his pajamas. This is never explained in the movie. OLY Mr. Humphries? MR. HUMPHRIES Yes? Yes I'm Mr. Humphries. What do you want? Ungghhh... Repo Men beat up Mr. Humphries. At the Helping Hand Acceptance Corporation office T.V. The president admitted that U.S. war planes have napalmed refugees camps in Southern Mexico. He explained that these camps were in fact guerrilla bases. In strife torn Guatemala shots were fires at the U.S. embassy and government troops retaliated killing 50... (continues in background) MARLENE Helping hand acceptance corporation. Marlene speaking. LEILA Hello, is Otto there? MARLENE It's for you. A girl. OTTO Yeah. LEILA Hi Otto? It's Leila. OTTO Leila who? In a bar. Duke, Archie, and Debbie enter the bar, checking their weapons at the door. The Circle Jerks are on stage playing When the Shit Hits the Fan. OTTO I can't believe I used to like these guys. AGENT ROGERSZ Listen to me! For the sake of this and future generations you must tell us everything you know. OTTO Yeah. Sure. I need another drink. LEILA Otto, these aliens aren't on ice or anything. They could be starting to decay. We've got to find them before they turn into mush. DUKE Well! Well! Well! If it ain't the repo man. ARCHIE You look like shit (snot) you wankers (weirdos). OTTO Duke. Debbi. Archie. I'd like you to meet Leila and her weird friend. DUKE How you doing, asshole (airhead)? ARCHIE How come you don't hang out with your friends no more? [OTTO What friends? DUKE Want some toot dude? Duke spills his bottle of generic Butyl Nitrate on the table. Debbie and Archie yell and put their noses to the table to sniff it all up. DUKE I really love ya man. You're my best friend. Because you always fucking came to see me while I was in Juvie. OTTO I'm busy man. I told ya I was working. DEBBI Look a metal hand. ARCHIE Cool! DEBBI Can we feel it? ARCHIE Oh Chante.] DUKE Fuck (flip) this let's go do some crimes. [ARCHIE Adios butthole.] LEILA Charming friends you got there Otto. OTTO Thanks, I made'um myself. Debbi, Archie and Duke leave to find J. Frank Parnell breaking into the Malibu DEBBI Hey what you doing with our car? J. FRANK PARNELL Your car? ARCHIE Yeah! J. FRANK PARNELL Are you sure? This looks like my car. Are there pecan pies in the back seat? ARCHIE Not any more. We ate 'em. DUKE Shut up Archie. ARCHIE You shut up. DUKE You're still here? J. FRANK PARNELL My car looks just like this. But this is yours, your car? ARCHIE Yeah four eyes. J. FRANK PARNELL Of course...what's in the trunk? DUKE What do you mean? J. FRANK PARNELL You don't even know what's in your own trunk. DEBBI Kill him Duke! J. FRANK PARNELL You know what? I think you're afraid to find out. DEBBI Kill him. ARCHIE Come on Duke you putty butt, kill him. DUKE I aint afraid of nothing see. J. FRANK PARNELL It's all right I don't blame you for being afraid. DUKE I said I ain't afraid of nothing. I kill people like you. J. FRANK PARNELL Oh well. I guess you're right. It's better not to look. J. FRANK PARNELL Beautiful evening. You can almost see the stars. ARCHIE Oh shut up. Duh. He's going to open it. HAHAHA DUKE Ah. ARCHIE Come on Duke. Duke burns his hand on the trunk and wraps a handkerchief around it. DUKE This thing is hot. ARCHIE AWWW, heh heh heh DEBBIE Well we don't have all night. Duke opens the trunk a little and a bright light is emitted. Debbi pushes him away. DEBBI Close it Duke! No! No! ARCHIE Aw. Dukie Wookie hurt his wittle hand. DUKE Fuck (flip) you Archie! Just for that your not in the gang any more. ARCHIE I'm taking over now. DEBBI Oh leave it off. ARCHIE King Archie the invincible. DEBBIE Shut up Archie. ARCHIE Hey Debbi! Watch this. Archie opens the trunk and is disintegrated J. FRANK PARNELL Oh dear, what a shame. DEBBIE Come on duke let's go do those crimes. DUKE Yeah. Yeah. Let's go get Sushi and, and not pay. Napoleon and Lagarto in a car pull up along side of J. Frank Parnell driving the Malibu NAPOLEON Hey! Yo! Hey buddy! NAPOLEON Special deputies pull over. Special deputies pull over. Hey! The Helping Hand repo men in a car [OLY So the department says the ice broke and he fell in. BUD Look at these people man there's one person in each car. City wants up to car pool but nobody gives a shit. MILLER People car pool, we'd be out of work. LITE AWW bullshit! OLY How come that pig's got a wooden leg? Well said the farmer said about three months ago I was out there walking the pig. MILLER Look at that car.] LITE Hey Budsky. There's your Girlfriend. BUD Aww! Those Rodriguez brothers Humm? O.K., boys, we've got the whole team here tonight lets settle these motherfucker's (melonfarmers) hash for good. LITE Let's do it. [NAPOLEON Yo! Pull over. LAGARTO Meda Bud. Shit!] NAPOLEON Don't lose him man. Bud rams into the Rodriguez brothers' car while the Malibu drives off with a noticable green glow coming from inside. PLETTSCHNER Hey! Hey! Take it easy. Stop this car. Hey come on. Come on. The Rodriguez brothers are forced into a parking garage and eventually have to stop the car NAPOLEON Come on! Come on! What are you going to do with that bat? What? Huh? What? LAGARTO Hey! Hey! Hey! LAGARTO You bad bud. This is going to cost you plenty. BUD What do you mean its going to cost me plenty? LAGARTO How's your neck Napoleon? NAPOLEON Oh my neck? Yeah! Oh! my neck is killing me man. I think I got whiplash. LAGARTO Aside from whiplash, this isn't a repo car. [BUD Bullshit! I got the fucking papers on it.] LAGARTO We paid it off. You see, uh this is our favorite car. NAPOLEON Yeah that's right. You got insurance ? Bud goes after them with a bat but the rest hold him back. BUD Come on . Whose side are you on ? Let me go . Back at the Helping Hand office . Plettschner is sitting in a corner knitting. A television set on Oly's desk is playing the video "Elephant Parts" with Mike Nesmith. ov BUD This is bullshit (hokum) Oly. OLY Yeah Yeah that's what I said when the marshal woke me up at 4 o'clock this morning . Unfortunately it isn't bullshit (hokum), it's a summons. BUD You should have refused to accept it. OLY Have you read it? The goddamn (gol-durn) Rodriguez brothers are suing us for malicious damage, medical expenses and harassment for a car they fucking (flippin) own. BUD The Rodriguez brothers. But. Ha! You believe the fucking (flippin) Rodriguez brothers? They're a couple of scumbags Oly. You know that? OLY I know that bud. But we've got to sit down and get our stories straight. BUD Bullshit (Hogwash) you're taking their word against mine. OLY I was there remember? Why don't you go home? Take the rest of the week off. BUD Take the rest of the? I can't take the rest of the...OW yeah! I Un Huh I get it. Take the flippin rest of the week off budsky. So you can get the flippin twenty thousand dollars for the Malibu. OLY Make it a fucking (flippin) month. BUD Yeah? Well fuck (flip) you. OLY On second though Budsky. Don't bother coming back at all. BUD Great! I'll come back and pick up my stuff later when the fucking (flippin) place don't stink so bad. PLETTSCHNER Ha! Ha! Ha! OLY Shut up! Bud and Otto in Bud's car Otto is driving the car. BUD . Makes you wonder how much they owe. Most of them are on the run. Don't even use their fucking (flippin) social security numbers. If there was just some way to find out how much the motherfuckers (melonfarmers) owe and making them pay. OTTO Jesus Christ (Holy cow) bud. They're winos, they don't have any money. You think they'd be bums if they did? BUD You want out? Do ya? OTTO No! BUD What's a matter with you? Don't you like your job anymore? Not too happy in your job? I mean I feel like were not communicating any more. When we first started out I though I could teach you something share something with you for Christ's sake. Answer me! Otto gets out and walks down street. Passes agents picking up dead body. AGENT (heard in background) I'm picking up the dead. I'm putting my hands around this dead body. I'm, I'm carrying his limp torso to the truck. And he feels like like he has only been dead a little while but... Otto sees the Malibu and gives chase. Losing the car, he stops on a bridge to puke. When done, he sees the Malibu emerge from under the bridge. He runs down the stairs and after the Malibu as it goes through a railroad crossing which has red lights blinking and bell ringing. J. Frank Parnell stops and lets him in. J. FRANK PARNELL (holds out hand) J. Frank Parnell. OTTO ott, ott... J. FRANK PARNELL What line of work you in? OTTO re, re, re.. J. FRANK PARNELL Rock'n'roller, eh!? I used to be a musician myself, college days. Of course it was folk songs and protest songs back then. (begins singing, badly) We shall overcome, we shall overcome... Otto coughs. J. FRANK PARNELL (stops singing and scratches ear) Did you ever feel as if your mind had started to erode? OTTO No. J. FRANK PARNELL Ever been to Utah? OTTO Nuh-uh J. FRANK PARNELL I go to Utah every year. Friend of mine, was a designer of the MX missile race track basing mode. A hundred thousand miles of railroad track on a big loop through Utah, Arizona, and Nevada. Bombs were going to hide in locomotive sheds. That way the red team would never know exactly where they were. I still go out to Utah, just to think about the way things might have been. OTTO Sir. I represent the Helping Hand Acceptance Corporation. J. FRANK PARNELL Radiation, yes indeed! You hear the most outrageous lies about it. Half-baked goggle-boxed do-gooders telling everybody itís bad for you. Pernicious nonsense! Everybody could stand a hundred chest X-rays a year. They ought to have 'em too. When they canceled the project it almost did me in. One day my mind was literally a-burst. The next day nothing. Swept away... But I showed them. I had a lobotomy in the end. OTTO Lobotomy? Isn't that for loonies? J. FRANK PARNELL Not at all. A friend of mine had one. Designer of the neutron bomb. Ever hear of the neutron bomb? Destroys people. Leaves buildings standing. It fits in a suit case. It's so small no one knows it's there until blammo. Eyes melt skin explodes everybody dead. It's so immoral working on the thing can drive you mad. That's what happened to this friend of mine. So he had a lobotomy. Now he's well again. OTTO What kind of car does your... does your friend drive? J. FRANK PARNELL Chevy Malibu. OTTO And you do the same type of work? J. FRANK PARNELL Didn't I tell you? I can't tell you what I do. I'm classified. OTTO This is really a nice old car. Why don't you let me drive? J. FRANK PARNELL What do you mean? OTTO Well I don't know. I mean...uh! Don't you feel funny.? J. FRANK PARNELL Why should I feel funny? The two hemispheres are fundamentally at odds. Hemisphere, Hemisphere. You know it's strange. I do feel funny... J. Frank Parnell passes out at the wheel and drives into the sign at another railroad crossing. Otto dumps him and drives off with the Malibu. The helping hand crew at Miller's with their wives OLY By the way kid, sign this. OTTO What is this? OLY Equity turnover. Standard practice. Protects you in case we get sued. . . Don't read the damn thing, kid, just sign it. Miller has a camera and the flash goes off as he accidentally takes a picture of himself. REPO WIFE 1 Here's the young new-waver we've all heard so much about. REPO WIFE 2 My old man had a mohawk on him when I met him. He was in the service then. OLY He signed it over to me. But he didnít realize- REPO WIFE 2 My old man was such a monster. I used to have to tell him no. REPO WIFE 1 My old man was exactly the same way until we got married. LITE Hey Oly. You're wife's hanging all over Otto. OLY Yeah. Like flies on shit (spit). OTTO Um. Have you see uh bud anywhere? REPO WIFE 1 Who? Bud and Otto in office TV ...another wonderful Christian opportunity. The Reverend Larry... BUD Hey there hero. Get the money yet? OTTO Not yet. Oly's going to get it for me though. I just signed the papers. BUD Whu, what do you mean, what papers? OTTO Beats me, just some, uh, contract or something. BUD Didn't you read it? OTTO Well, no, just, uh, standard practice, uh, contract... BUD Melonfarmer Oly! ...oooh, shoot. OTTO What, is that not a happening deal? Bud breaks into the lot. Later, he picks up Otto BUD Hey ace. Wait up. OTTO So you want to talk about it? BUD Talk about what kid? OTTO Why you're so damn mad at me? BUD I'm not mad at you. damn. I'm not. I'm not mad at you. OTTO All right O.K. Duke and Debbie in car in front of a liquor store [DUKE Debbie? DEBBIE What? DUKE I've been thinking. Now that we've got some money and Archie's gone, don't you think it's time we we settle down? Get a little house. I want you to have my baby. DEBBIE Why? DUKE Well I don't know. Every body does it. And it just seems like the thing to do and... DEBBI Asshole.] DUKE Let's go do the job. Bud and Otto are at the counter. Duke and Debbi enter waving guns. OTTO Duke! Debbie! What what are you guys doing here? DUKE What's it look like ace? DEBBIE Up against the wall. DUKE I'm going to kill him. I'm going to kill him. I'm going to kill everybody. ha-ha-ha Bud sneaks his gun out. Louie sees him from down an aisle. LOUIE Drop it motherfucker (melonfarmer). Louie now sees the others with the guns. Bud waves his back and forth. Debbi shoots Bud in the head. BUD Oww shit (shoot). Duke shoots Louie. Louie goes down but manages to shoot Duke, but then is out of bullets. Duke walks over to Louie to finish the job, but the counterman pulls out a shotgun and shoots Duke. Debbie shoots the counterman. Now only Debbie and Otto are left standing. OTTO Debbie Ah. Ah Do You, uh, do you think it's too late uh for us to get romantically involved? DEBBIE I think a little. OTTO Wait! Wait! Stick with me. I'll make you a repo wife. DEBBI Bollocks. Here. (tosses Otto a bag of popcorn) DUKE Otto? OTTO Yeah I'm here man. DUKE The lights are growing dim. I know a life of crime led me to this sorry fate. And yet I I blame society. Society made me what I am. OTTO That's bullshit (nonsense). You're a white suburban punk, just like me. DUKE But it still hurts. OTTO You're going to be all right man Duke pukes up some blood. OTTO Maybe not. Agents photographing a dead J. Frank Parnell One of these agents is Jimmy Buffet, who was working with Mike Nesmith at the time the film was made. AGENT Yep he's dead all right. AGENT No doubt about it. AGENT He's a goner. AGENT Man. AGENT ROGERSZ Don't touch the body, don't touch the body. AGENT Sorry. AGENT Telephone call for you agent. AGENT ROGERSZ Don't bother me now. AGENT But Agent Rogersz, it's the Gipper. AGENT Look. AGENT Booth's setting him on fire Otto enters Parents living room Parents are covered with cobwebs and watching TV. REVEREND LARRY ON TV ...fail to register for patriotic chores. So, please call this toll free number. Praise the lord. There is no redemption for the unredeemed, no escape for the fair weather patriots. No salvation from the boiling blistering fires of eternal damnation. Now these are the end times. Because in these days there shall be hell in time. Man shall be lovers of their own self rather than lovers of God. OTTO'S DAD Haven't seen you in a while, Son. TV No escape... OTTO'S MOM Some men were just here looking for you, Otto. TV No salvation from the blistering files of eternal damnation. For in these days there shall be hell in time, there shall be war and more war, and earthquakes in diverse places... OTTO What kind of men? OTTO'S MOM Very nice young men. They wore sunglasses. OTTO Well, what did you tell them? Did you tell them I was sick? OTTO'S DAD We told them the truth, son. Gave them your address at work. TV Money shall run out and the people will line up at the banks and there won't be anything . . . these prophecies are in your bible. The same one that you have in your home. Now I want you to get up off of your sofa and put that beer down and go wherever it is in your house pick up that book and turn with me... Otto turns off TV and leaves. Otto returns to the Helping Hand Yard and sees an argument going on in the office AGENT Where's the car baby? That Chevy Malibu baby. Where's the car? PLETTSCHNER Otto! OTTO Jeeze. PLETTSCHNER You got to stay out of this. OTTO Why? PLETTSCHNER It's none of your business. You want to be a hero? Or would you rather be a chicken man? OTTO What? PLETTSCHNER A chicken man. Did you ever see a farmer's wife? Huh? OTTO Let go of me! [PLETTSCHNER It's peaceful man.] Inside the Helping hand office AGENT 1 The Malibu. AGENT 2 Yeah? Otto enters and Marlene uses the distraction to kick the shit out of the agents. MARLENE Let's go OTTO No way Marlene. OTTO My car's gone and we're going to get to the bottom of this. MARLENE Like hell we are. AGENT 2 Not in my face. PLETTSCHNER Hold it Marlene. Freeze! Marlene drops chair. AGENT 2 My Face! MARLENE Over my dead body. PLETTSCHNER That's how it's going to have to be. MARLENE Come and get me. Come on. PLETTSCHNER I've been wanting to do that one for a long time honey. MARLENE Come on. Come on. Come on if you think your man enough. OTTO Hey Fletch. Coffee break. Otto throws a pot of coffee into Plettschner's face. Marlene steps through door. Otto steps outside and is immediately captured by agents. Agent Rogersz and Leila watch Otto on monitor AGENT ROGERSZ Good evening Otto. This is agent Rogersz. I'm going to ask you a few questions. And since time is short and you may lie, I'm going to have to torture you. But I want you to know it isn't personal. OTTO Look Ah this isn't really necessary. I'll tell you anything you want to know. AGENT ROGERSZ Good! Where is the Malibu? OTTO I don't know. Somebody ripped it from the yard. Otto his hit with electric shock and screams. LEILA I don't think he knows. AGENT ROGERSZ Increase the voltage. LEILA But what if he's innocent? AGENT ROGERSZ No one is innocent. Proceed. Another electric shock and screams. Then Marlene and the Rodiguez brothers enter interrogation room and rescue Otto. AGENT ROGERSZ Ah yes! Look at them. High heels, hair nets, those ridiculous trench coats. They're pathetic. AGENT 1 But agent Rogersz, they're getting away. AGENT ROGERSZ That's all part of the plan. Brothers, Marlene, and Otto drive away. MARLENE Otto, Otto pull your self together. OTTO Marlene? What's going on? MARLENE We're going to the hospital. Otto, Marlene and the Rodriguez brothers enter the hospital OLD LADY Hey, I know you. You're the one that run into my trash. OTTO Shh! OLD LADY Shhh to you too. Otto and Marlene enter elevator with 2 health professionals. Lagarto turns away woman on crutches trying to get in. LAGARTO Out of order. Take the stairs. Otto and Marlene exit elevator wearing clothes taken from health professionals. Otto has a smiley face button on his right collar. NOTE Dr. Benway and Mr. Lee are both characters from "The Naked Lunch" Otto pulls back sheet covering body on gurney and sees Kevin. KEVIN Otto? Cut back to ER waiting room where nurse is talking to patient who has just filled out a form. NURSE 1 Let me see that. All wrong do it over. OLD LADY They're going through it all the and they won't pick it up. NURSE 2 Oh well isn't that a shame. OLD LADY Oh tell you it comes to something when they expect you to pick it up. Otto and Marlene see a door with a pine tree air freshener hanging from the knob. It's Bud's room. They go in. OTTO How are you doing man? MARLENE Ask him about the Malibu. OTTO Look about the other night. I'm sorry I split. I know I should have stayed with you but ah it's like when I was a kid you know I I had this set of big wheels you know. MARLENE Otto! Otto, Marlene and the Rodriguez brothers get chased by the agents down the stairs. Back in Bud's room BUD Shit (shoot). (starts to get up off of the bed) REVEREND LARRY Praise the lord. Otto, Marlene and Rodriguez brother drive off and the agents chase them through the parking garage. NAPOLEON Go. Go. Go. NAPOLEON Come on. Let's go. As they drive off and agents run after, the glowing Malibu drives by and strikes down two of the agents with lightening bolts. OTTO Dude slow down. Agent Rogersz blocks the exit and they are all caught. NAPOLEON All right don't shoot come on all right all right AGENTS Chicken shits (stuff). braak-braak-braak AGENT ROGERSZ Where's the Malibu? OTTO Don't even ask because I don't know. I mean I don't have it Marlene doesn't have it you and your crazy friends don't have it. So that only leaves... Everybody in Bud's hospital room Bud is gone. AGENT Where is he. AGENT Where the fuck (hell) is he. They escape the agents. Marlene and the brothers drive off as Otto breaks into and steals a car. NAPOLEON Later! MARLENE Bye, Bye. VOICE FROM THE RADIO Here's another weird one. Reports are coming in about apparent hail of ice cubes south of downtown. Scientist are at a loss to explain the freak showers of tiny cubes of ice. Otto arrives at Helping Hands lot while it rains ice cubes. Bud is sitting in the glowing Malibu. OTTO That's some weird fucking shit (filthy stuff) Eh Bud? What's going on man? BUD Shit (damn)! Eleven years of repoing cars and what have I got? Shit (zilch)! OTTO Bud listen to me. You're sitting in a car worth twenty thousand dollars. Look look we we turn it in we take the money and split it sixty forty. You and me. \ No newline at end of file diff --git a/unformated_scripts/Script_Rescuers Down Under, The.txt b/unformated_scripts/Script_Rescuers Down Under, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..e04af5317705d8b8d526c943132911a3b130351a --- /dev/null +++ b/unformated_scripts/Script_Rescuers Down Under, The.txt @@ -0,0 +1 @@ +(c) 1990 The Walt Disney CompanyCompiled by Scott A. Concilla (skippy6400@delphi.com) July '95THE CHARACTERS: Major characters (voiced by...) Bernard (Bob Newhart) Miss Bianca (Eva Gabor) Wilbur (John Candy) Jake (Tristan Rogers) Cody (Adam Ryen) Percival McLeach (George C. Scott) Minor characters Joanna (Frank Welker) Frank (Wayne Robson) Krebbs (Douglas Seale) Chairmouse (Bernard Fox) Doctor (Bernard Fox) Red (Peter Firth) Baitmouse (Billy Barty) Francois (Ed Gilbert) Faloo (Carla Meyer) Mother (Carla Meyer) Nurse mouse (Russi Taylor) Non-speaking Polly; Kookie; Snake; Marahute; Dowager; Milktoast; Cricket Cook; Telegraph mice; Nelson; Sparky; Twister; Razorback; Ranger.Release date: November 16, 1990Running time: 74 minutes THE RESCUERS DOWN UNDER The Complete Script(opening: The camera slowly zooms through a variety of insects and rocks. We follow a small yellow bug climb up a blade of grass. As it spreads its wings to fly, we are whisked along the Australian outback and prairie by Ayers rock and eventually slow down as we approach Cody's house.)(scene: inside Cody's room. The camera pans around to show Cody sleeping in his hammock. The sound of Faloo's call is heard. Cody hears it, jumps out of bed, and runs to the window. He puts on his shirt and grabs his knife.)(scene: Cody sneaks past his mother who is in the kitchen listening to the radio.)Announcer: ... thundershowers are expected in the Crocodile Falls area and some of the surrounding gullies so take out your...(scene: Outside Cody's house. Cody leaves the house, and closes the door behind him, but not quietly.)Mom: (from inside upon hearing the door) Cody!Cody: (whincing) Yeah mom?Mom: What about your breakfast?Cody: I've got some sandwiches in my pack.Mom: Well be home for supper.Cody: (hopping the gate) No worries mom.(scene: Cody runs toward the forest; Faloo's call is heard in the background. He runs past some rock formations and enters the woods. Birds follow him; and squak at him.)Cody: (to the birds) I know, I'm coming. (Cody jumps over a hollow log) Hustle up Nelson, Faloo's sounding the call! (Cody slides through a log, picks up a stick, and beats on the roof of the wombats home.) C'mon little wombats, hurry! (Cody continues to run through the forest with all of the animals following him.) (Cody arrives at the tree where Faloo has been sounding the call.) (to Faloo) Who's caught this time?Faloo: You don't know her, Cody, her name is Marahute, the great golden eagle.Cody: Where is she?Faloo: She's caught, high on a cliff in a poacher's trap. You're the only one who can reach her.Cody: I'll get her loose.Faloo: Right-oh, hop on, no time to lose. (Cody hops onto Faloo and they travel through the forest and along a stream/river; more scenes of animals and the forest.) (They arrive at the cliff.) (pointing up towards the cliff) She's up on top of that ridge. Be careful lit'l friend.(scene: various "time lapse" views of Cody climbing up the cliff.) (Cody reaches the top and sees the eagle.)Cody: Marahute! (Cody looks at the eagle; he approaches her slowly; she hears him and wakes up; Marahute screeches and struggles to get free.) (reassuring) Calm down, calm down. I'm not gonna hurt you. (Cody strokes Marahute on the head) That's a girl. Stay still... it's o.k. (Cody gets out his knife; Marahute sees the glint of the knife and begins to struggle and scream) No wait! I'm here to help you... easy!... easy! (Cody cuts two ropes. Cody cuts the last rope to free Marahute.) You're free!! (As Marahute spreads her wings to fly, she knocks Cody off the cliff.) Aaaiigh! (Cody falls; Marahute dives down to catch him; she catches him just before he hits the ground; they begin to fly around; the animals see Cody on Marahute and stand in awe; Marahute files over several rock formations; the fly up above the clouds; Cody looks at his reflection in Marahute's eye.) Higher! (They fly even higher above the clouds; Marahute throws Cody and catches him; Cody is now held in Marahute's talons.) Woah! (Cody mocks an eagle screech; he laughs as Marahute tickles him; they cruise above the clouds which eventually open up to show the ground; Marahute nose dives towards the ground and a stream; she holds Cody just high enough above the water so that he is water skiing; they approach a flock of birds; Marahute lets Cody go and he skims through the birds, scattering them; Marahute grabs Cody just before he falls in and then put Cody right in front of her, on her beak (pushing him from behind); they go over the egde of a waterfall; Marahute catches Cody again; this time he rides by standing on her back; they arrive at Marahute's nest) Wow! (Cody and Marahute look at each other; Cody falls over as he attempts to look at Marahute upside down. Marahute moves some grass and feathers to show Cody her eggs) You're a mom! (Cody puts his ear to the eggs) They're very warm. Are they gonna hatch soon? (Marahute ruffles her neck feathers in an affectionate manner; she sits on the eggs and then looks out "over her domain".) Where's the daddy eagle? (Marahute drops her head) Oh... my dad's gone too. (Cody give Marahute an affectionate stroke; as they fix the covering on the eggs, the wind picks up and blows a feather in Cody's face; he looks at it, plays with it, and puts it back. Marahute picks it up and gives it to Cody and he gives her a hug.) (Marahute and Cody are now on the ground; Marahute takes off and Cody runs around making flying noises)(scene: just inside the forest. A wanted poster of McLeach is posted on a tree; A mouse is tied up with a bell attached to it that rings as it struggles; Cody hears the bell and goes over to the mouse.)Cody: Heh heh... hey little fella, what happened to you?Baitmouse: (panicking) Oh no! No, no, no, no!! Get away, get away! It's a trap, it's a trap. Be careful, NO!Cody: (as the mouse is speaking) Don't worry, I'll get you loose. Woah! (Cody falls into the trap. He looks up to see a blinking light and the alarm.)(scene: McLeach's truck; the radar has a blip on the screen.)McLeach: (laughs) Got one!!(scene: back in the hole/trap where Cody has fallen.)Baitmouse: (from the top of the hole) Are you alright?Cody: (rubbing his head) Yeah, I think so.Baitmouse: Okey-dokey. (he runs off)Cody: Wait! Hey! Come back! (Cody tries to climb out; he gets halfway up, grabs a tree root; it breaks and he falls; the baitmouse begins to lower a vine down to help Cody)Baitmouse: Here you go, grab on.Cody: That's great, just a little more, a little further... there! I got it. (a rumble is heard and the ground begins to shake.)Baitmouse: Uh-oh. (view of McLeach's vehicle trampling through the forest disturbing everything)Baitmouse: Yipe! (The vine is severed as McLeach's truck comes to a screeching halt; Cody falls; the truck opens; Joanna leans over pit and growls; Cody yells)McLeach: (unseen, approaching the trap) Well Joanna, what'd we get today? A dingo, a fat ol' razorback, or a nice big.... (he sees Cody) boy?!? (McLeach thinks for a second, gives a dirty look to Joanna and kicks her.) Joanna, you been diggin' holes out here again?? (mumbling to himself) Dumb lizard always tryin' to bury squirrels out here.Cody: Unh-unh. It's a trap, and poachin's against the law.McLeach: Trap?! Where'd you get an idea like that?? Boy I think you've been down in that hole for too long. (he holds his gun out so that Cody can grab it) Well c'mon, grab ahold. We'll get you out of this little ol' lizard hole and you can just run along home. (Joanna has spotted the baitmouse on Cody's backpack. She hisses and makes a face.)Cody: This IS a poacher's trap and YOU'RE a poacher. (The mouse ducks back into the backpack; Joanna jumps on Cody, knocking McLeach into the hole; his gun goes off; Joanna begins to attach Cody's backpack.) (to Joanna) Let go!! Hey get off of me!!McLeach: I'm gonna kill her. (climbing out of the hole) I'm gonna kill that dumb, slimey, egg-sucking salamander.Cody: Cut it out! Get off of me! (Joanna continues to attack the backpack; McLeach picks up his gun; he points it at Joanna; looking through gun scope McLeach aims at Joanna, she tries to get out of his view; as she does this, McLeach spots the feather in Cody's pack; he picks up Cody by his backpack.)McLeach: Hmmm.... good girl Joanna. (Joanna looks up and grins happily.) (to Cody) Say where'd you get this pretty feather boy?Cody: (humbly) It was a present.McLeach: (coddling) Oh, that's real nice. Who gave it to ya?Cody: (stumbling) It's a s... secret.McLeach: That's no secret boy, you see, (menacing) I already got the father. (makes a cutting sound and draws a feather across his neck like he was slashing a throat). He, he he. You just tell me where momma and those little eggs are. (Cody breaks free from McLeach by slipping out of his backpack.)Cody: NO!!McLeach: Joanna, sick 'em! (Cody runs through forest with Joanna close behind; he enters an open area where we see a waterfall and water; Cody stops right at the edge of the small cliff that drops into the water (Crocodile Falls); Joanna follows close behind; Cody reaches into his pocket and pulls out his knife; he drops it; McLeach steps on his hand.)McLeach: You're comin' with me boy.Cody: My mom'll call the rangers!McLeach: (sarcastically) Oh no.... not the rangers, what'll I do?? What'll I do??! Don't let your mom call the rangers!! Please don't!! (Joanna laughs) (McLeach laughs) (McLeach throws Cody's backpack into the river) My poor baby boy got eaten by the crocodiles, boo-hoo-hoo! Let's go boy!Cody: (from inside McLeach's cage) Help! Help! (The baitmouse sees Cody in the cage; he runs to the local RAS telegraph office; it begins to rain and wind is blowing; he bursts through the door as the telegraph mouse is eating.)Baitmouse: (very fast and excited) Help, help, help!! Someone help! McLeach took the boy. He took the little boy. Send for help!! (The telegraph mouse begins typing the message in morse code; camera pans up to roof, where other mice aim the antenna; message is seen being relayed to the Marshall Islands) (In a wrecked plane on the Marshall Islands, a mouse listens to the morse code message; he recognizes the distress call, activates the controls on the plane, and relays message to Hawaii.) (Message is seen being relayed to Hawaii. Screens fill with RAS RAS RAS. Mice are watching through binoculars in the back. The send a signal to other mice. They dial the phone to distract guard. Phone rings. Guard leaves. Mice take over, type (jump) on keyboard and read message. "RAS... RAS... ATTENTION BOY KIDNAPPED IN AUSTRALIA IMMEDIATE ACTION REQUIRED" They type "Relay to New York".) (Message then journeys across the ocean to Los Angeles, then to Denver, St. Louis, Chicago, Washington D. C. and then New York.)(scene: It is winter in New York; through the clouds, the camera descends upon the UN building; a mouse is listening to the transmission at the RAS headquarters in New York)Mouse: Code red, code red!! Attention all Rescue Aid Society delegates, all delegates please report immediately to the main assembly hall. This is an emergency meeting. I repeat, this is a code red emergency meeting!! (the delegates have been assembling as the announcement was being made)(scene: inside the RAS meeting hall)Chairmouse: Order! Order! Yes, yes I know it's late but I'm... oh really! Sir Charles. Hello, hello Frank, how are you, nice to see you! And Esmerelda, there you are! Ha ha.. all right, quiet now please, everyone pay attention. There has been a kidnapping in Australia. (delegates gasp) A young boy needs our help. This is a mission requiring our very finest, and I know we are all thinking of the same two mice. (everyone looks to the seats of Hungary and USA, which are empty) (delegates gasp again.) What's this?!? Gone? We must find Bernard and Miss Bianca at once!(scene: a posh restaurant) (as a waiter walks by a pillar/column in the restaurant, a pea drops on the floor; a cricket comes out of the column and picks it up.)Cricket: Oh.... pea soup. (With an elaborate contraption, he launches the pea up the column where it drops into a thimble-pot of the cook)Cricket cook: Pea soup! (A waiter cricket comes along and picks up the soup; the scene changes to the chandelier over the restaurant and we see a mini-restaurant above the real one.)Bianca: To my dear Bernard, and our wonderful partnership.Bernard: (nervous and fumbling) Ah... yeah.. yeah.. ah.. won... wonderful.Bianca: You've been very quiet this evening, is there something on your mind?Bernard: Well, ummm... actually... I, ah... I was wondering.... (he reaches into his pocket.)Bianca: Yes darling?Bernard: I... Miss Bianca would you.... would you... (the ring falls through a hole in Bernard's pocket onto the floor) would you excuse me for a minute? (Bernard chases the ring across the floor; he crawls around, sees it, and just as he goes to grab it, a waiter kicks it under another table; Francois arrives at their table.)Francois: (French accent) Pardonnez moi, mademoiselle Bianca, I have important news. (He hands her a piece of paper.)Bianca: Yes Francois? What is it?Francois: You and Bernard have been asked to accept a dangerous mission to Australia.Bianca: (reading message) Oh the poor boy. This is dreadful. Now where is Bernard I must tell him at once!Francois: Allow me madame, I will tell him immediately. (Bernard is seen under a table retrieving ring; the ring finds its way onto the foot of a rather large woman mouse who is having dinner with a rather nerdy looking man mouse; as Bernard removes the ring from her foot, she think the man mouse is playing footsie with her and smacks the man mouse.)Bernard: (practicing) Miss Bianca, will you marry me? Miss Bianca, will you please marry me?Francois: (as Bernard practices) Quickly monsieur Bernard! I must speak with you....Bernard: Not now Francois, I'm busy!Francois: No, no, no, no, monsieur you don't...... (As Francois attempts to follow Bernard he collides with another cricket watier and falls on his back; various crickets run to help him.) (Bernard returns to the table)Bianca: Bernard, did you talk to Francois?Bernard: Ah yes, but uh.. there's... there's something I want ......Bianca: I know exactly what you're going to say. Francois told me all about it.Bernard: He did? How, how... how did he ...Bianca: Oh it doesn't matter, I think it's a marvelous idea.Bernard: (shocked) You do? I mean, you... you really want to?Bianca: I don't think it's a matter of wanting, it's a matter of duty.Bernard: D-duty? I... I never thought of it, well, umm... all righ.... all right. How does... how does next ah-April sound to you?Bianca: Heavens no! We must act immediately, tonight! (she leaves the restaurant with Bernard close behind)Bernard: Tonight? But, but, ah.. wait! Uh, Bianca, this is so sudden, I mean, don't you at least need a gown or something?Bianca: No, just a pair of khaki shorts and some hiking boots!Bernard: Hiking boots?(scene: in the RAS meeting hall)Chairmouse: Ah, there you are, come along, come along.Bianca: Delegates, we have an important announcement. Bernard and I have decided, (pause) to accept the mission to Australia.Bernard: (surprised) Australia?Chairmouse: Oh good show! Now, you must fly out immediately! It's a little nippy outside, but we won't let that stop us, will we? What? (laughs)(scene: on top of a building, snow and wind blowing all around)Bernard: (yelling) Miss Bianca, I'm not sure it's such a good idea to... to fly this soon after eating!Bianca: Darling you'll be just fine!Bernard: But aren't, aren't you supposed to wait 45 minutes?Bianca: (annoyed) Oh, just knock on the door and see if Orville is there!!Bernard: (knocks slightly) (quickly) Well, nobody's home, let's go. (Bernard gets buried with snow)Bianca: Bernard!! (scodling) This is no time to play in the snow.Bernard: I wasn't playing in the snow. It... it was an avalanche.Bianca: Oh look Bernard! (reading the sign) Under new management, see Wilbur. C'mon darling, let's get a move out!(scene: inside Wilbur's hangar; Wilbur is seen singing and dancing along with some music)Bianca: Yoo-hoo! Mr. Wilbur! Hello?Bernard: Look out!! Excuse me!Bianca: Bernard DO something! He can't hear us! (Bernard "struggles" to get to the boom box and Wilbur continues to dance.)Wilbur: (singing) The girls all look (music stops) when I go by..... Hey, who killed the music?!?Bernard: That's better.Bianca: Excuse us for interrupting, we're from the Rescue Aid Society. I am Miss Bianca...Wilbur: (interrupting) Miss Bianca!?!Bianca: and this is my....Wilbur: (still interrupting) THE Miss Bianca? I don't believe it. My brother Orville told me ALL about you, oh boy, I... this is an honor to have.... may I just say enceinte senorita to you? May I? (kisses her hand)Bernard: Ahem. (deliberately) We need to charter a flight.Wilbur: Well, you've come to the right place, buddy boy, welcome to (pause) "Albatross Air" - a fair fare from here to there. (laughs) Get it? A fair fare? It's a... a play on... nevermind, I've got tons of exotic destinations, far away places, custom designed for (in a seductive voice) "romantic weekend getaways". (laughs) As well as the finest in-flight accomodations. Speaking of which, what can I get ya? (fumbles, searches through his cooler) How about a nice mango-Maui cooler? Very, very nice, very tasty....Bianca: No thank you...Wilbur: Or a ah..... (fumbles about) Coconut guava nectar? It's carbonated. Very nice. I got little umbrellas for each one of them and a little coconut thing....Bianca: No, it's urgent that we leave immediately!Wilbur: (disappointed) Nothing? Nothing at all?Bernard: (dismayed) Wilbur.Wilbur: How about a cream soda?Bernard: Now look, we need a flight to Australia.Wilbur: Australia? The Land Down Under? That's a fabulous idea! So when can I pencil you in? Ah... after spring thaw? You know, mid-June would be very nice.Bianca: Oh know, we must leave TONIGHT.Wilbur: (spits out his drink) TONIGHT? (coughs and laughs) C'mon you're kiddin' me right? (laughs) Have you looked outside? (he opens the window) It's suicide out there! Oh-ho, oh no. OH NO....I'm afraid your jolly little holiday will have to wait. (laughs) What a bunch of jokers.Bianca: But you don't understand, a boy needs our help, he's in trouble.Wilbur: A boy? You mean, a little kid kinda boy?Bianca: He was kidnapped.Wilbur: Kidnapped? (remorseful) Aw... that... that's awful. Lockin' up a little kid. A kid should be free. Free to run wild through the house on Saturday mornings, (gathering strength) free to have cookies and milk, and get those little white moustaches, you know, with the..... (determined) NOBODY'S gonna take a kid's freedom away while I'm around, nobody, do you hear me?!?Bianca: Does that mean you'll take us?Wilbur: (with conviction) Storm or no storm, Albatross Airlines, at your service!! (Wilbur salutes) (scene changes to Bernard and Bianca on Wilbur's back) Passengers are requested to please fasten their seat belts and secure all carry-ons. We'll be departing following our standard pre-flight maintenance. Thank you. (Wilbur begins to exercise) Yeah, loosen up, get the blood flowin' up to the head, annnnnd, couple of these....oh! (tries to do a push-up) O.k. one's enough, here we go. Oh! Ah yeah!! That feels better. Oh baby. Tie your kangaroos down sports fans, here, we, COME! (opens hangar doors, gets blown back by wind) Yeah, let's go for it!! Woah! Hey! Woah! Hey, I didn't adjust for the winds. All right we're gonna make it!! I just gotta duck down a little lower, that's all. Go under the wind, go under it! Here we go (screams)!! Ow this is cold! Slippery! Ice! Ice! We got ice! We got ice! Oh hang on now!! Here we go! Here we go! Here we go!!! HERE WE GO!! COWABUNGA!!!!!!! (Wilbur dives for the street; "flies" just in time to miss the ground.)Bianca: Captain, is this a non-stop flight to Australia??Wilbur: Well, ah...not exactly no, I could definitely say no. We're gonna have to make connections with a bigger bird. (aside) Non-stop? What do I look like, Charles Lindburgh??(scene: McLeach driving his vehicle with Cody in the cage in the Australian outback.)Cody: (pounding on the cage) Lemme outta here!! Lemme go!! You can't do this!! Help! Help! Help!McLeach: (on speaker) Breaker, breaker, little mate. I forgot to tell ya around here, you need to be QUIET!! (Cody trips) Or the rangers might hear ya. Now sit down and relax, enjoy the view. (laughs) Nothin' but abandoned opal mines as far as the eye can see. And dead ahead, is home sweet home. (begins singing) (from a distance) Home, home on the range. Where the critters are tied up in chains. I cut through their sides, and I rip off their hides. And the next day I do it again. Everybody! Home, home on the range.....(scene: long shot of Cody's house)Mom: Cody! Cody! Cody!(scene: cargo hold of airplane; Wilbur, Bernard, and Miss Bianca are sleeping on an airplane tire.)Announcer: (heard from inside of plane) Ladies and gentlemen, Flight 12 is now approaching Sydney airport, make sure you pick up your parcels and packages and enjoy your stay in Australia. (Miss Bianca wakes up, gives Bernard a kiss to wake him up.)Bernard: (just waking up) (yawns) Are we there yet?Bianca: Yes. You know, perhaps we should wake up Wilbur.Bernard: Oh, oh... alright, I'll get him up. (leaning over) Ahhh... Wilbur? (Wilbur is snoring) Wilbur? Wilbur??Wilbur: (half awake) Um, yeah, just five more minutes ma. (Wilbur rolls over, trapping Bernard and Bianca)Bianca and Bernard: (screams) Wilbur!!Wilbur: (groggy) That's all I need, five more minutes.Bianca: (pleading) Wilbur?? Are you awake??Bernard: Get, get up we're there!!Wilbur: O.k. I'm up, I'm up. (he rolls back over)Bernard: Watch out you got....Wilbur: (groans) Oh! I must'a been sleepin' on a bolt. Ooo. (plane body opens) Oh boy. Throw another shrimp on the barbie girls, cause HERE I COME!!Bernard: Here we go again!!Wilbur: CANNONBALL!!!!!Bianca: Weeee!! (Wilbur "cannonballs" out of the airplane; he runs into a flock of seagulls on his way down and passes the Sydney Opera House.)Wilbur: Gang way! Comin' through, mice on board!! Clear the way! Move over madam, there you go! Comin' through sir, thank you. (laughs) Next stop, Mugwomp Flats. Did we lose anyone back there? (laughs).Bernard: Miss Bianca, from.. from now on, can't... can't we just take the train?(scene: Mugwomp flats "control tower". Jake and Sparky are playing checkers.)Jake: Well Sparky, you've had this comin' for a long time. And now, you're gonna get it. Ha! (Jake jumps one of Sparky's pieces; Sparky spits and then jumps a bunch of Jake's pieces.)Jake: Hmmm... wise fly. (Sparky laughs)Wilbur: (over radio) Mugwomp tower, Mugwomp tower, this is Albatross One Three requesting permission to land. Over?Jake: Albatross? (Jake flips over the checkerboard to a chart that has various bird sizes) Let's see... finch, wren, scrub bird, lockeet, freckled duck, culah, kukaberra, parrot, cockatoo, alba... alba...?!?! It's a jumbo!! (into radio) Negative one three, you'll have to turn back, our runway isn't long enough for a bird your size.Wilbur: Not long enough?!? Look pal, I can land this thing on a dime!Bernard: (heard over radio) Uh... Wilbur, if, if the runway isn't long enough...Wilbur: Listen you can't let these radar jockeys push you around. Just leave it to me alright?Jake: (into radio) I say again mate, our runway is too short.Wilbur: And I say again, MATE, I'm comin' in!!Jake: Crazy Yank. Quick Sparky, we gotta find a way to extend the runway. (Jake and Sparky begin to make the runway longer; Jake kicks a cinder block raising part of the roof.)Wilbur: Here we go!Bernard: We..., we'll never make it!!Wilbur: (as he bounces along roof) Hot! Oooh! Ow! Passengers please remain seated until the aircraft comes to a full and complete stop. Thank you. (Jake and Sparky continue to extend the runway; Wilbur lands on an umbrella and spins around.)Jake: Quick Sparky, we need to make a drag line! (an elaborate clothesline/hangar/brassiere drag line is constructed; Wilbur is catapulted into the drag line; when he stops, he is "wearing" the bra.)Wilbur: (cocky) Don't try and tell ME the runway's too short. Ha! (to Jake) Hold this for me will ya pal? (Wilbur "hands" him the bra which launches Jake backwards.)Jake: Bloke oughtta have his wings clipped.Wilbur: You captain thanks you for flying Albatross Airlines.....Jake: (aside to Sparky) Crazy Yanks. They think they can do any fool thing, without regard for..... (he sees Bianca; becomes starry-eyed; Sparky wonders what happened; looks at Jake; Sparky buzzes in dismay) (being suave) Welcome to Australia ma'am. My name's Jake and if there's any way I can make your stay more pleasant, don't hesitate to ask.Bianca: Oh, how kind.Jake: Allow me to get that bag for ya.Bernard: (struggling) I've a.... I've got a lot of... luggage here...Wilbur: Here let me give you a hand with those bags pal, all part of the friendly service here at Albatross Air (Wilbur picks up two of the bags; a crunch is heard) Ow! Oh! Big time hurt! Ah back!! Oh it's out!Bianca: Wilbur, are you alright?Jake: Don't worry ma'am, I'll handle this. Sparky, you watch the tower, we gotta get this bird to the hospital.Wilbur: Oh.... can't go down, can't go up. Oh ! Take the bags, take the bags!(scene: an old military hospital vehicle. Wilbur is being lowered inside by a series of ropes, gears and nursemice.)Nursemice: Heave! Ho! Heave! Ho!Wilbur: Hey, whaddya doin'? Hey, what... what's going on? Wait! Hey wait a minute... just stop everything.Bianca: Wilbur, don't worry. We'll come back the moment we find the boy.Wilbur: (begging) Wait! Hey! Wait a minute! Don't leave me here, please! I'm feeling much better now. I'm even ready to hit the beaches (laughs). I'm even ready to mambo. (Wiggles in the restraints).Bianca: Doctor, will he be alright?Doctor: (consoling) Now, now, my dear. Keep a stiff upper lip. They all come in with a whimper, and leave with a grin. Off with you now. Leave everything to me. Shoo, shoo, off you go.(they leave) Hop to it ladies, we've got a bent bird on our hands. Move, move, move, bustle, bustle, bustle. That's it, ah-ha.Wilbur: Will it, will it hurt doc?Doctor: Dear boy, you won't feel a thing. (to the nurse mice) Launch the back brace! (the "back brace" (a cane) is "launched" to immobilize Wilbur's back.)Wilbur: Hey! Hey wait! Wait! Woah!! I've been skewered.Doctor: (cross) I've already missed tea, Mr. Albatross, now don't force me to take drastic measures. You MUST relax.Wilbur: Relax?!? I have never been more relaxed in my life!! (begins to get hyper) If I were any more relaxed, I'd be dead!!!Doctor: (smug) I'm not convinced. (to the nurse mice) Sixty milligrams!Nursemice: Sixty milligrams. (the nursemice fill hypodermic needle with liquid and put it into the chamber of a shotgun.)Wilbur: Hey... wha.... are... are you guys crazy? You can't do that to me! I'm an American citizen buddy!!!Doctor: Better double it!Wilbur: DOUBLE?!?Nursemice: Double, coming up! (they load up another needle in the other chamber.)Wilbur: Nooo!!Doctor: Prepare the albatross for medication.Wilbur: Oh, I'm dreamin'... I'm dreamin'!! Come on Wilbur, wake up boy, wake up!!Doctor: (giving directions to aim the gun.) Three degrees right.Wilbur: Come on!!Nursemice: Three degrees right.Wilbur: Come on, it's a joke, it's a joke!Doctor: Down two degrees.Wilbur: Oh no, don't go down two degrees!Nursemice: Down two degrees.Doctor: Ready!Wilbur: No I'm not ready!! No, please!!Doctor: Aim!!Wilbur: (crying) please don't do this to me......Doctor: FIRE!! (the scene changes to outside and we hear the gun fire.)Wilbur: Ow, ow, oh. ooo......(scene: Mugwomp Flats; Bernard and Bianca are looking at a map)Bernard: Now we just.... gotta figure out how to get there.Jake: So, ah... you and your umm... husband here on a little outback excursion?Bianca: Oh no, no, we're not married.Bernard: In fact we're, we're here on a, a top ah.. secret mission. Very... very.. hush, hush.Jake: Oh! Gotta rescue that kid McLeach nabbed eh?Bianca: Why that's right! How did you know?Jake: (he bumps Bernard out of the way) (whispering to Bianca) You'll find it's tough to keep secrets in the outback miss. (outloud) So ah.... which way ya takin'? (looking at Bernard's map.) Suicide trail through Nightmare Canyon, or the shortcut at Satan's ridge?Bernard: Su... Suicide trail?Jake: Good choice. (dramatically) More snakes, less quicksand. Then once you cross Bloodworm Creek, you're scot free, this is until ummm... Dead Dingo Pass.Bernard: (puzzled) Wait, wait, wait a minute, I don't.... I don't see any, any of that, that stuff on the map.Jake: A map's no good in the outback! (folding up the map) What you really need is someone, (schmoozing to Bianca) someone who KNOWS the territory.Bianca: Oh Mister Jake, will you guide us?Jake: At your service! (he bows and shoves the map behind him into Bernard's gut.) Here better take my arm miss it's gonna be a treacherous hike. (beginning to tell a story) I remember the time Miss B. it was just me and four hundred of these big giant.....Bernard: Doesn't even know how to fold a map....(scene: the rangers are at Crocodile Falls searching the water; then we see Bernard, Miss Bianca and Jake on a wombat in a tree getting ready to jump.)Jake: This is how we get around in the outback Miss B. (shouting) The only way to travel, eh Berno?Bernard: Ah yeah, yeah, it's just a little, a little ah.. bumpy back here. (Bernard is bobbing along on the tail; the wombat climbs to the top of the tree and jumps.)Jake: Cinch up your seatbelts mates, we're comin' in for a landing. (the wombat lands on a small bush; Jake and Miss Bianca get off the wombat; however the bush isn't exactly stable yet...)Bernard: Hold it, not, not yet!! (Bernard gets launched into a patch of briars.)(scene: McLeach's hideout)McLeach: (sharpening a knife) Well boy, let's see if we can do something to refresh that rusty old memory of yours. Is she on Satan's Ridge? (throws a knife at the map Cody is standing in front of) Or Nightmare Canyon?? (throws another knife) Whadda you think Joanna? Yeah, that's it... right smack dab in the middle at Croc Falls! (throws another knife) (to Cody) Am I gettin' warm??Cody: I told you, I don't remember.McLeach: Don't you realize a bird that size is worth a fortune?? (in Cody's face) I'll split the money with you fifty-fifty, you can't get a better offer than that boy.Cody: You won't have any money after the rangers get through with you.McLeach: (growls in anger) (he kicks over the kettle of water in the fire).(scene: Bernard and Bianca in the forest by the water; Bianca is removing the burrs from Bernard.)Bernard: Jake's been gone... ow.... been gone a long time... maybe I should go, oh! Maybe I should go look for him.Bianca: Oh don't you worry about Jake, he can handle himself.Bernard: Yeah, I... I noticed.Bianca: I am just sure he'll be back in no time. (Bernard reaches into his pocket and pulls out the ring to make sure it's still there.)Bernard: You know... now that we're alone, (nervous) there's... there's something that I've, I've been wanting to uh... to.. to ask you.Bianca: Yes? What is it?Bernard: (he walks over to Bianca) Well, it's uh.... it's like this... Miss Bianca I.... (he gets down on one knee) I would be... (he takes her hand) most honored... if.. if...Jake: LOOK OUT!!! (Jake bursts through the two of them; Bianca screams) No mice for you Twister not today!! (Jake proceeds to lasso the mouth of Twister the snake.) There!Bernard: Miss Bianca!Jake: (assertively) I've been looking all over for you. Now look... we got a long way to go, and you're gonna take us there, and you're not gonna give us any trouble about it. Right?? (Snake shakes his head no; Jake and Miss Bianca get on Twister.) They're perfectly harmless once you look 'em in the eye and let em' who's boss. Ain't that right mate? (smacks the snake.) Now git.Bianca: It's alright Bernard, Jake has everything under control.Bernard: (disappointed and sarcastic) Yeah, I noticed.Jake: (going into a story again) You know Miss Bianca, truth be told, I used to be quite a dingo wrestler. Yeah, there was this one time, it was just me and (his voice begins to trail off) 300 of these ferocious mouse-eating dingo's right... had me surrounded.... decided to .... (Bernard, who is riding the end of the snake, get out the ring, dumps out the water, and sighs.)(scene: McLeach's animal prison; Mcleach throws Cody into a cage.)McLeach: I'll give you a night down here to think it over. But tomorrow, no more Mr. Nice Guy. (McLeach slams the door, Joanna gets her tail caught in it.) Joanna! You thick-headed chunk of fish-bait!Cody: (yelling) I'll NEVER tell you where she is! Never! Never!Frank: (mimicking Cody) Yeah, never tell! You'll have to drag it out of us!Cody: Hey, where did you come from?Frank: Um... the desert?Krebbs: Well, well, well, fancy that! Looks likes McLeach has begun trapping his own kind! There's no hope for any of us now.Frank: No hope! No hope! No! (cries)Cody: Be there MUST be a way out of here.Krebbs: Oh, there's a way out all right.Cody (and others): There is?Krebbs: Absolutely. (cocky) You'll go as a wallet, you'll go as a belt, and our dear Frank....Frank: No, no, no, I don't want to hear it.Krebbs: Frank will go as......Frank: I can't hear you... (Frank covers his ears and begins to sing a nonsense version of the Australian national anthem) la la la la la.....Krebbs: (pause until Frank uncovers his ears) A purse.Frank: Aiighh... no!! (cries)Krebbs: Ooo... a lovely ladies' purse.Frank: (crying) I don't want to go as a purse. (begging) Please, please, don't let 'em do it!Cody: Don't worry, we're gonna get out of here.Frank: We are?Cody: Yeah! If we all put our heads together, I'm sure we'll think of something.Frank: Yeah, something, something.... (begins to pant and think hard)Cody: Frank, what's wrong?Krebbs: Oh, here he goes again.Red: Take it easy mate, you don't want to hurt yourself again.Frank: (straining to think) I got it!! All we gotta do, is get the keys!!Krebbs: (sarcastically) Ohhh!! Is that all?? Well then, we better start packing our bags.Cody: No wait, he's right. If we could get these long pieces of wood.... (Cody strains to reach some long pieces of wood through his cage)Frank: Wood, yeah, wood, wood, wood, yeah good.Cody: Maybe we could.... (a bird in a "tire cage" helps knock the wood so Cody can reach it.) that's right just a little more... there, (he gets a piece of wood) Come on everybody, get some more stuff!!Red: The kid's right, what are we waiting for?Cody: That's it, you've got it! Hurry! We need something to tie it together!Frank: Hey, hey, hey, whaddya got, whaddya got, whaddya got?? (Frank gets whopped with a shoe) (through the shoe) Shoelaces! Oh. (the animals have constructed a long pole held up and together with rope and shoelaces; they begin to use their "pole" to get the keys.)Cody: Almost.... a little further...Frank: Yeah, yeah, yeah. (Krebbs moans/cries as they miss the keys.)Cody: It's o.k. let's try again.Frank: Yeah, yeah, yeah, yeah, yeah.Cody: Easy... easy does it.Frank: Yeah, no, no, no, yeah, no, yeah, yeah (etc...)Krebbs: Somebody shut him up!! (they get the keys on the hook; the dangle right in front of the door.)Frank: You've got it! You've got it! You've got it! (Joanna comes in, discovers keys, destroys pole, returns keys to hook, and leaves through the animal door.)Frank: (Frank strains to think again) I've got it! I'll just take my tail.... and I'll pick the lock.... like this!!Red: Aww Frank, give it a rest.Frank: No, no, no!! You'll thank me when you're free! Look, look, look, I just insert my tail, like this, and I turn it like this, just a quarter turn to the left, and then push it a little bit further...... (etc.)(scene change: Jake, Bianca, and Bernard are riding lightning bugs.)Jake: Ha, ha!! Show him who's boss Berno! (Bernard is having obvious trouble with his bug; he hits a dandelion, attempts to sneeze, but goes underwater instead.)(scene: the hospital wagon)Wilbur: Ugh... I feel like I got my head in a vise. (zoom out to see Wilbur's head in a vise) Unh...Doctor: Are we ready nurse?Nursemouse: Ready doctor.Doctor: Alright ladies, snap to it! (he snaps his rubber gloves on) Ooo... that smarts! Ah... let me see here.... (hums/sings to himself as he examines the x-ray)... forceps!Nursemouse: Forceps. (various tools posing as surgical equipment are tossed around.)Wilbur: Oh no, what now? (in the background the heart monitor begins to beep faster and faster throughout this part)Doctor: Spinal stretch-u-lator.Wilbur: Oh... that's gonna hurt.Doctor: Artery router.Wilbur: Mother!Doctor: This is rusted tight. I wouldn't DREAM of using such a tool. Bring me the epidermal tissue disrupter! (which is actually a chainsaw)Wilbur: The epidermal what?!?! (realizing what it is.) Oh no... no.... NO! (Wilbur screams and breaks free; the nursemice set off an alarm and sign that says "Patient Escaping.")Doctor: Mr. Albatross we haven't operated yet!Wilbur: You gotta catch me first doc!!Doctor: Mr. Albatross, please!! (chasing Wilbur)Wilbur: Cowabunga!Doctor: Mr. Albatross, we must return you to the operating room!Wilbur: You'll never take me alive!! (Wilbur attempts to climb out a windowDoctor: Please don't do this!! Your spine needs tender... (scream).... loving.... (scream).... care! (they all fall backwards)Wilbur: Oh. Ugh. oh... oh... my... my back! Hey, hey... I can, I, it works!! I'm cured!!Doctor: My back! (Wilbur bursts out of the back of the hospital truck)Wilbur: Don't worry, I'm coming you little mice... this is the finest fleet on two webbed feet. (panting) Oh boy, I gotta, I gotta go on a diet when I get home. Here we go!!(scene: Cody's house) (a ranger knocks at the door; Cody's mom answers and we begin to hear the radio announcer in the background)Announcer: ... those particular areas, in other news, authorities in Mugwomp Flats have called off the search for the missing boy. His backpack was found near Crocodile Falls, and local rangers believe he was yet another victim of crocodile attack. (scene transitions to McLeach's hideout) Authorities once again warn residents to use extreme caution when they are....McLeach: (to the radio) Ha heh! Think you're pretty smart, don't you eh? Who outsmarted who? Who? Who outsmarted who? I still gotta get that boy, to talking, huh? (a thought strikes him) I'm hungry. Can't think on an empty stomach... gotta have protein... gotta have.... eggs. (Joanna perks up at the word "eggs"). (McLeach gets up and walks across the room; Joanna follows.) Everyone's got his price... all I gotta do is offer him whatever he wants... and then not give it to him. (Joanna opens the tool box, takes an egg and puts it in her mouth; throughout this scene, Joanna steals McLeach's eggs as he is talking out loud; he keeps moving the box back and forth in an attempt to stop her, which only makes matters worse.) (to Joanna) Did you take one of my eggs? Open your mouth. These are NOT Joanna eggs. Let's see ummm... the boy's got the eagle... I want the eagle... the boy won't give me the eagle... if I could just find the boy's weak spot, I could get him to tell me where the eagle is. But the boy's only got ONE weak spot, and that IS the eagle. (aside/thinking out loud) Maybe if I stuck him in a giant anthill, that would loosen his tongue and then.... (yells) I got it! (to Joanna) Got your hand caught in the cookie jar, didn't ya? Eh? Who do you think you're messin' with you dumb animal, my mental facilities are twice what yours are, you peabrain. (opens case, realizes all the eggs are gone) (calmy at first, then more angry) (Joanna runs away and hides) Joanna.... I give you platypus eggs, I give you snake eggs, why I'll even give you eagle eggs, but I want you to stay away from my... (stops abruptly).... (whispers) the eagle's eggs! That's it! That's the boy's weak spot! (Joanna whimpers in corner)(scene: McLeach's animal prison)Frank: (still trying to open lock with his tail). Push it in a little bit farther..... (mumbling).... (Frank opens the cage without realizing it and steps out.) (crying) I give up! (kicks the door closed) I'll never get this.... we're doomed! Doomed!Red: Hey look! Krebbs, Frank's out!Cody: Frank, Frank, you're free!Frank: Free?! (realizing) I'm free! I'm free! I'm free! I'm free!.... (continues)Red: Shhhhh!!! Joanna'll hear!Krebbs: Double or nothin' he's caught in five minutes.Cody: Calm down little mate.Frank: (sticks his head through the cage) Look at me, I'm free!Cody: Frank, get the keys.Frank: I should get the keys. I'm stuck, I'm stuck, I'm stuck.... (continues and struggles)Red: Shhh quiet!Krebbs: Quiet ya fool!Cody: Take it easy, I'll get you loose. (twists Frank back through the cage) There ya go. (deliberately) Now go get the keys.Frank: The keys. Yeah, yeah, keys, keys, keys, keys, keys. (jumps to grab keys and misses) Gee, I can't reach 'em.Cody: Quick, get something to stand on.Frank: Yeah, stand on, something to stand on.Krebbs: This oughtta be rich.Frank: Yeah, yeah, stand on, stand on.... (etc.) (Frank gets a flat board, carries it across, throws it on the ground, thereby increasing his height by .01 inches.)Everyone: FRANK!Cody: Use the box! Climb up on the box!Frank: (mumbles) (grunts) box, box..... etc. (Frank moves the box, climbs up, and grabs the keys; he falls over with them on top of the box which makes noise with them)Everybody: SHHHHH! Quiet!Frank: (grumbles) These are heavy! (Frank kicks the keys onto the floor; everyone is dismayed. Frank gets a grip, gets quiet, and goes down to get the keys quietly. As he goes to grab the keys, Joanna enters the prison room through the animal door.) Oops! (Joanna begins to chase Frank around the room)Red: The keys Frank, give us the keys!! Frank, over here!! Give us the keys!! (they disappear behind some junk; Frank emerges riding Joanna like a horse with the keys as a bridle) Yeeeeeee-haaaww, ride 'em Frank!!!!Frank: Ya-hoo, howdy, howdy, howdy!!!! Howdy, howdy, howdy!!! (Joanna launches Frank across the room) Yeah, yeah, .... (etc) .... (Frank drops the keys; Cody picks them up and lets himself out.) (Joanna runs after Frank towards the cage) Let me in! Let me in!! (Joanna gets a gun) No, no, no!!!! (etc.) (Joanna shoots the gun at Frank who is standing against a wall. He is in a fancy position.) Huh, missed.McLeach: (catching Cody with the keys) Surprise!! If I didn't know any better, I'd think you didn't like it here.Cody: Let me go, let go, let go!!!!McLeach: (sees Frank out of his cage) HA!! Whaddya you doin' out of your cage?!? (Frank goes back into his cage.) Uhhh.... that's better. C'mon boy, (laughs) say goodbye to your little friends.... it's the last you'll ever see of 'em.(scene: at the front of McLeach's hideout)Bianca: There is no time to waste. We MUST try to get in.Bernard: (handing her a stick) Here, here Miss Bianca, start digging.Jake: (half-heartedly digs for a moment, stops, looks up and laughs) (sarcastically) Has anyone considered trying... "open sesame"?Bianca and Bernard: Aiighh! Woah!Jake: (shocked) Hey it worked!! (the mice climb up over the open door and look down.)McLeach: (throwing Cody out) Get out of here!! Go on! Git!!Bianca: Look Bernard, it's the boy!Jake: And McLeach.McLeach: (throwing Cody's knife at Cody's feet) It's all over boy... your bird's dead. Someone shot her... shot her, right outta the sky, bang!! (Joanna mocks a shot and death.)Cody: NO!!McLeach: Whaddya mean 'no'? You callin' me a liar? I heard it on the radio this morning, and she could have been mine if it weren't for you, now you better git outta here, before I change my mind. Go on, git!!Bernard: (whispering) Why is he letting him go??Jake: It's gotta be a trick.McLeach: (aside to Joanna, but loud enough for Cody to hear) Too bad about those eggs, eh Joanna? They'll never survive without their mother. Oh well, survival of the fittest, I guess. (watches Cody run off) (whispers) Bingo! (laughs) (Joanna also laughs)Bianca: Bird?Bernard: Eggs?Jake: Shh! Listen. (McLeach pulls out his truck with himself and Joanna in the cab.)McLeach: (laughs) I didn't make it all the way through third grade for nothing. (McLeach's truck begins to leave.)Jake: I don't know where he's going, but he can't let him get away. Hurry up you two!! (he jumps onto the truck.)Bianca: Quickly Bernard, NOW!! (They all jump; Bianca and Bernard miss and slide down onto the treads)Bernard: Oh no!! Oh no!! Get between the treads!!Jake: (throwing a rope) Bernard!! Bianca!! Here, catch!!Bernard: Got it!! Miss, Miss, Miss Bianca, you, you can do it!!!(scene: in the sky)Wilbur: (panting and puffing) Boy, this is some headwind, huh? Say, (laughs), you lovely ladies wouldn't have seen two little mice running around down there, would ya? Hey where ya going? I mean it, I'm looking for two little mice! (aside) Is it something I said?(scene: at the cliff) (Cody runs to the edge, stops, looks down, and begins to climb down.)Jake: He's going down the cliff! C'mon, we gotta warn him!(scene: over the cliff; at Marahute's nest.) (Cody arrives at the nest; sees the eggs; checks them out; he covers them up, and places one of the golden feathers on them.)Bianca: Cody!Cody: Huh? Who are you?Bianca: Oh, there is no time to explain, you're in GREAT danger.Cody: (Marahute's screech is heard at a distance) Marahute?! It can't be!Bianca: Oh Cody, Cody wait!!Cody: (sees Marahute) She's alive!!Bianca: Cody please!! You MUST listen!!Bernard: That's right, Mc.. McLeach is on the cliff.Cody: (looks up and sees McLeach's truck) (begins to yell and plead) Marahute, NO!!! Turn back!! Turn back!! Stay away!! It's a trap!! (McLeach launches the trap; Marahute is caught in it.)McLeach: I got her!!! I got her!!! Did you see that? (laughs) Perfect shot!! Per-fect shot! She's mine!! (laughs) All mine!!!!Cody: NO!!! (Cody jumps for the trap/bundle as it is hoisted up; Jake lassos Cody's foot.)Jake: Hold tight you two, we're going for a ride! (Bernard misses the rope)Bernard: Bianca!!Bianca: Bernard! (Cody begins to cut the ropes on the trap.)McLeach: (grumbles)... Meddlin' brat. Gonna get rid of him for good. (McLeach tries to shake Cody off.)Cody: Help I'm slipping!Bianca: Cody, don't move!! (Jake throws a rope and lassos Cody's foot.)McLeach: (hoists the whole group up and drops them into his cage) (laughs) (whispering) There she is Joanna.... just look at her.... look at the size of her... the RAREST bird in the world. That bird's gonna make me rich... (chuckles) FILTHY rich. (laughs) (announcing) I got what I want. Now, what does Joanna want? Does she wanna make sure that bird... STAYS rare? (egging her on) How about some great, big, triple A, jumbo, eagle eggs!!! Eh?! You want 'em?! Eh?! You want 'em? Go get 'em girl!!Cody: NO!! Please!! (Joanna runs for the cliff, sees how far down it is and balks in fear.)McLeach: (mocking) Why, whatever is the matter Joanna?? (She points down; McLeach kicks her over the edge). Git!! (Joanna goes down to eat the eggs; she searches the nest for them; finds the eggs; takes a bite of one; it is rock hard; she tries another with the same result; she drops one egg on the other which lands on her tail and she shreiks in pain) (screaming from on top of cliff) JOANNA!! You hurry up and eat those eggs and get your tail up here! MOVE IT!! (Joanna moves the "eggs" to the edge; knocks them over the cliff with her tail; she yanks on the rope for McLeach to bring he up; as she does, another rock falls that looks like an egg; Bernard comes out of hiding.)Bernard: (to the eggs) O.k. you guys, she fell for it. Looks like the coast is clear.Wilbur: (flying in to Marahute's nest) Girls? Girls, I'm here! (laughs) Where are you, you little chickees you? (laugh)Bernard: (puzzled at first) Wilbur? (louder) Wilbur!Wilbur: (screams and falls off the edge) Don't EVER do that to me again! Oh... boy... I lost a lot of feathers on that one.Bernard: Wilbur am I glad to see you! Give me a hand with these eggs will ya? (rolling the eggs out of hiding.)Wilbur: Yeah, sure. Wait a minute.... what the heck are you doing up here anyway??Bernard: The kidnapper took the boy and Jake.... Miss Bianca.Wilbur: Miss Bianca?? Miss Bianca's in trouble?!? Woah! Geez! That's terrible! We gotta do something! (chastising) Bernard, I'm disappointed in you. Hidin' under a nest while Miss Bianca needs our help. I gotta talk to you mister...Bernard: Wilbur....Wilbur: (fumbling) You should start searchin' the desert for her, and (fumbling) I'll scan the coastline!Bernard: Wilbur...Wilbur: That's what I'll do.... I'll ask the chicks on the beach.Bernard: Wilbur!Wilbur: Huh? What?!Bernard: Now listen! (Bernard points to the eggs) There's some chicks right here that need your help.Wilbur: Really? (Bernard sits on an egg, and pats it.) Oh no.... wait a minute... hold it.... I know what you're thinkin' and you're wrong. Don't even.... no... (Bernard gives him a stare) don't look at me like that! You're gettin' no from me! You understand? No! I will not.. EVER sit on those eggs! (scene changes to Wilbur sitting on the eggs) Aww... nuts! (sigh)... (to himself) Gotta learn to be more assertive. No is no is NO. (to the eggs) Hey, quit movin' in there!(scene: McLeach's vehicle)McLeach: Well Joanna, it looks like lady luck has finally decided to smile on us. Everything's going our way. (laughs to himself).Cody: (screaming) You can't do this!! You're gonna get in big trouble!! I'll tell the rangers where you are!!McLeach: (groan) I almost forgot...we got a loose end to tie up, haven't we girl? (Joanna looks through the back window; makes a face at Cody; Cody makes on back and smacks the glass and scares Joanna)Bianca: (consoling) Now, now Cody, we mustn't loose hope. Bernard is still out there...Jake: (mocking sincerity) That's right! Is anyone can get us out of this scrape it's old Berno! (aside) Nice bluff, Miss B.Bianca: I wasn't bluffing. You don't know Bernard like I do. He'll never give up. (looking back out over the trail)(scene: Bernard on the trail of McLeach's truck.) (Bernard is seen running along the trail of McLeach's truck; after turning a "corner" he realizes just how far he has to go; he sighs in disbelief).Bernard: Oh my gosh! (He hears a sound; there is a razorback right next to him sleeping; Bernard looks scared at first; thinks; gets an idea; builds up courage; and goes for it.) Ahem... ahem.... ah... excuse me... (the razorback wakes up and grunts at him) (assertively) now look, I've got a long way to go, (Bernard roughs up the razorback by the snout) you're going to take me there, and you're not going to give me any trouble about it, right? (the razorback whimpers and shakes his head no.) Good. (Bernard climbs up the razorback) Now git. (they take off down the trail).(scene: Crocodile falls)McLeach: (Cody has been tied up to a hoist and hook) Are ya ready boy? It's time you learned how to fish for crocs! (laughs) They like it when you use live bait... and you're as live as they come. (laughs and sings as he adjusts a light onto Cody so that the crocodiles can see him) Oh... you get a line, and I'll get a pole, matey.... you get a line, I'll get a pole, friend.... oh, you get a line, I'll get a pole, we'll go fishin' at the crocodile hole, buddy, pal o' mine.... (to the crocs) That's right babies, suppertime! (continues to sing as Cody is lowered to the water.)Jake: It don't look good Miss B. I can't see any way out of this one.Bianca: (to the air) Oh Bernard, please hurry!McLeach: (laughing/singing) Now, this is MY idea of FUN. (begins to play with the hoist controls; dunks Cody in the water and pulls him out.) Nothing personal boy, but I wouldn't want to disappoint the rangers. They was looking so hard for ya, and now... they're gonna find ya! (drops Cody once more, but before Cody hits the water, the power goes out.) What the blazes going on here? (McLeach looks down over truck; sees a razorback running out of the truck cab). Joanna? (McLeach climbs down) Did you know, there was a razorback in my truck? (she shakes her head yes at first) Did ya? Did ya?? (she shakes he head no) (yelling) There was a RAZORBACK in my truck. Now you quit playing around and do your job, you four- legged python!! (She climbs down to look around) (McLeach looks inside the truck cab.) Hey, what happened to them keys? (fishing around the floor; Bernard is hiding underneath the gas pedal with the keys.) Must be around here somewhere, they couldn't just get up and walk away. Something weird's going on around here.... I smell a big, fat rat. (Cody is still hanging just above the water; the crocodiles jump for him; Bernard jumps out of the truck cab with the keys; he tiptoes underneath the truck; Joanna follows him and then chases him.)Bianca: Look, it's Bernard!Jake: I don't believe it! Way to go mate!Bernard: Miss Bianca, Jake, catch!! (He throws the keys up to them) (Joanna chases after him) Woah!McLeach: Well, there's more than one way to skin a cat. (getting out his gun) (laughs) (Jake and Bianca work the keys up the cage) (Joanna continues to chase Bernard; Bernard tricks Joanna into biting her tail; he hides in a log; Bianca and Jake continue to work the keys up the cage; a gunshot is heard; Marahute screeches.)McLeach: Blasted!!Bernard: Oh my gosh! I hope I know what I'm doing! (another shot goes off; this time, it hits the rope and severs it most of the way; Bernard kicks Joanna; runs for McLeach.) Thhpppt. (Bernard runs up McLeach just as he takes aim again; Joanna follows and tackles McLeach.)McLeach: Hey, get off me!! Joanna! What are ya..... (Bernard pushes McLeach over with one finger) (screams and falls into the water) Joanna! Joanna!! You stupid rodent! Get off me! You idiot! Get off of me! No! No! (begins to beat away crocodiles with his gun.) (the rope breaks and Cody falls into the water)Bianca: Bernard the boy!! (Bernard dives into the water to get Cody; they both surface.)Cody: Help!! Help!! (Bernard swims for shore; he ties Cody's rope around a tree limb.)McLeach: (hitting the crocodiles) Get back, get back, go on, get away from me, get away from me.... (the crocs retreat) (laughs) HA! I whooped ya! I whooped ya all! You'll think twice before messin' with Percival C. McLeach!! (laughs) Woah! (realizes that he is headed for the waterfall and tries to swim back; Joanna waves goodbye) NOO!!!! (McLeach goes over the edge of the waterfall.)Bernard: Don't give up Cody!! (the tree limb breaks; Bernard and Cody continue down the river; Jake opens the lock on their cage; Marahute takes off with Jake and Bianca.)Jake: Hop on Miss B.!! (they fly towards Cody)Cody: Help! Help! (Cody goes over the waterfall with Bernard) (everyone disappears into the mist of the waterfall; a few seconds later, we see all four on Marahute flying away triumphantly into the sky and clouds.)Cody: (mocks eagle screech) (looking around; sees Bernard clinging to the rope.) It's o.k. Come on.... (to Bernard) Thanks little mate.Bianca: (hugging Bernard) Oh Bernard you are magnificent, you are absolutely the hero of the day.Bernard: (rushed) Miss Bianca, before anything else happens... (sighs; gets out the ring and gets on one knee).... will you marry me?Bianca: (shocked) Bernard! Of COURSE, I will! (hugs Bernard.)Jake: Well done mate. (Jake gives Bernard the thumbs up sign.)Cody: Come on Marahute, let's all go home. (Marhute flies higher and the four of them cruise off into the clouds and the moon.)(scene: high on the cliff at Marahute's nest)Wilbur: Help!!! Anybody!! Bernard!! Bianca!! Where are you?!? (to himself) O.k., that's it, I'm outta here, this is ridiculous. You can't leave me here alone (laughs). I'm gone! I am GONE! (the sound of eggs breaking open and chirping is heard) (to the eggs) Aww no... stay in those eggs! That's a direct order! (in a baby-ish voice) Awww..... hey... you're kind of a cute little feller, coochy coochy.... YOW! WOAH!!! (groans) THE ENDSpecial thanks to my proofers: Peter Schouten (jps@dataweb.nl) Thanks for identifying the Australian national anthem. (wow!) Pete Meene (pmmsimba@aol.com) Frank Pilhofer (fp@informatik.uni-frankfurt.de) \ No newline at end of file diff --git a/unformated_scripts/Script_Reservoir Dogs.txt b/unformated_scripts/Script_Reservoir Dogs.txt new file mode 100644 index 0000000000000000000000000000000000000000..a5069607abab1e4128919f8f9c3a59f2e97e4222 --- /dev/null +++ b/unformated_scripts/Script_Reservoir Dogs.txt @@ -0,0 +1 @@ + Quentin Tarantino's R E S E R V O I R D O G S October 22, 1990 ----------------- This movie is dedicated to these following sources of inspiration: TIMOTHY CAREY ROGER CORMAN ANDRE DeTOTH CHOW YUEN FAT JEAN LUC GODDARD JEAN PIERRE MELVILLE LAWRENCE TIERNEY LIONEL WHITE --------------------- RESERVOIR DOGS1 INT. UNCLE BOB'S PANCAKE HOUSE - MORNING Eight men dressed in BLACK SUITS, sit around a table at a breakfast cafe. They are MR. WHITE, MR. PINK, MR. BLUE, MR. BLONDE, MR. ORANGE, MR. BROWN, NICE GUY EDDIE CABOT, and the big boss, JOE CABOT. Most are finished eating and are enjoying coffee and conversation. Joe flips through a small address book. Mr. Pink is telling a long and involved story about Madonna. MR. PINK "Like a Virgin" is all about a girl who digs a guy with a big dick. The whole song is a metaphor for big dicks. MR. BLUE No it's not. It's about a girl who is very vulnerable and she's been fucked over a few times. Then she meets some guy who's really sensitive-- MR. PINK --Whoa...whoa...time out Greenbay. Tell that bullshit to the tourists. JOE (looking through his address book) Toby...who the fuck is Toby? Toby...Toby...think...think... think... MR. PINK It's not about a nice girl who meets a sensitive boy. Now granted that's what "True Blue" is about, no argument about that. MR. ORANGE Which one is "True Blue?" NICE GUY EDDIE You don't remember "True Blue?" That was a big ass hit for Madonna. Shit, I don't even follow this Tops In Pops shit, and I've at least heard of "True Blue." MR. ORANGE Look, asshole, I didn't say I ain't heard of it. All I asked was how does it go? Excuse me for not being the world's biggest Madonna fan. MR. BROWN I hate Madonna. MR. BLUE I like her early stuff. You know, "Lucky Star," "Borderline" - but once she got into her "Papa Don't Preach" phase, I don't know, I tuned out. MR. PINK Hey, fuck all that, I'm making a point here. You're gonna make me lose my train of thought. JOE Oh fuck, Toby's that little china girl. MR. WHITE What's that? JOE I found this old address book in a jacket I ain't worn in a coon's age. Toby what? What the fuck was her last name? MR. PINK Where was I? MR. ORANGE You said "True Blue" was about a nice girl who finds a sensitive fella. But "Like a Virgin" was a metaphor for big dicks. MR. PINK Let me tell ya what "Like a Virgin"'s about. It's about some cooze who's a regular fuck machine. I mean all the time, morning, day, night, afternoon, dick, dick, dick, dick, dick, dick, dick, dick, dick, dick, dick. MR. BLUE How many dicks was that? MR. WHITE A lot. MR. PINK Then one day she meets a John Holmes motherfucker, and it's like, whoa baby. This mother fucker's like Charles Bronson in "The Great Escape." He's diggin tunnels. Now she's gettin this serious dick action, she's feelin something she ain't felt since forever. Pain. JOE Chew? Toby Chew? No. MR. PINK It hurts. It hurts her. It shouldn't hurt. Her pussy should be Bubble-Yum by now. But when this cat fucks her, it hurts. It hurts like the first time. The pain is reminding a fuck machine what is was like to be a virgin. Hence, "Like a Virgin." The fellas crack up. JOE Wong? MR. PINK Fuck you, wrong. I'm right! What the fuck do you know about it anyway? You're still listening to Jerry-fucking-Vale. JOE Not wrong, dumb ass, Wong! You know, like the Chinese name? Mr. White snatches the address book from Joe's hand. They fight, but they're not really mad at each other. MR. WHITE Give me this fucking thing. JOE What the fuck do you think you're doin? Give me my book back! MR. WHITE I'm sick of fuckin hearin it Joe, I'll give it back when we leave. JOE Whaddaya mean, give it to me when we leave, give it back now. MR. WHITE For the past fifteen minutes now, you've just been droning on with names. "Toby...Toby...Toby... Toby Wong...Toby Wong...Toby Chung...fuckin Charlie Chan." I got Madonna's big dick outta my right ear, and Toby Jap I-don't- know-what, outta my left. JOE What do you care? MR. WHITE When you're annoying as hell, I care a lot. JOE Give me my book. MR. WHITE You gonna put it away? JOE I'm gonna do whatever I wanna do with it. MR. WHITE Well, then, I'm afraid I'm gonna have to keep it. MR. BLONDE Joe, you want me to shoot him for you? MR. WHITE Shit, you shoot me in a dream, you better wake up and apologize. NICE GUY EDDIE Have you guys been listening to K- BILLY's super sounds of the seventies weekend? MR. PINK Yeah, it's fuckin great isn't it? NICE GUY EDDIE Can you believe the songs they been playin? MR. PINK No, I can't. You know what I heard the other day? "Heartbeat - It's Lovebeat," by little Tony DeFranco and the DeFranco Family. I haven't heard that since I was in fifth fuckin grade. NICE GUY EDDIE When I was coming down here, I was playin it. And "The Night the Lights Went Out in Georgia" came on. Now I ain't heard that song since it was big, but when it was big, I heard it a million- trillion times. I'm listening to it this morning, and this was the first time I ever realized that the lady singing the song, was the one who killed Andy. MR. BLUE You didn't know Vicki Lawrence killed the guy? NICE GUY EDDIE I thought the cheatin wife shot Andy. MR. BLONDE They say it in the song. NICE GUY EDDIE I know, I heard it. I musta zoned out whenever that part came on before. I thought when she said that little sister stuff, she was talkin about her sister- in-law, the cheatin wife. JOE No, she did it. She killed the cheatin wife, too. MR. PINK You know the part in "Gypsies, Tramps and Theives," when she says "Poppa woulda shot his if he knew what he'd done?" I could never figure out what he did. The table laughs. The WAITRESS comes over to the table. She has the check, and a pot of coffee. WAITRESS Can I get anybody more coffee. JOE No, we're gonna be hittin it. I'll take care of the check. She hands the bill to him. WAITRESS Here ya go. Please pay at the register, if you wouldn't mind. JOE Sure thing. WAITRESS You guys have a wonderful day. They all mutter equivalents. She exits and Joe stands up. JOE I'll take care of this, you guys leave the tip. (to Mr. White) And when I come back, I want my book back. MR. WHITE Sorry, it's my book now. JOE Blonde, shoot this piece of shit, will ya? Mr. Blonde shoots Mr. White with his finger. Mr White acts shot. Joe exits. NICE GUY EDDIE Okay, everybody cough up green for the little lady. Everybody whips out a buck, and throws it on the table. Everybody, that is, except Mr. White. NICE GUY EDDIE C'mon, throw in a buck. MR. WHITE Uh-uh. I don't tip. NICE GUY EDDIE Whaddaya mean you don't tip? MR. WHITE I don't believe in it. NICE GUY EDDIE You don't believe in tipping? MR. PINK (laughing) I love this kid, he's a madman, this guy. MR. BLONDE Do you have any idea what these ladies make? They make shit. MR. WHITE Don't give me that. She don't make enough money, she can quit. Everybody laughs. NICE GUY EDDIE I don't even know a Jew who'd have the balls to say that. So let's get this straight. You never ever tip? MR. WHITE I don't tip because society says I gotta. I tip when somebody deserves a tip. When somebody really puts forth an effort, they deserve a little something extra. But this tipping automatically, that shit's for the birds. As far as I'm concerned, they're just doin their job. MR. BLUE Our girl was nice. MR. WHITE Our girl was okay. She didn't do anything special. MR. BLONDE What's something special, take ya in the kitchen and suck your dick? They all laugh. NICE GUY EDDIE I'd go over twelve percent for that. MR. WRITE Look, I ordered coffee. Now we've been here a long fuckin time, and she's only filled my cup three times. When I order coffee, I want it filled six times. MR. BLONDE What if she's too busy? MR. WHITE The words "too busy" shouldn't be in a waitress's vocabulary. NICE GUY EDDIE Excuse me, Mr. White, but the last thing you need is another cup of coffee. They all laugh. MR. WHITE These ladies aren't starvin to death. They make minimum wage. When I worked for minimum wage, I wasn't lucky enough to have a job that society deemed tipworthy. NICE GUY EDDIE Ahh, now we're getting down to it. It's not just that he's a cheap bastard-- MR. ORANGE --It is that too-- NICE GUY EDDIE --It is that too. But it's also he couldn't get a waiter job. You talk like a pissed off dishwasher: "Fuck those cunts and their fucking tips." MR. BLONDE So you don't care that they're counting on your tip to live? Mr. White rubs two of his fingers together. MR. WHITE Do you know what this is? It's the world's smallest violin, playing just for the waitresses. MR. BLONDE You don't have any idea what you're talking about. These people bust their ass. This is a hard job. MR. WHITE So's working at McDonald's, but you don't feel the need to tip them. They're servin ya food, you should tip em. But no, society says tip these guys over here, but not those guys over there. That's bullshit. MR. ORANGE They work harder than the kids at McDonald's. MR. WHITE Oh yeah, I don't see them cleaning fryers. MR. BROWN These people are taxed on the tips they make. When you stiff 'em, you cost them money. MR. BLONDE Waitressing is the number one occupation for female non-college graduates in this country. It's the one jab basically any woman can get, and make a living on. The reason is because of tips. MR. WHITE Fuck all that. They all laugh. MR. WHITE Hey, I'm very sorry that the government taxes their tips. That's fucked up. But that ain't my fault. it would appear that waitresses are just one of the many groups the government fucks in the ass on a regular basis. You show me a paper says the government shouldn't do that, I'll sign it. Put it to a vote, I'll vote for it. But what I won't do is play ball. And this non- college bullshit you're telling me, I got two words for that: "Learn to fuckin type." Cause if you're expecting me to help out with the rent, you're in for a big fuckin surprise. MR. ORANGE He's convinced me. Give me my dollar back. Everybody laughs. Joe's comes back to the table. JOE Okay ramblers, let's get to rambling. Wait a minute, who didn't throw in? MR. ORANGE Mr. White. JOE (to Mr. Orange) Mr. White? (to Mr. White) Why? MR. ORANGE He don't tip. JOE (to Mr. Orange) He don't tip? (to Mr. White) You don't tip? Why? MR. ORANGE He don't believe in it. JOE (to Mr. Orange) He don't believe in it? (to Mr. White) You don't believe in it? MR. ORANGE Nope. JOE (to Mr. Orange) Shut up! (to Mr. White) Cough up the buck, ya cheap bastard, I paid for your goddamn breakfast. MR. WHITE Because you paid for the breakfast, I'm gonna tip. Normally I wouldn't. JOE Whatever. Just throw in your dollar, and let's move. (to Mr. Blonde) See what I'm dealing with here. Infants. I'm fuckin dealin with infants. The eight men get up to leave. Mr. White's waist is in the F.G. As he buttons his coat, for a second we see he's carrying a gun. They exit Uncle Bob's Pancake House, talking amongst themselves.2 EXT. UNCLE BOB'S PANCAKE HOUSE - DAY CREDIT SEQUENCE: When the credit sequence is finished, we FADE TO BLACK: Over the BLACK we hear the sound of SOMEONE SCREAMING in agony. Under the screaming, we hear the sound of a car HAULING ASS, through traffic. Over the screams and the traffic noise, we hear SOMEBODY ELSE SAY: SOMEBODY ELSE (OS) Just hold on buddy boy. Somebody stops screaming long enough to say: SOMEBODY (OS) I'm sorry. I can't believe she killed me. Who would've fuckin thought that? CUT TO:3 INT. GETAWAY GAR (MOVING) - DAY The Somebody screaming is Mr. Orange. He lies in the backseat. He's been SHOT in the stomach. BLOOD covers both him and the backseat. Mr. White is the Somebody Else. He's behind the wheel of the getaway car. He's easily doing 80 mph, dodging in and out of traffic. Though he's driving for his life, he keeps talking to his wounded passenger in the backseat. They are the only two in the car. MR. WHITE Hey, just cancel that shit right now! You're hurt. You're hurt really fucking bad, but you ain't dying. MR. ORANGE (crying) All this blood is scaring the shit outta me. I'm gonna die, I know it. MR. WHITE Oh excuse me, I didn't realize you had a degree in medicine. Are you a doctor? Are you a doctor? Answer me please, are you a doctor? MR. ORANGE No, I'm not! MR. WRITE Ahhhh, so you admit you don't know what you're talking about. So if you're through giving me your amateur opinion, lie back and listen to the news. I'm taking you back to the rendezvous, Joe's gonna get you a doctor, the doctor's gonna fix you up, and you're gonna be okay. Now say it: you're gonna be okay. Say it: you're gonna be okay! Mr. Orange doesn't respond. Mr. White starts pounding on the steering wheel. MR. WHITE Say-the-goddamn-words: you're gonna be okay! MR. ORANGE I'm okay. MR. WHITE (softly) Correct.4 INT. WAREHOUSE - DAY The CAMERA does a 360 around an empty warehouse. Then the door swings open, and Mr. White carries the bloody body of Mr. Orange inside. Mr. Orange still is MOANING loudly from his bullet hit. Mr. White lays him down upon a mattress on the floor. MR. WHITE Just hold on buddy boy. Hold on, and wait for Joe. I can't do anything for you, but when Joe gets here, which should be anytime now, he'll be able to help you. We're just gonna sit here, and wait for Joe. Who are we waiting for? MR. ORANGE Joe. MR. WHITE Bet your sweet ass we are. Mr. White gets up from over Mr. Orange and starts to prowl around the warehouse. MR. ORANGE (yelling) Don't leave me! Mr White bends back over him and takes his hand. MR. WHITE I ain't going anywhere. I'm right here. I'm not gonna leave ya. MR. ORANGE Larry, I'm so scared, would you please hold me. Mr. White very gently embraces the bloody Mr. Orange. Cradling the young man, Mr. White whispers to him. MR. WHITE (whispering) Go ahead and be scared, you've been brave enough for one day. I want you to just relax now. You're not gonna die, you're gonna be fine. When Joe gets here, he'll make ya a hundred percent again. Mr. White lays Mr. Orange back down on the mattress. He's still holding his hand. Mr. Orange looks up at his friend. MR. ORANGE Look, I don't wanna be a fly in the ointment, but if help doesn't come soon, I gotta see a doctor. I don't give a fuck about jail, I just don't wanna die. MR. WHITE You're not gonna fucking die, all right? MR. ORANGE I wasn't born yesterday. I'm hurt, and I'm hurt bad. MR. WHITE It's not good... MR. ORANGE Hey, bless your heart for what you're trying to do. I was panicking for a moment, but I've got my senses back now. The situation is, I'm shot in the belly. And without medical attention, I'm gonna die. MR. WHITE I can' take you to a hospital. MR. ORANGE Fuck jail! I don't give a shit about jail. But I can't die. You don't have to take me in. Just drive me up to the front, drop me on the sidewalk. I'll take care of myself. I won't tell them anything. I swear to fucking god, I won't tell 'em anything. Look in my eyes, look right in my eyes. (Mr. White does) I-won't-tell-them-anything. You'll be safe. MR. WHITE Lie back down, and try to-- MR. ORANGE I'm going to die! I need a doctor! I'm begging you, take me to a doctor. Mr. Orange lays his head back on the mattress. Spent from his outburst, he quietly mutters to himself: MR. ORANGE Take me to a doctor, take me to a doctor, please. Suddenly, the warehouse door BURSTS open and Mr. Pink steps inside. MR. PINK Was that a fucking set-up or what? Mr. Pink sees Mr. Orange on the floor, shot and bloody. MR. PINK Oh fuck, Orange got tagged. Throughout this scene, we hear Mr. Orange moaning. MR. WHITE Gun shot. MR. PINK Oh that's just fucking great! Where's Brown? MR. WHITE Dead. MR. PINK Goddamn, goddamn! How did he die? MR. WHITE How the fuck do you think? The cops shot him. MR. PINK Oh this is bad, this is so bad. (referring to Mr. Orange) Is it bad? MR. WHITE As opposed to good? MR. PINK This is so fucked up. Somebody fucked us big time. MR. WHITE You really think we were set up? MR. PINK You even doubt it? I don't think we got set up, I know we got set up! I mean really, seriously, where did all those cops come from, huh? One minute they're not there, the next minute they're there. I didn't hear any sirens. The alarm went off, okay. Okay, when an alarm goes off, you got an average of four minutes response time. Unless a patrol car is cruising that street, at that particular moment, you got four minutes before they can realistically respond. In one minute there were seventeen blue boys out there. All loaded for bear, all knowing exactly what the fuck they were doing, and they were all just there! Remember that second wave that showed up in the cars? Those were the ones responding to the alarm. but those other motherfuckers were already there, they were waiting for us. (pause) You haven't thought about this? MR. WHITE I haven't had a chance to think. First I was just trying to get the fuck outta there. And after we got away, I've just been dealin with him. MR. PINK Well, you better start thinking about it. Cause I, sure as fuck, am thinking about it. In fact, that's all I'm thinking about. I came this close to just driving off. Whoever set us up, knows about this place. There could've been cops sitting here waiting for me. For all we know, there's cops, driving fast, on their way here now. MR. WHITE Let's go in the other room... The camera creeps along a wall, coming to a corner. We move past it, and see down a hall.5 INT. BATHROOM HALLWAY - DAY At the end of the hall is a bathroom. The bathroom door is partially closed, restricting our view. Mr. Pink is obscured, but Mr. White is in view. MR. PINK (OS) What the fuck am I doing here? I felt funny about this job right off. As soon as I felt it I should said "No thank you", and walked. But I never fucking listen. Every time I ever got burned buying weed, I always knew the guy wasn't right. I just felt it. But I wanted to believe him. If he's not lyin to me, and it really is Thai stick, then whoa baby. But it's never Thai stick. and I always said if I felt that way about a job, I'd walk. And I did, and I didn't, because of fuckin money! MR. WHITE What's done is done, I need you cool. Are you cool? MR. PINK I'm cool. MR. WHITE Splash some water on your face. Take a breather. We hear the sink running, and Mr. Pink splashing water on his face. MR. WHITE I'm gonna get me my smokes. Mr White opens the bathroom door, walks down the hall, and OUT OF FRAME. We see Mr. Pink, his back turned towards us, bent over the sink. Then he grabs a towels, and dries his face. Mr White ENTERS FRAME with a pack of Chesterfields in his hand. MR. WHITE Want a smoke? MR. PINK Why not? The two men light up. MR. WHITE Okay, let's go through what happened. We're in the place, everything's going fine. Then the alarm gets tripped. I turn around and all these cops are outside. You're right, it was like, bam! I blink my eyes are they're there. Everybody starts going apeshit. Then Mr. Blonde starts shootin all the-- MR. PINK --That's not correct. MR. WHITE What's wrong with it? MR. PINK The cops didn't show up after the alarm went off. They didn't show till after Mr. Blonde started shooting everyone. MR. WHITE As soon as I heard the alarm, I saw the cops. MR. PINK I'm telling ya, it wasn't that soon. They didn't let their presence be known until after Mr. Blonde went off. I'm not sayin they weren't there, I'm sayin they were there. But they didn't move in till Mr. Blonde became a madman. That's how I know we were set up. You can see that, can't you, Mr. White? MR. WHITE Look, enough of this "Mr White" shit-- MR. PINK --Don't tell me your name, I don't want to know! I sure as hell ain't gonna tell ya mine. MR. WHITE You're right, this is bad. (pause) How did you get out? MR. PINK Shot my way out. Everybody was shooting, so I just blasted my way outta there. CUT TO:6 EXT. CROWDED CITY STREET - DAY Mr. Pink is hauling ass down a busy city sidewalk. He has a canvas bag with a shoulder strap in one hand, and a .357 MAGNUM in the other. If any BYSTANDERS get in his way, he just knocks them down. We DOLLY at the same speed, right along side of him. FOUR POLICEMEN are running after Mr. Pink. We DOLLY with them. We DOLLY with a young woman on roller skates. ROLLERGIRL is plugged into a walkman. We hear the song she's listening to LOUD over the SOUNDTRACK. She's twirling and skating backwards to the beat of the song. Rollergirl turns a corner and COLLIDES with Mr. Pink. The man and woman CRASH to the ground. Mr. Pink rolls into the street, in front of a moving car that SCREECHES to a stop, narrowly avoiding running over him.7 INT. CAR (STOPPED) - DAY The CAMERA is in the backseat. A SHOCKED WOMAN is the car's driver. Mr. Pink pulls himself up from the hood, shakes it off, and points his magnum at the driver. MR. PINK Get outta the car! Get the fuck outta the car! The Shocked Woman starts screaming. Mr. Pink tries to open the driver's side door, but it's locked. MR. PINK Open the fucking door! EXTREME C.U. DRIVER'S SIDE WINDOW Mr. Pink SMASHES it in our face.8 EXT. STREET - DAY DOLLY with Cops coming up fast. Mr. Pink DRAGS the Shocked Woman out of the car. The Cops reach the corner, guns aimed. Using the car as a shield, Mr. Pink FIRES three shots at the Cops. Everybody HITS the ground, or scatters. Mr. Pink HOPS in the car. Cops FIRE.9 INT. CAR (MOVING) - DAY CAMERA in the backseat, Mr. Pink FLOORS it. SPEEDING down the street, with the Cops FIRING after him. BACK TO:10 INT. BATHROOM - DAY Mr. Pink and Mr. White still talking in the bathroom. MR. PINK Tagged a couple of cops. Did you kill anybody? MR. WHITE A few cops. MR. PINK No real people? MR. WHITE Uh-uh, just cops. MR. PINK Could you believe Mr. Blonde? MR. WHITE That was one of the most insane fucking things I've ever seen. Why the fuck would Joe hire somebody like that? MR. PINK I don't wanna kill anybody. But if I gotta get out that door, and you're standing in my way, one way of the other, you're gettin outta my way. MR. WHITE That's the way I look at it. A choice between doin ten years, and takin out some stupid motherfucker, ain't no choice at all. But I ain't no madman either. What the fuck was Joe thinkin? You can't work with a guy like that. That mother- fucker's unstable. What do you think? Do you think he panicked, or ya think he's just trigger- happy? MR. PINK I think he's a sick fuckin maniac! We're awful goddamn lucky he didn't tag us, when he shot up the place. I came this fucking close-- (hold up two fingers and makes a tiny space between them) --to taking his ass out myself. Everybody panics. When things get tense, everybody panics. Everybody. I don't care what your name is, you can't help it. It's human nature. But ya panic on the inside. Ya panic in your head. Ya give yourself a couple a seconds of panic, then you get a grip and deal with the situation. What you don't do, is shoot up the place and kill everybody. MR. WHITE What you're supposed to do is act like a fuckin professional. A psychopath is not a professional. You can't work with a psychopath, 'cause ya don't know what those sick assholes are gonna do next. I mean, Jesus Christ, how old do you think that black girl was? Twenty, maybe twenty-one? MR. PINK Did ya see what happened to anybody else? MR. WHITE Me and Mr. Orange jumped in the car and Mr. Brown floored it. After that, I don't know what went down. MR. PINK At that point it became every man for himself. As far as Mr. Blonde or Mr. Blue are concerned, I ain't got the foggiest. Once I got out, I never looked back. MR. WHITE What do you think? MR. PINK What do I think? I think the cops caught them, or killed 'em. MR. WHITE Not even a chance they punched through? You found a hole. MR. PINK Yeah, and that was a fucking miracle. But if they did get away, where the fuck are they? MR. WHITE You don't think it's possible, one of them got ahold of the diamonds and pulled a-- MR. PINK Nope. MR. WHITE How can you be so sure? MR. PINK I got the diamonds. MR. WHITE Where? MR. PINK I got 'em, all right? MR. WHITE Where? Are they out in the car? MR. PINK No, they're not in the car. No, I don't have them on me. Ya wanna go with me and get 'em? Yes, we can go right now. But first listen to what I'm telling you. We were fuckin set up! Somebody is in league with the cops. We got a Judas in our midst. And I'm thinkin we should have our fuckin heads examined for waiting around here. MR. WHITE That was the plan, we meet here. MR. PINK Then where is everybody? I say the plan became null and void once we found out we got a rat in the house. We ain't got the slightest fuckin idea what happened to Mr. Blonde or Mr. Blue. They could both be dead or arrested. They could be sweatin 'em, down at the station house right now. Yeah they don't know the names, but they can sing about this place. I mean, that could be happening right now. As we speak, the cops could be in their cars, drivin here this minute. MR. WHITE I swear to god I'm fuckin jinxed. MR. PINK What? MR. WHITE Two jobs back, it was a four man job, we discovered one of the team was an undercover cop. MR. PINK No shit? MR. WHITE Thank god, we discovered in time. We hadda forget the whole fuckin thing. Just walked away from it. MR. PINK So who's the rat this time? Mr. Blue? Mr. Blonde? Joe? It's Joe's show, he set this whole thing up. Maybe he set it up to set it up. MR. WHITE I don't buy it. Me and Joe go back a long time. I can tell ya straight up, Joe definitely didn't have anything to do with this bullshit. MR. PINK Oh, you and Joe go back a long time. I known Joe since I was a kid. But me saying Joe definitely couldn't have done it is ridiculous. I can say I definitely didn't do it, cause I know what I did or didn't do. But I can't definitely say that about anybody else, 'cause I don't definitely know. For all I know, you're the rat. MR. WHITE For all I know, you're the rat. MR. PINK Now you're using your head. For all we know, he's the rat. Mr. Pink points OFFSCREEN to Mr. Orange. Mr. White's expression changes. MR. WHITE Jesus Christ!11 INT. WAREHOUSE - DAY They run over to Mr. Orange, who's unconscious. The CAMERA hovers over the action. Mr. Pink reaches him first. MR. PINK Is he dead? Mr. White pushes him out of the way. He feels the pulse on Mr. Orange's neck. MR. PINK So, is he dead or what? MR. WHITE He ain't dead. MR. PINK So what is it? MR. WHITE I think he's just passed out. MR. PINK He scared the fuckin shit outta me. I thought he was dead fer sure. Mr. White stands up and walks over to a table. MR. WHITE He will be dead fer sure, if we don't get him to a hospital. MR. PINK We can't take him to a hospital. MR. WHITE Without medical attention, this man won't live through the night. That bullet in his belly is my fault. Now while that might not mean jack shit to you, it means a helluva lot to me. And I'm not gonna just sit around and watch him die. MR. PINK Well, first things first, staying here's goofy. We gotta book up. MR. WHITE So what do you suggest, we go to a hotel? We got a guy who's shot in the belly, he can't walk, he bleeds like a stuck pig, and when he's awake, he screams in pain. MR. PINK You gotta idea, spit it out. MR. WHITE Joe could help him. If we can get in touch with Joe, Joe could get him to a doctor, Joe could get a doctor to come and see him. During Mr. Pink's dialog, we slowly ZOOM in to a C.U. of Mr. White. MR. PINK (OS) Assuming we can trust Joe, how we gonna get in touch with him? He's supposed to be here, but he ain't, which is making me nervous about being here. Even if Joe is on the up and up, he's probably not gonna be that happy with us. Joe planned a robbery, but he's got a blood bath on his hands now. Dead cops, dead robbers, dead civilians...Jesus Christ! I tend to doubt he's gonna have a lot of sympathy for our plight. If I was him, I'd try and put as much distance between me and this mess an humanly possible. MR. WHITE Before you got here, Mr. Orange was askin me to take him to a hospital. Now I don't like turning him over to the cops, but if we don't, he's dead. He begged me to do it. I told him to hold off till Joe got here. MR. PINK (OS) Well Joe ain't gettin here. We're on our own. Now, I don't know a goddamn body who can help him, so if you know somebody, call 'em. MR. WHITE I don't know anybody. MR. PINK (OS) Well, I guess we drop him off at the hospital. Since he don't know nothin about us, I say it's his decision. MR. WHITE'S POV: C.U. OF MR. PINK. MR. WHITE (OS) Well, he knows a little about me. MR. PINK You didn't tell him your name, did ya? MR. WHITE (OS) I told him my first name, and where I'm from. There is a long silence and a blank look from Mr. Pink, then he SCREAMS: MR. PINK Why! MR. WHITE (OS) I told him where I was from a few days ago. It was just a casual conversation. MR. PINK And what was tellin him your name when you weren't supposed to? MR. WHITE (OS) He asked. Mr. Pink looks at Mr. White like he's retarded. MR. WHITE (OS) We had just gotten away from the cops. He just got shot. It was my fuckin fault he got shot. He's a fuckin bloody mess - he's screaming. I swear to god, I thought we was gonna die right then and there. I'm tryin to comfort him, telling him not to worry, he's gonna be okay, I'm gonna take care of him. And he asked me what my name was. I mean, the man was dyin in my arms. What the fuck was I supposed to tell him, "Sorry, I can't give out that information, it's against the rules. I don't trust you enough."? Maybe I shoulda, but I couldn't. MR. PINK Oh, I don't doubt is was quite beautiful-- MR. WHITE (OS) Don't fuckin patronize me. MR. PINK One question: Do they have a sheet on you, where you told him you're from? MR. WHITE (OS) Of course. MR. PINK Well that's that, then. I mean, I was worried about mug shot possibilities already. But now he knows: (a) what you look like, (b) what your first name is, (i) where you're from and (d) what your specialty is. They ain't gonna hafta show him a helluva lot of pictures for him to pick you out. That's it right, you didn't tell him anything else that could narrow down the selection? MR. WHITE (OS) If I have to tell you again to back off, me an you are gonna go round and round. Mr. Pink walks out of the C.U. and turns his back on Mr. White. Mr. White's POV PANS over to him. MR. PINK We ain't taking him to a hospital. MR. WHITE (OS) If we don't, he'll die. MR. PINK And I'm very sad about that. But some fellas are lucky, and some ain't. MR. WHITE (OS) That fuckin did it! Mr. White's POV CHARGES toward Mr. Pink. Mr. Pink turns toward him in time to get PUNCHED hard in the mouth. END OF POV Mr. White and Mr. Pink have a very ungraceful and realistic fight. They go at each other like a couple of alley cats. As Mr. White SWINGS and PUNCHES, he SCREAMS: MR. WHITE You little motherfucker! Mr. Pink YELLS as he HITS: MR. PINK Ya wanna fuck with me?! You wanna fuck with me?! I'll show you who you're fuckin with! The two men end up on the floor KICKING and SCRATCHING. Mr. White gets Mr. Pink in a HEADLOCK. Mr. Pink reaches in his jacket for his gun, and pulls it out. Mr. White sees this, immediately lets go of Mr. Pink, and goes for his own weapon. The two men are on the floor, on their knees, with their guns outstretched, aiming at one another. MR. WHITE You wanna shoot me, you little piece of shit? Take a shot! MR. PINK Fuck you, White! I didn't create this situation, I'm just dealin with it. You're acting like a first-year fuckin thief. I'm actin like a professional. They get him, they can get you, they get you, they get closer to me, and that can't happen. And you, you motherfucker, are looking at me like it's my fault. I didn't tell him my name. I didn't tell him where I was from. I didn't tell him what I knew better than to tell him. Fuck, fifteen minutes ago, you almost told me your name. You, buddy, are stuck in a situation you created. So if you wanna throw bad looks somewhere, throw 'em at a mirror. Mr. Pink lowers his gun and walks towards White. MR. PINK So if you wanna shoot somebody, put that gun in your mouth and shoot yourself. Then from OFF SCREEN we hear: VOICE (OS) You kids don't play so rough. Somebody's gonna start crying.12 INT. WAREHOUSE - DAY - MEDIUM C.U. ON MR. BLONDE The Voice belongs to the infamous Mr. Blonde. Mr. Blonde sits on a counter, drinking a fast food coke and eating a hot dog. MR. PINK Mr. Blonde! You okay? We thought you might've gotten caught. What happened? Mr. Blonde doesn't answer, he just hops off the counter and starts walking around the warehouse, checking the place out. He doesn't look at either Mr. Pink or Mr. White, he just eats his hot dog and sips his coke. This is making Pink and White nervous as hell. But Mr. Pink tries to talk through it. We HANDHOLD follow Mr. Blonde around the warehouse. MR. PINK Really, how did you get away? Mr. Blonde walks the loft. Silent. MR. PINK You saw what happened to me, I found a hole and booked. Silence. MR. PINK Where's Mr. Blue? Blonde looks in the bathroom. MR. PINK We were hopin you two would be together. Blonde looks out the window. MR. PINK That was the big question we had, what happened to Mr. Blue and you? Blonde walks away from the window. MR. PINK We were worried the cops got ya. Blonde bends down over Mr. Orange. MR. PINK He got it in the belly. He's still alive, but won't be for long. MR. WHITE Enough! You better start talkin to us, asshole, cause we got shit we need to talk about. We're already freaked out, we need you actin freaky like we need a fuckin bag on our hip. Mr. Blonde looks at his two partners in crime, then moves towards them. MR. BLONDE So, talk. MR. WHITE We think we got a rat in the house. MR. PINK I guarantee we got a rat in the house. MR. BLONDE What would ever make you think that? MR. WHITE Is that supposed to be funny? MR. PINK We don't think this place is safe. MR. WHITE This place just ain't secure anymore. We're leaving, and you should go with us. MR. BLONDE Nobody's going anywhere. Silence takes over the room. Mr. Blonde stops moving. After a few beats the silence is broken. MR. WHITE (to Mr. Pink) Piss on this turd, we're outta here. Mr. White turns to leave. MR. BLONDE Don't take another step, Mr. White. Mr. White explodes, raising his gun and charging towards Mr. Blonde. MR. WHITE Fuck you, maniac! It's your fuckin fault we're in so much trouble. Mr. Blonde calmly sits down. He looks to Mr. Pink. MR. BLONDE (referring to Mr. White) What's this guy's problem? MR. WHITE What's my problem? Yeah, I gotta problem. I gotta big problem with any trigger-happy madman who almost gets me shot! MR. BLONDE What're you talkin about? MR. WHITE That fuckin shooting spree in the store. MR. BLONDE Fuck 'em, they set off the alarm, they deserve what they got. MR. WHITE You almost killed me, asshole! If I had any idea what type of guy you were, I never would've agreed to work with you. MR. BLONDE You gonna back all day, little doggie, or are you gonna bite? MR. WHITE What was that? I'm sorry, I didn't catch it. Would you repeat it? MR. BLONDE (slowly) I said: "Are you gonna bark all day, dog, or are you gonna bite." MR. PINK Both of you two assholes knock it the fuck off and calm down! MR. WHITE (to Mr. Blonde) So you wanna git bit, huh? MR. PINK Cut the bullshit, we ain't on a fuckin playground! (pause) I don't believe this shit, both of you got ten years on me, and I'm the only one actin like a professional. You guys act like a bunch of fuckin niggers. You ever work a job with a bunch of niggers? They're just like you two, always fightin, always sayin they're gonna kill one another. MR. WHITE (to Mr. Pink) You said yourself, you thought about takin him out. MR. PINK Then. That time has passed. Right now, Mr. Blonde is the only one I completely trust. He's too fuckin homicidal to be workin with the cops. MR. WHITE You takin his side? MR. PINK Fuck sides! What we need is a little solidarity here. Somebody's stickin a red hot poker up our asses and we gotta find out whose hand's on the handle. Now I know I'm no piece of shit... (referring to Mr. White) And I'm pretty sure you're a good boy... (referring to Mr. Blonde) And I'm fuckin positive you're on the level. So let's figure out who's the bad guy. Mr. White calms down and puts his gun away. Mr. Blonde returns to the persona we saw at the beginning, talking about Madonna. MR. BLONDE Well, that was sure exciting. (to Mr. White) You're a big Lee Marvin fan, aren't you? Me too. I don't know about the rest of you fellas, but my heart's beatin fast. (pause for a beat) Okay you guys, follow me. Mr. Blonde hops out of his chair and heads for the door. The other two men just follow him with their eyes. MR. WHITE Follow you where? MR. BLONDE Down to my car. MR. WHITE Why? MR. BLONDE It's a surprise. Mr. Blonde walks out.13 EXT. WAREHOUSE - DAY Three cars are parked out front. Mr. Blonde is walking towards the car he drove. Mr. White and Mr. Pink are walking behind. The Camera is HANDHELD following behind them. MR. PINK We still gotta get out of here. MR. BLONDE We're gonna sit here and wait. MR. WHITE For what, the cops? MR. BLONDE Nice Guy Eddie. MR. PINK Nice Guy Eddie? What makes you think Nice Guy's anywhere but on a plane half way to Costa Rica? MR. BLONDE Cause I just talked to him. He's on his way down here, and nobody's going anywhere till be gets here. MR. WHITE You talked to Nice Guy Eddie? Why the fuck didn't you say that in the first place? MR. BLONDE You didn't ask. MR. WHITE Hardy-fuckin-har. What did he say? MR. BLONDE Stay put. Okay, fellas, take a look at the little surprise I brought you. Mr. Blonde opens up the truck of his car. A handcuffed, uniformed POLICEMAN is curled up inside the trunk. MR. BLONDE So while we're waitin for Nice Guy Eddie, what say we have a little fun finding out who the rat is. INSERT: TITLE CARD "MR. BLONDE".14 INT. JOE CABOT'S OFFICE - DAY We're inside the office of Joe Cabot. Joe's on the phone, sitting behind his desk. JOE (into phone) Sid, I'm tellin you don't worry about it. You had a bad couple of months, it happens. (pause) Sid, Sid, Sid...Stop, you're embarrassing me. I don't need to be told what I already know. When you have bad months, you do what every business man in the worlds does, I don't care if he's Donald Trump or Irving the tailor. Ya ride it out. There's a KNOCK on Cabot's office door. JOE Come in. One of Cabot's goons, TEDDY, opens the door and steps inside. Cabot covers the receiver with his hand and looks towards the man. TEDDY Vic Vega's outside. JOE Tell him to come in. Teddy leaves. JOE (into phone) Sid, a friend of mine's here. I gotta go. (pause) Good enough, bye. He hangs up the phone, stands, and walks around to the front of the desk. Teddy opens the office door, and TOOTHPICK VIC VEGA walks in. Toothpick Vic Vega is none other than our very own Mr. Blonde. Vic is dressed in a long black leather seventies style jacket. Joe stands in front of his desk with his arms open. The two men embrace each other. Teddy leaves, closing the door behind him. JOE How's freedom kid, pretty fuckin good, ain't it? VIC It's a change. JOE Ain't that a sad truth. Remy Martin? VIC Sure. JOE Take a seat. Joe goes over to his liquor cabinet. Vic sits in a chair set in front of Joe's desk. JOE (while he pours the drink) Who's your parole officer? VIC A guy named Koons. Craig Koons. JOE How is he? VIC Fuckin asshole, won't let me leave the halfway house. JOE Never ceases to amaze me. Fuckin jungle bunny goes out there, slits some old woman's throat for twenty-five cents. Fuckin nigger gets Doris Day as a parole officer. But a good fella like you gets stuck with a ball-bustin prick. Joe walks back around his desk and sits in his chair. Vic swallows some Remy. VIC I just want you to know, Joe, how much I appreciate your care packages on the inside. JOE What the hell did you expect me to do? Just forget about you? VIC I just wanted you to know, they meant a lot. JOE It's the least I could do Vic. I wish I coulda done more. (Joe flashes a side grin at Vic) Vic. Toothpick Vic. Tell me a story? What're your plans? VIC Well, what I wanna do is go back to work. But I got this Koons prick deep up my ass. He won't let me leave the halfway house till I get some piece of shit job. My plans have always been to be part of the team again. There's a KNOCK at the door. JOE Come in. The door opens and in walks Joe's son, Nice Guy Eddie. Vic turns around in his seat and sees him. EDDIE (to Vic) I see ya sittin here, but I don't believe it. Vic gets out of his seat and hugs Eddie. EDDIE How ya doin, Toothpick? VIC Fine, now. EDDIE I'm sorry man, I shoulda picked you up personally at the pen. This whole week's just been crazy. I've had my head up my ass the entire time. VIC Funny you should mention it. That's what your father and I been talkin about. EDDIE That I should've picked you up? VIC No. That your head's been up your ass. I walk through the door and Joe says "Vic, you're back, thank god. Finally somebody who knows what the fuck he's doing. Vic, Vic, Vic, Eddie, my son, is a fuck up." And I say "Well, Joe, I coulda told you that." "I'm ruined! He's ruining me! My son, I love him, but he's taking my business and flushing it down the fuckin toilet!" (to Joe) I'm not tellin tales out of school. You tell 'im Joe. Tell 'im yourself. JOE Eddie, I hate like hell for you to hear it this way. But when Vic asked me how's business, well, you don't lie to a man who's just done four years in the slammer for ya. Eddie bobs his head up and down. EDDIE Oh really, is that a fact? Eddie JUMPS Vic and they fall to the floor. The two friends, laughing and cussing at each other, wrestle on the floor of Joe's office. Joe's on his feet yelling at them. JOE (yelling) Okay, okay, enough, enough! Playtime's over! You wanna roll around on the floor, do it in Eddie's office, not mine! The two men break it up. They are completely disheveled, hair a mess, shirttails out. As they get themselves together, they continue to taunt one another. EDDIE Daddy, did ya see that? JOE What? EDDIE Guy got me on the ground, tried to fuck me. VIC You fuckin wish. EDDIE You tried to fuck me in my father's office, you sick bastard. Look, Vic, whatever you wanna do in the privacy of your own home, go do it. But don't try to fuck me. I don't think of you that way. I mean, I like you a lot-- VIC Eddie, if I was a pirate, I wouldn't throw you to the crew. EDDIE No, you'd keep me for yourself. Four years fuckin punks in the ass made you appreciate prime rib when you get it. VIC I might break you, Nice Guy, but I'd make you my dog's bitch. You'd be suckin the dick and going down on a mangy T-bone hound. EDDIE Now ain't that a sad sight, daddy, walks into jail a white man, walks out talkin like a nigger. It's all that black semen been shootin up his butt. It's backed up into his brain and comes out of his mouth. JOE Are you two finished? We were talkin about some serious shit when you came in Eddie. We got a big problem we're tryin to solve. Now Eddie, would you like to sit down and help us solve it, or do you two wanna piss fart around? Playtime is over and Vic and Eddie know it. So they both take seats in front of Joe's desk. JOE Now Vic was tellin me, he's got a parole problem. EDDIE Really? Who's your P.O.? VIC Craig Koons. EDDIE Koons? Oh shit, I hear he's a motherfucker. VIC He is a motherfucker. He won't let me leave the halfway house till I get some piece of shit job. EDDIE You're coming back to work for us, right? VIC I wanna. But I gotta show this asshole I got an honest-to- goodness job before he'll let me move out on my own. I can't work for you guys and be worried about gettin back before ten o'clock curfew. JOE (to Eddie) We can work this out, can't we? EDDIE This isn't all that bad. We can give you a lot of legitimate jobs. Put you on the rotation at Long Beach as a dock worker. VIC I don't wanna lift crates. EDDIE You don't hafta lift shit. You don't really work there. But as far as the records are concerned, you do. I call up Matthews, the foreman, tell him he's got a new guy. You're on the schedule. You got a timecard, it's clocked in and out for you everyday, and you get a pay check at the end of the week. And ya know dock workers don't do too bad. So you can move into a halfway decent place without Koons thinkin "what the fuck." And if Koons ever wants to make a surprise visit, you're gone that day. That day we sent you to Tustin. We gotta bunch of shit you needed to unload there. You're at the Taft airstrip pickin up a bunch of shit and bringing it back. Part of your jab is goin different places - and we got places all over the place. JOE (to Vic) Didn't I tell ya not to worry? (to Eddie) Vic was worried. EDDIE Me and you'll drive down to Long Beach tomorrow. I'll introduce you to Matthews, tell him what's going on. VIC That's great, guy, thanks a bunch. (pause) When do you think you'll need me for real work? JOE Well, it's kinda a strange time right now. Things are kinda-- EDDIE --Nuts. We got a big meeting in Vegas coming up. And we're kinda just gettin ready for that right now. JOE Let Nice Guy set you up at Long Beach. Give ya some cash, get that Koons fuck off your back, and we'll be talking to ya. EDDIE Daddy, I got an idea. Now just hear it out. I know you don't like to use any of the boys on these jobs, but technically, Vic ain't one of the boys. He's been gone for four years. He ain't on no one's list. Ya know he can handle himself, ya know you can trust him. Joe looks at Vic. Vic has no idea what they're talking about. JOE How would you feel about pullin a heist with about five other guys? VIC What's the exposure like? JOE Two minutes, tops. It's a tough two minutes. It's a hold up, daylight, during business hours, dealing with a crowd. But you have the fellas to deal with the crowd. It's a jewelry store. They're getting a big shipment of South African diamonds on a certain day. They're like a way station. It's gonna get picked up the next day and sent to Hamburg. When you walk through the door, you'll know right where to go for the rich stones. The fellas are good, me and Nice Guy picked em. Nobody knows anybody else. Nobody's connected. I don't use connected guys for this shit. VIC What's the cut? JOE Juicy, man, real juicy. Toothpick Vic smiles. So does Nice Guy Eddie. CUT TO:15 INT. NICE GUY EDDIE'S CAR (MOVING) - DAY Nice Guy Eddie is driving to the rendezvous talking on his portable car phone. The sounds of the seventies are coming out of his car radio in the form of "Love Goes Where My Rosemary Goes" by Edison Lighthouse. EDDIE (into phone) Hey Dov, we got a major situation here. (pause) I know you know that. I gotta talk with daddy and find out what he wants done. FLASH ON16 INT. WAREHOUSE - DAY The Cop is standing in the warehouse with his hands cuffed behind his back. Mr. White, Mr. Pink and Mr. Blonde surround him and proceed to beat the shit out of him. "Love Grows .." PLAYS over the soundtrack.17 BACK TO NICE GUY EDDIE EDDIE (into phone) All I know is what Vic told me. He said the place turned into a fuckin bullet festival. He took a cop as hostage, just to get the fuck out of there. FLASH ON18 WAREHOUSE The three men are stomping the cop into the ground.19 BACK TO EDDIE EDDIE (into phone) Do I sound like I'm jokin? He's fuckin driving around with the cop in his trunk. (pause) I don't know who did that. I don't know who has the loot, if anybody has the loot. Who's dead, who's alive, who's caught, who's not... I will know, I'm practically there. But what do I tell these guys about daddy? (pause) You sure that's what he said? (pause) Okay, that's what I'll tell em. CUT TO:20 EXT. WAREHOUSE - DAY Three cars belonging to the other guys are parked outside the warehouse. Eddie drives his car up to the warehouse. He gets out of the car, looks at the other cars parked outside. EDDIE (to himself) Fucking assholes. Eddie makes a beeline for the front door, BANGS it open, and steps inside the warehouse.21 INT. WAREHOUSE - DAY The robbers have the cop tied to a chair and are still WAILING on him. Nice Guy Eddie walks in and everybody jumps. EDDIE What in Sam Hill is goin on? Mr. Pink and Mr. White speak together. MR. PINK MR. WHITE Hey, Nice Guy, we got a You're askin what's goin cop. on? Where the fuck is Joe? Nice Guy sees Mr. Orange. EDDIE Holy shit, this guy's all fucked up! MR. WHITE No shit, he's gonna fuckin die on us if we don't get him taken care of. MR. PINK We were set up, the cops were waiting for us. EDDIE What? Nobody set anybody up. MR. PINK The cops were there waitin for us! EDDIE Bullshit. MR. PINK Hey, fuck you man, you weren't there, we were. And I'm tellin ya, the cops had that store staked out. EDDIE Okay, Mr. Detective, who did it? MR. PINK What the fuck d'you think we've been askin each other? EDDIE And what are your answers? Was it me? You think I set you up? MR. PINK I don't know, but somebody did. EDDIE Nobody did. You assholes turn the jewelry store into a wild west show, and you wonder why cops show up. MR. BLONDE Where's Joseph? EDDIE I ain't talked to him. I talked to Dov. Dov said he's comin out here, and he's fucking pissed. MR. PINK (to Mr. White) I told ya he'd be pissed. MR. WHITE (pointing to Mr. Orange) What are you gonna do about him? EDDIE Jesus Christ, give me a fuckin chance to breathe. I got a few questions of my own, ya know. MR. WHITE You ain't dying, he is. EDDIE I'll call somebody. MR. WHITE Who? EDDIE A snake charmer, what the fuck d'you think. I'll call a doctor, take care of him, fix 'm right up. No, where's Mr. Brown and Mr. Blue? MR. PINK Brown's dead, we don't know about Blue. EDDIE Nobody saw what happened to Mr. Blue? MR. BLONDE Well, he's either dead or he's alive or the cops got him or they don't. DOLLY to MEDIUM on the cop. EDDIE (OS) I take it this is the bastard you told me about. (referring to the cop) Why the hell are you beating on him? MR. PINK So he'll tell us who the fuck set us up. EDDIE Would you stop it with that shit! You beat on this prick enough, he'll tell ya he started the Chicago fire. That don't necessarily make it so. Okay, first things fucking last, where's the shit? Please tell me somebody brought something with them. MR. PINK I got a bag. I stashed it till I could be sure this place wasn't a police station. EDDIE Well, let's go get it. We also gotta get rid of all those cars. It looks like Sam's hot car lot outside. (pointing to Mr. Blonde) You stay here and babysit Orange and the cop. (referring to Mr. Pink and Mr. White) You two take a car each, I'll follow ya. You ditch it, I'll pick you up, then we'll pick up the stones. And while I'm following you, I'll arrange for some sort of a doctor for our friend. MR. WHITE We can't leave these guys with him. Meaning Mr. Blonde. EDDIE Why not? Mr. White crosses to Mr. Blonde. MR. WHITE Because this guy's a fucking psycho. And if you think Joe's pissed at us, that ain't nothing compared to how pissed off I am at him, for puttin me in the same room as this bastard. MR. BLONDE (to Eddie) You see what I been puttin up with? As soon as I walk through the door I'm hit with this shit. I tell 'm what you told me about us stayin put and Mr. White whips out his gun, sticks it in my face, and starts screaming "You motherfucker, I'm gonna blow you away, blah, blah, blah." MR. WHITE He's the reason the place turned into a shooting gallery. (to Mr. Pink) What are you, a silent partner? Fuckin tell him. MR. PINK He seems all right now, but he went crazy in the store. MR. WHITE This is what he was doin. Mr. White acts out Mr. Blonde shooting everybody in the store. MR. BLONDE I told 'em not to touch the alarm. They touched it. I blew 'em full of holes. If they hadn't done what I told 'em not it, they'd still be alive. MR. WHITE That's your excuse for going on a kill crazy rampage? MR. BLONDE I don't like alarms. EDDIE What does it matter who stays with the cop? We ain't lettin him go. Not after he's seen everybody. You should've never took him outta your trunk in the first place. MR. PINK We were trying to find out what he knew about the set up. EDDIE There is no fuckin set up! (Eddie takes charge) Look, this is the news. Blondie, you stay here and take care of them two. White and Pink come with me, 'cuz if Joe gets here and sees all those fucking cars parked out front, he's going to be as mad at me as he is at you. Eddie, Mr. White and Mr. Pink walk out of the warehouse talking amongst themselves.22 INT. WAREHOUSE - DAY - MR. BLONDE AND COP Mr. Blonde closes the door after them. He then slowly turns his head towards the cop. MR. BLONDE Alone at last. C.U. COP'S FACE. MR. BLONDE (OS) Now where were we? COP I told you I don't know anything about any fucking set up. I've only been on the force eight months, nobody tells me anything! I don't know anything! You can torture me if you want-- MR. BLONDE (OS) --Thanks, don't mind if I do. COP Your boss even said there wasn't a set up. MR. BLONDE (OS) First off, I don't have a boss. Are you clear about that? He SLAPS the cop's face. MR. BLONDE (OS) I asked you a question. Are you clear about that? COP Yes. MR. BLONDE (OS) Now I'm not gonna bullshit you. I don't really care about what you know or don't know. I'm gonna torture you for awhile regardless. Not to get information, but because torturing a cop amuses me. There's nothing you can say, there's nothing you can do. Except pray for death. He puts a piece of tape over the cop's mouth. COP'S POV Mr. Blonde walks away from the cop. MR. BLONDE Let's see what's on K-BILLY'S "super sounds of the seventies" weekend. He turns on the radio. Stealer's Wheel's hit "Stuck in the Middle with You" PLAYS over the speaker. NOTE: This entire sequence is timed to the music. Mr. Blonde slowly walks toward the cop. He opens a large knife. He grabs a chair, places it in front of the cop and sits in it. Mr. Blonde just stares into the cop's/our face, holding the knife, singing along with the song. Then, like a cobra, he LASHES out. A SLASH across the face. The cop/camera moves around wildly. Mr. Blonde just stares into the cop's/our face, singing along with the seventies hit. Then he reaches out and CUTS OFF the cop's/our ear. The cop/camera moves around wildly. Mr. Blonde holds the ear up to the cop/us to see. Mr. Blonde rises, kicking the chair he was sitting on out of the way.23 INT./EXT. WAREHOUSE - DAY - HANDHELD SHOT We follow Mr Blonde as he walks out of the warehouse... ...to his car. He opens the trunk, pulls out a large can of gasoline. He walks back inside the warehouse...24 INT. WAREHOUSE - DAY ...carrying the can of gas. Mr. Blonde POURS the gasoline all over the cop, who's BEGGING him not to do this. Mr. Blonde just sings along with Stealer's Wheel. Mr. Blonde LIGHTS up a match and, while mouthing: MR. BLONDE "Clowns to the left of me, Jokers to the right. Here I am, stuck in the middle with you." He moves the match up to the cop... ...When a bullet EXPLODES in Mr. Blonde's chest. The HANDHELD camera WHIPS to the right and we see the bloody Mr. Orange FIRING his gun. We cut back and forth between Mr. Blonde taking BULLET HITS and Mr. Orange emptying his weapon. Mr. Blonde FALLS down dead. Mr. Orange crawls to where the cop is, leaving a bloody trail behind him. When he reaches the cop's feet he looks up at him. MR. ORANGE (feebly) What's your name? COP Jeffrey. MR. ORANGE Jeffrey what? COP Jeffrey Andrews. MR. ORANGE Listen to me, Jeffrey Andrews. I'm a cop. JEFFREY I know. MR. ORANGE (surprised) You do? JEFFREY Your name's Freddy something. MR. ORANGE Freddy Newendyke. JEFFREY Frankie Ferchetti introduced us once, about five months ago. MR. ORANGE Shit. I don't remember that at all. JEFFREY I do. (pause) How do I look? The gun-shot Mr. Orange looks at the kid's GASHED face and the hole in the side of his head where his ear used to be. MR. ORANGE I don't know what to tell you Jeffrey. Jeffrey starts to weep. JEFFREY That fucking bastard! That fucking sick fucking bastard! MR. ORANGE Jeffrey, I need you to hold on. There's officers positioned and waiting to move in a block away. JEFFREY (screaming) What the fuck are they waiting for? That motherfucker cut off my ear! He slashed my face! I'm deformed! MR. ORANGE And I'm dying. They don't know that. All they know is they're not to make a move until Joe Cabot shows up. I was sent undercover to get Cabot. You heard 'em, they said he's on his way. Don't pussy out on me now, Jeffrey. We're just gonna sit here and bleed until Joe Cabot sticks his fuckin head through that door. CUT TO: INSERT: TITLE CARD "MR. ORANGE & MR. WHITE"25 INT. DENNY'S - NIGHT A tough-looking black man named HOLDAWAY, who sports a Malcom X beard, a green Chairman Mao cap with a red star on it, and a military flack jacket, digs into a Denny bacon, cheese and avocado burger. He sits in a booth all alone. He's waiting for somebody. As he waits, he practically empties an entire bottle of ketchup on his french fries, not by mistake either--that's just how he likes it. We see Mr. Orange, now known as FREDDY NEWENDYKE, wearing a high school letterman jacket, enter the coffee shop, spot Holdaway, and head his way. Holdaway sees Freddy bop towards him with a wide-ass alligator grin plastered across his face. CAMERA DOLLIES FAST down AISLE to MEDIUM SHOT of Holdaway. We fear Freddy OFF SCREEN. FREDDY (O.S.) Say "hello" to a motherfucker who's inside. Cabot's doing a job and take a big fat guess who he wants on the team? HOLDAWAY This better not be some Freddy joke. LOW ANGLE looking up at Freddy, who's standing at the table. FREDDY It ain't no joke, I'm in there. I'm up his ass. CU ON HOLDAWAY Holdaway just looks at his pupil for a moment, then smiles. HOLDAWAY Congratulations.26 EXT. DENNY'S - NIGHT We see through the window of the restaurant Freddy slide into the booth across from Holdaway. Freddy's doing a lot of talking, but we can't hear what they're saying.27 INT. DENNY'S - NIGHT FREEZE FRAME ON HOLDAWAY We are frozen on a MEDIUM CU of Holdaway listening to Freddy. We HEAR RESTAURANT NOISE and Freddy OFF SCREEN. FREDDY (O.S.) Nice Guy Eddie tells me Joe wants to meet me. He says I should just hang around my apartment and wait for a phone call. Well after waiting three goddamn days by the fuckin phone, he calls me last night and says Joe's ready, and he'll pick me up in fifteen minutes. The freeze frame ENDS. Holdaway comes suddenly up to speed and says: HOLDAWAY Woo all picked you up? From here to end we cut back and forth. FREDDY Nice Guy. When we got to the bar... HOLDAWAY ...What bar? FREDDY The Boots and Socks in Gardena. When we got there, I met Joe and a guy named Mr. White. It's a phony name. My name's Mr. Orange. HOLDAWAY You ever seen this motherfucker before? FREDDY Who, Mr. White? HOLDAWAY Yeah. FREDDY No, he ain't familiar. He ain't one of Cabot's soldiers either. He's gotta be from outta town. But Joe knows him real well. HOLDAWAY How can you tell? FREDDY The way they talk to each other. You can tell they're buddies. HOLDAWAY Did the two of you talk? FREDDY Me and Mr. White? HOLDAWAY Yeah. FREDDY A little. HOLDAWAY What about? FREDDY The Brewers. HOLDAWAY The Milwaukee Brewers? FREDDY Yeah. They had just won the night before, and he made a killing off 'em. HOLDAWAY Well, if this crook's a Brewers fan, his ass has gotta be from Wisconsin. And I'll bet you everything from a diddle-eyed Joe to a damned-if-I-know, that in Milwaukee they got a sheet on this Mr. White motherfucker's ass. I want you to go through the mugs of guys from old Milwaukee with a history of armed robbery, and put a name to that face. Holdaway takes a big bite out of his burger. HOLDAWAY (with his mouth full) What kinds questions did Cabot ask? FREDDY Where I was from, who I knew, how I knew Nice Guy, had I done time, shit like that. Holdaway's talked enough, he's eating his burger now. He motions for Freddy to elaborate. FREDDY He asked me if I ever done armed robbery before. I read him my credits. I robbed a few gas and sips, sold some weed, told him recently I held the shotgun while me and another guy pulled down a poker game in Portland. CAMERA MOVES from a MEDIUM on Freddy to a CU. HOLDAWAY (O.S.) Didja use the commode story? FREDDY Fuckin-A. I tell it real good, too.28 INT. MEN'S ROOM - L.A. TRAIN STATION - NIGHT Freddy and Holdaway at one of their many rendezvous. Holdaway wears an extra large Lakers sweatshirt. Freddy sits on one of the sinks, wearing his high school jacket, looking at pieces of paper stapled together. FREDDY What's this? HOLDAWAY It's a scene. Memorize it. FREDDY What? HOLDAWAY A undercover cop has got to be Marlon Brando. To do this job you got to be a great actor. You got to be naturalistic. You got to be naturalistic as hell. If you ain't a great actor you're a bad actor, and bad acting is bull shit in this job. FREDDY (referring to the papers) But what is this? HOLDAWAY It's a amusing anecdote about a drug deal. FREDDY What? HOLDAWAY Something funny that happened to you while you were doing a job. FREDDY I gotta memorize all this shit? HOLDAWAY It's like a joke. You remember what's important, and the rest you make your own. The only way to make it your own is to keep sayin it, and sayin it, and sayin it, and sayin it, and sayin it. FREDDY I can do that. HOLDAWAY The things you gotta remember are the details. It's the details that sell your story. Now this story takes place in this men's room. So you gotta know the details about this men's room. You gotta know they got a blower instead of a towel to dry your hands. You gotta know the stalls ain't got no doors. You gotta know whether they got liquid or powdered soap, whether they got hot water or not, 'cause if you do your job when you tell your story, everybody should believe it. And if you tell your story to somebody who's actually taken a piss in this men's room, and you get one detail they remember right, they'll swear by you.29 INT. FREDDY'S APARTMENT - DAY Freddy paces back and forth, in and out of frame, rehearsing the anecdote. He's reading it pretty good, but he's still reading it from the page, and every once in a while he stumbles over his words. FREDDY ...this was during the Los Angeles marijuana drought of '86. I still had a connection. Which was insane, 'cause you couldn't get weed anyfuckinwhere then. Anyway, I had a connection with this hippie chick up in Santa Cruz. All and my friends knew it. And they'd give me a call and say, "Hey, Freddy, you buyin some, you think you could buy me some too?" They knew I smoked, so they'd ask me to buy a little for them when I was buyin. But it got to be everytime I bought some weed, I was buyin for four or five different people. Finally I said, "Fuck this shit." I'm makin this bitch rich. She didn't have to do jack shit, she never even had to meet these people. I was fuckin doin all the work. So I got together with her and told her, "Hey, I'm sick of this shit. I'm comin through for everybody, and nobody's comin through for me. So, either I'm gonna tell all my friends to find their own source, or you give me a bunch of weed, I'll sell it to them, give you the money, minus ten percent, and I get my pot for free." So, I did if for awhile... Freddy exits frame CUT TO:30 EXT. PARKING LOT - DAY Another empty frame, except obviously outside. Freddy enters frame from the same direction he exited in the previous scene, finishing his sentence. When we move to a wider shot we see Freddy performing his monolog to Holdaway in a parking lot. Holdaway sits on the hood of his beat-up car. Freddy paces back and forth as he performs his story. FREDDY ...but then that got to be a pain in the ass. People called me on the phone all the fuckin time. I couldn't rent a fuckin tape without six phone calls interrupting me. "Hey, Freddy, when's the next time you're gettin some?" "Motherfucker, I'm tryin to watch 'Lost Boys'-- when I have some, I'll let you know." And then these rinky-dink pot heads come by--there's my friends and everything, but still. I got all my shit laid out in sixty dollar bags. Well, they don't want sixty dollars worth. They want ten dollars worth. Breaking it up is a major fuckin pain in the ass. I don't even know how much ten dollars worth is. "Well, fuck, man, I don't want that much around. If I have that much around I'll smoke it." "Hey, if you guys can't control your smokin, that's not my problem. You motherfuckers been smokin for five years, be a adult about it." Finally I just told my connection, count me out. But as it turns out, I'm the best guy she had, and she depended alot on my business. But I was still sick to death of it. And she's trying to talk me into not quitin. Now this was a very weird situation, 'cause I don't know if you remember back in '86, there was a major fuckin drought. Nobody and anything. People were livin on resin and smokin the wood in their pipes for months. And this chick had a bunch, and was beggin me to sell it. So I told her I wasn't gonna be Joe the Pot Man anymore. But I would take a little bit and sell it to my close, close, close friends. She agreed to that, and said we'd keep the same arrangement as before, ten percent and free pot for me, as long as I helped her out that weekend. She had a brick of weed she was sellin, and she didn't want to go to the buy alone... CUT TO:31 INT. BOOTS AND SOCKS BAR - NIGHT Freddy, Joe, Nice Guy Eddie and Mr. White all sit around a table in a red-lighted smokey bar. Freddy continues his story. The crooks are enjoying the hell out of it. FREDDY ...Her brother usually goes with her, but he's in county unexpectedly. MR. WHITE What for? FREDDY Traffic tickets gone to warrant. They stopped him for something, found the warrants on 'im, took 'im to jail. She doesn't want to walk around alone with all that weed. Well, I don't wanna do this, I have a bad feeling about it, but she keeps askin me, keeps askin me, finally I said okay 'cause I'm sick of listening to it. Well, we're picking this guy up at the train station. JOE You're picking the buyer up at the train station? You're carrying the weed on you? FREDDY Yeah, the guy needed it right away. Don't ask me why. So we get to the train station, and we're waitin for the guy. Now I'm carrying the weed in one of those carry-on bags, and I gotta take a piss. So I tell the connection I'll be right back, I'm goin' to the little boys room... CUT TO:32 INT. MEN'S ROOM - TRAIN STATION - DAY MEDIUM ON FREDDY He walks through the door with a carry-on bag over his shoulder. Once he's inside, he stops in his tracks. We move into a CU. FREDDY (V.O.) ...So I walk into the men's room, and who's standing there? FREEZE FRAME on Freddy standing in front of six Los Angeles County Sheriffs and one German Shepherd. All of their eyes are on Freddy. Everyone is frozen. FREDDY (V.O.) ...six Los Angeles County Sheriffs and a German Shepherd. NICE GUY EDDIE (V.O.) They were waiting for you? FREDDY (V.O.) No. They were just a bunch of cops hangin out in the men's room, talkin. When I walked through the door they all stopped what they were talking about and looked at me.33 BACK TO BAR ECU MR. WHITE MR. WHITE That's hard, man. That's a fuckin hard situation.34 BACK TO MEN'S ROOM ECU GERMAN SHEPHERD barking his head off. FREDDY (V.O.) The German Shepherd starts barkin'. He's barkin' at me. I mean it's obvious he's barkin' at me. We do a slow 360 around Freddy in the men's room. We can hear the dog barking. FREDDY (V.O.) Every nerve ending, all of my senses, the blood in my veins, everything I has was screaming, "Take off, man, just take off, get the fuck outta there!" Panic hit me like a bucket of water. First there was the shock of it--BAM, right in the face! Then I'm just standin there drenched in panic. SLOW MOTION CAMERA does a PAN from face to face of the sheriffs. FREDDY (V.O.) And all those sheriffs are lookin at me and they know. They can smell it. As sure as that fuckin dog cam, they can smell it on me. FREEZE FRAME Back to the same freeze frame shot of Freddy standing in front of the sheriffs. It suddenly jerks to life, and moves to speed. The dog is barking. Freddy moves to his right, out of frame. We stay on the sheriffs. One sheriff yells at the dog. SHERIFF #1 Shut up! The dog quiets down. Sheriff #2 continues with his story. A couple of the sheriffs look over at Freddy off screen, but as Sheriff #2 talks, turn their attention to him. SHERIFF #2 So my gun's drawn, right? I got it aimed right at him. I tell 'em, "Freeze, don't fuckin move." And the little idiot's lookin at me, nodding his head "Yes," sayin "I know...I know...I know." Meanwhile his right hand is creepin towards his glove box. So I scream at him, "Asshole, you better fuckin freeze right now!" And he's still lookin right at me, saying "I know...I know...I know." And his right hand's still going for the glove box. The CAMERA PANS away from the sheriffs to Freddy, up against the urinal, playing possum, pretending to piss. SHERIFF #2 (O.S.) I tell 'im, "Buddy, I'm gonna shoot you in the face right now if you don't put your hands on the fuckin dash." And the guy's girlfriend, a real sexy Oriental bitch, starts screamin at him, "Chuck, are you out of your mind? Put your hands on the dash like the officer said." And then like nothing, the guy snaps out of it and casually puts his hands on the dash. Freddy finishes his playing possum piss, and walks past the sheriffs over to the sink. The CAMERA PANS with him. A sheriff is sitting on a sink. He looks down and watches Freddy wash his hands. SHERIFF #1 What was he goin for? SHERIFF #2 His registration. Stupid fuckin citizen, doesn't have the slightest idea how close he came to gettin shot. Freddy finishes washing his hands. He goes to dry them, but there's only those hand drying machines. Freddy turns on the drying machine. He can't hear anything the sheriffs say now. The sound of the machine dominates the sound track. These following shots are SLOW MOTION. CU OF FREDDY CU of his HANDS, rubbing each other getting blown dry SHOT OF SHERIFFS talking. We can't hear them because of the machine. CU OF MACHINE MEDIUM OF SHERIFF ON SINK, smoking a cigarette, glancing over at Freddy. CU OF GERMAN SHEPHERD Machine turns off. CUT TO:35 INT. OFFICE - DAY CU MUG SHOT OF MR. WHITE FREDDY (OS) That's him, that's Mr. White. FULL SCENE An office upstairs in the undercover division of the police station. TWO SHOT OF FREDDY AND HOLDAWAY look at mug shot. HOLDAWAY Lawrence Dimick. Let's see what we got on him. CU OF COMPUTER SCREEN the name DIMICK, LAWRENCE is typed in. C.U. ENTER BUTTON IS PRESSED C.U. OF FEMALE COMPUTER OPERATOR, JODIE SEIGEL. JODIE This is your life, Lawrence Dimick! C.U. OF COMPUTER PRINTER printing out sheet. The noise of the printer plays loud over the soundtrack. Jodie's hand comes into FRAME and tears sheet from the printer. CUT TO:36 INT. HOLDAWAY'S OFFICE - DAY Holdaway sits behind his desk. Freddy sits on the edge of the desk eating a Double-Double with cheese. They look into the CAMERA. We hear Jodie's voice OFFSCREEN. JODIE (OS) Lawrence "Larry" Dimick. Also known as Lawrence Jacobs and Alvin "Al" Jacobs. This guy is Mr. Joe- Armed-Robbery. He's a pro and he makes it a habit not to get caught. MEDIUM SHOT OF JODIE DOLLY slowly into C.U. JODIE He's only been convicted twice, which is pretty good for somebody living a life of crime. Once for armed robbery, when he was twenty- one, in Milwaukee. C.U. FREDDY FREDDY What was it? JODIE JODIE Payroll office at a lumber yard. First offense - he got eighteen months. He didn't get busted again until he was thirty-two. And then it was a backdoor bust. A routine vice squad roust. They roust this bar, out buddy Lawrence is in there knocking down a few. He gets picked up. He's wearing on his person an outlaw .45 automatic, apparently his weapon of choice. Also, on his finger is a diamond ring from a jewelry store robbery a year earlier. He got two years back inside for that. TWO SHOT OF HOLDAWAY AND FREDDY Freddy winces. FREDDY Goddamn, that's hard time. JODIE JODIE So far, it's the only time he's ever done. CU HOLDAWAY HOLDAWAY Was this vice squad bullshit in Milwaukee? JODIE JODIE No. The vice squad roust was in L.A. He's been in Los Angeles since '77. DOLLY BEHIND HOLDAWAY'S DESK from left to right. FREDDY When did he do this time? JODIE Back in '83, got out late '86. I found something else out I think you two should be aware of. About a year and a half ago, up in Sacramento, an undercover cop, John Dolenz, worked his way into a bank job. Apparently before the job they found out he was a cop. Now picture this: It's Dolenz's birthday, a bunch of cops are waiting in his apartment for a surprise party. The door opens, everyone yells "Surprise!", and standing in the doorway is Dolenz and this other guy sticking a gun in Dolenz's ribs. Before anybody knows what's going on, this stranger shoots Dolenz dead and starts firing two .45 automatics into the crowd. HOLDAWAY What happened? The DOLLY moves behind Jodie. JODIE It was a mess. Cops got hit, wives got hit, girlfriends got hit, his dog got hit. People got glass in their faces. Three were killed, six were wounded. FREDDY They couldn't pin the killing on one of the bank robbers? JODIE They tried, but they didn't have a positive I.D. and all those guys had alibis. Besides, we really didn't have anything on them. We had the testimony of a dead man that they were talking about committing a robbery. They never went ahead with the bank job. The DOLLY completes its circle. FREDDY And Larry Dimick was one of the boys? JODIE He was probably the one. ON HOLDAWAY HOLDAWAY Just how sure are you with your cover? PAN to C.U. on Freddy. FREDDY Today they may know something, tomorrow they may know something else. But yesterday they didn't know anything. C.U. OF MR. WHITE'S MUG SHOT FREDDY (OS) What's the next step? HOLDAWAY (OS) Do what they told ya. Sit in your apartment and wait for 'em to call you. We'll have guys posted outside who'll follow you when they pick you up.35 INT. FREDDY'S APARTMENT - DAY C.U. TELEPHONE It RINGS. Freddy answers it, we FOLLOW the receiver up to his face. FREDDY Hello. NICE GUY EDDIE (OS) (through phone) It's time. Grab your jacket--36 INT. NICE GUY EDDIE'S CAR (PARKED) - DAY C.U. of Nice Guy Eddie speaking into the car phone. EDDIE --We're parked outside. FREDDY (OS) (through phone) I'll be right down. We hear the CLICK of Freddy hanging up through the phone. Nice Guy places the receiver back in its cradle. EDDIE He'll be right down.39 INT. FREDDY'S APARTMENT - DAY The CAMERA follows Freddy as he hops around the apartment getting everything he needs. He puts on his jacket and slips on some sneakers. DOLLY fast toward the front door knob. Freddy's hand comes into FRAME, grabs the knob, then lets go. We MOVE UP to his face. Fear. FREDDY (to himself) Don't pussy out on me now. They don't know. They don't know shit. (pause) You're not gonna get hurt. You're fucking Baretta and they believe every word, cuz you're super cool. He exits FRAME. We stay put and hear the door open and close OFF SCREEN.40 EXT. FREDDY'S APARTMENT - DAY COPS' POV From inside an unmarked car across the street, the TWO COPS watching Freddy see him walk out of his building and up to Eddie's parked car. COP #1 (OS) There goes our boy. COP #2 (OS) I swear, a guy has to have rocks in his head the size of Gibraltar to work undercover. COP #1 (OS) Do you want one of these? COP #2 (OS) Yeah, gimme the bear claw. Freddy gets into the car and it pulls into traffic. Cop #1 starts the engine and follows.41 INT. NICE GUY EDDIE'S CAR (MOVING) - DAY Nice Guy Eddie is behind the wheel. Mr. Pink is in the passenger seat. Freddy and Mr. White are in the backseat together. MR. PINK ...Hey, I know what I'm talkin about, black women ain't the same as white women. MR. WHITE (sarcastically) There's a slight difference. The car laughs. MR. PINK Go ahead and laugh, you know what I mean. What a while bitch will put up with, a black bitch won't put up with for a minute. They got a line, and if you cross it, they fuck you up. EDDIE I gotta go along with Mr. Pink on this. I've seen it happen. MR. WHITE Okay, Mr. Expert. If this is such a truism, how come every nigger I know treats his woman like a piece of shit? MR. PINK I'll make you a bet that those same damn niggers who were showin their ass in public, when their bitches get 'em home, they chill the fuck out. MR. WHITE Not these guys. MR. PINK Yeah, those guys too. EDDIE Let me tell you guys a story. In one of daddy's clubs there was this black cocktail waitress named Elois. MR. WHITE Elois? EDDIE Yeah, Elois. E and Lois. We called her Lady E. MR. WHITE Where was she from, Compton? EDDIE No. She was from Ladora Heights. MR. PINK The black Beverly Hills. I knew this lady from Ladora Heights once. (in a stuck up black female voice) "Hi, I'm from Ladora Heights, it's the black Beverly Hills." EDDIE It's not the black Beverly Hills, it's the black Palos Verdes. Anyway, this chick, Elois, was a man-eater-upper. I bet every guy who's ever met her has jacked off to her at least once. You know who she looked like? Christie Love. 'Member that TV show "Get Christie Love"? She was a black female cop. She always used to say "You're under arrest, sugar." MR. PINK I was in the sixth grade when that show was on. I totally dug it. What the fuck was the name of the chick who played Christie Love? EDDIE Pam Grier. MR. PINK No, it wasn't Pan Grier, Pan Grier was the other one. Pan Grier made the movies. Christie Love was like a Pam Grier TV show, without Pam Grier. MR. PINK What the fuck was that chick's name? Oh this is just great, I'm totally fuckin tortured now. EDDIE Well, whoever she was, Elois looked like her. So one night I walk into the club, and no Elois. Now the bartender was a wetback, he was a friend of mine, his name was Carlos. So I asked him "Hey, Carlos, where's Lady E tonight?" Well apparently Lady E was married to this real piece of dog shit. I mean a real animal. And apparently he would so things to her. FREDDY Do things? What would he do? You mean like beat her up? EDDIE Nobody knows for sure what he did. We just know he did something. Anyway, Elois plays it real cool. And waits for the next time this bag of shit gets drunk. So one night the guy gets drunk and passes out on the couch. So while the guy's inebriated, she strips him naked. Then she takes some crazy glue and glues his dick to his belly. The car reacts to how horrible that would be. EDDIE I'm dead fuckin serious. She put some on his dick and some on his belly, then stuck 'em together. The paramedics had to come and cut it loose. The car reacts badly. MR. WHITE Jesus Christ! FREDDY You can do some crazy things with it. EDDIE I don't know what he did to her, but she got even. MR. WHITE Was he all pissed off? MR. PINK How would you feel if you had to do a handstand every time you took a piss. The car laughs.42 EXT. WAREHOUSE - DAY Nice Guy Eddie pulls up outside the warehouse. The four men climb out of the car and follow Eddie inside.43 INT. WAREHOUSE - DAY The four men enter the building. At the other end of the warehouse, sitting in chairs, are Mr. Blonde, Mr. Brown, Mr. Blue and Joe Cabot. We shoot this from OVERHEAD, looking down on the men. JOE (to everybody) ...So they're talkin about how they get their wives off, and the French guys says: (in a bad French accent) "All I gotta do is take my pinky and tickle my Fifi's little oo la la and she rises a foot off the bed." Back to Joe. So the dago says: CU ON JOE JOE (in a good Brooklyn accent) "That's nothin. When I take the tip of my tongue and wiggle it against my Mary Louise's little fun pimple, she rises two feet off da bed." Then our friend from Poland says: (in dumb voice) "You guys ain't no cocksmen. When I get through fuckin my Sophie, I wipe my dick on the curtains and you know what? She hits the roof!" Joe laughs like a crazy man. JOE Ha, ha, ha, ha, ha, ha! We hear a lot of laughing OFF SCREEN. JOE Ain't that a masterpiece? Stupid fuckin Polack, wipes his dick on the drapes. Joe's eyes greet the new arrivals. JOE You're here, great! Joe EXITS C.U. We now have everybody from the Uncle Bob's Pancake House scene together again. Some sit on folding chairs, some stand. Joe sits in front of them on the edge of a table. A blackboard with a layout of the jewelry store is off to the right. We do a 360 around the men. EDDIE We woulda gotten here sooner, but we got backed up around La Brea and Pico. JOE No hurry. (to the boys) All right, let's get to know one another. With the exception of Eddie and myself, who you already know, you'll be using aliases. Under no circumstances are you to tell one another your real name or anything else about yourself. That includes where you're from, your wife's name, where you might've done time, about a bank in St. Petersburg you might've robbed. You guys don't say shit about who you are, where you been or what you've done. Only thing you guys can talk about is what you're going to do. This way the only ones who know who the members of the team are are Eddie and myself. And that's the way I like it. Because in the unlikely event of one of you getting apprehended by the cops, not that I expect that to happen - it most definitely should not happen - it hasn't happened, you don't have anything to deal with. You don't know any names. You know my name, you know Eddie's name. That I don't care about. You gotta prove it. I ain't worried. Besides, this way you gotta trust me. I like that. I set this up and picked the men I wanted for it. None of you came to me, I approached all of you. I know you. I know your work, I know your reputation. I know you as men. Except for this guy. Joe points a finger at Freddy. Freddy shits a brick. JOE But he's OK. If he wasn't OK, he wouldn't be here. Okay, let me introduce everybody to everybody. But once again, at the risk of being redundant, if I even think I hear somebody telling or referring to somebody by their Christian name... (Joe searches for the right words) ...you won't want to be you. Okay, quickly. (pointing at the men as he gives them a name) Mr. Brown, Mr. White, Mr. Blonde, Mr. Blue, Mr. Orange, and Mr. Pink. MR. PINK Why am I Mr. Pink? JOE Cause you're a faggot. Everybody laughs. MR. PINK Why can't we pick out our own colors? JOE I tried that once, it don't work. You get four guys fighting over who's gonna be Mr. Black. Since nobody knows anybody else, nobody wants to back down. So forget it, I pick. Be thankful you're not Mr. Yellow. MR. BROWN Yeah, but Mr. Brown? That's too close to Mr. Shit. Everybody laughs. MR. PINK Yeah, Mr. Pink sounds like Mr. Pussy. Tell you what, let me be Mr. Purple. That sounds good to me, I'm Mr. Purple. JOE You're not Mr. Purple, somebody from another job's Mr. Purple. You're Mr. Pink. MR. WHITE Who cares what your name is? Who cares if you're Mr. Pink, Mr. Purple, Mr. Pussy, Mr. Piss... MR. PINK Oh that's really easy for you to say, you're Mr. White. You gotta cool-sounding name. So tell me, Mr. White, if you think "Mr. Pink" is no big deal, you wanna trade? JOE Nobody's trading with anybody! Look, this ain't a goddamn fuckin city counsel meeting! Listen up Mr. Pink. We got two ways here, my way or the highway. And you can go down either of 'em. So what's it gonna be, Mr. Pink? MR. PINK Jesus Christ, Joe. Fuckin forget it. This is beneath me. I'm Mr. Pink, let's move on. CAMERA leaves the team and goes to the blackboard with the layout of the jewelry store on it. JOE (OS) Okay fellas, let's get into this. CUT TO:44 EXT. BLEACHERS - DAY Freddy and Holdaway sit on some bleachers in an empty little league baseball field. HOLDAWAY Okay, we're gonna station men across the street from Karina's Fine Jewelry. But their orders will be not to move in unless the robbery gets out of control. You gotta make sure they don't have to move in. You're inside to make sure that everything goes according to Hoyle. We have men set up a block away from the warehouse rendezvous. They got complete visibility of the exterior. So as soon as Joe Cabot shows up, we'll see it. FREDDY What's your visibility of the interior? HOLDAWAY We can't see shit on the inside. And we can't risk gettin any closer for fear they'll spot us. FREDDY This is bullshit, Jim. I get all the fuckin danger of having you guys in my back pocket but none of the safety. HOLDAWAY What's the matter, Newendyke? Job too tough for ya? No one lied to you. You always knew we'd hang back until Joe Cabot showed up. FREDDY Oh this is great. You ain't giving me no fuckin protection whatsoever. But you are giving me an attitude. HOLDAWAY Since when does an undercover cop have protection? Freddy, you came into this thing with your eyes wide open, so don't start screamin blind man now. I understand you're nervous. I wish the warehouse had more visible windows, but it doesn't. We have to make do with the cards we're dealt. FREDDY I didn't say I wasn't gonna do it. I'm just remarking on how shitty the situation is! HOLDAWAY I don't mean to be harsh with ya, but I've found tough love works best in these situations. We have to get Joe Cabot in the company of the thieves and in the same vicinity as the loot. We don't care about these other bastards. We're willing to offer them good deals to testify against Cabot. FREDDY Isn't this risk unorthodox? HOLDAWAY What? FREDDY Letting them go ahead with the robbery? HOLDAWAY The whole idea behind this operation is to catch Joe Cabot red-handed. We bust these hired hands, we ain't accomplished shit. Letting them go through with the heist is a risk, but Cabot's jobs are very clean. We got people surrounding the perimeter. We got a guy and a gal on the inside posing as a couple shopping for rings. We could replace the employees with cops, but we'd run the risk of tipping 'em off. FREDDY That's out. They know the faces of who works what shift. HOLDAWAY These guys are professionals. We're professionals. It's a risk, but I think it's a calculated risk.45 EXT. KARINA'S FINE JEWELRY - DAY We see MOS SHOTS of the outside of the jewelry store. CUSTOMERS coming and going. STORE CLERKS waiting on customers through the windows. While we look at this we HEAR over the soundtrack Mr. White and Freddy talking OFF SCREEN. MR. WHITE (VO) Let's go over it. Where are you? FREDDY (VO) I stand outside and guard the door. I don't let anybody come in or go out. MR. WHITE (VO) Mr. Brown? FREDDY (VO) Mr. Brown stays in the car. He's parked across the street till I give him the signal, then he pulls up in front of the store. MR. WHITE (VO) Mr. Blonde and Mr. Blue? FREDDY (VO) Crowd control. They handle customers and employees in the display area.46 INT. MR. WHITE'S CAR (PARKED) - DAY Mr. White and Freddy sit in a car parked across the street from the jewelry store, staking it out. MR. WHITE Myself and Mr. Pink? FREDDY You two take the manager in the back and make him give you the diamonds. We're there for those stones, period. Since no display cases are being fucked with, no alarms should go off. We're out of there in two minutes, not one second longer. What if the manager won't give up the diamonds? MR. WHITE When you're dealing with a store like this, they're insured up the ass. They're not supposed to give you and resistance whatsoever. If you get a customer or an employee who thinks he's Charles Bronson, take the butt of your gun and smash their nose in. Drops 'em right to the floor. Everyone jumps, he falls down, screaming, blood squirts out his nose. Freaks everybody out. Nobody says fuckin shit after that. You might get some bitch talk shit to ya. But give her a look, like you're gonna smash her in the face next. Watch her shut the fuck up. Now if it's a manager, that's a different story. The managers know better than to fuck around. So if one's givin you static, he probably thinks he's a real cowboy. So what you gotta do is break that son-of-a- bitch in two. If you wanna know something and he won't tell you, cut off one of his fingers. The little one. Then you tell 'im his thumb's next. After that he'll tell ya if he wears ladies underwear. I'm hungry, let's get a taco. CUT TO:47 EXT. ALLEY - DAY It's the moment of the robbery. The alley is empty. In the distance we hear all hell breaking loose. Guns FIRING, people SHOUTING and SCREAMING, sirens WAILING, glass BREAKING... A car whips around the corner, into the alley. The doors BURST open, Freddy and Mr. White hop out. Freddy opens the driver's side door. A bloody SCREAMING Mr. Brown FALLS out. MR. BROWN (screaming) My eyes! My eyes! I'm blind, I'm fucking blind! FREDDY You're not blind, there's just blood in your eyes. Mr. White loads his two .45 automatics. He RUNS to the end of the alley just as a police car comes into SIGHT. FIRING both .45's, Mr. White massacres everyone in the patrol car. Freddy, holding the dying Mr. Brown, looks on at Mr. White's ambush in shock. Mr. Brown lifts his head up, blood in his eyes. MR. BROWN Mr. Orange? You're Mr. Orange, aren't you? By the time Freddy turns his head back to him, Mr. Brown is dead. Mr. White RUNS up to Freddy. MR. WHITE Is he dead? Freddy doesn't answer, he can't. MR. WHITE Did he did or not? Freddy, scared. FREDDY I'm sorry. MR. WHITE What? Snap out of it! Mr. White GRABS Freddy by the coat and YANKS him along as he RUNS. They EXIT the alley and FLEE down a street. A car with a FEMALE DRIVER comes up on the two men. Mr. White JUMPS in her path, stopping the car. He points his jun at her. MR. WHITE Get us outta here! Mr. White climbs into the backseat. Freddy starts to climb in. The Female driver comes up with a gun from under her seat. MR. WHITE The bitch's got a gun! She SHOOTS Freddy in the stomach. On instinct Freddy brings up his gun and SHOOTS her in the face. C.U. ON FREDDY as he FALLS to the ground he realizes what's happened to him and what he's done. SLOW MOTION. Mr White DRAGS the dead female driver out of the car. He SHOVES Freddy in the backseat and DRIVES away.48 INT. GETAWAY CAR (MOVING) - DAY Freddy holding his stomach and doubled over in pain is CRYING. We replay the scene between Freddy and Mr. White in the getaway car. Except this time, we never leave Freddy. MR. WHITE (OS) Just hold on buddy boy. FREDDY I'm sorry. I can't believe she killed me... CUT FROM FREDDY IN THE BACKSEAT TO:49 INT. NICE GUY EDDIE'S CAR (MOVING) - DAY Mr. Pink is behind the wheel, Nice Guy Eddie is in the passenger seat going through the satchel with the diamonds. Mr. White is in the backseat. The car is SPEEDING back to the garage. EDDIE (looking through the case) You know, all things considered, this was pretty successful. MR. WHITE I don't believe you just said that. EDDIE No, it was messy as hell, but do you realize how much you got away with? There's over two million dollars worth of diamonds here. MR. PINK I love this guy. EDDIE Hey, what's done is done. We can all sit around and have a big cry about it or we can deal with the situation at hand. MR. WHITE The situation as hand isn't that fuckin satchel. You and Joe have a responsibility to your men. EDDIE Hey, it's the best I could do. MR. WHITE The man is fucking dying. EDDIE And I'm telling you, Bonnie'll take care of him. MR. WHITE He needs a doctor, not a fuckin nurse. EDDIE Ask me how many doctors I called. You wanna embarrass yourself, ask me how many doctors I called. MR. WHITE Obviously not enough. EDDIE Fuck you! You gotta little black book, then whip is out. If not, listen how it is. I called three doctors and couldn't get through to shit. Now, time being a factor, I called Bonnie. Sweet broad, helluva broad, and a registered nurse. Told her a bullshit story, upside: she said bring him to her apartment. MR. WHITE If he dies I'm holding you personally responsible. EDDIE Fuck you buddy boy! Okay, you wanna play that way. I am personally leaving myself vulnerable with this Bonnie situation. I don't think she'll call the cops, but I don't know for sure. But me being too nice- a-fuckin-guy was willin to risk it. But no fuckin more. (he grabs his portable phone) I'm callin Bonnie back and tellin her to forget it. You take care of your friend, you know so much about it. MR. PINK Goddamnit, will you guys grow up! EDDIE I don't need to grow up, my friend. I am a grown up. I'm being responsible, I'm taking care of business. MR. WHITE Cut the shit! I don't think you called anybody except some cooze you once fucked, who happens to wear orthopedic shoes. And I don't think that's good enough care for a gut-shot man. EDDIE Yeah, well I don't give a flying fuck what you think! MR. PINK (to Mr. White) Look, he's not sayin this bitch is gonna operate on him. She's gonna give him better attention than we can until we can get a doctor. Nobody's forgotten about doctors. Joe'll get one in a snap. This is something we're doing in the meantime. I think both of you are actin like a couple of assholes. EDDIE Yeah, right. I arrange a nurse, I leave myself wide open, and I'm an asshole.50 INT. WAREHOUSE - DAY MEDIUM SHOT on the door. Nice Guy Eddie, Mr. White and Mr. Pink walk through it. They stop in their tracks. We see what they see. Mr. Blonde, lying on the ground, shot full of holes. The cop slumped over in his chair, a bloody mess, Mr. Orange lying at the cop's feet, holding his wound. Eddie, Mr. White and Mr. Pink walk into the shot. EDDIE What the fuck happened here? Eddie runs over to his friend Mr. Blonde/Toothpick Vic. MR. WHITE (to Mr. Orange) What happened? MR. ORANGE (very weakly) Blonde went crazy. He slashed the cop's face, cut off his ear and was gonna burn him alive. EDDIE (yelling) Who cares what he was gonna do to this fuckin pig? Eddie whips out his gun and SHOOTS the cop. The cop and the chair tip over. Eddie stands over him and SHOOTS him once more. EDDIE (to Mr. Orange) You were saying he went crazy? Something like that? Worse or better? MR. ORANGE Look, Eddie, he was pullin a burn. He was gonna kill the cop and me. And when you guys walked through the door, he was gonna blow you to hell and make off with the diamonds. MR. WHITE (to Eddie) Uhuh, uhuh, what's I tell ya? That sick piece of shit was a stone cold psycho. MR. ORANGE (to Eddie) You could've asked the cop, if you didn't just kill him. He talked about what he was going to do when he was slicing him up. EDDIE I don't buy it. It doesn't make sense. MR. WHITE It makes perfect fuckin sense to me. Eddie, you didn't see how he acted during the job, we did. Mr. Pink walks over to the cop's body. MR. PINK He's right about the ear, it's hacked off. EDDIE (to Mr. Orange) Let me say this out loud, just to get it straight in my mind. According to you, Mr. Blonde was gonna kill you. Then when we came back, kill us, grab the diamonds, and scram. That's your story? I'm correct about that, right? MR. ORANGE Eddie, you can believe me or not believe me, but it's the truth. I swear on my mother's eternal soul that's what happened. The CAMERA mover into a C.U. of Nice Guy Eddie. There's a long pause while he rolls over what Mr. Orange has said. Finally: EDDIE You're a fuckin liar. Now why don't you drop the fuckin fairy tale and tell me what really happened? MR. WHITE (OS) He told you what really happened. You just can't deal with it. MR. ORANGE (OS) Okay, you're right, I'm lying. Even though I'm fuckin dyin I'm not above pullin a fast one. Get rid of Blonde, we share his split - no, scratch that, I shot him 'cause I didn't like his hair style. I didn't like his shoes either. If it has just been his hair, I'd've maybe, maybe I said, let him live. But hair and footwear together, he's a goner. EDDIE The man you killed was just released from prison. He got caught at a company warehouse full of hot items. He could've walked away. All he had to do was say my dad's name. But instead he shut his mouth and did his time. He did four years for us, and he did 'em like a man. And we were very grateful. So, Mr. Orange, you're tellin me this very good friend of mine, who did four years for my father, who in four years never made a deal, no matter what they dangled in front of him, you're telling me that now, that now this man is free, and we're making good on our commitment to him, he's just gonna decide, right out of the fuckin blue, to rip us off? Silence. EDDIE Mr. Orange, why don't you tell me what really happened? VOICE (OS) Why? It'll just be more bullshit. Eddie steps out of his C.U. and we see Joe Cabot standing in the warehouse doorway. He walks into the room. JOE (pointing to Mr. Orange) This man set us up. CAMERA does a 360 around the men. EDDIE Daddy, I'm sorry, I don't know what's happening. JOE That's okay, Eddie, I do. MR. WHITE (to Joe) What the fuck are you talking about? JOE (pointing to Mr. Orange) That piece of shit. Workin with the cops. MR. WHITE MR. PINK EDDIE What? JOE I said this lump of shit is workin with the LAPD. MR. ORANGE'S POV Looking up from the floor at everybody. Joe looks down at Mr. Orange. JOE Aren't you? MR. ORANGE (OS) I don't have the slightest fuckin idea what you're talkin about. MR. WHITE (very calmly to Joe) Joe, I don't know what you think you know, but you're wrong. JOE Like hell I am. MR. WHITE (very calmly) Joe, trust me on this, you've made a mistake. He's a good kid. I understand you're hot, you're super-fuckin pissed. We're all real emotional. But you're barking up the wrong tree. I know this man, and he wouldn't do that. JOE You don't know jack shit. I do. This rotten bastard tipped off the cops and got Mr. Brown and Mr. Blue killed. MR. PINK Mr. Blue's dead? JOE Dead as Dillinger. EDDIE The motherfucker killed Vic. MR. WHITE How do you know all this? JOE He was the only one I wasn't a hundred percent on. I should have my fucking head examined for goin forward when I wasn't a hundred percent. But he seemed like a good kid, and I was impatient and greedy and all the things that fuck you up. MR. WHITE (screaming) That's your proof? JOE You don't need proof when you got instinct. I ignored it before, but not no more. He WHIPS out a revolver and aims it at Mr. Orange. Mr. White brings his .45 up at Joe. Eddie and Mr. Pink are shook awake by the flash of firearms. Eddie raises his gun, pointing it at Mr. White. EDDIE Have you lost your fucking mind? Put your gun down! Mr. Pink fades into the B.G., wanting no part of this. MR. WHITE Joe, you're making a terrible mistake I can't let you make. EDDIE Stop pointing your fuckin gun at daddy! Joe, never taking his eyes off Mr. Orange. JOE Don't worry, Eddie. Me and Larry have been friends a long time, he ain't gonna shoot. We like each other too much. MR. WHITE Joe, if you kill that man, you die next. Repeat, if you kill that man, you die next! We get many different angles of the Mexican standoff. MEDIUMS ON EVERYBODY Mr. Orange holding his belly, looking from left to right. Joe pointing down on Mr. Orange. Not taking his eyes off him. Mr. White pointing at Joe, looking like he's ready to start firing any minute. Eddie scared shitless for his father, gun locked on Mr. White. Mr. Pink walking backwards away from the action. Nobody says nothing. FOUR SHOT of guys ready for violence. Mr. Pink in the B.G. MR. PINK C'mon, guys, nobody wants this. We're supposed to me fuckin professionals! Joe raises his head to Mr. White. JOE Larry, I'm gonna kill him. MR. WHITE Goddamn you, Joe, don't make me do this! JOE Larry, I'm askin you to trust me on this. MR. WHITE Don't ask me that. JOE I'm not askin, I'm betting. Joe's eyes go back to Mr. Orange. EDDIE Daddy, don't! Joe FIRES three times, HITTING Mr. Orange with every one. Mr. White SHOOTS Joe twice in the face. Joe brings his hands up to his face, screaming, and falls to the ground. Eddie FIRES at Mr. White, HITTING him three times in the chest. Mr. White brings his gun around on Eddie and SHOOTS him. The two men FALL to their knees, FIRING at each other. Eddie COLLAPSES, dead. Joe's dead. Mr. Orange lies perfectly still, except for his chest heaving. The only SOUND we hear is his loud breathing. Mr. White is SHOT full of holes, but still on his knees, not moving. Mr. Pink is standing motionless. Finally he grabs the satchel of diamonds and RUNS out the door. We hear outside a CAR START. Then the SOUND of a BULLHORN yells out: POLICE FORCE (OS) Freeze! Get out of the car and lie face down on the ground! MR. PINK (OS) Don't shoot! We now hear SIRENS, the SOUNDS of more CARS DRIVING UP, MEN RUNNING to the warehouse. While all this noise is going on, Mr. White tries to stand but FALLS DOWN. He somehow makes it to where Mr. Orange lies. He lifts Mr. Orange's head, cradling it in his lap and stroking his brow. MR. WHITE (with much effort) Sorry, kid. Looks like we're gonna do a little time. Mr. Orange looks up at him and, with even more of an effort: MR. ORANGE I'm a cop. Mr. White doesn't say anything, he keeps stroking Orange's brow. MR. ORANGE I'm sorry, I'm so sorry. Mr. White lifts his .45 and places the barrel between Mr. Orange's eyes. The CAMERA MOVES into an EXTREME C.U. of Mr White. The SOUNDS of outside STORM inside. We don't see anything, but we HEAR a bunch of shotguns COCKING. POLICE FORCE (OS) Freeze, motherfucker! Drop your fucking gun! Mr White looks up at them, smiles, PULLS the trigger. BANG We hear a BURST of SHOTGUN FIRE. Mr. White is BLOWN out of frame, leaving it empty. \ No newline at end of file diff --git a/unformated_scripts/Script_Resident Evil.txt b/unformated_scripts/Script_Resident Evil.txt new file mode 100644 index 0000000000000000000000000000000000000000..b0b5194f6946fd04dd2e83ce297db96d2cb9f4ab --- /dev/null +++ b/unformated_scripts/Script_Resident Evil.txt @@ -0,0 +1 @@ +RESIDENT EVIL ORIGINAL SCREENPLAY BY GEORGE A. ROMERO BASED ON THE GAME BY CAPCOM SCREEN STORY BY GEORGE A. ROMERO & PETER GRUNWALD CONSTANTIN FILM ROMERO-GRUNWALD PRODUCTIONS FIRST DRAFT OCTOBER 7, 1998 --- This text orginiated from www.New-Blood.com, please check them out for Resident Evil coverage. --- Pg-1 RESIDENT EVIL PRESENTATION CREDITS appear... then FADE... Out of BLACK... SHOCK CUT TO: INT LAB "A" LEVEL TIMELESS A MAN'S FACE, filling the screen. MARCUS (filter) Stay away from here! We're watching A VIDEO MONITOR. A pre-recorded tape shows a view of what is obviously a pristine-RESEARCH LABORATORY. DR. JOHN MARCUS, in a lab coat, faces THE CAMERA, disheveled and looking like a madman. MARCUS (cont. filter) This lab must remain sealed! INT CONFERENCE ROOM TIMELESS Overhead lamps cast pools of LIGHT down onto A CONFERENCE TABLE, onto THE HANDS of PEOPLE assembled to observe the video. We see NO FACES. But expensive WATCHES, sleeves with high-ranking STRIPES, indicate wealth, power, and a military presence. THE VIDEO: On the wall behind MARCUS, we see SHADOWS darting frantically. We hear VOICES rising in panic. MARCUS (cont. Filter) For God's sake, don't come in! The CAMERA is SWATTED by A HAND that lurches suddenly into the foreground. We only see it for a few video frames, but we might subliminally notice LESIONS on the flesh. The IMAGE SWIRLS wildly. The next clear picture we see... is of the same laboratory...topsy-turvy. THE CAMERA is lying on its side on the floor. VOICE IN THE ROOM (o.s.) Look. Here. A LASER POINTER casts a RED DOT on a corner of the video screen, indicating A HUNCHED FIGURE, leaning over A HUMAN BODY, apparently ...feeding! With a GRUNT, the figure turns. and LUNGES, it's face covered with BLOOD, at the CAMERA. The image SWIRLS again, and the SCREEN GOES BLACK. With a MUSIC STING, a single TITLE appears, full across the blackness... RESIDENT EVIL Pg-2 EXT FOREST LAND PRE-DAWN A DARK SKY ...and in the foreground, profiled against a FULL MOON, A DARK FACE ...watching the heavens with piercing black eyes, alert, though not predatory. This is CHRIS REDFIELD, young, handsome. More than simply an outdoor type, he seems perfectly in place, almost part of the environment. A band of purple tints the horizon, outlining the tops of magnificent uncorrupted hills that extend for miles. Sitting on a ridge, squinting into that band of light, Chris sees ... ...AN EAGLE coasting on a channel of wind that cuts through the hilltops. As the bird moves swiftly closer, it becomes recognizable. Chris smiles and jots a note on a pad. The regal bird lands on a high rock where ...unexpectedly... a freshwater trout lies flapping, three-thousand feet above the highest water. CHRIS Take it, Goliath. It's yours. "Goliath" snaps up the fish and flies away with it. CHRIS (cont.) See ya next year, guy. Chris reaches into a water-filled bucket, pulls out another trout, climbs efficiently, unerringly, across a precarious Cliffside, and deposits the fresh fish on the-same high rock. ANOTHER EAGLE, smaller, a female, appears in the sky. CHRIS (cont.) Cleopatra. Chris scrambles back to his place and jots another note. "Cleopatra" spots the fish, pumps her wings, and swoops down. She's about to snap up the prize, but at the last minute, she recoils and climbs again, hovering. CHRIS (cont.) Come on. Come on down. The eagle circles, its sharp eyes scanning. It makes another dive, but stops short again. CHRIS (cont.) What's the matter, beautiful? The bird seems frightened. Of what? It makes one more dive. Gets very close to the fish... but suddenly SHRIEKS and peels, away from the rock. Chris sees its eyes, looking crazed, as it soars right past him, its wings brushing his hair. Pg-3 CLOSE ON: CHRIS, concerned, as he watches the eagle disappear over the hills. Over his shoulder, we can see the high rock that holds the fish. It's out of focus in the background, but the moonlight catches SOMETHING MOVING there. Something that lets out a sharp INHUMAN SOUND. Chris whirls around. There's nothing on the rock. Nothing at all. The fish has been taken. INT JILL'S APARTMENT DAWN CHRIS walks into a characterless apartment. He quietly sheds his clothes. Even in silhouette, we can see that his body is in perfect shape, not pumped, but lean and tight. Moving lithely, with the natural grace of a cat, he eases himself into a bed where... ...a beautiful young girl, JILL VALENTINE, seems to be fast asleep. As Chris nestles in beside her, we see that her eyes, facing away, are open. Chris gently drapes an arm around her and lets his body relax. CHRIS (A whisper) Glad you're still here, lady JILL It's my apartment. CHRIS (Surprised) You're awake. JILL I've been awake. Since you left. CHRIS Sorry. His apology goes no further. He's still troubled by what happened in the hills. CHRIS (cont.) There was... something wrong. JILL What, with my dinner? I never had a mother. I'll learn. Chris smiles politely. He offers... CHRIS I'll do the cooking. Pg-4 ...but he can't switch focus. CHRIS (cont.) On the mountain...there...must have been something... prowling around up there. JILL There are probably all kinds of things prowling around up there. In the middle of the night. Chris apologizes again, this time more sincerely. CHRIS I'm sorry. Really. You...have to be there at dawn. They ride the wind over the ridge. JILL Dawn? You left at one A.M. CHRIS I had to go fishing. It's the fish that bring them down, so I can get a close look at them. (Enthused) I've tracked a dozen of them, Jill. Twelve of those big bruisers. I can actually recognize them. I've even given them names, over the years. JILL You've been doing this for years? CHRIS Only in the early Autumn. When they're' migrating. JILL I'II set the alarm for next. October. Jill rolls over and faces him. JILL (cont.) I wish I could get excited. Really. That's the truth. As excited as you, over such... simple things. CHRIS Beauty... isn't simple. If it was... I'd be beautiful. JILL You are. Pg-5 CHRIS No, no, no. I'm simple. You, on the other hand...(nuzzling closer)...have all that... stuff... hiding underneath somewhere. That's what fascinates me. JILL Fascination. Not love? Jill is being playful. Chris, taking her question to heart, becomes introspective. CHRIS I... honestly don't know. I guess I've been... living alone too long. You're the first, the only woman I've ever thought of as... a real partner. Now Jill becomes introspective. JILL I've always been...afraid of living alone. I've always had... people... talking at me... knowing they could wind me up and I'd do... (shrug) ... whatever they wanted. Chris looks into her eyes. She kisses him gently. JILL (cont.) We all have... something hidden... underneath. Beauty may not be simple. But it's not all that complicated, Either. Most of the time, you find It... right in the middle of all the... confusion. CHRIS I'm part Mohawk. Indians are never confused. At least, they never let it show. They kiss again, this time more passionately. Rolling over, they begin to make love. EXT FARM DAWN The purple horizon is turning orange, but it's still quite dark when a crusty old farm-hand, RAKE, opens the creaking door of a stable and, with a flashlight, leads THREE HORSES out into the morning breeze. Two dogs, A LAB and A SPANIEL, romp at his heels as Rake opens a log gate. Pg-6 - Two of the untethered horses trot obediently into a large corral. The third, a beautiful stallion, resists, snorting, tossing its head in high spirit. RAKE Get in there, Lucky. Quit horsin' around. Get in. "LUCKY" moves into the corral, strutting proudly. RAKE (cont.) Swear. If I didn't know you was just an animal, I'd say you was all full of yourself. GET IN THERE! Rake waves his flashlight, not meanly, there is clearly a great deal of affection here. Rake shuts the gate behind the stallion, who begins to gallop around happily inside the fence. All seems lovely, until... ...the dogs suddenly go on point. Their ears perk. They sniff the air...and begin to WHINE. RAKE (cont.) What's wrong with you two? KER-RAAKK! A startling SOUND. Rake turns to find Lucky and the other horses, their eyes flaring, trying to KICK their way out of the fencing. They seem terrified. CUT TO : A WIDE SHOT: of RAKE, and the frightened ANIMALS, from two hundred yards away. THE CAMERA MOVES IN, slowly at first, then gaining speed... extraordinary SPEED. We are seeing THROUGH THE EYES OF... whatever it is that's running, charging, SLATHERING HUNGRILY... ...reaching the corral, DARTING through the fence, past the KICKING HORSES, and LEAPING at Rake, who whirls around...and CRIES OUT in pain as his flashlight BLINDS us with WHITENESS. EXT AIR BASE DAWN The WHITENESS becomes the GLARE of HALOGEN LIGHTS. We are overwhelmed by the SOUND of AIRCRAFT ENGINES. We see MEN, armed SOLDIERS, scrambling into combat HELICOPTERS. A RADIO MAN runs right toward THE CAMERA, holding out an open receiver. RADIO MAN Top brass, sir! Pg-7 ANOTHER MAN, in the foreground, takes the radio-phone. We can't see his face. Only his forearm, which bears A TATTOO of a grinning SKULL. MAN WITH TATTOO Alpha Leader. VOICE ON PHONE (o.s. filter) How long before you get in there? MAN WITH TATTOO Fifteen minutes. INT AN OFFICE DAWN A SUIT talks on a red telephone. Once again, we see no face. An ostentatious diamond RING kicks light as the man snips off the end off a Monte Cristo. MAN WITH RING You're good, soldier. But not that good. It's five hundred miles away. In the backwoods of Pennsylvania. MAN WITH TATTOO (o.s. filter) We have troopers on site. A first- strike force. Under cover. The flame from a wooden match lights the Monte Cristo. MAN WITH RING Very resourceful. You have my permission activate them. EXT AIR BASE DAWN MAN WITH TATTOO I've already done that. You have my permission... to say that you gave me permission. THE TATTOOED MAN runs off to join the other SOLDIERS. INT JILL'S APARTMENT MORNING CHRIS sleeps. JILL is awake, deep in thought, when... ...BRRRRT! It's not a ring, it's a vibration. Jill reaches down and extracts something small and black, the size of a box of Tic-Tacs, from one of her shoes. She gets out of bed, checking to see that Chris is still asleep, and moves into... Pg-8 INT JILL'S APARTMENT BATHROOM MORNING ...a bathroom. Closing the door behind her, she puts the small box to her ear, extracts a wire from it, with a tiny microphone on its tip, and... JILL (Softly) Valentine. We can't hear the voice that speaks to her. JILL (cont.) If this is just another a drill, I'll strangle you. (She listens) Shit. Give me the activation code. JILL pulls a small ENVELOPE from a toiletry bag. She breaks open a wax seal...and takes out a thick paper on which is printed... 29-RC-6735. JILL (cont.) (Gaping, not believing) Th-that's a match. (Beat) I'm on my way. Jill clicks off. She dumps something else from the envelope into her hand... A BLUE PLASTIC CARD, the size of a Visa, blank except for a mag-stripe. There's a small hole in one corner, through which a chain is strung. Jill slings the chain over head, wearing the blue card like a pendant. INT JILL'S APARTMENT MORNING CHRIS is still asleep. JILL comes out of the bathroom and looks down at him longingly. Should she wake him? Tell him what's happening? She wants to, but duty prevents it. She pulls herself away. INT JILL'S APARTMENT CLOSET MORNING TCHIK TCHIK TCHIK...JILL pushes aside hangers which hold her clothes. She types numbers into a hidden KEYPAD. A SECRET PANEL OPENS, revealing a CLOSET WITHIN THE CLOSET, packed with COMBAT UNIFORMS and WEAPONS. INT JILL'S APARTMENT MORNING The sound... TCHUNG... of the front door closing snaps CHRIS awake. His first thought is for his lover. He reaches out and finds that... she's not in bed. He jumps up, rushes to a window, looks down, from the second story, and sees... Pg-9 EXT JILL'S APARTMENT MORNING ...JILL, heavily ARMED, in UNIFORM, wearing a beret that has an insignia... S.T.A.R.S. She rushes down the front path and jumps into A HUMMER with THREE OTHER TROOPERS on board. The vehicle pulls instantly away... ...leaving Chris, looking through the window, puzzled, angry, and very much wounded. INT/EXT HUMMER MORNING RUSSO drives. WILLIAMS and DISIMONE sit in the back, all tough Special-Forces types. JILL, in the front passenger seat, though the only female, ranks the highest. DISIMONE Another practice run, right? RUSSO We been practicin' six months! For what? JILL For this. This is the real deal. WILLIAMS Honest to God? JILL Based on my experience, Williams, God isn't always honest DISIMONE Where we goin'? JILL In there. Jill points into THE ARKLEY FOREST which lies ahead. Miles of old growth-trees shrouded in a ghostly morning mist. DISSOLVE TO: EXT THE FOREST MORNING DEEP IN THE HEART OF THE MIST... THE HUMMER bounces over non-roads and stops fifty yards from... ...A PAIR OF IRON GATES, each wrought with the letter "A". Beyond, the shifting fog offers momentary glimpses of... A MANSION. Huge. Like Xandau. THE TROOPERS, amazed, climb out and approach the gates. Pg-10 RUSSO If you had the jing to build a place like this, would you build it in the middle of fuckin' nowhere? WILLIAMS Paris. DISIMONE Manhattan. Upper west. JILL (Wistfully) Some people prefer... a quiet life. (Back to business) Our orders are to secure the area. DISIMONE From what? This area's been 'secure' since the French and Indian War! A deep, animal SNARL comes from the woods. The troopers raise their weapons as they peer into the underbrush. The fog keeps sunlight from penetrating. The forest is a maze of dark shadows. Leaves flutter. Limbs SNAP. Then... DARK SHAPES can be seen moving, circling. A half-dozen of them. Maybe more. Jill whips out a transmitter and quickly types an access code. JILL (Into radio) This is Valentine, Bravo Team. We, er... we might be in trouble, here. KRITCH! Something LEAPS out of the brush. Automatic WEAPONS SPIT reflexively. KRITCH KRITCH KRITCH...more lunging SHAES appear. The troopers scatter, firing, as they are attacked from all sides. Jill dives for the shrubbery, shouting into her transmitter. JILL (cont.) WE ARE IN TROUBLE! CUT TO : INT HUEY MORNING JILL'S VOICE stutters over a headset which is pressed against A MAN'S EAR. JILL (o.s. filter) Under attack... by.. .assailants... Unidentifi... Pg-11 Static. Hissing air. The SHOT WIDENS as the man lowers his headset. First we see the TATTOO on his arm... a grinning SKULL which we recognize. Then, gradually, we see his face. Lean and mean, wearing dark sunglasses, this is ALBERT WESKER, a hard-assed career officer. WESKER Can you get a trace? The pilot, LAGUARDIA, responds. LAGUARDIA Lost the beacon. It just cut out. Like it was...swallowed by something. Oddly, Wesker smiles. WESKER I do believe, gentlemen...that we're gonna be earning some combat pay. There are three other MEN on board. The closest to Wesker is BARRY BURTON, a muscular black man, as big as a grizzly, with the heart of a Teddy. BARRY Damn, if you don't love a fight. WESKER Hey, if I didn't... you'd be a dead man. (To the pilot) Call in a nine- nine. I want Raccoon City e-vacked. Wesker and the men fly from the lens. THE CAMERA passes Out through one of the helicopter's windows as the chopper soars away. When the SHOT WIDENS, we see OTHER HUEYS...black, unmarked, keeping formation. Three... six...ten of them. EXT FOREST MORNING GUNS BLAZE. THE TROOPERS are under assault by thrashing, inhuman SHAPES...GROWLING, SNAPPING. JILL rolls into a natural trench. DISIMONE is behind her, WILLIAMS is crawling just ahead, his legs pumping. Jill scoots past him and sees that... ...those legs aren't moving on their own. They've been RIPPED AWAY FROM WILLIAMS' TORSO and are being dragged into the underbrush by some... BEAST... concealed in the thick brush, so we never get a clear look at it. OTHER BEASTS attack DiSimone. Then Russo. We see only details. Jill fires her pistol, point blank... to no avail. RED-RIMMED EYES, SNARLING JAWS, DROOLING TEETH descend on her as we CUT TO: Pg-12 EXT JILL'S APARTMENT BUILDING MORNING CHRIS steps out of Jill's building. Suddenly, incongruously, camo-painted HUEYS swoop down out of the sky. EXT RACCOON CITY MAIN STREET MORNING THE CHOPPERS land where they can. COMMANDOS leap out and begin to cordon off the town. Bullhorns blare. BULLHORN There's been an accident in the hills nearby. A military aircraft, carrying live weapons, has crashed... EXT RACCOON CITY SIDE STREET MORNING CHRIS runs down a side-street into AN ALLEY, where he's trapped by COMMANDOS, both in front and behind. SOLDIER Let's go, hayseed. (Aiming his M-16) You gonna be a good boy? Chris swallows his fury. Gritting his teeth, he goes along with the soldiers, prodded, by rifle barrels, out onto... EXT RACCOON CITY MAIN STREET MORNING ...Main Street, where there is CHAOS... an Orwellian sight, as CITIZENS find themselves horded into helicopters and TRUCKS from the local National Guard Post. A sweating man, still in his pajamas, rushes up to the SOLDIERS that are escorting CHRIS. MAN Look here, I'm the Sheriff of this... SOLDIER Step aside. SHERIFF But, I'm the Sheriff! An ex-Army man, like you. BULLHORN (o.s.) There is no immediate danger, but as a precaution, we are evacuating the area. You will be provided shelter until the weapons have been removed from the crash site. Pg-13 SHERRIFF That's a worn-out scenario. If a plane crashed nearby, don't you think somebody would have heard it go down? Tell us the truth, guys. What's this really about? SOLDIER I said, STEP ASIDE! The soldier lifts his rifle. He's about to CLUB the sheriff when Chris lunges, grabbing his arm. WHOOMPH! Chris kicks the soldier in the balls. The man buckles. Chris bolts. One of the other commandos FIRES at him, a loud BURST which misses Chris but SHATTERS a shop window, setting off wild PANIC on the street. Chris ducks into a building... EXT RACCOON CITY BACK STREET MORNING ...and out a rear door. He runs through a warren of back alleyways, arriving at... ...A JEEP SAHARA which is parked behind Jill's apartment building. He jumps in without opening the door, jams the key into the ignition, and ROARS off. INT HUEY MORNING Still airborne, in one of the black helicopters that have yet to reach the site, WESKER barks orders into a radio. WESKER Charlie, David, Edward, proceed to Raccoon City. Assist the e-vack. I'm going on target with Alpha Team. All forces stand ready to support. EXT FARM MORNING CHRIS rumbles his jeep onto a picturesque FARM, secluded deep in the forest. We don't recognize it immediately. It was dark when we last saw the place. Jumping out, Chris sees three large SHAPES lying in the grass of a corral. Rushing over, Chris realizes... ...they're HORSES. One of them is LUCKY, his prize stallion... DEAD, in a pool of BLOOD, with its belly torn open and a huge chunk out of its neck. CHRIS Aw, no... (Devastated) ...L-Lucky. Pg-14 Chris hears a weak, MOANING SOUND. He turns and sees... RAKE, lying near a water pump. Chris rushes to the man's side and finds him brutally SLASHED, barely clinging to life. RAKE (Coughing blood) They... they come outta the trees, Reddy. Don't... don't know what they was. Figure... maybe some kinda... wolves, or somethin' ... Examining the man's wounds, Chris realizes they're fatal. RAKE I... I never seen 'em comin'. CHRIS Don't try to talk, Rake. RAKE (cont.) I... ain't... never left this farm... untended... since yer daddy first took it over. CHRIS I know. You... kept the place runnin'... better than me. RAKE I just...never seen 'em comin', Reddy. Never even...had a chance to...turn a gun on 'em. There's a THUNDER in the sky. Chris looks up. Wesker's Fleet of black HUEYS appears on the horizon. They split up, Seven banking off toward Raccoon City, the remaining three grinding ahead over the forest, slowing down, dropping in altitude. CHRIS Where are they going? There's nothing in there... except... RAKE Y'oughta... remember it... real good. I do. From... when you was a kid. CHRIS The... the old Arkley place? RAKE I remember them days. I surely do... Remember them... them old days. Chris looks back down at the old man, who is drifting, starting to lose it. Pg-15 CHRIS (cont.) I'm not gonna bullshit you, Rake. You're...in a bad time. If there's any way to save you, I'll find it, I swear. You just... hang in there, old guy. I'll be right back. Chris jumps to his feet and runs into... INT FARMHOUSE MORNING ...the great-room of the FARMHOUSE. Rustic. Cozy. CHRIS snatches up a telephone. There's no dial-tone. The line is dead. Chris rushes to a gun cabinet and pulls out an old WINCHESTER rifle. He scoops ammo from a drawer into a shoulder bag and runs back outside... EXT FARM MORNING ...where his eyes catch MOVEMENT in the corral. LUCKY, entrails spilling, is trying to stand. CHRIS Oh, God, Rake. Oh, Jesus, the poor thing's still alive. Chris shoulders his ammo bag, reaches inside, and quickly reloads the Winchester. Stepping forward, he aims carefully. CHRIS (cont.) Sorry, old hoss. BLAM! A clean shot to the horse's brain drops the animal. It takes Chris a long moment to recover... then, he looks into the trees. The helicopters are no longer in sight, but their THUNDER remains. They haven't landed yet. Chris turns and rushes back to Rake's side, only to find... ...he has died. Chris' jaws tighten, but he has no time to mourn. He closes Rake's eyes. Digs through the grass. Pulls up a handful of dirt. Stuffs it into the old man's hand, and closes his stiffening fingers over it. CHRIS (cont.) The earth keeps us. Conquering his emotions, Chris runs to his jeep and jumps in. He shifts into four-wheel-drive and, ignoring the road, heads straight over the field for the trees. As the jeep disappears, THE CAMERA CRANES DOWN, ZOOMING IN ON... Pg-16 ...one of the farm dogs. The SPANIEL. Not the entire animal, but one of its three SEPARATE PARTS... it's front end... CRUSHED head, BLOODY neck, and a single BROKEN paw... ...which is trying to CRAWL. Fifty yards away, RAKE'S HAND relaxes. The earth spills out through his fingers as the dead man's eyes... POP OPEN. EXT ARKLEY FOREST MORNING THE FIRST OF THE BLACK HUEYS drops, hazardously, into a small clearing with barely enough space. Unable to land on the scrub-brush, it hovers ten feet off the ground. Its rotors CLIP TREE LEAVES as WESKER, BARRY, and TWO OTHER S.T.A.R.S. COMMANDOS jump out, heavily armed. The chopper lifts off, placed by HUEY NUMBER TWO. NOT FAR AWAY, CHRIS navigates through undergrowth until he can see THE HELICOPTERS through the trees. The THUNDER from their rotors masks the grinding of Chris' jeep. He pulls within a hundred yards and, leaving his vehicle in the bush, moves closer, cautiously, on foot. THE THIRD HUEY air-drops TWO MEN and TWO WOMEN in S.T.A.R.S. uniforms. There are TWELVE COMMANDOS in all... ALPHA TEAM. Wesker looks up at the Huey's PILOT, using his radio to speak to the man. WESKER You'll have to rotate or you'll run out of fuel, but I want one chopper to remain in the air at all times. We might need help in a hurry. A "Roger that", squaks back as the Huey banks away. Barry looks worried. His instincts are asking... "We might need... 'help'". Against what? We only see this in his eyes, he says nothing as... ...Wesker leads the team through the woods, unaware of... ...CHRIS, following behind, crouching around trees and bushes, not a trained commando, but comfortable with the land, a natural warrior using ancestral instincts. THE CAMERA TRACKS COMBAT BOOTS as they CRUNCH through the low-Lying MIST.. .stopping abruptly when they encounter... ...WEAPONS, AMMO BELTS, bits of SHRDDED UNIFORMS... and HUMAN BODY PARTS... strewn all through the surrounding brush, remnants of what was obviously a feeding-frenzy. Pg-17 VICKERS Holy... Goh... gaah... BRAD VICKERS vomits. Unarmed, he's Alpha Team's computer- techie. Not a combat soldier, he's a bit of a coward. Another non-combatant, REBECCA CHAMBERS, is the team's medical officer. She digs an ammonia capsule from her pack and holds it under Vickers' nose. RICHARD AIKEN and KENNETH SULLIVAN are buddies, regular G.I. Joes, right out of every war movie. Aiken stares at the carnage, calmly chewing a wad of gum. AIKEN You ever eat road-kill, Sullivan? SULLIVAN Aiken... a guy with a brain your size would be better off dead. RODRIGUEZ (o.s.) Want me to shoot ya, Aiken? ROSIE RODRIGUEZ, a tough, body-built babe steps in. RODRIGUEZ (cont.) I'm ready ta shoot somebody. ALKEN I'll pass. Shoot Sullivan. FOREST SPEYER, a wiry Willem Defoe type, finds a bloody BERET and brings it to Wesker. There's an I.D. tag on the brim... WESKER (Reading the tag) 'Valentine'. (Beat) Radio Washington. Bravo Team found on site. No survivors. In the bushes, Chris overhears, not wanting to believe. He sees Wesker angrily pitch Jill's beret into the brush. WESKER We're goin' in. Watch your backs. Wesker advances his troops. When the coast is clear, Chris rushes in, picks up the beret, and sees the name tag for himself. "Valentine ". After what happened at the farm... now this... feeling sucker- punched, defeated, Chris hangs his head. One of the HUEYS dips in low. Pg-18 Chris looks up. The sight of the war machine lifts him from defeat... to rage. His eyes are soft, for the last time, as he tucks Jill's beret into his pack. When he looks up again, those eyes have become newly predatory. He ducks out of sight as the helicopter swings lower. Downdraft from the rotors makes the bushes rustle, catching Chris' attention. He realizes that... it's not just the wind. The shrubs are being disturbed by... SOMETHING DARK which is moving through them. It pokes its head out. A WOLF! Rake was right. Chris readies his Winchester as the animal stalks forward. It's not a wolf. It's A DOG. Mottled, its flesh gray, covered with rotting lesions... and it has three bleeding BULLET HOLES in its belly, chest, neck. GROWRRR! It LEAPS at Chris... who fires... BLAM! Up ahead, Wesker and his commandos freeze. WESKER Who fired? WHO FIRED? Before anyone can answer, the team is ATTACKED by MORE DOGS which BURST out of the surrounding woods...DOBERMANS and SHEPHERDS... but something is seriously wrong with all of them. Their EYES are DEAD, their FLESH decaying. Automatics piss streams of lead. Hot rounds TEAR through the animals, many of the slugs accidentally blowing out brains. of his bullets hits its target... one of the dogs' heads. The commandos are backed up against... the IRON GATES we saw earlier. The Arkley Mansion stands beyond. RODRIGUEZ Let's get inside. WESKER (cont.) NO! (Shouting) I WANT 'EM ALL DEAD! YOU HEAR ME? STAND FAST... UNTIL THEY ARE ALL DEAD ! The dogs don't stand a chance. Alpha Team's firepower is overwhelming. But there is a human casualty. JOSEPH FROST trips and falls. One of the dogs POUNCES on him, chewing out his HEART... through his BACK. Wesker steps in, RIDDLING the dead man, and the dog, with forty rounds from his M-16. Pg-19 In the next instant, ANOTHER DOG LEAPS at Wesker from behind. He hears its snarl... too late. He dives into the grass... too late. The dog is about to land on him when... ...it's BLASTED out of mid air by... Barry. BARRY Even-Steven, boss. You saved my ass in the desert. I saved yours I in Pennsylvania. Wesker stand, straightening his ever-present sunglasses. WESKER I don't believe in being... 'Even- Steven' with anybody. A man saves my ass...I pay him back. Before this day is over, I'll pay you back, Barry. Just... stick with me, okay? Wesker checks his equipment belt. Something is missing. He looks to where he rolled in the grass. Using a FLASH- LIGHT, he finds... ...a small electronic unit the size of a cell-phone. But it's not a cell-phone. Whatever it is... Wesker clips it onto his belt. FROM THE BRUSH, Chris sees all this. The guns have gone silent. The attack seems to be over. Chris moves stealthily to the body of the animal that he shot. It's wearing a COLLAR which reads... SPIKE #26 Alongside the I.D., there's a corporate-looking logo... the symbol of an UMBRELLA. GRRROWWWLL! ANOTHER DOG is advancing on Chris. He aims his Winchester. CLICK! The magazine is empty. No time to reload. The dog is on him. Chris SCRAMBLES away. The dog BOUNDS after him. Chris drops to the ground. Did he trip? No. He pushes a TREE ROOT, which is FALSE. It swings open and he dives in, pulling the root shut over him. The dog arrives an instant later. It lets out an angry howl... and is BLOWN AWAY... by RODRIGUEZ, who neither saw Chris, nor where he went. The forest goes dead quiet. Too quiet. There's not even the chirping of morning birds Wesker is SLAPPED startlingly on the back... by Barry. Pg-20 BARRY Look here, man. I'd follow you into any kind of enemy fire. But these things ain't firin' at us. They want us for breakfast! When are you gonna tell us what the hell is goin' on here? WESKER When you need to know. Just do your job, soldier. That's what I'm doin'. My job. Wesker pulls a chain from under his shirt. It holds a card, the size of a Visa, like the one Jill found in her secret envelope, only Wesker's isn't blue, it's green. Stepping away from Barry, he slide the card through a slot in the iron gate-frame. BUZZZZ. The GATES SWING OPEN with a rusty SQUEAL. INT TUNNEL MORNING CHRIS crawls through a long, dark shaft with earthen walls, a man-made tunnel. EXT ARKLEY FOREST MANSION MORNING AT THE MANSION'S FRONT DOOR, a hand-carved monolith of solid oak, WESKER finds another hidden SLOT and swipes his card. The giant door CREAKS OPEN. INT MANSION CENTRAL HALL MORNING INSIDE, the place looks like a HAUNTED HOUSE, a glorious ruin, once spectacular, now mysterious and threatening. The chandeliers and furniture are covered with sheets that ripple on breezes from a thousand faults in the old walls. Indistinct NOISES echo within the ceiling, the floor, as ALPHA TEAM enters. AIKEN Old. They probably don't have cable. SULLIVAN They probably don't have radio. RODRIGUEZ Who's they? Who's place is this? WESKER shuts the front door. The BOOMING SOUND makes us wonder if we will ever see it opened again. Pg-21 WESKER Guy named Arkley. Bootlegger. Built this old fortress during prohibition. He figured nobody'd ever find him out here in the back woods. Nobody did. Till he died. Feds have had it ever since. Place has been here for eighty years... derelict... a safe-house. BARRY A safe-house... for who? For what? WESKER There's a... a secret installation. Below. A network of laboratories. REBECCA What kind of... laboratories? WESKER (Shrugging) They didn't issue us gas-masks, so I figure... it's okay to breathe. RODRIGUEZ Why send in a strike-force? SULLIVAN Yeah. What are we supposed to do? Polish the silver? WESKER (cont.) There's a man downstairs. A top- priority man. It's our job to... bring him out. Hopefully, there are others alive, as well. We'll Rescue them, too... if we can...but Dr. John Marcus... he comes out alive at any and all cost. INT MANSION CORRIDOR MORNING Though it's still morning, the windows are sealed over. No sunshine can enter. From this point on... there will be no indication of time... except as shown on clocks. A sense of dread takes hold of us as... ...dark SHADOWS LURCH...FEET SCRAPE sluggishly... not in combat boots, but in Nikes, loafers, Dr. Martens... past an accordion GATE of corroded bronze. A motor HUMS. Behind the gate, an old-fashioned service ELEVATOR rises... but stops just below floor level. EYES peer out, waiting for the shuffling feet to pass. Then the car rises the rest of the way, revealing its occupant... Pg-22 ...JILL VALENTINE! She's alive! She deactivates the elevator by pulling her blue ACCESS CARD out of an incon- gruously modern receptacle. Checking to be sure that the coast is clear, she slides the accordion gate aside and steps out into the corridor. With a ghostly MOAN, something LUNGES at her out of the shadows. It's A MAN in a lab coat. His skin is ROTTING, his teeth SNAPPING, like the dogs'. He tries to BITE Jill, not merely to do injury. He seems HUNGRY! Jill leaps aside, lifting her pistol and FIRING... once, twice, three times. The man is shot in the stomach, heart, neck...but he keeps coming! Finally, Jill shoots him in the head...and he falls. Jill quickly reloads, on instinct. But as she does it, she stares at the corpse, frowning, weighing life-long belief against the hideous facts of the moment. INT MANSION CENTRAL HALL MORNING WESKER and his troopers hear the GUNSHOTS. There are THREE DOORS nearby. Wesker selects one that seems to lead to the source of the gunshots. Using his card, he unlocks it. WESKER Three men stay here. Chambers... REBECCA I'm not a man. WESKER Rodriguez... RODRIGUEZ I'm better than a man. Wesker grins, but hardly skips a beat. WESKER Alright. you come with us. Aiken, Sullivan, stick here with Chambers. The troop moves out. Aiken and Sullivan remain in the central hall with Rebecca. AIKEN Why us? SULLIVAN I dunno why me. You? I guess the C.O. figures you're as worthless as a dame, Aiken. Pg-23 Sullivan catches Rebecca's eye. SULLIVAN (cont.) Er... sorry, ma' am. I... I didn't ... I meant Aiken... Not you. REBECCA Relax. I get it. INT MANSION LIBRARY TIMELESS WESKER leads his TROOP into an enormous, cobwebbed library lined with book shelves, but no books. There are doorways on all four walls. Wesker pulls out something that looks like a Game-Boy. He types on a keypad. A MAP of the mansion appears. Wesker scrolls with the arrow-keys. Barry looks on very impressed with the high-tech unit. BARRY That thing...tells you where to go? Wesker doesn't answer. He pockets the "Game Boy". WESKER One man stays here. Ridley. You're it. Shoot to kill. Just make sure it's not one of us. The rest of you... this way. Wesker, leads his squad through one of the doorways. RIDLEY, a young rookie, remains. INT UNDERGROUND CAVERN TIMELESS CHRIS reaches the end of the earthen tunnel. There are signs that children once played here... TOY SOLDIERS. GRAFFITI. Chris finds his nickname... Christopher Reddy... etched in hardened mud. After a moment of reflection, he moves on, into... INT ENTRY CHAMBER TIMELESS ...a small, sheet-rock chamber. CHRIS rushes to a DOOR that looks like it's been there since the beginning of time. As soon as he touches the knob... AN ALARM SOUNDS! INT MANSION KITCHEN TIMELESS RIDLEY, standing guard, hears THE ALARM. He hears Chris JIGGLING the knob. But he sees NO DOOR. The walls around him seem to be solid slabs. Pg-24 INT ENTRY CHAMBER TIMELESS CHRIS can't get the doorknob to turn. Behind him, a dusty ORIENTAL CARPET BULGES upward. One corner flops aside. INT MANSION KITCHEN TIMELESS RIDLEY is spooked by the sound. Frightened, trembling, he un-slings his rifle. RIDLEY Who... who's there? INT ENTRY CHAMBER TIMELESS CHRIS doesn't hear the trooper. Behind him, A Decomposed HAND pokes out of a drainage ditch beneath the carpet. It gropes. Finds purchase on the floor. Chris is unaware of the danger. He HURLS himself against the door. He can't break through. The thing that climbs out of the ditch was once a man, once a SCIENTIST. It's wearing a lab coat and a pair of thick EYEGLASSES. But it's long dead. It's... A ZOMBIE. As it pulls itself up, its eyeglasses strike the side of the ditch. They fall, CLATTERING, the rims scraping the zombie's cheek, which peels away like onion skin. Chris hears the noise. Turns and sees... ...the dead man, reaching out hungrily. Chris is trapped. He aims his Winchester. CLICK! He forgot. It's empty. The zombie pulls itself fully up onto the floor. Chris digs in his shoulder bag. Pulls out a handful of bullets and with them, accidentally, Jill's BERET. Rising emotion stops him for a moment. The dead man crawls toward him. Chris might not have time to load. As he tries to jam a bullet into his rifle, the zombie SWATS at him. Catches the beret. Looks at it. Sniffs it. The bullet pops out of Chris' nervous fingers. He tries to load another. INT MANSION KITCHEN TIMELESS RIDLEY spots A BLUE ACCESS SLOT in the wall. He levels his automatic and CHEWS the thing up with a short burst. A PANEL SWINGS OPEN! CHRIS dives out... with the ZOMBIE inches behind him. Ridley FIRES off another BURST OF ROUNDS. Pg-25 Stray bullets PIERCE the zombie's head. It drops back into the chamber...with Ridley never knowing why. Ridley and Chris look at each other, asking rapid-fire questions, none of them answered. RIDLEY Who are you? CHRIS Who are YOU? What the hell is S.T.A.R.S.? RIDLEY How'd you get in here? CHRIS Who sealed the door? RIDLEY Who knew there a door? WHAM! ANOTHER ZOMBIE appears suddenly behind Ridley, BITING out the muscle between his shoulder and neck. The trooper stands, stunned, for a moment... RIDLEY Who... who... ? ...then he drops.. The zombie, in a uniform, once a security guard, gazes dully at Chris. A wet sound comes from inside its gullet as it calmly chews on Ridley's flesh. Swallowing, it reaches out. Chris grabs its arms, FLINGS it into the chamber. Then FIRES his Winchester, once, putting a HOLE in the thing's head. Chris slams the door. INT MANSION DINING ROOM TIMELESS In a Hearst-sized dining room with draped furniture, WESKER and the OTHER TROOPERS have heard the new gunfire. SPEYER Where'd that come from? BARRY Back...where we just were. SPEYER Shit, man, we're chasin' our tails! Pg-26 INT MANSION KITCHEN TIMELESS CHRIS hears the CLATTERING of the troopers heading his way. What he doesn't hear is... a slight CRACKLING... in the walls. INT MANSION CORRIDOR TIMELESS WESKER and his TEAM burst into the corridor with the old- fashioned ELEVATOR. FLASHLIGHTS find... the body of the ZOMBIE that was shot by Jill, bullet HOLES allover its body. SPEYER Damn. Surnbitch took a lotta lead. BARRY That's not what killed him. Blood's still running. Wounds are fresh. But look at his skin. This guy's been dead for a couple of days. RODRIGUEZ He was dead... before he was shot? INT MANSION KITCHEN TIMELESS CHRIS checks Ridley. No pulse. His own rustling movements prevent him from hearing... that soft CRACKLING SOUND. The kitchen is lined with fifty-year-old IVY-PATTERNED WALLPAPER. The printed VINES seem to be MOVING! Chris doesn't notice until the vines begin to WIGGLE furiously... and RIP THROUGH the paper. They're REAL. Sprouts from some sort of exotic plant, that have climbed up the walls... with INTELLIGENCE! They seem aware of Chris' presence. REBECCA (O.S.) Ridley? REBECCA has appeared in an open doorway. Chris looks at her, with the tips of the vines beginning to brush his shoulders. REBECCA (cont.) Who... who are... CHRIS I... I'm one of the good guys, okay I'm just trying to... REBECCA (Calling) SULLIVAN! AIKEN! CHRIS Shit. Pg-27 Chris, familiar with the room, opens a SMALL DOOR in the wall, barely man-sized, and almost invisible because it's covered in matching wallpaper. Chris dives in. AIKEN and SULLIVAN pop up behind Rebecca, having barely caught a glimpse of Chris. AIKEN Who was that? SULLIVAN Forget him. What are they? Sullivan points at the vines... which are swirling, groping, as if alive, making their way toward Ridley's body. INT MANSION CHUTE TIMELESS In a LAUNDRY CHUTE, propping himself against the sides, CHRIS descends...down...down... as he did as a child... and comes out onto... INT CRAWL SPACE TIMELESS ...a DROP-CEILING, newly installed. Iron frames support AIR-FILTRATION SYSTEMS and other heavy MACHINERY. Sheet- metal walls have replaced the old soffit and fascia. LIGHT, from somewhere below, knifes through gridded iron vents. CHRIS Somebody did some major remodeling. INT MANSION KITCHEN TIMELESS The VINES continue to advance. REBECCA We gotta get him out! THE TROOPERS rush to retrieve RIDLEY'S BODY. The VINES hover around them, occasionally DARTING, then pulling back, as if they were timid animals, hungry, but afraid of anew food- dish. When AIKEN brandishing his M-16, the VINES RECOIL and RETRACT fully... THWIP THWIP THWIP... behind the wallpaper and down... somewhere into the bowels of the house. AIKEN What? Smart fuckin' plants? SULLIVAN No big deal. Most-plants are smarter than you, Aiken. Pg-28 INT MANSION CORRIDOR TIMELESS THE OTHERS are still puzzling over the DOWNED ZOMBIE. SPEYER Why would anyone shoot a dead man? RODRIGUEZ Lemme guess. Maybe 'cause he was... walkin' around? Barry steps closer to the corpse, notes its collapsed skull. BARRY Head-shot. We were sprayin' those dogs outside... but think about it. Were any of 'em brought down without a head-shot. Wesker has been exploring the corridor. Stopping in front of the elevator, he shines his light into the car. We expect someone... or some-thing... to be lurking inside. An attack comes from the opposite direction. A FIGURE BURSTS- out of the shadows behind Weasker. Another Zombie? No. It's JILL! In a rage, she holds her pistol to Wesker's head. JILL I lost three me. You killed them, Wesker. You did... and I did. Because I didn't know what to expect... because you... didn't tell me! WESKER (Calmly) Tell you what? JILL Anything! I wasn't told anything! WESKER Put down the gun. Instead, Jill CLICKS the hammer back. WESKER (cont.) Put down the gun. JILL Not until... WESKER RELEASE! THAT'S AN ORDER, SOLDIER! Jill blinks. Slowly, reluctantly, she lowers her gun. Pg-29 Wesker turns... and recognizes her. WESKER (cont.) How... did you get in here? JILL (Sarcastic) How ya doin' , Valentine? Good to see ya. Glad you're still alive. Same here, colonel, I'm... WESKER How did you get in here? JILL (Exploding) The same way those fuckin' dogs got out! Through their pens! (Relaxing some) I... locked them off. WESKER Good thinking. A VOICE interrupts, from the end of the corridor. VOICE (o.s.) MAN DOWN! The voice is SULLIVAN'S. The troopers run to join him. Last to leave the corridor are Wesker and Jill. Wesker gestures gallantly. WESKER Ladies first. JILL Fuck you. INT MANSION KITCHEN TIMELESS The TROOPERS trickle into the kitchen to find... REBECCA, kneeling over RIDLEY'S CORPSE, examining the ragged bite on its neck. RODRIGUEZ Maybe... they're in the house. More of them dogs. REBECCA Diameter's too small. It... almost looks as if... it was done by a... JILL (Arriving) A human? Rebecca looks up. The two women make sisterly eye-contact. Pg-30 REBECCA Yes, but... what kind of... human... would do something like this? AIKEN Not a vegetarian, that's for sure. SULLIVAN Aiken, you'd be better off... REBECCA There was a guy. Not part of the team. And there was... some kind of... plant... that seemed... alive. RODRIGUEZ Gimme a fuckin' break. AIKEN No shit. It disappeared... right into the wall. Rodriguez cringes when she finds a ragged hole in the wall- paper near where she's standing. WESKER I guess it's... time to spill it. WESKER pulls off his dark glasses for the first time. WESKER (cont.) I don't know... much more than I already told you. I'll tell you the rest now. The labs hare are... were...working on special apps for bio-eng1neered materials. RODRIGUEZ Speak English, hombre. WESKER Marcus has been experimenting with an artificial... man-made... virus. Coded...the 'T'-virus. Financing came from a private corporation, you may have heard the name... Umbrella. JILL They're... multi-national. Huge. WESKER So huge that they have... connections... in high places. That's why we're here. Pg-31 BARRY This virus... it jumped, right? SPEYER Shit! We're all dead! We got the bug, and we're all dead! WESKER It's not airborne. It was spread... in the water supply. Lab animals and... the researchers themselves... passed it on... by... JILL By... biting. Wesker hangs his head. It's an affirmation. BARRY You catch this virus and... what? WESKER You die. But... not for long. The chemical...revives the brain, and... RODRIGUEZ You stand back up... and chew on the first guy you see. SPEYER Christ, this is like... Night of the Living Dead! BARRY Why, in the name of Jesus, would anybody wanna mess with shit... that does that shit? WESKER Victory, friend. Civilization has come a long way, but we still have... war. Imagine... a soldier who can't die. That... was the concept. JILL But the virus... jumped. WESKER Hopefully... if we got all the dogs... we've contained it. JILL Hopefully? Jesus... why didn't you tell us? Pg-32 WESKER By telling you NOW, I've put your lives in jeopardy. Nobody has this information. Except a few high-and- mightys. Me. And now, you. The troopers fall silent as all this sinks in. WESKER (cont.) We have to get Marcus out of here. He developed this thing. He's the only one who... understands it. REBECCA I don't know, this all sounds pretty shaky to me... With a lightning move, Wesker draws his pistol and...BLAM! FIRES... at Rebecca. She flinches. The bullet flies past her and SHATTERS the skull of RIDLEY, the dead trooper who, having stood up, was about to attack Rebecca from behind. Ridley drops... dead again. RODRIGUEZ Guess that proves it. A head-shot knocks 'em down. Rebecca turns and looks at the blood-splattered body. REBECCA Th-that man.. .was dead. (Freaking) I... I'm a doctor! I should know! That man was dead! Vickers reaches in Rebecca's bag, pulls out an ammonia capsule, cracks it, and holds it under her nose. VICKERS I hope you have a lot of these. INT CRAWL-SPACE TIMELESS CHRIS crawls across the drop-ceiling, into the up-rising light from one of the vents. He looks down through the grid work and sees... ...the same LABORATORY that was behind Marcus in the opening video. No longer pristine, it's wrecked, torn apart. Files are scattered everywhere along with smashed fragments of furniture and computer hardware. CAGES that line the walls are filled with LAB ANIMALS making NERVOUS CHATTER. Chris watches a MONKEY sip water from a dish. Like the other animals, its skin is rotting. Pg-33 Chris is about to move on, when his eye catches... ...MOVEMENT... outside the cages. There's A MAN, in a lab coat, sitting at a desk, writing on a note pad. CHRIS (Calling) Hey. CLOSE ON: the man's HAND... flaking, decomposing. The pen it holds is making only random, erratic marks. CHRIS (cont.) HEY! The man turns his head, slowly, to look up toward the voice. There's NOTHING left of his FACE. RAW TISSUE seeps odd- colored fluids. A single eyeball is nested tenuously in the ooze. Something like a mouth, recognizable only because of its position, opens... and GROANS. Chris, pumping his Winchester, hears... KRANG! A NOISE from below. He looks down again, just as... ...the lab door BURSTS open. WESKER and ALPHA TEAM stream into the lab. The thing with. the destroyed face turns toward the invaders, stands, and shuffles toward them. Without hesitation, Wesker, on point, FIRES a quick burst into the thing's brain. It drops like a sack. The lab animals SHRIEK. The team files in, not noticing... ANOTHER ZOMBIE... crawling across the floor...heading directly for SPEYER. Chris shouts CHRIS (cont. ) HEADS UP! He punches out the grate with the barrels of his rifle and... BLAM!...punches a sure-fire HOLE in the zombie's head. BRAD VICKERS, his nerves badly frayed, thinks the team is being attacked. He SPRAYS the ceiling with his automatic. Chris ducks and rolls, narrowly escaping the initial barrage, but bullets keep coming, punching a dotted line up through the ceiling panels. Chris scrambles, as fast as he can, his feet barely escaping the punch holes. He finds himself on top of an enormous checkerboard of vents and Plexiglas panels. Bullets weaken the framework. It sags... then CRACKS, dropping away. Chris is plunged into... Pg-34 INT LAB LEVEL "A" TIMELESS ...WATER! CHRIS kicks, paddles with his rifle, righting himself, getting his bearings. He's in a huge AQUARIUM that's built into one of the laboratory's walls... and he's not alone. There are SIX SHARKS in the tank. ZOMBIE SHARKS, their flesh rotting, leaking pus. The largest of them SNAPS at Chris, but its jaws catch only a clump of his swirling hair. Chris kicks with his feet, remaining upright, and FIRES his wet Winchester. The bullet wimps-out, restrained by the water. It penetrates the shark, but barely. We can see the casing lodged in the animal's flesh. Chris gets an idea. He kicks forward. Plants the barrel of his Winchester directly against the aquarium glass... only to find himself aiming directly at... ...JILL, who is aiming back at him with her M-16. They're both stunned. They stare at each other for a moment, like gunfighters, until... ...another shark circles in for an attack. Chris swings the Winchester away from Jill and FIRES underwater. The aquarium glass CRACKS... but holds. JILL (cont.) Hang on! We're gonna get wet! Jill FIRES. More CRACKS, but the glass is resistant. Chris out. Water SURGES into the lab, knocking Wesker and some of his squad down. They stand up again, only to find themselves knee-high in a dark pool...with SHARK FINS slicing the surface. Everybody opens fire. The dead fish keep coming. AIKEN Where the fuck is a shark's brain? SULLIVAN In it's head! I swear, Aiken, you would be better off dead. In a bizarre frenzy, the sharks KICK their tails, making startlingly quick turns, darting every which way, SNAPPING at the scent of warm flesh. The troopers, hampered by the water, SPLASH around wildly, many of them nearly getting bitten. The air above thickens with a fog of graphite from ten spitting automatics. Pg-35 The water gets darker as it becomes clouded with BLOOD. But thankfully, the level is dropping. The water is seeping out through GRATES in the floor. The sharks become more visible, moving slower as their bellies scrape the floor. The troopers pick them off, one by one. The immediate threat passes...but as the water drains away, the troopers become aware of... a KLAXON-LIKE SOUND. ANOTHER ALARM. The entry door glides shut with a BOOOMMM! WESKER Nice. Very NICE, Valentine! You set off a containment breach! JILL It must have been the water. God, the water! (She turns to Chris} Did you swallow any? SPEYER I did. SULLIVAN A bunch of us did, man. WESKER Separate systems. Salt water. No germs. But.. .it breached! Wesker, looking crazed, his sunglasses gone, is typing on his "Game-Boy"... getting no response. WESKER (cont.) We can go in deeper. But we can't get out. Not with my card-key. RODRIGUEZ So...we live here now. Rosie finds Sullivan looking at her curiously. RODRIGUEZ (cont.} Landlords. Shit hills. Kicked my family out of six apartments. I got use to sayin'...'So...we live here now'. WESKER There are override exits... but I can't find them without THIS! Wesker FLINGS his "Game-Boy" angrily against a wall. It shatters into bits. Pg-36 CHRIS That was a smart move. Wesker bristles. He's about to confront Chris, but he spots his sunglasses where they were deposited on a floor grate by the water. He walks over and picks them up, wiping the lenses on his shirt. Without looking at Chris, he asks... WESKER And... you are? CHRIS Nobody. Just a...a local guy... Chris spots a dry lab-coat hanging on a wall hook. He takes it down and uses it to dry his rifle. CHRIS (cont.) ...who gets pissed-off when he finds... his farm animals... and his father's oldest friend... dead. And the only woman he ever cared about turns out to be a goddam METAL HEAD! Wesker, while seeming to understand, still doesn't look up. WESKER Valentine...who is this asshole? JILL His name is Chris Redfield. He was... part of my cover, sir. CHRIS Cover? A snappy argument develops, a lover's quarrel, with higher- than-normal stakes. JILL This is not the time to mouth off, Chris! You're in deep shit here! CHRIS Why didn't you let me in on this? JILL Why did you have to come after me? How did you get in here, anyway? CHRIS I used to play here, when this was a fucking laundry room! And what makes you think I came after YOU? Pg-37 BARRY (Interrupting) Whoa! Look here. Barry is stooped over the faceless zombie that Wesker shot. He rips an I.D. badge from the corpse's coat. He tosses it to Wesker, who reads the I.D... "DR. J. MARCUS" BARRY (cont.) Is this the pile of shit we're supposed to bring out of here? WESKER It...it once was. VICKERS (o.s.) I got something here. BRAD has been quietly working at one of the lab's computers. Barry rushes over and looks at the monitor screen. BARRY A map. Same as on your gizmo. Exits marked...blue and green. Wesker steps in for a look. WESKER The greens are the overrides. (To Brad) Can you print this out? VICKERS I can try. Chris calmly retrieves his wet shoulder bag from the floor. He wrings out the cloth and, using the lab coat, wipes the bullets dry. VICKERS (cont.) (Off the screen) We're on level 'A'. WESKER We have to get down to level 'D'. BARRY Hold on. Marcus is dead. If this mission was about bringin' him out, we're outta here, right? WESKER I wish we were, but no. We have a potential outbreak here. We might be the only ones who can stop it. Pg-38 SPEYER Stop it? How? WESKER There's... an antidote. Everyone's ears perk. WESKER (cont.) We can't bring Marcus out, but we can bring out the serum. Maybe somebody...can analyze it... and figure how to beat the virus. Jill looks at Chris. Catches him weighing options. JILL (Privately) Not simple. CHRIS (Privately) Not complicated, either. We only have to decide... what's right... and what's wrong. JILL (Privately) I forgot. You're never confused. So...what's right, Mohawk? And what's wrong? VICKERS Shit. (At the computer) There are no green exits on this level. Why... why would that be? CHRIS They don't want anybody up here to go snoopin' ...upstairs or down. Wesker looks at Chris with that odd, confident smile. WESKER Pretty good guess. You must have been in the military, son. CHRIS Native American. Exempted. VICKERS (Typing, starting to panic) Fuck! There... there's no way out! CHRIS Yes there is. Chris points at the broken grid above the shattered aquarium. Pg-39 Wesker looks up. Then looks back at Chris. WESKER Not a bad idea. (Turning to Vickers) See if you can call up... service charts, schematics. Brad's fingers fly. He scrolls through menus. VICKERS Got it. Ceiling grids, ladders. The whole infrastructure. WESKER Print it. Print all of it. The young man types a command. Wesker rushes over to the H. P. and grabs the first chart that rolls out. Rebecca steps over to Brad. She points at his leg. Seated at the computer, his trousers hiked, BLOOD can be seen on his sock, just above his boot. REBECCA What's that from? VICKERS (Nervous) I...snagged it. On the desk. When we were scrambling. REBECCA Lemme look at it. VICKERS (Adamant) No. It's just a scratch! Chris watches Wesker as he studies the printed charts. CHRIS There's a... part of an old laundry chute. It might not show on there. It runs up to the kitchen. WESKER I'm not going up. I'm going down. Wesker, grim-faced, looks at his team. WESKER (cont.) I'd like to let you guys off the hook. But I can't. I need back up. You're comin' with me. Any objections? The troopers exchange glances. Jill is first to speak. Pg-40 JILL No objections. We'll back you up. CHRIS (Disappointed) You said... people wind you up and you do whatever they want you to do. WESKER Stay out of this, son. You're the only one who doesn't have a choice in this. There's no place to lock you up. I can't let you go, you're a security risk. I could shoot you. Legally. But your lady-friend would probably get all over my ass. So... I'm afraid you're comin' with us... whether you like it or not. (To Jill, pointedly) He's your responsibility, Valentine. See that he doesn't make trouble. Jill looks at Chris. CHRIS You up to the challenge? JILL Try me. CHRIS (Snappy) I already have. INT CRAWL-SPACE TIMELESS One by one, the members of ALPHA TEAM wiggle up into the crawl space above the ceiling. CHRIS climbs up behind JILL. OTHER TROOPERS are already away, following WESKER, who guides them with the help of his chart. Jill starts after them. Chris grabs her arm. CHRIS Jill, I... I'm sorry. I'm just... angry. When I... thought you were gone, I... Then... when I saw you. Alive. I realized that... JILL That you were still... fascinated. CHRIS Stop. Stop! He pulls her into an embrace. She goes willingly. Pg-41 CHRIS (cont.) Come with me. We can get out of here. JILL (Tempted) I...I want to. I want... nothing more. But... I can't. When I'm in this uniform, I'm more than... just me. Try to understand...there's no "I" in Team, Chris. CHRIS There's no "I" in DEAD, either. Chris pulls away from the embrace and looks at her. CHRIS (cont.) I should order you to come with me. You'd never refuse an order. JILL You go. You're not part of this. CHRIS I'm part of it as. long as you are. BARRY (o.s.) This is very uncomfortable. Barry, having overheard, is halfway up through the grate. CHRIS For me, too, brother. BARRY I mean this... (indicating the iron that's pressing his belly.) It's very uncomfortable. Chris and Jill help Barry up into the crawl space. start off after the troop. THE CAMERA TRACKS them. BARRY (cont.) This is gettin' old, Man, I swear. I been in this Army eighteen years. CHRIS Eighteen years? BARRY Yep. Two away from the big re-ti. JILL Desk job, right? Nobody lasts that long if they've seen action. Pg-42 BARRY I've seen action in Granada. And Desert Storm. Would have lost it all there... if my buddy didn't bring in a team, against orders, to pull my ass out. Buddy named... Wesker. CHRIS You've been with this asshole since... ? BARRY Since before that. We were... kids together. Macon, Georgia. He's... only an asshole some of the time... UP AHEAD : WESKER reaches a service ladder. He waves his troop on. They start to climb down. VICKERS Who knows what we'll find down there? AIKEN Think positive. The farther down we go, the worse it's gonna get. So... until we hit bottom, we're in good shape... relatively speaking. GRRRAAAAWWWLr.! Distant... but distinct... it sounds like the MGM lion. SPEYER What the fuck? Again .GRRRRRAAAAAWWWWLLLL ! VICKERS Whatever it is.. .it can't get us. We're in the ceiling! AIKEN Maybe it's like... really tall. SULLIVAN Aiken... INT CRAWL SPACE LAB LEVEL "B" TIMELESS The lead TROOPERS reach another section of the ceiling. Clustering around a vent, they look down into... ...the "B"-level lab, more streamlined, more high-tech than the one upstairs. There are large COMPUTERS, linked by metal-shielded conduits to jacks in the walls. Pg-43 WESKER Main-frame. Might have some data we could use. (A quick decision) Fox, Marini, Vickers. Down. WESKER kicks out the vent. He jumps first, through the opening, down into the lab. CHRIS watches from behind. CHRIS The man has balls, I'll say that. Wesker grabs a desk and pushes it under the vent. MARINI climbs down, followed by FOX. BRAD is last. WESKER Hustle it, Vickers. You're the guy we need. To cut into the network. INT LAB LEVEL "B" TIMELESS WESKER looks around. There are THREE Doorways...open wide with only darkness beyond. Wesker runs around closing them. WESKER Watch these entrances, guys. FOX and MARINI take up posts. Brad lowers himself gingerly. He drops the last two feet onto the desk, landing on his bloody leg. VICKERS AAAAH ! Shit. He topples, falling to the floor, but pops up instantly. VICKERS (cont. ) I'm alright. I'm alright. He limps over and attacks the computer keys. GRRRRRAAAAAWWWWWLLLL! Another distant snarl. WESKER Hold tight. It doesn't sound like it's on this level. VICKERS (At the computer) Shit. I'm locked out. Any clues for a password? WESKER Try... Umbrella. Brad types rapidly, nervously. Flubs. Types again. Pg-44 VICKERS Nothing. Wait. I'm into... No. No data. Just some kind of video feed. Time-coded. Yesterday. It's a play-back. (Watching the screen) Holy shit! We HEAR it before we see it. The sound of absolute PANIC. People SHOUTING! SCREAMING! THUDS and CRASHES! GLASS BREAKING! Then A WOMAN'S VOICE . WOMAN'S VOICE (o.s.) Please...please.. .if anyone is receiving this... Brad limps around the desk and spins the monitor for the others to see. The WOMAN is an ORIENTAL. She's standing in the foreground, as Marcus was in the opening video. Behind her is a lab we haven't seen yet... with white- coated FIGURES... RUNNING... FIRING GUNS. WOMAN (cont.) the situation is completely. out of control. We... W HAM ! The woman is pushed out of the way by A MAN who is trying to protect her from... ...SOMETHING that BLURS past the lens, like a pendulum, from ABOVE. In the next instant... SPLAT... the lens is COATED WITH BLOOD! As it oozes down, we see a partial image of the same MAN. His HEAD is OUT OF FRAME at the top of the screen. The thing above must have a hold on it... because the man is DANGLING, his arms witching. His back has three GOUGES in it, long and so deep that they might have been made by piece of heavy machinery. We only see this for an instant... before the man is LIFTED, straight UP, with amazing SPEED. Wesker clicks off the monitor. The other men instinctively look up above their heads. FOX Maybe the ceiling's not such a safe place, after all. CRASH! The door behind Fox BURSTS open. Before he has time to react A ZOMBIE is on him, BITING his cheek, neck, shoulder. The two figures fall to the floor, grappling. Wesker can't get a clean shot. WESKER Scram! SCRAM! Pg-45 Marini is first to reach the desk, but he helps the limping Brad up ahead of him. TWO MORE ZOMBIES lurch in through the open doorway. Wesker shoots them, but he sees MORE... can't tell how many...shambling toward the open doorway from the darkness beyond. Wesker focuses on Fox, who is still being MAULED, BITTEN. Fox SCREAMS. Wesker still has no safe shot. Brad is YANKED up into ceiling by SULLIVAN and AIKEN. CHRIS leans out of the opening, reaching for Marini. Wesker KICKS the mauling zombie in the head. It takes three hard BOOTS to attract the thing's attention. When it finally looks up at him, Wesker BLOWS out its skull. Fox is lying on his stomach, writhing, BLEEDING profusely from a half-dozen bites. Wesker stoops down, trying to roll him over, lift him up. Fox resists. He's gone insane. Chris pulls Marini up to safety. BARRY leans down through the opening. BARRY Haul ass, boss! The zombies are heading for Wesker. There are three of them. Barry shoots at the one in front. Misses. His second shot hits the thing's brain. Wesker again tries to hoist Fox who, this time rolls over on his own. He has drawn his pistol. Before Wesker can stop him, he eats the barrel and BLOWS out the back of his head. One zombie is dangerously close. Barry fires two more rounds. No head shot, but the zombie staggers and, though not dead, FALLS...directly toward Wesker. The colonel rolls on his back, kicking himself away, managing to get clear. He uses his own pistol to BLAST the zombie. He scrambles to his feet, darts toward the desk, and jumps up. The third zombie grabs his legs. From above, Barry risks a dangerous shot. BLAM! Wesker hears the bullet WHIZZZ past his head like a mosquito. The zombie is hit in the skull. It drops. There are MORE of them coming out of the darkness. Barry takes hold of Wesker and, with a single strong arm, pulls him up into... INT CRAWL SPACE LAB LEVEL "B" TIMELESS ...the crawl space, where WESKER breathes heavily for a moment... then looks up at his old friend. Pg-46 WESKER That's...two I owe ya. BARRY One. We were all... 'Even-Steven' . WESKER Two. Remember? 'Even-Steven' ... is not in my vocabulary. A horrible MOANING SOUND comes from below, in the lab. THREE MORE ZOMBIES can be seen clustering around the desk, dumbly trying to climb up, sensing the "food" above. WESKER (cont.) Let's move. Wesker takes off. SPEYER, RODRIGUEZ, AIKEN and SULLIVAN are quick to follow. The others lag behind when CHRIS says... CHRIS Those things could get up here. We can't let that happen. This is our way out... Chris swings his legs through the grate and JUMPS down... INT LAB LEVEL "B" TIMELESS ...ONTO THE DESK. He BOOTS one of the ZOMBIES away and tries to LEAP over the others. One of them catches his foot in mid air. CHRIS isn't hurt, but he TOPPLES to the floor, sprawling, losing his Winchester. The zombies have him cornered. He crawls toward his rifle. Reaches it. Pumps a shell into the firing chamber. Aims at the closest of the walking dead... ...which was once a young man, a simple laborer, wearing overalls, with a name tag... CHRIS (Reading) Caruso. Chris looks empathetically into the thing's dead eyes. CHRIS (cont.) Can you hear me? The zombie lumbers forward hungrily. CHRIS (cont.) Caruso! Can you hear me? Pg-47 Chris has come late to the realization that these things were once human. Now he comes late to the realization... that they are human no longer. The zombie grabs the barrel of the Winchester, pushing it aside. Chris can't bring it back to bear on the monster's head. He BLASTS a round through the thing's belly. It has no effect. The zombie reaches for Chris' throat. Starts to lean in to bite him. BLAM! The thing's skull explodes. JILL has jumped down onto the desk. She FIRES another accurate pistol round. The SECOND ZOMBIE falls. Jill leaps to the floor and starts to push the desk. Chris gets to his feet, rushing in to help her. Together, they shove the desk out from under the open ceiling grate. CHRIS Thank you. JILL Any time. How do we get back UP? CHRIS Shit, if you didn't have a plan, you shouldn't have jumped down here. JILL We have a real problem here, Chris. Jill nods toward the open doorway. There are more stuttering FIGURES approaching out of the dark. CHRIS How big is this place? How many people were down here? How... JILL HOW DO WE GET UP? With a startling SOUND, A DARK SHAPE swing down from above and GRABS Jill! Is it the thing we saw on the video? No. It's BARRY! His mighty arms lift Jill. She's caught by Aiken and Sullivan and pulled up to safety. Barry grabs Chris and lifts him as well. INT CRAWL SPACE LAB LEVEL "B" TIMELESS CHRIS grabs the edge of the grate and pulls himself up. He reaches back down through the opening. Below, BARRY squats... and makes a mighty leap-with his muscular legs. Chris grabs his arms... and is nearly pulled back down. Pg-48 CHRIS (Straining) Big. Heavy. Jill grabs on, then Sullivan. But one of the ZOMBIES has reached Barry. It GRABS his kicking legs. It's TEETH SNAP! And CATCH! The commandos lift Barry clear, but the zombie ends up with a CHUNK of something in its mouth. JILL It got you! Barry checks his leg. His trousers are torn, but... BARRY No skin broken. I'm alright. CHRIS We owe you a pair of pants. They crawl away. The zombies below reach up, their fingers clutching, at the ceiling, but with the desk gone, there's no way they can get up. DISSOLVE TO: INT STORAGE AREA TIMELESS THE COMMANDOS climb down a steel access ladder into a storage room stacked with CRATES and CARTONS. There's only one door. The place seems secure. WESKER Stand down. Five minutes. WESKER sits on a crate and pulls out his printed charts. Gradually the whole troop makes it down into the room. They relax. A few light cigarettes. But not SPEYER. SPEYER I'm through, Wesker. MARINI Me too, man. This ain't nothin' I signed on for. WESKER (Calm) You want to wait here, fine. MARINI Wait here? No. We're gettin' out! WESKER You can't. (He flashes his access card.) Not without this. Pg-49 SPEYER Fuck you! And your fancy doors and your green key! The choppers have rockets. They can blow out a wall if they have to. I'm callin' 'em in. Speyer pulls out his radio and starts to punch a code. WESKER You wanna see a wall blow, I'll blow all of 'em for ya. Wesker reaches down to the electronic unit that he lost and retrieved in the woods. He pulls a long wire out of it, with a small sensor on the end. WESKER (cont.) I'll put a crater in this forest that takes out Racoon City and everything else for twenty miles... with this. He jams the little sensor into his ear and pushes a button on the belt unit. Small red LIGHTS blink. WESKER (cont.) It's a radio detonator...to set off explosives that are...buried under neath us somewhere. The ultimate containment measure. Incinerate the place. (Smiling again) It has a... dead-man mechanism... .(he taps the ear-piece) ...that reads my pulse. My heart stops, and... boom. CHRIS You...lunatic! That damn thing can slip out of your ear by accident! WESKER That's right. It's your job...all of your jobs...to see that it doesn't. And to see that my heart... doesn't skip any beats. Wesker looks over the tops of his sunglasses... at Speyer WESKER (cont.) Give me the radio, soldier. Speyer hesitates. Wesker explodes, for the first time. WESKER (cont.) GIMME THE FUCKIN' RADIO, OR WE ALL GO UP! --- This text orginiated from www.New-Blood.com, please check us out for Resident Evil coverage. --- Pg-50 Shocked silence. Sullivan is the first to speak. SULLIVAN Sumbitch might do it, Speyer. WESKER I'II be obliged to do it! If I don't get that antidote, I'll have to burn this place out! (Beat) Valentine. The radio. Jill steps over to Speyer and takes the radio from him. CHRIS (To Jill) What are you, this guy's flunky? He just threatened to blow us all up, for Christ's sake! JILL That's what I'm trying to prevent! EXT ARKLEY FOREST IN THE AIR DAY WHAP WHAP WHAP... one HUEY is in the air..., THE CAMERA MOVES IN on a window. LAGUARDIA is flying, his RADIO MAN beside him. LAGUARDIA How many digits did you receive? RADIO MAN Six. The beginning of an air- support code, but... it just went dead on me. LAGUARDIA Call S.T.A.R.S. in Washington. I want... RADIO MAN Hold it... The radio man presses his headset to his ear. LaGuardia looks on apprehensively. RADIO MAN (cont.) It's Wesker. (Into mike) Yes, sir. We got the signal sir. (He clicks off) He says it was... a mistake. LAGUARDIA Call Washington anyway. I want the authority to take action if necessary. Pg-51 INT OFFICE TIMELESS BRRRING! The hand with the ostentatious RING snatches a red telephone receiver from of a desk drawer. MAN WITH RING (o.s.) Holden. He listens. Once again, we don't see his face. Just his free hand, with another Monte Cristo burning. HOLDEN (Man with ring, cont.) Denied. This is Wesker's show. If he was in real trouble, we'd have lost half of Pennsylvania by now. As the hand flicks ash, we see a sheet of paper on the desk with a letterhead that bears... an UMBRELLA LOGO. HOLDEN (cont.) No authorization. EXT ARKLEY FOREST IN THE AIR DAY In the HUEY, the RADIO MAN clicks off an incoming call. RADIO MAN No independent action. LAGUARDIA Damn. I feel so fuckin'... helpless! The huey over flies THE MANSION which, from the air, looks as stable as the Rock of Gibraltar. INT STORAGE AREA TIMELESS WESKER has come down off his rampage. He looks exhausted. He also looks staunchly heroic as he speaks to his TROOP. WESKER You guys were hand-picked. A Special Unit. Most of you have been sitting on your asses, drawing pay checks for more than two years. Well... it's time to repay those... Government loans. SPEYER Bull shit. I'm not... Wesker lifts his automatic. Speyer flinches. The action wasn't meant as a threat. Wesker is just checking his ammo. Pg-52 WESKER Pitch your empties. Put all your loaded clips on that crate there. I want a count. Then I want the rounds divvied up... evenly. The troopers deposit their loaded clips, reloading the ones that are half-used. WESKER (cont.) Alright. We're on.. .(checking the maps) ...level "C"... AIKEN Lingerie. Notions. WESKER GOD DAMMIT, NO MORE JOKES! We have men dead upstairs! This hell-hole is full of people who died... because of this stinkin' ...BUG! Jill has been counting the ammo clips. JILL Forty two. SPEYER That's all we have? WESKER We weren't expecting a war, Speyer. (To Jill) I'll take three. Three to your boyfriend... CHRIS Don't need 'em. Got my own loads. Wesker's eyes dart angrily toward Chris. But he notices Jill watching him...and he calms himself. WESKER Good. Then... we all get four clips. SPEYER They must have... weapons down here, somewhere. A powder magazine. WESKER No more side trips. It was a mistake to go into that lab upstairs. My mistake. And I'm not makin' another one. From now on it's straight ahead. In and out. Pg-53 Wesker stands and opens the door. Outside is a SERVICE CORRIDOR with unfinished walls. Spaces between raw metal beams are stuffed with insulation. Wesker checks the jamb outside. It's got a lock mechanism. Blue. WESKER (cont.) Not an override. My key won't work here on the way out. Prop the door. The troopers drag a heavy crate over to hold the door open. Wesker moves out. The commandos trickle after him. Chris holds Jill behind for a moment. CHRIS Jill...this guy is a Loony-Toon. JILL He's just... trying to get the job done. Doing what he has to do. CHRIS Yeah, well...I hope you'll say the same about me... when I do... what I have to do. Chris turns and walks off. Jill follows him out into... INT SERVICE CORRIDOR TIMELESS ...the corridor. They catch up with the TROOP which is clustered at a blind alley which has two doors. WESKER (Checking his map) It's not clear... which way to go. RODRIGUEZ Want me to flip a coin? WESKER is annoyed by the remark. Decisively, he selects one of the doors and uses his green key card. With a BZZZZ, the lock releases. The troop enters... INT SYSTEMS CENTER TIMELESS ...a vast ROOM, fifty-by-fifty yards. It's filled with HEATERS, AIR CONDITIONERS, WATER PUMPS. MAIN FRAMES for the internal computer network line one wall, FUSE BOXES and SWITCHER PANELS another. This is the systems center for the entire facility. There's an attendant's desk just inside the door. AIKEN and SULLIVAN drag it over to prop the door open. It makes Pg-54 a frightening SOUND as it scrapes the floor, echoing, bouncing around in the large space. It prompts a response... another of those animal-like SNARLS from somewhere in the distance. SULLIVAN What's that sound like to you? AlKEN A meat-eater. There are thick columns, floor to ceiling, every ten feet. The spaces between them are very dark. It's hard to see. WESKER and some of the OTHERS click on their FLASHLIGHTS . Beams cut through dust. There are ELECTRONIC HUMS.. CLICKS and CHATTERS emit from the switchers, PINGS from the heaters, all combining to fray everyone's nerves. Light beams dance nervously as the commandos start out across the dark and frightening space. CHRIS (Softly to Jill) This is the heart of the whole place. They've got to have it... protected somehow. Two things happen, almost at once. First.. .CHRIS notices ELECTRIC EYES... on all of the columns. CHRIS (cont.) DUCK! HIT THE DECK! Second. A ZOMBIE lurches around a corner and BITES a chunk out of MARINI'S face. JILL whirls around to shoot at the zombie, but Chris grabs her and FLATTENS her on the floor. Marini, staggering, screaming in pain, triggers the first electric eye. LASER BEAMS shoot in all directions, forming a tight NET. Chris and Jill are barely beneath them. Many of the other troopers are hit by the beams... which do no immediate harm... but wherever they make contact, small CYLINDERS above the electric eyes begin to HISS. CHRIS (cont.) FOR CHRISSAKE, GET DOWN! The commandos duck under the laser beams... just in time. Jets of STEAM spout from the cylinders. It's not just hot steam. It's ACIDIC, deadly. Marini is hit by it. His clothes IGNITE. His flesh BOILS. It's a horrible sight, but for the moment, the jets stop. Pg-55 Marini is dead on his feet. When he falls, he trips another of the laser beams. The steam jets SPOUT again. The troop is beneath them, though many are burned by liquid drops that spit from the nozzles. Amazingly, the zombie has avoided contact. But as it begins to stumble after commandos, we realize it's going to activate the sensors again. SULLIVAN There's no way outta this mousetrap! RODRIGUEZ So we live here now? SPEYER We gotta run for it. The zombie hits one of the laser beams. The steam HISSES out again. The zombie is MELTED. AIKEN Bad idea, Speyer. CHRIS Down. Through these. Chris has noticed a series of hinged panels in the floor. VICKERS Where do they go? SULLIVAN Does it matter? Sullivan whips out a Swiss Army knife and goes to work on the screws that hold down one of the panels. Other troopers do the same. Another ZOMBIE lurches out of the darkness. And ANOTHER. Human hands work furiously, loosening screws. Panels come up, Troopers begin to duck through the openings. A second zombie hits a red beam. STEAM again. Chris and Jill are spattered. Burned. But Jill bravely keeps working with her own issued knife. She gets a panel open. As she drops through, a third zombie triggers a burst of steam. Chris ducks and covers. When the jets stop, Chris begins to climb into the opening, but one of his legs is GRABBED from behind by... ...one of the dead things which has already been MELTED! Pg-56 Its flesh is bubbling. Bone is beginning to show. But the acid hasn't reached its brain yet. The creature is still alive. Chris CRIES out. Acid from the zombie's hands is burning his leg. The thing's lips have been eaten away, making its teeth look frighteningly skeletal as it leans forward for a bite of flesh. Chris jams the stock of his Winchester into the zombie's mouth. He's able to hold the thing's head back, but he's stuck. He can't let go. Jill pops up out of the floor. She presses the barrel of her own weapon into the zombie's forehead. JILL On three... CHRIS One... two... Chris pulls his rifle away. At the same instant, Jill FIRES. The zombie is PROPELLED through the air. One of its flailing arms triggers another laser beam. Chris throws himself in on top of Jill as STEAM HISSES over them. Twenty yards away, Wesker crawls under the cloud of acid. Just as he climbs down through one of the openings, he feels pressure...on his ear. A groping zombie has accidentally hooked its fingers onto the wire that runs from the detonator to Wesker's ear-piece. For a breathless moment, it seems like the sensor will be popped loose. Holding the pulse-reader in place, Wesker twists his body, lifts his hand gun, and PUMPS THREE into the dead thing's brain. The zombie flops over, but its fingers cling, entangled, in the wire. Wesker plants his pistol barrel on the knuckles of the thing's dead hand. THREE MORE SHOTS cut through bone, removing the fingers from the hand. The wire is freed. Wesker dives into the opening in the floor. INT AIR DUCT TIMELESS The COMMANDOS find themselves in an AIR DUCT. No room to stand. Hardly room to sit. Chris looks at his rifle stock. It's corroded from the acid in the zombie's mouth. Jill notices. JILL God...and it doesn't even stop them... Pg-57 CHRIS It's not meant to stop them. It's meant to stop...something else. That distant SNARLING SOUND comes again, making Jill shiver. The troop is strung out along the metal shaft. REBECCA crawls among them, treating the worst burns. WESKER checks his maps. SPEYER confronts him again. SPEYER We damn near got turned into Rice Krispies by that gizmo of yours. If you don't want me to nail that fuckin' thing into your ear, you deactivate it. Right now. WESKER I can't. They.. .fixed it... so you can't chicken out. The system can only be turned off at the main panel. BARRY Where the hell is that? WESKER Where the explosives are. Down... farther than we need to go. We only have to make it down one more level. If... when... we make it back up to the choppers... we can fly out of the detonator's signal range. Chris calls out from the far end of the shaft CHRIS I'm not willing to rely on that. I live here, this is my town! WESKER The town's been evacuated. Just... just in case. CHRIS That explains the lie. About the plane crash. An airplane down... with weapons on board... would nicely explain a big explosion, wouldn't it? You figured all along you might have to blow this place! WESKER I don't want to do it. I... I hope I don't have to. Pg-58 Chris looks down the dim air-shaft, unable to see Wesker's eyes, hidden by distance.. .and by his dark glasses. WESKER (cont.) That's the best I can do for you, kid. Good faith. Now... let's knock on it. Wesker moves out. The troop follows. CHRIS I...I can't let this happen. I've got to find that bomb. JILL I'll help. Once Wesker gets what he wants, my obligation is over. Chris looks at her with appreciative eyes . CHRIS No. I want you out. With the rest of them. Wesker won't push the button until you're clear. JILL He doesn't want to push the button. CHRIS He has to. Don't you see? He can't leave these labs here. And, Jesus... walking corpses! He's gotta get rid of the evidence. INT AIR SHAFT TIMELESS The light is dim at its best. Long stretches of the shaft are pitch black, and there's a constant stream of air that MOANS eerily. This whole mission has been like a descent into Hell, darker and more frightening with each level down. There are turn-offs, "T"s and "Y"s. At one point, when JILL looks back, she finds ROSIE behind her. Chris is gone. Did he leave to deal with the bomb? No, but he's about to. He's at the rear of the pack, pressed against the side-wall, waving others past. JILL Chris, no! CHRIS I've got to try and stop this. Pg-59 Jill starts back toward Chris, but freezes.. .everyone freezes when... the duct-work starts to PING. RODRIGUEZ Shit. One thing after another. BOOM! The air shaft is ROCKED, as if punched by a giant fist. Then...the whole structure begins to SHIMMY. What is it, an earthquake? WESKER Sit tight. Ride it out. GRONK! A sheet-metal panel BUCKLES! Others do the same. All along the shaft, panels begin to FOLD INWARD. Something outside is CRUSHING the duct as if it were a giant tube of toothpaste. And the troopers are being SQUEEZED inside. RIVETS POP! The panels begin to SEPARATE...and large, pulsing bits of FLESH appear! Not animal flesh. But the flesh of A PLANT! The things that press in through the openings are larger versions of the vines we saw in the kitchen. Those were its fingertips. These are its ARMS. Strong arms that are RIPPING the ductwork apart. Chris, Rebecca, Aiken and Sullivan end up in one part of the shaft. The rest in another... including Jill, who calls out. JILL CHRIS! The section that holds Chris' group FALLS AWAY... with a monstrous, CRUNCHING sound. INT ARBORETUM TIMELESS CHRIS' GROUP spills out of the dangling metal, with cables from the torn ceiling...TZZZZZT...SPARKING around them. The troopers drop out of Hell, into...PARADISE. An enormous HOT HOUSE, a lush, indoor JUNGLE of PLANTS, IVIES, GRASSES. It's like a RAIN FOREST, complete with a thick, damp MIST that makes it difficult to see. We might be on another planet. None of the foliage seems indigenous to Earth. There are LEAVES the size of bed sheets, FLOWERS , the size of armchairs. And at the center of it all, is the mother of the deadly vines... ...PLANT 42, a monstrous schefflera, twenty times normal size. Most of its limbs reach upward, where they have opened CRACKS in the ceiling and walls, to stretch on into the facility above. There are also dozens of shorter, beefier "arms", each of which act independently, like tentacles on an octopus... and each has a large, drooling POD at its tip. Pg-60 INT RUNWAY TIMELESS BURSTS OF GUNFIRE from three M-16s shatter our ears... and a ceiling VENT. WESKER and THE OTHERS jump down into... ...a very unusual CORRIDOR. It seems to stretch forever, in both directions. It has no doors, no visible means of exit or entry. The walls are made-up of multi-colored polymer TILES, whose irregular shapes fit together like a JIGSAW PUZZLE. The floor is HEAVY STEEL, though faceted. It seem designed to shift. The whole corridor looks like it might be able to bend, to change position, like an airport jet way. There are disconcerting signs of damage...claw-like GOUGES on the tiles, clean cut HOLES punched through the metal ceiling, larger in diameter than any that might have been caused by bullets. And there are smears of BLOOD everywhere, as if some terrible battle... or battles...took place here. WESKER This way. (He starts off.) JILL No. That way. Chris and the others... WESKER If they're dead, they're dead. If they're alive, they'll still be alive in twenty minutes. When we get back. JILL Maybe not. And how do we know it's only going to be twenty minutes? How do we know we'll be able to come back this way? WESKER We don't. But we'll do our damndest to try. This is it, guys. The home stretch. Let's go. Wesker trots off. Vickers and Rodriguez follow. Speyer and Barry hang back... with Jill, who remains torn. WESKER (cont.) (Looking back) Valentine. You're on the clock! Fall in! Jill wrestles with her emotions but, in the end, dutifully, she "falls in". As the troopers move off, we hear odd SCRATCHING SOUNDS... with the high-pitched SQUEAL of metal-on-metal. Pg-61 INT ARBORETUM TIMELESS The beefy "ARMS" of PLANT 42 undulate overhead as CHRIS and his COMPANIONS look for an exit. REBECCA Th-this thing was no accident. It was cultivated! CHRIS And it didn't rip out the ceiling for the fun of it. Stay alert. The plant seems to behave intelligently, with caution. The pods on its "arms" dart, almost as if sniffing... then pull back...like the vines in the kitchen, like timid animals. Chris spots A DOORWAY. CHRIS (cont.) Here. As the others follow him, one of the pods swoops down in front of REBECCA, and doesn't withdraw. It hovers there. Its follicle's open like jaws, which display serrated daggers of cartilage that look like teeth. Inside, a pulsing calyx emits a pistil that twitches and swells. AIKEN My mother made me eat vegetables. I know 'em all. This ain't one of 'em. SULLIVAN Aiken... ANOTHER POD swoops down on Sullivan's back. Its BEAK clamps onto the flesh between his shoulder blades. It's PISTIL shoots out like a hypodermic needle, stabs him and, within the blink of an eye, SUCKS out every ounce of the man's blood. His skin turns the color of PARCHMENT, FLAKING OFF HIM like powder, as he dies. AIKEN Sullivan! JESUS, SULLIVAN! Aiken rushes to his buddy's side. CHRIS Get out of the away! Chris launches himself off a stone retaining wall around one of the gardens. Leaping up, he grabs one of the SPARKING CONDUITS and pulls it down. Pg-62 CHRIS (cont.) Get OUTA THERE, AIKEN! Chris ends up having to shoulder Aiken out of the way. Tendrils from the plant very nearly get both of them, but Chris manages to JAM the semi-rigid conduit into a pool of sprinkler-fed WATER around the plant's roots. A BRIGHT CURRENT stutters through every vine. The plant SHRIEKS, hideously, as electricity causes fluids to SQUIRT from boils that develop on its flesh, down along its "arms", and into its blood-sucking pods...which FLOP, lifeless, to the floor, with the same sort of liquid SMACKS that human skulls might make. AIKEN They.. .they killed Sullivan. The bastards... whoever did this shit... they KILLED SULLIVAN! Enraged, Aiken draws a long-bladed KNIFE and wildly attacks the remains of Plant 42, slashing at the thing's dead limbs, not stopping until he cuts into... ...something that looks like a vine...but BLEEDS RED! Aiken traces the thing with his eyes, up to where it's coiled in high tree branches. It's the oversized body... ...of A COPPERHEAD, with a belly SIX FEET in diameter. As Aiken gasps, spellbound, he's STUCK from behind. The snake is so long, its body is draped on one side of the greenhouse, but its head is on the other. With the power of a dozer-shovel..JAWS like the open hood of a Cadillac... TEETH the size of windows...CLAMP onto Aiken's mid-section, instantly CRUSHING his ribs. Chris finds a skein of ROPE. He throws the long end over a ceiling beam, then instantly makes a LASSO out of the piece in _is hand and tosses the loop at the snake's head . Aiken's body, in the serpent's jaws, makes the rope miss. Chris throws again. In the seconds between tosses, the snake has SLURPED Aiken into its mouth. The rope encircles the beast's head. Chris pulls. The noose slips down over the snake's maxillaries and tightens around its neck. Chris uses all his strength. With the ceiling beam as a pulley, the snake's head is SLAMMED against the rafters. CHRIS (To Rebecca) Hold this. Rebecca is, understandably, not quick to respond. Pg-63 CHRIS (cont.) GET IN HERE, SOLDIER! In this crisis, Chris finds himself sounding a lot like Wesker. It sobers him. It sobers Rebecca, as well. She rushes in and takes hold of the rope. Moving fast, Chris rushes to where Aiken's knife dropped on the floor. He grabs it, turns back, and sees... ...something MOVING inside the snake's beaded torso. It's Aiken... still alive. Chris charges, PLUNGES the knife into the beast, hacking through layers of fat until he reaches a bloody CAVITY. Aiken is curled within, like Jonah in the Whale. His chest has been crushed to half its normal size. Acids from the monster's intestine have begun to eat through flesh on his hands, his face, but he's still conscious, able to wheeze-out words. AIKEN K-kill me. S-Sullvan said...I'd be.. .better off dead. That...ain't never been truer than now. Kill me! The snake uses all its strength to lower its head from the ceiling. Rebecca hangs bravely onto the rope, but she's LIFTED, bodily, off the floor. The rope SNAPS, cut by the steel beam. Rebecca falls. The trailing edge of the noose catches on twisted debris. It delays the snake for two seconds. Those fragile seconds give Chris just enough time to reach into the open belly of the monster...and pull the PINS on TWO GRENADES that dangle from Aiken's vest. The giant copperhead SNAPS at Chris from behind, missing him by inches. He dives, like a wide-receiver reaching for a pass. What he catches is... ...Rebecca's arm. His momentum carries her down to the floor. They roll behind another STONE WALL that contains tons of earth, which protects them from... ...BOO-BOOOOOM!... the explosions of the grenades... which blow Aiken... and yards of the snake's mid-section...into eternity. INT CONFERENCE ROOM TIMELESS The same nervous HANDS that we saw in the opening fidget on the polished surface of the conference table. A distorted VOICE scratches over a speaker-phone. Pg-64 VOICE ON THE PHONE (o.s. filter) We're close. I think I'll be able to get the package. It's been... very interesting. VOICE IN THE ROOM Anything you can't handle? VOICE ON THE PHONE (o.s. filter) (Chuckling) There's nothing I can't handle. A hand with an ostentatious RING flicks cigar ash. HOLDEN Keep us appraised. Holden's hand clicks off the speaker-phone. HOLDEN (cont.) (To the others in the room) I'm reassured, gentlemen...that every- thing is...under control. INT RUNWAY TIMELESS WESKER, alone in the strange, faceted corridor, packs away his radio. He hears... FOOTSTEPS. JILL appears. WESKER Where are the others? JILL Right behind me. Were you... talking to someone? WESKER To Washington. To my... superiors. They're your superiors too, Valentine. Don't forget that. Jill wonders. Should she challenge Wesker? She has no time to think. More FOOTSTEPS come CLACKING at her back. It's RODRIGUEZ and SPEYER. A moment later, BARRY and VICKERS appear from the opposite direction. BARRY Nothin'. man. No doors. Nothin'. We hit a dead end. SPEYER Us too. Cement wall. VICKERS We're never gonna get to that lab. Pg-65 TCHUNG TCHUNG TCHUNG... a sound like a rivet gun resounds in the corridor, repetitive, but random, not rhythmic. INT ELECTRIC TUNNEL TIMELESS CHRIS and REBECCA are crawling through a two-foot high feeder-passage for electric cables, their bellies scraping the floor, their backs the ceiling. They hear the sound... ...TCHUNG TCHUNG TCHUNG! Then suddenly...it stops. REBECCA (Crying quietly) I... can't take this any more. CHRIS We take what comes. That's the secret of our genius. He looks back. Rebecca sniffles. CHRIS (cont.) How old are you? REBECCA Not very old at all. Not nearly old enough to...to... CHRIS None of us is old enough for that. Rebecca nods, forcing a smile meant to be appreciative. REBECCA Jill... told me... you were nice . CHRIS She did? She never told me. That sound returns... TCHUNG TCHUNG TCHUNG...getting louder. INT RUNWAY TIMELESS Down in the corridor, the other TROOPERS see... ...faintly in the dusty reaches of the dark... AGILE SHAPES advancing... not along the floor, but along the CEILING! They look like apes, swinging from... What could they be swinging from? The ceiling is solid metal. CLOSE ON: A MONSTROUS HAND, both hairy, and scaly. It's fingers have ten-inch claws.. .more like horns... which PUNCH upward, penetrating the ceiling metal, and clamping on. Pg-66 THE SHOT WIDENS to reveal A BEAST, unlike any we've seen, dangling from the ceiling. It is ape-like... and lizard- like. With ferocious eyes that glare from beneath an insect- like carapace. This thing is an amalgam of all the nasty creatures that have pursued us in our nightmares. It's called... A HUNTER. There are SIX OF THEM... as far as we can see, there might be more coming from behind. Their three-toed feet also have claws that can pierce the ceiling, enabling them to move forward... hand over foot, foot over hand. One of them lets out a GRRROWLLLL! The same sound we've been hearing through the walls. Now it echos in the corridor, up close and personal. The troopers open fire, even before the creatures get in range. INT ELECTRIC TUNNEL TIMELESS CHRIS and REBECCA hear the gunfire. CHRIS Hurry. Chris crawls on. Rebecca is stopped when... TCHUNNNNGGG ! One of the HUNTERS' CLAWS PUNCHES up through the floor , almost stabbing her. Rebecca SCREAMS. In the tight space, Chris is barely able to reach back and take her hand. TCHUNNNNGG! TGG! More CLAWS penetrate the metal. The couple plunge ahead of them, the way Chris plunged ahead of the bullets on Level "A". INT RUNWAY TIMELESS WESKER, JILL and the OTHERS spit lead at the advancing creatures. Bullets THUNK into their bodies. Blood flows, but the creatures seem to feel no pain. Even when they're hit squarely in their skulls. BARRY Head shots. Ain't doin' nothin'! WESKER That was the idea. BARRY What idea? WESKER To win. The idea was... to win. Pg-67 Jill aims at one of the hunters, pressing the trigger of her M-16, and not letting go until her clip runs out. The creature's head is turned RAGGED by the barrage... revealing an iron SUPERSTRUCTURE beneath the skin. VOICE (o.s.) Now that... is a metal-head. Jill looks up. CHRIS jumps out of the open grate in the ceiling. REBECCA jumps down after him. CHRIS (cont.) What d'ya think? Should I wait for orders, or just wing it? JILL Wing it! CHRIS You know...that just might be the ticket. Wing the fuckers. Chris takes a careful SHOT with-his Winchester. He hits one of the Hunters squarely on its WRIST...which SNAPS. The creature drops to the floor. CHRIS (cont.) Forget the head shots. They're useless. Shoot for the joints. The JOINTS! Rebecca opens FIRE with Aiken's M-16, giving the others time to reload. Barry is the first to resume firing...at the closest of the Hunters... at its wrists, which are SNAPPED by the bullets. The creature drops to the floor. The troopers fire at KNEES, ANKLES, ELBOWS, which seem to be the weakest spots. More of the hunters drop from the ceiling...but they continue to advance, crawling, pushing themselves forward with whatever limbs remain intact. SPEYER Run! We slowed 'em down. Run! BARRY Where? As far as we'll get, either way, is a cement wall. There are two hunters left on the ceiling. One of them makes a mighty, impossible LUNGE... and hits Speyer like a battering ram, slashing his CHEST OPEN with its claws. Two of the hunters on the floor rush forward, not attacking, but wanting to feed on Speyer's remains. Pg-68 Brad, trembling, completely crazed, drops his weapon and backs away. He sees...one of those jigsaw tiles, a RED one, GLOW from within. He thinks he's hallucinating until... ...the floor JERKS, in a tight spasm. Its steel facets begin to separate, sliding away from each other. The troopers narrowly escape as.. . ...the floor behind them GRINDS, in and out, left and right, as if it were CHEWING. Speyer's body, and those of the hunters on the floor, are EATEN by the powerful steel blades. But one hunter remains above it all. TCHUNG TCHUNG TCHUNG, it continues to advance along the ceiling. An invisible, JIGSAWED DOOR glides open twenty yards down the hall. The troopers run for it, and are met by a beautiful Asian scientist... the woman we saw on the video playback... ADA WONG. ADA You lost a man. If I had only been faster. I was unfamiliar with the mechanism. TCHUNG TCHUNG... the Hunter approaches . ADA (cont.) God. One of them... is still .. Quickly. Inside. Quickly! The troopers rush into... INT CUBICLE TIMELESS ...a security cubicle. CHRIS is the last to enter, barely making it before the door begins to slide shut. KA-TCHUNK! CLAWS penetrate the opening. ADA Don't worry, it's mindless. It doesn't realize that it's strong enough to push the door open. BARRY (cont.) Sometimes the dumb get lucky. RODRIGUEZ Hasn't happened to me, yet. The Hunter GROWLS. Its snout darkens the space between door and wall. Mucous from its nostrils spits through. Pg-69 After a terrifying moment, the claw recedes. The dark snout disappears. The snorting fades away. Followed by a distant...TCHUNG TCHUNG TCHUNG...as the hunter departs. Everyone relaxes, visibly. The troopers turn and, for the first time, notice two haggard SCIENTISTS standing across the room. ADA My... colleagues. Benjamin. Toshiro. As far as we know, we are the...only ones.. .left alive. We worked on "C" level. One of the biologists saved us. Brought us down here. He knew that... he didn't have long to live. He... started the mechanism... out there, in the corridor.. .and he let it... take him. Ada stares at a complicated control panel. ADA (cont.) I only saw it used that one time. Or perhaps...I could have been faster. The man...you lost... RODRIGUEZ You did fine, lady. We're obliged. ADA As are we. (Sighing) We believed... we would die here. Believed...the bomb would destroy us. JILL You knew.. .about the bomb? ADA The end for a place like this, when it fails... must be a bomb, yes? Jill looks at Chris. His point has been proven. ADA (cont.) But now... that you are here... the bomb will not come. CHRIS It... already came. ma'am. We brought it. The colonel, here... he's wearing it. Ada looks at the detonator on Wesker's belt, at the sequence of blinking lights. 70 ADA (To Wesker) Is it true? Are you here to... rescue? Or destroy? WESKER Both. (With that odd smile of his) If I have to pick only one... I'll pick destroy. ADA You're not S.T.A.R.S. You're Umbrella. WESKER Once again. Both. (Still smiling) Two salaries. Three if you count combat pay. Ada looks at him with disgust. ADA The man I loved, John Marcus... developed the organism that caused all this. He... he did it for humanitarian purposes. It was taken away from him...for in-human purposes...by men like you! WESKER No, ma'am. Men like me... are just errand boys. Sent in to do the wet-work. All of the glory. None of the benefits. ADA After what you've seen down here, do you think any of it could be turned into... benefit? WESKER Yes. I think it could be turned into five or ten million dollars. How do we get into "D" lab? ADA Death lab. (She slumps) John was killed...never even knowing it existed. They kept him... isolated, upstairs, while a separate team was down here...corrupting his research. Using it to build B.O.W.s. CHRIS B.O.W.s? Pg-71 ADA Bio-organic weapons. REBECCA The sharks. The plant. ADA Early experiments. CHRIS The snake. ADA A failure. Its behavior remained reptilian. All they could ever get it to do was... grow in size. RODRIGUEZ Those dogs. They were weapons. ADA No. They... simply became infected. As did... everyone else. Janitors. The cook. Electricians. Guards. People who believed they were serving their flag. Scientists. Great minds... turned into mindless.. .ghouls! CHRIS Before the outbreak, the experiments went further, didn't they? Those... ceiling-crawlers out there.. . ADA The product of human DNA spliced with the DNA of vicious carnivores... animals, even insects. Plated with armor, beneath newly cultivated skin. Then... injected with poison, so their biological components would die. JILL Die. ADA The "T"-virus reactivates them in a matter of minutes, but... in battle, lost minutes are... inconvenient. So, the B.O.W.s had to die... and be allowed to revive before they could be used to... full advantage. They were murdered... by their own people... so they could never be murdered again... by the enemy. Pg-72 CHRIS Were any more of these...weapons... developed? Ada is about to answer, but Wesker interrupts. WESKER HOW DO WE GET INTO "D" LAB? ADA You don't. Ada glances at an innocuous wall panel. Wesker notices a key-slot. Green. ADA (cont.) It can't be opened. Thank God. None of us is cleared for that level of security. WESKER How fortunate... that I am. Wesker steps over to the wall and inserts his green card into the slot. The panel slides open. Beyond it is a steel door with another green slot. Wesker uses his card again. A lock CLICKS. Wesker pushes the door open. WESKER (cont.) Barry. Come with me. The rest of you.. .make sure this door doesn't close. Remember... Wesker taps his ear-piece. Everyone gets his meaning. He and Barry disappear through the opening. The steel door begins to close. Rodriguez lunges, and catches it. ADA Have...you been leaving doors open? JILL Yes. ADA This place is going to be overrun by... REBECCA Brad's in really bad shape. Brad is leaning against a wall, sweating, shivering. Rebecca looks at his wounded leg. REBECCA (cont.) That's not just a scrape. You were bitten, weren't you? Pg-73 VICKERS One...of the sharks. Its teeth. I Just...brushed up against its teeth...after it was dead. ADA (Alert) Shoot him. Somebody, shoot him! JILL No! We're so close. The antidote. INT STAIRWELL TIMELESS WESKER and BARRY trot down a flight of metal stairs. BARRY What's got into you man? This... this isn't like you. WESKER Oh, yes, this is exactly like me. Until now, Wesker has been steadfast. He suddenly seems nervous, anxious. Some of it is fear. Most of it is anticipation of the goal which is suddenly within reach. WESKER (cont.) This is...what I've been all my life. A guy... suckin' up to the honchos. Wipin' the shit off their asses... all the while lookin' for a break. A way to get some of my own! Well this it, friend. I'm myself, alright. And I know exactly what I'm doing. I told you...before this day was over... I'd pay you back. INT CUBICLE TIMELESS CHRIS and JILL step past RODRIGUEZ. They take off down the stairs. As they leave, ADA opens a desk drawer and pulls out a .45. RODRIGUEZ (Looking at the gun) You know how to use that thing, chica? ADA Of course I do. I'm a scientist. Pg-74 Ada CLICKS back the bolt, whips up the .45, and aims it at BRAD'S head. REBECCA dives in front of the man. REBECCA No! You can't! Not while there's still a chance to save him! INT SAFETY CHAMBER "D" LAB TIMELESS WESKER and BARRY arrive at a set of PLEXIGLASS DOORS. They can't see through them, they're FOGGED. Wesker finds a key slot, inserts his access card, and... ...WHOOSH... the doors open. A CLOUD OF HYPER-COLD MIST rushes out, instantly coating the men in FROST. Wesker doesn't feel the cold. He doesn't feel anything, except a surge of triumph. He steps through the opening into... INT "D" LAB TIMELESS ...a laboratory that looks like-the cockpit of a Concorde... only a hundred times larger.. Nothing is, recognizable, except desks that hold futuristic-Ibokin computers. A befuddling array of BUTTONS, SWITCHES, stuttering LIGHTS, covers every inch of wall space. And at the center of it all stands a tall, cylindrical TANK, a stasis tube, filled with ICE. It's mounted on a six-foot tall platform, like an altar, with cables and flexible tubes running out of it. Wesker squints, and through the freeze, sees the thing that stands sedated within the cylinder... ...THE TYRANT. It's nine feet tall. Like the hunters, it has more or less human form, though it's musculature is more defined than Superman's. One of its arms is scaled to size, but the other is much longer. Its hand dangles at knee- level. Monstrous steel CLAWS depend from its fingers, nearly touching the floor. WESKER (In awe) It's called... the Tyrant. Nobody knows it exists. Except us... and Holden. BARRY Holden? WESKER Umbrella's man in D.C. We need him. He signs the checks. (Excited) We've got it, Barry! Our fortune! Pg-75 BARRY You're not gonna try to get this big mother outta here ? WESKER Don't have to. All we need is the data. Then.. .these things can be cranked out on an assembly line! Laying down his automatic, WESKER hits computer keys until a DISK pops out of a master-feed. WESKER (cont.) YES! This is it! BARRY What about the antidote? WESKER Antidote? (Laughing) There is no antidote. That was just happy horse shit, to keep the team going. Neither man notices... that the removal of the master disk has caused certain systems to fail... indicated by red lights, and by the fact that... the walls of the Tyrant's cylinder are beginning to run liquid sweat. The ice... is MELTING. BARRY You're gonna give this to Umbrella? WESKER No. I'm gonna sell it to them. Then I'm gonna open a Swiss bank account... right next to yours. JILL (o.s.) God...damn! JILL has appeared in the doorway with CHRIS. They both at the monster with awe...and terror. JILL (cont.) That thing... can't be real! WESKER It's real, alright. And it's worth... more than gold. More than uranium! RODRIGUEZ Do we get a piece of that action? ROSIE has arrived. So have REBECCA, ADA, and the two surviving SCIENTISTS. Pg-76 WESKER All of you do. Anyone who comes out of this alive... gets a taste. RODRIGUEZ (o.s.) I'm in. I been eatin' shit all my life. I'm happy to eat some more... as long as it's got some gravy on it. Rosie steps into the lab, her weapon ready. WESKER Anybody else see it my way? One of the scientists, TOSHIRO, rushes to join. ADA (To Toshiro) You disgrace yourself! TOSHIRO I...I want to live. WESKER Smart. Anyone else? Valentine? Jill looks at Chris. Then she steps through the doorway and takes a defensive post beside her c.o. CHRIS And I was gonna try to disarm the bomb. This place should be destroyed! It needs to be destroyed! Chris lifts his rifle. Wesker is faster with his pistol, aiming it at Chris' belly. WESKER Gotcha, son. It's only because of Valentine, here, that I didn't squeeze the trigger. Chris and Jill exchange dagger eyes. CHRIS If she's on your side... she doesn't mean shit to me. And I don't mean shit to her. JILL Chris, please. There's only... one way to go, here . WESKER That's right. My way! Pg-77 JILL Yes, sir. Your way! Jill presses in close to Wesker, as if completely allied. JILL (cont.) I...can't yell you, Chris...how much I wanted...things to have turned out differently. (Beat) Goodbye. Swiftly, unexpectedly, Jill snatches the detonator wire and pulls the sensor out of Wesker's ear. Everyone shuts their eyes, expecting to be blown sky-high. Nothing happens. Jill pulls the detonator off Wesker's belt. She stares small LED screen which reads... 14:42:16... 15... 14... JILL (cont.) Shit. I got all my courage up... and we still have fifteen minutes! Jill tosses the detonator to Chris. Wesker turns on her, lifting his M-16... BARRY You shoot. I shoot, boss. Wesker turns to find Barry's weapon aiming at his belly. BARRY (cont.) Shit.. here I am still callin' you 'boss'. Wesker is holding the data-disk. Suddenly, he feels it snatched away...by Ada, who has rushed into the room. He aims his weapon at her back as she darts away. Before he can fire, he's KICKED in the head... by Jill. Buckling, dazed, he looks up at her. JILL We believed in you. I believed in you. Boy, was I a sucker. She kicks him again, just for the hell of it. He flops on the floor, his eye-socket swollen. He's dropped his gun. He gropes for it. Barry steps in and boots it away. A KLAXON SOUNDS! Emergency! The ice in the Tyrant's tank has melted down to a critical level. The monster... is beginning to MOVE. Pg-78 Reaching the doorway, Ada hears a mechanism TRIP in the jamb. The Plexiglas doors begin to slide shut. Ada strains to hold them back. ADA Get out! Now! Or you never will! RODRIGUEZ So... we'll live here! (Glancing at the Tyrant) No. The landlord looks like a sonuvabitch. Rosie rushes in to help Ada hold the doors. So does BENJAMIN, the second of the surviving scientists, who is... ...MAULED from behind by a ZOMBIE. It's not just any zombie. It's BRAD VICKERS, back from death, who BITES out the artery in Benjamin's neck. ADA I TOLD YOU... TO SHOOT HIM! Ada lifts her .45 and blows Vickers way. She looks down at Benjamin, writhing on the floor, aims at his head... and FIRES again. Rodriguez is the only one holding the doors. Jill rushes to help her. JILL Everybody! OUT! CHRIS (Off the LED) Thirteen minutes. Inside the lab, Barry turns to Toshiro, the other scientist. BARRY Go. Toshiro hesitates... a second too long. KRAAASSSH! The stasis tube BURSTS open. WATER and bits of ICE fly out... along with an enormous, bionic HAND. Big-enough to grab Toshiro's head as if it were a cantaloupe. Powerful enough to CRUSH that head as if it were... well, a cantaloupe. Wesker, still searching for his pistol, sees all this. The Tyrant is not completely free. Much of the cylinder wall has cracked away, but sections of it cling to a now misshapen mass of ice that still holds the monster bound. Though it won1t for much longer. Wesker starts toward the door. Barry grabs the back of his shirt and pitches him across the lab. Pg-79 BARRY (cont.) You and me... we ain't goin' nowhere. Not just now, boss. Barry turns to the others clustered at the doorway. BARRY (cont.) This thing gets loose, it's gonna be pissed. Somebody's gotta hold it back. Give you guys a fair chance. JILL LOOK OUT! Wesker has found his pistol. He FIRES at Barry who, ducking, is only GRAZED. Wesker aims at the group in the doorway. Barry pops out from behind a desk and shoots back at him. Ada and Rebecca duck away from the doors, pulling Rodriguez and a reluctant Jill after them. The doors begin to slide closed. Chris valiantly tries to prevent them from shutting. Wesker CRAWLS lke a dog. He manages to fling an arm out through the opening. Steel bumpers press on the meat of his forearm. Wesker looks up. Through the Plexiglas, his eyes meet Chris'. WESKER Get me outta here, Redfield. Or so help me God, you're a dead man. With his free hand, Wesker aims his pistol at Chris. The gun barrel is an intimidating sight, even though it's on the other side of the plexi. Chris glances at the others. CHRIS Get going. JILL Not without... CHRIS MOVE! Ada, Rebecca and Rodriguez wrestle Jill away bodily, and start up the metal stairway. WESKER COME BACK! RODRIGUEZ! VALENTINE! THAT'S AN ORDER ! CHRIS Orders don't mean shit any more, Wesker. Especially when they come from sell-out bastards like you. Pg-80 Chris lets go. The doors squeeze tighter. Wesker SCREAMS. Through the plexi, Chris catches a glimpse of Barry, who stands and gives him a military salute. Chris salutes back. BLAM BLAM BLAM... Wesker FIRES three rounds. Dusty blemishes appear on the bulletproof glass. The slugs ricochet back into the lab. One of them CHIPS away at the ICE which is less and less able to contain the Tyrant. Chris makes a break for the stairs. Wesker twists his body in an attempt to push his pistol through the opening, but his fist, around the stock, is too thick. Nonetheless, Wesker FIRES .BLAM BLAM BLAM... bullets SCREAM off the banister rails, but none of them contact Chris' legs which disappear up the stairs. The ice in the stasis tube is turning to slush. The Tyrant is about to break loose. Wesker looks pleadingly at Barry. WESKER B-buddy. You gotta get us out. BARRY Not sure I know how, boss. Do you? Is there some other...'need-to-know' secret for shutting down the Big Bopper, here? WESKER No. It.. it can't be shut down. BARRY The ultimate warrior. The ultimate soldier. We'll see. How it does against a couple of hard-ass career guys, like you and me. WESKER swings his free arm and aims his pistol at BARRY. CLICK! The gun is empty. INT CUBICLE TIMELESS The ESCAPEES arrive in the security cubicle. ADA The corridor outside... can be moved. Ada rushes over to the instrument panel. Her hands go to work on an array of buttons and switches. Pg-81 INT RUNWAY TIMELESS The multi-faceted CORRIDOR TWISTS into a new configuration with the RUMBLE of an "eight" on the Richter. INT CUBICLE TIMELESS ADA You won't come out in the same place. But you'll find a freight loader that can be accessed with... JILL ...a blue key. I hope. ADA No. Pot blue or green. Red. Ada pulls a RED KEY from under her lab coat, snaps the chain on her neck, and holds it out to Chris. ADA (cont.) I took it from an Umbrella agent assigned to us here. He died... like all the rest. CHRIS Red... overrides green. ADA Yes. CHRIS So... you could have unlocked "D" lab. ADA I was hoping it would never be un- locked again. Go. I will see that this.. .(she holds up the data disk) ... is destroyed. Chris grabs Ada's arm and holds it tight while he wrenches the disk away from her. He folds it over onto itself, drops it to the floor, and pumps three Winchester rounds into it. CHRIS It's destroyed. It's worthless But you're not. ADA I helped develop it! Pg-82 CHRIS Unwittingly. They lied to you. They lied to Marcus. They made you believe you were doing a good thing when it wasn't good at all. It was evil! Ada looks deeply into Chris' eyes. CHRIS (cont.) The kind of evil that... resides in all of us. Makes us... greedy, uncaring. The kind of evil that will... wipe us out, in the end. Unless we stand up against it. ADA Stand up? Against powers that have... ruled the world since before we were born? We will only be...eliminated. Or locked away someplace else. I'd rather die here. Knowing that the virus has died with me . Jill takes a step toward Ada. JILL What if it's already spread? You're the only one...who knew anything about it. ADA (The thought penetrating) But, I... know so little. CHRIS More than anyone else. You have... a responsibility. JILL To a higher command. The highest. She and Chris touch eyes again, this time with understanding. INT "D" LAB TIMELESS THE TYRANT flexes its monumental muscles. The ice around it CRACKS... but clings. The giant HEART dangling outside its chest PUMPS rapidly...sending fluids through exposed synthetic veins that run to the creature's brain. BARRY That's one helluva big pump. Pg-83 WESKER An implant. BARRY From what? A fuckin' elephant? WESKER Rhinoceros. BARRY Shit. I figured you knew more than you were telling. Barry FIRES at the encased organ. His bullets bounce off the shielding with no effect. BARRY (cont.) How do we kill this thing? WESKER I told you, we don't. W-we can't. It's unstoppable! More ICE pops off the monster's pectorals. INT RUNWAY TIMELESS CLOSE ON: ADA'S face. ADA I don't know if I can face this. She and the ESCAPEES are no longer in the Cubicle. They're in the runway. CHRIS Just get us upstairs. I'll take care of it from there. ADA Alright. (With a sigh) Come. They break out, at the run, klacking along the faceted steel floor of the movable... and still moving.. .corridor. KRUNNNGGG! They're nearly knocked off their feet when the system suddenly STOPS DEAD. Ada slams her fist into one of those JIGSAW TILES on the wall. Another RED one, which glows from within. A PANEL grinds open, revealing... Pg-84 INT FREIGHT CORRIDOR TIMELESS ...a more natural-looking corridor. Half-way along, there are STEEL PRONGS that protrude from a wall. The group starts toward them...but stops when a soul-shriveling SOUND fills the passageway...the hungry MOANING of things that are dead. ADA Doors... were left open. INT "D" LAB TIMELESS The TYRANT BREAKS free of the last bit of restricting ice. WESKER FREAKS. Whimpering, he gropes with his hand that's outside the Plexiglas doors. He grabs something. A BOOT. Brad Vickers' boot. Wesker tugs on it. BARRY opens fire on the Tyrant, full bore, with his M-16. The stream of bullets does nothing except make the monster notice the big man. INT FREIGHT CORRIDOR TIMELESS THE ESCAPEES run down the corridor. SHAPES appear at the far end. ZOMBIES! Twenty. Thirty. Forty. More. The walking remains of humans who were infected in the labs, crawling over each other, hungry for living flesh. The humans reach the FREIGHT LOADER. Prongs, like those on a fork lift, extend from a heavy chain-drive that runs up and down through openings in the floor and ceiling. ADA swipes her red key through a slot and pushes a button. The chain-drive Grinds upward, hoisting the prongs. ADA Step on. Ada pushes REBECCA onto the next set of prongs that come up out of the floor. The footing is precarious. Rebecca has to hold on to the chain as she is hoisted. The lift moves slowly, eight feet separating each set of prongs. The ghouls continue to press in. JILL I don't know if it's gonna happen. RODRIGUEZ Come on. I been waitin' all day for somthin. like this. Pg-85 Rosie opens FIRE. Chris and Jill follow suit as Ada steps onto the next set of prongs. Blood FLIES. Skulls SHATTER. Front ranks drop. Zombies from behind push their fallen comrades ahead of them. The corridor is like a syringe filled with corrupted bodies, pushing inexorably forward. Rosie, teeth gritted, keeps firing while Chris forces Jill onto the next set of prongs. As she rises, she hands her M-16 to Chris. He slings it on his arm while levering his old Winchester, making each of his shots count, until the next set of prongs rises out of the floor. CHRIS (To Rosie) You're up. RODRIGUEZ I'm havin' too much fun. You got a lady. I just got me. Anyway... I ain't gonna die in this rat hole. I'll make it. Get outta here. Chris hands Jill's rifle to Rosie, who fires with both hands as Chris jumps onto the lift. Zombies are MOWED DOWN. But more come. The syringe keeps pressing. The next prongs rise. Rosie steps on, still blasting.. The first zombies reach her. Shooting down, she blows them away. But more come, grabbing her legs, grabbing the chains, ROCKING the prongs. Rosie nearly falls. She drops one of the rifles in order to hold on. She carefully picks off the most threatening zombies. Miraculously, she rises out of their reach, and into... INT FREIGHT SHAFT TIMELESS ...a very tight, very dark SPACE with sheet metal walls that have been bruised by loads of freight. The rumble of the chain-drive ECHOES frighteningly. ABOVE ROSIE, THE OTHERS rise slowly... very slowly... feeling apprehensive, vulnerable. REBECCA, at the top, looks up and sees LIGHT spilling through an opening through which she is about to pass. ADA (Calling up to her) Level "C". Have your weapons ready. RODRIGUEZ (From below) Whoop-de-doo. Pg-86 Rebecca's eyes rise above the floor of Level "C". All seems quiet... but who knows what might be lurking. INT "D" LAB TIMELESS THE TYRANT, still a bit sluggish, steps down from the platform that supported its tank. BARRY jams in a fresh clip and keeps firing at the thing. The Tyrant, impervious, stalks after the big trooper. Wesker is still on the floor, his arm through the doors, tugging on Vickers' boot. The flesh on Wesker's forearm is PEELED by the bumpers as he uses all his strength to drag Vickers' body closer... until the boot winds up in the opening, preventing the doors from closing. Wesker manages to pull his bloody arm free. He rushes to a computer console and types a request for the "T"-virus. BARRY Get under a desk, man. I'm gonna feed this thing a pineapple. Barry pulls a GRENADE from his belt. WESKER NO! It might damage the system! I've got to get this data! Wesker's M-16 has been lying, where he left it, on the console. He picks it up. BARRY Forget it. Bullets don't work! Barry is about to pull the pin on the grenade when Wesker triggers off A BURST...into BARRY'S GUT! WESKER They seem to work just fine. Barry is BLASTED across the lab. The Tyrant makes its first quick move... making us appreciate how fast and powerful it really is. It swipes at Barry's body as it flies through the air, catching it in it's steel claw. We hears BONES SNAP as Barry goes limp. WESKER (cont.) That's it. Take a little lunch break, Mr. "T". I just need a few more seconds. Pg-87 The Tyrant lifts Barry's body, as if it were as light as a feather, up to its snout. Recognizing that the man is dead, the monster FLINGS him aside like so much garbage... and begins to lumber toward Wesker. WESKER (cont.) (To the computer) Come on, come on.. . A monitor reads: 90% COMPLETE...95%...98%. Wesker rests a finger on the button to eject a floppy. The Tyrant is getting closer by the second. Wesker FIRES a burst at it which only slows it for a heartbeat. 100%.. .TRANSFER COMPLETED. Wesker ejects the floppy, jams it into his flack-jacket, and, FIRING another burst, runs for the door. The Tyrant has to move around desks and computer consoles to catch him. Wesker shoves his M-16 through the space that's being held open by Vickers' boot. He begins to pry the opening wider. A WARNING BUZZER goes off. The Tyrant dimly registers the sound. Its eyes dilate, like camera shutters, with a CLI-CLICK. It strides forward at top peed, PITCHING DESKS easily aside, SMASHING through a CONSOLE as if it were made of balsa. Wesker has pried the doors wide. The Tyrant is coming at him FAST. It's going to be very close. Wesker MAKES IT. He gets outside. The doors begin to glide shut. He LAUGHS! WESKER (cont.) EAT SHIT, YOU... THLANNG! The Tyrant's long, bionic CLAWS SHOOT, with the speed of switch-blades, through the opening, just before the doors meet. FOUR of the claws SKEWER WESKER, passing clean through him. He doesn't die instantly. He's still alive and SCREAMING when the Tyrant uses the same hand, with Wesker impaled on it, to PUSH the doors open wide again. The action causes WESKER'S HEAD to be SLICED OFF by one of the steel bumpers. The Tyrant steps out of the lab. As the doors glide shut, the monster holds the remainder of Wesker's body inside their path. The bumpers are stopped by the Tyrant's iron hand... which it extracts, letting the doors scrape the dead meat from its claws. Pg-88 INT FREIGHT SHAFT TIMELESS REBECCA is approaching another OPENING. ADA Level "B". INT FREIGHT CORRIDOR LEVEL "B" TIMELESS THE CORRIDOR on Level "B" is long and narrow, with only occasional pools of LIGHT from bare, overhanging bulbs. REBECCA rises, like a spirit, out of the floor. She lifts her weapon. Her eyes dart, looking for dangers. There are none. The corridor, while very spooky, is quiet. REBECCA Don't see anything. ADA Good. INT FREIGHT SHAFT TIMELESS REBECCA rises through the ceiling. ADA We're almost there. You'll have to jump off. The belt won't stop. As the ECHO of Ada's voice rings off, Rebecca looks up and... ...SCREEEE... SOMETHING dives down on her out of the darkness. She ducks, almost losing her balance. She clings to the chain as OTHER THINGS...black, relatively small.. .WHIP past her head. REBECCA Bats! There are bats in here! ADA No. They're crows! Infected! Don't let them bite you! Rebecca dodges with new urgency as the black birds dive past her. Looking up, she sees more coming. She aims her M-16 and fires up the shaft. TWO BIRDS are HIT. They plummet. One hits ADA. She swats it aside. It drops all the way down to ROSIE, who JUMPS, gasping, when it hits her. RODRIGUEZ Rats. FLYING RATS! Pg-89 Beneath her, Rosie sees the crows hovering in the light from Level "B"... They circle, then start to fly up again. Rosie opens fire, filling the shaft with ribbons of lead. Another BIRD dives from above and... SKIT... takes a chunk out of Rosie's cheek. RODRIGUEZ (cont.) AAAH ! YOU FUCKER ! CHRIS (From above) You alright? RODRIGUEZ Yeah. I'm cool. I'm... cool. Rosie keeps FIRING. The deafening SOUND of her M-16 keeps her from hearing a... ...KRATTCH...in the sheet-metal wall. A second later... ...RRRRRIPPP! The metal is torn open like tissue-paper. SOMETHING dark lunges from the opening. It's the surviving HUNTER! One of its steel claws GRABS the chain-drive. The mechanism stops dead. QUICK CUTS: of THE ESCAPEES slipping, nearly falling, as they hang on to the chain. REBECCA I thought it wasn't supposed to stop. ADA Climb out. OUT! Rebecca has nearly reached Level "A"... She's able to hoist herself up, and roll to safety. Ada tries to climb. The chain is GREASY. Her hands slip. BELOW, the Hunter lets go of the mechanism. The chain JERKS. The escapees nearly lose their balance again. Rosie, at the bottom, is being lifted toward the Hunter's free hand. She JUMPS down. Barely catching the next set of prongs beneath her. AT THE TOP, Ada reaches Level "A". Rebecca catches her and pulls her up onto Level "A.. Jill is next, rising slowly. Rebecca and Ada reach down and grab her arms just as... TCHUNG... the mechanism stops again. The Hunter has grabbed the chain again. Its free hand swings, clutching at Rosie, who crouches, avoiding capture. Pg-90 Jill is pulled to safety. She turns and reaches down for Chris, who starts to climb the chain, his hands slipping on the grease. CHRIS ROSIE!? RODRIGUEZ I'M ALRIGHT! She's not alright. She's trapped. She can't get up past the Hunter. She FIRES at the thing. Bullets BOUNCE off its protective steel under-hide. Chris climbs three feet. Slides back two. The others reach down from above. Their hands come within inches, but can't quite catch hold of him. RODRIGUEZ (cont.) Here! Here, you... lizard. You fuckin' cockroach, HERE! Straining to reach Rosie, the hunter lets go of the chain for a second, then latches on again. That second lifts Chris to within reach of Jill and the others. They grab his arms. Lift him up. That second has also brought Rosie within reach of the Hunter. Its claws COMB her hair as she tries to duck lower while keeping her balance on the prongs. THWAKK! SOMETHING crashes through the wall. A MONSTROUS CLAW that IMPALES the Hunter. It's the claw of THE TYRANT! The chain mechanism begins to rise again. Rosie, cringing, is lifted past the monster just as it leans its head and shoulders into the shaft to examine what it has caught. Disappointed, the Tyrant SCRAPES the Hunter off its claw. It drops away down the shaft. The Tyrant turns its CLICKING, dilating eyes up at Rosie, and...TCHUNNNGG...purposely STOPS the rising chain. RODRIGUEZ (cont.) (Calling up) BAD NEWS, GUYS. THIS THING'S NOT SO STUPID! CHRIS (From above) Climb, Rosie! ROSIE No. I'm finished. I live here now. CHRIS ROSIE, NOOOOO! Pg-91 Rosie DIVES off the prongs...directly at the Tyrant. With another lightning move, the monster catches her in its bionic claw, crushing her ribs. With BLOOD spurting from her mouth, she utters her last words... ROSIE EAT ME, YOU PILE OF SHIT! INT LEVEL "A" TIMELESS ADA is the most pragmatic. ADA Come. CHRIS ROSIE ... ADA COME! You convinced me that there were...larger matters. We're at the top. You said you'd get us out. Ada's words snap Chris back into the urgency of their situation. He struggles to his feet. CHRIS Th-this way. They are in the MANSION, which Chris knows well. He leads his small troop into... INT POWDER ROOM TIMELESS ...a small powder room, decorated garishly in an East Indian motif. A ceramic TIGER'S HEAD sits atop a vanity. CHRIS grabs it...and TWISTS it on a pivot. A PANEL spins. The COMMODE disappears into the wall, opening a SECRET PASSAGE. REBECCA Hell of a shit-house. JILL The guy was a bootlegger... with a sense of humor. Chris leads the other into... INT CLOCK ROOM TIMELESS ...a small, blank CHAMBER. The only thing it holds is a GRANDFATHER CLOCK . Pg-92 CHRIS I hope they haven't disabled this. CHRIS opens the door that covers the clock face. He quickly spins the hands until they hit... HIGH NOON. GRONNNK! A WALL begins to GRIND open, straining against rust, dirt, from years of idleness. Cobwebs are pulled apart and...DAYLIGHT APPEARS! CHRIS (cont.) Alright. We made it. Chris urges the OTHERS out through the opening. At the same time he checks the detonator. The LED is down to SIX MINUTES and counting. INT HUEY DAY At the controls of his helicopter, LAGUARDIA spots something. EXT MANSION HUEY'S POV DAY REBECCA, then ADA, then JILL climbing onto the lawn. INT HUEY DAY LAGUARDIA I'm goin' in. RADIO MAN You don't have authority. LAGUARDIA Fuck authority. EXT MANSION YARD DAY ...CHRIS climbs out of the secret exit. THE OTHERS, having spotted the incoming chopper, are waving at it. There's a sense of relief, of salvation. Only Chris notices... ...a bit of PLASTER falling away from one of the mansion's stone walls. CHRIS Watch it. WATCH IIIIT! KER-AAAASSSSHHH! THE TYRANT BURSTS through the wall. With superhuman speed, it ATTACKS the escapees, who run, dodge, barely escaping the WHISHING SWIPE of its iron claw. Pg-93 INT HUEY DAY RADIO What in God's name is that thing! LAGUARDIA Somethin' we weren't supposed to see. Drop the ladder. And drop the Stinger. EXT MANSION YARD DAY THE HUEY swoops down as low as safety will allow. A faceted aluminum LADDER unfurls. CHRIS GET UP! CHRIS pushes JILL toward the ladder. She pulls on Ada's arm and sends her up first. ADA begins to climb. Then REBECCA. The Tyrant closes in, SWIPING at Chris, who just manages to avoid the SLICE of its mighty claw. The RADIO MAN leans out of the door above, holding something. RADIO MAN Catch this! Chris doesn't hear. Jill does. JILL Toss it to me! The radio man drops the Stinger...a rocket with a shoulder- launcher.. .down into Jill's hands. Chris hits the dirt. The Tyrant tries to crush him by stepping on him. Chris rolls away. The ladder is too wobbly. Jill can't be sure of launching an accurate shot. JILL (cont.) CHRIS! Chris looks up. Sees Jill holding the rocket launcher. He RUNS past the Tyrant, okey-doking, left, right, then dodging left again. The monster SWIPES at him with its elongated claw. Chris' flack-jacket is caught. Protective fibers fly. But Chris escapes without injury. Pg-94 Jill pitches the weapon. Chris catches it. The Tyrant is on him, about to STOMP him with a bionic FOOT when... ...Chris aims at the monster's rhinoceros heart and FIRES! The rocket CONNECTS, on target. The casing around the animal heart EXPLODES... and the Tyrant drops like a giant Redwood... ...on top of Chris's legs. As Chris tries to free himself, he checks the detonator. THREE MINUTES. TWO-FIFTY-NINE. EIGHT. SEVEN. SIX. LaGuardia drops his chopper a bit lower. The bottom of the ladder hits the ground, coming within Chris' reach. He grabs on. The helicopter rises again. Chris is pulled out from under the Tyrant's steel body and is LIFTED into the air. He climbs frantically. Above him, Jill is still on the ladder as well. Ada and Rebecca pull her up. Chris DANGLES as the Huey banks away over the forest. The tops of TREES whip his legs, but he hangs on, climbing up... up... until the others catch his hands and hoist him into the chopper. Chris checks the LED. ONE MINUTE, FORTY-FIVE SECONDS. JILL (Reading over Chris' shoulder) We have to get out of range. CHRIS No. (To the pilot) Circle around. LAGUARDIA Are there more survivors? CHRIS No. Just...circle, okay? I want to...take a last look. The Huey banks into a circle. Chris looks down at... EXT AERIAL POV DAY ...the MANSION. And just over the hills...HIS FARM. INT HUEY DAY JILL It's... your home. CHRIS looks at her, with a resigned smile. Pg-95 CHRIS I hoped... it would be our home. JILL I guess... we're gonna be moving. Chris checks the LED. THIRTY-EIGHT SECONDS. CHRIS (To the pilot) Full throttle. Out of here, man! LaGuardia pushes his stick. The Huey LUNGES forward at top speed. REBECCA, ADA and JILL are pressed back by inertia. Chris holds himself erect. Through the window, in the receding sky, he spots... ...AN EAGLE, riding the wind. CUT TO: EXT THE ARKLEY FOREST THE MANSION DAY PLOOOOMMMMM! The GROUND ERUPTS from an enormous under- ground explosion. The MANSION is reduced to particulate as the shock-wave spreads outward. EXT FARM DAY Chris' farm hand, RAKE, is shambling out of the house, a ZOMBIE... when the EXPLOSIVE FORCE HITS, tearing him APART. EXT RACCOON CITY DAY The TOWN is EMPTY...except for NINE LONELY FIGURES, lumbering down Main Street. They, too...are ZOMBIES. The hot wave HITS. Two are VAPORIZED. FIRE engulfs two more. The BRAINS of two others are DESTROYED by flying debris.. . ...which catches the remaining three, as well. Arms are torn off. Iron shafts from shattered plumbing, shards of window glass, slats from picket fences... PUNCH through necks, chests, bellies... ...but the dead things, their skulls undamaged, through billows of dust... drooling hungrily. THE SCREEN GOES BLACK. --- This text orginiated from www.New-Blood.com, please check them out for Resident Evil coverage. --- \ No newline at end of file diff --git a/unformated_scripts/Script_Return of the Apes.txt b/unformated_scripts/Script_Return of the Apes.txt new file mode 100644 index 0000000000000000000000000000000000000000..12b839742cf2ff573e3ba7ac15435072e4f42d0f --- /dev/null +++ b/unformated_scripts/Script_Return of the Apes.txt @@ -0,0 +1 @@ +RETURN OF THE APES by Terry Hayes first draft 1996DEEP SPACE.No atmosphere, no life, nothing. Just a web of lights- a billion stars hangin a velvet void. The only sound is the howl of the cosmic wind.The light of a distant sun strikes a rising planet. We see raggedcontinents and oceans wreathed in cloud. This is earth rise. Our worldspins slowly in space, a thing of beauty, of awesome majesty. In all thisnothingness - life.We push in on the planet - in to the Americas. The wind grows louder -A PUEBLO VILLAGE.A broken-down pick-up bumps into a God-forsaken villagea cluster of adobehouses, blinding flurries of dust and sand. The pick-up stops in front of acrumbling church. A man in his 60s gets out carrying a medical bag. This isthe DOCTOR. 'A WOMAN'S FACE.Screaming. She's very young - a South American Indian - lying on a bed in acorner of one of the houses. She is in the final throes of childbirth, asheet draped over her loins. The Doctor works between her legs, encouragingher in Spanish.The local PRIEST, not long out of the seminary, crouches at her sidecounting off the beads of a rosary. He looks like he is about to pass out.SUDDENLY THE WOMAN BITES DOWN HARD ON HER LIP. A THIN LINE OF BLOOD COURSESDOWN HER CHIN. THE BREATH EXPLODES FROM HER LUNGS AS SHE PUSHES REALLY HARD-DOCTORArriva!He lifts the child from her loins, but it makes no sound. We don't see thebaby - just the shock on the Doctor's face. The mother struggles up to seeher child.The Doctor grabs the sheet from her torso and covers the baby with it. Hethrusts the bundle into the Priest's hands.DOCTOR (CONT'D)(in Spanish)Dead - the child is dead. Now go!We hold on the mother's anguished face. Dissolve toA HELICOPTEROff the roof of a tall hospital building. As it rises up into the night wesee a red cross painted on its side. It's an air ambulance.The chopper turns away. The Manhattan skyline, every skyscraper a blaze oflights, opens up behind it. The chopper swoops over the Brooklyn bridge andinto the night.GROVE OF TREESWinter's coming on - every leaf is a different shade of amber and gold. Thehelicopter drops down between the branches and lands on an immaculatelytended lawn. Surrounding it are the gracious buildings of a greatuniversity. Harvard.Two paramedics clamber out of the back of the helicopter and load astainless steel casket onto a gurney. They wheel it fast towards one of thebuildings. As they go' through the front doors, we hold on a sign etchedinto the stoneDEPARTMENT OF BIOLOGYA PAIR OF MECHANICAL HANDSslide a long cylindrical "key" into the stainless steel casket. We pullback to reveal the casket lies in a sealed, uncontaminated room. A group ofpeople in lab coats -scientists and researchers - stare through the glasswalls.A young TECHNICIAN, working at a console, keyboards in a series ofcommands.Sswhish. The top of the steel casket swings open. Clouds of white gasstream out -whatever's inside has been nitrogen cooled.The gas clears. Lying inside is the body of a newborn child - except thatthe baby has the skin, the face and the features of a man of eighty. Thescientists and the researchers react - shocked.One of the mechanical hands glides towards the baby. In its fingers itholds a long steel scalpel. This is the highest-tech autopsy you've everseen. The scalpel drives down, about to open the chest cavity -BLOOD SPRAYSBut not from the baby's chest - it's in glass vials, exploding as white-hotflames consume them. A plastic-gloved lab assistant, silhouetted againstthe flames, is emptying hospital waste into a furnace. He slams the doorshut.He turns we see his face. He's in his 4Os, handsome in a rough-hewn way - astrong jaw and a muscular body. There's a cool intelligence in his eyes,but a two-day beard and a worn-out uniform make him look like a man who,between youth and middle-age, lost his way. And so he has. His name is WILLROBINSON.He takes a steel trolley, wheels it through a set of swing doors and out ofsight.CLOSED CIRCUIT TV SCREENfeatures the image of one of the scientists we recognize from the autopsy.She's in her 30s - attractive, long hair left loose on her shoulders, anair of authority about her. Her name is BILLIE RAE DIAMOND. She is aProfessor of Biology.We tilt down from the screen. It hangs from a wall in a deserted laboratory-overhead lights, rows and rows of wire animal cages. Moving down deathrow, feeding the lab animals, is Will Robinson.TWO SAD-EYED CHIMPS, CLEANING EACH OTHER IN THEIR TINY CAGE, TURN AND STAREAT HIM. SUDDENLY WILL STOPS - HE'S HEARD SOMETHING ON THE SCREEN THAT HASCAUGHT HIS ATTENTION. HE TURNS AND LOOKS -DIAMONDThe exact cause of death is still unknown. What is certain - we're dealingwith something we've never seen before. Every organ in the body isaffected...Superimposed over Diamond's face is a three dimensional, computer-generatedgraphic of the baby's body.Will forgets about what he's doing. He walks towards the screen. We push inon it. Screeds of new data appearVascular System ...............AtrophiedNeurological Function .........Senile dementiaWe hold on Will's eyes - he stares at it.AN AUDITORIUMBilly Rae Diamond stands on a podium continuing her briefing. About fortyscientists are sitting in front of her in a dimly-lit lecture hall.Diamond is even more impressive in person - she is tall and gracious butyou don't become a Professor at Harvard' at her age without having an ironwill and a sparkling intelligence. She speaks with great authority -DIAMOND (CONT'D)The baby in question, Michael James Flanagan -she points at thecomputer-generated graphic on a huge screenwas born at New York Hospital yesterday.MAP OF THE WORLD ILLUMINATES AN ADJOINING SCREEN -DIAMONDBut the Center for Disease Control in Atlanta has received similar reportsfrom a village in Bolivia, two cities in Australia, seven countries inEurope, a cluster of cases in Namibia and Mexico. Forty-two cases in all.As she speaks, pinpoints of light on the map identify the exact locations.They dot their way across the entire globe. Dr Diamond turns to face heraudience-DIAMOND (CONT'D)Like Michael Flanagan, they were full-term babies. Two hundred and seventyeight days since conception and yet, by all reasonable medical standards,they have completed their entire life cycle. They have gone from conceptionto death, not in three score years and ten, but in slightly less than ninemonths. Michael Flanagan died of old age.Silence as Diamond lets the scientists and researchers absorb it. On abalcony high above, another man is taking notes. He sits alone, almosthidden in shadow. It's Will Robinson.SHEETS OF ICE ON A SHUTTER DOORWill crouches in front of a row of self-storage units on the edge of town.It's night, the place is deserted. He slips a rusted key into a padlock.Snapl The key breaks.Will curses. He grabs a piece of timber and pulls a nail out of it. Heslides the nail into the padlock and manipulates the tumblers. The padlocksprings open.SPIDERSweave a web in a corner of the storage unit. A work light hangs from theceiling. Will is ripping open stacks of boxes from long ago. He putstogether a pile of yellowing files and old floppy disks.PULLS OUT A CASSETTE TAPE AND STARES AT IT, UNSURE WHAT'S ON IT. HE TAKES ACASSETTE PLAYER FROM OUT OF THE JUNK, SLIDES IT IN AND PRESSES "PLAY"A HUGEROUND OF APPLAUSE. AS IT DIES, WE HEAR A MAN'S VOICE. IT'S WILL, SPEAKINGFROM YEARS AGO -WILL(on tape)I would like to thank the faculty and staff for this great honor...We push in on Will's face as he listens to himself...WILL (CONT'D)have had the opportunity to work with three talented colleagues. I'mprivileged to also call them my friends -A shadow of pain crosses his face. He shuts off the tape and sitsmotionless.LAFAYETTE PARKNight. Homeless people in the park build cardboard shelters against acoming storm. Across the road, the first drops of rain splatter against theWhite House.A string of Government cars pass through the huge gates and pull up infront of the West Portico. From inside, we hear a man's voice -well-spoken, authoritativePRESIDENT (O.S.)There's no mistake - you're sure?JEFFERSON LIBRARYDiamond sits in the President's study - book-lined walls, a fire in thehearth. A group of men sit on the sofasthe Surgeon-General, the Chief ofStaff, the National Security Advisor, the Secretaw of Health. A table islittered with graphs end files.DIAMONDWe've got five thousand cases now, Mr President. That's in three weeks. Thenumber is doubling every hundred and sixty-eight hours.The President stands near a window, half in shadow, the firelight playingacross his face. He's in his 50's but the strain of office makes him lookolder.DIAMOND (CONT'D)That's a geometric progression, sir. In three months there'Il be over sevenmillion cases. After that we hit the wall -She pushes a thick, bound volume across the table.DIAMOND (CONT'D)According to this, there won't be a live birth on the planet.The President looks at her for a moment. Then he reaches down and picks upthe bound volume. It's hundreds of pages of numbers and projections.PRESIDENTThese are just computer projections -species don't disappear that fast.DIAMONDTell that to the dinosaurs, sir.He looks out the window at the winter storm sweeping down on them.NATIONAL SECURITY ADVISORWhat date - when exactly do we hit this wall?DIAMONDSix months and twenty-one days.Silence. The President keeps looking out the window.PRESIDENTCan't somebody tell me - what exactly are we dealing with. Is it a virus orwhat?DIAMONDWe don't know, sir.The President turns to the Chief of Staff.PRESIDENTWhatever they need, Bob - anything. Harry Truman put together the ManhattanProject - you understand?The Chief of Staff nods his head - yes.PRESIDENT (CONT'D)(softly)A world without children -it's inconceivable. And what about the rest of us- what do we do? Just sit and watch our species die? Will the last personto leave the planet turn out the lights.Silence again. Finally a young woman - the White House Press Secretary -speaks.PRESS SECRETARYWe're going to have to manage the public. Right now, the truth may beinoperative -PRESIDENTOf course we're going to have to manage itl We're going to have to manage awhole lot of things. But can't we take at least one moment to be human?He looks around the room. We hold on their somber faces.A CHEAP APARTMENTThrough the window - the neon sign of a gas station. This is Will's place,He lives alone - a bed in the corner, run-down furniture, dishes in thesink.The kitchen table has been turned into a desk - Will sits at an oldcomputer, surrounded by the yellowing stacks of files and floppy disks. Hestares at the screen - the notes and equations are blurred. He's been atthis so long, he can barely focus. He rubs his hand across his eyes.A small mewing sound. Will turns to an alcove in the corner - a cat lies ina basket, panting. Will goes to her.She's giving birth - the first of her new-born kittens lies next to her.Will strokes the mother's head, looking at the miracle of new life. He putshis fingers in a water bowl, about to moisten the mother's mouth.Then he stops. He looks again at the kitten - there's two of them now. Abeat as he just stares -WILL(softly)Jesus Christ... of course!A LUXURIOUS BATHROOMThrough frosted glass we see the silhouette of a woman taking a shower.Whoever she is, she's got a great figure. The sound of a doorbell. Theshower door opens -Diamond sticks her head out. She looks at a clock - it'salmost midnight.VIDEO ENTRY PHONEA video screen monitors the front door. On it we see Will - his hairtousled, an old overcoat buttoned to the neck, a battered briefcase underhis arm.Diamond - a towel around her shoulders, hair dripping - picks up the phone.DIAMONDWho is it?WILL (O.S.)Will Robinson.DIAMONDI think you have the wrong house.WILL (O.S.)I work at the department.He turns and looks straight into the camera. Instinctively, Diamond coversher breasts. She looks at him - recognition dawns.AN ELEGANT ROOMWill and Diamond sit in the living room of a gracious townhouse - woodenfloors and beautiful rugs. Diamond doesn't wear any make-up -just jeans andan oversized shirt. She looks even more beautiful. It does nothing to easeWill's nerves. He's got his briefcase open in front of him, speaking fromsheaves of notes and papers.DIAMOND(interrupting)Hold on - how do you know about the case load? The Government's trying tomanage this - they've withheld that information.WILLThe Internet, Doctor. It's a highway - you can ride it anywhere you want. Igot into 'the Center for Disease Control. I had a look at their raw data.DIAMONDJesus. Do you know what you're doing? This is the White House we're talkingabout.WILL(Heated))No, it's a disease and it doesn't come any worse than this - that's whatwe're talking about.HE LOOKS AWAY, CALMING HIMSELF. HE SHUFFLES HIS NOTES. HE SPEAKS AGAIN,QUIETLY -WILLI've listened at the lab - I think I know where you're looking. Bacteriasmostly, but there's a strong push into the retro-viruses. You're wrong,Doctor.DIAMONDReally - and I thought I was arrogant. But then, I'm just a professor.WILLNo virus or bacteria has ever discriminated on the grounds of sex.DIAMONDI can think of one.WILLSure, it can start in pockets but it never stays there. This thing does. Itonly affects women of child-bearing age. What - it's so smart it canrecognize motherhood? I don't think so. No, this is into the very heart ofwhat we are. This is genetic. This is part of the DNA.DIAMONDThank you. A hundred thousand genes make up human DNA - that really narrowsit down.WILLAs a matter of fact it does. There's only one part of the DNA that's passedexclusively through women. Thirty-seven genes, the oldest part of the humanorganism -DIAMOND(realizing)The mitochondrial DNA.WILLOver the years there's been speculation -not all of it crazy either - thatsomehow it triggers aging, He slides a sheaf of yellowing extracts fromscientific journals across the table. She doesn't pay them any attention -she's thinking.DIAMONDYou realize what you're saying, don't you? A bacteria - I think we'd get itfor sure. A virus -you'd have to say we've got a chance. But say you'reright. The mitochondrial DNA - that's so far out on the frontier, we canbarely see it.WILLLike I said - it doesn't get any worse than this.She keeps staring down at the documents and notes lying on the table. Abeat.WILL (CONT'D)Are you okay?DIAMONDSure.WILL LOOKS AT HER FOR A MOMENT -WILLShit. You're pregnant, aren't you?DIAMONDNine weeks.THEIR EYES MEET - SHE SHRUGS, TRYING TO PUT A BRAVE FACE ON IT. SHE GETS TOHER FEET -DIAMONDDo you want a drink - coffee, a sandwich or something?WILL(Recoiling)No...no, I'm fine thanks.Watches as he picks up his papers and puts them back in his batteredbriefcase.AN EMPTY STREETIt's late at night. Will clutches his briefcase under his arm, headinghome. A bitter wind blows out of the north. He looks a lonely and forlornfigure as he makes his way through the pools of light cast by thestreetlights.CONVOY OF N.A.S.A. TRUCKSRUMBLE THROUGH THE EARLY MORNING - THE CITY IS JUST WAKING. THE TRUCKS,DOZENS OF WHITE EIGHTEEN-WHEELERS, TURN THROUGH THE FRONT GATES OF HARVARD.THEY STOP IN FRONT OF THE GROVE OF TREES. WE CRANE UP FROM THEM TO A WINDOWIN THE BIOLOGY BUILDING -HAND HITS A TABLEIT'S DIAMOND - SHE'S ANGRY. BREAKFAST TRAYS CLUTTER THE TABLE -SHE'S IN THEMIDDLE OF A CONFERENCE WITH A GROUP OF SCIENTISTS. SHE GLARES AT ANARROGANT YOUNG NEUROLOGIST -DIAMONDIt's just an idea, Bob. All we're doing is taking it for a walk around theblock.A man in his 60s - distinguished, diplomatic - intercedes.DE MAUPASSANTThere was a lot of work done on it in the 7Os. I can't recall the detailsbut someone had the idea that mitochondriel DNA was like a genetic memory.If you could unlock it, you could physically travel back down it. Throughevolution - like a time machine.BOBWowl Those 70s, man. I'm really sorry I missed them.Everyone - Diamond included - laughs.OLD PHOTOS OF A SAILING BOATThey hang on the wall of a tiny room - not an office, just ahole-in-the-wall Will has turned into his own. He sits at a table, makingnotes. A knock - Diamond enters.DIAMONDI thought you'd like to know - we're looking at mitochondrial DNA,WILLThanks for telling me.THEY LOOK AT ONE ANOTHER. IT'S AN AWKWARD MOMENT - NEITHER ONE QUITE SUREWHETHER OR HOW TO CONTINUE THE CONVERSATION. DIAMOND SEES THE PHOTOS -DIAMONDIs that you?She points at a man in his 20s standing on the deck in one of the photos,Will nods.DIAMOND (CONT'D)Seattle. Is that where you went to school?Will hesitates - we sense that he doesn't really want to answer.WILLNo. Princeton.DIAMONDExpensive.WILLA scholarship. Then I did some post-graduate work... I never reallyfinished.Something in the way Will says it - some sense of loss - makes Diamondpause. She recovers and looks in her wallet. She pulls out a photograph andhands it to Will. It shows a small sailing boatgaff-rigged and a varnishedhull.WILL (CONT'D)It's a Kestrel 24 - I haven't seen one of those in years. She's a beautifulboatiDIAMONDMy grandfather left it to me. I don't sail it much any more - it's too hardto find a for'etd hand.WILLWhat about your husband - doesn't he sail.DIAMONDI don't know - I haven't met him yet.WILL LOOKS AT HER. HIS EXPRESSION SAYS IT - WHAT? SHE SHRUGS -DIAMONDI wanted a baby but I'm thirty-four-years old. Sooner or later you realizethat somewhere along the way you've missed the man you've been waiting for.WILLWhat did you do - ask a friend?DIAMONDI thought of it.WILLLucky friend.DIAMONDI went to a clinic. Not exactly romantic, but it worked.(pauses)Good idea, bad timing.WILLHow many people have you put on the mDNA?DIAMONDSeven.WILLThat's all?!DIAMONDThat's all I can spare. It's just a theory -one of dozens of theories.Will looks away in disgust.DIAMOND (CONT'D)What is it with you - it's not just science is it? Why are you sopassionate about this?WILLI know I'm right. It's a mutation. A hundred thousand years it's probablybeen lying there -shifting, weaving into the mDNA. You either go back andchange evolution or you engineer it out. Seven peopleYou might as wellshoot peas at a dam.DIAMONDYou haven't answered my question - why so passionate?WILLThe question's not relevant. The only thing I'm interested in is thescience.He turns back to his work. We hear the door close as Diamond leaves.A GEODESIC DOMEWhite, space-age, is being erected on the lawn. Workmen are unloading theNASA trucks. We pull back through a high window of the Biology building. Awoman stands there, looking out. Her name is KRIS McQUADE. This is heroffice -MCQUADEYou want to tell me what's going on?She turns and looks at Diamond, sitting on the other side of the desk,DIAMONDDon't ask, Kris, I'd have to lie and I don't want to do that to my bestfriend,MCQUADEThe rumor is, you've done something really big. They say the DefenseDepartment is taking it over.Diamond just sits there, staring straight ahead. McQuade waits. Finally -MCQUADE (CONT'D)Okay, okay - I'm sorry I asked. So what about this guy - what's he done?DIAMONDHe hasn't done anything - I'm just interested.MCQUADETen thousand employment records I've got on file and you want to know abouta lab assisant?DIAMONDThe smartest assistant I've ever known.MCQUADEWhat - he can mop and fart at the same time?She picks up pages from a computer printer - including a copy of Will'sphoto I.D.MCQUADE (CONT'D)He's handsome, at least I'll say -(a thought strikes her)Jesus - you're not interested in him like that, are you?DIAMONDNo, but he's the most unbelievable smelling man.MCQUADESmelling? You're pregnant - obviously your hormones have gone crazy. Whatexactly does he smell like?DIAMONDYou know...(searching for the right word).., wholesome.MCQUADEOf course he does - that's the Lysol.Diamond laughs but McQuade barely notices it. She's leafing through WiU'sfile -MCQUADE (CONT'D)That's strange - there's supposed to be a background sheet. Family, school-all that shit. It must have gotten lost.Before Diamond can say anything, a young man enters. He's McQuada'sassistant.ASSISTANTYour secretary's on the line, Dr Diamond. There's a call for you.DIAMONDTell her to take a message.ASSISTANTIt's the New York Times.MCQUADEWhat do they want?DIAMONDI think Washington's news management just went south.THE WHITE HOUSENight. Scores of television news vans are parked outsideDutch, Japanese andFrench reporters are doing stand-ups live-to-air. We hear Peter Jennings ofABC.JENNINGS (O.S.)We're standing by to go live to Washington as events continue to unfold onthis remarkable day. I don't think there's a person anywhere who's notsitting by a radio or television now. I'm told the President is on his wayto the press room -FIFTH AVENUEis totally empty - just a young man on rollerblades. He skates effortlesslydown the deserted avenue - past Tiffany's and the Trump Tower, all silentnow.PRESIDENT (O.S.)My fellow Americans...The rollerblader passes the cathedral of St John. The front doors are open.Someone is playing the organ - Mozart's Requiem. The rollerblader fadesinto the night.STEEL DOOR OPENSA sharp-faced caretaker - scruffy clothes and a limp - escorts Will into avaulted basement. All we can see are silhouettestowers of crates, racks ofequipment...CARETAKERThis used to be the basement of the Psychology Department. We just sort ofstacked everything around 'em -He flicks a switch - the storage room floods with light. He points at twolong iron cylinders - like small submarines - rigged up to a series ofvalves and pipes.CARETAKER (CONT'D)Flotation tanks. They used 'em for experiments in sensory degradation -WILLDeprivation - sensory deprivation.CARETAKERYeah, well - whatever.SHAFT OF LIGHTWILL OPENS AN IRON HATCH THAT GIVES ACCESS INTO ONE OF THE TANKS. HE DROPSINTO IT AND WALKS FORWARD, EXAMINING IT. THE DARKNESS CLOSES AROUND HIM. HESTARES AHEAD. VOICES DRIFT OUT OF MEMORY -YOUNG MAN (O.S.)Now I know what a mole feels like -YOUNG WOMAN (O.S.)(lightly)It feels like a fucking coffin, that's what it feels like.Other voices laugh. They're all young and like the young they think they'llnever die.CARETAKER (O.S.)Hey, fella - what are you doing?HE'S PEERING DOWN THROUGH THE HATCH. WILL DRAGS HIMSELF OUT OF THE PAST. HETURNS -WILLJust looking. I'll be coming back - I'll need a key.The caretaker shrugs - sure. Will climbs out of the tank.WILL (CONT'D)One other thing - don't tell anyone, huh?CARETAKERWho would I tell? They treat me like shit Worse than shit. All work, noappreciation. The phantom of Harvard. Someone should write a fuckingmusical about me.CIRCLES OF LIGHTDesk lamps, glowing in an office. Diamond and a team of researchers areworking through piles of old journals and extracts from scientific papers.RESEARCHERHere's another one - "Mitochondrial DNAA Map to the Past."DIAMONDWho's it by?RESEARCHERSame guy - Doctor Robert Plant.DIAMONDJesus, what did this guy do - write the book on it? Who is he?HUGE BOOK BEING OPENEDIt's a scientific directory. The researcher flicks the pages and stops at"Plant".RESEARCHERWow - I thought your career was impressive.Diamond looks up from her reading.RESEARCHER (CONT'D)Degrees in medicine and microbiology. A PhD at 24, a member of the Academyof Sciences, published twenty times by 1974...DIAMONDAnd then?RESEARCHERThen nothing.DIAMOND REACTS. SHE GETS TO HER FEET, COMING CLOSER -DIAMONDWhere did he go as an undergraduate?RESEARCHERPrinceton.DIAMONDOn a scholarship?A CORRIDORIt's late at night. The scientists and their staff are working around theclock. Will wheels a trolley laden with bottles, vials, and catheters downa crowded corridor. Diamond pushes through the people behind, trying tocatch up to him. Scientists turn to speak to her but she ignores them.DIAMOND (CONT'D)Robert!Will keeps walking, heading for an elevator. Diamond skirts around a knotof people.DIAMOND (CONT'D)Doctor Plant!Will hesitates - one split second - then keeps going. The elevator doorsslide open. Will steps in, turns and hits a button. He watches Diamondpushing towards him. For a moment their eyes meet. She comes closer.Sswhish! The doors slide shut.DIAMOND'S OFFICEShe sits behind her desk, listening to the chief of campus security.SECURITY OFFICERThe equipment you saw him with was taken from three labs. It includes arange of genetic material-(hands her an inventory)We've checked all the buildings your team is using - he's not in any ofthem.DIAMONDWhat about hie house?SECURITY OFFICERHe asked his landlady to look after his cat. She hasn't seen him for threedays.IN THE BASEMENTthere's a make-shift bed and a hot-plate with a battered saucepan. Next toit is a rack of medical equipment and laboratory vials.Will is sit'ting in front of three computers running in parallel - data andequations reel across them. The caretaker comes out of the shadows,carrying two mugs of thick coffee. He puts one down next to Will -CARETAKERYou wanna tell me what exactly you're doing?WILLLooking for a date.The caretaker stares at the confusion of diagrams and equations on thescreen -CARETAKERWhat's wrong with a calendar?WILLThese are chemical sequences - they represent human genes. By following atrail of mutations, I can date them. I'm trying to find out when a majorchange occurred in something called the mitochondrial DNA.CARETAKERThe mitochondrial DNA? Yeah... well that makes sense.But Will barely hears it. Suddenly he's leaning forward, keyboarding incomplex commands. The caretaker watches him -CARETAKER (CONT'D)You've found it?WILLMaybe...He has illustrations of two long-chain molecules on the screen. He movesthem together. Aa they overlap, we see they're not identical - the tail ofone kicks upwarda. Will starel at it -WILL (CONT'D)(softly)Yeah - I've found it.CARETAKERSo - what's the date?Will presses a key. Faster than the eye can follow, the first long-chainmolecule starts to shift and mutate. Finally it resolves itself into thesecond molecule. Will looks at a graph on the side of the screen -WILLThe best computer science can do? One hundred and two thousand years ago.CARETAKERSort of what I figured - give or take a day or two.DIAMOND'S OFFICEDiamond is poring through scientific articles written by Will. She flicks apage -there's a photo of Will, 20 years younger, surrounded by threecolleagues. He's got his arm around one of them - an attractive youngwoman.Diamond lifts the photo, looking at it more closely. She starts to read thecaption. We push in on it and hold on the words... "UC Berkeley".WE ARE FLYINGswooping and soaring - through a weird landscape of towering cliffs,tumbling streams and primordial forest. There's something unreal about it -we pull back to reveal they're computer-generated images, playing on thescreens in the basement.The caretaker has pulled up a chair. He and Will are watching the imagesgenerated by a CD-ROM.WILLThis is someone's version of the prehistoric world. I'm interested in thegeography, the atmosphere -that sort of stuff.CARETAKERWhere are we?WILLAfrica - that's where Mankind started.Will keeps looking at the strange images. The caretaker gets to his feet -CARETAKERI'll see you in the morning.WILLYeah.The caretaker limps towards the door. Will looks up -WILL (CONT'D)Thank you - for helping me, I mean.CARETAKERIt sounds like you're leaving or something.WILLNo. I just wanted to say it, that's all.The caretaker keeps looking at him -CARETAKERWhat exactly are you doing? You're a bit old to try and make your mark,aren't you? Anyway, nobody listens to people like us.WILLFate can be kind - sometimes a man gets a second chance. Do you know whatit's like to be ridiculed, to have your ideas thrown back in your face? Andthat was the easy part. I guess that's what I'm doing - I want to provethat I was right.CARETAKERYou're lying to me.WILLWhat do you mean?!CARETAKERYou are going somewhere. I don't know where it is. I'm not even sure I canimagine it. Good luck, though. I hope you find whatever it is you'relooking for.WILLThanks.CARETAKERNo point in getting you breakfast, huh?Will shakes his head - no. They smile at each other. The caretaker turnsand goes.DIAMOND'S OFFICEDiamond looks up from the papers and articles littering her desk. HerSecretary stands in the doorway -SECRETARYI've got Eleanor Wilkins on the phone. She runs the archives at Berkeley.DIAMOND(into phone)Ms Wilkins?We push in tight on Diamond's face as she listens. Anxiety and alarmregister on it.OUTER OFFICEThe security officer and several of his men are looking at maps of thecampus. Researchers and scientists have gathered in the office, rumors areflying. Everyone turns - Diamond stands in the doorway to her office. Shelooks at deMaupassant.DIAMOND (CONT'D)You were right, Luc. That work you remembered from Berkeley - he was theone that did it. He said man was the last step on an evolutionary trail.Within every one of us is the history of our race. It's imprinted on ourgenes - like a map. Anyone that can find the chemical key can travel backdown it. Through the womb. Through time and space -(she looks at them all)That's what he's doing. He's going back. He's going to try and changeevolution.SECURITY OFFICERIs that possible?DIAMONDHe was the best of his generation. He thinks so. He's got the geneticmaterial for the key. All he needs are flotation tanks.THE FLOTATION TANKSThe valves are open - warm water is pouring into the tanks.Will sits next to the rack of medical equipment, beads of sweat on hisforehead. He slides a syringe into his forearm and inserts a catheter. Heopens a series of tiny valves on the glass vials. A cocktail of fluid -minutely measured doses - flows down the clear plastic towards his arm. Thefluid hits his blood stream and drains into it.A LONG CORRIDORDiamond and the others run fast through pools of light cast by naked bulbs.Ahead -a pair of swing doors -BOBA theory's one thing - do you really think he'll try it?DIAMONDHe's spent fifteen years as a lab assistant. He lives in a two room walk-upwith a cat. No family, no friends. What's There's left for him here? Ofcourse he'll do it.Smack! They push through the doors, into another corridor.AN IRON LADDERWill climbs up the side of the flotation tank. Suddenly he stops - atremor, a rippling wave, passes from his feet to his head. It's his musclescontracting. It wracks him with pain. He gasps at the intensity of it.Smash! The steel door into the basement shudders as someone tries to getin. Will looks up - the door twists and moves. His vision is starting todistort. He grabs the access hatch and swings through -Splashl He drops into the water. Clang! He closes the hatch.Barn? The steel door flies open. The security officer lowers a sledgehammer. Diamond steps in end throws a light switch.DARKNESS IN THE TANKWill floats on his back, the only sound is the rapid thump of hisheartbeat. The water sloshes back and forth - his muscles are going intospasms. We push along his body - up to his face. His eyes roll back intohis headlAll we see are the whites of them. They shatter into a web of capillaries -WILL'S POVred mist swirls in front of him. It resolves itself into a web ofinterwoven tendrils -the double helix of the DNA molecule. Will starts totravel through it -INSIDE THE TANKWill is morphing, shedding cells - we're losing him in the warm, dark fluidof the tank. It's like the womb. His body seems to be disintegrating,dissolving into it. Water flows through the sockets where his eyes oncewere.His hollow mouth opens. From far away we hear him scream - a primal scream.OUTSIDE THE TANKNot a sound escapes. The security officer is about to try and open thehatch.DIAMOND (O.S.)NO!The security officer turns - Diamond is holding the catheter in her hand.DIAMOND (CONT'D)If we open the hatch, I think we'll kill him. It's too late - it's hisjourney, he's going to have to take it.INSIDE THE TANKWill's body is like a shadow, almost one with the water, growing lessdistinct by the moment. What is left of his face - a strange, shiftingshape - floats towards us. Closer... closer. It melts completely into thewater -WILL'S POVHe spirals down a tunnel - into a whirlpool of white light. As he hits, itshatters into a million fragments of light. It looks like a comet, wheelingthrough the heavens. A cosmic wind blows it forward. Will is travelingthrough space and time -OUTSIDE THE TANKDiamond and the others are gathered around the computers. Bob is workingthe keyboard. Diamond is looking.through the piles of papers, notes andstar charts.DIAMONDEverything's here - he kept a record of every step. He can even tell thedate -forty hours after he arrives there's a solar eclipse.BOBBillie - there's a note for you.Diamond looks over his shoulder at the computer screen. She reads what iswrit'ten -DIAMOND"I won't be here, but if I solve this thing make sure you tell them,Billie. Tell them it was Robert Plant, Doctor Robert Plant of UC Berkeley."THE FRAGMENTS OF LIGHTblaze through the heavens. They draw together, changing and reconstitutinginto a shape we recognize - the interwoven strands of DNA molecules. Thestrands connect. A blast of light! It's the rays of -THE SUNstreaming into a cave. Will lies in the fetal position, bleeding from hisnose and ears. The light grows stronger - it's dawn. Will drags himself upand stumbles towards the entrance. We tilt up from him. He doesn't see it,but we do - prehistoric cave paintings are etched into the rock.A CRAGGY PEAKWill steps out of the cave. Sunrise sweeps over a world born brand new -plains and jungle and primordial forest. Rising above it is a snow-cappedmountain that looks like Kilamlnjlro. A ragged gash runs across the earth -a rift valley. Will stares at it. He raises his face to the sun. He did it.The first step's over - and he did itl He looks down - rising out of thevalley is a tiny pillar of smoke.A FOREST CLEARINGIn the middle are the smoldering remains of a camp-fire. Will movescautiously towards it. He stops - several bodies, terribly mangled, lie onthe ground.Will turns one of them over - he's got matted hair, a heavy brow and ashort, muscular body. As primitive as he is, there's no doubt of hisspecies. He is a man. A Paleolithic man.This was a hunting party -scattered weapons and the trussed carcasses ofdead animals lie nearby. For a moment Will thinks the hunters must havebeen torn apart by wild animals. Then he looks up into the trees - morebodies of the hunters. But no animal did this - they hang from iron chains,left there as some sort of trophy. Or a warning.CRUSHED LEAVES AND BROKEN PLANTSWill is following a tiny trail through the forest. He's taken what isuseful from the bodies of the hunters - an otter-skin water bag, twoshort-handled spears and a bed-roll made from an animal pelt. He moves on -deeper into the shadows of the forest.A SPARKLING STREAMWill splashes through the crystal water. He looks upstream - a small lake.A flock of strange birds - like huge flamingos take flight in a blaze ofpink and gold.He steps out of the stream and along a path beneath a canopy ofover-arching trees. We hold on his feet - whip! He triggers something. Anet of woven vines engulfs him. He drops the spears and bedroll. Suddenlyhe's soaring through the air.He jerks to a halt - he's a netted animal hanging high in the trees. Thefaces of two Paleolithic men, crouched on boughs, stare at him.PLUME OF WATERcascades a hundred feet into a hidden gorge. Smoke curls up from fires.Scores of stone-age people - man, women and children - turn and look. Will,roped and bound, is being hauled into the encampment.The primitive people - nervous but intrigued - circle around him. They aredressed in skins and fur. talismans hang from their necks. The warriorscarry not only weapons but ritual scars across their foreheads. It makesthem look even more savage.Will is led past the haunches of soma massive animal cooking in a pit. Apile of ivory tusks lie nearby. The two captors jerk on the leash - itstops Will in front of a cave. Hanging from the roof is the giant pelt andhead of their totema saber-toothed tiger. This is the Tribe of the Tiger.A man emerges from under its outstretched paws. He's in his late 20's -proud and strong. His name is Kip-Kena - he is their leader. He and Willlook at one another.Kip uses his hands to sign to Will in the formal language of his race. Willstares at him - he has no idea what it means. He shrugs. Kip tries a newtack - he speaks. The sounds are rough and guttural - but understandable,KiP Where is your tribe?Will pauses, searching for an answer- where do you start? He gives up.WILLI don't have a tribe.A rolling murmur of disbelief from the surrounding tribe.KIPNo man can live without a tribe! How would he hunt the mighty animals? Whowould keep his fire burning?WILLI come from far away... I'm a traveler.KIPWhat is traveler? Is that a tribe?Again Will's at a loss. Something catches Kip's eye. He reaches forward andrips the water bag out from under Will's coat. The tribe reacts -KIP (CONT'D)You carry things taken from our hunters! Kill him.He turns away. Will throws himself at him -WILLNO!Whackl A blow to the back of Will's neck knocks him to his knees. He looksup -two warriors have their spears raised, about to plunge them into hischest.A sound like thunder - it's hooves. The warriors turn. Will follows theirgaze - half an army, mounted on horseback, surges into the gorge, They areheavily armed, dressed in armor but it's not their weaponry that astonishesWill. These are apes!The tribes-people scream in terror. They turn and run. The two warriorsforget about Will. He dives for cover in a pile of rocks. As he tearshimself free of the ropes that bind him, he looks out -The apes charge in to the camp. At their head is a huge gorillaripplingmuscles and intelligent eyes - deep set and yellow, like pissholes in thesnow. He wears a suit of black armor ribbed in silver. His name is Drak. Heis the Lord of the High Rivers, supreme commander of the ape army. Oneither side ride his elite Praetorian Guard.Woo-woo-woo! Kip swings a hollow piece of wood above his head. It's abull-roarer. The warriors of the tribe know its meaning - they rally toKip's side. Armed only with spears and primitive bows they stand betweenthe apes and their panic-driven people, trying to buy them time to get intothe cave.Sswhish! The sound of arrows. The apes carry triple-barreled ironcrossbows.Short iron bolts cut several of the tribesmen down. Dust and smoke swirlsacross the camp. Kip and his men, fighting all the way, retreat towards thecave.A baby's cry! Will turns - a toddler sits at a hearth, left behind in theconfusion. Will half rises to his feet, about to go for him. Too late -there's a blur of movement irt the trees. A tribe-boy - too young to be awarrior - has come back for the child.Out of the dust and smoke - Drak! Foam flies from his horse's mouth. He'sseen the boy and the child. He locks what looks like a Gatling gun tightunder his huge bicep.Will screams a warning. The boy turns - he sees Drak as he fires. A hail ofiron darts - twenty or more - cut him and the child down.Rage flashes in Will's eyes. He scrambles over a boulder and rips acrossbow from a dead ape's hand. He slides bolts into the barrels and grabsa lever with both hands -you need the strength of an ape to cock it. Asound behind him - little more than a whisper. He swings -It's an arrow.Whackl It rips into his shoulder, hurling him to the ground. Ape infantry -foot soldiers - are coming into the gorge behind him.In their midst are three huge steam-driven machines - like iron erectorsets. One is the Claw, one is the Balls and the other is the Flame.THE CAVE ENTRANCEKip and his warriors have seen them too. They scramble into the cave. Menand women are inside, swinging closed two huge stockade doors made fromtree trunks.Other warriors, caught outside, run for the closing gap. On their heels isWill - still clutching the crossbow, blood streaming from his wound. Thedoors are closing... closing. Will dives through the gap, almost crushed -INSIDE THE CAVESlam! The doors fly shut. Wham! A huge cross-beam drops into place. Will,sprawled in the dust, looks up - chaos. By torchlight, the medicine man istending the wounded, children are screaming, women and old people areclambering up a series of ledges. High above is a tiny slash ofdaylightanother entrance.From deep in the cave Will hears the roar of some animal but he doesn'thave time to think about it. Smash! The great wooden doors shudder fromsome mighty blow.OUTSIDE THE DOORSThe three machines are in place. The first of them has two huge stone ballssuspended by chains from an overhead jib. An ape sits right on top,operating it. The balls dance and swing wildly - smash! They hit the door,opening a hole.INSIDE THE CAVEDaylight streams in. Kip and his warriors have ranged themselves higharound the walls, ready to attack when the apes pour in. A pair of hugeiron jaws appear in the hole. This is the second of the apes' machines -the Claw.Another roar from the animal. Will watches the Claw reach in and grab themassive crossbeam. It snaps it like a twig. Will gets to his feet and runs.He sees Kip signal -AN OLD WARRIORis perched high on a series of wooden bars that seal off a corner of thecave, turning it into a cage. He opens it.Crash! The stockade doors at the front of the cave burst open. The first ofthe ape cavalry charges in. A roar from the unseen animal. The apes' horsescatch the scent of it. They whinny in terror.Will stares as a blur of striped fur and muscle flies out of the cage. Thetribe's totem is a living thing - the saber-toothed tiger ia three timesthe size of its Bengal cousin, a head the size of an ox and two ten-inchteeth curved down either side of its jaw.The horses are bucking and rearing. The tiger leaps towards the door,heading for freedom. A dismounted ape raises his weapon. The tiger doesn'teven break stride. One lazy swipe from his paw tears open the armor andflesh of the ape's chest.Will can smell the animal's breath as it flies past. An ape officer, stillon his horse, turns - another swipe from the.tiger's paw rips out histhroat.Kip and his warriors hurl their spears and stone tomahawks at the cavalry -half of them dismounted, all of them in disarray. The tiger runs soarsthrough the doorway -OUTSIDE THE CAVEDrak fights to control his mount as the tiger lands once and bounds intothe forest.ON THE LEDGESKip's men are fighting as they retreat, heading towards the opening at theroof of the cave. Will, clutching his wounded shoulder, makes his own wayup the wall.Beneath him, Drak and the apes roll in the third of the machines - a longiron tube in a rolling superstructure. Feeding it are a series ofoil-filled bladders. One of the apes touches a torch to a firing hole. Atongue of fire erupts from the end of the tube. It's a flame thrower -Thefiery tongue shoots up towards the roof of the cave. The flame engulfs twowarriors. Skin blazing, they plummet to the ground.The flame thrower fires again - scorching the rock wall, filling the cavewit a pall of smoke. It hits the tiny patch of daylight, cutting offescape.Will - trapped - runs along a ledge, over a pile of rocks and jumps. Intomid-air! He lands on the back of a riderless horse and drives his heelsinto its flanks.The apes and the surviving warriors turn. For a moment they just stare -nobody's ever seen a human ride a horse before. Will flies towards theentrance. He sees Kip on a ledge just above, battling three huge apes.WILLJump!Kip sees Will galloping towards him. One of the apes raises a double-bladedsword. Kip jumps sprawling across the horse's neck, grabbing on to itsflowing mane.Drak stares at Will - he's never seen anything like him. He wheels hishorse around and spurs it forward in pursuit.OUTSIDE THE CAVEWill's horse bursts out of the cave - past the Claw and under the Balls.The apes turn and look - astonished. They scramble for their horses. Drakcharges through.Will hurtles towards the trees. Kip, hanging on for life, looks behind -Drak raises his Gatling gun and aims. Kip wrenches Will's head down - zing!The arrows skim past.Drak can't outpace them - and he can't re-load at the gallop either. Theycharge out of the camp, into -THE DAPPLED LIGHT OF THE FORESTDrak rises up in the stirrups and hauls himself on to the saddlethe hugeape stands on the back of the charging horse!He jumps - his rippling arms catch hold of an overhanging bough. He swingshimself up into the tree - he is an ape, after all. He throws himself frombranch to bough, traveling at incredible speed.Will glances back - he sees Drak's riderless horse. His eyes dart inconfusion -where is he? We crane up - he's in the trees above! Drak jumps -Wham! Hundreds of pounds of gorilla blast into Will's shoulder, lifting himout of the saddle and hurling him to the ground.Kip hauls down on the horse's bridle - wheeling the stallion around.Will looks up from the dust - Drak towers above him. Will sees Kip comingback -WILL (CONT'D)Run!A volley of arrows whiz past Kip - other apes are galloping through thetrees. Kip grabs the bridle and kicks - the horse spins and gallops away.massive, armor-clad paw grabs Will's head. He looks straight into Drak'sface. The ape reaches out and rips a claw down Will's cheek. Will tries tostifle the scream. Drak touches the wound and tastes the blood -DRAKSo - it's human, after ell.He spits the blood out in revulsion. Will stares into the piu-holes in hisface. Never has he seen eyes so cold.Will tries to rise to hie feet. His wounded shoulder has weakened him - hestaggers. Drak's clenched fist, clad in chain mail, drives straight etWill's jaw. Smashl Fade to black.THE WORLD UPSIDE DOWNIt's Will's point of view - he-s lying on his back in a horse-drawn cart.He's very weak, his shirt drenched in blood. He rolls over and the imagerights itself.He drags himself on to all fours but he can't get any further - his legsare chained.WILL(fevered, disoriented)Where the fuck am I?Will looks up - a huge ape sits guard in the back of the wagon.GUARD(smiling)The end of the road.Will - confused, panicky - grabs the side of the cart and hauls himself tohis knees. He looks past an escort of ape cavalry - they are traveling downan avenue of idols -towering statues of apes, sculpted out of stone, old asages past. Fires burn somewhere within them giving the eyes a red,flickering glow.Will turns away. Behind him he sees humans, rows of them - dead - hangingupsidl down from long poles like trophies.Everything comes flooding back - he slumps against the side of the cart,eyes barely focused. Blood trickles down under his shirt and forms a poolbetween his legs. He doesn't even notice it.MASSIVE IRON AND WOOD BRIDGEspans a roaring river. Drak and his convoy clatter across it. We crane up -laid out before is a city. Terraces are cut into both sides of a jaggedravine. Opening on to them are caves and houses and buildings made out ofstone.Apes are everywhere - hammering stones to enlarge a house, chattering inthe trees, swinging hand-over-hand along horizontal ladders - crossing fromone side of the ravine to the other.Will has roused himself. He stares at the city through feverish eyes - tohim, it appears to float. Buildings swim in and out of focus. His shouldersshake - he starts to laugh, an edge of hysteria to it.WILLA city... of course. Ape city! I've destroyed my mind. Or maybe I'm deadand this is God's last joke - hell is ruled by apes.Whhish - the end of a whip sails through the air. Crack! It hits Will'sback, doubling him over.GUARDQuiet, animal!RIPPLES OF WATERrun across the surface of a beautiful pool. A black shape glides alongunderwater. The head breaks the surface - it's an old gorilla, the fur onhis face gray and balding. This is NAZGUL. He is the Ghan - the President -of the Council of Elders.He walks out of the water. Other old apes - all male, their days of warringand building over - lie around the pool. Several of them, draped only inrough loin-cloths, groom each other, picking nits out of their fur.The sound of a gong! Nazgul picks up a loin cloth and walks the end of thepool. He looks straight down the ravine - at the far end, Drak and histroop come into view.NAZGULThe raiders are home.OLD APE(lazily)Good hunting?Nazgul squints against the sun. He sees the poles carrying the dead humans.NAZGULBy the look of it.GRAY-BEARDED WARRIOR, HIS CHEST MARKED BY THE SCARS OF MANY BATTLES, GETSUP -GRAY BEARD(proudly)Not as good as when we rode the high ridges, I'll warrant.NAZGULTimes are different now. Back then, a could go out and come back with abrace of animals. They're far scarcer now -OLD APENot scarce enough, I say.There's a murmur of agreement from the other apes.A TINY BOATis wreathed in woven leaves. Lying in it is the dead body of a young ape.The boat drifts down an underground stream. All around it rise the stonewalls of a huge cavern. Torches light up the gloom - this place is atemple.A group of apes - mourners - walk along a path, keeping pace with thefuneral boat.They make a humming sound deep in the back of their throats - a dirge forthe dead.At the head of the procession, swinging a smoking censer, is an ape wearinga lion-skin cloak. His face is scarred and twisted - he has one cruel eye,the other is just an empty socket. Beneath the cloak, one arm and a leg arewithered. The whole effect, rather than diminishing his power, enhances it.His name is MA-GOG. He is high priest of the apes, defender of the faith,keeper of the Book of the Lore.The funeral boat gathers speed in the current. It thrusts towards sunlightpouring through an arch.A ROCK PLATFORMThe mourners step through the arch and on to a slab of rock. We pull backto reveal where they stand - a huge crouching ape has been carved out ofthe face of a cliff, Its bowed front legs form the archway, the entrance tothe temple of the ape.CLOUDS OF MIST AND WIND-BLOWN SPRAY SWEEP OVER MA-GOG AND THE MOURNERS. ALLAROUND THEM, THE SOUND OF ROARING WATER. THE FUNERAL BOAT FLOATS OUT OF THETEMPLE AND INTO A ROARING RIVER. MA-GOG SWINGS THE CENSER OVER THE WATER -MA -GOG(intoning)In the beginning was the word, and the word was the Book of the Lore. Itsays God created the ape in His own image. Alone among His creatures, theape has a soul. One crosses the river now but death is only a door. He willdwell in the house of the Lord forever. Amen The mourners beat their chestswith their fists. They repeat the word "Amen".For a moment the clouds of mist clear. Now we see where the boat is headed- half an ocean of water pours over a sheer drop. These are the Falls of NoReturn. The boat races forward - over the waterfall it goes.The sound of cheering voices, very faint, drifts towards them. Ma-Gog turnsand looks up the river towards the city -APES HANG FROM THE 'LADDERS'looking down on Drak and his troops. The convoy passes along a road cutinto the side of the ridge. Apes have come out of the houses and buildingsto greet them.Will lies in the back of the cart, unconscious. Faces of apes stare in athim - they've never seen anything like it. A young ape - a little boy -stands with his grandfather.KIDWhat is it?GRANDFATHERSome... sort of human.KIDBut look at the eyes, 'Pa - they're the color of the sea. Where's it from?GRANDFATHERI don't know - a traveler, maybe. Nobody knows what lies beyond the Towerof the Moon.THE WORD "TRAVELER" IS PICKED UP BY OTHER APES. IT RIPPLES THROUGH THECROWD. A WOMAN ON THE OTHER SIDE OF THE WAGON CALLS OUT -WOMANNo it's not - it's a mutant.LABORERPut it in the zoo!A female ape pushes them aside. She's heavy-set, bright eyes, an air ofauthority about her. Over her shoulder she carries a leather satchel with aseries of steel instruments dangling from it. Her name is ZORA - she is adoctor.She and her ASSISTANT - a young male - swing themselves on to the cart.Kneeling beside him, Zora puts her hand down and grabs hold of Will'scrotch.ZORAWhatever it is, it's male.She rips open Will's shirt - his chest is covered in blood from the gapingwound.ZORA (CONT'D)Probe.The Assistant hands her a steel instrument. She slides it towards thewound. We hold on Will's face - a strangled cry but he doesn't regainconsciousness. Zore returns the bloodied probe to her Assistant. She callsout -ZORA (CONT'D)Drak!The leader of the ape warriors, riding close by, turns -ZORA (CONT'D)The animal's bleeding to death, my Lord.Drak rides up to the wagon.DRAKI didn't bring him all this way just to have him die.ZORA(to the assistant)Ben-Guri - get a vet. QuicklylAN APE IN A LEATHER APRONuses a grinding wheel to sharpen a gruesome looking knife. This is the VET.Will lies on a stone slab nearby - it's a sort of medical centersinks alongthe walls, racks of equipment, hoses to wash down the blood.The Vet cuts the clothing away from Will's wound. He turns to Doctor Zora -VETWe're going to have to give him blood.PRISONER IN A CELLHe's a tribesman - in his late 40s. Despite his tattered furs and hollowcheeks, he carries himself with dignity - he's a proud man. His name isARAGORN. On a chain around his neck he wears a metal ornament, likecrescent moon. Etched into it are strange markings and the totems ofvarious tribes.The sound of a key in lock. Aragorn turns - the cell door is thrown back.Three ape guards enter. Two of them, armed with spears, drive Aragorn intoa corner. The third ape has a leather collar on the end of a pole. He dropsit over Aragorn's head.Aragorn struggles but the ape jerks the collar tight. They drag him fromthe cell.TEAM OF HORSES- their flanks drenched in sweat - walk in a circle. They turn a huge wheelthat controls a series of pulleys and winches. Attached to the end of aheavy cable is a wooden platform - a primitive elevator. It runs from aseries of impressive house, down the side of the ravine, to the center ofthe city.Standing on the platform are Nazgul and several other elders. They lookdown on the central square. It's crowded with apes - soldiers are beinggreeted by their kin.ARAGORN LIES ON HIS BACKHe's strapped to a slab, half-naked, in the medical center. They've put agag in his mouth and though he struggles to free himself, he can barelymove.Will, still unconscious, lies on a table next to him. Nazgul peers down athim.NAZGULIt's human, you say?Doctor Zora nods - yes.NAZGULIt's even uglier than the others.He pulls a covering aside and looks at Will's naked legs.NAZGUL (CONT'D)How can he hunt with legs like those -they're like twigs. Maybe he'sdiseased.Everybody shrugs - who knows?The Vet heats a steel needle over an open flame. The other end of theneedle is attached to a length of animal intestine. It acts as a tube. TheVet grabs Will's forearm and slides the red-hot needle into the vein.Will's body jerks with the pain. Nazgul and the others spring back.For a moment Will's wrenched back to consciousness - he sees a light-filledroom, a bandage on his chest, a bladder full of blood hanging above him.His puts it together the only way he knows - he thinks he's in hospitalWILL(groggy)Help me. I've got health insurance. Honest...His eyes close as he slips back into darkness. Nazgul looks at Doctor Zora.NAZGULWhat is health insurance?DOCTOR ZORASome sort of religion...?The Vet turns and makes an adjustment to the bladder. Another length oftubing snakes out of it and is attached by a needle to Aragorn's arm. It'shis blood. Now we realize - this is the ape version of a blood transfusion.NAZGULDo you think this'Il work?VETYou can never tell with animals. Their bodies aren't as sophisticated as anape's. Sometimes their blood fights with each other. Either way, you knowreally quick -they get up and walk around, or they're dead.The Vet turns a little tap - Aragorn's blood flows down the tube. It hitsWill's vein.WORDS CHISELED INTO STONE"An Ape without knowledge is a fire without light."Euripadape IIIIt stands over the doorway of a building high on a ridge. This is the Hallof Learning. Ma-Gog - his lion skin cloak billowing behind him - hurries upthe steps.THE BLADDER OF BLOODis empty. Guards are collaring Aragorn, preparing to drag him out. The doorinto the room is thrown open. Ma-Gog enters. Nazgul and the others greethim but he barely acknowledges it *MA-GOGShow him to me.The Vet grabs Will's hair. He lifts up his head so that Ma-Gog can see hisface.The high priest takes a step back - there's something about Will that fillshim with loathing. Anger flashes in his one good eye. He stares at Will.His voice is Iow, almost to himself -MA-GOG (CONT'D)All my life I've dreaded this day.(turns to the others)Kill him.DOCTOR ZORAWe've just spent an hour trying to save him -MA-GOGKill him!He grabs the stand holding the bladder and throws it to the ground. DoctorZora takes his arm, stopping him -DOCTOR ZORAThe animal's unique, my lord. At least we should look at his brain. Maybeit's possible to remove the frontal lobes without killing him. Imagine - atame human!MA-GOGMan can't be tamed. Alone among God's primates he kills for lust or greed.He will murder his own brother to possess his brother's land.NAZGULThe doctor's only asking for a chance to experiment. The benefits would beenormous. A tame species of human could double food production, at last wecould dam the rivers.MA-GOGYou don't know what you're dealing with.NAZGULIt's just an animal, Ma-Gog.MA-GOGIt's not. That's the trouble.A movement on the stone slab. They turn and look - Will's eyelids arefluttering. He's starting to come round. itlHe turns to Nazgul In the name of God - summon the Council of Elders.Will's eyes are open now. Like through a glass - darkly - he sees the apeguards coming for him. He tries to struggle but he's very weak. They haulhim off.HEAVY IRON DOORset in a rock wall - on one side a key-hole. We tilt up the door to anarrow set of bars high above it. A face, straining with effort, rises upto peer through the bars. It is Will - looking like death but forcinghimself to do it, desperate to see where he is.INSIDE THE CELLThe muscles across his shoulders ripple. His one good hand clutches thebars. He hangs by it, supporting his weight, staring out at a vaultedunderground cavern. It looks like a cattle-yard, broken down and disusednowa series of long pens, wooden chutes and a primitive conveyor belt.Will can't support himself any longer - he tumbles to the ground. He crawlsacross the floor and examines the door. It fits tight to the rock. There'sno hope of picking the lock - the key-hole doesn't even come all the waythrough.Suddenly he stops. Nothing for a moment, then he hears it again - ascraping sound.He peers under the wooden bed at the stone blocks that form wall. One ofthe blocks moves. Will grabs hold of it and hauls it into the cell. Aragornsqueezes through from the adjoining cell. He looks at Will -ARAGORNSo you lived, then?WILLWhat did they do?ARAGORNThey gave you blood.He holds up his bandaged forearm - Will realizes where it came from.WILLI hope you had a medical.Aragorn looks at him - confused. From a distance, the sound of horseswhinnying.WILL (CONT'D)What is this place?ARAGORNIt was a slaughterhouse.WILLFor horses?ARAGORNThey use it for stables now. No - s different kind of animal. For humans.Will stares, taken aback. Aragorn starts to gather twigs from the cornersof the cell.ARAGORN (CONT'D)In my father's time, the apes rounded up tribes and brought them here.Young apes killed some during their manhood rites, the others were madesport of in the corrals. At the end, the bodies were thrown onto the beltsand fed to the fire.Aragorn has made a pyramid of twigs and leaves. From out of his cloak, hetakes two pieces of flint and strikes them. A spark starts the fire -ARAGORN (CONT'D)(softly)Death is stuck to these walls, stranger -sounds not even s thousand winterscan take away. Sometimes of s night they speak to me - I can hear thescreams of my people.Will looks at him. Firelight plays across their faces.WILLWhy haven't they killed you?ARAGORNThey keep me ss bait. My name is Aragorn -He lifts his hand to Will - palm outwards. It's some form of greeting. Willreturns it.ARAGORN (CONT'D)I am the Ranger of the Easterlings, the Leader of the Seven Tribes. Theyhope the warriors will come and try to free me.WILLAnd will they?ARAGORNNot if they fear my anger. I was taken in summer and now winter's almostgone. Even the apes grow tired - soon they'll make me walk the Paths of theDead.Will looks at Aragorn's eyes - they're fearless. The ornament glints on hischest. Will points at it -WILLwhat is it?ARAGORNIt's called the Crescent of Light - it's the talisman of my rank.WILLSilver.ARAGORNMithral is how we name it..Will reaches his hand towards it -WILLCan I borrow it?Aragorn recoils - this is the most precious thing in the world to him. Hishand closes around the insignia -ARAGORNWho are you? What brings you to the valley of the tribes?WILLI meant you no harm. I'm looking for woman, one of my own kind. Do you knowof people like me?ARAGORNNever.Will nods his head, accepting it. Slowly he reaches his hand out -WILLIf you want to get out of hare. I need the talisman. Aragorn.The two men look at each other. A beat - then Aragorn reaches up andunfastens it.THE TEMPLE OF THE APETorches burn on the walls. They cast a glow across the temple - theunderground stream, pools of water, shelves of rock hewn out of the walls.Several apes crouch on them, praying to a golden idol of an ape.Mist rises off of the pools. Moving through it, we see Nazgul, Drak and egroup of old apes. The Council of Elders is gathering. They pass through anarrow door -THE TEMPLE'S INNER CHAMBEROil lamps - hidden in alcoves - illuminate Ma-Gog. He stands in front of anancient book - strange symbols, like Sanskrit, run across its pages. Thisis the Book of the Lore.Ma-Gog looks at the Council of Elders seated in front of himNazgul, Drakand five other huge apes - all leaders in their time.MA-GOGHow many scrolls are there in the Book of the Lore?Nobody replies - the question is so obvious it needs no answer.MA-GOG (CONT'D)One-hundred-and-seventy-six, you say -every child knows that.(softly)But every child is wrong. There is one more scroll - the last scroll,sealed with seven seals, handed down from high priest to high priest...He slides his hand under the top of the pedestal and releases a hiddencatch. The top - the Book still resting on it - tilts up, revealing asecret compartment. It is lined with gold leaf. Lying in it is a slim folioof pages -MA-GOG (CONT'D)It is called the Scroll of Revelation.The Council of Elders stare in awed silence. Ma-Gog takes the pages out andunfastens the seals. He reads -MA-GOG (CONT'D)"And it was given unto me to know the wisdom of ages. A silence fell and Isaw a new heaven and a new earth. Like through a glass, darkly, I saw thefuture."The Council of Elders stare at him. He limps forward and stops in front ofthem. He recites from memory -MA-GOG (CONT'D)"Behold - there rose out of the earth a pale horse and the name of thehorse is Death. Those that ride on him are beasts, but like no beasts bornbefore. Their limbs are weak but their eyes are as cold as the sea. Theyare given power over the earth to kill with the sword and with famine andwith fire. And let him that hath understanding know the number of thesebeasts. It is the number of Man."He raises his eyes and looks straight at the Councilors.MA-GOG (CONT'D)Today we saw that beast. Mark those words, my Lords - "their limbs are weakbut they are given power over the earth". Now will you listen? Kill him!And if we don't? Then all hope will fail in this bitter winter.He lays down the secret scroll and closes the secret compartment. Nazgullooks from one to the other of the elders. Nobody says a word but he canread their grim expressions. He turns to Drek -NAZGULKill him. Kill him with the sword and with fire. Kill himlTHE KEYHOLE TO THE CELLIt's a shining bright image, slightly distorted. We pull back to revealit's a reflection. Aragorn's silver ornament has been polished to abrilliant luster. It's fixed to the end of a length of wood stickingthrough the bars high above the iron door.INSIDE THE CELLThe wooden bed has been smashed to pieces.Both Aragorn and Will have used parts of their clothing to harnessthemselves so they can see through the bars. Aragorn controls the pole withthe "mirror" on the end of it.By looking into it, Will can see the keyhole on the other side of the door.He has a pole with a nail attached to the end of it. He turns the pole,guiding the nail towards the keyhole. He's trying to pick the lock.WILLDo you understand time.., what time is it?Aragorn looks at the shadows in the slaughterhouse -ARAGORNSeven hours since the rising of the sun.WILLJust after noon...ARAGORNShouldn't we wait until night?WILL(concentrating)If I'm right, it's gonna be dark a lot sooner than you think.The nail is almost in the key-hole. Half an inch to go... a quarter. Itslides off. Will curses and starts again -THE SUNbeats down from a cloudleu sky. Drak and two huge Praetorian Guards - Maxand Hannibal - come through a huge stone portico. It's another entrance tothe Temple -one that opertl onto a central square. Orak and the two guardshurry across it. towards the slaughterhouu.THE NAILat the end of the pole slides into the keyhole. Will - barely breathing incase it breaks his concentration - listens carefully. He moves the end ofthe pole. The nail turns.HUGE SET OF DOORSare thrown open. Daylight spills into the slaughterhouse. Drak, Max andHannibal enter. Drak stops - he listens to the horses whinnying andstomping their hooves -DRAKSomething's wrong!(turns to Max)Get the dogs.HANNIBALmoves cautiously along the side one of the corrals, trying to see what'swrong with the horses. Behind him - a movement in the shadows.Sswhish. The sound of something slicing through the air. He turns -It's the side of Aragorn's hand. It chops hard into the ape's throat,shattering his larynx and blasting him into unconsciousness. He crumples tothe ground.Aragorn and Will strip him of his weapons. Will starts to go but Aragorntears a strip off both their shirts. He ties the fabric around the ape'sankles.WILLWhat are you doing?ARAGORNWatch - they're going to bring in the dogs.THE DOGSaren't really dogs at all - they're a much earlier ancestor. We call themwolves. There are two of them, on the end of heavy leather leashes. Theirhandlers have them in Will's cell, rubbing parts of the abandoned harnessesin front of their noses. The wolves take the scent.Drak watches as the handlers unfasten the leashes. The wolves leap out ofthe cell.HANNIBALrises groggily to his feet, clutching his injured throat. He takes a fewsteps forward -Grrrr! He turns - the two wolves fly towards him. He triesto yell but the only sound he can make is a squeak.He runs - the fabric, unseen by him, trails from his ankles. The wolvespound after him. He glances over his shoulder. First one wolf - then theother - leaps.Fangs and claws glistening, they hit him in the back, hurling him to theground. He writhes on to his back. One wolf tears at his ankles, the othergoes for his throat. Rip! Blood sprays as the artery breaks.A STONE PASSAGE-WAYWill and Aragorn are running, plunging down in to darkness. Arches andcorridors open off of it. It's like a labyrinth -WILLThis doesn't seem like the way out.ARAGORNWe're not going out - not yet.WILL STOPS, GRABBING HOLD OF HIM, TURNING HIM ROUND -WILLSo what are we doing?ARAGORN(softly)We're going killing.WILLKilling?! Don't be stupid -Will jerks on Aragorn's arm, starting to haul him back. Aragorn throws offhis hand -ARAGORNYou do what you like! But I'm the Ranger of the Easterlings -I won't leavehere until it's done.From behind them - the sounds of pursuit.WILLShit!He starts to run. Together they disappear into the gloom ahead.ROW OF CAGE-LIKE CELLSWill and Aragorn glide past them. They're taking it slowly, very carefully.Now we see why - ahead of them is a set of steel doors. Torches on eitherside illuminate a guard post but there's no sign of the sentry.Will and Aragorn move closer. They pass -CREVICE IN THE ROCKWe hold on the narrow opening, looking deep into the shadows. A big ape,heavily armed, stands there. He has his back to us, his legs spread. Atrickle of water runs down the rock and drains away - he's taking a piss. Ashadow flickers on the wall above him. He sees it -THE PASSAGE-WAYMoreshadows -Will and Aragorn are move through the torchlight. The steel doorsare straight ahead.The sentry slides out of the crevice - he's behind Will. Silently, backpressed again6t the bars of a cell, he creeps closer to Will. He has acurved knife in one hand and a short-handled spear in the other. Closer...closer.He raises the spear - a rustle of movement. Will spins - he sees the spearabout to thrust. He's a dead man.An arm? It shoots between the bars of the cell and locks around thesentry's throat, half choking him.Will leaps forward and drives the butt of a weapon into the sentry's jaw.The sentry crumples to the ground, revealing the face of the prisoner. It'snot a man, though -it's an ape. He's in his prime - barrel chested and afine head. His name is STRIDER.He and Will look at each other through the bars.STRIDERTwo rules in life - never play cards with anyone called Doc and never,whatever else you do, turn your back on an ape.Will stares at him. Strider grins. Will smiles back -WILLThanks. I'll remember that.He starts to search the sentry.ARAGORNWhat are you doing?WILLLooking for the keys.ARAGORNNo!WILLHe saved our lives.ARAGORNHe's an ape!Will shrugs himself free of Aragorn's hand -WILLYou go and kill as many apes as you like - I'm setting this one free.Aragorn looks at him. A beat.ARAGORN(softly)It's not apes I'm going to kill.A PRISON LABORATORYThe heavy steel doors stand open. Inside is a clean and gruesome room -sinks and instruments along a wall, a series of operating tables and a rowof cages.Behind the bars are six tribes-people - men, women and a little boy. All ofthem carry surgical scars on their heads. It's made two of them blind; theothers stare blankly into space.Aragorn moves down the cages. Several of them shuffle towards him butthere's no recognition - they're like the walking dead. Aragorn doesn't saya word. Grim-faced, he loads the crossbow and starts to fire, killing them.Will and Strider come through the doorway - they see Aragorn going fromcage to cage. Will steps forward, going to stop him. Strider's hand grabshis shoulder, restraining him.STRIDERLeave it. He knows what he's doing.Will turns and looks at him, questioning.STRIDER (CONT'D)The doctors operate on them - up here.(taps his head)The tribes think that we steal their souls...(he pauses - softly)Maybe they're right.Aragorn reaches the last cage. A woman - in her 20s - stands in the middleof the cell, looking at him. Aragorn stares at her face. His lip trembleswith emotion. She tilts her head on one side, as if trying to worksomething out. Tears fill Aragorn's eyes. She stumbles a step forward. TheRanger closes his eyes. He pulls the trigger. A crossbow bolt slams intoher chest and she falls.Will leans against the doorway, unwilling to watch, staring down thepassageway. He turns at a footfall - Aragorn rejoins them. His voice ishollow, as if something has died within him -ARAGORNIt's done. We can go now.He turns and leads them back down the passageway.THE WOLVESThere's five of them now, hunting through the slaughter-house in a pack.All around them we see the torches of the apes as they search the nooks andcrannies. The horses whinny wildly as they catch the scent of the wolves.Will, Aragorn and Strider are crouched in a corner of the corral, smearingtheir bodies with horse manure.STRIDERThe fresher the better. Cover everything -that's the only way you'll hideyour scent.The wolves sniff the air, coming closer. Will, staring through the rungs ofthe coral, sees their gleaming eyes coming closer. He raises his crossbow,getting ready.The wolves stop. They raise their heads and look - the whole cavern isgrowing dark. A giant shadow falls across the doorway into the outsideworld.The horses rear and buck. The apes are staring - darkness is falling in themiddle of the day. The wolves hackles rise in fear. They howl.Aragorn and Strider are cowering backARAGORNWhat is it?WILLCome on! Now!He drags them forward and grabs hold of one of the horses.AN UNEARTHLY LIGHThas fallen on the city. The apes are in confusion - soldiers and workersare running, children are screaming. A horse has thrown its rider and isbolting down the terraces.The darkness grows ever deeper. In the sky, the face of the moonobliterates the sun - it's a full solar eclipse.Two horses, flying at a gallop, charge through the doors of theslaughterhouse. Will is on one, Aragorn clinging to his back. Strider is onthe other. They wheel across an open space, through running apes, and speeddown a terrace.MA-GOGsteps out on to a rock ledge. He holds a staff in one hand, his cloakthrown back over his shoulder, magnificent in the eerie light. He staresdown at the chaos. Drak swings across a ladder and lands at his side -DRAKWhat is it?MA-GOG(wild)A sign - the hand of Man passes across the face of God! Lookl He points toa terrace below - Will leads the other two escapees along a road and on tothe iron bridge. Drak and Ma-Gog stare at them. Darkness engulfs them.Out of the blackness, an image -CHRIST ON THE CROSSIt's a stained-glass window in a huge cathedral. A priest is at the altarconducting Mass for the repose of the dead. We pull back to reveal a tinywhite coffin - just big enough for a baby. Next to it is another coffin.And another - a row of them.PRIESTAnd even now as sorrow has no end, we find comfort in the words of the LordJesus Christ. Did he not say unto Mark -"suffer the little children to comeunto me, for they are the Kingdom of Heaven. Now and forever." Amen.The congregation - sad-eyed relatives and weeping parents - fill the pews.CONGREGATIONAmen.Pall-bearers lift up the tiny coffins. The organ starts to play. A soloist- a tenor -steps to the side of the altar. He starts to sing the Latin hymn"Penis Angelicas". The haunting words of the hymn fill the cathedral. Theycarry over to -THE SPACE DOMEis lit up by banks of lights that turn night into day. The clock towerabove the biology building shows the time2.00am. Even so, the area bustleswith activity.INSIDE THE DOMEAn illuminated chart dominates one wall - just like the strategy map in thePentagon's war room. Every research center is identified - next to it isits function and a list of personnel. We see Princeton, Stanford, TexasA&M, Los Alamos. Tentacles reach out to Oxford, the Pasteur Institute, theUniversity of Beijing...Below the chart are nitrogen-cooled Cray super-computers. We track throughteams of men and women processing data, satellite dishes feeding acommunications network, a video conference taking place in a corner,technicians routing and re-routing phone calls and faxes.We come to a glass wall. On the other side is Diamond -A SMALL OFFICEGlass doors seal out the electronic hum. Diamond, staring through theglass, looks exhausted. DeMaupassent sits on a couch. He's in hisshirt-sleeves, dark rings under his eyes. Next to him is Bob, the youngneurologist. He wears jeans and a t-shirt. On the front it says"I'll sleep when I'm dead."The coffee table is piled with files, journal extracts and computerprint-outs. A video projector beams a complex molecular structure on to ascreen.Diamond rubs her eyes, trying to wipe away the fatigue.DIAMONDI'm sorry Luc - say that again.DEMAUPASSANTDEMAUPASSANT (CONT'D)(kindly)My fault, Billie - I rattle on too much. The result is - we've fixed thetime frame.He hits the projector - the image of a fetus developing normally in thewomb appears on the screen... deMAUPASSANTThe fetus develops normally through the first trimester. Then it happens -about sixteen weeks and two days, everything falls apart. The wholechemical structure goes out of control -He flashes up another image - a fetus that is already aging remarkably.deMAUPASSANTOnce it starts, it's irreversible. If we're going to stop it, we've got tointercede here -He points at the slide of the normally developing fetus.BOB(taking over)There's a trigger - some major fucking switch gets turned. That's what I'vebeen working on. It's definitely in the mDNA. There's a fragment of onechromosome I'm looking at -He flicks a switch on the video projector. A slide of a human gene,massively magnified, popl on to the screen.BOB (CONT'D)It's so different, I call it the alien. How it got there, exactly what itdoes - I haven't got the first idea.., no fucking idea at all.Diamond looks at his grim face. He seems totally defeated.DIAMOND(quietly)Is it that bad?He stares at the floor. There's not even a hint of the former arrogance.BOBSomeone's dropped us in the middle of the Louvre. We're blind men andthey've told us to find the Mona Lisa. There's four miles of galleries endwe've got five minutes to do it. That's how I feel -and that's when rmoptimistic.Diamond turns to deMaupassant.DIAMONDLuc?DEMAUPASSANTI'm sixty-two years old. I've seen us go from DC3s to landing on the moon.In my life I've won all the glittering prizes. I've always believed nothingwas beyond the reach of Man, but I'll tell you honestly - this may never beunraveled. If it is, it won't be in my lifetime.He looks at them. Silence. There's nothing anyone can say. He starts togather up his papers-DEMAUPASSANT (CONT'D)So what do we do? I think it's like Gatsby -"so we beat on, boats againstthe current, borne back ceaselessly into the past." There's no other way,ia there?They nod their hoods - you have to try. DeMaupaasant and Bob start toleave.DIAMONDLuc?(he turns))You're certain - about the time, I mean?DEMAUPASSANT(Nodding)Sixteen weeks. How far along are you?DIAMONDTwelve weeks.They look at one another. The old man speaks gently -DEMAUPASSANTGood night, Billie.A TINY FETUSperfectly formed - floats in the amniotic fluid. It's alive - the largehead sways, the heart beats through the translucent ribs.Diamond has her shirt pulled up and her jeans down around her thighs. Shelies on a stainless steel table in a hi-tach examination room. A complexarray of equipment -ultra-sounds and scanners - beams down on her exposedstomach. It projects a , video image onto a screen.She is alone in the room, manipulating the equipment herself. She stares upat the child growing in her womb. We see the genitalia.DIAMONDSo - you're a little boy. It's funny - I think I knew.She reaches up and gently touches the image of his face.DIAMOND (CONT'D)We've got four weeks. The way I see it -there's nothing to lose. I can'ttell you whet'Il happen to us. It's on the edge, mister. The air's so thinout there, we may not even be able to breathe. But what the hell - it's achance.She takes her hand away and looks at his face.DIAMOND (CONT'D)You want to try it? Sure you do. You're my son. We've waited all our livesfor each other.A STACK OF HAND-WRITTEN NOTEPADSlie on a table in the basement. We track through them - past computerprint-outs and dog-eared journals. We recognize them - these are Will'sdetailed notes.To the table is the makeshift lab - racks of bottles and syringes. In thedim light we see Diamond. She removes the catheter from her vein, turns andclimbs up the flotation tank.INSIDE THE TANKWater sloshes back and forth. Diamond lowers herself in and floats there.For a moment, she stares up at the circle of light spilling through thehatch. We hold on her face.DIAMOND (CONT'D)(softly)So we beat on, boats against the current.She reaches up and pulls the hatch shut. Clang! Darkness.THE SUN AND THE MOONIt's one of those strange twilights when both celestial bodies hang in thesky together. Smoke drifts across them. We tilt down to ape city -A column of smoke and flame spirals out of a stone chimney on top of theslaughterhouse.RED HOT FIREburns in a huge furnace at one end of the slaughterhouse. The ricketyconveyor belt is working, clattering away. Several ape workers throw thebodies of the lab animals - the dead tribes-people - on to the belt.The body of the young boy is carried forward on the belt. It dumps him intothe furnace. The flames engulf him.WILL'S EMPTY CELLThe door hangs open. The space is lit by a dozen torches. Drak is alone,moving around the cell, trying to work out how Will escaped. He looks atthe smashed bed, the hole in the wall, the torn clothing that made theharness.He swings the heavy door on its hinges and touches the lock. No answersthere. Lying in the doorway is the length of wood with the nail in the end.Drak picks it up. He turns it over in his hand, th!nking about it.He jumps! One handed he catches hold of the bars above the door.Effortlessly, he hauls himself up and pokes the wood through the bars. Thenail touches the lock.DRAK(to himself)Clever... you clever fucking animal.DOCTOR ZORA (O.S.)My lord...He turns and sees the doctor hurrying towards him.DOCTOR ZORA (CONT'D)(urgent)Could I see you please?THE HALL OF POWERis a magnificent room - stone columns and towering trees growing in hugepots. At one end is a rock shelf - open to the gathering twilight.Silhouetted against it, commanding a view of the entire city, is theCouncil of Elders. They sit around a table made from bone and tusks, deepin discussion.Nazgul looks up - he sees Drak approaching through the shadows.NAZGULDrak. I was just saying - maybe it's a blessing.DRAKA blessing?NAZGULWhere there's one, there must be others. If we'd killed him, we might neverfind them.MA-GOGBut the animal's not stupid - he knows come day-break we'll be trackinghim. Who's to say he'll run for home?Drak stops in front of them.DRAKNo - he's not stupid. But even dogs hunt in packs of seven. Every animalneeds its kind. And when we find them - what then?MA-GOGWhat do you think?!DRAKJust like the tribes - burn them out of their holes, put them to the sword?I don't mind doing that - I like it - but it's never enough, is it? Nomatter how many we kill, every year they're still here. Why will it be anydifferent with the Blue Eyes? What we need is a final solution.NAZGUL And where do we find that?DRAK (CONT'D)Doctor Zora's brought back patients from a place called Kismatu. I've beentalking to her about it -Several of the Council are looking at each other - perplexed.MA-GOGWhat is Kismatu?NAZGULIt's a tiny colony farther out than even the northern frontier. Females andbabies have been dying there.He turns to Drak - his eyes intense, very interested.NAZGUL (CONT'D)Go on.COOL AND LOVELY ROOMThere are iron barn on I series of high windows but in the middle of theroom is a jungle-gym. Underneath it are ape toys. Five baby apes sit oncots. They must be no more than two or three years old but their faces endbodies are those of old, old apeswizened and wrinkled, frail with age.A double set of bars provide a sort of air-lock. Hanging on them is a sign"Quarantine. No Entry".Drak and the Council of Elders stare in at the children. Doctor Zora iswith them - she's nervous, twisting her fingers.DOCTOR ZORAWe don't know what causes it- a virus probably. I'd hoped to complete ourresearch before I came to you with my proposal. But, given thecircumstances -NAZGUL IIt's a brilliant idea.(turns and smiles at her)Brilliant.HORSES' HOOVESpaw the ground. They're bound with cloth to stop them leaving a trail. It'snight -the horses are tethered near a fire burning in the lee of a rock.Will and Strider have made camp - a hare roasts over the fire. Aragorn sitswell apart - a silhouette in the moonlight - staring out into the forest,lost in his thoughts. Will and Strider look at him.STRIDERHe's their leader - he can never take his eye from the mountain. He has todo what he thinks is right.WILL(hard)By killing them?STRIDERDon't judge him, Will. I couldn't have done it. I wonder if you could? Oneof those women he just killed wes his daughter.Will reacts. He turns and stares at the silhouette. A long beat.WILL(quietly)We call it a Iobotomy. What other things have you people tried?He turns to face him. Strider shrugs. There's something about it -something almost evasive.WILL (CONT'D)Fuck you, Strider! Tell me!He stares at Will - he's never seen him angry.STRIDERdon't know if it's true.., my sister's mate works in the lab. He saysDoctor Zora's working on some disease -Will comes towards him -WILLWhat sort of disease?STRIDEROf the children, I think - ape children.WILLHow did they die, Strider? Old in the belly -is that how?!STRIDERSome of them. You know this disease?Will stares at him, taking it in.WILL(softly)So that's how it happened. Fuck you people.STRIDERThey haven't done it yet. It may not work.WILLThey will and it does.He turns end takes step towards the forest. He runs his fingers through hishair -WILL God help us.STRIDERThat's funny - that's exactly what an ape would say.Will turns. He and Strider stare at one another - the ape and the man, bothstruck by the sudden commonality.STRIDER (CONT'D)I'm sorry...Will walks slowly back to the fire. Strider starts to strip the meat off ahare he's roasting over the flames. He offers it to Will. He shakes hishead - he's not hungry anymore. He stares into the flames -WILLWhat about you, Strider - why were you in the cell?STRIDERI fought another ape. Nothing very heroic, I'm afraid - I was drunk. Hefell badly, his head hit the branch of a tree going down. It broke hisneck.He pauses We're not like humans. An ape never kills one of his own. Never.WILLWhat's the punishment?STRIDERAt the ceremony of summer rites, the high priest would curse me with death.I would have been left to die in the forest -no journey over the waterfall,no-one to say the sacred words. Without that, no ape can walk in the nextworld. You saved my life, Will and I'm grateful. But there's nothing I cando about my soul. I'm a dead ape walking.Strider stripe more meet off the hare. Will picks up a saddle and blanketand starts to make himself bed.STRIDER (CONT'D)You knew, didn't you? You knew the sun was going to swallow the moon.That's why you weren't afraid.Will pauses - then he turns to him.WILLYes - I knew.STRIDERWHO ARE YOU, WILL?WILLI've come a long way, Strider - it's farther then I can explain.STRIDERI've heard stories - old apes tell them 'round the fire late at night - ofstrange lands where the creatures can tell the future. Is that where you'refrom?WILLIn a way.. yeah, it's something like that.STRIDERSo what happens to it afl, to the world we've built? Tell me that.WILLIt passes away.Strider stares at him through the firelight.STRIDERHistory remembers, though - it's passed on, what we did, I mean?WILLNo, Strider - there's nothing, not a trace left behind.Strider thinks for a moment, then he smiles gently.STRIDERSo it's just vanity then - what we believe, that the works of the ape willlast forever?WILLYes, it's vanity. But not just of apes, Strider -maybe of men, too.He turns and settles down on his makeshift bed. Strider - the foodforgotten - stares out into the night. A million stars hang on a velvetsky.Look down from them - in the vast blackness of the forest, one tinylightthe flickering fire.DUST SWIRLING, HOOVES POUNDINGbattalions of ape cavalry sweep out of the stables. Dawn is breaking acrossthe city. Ma-Gog stands on a ridge, his staff raised, blessing the army asit rides out.At its head is Drak. He clatters across the iron and wood bridge and downthe avenue of idols. Votive fires burn in front of every statue.A RAINBOWarches across the end of a tiny gorge. Dozens of streams cascade intopools, spilling over ledges and swirling into ponds. Aragorn leads Will andStrider along a hidden, path - a rock ledge that runs behind thewaterfalls.The ledge widens into a large cave. Sunlight streams through a veil ofcascading water. Aragorn looks around - something's worrying him.ARAGORNThis is the Rainbow Tribe's cave. They should be here.A STONE FIREPLACEAragorn places his hand on the circle of stones, feeling its warmth.ARAGORN (CONT'D)They left at the rising of the sun.He moves deeper into the cave - a maze of limestone caverns andpassage-ways. He stops at sleeping area - weapons lie there, food inbaskets.ARAGORN(softly)Why such hurry?Suddenly he stops, listening. He looks at Strider -ARAGORN (CONT'D)You heard it?Strider nods his head - yes. Will hasn't heard a thing. He listens hard -nothing.ARAGORN (CONT'D)Animal?STRIDERI don't think so.Strider moves silently to the side of the cave. He picks up a crossbow.STRIDER (CONT'D)Is there another entrance?ARAGORNFrom the ridge above. Apes?STRIDERScouts probably.He cocks the crossbow. Aragorn has picks up a bow and spear. He movestowards a cavern, signaling Strider to take a passageway.Will grabs a crossbow. Strider tosses him a chain mail vest - armor. Theymove off.HONEYCOMB OF PASSAGESeep in the cave. A sound - pebbles falling off a ledge. Then we see aflicker of light - a torch is moving through a cavern. Whoever holds it,turns a corner and is lost in darkness.A CROSSROADSof arches and stalactites. Will and Strider split apart. Will movessilently through the darkness, into a cavern. Through an archway he sees ashadow on the wall! He goes fast towards it -A HUGE BOULDERThe shadow comes round the boulder. We tilt down and now we see who'sholding the torchDiamondl She's armed with a crossbow - cocked end loaded.She turns a corner -Ten feet in front of her is Strider. She stares at the massive ape's back -a bandoleer of arrows slung over his shoulder. Her eyes widen with fear.She raises the crossbow -Strider hears it. He spins, weapon rising -turns into a passage midway between them. He sees Diamond about to fire. Hescreams -Too late - she pulls the trigger! Will hurls himself forward - in front ofStrider. Whack! The arrow blasts into his chest. He crashes to the ground.Diamond stares down at him.DIAMONDWill!His eyes open - he's gasping for breath from the impact. He and Diamondlook at one another. Strider reaches down and rips the arrow out of Will'schain mail armor. Diamond's shoulders sag with relief.DIAMOND (CONT'D)(indicates Strider Who's he?WILLI'll explain later.He struggles to his feet and looks at Diamond -WILL (CONT'D)What made you come? I thought the mDNA was just a theory. One of dozens oftheories - isn't that what you said?DIAMONDWe did a lot of work. I guess I was wrong.WILLPeople have been wrong about a lot of things.THE GREAT VALLEYstretches out below - primordial forests and cascading streams. Will andDiamond stand on a rock ledge outside the cave.WILL (CONT'D)This is the rift valley in Kenya -He points at the towering, snow-capped peak.WILL (CONT'D)That's Kilamanjaro - ten thousand feet higher but a hundred thousand yearsof wind and rain will turn it into the mountain we know. Think of it -we've come back a hundred thousand years! Everyone told me it couldn't bedone, but we've crossed the frontier now - Man has traveled through spaceand time. How long has science dreamed of that?DIAMONDHow long have you?WILLAll my life.DIAMONDDream no more. You've done it. Like you said in your note - it was DoctorRobert Plant of UC Berkeley.WILL turns and looks out at the valley -WILL(softly)Yeah - I really have, haven't I?Diamond watches him. There's a shout from inside the cave -STRIDER (O.S.)Aragorn - I've found it!A CAVE PAINTINGNewly-drawn, is hidden in e nook high up in the main cave. Strider, Willand Diamond watch aa Aregorn looks at it by torchlight.ARAGORNI thought they would leave word for their hunters. Kip-Kena has called agathering of the Seven Tribes.WILLWhere?ARAGORNTwo days' travel - at the Eagle's Nest.He looks out through the mouth of the cave - twilight is closing in.ARAGORN (CONT'D)We'll stay hera tonight. Be ready to leave at first light.THE EMBERS OF A FIREburn in the circle of stones. Aragorn and Strider are sleeping next to it.Will and Diamond have been awake all night. They sit in the shadows nearthe entrance to the cave, speaking quietly.DIAMONDAn ape civilization? You said there was a city.., what happened to it all?WILLYou know what we've found of Aragorn's whole race? Seventeen bones, that'sall. Anthropologists have discovered evidence of the apes - we call themskulls. Bones last a lot longer than civilizations.DIAMONDI guess there's a lesson in that.WILLListen, Billie - the apes have discovered a disease.Diamond reacts. Will crouches down - in the dirt he scratches out a smallchain of circles. It's a molecule.WILL (CONT'D)It's really rare and, lucky for them, it's in an isolated area. They're notstupid - they understand it's potential. They plan to give it to the tribes-He draws an arrow from the molecule to a bow-legged stick figure of a man.WILL (CONT'D)And maybe they do, but it doesn't matter -Aragorn's people aren't us.Already evolution's taken another track -scratches a cross through the bow-legged man. He draws the figure of anupright human.WILL (CONT'D)Somewhere in the rift valley is someone like us - the first man.DIAMONDWoman. You said it was in the mitochondrial DNA - it has to be a woman.She reaches forward and scratches long hair on to the figure's head.WILLYou're right. Sooner or later the apes find her. She doesn't look like thetribes but the apes don't care - she's human.So they give her the disease. She's different though - it doesn't work, orat least it doesn't seem to. It gets integrated into her. It's passed on,it mutates, it weaves its way into the mDNA. It lies there - a bomb waitingto go off. And then one day -DIAMONDAfter a hundred thousand years?WILLThe planet's five billion years old. What's that to Nature? A blink of theeye.Will throws the stick down on the ground.WILL (CONT'D)That's the theory, anyway.DIAMOND(impressed)A helluva theory, Doctor Plant.HE TURNS AND LOOKS IT HER -DIAMOND (CONT'D)There's not much time, Will. We have to find her before the apes and wehave to do it within four weeks.WILLJesus, Billie! Four weeks? We've got a theory - that's all. We don't evenknow half the problems we're dealing with. You can't put a deadline onscience.DIAMONDScience, Will? What about people? Isn't that what this is all about. I'msorry - I thought there were children dying.WILLSure. Of course it's about that too.DIAMONDBut then, you don't care muchabout people do you?THEY LOOK AT ONE ANOTHER. A BEAT. WILL'S VOICE IS HARD -WILLNo - I guess I don't. Not for a long time. Ideas and knowledge are whatmatter. They're the shining ideals. That's the only way we progress.DIAMONDProgress to what? We're both children of our age, aren't we? We've grown upto believe the more we know, the more advanced we are. But what does thatmean if we've forgotten the things of real value. You know the reason Icame? It's got nothing to do with science or knowledge. I'm going to have achild -that's why I'm here.They look at one another.DIAMOND (CONT'D)Uke you said, the women's out there somewhere. Why ere we traveling withthem?(indicates Aragore and Strider)We should cut ourselves loose.WILLWe wouldn't last a day. We've got to keep moving, Billie. The apes are likestorm-troopers.DIAMONDWhere are they now?WILLRight behind. I think Strider has some sort of tribal intuition. He says hecan hear their hoof beats in his head.The first rays of dawn pierce the mist from the waterfall. Will and Diamondturn at a sound behind them - Aragorn is getting up.ARAGORNReady?A SPARKLING RIVERwinds through a beautiful valley. The two horses splash along the water'sedge. Strider and Aragorn are mounted on one, Will and Diamond on theother. They turn a curve - Aragorn leads them out of the shallows and intothe forest.THE CAVE OF THE RAINBOWApe soldiers are swarming over the cave. A TRACKER uses torchlight to studyfootprints. He looks up at Orak -TRACKERThere's four of them, my Lord.DRAKFour? The Tracker points It a at of prints -TRACKERIt's woman. Blue Eyes has a mate.DRAKExcellent. I look forward to meeting her.SOLDIER (O.S.)My Lord - hoof prints.Drak turns - the man stands on a path that curves up towards the roof ofthe cave. Drak looks up - high above he sees a slash of daylight. It'sanother entrance.DRAKMalakai! Bolag!Two heavily-armed officers emerge from among the soldiers. With Drak theyrun for the wall. They leap up the rock face - their massive hands grabbingtiny ledges.Other apes follow them. They scramble up the wall with amazing speed.AN EAGLE CIRCLESSoaring and hovering in the sky. We tilt down a tribesman - dressed inskins edged with feathers - is perched high on a jagged peak. He's aLOOKOUT. He tenses -Four figures on foot appear on a path cut into the side of a cliff. TheLookout gives a piercing crythe sound of an eagle. It carries down to -SERIES OF WOODEN PLATFORMSare built into the rocky crags, opening into caves. They are connected byladders and bridges slung across dizzying drops. The inhabitants here livewith their totem -this is the nest of the Tribe of the Eagle.The platforms and caves are crowded with the gathering tribes. People turnat the Lookout's cry. A man pushes through, listening - it's Kip-Kena.THE LOOKOUT POSTKip follows the direction of the Lookout's pointing finger. Will andDiamond lead the other two - all on foot now - along the path.KIPIt's the traveler! With a woman...The Lookout shields his eyes against the sun - the visitors ere comingcloser.LOOKOUTThe fool - he's brought an ape with himl He reaches for a bow but Kip'shand falls on his arm, stopping him.KIPWho's the other one, though?(realizing)Aragorn!He turns, yelling down to the platforms -KIP (CONT'D)It's the Ranger! The Ranger is free!ON THE PLATFORMSThe tribes-people burst into action - running for the bridges, scaling theladders.A WOODEN BRIDGE SWINGS THROUGH THE AIRWhack! It locks into place on the far side of a deep crevasse. It's aprimitive drawbridge. Aragorn steps on to it, leading the others across.The tribes-people are gathering, eager to greet him. Then they see Strider.A ripple of fear and anger runs through them.ARAGORNThe ape travels with me - treat him as a friend.Nobody argues with the Ranger. He stops in front of Kip. The young warriorstarts to bow his head but Aragorn stops him. He puts out his arms - theyembrace.Will crosses the bridge. Kip sees him. He grasps Will's arm in greeting -KIPYou carry part of my spirit with you -I owe you my life. Welcome, Traveler.INSIDE THE EAGLE'S NESTA series of caves, connected by vaulted arches, extend in to the mountain.They're crowded with members of various tribes - children are playing,flint-knappers are fashioning tools, women ara cooking.A shaft of sunlight strikes a ledge high up the wall. Kip and Will havefound a quiet place amid the bustle.WILLAre the seven tribes here?KIPAll except the Antelope. They hunt the plains far to the west - they havethe longest journey.WILLWill they come?KIPWho knows - maybe the apes have found them. Nobody has seen them for manysummers gone. Why?WILLI'm searching for someone - a young woman. She looks like us ...(he indicates Diamond))I thought she might live with the tribes.KIPIs she a relative - was she born to your hearth?WILLTo all of our hearths. My race reveres her. We think of her as the firstwoman. Without her. our lives are nothing.KIP(nodding his head)Women are of the spirit - we believe that. too. Mother Earth mates with thetotems. Only through woman can their children walk the world.WILLHave you seen her?KIPNO.WILLYou're sure? Perhaps some of the women have seen something?KIPShe looks like you, you say? No offense, Traveler, but the women say you'rethe ugliest man they've ever seen. A woman that looks like you - I'm surethey would have talked about it.WILLUgly?They smile at one another.KIPI'm sorry I can't help.A torch flares below. Kip looks down into an adjoining cave. It's emptyexcept for a group of men - all warriors - filing in. These are the leadersof each of the tribes.ANOTHER TORCH IS LITThey ring the walls of the small cave. By their light we see the skins, thefeathers and the symbols of each tribe's totem - the eagle, the tiger, therainbow...Beneath each one squats its leader. One place is empty - the Tribe of theAntelope. Will sits near the entrance. He watches Aragorn - dressed inceremonial robes, the Crescent of Light glistening at his neck - rise tohis feet.ARAGORNWe've traveled without rest - there are soldiers a day behind. The ape saysit's an army.KIPAnd there are more coming from the north. Five squadrons et least, therunners say. It's led by the old warrior Nazgul.ARAGORNIs that why you called the gathering?KIPGreat things are moving, Ranger -An old man, battle-scarred and gray, leans forward. He is the leader of theRainbow.A RAINBOWA stranger walks out of the west, the moon hides the sun, armies are on themarch - come the new moon, nothing in Middle Earth will be the same.Others nod their heads in agreement.KIP (CONT'D)We either fight or flee - the Tribes must decide.ARAGORNI know you, Kip - you always were a fighter. What do the others say?warrior in a feathered cloak speaks -EAGLEIt doesn't matter what we say - the Ranger has returned. We'll followwherever he leads.Aragorn looks at their faces. Slowly he shakes his head -ARAGORNI'll walk the path Mother Earth has laid for me, but I'll walk it no moreas Ranger.The leaders stare at him. Several start to object but he silences them withhis hand -ARAGORNA man leads from his heart and winter has come early to mine.(softly)I took the life of my daughter - and some of your kinfolk with it. I did myduty -nothing more can be asked of I men. But now others must walk in myplace.He walks forward, unfastening the Crescent of Light. He stops in front ofKip -ARAGORNIf I should have had a son, I would have hoped for a man as fine as you.This is my last act as Ranger of the Easterlings-He reaches out and slips the Crescent of Light around Kip's neck.ARAGORN (CONT'D)Take care of my father's people. Guide them well.(he looks at the leaders)You must decide what is best for the Tribes. For me... I was the one thathad to strike the blow, but it was the apes who killed my child. Tomorrow Iwill go to fight them. What father could do any less?He turns away and walks towards the entrance. Only Will sees the tears inhis eyes.KIDS' FACES, WIDE-EYEDThey huddle together - staring at the strange-looking woman and the ape.Strider is building a small fire at the side of the cave, Diamond lays downfurs for sleeping. , She looks up - the leaders are coming out of themeeting. Will approaches.WILLThey're going to war. They leave at dawn.STRIDERThey'll be slaughtered.WILLThey think if they leave the valley, their totems won't follow. Withoutthem, they say they're dead anyway.DIAMONDWe should go now.Will looks at her. She meets his gaze. Suddenly she realizes -DIAMONDOh, nol We're not fighting someone else's war -WILLListen to me -DIAMONDWe've got four weeks, Willl Four weeks to find her. She's not here, so whetare we waiting for? Let's go!The tribes-people turn at the raised voices. Will takes Diamond's arm andguides her to a private corner -WILLListen, Billie! We know the future - but if we beat the apes, they can'tharm the woman.DIAMONDBeat the apes?! And say we don't - or say one of us gets captured. Whatthen? Don't you understand? Four weeksiWILLYeah, I understand - but those things aren't going to happen. We knowthings the apes can't even dream of. This is our world, Billie - men won itwith their minds. All we need is knowledge and science. We've got themboth. We can win!DIAMONDWhat are we going to do - dazzle them with calculus? This is an army, Will- you said it yourself. Storm-trooperstWILLLook -He bends and picks up s rock from the ground. He hands it to Diamond -WILL (CONT'D)Taste it. That's saltpeter - the natural form of potassium nitrate. Thecaves are littered with the stuff. You've smelt the air - there's sulfurall around. If we burn timber, that'Il give us charcoal. You're s scientist- you know what it means.Sure - she knows what it means. She stares at him.DIAMONDIt's strange, isn't it? Give s man s problem and the first thing he thinksabout is weapons.WILLWe're a frail species, Billea. It's only weapons that have made us biggerthan we are.DIAMONDOr smaller.WILLIt's the apes who are going to be a whole lot smaller after this. We canbeat themi No more experiments - no more problem.DIAMOND(quietly)I hope your right, Will.FIRES BURNall over the eagle's nest, turning piles of timber into charcoal. The campis a hive of activitycolumns of tribes-people make their way up from thevalley carrying piles of sulfur rock; women and children sit in circles,pounding the saltpeter into dust. Will moves among the tribal leaders,watching as they measure and combine the elements in bowls.Strider sits apart, watching, not sure if the humans have lost their minds.STRAW MAN FLIES TOWARDS USHe looks like a scarecrow except he's dressed in captured ape armor. Riggedto a flying fox, he speeds past a rock face. All of the tribes-people aregathered on the side of a crevasse, watching.The straw men flies closer - towards a rocky outcrop. Will touches aburning ember to the ground. We see a flash of flame as a fuse ignites butwe lose it among the rocks. A thin trail of smoke marks its passage.The tribes-people watch - nothing seems to be happening. Suddenly - just asthe straw man reaches the outcrop -Ka-boom! A huge explosion. Fire and flying rock hit the straw men.The tribes-people scream. Terrified, they turn and run. Smoke and dustobscure the flying fox. Will walks forward to examine his handiwork.Tribes-people peer out from their hiding places - the smoke and dust clear.They see the tattered shreds of the straw man hanging from the rope.Several of the women start to cry in fear.Will stands on the edge of the crevasse. He turns - Kip, Aragorn and theother leaders are approaching. They look at him with trepidation.KIPYou make fire from rocks of the earth -what is this thing?WILLGunpowder.Kip turns to the others. They repeat the word, as if that will unlock itsmystery.WILL (CONT'D)We've still got work to do.He turns and goes. The tribes-people, emboldened by their leaders, comecloser. They draw back from Will as he makes his way through them. He comesface to face with Strider. The man and the ape look at one another.STRIDERApes believe men are the devil's children. Maybe they're right. What haveyou done, Will - what have you unleashed on the world?WILLNothing, Strider. The future, that's all.STRIDERI can't fight with you tomorrow, Will. To kill an ape in a brawl is onething, but I can't go to war against my people.WILL(kindly)I never expected you to.Again they look at one another. Will turns and leaves.WATER FLYING, HOOVES POUNDINGDrak and his cavalry, pennants flying, gallop along the edge of a river.Ranks of infantry, followed by horse-drawn supply wagons, travel behind.The river swings around a point thick with trees. We crane up above thefoliage - a tributary flows clown the other side. Marching through theshallows is another army of apes. At their head, on a stallion, is Nazgul.The two squadrons converge at the end of the point. The foot soldiers meldtogether, the Praetorian Guard splash ahead, Drak and Nazgul ride side byside. Ahead, the river and its tributary pour over a broad rock ledge. It'sa natural weir -THE FORD OF THE THREE RIVERSA jumble of logs and broken branches lie snagged in the middle of theriver. The Praetorian Guard sweep past them and turn on to the weir.The Guard spur their horses forward, forcing them through the fast-runningcurrent, crossing to the other side -IN THE TREESA shadow of movement. Tribesmen glide through the dappled light of theforest, almost invisible in skins and camouflage.Will and Kip stand motionless, deep in shadow. They watch as the Guard ontheir horses come thundering across the ford, straight towards them. Theinfantry are close behind. Will drops his hand -TRAILS OF FIREwhip along the ground - out of the forest and on to the flattened rocksthat form part of the ford. The Guards' horses shy away. The apes look downin puzzlement -Boom! Boom! Booml Sections of the weir explode in plumes of rock and water.Apes are cut to pieces, horses are hurled into the fast-flowing water.On the far side - Orak's horse rears up. He drives his spurs into itsflanks, trying to control it. Clouds of dust and smoke billow across theweir, the wounded are screaming - the ape cavalry wheel and turn inconfusion.Drak plunges forward - chaos all around him. He pounds his chest with bothfists and roars -DRAKApes - chargelThe apes still on their horses hear his cry. They spur their mountsforward. The first of the cavalry reach -THE SHOREBoom... boom! More explosions rip the river bank to pieces.IN THE FORESTBatteries of cross-bows are mounted on a series of long wooden frames. TheEagle leader and his warriors run from one to the other, touching flames torope fuses. Fire sizzles towards the crossbows, each one loaded with acharge -Bam...bam...bamf The scores of crossbows fire.ON THE FORDThe ape cavalry are plunging through the smoke and debris. Wham! The hailof arrows cut them to pieces.Drak is in the middle of a whirling mass of apes and horses. He looksthrough the smoke - into the forest. He sees Will, standing on a rock withKip, like a general commanding his army.Drak bellows with rage. He snaps the reins, about to drive his horseonward. An arrow flies in from the flank. Whackt It slams into Drak's chestarmor, splintering. He turns -THE JUMBLE OF LOGSfloats in the middle of the river. The leader of the Rainbow Tribe, waterstreaming off of him, kneels on the tangle of trees and branches, reloadinghis bow. This is no jumble of logs - it's a firing platform they'veanchored thereldozen Rainbow warriors, hidden in the water, clamber out of the river. Theykneel next to their leader, drlwing their bows -THE FORDDrak watches es I flight of arrows slam into the milling ranks of apes.Right in front of him, an arrow rips through the throat of the leader ofthe Praetorian Guard. Drak turns to Nazgul, yelling -DRAKThe ones in the river - take themi Nazgul spurs his horse back across theweir.ON THE SHOREApe cavalry and infantry scramble up the river bank. Bam! They hear thecharges go off - the hurl themselves down. Another volley of arrows scythesthrough them -IN THE FORESTThe Eagle leader and his men work feverishly to reload and recharge thebatteries of crossbows. One of the warriors looks up - terror on his face.Drak, followed by the remnants of his Praetorian Guard, charge through theblue haze of gunsmoke - straight towards them.One of the crossbow batteries fires! Arrows hit his horse's armor but Drakdoesn't falter. Crouched Iow in the saddle, he spins the Gatling gun like agunslinger. He locks it under his arm.The eagle warriors start to break and run. The apes' horses sound likethunder rolling closer. The Eagle leader and several of his warriors standtheir ground, desperately working to reload.They spin the battery, sighting straight at Drak's chest. They fire! Arrowsfly -Drak leaps out of the saddle! He catches hold of an overhanging bough. Thearrows whiz underneath, skimming his butt. He leaps again - higher into thetree.The Eagle leader looks up - sunlight sparkles on the leaves. It's dazzling-Smash! Drak's sword cleaves through one of the warriors. Drak has droppedto the ground, right behind them. The Eagle leader turns - too latelRat-a-tat-tat! The Gatling gun fires. Arrows shred the Eagle leader'sfeathered coat. He crumples to the ground like some fallen bird.THE FORDThe ape infantry pour across the ford, charging over the bodies of theirfallen comrades.THE FORESTRiderless horses, part of the ape cavalry, charge wildly through the trees.We tilt up - their riders have abandoned them and taken to the trees. Thebranches are thick with apes firing, cutting down groups of runningtribesmen.THE ROCK PLATFORMWill and several tribesmen hurl camouflage aside revealing a long ironbarrel wedged in the rocks. One of the warriors tilts it up, aiming it atthe trees; another stokes pebbles and scraps of metal into the barrel.Will touches an ember to a fuse. Everyone dives for cover -Boom! The primitive cannon fires. The shrapnel hits the trees. Shreddedapes, branches and leaves fall to the ground.Will and the warriors reload. Again they fire - but the charge is too big.The whole cannon breaks free of the rocks. It flies like a missile andsmashes into the trunk of a tree. Timber!A ROCKY GORGEIts rugged walls are lined with piles of huge boulders. Aragorn and a groupof warriors are fighting hand-to-hand, being forced back by scores of apeinfantry.Aragorn drives his spear at a huge ape. The point plunges into the animal'sbelly, up and under his armor. Blood spurts out from the joins in themetal.IN THE TREESAn ape sharpshooter sights down his crossbow - straight at Aragorn. Hefires -AMONG THE BOULDERSWham! The crossbow bolt smashes into Aragorn's shoulder, sending himreeling. One of the tribesmen turns - it's Kip. He sees Aragorn on hisknees.Kip wields a sword, fighting his way towards Aragorn. Slash! He takes oneape across the chest. Whaml Another ape in the neck. He grabs Aragorn andstarts to drag him out of the melee.IN THE TREESThe ape sharpshooter has Kip in his sights. His finger reaches for thetrigger. He starts to squeeze -Sswhishl The sound of an arrow. Whackl It buries itself in thesharpshooter's neck. He falls out of the tree -HIGH AMONG THE BOULDERSWill. He stands almost at the top of the gorge, lowering a crossbow. Helooks down at Kip's men - the apes, vastly superior in numbers, areswarming forward, driving the tribesmen back.On a ridge below him, four tribesmen scramble away from huge boulder. Aflash of fire then - Ka-bam!ON THEGROUNDApes are rushing forward. They hear the explosion. Several apes turn - thehuge boulder, split into chunks, flies towards them. The apes scatter.Smashl The chunks knock apes aside like skittles.But there's more of them behind, spilling in to the gorge, over-running it-THE DUST FROM THE EXPLOSIONswirls past Drak. He looks up - he sees Will on the ridge, silhouettedagainst the sky.Drak snarls deep in his throat. He wheels his horse and gallops hardtowards a trail that winds up among the boulders.ON THE RIDGEWill moves fast along the top of the ridge. He stops - looking down on theriver. On the other side, Nazgul and a platoon of apes unload huge leatherbladders from the wagons and empty them into the river.Will shades hil ayes - the water glistens with iridescent colors. Herealizes - it's oil.The current carries it straight towards the platform in the river. Thewarriors of the Rainbow tribe - unaware - are still aboard, firing at theapes on the ford.Will turns fait - wa whip pan along the shoreline. He sees what he feared -two apes below him with a fire burning. They slot flaming arrows into theircrossbows -Will unslings his crossbow, steadies himself and fires -Ks-whack! The arrow rips through one ape's neck. He pitches forward -heed-first into the fire. The other ape hurls himself aside, diving forcover.Will re-loads. The side of the ape's head is just visible behind a rock. IfWill makes this, it's going to be a helluva shot.His finger curls around the trigger - right behind him, the sound ofhooves. Will spinsit's Drak charging towards him. He raises the Gatling gun -Will aims at the big ape's throat and fires.Drak swerves. The arrow misses his throat but slams into his exposedforearm. The Gatling gun flies from his hand.There's no time for Will to re-load - he turns and runs.Drak charges down on him. He draws a harpoon out of its scabbard.Will scrambles over a crest - nothing but thin air!Drak has him square in his sights. He draws back his arm, about to hurl theharpoon. Will throws himself forward -THE SIDE OF A CLIFFWill falls down, down, down.Drak reins his horse to a halt right at the edge. He looks over - Willplunges towards the river, flowing fast below the ford.Splash! Will cannonballs into the water and disappears. Drak stares down,trying to catch sight of him. Nothing.IN THE RIVERA tree branch and other flotsam is being carried downstream by the current.A pair of hands emerge from the water and grab hold of it. Will's headfollows.Gasping, catching his breath, he looks upstream - the water pours over theweir. A flaming arrow arcs through the air. The ape on the shore has donehis job -THE OIL SLICKerupts in flames as the arrow hits it. The whole surface of the river issuddenly transformed into a raging blaze.The Rainbow leader and his men turn. They see a wall of flame racingtowards them. Several warriors dive into the water, swimming for the shore-Whoosh! The flames engulf them. A wall of fire sweeps over the woodenplatform. Like macabre shadows - we see the dancing shapes of the dyingwarriors.IN THE RIVERThe current pulls Will down the river. He looks back - the molten firespills over the weir. Anguished screams are carried on the wind. A pillarof black, oily smoke rises up high into the sky -THE EAGLES' NESTThe platforms and rocky outcrops are crowded with the women, children andold folks. Diamond and Strider stand together. All of them stare down atthe river valley. The pillar of smoke rises higher.WOMAN (O.S.)They're here!Diamond turns - the woman is standing on the highest platform. Diamondfollows the direction of her outstretched arm.A group of warriors, followed by their women-folk and children, are cominground the mountain path. Their leader wears a golden fur and a head-dressof auroch's horns. It's the Tribe of the Antelope.OUTSIDE THE MAIN CAVEA chorus of chattering voices. The new arrivals are surrounded by membersof their sister tribes. The leader of the Antelope stands in the center,listening to a woman -Kip's wife. Whatever she's saying is lost in thehubbub.ANTELOPEQuiet!Instantly, the voices die.ANTELOPE (CONT'D)(anxious)Where?Kip's wife doesn't answer - she walks forward and points to the pillar ofsmoke. The Antelope leader turns to his warriors.ANTELOPE (CONT'D)We go - now!DIAMOND AND STRIDERstand on the platform, watching several old men lower the drawbridge.Whack! It locks into place. The antelope warriors cross it and disappeardown a narrow trail.The rest of the Antelope tribe move towards the cave. Diamond turns away -then she stops. Something has caught her eye. She stares at the crowd ofwomen and children heading into the cave.STRIDERWhat is it?Diamond doesn't answer - she tenses. In the milling crowd of brown bodies,she sees it again - a flash of gold. It*s sunlight on blonde hair.DIAMONDShe's here.., holy God - she's herel It's not a woman - it's a child!She grabs a rope ladder, ignores the rungs and slithers down it.A YOUNG GIRLhelps her mother set up camp. She is about 10 years old, tawny-haired,taller and straighter-backed'than any of her people. She looks like us.Diamond pushes through the women and kids gathered around the hearth. Shestops. The young girl turns. For a moment she and Diamond stare at oneanother, separated by a hundred thousand years, but so similar they canboth see themselves in the other.THE YOUNG GIRL SMILES. DIAMOND RETURNS IT -DIAMONDWhat's your name?The girl's mother stares, amazed to see someone who looks like her child.MOTHERHer name is Aiv.DIAMONDEv?(Realizing)Of course. My people have a name like that - "Eve" is how we say it.The mother nods - the sound seems to please her. Diamond puts out her armsand indicates the young girl. The mother smiles, giving her permission.Diamond puts her arms around Eve.DIAMOND (CONT'D)(softly)I've come a long way to find you.Eve looks at her - wide-eyed, innocent.EVEWhy?DIAMONDTo keep you safe.She holds her tight. The mother catches Diamond's eye.MOTHERDo you have children?Diamond shakes her head - no. The mother can't hide her disappointment.DIAMONDWhat's wrong?MOTHERI was hoping you had a son. Aiv's a sweet girl. She's the child of myheart. But the way she looks, nobody will want her as a mate.Before Diamond can answer there's a commotion outside the cave. She turnsto look - Strider and tribes-people are running out into the daylight.SWIRLS OF DUSTrise up from I mountain path. Whatever's causing it is hidden from view bythe peaks and crags. The tribal-people gather on vantage points, watchingit come closer. Strider cocks his head - listening. A shadow of fear passesacross his face.STRIDERHorses! It's horses!Horses mean apesi Panic sweeps through the tribes-people. Women grab theirchildren, young kids start screaming, old men and boys scramble forweapons.Diamond weaves through the flying mass of people. She swings up on to aplatform beside Strider. He points -Coming into view on the mountain path - running and stumbling, draggingtheir wounded - are what's left of the Antelope warriors.Their women-folk cry out as they realize what has happened to their mates.The warriors race along the path and across the drawbridge. Nobody raisedit when they left -Several old men and a couple of boys struggle now to do it. They haul onthe ropes and pulleys. It starts to swing upwards -Here he comes - Drak! He's galloping hard at the head of his cavalry,battle scarred and bloodied. He sees the drawbridge starting to lift. Hedoesn't pause - he whips his horse into a thundering gallop.The bridge rises higher. Drak's horse leaps! It soars across the crevasse -the giddylng drop stretches out below - and lands on the lifting bridge.The men and boys stare in horror. Orak charges down on them. They back away-all except one boy, not even in his teens, who stands his ground.Swish! Drak's sword cleaves him from shoulder to waist. The other tribesmenrun. Wham! The drawbridge falls back into place. The ape cavalry chargeacross it.BROAD WOODEN PLATFORMAn ape horseman flies across the platform. He leaps off the edge, on to alower platform. Diamond's right in front of him!She throws herself aside, grabs hold of a rope ladder and drops onto -A ROCK SHELFShe looks across the broad area in front of the cave - apes everywhere,weapons flashing, people screaming.A young boy tries to out-run an ape warrior - it's Gray Beard. The youngboy hasn't got a chance. Gray Beard lashes out at him with a stock-whip.It curls around the boy's ankle, tripping him. The boy looks up - he triesto shield his face. Too late! The horse's hooves smash down -Diamond looks away, unable to watch. She sees Eve. The young girl is at thefront of the cave, spinning in panic. Her mother runs towards her...The mother doesn't see Gray Beard galloping towards her. Diamond screams awarning but it's just one more crv in the commotion.Gray Beard raises a short-handled lance and hurls it like a javelin. Ithits the mother in the small of the back, straight through the spine. Shepitches forward - dead. Eve screams and runs towards her mother.Diamond leaps off the rock ledge -IN FRONT OF THE CAVEDiamond runs faster than she's ever run, sprinting to grab Eva. Drak wheelshis horse - he sees Diamond. His lip curls back and he smiles - one of theBlue Eyes! And a woman! He leaps his horse forward -DRAKGrab the female!Gray Beard is off his horse. Diamond runs towards him. He raises acrossbow...Drak charges down on her from behind. He holds the harpoon at his shoulder.He aims at her legs.Diamond races on - her only thought, to save Eve. It'll never happen -she's as good as deadGray Beard's in front, aiming. Drak's right behind. Hehurls the harpoon.Whoosh! Strider swings through the air. He clings to one of the ropeladders - it's like Tarzan, except he's an ape. He grabs Diamond by thescruff of the neck and yanks her out of the way.Drak's harpoon skims past them. Gray Beard stares in amazement at the womanflying through the air. But that's not his big surprise - with Diamond outof the way, the harpoon is flying straight at him. He screams as it ripsinto his throat.HIGH ROCK LEDGEStrider - Diamond clutched under his arm - lands on a ledge high above thefight. Diamond turns fast and looks back -IN FRONT OF THE CAVEEve crouches over the body of her mother. The woman's mouth is frozen in ananguished scream, her dead eyes stare straight ahead. Eva shakes her,desperately hoping for some sign of life. Nothing. Eve starts to cry.A dark shadow falls across her. She looks up - it's Drak. He reaches downand grabs her by the neck. He beats his chest with his fist and raises herup above his head like a trophy.ON THE ROCK LEDGEDiamond, anguished, tries to go to the little girl but Strider holds her inan iron grip. He swings Diamond off her feet, and leaps for an overhangingbranch of a tree. He jumpsfrom the tree to a jagged peak and vanishes fromsight.CHARRED AND SMOKING WRECKAGEfloats at the shore of the river. It is what remains of the firing platform- the bodies of several of the Rainbow warriors still on board.Smoke curls away from the platform and drifts through the forest. The onlysound is the whinnying of a horse - it has a broken leg. Again and again ittries to get to its feet.A solitary figure makes his way through the shadows. It's Will, soaking wetfrom the river. He stops at the entrance to the rocky gorge and looks atthe carnage all around him. So much for knowledge and science. This iswhere the warriors of the tribes made their last stand - their bodies liehuddled together in a jumble.Will stares at them, anguish on his face.WILL(softly, to himself)I was so sure...He kneels and turns one of the bodies over. It's Kip - speared through thechest. A shaft of sunlight hits the Crescent of Light. It glints on hislifeless throat. Gently, he closes Kip's glassy eyes.sound behind him. Will hurls himself aside, grabbing for a weapon. He looksup -it's the Lookout, battle-stained and weary. Their eyes meet -LOOKOUT(quietly)You said we'd win.Will just nods - he knows.LOOKOUT (CONT'D)You gave us hope - that was the cruelest thing.The Lookout kneels and crosses Kip's hands across his chest. He reachesdown and removes the Crescent of Light. He turns to Will -LOOKOUT (CONT'D)Get the weapons you need. The apes'Il be coming back for their dead. Hurry!Will arms himself with crossbows and arrows from the bodies.CLOUDS OF SMOKErise into the sky - the eagle's nest is on fire. Drak and his apes maketheir way along a narrow mountain trail - they've put the humans' camp tothe torch.With them is a long line of prisonerswomen and children mostly, many ofthem in tears. They carry long poles over which are slung their dead anddying. We crane, up to -HUGE ROCK OVERHANGhigh up the mountain-side. Standing underneath it, hidden in shadow, areDiamond and Strider. They look down on the mountain trail. Diamond seesEve.THE MOUNTAIN TRAILThe young girl stumbles along the road, tied by a length of chain to Drak'ssaddle. She's bruised and bleeding, her ankles shackled, barely able towalk.THE ROCK OVERHANGDiamond looks at her, close to tears, but there's nothing she can do. Shewatches the convoy wind along the trail.Boomi The fire must have hit a store of gunpowder - an explosion ripsthrough the eagle's nest, blowing out the side of one of the peaks. Diamondwatches the dust climb into the sky. All her hopes seem to be going withit.IN THE RIVERIt's twilight. Will and the Lookout are wading around a knob of land thatprotects one end of a tiny beach.Will sees a fire burning on the sand, a cave opening off the beach, pilesof stones like burial mounds.WILLWhat is this place?LOOKOUTIt's called the Crossroads of the Fallen King - it's where our forefathersare laid to rest. It's sacred to us - anyone who's still alive will maketheir way here.They wade closer to the beach. In the firelight they see groups oftribesmen -survivors of the battle. Women and children - the lucky few whomanaged to flee the eagle's nest - are binding the warriors' wounds.They look up - everyone falls silent at the sight of Will. As he comescloser he recognizes a woman, sitting alone -WILLIt's Kip's wife. She's come fromTHE EAGLE'S NEST -He goes towards her, passing the other tribes-people. Nobody greets him.They just watch him pass. He stops in front of Kip's wife. Her eyes are redfrom crying.WILLrm sorry about your mate.She says nothing - she just stares at him. Will keeps going -WILL (CONT'D)I've been to the eagle's nest. I was looking for the woman I was with. Wesearched but...(he pauses)What happened - was she captured?KIP'S WIFEI threw myself off a platform. I don't know what happened to anyone.Will nods. He gets to his feet and moves to the women near the fire. Wedon't hear what he says, but we know what he is asking. One after anotherthey shake their heads - no, they know nothing of Diamond.SHAFT OF MOONLIGHTshimmers on the water. Will sits on a rock that straggles into the water.His face is grim, his heart heavy with grief. He's making something withhis hands - twisting and turning them - but in the dim light we can't seewhat it is.INSIDE THE CAVEA shaft of moonlight falls on a semi-circle of rock slabs standing on theirend - it's like Stonehenge. The surviving tribes-people are gathered intheir shadow.OLD MANIt's half a day since the battle. Any that survived would be here by now -we are all that remains of the Seven Tribes. The Ranger himself died on thefield. We must decide ourselves what to do.Silence for a moment. They have spent too long following a leader fordiscussion to come easily. Finally, a wounded warrior speaks -WOUNDED WARRIORLike you say, Kip is dead. Maybe it's a sign -the Rangers have left MiddleEarth forever. Perhaps it's telling us to do the same.A young woman - probably in her 20s - shakes her head.YOUNG WOMANLeave the valley? This is where the eagles fly. This is their home. Nobodycan live without their totem - we all know that!LOOKOUTNobody can live with the apes eitherl If we stay here, we die. But if wetravel beyond the Tower of the Moon, we've got a chance. Who knows - maybeour totems will follow us?There's a murmur of agreement. It grows louder, tribes-people nodding theirheads.THE BEACHNow we see what Will has been making - it's a boat made out of twigs andleaves. A tiny hull and a gaff-rigged mast. He leans forward and drops itin the water. He watches the current carry it away. Farther and farther itbobs out into the river -WILL(softly)I'm sorry, Billie. I should have listened - it wasn't our war. All youwanted was a baby...He can't go on. He watches the tiny boat disappear around the knob of land.IN THE RIVERThe current carries the boat past a jagged boulder. An ape's hand reachesout and picks it up. He lifts it up to look more closely. We see his face -it's Strider. He turns the toy over in his hand, looking at it quizzically.He hands it to Diamond, wading along behind him -STRIDERIt looks like someone made it.DIAMONDIt's a boat - it's gaff-rigged.(realizing)Oh, Jesus...She plunges forward, wading as fast as she can.DIAMOND (CONT'D)Will!ON THE BEACHWill is walking up the beach. He stops, listening. He hears it again -hisname! He turns and heads towards the river. He sees Diamond coming roundthe headland, splashing through the water.Will stops. They look at one another - then they both move forward, armsstretching out. They wrap their arms around each other.WILL(softly)I thought I'd lost you.DIAMONDI thought you were dead.They keep holding each other.WILLHow did you find this place?DIAMONDStrider. His father was a tracker. We've been following a trail for hours.Will looks over her shoulder - Strider is wading towards them.DIAMOND (CONT'D)He saved my life, Will.Will goes to greet him. The man and the ape embrace.WILLThank you, my friend - thank you.STRIDERWhat did you expect? You would have done the same for me.SHOWER OF SPARKSas Will puts a log on the fire. From inside the cave we hear the murmur ofvoices as the argument goes back and forth.Both Diamond and Strider are wrapped in furs - their clothes are laid outnext to the fire, drying. Will speaks to Diamond -WILLSome times when we want something so bad, we can take a thing and twist itin our head. You're sure about this, Billie?DIAMONDI'm pregnant, Will - I'm not crazy. She's not like them - she's a mutation.Evolution's always trying to improve on itself. It's turned out a childthat can walk taller and run faster, one whose brain-pan holds a mind thatcan think laterally. I've seen her, Will. I've held her in my arms - shewas us.Will looks at her. There's no doubt - he believes her.WILLYou said she was with Drak.DIAMONDOn a chain.WILLIt's two days' march to the city. Was she wounded - can she make it?DIAMONDShe can make it.(a beat - she looks at him)Will?Before he can answer, the Old Man and several others come down the beach -OLD MANIt's decided - we're leaving the valley forever.(turns to Strider)Your people have won - the Seven Tribes of Middle Earth have been broken.Long may their spirits haunt you(he turns back to Will)You and your mate can travel with u but we've got misery enough to carry.Our hearth is not home to ny ape.WILLThen it's not home to us. The ape's better than any man I've known.The Old Man's lip curls in a sneer. He shrugs and walks away.STRIDERGo with them. Will - everyone needs their own kind.Will and Diamond newer almost simultaneously -WILLNo!DIAMONDOf course we can't...(to Will)The city, Will.Will and Strider turn nd look at her - incredulous.WILLWe call it a city - it's more like a fortress, Billie. It can't be done.DIAMONDThe three of you got out - everyone thought that was impossible too.WILLWe were lucky. But that's the trouble with luck - it runs out. I don't wantto be back in the city when it does.DIAMONDWhat about Eve - what do we do, just forget about her?WILLNo. Maybe we can't stop the apes giving her the disease - but they'll haveto turn her loose. That's the only way she can infect others. So we lay aplan and we find her. Then it's our job to stop her having children. If wecan do that, it can't be passed on through the race.She shrugs That's the only thing I can think of.DIAMONDHow long will that take - less than twenty-five days ?WILLNo.DIAMOND So what of my child?We have to face it - you're going to lose it.She turns away, trying to keep her emotions in check. Will comes to herside -WILL (CONT'D)We can't take our eye off the goal. If we solve this, you can have otherchildren. Not if wa throw our lives away, though.DIAMONDWhose, Will - whose children?She looks at him. He meets her gaze. A beat.WILLguess that's your call.DIAMONDWhat sort of father would you make? You told me once the only thing thatmatters is knowledge. That's wrong. Science and technology can only takeyou so far - in the end it's our humanity that maners. That's what makes usgreat. You're a wonderful scientist, Will -but what sort of person are you?What would you do if it was your child?She looks straight into his eyes. Finally he answers. Softly -WILLI don't know how to do it - not the humanity part, that's easy compared togetting into the city. I just don't know...He picks up a stick and starts to scratch out a rough map on the ground.WILL (CONT'D)It sits on a river. There's only one bridge -heavily guarded. Even if wecould cross it, all the ridges and roads are patrolled -STRIDERThere's one place that's not.Both Diamond and Will turn to him. He takes the stick -STRIDER (CONT'D)Down here - it's called Funeral Rock. It sits at the bottom of the temple.From there you can make your way into the city. Even so, you still have tocross the river.He draws an arrow across the water, illustrating the problem. Diamond isabout to speak but she looks at Will - he's staring at the arrow, an idea,half formed, is starting to form.WILLMaybe there is a way...across the river, I mean.DIAMONDHow?Will turns to her -WILLYou'll love it - there's barely any science to it at all.DIAMONDWe're going? Is that right - we're going!?Their eyes meet and hold. He smiles at her.THREE SILHOUETTEStravel fast along a high ridge. The sun - a fiery disc - rises right behindthem. We recognize their physiques - Will in the lead, then Diamond andStrider. As they cross the face of the sun, we dissolve to -LIGHTS TWINKLEon the buildings and terraces of the apes' city. Will and his two comradesare on a bluff, looking down. The sound of music and laughter driftstowards them on the night air. Suddenly a huge tongue of flame shoots outof a stone chimney.STRIDERThey've started up the furnace.(softly)Let the games begin.DIAMONDWhat games?WILLThe apes kill their prisoners for sport. The furnace takes care of thebodies.Diamond - sickened by it - turns to look at Will. Already he's heading off,leading them down nrrow trail.A HIDDEN LEDGEmuch closer to the city. Will and the others move fast along it, deep inthe shadows. The river thunders by below them, separating them from thecity. The only way across is the massive iron and wood bridge. Ape guardspatrol it.Only Diamond pauses to look et it. Will and Strider urge her forward. Itdisappears from view.A STEEL ARROWflies through the air. Tied to its shaft, trailing out behind, is a ropemade from vines. Will lowers a crossbow. He watches the arrow fly throughthe mist and spray -THE RIVERraces by just below and pours over the Falls of No Return. Whack! The arrowburies itself in the trunk of a massive tree standing on the bank.ON THE OTHER SHOREWill and Strider haul the rope taut and tie it round a tree. It stretchesfrom one side of the river to the other. All it has to do is hold. Willturns to Diamond. He shouts to be heard over the roar of the falls -WILLYou first. We'll be right behind.Diamond scrambles up on to a rock platform and grabs hold of the rope. Shelooks across the riverthe moonlight spills through the wind-blown spray;the roaring water rushes by; the rope hangs like a thread. There's fear onher face -WILL (CONT'D)You ready?DIAMONDIt sure as shit ain't Kansas, is it?WILLGo!Diamond throws herself forward. Her feet leave the platform. Hand over handshe goes - out across the river.Will watchel for a moment then launches himself - his hands wrap around therope.Strider slings his crossbow over his shoulder and jumps. The line bowsunder his weight. Diamond'l feet drop closer to the water. She looks down -the mass of black water, flecked with foam, rushes past.Will looks ahead - Diamond is almost lost in flurries of spray. She'sdripping wet, hauling herself forward -The sound of the Falls is deafening. Right below her, a huge, swirling"hole" opens up. It's a whirlpool. She starts to swing across it. JoltlTHE TREE TRUNKThe arrow pulls part way out of the tree. The steel shaft shivers but itholds. Everything seems okay. Suddenly -Snap! One of the strands of the vine breaks -ON THE ROPEEverything bucks and shudders. Diamond screams. She looks down - straightinto the vortex of the whirlpool. Her blood runs cold - she freezes.WILL SEES HER HANGING MOTIONLESS ON THE ROPE. HE SCREAMS AT HER -WILLGo! Billie - go!She doesn't seem to hear. Her eyes are wide with fear - staring down, downinto the whirlpool's bottomless well.WILL, TRYING TO GET TO HER, HURLS HIMSELF FORWARD. THE ROPE STRAINS ANDBOWS -WILLMove!She doesn't react. Strider watches as Will tries to catch up. The rope isswaying so much it's agonizingly slow.Diamond stares at a huge log spinning down into nothingness. The whirlpoolseems to be swallowing everything, even the moonlight -WILL (CONT'D)Billiai What about the baby?!The word hits her. She pulls her eyes from the swirling death. She looks atWill.WILL (CONT'D)Move, Billiel NowlShe understands. She starts to pull herself forward. Will slumps withrelief -ON THE SHOREThe arrow moves another inch out of the trunk. The rope fixed to its shaftis strained to breaking point. But still everything holds...THE IRON AND WOOD BRIDGEOne of the guards patrols the bridge. Out of the corner of his eye - flashof something. He looks towards the Falls.GUARD(calling)Gimla.The other guard joins him. They peer through the night at the spray risingfrom the Falls. They see it again - above the river, a flash of light onmetal.The keep watching. An eddy of wind clears the mist for a second. They seeStrider going hand over hand along the rope, moonlight glinting on hiscrossbow.ON THE SHOREAnother strand of the rope breaks. We follow it as it unravels - pastDiamond and Will. Before we get to Strider it stops - a section of the ropeis so badly frayed it can't go any farther. It's going to break any moment.Screech! A siren wails.STRIDERThey've seen usl Will looks up-river to the bridge. Through a hole in themist he sees ape guards pointing and yelling. A whole squadron runs to jointhem.Diamond throws herself forward - she makes the shorelWill and Strider give it everything they've got. Strider's first handpasses the frayed section. He's following it with his second -Snap! The whole rope breaks. Will - closest to the shore - plunges into theripping current. But at leaIt he's clinging to the rope with both hands.Strider's in the water hanging on to the end of the rope by the fingers ofone paw. Will turns and reaches for him.STRIDER (CONT'D)No! Save yourselflON THE SHOREDiamond has grabbed hold of the rope and is trying to pull it in. Theweight - of the men and the current - make it impossible. All she can do istry and hold them.ON THE ROPEStrider's fingers are slipping free. Will grabs him - man and ape, hand topaw. Will holds him.STRIDERWe'll both die. Let gol Will shakes his head - no. Hanging on to the ropeone-handed, the current tearing at his body, he tries to haul Strider in.Whizz! An arrow flies past, just missing them, and plunges into the water.The apes on the bridge are firing.STRIDER (CONT'D)Another minute, we'll both be dead. Do it, WilllWill tries again to drag Strider to the rope. Another arrow flies throughthe mist and spray - even closer. Strider reaches out with his free hand.He starts to prize Will's fingers loose -STRIDER (CONT'D)If nothing else, I made it to the Falls No Return.Will realizes - nothing is going to stop Strider.WILLThe sacred words, Strider - what are the words?!STRIDER"In the beginning...WILL'In the beginning was the word and the word wes God...'STRIDER(in wonder)You know the words?WILLYou'll walk in the next world, Strider.STRIDERHow do you know?WILLI've seen the future, haven't I?Strider smiles at him - a smile of perfect peace.STRIDERGood-bye Will. Take care of Billie.He twists Will's last finger free. He drops - the swirling river carrieshim away. Will is close to tears, but he won't let himself cry. Two morearrows sizzle past -WILLAnd the word was God. Yea, though I walk through the valley of death, Iwill fear no evil...Strider spins down the river, through the spray and foam.WILL (O.S.) (CONT'D)Surely goodness and mercy shall follow me all the days of my life and Iwill dwell in the house of the Lord forever. Amen.Strider, one arm raised, plunges over the Falls.ON THE BRIDGEWe see who's been coordinating the firing. It's Drak. Archers are kneelingon the bridge, trying to sight a target through the foaming water andclouds of mist.Drak, never taking his eyes off of the river, draws back the massive springof his crossbow and reloads.ON THE SHOREDiamond ia hauling on the rope, pulling it in. Will, up to his neck inwater, tows himself along it. His feet find a footing - he starts toscramble up the bank. Diamond goes towards him -Just for a moment, the mist clears.ON THE BRIDGEmoment's long enough. Drak's seen him. In one fluid movement he adjusts hisaim and fires -ON THE SHOREDiamond is almost in Will's arms. Sswhack! The arrow rips into WiU's back,through his ribs. He pitches forward. Diamond screams. He falls into herarms.The mist closes around them.HUGE STONE ARCHThe survivors of the Seven Tribes travel fast along a forest trail. All ofthem are burdened down with possessions, weary from the road - they areleaving the valley.Kip's Wife and the Old Man are in the lead. They pass through the arch, outinto a clearing. In the middle of it is a fire, shadows camped around it -Kip's wife and the other survivors stop in fear. One of the shadows risesfrom the. fire. Bathed in moonlight - almost ghost-like - he comes towardsthem. It's Aragorn!Kip's wife moves forward and embraces him -KIP'S WIFEWe thought you were dead.ARAGORNHunted, but not dead. A dozen of us were driven back in the battle -He indicates his men. They are coming forward, greeting the survivors. TheYoung Woman sees her mate - she cries out. They hold each other.ARAGORN (CONT'D)For three days a squadron of apes have tracked us. Last night we ambushedthem. We're heading now for the eagle's nest.KIP'S WIFE(softly)There is no eagle's nest.Aragorn stares at her, not wanting to believe it.KIP'S WIFE (CONT'D)We're all that's left of the Seven Tribes.Grief wells up inside Aragorn. We hold on his face.A FIRE CRACKLESAll of the tribes-people are gathered around it.OLD MANThere is no-one else, Aragorn - you are the Ranger.ARAGORN(shaking his head)No. We must all follow the trail we think best. You've decided yours. Forme * I'll go to the city of the apes and take what revenge I can. I'll goalone - but like the traveler, I think death will be the only thing I findthere.OLD MANThen it will find us, too. Warriors follow their Ranger. That's always beenthe way of it in Middle Earth.ARAGORNBut nothing's the same now. Think of the women-folk. What will become ofthem?KIP'S WIFEYou're right - there's so few of us now, nothing is the same. You mustallow the women to follow, too.ARAGORN But women can't fight.KIP'S WIFE Women have never been allowed to fight. That doesn't mean theycan't.All the women nod their assent. The men smile, agreeing. Everyone waits forAragorn to decide. A beat - then he nods his head and smiles.The tribes-people start to cheer. The Lookout steps forward. From out ofthe folds of his fur, he takes the Crescent of Light. All of the tribestare at it.LOOKOUTI found it on the battlefield. There were those who said the Rangers hadleft Middle Earth forever - I didn't know what to do with it.He hands it to Aragorn. The whole tribe watches as the proud man once againties the talisman of his rank around his neck.ARAGORNDouse the fire. The Seven Tribes are going to war.ON THE SHOREThe apes, carrying torches, search the river bank and surrounding cliffs.We push in on a pool of darkness behind them -Will and Diamond hide in a hollow beneath the tangled roots of a huge tree.They have done their best to dress Will's wound but he's obviously in a lotof pain -DIAMONDYou can't go on, Will - not like this.WILLWhat about the baby?DIAMONDI'll keep going - I'll try and get Eve.WILLAlone? Don't be ridiculous -He starts to haul himself to his feet. His face twists in pain - he has tostop.DIAMONDLook at you - you can barely walk.He puts out his hand, needing I boost up.WILLIf I can just get up - help me.Diamond shakes her head - no. They look at one another.WILL (CONT'D)Don't do this to me - pleaselDIAMONDYou've done enough - more than anyone else could. You're one of the finestmenI've ever known - but it's over, Will. You're going to have to wait. Nowit's my turn -She grabs her weapons and starts to leave. Will makes it to his feet -WILLBillie!She's almost through the tangled roots.WILL (CONT'D)I made a mistake once - I went on a journey with someone I loved. At theend, I let her go into danger alone.Diamond stops.DIAMONDWhere was that - Berkeley, Will?She turns and looks at him. He nods his head - yes.DIAMOND (CONT'D)What happened?WILLI knew I'd found the chemical key. I was working with three youngresearchers. One of them was a woman called Ali Conoily. We were engaged.They were the ones that went into the tanks. I didn't know as much as Ithought I did. They died in there.DIAMONDWhy didn't you go, Will?WILLWe all wanted to. It was a great adventure. Wa drew lots for it. I shouldnever have agreed, but we were young - and like the young we thought lifewould last forever.DIAMONDRobert Plant died too, didn't he - in a way?WILLThe experiment was unauthorized. There was an inquiry. They said the theoryhad no basis. 'Ludicrous" was a word they used. My career had gone up likea rocket. It came down like the stick. I couldn't find work anywhereDIAMOND"Will Robinson" - that was your joke, I guess. You were Lost in Space, wereyou?WILLYeah, but I never realized it'd be so appropriate.They sort of smile at one another.WILL (CONT'D)had twenty years to work out where my research went wrong - so what,though. It was just a mind game. But I've learnt a lot of things - the mostimportant is that sometimes you get a second chance. A second chance for alot of things -He looks straight at her. They hold each other's eyes.WILL (CONT'D)And when you do, you have to grab it and make sure you never let it go.I've got the heart, Billie. It's my body that's failing me.Neither one of them moves. A beat.DIAMONDGive me your hand, Will.She helps him to his feet.A GIANT CHASMIt's several hours before dawn. In the gloom - whooshl Kip's Wife rides aflying fox across a precipitous drop.She lands on the other side of a jagged ravine. The rest of the tribe, allheavily armed, are waiting there. They turn end run, fading into the trees.THE FUNERAL ROCKjuts out into the roaring river. Will and Diamond scramble out of thedarkness and land on the rock. Will's face is haggard with pain but heforces himself forward. He's loosening up. going faster as he moves -They pass through the huge legs of the stone ape - into the Temple.A DARKENED ROOMTorches flicker on the walls. From somewhere close-by - muffled - we hearthe sound of a crowd. A young ape, barely in his teens, stands in themiddle of the room, almost naked. His face is painted with strange ochremarkings.A circle of ape warriors watch as Ma-Gog lifts a slender blade. Intoningwords in some strange tongue, he slices the blade across the Teenager'sforehead. The Teenager winces but he doesn't cry out - this is his manhoodceremony.THE STABLESThe sound of the crowd is much louder here but still we don't see them. Theprisoners from the Eagle's Nest are crowded into the corrals.One of the gates is thrown open. Three ape guards enter. They push thetribes-people aside and grab a 12-year old boy. His mother clings to him,screaming. One of the guards drags her off and they haul the boy out of thecorral.AN ARENA-like a small bullring - in the center of the stables. Now we see the crowd- apes, all males, sit in the bleachers. They roar as a door is opened andthe young Tribe-Boy is pushed into the ring.He looks around the arena - yelling, screaming apes. Terror on his face. Aneven louder roar goes up. The Boy turns -The Teenage ape steps out of a tunnel, the ochre markings on his face likewar-paint, the blood barely dried on his forehead. He carries spears and aclub.One of the apes throws a couple of captured human weapons down to the Boy.The Teenage ape moves in on him. He is a warrior now - this is going to behis first kill.IN THE CORRALThe Boy's mother is huddled down, being comforted by other tribes-people. Ahuge roar goes up from the arena as the first blow is struck. The soundcarries over to -A TERRACEDrak is alone, walking a high ridge. He stops, looking down on thetwinkling lights. The city is virtually deserted but Drak doesn't move -he's uneasy, troubled by something he can't put a name to.THE COOL AND LOVELY ROOMThe five baby apes sit on cots. They watch as Doctor Zora inserts a syringeinto the smallest ape's arm. The baby starts to cry. Doctor Zora comfortsher as she draws out a cup of blood. She turns to her assistant, Ben-GuriDOCTOR ZORAIs the girl animal ready?BEN-GURIThey're doing it now.INSIDE THE LABORATORYEve is struggling and crying as an ape guard carries her towards anoperating table. He and another guard start to strap her down.The Vet works at the bench, heating a steel needle over a flame. It's thesame sort of catheter that was used on Will - one end of the needleattached to a long tube. A knock on the door.VETThat must be Zors with the blood.One of the guards goes and unbolts the door. He recoils - it's Will.Sswhack! He fires the first bolt from a double-barreled crossbow. It takesthe guard in the chest.He and Diamond dive into the room. Eve starts hollering. The second guardis wheeling, crossbow rising. He rifle-butts Diamond across the head. Herweapon goes flying.The guard is aiming. Will is on the floor, tumbling. Barely time to aim, onhis back, firing overhead, he shoots -Whack! Bullseye. The arrow hits the guard dead in the heed.The Vet grabs the first guard's fallen crossbow. He aims at Will. Diamondscreams a warning but there's nothing Will can do - he's struggling toreload, one-handed because of his wounds.Diamond - unarmed - scoops the red-hot syringe off the bench. The Vetreaches for the trigger. Diamond leaps forward. She drives the syringe intohis chest.The Vet stands goggle-eyed. Diamond must have found his heart - a torrentof blood pours down the clear tube. It spills on to the floor. The Vettopples forward.Slash! Slash! Will cuts throughthe straps that tie Eve to the table.OUTSIDE THE HALL OF LEARNINGDrak turns a corner of the building. He stops and touches the ground withhis finger. He lifts it to his mouth and tastes it. He rises to his feet,following trail of blood.A TORCHis ripped from a bracket. It's Drak.. He shines it down into a stone well.The flame splits the darkness. Floating in the water at the bottom of thewell is an ape guard -dead, an arrow through his throat.IN THE ARENAThe Tribe-Boy is sprawled in the dust, bleeding badly from a rip across hisribs. His spear lies next to him, a wooden shield raised across his head.The Teenage ape , rains blows down on it with a sword.The apes in the bleachers are cheering wildly. Smash! The shield splinters.The sword slices the Boy's arm -APESKill! Kill! Kill!The Boy stares up - the Teenage smiles and raises his sword.Shriek! The alarm sounds. Everything freezes. Then officers are on theirfeet, yelling orders. Ape soldiers grab their weapons, heading for thedoors.The Teenage ape looks around, robbed of his moment. The Boy sees hischance. He raises his spear and drives it deep into the ape's groin. Hestaggers and falls - on top of the Boy.The apes pour out of the arena. The siren carries over to -A STONE CORRIDORWill's got Eve slung over his shoulder. They're stumbling down a corridor -past other labs and research rooms. They burst through a sat of doors, into-A COURTYARDat the back of the Hall of Learning. It's deep in shadow. From behind theyhear the sound of pounding feet. Will looks around, not sure which way togo. He glances across a terrace - the doors to the stables fly open. Theape warriors charge out.WILLCan you ride?Diamond nods her head - yes. He thrusts Eve into her hands -WILL (CONT'D)Go for the stables. Head for the eagle's nest. I'll try to join you there.Diamond hesitates - she doesn't want to leave him.DIAMONDWhat are you going to do?WILLDelay them. Now go, Billie. Go!THE PRIMITIVE ELEVATORrops down the side of the ravine. Standing on it are Nazgul and aboutTHE PRIMITIVE ELEVATORa dozen Praetorian Guards. Nazgul looks down - torches and fires in drumsare lighting up the streets and terraces. Ape soldiers are runningeverywhere - searching.ON THE GROUNDThe flame-thrower rolls along a street. The driver's canopy is hidden byflapping tarpaulins. In the chaos nobody pays it any attention.ON THE ELEVATORNazgul sees the machine rolling towards them.NAZGULThat's strange - why does Drak need the Flame?Suddenly he realizel. He turns, screaming up at the apes controlling themechanism.NAZGUL (CONT'D)Stopl Take it backlTHE FLAME-THROWERdead guard is draped over the side of the machine, blood dripping from hisheadWill is in the cabin, working the controls. He sees the elevator slowin mid-descent. He throws a lever forward. For a moment, nothing. Then -Whoosh! A huge tongue of flame blasts out of the barrel.Two of the guards are trying to climb the ropes. Nazgul is wheeling aroundin a panic. The flame hits them! The whole wooden structure catches fire.We see the apes through the flames, struggling and writhing.The ropes burn through. The blazing structure plummets down -THE CENTRAL SQUARESmash! It hits the ground in a shower of blazing timbers and dead apes. Apesoldiers - standing nearby - stare in shock. The smell of roasted ape fillsthe air.EVE SITS ALONEShe's on the floor of the stables, deep in shadow. She's scared, lookingahead -The first weak light of dawn shines through the open doors. We see an apeguard, keys jangling from his waist, on petrol.He hears something - a rock falling, a rustle of movement. Raising hisweapon, he moves towards a pool of black shadow, past a pile of rocks, intoan alcove.Diamond rises out of the rocks behind him. He spins - she's got hercross-bow raised. Point-blank range. She nails him.THE PRISONERSare shackled in the corrals. They see Diamond running out of the shadowstowards them. She tossel them the keys -DIAMONDArm yourselves. Find Will - he needs youl She turns and goes. The prisonersstart to unlock the chains.EVEsmiles as Diamond races out of the shadows, sweeps her up and keepsrunning.IN THE ARENAThe Teenage ape and the Boy lie where they fell, their spilt blood stainingthe dust.The Boy's mother scrambles over the deserted bleachers and goes to her son.She drags off the ape. Her son's eyes are closed, his arms lacerated, hischest wounded and crusted with blood. She stares at him - he doesn't move.She starts to sob. The Boy's eyes flicker open. They look at one another.The motheY gathers him into her arms. He's alive! He's alive!The sound of a horse. The mother turns, fearful. She looks across thearena, through a railing -IN THE CORRALSDiamond gallops a stallion through the corrals. Eve's clutching the saddlein front of her - hair flying, her eyes sparkling with exhilaration. Thestallion gallops faster.The prisoners - unchaining the last of their comrades - turn and look. It'sa magnificent sight. Diamond is crouched Iow over the flying horse.Straight ahead - a railed fence, part of the corral.She leaps the horse over it. They land. In front - another hurdle. Againshe does it.The prisoners stare. Diamond charges towards the open doors of the stables.CLOUDS OF SMOKE AND FLAMEThe crashed elevator hal set the surrounding buildings on fire. Ape city isburning.The Flame stands on a steep incline, its back wedged against the wall of aterrace. Whooshl Fire shoots out of its barrel as Will keeps a horde of apesoldiers at bay.The soldiers turn - Drak, surrounded by the Praetorian Guard, gallopsstraight towards them. He'l not stopping for anything - the soldiersscramble aside.IN THE CABINWill sees Drak and the guards appear through the swirling clouds of smoke.They look like the horsemen of the apocalypse. As Will throws the lever wesea a primitive gauge above his head. It's in the red -IN THE SQUAREWhoosh! The tongue of flame shoots through the smoke. It touches the guardswith a deadly kiss, throwing them screaming from their horses. But Drakblasts through -IN THE CABINWill is engulfed in a backdraft of black oily smoke. He peers through it -Drak charges towards him! Will hits the lever again. The flame erupts fromthe barrel. Then it dies - out of fuel.WILLShit!IN THE SQUAREDrak gallops forward. He raises weapon - a shoulder-mounted harpoon. Heaims -IN THE CABINWill throws himself aside. He smashes both hands down on a lever on thefloor. A hiss of steam. The machine lurches forward -IN THE SQUAREDrak tries to get a clear shot at Will. The machine gathers speed down theincline, coming straight towards Drak. He veers his horse aside and wheelsaround. He charges alongside the cabin - it's emptyON THE MACHINEWill clings to the outside of the Flame as it roars across the smoke-filledsquare. He's out of sight of Drak - but not for long. The ape and hisstallion loom into view behind the machine, Will scrambles back into thecabin -IN THE SQUAREApes are scattering as the runaway machine flies across the square. Drak isat full gallop, veering from one side of the Flame to the other. Willclambers back and forth - cat and mouse at full tilt.Drak swings his horse close to the back of the machine. He stands up in thestirrups, the harpoon clamped to his shoulder - he's going on board!The Flame flies out of the square and down a street. An ape throws himselfinto a doorway - just in time, Drak steadies himself, about to jump.Suddenly his horse whinnies wildly. Drak looks ahead - holy shit!. They'reheading straight for the front of a blazing house.Drak throws himself down into the saddle and hauls on the reins. Will hurlshimself back into the cabin, arms shielding his head. Smash! The Flamecrashes through the front wall -INSIDE THE HOUSEThe barrel of the Flame acts like a battering ram - it blasts through thewalls in a shower of burning timbers. It crashes through the kitchen andstops in a courtyard.Will clambers out of the cabin and drops to the ground. A yell goes up -apes are coming through the adjoining houses. Will turns and heads down analleyway.CITY STREETDiamond's horse flies down a street - a high terrace towers on one side, arow of burning buildings on the other. The road turns right. She swingsaround it - apes! A platoon of them right in front of her. She screams atEve -DIAMONDHold on!She throws herself aside, pulling on the reins. The horse spins in aU-turn, grazing past a burning building. Diamond gallops back the way shecame.Crash! The wall of a burning building in front of her collapses. Blazingbeams block the road. The horse shies away. Diamond wheels him around -The apes race into the road. She looks around desperately - she's trapped.She grabs Eve and awingl her onto the saddle behind her - she'll be saferthere.She spurs the horse forward and crouches Iow in the saddle - she's going tocharge straight through the apes. They drop to one knee - the firingposition - and raise their weapons. A dozen crossbowl aim straight atDiamond.There's no way out - she flies towards them. Whizzl The sound of arrows.But it's not the apes - they go down like nine-pins.Diamond looks up - Aragorn has arrived! Backlit by the rising sun, the menand women of the Tribes are pouring volley after volley into the apes.Nobody fires better than Kip's Wife.Diamond leaps the horse through the dead and dying apes and turns down theroad.MA-GOGstands on a terrace, his cloak blowing in the wind, his one cruel eyeblazing with anger. Flanked by two ape warriors, he looks down on theburning buildings.The freed prisoners are waging a pitched battle outside the stables.Ma-Gog sees Will - he's running along the rooftops, leaping from onebuilding to the next. Ma-Gog points at him, yelling at apes in the streetsbelow -MA-GOG (CONT'D)Kill him! In the name of God, kill himl Sswhish! The blade of a swordcleaves through frame. It cuts one of the ape warriors from neck to waist.Ma-Gog spins - it's Aragorn, armed to the teeth, behind them.The second warrior goes for him. Aragorn has dropped the sword. He raises acrossbow and fires. The bolt shatters the ape's armor and buries itself inhis chest.Ma-Gog swirls aside his cloak. In his good hand he holds a double-edgedsword. Aragorn drops the crossbow ands ducks beneath Ma-Gog's arcing blow.He lunges with a short-handled spear -ARAGORNFor my people!It takes Ma-Gog in the gut. His one eye bulges. Aragorn rips the spear out-ARAGORN (CONT'D)And this - for my daughterl He drives the spear into the High Priest'sheart. The cruel eye flickers and dies.ON THE ROOFTOPWill has seen it all. He screams -WILLBehind you! Aragorn - behind!ON THE TERRACEAragorn turns. It's Drak, on horseback, thundering down on him. But theleader of the Seven Tribes knows no fear - only the memory of his lostchild.He raises his second spear and charges straight at Drak. The huge apelevels the shoulder-mounted harpoon. He pulls the trigger. Sswang! Thepowerful spring on the barrel releases, the harpoon trails a length of ropebehind it -Wham! The harpoon smashes through Aragorn's chest. He dies as he falls.ON THE ROOFTOPWill stares in anguish. He turns away - he sees Diamond. She's at fullgallop - Eve clinging to her back - charging along a road several terracesbelow. She's got a clear run for the iron bridge and freedom.Will looks across at Drak - he's seen her too! For a moment the two of themstare at one another. Will's face is drawn and haggard from the injuries hecarries.Drak's lip curls in a sneer - he knows he's going to win. He beats hischest with his fists and spurs the stallion over the edge of the terrace,going for Diamond.Will runs as fast as his body will let him - along the rooftop.INSIDE A HOUSEAn ape mother cowers in a corner, her two children clutched to her, thesounds of battle all around. She looks up in terror -Smash! Will's feet blast through the roof. He lands on the floor, crossbowraised -but not st her. Framed in the front doorway is an ape warrior onhorseback. Wham! Will shoots him and runs for the horse.DIAMONDand Eve fly down charred street .They head towards a large open square.OUTSIDE THE STABLESSmoke and dust swirl through the air. The freed prisoners are fighting apeinfantry. Drak races past the battle. The rope from the harpoon is tiedaround the saddle, dragging Aragorn's body through the dust.He looks ahead - Diamond gallops across the square. Drak whips his horseforward -A CURVED ROADon a high terrace. Flying around a corner - Will! His coat is billowing,the horse's mane streaming in the wind. He hits the straight-away andgallops even faster.He looks down on the road below - Diamond is ahead but Drak is gaining onher. Will plunges into a tunnelhewn out of rock.ON THE ROADEve clings tight to Diamond's waist. The little girl looks back - Drak isthundering behind them, pennants snapping in the wind, armor glinting onthe horse's chest. It's an awesome sight.Drak has the reins in his teeth. He's using both hands to reload theharpoon.Diamond sees the bridge dead ahead. Heavily armed apes have barricaded it.She curses and yanks the bridle. The horse sweeps around an island in thecenter of the road - a huge monument to some dead ape. She gallops back theway she came, almost passing Drak. He charges round the island.OUT OF THE TUNNELcomes Will. He looks down to the lower road - Diamond and Drak are comingback towards him! He turns the horse around - back into the tunnel.Whooshl He flies out the other end, into daylight. He looks over hisshoulder - he's in front of them but thirty feet too high. He digs hisheels into the horse's flanks -over a Iow wall they fly. God knows where itgoes -DOWN A ROCKY SUDEinto a dead-end cul-de-sac just above the roadway. Apesi Two of them areguarding the Claw and the Bells. Will fires from the shoulder - he dropsthe first ape.The second ape aims at him. Will raises another crossbow. They fire almostsimultaneously. Will throws himself aside, out of the saddle. The horserears and bolts.Will looks up from the dirt - the ape has Will's arrow embedded in hischest. He falls forward - dead.Will scrambles to a parapet and looks down on the road just below. Diamondand Eve - clinging to the horse for dear life - race towards him. Willgrabs a crossbow and struggles to reload. He can't - it takes the strengthof both arms to cock it,ON THE ROADDiamond's horse is lathered in sweat, almost blown. Eve looks over hershoulder, her eyes wide with fear - Drak is close behind, gaining at everystep.IN THE CUL-DE-SACWill leaps from the Balls on to the Claw.ON THE ROADDrak swings the harpoon on to his shoulder. He sights down the barrel. Evesees the weapon lock on to their backs. She screams a warning et Diamond -EVEBillie!Diamond leaps the horse over a charred wagon abandoned on the road. Drakloses her in his sights. He follows her over the wagon.ON THE CLAWWill is in the driver's seat. He throws a lever - nothing happens. He triesanother -the long jib that supportl the two iron jews swings towards theroad.DRAKaims the harpoon. He's got Eve end Diamond, one behind the other, in hissights.DRAKA bargain - two for the price of onelON THE CLAWWill spins a small steering wheel.ON THE ROADDrak is close behind Diamond. The harpoon's massive spring is coiled.Drak's finger curls around the trigger, about to fire.Suddenly he screams - dropping right in front, coming straight towards him,are the opening jaws of the Claw.WILL JERKS BACK ANOTHER LEVER -WILLKeep your hands off her, you dirty ape.The jaws lock clean around Drak's waist, plucking him off the saddle andlifting him up into the air. He's still got the harpoon. He sees Will atthe control. He swings the barrel round -Will hits a switch. Wrong one - nothing happens.Drak's got him in his sights. His finger finds the trigger -Will throws another switch.The jaws start to close! Drak tries to pull the trigger - he can't, hisbody is twisting. The jaws are crushing him! He musters all of his strengthand tries to fire. He and Will look straight at one another. A beat. Drsk'sfinger starts to slide off the trigger -IN THE SQUAREApes stare up at their warrior lord, clamped in the Clew. He let out ablood curdling scream. The bottom half of his torso - everything from thewaist down - falls towards the ground. Maybe it's just the wind, but thelegs still seem to be kicking.The apes reel beck in horror. With mighty battle cry, the tribes-people -the prisoners end Aregom'l followers - hurl themselves forward, attacking.The apes break end start to run.ON THE ROADDiamond end Eve have dismounted. Diamond stumbles forward - Will is comingtowards her. She holds out her arms and they embrace. Neither one says aword, they just hold each other tight.CLOUDS OF SMOKEalmost obscure the setting sun. Will and Diamond stand on the iron bridgewatching the tribes-people. They've harnessed horses to ropes tied aroundthe statues on the avenue of idols - one after another the stone monolithscome crashing down.DIAMONDIf nothing else, we helped the tribes take back their valley.WILLOur valley, too Billia.She looks at him - questioning.WILL (CONT'D)There's one thing I never told you - I never worked out how to get back.She smiles at him.DIAMONDA small point. But give me some credit. I'm a scientist - I knew that.WILL(in wonder)But you came anyway.DIAMONDThat was love.WILLFor the baby?She shakes her head.DIAMONDFor the both of you.They stare into each other's eyes. They kiss.DIAMOND (CONT'D)I only have one regret. We'll never know if we succeeded.WILLOf course we will. You're pregnant - if the baby's born alive, we'll knowit worked.SUNLIGHT GLISTENS ON THE OCEANThe surf rolls in on a golden beach. At the water's edge, a line offootprints. We follow them to find Will on top of a rocky cliff. He'sbuilding something out of iron and rock and sand but we can't make out whatit is.DIAMOND (O.S.)Will He turns and runs to the mouth of a large cave.INSIDE THE CAVEDiamond lies on her back on a pile of animal skins. Her belly is exposed,heaw with the unborn child. Eve crouches next to her, trying to help.WILLIt's started?She nods her head then grimaces with pain as another contraction starts.THE SUN IS SETTING ON THE SEAFrom inside the cave, we hear Diamond scream.IN THE CAVEWill kneels between Diamond's legs. Her face, glistening with sweat; is amask of pain. She holdl Eve's hind tight and pushes.Will, half hidden by her upraised legs, delivers the child. Diamond raisesherself up -trying to See her child. Neither she nor us can see it's face.We push in on Will. Ha raises his hand and slaps the baby's rump. No sound.Ha raises his hand again - suddenly the baby starts to cry. Now we see thebaby - a perfect little boy.Eve laughs. Diamond smiles. Tears fill her eyes. She and Will look at oneanother. He comes towards her and tenderly places the baby in her arms.THE CAVEWill and Eve help Diamond. She comes out of the cave, still holding thebaby. It's magic hour - they stand on a rock ledge, looking at the oceanwashed with color from the setting sun.We see what Will was building. It's sort of like a sculpture - just thehead and crown of the Statue of Liberty.Diamond smiles. She looks at him, wondering why -WILLIt's to make sure we never forget where we came from.The baby starts to cry. Will puts one arm each around Diamond and Eve.We pull back from them - high up into the stars. The baby's cry carriesover. We see earth rise. In all this nothingness - life. \ No newline at end of file diff --git a/unformated_scripts/Script_Revenant, The.txt b/unformated_scripts/Script_Revenant, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..e2f0c29ac1bf0592cd8dad68dd64ba22bb855745 --- /dev/null +++ b/unformated_scripts/Script_Revenant, The.txt @@ -0,0 +1 @@ + THE REVENANT Written by Mark L Smith Based on the novel by MICHAEL PUNKE September 26, 2007 Revenge is an act of passion; vengeance of justice. - Samuel Johnson Based on a true story FADE IN: EXT. UPPER MISSOURI RIVER/1820'S - EVENING ANGLE ON A SINGLE COTTONWOOD LEAF... brown and crisp... clinging to its empty branch... the solitary sign of life on an otherwise barren tree. A gust of wind... the leaf breaks free... flutters down, landing in the slow current of the Missouri. The last leaf of the fall, taking its final journey south. As it floats along the surface, rising and falling with the current, all we can hear is the river's gentle movement... the trickle of water... the splash of timid rapids... until DISTANT VOICES invade this world... soft at first, but growing louder... LAUGHTER... SINGING. And then our leaf CRASHES INTO A WOODEN BOARD... the BOW OF A BOAT. We hear the VOICES EVEN CLEARER... MEN'S VOICES, as we rise up the bow... see it's a FLATBOAT BEACHED ON A SANDBAR at the center of the river. Beyond the flatboat are the voices... TWENTY MEN of the Rocky Mountain Fur Company, making camp along the shore... hauling wood, building campfires, pitching squares of canvas for makeshift rooftops. And this camp is full of life because these are some of the first men to ever see this untouched wilderness... men with a whole new world just waiting for them to claim their share. EXT. CAMP - EVENING CAPTAIN ANDREW HENRY, (late 20's), dressed in a buckskin jacket with long fringe... thick belt pulled tightly around his waist with two pistols and a knife hanging from it. He stands out among the others... like an imposter pretending to be a member of some exclusive club. He pulls off one of his gloves... examines the BLOOD-FILLED BLISTERS lining his palm. From across the camp, JOHN FITZGERALD, (40's), solid and thick... dark eyes of a killer, watches Henry. He nudges MACE BOONE, (40's), a thief in a previous life. FITZGERALD Likely got a splinter. Can't figure what to do without Mama here to pull it out for him. Boone chuckles... spits in Henry's direction. 2. BOONE Need a doc, Captain? Henry looks up... sees Fitzgerald and Boone grinning at him. He slides his glove back on. HENRY Gather more wood. Fitzgerald waits for Henry to turn, then gives his back an exaggerated salute. FITZGERALD (under his breath) Shame my Pap was a broken down drunk. Else he could've bought me a Captain's job too. Boone snickers. Fitzgerald stomps his boot onto a branch, easily snaps it into two easy-to-carry pieces. FITZGERALD (CONT'D) We got a plan for these fires, Captain, or are we roastin' berries all the way up to Fort Union? HENRY Glass and the others will be back with some game, Fitzgerald. Just make sure you have the fires ready. FITZGERALD My supper's in the hands of a hermit nigger, a kid and a dummy. Hell, my belly feels full already. Fitzgerald's boot CRACKS another branch... and when it does, we hear the EXPLOSION OF A GUNSHOT. CUT TO: EXT. WILDERNESS - EVENING And a CLOUD OF SMOKE surrounding the LONG BARREL OF AN ANSTADT RIFLE. The smoke fades, and at the other end of the rifle we see the face of HUGH GLASS, (40's), African-American, one eye still closed, as the other calmly stares down that barrel. VOICE (O.S.) Shit fire, you got him, Mr. Glass! 3. Glass lowers the rifle, as PIG GILMORE, (30's), fat and filthy, races past. PIG (CONT'D) Square as a barn door. JIM BRIDGER, (17), young eyes that have already seen a lot, nods to Glass as he follows Pig. Glass watches Pig and Bridger trot through the trees to a fallen ELK. Glass walks calmly after them, graceful in this world... his rifle so comfortable in his hand it's like he was born with it there. Pig crouches over the dead elk... grins up at Glass. PIG (CONT'D) Right where you said he'd be. BRIDGER But bigger than we figured. Gonna be a load to haul back to camp. PIG Have to split it up I reckon. GLASS Yep. Bridger'll take the tail, and Pig you haul the rest. And Fitzgerald was right about Pig being a little slow, because he just nods... pulls out his knife to cut the tail off for Bridger. Bridger and Glass exchange a smile... until Glass notices something... steps over the elk, his eyes locked on the ground beside it. He runs a finger over the dirt... touches a broken twig. BRIDGER Another one close by? Glass doesn't answer... studies the track... feels the nearby brush... inhales the scent from his hand. Bridger and Pig watch him... exchange a confused glance. And then in a flash of movement, Glass is on his feet, racing away. PIG Hugh? Glass just keeps running. Pig and Bridger chase after him. CUT TO: 4. EXT. CAMP - EVENING The men building fires... laughing... enjoying themselves. Boone on the outskirts, gathering branches. CUT TO: GLASS - TEARING THROUGH THE WOODS... ...dodging trees... leaping over fallen logs... loading his Anstadt as he runs. BRIDGER AND PIG - CHASING AFTER GLASS... ...but not as gracefully. Pig trips... slams to the ground... scrambles back to his feet to continue on. CUT TO: BOONE - CARRYING AN ARMLOAD OF WOOD INTO CAMP... ...seeing other men playing cards. He stops along the edge of camp, drops the wood to the ground. BOONE No rule says I'm the only one that's gotta gather this shit. The other men don't even notice. Then an ARROW WHIZZES THROUGH THE AIR from behind Boone... THWACK... it hits him in the back of the neck... erupts out the front of his throat. Boone stands frozen... confused... reaches up and grabs the bloody arrow... finally drops to his knees. And that's when a TRAPPER looks up... sees Boone on his knees, holding that arrow, his mouth open like a dying fish. AND BEYOND BOONE ARE FORTY ARIKARA WARRIORS CHARGING THROUGH THE TREES... FEATHERS RISING FROM THE MOHAWKS SPLITTING THEIR SHAVED HEADS... FACES PAINTED FOR BATTLE. TRAPPER `REE! WHOOSH... AN ARROW SAILS INTO THE TRAPPER'S CHEST, sending him flying backward. The camp explodes into chaos... men YELLING... grabbing for weapons... stumbling over each other as they duck behind trees. 5. HENRY - PULLING THE PISTOLS FROM HIS BELT... ...taking aim at the attacking figures. The Arikara pour into camp, arrows flying... knives and hatchets swinging. And this is a massacre... the Arikara wading through the trappers... stabbing... clubbing... scalping. This once peaceful world is filled with a sickening mix of war cries and screams of death. Fitzgerald rises up from behind a log... aims his rifle... BOOM... takes down one of the warriors. He starts reloading as ANOTHER WARRIOR charges him... draws back his knife. Fitzgerald pours the powder, but knows he isn't going to make it in time... the warrior leaps toward him... ...BOOM... it's like the warrior hits an invisible wall... flies back to the ground, very dead. Fitzgerald spins... sees Glass and his Anstadt right behind him. GLASS GET TO THE BOAT! Fitzgerald takes off... flips his rifle around, swings it like a club across a warrior's head... WHACK! GLASS (CONT'D) (TO HENRY) THE BOAT, CAPTAIN! Henry shoves a TRAPPER toward the water. An arrow drives into the trapper's leg... he goes down. Henry lifts the man to pull him into the river, but several more arrows bury in the man's back... he falls limp. Henry FIRES HIS PISTOLS, dropping the WARRIOR. Bridger and Pig join Glass... splash into the river, SHOOTING back at the attacking Arikara. The water deepens, and they start swimming toward the flatboat. ARROWS HISS into the water all around them. Glass is still in the shallows... aims his pistol... BAM... shoots an oncoming warrior... spins after the other men... joins them as they near the flatboat. A final TRAPPER charges down the shore behind them. SEVERAL WARRIORS pursue him. TRAPPER WAIT! 6. He aims his pistol over his shoulder as he runs... pulls the trigger... CLICK... pulls it again... CLICK. But he's too scared to stop his finger... CLICK... CLICK... CLICK... THUD... as a hatchet buries in his back. He crashes face first into the shallows. The Arikara leader, (ELK'S TONGUE), animal bones braided into his mohawk, a NECKLACE OF HUMAN EARS around his neck, straddles the dying man. Elk's Tongue grabs the Trapper by the hair, and CUTS OFF HIS LEFT EAR, then holds it up to Glass and the others, as he SCREAMS HIS WAR CRY. Glass and the men shove the flatboat off the sandbar... start scrambling aboard, as arrows dart past them... drive into the wooden boat. Suddenly a WARRIOR EXPLODES FROM THE WATER... tackles Bridger as he climbs up the side of the flatboat... jerks him back into the river. Bridger flails in the water... watches the warrior raise his hatchet high to slam down... just as Glass SLAMS THE BUTT OF HIS ANSTADT into the back of the Warrior's head. The Warrior collapses under the surface. Glass grabs Bridger's hand... drags him up onto the deck. BRIDGER Thank you. But Glass is already gone... FIRING BACK AT THE ARIKARA, as the current carries them away. VOICE (O.S.) HEY! Pig looks over the side... sees a frantic WILLIAM ANDERSON gripped to the edge. Pig pulls him onto the boat. Fitzgerald and Glass grab LONGPOLES... shove them against the river's bottom to pick up speed. Henry stands on deck, watching as Elk's Tongue yanks a DYING TRAPPER's head back by his hair to peel away his scalp. Henry drops his eyes... can't watch. The TRAPPER'S SCREAM ECHOES OVER HIM. EXT. MISSOURI RIVER/FLATBOAT - LATER Quiet and dark... the battle long over. The flatboat floats with the gentle current. The NINE SURVIVING TRAPPERS are scattered around the deck... 7. Glass digging an arrow out of WALLACE MURPHY'S SHOULDER... Fitzgerald poling on one side with Anderson on the other... STUBBY BILL VANCE and Pig standing patrol with their rifles... Bridger doctoring a badly WOUNDED TRAPPER... and Henry standing at the front of the flatboat, staring off blankly. FITZGERALD What's the plan, Captain? Henry's still lost in those screams. FITZGERALD (CONT'D) Captain! What the hell do we do now? Henry snaps out of his stare... turns to the men... obviously doesn't have an answer. ANDERSON We're just floatin' farther from Fort Union. Henry's eyes instinctively look to Glass. GLASS The Missouri's no good. Not if the `Ree's running it. FITZGERALD So we just float the hell down to Mexico or wherever else this river takes us? GLASS We get ourselves safe outta range, then track another course up. FITZGERALD Add weeks to the trip. BRIDGER Better that than endin' up scalped on the side of the river. FITZGERALD (shoving him away) Shut up, kid, you don't get no say in this. Bridger starts to respond, but Fitzgerald's angry glare stops him. 8. FITZGERALD (CONT'D) (back to Henry) And in case you hadn't noticed, Captain, we're twelve men short of what we were. (off the badly wounded TRAPPER) Thirteen before long. HENRY I understand our situation, Mr. Fitzgerald. We do like Glass said... put some distance between us and the Arikara, then chart a course to Fort Union. Fitzgerald MUMBLES UNDER HIS BREATH... rolls those dark eyes to Anderson. Glass gives Henry a nod. EXT. MISSOURI RIVER/FLATBOAT - NIGHT ANGLE ON THE BADLY WOUNDED TRAPPER... NOW DEAD... ...as hands push the body over the side of the boat. It splashes into the water... floats downstream. We PULL BACK... see that the flatboat is beached along the bank of the river. Glass and Pig watch the body drift away. PIG Reckon it's better `an lettin' the `Ree find him... take his ears... slice what's left all to shit. Glass nods... steps down off the boat to Henry and the others. They're gathered around a map spread out on the ground. Henry runs his finger along a THIN BLUE LINE. HENRY So we hike west to the Grand, then follow it up to Fort Union. FITZGERALD On foot? You got any idea how long that's gonna take? It'll be winter before we get there. ANDERSON Unless we come across a post... trade for some horses. 9. GLASS No posts that far out. FITZGERALD So if we do this, we do every step with our own feet. HENRY We make camp here for the night, then load supplies and head out for the Grand at first light. (BEAT) And gather extra blankets `cause there won't be any fires. More GRUMBLING from Fitzgerald and Anderson, as they move toward the cover of trees. Bridger walks up beside Glass. BRIDGER Thank you... for what you done back there. GLASS You'd have done the same for me. Bridger nods... he hopes so. EXT. WOODS - NIGHT Pig on watch... sitting at the base of a tree, rifle across his lap, eyes wide, scanning the darkness. All clear. He peers back to camp... Fitzgerald, Anderson, Stubby Bill, and Murphy wrapped in blankets... passing a bottle of whiskey around. Bridger across from Fitzgerald, poking at the dirt with a stick. Henry is off to one side, still studying that map. Glass sits against a tree, cleaning his Anstadt rifle. Fitzgerald watches Glass a beat, then... FITZGERALD You treat that Anstadt sweeter than any woman, Glass. STUBBY BILL Never seen a woman that could stop a `Ree from three hundred feet. ANDERSON I knew a particular big-breasted redhead in Boston that might come close. 10. The others manage a small laugh. Glass just keeps working on that rifle. FITZGERALD Bring it over here for me to have a look. Glass doesn't look up... wipes a rag down the barrel. FITZGERALD (CONT'D) Did you hear what I said, boy? Still nothing from Glass. And Fitzgerald doesn't like that... the tension's growing. BRIDGER (MUMBLING) You seen it before. Fitzgerald turns that mean, drunken glare on Bridger. FITZGERALD What'd you say, kid? Bridger hesitates a beat... until the other men's eyes force a response. BRIDGER (SOFTLY) I said you shoulda already got a look when he saved you with it earlier. The camp falls still... nobody talks to Fitzgerald like that... especially when he's drunk. There isn't a sound except for Glass working methodically on his rifle... ...until the SWISH OF BLADE OVER LEATHER, as Fitzgerald tears the blade from his belt... flings it into the dirt between Bridger's legs... AN INCH BELOW HIS CROTCH. Fitzgerald stares at Bridger, daring him to react. But Bridger's too scared... doesn't, so Fitzgerald just smiles. FITZGERALD You're lucky you ain't a man yet. (off the blade) Else that mighta nicked somethin'. A few NERVOUS CHUCKLES from the others, hoping this is over. And it is, because Fitzgerald reaches over and pulls the knife away... cleans the dirty blade on Bridger's leg. 11. FITZGERALD (CONT'D) And unlike you, I don't need savin' by him or nobody else. Remember that. Fitzgerald stands... wobbles just a bit. He slides the knife back into his belt, then steadies his drunken gaze on Glass. The others exchange nervous glances... uh-oh. Fitzgerald walks to Glass... snaps his fingers for Glass' Anstadt. FITZGERALD (CONT'D) Lemme see what's so special `bout that shooter of yours. Nothing from Glass, so Fitzgerald grabs the barrel, but Glass holds firm. GLASS Middle of workin' on it. FITZGERALD Well you can stop workin' on it, and let me have a look like I said. Fitzgerald gives another tug, but Glass' grip only grows tighter. His eyes roll up to Fitzgerald... make it clear he isn't giving up his rifle. And they hold that stare just as hard as they're holding Glass' rifle. FITZGERALD (CONT'D) You forget your place? GLASS Best I can tell, my place is right where I want it... on the smart end of my rifle. Fitzgerald realizes the barrel he's holding is aimed right at his stomach, while Glass' hand seems suddenly very close to the trigger. But Fitzgerald's pride and that whiskey won't let him lose this tug of war. FITZGERALD I'd be careful if I was you, boy. And this thing's about to turn real ugly... until... HENRY That's enough, Fitzgerald. Go sober up and get to sleep. (MORE) 12. HENRY(CONT'D) If you're passed out when we break camp tomorrow, I leave you here. Fitzgerald holds his glare on Glass, then releases the rifle, shoving it back at Glass. He glances to Henry, and throws back a big gulp from the bottle just for spite, before backing away from Glass. FITZGERALD That's the trouble with this part of the world. No mirrors. Niggers forget what color they are. Glass ignores Fitzgerald... goes back to his rifle. Fitzgerald tosses the bottle at Anderson, then jerks his blanket up... walks off to sleep by himself. Glass glances up from his work... just long enough to give Bridger a nod. EXT. CAMP - LATER Fitzgerald sleeping off that whiskey. The others snoring in a cluster at the center of the camp. Henry lies there awake... looks across to Glass, still sitting against the tree, a HANDRAWN MAP in his lap, as his eyes pierce the darkness. Henry eases over to Glass. HENRY Can't sleep either? GLASS Never like closin' my eyes when I'm not sure who'll be standin' over me when I open `em. HENRY I keep thinking about Boone and the others... how maybe I should've had us make camp further up river. GLASS The tracks I saw... those `Ree had been tailin' us for a while. They'd have gone as far north as it took. (BEAT) You're a good man, Captain. Soon as you realize that, these others will too. Henry likes hearing that... still isn't sure it's true. 13. HENRY Your years trappin' and guidin' out here... have you had much experience with the Arikara? GLASS Enough to try and stay outta their way. HENRY (motions to Glass' map) But you know this country well enough to get us past them... up to Fort Union? GLASS I been here a long while. Whether that gets us to Union or not... Henry waits for more... doesn't get it. So he just nods and starts back to his blanket.... stops. HENRY What Fitzgerald said earlier... he doesn't speak for the rest. GLASS He wasn't wrong. Truth is that's what I prefer about this country... it's got no eye for the color of a man's skin. HENRY (BEAT) Try to get some sleep, Hugh. Henry climbs back under his blanket. Glass just sits there looking at the map. ANGLE ON GLASS' MAP... ...primitive at best. Sketched mountains... winding blue lines for rivers... small dots are scattered about with names beside them... "Brazeau", "Talbot", "Union". And DOZENS OF TRIANGLE PINE TREES have been drawn, representing the endless wilderness. We TIGHTEN ON THOSE TRIANGLES until we're lost in them. DISSOLVE TO: 14. EXT. WILDERNESS - DAY Thick with trees. Henry leads the men single file through the woods. They each have a canvas sack of supplies over one shoulder, and their rifle in their hands. The only sound is their feet crunching the dried leaves, and even that seems too loud as their eyes dart about, searching for any sign of attack. STUBBY BILL Shouldn't we have hit the Grand by now? HENRY We'll reach it soon enough. Glass said to keep this course. FITZGERALD Glass said. Too bad I don't see him. PIG That's on account he's up ahead makin' sure it's clear, and you get to keep your ears. Fitzgerald throws Pig an angry glance. FITZGERALD Or he's run off and left us. BRIDGER He wouldn't do that. Fitzgerald GRUNTS... doesn't believe that. FITZGERALD My bet, that nigger's used to runnin'. EXT. WOODS - DAY Glass moves slowly through the brush, almost gliding... subtle twists and turns to avoid branches and leaves... careful not to leave his scent behind. And his eyes cut through the trees as he moves... digging for any sign of movement. He spots something at his feet... crouches down, running his finger over the SMALL ANIMAL TRACK in the dirt. 15. O.S. RUSTLING snaps his head up... to the TREMBLING OF BUSHES... growing harder... whatever's in there is coming toward Glass. He calmly raises his rifle... presses the stock firmly against his shoulder... closes one eye as he takes steady aim down the long barrel... ...to the shapes rumbling out of the brush... TWO BEAR CUBS playfully wrestling. Glass lowers the Anstadt... looks past the cubs for something else... but the woods are empty. A SUDDEN FEAR FILLS GLASS' EYES... ...he spins... right into the GIANT GRIZZLY SWINGING ITS PAW AT HIM... hitting him across the side of the neck. The animal's razor claws tear into Glass' throat, as the force sends him flying through the air. Glass sails into a thick tree... the CRACK OF HIS LEG SNAPPING against the trunk. The rifle falls from his hand. The Grizzly lets out a massive ROAR... charges Glass. Glass crawls to the Anstadt... grabs it... has just enough time to tilt the rifle toward the bear... BOOM. CUT TO: HENRY - HEARING THE BLAST. HENRY UP AHEAD! Henry takes off at full sprint. The other men follow. CUT TO: GLASS - AS THE BEAR LEAPS ON TOP OF HIM... ...tosses Glass aside with a powerful swing. Glass hits the ground with a PAINFUL THUD. He starts CRAWLING AWAY, pulling the KNIFE from his belt as the bear rises up like a giant behind him... swings... tears its claws across Glass's back, shredding deep into his flesh. Glass is fighting for his life now... flailing with the knife... slicing it across the bear's paw as it whips past him. The wound slows the bear enough for Glass to start crawling again. But the Grizzly doesn't give Glass the chance... ROARS... is on him in a flash, a BLUR OF CLAWS AND FANGS... tearing across Glass' head... ripping into his face... his chest. 16. Glass drives his knife into the bear again... deep... trying to tear through the layers of flesh to something more vital. CUT TO: HENRY - LEADING THE CHARGE THROUGH THE FOREST. CUT TO: GLASS AND THE GRIZZLY - FIGHTING THIS EPIC BATTLE... ...locked in a death grip... tumbling along the ground... trading violent blows... Glass' blade versus the Grizzly's claws and fangs... snapping small trees as they roll over them... toward the edge of a steep embankment... ... and ROLL DOWN... spinning over and over... each ROARING AT THE OTHER... Glass pounding the knife into the bear again and again as they fall... neither willing to surrender as they careen down the slope at a dizzying pace, then SLAM TO THE BOTTOM WITH A CRUNCH. And the forest falls still... Glass hidden somewhere beneath the massive animal... both deathly motionless. EXT. WOODS - DAY Bridger's the first to reach the battleground... sees the TWO FRIGHTENED BEAR CUBS SCURRY AWAY. He follows the bloody ground and crushed underbrush to the top of the slope... looks down to the mass of flesh at the bottom. BRIDGER Christ Almighty. Henry, Pig, and the others reach the edge. HENRY Glass! No answer. And all they can see is the bear, so they scan the trees. PIG HUGH! Still nothing. So Bridger takes off down the slope... losing his balance but rolling back to his feet. He reaches the bear... sees GLASS' MANGLED ARM STICKING OUT FROM BENEATH IT. 17. BRIDGER He's down here! Bridger uses all his strength to push the bear off, as the other men scramble down. But Bridger can't budge the massive carcass... not until Stubby Bill and Pig join in... shove the animal over, revealing the bloody mass that is Hugh Glass... ...his throat is torn wide open... scalp peeled back from just above his eyebrows, hanging off the skull... stomach and chest a gruesome design of gashes and cuts. His right leg is snapped, the jagged bone jutting out through the skin. Bridger's legs give out... he drops to a knee and vomits. MURPHY Oh, Jesus. STUBBY BILL He's tore to pieces. The men stare down at Glass' corpse. ANDERSON Least he took that Grizz down with him. FITZGERALD Wished he'da done it without firing his rifle. If there wasn't no `Ree around before, there will be now. And that's all Pig can stand... he TACKLES FITZGERALD... they roll to the ground. And in a flash Fitzgerald is on top, raining punches down on Pig... turning his face into a bloody mess. Henry and Anderson grab Fitzgerald... drag him off. HENRY THAT'S ENOUGH! Then somehow, GLASS GASPS... this horrible, GUTTURAL MOAN. BRIDGER Holy Christ, he's alive. Henry and Bridger fall to their knees beside Glass. Glass looks up at the men, tries to focus through the blood and pain. His breathing is just a GURGLING WHEEZE... bubbles forming along the deep gashes in his throat with each gasp. 18. HENRY Get me some water. Stubby Bill tosses Henry his canteen. Henry empties it over Glass' throat... his face and scalp. The water hits the wounds and immediately transforms to blood. BRIDGER Oh, Jesus... Jesus. Glass lifts a trembling hand to his throat... feels the gaping wound. His eyes widen in horror. He COUGHS... the air splashes blood up from the open wounds in his throat. HENRY It's okay, Hugh. (pushing Glass' hand away) You're going to be fine. Henry spins his head away from Glass. HENRY (CONT'D) (WHISPERS) I need some rags before he bleeds out. Pig whips a shirt from his bag... shreds it. HENRY (CONT'D) And your whiskey. Pig tosses a bottle to Henry. Henry pours it over the gashes. The BURNING PAIN arches Glass... he CRIES OUT in that same horrific moan. HENRY (CONT'D) Hold him down, Bridger, goddammit. Bridger throws his weight against Glass' shoulders. HENRY (CONT'D) The rest of you spread out... scout a circle around us. Fitzgerald, you and Anderson take west and north. Murphy and Mike south and east. Watch for anyone that might've heard that shot. And for the first time, Henry seems like a leader of men... firm... in complete control... just as Glass said he would be. So the men hurry off to their positions. 19. PIG What about me, Cap? HENRY Get down here and help me tie off these wounds best we can. Pig shakily joins Henry in wrapping the wounds. The blood keeps seeping out, soaking the rags. PIG It won't stop bleedin'. HENRY Shut up, Pig. (TO GLASS) We're fixing you up, Hugh. Glass is like a shredded rag doll... dazed eyes staring up at them as they work on his wounds... wrapping the rags around his throat... laying his scalp back over his skull, and tying another rag around it and under his jaw to hold it in place. Bridger wipes the blood from Glass' face. BRIDGER It's gonna be fine, Mr. Glass. Henry glances down to the PUDDLE OF BLOOD spilling out over his knees... oozing out from beneath Glass. HENRY Roll him over... easy. They gently push Glass onto one side, revealing DEEP, JAGGED, GASHES running across the width of Glass' back. Henry stares at the open flesh, ready to panic again... but he doesn't. Instead he looks to Pig. HENRY (CONT'D) Get me the kit. We need to stitch his back up. BRIDGER What about the rest of him? HENRY He's losing more blood back here. (off the throat) And I don't know what to do with that yet. 20. Pig digs out a thick needle and spool of black thread... hands it to Henry. Henry grabs the whiskey bottle. HENRY (CONT'D) I'm sorry for how this is about to burn, Hugh. Henry pours the whiskey over Glass' back. And the pain must be excruciating, because Glass lets out a HORRIBLE WAIL. CUT TO: EXT. WOODS - CONTINUOUS Fitzgerald and Anderson standing watch together in the trees. Glass' scream erupts through the trees, and they both immediately crouch down to a knee... out of sight to anyone out there that might have heard that. ANDERSON They're torturin' the poor bastard. FITZGERALD And riskin' gettin' us killed in the process. Proper thing would be to end it for him quick. ANDERSON `Less he could pull through. FITZGERALD You seen what that grizz did to him. Shit, Glass'll be dead inside a hour. We all will be if he keeps screamin' like that. EXT. WOODS - LATER SERIES OF SHOTS HENRY, BRIDGER AND PIG WORKING OVER GLASS... Bridger and Pig pressing Glass' scalp down, as Henry slides the needle and thread through the skin, suturing the wound. HENRY CLEANING GLASS' SHREDDED THROAT. BRIDGER AND PIG HOLDING THE SCREAMING GLASS DOWN AS HENRY SNAPS GLASS' LEG BACK IN PLACE. 21. FITZGERALD PEERING BACK THROUGH THE TREES... to Henry doctoring Glass. Fitzgerald shakes his head in anger... turns back to the darkening forest. EXT. WOODS - EVENING Glass rests unconscious on the ground. Two branches act as a splint on his leg. A blanket covers his body... his face is like a swollen, disfigured, Frankenstein's monster... stitches of black thread holding it in place. Henry crouches a short distance away from him, rinsing his hands under a canteen. Bridger and Pig stand beside him. BRIDGER What now? HENRY We wait. Does he have any kin you know of? PIG He keeps to hisself. Never mentioned none. HENRY Go get the others. Tell `em we're making camp here for the night. Pig starts hustling away. HENRY (CONT'D) And gather some wood, but make sure it's dry. We don't want much smoke when we cook that grizzly. ANGLE ON THE MASSIVE BEAR... ...lying dead on the ground, its claws and fangs soaked with blood... Glass' blood. DISSOLVE TO: EXT. WOODS - NIGHT And what's left of the grizzly... its fur cut away... slabs of flesh butchered from its skeleton. A fire burns at the center of camp... a chunk of meat roasts above the flame. The men sit around the fire... 22. Murphy reaches up... tears a strip of meat from the roast, tossing it in his mouth. The men are silent... the pall of Glass' attack still hanging over them. Bridger rises... walks to the Grizzly... crouches down over it, grabbing the animal's enormous paw. It dwarfs his own hand, as he examines the claws. Bridger pulls out his knife... stretches the claw out to its full length, and CUTS IT OFF AT ITS BASE. FITZGERALD (O.S.) What makes you think you earned a claw? Bridger turns with a start... sees Fitzgerald standing over him, meat in his hand... his lips shiny with the grease. FITZGERALD (CONT'D) You didn't take that grizz down. BRIDGER It ain't for me. Bridger stands... walks over to the sleeping Glass. Pig's already crouched beside him. Bridger lifts Glass' small leather POSSIBLES BAG from beside the Anstadt rifle... drops the claw inside... throws a look back to Fitzgerald. Pig holds his palm out just above Glass' mouth. PIG I can feel some air outta his mouth. Maybe Captain sealed up his throat proper, huh? (off Bridger's silence) Whatta you figure his odds are, Jim? Bridger stares down at what's left of Glass. BRIDGER Long. EXT. WILDERNESS - MORNING The sun peeks over the horizon, sending an orange glow across the treetops. EXT. CAMP - MORNING ANGLE ON GLASS... 23. ...unconscious but alive... his raspy breaths are weak and staggered. The SHADOWS OF MEN hover over him... ...because Henry and the others surround Glass, staring down at him. MURPHY What that bear did to him... I didn't expect he'd last this long. ANDERSON I seen a fella go a week once after a lion jumped him. Fever finally finished him off. STUBBY BILL Whatta we do, Cap? A long beat, then... HENRY We give him his chance. Henry turns and walks away. EXT. CAMP - NIGHT The fire has burned down to nothing. The men sleep scattered about. Murphy stands just outside of camp, rifle ready, keeping watch. Glass lies there awake... eyes wide open... a living corpse. And his breathing is just as labored as before... raspy, blood-soaked strains. Fitzgerald tosses and turns, listening to Glass' gurgling. FITZGERALD You ain't doin' him or us no favors, Captain, lettin' him suffer that way. Henry's awake, but doesn't answer. He's holding his pistol in his hand, as he stares at Glass... thinking the same thing Fitzgerald just said. But he doesn't move... not yet. Fitzgerald angrily wraps a blanket around his head, muffling the sound. Bridger sits beyond him... smiles at Fitzgerald's misery, as he attaches the BEAR CLAW TO A THIN LEATHER STRAP... a necklace. 24. EXT. CAMP - MORNING Bridger kneels over a SHIVERING GLASS, holding wet rags on his head. Pig and Henry stand over them, watching. Fitzgerald, Anderson, Murphy and Stubby Bill sit huddled across camp. ANDERSON Fever's hit. Won't be long now. FITZGERALD I seen a bad one drag on days. ANGLE ON GLASS... ...eyes open... he can hear every word. FITZGERALD (O.S.) (cont'd) Insides shut down... flesh starts to spoil and turn. Ain't no way for... HENRY (O.S.) Quiet, Fitzgerald. FITZGERALD... ...points a stick at Glass. FITZGERALD (TO HENRY) We keep sittin' here watchin' him die, only gives the `Ree more chance to find us. Henry doesn't answer... just keeps staring down at Glass. BRIDGER He's burnin', Cap. Water turns to boil as soon as it touches him. Henry considers this, then... HENRY Pig, take Anderson and scout ahead. Grand should be just west of here. Find us the best route. FITZGERALD Tryin' to buy Glass time don't make sense for the rest of us, Captain. 25. HENRY (TO PIG) Get movin'. Pig nods... grabs his gear. He and Anderson take off out of camp. Henry turns... walks over to Fitzgerald and Stubby Bill. HENRY (CONT'D) (WHISPERS) You two can start digging a grave. Fitzgerald tosses the stick away. FITZGERALD Least it's a step in the right direction. EXT. CAMP - LATER Fitzgerald is covered in dirt and sweat, standing knee deep in Glass' grave. Stubby Bill stands over him. FITZGERALD Any coyote digs that deep deserves the meal. He takes Stubby Bill's hand... pulls himself out. FITZGERALD (CONT'D) Glass won't know the difference no ways. Pig and Anderson walk back into camp. PIG Found it, Cap. Right where Glass had us headed. ANDERSON No more than a mile or so out. Henry looks to Bridger, still doctoring Glass. HENRY We could build a litter. Haul him with us. ANDERSON It's rocky and steep goin'. Henry looks to Pig for an honest answer. 26. PIG Marshy and thick on the other side. We could try it, but... Pig shakes his head. FITZGERALD I signed on as a trapper, not a goddamn mule. BRIDGER (TO HENRY) Shape he's in... I don't see no way he'd make bein' drug. Henry nods, his mind racing for a solution. And before long, his hand is back on that pistol. He pulls it from his belt. The other men all drop their heads... except for Fitzgerald... he's ready to see this end. Henry stares down at Glass. HENRY Lay that rag over his eyes, Mr. Bridger. BRIDGER But, Captain. HENRY Do it. Bridger hesitates, then reaches to fold the wet rag down over Glass' wide open eyes. And Glass must know what's happening, because his eyes roll up to Bridger's... his lips try to form a word... his hand digs its fingers into the dirt beside him. CUT TO: GLASS' POV - ON BRIDGER... ...the boy looking away as he pulls the rag over our eyes... everything goes black. HENRY (O.S.) Step clear, Mr. Bridger. A LONG BEAT in the dark, waiting for that gunshot, then... BACK TO SCENE 27. Henry standing over Glass... pistol aimed down. His hand trembles slightly. Pig turns away... presses his hands over his ears. Bridger takes a few steps back... stares at Henry. Henry struggles to steady his aim, until finally it calms... because he's thought of something else. HENRY (CONT'D) There's a seventy dollar bonus from the Rocky Mountain Fur Company to the two men that stay with Glass... see this through. Then give him a proper burial. BRIDGER I'll stay with him... money or not. PIG Same here. HENRY I can't let you stay back, Pig. Without Glass, I'll need you to scout. Henry looks to the others... they all drop their eyes... not interested. HENRY (CONT'D) Just need one more. FITZGERALD Two won't stand much chance against a party of `Ree, Captain, and seventy dollars won't buy me a new setta ears. HENRY A hundred then. Still nothing from the others. BRIDGER They can have my share too. I owe Glass that at least. FITZGERALD That case I'll hang back with the kid. I don't mind fallin' a day or so behind for two hundred. 28. HENRY But Glass is to be cared for until. Understood? FITZGERALD (motions to Bridger) I'll let the young doctor do his job. Henry hesitates... doesn't like this, but knows it's the best option left. HENRY The rest gather your gear. Bridger reaches down... lifts the rag from Glass' face. Their eyes meet... Bridger gives Glass a nod. EXT. CAMP - LATER Henry and the others are loaded and ready to leave. Pig bends down over Glass. PIG I'll see ya at Fort Union, Hugh. Glass's glazed eyes focus on Pig. He moves the only thing he can... BLINKS a "yes" back at him. HENRY (to Fitzgerald and BRIDGER) As long as necessary. BRIDGER I'll look after him. Henry turns... leads the men into the trees... toward the Grand... toward Fort Union. EXT. CAMP - NIGHT What's left of a small fire is nothing but smoldering ash. Bridger crouches beside Glass, pouring a thin stream of broth between his lips. Fitzgerald reaches in... grabs Glass' Anstadt leaning against the tree. FITZGERALD I'll take first watch. 29. BRIDGER Not with his rifle. FITZGERALD Trust me, kid, he ain't gonna be needin' it tonight. Fitzgerald disappears into the trees. EXT. WILDERNESS - DAY Pig stands on a ridge, scouting a course. He waves back to Henry and the others. They start toward him. EXT. CAMP - EVENING Glass conscious on the ground... that same labored breathing. CUT TO: GLASS' POV - ON FITZGERALD... ...smiling down at Glass as he grabs the Anstadt, holds it... runs his hand down the barrel, as comfortable as if it were his own. FITZGERALD You were right to protect this. Then he disappears... and we're left alone, staring up at the branches above us... the evening sky... accompanied by Glass' deathly breaths. DISSOLVE TO: EXT. WILDERNESS/CREEK - DAY Bridger kneels beside the stream, filling canteens. EXT. CAMP - DAY Fitzgerald sits bored against a tree, twisting a knife in his hands... flipping it point first into the dirt... grabbing... repeating... twist... flip... thwack. And as he does, his eyes are locked on Glass. 30. Finally, Fitzgerald snaps the knife from the dirt, stands, and walks over to Glass. Glass is asleep. Fitzgerald crouches down over him... eyes his red, infected wounds. FITZGERALD (WHISPERS) When are you gonna die, boy? Fitzgerald reaches out with the blade... gently touches one of the threads holding Glass' throat together. And when he does, GLASS' EYES FLY OPEN... focus on Fitzgerald. Fitzgerald doesn't even flinch... just holds that knife tip there against Glass' throat. FITZGERALD (CONT'D) I'm nearly a week behind Henry's bunch on accounta havin' to tend to you. Be easier on us all if you'd take that last breath. The two men hold a stare... until Fitzgerald pulls back the knife... grabs a bloodstained rag from beside them... balls it up in his fist. FITZGERALD (CONT'D) I could help ya with that if you'd like. Muzzle ya right now... end all this sufferin' quick and easy. Nobody'd ever know you give up. Fitzgerald moves the rag over Glass' nose and mouth... holds it there, just inches above. FITZGERALD (CONT'D) You just gimme a blink if you want me to do it. Glass locks his eyes on Fitzgerald's... both men unblinking. A DROP OF BLOOD hangs from the rag... finally falls... lands on Glass' lips. Fitzgerald almost smiles, waiting for the inevitable... as Glass stares back, fighting the urge to blink. Suddenly Bridger's hand clamps down on Fitzgerald's shoulder. Fitzgerald spins... startled. BRIDGER (O.S.) What's goin' on? 31. Fitzgerald jumps with a start, sees it's Bridger, and is pissed that Bridger scared him... and interrupted his business. He rises quickly, planting his meaty hand in Bridger's chest, and SLAMMING HIM BACK AGAINST A TREE. FITZGERALD Don't you ever question me, you little piss-ant. Bridger tries to fight back, but Fitzgerald's too strong... holds him pressed against the tree... slams a heavy elbow into Bridger's mouth, splitting his lip. FITZGERALD (CONT'D) I'd just as soon leave both you and your nigger here to rot. `Cept killin' you ain't worth givin' up your share. (LEANS CLOSER) But that don't mean I can't be coaxed into changin' my mind. Fitzgerald shoves him away... Bridger stumbles and falls. Fitzgerald tosses the bloody rag at him. FITZGERALD (CONT'D) And I was just doin' your job... cleanin' him up. Fitzgerald grabs Glass' Anstadt, almost daring Bridger to say something. Of course Bridger doesn't. Fitzgerald walks toward the trees. FITZGERALD (CONT'D) Why don't ya pour some more broth down his throat... keep him alive another week so we can fall farther back. End up walkin' all the way to Fort Union on our own. `Ree would love to poach on just two. (turns to Bridger) I promise ya, you'll look a helluva lot worse than Glass when they're done with you. Bridger watches him disappear into the trees... wipes the blood from his lip with a trembling hand. DISSOLVE TO: 32. EXT. WILDERNESS - NIGHT From high above the trees. The world is silent... peaceful... until SEVERAL STARTLED CROWS shoot up from the treetops. CUT TO: BLACK... ...the sound of FRENZIED BREATHING. FITZGERALD (V.O.) (PANICKED WHISPER) Bridger! Get your ass up! Dim light fills the frame... then FITZGERALD'S FACE right in front of us. FITZGERALD (CONT'D) `Ree. BRIDGER - SCRAMBLES UP FROM UNDER HIS BLANKET, WIPING THE SLEEP FROM HIS FRIGHTENED EYES. BRIDGER What? FITZGERALD Keep quiet. I was down at the creek... there's twenty of `em at least, comin' this way. BRIDGER Oh, shit. Whatta we do? FITZGERALD We run. Now. And Fitzgerald's just whispering, but it's with such power that Bridger has no response... watches as Fitzgerald gathers his bag, starts throwing in food and supplies. Bridger is scared out of his mind... does the same... grabs for his rifle, resting near Glass. Bridger freezes... in his panic, he'd forgotten all about Glass. And now the wounded man's eyes stare up at him... understanding perfectly what's happening around him. BRIDGER What about Glass? 33. FITZGERALD He's on his own, same as us. BRIDGER I can't leave him. FITZGERALD Then I'm talkin' to a dead man. Glass gives Bridger the slightest of nods... go. But Bridger's frozen... doesn't know what to do... until Fitzgerald shoves him back to life. FITZGERALD (CONT'D) Move. Glass reaches out a weak hand out for his Anstadt... clawing for his weapon. Bridger starts to hand it to Glass, but Fitzgerald grabs it first. BRIDGER What're you doin'? He needs that. FITZGERALD He couldn't hold it if you tarred it to his hands. Glass strains to hold out his trembling hand for his gun. BRIDGER It's his goddamn rifle! That's all he's got! FITZGERALD And more than he'll need. Fitzgerald scoops up Glass' knife as well. BRIDGER We can't leave him with nothin'. But Fitzgerald is already sprinting away... disappearing into the trees. Glass stares after him, his once-calm eyes suddenly filled with a rage. And Bridger's frozen again, lost between duty and fear... until finally, he just shakes his head and takes off into the trees. Glass's empty hand falls back to the ground... he tries to yell out in anger, but his throat EXPLODES IN PAIN. His hand digs into the dirt... pulls him over onto his side. He flops over to his stomach... GASPS IN PAIN... 34. then using his one good arm, drags himself over the dirt, his healthy leg pushing weakly at the ground, trying to propel him forward... a futile chase after Fitzgerald and Bridger... ...inch by inch... farther than he's been in days. But it's still only a few yards, and now he lies in the open... a clear target for the Arikara. Then he spots that hole... the grave Fitzgerald dug for him. He grunts into action... grabs SEVERAL, THIN BROKEN BRANCHES from the ground, then claws forward, each movement excruciating... until finally, he reaches the hole, and ROLLS INTO IT... lands with a PAINFUL CRUNCH. He rests there a moment, trying to regain any ounce of strength. Finally he fights through the pain... shoves the branches back up... spreading them across the hole as camouflage... a thin veil, but all that Glass has. He lies there defenseless... INSIDE HIS OWN GRAVE. Hiding... listening for the Arikara's arrival... waiting to die. CUT TO: GLASS' POV - OUT OF THE GRAVE... TIGHT AND CLAUSTROPHOBIC... JUST THE NIGHT SKY THROUGH THOSE BRANCHES... AND THE SOUND OF HIS PAINFUL BREATHS. DISSOLVE TO: EXT. WILDERNESS - MORNING Cold and grey. Fitzgerald crouches beside a small fire, warming his hands. WHISPS OF SMOKE rise into the sky. FITZGERALD We ran the better part of six hours. Had to gain some ground on Henry and them others. Bridger sits at the base of a tree, not listening... staring... his mind replaying the desertion of Glass over and over. He notices the smoke. BRIDGER Best douse that smoke before them `Ree spot it. FITZGERALD We put enough distance between us and them. And it's too damn cold to go without one. 35. BRIDGER All we know, they hoofed it through the night same as us. FITZGERALD (shakes his head) A dozen `Ree can't make the time us two did. Bridger looks back to the trees... then considers something, stares at Fitzgerald a beat, before... BRIDGER It was twenty earlier. FITZGERALD What? BRIDGER When you woke me... you said you'd spotted twenty `Ree. FITZGERALD A dozen... twenty. I wasn't in a mood to count feathers. Hell, one `Ree woulda been too many. Fitzgerald empties his canteen over the fire, killing the flames. Bridger stares at the water pouring out. BRIDGER What was you even doin' down at the creak in the middle of the night? (BEAT) I'd already brought plenty a water. Fitzgerald doesn't answer. Bridger tightens his grip on his rifle... slowly rises. BRIDGER (CONT'D) Answer me. FITZGERALD Don't start questionin' me on accounta you feelin' guilty `bout leavin' your nigger buddy behind. Bridger musters up all the courage he can... aims his rifle at Fitzgerald. BRIDGER ANSWER ME OR I BLOW YOUR DAMN HEAD OFF! 36. Fitzgerald stares back at Bridger and his rifle... eyes taking in everything... a snake sizing up its prey. Then Fitzgerald stands... takes a step toward the boy. FITZGERALD What're you askin'? Why it was you turned your back on Glass? Why you let him die to save your own sorry skin? (BEAT) `Cause you was scared shitless, that's why. BRIDGER The `Ree... did you see `em? (off Fitzgerald's silence) DID YOU SEE `EM? FITZGERALD (MOVING CLOSER) Not a one. Bridger CRIES OUT... starts to pull the trigger, when Fitzgerald's hand flashes out, grabbing the barrel, and shoving the butt back into Bridger's face... THWACK. The force of the blow knocks Bridger back to the ground, but Fitzgerald holds his grip on the rifle barrel... flips it around to aim it at the boy. Blood drips down Bridger's head as he stares up at his rifle pointed down. Fitzgerald's finger tightens on the trigger. FITZGERALD (CONT'D) So that there is the answer to your question. And Fitzgerald PULLS THE TRIGGER... AND BRIDGER SQUEEZES HIS EYES SHUT IN FEAR... THEN CLICK. Bridger opens his eyes... sees Fitzgerald sneering down at him. FITZGERALD (CONT'D) And the next time you aim to kill somebody, kid, best remember your gun won't fire without a flint. Fitzgerald tosses the rifle back at Bridger, and turns away. Bridger's face flushes with rage and humiliation... he charges Fitzgerald from behind... tackles him to the ground... starts pounding Fitzgerald with punches. A few of them land, but it's only a moment before Fitzgerald is back in control... HEAD-BUTTING Bridger off of him... 37. tossing him away, then KICKING BRIDGER IN THE STOMACH... AGAIN. He grabs his knife... is ready to finish Bridger off... ...but Fitzgerald is smart enough to know that out here, two are safer than one... even when one is just a kid. He starts walking away. BRIDGER I'm goin' back for him. FITZGERALD Far as we ran all night, you couldn't find Glass with dogs and a map. And I don't believe you really want to. `Cause after leavin' him to die the first time, I doubt he'd be too happy to see you now. Fitzgerald digs at the dirt with the knife... covers the fire's remains. FITZGERALD (CONT'D) And just so we're clear. If you try to backtrack without me knowin', or ever get so guilty you feel the need to tell somebody. Fitzgerald looks at Bridger... hard... evil. FITZGERALD (CONT'D) I'll have no choice but to gut you from nuts to nose. Fitzgerald stares his point home, then shoves the blade into his belt, and stands. FITZGERALD (CONT'D) Now let's go. Bridger wipes the blood from his face, then throws one last glance behind him before following Fitzgerald. EXT. CAMP - MORNING Empty and quiet... no sign of life... until GLASS' HAND RISES BETWEEN THE BRANCHES. His fingers dig into the earth, pulling himself up from the hole... a dead man climbing out of his own grave. He rolls out to the ground... arches in pain when his back hits the cold, hard surface. 38. Glass lies there shivering, regaining what little strength he has, then rolls over... starts dragging himself again with that one good arm. He makes it to the blanket... wraps it around him. Glass rests there in the center of camp... unable to move... his eyes scanning the surroundings... no food... no water... and he's wide open in this clearing... an easy target for any predator. So he grabs his Possibles bag and GUNPOWDER HORN, and drags himself toward the cover of brush. And every movement takes all the will Glass has... a push with his good leg followed by a pull with his healthy arm... inch by inch... foot by foot... sweat pouring down his face as he finally reaches the cover of the trees... continues on... dragging himself across the forest floor in a desperate, hopeless crawl for survival. But finally it's too much for Glass... the fever and pain overwhelm him. He collapses... falls unconscious. EXT. WILDERNESS - DAY Glass lies in the dirt, weak... dehydrated... starving. He looks at his hands... scratched and bloody from clawing his weight. He unwraps his small, leather Possibles bag... dumps it to the ground, revealing it contents... flints, a straight razor, his map, and a LEATHER NECKLACE WITH THE SIX-INCH BEAR CLAW attached. Glass grabs the razor... cuts SEVERAL THIN STRIPS FROM THE BLANKET, and wraps them around his hands. He shoves the rest back in the bag, and does the only thing he can do... start crawling again... push with his healthy leg... pull with his good arm. EXT. WILDERNESS - LATER Glass dragging himself up a steep slope... over rocks... the jagged edges catching the wounds... tearing the primitive stitching. The gashes rip wider... blood oozes down, leaving a crimson trail dripping down the rock behind him. EXT. WILDERNESS - NIGHT The wind is howling through the trees. Glass lies beneath a cluster of brush... shivering... bleeding. Every aching breath creates a puff of smoke in the cold, night air. 39. EXT. MARSH - DAY Thick with a sea of four-foot high Cattails... like miniature cornstalks. Looking down from above the marsh we see a two- foot wide path of crushed plants that reaches the center of the marsh, and stops. We tighten on the end of the path, until we see Glass lying among the Cattails. He's sawing off one of the stalks with the straight razor... peeling away the husk, and eating the tender flesh beneath. Mosquitoes move in clouds around him... over his face... arms. But Glass' injured body only allows him one action at a time, so the mosquitoes have their fill of him, as he gnaws on the Cattail. EXT. WILDERNESS - DAY Glass pulling himself along the ground... stopping to tear a FEW BERRIES from a plant, and shove them in his mouth. He flinches as he swallows. He starts to move again, but freezes... listens... RUSHING WATER. Glass digs his fingers into the ground with new energy... pulls himself toward the sound... up over a ridge... and there it is at the bottom of the ridge... ...THE GRAND RIVER... WATER. Glass crawls down toward it. EXT. GRAND RIVER - DAY Glass drags himself to the river's edge, cupping handfuls of water and rubbing it over his parched lips... withstanding the pain to gulp it down. As he does, Glass notices a FISH hovering in the shallows beside him. He makes a desperate grab for the fish, but it darts easily away. Glass cups more water to his mouth, but with each drink, he feels the water leak from a hole in his throat... run down his neck. He leans out over the surface to check his reflection... barely recognizes the swollen, stitched- together, disfigured face staring back at him. He fights off the urge to vomit... pulls the razor from the leather bag, and cuts more strips of blanket, soaking them in the river, then cleaning his wounds. 40. He runs a finger up to his shredded throat... around the open, wet hole. He cups another handful of water to his mouth... strains to swallow, then feels the liquid GURGLE OUT OF THE HOLE. Glass shoves the cloth against the wound... tries to press the flesh together... no good. He dumps out his Possibles bag... stares at the meager contents. He picks up one of the flints... looks to the powderhorn. EXT. GRAND RIVER - LATER ANGLE ON A SMALL CLUMP OF DRIED GRASS... ...as Glass SPARKS one of the flints... ignites the grass. As the fire grows, Glass pours a handful of GUNPOWDER from the horn, and RUBS IT ALL OVER THE HOLE IN HIS THROAT. He lifts several small blades of burning grass... a miniature torch. And only then do we realize what he's about to do... because he stares at the flame a beat, then raises it toward his gunpowder-covered throat. The flame nears the black powder, and LEAPS OFF THE GRASS, igniting the powder, and SETTING GLASS'S NECK ON FIRE. Glass falls back to the ground in agony... TRIES TO SCREAM, but his burning, shredded vocal chords won't allow him. The gunpowder sizzles and burns... the flame spreads... Glass' flesh sears... melts. And the pain is too much for Glass... he passes out. EXT. GRAND RIVER - NIGHT ANGLE ON GLASS... looking dead beside the river, but we know he's alive because we can hear those same painful, raspy breaths. And then we hear something else... an O.S. RATTLING, growing LOUDER... FASTER... BUZZING... until Glass' eyes flash open. CUT TO: GLASS' POV - ON A RATTLESNAKE COILED INCHES FROM HIS FACE. Glass stares back in horror... has time to throw up his arm in protection as the snake STRIKES... SINKS ITS FANGS INTO HIS FOREARM. 41. He shakes it free, but can't escape the snake's next strike... locking its jaws onto Glass' burned throat. Glass opens his mouth to scream. CUT TO: EXT. GRAND RIVER - DAY And Glass' eyes flying open in the glaring sun, as he awakens from his nightmare... looks to his arm... no snake. His hand instinctively jumps to his melted throat. No bites. But that's when he hears it... we all do... that same RATTLING FROM HIS DREAM. Glass slowly turns his head toward the sound... ...and there's a RATTLESNAKE COILED just a few feet away. Only it isn't poised to attack Glass. It's facing the other way, its target a FIELD MOUSE, trapped against a rock. The snake attacks, sinking its fangs into the mouse. The field mouse tumbles over... quivers as the poison runs through its body, then dies. As Glass watches the snake begin to make a meal of the mouse, his hand grips a rock. He drags himself toward the occupied snake... raises the rock high, then SMASHES IT DOWN ON THE SNAKE'S HEAD. Glass immediately pulls the razor from his bag, and slices off the rattlesnake's head, the field mouse still lodged halfway inside. Glass then drags the razor down the length of the snake... digs his fingers under the fresh seam, then peels the outer layer down off the rattler. With the skin still hanging off the round tube of flesh, Glass BITES INTO THE SNAKE, tearing off a chunk of meat. He gobbles it down, slowing only to painfully swallow the food past his injured throat. EXT. GRAND RIVER - LATER ANGLE ON THE REMAINS OF THE SNAKE... ...the head, skin, and not much else. GLASS - at the water's edge, drinking... touching his charred, melted throat... no leaks. He opens his Possibles bag... pulls out the GRIZZLY CLAW NECKLACE... stares at it a beat, then slips it over his head. 42. He drags out the map... spreads it on the ground, then throws a glance around him... fingers the point on the blue line... a rough guess of his location. ANGLE ON THE MAP... ...Fort Union at the top... hundreds of miles north. Fort Brazeau south... but not nearly as far away. Glass gazes north up the Grand, as if he can see Fitzgerald and Bridger just ahead of him. Then he looks back down to his reflection in the water... battered and scarred. He looks to his leg... all but worthless for now... his one good arm. It's clear he's not ready to take revenge on anyone. So Glass shoves the map back into the bag... ties it around his arm with the powderhorn and blanket, then grabs a THICK, FALLEN LOG, and rolls it into the river. Glass crawls in behind it... deeper, until the current grows strong enough to carry the weight of his mangled body downstream. Glass drapes his healthy arm over the log, and starts floating... letting the river do the work. He watches the land move past him faster than it has in days... and without all the agony of every move. EXT. GRAND RIVER - DAY Winding through the open prairie. Glass hangs onto the log... floats with the gentle current. EXT. GRAND RIVER - EVENING The sinking sun casts an orange glow over the water. Glass floats downstream... past a HERD OF ELK grazing along the riverbank. The animals don't even notice him. EXT. GRAND RIVER - NIGHT Dark... the moon hidden behind clouds. A heavy mist hangs over the river. Glass is draped across the log, eyes closed... letting the slow current carry him south. But then his eyes open... because he hears something... a LOW RUMBLE. Glass looks to the river banks... too foggy to see anything clearly. The RUMBLE GROWS LOUDER. He peers ahead... too dark to see much... just ANOTHER SPLINTERED LOG floating in front of him, its one jagged branch rising up in the air. 43. But then THE LOG VANISHES. Glass squints through the fog, scanning the surface. But it's gone... the water's empty... that LOW RUMBLE GROWS EVEN LOUDER. Glass looks to the water beside him... a BRANCH GLIDES PAST AT A HIGHER SPEED. And now Glass knows what's coming, but it's too late... because the world suddenly turns upside down, as Glass tumbles over the edge of a TWENTY FOOT WATERFALL. He spirals downward... crashes into the rushing current. He's washed forward with the suddenly violent rapids. They pull him under the surface, then toss him GASPING back out. The river carries him blindly through the mist... tossing... turning... SLAMMING HIM INTO A HUGE BOULDER... CRACK... he spins off, swept away headfirst... the foaming water sucking him down the rocky gauntlet. He tumbles over more boulders... his Possibles bag snaps loose... Glass makes a grab for it, but is suddenly flipped down another set of falls. The Possibles Bag is lost in the raging river. Glass sinks beneath the surface, then floats back up, as the rapids calm... spit Glass to the gentle shallows. His body drifts face-down toward shore. And just when we're sure Glass has to finally be dead, his arm reaches up from the water... he digs his fingers into the muddy bank, and drags himself out of the river. Glass collapses unconscious to the ground, his body shrouded in that mist. EXT. GRAND RIVER - DAY TIGHT ON THE LEFT SIDE OF GLASS' FACE... the right still pressed into the muddy bank. The sun beats down... then SHADOWS APPEAR... BOUNCE ACROSS HIM... something is standing over Glass. And then a VULTURE'S HEAD DROPS INTO FRAME... ...latches its beak onto Glass' cheek... tugs at it... stretches it. Glass' eyes pop open... we PULL BACK to see THREE VULTURES surrounding Glass' body, pecking and clawing at his battered wounds. 44. Glass swings his good arm, knocking one of the vultures away. He tries to cry out, but only that PRIMITIVE HISS ERUPTS from his throat. The vultures dance away from his flailing... aren't willing to give up their meal so easily... dart in for quick attacks on his flesh. Glass grasps a branch... swings at the birds, beating them back. The vultures give up the battle... fly away. Glass crumbles back to the ground... squints up into the sun... the SILHOUETTES OF THE VULTURES CIRCLING ABOVE HIM... waiting for him to die. Glass looks down to his wounds, again oozing blood. He glances around... sees a ridge just a few hundred yards away. At the base of the ridge, a GIANT BOULDER has broken free, creating a partial cave. Glass starts crawling toward it. And if it's possible, he looks even closer to death now than when he started this journey. EXT. CAVE - DAY No more than ten feet deep, but enough to hide from predators. Glass drags himself as far back in the recess as he can... collapses against the rock wall. INT. CAVE - DAY Glass gathers loose sticks and grass into a small pile... begins sparking rocks together to build a fire. INT. CAVE - LATER The fire burns beside Glass, as he TEARS A SINGLE THREAD of cloth from the tattered blanket, then feeds it through a tiny hole in a JAGGED, NEEDLE-SIZED SLIVER OF SHARPENED ROCK... a man-made needle and thread. Glass goes to work on the open wounds of his chest... piercing his skin with the rock... wincing with pain as he tugs the thread through the fresh hole in his skin... pierces the other side of the wound, then pulls the flesh tightly together... before repeating the excruciating process all over again... pierce... pull... pierce... tighten. 45. EXT. GRAND RIVER - NIGHT The moon's glow reflects off the water. INT. CAVE - NIGHT ANGLE ON GLASS' HAND... ...holding a small sharp stone, and SCRATCHING LETTERS INTO THE CAVE'S ROCK WALL. WE PAN DOWN TO THE GROUND... still listening to the SCRATCHING OF THE ROCK as we glide across the dirt... reach the fire... its flame warm and strong. We TIGHTEN ON THE FIRE, until WE'RE INSIDE IT... and then WE PULL BACK... ...and we see the fire has long died away... just black ash. The O.S. SCRATCHING has silenced. We glide back across the cave floor... to Glass unconscious on the ground. And above him on the wall, we see what he had been scratching... "Robbed and left to die by Fitzgerald and Bridger. If find eether kill for Hugh Glass" We hold on those words a beat, then... DISSOLVE TO: EXT. GRAND RIVER - DAY DROPS OF RAIN dot the surface. THUNDER RUMBLES... the rain grows heavier. EXT. CAVE - NIGHT Rain pouring... gullies of water run down the ridge, spewing over the mouth of the cave. But inside, Glass doesn't stir... lying there just as we last saw him. EXT. GRAND RIVER - DAY Rain coming down in buckets. The river's raging. EXT. WILDERNESS - NIGHT Clouds drift across the moon... the storm has ended. 46. EXT. CAVE - DAY Sunny and clear. A rabbit hops along... stops for a moment outside the cave. Beyond it, Glass is still sprawled on the cave floor... he must be dead. The rabbit continues on past. INT. CAVE - DAY TIGHT ON GLASS' FACE... as his eyes flutter open. He stares straight ahead, unmoving. EXT. CAVE - DAY Glass crawls out of the crevice... shields his eyes from the sun, as he takes in the scene. The river has sunk back to normal, leaving the banks battered and muddy. The water is thick and brown with all the flooded earth it pulled up. Glass uses all his strength to rise up to his knees, then higher... onto his healthy leg. He braces himself against a tree. He's still crooked and hunched over, but for the first time since the Grizzly attack, he looks more like a man than an animal. He bends down... picks up a BROKEN TREE BRANCH. EXT. GRAND RIVER - DAY Glass limps along the bank... beside the brown water stirred up from the flood. He moves along the washed-out area, searching for food... grabs some plants... tears them from the ground to chew on the roots. He continues on... spots a DEAD SNAPPING TURTLE drowned in the flood, frozen on its back. Glass kneels down to pick up the turtle... sniffs it. As he does, he spots something across the river... a DEER, staring back at him. Glass slowly raises his IMAGINARY RIFLE... takes careful aim at the deer... pulls the trigger. If only he had his Anstadt. But then the deer's head snaps... to something beyond Glass. Glass follows the animal's eyes... turns to the ridge... and the FIVE ARIKARA WARRIORS STANDING AT GLASS' CAVE. Glass drops flat to the ground behind a tree uprooted in the flood. He looks back across the river... THE DEER IS LONG GONE. 47. Glass inches his head up over the tree... to the warriors now crouched outside the cave... studying the tracks. Glass' eyes jump to the soft dirt along the river... HIS FOOTPRINTS CLEAR... an obvious trail leading right to him. He throws a glance around... nowhere to run even if he could. So he starts backing into the river on his stomach... feet- first... dragging a small branch over the tracks around him, wiping them away as he moves. And his eyes are locked on the Arikara... watching to see if they spot him. But they haven't yet, and Glass keeps sliding backward... five feet off shore... only three feet deep in the murky water and sludge. But if he goes any further, the current will catch him... pull him into the next set of violent rapids... and make him a clear target. The Arikara follow the tracks down from the cave. Glass sinks neck-deep into the water... the Arikara keep coming... near the river. So Glass drops beneath the surface. CUT TO: UNDERWATER - And Glass' eyes spread wide... searching the muddy water. He grabs a LARGE ROCK... rolls onto his back, and places the rock on his stomach, its weight holding him firmly to the river bottom. EXT. GRAND RIVER - DAY ANGLE ON THE ARIKARA WARRIORS... following Glass' tracks to the edge of the river... looking out over the brown river. CUT TO: UNDERWATER - Glass pressing his head back against the bottom... staring up through the cloudy water... to the FIVE SHADOWS STANDING ONLY A FEW FEET AWAY. EXT. GRAND RIVER - CONTINUOUS The Arikara... unknowingly standing just above Glass... looking back to the tracks... scanning the water. But the surface is empty, and the river's too thick with mud to see anything below. 48. But they keep looking... and we're waiting for Glass to explode from the river, gasping for air. But he doesn't... and they keep scanning for what seems an eternity, until finally, the warriors turn... start walking back up the path. Behind them, Glass' face inches to the surface... pulls in some oxygen... watches as they fade into the trees. Then Glass rolls the rock away... starts moving deeper into the river... fighting the current to grab rocks and boulders... pulling himself to the other side. EXT. WILDERNESS - DAY Glass limps through the trees, still dripping with the muddy water of the Grand. EXT. WILDERNESS - LATER Glass is on his knees, desperately grabbing for a TINY FIELD MOUSE. The rodent escapes into a hole. Glass claws at the ground after it. He's starving to death. EXT. WILDERNESS - NIGHT The rain beating down through the trees. Glass huddles in a cluster of bushes, trying to stay dry... shivering in the cold. He reaches out from the cover, grabbing his moccasin boot standing in the rain. He pulls it in... slurps back the rainfall that it's caught. EXT. PRAIRIE - EVENING Glass limps slowly across the rolling prairie. He's weak... starving... isn't going to make it much further. He drops to his hands and knees. And then he feels something... the ground almost trembling under his hands. He watches his hands quiver with vibration. A RUMBLE BUILDS. Glass strains to hear... looks to the crest of a hill... labors up the gentle slope toward the sound. EXT. PRAIRIE/HILL - EVENING Glass reaches the crest... looks over the other side to a HERD OF BUFFALO THUNDERING ACROSS THE PRAIRIE. 49. An incredible site... hundreds of massive creatures... their hooves tearing up the earth, leaving a cloud of dust behind them. Behind the herd, a PACK OF WOLVES FIGHT OVER A FALLEN BUFFALO. Glass lies in the high grass, watching the wolves SNARL AND SNAP over the remains. And he eyes that buffalo... the closest he's been to food in days. EXT. PLAINS - NIGHT The five wolves rest around the downed buffalo, their snouts bloody from the meal. Suddenly, one of the wolves' heads snaps up... bares its teeth... SNARLS. And then we see what the wolf is growling at... Glass... limping out of the shadows toward the animals, holding a BURNING SAGE BUSH IN EACH HAND... like giant FLAMING HANDS clawing in the night. The wolves jump to their feet, unsure of what's approaching. They growl at Glass. But Glass keeps coming... doing his best to YELL... more like GROWL back at the wolves. He swings the flaming brush, tossing glowing sparks through the air. The wolves spread out, instinctively surrounding Glass. But Glass singles out each one... charges, waving the flames... driving each wolf back. Four of the wolves back away, but the leader holds its ground... even moves toward Glass... only a few feet away... SNARLING... bloody jaws ready to attack, but still not sure what its up against. Glass shakes the flames at the wolf... it SNAPS AT GLASS' ARM. Glass swings the other... slams the fiery plant across the wolf's head. The wolf YELPS... leaps back... starts to run away, but turns back... makes another charge at Glass. But Glass is ready... throws the flaming ball of sage at the wolf, then clubs it with the other. The animal's fur begins to burn. The frightened wolf has had enough... rolls on the ground, then spins to join the rest of its pack. They run a safe distance, then stop... keeping a watch on Glass. 50. Glass drags the burning sage bushes along the ground, igniting the grass and brush... creating a foot-high flaming wall between him and the wolves. He stretches the flame into a circle, a fiery ring surrounds the fallen buffalo. The wolves have seen enough... turn... race away from the flames. As the grass around him burns, Glass drops the sage plants... attacks the buffalo remains, tearing away bloody chunks of flesh from the carcass, and shoving them into his mouth... a starving animal that's finally found food. EXT. PRAIRIE - NIGHT From high above the prairie... Glass and the buffalo at the center of that glowing ring of fire. EXT. PRAIRIE - DAY The wind's gusting... bending the high golden grass over on its side. Glass moves slowly across, pulling his collar up to shield his face from the cold winds. He spots something in the distant sky ahead... a THIN LINE OF BLACK SMOKE. Glass picks up his pace... hope spurring him on. EXT. BURNED ARIKARA VILLAGE - DAY The charred, skeletal remains of a tribe's village... just black posts where tee-pees once stood... a half-burned log lodge still smokes, sending that black line into the sky. Glass limps through the graveyard of structures... all signs of life in this village long gone. He searches a basket... pulls out a BLANKET... wraps it around his shoulders. INT. LODGE - DAY Glass steps into the smoky warmth of the lodge... black and empty. He slides down to the floor... unwraps strips of roasted buffalo from what's left of his blanket. He starts to take a bite, when SOMETHING DARTS PAST THE DOORWAY TO THE BACK ROOM. The O.S. SHUFFLING OF FEET. Glass freezes... he isn't alone. He rises... grabs a splintered post like a spear... eases toward the doorway... raises the post to swing... 51. ...and sees the SMALL PUPPY standing in the back room. The dog takes off around a crumbled wall. Glass follows it. INT. LODGE/BACK ROOM - CONTINUOUS Glass limps across the room... turns the corner of the crumbled wall... and sees the dog slide to a stop beside an ANCIENT ARIKARA SQUAW, huddled in the corner, her bony arms outstretched in front of her in weak defense. And her eyes are SOLID WHITE... the old woman is blind. She CRIES OUT A CHANT over and over... her death chant, as she waits for this stranger to kill her. Glass stands frozen... confused. He tries to speak, but his throat still won't let him. He crouches down in front of the old woman... reaches for her hand, but she flails him away. He grabs her again... gently... just holds it until she calms... studying the woman... her hollow face all skin and bones... she's obviously dying. He pulls the strip of buffalo meat from his pocket... pushes it into the squaw's hand. She immediately jerks it to her mouth... and that's when Glass sees the WOMAN HAS NO TEETH... she can't eat. Glass turns to an old pot tipped over on the floor. EXT. BURNED ARIKARA VILLAGE - DAY Glass carries the pot toward a nearby stream. The dog scurries out behind him... follows Glass to the water. INT. LODGE/BACK ROOM - DAY The pot boils over burning logs. Glass dips a cup in, pulling out a warm broth. He carries it to the squaw, still sitting in the corner... takes her hand, placing the cup in it for her. She gulps the liquid back. Glass goes back to refill the cup. The old woman MUMBLES SOMETHING we can't understand... over and over, as Glass brings the cup back to her. He tries to ease it into her hand, but the woman pushes it away... slides her hand up Glass' arm to his face... patting it... MUMBLING THOSE SAME WORDS... thanking Glass. 52. EXT. BURNED ARIKARA VILLAGE - EVENING Glass carries several blankets toward the lodge. The puppy trails behind him, biting at one of the corners... hanging on as Glass pulls him across the dirt. INT. LODGE - EVENING Glass enters the back room with the blankets... stops when he sees the old woman slumped over to the floor, her white eyes frozen open in a lifeless stare. EXT. BURNED ARIKARA VILLAGE - NIGHT Glass has stacked several burned posts into a crude pyre at the edge of the village. The squaw lies atop the pyre, covered in the blankets he gathered for her. Glass stands beside the pyre, a FLAMING TORCH in his hand. The puppy rests at his feet. EXT. DISTANT RIDGE - CONTINUOUS THREE INDIANS sit on horseback, watching Glass light the pyre... the flames rise into the night. EXT. BURNED ARIKARA VILLAGE - NIGHT Glass crouches... pets the dog, as he watches the flames spread... engulf the woman. ANGLE ON THE GLOWING EMBERS... ...floating into the night. Beyond the sparks, we see something else... THOSE THREE INDIANS GALLOPING TOWARD THE VILLAGE... FAST. And now Glass sees them too... knows it's too late to run, so he just stands there. But the dog's seen enough... darts away. Glass watches the Indians ride into the village... their braided hair and dress is different than the Arikara we've seen earlier, because these are SIOUX WARRIORS, and Glass knows it. The Sioux surround Glass on horseback... stare down at Glass. The lead warrior (SPOTTED HORSE), (30's), poised and strong, points to the flaming pyre... says something to Glass. 53. Glass tries to answer... can't... touches his scarred throat. Spotted Horse slides gracefully off his horse. The other two warriors, (THREE FEATHERS and RUNNING FOX) do the same... close in on Glass. Glass stands firm. Spotted Horse says something else to him. Again, Glass touches his throat... holds his jacket out from his sides... no weapons. Spotted Horse studies Glass hard... reaches out, wiping his finger down Glass' cheek, almost testing to see if the color comes off. One of the other warriors pats Glass' hair... smiles... says something to the others. Spotted Horse and the other warrior join him, each touching Glass' hair. Then Spotted Horse spots Glass' necklace... the grizzly claw hanging from it. He examines the enormous claw, then nods to Glass' stitching and scars. SPOTTED HORSE Griz-lee. Glass hears the familiar word... nods. Three Feathers pulls a WHITE SPECK from the back of Glass' neck... holds it up to Spotted Horse. Spotted Horse jerks out his knife. Glass is confused... holds up his hand, as he takes a step back. But Three Feathers and Running Fox grab Glass... secure him... pull his jacket down off his shoulders, exposing his shirt, as Spotted Horse walks around behind Glass... raises the knife... Glass GROWLS A PLEA... but Spotted Horse slices the knife down Glass' back... just cutting open his shirt... and revealing a MASS OF WHITE WORMS... MAGGOTS... COVERING THE DEEP GASHES ON GLASS' BACK. The three warriors exchange glances... they've obviously never seen anything like this. Glass sees their reaction... throws a nervous glance... what? Three Feathers runs his hand across Glass' back, dragging a HANDFUL OF WORMS for Glass to see. As Glass' eyes widen in panic, Spotted Horse SLAMS THE BUTT OF HIS KNIFE against Glass' head. Glass drops to his knees... makes a dazed grab for Spotted Horse... misses... and Spotted Horse HITS GLASS AGAIN. Glass tumbles unconscious to the dirt. Spotted Horse says something to the others... they grab Glass' limp arms... drag him toward the horses. 54. EXT. SIOUX VILLAGE - NIGHT Dozens of glowing campfires dot the prairie, along with a sea of tee-pees, their willow poles fanning against the night sky. Animal hides and painted designs decorate the various tee-pees and lodges. SIOUX CHILDREN laugh and play about the village... freeze when they hear Spotted Horse and the other riders splash across the stream. The warriors ride into the village, Glass' body tossed over the back of Three Feather's horse. The children race to them. ANGLE ON GLASS... regaining consciousness... eyes blinking... trying to focus. CUT TO: GLASS' POV - FROM THE BACK OF THE HORSE... ...to the children's eager faces swarming around him... studying this strange face. Spotted Horse - YELLING SOMETHING at the children... they back away from Glass... fall into line behind the riders. Sioux MEN and WOMEN watch as the procession moves past... to a tee-pee set away from the rest... its hide walls decorated with wild lightning bolts and buffalo and vaguely human figures circling the sun. An OLD MEDICINE MAN, gnarled and leathery, a DEAD RAVEN tied in his long hair, his naked chest painted with red and black stripes, steps out of the tee-pee. He eyes Glass, as Three Feathers and Running Fox carry him inside. Suddenly, the Medicine Man begins CHANTING. CUT TO: A FLURRY OF IMAGES ACCOMPANIED BY THE MEDICINE MAN'S V.O. CHANTING... LEATHER STRAPS SNAPPING AROUND GLASS' WRISTS AND ANKLES... stretched tight. Glass, naked, on his stomach at the center of the tee-pee, his arms and legs outstretched, secured to wooden stakes in the ground. The white worms cover his back. 55. The Medicine Man... CHANTING... waving burning sticks in the air. A THICK LIQUID BOILING IN A POT... the Medicine Man's twisted hand reaching a gourd container in... filling it with the steaming mixture. The liquid POURING OVER GLASS' BACK. GLASS' FACE... arched to the sky... twisted in horrible pain. He SCREAMS THAT HORRIBLE GROWLING CRY. MORE IMAGES... even faster... the CHANTING more frantic... A SIOUX WOMAN,(WAKI), staring down. HANDS wiping a GREEN SLUDGE over Glass' neck... chest. The Medicine Man dancing... chanting... shaking sticks lined with RATTLESNAKE TAILS. The moonlight shining through the tee-pee, illuminating the images of the buffalo and dancing shapes. Waki gently pouring fluid into Glass' mouth. The Medicine Man holding the SEVERED HEAD OF A SNAKE... lightly sinking the fangs around the wounds on Glass' throat. GLASS' EYES... wide open... rolling up white into his head. AND THE CHANTING STOPS... the world goes dark. EXT. YELLOWSTONE RIVER - DAY Cutting through the open prairie. Snow-covered peaks touch the sky in the distance. Fitzgerald and Bridger trudge their way across the prairie, dressed in furs. They rise up a steep slope... reach the top, and spot the cluster of log buildings inside a massive thirty-foot tall wooden fence. Fort Union. Bridger smiles... relieved. FITZGERALD `Bout goddamn time. They start down the slope. Fitzgerald grabs Bridger's arm... firmly. 56. FITZGERALD (CONT'D) And we're understood on everything... Glass' dyin' in his sleep... us buryin' him like was agreed. Bridger doesn't respond. Fitzgerald doesn't like that. FITZGERALD (CONT'D) You're as guilty as me in leavin' him. Don't you forget that. You got a future up here. No sense tossin' it away when he was as good as dead already. Shit, all we did was skip the funeral. Bridger pulls his arm free... continues on. FITZGERALD (CONT'D) I won't take to givin' up that two- hundred on accounta you gettin' weak-kneed. Bridger keeps walking. Fitzgerald follows behind. INT. FORT UNION - DAY Like a small town surrounded by a log wall. The main TRADING POST BUILDING is busy... TRAPPERS, SIOUX, all with things to trade. But most of the life is in the FORT UNION SALOON next door... crowded with customers downstairs, and just as busy in the whores' rooms upstairs. A small village of tents rests off to the side of the buildings, holding the overflow of traffic. INT. SALOON - DAY Fitzgerald and Bridger enter the crowded room... squeeze their way to the bar. FITZGERALD Twice the folks here than when we left. BRIDGER We should go see Captain Henry. FITZGERALD Far as we hiked... we got time for a drink on the company's tab. 57. PIG (O.S.) Jim! They spin... see Pig, Murphy and Stubby Bill sitting at a table. Pig scrambles up... rushes to Bridger, locking him in a big bear hug. PIG (CONT'D) You made it! I was scared the `Ree mighta caught up to ya. FITZGERALD If your fat ass could get through, we didn't have no worries. Pig glares at Fitzgerald... watches him walk to the table, joining the others. PIG (off Fitzgerald, to BRIDGER) Had to be a helluva long walk for you. Bridger nods... Pig has no idea. PIG (CONT'D) Hugh? Bridger hesitates a beat, then just shakes his head. PIG (CONT'D) Guess we all knowed how it would turn out. Did he suffer much more? Another long beat, then... BRIDGER I hope not. A PROSTITUTE walks down the stairs... stops on the landing, waiting for her next customer. Fitzgerald spots her... grins. FITZGERALD (TO BRIDGER) Maybe we best go see Henry, kid. I just got a itch to spend the first of my two-hundred. The other men laugh. Not Bridger. 58. INT. ROCKY MOUNTAIN FUR COMPANY OFFICE - DAY Henry sits at his desk. Fitzgerald and Bridger stand across from him. The others... Pig, Anderson, Murphy, and Stubby Bill crowd the room behind them. FITZGERALD I won't pretend to been his friend, but I respect any man that fights the way he done. HENRY And the grave? FITZGERALD We had those extra days so we went deeper... covered it in rocks. To keep the scavengers off him. HENRY Any sign of hostiles? FITZGERALD Not a one. The words are like a punch in the gut to Bridger. He can't take the pain... opens his mouth to speak, but Fitzgerald beats him to it. FITZGERALD (CONT'D) Truth is, I was worried `bout `Ree, and ready to get movin', but Bridger here argued to stay and make a cross for the grave. Bridger's head snaps to Fitzgerald... don't make this worse. FITZGERALD (CONT'D) So that's what we did. Pig reaches up... gives Bridger a pat on the back. But to Bridger, it feels like a red-hot blade. HENRY Glad to hear you pulled your weight, Mr. Bridger. I knew you would. FITZGERALD More than his share, Captain. 59. And now Fitzgerald has snared Bridger into his lie. Bridger drops his eyes to his feet. HENRY Speaking of shares. Henry turns to a SAFE resting against the wall. Fitzgerald watches as Henry spins the dial... locks in the combination, then pulls the latch. The safe door swings open... ...revealing STACKS OF CASH. Fitzgerald's eyes lock on all that money. Henry pulls out a handful... starts counting them out onto the desk. HENRY (CONT'D) Am I to assume the agreed arrangement didn't change? FITZGERALD Fortunate for me, it did not. HENRY Well thank you both for your courage and honor. You have done yourselves proud. Fitzgerald swipes up his pile of bills. Henry drops a couple bills in front of Bridger. HENRY (CONT'D) You're owed something for what you did. Bridger stares down at the bills a beat, then snatches them... pushes his way out of the office before he might have to look someone in the eye. FITZGERALD He's beat hisself up most of the trip... wishin' he'da done more. HENRY We all saw the shape Glass was in. There was no more to be done. FITZGERALD That's what I been tellin' him. 60. INT. BUNKHOUSE - DAY Empty, except for Bridger curled up on his cot, squeezing those crumpled bills in his hand, crying. DISSOLVE TO: INT. TEE-PEE - DAY Glass sleeps under a buffalo robe. His eyes flicker open. CUT TO: GLASS' POV - ON THE BUFFALO AND DANCING FIGURE DESIGNS SHADOWED THROUGH THE TEE-PEE. GLASS - His hand reaching up to his throat. It looks much better than we last saw. And the stitches are gone from his face, now just long, pink scars. He stiffly raises himself up... remembers his back... struggles to reach behind him... scarred but clean... no maggots. He looks beside him... sees BUCKSKIN PANTS AND SHIRT resting on the ground... waiting for him. EXT. TEE-PEE - DAY ANGLE ON GLASS... dressed... pushing his way out through the flap of the tee-pee... limping out into the midday sun, and shielding his eyes. He looks like a man that hasn't seen the light of day for weeks. Glass adjusts to the brightness... stares in wonder at the scene. And then we see what Glass is looking at, and understand his reaction... the entire village is blanketed in snow. The Sioux VILLAGERS move about, wearing heavy skins and furs. A WOMEN'S O.S. VOICE turns Glass... ...to WAKI, the woman from the images, walking toward him, bundled in fur. She says something else we can't understand... points to Glass' feet. Glass looks down... to his BARE FEET BURIED DEEP IN THE SNOW. He hadn't noticed. And then Waki smiles... a sweet, pretty smile. She takes his hand... leads him back into the tee-pee. 61. INT. TEE-PEE - CONTINUOUS Glass and Waki enter. She pulls a pair of moccasins from a basket... hands them to Glass. He slips them on, then presses his fingers against his throat... almost trying to hold it all inside to make it work, then... GLASS (scratching and rough) Thank you. Waki doesn't understand... just raises a cup of liquid... says something, then touches his throat... motions for him to drink. Glass sips the drink... grimaces... shakes his head, trying to give the cup back, but Waki refuses... points at his throat, and motions for him to drink. Glass stares in the cup a beat, then gulps it back... shakes his head. GLASS (CONT'D) Bad medicine. Waki smiles... hands him his BEAR CLAW NECKLACE. Glass nods in thanks, then achingly lifts his arms up to slip it over his head. GLASS (CONT'D) How long have I been here? Waki just stares back... no idea what Glass said. GLASS (CONT'D) You're Sioux. I only know a bit a Pawnee. Glass stumbles through a sentence of Pawnee. Waki shakes her head... throws a jumble of Sioux back at him. GLASS (CONT'D) The snow... my healin'. (points to himself) Me. (points to the ground) Here. How long? Waki shakes her head again. Glass leads her outside. 62. EXT. SIOUX VILLAGE - CONTINUOUS Glass points to the sun overhead, then raises both hands, fingers outstretched. GLASS How many suns? Ten? Waki studies Glass... the sun... begins to understand. She nods... SAYS A WORD... holds up all ten of her fingers. GLASS (CONT'D) Ten suns? Then Waki closes her hands into fists... opens them again... closes them again... SAYS A DIFFERENT WORD. GLASS (CONT'D) Christ. Glass glances around... for the first time, notices Sioux MEN and WOMEN staring at him. Children freeze in the middle of their play... all eyes locked on Glass. TWO SMALL BOYS, (NEW MOON and LITTLE ONE), repeat the same TWO WORDS to each other... BOYS Tatanka Wicasa. ...over and over. Glass stares back, unsure. Then... SPOTTED HORSE (O.S.) Buff-A-lo Man. Glass turns... sees Yellow Horse stepping out of a tee-pee. Spotted Horse (cont'd) (very broken english) What they call you. (points to Glass' hair) Fur of Buff-A-lo. Glass touches his hair... nods... smiles. The children smile and laugh now too... repeat the words LOUDER. GLASS You speak English. SPOTTED HORSE Need words when trade with whites. 63. GLASS Well I'm grateful for you bringing me here... havin' them care for me. (off Spotted Horse's nod) Now if you could point me which way it is you do your tradin'... with the whites. SPOTTED HORSE (POINTS) Whites. Bra-zo. GLASS Fort Brazeau? That's where I'm tryin' to get. Is it far from here? Spotted Horse doesn't understand. Glass motions into the distance. GLASS (CONT'D) Far? Long way? Spotted Horse points to a horse, then holds up three fingers. GLASS (CONT'D) Three days on horse? Spotted Horse nods... looks Glass over, and shakes his head. SPOTTED HORSE Not walk. Hides soon. Glass doesn't understand... until Spotted Horse points to a ROW OF BUFFALO HIDES hanging from a line. Spotted Horse (cont'd) We trade Bra-zo. Glass stares at the tanning hides, then down at his leg. Finally, he nods. Spotted Horse starts walking... waves for Glass to follow. Spotted Horse (cont'd) Come. Eat. Glass follows after him. The children sneak in behind, giggling as they tail Glass across camp. Glass glances back... New Moon and Little One duck behind a tee-pee... wait for him to continue before they scoot back out after him. 64. INT. CHIEF'S LODGE - NIGHT Glass, Spotted Horse, Three Feathers, Running Fox and OTHER WARRIORS sit around a fire, eating with CHIEF RED HAWK, the Medicine Man, and several other TRIBAL ELDERS. GLASS The men stole my rifle. The Sioux don't understand. Glass reaches over, taking Spotted Horse's plate. GLASS (CONT'D) They took. They took... Glass aims an imaginary rifle. GLASS (CONT'D) ...my rifle. My gear. Now Spotted Horse understands... translates for the others. GLASS (CONT'D) They left me to die. So I mean to find `em both. Get my rifle back. Spotted Horse translates again. Red Hawk nods, studying Glass. Red Hawk SAYS SOMETHING to Glass... motions to the BEAR CLAW NECKLACE. Glass looks to Spotted Horse. SPOTTED HORSE Red Hawk ask who kill griz-lee. Glass touches his chest. Red Hawk nods, impressed. Glass points to the JAGGED SCARS running up Red Hawk's neck to a MISSING RIGHT EAR. GLASS Grizzly? Red Hawk smiles... shakes his head. RED HAWK Arikara. That word, Glass understands. Red Hawk rambles a long sentence in Sioux. The other members LAUGH. 65. SPOTTED HORSE He say Arikara take right ear of Sioux. Left ear of whites. Not know what they take from you. Glass smiles along with the others. They continue their meal. EXT. SIOUX VILLAGE - DAY Snow falls over Glass, as he stands outside the tee-pee, flexing his injured leg... putting more weight on it... testing its recovered strength. Suddenly, a SPEAR PLANTS INTO THE GROUND BETWEEN HIS FEET. Glass turns, startled... sees Spotted Horse, Three Feathers, Running Fox, and several OTHER WARRIORS staring at him. Glass' eyes jump from the spear to the warriors, unsure. Spotted Horse strides to Glass... grabs the spear, then spins it sideways... stares at Glass, until a smile spreads across Spotted Horse's face... he holds the spear out to Glass. SPOTTED HORSE Buff-A-lo Man hunt with Sioux? Glass relaxes... nods... takes the spear from Spotted Horse. Three Feathers hands a BUFFALO HIDE to Glass... motions for Glass to put it on. THREE FEATHERS Tatanka Wicasa. Glass wraps the hide around him. The Warriors smile and nod. EXT. FOREST - DAY A world of silent white... like we're inside a giant snow- globe. The sky is emptying all the snow it has over us... pouring down... the only sound comes from the flakes hitting the already fallen snow. The pale trunks of Cottonwoods rise up from the white ground. Then out of the white... a SHAPE APPEARS... a GIANT WOLF WALKING ON ITS HIND LEGS. But as the wolf comes closer, we see it's not a wolf at all... it's THREE FEATHERS, wearing his WOLF SKIN. He CRIES OUT... HOWLING WILDLY. A few yards beside him, another WARRIOR is doing the same... CHANTING... beating his spear against the Cottonwoods as he walks. 66. GLASS - WEARING THE BUFFALO HIDE... ...walking slowly through the trees, carrying the spear. Yellow Bear is beside him... motions for Glass to spread out. FROM ABOVE THE TREES... ...we see the fur-covered warriors are formed into a wide circle... and slowly converging... YELLING... pounding their spears... making as much noise as possible, as they tighten their ring. POV FROM THE BRUSH... ...watching DISTANT CHANTING WARRIORS pushing through the trees. V.O. SNORTING... our POV darts sideways... charges through the brush... slides to a stop when we see Running Fox moving toward us... spins back another direction. GLASS - MOVING THROUGH THE FOREST... ...the falling snow clinging to his face... covering the buffalo hide. And then a MASSIVE SHAPE BLASTS through the trees ahead of him. Glass freezes, his grip tightening on the spear. He looks to Spotted Horse, who nods... YELLS OUT, beating his spear against the trees, and motioning for Glass to do the same. Glass is apprehensive at first... just lightly tapping his spear. But as the other warriors' chants grow, Glass gets caught up in the hunt... begins beating the trees... YELLING as loud as his throat will allow. THE WARRIORS - EYES PIERCING THROUGH THE SNOW... CHANTING... BEATING THE BUSHES. OUR LOW POV AGAIN - RACING CHAOTICALLY THROUGH THE BRUSH... ...to Spotted Horse waving his spear... back over the snow... to Three Feathers SCREAMING... we spin again... crash through bushes, then suddenly TUMBLE... DROP THROUGH THE SNOW. 67. GLASS - HEARING THE ANIMAL'S WAIL... ...seeing Spotted Horse pick up his pace... start trotting forward. Glass does the same... all the hunters converging around a LARGE BLACK HOLE IN THE SNOW... ...and the ELK trapped at the bottom. The warriors cry out victoriously... begin DRIVING THEIR SPEARS INTO THE TRAP, killing the animal. EXT. SIOUX VILLAGE - EVENING The elk roasts over a fire at the center of the village. Glass sits alone outside the tee-pee, using the sharp tip of the spear to carve into a small chunk of wood. As he carves, New Moon and Little One sneak around the tee- pee behind him... watch Glass work. Glass hears them GIGGLING... doesn't react... just keeps carving... tilts the long handle of the spear as he works, tapping the side of the tee-pee, and SHAKING LOOSE A CLUMP OF SNOW DOWN ONTO THE BOYS. The shocked boys freeze in the cold... wipe the snow from their faces to see Glass grinning at them. The little boys charge Glass, leaping onto him... wrestling him to the ground, as they squeeze his hair. BOYS Tatanka Wicasa! Tatanka Wicasa! Spotted Horse stands across the village, watching Glass and the boys play in the snow. EXT. SIOUX VILLAGE - NIGHT Glass stands at the edge of the village, carving at the wood with the spear tip, and watching the Sioux from a distance. Yellow Bear sees him... approaches, carrying his SON on his shoulders. The little boy gnaws on a strip of meat. Spotted Horse holds out a bowl of food to Glass. GLASS Thank you. SPOTTED HORSE Good hunt. 68. GLASS Yes. Glass smiles up at Spotted Horse's son. SPOTTED HORSE You. Fam-i-lee? GLASS (shakes his head) No. SPOTTED HORSE No wom-an? (pointing to son) Wakayaja? A long beat, then... GLASS No. Not for a long time. Glass continues eating... watches Spotted Horse bounce the giggling little boy on his shoulders. EXT. SIOUX VILLAGE - DAY Glass steps out of his tee-pee, whittling with the spear tip. He glances up... freezes because he sees several Sioux pulling the hides from the line... rolling them up to carry. Spotted Horse (O.S.) Bra-zo. Glass turns to Spotted Horse, pointing to the hides. Glass nods... looks back to the last of the hides being pulled down... doesn't seem as excited as he once might have been. EXT. SIOUX VILLAGE - LATER Spotted Horse and Three Feathers sit atop their horses. Three Feathers holds the reins to another horse packed with hides. An empty horse stands beside them... waiting for Glass. Glass is leaning over to New Moon and Little One... handing them the CRUDE BUFFALO CARVING he made from the wood. GLASS (taps his chest) Tatanka Wicasa. 69. The little boys smile. Glass nods to Waki, then waves to Red Hawk and the Medicine Man. They return it... watch Glass climb onto his horse. Glass, Spotted Horse and Three Feathers ride out of the village. EXT. WILDERNESS - DAY Glass, Spotted Horse and Three Feathers ride along a high ridge, surrounded by empty snow-covered wilderness. They have the world to themselves. EXT. CAMP - NIGHT Glass crouches over a shallow, five-foot long hole surrounded by deep snow. The hole is filled with small fires and rocks. And he's watching Spotted Horse and Three Feathers tossing rocks into their own matching holes, then dragging the dirt back into them. Spotted Horse throws a glance back to Glass, making sure he understands. Glass nods... pulls the dirt back in, covering the flames. He watches Spotted Horse spread a blanket over the warm ground, then does the same. He sits on the mound of dirt... leans back against a tree... feels the warmth rise up from beneath him. He nods to Spotted Horse, who is already resting under his blanket. GLASS Nice. SPOTTED HORSE (NODS) Nice. Glass pulls the buffalo hide around himself... keeping watch. SPOTTED HORSE (cont'd) Sleep. No Arikara. Glass nods... but still doesn't close his eyes. Spotted Horse tosses his knife over beside Glass. Glass takes it... nods to Spotted Horse. SPOTTED HORSE (cont'd) Me sleep. 70. Spotted Horse rolls over, turning his back on Glass... trusting him with the knife. Three Feathers does the same. Glass just stares out into the night. INT. FORT UNION/BUNKHOUSE - NIGHT Dark and quiet... except for the SNORING of a few men. Fitzgerald sleeps on his cot. A shadow glides across him... hovers over his face. Fitzgerald's eyes blink open. CUT TO: FITZGERALD'S POV... ...on GLASS STANDING OVER HIM... his scarred face calm and deadly... raising a knife to drive down into Fitzgerald's chest. FITZGERALD No... please. But Glass swings the blade. CUT TO: EXT. WILDERNESS - MORNING And Spotted Horse shaking Glass awake from his dream. Glass' hand flies up, the knife gripped. But Spotted Horse grabs his arm... stops it in mid-swing... holds it until Glass realizes it was a dream... relaxes. SPOTTED HORSE We go. Glass calms... nods. EXT. FORT BRAZEAU - DAY Just a small cluster of log buildings sitting along the banks of the Missouri. Dozens of tee-pees and tents are set up outside the complex. Glass follows Spotted Horse and Three Feathers into the camp. BEGGING INDIANS and DRUNK TRAPPERS paw at the men as they ride past, pleading for handouts. 71. One of the Indians grabs for the hides. Three Feathers plants his foot in the Indian's chest... shoves him back into the snow. They continue on... climb off their horses outside the TRADING POST. Three Feathers stays to guard the hides, as Spotted Horse and Glass enter. INT. TRADING POST - DAY A small, dingy room lined with shelves, all stacked high with pots, pans, dry goods, whiskey, blankets, weapons... anything that can be traded. KIOWA BRAZEAU, (60's), French-Canadian, stands behind the counter... looks up when the BELL over the door RINGS... sees Spotted Horse with Glass behind. BRAZEAU (thick French accent) Bon jour, Spotted Horse. You come with many hides I hope. (off Spotted Horse's nod) We make good trades then. Brazeau's eyes lock on Glass... stares at him, unsure. BRAZEAU (CONT'D) Monsieur Glass? GLASS Good to see you again, Mr. Brazeau. BRAZEAU Jesus Christ, what happened to your goddamned face? GLASS Had a tussle with a grizzly. Glass shakes Brazeau's hand. Brazeau studies his face... notices the Bear Claw Necklace... smiles. BRAZEAU And now the grizzly, he don't look so good either, eh? Glass shakes his head. BRAZEAU (CONT'D) (off Spotted Horse) You run with the Sioux these days? 72. GLASS They looked after me for a spell. I'm on my way to catch back up with Captain Henry... at Fort Union. Needed to trade for some supplies on the Company's credit if I could. BRAZEAU Oui, of course. Anything you like. Glass pulls down a KENTUCKY LONG RIFLE. GLASS We can start with this. INT. TRADING POST - LATER Glass is loaded with gear. He signs a ticket for Brazeau. BRAZEAU You can pick up the horse at the livery in the morning. (off Glass' nod) I wish I could give you a room for the night, but... Brazeau looks to SEVERAL TRAPPERS standing across the room, glaring at Glass. BRAZEAU (CONT'D) I cannot risk the trouble of letting a colored stay inside. Glass glances to the trappers... one of them spits in Glass' direction... makes some MONKEY SOUNDS... daring Glass to respond. Glass just turns away. GLASS Won't be the last night I sleep on the ground. Glass nods to Brazeau, then walks out. BRAZEAU Take care of that face, Glass. EXT. TRADING POST - DAY Spotted Horse and Three Feathers sit on their horses. The other horses are now packed with new goods. Glass approaches. 73. GLASS (points to the tents) You stay here tonight? Spotted Horse shakes his head... motions back toward the wilderness. Then he points to the trading post... the TRAPPERS. SPOTTED HORSE Your people? Glass looks back to all the white faces... trappers, drunks, prostitutes. He shakes his head. GLASS No. SPOTTED HORSE You come then. Spotted Horse taps his own chest... points back the way they came. Glass hesitates, almost like he's considering it... then he shakes his head again... points the opposite way. GLASS Fort Union. Spotted Horse stares at Glass a long beat, then... SPOTTED HORSE You spend your life hunting enemy. Enemy wins. GLASS It will be over soon. Then Glass pulls the Bear Claw Necklace off... hands it to Spotted Horse. Spotted Horse holds it... then proudly slides it over his head. GLASS (CONT'D) (IN SIOUX) Thank you. Spotted Horse raises his hand in goodbye, then spins his horse and starts away. Three Feathers does the same. Glass returns it... watches them ride off. EXT. FORT BRAZEAU - NIGHT Glass is in the trees beyond the tents and tee-pees... crouched on the ground... 74. dragging the dirt back over the fire and rocks. He slides up onto the mound... feels the warmth, and smiles... just a little. EXT. MISSOURI RIVER - MORNING Glass rides a PAINT MARE along a ridge overlooking the river. Fort Brazeau stands in the distance behind him. EXT. OPEN COUNTRY - DAY Snowy and cold. Glass leads the line of riders through the snow. EXT. FORT UNION - EVENING But you can't tell if it's day or night through the blizzard. Fitzgerald, Pig, Anderson, Bridger, Murphy and Stubby Joe trudge through the snow in their snowshoes... finally reach the bunkhouse. INT. BUNKHOUSE - EVENING Anderson shoves the door closed against the wind... latches it. The men look worn and battered... wind-burnt faces, icicles in their beards. FITZGERALD I had enough of this cold as hell shit. ANDERSON What'd you figure when ya signed on outta that St. Louis whorehouse you was workin'? That you was headin' off to paradise? Pig snorts a laugh at Fitzgerald's expense. FITZGERALD I tell ya what I figured, I figured I'd be somewhere the piss wouldn't freeze before I got it outta my pecker. BRIDGER Figured wrong. 75. Fitzgerald throws Bridger a glare... wants to throw more, but Bridger's returning the stare... hard... so Fitzgerald decides he'd better not push it. FITZGERALD Waste a time to check traps in this weather... while Henry sits warmin' his ass on the stove in his office. STUBBY BILL Why don't you go tell him that, Fitz? Then start your hike back to St. Louie. FITZGERALD Shit, I walked up here, I got no problem walkin' back. MURPHY Contracted for twelve months. We all did. FITZGERALD Henry can shove that contract up his toasty warm ass, or I'll do it for him. The others laugh at Fitzgerald's rambling. FITZGERALD (CONT'D) You don't think I will? The men shake their heads. Fitzgerald grabs his gloves... starts strapping his snowshoes back on. ANDERSON Just give that fat little whore you're so sweet on a couple extra bits... she'll have you thinkin' it's Spring already. The men laugh as Fitzgerald walks out... leaves the door wide open for the cold wind to pour over the others. Pig scurries over, shoving it closed. As the other men gather around a table to play cards, Bridger pulls a JOURNAL from under his cot... falls onto the cot, and starts writing. INT. ROCKY MOUNTAIN FUR COMPANY OFFICE - EVENING Fitzgerald enters... looks around the empty office. 76. FITZGERALD Hello? Captain? The place is empty. Fitzgerald eyes Henry's desk... then past his desk... to the SAFE... its door CRACKED OPEN... STACKS OF MONEY visible inside. Fitzgerald glances around... looks back to that safe. EXT. FORT UNION - NIGHT Dark and quiet. The snow has stopped. INT. BUNKHOUSE - NIGHT Fitzgerald eases up from his cot... looks around at the sleeping men. EXT. FORT UNION - NIGHT Fitzgerald slips out of the bunkhouse door... across the compound... toward the front gate. MURPHY (O.S.) Where're you headed? Fitzgerald looks up... sees Murphy in the Blockhouse on sentry duty. FITZGERALD To the river, Murphy. Murphy squints down into the shadows. MURPHY That you, Fitzgerald? FITZGERALD Left my rifle down there... don't want it out all night. MURPHY That weren't too smart. FITZGERALD Just don't take a shot at me when I come back in. MURPHY We'll see. 77. Murphy waves Fitzgerald out. FITZGERALD Not that you'd hit me if you tried. Murphy fakes a laugh... raises his rifle down at Fitzgerald. CUT TO: POV DOWN MURPHY'S RIFLE... ...on Fitzgerald moving toward the river... disappearing into the darkness. EXT. MISSOURI RIVER - NIGHT Out of sight from the fort. Fitzgerald slides the ANSTADT FROM UNDER HIS COAT... hurries down the bank... searches under the brush and snow... pulls out an OVERTURNED CANOE. He drags it to the icy edge... slides it across the ice toward the middle of the river, where the water still hasn't frozen over. The ice CRACKS UNDER HIS FEET. Fitzgerald climbs in the canoe... pounds the ice with the oar, breaking it loose. The current seeps through the cracks... catches the canoe, pulling it to the center of the wide river... sends Fitzgerald shooting south. He throws a glance back at the shadow of Fort Union in the distance... growing smaller. EXT. WILDERNESS - DAY Clear blue sky. The sun glistening off the snow-covered ground. Glass is bundled under furs, as he rides through the snowy trees. EXT. WILDERNESS/CAMP - NIGHT Tucked under the rooftop of trees. A small fire burns. Glass sits on his fire-bed, looking over a map. An O.S. SNORT from the Paint Mare, tied to a tree. Glass looks over in time to see the horse's ears perk up. With his eyes searching the darkness, Glass slowly reaches over... grabs his rifle. Then he drops to his stomach... slides backward into the brush. 78. Glass peers through the brush... the woods seem empty... until SEVERAL DARK SHAPES APPEAR... moving through the distant trees... coming straight toward Glass' camp. Then an O.S. SNAP BEHIND GLASS... he glances back in time to see an ARIKARA WARRIOR SWINGING A HATCHET. Glass spins his rifle... shoves it into the stomach of the Warrior as he swings... BOOM... the Warrior flies back. The dark woods suddenly ERUPT IN WAR CRIES... Arikara appear from all sides... charge toward the camp. Glass scrambles up... races toward the Paint Mare as ARROWS AND GUNSHOTS FLASH THROUGH THE AIR ALL AROUND HIM. Glass swings up onto the Paint Mare... spots ELK'S TONGUE leading the charge... the necklace of ears hanging around his neck. And Elk's Tongue's eyes are locked on Glass... almost like he remembers him. Glass takes off through the forest. EXT. FOREST - NIGHT Glass hanging onto the paint mare, as she gallops through the trees... the animal's nostrils spread wide, pulling in all the oxygen it can. Glass glances back... sees SHAPES BEHIND HIM... HORSES... ridden by Elk's Tongue and eight other warriors. Glass digs his heels into the horse, squeezing every ounce of speed from her legs... pushing her toward the clearing up ahead... throwing another glance back... then looking in front of him, and realizing it isn't a clearing at all... ...it's the edge of the world. The paint mare explodes from the trees, then runs out of ground... because she's just galloped off the side of a cliff. The horse sails downward toward a thick forest of trees, its legs flailing for something to stand on. Glass drops the rifle to grip the horse's mane, hanging on for what seems an endless fall. 79. The mare SLAMS LEG-FIRST INTO THE TREE-TOPS with Glass still on her back. The Paint Mare SQUEALS as she drops into the snow-covered trees, carrying Glass with her. CUT TO: EXT. FOREST - CONTINUOUS And the horse comes crashing through the branches... the massive limbs slowing her fall... snapping off as her body hits and twists... tosses Glass away. The Paint Mare continues her deadly descent, the trees tearing at her body... catching her head... SNAPPING her neck. Glass slams off a branch... tumbles to the ground with a thud. The Paint Mare hits the snow beside him... very dead. Glass struggles to breath... finally GASPS... sucks in the oxygen. He lays there a moment... stares up through the trees... ...to Elk's Tongue and the others staring down from the top of the cliff... with no way to get to Glass. Glass rises to his knees... glances around for his rifle... lost. He flinches with what must be broken ribs... drags himself up, and staggers to the horse... pulls his knife and cuts the snowshoes from the back of the saddle. He throws the snowshoes over his shoulder... continues on, through the woods... alone... in the middle of nowhere... again. EXT. OPEN COUNTRY - DAY From high above... the small shape of Glass making his way over the snowy ground... heading toward TWO DISTANT SHACKS. EXT. FORT TALBOT - DAY A makeshift town on the banks of the Missouri. Two ramshackle structures... the General Store and a tattered livery stable filled with horses. 80. INT. FORT TALBOT/GENERAL STORE - DAY More like a saloon that sells a few supplies. A gang of TRAPPERS drink and play cards. A RUNTY MAN stands behind the counter, watching them... ...until the door blows open, and in steps Glass. He pulls the fur hat away from his face, and what a sight he is... scarred face stiff from the cold... ice frozen in his beard. The room falls silent... everyone staring at Glass. Until TRAPPER #1 snorts a laugh. Glass limps to the counter. All eyes follow him. GLASS (struggling to make his frozen lips move) I'm Hugh Glass of... RUNTY MAN We don't serve niggers. Glass stares at the Runty Man a beat, then... GLASS Of the Rocky Mountain Fur Company on my way to Fort Union. RUNTY MAN I don't care if you was with Lewis and Clark headed for the new world. We don't serve niggers. GLASS All I need is a horse and enough supplies to... TRAPPER Ice musta froze up his ears, `cause he ain't listenin' to you, Cees. GLASS ...to get me to Fort Union. I can sign a draft made good by Captain Henry. The Runty Man just stares at Glass... grins a TOOTHLESS GRIN. RUNTY MAN What the fuck happened to your face, boy? You try to slice all the black off? 81. TRAPPER #2 Maybe we oughta help him do it right. FAT TRAPPER Best get on your way, boy. Glass stares back at the men for a long beat, then... GLASS I'm Hugh Glass of the Rocky Mountain Fur Company, and all I need is... RUNTY MAN (to the trappers) Do you believe this shit? Trapper #1 and Trapper #2 pull the SKINNING KNIVES from their belts... start toward Glass. FAT TRAPPER Hell, I warned ya. GLASS All I need... And that's when Trapper #1 grabs for Glass, but in a flash of movement that catches them all off-guard, Glass has is own knife pulled and JAMMED UNDER TRAPPER #1's CHIN. Everyone freezes. GLASS (CONT'D) ...is a horse and enough supplies to get me to Fort Union. Then Glass slides Trapper #1's PISTOL from his belt... aims it at the other men. GLASS (CONT'D) And this shooter here. All made good by Captain Henry and The Rocky Mountain Fur Company. EXT. FORT TALBOT - DAY The snow pours down on the Runty Man and the trappers, as they stand outside, rifles aimed into the distance. RUNTY MAN Shoot him, goddammit! 82. TRAPPER #2 I can't get a clear look. RUNTY MAN Shoot `em both! The Runty Man snatches one of the rifles... BOOM... fires a wild shot past the riders. CUT TO: GLASS - GALLOPING AWAY ON HORSEBACK... ...with Trapper #1 sitting backward on the horse behind him. Glass has the pistol jammed into his ribs, and keeps glancing back to the men growing smaller behind him. Finally, Glass shoves the man off the back of the horse. Trapper #1 tumbles into the snow. The RUMBLE OF DISTANT GUNSHOTS... too far away to reach Glass, who just keeps racing north. CUT TO: THE RUNTY MAN - WATCHING GLASS ESCAPE. RUNTY MAN Get after the son of a bitch! The trappers exchange glances... don't move. TRAPPER #2 It's cold as hell, Cees. FAT TRAPPER And he did say to put it all on the Rocky Mountain tab. The Runty Man glares at the trappers. EXT. OPEN COUNTRY - EVENING Glass riding the horse at a trot through the snow. EXT. FORT UNION - NIGHT Thick with fog, and silent as death. The moon fights its way through the mist, sending an eerie glow over the fort. 83. EXT. FORT UNION/BLOCKHOUSE - NIGHT Stubby Bill sits dozing in a chair, his rifle across his lap. O.S. CRUNCHING... getting louder... loud enough to nudge Stubby Bill awake. He sits up... peers over the wall, but can't see anything in the fog... just hears the CRUNCHING MOVING CLOSER... FOOTSTEPS IN THE CRISP SNOW. CUT TO: STUBBY BILL'S POV... ...on the blanket of fog hanging in the air... that same CRUNCHING, as a SHADOW APPEARS... growing clearer... a FIGURE walking... leading a horse behind him... appearing out of the mist like a ghost... GLASS. STUBBY BILL - STARES DOWN IN SHOCK... ...sure his eyes are betraying him. But then Glass looks straight up at Stubby Bill, and there's no doubt. STUBBY BILL Jesus Christ. INT. BUNKHOUSE - NIGHT Dark and quiet... just Pig's snoring rattling the silence. Suddenly the door kicks open... SLAMS into the wall... and there's GLASS' SILHOUETTE FILLING THE DOORWAY. GROANS from the awakened men... hands moving through the dark for oil lamps... turning them bright... until the room's fully lit... and they all see Glass standing there... eyes floating across the room, searching for a target. The men just stare back at him, like they're all part of the same dream. Except for Bridger, who's propped up in his cot like he's been waiting all night... waiting every night... for Glass to appear in that doorway. BRIDGER I'm sorry. Glass raises the stolen pistol... aims it at Bridger. And the young man doesn't flinch... almost as if he wants to make sure Glass doesn't miss. 84. The other men just watch in silence, not sure what the hell's going on. Glass holds his aim on Bridger's face... a face that's haunted him... kept him alive. GLASS You took everything I had... left me to die. Glass walks toward Bridger, the gun still raised... each step of his feet on the wood floor is like the thud of an executioner's drum. MUMBLING from the other men, as they watch this ghost reach Bridger... stand over him, the pistol aimed down. GLASS (CONT'D) Why? BRIDGER I was scared of dyin'. (BEAT) But every day since, I've wished I had. Glass' finger tightens on the trigger, ready to make Bridger's wish come true. The rest of the bunkhouse watches this execution in wide- eyed, stone silence, afraid to move. GLASS There wasn't no `Ree that night, was there? A long beat, then... BRIDGER No. Glass PISTOL WHIPS BRIDGER, knocking him to the floor. And before Bridger can crawl away, Glass in over him... those aching, frozen fists beating mercilessly down on Bridger. And Bridger doesn't fight back... just does his best to cover up, but the blows keep coming, and Bridger's face is covered in blood... ...just as Henry runs inside, half-dressed from where Stubby Bill awoke him. Henry grabs Glass... pulls him off. Glass spins... jams his pistol right in Henry's face. 85. HENRY Hugh. Wait. Glass is crazy with rage... barely stops himself from pulling that trigger. But finally, he calms... his arm sinks, lowering his aim. He glances around the bunkhouse. GLASS Where's Fitzgerald and my rifle? HENRY Deserted two days ago. Along with about five hundred dollars of company money. (BEAT) Let's get some coffee to warm you up. (to Glass, but looking at BRIDGER) I wanna hear what happened. Glass looks back to Bridger... they hold a long stare, until Glass walks out. BRIDGER Wait. Please! But Glass and Henry disappear, leaving Bridger alone with all those eyes burning into him. Bridger looks to Pig, but Pig just lowers his eyes... can't even look at the boy. The men step into their boots and furs... file out after Glass and Henry... leaving Bridger alone in the bunkhouse. INT. ROCKY MOUNTAIN FUR COMPANY OFFICE - NIGHT Glass sits by the warmth of the stove, sipping coffee. Henry's behind he desk, with the other men scattered around. GLASS I cut the shoes loose of her, and hiked over to Fort Talbot. STUBBY BILL Christ almighty. GLASS And you may hear from the fella there about a stoled horse and supplies charged to you. 86. HENRY We'll take care of it. You should go settle in. MURPHY There's a couple fair whores next door that'll ease the miles on ya, scars or not. Stubby Bill gives Murphy an elbow. ANDERSON Jesus, Murph. MURPHY I just meant I'd go roust one of `em for ya if you wanted. GLASS She can take the night off, but I wouldn't mind the use of her bed. HENRY (TO MURPHY) Go clear out a room. The rest head on back to bunk. Murphy hustles out. The others move toward the door, each stopping to shake Glass' hand, or give him a pat on the back. PIG I told ya I'd see ya up here. You remember that, Hugh? GLASS I do, Pig. You must have a little gypsy in ya. Pig grins and nods. PIG I'll see ya in the mornin'. Pig exits, leaving just Glass and Henry, sitting in a beat of silence, until... HENRY Can I talk you outta what you're planning? Glass doesn't answer... just stands, placing the coffee cup on the table. 87. GLASS Thank you for what you done for me... stitchin' me back together... givin' me a chance. HENRY I'm offerin' you another right now... to stay here... let this thing go. GLASS (BEAT) He thinks he let me die. But he don't know that he's the one that's kept me alive... for the chance of findin' him... makin' him pay for what he done. HENRY The law will make Fitzgerald pay. Glass stares out the window... his SCARRED REFLECTION stares back at him. GLASS You told me once that other men didn't think like him. (BEAT) But the truth is, most do. I seen it my whole life... the looks folks give... the whisperin'. I watched my wife and son die from the fever on accounta no white doctor would care for `em. Wasn't no different to them than if their neighbor's dog was sick. (BEAT) So I don't figure nobody's gonna care much that Fitzgerald took some dyin' nigger's rifle, and left him in the middle of nowhere. (turns to Henry) Do you, Captain? Henry doesn't answer... because he knows Glass is right. GLASS (CONT'D) I thank you for the coffee. Glass walks out. Henry just sits there. 88. EXT. FORT UNION - DAY Glass, Pig and Murphy stand by Glass' horse, as he ties off his supplies. MURPHY He said he was goin' to get his rifle... And then Murphy catches himself... shrugs. MURPHY (CONT'D) Your rifle. But he never showed back up. The next day I figured him mighta fell in, but then Pig seen the canoe was missin'. PIG And the Captain found the money gone. GLASS I'll make my way down river. See what turns up. Glass pulls the cinch tight around the horse. Stubby Bill comes waddling toward them. STUBBY BILL The kid's gone... gear and all. Musta slipped out before light. Stubby Bill waves Bridger's journal at them. STUBBY BILL (cont'd) Just left this on his bunk. Henry takes the journal... flips it open. HENRY (READING) "Every day I think about what I done. I want to tell Pig and the others the truth but am afraid what they'll think of me. I look at Fitzgerald and want to kill him but am afraid to try. I am a coward and wish he hadn't been lyin about the Ree that night. I wish they had come and kilt us both." Glass considers the words a beat, then swings onto his horse. 89. GLASS If I run across the boy, I'll send him back your way. Glass sees Henry on horseback, trotting toward them. GLASS (CONT'D) Where're you headed? HENRY Fitzgerald stole five hundred dollars. Rocky Mountain Fur Company wants him too. GLASS I can do this on my own. HENRY I know you can. But maybe you won't have to. Glass stares at Henry a beat, then finally just pulls his horse around... heads for the river. Henry nods to Pig and Murphy as he follows after Glass. EXT. ROCK LEDGE - DAY From above Fort Union. Our POV on Glass and Henry riding south along the icy river. And then we see our POV is Bridger's... standing along the ledge, loaded with all his gear. He watches the riders another moment, then turns... hikes the opposite direction... leaving Fort Union behind forever. EXT. FORT TALBOT/GENERAL STORE - DAY The Runty Man behind the counter. A few of the same Trappers drinking... playing cards. Just another day at Fort Talbot. The door swings open, and a FUR-COVERED FIGURE enters. RUNTY MAN We ain't got no food to spare, friend, if that's what you're lookin' for. The figure pulls back his furs, and we see it's Fitzgerald... cold and miserable. 90. FITZGERALD Then what the hell have ya got? RUNTY MAN Whiskey and blankets mostly. Weather's held back deliveries. Fitzgerald throws a glance to the Trappers. FITZGERALD Gimme a couple bottles then. Goddamn ice shredded my boat. Been walkin' for two days. The Runty Man hands Fitzgerald the bottles. Fitzgerald pops one... gulps some down. FITZGERALD (CONT'D) How much for one of them horses out there? RUNTY MAN Horses ain't cheap this time a year. FITZGERALD Whatever the price, Rocky Mountain Fur Company's good for it. And those words stop everything. The Trappers all turn from their game. The Runty Man glares at Fitzgerald. RUNTY MAN You're the second son of a bitch come in here makin' that claim. And the first one left a bad taste. FITZGERALD That right? Well I don't know nothin' about that. Just that I need a horse. RUNTY MAN So did this other fella. So he stole one... along with Lange's pistola. Trapper #1 nods to Fitzgerald. FITZGERALD Fine then, I'll pay cash for the horse. How much? 91. RUNTY MAN How `bout you pay for your friend's too. TRAPPER #1 And my shooter. FITZGERALD Wasn't my friend. Trapper #1 stands up. TRAPPER #1 Then from where I stand, you don't got no friends at all. The other Trappers glare at Fitzgerald. The Runty Man just grins that toothless smile of his. Fitzgerald's in a bind, and he knows it. FITZGERALD Yeah, okay. I'll collect from him. How much? RUNTY MAN How `bout we say eighty... (sees Fitzgerald doesn't ARGUE) ...five. Fitzgerald starts digging into his pocket. FITZGERALD You boys are leavin' me with nothin'. Better be a helluva horse. RUNTY MAN Pick of the litter. The Runty Man snatches the cash. RUNTY MAN (cont'd) And when you see that scarred-up nigger, you tell him he'd best not show up here again. Fitzgerald freezes... not sure he heard correctly. FITZGERALD When I see who? 92. RUNTY MAN The black son of a bitch that robbed me. You tell him that. A long beat, then... FITZGERALD Scarred up, you say... and headed up to Union? RUNTY MAN That's what he told us. Seemed real anxious to get there too. FITZGERALD (NODS) I'll make sure to give him the message when I find him. EXT. FORT TALBOT - DAY Fitzgerald sits on the horse, staring back over the ground... his LINE OF TRACKS LEADING THROUGH THE SNOW. He turns... looks south, then back to the tracks. Finally, Fitzgerald digs his heels into the horse. The animal takes off, right along Fitzgerald's tracks in the snow... right back toward Glass. EXT. MISSOURI RIVER - DAY Thick ice along the edges, tapering to a narrow stream of flowing water at the very center. Glass and Henry ride along the snow-covered bank. HENRY Hugh. Henry points. Glass follows his finger along the river... to a CANOE resting on the bank ahead. They dismount... examine the canoe... the letters "RMFC" painted on the side. HENRY (CONT'D) That's it. Glass runs his mittened hand along the gashes in the wood. GLASS Ice tore it up. 93. Glass looks to the FOOTPRINTS IN THE SNOW, leading deep into the trees. He glances up to the sky... clear and blue. GLASS (CONT'D) If the snow holds off, we'll have a good trail to track. HENRY What's out that direction? Talbot? GLASS And the Missouri. Doubt he'd risk the river with the `Ree. Likely grab a horse, and cross over high... take his chances goin' east against the weather. When'd you say he skipped out? HENRY Three days ago now. GLASS We best pick up our pace. They climb back onto their horses... trot into the trees. EXT. OPEN COUNTRY - DAY Glass and Henry gallop across, their path dead on Fitzgerald's tracks. EXT. FOREST - DAY The snow is shallow here, the ground protected by the trees. There's a black spot where a fire once burned, and footprints all over the place. Glass is off his horse, crouched, studying the site... lifting the charred chunks of wood. HENRY This was Fitzgerald camped here? GLASS Couple nights back. But these tracks aren't all his. HENRY He's travelin' with somebody? 94. GLASS (shakes his head) Came in after. Prints are smooth. Mocassins. Henry throws Glass a look... he knows what that means. GLASS (CONT'D) Could be Sioux... Blackfoot even. HENRY But you figure they're `Ree. GLASS I don't figure nothin', Captain. But whoever it is, they're a good day behind Fitzgerald. Glass walks, leading his horse, as he follows the tracks away from camp. Henry rides after him. GLASS (CONT'D) And they're on his trail too, so we should keep it quiet... don't announce we're back here. HENRY You told me once you knew enough to keep away from the `Ree. GLASS I do. HENRY You figure this is smart then? Glass swings up onto his horse. GLASS You're welcome to head back, Captain. Glass trots off. Henry watches him a beat, then throws a glance into the trees... follows after Glass. EXT. WILDERNESS/CAMP - NIGHT Glass kneels on the ground, building a fire-bed... dragging the dirt over the fire and rocks. Henry's under a blanket, watching him. 95. HENRY What if we find Fitzgerald... and I ask you not to do this? Glass spreads a blanket over the ground. GLASS Don't ask me. Glass settles in on the warm earth. Henry just keeps watching him. EXT. WILDERNESS/CAMP - LATER ANGLE ON HENRY... ...asleep under the blanket. O.S. RUSTLING sends his eyes flashing open. He raises up... rifle ready. He glances at Glass, who puts a finger over his lips. HENRY (WHISPERS) `Ree? Glass doesn't answer... just keeps searching the brush. Henry's groggy eyes dart around the night... spots MOVEMENT IN THE BRUSH. HENRY (CONT'D) There! GLASS Wait! But it's too late... Henry fires... BOOM... the shot explodes through the night... ...and the DEER leaps away. Henry looks to Glass... shakes his head... sorry. HENRY So much for stayin' quiet. CUT TO: 96. FITZGERALD - SQUATTING BESIDE A SMALL FIRE... ...staring out into the darkness, as the GUNSHOT ECHOES OVER HIM. Fitzgerald immediately throws dirt over the flames. EXT. WILDERNESS/CAMP - NIGHT Glass and Henry are loaded up, back on their horses. HENRY Guess you would've been better off on your own. GLASS We needed to pick up some time anyways. The two riders disappear into the dark trees. EXT. WILDERNESS/CLEARING - NIGHT Glass and Henry riding across a meadow. Glass stops... tilts his head back to sniff the air. HENRY Whatta ya got? GLASS Smoke. Glass pulls some snow from his horse's mane... tosses it in the air, and watches it blow to the side. Glass turns his horse toward the breeze... squints out into the night. GLASS (CONT'D) No more than mile out that way. (pulls his rifle) I'll head in from the west... you take the east. HENRY What if it's `Ree? GLASS Then we leave `em be... meet back up here. 97. Henry nods... Glass takes off at a trot. Henry veers the other direction... splitting up across the snow. EXT. FOREST - NIGHT Splinters of moonlight shoot through the pines. Glass on horseback, walking through the trees... appearing and disappearing. He spots something in the distance... the slightest of glows. Glass eases off his horse... wraps the reins around a branch. EXT. WILDERNESS - NIGHT Henry's already off his horse... leading it through the trees... searching as he walks. EXT. FOREST - NIGHT Glass moves silently through the darkness... rifle poised to aim and fire... just like the first time we saw him, perfectly comfortable in this world. His eyes shine in the darkness, drifting back and forth... picking up everything. He reaches the glow... the remains of a campfire. The slightest bit of dying smoke rises into the air. Glass crouches down, studying the surround ground... HOOF-PRINTS blended in with the other tracks. EXT. WILDERNESS - NIGHT Henry's horse is making too much noise with each step. He stops walking... wraps the reins around a tree... walks back around the horse... ...AND THERE'S FITZGERALD STARING AT HIM... ...Glass' Anstadt aimed and ready to fire. FITZGERALD Didn't figure an important man like you to be away from your stove on a night as cold as this, Captain. You lost? Henry just stares back at Fitzgerald and that rifle. His eyes drift to his own rifle, still strapped onto his saddle. 98. HENRY I'm here to save your life. FITZGERALD I done told you boys... I don't need savin' by you or nobody else. Henry knows he's only got one chance... he makes a grab for the rifle. EXT. FOREST - NIGHT Glass running his fingers across the tracks. Suddenly an O.S. GUNSHOT EXPLODES IN THE DISTANCE. Glass spins to it... races back through the trees toward his horse. EXT. FOREST - NIGHT Glass at full gallop through the woods... veering between trees... ducking branches. EXT. WILDERNESS - NIGHT Glass charges from the forest... spots Henry's horse standing in the trees... tears through the snow toward it... leaps off the still-moving animal in a fluid slide... hits the ground with his rifle ready... ...and sees HENRY'S BODY face-up in the snow. Glass drops to a knee... scans the darkness, as he slides over to Henry... ...and we see he's a bloody mess... a GUNSHOT WOUND in his chest leaking out onto the snow... HIS HEAD SCALPED... LEFT EAR SLICED OFF. Glass stands back up, turning in a circle, as he peers into the distance around him. But there's nothing out there. Glass SCREAMS in rage. He turns back to Henry... crouches down over him. GLASS You shouldn't a come. As Glass looks at Henry, he notices something... takes Henry by the chin, and tilts his head. And HENRY'S RIGHT EAR HAS BEEN CUT OFF AS WELL. 99. Glass stares at Henry a beat, then squints out into the forest. GLASS (CONT'D) (repeating Spotted Horse's words under his breath) Arikara take right ear of Sioux. Left ear of whites. Not know what they take from you. EXT. WILDERNESS/CLEARING - NIGHT Glass on horseback, leading Henry's horse behind him across the snow-covered meadow. Henry's fur-covered body is draped over the saddle. EXT. FROZEN RIVER - NIGHT A thick layer of ice covers the narrow river, thinning just a bit at the center. Glass kneels near the middle, chopping at the thick ice to get to the water beneath. He makes a hole... dips his canteen down into it, glancing around into the darkness. Then Glass turns... stares up a slope into the dark forest beyond... like he knows what's waiting for him there. He walks to the horses, tied in the trees at the base of the slope... Henry still laying across the saddle of his horse in his bloody furs. Glass SNAPS A BRANCH FROM A FALLEN TREE... looks back up that slope. EXT. WILDERNESS - NIGHT OUR POV FROM DEEP IN THE FOREST... ...watching from the shadowy brush, as Glass appears up over the distant slope... riding through the trees, with Henry draped over the horse behind. The forest is quiet... just the CRACKING of crusty snow and branches under the horses' hooves. Then BOOM... as the ANSTADT BARREL WE HADN'T SEEN BESIDE US FLASHES IN THE NIGHT... ...and Glass tumbles off his horse. 100. The horses prance around with a start, then settle... and then FITZGERALD RISES FROM THE BRUSH BESIDE US... eases toward the horses, reloading the Anstadt as he moves. He reaches Glass, face down in the snow... his furs covering him. And Fitzgerald has that rifle aimed, ready for Glass to suddenly roll over firing... ...but Glass doesn't move. Fitzgerald nudges him with his boot, then crouches down... grabs Glass by the shoulder, and pulls him over... ...and there's HENRY'S LIFELESS FACE HIDDEN BENEATH THE FURS... and that BROKEN BRANCH sticking up along his back. ANGLE FROM BEHIND HENRY'S HORSE... ...on the REST OF THE BRANCH RIGGED TO GLASS' SADDLE to hold Henry upright... ...and then what we thought was Henry flung over the second horse... MOVING... the bloody fur-covered arm lifting a rifle... the head raising up... it's GLASS... taking aim... ...as Fitzgerald realizes what's happened... spins with the Anstadt... ...to Glass laying across the horse... rifle dead set on Fitzgerald... BOOM... BOOM... both rifles explode... ...Fitzgerald goes flying backward into the brush. Fitzgerald's wild shot hits Henry's horse, sending it rearing up, tossing Glass to the ground. But Glass is on his feet in a flash... reloading as he charges into the brush... ...but FITZGERALD IS GONE. Until the flash of movement behind Glass... he turns... as the butt of the Anstadt whips through the air... WHACK... clubs him across the head, sending him tumbling down the slope to the frozen river. Fitzgerald swings the Anstadt back over his BLOODY SHOULDER, snatches up his knife, and charges down the slope to finish Glass off. 101. EXT. FROZEN RIVER - NIGHT Glass lies on the ice, barely conscious. Blood oozes down his head... over his eyes. He wipes it away to see Fitzgerald barreling down toward him. Fitzgerald dives in attack, but Glass kicks up his leg, sending Fitzgerald flying over... SLAMMING into the frozen river, his head CRACKING THE ICE. Glass rips the knife from his belt... moves after Fitzgerald, his feet slipping and sliding under him. Fitzgerald rises to his feet... the men charge like two wild animals... crash into each other... knives flailing. They roll along the ice, blades glistening... slicing through furs... across flesh. Fitzgerald thrusts his knife down... plants it through the back of Glass' hand, pinning it to the ice. Glass CRIES OUT... drops his own knife to pull Fitzgerald's out. As he does, Fitzgerald kicks Glass in the face, sending him sailing back... sliding to the center of the river. The thin ice around him splinters... cracks. Glass looks up... sees Fitzgerald stalking toward him, HOLDING BOTH KNIVES now. Glass is trapped... ...until he pounds his elbow down on the weakened ice... it begins to give... he pounds it again and again... Fitzgerald speeds up to get to Glass in time... raises one of the knives, as Glass shatters the ice... drops beneath the surface. Fitzgerald rushes after him, but the ice cracks under his feet, forcing him back. CUT TO: UNDERWATER... ...and Glass just under the ice, floating with the current. His fingers search for a hole, but there's nothing. CUT TO: 102. FITZGERALD... ...making his way down the river, peering through the ice, searching for Glass. He spots something... stops... leans close to make out the shape... it's GLASS' FEET. Then suddenly, GLASS' FIST EXPLODES THROUGH THE ICE AT FITZGERALD'S FEET... grab Fitzgerald's leg, pulling him down. Fitzgerald crashes to the ice... it splinters around him... gives away, and he sinks into the icy water... but the ANSTADT STRAPPED AROUND HIM CATCHES ON THE ICE... holds him against the current. Glass drags himself from the water... stands... stares down at Fitzgerald trapped in the hole... his face looking up at Glass through the ice. Glass lifts one of the fallen knives... stands over Fitzgerald. FITZGERALD (through the water and ICE) Help me! (off Glass' stare) Glass... please! Glass hesitates a beat, staring at him, just as he did with Bridger that night in the bunkhouse. And then Glass leans down... grabs the Anstadt to pull Fitzgerald up. Except Glass SLICES THE BLADE ACROSS THE STRAP OF THE ANSTADT, sending Fitzgerald floating away under the ice, as Glass holds on to the Anstadt. CUT TO: FITZGERALD... ...floating under the surface... pounding at the ice as he drifts, until his swinging slows... stops... his body drifts away. EXT. FROZEN RIVER - NIGHT Glass stands on the ice, blood dripping down his face, holding his Anstadt. He begins to tremble... not from the cold, but from finally reaching the end of this journey. His eyes begin to fill with tears... 103. ...and then he sees ELK'S TONGUE, and SEVERAL OTHER ARIKARA WARRIORS watching him from the other side of the river. Glass and Elk's Tongue exchange a long stare, until finally Glass SCREAMS OUT. GLASS I am Tatanka Wicasa! I have killed whites and I have killed Arikara and I have killed grizzly! AND I WILL KILL YOU! Elk's Tongue doesn't move... just stares back at Glass... soaked in blood and water. Then Glass CRIES OUT at the warriors again. GLASS (CONT'D) COME ON! But the Arikara don't attack... don't move at all... until Elk's Tongue gives Glass the SLIGHTEST OF NODS, then turns... they disappear back into the trees. Glass watches them fade away, then collapses to his knees on the icy river... exhausted in every possible way. He begins to cry. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Ringu.txt b/unformated_scripts/Script_Ringu.txt new file mode 100644 index 0000000000000000000000000000000000000000..4375ed004fbc4dbdeddc8360612e6a09f1932f3d --- /dev/null +++ b/unformated_scripts/Script_Ringu.txt @@ -0,0 +1 @@ +THE RING Original screenplay by Takahashi Hiroshi Based upon the novel by Suzuki Kouji This manuscript is intended for informational purposes only, and is a fair usage of copyrighted material. Ring (c) 1995 Suzuki Kouji Ring feature film (c) 1998 Ring/Rasen Committee Distributed by PONY CANYON Adapted/ Translated by J Lopez http://www.somrux.com/ringworld/ --- Caption-- “September 5th. Sunday.” INT. OUISHI HOUSEHOLD – TOMOKO’S ROOM - NIGHT CLOSEUP on a TELEVISION SET. There’s a baseball game on, but the sound is turned completely down. Camera PANS to show two cute high school girls, MASAMI and TOMOKO. Masami is seated on the floor at a low coffee table, TEXTBOOK in front of her. Tomoko is at her desk. There are SNACKS all over the room, and it’s obvious there hasn’t been much studying going on. Masami is currently in mid-story, speaking excitedly. MASAMI They say that some elementary school kid spent the night with his parents at a bed and breakfast in Izu. The kid wanted to go out and play with everybody, right, but he didn’t want to miss the program he always used to watch back in Tokyo, so he records it on the VCR in their room. But of course the stations in Izu are different from the ones in Tokyo. In Izu, it was just an empty channel, so he should’ve recorded nothing but static. But when the kid gets back to his house and watches the tape, all of a sudden this woman comes on the screen and says-- Masami points so suddenly and dramatically at her friend that Tomoko actually jumps in her seat. MASAMI (cont’d) “One week from now, you will die.” Short silence as Masami pauses, relishing the moment. MASAMI (cont’d) Of course the kid’s completely freaked, and he stops the video. Just then the phone rings, and when he picks it up a voice says-- Her voice drops voice almost to a whisper. MASAMI (cont’d) “You watched it, didn’t you?” That same time, exactly one week later... he’s dead! Masami laughs loudly, thoroughly enjoying her own performance. Tomoko, however, is completely silent. She begins looking more and more distressed, until finally Masami notices. MASAMI What is it, Tomoko? Tomoko comes out of her chair and drops onto the floor next to her friend. Her words are quick, earnest. TOMOKO Who did you hear that story from? MASAMI Who? It’s just a rumor. Everybody knows it. TOMOKO Youko told you? MASAMI No, it wasn’t Youko... Tomoko looks away, worried. Masami slaps her on the knee, laughing. MASAMI What’s up with you? Tomoko speaks slowly, still looking away. TOMOKO The other day, I... I watched this strange video. MASAMI Where? TOMOKO With Youko and them. MASAMI (excited) So that’s what I’ve been hearing about you doing some double-date/ sleepover thing! So, you and that guy Iwata, huh? TOMOKO No, it’s not like that. Nothing happened! Their eyes meet and Tomoko half-blushes, looks away again. Her expression becomes serious as she resumes her conversation. TOMOKO Iwata... he found this weird video. Everyone was like, “What’s that?” so he put it on and we all watched it. MASAMI (quietly) And? What kind of video was it? TOMOKO Just... weird, I can’t really explain it. Anyway, right after we finished watching it, the phone rang. Whoever it was didn’t say anything, but still... Silence. Masami curls up on herself, thoroughly spooked. MASAMI Jesus. TOMOKO It's cuz, you know, we'd all heard the rumors.Tomoko looks seriously over at her friend. TOMOKO (cont'd) That was one week ago today. There is a long, heavy silence as neither of them says anything. MASAMI Waaait a minute. Are you faking me out? Tomoko’s face suddenly breaks into a smile. TOMOKO Busted, huh? They both crack up laughing. MASAMI Oh, my... I can’t believe you! Masami reaches out, slaps her friend on the knee. MASAMI (cont’d) You’re terrible! TOMOKO Gotcha! MASAMI (thinking) But hang on... you really stayed the night with Youko and Iwata, right? Tomoko nods, uh-huh. Masami dives forward, pinching her friend’s cheeks and grinning wildly. MASAMI So, how far did you and he get? TOMOKO Oh... I can’t remember. MASAMI You can’t remember, huh? Masami laughs, then slaps Tomoko on the knee again as she remembers the trick her friend played on her. MASAMI Man, you had me freaked me out. I-- Just at that moment, the phone RINGS. They are both suddenly, instantly serious. Tomoko’s eyes go off in one direction and she begins shaking her head, -No-. Masami looks over her shoulder, following her friend’s gaze. Tomoko is looking at the CLOCK, which currently reads 9:40. The phone continues to ring. Tomoko is now clutching tightly onto her friend, looking panicked. MASAMI (softly) Was it true? Tomoko nods her head, still holding on tightly. Masami has to forcibly disengage herself in order to stand. The phone is downstairs, so Masami opens the bedroom DOOR and races down the STAIRS. Tomoko calls out to her from behind. TOMOKO Masami! INT. OUISHI HOUSEHOLD – STAIRCASE - NIGHT Tomoko and Masami run down the staircase, through the hallway towards the kitchen. Tomoko cries out again just before they reach the kitchen. TOMOKO Masami! INT. OUISHI HOUSEHOLD – KITCHEN - NIGHT Masami has come to a halt before a PHONE mounted on the wall. She pauses, looking slowly at her friend, then back to the phone. She takes it tentatively from its cradle, answers it wordlessly. The tension continues to mount as nothing is said. Masami suddenly breaks into a huge grin. MASAMI I’ll put her on. Still grinning, she hands the phone to Tomoko. Tomoko snatches it quickly. TOMOKO (softly) Yes? She is silent for a moment, then smiling widely. TOMOKO Oh, man! She is so relieved that all the strength seeps out of her and she sinks to the kitchen floor. Masami, equally relieved, slides down the wall and sits down next to her. TOMOKO (on the phone) Yeah, I’ve got a friend over now. Yeah. Yeah, OK. Bye. Tomoko stands to place the phone back in its wall cradle, and then squats back down onto the kitchen floor. TOMOKO The game’s gone into overtime, so they’re gonna be a little late. They burst out laughing with relief again, and are soon both clutching their stomachs. TOMOKO Jeeezus, my parents... MASAMI Oh man, I’m tellin’ everybody about this tomorrow! Tomoko shakes her head, -Don’t you dare-. MASAMI I’m gonna use your bathroom. Don’t go anywhere. TOMOKO ‘K. Masami walks out of the kitchen. Alone now, Tomoko stands and walks toward the SINK, where she takes a GLASS from the DISH RACK. She then goes to the FRIDGE and sticks her face in, looking for something to drink. Suddenly there is the SOUND of people clapping and cheering. Tomoko, startled, peers her head over the refrigerator door to check for the source of the sound. She begins walking slowly, following the sound to the DINING ROOM adjacent the kitchen. INT. OUISHI HOUSEHOLD - DINING ROOM - NIGHT The lights are off, and there is no one in the room. Tomoko pauses a moment, bathed in the garish LIGHT from the TV, which has been switched on. Playing is the same baseball game they had on the TV upstairs; the same game that Tomoko’s parents are currently at. The VOLUME is up quite high. A puzzled look on her face, Tomoko takes the REMOTE from the coffee table and flicks the TV off. She walks back to the kitchen. INT. OUISHI HOUSEHOLD – KITCHEN - NIGHT A bottle of SODA that Tomoko had earlier taken from the fridge is on the kitchen table. She picks the bottle up, pours herself a drink. Before she can take a sip, however, the air around her becomes suddenly charged, heavy. Her body begins to shiver as somewhere out of sight comes a popping, crackling SOUND underscored by a kind of GROANING. Trembling now, Tomoko spins around to see what she has already felt lurking behind her. She draws in her breath to scream. The screen goes white, and fades into: CAMERA POV The screen is filled with the visage of a nervous-looking YOUNG GIRL. She is being interviewed by ASAKAWA, a female reporter seated offscreen. ASAKAWA (O.S.) There seems to be a popular rumor going around about a ”cursed” videotape. YOUNG GIRL Uh-huh. ASAKAWA (O.S.) Have you heard what kind of video it might be? YOUNG GIRL Uh-huh. The girl looks directly at the camera, her mouth dropping into an “O” as she’s suddenly overcome by a kind of stage fright. She continues staring, silently, at the camera. INT. COFFEE SHOP - DAY KOMIYA, the cameraman, has lowered his camera. We can now see that the young girl being interviewed is seated at a table between two friends, a SHORT-HAIRED GIRL (GIRL#2) and a LONG-HAIRED GIRL (GIRL #3). They are all dressed in the UNIFORMS of junior high school students. Opposite them sits Komiya and Asakawa, a pretty woman in her mid- twenties. A BOOM MIKE GUY stands to the left. KOMIYA Uh, don’t look right at the camera, OK? YOUNG GIRL Sorry. ASAKAWA Let’s do it again. Asakawa glances over her shoulder, makes sure that Komiya is ready. ASAKAWA Have you heard what kind of video it might be? YOUNG GIRL What I heard was, all of a sudden this scaaarry lady comes on the screen and says, “In one week, you will die.” GIRL #2 I heard that if you’re watching TV late at night it’ll come on, and then your phone’ll ring. ASAKAWA Watching TV late at night... do you know what station? GIRL #2 Mmmm... I heard some local station, around Izu. ASAKAWA Izu? GIRL #2 Mmm-hmm. ASAKAWA And, do you know if anyone’s really died from watching it? The girl flashes a look at her two friends. YOUNG GIRL Well, no one that we know, right? Girl #2 nods her head. Girl #3 nods slowly, opens and closes her mouth as if deciding whether to say something or not. The reporter notices. ASAKAWA What is it? GIRL #3 I heard this from a friend of mine in high school. She said that there was this one girl who watched the video, and then died a week later. She was out on a drive with her boyfriend. ASAKAWA They were in a wreck? GIRL #3 No, their car was parked, but they were both dead inside. Her boyfriend died because he’d watched the video, too. That’s what my friend said. Girl #3 grows suddenly defensive. GIRL #3 (cont’d) It’s true! It was in the paper two or three days ago. ASAKAWA Do you know the name of the high school this girl went to? GIRL #3 No... I heard this from my friend, and it didn’t happen at her school. She heard it from a friend at a different school, she said. INT. NEWS STATION – DAY Asakawa is seated at her DESK. The station is filled with PEOPLE, scrabbling to meet deadlines. Komiya walks up to Asakawa’s desk and holds out a MANILA FOLDER. KOMIYA Mrs. Asakawa? ASAKAWA Hm? KOMIYA Here you are. ASAKAWA (taking the folder) Thanks. Komiya has a seat. KOMIYA This same kind of thing happened about ten years ago too, didn’t it? Some popular young singer committed suicide, and then suddenly there was all this talk about her ghost showing up on some music show. ASAKAWA But I wonder what this rumor’s all about. Everyone you ask always mentions “Izu.” KOMIYA Maybe that’s where it all started. Hey, where was that Kuchi-sake Onna * story from again? >* Literally “Ripped-Mouth Lady,” a kind of ghastly spectre from >Japanese folk stories who wears a veil to hide her mouth, which >has been ripped or cut open from ear to ear. She wanders the >countryside at night asking men “Do you think I’m beautiful?” then >lowering her veil to reveal her true features. ASAKAWA Gifu, but there was some big accident out there, and that ended up being what started the rumor. KOMIYA A big accident? ASAKAWA Mmm-hmm. Something terrible like that is going to stay in people’s minds. Sometimes the story of what happened gets twisted around, and ends up coming back as a rumor like this one. That’s what they say, at least. KOMIYA D’you think something like that happened out at Izu? ASAKAWA Maybe. Well, anyway, I’m off. See you tomorrow. KOMIYA See you. Asakawa gets up from her desk and begins walking towards the exit. She takes only a few steps before noticing a RACK of recent DAILY EDITIONS. She takes one from the rack, sets it on a nearby TABLE. She begins flipping the pages, and suddenly spies this story: STRANGE AUTOMOBILE DEATH OF YOUNG COUPLE IN YOKOHAMA The bodies of a young man and woman were discovered in their passenger car at around 10 A.M. September 6th. The location was a vacant lot parallel to Yokohama Prefectural Road. Local authorities identified the deceased as a 19-year old preparatory school student of Tokyo, and a 16-year old Yokohama resident, a student of a private all-girls’ high school. Because there were no external injuries, police are investigating the possibility of drug-induced suicide... Just then two men walk by, a GUY IN A BUSINESS SUIT and a youngish intern named OKAZAKI. Okazaki is carrying an armload of VIDEOTAPES. GUY IN SUIT OK, Okazaki, I’m counting on you. OKAZAKI Yessir. The guy in the suit pats Okazaki on the shoulder and walks off. Okazaki turns to walk away, spots Asakawa bent over the small table and peering intently at the newspaper article. OKAZAKI Miss Asakawa? I thought you were going home early today. Asakawa turns around and begins speaking excitedly. ASAKAWA Okazaki, can I ask you a favor? OKAZAKI Sure. Asakawa points to the newspaper. ASAKAWA Could you check out this article for me? Get me some more info.? OKAZAKI I guess... ASAKAWA Good. Call me as soon as you know more, OK? OKAZAKI Ma’am. Asakawa walks off. Okazaki, still carrying the videotapes, leans forward to take a look at the article. EXT. APARTMENT PARKING LOT - DAY Asakawa drives her car into the lot and parks quickly. She gets out, runs up the STAIRCASE to the third floor. She stops in front of a door, sticks her KEY in the lock, and opens it. INT. ASAKAWA’S APARTMENT - LIVING ROOM – DAY A BOY of about 7 is sitting in an ARMCHAIR facing the veranda. We can see only the back of his head. ASAKAWA (O.S.) Yoichi! Hearing his name, the boy puts down the BOOK he was reading and stands up, facing the door. He is wearing a white DRESS SHIRT with a brown sweater-type VEST over it. He sees Asakawa, his mother, run in the door. She is panting lightly. ASAKAWA Sorry I’m late. Oh, you’ve already changed. YOICHI Yup. He points over to his mother’s right. YOICHI (cont’d) I got your clothes out for you. Asakawa turns to see a DARK SUIT hanging from one of the living room shelves. She reaches out, takes it. ASAKAWA Aargh, we’ve gotta hurry! She runs into the next room to change. INT. BEDROOM – DAY Asakawa has changed into all-black FUNERAL ATTIRE. Her hair is up, and she is fastening the clasp to a pearl NECKLACE. Yoichi is still in the living room. ASAKAWA Did grandpa call? YOICHI (O.S.) Nope. Yoichi walks into the room and faces his mother. YOICHI Why did Tomo-chan die? * >* ”-chan” is a suffix in Japanese that denotes closeness or affection. >It is most often used for young girls, though it can also be used for >boys. ASAKAWA Well... it looks like she was really, really sick. She takes a seat on the bed. ASAKAWA Will you do me up? Yoichi fastens the rear button of his mother’s dress and zips her up. YOICHI You can die even if you’re young? ASAKAWA If it’s something serious... well, yes. Asakawa turns to face her son, puts an arm around him. ASAKAWA As hard as it is for us, what your auntie and uncle are going through right now is even harder, so let’s not talk about this over there, OK? Yoichi nods. ASAKAWA (remembering) You and her used to play a lot together, didn’t you? Yoichi says nothing. EXT. OUISHI HOUSEHOLD - NIGHT RED PAPER LANTERNS mark this place as the site of a wake. Several GIRLS in high school uniforms are standing together and talking in groups. Asakawa and Yoichi, walking hand in hand, enter the house. INT. OUISHI HOUSEHOLD - NIGHT There are many PEOPLE milling about, speaking softly. A MAN seated at a counter is taking monetary donations from guests and entering their information into a LEDGER. Asakawa and Yoichi continue walking, down a hallway. INT. OUISHI HOUSEHOLD - NIGHT Mother and son halt before the open DOOR to the main wake room, where guests may show their respects to the departed. The room is laid in traditional Japanese-style tatami, a kind of woven straw mat that serves as a carpet. Two GUESTS, their shoes off, are kneeling upon zabuton cushions. Kneeling opposite the guests is KOUICHI, Asakawa’s father. The two guests are bowing deeply, and Kouichi bows in response. ASAKAWA Dad. Kouichi turns to see her. KOUICHI Ah! ASAKAWA How is sis holding up? KOUICHI She’s resting inside right now. She’s shaken up pretty badly, you know. It’s best she just take things easy for a while. Asakawa nods. ASAKAWA I’ll go check on auntie and them, then. KOUICHI OK. Ah, Yoichi. Why don’t you sit here for a little while? He grabs the young boy and seats him on a cushion next to the two guests. As the guests resume their conversation with Asakawa’s father, Yoichi’s eyes wander to the ALTAR at the front of the room set up to honor the deceased. It is made of wood, and surrounded by candles, flowers, and small paper lanterns. At the center is a PICTURE of the deceased, a teenage girl. A small wooden PLAQUE reads her name: Tomoko Ouishi. It is the same Tomoko from the first scene. Yoichi continues to stare at Tomoko’s picture. He makes a peculiar gesture as he does so, rubbing his index finger in small circles just between his eyes. INT. HALLWAY – NIGHT Asakawa walks down the hallway, looking for her aunt. She walks until finding the open doorway to the kitchen. There are a few people in there, preparing busily. Asakawa sees her AUNT, who rushes into the hallway to meet her, holds her fast by the arm. The aunt speaks in a fierce, quick whisper. AUNT Have you heard anything more about Tomo-chan’s death? ASAKAWA No, I... AUNT But the police have already finished their autopsy! ASAKAWA Well, they said there was no sign of foul play. AUNT (shaking her head) That was no normal death. They haven’t once opened the casket to let us see the body. Don’t you think that’s strange? Asakawa looks away, thinking. INT. HALLWAY – NIGHT Yoichi has wandered off by himself. He stops at the foot of the steps, looking up-- and catches a glimpse of a pair of BARE FEET running up to the second floor. A guarded expression on his face, Yoichi walks slowly up the stairs. INT. OUISHI HOUSEHOLD - TOMOKO’S BEDROOM - NIGHT Yoichi has wandered into Tomoko’s bedroom. The lights are all off, and there is an eerie feel to it. Yoichi’s eyes wander about the room, finally coming to rest on the TELEVISION SET. Suddenly, he hears his mother’s voice from behind him. ASAKWAWA (O.S.) Yoichi? Yoichi turns to face her as she approaches, puts an arm around him. ASAKAWA What are you doing up here? You shouldn’t just walk into other people’s rooms. Without replying, Yoichi’s gaze slowly returns to the television set. Asakawa holds him by the shoulders, turning him to meet her. ASAKAWA You go on downstairs, OK? YOICHI OK. He turns to leave, and Asakawa follows. INT. OUSHI HOUSEHOLD - TOP OF THE STAIRS – NIGHT Just as Yoichi and Asakawa are about to descend the steps, Asakawa’s CELL PHONE rings. She opens the clasp to her PURSE. ASAKAWA (to Yoichi) You go on ahead. YOICHI ‘K. He walks down the steps. Asakawa brings out her cell phone, answers it. ASAKAWA Hello? OKAZAKI Uh... this is Okazaki. I’ve got some more info on that article for you. The girl was a student of the uh, Seikei School for Women in Yokahama City. Asakawa blinks at this, looks disturbed. ASAKAWA (softly) Thanks. She hangs up the phone. EXT. OUISHI HOUSEHOLD - NIGHT Asakawa stands now at the entrance of the house. Dazedly, she walks toward a large, hand-painted PLACARD. The placard reads that the wake is being held for a student of the Seikei School for Women. Asakawa stares at that placard, making the mental connections. She turns abruptly, walks towards a nearby TRIO of HIGH SCHOOL GIRLS. ASAKAWA Excuse me. This is, um, kind of a strange question, but by any chance were you friends of that young girl that died in the car as well? The three girls turn their faces to the ground. ASAKAWA Please. If you know anything... GIRL RIGHT They all died the same day. Youko. Tomoko. Even Iwata, he was in a motorcycle accident. GIRL LEFT Because they watched the video. ASAKAWA Video? GIRL LEFT That’s what Youko said. They all watched some weird video, and after that their phone rang. ASAKAWA Tomoko-chan watched it, too? Where? Girl Left shakes her head. GIRL LEFT She just said they all stayed somewhere. GIRL RIGHT There was a girl with Tomoko when she died. She’s had to be hospitalized for shock. GIRL MIDDLE They say she won’t go anywhere near a television. INT. NEWS STATION - VIEWING BOOTH – DAY Asakawa and YOSHINO, another news reporter, are watching scenes from the Yokohama car death. In the footage there are lots of POLICEMEN milling about, one of them trying to pick the door to the passenger side. Yoshino is giving Asakawa the blow-by-blow. YOSHINO The bodies of those found were Tsuji Youko, age 17, a student of the Seikei School for Women, and Nomi Takehiko, age 19, preparatory school student. Both their doors were securely locked. Onscreen, the policeman has finally picked the lock. The door opens, and a girl’s BODY half–falls out, head facing upwards. Yoshino flicks a BUTTON on the control panel, scans the footage frame by frame. He stops when he gets a good close-up of the victim. Her face is twisted into an insane rictus of fear, mouth open, eyes wide and glassy. Yoshino and Asakawa lean back in their seats. YOSHINO This is the first time I’ve -ever- seen something like this. ASAKAWA Cause of death? YOSHINO Couldn’t say, aside from sudden heart failure. ASAKAWA Drugs? YOSHINO The autopsy came up negative. Yoshino takes the video off pause. Onscreen, a policeman has caught the young girl’s body from completely falling out, and is pushing it back into the car. As the body moves into an upright position, we can see that the girl’s PANTIES are mid-way around her left thigh. YOSHINO These two, about to go at it, suddenly up and die for no apparent reason. He sighs. YOSHINO (cont’d) Do -you- get it? EXT. OUISHI HOUSEHOLD - DAY Asakawa’s CAR is already halted before a modest-sized, two-story HOUSE with a small covered parkway for a garage. She gets out of her car, closes the door. She stares at the house, unmoving. INT. OUISHI HOUSEHOLD – KITCHEN - DAY Asakawa stands before her SISTER RYOMI, who is seated at the kitchen TABLE. Ryomi is staring blankly away, making no sign of acknowledging her sister. The silence continues unabated, and Asakawa, pensive, wanders idly into the adjoining dining room. She takes a long look at the television, the same television that had puzzled Tomoko by suddenly switching itself on, sitting darkly in one corner. Her reflection in the screen looks stretched, distorted. RYOMI (O.S.) They tell me that Yoichi came to the funeral, too. Asakawa steps back into the kitchen. She addresses her sister, who continues to stare out at nothing. ASAKAWA Mmm-hmm. RYOMI They used to play a lot together, didn’t they? Upstairs. ASAKAWA Yeah... Ryomi lapses back into a silence. Asakawa waits for her to say more, but when it is clear that nothing else is forthcoming, she quietly gives up and exits the kitchen. INT. OUISHI HOUSEHOLD – STAIRCASE - DAY Asakawa climbs the steps to the second floor. She makes her way down the hall. INT. OUISHI HOUSEHOLD - TOMOKO’S ROOM - DAY As if intruding, Asakawa walks slowly, cautiously into Tomoko’s room. The window to the room is open, and a single piece of folded white PAPER on Tomoko’s desk flutters in the breeze. Asakawa walks towards it, picks it up. It is a RECEIPT from a photo shop. The developed photos have yet to be claimed. Asakawa senses something, spins to look over her shoulder. Her sister has crept quietly up the stairs and down the hall, and stands now in the doorway to Tomoko’s room. She appears not to notice what Asakawa has in her hands, as her gaze has already shifted to the sliding closet door. She regards it almost druggedly. RYOMI (haltingly) This... this is where Tomoko died. FLASHBACK RYOMI (O.S.) Tomoko! Ryomi’s hands fling aside the CLOSET DOOR. Within, she finds the pale blue CARCASS of her daughter, curled up into an unnatural fetal position. Tomoko’s mouth yawns gaping, her eyes glassy and rolled up into the back of her head. Her hands are caught in her hair, as if trying to pull it out by the roots. It is a horrific scene, one that says Tomoko died as if from some unspeakable fear. PRESENT Ryomi sinks to her knees, hitting the wooden floor hard. She puts her face into her hands and begins sobbing loudly. Asakawa says nothing. EXT. CAMERA SHOP – DAY Asakawa leaves the camera shop clutching Tomoko’s unclaimed PHOTOS. She walks out onto the sidewalk and begins flipping through them. We see Tomoko standing arm-in-arm with Iwata, her secret boyfriend. Tomoko and her friends eating lunch. The camera had its date-and-time function enabled, and the photos are marked 97 8 29. The next shot is of Tomoko, Iwata, and another young couple posing in front of a SIGN for a bed and breakfast. The sign reads: IZU PACIFIC LAND ASAKAWA Izu... Asakawa continues looking through the photos, various shots of the four friends clowning around in their room. Suddenly she comes to a shot taken the next day, at check out. The friends are lined up, arms linked-- and all four of their faces are blurred, distorted as if someone had taken an eraser to them and tried to rub them out of existence. INT. ASAKAWA’S APARTMENT – KITCHEN - DAY Asakawa wears an APRON, and is frying something up on the STOVE. Yoichi stands watching. ASAKAWA Look, I’m probably going to be late coming home tonight, so just stick your dinner in the microwave when you’re ready to eat, OK? YOICHI ‘K... Mom? ASAKAWA Hmm? YOICHI Tomo-chan watched some cursed video! Asakawa leaves the food on the stove, runs over to Yoichi and grabs him by the shoulders. She shakes him roughly. ASAKAWA What did you say? You are not to speak of this at school, do you hear me? YOICHI (utterly unfazed) I won’t. I’m going to school now. Yoichi walks off. Asakawa goes back to the stove, but stops after only a few stirs, staring off and thinking. Caption-- “September 13th. Monday.” EXT. ROAD – DAY Asakawa drives her car speedily along a narrow country road, LEAVES blowing up in her wake. INT. ASAKAWA’S CAR - DAY Asakawa mutters to herself, deep in thought. ASAKAWA There’s no way... EXT. COUNTRY ROAD – DAY Asakawa’s car drives past a sign reading: IZU PACIFIC LAND EXT. IZU PACIFIC LAND - DRIVEWAY – DAY Asakawa has left her car and is walking around the driveway of what is less a bed and breakfast and more like a series of cabin-style rental COTTAGES. She wanders about for a while, trying to get her bearings. She pauses now in front of a particular cottage and reaches into her PURSE. She withdraws the PICTURE from the photomat, the one that showed Tomoko and her friends with their faces all blurred. The four are posing in front of their cottage, marked in the photograph as “B4.” Asakawa lowers the photo to regard the cottage before her. B4 She walks to the door, turns the handle experimentally. It’s open. Asakawa walks in. INT. PACIFIC LAND - COTTAGE B4 – DAY Asakawa lets her eyes wander around the cottage. It looks very modern, all wood paneling and spacious comfort. Her eyes rest on the TV/VCR setup at the front of the room. Crouching before the VCR now, she presses the eject button. Nothing happens. She fingers the inside of the deck, finds it empty, then reaches behind to the rear of the VCR, searching. Again, there is nothing. Asakawa presses the power button on the television, picks up the REMOTE, and takes a seat on the SOFA. She runs through a few channels but they’re all talk shows, no clues whatsoever. She flicks the TV off and leans back in the sofa, sighing. Just then, she spies a LEDGER on the coffee table. These things are sometimes left in hotels in Japan, so that guests can write a few comments about their stay for others to read. Asakawa picks the ledger up, begins thumbing through it. She stops at a strange PICTURE obviously drawn by a child, that shows three rotund, almost entirely round personages. She reads the handwritten MESSAGE. ASAKAWA "My dad is fat. My mom is fat. That’s why I’m fat, too." She smiles in spite of herself. Asakawa flips through the rest of the ledger, but there’s nothing else of any import. She tosses it back onto the coffee table and, sighing again, leans into the sofa and closes her eyes. EXT. OUTDOOR CAFÉ - DUSK Asakawa eats silently, alone. INT. PACIFIC LAND - FRONT RECEPTION - NIGHT Asakawa has returned to the bed and breakfast. As she walks in the door, the COUNTER CLERK rises out of his chair to greet her. CLERK Room for one? ASAKAWA Um, actually I’m here on business. She passes the clerk a picture of Tomoko and her three other friends. He stares at it for a moment. ASAKAWA They would have stayed here on August 29th, all four of them. If there’s any information you might have... CLERK Uh, hang on just a minute. The clerk turns his back to her, begins leafing through a guest log. CLERK (to himself) August 29th... While she waits, Asakawa’s eyes start to wander around the room. Behind the desk is a sign reading “Rental Video,” and a large wooden BOOKSHELF filled with VIDEOTAPES. They are all in their original boxes, and she lets her eyes glance over the titles. Raiders of the Lost Ark, 48 Hours-- --and then, suddenly, she spies a VIDEOTAPE in a plain, unmarked sleeve, tucked away in the back of the very bottom shelf. She feels the hairs on the back of her neck rise. ASAKAWA That... The clerk looks up. CLERK Hmm? Asakawa stabs a finger excitedly towards the shelf. ASAKAWA That! What tape is that? The clerk reaches out for it, grabs it. CLERK This? Hmm... The clerk pulls the tape out of its SLEEVE and checks for a label. It’s unmarked. CLERK Maybe one of the guests left it behind… INT. PACIFIC LAND – COTTAGE B4 - NIGHT Asakawa flips on the TV. It’s on channel 2, and there is nothing but static. She kneels down to slide the tape into the deck and pauses a moment, framed in the vaguely spectral LIGHT from the television screen. Steeling her nerves, she puts the tape into the machine, picks up the remote, and presses play. NOTE: This next scene is entirely visual. If you are reading this translation before watching the movie, do yourself a favor; STOP reading this now and watch the scene for itself. Afterwards, you can come back here to check the meaning of the Japanese characters displayed. THE VIDEOTAPE At first it looks like nothing has happened-- then Asakawa realizes that she is now viewing recorded static instead of broadcast static. She watches, waiting, but the static continues unbroken. Asakawa looks down at the remote, is about to press fast forward, when suddenly the picture on the screen clears and for a moment she thinks she’s looking at the moon. It’s not the moon at all, she realizes. The shape is round like a full moon, but it seems to be made up of thin RIBBONS of cloud streaking against a night sky. And there’s a FACE, she sees, a face hidden in shadows, looking down from above. What is this? The scene changes now, and Asakawa notes that the tape has that kind of grainy quality one sees in 3rd or 4th generation copies. The scene is of a WOMAN brushing her long hair before an oval-shaped MIRROR. The nerve- wracking grating as if of some giant metallic insect sounds in the background, but the lady doesn’t seem to notice. The mirror the lady is using to brush her hair suddenly changes position from the left part of the wall before which she stands, to the right. Almost instantly the mirror returns to its original position, but in that one moment in its changed location we see a small FIGURE in a white GOWN. The woman turns towards where that figure stood, and smiles. The screen next becomes a twitching, undulating impenetrable sea of the kanji characters used in the Japanese language. Asakawa can pick out only two things recognizable: local volcanic eruption Now the screen is awash in PEOPLE-- crawling, scrabbling, shambling masses, some of them moving in reverse. A sound like moaning accompanies them. - A FIGURE stands upon a shore, its face shrouded. It points accusingly, not towards the screen, but at something unseen off to one side. The insect-like screeching sounds louder. -- Close up on inhuman, alien-looking EYE. Inside that eye a single character is reflected in reverse: SADA, meaning "chastity." The eye blinks once, twice. The symbol remains. --- A long shot of an outdoor, uncovered WELL. ---- Sudden loud, blinding STATIC as the tape ends. Asakawa turns the TV off, looking physically drained. She sighs shakily and slumps forward, resting on her knees. Just then, she glances at the television screen. She sees, reflected, a small FIGURE in a white gown standing at the rear of the room. Shocked, Asakawa draws in breath, spins around. The room is empty. Asakawa runs to the sofa to collect her jacket-- --and the RINGING of the telephone stops her dead in her tracks. Zombie- like, she walks towards the telephone, picks it up wordlessly. From the other end comes the same metallic, insectoid SQUEAKING heard on the video. Asakawa slams the phone down and glances up at the CLOCK. It’s about seven minutes after 7 P.M. ASAKAWA (to herself) One week… Asakawa grabs her coat, pops the tape out of the deck, and runs out the door. EXT. STREET – DAY It is dark and raining heavily. Yoichi, Asakawa’s son, is walking to school, UMBRELLA firmly in hand. The sidewalk is quite narrow, and Yoichi comes to a halt when a second PERSON comes from the opposite direction, blocking his way. Yoichi slowly raises his umbrella, peers up to look at this other pedestrian. It is a MAN, a BAG slung over one shoulder. He has a beard; unusual for Japan where clean-shaven is the norm. The two continue looking directly at each other, neither moving nor speaking. Yoichi then walks around the person’s left and continues on his way. The man resumes walking as well. Caption-- “September 14th. Tuesday.” EXT. OUTSIDE AN APARTMENT DOOR - DAY The bearded man, whose name is RYUJI, reaches out to press the DOORBELL, but the door has already opened from within. Asakawa leans out, holding the door open for him. Neither of them speaks. Wordlessly, Ryuji enters the apartment. INT. ASAKAWA’S APARTMENT - DAY Ryuji puts his bag down, looks around the apartment. The interior is dark, ominous somehow. He takes his JACKET off and wanders into the living room. Asakawa is in the kitchen behind him, preparing TEA. Ryuji spies the collection of FRAMED PHOTOGRAPHS in living room. RYUJI Yoichi’s in elementary school already, is he? ASAKAWA His first year. What about you, Ryuji? How have you been recently? RYUJI Same as always. She takes a seat next to him, serves the tea. On the coffee table before them is a VIDEOTAPE in a plain, unmarked case. ASAKAWA And money is...? RYUJI I’m teaching at university. Ryuji picks up his cup of tea but stops, grimacing, before it is to his lips. He rubs his forehead as if experiencing a sudden headache. Ryuji shakes it off and quickly regains his composure. RYUJI Anyway. You said that the phone rang? ASAKAWA That’s right. RYUJI So if I watch it too, that phone over there-- He gestures with his mug RYUJI (cont’d) --should ring. ASAKAWA Ryuji, four people have already died. On the same day! RYUJI (flippant) Well, why don’t you try calling an exorcist? He takes a sip of his tea. Asakawa reaches quickly, grabs something from the bookshelf behind her-- a POLAROID CAMERA. She shoves it into Ryuji’s hands, then turns to look down at the floor. ASAKAWA Take my picture. Ryuji raises the camera to his eye. RYUJI Turn this way. ASAKAWA (unmoving) Hurry up and take it. Ryuji snaps off a shot. It comes out the other end and he takes it, waits impatiently for an image to appear. When it does, all he can do is pass it wordlessly over to Asakawa. Her face is twisted, misshapen. Just like the picture of Tomoko and her friends. Asakawa stares at it, horrified. By the time she finally looks up, Ryuji has already risen from his seat and slid the videotape into the VCR. Again, the screen is filled with static, only to be replaced with what looks like the moon. Asakawa slams the Polaroid on the coffee table and goes outside onto the veranda. EXT. VERANDA - DAY Asakawa stares out at a view of the houses shaded in cloud and rain. There is a knock on the glass door behind her. A moment later, Ryuji slides the door open. RYUJI It’s over. Asakawa re-enters her apartment. INT. ASAKAWA’S APARTMENT - LIVING ROOM - DAY RYUJI Well, it looks like your phone’s not ringing. Ryuji pops the tape from the deck, hands it to Asakawa. RYUJI Make me a copy of this, will you? I’d like to do a little research of my own. There’s no reason to write us off as dead just yet. He dramatically takes a seat. RYUJI (cont’d) If there’s a video, that means that somebody had to make it. ASAKAWA There’s the guest list from the cottage to look into... and the possibility of someone hacking into the local station’s broadcast signals. Asakawa pulls a NOTEPAD from her purse and begins busily scribbling away. INT. NEWS STATION - DAY Okazaki putters around. Caption-— “September 15th. Tuesday.” INT. NEWS STATION - VIEWING BOOTH – DAY Asakawa sits by herself, reviewing the videotape. She is replaying the very last scene, an outdoor shot of a well. She stares at it carefully, and notices... The tape ends, filling the screen with static. A split-second afterwards, there is a KNOCK on the door and Okazaki enters, holding a FILE. Asakawa momentarily forgets about the video. OKAZAKI (handing her the file) Here’s that guest list you wanted. ASAKAWA Oh, thanks. OKAZAKI What are you gonna do with this? ASAKAWA Uh... sorry, I’m working on something personal. EXT. IN FRONT OF A TRAIN STATION - DAY Some quick shots of a FOUNTAIN gushing water, PIGEONS flapping away looking agitated. CUT to Ryuji sitting on a BENCH. He’s deep in thought, writing in a NOTEPAD. There are multitudes of PEOPLE about him, and we can hear the sounds of their coming and going. A PAIR OF LEGS attached to a woman in white dress, hose, and pumps appears, heading directly for Ryuji. Her pace is slow, rhythmical, and as that pace progresses all other sounds FADE into the background, so that all we can hear is the CLOMP, CLOMP as those legs walk to stand just before Ryuji. The pumps are scuffed, dirtied with grime. A gust of WIND rips by. Ryuji fights the urge to look up as in his ears rings the same hollowed, multi-voiced BABBLING heard on the videotape. The sound grows stronger. RYUJI (VO) So, it was you. You did it. The babbling fades, disappears as slowly the world’s normal background sounds return. Ryuji looks up, but the woman in white is nowhere to be seen. EXT. OUTSIDE RYUJI’S APARTMENT – AFTERNOON Ryuji rides up on a BICYCLE. He turns the corner towards his apartment and finds Asakawa seated on the steps, waiting for him. RYUJI Hey. Asakawa notes in his face that something is wrong. ASAKAWA What happened to you? RYUJI (gruffly) Nothing. He enters the building, carrying his bicycle. Asakawa follows. INT. HALLWAY - AFTERNOON The two walk down the hallway towards the FRONT DOOR to Ryuji’s apartment. He unlocks the door and they enter. INT. RYUJI’S APARTMENT – AFTERNOON Ryuji and Asakawa enter the living room. RYUJI So, what’d you come up with? ASAKAWA I don’t think any of the guests on the list brought the tape with them. I couldn’t confirm it face-to-face of course, but even over the phone I got the feeling they were all being upfront with me. RYUJI How about the other angle? Pirate signals or... Asakawa shakes her head. ASAKAWA There’re no traces of any illegal television signals being broadcast around Izu. She reaches into her purse, pulls out a large white ENVELOPE. ASAKAWA Here’s that copy of the videotape you wanted. Ryuji tears the package open. He squats down on the tatami in frontof his TV and slides the tape in. Asakawa sits on the tatami as well, but positions herself away from the TV and keeps her eyes averted. Ryuji glares over his shoulder at her. RYUJI (sternly) Asakawa. She reluctantly scoots closer, looks up at the screen. Ryuji fast-forwards the tape a bit, stopping at the scene where the woman is brushing her long hair before an oval mirror. He puts the video on frame-by-frame. RYUJI Have you ever seen this woman? Asakawa regards the screen intently. ASAKAWA No... The tape advances to the scene where the mirror suddenly changes positions. When it does, we can again see the small figure in the white gown, a figure with long black hair. When Ryuji sees this his body stiffens, becomes tense. Asakawa notices but says nothing. She also notices something else. ASAKAWA (excitedly) There’s something strange about this shot. She takes the remote from Ryuji, rewinds it a ways. Onscreen, the woman begins coming her long hair again. ASAKAWA From this angle, the mirror should be reflecting whoever’s filming. RYUJI So, what does that mean? Asakawa lets out a short sigh. ASAKAWA Well, if the person who made this is a pro, there’d be a way around that, I guess, but still... The screen changes, showing the mass of squiggling kanji characters again. RYUJI (reading) Volcanic eruption... Eruption where? He pauses the screen, trying to make sense of what is written. ASAKAWA This is gonna be impossible to figure out on just a regular TV screen, don’t you think? They are both still staring at the screen when from behind them comes the SOUND of someone opening the front door. Ryuji turns off the TV, ejects the tape from the deck. RYUJI Come on in. Asakawa flashes a look at Ryuji and then turns her head back towards the front door to see who has entered. A cute, nervous-looking young GIRL with short hair approaches slowly. She is carrying a PLASTIC BAG filled with groceries. RYUJI Asakawa, meet my student, Takano Mai. He turns, addresses Mai. RYUJI (cont’d) This is Asakawa, my ex-wife. Ryuji gets up and walks conveniently away. MAI Nice to meet you. I’m Takano. ASAKAWA Asakawa. * > * As you may already be aware, Japanese name order is the >opposite of English’s, and even close friends may continue to >address one another by their last names. Incidentally, Asakawa’s >first name is “Reiko.” In this scene, Mai deferentially refers >to Ryuji as sensei, meaning “teacher.” Mai sets the bag of groceries down and chases after Ryuji. He is putting on his jacket and getting ready to leave. MAI Sensei, the people from the publishing company called about the deadline on your thesis again. RYUJI (brusquely) What’re they talkin’ to you about it for? MAI Because they can never get a hold of you. Ryuji picks up his keys, video firmly in hand. RYUJI Ask them to wait another week. MAI Sensei, ask them yourself, please. Ryuji is already headed for the door. His back is to her as he responds. RYUJI OK, OK. Asakawa walks after him. They leave. Mai pouts unhappily a bit, and then breaks into a smile as an idea crosses her mind. She walks across the room to where Ryuji has set up a large BLACKBOARD filled with mathematical equations. Grinning, Mai rubs out part of one equation with her sleeve and writes in a new value. INT. NEWS STATION – HALLWAY - NIGHT Asakawa and Ryuji stride purposefully. They stop before a DOOR to the right, which Asakawa unlocks. They both walk in. INT. NEWS STATION - VIEWING BOOTH - NIGHT Asakawa and Ryuji sit in a completely darkened room, their eyes glued to the television MONITOR. They are again watching the scene with the fragmented kanji characters, but despite their efforts have been able to identify only one additional word, bringing the total to three: volcanic eruption local residents RYUJI This is impossible. Ryuji fast forwards, stopping at the scene with the kanji reflected inside an alien-looking EYE. He reads the kanji aloud. RYUJI Sada... Ryuji moves to make a note of this, notices the time. RYUJI Is Yoichi gonna be all right? ASAKAWA (sadly) He’s used to it... Short silence. Ryuji breaks it by gesturing towards the screen. RYUJI Whoever made this had to have left some kind of clue behind. They’re probably waiting for us to find it. Asakawa turns a DIAL to bring up the volume, which up until now has been on mute. The room is filled with an eerie, metallic GRATING, and Asakawa spins the dial again, shutting it off. Just as she does, Ryuji’s eyes widen. RYUJI Wait a minute. He turns the dial again, punches a few buttons as if searching for something. He listens carefully, and when he hears that strange something again he stops, looks at the screen. It is paused at the scene with the figure, pointing, a CLOTH draped over its head. The figure now looks oddly like a messenger. Ryuji and Asakawa exchange glances. This could be it. Ryuji flips some more switches, setting the sound for super-slow mo. What follows is a strange, labored sort of speech-— a hidden message-- framed in the skittering distortion of the tape in slow motion. TAPE Shoooomonnn bakkkkkarrri toou... boooouuuukonn ga kuuru zouuu... RYUJI (repeating) Shoumon bakkari, boukon ga kuru zo. Did you hear that, too? Asakawa nods. Ryuji is already writing it down excitedly. ASAKAWA What does that mean? Ryuji tears the sheet of paper off the notepad, folds it, and tucks it into his shirt pocket. RYUJI I’m gonna check it out. EXT. ASAKAWA’S APARTMENT COMPLEX - MORNING Yoichi is walking to school. He looks back over his shoulder, just once,then resumes walking. INT. ASAKAWA’S APARTMENT - MORNING All the lights are turned off, and she is sitting on the living room couch watching the footage of her café interview with the junior high school girls. Caption-- “September 16th. Thursday.” Just when the girl in the interview mentions that whomever watches the video is supposed to afterwards receive a phone call, Asakawa’s own phone RINGS, startling her. She runs to answer it. ASAKAWA Hello? RYUJI (O.S.) I’ve got it. It’s a dialect, just like I thought. SHOUMON means “playing in the water” and BOUKON means “monster.” * >* Translated from standard Japanese, the phrase from the videotape >would initially have sounded like, "If only SHOUMON then the >BOUKON will come." These two capitalized words, later identified to >be dialectical, were at the time completely incomprehensible to Ryuji >and Asakawa. Dialect can vary dramatically from region to region in >Japan, to the point of speakers of different dialect being unable to >understand one another. >The phrase on the tape can now be rendered, "If you keep playing in >the water, the monster will come for you." ASAKAWA But, dialect from where? RYUJI Oshima. And the site of our “eruption” is Mt. Mihara. INT. LIBRARY - NIGHT Ryuji and Asakawa are seated at cubicles, looking through bound ARCHIVES of old newspaper articles. Asakawa sneaks a look at Ryuji, stands up and walks off a little ways. She has already pulled out her cell phone. ASAKAWA (whispering, on phone) Yoichi? I’m gonna be a little late tonight, honey. Ryuji looks over his shoulder at her, scowls. ASAKAWA You can do it yourself, right? OK. Sorry. Bye. She hangs up, returns to her seat at the cubicle. She resumes her scanning of the newspaper articles, and Ryuji shoots her another scowl. Asakawa turns a page and then stops, frowning. She has spied an article that looks like... Nervously, Asakawa puts the thumb and forefinger of each hand together, forming the shape of a rectangle. Or a screen. She places the rectangle over the article she has just discovered, its headlines reading: Mount Mihara Erupts Local Residents Urged to Take Precautions Ryuji notices her, leans forward excitedly. ASAKAWA I’ve got it! This old article... The two scan the remainder of the page, and find a smaller, related article. Did Local Girl Predict Eruption? A young lady from Sashikiji prefecture... The two read over both articles, absorbing the details. Ryuji stands suddenly, gathering his things. ASAKAWA What are you doing? RYUJI Has your newspaper got someone out there at Oshima? ASAKAWA I think so. There should be a correspondent out there. RYUJI I need you to find out, and let me know how to get hold of him. Tonight. He begins walking briskly away. Asakawa chases after him. ASAKAWA What do you think you’re--? RYUJI (angrily) You’ve only got four days left, Asakawa! Your newspaper contact and I can handle this from here on out. You just stay with Yoichi. Ryuji strides off. Asakawa stands motionless. EXT. COUNTRY ROAD - DAY A car speeds along. CUT to a gravel DRIVEWAY leading up to a wooden, traditional-style HOUSE. Kouichi, Asakawa’s father, is standing before the entrance and puttering around in his GARDEN. The car from the previous shot drives up, comes to a halt. The passenger door opens and Yoichi hops out, running towards the old man. Asakawa walks leisurely after her son. YOICHI Grandpa! KOUICHI Whoa, there! So, you made it, huh? Caption-- “September 17th. Friday.” ASAKAWA Yoichi says he’s looking forward to doing some fishing with you. KOUICHI Is that so? Yoichi begins tugging excitedly at his grandfather’s arm. YOICHI C’mon grandpa, let’s go! KOUICHI OK, OK. We’ll get our things together and then we can go. EXT. RIVER — DAY Asakawa stands on a RIVERBANK while her father and Yoichi, GUMBOOTS on, are ankle-deep in a shallow river. Yoichi holds a small NET, and Asakawa’s dad is pointing and chattering excitedly. KOUICHI There he is! C’mon, there he is, don’t let him go! Yoichi tries to scoop up the fish his grandfather is pointing out. KOUICHI Oh, oh! Ah... guess he got away, huh? YOICHI That was your fault, grandpa. Asakawa’s father laughs. KOUICHI Well, whaddya say we try again? He begins sloshing noisily out to the center of the stream, Yoichi in tow. KOUICHI We’ll get ‘im this time. Asakawa looks away, pensive. INT. KOUICHI’S HOUSE - LIVING ROOM - NIGHT Yoichi is passed out asleep on the tatami mats. A TELEVISION looms inone corner of the living room, but it is switched off. The SLIDING DOORS to the adjacent guest room are open and we can see futons set out, ready for bed. Asakawa enters the living room and, seeing Yoichi, scoops him up in her arms and carries him over to the guest room. YOICHI (sleepily) How was work, mommy? Asakawa tucks him into the futons and walks silently off. INT. KOUICHI’S HOUSE - STAIRCASE — NIGHT Asakawa stands at the foot of the staircase, telephone RECEIVER in hand. The phone rests on a small STAND by the staircase. ASAKAWA Hello? RYUJI (O.S.) Yeah. Your Oshima contact came through. It looks like the woman who predicted the Mihara eruption is the same woman from the video. INT. RYUJI’S APARTMENT — NIGHT Ryuji is crouched in front of the TV, REMOTE in hand. The screen is paused on the scene of the woman brushing her long hair. RYUJI Her name is Yamamura Shizuko. She committed suicide forty years ago by throwing herself into Mt. Mihara. INT. KOUJI’S HOUSE – STAIRCASE - NIGHT ASAKAWA Have you got anything else? RYUJI (O.S.) I’m gonna have to check it for myself. I’ll be leaving for Oshima tomorrow morning. ASAKAWA Oshima? I’ve only got three days left! RYUJI (O.S.) I know. And I’ve got four. Short silence. RYUJI (O.S.) I’ll be in touch. Ryuji hangs up. Asakawa, deep in thought, slowly places the phone back in its CRADLE. She turns around to walk back down the hallway only to find her father standing there, face full of concern. KOUJI What’s happened? Asakawa shakes her head. ASAKAWA Nothing. I just had some things left over from work. She walks past her father, who glances worriedly after her over his shoulder. INT. KOUJI’S HOUSE - GUEST ROOM — NIGHT The lights are all off and Asakawa is asleep in her futon. Her eyes suddenly fly open as a VOICE sounding eerily like her deceased niece Tomoko calls out to her. TOMOKO (O.S.) Auntie? Asakawa looks around the room, gets her bearings. Her eyes fall on the futon next to hers. ASAKAWA Yoichi? There is a BODY in that futon, but it is full-grown, dressed all in black. It is curled into a fetal position and has its head turned away. Suddenly, the IMAGE from the video of the figure with its face shrouded springs to Asakawa’s mind. Just an instant, its pointing visage materializes, and then disappears. It reappears a moment later, pointing more insistently now, and disappears again. Asakawa blinks her eyes and realizes that the futon next to hers is empty. Yoichi is nowhere to be seen. Just then, she hears that high-pitched, metallic SQUEAKING from the video. Eyes wide with horror, she flings the sliding doors apart-- --and there, seated before the television, is Yoichi. He is watching the video. It is already at the very last scene, the shot of the outdoor well. CLOSEUP on the screen now, and for just an instant we can see that something is trying to claw its way out of the well. The video cuts off, and the screen fills with static. Shrieking, Asakawa races over to Yoichi, covers his eyes though it is already too late. She scoots over to the VCR, ejects the tape and stares at it uncomprehendingly. She is then at Yoichi’s side again, shaking him roughly. ASAKAWA Yoichi! You brought this with you, didn’t you? Why?!? YOICHI Tomo-chan... Asakawa freezes, her eyes wide. YOICHI Tomo-chan told me to watch it. EXT. OCEAN — DAY WAVES are being kicked up by a large PASSENGER SHIP as it speeds on its way. CUT to Asakawa and Ryuji standing on deck, looking out over the waves. RYUJI I should’ve been more careful. When I was at your place that day, I could feel something there. I thought it was just because of the video... ASAKAWA You mean that Tomoko— RYUJI That’s not Tomoko. Not anymore. ASAKAWA Yoichi... he can see them too, can’t he? Ryuji nods his head, lowers it sadly. ASAKAWA It’s all my fault. First Tomoko died, then those three others. It should have stopped there, but it didn’t. Because of me. RYUJI I wonder... Asakawa turns to Ryuji suddenly. ASAKAWA How did the rumors about the video even start in the first place? RYUJI This kind of thing... it doesn’t start by one person telling a story. It’s more like everyone’s fear just takes on a life of its own. ASAKAWA Fear... RYUJI Or maybe it’s not fear at all. Maybe it’s what we were secretly hoping for all along. EXT. PORT — DAY The ship has docked, its GANGPLANK extended. Ryuji and Asakawa walk the length of the gangplank towards the shore. A man named MR. HAYATSU is already waiting for them. He holds up a white SIGNBOARD in both hands. ASAKAWA Mr. Hayatsu? HAYATSU Aah, welcome! You must be tired after your long trip. Please, this way. Mr. Hayatsu leads Asakawa and Ryuji to an awaiting minivan. Caption-- “September 18th. Saturday.” INT. HAYATSU’S MINIVAN - DAY Ryuji and Asakawa sit in the back. Mr. Hayatsu is behind the wheel, chattering away. HAYATSU Back in the old days, the Yamamuras used to head fishing boats out in Sashikiji, though they don’t much anymore. You know, one of Shizuko’s cousins is still alive. He’s just an old man now. His son and his daughter-in-law run an old-fashioned inn. I went ahead and booked reservations for y’all, hope that’s alright... Asakawa gives the briefest of nods in reply, after which the minivan lapses into silence. Asakawa looks dreamily out at the mountain-studded landscape, then suddenly snaps to. ASAKAWA (to Ryuji) Why did Yamamura Shizuko commit suicide? RYUJI She was taking a real beating in the press, being called a fraud and all sorts of names. After a while she just lost it. CUT to a scene of the minivan speeding along a country road. INT. HAYATSU’S MINIVAN — DAY RYUJI Shizuko was getting a lot of attention around the island after predicting the eruption of Mt. Mihara. Seems that for some time she’d had a rather unique ability: precognition. It was around then that she attracted the attention of a certain scholar whom you may have heard of; Ikuma Heihachiro. ASAKAWA He was driven out of the university, wasn’t he? Ryuji nods. RYUJI This Professor Ikuma convinces Shizuko to go to Tokyo with him, where he uses her in a series of demonstrations meant to prove the existence of ESP. At first she’s the darling of the press, but the next thing you know they’re knocking her down, calling her a fraud. Hmph. Forty years later, the media still hasn’t changed that much. Asakawa continues, ignoring Ryuji’s barb. ASAKAWA I’ve heard this story. But... I’m sure I remember hearing that somebody died at one of those demonstrations. A strange look crosses Ryuji’s face. He looks away, ignores her for a moment. RYUJI After getting kicked out of university, Ikuma just vanished, and no one’s been able to get hold of him since. He’s probably not even alive anymore. ASAKAWA But, why even try looking for him? RYUJI Because he’s supposed to have had a child with Shizuko. A daughter. Asakawa freezes. In her mind, she sees a small FIGURE dressed in white, its face hidden by long, black HAIR. It is the figure from the video. EXT. OUTSIDE YAMAMURA VILLA - DAY Mr. Hayatsu leads Asakawa and Ryuji to the entrance. HAYATSU Hello? The INKEEPER, a middle-aged lady named KAZUE wearing a traditional KIMONO, comes shuffling up. She addresses Mr. Hayatsu. KAZUE Thank you. She turns to Asakawa and Ryuji. KAZUE (cont’d) Welcome. HAYATSU Well, I’ll be off then. He gives a little bow and is off. Kazue, meanwhile, has produced two pairs of SLIPPERS, which she offers to Ryuji and Asakawa. KAZUE Please. Ryuji and Asakawa begin removing their shoes. INT. YAMAMURA VILLA – STAIRCASE - DAY Kazue leads Ryuji and Asakawa up a shadowed, wooden STAIRCASE. KAZUE And for your rooms, how shall we...? RYUJI Separate, please. KAZUE ‘Sir. INT. YAMAMURA VILLA - 2ND FLOOR – DAY Kazue gives a little bow. KAZUE This way. Kazue turns to the right. Almost immediately after reaching the top of the steps, however, a strange look crosses Ryuji’s face. He heads down the opposite end of the corridor, Asakawa close behind. KAZUE (alarmed) Sir! Ryuji flings open the SLIDING DOOR to one of the older rooms. There, hanging from one of the walls, is the oval-shaped MIRROR from the video, the one used by the mysterious lady to brush her long hair. Ryuji stares at the mirror, almost wincing. He turns around as if to look at Asakawa,but continues turning, looks past her. Asakawa follows his gaze, as does Kazue. Standing at the end of the corridor is an old man, MR. YAMAMURA. Yamamura regards them silently, balefully. Breaking the silence, Kazue gestures for Asakawa and Ryuji to follow. KAZUE (softly) Please, this way. Asakawa races past the innkeeper towards the old man. He keeps his back turned towards her. ASAKAWA Please! If you could just answer a few questions, about Shizuko... YAMAMURA I got nuthin’ to say. ASAKAWA It’s about Shizuko’s daughter. The old man says nothing. ASAKAWA She did have a daughter, didn’t she? Yamamura regards her for a moment, then turns to walk away. YAMAMURA You’re wasting your time. INT. YAMAMURA VILLA - DINING ROOM – NIGHT The TABLE is laid out with an elaborate-looking DINNER. Asakawa sits alone, knees curled up to her chin, eyes wide and frightened. She is whimpering softly to herself. Just then, the DOOR slides open and Ryuji walks in. He sits at the table and picks up a pair of CHOPSTICKS. RYUJI Aren’t you gonna eat? ASAKAWA Umm... RYUJI Hm? ASAKAWA You’ll stay with me won’t you? When it’s time for me to die. RYUJI Oh, stop it. Asakawa scoots across the tatami mats towards the table, grabs Ryuji fiercely by the arm. ASAKAWA You’ll stay, won’t you? If you stayed, maybe you’d learn something that could help Yoichi-- RYUJI I said stop it! Have you forgotten There was a girl with Tomoko when she died? That girl’s now in a mental institution. Who knows what could happen. ASAKAWA But you could stay with me, Ryuji. You’d be OK. RYUJI (angrily) Why, because I’m already not right in the head? Asakawa releases her hold on Ryuji’s arm, lowers her head. Ryuji slams his chopsticks down angrily. RYUJI If that’s the case, why not just let things run its course, get rid of father -and- son? Yoichi was a mistake, anyway. ASAKAWA Stop it! Short silence. When Ryuji speaks up again, his voice is soft, reassuring. RYUJI We still have two days left... Just then the VOICE of the innkeeper calls tentatively out from the other side of the sliding door. KAZUE (O.S.) Excuse me? RYUJI Come in. Kazue slides the door open. She stands hesitantly in the doorway, something tucked under one arm. KAZUE It’s about Miss Shizuko. Ryuji shoots a glance at Asakawa and stands up from the table, walks towards the innkeeper. KAZUE This is all that there is... Kazue produces an old black and white PHOTOGRAPH. The photo shows a WOMAN, seated, dressed in a KIMONO. A MAN in a Western-style SUIT stands beside her. RYUJI Is this Professor Ikuma? Hearing this Asakawa leaps up, walks over to examine the picture for herself. KAZUE ...yes. This picture is from before I’d entered the household. She pauses a moment. KAZUE (cont’d) I should go now. The innkeeper scuttles off, leaving Asakawa and Ryuji alone with the photograph. Unbidden, the VOICE from the video enters their thoughts. VOICE Shoumon bakkari... boukon ga kuru zo... EXT. IZU SEASHORE - DAY Asakawa watches Ryuji stride down the shore. Caption-- “September 19th. Monday.” Ryuji strolls up to find old man Yamamura sitting alone, staring out at the sea. Yamamura glances up to see Ryuji approaching. Ryuji takes a seat next to the old man, but it’s Yamamura who speaks first. The deep basso of his voice emphasizes the drawl of his accent. YAMAMURA Y’all’d do best to be off soon. Sea’s probably gonna be rough tonight. RYUJI What kind of a child was Shizuko? YAMAMURA Shizuko was... different. She’d come out here by herself ever’day an’ just stare out at the ocean. The fishermen all took a dislikin’ to her. Ocean’s an unlucky place for us, y’see: every year it swallows up more of our own. You keep starin’ out at somethin’ ike that... RYUJI Shoumon bakkari shite’ru to, boukon ga kuru zo. “If you keep playing in the water, the monster will come for you.” Yamamura looks at Ryuji, surprised. RYUJI Shizuko could see “inside” people, couldn’t she? Down to the places they’d most like to keep hidden. It must have been difficult for her... Yamamura rises unsteadily to his feet, features twisted angrily. YAMAMURA Please leave! Now! Ryuji stands, takes hold of Yamamura’s arm. RYUJI I’ve got a little of that ability myself. It was you who spread the word about Shizuko, wasn’t it? And you who first contacted Professor Ikuma? YAMAMURA What’re you--? RYUJI You thought you’d be able to make some money off her. You even got some, from one of the newspapers. YAMAMURA Leave me the hell alone! Mr. Yamamura strides angrily off. Both Ryuji and Asakawa take pursuit, Ryuji calling out from behind Yamamura’s back. RYUJI Tell us about Shizuko’s daughter. Who was she? YAMAMURA I don’t know! RYUJI She was there, with Shizuko. She had to be. Yamamura’s pace, which has become increasingly erratic, finally causes him to stumble and fall. Ryuji comes up behind him, grasping him firmly. At their touch Ryuji’s power awakens, and as he peers into the old man’s mind there is a sudden blinding FLASH The setting is a large MEETING HALL. A number of people are seated in folding chairs before a STAGE, on which are a four MEN in BUSINESS SUITS and a WOMAN in a KIMONO. A BANNER hangs above the stage, which reads PUBLIC DEMONSTRATION ON THE EXISTENCE OF CLAIRVOYANCE. FLASH Ryuji eyes widen as he realizes he is seeing Shizuko’s demonstration before the press. He also realizes-- RYUJI (to Yamamura) You were there! FLASH YAMAMURA SHIZUKO, the woman in the kimono, is sitting at a TABLE onstage. Her face is calm and expressionless. Standing off to one side and peering from behind the curtains is a young Mr. Yamamura. RYUJI (O.S.) You stood there and watched the demonstration. CUT back to the beach. Asakawa comes running up toward Ryuji and the prone Mr. Yamamura. Suddenly there is another FLASH Asakawa, her eyes wide, finds herself inside the scene, reliving it as if she had actually been there. She watches as Shizuko receives a sealed clay POT in both hands. Shizuko regards the pot a moment and then places it gently on the table before her. She takes a calligraphy STYLUS from the table, begins writing on a thin, rectangular sheet of RICE PAPER. The members of the press talk excitedly, craning their necks for a better look. Onstage, a JUDGE holds up the phrase written by Shizuko and the folded sheet of paper taken from the sealed pot. The phrase on both sheets is identical. JUDGE Match. Cameras begin FLASHING excitedly. Shizuko’s features melt into a soft smile. The experiment is performed again, and again the phrase written by Shizuko corresponds to the sealed sheet of paper. JUDGE Match. Again and again, Shizuko unerringly demonstrates her power to “see” the unseen. Finally, a bearded REPORTER explodes from his chair, begins striding angrily towards the stage. REPORTER Faker! This is nothing but trickery, and the lowest form of trickery at that. The reporter stops at the foot of the stage, points his finger accusingly at Shizuko. REPORTER What are you trying to pull, woman? A SECOND REPORTER sitting in the front row also rises to his feet. REPORTER #2 That’s right! Professor Ikuma, you’re being fooled! By now most of the press has risen from their chairs, pointing and shouting angrily. Onstage, Shizuko backs away, eyes wide and frightened. She covers both ears, trying to block out the increasing din. Professor Ikuma holds her protectively by the shoulders. The first reporter is still shouting angrily, his voice rising above the others. Suddenly, a pained look crosses his face and he collapses to the floor. The crowd, and Asakawa as well, see that the reporter’s face is contorted into a grotesque mask of fear. REPORTER #3 What’s happened? REPORTER #4 He’s dead! REPORTER #5 (to Shizuko) Witch! Professor Ikuma begins leading Shizuko offstage. They stop as someone unseen steps up, blocking their passage. Shizuko’s eyes widen, her head shaking in disbelief. SHIZUKO Sadako? Was it you? CUT to Ryuji on the beach. He looks up excitedly. RYUJI Sadako?! He recalls the image from the video, the alien eye with the single character SADA reflected in reverse. * >* The majority of girls' names in Japanese end in either -mi ("beauty") >or -ko ("child"). Thus, Sadako means "Chaste child." Sadako is, of >course, the mysterious daughter of Shizuko and Professor Ikuma. RYUJI Sadako killed him? She can kill just with a thought? YAMAMURA She’s... a devil spawn. CUT back to the demonstration hall. Sadako, her face completely hidden by her long hair, runs offstage... and heads directly for Asakawa. Asakawa instinctively raises her arm, and Sadako grasps it fiercely. All the nails on Sadako’ hand are stripped away; her fingers are raw, bloody stumps. CUT back to the beach. Asakawa, still caught in the throes of the vision, has begun to swoon. Finally her legs give out and she crumples to the beach. Ryuji grabs hold of her supportively. He glances down at her wrist, sees an ugly, purple BRUISE already beginning to form. The bruise is in the shape of five long, spindly fingers. Mr. Yamamura slowly rises to a sitting position, and together the three watch the approach of ominous, dark STORM CLOUDS. INT. MR. HAYATSU’S HOUSE – DUSK Asakawa is on the phone, her voice almost frantic. ASAKAWA That’s right. After Yamamura Shizuko committed suicide, Professor Ikuma took the daughter and ran. No, no one knows where they went. That’s why I need -you- to find out where they are. Even if the professor’s dead, Sadako should still be in her forties. I’ll explain it all later, but right now just hurry! Asakawa slams the phone down. PAN to show Ryuji slumped in one corner of the room, his back to the wall. RYUJI Sadako’s probably already dead. She could kill people with just a thought, remember? Her mother wasn’t even close to that. ASAKAWA (flustered) Well, what about that video? If Sadako’s dead then who made it? RYUJI Nobody made it. It wasn’t made at all. That video... is the pure, physical manifestation of Sadako’s hatred. Ryuji turns to regard Asakawa, his eyes blank. RYUJI We’ve been cursed. There is a moment of silence before Mr. Hayatsu slides the door open, almost falling into the room. He is out of breath, and speaks rapidly. HAYATSU It’s no good. With the typhoon coming in, all ships are temporarily staying docked. RYUJI What about the fishing boats? Tell their captains I’ll pay. HAYATSU Fishing boats? Sir, without knowing whether this typhoon is going to hit us or not, I think it’d be better to wait and see how things turn-- Ryuji interrupts him, slamming both palms on the table. Glasses rattle wildly. RYUJI Fine! I’ll try searching myself! Ryuji stands and races past Mr. Hayatsu out into the rain. Hayatsu takes pursuit, calling after him. HAYATSU Mr. Takayama!? Mr. Takayama... Asakawa, left alone, stares down at the tatami mats. EXT. OCEAN - NIGHT White-capped waves roll angrily in a black sea. INT. MR. HAYATSU’S HOUSE – NIGHT Asakawa sits at a table, alone, her hands clasped as if in prayer. Her eyes are wide and glassy. The phone RINGS suddenly and Asakawa dives for it, wrenching it from the cradle before it can ring a second time. ASAKAWA Hello? OKAZAKI (O.S.) Mrs. Asakawa? I’m sorry. I tried, but I couldn’t come up with any leads at all. A look of abject fear crosses Asakawa’s face. She begins retreating into herself. OKAZAKI (O.S.) Hello? ASAKAWA (softly) Thank you... Asakawa slowly places the phone back in its cradle. Almost immediately, her face begins to crumple. She falls to her knees, sobbing into the floor. ASAKAWA Yoichi... She cries a while longer but suddenly stops. Her face, eyes streaked with tears, shoots suddenly up, stares directly at the telephone. ASAKAWA (softly) Izu... EXT. IZU WHARF – NIGHT Asakawa stands looking down on the wharf, scanning. Several FISHING BOATS are docked. The wind whips her hair crazily around. She continues scanning, and suddenly she spies-- ASAKAWA (calling) Ryuji! Asakawa runs down onto the wharf, heading towards Ryuji. He is in mid-conversation with Mr. Hayatsu. ASAKAWA Ryuji! The phone in my apartment never rang! It only ever rang at the rental cottage! Professor Ikuma must’ve... RYUJI And we’ve got no way of going back. HAYATSU It’s too dangerous! The thought of anybody going out in this weather... The three fall into silence as they realize the powerlessness of their situation. Suddenly, a deep VOICE booms from behind them. YAMAMURA (O.S.) I’ll take you out. The three spin around to see Mr. Yamamura, his ROBES flapping in the gusty night air. He begins walking towards them. YAMAMURA Sadako is callin’ y’all, reckon. Mayhap to drag you down under the water. Short silence. Ryuji shoots a short questioning glance at Asakawa, turns back to face Mr. Yamamura. RYUJI Please. Take us out. EXT. OCEAN – NIGHT A tiny FISHING BOAT is tossed about on the waves. Mr. Yamamura stands at the wheel, his face expressionless. INT. MR. YAMAMURA’S FISHING BOAT – NIGHT Ryuji and Asakawa are crouched close together in the cabin. Asakawa’s expression is dreamy, faraway. ASAKAWA It’s funny. I’m not afraid at all. Ryuji leans over, rubs her hand comfortingly. Suddenly he switches back into analytical mode. RYUJI Sadako probably died back out there at Izu, before the rental cottages were ever built. ASAKAWA So, Sadako was Professor Ikuma’s daughter? RYUJI (nodding) Ikuma smuggled her out in secret. His relationship with Shizuko was already a scandal, and one of the reasons he got drummed out of the university... We’ve gotta find Sadako’s body. ASAKAWA (excitedly) Is that going to break the curse? Will Yoichi be all right? RYUJI It’s all we’ve got left to try. ASAKAWA Just one more day... Ryuji puts his arm around Asakawa. EXT. MR. YAMAMURA’S FISHING BOAT - DAWN Ryuji stands on deck, looking out over the water. He heads down below toward the captain’s area. Mr. Yamamura is at the wheel. RYUJI We made it. Maybe Sadako doesn’t have it out for us after all. Long pause as Mr. Yamamura says nothing. YAMAMURA Shizuko... she used to -speak- to the ocean, just ramble away. One time I hid, listenin’ to one of her conversations. Mr. Yamamura pauses again. YAMAMURA (cont’d) And it weren’t in no human language. EXT. MR. YAMAMURA’S FISHING BOAT – DAWN Asakawa has climbed out on deck and is looking up towards the sunrise. Caption-- “September 20th. Monday.” EXT. HARDWARE STORE – DAY Ryuji races out of the store, loaded down with supplies. He holds a pair of BUCKETS in one hand and a CROWBAR and SHOVEL in the other. A length of ROPE is coiled over his left shoulder. He runs towards a RENTAL CAR, passing by Asakawa who stands at a PAYPHONE, receiver in hand. YOICHI (O.S.) Hello? ASAKAWA Yoichi? It’s mommy. I just called to say I’ll be coming home tomorrow. Ryuji shoots a look at her over his shoulder. YOICHI (O.S.) I’m tired of it here, mom! I wanna go back to school. ASAKAWA (smiling) Yoichi, it’s rude to your grandpa to talk like that. YOICHI (O.S.) He’s laughing. You wanna talk to him? ASAKAWA No, that’s... Asakawa pauses, her voice hitching. She seems about to lose her composure. ASAKAWA I’m sorry, Yoichi. I’ll... I’ll see you tomorrow. YOICHI (O.S.) What’s wrong? Asakawa’s face scrunches up in an effort to hold back tears. ASAKAWA Mommy’s got something she has to do. Say hello to grandpa for me, OK? Ryuji stands by the car, scowling over at Asakawa. He shuts the DOOR just short of a slam. CUT to Asakawa hanging up the phone. She half- runs towards the rental car and enters the passenger side, staring blankly into space. Ryuji slides into the driver’s seat, buckles his SEATBELT. RYUJI What time was it when you first watched the video? Asakawa glances at her watch. ASAKAWA Seven or eight minutes past seven. PM. No more than ten minutes past. RYUJI If the rumors are true, that time is gonna be our deadline. Asakawa buckles up as Ryuji steps on the gas. INT. RENTAL CAR – DAY Asakawa sits in the passenger side. Her face is almost angelic, with the faintest hint of a smile. Ryuji shoots a questioning look at her. EXT. COUNTRY ROAD – DAY The white rental car tears past the SIGN reading Izu Pacific Land. The car continues into the LOT, screeching around corners before coming to an abrupt halt. Asakawa, her face still oddly expressionless, gets out of the passenger side. Ryuji exits as well, the hint of a shudder running through him as he regards the series of rental cabins. RYUJI -Here-. CUT to Asakawa and Ryuji walking up the gravel PATH towards the rental cabins. Ryuji looks back over his shoulder as both he and Asakawa stop before cabin B4. The cabin is on STILTS, its underbelly fenced off by wooden LATICEWORK. Ryuji drops most of his supplies to the ground, but keeps hold of the PICK. He raises the pick over one shoulder and begins smashing away at the latticework. When he has cleared enough space for passage, he begins picking up supplies and tossing them hastily within. When finished, he holds a hand out for Asakawa. The two enter the earthen basement. UNDER COTTAGE B4 - DAY Ryuji pulls a FLASHLIGHT out, flicks it on. The BEAM arcs outwards, illuminating what looks more like an old mine shaft than a modern rental cottage. The beam halts when it suddenly encounters an old STONE WELL. The well is badly chipped on one side, and sealed off with a solid-looking stone LID. Ryuji rushes quickly towards it. RYUJI I knew it! The well. He squats down beside the well, setting the flashlight on the lid. Asakawa sinks slowly down beside him. ASAKAWA The well... Ryuji reaches out and takes Asakawa’s hand. He sets their enclasped hands onto the lid, and together they begin lightly tracing the surface of the lid with their free hands. Asakawa closes her eyes in concentration... and suddenly, as with the incident on the beach, Asakawa finds herself drawn into Ryuji’s psychometric VISION. FLASH The picture is black and white, grainy like old film. A YOUNG GIRL in a WHITE GOWN walks slowly towards an open well. She places her hand on the LIP of the well, peers curiously down. FLASH Asakawa looks up, her eyes wide open. FLASH There is now a second person in the vision, an ELDERLY MAN in an old- fashioned tweed SUIT standing behind the young girl. He suddenly produces some BLADED OBJECT, and strikes the girl savagely across the back of the head. The girl falls forward. The man drops to the ground, grabbing the girl behind the knees and hoisting her limp BODY over the lip and into the well. The body falls into its depths. Panting heavily, the man leans forward and grasps the lip of the well with both hands, looking down. He flashes a guilty look in either direction, checking that his crime has gone unnoticed, and as he does so Asakawa realizes that she knows this face. The image from the videotape, like a face in the moon: it had been Sadako inside the well, looking up to see this man staring back down at her. This man whose name is Professor Ikuma Heihachiro. FLASH ASAKAWA Her own father! The energy seems to drain out of Asakawa in a rush, and her body crumbles. Ryuji catches hold of her. RYUJI It was Ikuma who put this lid on. And Sadako’s still inside. Ryuji stands quickly, takes hold of the crowbar. He inserts it under the lid and begins trying to pry it off, face scrunched with effort. Asakawa digs her fingers in and lends her own strength as well. Slowly, the lid begins to move. Ryuji tosses the crowbar aside and the two lean the combined weight of their bodies into it. The lid slides off, dropping to the earth with a dull THUD. Ryuji sits to one side, winded with effort, as Asakawa takes hold of the flashlight. She shines it down into the well, but it only seems to intensify the gloom. What WATER she can see looks fetid and brackish. Ryuji sees her expression and begins removing his JACKET. RYUJI I’ll go. He walks off, leaving Asakawa alone. CUT to an overhead shot of the well. A ROPE is fastened to one side, and Ryuji has already begun lowering himself down. His eyes wander overthe grime-smeared WALLS, and with a shudder he begins to pick out human FINGERNAILS. Torn loose and spattered with blood, countless fingernails line the sides of the well. RYUJI Sadako was alive! She’d tried to climb her way out. Ryuji’s face twists into a grimace as if momentarily experiencing Sadako’sterrible agony. He waits a moment longer before edging his way down the rope again, finally SPLASHING to rest at the bottom of the well. He holds his flashlight above the brackish water, calls up to Asakawa. RYUJI Lower the buckets! Asakawa nods and lowers two plastic BUCKETS fastened to a rope. Ryuji grabs one and scoops up a bucketful of water, tugging on the rope when finished. RYUJI Take it up! Asakawa hoists the bucket up to the rim of the well. She walks a small distance and tosses the contents out onto the ground. She happens to glance through the wooden lattice to the outside, and with a start realizes that the sun has already started to set. A nervous glance at her WATCH later and she is back at the well, lowering the empty bucket to find another full one already awaiting her. RYUJI Take it up! In the well, Ryuji glances at his watch. He looks at it for a long moment, the expression on his face saying We’re not going to make it. Time passes as Asakawa pulls up bucketload after bucketload, her strength beginning to fade. She half-stumbles, glances up... and is shocked to realize that NIGHT has fallen. CUT to Asakawa slowly pulling up yet another bucket, her strength almost gone. She looks at her watch and sees that it is now past 6:00. She calls frantically down to Ryuji. ASAKAWA It’s already six! RYUJI (explosively) I know! Hurry up and TAKE IT UP!! The bucket slowly jerks into motion. Asakawa pulls it up to the rim of the well, holds it unsteadily. She takes one faltering step and falls, spilling the bucket’s contents onto the ground. CUT to Ryuji in the well, standing ready with another bucketful. RYUJI Take it up! Nothing happens. RYUJI Asakawa! The bucket begins moving, even slower than before. CUT to Asakawa, her body trembling with effort. By now it’s all she can do to simply keep her body moving. She glances behind her, sees through the wooden lattice that it is now pitch black. A look of resignation crosses her face and she releases her hold on the bucket, her body crumpling and falling in on itself. CUT to the bucket splashing back into the well, narrowly missing Ryuji. RYUJI (fuming) What the hell are you doing? Trying to get me killed? CUT back to Asakawa, her face dead. Ryuji calls out from the well. RYUJI (O.S.) Hey! Asakawa falls backward onto the ground, arms splayed. CUT to the rim of the well. Ryuji pulls himself up over the rim, catches sight of Asakawa. RYUJI Asakawa! She lifts her head up but says nothing as Ryuji walks over to her. RYUJI We’ll change. You’re in no condition to keep this up. Asakawa suddenly springs into life. Her voice is frantic, fearful. ASAKAWA: No! RYUJI Who do you expect to pull up these buckets, then? ASAKAWA But, we don’t even know if it’s doing any good... Ryuji strides forward and slaps Asakawa painfully across the cheek. He begins shaking her roughly for good measure. RYUJI And what about Yoichi, huh? Is his mother not coming to pick him up after all? He releases his hold on her. The two stare at each other a long time, saying nothing. CUT to an overhead shot of Asakawa being lowered into the well. CUT now to Asakawa inside the well, her face and clothes covered with grime, body simultaneously limp with exhaustion and tense with fright. Unable to resist the impulse, Asakawa slowly looks over her shoulder and down into the well. The dankness, the claustrophobia seeps in and she draws in her breath in the first signs of panic. RYUJI Don’t look down! She returns her gaze, cranes her neck upward. CUT to Ryuji leaning over the rim of the well, peering down at her. For an instant, everything becomes monochrome. It’s not Ryuji looking down at her at all; it’s Professor Ikuma, checking to see if she’s still alive or if the blow to the back of her head has finished her off. CUT to Asakawa, her eyes wide with fright. Asakawa comes to rest at the bottom of the well. A FLASHLIGHT hangs from another rope, but its beam has almost no effect on the darkness. Asakawa crouches forward, hands moving searchingly through the water. She calls out pleadingly. ASAKAWA Where are you? Please, come out. Asakawa straightens, unties herself from the rope. A full bucket already awaits. She tugs on the rope and Ryuji pulls it up. She scoops up a second bucket, but something stops her from sending it up. Instead, she begins running her arms through the water again, her voice close to tears. ASAKAWA Please. Where are you? Asakawa continues her blind fumbling, which sends up little splashes of stagnant water. With a start, she realizes that her fingers have caught something. Seaweed? Asakawa draws her hands close for a better look... and sees that is HAIR. A thick clump of long, black hair. Suddenly a pale, thin ARM shoots out from beneath the water, catching Asakawa just below the wrist. Asakawa’s ears are filled with a SOUND like moaning as something slowly rises from its watery slumber. It is a GIRL, her face completely hidden by long, black hair. CUT to a shot of Asakawa’s face. Far from being frightened, her features are oddly placid. She regards the fearsome thing before her with an almost tender look. Asakawa reaches out, lightly strokes that long hair. ASAKAWA It’s you... She strokes the hair again, and abruptly it peels right off the head with a loud SQUELCH. Revealed is not a face at all but a SKULL. Its sockets are at first menacingly empty, but then begin to ooze the green SLUDGE it has pulled up from the bottom of the well. Like a mother comforting a frightened child, Asakawa pulls the skeletal remains to her breast, strokes the bony head comfortingly. Her eyes begin to glaze. CUT to Ryuji racing up to the rim of the well, leaning down intently. RYUJI Hey! Asakawa! It’s already 10 minutes past seven! We did it! Down in the well, Asakawa continues staring blankly ahead. Her body suddenly falls forward, limp. EXT. OUTSIDE COTTAGE B4 – NIGHT Three POLICE CARS are parked outside the rental cottages, crimson headlights flashing. A few COPS walk by, two of them carrying something off in white PLASTIC BAGS. CUT to Ryuji and Asakawa sitting on the curb. Asakawa is staring off at something, a BLANKET draped over her shoulder. ASAKAWA Why would Ikuma have killed her? His own daughter... RYUJI Maybe she wasn’t his daughter at all. ASAKAWA What? RYUJI Maybe her father... wasn’t even human. The two exchange glances. Ryuji’s gaze falls to Asakawa’s WRIST, which he suddenly takes and holds close to his face. The ugly bruise where Sadako had grabbed her has disappeared. RYUJI It’s gone... He shakes his head, clearing his analytical mind of their ordeal. RYUJI Enough, already. It’s over. C’mon. I’ll take you home. Ryuji stands, pulls Asakawa to her feet. EXT. OUTSIDE ASKAWA’S APARTMENT - NIGHT Ryuji’s white CAR pulls up into the parking lot. He and Asakawa get out, regard each other from opposite sides of the car. There is a long moment where neither of them says anything. RYUJI Get some rest. He flashes her the slightest of grins. RYUJI (cont’d) I still have a thesis to finish. CUT to a shot of Ryuji and Asakawa, the car creating an almost metaphoric distance between them. ASAKAWA ...thank you. Ryuji nods silently by way of reply. He gets into his car and drives off. Asakawa watches him go, and then walks towards the entrance of her apartment. INT. ASAKAWA’S APARTMENT – BEDROOM – MORNING Asakawa walks into her room, sits on the edge of her bed. It is now morning, and she sits dazedly watching the sun come up. INT. RYUJI’S APARTMENT – MORNING Ryuji sits busily scribbling into a NOTEBOOK. He stops writing a moment to regard his notes while taking a sip of COFFEE. He glances over at his BLACKBOARD for confirmation when a small scowl crosses his brow. It’s gone a moment later as he chuckles wryly to himself. RYUJI That girl... Ryuji stands, walks over to the blackboard. He fixes Mai’s little prank with a single chalk stroke. EXT. ASAKAWA’S APARTMENT – VERANDA – MORNING Asakawa emerges, taking in the dawn. At first her face is calm and tranquil... but her features change as the sun almost noticeably darkens and a WIND begins to kick up her hair. She now looks very anxious. Caption-- “September 21st. Tuesday.” NOTE: This next scene is entirely visual. If you are reading this translation before watching the movie, do yourself a favor; STOP reading this now and watch the scene for itself. INT. RYUJI’S APARTMENT – MORNING Ryuji is busy scribbling away at his notes again. His hand suddenly ceases, eyes dancing worriedly as he hears a faint... No. Breath rattling fearfully in his throat, Ryuji spins around to face the TELEVISION SET. He gets out of his seat for a better look, falling to his knees on the tatami. The image that fills the screen is the last scene from the videotape; the shot of the well. The SOUND from before comes louder now, more insistent, a metallic screeching that both repulses and beckons him closer. Ryuji crawls on all fours towards the SCREEN, stares at its unchanging image with terrible foreboding. There is a flash of MOTION as something shoots out of the well. A hand. First one, and then another, as Sadako, still in her grimy white dress, face hidden beneath long, oily strands of hair, begins slowly pulling herself out. The television screen jumps unsteadily, fills with static as if barely able to contain her image. CUT back and forth between Ryuji, who is beginning to visibly panic, and the television, which shows Sadako lurching ever closer. RYUJI (almost frantic) Why?! The TELEPHONE rings, and Ryuji spins round towards it, breath catching in his throat. He looks at the phone, over his shoulder at the television, back to the phone. RYUJI That’s it! Asakawa... Ryuji scrambles wildly towards the phone. He takes the receiver but is unable to do more than clutch it fearfully as his gaze is drawn inexorably back to the television. Sadako’s shrouded face has filled the entire screen... and then, television popping and crackling, she jerks forward and emerges from the television onto the floor of Ryuji’s apartment. Ryuji backs away, screaming in terror. RYUJI Aaargh! Sadako lies prone, collapsed, hair splayed out like a drowned corpse. Only her FINGERS are active, crawling, feeling. The TIPS of her fingers are little more than bloodied stumps, not a single fingernail on them. She uses the strength in those fingers to pull herself forward, coming jerkily to her feet. The joints of her body twist unnaturally, more insect-like than human. Ryuji flings the phone aside and begins scrambling about the apartment as if looking for cover. The strength has already begun to fade from his body, however, and his movements are clumsy, exaggerated. He falls to the floor, panting heavily. Sadako turns to regard him, and for just an instant we can see beneath her impenetrable shroud of hair; a single EYE burns with manic, unbridled hatred. Its gaze meets Ryuji’s, and his face twists into a grimace as he SCREAMS loudly. FLASH EXT. KOUJI’S HOUSE - FRONT YARD – DAY Yoichi sits on the lawn, doodling into a large SKETCHPAD. He suddenly stops, eyes registering that he has somehow felt his father’s death. INT. ASAKAWA’S APARTMENT – DAY Asakawa clutches the RECEIVER to her ear. She can still hear the sounds of metallic SCREECHING coming from the video, though they are now becoming softer. EXT. OUTSIDE RYUJI’S APARTMENT BUILDING – DAY Asakawa comes running down a side street, turning the corner and making for the entrance to Ryuji’s apartment building. There is a single GUARD posted at the entrance. He reaches out, catches Asakawa lightly by the arm. GUARD Are you a resident here, ma’am? ASAKAWA I’m Takayama Ryuji’s wife! The guard drops his hand, and Asakawa makes for the entrance. GUARD I’m sorry ma’am, but they’ve already taken the body away. Asakawa’s spins around, eyes wide. Body? INT. HALLWAY OUTSIDE RYUJI’S APARTMENT – DAY Mai is there, slumped against one wall. Asakawa comes running up, dropping to her knees and grasping Mai by the shoulders. ASAKAWA What happened? Mai shakes her head dreamily. MAI When I got here he was just lying there... ASAKAWA Did he say anything to you? About a videotape? Mai shakes her head again, shakes it harder until the breath catches in her throat. MAI His face... Mai falls into silence, curls up on herself. Asakawa leaves her and crosses toward the door to Ryuji’s apartment. INT. RYUJI’S APARTMENT - DAY The front DOOR opens wildly, noisily forward. Asakawa comes rushing in, eyes darting about the apartment. She thinks frantically to herself. ASAKAWA (VO) Ryuji... why? Does this mean that Yoichi will die, too? Is the curse not broken yet? Her gaze falls to the television set. She dives forward, presses the eject button on the VCR. Sure enough, the TAPE is still in the deck. She takes the tape and leaves. INT. ASAKAWA’S APARTMENT - LIVING ROOM – NIGHT Asakawa walks slowly, dreamily forward. She drops the videotape loudly onto the coffee table and slouches into a CHAIR. Her eyes fall to the framed photographs of Yoichi on one of the shelves. This snaps Asakawa out of her daze and she begins whispering intently to herself, thinking. ASAKAWA I was the only one to break Sadako’s curse. Ryuji... why...? Something I did that you didn’t... Something I did that you didn’t... Asakawa gives up, lowers her face into her hands. When she looks up again, she happens to glance at the television screen-- and its GLARE reveals that there is someone ELSE in the room with her. It is the figure from the videotape, the silent accuser with the cloth draped over its face. With a start, Asakawa realizes that the figure is wearing Ryuji’s clothes. ASAKAWA Ryuji?! She spins around, but the room is empty. Asakawa’s mind races. The figure had been pointing towards her BAG. She stands, rummages in her bag to produce her copy of the cursed videotape. She takes Ryuji’s COPY in her other hand, her eyes darting between the two tapes. ASAKAWA Something I did that you didn’t... It suddenly clicks home as Asakawa looks full-on at Ryuji’s version of the tape, plainly marked COPY. ASAKAWA What broke the curse was that I copied the tape and showed it to someone else! CUT to Asakawa slowly pulling her VCR from the television stand. A look of almost frightening resolve etches her face. EXT. HIGHWAY – DAY ARIAL SHOT of Asakawa’s car. We hear her VOICE on the cell phone. ASAKAWA (O.S.) Dad? It’s me. I’m on my way over. Look, dad, I’ve got something to ask. It’s for Yoichi... INT. ASAKAWA’S CAR – DAY CLOSEUP on the VCR in the passenger side. CUT to Asakawa at the wheel as time spirals forward, the decisions of the present already become rumor of the future. GIRL A (VO) They say there’s a way you can stay alive after you watch the video. You’ve gotta make a copy of it, and show it to somebody else inside a week. GIRL B (VO) But what about the person you show it to? GIRL A (VO) Well, then they make a copy and show it to somebody else. Again, inside a week. GIRL C (VO) (laughing) Then there’s no end to it. GIRL A (VO) That’s just it. There -is- no end. But if it meant not dying... you’d do it, wouldn’t you? Asakawa’s eyes begin to well. Her car speeds along the highway, to the direction of menacing-looking STORM CLOUDS. Caption-- “September 22nd. Wednesday.” FADE TO BLACK as the CAPTION turns blood red. \ No newline at end of file diff --git a/unformated_scripts/Script_Rise of the Guardians.txt b/unformated_scripts/Script_Rise of the Guardians.txt new file mode 100644 index 0000000000000000000000000000000000000000..dc075b7b18a3ddd084c936b45729442208fa08f2 --- /dev/null +++ b/unformated_scripts/Script_Rise of the Guardians.txt @@ -0,0 +1 @@ + RISE OF THE GUARDIANS Written by David Lindsay-Abaire Screening script 9/6/12 SEQ. 125 - ALONE IN THE WORLD DARKNESS JACK (V.O.) Darkness. That's the first thing I remember. It was dark, and it was cold. And I was scared. The silhouette of a body appears as it drifts into a ray of light, refracted through water, which turns into... A MOON - SEEN IN REFLECTION ON A SHEET OF ICE The moonlight intensifies almost magically, and the ice above begins to spider-web and crack. EXT. FROZEN POND - NIGHT Snow-covered trees in every direction. The ice in the pond continues to crack, until finally a hole splinters open. A young man floats out of the water, bathed in the intense moonlight. This is JACK FROST - thin, pale, barefoot, his tousled hair frosted white. JACK (V.O.) But then...then I saw the moon. It was so big and it was so bright, and it seemed to chase the darkness away. And when it did...I wasn't scared anymore. Jack floats back down onto the ice as the hole closes up underneath him. JACK (V.O.) Why I was there, and what I was meant to do - that I've never known. And a part of me wonders if I ever will. Jack looks around, confused, then turns toward the moonlight as it dims a bit. Jack carefully treads across the ice until he hits something with his feet. He looks down, and at his feet is a wooden staff. Curious, he picks it up. Almost immediately the staff begins to glow a cold blue in his hands. Odd. Guardians Screening Script 9/6/12 Avid 2. Jack almost drops it as the base of the staff comes in contact with the ground. Frost shoots out and spreads across the ice. Jack is visibly confused. He touches a few trees with his staff sending frost up their trunks. Then he swings the staff again, more confident, as he begins to run across the frozen pond. Another swing, and a gust of wind swirls him high up into the air. Jack floats for a moment only to fall back down to earth and into the trees. Jack grabs hold of a tree branch and pulls himself up to see a small town off in the distance. EXT. BURGESS SETTLEMENT - TOWN CENTER - CONTINUOUS A collection of simple timber houses with thatched roofs. Jack comes in for a landing, and it's a rocky one. He stands up, still elated, and brushes himself off. As Jack makes his way into town, settlers are warming their hands by campfire. Jack doesn't recognize anyone. JACK (to the townsfolk) Hello. Hello. Good evening, ma'am. (BEAT) Ma'am? The settlers walk past Jack, not noticing him. Jack crouches down as a YOUNG BOY runs toward him. JACK Oh, ah, excuse me, can you tell me where I am? The boy runs right through Jack, as if he were a ghost. Jack staggers back in shock. He's speechless, as if the wind had been knocked out him. His emotions causing it to snow. JACK Hello! Hello! Townsfolk continue to pass through Jack, unaware of his presence. Shaken, Jack turns and retreats into the forest. JACK (V.O.) My name is Jack Frost -- how do I know that? The moon told me so. But that was all he ever told me. And that was a long, long time ago. Guardians Screening Script 9/6/12 Avid 3. We pan up as the moon shines down over the snow covered trees. CUT TO: SEQ. 175 - INTRO TO NORTH EXT. NORTH POLE - DUSK FIERY GYPSY VIOLIN MUSIC as we move through clouds to reveal a MASSIVE ICE CANYON, and just around a bend, the incredible hidden fortress of NORTH, aka SANTA CLAUS. INT. NORTH'S WORKSHOP - DUSK We glimpse a familiar-looking RED JACKET and CAP with white trim on a coat hanger just as a pair of tongs SLAM a block of ice onto a stone work table-- IN QUICK CUTS: A CHAINSAW shears the block in half, spraying ice. North lifts up the chainsaw revealing a massive tatoo on his arm, the word NAUGHTY clearly visible. Three ELVES huddle in a doorway around a plate of cookies, each licking their own tasty morsel. NORTH (O.S.) Still waiting for cookies! As North crosses the background, the elves lower the cookies from their mouths, their faces frozen in fear. The elves duck out of the way as North launches himself across the floor on his rolling chair -- CLOSE as his huge HAND gropes furiously among his WORK TOOLS, finally grabbing a miniature HAMMER. As North's humming along with his music, delicately CHISELING into the ice, we see a second arm sleeve tatoo, the word NICE clearly visible-- His INTENSE BLUE EYE magnified in a JEWELER'S EYEPIECE -- a delicate SCULPTING TOOL cuts fine details into the ice-- His hands place the finished piece on a curving ICE TRACK: An ice LOCOMOTIVE. It belches ice vapor and chugs down the track, picking up speed-- NORTH Yes! North's hand grabs a cookie from a plate held up by the two Elves. Guardians Screening Script 9/6/12 Avid 4. One of the elves gives his cohort a look and points to the plate as it chews with a mouth full of food, to which it then unfurls its tongue and lets the half eaten morsels spill out onto the plate. NORTH Ah, finally! He takes a bite and leans toward the ice track. He chuckles as the train hits a loop, and launches off a ramp into midair -- then WINGS unfold -- JET ENGINES sprout and ignite and the train lifts off the track-- Suddenly, the DOOR is thrown open by one of North's concerned YETIS, sending the flying ice locomotive skidding across the floor in pieces. YETI Arghbal... NORTH Ach! The yeti cries out covering his mouth in shame. North cries out, devastated. The yeti, equally emotional, lets out another whimper. North looks down at the broken toy and takes a moment to collect himself. NORTH How many times have I told you to knock? YETI Warga blarghgha! NORTH What...? The Globe? North leaps up -- draws a HUGE SCIMITAR from its sheath and HEADS OUT-- INT. NORTH'S GLOBE ROOM - CONTINUOUS A sea of tiny BELLS on the heads of panicking elves part as North's huge boots stomp through. NORTH Shoo with your pointy heads. Why are you always under boot? He pushes his way past a couple of his YETI WORKERS -- they're looking up in fear at - Guardians Screening Script 9/6/12 Avid 5. THE GLOBE OF BELIEF Covered with LIGHTS blanketing the continents. But North notices that all at once, HUNDREDS OF LIGHTS suddenly go out. NORTH What is this? Now MORE LIGHTS, in GREATER NUMBERS, as if something is snuffing them out by the thousands. North's concern grows. NORTH (TO YETI) Have you checked the axis? Is rotation balanced? YETI (SHRUGS SHOULDERS) Wardle bawddrel. Before the Yeti can finish, a WIND whips up from out of nowhere -- North stares in outrage as a blanket of SWIRLING BLACK SAND, crawls over the lights, and shrouds the ENTIRE GLOBE in inky DARKNESS-- The elves scurry in a panic, then all at once the BLACK SAND WHOOSHES UP off the Globe -- rushes up through the ceiling as the remaining sand bursts into a puff of smoke and dissipates into the air -- As the wind dies, the scattered pieces of debris settle to the ground, and the globes lights come back on, North whirls to see a HUGE SHADOW flash across the floors and curving walls of his fortress. It quickly disappears, leaving nothing but the distant ECHO of...LAUGHTER? North is frozen, looking up into the darkness, gravely: NORTH Can it be? (then calls off) Dingle! A group of elves step forward gleefully pointing to themselves, as if they're all "Dingle". The excitement quickly turns to confusion. NORTH Make preparations! We are going to have company. North reaches out for a large EMERGENCY LEVER, TWISTS and PRESSES IT-- Guardians Screening Script 9/6/12 Avid 6. The Globe pulses with ENERGY, which lights up and ZOOMS UP the AXIS SHAFT toward the roof-- EXT. NORTH POLE - CONTINUOUS From the tallest spire of North's fortress, NORTHERN LIGHT ENERGY radiates outward: for the first time in decades, the GUARDIANS' CALL GOES OUT! CUT TO: SEQ. 225 - GUARDIANS GATHER INT. CHILD'S BEDROOM - NIGHT A little fairy, carrying a coin, flies above the head of a sleeping child. She quickly ducks under the pillow and comes out the other side with a tooth in hand. EXT. TOOTH'S PALACE - DAY Hundreds of fairies fly toward a hollowed out mountain, this is Tooth's palace and it's a majestic site. INT. TOOTH'S PALACE Dozens of tiny FAIRIES flit about. Teeth are filed away in tiny wooden drawers. Coins are handed out. TOOTH (O.S.) Chicago, Sector 6 -- 37 molars, 22 bicuspids, 18 central incisors. Moscow, Sector 9 -- 22 incisors, 18 premolars: Uh oh, heavy rain advisory! (BEAT) Des Moines, we've got a cuspid at 23 Maple. Head out! A hive of activity, and at the center a winged figure barks out orders like a harried air-traffic controller. This is TOOTH. A Mini Tooth Fairy flies up to Tooth as thousands of tiny MINI TOOTH FAIRIES continue their work behind them. TOOTH (O.S.) Wait! And suddenly everything stops. Tooth whips around, and we finally see her beautiful FACE. Guardians Screening Script 9/6/12 Avid 7. She's holding up a little tooth, and gazing at it with dreamy adoration. The surrounding fairies tweet with excitement. TOOTH (CONT'D) It's her first tooth. Have you ever seen a more adorable lateral incisor in all of your life?! (GASPS) Look how she flossed! The fairies' tweets turn to concern, turning Tooth's attention to North's AURORA SIGNAL stretching across the sky. She gasps, and flies off like a rocket toward the source of the signal, accompanied by a few of her ranking fairies. NORTH (V.O.) My fellow Guardians - It is our job to watch over the children of the world, and keep them safe - to bring wonder, hope and dreams. And so, I've called us all here for one reason, and one reason only - the children are in danger. Much of this we hear over the following... EXT./INT. CHILD'S BEDROOM We pull out from the face of a sleeping child to reveal a stream of sand swirling overhead. It's a dream and it's taken the shape of a child playing soccer. We FOLLOW the Dreamsand stream out his window and up into the sky where we see DOZENS of strands of sand descending to earth. Keep following up, through majestic CLOUDS... ...to reveal a small, GLOWING GOLDEN CLOUD of Dreamsand shimmering among the clouds, trailing the golden threads. The strands are being controlled by a small portly figure, THE SANDMAN. Suddenly, North's emergency signal zips by. The Sandman turns to look and his eyes narrow, visibly concerned. Sandy closes his eyes and in an instant the Dreamsand cloud suddenly SWIRLS around him, changing form into a small BIPLANE, with Sandy in the cockpit. He BARREL ROLLS the plane into a dizzying dive through the spectacular cloudscape and flies off into the distance. Guardians Screening Script 9/6/12 Avid 8. NORTH (V.O.) An enemy we have kept at bay for centuries has finally decided to strike back. We alone can stop him. Much of this we hear over the following... INT. EGG TUNNEL A few EASTER EGGS pop up out of the ground; their little legs carry them out of the way of a fast approaching object. Speeding along through a subterranean tunnel, we can barely keep up with a DIMLY-LIT FIGURE as it races at blinding speed, leaping and zigzagging through a series of TUNNELS -- EXT. A SNOWY EXPANSE IN THE NORTH POLE A hole opens in the snow, and a pair of rabbit ears pops out. A huge rabbit climbs out and brushes off the snow, annoyed. The six foot tall figure is BUNNYMUND. BUNNYMUND Ah, it's freezing. He shivers with cold, then goes slogging through the snow. BUNNYMUND (CONT'D) I can't feel my feet! I can't feel my feet! In the distance is North's ornately decorated and dimly lit palace built into the side of a mountain of ice. CUT TO: SEQ. 250 - THE CEREMONY INT. GLOBE ROOM - NIGHT Sandy's biplane circles the massive chamber, leaving trails of Dreamsand. NORTH (O.S.) Cookies? Eggnog, anyone? BUNNYMUND (O.S.) Oh, this better be good, North. Guardians Screening Script 9/6/12 Avid 9. TOOTH (O.S.) (to her fairies) Montreal, sector six: ten premolars, eight incisors and twelve canines. Steer clear of the wild goose migration. NORTH Sandy, thank you for coming. Sandy descends from the plane and floats to the ground. He joins North, Bunny and Tooth as they walk through the Globe Room. Sand glyphs appear above Sandy's head communicating that he is busy and has a lot of work to do. NORTH (TO SANDY) I know, I know, but I obviously wouldn't have called you all here unless it was serious. North, Bunny, Tooth and Sandy reach the center of the room. Tooth does her best to shush her mini-fairies. NORTH (CONT'D) The Boogie Man was here - at the Pole. North points to the globe. The other Guardians turn to look. TOOTH (SHOCKED) Pitch? Pitch Black? Here?! NORTH Yes! There was black sand covering the globe. BUNNYMUND (CONFUSED) What, what...what do you mean black sand? NORTH And then a shadow! BUNNYMUND Hold on, hold on, I thought you said you saw Pitch. NORTH Well, ah, not exactly... Guardians Screening Script 9/6/12 Avid 10. BUNNYMUND Not exactly? Can you believe this guy? Bunny turns to Sandy, who shrugs while forming a Dreamsand question mark above his head. BUNNYMUND Yeah, you said it, Sandy. Bunny goes back to painting one of his Easter eggs. NORTH Look, he is up to something very bad. I feel it, in my belly. BUNNYMUND (his eyes narrow) Hang on, hang on, you mean to say, you summoned me here THREE DAYS BEFORE EASTER - because of your belly? Mate, if I did this to you three days before Christmas-- TOOTH (to her fairies) Argentina. Priority alert! A batch of bicuspids in Buenos Aires. NORTH Please. Bunny. Easter is not Christmas. BUNNYMUND Here we go... North grabs Bunny's painted egg, casually juggling it in his hand as he walks off. Meanwhile Sandy, who is being served eggnog by a yeti, suddenly notices something high above. BUNNYMUND (O.S.) (LAUGHS) North, I, I don't have time for this. I've still got two million eggs to finish up. The moon rises into view, high up in the ceiling; its rays of light begin to shine brightly through as they cascade down the walls of the globe room. NORTH (O.S.) No matter how much you paint, is still egg! Guardians Screening Script 9/6/12 Avid 11. Sandy points to the moon unsuccessfully to get the others' attention. BUNNYMUND Look, mate, I'm dealing with perishables. Right. You've got all year to prepare. TOOTH (to her fairies) Pittsburg, boy eight, two molars. Saltwater taffy. Sandy puts his fingers in his mouth to whistle, a silent musical note forming above his head. NORTH (TO BUNNY) Why are rabbits always so nervous. BUNNYMUND And why are you always such a blowhard! TOOTH (O.S.) (to her fairies) Ontario, sector nine: five canines, two molars, and fourteen incisors. Is that all in one house? Sandy waves a sand flag above his head, pointing and jumping up and down as the moonlight continues to fill the room. NORTH (turning his attention) Tooth! Can't you see we're trying to argue. TOOTH Sorry, not all of us get to work one night a year. Am I right, Sandy? Sandy tries to signal with a golden arrow, pointing toward the ceiling, but to no avail as the others continue their bickering. Sandy thinks Tooth has noticed for a split second, but then - TOOTH (to her fairies) San Diego, sector two! Five incisors, a bicuspid and a really loose molar on stand-by. Guardians Screening Script 9/6/12 Avid 12. BUNNYMUND (MOCKING) Come on, mate, Pitch went out with the dark ages. We made sure of that - remember? NORTH (O.S.) I know it was him. We have serious situation! BUNNYMUND (O.S.) Well, I've got a serious situation with some eggs. TOOTH (O.S.) Hey, I hate to interrupt the, "We work so hard once a year club" but could we concentrate on the matter-- Sandy can't take it anymore, grabs an elf by his hat, and vigorously shakes it's bell. The other Guardians are finally silenced and all turn to look at Sandy, who points up, a sand crescent moon forming above his head. The dizzy elf staggers away. Finally the others turn to see the shaft of moonlight as it concentrates on the circle between them. NORTH Aah! Man in Moon! Sandy, why didn't you say something? Sandy gives him a deadpan stare, Dreamsand smoke shoots out his ears. NORTH (to Man in Moon) It's been a long time old friend! What is big news? Everyone looks to the center of the intense spot of moonlight, the light ebbs away, leaving a dark spot -- -- which resolves into the shadowed silhouette of PITCH. The Guardians look on, stunned. BUNNYMUND It is Pitch. North pats his belly and gives Bunny a look. NORTH (back up to the moon) Manny...what must we do? Guardians Screening Script 9/6/12 Avid 13. In answer, the shadow of Pitch disappears and the circle of moonlight intensifies and SHRINKS, concentrating further illuminating an ORNATE SYMBOL on the floor, at the center of their circle. The symbol rises out of the ground revealing a large gem at the head of a pillar. TOOTH Ah, guys, you know what this means? The moons light suddenly refracts through the gem casting light all over the chamber. NORTH (AWED) He's choosing a new Guardian. BUNNYMUND What?! Why? NORTH Must be big deal! Manny thinks we need help! BUNNYMUND (ANNOYED) Since when do we need help?! TOOTH I wonder who it's gonna be? A Dreamsand Four-Leaf clover forms above Sandy's head. TOOTH (CONT'D) Maybe the Leprechaun? BUNNYMUND Please not the groundhog, please not the groundhog. Then A BRIGHT FLASH, a rush of WIND - and a FIGURE resolves over the central pillar: slight, hooded, bearing a familiar hooked STAFF. NORTH Jack Frost. The Mini-Teeth all sigh and swoon as the Guardians stand there, stunned. BUNNYMUND Ah, I take it back! The Groundhog's fine! Guardians Screening Script 9/6/12 Avid 14. TOOTH (caught admiring Jack) Well, ah, as long he helps to ah...to protect the children, right? BUNNYMUND Jack Frost!? He doesn't care about children! All he does is freeze water pipes and mess with my egg hunts. Right? He's an irresponsible, selfish... NORTH Guardian. This stops Bunnymund in his tracks. BUNNYMUND Jack Frost is many things, but he is not a Guardian. As we turn toward the face of the hooded figure. DISSOLVE TO: SEQ. 600 - SNOWBALL FIGHT EXT. ST. PETERSBURG - NIGHT A hooded figure with a familiar looking staff rests atop a Post Office box on the opposite end of the street. The man touches the staff to the ground, sending a streak of frost across the street. A RUSSIAN BOY approaches a water fountain, turns the handle and moves in for a sip. But as he does, the water freezes magically, and the boy's tongue is stuck to the frozen water. His friends can't help but laugh. RUSSIAN BOY (tongue stuck to frozen ICE) Aahhhhh...! A mail man walks across the street and a PATCH OF ICE magically appears under his feet. He scrambles, and BOOM! - lands on his butt. Just behind the man, we see the TRAIL OF FROST climb up the side of a building. We stay on the frost as it moves up along a rain pipe, and through the windows we see... Guardians Screening Script 9/6/12 Avid 15. A boy try to feed his gold fish, but a layer of ice suddenly forms along the water surface and prevents the fish from reaching its food. We move along the side of the building... A writer in his study sits next to stacks of papers. The window suddenly swings open and a gust of wind sends the pages flying out the window. We move along the building, across clothes lines and power lines as they freeze. We continue to move up, and finally discover the culprit. Jack Frost makes his way atop a cathedral spire and takes in the view; the full moon bathes the city in moonlight. JACK (AMUSED) Ah, now that, that was fun. (BEAT) Hey wind... Jack chuckles as he calls the wind. The trees begin to sway and leaves fly into the air. Jack grabs hold of the spire, smiling as the wind blows past. JACK Take me home! Jack lets go and the wind carries him into the air and through the clouds. Night turns to day as Jack flies from one horizon to the other. JACK Woooooohoooooooooo! EXT. BURGESS - DAY Jack falls through the clouds, smiling, toward the town of Burgess. JACK SNOOOOOWWWW DAAAAYYYYYY!!! Jack continues on down and zooms through the streets. Pedestrians clench their jackets and reach for their hats as gusts of wind, snow, and streaks of frost are left in Jack's wake. EXT. FROZEN POND Jack flies in, and with the wind behind him skates across an all too familiar pond. As the wind zips across the pond it knocks a BOOK out of the hands of a little boy walking alone, this is JAMIE. Guardians Screening Script 9/6/12 Avid 16. JAMIE Whoa, whoa. Jamie goes to pick up the book and we get a glimpse of the cover - "THEY'RE OUT THERE! - MYSTERIES, MYTHICAL CREATURES AND THE UNEXPLAINED PHENOMENA." Jack flies into frame and lands beside Jamie. JACK Huh, that looks interesting. Good book? Suddenly twins CLAUDE and CALEB, come barreling past them, rough-housing and laughing as they slam each other into drifts (all the boys are 8). CLAUDE AND CALEB Alright! Yeah! Waahoo! Snooow daaaay!!! Jack calls after the boys... JACK You're welcome! JAMIE (goes running after them) Hey guys, wait up! Are you guys coming to the egg hunt Sunday? CALEB Yeah, free candy! CLAUDE I hope we can find the eggs with all this snow! Caleb stuffs a handful of snow down his brother's Jacket EXT. JAMIE'S BACKYARD - DAY The kids arrive at the fence of Jamie's house. Jamie opens up a secret plank, and heads into his yard. Claude and Caleb are still messing with each other. Meanwhile, Jack walks unseen along the top of the fence. CALEB (WALLA) Stop! CLAUDE (WALLA) No, you stop! Guardians Screening Script 9/6/12 Avid 17. JAMIE Whoa, it says here that they found Big Foot hair samples and DNA, in Michigan. That's like, super close! CLAUDE Here we go again. Jamie arrives at his front gate, sled in hand while SOPHIE (Jamie's 2-year-old sister in fairy wings) sits down on their Greyhound as it lies in the yard. JAMIE You saw the video too Claude, he's out there! CALEB That's what you said about aliens. CLAUDE And the Easter Bunny. JAMIE (grabs his sled) Wow, the Easter Bunny is real! JACK Oh he's real alright. Real annoying, real grumpy, and really full of himself. Jack hops off the fence and walks amongst the kids, peering over their shoulders as they play in the yard. CLAUDE (LAUGHING) Come on, you guys believe anything. SOPHIE (GIGGLES) EASTER BUNNY! HOP-HOP-HOP! (FALLS OVER) Ow! Sophie begins to cry. JAMIE Mom! Sophie fell again! JAMIE'S MOM comes outside. Caleb, alongside his brother, stands at the front gate and calls out to Jamie. Guardians Screening Script 9/6/12 Avid 18. JAMIE'S MOM You okay, Soph? CLAUDE Are we sledding or what? JAMIE'S MOM Jamie, hat? We don't want Jack Frost nipping at your nose. Jamie's mom plunks the hat on his head, tweaks his nose. JAMIE Who's Jack Frost? JAMIE'S MOM No one, honey. It's just an expression. JACK (smile drops - offended) Hey. Jack jumps down from the fence as the boys head off. JACK (MIFFED) Who's Jack Frost? Jack reaches down and grabs a hand full of snow from off the ground. With his palm open, Jack uses his magic to form the perfect snowball. He then puckers his lips, and blows onto it with his icy breath. The snowball turns a light shade of blue. There's something going on here. EXT. SNOWY HILL WHOOSH! - the snowball goes flying through the air and - BOOF! - the snowball hits Jamie smack in the back of the head. Jamie looks up, peeved, and turns. Then we watch as his face changes...a mischievous sparkle comes into his eyes. A big smile. Make no mistake, something magical has just happened. JAMIE (LAUGHING) Okay, who threw that? Jack flies in and lands amongst the group of kids. Guardians Screening Script 9/6/12 Avid 19. JACK Well, wasn't bigfoot kiddo. Jamie scans the horizon for the culprit. His eyes land on a couple kids making snow barricades. MONTY (oddball with big glasses) with his back turned suddenly gets a snowball to the back of the head, knocking him face first into the ground. MONTY Ow! PIPPA (brainy, pigtails, pink hat) steps forward and - BOOF! A magical snowball from Jack hits her, knocking her back. Pippa's face changes - a mischievous sparkle. PIPPA Jamie Bennett! No fair! JAMIE (LAUGHS) You struck first! CLAUDE Oh! Suddenly we see Caleb struck in the side of the head with one of Jack's snowballs; Claude can't help but laugh. JACK Free for all! And just like that we find ourselves in a take-no-prisoners snowball fight, the kids pummeling each other mercilessly. JACK Alright, who needs ammo? Jack supplies the kids with more snowballs. The kids are loving this. JACK (WALLA) Look at that. The mayhem continues as Jamie, using his sled as a shield, is knocked backward into a snowman, crushing it underneath him. A snowball flies overhead and hits CUPCAKE, a tough third grader as wide as she is tall, in the back of the head. Dread sets in amongst the other kids, Cupcake squints - gunslinger eyes. Guardians Screening Script 9/6/12 Avid 20. CUPCAKE Grrrrrrrrrrrr... PIPPA Crud, I hit Cupcake. MONTY She hit Cupcake. CLAUDE You hit Cupcake? Jamie is flat on his back, terrified. He looks up to see Cupcake standing over him. Then, BOOF! Jack hits Cupcake with a magical snowball. The kids gasp in horror. CLAUDE Oh! CALEB Did you throw that? MONTY No. PIPPA Wasn't me. A moment, and then Cupcake starts laughing as Jack's magic takes hold. Cupcake chases the kids down the hill, holding the head of her snowman in her hands. Jack, all the while, runs along side taking pleasure in the excitement. JAMIE (WALLA) Hey, come on. Stop! CLAUDE (WALLA) You can't catch me. JACK Ooh, little slippery! Jack jumps ahead, blasting a sheet of ice behind him. The kids fall to the ground, except for Jamie, who lands on his sled, and slides head first down the sheet of ice into town. JAMIE Whooaaooah!!! Guardians Screening Script 9/6/12 Avid 21. KIDS (WALLA) Whoaaa. Jamie, watch out! Stop! JAMIE (WALLA) Aha, whoa! KIDS (WALLA) Jamie! Turn, turn! That's the street! What are you doing? Stop! There's traffic! Jamie suddenly shoots out between the trees and careens past a set of parked cars. Jack's path of ice covers the street. As Jamie turns, his speed only escalates, sending him directly into traffic. Jamie barely misses a moving truck, spinning it out of control, sending furniture out the back, and causing a four car pile up. JAMIE Whoa! JACK Whoa, don't worry kid, I gotcha. Jamie looks back, then quickly ahead as terror comes into his eyes. Jack can't help but smile. JACK Hold on. It's gonna be alright. JAMIE Ahhhh. No, no, no, no... JACK Keep up with me kid! Take a left. Jamie rockets through a pedestrian intersection, narrowly missing those in the crosswalk. DOG WALKER (O.S.) Hey, slow down! JAMIE Whoa, no, no, no, no... Jack flies over to the far side of the street, sending the streak of ice and Jamie up onto the sidewalk. Guardians Screening Script 9/6/12 Avid 22. JACK Yeah! PEDESTRIAN #1 (O.S.) Is that Jamie Bennett? JAMIE Whoa, whoa, whoa, whoa... PEDESTRIAN #2 (O.S.) Hey! Watch it! JACK There you go! JAMIE No! No! PEDESTRIAN #3 (O.S.) Look at that dude! Jamie flies off the sidewalk and back into the middle of the street, almost knocking over a postman. As Jack flies by Jamie's side he sees the look of excitement come into Jamie's face. Jack smiles, knowing he's responsible. Jack sees an oncoming snowplow and quickly jumps ahead, carried by the wind, to divert the ice trail. JACK Whoa. Jamie's sled suddenly turns, narrowly missing the oncoming truck and barrels toward Jack's newly formed ice ramp... JAMIE AAAAHHHHHHHH! Jamie closes his eyes as the ramp launches Jamie over the street, high into the air, and toward the statue of Thaddeus Burgess, colonial settler - 1680. Jamie's friends stand in awe, mouths wide open, as he sails through the air. Jamie opens his eyes and the look of fear suddenly turns to joy. Jack looks on smiling. Jamie lands safely in a large mound of snow. Jack jumps onto the Statue of Thaddeus Burgess. PIPPA (O.S.) Oh my gosh! JACK Yeah! Guardians Screening Script 9/6/12 Avid 23. Jamie's friends all come running to Jamie's aide, scared. But Jamie gets up. KIDS (WALLA) Wow, that looks serious! Jamie! Jamie, are you alright? Is he okay? JAMIE Whoaaa! Did you guys see that? It was amazing! I slid - I did a jump and I slid under a car≠-ERF!! A sofa from the moving van suddenly knocks Jamie down... JACK Whoops. KIDS (CRINGING) Ooooh! There's a moment of silence as the kids wait to see if Jamie is okay. Then, Jamie rises up from behind the sofa grinning, a new gap in his smile. He holds up a tooth. JAMIE Cool! A Tooth! KIDS (WALLA) Dude, that means cash! Tooth Fairy cash! I love the Tooth Fairy! JACK (his fun cut short) Oh, no... KIDS (WALLA) That's totally awesome. You lucky bug! Lucky! JACK No! JAMIE I gotta put this under my pillow! KIDS (WALLA) I wish I lost my tooth. Guardians Screening Script 9/6/12 Avid 24. JACK Ah, wait a minute! Come on, hold on, hold on! What about all that fun we just had? That wasn't the Tooth Fairy, that was me! KIDS (WALLA) I lost two teeth in one day once - remember that?! What are you gonna spend your money on? What are you gonna buy? How much do you think she's going to leave? As Jack looks down from the statue his frustration grows. Storm clouds overhead rumble and darken. Flurries of snow begin to intensify. KIDS (WALLA) Let's go...I'm cooold! My ears are freezing. I can't feel my toes. Ah, it's hot cocoa time. Jack jumps down from the statue, trying to engage the kids. But it's too late, the kids take off. Jack blocks Jamie's way as the boy comes running at him. JACK What's a guy gotta do to get a little attention around here! WHOOOSH! Jamie runs through Jack, as if he where a ghost. Jack is left momentarily shaken, then... CUPCAKE (walla; mocking her FRIENDS) "Oh, I'm cold, I'm cold, I'm co- old." KIDS (O.S.) (WALLA) Somebody take a picture. Hey, stop! That was really awesome. They're gone. Jack is alone again. His temper subsides. He whips up a little wind and disappears. CUT TO: Guardians Screening Script 9/6/12 Avid 25. SEQ. 700 - NIGHT FALLS IN TOWN INT. JAMIE'S BEDROOM - NIGHT Jamie plays with a TOY ROBOT as DRAWINGS AND CHARTS of mystery creatures hang on the wall behind him: UFO's, aliens, Bigfoot, you name it. There's even a drawing of Jamie flying in midair on his sled. JAMIE (O.S.) ...I did this jump and it was amazing and I slide under a car and it was awesome! Then I was flying down this hill and I was like whoosh, whoosh, whoosh through all these cars, and then the sled hit this, this thing, and I was like way up in the air. He mimes flying in the air with his robot, then CRASHING to the bed as Sophie and their dog sit listening-- JAMIE -- and then BAM! The sofa hit me, and, and see? (opens mouth, tries to say `my tooth came out!) Ah hoo hay ow! We reveal JAMIE'S MOM in the room. Sophie LAUGHS and tries to stick a finger in the gap in his gums. JAMIE'S MOM Alright you, tooth under your pillow? Jamie sets the TOY ROBOT on his nightstand, then grabs a stuffed rabbit next to his pillow to reveal a CAMERA AND FLASHLIGHT. JAMIE Yeah. I'm ready. JAMIE'S MOM Now don't stay up trying to see her, Jamie, or she won't come. JAMIE But I can do it this time! You wanna help me, Soph? We can hide and see the Tooth Fairy! Guardians Screening Script 9/6/12 Avid 26. SOPHIE (CRAZED) Hide, hide, hide, hide! Jamie's Mom picks Sophie up off the bed and lifts her over her shoulder. Their dog gets up and begins licking Jamie's face. JAMIE'S MOM Uh uh, straight to bed now, mister. JAMIE Mom... ...We see Jack Frost, outside, hanging upsidedown watching them through the window. A pang. The glass frosts over. EXT. ROOF OF JAMIE'S HOUSE - CONTINUOUS Jack flips onto the roof, a little pensive. He makes his way toward the roof's peak and looks up at the MOON, in full view. It lights up the night sky. JACK If there's something I'm doing wrong, can you, can you just tell me what it is? (NO RESPONSE) Because I've tried everything, and no one ever sees me. (NO RESPONSE) You put me here, the least you can do is tell me, tell me why. A beat. The Moon shines silently down. Jack turns away in frustration. Jack leaps off the roof, onto a telephone pole, and begins walking across some telephone wires. A stream of Dreamsand suddenly zips by behind him, then another, which swoops around in front of him. Jack turns and looks up, a smile now on his lips. JACK Right on time, Sandman. The Dreamsand descends from the sky, and drifts into windows around the town. Jack runs along the telephone wire until he can reach out and intercept one of the passing streams. An adjacent stream takes the shape of a dolphin which turns toward Jack, before continuing on its way to a waiting child. Then, we follow one of the streams into a window... Guardians Screening Script 9/6/12 Avid 27. INT. CUPCAKE'S BEDROOM - BURGESS - CONTINUOUS Dreamsand floats into a window, where CUPCAKE is in bed, hugging a stuffed unicorn in her sleep. The Dreamsand swirls over her head, and morphs into a little girl riding a unicorn. The girl smiles at the lovely dream as it flies around the room. Then the room darkens as a wispy, shadowy figure with a familiar laugh crawls out from under the bed, and rises up. It's Pitch. He notices Cupcake's dream. PITCH Ohhhh, I thought I heard the clippity-clop of a unicorn. What an adorable dream! His face softens, seemingly moved... PITCH (leans down to Cupcake) And look. At. Her. Precious child. So sweet, so full of hope and wonder. Why, there's only one thing missing...a touch of fear. Pitch reaches into Cupcake's dream, and touches a bony finger to the unicorn. It turns ashen and black, and disintegrates. Cupcake flinches in her sleep. Pitch snickers, delighted. PITCH Hahaha! That never gets old! Pitch swirls the Dreamsand around and it all turns into black corrupted Nightmare sand. PITCH Feel your fear. Come on. Come on, that's right. The black sand morphs into a horrific, shadowy bucking horse - a NIGHTMARE. PITCH Yesss. What a pretty little Nightmare. Gleefully, he grabs the Nightmare's mane -- PITCH Now, I want you to go tell the others the wait is over. Guardians Screening Script 9/6/12 Avid 28. -- and sends it out the window, where it joins a posse of other Nightmares coursing through the streets. They take off and fly into the night sky. EXT. BURGESS - NIGHT Pitch steps out into the street from an adjacent alley, avoiding the rays of moonlight. He looks up to the sky and stares at the MOON. PITCH Don't look at me like that, old friend. You must have known this day would come. My Nightmares are finally ready. Are your Guardians? EXT. BURGESS - NIGHT Jack walks along a telephone wire as the Dreamsand disappears from the sky. Suddenly a shadowy figure and an unfamiliar noise zips by behind him. JACK Whoa! In the background, residents get ready for the night. RESIDENTS (O.S.) (WALLA) Did you leave the windows open again? The garage door is wide open. Jack leaps over a house to an adjacent tree to investigate and again, something zooms behind him. Jack jumps down from the tree and onto a truck in a nearby alley. EXT. STREETS OF BURGESS - NIGHT - CONTINUOUS Suddenly: WHOOSH! The SHADOW flashes by, knocking over a trash can. Jack jumps down from the truck and backs up out of the alleyway into a clearing... BUNNYMUND (O.S.) Hello, mate. Jack turns around, ready to strike. He squints, as into the light steps... Guardians Screening Script 9/6/12 Avid 29. BUNNYMUND Been a long time. Blizzard of 68, I believe? Easter Sunday, wasn't it? Jack is completely bewildered -- JACK Bunny? You're not still mad about that...are yah? BUNNYMUND Yes. Bunny whips out his boomerang and casually looks at it as he holds it in his hands. BUNNYMUND (CONT'D) But this is about something else. (BEAT) Fellas... Before Jack realizes what's happening a HUGE HAND reaches into frame and lifts him off his feet. JACK Hey! YETI Durbha wahla. Jack has been snatched up by two huge YETIS. JACK Put me down! What the... Jack is shoved head first into a sack. A yeti whips out a snow globe, and smashes it on the ground. YETI Durtal bardla burdlew. A MAGIC PORTAL opens in front of them. The yetis make way for Bunny to leap in, but he demurs -- YETI Dwbard urghwetee. BUNNYMUND Me? (LAUGHS) Not on your nelly. See you back at the pole. Guardians Screening Script 9/6/12 Avid 30. He STAMPS HIS FOOT twice on the ground which SWIRLS OPEN -- a RABBIT HOLE magically appears. Bunny leaps into it and disappears along with the rabbit hole. In its place, from out of the ground grows a small green plant. YETIS Bwardla arghl. The yetis throw Jack through the magic portal. JACK Ahhhhhhhhh! The yetis then charge in after and disappear into the portal. CUT TO: SEQ. 900 - JACK MEETS GUARDIANS INT. NORTH'S LIBRARY - DAY TOOTH (O.S.) (to a fairy) Tangiers! Incivie du haut, 421 rue de Barat! Allez! The sack flies out of the portal and lands on the floor. In the darkness, Jack hears -- NORTH (O.S.) He's here. Jack struggles out of the sack to see two elves staring at him. TOOTH (to another fairy) Walla Walla, Washington. We've got a trampoline mishap at 1340 Ginger Lane. NORTH Quiet. He then looks up to see North and Sandman looking down at him. The Tooth Fairy is surrounded by a dozen hovering tiny fairies who come and go as she blurts out orders. T0OTH (CONT'D) Canine, lateral and central incisor. Ouch! Guardians Screening Script 9/6/12 Avid 31. North clears his throat. They all turn to a bewildered Jack. NORTH Hey, there he is! Jack Frost! As North holds out his arms to welcome Jack, a Dreamsand snowflake appears above Sandy's head. JACK Wow, you gotta be kidding me. Two Yetis suddenly grab Jack by the shoulders and lift him up onto his feet. JACK Hey, hey. Whoa, put me down. NORTH I hope the yetis treated you well? JACK Oh, yeah. I love being shoved in a sack and tossed through a magic portal. NORTH Oh, good! That was my idea! You know Bunny, obviously. JACK Obviously. Bunny stands off to the side, grumbling with his arms crossed. Jack suddenly notices the MINI TOOTH FAIRIES hovering near him, staring and twittering. NORTH And the Tooth Fairy? Before Jack can answer, she's gliding toward him. TOOTH Hello, Jack. I've heard a lot about you. And your teeth. JACK My, my what? TOOTH (moves in way too close) Open up! Are they really as white as they say? Yes! (GASP) (MORE) Guardians Screening Script 9/6/12 Avid 32. TOOTH (CONT'D) Oh, they really do sparkle like freshly fallen snow. Several swooning Mini Teeth flutter around a confused Jack, batting their lashes and screaming like crazed Beatles fans. Tooth collects herself, and... TOOTH Girls, pull yourselves together... Let's not disgrace the uniform. NORTH And Sandman. (sees Sandy is snoozing) Sandy! Sandy! Wake up! Sandy bolts up awake and steps up to Jack, smiling. JACK Hey! Ho! Anyone wanna tell me why I'm here? The WISP OF DREAMSAND above Sandy's head morphs into a BARRAGE OF IMAGES. JACK That's not really helping. But thanks, little man. (TO OTHERS) I musta done something really bad to get you four together. Jack walks away from the group, frosting an elf with a tray of cookies as it marches past, then turns around. JACK Am I on the naughty list? NORTH (CHUCKLES) On naughty list? You hold record! But no matter. We overlook. Now we are wiping clean the slate. JACK How come? BUNNYMUND (more to North) Ah, good question. NORTH How come? I tell you how come! Because now...you are Guardian! Guardians Screening Script 9/6/12 Avid 33. Off Jack's confusion, yetis light CEREMONIAL TORCHES with a WHOOSH. Elves leap from columns, unfurling homemade, celebratory BANNERS as they descend. Jack brushes off a few baby teeth who try to present him with a necklace made of paper snowflakes. JACK What are you doing! Get, get that offa me! Jack's voice is drowned out by the sounds of horns and drums. NORTH This is the best part! AN ELF MARCHING BAND strikes up, marching into the room. Two yetis move Jack on to a designated spot on the floor. Jack looks down to find an elf pointing at his bare feet. The elf then directs his attention to two approaching elves, carrying a pair of ceremonial boots. Jack's confusion escalates. JACK Huh? A Yeti hands North an old large book. North blows off the dust, opens it, and begins clearing his throat. Jack clenches his jaw as he scans the room: The Mini Teeth continue to fawn, Sandy's smiling, Bunny's apathetic, and North looks on with pride. Jack suddenly SLAMS his staff down, sending a blast of FROST and WIND across the room. The torches go out and everything stops. JACK What makes you think I want to be a Guardian? North bursts out in laughter holding the book in his hands then stops and looks to Jack, stone faced. NORTH Of course you do! (to the elves) Music! The elves blare the trumpets again. Celebration! JACK No music! Guardians Screening Script 9/6/12 Avid 34. The music peters out again. An elf throws his trumpet to the ground and storms off. North, displeased, glowers. JACK Look, this is all very flattering, but ah...you don't want me. You're all hard work and deadlines, and I'm snowballs and fun times. I'm not a Guardian. BUNNYMUND Yeah, that's exactly what I said! TOOTH Jack...I don't think you understand what it is we do. Tooth swoops in and turns Jack's attention to the massive globe behind him. TOOTH Each of those lights is a child. Jack looks up at the Globe, taking in the enormity of this. North suddenly moves to Jack's side. NORTH A child who believes. And good or bad, naughty or nice, we protect them. (BEAT) Tooth...fingers out of mouth. We cut back to discover that Tooth is examining Jack's teeth. TOOTH (REMOVES FINGERS) Oh, sorry. They're beautiful. Jack moves away from the Globe and back toward the center of the room. NORTH Okay, no more wishy-washy! Pitch is out there doing who knows what! JACK (SCOFFS) You mean the Boogeyman? NORTH Yes! When Pitch threatens us, he threatens them as well. Guardians Screening Script 9/6/12 Avid 35. North points to the lights on the globe. JACK All the more reason to pick someone more qualified! NORTH Pick? You think we pick? No, you were chosen like we were all chosen. By Man in Moon. Jack turns and looks to the group. JACK (stares, dumbstruck) What? TOOTH Last night, Jack. He chose you. BUNNYMUND Maybe. JACK The Man in the Moon, he talks to you? Jack looks up to the skylight, taking in the awesome sight of the moon as it shines down on Earth. NORTH You see, you can not say no. It is destiny. Jack is still confused by the news. What does it mean? JACK But why, why wouldn't he tell me that himself? (EXASPERATED EXHALE) After 300 years this is his answer? To spend eternity like you guys cooped up in some, some hideout thinking of, of new ways to bribe kids? No no, that's not for me. No offense. Jack turns to leave, the Guardians are stunned. BUNNYMUND How is that not offensive? Except for Bunny, who is relieved by this turn and looks to the others. Guardians Screening Script 9/6/12 Avid 36. BUNNYMUND You know what I think? I think we just dodged a bullet. I mean, what's this clown know about bringing joy to children anyway? Jack turns back. A little pissed. JACK Uhh, you ever hear of a snow day? I know it's no hard-boiled egg, but kids like what I do. BUNNYMUND But none of 'em believe in you. (leans in to him) Do they? You see, you're invisible, mate. It's like you don't even exist. TOOTH Bunny! Enough! Silence. Jack tries not to look stung by this. JACK No, the kangaroo's right. BUNNYMUND (GLARES) The, the what -- what'd you call me? I am not a kangaroo, mate. JACK Oh. And this whole time I thought you were. If you're not a kangaroo, what are you? BUNNYMUND I'm a bunny. The Easter Bunny. People believe in me. Sandy nudges North, who acknowledges the tension in the air. NORTH (TO JACK) Jack. Walk with me. CUT TO: Guardians Screening Script 9/6/12 Avid 37. SEQ. 1000 - NORTH'S WORKSHOP INT. TOY FACTORY - NORTH POLE - DAY Jack and North ride an elevator, bearing the resemblance of a Christmas ornament, down to the factory floor. JACK It's nothing personal, North. What you all do, it's just, it's not my thing. NORTH Man in Moon says it is your thing. We will see! North storms through factory floor, Jack trying to keep up. An amazing place. JACK Slow down, wouldja? I've been trying to bust in here for years, I want a good look. NORTH (peeved - still rushing) What do you mean, "bust in?" JACK Oh, don't worry, I never got past the yetis. Jack looks over his shoulder; an angry yeti pounds his fist into his palm. YETI Rwwarrrrrr. JACK Oh, hey Phil. NORTH Keep up, Jack! Keep up! North charges ahead. North's factory is bustling with activity: Yeti's are building toys, moving packages, while Elves are test piloting the various flying toys. As Jack walks behind North, surveying the factory, a duck toy suddenly flies over Jack's head. Jack ducks just in time and continues after North. Guardians Screening Script 9/6/12 Avid 38. JACK Whoa! (BEAT) I always thought the elves made the toys. NORTH (WHISPERS) We just let them believe that. Jack looks over to see a group of elves eating Christmas ornaments and another electrocuting himself with Christmas lights. North smiles and calls to them. NORTH Very nice! Keep up good work! North continues through the factory floor. He passes a yeti putting the finishing touches on a blue toy robot. NORTH (TO YETI) I don't like it. Paint it red. The yeti reacts in dismay as we reveal hundreds of finished blue robots. NORTH Step it up, everybody. As North and Jack move to the opposite end of the chamber, we finally glimpse the orchestrated chaos of the entire workshop, in all it's magic and splendor. INT. NORTH'S OFFICE - A MOMENT LATER Jack follows North into his office. There are shelves filled with toys. Sketches and prototypes everywhere. North dusts his hands and turns to Jack. His sleeves are rolled. Jack notices that on one of North's forearms is tattooed the word NAUGHTY, and on the other, NICE. North grabs a plate from a nearby elf. NORTH Fruit cake? JACK Ah, no, thanks. North hurls it - crash! A pause as North looks at Jack. Guardians Screening Script 9/6/12 Avid 39. NORTH Now we get down to tacks of brass! JACK (TO HIMSELF) Tacks of brass? As North cracks his knuckles, Jack stands silent. The wind suddenly slams North's office door behind them. Jack looks to the door, it locks itself, and he turns back. North moves in close to Jack, backing him up against the door. NORTH Who are you, Jack Frost? What is your center? North pokes Jack in the chest. JACK My center? NORTH If Man in Moon chose you to be a Guardian, you must have something very special inside. North stands up straight and begins to stroke his beard as he gives Jack a curious look. NORTH Hmmmm? North is standing in front of a shelf of Russian nesting dolls. One is carved to look like North himself. NORTH (CONT'D) Here. This is how you see me, no? Very big, intimidating. But if you get to know me a little-- (hands the doll to Jack) Well, go on. Jack gives North a curious look, then sets down his staff. He twists the doll in half, and inside is another carved North doll, this one is a more typical Santa Claus - red cheeked and cheery. JACK You are downright jolly. NORTH Ah, but not just jolly... Guardians Screening Script 9/6/12 Avid 40. The dolls get progressively smaller as he twists them open, all versions of North, but all slightly different. NORTH (CONT'D) I am also mysterious. (twist - smaller doll) And fearless. (twist - smaller doll) And caring. And at my center... Twist. As North approaches, Jack looks down and drops the final Russian doll into the palm of North's hand. It's the size of a jelly bean. JACK There's a tiny wooden baby? NORTH Look closer. What do you see? Jack holds it up to examine it. JACK You have big eyes? NORTH Yes! Big eyes. Very big. Because they are full! Of wonder! That is my center. It is what I was born with. Eyes that have always seen the wonder in everything! North raises his hands, and the toys on the shelves suddenly spring to life. Jack-in-the-boxes pop, toy trains speed around the room, soldiers march about, toy planes fly overhead. An elf gets carried aloft by a balloon. A flying toy plane glides by and we follow it as it makes its way around the room. A Christmas tree is ablaze with bright lights. Two double doors suddenly open as the flying car enters the factory floor. NORTH Eyes that see lights in the trees, and magic in the air! As it crosses the frame, dozens of other toys are now flying around the massive chamber. It's a truly magical moment. North now stands outside his office, with Jack at his side. NORTH This wonder is what I put into the world, and what I protect in children. (MORE) Guardians Screening Script 9/6/12 Avid 41. NORTH (CONT'D) It is what makes me a Guardian. It is my center. What is yours? JACK (BEAT) I don't know. Jack looks down into his open palm, the wooden baby stares back at him. North closes Jack's hand. They exchange a look. Then, something suddenly jets past a window outside. Almost simultaneously, Bunny and Sandman come running down the hallway toward North and Jack. BUNNYMUND We have a problem, mate! Trouble at the Tooth Palace. CUT TO: SEQ. 1204 - SLEIGH LAUNCH INT. LAUNCHING SHED - A MOMENT LATER North shoves open a set of double doors, followed closely by Bunny, Sandy, and Jack. Several Yeti's rush by as they prepare the hangar for launch. NORTH (O.S.) (TO YETIS) Boys, ship shape. As soon as impossible. JACK North, North! I told you, I'm not going with you guys! There is no way I'm climbing into some rickety old... Suddenly: the SOUND of POUNDING HOOVES. BEASTLY SNORTING. SANTA'S INCREDIBLE SLEIGH comes into view. It's a huge, shiny, tricked out, jaw-dropping hot-rod of a sled. JACK ...sleigh. Jack is understandably gob-smacked, so much so that he almost gets knocked over by one of the reindeer. JACK Whoa! Guardians Screening Script 9/6/12 Avid 42. NORTH (TO REINDEER) Hey! Moi deti, moi deti. Quiet, quiet. The sleigh comes to a standstill as the Guardians prepare to climb inside. Several Yetis are still running around making last minute preparations. JACK Okay, one ride, but that's it. Jack jumps aboard. North smiles knowingly, and climbs inside. Sandy hops up into the back seat. NORTH Everyone loves the sleigh. North grabs the reigns, wrapping them around his arms. He turns to see Bunnymund standing there, frozen and unnerved. NORTH (CONT'D) Bunny, what are you waiting for? BUNNYMUND I think my tunnels might be faster, mate. And um, and safer. NORTH Ah, get in. (hoists Bunnymund up) Buckle up! Bunny desperately looks around his seat. BUNNYMUND Whoa, whoa, whoa, where are the bloody seatbelts?! NORTH (LAUGHS) That was just expression! North turns to one of the Yetis . NORTH Are we ready? The Yeti throws his hands up in a fit shaking his head no. NORTH Good! Let's go! Clear! (cracks the reigns) Hyah! Guardians Screening Script 9/6/12 Avid 43. The sleigh is off. Elves and yetis scatter out of its path. Sandy, Bunny, and Jack fly back into their seats. Bunny clutches the edge of his, terrified. Jack can't help but laugh. NORTH Out of the way! The sleigh heads down a luge-like track. North and Jack are enjoying the ride. NORTH Hyah! BUNNYMUND Ohhhhhh no! North cracks the reigns, the sleigh plummets, an almost vertical drop. Sandy grins calmly. Jack loves this. Bunnymund - not so much. BUNNYMUND (WALLA) Slow down, slow down! North pulls a lever, kicking the sleigh into overdrive. He looks back as the sleigh enters a corkscrew. NORTH I hope you like the loopty loops! BUNNYMUND (NAUSEOUS) I hope you like carrots. NORTH Here we go! WIDE SHOT as the sleigh reaches the bottom of the ramp, and shoots upwards, launching them into bright blue sky. JACK WOOO-HOOOOOO!!!!!! EXT. SLEIGH - FLYING THROUGH THE SKY - CONTINUOUS North, reins in hand, leans into the wind as the reindeer climb higher. NORTH Klasno! Guardians Screening Script 9/6/12 Avid 44. Jack, in his element, leaps up onto the rear of the sleigh to watch the North Pole fade into the distance. JACK (LAUGHS) Whoa! Bunnymund peaks off the side of the sleigh, then leans back, and holds on for dear life. JACK Hey, Bunny-- Bunny turns to see Jack standing on the back edge of the sleigh. JACK Check out this view-- EEEYAAAAGGHGHH! Jack is SWEPT OFF the sleigh and disappears! Bunny gasps in horror and looks over the side...only to see Jack lounging on the sleigh's skid. JACK Awww...you do care. BUNNYMUND Ah, rack off you bloody show pony! Bunny glowers as Jack makes his way back into the sleigh. NORTH Hold on everyone, I know a shortcut. BUNNYMUND Oh strewth, I knew we should have taken the tunnels. North holds a snow globe up to his face. NORTH I say, Tooth Palace. An image of the Tooth Palace appears inside the snowglobe. North throws the globe into the air and a giant vortex opens. NORTH Hyah! Guardians Screening Script 9/6/12 Avid 45. EXT. SKY - SLEIGH JETTING THROUGH THE SKY A surreal light surrounds the sleigh as it hits HYPERDRIVE and gets sucked through the snow-globe portal with a WHOOSH. CUT TO: SEQ. 1300 - TOOTH PALACE DESTROYED EXT. SKY - NEAR TOOTH'S PALACE The sleigh suddenly comes out of HYPERDRIVE at the outskirts of the Tooth Palace. Streaks of black rapidly approaching. NORTH What!? Suddenly our heroes find themselves in the midst of mayhem, as hundreds of Nightmares and terrified Tooth Fairies jet past. It's like a meteor storm. North yanks the reins, and the sleigh veers sharply, dodging the oncoming Nightmares. NORTH What are they!? Sandy and Bunny duck the onslaught. BUNNYMUND Whoa! Jack now sees that the Nightmares are actually GULPING DOWN the fleeing fairies and flying off with them. It's chaos. JACK They're taking the tooth fairies! Jack looks up to see a lone fairy with a Nightmare snapping at its heels. Jack leaps into the air and rescues it before the Nightmare can snatch it away. Jack lands back in the sleigh. He opens his hand to reveal Baby Tooth, who's shaking with fear. JACK Hey little Baby Tooth, you okay? As Baby Tooth nods, North steers the sleigh forward through the storm toward the entrance of Tooth's Palace. Guardians Screening Script 9/6/12 Avid 46. INT. TOOTH PALACE - A MOMENT LATER A vast chamber supported by pillars containing millions of tiny wooden deposit boxes from floor to ceiling. North spots a Nightmare up ahead and hands Jack the reigns. NORTH Here, take over! BUNNYMUND Huh? Jack, though surprised, quickly grabs the reigns and smiles as he snaps them. JACK Hyah! North readies his sword and SLICES the Nightmare in half -- NORTH Yah! SEVERAL TOOTH BOXES spill out of the split Nightmare and rain down into the sleigh at the Guardians' feet. The Nightmare disintegrates into black sand. BUNNYMUND They're stealing the teeth! Sandy looks at his hands and sees the Nightmare sand take shape and drift away. He and Bunny exchange a look. The Guardians turn -- they're headed straight for a pillar. NORTH Jack, look out! Jack pulls the reins -- JACK Aaaahhhh! -- the sleigh nearly misses the pillar and skids to a rough stop on a platform. They see Tooth up above. NORTH Tooth! Are you alright? Tooth is flying around, visibly frustrated. This is bad. Guardians Screening Script 9/6/12 Avid 47. TOOTH They, they took my fairies! And the teeth! All of them! Everything is gone! Everything. Only then does it hit her. Tooth's wings drop in defeat. She's completely lost amidst the devastation. The Guardians rush to comfort her. Jack stays behind as Baby Tooth pops out from the hood of his tunic and flies over toward Tooth. TOOTH Oh thank goodness! One of you is alright! PITCH (O.S.) I have to say, this is very, very exciting. Pitch's voice echoes across the open chamber. They look up to see Pitch, standing high above them with a satisfied smile. PITCH The Big Four, all in one place. I'm a little star-struck. (BEAT) Did you like my show on the globe, North? Got you all together, didn't I? Tooth darts after Pitch, but he escapes into the shadows. TOOTH Pitch, you have got thirty seconds to return my fairies! PITCH (O.S.) Or what? Tooth follows the sound of Pitch's voice and finds him near one of her tooth box columns. PITCH You'll stick a quarter under my pillow? NORTH Why are you doing this? PITCH Maybe I want what you have. To be believed in. Jack takes this in. Pitch moves along the walls and shadows of the chamber and emerges from behind a column. Guardians Screening Script 9/6/12 Avid 48. PITCH Maybe I'm tired of hiding under beds. BUNNYMUND Maybe that's where you belong. PITCH Ah, go suck an egg, rabbit! Bunny looks down past the edge of the platform to find Pitch upside down, staring him in the face. Pitch disappears again. PITCH (O.S.) Hang on, is that...Jack Frost? (LAUGHS) Since when are you all so chummy? JACK We're not. PITCH Oh good. Jack turns and sees Pitch standing in the middle of a column. PITCH A neutral party. Then I'm going to ignore you. But, you must be used to that by now. BUNNYMUND Pitch! You shadow sneaking rat- bag! Come here! Bunny goes after Pitch, but he disappears and reemerges on an opposite column. Tooth spots him, grabs one of Bunny's boomerangs and flies at Pitch in a rage... TOOTH Ahhhhhhhhhhhhhh! Pitch looks at Tooth with a smile and before she can reach him, a huge Nightmare darts out of hiding and rears up at her. Tooth falls back. Baby Tooth hides in Jack's tunic. PITCH (SOOTHING) Whoa! Hey, easy, girl. Easy. Pitch draws a wisp of black sand from Onyx's mane, twirls it in his palm, and turns toward Sandy. Guardians Screening Script 9/6/12 Avid 49. PITCH Look familiar, Sandman? Took me a while to perfect this little trick. Turning dreams into Nightmares. Pitch notices the shocked Guardians. PITCH Don't be nervous, it only riles them up more. They smell fear you know. BUNNYMUND What fear? Of you!? No one's been afraid of you since the Dark Ages! Pitch's eyes flash with anger. But then he smiles. PITCH (NOSTALGIC) Oh, the Dark Ages. EXT. VILLAGE - NIGHT - FLASHBACK A parent and her two children, huddled around a campfire, scream as a shadow, resembling Pitch, washes over them. It makes its way up the side of a mountain to reveal Pitch, smiling as he stares up at the moon. PITCH (V.O.) (NOSTALGIC) Everyone frightened. Miserable. Such happy times for me. Oh, the power I wielded! EXT. VILLAGE - NIGHT - FLASHBACK - CONTINUOUS PITCH (V.O.) But then the Man in the Moon chose you to replace my fear with your wonder and light! North's sleigh flies in front of the moon. Tooth and her fairies flit by while SANDY's Dreamsand dances across the sky and Bunny leaps across rooftops. PITCH (V.O.) Lifting their hearts! And giving them hope! Guardians Screening Script 9/6/12 Avid 50. Pitch, thinner and weaker than he is now, slips back into the shadows after children run through him while playing in the streets, laughing as they go. PITCH (V.O.) Meanwhile, everyone wrote me off as just a bad dream! "Oh, there's nothing to be afraid of! There's no such thing as the Boogeyman!" BACK TO THE TOOTH PALACE Pitch leans toward the Guardians, showing nothing but contempt. PITCH (CONT'D) Well that's all about to change. A SOUND behind Pitch: one of the COLUMNS of the Palace begins to crack and crumble, as if decaying. Tooth is stunned... PITCH Oh look, it's happening already. JACK What is? Tooth's eyes widen in shock. VIGNETTES OF CHILDREN AROUND THE WORLD PITCH (V.O.) Children are waking up and realizing the Tooth Fairy never came. Lifting pillows and finding their BABY TEETH still there. PITCH (V.O.) I mean such a little thing, but to a child... PULL OUT from the last VIGNETTE, all the way out of TOOTH'S WIDE-OPEN EYE, and BACK TO SCENE. Jack, mystified, moves closer to Tooth as the palace continues to crumble. JACK What's going on? TOOTH They, they don't believe in me anymore. Guardians Screening Script 9/6/12 Avid 51. PITCH Didn't they tell you, Jack? It's great being a Guardian -- but there's a catch. If enough kids stop believing, everything your friends protect - wonder, hopes and dreams - it all goes away. And little by little, so do they. Jack's realizes now the magnitude of Pitch's plan. PITCH No Christmas, or Easter, or little fairies that come in the night. There will be nothing. But fear and darkness and me! It's your turn not to be believed in! Bunny throws his boomerangs at Pitch, who quickly ducks out of the way as they fly around the chamber columns. Pitch then jumps onto the back of Onyx down into the depths of the Palace. The Guardians dive after him, followed by Jack. Bunny grabs a set of egg bombs and launches them at Pitch, exploding seconds before Pitch hits the ground. CUT TO: SEQ. 1325 - JACK'S DECISION INT. TOOTH PALACE - LAGOON - MOMENTS LATER The Guardians land -- NORTH He's gone. LATER Tooth, deflated, sits on the ground with an empty tooth box in her hands. Baby Tooth, resting on a nearby broken tooth box, looks to Tooth with concern. Jack walks up and crouches down alongside Tooth. BUNNYMUND (O.S.) Okay, alright I admit it, you were right about Pitch. NORTH (O.S.) This is one time I wish I was wrong. But he will pay. Guardians Screening Script 9/6/12 Avid 52. JACK I'm sorry, about the fairies. TOOTH (not her bubbly self) You should've seen them. They put up such a fight. JACK Why would Pitch take the teeth? TOOTH It's not the teeth he wanted. It's the memories inside them. JACK (BEAT) What do you mean? Tooth leads Jack across the pond, the water freezing under his feet as he walks. TOOTH That's why we collect the teeth, Jack. They hold the most important memories of childhood. Tooth directs him to a MURAL, which illustrates this. TOOTH (CONT'D) My fairies and I watch over them and when someone needs to remember what's important, we help them. Jack takes a second to admire the immense beauty of the mural before him. TOOTH (CONT'D) We had everyone's here. Yours too. JACK My memories? TOOTH From when you were young. Before you became Jack Frost. JACK (BEAT) But, I wasn't anyone before I was Jack Frost. Guardians Screening Script 9/6/12 Avid 53. TOOTH Of course you were. We were all someone before we were chosen. JACK What? NORTH (CHUCKLES) You should've seen Bunny. BUNNYMUND Hey, I told you never to mention that! Jack, confused, is trying to process all this. JACK That night at the pond...I just, why I assumed...Are you saying, are you saying I had a life before that? With a home? And a family? TOOTH You really don't remember? Jack's expression says it all. Finally the key to all his questions. JACK All these years, and the answers were right here. If I find my memories, then I'll know why I'm here. (TO TOOTH) You have to show me. Jack, using his control of the wind, lifts up off the ground and flies across the pond. TOOTH I...I can't, Jack. Pitch has them. Jack floats down onto a rock, overlooking the Guardians. JACK Then we have to get them back! Suddenly, a patch of Tooth's feathers fall out, and disappears. The Guardians eyes fill with worry. TOOTH Oh no! Guardians Screening Script 9/6/12 Avid 54. Jack is stricken. He looks back -- the ancient MURAL begins TO DISINTEGRATE-- TOOTH (CONT'D) The children. We're too late. NORTH No! No! No such thing as too late! (GETS IDEA) Wait, wait, wait, wait, wait, wait, wait. Idea!! HAHH!! He's gleeful. The others look at each other as if he's nuts. NORTH (CONT'D) We will collect the teeth! TOOTH What? NORTH We get teeth! Children keep believing in you! TOOTH We're talking seven continents! Millions of kids! NORTH Give me break! You know how many toys I deliver in one night? BUNNYMUND And eggs I hide in one day? North turns to Jack. NORTH And Jack, if you help us, we will get you your memories. Jack looks to Tooth, who gives him a reassuring smile. Sandy gives to enthusiastic thumbs up while Bunny groans. Jack looks back to North with a smile. JACK I'm in. CUT TO: Guardians Screening Script 9/6/12 Avid 55. SEQ. 1350 - TOOTH COLLECTION EXT. SHANGHAI ROOFTOPS - NIGHT We transition to the SHANGHAI SKYLINE as North BOOMS up out of a chimney, dashing along the rooftops. NORTH (LAUGHS) Quickly! Quickly! North BOOMS down another chimney as Bunnymund races into view a rooftop away. BUNNYMUND Here we go, here we go... Jack zips into view, calling out to Bunny. JACK Hop to it rabbit, I'm five teeth ahead! BUNNYMUND Yeah right, look, I'd tell you to stay outta my way, but really what's the point -- because you won't be able to keep up anyway. JACK Is that a challenge, cottontail? BUNNYMUND Oh, you don't wanna race a rabbit, mate. As we pan across the rooftops, BOOM! North bursts up out of a nearby chimney. NORTH A race? Is it a race?? North jumps into one chimney, then shoots out of another across the way. NORTH (CONT'D) This is going to be... North disappears down yet another chimney only to emerge with a bang out the top of another. Guardians Screening Script 9/6/12 Avid 56. NORTH (CONT'D) EPIC!! As North leaps out of frame, Tooth darts into view, in hummingbird overdrive, dazzled by the lights and traffic. Baby Tooth struggles to keep up. TOOTH Four bicuspids over there! An incisor two blocks east! Is that a molar? They're EVERYWHERE! Tooth, overwhelmed, jets off without paying attention and SUDDENLY -- THOOMP -- she smacks into a TOOTHPASTE BILLBOARD. TOOTH Ow! Jack jumps up to the billboard to check on her. JACK Ah, you okay? TOOTH Fine...sorry, it's been a really long time since I've been out in the field. JACK How long is a long time? TOOTH Ah, four hundred forty years...give or take. Tooth jerks to attention: suddenly her VIEW ZOOMS IN thru a LITTLE GIRL'S BEDROOM WINDOW: a tiny GLOW under her pillow marks a freshly planted TOOTH. Tooth gasps and her eyes go wide -- she FLIES to the window, excited. Jack reacts, looks to Baby Tooth: it's gonna be a long night. JACK Hmm... INT. BOY'S BEDROOM - NIGHT Jack, cocksure, arrives outside an open window. His smile suddenly disappears when he sees a RABBIT HOLE open up in the bedroom floor and Bunny hops out. Guardians Screening Script 9/6/12 Avid 57. EXT. BOY'S BEDROOM - NIGHT - CONTINUOUS Bunny, now holding the tooth in his paw, turns to Jack and laughs. Jack, not amused, zaps Bunny with burst of frost from his staff. BUNNYMUND (O.S.) Aaahhh! EXT. MIDDLE EAST - NIGHT The Guardians fly over a Middle Eastern city in North's sleigh as the full moon lights up the night sky. INT. KID'S BEDROOM - NIGHT North pulls TWO teeth, one with each hand: TWINS. NORTH TWINS (BEAT) Yipa!! INT. BOY'S BEDROOM - NIGHT Bunny pulls out his hand from under a pillow revealing SEVERAL TEETH. BUNNYMUND Jackpot! Pull out wider to reveal HOCKEY TROPHIES, POSTERS and PARAPHERNALIA EVERYWHERE. Bunny grins. BUNNYMUND Looks like you're a bit of a brumby, hey mate. INT. BOY'S BEDROOM - NIGHT North stands at the side of a boy's bed. NORTH (LAUGHS) Is piece of pie! He falls into a rabbit hole, finding himself face to face with Bunny. He growls. SANDMAN enters and takes the boy's tooth for himself. Guardians Screening Script 9/6/12 Avid 58. BUNNYMUND Ow! NORTH (LOUD WHISPER) That's my tooth! Sandy! Sandy! EXT. BEDROOM - NIGHT Jack parkours between two buildings and into a window. INT. BEDROOM - NIGHT - CONTINUOUS Jack flies in through the window when suddenly, a rabbit hole appears. As Jack disappears through the rabbit hole, Bunny appears through an adjacent hole laughing to himself. INT. BEDROOM NIGHT Tooth reaches under a pillow and pulls out a Tooth with a mouse attached to the other end. Baby Tooth tackles the mouse. TOOTH Whoa, whoa, whoa! Take it easy there, champ! He's one of us! Part of the European division. (to the mouse) Ca va? The mouse gestures back angrily. EXT. SKYLINE - NIGHT North and the Guardians, riding North's sleigh, exit a wormhole. North laughs as they fly over the city. INT. BEDROOM - NIGHT Bunny pulls a note from under a pillow instead of a tooth. BUNNYMUND Huh? The note shows an arrow, pointing toward the window. He looks up to the window: North holds up a tooth as he grins, then leaps off the ledge laughing. Guardians Screening Script 9/6/12 Avid 59. EXT. ROOFTOP - NIGHT Bunny lands on a rooftop, holding a tooth in his paw, and proud of himself. Then, Bunny hears the sound of ice and FROST-- BUNNYMUND Crikey! --and disappears from view. Bunny is now sliding down the side of a roof on a sheet of ice. Jack grabs the tooth from Bunny's paw as he slides past and holds it high in the air. JACK (LAUGHS) Yes! Jack holds up the tooth, but within moments a hand snatches it. Jack looks to see Sandy waving `bye-bye' as he flies off on his Dreamsand cloud. JACK No! EXT. ROOFTOP - NIGHT North dances across a rooftop and quickly drops into a chimney to enter a house -- we DROP FAST THROUGH THE ROOF AND CEILING... INT. HOUSE UNDER ROOFTOP - CONTINUOUS ...to see BUNNY'S PAW as it LIGHTS THE FIREPLACE. Bunny grins demonically in the firelight. BUNNYMUND Haha! Ho, ho, ho! EXT. PARIS - SKLYLINE - NIGHT A large burst of fire shoots out the top of a distant chimney. NORTH (O.S.) Ahh! Guardians Screening Script 9/6/12 Avid 60. EXT. ROOFTOP - NIGHT Jack, North, Sandy, and Bunny stand proudly. Each one of them revealing their own bag filled with teeth to Tooth. Tooth is overwhelmed by their collective effort. TOOTH Wow! You guys collect teeth and leave gifts as fast as my fairies. Their eyes widen and Tooth is suddenly panic stricken. TOOTH (CONT'D) You guys have been leaving gifts, right? The rest of the group turns to each other, sinking their heads and biting their lips in embarrassment. EXT. LAUNDROMAT - NIGHT - CONTINUOUS The Guardians stand in line, waiting their turn to put dollar bills into a coin dispenser. A SERIES OF CLOSE SHOTS, VERY FAST - Baby Tooth puts a COIN under a pillow. - Now Jack puts a coin under a pillow. - North's hand pulls a Tooth from under a pillow. He replaces it pair of CANDY CANES and a few COINS. - Bunny stomps his feet and falls through a rabbit hole to reveal a pair of Easter Eggs atop a child's bed. - Sandy walks through a doggy door with a coin in his hand. In shock, he sees North laughing while arranging Christmas decorations in the child's bedroom. INT. BOY'S BEDROOM - NIGHT A young boy, holding a stuffed animal and a sippy cup to his mouth, looks out his bedroom window. The Guardians, cast in moonlight, bound across the adjacent rooftops. The young boy, dumbfounded, drops his juice. Guardians Screening Script 9/6/12 Avid 61. EXT. SKYLINE - NIGHT The Guardians fly across the night sky only to disappear through a snowglobe portal. Nearby, a Nightmare observes as the sleigh vanishes. It leaps off the roof, through a drain, and down into the sewers. CUT TO: SEQ. 1650 - PITCH'S LAIR INT. PITCH'S LAIR - NIGHT The SPY NIGHTMARE flies down into a dark cavernous space. Large STEEL CAGES hang all around and trapped inside are the MINI TEETH. The Nightmare heads toward Pitch, standing at his own GLOBE, which is conspicuously covered in lights. PITCH The lights...why aren't they going out? The Nightmare approaches from behind and lets out a soft whiney; Pitch stiffens at the news. PITCH They're collecting the teeth? The MINI TEETH perk up at this, and start twittering excitedly, which echoes throughout the lair. PITCH Oh pipe down, or I'll stuff a pillow with you! The Mini Teeth begin to settle down. PITCH looks at the Nightmare, frustrated, and scowls. The Nightmare winces and disperses into tiny particles. A strand of NIGHTMARE SAND from the Nightmare twirls in the air, and Pitch twists it with his fingers, turning it into a crude image of the SANDMAN. PITCH Fine, have your last hurrah. For tomorrow, all you pathetic scrambling will be for nothing. Guardians Screening Script 9/6/12 Avid 62. And he crushes the image in his fist. CUT TO: SEQ. 1575 - IN JAMIE'S BEDROOM INT. JAMIE'S BEDROOM - CONTINUOUS A cool looking ROBOT TOY rests on Jamie's bedside table. Jamie is sound asleep in bed. A smile across his face reveals the recently formed gap between his teeth. TOOTH (O.S.) Left central incisor, knocked out in a freak sledding accident. I wonder how that could have happened, Jack? Jack laughs as he looks at JAMIE'S DRAWING of himself during the SNOWBALL FIGHT on the wall. He's midair, blasting his friends with snowballs. He smiles and then turns to Tooth. JACK (LAUGHS) Kids, huh? He watches as Tooth reaches under the pillow. She hovers over Jamie as he stirs in his sleep. A dreamy smile comes over her as she gazes down at the sleeping boy. TOOTH This was always the part I liked most - seeing the kids. (BEAT) Why did I ever stop doing this? A beat; Jack sees how much it means to her. JACK It's a little different up close, huh? Tooth gives him a look: he's right. TOOTH Thanks for being here, Jack. I wish I had known about your memory, I could've helped you. Guardians Screening Script 9/6/12 Avid 63. JACK Yeah, well, look let's just get you taken care of. Then it's Pitch's turn, huh? A sudden COMMOTION. They both turn to the window. NORTH Here you are! North, carrying a large sack over his shoulder, struggles to climb in through the small window. Sandman and Baby Tooth climb in after. Everybody whispers. TOOTH SSHHHHHHHH!! NORTH Oh, what gives slowpokes!? Jamie is still sound asleep. NORTH How you feeling, Toothy? TOOTH Believed in. NORTH (LAUGHS) Haha! That's what I want to hear. BUNNYMUND (O.S.) Oh I see how it is... Bunny comes in through a rabbit hole in the floorboards. BUNNYMUND (CONT'D) All working together to make sure the rabbit gets last place. North now holds his index fingers up to his lips. NORTH SSSHHHHHHHHH!!! JACK You think I need help to beat a bunny? Check it out, Peter Cottontail. Jack lifts up his sack of teeth. Guardians Screening Script 9/6/12 Avid 64. BUNNYMUND You call that a bag of choppers? (lifting larger sack) Now that's a bag of choppers. NORTH Gentlemen! Gentlemen! This is about Tooth. It's not a competition! But if it was -- (reveals even larger sack) I win. YEEEEEHAAAHH! And he strikes a Russian dancing pose as... Suddenly a bright circle of light is cast on the Guardians. NORTH (CONT'D) Oh no... JAMIE (O.C.) (SURPRISED) Santa Claus? They all turn slowly to see Jamie sitting up in bed, holding a flashlight, wide awake and beaming in disbelief. JAMIE (CONT'D) The Easter Bunny?...Sandman...The Tooth Fairy! I knew you'd come! TOOTH Surprise! (GIGGLING) We came! JACK He can see us? Jamie looks around, amazed, he sees everyone but Jack. BUNNYMUND Most of us. TOOTH Shhh! You guys, he's still awake. BUNNYMUND Sandy! Knock him out! They all look to him, scandalized. Jamie looks concerned. JAMIE Huh? Guardians Screening Script 9/6/12 Avid 65. BUNNYMUND With the Dreamsand, ya gumbies. But then Jamie's GREYHOUND rises up into frame, fully awake, its nostrils flaring at the scent he's picked up. JAMIE No, stop that's the Easter Bunny. What are you doing, Abbey? Down! The dog is nose to nose with Bunnymund. BUNNYMUND Alright, nobody panic. JACK (ENJOYING THIS) But that's a um, that's a greyhound. Do you know what greyhounds do to rabbits? BUNNYMUND I think it's a pretty safe bet he's never met a rabbit like me - While Sandy forms a Dreamsand baseball, Jack rolls his eyes and notices an alarm clock on the bedside table. BUNNYMUND (CONT'D) Six foot one, nerves of steel, master of tai-chi and the ancient ART OF-- Jack can't resist: he reaches over stealthily and SETS OFF THE ALARM CLOCK with his staff. RRRRRIIIIING! BUNNYMUND Crikey. Bunny is off like a shot, the greyhound right on his tail, running laps in the small room, the dog barking like crazy. JAMIE Stop! Sit! Sandy, amused, makes a Dreamsand baseball to stop the dog, but bobbles it as the dog brushes past. JAMIE Down girl, down! The others stand out of the way as Bunny and the dog run up the walls and over the bed. Guardians Screening Script 9/6/12 Avid 66. As Tooth tries to silence the alarm clock, Jack can barely contain his laughter. Sandy takes aim as Bunny and the dog run circles around him-- NORTH Sandy, Sandy! The dog jumps past North, knocking him back. NORTH Ah! As Sandy winds up, the dog suddenly SMACKS right into him. The Dreamsand goes flying. TOOTH Hey, this is not proper Tooth Fairy behavior! North ducks out of the way as the Dreamsand sails toward him. The Dreamsand baseball smacks Tooth right in the face and explodes into golden dust. Tooth and her fairy fall to the ground as a golden tooth takes shape above their heads. Streams of Dreamsand make their way around the room. BUNNYMUND (O.C.) Ah, this thing's rabid! Get this dingo off me! Bunny gets a whiff of the golden sand. The image of a carrot quickly takes shape in front of his face. BUNNYMUND Oh no. THUD! Bunny falls over asleep. THUD! So does the dog. North tries to scramble out of the way, but there's no escape in this tiny room. NORTH Candy canes... He teeters for a moment as Dreamsand candy canes appear before him, then falls like a giant Sequoia, landing - THUD! - on the end of Jamie's bed, which sends Jamie catapulting through the air. JAMIE Whoaaaaaaaaaa! Luckily he lands -- OOF! -- in Sandy's arms. He starts to wake up AGAIN, but Sandy is there with a fistful of sand -- BOOF! -- and Jamie too is out cold. Guardians Screening Script 9/6/12 Avid 67. Jack and Sandy look down at the sleeping boy, relieved. Then they look around -- a heap of sleeping, snoring bodies. JACK Whoops... Bunny is snuggled up next to North. A carrot and candy canes, made of Dreamsand, hold hands as they dance above Bunny and North's head. Jack comes down off the dresser and turns to Sandy, who has put Jamie back in bed. Sandy lifts North's arm and lets go, it's completely limp and falls flat. Sandy smiles at Jack, who chuckles. JACK Oh, I really wish I had a camera right now. Sandy eyes suddenly widen. There's a Nightmare behind Jack. Jack turns to see A NIGHTMARE staring through the window. Without hesitation, Jack jumps out the window after it. JACK (O.S.) (SHOUTS) Sandy, c'mon! We can find Pitch. Sandy pauses for a moment, then follows Jack's lead. BACK IN JAMIE'S ROOM - INTERCUT The sleeping Guardians are where we left them. Jamie's bedroom door opens, and Sophie toddles in. She takes in the scene, amused. She toddles over to North, giggling. She pokes at his rotund belly. Then she notices something. She reaches into his pocket and pulls out a snow globe. SOPHIE Pretty! She looks over to see the Easter Bunny, sound asleep on the floor. SOPHIE Bunny! Hop! Hop! Hop! Suddenly the snow globe lights up. Sophie's eyes widen as she looks at the beautiful vista inside the globe. It's Bunny's warren. She takes the globe and toddles off for the door, when she trips - again - and the snow globe smashes on the floor. Guardians Screening Script 9/6/12 Avid 68. SOPHIE Ow! BOOMF!! A flash of LIGHT. She looks up to see a magical portal open in front of her. A GUST WIND comes blowing out of the portal. Sophie giggles, and toddles through the portal. North's bleary EYES pop open mid-snore. NORTH Whuh-huh...? CUT TO: SEQ. 1600 - SANDMAN ATTACKED EXT. BURGESS NEIGHBORHOOD - NIGHT TWO NIGHTMARES zigzag along the rooftops, searching for victims. Jack, loving the chase, is in hot pursuit with Sandy, who's riding along on a streak of Dreamsand-- JACK Wahooo! (BEAT) Haha! Yes! One of the Nightmares splits off, angling for a BEDROOM WINDOW. Sandy calmly follows-- The Nightmare flies right through the WINDOW and SANDY does the same -- the OTHER ONE angles up over the house's ROOF to evade Jack, who PARKOURS over the roof after it-- JACK Waaahahoooo! Through the WINDOWS BELOW, FLASHES OF GOLDEN and SICKLY GREEN LIGHT race through the house as Sandy battles the Nightmare-- The Nightmares and Jack ZOOM away from the house just as Sandy and the FIRST NIGHTMARE blast out of the window, Sandy wrestling it until -- POOF! It explodes into golden DREAMSAND which he quickly transforms into a Sting Ray for him to ride-- Guardians Screening Script 9/6/12 Avid 69. EXT. DOWNTOWN BURGESS - CONTINUOUS Jack flies through town on the heels of the Nightmare. It makes a sharp turn down an alleyway and Jack is quick to follow. The Nightmare then veers up the wall of the alley and onto a ROOFTOP. Jack whips a blast from his staff and HITS the Nightmare before it disappears from view. JACK (JAZZED) HAAAH! I got it! Jack jumps up onto the roof and prods the frozen Nightmare with his staff. JACK Sandy! Sandy, did you see that?!? Look at this thing! Jack can barely contain his excitement as he calls out to Sandy -- but suddenly Pitch lurches out from behind an air conditioning unit on the rooftop. PITCH Frost? Jack blasts a WAVE OF FROST across the rooftop, but Pitch easily dodges it, reappearing behind Jack on the adjoining rooftop. PITCH You know, for a "neutral party" you spend an awful lot of time with those weirdos. (BEAT) This isn't your fight, Jack. Jack's eyes narrow. He holds out his staff, ready to strike. JACK You made it my fight when you stole those teeth. Pitch regards him curiously. PITCH Teeth? Why do you care about the teeth? When he notices something and turns to find Sandy calmly standing on the rooftop next to him. Pitch quickly sidesteps, moving away from Sandy. Guardians Screening Script 9/6/12 Avid 70. PITCH (CHUCKLING) Now this is who I'm looking for-- Before Pitch can finish a DREAMSAND STREAM whips around him, forcing him to duck and dodge Sandy's sudden attack. PITCH Whoa--?? Pitch DISPERSES a stream of NIGHTMARE SAND, turning it into a gigantic sickle and swings it back at Sandy. Jack ducks, avoiding injury as Sandy's pushed back against a ledge. Sandy quickly grabs Pitch with another DREAMSAND STREAM and yanks him off his feet, slamming him repeatedly against the tops of the buildings until finally throwing him off the rooftop. Pitch bounces off the ground as he crashes into an EMPTY STREET. As Sandy dusts his hands and calmly steps off the rooftop to follow, Jack looks on, astonished. JACK Remind me not to get on your bad side. EXT. EMPTY STREET - CONTINUOUS Pitch shakes off the crash, trying to back up as Sandy touches down and moves toward him, Jack following. Pitch cowers on the ground in fear as they approach. PITCH (looks up, pleading) Okay, easy! You can't blame me for trying, Sandy. You don't know what it's like to be weak and hated. It was stupid of me to mess with your dreams. So I'll tell you what- Sandy continues forward, grim faced...but suddenly Pitch stops cowering and stands up. His tone changes. PITCH (CONT'D) You can have `em back! Before Jack and Sandy can react, a Nightmare shoots up through a storm drain as several other Nightmares gather in the alley behind him. Guardians Screening Script 9/6/12 Avid 71. Jack and Sandy look around as hundreds of Nightmares descend from the surrounding rooftops to encircle them. This doesn't look good. Jack, worried, looks to Sandy and mutters... JACK You take the ones on the left, I'll take the ones on the right? Meanwhile, Pitch rises up from off the ground as Onyx takes shape underneath him. Pitch grabs onto Onyx's mane as it snorts and snarls. He then leans forward. PITCH Boo! Pitch's army of Nightmares begin to charge. Then suddenly, the sound of BELLS and REINDEER echo in the distance-- NORTH'S SLEIGH bursts through the clouds. Jack and Pitch look up into the sky as it circles overhead. The sleigh turns toward Pitch, only to fly a few feet over his head. Pitch turns as it passes over him, slightly confused. NORTH'S SLEIGH North's asleep at the wheel, along with Bunny and Tooth. Suddenly, the sleigh clips one of its skis as it flies over City Hall, jolting North to attention. NORTH Ah! Bunny awakes with a fright from a bad a dream. BUNNYMUND Get outta my warren! (realizes he's awake now) Huh? EXT. EMPTY STREET - CONTINUOUS Still battling Nightmares, Sandy propels himself and Jack into the air with a stream of Dreamsand and launches Jack away from the Nightmares. Jack quickly orients himself and knocks an oncoming Nightmare with his staff. Tooth quickly jumps off the side of the sleigh toward Jack and Sandy. Guardians Screening Script 9/6/12 Avid 72. Jack, knocks away a few more Nightmares with his staff, and looks up. Tooth suddenly flies into view through the swarm of Nightmares, slicing them apart with her wings, causing them to EXPLODE into BLACK SAND. PITCH Pitch gives a signal and leaps into the air, leading another wave of Nightmares after the Guardians. SLEIGH Back in the sleigh, Bunny jumps out and lands on a nearby roof. Bunny quickly tosses his boomerang which disintegrates every Nightmare in its path. Bunny catches the returning boomerang, leaps off the roof, and grabs the skids of the sleigh as it passes by. THE SLEIGH North stands, drawing both his scimitars, and dices the oncoming Nightmares to bits as they attack. NORTH Ha. Ha. Ha. Come on! Jack heads back to the sleigh by dodging two Nightmares as they attack. As he continues his descent, Jack is suddenly blind sided by another Nightmare, which knocks the staff from his hands. For a moment, Jack is in a state of panic as he finds himself in free fall. JACK Aaaaaaaah! He finally manages to hook onto the staff, control his descent, and land on the sleigh as it flies past. BUNNYMUND (coolly, to Jack) You might want to duck. Jack DUCKS as a Nightmare rears up behind him, but one of Bunny's BOOMERANGS blasts through it and zips back to Bunny's waiting paw. Guardians Screening Script 9/6/12 Avid 73. SANDY Sandy high up in he clouds, does his best to contain the MASS OF NIGHTMARES that are swirling around him. PITCH Pitch rises from behind a group of Nightmares. He stretches his arms as an ARROW of NIGHTMARE SAND forms behind him. SLEIGH Jack and the Guardians watch as more Nightmares speed away to join their herd. Sandy looks overwhelmed by the onslaught. JACK We gotta help Sandy! NORTH Hyah! North cracks the reigns, turns the sleigh, and heads toward the swirling cloud of yellow and black sand. PITCH Pitch takes aim and releases the arrow. It flies through the air and into SANDY'S back, exploding on impact. SLEIGH The Guardians look on, horrified. JACK Noooo! Jack leaps ahead of the sleigh and flies toward Sandy. NORTH Jack! PITCH Sandy feels the shock and turns around. A patch of blackness starts slowly spreading across his body. Pitch laughs as he and Sandy lock eyes. Guardians Screening Script 9/6/12 Avid 74. PITCH Hahahahaha!...Don't fight the fear, little man. THE SLEIGH The Guardians continue to speed toward Sandy, but Nightmares begin colliding with the sleigh, slowing their progress. NORTH Hurry, hurry! PITCH Pitch relishes this moment of triumph. PITCH I'd say sweet dreams, but there aren't any left. Sandy, his eyes filled with terror, falls to his knees as the patch of blackness continues to spread. JACK Jack presses on, trying to reach Sandy as fast as he can. SANDY Sandy stands up, accepting his fate, and closes his eyes as he and his Dreamsand cloud are consumed by the writhing blackness of the Nightmare sand. THE SLEIGH NORTH Sandy... JACK Horrified, clenches his staff as he flies toward Pitch. JACK No...NOOOOOO!!!! Guardians Screening Script 9/6/12 Avid 75. SANDY Sandy's gone. His beautiful Golden Dreamsand, now black, merges with the rest of Pitch's Nightmare sand. PITCH Is beyond delighted. His plan actually worked! Pitch then notices Jack flying towards him, glowing energy emanating from Jack's staff. Pitch raises his hands and sends a massive wave of Nightmares toward Jack. THE SLEIGH The Guardians are stunned. JACK Jack quickly realizes that's he's in over his head as the attacking Nightmares begin to overtake him. He's engulfed by Nightmares and there is nothing but silence. PITCH Pitch looks on with a smile until a bolt of lightning suddenly erupts from within the writhing black sand. JACK JACK Ahhhhhh!!!!! A gust of wind blows past Pitch, quickly followed by a massive wave of ice and frost that rockets back up the stream of Nightmare sand toward him, culminating in an explosion of ice and snow. PITCH AAAHH!!!! EXT. BURGESS - NIGHT Jack free falls back to Earth, unconscious. NORTH Jack! Guardians Screening Script 9/6/12 Avid 76. Tooth quickly rescues him and sets him back down in the sleigh. TOOTH Jack, how did you do that? JACK (REGAINING CONSCIOUSNESS) I, I didn't know I could. EXT. BURGESS FOREST - NIGHT Pitch pulls himself laboriously from the mud and weeds amongst the trees where he's crash-landed, oddly, he seems delighted. He looks up to see a BRIGHT GLOW -- North's SNOWGLOBE PORTAL. The sleigh zooms into it and it WINKS OUT. Pitch shakes the FROST from his arms as scores of Nightmares swarm behind Pitch, regrouping after the blast. Pitch, at the center, seems as pleased as can be. PITCH Finally! Someone who knows how to have a little FUN! CUT TO: SEQ. 1700 - GUARDIANS REGROUP INT. NORTH POLE - GLOBE ROOM - DAY We're in the midst of a somber ceremony, marking the passing of Sandy. Burning candles line the perimeter of Sandy's stone emblem. Tooth sets down a candle and stands shoulder to shoulder with North and Bunny. The three hold hands in solace. The ringing of somber bells can be heard echoing throughout the chamber, as we reveal the elves and a yeti ringing the elf bells as part of a ceremonial dirge. INT. NORTH POLE - GLOBE ROOM - DAY - MOMENTS LATER Jack, facing a window, FROSTS OVER THE GLASS with his finger to form a symbol of Sandy. North slowly walks up behind him. Guardians Screening Script 9/6/12 Avid 77. NORTH Are you alright? Jack remains still, his eyes fixed on the image of Sandy. JACK I just, I wish I could've done something. NORTH Done something? Jack, you stood up to Pitch. You saved us. JACK But Sandy wo-- NORTH (putting his hand on JACK'S SHOULDER) Would be proud of what you did. Jack pulls back his hoodie and stands up. NORTH (CONT'D) I don't know who you were in your past life, but in this life you are Guardian. JACK But how can I know who I am, until I find out who I was? NORTH You will. I feel it, in my belly. Jack and North approach the globe which is losing lights at an alarming rate. TOOTH Look how fast they're going out. JACK (GETTING IT) It's fear. He's tipped the balance. Jack drifts up closer the globe. He looks at the lights going out, then back to the Guardians. There's a nervous tension in the room. BUNNYMUND (twirling his boomerang) Hey, buck up ya sad-sacks. Come on! We can still turn this around! (MORE) Guardians Screening Script 9/6/12 Avid 78. BUNNYMUND (CONT'D) Easter is tomorrow and I need your help. I say we pull out all the stops and we get those little lights flickering again! CUT TO: INT. NORTH POLE - FACTORY FLOOR - DAY A massive wooden door swings open; North leads Jack and the Guardians through the doorway, into an elevator, and through his factory. NORTH Bunny is right. (TO BUNNY) As much as it pains me to say old friend, this time Easter is more important than Christmas! BUNNYMUND Hey! Did everyone hear that?! NORTH We must hurry to the Warren. Everyone, to the sleigh! BUNNY Ohh no, mate. My warren my rules. Buckle up. Bunny directs the groups attention to the ground. He taps his foot and a rabbit hole opens up under their feet. NORTH Shostakovich! CUT TO: SEQ. 1775 - PREPARATION FOR EASTER INT. BUNNYMUND'S TUNNELS - DAY The Guardians plummet through Bunny's tunnels. INT. BUNNYMUND'S WARREN Jack, Bunny and Tooth arrive gracefully in the warren's antechamber, while North and the yetis comes to a crashing halt. Guardians Screening Script 9/6/12 Avid 79. NORTH (CHUCKLES) "Buckle up." Is very funny. BUNNYMUND Welcome to the warren-- Bunny stands before them when suddenly, he shifts his attention. He turns, his ears perk up and his nose sniffs the air. BUNNYMUND Something's up. Something's amiss. A faint scream begins to echo from within the depths of one of Bunny's egg tunnels. Tiny eggs come scuttling out from the tunnel. Bunny grabs his boomerang, North draws his sword, and Jack readies his staff as the sounds of booming footsteps, screams, and the rustling of foliage grows louder. BUNNYMUND Ahhhh! Bunny begins to charge toward the tunnel. At his side are the Guardians, yetis, and sentinel eggs all bellowing their loudest battle cries until...Sophie bursts out. All momentum comes to a halt. JACK Sophie? They immediately withdraw their weapons, mildly embarrassed. Sophie giggles and immediately runs after one of the elves. SOPHIE Elf, elf, elf! BUNNYMUND What is SHE doing HERE!!? North looks down at his coat pocket - ooops. NORTH (EMBARRASSED) Ah, snow globe. BUNNYMUND Crikey! Somebody do something! JACK Don't look at me, I'm invisible, remember? Guardians Screening Script 9/6/12 Avid 80. Sophie giggles as she drags the elf by the bell atop its uniform. TOOTH (CONFIDENT) Don't worry, Bunny. I bet she's a fairy fan. (flies up to Sophie) It's okay little one. SOPHIE (TO TOOTH) Pretty! TOOTH Awww! You know what, I got something for you. Here it is. (she pulls something out) Look at all the pretty teeth with little blood and gum on them. Sophie runs away screaming. JACK (LAUGHS) Blood and gums? When was the last time you guys actually hung out with kids? Meanwhile, Sophie is running around the warren, exploring and playing. Sophie pokes her head into a small tunnel. SOPHIE Peek-a-boo. NORTH We are very busy bringing joy to children! We don't have time... (EMBARRASSED) ...for children. Jack walks toward her, forming a SNOWFLAKE, which floats over toward Sophie. She tries to grab at it. JACK If one little kid can ruin Easter, then...we're in worse shape than I thought. Sophie follows the snowflake as Jack leads it over to Bunny. SOPHIE Weeee! Weee, weee, weee! Guardians Screening Script 9/6/12 Avid 81. The snowflake lands on Bunny's nose and his concerns suddenly seem to slip away. Jack's magic is taking affect. INT. BUNNYMUND'S WARREN - DAY - MOMENTS LATER Close up on a flower, that opens to reveal an egg. The egg stands up wobbly on its spindly little legs. We pull out to reveal Sophie and Bunny's faces looking on, Sophie amazed, Bunny proud. BUNNYMUND You wanna paint some eggs? Yeah? SOPHIE Okay! BUNNYMUND Come on then! We pull out further to reveal a massive stone spire, covered in moss, as thousands of unpainted eggs stream down the side of it toward a green meadow. North and Jack stand in the midst of it all, slack-jawed, as the eggs rush towards them. NORTH Rimsky Korsakov! That's a lot of eggs. JACK Uh, how much time do we have? A GREEN MEADOW SOPHIE Weeeeee! BUNNYMUND Woooohoooo! Bunny hops into view, Sophie clinging to his back smiling, leading a huge mass of eggs down a wide PATH. As he passes, FLOWERS BLOOM on either side in his wake, BLASTING the passing eggs with color as they go. BUNNYMUND (V.O.) Alright troops, it's time to push back. That means eggs! Everywhere! Guardians Screening Script 9/6/12 Avid 82. THE SORTING STONES North looks out over the eggs as they get sorted. NORTH (WALLA) Single file! Sophie, on her back, is carried by the eggs through the sorting stones. She giggles as North waves at her while she passes by. BUNNYMUND (V.O.) Heaps of you in every high-rise, farm house and trailer park! Baby Tooth flies across the screen, diverting our attention to a multicolored stream off in the distance. BUNNYMUND (V.O.) In tennis shoes and cereal bowls! Baby Tooth joins an elf, who stands alongside an egg at the edge of a cliff. The elf pushes the egg over the cliff, into the stream, and celebrates with a victory dance. BUNNYMUND (V.O.) Oh, there will be bathtubs filled with my beautiful googies! The elf turns just in time to see a stampede of colored eggs come barreling toward him. They knock him off the cliff as he and the eggs spill into the multi-colored stream below. A SPARKLING STREAM Colored eggs wade through the water, emerging with SECONDARY COLORS and intricate PATTERNS of all kinds. An unlucky egg veers off and gets stuck in a WHIRLPOOL. We see a hand fish it out to reveal North, who looks at the egg curiously. It's now got a SPIRAL PATTERN on it and its little LEGS kick madly. NORTH Okay, that's little strange. BUNNYMUND Naw, mate -- Bunny's surrounded by butterflies and cute little eggs. Guardians Screening Script 9/6/12 Avid 83. BUNNYMUND (CONT'D) That's adorable. As a technicolored elf climbs out of the stream, North sets the egg down and lets it rejoin the herd. A GREEN MEADOW As Sophie leads a parade of eggs, Bunny jumps to an adjacent rock and sits up to address the eggs as they walk in stride. Meanwhile, Jack rides atop a group of sentinel egg that are marching in the back ground. BUNNYMUND There will be springtime! On every continent! And I'm bringing hope with me! A GREEN MEADOW - CONTINUOUS CLOSE ON: a line of eggs running down curled vines as yetis sprinkle them with glitter. They continue on down various vine corkscrew-like shoots, decorating the eggs with stripes. A confused elf emerges from the vines, striped with paint and walks off. A GREEN MEADOW - CONTINUOUS The striped elf walks past a Yeti, painting a mound of eggs red. Bunny enters frame and hops across the screen. BUNNYMUND Too Christmas-y, mate, paint `em blue. The Yeti throws its arms up in defeat and tosses the eggs. A GREEN MEADOW - MOMENTS LATER A beautifully painted egg hides in the grass. BUNNYMUND (O.S.) Oh, what's over there? Sophie appears, spots the egg, and delicately lifts it out of the grass. She holds it close to admire the intricate detail of its shell. Sophie brings the egg to Bunny for him to inspect. Guardians Screening Script 9/6/12 Avid 84. BUNNYMUND (CONT'D) That's a beauty! Bunny takes Sophie by the hand and leads her through a stone archway. BUNNYMUND (CONT'D) Now all we gotta do is get him and his little mates through the tunnels, to the top, and we'll have ourselves Easter. THE STREAMS OF COLORED EGGS Bunny looks out proudly at the eggs gathered in front of the TUNNELS in the distance. Jack approaches from behind and makes his way alongside Bunny, who holds Sophie in his arms. Its our first real vista of the whole warren. It's a spectacular sight. JACK Not bad. Sophie yawns and begins to fall asleep. Bunny turns to Jack with a smile. BUNNYMUND Not bad yourself. JACK Look, I'm sorry about that whole, you know, the "kangaroo" thing. BUNNYMUND It's the accent, isn't it? North comes up from behind with Tooth at his side. They turn toward Bunny, marveling at the sight of Sophie, fast sleep. It's touching. Bunny's face softens, as if remembering a distant memory. BUNNYMUND Ah, poor little ankle-biter. Look at her, all tuckered out. TOOTH I love her! They look up from the sleeping toddler toward Jack. He's taught them something today. Guardians Screening Script 9/6/12 Avid 85. TOOTH I think it's time to get her home. Bunny hands the sleeping Sophie over to Tooth. JACK How about I take her home? TOOTH Jack, no! Pitch is-- JACK --no match for this. (twirls his staff) BUNNYMUND Which is why we need you here, with us. The Guardians look at Jack with concern. JACK Trust me, I'll be quick as a bunny. CUT TO: SEQ. 1804 - RETURNING SOPHIE INT. SOPHIE'S BEDROOM - NIGHT Jack tries to lay a sleeping Sophie down in her bed, but she won't let go of his neck. Finally, she releases her grasp only to roll over and fall out of bed. Baby Tooth gives Jack a scornful look. JAMIE'S MOM (O.S.) Sophie? Is that you? Jack and Baby Tooth's eyes widen. Sophie, asleep on the floor, is quickly covered with a blanket and given a squeaky stuffed animal. EXT. SOPHIE'S BEDROOM WINDOW - CONTINUOUS Jack closes the window and looks to Baby Tooth with a sign of relief. JACK We should get back. Guardians Screening Script 9/6/12 Avid 86. Baby Tooth nods, when... VOICE FROM A MEMORY (O.S.) (LAUGHING) Jack... Jack stops, confused. Where is that voice coming from? He looks out across the town, toward the woods, and the sound of the echoed voice. JACK That voice, I know that voice... Baby Tooth looks to him, worried. VOICE FROM A MEMORY (O.S.) Jack... With that, Jack leaps off the window ledge. EXT. BURGESS - A MOMENT LATER Jack, carried by the wind, flies across town toward the sound of the eerie voice. Baby Tooth follows, trying to keep up. Jack takes a moment to orient himself and lands, settling on a rotating vent; as the momentum slowly spins him around, the voice calls out to him again. VOICE FROM A MEMORY (O.S.) Jack... Jack turns, looks to the woods, and takes off. EXT. WOODS - BURGESS - A MOMENT LATER Jack and Baby Tooth land in the middle of a thickly wooded area. It's spooky. Jack scans the forest when again he hears... VOICE FROM A MEMORY (O.S.) Jack... Jack gives chase. He sprints through the thickets and enters a clearing only to find the decrepit remains of a rotting frame from a child's bed. Very creepy. What would that be doing in the woods, and how long has it been here? JACK Don't worry, there's still time. Guardians Screening Script 9/6/12 Avid 87. Baby Tooth desperately tries to get Jack's attention by tugging at his tunic, and tweeting desperately. Jack takes his staff, and breaks through the damaged frame, revealing a hole leading deep underground. VOICE FROM A MEMORY (O.S.) Jack... What to do? Jack jumps down the hole, reluctantly followed by Baby Tooth. CUT TO: SEQ. 2100 - PITCH TRICKS JACK INT. PITCH'S TUNNELS Jack continues along a long dark tunnel with Baby Tooth close behind. Eventually the labyrinth opens up to reveal a huge underground cavern. Baby Tooth continues to tug at Jack's tunic. JACK (waving Baby Tooth off) Baby Tooth, Baby...come on! (BEAT) I have to find out what that is. INT. PITCH'S INNER SANCTUM - CONTINUOUS Jack can't believe his eyes. Dozens of huge bird cages hanging from the ceiling, and in them are the mini tooth fairies. They see Jack, and immediately perk up, tweeting and flitting like crazy. Jack jumps up onto one of the cages, then quickly leaps and holds onto the side of another one. JACK (WHISPERS) Shhhh! keep it down. (leaps to another cage) I'm gonna get you out of here, just as soon as I -- VOICE FROM A MEMORY Jack... Jack turns away from the fairies, distracted. Guardians Screening Script 9/6/12 Avid 88. VOICE FROM A MEMORY Jack... JACK (under his breath) As I can -- Jack looks down and sees the tooth drawers from Tooth's Palace. Mounds of them heaped to the ceiling. And inside the drawers are the missing baby teeth. He drops down to a mound and begins rummaging through the drawers, looking at the names on the boxes. In an instant he forgets his duties, and the fairies, and the Guardians and everything except those teeth, and the chance to finally get his memory back. The cavern suddenly goes darker than it already was. Jack finally looks up, as a shadow of Pitch crawls up a nearby column. PITCH (O.S.) Looking for something? Jack swings around with his staff, shooting off a blast of ice, but Pitch isn't there. Jack takes off, following the sound of Pitch's cackle as it echoes throughout the chamber. Jack rounds a corner as he sees Pitch's shadow glide across the walls into a shadowed corridor. PITCH (O.S.) Don't be afraid, Jack. I'm not going to hurt you. Jack continues along a shadowed corridor. JACK Afraid? Jack sees Pitch on a bridge across the cavern and heads after him. JACK (CONT'D) I'm not afraid of you! PITCH Maybe not. But you are afraid of something. Jack steadily approaches, cautious and alert. JACK You think so, huh? Guardians Screening Script 9/6/12 Avid 89. PITCH I know so. It's the one thing I always know. Pitch finally turns to face Jack. PITCH (CONT'D) People's greatest fears. Yours is that no one will ever believe in you. Panic flashes in Jack's eyes. As he backs away, the chamber fills with shadows, and Jack is spun around. He's disoriented as he thuds into a wall, which flips to reveal that it's actually the ground. Pitch, unseen now, chuckles. Jack's unsure of where he is. He looks back to see the cavern entrance -- he's right back where he started. PITCH (O.S.) And worst of all, you're afraid you'll never know why. Why you? Why were you chosen...to be like this? Jack discovers that the entrance has been blocked with bricks as Pitch's shadow encroaches on him. PITCH Well fear not, for the answer to that... Pitch is now directly in front of Jack, holding out a tooth box. PITCH (CONT'D) Is right here. Jack's eyes widen at the sight - the face of a young boy etched into the box, and under it is the name "Jack Frost." PITCH Do you want them, Jack? Your memories? He holds them out to Jack. Jack stares, fighting the impulse to grab them. He closes his eyes, struggling to make a decision, but when he opens them again, Pitch has disappeared. Pitch's shadow moves across the pillars of the cavern. Guardians Screening Script 9/6/12 Avid 90. Jack heads down a corridor, cast shadows from the Mini Tooth cages everywhere. PITCH (O.S.) Everything you wanted to know... Pitch's face moves in and out of the shadows over the following. PITCH ...in this little box. Every time Jack turns, Pitch disappears. It's like Jack's trapped in a fun house. Multiple Pitch shadows have appeared on the wall around Jack. They're closing in on him. PITCH Why did you end up like this? Unseen. Unable to reach out to anyone. (BEAT) You want the answers so badly. You want to grab them, and fly off with them. But you're afraid of what the Guardians will think. Jack's breath quickens. He's been pushed into a corner. PITCH You're afraid of disappointing them. (SMILES) Well let me ease your mind about one thing. They'll never accept you. Not really. The shadows have overcome Jack. JACK (trying to scramble away) Stop it! Stop it! Almost reluctantly, the shadows back away and Pitch appears before Jack. PITCH After all, you're not one of them. Jack aims his staff at Pitch. JACK You don't know what I am! Guardians Screening Script 9/6/12 Avid 91. PITCH Of course I do. You're Jack Frost. You make a mess wherever you go. Why, you're doing it right now. Pitch tosses the box to Jack, who instinctively catches it. Jack looks up. Terror comes into Jack's eyes, as he realizes... JACK What did you do? PITCH More to the point Jack, what did you do? Pitch begins to back away, becoming one with the darkness, laughing as he disappears. Jack charges towards him only to be swallowed whole by one of Pitch's black holes. CUT TO: SEQ. 2200 - GUARDIANS BREAK WITH JACK INT. EGG TUNNEL - DAY Jack flies out of Pitch's shadow, ready to strike. Suddenly, Jack realizes he's forgotten something. JACK Baby Tooth! He turns to re-enter the hole in the wall only to find himself face to face with one of Bunny's stone emblems. PITCH (O.S.) Happy Easter, Jack. Jack turns around. Suddenly, his eyes fill with dread as he realizes where he is. Thousands of broken egg shells lay strewn about, forming a path toward the light at the end of the tunnel. JACK No. EXT. PARK - ENGLAND - DAY Bunny peaks through the bushes to take in the scene - an Easter Egg hunt. Guardians Screening Script 9/6/12 Avid 92. BRITISH KIDS (WALLA) There are no eggs. There's none anywhere. I give up. Come on, let's go. I don't understand. Bunny checks the eggs in his basket, then looks back toward the kids. BRITISH GIRL Maybe he just hid them really well this year. Bunny, egg basket in hand, approaches a group of kids who seem to be wandering around searching halfheartedly, disappointed and listless. BUNNYMUND (O.S.) Kids! Oi! BRITISH BOY I checked everywhere! There's nothing! BUNNYMUND (steps towards them) Yes there is! There is! I mean these aren't my best lookin' googies, but they'll do in a pinch! He holds out a broken Easter egg. The kids just stare. BRITISH GIRL I can't believe it. BUNNYMUND I know. BRITISH GIRL There's no such thing as the Easter Bunny. The girl turns to leave. BUNNYMUND What? BRITISH KIDS (O.S.) (WALLA) Easter's over. Forget this. It's only then that we realize he's too late. The spark of childhood has already been extinguished in all of them. Guardians Screening Script 9/6/12 Avid 93. BUNNYMUND No! Wrong! Not, not true! I'm right in front of ya, mate! BRITISH KIDS (WALLA) There's no such thing. I know. The kids walk through Bunnymund as if he were a ghost. Bunny is stunned by this, and finally realizes... BRITISH KIDS (O.S.) (CONT'D) (WALLA) Now come on. I don't understand. Why wouldn't he come? Let's get out of here. Easter Bunny, where are you? This is the worst Easter ever. BUNNYMUND They don't see me. (BEAT) They don't see me. JACK's watching this all unfold and it's heartbreaking, because he knows it's his fault. Tooth flies to Bunny's side. Jack hears a rustle in the bushes behind him. NORTH (O.S.) Jack, where were you? Jack sees North, with his scimitars drawn and having just come from battle. He's exhausted, wild-eyed, distraught. NORTH (CONT'D) The Nightmares attacked the tunnels. They smashed every egg, crushed every basket. Nothing made it to the surface. TOOTH (O.S.) Jack! Tooth rejoins the group from off screen. TOOTH (CONT'D) (GASPS) Where did you get that? Jack looks down at the tooth box in his hand, then back to Tooth. JACK I was...it's... Guardians Screening Script 9/6/12 Avid 94. TOOTH Where's Baby Tooth? (FEELING BETRAYED) Oh Jack, what have you done? NORTH That is why you weren't here? North steps forward to confront Jack. NORTH (CONT'D) You were with Pitch? JACK No, listen, listen...I'm sorry. I didn't mean for this to happen. BUNNYMUND (O.S.) (TO OTHERS) He has to go. Jack turns to see Bunny, disheartened. JACK (STUNNED BEAT) What? BUNNYMUND We should never have trusted you! (FORLORN) Easter is new beginnings, new life. Easter is about hope. (BEAT) And now it's gone. Bunny turns away and moves toward the park, looking at the sign that reads, `Easter Egg Hunt.' This is like a punch in Jack's gut. He looks back to Tooth and North, both of whom look away, too hurt by Jack. He looks at them with a pained expression. This is exactly what Pitch said would happen. Jack reaches into his pocket, pulls out the tiny Russian nesting doll that North had given him, drops the doll to the ground, and takes off. As Jack leaves, carried off by the wind, we see the tiny Russian nesting doll laying on the ground. CUT TO: Guardians Screening Script 9/6/12 Avid 95. SEQ. 2600 - JAMIE STILL BELIEVES EXT. JAMIE'S HOUSE - DUSK Jamie, atop a ladder, strains for what looks like an Easter egg, hiding in the rain gutter. The ladder totters and Jamie loses his balance, beginning to fall. JAMIE Whoaaa, whoa, whoa...aaaah! Jamie grabs the gutter but it breaks loose, sending Jamie crashing down into a mound of snow. As Jamie gets up off the ground, he sees that the Easter egg was in fact a dirty old tennis ball. Jamie stands up, bewildered, and dusts himself off as his friends LAUGH. A few have empty EASTER BASKETS. JAMIE Let's check the park again. CALEB Really? CLAUDE (ANNOYED) For what, the Easter Bunny? JAMIE Guys, I told you - I saw him! He's way bigger than I thought, and he's got these cool boomerang-things- CALEB Grow up, Jamie. CLAUDE (SIGHS) Ah man, seriously. JAMIE What's happened to you guys? CALEB It was a dream. You should be happy you still get dreams like that and not... They begin to turn away from him. Guardians Screening Script 9/6/12 Avid 96. CUPCAKE (HAUNTED) Nightmares. Pippa's the lone straggler. She looks tired, depressed, and hands Jamie her basket as she leaves. PIPPA Forget it, Jamie. There's just no Easter this year. CALEB (O.S.) I can't believe this. JAMIE He really is real! Pippa walks away, trailing the others. Jamie doesn't know what to believe. He hangs his head and looks into the Easter basket, it's empty. JAMIE (CONT'D) I know he is. INT. NORTH POLE - GLOBE ROOM - DAY Yetis stare at the globe of belief, in shock as more and more lights begin to fad away. We push in toward Antarctica as we- DISSOLVE TO: SEQ. 2304 - JACK IN ANTARCTICA EXT. ICEBERG - ANTARCTIC CIRCLE - DAY Jack runs to the edge of a floating iceberg, ready to throw his tooth box into the ocean. He resists, looking down at the box as he clutches it in his hand. He's never been more alone in his life. PITCH (O.S.) I thought this might happen. Pitch is revealed, standing not far behind Jack. PITCH (CONT'D) They never really believed in you. I was just trying to show you that. But I understand. Guardians Screening Script 9/6/12 Avid 97. Jack whips around and shoots a burst of frost at Pitch, but it's quickly deflected by the Nightmare sand. JACK You don't understand anything! Jack continues to attack, lashing out with his staff. Pitch blocks the attacks of ice and frost -- his control over the Nightmare sand has gained considerable strength. PITCH (SHOUTING) No? I don't know what it's like to be cast out? Pitch strikes back, putting Jack on the defense. Jack jumps in the air. Their show of force escalates until they're shrouded in a blanket of snow, ice, and wind. As the wind and snow settle, Jack looks around stern and alert. PITCH (O.S.)(CONT'D) To not be believed in. To long for a family. Jack turns around to find Pitch. There's a look of compassion on Jack's face as he listens. PITCH (CONT'D) All those years in the shadows I thought, no one else knows what this feels like. But now I see I was wrong. They lock eyes. A moment of true connection between them. PITCH (CONT'D) We don't have to be alone, Jack. This isn't a trick Pitch is making a real offer here. PITCH (CONT'D) I believe in you. And I know children will too. JACK In me? PITCH Yes! Look at what we can do! Pitch gestures to a fantastical ice and nightmare "sculpture" that was created (off-screen) when Jack attacked him. Guardians Screening Script 9/6/12 Avid 98. PITCH (CONT'D) What goes together better than cold and dark? Jack looks at the fractured reflections of themselves cast in the icy sculpture. PITCH (CONT'D) We can make them believe. We'll give them a world where everything, everything is... Jack turns to face Pitch. JACK (DEADPANS) Pitch black... Pitch, realizing how this looks, clarifies... PITCH And Jack Frost too. They'll believe in both of us. Jack stares at him, considering the offer. Then finally... JACK No, they'll fear both of us. And that's not what I want. Jack turns and walks away. JACK (CONT'D) Now for the last time, leave me alone. Pitch looks confused and hurt. This is not the response he was expecting. Then...his eyes flame with anger. He made himself vulnerable, and Jack rejected him. No more negotiating now. PITCH Very well. You want to be left alone? Done. But first... Suddenly Jack hears a familiar twitter. Pitch reaches into his coat to pull out... JACK Baby Tooth! Jack charges forward. There's terror in Baby Tooth's eyes. She squeaks as Pitch clenches her tight with his fist. Guardians Screening Script 9/6/12 Avid 99. PITCH The staff, Jack. Jack settles and the winds and snow subsides. PITCH (CONT'D) You have a bad habit of interfering. Now hand it over. (BEAT) And I'll let her go. BABY TOOTH (twitters - Don't give it to him!) Baby Tooth struggles to get loose, but Pitch only tightens his grip. She can hardly breathe. Jack has no choice. Jack...hands over...the staff. Pitch twirls the staff. JACK (re: Baby Tooth) Alright, now let her go. PITCH No. You said you wanted to be alone. (BEAT) So be alone! Baby Tooth squirms until she's finally able to peck Pitch in the hand with her beak. Pitch shrieks and throws Baby Tooth in the air and down into the mouth of a crevasse. JACK No! Jack, enraged, can't believe what he's seeing. Pitch lifts the staff, and breaks it over his knee, cracking it in two. Light EXPLODES from the staff and terror comes into Jack's eyes, clutching his chest as if in pain. Suddenly, Pitch sends a burst of Nightmare sand, blasting Jack and slamming him into the iceberg wall behind him. As the ice cracks, Jack comes loose and falls forward into the chasm below. Pitch looks down into the ice fissure chuckling. He throws the broken shards of Jack's staff down into the crevasse and casually walks away, disappearing on the horizon. CUT TO: Guardians Screening Script 9/6/12 Avid 100. SEQ. 2308 - JACK'S MEMORY EXT. ICE FISSURE - NIGHT It's cold and dark down here, and Jack is more alone than he's ever been. Battered from the fall, Jack slowly looks up and notices Baby Tooth, lying lifelessly on the ground. JACK Baby Tooth! He pulls himself to her and cradles her in his hands. JACK You alright? Baby Tooth nods, but she's hurt, and cold. Jack does his best to shield her from the cold. JACK Sorry, all I can do is keep you cold. Jack sits up and holds Baby Tooth in his hands. JACK Pitch was right - I make a mess of everything. Jack is devastated. Baby Tooth's never seen him like this; it's heart breaking...then she gets a thought. Her expression hardens with determination. She wriggles deep into his pocket. JACK Hey? Jack leans back and begins to close his eyes when he hears SOMETHING -- VOICE FROM A MEMORY Jack... Jack... -- and then he FEELS something. Looks down: There's a SOFT, GOLDEN GLOW coming from his pocket. Jack jumps, taken aback. He reaches in and pulls out the TOOTH BOX -- it's pulsing with light. VOICE FROM A MEMORY Jack... Guardians Screening Script 9/6/12 Avid 101. Baby Tooth gives him a reassuring look. Baby Tooth motions to the box, then looks back at Jack. Jack reaches to touch the box, but as he does its top magically UNFOLDS to reveal a handful of BABY TEETH - then the box and everything else glows BRIGHT WITH INTENSE LIGHT - The WALLS of the fissure seem to suddenly fall away. In brief FLASHES we see: The COLONIAL SETTLEMENT Jack visited. Children running playfully down a hill. JACK'S MOTHER Come on Jack, you can't have fun all the time. CHILDREN'S LAUGHING FACES as a familiar BOY hangs upside down from a tree limb. JACK'S SISTER Jack, get down from there! A HAPPY FAMILY at a roaring fire as the same boy jokes around with antlers on his head. COLONIAL BOY (O.S.) You're funny, Jack. Jack walks toward the woods with his sister. His mother, face unseen, calls out to him. JACK'S MOTHER Be careful. Jack shakes his head like he's heard it a million times but never pays it any mind. JACK (LAUGHING) We will. AND THEN-- START JACK'S MEMORY We are on an eye, a familiar eye but this one is brown not blue. PULL BACK to reveal young JACK, brown hair, brown eyes. He is staring directly at the camera, a look of...what is it? It's hard to read but it's VERY intense. We keep pulling back to reveal him dressed as we first saw him in 16th century clothes. Behind him, dark winter trees and snow come in to focus. Guardians Screening Script 9/6/12 Avid 102. EXT. FROZEN POND - BURGESS - DAY JACK (calm, serious) It's okay. It's okay. Don't look down, just look at me. Jack reaches slowly down and removes the second of two rudimentary ice-skates, leaving him BAREFOOT on the surface of a familiar FROZEN pond. And now we see what he sees, a girl of about FOUR (with an uncanny resemblance to Jamie's sister Sophie) stands in her skates, rooted to the spot. A spider's web of cracks emanates from where she stands. JACK'S SISTER Jack, I'm scared. CRACCKKK! The ice below her splinters more. She wobbles as it starts to separate. JACK I know, I know...but you're gonna be alright. You're not gonna fall in. We're gonna have a little fun instead. JACK'S SISTER No we're not! JACK Would I trick you? JACK'S SISTER (fighting back tears) Yes! You always play tricks! JACK (CHUCKLES) Well, alright. Well, not, not this time. I promise. I promise, you're gonna be...you're gonna be fine. Jack fixes her gaze...holds it...there's nothing but the two of them. JACK You have to believe in me. Jack's sister pauses a moment, then smiles through her fear. And just like that, Jack's demeanor changes. A light is switched on inside him and the last thing that could be happening is what is actually happening. Guardians Screening Script 9/6/12 Avid 103. JACK (CONT'D) (casual, playfully) You wanna play a game? We're going to play Hopscotch! Like we play every day! Jack's sister looks more reassured. JACK (CONT'D) It's as easy as...one...whoaaaa... And Jack shows his sister the first leap, but mugs for her, almost losing his balance then catching himself. She laughs. JACK (CONT'D) Two... (the next jump) Three! He turns toward her with his arms spread out. JACK Alright... He reaches down to pick up a familiar-looking stick lying on the ice. He extends it towards her -- JACK (CONT'D) Now it's your turn. Jack's sister looks down. She is trying to gather her courage. Jack, never breaking his gaze with her, JACK (CONT'D) (SOFTLY) One... She hops, wobbling, but catching her balance. JACK That's it, that's it...two... She's almost there, Jack's staff just beyond her reach. JACK Three. She grabs hold of Jack's staff and in one massive effort he slings her with all his might to safety. But the movement propels him into the cracked ice. He looks up to see his sister safe - smiles - and then plunges into the dark cold water. Guardians Screening Script 9/6/12 Avid 104. JACK Whoa... JACK'S SISTER Jack! Jack falls back into the icy water. SPLASH! UNDERWATER We're looking up at the hole in the ice, descending into the dark icy depths...then THE FULL MOON appears from behind the clouds as Jack's hands claw through the water towards it, but it's helpless. The MOON glows bright...brighter... Jack's BODY begins to glow, bathed in MOONLIGHT. PUSH IN on his FACE, becoming brighter and brighter until his brown hair turns white and JACK'S BRIGHT BLUE EYES flash open -- EXT. MOUNTAIN FISSURE - NIGHT The icy walls rush back in as we pull out from Jack, reeling from the memory. He sees Baby Tooth. JACK Did you -- did you see that? She shakes her head `no', tweets `of course not'! JACK It -- it was me! I had a family! I had a sister! His excitement suddenly turns to realization. JACK I saved her! He looks up at the opening above. The MOON peeks out from behind the clouds. JACK (whispers up to Manny) That's why you chose me. (TO HIMSELF) I'm, I'm a Guardian. The Moon seems to shine a little BRIGHTER. Baby Tooth tries to take flight but she sputters and lands back in the palm of Jack's hand. Guardians Screening Script 9/6/12 Avid 105. JACK We have to get out of here. Jack looks down at the two halves of his staff, and picks them up. He tries to fit them back together, but nothing happens. He tries again, this time using every ounce of strength left in him. Baby Tooth watches, her eyes widening as, a SPARK of blue light shoots off the staff. Jack continues to push, until a the icy blue light spreads and melds the two ends of the staff back together. Jack smiles. EXT. ICEBERG - DAY Suddenly Jack, with Baby Tooth tucked safely in his tunic, SHOOTS UP out of the fissure, high into the sky and through the clouds. JACK Come on Baby Tooth! I owe you one. CUT TO: SEQ. 2500 - THE LAST LIGHT INT. PITCH'S LAIR - NIGHT A SERIES OF QUICK CUTS: The Mini Teeth TWITTER as Jack jumps from CAGE to CAGE, opening them as he goes. Jack opens another cage and notices the fairies standing still. JACK Come on, let's go. Jack looks around and notices that all of the Minis are still in their cages. JACK (CONT'D) What's wrong?! The fairies are just standing around, listless. JACK (CONT'D) None of you can fly? Baby Tooth directs Jack's attention to the Globe at the base of Pitch's lair. JACK The lights... Guardians Screening Script 9/6/12 Avid 106. INT. NORTH POLE - FACTORY FLOOR A Yeti very carefully sets the last of a group of newly painted red robot dolls on a shelf. He breathes a sigh of relief. Suddenly, the entire factory begins to shake, knocking the robot doll to the ground. He dives after it, juggles it in the air, and catches it just before it hits the ground. Suddenly, streaks of BLACK SAND whoosh up into and around the factory. The dark sand snakes its way up and around the globe, causing the Yetis and Elves to scatter and knocking TOYS to the floor. The Yetis and Elves look up in horror as the black sand, now covering the globe, gives rise to Pitch, who stands before them cackling. PITCH You're all free to go! We won't be needing any Christmas toys this year, thank you! Nor ever again! The yeti with the robot dolls sinks his head and sighs in defeat. INT. PITCH'S LAIR - NIGHT Jack lands on the ground, now standing before PITCH'S GLOBE -- and it looks almost completely devoid of light. JACK They're all going out... INT. NORTH POLE - DAY Pitch is practically dancing across North's globe, he's so giddy, counting down as the last few lights go dark. PITCH Only six left! Six precious children who still believe in the Guardians with all their h-- (a lights blinks out) Make that, five. (ANOTHER) Oo! Four! (MOUNTING) Three! (ECSTASY) TWO! Guardians Screening Script 9/6/12 Avid 107. His eyes widen as he snaps his fingers with anticipation and glee. All of his hard work and planning - finally paying off! Pitch stares down at the one last light, waiting for it to go out. He snaps his fingers a few more times. Still nothing. His smile fades. His face goes cold as he realizes... PITCH (TO HIMSELF) One. INT. PITCH'S LAIR - NIGHT Jack jumps up onto the globe to closely inspect the last light. The light is brought into full view. Jack smiles. JACK Jamie! We're tight on the globe, where the LAST LIGHT flickers. We PUSH IN to the light and... EXT. BURGESS - NIGHT ...down onto the streets of Burgess. We race over the town until we land on Jamie's house, a single light shining from his bedroom window. DISSOLVE TO: SEQ. 2000 - JACK AND JAMIE INT. JAMIE'S ROOM - CONTINUOUS Jamie is sitting up in bed, talking to an old stuffed rabbit, and whispering. JAMIE Okay look, you and I are obviously at what they call a crossroads, so here's what's gonna happen - Jack appears outside Jamie's window and moves closer to get a better look. JAMIE (CONT'D) If it wasn't a dream and if you are real, then you have to prove it. Like right now. Guardians Screening Script 9/6/12 Avid 108. Jamie waits. He looks around expectantly. Jack looks on from outside the window, wondering if anything will happen. JAMIE (desperation creeping in) I've believed in you for a long time, okay? Like my whole life in fact. So you kinda owe me now. Jamie picks up his stuffed rabbit and holds it close. JAMIE (CONT'D) You don't have to do much, just a little sign so I know. Anything. (BEAT) Anything at all. He waits. It's excruciating. JAMIE (A WHISPER) I knew it. Jamie lets the stuffed animal fall to the floor. Jack comes into the room and watches as the light slowly fades from Jamie's eyes, disbelief setting in. Jack doesn't know what to do. He takes a moment to concentrate, then enters the room. Then, Jamie notices the window as the panes of glass freeze over. The image of an Easter egg suddenly appears... JAMIE (seeing the window) Huh? Jamie looks down at the stuffed rabbit on the floor. He can barely comprehend what he's seeing. Jamie looks back to the window as more of the window panes frost over. Jamie's eyes get huge with amazement. JAMIE He's real. Jack, excited, continues to exert himself trying to bring life to his drawing. And when he does, the frost rabbit comes leaping off of the window. JAMIE Whoa... The rabbit hops around Jamie's room, bursting like a snowball over Jamie's head, the snowflakes sprinkling down on him. Guardians Screening Script 9/6/12 Avid 109. JAMIE Whoa! Jack is as amazed as Jamie. But Jamie's amazement turns to confusion. JAMIE Snow? A snowflake lands on the tip of Jamie's nose. The snowflake glows a magic blue. And in that moment a light comes into Jamie's eyes - an idea starts to take hold. JAMIE (WHISPER) Jack Frost? JACK (a stunned beat) Did he just say--? Jamie stands up on his bed. JAMIE Jack Frost. JACK (DISBELIEF) He said it again. He said -- (BEAT) You said... Jamie turns around and suddenly his eyes go wide... JAMIE Jack Frost. JACK That's right! But-but that's me! Jack Frost! That's my name! You said my name! Jamie's mouth drops open. Only then does Jack realize... JACK Wait, can you hear me? (JAMIE NODS) Can you... Can you see me? (JAMIE NODS) He sees me. He sees me! Jack leaps for joy, and the room suddenly explodes with snow. Jamie can't believe it. Guardians Screening Script 9/6/12 Avid 110. JAMIE You just made it snow. JACK I know! JAMIE In my room. JACK I know! JAMIE You're real? JACK Yeah! Who do you think brings you all the blizzards and snow days, and you remember when you went flying on that sled the other day?! JAMIE That was you? JACK That was me! JAMIE Cool! JACK Right?! JAMIE But what about the Easter Bunny and the Tooth Fairy I mean-- JACK Real-real-real! Every one of us is real! JAMIE I knew it! Jamie's mom calls from down the hall... JAMIE'S MOM (O.S.) Jamie, who are you talking to? JAMIE Um...Jack Frost. Guardians Screening Script 9/6/12 Avid 111. JAMIE'S MOM (O.S.) (a little chuckle) ...okay. Suddenly, the sound of thunder and North's sleigh as Jack and Jamie look to the open window. SMASH CUT TO: SEQ. 2800 - JACK AND GUARDIANS REUNITE EXT. STREETS OF BURGESS - NIGHT NORTH (O.S.) Whoa, whoa, whoa... NORTH AND TOOTH arrive on the sleigh completely out of control, and crash land outside Jamie's house. The reindeer are separated from the sleigh and run into the woods. A disheveled Tooth and North emerge from the wreckage. NORTH Ah, moi deti! Come back! As North stands, his back suddenly gives out. TOOTH North! Are you okay? NORTH Is official. My powers are kaput. TOOTH Look! (GASP) Jack! Jack comes flying toward them. TOOTH (flies to him) Jack--! Tooth falters and falls to the ground. JACK You okay? They greet each other with a smile as North draws near. Guardians Screening Script 9/6/12 Avid 112. NORTH What are you doing here? JACK Same as you. Jack looks off to the side as Jamie appears from out of his backyard. NORTH The last light! JAMIE (to North and Tooth) Wow! It is you! I mean it is you! I knew it wasn't a dream. NORTH Jack! He sees you! Jack puts a protective hand on Jamie's shoulder. Jamie looks up at him and smiles. Jack and North exchange a look. JACK Wait, but, where's Bunny? NORTH Losing Easter took its toll on all of us. Bunny most of all. Jack's face goes pale. North lowers his head in sadness. Then a twitchy-nosed LITTLE BUNNY appears on the sleigh. JACK Oh...no... JAMIE (CHUCKLES) That's the Easter Bunny? BUNNYMUND Now somebody sees me! I mean, where were you about an hour ago, mate? JAMIE What happened to him? He used to be huge and cool! And now he's cute. Jamie gently tickles Bunny under his chin. Bunny begins involuntarily thumping his paw. BUNNYMUND Oh, that's good. Guardians Screening Script 9/6/12 Avid 113. Bunny catches himself and pushes Jamie's hands away. BUNNYMUND (CONT'D) (TO JACK) Did you tell him to say that? (hops over to Jack) That's it! Let's go! Me and you! Come on! JAMIE No! Actually he told me you were real. Just when I started to think that maybe you weren't. Bunny stops. Did he just hear that right? BUNNYMUND He made you believe? In me? A moment of reconciliation between them, broken by the sounds of THUNDER. The Guardians look to the sky to see Pitch enveloped by dark clouds as he stares down at them from atop a writhing mass of Nightmare sand. JACK (to the others) Get Jamie out of here. NORTH Be careful, Jack! Jack leaps into the air, and goes flying directly at Pitch. Meanwhile, the Guardians take Jamie to find shelter. ON PITCH His eyes flash with anger at see Jack coming toward him. PITCH Jack Frost! Let's end this, shall we? Pitch sighs as he rolls his eyes and flies down to meet Jack head on. EXT. STREETS OF BURGESS - NIGHT Jack sends a blast of ice and frost at Pitch as he barrels toward him. Pitch easily absorbs the attack with his Nightmare sand. Guardians Screening Script 9/6/12 Avid 114. PITCH That little trick doesn't work on me anymore. Jack's plan backfires as Pitch charges ahead and unleashes a roaring fury of Nightmare sand that knocks Jack out of the sky. EXT. STREETS OF BURGESS - MOMENTS LATER Jamie and the Guardians do their best to avoid the patrolling Nightmares. North struggles to keep up. BUNNYMUND Quick, this way this way! Bunny leads them down an alley, but it's no use. BUNNYMUND (CONT'D) Dead end. Other way other way! Jack suddenly falls from the sky, lands on a dumpster, and falls limp to the ground. THUD! The others turn their attention and wince. JAMIE Jack! They rush to Jack and help him to his feet. NORTH That was good try, Jack! A for effort! JACK (groaning in pain) He's stronger. I can't beat him. North and Tooth trade looks of concern. Then, a menacing chuckle. The Guardians keep a watchful eye as Nightmare shadow streaks across the alley. PITCH (V.O.) All this fuss over one little boy. And still he refuses to stop believing. A CRACK of Thunder reveals the shadow of an approaching Nightmare as the sounds of hooves clacking against the ground echoes from the opposite end of the alley. Guardians Screening Script 9/6/12 Avid 115. PITCH Very well. There are other ways to snuff out a light. Bulbs start bursting as the arm of a shadow moves across the remaining lights in the alley. Terror in Jamie's eyes. What does that mean? BUNNYMUND If you want him, you're gonna have to go through me! With a finger raised, the shadow arm glides along the floor, curling around the back of Bunny. PITCH (laughing, genuinely) Look how fluffy you are! Would you like a scratch behind the ears? Bunny jumps back into North's arms. BUNNYMUND Don't you even think about it! Pitch comes into view, riding atop Onyx. A gleeful smile strewn across his face. PITCH I can't tell you how happy it makes me to see you all like this. You look awful. They are weak and defenseless. But still the Guardians gather around Jamie, to shield him from whatever may come. JAMIE Jack, I'm scared. There's a sudden moment of realization. Jack has heard these words before. JACK'S SISTER (V.O.) Jack, I'm scared. CUT TO: EXT. FROZEN POND - FLASHBACK - DAY We pan up from the ice to find his sister as he saw her in his memory. She is smiling. Guardians Screening Script 9/6/12 Avid 116. JACK (V.O.) I know, I know. But you're gonna be alright... CUT TO: EXT. STREETS OF BURGESS - NIGHT Jack, wide eyed. JACK We're gonnna have a little fun, instead. (BEAT) That's it. That's my center. Jamie gives Jack a questioning look. What does Jack have in mind? Pitch gets closer. PITCH So what do you think, Jamie? Do you believe in the Boogiema... BOOF! A snowball suddenly hits Pitch in the face. Two Nightmares look at each, unsure how to react. Jamie can't help but snicker and North lets out a chuckle. Jack looks around the alley. He spots a wooden crate, a trash can lid and a discarded wok amidst a pile of trash. JACK Now let's go get your friends. Pitch wipes the snow from his face and looks up to see a track of ice leading out of the alleyway. Jack, Jamie and the Guardians are gone. SMASH CUT TO: EXT. THE STREETS AND ROOFTOPS OF BURGESS - NIGHT An aerial view of Burgess. The streets are empty and the city is quiet. Suddenly a streak of blue begins to materialize, making its way through the tranquil suburb. A man walks his dog across an empty street when suddenly a cold wind blows behind him. Jack and Jamie come flying past, leaving a trail of ice in their wake. And on that ice - the Guardians careen along in make-shift sleds. They are scared and thrilled, but they're having fun. Guardians Screening Script 9/6/12 Avid 117. JACK Yeah! Come on! JAMIE Whoa! Cool! INT. CUPCAKE'S BEDROOM - NIGHT - MOMENTS LATER A terrified Cupcake lies in bed awake. The Guardians' reflections streak across the window when suddenly, BOOF! A snowball strikes the pane of glass. Cupcake pulls the covers down to find that it's suddenly SNOWING inside! As the snow circles around Cupcake's head, she sits up and smiles. EXT. PIPPA'S HOUSE - CONTINUOUS Pippa sits in bed amazed as it snows in her room. She hears a KNOCK at her window and moves toward it to find Jamie floating outside. She throws open her window and looks down to the ground to reveal that they are two stories up. PIPPA Jamie, how are you doing that?! JAMIE Jack Frost! Come on, we need your help! Jamie takes off flying down the street, and as a snowflake lands on her nose she suddenly sees him. PIPPA Hey is, is that? MONTY (O.S.) Jack Frost! Pippa looks up to see Monty across the street with his head out the window and snow coming down in his room, a gaping smile across his face. EXT. CLAUDE AND CALEB'S HOUSE - NIGHT - CONTINUOUS Caleb and Claude sit up in bed in amazement, staring at the snowflakes as they stream down from the ceiling. Guardians Screening Script 9/6/12 Avid 118. CLAUDE Huh?! THUD! The twins look down to find neatly wrapped gifts at the feet of their beds as a jolly voice bellows in the distance. NORTH (O.S.) Merry Christmas! The twins open their window, amazed to see their heroes sled past. BUNNYMUND Happy Easter! TOOTH Don't forget to floss! Caleb looks to his brother, dumbfounded. Suddenly Cupcake skids past, laughing and screaming on her own sled. CLAUDE Cupcake? And so it goes through the town. CLAUDE (WALLA) Yeah! PIPPA (O.S.) Jamie you were right! CALEB The Easter Bunny's real! PIPPA (O.S.) And the Tooth Fairy! CLAUDE And Santa! MONTY (O.S.) They're all real! CUT TO: Guardians Screening Script 9/6/12 Avid 119. SEQ. 2900 - SHOWDOWN EXT. STREETS OF BURGESS - MOMENTS LATER Jack, the Guardians, and the children all come to gliding halt on their sleds. They look up to see Pitch standing atop a building with a confident smile, while the clouds stir behind him. Monty, late to the party, comes running joyously past Jamie and the Guardians who stand in silence as they stare up at the sky. MONTY Whoa, yeaaaaaaaah!!! (sees Pitch, makes U-Turn) Ahhhhhhhhhhhh! PITCH You think a few children can help you? Against this! The Nightmare sand storm descends from the sky. North draws his sword, but the weight of the blade pulls him down. He can barely stand. Jack moves to North's side as they look back to Jamie, noticing the concern on his face. JACK They're just bad dreams, Jamie. BUNNYMUND And we'll protect you, mate. PITCH Aww, you'll protect them. (SMILES) But who will protect you? Jamie takes a moment to reflect while his friends look up at the sky in fear. Jack looks down, surprised, to see that Jamie has taken a position in FRONT of him. JAMIE I will. Suddenly, Jamie's friends move to join him. CUPCAKE I will. CALEB AND CLAUDE I will. Guardians Screening Script 9/6/12 Avid 120. PIPPA And me. MONTY (RELUCTANT) I'll try. The Guardians, amazed, watch as the kids squeeze past them. PITCH Still think there's no such thing as the boogeyman? Pitch's wave of Nightmare sand snakes its way through town causing destruction wherever it goes and converges toward a single point as it heads straight toward the kids. JAMIE I do believe in you. I'm just not afraid of you. Jamie thrusts out his hand toward the Nightmare wave. His friends follow suite, just as the Nightmare sand smashes into them. As it makes contact, the black sand...bursts into streams of GOLDEN DREAMSAND. KIDS (WALLA) Whoa...whoaaaa! Everyone is amazed, hardly believing their eyes. Streams of Dreamsand swirl around the children. And then it's pandemonium. The Nightmares buck and jump as the sand makes its way past them. ON PITCH He watches, aghast, as his precious Nightmares transform back into golden Dreamsand and makes its way across town. EXT. STREETS OF BURGESS - NIGHT Tooth, amazed, watches as her wings suddenly flutter with a resurgence of strength and energy. She takes off and flies past the kids who cheer her on. CUPCAKE (WALLA) Yeah, Tooth Fairy! Whooaaa! North's eyes widen. He straightens his back and unsheathes his scimitars. Guardians Screening Script 9/6/12 Avid 121. MONTY (WALLA) Whoa, yeah! ON PITCH PITCH No! Get them! Pitch gives a signal and sends another wave of Nightmares toward the Guardians. PITCH (CONT'D) Do your jobs! ON BUNNY The petite rabbit looks at himself, waiting to be transformed. BUNNYMUND Oh yeah, come on, come on! When suddenly he's pursued by a snarling Nightmare. BUNNYMUND (CONT'D) Oh, crikey! Bunny takes off running. ON NORTH North throws two snowglobes down to the ground, through which an army of yetis and elves emerge. CALEB AND CLAUDE No way! ON BUNNY Bunny tries to scurry under a parked car in order to evade the attacking Nightmare, but he is snatched by his tail before he can get away. BUNNYMUND I'm just a bunny! Suddenly, Bunny transforms back to his normal size and whips out his boomerangs while being held upside down. Guardians Screening Script 9/6/12 Avid 122. BUNNYMUND (CONT'D) G'day, mate! Bunny kicks the Nightmare, flips into the air, and throws his boomerangs which slice through two more Nightmares, turning them to dust. Bunny drums his feet on the ground and an army of sentinel eggs suddenly rise up out of the earth. Caleb finds himself riding on top of one as they join the yetis and elves in battle. CALEB (WALLA) Whoa! BUNNYMUND (WALLA) Come on! Wooooohoooo! Elves riding toy ducks and planes come flying in overhead like bombardiers, turning Nightmares into puffs of black sand as they fly through them. The kids look to see a Nightmare charging toward them, only to stop in it's tracks once the kids turn to face it. CUPCAKE Let's get `em! KIDS Aaaaaahhhhhh! The kids, accompanied by two elves in a bike and side car, charge an incoming Nightmare. The elf behind the wheel lunges toward it, biting at its haunches. CUPCAKE (WALLA) Come on guys, we can do it! The kids put their hands on the Nightmare, turning it to Dreamsand. CUT TO: EXT. BUILDING ROOFTOP - NIGHT Pitch looks down with a smile at the chaos in the streets below. Suddenly, a THUD! Pitch turns toward the noise to see Jack on the roof. Guardians Screening Script 9/6/12 Avid 123. Jack quickly sends a streak of frost toward Pitch's Nightmares, disabling a few of them. CUT TO: EXT. STREETS OF BURGESS - NIGHT - CONTINUOUS The Guardians turn toward the explosions of ice and snow taking place atop the surrounding buildings. CUT TO: EXT. BUILDING ROOFTOP - NIGHT - CONTINUOUS Pitch begins to charge and responds with an attack of his own. Jack jumps to an adjacent roof and lets out another blast of ice. CUT TO: EXT. STREETS OF BURGESS - NIGHT - CONTINUOUS BUNNYMUND (TO NORTH) All yours, mate. Bunny taps his foot on the ground and creates a rabbit hole for North and himself to travel through. CUT TO: EXT. BUILDING ROOFTOP - NIGHT - CONTINUOUS Jack runs into Pitch as he rounds the corner of a chimney. Pitch let's a Nightmare arrow fly, which is suddenly deflected by Tooth as she flies through the area and takes out a few Nightmares of her own. JACK Thanks, Tooth! Suddenly, Bunny comes flying out of a nearby chimney, drawing his boomerang as he lands. BUNNYMUND (THROWING BOOMERANG) Ho, ho, HO! Guardians Screening Script 9/6/12 Avid 124. The Nightmares surrounding Pitch explode into dust as the boomerang tears through them. CUT TO: EXT. BUILDING ROOFTOP - NIGHT - CONTINUOUS North shoots out of a bunny hole, his scimitars at the ready, only to have landed on a roof some distance from the Guardians. NORTH Hyah! (LOOKS AROUND) Wrong roof. CUT TO: EXT. BUILDING ROOFTOP - NIGHT - CONTINUOUS Pitch tries to escape the attacking Guardians and slips into a nearby shadow, emerging through the side of the building. North jumps off the roof to greet him mid-air with his scmitars. CUT TO: EXT. STREETS OF BURGESS - NIGHT - CONTINUOUS Pitch is knocked to the ground. As he gets to his feet he forms a scythe with his Nightmare sand and begins crossing swords with North. In an instant Pitch finds himself surrounded by the Guardians. Each of them take their turn to deal Pitch a few humiliating blows. EXT. STREETS OF BURGESS - NIGHT - CONTINUOUS Jamie looks over Caleb's shoulder as a wisp of Dreamsand leaves his palms and rises into the air. CALEB Look at that! JAMIE (gets an idea) I got it. (off their confused looks) (MORE) Guardians Screening Script 9/6/12 Avid 125. JAMIE (CONT'D) I know what we have to do! Guys, come on! Jamie leads his friends as they follow the streams of Dreamsand down the street toward the growing mass of golden sand. CUT TO: EXT. STREETS OF BURGESS - NIGHT - CONTINUOUS The Guardians advance toward Pitch. JACK It's over Pitch! There's no place to hide. Pitch give them a wry smile and quickly descends into the shadows, casting multiple versions of himself along the alley walls. Suddenly, in their moment of distraction, Pitch rises up behind Jack, his Nightmare sand AXE in hand. BUNNYMUND Jack, look out! The other Guardians look on in horror as-- A golden whip wraps itself round Pitch's hands. We follow the whip to reveal Sandy, coalescing from the funnel cloud of Dreamsand. He gives Pitch a look, wags his finger, and then uppercuts him into the air. KIDS (O.S.) (WALLA) Whoa! The Sandman! Sandy looks off to the side to where Jamie and his friends have gathered. He forms a Dreamsand hat and tips the cap to Jamie. Jamie, gleeful, waves back to Sandy as his friends stand behind him in awe. KIDS (WALLA) Man, this is so cool! Yeah, alright! Wahoo! Wow! Sandy then looks to his whip and tugs on it, slamming Pitch into the ground and knocking him out. The Guardians cheer as they welcome Sandy's return. Guardians Screening Script 9/6/12 Avid 126. NORTH Welcome back, old friend! JACK (STUNNED) Sandy. TOOTH Oh, Sandy. You're alright! BUNNYMUND Sandy, come here! JACK Yeah! BUNNYMUND Mate, you are a sight for sore eyes! Sandy floats into the air, and shoots streams of Dreamsand in every direction. INT. BEDROOM - NIGHT - CONTINUOUS A wisp of Dreamsand floats into a child's bedroom and touches his forehead while he sleeps. Suddenly, a Dreamsand figure forms above the child's head, it's the Tooth Fairy. INT. PITCH'S LAIR - CONTINUOUS Lights begin to appear on the globe. Baby Tooth notices this, and perks up. Her wings start to flutter. Other fairies begin to fly. They shoot down to the tooth boxes and begin opening them. We see one of the faces on a box, and transition to the actual child who she goes from sad to happy as her fondest memories flood back. We zoom out of her face to see thousands of fluttering fairies and... CUT TO: EXT. STREETS OF BURGESS - NIGHT Sophie peers out of her bedroom window, watching as streams of Dreamsand dance along the Burgess skyline. SOPHIE Pretty! CUT TO: Guardians Screening Script 9/6/12 Avid 127. EXT. STREETS OF BURGESS - NIGHT More and more windows begin to shine bright with gold as swirls of Dreamsand fill the night sky. We pull back to reveal the globe in North's sleigh, now decorated with spots of yellow light. CUT TO: EXT. STREETS OF BURGESS - NIGHT - CONTINUOUS A Nightmare comes barreling towards Cupcake. It screeches to a halt, inches from the girl's face. She gently taps the creature on the nose and turns into a Dreamsand Unicorn. CUPCAKE Whoa... A gigantic Dreamsand dinosaur foot comes down revealing a Dreamsand brontosaurus. As Dreamsand creatures fill the streets, the Guardians and children rejoice. MONTY (WALLA) Yeah! Jamie stands in awe of a school of beautiful Dreamsand fish as they float by. Suddenly, he's hit in the head with a snowball. He turns to look and sees Jack, smiling. Jamie picks up a snowball and throws it at his friends. Almost instantaneously, a snowball fight ensures. CLAUDE (WALLA) Oh yeah? Bring it on! Sandy salutes Jack and North, who are standing off to the side while the snowball fight escalates. NORTH Your center? JACK It took awhile, but I figured it out. North tosses Jack a small item. Jack catches it and looks to his open palm, it's a Russian nesting doll in the image of Jack, similar to those found in North's workshop. Jack smiles and North gives him a wink in return. Guardians Screening Script 9/6/12 Avid 128. BOOF! North is suddenly hit by a snowball and turns. He sees Claude, Caleb, and an elf; they immediately point fingers at each other. CALEB AND CLAUDE Ooohhh. A beat, until North bursts out in laughter. NORTH (LAUGHING) You're all on naughty list. (TO BUNNY) Bunny, think fast! He throws a snowball, which hits Bunny smack in the face. Pitch groans in pain, and rises up to see the town crawling with Dreamsand creatures, snowballs flying and yetis playing. PITCH (TO HIMSELF) No. He whips around to see the kids - having the time of their lives - and no fear in their eyes. He rises up, his entire body shaking with rage, and screams at them. PITCH (CONT'D) You dare have fun in my presence! I am the Boogeyman! AND YOU WILL FEAR ME! He lunges at Jamie who come running toward him, Pitch's hands outstretched as if he's going to grab him by the throat. But Jamie runs right through him, laughing, joyous. PITCH (CONT'D) Noooo! Pitch gasps, realizing that he no longer has any power over the children. The devastation plays across his face. PITCH (CONT'D) (under his breathe) No. He sees the Guardians approach, standing side by side with one another. Pitch turns and flees into the forest. Guardians Screening Script 9/6/12 Avid 129. EXT. POND - NIGHT Pitch runs through the shadows in terror. He comes crashing through the trees of the forest, and out onto the ice of the pond. He looks over his shoulder to see if the Guardians are on his tail, when BOOM! He runs smack into North's chest. Pitch slips on the ice, and falls backwards. He looks up to see North smiling down at him. NORTH Leaving the party so soon? TOOTH You didn't even say goodbye. Tooth tosses something to Pitch which he catches. He looks down. It's a quarter. PITCH A quarter? BLAM. A fist punches him right in the jaw, and a single tooth goes skittering across the ice. Tooth shakes out her hand. TOOTH And that's for my fairies. PITCH (SCOWLS) You can't get rid of me! Not forever! There will always be fear! NORTH So what? As long as one child believes, we will be here to fight fear! PITCH Really? Then what are they doing here? Hundreds of Nightmares emerge from the woods, surrounding the pond. It's terrifying, but the Guardians seem unphased. NORTH They can't be my Nightmares, I'm not afraid. JACK Looks like it's your fear they smell. Guardians Screening Script 9/6/12 Avid 130. Suddenly, Pitch's eyes get huge with terror as the Nightmares move in on him. He begins to back away, but the Nightmares pick up speed as they charge toward him. PITCH Ahhh, no....AAAAAHHHHHH!! He tries to run, but it's impossible to get his footing on the ice. He falters, and is swept up in the stampede of Nightmares. The streaks of black whip and latch themselves onto Pitch as the black cloud carries him through the forest. PITCH (CONT'D) No, no, nooooooo! Pitch struggles to escape, but the mass of black sand pulls him deep into the forest, under the frame of the broken bed, and back down into the dark depths of the underground. He looks up at the moon as he disappears and the hole in the earth seals itself up. CUT TO: SEQ. 3200 - THE OATH EXT. POND - THE MOON Pale and faint in the day, but oddly close and welcoming. It can't be, but -- is that the barest hint of a FACE on the Moon? Jack smiles as he looks up at it. He hears Tooth's laugh and turns to find North, Tooth, Bunny and Sandy, their faces shining with pride. Tooth comes flying in to give Jack a hug. She lifts him off the ground as they embrace. They share a moment and she soon recoils with giddy embarrassment as Baby Tooth interjects. Jack acknowledges Baby Tooth and gently pats her on the side of her face as North steps forward. NORTH Are you ready now, Jack? (BEAT) To make it official. Jack looks over, a stern elf is hitting a horn against his palm. A Yeti hands North the book we saw when Jack and the Guardians first met. Sandy and Bunny share a boastful look. NORTH (CONT'D) Then is time you take Oath. Guardians Screening Script 9/6/12 Avid 131. North opens the book, flips through several pages, and takes a moment before he speaks. NORTH (CONT'D) (TO JACK) "Will you, Jack Frost...vow to watch over the children of the world? Jamie and his friends along with a crowd of yetis, elves, and eggs all make their way across the pond to the rest of the group. As they approach we see settle on Jamie, who stands at the center of the group. NORTH (CONT'D) To guard them with your life - their hopes, their wishes, and their dreams? For they are all that we have, all that we are and all that we will ever be." Jack takes a second to look back at Jamie, then back to North. JACK I will. NORTH Then congratulations, Jack Frost - for you are now and forevermore...a Guardian. Jamie and the kids erupt in a CHEER, as do the Yetis and Eggs. KIDS (WALLA) Oh man! Woo! Yeah, Jack! Yeah, Jack! Yeah! Wooo! NORTH (WALLA) Yippa! BUNNYMUND (WALLA) Yeah! Wooo! Good job, mate. Good job! KIDS (WALLA) Alright! Yeah! Go, Jack! Alright! Woo. Alright! Guardians Screening Script 9/6/12 Avid 132. NORTH Klasno! North picks up Jack, gives him a hug, and kisses him on both cheeks. Jack winces, then looks up to North with a smile. BUNNYMUND (WALLA) That's my boy! Woo! KIDS (WALLA) Alright Jack. Yeah! Awesome! Imitating North, an elf picks up the elf standing next to him and gives him a big kiss. After an awkward pause, the affectionate elf is punched in the face. Jack looks to see several fairies hovering nearby, forming the shape of a heart. One of the swooning fairies faints and falls to the ground. TOOTH Keep it together, girls. KIDS (WALLA) Jack! You did it Jack! Wooo! You're in the Guardians! Yeah, Jack! Yay! Yeah! You earned it! You're Jack Frost! Yay! Awesome, yay! CALEB (WALLA) You guys, look! MONTY (WALLA) That's Santa's sleigh. The group looks up to the sky as North's sleigh comes in for a landing. The tie-dyed elf rescues a lone egg from the skis of the sleigh as it glides across the icy pond. KIDS (WALLA) Wow, it's real. That is wicked! Whoa, that was awesome! Ohh...can you believe this? Whoa, did you guys see that? That's awesome! Wow! Whoa! Guardians Screening Script 9/6/12 Avid 133. BUNNYMUND (to North, wryly) Everyone loves the sleigh. KIDS (WALLA) Wow! Look at that! So totally insane! North turns away from Bunny and puts his hand on Jack's shoulder. NORTH Time to go. As the kids look on in wonder, Sandy throws up his hands creating a shower of Dreamsand, which drifts down on the children. KIDS (WALLA) Whoa! It's beautiful. Wow, that was awesome! Meanwhile, Bunny hands an egg to Sophie who giggles and pats the brim of his nose. BUNNYMUND Happy Easter ya little anklebiter. I'm gonna miss yah. SOPHIE Bye, bye, bunny. Jamie realizes what's about to happen. JAMIE You're leaving? But, what if Pitch comes back? Jack looks back at Jamie, who seems wistful and worried. JAMIE (CONT'D) What if we stop believing again? If I can't see you -- Jack kneels down to look Jamie in the eye. JACK Hey, hey, slow down, slow down. You telling me you stop believing in the moon when the sun comes up? Guardians Screening Script 9/6/12 Avid 134. JAMIE (considers, then) No. JACK Okay, well do you stop believing in the sun when clouds block it out? JAMIE (SMILES) No. JACK We'll always be there, Jamie. And now...we'll always be here. (points to Jamie's heart) Which kind of makes you a Guardian too. Jamie smiles. Jack stands up and heads toward the sleigh. Jamie's friends stand off to the side rubbing their eyes as they become drowsy. KIDS (WALLA) I can't keep my eyes open. I think I gotta go home. Let's go home. What time is it? I'm sleepy. JAMIE Jack! Jamie runs over and wraps his arms around Jack. For a moment, Jack's astonished and then gives Jamie a warm embrace. Jack stands up and gets in the sleigh with the rest of the Guardians. NORTH Hyah! Jack and the Guardians look toward the kids as the sleigh takes off. Jamie RUNS behind the sleigh, following Jack. In spite of it all, he doesn't want to let go. The sleigh takes off into the sky. Jamie stops unable to follow. KIDS (WALLA) Woooo! Yeah! Yay! Guardians Screening Script 9/6/12 Avid 135. IN SLEIGH JACK (V.O.) My name is Jack Frost. And I'm a Guardian. How do I know that? Because the moon told me so. And when the moon tells you something, believe it. Jack moves to the back of the sleigh as the Guardians pat him on the back. Jack smiles...and forms a snowflake in his hand. For Jamie, for all of us in the theatre. It glides off his fingertips and flies toward camera as we... FADE TO WHITE \ No newline at end of file diff --git a/unformated_scripts/Script_Rise of the Planet of the Apes.txt b/unformated_scripts/Script_Rise of the Planet of the Apes.txt new file mode 100644 index 0000000000000000000000000000000000000000..0053baf59e87d3342e82244405c50e133173f3cc --- /dev/null +++ b/unformated_scripts/Script_Rise of the Planet of the Apes.txt @@ -0,0 +1 @@ + RISE OF THE PLANET OF THE APES Written by Rick Jaffa & Amanda Silver Previous revisions by Jamie Moss January 8th, 2010 EYES. Expressive, alive. Human? No. They belong to a FEMALE CHIMPANZEE: BRIGHT EYES. EXT. GROVE OF TREES -- DAY She sits in a tree with ALPHA, her mate - large and muscular, a PROMINENT WHITE BIRTHMARK ACROSS HIS SHOULDER, LIKE A SHOOTING STAR. Around them, under the TREE CANOPY, a COMMUNITY OF CHIMPANZEES naps, eats, plays. EXT. WEST AFRICAN JUNGLE - DAY A DOZEN POACHERS on horseback slog through the jungle. They're working towards the GROVE, visible in the distance. As they near it, the LEADER points, sending the MEN moving quietly, NETS and RIFLES ready. EXT. CANOPY - DAY Alpha sits up, sensing something. BIRDS take sudden flight. He stands on the branch and YELLS OUT A WARNING. FEAR ignites the community - but too late. POACHERS BURST INTO THE CLEARING, horses' hooves kicking up dirt. CHIMPS SCATTER. Bright Eyes wants to stay by Alpha's side, but he bares his teeth and sends her off. Then he drops, landing firmly on the clearing floor. All around him, POACHERS pursue terrified apes, nets swinging. MALE CHIMPANZEES jump up and down, SHOUTING AND SCREECHING - an aggressive show. A futile attempt to protect the tribe. Alpha zeroes in on a POACHER attempting to scoop up a YOUNG CHIMP. He streaks across the clearing, KNOCKS THE POACHER FROM HIS MOUNT. Alpha POUNDS his CHEST, letting out a BATTLE CRY -- trying to rally a counter-attack. But the other chimps pay no heed. There's no organization to the defense. It's chaos. SHOTS RING OUT. The Chimps mauling the Poacher drop, one by one. Others take off. 2. Alpha spots Bright Eyes across the clearing, dragged off in a net. He RUSHES to save her, leaps in the air... A SHOT RINGS OUT. BRIGHT EYES WATCHES - HORRIFIED - AS ALPHA CRUMPLES IN THE AIR AND FALLS TO THE GROUND. LIKE A STONE. FADE TO WHITE TWO FACES wearing SURGICAL MASKS lean in and peer down at us. FRANKLIN - broken horn-rimmed glasses - and CAROLINE - curly red hair under a sterile cap. CAROLINE Nanotherapy, beta version: Tuesday, March 10, 2011. Female Test subject Number four. Franklin reaches for us, smiles... FRANKLIN Here we go, Bright eyes. A MIST fogs our view for a moment. CAROLINE Not too much. She needs to be calm, but alert. VOICE THROUGH INTERCOM Go ahead - send her through. A LOUD HUM and we start moving, sliding into a tunnel a tubular CT SCAN - with a MIRROR on the top. Now WE SEE OUR FACE REFLECTED: A FEMALE APE IN A GAS MASK. Bright Eyes. INT. OBSERVATION ROOM - SAME WILL RODMAN - late twenties, lab coat over a T-shirt and jeans - stands at the glass, watching the terrified chimpanzee slide into the machine. The focus in his eyes belies the casual dress. WILL Start the scan. A TECHIE sits at a computer screen beside Will. 3. TECHIE Scanning. INT. WHITE ROOM -- DAY Another tech, DONNIE - skinny, tattooed - controls the machine, sending the restrained animal into the scanner. Caroline moves to an IV STAND beside the scan. The bag's full of a PHOSPHORESCENT GREEN LIQUID. DONNIE Stuff looks like Kool-aid. CAROLINE Go ahead, I'm sure you could use it. (OPENING VALVE) Starting the therapy... INT. OBSERVATION ROOM - SAME Will looks at a monitor showing the BRAIN SCAN OF THE CHIMP. The image starts to shake. Concerned, he looks to the other room - where he can see the CHIMP'S LEGS SHAKING IN THEIR RESTRAINTS. FRANKLIN She's convulsing. Caroline sticks a stethoscope in the tube, listens to Bright Eyes' heart. WILL (INTO INTERCOM) Please keep the monkey still. He focuses back on the monitor. CAROLINE (INTERCOM) She's not a monkey. Will looks from the monitor to Caroline. His look is intense, tough to read. She blushes slightly at the heat of his gaze. CAROLINE (INTERCOM) (CONT'D) She's an ape. Chimpanzees, gorillas and orangutans, they're all apes. 4. WILL Good to know. Just keep it from moving. She's stung, wonders, why does he have to be such a jerk sometimes. He's oblivious to this, instead intent on getting the scan right. The green liquid moves through the chimp's neck... TECHIE Here we go. Will stares at the scan, his eyes willing the test to succeed.. .the green liquid LIGHTS UP THE CHIMP'S BRAIN. CHEER FROM THE GROUP. Will fights a CONTRACTION OF EXTREME EMOTION that passes across his face. He quickly hides it - offers up a smile for the others. WILL We're on our way. (BEAT) Good work. INT. WHITE ROOM - DAY CAROLINE What is this? Caroline holds up a picture of a tree for Bright Eyes, who sits at a table in front of a LEXIGRAM, a lit-up board with colorful symbols. Bright Eyes presses a button. ELECTRONIC VOICE Tree. SUPER: "ONE MONTH LATER." Caroline holds up a picture of an acorn. CAROLINE And this? The chimp presses another button. ELECTRONIC VOICE Acorn. 5. CAROLINE Where does the acorn come from? Bright Eyes considers... then presses a button. ELECTRONIC VOICE Acorn. CAROLINE Yes, but where does the acorn come from? ELECTRONIC VOICE Acorn. CAROLINE NO - Bright Eyes interrupts, now pressing three buttons. ELECTRONIC VOICE Acorn. Tree. Acorn. The chimp looks at Caroline, who's stunned, trying to process the ADVANCED THINKING JUST MANIFESTED. Then she presses another button. ELECTRONIC VOICE (CONT'D) Surprise. The unnatural voice - paired with Bright Eyes' eerily human- like gaze - is somehow CREEPY... The IMAGE FREEZES and we... PULL BACK TO REVEAL: WILL'S OFFICE Diplomas on the wall, books everywhere. Bright Eyes looks out at Will from a computer screen. He's got two CT SCANS sitting on the desk in front of him. CAROLINE We started the therapy four weeks ago. This was yesterday. Will's studying the scans. They look good. Real good. CAROLINE (CONT'D) There's been clear cell growth. Both on the frontal lobe and the neocortex. She's purposely standing close in order to point this out. He notices but doesn't respond - there's history between them and he's regretting that - gets in the way. 6. WILL I see that. But I don't understand the primate behavioral norms. She knows an acorn's a seed. Wouldn't any monkey know that? CAROLINE No - it's conceptual. Acorn gives us a tree, which gives us an acorn. WILL Abstract thought... CAROLINE In a chimpanzee. Unheard of. Will turns the possibilities over in his mind. Caroline moves away from him. He barely notices her now. CAROLINE (CONT'D) You're calling her a monkey just to piss me off, aren't you? WILL Start the other's on the 112. (BEAT) And double this one's dose. EXT. GEN-SYS LABORATORIES - DUSK Will climbs into his truck. Alone, he allows his excitement to show. Abstract thought! He pulls away from the BIO LAB, which is tucked in a corner of an old military base. EXT. GOLDEN GATE BRIDGE - DUSK (AERIAL) Will drives over the majestic Golden Gate Bridge. EXT. WILL'S HOUSE - NIGHT Will pulls up in front of his house. Set in a hillside neighborhood, it's neat, nondescript. The home of a bachelor who hasn't given it much thought. As Will pulls into the driveway, WE HEAR C SHARP PLAYED OVER AND OVER ON A PIANO. 7. INT. WILL'S HOUSE - NIGHT WALTER RODMAN, 60, sits at the piano dressed in a robe, stabbing at the key with his finger. Will enters, his posture almost visually changing with the emotional weight of this man, his father. WILL Hey Dad. Walter looks up, whispers... WALTER John... is that you? WILL It's me. Will. WALTER As thou dost, Anthony. (staring at the keys) .he hears no music. No music... VOICE (heavy Russian accent) He's been doing that all day. A Home Aide enters, grabs her coat. This is IRENA. IRENA He found an old book of his. She pulls a worn paperback of Julius Caesar from Walter's pocket. He snatches it from her, puts it back. IRENA (CONT'D) (shrugging on coat) I had no idea you liked Shakespeare so much, Mr. Walter. WILL My mother was the one. She liked Shakespeare... IRENA (KISSES HIM) Good night, Walter, hone-ee. She heads out. Will gently takes his father's arm. I WILL Come on, Dad. 8. INT. WALTER'S ROOM - NIGHT Will helps his father change into pajamas. WILL Remember I told you we were using Basic Fibroblast Growth Factors on the apes? Well the therapy seems to be working. We've seen definite signs of adult brain neurogenesis. Walter holds up his arms for Will to slide on the pajama top. WILL (CONT'D) Board of Directors is coming in a couple weeks to talk about Phase 2 - that's clinical trials. Walter gives no hint he's even listening, much less understanding what Will's saying. WILL (CONT'D) Human trials, Dad. Soon. WALTER I rather tell that what is to be feared than what I fear: for always... I am Caesar... There's no way to reach him tonight. Still Will tries.. WILL I'm going to make you better - I swear it. His father looks at him. A moment of recognition? WALTER John... ? WILL (DISAPPOINTED) No, Dad, it's me. Will. Will helps the old man under the bedcovers. WILL (CONT'D) John's gone. He moves to the door, pausing to take in the diplomas on the walls - Walter's name on all of them. (Physics, Astronomy.) 9. Will looks at his father lying there on his back, staring up at the ceiling. The once brilliant man now slipping away. INT. WILL'S STUDY - LATE NIGHT It's late. Signs of a half-eaten frozen dinner on the desk beside numerous papers, charts, and Will's computer. He looks exhausted, gulps from a cup of coffee as he works. INT. PRIMATE LAB - DAY Franklin moves from cage to cage, greeting the apes. FRANKLIN Good morning, Felix. Bam Bam. Monty. Hey - what's the matter, don't like my cooking? SUPER: TWO WEEKS LATER He pauses in front of Bright Eyes, huddled at the back of her cage. FRANKLIN (CONT'D) You okay back there? CAROLINE Something wrong with Bright Eyes? FRANKLIN I'll check on her when we're done. Franklin unlocks a cage and leads a CHIMP - LUCKY - into the next room, where Caroline waits beside the CT scanner. Lucky's head is shaved, exposing a long, curving scar on his cranium. From Bright Eyes' vantage point she can see through the open door as Lucky's strapped down. EXT. GEN-SYS GROUNDS - SAME Will - dressed in an ill-fitting suit off the rack, hair brushed in an attempt at neatness - meets STEVEN JACOBS as he steps from a beautiful BLACK JAGUAR. JACOBS You could at least try to look excited. 0 10. Will's too nervous to look excited. He eyes the FOUR SUITS disembarking from nearby TOWN CARS. WILL I'm not good with this stuff. Jacobs puts a hand on Will's back, leads him inside. JACOBS You'll do fine. Just speak English. Keep the science simple. INT. LAB - SAME From the back of her cage, Bright Eyes watches through the open door as the ape on the table convulses. CAROLINE Okay. Back it out... DONNIE Your turn. Bright Eyes RUSHES FORWARD, HER HANDS GRIPPING THE BARS SO DONNIE CAN'T OPEN THE CAGE. DONNIE (CONT'D) C'mon - Let go - She understands what he wants but she won't do it. THAT'S WHEN HE NOTICES: HER HANDS ARE BLOODY. DONNIE (CONT'D) Hey! Something's wrong with number four! Franklin looks over - he's still dealing with Lucky on the table... FRANKLIN Be right over - Donnie looks closely at Bright Eyes. There's something different in her face today. Rage? Force of will? DONNIE What's the matter with you? INT. BOARDROOM - SAME Will stands at the head of a table. A BIG PLASMA SCREEN behind him shows a BLOW UP OF A BRAIN SCAN. As Will speaks, he gestures at it with a LASER POINTER. 11. WILL 0 (AWKWARD) Alzheimer's affects the entire neocortex, the hippocampus, and large subcortical regions of the brain... INT. LAB - SAME Donnie and Bright Eyes are at a standoff. Once more he tries to open the cage, once more she yanks it shut. Again he tries... and is taken by surprise when SHE GRABS HIS HAND AND PULLS IT THROUGH THE BARS. DONNIE Hey!!! Now Donnie's smashed up against the bars. Hard. The other apes begin to SCREECH. Donnie hasn't panicked quite yet, but he's about to. DONNIE (CONT'D) Someone get her off of me! CAROLINE Hang on - Franklin struggles to hold onto Lucky as Caroline hurries over. He eyes the chimps in their cages - GOING CRAZY. INT. BOARDROOM - DAY Will continues his presentation. Stevens looks around at the board members - they're lost. WILL In the past, it's been impossible to target specific areas, both because of the Blood Brain Barrier - Jacobs stands, interrupting Will. JACOBS What Dr. Rodman has done is to invent a virus that can, for the first time, cross the membrane that protects the brain and deliver a genetic, therapeutic, payload. 0 12. WILL (trying to sell) This 'payload' would directly affect the areas of memory, higher function - and, of course, the motherlode: intelligence. The board members stare, trying to comprehend. BOARD MEMBER Meaning? WILL Meaning. (deep breath here) If Phase 2 goes as planned, we're looking at a cure for Alzheimer's. With an elbow prompting from Jacobs, Will takes a SAMPLE VIAL from his jacket pocket and awkwardly holds it up for dramatic effect. INT. LAB - DAY DONNIE She's breaking my hand! CAROLINE Let go, Bright Eyes! You're hurting him! She tries to help pull Donnie away. CAROLINE (CONT'D) Let go! In the next room Franklin's having troubles of his own. LUCKY - RILED UP FROM THE COMMOTION IN BRIGHT EYES' CAGE AND THE SCREAMING FROM THE OTHER CHIMPS - BREAKS AWAY. HE CRASHES OUT OF THE LAB, DRAGGING HIS LEASH. FRANKLIN Lucky no! Stop! (TO CAROLINE) Hit the alarm! Caroline lunges to an ALARM BUTTON and pounds it. DONNIE'S SCREAMS BECOME OTHERWORLDLY AS WE GO TO... 13. INT. LAB SECURITY ROOM - SAME LOUD BEEPING as two GUARDS look to a BLACK AND WHITE SCREEN of a corridor. They see Lucky dragging his leash as he scampers - unattended - down the hall. GUARD #1 Uh oh. Guard #2 turns to another screen - where DONNIE IS VISIBLE IN SILENT AGONY, PUSHED UP AGAINST THE CAGE, CAROLINE TRYING TO GET HIM FREE. GUARD #2 Hey, Len...? Bright eyes is pulling Donnie's arm right from its socket... Donnie falls to the floor at Caroline's feet... EXT. GEN-SYS GROUNDS - DAY Lucky BURSTS from the lab building and runs across the grounds. He leaps over a car, then heads for the nearest building. INT. BOARDROOM - DAY The room is still thrumming with the excitement of Will's pronouncement. BOARD MEMBER What about the safety of the virus? WILL Perfectly safe. We're using the most stable - A COMMOTION outside. Someone SCREAMS. Then a BLACK BLUR as LUCKY CRASHES THROUGH THE GLASS WINDOW. WILL (CONT'D) NO! Lucky turns on Will with a growl, lurching toward him and pinning him to the wall. It happens fast. The chimpanzee opens his powerful jaw, exposing DEADLY INCISORS... ‚Ä¢ BAM! BAM! BAM! Security Guard #1 SHOOTS LUCKY IN THE BACK. The chimp turns, leaps for the Guard - who FIRES again. 14. Will watches as the chimp - and all of Will's dreams - collapses on the boardroom table. EXT. GEN-SYS GROUNDS - NIGHT Rain and fog. An AMBULANCE pulls out, past POLICE CRUISERS and two CDC (CENTER FOR DISEASE CONTROL) VANS. Will - face cut, clothing torn - finishes with a DETECTIVE and walks through the chaotic aftermath. He watches Caroline walk alongside a stretcher carrying Donnie, his shoulder packed in ice. He spots Jacobs, who looks wrecked. He hurries over to him. WILL Are they gone? JACOBS Long gone. Will knows the answer, but has to ask anyway. WILL Did they say anything before they left? I mean, about Phase 2. JACOBS Look around you, for Christ sakes. We'll be lucky if we don't go to jail. Will's gutted - devastated. WILL But we're so close. JACOBS You think you're the only one who's got something at stake here? I've got my own skin in this game! WILL What happened had nothing to do with the 112. (desperate to clarify) Take an already aggressive animal, make it smarter - you're going to get a potentially dangerous SITUATION - 15. JACOBS What makes you so damned positive about that? (pauses for emphasis) What if this drug does things you don't understand? Are you going to take responsibility for that? Because I'm sure as hell not going to. Here Will hesitates. JACOBS (CONT'D) We're not ready for human trials. Hell, we weren't ready for monkey trials. WILL They're apes. JACOBS This is what we're going to do: You're taking a sabbatical. I'll let the board handle the lawsuit. When this blows over I'll bring you back and we'll start over - we'll do it right this time. With mice. Tiny mice that can't hurt anybody. Will finds to his dismay that he's got nothing to say. INT. LAB REFRIGERATION ROOM - NIGHT Will stands at the fringes of the room, watching MEN IN HAZMAT SUITS pull down SHELVES OF METAL CANISTERS LABELED ADV 112. His work - destroyed. EXT. BACK LOT, BEHIND THE LAB - NIGHT Will climbs into his truck and pauses. He reaches into a jacket pocket and brings out a VIAL - IT'S THE VIAL of 112 HE USED IN THE PRESENTATION - THE ONLY REMAINING ONE. TAP AT THE WINDOW. Franklin's face appears. Will shoves the VIAL back into his pocket, rolls down the window. ¬Ä¢ FRANKLIN Show you something, boss? 16. WILL I don't work here anymore, Franklin. FRANKLIN I just put down fifteen animals, Dr. Rodman. The least you could do is give me a moment of your time. Will's shoulders sag with exhaustion. It's been a long, devastating day. WILL of course. INT. PRIMATE LAB - NIGHT The cages are empty, the doors open. Will notes used SYRINGES on the table, filled body bags lined up on the floor. It's a creepy, horrible scene. FRANKLIN They're all gone. WILL I'm sorry, Franklin. Genuinely sorry... What's he got to do to get the hell out of there? Franklin ignores him, steps inside Bright Eyes' cage. He moves to the very back and pulls aside a blanket. At first Will doesn't understand what he's looking at. The lighting's dim and the thing's so small... But then IT MOVES AND WILL REALIZES HE'S LOOKING AT AN INFANT CHIMPANZEE. Will stares at it for a long moment, his brain overloaded. WILL (CONT'D) It's impossible. How could a full- term gestation go unnoticed? FRANKLIN They carry small. Must have been pregnant when they brought her in. Will tries to get his mind around the situation. 17. WILL Who else knows about this? FRANKLIN No one. (BEAT) I'd bring him home, but my brother- in-law works for security. He'd rat me out in a second. That's when will realizes. WILL You want me to take him? FRANKLIN He's an orphan now. WILL I could be thrown in jail. He's a chimpanzee who's been exposed to a possibly dangerous drug. FRANKLIN You don't believe that. WILL Doesn't matter what I believe. FRANKLIN Just for a couple days. Until I can find a sanctuary. WILL That's not possible. FRANKLIN I heard you outside, fighting to keep them alive. WILL I was talking about the work, my RESEARCH - FRANKLIN she was just trying to protect him. WILL What? 0 18. FRANKLIN Bright Eyes - the mother. That's why she wouldn't let anyone into her cage. Will looks down at the helpless baby. WILL I'm sorry, Franklin - I'm sorry - but there's nothing I can do here. He's got to be put down like the others. FRANKLIN Tell you what, Doc. (producing a syringe) I'm done for the day. So you be my guest. Franklin hands the LONG NEEDLE to Will. It's quiet. Will can hear the baby's WHEEZY breath. He enters the cage kneels beside it, regards his tiny body, his little hands. Will readies the needle, brings it close to the chimp's belly... but there's no way he can go through with this. Angrily Will tosses the needle aside. Turns to Franklin, who watches from outside the cage. WILL Two days. Then you have to figure it out. INT. WALMART - NIGHT A BOX OF DIAPERS pulled from the shelf and tossed into a cart. Will moves down the aisle in a daze, the baby chimp - covered in a blanket - plastered to his chest. He stops at the powdered formulas, overwhelmed by the array of choices. INT. WALMART CHECK OUT - NIGHT A TEEN rings up the baby goods. TEEN CASHIER Hey man. Congratulations. 19. WILL Huh? (REALIZING) Oh. Thanks. EXT. WILL'S HOUSE - NIGHT Will pulls up in his truck. EXT. FRONT DOOR - NIGHT Will's coat is pulled forward to shield the baby at his chest. He barely has the key in the lock when Irena opens the door. IRENA It's Friday night. I had a date. WILL I'm sorry - there was - She doesn't wait to hear his excuse, just moves down the walk, her footfalls pointed and angry. He pauses there. Apparently no end to this bad day. INT. KITCHEN - NIGHT Will dumps the baby goods on the counter, heads for the refrigerator. The infant's still plastered to his chest. He opens the fridge, grabs a crisper drawer, empties its contents in the sink. Then Will REACHES INTO HIS JACKET POCKET AND TAKES OUT THE VIAL OF 112. CAREFULLY HE PLACES IT INTO THE DRAWER AND ROLLS THE DRAWER BACK IN THE FRIDGE. INT. BEDROOM - NIGHT Will sleeps the deep sleep of exhaustion. A HIGH PITCHED WAIL comes from another part of the house. Will sits up, remembering. INT. LAUNDRY ROOM - NIGHT Will enters, half asleep, turns on the light. The baby chimp lies in a cardboard box on the floor and he's obviously sick, making UNNATURAL WHEEZING NOISES. 0 20. Will stares down at the little creature, trying to decide what to do. INT. BATHROOM - NIGHT Will turns on the HOT WATER. SHUTS the door. Holding the limp, feeble chimp in his arms, he puts down the toilet seat and sits. WILL It's okay. It's going to be okay. Awkwardly, he even rocks back and forth a little bit. Will looks down at the chimp, struggling for breath. The room fills with STEAM. CUT TO: A LARGE MALE CHIMPANZEE IN THE WILD. He stands at the top of a tree, an alpha male, eyeing the CHIMPS around him. In a sudden BURST of movement, the CHIMPANZEE TAKES OFF, FLYING FROM BRANCH TO BRANCH with tremendous force, a FREIGHT TRAIN OF THREAT, POWER AND VIOLENCE. Teeth bared in a terrifying display, the ape easily intimidates all the chimps around him. REVEAL THAT THE CHIMP IMAGES ARE YOU-TUBE AND WILL'S WATCHING THEM ON HIS LAPTOP. Abruptly he closes it. Looks down at the infant, so peaceful in his arms. SUPER: "TWO YEARS LATER" SOUND of a TOILET FLUSH. INT. HOUSE - DAY The chimp - looking like a toddler - walks out of the bathroom, hiking up a pair of shorts. WE FOLLOW HIM THROUGH THE HOUSE as he zig zags up and over furniture. The house looks warmer, cluttered, more lived-in. The chimp arrives at a hallway, where he leaps into the air and grabs hold of a CORD that hangs from the ceiling. As his weight pulls it down, there's a SQUEAK and a FOLD DOWN LADDER opens from above. WE FOLLOW HIM up the ladder into... 21. ‚Ä¢INT. ATTIC -- DAY .the attic. Beams of light streaming through a LARGE VENT TO THE OUTSIDE. Rings and pegs for climbing are set into the walls. Toys, books and puzzles scattered across the floor. SOUNDS of KIDS PLAYING and LAUGHING OUTSIDE. The chimp heads for the vent and peers through. WE GO OVER HIS SHOULDER TO SEE... EXT. THE OUTSIDE WORLD - DAY From up here, the chimp has a commanding view of the entire neighborhood. A group of CHILDREN rides bikes. A MAN mows his lawn. There's a HONK below, and the chimp watches as a TAXI pulls up to the HOUSE NEXT DOOR. HUNSIKER - A MAN in an AIRLINE PILOT uniform - kisses his WIFE and young DAUGHTER, ALICE, then climbs into the cab with his carry-on suitcase. Alice clutches a doll in her hand as she watches her daddy's Taxi disappear around the corner... Then TODD, the big brother, SWIPES THE DOLL FROM HER HAND and rides off on his bike. His FRIENDS LAUGH. The chimp watches, riveted, as the Alice BURSTS INTO OUTRAGED TEARS and runs after them. WILL (O.S.) Caesar! Breakfast! The chimp turns at Will's call. HIS NAME IS CAESAR. INT. HOUSE - DAY Will comes away from the ladder, heads for the kitchen. The living room floor is strewn with puzzles and games. One of them has been completed. Will considers it, looks around for the box, reads the side... AGES 12 and up. 12 and up. Caesar runs past, jumps onto d chair at the kitchen table, picks up a fork and starts eating his eggs and potatoes. Will walks over, sits across from him. 0 22. WILL Please pass the ketchup. Caesar slides the ketchup to Will. WILL (CONT'D) Thanks. CAESAR (using American Sign LANGUAGE) You're welcome. NOTE: Whenever Caesar communicates he's signing and there will be subtitles. INT. GEN-SYS LAB - DAY A MOUSE moves through a maze as a LAB TECH marks its progress. Will - in a lab coat - watches with intensity. The mouse moves effortlessly through the maze until it reaches an ORANGE CONE at a crossroads. The mouse stops, studies the cone. LAB TECH Is he going to turn left or right...? The mouse turns left at the cone - and finds his way to a piece of cheese. Will does his best to hide the excitement blooming on his face. WILL There it is. Restored cognitive function. LAB TECH Same success rate as the primates. Congratulations. EXT. SAN FRANCISCO ZOO - DAY VISITORS buy tickets at the entrance gates. Will pulls around to an Employee Parking Lot. INT. PRIMATE INFIRMARY, SAN FRANCISCO ZOO - DAY Dr. Molly Stewart - late 20's, pretty tomboy -- finishes taking Caesar's blood pressure. 23. ¬Ä¢ STEWART He's right on target. Height. Weight... She checks Caesar's ears. CAESAR Dairy Queen. WILL After. Sit still. STEWART What about diet? WILL A healthy diet. Fruits, vegetables. CAESAR Ice cream. Will ignores him. STEWART What's he saying? WILL He's hungry. Caesar's angling to climb off the examining table. Will sends him a look - out it out. STEWART He seems extremely intelligent. How many words does Caesar sign? Beat. WILL You know, the basics. CAESAR Soft-serve. STEWART I've heard of apes learning up to a hundred and fifty words. Is he good with puzzles? Will hesitates. 0 24. WILL He's pretty good. STEWART Well, Caesar's healthy, obviously happy. You're doing a great job with him. (doesn't want to alarm) But there is an anomaly I noticed. WILL Like what? STEWART When I was examining his eyes, I noticed a strange green pigmentation. WILL Green? His heart starts to pound. STEWART Green. Never.seen it before. She hands Will an OTOSCOPE. STEWART (CONT'D) Take a look. Will peers through the magnification - and sure enough, finds FLECKS OF BRIGHT GREEN PIGMENTATION - JUST LIKE THE 112. STEWART (CONT'D) It's faint, can you pick it up? He sits down in the nearest chair - stunned. She eyes him. STEWART (CONT'D) You alright? Want a glass of water? WILL No thanks. (EMBARRASSED) Sure, that would be good. She gets him one. Concerned, Caesar comes over. WILL (CONT'D) Forgot to eat today. Not a big deal. 25. Stewart hands him the glass. He downs it. WILL (CONT'D) (TO CAESAR) I'm fine. Stewart puts her hand to the side of his neck. Feels good. STEWART Carotid pulse is running a little fast. WILL For a human or a chimpanzee? First time he's seen her smile. It lights up her face. STEWART Gotta remember to eat. INT. MOVING CAR - DAY Will drives Caesar, both of them licking soft-serve ice cream cones. He pulls up outside a store: "SMART CHILD" EDUCATIONAL TESTING TOYS. WILL (O.S.) You have to move the whole tower to another peg, one block at a time. INT. KITCHEN - DAY Walter's parked in front of the TV, not watching it. Caesar sits at the table looking at a flat board with three wooden poles. There are four colored blocks threaded on the first pole, stacked biggest to smallest, making a 'tower'. Irena stands next to Will, watching Caesar. There's also a CAMCORDER on a tripod. WILL Here's the hard part: you can't put a larger block on top of a smaller one. Caesar studies the puzzle. WILL (CONT'D) Understand? 26. Caesar's already started. He methodically begins moving blocks from one pole to another, pausing, backtracking, getting it right, never a bigger one on top of a smaller... Will watches, increasingly amazed, as he re-creates the tower on a different pole. It's easy for him. Finished, Caesar looks up at him. Will fumbles in his pocket, HANDS CAESAR SOME M&MS. WILL (CONT'D) (STUNNED) He did it in fifteen moves. IRENA What's the best score? WILL Fifteen. Will looks over at Walter, who's staring at the wall. IRENA (AMAZED) I wonder where he gets such talent? WILL (eyes on Walter) It was passed down from his mother. INT. WILL'S STUDY - NIGHT Will uploads the MPEG video of Caesar doing the puzzle and prepares to record an AUDIO ATTACHMENT. WILL (into computer mic) At age two Caesar appears to exceed his mother's aptitude. He signs over three hundred words. He exhibits no visible side effects from the therapy... INT. GARAGE - NIGHT Will flips on a light. Enters. Closes the door behind him. Taking a key from his pocket he approaches a SMALL, PADLOCKED REFRIGERATOR and unlocks it. Opens the door. Inside-WE SEE: THE SINGLE VIAL OF ADV 112. 27. INT. LIVING ROOM - NIGHT Will sits on the edge of the sofa, the VIAL of 112 in his hand. He's deep in agonized thought. Finally he takes a SYRINGE and FILLS IT WITH THE GREEN LIQUID. Then he stands, walks to a closed door. INT. WALTER'S ROOM - NIGHT The opening door sends a wash of light into the dark room. Walter's in bed. He opens his eyes, squinting at the brightness. WILL (syringe in hand) Dad. I've got something that's going to make you better. Will closes the door behind him. WE HEAR A RHYTHMIC SQUEAKING NOISE as we... CUT TO: EXT. BACK YARD - DAY The movement of a SWING. Caesar's strapped in it, and WE NOTICE IMMEDIATELY THAT HE'S GROWN OLDER. SUPER: TWO YEARS LATER Caesar's features are more mature. He appears more like a "little boy" - and his EYES HAVE TURNED A DEEP GREEN. Back and forth Caesar goes, as high as he can manage. At the height of his forward motion, he peers down into the neighbor's yard where, for just an instant, HE CAN SEE TODD PLAYING BALL WITH ALICE AND ANOTHER KID. At the height of his backward motion he catches another glimpse. Caesar pumps his legs, eager to get a better look... INT. KITCHEN - DAY Will's making sandwiches, his eye on Caesar through the window. WILL (to someone offscreen) You want turkey or ham? 28. VOICE (O.S.) Ham! INT. LIVING ROOM - DAY WE FIND WALTER just sitting down on the piano bench. He begins playing a competent version of "CLAIR DE LUNE." INT. KITCHEN - DAY Will pauses, listening to the MUSIC. He moves to the doorway to watch his father. The happiness - the relief - is clear on his face. EXT. BACK YARD - DAY SQUEAK.SQUEAK of the SWING, the PIANO FAINT from out here. Caesar studies the harness that's keeping him in the swing. There's a clamp on either side and a clamp on the back. He undoes the one on his right side. CLICK. Then the left side. CLICK. Caesar wriggles the harness around so that he can reach the clamp on his back with his long chimpanzee arms. INT. KITCHEN - DAY Will returns to his sandwich making. It takes him a moment to notice that CAESAR HAS DISAPPEARED FROM THE SWING. The color drains from his face. EXT. HUNSIKER BACK YARD - DAY Caesar stands at the edge of the yard, unsure what to do next. All three kids - Todd, Alice and Todd's buddy - have stopped playing to stare at him. Caesar spots a BALL lying on the grass. He picks it up and tosses it to Todd's Buddy. The Boy catches it, throws it back to Caesar. TODD'S BUDDY Check it. He wants to play. Thrilled at the contact, Caesar throws the ball to Todd. But Todd has an idea, and the idea makes him smile. Alice doesn't have a good feeling. She watches as her brother throws the ball to his Buddy OVER CAESAR'S HEAD. 29. TODD Monkey in the middle. Todd's Buddy LAUGHS. Caesar LAUGHS too, although he's not sure what's funny. EXT. STREET - DAY Will and Walter walk down the street looking for Caesar. WALTER Caesar! WILL He won't go far. WALTER You don't know that. WILL I do, Dad. INT. HUNSIKER BACK YARD - DAY Todd and his buddy throw the ball over Caesar's head, while Caesar jumps to try and catch it. TODD AND FRIEND Monkey in the middle, monkey in the middle... Caesar's having fun, unaware that the game has become keep- away from him. Until he NOTICES ALICE'S EXPRESSION - SHE FEELS SORRY FOR HIM. THEN, IN A STOMACH-LURCHING MOMENT CAESAR REALIZES WHAT'S GOING ON: HE'S THE BUTT OF A JOKE. They're making fun of him. "MONKEY", "MONKEY", "MONKEY"... The chanted words ring in Caesar's ears. He drops his arms and walks over to Todd, stepping close, hot rage escaping from his nostrils. Todd tries to laugh it off, but the fear's plain on his face. Alice runs inside. EXT. STREET - DAY Will and Walter search down the street. Then they hear it: ‚Ä¢ HUNSIKER'S YELL. Will runs for the neighbor's house. 30. EXT. HUNSIKER BACK YARD - DAY Hunsiker approaches Caesar with a raised bat. The terrified chimp backs toward his fence. HUNSIKER Hah! Hah - Will JUMPS INTO THE YARD AND PUTS HIMSELF BETWEEN HUNSIKER AND CAESAR. Caesar cowers behind him. WILL Hold on - it's okay - he's harmless! HUNSIKER Your monkey came onto my property! Threatened my kids! By now Caesar has climbed into Will's arms, burying his head in. his neck. Will backs toward the gate. WILL It won't happen again... HUNSIKER Damn right it won't happen again! I'll press charges if it does! Will holds Caesar close and hurries home. INT. STEWART'S OFFICE - DAY STEWART What does he do for fun? Will's brought Caesar in for a check-up. He's a little thrown by the question. WILL Well we've got puzzles, games, a swing set... STEWART My guess is he needs more. More exercise, more space. WILL We'll work on that. Stewart continues examining Caesar. Will watches her listen to his heart. Closing her eyes for a moment, listening. 31. He gets up his nerve. WILL (CONT'D) What about you? (BEAT) What do you do for fun? She opens her eyes, looks at him. He thinks she doesn't understand the question. WILL (CONT'D) How about dinner and a movie? Stewart pulls the stethoscope from her ears. STEWART I'm sorry, did you say something? He starts to try again - but the moment's gone. WILL No - nothing. Caesar meets Will's eyes, obviously disappointed. Stewart lingers a moment, certain she's missed something - but Will doesn't say more. EXT. MUIR WOODS, ESTABLISHING - DAY From high above, WE PASS OVER the Golden Gate Bridge, the link between the bustling city and a huge, green FOREST. INT. MOVING CAR - DAY Caesar - driving with Walter and Will -- looks out the window, extremely excited. EXT. PARKING LOT, MUIR WOODS - DAY As Caesar scrambles out of the truck, WILL HOOKS A HARNESS TO HIS COLLAR and helps Walter from the car. The chimp looks around at the SOARING TREES. What is this place? The three of them head into the forest, Caesar tugging at the leash. WALTER Take him off the leash. ¬Ä¢ WILL There's a place up ahead. 32. EXT. PARK/CLEARING - DAY They've walked deep into the park. No people here. Will kneels next to Caesar. WILL Don't go far. Stay where I can see you. Will takes OFF CAESAR'S HARNESS. The chimpanzee runs, begins flying from tree to tree. Will watches, nervous. But it's gratifying to see Caesar so happy. The CHIMP DISAPPEARS around a corner. A moment passes, then another. The men follow... and discover CAESAR STANDING IN A GROVE OF TREES. WILL (CONT'D) (YELLING) Remember - stay where I can see you - if you got lost in these woods I'd never find you. BUT CAESAR BARELY HEARS HIM. HE'S UTTERLY CAPTIVATED. THE SPOT IS BEAUTIFUL, WITH GREEN, LUSH BRANCHES JOINING TO FORM A CANOPY OVERHEAD. WALTER Go ahead. Climb! The men sit down on a log, watching as Caesar swings from the branches. Free, elated. An animal in his element. Caesar begins climbing a redwood. Our view of him is obscured by the leaves. As his dark form ascends, Will and Walter become smaller and smaller down below. SUPER: THREE YEARS LATER RUSTLING LEAVES whisper Caesar upward. He moves with an easy grace, exhilarated by the freedom. At the TOP of the giant redwood CAESAR EMERGES THROUGH THE LEAVES - AND WE SEE THAT HE'S GROWN, FILLED OUT - THE CHIMP EQUIVALENT OF A FULL-BLOWN TEENAGER. HIS DISTINCTIVE LOOKS ARE MORE PRONOUNCED NOW: EYES A DEEP GREEN, FEATURES SOMEWHAT LESS SIMIAN, PERHAPS MORE HUMAN... Caesar looks across the bay to San Francisco, looks north at the mountains. Then down to Will below. Will's pointing to his watch. 33. ‚Ä¢ CLOSE ON A HARNESS. Will has it waiting as Caesar lands beside him on the forest floor. Will attaches the harness and they walk together. Caesar's much taller now - over five feet. WILL Sorry to rush you - got to get home and check on Walter. They approach a WOMAN with a LARGE DOG on a leash - a GREAT DANE. The dog BARKS, lunging menacingly. The Woman struggles to control him. WOMAN (INCREDULOUS) Is that a chimpanzee? WILL Don't worry - he's harmless. Very sweet. The big dog keeps BARKING. Annoyed, Caesar finally turns and gives him a LARGE, CHIMPANZEE SNARL, BARING HIS TEETH. The Great Dane immediately WHIMPERS - terrified - and pulls the Woman away. WILL (CONT'D) Guess he had it coming. Caesar watches as the Woman walks off with the dog, HIS GAZE LINGERING ON THE LEASH. THEN HIS EYES MOVE TO HIS OWN LEASH. Is he a pet too? EXT. ZOO - DAY Will drives up, Caesar in tow. The ZOO'S BEING RENOVATED - machinery everywhere. INT. STEWART'S OFFICE - DAY Will leads Caesar inside the examination room - and finds himself face to face with a YOUNG MALE VETERINARIAN. WILL Where's Dr. Stewart? S VETERINARIAN She doesn't work here anymore. 34. Doesn't work here anymore? WILL Do you know where she went? VETERINARIAN I'm sorry - I don't. Will's deeply disappointed. EXT. ZOO - DAY Disoriented because of the construction, Will makes a wrong turn as he leads Caesar to the car. They find themselves in front of THE PRIMATE ENCLOSURE. Caesar goes rigid, staring at a DOZEN CHIMPS in the branches of the trees - behind bars. They stare back at him. One CHIMP, a GRIZZLED OLD MALE, STEPS FORWARD - OMINOUS. HE LOOKS AT CAESAR AS IF LOOKING INTO HIS SOUL. Caesar's transfixed. Will looks back and forth between the chimps and Caesar. Neither makes a sound. WILL Come on. As Will drags Caesar off, the apes in the enclosure climb higher in the tree to watch. Suddenly they ALL BEGIN TO SCREAM IN A DEAFENING CHATTER. INT. ATTIC - DAY Caesar stands at the vent watching the neighborhood TEENAGERS walk home from school. One BOY walks with a blonde teenage GIRL, books clutched to her chest. Caesar watches the Boy flirt with her. The girl smiles, flirts back. One of the younger Kids runs by, bopping the Boy on the head. The BOY SHOOTS HIM THE FINGER and returns to the girl. Caesar's fascinated by these antics. He wants to be with these teens. He wants to be one of them. 35. INT. BATHROOM - DAY Caesar stands in front of a FULL LENGTH MIRROR, shirtless. He stands up straight, like a human. Tries to imitate their posture, their gait. BUT FROM THE MIRROR A CHIMPANZEE STARES BACK AT HIM. A CHIMPANZEE WITH GREEN EYES. THERE'S A PROMINENT WHITE BIRTHMARK ON HIS SHOULDER - JUST LIKE ALPHA'S. He runs two fingers down the length of it. INT. KITCHEN - NIGHT Caesar, Walter and Will sit at the dinner table. There's tension here, but we can't place it yet. Then WE SEE that WALTER IS STRUGGLING TO EAT BECAUSE HE'S USING THE WRONG END OF THE SPOON. He clutches the utensil, staring at it. WILL Turn it around, Dad. You're using the wrong end. Walter looks at Will, uncomprehending. With care and compassion, Caesar reaches over and helps the old man, adjusting the spoon. Will watches. Heartbroken. INT. LAB - DAY A MOUSE runs through a MAZE. It reaches a fork in the path, leading to two different plastic objects, one green, one orange. The mouse hesitates, confused. He backs away from the cone. A LAB TECH makes a note. Will and Jacobs stand behind him, reading the number results on a monitor. Will's obviously discouraged. WILL The drug's not staying ahead of the disease. 0 36. JACOBS But we're still making progress, right? Will tries to tamp down the frustration he's sure is written all over his face. WILL Sure. At this pace we'll get to trials by the time Hell freezes over. Jacobs - embarrassed in front of the Tech - pulls him aside. JACOBS This isn't graduate school - there's a procedure we have to adhere to. WILL It'll take forever. I need to start developing a primate version now. Jacobs looks at Will. He's known him a long time. JACOBS How's your father? Haven't seen him in a while. WILL This isn't about him. JACOBS He's worse, isn't he? Will wants to tell Jacobs the truth - he's tempted to tell him about Caesar, about Walter's treatment - but he can't. WILL (EVASIVE) He's fine. WE HEAR A PERSISTENT C SHARP COMING FROM A DISTANT PIANO. It's a familiar, baleful SOUND that continues over the following... INT. WILL'S STUDY - DAY Will sits in front of the computer, looking at a file crammed with MPEGs of Caesar doing puzzles and games. 37. WILL (into computer mic) Caesar continues to maintain a high level of cognition. But Walter's disease has caught up to the neurogenesis treatment. Nearly all initial improvement has been erased... Will stops recording. KICKS his desk in frustration. INT. LIVING ROOM - DAY Walter sits at the piano, hitting his one note. Caesar passes him, heads for Will's study. INT. WILL'S STUDY - DAY Caesar enters, finds Will at the desk, head in hands. Will senses his presence. Looks up. CAESAR Who Caesar. WILL What do you mean? CAESAR Who. With effort, Will pulls himself from his own thoughts and tries to understand what Caesar wants from him. CAESAR (CONT'D) Who. WILL Caesar is an ape. (SIGNING) A chimpanzee. CAESAR No "what". "Who". Will is taken aback - beginning to realize the intellectual leap Caesar's taken. WILL Are you asking about your identity? That's abstract thought, Caesar. Caesar couldn't care less about 'abstract thought.' 38. CAESAR Walter Will father. Will Caesar father? Will looks at the chimp - sees the intensity, the pain on his face. How to begin to answer? WILL (O.S.) This is where you were born. It's the place where I work. INT. MOVING CAR/PARKED CAR - DAY Will and Caesar are PARKED ACROSS THE STREET FROM THE GEN-SYS LAB GROUNDS, its buildings visible through the fencing. WILL I never knew your father, but your mother came to live here. This is where you were born. CAESAR Caesar mother? WILL She was very very smart. And she passed that onto you through her blood. Caesar strains for a better view. Undoes his seatbelt. CAESAR Caesar go. Caesar see. Will locks the car door. WILL She's not here anymore. I'm sorry, Caesar - she died. That's when I brought you home to live with me and Walter. Caesar's getting worked up - he wants out of the car. CAESAR Caesar mother... Will grows concerned. WILL No. This is a bad place for you, Caesar. We're going to go now. 39. As Will pulls away Caesar strains for a last glimpse, twisting around to look out the back window. VOICE (O.S.) Let's see if we can find something for you on the TV... INT. LIVING ROOM - DAY Walter has a new HOME AIDE - a pale, hard-looking older woman. He sits on the sofa staring at the TV's moving images as she changes channels. The Aide settles on a news show covering preparations for a SPACE LAUNCH. ASTRONAUTS wave to the PRESS CORPS as they board a SHUTTLE. TV REPORTER The Icarus crew is led by Commander Colonel George Taylor. This is his fifth space mission... INT. ATTIC - DAY CLOSE ON a crude drawing of an ape. Caesar sits on the floor, working on its details. As he draws the white birthmark - like a falling star - WE REALIZE it's a self- portrait. EXT. BACK YARD - DAY The Home Aide lights herself a cigarette, sits down on a deck chair. INT. LIVING ROOM - DAY TV's still blaring, but the sofa's empty. REVEAL Walter, standing in the middle of the room, confused. As if he's not sure where he is. Abruptly he turns and heads across the room... and OUT THE FRONT DOOR. EXT. STREET - DAY Walter pauses on the porch, blinking in the sun. The street ahead of him is quiet. No one around. Walter wanders down the front path. When he arrives at the sidewalk he keeps on going, STEPPING OUT INTO THE STREET. 0 40. He's immediately startled by a SUDDEN HONK, the SOUND of SQUEALING BRAKES, and a car fishtailing out of control. The car SMASHES into a nearby tree. INT. ATTIC - DAY Hearing the CRASH, Caesar jumps to his feet, rushes to the vent. He sees Hunsiker emerge from the smashed car, unhurt. Caesar watches as Hunsiker inspects the ruined front fender, then turns to YELL at someone. That's when Walter comes into Caesar's view. He's in the street, afraid, disoriented - while Hunsiker rages, jabbing a threatening finger towards Walter's chest. In a flash Caesar's down the attic stairs. EXT. STREET - DAY Walter backs up as Hunsiker approaches, still jabbing the menacing finger. HUNSIKER Look at the front of my car you stupid, stupid old man! You should be locked up! Your son's going to pay for that damage - CAESAR EXPLODES OUT THE DOOR. No time for anybody to react. The chimpanzee BODY SLAMS HUNSIKER to the ground. WALTER Caesar... Straddling Hunsiker, teeth bared, Caesar pounds him with his fists. HUNSIKER Help! Get him off - WALTER Caesar... no... Stop! Walter grabs Caesar by the shoulders, tries to pull him back. But Caesar's too carried away by his rage - he shrugs the old man off his back. Then he grabs one of Hunsiker's hands and BITES OFF THE "JABBING" POINTER FINGER. 41. HUNSIKER Aaaaaaaah! Walter struggles to his feet and grabs Caesar again. A PULSE OF HUNSIKER'S BLOOD STREAKS ACROSS HIS NECK. WALTER Caesar! Caesar hesitates. Blood dripping down his chin, he looks over his shoulder and meets Walter's eyes. WALTER (CONT'D) Please stop. Hunsiker uses the distraction. He scrabbles to his feet and sprints for his house. CAESAR CATCHES A GLIMPSE. ANIMAL INSTINCT TAKES OVER - IT'S TOO BIG TO FIGHT. He races after Hunsiker. WALTER FALLS TO THE GROUND. HIS HEAD HITS THE PAVEMENT, stunning him. EXT. HUNSIKER'S HOUSE - DAY Just as Hunsiker's about to reach his front door, Caesar flies from behind - his feet hitting the door - and lands to block Hunsiker's entrance. White with terror, Hunsiker - clutching his bleeding hand to his chest - takes off running down the sidewalk. EXT. STREET - DAY Hunsiker runs for his life. He looks over his shoulder - Caesar's galloping behind, in hot pursuit. He tries to speed up - can't go any faster. Again he glances over his shoulder - Caesar's closing in. Breath coming hard, Hunsiker sprints, scrambles, desperate to escape. He looks over his shoulder-but this time CAESAR HAS DISAPPEARED. HE'S NOT ANYWHERE, UP OR DOWN THE STREET. Unsure where to go, half-stumbling, Hunsiker keeps running. Then, OUT OF NOWHERE, CAESAR SWINGS DOWN FROM A TREE. HE LANDS SQUARELY IN FRONT OF HUNSIKER, BLOCKING HIS PATH. Hunsiker backs up, changes direction, runs across the street. 0 42. Enjoying the chase, taking his time, Caesar grabs a tree branch and swings from tree to tree. with one giant jump, he makes it to the top of a tree across the street, tracking Hunsiker like prey. Hunsiker's running out of steam. Caesar swings down in front of him and KICKS him in the chest, sending him flying. Calmly he stands over Hunsiker, who cowers. HUNSIKER Please no... Caesar pounds his chest, YELLING in triumph. But then he sees something across the street that abruptly pulls him out of his euphoria: WALTER - STRUGGLING, BLOODY - BEING HELPED TO HIS FEET. He looks down at Hunsiker, cringing. All at once CAESAR REALIZES WHAT HE'S DONE. EXT. COUNTRYSIDE - DAY Will's car drives down a two-lane highway. REPORTER (V.0.) .chimpanzee named Caesar, terrorizing the quiet family enclave and mauling neighbor Douglas Hunsiker, a pilot for Global Airlines. INT. JACOBS' LIVING ROOM - DAY Jacobs watches the evening NEWS. REPORTER The defense claimed the chimp was merely trying to protect its owner from perceived aggression. FOOTAGE OF WILL LEAVING A COURTHOUSE, avoiding News Crews. Jacobs sits forward, turns up the volume. REPORTER (CONT'D) The chimpanzee's distraught owner, Wilson Rodman, has raised the animal since he was an infant. (MORE) 43. REPORTER (CONT'D) He pleaded to keep Caesar at home, citing the ape's remarkable intelligence. Will and a chimpanzee? Jacobs stares at the TV, dumbfounded. INT. MOVING CAR ¬ª- DAY Will and Caesar drive. Caesar's dressed up - khaki pants and a Polo shirt. WILL We're visiting a place called "The Ranch". They have animals. CAESAR Real animals? WILL You bet. Apes. Chimpanzees, gorillas, orangutans... Caesar GRUNTS, excited. WILL (CONT'D) It'll be good. You'll like it very much. Caesar looks at Will, picking up on something. CAESAR Will sad? WILL What? No, I'm fine. EXT. THE RANCH - DAY As Will pulls into the entrance, Caesar's glued to the window. INT. MOVING CAR - DAY They pull into a CLEARING. Ahead is a new world - CONCRETE AND STEEL BUILDINGS set incongruously into the bucolic countryside. A HOUSE/OFFICE, a LIVING QUARTERS, a HORSE PADDOCK - all cold, efficient structures. CAESAR Where animals? 44. Will sees the PRIMATE CAGES in the distance, next to a GIANT RED METAL ATRIUM. WILL Inside, I think... EXT. THE RANCH - DAY As they climb from the car, MR. LANDON, 50's, emerges from the office. DODGE, 20's, hangs back. WILL You must be Mr. Landon. (SHAKING HANDS) This is Caesar. MR. LANDON Nice to meet you, Caesar. This is Dodge, helps me run the place. WILL I've been telling Caesar about the animals you have here. How much fun it is. MR. LANDON Yes, we have a big play center where the chimpanzees like to climb. (TO CAESAR) Want to see the play center? Caesar nods. Absolutely. EXT. CAGED ATRIUM - DAY A HUGE CAGED STRUCTURE, the size of a gymnasium. Inside are climbing constructions, ropes, toys, and, in the middle, a LARGE TREE, reaching up through the top bars. A CAGED-IN BRIDGE leads to a row of DARK DENS. But for now... it's empty. No apes in sight. Caesar approaches with will and Mr. Landon. MR. LANDON What do you think, Caesar? Want to give it a try? Trying to mask his growing dread, Will removes Caesar's harness. 45. WILL Go ahead. He watches Caesar - unsuspecting - move through AN OPEN, GATE- LIKE SLIDING DOOR. EXT. ATRIUM - DAY Caesar scampers up the ledges and leaps to a bar. He swings from bar to bar, then hits the ground and runs for the tree. EXT. OUTSIDE CAGED ATRIUM - DAY Will can barely watch AS DODGE ROLLS THE SLIDING DOOR CLOSED, LOCKING IT. He braces himself. EXT. ATRIUM - DAY Caesar joyfully climbs the sprawling tree until he HITS THE TOP OF THE CAGE. Branches continue through spaces in the bars, but HE'S REACHED... A DEAD END. CAESAR TURNS, FINDS WILL'BELOW. What he reads in Will's eyes gives him a sudden, sharp sense of dread. HE LOOKS TO THE CAGE ENTRANCE, SEES THAT THE GATE IS LOCKED. HE'S LOCKED IN. TRAPPED. Caesar SHRIEKS, speeds down the tree. Other SHRIEKS join in. EXCITED APE NOISES - coming from UNSEEN, CAGED APES - fills the atrium. The STRANGE ANIMAL VOICES FUEL CAESAR'S PANIC. He runs to the gate, tries to shake it open. WILL It's okay, Caesar. It's going to be okay... The words are for him as much as Caesar. WILL (CONT'D) You're going to live here for a while. This is what the Judge says we have to do. 0 46. WHAT? Caesar can't believe what he's hearing! He frantically signs, desperate, pleading. The SHRIEKS of the UNSEEN APES continue, feeding Will's apprehension. Caesar doesn't belong here. It takes every bit of restraint he has not to take Caesar out, to run... WILL (CONT'D) They'll take good care of you here. DODGE That's about it for visiting hours. Will shoots him a look of daggers. MR. LANDON What Dodge means is, in our experience, longer you drag out the leave-taking, harder it is. On both of you. Caesar WHIMPERS, tries to bend the bars apart. When this doesn't work, he tries prying them open with his teeth. WILL I'm sorry to trick you this way, but you would never have agreed. I was afraid they'd hurt you if they forced you - MR. LANDON He'll be fine. Will gives Caesar a last, long look. The pain in his eyes is matched only by Caesar's. WE STAY WITH CAESAR as Will forces himself to walk away. Caesar's SHRIEKS build. The SURROUNDING APES chime in...a CACOPHONY OF PRIMAL ENERGY. CAESAR HURTLES HIS BODY AGAINST THE CAGE. DODGE Caesar. Hey. I can get you out. Dodge stands at the end of the atrium, BECKONING. DODGE (CONT'D) This way. 47. Caesar follows Dodge to the far end of the play area, then through the CAGED-IN BRIDGE. Will's almost out of sight. Caesar can see that he's nearly reached the car. He GRUNTS with stress as he follows the bridge into... INT. CHIMPANZEE HOUSE - DAY .the Chimpanzee House - and stops in his tracks. This is the source of the APE NOISE. It has an open, indoor area in the center, bordered by cages of CHIMPANZEES. Caesar's TAKEN ABACK BY THE LOUD, DARK FORMS POUNDING AROUND THEIR CAGES. DODGE Caesar - over here. Dodge stands at a cage door. Caesar sprints for it, as for salvation-but AS SOON AS HE CROSSES THE THRESHOLD, HE REALIZES IT'S A DEAD END. He turns, but DODGE SHUTS THE DOOR IN HIS FACE AND LOCKS IT. CAESAR FINDS HIMSELF TRAPPED IN A 10' BY 10' CAGE. DODGE (CONT'D) Stupid monkey. FOR A MOMENT CAESAR'S IN SHOCK, HIS MIND UNABLE TO PROCESS THE BETRAYAL. Then he begins frantically grabbing at the bars, jumping to the ceiling, searching for a way out. To his left: the faces of THREE HUGE, AGITATED CHIMPANZEES pound the concrete floor, YELLING at him. To his right: THREE MORE CHIMPANZEES. Caesar lets out a PRIMAL, BLOOD-CURDLING SCREAM. WE FOLLOW THE SCREAM as it spreads out over the property... EXT. MOVING CAR - DAY .and finds the Will's car, driving down the winding road, away from the Ranch. INT. MOVING CAR - DAY Will keeps driving, TEARS streaming down his face. 0 48. INT. CAESAR'S CAGE -- LATER Time has passed. Long shadows of late afternoon. Caesar sits on a bed of twigs and straw in a corner of the cage, heavy head resting on his arms. He slowly becomes conscious of a RHYTHMIC SCRAPING NOISE, followed by a LOUD BANG. He looks up. In the cage next door, Caesar sees a strapping, MUSCULAR CHIMP, JET BLACK, WITH A LONG SCAR RUNNING DOWN HIS FOREHEAD ACROSS HIS NOSE, PAST HIS MOUTH AND CHIN. This is ROCKET. He shoves a PLASTIC 'PLAY REFRIGERATOR' across the cage floor... then SLAMS IT AGAINST THE WALL. He repeats this movement over and over - all the time with a challenging eye to Caesar. SCRAPE AGAINST CONCRETE... BAM! SCRAPE... BAM! A terrifying display of power and dominance. DODGE (O.S.) Okay, assholes. Dinner time. Rocket - slowly and deliberately, with a last threatening look to Caesar - moves off. Caesar crawls to the edge of his cage and peers out. Dodge and another animal wrangler, RODNEY, move from cage to cage, SHOVELING PRIMATE CHOW INTO TROUGHS. Rodney tosses in an occasional rotted vegetable. The APES enthusiastically receive the food. Dodge shovels food into Caesar's trough. Caesar stares down at the wet- looking dog food. DODGE (CONT'D) Mmmm mmm. Grade A primate chow. Bet you don't get none of that in the suburbs. Caesar reaches into the disgusting goop and THROWS A HANDFUL IN DODGE'S FACE. The apes SCREAM with LAUGHTER. Rodney looks away so Dodge doesn't see him laughing too. 49. DODGE (CONT'D) Think that's funny? That funny to you, you hairy prick? Caesar stares at Dodge... then SHOOTS HIM THE FINGER. RODNEY Look at that! Infuriated, Dodge grabs a hose, drags it to Caesar's cage. DODGE One thing you can count on: Long as there are humans on this earth, you'll always be a monkey in a cage. The BURST from the HOSE sends Caesar flying backwards. Pinned into a corner, he curls himself into a ball, using his back as a shield. The water BLAST is relentless. Eventually, Dodge turns the water off. The two men take a long look at Caesar. He's left battered and soaked on the floor. RODNEY What about his clothes? Might cause problems with the other apes. DODGE Leave 'em. EXT. BACK YARD - DAY Walter's frail hand runs along the cold rail of Caesar's swing set. Empty. Useless in the back yard. The Aide stands nearby, sending a text message. INT. WILL'S HOUSE - DAY Will looks terrible. He's unshaven, pale, drawn. He sits on the sofa, surrounded by reminders of Caesar - puzzles, games, etc. The newspaper's unread beside him. WALTER (O.S.) John? Walter enters, looks at Will. 9 50. WALTER (CONT'D) John - where's Caesar? The old man looks stricken. WALTER (CONT'D) Shouldn't we look for him? Isn't there something we can do? Will looks up at his father. He's just had an idea. INT. LAB CAFETERIA - DAY WE FOLLOW Will as he strides purposefully into the cafeteria. He's shaved, pulled himself together. Will spots Jacobs,'lunching with his Blackberry, in a corner. He heads for him. Jacobs looks up, sees will coming. Will slides into the seat across from him. JACOBS You've been gone a week. WILL I was sick. JACOBS Too sick to return my calls? You know it was a funny thing, but I was watching the news and they started talking about a seven-year- old chimpanzee that went nuts - and all of a sudden, there you were on the TV. A seven year old chimp, raised since birth. The cafeteria gets a little awkward as Jacobs raises his voice. Neither man cares. WILL He's the son of chimp 4. And he's smart. Off-the-charts smart. Because of the 112. The genetic therapy was passed in utero - from the mother to the son. Without a single negative side-effect. JACOBS Aside from biting off a man's finger. 51. WILL He was protecting my father. The same way his mother was protecting him. JACOBS We've had this conversation already. We knew the 112 was making the apes smart - WILL (INTERRUPTING) I tried the 112 on my father. A conversation stopper. Jacobs is stunned. That's the effect Will was after. WILL (CONT'D) I had a sample vial. JACOBS You're out of your mind. Like a chess player, Will lets the unasked question sit there. And Jacobs is undeniably, voraciously curious. WILL Don't you want to know if it worked? Jacobs can't resist... JACOBS Did it? WILL It was miraculous. Unquestionable adult neurogenesis - development of fresh nerve tissue. (BEAT) It brought my father back. But Jacobs is confused. JACOBS You told me he was failing. WILL It's just like with the mice. Alzheimer's is a progressive disease, you need to keep it at bay ‚Ä¢ - you need boosters. 52. Will can see Jacobs turning this over in his mind - the possibilities. The money. JACOBS Why have you waited so long to tell me this? WILL I couldn't risk losing him. JACOBS 'Him'? WILL Caesar. JACOBS The ape? Jacobs looks at his old friend, wondering about his sanity. WILL We've discovered a safe treatment. It's the payday you've been waiting for. I'll recreate the primate version of 112 for you. (BEAT) But only under one condition. It takes Jacobs a moment before he gets outraged. JACOBS You're giving me conditions? I could have you arrested for what you've done. WILL But you won't - you need me to build the drug. Here's what I need: I want you to get Caesar back. JACOBS (THROWN) How the hell can I do that? WILL However they do things in your part of the world. Get attorneys into it. Write checks. Slip cash into the right pockets. (pausing for emphasis) Make it happen. 53. INT. CHIMPANZEE HOUSE/CAESAR'S CAGE - MORNING Early morning sun through the tiny window of Caesar's cage. He wakes shivering with cold. Notices that the other cages are empty - that his cage door is open. Tentatively, he makes his way into the common area. INT. CHIMPANZEE HOUSE/COMMON AREA - MORNING Caesar looks around. No chimps. The hose lies on the wet floor, along with the detritus of feeding time. He can HEAR the APES in the distance. Caesar tries the GATE/DOOR to the outside. LOCKED. He pauses, then makes his way toward the BRIDGE. EXT. ATRIUM/BRIDGE - MORNING Caesar walks across the bridge. To his left, (connecting to the bridge) he sees TWO MORE APE HOUSES CONNECTING TO THE BRIDGE: THE ORANGUTAN HOUSE - which is empty. And THE GORILLA HOUSE, which houses only one lone gorilla, BUCK, who stares out at Caesar. Caesar registers THE FACT THAT BUCK'S NOT OUT WITH THE OTHER APES. Then he moves on toward the atrium. The APES are visible inside. CAESAR GETS HIS FIRST GOOD LOOK. Over two dozen CHIMPANZEES and three ORANGUTANS roam around the atrium. The groups don't mix - chimps hang with chimps, orangutans with orangutans. They haven't noticed him yet. EXT. ATRIUM - DAY Caesar enters, heads for the tree. One by one, the apes take notice. They STOP AND STARE at this new arrival - DRESSED LIKE A HUMAN. HE'S ONE OF THEM, BUT LOOKS VERY SUBTLY DIFFERENT. GREEN EYES, FACE CONTOURED WITH SLIGHTLY HUMAN FEATURES, POSTURE MORE UPRIGHT... Caesar looks around, finds THIRTY PAIRS OF APE EYES ON HIM. Should he continue to the tree? Go back to the cage? 54. He spots a BALL across the way. Moves to it - the eyes follow him. He picks it up. The eyes wait. Caesar rolls the ball to a nearby chimp. It receives the ball, gives Caesar nothing - no smile, no connection - then tosses it to Rocket. Eyes on Caesar, Rocket discards the ball like a piece of trash. His look is insolent, an unmistakable challenge. AFRAID, CAESAR TURNS, HEADS BACK TOWARD HIS CAGE. ROCKET SWINGS OVER A COUPLE OF BARS AND LANDS IN FRONT OF HIM. Caesar tries to walk around. Rocket blocks his path, reaches out and pulls at Caesar's sleeve, as if to examine the material. Caesar jerks his arm away. Rocket bares his teeth, raises his arms. Caesar considers the options - should he run? Before he can make a move, Rocket GRUNTS, grabs his shirt at the chest. Caesar tries to push Rocket away, but the larger chimp throws Caesar to the ground, pinning him. Caesar struggles to get away, accidentally SLAPPING Rocket across the face. OUTRAGED, Rocket SLAMS his hand on Caesar's chest and starts POUNDING him. Caesar tries to block the blows, but they're coming hard and fast: his head, his stomach, his chest. Apes SHRIEK, jump up and down, egging Rocket on. Caesar manages to break loose, crawling away. Rocket grabs at his shirt, drags Caesar closer. He opens his mouth wide, moving sharp teeth toward Caesar's face. Caesar struggles, barely holds him off - and... .ROCKET BITES HIS ARM. BLOOD SPURTS. BAM! A SHOT RINGS OUT. Chimps scatter. Stunned, Rocket spins around - HIS MOUTH FULL OF CAESAR'S BLOOD - AND SEES DODGE OUTSIDE THE CAGE, RIFLE IN HAND. He pulls a TRANQUILIZING DART from his shoulder. Caesar starts to move off - BAM! DODGE SHOOTS A TRANQUILIZER DART INTO THE SIDE OF CAESAR'S NECK - HE GRABS AT THIS THROAT AND FALLS. BAM! DODGE SHOOTS ROCKET AGAIN. 55. Caesar rolls over to look up... as Rocket topples onto him. Out cold. INT. RANCH INFIRMARY - DAY Caesar lies on a medical table, NECK AND LEFT ARM BANDAGED. His shirt's ripped, and he's still wearing the khaki pants, now filthy and torn. TIGHT STRAPS RUN ACROSS HIS CHEST, PINNING HIM TO THE TABLE. It's a small room furnished with meagre medical equipment. Rocket's across the way, unconscious but breathing, restrained to a medical table. Caesar opens his eyes. Takes a moment to get his bearings. VOICE Caesar. Stewart stands over him. The light shines'behind her head. STEWART Do you remember me? I'm Dr. Stewart. She hands him a cup of water with a straw. STEWART (CONT'D) Drink. Caesar doesn't want the water. He signs. She clearly doesn't understand. He signs again. STEWART (CONT'D) I don't understand. Caesar's desperate. He opens his mouth, makes a LONG, LOW SOUND. She's taken aback - is he trying to speak? STEWART (CONT-D) Can you show me? Show me what you need. Caesar pulls at the restraints. STEWART (CONT'D) I can't take those off. Caesar sags with defeat, overcome with DESPAIR. 0 56. STEWART (CONT'D) I'm sorry this has happened, Caesar. So sorry. Stewart stares at him. Moved at the complexity of his emotion, the obvious intelligence behind his pain. STEWART (CONT'D) I'm here once a week. I'll do my best to look after you. EXT. STORAGE SHED - DAY Dodge pulls heavy bags of Primate Chow from a truck, stacking them in a SHED. He spots Stewart striding towards him, and-- Ducks out of sight, vainly brushing back his hair. STEWART (O.S.) What were you thinking? DODGE oh, hey Doc. STEWART That chimp needs protection. Dodge's face falls. STEWART (CONT'D) You could've gotten him killed. DODGE (A LIE) I told Rodney not to open his cage. STEWART Can't you see how sensitive he is? How intelligent? DODGE Yeah, no, he's a real smart dresser. STEWART I want him moved to the orangutan house. He'll be safe there until we re-introduce him to the group. DODGE I'm sorry, since when do volunteer animal doctors make the rules around here? 57. STEWART Please. Just do it. DODGE Whatever you say, doc. Dodge returns to stacking the chow. DODGE (CONT'D) You're the one with the college education. INT. 'VIRUS FACTORY', GEN-SYS LABS - DAY A spinning machine, test tubes, a giant propagation tank. Empty canisters labeled ADENOVIRUS 113. REVEAL WILL in the doorway, watching it all very carefully. A VIRUS TECHNICIAN approaches him. He's tentative, nervous. VIRUS TECHNICIAN Dr. Rodman - I think there's been a mistake. Will's been waiting for this observation - he's surprised it took so long to come up. VIRUS TECHNICIAN (CONT'D) I've double-checked the replication rate of the 113 - and it's enormously fast compared to the 112. WILL That's why we're using it. We need the drug quickly. VIRUS TECHNICIAN But... isn't it risky? I mean, at this rate of propagation, we greatly increase the possibility of mutations that are out of our control. It's a highly unstable - WILL I appreciate your concern - but it's going to be fine. We plan on taking precautions. The Technician pauses, not entirely satisfied. But Will's look tells him the conversation is over. 58. BEEP BEEP BEEP... EXT. GEN-SYS LABORATORIES -- DAY A large truck backs onto a loading dock. Will watches as a NEW GROUP OF CHIMPANZEES are unloaded from the truck and brought into the lab. INT. WILL'S STUDY - NIGHT Will's in his sweats, working. DOORBELL. EXT. WILL'S HOUSE - NIGHT Will opens the door to FIND STEWART STANDING THERE. For a moment he's too shocked to say anything. STEWART Sorry to drop in on you like this. The clinic at the zoo gave me your address but they didn't have a phone number - WILL (RECOVERING) Don't worry about it. You want to come in? INT. WILL'S HOUSE - NIGHT They stand awkwardly by the door. She looks great. WILL Can I - you want a cup of coffee or something? STEWART No - thanks. I just wanted to let you know that I've seen Caesar. Seen Caesar? WILL How? STEWART I volunteer once a week at The Ranch. WILL Is he alright? She hesitates, wanting to be honest but not alarming. 59. STEWART Yeah. He had a rough start, but things should get smoother from now on... In the other room, Walter and his Aide become visible. Will follows Stewart's curious gaze. WILL That's my dad. He's not doing too well. STEWART Oh. Sorry. (BEAT) Anyway, Caesar's going to be okay. I'm looking after him. WILL Thank you... I appreciate that. Awkward beat. STEWART Well. If you give me your number I'll let you know from time to time how things are going - WILL Let's grab a drink. Takes her by surprise. Maybe takes him by surprise too. She's happy he asked. STEWART Love to. EXT. RANCH GROUNDS - NIGHT Nighttime. INT. ORANGUTAN HOUSE - NIGHT A repulsive bowl of primate chow. Caesar - bandaged, beat-up and miserable - picks at it. In the next cage, the orangutans sleep. ROCK AND ROLL MUSIC. Dodge and Rodney drive up in a truck, windows down, radio blaring. Dodge gets out, cigarette in his mouth, and moves drunkenly to the storage shed. 40 He emerges with two BEERS, throws one to Rodney. 60. Caesar watches as Dodge offers a beer can to a chimpanzee. DODGE Want a beer? The chimp reaches but Dodge pulls it away. DODGE (CONT'D) Here's a little taste of beer... He unzips his fly and PISSES INTO THE CHIMP'S FEEDING TROUGH. Caesar watches, disgusted. INT. ORANGUTAN HOUSE -- MORNING A LEVER THROWN OPEN. Caesar watches as Dodge opens all the chimpanzee house cages in succession. Rodney moves to the orangutan house. CAESAR PAYS CLOSE ATTENTION TO THE LOCK AS IT SLIDES OPEN. DODGE & RODNEY Move it! Let's go! Dodge and Rodney herd the apes from their cages, brandishing ELECTRIC CATTLE PRODS. The primates rouse themselves, move across the bridge. On his way out, an orangutan, MAURICE - WISE COUNTENANCE, ORANGE AND WHITE BEARD - takes a moment to check Caesar out, then moves off to join the others. Caesar maneuvers to get a better view. Rocket walks, king-like, among the apes. Caesar watches him push a smaller MALE aside. The Male defers, extending his arm forward, palm up, supplicating. ROCKET CASUALLY RUNS HIS HAND, PALM DOWN, OVER THE OUTSTRETCHED ONE. Rocket's the cock of the walk - the ALPHA MALE. Caesar shifts his attention to the GORILLA, Buck - still alone in his cage, staring through the bars, miserable. Why doesn't the gorilla ever get to go out? Then something across the ranch catches Caesar's eye: WILL'S CAR'S DRIVING UP TO THE OFFICE. 61. His heart skips a beat. He moves to the bars, barely able to contain his excitement. EXT. RANCH GROUNDS - DAY Will waits at a picnic table as Dodge approaches with Caesar on a leash. He's immediately struck by Caesar's injured appearance, but he plasters a smile on his face. Caesar's clearly thrilled to see him. WILL There you are! I heard what happened. CAESAR (SIGNING) Home now. Caesar home. He tugs Will away from Dodge. WILL I'm going to get you out of here, but not today. I'm working on it. Caesar's face falls. WILL (CONT'D) Soon. I promise. Will notices Dodge's ELECTRIC CATTLE PROD. CAESAR (SIGNING) Home. Still a question, a flicker of hope. WILL (kills him to say it) Not yet. I can't yet. Caesar realizes: Will's going to leave him here. First incredulous - then outraged - Caesar turns away and starts walking back to his cage. WILL (CONT'D) Wait a second - Caesar, where are you going? ‚Ä¢ Caesar doesn't respond, doesn't turn, just keeps walking. Dodge catches up with him. 62. DODGE (loud enough for Will) No place like home, huh monkey boy? WILL Caesar - come back here! He watches Caesar's retreating back, Dodge trotting alongside him. Realizes Caesar's nearly breaking into a run. EXT. ORANGUTAN HOUSE - DAY Dodge locks Caesar in his cell. Then moves around to the... EXT. STORAGE SHED - DAY .storage shed. He notices Will's car still parked in front of the office... just as - BAM! WILL DECKS HIM WITH A FIST TO THE FACE. Dodge hits the ground. Will stands over him, too livid to realize he might've just broken his hand. WILL You son of a bitch. Dodge scrabbles to his feet, wipes the blood from his nose. DODGE That was not a smart thing to do. Dodge is clearly much tougher, stronger than Will, but Will's too angry to care. WILL If I find out Caesar's been hurt, if he's mistreated in any way, I swear I'll have you brought up on charges. Dodge looks towards Landon's house, restrains himself. DODGE That wild-eyed chimp isn't yours any more. He's mine now. The truth of the statement is worse than any punch. DODGE (CONT'D) And you're on private property. Now get the hell out of here. 63. WILL Forget jail. I'll come back and kill you. EXT. STORAGE SHED - LATER A bag of CHIPS AHOY COOKIES. Caesar - looking morose - watches as Rodney pops a cookie in his mouth and stuffs the bag into the shed... STEWART (O.S.) Morning Caesar. INT. ORANGUTAN CAGE - DAY The door slides open. Stewart enters, followed by Dodge. STEWART How's your arm? Mind if I take a look? Stewart rummages in her MEDICAL BAG. CAESAR WATCHES AS SHE PULLS OUT A PAIR OF SCISSORS, cuts off his bandages. STEWART (CONT'D) Looking good... Caesar makes eye contact with Dodge over Stewart's shoulder. She pulls a harness from her bag. STEWART (CONT'D) I'm taking him out. Thought I'd cheer him up, show him the horses. DODGE No way. As she walks to Dodge, CAESAR GLANCES INTO HER MEDICAL BAG. STEWART What are you going to do? Use a cattle prod on me? DODGE If you're into that kind of thing. STEWART I'm safer with him than I am with you. DODGE Answer's no. 64. Stewart turns to Caesar, who's retreated onto a bed of straw. STEWART I can't take you. (glancing at Dodge) Maybe another time. INT. ORANGUTAN CAGE - NIGHT RAIN. The apes sleep. Except for Caesar. Standing in the corner of his cage, Caesar pulls STEWART'S SCISSORS and a roll of MEDICAL TAPE out from the STRAW. He kneels at his bedding, gathering sticks and straw. Then he begins weaving the tape through several sticks, binding them and extending them end to end. Caesar pauses, sensing something. He looks over his shoulder, discovers MAURICE THE ORANGUTAN watching him. They hold each others' gaze, Caesar taking his measure. Then Caesar puts a finger to his lips. "Shhhh." Maurice makes no movement, but the agreement is clear. Caesar returns to crafting the tool. INT. LAB/PRIMATE HOUSE - DAY Dark FORMS in cages, illuminated by GREEN FLUORESCENT LIGHT. The DOOR OPENS. EYES OPEN, HEADS TURN. Will enters - WE SEE THAT HIS HAND HIS BANDAGED. The apes watch as he walks along the cages, eyes searching the dark chimpanzee faces. EACH LAB CHIMP HAS A DIFFERENT COLORED IDENTIFICATION WRIST BAND. WILL Which one of you wants chocolate... Chimpanzees stare back at him, giving him nothing. NOISE FROM BEHIND. Will turns. Down the row, A CHIMPANZEE ARM EXTENDS FROM A CAGE, PALM UP - WITH A RED BAND. Will walks to the cage, chimp #11, reads the label beside it. WILL (CONT'D) "Koba." 65. He peers inside. Koba stares back, EYES MURKY AND SMALL BENEATH A HEAVILY PROTRUDING BROW, DARKENED PIGMENTATION STREAKS DOWN EACH CHEEK. A SINISTER FACE. He DROPS AN M&M INTO KOBA'S PALM. Eyes on Will, Koba secrets it to a "storage spot" inside the cage. Then he puts out his hand again. VOICE (O.S.) Nanotherapy, beta version: Male Test Subject Number eleven. INT. PRIMATE RESEARCH LAB - DAY Koba doesn't resist as Will straps him to the table. He watches as a HANDLER -- EVANS - moves into the next room, opens a refrigerator with a strange BIOHAZARD SYMBOL and pulls out CANISTER labeled ADENOVIRUS 113. Evans and Will each slip on HAZMAT masks, making sure they're secure. Then Evans hands the 113 to Will. All of this avidly taken in by Koba's dark eyes. Will inserts the adenovirus 113 nozzle into a plastic oxygen mask. Koba's eyes are on him as he brings the mask toward the chimp's face. EVANS (THROUGH MASK) Boy, he's a calm one, isn't he? Will tilts the nozzle, releasing a BLAST OF AEROSOL MIST INTO KOBA'S NOSE AND MOUTH. THE CHIMPANZEE CONVULSES ON THE TABLE. INT. STEWART'S KITCHEN - NIGHT CHOP STICKS digging into take-out Chinese. Stewart and Will sit in her kitchen, eating. It's clear from their state of dress (or undress) that they've been intimate. Because his hand is still bandaged, he's having a hard time with the chopsticks. STEWART You actually punched him? 66. WILL I did. She thinks it's funny. STEWART I've been wanting to do that since the day I met him. WILL I don't advise it. My hand's killing me. STEWART Here. Let me help you out. She begins feeding him the Chinese food. He puts down his chopsticks. WILL I'm going to get him out of there. STEWART I know you are. WILL And I'm going to get my dad back too. INT. ORANGUTAN HOUSE - NIGHT Caesar tapes sticks together. WE SEE that he's created a THREE-FOOT LONG "ARM". He tapes the scissors firmly to its end, finger holes sticking out. Finished. Silently he moves to the edge of the cage. USING THE CONTRAPTION, HE LOOPS THE FINGER HOLES OVER THE LATCH. He tries once. Misses. Twice. Misses again. Caesar keeps trying... until finally the loop's in place. Then he begins to tug. Tug. Tug. CLICK - the LATCH OPENS. He glances over to Maurice, who silently watches. Caesar pushes open the cage door. MAURICE'S EYES FOLLOW HIM INTO THE NIGHT. EXT. BRIDGE AREA - NIGHT Caesar walks across the bridge. He passes the entrance to the chimpanzee house - and keeps going. 67. EXT. GORILLA HOUSE - NIGHT He arrives at the Gorilla House. Buck's visible in his cage, asleep on a bed of straw. Caesar unlocks the door latch and opens the cage door. He waits, but Buck doesn't budge. He's still fast asleep. Caesar hesitates. Then he slowly... INT. BUCK'S CAGE - NIGHT .enters the cage, edging up to the sleeping gorilla. From this vantage point, Buck looks enormous, his vast chest rising and falling with sleep. Caesar very carefully wiggles his toe. There's a GRUNT and a WHIRL OF BLACK FURRY MOVEMENT. Caesar finds himself staring into the huge, angry gorilla face. Caesar - nervous - beckons toward the open door. Buck understands but can't believe it. For a moment he doesn't move. Caesar makes the gesture again -- "Come on, let's go." Before he can finish, Buck bursts past him... EXT. BRIDGE - NIGHT .across the bridge... EXT. ATRIUM - NIGHT .and into the atrium. Caesar follows. The full moon shines down on Buck, the tree, the climbing structure. The gorilla feels his feet on the grass, savoring every step. Then he begins to run. He runs as fast as he can, all the way across the atrium, then all the way back. Back and forth, GORILLA WIND SPRINTS of freedom. Caesar stands back, silently watching. EXT. STORAGE SHED - MORNING A morning like any other. Dodge goes through his routine: 0 opening the door, wheeling out a wheelbarrow. 68. He makes his way to the ape houses. EXT. GORILLA HOUSE - MORNING Dodge and his wheelbarrow approach the Gorilla House. Closer and closer to the cage... until they're right in front. The CAGE DOOR'S CLOSED, BUCK INSIDE. Dodge shovels primate chow into the gorilla's trough. BUCK TAKES A HANDFUL AND LOOKS ACROSS TO CAESAR, WHO RETURNS HIS GAZE FROM THE ORANGUTAN HOUSE. INT. ORANGUTAN CAGE - MORNING Caesar senses something: Maurice is staring at him. Caesar 's beginning to wonder what Maurice wants when the ORANGUTAN DOES SOMETHING REMARKABLE: HE USES SIGN LANGUAGE. MAURICE Happy gorilla. Caesar's shocked. MAURICE (CONT'D) Surprise. CAESAR Signing orangutan. MAURICE Maurice circus orangutan. CAESAR More ape sign? MAURICE No. Maurice alone. They HEAR DODGE'S WHEELBARROW APPROACH. CAESAR Careful. Stupid human no like smart ape. Dodge begins shoveling primate chow into the troughs. Maurice and Caesar stop signing and blend in. INT. CHIMPANZEE HOUSE/ROCKET'S CAGE - NIGHT Rocket sleeps. Pieces of primate chow hit him in the head. He wakes with a start. SEES THAT HIS CAGE DOOR IS OPEN. 69. Rocket gets to his feet, sees CAESAR STANDING IN THE COMMON AREA. Rocket GRUNTS and sprints after him - through the chimpanzee common area - toward the door - Where WHAM! CAESAR WHACKS HIM IN THE HEAD WITH ROCKET'S PLASTIC REFRIGERATOR. ROCKET STAGGERS, TRYING TO RECOVER, AND LANDS ON HIS BUTT. HE LOOKS UP TO SEE CAESAR... AND BEHIND HIM, STANDING LIKE A MOUNTAIN: BUCK. Buck raises his arms and SLAMS them down with a MIGHTY ROAR; Caesar slings the plastic refrigerator aside, sending it SKITTERING across the CONCRETE. The chimpanzees, awake now, watch to see what will happen. Rocket looks from Buck to Caesar. He's beaten. STRETCHING OUT HIS HAND, PALM UP, ROCKET MAKES THE SUPPLICATING GESTURE. CAESAR RUNS HIS HAND - PALM DOWN - OVER ROCKET'S, SEALING HIS DOMINATION. A COLLECTIVE GASP OF AWE moves through the ho-use. Rocket crawls back to his cage, defeated. Caesar - walking at full height - follows. He CLOSES ROCKET'S CAGE DOOR AND LOCKS HIM IN. Then Caesar walks upright around the cages once more, making eye contact with each and every chimpanzee. He exits with his Lieutenant, Buck, in tow. CHIMPANZEE HOUSE HAS A NEW ALPHA MALE. INT. PRIMATE RESEARCH LAB - DAY Will and Evans (the handler) are wearing hazmat masks as they administer Adenovirus 113 to chimp after chimp. Chimp after chimp convulses on the table. They lead Koba to the table. Koba knows what to do. He lies down, allows himself to be strapped in. All routine. Everyone's guard is down. But as soon as the BLAST OF AEROSOL MIST is released, KOBA ‚Ä¢ THRASHES OUT AN ARM, HITTING EVANS IN THE SIDE OF THE HEAD. 70. WILL Hold him steady! Evans tightens the straps on Koba's flailing arm. WE SEE THAT EVANS' MASK HAS BEEN KNOCKED ASKEW. Will finishes administering the drug. Koba goes limp on the table. WILL (CONT'D) You okay Evans? EVANS Yeah. I'm good. INT. PRIMATE RESEARCH LAB - DAY Will demonstrates the "Tower of Hanoi" puzzle. Koba watches. WILL You can't put larger blocks on top of smaller ones. (pointing to right side) Move the stack from here to here. Koba takes the puzzle and ROTATES IT 180 DEGREES CLOCKWISE, SO THAT THE LEFT STACK IS INDEED NOW ON THE RIGHT SIDE. Will looks at Koba. Koba looks back. WILL (CONT'D) (DEMONSTRATING) You've got to take the blocks off and stack them again, like this. Will turns the puzzle back around. WILL (CONT'D) Let's see you try. Koba puts out a palm - asking for an M&M. WILL (CONT'D) I'll give you an M&M if you can get the blocks to the other side - but don't do it the way you did last time. Koba thinks, then ROTATES THE PUZZLE AGAIN - THIS TIME COUNTERCLOCKWISE. Ingenious in its own way. 71. WILL (CONT'D) You know what I want. You're just not going to give it to me. Koba puts out a palm. There's A LOOK IN HIS EYE, MALEVOLENT, DISQUIETING. AND SOMETHING ELSE: HIS EYES HAVE CHANGED. THEY LOOK SOMEWHAT LIKE CAESAR'S - GREENER, LESS SIMIAN... WILL (V.0.) (CONT'D) What do you think of Koba? INT. PRIMATE HOUSE - DAY We look through cage bars at Will and Franklin, who stand far away, across the room. FRANKLIN You wanna know if I think the 113's making him nuts. WILL I know he's smart. But there's something else, something worrisome. He challenges me. Taunts me. Will looks toward us, toward the bars. WILL (CONT'D) (almost to himself) I don't want to try it on... (CATCHES HIMSELF) .I don't want to start human trials if there's any chance of danger. FRANKLIN What you're seeing has nothing to do with the 113, Doc. The apes're just like us - they're complex. Some are loyal, some are selfish, some have a good sense of humor. And some are born rotten. Koba moves into frame. We've been watching from his point of view, from inside the cage. Now we look over his shoulder, where the sharp planes of his ‚Ä¢ face frame the two men across the room. 72. FRANKLIN (CONT'D) This one's a bad apple, that's all. A chill runs down Will's spine. EXT. GEN-SYS LABORATORIES/MAIN GATE - DAY A car pulls up to the gate. Evans is driving. He looks ill. GUARD (OPENING GATE) Early day today, Evans? EVANS Actually I'm not feeling too good. EVANS GETS A SHIVER. GUARD You know what: Whiskey, lemon, honey and a cup of hot water. Never fails. EVANS Thanks - I'm on it. Evans drives off. EXT. PADDOCK - DAY Stewart sits atop one of the ranch horses, looking down at the chimpanzee area. She watches CAESAR walking across the bridge. Caesar moves easily among the apes, his Alpha Male status clear as the others make way for him. Stewart's relieved - and a little surprised - to see Caesar so at ease with the other apes. INT. CHIMPANZEE HOUSE - DAY ROCKET'S MISERABLE. Dodge and Rodney watch him through the bars. RODNEY Still won't eat, won't come out. DODGE I can fix that. Dodge drags the hose to Rocket's cage. 73. DODGE (CONT'D) Get that monkey ass out of there! INT. ORANGUTAN CAGE - DAY Caesar watches Dodge BLAST Rocket with WATER. Rocket doesn't struggle, doesn't fight back. The harsh jet pelts his back. INT. CHIMPANZEE HOUSE/ROCKET'S CAGE - NIGHT Rocket sleeps. The FEEDER BIN OPENS AND SHUTS, waking him. Tentatively, Rocket peers inside the bin: A COOKIE. Never seen a cookie before. Rocket picks it up. Smells it. Takes a taste. Wow. He gobbles it down. At that moment Rocket's CAGE DOOR OPENS. Caesar stands holding a LARGE BAG OF CHIPS AHOY. He tosses a cookie to Rocket. Beckons him out of the cage. INT. CHIMPANZEE HOUSE/COMMON AREA - NIGHT Rocket exits warily, on his guard for anything... But Caesar simply stands with the cookie bag. No gorilla. No shovel. He hands the cookie bag to Rocket. Rocket watches - confused - as CAESAR PULLS THE MAIN LEVER, OPENING ALL THE CAGES AT ONCE. CHIMPS EMERGE, bewildered. Rocket stands with the cookie bag, unsure what to do. Caesar makes a motion with his hand. Now Rocket understands. He gives a cookie to the nearest chimp. Then another one. Then another. The chimps go crazy for the cookies. THEY GATHER AROUND ROCKET, WHO PROUDLY DISTRIBUTES THEM. A TRANSFORMATIVE MOMENT - ROCKET'S FOUND HIS FOOTING. Now Caesar opens the orangutan and gorilla cages. A moment of discomfort as Caesar leads the other apes in. Caesar pulls an orangutan over to Rocket. Rocket hands the orangutan a cookie. The other orangutans and Buck immediately line up. Discomfort's gone - now it's one big ‚Ä¢ party. 74. Caesar watches, satisfied, as the apes feast together. EXT. ATRIUM/TREE - DAY Caesar sits high in the tree, looking down at the apes. Rocket's part of the group again, but no longer the Alpha. Caesar's got his eye on CORNELIA, a FEMALE APE, standing with a group of females. He follows her movements with his eyes... Maurice climbs up next to Caesar. MAURICE Why cookie Rocket? CAESAR Need strong. All apes strong. MAURICE No understand. Caesar grabs a small twig off the tree and BREAKS IT. CAESAR Gorilla. He breaks another twig. CAESAR (CONT'D) Orangutan. He breaks another. CAESAR (CONT'D) Chimpanzee. He grabs a bunch of twigs and holds them together - now they can't be broken. CAESAR (CONT'D) Apes. EXT. WILL'S HOUSE - MORNING Establishing shot. A beautiful morning. INT. WILL'S HOUSE - MORNING Will's getting ready for his day. Hair wet from the shower, buttoning up his shirt, he pauses to pour himself a cup of coffee, look up at the clock. 75. He takes a sip, heads down the hall to his father's room. WILL Someone's sleeping late today - Will opens the door - and FREEZES IN HIS TRACKS. WILL (CONT'D) Dad? EXT. CEMETERY - DAY LONG SHOT of Will sitting at a gravesite service, surrounded by twenty-odd PEOPLE. WE RECOGNIZE Stewart, Jacobs, one of the Aides. EXT. RANCH - DAY Will waits at the picnic table. He's been there a while. Finally Rodney appears. RODNEY Sorry - can't get him to come out. He won't budge. WILL He knows I'm here? RODNEY I told him. Will brushes by Rodney, heads for the cages. RODNEY (CONT'D) Hey - you are not allowed back THERE - Will ignores him, keeps going. EXT. ORANGUTAN CAGE - DAY Caesar sees Will coming. He turns his back, heads to a common area away from the bars. Will runs up to the cage. WILL Caesar - please! I've got something to tell you - (BEAT) It's about Walter. ¬Ä¢ 76. WE FIND CAESAR deep out of sight in the orangutan cage. He' s heard Will's words. Will waits. Caesar's not coming out. NEWSCASTER (O.S.) NASA has temporarily lost communication with the Icarus. INT. WILL'S LIVING ROOM - NIGHT Will sits with a glass of Scotch, watching TV. Stewart's looking at a FRAMED PHOTOGRAPH. NEWSCASTER Captain Taylor and his crew are navigating the ship around the dark side of Mars. Communication is expected to be reestablished - WILL I was too late. She puts the photo down, cuddles against him. STEWART You tried. You worked really hard. Walter knew that. WILL Wasn't good enough though, was it. ANGLE ON THE PHOTOGRAPH. It shows a younger Walter and his two teenage sons... INT. LAB - NIGHT Franklin's on the phone. FRANKLIN Just checking in. You didn't show up at work today. CUT TO: INT. EVANS' APARTMENT - NIGHT Crummy little place. TV's on with no sound. WE HEAR FRANKLIN'S VOICE through the phone machine. FRANKLIN (O.S.) Hope you're feeling better - let me know if you need anything. 77. REVEAL EVANS, LYING IN BED, DEAD - a streak of brown dried blood across his cheek -- as if draining from his lifeless eye. EXT. RANCH - NIGHT Deep night at the ranch. A moon half-hidden by clouds. INT. ORANGUTAN CAGE - NIGHT Caesar uses his contraption to get out of the cage. Maurice grabs his arm. MAURICE Where go? CAESAR Find Mother. EXT. RANCH/PRIMATE HOUSES - NIGHT Caesar slips out of the orangutan house, heads toward the GATE. As he passes the chimpanzee house HE HEARS A CHIMPANZEE CALL OUT. He turns. Finds Rocket staring out at him, wanting to go with him. Caesar hesitates. Rocket CALLS OUT LOUDER. To quiet him, Caesar walks over to Rocket's cage, but as he gets closer, he sees something that gives him pause: ROCKET'S EYES HAVE CHANGED. Caesar gets right up against the bars of Rocket's cage, takes Rocket's face in his hands and looks into his eyes: THEY ARE UNMISTAKABLY GREEN. Reeling, Caesar tries to make sense of this. And then he remembers the bite. Rocket bit him. He looks down at the wound on his arm, now nearly healed. Has Caesar's blood changed Rocket? Caesar opens Rocket's'cage. The chimp emerges, ready for anything. EXT. CHIMPANZEE HOUSE - NIGHT Caesar and Rocket barrel across the ranch, past the living ‚Ä¢ quarters, past the barn, onto the winding road leading away. 78. EXT. NEAR-DESERTED TWO LANE HIGHWAY - NIGHT Middle of the night, only a few cars. Caesar and Rocket stick to bushes and shadows. They wait for a break in traffic, cross the highway. EXT. OUTSKIRTS OF TOWN - NIGHT In the distance the LIGHTS of the TOWN give a glow to the night sky. Caesar and Rocket gallop toward it. EXT. SUBURBAN STREET - NIGHT Dark, quiet. RUSTLING IN THE TREES, as if a storm is coming. SUDDENLY CAESAR BURSTS THROUGH, SWINGING FOR THE NEXT TREE A moment later ROCKET FOLLOWS. Swinging from tree to tree, they make their way down the suburban street. INT. WILL'S BEDROOM - NIGHT CLOSE ON WILL'S SLEEPING FACE. CREAK, CREAK... CREAK, CREAK. WILL'S WAKENED by the NOISE. What is that? CREAK, CREAK. . .CREAK, CREAK. It's coming from outside. REVEAL STEWART asleep next to Will. He gets out of bed, moves to the window, looks into the back yard. THE SWING MOVES BACK AND FORTH, AS IF RECENTLY OCCUPIED. Will scans the grounds - no movement, nothing to see. Satisfied, he climbs back in bed and closes his eyes. THAT'S WHEN A SHADOW PASSES OVER THE BED. It's CAESAR'S SILHOUETTE, noiselessly emerging from the darkness. He stands there, looking down at Will and Stewart. His face is impossible to read. 79. INT. WILL'S LIVING ROOM - NIGHT Rocket's fascinated by photos of Caesar with Will and Walter along the mantle. Caesar emerges from Will's room and makes his way down the hallway. INT. WALTER'S ROOM - NIGHT Stripped bed, a couple of packed boxes. Caesar stands at the doorway, taking it in. EXT. STREET - NIGHT Feet pounding the pavement, Caesar and Rocket head away from Will's house. EXT. OUTSIDE LAB - NIGHT GEN-SYS RESEARCH SIGN. The grounds are deserted. A SECURITY GUARD listens to RADIO in the guard kiosk. Caesar and Rocket - eyes on the Security Guard - stop at a spot hidden by a tree and scale the fence. EXT. LAB GROUNDS - NIGHT Caesar and Rocket drop down to the grass. They SNIFF THE AIR, head toward the Primate House. INT. SECURITY KIOSK - NIGHT The Security Guard yawns, checks his watch. Over his shoulder, on a monitor, WE SEE the dark forms of two chimpanzees run across the grounds. EXT. PRIMATE HOUSE - NIGHT Caesar and Rocket arrive at the Primate House. Caesar tries the big double door - locked. He looks upward, spies a ROW OF AWNING WINDOWS near the roof. Rocket pushes a dumpster close to the building wall. Then Caesar jumps on the dumpster and catapults himself to the window's ledge. Hanging by one arm, he swings himself in through the window. Rocket follows. 0 80. INT. PRIMATE HOUSE/OFFICE NIGHT Franklin's got the graveyard shift. He's watching a movie on the office computer - doesn't hear anything. INT. PRIMATE HOUSE - NIGHT Eerie, darkly lit. SLEEPING CHIMPS stir. CAESAR and ROCKET drop to the cement floor. Now they have a clear view of the cramped cages, DARKENED FIGURES INSIDE. Caesar walks alongside them, peering into each one, studying the shadowy, simian faces. A HAIRY ARM EXTENDS THROUGH THE BARS, PALM UP - IT HAS A RED BAND AROUND ITS WRIST. IT'S OFFERING AN M&M. Caesar approaches the cage... FINDS HIMSELF FACE TO FACE WITH KOBA. HIS EYES ARE BEADY, A STEELY GREY. THE TWO CHIMPANZEES SIZE EACH OTHER UP. EACH SENSES SOMETHING IN THE OTHER, BUT NEITHER KNOWS WHAT IT IS. Caesar moves on. HE'S INTENT, LOOKING FOR SOMEONE. Rocket barrels forward, grabs the M&M from Koba's hand. Koba offers up ANOTHER M&M. But ROCKET'S EYES ARE ON THE RED IDENTIFICATION BAND - THAT'S WHAT HE WANTS. KOBA CAN SEE THIS. HE OFFERS IT UP - IN RETURN FOR OPENING HIS CAGE. ROCKET CONSIDERS A MOMENT, THEN MOVES TO THE LATCH. ANGLE ON Caesar. He's nearly reached the last of the cages, and the DISAPPOINTMENT IS PLAIN ON HIS FACE. These chimpanzees are distant, strange. No familiar face. NO CONNECTION. Caesar reaches the last cage, where A YOUNG CHIMP, sick, stares back at him. Caesar turns away, crestfallen. 81. He YELLS for ROCKET, and the two of them take off. The LAB CHIMPS start to SCREAM. INT. PRIMATE HOUSE/OFFICE - NIGHT HEARING THE COMMOTION, Franklin puts down his book, heads... INT. PRIMATE HOUSE - NIGHT .into the Primate House. Where he stops in his tracks. KOBA STANDS IN THE MIDDLE OF THE ROOM, UPRIGHT. They stare at each other. Then Koba LEAPS FOR HIM. EXT. LAB GROUNDS/GUARD KIOSK - NIGHT Caesar and Rocket head for the fence. A GUARD approaches on his nightly rounds. They look at each other, lay low. To protect Caesar, Rocket takes off running. The SHOCKED SECURITY GUARD SEES HIM, GIVES CHASE, FUMBLES FOR HIS WALKIE- TALKIE. But Rocket's too fast - in a moment he's out of sight. EXT. ROAD OUTSIDE LAB - NIGHT Caesar's waiting when Rocket runs up. They take off together. INT. CHIMPANZEE HOUSE - NIGHT Caesar and Rocket enter. That's when WE NOTICE: CAESAR'S KHAKI PANTS ARE GONE - HE'S NO LONGER DRESSED LIKE A HUMAN. Caesar opens Rocket's cage. As soon as the door closes behind him, the huge chimp collapses, exhausted. Caesar walks around the chimpanzee house, images of the night swirling through his head. Around him, the chimps sleep, oblivious. Except for CORNELIA - she's wide awake. Staring at him. INT. PRIMATE HOUSE - NIGHT The apes have calmed down. Koba slips back into his cage and ‚Ä¢ closes the door. 82. CLICK. It locks into place. EXT. RANCH GROUNDS - EARLY MORNING Dawn of a new day. INT. CHIMPANZEE HOUSE/CORNELIA'S CAGE - EARLY MORNING Sunlight reaches through the bars and streaks across Caesar's face. He opens his eyes. Looks at Cornelia, still asleep. Caesar creeps toward the open entrance to her cage. INT. CHIMPANZEE HOUSE/COMMON AREA - EARLY MORNING Caesar emerges into the common area. The chimps are still asleep. There's a CLANKING as the OUTSIDE GATE OPENS. Caesar freezes. Dodge enters with the wheelbarrow of Primate Chow and the shovel. Locks the door behind him. He hasn't seen Caesar yet. DODGE Rise and shine, assholes. The chimps wake. One by one they notice Caesar, standing in the common area. THEN DODGE SEES HIM. DODGE (CONT'D) What the hell - (seeing Cornelia's open CAGE) You sly son of a bitch. How'd you do that? Dodge is careful, slow, as he picks up the shovel and holds it in front of him. He circles around the common area toward Cornelia's cage. DODGE (CONT'D) We're gonna go slow here, alright? You're gonna go back in your cage, you're not going to give me no trouble. 83. The apes - chimps, orangutans, the gorilla - are silent, riveted, waiting to see what will happen. Cornelia stands, watching. Caesar doesn't take his eyes off Dodge, but his expression is unreadable. Dodge reaches Cornelia's cage. He VIOLENTLY BANGS THE SHOVEL AGAINST THE BARS. DODGE (CONT'D) Back! Caesar reacts, a snarl curling his lips. Keeping his eyes on Caesar, sweat dripping down his temples, Dodge KICKS CORNELIA'S CAGE SHUT. Now he starts moving forward, trying to back Caesar toward the orangutan cage. DODGE (CONT'D) We're going to have you fixed, Einstein, that's for damn sure... But first we're going to figure out how you pulled this off... CAESAR INCHES BACK, KEENLY AWARE OF EVERY APE'S EYE ON HIM. DODGE (CONT'D) Go on. Get in that cage. Caesar stops, refusing to go any farther. DODGE (CONT'D) I said get! But Caesar doesn't move. Dodge pokes the shovel at him, then SLAMS it to the cement floor. He edges closer to Caesar, grip tightening around the shovel handle. Then he rears it back, face contorted in rage. DODGE (CONT'D) Get in that cage, you damn dirty ape! ‚Ä¢ CAESAR'S EYES NARROW. HE STANDS TALL, STRETCHING TO HIS FULL HEIGHT. 84. THEN HE STARES DODGE FULL IN THE EYES, DIGS DEEP, AND WITH TREMENDOUS EFFORT... SPEAKS. CAESAR (with his voice) No! STUNNED SILENCE. THE WORLD STOPS SPINNING. Dodge is thunderstruck - nearly loses his balance. Caesar has spoken. Actually uttered a word. Maurice, Rocket, Buck, and all the apes stare, dumbfounded, trying to comprehend what has just happened. And then... they go nuts. SCREAMING. YELLING. JUMPING UP AND DOWN. That's when Caesar attacks. He rushes Dodge, wrestling the shovel from his hands. Dodge spins around to defend himself - and CAESAR HITS HIM IN THE SIDE OF THE HEAD. Dodge staggers back. Caesar SLAMS the shovel in his stomach. Dodge crumples forward. CAESAR SWINGS THE SHOVEL UP, SMACKING HIM IN THE FOREHEAD. Lights out. Caesar drags Dodge to Rocket's cage and opens the door. Rocket helps pull him inside. THEN CAESAR OPENS ALL THE DOORS TO ALL THE CAGES - AND THE APES COME STREAMING OUT. They gather around Caesar, who holds up STEWART'S SCISSORS AND SLICES OPEN HIS OWN PALM. Then he walks to Rocket, who gets down on his knees and puts out his hand in the supplicating gesture. CAESAR TAKES THE SCISSORS AND SLICES ROCKET'S PALM, THEN PRESSES THEIR TWO HANDS TOGETHER. 85. He moves to Maurice, who offers up his hand. Caesar slices the palm and places his hand against it. Then he turns to Buck - who stands up tall, beats his chest and YELLS... BUT THEN OFFERS UP HIS HAND. And now Caesar looks around, as EVERY APE LINES UP, THEIR OPEN PALMS WAITING. INT. WILL'S BEDROOM - DAWN Will wakes, climbs out of bed, careful not to wake Stewart. INT. HALLWAY - MORNING He moves down the hallway, approaching Walter's room. He pauses, puzzled, at the door - which is AJAR. Strange. THE PHONE STARTS TO RING. Will ignores it -- slowly pushes the door open... AND SEES CAESAR'S TATTERED PANTS LAID ACROSS THE STRIPPED BED. He stands there, stunned. JACOBS (O.S.) Will? Hello? Will pick up the goddamned phone! INT. KITCHEN - MORNING WILL Hello? INTERCUT WITH JACOBS AT THE LAB. JACOBS The animal handler - Franklin - was killed last night. In the primate house. WILL Franklin's dead? JACOBS Something very powerful broke his neck. Snapped it in two. WILL Could it have been one of our chimps? 86. JACOBS All our apes are accounted for - ‚Ä¢ secured in their cages. But here's the kicker: One of our security guards swears he chased a chimpanzee off the grounds last night. Will - with growing dread - looks out the window at Caesar's swing. JACOBS (CONT'D) Where in the hell did that chimp come from?! EXT. WILL'S HOUSE -- MORNING Will speeds out of the driveway, Stewart by his side. She's dialing her cell phone. INT. RANCH HOUSE/LIVING ROOM - MORNING Mr. Landon answers the RINGING PHONE. He's in his pajamas. MR. LANDON The Ranch. Landon speaking. (LISTENING) Hey Stewart. (LISTENING) Caesar? Dodge fed them breakfast about half an hour ago... He holds up a PAIR OF BINOCULARS, looks toward the atrium and ape houses. Can't see anything wrong. MR. LANDON (CONT'D) Let me call you back... He HEARS THE BACK KITCHEN DOOR OPEN. RUSTLING NOISES in the kitchen. Opening and closing of cabinets. MR. LANDON (CONT'D) Hey Dodge - Stewart just called - WE FOLLOW HIM out of the living-room, into the... INT. RANCH/KITCHEN - MORNING .kitchen. MR. LANDON She said that - 87. Landon goes pale. ROCKET AND TWO OTHER CHIMPANZEES ARE STANDING IN THE KITCHEN. EXT. RANCH GROUNDS - MORNING The two CHIMPANZEES drag Mr. Landon toward the Ape Houses. Rocket follows, munching cereal from a box of Cheerios. IN THE DISTANCE Rodney's visible, being dragged, SCREAMING. EXT. RANCH GROUNDS - DAY Will's car speeds up to the gate and stops. STEWART (ON PHONE) No one's answering. In the distance they can HEAR the PHONE RINGING at the ranch house. From where the car is, nothing out of the ordinary is visible. Will thinks a moment, gets out of the car. WILL You go get help. STEWART Not a way in the world. I'm coming with you. EXT. RANCH HOUSE - DAY They sneak into the back of the ranch house. All is quiet. INT. RANCH HOUSE - DAY But once inside, the level of destruction is immediately visible: Overturned table and chairs, plates smashed, cupboards emptied. STEWART Oh my God... I'm calling 911.. Will picks up Landon's BINOCULARS, moves to the front window. HE SEES: Debris everywhere. Apes free, wandering... DODGE, LANDON and RODNEY BATTERED AND IN CAGES. AND - IN THE ATRIUM - SURROUNDED BY HIS CLOSEST FOLLOWERS... 88. .CAESAR. CLEARLY THE ALPHA MALE. Clearly in control. WILL Caesar. Will lowers the binoculars as Stewart rushes in. She's trembling. STEWART It's going to take them at least half an hour to get here. He begins rummaging in drawers, in cabinets. There's an empty cookie bag, but Will's able to put his hands on a couple of stray COOKIES. He has an idea. Under the sink he finds what he's looking for: RAT POISON. STEWART (CONT'D) What are you doing? WILL I'm going to kill him. STEWART (HORRIFIED) Caesar? WILL He's dangerous. STEWART You're wrong - he can't have been the one who killed that man - WILL There is no other explanation. A BLACK SHADOW passes by the window. Then another. Stewart turns. Now there's another. They're surrounded. She SCREAMS. Will barricades the back door with a table. Chimpanzees at every window BANGING ON THE GLASS, wanting in. GLASS SHATTERS. Will and Stewart run to the front room, just as the door CRASHES OFF ITS HINGES - REVEALING BUCK. 89. INT. CHIMPANZEE HOUSE - DAY WILL Caesar! I need to talk to you! Dodge, Rodney and Landon watch as Will and Stewart are pushed into the cage next door. WILL (CONT'D) Caesar! DODGE Welcome to the mad house. STEWART I called Animal Control - they'll be here soon - WILL (through the bars) I just want to talk to you! DODGE Well this'll be interesting because your freak'll talk back. RODNEY Dodge thinks he spoke to him. DODGE He did! He said the word "no" - right to my face. WILL What do you mean? DODGE He can talk. STEWART That's impossible. DODGE Then he must have a voicebox in his ass, because I heard him! Caesar walks up. Will steels himself, feels in his pocket - the POISONED COOKIE is ready. 0 90. WILL Caesar - people are coming. People with guns. You've got to make the apes go back in their cages. CAESAR (SIGNING) Apes no belong in cage. Human put apes in cage. Will's heart sinks as he sees that Caesar is intransigent. He means what he's saying. CAESAR (CONT'D) (SIGNING) Never again. Will takes a moment, DIGS DEEP TO MAKE HIMSELF DO WHAT MUST BE DONE. Finally he brings the POISONED COOKIE from his pocket, holds it out. WILL I brought this for you. Caesar eyes the cookie but doesn't take it. WILL (CONT'D) (it's killing him) Don't you want it? CAESAR (SIGNING) Never. They look at each other. Two creatures once so close, but now with a vast chasm between them. WILL You went to the lab last night. I know it was you. Caesar doesn't deny it. WILL (CONT'D) (emotion spilling over) How could you kill that man, Caesar? Once you kill you can't it back - that man's gone forever. WILL SEES A GENUINE LOOK OF BEWILDERMENT CROSS CAESAR'S FACE. 91. It gives him pause. CAESAR (SIGNING) Caesar no kill. WILL But... CAESAR (SIGNING) Caesar no kill! Caesar SLAPS the COOKIE from Will's hand. Rocket immediately comes over to stand by Caesar, but Caesar doesn't want to fight. He's done - disgusted - with Will. He turns, begins to walk off. WILL Don't walk away. We need to talk. CORNELIA FALLS IN STEP WITH CAESAR, BUT PAUSES TO SNIFF AT THE COOKIE ON THE GROUND. WILL (CONT'D) Don't - ! TOO LATE - SHE GOBBLES IT UP. FOR GOOD MEASURE, ROCKET GIVES THE BARS A THREATENING SHAKE, AND THAT'S WHEN WILL SEES IT: KOBA'S RED WRISTBAND WRAPPED AROUND KOBA'S ARM. WILL (CONT'D) (SHOCKED) Where'd he get that wristband, Caesar? That's Koba's band... (REALIZING) Did Koba get out of his cage?? Yelling after Caesar. WILL (CONT'D) Caesar wait! But Caesar's not waiting. EXT. RANCH GROUNDS - DAY Caesar climbs onto the open tailgate of a pick-up truck. ‚Ä¢ Apes gather around, expectant. 92. CAESAR (VOICE STRAINING) No. At the sound of Caesar's voice, the apes rise tall. FROM THE CHIMPANZEE HOUSE Will and Stewart watch, stunned. CAESAR (CONT'D) C...Cage! The humans' jaws drop, petrified. CAESAR (CONT'D) NO CAGE! NO MORE'. CAESAR FIERCELY POUNDS HIS CHEST. EXACTLY LIKE ALPHA. THE APES SHRIEK TO HEAVEN. BEAT OF JUNGLE DRUMS as CAESAR BOLTS FROM THE TRUCK BED. APES RACE TO FOLLOW HIM OFF THE RANCH. Will - and the other humans - are blown away. EXT. COUNTRYSIDE - DAY The pack of apes, led by Caesar, emerges from the ranch gate and moves out over the countryside. EXT. RANCH GROUNDS - DAY ANIMAL CONTROL, AMBULANCE, POLICE VEHICLES stream onto the ranch. VOICE They could be spread out all over the County by now. Will and Stewart - released from the cages - speak to OFFICER HUFFS. Dodge, Rodney, and Landon huddle nearby. WILL No - they'll stick together. DODGE (INTERRUPTING) They're following one ape. You kill him, you stop them all. HUFFS There's a leader? 93. DODGE (POINTING) Ask him - he raised him. All eyes to Will. WILL His name is Caesar. If I can reason with him, I know I can put an end to this. HUFFS Reason with him? Huffs thinks he's nuts. He turns, starts toward his squad car. Will follows, Stewart on his heel. WILL You don't understand - this chimp is smart - he'll listen to me HUFF (to nearby JUNIOR OFFICER) Get on the horn with every agency you can think of! We've got to track down these monkeys before they do major damage! The Junior Officer - GRANGER - heads for his car. Dodge follows. DODGE You need me riding with you. I've got experience with these animals. (eye on Will) I can point out the one you want. EXT. GEN-SYS LABORATORIES - DAY An AMBULANCE pulling away. Two POLICE CARS out front. Jacobs stands talking with a couple of POLICE OFFICERS. OFFICER (handing Jacobs a card) If you think of anything else, this is where I can be reached - A RUMBLING SOUND from behind. They turn to see a RANCH APE ARMY heading their way. Shocked, they leap out of the way as best they can. ¬Ä¢ The apes STAMPEDE past them and SWARM INTO THE LAB. 94. INT. LAB/PRIMATE HOUSE - DAY Caesar and his chimps BURST THROUGH THE DOOR. No time is wasted. Cages are opened, LAB CHIMPS liberated. Koba steps from his cage slowly, measuring the situation as apes around him go crazy. EXT. LAB - DAY A stunned officer gets to his squad car walkie-talkie. OFFICER We have a situation at Gen-Sys Laboratory! Approximately two dozen apes, gorillas, I don't know what the hell they are - AUDIBLE CHAOS from inside the lab. YELLING, SCREAMING, DESTRUCTION. INT. MOVING SQUAD CAR - DAY Huffs drives - Will in the front, Stewart in back. They can hear everything through the radio. WILL The lab. HUFFS You know anything about this? WILL That's where I work. INT. LAB/PRIMATE HOUSE/TREATMENT ROOMS- DAY ANARCHY OF MOVEMENT, BLURS of BLACK FUR running amok through white rooms, tearing everything up. EMPLOYEES SCATTER - running for the exits. Some duck behind desks. ANGLE ON REFRIGERATED CANISTERS OF 113. Like everything else in the lab, torn down, stomped on, thrown against the wall. Caesar and Buck walk through the lab, eyeing the destruction. 95. EXT. LAB - DAY Jacobs, a Security Guard and the two Officers are huddled behind a squad car. Other Employees are hiding and watching from the safety of the parking lot. They suddenly realize that everything has GONE SILENT. A moment later, LAB DOORS FLY OPEN. OFFICER #1 Here they come! A MASS OF PRIMATES BARREL TOWARD THEM. OFFICER #2 There's more of them! JACOBS (REALIZING) Those are my chimps... They duck as the apes run by - some of them right up and over the car they're crouched behind. BAM! BAM! BAM! as the chimp's hit and leapfrog over the squad car - and their heads. The apes stampede across the parking lot, where several use Jacobs' BLACK JAGUAR to VAULT OVER THE FENCE. The last is BUCK, whose weight CRUSHES the car. And then they're gone. Every last one of them. Quiet now, except for CAR ALARMS. INT. LAB - DAY Jacobs enters the lab. In front of him is utter silence and devastation. Like the morning after a huge, destructive party. Out of the quiet there's the PADDING SOUND OF FOOTSTEPS ON BROKEN GLASS. Jacobs freezes. KOBA APPEARS from around a doorway. He and Jacobs look at each other for a long moment. Then Koba calmly walks past him. 0 96. Once outside Koba GALLOPS OFF. Jacobs can see him through the open doorway disappearing in the direction of the others Jacobs takes a stumbling step backwards, KICKING SOMETHING THAT GOES LOUDLY ROLLING ALONG THE CEMENT FLOOR. IT'S A CRUMPLED CANISTER OF ADENOVIRUS 113. THE NOZZLE'S BROKEN OFF. EXT. POLICE STATION - DAY Four HELICOPTERS wait. Hoff s, Will and Stewart climb into one of them. INT. ASCENDING HELICOPTER - DAY HOFFS Any idea where they're headed? Will sees Dodge joining SHARPSHOOTERS in another helicopter below. He doesn't like it. WILL No. HOFFS They were seen heading north from the lab - let's start with that. EXT. PLAYGROUND - DAY A hillside park overlooking San Francisco bay. THICK FOG moving in. KIDS EVERYWHERE - slides, seesaws, climbing structures. A LITTLE GIRL plays in a sandbox. Her MOTHER reads on a bench nearby. The Girl looks up, claps her hands. GIRL Monkey! OVER HER SHOULDER WE SEE A CHIMPANZEE HEADING OUR WAY. Then another. And another. REVEAL THREE DOZEN APES EMERGING FROM THE FOG, MAKING THEIR WAY DOWN THE SLOPE. suddenly the Little Girl's not so sure. PEOPLE START TO NOTICE - GRAB THEIR KIDS. The Mother looks up from her book. SOMEONE SCREAMS. 97. GIRL (CONT'D) Mommy? The Girl's surrounded now by moving apes --- the Mother can't get to her. MOTHER April! Suddenly Caesar doubles back from the lead. He scoops her up and puts her down out of harm's way. Then he continues herding the apes forward. He knows where he's going. SIRENS APPROACH. Squad cars give chase. INT. HELICOPTER - DAY Fog rolls in off the bay. Will's strapped into his seat, looking down at the city below. HUFFS You see them? WILL No, I can't see - STEWART Oh my god. Seated next to Will, she draws him to her window. FAR BELOW: it looks like a BLACK LOCUST moving through the urban sprawl - chased by numerous Squad Cars - directly behind them, along parallel streets... She realizes something. STEWART (CONT'D) I know where they're going. CUT TO: EXT. SAN FRANCISCO ZOO - DAY A SIGN: THE SAN FRANCISCO ZOO. FAMILIES. Hot dog stands and ice cream vendors. The fun is interrupted by the SOUND OF HELICOPTERS sweeping low overhead. Faces turn skyward... 98. A moment later, Caesar and his apes RUMBLE IN. Chaos. PEOPLE scatter. SCREAM. Released balloons float lazily upward. INT. HELICOPTER OVER THE ZOO - DAY Will watches Caesar moving the apes down the zoo's pathways, dodging people, jumping over benches. WILL He's going to release the apes. Looking to his left, Will sees a sniper try to get shots off - but hesitate. The apes are too interspersed with fleeing PATRONS. EXT. SAN FRANCISCO ZOO - DAY As the apes pass other enclosures, the ANIMALS GO NUTS. Lions ROAR. Giraffes run back and forth. INT. SAN FRANCISCO ZOO/APE ENCLOSURE - DAY WRANGLER What the hell am I supposed to do when they get here?! An APE WRANGLER screams into a wall phone at the Ape Enclosure. The ZOO APES are agitated and anxious - they know something's coming. Suddenly the phone is ripped from wall. The Wrangler cowers, turns to see Caesar and his apes. Rocket rattles the door, bares his teeth. The Wrangler understands - fumbles for his keys. SOUND OF BOLTS AND LOCKS CLICKING OPEN. INT./EXT. APE ENCLOSURE/ZOO - DAY All kinds of apes - Chimps, Orangutans, Gorillas - rush from their separate enclosures. Caesar's apes are waiting for them. Caesar makes eye contact with the GRIZZLED OLD MALE CHIMPANZEE. Then - as a unit - they all run for the exit. 99. By now, ALL THE ANIMALS ARE GOING CRAZY. Above, the sky is full of helicopters now -- some Police, some News Crews. INT. HELICOPTER OVER THE ZOO - DAY Apes are visible streaming from the zoo and emptying onto the street. DODGE That's him! The one with the white on his shoulder! A SNIPER takes aim at Caesar - the BULLET RICOCHETS OFF THE SIDEWALK. CUT TO: EXT. LAB - DAY Jacobs watches a TOW TRUCK pull away with his ruined black Jaguar in tow. He climbs into a waiting taxi. He looks like hell. INT. TAXI - DAY The TAXI DRIVER - a guy with a THICK MUSTACHE - turns around to face him. TAXI DRIVER Where to, my man? JACOBS HAS A SHIVER. JACOBS 24 Marigold. TAXI DRIVER Want me to turn down the air? JACOBS (DESPONDENT) Whatever. HE COUGHS. CUT TO: 0 100. EXT. SAN FRANCISCO STREETS - DAY Apes leap over cars, run in and out of traffic. PEDESTRIANS take cover. SNIPER FIRE RINGS OUT from helicopters above - an APE FALLS. Caesar's leading, running alongside Cornelia. She falters. Caesar slows with her, concerned. SHE LOOKS ILL. But Cornelia digs deep and picks up her speed. Caesar continues on. INT. HELICOPTER- DAY Will's plastered to the window, anxiously watching Caesar's progress. Below, the BLACK LOCUST that is the pack of apes has grown larger, but they stay together, moving implacably North through the San Francisco streets. Up ahead, the GOLDEN GATE BRIDGE COMES INTO VIEW - majestic, shimmering in the afternoon light. And Will realizes the moment he sees it. WILL They're going to Muir Woods. (turning to Huffs) I'm sure of it. He doesn't want to hurt anyone - he's just trying to get the apes out of the City! HUFFS (INTO HEADSET) Shut down the Golden Gate Bridge! WILL No - let them through! CUT TO: EXT. GOLDEN GATE BRIDGE - DAY Cars speed across the bridge in both directions. HIGHWAY PATROLMEN rush to block the entrances. EXT. PARK OUTSIDE ENTRANCE TO GOLDEN GATE BRIDGE - DAY FOG. 101. The apes arrive at the shadow of the great bridge - a stampeding phalanx with Caesar at the lead. But Cornelia can't keep up any more. Losing her balance, she stumbles, falls. Caesar rushes to Cornelia's side. By the time he reaches her, she's dead - a WHITE FOAM has formed at her lips. She's been poisoned. CUT TO: FLASHBACK of Cornelia, sniffing the cookie. Will yelling "Don't"... CUT TO: Caesar - devastated, the rage building in his face. He looks up as one of the HELICOPTERS BUZZES LOW - HE SEES WILL. THEY MAKE EYE CONTACT. Caesar struggles to his feet with Cornelia in his arms - he's going to carry her across the bridge. Other helicopters BUZZ low, SHOTS RING OUT, SIRENS CLOSE IN. Apes take cover around trees and structures, but they're getting PICKED OFF. Maurice takes Cornelia from Caesar's arms as Buck and Rocket urge him forward. Koba hangs back, watching, fascinated, as Maurice lays Cornelia's body on the grass. INT. HELICOPTER - DAY Will's gone pale. STEWART (ALARMED) Is he hurt? WILL No - not him. EXT. BRIDGE ENTRANCE - DAY Two CHP PATROL CARS are frantically stopping new traffic from entering the bridge and waving exiting traffic through. 102. Suddenly, OUT OF THE FOG, THE APES APPEAR. TRAFFIC slams to a halt. PEOPLE are STUNNED as chimps, gorillas, orangutans VAULT OVER THEIR CARS, run down the middle of the traffic - stampeding across the bridge. Helicopters BUZZ around like flies - SHARPSHOOTERS unable to get a safe shot. AT THE NORTH END OF THE BRIDGE Blocked off by CHP, all traffic stopped. A few helicopters touch down - SHARPSHOOTERS jump out, rifles ready, and follow on foot behind SQUAD CARS, FOUR ACROSS, THAT SLOWLY DRIVE ACROSS THE BRIDGE - TOWARD THE APES. DODGE IS AMONG THEM. AT THE SOUTH END OF THE BRIDGE Caesar and his apes race forward. INT. HELICOPTER - DAY Will and Stewart watch from above as the apes stream Northward, over and around stopped cars. HUFFS (INTO HEADSET) Tell them to hold their fire until they get past the traffic! WILL SEES below that soon Caesar and the apes will reach a place on the bridge where there are no more cars. Then they'll be open season. Then HE SEES the FOUR SQUAD CARS slowly approaching from the north end of the bridge, SHARPSHOOTERS - and DODGE - on foot behind them. ON THE BRIDGE Caesar looks ahead - realizes that he's at the end of the bridge traffic. Ahead is empty roadway. And the slowly approaching squad cars. He looks up at the helicopters, rifles at the ready. 103. He sees the FOG, swirling in and out of the SUSPENSION CABLES. Caesar SIGNALS TO MAURICE. Maurice glances over the bridge railing. The Bay churns and swirls hundreds of feet below. Caesar BARKS at Maurice, who then climbs over the railing, taking the orangutans and a handful of chimps with him. Caesar BARKS a command at BUCK - who waits by the last car with a PACK OF GORILLAS and some chimps. Then Caesar starts to climb. Shimmying up a cable and into the fog. Rocket's right behind. The remaining apes follow. INT. HELICOPTER - DAY From the sky Will sees Caesar divide up his army. Chimps ascend cables, disappearing in and out of patches of fog. Orangutans and apes descend below the bridge deck. And Buck with his gorilla, take refuge in the stalled traffic. BELOW THE BRIDGE Maurice finds bars and support beams. He and the below-deck apes begin swinging their way toward the.north end. ABOVE BRIDGE Apes shimmying up cables appear out of the fog, arriving at the MAIN CABLE - the thick one running along the top. They start scampering and swinging north, the FOG MOVING AND SWIRLING, CHANGING SHAPE AROUND THEM. A SHARPSHOOTER from a helicopter takes a SHOT. A CHIMP FALLS TO HIS DEATH. It's a long fall, until - SPLASH the chimp hits the water. They keep moving. 0 104. ON THE BRIDGE The FOUR PATROL CARS stop, creating a barricade. The Sharpshooters line up their rifles, ready to shoot. DODGE SEARCHES A SQUAD CAR, FINDS A RIFLE, AND LOCKS AND LOADS. They FIRE at the apes above them, but it's tough going - the apes are in constant motion, and the fog obscures them. BULLETS can be heard RICOCHETING off cables. Another chimp falls to its death. Then a heavy patch of fog rolls in, engulfing the middle part of the bridge, surrounding the barricade. Visibility's practically zero. NOW THE MEN AT THE BARRICADE CAN HEAR THE APES MOVE PAST THEM IN THE FOG. OFFICER They're all around us! Apes swing above them, scamper by them. Movement - WHOOSH - WHOOSH... DODGE - nervous - crouches low. He edges backwards, hopeful of some visibility. That's when he SEES CAESAR, CLEAR AND OUT OF THE FOG, CLIMBING UP THE ASCENDING CABLES OF THE NORTH SIDE. WITH RELISH, DODGE READIES HIS RIFLE, AIMS AT CAESAR'S BACK. There's glare from a ray of sunlight that's broken through the fog. He SHOOTS, BARELY MISSING. The bullet RICOCHETS off the main cable. ROCKET, climbing behind Caesar, looks down - SEES DODGE AIMING AGAIN. He starts swinging towards Caesar. Another shot from Dodge. This time the BULLET GRAZES CAESAR'S SHOULDER, AND CAESAR STUMBLES, STARTS TO FALL. ROCKET REACHES HIM IN TIME - SNATCHES HIS ARM, HOLDING CAESAR UP. Then, using all his strength, ROCKET PULLS CAESAR BACK UP TO THE MAIN CABLE. 105. BAM! Rocket's hit in the back! He and Caesar make eye contact as ROCKET FALLS OFF THE BRIDGE, TUMBLING TO HIS DEATH. Caesar SCREAMS, looks down at Dodge, who aims again. But Dodge is diverted by a RUMBLING - like an EARTHQUAKE ON THE BRIDGE. The GORILLAS ARE IN MOTION. LEAD BY BUCK, THEY CHARGE TOWARD THE BARRICADE. Like a freight train of menacing power. Helicopters FIRE, MEN at the barricade SHOOT as they try to back up. A gorilla falls... but they keep on coming. And now, climbing up from below - behind the barricade -- MAURICE AND THE ORANGUTANS join in. Their sheer numbers and power are unstoppable. BELOW THE BRIDGE Koba hangs back. He's away from the action, but the battle waged above is audible. He creeps along toward the North end of the bridge. AERIAL VIEW As the fog lifts for a moment, WE SEE APES SWINGING ON CABLES, APES RAMPAGING DOWN THE MIDDLE OF THE BRIDGE, AND APES SCAMPERING BELOW. Vanquishing the humans. ON THE BRIDGE THE GORILLAS RUN UP, OVER THE BARRICADE, CRUSHING GUNS AND CARS. BUCK'S EYES ARE ON ONE THING. DODGE. Terrified but refusing to run, Dodge fires, reloads, fires ¬Ä¢ again, his face red with the tension of what's to come. 106. BUCK ARRIVES AT DODGE, PUTS HIS HUGE HANDS ON DODGE'S BODY, PICKS HIM UP, AND THROWS HIM OFF THE BRIDGE. Dodge's body twirls through the air - INT. HELICOPTER - DAY Will, Stewart and Huffs watch, dumbstruck, as DODGE'S BODY HITS THE WATER. Below, the victorious ape army finishes off the battle of the bridge and follows Caesar through the north exit... .disappearing into the dense park. EXT. MUIR WOODS PARK/PARKING LOT - DUSK POLICE REINFORCEMENTS and EMERGENCY VEHICLES arrive. HELICOPTERS above. Will's helicopter has set down. He and Stewart stand near an ASSEMBLING ARMY -- an amalgamation of 'human special forces.' Huffs and a small GROUP OF OFFICERS debate nearby. OFFICER #1 We can't gas the forest! The slightest wind would take it over to Tiburon. OFFICER #2 Well it'll take us months to find them in there. OFFICER #3 Not to mention rounding them all up. Will approaches the group. WILL I know where they are. The Officers look at him. Who the hell is this guy? Huffs - embarrassed - gestures toward Will. HUFFS This man owns one of the chimps. (BEAT) The so-called "leader". Says he can reason him out. 107. WILL His name is Caesar. I think he'll listen to me. If he comes out, the other apes will follow. Sounds pretty far-fetched. OFFICER #1 You think you know where to find this monkey? Will starts to correct him - lets it go. WILL I do. I used to bring him here. The Officers look at each other. OFFICER #1 We don't have a lot of options. Let's give it a try. WILL But you have to promise me - if I can get them out, you'll take them peacefully. Tranquilize them, cage them. No killing. Beat. HUFFS Whatever it takes. EXT. MUIR WOODS/EDGE OF FOREST - MOMENTS LATER Will and Stewart stand at the edge of the woods. They're at the path Caesar and Will used to take. She's terrified, trying to mask it. WILL You think this is a bad idea? STEWART Definitely. He thought so. STEWART (CONT'D) He's never going to agree to come out with you. 108. WILL I know. Got to try, right? I owe him that much. Will kisses her. Heads off down the path. Then he pauses, turns to look at her. WILL (CONT'D) (YELLING BACK) Think he'll forgive me? STEWART (can't quite hear him) What? Will waves it off - never mind. Stewart watches him walk down the trail... and disappear into the woods. EXT. DEEP WOODS - DUSK Will walks. FLASH OF BLACK up ahead. His pulse quickens - he follows it. CRACKLING of BRANCHES. More BLACK, swinging through the trees. Is it Caesar? Will follows. EXT. PARK/CLEARING - DUSK Will enters the clearing. He knows this place. Up ahead is the GROVE OF TREES with the CANOPY that Caesar always loved. EXT. MUIR WOODS/PARKING LOT - DUSK Huffs stands looking at his watch. He looks up, turns to an ASSEMBLED GROUP OF ARMED MEN. HUFFS Follow me. Stewart double-takes, sees the ARMY HEAD OFF IN WILL'S DIRECTION, GUNS READY. STEWART Hang on a second... (to nearest Officer) Where are they going? 109. Looks are exchanged. Someone grabs Stewart, who struggles with all her might. STEWART (CONT'D) WHERE ARE THEY GOING?! EXT. PARK/CLEARING - DUSK Quiet here. Will heads toward the Grove of Trees. WILL Caesar! ... He keeps walking, almost there. A DARK FIGURE DROPS DOWN IN FRONT OF HIM. IT'S KOBA. Will takes a step back, fear crawling up the back of his neck. WILL (CONT'D) You. Koba stands up tall. Eyes Will. He takes his time - like he's enjoying every second of this... He walks towards will, bares his teeth. Suddenly CAESAR APPEARS, SLAMMING INTO KOBA, knocking him away. ENRAGED, KOBA STARTS TO CHALLENGE CAESAR... BUT CAESAR JUST STARES HIM DOWN. KOBA - THE COWARD - SLINKS OFF, DISAPPEARING INTO THE WOODS. Which leaves just Will and Caesar. CAESAR Humans coming. WILL No. I'm alone. Will pauses - there's so much he wants to say. WILL (CONT'D) I owe you an apology. CAESAR Will want Caesar dead. 110. WILL I thought you had killed a man. But I should have known better. Caesar's face is unreadable. Will can't tell what he's thinking. WILL (CONT'D) I want you to know that all of this is my fault. My responsibility. (BEAT) Can you forgive me? BIRDS TAKE SUDDEN FLIGHT. Caesar's eyes shift to the path. Will realizes he's been betrayed. WILL (CONT'D) (PANICKED) Wait - no - CAESAR Will leave. WILL I won't - CAESAR Will leave now. WILL No. I'm staying with you. Caesar pushes him. Will staggers backwards, falls down. At that moment, HUFFS and his ARMY step into the clearing. Huffs takes aim at Caesar. WILL (CONT'D) NO! HE RUSHES CAESAR JUST AS HUFFS PULLS THE TRIGGER. THE BLAST OF THE GUN SHATTERS THE FOREST'S SILENCE. AT THAT SAME MOMENT APES DROP FROM THE TREES -- IT'S AN AMBUSH - a COUNTERATTACK. Huffs and his men are taken by surprise. SHOTS are fired, but not fast enough. UNLIKE ALPHA'S BATTLE IN THE AFRICA, IT'S A SLAUGHTER IN THE APES' FAVOR. AS THE APES MAUL THE MEN, CAESAR CARRIES WILL THROUGH THE CARNAGE. EXT. WOODS - DUSK Caesar lays Will out on the forest floor. There's a lot of blood. Will tries to speak. He looks up at Caesar. Caesar takes him in his arms, cradles him with love. Will looks into Caesar's green eyes. He relaxes. Lets go. Then the life passes out of him. EXT. PARKING LOT, MUIR WOODS - DUSK Stewart sits in the back of a locked Police Car, looking out at the forest in the gathering darkness. All is quiet. The forest is vast, dark, green. Impenetrable. HONK OF A HORN. EXT. HOUSE - NIGHT Hunsiker - Will's neighbor - exits his house with a small rolling suitcase. He's wearing his pilot's uniform. INT. TAXI - NIGHT Hunsiker enters, settles into the seat. TAXI DRIVER Where to, my man? It's the Taxi Driver with the mustache - THE SAME ONE THAT GAVE JACOBS A RIDE HOME. HUNSIKER SFO. International terminal. TAXI DRIVER You got it. The Driver COUGHS as he pulls away. Light sweat on his forehead - he doesn't look too good. 0 112. INT. AIRPORT TERMINAL - NIGHT CLOSE ON WHEELS TURNING. Hunsiker pulls his suitcase on wheels through the airport terminal. It's teeming with TRAVELERS. Holding on to the bannister, Hunsiker takes the escalator up. INT. AIRPLANE - NIGHT Hunsiker says hello to the FLIGHT STAFF and moves to the front of the plane. INT. COCKPIT - NIGHT Hunsiker shakes hands with his CO-PILOT and sits. He flicks a switch. EXT. RUNWAY - NIGHT The airplane takes off into the sky. NEWSCASTER VOICE #1 (O.S.) As the ape search continues, a virulent flu strain has exploded in and around San Francisco, sending shock waves and panic throughout the community. EXT. CLEARING - DAY We move along the ground of a clearing toward a lush canopy of trees. As we get closer, we notice flashes of movement. NEWSCASTER VOICE #2 Authorities suspect the origin of the deadly virus might be Gen-Sys Laboratories - the same private company from which several laboratory chimpanzees escaped earlier this week - We're still fifty yards away from the trees, but we can see it's filled with apes - chimpanzees, orangutans, gorillas. We keep pushing in, closer and closer to the trees. As we move past the leaves WE FIND BUCK. MAURICE. AND, SITTING APART FROM THE OTHERS... KOBA. All of them have eyes in varying shades of GREEN. 113. NEWSCASTER VOICE #3 As the death toll rapidly rises, Hospitals are desperately trying to meet the growing demand... Caesar sits alone, staring straight at us. NEWSCASTER VOICE #4 (INCREASINGLY DESPERATE) Although isolated in the western region of the country, the numbers are catastrophic and quickly rising... Push in on CAESAR'S FACE. NEWSCASTER VOICE #5 Efforts to quarantine appear to have failed. The strain has been spotted as far away as Singapore and Australia... CLOSER AND CLOSER ON CAESAR'S FACE. NEWSCASTER VOICE #6 (RAGGED) Casualties have reached apocalyptic levels. Authorities urge you to stay inside your homes... (LONG BEAT) For those of you who can hear me, I say... (VOICE BREAKING) God's speed and so long to you all. The NEWSCASTER'S VOICE is replaced by the WHITE NOISE OF A SNOWY TELEVISION SET. CAESAR'S EYES FILL THE SCREEN. \ No newline at end of file diff --git a/unformated_scripts/Script_Road, The.txt b/unformated_scripts/Script_Road, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..f01543717ea6ae4c9a70dcb12b78ce2f0148e699 --- /dev/null +++ b/unformated_scripts/Script_Road, The.txt @@ -0,0 +1 @@ + THE ROAD Written by Joe Penhall Based on THE ROAD by Cormac McCarthy EXT. CORN FIELD - DAY The intense BUZZING of summer insects and the SONG of songbirds. A birds eye view of a bucolic mid west farming landscape, corn field, blue skies, sunshine, a FARMER PLOUGHING a nearby field with a TRACTOR, grain silos and a hay stack. A MAN with a horse. A clapboard house with a strawberry field, a woman's hand picks strawberries; a WOMAN lying in grass, lazing... OPENING CREDITS... INT. DINING ROOM/HOME - NIGHT Next to book shelves and an upright piano, with sheet music on the stand - CHOPIN. There is also a dining room table with leftovers from an abandoned meal - strawberries and cream. INT. BEDROOM - NIGHT MONTH LATER - a warm night, the MAN is asleep with the same WOMAN, now pregnant, no sheets on the bed. The MAN is restless and wakes. A distant RUMBLING, indistinct - the MAN swings his feet off of the bed and goes to the window, anxious. INT. BATHROOM - NIGHT The MAN is in his shorts, sweating, putting a plug in the bath and turning on the taps as far as they will go. The WOMAN appears in the doorway in a nightdress and leans against the door frame watching, blearily, cradling her pregnant belly. WOMAN. Why are you taking a bath? MAN. I'm not. The WOMAN takes off her nightdress and goes to the bath. WOMAN. You'll sleep better. He looks at her, surprised she's misunderstood. MAN. I'm not! Put your clothes back on. She sees he's looking out the window now - there's an eery rose-colored glow of distant fire through the glass - and distant shouts and screams... (CONTINUED) 2. CONTINUED: WOMAN. What is it? What's happening? END OF FLASHBACK: TITLE: THE ROAD. EXT. CAMPSITE - DAWN A MAN of about forty and a BOY of ten are asleep, camped on a tarp under a rock ledge, the blackened chasm of a burnt valley spread out below. It is the same man seen earlier - but ten years older, thinner, malnourished, with a thick beard. They are both emaciated and exhausted, their faces and hands coated in grime and soot from the burned, blackened landscape around them. Ash falls on the tarp, which is bright synthetic blue, the only color in sight. The MAN is woken by something, he instinctively reaches out to touch the BOY, his hand rests on his chest and rises and falls with each of the sleeping BOY's breaths. There is a low RUMBLE, the ground starts to TREMBLE and the BOY wakes. BOY. Papa? (NO REPLY.) Papa? MAN. Shh. It's okay. BOY. What is it, Papa? They listen as it grows NEARER and LOUDER, everything SHAKING, tree roots GROANING and SPLITTING, until it passes between them with a ROAR like a subway train right beneath them. The BOY is now clinging to the MAN and crying, his head buried against his chest in fear. MAN. Shh. It's all right. It's all right. It's gone. BOY. What was it, Papa? MAN. It was an earthquake. 3. EXT. ROAD - DAY In the burnt, barren landscape, through swirls of soft ash and smoggy air the MAN appears dressed in a filthy old PARKA with the hood up, a knapsack on his back, pushing a rusted shopping CART with a bicycle mirror clamped to the handle and the BLUE tarp now covering it's load. The little BOY, similarly dressed with a KNAPSACK on his back, shuffles through the ash at his side - like Depression-era Dust Bowl homeless. There is a flicker of lightning over head, then more, but no thunder. MAN. (V.0.) The clocks stopped at one seventeen one morning. There was a long shear of bright light, then a series of low concussions. EXT. MOUNTAINSIDE/ CRACKED ROAD - DAY Broken asphalt, the earthquake has caused a large FISSURE to open up ALONGSIDE the road, with a sheer drop. THE MAN and THE BOY edge past burnt trees and scrub. MAN. (V.0.) Within a year there were fires on the ridges and deranged chanting. The screams of the murdered. By day the dead impaled on spikes along the road. EXT. LAKE - DAY They trudge past a vast lake filled with dead trees... MAN. (V.0.) I think it's October but I can't be sure. I haven't kept a calender for 5 years. EXT. MOUNTAINSIDE - DAY They truck along with the trolley through the fog, the ghostly shapes of dead trees on either side and the shapes of barren mountains in the background... (CONTINUED) 4. CONTINUED: MAN. (V.0.) Each day is more gray than the one before. Each night is darker - beyond darkness. The world gets colder week by week as the planet slowly dies. No animals have survived. All the crops are long gone. EXT. EDGE WOODS - DAY A tree falls behind them with a WHUMP and they jump... MAN (V.0.) Someday all the trees in the world will have fallen. EXT. GAS STATION - DAY The MAN forages for petrol, checking the nozzle of the pumps, rummaging through empty oil cans, he upends a bin to get at the empty oil bottles. The BOY picks up a phone on a wall and listens to the dead earpiece. MAN. (V.0.) The roads are peopled by refugees towing carts and road gangs carrying weapons, looking for fuel and food. EXT. LONG ROAD - DAY They head down a long straight road towards a dark, forbidding looking tunnel - a turnpike. MAN. (V.0.) There has been cannibalism. Cannibalism is the great fear. EXT. CITY - DAY They emerge before a view of a deserted city-state... EXT. MALL - DAY They forage in a deserted mall... There are skeletons and human bones here and there. (CONTINUED) 5. CONTINUED: MAN. (V.0.) Mostly I worry about food. Always food. Food and our shoes. CU - the BOY examines the head of a moose mounted on a wall in a SEARS hunting store. MAN. (V.0.) (CONT'D) Sometimes I tell the boy old stories of courage and justice - difficult as they are to remember. All I know is the child is my warrant and if he is not the word of God, then God never spoke. END OF CREDITS/MUSIC. EXT. RIDGE/ CAMPSITE - (CAMP 2) - EVENING They are camped high up on the ridge of a mountainside. There is a camp fire with wet clothes hanging to dry on sticks beside it. The MAN is erecting the tarp over string tied between two sticks stuck in the ground. The BOY is sitting lighting a lantern using the scavenged oil inside the makeshift tent, his shadow stark against the illuminated tarp. BOY. Now you can read me a story. He gets out a BOOK and looks at the pictures in the lamplight. The MAN reads him a story... EXT. RIDGE/CAMPSITE - (CAMP 2) - NIGHT The MAN awakens bathed in firey light as if the sun has come out. There is pale gray snow all around him with a quivering orange glow. He gets up to investigate, looks to the line of trees up the ridge where a FOREST FIRE is burning, CRACKLING in the distance. He stands staring at the fire, the warmth and light moving him, enlivening him and not frightening him at all. The BOY has got up and appears at his side, yawning. He looks at the sky at a single gray SNOWFLAKE drifting down. BOY. It's snowing! (CONTINUED) 6. CONTINUED: MAN. It's like it used to be when the sun came out. The BOY catches the snowflake in his hand, surprised. EXT. ROAD/PLAIN - DAY They travel along the road through drifting wood smoke, smoke pouring off the ground like mist and thin black trees burning like candles on the snowy ridge. They reach a spot where fire has crossed the road melting the tarmac. Their feet stick in the molten tarmac, it sucks at their shoes and they stop. Just ahead they see a set of foot prints in the tar and study them. BOY. Who is it? MAN. I don't know. The MAN looks through a pair of BINOCULARS and sees: A stooped figure up ahead, a DYING MAN dragging one leg slightly, limping along. He stops and stands uncertainly, then continues. The BOY sees him too. BOY. What should we do Papa? MAN. We're all right. Let's just follow and watch. BOY. Take a look. MAN. Yeah. Take a look. EXT. ROAD/HILL - LATE AFTERNOON The DYING MAN is getting slower and slower as they climb a slope, following, until he finally stops and simply sits in the road. The BOY hangs onto the MAN's coat anxiously as they approach. POV BOY - the DYING MAN is burnt, his clothing scorched and skin black with soot. One eye is burnt shut and his hair is a nitty wig of ash. His shoes are bound with wire and coated with road tar. (CONTINUED) 7. CONTINUED: As they pass by the DYING MAN looks down, averting his eyes. The BOY keeps looking, unable to take his eyes off him. BOY. Papa, what's wrong with that man? MAN. He's been struck by lightning. BOY. Can't we help him? Papa? MAN. No. We can't help him. They keep walking away and the BOY tugs at the MAN's coat. BOY. Papa? MAN. Stop it. BOY. Can't we help him, Papa? MAN. No. We can't. There's nothing to be done for him. EXT. BRIDGE - (CAMP 3) - EVENING They are camped under the bridge, ash and slurry drift by on the river, a dull sulphur light from the fires glows against the sky. The BOY sits in silence with his back to the MAN. MAN. There's nothing we could have done. (NO REPLY.) He's going to die. We can't share what we have or we'll die too. BOY. I know. MAN. So when are you going to talk to me again? BOY. I'm talking now. (CONTINUED) 8. CONTINUED: MAN. Are you sure? BOY. Yes. EXT. BARN - DAY They come to a barn beside the road. They look at each other. MAN. Let's take a look. The man picks up the revolver and they go inside cautiously. INT. BARN - DAY Three pairs of FEET wearing different shoes - a man's shoes, a woman's shoes, and a CHILD's sneakers - hang above three carefully placed chairs. MAN. Don't look. The BOY looks at the ground. MAN. (CONT'D) You don't need to see this. The BOY takes a few steps, exploring, he eyes the empty hay loft but avoids looking at the hanged bodies. BOY. There could be something here. There could be corn or something. MAN. No, they ran out of food. BOY. Maybe we could find some hayseeds in the hayloft? Now the BOY goes over to the swinging CORPSES, oddly curious. MAN. It's not what-you think. They committed suicide. BOY. What does that mean? (CONTINUED) 9. CONTINUED: MAN. You know what that means. The MAN GOES outside while the BOY thinks about it a moment. EXT. FARM GATE - DAY They walk away from the eerily silent farm, stopping at an abandoned TRACTOR by a weathered, paint stripped letter box. MAN. Come here. The BOY goes over and the MAN takes out his revolver, opens the magazine and shows him: two bullets in the chamber. MAN. (CONT'D) You see that? Two left. One for you and one for me. He places the BOY's thumb on the hammer and cocks the pistol. He curls the BOY's index finger around the trigger. MAN. (CONT'D) You put it in your mouth and point it up. Like this. Just like I showed you. He puts the barrel of the pistol in his own mouth until the BOY nods, wide eyed. He takes the pistol out of his mouth and uncocks it. MAN. (CONT'D) You got it? BOY. I think. MAN. Is it okay? BOY. Okay. The MAN puts the gun away and cuddles the BOY close. They set off again. 10. INT. CLAPBOARD HOUSE - DAY FLASHBACK - the WOMAN is sitting by the window, staring out at the garden which is barren now, the sky gray but tinged with the same fireglow seen earlier, a film of gray ash covers dead lawn and shrubs and inside the paintwork is grimy and colorless now, a lot of the furniture gone. A pile of broken up furniture and pieces of the piano are-stacked up next to the fireplace. In the fireplace the scorched, ashen remains of piano keys. The WOMAN is now heavily pregnant. The MAN sets down chipped old plates and spoons, spoons beans from a pot and sits to eat. As the WOMAN starts to eat she winces and freezes with a look of horror, spoon halfway to her mouth. She looks down and SEES: POV WOMAN - water and blood running down her legs. WOMAN. Oh no. Oh no. MAN. It's okay, I'll help you. Just like we said. WOMAN. No no no... MAN. I'll heat water. We can do it. As he goes out she MOANS in despair. INT. KITCHEN/CLAPBOARD HOUSE - DAY The MAN rushes in and opens a drawer in the sideboard. Instead of cutlery it contains a pair of kitchen shears, a bottle of antiseptic, worn but clean towels and a pair of worn out yellow rubber dish gloves, all laid out in readiness. The WOMAN appears at the door, blood running down a leg. WOMAN. We don't have to. MAN. Well, I think we probably do. WOMAN. What kind of life is this? (CONTINUED) 11. CONTINUED: MAN. It's life. It's the only thing left. He takes the WOMAN back into the other room. INT. DINING ROOM / CLAPBOARD HOUSE - DAY TERRIBLE SCREAMING. The WOMAN lies on the dining room table SCREAMING as she has her first contractions. The MAN is wearing the rubber gloves, one gloved hand resting on the WOMAN's leg, about to deliver his own baby. He wipes his brow and leaves a smear of blood as the SCREAMING goes on. WOMAN. I can't. MAN. It's coming. END OF FLASHBACK. INT. TRAILER HOME - (CAMP 4)- EVENING Inside a badly damaged trailer home, one wall half fallen off, a pan of water boils on a small fire. The BOY sits shivering in a blankets as he eats beans from a tin, scraping around for the last one or two. The MAN opens his knapsack by the fire and produces a packet of COCOA. He fixes a cup of cocoa for the boy. He hands the BOY the cup of cocoa and as the BOY examines it and drinks, the MAN surreptitiously pours himself a mug of water and sits blowing on it. The BOY realises the MAN has left him all the cocoa. BOY. You promised not to do that. MAN. What? BOY. You know what, Papa. I have to watch you all the time. MAN. I know I'm sorry. BOY. If you break little promises you'll break big ones. That's what you said. (CONTINUED) 12. CONTINUED: The MAN relents, pouring the hot water back into the pan and taking some of the BOY's cocoa into his own cup. The BOY wipes his finger around the inside of the empty bean tin and licks his finger. MAN. Watch your finger. BOY. You always say that. MAN. That's because you always do it. The MAN spreads bits of a worn out road map on the boards and studies them. BOY. What are you doing? MAN. We have to keep moving. We have to go south to the coast. BOY. Why? MAN. It'll be better at the coast. BOY. Why? MAN. Because we're going to freeze here. He picks up the map pieces carefully. EXT. TURNPIKE - MORNING The MAN and the BOY truck along the blacktop. At the crest of a hill they come to FADED BILLBOARDS advertising MOTELS and stop. The BOY notices a sign in the distance, which has words painted over a faded advertisement: odd, nonsensical, Biblical ramblings about "bones" and "the dead." The MAN follows the BOY's gaze and reads: "BEHOLD THE VALLEY OF SLAUGHTER - JEREMIAH 19:6." MAN. Do you remember your alphabet? (CONTINUED) 13. CONTINUED: BOY. Yes. MAN. Can you read that? BOY (SCRUTINISING IT.) No. MAN. Good, let's go. The MAN takes out a large REVOLVER, cocks it in readiness and places it on the tarp as they move. The BOY eyes the MAN nervously, eyes the gun and they move off. EXT. TURNPIKE, TUNNEL APPROACH - DAY They trudge along the turnpike towards the opening of a deep, black tunnel and the BOY suddenly comes to a stop, increasingly upset, unable to face the yawning mouth of the tunnel. BOY. I can't, I just can't... MAN. There's no other way. BOY. We could go over. MAN. We can't take the cart over. BOY. We don't know what's in there. MAN. There's nothing in there. It's just the same as it is out here. Okay? BOY. (BEAT. VERY RELUCTANT.) Okay. The boy sticks close to the MAN's side. The man has the revolver in his belt now and his parka unzipped, ready as they nervously walk towards the mouth of the tunnel. 14. INT. TUNNEL - DAY The MAN has his arm around the boy as they push the cart cautiously ahead, acutely aware of all that's around them. They pass footprints in the dried sludge on the ground. Ash and litter blowing about and a handful of MUMMIFIED DEAD REFUGEES appear along the sides of the tunnel, sitting and lying on camp stretchers, their bags and supplies long since looted. They are shrivelled and drawn like latterday bogfolk, shoeless, a couple of men, a woman a small child and a DOG. The MAN stares at the group. The BOY stares at the small child and then at the mummified DOG, transfixed. The MAN puts out his hand for the BOY to take - the BOY takes his hand and the MAN moves him on. MAN. Just remember that the things you put into your head are forever. BOY. But you forget some things don't you? MAN. You forget what you want to remember and you remember what you want to forget. EXT. TUNNEL EXIT AND TURNPIKE - (CAMP 5) - EARLY MORNING The MAN and the BOY are asleep inside an abandoned car amongst a line of other abandoned vehicles littering the turnpike. INT. ABANDONED CAR - (CAMP 5) - EARLY MORNING Now the BOY's hand rests on the MAN's chest as he sleeps. The MAN breathes stertorously, wheezing a little and the BOY'S small hand goes up and down on his chest. Suddenly the MAN wakes and rolls onto his side, listening, the revolver lying beside him. He slips his hand onto the revolver and raises his head slowly. He looks around - nothing but the sound of a distant DIESEL ENGINE. He looks at the BOY fast asleep. When he looks back at the tunnel he sees a nightmarish vision: (CONTINUED) 15. CONTINUED: POV MAN - Exiting the tunnel, shuffling through the ash, a group of HOODED MEN, some in gas masks and filthy biohazard suits, slouching along, coughing, casting their heads from side to side and swinging clubs and lengths of pipe - a ROAD GANG. The MAN listens to the sound of a DIESEL TRUCK behind the gang. MAN. Quickly. Quick... The BOY jolts awake as the MAN shoves his pistol in his belt, grabs the boy by the hand. They slide out of the car and crouch on the ground, the BOY is frozen with fear. MAN. (CONT'D) It's all right. It's all right but we have to run. Don't look back. Come on. Their backpacks are still left in the back of the car... MAN. (CONT'D) Run... run... The flat bed truck RUMBLES into view, MEN from the GANG standing on the flat bed looking around, some holding rifles. The BOY falls and the MAN pulls him to his feet with such force he lifts him clean off the ground and has to dangle him back down again. MAN. (CONT'D) You okay? It's all right... come on... They rush down the embankment into the trees alongside the turnpike. EXT. TURNPIKE UNDERPASS - DAY They run through the woods. The truck is heard in the background, the motor missing and SPUTTERING, coils of black diesel smoke coiling through the woods. The motor dies with a flapping RATTLE and there's SILENCE. The MAN and the BOY crouch in frozen silence, the Truck now on the overpass nearby, dangerously exposed to the view of the Gang. They listen to the GANG TALKING and raising the hood of the truck The MAN puts his arm around the BOY and draws his pistol as they see the truck begin to roll, the GANG pushing it... but it coughs and stalls again. (CONTINUED) 16. CONTINUED: The MAN sees one of the GANG MEMBERS coming down the embankment, unbuckling his belt. He is emaciated, in dirty blue overalls and a gas company cap, and has a long beard cut square at the bottom and a bad tattoo of a bird on his neck. He doesn't stop, just keeps coming, closer and closer until he's just feet away, almost on top of them. He unzips his pants and takes a piss. As he stands pissing his eyes roam around - at any moment he could look to the side and see them crouching there. The MAN is wide-eyed, gun ready, eyes darting from the GANG MEMBER to the BOY to the GUN. The GANG MEMBER rolls his shoulders and exercises his neck... he looks down and studies the steam coming off his piss. The MAN silently trains his pistol at the head of the GANG MEMBER who, as if by instinct, rolls his head around and looks right at him. MAN. Just keep it coming. The GANG MEMBER sees the gun and stops pissing, looks back at the truck, zips his fly. MAN. (CONT'D) Don't look at them. Look at me. If you call out you're dead. Where you from? GANG MEMBER. Does it matter? Where you from? MAN. What's the truck running on? GANG MEMBER. Diesel fuel. MAN. Where d'you get that? GANG MEMBER. I don't know. MAN. You don't know, huh? The GANG MEMBER just stares, not answering. (CONTINUED) 17. CONTINUED: (2) MAN. (CONT'D) You got ammunition for those rifles? The GANG MEMBER looks back towards the truck. MAN. (CONT'D) I told you not to look back there. Where d'you get all that stuff? GANG MEMBER. Found it. MAN. What are you eating? GANG MEMBER. Whatever we can find. MAN. Whatever you can find, huh? GANG MEMBER. Yeah... Now the GANG MEMBER looks at the BOY, causing the MAN To raise the revolver and cock it. POV GANG MEMBER - he looks down the barrel at the magazine and sees empty space. GANG MEMBER. (CONT'D) You won't shoot that thing. You ain't got but two shells. Maybe just one. And they'll hear the shot. On the over pass the ROAD GANG are looking around, MURMURING as they notice one of their number missing. MAN. Maybe. But you won't. It'll be through your skull and inside your brain before you can hear it. The MAN steps closer and aims the gun at the MAN's forehead, hammer back, ready. (CONTINUED) 18. CONTINUED: (3) MAN. (CONT'D) To hear it you'll need a frontal lobe and things with names like colliculus and temporal gyrus and you won't have them anymore because they'll just be soup. GANG MEMBER. Are you a doctor? MAN. I'm not anything anymore. GANG MEMBER. We got a hurt man. It'd be worth your while. The MAN glances in the direction of the ROAD GANG, then back at the GANG MEMBER, who is still eyeing the BOY. The BOY is sitting with his hands on top of his head, peeking out through his arms, terrified as the tension escalates. MAN. If you look at him again I'll shoot you in the head. GANG MEMBER. I'll bet that boy is hungry. Why don't you all just come onto the truck. Get something to eat. Ain't no need to be such a hard ass. MAN. You don't have anything to eat. Let's go. GANG MEMBER. I ain't going nowheres. MAN. You think I won't kill you but you're wrong. GANG MEMBER. You know what I think? I think you're chickenshit. You never killed a man in your life. He drops his belt on the ground with a CLATTER, a canteen and army pouch hanging from it. The MAN eyes the army pouch, eyes the GANG on the road - and notices for the first time some of them are wearing the same army pouches. (CONTINUED) 19. CONTINUED: (4) One is banging his stick on the side of the truck to call their lost member. The MAN is distracted by this and when he looks up the GANG MEMBER has taken two silent steps and is standing between him and the BOY, holding a knife. MAN. What do you think you're going to do with that? Without a word the GANG MEMBER dives and grabs the BOY, rolls and lands on his feet holding the BOY against his chest with his knife at his throat. Simultaneously the MAN drops to his knees, trains the pistol and fires from six feet away, shooting the GANG MEMBER in the forehead. He falls back and lies with blood bubbling from the wound, eyes open, the BOY lying in his lap in shock, deafened, expressionless, covered with gore and mute as a stone. The GANG hear the loud SHOT and freeze, they start looking around them more urgently now. The MAN grabs the dazed BOY by the hand and yells but in his deafness the BOY hears only a MUTED soup of words: MAN (MUTED.) Move! Let's go! The MAN shoves the pistol in his belt, hoists the BOY onto his shoulders and sets off down the road at a run. EXT. WOODS - DAY They crash through the woods, the MAN straining to keep the BOY aloft and find a path through the trees - the BOY clutching the MAN's head with both hands. There's a sickening THUD and the MAN falls, the BOY flying off with a cry. The MAN struggles to gather his wits, unsure whether he's been felled by another man. MAN (MUTED.) Come on. Get up, get up quickly! The MAN swings the BOY onto his shoulders and runs. EXT. WOODS/TURNPIKE - DAY The MAN and BOY stagger through trees and the man drops to his knees, letting the BOY down. They are back by the turnpike again. They listen and watch, utterly exhausted and out of breath, the MAN is wheezing, the BOY at his side, holding his hand, staring, in shock still. (CONTINUED) 20. CONTINUED: MAN. Shh. It's okay now. You're going to be OK. POV BOY - the BOY can still HEAR nothing, temporarily deaf. But he sees the MAN talking and looking around, through 360 degrees, trying to work out where it's safe to go. MAN. (CONT'D) Come on. He grabs the BOY's hand and they take off again. EXT. WOODS - EVENING The MAN pulls out blankets from his knapsack. The BOY sits staring, shocked as the MAN tries to wipe the blood and gore from his face but it's thick and congealed now. His hands tremble as he tries to pick it from the BOY's hair. MAN. It's okay... it's okay now... Frightened by the BOY's muteness, he wraps him in a blanket, unzips his parka and holds him close under the parka. The MAN picks up his revolver, checks the chamber, only one bullet left. He eyes the flickering shadows in the distance and then eyes the BOY, making minute calculations of distance, calibrating the space between the ROAD GANG and the BOY. He holds the revolver up and cocks it. MAN. (V.0.) (CONT'D) I try to look like any common traveling killer but my heart is hammering. When it comes to the boy I have only one question: Can you do it? When the time comes? There is no moon, but not far away, perhaps 30 yards, a firey TORCH makes its way through the woods. About 50 yards away from that another TORCH is being used to search... shadows flicker ominously. The sounds of TWIGS snapping underfoot and BRANCHES being broken as the ROAD GANG searches wordlessly, just BREATHING heavily through their masks and beards. The MAN clutches the BOY tighter, and stifles a cough. They remain frozen like this, unable to budge. FADE OUT. 21. EXT. EMBANKMENT - DAWN They are by a thin, toxic, rust-red stream, slushy ice at the edges and gray froth. The MAN leans down and pushes ice away and scoops up a hand full of gray water. He runs it through the boy's hair to wash it and the BOY flinches with cold. He rubs more icy water into the BOY's hair, roughly, quickly, with a sense of panic as he helplessly tries to-wash out lumps of flesh and blood. The BOY is weeping silently and shivering from the extreme cold as the MAN picks out the dried gore and washes the hair clean. MAN. It's no use crying. You have to talk to me. He takes the blanket and dries the BOY's hair as he talks. MAN. (CONT'D) I'm not going to let anything happen to you... I'm going to take care of you... I'm always going to try and be here for you... and I'm going to kill anybody who touches you. He smooths the BOY's hair down with shaking fingers, clumsily trying to brush it out of his eyes, a fatherly instinct to make the BOY neat. MAN. (CONT'D) Because that's my job. Do you understand? When he's through the MAN lifts the BOY's thin arms, puts a vest over his head, then a ragged sweater, then he folds the BOY into his parka, zips it up to the neck and kisses him on the top of the head. The MAN grabs his knapsack, tips it upside down, rummages inside - it's empty. MAN. (CONT'D) Come on, we need to get the cart back. EXT. EMBANKMENT BY TUNNEL EXIT - DAY Approaching the embankment, the MAN walks quickly and stealthily, wired, listening to the silence, straining to hear, sure he's being watched. (CONTINUED) 22. CONTINUED: The BOY stumbles along behind, slower, fatigued, makingthe MAN anxious. The MAN leaves the boy hiding: MAN (WHISPERS.) Wait here. He starts to climb the embankment and hears: little running FOOTSTEPS as the BOY comes after him, he turns to face the BOY urgently, exasperated. MAN (WHISPERS.) (CONT'D) No I need you to wait. I'll hear you if you call. I'll just be a little ways and I'll be able to hear you if you get scared and you call me and I'll come right away. He walks off but hears... the little BOY's FOOTSTEPS running after him again - he turns around. MAN. I said wait! The BOY's face crinkles up and a tear rolls down. MAN. (CONT'D) Stop it. I need you to do what I say. Take the gun. The BOY freezes, refusing to take the gun. MAN. (CONT'D) Just take it will you? The BOY shakes his head. MAN. (CONT'D) We don't have time for this. We need our food. What's left. The MAN shoves the gun into the BOY's hand. MAN. (CONT'D) Don't argue. He creeps up the embankment. The BOY just stares at the revolver. EXT. TURNPIKE ROAD - DAY The MAN searches for the cart. He comes to where they'd left it in between the abandoned cars. (CONTINUED) 23. CONTINUED: Their backpacks lie open on the ground, next to the cart on it's side, it's contents spilled out, mostly plundered, just a few children's BOOKS and TOYS, old pots and pans, shoes and ragged clothing remaining. Nearby are the remains of a large campfire in the middle of the turnpike. The man collects up the few remaining possessions and puts them into the backpacks. POV MAN - he sees charred billets of wood, ash and... the bones of the shot ROAD GANG MEMBER. Nearby is a pool of his blood and guts, still gently STEAMING, the head decapitated and rolled under a car. He nudges the bones with the toe of his shoe. EXT. EMBANKMENT BY THE TURNPIKE - DAY Below, down the embankment the BOY is waiting obediently with the gun. The MAN heads back to the BOY, trying to think what to say. The BOY hands the gun back and takes the MAN's hand and they walk away into the woods, the MAN tucking the gun back into his belt. MAN. Let's get out of here. The freeway's too dangerous. Find the back roads. BOY. Okay. INT. CLAPBOARD HOUSE - NIGHT FLASHBACK - Now the house is in considerable disrepair, no furniture, the skirting boards falling away, large cracks in the walls, cornices and lamp fittings pulling away from the ceilings, water marks from rain, the windows covered with corrugated iron sheets. The MAN and the WOMAN are sitting across from each other with a lamp illuminating the dark. Between them lies the revolver seen earlier. The WOMAN picks up the gun and swings open the magazine. There are two bullets in it, she takes them out and places them on the table, one after the other. WOMAN. That's all that's left. I should have done it when there were more bullets in the gun. The MAN shuts his eyes, unable to take it. In the corner, the BOY is standing in the background, drawing on the walls. (CONTINUED) 24. CONTINUED: WOMAN. (CONT'D) Sooner or later - no listen - they will catch up with us and they will kill us. They will rape me - MAN. NO - WOMAN. And they will rape him MAN. Please no - just - no WOMAN. They are going to rape us and kill us and eat us and you won't face it. You'd rather wait for it to happen. MAN. Please. WOMAN. Stop it. MAN. I'll do anything. WOMAN. Such as what? She picks up the revolver and puts the TWO BULLETS into the chamber. WOMAN. (CONT'D) I thought about not even telling you. Just doing it. I'd empty every godamn bullet into my brain and leave you with nothing. MAN. Don't say that. Don't talk this way. WOMAN. There's nothing left to talk about... my heart was ripped out of me the night he was born... (CONTINUED) 25. CONTINUED: (2) MAN. Please don't do this. I won't let anything happen. We'll survive. WOMAN. I don't want to survive! I'd take him with me if it weren't for you. You know I would. Why can't you face it? MAN. Will you listen? You're talking CRAZY - WOMAN. It's not crazy and you know it. It's the right thing to do. They glance at the BOY. WOMAN. (CONT'D) Other families do it. She goes to the BOY, strokes his hair, kisses him, makes a reassuring display of being motherly. WOMAN. (CONT'D) Time for bed, there's a good boy. She picks him up in her arms and carries him off to bed. END OF FLASHBACK. EXT. RAVINE/WATERFALL - DAY The THUNDER of a waterfall, the river disappears into space - the BOY and the MAN stand staring up at the waterfall, 80 feet above, shrouded in gray mist. A color spectrum is visible rising from the waterfall, like a rainbow - the boy is transfixed, clutching the MAN's arm for safety. BOY. What is it? The MAN looks at the BOY, surprised he's talking again. MAN. It's a waterfall. BOY. Look. Colors. (CONTINUED) 26. CONTINUED: MAN. There used to be color everywhere. You don't remember. It was before you were born. There used to be so many thnings... The BOY approaches the water's edge, shallow and clear with gravel and pebbles sparkling at the bottom. He scoops up some water, surprised that it seems clean. BOY. Look. It's clear. MAN. Do you want to go in? BOY. I don't know. MAN. Sure you do. BOY. Is it okay? MAN. Just don't swallow any. The MAN unzips his parka and slips it to the ground. The BOY eyes the MAN, surprised - then does the same. EXT. RIVER/WATERFALL - DAY Naked, pale, filthy dirty and shivering with cold, the BOY frolics in the spray of the waterfall. The MAN watches him enjoying himself by the waterfall, clutching his shoulders, hopping up and down, he joins him. EXT. RAVINE/ROCKFACE - (CAMP 6) - EVENING The MAN has strung the tarp against a rockface to make a shelter. He meticulously filters water through a rag into a pan. In the background, the waterfall can be heard RUMBLING. The BOY has painted his face with CRAYONS, drawing a bizarre set of FANGS and dripping blood around his mouth. The MAN studies the BOY's painted face a moment. MAN. Listen. That man back there... there's not many good guys left, that's all. We have to watch out for the bad guys. (MORE) (CONTINUED) 27. CONTINUED: MAN. (CONT'D) And we have to talk. Always. We have to just... you know... keep carrying the fire... BOY. What fire? MAN. The fire inside you. The BOY is thoughtful a minute, and then: BOY. Are we still the good guys? MAN. Yes. We're still the good guys. BOY. And we always will be no matter what happens? He eyes the BOY uncertainly, unsure if he can promise this. MAN. Always will be. Yeah. The MAN goes back to tying the tarp. EXT. THE RIVER/VALLEY - MORNING The MAN and the BOY are trudging along, away from the waterfall now. MAN. We have to keep moving. Other people might be attracted to the waterfall just like we were. We wouldn't hear them coming. They stop to look at a lake surrounded by fog down in the VALLEY BOY. Do you think there could be fish in the lake? MAN. No. There's nothing in the lake. They move on. 28. EXT. BACK ROAD - DAY They come around a bend in the road and immediately hear the ROAR of river rapids. Up ahead they see a bridge with a jack- knifed TRUCK on it. EXT. BRIDGE - DAY They walk out onto the bridge over GREY FROTHING WATER, and inspect the truck. The tyres are flat, the cab jammed against the railings. The trailer end has swung across the road, knocked out the railings and lies with it's last few feet hanging over the side of the bridge, blocking the bridge off completely. EXT. ABANDONED TRUCK - DAY The MAN climbs up onto the gas tanks, wipes the glass and peers into the cab. He swings the door open and climbs inside, pulling the door shut behind. INT. TRUCK/CAB - DAY He looks around at discarded detritus, old magazines and trash. He checks behind the seats where there is a mattress on a bunk and calls out. MAN. Come up here. INT. TRUCK/CAB - (CAMP 7) - NIGHT SNOW continues to fall on the dusty WINDSCREEN. Outside, all around snow falls, silently, covering the truck and the bridge, transforming it. They are both still awake, unable to sleep, staring at the transformed world, carpeted by snow. BOY. I'm hungry. MAN. I know. So am I. BOY. Can I ask you something? MAN. Of course. BOY. Are we going to die? (CONTINUED) 29. CONTINUED: MAN. No. Sometime. Not now. BOY. And we're still going south? MAN. Yes. BOY. So we'll be warm? MAN. Yes. BOY. And there might be food there? MAN. Everything depends on reaching the coast. BOY. Okay. The MAN draws a blanket around him and kisses him goodnight, it is now pitch black. MAN. Go to sleep. BOY. I wish I was with my mom. They are silent a moment, until: MAN. You mean you wish you were dead. BOY. Yeah. MAN. You mustn't say that. It's a bad thing to say. BOY. I can't help it. (CONTINUED) 30. CONTINUED: (2) MAN. I know but you have to. You have to stop thinking about her. We both do. BOY. How do I do that? The MAN is silent, lost in thought. EXT. TRUCK/CAB - (CAMP 7) EARLY HOURS The man gets down from the cab and walks a few feet in the dark and snow. He coughs a bit, takes a few breaths of air, and walks away from the truck, vanishing into the mist. EXT. CAMP/ROAD - (CAMP 7) - EARLY HOURS The MAN is alone now by the road. He takes out his WALLET and sifts through: money, ancient cards, driver's license and a picture of HIMSELF and the WOMAN on their WEDDING DAY, which he studies a moment sadly. MAN. (V.0.) She was gone, and the coldness of it was her final gift... she died somewhere in the dark... there is no other tale to tell. He lays everything out on the grey slushy ground, then flings the wallet into the river and walks back to camp, leaving the PHOTO and cards to blow away. EXT. CLAPBOARD HOUSE/YARD - NIGHT FLASHBACK - The WOMAN kisses the MAN. MAN. Will you tell him goodbye? WOMAN. No. I won't. I can't. MAN. Will you at least wait till morning? Stay with me through the night. WOMAN. No. I have to go now. They kiss again, she turns and walks away out of the yard. (CONTINUED) 31. CONTINUED: MAN. What am I going to tell him? What are we going to do without you? WOMAN. You should move south. You won't survive another winter here. The MAN follows a few steps and she stops and turns to him. MAN. Why won't you help me? WOMAN. I can't help you. Don't you understand? This is how I'm helping you. MAN. Where are you going to go? You can't even see. WOMAN. I don't need to see. MAN. I'm begging you. WOMAN. Please don't. Please. The MAN stares. She goes, vanishing into the darkness. END OF FLASHBACK. EXT. CITY LIMITS - DUSK The MAN stares. In the distance, a dead city. EXT. OVERPASS/CITY LIMITS - EVENING The MAN and the BOY approach the edge of the city. Up ahead a cluster of three tall buildings, a dozen or so floors of concrete and glass, the upper floors of one illuminated by the flickering fire glow of candle light inside. The MAN stops and stares and the BOY follows his gaze. In one of the illuminated windows a SILHOUETTE FIGURE stares back at them, somebody in the building. In another window another SILHOUETTE FIGURE is staring out, motionless, they could be refugees, cannibals or more mummified dead for all we know. (CONTINUED) 32. CONTINUED: BOY. Who are they, Papa? MAN. I don't know. BOY. What if it's more bad guys? MAN. It won't be more bad guys. Don't worry. Stay close. He takes hold of the gun and they walk in a different direction now, giving the high rises a wide berth. MAN. (CONT'D) Keep low. We'll be okay. When they get to the end of the block they stop and the MAN checks around the corner before they cross the street. In the distance three men appear, emaciated, slow-moving. They step forward, stop and watch the BOY and the MAN. EXT. OUTSKIRTS/CITY - DAY The MAN, now carrying the revolver, and the BOY head off down a railway track that leads away from the city. EXT. COUNTRY RAILWAY LINE - DAY In the country, along the railway, they see past a small road to a once grand house on a rise. It is tall and stately with white Doric columns across the front and a gravel drive that curves up from the road through a field of dead, foot long grass. They stand there staring at it, the BOY still holding the MAN's hand. The MAN listens - nothing but the WIND in the dead bracken, a CREAK of a door or shutter rattling. MAN. I think we should take a look. BOY. I'm scared. MAN. There's nothing to be scared of. EXT. DRIVEWAY/STATELY HOME The MAN sets off up the drive. He stops and faces the BOY who is rooted to the spot. (CONTINUED) 33. CONTINUED: MAN. You want to stay here? BOY. No. The BOY joins him and they set off slowly up the drive, through patches of melting snow. There is a tall dead privet fence with a deserted birdsnest in it. EXT. PORCH/STATELY HOME - DAY They climb the steps to the porch, the BOY clutching the MAN's hand. They notice a window is slightly open. The MAN goes to it, opens the window wide, looks inside. INT. FOYER/STATELY HOME - DAY They climb through the window onto black and white marble tiles and the MAN carefully shuts the window a little so it's the same as when he found it. They regard the room, binoculars set up on a tripod sit next to an arm chair. An elaborate staircase in front of them, William Morris wall paper, water stained and sagging, plaster moldings and cornices sagging from the ceiling. They cross back to the other side where there is a great hall of a drawing room, high ceilings, huge fire place with raw brick around it where the wood has been stripped, a pile of warm-weather clothing, boots and backpacks on the floor by the hearth. BOY. Papa? MAN. Shh. INT. KITCHEN/STATELY HOME - DAY They creep in and find blackened pots and pans, a cord with a bell for servants, trash piled on the floor and work tops, a rusted sink covered in mould, bare cupboards. In the floor is a hatch with a lock set in a steel plate. The man examines it while the BOY tugs at his arm, frightened. BOY. Papa, let's go. MAN. There's a reason this is locked. (CONTINUED) 34. CONTINUED: The BOY is now panicky, hopping about, close to tears. BOY. Don't open it - don't! MAN. I need something to pry it open. BOY. No! The MAN goes out abruptly and the BOY follows, wringing his hands in fear. EXT. BACK GARDEN/STATELY HOME - DAY The MAN comes out the back door with his revolver drawn, looks around and sees an old station wagon with flat tyres on the dead grass. Beside it is a 40 gallon cauldron on the blackened remnants of a fire. There is also a wooden SMOKE HOUSE with thin wisps of smoke coming off it. The MAN studies it nervously, sniffing the air, then goes to the tool shed and starts sorting through tools. He finds a long handled spade and hefts it in his hands. INT. KITCHEN/STATELY HOME - DAY The spade chops into the wood around the lock on the hatch. The MAN hacks away, then prizes up the hatch, lock and all, revealing a gap of darkness. BOY. Papa... MAN. Listen to me. Just stop it. We're starving. Do you understand? I have to do this. I don't have any choice. The MAN opens the hatch fully and lies it on the floor. MAN. (CONT'D) Just wait here. BOY. I'm going with you. MAN. Okay. Just stay close to me. Nothing's going to happen. (CONTINUED) 35. CONTINUED: They descend the rough wooden steps. INT. CELLAR/STATELY HOME - DAY There is a terrible stench and they have to cover their mouths and noses with their parkas. The MAN gets out his lighter, lights it and tries to light the way. POV MAN - BLACKNESS except the small area illuminated by the lighter as the MAN searches: part of a stone wall; then a clay floor; an old mattress with dark stains. The glow of the flame crawls across the floor to a corner as the MAN steps closer, then plays the lighter along from the corner to REVEAL: Huddled against the wall, all trying to hide, shielding their shining eyes from the light, NAKED MEN and WOMEN, thin as skeletons like inmates in a death camp. The BOY jumps, shocked and the MAN freezes, staring, dumb struck by: On a mattress on the floor lies a NAKED MAN with his legs gone to the hip, their stumps blackened and burned, cauterized. The BOY covers his eyes. MAN. Jesus... The MAN on the MATTRESS turns to them and WHISPERS, a low indistinct murmur at first. MAN ON MATTRESS. Help us... please help us... MAN. Christ... oh Christ... The others join in, an eerie chorus of WHISPERING, "Help us... please help us..." The MAN turns and grabs the BOY and rushes for the steps. MAN. (CONT'D) Hurry... go... move! The MAN drops the lighter as he tries to push the BOY up the steps. Out of nowhere a BEARDED FACE appears at the foot of the stairs, blinking. BEARDED FACE. Please... they're taking us to the smoke house. (CONTINUED) 36. CONTINUED: The BEARDED FACE reaches out and feebly tries to grab the MAN's arm but he breaks free and concentrates on getting the BOY up the steps, following in a blind panic, fumbling and missing his footing. MAN. Hurry - hurry! They scramble up the steps towards the light of the hatch as the BEARDED FACE reaches out and tries one last time to grab at the MAN's feet but he kicks free. INT. KITCHEN/STATELY HOME - DAY The MAN scrambles out, slams the door shut and drags a solid table over the door. He looks around for the BOY. MAN. Christ. Run! The BOY is near the window, dancing up and down in terror, pointing out the window to: EXT. FIELDS - DAY Coming up the path toward the house are four BEARDED MEN and two WOMEN, all suspiciously well fed and healthy-looking. One of the MEN holds hands with one of the WOMEN, as if they were returning from a stroll before dinner. INT. KITCHEN/STATELY HOME - DAY The MAN stares a moment, frozen with horror, then grabs the BOY by the hand and jerks him away. MAN. Run. Run! INT. FOYER/STATELY HOME - DAY They tear through to the front door, the MAN fumbles to get it open but it has a well-maintained deadlock on it. He stares out the window next to the door and sees: POV MAN - The WELL-FED PEOPLE are climbing the steps of the porch. The MAN Grabs the BOY and they rush through into kitchen. INT. KITCHEN/STATELY HOME - DAY In the kitchen the hatch is being lifted from underneath and the table elevating inches. They rush back out again. 37. INT. FOYER/STATELY HOME - DAY As they reach the stairs, a key turns in the lock and the MAN picks up the BOY in his arms and they sprint to a door under the stairs. As they get through the door the front door swings open and the WELL-FED PEOPLE drift inside. INT. REST ROOM - DAY They are in a small rest room under the stairs, just a toilet and a basin. The BOY's face is level with the basin and while the MAN is holding the door shut the BOY comes face to face with the contents of the basin: POV BOY - bloodstained clothing soaking in bloody water and tallow in the basin. Around the basin are bloody red hand prints on the white porcelain. POV MAN - through a thin crack he sees the WELL-FED PEOPLE on the far side of the foyer, chatting casually. He is not close enough to hear everything they say, but close enough to see that the MEN's beards are trimmed and they wear well-repaired clothes. WELL FED WOMAN. I'm going to freshen up. BEARDED MAN. I need a drink. WELL FED WOMAN 2. I'm going up to change. He hears one of the WOMEN STOMPING across the old floorboards and up the stairs to change while the other WOMAN takes a few steps towards the rest room, then turns back towards the window as the conversation lurches on. BEARDED MAN 2. Who left this window open? WELL FED WOMAN. I leave it open for the smell. BEARDED MAN 2. What smell? WELL FED WOMAN. You don't smell it anymore? BEARDED MAN. Who wants a drink? (CONTINUED) 38. CONTINUED: They hear the sound of the WINDOW BEING CLOSED and LATCHED. As all this goes on, the MAN is frozen, eyes wide with fear, he slips the pistol from his belt, cocks it and squats on his haunches so he's close to the BOY, desperate, unable to decide what to do, unable to think straight with fear. The BOY is staring from the door to the pistol to the bloodied basin as if hypnotised, in shock, babbling somewhat. BOY. (MUMBLING, TO SELF.) Bad guys... bad men... MAN. Shh, shh... There are FOOT STEPS outside the door as the WELL FED PEOPLE drift closer and then away again. The man starts to cough but he has the revolver in one hand and the BOY's hand in his other. The MAN tries to stifle his cough but can't. Then the BOY notices and holds his own small hand to the MAN's mouth, stifling his coughing as the talk goes on outside: WELL FED WOMAN. Will you help me with the dirty dishes? BEARDED MAN 2. I'm hungry. As the coughing subsides a little the MAN takes the BOY's hand from his mouth and pushes the revolver into it. MAN. Take it. The BOY tries to resist, shaking his head, terrified, mute. MAN. (WHISPERS.) (CONT'D) Take it. The MAN puts his left arm around the BOY's tiny, thin shoulders and holds him close. MAN. (WHISPERS.) (CONT'D) Don't be afraid. If they get hold of you, you're going to have to do it just like everybody else. Do you understand? Shh. No crying. Do you hear me? The WOMAN turns from the window and one of the BEARDED MEN pours whiskey and hands her one. (CONTINUED) 39. CONTINUED: (2) The BOY is weeping and shaking his head as the MAN shows him again what to do with the gun. MAN (WHISPERS.) Stop crying. You have to be a brave boy. You know how to do it. BOY (WHISPERS.) I think so. MAN (WHISPERS.) Say "Yes I do Papa." He stares down at the little BOY who just holds the gun feebly... he realises the BOY won't use it. After a moment of torturous contemplation, the MAN very gently takes the gun from the BOY's hand and the BOY sits forlornly, staring down at his hands, afraid to look at the MAN now. When the BOY looks up again he is staring down the barrel of the pistol, the MAN aiming the large revolver at the BOY's forehead. BOY. What are you doing? The MAN's hand shakes, his thumb trembles on the hammer as he cocks it... BOY. (CONT'D) Papa? MAN. I'm sorry. I'm so sorry. BOY. Will I see you again? When will I see you? The MAN's finger trembles on the trigger as he slowly squeezes it... At that moment there's a loud THUMP from the kitchen and the WELL FED PEOPLE stop and listen, then rush through to the kitchen, and immediately there's a commotion as they see the state of the hatch with the table over it. BEARDED MAN 2(O.O.V.) What the fuck do you think you're doing? Huh? What the fuck do you think you're doing...? WELL FED WOMAN (O.O.V.) Don't look at me like that. What are you doing? (CONTINUED) 40. CONTINUED: ( 3) The MAN gathers his wits and opens the door a crack. MAN. Follow me, take my hand, don't let go. INT. FOYER/STATELY HOME - DAY The MAN bursts out of the rest room with the BOY and they make a dash for the open window. He sticks his gun in his belt and wrestles with the window, an old colonial style frame which sticks. From behind the closed kitchen door they hear muffled GRUNTS and SHOUTS until the MAN wrenches the window open, stuffs the BOY through and follows. EXT. PORCH/STATELY HOME - DAY The MAN picks the BOY up and they rush down the steps. EXT. DRIVEWAY/STATELY HOME - DAY They rush down the driveway and the MAN drags the BOY through a gap in the dead privet hedge onto the road. EXT. ROAD - DAY They hesitate a moment on the road, deciding. MAN. Come on, keep running! They rush across the road to the woods on the other side, the BOY ahead as the MAN checks behind them. The MAN looks back towards the house and two of the WELL-FED PEOPLE have come outside, looking around suspiciously. He hits the ground and takes the BOY with him, they lie flat at the edge of the woods and the road. They are wildly out of breath, chests heaving, the MAN coughing. MAN. (CONT'D) Keep your head down. POV MAN - the WELL-FED PEOPLE walk a few steps down the drive and a BEARDED MAN looks through BINOCULARS at the road and the woods, but not directly at the MAN and the BOY hiding. The WELL FED PEOPLE start looking around the side of the house, walking away. The MAN and the BOY get up, dash through the treeline and disappear into the woods. 41. EXT. WOODS - NIGHT .A dull moon hidden in the ashen sky and the outlines of trees as they set off through the woods, sleepy, stumbling like drunks now. They hear a hideous SHRIEK in the distance, coming from the house. They stop, hearing another SHRIEK and a MAN'S SCREAMING. The MAN holds the BOY close and tries to cover the BOY's ears as they stare and wait for-it to pass. MAN. We'll be safe soon. BOY. They're going to eat those people aren't they, Papa? The MAN does not answer. EXT. SEARS DEPARTMENT STORE/SHOPPING MALL - NIGHT They are back in the city, trudging through the parking lot of a huge shopping mall, just outside what used to be SEARS department store. A dull moon hidden in the ashen sky illuminates the ruined store front as the MAN looks up at the mall, thinking. The BOY is just staring into space, still in shock. INT. SEARS/MALL - (CAMP 8) - NIGHT The MAN and the BOY have set up camp in the mall, outside the SEARS entrance. The MAN is building a big fire. The BOY stares through the glass at the deserted department store. Nearby, strewn across the doorway are bunches and bundles of cash in notes and coins... the BOY looks closer and finds expensive items of jewelry still in their boxes, LOOTED from the store and discarded. The BOY sits, he looks like he's given up, and then: BOY. Papa? Papa, we wouldn't ever eat anybody would we? MAN. No. Of course not. BOY. No matter how hungry we were. Even if we were starving? (CONTINUED) 42. CONTINUED: MAN. We're starving now. BOY. Because, because we're the good guys? MAN. Yes. BOY. And we're carrying the fire. MAN. Yes. The MAN takes the BOY in his arms. In a moment the BOY starts blinking sleepily and drifts off to sleep and the MAN strokes the sleeping BOY's hair and kisses him on the forehead. EXT. SUPERMARKET/PARKING LOT - DAY They walk through the parking lot until the come to a supermarket around the other side. A few old cars in a trash strewn parking lot. The MAN heads through the defunct automatic doors. MAN. Come on. There's nobody here. INT. SUPERMARKET - DAY The MAN and the BOY trudge the empty aisles, only litter remaining, the once brightly-colored packaging strewn around, it's contents long since looted. In the empty gun section there is a deer's head mounted on the wall. The BOY stops and stares, mesmerised while the MAN searches the empty shelves for ammo, finding only empty boxes. The MAN glimpses a woman's face staring dolefully from an aisle - an emaciated, dead beat SCAVENGER watching them, vanishing as quickly as she appeared. On their way out they come to a pair of vending machines tipped over, the sodas looted, coins scattered around in the ash. The MAN sits beside one and feels inside the gutted machine, eventually producing a single unopened can of COCA COLA. (CONTINUED) 43. CONTINUED: BOY (EXCITED.) What is it, papa? MAN. It's a treat for you. Here. Sit down. He helps the little BOY off with his knapsack and sits him down and opens the can of COKE ceremoniously. The BOY looks startled and sniffs the fizzing can as if it's the strangest thing he's ever seen in his life. MAN. (CONT'D) Go ahead. The BOY takes the can. BOY. It's bubbly. MAN. Go ahead. Drink it. The BOY takes a sip and considers. BOY. It's really good. You have some, papa. MAN. No. I want you to drink it. BOY. But I want you to have some. The MAN reluctantly takes the can and has a tiny sip, hands it back to the wary BOY. BOY. (CONT'D) It's because I'll never get to drink another one, isn't it? The MAN doesn't know what to say. EXT. MALL/PARKING LOT - LATE AFTERNOON They head out of the mall now towards the road, lifeless traffic lights at the intersection, town houses and apartment blocks on the other side of the road. The BOY stops to listen, stares around, suddenly energised, bobbing on his toes. (CONTINUED) 44. CONTINUED: MAN. What's wrong with you? BOY. What was that? MAN. I didn't hear anything. BOY. Listen. MAN. I don't hear anything. They listen more until, very faintly we hear a DOG BARK in the distance. The BOY turns around 180 degrees to listen, alert with anticipation. MAN. (CONT'D) It's a dog. BOY. (EXCITED.) A dog! Where did it come from? MAN. I don't know. Come on. The MAN walks across the road, past the apartments and the BOY follows, bouncing up and down, over-excited now. BOY. We're not going to kill it are we Papa? MAN. What? No, we're not going to kill it. Why did you say that? BOY. You still got one bullet left. MAN. We're not going to hurt the dog, I promise. We're not going to kill it and we're not going to eat it either. BOY (OVER EXCITED, NOT FRIGHTENED.) Maybe it'll eat us! (CONTINUED) 45. CONTINUED: (2) MAN. I doubt it very much. BOY. Can we look for it? MAN. It's gone, okay? EXT. SUBURBS - DAY They trudge through the suburbs on the edge of the city, past what used to be the local ball park, now barren, dead, a vast flat expanse of ash and cracked, scorched earth, forlorn stands and bleachers blackened by ash and soot. BOY. What is it? MAN. I used to watch the ball games here with my father. EXT. SUBURBAN STREET - DAY They walk up a once tree-lined suburban street, barren now, ash and dust layer what used to be front lawns, post boxes, picket fences, porches, crazy paving. The MAN stops outside a typical, suburban clapboard house with a dead, cracked yard where the lawn used to be and a bare flag pole. The BOY eyes the MAN enquiringly. BOY. What is this place, Papa? MAN. It's the house where I grew up. They go up to the house - clapboards have been removed for firewood leaving studs and insulation exposed. The BOY stops, reluctant to go further, and the MAN takes a few more steps then turns around to check on him. MAN. (CONT'D) You coming? BOY. I don't want to. MAN. Don't you want to see where I grew up? (CONTINUED) 46. CONTINUED: BOY. There might be somebody in there. MAN. There's nobody there now. The MAN takes the BOY's hand and they approach a basketball hoop by the garage. The MAN is momentarily overcome with emotion as he recalls the details, but it doesn't mean much to the BOY. After a moment the MAN goes up the steps - frightened, but horribly compelled at the same time. The BOY follows nervously. BOY. I'm scared. MAN. We've got to find something to eat. BOY. I'm not hungry. I'm not! The MAN takes his revolver from his belt and approaches the front door, warily pushing it open. MAN. We'll be all right. Come on. He goes through the front door - the BOY stays where he is, rigid with fear. The BOY notices a stuffed toy dog in the window, staring out at the garden and his curiosity takes over. The BOY goes inside carefully. INT. DINING ROOM/HOME - EVENING The pine panelling is stripped from the walls, there is some broken furniture but much has been taken for firewood. They go over to the fireplace and the MAN examines it. He runs his fingers along the mantle where there is an old drawing pin still stuck in the wood, nostalgia overcoming his fear. MAN. This is where we used to have Christmas when I was a boy. We'd hang our stockings right here. The MAN examines the yellow tiled surround. The BOY watches the MAN as if he's gone mad. (CONTINUED) 47. CONTINUED: MAN. (CONT'D) My mother scrubbed these every day. It's still spotless. Much of the woodwork and the floorboards have been stripped and taken for firewood - there are gaping holes. By the fireplace is a small pile of bones - and--in the grid are more burnt bones and the skull from the family cat. The MAN takes it all in sadly but the BOY is unmoved. BOY. Papa? I don't think we should do this. MAN. You want to wait outside? The BOY nods vigorously. MAN. (CONT'D) All right. He takes the BOY's hand and leads him out. EXT. PORCH/HOME - DAY The come out onto the porch. MAN. Sit here on the stoop and don't go away. The BOY sits quietly and the MAN goes back inside. After a moment he starts going through his knapsack, less afraid now. INT. OLD HOUSE - DAY The floorboards CREAK horribly, swollen from rain or ripped up, as he creeps into the living room. The timber cladding is stripped from the walls, the ceiling plaster is collapsed, beams exposed. The MAN pads through to the kitchen. INT. KITCHEN/OLD HOUSE - DAY The kitchen is similarly dilapidated, the cupboards stripped bare. On a shelf by the window are dusty jars of fruit, preserved. He grabs a jar, prizes open the lid and finds a an oily slick of black mucus floating in the top, like rotted mushroom spores. He sniffs it suspiciously, holds it up to the light. (CONTINUED) 48. CONTINUED: In the light small black fish hook-shaped spores drift from the top of the jar to the bottom. He replaces the lid, appalled. EXT. PORCH/OLD HOUSE - DAY The BOY is sitting on the steps of the porch drawing with crayons on a pad taken from his knapsack. Across the road is another big old house, much of the clapboard missing, swathed in dead brambles - the BOY suddenly looks up and stares at it, distracted. EXT. BACK YARD - DAY The MAN comes outside and regards the deadened yard, old garden hoe and spade, gardening equipment and several dead apple trees. He goes over and examines the ashen ground and digs about to unearth several small, dark brown, shrivelled spheres spaced several feet apart - apples. He bends down and picks one up, examines, sniffs. He gathers up the strange apples and stuffs them in his pockets. EXT. PORCH/OLD HOUSE - DAY The BOY is still staring at the house across the road when he notices A GHOSTLY FACE, completely still, in a window. The BOY drops the pad and crayon and stands, surprised, not believing his eyes - it is the face of a SMALL BOY roughly his age, which disappears almost immediately, receding back into the gloom like a ghost. INT. PANTRY/CLAPBOARD HOUSE - DAY The MAN is in the looted pantry. He finds some shrivelled raisins that haves spilt and hidden in the back of the shelf. He puts them into a handkerchief, folds it and pockets it. He HEARS: BOY. (O.O.V.) Stop - stop! The MAN freezes, then charges out. EXT. PORCH/CLAPBOARD HOUSE - DAY The MAN rushes out and stares about frantically for the BOY - he's gone. EXT. HOUSE OPPOSITE - DAY The BOY has run across the road to another house. (CONTINUED) 49. CONTINUED: POV BOY - peeping around the side of the house is the other SMALL BOY, the same age, similarly grimy and thin, wearing an outsize woollen coat. The other SMALL BOY disappears down the side and the BOY runs after him. BOY. Wait! Come back! I won't hurt you! EXT. BACK YARD - DAY The BOY runs to the bottom of the yard where there is various suburban garden detritus, a dusty lawn mower, a clothes line, a shed, bikes with no tyres. BOY. Where are you?! The MAN comes sprinting up the side of the house and seizes him by the arm. MAN. What are you doing? What the hell are you doing? BOY. There's a little boy, Papa, I saw a little boy. MAN. There's no little boy. What's the matter with you? BOY. Yes there is! I saw him! A boy just like me. The MAN takes the BOY by the arm and drags him back through the yard, up the side of the house, the BOY resisting, crying and looking back all the way. BOY. (CONT'D) Why? Why can't I go and see him? EXT. HOUSE - DAY Out the front of the house the BOY digs his heels in and the MAN has to drag him, his feet slithering through the dirt. BOY. I need to see him! I need to! (CONTINUED) 50. CONTINUED: MAN. Why? BOY. I just do! The BOY has gone limp, weeping bitterly, resisting being moved. The MAN gives up and squats beside the sobbing BOY. MAN. Okay, I'm sorry. I understand. He holds him, wipes his tears from his cheeks. EXT. TOWN STREET/OVERPASS - EVENING In the failing light they come across a late model Chevy abandoned under an overpass. BOY. Papa? Will there be other boys like me at the coast? MAN. I hope so. The MAN goes to the car, wipes thick dust from the windscreen and peers in - it's empty. INT. CHEVY - (CAMP 9) - NIGHT They try to get comfortable in the leather seats, the MAN spreading the blankets over them and tucking the BOY in. They are quiet a moment as they watch darkness start to fall. THEN: MAN. I got you something The MAN produces from his pocket one of the tiny hard brown apples and holds it up to the remaining light. BOY. What is it? MAN. It's an apple. (CONTINUED) 51. CONTINUED: He hands it to the boy who examines it curiously. The MAN takes out a pocket knife, takes the apple back, cuts the apple in half to reveal a woody brown interior. They regard the mahogany apple uncertainly, the MAN is the first to take a bite, with some difficulty. The BOY bites his half and makes a face. MAN. (CONT'D) Suck it a while and it'll soften. They sit sucking and chewing the ancient apple. BOY. Did you ever have any friends? The MAN eyes the BOY - curious at the sudden question. MAN. Yes. I did. BOY. Lots of them? MAN. Yes... BOY. Do you remember them? MAN. Yes. I remember all of them... BOY. What happened to them? MAN. They died. BOY. All of them? MAN. Yes. All of them. EXT. URBAN ENVIRONS (MONTAGE) DAY The MAN and the BOY make their way out of the ruined city. (CONTINUED) 52. CONTINUED: MAN. (V.0.) He yearns for his own friends and imagines how things will be different at the coast - and that there will be other children there... .When I have nothing else, I try to dream the dreams of a child's imaginings... EXT. DESOLATE ROAD - DAY The MAN and BOY walk along a desolate road in what was once farmland, grain silos loom ominously, still standing. BOY. Do you know where we are Papa? MAN. I think we're about two hundred miles from the coast. As the crow flies. BOY. "As the crow flies?" MAN. It means, going in a straight line. POV MAN - In the background, something catches his eye and he FOCUSES ON: A frieze of HUMAN HEADS, dried with taut grins and shrunken eyes, perched on wooden poles. Some are tattooed with targets and runic slogans. Some are skinless, with signs and words inked onto them. One has suture marks etched on it, like a blue print for assembly. BOY. There aren't any crows are there? Just in books. MAN. Yeah, just in books... The MAN stares at the heads as the BOY continues his conversation, distracted and not seeing the heads. BOY. Do you think there might be crows somewhere? (CONTINUED) 53. CONTINUED: MAN. I don't know... BOY. But what do you think? MAN. I think it's unlikely... They keep walking and talking, the MAN grim-faced but the BOY intent on what's ahead. BOY. Could they fly to Mars or some place? MAN. No, they couldn't fly to Mars... BOY. Because it's too far? MAN. Yes. The MAN discretely hurries the BOY on with a guiding hand towards the woods and off the road. BOY. What if they tried and-and-and they just got halfway or something and then they were too tired? Would they fall back down...? EXT. EDGE OF WOODS - EVENING On the edge of the wood the MAN and the BOY stop to examine footprints in the snow. The MAN listens and hears: the low THUDDING of BULL DRUMS in the distance. He looks at the exhausted BOY a moment. MAN. We can't go back on the road. BOY. Why, Papa? MAN. I think someone's coming. (CONTINUED) 54. CONTINUED: The BOY stares at the tracks. The MAN stares in both directions, examining the road in the distance. He moves a few paces and notices tied to a dead sapling a thin red neckerchief. He takes a few steps and through a gap in the trees sees a clearing - snow and a mass of BLOOD RED FOOTPRINTS, the icy snow stained blood red like a sorbet. A killing floor. BOY. Will they see our tracks? MAN. We'll cover them. The MAN moves the BOY away and kicks snow over their tracks - then lays fresh ones going in several different directions. The BOY copies him, leaving his own maze of tracks. They run off keeping parallel with the road but staying off it. POV MAN - in the distance TWO FIGURES appear on the road. MAN. (CONT'D) Here they come. The MAN now looks over his shoulder for a good look, then grabs the BOY's hand and takes off. EXT. HIGH GROUND - EVENING TWO MEN come prowling on the ROAD, they are MILITANTS from some sort of ARMY, wearing the same red neckerchiefs and carrying weapons, searching, predatory. WIDER - we see that only 30 feet away, concealed amongst the trees, the MAN and BOY are crouched in blankets, watching. The two MILITANTS stop and look around, as if they sense the BOY and the MAN - who freeze, frightened to breathe. The MILITANTS sniff the air menacingly. One of them walks over to a stone by the side of the road, leans down and starts sharpening his lance, made from a the straightened coil spring of a car. The MAN and the BOY watch - wide-eyed. Eventually the MILITANTS walk off up the road. BOY. What are we going to do? No answer. 55. EXT. DEEP IN THE WOODS - (CAMP 10) - EVENING There is a thick carpet of gray snow. The man lays out a tarp on the ground and blankets on top. Out of the murky sky more gray snow is falling. The MAN is distracted by a sudden noise, the LOUD CRACK of sheering wood - this time very close. He looks around just as: Out of nowhere a tree branch sails down, barely missing them, landing with a heavy WHUMP just feet away. MAN. Move! Quickly! He tries to get the BOY to his feet but he is limp, staring around blearily, exhausted. They hear another loud WHUMP. Then the GROAN of timber and another WHUMP as trees start to keel over around them. The MAN grabs the BOY and runs as best he can through the snow and falling trees. They have abandoned their blankets, tarp and backpacks. BOY. What's happening? MAN. Just keep moving, run! They rush through the woods as more and more trees fall one after the other, WHUMP, WHUMP, WHUMP, great loads of snow falling from limbs to the ground with a BOOM, setting the woods shuddering. The BOY is getting bogged in the snow and the MAN stoops and scoops up the BOY and they cram themselves under a fat fallen tree to shield themselves. EXT. SEWER PIPE/EMBANKMENT, SNOWDRIFT - (CAMP 11) - NIGHT They are huddled inside a huge SEWER PIPE, sheltering. The BOY is wrapped up inside the man's coat, wet and shivering, wide awake, nerves shredded, too anxious to lie down and sleep now. The MAN boils water in a car hubcab. He takes from his pocket the handkerchief filled with raisins, offers them. BOY. That's all there is, isn't it? (CONTINUED) 56 CONTINUED: MAN. Yes. BOY. There's nothing left anywhere. MAN. No. They sit eating raisins, saying nothing until they're finished. BOY. Can I ask you something? MAN. Sure. BOY. Are we going to die now? The MAN just looks at the BOY, then looks away. MAN. What do you think is going to happen? We're just going to suddenly keel over and die? It takes a long time to die of starvation. The important thing is water to stop you dehydrating. We've got water. We'll be all right. EXT. OUTSKIRTS OF TOWN - MORNING Snowed in farmland, in the background a rowoffallen and crumpled high tension electrical towers. Atownin the far distance ahead of the BOY and the MAN. TheBOYis hunched over with a hunger cramp. They are both wetandshivering. The MAN eyes the BOY anxiously. EXT. PATIO/TOWN HOUSE - DAY The MAN stands on the back patio of a house on the edge of town, the BOY at his side, fields stretching out before them, the land flattened and dead, ravaged fences running the perimeter. In the yard are a few dead trees, a fence, a metal tool shed, an old barbecue on the patio made from a 44 gallon drum. The MAN slides the patio door open and peers inside gingerly. 57. INT. BEDROOM/TOWN HOUSE - DAY The MAN is in the bedroom looking around for useful things - it has been stripped, the wooden frame gone from the window, the bureau ransacked and chopped up - only a summer dress on a wire hanger on the back of the door remains. He glances at empty drawers on the floor and a cupboard before turning his attention to the bed. He blinks and sways a moment, trying to focus on: POV MAN - underneath the filthy, dusty blankets a thin, dried head pokes out, the blankets pulled up to the chin. On the pillow are long hunks of rotted hair. MAN. (V.0.) Every day is a lie. But I am slowly dying. That is not a lie .I am trying to prepare him for the day when I am gone. He takes hold of the lower hem of the blanket and tows it off the bed, revealing a desiccated corpse. He ignores it, shaking the blanket out and folding it under his arm. He notices the BOY at his side, watching wide-eyed. MAN. (CONT'D) Nothing you haven't seen before. They go out. INT. KITCHEN/TOWN HOUSE - DAY The MAN opens and shuts empty cupboards, slamming the doors, increasingly desperate, close to tears of frustration now. Eventually he feels dizzy and has to sit on the floor. He just sits there, alone on the kitchen floor, clenching and unclenching his fists, his head in his hands, when he hears: BOY. (O.O.V.) Papa! The MAN draws his pistol and goes out, alert again. INT. TOWN HOUSE - DAY The BOY is staring at himself in a dusty, flyblown full length mirror. As the MAN comes in he sees the BOY's reflection and his own and jumps. BOY. It's us. (CONTINUED) 58. CONTINUED: The BOY stares at his reflection - he looks like an alien, skinny with giant staring eyes on shaky legs. BOY. (CONT'D) We look skinny. MAN. We are skinny. The MAN puts the blanket around the BOY's shoulders. He notices an old upright piano, covered in ash and dust. The BOY stares as he goes to it, lifts the lid and plays a chord. The BOY's eyes light up and he is magnetized, instantly coming over and waiting for the next note. The MAN plays another chord. BOY. What is it? MAN. It's a piano. BOY. What's it for? MAN. For making music. This... (HE PLAYS.) is music. Your mother played very well. BOY. I don't remember. MAN. Before you were born. We had one just like it. It was beautiful. BOY. What happened to it? MAN. Chopped it up for firewood. He stares into space, slumps suddenly, overcome with emotion as he remembers: INT. CLAPBOARD HOUSE - DAY FLASHBACK - Just the MAN and the pregnant WOMAN alone in the house, just before the BOY was born. Some of the furniture has been broken up for firewood - there are broken pieces by the fire and a huge axe propped on the hearth. (CONTINUED) 59. CONTINUED: The WOMAN stands at the piano and tries to play. She plays for a moment and the MAN cracks a rare smile - the piano is out of tune and she stops. She plays a bit more but soon starts to bang the keys atonally in frustration. The MAN just lets her get on with it until she's spent. WOMAN. I used to worry what would happen if there was a fire. What would I save? What could I bear to lose? There used to be so many things, so many beautiful things. Things people made. Things nature made. Who knew we would lose it all? MAN. I'll strip the floorboards. WOMAN. You can't live without a floor. MAN. You can't live without a piano. She starts to dismantle the piano, opening the lid, taking it off it's hinges, it's heavy, she hands him the heavy lid and he reluctantly dumps it on the floor. WOMAN. It's my piano. MAN. I bought it for you. WOMAN. It needs tuning. Who's going to tune it? Can you tune it? They look at each other sadly. They take the front piece away and dump that. The WOMAN picks up the axe and hands it to the MAN. He swings it at the frame. END OF FLASHBACK. EXT. YARD - DAY The MAN walks toward a tin shed and crosses the dead grass. He stops suddenly. He stamps about a bit, listening. He continues on into the shed. Beside the shed sits an INDUSTRIAL GARDEN TROLLEY. The man reappears, spade in hand. He digs the spade into the dead grass and hear's it CHOMP into wood. He digs more urgently, increasingly exhausted, until a door is revealed in the dirt. (CONTINUED) 60. CONTINUED: He is so engrossed he hasn't noticed the BOY standing a few feet away, watching with saucer eyes, scared. BOY. Don't open it, Papa. MAN. It'll be okay. BOY. Please, Papa, please. MAN. It's okay. BOY. No it's not! What if there's people hiding down there? The MAN ignores him, focussed as he chops the plywood around the lock, gets the spade under a corner and levers the door open. The BOY has his fists bunched up to his chest, bobbing up and down with fear. The MAN starts to descend a hand made wooden stair case in the bunker. He takes another disposable lighter from his pocket, gives the child a kiss on the forehead and then disappears into the bunker, leaving the worried BOY staring after him. The BOY looks around at the deserted yard as the evening draws in, now even more frightened. MAN. (O.O.V.) Oh my God... oh my God! BOY. What is it, Papa? MAN (O.O.V.) Come down. Oh my God come down. The BOY is in the hole and down the steps like lightning. INT. BUNKER - (CAMP 12) - EVENING The little BOY CLATTERS down the steps. The MAN is busy lighting up candles. BOY. Papa? What did you find? MAN. Everything. I found everything. (CONTINUED) 61. CONTINUED: Stored in the bunker are crate upon crate of canned goods: tomatoes, peaches, beans, apricots, canned ham, corned beef, hundreds of gallons of water in ferry cans and in boxes paper towels, toilet paper and trash bags stuffed with blankets. The MAN takes the BOY's hand and helps him down, then goes back up the steps and draws the door shut and jams a pair of metal pliers through the heavy inside hasp to stop the door being opened. He goes back down the steps to the BOY and holds up a candle to illuminate the shelves. MAN. (CONT'D) Can you see? BOY. What is all this stuff? MAN. It's food! Can you read the labels? The BOY stares at the brightly colored packaging, he's never seen anything like it before. The MAN hands the BOY a tin. BOY. "Pears." It says "pears." MAN. Yes! It does! Oh yes it does! Pears! They inspect the shelves: chilli, corn, stew, soup, spaghetti sauce, the BOY's eyes are like saucers. BOY. Is it real? MAN. Oh yes, it's real all right. The MAN pulls a box of butane lighters from the shelf and tests one, it doesn't work. He tests another which works, it has a large flame - he uses it to read the labels. BOY. Why is it here? MAN. Because someone thought it might be needed. BOY. But they died. (CONTINUED) 62. CONTINUED: (2) MAN. Yes. What would you like for breakfast? BOY. (THINKS.) Pears. MAN. Pears it is. The MAN claws open a box and pulls out a tin of pears. He gets paper bowls from a stack, plastic forks and spoons, lays them out. He finds a camping lamp. He puts a butane cannister in and lights up the lamp. He finds a can opener and opens the pears while the BOY watches silently, wrapping a blanket around himself and sitting on the soft bunk bed. BOY. Is it okay for us to take it? MAN. They'd want us to. The MAN dishes up two bowls of pears and they sit side by side on the bunk with spoons and pears. MAN. (CONT'D) These will be the best pears you ever tasted. The best. You just wait. They eat in silence. They lick the spoons and drink the syrup from the bowls. The MAN feels inside his mouth with his fingers - the sugar irritating a sore tooth. MAN. (CONT'D) Too sweet. The BOY smiles, amused, and the MAN opens another tin. INT. BUNKER - (CAMP 12)- EVENING Ham and powdered eggs frying in a pan on the camping stove. The kettle is boiling on another ring of the gas stove. The BOY just stares at the bubbling food as the MAN cooks. Nearby a breakfast table is set out on a stack of boxes acting as a breakfast bar: biscuits, a plate of butter, condensed milk, salt and pepper plates and utensils. (CONTINUED) 63. CONTINUED: The MAN brings the pan over and forks over chunks of ham onto the pates, then spoonsfull of scrambled eggs from a second pan, then baked beans from a small pot. The BOY just stares, as if drugged, uncomprehending, the food alien to him. MAN. Go ahead. Don't let it get cold. BOY. What do I eat first? MAN. Whatever you like. The BOY eats a hunk of ham as the MAN pours coffee. BOY. Is this coffee? MAN. That's right. Careful it's hot. He hands him coffee. BOY. We did good, didn't we Papa? MAN. Yeah, we did good. INT. BUNKER - (CAMP 12)- NIGHT The MAN puts the BOY to bed in a bunk and smooths his filthy hair tenderly, smiling with relief, until the BOY shuts his eyes and nods off. He covers the BOY with a blanket and kisses him. He just sits watching the BOY sleep, suddenly on the verge of tears. INT. BUNKER - (CAMP 12) - NIGHT The MAN folds the BOY's tiny clothes, noticing the bulging pockets of his pants. He empties them, creating a small pile of collected artefacts: a smooth stone, a marble, an old house key, bottle tops, a smooth, hand made Indian arrow head, fashioned from stone, lastly a broken piece of a woman's mother of pearl hair comb. By the BOY's bunk he unfolds the crayon drawing he's been working on and examines it, deeply moved: (CONTINUED) 64. CONTINUED: POV MAN - an eccentric, childlike drawing of the WOMAN, skinny like a stick figure but, inexplicably, with a brightly smiling face and big laughing eyes, labelled simply "mom" in spidery scrawl. Stirring classical music fades up and into: INT. THEATRE - EVENING FLASHBACK - Close in on a pair of LEGS in stockings, a summer dress, a WOMAN's hands holding a MAN's hand in her lap. The MAN feels the tops of the stockings with his fingers. WIDER - the MAN is with the WOMAN in a concert theatre, at a recital. The WOMAN wears the mother of pearl hair comb. The seats are velvet, gold scrollwork adorns the boxes, an illustrious, fortunate world. END OF FLASHBACK. INT. BUNKER - (CAMP 12) - MORNING The BOY wakes blearily and immediately notices his collection of artefacts turfed out by the bed. Nearby the MAN is dressing as the BOY starts gathering up his collection crossly, especially protective of the arrow ahead - or just embarrassed. They look at each other. MAN. What? BOY. (TEASING BUT INDIGNANT.) Don't touch my stuff. EXT. LAWN - DAWN The hatch opens and the MAN's face appears, as he looks around. He opens the hatch more and clambers out with a couple of jerry cans of water, the yard is quiet. Next, the BOY's face pops up and peers around. He clambers out carrying a big pot with a camping stove in it. INT. BATHROOM, TOWN HOUSE - DAWN They empty the jerry cans into the huge pot, light the stove and put the pot on the stove to heat the water. 65. INT. BATHROOM, TOWN HOUSE - DAWN The BOY is in the bath, filthy and scrawny, as the MAN bathes him, rubbing him with soap, scrubbing an oily film of scum from his dirty neck to reveal clean pale skin underneath. MAN. What do you think? BOY. Nice and warm. He washes the BOY's hair, lathing water over him with the pot. He has a sudden thought: CUT TO: INT. BATHROOM/CLAPBOARD HOUSE - DAY FLASHBACK - the MAN watches unseen from the doorway as the WOMAN tenderly washes the BOY's hair - he is perhaps a year younger than at the start of the film - she appears lost in the task, enjoying it, chatting away to the BOY, momentarily unburdened. She sticks a finger in the BOY's ears, giving them a good soaping, which he likes. WOMAN. You could grow potatoes in these ears... INT. BATHROOM, TOWN HOUSE - DAY END FLASHBACK - now the MAN is in the tub, also scrawny and filthy, lost in thought as he soaps up - the BOY helps. INT. BATHROOM, TOWN HOUSE - DAY The MAN trims his beard off with scissors in a mirror. He lathers up with shaving cream and starts to shave with a plastic safety razor. When the MAN is done he turns to the BOY, wiping away the foam. MAN. How do I look? BOY. Weird. Won't you be cold? INT. BATHROOM, TOWN HOUSE - DAY Now the MAN is cutting the BOY's hair with kitchen scissors and a plastic comb. (CONTINUED) 66. CONTINUED: The BOY has a towel around his shoulders and long locks of hair decorate it. The MAN finishes, takes the towel off, wipes the BOY's neck and face with a flannel, holds up a mirror for the BOY to see. BOY. I look funny. INT. BUNKER - (CAMP 12) - MORNING They sit on the bunk bed with a checkerboard between them sipping thick hot chocolate made with condensed milk from plastic mugs and concentrating on the board, their worn out, wet blue jeans drying on a drying rack in the back ground. They are both wearing new sweaters too big for them, plundered from the stores. The MAN watches the BOY fondly, absorbed in checkers. EXT. LAWN - NIGHT Heavy rain slashes down on the lawn, already pools of water are flooding the lawn. INT. BUNKER - (CAMP 12) - NIGHT A shiny new quart of whiskey is slipped from its paper liquor store bag and opened with a soft CRACK. The whiskey is poured into a glass with a satisfying GLUG. WIDER - another feast is laid out, ham and powdered mash potato and biscuits and gravy. The BOY is eating while the MAN pours a whiskey. The BOY stops eating to watch the MAN drink the whiskey. The MAN's eyes glaze as he sips the strong liquor, dizzy already. BOY. Can I try some? MAN. No. You won't like it. Makes you feel funny. The BOY stares, curious, wanting it. MAN. (CONT'D) You think I come from another world, don't you? Filled with all these strange things you've never seen. BOY. Sort of. (CONTINUED) 67. CONTINUED: MAN. Well, I do I guess. EXT. LAWN - EVENING The MAN just stands in the middle of the lawn COUGHING his guts up in the dark rain - again the phlemy wet cough. He bends over, sweating, listening, knowing it's the sound of fluid on the lungs. As he listens he hears something above the rain - he keeps shifting position, as if hearing different sounds from different directions. Nevertheless he anxiously looks around, then goes to the porch and drags an old mattress over, across the dead grass to the hatch. He lays it half across the hatch, crawls through the remaining gap and hauls the mattress the rest of the way over the hatch, then pulls the hatch closed with the old mattress lying on top. It just looks like an old mattress lying on a lawn in the rain. INT. BUNKER - (CAMP 12) - DAWN The MAN listens to the PATTER of rain and hears another sound... something or someone RUSTLING around the mattress above. He hears the sound of the MATTRESS being DRAGGED off of the door. He hears SCRABBLING and SCRATCHING on the door and freezes, staring at the lock, waiting for the inevitable... He quietly picks up the revolver. He looks across and sees the BOY is now wide awake too, staring, wide- eyed. BOY. What is it? MAN. Shh. BOY (WHISPERS.) Maybe it's a dog. MAN (WHISPERS.) It's not a dog. BOY. (BARELY MANAGING TO WHISPER.) It is! It's a dog! A dog! The MAN listens anxiously as the pawing and scratching continues, the wood over the bunker amplifying the noise. He cocks the revolver and positions himself under the hatch, ready. (CONTINUED) 68. CONTINUED: MAN. If it's a dog it'll be with someone. BOY. Who? MAN. I don't know. After a torturous moment the sounds die away. MAN. (CONT'D) I'm not waiting to find out. Come on. Let's get out of here. BOY. I don't want to go. MAN. I know but it's not safe anymore. The MAN grabs his gun and cocks it, rushes about turning out all the lamps, and they sit anxiously in the darkness. EXT. LAWN - MORNING LATER - it's now lighter outside, the mattress lifts as the MAN opens the trap door and very carefully peeps out. He looks around, all angles, checking the coast is clear, then shuts the hatch again. INT. BUNKER - (CAMP 12) - MORNING The MAN starts loading cans and packets into a carton. He gathers a couple of large jerry cans of water. The BOY helps. BOY. What are we going to do with all this stuff? MAN. We'll just have to take what we can. BOY. I wish we could live here. And we could keep the dog and the dog could catch food for us. (CONTINUED) 69. CONTINUED: MAN. Look, there is no dog, okay? I'm sorry but there just isn't. BOY. Well what is it! MAN. I don't know what it is! BOY. Please Papa. MAN. No. BOY. Just say it's going to be all right, Papa. Say it. Just say it, please. The MAN doesn't know what to say, losing patience. MAN. Listen, trouble comes when you least expect it. So maybe the thing to do is to just always expect it. BOY. Do you always expect it? Papa? MAN. I do, yes. BOY. You always think bad things are going to happen but we found this place. Maybe we'll find another place like this at the coast. MAN. Maybe. The MAN dumps the carton of food on the floor and packs another, organising jerry cans of water. EXT. LAWN - MORNING The INDUSTRIAL TROLLEY is loaded up and tied with a grey tarp. (CONTINUED) 70. CONTINUED: BOY. What are you doing? MAN. We'll have to cover our tracks from now on. The MAN drags the old mattress back over the entrance to the bunker. He carefully covers the surrounding area with debris. EXT. RIVER - DAY The MAN pulls the new trolley across a bridge, stagnant black water underneath, the trolley is now laden with jerry cans of fresh water and cartons containing as many tins of food and supplies as they could manage. The BOY trails along behind. They are a strange sight, clean clothed, clean shaven, short haired, in their new jumpers - and now both wearing new surgical masks which they raise off their faces to speak. The MAN keeps checking behind him. POV MAN - he sees the glint of glass, perhaps a pair of BINOCULARS watching them. The BOY watches anxiously as the MAN gets out his own BINOCULARS and looks through them. POV MAN - a mysterious winking glint of light which quickly disappears. POV - through a different pair of binoculars, a completely different POV, we see the MAN looking through his binoculars at us. MAN. I think they're following us. BOY. Who? MAN. I don't know. BOY. You think it's bad guys? MAN. Probably. BOY. What if it's good guys? (CONTINUED) 71. CONTINUED: MAN. I don't think we're likely to meet any good guys for a while. We have to be careful now. We've got food. EXT. BEND/THE ROAD - DAY As they round a bend in the road they see a hunched figure walking ahead of them. The MAN stops abruptly, gets out the binoculars and watches: POV MAN - a distant, hunched figure hobbling away from them. EXT. ROAD - DAY They come up behind an OLD MAN, hunched over, withered, silent as he hobbles ahead. He wears layers of torn clothing and his feet are wrapped in rags and cardboard tied with green twine. They slowly approach and the man stops, turns and watches them suspiciously as they draw level. OLD MAN. I don't have anything for you. You can look if you want. I got nothing. MAN. We're not robbers. The OLD MAN leans an ear forward, deaf. OLD MAN. What? MAN. I said we're not robbers. OLD MAN. What are you? MAN. We're just like you. OLD MAN. What are you following me for? MAN. We're not following you. BOY. We've got food we could give him. (CONTINUED) 72. CONTINUED: MAN. He's not getting any food. The OLD MAN looks away, avoiding their eyes. BOY. He's scared, Papa. MAN. Everybody's scared. BOY. Please Papa. MAN. ALL RIGHT1 The MAN eyes the road to the left and right, then draws his revolver. MAN. (CONT'D) If this is an ambush, he goes first. He goes out to the trolley and rummages in it while the BOY and the OLD MAN stare at each other. The MAN comes back with a tin of fruit cocktail and a tin opener and opens it and hands it to the BOY. The BOY places the tin of fruit on the road in front of the OLD MAN. BOY. Take it. Here. The OLD MAN doesn't move. BOY. (CONT'D) What about a spoon? MAN. He's not getting a spoon. The BOY urges him on, miming with his hands, as if feeding a raccoon. BOY. Eat it. It's good. The OLD MAN picks up the tin and his filthy long nails CLATTER on the tin as he tips it to his mouth, the juice running down his chin, his head jerking as he swallows. (CONTINUED) 73. CONTINUED: (2) BOY. (CONT'D) Look, Papa. He's hungry. MAN. I see it. And I know what you're going to ask me. And the answer is No. BOY. What's the question? MAN. We can't keep him. They watch him eating painfully slowly. The OLD MAN finishes and sits down in the road holding the tin, staring at it, as if it might refill. MAN. (CONT'D) When did you last eat? The OLD MAN just stares. MAN. (CONT'D) Do you want to eat with us? OLD MAN. I don't know. What do I have to do? MAN. Tell us where the world went. OLD MAN. What? MAN. You don't have to do anything. Can you walk okay? They help the OLD MAN off the road and hand him his cane but he pushes it away. OLD MAN. I can walk. They walk off the road towards the dead, blackened woods. EXT. WOODS - DAY As they leave the road the OLD MAN studies the BOY. The BOY goes to take his hand: (CONTINUED) 74. CONTINUED: MAN. (TO BOY.) Don't hold his hand. BOY. He can't see. MAN. Don't. The trio walk into the woods. MAN. (CONT'D) How old are you? OLD MAN. I'm ninety. MAN. Ninety my ass! Is that what you tell people? So they don't hurt you? OLD MAN. Uh-huh. MAN. Does it work? OLD MAN. Nope. MAN. What's your name? OLD MAN. Ely. MAN. Just "Ely?" OLD MAN. What's wrong with "Ely?" EXT. CLEARING/WOODS - (CAMP 14) - EVENING There's a camp fire now. The OLD MAN sits wrapped in a quilt, eating with a spoon and-licking his plate clean. In the far distance, the faint glow of fires. The orange light bounces into the night sky eerily. (CONTINUED) 75. CONTINUED: MAN. How come you're still alive? What do you eat? OLD MAN. I don't know. People give you things. MAN. No they don't. OLD MAN. You did. MAN. I didn't. He did. The OLD MAN eyes the BOY, closely, half blind. OLD MAN. Are you a little boy? MAN. What does he look like? OLD MAN. I don't know. I can't see real good. MAN. Is that right? Can you see me? OLD MAN. No. But I can tell somebody's there. MAN (TO BOY.) Okay. You need to sleep. Come on. He gathers up the BOY and takes him a few feet away, settles him down in blankets while the OLD MAN stares into the fire. OLD MAN. I had a little boy once. Gone... all gone... MAN. What happened to him? (CONTINUED) 76. CONTINUED: (2) OLD MAN. I can't... I can't talk about that... leastways not with you I can't. When the MAN returns he has his gun which he surreptitiously places on the ground in full view of the OLD MAN. MAN. You can see that, right? Okay. Tell me now. You're not a shill for a pack of road agents? OLD MAN. I'm not anything. I'll go if you want me to. I can find the road. The MAN stares at the OLD MAN cynically but the OLD MAN just stares back blankly. OLD MAN. (CONT'D) I live like an animal. You don't want to know the things I've had to eat. When I saw that boy I thought I'd died and he was an angel. I never thought I'd see a child again. I never thought that would happen to me. MAN. He is an angel. To me he's a God. OLD MAN. Well I hope that's not true. To be on the road with the last surviving God would be a pretty frightening experience. MAN. Why do you say that? OLD MAN. Where men can't live, Gods can't either. The road gangs would tear you limb from limb, both of you. The low RUMBLE in the earth is heard again, an earthquake, this time in the distance. They listen a moment. OLD MAN. (CONT'D) I knew this was coming. This or something like it. (MORE) (CONTINUED) 77. CONTINUED: (3) OLD MAN. (CONT'D) There were warnings. People thought it was a con - I always believed in it. MAN. Did you try to get ready for it? OLD MAN. No. What would you do? Even if you knew what to do you wouldn't know what to do. Suppose you were the last man left alive? MAN. How would you know if you were the last man alive? OLD MAN. I don't guess you would know it. You'd just be it. MAN. Maybe God would know. OLD MAN. If there is a God up there he would have turned his back on us by now. Whoever made humanity will find no humanity here. The MAN pours hot water into mugs to make coffee, hands one to the OLD MAN. They drink. MAN. Do you ever wish you would die? OLD MAN. No. It's foolish to ask for luxuries in times like these. EXT. EDGE OF WOODS - (CAMP 14) - MORNING The BOY and the OLD MAN are standing by the trolley. The MAN is watching from further away. The OLD MAN is fitting another can of peaches the BOY has given him into his knapsack. M You should thank him you know. I wouldn't have given you anything. (CONTINUED) 78. CONTINUED: OLD MAN. Maybe I should and maybe I shouldn't. I wouldn't have given you anything. The OLD MAN looks around, orientating himself, and goes, tapping his cane, without a glance back at the BOY or the MAN. The MAN gives the BOY a reproachful look and the BOY looks defiant for the first time, a new distance between them. BOY. He's going to die and you don't care. MAN. I care enough. Maybe when we're out of food you'll have more time to think about it. BOY. You always say watch out for bad guys but that old man wasn't a bad guy and you can't even tell anymore. INT. CHURCH - (CAMP 13) - DAWN The MAN and the BOY are camped inside an old church, dusty, faded stained glass is the only colour, startling after all the monochrome. The MAN and BOY are wrapped up in blankets, a small fire going. The BOY is asleep but the MAN is awake, coughing. He sits up, still coughing. He gets up and walks outside, trying to stifle the coughing. INT. CHURCH - (CAMP 13) - DAWN He wanders into an antechamber, coughing uncontrollably, falls to his knees in a shroud of morning mist flooding the church - and coughs up a gob of something dark and nasty, spits it into the misty ground. POV MAN - the mist before him clears to reveal a spattering of dark blood on the pale ash. He stares, shocked, knowing what it signifies. INT. CHURCH - (CAMP 13) - DAWN The BOY opens his eyes, he hasn't been asleep, listening to the MAN cough, worried. The MAN returns and eyes the worried BOY. (CONTINUED) 79. CONTINUED: MAN. What's wrong? BOY. I had a bad dream. MAN. What about? BOY. I don't want to tell you. Just you. MAN. What happened to me? The BOY's face crinkles up, he starts to sob. The MAN coughs again and the BOY shoots out a hand, puts it over the MAN's mouth to staunch the coughing. MAN. (V.0.) (CONT'D) I tell him: When you dream about bad things happening it shows you're still fighting. You're still alive. It's when you start to dream about good things you should start to worry. EXT. ROAD/RAILWAY LINE, BLACKENED LANDSCAPE - DAY They are trudging along the blacktop adjacent to a railway line. There is a SHOTGUN blast in the distance and the MAN and the BOY stop and look around. The MAN checks behind him instinctively. POV MAN - a thin spike of smoke from a campfire rising up in the woods behind. The BOY notices and looks behind. BOY. Do you think they're still following us? MAN. I think they've been following us for a long time. BOY-. Maybe it's Ely - the old man? MAN. How? On a broom stick? (CONTINUED) 80. CONTINUED: The BOY thinks about this for a moment as they approach the railway line. EXT. RAILWAY BRIDGE, BLACKENED LANDSCAPE (CAMP 15) EVENING The MAN and the BOY are swaddled in blankets up amongst the rocks with a birds eye view of the road and a railway bridge they can see along the road and the dead trees for half a mile. The BOY is nodding off, his head lolling as the MAN keeps watch, increasingly paranoid. EXT. BLUFFS, BLACKENED LANDSCAPE (CAMP 16) MORNING As they come down from the bluffs, the MAN is staring into the dead woods where another thin stem of SMOKE is rising. BOY. What is it? MAN. More smoke. I think we should take a look. BOY. I don't want to. Let's just keep going. MAN. Whoever it is I don't want them behind us. BOY. What if they're bad guys? MAN. What if they're good guys? They look at each other, a stalemate. The MAN stands and starts to pack up the tarp. MAN. (CONT'D) Look. Whoever it is out there, it's better to know about it than to not know. BOY. Why? MAN. Because we don't like surprises. Surprises are scary. (MORE) (CONTINUED) 81. CONTINUED: MAN. (CONT'D) They could sneak up on us further down the road. You need to learn this. The MAN folds the tarp and sleeping blankets and starts heading down the slope to the trolley, the BOY following. EXT. CLEARING, BLACKENED LANDSCAPE - MORNING A deserted campsite, a campfire, recently abandoned. The MAN and the BOY look around, disappointed. EXT. DUNES/COAST ROAD, BLACKENED LANDSCAPE - DAY Open country now, completely blackened landscape under heavy ash. They are stopped. The BOY unfolds the threadbare map on the ground, a crayon in his hand. MAN. You know where we are? BOY. No. MAN. Where do you think? The BOY points to a place on the map. MAN. (CONT'D) More. BOY. Here? MAN. No. We're closer than you think. He takes the crayon and points on the map. MAN. (CONT'D) This is us. This is all sea. BOY. Is it blue? MAN-. The sea? I don't know. It used to be. (CONTINUED) 82. CONTINUED: The MAN picks up a desiccated pine cone from the ground, and stares at it, hollow-eyed, hungry. He squeezes it and it crumbles to dust. He takes a few steps, sniffing the air. MAN. (CONT'D) Can you smell that? BOY. It smells different. MAN. Everything is going to be different. EXT. DUNES - DAY The landscape has changed, dead salt bush and sand at the side of the road and finally, as they come around a bend in the road: dead sea grass sloping up to sand dunes up ahead. They look at each other and head for the dunes excitedly. The MAN hides the trolley discretely, so the BOY doesn't see his concern, he takes their bags, tarps and blankets with them as they head off for the dunes. EXT. TOP OF SAND DUNE - DAY POV BOY - Gray beach, lead gray sea and waves rolling in slowly with a distant ROAR. On the beach a tide mark of wet gray ashy sludge and a skirt of glistening bones, fish skeletons bleached white on the sand. They take their parka hoods down and just stand there staring at the beach, the wind HOWLING around them, dozens of bleached WHALE and FISH BONES and SKELETONS OF HUMANS who have made it this far only to die. The MAN looks at the BOY and sees the intense disappointment. MAN. I'm sorry it's not blue. EXT. DUNES/BEACH - DAY They sit on the beach wrapped in blankets staring at a surreal wall of impenetrable smog not far beyond where the waves are breaking. The MAN eyes the silent BOY, buffeted by wind, wrapped in a blanket, staring at the empty ocean... there is nothing and nobody there. They keep staring out to sea, filled with disappointment. The BOY impassively surveys the wall of smog which is like an iron curtain. BOY. What's on the other side? (CONTINUED) 83. CONTINUED: MAN. Nothing. BOY. There must be something. MAN. Maybe there's a father and his little boy and they're sitting on the beach too. BOY. And they could be carrying the fire too? MAN. They could be, yes. The MAN sees the BOY's hopefulness reappearing and strokes his head, his heart breaking for him. EXT. WATER'S EDGE - DAY The MAN and the BOY stand with their shoes off, the black sea washes up the sand at their filthy, blistered feet. BOY. What are our long term goals? MAN. "What are our long term goals?" Where did you hear that? BOY. I don't know. You said it. MAN. When? BOY. A long time ago. MAN. When your mother was here? BOY. I guess. MAN. And what was the answer? (CONTINUED) 84. CONTINUED: BOY. I don't know. MAN. Well, I don't either. They stare at the water - charred, quotidian household objects rolling back and forth in the surf. BOY. Can I go swimming? MAN. Swimming? You'll freeze your nuts off. BOY. I know. MAN. I don't want to have to come in after you. The BOY lets the blanket fall and strips out of his parka and clothes. He runs along the beach naked, skinny and white, leaping SCREAMING into the icy surf. The MAN watches until the BOY comes out of the water, gasping with cold, shuddering. He wraps the BOY in the blanket and dries him off. EXT. BEACH - (CAMP 16) - EVENING The BOY is wrapped in blankets by the fire as LIGHTNING flickers in the distance, illuminating the empty beach. The MAN drapes another blanket over them. He puts his arms around the BOY who is shivering and sweating, looking a little wild eyed, babbling a little. BOY. How many people do you think are still alive? MAN. In the world? I don't know. Not very many. BOY. There could be people alive someplace else. Besides on earth? (CONTINUED) 85. CONTINUED: MAN. I don't think so. They couldn't live any place else. BOY. Not even if they could get there? If they had a-a-a spaceship? MAN. No. It's unlikely. The BOY stares, shivering, thinking. MAN. (CONT'D) Are you all right? What is it? He cups his hand to the babbling BOY's forehead. BOY. I don't feel so good. The BOY bends away and vomits and the MAN helps, rubbing his back and wiping the BOY's mouth when he's done. BOY. (CONT'D) I'm sorry. MAN. That's okay, you didn't do anything wrong. The MAN is very worried now. EXT. SAND DUNES - (CAMP 16) - LATER The MAN covers the BOY in more blankets and constructs a makeshift tent with the tarp as the rain falls all around. MAN. It's okay. You're going to be okay. It'll pass. BOY. Don't leave me here, don't go away Papa. Not even for a minute. MAN. I won't go away. I'm right here. He sits holding the BOY tightly. He feels for the BOY's heart. (CONTINUED) 86. CONTINUED: He drops droplets of sugar water from a bowl into the BOY's mouth. As the BOY shuts his eyes and dozes he checks the pulse at his neck and wipes his mouth with the blanket. EXT. SAND DUNES - (CAMP 16) - NIGHT The BOY is sleeping fitfully across the MAN's lap - he is still awake, staring in horror as the BOY sweats and shakes in his sleep. He wipes the BOY's brow, looks up-to the HEAVENS: MAN. Oh no. No no. Not this. Jesus Christ what have you done to us? What have you done? EXT. SAND DUNES - (CAMP 16) - MORNING The BOY is fast asleep, motionless but for stertorous breathing through his mouth. The MAN lies beside him, just staring at him, watching him sleep. The BOY opens his eyes and focuses weakly. BOY. Hi Papa. MAN. I'm right here. BOY. I know. The BOY shuts his eyes and goes back to sleep. The MAN strokes the BOY's hair tenderly, takes the pistol from his belt and carefully hides the pistol under the blanket by the boy's side. He stands, takes one last look and walks away... EXT. SPIT/WATER - DAWN The MAN is alone now, staring at the hull of a wrecked boat keeled over in ten feet of gray water a few yards out from the spit - a sixty footer, twin masts. Closer to shore, in the shallows between the boat and the sand is a grey, lifeless form. The man steps closer and sees: POV MAN - bobbing about in the tide, the bloated, rotting cadaver of a giant squid, eyes like dinner plates, translucent grey skin like an old light bulb. The MAN eyes it uneasily, then starts stripping off his clothes. He stares anxiously into the darkly roiling water near the boat. (CONTINUED) 87. CONTINUED: He looks back along the beach to the distant figure of the BOY, sitting up wrapped in his blankets, looking around, confused and scared, enough to make the MAN wince. He collects himself and wades cautiously into the gray soupy water. He takes a breath and starts swimming to the boat. EXT. SAND DUNE - (CAMP 16) - DAY The BOY is confused as he watches: POV BOY - the MAN swimming away. FADE TO: EXT. SAND DUNES - (CAMP 16) - EVENING MYSTERY POV - over the shoulder of a mystery third person, camera pushes in slightly on the BOY sleeping. EXT. SAND DUNES - (CAMP 16) - EVENING A FIGURE's feet enters the scene behind the boy, carefully walks in close around the boy. The FIGURE's long KNIFE drops into the scene, held at the figure's side. The BOY senses the FIGURE and wakes up to see: POV BOY - a dark, hunched FIGURE standing over him. The BOY looks up at the FACE and, whatever it is, he's terrified. The BOY SHRIEKS, terrified, scrambling away, tripping over pots and pans by the fire, he gets to his feet and runs. EXT. SHORELINE - EVENING The MAN struggles from the water and scans the beach, no sign of the BOY. He dumps a medical kit and flare pistol he's found on the boat and heads for the sand dunes. EXT. SAND DUNES - (CAMP 16) - EVENING The MAN runs over the sand and reaches the spot where he left the BOY, the blue tarp blowing away across the beach, the campsite and campfire disturbed. He runs up the dunes. EXT. BEACH - EVENING POV BOY - as he looks back he glimpses ragged FEET rushing through the sand after him, a pair of hands reaching out... (CONTINUED) 88. CONTINUED: POV MAN - he catches up with the BOY, grabs his shoulder with one hand and the gun with the other. REVERSE ANGLE - the BOY sees it's the MAN and stops, stares, still frightened, feverish, wild-eyed, confused. MAN. It's okay - BOY. A man! There was a man! I saw a man. MAN. It's okay, he's gone now, it's just me. The BOY collapses, exhausted, into the MAN's arms. EXT. SAND DUNES - (CAMP 16) - NIGHT The MAN and the BOY return to examine the disturbed campsite. MAN. Oh Christ. You stupid ass! You stupid ass! BOY. What happened? MAN. He stole our shoes. He stole everything. The BOY goes quiet, forlorn, staring around at the desolation in despair. MAN. (CONT'D) What's wrong? BOY. I don't know what we're doing. MAN. Come here. BOY. I don't know why we're doing this. (CONTINUED) 89. CONTINUED: MAN. Look, there are... (HE TRAILS OFF, LOST FOR WORDS.) There are people... there are other people and we'll find them. You'll see. The BOY just shuts his eyes and slumps onto the sand in despair. The MAN eyes him anxiously. MAN. (CONT'D) Please. Listen to me. Don't lose heart. The MAN seizes the FLARE GUN, takes it from its case hurriedly, loads it with shells - the BOY now watches, wide- eyed. The MAN rushes a few paces up the DUNE and looks over to where the trolley was hidden - he fires a FLARE into the air. The FLARE arcs up into the murk with a long WHOOSH and breaks in a cloud of light, hanging there, hot tendrils of magnesium drifting down to the sand. The BOY watches, curious despite his despair. The MAN strains his eyes to see: the dunes bathed in pink light from the flare and the sand pock-marked with the footprints of the STRANGE MAN in a trail leading to the spot where the trolley. The trolley marks trail off into the distance. EXT. NEAR BEACH - NIGHT MYSTERY POV - from a distance, a third party is watching the MAN and BOY bathed in the light of the flare. CAMERA pushes in on the FACE watching them - bearded and scarred with a wandering eye and a crushed cheekbone, a veteran of many skirmishes. EXT. SAND DUNES - NIGHT The MAN and the BOY stand in their bare feet. MAN. Come on. We have to get our shoes back. BOY. (FRIGHTENED, RELUCTANT.) We don't need them! MAN. We won't get far without them. (CONTINUED) 90. CONTINUED: They set off hurriedly, in their bare feet. EXT. COAST ROAD, BLACKENED LANDSCAPE - NIGHT On the road in the middle of a desolate landscape, the light is dying, the strange lattice of lightning flickering across the sky, the MAN and the BOY are barefoot on the tarmac. POV MAN - way up ahead is the hunched FIGURE seen earlier - the THIEF, his back to us, trundling the loaded trolley along the road. MAN. Come on. They take off after the thief, bare feet thudding on the tarmac, the MAN in front, the BOY trailing, trying to catch up. The THIEF looks back at them and speeds up, head bent down over the handle running for his life. When he looks back again the MAN has drawn his pistol and is aiming it directly at him. The THIEF stops the trolley, pulls a carving knife from his belt, and turns to face them, standing behind the trolley. His face is emaciated and twitchy, a mouth like a bombed grave yard - not the FACE of the man watching them in the sand dunes. The MAN trains his gun on him, stock still, holding the BOY's hand. MAN. (CONT'D) Get away from the cart and put the knife down. The MAN spits and brandishes the knife desperately, he's scrawny, sullen, bearded and filthy. MAN. (CONT'D) If you don't put down the carving knife and get away from the godamn cart I'm going to blow your brains out. BOY. Papa? MAN. Be quiet. The MAN cocks the pistol and there's two loud CLICKS. MAN. (CONT'D) God damn you. (CONTINUED) 91. CONTINUED: BOY. Papa please don't kill the man. THIEF. Come on man, I done what you said, listen to the boy. The BOY starts crying - the THIEF looks at the BOY and then the angry MAN, this seems to be sobering. He puts the knife in the trolley and steps away, hands in the air, his thumbs are missing. MAN. How long have you been following us? THIEF. I wasn't following you. I saw the cart on the sand an' I just took it. BOY. Please Papa. MAN. Take your clothes off. Take them off, every godamn stitch. THIEF. Come on man, don't do this. MAN. I'll kill you where you stand. THIEF. Don't do this, man. MAN. I won't tell you again. THIEF. All right, all right, just take it easy. The THIEF looks at the BOY who is now covering his ears and the MAN takes an intimidating step closer with the gun. The THIEF starts stripping and piling his rags in the road. MAN. The shoes. (CONTINUED) 92 CONTINUED: (2) THIEF. Come on man. MAN. The shoes. He sits naked in the road and unlaces the rotting shoes. MAN. (CONT'D) Put them in the cart. The THIEF stands and drops the shoes in the trolley. MAN. (CONT'D) Put the clothes in. The MAN drops the clothes in and stands there covering himself, shivering. THIEF. Don't do me like this, man. You don't need to do me like this. MAN. You didn't mind doing it to us. THIEF. I'm begging you. BOY. Papa. THIEF. Come on, listen to the kid. MAN. You tried to kill us. THIEF. I'm starving man. You'd have done the same. MAN. You took everything. THIEF. I'll die out here. MAN. I'm going to leave you the way you left us. (CONTINUED) 93 CONTINUED: (3) The MAN grabs the trolley by the handle, pulls it around, puts the pistol on top and holds his hand out for the BOY. MAN. (CONT'D) Let's go. The BOY doesn't take his hand but they set off along the blacktop, the BOY snivelling and crying, leaving the THIEF shivering and whimpering. BOY. Oh papa. MAN. Stop it. BOY. I can't stop it. MAN. What do you think would have happened to him if we hadn't caught him? You've got to learn. BOY. I don't want to learn! MAN. I won't be here forever. Sooner or later you'll have to look after yourself. The BOY just looks at him - and keeps crying. EXT. ROAD/COAST, BLACKENED LANDSCAPE - EVENING Some distance away the BOY looks back at the THIEF, still crying. MAN. You have to stop crying. BOY. I can't. The BOY looks back one last time as the THIEF disappears from view - still just standing there, utterly lost. The MAN stops and puts his shoes on. He walks back up the road to the bend but the THIEF has gone. (CONTINUED) 94. CONTINUED: MAN. He's gone. Come on. BOY. He's not gone. He's not. The MAN looks helplessly at the tearful BOY as he fits his shoes on for him, the tears streaking the soot on his face. MAN. What do you want to do? BOY. Just help him, Papa. Just help him. The MAN looks back down the road, weighing it up. BOY. (CONT'D) He was just hungry Papa. He's going to die. MAN. He's going to die anyway. BOY. He's so scared. MAN. I'm scared. Do you understand? I'm scared. The MAN tries to look the BOY in the eye but he keeps his head bowed, sobbing. MAN. (CONT'D) You're not the one who has to worry about everything. The BOY mumbles, tearful and snotty. MAN. (CONT'D) What? What did you say? BOY. Yes I am. I am the one. The MAN stops and faces-the innocent BOY angrily, stares, then relenting, summons all his strength, turns the trolley around and they start wheeling it back the way they came. MAN. All right. Help me. (CONTINUED) 95. CONTINUED: (2) The MAN takes the BOY's hand and puts it on the trolley handle. EXT. ROAD/COAST, BLACKENED LANDSCAPE - NIGHT As the light fades to darkness they look for the THIEF to give him his clothes back and call out "Hallo!" Etc. After a moment they stop. BOY. He's afraid to answer. MAN. Is this where we stopped? BOY. I don't know. I think so. They keep walking, hands cupped to mouths, hallooing mindlessly. The MAN stops to rest and watches the BOY a moment, he has stopped crying as he calls out for the thief. Finally the MAN piles the THIEF's shoes and clothes in the road. He puts a rock on top of them. MAN. Come on. We have to go. The BOY eyes the clothes sadly, silent now. EXT. ROADSIDE DUNES, BLACKENED LANDSCAPE - NIGHT They find a spot to stop and sit, exhausted. The MAN opens the first aid kit he took from the boat, selects various pills, crushes them up, pours a cup of water from a ferry can in the trolley, and hands them to the BOY. BOY. I don't want it. MAN. I have to get your temperature down. The BOY swallows the pills and the water, shivering. BOY-. Can I ask you something? MAN. Of course you can. (CONTINUED) 96. CONTINUED: BOY. What would you do if I died? MAN. If you died I'd want to die too. BOY. So you could be with me? MAN. So I could be with you, yes. But that's not going to happen. They look at each other a moment, unsure, the BOY shivering and sick-looking. The BOY lies down and shuts his eyes. The MAN puts a blanket over him. The MAN walks away a few paces and coughs endlessly, a nagging cough that won't go. EXT. ORCHARD - DAY THE MAN'S DREAM - a dream and a memory of an early summer day, the MAN and the WOMAN are in an orchard, lying in the sun on a picnic blanket, an array of food, bread, fruit and wine beside them. The MAN lies back and the WOMAN cradles his head in her lap, stroking his brow. She brings her face down and gently plants a simple kiss on each of his eyelids, then on each of his lips. POV MAN - the WOMAN's face, smiling a dazzling, radiant smile, framed by sunlight and the indistinct shapes of leaves and blossom and petals against the sky - to him she is angelic. Then he kisses her on each eye and on the lips too - their ritual caress. END OF DREAM SEQUENCE. EXT. ROADSIDE DUNES, BLACKENED LANDSCAPE - DAWN The MAN awakes distressed, he wipes a tear, blinks in confusion. POV MAN - the BOY is kneeling beside him, watching him calmly, no longer sweating and shivering, recovered. BOY. Papa? The MAN rouses himself, sits up and just stares at the BOY, amazed, as if he has arisen from the grave MAN. How are you feeling? (CONTINUED) 97. CONTINUED: BOY. I feel kind of weird. MAN. Are you hungry? BOY. Just thirsty. The MAN gets up and fetches water from a ferry can in the trolley, pours a cup, hands it to the BOY who drinks thirstily. The MAN reaches out and strokes the BOY's hair as he drinks. EXT. RESORT TOWN, OUTSKIRTS - DAY The MAN and the BOY head towards a seaside town off in the distance. EXT. RESORT TOWN - DAY They enter a small beach resort with a faded "Welcome" sign across the road, the BOY holding the MAN's hand now. EXT. RESORT TOWN/WATER'S EDGE - DAY They are down by the water. Small pleasure boats are half sunken in the grey water. Faded colored bunting and painted signs advertise ICE CREAMS, FOOD and a FUN FAIR. The BOY helps the man push the trolley through the sand until they can go no further, they stop and drop onto the sand, exhausted. BOY. Can I tell you something? MAN. Yes. BOY. You tell me I shouldn't cry but I've heard you crying. I hear you coughing and crying to yourself in the night when you think I'm asleep. MAN. What of it? BOY. So if I shouldn't cry you shouldn't cry either. (CONTINUED) 98. CONTINUED: They look at each other. EXT. PORT - LATE AFTERNOON On the port side of town the MAN wheels the trolley through the deserted docks past rotten piers, a row of empty wooden warehouses and a rusty red tanker washed up. He is COUGHING and the sound echoes off the warehouse walls. The BOY is trailing a few paces behind, they're not speaking now. EXT. BACK STREET - EVENING As they pass the last of a row of deserted warehouses the MAN slows down to let the BOY catch up. But the BOY is now studying the ground intently. He bends down and picks up: POV BOY - an old cardboard match box, it's decals faded. He pushes the match box open to reveal a perfectly preserved Beetle. BOY. What is it? MAN. It's a Beetle. Suddenly the beetle twitches, then activates its wings and flies out of the box with a BUZZ and upwards into the sky... The BOY and the MAN stare up at the flying creature, amazed AND: Without warning something WHISTLES over their heads very close and hits the wall beside them with a loud CLATTER. The MAN lunges at the BOY, landing on top of him to cover him and tries to grab the trolley which tips over, spilling everything out. The MAN desperately tries to take cover while he looks over his shoulder and sees: POV MAN - in the upper window of a warehouse a man is drawing a bow and arrow aimed right at them. In desperation the MAN covers the BOY and tries to scrabble away but there's a DULL TWANG of bowstring and an arrow THUDS into his leg. MAN. (CONT'D) Oh you bastard! You bastard! (CONTINUED) 99. CONTINUED: The MAN claws the blankets from the upturned trolley aside and scrabbles around for the pistol but it has fallen from his belt onto the cobbles and scattered out of reach. He spots the flare gun and seizes it, resting it on the trolley and aiming carefully at the empty window. When the lone ARCHER appears again he squeezes off a shot and the flare goes rocketing up towards the window in a firey arc, ablaze with color, clean through the window. They can hear the ARCHER SCREAMING inside and see the colored light still flaring from the window. BOY. Oh Papa! MAN. Stay just like you are. He gets up and runs limping across the street, the arrow still embedded in his leg. INT. WOODEN STAIRS - EVENING He limps up the stairs of the old warehouse as quickly as he can, flare gun at the ready, arrow in his leg. INT. WAREHOUSE FLOOR - EVENING He bursts into the main room and trains the gun. At the far end a WOMAN is sitting with the prone form of the ARCHER. The floor is burnt in a huge patch left by the flare and is still in flames. ARCHER'S WOMAN. You son of a bitch! MAN. Who else is up here? ARCHER'S WOMAN. You fucking asshole! The MAN looks down, his leg is bleeding heavily now and the arrow is still sticking out. MAN. Where's the bow? ARCHER'S WOMAN. I don't have it. MAN. Why are you following us? (CONTINUED) 100. CONTINUED: ARCHER'S WOMAN. We're not following anybody. You were following us! The MAN stares at the WOMAN, looking her up and down, she looks sick and thin and desperate. He looks at the ARCHER, lying there dead, his chest and one arm and his face burnt, still smoking. The WOMAN covers his face with the blanket and the MAN doesn't know what to say, ashamed. He goes. EXT. CAFE - DAY POV - again from a distance, as if a third party is watching, we watch the BOY and the MAN hobble into a CAFE. INT. CAFE - DAY One wall of the CAFE is merely a pile of rubble, opening out to the sea. The opposite wall is a photographic mural of lush green woods. The MAN tries to pull the arrow out but just pulls the wooden stem out. He takes off his bloodied trousers and examines the gaping wound with a flap of flesh and the arrow head, made from a SPOON, buried inside. MAN. See if you can find the medical kit from the boat. Quickly. The BOY rummages in the trolley, finds the kit and hands it over. He stares as the MAN slowly extracts the spoon, wincing in agony. The MAN dowses the wound in antiseptic from the kit and searches through the kit for a needle. He finds a suture needle in a sterile envelope, rips it open with his teeth and, using the light coming in through the parlour windows he threads some silk thread into the needle. He starts to suture up the wound, grimacing in pain as the BOY watches in silence, until eventually offering: BOY Does it hurt? The MAN just looks at him in disbelief - beat. MAN. Yes! It hurts! BOY. What does it feel like? The MAN eyes the BOY, amazed at this inopportune chat. (CONTINUED) 101. CONTINUED: MAN. At least you're talking to me now. INT./EXT. CAFE - (CAMP 17) - NIGHT They have a campfire in the cafe by the jetty and sit overlooking the bay, through the missing wall, silent until: MAN. Do you want me to tell you a story? BOY. No. MAN. Why not? BOY. Your stories aren't true. MAN. They don't have to be true. They're stories. BOY. In the stories we're always helping people. But we don't help people. We just shoot people. And in the stories good things happen but we just get sick. The MAN thinks about it - stuck for an answer. MAN. We're still here aren't we? Doesn't that mean anything? EXT. BOAT LAUNCH - DAY The MAN pulls the trolley slowly, finding it a great effort. The BOY helps pull, eying the MAN with concern. The MAN stops and rests on the trolley and the BOY pulls on a few more feet then stops and looks back as the MAN COUGHS for a long painful moment. He takes the bloodstained surgical mask from his face, his breath foggy in the cold, he wrings out the blood and saliva, puts his head between his knees and coughs until he can cough no more, gasping for breathe, bloody drool unspooling from his lips into the sand like scarlet twine while the BOY watches, weeping silently. (CONTINUED) 102. CONTINUED: MAN. We have to leave the cart. I can't push it anymore. EXT. BOAT LAUNCH - DAY They are trudging along a concrete boat ramp by the beach road, the beach below, the BOY carrying a small-suitcase now, the MAN carrying sacks and bags. They stop and the MAN leans, impossibly breathless, his lungs packing up. They stop at the water edge, where the road reaches the sea. The BOY takes his hand gently. BOY. What are we going to do Papa? The MAN can't answer for breathlessness. BOY. (CONT'D) Well, what are we? The MAN sits heavily on the ground, totters as the BOY stands watching him, eyes welling with tears. BOY. (CONT'D) Oh no, Papa. EXT. BEACH/DUNES -(CAMP 18) - DAY The MAN is drifting in and out of consciousness in the sand. The BOY comes over with a cup of water and holds it to the MAN's lips, he drinks. The BOY has also lit a fire. He spreads out blankets. MAN. Don't get comfortable. You need to keep going. You don't know what might be down the road. BOY. No. MAN. We were always lucky. You'll be lucky again. You'll see. Just go. BOY. No. I can't. (CONTINUED) 103. CONTINUED: MAN. It's all right. This has been a long time coming. Just keep going south. Do everything the way we did it. BOY. No. You're going to be okay Papa. You have to. MAN. Keep the gun with you at all times. Don't let anyone take it from you. You need to find the good guys but you can't take any chances. Do you hear me? BOY. I want to be with you. MAN. I want to be with you too but I can't. BOY. Please. MAN. You have to go off on your own now. You have to carry the fire. BOY. I don't know how to. MAN. Yes you do. You know everything about it. BOY. Is it real? The fire? Papa? MAN. Yes it is. BOY. Where is it? I don't know where it is. MAN. Yes you do. (CONTINUED) 104. CONTINUED: (2) BOY. Where? MAN. It's inside you. It was always there. I can see it. The BOY stares at him, not sure what to believe. MAN. (CONT'D) You have to let me go. BOY. Just take me with you please. Please, Papa! What should I do? MAN. Just hold my hand. The BOY grips the MAN's hand, bouncing up and down, agitated. BOY. You said you wouldn't ever leave me. MAN. I know. I'm sorry. The BOY falls on the MAN, hugging him tight, face pressed to his chest, sobbing. MAN. (CONT'D) My boy. You have my whole heart. You always did. You're the best guy. You can talk to me and I'll talk to you. You'll see. BOY. How will I hear you? MAN. You just will. BOY. How do you know? MAN-. You just have to practice. Just don't give up okay? You'll be okay. You're going to be lucky. I know you are. (CONTINUED) 105. CONTINUED: (3) The MAN closes his eyes and takes deep, rattling breaths. BOY. It's okay Papa. You don't have to talk anymore. Camera pulls back and the BOY is sitting with the MAN saying nothing. It's starting to grow dark. The BOY crouches down on the MAN's chest and goes to sleep there, rising and falling with his father's breathing. EXT. BEACH/DUNES (CAMP 18) - NIGHT Darkness all around, the BOY is lying across the MAN, his hand rising and falling on the MAN's chest slowly, irregularly as the MAN's breath rattles in his lungs. EXT. CAR/BEACH - DAWN FLASHBACK - or the MAN'S last ever dream: The MAN and the WOMAN snooze in the car - an ordinary young couple nestled together in the early morning sun light. The MAN wakes and looks at his sleeping wife, smooths her hair tenderly, very much in love, as she sleeps. His hand on her wakes her, she looks at him surprised and pleased, smiles. WOMAN. Hello... She kisses him and they look at the blue ocean and the white sand and green sea grass and she puts an arm around him. MAN. (V.O.) If I were God I would have made the world just so and no different... And so I have you. .I have you. END OF FLASHBACK. EXT. BEACH/DUNES - (CAMP 18) MORNING The BOY is awake but doesn't move, his hand still on the MAN's chest, now motionless. He looks at the MAN who is cold and stiff now, long dead. The BOY gets up and holds the MAN's cold stiff hand. Tears course down his face silently. BOY. Oh Papa. Papa. Papa... 106. EXT. BEACH/DUNES - (CAMP 18) NIGHT The BOY is building a campfire. He lights it and sits there watching the MAN's motionless body. EXT. BEACH/DUNES -(CAMP 19) MORNING The BOY has slept beside the MAN, he wakes, blinks, bewildered. EXT. BEACH/DUNES - (CAMP 18) - DAY The BOY is zipping up the MAN's parka carefully and heaping blankets on top, talking all the while. BOY. Can I tell you something? I had a bad dream. I had this penguin that you wound up and it would waddle and flap its flippers. And we were in that house we used to live in and it came around the corner but nobody had wound it up and it was really scary because-because- because... He goes quiet as he finishes tending to the body and puts his own parka on, zips it up. BOY. (CONT'D) The winder wasn't turning. He takes the gun, checks the magazine, shuts it and stands, shoving the pistol in his belt. EXT. WATER'S EDGE, BOAT LAUNCH - DAY The BOY is standing at the water's edge looking out at the smog and the emptiness. Out of nowhere a man in a gray and red ski parka with the hood up appears carrying a shotgun over his shoulder and a belt of shells. He goes over to the BOY, he is the same bearded and scarred man seen earlier, watching them in the sand dunes. The BOY doesn't flinch, but his hand goes to the gun at his side. When the man speaks he has some sort of speech defect, possibly caused by missing teeth. VETERAN. Where's the man you were with? (NO REPLY.) Was he your father? (CONTINUED) 107. CONTINUED: BOY. Yes. He was my Papa. VETERAN. I'm sorry. BOY. I don't know what to do. VETERAN. Well, I think maybe you should come with me. The BOY's finger tightens on the trigger of the GUN. BOY. Are you one of the good guys? VETERAN. Yeah. I'm one of the good guys. Why don't you put that pistol away? BOY. I'm not supposed to let anybody take the pistol. No matter what. VETERAN. I don't want your pistol. I just didn't want you pointing it at me. The BOY lowers the gun to his side and the VETERAN comes a few steps closer, causing the BOY to back up a step. VETERAN. (CONT'D) Where's your stuff? BOY. I don't have much stuff. VETERAN. What have you got? Blankets? BOY. My Papa's wrapped in them. MAN. Show me. The BOY doesn't move. The MAN holds out his hand for the BOY to take, the BOY sees he has a THUMB MISSING and hesitates, wary. The MAN squats, leaning on his shotgun. (CONTINUED) 108. CONTINUED: (2) VETERAN. Look. You got two choices here. You can stay here with your papa or you can go with me. If you stay you need to keep off the road. BOY. How do I know you're one of the good guys? VETERAN. You don't. You'll have to take a shot. The BOY weighs it up, eyeing the VETERAN. BOY. Do you have any kids? VETERAN. Yes we do. BOY. Do you have a little boy? VETERAN. We have a little boy and a little girl. BOY. How old is he? VETERAN. He's about your age. Maybe a little older. BOY. And you didn't eat them? VETERAN. No. BOY. You don't eat people? VETERAN. No. We don't eat people. BOY. Are you carrying the fire? (CONTINUED) 109. CONTINUED: (3) VETERAN. Am I what? BOY. Carrying the fire. VETERAN. You're kind of weirded out, aren't you, kid? BOY. Well, are you? VETERAN. Yeah. I am. I'm carrying the fire. BOY. And I can go with you? VETERAN. Yes, you can. The BOY hesitates. EXT. BEACH/DUNES - DAY They go over to where the MAN lies dead and the VETERAN squats and lifts a blanket to take a look. VETERAN. Are these all the blankets you have? BOY. Yes. VETERAN. Is that your suitcase? BOY. Yes. The VETERAN stands and studies the BOY. VETERAN. Why don't you go up onto the road and wait for me. I'll bring the blankets. BOY. What about my Papa? (CONTINUED) 110. CONTINUED: VETERAN. What about him? BOY. We can't just leave him here. VETERAN. Yes we can. BOY. I don't want people to see him. VETERAN. There's nobody to see him. BOY. Can I cover him in leaves? VETERAN. The wind will blow them away. BOY. Could we cover him with one of the blankets? VETERAN. Okay. I'll do it. Go on now. EXT. BOAT LAUNCH, ROAD - DAY The BOY waits and in a moment the VETERAN emerges from the dunes carrying the suitcase with the blankets slung over his shoulder. He sorts through them and hands one to the BOY. VETERAN. Here. Wrap this around you. You're cold. The BOY eye the blanket uncertainly, holds out the pistol for the VETERAN to hold. VETERAN. (CONT'D) You hold onto that. BOY. Okay. VETERAN. Do you know how to shoot it? BOY. Yes. (CONTINUED) CONTINUED: VETERAN. Okay. BOY. What about my papa? VETERAN. There's nothing else to be done. BOY. I think I want to say goodbye to him. VETERAN. Will you be all right? BOY. Yes. VETERAN. Go ahead. I'll wait here for you. The BOY turns around and heads down to the beach. EXT. BEACH/DUNES - (CAMP 18) - DAY The BOY trudges through the sand over to the corpse of the MAN which is now neatly wrapped up in a blanket from head to toe. The BOY kneels beside him and starts to cry silently and whisper. BOY. I'll talk to you every day. And I won't forget. No matter what. No matter what, Papa. The BOY dries his eyes, takes a breath, gets up and walks back to the road... EXT. BOAT LAUNCH, ROAD- DAY As the BOY walks out of the dunes holding the gun, a MOTHERLY WOMAN who is standing with the VETERAN comes towards him. MOTHERLY WOMAN. Oh. I am so glad to see you. The BOY just stares at her, bemused - a short distance away stands the rest of the family - a BOY his age and a GIRL. The BOY stares at the OTHER BOY and recognizes him - it's the same BOY he chased earlier. (CONTINUED) 112. CONTINUED: Then the BOY notices a threadbare mongrel of a DOG, waiting with them. The MOTHERLY WOMAN goes over and puts her arms around him. MOTHERLY WOMAN. (CONT'D) We've been following you. Did you know that? We saw you with your Papa and we tried to catch up but you were too quick for us. VETERAN. There was some discussion about whether to even come after you at all. As she's chatting, the MOTHERLY WOMAN gently takes the gun from the BOY and hands it to the VETERAN. MOTHERLY WOMAN. We're so lucky. We were so worried about you. And now we don't have to worry about a thing. She kisses the BOY on the forehead and holds him at arm's length and looks at him. MOTHERLY WOMAN. (CONT'D) How does that sound? Is that okay? He stares but says nothing... CLOSING CREDITS. \ No newline at end of file diff --git a/unformated_scripts/Script_Robin Hood_ Prince of Thieves.txt b/unformated_scripts/Script_Robin Hood_ Prince of Thieves.txt new file mode 100644 index 0000000000000000000000000000000000000000..1ba8a1474d02242c9936c1fa26d69e78b8e8f283 --- /dev/null +++ b/unformated_scripts/Script_Robin Hood_ Prince of Thieves.txt @@ -0,0 +1 @@ + PRINCE OF THIEVES Story by Pen Densham Screenplay by John Watson & Pen Densham FIRST DRAFTTrilogy Entertainment Groupin association with: July 10, 1990WARNER BROS. INC. � 19904000 Warner Boulevard WARNER BROS. INC.Burbank, California 91522 All Rights Reserved PRINCE OF THIEVESFADE IN:SUNSETThe glowing orb ripples like a blood-red eye.BLACK, ROBED FIGUREA face of the ages. Dark, wrinkled skin. Wizened,almond eyes. He howls at the sun. His voice ECHOESacross the sky. The Moslem call to prayer.Hundreds of feet below his tower, a mud-walled city ofminarets and mosques. A human ants' nest. Scurrying totheir devotions.EXT. TWELFTH-CENTURY ARAB CITY - ESTABLISHING SHOTINT. DUNGEONS - SUNSETPervasive blackness. Moans of men in pain. Drippingwater. Rats. Filth. The nadir of human degradation.Bedraggled white men, POWs from the Crusades, cagedtogether with Arab cutthroats. Jailers wrench twocrusaders from their cell. ROBIN OF LOCKSLEY and PETERDUBOIS. Their appearance reeks of long imprisonment, butremnants of their noble heritage still glimmer in theirfaces. Peter is so frail he can barely walk.INT. TORTURE CHAMBER - SUNSETA furnace. Torture instruments glow red hot. Chainedvictims. A massive INTERROGATOR scrutinizes the twowhite men. Indicates a rat-faced lowlife, who points atPeter, jabbering in Arabic. INTERROGATOR He says you stole his bread. PETER It is a lie. I caught him stealing ours.The lowlife jabbers some more. The Interrogator debates. INTERROGATOR Cut off the infidel's hand.The jailers haul Peter to the chopping block. (CONTINUED) 2.CONTINUED: ROBIN No!... I took the bread. PETER That's not true. ROBIN They're not interested in truth. You are too weak, Peter. You would not live through it.The Interrogator stares into Robin's eyes. INTERROGATOR Sacrifice for the weaker? How noble... As you wish... Cut off this one's hand as well!... But first...He indicates an Arab prisoner, who is dragged forward.His struggling hand is laid on the executioner's block. INTERROGATOR Show them the courage of Allah.The prisoner's face braces for the pain. A red-hotscimitar flashes down. The hand flips into a basket.Twitching.Robin is next. His composure fails. He flops to hisknees, crying. The Interrogator laughs. The jailersunlash the thongs on Robin's hand. They stretch it out,forcing it down. Robin goes limp, sobbing. Petercatches his eye... Robin winks.The scimitar. Drawn from the coals. Spitting flame.Arcs down. Robin is suddenly galvanized. ROBIN And this is English courage.He hurls his holders aside. Swings upward, driving hisfast into the executioner's throat. Grabs the sword.Slash. His thongs melt like butter. A jailer leaps athim. Steaming, the scimitar slices into the man's chest.Despite his bindings, Peter wrestles the Interrogator.Knife pressed to his throat, Peter is forced against thefurnace. At the last second, he flips the man into thefire. Screaming. PETER That's for five years of hell. (CONTINUED) 3.CONTINUED:A jailer aims a scalding blade at Robin's back. VOICE (O.S.) Behind you!Warned, Robin ducks away. Slams the jailer's head intothe wall.Peter frees himself, but they are still outnumbered.While fighting, Robin acknowledges the man who shoutedthe warning. An imposing, shaven-headed SARACEN.Heavily-muscled arms and chest, covered in tattoos. Evenhis bald head is ornamented. ROBIN You speak English? SARACEN The king's own. Set me free. PETER No, Robin. SARACEN For pity's sake. Mine is a sentence of death.Robin sidesteps, propelling a guard into a pit. PETER Don't trust him.Two more guards attack, yelling fury. Robin eyes thecurved scimitar. ROBIN What I would give for an English sword. This is a pruning hook.A guard swings at him with a giant axe. Robin slashes...shears the axe handle in two. ROBIN Hmm! Not bad.He runs the man through. Peter loses his sword. Hisopponent moves in for the kill... Peter grabs tongs fromthe fire and smolders his opponent with a backhand.Commotion outside. RAISED VOICES and RUNNING FEET. SARACEN Free me and I will show you a way out. (CONTINUED) 4.CONTINUED: ROBIN Why should we trust you? SARACEN If you don't, you are dead men. ROBIN He makes a point.The door bursts open. More guards rush in. ROBIN A good point.He slashes the man free. PETER Robin! ROBIN Whatever blood is in his veins, he does not deserve to die here. SARACEN This way!He beckons them to the back. A hidden door leads into atunnel.INT. SEWERS - NIGHTThey wade through foul water up to their waists. TheSaracen leads... A snake lashes out for his face. Robinlops off its head. SARACEN You are fast, my friend. ROBIN Five years I've waited for the smell of free air. That makes a man fast.Guards drop down from above, carrying torches. Blockingthe way. SARACEN You will need to be yet faster.A narrow opening to their left... they splash through.Half running, half crawling in the dank water. Firearrows land around them. The orange smoke is choking. (CONTINUED) 5.CONTINUED: SARACEN Poison air. Hold your breath.Flames illuminate the walls, alive with a loathsome massof crawling slime. Peter falls. A pursuer descends onhim, thrusting a blazing torch at his face. The Saracenintercepts the blow. Grabs the man's neck, SNAPPING itwith one mighty twist. PETER (coughing) Thanks. I misjudged you. SARACEN Save your breath.Gasping for air, they find the tunnel veers steeply down-ward. A slippery, granite tube. Losing purchase, theyslide headlong. Sharp, rusted spikes jut out from thewalls ahead.Robin grabs at the walls to break the fall. No use.They're picking up speed. He turns his sword crossways,bracing it against the sides of the tunnel, as a brake.Sparks fly. The sword cuts into Robin's chest... but itworks. SARACEN Allah be praised. ROBIN Amen, brother.A bloodcurdling scream. A pursuing guard tumbles downthe sewer chute. The three men press themselves againstthe wall. The man hurtles by... is impaled on thespikes.A draft of fresh air from the roof of the tunnel. Usingthe spiked guard as a ladder, Robin climbs. Removes agrating.EXT. ARAB STREET - NIGHTRobin's head appears... ducks back down, as a squad ofmounted soldiers thunders right over him... he reappears.All clear. They're outside the prison wall. Robin helpsPeter up. ROBIN God willing, we may now be safe. (CONTINUED) 6.CONTINUED:Swoosh. An arrow pierces through Peter's chest -- firedfrom the prison wall. He reels... Robin leads him underthe wall for protection. Shouts of alarm. Soldiersapproaching. ROBIN Come, Peter. We must hurry.Raising his sword, Peter faces the oncoming soldiers. PETER It is mortal. Leave me. ROBIN Hold on to my shoulder.Peter shakes him off. PETER My mother... my little sister. Tell them I love them. Tell them I died a free Englishman.Robin looks despairingly to the Saracen. SARACEN His wound is by the heart. We cannot save him.Robin knows it's true. Peter pulls an insignia ring froma hidden pouch in his clothes. Thrusts it into Robin'shand. PETER Take this to my sister. Swear you will protect her for me... Swear it, Robin! ROBIN (reluctantly) I swear it.Summoning hidden resources of strength, Peter charges atthe oncoming soldiers, brandishing his sword. PETER For England.He fells the first Arab. The Saracen pulls Robin away. SARACEN Come now! Do not fail your friend. Make his sacrifice an act of honor.They vanish into the night. Fighting like a man pos-sessed, Peter is swallowed in a sea of enemy soldiers. 7.DESERTED ALLEY - LATERRobin and the Saracen catch their breath. ROBIN Farewell, friend. God speed you on your way. SARACEN Our way is together. With the speed of Allah.He grins. This strange man has a sense of humor. ROBIN I go to England. SARACEN Then I go to England. ROBIN England? Why? SARACEN You saved my life. I must stay with you until I save yours. ROBIN Go your own way. I relieve you of your obligation. SARACEN Only Allah can do that. ROBIN And if I don't want you? SARACEN You have no choice... unless you think you can kill me.He grins broadly. Offers his hand. SARACEN My name is Aslan.Resigned, Robin takes the proferred hand. ROBIN Robin of Locksley. You know a short route to England, Aslan? CUT TO: 8.EXT. LOCKSLEY CASTLE (NOTTINGHAMSHIRE, ENGLAND)Eerie shapes. Weaving. White light on water. The moonreflected in the moat of a small castle. Towers shroudedin night mist. Smoke curls from a chimney.SUPERIMPOSE: LOCKSLEY CASTLE, NOTTINGHAMSHIRE, ENGLANDINT. LOCKSLEY CASTLE - NIGHTFIRE CRACKLES in an open hearth. Hams and a half sheephang, smoking. An old DOG SNORES at the fireside. Abone clunks on the floor, waking him. VOICE (O.S.) Enough of that din, Remus. I can't think.Licking the bone gratefully, the dog looks in the direc-tion of the voice... Grey. Proud. Distinguished. LORDLOCKSLEY.Seated at a table, wine goblet in hand, he pores over awonderful illustrated Bible. Reading to himself forsolace and strength. Empty chairs surround the vasttable. A deep sense of loneliness. He glances at aportrait over the fireplace... Robin.The dog jumps. Hackles rise. O.S. SHOUTS. Locksleyunsheathes a dagger. Obscures it in the folds of theBible. The door bursts open. A peasant, ragged,desperate, KENNETH. KENNETH My Lord! Help me.He's bleeding from a face wound. Another man grabs himfrom behind. Locksley's craggy-faced retainer, DUNCAN.Older than his master, but still strong, he holds Kennethback. DUNCAN You must wait... I am sorry you were disturbed, Master. KENNETH (high anxiety) My Lord, please! LOCKSLEY It is alright, Duncan. (to Kenneth) You are Kenneth of Cowfall?The peasant falls to his knees. (CONTINUED) 9.CONTINUED: KENNETH They've taken my Gwen. My daughter. LOCKSLEY Who has taken her? KENNETH Men on horses. In masks. (touches his wound) We tried to stop them. My son is dead.EXT. LOCKSLEY CASTLE - NIGHTSteam pours from the nostrils of a black charger. LordLocksley mounts, in armor. Duncan attempts to detainhim. DUNCAN You cannot go alone, Master. Let me ride for help. LOCKSLEY That may be too late. Kenneth, lead the way.He kicks his horse into motion. DUNCAN Master, stay! There is an evil moon tonight. LOCKSLEY Good will overcome, Duncan. Trust in that.Duncan looks up. Crosses himself. Dark clouds raceacross the moon. CUT TO:EXT. WOODED TRAILKenneth checks the ground. Locksley waits. KENNETH They came this way, my Lord. LOCKSLEY Onward then. What is this place? (CONTINUED) 10.CONTINUED: KENNETH Nearby the Gregor Caves.Locksley reacts -- a hint of fear. They move on...Ahead, the hillside glows, rimmed in eerie light.Strange primitive CHANTS, wafted on the wind. Locksleyties his nervous horse to a tree.Parting undergrowth, Kenneth creeps forward. Cries out.He's face to face with the maggot-eaten skull of a goat.Beyond it, a gruesome host of half-skinned human skulls,all arranged on stakes. Some male, others with rottingfemale tresses, staring eyelessly into the night.Kenneth turns to run... A hand grabs him. LOCKSLEY Steady, man. They are to dissuade the faint of heart. Think of Gwen.From the crest of the rise, they peer down into thecraggy valley. A cave opening, ablaze with flames leersat them like the mouth of hell. Before the cave, acircle of stones. A miniature Stonehenge.A medieval orgy. Men and women in masks and looserobes. Dancing. Drinking. Reveling. Pure carnality.Lord Locksley and Kenneth watch in horror. Faces ashen. KENNETH Druids. LOCKSLEY I trusted we were rid of such evil a century ago.An unearthly SCREECH. A creature leaps into the circleof stones. Grotesque gargoyle head, horns, fur-coveredarms and legs. A living Hieronymous Bosch DEMON. Itsclawed hands slash across a reveler's back, drawingblood in vicious streaks. The creature tastes the blood.The reveler is ecstatic. KENNETH (petrified) Is it the devil? LOCKSLEY If it is, I have some Christian steel that will test his hide.He draws his sword. A crucifix sculpted into the hilt.A girl is dragged from the cave. Kenneth buries hishead. (CONTINUED) 11.CONTINUED: LOCKSLEY Gwen?Kenneth nods.The Demon shrieks, dervishing around GWEN, who iscarried onto the central plinth stone. A pagan altar,the shape of an elephant's head with its trunk raised. Amasked figure stands at the head of the altar. The highpriest of the dark rite.The girl's body shudders as blood-red liquid is forceddown her throat. The Demon's voice is husky and hideous. DEMON Come, my virgin flower.Hypnotized by the creature's voice and snake-like move-ments, Gwen stretches herself out. A single beam ofsunlight slices through the mist, like a laser. Thefirst light of the rising sun, it strikes directly on thealtar, tracking down towards the girl's heart. TheDemon's raised talons close in on the white flesh of herneck. Gwen's eyes are open wide, in a trance. The crowdof revelers encircle the plinth. Awed anticipation...A warrior's yell!Sword raised, Locksley THUNDERS in on his CHARGER. Theterrified crowd parts. The Demon screams like a banshee. DEMON Kill him! Kill him!The followers throw themselves at Locksley. He beatsthem off. The high priest issues orders to armed guards,who run to intercept. One aims a spear. Locksley hacksthe shaft in half. Cuts men down left and right.Reaches the altar stone. LOCKSLEY Gwen! Up, girl, up!Gwen shakes off her trance. The Demon launches itself atLocksley. Talons rip flesh from his face. With all hisstrength, Locksley hurls the creature down. LOCKSLEY In the name of God!His broadsword swings in a mighty arc. Slices across thegargoyle's skull. Clean through half the face...Impossibly, the demon rolls back to its feet. (CONTINUED) 12.CONTINUED:The head is an elaborate mask -- beneath are the yellowskin, white hair, and burning red eyes of an albinocrone. Screaming vitriol, the hag is unharmed.Momentarily stunned, Locksley regains his senses, haulsthe girl onto his charger. The guards close in.Locksley spurs his horse. Rides for an opening.The masked high priest stands resolutely in his path.Brandishing a burning branch. The horse is freaked.Rears. Locksley and the girl are thrown.Unarmed, Locksley charges the man. Slams him into thecave wall. The mask falls. Locksley gasps inrecognition. LOCKSLEY Nottingham!The SHERIFF OF NOTTINGHAM. Powerful build, black beard,cruel intensity in every feature. NOTTINGHAM You are an unwelcome surprise, Locksley. LOCKSLEY The King shall hear of this, Nottingham. NOTTINGHAM I think not.Locksley is surrounded. One by one the men reveal theirfaces. Locksley backs up in shock, recognizing them. LOCKSELY God help us. NOTTINGHAM One day all England will worship with us. LOCKSLEY Never.The crone spits venom in his face. DEMON I am Mortianna. You will die with my name on your lips.Locksley's agonized cry fills the valley. On the hill-side, Kenneth averts his eyes. Turns to run. Fivemasked figures block his way. 13.EXT. ENGLISH SHORE - DAYA twelfth century French sailboat at anchor. A cross onits sail.A longboat rows to shore. Robin stands in the prow, ina pilgrim's hooded robe. He gazes at the approachingland. Unable to wait, he leaps into the surf and wadesto the beach. He kneels, pressing his hands and faceinto the soil. ROBIN Home. Thank you, Lord.Aslan steps from the boat, sniffing the air. The Frenchsailors keep their distance from him. Robin takes hishand. ROBIN My friend, you have escorted me home. I beg you to free yourself of your vow. Return with the boat. I know how heavy your heart must be, this far from your family and native land... ASLAN (SARACEN) Because I love them so dearly, I cannot dishonor them.A sailor creeps up behind Aslan, club in hand. ROBIN I thought you'd say that.He nods to the sailor, who swings the club down. TheSaracen sidesteps, grabs the man's arm and flips himinto the surf. He turns a cold stare on Robin. ASLAN No man controls my destiny. Especially not one who attacks downwind and stinks of garlic.Robin laughs. The Saracen remains intense. ASLAN If our positions were reversed, I would have done the same. Only I would have succeeded.He smiles broadly. Robin claps him on the shoulder. ROBIN Come, Aslan. By nightfall we will celebrate your honor when we dine with my father. 14.EXT./INT. PEASANT'S COTTAGE - DAYCRASH! An armored foot splinters the door of a farmer'shovel. Children scream and run. A soldier clubs atthem, laughing.Outside. More soldiers. Some on horses, others on foot,with leashed hounds. Pillaging. Vandalizing.Searching.GUY GISBORNE: An impressive figure on horseback.Strikingly handsome -- except that one of his ears ismissing. We recognize his face from the Druid ceremony.He coldly addresses a pregnant woman with a child in herarms, FANNY. GISBORNE You owe the sheriff three bushels of flax. FANNY You starve us. First the drought, now you take what food we have left. GISBORNE For starving people, you look fat enough. SOLDIER (emerging from the hut) He's not here, sir. None but the woman and children. GISBORNE (to Fanny) Where is your mate? The man they call Little. FANNY He died last winter. GISBORNE Is that so? We hear he is very much alive. Hiding out in the forest. He probably ran away to escape your scolding tongue.The soldiers join in his laughter. Incensed, Fannypounds her fist on his legs. Gisborne kicks her down. FANNY Norman swine!A BOY of 12 springs from nowhere, thrusting a hay fork atGisborne's throat. (CONTINUED) 15.CONTINUED: FANNY No, Wulf! Don't! 'Twill only make it worse.Wulf backs off. Nostrils flaring with repressed hate. GISBORNE Seize him!While two soldiers grab the Boy, others examine hishiding place. A secret thatched door, built into theside of a haystack... a bow and quiver... and a deercarcass. Gisborne dismounts. GISBORNE This is Lord Nottingham's deer. Is this how you repay the Sheriff for his protection? WULF (BOY) Like a wolf protects sheep. FANNY I killed it. We needed the meat. GISBORNE Poachers hang. Either he dies or you die. WULF My mother lies to protect me. FANNY No, Wulf!Gisborne drags the boy to the carcass. GISBORNE You have deprived us of a hunt, boy.He cups his hand in the deer's blood. Smears it onWulf's face. GISBORNE The hounds know the scent well.He tosses his bloody glove to the dogs. They tear ateach other in their effort to rip at the glove. GISBORNE Run, boy. Like a deer. Give us some pleasure before you die. (CONTINUED) 16.CONTINUED:To the accompaniment of the HOUNDS' savage HOWLS andthe horrified screams of his family, Wulf runs. GISBORNE Unleash them!EXT. COUNTRY ROAD - DUSKNearing home, Robin is buoyant. The Saracen, brooding,walks two paces behind him. ROBIN Why must you walk in back of me? ASLAN In your land am I not the infidel? The unbeliever, the instrument of evil? ROBIN Our races have fought for a hundred years to prove that point. ASLAN Then I trust it is safer to appear as your slave than as your equal. ROBIN For an 'infidel' you have uncommon clarity of thinking. Yet you refuse to tell me about your home and family. ASLAN Those are my burdens. ROBIN You speak my language. You have the diplomacy and honor code of a nobleman. I ask again, why were you to be executed?The Saracen maintains a moody silence. ROBIN So, I must continue with my guesswork. You are highborn? Probably... You fell from favor... Clearly... Why? You broke the law? You were a rival for power? ... A woman? (CONTINUED) 17.CONTINUED:The Saracen reacts, almost imperceptibly. ROBIN By the Lord, that's it!Aslan is silent, but Robin knows he's right. ROBIN They say there are Arab women of such beauty that they can possess a man's mind, that he would be willing to die for them. Is that not so?Ignoring him, the Saracen stops. Examines the darkeningsky. ASLAN It is close to sunset. ROBIN Your people must marry women chosen for them by others, right?No reply. Aslan unfolds a prayer rug. ROBIN Who is she? The Mullah's daughter? ... Another man's wife?... That's it! ASLAN Endless clouds. Is there no sun in your cursed country? ROBIN You dog! You painted old dog! What is her name? ASLAN Which way is East? ROBIN Her name? ASLAN East? ROBIN Her name? ASLAN East?!!!Robin folds his arms. A standoff. (CONTINUED) 18.CONTINUED: ASLAN Damn you!... Jasmina. ROBIN Ah, Jasmina! Is she beautiful? ASLAN Which way is East? ROBIN That way.Aslan throws his rug on the ground. Kneels. ASLAN Are you sure? ROBIN I would know blindfolded. I'm five miles from home... Was she worth it? ASLAN Worth dying for.Robin stands smiling over him as Aslan begins hisprayers... BAYING of HUNTING DOGS... In the distance, theboy Wulf runs toward them, ducks behind a tree and clubsthe leading dog with a branch. The other hounds closein... panting with exhaustion, Wulf swings into thebranches. A hound savages his leg.The soldiers surround the tree. The boy clambersprecariously onto the highest branch... Robin surrep-titiously steals a crossbow from one of the soldiers'horses. GISBORNE You're not playing by the rules, boy. Deer don't climb trees... Perhaps he thinks he's a game bird. Shall we teach him to fly? Cut it down!The soldiers hack at the trunk. The tree quivers. ROBIN Hold!... I am curious as to what manner of creature is so fearsome that it takes six men to attack it.Shrouded in his pilgrim's hooded cloak, he approachesthem. (CONTINUED) 19.CONTINUED: GISBORNE Stand back, stranger. This is no affair of yours. ROBIN Have we treed the devil himself? Let me see... Ah ha! A small boy. A truly dangerous animal. GISBORNE I advise you to move on, pilgrim. This is the Sheriff's land. ROBIN Wrong. This is my land, and my tree. Therefore, whatever is in it also belongs to me. GISBORNE I grow dangerously tired of your wit... Chop it down! ROBIN The man who strikes that tree dies.He glances nervously at Aslan, who's still at hisprayers. The men stop in mid-swing. More surprisedthan scared. Gisborne gestures to the largest of them. GISBORNE Chop down the hooded fool. ROBIN (backing up) Perhaps we could discuss this.The soldier raises his sword. Robin lifts his cape...the crossbow. Shoots from the hip. The bolt thudsthrough the man's armor. He's dead before he lands. GISBORNE Kill him! ROBIN Aslan! It's time to redeem that vow. GISBORNE Set the dogs on him! (CONTINUED) 20.CONTINUED:Aslan ignores him, lost in his prayers. Robin lifts theother arm -- a second concealed crossbow. WHUMPF! Thebolt flips the dog handler into the vicious pack. Deador not, he soon will be. Robin unsheathes his sword. ROBIN Aslan, get off your damn knees! I have four of them cornered.The Saracen remains head down. Or did we see him steala glance? Gisborne signals his men to attack. A wave offlashing steel. ROBIN I hope there's enough of me to satisfy you all.Backed up to a tree, he grabs a branch and kicks out.Two men fly back. He lunges at a third. His swordstrikes flesh. Robin sidesteps and hurls the fourthonto a sharp tree stump.Gisborne thrusts. Robin reacts too slowly. Blood flowsfrom his arm. His sword falls. ROBIN Aslan!!Gisborne is on him, sword pressed to his back. Robinfreezes. GISBORNE Well, hooded stranger, allow me to know your name before I run you through.A moment of silence... Like lightning, Robin spins,kicks out Gisborne's legs. Slams one foot on the man'ssword arm, the other on his throat. Throws back hispilgrim's hood. GISBORNE Robin of Locksley! ROBIN On your knees, Gisborne. Pray.He obeys. Robin raises his sword. GISBORNE Please, Locksley! No!Robin drives the point into Gisborne's rear. The manleaps. (CONTINUED) 21.CONTINUED: ROBIN Now get off my land. And tell your cousin the Sheriff what happens to his scum when they pick on my people.Gisborne takes off, colliding with Aslan as he folds hisrug. Reacts in shock at the sight of the strange Arab.Keeps running. ROBIN (to Aslan, furious) You worthless savage! You travel ten thousand miles to save my life, then leave me to be butchered. ASLAN I will fulfill my vow when I choose. ROBIN Which does not include prayer times, meal times, or any time I'm outnumbered six to one!! ASLAN You whine like a mule. You are still alive. ROBIN Barely.Aslan examines Robin's wound. Dismissive. ASLAN A flesh wound. Why did you let their leader go? ROBIN After six years of the stench of death, I have no stomach for needless blood on my hands.Wulf climbs cautiously from the tree. ROBIN Have no fear, boy.The boy nervously eyes Robin and the Saracen, fingeringa crucifix around his neck. Runs off into the woods. ASLAN (laughing) The conquering hero returns. (CONTINUED) 22.CONTINUED: ROBIN Ha! It was you he was scared of.Aslan's humor is infectious. Robin's anger relents. ROBIN Come, my strange friend. Beyond that hill lies the prettiest little castle in all Christendom. Warm hearths, hot food, real beds. ASLAN With feather pillows? ROBIN With feather pillows. Warm and soft like Jasmina's embrace.EXT. LOCKSLEY CASTLE - NIGHTRuins. The moon hovers ominously over the once-proudcastle. Burned to the ground. Gutted and deserted.Towers demolished. Moat drained. Robin stares, struckdumb with horror.The dark courtyard. Heartsick, Robin stumbles overdebris. ROBIN Father! Hello!His VOICE ECHOES around the fallen battlements. Aslanplaces a hand on his shoulder and points... Suspendedhigh on a tower wall is a decaying human corpse.CLOSE - MEDALLIONround the corpse's neck. The Locksley crest. ROBIN Noooooo!A paroxysm of rage and grief. He smashes furniture.Slams his fists relentlessly into the wall. Pained,Aslan looks on. ROBIN I should have been here.Spent, he leans against the wall. In the silence, theyhear an eerie TAPPING. Robin draws his sword... Ahunched, old man emerges, walking with the aid of a staff... Duncan. (CONTINUED) 23.CONTINUED: ROBIN (shaking him) Damn you, Duncan. Why didn't you cut him down? DUNCAN Master Robin, is it you? A miracle. I thought God had abandoned us. ROBIN You left my father to hang like a common thief, carrion for the crows. ASLAN Easy... Look at him.Duncan steps into the moonlight. His face crudely-scarred. ROBIN What has happened? DUNCAN They say they captured him worshipping with the Druids. He signed a confession before the Bishop of Hereford. ROBIN Did they have witnesses? DUNCAN Just one. Kenneth of Cowfall. The Bishop decreed all the Locksley lands forfeit. ROBIN Did you believe the charges? DUNCAN Not even when they took my eyes. ROBIN Who did this to you, Duncan? DUNCAN Guy of Gisborne. With the sheriff looking on.Robin holds the old retainer to his chest. Stares intothe night in silent rage. 24.EXT. NOTTINGHAM CASTLE - NIGHTMarked contrast. A forbidding fortress. Cliff-likebattlements.INT. NOTTINGHAM CASTLE - NIGHTFace like thunder, Guy of Gisborne strides up curving,stone steps. A long corridor leads to a guarded oakdoor. SENTRY Sir Guy. His Lordship is not to be disturbed. GISBORNE Away, fool.He shoves the Sentry aside.EXT. CASTLE BATTLEMENTS - NIGHTTorches illuminate Nottingham's face. Chilling crueltyin Manson-like eyes. Seated, his manicured hand dis-tractedly strokes a semi-naked girl. She sits at hisfeet like a frightened dog. When Gisborne enters, shecovers up. NOTTINGHAM Who bade you cover up?He smashes his fist into his chair. She timidlyuncovers. NOTTINGHAM Cousin, I trust you justify your intrusion with news of profound value.His attention is riveted on a dark niche in the corner ofthe courtyard. UNEARTHLY SOUNDS emanate from the black-ness. GISBORNE I met a hooded man today. He bade me warn you not to harm his people. NOTTINGHAM His name? GISBORNE Robin of Locksley. (CONTINUED) 25.CONTINUED: NOTTINGHAM Ha! The prodigal son returns. He is a whelp. This girl could best him. GISBORNE This whelp bested five of my men in the blink of an eye. NOTTINGHAM Your men were probably drunk. Yet you survived, cousin?Heavy scorn. The sheriff pats Gisborne's hand like achild's. The voice from the darkness becomes a loudCHANT. A wrinkled, monkey-like figure dances INTO VIEW,wearing a necklace of human fingers. You might thinkshe was a hundred years old, if not for her incredibleagility. MORTIANNA. GISBORNE (stunned) You brought her here? NOTTINGHAM Quiet!The crone's fingers dart into a bag. Emerge with awrithing, SQUEALING mass... a PIGLET. A knife flashes.Blood spurts into an ornate, sacred platter.The girl flinches in horror. Mortianna shakes the con-tents of a pouch across the bloody dish. Carved bonedice -- Runes.She rattles the platter. The rune symbols dance intrails of blood. Eyes vacant, mouth frothing, she hissesout her incoherent visions. Nottingham follows her everymove. A connoisseur. NOTTINGHAM What do you see? MORTIANNA Change the seat of power. NOTTINGHAM London? MORTIANNA Change it. NOTTINGHAM Move the capitol to Nottingham? Excellent. How? (CONTINUED) 26.CONTINUED: MORTIANNA Ally with royal blood. NOTTINGHAM Put someone on the throne and rule through him? Who? MORTIANNA That is not revealed.The idea takes shape in Nottingham's mind. Mountingintensity. NOTTINGHAM Ally with royal blood. What else do you see? MORTIANNA Armies. NOTTINGHAM Whose? MORTIANNA Yours. Men and weaponry in great numgers. NOTTINGHAM And victory? MORTIANNA Much blood will be spilled. NOTTINGHAM Whose?CLOSE SHOTA dice splashes blood. Lands -- a death's head symbol.Mortianna hammers the platter. The dice spins and landsagain. Again the grinning skull.BACK TO SCENEThe tray smashes to the ground. The hag runs atGisborne. MORTIANNA Who have you seen?!She shakes him. Screams spittle in his face. (CONTINUED) 27.CONTINUED: GISBORNE (freaked) No one. I have seen no one. MORTIANNA You lie! A man... A painted man. NOTTINGHAM What is wrong? MORTIANNA I have seen my death.She whimpers. Spins, as if fearing invisible intruders. MORTIANNA The painted man. He haunts my dreams. GISBORNE Locksley has a companion. A dark- skinned foreigner. He had the marked skin of Islam.Mortianna trembles like an epileptic. Eyes wide withterror. MORTIANNA Kill them! Kill them!She throws herself at Nottingham for protection. Hecaresses her. Gisborne is thunderstruck. NOTTINGHAM Cousin. Prove to Locksley that your survival was his last mistake. MORTIANNA (frantic) And the painted man! Kill him. NOTTINGHAM Kill them both.He continues to stroke her. Her trembling subsides. NOTTINGHAM You have done well, Mortianna. Exceedingly well. No one shall harm you, I swear it.Mortianna reaches out bloodied fingers towards the younggirl, who shrinks away. Nottingham gently takes thegirl's hand. (CONTINUED) 28.CONTINUED:Draws it to his mouth, as if to kiss it... and bites downviciously, drawing blood. The girl screams. NOTTINGHAM Now, my child, Mortianna's kisses will seem soft, like an angel's. (to Mortianna) Take her. You have earned her.Mortianna grabs the terrified girl's wrist. Drags heraway. GISBORNE It is madness bringing the hag here. NOTTINGHAM Fear not for my sanity, Guy. For in madness, there is great power.EXT. LOCKSLEY CASTLE - DAWNRed shards of sunlight slice through mist-shrouded trees.Robin hammers a crude cross over a hillside grave.Heads bowed, Duncan and Aslan stand at his side. ROBIN Our last words in this world were spoken in anger. He called the Crusades a foolish quest, said it was vanity to force other men to our religion. He was right. (looks to Aslan, then back to the grave) Please forgive me, Father. DUNCAN He loved you till the end, young master. He never gave up hope of your return. ROBIN I failed him. I should have been here at his side. DUNCAN You must leave, head north to safety. Gisborne will surely seek revenge. ROBIN Leave me. (CONTINUED) 29.CONTINUED: DUNCAN I know what you're thinking. But one man can achieve nothing against so many. You would need an army. ROBIN Leave me. ASLAN Come, friend.He leads the old man away. CUT TO:GRAVE SIDE - LATERPouring rain. Robin stands drenched at the grave side.Aslan watches from the shelter of trees. Duncan heats astale chunk of bread over the ashes of a small fire. DUNCAN He still stands vigil? ASLAN Like a rock.Duncan offers half the bread to the Saracen. DUNCAN A curse on the Saracens! Were it not for their ungodly ways, he would never have left. This would never have happened. ASLAN It surprises me that one who curses others so readily has lived so long. DUNCAN I do not recognize the style of your voice, friend. Are you Irish? A Cornishman? ASLAN Er... no. DUNCAN What manner of name is Aslan then? ASLAN A fine Saracen name. (CONTINUED) 30.CONTINUED: DUNCAN Lord, no!He chokes in shock. Spitting bread. ASLAN Lord, yes. But eat in peace. I take no offense. (glances at Robin) By the prophet! What is the man doing?Robin raises his dagger over his wrist. Aslan runs tohim. ASLAN Wait!Too late. Robin slashes the dagger across his palm.Rain and blood mingle. Streaming onto the grave. ROBIN I swear by my own blood. I will not rest until I have restored my father's name. (a whisper) ... Or until I am dead.EXT. FOREST PATH - DAYOoze sucks at feet. The three men stomp through mud andrain. ROBIN We make a fine army, do we not, Duncan? A blind man, an Arab, and a fool. ASLAN A fine, wet army. I have never witnessed a storm of such duration. When does summer come to this land? ROBIN This is summer. ASLAN Then Allah truly is great. ROBIN Why, pray? (CONTINUED) 31.CONTINUED: ASLAN No food, no shelter, and weather that would curse the end of the earth. We will all quickly be dead, and I shall be rid of my vow.They approach a stone wall, surrounding a thatchedmansion. ROBIN You despair too soon, Aslan. We shall find food and shelter here among friends. ASLAN What is this place? ROBIN Peter's home. It is nearly seven years since we left here together.EXT. DUBOIS MANSION - DAYRobin pounds on the door. A hatch opens. An OLD WOMAN'sface. OLD WOMAN No beggars!The hatch slams shut. Robin pounds again. ROBIN Open up!A pause. The hatch slides back. ROBIN Tell the mistress of the house that Robin of Locksley is at her door. OLD WOMAN Her ladyship is not at home.She slams the hatch again. Robin jams in his hand. ROBIN Aagh!He shouts through the hatch, over his bruised fingers. (CONTINUED) 32.CONTINUED: ROBIN Is the child Marian at home? OLD WOMAN Maybe she is. Maybe she isn't. Remove that hand.Robin refuses. She waits imperiously behind the lockeddoor. Robin reluctantly withdraws his hand. Instantlythe hatch slams. ASLAN The hospitality here is as warm as the weather.They wait, shivering... The door opens a crack. OLD WOMAN Leave your weapons.The three start forward. Her bony finger points atRobin. OLD WOMAN Just you.INT. DUBOIS MANSION - DAYThe hall. Deer heads. Boar heads. Portraits ofancestors. OLD WOMAN Wait here.He waits. CREAKING FOOTSTEPS on the balcony. GIRL Who are you?Dim lighting. Robin cannot make out who it is. ROBIN I am Robin of Locksley. GIRL You lie. Robin is dead. ROBIN I may meet my maker soon from lack of sustenance. But for now I am real enough. (CONTINUED) 33.CONTINUED: GIRL Step into the light. Turn around. ROBIN By heaven, am I to dance next? Who are you? GIRL I am the maid Marian. ROBIN Then show yourself, child. For we knew each other well. GIRL With the king away, these are lawless times. There are outlaws villainous enough to kidnap and ransom a relative of his. ROBIN You know I am not one of them. Besides, I am sworn to protect you. GIRL (laughs) Protect me? Robin of Locksley was nothing but a spoiled bully. ROBIN Allow that years of war and prison may change a man. Step forward, Marian, so I may see how you have changed.She moves into the light... Fat. Rotten teeth. Ugly assin. ROBIN Er... the years have been kind. GIRL Thank you. Now remove yourself from this household.A figure steps behind Robin. Sticks a sword in his back. GIRL (turning away) As you can see, we are already well protected. ROBIN Wait, Marian! ...ouch! (CONTINUED) 34.CONTINUED:The sword is jabbed into his back. Robins faces the man-- clad in back, with a metal fighting mask. ROBIN You are truly courageous against an unarmed man.The figure gestures towards the door. Robin sidesteps.Slams an elbow. The sword drops. Slides across thefloor. Robin moves for it, but the man intercepts,drawing a dagger.Robin darts to the wall. Rips off an antlered deer head.Defends himself as the attacker slashes at the horns.OUTSIDEThe SOUND of the fight indoors. Aslan hurls himself atthe door. It doesn't give.INSIDEChunks of horn fly. Robin parries and thrusts. Thehorns get shorter. Robin retreats.Left with just the nubs, Robin hurls the deer head atthe mask. Gaining advantage, he charges. Grabs thedagger hand, smashes it into the wall. The knife drops.Robin wrenches off the mask.Long hair tumbles down... a beautiful YOUNG WOMAN.The front door CAVES IN. Aslan stumbles through... justin time to see the woman's knee fly up into Robin'scrotch. Robin folds. The battle is over. The youngwoman stands over Robin. YOUNG WOMAN As she was saying, we have no need of your protection.Robin croaks through clenched teeth. ROBIN Marian. CUT TO:INT. KITCHENLiquid tumbles into a goblet. The three men at a tablein the kitchen. (CONTINUED) 35.CONTINUED:The fat girl, SARAH, who pretended to be Marian, serves.Flashes a lusty smile at Aslan, who glances at Robin --"Help!" Marian arrives. In a gown. Stunning. Animpish grin. MARIAN I trust Lord Locksley has recovered from his indisposition.Aslan laughs. Robin glares.EXT. DUBOIS MANSION - DAYRock-strewn hills. Grazing sheep. Sun peeking throughclouds. Robin and Marian walk. Anger and anguish inher voice. MARIAN Why would he wish me to be protected by the boy who burned my hair when I was a child? ROBIN We were together five terrible years in a Saracen prison. MARIAN How do I know you didn't abandon him there to save your own skin.Robin hands her Peter's ring. She is shocked. ROBIN Marian, I'm sorry. MARIAN I will forward your condolences to my mother.She turns her back. He searches for a way to reach her. ROBIN On my return, I found my father dead. The Sheriff denounced him as a Druid and took our lands. MARIAN The people fear the Druids so much they'd believe anything. Nottingham would have me burned at the stake as a witch if he thought he could possess my property. (CONTINUED) 36.CONTINUED: ROBIN Why do you not join your mother in London? You would be safer there. MARIAN I will not retreat. Besides, I have no interest in life at court. Gossip-mongering and currying favor. Here I am my own person. ROBIN The you must allow me to be your guardian. MARIAN I do not need a guardian.She turns to face him. Streaming tears. MARIAN My brother is dead. You cannot take his place.Robin grabs and holds her. ROBIN Marian, I don't want to replace him. MARIAN What do you want?Their eyes meet... a sudden intimacy between them. Robinmoves closer. Marian begins to respond, then pulls away. MARIAN This is wrong.She runs back to the house. Robin stares after her.Aslan appears in the doorway with Duncan. ASLAN Robin! The old man hears horses. Approaching fast.He runs to a bluff... a column of soldiers snakes up thehillside. ASLAN Twenty or more. In battle armor. MARIAN Soldiers coming here? Is this your protection? (CONTINUED) 37.CONTINUED: ROBIN I killed some of the Sheriff's men. I fear I have placed you in danger. MARIAN I can take care of myself. There are horses in the stable. Go!Aslan runs into the stables. ROBIN I'm not leaving.Marian ices him with a glare. Aslan reappears, with twobareback horses. Soldiers appear on the crest, led byGisborne... With a mischievous grin, Marian runs to thesoldiers. MARIAN Stop them! They're stealing my horses! ROBIN Damn the girl! Aslan, can you ride?In answer, Aslan grins. Leaps onto a horse. With asingle swift move he hoists Duncan up behind him and digsin his heels. The mare leaps forward, and over theestate wall. ROBIN He can ride.He heads his horse at the wall. It stumbles. Barelyclears it. Stones fly. Robin struggles to hold on.Marian stands directly in Gisborne's path. GISBORNE You have been sheltering outlaws, Lady Marian. MARIAN They're thieves, you imbecile. Bring back my horses, or the Sheriff will know of your cowardice.Gisborne knows she is lying. (CONTINUED) 38.CONTINUED: GISBORNE You're lucky he didn't steal your virtue too. (to his men) A crown to the man who brings me Locksley's head.He leads the pursuit. A SOLDIER hangs back. GrabsMarian's hair. SOLDIER A kiss for me, Saxon bitch. MARIAN Kiss this!She unsheathes the dagger from under her skirt. Jabsthe blade into his wrist. MARIAN Try me again, if you want to leave a hand behind.Shocked and pained, the man gallops away. Marian looksdown at her dagger hand. It shakes violently. CUT TO:EXT. STREAMWater erupts under hooves. Aslan fords a stream. Duncanhangs on for dear life. Robin strives to keep up. Halfa mile behind Gisborne splits up his men.Trying for a short cut, Robin finds himself at thesteepest part of the river gorge. His horse balks at thedrop. Robin flails at his mount with hands and feet. Itbacks away. ROBIN Damn you, animal!Aslan shouts from the far bank. ASLAN Treat it like a woman.Robin continues to hit his horse and hurl abuse. Closingin, the soldiers unfurl their crossbows. A flight ofBOLTS WHISTLES ominously close to Robin. He must jump ordie. ASLAN Have you never had a woman? Gently, man. Soothe it! (CONTINUED) 39.CONTINUED: ROBIN Of course I've had a woman! Come on, pretty one.He pats the horse soothingly. The animal edges forward. ASLAN Softly. With your knees. ROBIN I know! I know!The soldiers reload. Robin urges the horse at the steepdrop. ROBIN Easy, easy.Another wave of crossbow bolts. Robin launches thefrightened animal into space. Hooves flail... touchdown. Scramble up the other bank. Robinenthusiastically pats the horse's neck. ROBIN I love you!The first two pursuers misjudge their leaps. Theirmounts land sprawling in the riverbed. GISBORNE (yelling) Robin of the Hood! Son of the devil worshipper. ROBIN What is your pleasure, Gisborne? GISBORNE It was I who strung your father's corpse to the castle gate. My pleasure will be in doing the same to you. ROBIN You survived one meeting. Our next will be your last. GISBORNE Your father died a coward, cursing your name and squealing like a stuck pig. ROBIN That's a lie! (CONTINUED) 40.CONTINUED:Incensed, he is losing his judgement. ASLAN (shouts) Come, Robin! He is trying to anger you into a trap.A shaft pierces the flank of Robin's horse. It rears infright. Robin clings on. Six soldiers, the men Gisbornesplit off, are climbing the embankment towards him.Robin regains control. Rides right at them. Scattersthem, and takes off again. Gisborne yells at his men tofollow.Robin and Aslan ride flat out. Open land turns to scrub.Seeing no followers, Robin pulls up and dismounts. ROBIN We have lost them. I'll lame this mare if I ask her to go any farther.He gently extracts the shaft from his horse. Aslan openshis pouch. Pulls out two shiny clear pebbles and a squareleather hide. Rolls the pebbles into the tube and holdsit to his eye. A primitive telescope.Robin watches, curious.SCOPE POVThrough the scope we see the movement on the hill behindthem.BACK TO SCENE ASLAN Here they come. Look.Robin puts the device to his eye...SCOPE POVThe soldiers are close!BACK TO SCENEHe reacts in shock. Prepares to defend himself. Thenrealizes they are still in the distance. (CONTINUED) 41.CONTINUED: ROBIN Is this Arab magic? ASLAN No. Arab science.He replaces the tube in his pouch. ASLAN How did your uneducated kind ever take Jerusalem? ROBIN God knows!Aslan laughs. Robin points towards an endless expanse oftrees. ROBIN We can lose them in the forest. DUNCAN Sherwood is haunted, Master. ROBIN Either we take our chances with the ghosts, or become ghosts ourselves.He remounts. They race into the trees. Gisborne's menthunder up,... slowing as they enter the forest. Peeringaround them in trepidation, they slowly rein in. Robinlooks back. ROBIN They're not following.Gisborne curses his men, urging them on. GISBORNE Come on, damn you! There are only three of them. SOLDIER It's not the men we fear, sir.Eerie HOWLING and RATTLING of bones. Aslan draws hissword. DUNCAN Banshees. They say they fly in your mouth and suck you dry of blood before you can scream.He wraps his scarf over his mouth. (CONTINUED) 42.CONTINUED: ROBIN Be quiet! Listen.WIND GUSTS the trees in angry waves. Emits deathlySHRIEKS. The HORSES WHINNEY. Unnerved, Aslan smitesaround him with his scimitar. Wheels at the sounds,striking only air. ASLAN Allah protect us from the evil spirits.Duncan clings to his back. Robin points. ROBIN Behind you!Aslan slashes out, futilely. ROBIN No, there! And there!Aslan flails. Robin cracks up. ASLAN Cease your mad laughing. I can feel them.Robin reaches into the branches. Pulls out a string ofhollowed wooden tubes -- WINDCHIMES. Dozens of suchstrings on all the trees. He blows over the hollow end.A low chilling MOAN. ROBIN Here are your ghosts, Duncan. A child's toy put to good use. You scare easily, my painted Saladin.His laughter is broken by a piercing YELL. A red-jacketed figure swings down out of a tree on a rope.Catapults him to the ground.The bushes are instantly alive. Shaggy, wild-eyed men,armed with cudgels, scythes and hayforks. Twelfth-century Hell's Angels. The red-jacketed young turk, WILLSCARLET, leaps around Robin. WILL SCARLET (singing) Ring around the rosie! ROBIN Aslan!Aslan makes no move to intervene. (CONTINUED) 43.CONTINUED:The woodsmen eye the bizarre stranger, keeping theirdistance from him. Will kicks at Robin, who tries tograb him. Will skips out of range. Robin falls. WILL SCARLET Atishoo, Atishoo. We all fall down. Beg for mercy, rich man. ROBIN I beg of no man. Which of you scum has guts enough to face me man to man? VOICE (O.S.) Yeah, bollocks, mate.Robin looks up... I mean up! A towering figure. Sevenfeet of grinning, muscled brute. The giant extends avice that passes for a hand. Hauls Robin to his feet.His eyes twinkle with merriment. His whole body shakeswhen he laughs, which is often. JOHN LITTLE What are ya, m'old cock? ROBIN Er... Robin...He pauses, checking the faces of the angry peasants. ROBIN ...Hood. Robin Hood. Who are you? JOHN LITTLE John Little. Bestman o' the woods. ROBIN Bestman? You lead this rabble? WILL SCARLET We waste time. Tax him. ROBIN Tax? For what? WILL SCARLET For passage through Sherwood. ROBIN I will pay no tax. Besides, I have nothing but my cloak and my sword. (CONTINUED) 44.CONTINUED: WILL SCARLET A man who travels with two servants and claims he's without money, is either a fool or a liar.Grabbing Robin, Little shakes him like a doll. SomethingCLINKS. Robin's father's medallion. Laughing heartily,Little rips it from Robin's neck and tosses it to Scarlet. WILL SCARLET And this one is a liar. (he bites the metal) Ahah! Gold!The men cheer. John snatches the medallion back fromWill. ROBIN That is sacred to me. JOHN LITTLE Sacred to us too, mush. This here'll feed us for a bloomin' month.Robin draws his sword. ROBIN You will have to fight me for it. JOHN LITTLE I'd love to, mate.He grins hugely. A boy pushes his way through the throng. WULF Wait, father! I know him. ROBIN This man is your father? Tell him how I saved your hide from the Sheriff's soldiers. That deserves some gratitude, I believe.He reaches for the medallion. John pulls it away. JOHN LITTLE Naw ya don't, laddie. WILL SCARLET You must be Robin of Locksley. The blackguard who abandoned us to Nottingham's plundering. (CONTINUED) 45.CONTINUED: WULF Be careful, Father. He fights like a demon. He walloped six o' Sheriff's men? JOHN LITTLE Is that so?Another grin. Licking his lips in anticipation, helunges for Robin's wrist. Wrenches the sword free.Bends it into a pretzel. ROBIN Aslan!Aslan shrugs. Robin swings a fist into the giant's gut.John doesn't flinch. Hoists Robin off the ground withone arm. Cannonballs the other fist into Robin'sstomach. Robin folds. WILL SCARLET Oh dear! The little rich boy is lost for words. Thanks for the taxes, Locksley. JOHN LITTLE And for the laughs.The woodsmen find this hysterical. They disappear intothe tree. Will administers one final kick beforeleaving. Robin staggers to his feet. Glares furiouslyat Aslan. ROBIN Son of an Arab whore! Once again your assistance was invaluable. ASLAN You seemed more in danger of losing your pride than your life. DUNCAN I recognized some of the voices. Many were from your father's farms. ASLAN Your avenging army, my friend. ROBIN That rabble? ASLAN All they need is a leader. (CONTINUED) 46.CONTINUED: ROBIN They have a leader. A very large one. ASLAN Defeat him and they will follow you. ROBIN Allah has taken your brains. DUNCAN I hear the voice of a spoiled child, Master Robin. I suggest you cease your brave talk of revenge and flee to the north. ROBIN You, too? You expect me to fight that behemoth? DUNCAN Your father would expect you to act like a man. CUT TO:EXT. FOREST CLEARING - DAYA large tree trunk spans a swift-flowing river. Theragged band of woodsmen approach the makeshift bridge.Stop in their tracks. Robin stands on the bridge,brandishing a long wooden staff. ROBIN This is my bridge. No one crosses without paying tax. JOHN LITTLE Just bugger off, mate, huh? ROBIN If you wish to cross, it will cost you a gold medallion. JOHN LITTLE Ain't I hurt you a bloody nuff for one day? WILL SCARLET If he's in a hurry to end his mortal misery, help him. (CONTINUED) 47.CONTINUED: ROBIN You don't have the courage to face me again, John Little? Or should I call you 'Little John'?John grabs a hefty, gnarled staff. Strides to thebridge. JOHN LITTLE Alright, m'old cock. You wanna nuther good wallopin'?His confidence melting, Robin glances back at Duncanand Aslan, who grins like a fan at a boxing match. Johnstorms at Robin. Staffs thrash. Driven back, Robinconnects a blow on John's foot.The giant is off-balance. Robin follows up. Lands acouple to the ribs. John responds with heavy swings,which Robin blocks deftly. Back and forth, blow forblow, all blocked. John chuckles with every swing.Enjoying the time of his life.Their staffs lock. It's strength against strength.Robin is no match. With one mighty thrust, Johnhurtles him into the stream. The woodsmen cheer loudly.Aslan watches impassively.Robin scrambles back onto the bridge. John waits,grinning. JOHN LITTLE Lil' wet behind the ears, mate? WILL SCARLET Don't fool with him. Get him!John charges. Robin fends him off, gets in some shotsof his own. John swings in a giant arc. Robin ducks.John loses balance and falls to his knees. Robin allowshim time to right himself.John comes at him again, pummeling. Wood splinters fromthe impact. Brute force versus agility. Agility isbeginning to prevail, when Robin's staff splits in two. JOHN LITTLE Swimmin' time again, ol' chum.The coup de grace. Lands heavily. Robin teeters.Falls. Disappears under the foaming water... does notre-emerge. John waits. The spectators rush to the bank.No sign. (CONTINUED) 48.CONTINUED: JOHN LITTLE Bloomin' shame. 'E were a brave 'un.Suddenly Robin arcs up out of the water. His hands clamponto John's ankles. Robin heaves with all his might.John topples headfirst into the water. Surfaces in panic. JOHN LITTLE Help! Cain't bloody swim.He submerges again. Robin pulls his head above water. ROBIN Do you yield?The terrified giant sputters. Goes under again, flailingwith arms and legs. Robin holds his head just above thesurface. ROBIN Do you yield? JOHN LITTLE Yes! ROBIN Good. Now put your feet down.John struggles, then his feet hit bottom... The wateronly reaches his chest. JOHN LITTLE I'll be buggered. ROBIN Pay me the tax.A tense pause while all wait for Little's reaction. JOHN LITTLE Robin Hood, ya got balls o' solid rock.He hands Robin back the medallion. Chuckling loudly, heswoops Robin up in his arms and carries him to the bank.EXT. SHERWOOD FOREST - NIGHTA BONFIRE CRACKLES. The woodsmen drink, eat, argue, andfight. A rabble. John passes Robin a jug. LITTLE JOHN Mead. Made it m'self. (CONTINUED) 49.CONTINUED: ROBIN (drinks) A fine brew, Little John.He spits black objects from his mouth. Dead bees. Johngrins. LITTLE JOHN Real honey.He takes the jug back. Sneezes royally, spewing all overthe brew. Oblivious, he hands the contaminated jug toAslan. ASLAN With regrets, I decline. LITTLE JOHN An Englishman's mead not bleedin' good enough for ya? ASLAN On the contrary. I thank you, but my faith prevents me from partaking in such enjoyments. LITTLE JOHN Your bloody loss, mate.He swigs. Passes the jug on to Duncan, who drinksheartily. Wulf cautiously approaches Robin. LITTLE JOHN What is it, boy? Speak up! WULF I wanna thankee, Lord Locksley. I owes ya m'life. ROBIN You owe me nothing, Wulf. I am glad I chanced by in time to help. LITTLE JOHN C'mon, lad, drink! 'Twill put hair on your bloomin' chest.Wulf tries the brew. The impact is instant. He turnsgreen and runs. His father cracks up. ROBIN Tell me about your men, John.John points to a short fellow with the build of a treetrunk. (CONTINUED) 50.CONTINUED: LITTLE JOHN This stumpy one 'ere's David o' Doncaster. We calls 'im Bull. ROBIN How do you come by the name, Bull? BULL 'Cuz o' my size, Sire. ROBIN Because you are short? BULL Nay. 'Cuz I be so long.Proudly, he starts to pull down his pants. ROBIN No, Bull. Save it for the ladies.Drunken laughter. Robin turns to the next man at thefireside. ROBIN Your name, friend?The man's bald pate blushes scarlet as he tries torespond, but he stutters too badly to get out acomprehensible word. LITTLE JOHN That be Hal Brownwell, but the lads call i'm Hal Hiccup.The others make hiccup and belching sounds, and crack upat Hal's embarrassment. Hal strikes out angrily at histormentors. ROBIN Hold! Hal, you have the face and hands of a farmer. I wager you are a strong and honest man, and I'd be glad to have you at my side in a fight. The next man who makes light of you will have to answer to me.There is murmuring around the group, but no one electsto try it. ROBIN How is it there are so many of you in hiding? (CONTINUED) 51.CONTINUED: LITTLE JOHN We're outlaws. Got prices on our 'eads, every man jack. Blasted Sheriff says we owes 'im taxes. ROBIN How do you fare? LITTLE JOHN We get by, I reckon. ROBIN While the Sheriff steals your land and your families starve? LITTLE JOHN What in bloody blazes'd ya have us do? ROBIN Your ghosts will only keep his men at bay so long, my friend. Soon the Sheriff will hunt you down and hang you. You must fight back. LITTLE JOHN We show as much as a toe outside the forest, they'll slaughter us like bleedin' sheep. ROBIN We must organize. Win by guile. LITTLE JOHN 'We'? Ya lookin' to join us, matie? ROBIN No. To lead you. WILL SCARLET Ha! I would never be led by the son of a Druid. ROBIN There are many here who knew my father to be a kind and generous man. I doubt that in their hearts they believe him capable of such a horror.Murmurs of agreement from around the fire. Robin turnsto Will. (CONTINUED) 52.CONTINUED: ROBIN What is your name, friend? WILL SCARLET Count me not a friend, Locksley. LITTLE JOHN Stuff a flippin' cork in it, Will. The man's our guest.Will gets up. Angrily pushes his way out of the group. LITTLE JOHN That there's Will Scarlet. Pay 'im no 'eed. 'E's full o' piss and wind. ROBIN He is right to distrust me. I am a rich man's son. I have done no honest labor. But today I am as poor as any of you. Nottingham has stolen all that I own. And when I killed Gisborne's men, I, too, became an outlaw. LITTLE JOHN Ya're full o'bloody wind an' all, mate. This 'ere load o' rubbish agin the Sheriff's bloomin' army? Ya must be bloody jokin'. ROBIN We can win. And I believe we will. LITTLE JOHN Ya're a daft bugger, Robin Hood, but ya're a brave 'un, I'll give ya that. Drink up, laddie, cuz tomorrow ya mayn't be so lucky! Tomorrow I shall best ya an' crack that blasted noble head in two.Laughing loudly, he throws back his head for a longdraught of mead.EXT. WOODSMEN'S CAMP - SUNRISEA steady trickle of RAIN drips from leaves onto the noseof the sleeping Saracen. He wakes, cursing. All aroundhim the woodsmen lie on the forest floor, covered withrags and hides coughing and sneezing. A sorry mess.Robin sits, brooding. (CONTINUED) 53.CONTINUED: ASLAN (gloomily) I have led you wrong. This is no army. These men live like dogs. ROBIN English dogs. They can learn. ASLAN Learn what? To build kennels?He sullenly stalks away. Robin shakes his head. Aslanis right. He rouses Duncan, who is asleep at his side.The old man groans awake, holding his head. Seriouslyhung-over. ROBIN Too much mead, old friend. What day is it? DUNCAN Sunday, I believe. ROBIN Good. Do they still give alms to the poor at the mass? DUNCAN They do. These days the need for mercy is greater than ever. ROBIN Then I must ask you a favor.EXT. ROAD TO NOTTINGHAM - DAYDuncan walks alone, with the aid of his staff. Bodystooped, clothes ragged, a pathetic figure. Ahead isthe main gate to the walled city of Nottingham.Fresh horse manure. A man's hand reaches into it andspreads it over his clothes. And his face -- Robin,dressed as Duncan.EXT. CITY GATE - DAYRobin taps his way through the crowd. Past the piercingstare of the armored GUARD at the gate. GUARD Hey, you!Robin keeps going. A hand clasps his shoulder. Spinshim 'round. (CONTINUED) 54.CONTINUED: GUARD Do I know you?Robin gazes into space, trying to look blind. The Guardsniffs his soiled hand. GUARD My God, you stink! ROBIN Pardon my blindness, sir. I'm always falling down. GUARD Yeech! Get away from me.He launches a kick in Robin's rear. Robin hobbles away,hiding a smile. The Guard tries to wipe off his hand onthe wall.INT. NOTTINGHAM CATHEDRAL - DAYJesus hangs from the cross. A magnificent stained glasswindow. In the ornate pulpit, the BISHOP OF HEREFORD,bedecked in ermine. BISHOP We beseech thy blessing, Lord, on all your people, but most especially on our noble Lord Nottingham. Grant him the wisdom to guide and protect our glorious city.Nottingham and Gisborne sit piously among the congrega-tion of nobles and wealthy merchants. BISHOP Grant him also the strength to bring to justice the lawless men who threaten its safety. Help him to stamp out the curse of the dread Druids who would seize from us our children, even as wolves steal the lambs from their mothers.The rear of the church. Standing crushed together, thepoor and afflicted. Old and young. Starving children.Among them, Robin.The sermon ends. As the nobles file out, the poor aregalvanized. Begging hands reach out. (CONTINUED) 55.CONTINUED: VARIOUS 1. Alms! 2. Have mercy, milady. 3. Pity, fine sir. 4. For my baby. 5. Etc.The rich drop a few mites, sparking a mad scramble.Church officials roughly keep order. Marian passes somecoins to the mother of a small child. A hand grabs herwrist. ROBIN Alms for a blind man. For one who cannot see your beauty. MARIAN (recognizing him) This is dangerous. ROBIN So you care for my safety? MARIAN No, for mine. I do not wish to be seen with an outlaw. ROBIN Under the Sheriff's law, that's a badge of pride. MARIAN He's put a price on your head. ROBIN How much? MARIAN A hundred gold pieces. ROBIN Is that all? I have not annoyed him enough. Soon he will offer ten thousand. MARIAN For ten thousand I would turn you in myself. (glances back at the Sheriff) Nottingham is mounting an army. ROBIN How do you know? (CONTINUED) 56.CONTINUED: MARIAN He has rounded up every blacksmith in the county. He has them holed up in the castle making swords and armor. ROBIN What is he planning? MARIAN I don't know, but there's no limit to the man's ambitions. (as Sheriff heads towards them) Go! ROBIN If you need me, I will be with the woodsmen. Send for me as 'Robin Hood.' MARIAN Robin! Do something for me. ROBIN What? MARIAN Take a bath. ROBIN Care to join me?With a grin, he slips into the crowd as Nottinghamarrives. NOTTINGHAM You shine like the sun, my lady.He raises her hand, as he did the girl's in the castle.Kisses it. NOTTINGHAM You have been meeting with young Robin of Locksley. (as she tries to hide her shock) My cousin tells me the knave deprived you of some horses. MARIAN (recovering) Yes. A most disagreeable experience. (CONTINUED) 57.CONTINUED: NOTTINGHAM I deeply regret it, and I promise you he will be brought to justice. For subjecting you to such treatment, I will hang him from the walls with his own entrails.That gleam of insanity. Robin watches from a distance. MARIAN I would like to see that, my lord.The Sheriff places his hand possessively on her shoulder. NOTTINGHAM My dear, a woman of your refinement is not safe living alone. If you would consent to bring your household within the city walls, I could give your needs my most personal attention. MARIAN I thank you, Lord Nottingham, from the heart, but for now I prefer to stay in my family's ancestral home. My cousin, King Richard, will be deeply moved to hear of your concern for my welfare. NOTTINGHAM Alas, the King has many enemies both abroad and at home. I fear for his safe return. MARIAN Fear not, my dear Sheriff. He will return. When he does, he will wish to reward his faithful subjects.The Sheriff smiles sourly and takes his leave. Mariandeflates with relief. The Sheriff walks alone towardsa side door. BEGGAR (Robin) Alms, my lord.Nottingham makes to shove the man aside. With a swiftmove, the beggar grabs the Sheriff in a headlock.Slides Nottingham's own dagger to his throat and dragshim out of sight. (CONTINUED) 58.CONTINUED: ROBIN A hundred crowns, Sheriff? You insult me.Nottingham starts to struggle. Robin draws blood. ROBIN Remember young Robin of Locksley, Sheriff? Meet Robin Hood. Your nemesis. Your avenging angel. NOTTINGHAM If you kill me, you will hang. ROBIN If I kill you, I will hang happy. NOTTINGHAM What do you want? ROBIN I want to give you a chance. A chance you do not deserve. A chance to right your wrongs. NOTTINGHAM I'm listening. ROBIN From this day forward you will cease to tax my people. You will renounce the charges against my father, and you will return his lands to me. NOTTINGHAM Why should I? ROBIN Because for every harm you do, I swear by God I shall visit on you threefold in return. NOTTINGHAM Empty words. ROBIN I am here with a blade at your throat. As long as I live, you will always know that I could be here again.A YELL from across the church. Gisborne has spotted them.Robin digs the knife a little deeper. (CONTINUED) 59.CONTINUED: ROBIN Your answer? NOTTINGHAM Never, fool. ROBIN Then it will begin..Gisborne yells orders. Robin hurls Nottingham againstthe wall.EXT. NOTTINGHAM CATHEDRAL - DAYRobin runs to the courtyard and leaps on the Sheriff'shorse, which is held by a stunned groom. He ridesthrough the busy marketplace. A crossbowman trackshim. A sure shot.Marian spots the danger. She fakes being tripped andstumbles into the bowman. His bolt flies harmlesslyinto the air. MARIAN (innocently) Please excuse my clumsiness.Robin charges for the city gate. As he passes, he kicksthe guard who hasseled him into the wall.EXT. WOODSMEN'S CAMP - DAYMen gather around as Robin dismounts, admiring the horse. ROBIN A personal loan from the Sheriff. ASLAN (furious) You should not have left without me, Englishman. ROBIN How so? You have not raised a finger to protect me. ASLAN Before I had a choice. ROBIN It was my choice to do this alone. (CONTINUED) 60.CONTINUED: ASLAN A foolish risk. If you had been killed, I would be cursed for eternity for failing to fulfil my pledge. ROBIN Aslan, if I didn't know better, I would swear you were worried about me.EXT. NOTTINGHAM CATHEDRALThe Sheriff maniacally spits out orders to Gisborne. NOTTINGHAM Starve them out. Slaughter their livestock. I want to see Locksley's own people fighting each other to bring him to us. GISBORNE I swear he will not live to see the next full moon.EXT. HAMLET - DAYA SQUEALING HOG is loaded onto a wagon. SOLDIERS roundup the livestock. An old FARMER protests. FARMER Go' bless ya, sir. Leave us the sow. She's with young 'uns. The next litter'll feed us through the winter. SOLDIER You've heard of Robin Hood? FARMER Yes, sir.The Soldier brutally kicks the old man to the ground. SOLDIER Then pray he is brought to us before winter.EXT. WOODSMEN'S CAMP - DAYA trail of refugees. Women and children carry theirbelongings into camp. (CONTINUED) 61.CONTINUED:Wulf runs to greet his mother and siblings. A contingentof woodsmen confronts Robin. WILL SCARLET You brought this misery on us, Locksley. We can barely feed ourselves. LITTLE JOHN Sheriff hasn't left us a bloody pot to piss in. ROBIN Then we shall take from him and his rich friends.This provokes a barrage of protests. The men are angry. WILL SCARLET Brave talk, Locksley. I say we take the rich boy in.Murmurs of general agreement. ROBIN Will, do you think the Sheriff will give everything back after I am gone? WILL SCARLET He will give us the reward, and our pardons. ROBIN Alright, Will. You can take me in on one condition. You must fight me. You may use the Sheriff's horse and arm yourself as you please. I will fight on foot. Unarmed. WILL SCARLET Unarmed? ROBIN If you lose, you will accept me as your leader. If you win, you may take me in. Dead or alive. WILL SCARLET Dead, Locksley. CUT TO: 62.EXT. WOODSMEN'S CAMP - DAY (LATER)Hands tighten a girth. Will confidently jokes with hiscronies. Woodsmen form a primitive circle of spectators.Little John and his wife, Fanny, keep to themselves,while Wulf openly talks with Robin, Aslan and Duncan.Robin is stripped to the waist, his muscled skin ravagedwith scars. ASLAN This man has true purpose. He means to kill you. DUNCAN And you have given him the means. WULF Will is ruthless, Robin. Guard your back. ROBIN I am grateful for your concern, friends, but I have to prove to them it is possible to overcome unequal odds. (shouts) I am ready, Will.Will bends, as if checking the horse's legs. Secretlygrabs a handful of sand. Swings into the saddle and digsin his heels.Closing in, Will flings the sand in Robin's eyes. Robinclutches his hands to his face, blinded. Will spinsback to the attack.His sword slashes. Reacting to the sound, Robin rollsaside. The men cheer like a big fight crowd.Robin's POV is blurred. Ducking the blade, he grabsWill's arm. A blow glances off his shoulder.Robin falls to his knees, still blinded. Will ridesright at him, to trample him. Robin scrambles away.Will wheels his horse. A flashing hoof grazes Robin'schest.Robin leaps to his feet and yells at the top of hislungs. Panicked, the HORSE rears, WHINNYING wildly.Will struggles to stay in the saddle. Loses his sword.Robin seizes the moment and runs to a water trough.Douses his face. Yells at Will. (CONTINUED) 63.CONTINUED: ROBIN Come on, you little piss pot. Do your worst!Will grabs a spear from a bystander. Robin stands hisground. Will lunges, Robin sidesteps. ROBIN The horse is smarter than you are, Will.Some of the men laugh. Will is incensed. Robin ducksand weaves, easily evading Will's repeated charges.Robin ducks right under the horse's belly. ROBIN Here, Will! You aim like a girl, Will!Will stabs wildly, more and more frustrated. Laughterspreads, as Robin plays hide and seek around the horse'slegs. Grabbing the end of the spear, he clowns a tugof war.Enraged, Will strains and tries to kick Robin away.Suddenly, Robin lets go. Unbalanced, Will flies back-wards off his mount.Robin snatches the spear and raises it over his fallenadversary. The crowd falls silent. Robin strikes. Thepoint quivers in the ground below Will's crotch. Willwriggles in terror. Impaled, his pants rip open. ROBIN Thank the Lord you are not endowed like Bull.The crowd is convulsed with laughter. Robin catches hisbreath. Does not see Will, who grabs a heavy staff andruns at him. A strong hand grasps Will's arm as he isabout to strike. LITTLE JOHN Bollocks, Will. Jus' bugger off, eh?Overpowered, Will relents. With a defiant glance, heskulks away. LITTLE JOHN Ya got us by the short and curlies, Robin Hood. Now let's hear what ya got to bleedin' say. (CONTINUED) 64.CONTINUED:Robin scans the faces. He has their attention. ROBIN Nottingham has taken from us everything we own. Now we are going to start taking from him. LITTLE JOHN 'Ow in bloody blazes are we gonna do that? ROBIN We are going to tax him. DISSOLVE TO:EXT. FOREST ROAD - DAYAutumn. The forest is a mosaic of green, gold, orange,and red. A giant eye in a circle of glass. Aslan, histelescope raised. ASLAN Here they come. ROBIN How many? ASLAN Two wagons. Twenty escort. ROBIN Twenty? They usually have five.He grabs the telescope.SCOPE POVA phalanx of mounted soldiers, a cart loaded withbarrels, and a tax wagon. The wagon is an armored box onwheels, with crossbow slits in the side. Guy of Gisbornecommands the escort.BACK TO SCENE ROBIN This is no ordinary convoy.Bull calls up from below, where a ragged group of woods-men lies nervously in ambush. BULL 'ow many? (CONTINUED) 65.CONTINUED: ROBIN Er, about ten. (then, to Aslan) Why scare them? They can't count anyway. ASLAN And they call me the barbarian. ROBIN Let's go.Together they run down the hill, keeping low.Gisborne eyes the forest. The beer cart is steered by afat red-faced FRIAR, raucously singing hymns and quaffingfrom a jug, which he repeatedly dips into one of thebarrels.ARROWS WHISTLE in. The Friar yells and drops his jug. Asoldier is hit. At the forest edge, four woodsmen reloadtheir longbows. Dressed in green, their facescamouflaged.The mounted soldiers charge them. The woodsmen run intothe trees. As the horsemen close in, the runners leapinto a trench. Lift up matted screens of brush andgrass. It's as if they disappeared. The soldiers slashwildly at the thick screens.More arrows fly. More soldiers fall. The others spinin confusion, trying to discern the enemy. More woods-men break from cover. Run down a narrow path. Gisborneurges his men to pursue. They ride in single file,beating their way through the tangled branches.The runners dive into the trees, as other men haul onropes, raising a giant screen in the soldiers' path. Thehorses swerve, on the edge of a twenty-foot drop to theriver gorge. Momentum carries many of them over thecliff.BACK ON ROADWAYRobin and Aslan swing down from the trees onto the taxwagon. Kick down the two drivers and take the reins,steering the wagon off the road. The archers inside areunable to fire at them.Little John leaps onto the beer cart, sending the Friarhurtling back among the barrels. The Friar slams hishead and drops unconscious. John whips the horse,driving the cart after Robin. Another camouflage screenis lifted into place, covering their route. (CONTINUED) 66.CONTINUED:Gisborne races back to the road... the wagons are gone.He rides frantically back and forth. Searching andcursing.EXT. FOREST CLEARING - DAYRobin climbs onto the tax wagon's roof. Angry shoutsfrom inside. ROBIN Surrender your weapons. I give you my word you shall go free.In answer, a swordblade jabs up through the roof, nearhis feet. ROBIN Ah, I feared as much.He signals to Aslan, who steers the tax wagon into theriver. Water floods in through the slits. Inside,panic. Drowning rats.The bowmen scramble out. What they see stops them dead.Both banks are men in green, longbows aimed directly atthem. CUT TO:COUNTRYSIDESparks. An axe pounds into the lock of a strongbox. Thelock snaps. Little John pries open the lid. Reacts inastonishment. The trunk is filled to the brim withglittering gold coins. The woodsmen press around.Cheers of celebration. LITTLE JOHN (awestruck) I'll be buggered. ROBIN This treasure had a purpose. We must find out what.He turns at the sound of a brawl from the Friar's cart.The Friar is at the bottom of a struggling heap of bodies. ROBIN Get off him. He's a man of the cloth.Robin drags the men off. The Friar clambers to his feet.Around him are strewn battered and winded woodsmen. (CONTINUED) 67.CONTINUED: FRIAR The Lord's blessing on you, kind sir. These sinners were attempting to steal these libations destined for the monks of St. Catherine's.He indicates his cargo of barrels. ROBIN It appears to me, Reverend Friar, that many of the libations have found their way into your own esteemed person.Ignoring him, the Friar mounts the cart. FRIAR A thousand pardons, sir, but duty beckons. I must hasten on. ROBIN (grabbing the bridle) A moment, my reverend friend. You travel with poor company when you travel with Nottingham's soldiers. BULL Aye, tax him.This sparks a chorus of comments. ROBIN My men are thirsty and have much to celebrate. FRIAR Lord bless me, sir, are these your men? I had mistook them for common thieves. Kindly step aside. ROBIN Surely the Lord has the charity to spare a few barrels to good Christian men.The Friar relents, loosening his grip on the reins. FRIAR Well, sir, if you wish them to share in the good Lord's brew...Casually reaching under the seat, he pulls out a club.Smites Robin with it. (CONTINUED) 68.CONTINUED: FRIAR ... you must best me for it.Robin staggers. The Friar whips up the horse. Dazed,Robin grabs for the fat man's leg. Gets a holy sandalfull in the face. FRIAR Giddyup, nag!The Friar's horse, as obese as his driver, slowly raiseshis head from the grass and ambles forward. Robin runsafter them and dives at the Friar, toppling him from thecart. ROBIN You leave when I say.Scrambling to his feet, the Friar glances skyward. FRIAR Protect me, Lord.He sweeps his foot, knocking Robin's legs out from underhim. Hurls his full body weight on top of him. Whooomf! FRIAR Yield!He bounces on Robin's stomach. Robin can barely breathe.The woodsmen are enjoying the spectacle. FRIAR Confess that Friar Tuck is a better, holier, and braver man than thou art, knave. ROBIN Never! Whoomf! FRIAR Yield, I say! Yield to Friar Tuck.Desperate, Robin bites the Friar's leg. Tuck howls.Robin extricates himself, grabs for a weapon. Smashesthe Friar's head with his drinking jug. ROBIN Yield yourself!He dives onto the Friar and hammers his head into theground. (CONTINUED) 69.CONTINUED: ROBIN Yield to Robin Hood.Tuck holds up a hand in surrender. Robin eases off. FRIAR (feeling his head) Thank you, Lord, for teaching me humility. ROBIN Well, Friar Tuck. We have need of an honest man of God, to minister to these men and their families. What do you say?The Friar struggles to his feet. He reviews the motleyfaces of his potential flock. His eyes light on thegrinning Saracen. FRIAR I'd rather roast in hell.He punches Robin in the gut. CUT TO:FRIAR TUCKstrapped into the traces, pulls the beer cart. Sweatingprofusely, grunting with strain. His horse contentedlyfollows. ROBIN Giddyup, Friar.He flicks the reins, steering the cart into camp. Womenand children rush to greet their men. Jeer the ropedsoldier-prisoners. The Friar checks out his flock. Awoman curtsies, another crosses herself, children touchhis robe in wonder. ROBIN What do you say now, Tuck? Here are the meek of the earth.Tuck surveys the hopeful, hungry faces. The littlehamlet of half-built huts. He folds his hands in amoment of prayer. FRIAR The Lord moves in mysterious ways. I accept. (CONTINUED) 70.CONTINUED: ROBIN You will not regret it. FRIAR Aye, but you may. CUT TO:EXT. WOODSMEN'S CAMPA blazing fire. Deer carcasses roast. Tuck's barrelssupply the refreshment. Robin and Aslan pass out coinsto each family. ROBIN Buy yourself a new son, Stephen. FARMER Thankee, Robin.Little John and Bull approach. John indicates the twoprisoners roped to a nearby tree. LITTLE JOHN Cain't get a bleedin' squeak outa 'em, Rob. BULL They'd be spittin' it out good if they'd knowed anythin'. LITTLE JOHN Reckon the Cap'n knows summat, Rob, but stubborn ol' cocker 'e is. ASLAN Perhaps it is time for some heathen persuasion. CUT TO:CAPTAIN OF SOLDIERSstares up at Robin defiantly. CAPTAIN Spare your breath. I know nothing. ROBIN (reasonable) I believe you. But this Arab here, he's got it into his barbarian brain that you know a whole lot more than nothing. (MORE) (CONTINUED) 71.CONTINUED: ROBIN (CONT'D) And when he gets like this, he's very hard to reason with.With a hair-raising war cry, Aslan leaps INTO VIEW.Stripped to the waist, brandishing his scimitar. TheCaptain tries to back away. Robin tries to restrainAslan, is hurled aside. Snarling, drooling at the mouth,Aslan explores the Captain's body with his hands. Abutcher checking meat. ROBIN I strongly advise you to talk. He hasn't eaten in weeks. CAPTAIN (rising terror) What does he want? ROBIN You. CAPTAIN For Godsakes, get him off me! ROBIN (very deliberately) No, Aslan... not this one, Aslan. ... How about this other one?... Fatter, yes... more meat.The other soldier, who definitely has more flesh on thebone, is struck dumb with horror, as Aslan turns hisattention to him. With one swing of his sword, Aslanslices through the man's ropes. Drags him to his feet.Little John runs over. LITTLE JOHN (urgent) No, Robin, no! They be God-fearin' men. ROBIN I cannot stop him, John. Besides, if they will not tell what they know, then they must pay the price. LITTLE JOHN Kill 'em aye, but not like this. 'Tain't Christian.Blood-curdling SCREAMS from behind the wagon where Aslanhas dragged his victim. The Captain's face pales. Thensilence. (CONTINUED) 72.CONTINUED:The demented Arab slowly reappears. Blood drips from hislips. He munches the flesh from a long bone, on the endof which is the soldier's glove... the man's arm.Turning to Robin, Aslan shouts in Arabic and gesticulateswildly at the Captain. CAPTAIN What does he say? ROBIN Well, roughly, he says that he doesn't care for the way your friend tastes, and he wants you. CAPTAIN No, God, no! I'll talk. Just keep him away. Keep him away!BEHIND WAGONBull holds the other prisoner, muffling the man's mouthand trying to suppress his own laughter. Beside themlies a large chunk of venison. The man is unharmed,except that he's missing a glove.INT. WOODSMAN'S HUT - NIGHTThe walls shake with Little John's laughter. LITTLE JOHN Sure changed the color of 'is britches, didn't 'e? ROBIN Thanks to our cannibal friend.Aslan repeats his wildman act, munching on a chunk ofvenison. LITTLE JOHN Gonna laugh my bloody balls off. BULL Why'd the Sheriff be sendin' gold north o' the border? ROBIN To hire mercenaries. The Celts are savage tribesmen, trained to kill from birth. (CONTINUED) 73.CONTINUED: LITTLE JOHN Aye, the Romans built a bleedin' great wall to keep 'em out. BULL What does 'e want wi 'em? ROBIN Since he also has every Smith in the country working in his castle, we can assume he is planning a little war. LITTLE JOHN Agin' who? ASLAN England.INT. CASTLE ARMORY - NIGHTSparks. Smoke. Sweat. The Sheriff inspects his weaponfactory. His eyes glint with the reflections of thesmithy's fires.A DOOR CRASHES open behind him. FOOTSTEPS. Paying noheed, he draws a sword from a furnace. It's blade white-hot. GISBORNE We were ambushed. In Sherwood Forest.Nottingham tests the sword against an anvil. NOTTINGHAM Spanish steel, cousin. So much stronger than our native blades. Any losses? GISBORNE All the men are gone. NOTTINGHAM Yet again you are the sole survivor, cousin? Interesting. And the gold? GISBORNE Well, it er... disappeared. (CONTINUED) 74.CONTINUED:The Sheriff looks at Gisborne for the first time. NOTTINGHAM Robin Hood? GISBORNE They were woodsmen, dressed in green. NOTTINGHAM Robin Hood.He places a hand reassuringly on his cousin's shoulder. NOTTINGHAM Cousin, we must be strong. We cannot allow this outlaw to make fools of us.Without warning, he drives the blade into Gisborne'sbelly. NOTTINGHAM And I cannot allow a lieutenant to fail me. (turning to the horrified smithy) It is indeed fine steel.EXT. VILLAGE - DAYA small procession. Tuck drives his cart, Bull the taxwagon. Both vehicles laden with supplies. Wulf and Halpass out flour, chickens, blankets, clothing to thevillagers. Their weapons are prominently displayed.Tuck swigs from a jar, passes it to an old villager. FRIAR God bless you, sir. VILLAGER An' Go' bless Robin 'Ood, friar. They says as 'ow none o' the Sheriff's cronies dare go within miles o' Sherwood for fear o' havin' their pockets pinched. FRIAR Ah, the good Lord giveth and the good Lord taketh away. OLD WOMAN Unless Robin Hood takes it first! (CONTINUED) 75.CONTINUED:Laughter. The procession passes two of the Sheriff'smounted soldiers. They glumly watch as Tuck raises hisjug in greeting. FRIAR Good morrow, brothers.EXT. FOREST POOL - DAYWater, sparkling with sunlight. Bursts, as Robin divesin naked. He luxuriates in the cool water... HOOFBEATS.He attempts to hide... too late. Four horses emerge fromthe trees. Bull and Hal, with Marian and her servantSarah sandwiched between them. Bull has a black eye.Marian jumps down. MARIAN (to Robin) How dare you! ROBIN Good morning, Lady Marian.In response, she starts pelting him with stones. MARIAN You send men to drag me from my home in the middle of the night, like some slave girl? Is this the way the famous Robin Hood treats a lady? ROBIN Ah well... er, let me finish this bath you wished me to take. Then I'll explain. MARIAN I demand an explanation right now! ROBIN If you will be patient, I could spare your propriety by... MARIAN I will decide when my propriety is compromised. ROBIN As you wish. (CONTINUED) 76.CONTINUED:He wades bare-ass naked out of the water towards her.She casts a contemptuous look over his muscled body,glistening with water. MARIAN How dare you expose yourself to me?!She slugs him. Robin stumbles backwards into the water.Bull grins, gesturing to Sarah and pointing to his ownblack eye. BULL The big 'un did the same to me.EXT. WOODSMEN'S CAMP - DAYAn arrow flies into a bull's-eye, crudely marked on atree. Little John lowers his crossbow, delighted athis shot. LITTLE JOHN (to Wulf) Right m'lad. Let's see how close you can git to that bugger.Wulf takes aim. His arrow slices clear through hisfather's arrow, splitting it in two. Little John slapsWulf on the back and beckons everyone over. LITTLE JOHN Take a gander at this 'un, mates. Never seen nuthin' like it in my bloomin' life.Robin leads Marian through the camp... the beginnings ofa village -- women doing laundry, kids playing, men prac-ticing archery and swordplay, others working on defenses,camouflaging a giant pit. Marian is impressed, but notabout to admit it. MARIAN This better be damned important.Robin leads her into a hut. Inside is a trove of cap-tured loot -- purses, jewelry, weaponry, fancy coatsand... the treasure chest. At Robin's nod, Bull throwsback the lid. Marian is speechless. ROBIN Nottingham robs the poor. We rob Nottingham and give back to the poor. (CONTINUED) 77.CONTINUED: MARIAN Do you think he's going to let you get away with all this? The man is without mercy. He will annihilate you. ROBIN Somebody has to take a stand. MARIAN You're taking a stand with the lives of these people. These young ones.A beat. She checks the faces. Her eyes meet Robin's.Is there a hint of concern for him also? MARIAN What do you want from me? ROBIN Nottingham was sending this gold to buy reinforcements from the Celtic tribesmen. We need to warn King Richard. MARIAN Nottingham would not dare challenge the King. ROBIN The King is not in England to be challenged, is he? While he is away, he may lose his country. (Marian masks her concern) You are Richard's cousin. You can get word to him. He would believe you. MARIAN Now you want me to participate in your folly?A little girl approaches, holding a bouquet of wildflowers. Touched, Marian kneels to accept the offering. CUT TO:BOUQUETprotrudes from Marian's saddle. She is mounted, readyto go. Sarah giggles as she takes her leave of Bull. (CONTINUED) 78.CONTINUED: ROBIN (to Marian) I am sending Duncan with you. Give him some warm food and a real bed. I grow tired of his bellyaching. DUNCAN Hah! I have endured more hardship in my lifetime than any man here.Robin laughs and speaks to Marian in a stage whisper. ROBIN Don't tell him I told you, but he may be useful to you. There is no one to whom I would rather entrust your safety. MARIAN Duncan, you are most welcome.Taking the lead rein from Duncan's horse, she rides away. ROBIN (calls after her) Will you send word to the King? MARIAN I'll think about it.INT. DUBOIS MANSION - DAYA globule of red liquid. A signet ring. Marian sealsa letter.INT. BISHOP'S CASTLE - DAYThe letter is held in the pudgy, jeweled fingers of theBishop of Hereford. A lavish office. MARIAN It is a personal matter, my Lord, but one of vital importance. BISHOP I understand, my dear lady. This is my most trusted emissary.He hands the letter to a solemn courier. (CONTINUED) 79.CONTINUED: MARIAN You will travel to France immediately. You must give this directly into the hands of the King, and him alone.The courier bows in acknowledgement. Marian indicatesSarah. MARIAN My lady-in-waiting will accompany you.Surprised, the courier glances at the Bishop. BISHOP My dear, I could not vouch for her safety. The journey is fraught with danger. MARIAN I appreciate your concern, my Lord, but Sarah is an accomplished rider. I must insist that she goes along. BISHOP (a beat) As you wish.EXT. WOODSMEN'S CAMP - DAYAn informal council of war. Robin uses a stick in thedirt. ROBIN We have to be ready to move camp at any time. The only way we can be attacked is from the Nottingham Road. We hide lookouts in the trees, here and here. If they see soldiers, they shoot warning arrows. Whistles by day, fire by night.Wulf runs up to Little John in panic. WULF Father! Come quick. Mother's dying. 80.INT. WOODSMEN'S HUT - DAYFanny Little writhes in agony. John rushes in. Tucklooks up from Fanny's side. FRIAR The child comes early.Fanny screams. John kneels beside her, taking her head. LITTLE JOHN Hush, m'lass. Ya'll be fine. FANNY 'S not like t'others, John. Oh God, it pains me so. LITTLE JOHN (angrily, to Tuck) Ya're sittin' thar like a fat sow. Help her, man, help her! FRIAR I am doing all I can.Aslan appears in the doorway, with Robin. Whips back theblanket. Fanny's chest is covered with black squirmingcreatures. ASLAN By Allah, leeches!He starts to pull the parasites off. Tuck jumps at him. FRIAR Get away from her!Aslan pushes him away, continuing his work. ASLAN Blood is like air. If she loses blood, she and the child will die.John is paralyzed with confusion. Tuck appeals to Robin. FRIAR He lies. He is the devil's seed, sent to lead us astray. ASLAN Fool, both the Bible and the Koran instruct us to preserve life.Tuck raises an arm to strike Aslan. Robin blocks theblow. Aslan gently touches the mother's stomach. (CONTINUED) 81.CONTINUED: ASLAN (soothing) Your baby has not turned. It cannot be born without help. FRIAR What do you know, you damned savage? ASLAN (to John) If you will allow me, I can help her. It will not be without danger. FRIAR Do not listen to him! He will kill her. ASLAN If you do not listen to me, she will certainly die. And the child, too.Fanny cries out. John looks to Robin, pleading foradvice. ROBIN The good Friar has done all he can. I suggest you let the Arab try. (as John is undecided) If I am wrong, and they die, then you may take my life.John's eyes meet his wife's. She nods. LITTLE JOHN So be it. FRIAR Then it will be on your head. I have warned you.He storms out. All business, Aslan speaks to Wulf. ASLAN Bring me a needle, thread, water, a skinning knife, and burning ashes.Wulf runs to obey. John looks horrified. Robin easeshim outside, then returns to Aslan's side. Theywhisper. (CONTINUED) 82.CONTINUED: ROBIN What are you going to do? ASLAN The child must be taken out by the knife. ROBIN The knife? ASLAN I have seen it many times with horses. ROBIN Horses? By the Lord, what are her chances? ASLAN After wasting so much blood... not good. ROBIN Now you tell me!Wulf runs back in. Aslan holds up a piece of wood. ASLAN (to Fanny) Are you ready?... Bite down on this... Robin, hold her steady.He lifts the red-hot knife from the ashes.OUTSIDELittle John paces. Wulf comes out of the hut. Familieshover and wait. From inside, MUFFLED GROANS. FRIAR I tell you, the barbarian is killing her.John moves to the hut. Wulf restrains him.INSIDEThe mother heaves, then drops. ROBIN Is she gone? (CONTINUED) 83.CONTINUED:Aslan ignores him, keeps working over Fanny's body.Robin cannot watch... a WAIL! Aslan mutters somethingin awed Arabic. ROBIN What did you say?Aslan holds up a bloody struggling infant. ASLAN It is a boy.The mother revives. Aslan places the child on herbreast. ASLAN Your son, my lady... Robin, hold her skin together while I sew her up.He picks up the needle and thread. Robin's eyes turn tothe woman's abdomen... He faints. CUT TO:LITTLE JOHNmarches among the cheering families, holding his newbornchild high for all to see. Tuck sits miserably to oneside. Bloody and exhausted, Aslan appears at the hutdoor. Tuck jumps to his feet, drawing his knife.Heads turn. Tense silence. Robin appears, unsteadily,behind Aslan. Watches, ready to intervene. Tuck staresat Aslan. Raises his blade... and slices down acrosshis own wrist. FRIAR This day God has taught me a fine lesson.He hands Aslan the knife and extends his bloodied wrist. FRIAR I would be honored.Aslan slices his own wrist. The two wrists clasptogether in the universal sign of brotherhood. Everyonecheers. FRIAR You are a good man, my barbarian friend. (MORE) (CONTINUED) 84.CONTINUED: FRIAR (CONT'D) We shall open a barrel together and I shall do my damndest to save your heathen soul. ASLAN Alas, I am not permitted... FRIAR Our God made this brew, brother. I merely combined the ingredients. Do you dare to insult his works?EXT. COUNTRY ROAD - DAYHooves fly along a track. Sarah and the courier. Thecourier reins in, Sarah draws alongside. SARAH What is wrong? COURIER My horse seems to be favoring a foreleg.Sarah leans down to look and the courier cudgels heracross the neck. She falls from the saddle, unconscious.INT. DUBOIS MANSION - MARIAN'S CHAMBER - NIGHTFlickering candlelight. Marian is alone, reading. Asudden gust extinguishes her candle. HAMMERING andSHOUTING from a distant part of the house. Unnerved,she calls out. MARIAN Who is there? Duncan!INT. DUBOIS MANSION - KITCHEN - NIGHTMarian enters stealthily. A candle in one hand, adrawn dagger in the other. Something leaps at her!...A cat, looking for scraps on the kitchen table. Sheshoos him down. MARIAN Off, Nicodemus. Go find mice.She sighs with relief... is grabbed from behind. Amasked SOLDIER. (CONTINUED) 85.CONTINUED: SOLDIER We meet again.He reveals a large scar on his wrist -- removes hismask -- the man who attacked her earlier. He prodsher with his sword. SOLDIER Drop your blade. MARIAN You are still overmatched, soldier.She drops the sword. He hurls her against the table.Lays his blade against her chest. SOLDIER You owe me favors, wench. Bare your breasts... or I will do it for you.Resignedly, she raises a hand to loosen the string on herdress. With the other hand she reaches behind her, grabsa pepper bowl. Flips the contents into his face.Screaming, he grabs his face. She reaches for herdagger. He slashes with his sword. She backs to thefireplace, grabs a spit of roasted chickens... drivesthe point clean through his chest.He stares in shock at his own blood pouring from thecooked fowls pinned to his breast... FOOTSTEPS... maskedsoldiers converge from both sides of the house, draggingthe servants. Duncan is shoved through the door. DUNCAN I am sorry, my lady. There were too many.She stares at the invaders with studied calm. MARIAN Is there something you need, gentlemen? I remember no masked ball on my calendar. CUT TO:AERIAL SHOTFLYING LOW OVER treetops, OVER an expanse of green,intersected by brown roads and tracks. We are LOOKINGAT a detailed scale model of Sherwood Forest in... 86.INT. CASTLE CHAMBER - NIGHTThe Sheriff and SIX BARONS are gathered around the model.These are the men who revealed their faces to LordLocksley in the Druid ceremony. Nottingham toys witha white rat on his arm. REDHEAD BARON Forget about Locksley. He is no threat. NOTTINGHAM How can we control all England if we cannot control our own county? The people are turning him into a hero. GREYBEARD BARON It is impossible to attack him in the forest. We have tried everything. He is cunning. NOTTINGHAM Then we will be more cunning. I must be rid of him. We may not be able to intercept his next warning to the King.Sounds of COMMOTION outside. The door swings open.Framed in the doorway is a colossus in black armor.His helmet is the head of a dragon. He slowly raises thevisor. Deep tribal scars on his cheeks. Implacableferocity in his eyes. CELTIC CHIEFTAIN I want the heads of the men who stole my gold. NOTTINGHAM Welcome, sir. We were discussing how to rid ourselves of those very men. The outlaws who band with Robin Hood. REDHEAD BARON My Lord Nottingham, I must protest. It is a mistake to ally ourselves with foreigners. GREYBEARD BARON What can these Celts do that we cannot? (CONTINUED) 87.CONTINUED:The Chieftain strides across to the fire. Grabs aburning log. The Baron backs away in fear. The logspits sparks as the Chieftain raises it above his head...and drives it into his own palm. He stares unblinkingat the Baron, holding the log to his hand for a fullthree seconds.An awed silence. Nottingham grins, delighted with thedemonstration. He deposits his white rat onto the model. NOTTINGHAM This rat Hood has hidden out in the forest. He resists all our assaults with traps and devices, while he robs us blind. We must bring him out and destroy him.The rat has scurried into the shelter of the model trees.The Chieftain watches impassively, then calmly touchesthe log to the model. The trees ignite... the RATSQUEALS in terror and runs. The Chieftain cuts off itsescape, setting fire to more trees... again... andagain. The Sheriff watches the flames, fascinated. DISSOLVE TO:EXT. WOODSMEN'S CAMP - NIGHTThe campfire. Aslan shrieks a war cry. Dervishes 'roundthe fire, swigging from a jug. Equally drunk, the Friarfollows, howling, mimicking him. Robin and the otherswatch in amusement. Tuck scoops another jug and hands itto Aslan. FRIAR Come, you son of Saladin. A toast to all of Jehovah's children. The saved and the damned. ASLAN This must be a truly evil potion, to make the soul feel this good.He downs the entire jug in one long draught. Refills it. ASLAN Come, holy man. A toast to all of Allah's children. The true believers and the fat infidels.Tuck laughs and drinks. Aslan sways and topples at theFriar's feet. Heaves up all over the holy sandals. Tucklooks at Robin. (CONTINUED) 88.CONTINUED: FRIAR How can these Arabs hold Jerusalem when they can't even hold their brew? DISSOLVE TO:EXT. FOREST LANE - DAWNA masked soldier gallops along. Hurls a bundle to theground.EXT. WOODSMEN'S CAMP - DAWNThe Friar and the Saracen lie head to head on the deweygrass. Tuck snores. Robin shakes Aslan, who grabs forhis weapon. The hangover hits him like a mallet. Heclutches his temples. ROBIN The dancing demon! Good morning. ASLAN (wincing) If it was Jehovah who created this brew, he is truly wise. He built the punishment into the crime.An ARROW WHISTLES into a tree. Robin reacts. ROBIN They need help.EXT. FOREST LANE - DAYBull and Hal are crouched in the roadway, over a body.Robin runs up with Aslan. He kneels beside them. Thebody is Duncan. Robin clasps a dead hand... Silence.Fighting his emotions. BULL A bloke wearin' a mask o' the Druids rode by. Tossed 'im down. ROBIN Are you sure it was a Druid mask? (as Bull nods) Damn them to hell! They must have Marian. Do you know where they meet? (CONTINUED) 89.CONTINUED: BULL The Gregor Caves, I 'eard tell. ASLAN We will go there. ROBIN No! You stay here, dammit! I will go alone. ASLAN You forget yourself. I am not your servant. ROBIN Then be my friend. There are women and children here in greater need of your courage. ASLAN (considers) Take my eyes, then.He hands Robin his telescope. CUT TO:EXT. CAVESSQUAWKING ominously, CROWS burst from the trees. Robinrides up the path to the caves that his father took.Checks the ground. Horse tracks. He dismounts, movescautiously forward.POV THROUGH SCOPE - CIRCLE OF STONESNo one visible. Debris. Smoke rises from ashes.Remnants of a recent ceremony.BACK TO SCENERobin climbs silently down the rocks into the stonecircle. There is blood on the sacrificial altar.Through the opening of the cave, he spies a woman's form,lying face down. ROBIN (under his breath) Marian! (CONTINUED) 90.CONTINUED:He runs forward. Turns the body over. Skin chalk-whitefrom loss of blood... Sarah! A shadow falls acrossRobin. Before he can react, a cudgel stuns him intoblackness.INT. CAVE - DAYRobin's eyes -- he wakes. Squints around him, the darksmoke-filled recesses of the caves. The walls weave.Eerie WATERY sounds, like the CRIES of drowning men.He tries to stand. VOICE (O.S.) Robin!... Robin!A figure in a flowing white robe. Angelic. Floatingtowards him... Marian. He tries to speak her name.Reaches out his hand. MARIAN Death is not to be feared, Robin. Embrace it.Her LAUGH ECHOES around the cave, as if hundreds of lostsouls are laughing with her. Robin crawls away, cover-ing his ears. Marian lifts his face to hers. MARIAN Drink this.Weakly, Robin tries to push away the cup. Her handgrips his chin, forcing his mouth open. MARIAN Drink.The liquid trickles over his lips. He tries to focus.Her features are BLURRED, her voice hypnotic. MARIAN Look at me. Listen to me. You belong to me. Your soul is mine. You will obey my every word. Do you understand?Her face is inches from his. He tries to pull away, hissubconscious sounding alarms. ROBIN Why, Marian? (CONTINUED) 91.CONTINUED: MARIAN Because you love me. Say it. You love me. (as Robin struggles) Say it! ROBIN (sinking) I love you. MARIAN Kiss me.He gives himself to her. Their lips meet... somethingchanges in his vision. Her eyes glow red. Her facestarts to shrivel -- He is kissing the wrinkled lips ofMortianna.He pulls away... strong arms grab him. He shakes hishead, trying to make sense. Through his BLURRED vision,we see he is surrounded by masked men. ROBIN (slurred) Where is Marian? MORTIANNA She is with friends. (cackles) Your resistence is strong, but useless. Sign this. (as quill is forced into his hand) You are a Druid like your father. You consort with the devil. Your confession will be witnessed by the Bishop of Hereford.A guard forces Robin's hand across the page... thencries out, clutching his back... An arrow lodged be-tween his shoulders.In the cave mouth are Wulf, bow in hand, Bull kneelingbeside Sarah's corpse, and Aslan. MORTIANNA (horror) The painted man!Aslan's war CRY RICHOCHETS off the cave walls. A curvedscimitar in one hand, a straight English sword in theother, his arms are lethal windmills. The masked guardsare cut down left and right. Mortianna retreats, scurry-ing into the depths of the cave. (CONTINUED) 92.CONTINUED:Bull joins the fray, charging like his namesake, howlingin rage, flailing at heads with his quarterstaff. Wulfstays in the mouth, picking off men with deadly accuracy.A furious melee. Bull and Aslan mow down the enemy likehay, battling far superior odds. Soon they are the onlytwo left standing. Bull peers cautiously into the dark-ness. Behind him, one of his victims crawls back to hisfeet... and lunges. ASLAN Behind you!Too late. A sword is driven through Bull's gut. Aslangrabs the attacker by the neck and pile-drives him intothe cave wall. The man's SKULL CRACKS against the rocks.Aslan runs to Robin's side, as Wulf hurries to Bull's.Robin is slumped against a rock. ROBIN (groggy) Marian?Aslan runs to the back of the cave, searching. Wulf iscrouched beside Bull, who murmurs his dying words. BULL Ya be sure Sarah gits a Christian burial. Promise me, boy. WULF I promise.Aslan stumbles at the edge of a deep crevasse. Far be-low he sees Mortianna, clambering down the steep rock.For a second their eyes meet. She hisses -- venom,hatred, fear -- then is gone.EXT. GREGOR CAVES - DAYAslan carries Robin outside. Robin is staggering,glassy-eyed, mumbling incoherently. His arm blocksthe light from his eyes. ASLAN They have poisoned you. There are herbs that can alter a man's brain. I know of only one cure.He drops to one knee, slams Robin violently across theother. Slaps him on the back and forces his fingersdown his throat. (CONTINUED) 93.CONTINUED: ASLAN It worked for me this very morning. (as Robin heaves) You will thank me for this later.EXT. COUNTRY LANE - DAYDistant THUNDER. Three horses. First Wulf's, leadinganother with the bodies of Bull and Sarah draped acrossits back. Aslan rides the third, with Robin propped upin front of him. ROBIN You have fulfilled your vow. Now you can leave. ASLAN Your gratitude warms my heart. ROBIN You ignored my request. ASLAN It is fortunate that I did. ROBIN Because of you, another good man is dead. ASLAN He urged me to bring him. He was a brave man and I grieve for him. Praise be to Allah that I do not grieve for you also. Or for my broken vow. ROBIN To hell with your damn vow. ASLAN I am glad you are feeling better.Ahead of them, Wulf shouts and reins in. He points intothe distance. A huge cloud of smoke is darkening thesky. ROBIN The forest! Ride! 94.EXT. SHERWOOD FOREST - DAYFire. Blazing rampant.Along a hillside are hundreds of crossbowmen with firearrows. At a shouted order, another wave of flamingarrows ignites the trees.Behind the crossbowmen are two figures on horseback.One is the Sheriff, in full armor. The other is theblack-clad Celtic chieftain. He sits as still as a rock.EXT. WOODSMEN'S CAMP - DAYChaos. Acrid black smoke pours across the clearing.Disarray. COUGHING, SCREAMING, confusion. Little Johnvainly attempts to instill calm. LITTLE JOHN Ya'll be jus' fine. Lil' smoke ain't gonna kill ya.Scared and injured woodsmen careen out of the trees.Full retreat. WILL SCARLET (running up) It's burning for miles, John. It's hotter than hades, and them damn screens ain't worth nothing.Two woodsmen, blinded and choking, stumble into one oftheir own camouflaged pits. Hideous screams as they'reimpaled on hidden stakes. John tries to gather the able-bodied men to his side. LITTLE JOHN 'Ere, lads... Over 'ere! We must make a stand.Most of them keep on running. LITTLE JOHN Damn y'all! Ya're no more use than a load o' wet farts. WILL SCARLET Where's that damn Locksley? I'll swear he betrayed us. LITTLE JOHN Bollocks, Will. Quit yer bloody bellyachin'.Hal runs to join them, stuttering. (CONTINUED) 95.CONTINUED: HAL C... cccc... LITTLE JOHN C... ccc? What the bloody hell ya sayin'? Cows?... Cowards?... HAL Cccc... elts! WILL SCARLET Celts? Where? HAL (pointing behind him) Gggg... God help us.EXT. HILLSIDE - DAYCelts, arrayed behind their Chieftain. An awesome sight.Clad in hides and skins, painted arms and faces, head-pieces the faces of wild animals. Standing in eeriesilence. A loud CLAP of THUNDER. Nottingham rides upto the Chieftain. NOTTINGHAM I want prisoners.The Chieftain does not turn his head. CHIEFTAIN We came to fight. NOTTINGHAM Nevertheless, I need prisoners.With only a short flick of his head, the Chieftain spits.Nottingham waves his arm, signalling his own foot sol-diers to advance. The Chieftain raises his sword.Instantly a tumultuous chilling roar from his warriors.They charge forward.EXT. SHERWOOD FOREST - DAYThe bloodcurdling cry fills the sky. Amidst the smokeand chaos, Little John's small band is gathered at theedge of the clearing. WILL SCARLET What are we gonna do, John? (CONTINUED) 96.CONTINUED: LITTLE JOHN Stop 'ere and flippin' well fight 'em, that's what. Whadya say, lads?Half-hearted support from about a dozen men, includingTack. LITTLE JOHN Nay, reveren'. Ya best be goin' wi' the wenches. FRIAR This holy man believes in doing God's work with his hands.He snatches a quarterstaff. John slaps him on the back.The men are encouraged. LITTLE JOHN Let's give 'em a bloody good wallopin' an' all, lads.EXT. FOREST ROAD - DAYAslan reins in. In the valley below, the forest isablaze. The Sheriff's armed hordes swarm over the em-battled woodsmen. ROBIN Wulf, stay here. I need your horse.He climbs onto Wulf's horse, steers it right at the heartof the enemy... Aslan blocks his way, grabbing his reins. ROBIN What are you doing? Out of my way! ASLAN I saved your life. I will not let you give it away for no purpose. ROBIN Out of my way, damn you! ASLAN Does the witch still have possession of your senses? If we meet up with the survivors we may yet give them some help. And do some damage to the enemy. (CONTINUED) 97.CONTINUED:Robin debates. Relents. They urge their horses intoa gallop.EXT. SHERWOOD FOREST - DAYThe Sheriff's men stomp through the burning forest.From the other side of the flaming trees, Little John'smen pick off shots with their longbows. They retreat,turn and fire again.They back into a clearing... The Celtic mercenariescharge at them across the open ground. The woodsmendrop their bows. Hand-to-hand combat. Woodsmen arebeing decimated.Little John storms and shouts, cutting down the enemy,inspiring his men. The Scotsmen are awed by this giant.Tuck is confronted by a wild-eyed Celt. FRIAR Surely you would not harm a man of the cloth?The man swings, Tuck sidesteps. FRIAR You would? Then to hellfire with you.He pummels the man to the ground with his staff.The woodsmen are broken into two groups. One group,including Will, is surrounded and surrenders. The othersfight on.Bleeding from several wounds, Little John is surroundedby four Celts. He spins, challenging them, spitting outexpletives. Defiant to the last... suddenly hisattackers are hurled aside. Robin rides right throughthem, slashing with his sword. LITTLE JOHN 'Bout bleedin' time, mush.Tuck is driven to the ground... his assailant is deliver-ing the lethal blow, when Aslan cuts him down. Tuckglances heavenwards. FRIAR Thank you, Lord. (an afterthought) And thank you, Allah. (CONTINUED) 98.CONTINUED:Aslan is a wild man. Steering his horse with just legsand knees, he strikes out with both swords to left andright. The momentum is turning. Wulf appears at theedge of the clearing. Starts picking off stragglers.His father spots him. LITTLE JOHN Git the bleedin' 'ell outa there, ya li'l bugger.Distracted, he doesn't see a Celt swing at his back...but Wulf's arrow pierces the man's adam's apple. Hefreezes in mid-air, before toppling at John's feet.When John turns back, Wulf is being dragged away bythree of the Sherrif's men. He attempts to pursue, butis intercepted by two more Celts... and struck down.Aslan charges between the two Celts. Slashes downwith both swords. Both men topple to the groundsimultaneously.Suddenly all is quiet. The smoking clearing is a massof fallen bodies. Only four men seem to be alive.Robin, Aslan, Tuck, who is slouched against a treegasping for breath, and Hal, who kneels clutching hiswounded shoulder.Robin dismounts and runs to Little John. Overwhelmedand exhausted, he slumps over the giant's unmoving form. LITTLE JOHN Don't 'ee start bleedin' blubberin', or ya'll make me bloody vomit.Robin manages a relieved smile. Aslan strides over.All around them lie slain Celts and woodsmen. ASLAN It was a fiendish mind that planned this campaign.EXT. SHERWOOD FOREST - DUSKA shovel breaks dirt. Beyond exhaustion, Robin digs agrave. The clearing is transformed into a cemetery.Tuck blesses the bodies of Bull and Sarah. Aslan dragsa Celt's corpse into a grave. Throws the man's armorand weapons into a growing pile. (CONTINUED) 99.CONTINUED: ROBIN You were an honor to your countrymen today, Aslan. You fought better than twenty English knights. ASLAN This war is the God of Abraham against the forces of evil. ROBIN Well, the war is over.He stares across the desolate clearing. ROBIN There is too much blood on my hands.INT. CASTLE DUNGEONS - NIGHTA heavy key turns in a lock. Bolts drawn back. Fol-lowed by guards, Nottingham enters the torture chamberwhere the captured woodsmen are chained, among themWulf and Will Scarlet. Putrid ankle-deep water on thefloor, walls encrusted with dried blood and grime.Nottingham walks up to the FIRST MAN. Wry smile. NOTTINGHAM (wry smile) Would you prefer pain or death? FIRST WOODSMAN Death.Dignity masking his terror. Nottingham appears toconsider. NOTTINGHAM Torture him.The man is dragged away by guards. The next PRISONER -- NOTTINGHAM And you? Pain or death? SECOND WOODSMAN (PRISONER) (pure terror) ... Er... pain. NOTTINGHAM Torture him... you see, it makes no difference. (MORE) (CONTINUED) 100.CONTINUED: NOTTINGHAM (CONT'D) You will all be tortured. You will all tell me all you know about Robin Hood, and then you will all be hanged. Then we will catch your beloved Robin Hood and do the same to him. WILL SCARLET I will kill him for you. WULF Will, no!Nottingham strides up to Will, drawing his sword. NOTTINGHAM Why would I need you? WILL SCARLET All your attempts to kill him have failed. Your army failed. Your Celtic mercenaries failed.Nottingham places his sword point against Will's throat. NOTTINGHAM And you can succeed? WILL SCARLET I am one of his men. He would never suspect me. WULF He knows you always hated him, traitor. WILL SCARLET He is a trusting fool. He will believe me. If he doesn't, he will kill me and you have lost nothing.Nottingham slides his blade between Will's teeth. NOTTINGHAM If you fail, I will personally cut out your lying tongue.He withdraws the blade. Will tries to smile. WILL SCARLET And if I succeed? (CONTINUED) 101.CONTINUED: NOTTINGHAM His friends will.. (to a guard) ... torture him!He turns back to Will. A smile of mock apology. NOTTINGHAM It will look better.EXT. SHERWOOD FOREST - NIGHTA winter's night. Bitterly cold. Sad figures huddledaround a small fire. Fanny tends to John's wounds, theirlittle ones asleep by their feet. John drinks and passesthe jug to Tuck, who numbly shakes his head. Toodepressed even to drink.Aslan folds his prayer rug and walks over to Robin, whosits alone, staring vacantly into the darkness. ROBIN My pride brought us to this. ASLAN No, friend. It was you who gave these men pride. ROBIN I gave them nothing but false hope. Tomorrow we will disperse. These people can move south and start over. You must go home and win your Jasmina. ASLAN And you? ROBIN I am no longer your responsibility. ASLAN That is for me to decide. ROBIN (raging) Damn you, Arab. I want you out of my life. Can't you understand that? Go home. Go back to your own kind.Aslan stares at him, then turns away. Not the time forargument. Robin fingers his father's medallion... ripsit from his neck. (CONTINUED) 102.CONTINUED: ROBIN Damn you, too, Father. You reared a coward and a fool.He hurls the medallion... it catches on a low-hangingbranch. CUT TO:NOVEMBER MOONWatery, full. The FOCUS SHIFTS TO the medallion,dangling in its center... the last thing Robin seesbefore his eyes close into troubled sleep. The whitemoon against the black sky... DISSOLVE TO:ITS NEGATIVE IMAGE-- a black circle against a white sky. An executioner.The round medallion has become a noose.In the noose appears Wulf's face. The executioner haulson the rope and Wulf's features contort in the agony ofdeath. Another noose, another face... Duncan. Another-- Bull. Another -- Marian. MARIAN Kiss me, Robin.The noose tightens on her neck. As she dies, her faceshrivels into the cackling features of Mortianna.Next, Robin's father. He stares accusingly right AT us. LOCKSLEY Why have you betrayed me? Why?Before he pulls the rope, the executioner peels back hishood... It is Robin. Gloating, he hauls on the rope.His laughter blends with that of Mortianna in a hideouscacophony. DISSOLVE TO:ROBIN'S FACEDISTORTED in water. The LAUGHTER BECOMES the sound ofa RUNNING RIVER. Robin is washing, trying to drive awaythe horror. (CONTINUED) 103.CONTINUED:The first streaks of light fight their way through athick, morning mist. Out of the mist steps a figure,at first indecipherable. Aware of his presence,Robin looks up. ROBIN Will! I thought you were taken. WILL SCARLET I was. ROBIN How did you escape? WILL SCARLET I promised to kill you. ROBIN And will you?Before Will can answer, Little John runs up. GrabsWill's throat. LITTLE JOHN I'll wring yer scrawny neck, Will Scarlet. I'd be doin' yer a bloody favor an' all.Quickly, others arrive. Aslan, Tuck, Hal, Fanny, withkids clinging to her skirts. FANNY Afore ya kill 'im, John, ask 'im if Wulf be still alive.Will is choking, unable to speak. John loosens his holdjust enough for Will to splutter out... WILL SCARLET Y... e... LITTLE JOHN Git us a rope, Hal, and we'll put the bleedin' weasel outa 'is misery. ROBIN John, wait. Let us hear what he has to say. LITTLE JOHN No bugger 'scapes the Sheriff, 'nless 'e's linin' 'is bloomin' pockets. (CONTINUED) 104.CONTINUED: ROBIN A traitor sneaks in and out under cover of darkness. Will walked in and announced himself. LITTLE JOHN (dismissive) Aye. 'E always did 'ave balls o' brass. HAL Let's sss... string 'im up. ROBIN Let him speak.John reluctantly moves his hold from Will's neck to hisshoulders. LITTLE JOHN Search 'im, Hal. 'E'll 'ave a bloody blade on 'im somewheres.Will eyes the accusing faces. Hal searches, lifts Will'sshirt. His whole skin is lacerated with deep gashes andfresh burns. LITTLE JOHN Bugger me.He steps back. Ready to listen. WILL SCARLET I bring a message from Nottingham. Our men are to be hung in the square on Saturday. At high noon. FANNY What about my boy? WILL SCARLET The boy, too. Ten men in all.Fanny drops her head on John's shoulder. WILL SCARLET Their deaths are a warning. Anyone who associates with the outlaw Hood is to suffer the same fate. Man, woman, or child. Even anyone who so much as utters his name. (CONTINUED) 105.CONTINUED: FRIAR Robin Hood! Robin Hood! Robin Hood! (chuckles) May as well be hung for a sheep as a lamb. WILL SCARLET The hangings are to be part of the celebration for the Sheriff's marriage. LITTLE JOHN Marriage, eh? What lucky wench gits to play with the Sheriff's codpiece?Will turns his gaze directly on Robin. WILL SCARLET Lady Marian. FRIAR He takes a bride of royal blood? LITTLE JOHN Aye, and then with King Richard gone, he takes the bloody throne.Everyone reacts with shock. Only Robin appears unsur-prised. ROBIN You were to use this news to get close to me, and then kill me? Right, Will? WILL SCARLET (sly grin) Not straightway, of course. ROBIN What is your intention, Will? WILL SCARLET That depends on you, Locksley. ROBIN How so? WILL SCARLET I've never trusted you, that's no secret. What I wanna know is, are you gonna finish what you started? (CONTINUED) 106.CONTINUED:Robin is on the spot. All eyes on him. Will presses hispoint. WILL SCARLET Will ya stay and keep us fightin' till every man jack of us is dead? Or will you run like the spoiled little rich boy I always took you for? ROBIN You present quite a choice. What would you have me do, Will? WILL SCARLET If you run, I will kill you. ROBIN And if I stay, will you all stay with me?Robin checks the other faces. ASLAN To the end, friend. FRIAR If my heathen brother stays, I stay. HAL Mmmm... meee... tttt...He can't get it out. Little John covers Hal's mouth. LITTLE JOHN 'E's in. We're all bloody in. Daft buggers. ROBIN There's your answer, Will. We finish it.EXT. NOTTINGHAM TOWN SQUARE - DUSKTen gallows, silhouetted against the setting sun. Theblack-armored Celt tests a gallows, springing the hatch.A heavy sack dangles from the rope. Grim-faced peasantswatch. Among them -- Fanny Little. 107.INT. DUNGEON - DUSKThe sound of the gallows ECHOES inside the damp, stonewalls. Wulf and the other woodsmen are chained to ringsin the floor. Wulf lifts his eyes to a chink of lighthigh in the wall. The purple sky is turning black. Hefingers his wooden crucifix. WULF If it be your biddin' that this be my last night o' life, Lord, gimme the pluck to die proud. An' look 'ee kindly on my folks an' the young 'uns.The light in the cell melts to total darkness. DISSOLVE TO:BRANCHESSunlight glistens on frost-laden branches. A COCK ROBINCHIRPS.EXT. SHERWOOD FOREST - DAWNIn the troubled human realm, Tuck says his morningprayer. FRIAR Lord, grant us the courage to endure, and if you're as smart as I believe you are, grant us victory... and the victuals to celebrate it with.Aslan is crushing charcoal into a mixture of yellowpowder, which is turning black. Tuck approaches. FRIAR Will you pray with me, son of Allah? ASLAN I have prayed for you, often, my brother. But, let us put prayer aside and help our gods in a more practical manner. I must reveal to you the mysteries of the black powder.Tuck takes a bowl of the powder close to the fire toexamine it. Aslan snatches it back... Before Tuck canreact, Robin walks up. (CONTINUED) 108.CONTINUED: ROBIN Will it work?Aslan throws a handful of powder into the firel A fire-ball rips ten feet in the air... Tuck falls on his assin terror. ROBIN (impressed) You are truly a wizard. ASLAN There is no such thing. But if there was... (chuckles) ... I would surely be one.Robin reaches out and shakes Aslan's hand. A moment ofbonding. He moves on to the others, clasping each man'shand as he speaks. ROBIN We have no armored knights, no glorious banners. But I am honored to be going to battle in this company. Today we fight not just for the lives of our friends, but to save all England.A moment of tension before Will takes the proferred hand. ROBIN We may be only six men, but... FANNY Seven!She strides towards them from the trees. LITTLE JOHN What in blazes ya doin', woman? Where's the little 'uns? FANNY Them's safe, wi' my mother. (pushes past Little John) Robin, I been to town an' seen the scaffold and the guard towers. LITTLE JOHN Ya gone bleedin' cracked, girl? (CONTINUED) 109.CONTINUED: FANNY You go an' birth eight babies and then you can come an' tell me 'bout hurtin', ya big ox. I ain't gonna sit aroun' an' let one o' 'em die, neither. LITTLE JOHN Ya should be bloody well mindin' the other seven. Tell 'er, Rob.Robin starts to draw a diagram on the ground with astick. ROBIN Fanny, show me the exact location of the scaffold.Little John double-takes.EXT. NOTTINGHAM - DAYThe gallows. Swathed in a pink glow. A brilliant,wintry morning. Breath billows from the mouths of thesentries.INT. NOTTINGHAM CASTLE - CORRIDOR - DAYBoots clack confidently down a stone corridor. TheSheriff decked in wedding finery. He enters...INT. CASTLE CHAMBER - DAY... Mortianna's apothecary. Dark, smoke-filled. Foulthings in jars. Animals in cages, waiting to meetunspeakable ends. Marian is strapped in a chair, flankedby two armed guards. NOTTINGHAM How is my bride?Marian smiles as he leans toward her... and spits in hisface. NOTTINGHAM Ah... You are overwhelmed with happiness.He slowly wipes off the spittle... and slaps her hard. (CONTINUED) 110.CONTINUED: MARIAN (calm, uncowed) I will never marry you.Mortianna emerges from a dark corner, bearing the gobletshe used at the Druid ceremony. MORTIANNA Hold her!Marian struggles against her bonds. MARIAN Get away from me, you disgusting hag. I will not... augh!The guards viciously restrain her, forcing her mouthopen. Mortianna pours the blood-red liquid down herthroat. Marian fights, gagging and choking... until thedrug takes its effect. She slumps forward. Nottinghamwatches with amusement. NOTTINGHAM (to Mortianna) When we are married, thirty of the northern barons will pledge me their support as king. As you predicted.Mortianna squats on the floor besides a platter of blood.Clasps the dice-like runes. NOTTINGHAM What do you see in the portents?Mortianna rocks on her heels, clutching her taloned handsto her sides. She chants, fingering the bloody stones. MORTIANNA The union. The blood of the lion and the house of Nottingham. New faith. New power. New souls.She stares at Nottingham, her red eyes demented. MORTIANNA If there is no union, there will be darkness, despair, death. Ours! NOTTINGHAM Di not give me riddles, woman. We are to be married within hours. How can we be in danger? (CONTINUED) 111.CONTINUED: MORTIANNA The blood does not lie. NOTTINGHAM (shouting) Tell me how it will result. MORTIANNA I have told you what I know. NOTTINGHAM Confound you, crone. Without my protection, the people would hunt you down, rip out your black heart and burn it.Mortianna runs at him. Points her bony finger at hisheart. MORTIANNA Without me, you are nothing. You are straw, a fleabite, a speck. (as Nottingham laughs) Laugh, fool. I birthed you from this body. I stole a babe in this very castle, and killed it so that you might rise in its place. You are my son. (Nottingham is too shocked to react) Together we are strong. Now is not the time to doubt. Now is the time to believe, to be bold. The bold will prevail.EXT. CITY GATE - DAYMasses stream in. They give wide berth to a Celtic war-rior in a boar's head helmet. Soldiers prod and harnessthe passing peasants. Tuck drives a cartload of barrels.A GUARD stops him. GUARD What you got there, Father? FRIAR The Lord's finest brew for the good Nottingham's fighting men. It has a mighty kick. (CONTINUED) 112.CONTINUED: GUARD (smiling) I'll warrant. Pass.EXT. DUNGEON GATE - DAYWulf blinks at the sunlight as the prisoners are led out.Holds his head high. Soldiers hurl abuse, the people aretoo cowed to show support. Fanny glances at her son,crosses herself and scurries into the castle, unnoticed.On horseback, encircled by guards, the Sheriff and hisbaron cronies watch the outlaws progress with cruelamusement. A yell attracts Nottingham. Will is beingshoved back by guards. WILL SCARLET Sheriff! My Lord Sheriff! I have word for you! Of Robin Hood!Nottingham shouts to one of his mounted guards, who ridesover, grabs Will by the collar, and drags him to hisside. NOTTINGHAM Ah, the turncoat. Did you succeed? WILL SCARLET I found his lair, but alas he still lives.The Sheriff strikes down with his armored hand. Willcrumples. NOTTINGHAM Stretch his neck with the others.Hands yank Will to his feet. Dazed, he tries to speak.Disinterested, Nottingham turns away, until he catches... WILL SCARLET ...He... He... is here! NOTTINGHAM Locksley, here? Where ?Will struggles to get free of his holders. WILL SCARLET Call off your dogs. NOTTINGHAM Release him!... Now, where is he? (CONTINUED) 113.CONTINUED: WILL SCARLET I want your word, in front of these witnesses. If I tell you, I will go free. NOTTINGHAM (scoffs) We will find him. WILL SCARLET He is concealed. He is going to free the prisoners and stop the wedding.Nottingham's jaw tightens. Eyes the prisoners, thescaffold. NOTTINGHAM Put Hood in my hands, you go free. WILL SCARLET With the reward. Ten thousand crowns. NOTTINGHAM Damn your worthless hide! Just tell me where he is. WILL SCARLET The reward!The parade of prisoners reaches them. Seeing Will, Wulfcharges at him, screaming in blind rage. Soldiers grabWulf. Throw him down, kicking and beating. Voices inthe crowd plead to let him be. Someone tries tointervene, gets hurled down. NOTTINGHAM (to Will) You'll get your reward. Where is he? CUT TO:EXT. SCAFFOLDTuck urges his ancient nag towards the scaffold with hiscargo of barrels. The crowd parts unwillingly. FRIAR Out of the way. Make way for the Lord's business. (CONTINUED) 114.CONTINUED:Across the square, Will points urgently in Tuck'sdirection.EXT. CITY WALL - DAYA massive oak stands near the southern wall. A largefigure climbs to its uppermost branches. Little John.He scrambles from the tree, starts to climb the wallitself. He slips frequently.EXT. CITY SQUARE - DAYThe prisoners are led to the scaffold, where the hoodedexecutioner waits, along with the Chieftain. Wulfstaggers, from his beating.Nottingham's men encircle Tuck's cart. He watches themnervously.EXT. CITY PARAPET - DAYFanny lowers a knotted rope over the battlement. Farbelow, John clings to the outer wall. Above him it'ssheer, without footholds. The rope doesn't reach hisfingertips. He stretches, loses balance. Falls...desperately grabbing at the rope. He swings, clingingby one arm, his body smashing into the wall.EXT. CITY SQUARE - DAYWill leads the Sheriff to Tuck's cart. NOTTINGHAM Step down, friar. FRIAR As you wish, sire. Is there something amiss? NOTTINGHAM This man claims you have outlaws concealed in these barrels. Among them the cursed Robin Hood.Tuck glares at Will with unconcealed hatred. FRIAR This man will rot in hell as a knave and a liar. These are libations for the celebration of your lordship's nuptials. (CONTINUED) 115.CONTINUED: NOTTINGHAM Break one open! FRIAR (nervous) Why waste fine vintage, my lord?A cask is shattered... wine torrents out. WILL SCARLET Try another. There are many barrels, only a few outlaws.A drum roll. The Sheriff's attention turns to thescaffold, where the first victim is escorted up thesteps -- Wulf.Tense, Tuck pulls a tinder box from his robes, strikesa flame.EXT. CITY PARAPET - DAYJohn strains, heaving his giant frame up the rope. Henears the top, just as a SENTRY approaches. Fanny blocksthe man's view. SENTRY What is your business, woman? FANNY Ain't doin' no 'arm, m'dear. Likes a good 'angin', I do. Luvly view up 'ere, ain't it?She gestures below. The Sentry looks, then turns back toher... notices the rope. With all her might, Fanny ramshis head into the stone battlement. Twice. Three times.He slumps unconscious.EXT. CITY SQUARE - DAYWulf crosses himself as the executioner steers him to thenoose. A hush falls... except for a rotund old woman whois barging to the front. And a WOUNDED SOLDIER, his headbandaged, who eases her path, striking out with his tree-branch crutch. WOUNDED SOLDIER Give room for a fightin' man and his ma. Step aside, or I'll make ya. I wanna see the bastards walk on air. 116.EXT. CITY PARAPET - DAYJohn struggles over the battlement. Collapses. FANNY 'Bout time, ya gurt lug.She wrenches the longbow from his back, fumbles for anarrow. FANNY We be too late.EXT. CITY SQUARE - DAYThe scaffold is impregnable. Celts and their Chieftainguard the platform itself. The Sherriff's men surroundthe base.The executioner encircles Wulf's neck with the noose.SPARKS! Tuck ignites a fuse-cord leading to one of thebarrels.A hand tightens the noose... Another grasps an arrow.The executioner's eyes glint through the slits.Nottingham intently watches Wulf.The Chieftain stands, impassive.Fingers close on a bowstring... the fuse-cord burns.Wulf steps to the trap, ready to plunge. His eyes close.An arrow flies... slices through the executioner's eyeslit.The executioner falls. Little John celebrates... butthe Chieftain leaps forward... releases the trap.Wulf's body plunges. The rope snaps tight.Little John yells. Fanny screams.A figure leaps onto the platform... the wounded soldierthrows aside his crutch... Robin!Wulf dangles, strangling. His hands wrench at thechoking cord. (CONTINUED) 117.CONTINUED:The burning fuse-cord reaches the barrel. Tuck hurls thesmoking barrel thundering towards the Sheriff... Spottingit, Nottingham urges his horse over his own men in hiseffort to escape.The Chieftain smites at Robin... his blow is blocked...by the Celt with the boar's head.KAABOOM! The GUNPOWDER in the barrel EXPLODES. Spewingsmoke and wood. SCREAMS of panic. Soldiers fly. Massconfusion.Amidst the smoke... Robin's sword slashes through Wulf'srope. He hauls him onto the platform.Another figure on the platform... the old woman. Slashesthe ropes of the other prisoners. Whips off her wig...It's Hal. He passes out weapons from a bundle under hisarm. HAL Here... By God... Let's fight 'em! WOODSMAN Hal! What happened to your stutter? HAL It's gg... ggg... g..oh crap!A guard attacks, Hal fells him. HAL Take that, ya mug.No stutter this time! The woodsmen join battle with theguards.The Chieftain cudgels his Celt attacker across the head.The boar's head helmet tumbles... revealing Aslan. CHIEFTAIN Impostor! You dishonor the clan.Aslan retreats, fending off the Chieftain's shatteringblows.FROM PARAPETJohn and Fanny peer down as the smoke clears. They watchWulf struggle to his feet. A Celt sneaks up behind him. LITTLE JOHN Fight fair... (CONTINUED) 118.CONTINUED:He aims. Grits his teeth... picks off the Celt with ashaft. LITTLE JOHN ...Or don't fight at all.ON SCENERobin leaps and swings from gallows to gallows, kickingout, slashing down. Sends two Celts hurtling down thetrap hole.Will battles the Sheriff. A reprise of his own fightwith Robin, the roles reversed. The Sheriff, armed andmounted, flails at Will, who, unarmed, dodges in andaround the horse's legs.Aslan and the Chieftain are locked in mortal combat.Aslan stumbles back and falls. The Chieftain swipes athis head. Aslan rolls aside. The sword smashes wood.Tuck surrounded, rolls another smoking BARREL... ItEXPLODES.The Greybeard Baron spots Little John and Fanny on theparapet. GREYBEARD BARON Up there! No mercy, shoot them!Crossbowmen on the opposite parapet fire. Bolts ricochetall around Little John and Fanny.ON SCAFFOLDWulf guards the steps, beating back all comers.ON SCENEAslan evades the charging Chieftain. Drop-kicks asoldier, takes his sword, and whirls back at theChieftain. His blows have no effect on the Scot's blackarmor.The Sheriff rears his horse... hooves flail.. knockingWill to his knees. The Sheriff lunges... Desperate, Willgrasps the sword, ignoring the pain... a tug of war.Blood pours from Will's hands, where the blade cuts in.He suddenly lets go... Nottingham topples from hishorse. Will leaps on him. (CONTINUED) 119.CONTINUED: WILL SCARLET Pain or death, you butcher?The Sheriff's men drag Will off before he can choke him.Raging, Nottingham climbs to his feet. Will is held byfour men. NOTTINGHAM Here's another message to Robin Hood, written in your blood.He drives his sword repeatedly, insanely, into Will'sbelly. WILL SCARLET It's over, fool. You can kill my body, but you cannot kill our spirit.He finally drops... Nottingham heads for the castle.Robin attempts to follow. He swings from the noose,using the rope to vault over the surrounding soldiers.As he lands, he is waylaid by one of the barons and hismen. REDHEAD BARON It's Hood! Get him!The Chieftain knocks Aslan down. Aslan loses his sword. CHIEFTAIN I am iron. I am rock. I am your death.Aslan spots one of John's arrows protruding from a deadCelt's back. Scrambles over and tears it out. ASLAN You talk too much!He leaps... rams the arrow through the Chieftain'smouthpiece... out the back of his neck. The Chieftaingrabs his helmet, trying to rip it off. He topples,his life's blood gushing from both sides of his neck.Aslan plants a foot on the slain warrior. ASLAN Englishmen! I am not one of you, yet I fight for you. Against a tyrant. Join me now. Join Robin Hood.The onlookers are inspired. Grabbing weapons from fallensoldiers, many join the fray. (CONTINUED) 120.CONTINUED:Nottingham runs through the castle gate. Angry peasantspursue. NOTTINGHAM Lower the portcullis! Now!A guard winds down the giant gate. Nottingham hurls himaside. NOTTINGHAM Too slow, fool!He hacks at the ropes. The gate slices down like aguillotine, pinning soldiers and peasants alike.Fighting his way towards the gate, Robin sees with dismaythat the portcullis is closed. Weakening, he staves offthe redhead baron's vicious assault. Suddenly peasantsare swarming over his attacker. The baron is dragged offand trampled down. ROBIN Friends! We must raise the gate.EXT. CASTLE PARAPET - DAYCrossbow bolts fly. Little John ducks and weaves, whilespinning and firing at the men advancing at him from bothsides. LITTLE JOHN Come on, ya ckicken-'earted buggers. Ya milksops, ya bleedin' pansies.He can't shoot fast enough. As they descend on him, heleaps from the battlements onto a soldier's back. Grabshis sword. LITTLE JOHN Excuse me, m 'old cock. Ya mind if I borrow this?He's backed up against a battlement, outnumbered five toone.EXT. CASTLE GATE - DAYRobin and the others try in vain to lift the portcullis.INT. CASTLE - MAIN CORRIDOR - DAYThe Sheriff marches through, issuing orders. (CONTINUED) 121.CONTINUED: NOTTINGHAM Seal the entrance. Guard it with your lives. ... Bring the bishop to my chapel.INT. CASTLE CHAMBER - DAYSurrounded by flickering candles, Marian sits before amirror. In a white wedding gown. Her eyes faraway,lifeless, in deep trance. Mortianna sensuously combsthe bride's hair with her taloned fingers. TheSheriff's face appears in the reflection. NOTTINGHAM Come! It is time for the union.The guards roughly haul Marian to her feet. She isoblivious.INT. CASTLE CHAPEL - DAYOnce, Christian, now blasphemously transformed to thepractice of black magic. The crucifix on the altar isupside down. Marian stands before it, between theSheriff and Mortianna. The Bishop is dragged in.Frightened. The BATTLE SOUNDS ECHO. BISHOP They are rebelling. We must escape. NOTTINGHAM Marry us. When I am declared king, that rabble will not dare go against us. BISHOP Is is madness to delay.Mortianna screams and slashes her talons across theBishop's outstretched hands. Blood flows. MORTIANNA Face them, or face me.EXT. CASTLE GATE - DAYRobin leaps onto Tuck's cart. ROBIN Light all the barrels, Tuck. (CONTINUED) 122.CONTINUED:Robin snaps the reins, steering the rumbling cart acrossthe yard. Bouncing in the back, Tuck lights barrels.FUSES smoke and CRACKLE. ROBIN Jump!Tuck jumps. Robin steers the wagon at the gate. At thelast second, he slashes the reins and leaps onto thehorse's back... The BARRELS EXPLODE! The portcullis isblown to kingdom come.Out of the smoke, Robin rides the old nag like a charger.Leads his cheering, ragged fighters through the open gate.INT. CASTLE KITCHENS - DAYFanny is chased into the kitchens by a vengeful soldier.He grabs her and pushes her into the open cooking fire.Desperate, she grabs a poker and smashes him over thehead. The servants stare in shock... A chef comes atFanny with a knife.EXT. CASTLE FORECOURT - DAYHal and the others battle against huge odds. Morepeasants join them, daring to take on the Sheriff's hatedmen. Aslan's a whirlwind, striking out in alldirections. Each blow for a cause. ASLAN For Allah!... For Jehovah! For brotherhood!... For justice!INT. CASTLE HALLWAYS - DAYA door SLAMS back. Robin bursts through. Alone, againstthree attackers. He swings a soldier around. Holds himas a shield, using the man's own sword against hiscompanions. In seconds, all three are down and Robin isoff and running.Down corridors, searching. Soldiers and armed servantsconverge to block his way. Robin strikes, vaults, flingsstatues. Up the stairs... topples a suit of armor downon his pursuers. ROBIN (grabbing a servant) Where is she? Where is Lady Marian? (CONTINUED) 123.CONTINUED:The man refuses to speak. Robin looks up the corridor,sees six men guarding the private chapel's arched door-way. ROBIN Ah! There is my answer.He hurls the man aside... The armed guards charge him.INT. DUNGEONS - DAYCarrying a flaming torch, Tuck runs down the dark passage-ways. Before him, an awesome sight... dozens of pitifulmen in cages. Suddenly he is confronted by the jailer.A cruel behemoth of a man, carrying a spiked club. FRIAR (pious) My son, there is a holy war being waged outside. Release all these wretches and God shall surely find you a place in heaven. JAILER I'd rather go to hell!WHAM! Tuck takes the lethal cudgel full in the chest.Flies back.INT. CASTLE CHAPEL - DAYSweating, fearful, the Bishop rushes through the service. BISHOP ...your bodies to be bound in immortal wedlock. Do you, Marian Dubois, take...The chapel DOORS SHATTER inward.Robin backs in, bloodied, fencing with four remainingsoldiers. He smashes one by swinging the heavy door intohim, hurtles a pew at another. He springs off anotherpew, taking down a third. ROBIN Marian, run! It's me, Robin. Run!Marian remains immobile. Mortianna moves to her side.Robin is struck in the thigh. Like a vulture, theSheriff waits. Tiring, blood pouring from his leg, Robinprepares to fight him. (CONTINUED) 124.CONTINUED: ROBIN I warned you, I would find you no matter what. NOTTINGHAM No companions? No army? You rush to your death for the sake of a woman. Lust has turned you into a fool... Recognize this, Locksley?He raises his sword to reveal its handle. A crucifixsculpted into the hilt... Robin's father's sword. NOTTINGHAM Appropriate I should use it to kill you with, don't you think?He lunges. A savage, accomplished swordsman, with firein his eyes. Exhausted, Robin is driven back, parryingdesperately.INT. DUNGEONS - DAYTuck picks himself up from the floor. The jailer isamazed. FRIAR The Lord helps those who help themselves.Grinning, he pulls open his robes, revealing chest armor... and a miniature powder keg. He holds it to hisflaming torch and tosses it to the jailer... Stupified,the man catches the smoking bomb. FRIAR Give my regards to the devil.The KEG ERUPTS, blowing the jailer through a wall.EXT. PARAPET - DAYJohn is in deep trouble, but undaunted. LITTLE JOHN Ya gutless bloody sissies.Someone attacks his assailants from the rear. The tideturns. LITTLE JOHN Wulf! I told ya to keep outa the fightin'. (CONTINUED) 125.CONTINUED: WULF Sorry, Father. Couldn't help myself. LITTLE JOHN Well, ya'll get a bloody good wallopin' if we get 'ome... For now, let's see how well I taught ya.Wulf sends an attacker plummeting off the parapet.EXT. CASTLE FORECOURT - DAYA crossbow bolt strikes Hal between his shoulder blades.He falls. The Sheriff's soldiers are regaining theadvantage. The peasants are giving up, dropping theirweapons. HAL No! Fight on. Fight!He sees a familiar pair of holy sandals marching towardshim. Tuck leading a barefoot army. Dozens of raggedprisoners, armed with chains and torture implements. FRIAR Sinners, beware! God's avengers are at hand.Dying, Hal manages a weak smile. HAL Go' bless ya, Tuck.Tuck flails a chain at a Celt. FRIAR Repent, heathen!The man spins to strike back... freezes... grinning...Aslan!INT. CASTLE - KITCHENS - DAYThe chef raises his knife. Fanny appeals to the wholeroom. FANNY Listen! Outside, your countrymen rise against the Sheriff. (MORE) (CONTINUED) 126.CONTINUED: FANNY (CONT'D) Is there one man or woman here who does not hate him? Who has not suffered at his hand? (to the chef) Turn that on the Sheriff and his bullies.A deadly pause. A woman cook dumps the giant weddingcake right over the chef. Suddenly it's havoc. Flyingfood and cutlery.EXT. CITY SQUARE - DAYA full-scale riot. The populace has turned. Into thefray comes Fanny Little, leading a rabble of servantsand kitchen staff, fighting with pots, pans, brooms,knives, hooks, and bedpans.INT. CASTLE - CHAPEL - DAYNottingham slashes maniacally. Robin is cornered,weakening. NOTTINGHAM You should have stayed away, Locksley. Fools like you never learn.A blow slices Robin's arm. His sword flies from hisgrasp. Nottingham gloats. Two of his men scramble backto their feet. Robin is beat... a war cry! Aslan,followed by Tuck. ASLAN Ali akbar! FRIAR Amen! MORTIANNA (seeing Aslan) Agh... the painted one!Nottingham glances over... a split-second opportunity!...Robin lashes out. Kicks the Sheriff in the gut, chopsdown his sword hand. His father's sword clatters to thefloor.Whirling swords in each hand, Aslan attacks the othermen. Robin pile-drives Nottingham into the wall. (CONTINUED) 127.CONTINUED:The Bishop makes his escape. Tuck blocks his path. FRIAR So! You sold your soul to the devil? BISHOP No, I swear it, in God's name. FRIAR Blasphemer! You accuse innocent men of Druid worship while you practice the black arts yourself.The Bishop surreptitiously draws a dagger from his robes.A taloned hand grips a spear... Mortianna creeps up onAslan. ROBIN (glimpsing her) Watch out!Aslan spins... too late. Screeching, Mortianna drivesthe spear into Aslan's side. He cries out and slides tothe floor.Nottingham uses Robin's distraction to regain his sword.Back on the defensive, Robin tries to evade the blows.Mortianna drags Marian out onto a balcony. Robin cannotpursue. In acute pain, Aslan struggles to his feet.Grasping the spear where it enters his side, he pulls withall his strength.The Bishop, concealed dagger in hand, approaches Tuck. BISHOP (innocently) I am sure you would not strike a man of the cloth. FRIAR Think again!Without an eyeblink's pause, Tuck punches the Bishop sohard, he flies back THROUGH a stained-glass WINDOW.EXT. CASTLE - BALCONY - DAYMortianna hauls Marian against the battlements. Peersdown at the battle. She spins in shock at Aslan's voice. (CONTINUED) 128.CONTINUED: ASLAN What you fear is not below.He charges at her with the bloody spear. She screamshideously as he thrusts it right through her chest.Her madness is superhuman. With strength beyond allreason, she crawls up the spear's shaft, forcing itfurther through her body in her effort to get at him.Clutching, screeching, hissing.Her talons groping at his face, Aslan strains to thelast ounce of his will and heaves her over the battle-ments. With an ear-splitting shriek, she plummets tothe ground.INT. CASTLE CHAPEL - DAYSword raised, Nottingham has Robin backed against thealtar. NOTTINGHAM What can your puny God do for you now?The blade comes whirring down... clang! It's blocked.Robin has the altar's crucifix in his hand.He swings it again, slamming Nottingham across thetemple. The Sheriff hits the floor. Robin grabs hisfather's sword. Raises it two-fisted. Nottingham triesto squirm away. ROBIN This is for my father.He drives the sword down, like a stake, right throughNottingham's heart. The man shudders, and is still.Robin stands over him. Drained. Tuck rushes outside.Kneels at Aslan's side. Robin spots Marian swaying onthe edge of the steep parapet.EXT. CASTLE BALCONY - DAYRobin grabs Marian, pulling her back. Carefully liftsher face. Her lifeless eyes suddenly flash. She lashesout. A spitfire. MARIAN Let me go! Who are you? (CONTINUED) 129.CONTINUED: ROBIN (restraining her) I'm your sworn protector. Any way I see fit.EXT. CITY SQUARE - DAYRobin emerges from the castle. Draped over his shoulder,Marian is kicking and beating at him. He reaches thefountain in the center of the square and tosses her intothe freezing water.She leaps to her feet, yelling. Slips and tumbles back.Water streams from her bridal gown. A crowd gathers,enjoying the show. MARIAN Robin? Oh God, is that you?She stumbles out of the fountain... and storms at him,pounding her fists on his chest. MARIAN How dare you?!Robin grins at the crowd. ROBIN I think she's feeling better.Marian looks about her... the chaotic aftermath ofbattle. Reality gradually sinks in. She folds againstRobin's chest.Little John arrives, his huge arms enfolding Wulf andFanny. LITTLE JOHN We done it, mate. We clobbered the buggers. FANNY Are you 'urt? ROBIN It will mend.He spots a group kneeling beside the fallen body ofAslan. His smile fades. He runs over. Cradles Aslan'shead. ROBIN Aslan, my friend. (CONTINUED) 130.CONTINUED: ASLAN I'm going home the easy way, Robin. FRIAR (shaking Aslan) You die on me, you son of satan, and I swear I'll bury you as a Christian in St. Catherine's Cathedral with a thousand monks chanting prayers for your miserable soul. You hear me? ASLAN (weakly) I have no strength, Brother Tuck. FRIAR (kicking him) A fine friend you are! By the grace of Allah and Jehovah we have won the day, and you want to give up the ghost. I'll pickle your remains in mead, lay you in your grave with a pig for a companion, and mark it with a cross as big as this castle. ASLAN Please! It hurts when I laugh. FRIAR See. There's life in the heathen dog yet. ROBIN (laughs) Here, Tuck. Look after him. You deserve each other.Robin stands, Marian joins him. Around them cheeringgrows, till the whole crowd is in unison. CROWD Robin Hood! Robin Hood! DISSOLVE TO:INT. CATHEDRAL - DAYA VOICE ECHOES from the vaulted roof. A wedding is inprogress. (CONTINUED) 131.CONTINUED: FRIAR (O.S.) By the power vested in me by God's holy church, I now pronounce you husband and wife.Tuck is performing the ceremony before the happy couple. FRIAR You may kiss the bride.The husband draws back the bride's veil. Robin andMarian. They kiss... long. FRIAR (whispers) Hurry. We waste good celebration time.They break the embrace, turn to the congregation andstart down the aisle. They pause at the front pew,where KING RICHARD and members of his court are sitting.Robin bows, Marian curtsies. KING RICHARD May I kiss the bride? ROBIN Who would dare refuse his king's request? KING RICHARD (kissing Marian's cheek) You look radiant, cousin. ROBIN We are deeply honored by Your Majesty's presence. KING RICHARD It is I who am honored, Lord Locksley. Thanks to you I still have a throne.They continue down the aisle, past the smiling congre-gation. Waiting by the door is Aslan. He and Robinembrace. ASLAN (whispers) My friend, a word of advice... Ride her better than your horse.Robin laughs. 132.EXT. NOTTINGHAM CATHEDRAL - DAYWEDDING BELLS PEAL. Robin and Marian step out into thesunlight. The crowd cheers. At a signal from LittleJohn, the ex-outlaws shoot flaming arrows into the sky...FIREWORKS... FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Rock, The.txt b/unformated_scripts/Script_Rock, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..a61c4a8f293eb8c7af31180f1c5e21a0b7a8c53a --- /dev/null +++ b/unformated_scripts/Script_Rock, The.txt @@ -0,0 +1 @@ + THE ROCK BY Jonathan HensleighRevised 10/10/95BEGIN MAIN 'TITLE SEQUENCE:An impressionistic montage:A SILHOUETTED MAN in front of mirror dons his Marine dress blues. Spitpolish shoes laced. Medals clipped to jacket. All in CLOSE-UP. Wenever see him fully.The Man puts HIS HAT squarely on his head. EYES glint.On the man's dresser: MARINE MEMORABILIA. Three Purple Hearts, photosof a WOMAN (his wife), PHOTOS OF MARINES in combat locales. TIGHTERinto the photos, we HEAR PANICKED VOICES, EXPLOSIONS, NOISES OF BRUTALCOMBAT.IMAGES: Through smoke, a desperate MARINE PRIVATE who knows he willnever be rescued... TWO MARINES walk up to a farmhouse door; through thescreen we see a MOTHER AND DAUGHTER who know what the news will be...IMAGES: A MARINE COLOUR GUARD carries a COFFIN... Now we are the coffinas a FLAG drapes down on us. placed into a YOUNG WOMAN'S HAND.Now we're in ARLINGTON CEMETERY. Images of the cemetery are reflectedin wet puddles, as the SPIT-SHINED SHOES walk past images of the TOMB OFTHE UNKNOWN SOLDIER a ROW OF GRAVES comes into focusA1G CLOSE-UP on the MARINE'S HAT, and his EYES. Suddenly AN EXPLOSIONand we see --A MARINE in a jungle, radioing for help: ,You gotta get us outta heresir, Jesus, they're all over us... ! And an' EXPLOSION ends thecommunication ...AII CLOSE-UP on the MARINE'S EYES and FADE IN:EXT. ARLINGTON NATIONAL CEMETERY - MORNINGTwo groundskeepers on "ride 'em" lawn mowers, BENNIE and MARLIN, smokeCamels and watch the MARINE OFFICER from the opening montage. He'salone, across the cemetery. BENNIE You'll get used to him. Every Sunday morning - rain, snow, holidays nothin, keeps him Away.ACROSS THE CEMETERYBrig. Gen. FRANCIS XAVIER HUMMEL stands before a headstone: BARBARAMCLEAN HUMMEL 1946-1996. HUMMEL Hi Barb. The house sold yesterday. I know, I know, the market's depressed. Anyway, I'm leaving the area. Some things I have to do. Things I couldn't do while you were here. Maybe you would have approved. Hell, I know you wouldn't have. (beat) I've tried everything and I can't seem to get their attention. But now they'll learn how it feels on the other side. Let's hope it elevates their thinking.Hummel puts new flowers on the grave. Walks off.EXT. ACCESS ROAD TO ARMY WEAPONS COMPOUND - NIGHTHeavy rain. A road next to a heavily guarded bunker facility. A canvascovered ARMY TRUCK blows a tire in the road. The DRIVER gets out. Inspects the tire.INT. ARMY TRUCK - NIGHTFOUR MARINES in black suits dive through a hole in the truckbed floorinto a MANHOLE IN THE ROAD.EXT. ARMY WEAPONS COMPOUND - FRONT GATE - NIGHTThree ARMY M.P.s at the front GUARDHOUSE. GENERAL HUMMEL pulls up in aSUBURBAN. The M.P.s immediately recognise him and stand more rigidly. ARMY M. P. General Hummel, sir. It's an honour. Is the Colonel expecting you, sir? HUMMEL Held better be. This is a security inspection. ARMY M. P. Yes, sir!The M.P. waves Hummel in, saluting crisply.INT. GRATED STORM DRAIN IN BUNKER COMPOUND - NIGHTThe four marines from the truck are waiting, readying arms. The leaderis looking at his watch. Gives a hand signal to the others, and up theygo --EXT. BUNKER COMPOUND - NIGHTThe four marines emerge from the storm drain and move toward coveredpositions in the compound.200 YARDS AWAY - TWO ARMY "MAGAZINE CHECKERS" emerge from a buildingwith clipboards, on routine check.INT. BUNKER SECURITY BUILDING - NIGHTThe Army M.P.s escort General Hummel inside. THREE ARMY GUARDS springup from their SURVEILLANCE MONITORS. Everyone's nervous, in awe, rigidat attention. COLONEL CALLAHAN emerges from an adjacent room,sleepy-eyed. COLONEL CALLAHAN General Hummel! This is a surprise! HUMMEL That's the idea, Colonel.EXT. BUNKER COMPOUND - WATCH TOWER - NIGHTTwo marines position themselves outside the door to the bunkercompound's elevated watch tower.ÖEXT. BUNKER COMPOUND - NIGHTBelow the watch tower, the ARMY MAGAZINE CHECKERS approach. Marines 1and 2 spring out, armed with M-16s with over/under grenade launchersThey shoot BEAN BAG projectiles at the Army Guards, who collapse, dazed.INT. BUNKER COMPOUND WATCH TOWER - NIGHTMarines 3 and 4 burst inside the watch tower. The guards inside springup. BOOM BOOM, they're hit by bean bag projectiles, propelling them outthe windows of the watch tower. They fall 10 feet and lie unconscious.EXT. BUNKER COMPOUND - NIGHTMarines 1 and 2, now in MAGAZINE CHECYERIS UNIFORMS, move to the BUNKERDOOR. They open the door with the Magazine checker's CODED CARDS.INT. CHEMICAL WEAPONS BUNKER - NIGHTTwo ARMY GUARDS, playing poker, look up at the entering marines. Marines 1 and 2 walk straight up to the Army Guards, holding them at baywith M-16s. Before any words are spoken, one of the marines injectseach of the guards with a VACCINE PISTOL.INT. BUNKER SECURITY BUILDING - NIGHTFour more marines led by SGT. CRISP enter, holding Col. Callahan,General Hummel and the Army Guards at bay. SGT. CRISP This is a security exercise, sir. We've fully breached and infiltrated your compound. I'm afraid you and your men are my prisoners, sir.The marines begin cuffing the Army Guards to the radiator and tapingtheir mouths. SGT. CRISP Sorry sir, you realise the importance of these exercises. HUMMEL (to Callahan) Ten men who could have been terrorists are out there doing whatever they damn well please to your compound, Colonel. Here you sit with your ass chained to a fucking radiator. This is not a tight ship. I would not want to be in your shoes in the morning.Sgt. Crisp hits the FRONT GATE'S OPEN BUZZER and follows Hummel out ofthe room.EXT. ARMY WEAPONS COMPOUND - FRONT GATE - NIGHTThe gate swings open. TWO HUMVEES enter the compound.EXT. CHEMICAL WEAPONS BUNKER - NIGHTThe marines use a 'rabbit tool, (hydraulic, compact and powerful) to pryopen the bunker's steel doors. They rush down a hallway.CHEMICAL WEAPONS BUNKER - INTERIOR HALLWAY - The marines rush up toanother steel door and quickly pry it open.INT. C.B.W. BUNKER - NIGHTA refrigerated storage room for chemical weapons. Storage tubes arelabelled: V.X. POISON GAS. Across the room are rockets labelled: 55 115MM BOLT ROCKETS.Using the TRACK HOOK SYSTEM in the bunker's ceiling, the marines movethe V.X. CHEM ROUNDS and BOLT ROCKETS to the waiting humvees. It's veryfast, like clockwork.EXT. ARMY WEAPONS COMPOLIND - FRONT GATE - NIGHTThe Humvees, followed by Hummel in his Suburban, roar out of thecompound. CUT TQ:INT. H " EL'S SUBURBAN - NIGHTHummel on a c.b. radio: A textbook exercise, gentlemen. Rendezvous ineleven hours.EXT. F.B.I. FIELD OFFICE, FT. DIETRICK, MD. - DAYEstablish headquarters for chemical/biological weapons.INT. F.B.I. OFFICE - CHEMICAL/BIOLOGIAL DIVISION - DAYA WINDOWED DOOR stencilled "Chemical/Biological Weapons Division." ARUBBER DART hits the glass and drops into A TRASH CAN next to the door. ISHERWOOD (V.O.) Son of a bitch... GOODSPEED (V.O.) You owe me five dollars, Marvin.ACROSS THE ROOM - BILL GOODSPEED, 30, and partner/trainee MARVINISHERWOOD, 25, feet up on desks, with toy guns. This is Man's Boredom. A ceiling fan circles. Isherwood yawns; scratches neck with his gunbarrel.GOODSPEED reloads. Aims. Fires.THE DART hits A CARDBOARD TARGET across the room which activates a RubeGoldberg series of events ending in a PLASTIC GIRL being ignited in aPAN OF CHEMICALS.GOODSPEED, without even getting up, casually sprays the pan with flameretardant foam. ISHERWOOD (yawns) I was told this was exciting work. GOODSPEED Patience, Marvin. It has its moments.A KLAXON sounds. Isherwood smiles excitedly.INT. F.B.I. CHEMICAL WEAPONS - BASEMENT CORRIDOR - DAYIsherwood follows Goodspeed down a grimy, off-white corridor illuminatedby antiseptic light. This is an older building. Hasn't beenrefurbished and shows it.INT. F.B.I. CHEMICAL WEAPONS - LABORATORY - DAYA medium-sized laboratory, where 5 F.B.I. TECHNICIANS are bent overtables of beakers, test-tubes, Bunsen burners, etc. The room andequipment are old and used; could be 1976 rather than 1996.Along one side of the lab is a plexi-glass wall. Inside the plexi-glassis an airlocked GAS CHAMBER. F.B.I chemists LONNER and LING motion toGoodspeed. DR. LONNER C'mere, Billy. (points inside gas chamber) A dog at J.F.K. got a whiff of something postmarked to a Bosnian refugee camp. Could be detergent, could be seran gas.INSIDE THE GAS CHAMBER - is a LARGE WOODEN CRATE next to a TABLE OFPOISON DETECTION INSTRUMENTS. ISHERWOOD Bosnian refugee camp? I don't get it. GOODSPEED Half a million Serbians reside in the U.S., Marvin. Serbians don't like Bosnians. Read a newspaper. It's good for you. Hold out your hand.Isherwood does so. It's shaky. ISHERWOOD I'm okay. Really. Let's do it-Hold on Goodspeed's uncertain look, and CUT TO:INT. GAS C ER - DAY - MINUTES LATER The door HISSES open. Goodspeedand Isherwood, in vulcanized rubber suits and visored helmets, enter. They go to the INSTRUMENT TABLE before the crate.A GLASS VESSEL with tiny air holes (like a salt shaker) descends fromthe ceiling. Inside are COCKROACHES. . GOODSPEED Coal miners use canaries, we use those. Sorry guys. DR. LING (into mike) We have airlock, Bill. Proceed. GOODSPEED (into helmet mike) July 1, 0.900 hours, agent william Goodspeed and agent/trainee Marvin Isherwood. Initiating exam of a wooden crate. Suspicion of seran gas device inside.Goodspeed grabs a pry-bar from the instrument table-and slowly priesopen the cratels wooden lid. He motions to Isherwood. Together theygingerly lift the lid.INSIDE THE CRATE - it's filled with "UNICEF" type stuff. Goodspeed liftsout a HOT-PLATE. Isherwood lifts out an EGG BEATER. Gocidspeed runs aPOISON SENSOR past each. GOODSPEED Appears to be kitchen items, cleaning agents, and... (lifts out a sweatshirt) ... old clothes. ISHERWOOD This is thrilling.Isherwood lifts out a DOLL. Goodspeed's POISON SENSOR'S NEEDLE goescrazy... ! GOODSPEED Careful, goddamn it Marvin!The doll's eyes open. Its mouth blast a PINKISH SPRAY, hittingGoodspeed's forearm and Isherwood's palm.OUTSIDE THE GAS CHAMBER - DR. LING stabs a button marked "exhaust" andanother marked "emergency."A KLAXON sounds. F.B.I. TECHNICIANS race for the exit.IN THE GAS CHAMBER - The pinkish gas hovers in the air. CEILING EXHAUSTFANS begin to suck it up.IN THE GLASS VESSEL - The cockroaches convulse, flip in the air andexplode, guts splattering the vessel walls. ISHERWOOD What's hap... what's happening....?DR. LING looks at a DIGITAL CLOCK on the control panel. DR. LING Don't panic, Bill. 50 seconds and the gas will clear. You're okay.Goodspeed grabs the doll from Isherwood, slams it on the table, andgrabs A SCALPEL. Cuts open the doll's chest. GOODSPEED I've got some bad news and some really bad news. The bad news is the gas is corrosive. It's eating our suits.ISHERWOOD looks at his RUBBER GLOVES. The rubber is beginning to bubbleand corrode. DR. LING What's the really bad news.GOODSPEED peels back the doll's plastic chest, revealing: a C-4EXPLOSIVE DEVICE and TEN POISON AMPULES. GOODSPEED Enough C-4 explosive to blow the chamber and enough poison gas to kill everybody in the building.Isherwood's and Goodspeed's rubber gloves are melting. ISHERWOOD The acid's eating... it's eating my fucking suit... GOODSPEED Chill, Marvin. (yells outside) WHERE'S THE GODDAMN SPRINKLERS?Dr. Lonner flips on the sprinklers. The pipes KNOCK. A FEW PATHETICDROPS trickle from the SPRINKLER HEADS. DR. LONNER Something's blocking the pipes, Bill. When in Christ's name are they gonna give us a new building ... DR. LING Get the atropine, Isherwood. The atropine, Marvin.Isherwood, terrified, jerks open an OVERHEAD CABINET, revealing several6 inch needled SYRINGES. DR. LING You die, we all die, Bill. Inject yourself, then diffuse it. (Goodspeed continues to inspect-the device) Goddamn it, Bill, take the antidote.Isherwood fumbles with a huge syringe. GOODSPEED Get that away from me. (to himself) I hate needles. DR. LING INJECT YOURSELF! GOODSPEED LONNER, WHERE'S THE GODDAMNED WATER?The pipes are KNOCKING, now they're COUGHING. DR. LONNER It's coming, it's coming ...ISHERWOOD sinks to his knees, holding the huge syringe in front of hisheart, hari-kari style, hands trembling ...GOODSPEED concentrates on the device; his calm is unsettling. His handsflash, grabbing instruments and performing precise, deft, functions. Hesnips a wire and splices it. Another. Another. DR. LING (sweating it out) Ten seconds, Bill.Isherwood moves the syringe closer to his chest. ISHERWOOD Oh fuck oh shit oh fuck THIS IS LIKE FUCKING PULP FICTION ONLY IT'S REAL.ISHERWOOD drops the syringe. Fumbles for another... GOODSPEED,ice-cold, continues on the device ... DR. LING Five seconds, Bill, four seconds, Jesus Christ ...GOODSPEEDIS RUBBER GLOVE is stretched to transparency. we seeGOODSPEED'S FLESH through the acid-eaten rubber. He makes one finalcut-and-clamp. THE DETONATOR on the poison gas turns off. DR. LING Three, two... the gas is clear!OUTSIDE THE GAS CHAMBER - GREEN LIGRTS FLASR on the control panel and ATORRENTIAL SPRAY soaks GOODSPEED AND ISRERWOOD. Isherwood is wide-eyedand trembling. Goodspeed glares at him. DR. LING Next time use the atropine! GOODSPEED I don't like needles.EXT. GEORGETOWN - STREETS/ALLEYWAY - DAYThe bohemian part around Georgetown U. Goodspeed heads down an alleybetween two townhouses. LOUD COUNTRY MUSIC emanates from an apt. above.Goodspeed ascends.INT. GEORGETOWN - GOODSPEED'S APARTMENT - DAYA young woman stands in the middle of the living room, belting out aCarlene Carter tune in cowboy boots, rhinestone blouse and skirt. CARLAPESTALOZZI, 20's, is playing guitar, accompanied by a boom box. CARLA Every little dream I dream about you, Every little song I sing about you, It drives me crazy when you go away, (notices Goodspeed) Wanna keep you locked up at home ...Goodspeed walks past her into the kitchen. Carla turns down the music. Goodspeed re-enters with a Budweiser. CARLA (New Jersey accent) Hey there. GOODSPEED Hey honey. CARLA Wrote a new song. Wanna hear it?Goodspeed sits heavily on the couch. Rubs his temples. GOODSPEED Not now. CARLA Boy, somebody's in a bad mood. GOODSPEED Yeah, somebody's in a bad mood.Carla changes the c.d.: A PUCCINI OPERA plays. CARLA Better? GOODSPEED Much better. She sits with him. Puts her arm around him. CARLA What happened baby. Tell me. GOODSPEED Had a close one. CARLA You want to talk about it? GOODSPEED Not really. CARLA You know how I feel about what you do. GOODSPEED Could we change the subject? CARLA That record company.in Nashville wants to hear my demo tape. GOODSPEED Hey! Now there's some good news. CARLA You think I'm too... ethnic for country music? GOODSPEED Carla Pestalozzi? No. Definitely not. You could have posed for the Mona Lisa. Sophia Loren looks Swedish next to you. (smiles) I hope that's a compliment. I could change my name. How 'bout Bobby Sue Pestalozzi? Billy io Pestalozzi? GOODSPEED Stick with Carla. CARLA Okay. How 'bout Carla Goodspeed? (GOODSPEED frowns) Six years, Bill. We've lived together six years. GOODSPEED We've talked about this, Carla, we've talked it up, down, inside and out ... CARLA Billy, this probably isn't the best time ... Bill, I'm uhhh. CARLA I'm pregnant. GOODSPEED You're what ... ?She holds Up a positive home pregnancy test and CUT TO:EXT. DESERT AREA (SOUTHWESTERN U.S.) - DAYTWO = Y GUNSHIPS roar over camera and land next to the two Humvees. TheHuey's doors open. Marine Captains FRYE and DARROW, both late 20's,drag out two MARINE LANCE CORPORALS, bound and gagged, and sit themdown. Other marines roll gurneys laden with chem rounds, rockets andother equipment onto the Hueys.They Hueys ascend and SCREAM off across the desert and CUT TO:EXT. SAN FRANCISCO - AFTERNOONEstablishing shots of San Francisco and Alcatraz Island in the middle ofSan Francisco Bay.EXT. ALCATRAZ ISLAND - AFTERNOONA PARK RANGER (JOE) leads a group of 80 TOURISTS across the prisonexercise yard. In the background looms the city of San Francisco andGolden Gate Bridge. PARK RANGER JOE Alcatraz - "the Rock" - is the most famous, and was the most feared, prison ever built. Here the inmates were allowed one hour of daily exercise. FEMALE TOURIST Is it really true no one escaped? PARK RANGER JOE True, madam. From 1936 until the prison's closing in 1963, there were fourteen attempts but no one's believed to have made it to shore - alive at least.The tourists file off toward the MAIN CELL HOUSE. Bringing up the rearare Gen. Hummel, Maj. Baxter, Sgt. Crisp, Capt. Hendrix, and Pvts. Scarpetti,. Royce, Gamble and Starling, all in civilian clothes.Hummel motions to Crisp, who bleeds off with Scarpetti and Royce. Hummel and the others continue with the group.INT. ALCATRAZ - MAIN CELL HOUSE - AFTERNOONCell Blocks B and C, which inmates called "Broadway." A long corridorwith three tiers of cells on each side.The Ranger leads the tourist group inside. PARK RANGER JOE Al Capone; Machine Gun Kelly; Robert Stroud, the Birdman of Alcatraz; all lived in these cells.The Ranger pulls the CELL DOOR OPEN/SHUT LEVER (recessed in the wall atthe end of cell block). All the cell doors on the first floor slideopen. PARK RANGER JOE Now Ladies and Gentlemen, the U.S. Park Service cordially invites you to become inmates of Alcatraz - temporarily of course.The tourists laugh and move inside the cells.EXT. ALCATRAZ - WHARF - AFTERNOON The side across from San Francisco. The TOURIST BOAT is docked in front of the U.S. PARK RANGERS' OFFICE.Sgt. Crisp and Pvts. Scarpetti and Royce walk up to the Ranger'soffice. They look left and right, then enter.INT. ALCATRAZ - U.S. PARK RANGERS OFFICE - AFTERNOON TWO PARK RANGERSand a SECRETARY look up. ALCATRAZ PARK RANGER You're not supposed to leave the tour, guys. Is there a problem? SGT. CRISP Big problem.INT. ALCATRAZ - MAIN CELL BLOCK - AFTERNOONThe tourists are in the cells, looking around. Park Ranger Joe noticesHummel, Baxter, and the other marines standing behind him. Smiles: PARK RANGER JOE Don't want to be locked up, fellahs? HUMMEL Not today. You go ahead. PARK RANGER JOE I don't think so hah hah.Baxter draws a .45 and places it to Ranger ioe's head. HUMMEL I think so.Startled, Park Ranger Joe backs into a cell. Baxter grabs the cell dooropen/shut lever and yanks it. The cell doors CLANG shut. Hummel,Baxter and the others walk off. TOURISTS Hey, what are you doing... ? -- wait a minute, what's going on... ?EXT. ALCATRAZ - PARADE GROUND - AFTERNOONHummel and Baxter walk up to the PARADE GROUND as THE TWO HUEY GUNSHIPSapproach. They hover above the parade ground. Cpts. Frye and Darrowrope-deploy from the Hueys. They stand at attention, saluting Hummeland Baxter. CAPTAIN FRYE General Hummel: Captains Frye and Darrow. HUMMEL Deploy as planned, Captain. (unison) Aye, aye, sir.FRY AND DARROWThey hand signal to the Huey pilots. The Hueys take off around the backof the island. CUT TO:A MONTAGE of short INTERCUT scenes, all AFTERNOON:THE INFIRMARY, UPSTAIRS ROOM A former hospital room will be the commandand communications center. PVTS. GAMBLE and STARLING set up a portabledesk, chair, and an array of communications equipment (includingportable satellite dish and look out).EXT. THE ISLAND'S SHORELINECPT. HENDRIX AND PVTS. ROYCE and SCARPETTI lay motion sensors on theperimeter.INT. THE PRISON MORGUEPVTS. COX and MCCOY load the V.X. CHEM ROUNDS from INSULATED COOLINGBAGS (size of a big gym bag) into the morguels CORPSE DRAWERS.MAJOR BAXTER sets up a PORTABLE Rocket LAUNCHER.EXT. MAIN CELL HOUSE ROOFTOP CAPTS. FRYE and DARROW set up a secondportable rocket launcher.INT. ALCATRAZ - MAIN CELLHOUSE - DAYThe tourists are now panicked, confused, and making a commotion. Shouting and yelling. A woman is crying.Suddenly a .45 is fired. Total silence. Hummel and Baxter, followed byPvts. Gamble and Starling (pulling a gurney stacked with MARINE FIELDRATIONS), walk to the middle of the cell block. HUMMEL Hello Ladies and Gentlemen. You are my prisoners. I have no intention of harming you. You will be fed regularly. That is all you need to know for now.Gamble and Starling begin passing out the field rations. 53 INT. WASHINGTON D.C. - J. EDGAR HOOVER BUILDING - NIGHT F.B.I. Director JAMESWOMACK exits his office in a tuxedo, trailed by MARGIE WOOD, a youngF.B.I. Agent. F.B.I. DIRECTOR WOMACK Can it wait till morning, Agent Wood, I'm going to hear Bruce Springsteen ... AGENT WOOD (re: Womack's tux) In that? F.B.I. DIRECTOR WOMACK Christ, the concert's for the Prince of Wales or somebody ... AGENT WOOD I really think you should take this call personally.They stare at each other and CUT TO: 54 INT. HOOVER BUILDING - DIRECTORWOMACK'S OFFICE - NIGHT -- Womack, grabbing his phone. F.B.I. DIRECTORWOMACK F.B.I. Director Womack. HUMMEL (V.O.) First: I am holding eighty-one civilian hostages on Alcatraz Island. Make an excuse to their families and do not alert the media or there will not be eighty. Second: fifteen guided rockets armed with V.X. poison, are currently aimed at the population of San Francisco. I will call again at 0-hundred hours and state my demands. F.B.I. DIRECTOR WOMACK Wait. Who is this? HUMMEL Brigadier General Francis X. Hummel.CLICK. Womack stares at the phone: calls to outer office: F.B.I. DIRECTOR WOMACK Mary Jane, get the Pentagon! (to Agent Wood) Call the San Francisco office. It seems Alcatraz was just re-opened.Agent wood gives him a curious look and CUT TO:INT. ALCATRAZ - INFIRMARY/COMMAND CENTER - AFTERNOONCpts. Hendrix, before Hummel.Frye, and Darrow, and Sgt. Crisp at attention Maj. Baxter at Hummellsside. HUMMEL At ease, Gentlemen. It is traditional for me to meet with my officers before an operation. The heart performs one thing, the legs another, the brain another - all better function together or the body becomes ill, is prone to disease. (beat) Major Baxter, Gunny Crisp and I have been on the front lines since 'Nam.' Captain Hendrix was my adjutant in the Gulf. Get a haircut, Pete, you're lookin' like a beatnik. (the crew-cutted HENDRIX smiles Captain Frye, Captain Darrow.) You and your men are new to me. CAPTAIN FRYE Would the General like a recitation of our service records? HUMMEL I'm well aware of your service records, Captain, they are excellent. I want to be clear on why you - why all of us are here. You both stand to profit from this. CAPTAIN FRYE Profit is not my motive, sir. I am here to redress a wrong. CAPTAIN DARROW Yes, sir, and to learn some people a lesson. HUMMEL This country has places where wrongs are redressed, Captain Darrow: They are called courts of law. In the military, they are called Courts Martial. This country has places where lessons a-re leaned. They are called schools. Am I confusing you? CAPTAIN DARROW Well, sir, frankly ... EL I see that I am ' (beat) HUMMEL The only accurate term for what we are doing here is treason. Plain and simple. An insurrection against a government to which we have sworn allegiance. Everyone in this room must understand that.Hummel looks from face to face, studying each. HUMMEL The question is what kind of traitor are we. Coward or lion? Benedict Arnold, or Thomas iefferson? I have posed that question to myself, have answered it, and my conscience is clear. Have all of you? HUMMELS' OFFICERS Yes, sir. HUMMEL Within thirty-two.hours you will leave this country and not return. All of you can live with that? OTHER OFFICERS (unison) Yes, sir. HUMMEL Well, I cannot. So, regardless of what happens on this island in the hours ahead, I will stay. The men exchange surprised glances. CAPTAIN HENDRIX But General, you'll be prosecuted. HUMMEL Yes, Captain. And I plan on conducting my own defense. it will make the O.J. Simpson trial look like an episode of "Perry Mason." Take your posts, gentlemen. Semper fi. Hummel's men fall out and exit. Baxter, the last to exit, salutesHummel.INT. PENTAGON - SITUATION ROOM - NIGHTMany people around a table, each with a DOSSIER on Hummel:F.B.I. Director Womack (still in tuxedo), F.B.I. agent Margie Wood,White House Chief of Staff HAYDEN SINCLAIR, National Security AdvisorLOUIS LINDSTROM, Chairman of the Joint Chiefs GENERAL ALBERT KRAMER, AirForce General PETERSON, and C.I.A. Director MILTON AMWAY. GENERAL KRAMER Last night Hummel and eleven marines, under the guise of a security exercise, walked off with fifteen V.X. rockets. It wasn't discovered until the shift change this morning.ON THE SCREEN - A YOUNGER HUMMEL in Vietnam. GENERAL KRAMER Here he is in Vietnam - I think a Major at the time.MORE SLIDES OF HUMMEL in various international theaters. HAYDEN SINCLAIR Four tours in Vietnam, Grenada, Panama, Desert Storm. Three purple hearts... two silver stars and... the Congressional Medal of... Jesus. (looks up) The man is a hero. GENERAL KRAMER A legend. During Tet he held off a brigade of V.C. single-handedly. Saved his whole company. Hence the nickname "gunfighter." F.B.I. DIRECTOR WOMACK What was this book Hummel wrote on Vietnam? Anybody read it? RAYDEN SINCLAIR No. Give me the skinny. GENERAL KRAMER The "skinny," Mr. Sinclair, is that the U.S. should have either won the war or gotten the hell out of Vietnam and stopped wasting American lives. I happen to share General Hummells view.The door opens. A NAVAL ATTACHE pokes his head in. NAVAL ATTACHE General, it's him. The call connects to a phone on the table. GENERAL KRAMER Frank, this is Albert Kramer. HUMMEL Hello Al. Howlre Judy and the kids? GENERAL KRAMER They're fine. I'm with General Peterson, F.B.I. Director Womack, Chief of Staff Sinclair, Security Advisor Lindstrom, and C.I.A. Director Amway. You've got a lot of people worried, Frank. Can you help us out?INTERCUT - PENTAGON and ALCATRAZ as necessary. HUMMEL I'll come straight to the point, General Kramer: Eighty-three Force Reconnaissance Marines have died under my various commands. Forty-seven in northern Laos and southern China ... HAYDEN SINCLAIR Southern China? We never admitted we sent troops into China.There is a pause. HUMMEL Who is that. Identify yourself.Everyone stares at sinclair. HAYDEN SINCLAIR White House Chief of Staff Sinclair, General. HUMMEL How old are you, white House Chief of Staff Sinclair. RAYDEN SINCLAIR I'm thirty-three. HUMMEL Well White House Chief of Staff Sinclair, by your ninth birthday I had led over two hundred incursions into China and personally killed that many of the enemy. General, put some duct tape over Mr. sinclair's fat, ignorant mouth. He has shit for brains and he is wasting my time.Sinclair's irritation is relieved by the Naval Attache, entering again,who hands him a phone and whispers: NAVAL ATTACHE The President calling from Moscow.Sinclair walks to the far corner of the room with the phone, speakingsotto voice. GENERAL KRAMER Continue Frank. HUMMEL Eighteen others died in covert, illegal operations in Chile and El Salvador. Remember the Gulf War. Those pretty "smart bomb" pictures on C.N.N.? My men lased those targets. Ten were left to rot outside Baghdad when the conflict ended - and let's not even mention Mogadishu, gentlemen. No benefits were paid to their families; no medals conferred. These men died for their country and they weren't even given a coddamn military burial. (beat) This situation will not stand: you will transfer 100 million dollars from a Grand Cayman "Red Sea Trading Company" account to an account I designate. From these funds, reparations of one million dollars will be paid to each of the 83 marines, families. The rest of the money will pay for my outfit's expenses. Am I clear? F.B.I. DIRECTOR WOMACK Except for the Red Sea Trading Company. What is that? HUMMEL Identify yourself. F.B.I. DIRECTOR WOMACK F.B.I. Director Womack, General. HUMMEL You'll be particularly interested: It's a slush fund where the Pentagon keeps proceeds from illegal arms sales. GENERAL KRAMER Frank, Jesus, this is classified information. WOMACK (stunned) Is this true?General Kramer, embarrassed, nods yes. HUMMEL If you want the money back, you'll have to tell the attorney General and the boys down at Justice where it came from. Good luck.Hayden Sinclair returns to the table. HAYDEN SINCLAIR General, I've just spoken to the President and he is clear as hell on this: We will not negotiate with you and we do not care if ... HUMMEL Someone please gag that man. (beat) Alert the media, I launch the gas. Refuse payment, I launch the gas. It is just after midnight. You have 36 hours - all of today and half of tomorrow, until 12 noon - to transfer the money. Don't even consider the standard counter measure, General. GENERAL KRAMER What's the potential casualty rate of a single rocket armed with V.X., General Peterson? GENERAL PETERSON In a dense urban area, sixty, seventy ... RAYDEN SINCLAIR Well that's not so bad ... I GENERAL PETERSON Thousand. Seventy thousand. Dead. one teaspoon will kill all living organisms in a three story office building. Get the point? F.B.I. DIRECTOR WOMACK What did Hummel mean by ",standard countermeasure," General? GENERAL PETERSON Napalm. Standard pgison gas can be neutralized by napalm. It burns it up -- consumes it upon detonation. The problem is that V.X. gas is ten times more toxic and designed to withstand napalm. Hummel must know about Willy Peter, General. GENERAL KRAMER 'Course he does. (explaining to others) "Willy Peter," short for "White Phosphorous Incendiary Device," still in its test phase. It detonates at 6,000 degrees, enough to burn up V.X. (dawning on him) That explains Hummells time frame. He knows we're not operational. What would it take, General? GENERAL PETERSON To equip a flight of F-16s with Willy Peter in 36 hours? An act of God. (off Kramer's look) All right, we can try. But view the use of Willy Peter as a secondary initiative. GENERAL KRAMER Then on to our primary initiative. (hits intercom button) Send in S.E.A.L. Team Leader Anderson. (to F.B.I. Womack) Who's your best chemical biological man? AGENT WOOD (rises) I'll find out. F.B.I. DIRECTOR WOMACK Tell him to pack a bag for San Francisco.EXT. GOODSPEED'S HOUSE - ROOFTOP - NIGHT Tarpaper and gravel roof. Candles burning. Loretta Lynnls "Stand by Your Man" on the boom box. AMONGST THE RUSTY SUPPORT SCAFFOLDS of an old sign from the 120's --CARLA and GOODSPEED are, to put it delicately, madly passionatelyathletically fucking. Standing up. They both have robes on. ACORDLESS PHONE RINGS. Again. CARLA Don't stop... do no stop. GOODSPEED Shit, shit, shit what time is it. (fumbles for phone) Hello. (pause) I'll be downstairs in ten minutes.GOODSPEED hangs up. The couple stares at each other. Carla's seen thislook before ... GOODSPEED I've got to go to San Francisco. CARLA No. I'm sorry, but NO. I need you here with me. We need to talk about this... GOODSPEED I've got to go. She grabs his arm. I can't... I cannot deal with this right now ... (softly) Bill, I am very Catholic. And very pregnant. And very unmarried. Help me with this.She turns away from him. He pulls her back... GOODSPEED I love you. I will marry you. I just didn't plan on this, that's all. Tell you what: come to San Francisco. CARLA Really? (smiles) Really? GOODSPEED It's probably just a training exercise. Check into a hotel, order up some champagne, I'll finish up my business and ... CARLA ... We'll finish what we started. Baby, are you sexy in those boots ...GOODSPEED walks off in COWBOY BOOTS, robe and boxers,..INT. PENTAGON - SITUATION ROOM - NIGHT U.S.N. commander CHARLESANDERSON, 35, just the hardest looking man you've ever seen, standsbefore the group. Anderson is a Navy S.E.A.L., an Incursion TeamLeader. Before Anderson are AERIAL RECON PHOTOS of Alcatraz. COMMANDER ANDERSON A precision night drop is out due to the full moon. Likewise on a frontal, seaside attack: at the first shot, Hummel might launch. My second in command is working on an attack from within the prison. (beat) The idea is to penetrate the tunnels under the prison, undetected, emerge in its center, and jump the marines from behind - take their rocket positions without a shot fired. But I need better intelligence. GENERAL KRAMER You've studied the architectural plans. COMMANDER ANDERSON They're useless. Alcatraz was originally a Civil War fort. It's been ripped up and rebuilt for years. Under there is a maze of shit, excuse my language. (beat) What I need is personal, firsthand intelligence on the island's tunnels.CAMERA FOCUSES ON F.B.I. Director Womack, who gives a very significantlook to C.I.A. Director AMWAY. GENERAL KRAMER The former warden? AGENT WOOD Died in 1979. The guards we contacted are useless. There was a janitor, "Alcatraz Al". He worked there for twenty years, but he died in 1983. GENERAL PETERSON Didn't three guys escape? I thought I saw a movie about it. AGENT WOOD It's a Hollywood myth. No one's escaped Alcatraz and lived.F.B.I. Director trades a very significant look with C.I.A. DirectorAMWAY. Amway clears his throat. He is older, very old school. Everyone turns to him. C.I.A. DIRECTORY AMWAY There is someone who can help us. F.B.I. DIRECTOR WOMACK The C.I.A. Director and I have something to discuss in private.Womack and Amway rise and exit together. Everyone else sits there,confused.INT. PENTAGON - CORRIDOR - NIGHT Womack and Amway exit into thecorridor. They huddle tightly against the wall. Sotto voice: - F.B.I. DIRECTOR WOMACK You're not actually suggesting ... C.I.A. DIRECTORY AMWAY The man spent every night for six months making a dry-run of his escape. He knows every inch of that island. We have to, Jim. F.B.I. DIRECTOR WOMACK I am very uncomfortable about this.INT. WOLFBURG PENITENTIARY - CELL BLOCK - NIGHT A long row of cells. CAMERA slowly DOLLIES past cell after cell. Sullen INMATES stareblankly at us ... F.B.I. DIRECTOR WOMACK (O.S.) I knew, I knew someday, this would come back to bite us.CAMERA moves through a door marked "ISOLATION." At the end of a gloomycorridor is a CAST-IRON DOOR.BACK TO THE PENTAGON CORRIDOR C.I.A. DIRECTORY AMWAY it won't bite anyone - if handled correctly. When was the last time you saw him? F.B.I. DIRECTOR WOMACK when he escaped from San Quentin. C.I.A. DIRECTORY AMWAY The man was an S.A.S. trained killer.BACK TO WOLFBURG - IN THE ISOLATION CELLTWO FEDERAL MARSHALS open the cell.'s steel locking bar. They push openthe door. Dark inside. A MAN sits on the bed. C.I.A. DIRECTORY AMWAY Can we risk letting.him out?A SHAFT OF LIGHT cuts across the cell floor. C.I.A. DIRECTORY AMWAY The question is: can we not?THE SHAFT OF LIGHT slices the face of JOHN PAUL MASON. He is British,at least once was, imprisoned without trial for 33 years on U.S. soil. For now, we have no idea why.EXT. WASHINGTON D.C. - DULLES AIRPORT HANGAR - MIGHTRaining. An F.B.I GULFSTREAM 4 JET sits on the tarmac.EXT. F.B.I. GULFSTREAM - NIGHTF.B.I. Director Womack sits with FRANCIS REYNOLDS, 30, an Assistant U.S.Attorney from the Justice Dept. GOODSPEED sits across the aisle. F.B.I. DIRECTOR WOMACK I'm told you're our best chemical weapons man, Goodspeed. What's your education? GOODSPEED B.A. Columbia. M.A. and P.H.D., Johns Hopkins, biochemistry and toxicology. F.B.I. DIRECTOR WOMACK Excellent. What do you know about V.X. gas?Pause. GOODSPEED stares at Womack. GOODSPEED This isn't a training exercise, is it sir. F.B.I. DIRECTOR WOMACK No Goodspeed. It's not a training exercise.HOLD ON GOODSPEED'S reaction, and CUT TO:EXT. SAN FRANCISCO - FEDERAL BUILDING - DAWNDawn breaks over San Francisoo. A BLACK SEDAN and BLACK SUBURBANS pullup to the F.B.I.'s West Coast office. Goodspeed, Womack and Reynoldsget out, go inside.INT. F.B.I. - OBSERVATION ROOM - MORNINGWe watch MASON being led into an INTERROGATION ROOM, his legs in irons,his hands cuffed behind him.'We are watching through a TWO-WAY MIRROR, and WIDEN TO: Womack,Goodspeed, Reynolds and ERNEST SANCHEZ, S.F. Bureau Agent in Charge, arewatching Mason. Sanchez is a gruff guy with the subtlety of a heartattack. F.B.I. DIRECTOR WOMACK The following is a state secret. Disclose it to any party and you will be subject to prosecution. His name is John Mason. A British national incarcerated on Alcatraz island in 1962, escaped in 1963. AGENT SANCHEZ Director, no one's ever escaped from Alcatraz ... F.B.I. DIRECTOR WOMACK I'm telling you facts, Agent Sanchez. Do not argue and do not question. He was recaptured and sent to San Quentin, from which he escaped in February, 1976. He's been held at Wolfburg since. He has no identity. He does not exist. Understood? (turns to Sanchez) I want one thing: how he escaped Alcatraz - specifically the route he took through the island's tunnels. AGENT SANCHEZ You want him conscious or unconscious afterward? F.B.I. DIRECTOR WOMACK Don't even entertain it. This man laughs at strong arm tactics. dodium pentathol doesn't work either. GOODSPEED Why's he going to help us now? U.S. ATTORNEY REYNOLDS (hands Womack PARDON) Mason's papers are in order, sir. F.B.I. DIRECTOR WOMACK Because I'm willing to give him what he wants, GOODSPEED - a full pardon. AGENT SANCHEZ Steep price for some information. (waves pardon away) I don't need that to get what you want. F.B.I. DIRECTOR WOMACK Sanchez - try subtlety. AGENT SANCHEZ It's my middle name. (to Goodspeed) Watch kid, maybe you'll learn something.Sanchez exits. F.B.I. DIRECTOR WOMACK (grumbles) I ask for an interrogator and what do I get ...IN THE INTERROGATION ROOM - MASON looks around. He focuses on themirror. He stares right through at GoodsDeed. GOODSPEED is fascinated, unnerved. GOODSPEED (to himself) Jesus look at this guy.INT. F.B.I. - INTERROGATION ROOM - MORNING Sanchez walks in, sippingcoffee. Mason sits there, eyes forward. SANCHEZ I'm F.B.I. Special Agent in Charge Sanchez.Sanches sits. Mason stares at the table. MASON In charge of what? Fucking me over for another three decades? SANCHEZ (congenial) Hey. Easy. I just want to talk. MASON You know what F.B.I. stands for Sanchez? Fucking Bloody Idiots. I don't want to talk to you.A pause. Sanchez glares at Mason. SANCHEZ Just some questions about Alcatraz. It's a tourist attraction now. You remember Alcatraz, Mason.The word "Alcatraz" registers with Mason. MASON Do I remember Alcatraz. SANCHEZ Not the island itself. The tunnels underneath it.IN THE OBSERVATION ROOM F.B.I. DIRECTOR WOMACK Real subtle, SANCHEZ...IN THE INTERROGATION ROOM SANCHEZ There's no harm in cooperating with us. MASON Who's "us?" F.B.I.? C.I.A.? Why should I do that? SANCHEZ Maybe there's a gift in it for you. MASON (to the mirror) Timeo danaos et dona ferentes.THE OBSERVATION ROOMGOODSPEED smiles slightly: GOODSPEED "I fear the Greeks even when they bring gifts."THE INTERROGATION ROOM MASON Are you capable of reading, Sanchez?SANCHEZ is getting flustered. SANCHEZ I don't have time for this shit... (pause; stares at mason) Yes. I can read. MASON The story of Alchimadus. Know it? SANCHEZ No.THE OBSERVATION ROOM GOODSPEED (to himself) Ancient Greece. Alchimadus was imprisoned by his king.THE INTERROGATION ROOM MASON Thomas a Beckett. Heard of him? SANCHEZ Maybe. Not really.THE OBSERVATION ROOM GOODSPEED (to himself) Archbishop of Canterbury. Imprisoned and executed by Henry the Second ...THE INTERROGATION ROOM MASON Solzhenitsyn. I've a sneaking suspicion you've heard of him.THE OBSERVATION ROOM GOODSPEED (to himself) Russian poet and dissident exiled to Siberia.THE INTERROGATION ROOMSANCHEZ draws a blank on Solzhenitsyn. SANCHEZ Look, I'm asking the fucking questions here. (beat) You can trust the F.B.I. MASON That's a good one, Sanchez. What do you call and F.B.I. Agent who can't tell a lie? A mute.MASON turns away. As if SANCHEZ no longer exists. Suddenly, over awall-mounted INTERCOM: U.S. ATTORNEY REYNOLDS (V.O.) Uhm, Agent Sanchez, could we have a word with you? SANCHEZ Here, call your lawyer and tell him you're going back to jail.SANCHEZ tosses a quarter on the desk and exits.IN THE OBSERVATION ROOM F.B.I. DIRECTOR WOMACK Impressive, Sanchez. GOODSPEED You mind if... uhm.... I take a shot? SANCHEZ He'll eat him alive. F.B.I. DIRECTOR WOMACK He's already had you for the first course. (hands GOODSPEED the pardon) Go.GOODSPEED takes the pardon, goes for the door.THE INTERROGATION ROOMGOODSPEED enters. He's completely out of his element, has no idea whathe's doing, and is-suddenly face-to-face with this.... MASON creature.The two men regard each other. GOODSPEED Take his cuffs off.The Marshal uncuffs Mason's wrists. MASON rubs his wrists, staring nowat Goodspeed. MASON Who the fuck are you, Mother Theresa?So much for Goodspeed's confidence. GOODSPEED No actually, I'm Bill Goodspeed. (rallys) Mr. Mason, we really need your help. That's a pardon and release contract from the Attorney Generals office. It makes you a free man, provided you cooperate.He slides a ballpoint pen across to Mason. MASON looks at the pen, thenGoodspeed. MASON What do you do for the F.B.I., Goodspeed. GOODSPEED (lying) I'm a field agent. MASON Tell me what you really do.IN THE OBSERVATION ROOM F.B.I. DIRECTOR WOMACK Don't answer that, GOODSPEED ....IN THE INTERROGATION ROOM GOODSPEED I'm a chemical biological weapons expert.MASON registers this information.... 73 IN THE OBSERVATION ROOM F.B.I.DIRECTOR WOMACK Stupid, stupid, stupid ....IN THE INTERROGATION ROOM MASON stares at the pardon contract, thinking. MASON You said I'd be a free man. Define free GOODSPEED Uhm, well, emancipated. Unfettered. MASON I know what the fucking word means, idiot. In this context. GOODSPEED I don't understand.... MASON During the time I cooperate, will I be outside? Outside a jail? GOODSPEED Well yes I suppose ... MASON You suppose? GOODSPEED Yes. You'll be outside.IN THE OBSERVATION ROOM F.B.I. DIRECTOR WOMACK Don't give away the farm, Goodspeed.IN THE INTERROGATION ROOM MASON What's happening on Alcatraz, Goodspeed? GOODSPEED A hostage situation. A matter of life and death.MASON thinks. He picks up the pen. MASON (looks at mirror) Then on one condition: a minimum of two hours in the Fairmont Hotel - I trust it still exists. I want a shower and a new suit of clothes. GOODSPEED I think we can arrange that.With that MASON picks up the pen and signs the pardon contract. Hehands it to Goodspeed, who exits.MASON turns toward the mirror, staring right through.INT. F.B.I. ~ OBSERVATION ROOM - DAY SANCHEZ and GOODSPEED enter. GOODSPEED hands U.S. ATTORNEY REYNOLDS the signed pardon contract. SANCHEZ Why didn't you throw in a trip to Fiji? U.S. ATTORNEY REYNOLDS I'll have this forwarded to the President, Director. F.B.I. DIRECTOR WOMACK No. You'll give it to me. (pause) Give it to me, Reynolds.Reynolds reluctantly hands the pardon to Womack. F.B.I. DIRECTOR WOMACK (to Sanchez) Show Attorney Reynolds outside there's a car waiting for him. And SANCHEZ - I'll handle the next stage.SANCHEZ leads the perturbed Reynolds out. GOODSPEED and Womack are alone now. And WOMACK tears up the pardon GOODSPEED Sir, that's a legal document. F.B.I. DIRECTOR WOMACK I'll decide what's legal, Goodspeed.Over WOMACK'S SHOULDER, GOODSPEED WATCHES AS --IN THE INTERROGATION ROOM - MASONplaces THE QUARTER on the floor. He raises his metal chair; SLAMS itdown on the quarter. GOODSPEED Sir, those references to Alchimadus, Beckett, Solzhenitsyn:all had something in common.IN THE INTERROGATION ROOM - MASON picks up the coin. It has a DEEP BURRin it. He moves to the mirror; begins carving into the glass. GOODSPEED They were imprisoned for doing nothing wrong. What's going on, sir?GOODSPEED watches MASON over Womack's shoulder. F.B.I. DIRECTOR WOMACK You're out of your depth, Goodspeed. You are on a need to know basis and you do not need to know.MASON has etched a circle in the mirror. He slams his elbow against it.The glass caves in, CRASHES to the floor.GOODSPEED and Womack whirl around, startled. MASON leans into the observation room. MASON one more thing: a shave and a haircut. (sees Womack) Hello Womack.MASON and Womack stare at each other and CUT TO:EXT. MOJAVE - DESERT FLATS - MORNING A hot desert-vista. Miles ofnowhere. A DODGE sits under a tripod. Suspended from the tripod, aBLINKING DEVICE.The device DETONATES, showering the car with WHITE HOT BURNING LIQUIDand amazingly, the car melts into a pool of molten steel, disintegratingto ash, which blows across the desert.50 YARDS AWAY - U.S.A.F. LT. JIMMY FISK and CPT. LARRY GILER (bothlate 20's) emerge from the heat waves in heat-refletive suits, walkingtoward A HEAT PROTECTIVE BUNKER (a wall coated with heat reflectivemetal.)BEHIND THE BUNKER U.S.A.F. General Peterson watches with other Air ForceOFFICERS and TECHNICIANS.Fisk and Giler enter, pulling off their suit hoods. Their faces arebeet red from the heat. CPT. GILER What it's all about, sir: Willy Peter burns steel, burns titanium; it'll sure burn up your poison and everything else in the atmosphere. GENERAL PETERSON I need four F-16's equipped with air-to-ground missiles within... (consults wristwatch) .... twenty-six hours. LT. FISK Let me name some things that are more possible, General, with all due respect: winning the Lottery, climbing Mt. Everest barefoot, getting a parking space at Yankee Stadium, marrying Sharon Stone ... CPT. GILER Can't do it, General. GENERAL PETERSON You can. And you will.General Peterson walks off. CPT. GILER Get yer minds off Budweiser, baseball, and broads, fellahs - we're goin, ,round the clock!CUT TO:INT., F.B.I. VAN - BACK COMPARTMENT - DRIVING - MORNINGA van with no windows. MASON is shackled to a steel loop at one end ofthe seating bench. GOODSPEED sits across from him, a CELLULAR PHONE athis ear.THREE F.B.I. AGENTS (CORD, STAR and HUNT) sit down the bench, talkingamongst themselves. CARLA (V.O.) (recorded voice message) Hi! Bill and Carla ain't in! State your business! Make it interesting! GOODSPEED (into phone) Listen Carla: I'll explain later, but don't come to San Francisco.CLOSE ON MASON, watching Goodspeed, picking up anything he can from theconversation.INT. GOODSPEED'S APARTMENT - DAYCARLA stands in the threshold of the apartment, watching the answeringmachine -- GOODSPEED (V.O.) (on the machine) I repeat, don't come to San Francisco. CARLA Like hell I'm not...She exits, slamming the door.INT. F.B.I. VAN - BACK COMPARTMENT - CONTINUOUS , GOODSPEED clicks off the phone, thinking, nervous.GOODSPEED notices that MASON is staring at him. MASON (sotto) Who's Carla? And why don't you want her to come to San Francisco?GOODSPEED doesn't answer. He notices the F.B.I. AGENTS staring at Masonand him. He straightens up. GOODSPEED You're on a need to know basis and you don't need to know. MASON You learn that line in Cub Scouts, Goodspeed?The van STOPS: the rear doors open to the FAIRMONT HOTEL SERVICEENTRANCE.INT. FAIRMONT HOTEL - PENTHOUSE SUITE - DAY Top floor suite with aprivate elevator. Grand, with French doors leading to a balcony. Director Womack, GOODSPEED and F.B.I.Agents Star and Hunt are in theroom. Jackets off, shoulder holsters on. F.B.I. DIRECTOR WOMACK I personally picked this suite. (points at elevator) Only one exit.IN THE SUITE'S BATHROOMSteamy, from the shower. F.B.I. Agent Cord sits on the sink. MASON'SVOICE emanates from the shower. He's singing some ditty off-key. ButMASON isn't washing.INSIDE THE SHOWER STALL -- Mason's tampering with the BELL HOUSING ofTHE RETRACTABLE CLOTHESLINE on the shower wall.MASON pops off the bell-housing. he pulls out the nylon clothesline cord(it's thick, about 10 ft.) and rips it from the bell housing. Tests itsstrength.Satisfied, he knots A NOOSE on one end of the clothesline cord, thencoils.IN THE BATHROOM - MASON emerges from the shower wearing a huge hotelbathrobe.Cord hands him a SUIT OF CLOTHES. MASON inspects them. MARSHAL CORD Put 'em on. You've got forty-five minutes. MASON You going to stand there and watch? MARSHAL CORD That's right. MASON well if it excites-you ... MARSHAL CORD Put the goddamn clothes on.IN THE SUITE'S LIVING ROOM Womack is dumping the contents of a BARBER'SBAG on the sideboard.Hands THE HOTEL BARBER, a swishy guy, a COMB, ELECTRIC TRIMMER and BIB. The BARBER frowns. BARBER I can't do a decent job with these. F.B.I. DIRECTOR WOMACK That's all you get. BARBER I'm an artist, not a barber. F.B.I. DIRECTOR WOMACK (holds up scissors) without these he can't stab you in the throat.MASON, dressed, emerges from the bathroom. Motions the barber towardthe balcony. MASON Shall we do this outside? In the sunshine?The barber gulps. Follows MASON onto the balcony.ON THE SUITE'S BALCONY MASON sits in the sun on a balcony chair. Bibon. BARBER How would you like it sir? MASON whatever's in style. BARBER oh fabulous. You look shabby. Shall I snip and cut the shabbiness away?The barber begins trimming Mason's hair...THE BALCONY - SOME MINUTES LATER Mason's hair and beard are neatlytrimmed. The barber holds a mirror up; MASON examines himself. MASON Good. Thank-you.The barber stands. Clears his throat. Rubs his thumb and forefingertogether. MASON Yes of course. My secretary will take care of you.- (to Agent Star) See to the good man will you?Agent Star, glaring at Mason, leads the Barber out. MASON What say we bury the hatchet, Womack.MASON extends his hand. Womack looks at it. As Womack reluctantlytakes Mason's hand, MASON slides the noose over Womack's wrist. Heyanks it tight and shoulders director womack bodily over the balustrade. MASON In your head.Womack plunges, HOWLING, 9 stories to his death. No, he only falls 10feet. SPROOOOOING he stops, hanging by his wrist off the side of thebuilding, held there by ---- MASON on the balcony, clutching the other end of the nylonclothesline, staring at Goodspeed. GOODSPEED Jesus... JESUS CHRIST....GOODSPEED fumbles for his gun. Finally unholsters it. DIRECTOR WOMACK,hanging below, is SCREAMING. MASON - Drop the gun or I'll drop your boss.EXT. FAIRMONT HOTEL - ACROSS THE STREET - DAY Two F.B.I. AGENTS,loitering by their vehicle, look up at WOMACK, dangling off the side ofthe building. F.B.I. AGENT Holy shit, we got a jumper.F.B.I. AGENT 2 raises binoculars to his eyes. F.B.I. AGENT 2 Looks like.... Womack... !ENT. FAIRMONT HOTEL - PENTHOUSE SUITE - DAY MASON and GOODSPEED as before. MASON Whoops .... I'm feeling tired .... Whoops .... MASON lets Womack drop a foot. Womack SCREAMS! GOODSPEED drops his gun and grabs the clothesline. MASON bolts from the balcony into the suitels library.AGENT STAR sprints onto the balcony. Star and GOODSPEED begin hauling Womack up as -- .MASON steals through the suite, through the vestibule, and into the elevator.ON THE BALCONY - Agent Star and GOODSPEED hoist Directory Womack, red-faced and sputtering, over the railing. GOODSPEED grabs Star's walkie-talkie. GOODSPEED All units, this is Caretaker. WE'VE GOT A SIGNAL SIX. Mason's in the elevator! Let me know where he stops!INT. FAIRMONT HOTEL - BASEMENT - HOTEL KITCHEN - DAYMASON exits the elevator. The kitchen is bustling with COOKS ANDBUSBOYS. MASON moves toward the side exit. Two F.B.I. AGENTS enter. MASON ducks into the dishwashing room. Waits for the Agents to runpast.MASON emerges, running right into..... GOODSPEED.WHAMM. MASON'S FIST slams into Goodspeed's jaw. GOODSPEED goes down on the huge dishwasher. MASON moves off quickly toward the side exit.EXT. FAIRMONT HOTEL - SIDE EXIT - DAYMASON exits the hotel. 20 feet away is the PARKING VALET. 10 incrediblyfast expensive European cars are waiting to be parked. First in line,however, is a HUMVEE.EXT. FAIRMONT HOTEL - SIDE EXIT - DAY GOODSPEED exits, looking at MASON getting into the HUMVEE. The Humveeexplodes out of the hotel driveway.GOODSPEED shouts to the F.B.I. AGENTS across the street: GOODSPEED That's him!The F.B.I. SEDANS ROAR off after Mason.GOODSPEED looks around. A Ferrari sitting there. GOODSPEED gets behind the wheel.THE FERRARI blasts out of the driveway after the Humvee.EXT. SAN FRANCISCO - STREETS - DAY The HUMVEE lumbers up to a trafficlight. Stops behind several vehicles ahead.INT. MASON'S CAR - DRIVING - DAY MASON looks-up in the rear view mirror. The F.B.I. SEDANS are behind him, closing fast. MASON rams the stickshift into gear; throws the wheel.EXT. SAN FRANCISCO STREET - DAY MASON'S HUMVEE veers to the side andCLIMBS OVER a parked, day-glow painted VW BEETLE, squashing it's hood. The Humvee ROARS through the intersection, leaving --The F.B.I. SEDANS and GOODSPEED'S FERRARI trapped at the light behindthe other cars.EXT. THE STREET AHEAD - DAY MASON'S HUMVEE plows through traffic,hitting the left and right bumpers of the cars in front of it, knockingthem aside. It blows through ten cars like ten-pins.GOODSPEED'S FERRARI slaloms through the Humvee's wake of dented cars andaccelerates after the Humvee.TWO POLICE PATROLMEN scramble into their cruisers, throwing on theCHERRY TOP LIGHTS.The CRUISERS charge after the Humvee and the Ferrari.EXT. SAN FRANCISCO STREETS (HILL #1) - DAY THE HUMVEE is acceleratingup a very steep hill. '100 yards down the hill, the TWO S.F. POLICECRUISERS, the F.B.I. sedans, and GOODSPEED'S FERRARI, all race after it.INT. MASON'S HUMVEE - DAYMASON has the radio on. A NEWSFLASH is broadcast: RADIO NEWSMAN This just in: More than twenty highway patrolmen are involved in a highspeed chase on Van Ness Boulevard, north of Trocadero ...MASON looks at Humvee's CELLULAR PHONE. Grabs it. Studies it. He'snever used one before. MASON Modern conveniences. Cheers. (punches numbers) San Francisco. Jade Angelou. That's A..n..g..e..l ....EXT. SAN FRANCISCO STREETS (HILL #1) - DAY AT THE INTERSECTION - THETRAFFIC LIGHT is red. A SPARKLETTS WATER TRUCK proceeds into theintersection.103 INT. MASON'S CAR - DRIVING - DAYMASON runs the red light. The Sparkletts truck is in the intersection. MASON violently throws the wheel. The Humvee swerves to avoid theSparkletts truck --EXT. SAN FRANCISCO STREETS (TOP OF HILL #1) ~ DAY -- but doesn't makeit. Mason's Humvee SLAMS into the Sparkletts truck's BACK END, knockingit sideways. The HUMVEE blasts through the intersection as --70 WATER BOTTLES (5 gallon each) tumble off the Sparkletts truck. Thebottles roll down the hill, gaining speed.104A INT. MASON'S HUMVEE ~ DAY the call connects. JADE ANGELOU (O.S.) Hello? MASON Is this Jade Angelou? JADE ANGELOU (O.S.) Yes. Who is this? MASON John Mason. (lengthy pause) Don't be shocked. I don't have much time. Please listen carefully ....INT. GOODSPEED'S FERRARI - DAY GOODSPEED Where is he sir? RIGHT IN FRONT OF ME. What's he doing? HE'S ON THE PHONE. I DON'T FUCKING KNOW, HIS STOCKBROKER! Oh shit. Gotta go.GOODSPEED looks at SPARKLETTS BOTTLES bearing down on himINT. S.F. POLICE CRUISER - DAY Two S.F. PATROLMEN. Their eyes widentoo as -- THE SPARKLETTS BOTTLES are bouncing now, roll down on them at45 m.p.h. A BOTTLE SMASHES through the windshield, showering thePatrolmen with glass.EXT. SAN FPANCISCO STPEETS - (MIDWAY UP HILL #1) - DAY Chaos. Bottleafter bottle smashes down on the -front-running vehicles. DENTING HOODS. SMASHING WINDSHIELDS. THREEF.B.I. SEDANS and GOODSPEED'S FERRARI negotiate the crashing cars.They race through the carnage after Mason.EXT. SAN FRANCISCO STREETS - . (HILL #2) - DAYMASON'S HUMVEE explodes over the crest of a hill at 90 m.p.h. and soars. A beat, then --THE F.B.I. SEDANS, followed by GOODSPEED'S FERRARI soar over the crestof the hill.EXT. SAN FRANCISCO STREETS - (BOTTOM OF HILL #2) - DAY At theintersection here, TWO S.F. ROAD WORKERS are sliding a STEEL PLATE overa 6 ft. deep ditch cut in the asphalt (for a water main or equivalent).The Road Workers, hearing the WAIL OF MASON'S HUMVEE, look up and diveaway just at THE HUMVEE blasts over he steel plate, dislodging it fromits positioning. It TEETERS on the lip of the ditch.THE F.B.I. SEDAN hits the teetering steel plate, which collapses --causing the sedan to be swallowed up halfway into the ditch, it's rearend sticking up in the air. Seconds pass, then --THE SECOND F.B.I. SEDAN SLAMS into the frontrunning SEDAN'S..EXPOSEDUNDERCARRIAGE. Both vehicles are obliterated.GOODSPEED'S FERRARI, in the most hair-raising slide ever filmed, veersand misses the mangled F.B.I. sedans.Now it's just MASON and GOODSPEED and CUT TO:EXT. SAN FRANCISCO STREETS - (TOP OF HILL #3) - DAYMASON'S HUMVEE, with GOODSPEED'S FERRARI close behind, races down astreet on the crest of a hill.IN THE INTERSECTION AHEAD - A CABLE CAR is turning down the hill. Mason's Humvee also turns down the hill, but as the Humvee rounds thecorner --AN OLD WOMAN starts crossing the street. MASON throws the wheelswerving to avoid her, and ---- THE HUMVEEIS BUMPER catches the BACK OF THE CABLE CAR, dislodging itsrear steel wheels from the CABLE CAR TPACKS. With the front wheelsstill lodged in the tracks, the cable car becrins to slide sideways.GOODSPEED'S FERRARI clears the cable car's sliding back end and sprintsafter Mason's Humvee.EXT. SAN FRANCISCO STREETS - MIDWAY DOWN HILL #3 - DAYthe Humvee and Ferrari blast down the hill. The street is thick withvehicular traffic.So THE HUMVEE swerves, leaving the street.onto the sidewalk. Where... SNAP SNAP SNAP it knocks down every parkingmeter, then hits A LADDER in a cordoned off area. On the ladder, aLINEMAN is fixing a MUNICIPAL POWER LINE. The ladder collapses; THELINEMAN falls, flailing through the air.GOODSPEED slams on the brakes. The Ferrari spins 180 degrees andlurches to a stop facing uphill.INT. GOODSPEED'S FERRARI - DAY THE AIR BAG'S exploded in Goodspeed'sface. GOODSPEED Shit shit SHIT SHIT ...EXT. SAN FRANCISCO STREETS - MIDWAY DOWN HILL #3 - DAYGOODSPEED looks up the hill. GOODSPEED'S EYES bug.GOODSPEED'S POV - THE CABLE CAR is still sliding down the hill sideways.THE SLIDING CABLE CAR, its wheels SPEWING SPARKS down the hill. TheLAST PASSENGER dives. it's now empty and sliding straight forGoodspeed's Ferrari ...INT. GOODSPEED'S FERRARI - DAYGOODSPEED grabs the Ferrarils CELLULAR PHONE and tries the door latch. The goddamn airbac is all over him.... So GOODSPEED shoots the fucking air bag.EXT. SAN FRANCISCO STREETS - (BOTTOM OF HILL 33) - DAYTHE TUMBLING CABLE CAR hits the Toyotals rear. The Toyotals gas tankEXPLODES, lifting the cable car.The Ferrarils door flies open. GOODSPEED dives away as ---- THE CABLE CAR, aflame, cartwheels in mid-air and lands with a WHUMPon the FERRARI, crushing it like a tin-can.GOODSPEED, dazed, wheels away from the wreck, shielding his eyes fromthe smoke and fire.A YOUNG KID ON A MOTORCYCLE rolls up.MOTORCYCLE KID You just fucked up your Ferrari, man. GOODSPEED It's not mine. MOTORCYCLE KID Way cool. (smiles) GOODSPEED Neither is this.GOODSPEED shoves the kid off the Motorcycle. Speeds off into traffic. The kid stands there dumbstruck.EXT. STREETS OF SAN FRANCISCO - DAYGoodspeed, driving through traffic on the kid,s motorcycle, flips openthe cell phone. Punches numbers.INT. F.B.I. OFFICE - CHEMICAL/BIOLOGICAL DIVISION, FT. DIETRICK,MARYLAND - DAYMarvin Isherwood is enjoying another thrilling day. he grabs for theRINGING PHONE. ISHERWOOD Chem weapons. Isherwood. GOODSPEED (V.O.) Marvin, ring up Wolfburg Federal Pen. The inmate is Mason, John.Isherwood gets on the computer. Starts tapping.... INTER CUT - MARVIN IN THE LAB / GOODSPEED ON MOTORCYCLE ISHERWOOD Wolfburg, got it. Masconi, Magrane, Masters. No MASON in Wolfburg, Bill, is this arelative of yours... ? GOODSPEED NOT NOW Isherwood. Go to February 1976. Who was transferred to Wolfburg from San Quentin that year? ISHERWOOD Two guys. Joseph Wainwright, and a.... they don't have a name, just "inmate 9999?" GOODSPEED Hit nine nine nine nine. ISHERWOOD This is weird. They got medical records, place of birth - Glasgow? but no name. Wait a minute, there's a next of kin. Jade Angelou of 32 Stenson Drive, San Francisco. Bill did you, like, fuck something up? Bill? Bill?GOODSPEED ROARS off on the motorcycle and CUT TO:EXT. SAN FRANCISCO - 32 STENSON DRIVE - DAY A single family house. Across the street --GOODSPEED watches the house. The door opens. JADE ANGELOU exits. She's 19, tall, pretty, purposeful.EXT. SAN FRANCISCO - PIAZZA DES ARTES - DAY MASON stands next to a massive column, writing on a piece of paper: "ST. MICHAEL'S CHURCH, FORT WALTON, KANSAS. FRONT PEW. RIGHT LEG. HOLLOW."ACROSS THE PARK - JADE ANGELOU enters a city park with a rotunda ofclassical design. A walk-way under massive Corinthian columns. Shemoves through the rotunda.MASON sees her. He steps behind the column as she passes. There is amoment of indecision. MASON looks at THE PIECE OF PAPER in his hand. MASON Jade.Jade Angelou stops cold. Slow-ly turns. And regards Mason.ACROSS THE ROTUNDA - GOODSPEED sees MASON and Jade. he stealthily movestoward them.BY THE COLUMN - MASON AND JADE Jade approaches MASON tentatively. He is stunned by her. By her beauty, her bearing, her likeness to'him. MASON Hello. Yes. It's me. JADE I uhm... I'm not quite sure what to say. This is all a bit much ...Several POLICE CARS ROAR past, sirens BLARING. MASON pockets the PIECEOF PAPER. MASON Let's uhm... let's walk a ways.They walk off next to a TALL HEDGE. GOODSPEED follows on the other side of the hedge. INTERCUT between MASON and Jade, and Goodspeed eavesdropping. GOODSPEED pulls out his cellular phone, begins punching numbers. JADE So how long have you been out? MASON A while. JADE A while. And you didn't call? You are free now, right? MASON I'm here with you, aren't I? JADE Why now? I mean why today. MASON I was driving through San Francisco. I decided it was time. JADE Well there's not a lot I know about you other than you escaped from San Quentin, had a four day affair with my mother, and I'm the result. You can imagine I'm pretty confused. MASON I tried to explain in my letters. JADE Ahh. Your letters. They weren't very easy to follow.She fishes in her pocket. Pulls out A LETTER. WHOLE SECTIONS OF THELETTER have been scissored out. Mason. frowns. MASON I see. (grumbles) Bloody prison censors. JADE How about explaining now?In the b.g. we HEAR POLICE SIRENS. MASON looks around. MASON Maybe this isn't the best time... (off her look) Jade. Here sitdown.MASON and Jade sit on a bench. MORE SIRENS in the b.9. MASON looks offnervously. MASON All will be explained. You must trust me on this. Someday very soon, after I get a few things settled, I will come back for you. What I need to know is: do you want me in your life? JADE How can I answer that? I don't know if we can.... after 19 years, just start like that. MASON We are the same blood. JADE But I don't know you. MASON where to begin. (sighs) My name is John Paul Mason. I'm Scottish. I attended Dartmouth Naval College. My favorite color is green. I like books. I like a good joke. At one time I shot a pretty fair round of golf. I'm in my 60's and I've been in jail half my life. (Jade looks away) Maybe it's better I go.She smiles. Puts her hands on his. JADE No. You're doing okay.Police sirens BLARE. And the entire park.is suddenly surrounded byF.B.I. AND POLICE VEHICLES. JADE You lied to me.GOODSPEED approaches. MASON makes no attempt to move. Jade turns tohim. GOODSPEED (flashes his I.D.) F.B.I. miss. Your father is working with us. He's helping us resolve a.... (looks at Mason) .... dangerous situation. JADE He is? GOODSPEED Yes madam. We've got to go, John.MASON extends his hand to Jade. She takes it. MASON Jade - remember what I said.They hug. Then MASON walks off with GOODSPEED and ---- Jade opens her hand, revealing the PIECE OF PAPER upon which Masonwrote his instructions.ACROSS THE PARK - F.B.I. AGENTS STAR and CORD run up. GOODSPEED (sharply) No cuffs until we get to the cars,They continue toward the waiting cars. MASON You surprise me, Goodspeed. Now I'm going to surprise myself: thank-you, you could have handled that differently. GOODSPEED (tight) You almost got me killed. Twice. MASON Hows your jaw?GOODSPEED wheels on MASON and swings. SNATCH. MASON catches Goodspeed's fist. Three inches from his face. GOODSPEED It hurts.SANCHEZ, DIRECTOR WOMACK and the F.B.I. AGENTS approach. Womack's arm isin a sling; he's in a volcanic rage. F.B.I. DIRECTOR WOMACK You cocksucker you dislocated my shoulder and cost the city of San Francisco ten million dollars. You try to escape again and Agent Chaney here will break your legs.AGENT CHANEY, large and mean, comes to Mason's side. MASON Pleased to meet you.INT. PIER 39 - F.B.I. COMMAND CENTER - DAY Night is falling. A largewarehouse room with windows looking out to Alcatraz Island. Looks likeN.A.S.A.AT A RECTANGULAR TABLE - MASON sits at the head of the table 122 infront of a SCALE MODEL OF ALCATRAZ. COMMANDER ANDERSON and ten NAVYS.E.A.L.s look toward Mason.Anderson is agitated, staring at Mason. COMMANDER ANDERSON Okay, one more time: down this second fork fifty-seven paces to a septic chamber. Turn left at the water pump, then forty-two paces to the prison showers ... MASON No. Forty-two paces to the septic chamber. Fifty-seven to the showers. COMMANDER ANDERSON (pointedly) That's not what you said three minutes ago. MASON (innocently) It's not? COMMANDER ANDERSON (dagger stare at Mason) Excuse me. (rises) Womack.Womack follows Anderson aside. They confer heatedly. COMMANDER ANDERSON I ask for someone with knowledge of the island's tunnels. you give me a fuckin, convict who wants to play "twenty questions." F.B.I. DIRECTOR WOMACK He knows every inch of those tunnels, Commander. COMMANDER ANDERSON Then he's keeping it to himself. He's fucking with me and I don't have the time. F.B.I. DIRECTOR WOMACK (pause; he thinks) What if he went with you? COMMANDER ANDERSON Out of the question. He'll endanger the mission - he'll endanger my men. He's a security risk. Who says he won't bolt as soon as we turn our backs on him? F.B.I. DIRECTOR WOMACK I'll handle that. Chaney.The hulking Chaney escorts MASON over. F.B.I. DIRECTOR WOMACK You're not cooperating, John. Maybe this will help. I'm sure you're curious about what's happening on Alcatraz. (no response) Twelve United States Marines - a terrorist rogue force - have seized it. They've aimed fifteen poison gas rockets at the city. Enough poison gas to kill every man, woman and child in San Francisco. (smiles) Yes, John, including your daughter. MASON You son-of-fucking-Satan. F.B.I. DIRECTOA WOMACK Mr. MASON has a strong incentive to help us, Commander Anderson.MASON boils. Then springs at Womack. Chaney grabs Mason, headlockinghim. So MASON knees Womack in the balls. Womack doubles over. Recovers, coughing. F.B.I. DIRECTOR WOMACK Get him some gear. He's going to the Rock. Goodspeed!ACROSS THE ROOM - GOODSPEED looks up from a computer screen generating3-D images of different angles of a V.X. ROCKET. He walks over to thetable. Anderson and the other S.E.A.L.s stare at him. COMMANDER ANDERSON The goal is to take out the launchers and neutralize the V.X.chem rounds, Goodspeed. Tell us what you know. GOODSPEED Well, the thermal imaging photos picked up the poison gas. Here. The prison morgue. (points) It's probably being kept refrigerated. makes sense. V.X. gas begins to lose its toxicity at higher temperatures. COMMANDER ANDERSON Have you ever actually seen one of these devices? GOODSPEED No sir, but I've studied them .... COMMANDER ANDERSON (sarcastic) That's great, Goodspeed. You're in the Bureau, so you've had weapons training. GOODSPEED A little, sir. COMMANDER ANDERSON So you've never been in a combat situation. GOODSPEED No sir. (beat) Should I begin the briefing on diffusing and detoxification sir? COMMANDER ANDERSON Won't be necessary. GOODSPEED Sir, these are very complicated devices... COMMANDER ANDERSON I know they are, Goodspeed. That's why you're going with us. GOODSPEED Sir? COMMANDER ANDERSON (to S.E.A.L. Reigert) Get him some gear.MASON stares at Goodspeed. MASON Wait just a minute. This little twat's going to deal with the poison? He's gonna get us all fuckin' killed!MASON walks off muttering.INT. PIER.39 COMMAND CENTER - BATHROOM - A MINUTE LATERS.E.A.L. Dando stands at a urinal. GOODSPEED bursts in and lunges foranother urinal. He vomits. Gags. Spits. S.E.A.L. DANDO Nice to meet you too. SANCHEZ enters. SANCHEZ You look like shit. GOODSPEED leans back against the wall. GOODSPEED Thank you. SANCHEZ You're not wimping out on us, Goodspeed. GOODSPEED I join the F.B.I. I ask for fieldwork. They say, "Bill, you're too fucking smart for field work." Every year I put in for a transfer and every year I sit in that goddamn lab like the fucking Maytag repairman in the commercial. Then the call finally comes, and it's a whole fuckin, city at stake? Oh Jesus... SANCHEZ Chemical Weapons isn't a cakewalk, Goodspeed.GOODSPEED splashes cold water on his face. GOODSPEED I've got some bad news and some really bad news sir. Maybe the bad news isn't bad, maybe actually it's good .... SANCHEZ Spit it out. GOODSPEED My girlfriend's pregnant. SANCHEZ (pause) What's the really bad news.INT. PIER 39 - OUTSIDE THE BATHROOM - DAY SANCHEZ (V.0.) Goodspeed, GODDAMN IT ...The door bursts open. Sanchez, veins bulging, exits, followed byGoodspeed. SANCHEZ Agent Cord, get over to the Pan Pacific Hotel and bring Goodspeed's girlfriend to this facility please!!and CUT TO:EXT. ALCATRAZ - LOWER LIGHTHOUSE - SUNSETCpts. Darrow and Frye look out . the window at the Marine's CommandCenter in the Infirmary. CAPTAIN DARROW (mumbling) Seventeen hours left. What the fuck is he doing? How much time does it take to transfer money from one account ... CAPTAIN FRYE Just a matter of time, buddy. The Pentagonlll cave and we'll be headin, south of the border a million dollars richer.INT. ALCATRAZ - INFIRMARY COMMAND CENTER - SUNSET Hummel sits at hisdesk. The phone RINGS. HUMMEL (V.O.) Hummel. SECURITY ADVISOR LOUIS LINDSTROM Hello Frank, Lou Lindstrom. I'm in the oval office with General Kramer.INTERCUT - ALCATRAZ INFIRMARY / WHITE HOUSE OVAL OFFICE GENERAL KRAMER We're having some problems with the account transfer, Frank. HUMMEL Don't tell me your problems, tell me your solutions. GENERAL KRAMER We've spoken to the President. He's not too happy about this.Chief of Staff Hayden Sinclair enters. HUMMEL Well he'd better give me a goddamn assurance ... HAYDEN SINCLAIR The only thing the President will give you is a fair trial after you're caught, General. HUMMEL That you, Sinclair? What exactly do you do at the White House? Answer the presidential phone? Wash the presidential limousine? Are you his golf caddy, Sinclair? HAYDEN SINCLAIR Now you give me some coddamn respect, General .... HUMMEL You want respect, you child, you coffee server? Let's talk about Dave Ridgeway. GENERAL KRAMER Who's Dave Ridgeway, Frank? HUMMEL A twenty-two year old marine tortured to death by a communist death squad in the El Salvadoran jungle. His mother and young wife were told by the Pentagon that he went A.W.O.L. Let's talk about the respect he got. LOUIS LINDSTROM This is going nowhere Frank .... HUMMEL Then let me tell you what is: The most lethal poison gas known to man into San Franciscols business district. You have twelve hours to deliver the money or be prepared to reap the whirlwind, gentlemen.CLICK. National Security Advisor Lindstrom stares at the phone. Shakeshis head. LOUIS LINDSTROM What's the word from Mojave? GENERAL KRAMER General Petersen can give us no definite assurance on the Willy Peter capability.The men stare grimly at each other. LOUIS LINDSTROM Greenlight the S.E.A.L. incursion.General Kramer picks up the phone and CUT TO:EXT. NAVAL AIRSTRIP (INCURSION STAGING AREA) - DUSK- The INCURSIONSTAGING AREA (a base in the S.F. vicinity) GOODSPEED and MASON, in black dry suits, join COMMANDER ANDERSON and nine other S.E.A.L.s.Four S.E.A.L.s will be identified: BOYER, REIGERT, DANDO, and SHEPHERD. COMMANDER ANDERSON Listen up, men. Mr. MASON here will run point for us. Lieutenant Shepherd will be attached to your hip, Mason. You breath, he breathes with you. Understand?LIEUTENANT SHEPHERD, young, laconic, nods at Mason. COMMANDER ANDERSON Shep, what's the status on the special operational gear for Mason. S.E.A.L. SHEPHERD (hands over items) one aluminum fork and one quart of motor oil in a squeeze tube. GOODSPEED Motor oil? MASON For cottonmouth. GOODSPEED and the S.E.A.L.s exchange looks. COMMANDER ANDERSON GOODSPEED here's our specialist. We will cover him while he neutralizes the' chemical threat. If he does his job we'll launch flares and hold our position 'till the cavalry comes. Make no mistake about it, gentlemen, we are going in against an entrenched force led by one hot-shit field commander. We are in the fight of our lives, I bullshit you not. Any questions? Let's move out.The move across the staging area to --A CH-53 SEA STALLION and two HUEY COBRA ATTACK GUNSHIPS, their BLADESwhipping with ferocity.S.E.A.L. SHEPHERD stands in the Sea Stallion's door. The S.E.A.L.sboard past him. Last are MASON and Goodspeed. MASON After you, 'lace."GOODSPEED gives MASON a look and climbs in. Then Mason. Then Shepherd,who SLAMS the door shut.THE GROUND CREW waves red LIGHT SABRES: "all clear." The Hueys and theSea Stallion lift off.INT. SEA STALLION - NIGHTGOODSPEED and MASON sit with the S.E.A.L.s. Grim, determined faces. Not a word spoken. COMMANDER ANDERSON Activate mini-cams.Anderson, Boyer and the other S.E.A.L.s flip on TINY VIDEOCAMERASmounted on their shoulders. A NAVAL MEDIC passes out SYRINGES OFATROPINE in ANKLE SHFATHES. NAVAL MEDIC Atropine. Any contact with the gas, use it.Each S.E.A.L. takes one; begins strapping it to ankle. GOODSPEED shakes his head, declining. GOODSPEED Uhn uhn. I hate needles.INT. PIER 39 - MOBILE COMMUNICATIONS TRAILER - NIGHTAT THE CONTROL PANEL - F.B.I. TECHNICIANS talk into headsets and watch abank of MONITORS displaying: satellite pictures, thermographic images ofAlcatraz, a computer bio of Hummel.SANCHEZ sits at the control panel wearing a headset. Director Womackpaces behind him. SANCHEZ Mini-cams operational.OUTSIDE IN THE WAREHOUSEAn F.B.I. SEDAN pulls in and parks. F.B.I. AGENT CORD gets out. carlasits in the back seat. CARLA Would you please tell me what is going on? AGENT CORD Can't do that, malam. Sorry.EXT. SKIES OVER SAN FRANCISCO BAY - NIGHTThe Hueys and Sea Stallion fly in formation AT CAMERA. The SeaStallion's running lights suddenly BLINK OFF.INT. SF.A STALLION - NIGHT The two SEA STALLION PILOTS don NIGHT VISION GOGGLES.IN THE HOLD - THE S.E.A.L.s begin to prepare themselves; checking theirweapons combat wet-suits, and CLOSED CIRCUIT REBREATHER SCUBA TANKS.The S.E.A.L.s begin to don their scuba apparatus. COMMANDER ANDERSON You know what you're doing? MASON Yes. Little fancier than I'm used to.MASON examines the equipment. It's more modern, but not foreign to him. He adjusts his depth and oxygen gauges. Goodspeed, having a hard time,watches Mason.EXT. SKIES OVER SAN FRANCISCO BAY - NIGHTTHE HUEYS, 50 ft. from the water's surface, SCREAM PAST CAMERA and beardown on Alcatraz.THE SEA STALLION, lagging behind the Hueys, BANKS RIGHT and peels away. It descends lower, below radar.INT. PIER 39 COMMAND CENTER - NIGHTThe F.B.I. RADAR TECHNICIAN watches the RADAR SCREEN. ..Glowing BLIPSmove toward Alcatraz. One BLIP vanishes.F.B.I. RADAR TECHNICIAN They're off radar, headin' 'round TreasureIsland.EXT. SKIES OVER TREASURE ISLAND - NIGHTThe Sea Stallion rounds Treasure Island and heads toward the rear ofAlcatraz Island.INT. SEA STALLION - NIGHTThe SEA STALLION PILOT turns to ANDERSON.SEA STALLION PILOT I got you to the strongest current in the Bay,Commander. You're on your own from here. COMMANDER ANDERSON Prepare to deplore!CUT TO: A SERIES OF SHOTS.The S.E.A.L.s stand. Each checks the gear of the man in front of him. Straps tightened. Weapons checked. -IN THE REAR OF THE HOLD-- FOUR S.E.A.L.s ready two high-tech 139B 3-mansubmersibles called 'IS.D.U.sll (Seal Delivery Units), also known as"Seal Subs."MASON is ready to go, calm and steady, eyes forward. GOODSPEED'S stillbehind. He has his scuba tanks shouldered, but he can't get the lst of the tricky cATcHEs on the shoulder harness secured ...MASON reaches over and secures, with a METALLIC DLINK, the catch. Goodspeed, embarrassed, nods.AT THE BACK OF THE HOLD139F SHEPHERD, with a nod, directs MASON to sit down on the S.D.U.behind S.E.A.L. BOYER, the S.D.U.ls driver.MASON does so. Chaney then sits behind Mason. S.E.A.L. Dando thenbegins buckling Shepherd and MASON onto the sled with harnesses (the unit's version of a seat-belt.)EXT. SAN FRANCISCO BAY (OFF ALCATRAZ) - NIGHTThe Sea Stallion hovers 15 ft. from the surface. The BELLY DOOR opens. COMMANDER ANDERSON leans out, inspecting the drop area. he hand-signalsto ---- S.E.A.L. DANDO, reading the two S.D.U.s. GOODSPEED sits on the SECOND S.D.U. behind S.E.A.L. REIGERT. S.E.A.L. Dando begins buckling in Goodspeed. GOODSPEED Wait a minute. (Dando stops buckling) What if this thing crashes ...Dando looks at Reigert. They laugh. This remark theyobviously find very funny. Dando continues buckling GOODSPEED in. MASON Smile Goodspeed. Live a little. Life is short... especially yours.And the S.D.U.ls are released, rolling out of the Sea Stallion on a setof tracks, SPLASHING DOWN into --EXT. UNDERWATER - NIGHT -- the bay here. The S.D.U.s' XENON headlampscome on.EXT. THE SEA STALLION - DOORWAY - NIGHT The rest of the S.E.A.L.s,carrying equipment and single man mini-S.D.U. units, jump from the SeaStallion one by one.EXT. UNDERWATER - NIGHT The three-man and single S.D.U.s head towardAlcatraz, passing ABOVE CAMERA.EXT. ALCATRAZ - LOWER LIGHTHOUSE - NIGHT THE SEARCHLIGHT atop the lowerlighthouse scans the bay, back and forth. It fixes on something.INT. ALCATRAZ - LOWER LIGHTHOUSE - NIGHT Hummel and Baxter watch fromthe window. Captain Fryels voice emanates from the walkie-talkie. CAPTAIN FRYE (V.O.) Something on radar, sir. Two Hueys in standard formation, due east and approaching.Hummel raises binoculars. Scans the bay.HUMMEL'S POV - THROUGH BINOCULARS - THE HUEYS AND SEA STALLION, flyinglow, SCREAM toward the island.BACK TO SCENE - HUMMEL lowers the binoculars, clicks on hiswalkie-talkie. BAXTER Decoy? HUMMEL Royce, Scarpetti, Gamble, Starling: get to the west end of the island on the double. Think we have visitors.EXT. ALCATRAZ - WATER TOWER - ALLEY - NIGHTPvt. Royce clicks off his walkie-talkie. ROYCE You heard the man, let's move it.Pvts. Royce, Scarpetti, Gamble and.Starling race off.EXT. UNDERWATER - NIGHT The S.E.A.L.s, pulled by their S.D.U.s, WHOOSHpast camera. The S.D.U.s lights dim the FLUORESCENT GREEN.CLOSE-UP on BOYER, the three-man S.D.U.ls driver, intense, determined.CLOSE-UP on Boyer's fluorescent green INSTRUMENT PANEL charting theirapproach to the island.They've drawn close to the island. ' COMMANDER ANDERS6N swings anUNDERWATER SPOTLIGHT, which reveals --A LARGE WATER INTAKE PIPE jutting out from the Island's bedrock, 7 ft.in diameter, covered by a GRATE thick with rust, barnacles and seaweed. There's a SMALL JAGGED HOLE, presumably through which MASON escaped 33years earlier.EXT. UNDERWATER - POWER P . INTAKE PIPE - NIGHT The S.E.A.L.s castoff the S.D.U.s and direct their GREEN FLUORESCENT SPOTLIGHTS inside thehole in the grate.MASON stares at the hole. COMMANDER ANDERSON nods to Mason: "lead the way." MASON does so. Enters the pipe. one by one, the S.E.A.L.s and GOODSPEED follow MASON in.EXT. ALCATRAZ - SHORELINE NEAR POWER PLANT - NIGHTPvts. Royce, Scarpetti, Gamble and Starling walk the shoreline, peeringinto the black water. ROYCE Looks all clear, sir.INT. ALCATRAZ - INFIRMARY COMMAND CENTER - NIGHT Baxter turns to Hummel: BAXTER Nothing. HUMMEL Tell 'em to stay out there.INT. ALCATRAZ - SUBTERRANEAN POWER PLANT - NIGHTA large subterranean room under the island's . power plant. Ö largeWOODEN CISTERN in the middle.The S.E.A.L.s emerge in the cistern and climb out. The room . has oneexit, sealed with a HEAVY IRON door. COMMANDER ANDERSON Thank-you very fucking much, Mr. Mason, you've led us to a room with no exit. S.E.A.L. BOYER Skipper, blow it or burn it? COMMANDER ANDERSON No time for the torch. Explosives'll bring the fucking world down on us. (turns to Mason) An idea, please, we're tight on time. MASON Wait for me to unlock the door. COMMANDER ANDERSON You do not look like Jesus Christ, Mr. Mason, so I'm having a hard time how you're going to accomplish that. MASON (points) Under there.UNDERNEATH THE STEAM ENGINE is a tiny crawl space. 10 STEAM RELEASEVALVES periodically emit BURSTS OF STEAM. COMMANDER ANDERSON You are shitting me. You catch one of those steam bursts and you're a corpse. MASON True. (unshoulders his equipment) I memorized their timing.MASON sits on the edge of the crawl space. F.B.I. looks inside thecrawl space: WHITE HOT BURSTS of 500 degree Fahrenheit steam BLAST DOWN. S.E.A.L. SHEPHERD Uhh sir, you said never leave his side ... COMMANDER ANDERSON You're not required to follow, Lieutenant Shepherd. This man is going to die. MASON (grumbles to himself) That's been said to me before ....MASON takes a deep breath and he rolls --INTO THE CRAWL SPACE - MASON logrolls one revolution... STEAMBURST another evolution STEAM BURST another revolution STEAM BURSTMASON rolls to a stop on his side. STEAM BURSTS on either side of him. MASON collects himself. Breathes deeply and rolls again. His movementsare precise, from memory. He rolls past.each burst, any imprecisioncertain death ...IN THE CISTERN ROOM - GOODSPEED, ANDERSON AND THE S.E.A.L.s watch Mason,amazed. S.E.A.L. REIGERT Who the fuck is this guy? Houdini?IN THE CRAWL SPACE - MASON rolls past the STEAM RELEME VALVE anddisappears.IN THE CISTERN ROOM - Several seconds pass. We HEAR THE DOOR beingunbolted. It CREAKS open. There stands Mason. MASON Welcome to the Rock.The Incursion Team files through the door and CUT TO:INT. TUNNELS UNDER ALCATRAZ - NIGHT Here, the tunnel moves up a steepincline to a LOCKED STEEL BULKHEAD. S.E.A.L.s REIGERT and DANDO checkit out. S.E.A.L. DANDO She's at least three inches thick sir. COMMANDER ANDERSON Shit. Burn it.Dando unpacks an ACETYLENE TORCH. Reigert turns on the ACETYLENE VALVES(tanks rigged to Dandols gear) and sparks the torch. IT FLAMES UP,white hot.Dando starts toward the bulkhead. MASON steps past him, bending hisKITCHEN FORK into an awkward shape. He fishes the fork in the lock;twists it, and...... POP.MASON throws open the thick bulkhead door. And climbs through thebulkhead. MASON (muttering) Guys are worthless. COMMANDER ANDERSON Who is this guy... ?INT. DRAINAGE PIPES LTNDER MAIN CELL HOUSE - NIGHT The team arrives ata series of concrete drainage pipes. MASON points up to one of them. COMMANDER ANDERSON The shower room? (MASON nods yes) After you.MASON and the S.E.A.L.s climb into the drainage pipe.INT. DRAINAGE PIPE UNDER SHOWER ROOM - NIGHT The S.E.A.L. team, Masonleading the way, climbs toward a FAINT LIGHT emanating from a DRAINAGEGRATE above.S.E.A.L. REIGERT readies a FIBRE OPTIC SEEING DEVICE; he pushes thefibre-optic camera up through the grate.INT. ALCATRAZ - PRISON SHOWER ROOM - NIGHTThe FIBER-OPTIC CAMERA turns, looking in a 360 degree radius, andtransmitting images of --THE PRISON SHOWER - a tiled room with shower heads and a 20 160A ft.ceiling. Above, a mezzanine circles the showers; here Alcatraz's guardsonce watched inmates below..INT. DRAINAGE PIPE UNDER SHOWER ROOM - NIGHTCommander Anderson views the shower room images on a TINY (2 inch by 2inch) WRIST-HELD VIDEO MONITOR. The shower is deserted, but there'ssomething of interest ~-A MOTION DETECTOR (a blue beam flashed from a transmitter to 161A areceptor) across the grate. COMMANDER ANDERSON Motion sensor.Anderson gingerly lifts the grate. Reigert wiggles his hands past theedges of the grate and nudges the beam transmitter (with one hand) andthe beam receiver (with the other) away from the grate.INT. INFIRMARY COMMAND CENTER - NIGHTA SILENT ALARM next to Pvt. Royce blinks on. Royce turns to Maj. Baxter. ROYCE Sir. Anti-disturbance temblar tripped in the shower. We got visitors.INT. MAIN CELL HOUSE - SHOWER ROOMThe grate pops open. S.E.A.IL.s BOYER and REIGERT, wearing NIOHT VISIONGLASSES, emerge taking defensive positions back-to-back. CommanderAnderson follows. Then, one by one, the rest of the S.E.A.L.s emerge. COMMANDER ANDERSON (to Lt. Shepherd in the drainage pipe) Stand fast. We'll secure the area.ANDERSON directs Boyer and Reigert to a TILED COLUMN. They creep acrossthe tiled floor, taking "check and defefid" positions behind theshower's TILED COLUMNS. But suddenly, shockingly.....FLOODLIGHTS flashon. Coming from the mezzanine above.The S.E.A.L.s whip off their night vision goggles.165 INT. PIER 3-9 - MOBILE COMMAND TRAILER - NIGHTON THE VIDEO MONITOR - We see the illumination of the shower room(transmitted from the S.E.A.L.s cameras.) SANCHEZ What's that...what the hell is that?INT. ALCATRAZ - DRAINAGE PIPE UNDER SHOWER ROOM - NIGHT Goodspeed,Mason, and Lt. Shepherd react to the sudden illumination above. GOODSPEED (whispers:) What's going on? S.E.A.L. SHEPHERD (whispers) Don't know.INT. SHOWER ROOM - NIGHTThe S.E.A.L.s whirl around, startled, unnerved, squinting into theblinding whiteness of the floodlights. HUMMEL (V.O.) Drop your weapons.The S.E.A.L.s, terrified, hesitate but do not drop their weapons Theystand back-to-back, weapons trained at the catwalk. squinting into thewhite light.The S.E.A.L.s behind the tiled columns take cover. we cannot yet seeHummel and the marines. This plays with as much tension as possible. The situation is chilling:COMMANDER ANDERSON Anderson here, General Hummel. Commander. TeamLeader. HUMMEL (V.O.) Commander Anderson, if you have any concern for the lives of your men, you will order them to safety their weapons and place them on the deck at their feet-INT. PIER 39 COMMAND CENTER - NIGHTON THE VIDEO MONITOR - We see the floodlights above on the Mezzanine andhear Hummells voice: SANCHEZ Oh Christ this isn't happening.INT. ALCATRAZ - SHOWER ROOM MEZZANINE- NIGHTHUMMEL looks down at the S.E.A.L.s. Baxter's text to him. The othermarines are at positions around the mezzanine perimeter, M-16's trainedand ready. COMMANDER ANDERSON Sir, we know why you're out here. God knows I agree with you sir, but like you sir, I swore to defend this country against all enemies. Foreign, sir, and domestic. (shouts now) General, we've spilled the same blood in the same mud. You know goddamn well that I cannot give that order...BEHIND A COLUMN - S.E.A.L.s REIGERT and BOYER stare into thefloodlights. HUMMEL Your unit is covered from an elevated position, Commander. I'm not going to ask again.ON THE MEZZANINECPTS. FRYE, DARROW and PVTS. COX, MCCOY, have their weapons trained;they're pumped and trigger happy. HUMMEL Don't do anything stupid, Commander. No one has to die here. COMMANDER ANDERSON You men following the General: You are United States Marines and under oath you forgotten that? We all have shipmates we remember - some of 'em were shit on and spit on by the Pentagon - that doesn't give you the right to mutiny. HUMMEL That's a nice speech, Commander. I heard plenty like it in the Pentagon and on Capitol Hill. They all added up to zero. Pretty words aren't gonna get you out of this, Commander. Now abort this mission. Goddamn it, abort.BEHIND THE COLUMN - S.E.A.L. BOYER, just 20, having never seen combat,is trembling with fear, indecision. S.E.A.L. BOYER It's us or them, Reigert, fuck they're gonna waste us ... S.E.A.L. REIGERT Get a grip on yourself ....ON THE MEZZANINE - PVT. COXIS BOOT nudges a TILE which has come loosefrom its mortar. The tile inches to the edge of the mezzanine. Then itfalls ......BOYER, reacting to THE FALLING TILE, brings up his machine gun and firesA SUSTAINED BURST in its direction --And all hell breaks loose. THE MARINES fire in unison. A cruelwithering fusillade.--- THE S.E.A.L.s in the middle of the floor take the brunt of it. Theygamely return fire. But they're hit. Again. Again. Again.IN THE DRAINAGE HOLE - Goodspeed, Mason, and Lt. Shepherd listen (andwatch, when the view allows) in utter horror to the firefight above.Lt. Shepherd scrambles up the ladder. GOODSPEED grabs him. Tries to pull him down. GOODSPEED Don' t do it. S.E.A.L. SHEPHERD Let go of me.Lt. Shepherd climbs the ladder.IN THE SHOWER ROOM - ANDERSON takes a bullet in his leg. His automaticblazing, he takes a bullet in the forearm. The chest. The shoulder.-- THREE MARINES on the mezzanine are hit and killed.-- LT. SHEPHERD climbs out of the drainage pipe and comes up firing. He instantly takes a bullet through the visor, killing him instantly. SHEPHERD falls to his knees and pitches over, falling face first into --THE DRAINAGE HOLE, where SHEPHERD'S lifeless eyes come face-to-face withGoodspeed, who nearly passes out, then looks away in horror.S.E.A.L.S BEHIND THE COLUMNS return fire. They're hit, picked off.oneby one.-- MARINE COX AND MCCOY fire a 50 CAL. GUN (as powerful asanti-aircraft or anti-tank round) through the column, killing REIGERTand BOYER. HUMMEL HOLD YOUR FIRE HOLD YOUR FIRE ....INT. DRAINAGE PIPE UNDER SHOWER ROOM - NIGHTSuddenly the-firing stops. GOODSPEED and MASON freeze. Thinking fast,MASON rips the TAC RADIO from Shepherd's helmet, takes his 9 MM PISTOLand MACHINE GUN, and his SAW-TOOTHED KNIFE AND SHEATH, and climbs down.Goodspeed, indecisive at first, clambers down after Mason.INT. PIER 39 - MOBILE COMMAND TRAILER - NIGHT ON THE VIDEO MONITOR - Animage transmitted from Anderson's helmet camera. Anderson has fallen,so this is at ground level. We see corpses and near corpses. SANCHEZ It's over. F.B.I. TECHNICIAN We've still got movement. Numbers eleven and twelve. That's GOODSPEED and.... Mason. F.B.I. DIRECTOR WOMACK If mason's still alive, it's not over.INT. ALCATRAZ - TUNNELS UNDER SHOWER ROOM - NIGHTMASON and GOODSPEED exit the drainage pipe. GOODSPEED is panting, nearly hysterical. GOODSPEED We're never gettin off this island.INT. PIER 39 - WAREHOUSE - NIGHTCARLA peers through a crowd of F.B.I. TECHS huddled around video andaudio monitors. She freezes, her hands covering to her mouth at thesound of: GOODSPEED (over tac radio) .... god Jesus we're gonna dieSanchez, agitated, exits the Command Trailer with Director Womack. Theyhuddle, speaking in hushed voices. SANCHEZ You told me I am on a "need to know" basis. Well goddamn it, I need to know. Who the fuck is John Mason. Start talking, Director, or I swear I will go to the press.A tense pause. Then Womack sighs, and his voice travels back threedecades ... F.B.I. DIRECTOR WOMACK 1962. J. Edgar Hoover is head of the F.B.I., some say the country. It's no secret the esteemed Mr. Hoover kept microfilm files on prominent Americans and Europeans. de Gaulle, British members of Parliament, even the Prime Minister. The man had dirt on everyone in the world,A174 INT. ALCATRAZ - TUNNELS UNDER THE SHOWERS - NIGHTGoodspeed, slumped in a corner, watches MASON arm himself.He is a different person. Alive. Now in his element. pops the clip onShepherd's g mil gun. Inspects it. Unsheathes the saw-toothed knife. Sheathes it.174 INTERCUT - PIER 39 COMMAND CENTER / ALCATRAZ TUNNELS F.B.I. DIRECTOR WOMACK The British sent over their best operative, John Mason, to steal it. MASON grabs Shepherd's machine gun, pops the clip. F.B.I. DIRECTOR WOMACK Our agents caught MASON at the Canadian border but with no microfilm. It's never been found. So Hoover held him without trial. The British claimed they didn't know him. SANCHEZ What about the daughter? why didn't Hoover use her as leverage? F.B.I. DIRECTOR WOMACK He died in 1972. She wasn't born yet Today it's a different Bureau and no one wants to touch this. SANCHEZ My god, you're not saying ...MASON slides the clip back in the machine gun. Tests the action.obviously comfortable with firearms ... F.B.I. DIRECTOR WOMACK John MASON has been incarcerated without trial on American soil since 1962. He knows our most intimate secrets of the last half century. The alien landing at Roswell, the truth about the J.F.K. assassination.INT. ALCATRAZ - TUNNELS BELOW SHOWER ROOM - NIGHT F.B.I. DIRECTOR WOMACK (O.S.) John MASON was an S.A.S. trained killer, one of MI-6's best operatives ever - John MASON was one of the most dangerous men on earth.MASON, armed and dangerous for the first time in 33 long years, facesGoodspeed. Brings his machine gun up. GOODSPEED raises his -9 mil pistol in self-defense. GOODSPEED Don't shoot me. MASON was actually slinging it over his shoulder... MASON For christ's sake. MASON trudges down the tu=el. Goodspeed follows him. GOODSPEED Wait. Where're you going? MASON Off this island. You mind? GOODSPEED Yes I mind. I mind very much. From the tac radio in Mason's hand: SANCHEZ (O.S.) (over tac radio) Goodspeed, Goodspeed, come in. MASON You've got a phone call.MASON throws the tac radio at Goodspeed's feet and trudges off. GOODSPEED grabs the tac radio. GOODSPEED It's me sir. SANCHEZ (O.S.) What is happening? Where's Mason? GOODSPEED He says he's leaving the island sir. SANCHEZ Don't let him do that. GOODSPEED He's got a gun, sir. SANCHEZ What do you have, a FUCKING WATER PISTOL? Get him back!GOODSPEED hurries off after Mason.INT. ALCATRAZ - SHOWER ROOM - NIGHTCommander Anderson and the S.E.A.L.s lie dead, their blood running overthe tiles into the drainage grate. Hummel, Baxter walk amongst thecorpses. HUMMEL I never wanted this. Jesus christ. BAXTER We knew it might happen, Frank. CAPTAIN DARROW Maybe now they'll pay up. CAPTAIN HENDRIX Maybe now they won't. CAPTAIN DARROW Then maybe we'll execute a few hostages.One S.E.A.L. DANDO, is still alive. He's gurgling blood. Staring up atHummel. S.E.A.L. DANDO You'll go to hell for this General. CAPTAIN DARROW (to Pvt. Royce) Put a bullet in him.Pvt. Royce, appalled, can't bring himself to do it. CAPTAIN FRYE You heard him. End it.Cpt. Darrow pulls his sidearm and levels it. HUMMEL CAPTAIN, HOLSTER THAT SIDEARM. CAPTAIN DARROW (lowers sidearm) Yes sir.Royce kneels. Feels Dandols carotid artery. ROYCE He's dead anyway sir. Hummel leans down. Stares into Dando's video feed.INT. PIER 39 - NIGHT womack and SANCHEZ stare at HUMMEL on the monitor. HUMMEL (V.O.) (over monitor) You have a made a terrible mistake and more of our brothers have died in vain. Let's not repeat this.The transmission goes dead.INT. ALCATRAZ - SHOWER ROOM - NIGHTSuddenly, SGT. drainage pipe,CRISP bent over SHEPHERD'S CORPSE in.the shouts to Hummel: SGT. CRISP General! This man's weapons and tac radio are missing! HUMMEL Rodent problem, people. Let's flush the pipes.Pvts. Cox and McCoy go to the drainage pipe.EXT. ALCATRAZ - MAIN CELL HOUSE - NIGHT Hummel and his men exit theMain Cell House and fan out in teams across the island.SGTS. CRISP and CPT. HENDRIX move toward the power plant (above thetunnel traveled by MASON and Goodspeed.)INT. TUNNELS UNDER ALCATRAZ - NIGHT Goodspeed's still trailing afterMason. GOODSPEED would you stop. Just stop. (MASON stops) I don't know whatyou did or why you were sent to jail, but there are a million people across that bay who might die... (MASON continues) Fuck this. Stop. Freeze.MASON turns. GOODSPEED has his g gun trained on him. He's not the mostconvincing gun handler.EXT. ALCATRAZ - IN FRONT OF POWER PLANT - NIGHTSgt. Crisp and Capt. Hendrix, walking toward the power plant, hearsomething. Beneath them, through a VENTILATION GRATE. VOICES. CAPTAIN HENDRIX (whispers in tac mike) Rodents located.Hendrix and Crisp begin preparing a SATCHEL EXPLOSIVE.INT. TUNNELS UNDER ALCATRAZ - NIGHT MASON and GOODSPEED as before. MASON advances. GOODSPEED F.B.I. Stop right there. I really mean it. MASON (stops) If you really mean it, take the safety off.GOODSPEED fiddles with the safety catch. With a swipe, MASON snatches the gun. They glare at each other. SANCHEZ (V.O.) (over tac radio) Goodspeed. Goodspeed, come in. Have you resolved this? GOODSPEED Now he has all the guns, sir. . (clicks off the tac radio) You've got to help me. What do you want me to do, beg? MASON Save your breath and your dignity, if you have any. I am leaving. I am getting my daughter and getting the hell out of here.MASON walks off. Suddenly stops. THE SATCHEL EXPLOSIVE has fallen athis feet. MASON turns, looks at Goodspeed. And they sprint back, theway they came.IN THE TUNNEL BEHIND THEM - A MONSTROUS EXPLOSION blows in the tunneland knocks MASON and GOODSPEED to their feet.INT. ALCATRAZ - SHOWER ROOM - NIGHTPVTS. COX AND MCCOY attach a bundle of C-4 to A TANK OF GASOLINE andtoss it down the drainage pipe.INT. TUNNELS UNDER ALCATRAZThe gas bomb detonates, blowin'g a wall of flame through the tunnel. The fire is looking for an escape, hunting and burning everything in itspath.DOWN THE TUNNEL - MASON AND GOODSPEED see the wall of flame ROARINGtoward them. MASON grabs Goodspeed. MASON Hold your breath.They dive into a pool of stagnant water, submersing as the WALL OF FLAMEblows through the tunnel over their heads.Mason, then Goodspeed, drags himself out of the water. MASON Come on. And keep your mouth shut.MASON hurries off, GOODSPEED on his tail.EXT. ALCATRAZ - SUBTERRANEAN CIVIL WAR RUINS - NIGHTThe tunnel leads here, to the Civil war era dungeon. The tunnel'sbricked up; brick and mortar circa 1855.CIVIL WAR RUINS - NIGHT GOODSPEED Now what?MASON moves to the bricked-up wall. Feels around the mortar. Smiles. Removes a brick. another. Another. A WHOLE CLUMP of bricks falls,revealing A HOLE. MASON Came out right through there. (squeezes through the hole; mutters) 'Course I've gained a few since ...GOODSPEED follows MASON through the hole.INT. CIVIL WAR DUNGEON - OTHER SIDE OF THE WALL - NIGHT MASON and GOODSPEED emerge to a ledge which faces A POOL OF DANK STAGNANT WATER. It's about 3 ft. deep. MASON Across that, then 50 yards to the morgue. (off Goodspeed's blank stare) You said that's where the fucking poison is, Goodspeed. GOODSPEED I don't get it. You're going to help me? MASON No. I'm going to give you dancing lessons. What the fuck do you think? GOODSPEED You don't have to get all bent out of shape. MASON What's bent out of shape, idiot, is the tunnel I was going through to freedom five minutes ago. GOODSPEED All right, all right. Don't call me idiot, okay?MASON what did I do to deserve this? What God did I offend .....GOODSPEED begins to wade into the pool.MASON Stop. (GOODSPEED stops) There. And there.GOODSPEED squints. The water slithers with COTTONMOUTHS. MASON unpack the QUART OF MOTOR OIL in spray bottle. MASON Cottonmouth snakes. They breath through their skin. Oil clogs it. They hate the stuff. MASON sprays the motor oil across the pool. The snakes scatter. The pool's now coated with an OIL SLICK. MASON wades in. Goodspeed follows.The COTTONMOUTHS, repulsed by the oil, stay away. GOODSPEED tries not to look at the snakes. They make it across. GOODSPEED Something's a little off here: I'm the F.B.I. Agent, you're the convict, and you have all the guns.MASON slaps the .9 MM pistol into Goodspeed's hand walks off. GOODSPEED follows.INT. ALCATRAZ - TUNNEL UNDER PRISON MORGUE - NIGHTMASON and GOODSPEED arrive at a fork in the tunnel. _DOWN THE FORK IN THE TUNNEL - is the PRISON MONO-RAIL SYSTEM: a singlerail suspended from the tunnel ceiling, upon which SMALL CARTS aresuspended. GOODSPEED The morgue?MASON nods. Moves to a STEEL-RUNGED LADDER leading to a GARBAGE CHUTEagainst the wall. GOODSPEED follows.INT. ROOM ADJACENT TO MORGUE - NIGHTMASON and GOODSPEED emerge from the garbage chute. They hear VOICES inthe next room.INT. MORGUE - NIGHTPVTS. GAMBLE and STARLING are guarding the poison. Starling's walkingaround. Gamble's seated on a MORTICIANIS TABLE, smoking.The door bursts open. MASON stands in the doorway. GAMBLE dives away. STARLING whirls, raising his M-16.MASON'S HAND flashes. THE SAW-TOOTHED KNIFE flies the length of theroom and buries in Starling's neck. MASON Never hesitate.Gamble fires from his position around the corner. MASON and Goodspeeddive for cover behind a cabinet. GOODSPEED fires from cover withoutlooking, his gun raised over the cabinet. Mason, underneath thecabinet, fires at GAMBLE'S FOOT. Gamble, shot, hits the deck.GAMBLE unclips a GRENADE. Before he can pull the pin....MASON FIRES HIS CLIP EMPTY at the AIR CONDITIONER MOUNT on the ceilingabove Gamble. The mount gives; the ENORMOUS AIR CONDITIONER falls,crushing Gamble. Gamble's GRENADE, still secured with the pin, rollsaway.GOODSPEED rises. Looks at Gamble under the air conditioner. Just HISLEGS stick out. (Note: the rest of the scene's action plays out aroundGamble's legs. GOODSPEED You didn't learn that in prison. MASON No, and I used to be a lot quicker. GOODSPEED I've got some questions for you but they can wait.GOODSPEED opens the CORPSE DRAWERS revealing the V.X-. CHEM ROUNDS(shaped like big tennis ball cans).GOODSPEED carefully lifts out a chem round. MASON grabs one, accidentally knocking it against the drawer. GOODSPEED Careful. The second you don't respect this, it kills you.GOODSPEED and MASON set the V.X. chem rounds on the mortician's table. GOODSPEED pulls out his EQUIPMENT KIT. Begins detaching the tops of thechem rounds.GOODSPEED reaches inside a chem round and carefully pulls out..... aSTRAND OF V.X. POISON PEARLS: ping-pong ball sized glass bubbles filledwith poison. GOODSPEED I need a hand here. (MASON looks anxiously at the poison pearls.) Mason. Now.GOODSPEED hands the poison pearl strand to Mason. MASON holds it like a string of wind chimes. MASON What... exactly does this do to you? GOODSPEED Any epidermal exposure or inhalation and you'll know: A twinge at the small of your back as the poison seizes the nervous system. (hands over another poison pearl strand) Then loss of muscular function. Then you spit your guts out, it looks like a tub of spaghettils spilled on the floor, then your skin turns black...MASON stares uneasily at the pearl strands. MASON Sounds like my first marriage.GOODSPEED has the chem round's GUIDANCE SYSTEMS exposed. Inside aretiny GUIDANCE SYSTEM MICRO-CHIPS. GOODSPEED plucks the chip from each chem round and pockets it. GOODSPEED (into tac radio) Pier 39 come in. SANCHEZ (V.O.) (tac radio) Goodspeed? Where the hell have you been. Talk to me. GOODSPEED We're in the morgue. I'm removing the rocket's guidance system chips. (to Mason) Without em the rocketslll fly about 500 feet and splash down like a wounded duck.GOODSPEED moves on to the third and fourth chem rounds. Suddenly there'sa BEEP. GOODSPEED and MASON whirl. Pvt. Gamble's WALKIE TALKIE istalking to them: HUMMEL (O.S.) Gamble, Starling. Come in.MASON and GOODSPEED exchange a nervous look. HUMMEL (O.S.) Privates Gamble and Starling, come in.EXT. ALCATRAZ - INFIRMARY COMMAND CENTER - NIGHTHummel clicks off his walkie-talkie. Stands there a second, thinking. HUMMEL The morgue. Hummel and Baxter exit quickly.INT. ALCATRAZ - MORGUE - NIGHTGOODSPEED goes faster; his hands aresweating, trembling. It's like he's lost his spine. (And thinking about Carla, perhaps he has.) MASON C'mon c'mon.... faster ....GOODSPEED nearly drops a chem round. MASON recoils. MASON I thought you were cool under pressure. GOODSPEED Shut up; you're making me nervous.EXT. ALCATRAZ - BETWEEN CELL HOUSE AND MORGUE - NIGHTHummel and his men race toward the morgue.INT. ALCATRAZ - MORGUE - NIGHTGOODSPEED has dealt with eight chemrounds. There should be seven more, but there's not. GOODSPEED counts them .... MASON They'll be on us in twenty seconds. GOODSPEED Wait a minute. Fuck. Hummel stole fifteen chem rounds. There's only twelve here. Here. Quickly. Do these last four.MASON raises the poison pearl strands from each of the remaining fourchem rounds. GOODSPEED quickly plucks the chips from the guidancesystems.EXT. ALCATRAZ - MORGUE - NIGHTHummel and the marines converge on the morgue. Surround the door. Theyburst inside, guns trained.INT. ALCATRAZ - MORGUE - NIGHTCOX, MCCOY, and DARROW fire machine gun bursts at ---- MASON AND GOODSPEED sprinting across floor, BULLETS chewing thefloor. They dive into the MORGUE INCINERATOR CHUTE, GOODSPEED leaving the tac radio behind ....INT. TUNNEL UNDER MORGUE - NIGHTGOODSPEED and MASON tumble out of the chute. Two MONO-RAIL CARTS arehanging there. They exchange a look and climb into the first cart. MASON throws the cart's RELEASE LEVER. The cart glides down themono-rail.INT. ALCATRAZ - MORGUE - NIGHTHUMMEL goes to the mortician's table. Sees the theft of the guidance chips. HUMMEL Hendrix! Take Royce and Scarpetti!CAPTAIN HENDRIX and PVTS. ROYCE and SCARPETTI dive into the incineratorchute after MASON and Goodspeed. BAXTER Gamble and Starling are dead.CUT TO:INT. TUNNEL UNDER MORGUE - MONO-RAIL TRACK - NIGHTHendrix, Scarpetti, and Royce tumble from the incinerator chute. Masonand GOODSPEED are down the Mono-rail track.Hendrix gets in THE SECOND MONO-RAIL CART. Scarpetti gets in THE THIRDMONO-RAIL CART. Hendrix and Scarpetti pull the release levers. TheMono-rail carts rumble after GOODSPEED and Mason. Hendrix shouts back to Royce: CAPTAIN HENDRIX FOLLOW ON FOOT!INT. ALCATRAZ - MONO-RAIL TUNNEL - NIGHT The three carts fly down themono-rail: GOODSPEED and MASON (in CART 1) 50 feet ahead of Scarpetti(in CART 2), who is 50 feet ahead of Hendrix (in CART 3)IN CARTS 2 AND 3 - SCARPETTI and HENDRIX fire M-16s.IN CART 1 - MASON and GOODSPEED duck as BULLETS RICOCHET around the tunnel walls. They pop up and return fire.IN CART 2 - SCARPETTI arms hi over/under M-16 grenade launcher with agrenade and... FIRES.THE GRENADE PROJECTILE shoots down the monorail tunnel.IN CART 1 - MASON AND GOODSPEED duck as the GRENADE PROJECTILE wingsover their heads, continues down the tunneland DETONATES against the tunnel wall.CART 1 roars through smoke and debris left by grenade explosion. As itrounds a corner, MASON grabs A SPLINTERED TIMBER and releases from thecart. CART 1, with GOODSPEED alone continues down the mono-rail.MASON yanks down a 5 ft. long BROKEN SECTION OF SEWAGE PIPE and presseshimself against the tunnel wall.AS CART 2 rounds the corner...WHAM!! MASON swings, hitting Scarpetti flush in the forehead, killinghim and blowing him off the cart. Cart 2, without Scarpetti, continuesdown the mono-rail.MASON waits. As CART 3 rounds the cornerMASON swings again But Hendrix is waiting for it. Hendrix grabs theswinging pipe and pulls MASON into Cart 3!IN CART 3 - HENDRIX AND MASON FIGHT SCENEMason's sprawled on the floor of the cart. Hendrix levels his M-16. MASON whipsaws the legs under Hendrix, bowling him over, the M-16falling away from the cart.MASON and Hendrix get to their feet.. They trade blow after blow as theCart ROARS through the tunnel.IN CART 1 ~ GOODSPEED looks over his shoulder at MASON and Hendrix locked in mortal combat. He pulls the CART BRAKE. Cart 1 beginsslowing down. CART 2 (Scarpettils) rams into it. Now Carts 1 and 2 aretogether. And on comes --CART 3 - Hendrix knocks MASON to the floor of the cart. Hendrix divesatop Mason, strangling him. mason's head is bent over the front lip ofthe cart. MASON looks down the mono-rail track. To his horror he seesCARTS 1 and 2 slowing down ...IN CART 1 - GOODSPEED realizes that his cart is going to ram Mason'soutstretched head. He releases the brake, and Cart 1 picks up speed ...IN CART 3 - Hendrix draws the knife. Hendrix raises the knife. Withhis last strength, MASON rolls away. Hendrix plunges the knife down,missing Mason, him momentum carrying his head and shoulders over thefront lip of the cart. MASON SCREAMS at Goodspeed. MASON BRAKE! ! !IN CART 1 - GOODSPEED pulls the cart brake and ---- CART 3 SLAMS into CARTS 1 and 2 at 20 m.p.h., crushing Hendrixls headand torso between Carts 2 and 3.The collision knocks MASON off Cart 3, SLAMMING his head against thetunnel wall. MASON falls unconscious.to the tunnel floor, while ---- CART 1 is shoved by the collision across.a DITCH OF WATER in thetunnel floor. GOODSPEED groggily gets to his feet. Jumps down from the cart. GOODSPEED Mason!In the midst of this PVT. ROYCE runs up. Sees MASON concussed,helpless. Royce draws his GLINTING KNIFE. Kneels over Mason. He'sgoing to cut his throat. GOODSPEED Wait.Royce lowers the knife. Looks across the ditch at Goodspeed. The ditchis 20 ft. wide and filled with dank, stagnant water and we've seen dank,stagnant water before. GOODSPEED Pretty easy killing an unconscious man. How about trying me? Punk. (beat) What're you waiting for? Limp dick. ROYCE I am going to fuck you up something fierce. You rolled the wrong number, shithead. You crapped out.And ROYCE begins to wade into the ditch. And GOODSPEED is looking at the water, waiting... ROYCE is waist deep now. Royce feels something. He winces. Looks down at --FIVE COTTONMOUTH SNAKES, fangs wide and white, plunging into him. Roycescreams. His knees buckle. He falls to his knees in the water. ACOTTONMOUTH stuck to his neck... Royce SHRIEKS again ...And slides gently under the water. GOODSPEED I rolled snake-eyes. Shithead.Goodspeed, hand over hand on the monorail, eases the cart across the stagnant ditch. Hops out. MASON gets to his feet. The two exchange a look. MASON Limp dick? GOODSPEED It's all I could think of.They stumble off down the mono-rail tunnel. MASON I think I've got arthritis.INT. WHITE HOUSE - NIGHTGeneral Kramer, C.I.A. Director Amway, chief of Staff Hayden Sinclairand Security Advisor Louis Lindstrom. HAYDEN SINCLAIR The President arrives in three hours. His directive is to string Hummel along until the airstrike is operational. LOUIS LINDSTROM What's the word from Mojave, General? GENERAL KRAMER (grim) They're going as fast as they can.A corrugated aluminum hangar. SUPER:Mojave Desert United States Air Force Testing FacilityINT. U.S.A.F. TESTING FACILITY WAREHOUSE - NIGHTLooks like a Formula One garage. ROCK MUSIC blares.Eight GUIDED MISSILES (finned, 8 feet long) hand from hoists in variousstates of repair. U.S.A.F. TECHNICIANS hover over the missiles.IN A CORNER - JIMKY FISK and LARRY GILER consult. LT. FISK We're fucked, cap'n. CPT. GILER Are we fucked with a pencil or are we fucked with a baseball bat. LT. FISK We're fucked with a telephone pole. (turns to the missiles) we can arm em with Willy Peter, no problem, but negatory pn smart bomb capability. CPT. GILER What are you saying? LT. FISK The pilots are gonna have to drop em manually. We're talkin, retro, baby. We're talkin' World War II.INT. ALCATRAZ - BEHIND "CHINA ALLEY" - NIGHTMASON and GOODSPEED emerge from the mono-rail tunnel. The launcher onChina Alley is in the b.g. Suddenly, from the loudspeaker above them: HUMMEL (V.O.) (loudspeaker) Attention Navy Seals, attention.MASON and GOODSPEED freeze. GOODSPEED He thinks we're Seals. HUMMEL (V. 0. ) (loudspeaker) Congratulations. You've taken some things of mine. I can't convince you to return them so I'll put on someone who can.A pause. Then A MALE VOICE. Nervous. Quivering. MALE VOICE (V.O.) (loudspeaker) Hell... hello.EXT. ALCATRAZ - PRISON EXERCISE YARD - NIGHTLARRY HENDERSON, 48, stands at the end of the exercise yard in a SPOTLITAREA. Capt. Darrow has his .45 placed against Larry's left temple. HUMMEL Tell them your name and age. LARRY HENDERSON My n...name is L... larry Henderson. I'm forty-eight. HUMMEL Good Mr. Henderson, continue ... LARRY HENDERSON I don't know who you are, but p please, there's a gunEXT. ALCATRAZ - BEHIND CHINA ALLEY - NIGHT MASON and Goodspeed, crestfallen, listen. LARRY HENDERSON (V.O.) (loudspeaker) ... andthey're going to oh god... (through tears) ... pleasedon't kill meLarry's quivering voice trails off. Replaced by: HUMMEL (V.O.) (loudspeaker) Convinced? Mr. Henderson hopes so. You have two minutes.GOODSPEED turns to Mason. GOODSPEED I'll go. MASON Wrong. GOODSPEED What, vou? MASON I'm not the chemical weapons expert. GOODSPEED Good point. Okay here, take 'em.GOODSPEED unpockets the V.X. ROCKET'S GUIDANCE CHIPS. Hands them toMason. MASON heaves them into the bushes. GOODSPEED What are you doing? MASON Now they only have three rockets left. GOODSPEED What about Mr. Henderson? MASON Hummel's a soldier, not a murderer. GOODSPEED Wait. MASON (stops; turns) Find the rockets. If they're guarded, kill the men guarding them. GOODSPEED I... I don't know if I can do this. MASON There's only one way to find out. I'll try to give you time. And Goodspeed.... (tosses GOODSPEED his ATROPINE SYRINGE) Don't be an idiot. Put that on.MASON moves off into the night. GOODSPEED Well thank-you, thank-you very much.GOODSPEED creeps toward the China Alley rocket launcher.EXT. CHINA ALLEY - NIGHTGOODSPEED moves under the grated, multi-levelstructure of china Alley. Looks up through the grate. The ROCKETLAUNCHER sits on the grate on the level above him.EXT. MAIN CELL BLOCK - NIGHTMASON walks down the middle of the cell block toward the opening to theexercise yard.EXT. ALCATRAZ - PRISON YARD - ONE MINUTE LATER - NIGHTDarrow with his gun to Larry Henderson's head. Hummel paces in thebackground. MASON emerges ftom the cell block.MASON walks up to Hummel. The two stand there a moment, regarding eachother. CAPTAIN DARROW Gotta be kidding me. They send an old man.MASON gives Darrow a hard-eyed glance. Hummel takes a lap around Mason,sizing him up. HUMMEL I thought I'd been in the service a long time. Name and rank, sailor. MASON John Paul Mason. (stares at Hummel) Royal Navy. Commander. HUMMEL You're a long way from England, Commander Mason. MASON I feel strangely at home. HUMMEL How's that? MASON You wouldn't believe me if I told you. HUMMEL Do you have some unique knowledge of this prison facility, Commander Mason? MASON Quite unique. HUMMEL How's that? MASON I was a guest here.Glances all around. Someone laughs. Everyone laughs.EXT. CHINA ALLEY ROCKET LAUNCH STATION - NIGHT Pvt. COX mans thelauncher. Suddenly a voice: GOODSPEED (V.O.) Freeze. (Cox freezes) Drop the weapon and turn around. Slowly.Pvt. Cox drops his weapon. Slowly turns. Goodspeed, one hand on hisgun, the other on HIS TOOLS, begins to unscrew the V.X. CHEM ROUNDFACE-PLATE.ON THE GRATED LEVEL ABOVE GOODSPEED - PVT. MCCOY appears. Looking down,he sees GOODSPEED and Cox. He cinches his REPELLING CLIP to the steelrailing.EXT. ALCATRAZ - PRISON YARD - CONTINUOUS - NIGHT HUMMEL Well you're some kind of joker, Mason. Maybe you're a lunatic. Are you of sound mind, Mason? MASON I'm not threatening the lives of a million innocent people. You are.Hummells demeanor changes. Hard now. Tight. HUMMEL Give me the guidance chips. MASON I threw them in the bay. HUMMEL That was stupid of you. MASON (re: hostage Henderson) Would you have shot him7CUT TO:The marines look at Hummel, wondering the same thing. 220 EXT. CHINAALLEY ROCKET LAUNCHING STATION - NIGHT GOODSPEED, still holding Cox atbay, pulls the V.X. chem round from the rocket. The going is slow. hebegins to lift the POISON PEARL STRANDS from the chem round. His handreaches to unclip the GUIDANCE SYSTEM CHIP.Suddenly PVT. MCCOY repels to the level behind Goodspeed. Goodspeedgrabs the chip and dashes off, slamming through an OLD WOODEN DOOR intothe CIVIL WAR RUINS.EXT. PRISON YARD - CONTINUOUS - NIGHTMASON and Hummel. The previous question dangles in the air: Would youhave shot him? HUMMEL You seem like a bright man, Commander. Bright men understand necessity. MASON Bright men also obey the law. "Wherever law ends, terror begins." John Locke. HUMMEL "Where there is no law, there is no transgression." The Bible. Romans, Chapter 4, Verse 15. MASON Article 7, American Constitution? "Treason against the United States shall consist of... 11 HUMMEL The American Constitution was written by traitors, Commander. Traitors against a government founded on injustice and tyranny and stupidity. (beat) I see little difference in my motivation.EXT. CHINA ALLEY ROCKET LAUNCHING STATION - NIGHTGoodspeed, inside the Civil War ruins, levels his gun at the door. Thechip is in his free hand.The door CREAKS open.EXT. PRISON YARD - CONTINUOUS - NIGHT HUMMEL Do you, Commander Mason?Suddenly GUNSHOTS. Coming from China Alley. Hummel and men whirlaround, startled. HUMMEL Frye, Crisp, go!EXT. CHINA ALLY ROCKET LAUNCHING STATION - NIGHTGOODSPEED wildlydischarges his gun until CLICK, the clip is spent. Cox and McCoy stepthrough the doorway.GOODSPEED shoves the guidance chip in his mouth. MCCOY Swallow that and I swear on my Aunt Myrtle's grave I'll cut your belly open and pull it out.McCoy and Cox spring at Goodspeed. McCoy whips the butt end of his gunagainst Goodspeed's head. GOODSPEED crumples, unconscious. McCoy jamshis fingers in Goodspeed's mouth.MCCOY He bit the fuckin' thing. It's shot.INT. MAIN CELL HOUSE - CELL BLOCK 'ID" - MORNINGGOODSPEED squints through painful eyes, gaining consciousness. he looksaround, taking stock of the start cell on 'ID" block. Gets to his feet. Goes to the bars: GOODSPEED Mason. (no response) Mason? MASON (V.O.) It's about time. GOODSPEED Where are you?A CELL ON THE TIER ABOVE GOODSPEED - MASON sits on a bed. MASON Above you. (under his breath) Literally and figuratively.WIDENING, we see that MASON'S MATTRESS has been ripped into long strips. MASON is BRAIDING THE STRIPS into a long rope. The rope is quitefinely constructed. Mason's been at this several hours.INTERCUT BETWEEN THE TWO CELLS (and during the following, MASON keeps busy with his rope braiding). GOODSPEED This is tiny. MASON You referring to your intellect, Goodspeed? Or another portion of your anatomy .... GOODSPEED The cell, Mason. MASON Five feet by seven. Try living in one for a year. What happened? GOODSPEED I only got one chem round. There are two left. I fucked up. MASON (sarcastic) Surprise, surprise. GOODSPEED I'm not a field agent, all right? So cut me a break. MASON An F.B.I. Man asking me for a break. How droll. GOODSPEED What is your beef with the Bureau, anyway Clmon. Tell me. MASON Let's say our countries had a little dispute. They both knowingly shafted me. GOODSPEED How? MASON Familiar with the name Hoover, Goodspeed? I don't mean a vacuum cleaner ... GOODSPEED listens intently andCUT TO:INT. LONG BEACH AIR FORCE BASE HANGAR - MORNINGSUPER: LONG BEACH, CA. - U.S. AIR FORCE BASE.TECHNICIANS are frantically installing WILLY PETER INCENDIARY BOMBSunder the wings of an F-16.ACROSS THE HMGAR - General Peterson and Captain Giler brief FOUR F-16TOP GUN PILOTS.GENERAL PETERSON The target. Alcatraz Island. This is not a precisionstrike. The entire island is to be blanketed.LWO F-16 PILOT Sir, we hit that Island with Willy Peter and it's goingto look like Iwo Jima. No one can survive it.GENERAL PETERSON (grimly) That's why this is a volunteer mission,Captain. If any of you have doubts you can carry it out, speak up.The pilots look at each other. Silence. GENERAL PETERSON Captain Giler? CPT. GILER We jerry-rigged a release lever. You'll find it on the left side of the cockpit. It's got two positions: safety and release. Throw it on release, the bomb drops in five seconds. Change your mind, throw it back on safety. Any questions?INT. ALCATRAZ - GOODSPEED'S CELL - MORNINGGOODSPEED stares blankly into space. INTERCUT between the two cellsagain. GOODSPEED Jesus. (thinks) Why didn't you just tell Hoover and the bureau where the microfilm was? Make a trade? MASON Some trade. They'd get the microfilm and I'd get a bullet in the head. GOODSPEED I see your point. Something's been on my mind. About your escape. MASON What?MASON rises. Lifts the bed. Pulls off the bed's heavy ROLLING CASTER. Knots the caster onto one end of the braided rope. GOODSPEED You went down the shower drain, through the tunnels to the power plant, under the steam engine and out through the intake pipe - that much I've got ' But... howld you get out of your cell?MASON leans out his cell and tosses the rolling caster down the cellblock. The braided rope, tied to it, plays out to it's full length. GOODSPEED (cont'd) I only ask because, in our current situation, it might be useful information ...The result: the braided rope lies across the cell block floor, therolling caster tied to it. MASON holds the other end of the rope through the bars of his cell. MASON Trade secret, Billy, I'll tell you this: it was easier than getting in.MASON fiercely yanks the rope toward him. The heavy rolling casterjerks from the floor. The CASTER, pulling the rope, flies past Mason'scell ---- shooting in an arc around the corner of the cell block, still pullingthe rope, where ---- the caster-pulled ROPE catches the CELL RELEASE LEVER against thewall. The rope coils, WRAP WRAP WHAP, around the release lever handle.MASON tugs the rope taut like he's just snagged a fish. Then he pullsslowly and delicately.THE CELL DOOR RELEASE LEVER pulls down and ---~ MASON'S CELL DOOR (and all the doors on that tier) open at once. AndMASON smiles.INT. GOODSPEED'S CELL - MORNING GOODSPEED hears the doors opening abovehim. GOODSPEED Hey! Hey what's happening? (no response) Mason. Mason?Suddenly Goodspeed's cell door opens. GOODSPEED exits the cell. MASONstands there. MASON You're on your own, kid. Your gear's over there.MASON motions to a HEAP OF THEIR GEAR (clothes, weapons, flares) in thecorner of the cell tier. GOODSPEED Shit....GOODSPEED grabs his guns and gear and follows afterMason. 225 EXT. ALCATRAZ - INFIRMARY COMMAND CENTER - MORNING Hummelsits behind the desk. Baxter, Frye, Darrow, Hendrix in front of him. Silence. Hummel stares at his phone. The tension is palpable. HUMMEL Time. BAXTER (consults his watch) Fifteen minutes Frank.CAPTAIN FRYE We have two operational rockets left, General. One on thelower lighthouse, one on the rooftop, ready for fire. (no response)General. HUMMEL I heard you Captain. CAPTAIN DARROW Prepare for launch General? General? HUMMEL Not yet. CAPTAIN FRYE General Hummel, noon is approaching. HUMMEL I'm aware of the time, Captain.Hummel glares at Frye, then at the phone. Frye and Darrow .exchange alook ....CUT TO:INT. WHITE HOUSE - OVAL OFFICE - MORNING The clock on the wall reads11:47. 13 minutes to go. General Kramer, Security Advisor LouisLindstrom, and C.I.A. Director Milton Amway. LOUIS LINDSTROM When was the last communication from our men on Alcatraz? GENERAL KRAMER Seven hours ago.The Naval Attache enters excitedly. NAVAL ATTACHE General, the whitephosphorous attack is operational.General Kramer grabs the phone. GENERAL KRAMER Get me the President.227 EXT. ALCATRAZ - PARADE GROUND - MORNINGMASON emerges from the parade ground ruins and moves down the embankmenttoward the water. GOODSPEED stays above. GOODSPEED Mason. John. (MASON stops) What happened - the injustice done to you - doesn't mean you can walk away from this. A million people across that Bay will die. MASON Only one of them I care about. GOODSPEED You were once a different man. MASON You don't know what kind of man I was. GOODSPEED You were a civil servant. Sworn to do your duty. Just like me.MASON begins climbing down to the waterline.INT. ALCATRAZ - INFIRMARY COMMAND CENTER - MORNINGHummel, with Baxter, Hendrix, Frye, Darrow and Crisp. The atmosphere isnow so fucking thick you can cut it. CAPTAIN DARROW Eleven fifty-seven, General. Three minutes to go. HUMMEL They're going to call. CAPTAIN FRYE They are not going to call General. HUMMEL I... I don't understand this. CAPTAIN DARROW I understand it. They're calling our bluff. We have two operational rockets left. We have to stick one of those rockets in their ear, General. HUMMEL Atom? BAXTER I'...I don't know Frank. HUMMEL Seventy thousand peqple... I didn't... i didn't ever... CAPTAIN FRYE You didn't ever what? (no response) You didn't ever what, General? (gets in Hummel's face) General, forty-eight hours ago I was in a cushy job at Pendleton. As of this moment I am subject to prosecution for treason and murder. Do you know what that means. It means the electric chair. For all of us. BAXTER He's right Frank. Authorize the launch or it's over.All eyes on Hummel now. CAPTAIN DARROW Authorize the launch, General.Hummel nods andCUT TO:EXT. ALCATRAZ - ROOFTOP OF MAIN CELL HOUSE - MORNINGCapt. Frye and Sgt. Crisp approach the rocket launcher across the roofof the main cell house.EXT. ALCATRAZ - PARADE GROUND - MORNING Mason's wading into the waternow. GOODSPEED You'll never make it. MASON I once swam the English Channel, but you're entitled to your,opinion.Goodspeed, disgusted, turns and heads back, grumbling. GOODSPEED Fine. I'll fuckin, do it myself.EXT. ROOFTOP OF MAIN CELL HOUSE - MORNINGCAPT. FRYE AND SGT. CRISP on the roof, ready the rocket launcher. Hummells VOICE comes over Fryels walkie-talkie: HUMMEL (V.O.) (over walkie-talkie) Launch coordinates 675 dash 439. CAPTAIN FRYE Aye aye General: coordinates 675 dash Awaiting launch command.INT. INFIRMARY COMMAND CENTER - MORNINGHummel stares at a GRIDDED MAP OF THE BAY ARF.A. CAPTAIN FRYE (V.O.) (over walkie-talkie) (beat) General, your command. HUMMEL (closes his eyes) Fire.EXT. ROOFTOP OF MAIN CELL HOUSE - MORNINGFrye presses the ignition switch. The ROCKET'S TAIL fires. It ROARS offthe launcher. Toward Oakland.EXT. ALCATRAZ - PARADE GROUND - MORNINGCLOSE ON MA-SON - as he watches the V.X. ROCKET ROARING over his headtoward civilian populdtion. MASON (hushed) My god. MASON looks up. GOODSPEED stands above on the embankment. GOODSPEED That change things?INT. PIER 39 - FBI COMMAND - MORNINGthe F.BI. RADAR TECHNICIAN stares at the RADAR SCREEN. F.B.I. RADAR TECHNICIAN They fired a rocket. It's headed east.Everyone stares at the radar screen. A hush. SANCHEZ East. But that's... Oakland. (dawns on him) My god. The football game.EXT. ALCATRAZ - PARADE GROUND - MORNINGMASON comes back up the embankment. Faces Goodspeed-with grim resolve: GOODSPEED Partners? MASON Partners.The two men clasp hands andCUT TO:EXT. OAKLAND COLISEUM - NOON60,000 FOOTBALL FANS scream as THE OAKLAND RAIDERS sprint onto thefield. Above, unbeknownst to anyone --EXT. SKIES OVER OAKLAND CALIFORNIA - DAYThe V.X. ROCKET arcs over Oakland and --INT. ALCATRAZ - INFIRMARY COMMAND CENTER - DAY-- Hummel, Baxter, and Darrow stare at the transmission from therocket's optic camera.ON THE VIDEO MONITOR - We first see CLEAR SKY. The rocket reaches itsapex. Blue sky is now replaced by THE OAKLAND COLISEUM directly below. We descend on 60,000 people.BACK TO SCENE - HUMMEL watches the video monitor nervously. His jawstwitch.He looks at the ROCKET GUIDANCE CONTROL COMPUTER. He looks at the videomonitor.He can't take it. Hummel lunges for the ROCKET GUIDANCE CONTROLCOMPUTER. Darrow tries to restrain him, but -- Hummel punches in NEWCOORDINATES --EXT. SKIES OVER OAKLAND COLISEUM - DAYThe V.X. Rocket's GUIDANCE CONTROL suddenly BLINKS RED. the rocket veersoff on a new vector. Heading now toward San Francisco Bay. AndCUT TO:INT. PIER 39 COMMAND CENTER - DAYThe F.B.I. Radar Technician reacts to the change in the rocket'strajectory. F.B.I. RADAR TECHNICIAN Sir, it's heading.,.into the bay?EXT. SAN FRANCISCO BAY - DAYA CHARTER FISHING BOAT bobs in the bay.245 EXT. CHARTER FISHING BOAT - DAYFour GUYS are fishing. Relaxing. Drinking beers. one guy looks up. Sees something. CIWTER FISHERMAN What the hell.... ?EXT. SKIES OVER SAN FRANCISCO BAY - DAY The V.X. rocket screams down.at 500 ft. altitude it DETONATES. Showering a cloud of V.X. POISON ontothe bay.247 EXT. CHARTER FISHING BOAT - DECK - DAY The FISHERMEN stand there, stunned as DROPLETS OF V.X. POISON fall upon them. It's like a grey drizzle.The Fishermen exchange looks. Hold out their hands, catching "raindrops". One of them spasm. Another. The others. Skin turns black. Blood runs from pores.EXT. ROOFTOP OF MAIN CELL HOUSE - DAY Frye and Crisp stare across the Bay in disbelief. CAPTAIN FRYE I don't believe it. He pulled the plug.Frye, disgusted, races down the STAIRS.EXT. ALCATRAZ - IN FRONT OF INFIRMARY - DAYFrye stalks into the infirmary. MASON and GOODSPEED come around the corner and steal inside the infirmary.INT. WHITE HOUSE - OVAL OFFICE - DAYChief of Staff Hayden Sinclair stands before the desk of the Presidentof the United States. HAYDEN SINCLAIR They need a decision Mr. President.The President (who we don't see) gazes into the East Garden.The President hits his INTERCOM to the room where his cabinet isgathered. INTERCUT with the authorities, reactions, as needed: PRESIDENT These past few hours have been the longest, darkest of my life. This is when you wish the buck did not stop here. (beat) A balance between two tragedies. On one hand the fate of a million civilians. On the other, Frank Hummel. That we have ignored or abandoned or marginalized a great soldier like Frank Hummel and that American boys have paid the price of that neglect in blood, is equally real, and equally tragic. HAYDEN SINCLAIR The glass is half full not half empty, sir. No civilian casualties so far. PRESIDENT I don't believe in half full or half empty, Sinclair. There are chemical weapons and there are civilians. And there are men on Alcatraz wholve proved they're willing to use the one on the other. (beat) We are at war with terror. Fighting a war means casualties. This is the worst call I've ever had to make. (takes the phone) Air strike approved.EXT. PIER 39 COMMAND CENTER - MOBILE WAR ROOM - DAYSanchez, Womack, Carla, silent around speakerphone.EXT. LONG BEACH AIR FORCE BASE - DAYThe F-16s ROAR down the runway, lifting into the sky.INT. ALCATRAZ - INFIRMARY CORRIDOR - DAYMASON and GOODSPEED move silently down the corridor. They pass theHEAVY STEEL DOOR of the Marinets Command Center. It's ajar. Voicesemanate within. GOODSPEED and MASON move inside the adjacent room. B253 INT. INFIRMARY ROOM ADJACENT TO COMMAND CENTER - DAY There's a 4 x 16 inchslit in the wall. MASON and GOODSPEED position themselves on eitherside, watching and eavesdropping on the drama unfolding within.INT. ALCATRAZ - INFIRMARY COMMAND CENTER - DAY Frye, Darrow and Baxter. All staring at Hummel. CAPTAIN FRYE You're gutless. I knew it. CAPTAIN DARROW The problem is now thev know it. HUMMEL Careful son. I'd maintain discipline if I were you.Darrow draws his .45, levels it at Hummel. INTERCUT with MASON andGoodspeed's reactions. CAPTAIN DARROW I'm relieving you of your command General. Captain Frye? CAPTAIN FRYE I'm in. CAPTAIN DARROW Major?Major Baxter looks from Darrow to Hummel. HUMMEL Tom? BAXTER It's over Frank. (to Darrow) I'm in.Hummel blinks. He can't believe this. HUMMEL Tom, I warn you. BAXTER Stand down, General. HUMMEL I'm giving you a direct order. BAXTER (draws his .45) I'm not accepting it.IN THE ADJACENT ROOM - GOODSPEED and MASON exchange a tense look. masonaims his gun through the slit ...HUMMEL draws his .45 but Baxter fires first, hitting Hummel squarely inthe chest.MASON FIRES through the slit, killing Baxter as --HUMMEL , gunshot, reels toward the STEEL DOOR behind him. He wrenches itopen and lunges outside into the corridor. IN THE CORRIDOR - MASONfires into the command center, sending Frye and Darrow diving for cover.GOODSPEED grabs the semi-consious Hummel and drags him down thecorridor-.IN THE INFIRMARY WASHROOM - GOODSPEED drags Hummel inside. Hummelcollapses against the wall.His blood runs across the tiled floor. MASON takes a defensive positionin the washrooms doorway.DARROW AND FRYE attack through the infirmary's maze of rooms, takingcover where they can, squeezing off rounds.MASON fires at Darrow and Frye from the doorway while GOODSPEED kneels over Hummel. Hummells dying and knows it. he stares at Goodspeedthrough glassy eyes. HUMMEL My god what have I done ... GOODSPEED It's not too late, General. Tell me where the last chem round is. HUMMEL (gasps for air) Lower lighthouse ...Hummel dies. MASON and GOODSPEED turn from Hummel to each other. MASON Do your job, Billy. - I'll try to hold ,em off.MASON blasts away at Frye and Darrow, allowing GOODSPEED to sprint forthe exit toward the lower lighthouse.As Frye holds down MASON with fire, Darrow sprints for the oppositeexit. Frye, firing while retreating, moves back inside the CommandCenter.EXT. MAIN CELL HOUSE - DAYGOODSPEED exits and sprints toward the lowerlighthouse.EXT./INT. ALCATRAZ - LOWER LIGHTHOUSE - DAY Sgt. Crisp smokes a cigarette next to launcher. GOODSPEED enters, gun raised. Crisp spins, drawing his .45. GOODSPEED Don't ...GOODSPEED shoots Crisp. Crisp falls dead. A255 INT. INFIRMARY -CORRIDOR - DAY MASON advances toward the command center's door. Suddenly the HEAVY STEEL DOOR creaks open and ---- A SATCHEL EXPLOSIVE flings out, sliding across the corridor floortoward Mason. MASON turns and sprints away. Frye bolts from the room,s printing the other way.MASON dives away as the satchel DETONATES, imploding the corridor walls,collapsing the,ceiling. mason's engulfed in two tons of-plaster andcrumbled cinder block.INT. LOWER LIGHTHOUSE - DAYGoodspeed's detached the V.X. CHEM ROUND from the rocket. He's aboutready to pull out the poison pearls when..DARROW barges in. GOODSPEED, c hem round in hand, moves behind thestairway and scaffolding in the room,s middle.INT. INFIRMARY COMMAND CENTER - DAY Frye, at the GUIDANCE CONTROLCOMPUTER, into walkie talkie.CAPTAIN FRYE Crisp, Darrow, come in... (thinks; clicks walkie talkie tonew channel) Cox, McCoy, get your asses up here!EXT. ALCATRAZ - WHARF WATCH TOWER - DAYPvts. Cox and McCoy, standing watch, leave the watch tower and hurrytoward the infirmary and lower lighthouse.INT. LOWER LIGHTHOUSE - DAYDarrow moves one way, GOODSPEED the other. GOODSPEED holds the chemround in front of him. CAPTAIN DARROW Give that to me. GOODSPEED You shoot me, I'll drop this and we're both dead. One of these pearlslll kill everything within 200 feet. You know how this shit works?Darrow drops his gun. Pulls out a TITANIUM BLADED KNIFG. CAPTAIN DARROW You know how this shit works?Darrow advances on Goodspeed. The only route to GOODSPEED is between the rocket and the window. Darrow continues advancing., GOODSPEED eyes the launcher's IGNITION SWITCH. As Darrow passes between thewindow andthe launcher .... GOODSPEED You know the Elton John son, "Rocket Man"? CAPTAIN DARROW I hate it.Darrow lunges. GOODSPEED stabs the IGNITION SWITCH. The VX ROCKETLIFTS OFF, HITTING Darrow square in the chest.EXT. LOWER LIGHTHOUSE - DAY-- The VX ROCKET BLOWS Darrow THROUGH THE WINDOW and wings off, clearingthe cliffs. Darrow falls from the rocket -- GOODSPEED Well it happens to be my favorite fuckin, song!EXT. ALCATRAZ - PARADE GROUND - DAYDARROW plummets, IMPALING himself on a STEEL FENCE SPIKE. The VX ROCKETswerves madly across the bay --INT. PIER 39 COMMAND CENTER - MOBILE WAR ROOM - DAY F.B.I. RADAR TECHNICIAN Second rocket's away, sir. (confused look) It went in the Bay sir.INT. LOWER LIGHTHOUSE - DAYGoodspeed's alone now with the last V.X. CHEM ROUND. He -pulls out theSTRAND OF POISON PEARLS. Suddenly an AXE BLADE comes through the door.outside --EXT. LOWER LIGHTHOUSE - DAY -- CAPT. FRYE chops at the door lock witha FIRE AXE.INT. LOWER LIGHTHOUSE - DAY GOODSPEED looks around frantically. Onlyone place to go. Up. GOODSPEED scrambles up the interior metal stairs.EXT. LOWER LIGHTHOUSE ROOFTOP - DAYGOODSPEED emerges on the roof. Sets down the chem round. Pulls out thePOISON PEARL STRANDS, his hand shaking. With the other hand, he unclipsthe ROCKET GUIDANCE CHIP.The COPPER STRANDS holding the pearls are corroded. A strand BREAKS. Four PEARLS fall. GOODSPEED catches three. The FOURTH drops, hittinghis SHOE. It rolls along the rooftop. GOODSPEED sets aside the otherpearls and dives, grabbing the stray pearl an inch from the roof,s edge.Suddenly THE HUGE LIGHTHOUSE WINDOW behind GOODSPEED EXPLODES, showering GOODSPEED with glass.ON THE ADJACENT ROOFTOP ~ PVT. MCCOY, wielding a smoking .60 CalMACHINE GUN. McCoy fires a wicked, long, sustained burst, emptyinc hisentire ammunition belt.THE LIGHTHOUSE SEARCHLIGHT FRESNEL blows to shreds.GOODSPEED rolls away, GLASS SHARDS raining down on him, cutting him-. He's a sitting duck.MCCOY casts aside the .60 Cal and unshoulders a SNIPER RIFLE. Draws abead on GOODSPEED again. GOODSPEED, bleeding, terrified, cowers,awaiting death.A SILHOUETTE APPEARES behind McCoy. It's MASON, dirty and bloodied. McCoy spins. MASON bats the rifle aside, KNEES McCoy in the solarplexus, grips McCoyls NECK -- SNAP! -and HURLS him off the roof. McCoyfalls 5 floors.GOODSPEED gives MASON a thankful glance. And hears THE DOOR BURST OPENBELOW.INT. LOWER LIGHTHOUSE ROOFTOP - DAYFRYE roars inside. Looks around. Starts up the stairs.EXT. LOWER LIGHTHOUSE - DAYFRYE barges onto the roof. Sees the DISMANTLED CHEM ROUND. Goodspeed'sat the edge of the roof looking down. CAPTAIN FRYE Give me the guidance chip.Frye raises his M-16 as GOODSPEED jumps. Lands hard on the ground below and sprints off.EXT. ALCATRAZ - IN FRONT OF THE LOWER LIGHTHOUSE - DAYGOODSPEED sprints toward the NEW INDUSTRIES BUILDING.EXT. LOWER LIGHTHOUSE ROOFTOP - DAYFrye fires form the roof. M-16 ROUNDS kick up dirt around Goodspeed. Frye curses and head back down the stairs.EXT. ALCATRAZ - IN FRONT OF LOWER LIGHTHOUSE - DAY Frye exits andsprints after Goodspeed. INT. MAIN CELL HOUSE - STAIRWELL - DAY Masoncome down the stairs. Suddenly PVT. COX looms on the stairs below. Faces off with Mason. Cox draw his knife and lunges. MASON catches Cox' wrist.Cox, with his free hand, hits Mason. Hard. MASON recoils. Counterpunches. On comes Cox. He's huge and menacing. He hits MASON again. Again. Again. Cox has MASON backed up to the stairwell. -INT. NEW INDUSTRIES BUILDING - DAYGoodspeed, frantic, sprints across the floor, SPLASHING through puddles.He loses his footing. falls and slides across the floor, clutching theguidance chip an,d pear.He gets to his feet. LIMPS behind some RUSTY MACHINERY.FRYE enters. Sees RIPPLES IN PUDDLES left by Goodspeed. Frye creepsacross the floor. Following the ripples.INT. MAIN CELL HOUSE - STAIRWELL - DAYMason's nearly through. Backed up against the railing. Cox comes inagain. WHAM WHAM. MASON spits blood and teeth. MASON'S moves tohis pocket. As Cox comes in for the death blow --MASON pulls the MOTOR OIL from his picket and sprays it in Cox's eyes. The big man is dazed, blinded. MASON steps aside and rams Cox over therailing. Cox falls to his death on the floor below. MASON looks downat him.MASON Snakes hate the stuff.INT. NEW INDUSTRIES BUILDING - DAYFrye creeps close to Goodspeed's hiding place. GOODSPEED lunges frombehind the machinery, jamming his fingers into Fryels mouth and ramminghome the POISON PEARL.GOODSPEED HAMMERS his fist into Fryels JAW. We hear the glass breakingin Fryels mouth. Fryels eyes widen. GREY SMOKE SPEWS FROM HIS MOUTHAND NOSTRILS. His eyes bulge.GOODSPEED tries to step away. Frye bearhugs him, pressing his faceclose. Frye open his mouth, spewing forth a CLOUD OF POISON inGoodspeed's face. CAPTAIN FRYE You're comin, with me.GOODSPEED shoves Frye away. Frye drops, his body quivering. Bloodpours form his ears and nose. Frye spasms in a sickening dance ofdeath.GOODSPEED reels away,. COUGHING. Dizzy, he falls to his knees. He'sgassed and knows it. Desperately, he rips at his PANDLEG. A SYRINGEtaped to his calf. ATROPINE.He pulls it free and hesitates. A beat, then -- He PLUNGES the longneedle into his chest. Into his heart. Depresses the plunger.EXT. SKIES OVER SAN FRANCISCO BAY AREA - DAY-- The F-169, flying north along the California.Coastline, bank rightand dive down onto San Francisco Bay.INT. NEW INDUSTRIES BUILDING - DAYGoodspeed's world slows down. Is he dying? He sees IMAGES in SLOWMOTION He and Carla together his parents moments from his childhood...Slowly Goodspeed's breathing normalizes. He gazes up at the dawningsky. SEES something shimmering in the distance. Through the HEAT WAVES...THE SOUADRON OF F-16S.INT. PIER 39 COMMAND CENTER - DAYSanchez, Director Womack, and the F.B.I. TECHNICIANS watch from thewindow as --THE F-16s wing across the Bay toward Alcatraz. SANCHEZ May god have mercy gn their souls. CARLA (face buried in his hands) You can't do this, you can't let this happen.EXT. NEW INDUSTRIES BUILDING - DAYGOODSPEED exits and kneels, reaching for HIS OTHER PANTLEG. PUllS outhis GREEN FLARES. He cracks the flares and fires them up.EXT. SAN FRANCISCO BAY BRIDGE - DAYThe F-16s fly under the span of bridge, just 50 feet off the water,shooting up a PLUME OF WATER.EXT. ALCATRAZ - NEW INDUSTRIES BUILDING - DAY GOODSPEED, in slowmotion, waves the flares.INT. LEAD F-16 - COCKPIT - DAY The LEAD F-16 Pilot speaks on thisair-to-air mike.LEAD F-16 PILOT Arm up.INT. PIER 39 - F.B.I. COMMAND CENTER - DAYCARLA watches the approach of the F-16s on Alcatraz in horror. Everysecond is excruciating. F.B.I. TECHNICIAN Ten seconds to the drop zone. And now counting eight, seven, six ...EXT. WORLD WAR II BUNKER (SPOTTING POSITION #1) - DAYA hilltop on the Marin side of the Golden Gate Bridge. Two spotterswatch the action through SPOTTING SCOPES. SPOTTER 1 watches the F-16s. SPOTTER 2, watching ALCATRAZ, nearly jumps out of his skin. F.B.I. TECHNICIAN Green smoke! It's... GOODSPEED!!A RADIO OPERATOR fires a message to command.INT. PIER 39 ~ F.B.I. COMMAND CENTER - DAY SANCHEZ Abort. Abort immediately.EXT. ALCATRAZ - SHORELINE - DAYOn come the F-16s, ROARING over Alcatraz. They're almost on top of GOODSPEED now. It's too late. It's all over.INT. LEAD F-16 --16 - COCKPIT - DAY F-16 FLIGHT CONTROLLER (v.o. cockpit radio) ABORT, RED THUNDER, ABORT!LEAD F-16 PILOT Abort. Abort.THE LEAD F-16 PILOT safeties the bomb release lever. 276 INT. REAR F-16- COCKPIT - DAYThe REAR F-16 PILOT is wrestling with his release lever. It's stuck. Hecan't "safety" it. REAR F-16 PILOT Sir, something's wrong. I can't disengage... ! LEAD F-16 PILOT Then peel off...EXT. SKIES OVER ALCATRAZ - DAYThe four F-16s veer away from the island. But for the REAR JET, theorder came too late ...EXT. REAR F-16 - WING UNDERCARRIAGE - DAYThe REAR F-16 releases its Willy Peter canisters. They plummet to theisland.EXT. ALCATRAZ - NEAR NEW INDUSTRIES BUILDING - DAYThe WILLY PETER CANISTERS land, detonating on impact in a MONSTROUSINFERNAL EXPLOSION.The awesome concussion knocks GOODSPEED off the New Industries Building pier into the bay.EXT. UNDERWATER - DAYGoodspeed, concussed in the water, tries to keep consciousness. Hecan't. He sinks.ANOTHER FORM appears above him. It's MASON, swimming for Goodspeed. MASON gets under his arms and pulls him up.EXT. ALCATRAZ - SHORELINE - DAY MASON drags GOODSPEED ashore. 283 INT. PIER 39 - COMMAND WAREHOUSE - DAYSanchez, Director Womack and the F.B.I. TECHNICIANS stare out the windowat Alcatraz, enshrouded in PLUMES OF SMOKE.Total silence. Only CARLA, weeping quietly in the corner. SANCHEZ puts his arm around her. Ushers her away. Suddenly a VOICE CRACKLES: GOODSPEED (V.O.) Pier 39 come in. Pier 39 ... (freezes) My god he's alive.Director Womack grabs the mike. F.B.I. DIRECTOR WOMACK Goodspeed, this is Director Womack. Are thehostages alive? GOODSPEED (V.O.) Every one of em sir. F.B.I. DIRECTOR WOMACK What about Mason?INT. ALCATRAZ - CIVIL WAR RUINS - DAYGOODSPEED stares at Mason, letting the question dangle. F.B.I. DIRECTOR WOMACK Goodspeed. Is Mason-alive?A pause. The question still dangling there. Then: GOODSPEED (deep breath) Just come and get me, sir. I'm tired. SANCHEZ Name your vacation spot, Goodspeed. The Bureau'll pay for it.GOODSPEED hangs up. The two men regard each other. GOODSPEED Mason, uhm, John, I have something to tell you. You know that pardon contract you signed? MASON Womack ripped it up, right? GOODSPEED You knew? All this time? MASON I'm not a fool, Billy. GOODSPEED All I know is that whatever you did, you don't deserve to go back. MASON Goodspeed. You know the etymology of your name? GOODSPEED God's speed. MASON Yes. To wish someone a prosperous jouey.MASON smiles. GOODSPEED smiles back. There is an immediate tacitunderstanding. MASON And if you turn around I'll tell you a secret.Goodspeed, confused by this, gives MASON a look. Slowly turns around. Camera doesn't leave him. MASON (O.S.) St. Michael's Church, Fort Walton, Kansas. Front pew. Right leg. Hollow. GOODSPEED What's that? (beat) Mason?GOODSPEED turns around. John Paul MASON is gone.EXT. ALCATRAZ - DOCK - DAYGOODSPEED is standing on the dock. Sanchez comes down the gangplank. SANCHEZ You surprised me, kid. Never thought you could do it. GOODSPEED Neither did I sir. F.B.I. DIRECTOR WOMACK Where's Mason? GOODSPEED Vaporized, sir. Blown out to sea. GOODSPEED He saved my life, sir. Is SANCHEZ going to accept this? . SANCHEZ Yes (smiles; acknowledges) Poor son-of-a-bitch. F.B.I. AGENT Sir, the White House calling. It's the President. F.B.I. DIRECTOR WOMACK I'll take it.WOMACK elbows past GOODSPEED and Sanchez. F.B.I. AGENT Uhm, sir, actually it's for Goodspeed.Womack glares at Goodspeed, who takes the phone. GOODSPEED Bill Goodspeed, Mr. President. PRESIDENT (V.O.) I am in your debt, Goodspeed, the country is in your debt. You're a hero, son. GOODSPEED Thank you, Mr. President. The man you should be thanking is John Mason. PRESIDENT (V.O.) So I've been informed. Would you put the F.B.I. Director on please? GOODSPEED Director Womack.GOODSPEED hands the phone to Womack. Womack looks at the phone. Slowlytakes it. F.B.I. DIRECTOR WOMACK I can explain all of this, sir ... PRESIDENT (V.O.) I don't want your explanation, Womack. I want your resignation.Womack grimaces. Goodspeed, smiling to himself, turns away. CARLA races into his arms. A long, warm embrace.CUT TO:EXT. PACIFIC COAST HIGHWAY - DAYA jeep motors up the Freeway. Passing a sign: VANCOUVER 30 MILES.INT. JEEP - DRIVING - DAYMASON and Jade. Jade driving. Father smiles. Daughter smiles back. CUT TO:BEGIN CLOSING CREDITS. The following plays over:KANSAS - DAYEXT. A ROAD IN FORT WALTON, KANSAS - DAY A beat-up PORSCHE SPEEDSTER exits a BAPTIST CHURCH.INT. PORSCHE SPEEDSTER - DAYCarla is driving. GOODSPEED next to her. He opens a WORN PLASTIC CANISTER. Spools out a REEL OF MICROFILM. CARLA Would you please tell me what this is all about... ? GOODSPEED You want to know who really killed President Kennedy, honey...? THE END \ No newline at end of file diff --git a/unformated_scripts/Script_RocknRolla.txt b/unformated_scripts/Script_RocknRolla.txt new file mode 100644 index 0000000000000000000000000000000000000000..5417e52fa33ab43b32490741a354969896c0d62b --- /dev/null +++ b/unformated_scripts/Script_RocknRolla.txt @@ -0,0 +1 @@ + ROCKNROLLA Written by Guy Ritchie June 19, 2007 WHITE Revision - 6-6-07 1.1 INT. DERELICT BUILDING - DAY 1 WE MEET: MUMBLES(late 30s) and ONE TWO (late 30s). They are listening to a sales pitch from two REAL ESTATE AGENTS. We SEE all the relevant pictures of their pitch explaining a changing city, LONDON. SLICK ESTATE AGENT (V.O.) Two years ago this property cost one million pounds. (we SEE building) Today, it costs five million. The camera WHIP PANS over to another part of the building to see the other ESTATE AGENT giving his pitch. The camera will keep this back and forth for the duration of the scene. OTHER SLICK ESTATE AGENT (V.O.) How did this happen? (CUT TO relevant pictures as he speaks) Attractive tax opportunities for foreign investment, restrictive building consent and massive hedge fund bonuses,... (beat) London, my good man, is fast becoming the financial and cultural capital of the world. SLICK ESTATE AGENT And of course the Russians have come to town. OTHER SLICK ESTATE AGENT Makes it hard to compete with an ex- Soviet oligarch that has six billion dollars in his back pocket. They don't haggle the price, they double the price. SLICK ESTATE AGENT Russians come, prices rise, and it doesn't stop. It only goes one way. OTHER SLICK ESTATE AGENT Up. SLICK ESTATE AGENT I can't teach you how to skin a cat, but I can tell you a lot about the money in bricks and mortar. (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 1A.1 CONTINUED: 1 SLICK ESTATE AGENT (CONT'D) Like he said, it's going one way. You need to see a lawyer. (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 2.1 CONTINUED: (2) 1 One Two and Mumbles look at one another. ONE TWO We need to see a Lawyer.2 INT. LAWYER'S OFFICE 2 CUT TO a modern looking LAWYER'S office. We SEE the LAWYER advising MUMBLES AND ONE TWO. LAWYER TYPE They say it's only going one way.3 EXT. STREET - DAY 3 ONE TWO and the LAWYER are here looking at the building, it is a bit dilapidated and bleak. LAWYER TYPE It looks like a great deal.4 INT. LAWYER'S OFFICE 4 We cut back into the office where the LAWYER lays out the building plans. LAWYER TYPE These are the plans,...it costs ten and it'll be worth twenty with planning. But first you gotta give the councilor a drink.5 INT. COUNCILOR'S OFFICE 5 CUT TO the desk of a COUNCILOR (mid thirties middle management)who is receiving a brown envelope from the LAWYER. COUNCILOR (off the envelope) Tell them they'll get the planning,...6 INT. LAWYER'S OFFICE 6 We CUT BACK to our LAWYER now smug. One Two and Mumbles are standing in front of him. LAWYER TYPE You'll get the planning. Take care of the councilor and it will move like shit through a goose. ROCKNROLLA PINK Revision - 6-20-07 2A.6A INT. SPEELER 6A ONE TWO We need help. MUMBLES Lenny Cole? ONE TWO Dog number one,... MUMBLES But he moves fast and he loves bricks and mortar.7 INT. LENNY COLE'S OFFICE 7 MEET LENNY COLE(50s, dark, a little tubby), Mumbles and One Two are here. Lenny's office is kitsch, he fancies himself as a man of class. LENNY COLE I do move fast and I love bricks and mortar, properties are always the safe bet, but you better know what you're doing 'cos this ain't soft money. You trip up,... (beat) And it's not me that's gonna get hurt. You got security? MUMBLES We got property. LENNY COLE Don't let me down boys. (beat) Come on then, give us your hand. They shake hands and sign the papers. ROCKNROLLA PINK Revision - 6-19-07 3.8 INT. COUNCILOR'S OFFICE 8 The Councilor is the phone to the Lawyer. He speaks in hushed tones clandestine like. COUNCILOR (into phone) Can't talk now, but there has been a problem. I can't get you the planning.9 INT. LAWYER'S OFFICE 9 The Lawyer is on the phone with Mumbles and One Two. LAWYER TYPE (into phone) I'm sorry boys, can't get the planning.9A INT. SPEELER 9A One two is on the phone. He looks over to Mumbles. ONE TWO He can't get the planing. MUMBLES He can't get the planing?10 EXT. DERELICT BUILDING 10 Lenny is looking out to One Two and Mumbles who are standing outside his car looking very white. Lenny screams from the back seat. LENNY COLE What do you mean you can't get the fuckin planning? (pointing) There is seven million of my cash in there, without planning it's worth five,...you owe me. I take the building, you lose your share, but I am still outta pocket two large ones. Find it. The window goes up and the car pulls off. Lenny picks up his phone, he dials huffing and puffing. ROCKNROLLA WHITE Revision - 6-6-07 4.11 INT. LENNY'S CAR -- CONTINUOUS 11 LENNY COLE Is that you Councilor? (Lenny smiles) I hear you got that car you was after,....now, sort the planning out. COUNCILOR (V.O.) Sorted Lenny. He puts the phone down and looks over smiling. MEET ARCHY (Lenny's right hand man, 50s). LENNY COLE What's wrong with you Arch? ARCHY That's a bit strong isn't it Len? They come from the same place as you, you'll clean 'em out. LENNY COLE Same place as me? Do I look like an immigrant Archy? (beat) No one gave me a leg up, did they? They need a bit of fear, 'cos otherwise they're gonna come up against me,...need a little lesson don't they?12 INT. SPEELER 12 One Two and Mumbles are here, it's quiet until,.. ONE TWO We gotta sell. MUMBLES And be left with what? ONE TWO Just gotta start again,.... FADE OUT.13 INT. CORRIDOR OF SPORTS ARENA 13 Start CREDITS over sports arena entrance. Lenny is being walked down a corridor, the walls are lined with photographs of old soccer stars. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 4A.13 CONTINUED: 13 On each side of him are two ESCORTS(ex-military types, heavy looking). As they pass each door, we realize where ever he is going, it has to be important. The ESCORTS talk in to their microphones and to the different GUARDS on each door way. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 5.13 CONTINUED: (2) 13 Every now and then we see the SPORTS ARENA in the back ground. At last we reach the main door to the head office.14 INT. HEAD OFFICE 14 As the door is opened we see a small crowd of MEN in suits gathered around a kind-looking MAN with bright blue eyes. He nods a couple of times. We CUT TO the front of Lenny who is clearly impressed, Mr. Blue eyes pays him no attention. The small crowd of business MEN shake hands and head to the door at which Lenny is waiting patiently.15 INT. SPORTS ARENA -- DAY 15 CLOSE UP on the back of URI (Russian Jew, 40s, slick, and well groomed, he is our Mr. Blue Eyes) overlooking his sports arena. We stay on the back of Uri's head while he is talking to Lenny. URI Glad you could join us here Lenny. LENNY COLE It's nice to see you Uri. URI Good. (there is a pause) I can see we are very much alike you and I Lenny. We like to get things done. (beat) What's it going to cost me? LENNY COLE First, let me make clear how much we can help you benefit from this deal. With out me, it will take you five to ten years to get the permission to erect your arena. (beat) Second, with Government policy as it so stands we both know it's unlikely that you'd ever get that consent. (beat) Thirdly, in legal fees, transactions and building consent, you'd be paying 6 to 12 million without any real guarantee of that result. We CUT TO Uri unfazed, he just wants the figure. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 5A.15 CONTINUED: 15 URI So Lenny,..... how much? (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 6.15 CONTINUED: (2) 15 LENNY COLE Seven million Euros. Still unfazed. URI I expect a guarantee that I have consent within six months and no red tape. LENNY COLE That's right Uri, you can consider that done. Pause while tension stews, then,... URI Drink! Follow me.16 INT. SPORTS ARENA - PRIVATE BAR 16 Uri walks to the bar. Lenny follows trying to contain his excitement, he's out of his league, a "welcome to the billionaires club" look has struck him pink. Lenny passes a PICTURE that's sat on an EASEL. LENNY COLE Oh, that's a nice picture Uri, hasn't it got, errrh depth? Uri is at the bar now. He has placed one large tumbler down and is pouring a very very large measure out. URI That picture has brought me nothing but luck Lenny,..it's my lucky picture. (he has a good idea) You like? Take it for a while, maybe it will give you luck. LENNY COLE Oh I couldn't Uri,... Still absorbed with the painting. URI Now we're partners, I insist. I will get it sent around to your house and you can give it back to me when our deal is finalized. Lenny looks at the bar. Uri motions, there is a SMALL KEG of WHISKEY on the bar and only one large glass. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 6A.16 CONTINUED: 16 LENNY COLE I thought you lot drunk Vodka. URI Whiskey is the new Vodka. LENNY COLE You not joining me Uri? (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 7.16 CONTINUED: (2) 16 URI I don't drink. LENNY COLE Oh,...cheers then,... URI To success. Lenny awkwardly starts to glug as Uri looks on.17 INT. LENNY'S CAR - DAY 17 Lenny enters the back seat of his car, Archy is waiting for him in the back. ARCHY You all right there Len? You look a little pink. LENNY COLE (Flustered) Turbo, get us a perrier and a wet wipe live-o. Lenny's panting. LENNY COLE (CONT'D) Tried to poison me the dirty Cossack... TURBO (Lenny's driver) is fumbling around in the front seat trying to get ice into a glass from the cooler that sits beside him. LENNY COLE (CONT'D) Stop messing about and give us the bottle Turbo. ARCHY So, how's the billionaires club? Lenny grabs the drink, desperately takes a big glug of water and wipes his face. LENNY COLE That Communism didn't seem to slow 'em down did it? We've hit the big time here Archy boy! (beat) What's wrong? Where's the old Archy smile? (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 7A.17 CONTINUED: 17 ARCHY You wanna watch out there. Times are changing, they don't have too much respect for the old school. (CONTINUED) ROCKNROLLA WHITE Revision - 6-19-07 8.17 CONTINUED: (2) 17 LENNY COLE Shut up Archy,... (under his breath) No school like the old school,...I still run this town see? That's why he came to me right? Got that? ARCHY Yeah, got that.18 INT. SPORTS ARENA - PRIVATE BAR 18 Uri looks at VICTOR (Uri's right hand man). They're looking down at Lenny's disappearing car. VICTOR You think you should have leant him your lucky picture? URI It makes the peasant feel royal,... don't spoil it, we need him at the moment. I want that consent. (beat) Call the accountant and get her to clear the money.19 INT. ACCOUNTANT TAX OFFICES 19 A man and woman sit on one side of a desk, MEET STELLA AND BERTIE. Bertie is 45 and handsome in a dark posh sort of way. Stella is 32, film star. Sitting opposite them are two TAX MEN(civil servant types, grey, middle aged, a little tubby and bald). There's a stand off. STELLA Look, can we shut the door? There's a pause while the TAX MAN looks at his colleague. TAX MAN Shut the door. His colleague gets up and shuts the door. STELLA Let's put our cards on the table. We both know you aren't going to get the full forty out of my clients. TAX MAN This is the tax office and in the end we get what we want. (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 9.19 CONTINUED: 19 STELLA Save that speech for the tourists Charlie and let's strike a deal - take the twenty now and let it go. Otherwise, they'll move the company off shore tomorrow and you'll spend the next twenty years chasing an imaginary forty million around every republic that grows bananas. Bertie lifts out papers from his brief case. TAX MAN I see why you married her now Bertie. The two TAX MEN look at each other, they're thinking the same thought.20 INT. CHAUFFEUR DRIVEN MERCEDES - EVENING 20 BERTIE I told you we'd make a great team,.. You know why you get those deals? She looks relatively bored. BERTIE (CONT'D) Because those fat, sad, old men like it when you swear at them. They shake like cocktails and sweat like semtex when you raise that posh little voice. You my love are a rare commodity. (beat) Now come on, give your Bertie a smile. STELLA I don't feel like smiling. I am a thirty two year old accountant married to a homosexual lawyer. (beat) I'm a beard without kids Bertie! I'm in a marriage of convenience that can be quite inconvenient at times. The phone rings, Bertie picks it up and answers. BERTIE Yes, she's right here. (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 9A.20 CONTINUED: 20 BERTIE (CONT'D) (he puts his hand over the receiver) It's Omovich. (mincey) Are you sure he isn't gay? ROCKNROLLA WHITE Revision - 6-6-07 10.21 INT. SPEELER 21 Introduction of the SPEELER. A location of all things nefarious, a place to scam, buy and sell things illegal, and play cards. MUMBLES and ONE TWO own the Speeler. MEET Handsome Bob (mid thirties, part of the gang Errrh Handsome). FRED THE HEAD(late 40s) he runs it with DOLLY(early 50s, maternal figure, cleaner and chef). These are the main players in a room of never less than TEN rarely no more than TWENTY people. FRED THE HEAD You won't do a five, they've got nothing on you Handsome Bob. HANDSOME BOB What are you talking about Fred? They got an informer, a grass, and a rat with a roach-smoking-a canary,..they've got more information than the fuckin Internet. DOLLY Language,... FRED THE HEAD Well, like I said, nothing. MUMBLES Leave him alone Fred, you're stressing him out. Dolly get him a cuppa tea. (beat) Come on deal the cards Fred. We see in the background someone coming in. MEET COOKIE(late 30s, slicked back, black hair), his look is a bit of a parody. COOKIE All right chaps? FRED THE HEAD All right Cookie. MUMBLES Want to be dealt in? COOKIE Can't stay for long, but throw us in for a quick spin. One Two, who has been on the phone finishes his call. He looks over to Mumbles. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 10A.21 CONTINUED: 21 ONE TWO Mumbles, can I have a word? ROCKNROLLA WHITE Revision - 6-6-07 11.22 INT. SPEELER STORAGE ROOM 22 MUMBLES What's happening? ONE TWO You know the lady, the posh one who likes abitta the rough life? MUMBLES The accountant, what about her? You haven't heard from her in a while, too dangerous that one. ONE TWO Says she's got some work, you know,... proper work. (he makes gun impression) I would normally turn her down, but considering,... MUMBLES Let's have a meet.23 INT. ART GALLERY - NEXT DAY 23 Stella's here admiring an abstract picture of nothingness. One Two sits next to her. ONE TWO I got one like that at home with a little boy fishing. STELLA Is that what they call humor where you come from? ONE TWO Well, don't they call that art where you come from? STELLA You're quite the entertainer aren't you Mr. One Two? And you are late, please don't be late, I have a very busy schedule.24 INT. ART GALLERY - CORRIDOR 24 They walk down the corridor. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 11A.24 CONTINUED: 24 STELLA I have some work and thought you'd be interested, its your kind of work. ONE TWO Go on. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 12.24 CONTINUED: (2) 24 STELLA There are two accountants taking out seven million Euros from a bank I know and it won't be protected. (beat) Twenty percent for me, as normal. The details are in here. She passes an envelope. ONE TWO Anything else? STELLA Yes,..I don't want this coming back to me so, if you could give them a black eye,..that might help. She see's a slight pause and look of concern from One Two. STELLA (CONT'D) A black eye, nothing more. She passes him an envelope. ONE TWO Ok, very good Mrs. Dexter, a black eye it is then. He looks down at her shoes. ONE TWO (CONT'D) Nice shoes. STELLA (she smiles) Why thank you, you'll be able to afford your own pair in a couple of days. Good bye. He watches her walk off, he likes her, she likes him.25 INT. BACK OFFICE OF MUSIC VENUE 25 Two guys are here counting money. MEET ROMAN and MICKEY, two black Americans. (Mid 30s dressed very classy, with a bit of an urban twist) They are in the managing game, exploiting the talents of the English. The sound of distant bass thudding through the walls can be heard while Mickey is on the phone trying to do some kind of business. A real ROCKER with long hair and good looks comes walking in distressed. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 13.25 CONTINUED: 25 ROCKER I need the dry ice Mickey, I need the dry ice. My show just doesn't work without it. MICKEY (hand over the receiver) If you told me yesterday you needed dry ice, I would have gotten you the driest ice the world could offer, but you didn't ask for no dry ice. You asked for two cases of Johnny Walker black label and four ladies of the pole and I got them for you didn't I? There's a pause from the Rocker. MICKEY (CONT'D) Didn't I? ROCKER Yes you did I do confess, but Mickey, you're the manager and I am the rocker. You've got on the managers hat, now pluck something out of it. MICKEY My hat is deep and full of magic. I got rabbits, handkerchiefs, and ladies of the pole drinking Black Label. I got smoke machines, bubble machines, I even got love marines and still the hat goes deeper, but....there ain't no mother fuckin dry ice. ROCK N ROLLER Ok, ok, come home, you've made your point. (he turns on his way out) But tomorrow, I need dry ice. ROMAN looks up from his paper, having not got involved in the slightest. Roman taps the paper he has been reading. ROMAN Have you read this? MICKEY What? He reads out the headlines. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 14.25 CONTINUED: (2) 25 ROMAN Johnny Story singer extraordinaire, fell off a boat, they say. Missing, assumed dead, they say. MICKEY What,..our Johnny? ROMAN How many rock stars by the name of Johnny Story do you think there are in this universe Mickey? MICKEY The only thing he's fallen off is his junkies spoon, he's no deader than the suit you're wearing now. He'll be gearing himself up somewhere happy as clam in a fisherman's net. Rockers like that never die, they just wither and give me pain.26 EXT. TENNIS CLUB - DAY 26 On the tennis court we see the COUNCILOR(our man from the beginning), who is playing tennis with TERRY THE INSTRUCTOR. The Councilor is taking it seriously apart from the distraction of JACKIE on the next door court. ARCHY is here watching over the game and reading the paper, we see him read an article and look a little moved. Lenny comes up behind him and starts to read over his shoulder. LENNY COLE Johnny Story singer extraordinare, fell off a boat, missing, assumed dead. ARCHY I don't know what to say Lenny. LENNY COLE I bet he took a lot of people with him in his hot little crack pipe. (beat) We will never mention this again, all right Arch? Archy looks a little shocked. Lenny carries on like nothing has happened. LENNY COLE (CONT'D) Now, tell the Councilor to stop fuckin about with sticks and balls and send him inside. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 14A.26 CONTINUED: 26 Lenny walks into the bar and Archy moves on to the court. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 15.26 CONTINUED: (2) 26 ARCHY Very good councilor, you must of had lessons as a boy. (beat) Fancy a cool down and a chat with Lenny? The Councilor slyly looks over to Jackie, she looks back. The Councilor is thinking explicit thoughts. ARCHY (CONT'D) Do you know Jackie? Nervous, the Councilor knows these thugs aren't shy. COUNCILOR No, no, no, Archy, don't say anything. ARCHY Don't worry, she's a friend,..and a member. (raises his voice) Jackie,..fancy a run'a'round with the Councilor? Pause. She looks sullen, stroppy and rude all at the same time. JACKIE Only if he's wicked. She turns away to hit a ball, the Councilor's heart skips a beat. COUNCILOR (excited and shy) What does she mean by that? ARCHY I think she likes you boy-o.27 INT. TENNIS CLUB BAR 27 Lenny is at the bar on his own looking at the papers and picking at the nuts. In walks the Councilor with Archy, the Councilor sits next to Lenny at the bar. LENNY COLE They say that times are changing Councilor, that this country isn't what it used to be, it's the new New York, they say. You being a political man must know all about that. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 15A.27 CONTINUED: 27 The Councilor looks a bit flustered. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 16.27 CONTINUED: (2) 27 COUNCILOR Errh, I think they are probably right, times have changed, but that shouldn't affect you Lenny. LENNY COLE They say it's all gone "international" now, out with the old guard in with the new, but I think they're wrong. (beat) Anyway, where are my manners? Look at you sweaty as a native and pink as a pelican,...and I haven't even offered you a wet one. COUNCILOR A lemonade and orange please. LENNY COLE Oh that's nice,..refreshing, that'll put you back on top boy. Lenny pulls out the plans and a leather pack of cigars. LENNY COLE (CONT'D) Here you go, plans and papers. (beat) Would you like a cigar? COUNCILOR I don't mind if I do,...that's a nice lighter. LENNY COLE Eight grand they wanted for it cheeky toads and I paid, you know why? COUNCILOR Tell me Lenny. LENNY COLE 'Cos it's all about the details. Looking at the plans. COUNCILOR (awkwardly) Is our little deal in there too Lenny? Lenny milks the silence while he lights his cigar, the Councilor feels like a prick waiting, it goes on and on. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 16A.27 CONTINUED: (3) 27 LENNY COLE Oh I wouldn't forget that, the most important things first. (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 17.27 CONTINUED: (4) 27 He puts the Dunhill lighter down on the plans. LENNY COLE (CONT'D) I'll leave you with them. (beat) I gotta run, can't stay here chewing the fat all day, a mans got to make a living. Call me in the 'morrow. He walks toward the door as Jackie is walking in, Lenny looks slyly at her as they pass. LENNY COLE (CONT'D) Look after him Jackie. In the distance. COUNCILOR Oh Lenny, you forgot your lighter. Lenny looks back to the Councilor. LENNY COLE Can't be mine, it's got your name on it. CUT TO the bottom of the lighter, "THE COUNCILOR." Lenny carries on walking and smiling.28 EXT. PARK - MORNING 28 It's the next morning, we SEE One Two running. Mumbles and Handsome Bob pull up along side of him in their car. There is a moment of pause while they admire One Two running along side of them. MUMBLES Don't you get bored of that? I mean, your not really going anywhere. If you wanna run, why don't you run to the shops or do something useful? ONE TWO You could do with some of this yourself Mumbles, you're letting yourself go. (beat) Anyway, I'm busy, have you come to talk about anything important? MUMBLES It's all about the zone isn't it? (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 17A.28 CONTINUED: 28 MUMBLES (CONT'D) You boys and girls like to find funny places in your head where nothing can get you, don't you? You're scared, you're running away from yourself One Two. ONE TWO No Mumbles, I am trying to run away from you. Bob, you sorted out the car? (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 18.28 CONTINUED: (2) 28 HANDSOME BOB Yeah, it looks like a heap of shit, but it can't half go. (beat) A bit like you One Two. Mumbles turns to Handsome Bob MUMBLES I reckon he's trying to get fit for the lady. Nothing gets under his skin like a lady he can't have, does it? (pause) A straight going, cocky, educated, arrogant posh bird trips him right up. I reckon we should set Handsome Bob on her. That'll liven you up One Two. ONE TWO Bob wouldn't know where to begin. HANDSOME BOB I'm good with the posh ones, don't you worry about that. ONE TWO I've had enough of this, can you two piss off cos I am trying to find my "zone" One Two sprints off leaving them behind. MUMBLES He can't half run for a white fella.29 INT. LENNY'S HOME OFFICE - NIGHT 29 Lenny is pacing in a ladies dressing gown with long silk socks. He can't sleep, he pours a large one, lights a cigar, picks up the phone and dials. LENNY COLE Archy? You awake? (beat) Never mind, you are now. I had a horrible dream that the Councilor didn't come through, I don't want anything going wrong on this one, that Russian's the key to the big time. (pause) You think he's all right? (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 19.29 CONTINUED: 29 LENNY COLE (CONT'D) (beat) You sure? (beat) What did Jackie say? His feet go back up on the desk with confidence. LENNY COLE (CONT'D) She did? I knew he'd like the lighter, nice touch eh? She's a good girl that Jackie. (laughing) Give her another drink. (beat) You're right, he wouldn't have leant me his lucky painting if he didn't mean business. Yeah, I had it taken off it's easel and stuck it above my desk, it's looks magnifi.... He suddenly stops. His eyes have spotted something scary, the office chair disappears from under him, he takes the phone, the lamp, and the ash tray with him to the floor. LENNY COLE (CONT'D) (from the floor) Arch! Arch! I have been robbed. He turns the receiver the right way round. LENNY COLE (CONT'D) I said I have been robbed. (beat) I don't know when. The painting,.. it's gone. He stands fumbling and screaming, his scotch all over him. LENNY COLE (CONT'D) The one Uri gave me! (beat) All right LOANED for fucks sake! Beat while panic sets in and Archy is saying something on the other end. LENNY COLE (CONT'D) This isn't good Arch, it's his favorite painting, his lucky painting! Get round here and bring the troops. ROCKNROLLA PINK Revision - 6-20-07 19A.30 INT. LENNY'S HOME OFFICE -- LATER 30 Lenny's still pacing, a small gathering of tired looking HOOLIGANS are lined up in Lenny's office. BANDY Where was it Len? Lenny is standing in front of the fire place smoking and looking very anxious. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 20.30 CONTINUED: 30 There is a bald spot above his head where a picture once stood, a picture light illuminates an clearly empty space. He is horrified by the stupidity of the question. LENNY COLE Let's take a wild stab in the dark shall we Bandy? Archy slap him and then send him to school 'cos I can't take any more of this. You sort it out, get that picture back and bring me a body, I am going to back to bed. He stomps off to bed. ARCHY Bandy if you ever ask a stupid question like that again, you see Danny there? He's gonna slap you. BANDY Sorry Arch, it's just,...I was trying to use initiative. ARCHY Danny slap him. DANNY slaps him with the back of his left hand. Archy's not happy - it was the wrong hand. ARCHY (CONT'D) With the right Danny,..properly. DANNY slaps him again, it's weak. ARCHY (CONT'D) I said properly, with the back of your right hand Danny. DANNY What is this a tennis match Arch? ARCHY Slap him! DANNY slaps him again, BANDY takes it good. Archy huffs and goes over to slap him proper, SLAP! Bandy's disappeared into another dimension. ARCHY (CONT'D) Like that! (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 20A.30 CONTINUED: (2) 30 ARCHY (CONT'D) (beat) Now, if you men can master a slap like that, there's no need for your clients to hold back. They'll open up like a fountain full of words after one of those. (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 21.30 CONTINUED: (3) 30 ARCHY (CONT'D) No need for strong violence, no no, they're straight back to their childhood. Putty in your hands, ask Bandy,... (motioning) Look, thinks he's back at school. DANNY But he never went to school. ARCHY Daniel, do you want a slap as well? Now, if the slap doesn't work,..Cut 'em...or pay 'em, but keep the receipts 'cos this ain't the Mafia. (beat) Now, get to work and find that painting.31 EXT. BOND WAREHOUSE - BACK LOT - DAY 31 Mumbles, Handsome Bob, and One Two are standing here dressed as security guards. Handsome Bob is watching over the car that is waiting for the TWO ACCOUNTANTS to come out of the back door of the warehouse. One Two and Mumbles are to the side. MUMBLES You ready? ONE TWO Yup, load up boys and pay attention. One Two see's the door open and makes a move. Two ACCOUNTANTS come out of the back door, while in route they click their central locking open on the car waiting. One Two is already on them as the ACCOUNTANTS go to open their car door. ONE TWO (CONT'D) Hello lads. He flashes the gun in his belt. The ACCOUNTANTS are too shocked to even know what is going on. ONE TWO (CONT'D) Put the bags in the car and walk away. The ACCOUNTANTS see the gun, but still look for a way out. Mumbles meets them with another gun. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 21A.31 CONTINUED: 31 MUMBLES Don't be silly boys, do as you are told. Put the bags in the car, give him the keys and walk away smiling. (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 22.31 CONTINUED: (2) 31 The ACCOUNTANTS do as they are told. One Two and Mumbles get into the car, calm as you like. One Two, starts the engine, but he can't find reverse. There is a crunching sound from the car, the accountants stop and look round. One Two puts down the window. ONE TWO (to the accountants) Oi, come back here. The ACCOUNTANTS come back. ONE TWO (CONT'D) Where's reverse? ACCOUNTANT You have to lift up the nob under the gear stick. One Two struggles, then finds the gear. ONE TWO Right, now fuck off. MUMBLES (to accountants) Slowly and keep smiling. ONE TWO Shit,... MUMBLES What? ONE TWO I have got to hurt him. (to the Accountants) Oi come back here. MUMBLES Why? What did he ever do to you? Come on we've got the money now let's piss off! The Accountant has made his away back to the car. ACCOUNTANT Yes? One Two goes through the motions getting ready to hit the accountant without actually being able to do it. ONE TWO Shit, I can't do it. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 22A.31 CONTINUED: (3) 31 One Two wheels spins out of there.32 INT. CAR - MOVING 32 Mumbles and One Two take off driving. MUMBLES (looking) You're an embarrassment to crime you are. ONE TWO She asked me to give him a black eye. MUMBLES She's sick that bird of yours, sick. Quickly changing the subject. ONE TWO Is Handsome Bob behind? MUMBLES He's there.33 INT. CONSTRUCTION SITE - CONTINUOUS 33 Uri is walking around looking over one his sites, he's entertaining a corporate gathering of MEN all in suits and hard hats. URI The developement has been underway for four years and will be completed within another two. The area covers twelve acres and it will become one of Londons premiere residences. We can SEE VICTOR (Uri's right hand man) in the background looking anxious. URI (CONT'D) Thirty two floors and six acres,....excuse me gentlemen,.. Uri walks over to VICTOR. URI (CONT'D) What is it? (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 23.33 CONTINUED: 33 Victor leans in and whispers to Uri. After 15 seconds Uri leans back. URI (CONT'D) (in Russian) Do they know who we are? VICTOR (in Russian) It's not like the old country, it's cowboys and Indians out here. URI (in Russian) We don't have time to play games,..people and business are waiting. Speak to the accountant and get some more money. (beat) And Victor, this time no problems.34 INT. ART GALLERY 34 Stella is here again looking at the abstract pictures on the wall. One Two joins her, he's got a largish Louis Vuitton with the money and her twenty percent in it. ONE TWO I know a man that'll copy that for you. Might take him a couple of minutes mind. STELLA You don't need to copy anything any more, welcome to the nouveau riche Mr. One Two. ONE TWO Here's one for you too Mrs Dexter. STELLA Why thank you Mr. One Two. I see you didn't think much of the black eye though. ONE TWO Would have liked to obliged, but from a professional point of view, it just wasn't natural,... (pause) Until next time then. STELLA Until next time. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 23A.34 CONTINUED: 34 She turns and walks away, he looks slyly. ROCKNROLLA WHITE Revision - 6-6-07 24.35 INT. CAR 35 Handsome Bob is driving. HANDSOME BOB She's a looker ain't she One Two? One Two picks up his phone and starts to dial. ONE TWO She's not for you Bob, that is class. Someone picks up at the other end of the phone. ONE TWO (CONT'D) Archy, I got Lenny's bitta scratch.36 INT. LENNY'S CAR - MOVING 36 Turbo is driving Archy, who is on the phone. ARCHY What, you got it all? ONE TWO (V.O.) Yeah and it's burning a hole in the floor, so you better come and get it before it melts my boots. ARCHY I'll come round the speeler. Archy's phone beeps - he has an incoming call. ARCHY (CONT'D) Got another call, gotta go. Archy switches calls.37 INT. LENNY'S OFFICE 37 Lenny is pacing, he's on the phone. LENNY COLE Archy, the Russian didn't come through with the money.38 INT. LENNY'S CAR 38 ARCHY Calm down Len, the Councilor can wait. (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 24A.38 CONTINUED: 38 ARCHY (CONT'D) (beat) Some good news for you, One Two and Co came through with the scratch. ROCKNROLLA WHITE Revision - 6-6-07 25.39 INT. LENNY'S OFFICE 39 LENNY COLE What, all of it? ARCHY (V.O.) Yeah, all of it. LENNY COLE (surprised) Where did they get that from then?40 INT. LENNY'S CAR 40 ARCHY Ask no questions hear no lies. (beat) Just gotta do is find your painting now Len.41 INT. LENNY'S OFFICE 41 Lenny's phone beeps - he has an incoming call. LENNY COLE Just make sure you find it. (beat) I gotta another call. He switches calls.42 INT. COUNCILOR'S OFFICE 42 The Councilor is on his mobile, speaking in hushed tones. COUNCILOR I have all my people waiting Lenny. You can't let me down!43 INT. LENNY'S OFFICE 43 LENNY COLE It's just a delay, that's all Councilor. Just a delay. He puts the phone down.44 INT. LENNY'S CAR 44 We CUT back to Archy in the car. ARCHY Stop here Turbo. ROCKNROLLA PINK Revision - 6-20-07 25A.45 EXT. STREET - EVENING 45 Archy gets out of the car and on to the street which is packed with theater goers. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 26.45 CONTINUED: 45 He has seen someone he knows, a dodgy looking ticket seller GARY moves between the people. ARCHY Gary. GARY Hello Arch. What brings you down here? Want some tickets? ARCHY I want the Tank. GARY You won't see him on the cobbles at this time of night, you know how much he likes the cold. He's at the end of the street tucked up watching a Zulu movie.46 EXT. STREET - CONT. 46 Archy knocks on window of massive American 4x4. The window comes down, savage noises emanate from the interior, a massive black bald head turns, MEET TANK very street, very soft spoken and very articulate. He's sitting next to a SHAVAWN a street girl. TANK Hello Arch, what you doing here? ARCHY I need a word. TANK Well don't stand out there on the cobbles it's freezing, step into my world. (too the girl) Shavawn get us a couple of vanilla chai lattes, there's a good girl. She disappears.47 INT. TANKS CAR 47 TANK Great movie this Arch. They've had it digitally re-mastered, glorious picture and the sounds exquisite. He presses the remote, the sound goes up so all we can hear is the sound of spears on shields. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 27.47 CONTINUED: 47 TANK (CONT'D) Oh I like this bit, thousands and thousands of 'em, but them red coats just don't move. That's courage that is Arch. (beat) They did have guns mind. The sound of screaming and death is penetrating. ARCHY Turn it down a tad, I need to have a word. Tank flicks the pause button. TANK Where are my manners? Sorry Arch, what do you want, tickets? I got just the show for you, a Chinese orphan with a learning disability that don't stop singing and dancing all the way through the first half. Then, up pops a Geisha girl and it all goes magical in the second; the wife will love it and you can't get tickets for love nor,... ARCHY I don't want tickets, I need you to find me a painting, a classic, been nicked outta of Lenny's house. And since you got more feet on the street than coppers on the beat,... (starting to make his way out) I'd like you to assist. I'll leave you a little livener. There's a large twenty to get some tongues wagging.48 INT. SPEELER - NIGHT 48 All the boys are sitting around playing cards. The buzzer goes, buzzzzzzzzzzz, Fred answers the intercom. FRED THE HEAD Yeah,...? (beat) Come on up, but don't be wasting my time. ONE TWO Is that Archy? (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 27A.48 CONTINUED: 48 FRED THE HEAD No, couple of oysters who got a little something to be viewed. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 28.48 CONTINUED: (2) 48 He presses the button and walks back to the group. FRED THE HEAD (CONT'D) How's your Mum taking it Handsome? (beat) She must be very unhappy, I mean a five stretch? HANDSOME BOB Not again, please Fred. FRED THE HEAD Sorry Bob, I didn't mean to offend. In the background we see the door open and in comes two thieving SCOTSMEN, they are selling fur coats. DOLLY Who wants another cuppa? ONE TWO (raising his cup) Thank you. MUMBLES Glass of milk for me, my love. Our thieves move over to the table. MEET our cocky Scotsmen MALCOLM and his partner in crime PAUL. Malcolm drops his bags and starts to get busy. He's got a strong Scottish accent that has been influenced by last nights crack for dinner and two large whisky's for breakfast. MALCOLM Good afternoon gentlemen. He coughs nervously as the boys look on dead pan. He sees Dolly. MALCOLM (CONT'D) Excuse me my love, any chance of a wee dram of water to oil the larynx? FRED THE HEAD Get on with it. MALCOLM (cough) Ok gentlemen here we go. First, my colleague Paul will be modeling the grey wolf. We see Paul who's obviously completely geared out of his nut, he's trying to squeeze in to the stolen grey wolf fur (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 28A.48 CONTINUED: (3) 48 coat. It's far too small and the fur stops half way up his arms, it's not possible to do the buttons up. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 29.48 CONTINUED: (4) 48 MALCOLM (CONT'D) I must apologize for my assistants handicaps. He has unusually long arms and an alarmingly small neck. (beat, the crowd is unimpressed) Now, I do agree it doesn't seem like the right time to acquire a coat of such thermal efficiency. However, I have been informed that we are looking at a very white winter. PLUS gentlemen and fine lady,.. (He winks at Dolly who has got him a very large glass of water) Christmas is always round the corner. He downs the water without it touching the sides. MUMBLES Where did you find these two junkies? FRED THE HEAD What is this, a fuckin double act? ONE TWO Shut up and tell us the price. MALCOLM All in good time gentlemen, all in good time. (beat) Paul, why don't you sit down for a while. If Paul doesn't sit down, he's gonna fall down. He stumbles into the card table on his way to a seat, knocking drinks and cards everywhere. Everyone protests. MALCOLM (V.O.) (CONT'D) (from under the table) Next, we have a very much sought after affair seen in very, very glossy magazines,.. He jumps up wearing the most ridiculously oversized fur coat and matching hat you have ever seen. MALCOLM (CONT'D) The famous, but rare black bear from the dark mountains of Siberian Calcutta. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 30.48 CONTINUED: (5) 48 He starts to do a slow spin, at which point WE SEE a large white stipe running down the furs back. MALCOLM (CONT'D) Get an eye full of that stripe gentlemen. MUMBLES Have a look at that, it's a six foot skunk. Everyone thinks its very fuckin funny. The laughter is interrupted only by the buzzer. Buzzzzzzzzzz, Fred goes to answers the buzzer. MALCOLM And all of this could be yours for a staggeringly low,... Cut to Fred at the buzzer. FRED THE HEAD All right Arch. Back to the table, everyone's ears prick up at the name. Malcolm pauses before he panics, he can tell something is up. FRED THE HEAD (CONT'D) Yeah, come on up. Everyone starts tucking their money into their pockets. Fred makes his way back to the table. He speaks to Malcolm and Paul. FRED THE HEAD (CONT'D) You two out, live-o. (gesturing) The back door. Malcolm knows this is a sign to go. MALCOLM Come on Paul, we'll be going now. The two Scotsmen race in their fur coats toward the back door. IN WALKS Archy with Danny, the crew continue their card game. FRED THE HEAD All right Arch? (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 30A.48 CONTINUED: (6) 48 ARCHY Fred,... (pause) The speelers very quiet today, everything all right? (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 31.48 CONTINUED: (7) 48 FRED THE HEAD Good as gold thanks. ARCHY All right Mumbles? One Two? MUMBLES/ONE TWO Arch! Pause while the boys carry on playing cards. ARCHY So where is it then? ONE TWO What, can't you smell it? One Two slowly kicks it out from under the table. Archy leans over to take the bag and One Two sticks a few notes in his pocket. ONE TWO (CONT'D) And buy yourself a new pair of shoes. Archy turns and heads out - he's smiling and mutters to himself. ARCHY Silly bastards.49 INT. URI'S BOAT - EVENING 49 Uri has got some serious stink boat gin palace on the River Thames. He's entertaining Stella. URI They say there are only two days you enjoy a boat, the day you buy it and the day you sell it. STELLA Well, according to my figures that sounds about right, but what can you do? (beat) Beauty is a cruel mistress. He smiles, she is smart, he fancies her. URI I must remember that line. Can I pour you a glass? (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 31A.49 CONTINUED: 49 STELLA Not for me thank you. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 32.49 CONTINUED: (2) 49 URI You know, I like you. I like the way you...are. Always thinking about business, very professional. STELLA That's what you pay me to be, isn't it? He nods. URI Tell me about your husband. Slightly uncomfortable STELLA My husband is a lawyer. URI I hear he is very good at what he does, maybe we can have some work for him. Pause, she's dead pan and not giving anything away. URI (CONT'D) Tell me, what do you do for fun? Pause. URI (CONT'D) Have I offended you in some way? STELLA I don't quite know where this is going and if you don't mind, I would like to keep our relationship professional. There is a pause while Uri is slightly lost for words. Then he slams the table in excitement and looks up at Victor who is standing in the distance. URI You see Victor, this is what I am talking about. (in Russian) This is what I like about this country. They understand hierarchy - you do your job, I do mine and everyone gets along. (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 32A.49 CONTINUED: (3) 49 URI (CONT'D) (back into English) Now, back to business. We have had security problems and to cut a long story short, I need another seven million Euros lost in the books. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 33.49 CONTINUED: (4) 49 Pause. STELLA (not happy, she's playing a good little actress) Forgive me for being immodest Mr Omovich. I am a very good accountant, but I can only cover so much of your money, it does have to be accounted for after all. It is not easy to lose seven million to the tax man. URI But, if you are so good,.... She huffs and puffs. STELLA Let me think about it, there are some options I have tried to leave open. He puts his hand on top of hers, just before she pulls it away he takes his off. URI Thank you.50 INT. LENNY'S OFFICE 50 Tank is standing in front of Archy. TANK You know why they call me Tank don't you Archy? ARCHY I should imagine it has something to do with you being a dirty great blac,... TANK Think Tank. Nothing gets past the old think Tank Arch, nothing. (pause) You got me thinking, so I fired a few questions into the right direction. Thought I'd better come see you 'cos I got some news 'bout your painting. Archy leans back to hear what Tank is about to tell him. ROCKNROLLA WHITE Revision - 6-6-07 34.51 INT. WAREHOUSE - NEXT DAY 51 Lenny walks into the warehouse where we see TWO SLOANES (posh kids, 20s) strapped to a pair of chairs with weights on the bottom. There are large leather belts wrapped around them. LENNY COLE Right, I am going to tell you how this works. You're going in the drink and I am going to make a cup of tea. Archy grabs a hook attached to an electric winch and attaches it to their leather belts. LENNY COLE (CONT'D) Underneath the floor boards is the famous river Thames. I hope for your sakes you can hold your breath for as long as it takes to boil that kettle. After that, I am going to ask you a question, one question. You are going to give me a name and if it's the right name, I send you home warm and dry in a fresh set of clothes. If it's the wrong name, you'll be fed to the cray fish,....see ya. He presses the green button and a hatch in the floor opens. The TWO SLOANES are lowered into the river protesting.52 INT. ONE TWO'S CAR 52 Handsome Bob's got the long face on. ONE TWO Come on Bob, cheer up. HANDSOME BOB What have I got to cheer up about, I am going to be locked up in an eight by ten tomorrow night. ONE TWO But that's tomorrow night, tonight its take off time, we've prepared a little going away party. (beat) I got "the Harris twins" the most expensive escort girls to have ever escorted. (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 34A.52 CONTINUED: 52 ONE TWO (CONT'D) They've got a night off from the Russians and they've all been greased down just for the Bobski! It's going to take you two and a half years just to recover from this little party. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 35.52 CONTINUED: (2) 52 Handsome Bob isn't impressed. ONE TWO (CONT'D) That cheered you up then? HANDSOME BOB (still not looking happy) It's not that I am ungrateful One Two, it's just,.... ONE TWO It's just what? HANDSOME BOB Don't worry,..you wouldn't understand. Pause for a concerned thought from One Two. ONE TWO I understand anything coming from you Bobby boy. HANDSOME BOB Would you? ONE TWO You're me best mate. There is a pause from Handsome Bob. HANDSOME BOB I don't want the strippers One Two,.... (beat) I want you,.... Pause. A little look from One Two like "Oh you're taken the piss", then a realization that he isn't. The brakes are slammed on and the car comes to a screeching halt. One Two is out before you know it, screaming through the windshield.53 EXT. CAR - NIGHT 53 ONE TWO You dirty bastard! I know all your girlfriends all of 'em! HANDSOME BOB (horrified) See, I told you you wouldn't understand! (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 35A.53 CONTINUED: 53 ONE TWO Understand what? (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 36.53 CONTINUED: (2) 53 ONE TWO (CONT'D) That you're a homa? You're Handsome Bob for Gods sake, Handsome Bob the lady killer! That is you Bob, do you hear me? God, I have had showers with you, you've seen my cock! HANDSOME BOB I only told you cos I'm going away, but I should have kept my mouth shut. ONE TWO Fuckin right you should have kept your mouth shut, should have drowned the cat instead of letting it out the bag. Bob's now inconsolable sitting in the car. One Two feels bad,...he catches himself.54 INT. CAR -- MOMENTS LATER 54 One Two is back in the car, he's trying to calm Handsome. ONE TWO All right Bob, I am sorry. I went over the top, it was just a surprise that's all. (Bob's still crying) Bit of a broad side Bob, do you hear me, I am sorry,.. (beat) Well what is it you want to do with me?55 INT. WAREHOUSE - DAY 55 The TWO SLOANES have been brought back up and are covered in shit and cray fish, they are half drowned. LENNY COLE Hose 'em down Danny. Get those cray fish off 'em. Now, who has that painting? (beat) One name. Archy rips the tape off their mouths at the same time. DROWNED SLOANE Johnny, Johnny Story. You know the singer in that group Story Time. This means something to Lenny. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 37.55 CONTINUED: 55 LENNY COLE That didn't work did it? How can a dead man sell you a painting? DROWNED SLOANE He's not dead, I know he's not dead because he just tried to sell us that picture and changed his mind at the last minute. He's got like an obsession with it. Lenny's face contorts with anger. LENNY COLE Put 'em back Arch, before I shoot 'em. The TWO SLOANES scream in horror. DROWNED SLOANE Jesus! I know him, I know who he is,...we went to school with him. We're telling the truth, we're telling the,... The tape is put back over their mouths. They're struggling to get free. ARCHY Len, could I have a word? Private,.. it's worth it.56 INT. WAREHOUSE CORNER 56 Archy looks at Lenny, there is a PAUSE for a while. They both feel uncomfortable. ARCHY Your boy's not dead, is he? LENNY COLE (snapping) Don't you dare call him my boy. ARCHY Sorry, I mean your boy, the Ex's boy,...your step son. He had a set of keys to the house didn't he? Lenny's red as a beetroot. LENNY COLE He won't die that cockroach. (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 37A.56 CONTINUED: 56 LENNY COLE (CONT'D) That junkie's seen more funerals than a fuckin undertaker,.. that boy is poison. (MORE) (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 38.56 CONTINUED: (2) 56 LENNY COLE (CONT'D) The next world war will have his name written all over it. (beat) Get me those two flash idiots that used to manage him, what are they called, Greek and Mini? ARCHY Roman and Mickey. LENNY COLE If anyone can find that smoking crack pipe, it's them.57 INT. BEDROOM 57 WE CUT BACK TO TEN YEARS AGO. Cut to a shot of a 12 year old BOY with a cut under his eye singing "Bank Robber" by The Clash in to the mirror. He's wearing just his boxer shorts and enjoying himself, he's gonna be a rock star. From behind WE SEE his bedroom door open, but the music is to loud for the boy to have heard the entrance. We SEE Lenny, ten years younger entering, we can tell via the body language that he is irritated. He pauses then walks up suddenly slapping the boy very hard across the side of the face. It's enough to knock him out, the boy goes down - shot like a bullet out of a barrel. The red hand then slaps the stereo off. LENNY COLE Listen to me boy, listen. I never did like you and neither did your real father. You're a reject, a wrong-un, a fuckin fairy in the mirror that I inherited from your mother, but she ain't with us no more, so now it's just you and me. In one week you go back to school, the best fuckin school in the country I might add, then you'll be gone for another term. (beat) In the mean time, show me some gratitude and keep the fuckin music down.58 INT. CRACK HOUSE 58 We CUT BACK to present and MEET JOHNNY STORY (think Pete Doherty meets Richard Ashcroft) or Posh John, posh, good looking, 25, alarmingly skinny and pale in a grey sort of way. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 38A.58 CONTINUED: 58 He's still listening to "Bank Robber" dancing round with a couple of toy guns. His mate, who is not so posh, MEET PETE is sporting a balaclava at present. They've been cracking it up and the paraphernalia is everywhere. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 39.58 CONTINUED: (2) 58 Johnny is standing in front of the mirror next to the mirror is the painting and oh he loves it. Pete rolls up his balaclava up and slams the stereo off. JOHNNY STORY Just couldn't, it's got me,...that's what art does Pete, it gets you. PETE You'd get a good few notes for that. Go on John, jog it on. JOHNNY STORY You wouldn't understand. PETE Why not? JOHNNY STORY Because,.....You,.... Are street scum Pete. He does a quick moon walk, he's taking the piss. JOHNNY STORY (CONT'D) You're in need of an education, that's what you need, but your Dad never gave a shit about you did he? And that is why you are on the gear. Your gear is your surrogate father. PETE Leave off John, what is this shrink time? JOHNNY STORY Come on Pedro, share. I'm your sponsor, Doctor,...your dad if you're feeling a bit of regression coming on. (beat) But first we should have a drink in our hands.59 INT. BAR 59 Rough old bar, there are a couple of OLD WASTERS staggering around in the distance. Johnny and Pete have now got drinks in their hands. PETE My Dad made me watch Bonanza every Sunday after church. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 39A.59 CONTINUED: 59 JOHNNY STORY That's got to have done some damage, all those guns and cowboys. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 40.59 CONTINUED: (2) 59 PETE You think? It wasn't all bad, he sometimes made me laugh too. JOHNNY STORY Now we're getting somewhere. Did he interfere with you? You know, touch you inappropriate like? PETE He tickled me if that's what you mean. JOHNNY STORY Now that's it! That's what I was looking for, you see your Dad is a monster Pedro, a tickling monster. (singing) Pedro's dad's a tickling monster! Johnny helps himself to some WASTERS drink at the bar for a quick refreshment. Understandably, the WASTER doesn't look happy and his three FRIENDS don't look happy either. WASTER That's my drink. Johnny gives the WASTER and his FRIENDS the masturbation signal without even bothering to look at them. PETE Fuck you singalong, you're no help and stop calling me Pedro. The WASTER grabs a bottle from the bar ready to take some action. Johnny grabs a pencil from his top pocket, he holds it out like it's a knife. It's almost a joke. JOHNNY STORY Come on boy, I'll have you and ya girlfriends! I'll do the lot of yazz. The WASTER is lost. Johnny is not physically scary, he's only scary because he's quite clearly mad. He looks like Robert Deniro in Taxi driver, mad as mars, he catches himself in the mirror, he likes what he sees. Ciggy falling out of his mouth, he sort of takes the piss out of himself, smiles "tough Johnny," the WASTER backs off he doesn't want junkie madness. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 40A.59 CONTINUED: (3) 59 JOHNNY STORY (CONT'D) (Leaning over his shoulder, mock serious) Was I good or what Pete? It's all in the eyes. (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 41.59 CONTINUED: (4) 59 JOHNNY STORY (CONT'D) (he raises his ridiculous eye brows) Junkies, I'll shit 'em! Johnny sits back down next to Pete. JOHNNY STORY (CONT'D) Did your Dad do anything else to you Pete? PETE He hit me bad as well the slag. Hit with a chain. Pete starts to lift up his shirt. JOHNNY STORY (Johnny stands) What are you doing? I'm not going to tickle you Pete, I'm not your Dad. He looks over and see's Pete has got the most horrific scars on his back. Johnny notice's them and stops in his tracks. Johnny walks back over to Pete and very tenderly touches his back, it feels horrible and bobbled. JOHNNY STORY (CONT'D) (soft) I find that profoundly offensive Pedro. Two's up on a snout to show I care. He pulls out a ciggy. Pete takes it. PETE I used to think it had something to do with Bonanza. JOHNNY STORY Your dad was jealous. Cos you dad isn't sure he's your dad, cos you don't look like him. PETE Really? What do I look like then? JOHNNY STORY You have all the facial characteristics of North American native, Livapuddlian Indian. (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 41A.59 CONTINUED: (5) 59 JOHNNY STORY (CONT'D) See your Dad thought you were a red Indian and Bonanza triggered your fathers unconscious feelings. PETE Really? Pause. Pete looks at Johnny,...Johnny starts to smile. PETE (CONT'D) You slag Story! I'm not telling you fuck all,...piss taker.60 INT. ROMAN AND MICKEYS OFFICE 60 Mickey and Roman's SECRETARY walks in. SECRETARY Mickey,..Roman, there are four gentlemen who,... (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 42.60 CONTINUED: 60 The office door opens wider, in walks Lenny, Archy and BOYS. ARCHY Who wanna see you two. SECRETARY I'm sorry Mickey. MICKEY Don't worry about it June, go and have another lunch. LENNY COLE Sorry to intrude. (seeing some fruit on the table) They call this a lichee don't they? ROMAN I believe so. LENNY COLE Tasty exotic, bit like your suit. Lenny pops it in his mouth, chews a while and spits out the middle. He turns to face ROMAN and MICKEY, he does not look happy. ROMAN How can we help? LENNY COLE Don't you have an act called Story Time? ROMAN We did. LENNY COLE And isn't there a lead singer called Johnny Story? ROMAN There was. LENNY COLE Well, I would like to see Mr Johnny Story. ROMAN I would like to see him too, but that might be tricky 'cos according to the newspapers the only songs Mr Story is going to be singing is hymns. (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 43.60 CONTINUED: (2) 60 LENNY COLE And I shed a tear. I shed it for all those bone tops that read the papers and believe that shit. (beat) Have you seen his body? Have you seen him smacked up and cracked up with his tongue on his chin and his cock in his hand, swinging from the rafters, like a real rock 'n' rolla? (pause) No, you didn't did you? And nobody else fuckin did either, did they 'cos he ain't dead. He's alive-alive- o somewhere selling cockles and mussels,...and a very important painting that doesn't belong to him. ROMAN Sorry, but what has this got to do with us? LENNY COLE You have twelve licenses within a jurisdiction which I control. You wanna play on, do what I tell you. (pause) Now, I can tell what you're thinking. ROMAN That there's not much you can't do? ARCHY Slow down tinker bell, you'll never sing the same if ya teeth aren't your own. Pause. MICKEY You gonna take care of him? LENNY COLE (smiling) What do you think we are, gangsters? That's not my style and especially not with genetics and all,... There is a look of confusion from Roman and Mickey. LENNY COLE (CONT'D) Bloods thicker than poison moon beam, now do us all a favor, before you catch a cold. ROCKNROLLA WHITE Revision - 6-6-07 44.61 INT. SPEELER 61 One Two walks into the speeler, he looks like a lost man. He looks over at the guys sitting around talking, they stop and look up. COOKIE Where have you been? You were missed in court today. That's not very compassionate is it, didn't turn up for your amigos funeral. The phone rings in the back ground, Dolly answers it. FRED THE HEAD Everybody else was there but you and I got the feeling you were the only person Handsome wanted to see. One Two turns a little nasty. ONE TWO What are you trying to say Fred? FRED THE HEAD Eh? ONE TWO You wanna have it out now? From behind we see Handsome Bob and Mumbles walk into the Speeler. Handsome Bob sneaks up and put his hands over One Twos eyes. HANDSOME BOB Guess whoooo? One Two spins round in major shock, he see's Bob and he doesn't like it. All the boys look on like One Two's going to hug him. He doesn't. HANDSOME BOB (CONT'D) The prosecution lost the paper work. I am offski, the case is closed. ONE TWO (in shock) Five years, you were supposed to get five fucking years! Everyone's in shock. Dolly walks over and interrupts. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 44A.61 CONTINUED: 61 DOLLY One Two there's a woman on the phone for you, she sounds very educated. ROCKNROLLA PINK Revision - 6-19-07 45.62 INT. SPEELER STORAGE ROOM 62 One Two takes the call. ONE TWO How did you get this number? STELLA (V.O.) I can get any number, I work with numbers don't I? ONE TWO One point for initiative, two to tell me what's on your mind.63 INT. STELLA'S OFFICE 63 Stella sits at her desk. STELLA I need a favor. My husbands having a party tonight and they need some "smarties" but they have nowhere to go. Look, I know it's a liberty, but I thought you might know people. Plus, I have another bit of work for you. (beat) You can bring your friends. There will be interesting people - the rich and famous, the great and good.63A INT.SPEELER - STORAGE ROOM 63A One Two looks through the crack in the door and sees Cookie. ONE TWO Let me see what I can do.63B INT. SPEELER 63B One Two comes back into the room, he is still in disbelief. ONE TWO So Bob got off, big fucking deal. (everyone looks a little lost) I have a little bit of work for you Cookie we have a party to go to.64 INT. URI'S BOAT - DAY 64 Lenny has another large vodka in his hand, while Uri smiles. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 45A.64 CONTINUED: 64 URI You're looking well Lenny. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 46.64 CONTINUED: (2) 64 LENNY COLE Well thank you Uri, that's a real compliment from a man that obviously takes good care of himself. URI I suppose you're wondering why you are here? LENNY COLE I assume you want to check that everything is still "kosher" at my end. (pause) I was a little surprised you didn't come through at the appropriate time, but I reckon you have your reasons. Silence. URI I assume everything is still as you say,...Kosher? Pause. Lenny milks the moment and after a few seconds of mock thought, he speaks. LENNY COLE Don't you worry Uri, that one's on me,...partners and all that, but I wouldn't like it to go south again, makes things difficult, if you know what I mean? URI I understand Lenny and I wouldn't like things to go wrong either. Which brings me conveniently to my next point. Ever since the painting, my lucky painting, hasn't been hanging on my wall, things have not been,....so lucky. I know this is a rude request because we have not concluded our business, but I feel as though I need it. Long pause while Lenny scrambles for an excuse.65 INT. LENNY'S CAR 65 Lenny enters the car looking a little peachy. Archy takes one look and grimaces. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 46A.65 CONTINUED: 65 ARCHY Fuckin hell Len, he's given you that bar tan again. You wanna leave that vodka alone. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 47.65 CONTINUED: (2) 65 LENNY COLE Shut up Arch! ARCHY Everything all right? LENNY COLE No it's fuckin not all right, he want's his painting, his lucky painting. Archy looks a little worried. ARCHY Oh, I see. That's a bit of a problem then isn't it? LENNY COLE You should have seen his eyes I swore they changed color, went fuckin red they did. ARCHY They don't care who's soil they are on that lot. They can buy half the country without breaking a sweat, you're small time to them. They could click their fingers and we'd be ether. Turning very nasty. LENNY COLE You speak to me like that again and I'll cut your fuckin tongue out. I run this town, got that, me! Anybody who thinks he's rude enough, let 'em raise a finger, 'cos I'll take off his whole fuckin arm. Do you understand that Archy? (beat) I said do YOU? Archy thinks his boss is going mad, but he doesn't let on. ARCHY Yes, I do Len.66 INT. ROMAN AND MICKEY'S OFFICE 66 The boys are still reeling from the news that Johnny is Lenny's son. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 47A.66 CONTINUED: 66 MICKEY How about that then, Johnny Story's father? How did that get under the radar? Why doesn't anybody know? (CONTINUED) ROCKNROLLA YELLOW Revision - 6-20-07 48. 66 CONTINUED: (2) 66 ROMAN Would you want anyone to know that he was your Dad? Would we have taken him on if we had known? MICKEY We're going to have to give him something, anything, a bed that's been slept in, a bone for his dog, some token of effort. ROMAN We need to see Cookie.67 INT. PARTY - NIGHT 67 The door opens Mumbles, One Two, Cookie, and Fred stand there. A man, TOM in black tie opens the door, he looks posh and is in his boxers. TOM (A bit rude) Who are you? He looks the boys up and down. COOKIE My name is Cookie. TOM You must be with Stella? COOKIE No, we're with the Grand Old Duke of York. TOM Well you can't come in here, not without shaking my hand. He offers it to One Two who accepts. Tom pulls it back at the last minute and greases his hair back. TOM (CONT'D) So you're supposed to be a hard case eh? Tom disappears inside where we see a mass of extremely drunk TOFFS running around going wild in black tie. COOKIE (to One Two) This is gonna be a scream, Fred get 'em in. (CONTINUED) ROCKNROLLA YELLOW Revision - 6-20-07 48A.67 CONTINUED: 67 He is talking about drinks. FRED THE HEAD Why me? MUMBLES 'Cos you look like one of them. FRED THE HEAD They're mad this lot. (CONTINUED) ROCKNROLLA YELLOW Revision - 6-20-07 48B.67 CONTINUED: (2) 67 COOKIE And take that chewing gum off your feet before you start dancing. Stella approaches. (CONTINUED) ROCKNROLLA YELLOW Revision - 6-20-07 49.67 CONTINUED: (3) 67 STELLA Good evening gentlemen. All the boys give it the "oh you sly one" to One Two. There's a gathering of TOFFS starting to cluster, they're waiting to be fed. A semi naked WAITER appears with a drinks tray. STELLA (CONT'D) Help yourselves to drinks. TOM (searching for street cred) So! Who the man? ONE TWO I think that's your cue Cookie. Cookie takes his cue. COOKIE Come on then kids, get in a nice orderly line and we'll get the party started. The boys all head various ways into the party67A INT. PARTY 67A We see One Two walking through the party, when he runs into Handsome. ONE TWO What the fuck are you doing here? HANDSOME BOB Well all the chaps were coming and I didn't have any plans tonight did I? Thought I might celebrate a little, do you mind? ONE TWO Yes I do fuckin mind. Now listen Bob, what happened last night is our little secret all right and it was only cos you were supposed to be doing your time, right? You tell anybody and I swear to God,.... I swear to God. Well fuck it Bob, I think you understand. As One Two walks away he runs into Tom again who stands in his way. (CONTINUED) ROCKNROLLA YELLOW Revision - 6-20-07 49A.67A CONTINUED: 67A ONE TWO (CONT'D) Let me tell you something hard case, if you start any trouble around her,... One Two gives him the quick ONE TWO punch, Tom is knocked out cold, he catches him standing up and lowers him to the floor. One Two walks off. ROCKNROLLA YELLOW Revision - 6-20-07 49B.67B INT. PARTY - SOFA 67B We CUT TO Mumbles on the sofa who is watching One Two, he grimaces. Bertie is next to him. MUMBLES And that's why they call him One Two. BERTIE So you're part of the wild bunch? Stella says you're dangerous. Mumbles smiles and flicks his cigar ash into Bertie's glass. He knows he's a poof and keeps his eyes on him a second too long just to get Bertie excited. MUMBLES Does she now? BERTIE So is your friend part of the wild bunch? Bertie is talking about Handsome and Mumbles knows it. MUMBLES That young man is the greatest gun slinger in town. BERTIE (Bertie smiles) Then how come I don't know him? (beat) I know all about your type. MUMBLES How is that then? BERTIE I'm a criminal lawyer,..and I know a secret about your part of town. MUMBLES What secrets that then? BERTIE You have an informer in your neck of the woods. MUMBLES Oh yeah, so what's his name? BERTIE You have to pay for secrets. (CONTINUED) ROCKNROLLA YELLOW Revision - 6-20-07 49C.67B CONTINUED: 67B MUMBLES That's not nice, but while your at it, what's the price? BERTIE (he looks to Handsome) I want to meet the gun slinger. Mumbles looks over to Handsome.68 INT. PARTY - CORRIDOR 68 CUT TO One two who has just run into Stella, there is a man holding a tray of drinks next to them. STELLA Drink? ONE TWO Large one,...Dance? STELLA So, you're a dancer? ONE TWO Am I a dancer? Shall we put the record straight? One Two makes room in front of him and starts to dance relativity badly. You get the feeling he probably could dance, but he just can't be bothered to make an effort. ONE TWO (CONT'D) You see it's all in the genes. (he slowly turns) My Dad was a dancer and his Dad before that so gradually it's percolated the old DNA. You not joining me? STELLA Sure, I like to dance. She stands up and dances just like him. (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 50.68 CONTINUED: 68 ONE TWO Hello, I can sense a little competition. So what you got for me? STELLA The same job's back on again. ONE TWO Oh yea? (beat) Don't throw my rhythm. STELLA Same time, same place, same money. ONE TWO What about security? STELLA Same as before, but they're not my accountants. A couple of their's,..other than that, should be just the same.68A INT. PARTY 68A We CUT TO Mumbles who has gone up to Handsome. MUMBLES Handsome, I got a job for you. See that man on the couch. HANDSOME BOB The one that's staring at us? How can I miss him. MUMBLES Do me a favor, chat him up. HANDSOME BOB Fuck off what do think I am? MUMBLES He's some big wig lawyer who knows about an informer in our part of town and since you were just looking at a five stretch, I thought you might be interested. Handsome gets the picture and heads over to Bertie. One Two appears and approaches Mumbles. ONE TWO We got another job on, same as before. (CONTINUED) ROCKNROLLA YELLOW Revision - 6-20-07 51.68A CONTINUED: 68A MUMBLES It's all go around here isn't it? Den of iniquity this place is. You know your old lady, well her big time lawyer husband he's a beard got a crush on the Handsome. ONE TWO What are you talking about? MUMBLES Put it this way, I don't think they married for love. ONE TWO I gotta get a breath of fresh air.69 INT. PARTY - SOFA 69 We CUT TO to Handsome who has come to sit on the same sofa as Bertie. HANDSOME BOB So, I hear you have a secret, but you look like you might have more than one. Why don't you confess? BERTIE I don't want to talk about work. HANDSOME BOB If you tell me who the informer is, we will talk about whatever you want to, anyway, you don't have to tell me anything. If he's an informer you'll have his depositions and poems. BERTIE My, my not just a pretty face. How do you know about those sort of things? Handsome scribbles out his number on a piece of paper, and gives it to Bertie. HANDSOME BOB Let's have a drink during the week, and I'll tell you all about it, all I need is a little bit of paper work.69A INT. PARTY 69A (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 52.69A CONTINUED: 69A One Two is on his way out the door when Cookie stops him. COOKIE Oi One Two, I am going to make a killing out of this lot, they've definitely got more money than brains. (to One Two) I owe you one boyo.70 INT. CRACK HOUSE 70 Johnny is watching cartoons trying to skin up a joint using a page of a book, he puts it down in frustration. Pete walks in, grabs the picture from it's place and starts to walk out. Johnny squints. JOHNNY STORY Pedro? Come back here. Pete stops in his tracks. JOHNNY STORY (CONT'D) Where do you think you are going with that painting? PETE (he's flapping) You never said it was your Dad's or whatever you wanna call him. You gotta give it back John people are looking for it, bad people. The streets are alive with the sound of pain. JOHNNY STORY You may have a point Pete, but I can't give it up. You know why? PETE No, why? JOHNNY STORY Meet me in the pub in two minutes.71 INT. PUB 71 Johnny walks in and approaches the BARMAN. He doesn't like Johnny. BARMAN What do you want? (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 53.71 CONTINUED: 71 JOHNNY STORY Now, now no need for that tone bar steward. I am merely on mission to acquire a shot of your finest Scotch and a packet of your,... (pointing to paper's) Cheapest rolling paper. BARMAN Green or red? JOHNNY STORY King size of course - along with a packet of your shiniest coffin nails. The BARMAN reaches for a pack of cigarettes. BARMAN Don't make a scene in here boy. Johnny puts a large note on the bar. JOHNNY STORY Put the change in the blind box my good man and remember,... He leans into the bar and shuts one eye. JOHNNY STORY (CONT'D) "In the kingdom of the blind, the one eyed man is king" The BARMAN is left with his mouth open. Johnny walks to the piano to drink his Scotch. There are a few beer mats on the piano, Johnny wipes the mats off with a glide of his hand and they fall to the floor. He raises the lid, coughs, composes himself, and extends his hands through his sleeves. He hits the first note and takes his scotch down in one. A few of the old PUNTERS turn around. Johnny starts to play the most beautiful classical music with his eyes shut. Pete walks in, approaches Johnny and sits with him. He likes it when he plays. Johnny doesn't even need to see him to know that he's there. JOHNNY STORY (CONT'D) You see that pack of Virginia killing sticks at the end of the piano? We SEE the pack of cigarette's on the piano. PETE Yeah. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 53A.71 CONTINUED: (2) 71 JOHNNY STORY All you need to know about life is retained within those four walls. (CONTINUED) ROCKNROLLA WHITE Revision - 6-15-07 54.71 CONTINUED: (3) 71 Pete picks up the pack as Johnny keeps his eyes shut. The following story is a montage of pack shots of the cigarette box, intercut with Johnny's delicate fingers stroking the keys. JOHNNY STORY (CONT'D) You will notice that one of your personalities is seduced by the illusions of grandeur. A "gold" packet of "king" size and with a "regal" insignia. An attractive implication toward glamour and wealth, a subtle suggestion that cigarettes are indeed your "royal" and loyal friends. And that Pete,...is a lie. (beat) Your other personality is trying to draw your attention to the flip side of the discussion. Written in boring, bold, black and white is the statement, that these neat little soldiers of death, are in fact, trying to "kill you." And that Pete,...is the truth. (beat) Beauty is a beguiling call to death and I am addicted to the sweet siren of its pitch. And that,..is why,..you and I love the crack, and that is also why I can not,.. give that painting back. He opens his eyes and looks at Pete, his cigarette has gone out. JOHNNY STORY (CONT'D) Now, please pass me a light. PETE (in mock awe) Oh you are something special Johnny Story. Johnny smiles and puts him in a head lock, they fall to the floor wrestling.72 OMITTED 7272A INT. RESTAURANT - BELOW THE SPEELER 72A One Two and Mumbles are here eating and holding their implements of destruction to be used on the next "job" we SEE the details. (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 55.72A CONTINUED: 72A MUMBLES We'll use rock salt in the shot gun cartridges. Slip 'em into the revolver, if it starts getting large, we'll bang a couple in to 'em and that'll slow 'em down. They won't know the difference between lead or salt and of course Bob's driving. ONE TWO I don't want to use Bob. MUMBLES What? He's our driver, the A-teams not complete without the driver. (beat) What's happened between you and Bob? There's a bit of a pause. ONE TWO I think there might be something about Bob you don't know Mumbles. MUMBLES What's that then? That he's a poof? ONE TWO What? Eh? How did you know? MUMBLES Everybody knows he's a flamer, you're the only one who doesn't. He loves the boys. ONE TWO (stunned) What are you talking about, I am losing orientation here Mumbles. MUMBLES Did he make a pass at you, is this what this is all about? ONE TWO Yes, he fuckin did. MUMBLES Ok so what's the problem? It was supposed to be his last night so you "took care" of him, that's what friends do for one another, well done, I won't tell the chaps. (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 56.72A CONTINUED: (2) 72A ONE TWO Hold on a minute, you won't tell the chaps what? MUMBLES What did you do? Suck his,... ONE TWO Stop right fuckin there! What is going on here? Does that mean you've sucked his,... MUMBLES Well, you must have touched him. ONE TWO Hold on! I am not fucking gay! He wanted a dance that's all! MUMBLES Did you give him one?72B INT. CUBAN MENS DANCING CLUB 72B We CUT TO a shot of One Two dancing a slow dance with Handsome Bob who looks depressed.72C INT. RESTAURANT - BELOW THE SPEELER 72C ONE TWO A DANCE, yes, I did. MUMBLES Was it a slow dance? One Two trails off,.... ONE TWO What has he done to me? Beat. MUMBLES I think there's something else you should know about our Bob. ONE TWO What, there's more? MUMBLES Who do you think looked after your Mum before she died, whilst you were doing a two stretch? (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 57.72C CONTINUED: 72C MUMBLES (CONT'D) (beat) 'Cos it wasn't fuckin me and I am your best pal! (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 58.72C CONTINUED: (2) 72C MUMBLES (CONT'D) No, it was Bob around there six times a week without fail making sure she was looked after. You tore your mums heart out when you went away and Bob did his best to put it back. (pause) I tell you something One Two, if I could be half the human that Bob is and the price was being a poof, I'd think about it. (beat) Not for too long, but I'd have to think about it. ONE TWO He looked after my Mum, how come he never told me? MUMBLES 'Cos that's Handsome Bob and he's class.72D OMITTED 72D72E OMITTED 72ETHRU THRU72E 72E72F OMITTED 72F72G OMITTED 72GTHRU THRU72J 72J73 INT. NIGHT CLUB - BACKSTAGE 73 Roman and Mickey have got a BAND on stage and the place is filling up. Roman is on the phone looking concerned as Mickey looks on, he puts the phone down. We CUT TO our BAND playing on stage, modern young punksters, Arctic Monkey types. Plenty of attitude. ROCKNROLLA WHITE Revision - 6-6-07 59.74 EXT. NIGHT CLUB DOOR - NIGHT 74 There is a long line of people outside Roman and Mickey's venue. Johnny and Pete hustle their way through the crowd, the BOUNCER pulls them up. BOUNCER Oi you, what do you think you're doing? JOHNNY STORY What do you think we're doing? We're trying to get in. BOUNCER Go home wasters, costs money to get in here. JOHNNY STORY Yes my good man, I am aware of that. Johnny goes for his money, but the BOUNCER pushes him on.75 INT. NIGHT CLUB - BACKSTAGE 75 MICKEY What's wrong with you? ROMAN Get that Archy on the phone, I think we've got a problem. WE CUT to the BAND smashing away.76 EXT. NIGHT CLUB DOOR 76 The BOUNCER is holding Johnny and Pete back. BOUNCER Run along junkies. JOHNNY STORY Oi looky, but no touchy. Johnny pushes the BOUNCERS arm away. The BOUNCER retorts with a slap round the cheek. Pete won't stand for that, he goes for the BOUNCER in a pathetic junkie way. PETE Get off him you slag, he's class. The BOUNCER smashes a big bouncer punch right on Pete's nose. Pete shoots back past Johnny and lays in the road, the line starts clapping. ROCKNROLLA WHITE Revision - 6-6-07 60.77 INT. NIGHT CLUB 77 Roman is on the phone with Archy, we cut to them mid conversation. ROMAN Mr. Archy,.... (beat) I hear you, but you can't just shut us down! I've got an act on.78 EXT. NIGHT CLUB DOOR 78 Johnny stands over Pete, he notices Johnny's face. Pete's seen this before, he's changing like a madmen about to explode. PETE (calm, but worried) Leave it John, I'm happy, I'm all right down here mate. Let's call it a night eh? JOHNNY STORY I'll show em' fuckin happy.79 INT. NIGHT CLUB - BACK STAGE 79 We hear the BAND is starting to get louder and faster. ROMAN I understand, we'll find him,.. (still pleading) But I have to keep the club open! I have four hundred people in here! (beat) Don't you dare shut us down!80 EXT. NIGHT CLUB DOOR 80 Johnny makes for the BOUNCER with menace, the BOUNCER looks at Johnny coming and smiles. BOUNCER Fancy some more talent boy? Johnny keeps coming, he's tiny in comparison, the BOUNCER stands and waits - he's ready. Johnny gives the old two finger poke to the eyes, the BOUNCER screams in pain and swings into the ether ROCKNROLLA PINK Revision - 6-20-07 60A.81 INT. NIGHT CLUB 81 We CUT TO THE BAND who is going mad.82 EXT. NIGHT CLUB DOOR 82 Johnny pulls out his signature pencils. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 61.82 CONTINUED: 82 JOHNNY STORY I am going to report you, what's your name? BOUNCER Jog on boy, before I grind your bones to make my bread. Without a hesitation Johnny sticks the pencils into the BOUNCERS leg, it's quite nasty. The BOUNCER stumbles forward like a wounded elephant, it's David and Goliath. Johnny's smart, he knows how to do this properly. JOHNNY STORY Oh I'm sorry did that hurt? Here let me help you up.83 INT. NIGHT CLUB - BACK STAGE 83 Mickey walks back to Roman. MICKEY (to Roman) They're trying to shut us down! CUT TO THE BAND going even madder - the crowd is loving it.84 EXT. NIGHT CLUB DOOR 84 Johnny picks up a trash bin lid and starts giving it to the bouncer. The crowd dances around this wounded beast. JOHNNY STORY What was that about grinding bones?85 INT. NIGHT CLUB 85 ROMAN If we want to keep the licence and the lights on, we need to find Johnny Story. Mickey looks at the security camera and sees chaos. MICKEY There is a revolution taking place outside. The BAND is still going when all of a sudden the lights get pulled, we cut to black. ROCKNROLLA PINK Revision - 6-20-07 61A.86 INT. RESTAURANT - TACKY MODERN FLASH 86 Roman and Mickey have come to find Cookie. He is with a GROUP of people having dinner including Fred the Head. We cut into him mid joke. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 62.86 CONTINUED: 86 COOKIE Joke to be inserted by Cookie. The table laughs, Roman and Mickey approach. COOKIE (CONT'D) Hello, it's Roman and Mickey, what are you doing here boys? ROMAN Can we have a word Cookie?87 INT. RESTAURANT BOOTH 87 ROMAN We need to find Johnny Story. COOKIE Well, you should be the first to know this, but isn't he,... ROMAN You know and I know nothing kills Johnny. (beat) Come on Cookie, you've helped him fuck up his life for the last five years, now do him a good turn. This story will be illustrated appropriately, including a little smoking devil holding the burning crack. COOKIE Have you ever bought a ticket to the junkies bone yard Roman? (beat) It's an unpleasant place called "curl up and die." Might sound like a hair salon, but it don't fuckin look like one I can tell ya. It's a horrible sight and a terrible sound listening to a man sucking his soul through the hole in "the pipe" and even worse when he tries to tear it back. (beat) I've been there, I've done that,... then I nailed that demon in a smoke proof coffin and I did it all with Johnny. I love that man, he's what you call class..and if you would use your heads, you would love him too. You know his music sales have gone up a thousand percent in two weeks. (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 63.87 CONTINUED: 87 COOKIE (CONT'D) (beat) You see, Johnny "the crack head" Story knows that a "Rocka" is worth more dead than alive, silly world ain't it? (beat) Mr Story doesn't get his gear from me, he has to travel far and wide. Leave me your number and if the dead feels like calling, you'll be the first to know.88 OMITTED 8890 OMITTED 9091 OMITTED 91 ROCKNROLLA PINK Revision - 6-19-07 64.92 INT. RANGE ROVER 92 We SEE inside the Range Rover where there is a DRIVER with our TWO CHECHNYANS. The CHECHNYANS have suitcases handcuffed to their wrists. They speak in their native tongue. CHECHNYAN 1 Victor is Uri's right hand man, we served together for four years in Chechnya. We used to have a good time together, he's a real soldier, strong, hard, we made much trouble. I saved his life and he saved mine many times,... CHECHNYAN 1 pulls up his sleeve to reveal a massive tattoo. His arm is filled with slash marks on it. CHECHNYAN 1 (CONT'D) Caught in tank tracks! He pulled me out and this one,... He unbuckles his trousers and shows a massive gouge in his thigh. CHECHNYAN 1 (CONT'D) Stem grenade. CHECHNYAN 2 I have one of those,... CHECHNYAN 2 pulls up his trouser leg to reveal massive scars on his shin. CHECHNYAN 2 (CONT'D) How many of these have you got? ROCKNROLLA PINK Revision - 6-19-07 65.92A OMITTED 92ATHRU THRU92C 92C92D INT. RANGE ROVER 92D Chechnyan 1 pulls his shirt up to reveal more wounds. CHECHNYAN 1 Six thirty calibe,.... SMASH!!!! Their car is smashed into a tailspin, by Handsome Bob's truck. The Range Rover eventually lands on it's side, steam, spinning wheels, smoke, and glass is everywhere. ROCKNROLLA PINK Revision - 6-19-07 66.92E OMITTED 92E92F EXT. STREET 92F Bob jumps out of his truck and runs down to the second getaway car waiting. We SEE One Two and Mumbles get out of their car and run over to the Range Rover on its side, they are carrying an axe and bolt cutters. Inside, CHECHNYAN 2 slowly opens his dazed eyes, to SEE an axe chopping through the window. TWO CHOPS and the window gives in. One Two leans in and grabs the case, but it's chained to CHECHNYAN 2's wrist. One Two pulls the arm out of the window and Mumbles uses massive bolt cutters to cut the case free. MUMBLES There's another case, grab it. One Two leans in and grabs the second case from Chechnyan 1. As he is about to chop this one loose, he is pulled into the car by CHECHNYAN 2. ONE TWO The bastard's still kicking. Mace him, mace him! Mumbles quickly moves around to the other window and sprays mace everywhere, including into One Two's eyes. ONE TWO (CONT'D) Yaaaaaaaaaaaaaa, not me you idiot, the Guerrilla! CHECHNYAN 2 in the mean time has regained some of his strength and is still pulling One Two into the car with him. We can SEE Bob in the distance now next to their second getaway car looking concerned. ONE TWO (CONT'D) Shoot him, shoot him, the bastards going to eat me! Mumbles pulls out a revolver, sticks it in the window and fires it into CHECHNYAN 2's leg. This just aggravates the CHECHNYAN. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 67.92F CONTINUED: 92F ONE TWO (CONT'D) In his arms! Bang. ONE TWO (CONT'D) Arhhhhhhhhhhh. That's my fuckin arm! One Two manages to head butt CHECHNYAN 2 and goes back to reclaiming the case from CHECHNYAN 1. He pulls it out and Mumbles cuts the chain. One Two can't see a thing. MUMBLES Let's go, we've got it. ONE TWO Give me a hand, you've blinded me! Major confusion is setting in. They run back to their car, which is still running, Mumbles shoves One Two into the back and jumps in the drivers seat. ONE TWO (CONT'D) Go, go, go, go!!!!!! With his window open, Mumbles wheel spins out of the situation and turns to check on One Two. From out of nowhere a very large CHECHNYAN arm shoots through the window and puts Mumbles in a neck lock. The CHECHNYAN 2 is holding on and not letting go. The car tears across the road and enters a shop window that has a mezzanine. The car comes to a halt on a precarious ledge, it's dangling with the CHECHNYAN 2 still not letting go.93 INT. CAR - IN SPORTS SHOP 93 ONE TWO Give me the gun. One Two can get a clear shot into the CHECHNYAN 2's side. He shots him once, CHECHNYAN 2 doesn't move, twice, three times, four times, he finally lets go and falls down on the floor. ONE TWO (CONT'D) Shit, what are these two made out of? Mumbles is coughing and slowly coming back to life. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 67A.93 CONTINUED: 93 MUMBLES Let's get going. ONE TWO I can hardly see, where are we? (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 68.93 CONTINUED: (2) 93 MUMBLES Grab my hand, we're getting out of here. ONE TWO Who's got the cases? MUMBLES I've got 'em. As they get out of the car, WE SEE CHECHNYAN 1 has now made his way down the street. He is punch drunk with mace in his eyes, but extracts a machine gun from under his jacket. The boys freeze they are fucked, nowhere to go, but CHECHNYAN 1 is blinking profusely he can't be sure where they are. He lets off a magazine into the manikins next to our boys who all hit the deck. The magazine runs dry, CHECHNYAN 1 dips into his belt to extract a fresh one. Mumbles see's his opportunity, he grabs a golf club that is standing next to him, runs at CHECHNYAN 1 and takes a massive swipe at his head. CHECHNYAN 1 goes down, but he has already put in a new magazine. Mumbles is still carrying the cases, One Two is attached to his arm. ONE TWO Shoot him Mumbles or we won't get out of this! MUMBLES I can't fuckin shoot him, you do it. A baseball smashes into Mumbles face, he goes down, and he's out. CHECHNYAN 2 has appeared carrying a metal baseball bat. One Two picks up the machine gun. ONE TWO Stop or I'll shoot! CHECHNYAN 2 will not stop, he just keeps on coming. ONE TWO (CONT'D) I mean it, get down,...get down! CHECHNYAN 2 keeps coming, One Two doesn't want to do it but he has to. He lets off twenty three bullets into the CHECHNYAN 2's chest, the CHECHNYAN is knocked back and disappears over the mezzanine. One Two is in shock, he has never killed a man. He stands there numb. MUMBLES (who has come back to life) I got the cases, now let go. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 68A.93 CONTINUED: (3) 93 Pause. One Two is still in shock. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 69.93 CONTINUED: (4) 93 MUMBLES (CONT'D) Now One Two, now! They make their way to the entrance. There is a crowd of PEOPLE gathered, a great "ohhhhhhhh" goes up.94 EXT. SPORTS SHOP 94 ONE TWO Where's Bob? Beep. Beep. A car slowly makes it way through the crowd. It pulls up and the boys pile in, what's left of them. They pull away from the sports shop.95 INT. BOB'S GETAWAY CAR 95 Bob looks in his mirror, he can see a gun being raised, there is someone on the trunk. HANDSOME BOB Down. He slams on the brakes. CHECHNYAN 2 goes flying over the roof, but stops himself hitting the road by perforating the hood with his massive knife. He proceeds to perforate the wind screen with another knife that he extracts and (because of laminate) starts to saw through the wind screen. The boys are in horror. HANDSOME BOB (CONT'D) Abandon ship!96 EXT. BOB'S GETAWAY CAR 96 One Two gets caught in a head lock by CHECHNYAN 2, they struggle. Mumbles hits the CHECHNYAN from behind with a car Jack and CHECHNYAN 2 goes down again. One Two's eyes have just about come back. ONE TWO Run! Run for your lives. The crew split in DIFFERENT DIRECTIONS. Bob takes the cases and plucks some poor bystander out of their car and takes off. Mumbles disappears another way. CHECHNYAN 2 is up and follows One Two - terminator style, a foot chase begins. One Two, split from the group and being pursued, jumps over a wall. ROCKNROLLA PINK Revision - 6-20-07 69A.97 EXT. RAILWAY TRACK 97 One Two has ended up on a railway track. He turns back, why should CHECHNYAN 2 chase him, he hasn't got the money. But no, CHECHNYAN 2 is over the fence, bullet proof vest flapping in the wind, and coming after him. One Two finds his strength this is his world, the world of the runner - he's off down the tracks. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 70.97 CONTINUED: 97 The pair of them are bleeding profusely, they're bashed to a pulp, but they have still got a running sprit. The run goes on and on. CHECHNYAN 2 has ripped off his jacket, we can see his massive scar covered torso dripping in blood and sweat, he seems unstoppable. One Two gets confident and starts to run backwards egging CHECHNYAN 2 on, CHECHNYAN 2 is a good runner, but not good enough. Deep hate fills his eyes as One Two makes a fool out of him, CHECHNYAN 2 will remember this man. One Two is taking complete liberties, he almost stops and waits until CHECHNYAN 2 has caught up to him and then he tears off, the CHECHNYAN keeps coming. One Two see's in the distance a tiny moped approaching from a distance, its CHECHNYAN 1 who completely out sizes the machine. However, he's moving and it's moving faster than One Two. One Two ducks off the tracks and over a wall, the moped gets nearer. At least when he gets over the wall, the moped won't follow right? One Two's over. He can hear the moped on the other side, One Two looks over his shoulder he can see the moped being lifted over the wall. "Oh shit." This is where One Two's "zone" comes into play. He drifts in to a place that he can not be disturbed and he runs and runs and runs. Up, down, through and in.98 EXT. STREET 98 We see Mumbles has caught up with One Two along side the tracks. He is on a motorbike that he has stolen. MUMBLES Get on! One Two jumps on the back and they speed away leaving our Chechnyan's behind.99 INT. PORTA CABIN 99 We are on another one of Uri's construction sites, Lenny is here to do the money exchange, again. LENNY COLE I will have that painting with you in a couple of days Uri. It got locked up with some other goods of mine, I wanted to keep it safe, but Archy lost the key to the lock. Didn't you Arch? Archy nods like an idiot. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 70A.99 CONTINUED: 99 LENNY COLE (CONT'D) Now, I'm not being funny Uri, but I have a payment to make. So if there is any chance that I could get the money. (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 71.99 CONTINUED: (2) 99 Victor walks up, there is something wrong. VICTOR (in Russian) I need to speak to you Uri.100 EXT. PORTA CABIN - CONTINUOS 100 Uri concludes the meeting with Lenny and Archy and they walk to the exit where Turbo is waiting by the door. Something has obviously just happened. LENNY COLE Something wrong with these immigrants Arch, I don't fuckin trust 'em. We're being set up, don't know how, but something's wrong, I can smell it with my sniffer. I thought he was made of fuckin money, not too happy about flashing it around here though is he?101 INT. PORTA CABIN 101 Uri watches Lenny walk off. VICTOR He is the only one that knows. URI He doesn't have the balls or the brains. VICTOR He's a crook, a small time back handing crook. Once could be a coincidence, but twice and the painting - your "lucky painting" I think he is trying to make a fool out of you.102 INT. RESTAURANT 102 One Two walks into the restaurant with Handsome Bob. One Two is bashed to a pulp, but he's wearing a nice suit and carrying a bag full of money. There is a slight silence as his appearance arrests conversations. Handsome waits near the entrance and One Two sits down across from Stella, there is a pause. The odd PERSON passes and double takes at One Two. STELLA Oh my God, are you all right? (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 71A.102 CONTINUED: 102 A WAITER walks up. (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 72.102 CONTINUED: (2) 102 ONE TWO That is a rhetorical question I hope. (to waiter) A glass of water thank you. (beat) With a straw. (To Stella) Don't you want to know what happened? STELLA I know what happened, it's been all over the news, but I didn't realize,... ONE TWO You didn't say anything about guns,.. machine guns with war criminals stuck to the trigger. STELLA I am sorry I didn't know, but shouldn't you have taken precautions? ONE TWO I'll leave your bag under the table all right? (pause) But this isn't about the money is it? I saw you there on that last job. At first I thought it was curiosity,.. CUT BACK TO THE ROBBERY we see Stella in her car that One Two had seen, but we didn't. ONE TWO (CONT'D) But then I realized what was going on. You don't need the money, you liked the rush. Your old man, can't give you the action can he? (beat) Good-bye sweetheart you're too dangerous for me. He gets up and limps out.103 INT. CAR 103 One Two and Handsome get into the car where Mumbles, nursing his own wounds, is already waiting. Handsome sits in the drivers seat when his phone goes. HANDSOME BOB Is that you Bertie? (CONTINUED) ROCKNROLLA PINK Revision - 6-19-07 73.103 CONTINUED: 103 Mumbles and One Two know what this call is about. BERTIE (V.O.) What's happening about that drink? HANDSOME BOB What's happening about that paper work? BERTIE (V.O.) I am busy tonight, but Monday looks good. I'll leave the papers at my reception under your name and text you the address. HANDSOME BOB I'll be round in a jiffy and I'll see you Monday. The phone goes down, One Two narrows his eyes. ONE TWO You are scary good at that. HANDSOME BOB Do you miss it? ONE TWO Shut up Bob or I'll slap you. Go and pick up your paper work from your boy friend and drop me off on the way, I am going back to bed.104 INT. TOWN HALL 104 Lenny is walking down the main corridor, he's a man on a mission. Archy is next to him, not looking so enthusiastic. LENNY COLE Arch I don't care if he's fuckin busy, if we call, he answers, that's the deal. There he is,.. (shouting) Councilor,..Councilor! The Councilor is walking down the corridor he's with some of his COLLEAGUES. He looks mortified and beckons his friends on. LENNY COLE (CONT'D) Something wrong with your telephone? (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 74.104 CONTINUED: 104 COUNCILOR What are you doing here Lenny? You can't come here. LENNY COLE Steady, Councilor steady,...I go wherever I fuckin want. This is my town, not yours no matter what you and your pen pushing immigrant boy scouts might think. (pause) Now, what's going on? COUNCILOR (hurriedly) Step in here.105 INT. COUNCILORS OFFICE 105 The Councilor steps into his office. COUNCILOR I can't do it, you've left it too long Lenny. You want something that the city has a ruling against, something they said they wouldn't give permission to build. LENNY COLE Don't give me that shit. I can look out my window and there's twenty kinds of buildings this city said they'd never build, how did that happen eh? Fuckin termites got together and had a house building party did they? No sunshine, back handers put them up, back handers just like mine. COUNCILOR This isn't fuckin Zaire Lenny, I can't do it this time. Lenny grabs the Councilor by the bollocks and pushes him up against the wall. COUNCILOR (CONT'D) Get off my bollocks Lenny. He squeezes the Councilors bollocks harder, the Councilor screams. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 74A.105 CONTINUED: 105 LENNY COLE Don't you swear at me you yellow puddle of immigrants piss or I'll fuckin drown you in it. (MORE) (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 75.105 CONTINUED: (2) 105 LENNY COLE (CONT'D) (squeeze) Feel that do you Councilor? You think I don't have a paper trail for all the gifts, the cars, holidays, tennis courts and swimming pools? I own these bollocks and they're more fragile than a pair of quails eggs. Now get it done! (squeeze) And next time blue bollocks, remember who the Daddy is!106 INT. CRACK HOUSE 106 Johnny's sitting smoking a fag and watching more cartoons. Pete walks in with Malcolm and Paul, Johnny jumps up angry. JOHNNY STORY Moron,...what do you think your doing? PETE What John? JOHNNY STORY Letting creatures in my yard without my consent. PETE They're good stuff John, Scotch and Scouse. MALCOLM Like the drink and the Beatles. I am Malcolm and this is my friend and colleague Paul, you know like the saint. Paul's still comatose. MALCOLM (CONT'D) Paul doesn't say much, he's too busy thinking. (beat) Come on, we know you John, we're big fans, you're what they call a real rocknrolla. Johnny cuts in and storms over to all three of them, pushing them out the door. JOHNNY Out!! Good-bye, on your way, bon voyage and fuck off. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 75A.106 CONTINUED: 106 Pete falls to the floor sulking, Johnny can push no more it's a lay down, Malcolm and Paul join him. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 76.106 CONTINUED: (2) 106 JOHNNY (CONT'D) What is this a laydown? A fuckin demo? MALCOLM Leave us be Johnny, we're nice people. Peaceful people. This is a demonstration of peace. JOHNNY Where the fuck did you find these two junkies? Conference, now Pete. Johnny drags Pete in toilet.107 INT. CRACK HOUSE TOILET 107 JOHNNY STORY Pedro I swear this is the last time I'm having you take the piss, next time you're on your own. PETE Sorry, I thought you might like some company. JOHNNY STORY I am dead Pete, what does that tell you? It tells you, that dead people don't like company! Now jog 'em on. PETE All right, I'll tell 'em to leave. JOHNNY STORY Yes you fucking well will, smelly junkies. Meeting adjourned. Johnny and Pete walk out of the toilet, Malcolm and Paul are gone. PETE You've scared 'em off sing-a-long, but with a welcome like that it's not all that shocking. JOHNNY STORY Lucky you're not following them. Johnny looks over, the picture has gone, he turns to Pete. JOHNNY STORY (CONT'D) Where's the picture Pete? ROCKNROLLA PINK Revision - 6-20-07 76A.108 INT. SPEELER 108 Malcolm and Paul walk in the speeler, it's packed. Paul is holding the painting. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 77.108 CONTINUED: 108 FRED THE HEAD Hi ho it's the werewolf brothers, what you got for us today? MALCOLM Paul, please exhibit to the audience the fine artifact. Paul walks around with the painting - Malcolm sits him down, he's in a state again. MALCOLM (CONT'D) Now, now young Paul rest your weary legs. (beat. here comes the pitch) Gentlemen,...we are entering the realm of the ancient art form of paint on canvas,... Cookie cuts in. COOKIE I'll have it, how much? MALCOLM (stunned) One moment sir, there's a pitch that comes with this painting,.... Cookie gets up from the table and walks over. COOKIE I don't want the pitch, I said I'll have it. MALCOLM It's a very rare and expensive painting sir. Malcolm's upset, he wanted to give the pitch. Cookie pulls out a lot of money too much for Malcolm to say no to. COOKIE Here ya go, have a week in snow. Malcolm takes it. MALCOLM Good afternoon gentlemen, it's been a pleasure. I can hardly wait till the next time. ROCKNROLLA PINK Revision - 6-20-07 77A.109 EXT. GOLF COURSE 109 Uri, Lenny and Victor are out on the fairway. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 78.109 CONTINUED: 109 LENNY COLE I'll have that painting in a couple of days Uri, trust me on that. Uri's not sure about that last statement. URI You like it out here Lenny? LENNY COLE Can't beat the great outdoors can you Uri? I can't understand it, not a soul out here. URI That's because I have had the course cleared for us Lenny, we are not going to be disturbed. LENNY COLE Oh that's good, I love a clear fair way, that's a bitta me that Uri. Nothing worse than being jogged on by blind tourists swinging a stick on a Sunday. URI What are we going to do Lenny? Every time I am about to make my payment something dishonest happens. (pause) You, wouldn't know anything about that, would you? Clearly shifting gears, could he be saying what he thinks. LENNY COLE Excuse me? Are you trying to say something Uri? URI I am not trying Lenny, I am saying something. Lenny is not having any of this, after all he's "top dog." LENNY COLE I think you forget who you are speaking to you insolent bastard. You forget where you are you fuckin immigrant. This is my land, my fuckin show, I run this tow,.... (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 78A.109 CONTINUED: (2) 109 Victor has extracted a five iron from out of the golf bag and has decided to break both of Lenny's legs in ten different places. Lenny screams in unimaginable agony, writhing on the green. Uri almost ignores the activity. (CONTINUED) ROCKNROLLA WHITE Revision - 6-17-07 79.109 CONTINUED: (3) 109 URI I have to go now Lenny, I am having lunch with the Councilor, your Councilor. This, as you know, is the ninth hole and it is a long crawl back to your car. You should make it by sunrise, just in time to bring me my "lucky picture." I want it back do you hear me? Victor kicks him. LENNY COLE Yes,..yes. URI After that, I don't want to hear from you again, disappear do you understand me Lenny? (Victor stands on his broken legs arrrrgh) Lenny? LENNY COLE Yes, yes, I understand. Victor dips into his Lenny's pocket and extracts his phone. URI Times just change. (Uri gets in the buggy) Good bye Lenny. He gets into the buggy with Victor and drives off.110 INT. ONE TWO'S HOUSE 110 One Two comes in and closes the door behind him. He looks down on the floor and there is THE PAINTING, we see a large note on it that says. "Let myself in, thought your lady would like the painting. Love, Cookie" The door bell rings, he opens it and there stands Stella. She walks in straight past One Two, he turns round with his mouth open, she gently slaps it shut and kisses him.111 INT. CAR 111 We are outside Bertie's office - Handsome opens the car door and jumps in, he's holding a brown envelope. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 79A.111 CONTINUED: 111 Mumbles is waiting there. ROCKNROLLA PINK Revision - 6-19-07 80.112 INT. ONE TWO'S HOUSE 112 One Two is sitting on the bed that has been torn apart. He's in his boxer shorts with a ciggy in his mouth. Stella is walking toward the bathroom, the phone rings. ONE TWO Yeah?113 INT. CAR 113 We see Mumbles and Handsome driving they are talking on the speaker phone. MUMBLES We've found out about that informer. Your lady "the beard," her old man came through. ONE TWO (V.O.) What? HANDSOME BOB It's here in my hands, THE informer, the one responsible for all the sentences we have been seeing - all of 'em, including me. ONE TWO (V.O.) Well, who is it then? MUMBLES Who's Sidney Shaw?114 INT. ONE TWO'S HOUSE 114 ONE TWO Sidney Shaw is a pseudonym you idiot, they never use the real name. Get around here and let me have a look.115 INT. HOSPITAL CORRIDOR 115 A gang of VILLAINS are lining the corridor, Archy walks through them.116 INT. HOSPITAL BEDROOM 116 Lenny is here with a NURSE. NURSE Don't try and move it'll be too painful before tonight. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 80A.116 CONTINUED: 116 LENNY COLE Give me the water, Aaaaaahhhhh,.. NURSE I told you not to move. Archy walks into the room. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 81.116 CONTINUED: (2) 116 LENNY COLE Broke my legs in four places Archy, did you hear that? The bastard's made me limp for the rest of my days. ARCHY What do you want me to do? Lenny is clearly distressed, his confidence has gone. LENNY COLE I need that picture Archy, I need it bad. ARCHY I'll get it, don't you worry and I think I can do better than that. This catches his attention. LENNY COLE What? ARCHY Someone has been at the Russian's money, a couple of silly gun slingers,..he wasn't making up stories. LENNY COLE What? ARCHY You know 'em and you don't like 'em either. LENNY COLE I ain't playing fuckin games here Arch look at me, who? ARCHY Mumbles, Bob and One Two.117 INT. ONE TWO'S HOUSE 117 Stella walks out of the bathroom, she looks immaculate. ONE TWO Look at you, good as new. STELLA I have to go now. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 81A.117 CONTINUED: 117 ONE TWO Fancy sharing some dancing lessons with me later in the week, a bitta the 'ol salsa? (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 82.117 CONTINUED: (2) 117 STELLA (she smiles) I'll take you up on that. ONE TWO I got something for you. Thought you might like it, seeing as you like paintings and all. (he motions) There, it's on floor. Leant up against the wall is the lucky painting, she stops and looks at it, the camera slowly creeps into her face. We observe One Two looking for a reaction. ONE TWO (CONT'D) Like it? STELLA You have very good taste,...Mr One Two. She picks up the painting and turns smiling. STELLA (CONT'D) Good bye. With that she is off and out the door. One Two grabs the 70s retro headphones above his head and slaps them on his ears. He presses the remote control and the music kicks in.118 EXT. CRACK HOUSE 118 Mickey and Roman approach the crack house door and flick up the letter box. They see a string hanging, they pull it and down comes a key.119 INT. CRACK HOUSE 119 Roman and Mickey walk in to see Johnny slouched and watching TV, more silly cartoons. He's got his top off and he's smoking a ciggy. His feet are resting on an old chair and Pete is asleep next to him. Johnny hardly moves. ROMAN So why did you call Johnny? JOHNNY STORY Sorry, Johnny's not home right now, but the pipe is and the pipe says that Johnny heard you were getting in trouble boys. Roman gives a slight roll of the eyes. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 83.119 CONTINUED: 119 ROMAN Look, whoever I am talking to please relay the message to Johnny. His Dad, his jack in the box surprise gangster Daddy, paid us a visit. Shut down a few of our venues and he intends to shut down a few more unless Mr Story puts in an appearance. JOHNNY STORY Why are you talking to a pipe Roman? You're madder than I am. MICKEY Come back Johnny, come back home. JOHNNY STORY But home is where your head is and I don't feel at home in my head. (beat) Come back Johnny! Johnny smiles and pulls out a gun from under his arse. He points it at Roman, waits until he knows they feel it and pulls the trigger. It's a lighter. He relights his splif, hot hash dropping on his chest, he ignores it. JOHNNY STORY (CONT'D) I bet our Lenny gave you the "I'm his old man" speech didn't he? (impersonating Lenny) I've seen jelly fish with closer DNA than that slag. Now Johnny will come quietly, but you might have a couple of problems with the pipe. (he sighs) Come on boys, buy us both a cup of tea. No need for any noise, let Pete sleep on.120 INT. ONE TWO'S HOUSE 120 One Two has still got the headphones on, his eyes shut and he's tapping his knees. All of a sudden the music stops coming out of the headset and is now filling the room, someone else is here.121 INT. URI'S OFFICE - FLASHBACK 121 WE CUT BACK to an earlier scene that we weren't a part of until now. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 83A.121 CONTINUED: 121 Victor is talking to a man, we can't see who it is. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 84.121 CONTINUED: (2) 121 VICTOR Uri is a man born with nothing, carved his way up the hard way, he's smart, young and only one thing will stop him from reaching his goals,...women. And this woman has become a problem. (pause) My job is to protect Uri and in this department he needs protecting, I don't like her or trust her and I want you to follow that snake. We reveal it's CHECHNYAN 1 our war criminal who is looking battered from the beating the day before. CHECHNYAN 1 Leave it with me Victor.122 EXT. RESTAURANT - FLASH BACK 122 We go back to the scene at the restaurant from a different perspective. The two CHECHNYAN'S see One Two and Handsome Bob walk out of the restaurant, they two look at one another, their brows steel.123 INT. ONE TWO'S HOUSE 123 CUT BACK to present with the music being cut off from One Two's head phones. He opens his eyes, on his throat lies a very long and sharp knife. The two CHECHNYANS have entered the room and pulled the wire out of the machine. CHECHNYAN 1 is sitting on a chair next to One Two, he's the one with the blade. He smiles, One Two doesn't.124 EXT. ONE TWO'S HOUSE 124 Archy approaches the door with Danny behind, he pushes it, it opens. Concerned, he pulls out a shooter, so does Danny, they go in.125 INT. ONE TWO'S HOUSE 125 The music is very loud, it's Russian. Archy and Danny make their way to it's source, up the stairs, to the bedroom door. The base thumps out. Archy tries the handle, it turns, he pushes the door open slowly. The music becomes clear as we reveal a horrible scene. Archy is shocked, but a little amused. Tied to the bed, back to front with a pillow over his head is One Two. A large blade is resting on his back, a bottle of vodka is open on the side, One Two cries and wriggles uselessly. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 84A.125 CONTINUED: 125 On the floor facing the other direction is our pretty much naked Chechnyan doing a traditional Chechnyan dance, which involves lots of extended leg action. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 85.125 CONTINUED: (2) 125 He is wearing military speedos and fuck all else apart from his military hat. He is "having much fun." His massive frame is still black and blue from the beating One Two previously inflicted. The other Chechnyan (similarly dressed), is digging into his bag of tools, extracting all sorts of horrible looking things. Archy looks on amazed by the show, he has a quick look at Danny who is also bemused. He hits the "off" button, the Chechnyans spin, looking distressed. Silence ensues. ARCHY Is this a bad time One Two? ONE TWO (unable to say anything) Emmm, emmmmmmmmmmmm. ARCHY Shall we come back later? ONE TWO (still unable to say anything) Emmmmmmmmmmmmmmmmmmmmm. The Chechnyans make a quick move, their last ever. We hear FOUR shots ring out quickly.126 EXT. ONE TWO'S HOUSE 126 Handsome Bob and Mumbles pull up and get out. Handsome Bob puts the paper work in his top pocket and bangs on the front door.127 INT. ONE TWO'S HOUSE 127 One Two is being wrapped up in a carpet on the floor. He's still emmmmmmmmming and wriggling. We hear Handsome Bob and Mumbles at the front. MUMBLES (V.O.) One Two, it's us. Archy pays no attention to the door yet, he is on the phone to Lenny. LENNY COLE (V.O.) Bring 'em to the warehouse and don't hurt 'em until I've spoken to 'em, all right? ARCHY All right Lenny, I got a call waiting here, I'll see ya at the show. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 85A.127 CONTINUED: 127 Archy presses his phone to take the other call. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 86.127 CONTINUED: (2) 127 ARCHY (CONT'D) Hello?128 INT. CRACK HOUSE 128 Roman and Mickey are still here with Johnny. Roman speaks. ROMAN Archy?129 EXT. ETON POSH SCHOOL - WE FLASHBACK TEN YEARS 129 Archy leans against a ROLLSROYCE with another HEAVY. Young Johnny walks up, he's wearing tales and a bow tie, he's with two of his toffy school FRIENDS. JOHNNY STORY Hello Archy. ARCHY Johnny, you do look the part. JOHNNY STORY Show us your guns Uncle Arch, I told the boys all about it. ARCHY Shut up and get in the car. Archy throws Johnny a packet of rolos and turns to get in the car. As he turns, Johnny lifts up the back of his sports jacket and steals his gun. The two FRIENDS are in shock, needless to say so is Archy. Johnny holds it on his two friends. JOHNNY STORY Give us your money boys. Archy grabs the gun and hits Johnny on the back of the head, not too hard. ARCHY You little swine,... now get in the car. Archy puts the gun away and looks at the two shocked school friends. He gently slaps them on the cheek in an intimidating way and gives them a tener. ARCHY (CONT'D) Be good boys, you never know who's watching. ROCKNROLLA PINK Revision - 6-20-07 86A.130 EXT. WAREHOUSE - BACK TO PRESENT 130 Bandy, who is pushing Lenny stops at the bottom of the stairs. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 87.130 CONTINUED: 130 BANDY You wanna take the stairs or the elevator Mr Cole? Lenny's in a wheelchair, he looks at Bandy. LENNY COLE Come here Bandy. Bandy comes near, Lenny takes a sniff. LENNY COLE (CONT'D) You been drinking again? BANDY No,....Mr Cole. Lenny slaps him. LENNY COLE Think before you drink and before you drive me mad Bandy. Bandy goes back to his position of pushing the boss towards the elevator.131 EXT. WAREHOUSE 131 Johnny, Roman and Mickey walk toward the entrance. JOHNNY STORY Don't worry boys, nothing to be nervous about, some of my Dad's best friends ended up here. Archy arrives with a couple of old carpets, One Two, Mumbles and Handsome Bob are wrapped inside. JOHNNY STORY (CONT'D) Hello Arch, wrapped up in a carpet just like the old days? (beat) What is it today? The rack? The garotte? Or is it the old cray fish trap? ARCHY Still full of hot air Johnny. They walk inside the warehouse doors, Danny follows with the carpets. ROCKNROLLA PINK Revision - 6-20-07 87A.132 INT. WAREHOUSE 132 They all make their way to the elevator. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 88.132 CONTINUED: 132 JOHNNY STORY You're looking a bit down, has that old clown been working you long hours? (beat) You always were loyal - no dog like a loyal dog. ARCHY Watch your mouth John. JOHNNY STORY (feigning fear) Don't hit me Archy, I'm a singer not a fighter. (back to normal) I've just the remedy for you, a story, a Johnny Story and it's all about you. Archy presses a button to call the elevator. They wait. ARCHY I don't want to hear it. JOHNNY STORY Sorry, that's right get into character. (beat) Look at him boys, scary ain't he? Roman and Mickey don't like any of this. JOHNNY STORY (CONT'D) That's what four years inside does to a man, eats his soul and when it's all gone it makes a man quite scary. Ever wondered how you got there? Ever wondered what grass informed on you? The elevator arrives and they all pile in, including the rugs with One Two, Mumbles and Handsome Bob.133 INT. WAREHOUSE ELEVATOR - CONT. 133 A noise comes from one of the carpets. JOHNNY STORY So who we got in there? Anyone I know? Anyone famous? That's right it's only a job, isn't it? Just being loyal, just following orders. (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 88A.133 CONTINUED: 133 JOHNNY STORY (CONT'D) (Johnny salutes) I bet you can operate a nice gas shower,..I can see you with a couple of S's on your collar and a stiff goose in your step. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 89.133 CONTINUED: (2) 133 Archy turns and slaps him the famous "Archy slap" it's nasty, Archy's getting wound up. ARCHY Shut it, otherwise you will get hurt. His face has been slapped into the direction of Roman and Mickey. Johnny keeps his head still,... JOHNNY STORY That, Roman and Mickey, is the famous Archy slap. I have been magically transported straight back to my childhood. He speaks next in a little boys voice, he's taking the piss. JOHNNY STORY (CONT'D) Don't turn Archy in, he's your friend, he's loyal, just like the dog. He changes to impersonate Lenny, its deep and over the top. JOHNNY STORY (CONT'D) Shut up boy, don't stick your nose where it don't belong otherwise I'll chop it off. (little boy voice) But you can't do it to Uncle Arch, I love him. (deep) Needs a little lesson though don't he? Left his station hasn't he? A little time inside to remember who the boss is. Archy straightens his tie to remain calm, but can't take it any longer. He picks Johnny up and slams him against the wall. ARCHY (shouting) Shut it, you hear me or I'll do ya myself, you poisonous little fucker! JOHNNY STORY (feigning fear) Don't hurt me Arch, I'm only little.134 EXT. ELEVATOR - CORRIDOR OF WAREHOUSE 134 The elevator door opens and we see skinny Johnny stuck up in the air held by Archy. Danny looks on a bit disturbed. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 90.134 CONTINUED: 134 DANNY Put him down Arch, he's only little. Archy drops him, his wires crossed. He needs a little time to think. Johnny is off out of the elevator walking away happy as a clam. Back to Archy in the elevator. DANNY (CONT'D) You all right? You look a little green. ARCHY (back to business) Fine, roll out the carpets.135 INT. WAREHOUSE 135 Johnny comes bowling in like a 'rocknrolla' coming on to stage. He spots Lenny. JOHNNY STORY Sidney! Nice wheels. Archy comes in with Danny and the carpets, Handsome Bob hears this, is Lenny Cole the Sidney Shaw? JOHNNY STORY (CONT'D) Sorry about the painting, needed the cash for a little bit of the old "dusty show bizzzzzzzz." (beat) So, it's gone now, lost in the world of degenerate and stoned no hopers, never to be seen again by the eye of a clean soul. There is a pause while Lenny considers just shooting him. He changes his tone, he gets serious and slow. LENNY COLE Tell me, what are you boy if you are not poison? Look what you've left behind you. Your Dad couldn't even bear the sight ya, no wonder he fucked off and left me to pick up the pieces, but that wasn't enough for you was it? No, had to drive your mum into a bottle of pills and house full of nutters. All she got then was a hot bath a ice cold razor, why? (beat) Cos your poison Johnny, that's why. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 91.135 CONTINUED: 135 JOHNNY STORY What can I say,... (pause) I'm a junkie, crack head, no gooder, should never have wasted your money on that school. LENNY COLE Archy get him out of here. ARCHY I've had enough of him, I don't trust myself. (beat) Use someone else. Johnny grabs the back of Lenny's chair and pushes him around like he's a two year old, Lenny feels a right twit. One Two, Handsome Bob, and Mumbles observe. JOHNNY STORY It's a gathering, I love a gathering look, Mumbles, One Two, Handsome Bob all the old faces today. (beat) It's all going so well apart from Archy who's ruining the day. I tried to cheer him up with that story about how you grassed him u,... BANG! Lenny shoots Johnny in the hip with a gun he has kept hidden. Everybody is shocked, Danny jumps back in horror that was pretty close. ROMAN Whooooa,... ARCHY All right calm down, give me that, I'll take care of him. Danny moves in to take the gun from Lenny. Johnny speaks in pain, but still chipper. JOHNNY STORY That wasn't one of your better shots was it now Daddy. If you want to shut me up it should have been a bit higher. Lenny looks up to Danny. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 91A.135 CONTINUED: (2) 135 LENNY COLE (quietly) Danny come here, I want him taken care of, you hear? Now get him out. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 92.135 CONTINUED: (3) 135 Danny takes Roman, Mickey and Johnny out towards the elevator. LENNY COLE (CONT'D) You don't know how much trouble you have caused me so please understand that I will kill you very slowly if you do not tell me where my money is. HANDSOME BOB The address is in my top pocket. Here, Archy,...you know I wouldn't mess you around. Lenny is out of reach of them, Archy can tell Handsome Bob is implying something. HANDSOME BOB (CONT'D) Take it Arch. Archy leans forward to take it, Lenny interrupts wheeling himself over. LENNY COLE Let me have a look first. He takes the letters out of Handsome Bob's top pocket and opens them up. He squints, the print is too small he can't read what it says. ARCHY Here you can't read it without your glasses, let me have a look. Lenny looks uncomfortable, Archy almost snatches the letters and flicks through the pages. He reads to himself, could it be true? Could Lenny be the informer sending everyone around him down? LENNY COLE What does it say? Hurry,...136 INT. ELEVATOR 136 Mickey and Roman are holding Johnny up, he's bleeding all over the place. Danny is facing front while another MAN is keeping an eye on them. We SEE, but the other's don't, Danny is slowly screwing on a silencer. JOHNNY STORY Don't worry just yet fellas, nothing's going to happen while we're standing in the elevator because they don't (MORE) (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 92A.136 CONTINUED: 136 JOHNNY STORY (CONT'D) want to have to drag the three corpses across to the cars that would be hard work. (MORE) (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 93.136 CONTINUED: (2) 136 JOHNNY STORY (CONT'D) In about two minutes from now, when we're all driving along happily,... WE FLASH FORWARD TO AN IMAGINARY SCENE - JOHNNY'S V.O. IS ACTED OUT.137 INT. CAR - FLASH FORWARD 137 JOHNNY STORY (V.O.) Danny boy is going to turn around and "pop me" two in the head and one in throat just to make sure. (beat) And then, since Danny is obviously going to kill you two as well,... WE SEE the imaginary shots from Danny's gun go off on Mickey and Roman.138 INT. WAREHOUSE 138 We cut back to the scene upstairs. ARCHY You wanna know what this says Len? (beat) Funny thing with the law, it can be quite flexible. Every time an informer finds himself in front of a judge,...139 INT. COURT ROOM 139 We see Archy's story acted out in the full court room, Law and Order style. The judge and lawyer act out Archy's words. JUDGE A secret letter stands witness as to the cooperation and efficiency of that informer. LAWYER An accurate record of his treachery will be brought in to protect the informer,...140 INT. WAREHOUSE 140 Back to our present scene. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 93A.140 CONTINUED: 140 ARCHY If the informer has provided adequate information, that dog of dogs will be magically released,... ROCKNROLLA WHITE Revision - 6-6-07 94.141 INT. COURT ROOM 141 Back to our acted out scene. JUDGE A sort of, "get out of jail free" card, but this comes along with the trail of a good alibi.142 INT. WAREHOUSE 142 Archy turns the pages of the letter. WE SEE different JUDGES giving different sentences to different FACES, some of these faces we know, one of them is Fred the Head, Handsome Bob and one of them is ARCHY.143 INT. COURT ROOM 143 Still being acted out, in Law and Order style. LAWYER The only evidence that will ever remain of this deal is that form of a very exclusive and hard to come by legal document called a "secret debt"...144 INT. WAREHOUSE 144 Back to our present scene. ARCHY As in deputation,... (beat) The likes of which I hold for the very first time in my hand. (beat) Of course they use a false name and I have seen that name many times in the last twenty years, always did wonder who Sidney Shaw was,...145 INT. LENNYS OFFICE - FLASHBACK 145 FLASHBACK twenty years ago, Archy picking up papers on Lenny's desk and turns to him. ARCHY Who's this Sidney Shaw Len? LENNY COLE (bothered) Give us that here. ROCKNROLLA PINK Revision - 6-20-07 94A.146 INT. WAREHOUSE 146 Lenny has gone white. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 95.146 CONTINUED: 146 LENNY COLE No, I am being set up. ARCHY You're a dirty bastard Sidney, a very dirty bastard. Archy grabs the belt that's used to tie up drowning victims, he throws it round Lenny's chair and stuffs a bit of cloth into Lenny's wide open mouth. ARCHY (CONT'D) (to One Two, Handsome Bob and Mumbles) You three, cut yourself free and get out of here,... Archy throws a knife across to Mumbles who just catches it and starts to cut his way out of the ropes. Archy gets back on with the job at hand. He reads through the names Lenny has grassed on over the years. ARCHY (CONT'D) Michael Finny, ten years. Frazier Nash, fifteen years. Cousin Ronnie, six years,..you dirty bastard. (beat) Michael Dexter, eight years. Archy grabs the winch that lowers victims to their crayfish death and bangs it on to the back of the wheel chair. He presses the start button and the wheelchair is raised with haste. ARCHY (CONT'D) The Jew twins, fourteen years and of course ME, Archy, four years. One Two, Mumbles, and Handsome Bob are free. ONE TWO See ya Arch,.... The three of them are out like rats up ropes, they start to run down the stairs.147 INT. ELEVATOR 147 We pick up where we left off with this group. JOHNNY Shouldn't have brought me here fellas, you're just going to end up as witnesses. (CONTINUED) ROCKNROLLA PINK Revision - 6-20-07 95A.147 CONTINUED: 147 We continue with his description of what is going to happen. ROCKNROLLA WHITE Revision - 6-6-07 96.148 INT. CAR - FLASH FORWARD 148 JOHNNY After they have "dealt" with us, they're gonna put all three of us in the trunk of a stolen car,...149 INT. TRUNK OF STOLEN CAR - FLASH FORWARD 149 We see six gallons of petrol in the trunk of the car in our imaginary scene. JOHNNY And pour six gallons of petrol on top, I can let your imagination fill in the rest.150 INT. ELEVATOR 150 Back to present. JOHNNY But now Danny's rattled, he won't be able to wait because you now know what's coming, so he's gonna fire. Danny, who is now in a state because Johnny has predicted everything he's going to do, suddenly turns with his gun. Mickey catches it, the force of the stop pulls the trigger, and the other MANS head is drilled through. Roman joins the wrestling match and gets the gun and wrist to aim at Danny's head. The trigger gets squeezed and Danny's head also gets a drilling. Silence. Johnny, who is smothered in blood, speaks coolly. JOHNNY STORY Mickey, pass me the gun. Mickey is out to lunch, but Johnny sounds commanding. JOHNNY STORY (CONT'D) MICKEY quickly, pass me that gun in Dannys hand. Don't worry he can't defend himself he doesn't have a head, quickly now. Does this answer the question that you two so frequently asked as to why I sought refuge in the depths and perverse beauty of the crack pipe? The elevator door opens. ROCKNROLLA PINK Revision - 6-20-07 96A.151 EXT. ELEVATOR 151 There stands Bandy, his gun drawn. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 97.151 CONTINUED: 151 BANDY Get fucking down! He looks on in horror and points the gun at Johnny. Just as he's about to fire,..there is a great smash of bone on timber. Bandy falls to reveal One Two standing there with a large piece of timber. ONE TWO I think we should get out of here now, don't you John? At which point in the background WE SEE Lenny being lowered to his demise. He looks at the group in horror as he is quickly lowered to his death by drowning and cray fish. FADE OUT.152 INT. URI'S CAR 152 VICTOR I don't like it Uri, I don't trust her. I put two of my people on her and they haven't come back. Very insulted. URI You what? I did not tell you to do this. If I had wanted her spied on I would have asked for it, wouldn't I? VICTOR Yes Uri, you would have, but I still don't like it. URI I don't care what you like Victor, I am in charge, now wait here. He gets out and walks to the door.153 EXT. STELLA'S HOUSE 153 She answers the door - she is surprised. URI Can I come in? ROCKNROLLA PINK Revision - 6-20-07 97A.154 INT. STELLA'S HOUSE 154 URI Sorry to surprise you, but I have something for you, a token of my appreciation. He hands her a check. (CONTINUED) ROCKNROLLA WHITE Revision - 6-6-07 98.154 CONTINUED: 154 STELLA What is this for? URI Please do not be insulted, you have come to mean a lot to me and I value you much more than just your services. (pause) This is simply a reflection of my appreciation. (vulnerable he likes her) I would like to ask you something personal. His phone rings, he frowns slightly and answers it. URI (CONT'D) Not now Victor, I am busy. Uri turns. There, casually resting on the floor is his painting, his lucky painting. Uri's expression changes, his world has been shattered, he's thinking very ugly thoughts. He turns back to Stella, dead pan. URI (CONT'D) A very nice painting. How long have you had it? A little caught off guard. STELLA Years, it's my lucky painting,... it's very special isn't it? URI Beauty is a cruel mistress, is it not? Pause, she smiles. Uri talks back into the phone, the other darker Uri is now in charge. URI (CONT'D) Victor please, come to join us. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Rocky Horror Picture Show, The.txt b/unformated_scripts/Script_Rocky Horror Picture Show, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..73e068551a20ee5019bbd0157c0d4540d3eaebf3 --- /dev/null +++ b/unformated_scripts/Script_Rocky Horror Picture Show, The.txt @@ -0,0 +1 @@ + THE ROCKY HORROR PICTURE SHOW A SCREENPLAY BY JIM SHARMAN AND RICHARD O'BRIEN Adapted from "The Rocky Horror Show" a musical with Book, Music & Lyrics by Richard O'Brien -----1 THE FIRST IMAGE IS A SET OF RED VELVET CINEMA CURTAINS Soft Drum-Roll.2 THEY SPLIT OPTICALLY TO REVEAL THE DISTRIBUTION COMPANY LOGO. Fanfare.3 A SMALL WHITE SCREEN - ACADEMY SIZE - APPEARS IN THE MIDDLE OF THE WIDE-SCREEN FORMAT On the sides of the image are stationary sprocket holes of celluloid. SCIENCE FICTION DOUBLE FEATURE * Musical Introduction. Film head runs down numbers: 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, START. Very scratched. During the SONG we see snatches of the films mentioned in SONG. They look old and scratched and they are INTERCUT with flashes of white screen, burnt celluloid, etc. SONG: "SCIENCE FICTION DOUBLE FEATURE"4 THE DAY THE EARTH STOOD STILL - THE END SEQUENCE OF THE ROBOT CARRYING THE HERO VOICE OVER Michael Rennie was ill. The day the earth stood still But he told us where we stand WIPE TO5 FLASH GORDON - BUSTER CRABBE IN ACTION VOICE OVER (Cont) And Flash Gordon was there In silver underwear. WIPE TO6 THE INVISIBLE MAN - CLAUDE RAINS IN BANDAGES AND DARK GLASSES VOICE OVER (Cont) Claude Rains was the invisible man. WIPE TO7 KING KONG - EMPIRE STATE BUILDING SEQUENCE WITH FAY WRAY VOICE OVER (Cont) Then something went wrong For Fay Wray and King Kong They got caught in a celluloid jam WIPE TO8 IT CAME FROM OUTER SPACE - GEODESIC GLOBE ECLIPSING THE EARTH VOICE OVER (Cont) Then at a deadly pace It came from outer space And this is how the message ran WIPE TO9 TITLE SEQUENCE - CAST AND WRITING CREDITS CHORUS Science Fiction - double-feature Dr X will build a creature See Androids fighting Brad and Janet Anne Francis stars in Forbidden Planet Oh - at the late night, double-feature Picture Show. WIPE TO10 TARANTULA - THE MUTATION SEQUENCE VOICE OVER I knew Leo G. Carrol Was over a barrel When tarantula took to the hills WIPE TO11 THE DAY OF THE TRIFFIDS - FIGHT IN THE LIGHTHOUSE VOICE OVER (Cont) And I really got hot When I saw Jeanette Scott Fight a Triffid that spits poison and kills WIPE TO12 THE NIGHT OF THE DEMON - SEQUENCE OF "RUNIC WRITING", FLYING INTO THE FIRE VOICE OVER (Cont) Dana Andrews said prunes Gave him the runes And passing them used lots of skills. WIPE TO13 WHEN WORLDS COLLIDE - ROCKET INVASION SEQUENCE VOICE OVER (Cont) And when worlds collide Said George Pal to his bride I'm going to give you some terrible trills Like a - WIPE TO14 TITLE CONTINUED - TECHNICAL AND PRODUCTION CREDITS CHORUS Science Fiction - double-feature Dr X will build a creature See Androids fighting Brad and Janet Anne Francis stars in Forbidden Planet Oh - at the late-night, double-feature Picture Show By RKO O- Oh At the late-night, double-feature Picture Show In the back row At the late-night, double-feature Picture Show I want to go. DISSOLVE TO15 EXT. A STILL FRAME OF A DENTON CATHOLIC CHURCH DAY CHORUS (Cont) To the late night double feature Picture Show. The SONG ends with church bells ringing joyously as the IMAGE EXPANDS TO WIDE-SCREEN. The STILL FRAME bursts to life as the doors of the Denton Catholic Church are flung open and Mendelssohn's wedding march resounds from the church organ. The young married couple, RALPH and BETTY HAPSCHATT appear followed by a crowd of friends and well-wishers throwing confetti and shouting excitedly. The MINISTER shakes RALPH by the hand while RALPH slips him a $20 bill. PHOTOGRAPHERS take pictures. BRAD MAJORS, a young slightly awkward, clean-cut American in his mid- twenties, comes over the congratulate RALPH. BRAD and RALPH shake hands. RALPH Well Brad, I guess we made it huh! BRAD Well I don't think there was any doubt about that - You and Betty have been almost inseparable ever since you sat in on Dr Scott's refresher lectures. RALPH Tell you the truth Brad, she was the only reason I came in the first place. Science was never one of my favourite subjects but I sure with Dr Scott could have made it today. BRAD Yes, Janet and I are both fond of him. We drove over to see him last vacation. It's a shame his new job took him away from Denton. BETTY, the bride, throws the bouquet. JANET catches it. She squeals with delight. The GUESTS cheer. RALPH Hey fella. It looks like it could be your turn next. BRAD Who knows...ha ha. RALPH & BETTY drive off. GUESTS wave and shout, BRAD & JANET with great enthusiasm. GUESTS begin to disperse. JANET & BRAD linger outside the church. So do a strange FAMILY : An old man with a pitchfork and his wife and daughter. They resemble the Quaker family in "American Gothic", a painting. The MOTHER (MAGENTA) and FATHER (RIFF RAFF) stand outside the church doors. Their DAUGHTER (COLUMBIA) goes inside. The FAMILY, and the MINISTER (FRANK N. FURTER), and the GUESTS all resemble characters we shall meet later at the Frank N. Furter place. JANET (who is holding the bouquet) Oh Brad, wasn't it wonderful. Didn't Betty look radiantly beautiful. Just an hour ago she was plain old Betty Monroe. Now she's Mrs. Ralph Hapschatt. BRAD (Still looking after the car) Er...yes, Janet.......Ralph's a lucky guy. (They start to move d.s.) JANET Yes. BRAD Everyone knows Betty's a wonderful little cook. JANET Yes. BRAD And Ralph himself will be in line for promotion in a year or so. JANET Yes. FIRST CHORD OF "WEDDING SONG"16 EXT. CHURCH DAY "WEDDING SONG" (Silent playback for dialogue) With great decision BRAD turns on JANET BRAD (spoken) Hey Janet. JANET Yes Brad. BRAD I've got something to say. JANET Uh huh. BRAD I really loved the skilful way You beat the other girls To the bride's bouquet. JANET Oh Brad. (Singing begins) BRAD The river was deep but I swam it. FAMILY (Riff & Magenta) Janet. BRAD The future is ours so let's plan it. FAMILY (R & M) Janet. BRAD So please don't tell me to can it. FAMILY (R & M) Janet. BRAD I've one thing to say and that's Dammit, Janet. I love you. The road was long but I ran it. (He runs backwards towards church doors) FAMILY (Riff and Magenta) Janet. BRAD (Climbing onto fence) There's a fire in my heart And you fan it. (Jumps off) FAMILY (Riff and Magenta) Janet. BRAD If there's one fool for you Then I am it. FAMILY (Riff and Magenta) Janet. BRAD (Getting chalk from pocket) I've one thing to say and that's, Dammit, Janet. He chalks a heart and arrow on the church door, which Riff Raff proceeds to wipe off. BRAD I love you. JANET runs to him, he kneels and produces a ring. BRAD Here's a ring to prove that I'm not joker. CHURCH BELLS Peal out. RIFF & MAGENTA open doors and solemnly enter the church, door closes behind them. BRAD There's three ways that love can grow. That's good bad or mediocre. JANET grabs the ring as BRAD rises. She throws down the bouquet and would fall into BRAD's arms but he goes to the door to chalk on it again. BRAD Oh - J - A - N - E - T I love you so. JANET, transfixed, bursts into the church.17 INT. CHURCH DAY "WEDDING SONG" Pt. 2 JANET bursts into the church, hypnotised by the ring. BRAD follows her. JANET Oh!......It's nicer than Betty Munroe had MAGENTA (Peering up from behind pew) Oh Brad. JANET Now we're engaged and I'm so glad. MAGENTA & COLUMBIA Oh Brad. (Both peer up and disappear) JANET That you met Mom And you know Dad. WHOLE FAMILY Oh Brad. (peering up together) JANET (Taking his arm) I've one thing to say And that's, Brad I'm mad, For you too. BRAD & JANET start to walk d.s., arm in arm. the strange FAMILY march slowly across them l/r., in front. JANET (Laying head on Brad's sh.) Oh, Brad. BRAD Oh Dammit. JANET (Caresses his cheek) I'm mad..... BRAD Oh Janet JANET For you. BRAD (briefly kisses her) I love you too-oo-oo. BRAD takes JANET's hands, turning to her. We are aware of THE FAMILY bringing in coffin in b.g. through vestry door. BRAD & JANET There's one thing left to do-ah-ooh (They separate) BRAD And that's go see the man Who began it FAMILY (Carrying coffin) Janet. BRAD When we met in his science exam It - THE FAMILY move into position behind BRAD & JANET FAMILY Janet. BRAD Made me give you the eye And then panic, FAMILY Janet FAMILY lower coffin onto floor. BRAD I've got one thing to say, and that's Dammit, Janet. I love you. JANET runs to BRAD and he hugs her. BRAD (Circling Janet) Dammit, Janet. JANET circles BRAD twice, admiring her ring on the way. JANET Oh Brad, I'm mad. BRAD Dammit, Janet. BRAD & JANET kneel together with each following word until they are kneeling on the floor) BRAD, JANET, FAMILY. I love you. BRAD & JANET kiss. The cross above spits optically.18 INT. A STUDY NIGHT Mahogany bookcases, a large desk with a prominent globe of the world. A well-padded armchair has its back to the camera. It swings around revealing the NARRATOR. He is in his smoking jacket. He speaks directly to us. NARRATOR I would like if I may to take you on a strange journey. He crosses to the bookshelf. He selects a dossier. We see the title: "The Denton Affair". He returns to his desk and places it on a bookstand. He puts on his reading glasses. NARRATOR It seemed a fairly ordinary night when Brad Majors and his fiancee Janet Weiss (two young ordinary healthy kids) left Denton that late November evening to visit Dr Everett Scott, ex. tutor and now friend of both of them. It's true there were dark storm clouds, heavy, black and pendulous, toward which they were driving. It's true also that the spare tyre they were carrying was badly in need of some air. But they being normal kids and on a night out, well they were not going to let a storm spoil the events of their evening. On a night out. He closes the book marking the place. Thunder is heard distantly on the sound track. NARRATOR It was a night out they were going to remember for a very long time. Lighting cracks on the sound track. WIPE TO19 EXT. NIGHT A windscreen wiper working under strain. Torrential rain on the windscreen. BRAD concentrating on visibility. JANET eating chocolates and listening to the car radio playing an Orson Welles serial - The Shadow. A motorcycle roars past them. JANET Gosh. That's the third motorcyclist that's passed us. They certainly take their lives in their hands. What with the weather and all. BRAD Yes, Janet. Life's pretty cheap to that type. JANET takes another stick of gum. Offers BRAD some. He declines. The car slows to a halt. JANET What's the matter Brad, darling? Headlights on sign reading: "DEAD END". BRAD I think we took the wrong fork a few miles back. JANET Oh dear! But then where did the motorcyclists come from? BRAD Hmmm ... Well, I guess we will have to turn back. CUT TO20 EXT. ROAD NIGHT Car reverses. BRAD puts his foot on the accelerator. The wheel skids and explodes. CUT TO21 INT. CAR NIGHT JANET What was that bang? BRAD We must have a blow-out. JANET Oh... Pause CUT TO22 EXT. ROAD NIGHT A bolt of lighting strikes a tree. CUT TO23 INT. CAR NIGHT BRAD You'd better sit here and keep warm while I go for help. JANET But where will you go? We're in the middle of nowhere. BRAD Didn't we pass a castle back down the road a few miles? Maybe they have a telephone I might use. He unbuckles his seatbelt. JANET I'm coming with you. BRAD There's no point both of us getting wet. JANET I'm coming with you. (she unbuckles her seatbelt) Besides, darling, the owner of the phone might be a beautiful woman and you may never come back. BRAD laughs. A thunderclap. MUSIC commences and she alights from the car and follows him, newspaper over her head. CUT TO24 EXT. ROAD NIGHT SONG: "OVER AT THE FRANKENSTEIN PLACE" The rain pours off the newspaper down JANET's face. She walks along, catching up with BRAD. She sing plaintively. JANET In the velvet darkness Of the blackest night Burning bright. We see the two of them - BRAD striding ahead, JANET nearly catching up with him. Behind them on the side of the road, sparse trees and rock formations. JANET There's a guiding star No matter what or who you are. They have passed a row of trees. A rock formation in the shape of a castle is silhouetted against the sky. It has a flag flying from the turret. Lightning strikes. A glow of light appears in a window. It illuminates a path to the castle. BRAD and JANET turn. The castle is in the distance between the two of them. BRAD & JANET There's a light The castle looms in the distance. PHANTOM VOICES Over at the Frankenstein place. BRAD stares hard. BRAD There's a light. The castle looms closer. PHANTOM VOICES Burning in the fireplace. JANET (looks to Brad) There's a light, a light In the darkness of everybody's life Taking JANET by the hand, BRAD moves off the roadway towards the house. BRAD I can see the flag fly I can see the rain Just the same There has got to be Something better here For you and me. Lighting strikes. JANET jumps towards BRAD. BRAD & JANET There's a light. The castle seems to move forward. PHANTOM VOICES Burning in the fireplace. BRAD There's a light. CUT TO25 EXT. CASTLE DRIVEWAY NIGHT A motorcycle convoy roars by revealing a hidden road to the castle. BRAD A light In the darkness of everybody's life. The convoy drives up and disappears into a secret entrance in the rock. CUT TO26 EXT. CASTLE FACADE NIGHT We see a cell-like window near a massive lighted window. A tortured face appears squinting into the darkness. RIFF RAFF The darkness must go Down the river of nights dreaming Flow morphia slow Let the sun and light come streaming Into my life. CUT TO27 EXT. SKY NIGHT Lightning strikes. CUT TO28 CASTLE FACADE NIGHT RIFF RAFF moves to the lighted window where his hunchbacked shape becomes a giant shadow. RIFF RAFF Into my life. CUT TO29 EXT. CASTLE DRIVE NIGHT BRAD and JANET start moving down the driveway. BRAD & JANET There's a light. CUT TO30 CASTLE FACADE NIGHT Shadow turns in the window. PHANTOM VOICES Over at the Frankenstein place. CUT TO31 EXT. CASTLE DRIVE NIGHT BRAD and JANET approach the gateway to the castle. BRAD & JANET There's a light. CUT TO32 CASTLE FACADE NIGHT The shadow slowly covers the whole window. PHANTOM VOICES Burning in the fireplace. CUT TO33 EXT. CASTLE DRIVE NIGHT PHANTOM VOICES There's a light, a light. BRAD and JANET are at the gate. There is a rusted sign. BRAD & JANET In the darkness of everybody's life. A bolt of lighting illuminates the sign which reads: FRANK N. FURTER - SCIENTIST. WIPE TO34 INT. STUDY NIGHT The NARRATOR is in his armchair. He leans forward with some urgency. NARRATOR And so it seemed that fortune had smiled on Brad and Janet and that they had found the assistance that their plight required - or had they? Thunderclap. WIPE TO35 EXT. FRONT DOOR OF THE CASTLE NIGHT BRAD rings the doorbell. It makes a strange sound. JANET Oh, Brad. Let's go back. I'm cold and I'm frightened. BRAD Just a moment, Janet. They may have a telephone. The door opens. Throbbing music is heard in the background as if there is a party going on in the distance. The figure we have seen at the window emerges. He is a hunch-backed servant, RIFF RAFF. RIFF RAFF Hello. BRAD Uh - oh - Hi! My name is Brad Majors. And this is my fiancee, Janet Weiss. I - ah - wondered if you could help us. Our car has broken down about two miles up the road. Do you have a phone we might use? RIFF RAFF You're wet. JANET Yes, the rain has been very heavy. BRAD Yes. RIFF RAFF Yes.36 EXT. CASTLE NIGHT A bolt of lighting illuminates a row of vehicles parked by the castle.37 EXT. FRONT DOOR OF CASTLE NIGHT BRAD sees them and reacts with surprise. RIFF RAFF realises BRAD has seen them. RIFF RAFF I think you had better both come inside. JANET You're too kind. They enter apprehensively. DISSOLVE38 INT. STAIRWAY NIGHT RIFF RAFF leads them down a stairway and beckons them to follow. The MUSIC has become louder. JANET (sotto voce) Oh Brad, I'm frightened. What kind of place is this? BRAD (sotto voce) Oh, it's probably some kind of hunting lodge for rich weirdos. CUT TO39 INT. HALLWAY NIGHT They arrive at a hallway at the bottom of the stairs. Another servant, MAGENTA, who bears a striking physical resemblance to RIFF RAFF is vacuuming the stairs. RIFF RAFF This way. JANET steps over the vacuum lead. JANET Are you - giving a party? RIFF RAFF No. You've arrived on a rather special night. It's one of the master's affairs. JANET Oh, lucky him. MAGENTA He's lucky. BRAD and JANET look at MAGENTA, surprised by her voice. MAGENTA You're lucky, I'm lucky, we're all lucky.40 SONG: "THE TIME WARP" BRAD and JANET are rather unnerved by this outburst from the domestic. They look back to RIFF RAFF. He is now standing by a set of mirrors reflecting to infinity. RIFF RAFF It's astounding Time is fleeting Madness takes its toll But listen closely Not for very much longer I've got to keep control. MAGENTA gives RIFF RAFF a strange signal. RIFF RAFF starts to dance in an extraordinary fashion. RIFF RAFF I remember doing the Time Warp. BRAD and JANET are amazed. RIFF RAFF Drinking those moments when The blackness would hit me. MAGENTA half closes her eyes in pleasure. JANET clings to BRAD. RIFF RAFF And the void would be calling. RIFF RAFF opens a set of double doors marked BALLROOM.41 INT. BALLROOM NIGHT BRAD and JANET find themselves on a balcony of a huge black and silver ballroom. At the furthest end is a throne-like chair and, surrounding it, a theatre proscenium. In the body of the room are GUESTS. They are the people BRAD and JANET passed on the road. They are the Transylvanian Secret Agents - assembled on this special occasion from all over the earth. It is the Annual Transylvanian Convention - announced by an official banner suspended over the Ballroom. They are all dressed in strange but elegant evening wear. They are a distorted version of the GUESTS from the Denton wedding. A party spirit prevails, they throw their arms out in a plea to RIFF RAFF on the balcony. GUESTS Let's do the Time Warp again. JANET falls into BRAD's arms. RIFF RAFF is ecstatic. BRAD revives JANET. GUESTS (repeating action) Let's do the Time Warp again. JANET faints again. CUT TO42 INT. STUDY NIGHT The NARRATOR moves from his desk to the wall behind him. He pulls down a chart with illustrated dance steps on it. He gestures to the appropriate section of the diagram with the pointer. NARRATOR It's just a jump to the left. WIPE TO43 INT. BALLROOM NIGHT The GUESTS leap to the left in one giant step. GUESTS (dancing) And a step to the right - right - right - right - right. WIPE TO44 INT. STUDY NIGHT NARRATOR points to next step on the chart. NARRATOR With your hands on your hips. WIPE TO45 INT. BALLROOM NIGHT ALL GUESTS have hands on hips. GUESTS You bring your knees in tight. But it's the pelvic thrust. The rows of GUESTS open out with pelvic thrusts. GUESTS (Cont) They really drive you insane. We see them from the balcony and they open out in formation. GUESTS (Cont) Let's do the Time Warp again. JANET revives. The GUESTS re-form. GUESTS Let's do the Time Warp again. BRAD and JANET make a run out the door. CUT TO46 INT. STAIRWAY NIGHT They collide with MAGENTA who has blocked off the corridor with her vacuum. She sings with menace, waving the cleaner hose dangerously. MAGENTA It's so dreamy Oh, fantasy free me So you can't see me No not at all. BRAD and JANET look at each other in alarm. In another dimension. (she forces them back towards balcony) With voyeuristic intention. BRAD blushes. Well secluded I see all With a bit of a mind flip You're into the time slip Nothing will ever seem the same. They are back at the balcony. You're spaced out on sensation. They are at the edge of the balcony. Like you're under sedation. They force BRAD and JANET into the Ballroom proper. The GUESTS turn on them. GUESTS Let's do the Time Warp again. BRAD and JANET are completely dismayed. GUESTS Let's do the Time Warp again. COLUMBIA, a young girl, is the household groupie. She sings with the band at the end of the Ballroom. CUT TO47 INT. BANDSTAND NIGHT COLUMBIA Well I was walking down the street Just having a think When a snake of a guy Gave me an evil wink. Well it shook me up It took me by surprise He had a pick-up truck And the devil's eyes He stared at me And I felt a change Time meant nothing Never would again. CUT TO48 INT. BALLROOM NIGHT GUESTS Let's do the Time Warp again. BRAD and JANET are reeling. GUESTS Let's do the Time Warp again. CUT TO49 INT. STUDY NIGHT NARRATOR. He has now become rather involved in the dance and is standing on the blotter on the top of his desk. NARRATOR It's just a jump to the left. He jumps to the left. WIPE TO50 INT. BALLROOM NIGHT GUESTS And then a step to the right. The GUESTS take one. WIPE TO51 INT. STUDY NIGHT The NARRATOR dancing on the desk. NARRATOR With your hands on your hips. WIPE TO52 INT. BALLROOM NIGHT GUESTS You bring your knees in tight. OVERHEAD TRAVELLING SHOT. But it's the pelvic thrust. LOW TRAVELLING SHOT between their legs. That really drives you insane. Let's do the Time Warp again. Everyone reverses direction. Let's do the Time Warp again. All the GUESTS fall to the floor like flies exhausted. CUT TO53 INT. BALCONY/HALLWAY NIGHT JANET Oh....Say something. BRAD Say! Do any of you guys know the Madison? No one laughs. GUESTS turn nasty.53A INT. HALL/LIFT NIGHT BRAD and JANET retreat to the hall. Behind them a lift slowly descends bearing a figure in a black cloak and a diamante stiletto heel - beating time to a rhythm the band has started playing. JANET Brad, please lets get out of here. BRAD For God's sake keep a grip on yourself Janet. JANET But it seems so unhealthy here. BRAD It's just a..a party Janet. JANET Well I want to leave. BRAD We can't go anywhere until I get to a phone. JANET Then ask the butler - or someone. BRAD Let's wait awhile Janet. We don't want to interfere with their celebrations. JANET This isn't the Junior Chamber of Commerce Brad. BRAD They're probably foreigners with ways different from our own. - They may do some more folk dancing. JANET Brad - I'm cold, I'm wet, and plain scared. BRAD I'm here, there's nothing to worry about. GUESTS rise, staring mesmerised at the lift. JANET sees the shoe, looks up at the face of its owner. JANET faints.--------------------------------------------GO TO COLOUR AT BEGINNING OF FOLLOWING SCENE--------------------------------------------54 INT. LIFT/HALL NIGHT The figure turns and throws open lift cage door. As camera zooms in to the death mask above them the film changes from black and white to colour. However the only colour in evidence is the red lipstick on the mouth of their host. SONG: "SWEET TRANSVESTITE" FRANK How do you do. I see you've met my faithful handyman. He's a little brought down - Because when you knocked He thought you were the candyman. RIFF RAFF scowls.54A INT. BALLROOM NIGHT FRANK Don't get strung out by the way that I look. FRANK strides across the Ballroom to the throne. FRANK Don't judge a book by its cover I'm not much of a man By the light of day But by night I'm one hell of a lover. JANET gives a silent scream. FRANK lets the cloak fall onto the throne, which reveals his transvestite attire. The GUESTS scream with delight. FRANK I'm just a sweet Transvestite From Transexual Transylvania. He slowly moves back to BRAD and JANET, doing leg kicks. Let me show you around, maybe play you a sound You look like you're both pretty groovie. He circles them and forces them into the Ballroom. Or if you want something visual not too abysmal We could take in an old Steve Reeves movie. BRAD clumsily attempts to circle around FRANK. FRANK meanwhile ignores him and greets his other guests. BRAD I'm glad we caught you at home Ah - could we use your phone We're both in a bit of a hurry. JANET joins BRAD. JANET Right! BRAD We'll just say where we are Then go back to the car We don't want to be any worry. FRANK turns on them. FRANK You got caught with a flat Well how about that Well babies don't you panic By the light of the night It'll seem alright I'll get you a satanic mechanic. FRANK turns his back on BRAD and JANET and splitting the ranks of his GUESTS, departs for the other end of the Ballroom. Streamers fall. FRANK I'm just a sweet transvestite From Transexual Transylvania. From the throne he gestures towards BRAD and JANET rather slowly over the next verse. FRANK Why dont'cha stay for the night RIFF & MAGENTA "night" Or maybe a bite RIFF & MAGENTA "bite" I could show you my favourite obsession I've been making a man With blonde hair and a tan And he's good for relieving my tension. We view from OVERHEAD as the GUESTS surround him adoringly. FRANK I'm just a sweet transvestite From Transexual Transylvania. FRANK storms down the Ballroom to the lift. I'm just a sweet transvestite. GUESTS "Sweet Transvestite" FRANK From Transexual Transylvania. GUESTS "Transylvania"55 INT. LIFT AREA FRANK So come up to the Lab. CUT TO56 CHORD: SUBLIMINAL FLASH - LABORATORY CUT TO57 INT. LIFT AREA FRANK (Cont) And see what's on the slab. CUT TO58 CHORD: SUBLIMINAL FLASH - ROCKY'S BIRTH IN THE LABORATORY CUT TO59 INT. LIFT AREA FRANK (Cont) I see you shiver with anticipation CUT TO60 CHORD: SUBLIMINAL FLASH OF LOVE MAKING CUT TO61 INT. LIFT AREA FRANK (Cont) But maybe the rain CUT TO62 CHORD: FLASH - THE CAR AND THE WINDSCREEN WIPERS CUT TO63 INT. LIFT AREA FRANK (Cont) Is really to blame CUT TO64 CHORD: SUBLIMINAL FLASH - THE WEDDING CUT TO65 INT. LIFT AREA FRANK (Cont) So I'll remove the cause But not the symptom CUT TO66 CHORD: SUBLIMINAL FLASH - THE EXPLOSION CUT TO67 INT. BALLROOM NIGHT On the last chord the lift has disappeared. The GUESTS applaud ecstatically. RIFF RAFF and MAGENTA close in on BRAD and JANET. They remove BRAD and JANET's wet clothes. COLUMBIA moves down from the bandstand and crosses to BRAD and JANET. She witnesses the undressing. COLUMBIA Slowly, slowly. It's too nice a job to rush. The GUESTS moan softly as each piece of clothing is removed. BRAD and JANET stand shivering in their underwear. There is complete silence. The GUESTS and SERVANTS are motionless. BRAD and JANET are the total object of their attention. CUT TO68 INT. HALL/LIFT NIGHT JANET Oh Brad. BRAD (confidentially) It's alright Janet, we'll play along for now and pull out the aces when the time is right. He turns to COLUMBIA who has been staring at his underpants. BRAD Ah, hi. My name is Brad Majors and this is my fiancee, Janet Weiss. You are ... COLUMBIA You are very lucky to be invited up to Frank's laboratory. Some people would give their right arm for the privilege. RIFF RAFF has opened the cage doors to the lift. The GUESTS rush for positions. BRAD People like you maybe COLUMBIA I've seen it. COLUMBIA escorts them to the lift. RIFF RAFF throws two GUESTS to the floor to make room for them. He slams the cage door. The two discarded GUESTS cry and claw at the cage door as the lift moves off under RIFF RAFF's control. BRAD and JANET are squashed, arms by their side. They stare straight ahead. JANET (to Magenta) It he - Frank - is he your husband? General amusement. RIFF RAFF The Master is not yet married. Nor do I think he ever will be. We are simply his servants. JANET Oh. The lift grinds to a halt. They have arrived at the laboratory. CUT TO69 INT. LABORATORY NIGHT The laboratory is somewhere between a student observation operating theatre and a Greek gymnasium. It is pink-tiled throughout, facing the lift entrance is a circular area containing a TANK on pedestals which though screened at this stage will be revealed to contain the body of ROCKY submerged in chemicals, the wall to one side contains a raised dias area for the GUESTS, and facing one end of the tank, the operational controls, monitor and a giant refrigerator. A chandelier hangs above the tank. On the podium in front of Frank's chambers there is a stand microphone. Near the podium are some weights. Behind the tank is a vaulting horse. These are wrapped in sellophane - Rocky's presents. The GUESTS are waiting as the lift arrives. FRANK, now in surgeon's outfit stands in the middle of the room. RIFF RAFF gets out of the lift first, with a glass of champagne which he hands to FRANK. FRANK Magenta, Columbia, go and assist Riff Raff. As he speaks her name each one steps forward out of the lift. They cross to RIFF RAFF behind the tank. FRANK I will entertain...ah... BRAD & JANET step out of the lift. BRAD I'm Brad Majors and this is my fiancee, Janet Vice. JANET Weiss. BRAD Weiss. FRANK (Taking Janet's hand to kiss) Encante....How nice. (he circles them) And what charming underclothes you both have. (He takes two dust coats from Riff Raff and hands them to Brad). But here, put these on. They'll make you feel less vulnerable. MAGENTA & COLUMBIA cross to the podium. FRANK (continues) It's not often we receive visitors here. Let alone offer them hospitality. BRAD (Moving towards Frank) Hospitality! All we wanted to do was use your telephone. A reasonable request which you have chosen to ignore. JANET (Hurring after Brad) Don't be ungrateful Brad. BRAD (Stepping closer to Frank) Ungrateful! The room falls silent. All eyes are on FRANK, waiting for his reaction. A smile breaks on his face. FRANK How forceful you are Brad. Such a perfect specimen of manhood. So dominant. MAGENTA & COLUMBIA laugh. You must be awfully proud of him Janet. JANET Well, yes I am. THE GUESTS oh and ah appreciatively, BRAD laughs, a little embarassed. FRANK Do you have any tattoos Brad. BRAD Certainly not! FRANK Oh well. How about you. (He laughs) RIFF RAFF has approached behind FRANK, looming over his shoulder. RIFF RAFF Everything is in readiness, Master. We merely await your word. FRANK drinks his champagne then hands RIFF RAFF the empty glass. RIFF RAFF goes to the control panel and FRANK to the podium FRANK Tonight...One, one, one. Can you hear me at the back? Tonight, my unconventional conventionists. MAGENTA, COLUMBIA and GUESTS laugh politely. FRANK Tonight you are to witness a breakthrough in biochemical research. There is a gasp from COLUMBIA, MAGENTA and GUESTS. FRANK And paradise is to be mine. GUESTS and everybody applaud. JANET claps too, but BRAD indicates that she shouldn't. FRANK It was strange the way it happened. One of those quirks of fate really. One of those moments when you seem irredeemably lost: you panic; you're trapped; your back's against the wall. There's no way out, and then suddenly, you get a break. (He cracks the bones in his hand) All the pieces seem to fit into place. What a sucker you'r been. What a fool. The answer was there all the time. It took a small accident to make it happen. An accident! MAGENTA & COLUMBIA step forward one each side of him. MAGENTA & COLUMBIA (softly) An accident. FRANK That's how I discovered the secret. That elusive ingredient, that spark that is the breath of life. GUESTS applaud. FRANK (Moving to tank) You see, Brad and Janet, you are fortunate. For tonight is the night that my beautiful creature is destined to be born. Everybody applauds. FRANK then pulls the cover from the tank. RIFF RAFF is at the control panel.70 INT. LABORATORY NIGHT The tank is revealed. There is something inside it is immersed in clear fluid. The GUESTS are astonished. FRANK Throw open the switches on the sonic oscillator. RIFF RAFF flicks the switch to activate the oscilloscopes in the panel. FRANK And step up the reactor power input three more points. RIFF RAFF presses a button three times then begins to unwind a wheel. FRANK watches excitedly from behind the tank as the chandelier is lowered. It spurts different coloured liquids into the tank. The liquids bubble and change colour. The thing inside begins to look like a human form. JANET Brad... BRAD It's alright Janet. The liquids drain away. The form begins to move. FRANK climbs the ladder at one end of the tank, RIFF RAFF the other. ROCKY HORROR sits up, raises his arms, finally stands upright with both arms outstretched. RIFF RAFF removes the bandage from ROCKY's head. ROCKY looks at RIFF RAFF then at FRANK. With a gasp he leaps for the chandelier above. At the same time RIFF RAFF is down the ladder making for the handle. He winds up the chandelier and ROCKY.71 INT. THE LABORATORY NIGHT SONG: THE SWORD OF DAMOCLES. ROCKY HORROR with only his head unbandaged, is hanging on to the chandelier which RIFF RAFF is winding upwards. ROCKY The Sword of Damocles is Hanging over my head. FRANK runs down the ladder and kicks RIFF RAFF who starts to lower the chandelier. FRANK climbs up the other steps to meet his creation coming down. MAGENTA & COLUMBIA cross to the tank. ROCKY And I've got the feeling Someone's going to be Cutting the thread. Oh, woe is me. My life is a misery. Oh, can't you see That I'm at the start Of a pretty big downer.... As ROCKY gets level with him, FRANK lunges for him but lands inside the tank....because... ROCKY simultaneously abandons the chandelier, lands between MAGENTA and COLUMBIA who now each have a pair of scissors with which they will snip his arm and leg bandages. ROCKY I woke up this morning With a start When I fell out of bed. GUESTS (inc. Riff, Magenta & Columbia) That ain't no crime. ROCKY And left from my dreaming Was a feeling Of un-nameable dread. GUESTS That ain't no crime ROCKY My high is low. I'm dressed up With no place to go. And all I know Is I'm at the start Of a pretty big downer. FRANK, in the tank behind ROCKY, puts his arms round ROCKY's neck. ROCKY spins away. MAGENTA and COLUMBIA hang on to one end of his chest bandage so that it undoes as he goes. GUESTS (inc. RIFF RAFF, MAGENTA & COLUMBIA) Sha la la la That ain't no crime. ROCKY Oh, no no, no no. GUESTS Sha la la la That ain't no crime. ROCKY No no no, no no. GUESTS Sha la la la That ain't no crime - That ain't no crime. ROCKY is now unbandaged. He strikes a pose. During the last sequence, FRANK climbs out of the tank onto RIFF RAFF'S shoulders and purses ROCKY, but they fall.72 INT. STUDY NIGHT NARRATOR reading from book. NARRATOR Rocky needed peace of mind. He didn't know He was doing just fine. He was the product Of another time. And as for feeling down - Well that's not a crime.73 INT. LABORATORY NIGHT FRANK and RIFF RAFF are recovering from their fall. ROCKY makes a circuit of the GUESTS. GUESTS (Riff, Magenta & Columbia) That ain't no crime. ROCKY (To first group of guests) The sword of Damocles is Hanging over my head. GUESTS That ain't no crime. ROCKY (To second group) And I've got the feeling Someone's going to be Cutting the thread. GUESTS That ain't no crime. ROCKY (To third group) Oh, woe is me - My life is a mystery. (To fourth group) Oh can't you see That I'm at the start Of a pretty big downer. ROCKY set off at a run as FRANK looms up again. (FRANK is chasing ROCKY round the lab.) GUESTS Sha la la la That ain't no crime. ROCKY Oh no no no no. GUESTS Sha la la la That ain't no crime. ROCKY No no no no. GUESTS Sha la la la That ain't no crime. That ain't no crime. GUESTS Sha la la la That ain't no crime. ROCKY No no no no. GUESTS Sha la la la That ain't no crime. ROCKY No no no no. GUESTS Sha la la la That ain't no crime - That ain't no crime. At the end of number, ROCKY has climbed up the ladder attached to the end of the tank nearest the bridal chambers and FRANK is in a heap below. RIFF RAFF is behind the tank and MAGENTA and COLUMBIA in their positions in front of it.74 INT. LABORATORY NIGHT FRANK picks himself up. ROCKY is sitting at the top of the ladder above him, with his perfect limbs near Frank's face. FRANK Well. That's no way to behave on your first day out. ROCKY looks hurt. But as you're such an exceptional beauty I'm prepared to forgive. FRANK crosses behind ROCKY to stand next to RIFF RAFF behind the tank. I just love success. RIFF RAFF (edging up to Frank) He is a credit to your genius, Master. FRANK Yes. MAGENTA (Moving to tank from controls) A triumph of your vill. FRANK Yes. COLUMBIA (Who is on opposite side of tank) He's o.k. FRANK O.K? (Moving out behind tank towards Janet and Brad) I think we can do a little better than that. You. (To Janet) What do you think? JANET Well. (She looks at Brad) I don't like men with...er, with too many, muscles. FRANK I didn't make him for you JANET nods hastily. FRANK moves towards microphone. He carries the Charles Atlas seal of approval....And he didn't even take the lessons.74A INT. LABORATORY NIGHT SONG: CHARLES ATLAS (Pt. 1) As FRANK starts to sing, MAGENTA & RIFF RAFF collect one of ROCKY's presents, the vaulting horse, and place it in front of the podium. COLUMBIA leads ROCKY down from the ladder. FRANK A weakling weighing Ninety eight pounds Will get sand in his face When kicked to the ground. And soon in the gym (ROCKY sits on horse) With a determined chin The sweat from his pores As he works for his ca-ha-hause MAGENTA & RIFF RAFF now bring the weights. FRANK Will make him glisten - thank you - And gleam. And with massage And just a little bit of Ste-he-he-he-hem...(laughs) He'll be pink. And quite clean. FRANK He'll be a strong man - Oh honey - GUESTS, RIFF, MAGENTA & COLUMBIA & FRANK. But the wrong man. FRANK He'll eat nutritious high protein And swallow raw eggs. Try to build up his shoulders, His chest, arms and legs. Such an effort - If he only knew of my plan. In just seven days, GUESTS, RIFF, MAGENTA & COLUMBIA & FRANK I can make you a ma-aa-a-a-an ROCKY throws down the weights and begins press ups. FRANK He'll do press-ups and chin-ups, Do the snatch, clean and jerk. FRANK crosses to JANET & BRAD He thinks dynamic tension Must be hard work. Such strenuous living I just don't understand. FRANK moves back to ROCKY who is still pressing up. When, in just seven days - Oh baby...(ROCKY jumps up.) I can make you A ma-a-a-a-an...(laugh).75 INT. LABORATORY: REFRIGERATOR NIGHT The large refrigeration unit door slowly opens, falling like a drawbridge. Inside is a wall of ice and many CocaCola bottles. Through these bursts an icy EDDIE riding a Harley Davidson motor bike, ex World War II, holding a Gibson guitar. Several guests are crushed to death. COLUMBIA Eddie! EDDIE Stay cool baby. JANET Who's Eddie? RIFF RAFF The delivery boy. MAGENTA His delivery wasn't good enough though. ROCKY looks terrified. JANET has fainted yet again. EDDIE comes to life.76 SONG: "WHAT EVER HAPPENED TO SATURDAY NIGHT" EDDIE Whatever happened to Saturday night When you dressed up sharp And you felt alright It don't seem the same since cosmic light Came into my life and I thought I was divine. COLUMBIA leaps on to the pillion seat. I used to go for a ride with a chick who'd go And listen to the music on the radio. The MOTORCYCLISTS GUESTS remember only too well. A saxophone was blowing on a rock and roll show And we climbed in the back And we really had a good time COLUMBIA rushes to the switchboard, flicks a lighting switch and all the lights above the stairs start changing colour. The GUESTS go crazy and rock and roll all over the staircase. COLUMBIA dances with EDDIE. Even RIFF RAFF and MAGENTA step it out. ALL Hot patootie Bless my soul I really love that rock and roll (four times) EDDIE (more confident, less frozen) leaps onto the motorbike in a legs apart guitar strumming pose. FRANK is getting furious. ROCKY is perplexed. EDDIE My head used to swim From the perfume I smelled. My hands kind of fumbled With her white plastic belt. I'd taster her baby pink lipstick, And that's when I'd melt. And she'd whisper in my ear, Tonight she really was mine. Get back in front and put Some hair oil on. Buddy Holly was singing His very last song. With your arms around your girl You tried to - ah - sing along It felt pretty good, whoo. Really had a good ti-i-ime. EDDIE slips onto the pedal starting the bike. He takes off and roars round the laboratory, even riding up and down the walls. ALL Hot patootie Bless my soul. I really love that rock and roll. Hot patootie Bless my soul. I really love that rock and roll. Hot patootie Bless my soul. You know I love that rock and roll. Hot patootie Bless my soul. I really love that rock and roll. 4 bars instrumental (saxophone) FRANK steals towards the fridge where he collects an ice pick, innocently. ALL EDDIE Hot patootie HOT PATOOTIE - Bless my soul. BLESS MY SO-O-OUL. I really love that rock and roll. Hot patootie HOT PATOOTIE Bless my soul. I LOVE THAT ROCK & ROLL. I really love that rock and roll. Hot patootie HOT PATOOTIE... Bless my soul. I LOVE THAT ROCK & ROLL. I really love that rock and roll. Hot patootie HOT PATOOTIE... Bless my soul. BLESS MY SO-O-OUL. I really love that rock and roll. Hot patootie HOT PATOOTIE.. Bless my soul. I REALLY LOVE THAT ROCK & ROLL. I really love that rock and roll. Hot patootie HOT PATOOTIE... Bless my soul. BLESS MY SO-O-OOOUUL. I really love that rock and roll. Hot patootie HOT PATOOTIE Bless my soul. I LOVE THAT ROCK & ROLL. I really love that rock and roll. Hot patootie HOT PATOOTIE Bless my soul. I LOVE-A-LOVE-A-LOVE-A I really love that rock and roll. THAT ROCK AND ROO-AHOUL! On the last chorus FRANK rushes to EDDIE with the ice pick, in a demented fury. THE GUESTS are unbelieving. COLUMBIA covers her face with her hands. EDDIE is dead. FRANK walks away from his body unconcerned. JANET screams and screams.77 INT. LAB NIGHT DIALOGUE SEQUENCE MAGENTA is very bored and picking up ice cubes and placing them in the ice bucket. FRANK One from the vaults. RIFF RAFF drags EDDIE's dismembered body back into the fridge. And so perish all those who reject my love! ROCKY cowers in terror. Oh no, my little Adonis - You're much too beautiful to be destroyed. He had a certain naive charm - but no muscle. ROCKY flexes. FRANK is thrilled.78 INT. LABORATORY NIGHT FRANK But a deltoid And a bicep, A hot groin And a tricep Makes me - ooh - Shake. Makes me want To take Charles Atlas By the ha-and. In just seven days - Oh baby - GUESTS, RIFF RAFF, MAGENTA & COLUMBIA & FRANK I can make you a Ma-ha-ha-ha-haan. I don't want no dissension Just dynamic tension. In just seven days I can make you A ma-ha-ha-ha-haan. In just seven days I can make you A ma-ha-ha-ha-haaan. CUT TO79 INT. BRIDAL SUITE NIGHT RIFF RAFF presses a button and a wall opens revealing a bridal suite done out in black silk. The GUESTS shout their approval. The end of the SONG turns into Mendelssohn's wedding march and FRANK leads ROCKY to his bridal chamber. The GUESTS throw confetti. BRAD and JANET look at each other in amazement. WIPE TO80 INT. STUDY NIGHT NARRATOR There are some people who say that life is an illusion, and that reality is simply a figment of our imaginations! If this is so, then Brad and Janet are quite safe. However, the sudden departure of their host and his creation (into the seclusion of his sombre bridal suite) had left them feeling both apprehensive and uneasy. A feeling which grew as the other guests 'departed' and 'they' were shown to their separate rooms. WIPE TO81 INT. JANET'S ROOM (RED FILTER) NIGHT JANET looks lost. She sits on the end of the bed. CUT TO82 INT. BRAD'S ROOM (BLUE FILTER) NIGHT BRAD looks lost. He examines the TV monitor.83 INT. LABORATORY NIGHT RIFF RAFF and MAGENTA by the monitor. They switch from channel to channel. We see BRAD looking at the TV monitor. And JANET sitting on the end of the bed. JANET lies back on the bed and switches off her bedside lamp. RIFF RAFF and MAGENTA smile at each other. CUT TO84 INT. JANET'S ROOM (RED FILTER) NIGHT Only a soft glow of moonlight from a barred window. ON the netting round her bed. There is a knock at the door. JANET sits p. JANET Who is it? Who's there? BRAD's voice from behind the door. BRAD'S VOICE It's only me, Janet. She relaxes. JANET Oh, Brad, come in, darling. A silhouette enters and crosses to the bed. It moves onto the bed behind the net curtain. JANET Oh Brad - Mmmm - Oh yes, my darling - what if... BRAD It's alright Janet. Everything's going to be alright. JANET Oh, I hope so my darling. But let me switch on the light. BRAD No, don't do that. JANET Oh don't be so shy. She switches on the light to reveal FRANK. JANET YOU! FRANK sits up. FRANK I'm afraid so, Janet. But isn't it nice? JANET beats his chest with her clenched fists. JANET You beast, you monster, what have you done with Brad? FRANK Nothing. Why, do you think I should? JANET You tricked me - I wouldn't have - I've never - never FRANK I know. But it wasn't all bad was it? In fact, I think you found it quite pleasurable. Mmmmm so soft, so sensual. He re-commences making love to her. JANET Oh - Oh - no - stop - I mean help. I - Brad - Oh. (she shouts) Brad. FRANK places a finger on her lips. FRANK Ssssh. Brad's probably asleep by now. Do you want him to see you like this? JANET Like this - like how? It's your fault. You're to blame. (pause) I was saving myself. FRANK Well, I'm sure you're not spent yet. He switches off the light. CUT TO85 INT. LABORATORY NIGHT RIFF RAFF and MAGENTA stare intently at the screen. They smile at each other. CUT TO86 INT. JANET'S ROOM (RED FILTER) NIGHT Silhouette of FRANK and JANET making love. JANET Promise you won't tell Brad. FRANK Cross my heart and hope to die. JANET squeals with excitement. DISSOLVE TO87 INT. BRIDAL SUITE ADJOINING LABORATORY NIGHT We see ROCKY chained to the bed sleeping. In the background RIFF RAFF and MAGENTA in laboratory. ROCKY stirs and makes a sound. RIFF RAFF walks across to the door and stares at the sleeping body. His eyes are full of hate. He looks at MAGENTA. She nods to him. He releases the chains. ROCKY stirs. RIFF RAFF picks up a candelabra from the bedside table and taunts ROCKY. ROCKY jumps out of the bed, terrified. RIFF RAFF pushes the candelabra in his face. ROCKY crashes through the laboratory and escapes. RIFF RAFF turns to MAGENTA who is now standing in the doorway. RIFF RAFF puts down the candelabra and they exchange a strange sign. DISSOLVE TO88 INT. BRAD'S ROOM (BLUE FILTER) NIGHT A knock at the door. BRAD opens it cautiously. A shadowy figure moves across the room to the bed. JANET'S VOICE (distraught) Oh Brad, it's no good here. It will destroy us. BRAD takes her hand. BRAD Don't worry Janet, we'll be away from here in the morning. Hmmmm, you smell so good. He gently lays her down on the bed and attempts to caress her. JANET Oh Brad. Oh no. Not till after the wedding, Darling. BRAD sits up. BRAD Alright, Janet. I understand. The shadow rolls over. JANET Maybe we could try it this way. BRAD (surprised) Janet! Oh! Yes it's alright. Janet. Everything's going to be alright. JANET I hope so my darling. BRAD reaches out to the light. No, don't put on the l... BRAD switches on the bedside lamp an realises he is making love to FRANK wearing a JANET wig. BRAD You! FRANK I'm afraid so, Brad. But wasn't it nice? BRAD grabs FRANK around the throat. BRAD Why you - what have you done with Janet? FRANK Nothing. Why do you think I should? BRAD lets him go and turns away humiliated. BRAD You tricked me. I wouldn't have - I've never - never. FRANK I know, but it wasn't all bad was it? I think you found it quite pleasurable. (he caresses Brad) Oh so soft. So sensual. BRAD Ahhh - no - stop - I mean Janet. (shouts) Janet. FRANK Shush. Janet's probably asleep by now. Do you want her to see you like this? BRAD Like this. (throwing Frank aside) Like how? It's your fault - you're to blame. I thought it was the real thing. FRANK Oh come on, Brad, admit it. It was enjoyable, wasn't it? There's no crime in giving yourself over to pleasure. FRANK (Switches off light) Oh Brad, you have wasted so much time already. Janet needn't know, I won't tell her. BRAD You promise you won't tell? FRANK On my mother's grave. Suddenly the shadows are illuminated by the monitor as an image of RIFF RAFF appears on the screen above the bed.89 TV MONITOR RIFF RAFF Master, Rocky has broken his chains and vanished. The new playmate is loose and in the castle ground. Magenta has just released the dogs.90 FRAN'S SILHOUETTE THROUGH NET CURTAINS. FRANK is getting carried away. FRANK I'm coming.91 EXT. CASTLE GROUNDS. NIGHT. A shot of pack of huge alsations careereing around the castle grounds. They are chasing a bewildered Rocky. WIPE TO.92 INT. JANET'S ROOM (RED FILTER) NIGHT JANET is lying on the bed posed in the style of a "True Romance" comic heroine. JANET What's happening here? Where's Brad? Where's anybody? WIPE TO92A INT. BRAD'S ROOM (BLUE FILTER) NIGHT BRAD is posed in the style of a "True Romance" comic hero. He is nervous and smoking. Behind him FRANK is asleep on the bed. BRAD Once in a while she don't want to call you Speaking on the telephone Once in your life she won't want to know you You look around The one you've found She is gone. WIPE TO92B INT. JANET'S ROOM (RED FILTER) NIGHT JANET is sitting on the end of the bed. JANET I'm engaged to Brad just the same as Betty Monroe was to Ralph Hapschatt. But Frank's kisses overwhelmed me with an ecstacy I've never dreamt of before. Hot, burning kisses. WIPE TO92C INT. BRAD'S ROOM (BLUE FILTER) NIGHT BRAD And that's all the time that it takes For a heart to turn to stone The sweeter the wine The harder to make the break You hear something about someone You'd thought you'd known. WIPE TO92D INT. JANET'S ROOM (RED FILTER) NIGHT JANET is at the door. JANET I could see Brad's face before me and my mind screamed No! But my lips were hungry - too hungry. WIPE TO92E INT. BRAD'S ROOM (BLUE FILTER) NIGHT BRAD So baby don't cry like there's no tomorrow After the night there's a brand new day. And there'll be no pain And no more sorrow. So wash your face And phone my place It'll be O.K. WIPE TO92F INT. CORRIDOR (RED FILTER - OAKLEY COURT) NIGHT JANET I wanted to be loved completely. My body throbbed excitedly. Oh Brad, Brad my darling, how could I have done this to you? WIPE TO92G INT. BRAD'S ROOM (BLUE FILTER) NIGHT BRAD And that's all the time that it takes For a heart to beat again. So give me a sign That a lover makes You look around The one you've found Is back again. WIPE TO92H INT. LABORATORY NIGHT JANET If only we hadn't made this journey. If only the car hadn't broken down. If only we were amongst friends or sane persons. WIPE TO93 INT. STUDY NIGHT The NARRATOR is leaning back in his armchair, cool and considerate. NARRATOR "If" and "Only", two small words. Words which kept repeating themselves again and again in Janet's thoughts. But it was too late to go back now. It was as if she were riding a giant tidal wave. It would be folly to fight against it. Her only chance would be to ride it out - adapt - and perhaps also to survive. WIPE TO94 INT. LABORATORY NIGHT JANET is pacing around the tank which is covered by a cloth. She becomes aware of the sound of someone crying inside. She pulls the cloth back to reveal ROCKY lying in the tank - exhausted and bleeding. ROCKY HORROR looks miserable. JANET Yes. There you see it's instinctive. This room is your womb. You returned here for one thing - security. JANET crosses to the TV monitor. JANET Oh Brad! What have they done with him? CUT TO95 TV MONITOR She switches on the monitor. She changes the channels on the monitor getting various empty rooms in the castle. Occasional shot of alsatian dogs. Till finally she switches into BRAD's bedroom and sees BRAD sitting on the end of the bed and FRANK lying asleep on the bed. CUT TO96 INT. LABORATORY NIGHT JANET Ahhh! ROCKY smiles helplessly. JANET moves away from the monitor and back to ROCKY. JANET Oh Brad. How could you? (she sees Rocky's wounds) Oh, but you're hurt. Did they do this to you? ROCKY nods. JANET Here, lie down. I'll dress your wounds. ROCKY smiles at JANET. A new expression crosses her face. WIPE TO97 INT. STUDY NIGHT NARRATOR (reads from a dictionary) "Emotion". Mental agitation - an excited state of. (he looks up) It is also an irrational and powerful master and from what Janet had witnessed on the monitor, there seemed to be little doubt that she was indeed its slave. WIPE TO98 INT. COLUMBIA'S ROOM NIGHT COLUMBIA and MAGENTA are watching the monitor. COLUMBIA & MAGENTA Tell us about it, Janet. They giggle. CUT TO99 INT. LABORATORY NIGHT SONG: "TOUCH A TOUCH ME" ROCKY is lying on the operating table. JANET is dabbing his wounds. JANET I was feeling done in Couldn't win I'd only ever kissed before CUT TO100 INT. COLUMBIA'S ROOM NIGHT COLUMBIA and MAGENTA. COLUMBIA (to Magenta) You mean she only ever kissed? CUT TO101 INT. LABORATORY NIGHT JANET rips off a piece of her petticoat for a bandage. JANET I thought there's no use getting Into heavy petting. She rips off another piece of her petticoat. It only leads to trouble And seat wetting. JANET rips another piece off her fast vanishing petticoat. During the next verse she bandages ROCKY. JANET Now all I want to know Is how to go I've tasted blood And I want more I'll put up no resistance I want to stay the distance I've got an itch to scratch And I need assistance. JANET grabs ROCKY's hands and places them on her. JANET Touch-a touch-a touch-a touch me. I wanna be dirty. Thrill me, chill me, fulfil me. Creature of the night. Then if anything grows (she laughs) While you pose, I'll oil you up And rub you down RIFF RAFF, MAGENTA, COLUMBIA Down, down down. JANET And that's just one small fraction Of the main attraction You need a friendly hand. Oh, and I need action. Touch-a touch-a touch-a, touch me. I wanna be dirty. Thrill me, chil me, fulfil me. Creature of the night.102 INT. COLUMBIA'S ROOM COLUMBIA & MAGENTA are watching the TV relay of ROCKY & JANET. They are amused by JANET'S inexperience, parodying her as they sing. COLUMBIA Touch-a touch-a touch-a, touch me. MAGENTA I wanna be dirty. COLUMBIA Thrill me, chill me, fulfil me. MAGENTA Creature of the night.103 INT. LABORATORY NIGHT JANET Oh, touch-a touch-a touch-a touch me. I wanna be dirty. Thrill me chill me, fulfil me - oh - Creature of the night. Creature of the ni-i-ight. We see JANET's p.o.v. of all the characters singing the last line: ROCKY Creature of the night.103A B.C.S. BRAD BRAD Creature of the night.103B B.C.S. FRANK FRANK Creature of the night.103C B.C.S. COLUMBIA COLUMBIA Creature of the night.103D B.C.S. RIFF RAFF RIFF RAFF Creature of the night.103E B.C.S. MAGENTA MAGENTA Creature of the night.103F B.C.S. ROCKY ROCKY Creature of the night.103G B.C.S. JANET JANET Creature of the night. Oh.104 INT. COLUMBIA'S ROOM NIGHT COLUMBIA & MAGENTA's reactions.105 INT. LABORATORY NIGHT JANET & ROCKY in each other's arms hear another scream in the distance.106 INT. CORRIDOR OUTSIDE LABORATORY NIGHT FRANK is chasing RIFF RAFF with a whip. BRAD is following. RIFF RAFF rushes into the lift and presses the button desperately but FRANK follows him and so does BRAD. We see the lift descending.107 INT. LABORATORY. NIGHT RIFF RAFF slides across the laboratory floor escaping FRANK's whip. RIFF RAFF Aaaargh! Mercy. FRANK How did it happen? I understood you were to be watching. RIFF RAFF gets to his feet keeping a careful eye on the whip hand. RIFF RAFF I was only away for a minute Master. FRANK Well, see if you can find him on the monitor. CUT TO108 TV MONITOR RIFF RAFF switches channels on the monitor. An image of a middle-aged professorial man in a wheelchair appears. The man is outside the castle, peering around the trees stealthily. CUT TO109 INT. LABORATORY NIGHT RIFF RAFF Master, we have a visitor. CUT TO110 TV MONITOR FRANK and BRAD crowd around the monitor. CUT TO111 INT. LABORATORY NIGHT BRAD Great scott - Scotty - Dr Everett Scott. RIFF RAFF You know this earth - this person. BRAD I most certainly do. He happens to be an old friend of mine. FRANK I see. So this wasn't simply a chance meeting. You came here with a purpose. BRAD I told you, my car broke down. CUT TO112 TV MONITOR On the monitor the stranger looks very shifty. CUT TO113 INT. LABORATORY NIGHT FRANK looks BRAD hard in the eye. BRAD I was telling the truth. FRANK I know what you told me, Brad. But this Dr Everett Scott. His name is not unknown to me. BRAD He was a Science Teacher at Denton High. FRANK And now he works for your Government, doesn't he, Brad? He's attached to the Bureau of Investigation of that which you call U.F.O's. Isn't he, Brad? BRAD He might be. I don't know. FRANK Hmmmm. He'll be in the Zen Room. CUT TO114 TV MONITOR DR SCOTT is indeed in the Zen Room. CUT TO115 INT. LABORATORY NIGHT FRANK Well, let's ask him. FRANK throws a switch marked "TRIPLE CONTACT ELECTRO MAGNET". CUT TO116 EXT/INT. VARIOUS LOCALES NIGHT We see DR SCOTT's wheelchair screaming through corridors, rooms and doors and ends up clamped to the electro magnet in the laboratory. CUT TO117 INT. LABORATORY NIGHT BRAD is amazed. BRAD Dr. Scott! DR EVERETT SCOTT is even more amazed. DR SCOTT Brad! What are you doing here? FRANK releases the electro magnet. The wheelchair hits the floor. FRANK Don't play games, Dr Scott. You know very well what Brad Majors's doing here. It was part of your plan was it not that he, and his female, should check the layout for you. Well, unfortunately for you all there's to be a change of plans. I'm sure you're adaptable, Dr Scott. I know Brad is. BRAD looks embarrassed and humiliated. DR SCOTT I can assure you that Brad's presence comes as a complete surprise to me. I came to find Eddie. BRAD Eddie? I've seen him. He's... FRANK cuts in quickly. FRANK Eddie? What do you know of Eddie, Dr Scott? DR SCOTT I happen to know a great deal about a lot of things. You see Eddie happens to be my nephew. BRAD Dr Scott. A stifled gasp is heard from JANET behind the curtain. FRANK is surprised. FRANK crosses the screen and pulls back the curtain to reveal JANET and ROCKY. DR SCOTT Janet! JANET Dr Scott! BRAD Janet! FRANK Rocky! ROCKY reviles FRANK with a look. He puts his arm around JANET. FRANK is appalled. FRANK Listen! I made you, and I can break you just as easily. ROCKY is terrified. He takes his arm away from JANET. FRANK That's better. A GONG is heard. MAGENTA comes through the broken tiles. MAGENTA Master, dinner is prepared. FRANK & RIFF RAFF exchange a look. FRANK Excellent. (moves to Dr. Scott) Doctor Scott you can sample the speciality of the house - roast loin of pork. He gives JANET, who is virtually naked, a seering look. FRANK Under the circumstances, formal dress is to be optional. FRANK leads the way to the lift.118 INT. THE STUDY NIGHT NARRATOR Food has always played a vital role in life's rituals. The breaking of bread - the last meal of the condemned man - and now this meal. However informal it might appear you can be sure there was to be very little 'bonhomie'.119 INT. DINING ROOM NIGHT At the head of a large coffin shaped table sits FRANK. There is an electric carver on the table in front of him. The table is laid for dinner and present are JANET & BRAD on FRANK's right, DR. SCOTT opposite him, ROCKY HORROR on Dr. Scott's right and between ROCKY and FRANK, COLUMBIA. They sit in silence as the double doors open. RIFF RAFF and MAGENTA enter. RIFF RAFF carries a large joint of meat, MAGENTA the wine, both of which they set down at the head of the table. RIFF RAFF & MAGENTA pour out the wine and return to the side of FRONT who then rises. FRANK A toast to absent friends. ALL Absent friends. FRANK now proceeds to carve the meat. Everyone is quiet and only the buzzing of the electric carver is heard. RIFF RAFF & MAGENTA distribute the slices, then return to their places. DR. SCOTT We came here to discuss Eddie. COLUMBIA Eddie! FRANK (Silencing her with a gesture) It's a rather tender subject.... Another slice anyone. Everybody looks at their food carefully. COLUMBIA rises. COLUMBIA Excuse me. She rushes from from the room with a ghastly cry. DR. SCOTT (turning aside) I knew he was in with a bad crowd. But it was worse than I imagined...(He turns back) Aliens! BRAD & JANET look at each other, then at DR. SCOTT. BRAD & JANET Dr. Scott! FRANK Go on, Dr. Scott - or should I say doctor von Scott. BRAD What exactly are you implying? FRANK threatens him with the knife. DR. SCOTT That's alright Brad. BRAD But Doctor Scott... DR. SCOTT silences BRAD with a gesture.120 SONG: "EDDIE'S TEDDY" SCOTT picks up some meat on a fork and regards it. DR. SCOTT From the day he was born, he was trouble. He was the thorn In his mutter's side. She tried in vain.121 INT. THE STUDY NIGHT NARRATOR But he never caused her Nothing but shame.122/ INT. DINING ROOM NIGHT 133 DR. SCOTT produces scrapbook, opening it at a picture of Eddie's mother. DR. SCOTT He left home the day she died. From the day she was gone All he wanted DR. SCOTT turns page to a picture of a record of Elvis, singing Teddy Bear. DR. SCOTT Was rock and roll, He turns the page to porno. magazine. Porn. He turns page to show an advertisement for Harley Davidson. Und a motorbike. He turns to a still of Eddie as an addict Shooting up junk He turns to reveal a newspaper clipping "Thug bashes woman, 66". He was a low down Cheap little punk. Turns the page to Eddie's mug shot. Taking everyone for a ride. The page turns again revealing the lyrics. ALL When Eddie said He didn't like his teddy You knew he was a no good kid. But when he threatened your life With a switch blade knife FRANK What a guy JANET Makes you cry DR. SCOTT Und I did.134/ INT. COLUMBIA'S ROOM NIGHT 135 She has a large portrait of EDDIE on the wall. She is lighting the candles on her dressing table. COLUMBIA Everybody shoved him, I very nearly loved him. I said, hey listen to me, Stay sane inside insanity. But he locked the door And threw away the key. She collapses in tears.136/ INT. DINING ROOM NIGHT 137 DR. SCOTT Making him warn, me, In a note DR. SCOTT produces the note. Which reads. ALL What's it say, What's it say?138 INSERT EDDIE'S NOTE EDDIE (VO) I'm out of my head Oh hurry, or I may be dead. They mustn't carry out their evil deeds, Yaaaow.139 INT. DINING ROOM NIGHT DR. SCOTT's hands tremble with the note. JANET & BRAD are now standing one each side of him. ALL When Eddie said he didn't like his teddy You knew he was a no good kid. DR. SCOTT Und when he threatened your life With a switch blade knife FRANK What guy JANET Makes you cry DR. SCOTT Und I did.140 B.C.S. TEDDY as DR. SCOTT produces it. ALL Eddie!141 INT. DINING ROOM NIGHT EDDIE'S TEDDY: REPRISE ALL When Eddie said he didn't like his teddy You knew he was a no good kid. But when he threatened your life With a switch blade knife FRANK What a guy ALL Woe woe woe JANET Makes you cry ALL Hey hey hey DR. SCOTT Und I did ALL EDDIE! FRANK suddenly pulls away the tablecloth to reveal a glass coffin containing the decomposed remains of EDDIE.142 INT. DINING ROOM/HALL/STAIRS RIFF RAFF & MAGENTA laugh. JANET screams and runs to ROCKY who hugs her. BRAD looks shocked. DR. SCOTT wheels back his wheelchair in disgust, FRANK moves d.s. towards ROCKY. FRANK Oh Rocky, how could you! JANET runs out, FRANK in pursuit. ROCKY smiles wanly. Encouraged by this, FRANK smashes JANET across the face with the back of his hand. FRANK I'll tell you once, Won't tell you twice You'd better wise up Janet Weiss. Y'apple pie Don't taste too nice You'd better wise up Janet Weiss. She runs out of room. CUT TO143 INT. CORRIDOR NIGHT JANET runs down corridor - FRANK following her. FRANK I've laid the seed It should be all you need. BRAD appears, pushing DR SCOTT, in hot pursuit. You're as sensual As a pencil Wound up like an 'E' or first string JANET arrives at door of laboratory - she can't open it. FRANK arrives face to face. FRANK When we made it Did ya hear a bell ring? The door opens - they fall through. The door slams in DR SCOTT's face.144 INT. LABORATORY NIGHT JANET rushes in, down the ramp, with FRANK in pursuit. FRANK Y'got a block, Take my advice. You'd better wise up, Janet Weiss. DR. SCOTT & BRAD arrive in the lift. FRANK has circled the tank and arrived at the control panel. FRANK The transducer (He slams the handle) Will seduce yah. DR. SCOTT, BRAD & JANET find they are stuck to the floor. JANET My feet - I can' move my feet. DR. SCOTT My wheels - My God, I can't move my wheels. BRAD It's as if we were glued to the spot. FRANK You are - so quake with fear, you tiny fools. JANET We're trapped. FRANK (Moving to her) It's something you'll Get used to. A mental mind fuck Can be nice. JANET Oh! FRANK climbs up the ladder beside the tank. (music under this dialogue) DR. SCOTT You won't find earth people quite the easy mark you imagine. This sonic transducer - it is, I suppose, some kind of audio-vibratory, physiomolecular transport device.... BRAD You mean... DR. SCOTT Yes Brad. It's something we ourselves have been working on. But it seems our friend here has found a way of perfecting it. A device which is capable of breaking down solid matter and then projecting it through space, and - who knows - perhaps even time itself! JANET You mean he's gonna send us to another planet? FRANK leaps off the tank to the floor. FRANK Planet. Schmanet. Janet. FRANK circles JANET, testing her thighs. BRAD struggles in vain. FRANK You'd better wise up, Janet Weiss. You'd better wise up, Build your thighs up. You'd better wise up.145 INT. STUDY NIGHT NARRATOR Then she cries out -146 INT. LABORATORY NIGHT SONG: "HOT DOG" JANET screams out. JANET Sto-o-o-o-o-op. She cried so loudly that FRANK staggers backwards towards the control panel. RIFF RAFF & MAGENTA enter through the hole in the tiles - they march to behind the tank and then the control panel. FRANK (singing) Don't get hot and flustered - Use a bit of mustard. BRAD You're a hot dog But you'd better not Try to hurt her, Frank Furter. FRANK signals to MAGENTA. BCS MAGENTA's hand on the transducer switch. BRAD is turned into a statute. DR. SCOTT You're a hot dog But you'd better not Try to hurt her, Frank Furter. FRANK signals, cut to the switch as it is turned on. DR. SCOTT is a statue. JANET You're a hot dog... FRANK signals. C.S. SWITCH. JANET is stone.147 INT. LABORATORY NIGHT DIALOGUE SEQUENCE. COLUMBIA My God! I can't take any more of this - first you spurn me for Eddie, then you cast him off like an old overcoat for Rocky. You chew people up and then spit them out - I loved you, do you hear me - I LOVED YOU - And what did it get me - I'll tell you - a big nothing. You're like a sponge. You take, take, take, take! You drain others of their love and emotions. Well, I've had enough. You've got to choose between me and Rocky - so named because of the rocks in his head. FRANK throws a switch, she turns to stone. FRANK It's not easy having a good time. He crosses over to RIFF RAFF and MAGENTA Even smiling makes my face ache. RIFF RAFF and MAGENTA nod sympathetically. He lies on the operating table. They massage. FRANK My children turn on me. Rocky's behaving just as Eddie did. Maybe I made a mistake in splitting his brain between the two of them. MAGENTA (massaging his temples) When will we return to Transylvania? I grow weary of this world. FRANK Magenta, I am indeed grateful to both you and your brother RIff Raff - you have both served me well - loyalty such as yours must be rewarded and you will discover when the mood takes me I can be quite generous. MAGENTA betrays her resentment by digging her fingernails into his neck. MAGENTA I ask for nothing, Master. FRANK leaps up from the table. FRANK And you shall receive it - in abundance. (he goes to the lift) Come. We are ready for the floor show. (he slams the lift gate) Our guests will be growing restless. The lift moves downwards. Left alone in the laboratory MAGENTA and RIFF RAFF smile at each other. They make a special sign and leave by a secret passageway. WIPE TO148 INT. STUDY NIGHT NARRATOR And so, by some extraordinary coincidence - fate it seems had decided that Brad and Janet should keep that appointment with their friend Dr Everett Scott. But it was to be in a situation which none of them could have possibly foreseen. And just a few hours after announcing their engagement, Brad and Janet had both tasted forbidden fruit. This in itself was proof that their host was a man of little morals - and some persuasion. What further indignities were they to be subjected to? And what of the sonic transducer and floor show that had been spoken of? What indeed? From what had gone before, it was clear that this was to be no picnic. WIPE TO149 INT. BALLROOM (including STAGE) NIGHT MUSIC: "THE FLOOR SHOW" We see the stage at the end of the ballroom with red velvet curtains.150 BACKSTAGE NIGHT FRANK is enjoying dressing the statues which are now on stage. Each one is lovingly fitted with extravagant variations on the stocking and suspender belt variety of his own fantasies.151 INT. BALLROOM (INCLUDING STAGE) NIGHT Footlights glowing on the curtains. CUT TO152 INT. BACKSTAGE NIGHT FRANK pulls a switch and the curtains open. CUT TO153 INT. BALLROOM STAGE NIGHT Red velvet curtains open to reveal statues in front of silver drapes. The floor is covered with a light mist. CUT TO154 INT. BACKSTAGE NIGHT FRANK beams and pulls lever. CUT TO155 INT. STAGE NIGHT COLUMBIA's statue comes to life. COLUMBIA It was great when it all began I was a regular Frank fan. But it was over when he had the plan To start working on a muscle-man. Now the only thing that gives me hope Is my love of a certain dope Rose tints my world keeps me Safe from my trouble and pain. CUT TO156 INT. BACKSTAGE NIGHT FRANK switches. ROCKY leaps to life. CUT TO157 INT. STAGE NIGHT ROCKY I'm just seven hours old Truly beautiful to behold And somebody should be told My libido hasn't been controlled Now the only thing I've come to trust Is an orgasmic rush of lust Rose tints my world keeps me Safe from my trouble and pain. BRAD animated by FRANK CUT TO158 INT. STAGE NIGHT BRAD It's beyond me Help me Mommy I'll be good you'll see Take this dream away What's this, let's see I feel sexy What's come over me Here it comes again. CUT TO159 INT. STAGE NIGHT JANET animates. She behaves like a sex goddess, completely out of control, as if performing in a burlesque show. JANET I feel released Bad times deceased My confidence increased Reality is here The game has been disbanded My mind has been expanded It's a gas that Frankie's landed His lust is so sincere.160 INT. STAGE NIGHT We PULL BACK on the whole stage. The velvets open to reveal the 20th Century Fox logo as a stage set. At the top of the staircase FRANK appears bathed in light. He wears a dazzling version of the national costume and a chiffon cloak which billows in the breeze from a wind machine. He is reminiscent of a 30's film star. FRANK What ever happened to Fay Wray That delicate satin-draped frame As it clung to her thigh How I started to cry For I wanted to be dressed just the same. CUT TO161 INT. STAGE NIGHT The floor opens to reveal a swimming pool glistening with chlorine and glitter. He beckons the GUESTS. In their drugged state they comply with his every wish. FRANK Give yourself over to absolutely pleasure Swim the warm waters of sins of the flesh Erotic nightmares Beyond any measure And sensual daydreams To treasure forever. FRANK enters the pool. Can't you just see it. Can't you just see it. They begin to immerse themselves in the pool.161A Don't dream it. Be it. ALL Don't dream it. Be it. DR SCOTT animates belatedly. He observes the orgy occurring in the pool. DR. SCOTT Ach, we've got to get out of this trap before this decadence saps our wills. I've got to be strong and try to hang on. Or else my mind, may well snap. The wind machine blows the blanked from his lap and we see legs, stockings and a suspender belt. As in a miracle he can walk again. DR. SCOTT Und my life will be lived, For the thri-i-i-i-ill... BRAD surfaces, his face betraying consternation. BRAD It's beyond me Help me Mo-ommy. He is pulled back into the pool. A thrilled JANET now emerges. JANET God bless Lilly Saint Cyr. FRANK breaks through the water on a lift from ROCKY. SONG: FLOOR SHOW PT. 3 - WILD AND UNTAMED THING. FRANK My my my my I'm a wild and an untamed thing. I'm a bee with a deadly sting. Get a hit and your mind goes ping. Your heart'll thump and your blood will sing. So let the party and the sounds rock on. Gonna shake it till the life has gone. Rose tint my world Keep me safe from my trouble and pain. FRANK dives into the pool. During the chorus the whole group are diving in and out of the pool in a frenetic water ballet. ALL I'm a wild and an untamed thing I'm a bee with a deadly sting. Get a hit and your mind goes ping Your heart'll thump and your blood will sing. They emerge from the pool and form a kick line. So let the part and the sounds rock on Gonna shake it till the life has gone. Rose tint my world Keep me safe from my trouble and pain.162 INT. BALLROOM NIGHT The doors at the opposite end of the ballroom open. SONG: "RIFF RAFF'S RECIT" RIFF RAFF and MAGENTA now dressed in military style space suits, face FRANK from the opposite end of the ballroom. They applaud slowly. RIFF RAFF has a ray gun. The characters on stage freeze - terrified. It's a showdown across the ballroom. RIFF RAFF Frank N. Furter It's all over Your mission is a failure. FRANK looks stunned. Your life style's too extreme. FRANK is guilt-stricken. I'm your new Commander. You are now my prisoner. The GUESTS scramble for the safety of the wings. We return to Transylvania (he turns to Magenta) Prepare the transit beam. MAGENTA turns to leave. FRANK Wait! I can explain.163 INT. STAGE NIGHT SONG: "I'M COMING HOME" FRANK moves slowly to centre stage. During the song he adjusts footlight controls to give him what effects he requires. The others help FRANK out by singing from the wings. COLUMBIA operates a spotlight. BRAD closes silver curtains. FRANK On the day I went away. GUESTS Goodbye FRANK Was all I had to say GUESTS Now I FRANK Want to come again and stay GUESTS Oh my, my, FRANK Smile and that will mean I may He kicks on cloud projection. Blue skies appear. FRANK I've seen blue skies Through the tears in my eyes And I realise I'm going home I'm going home FRANK falls on his knees. Everywhere it's been the same GUESTS Feeling FRANK Like I'm outside in the rain GUESTS Wheeling FRANK Free to try and find a game GUESTS Dealing FRANK Cards for sorrow, Cards for pain. DR SCOTT switches on wind machine. I've seen blue skies Through the tears in my eyes And I realise I'm going home I'm going home. I'm going home.164 INT. BALLROOM NIGHT MAGENTA who during all this has been filing her nails, looks up at FRANK who is in an attitude of supplication. MAGENTA How sentimental. RIFF RAFF moves slowly to the stage. RIFF RAFF And also presumptuous of you. You see when I said "we" were to return to Transylvania, I referred only to Magenta and myself. FRANK looks appalled. The GUESTS are deeply troubled, realising that they also are not part of the "We". RIFF RAFF You see, you are to remain here, in spirit anyway. He produces a ray gun. DR SCOTT Great Heavens, that's a laser. RIFF RAFF Yes, Dr Scott. A laser capable of emitting a beam of pure anti-matter. BRAD You mean you're going to kill him? What's his crime? DR SCOTT You saw what became of Eddie. Society must be protected. RIFF RAFF Exactly, Dr Scott. Now Frank N. Furter, your time has come. Say goodbye to all this and hello to oblivion. FRANK raises himself to his full height. FRANK Do your worse - inferior one. As RIFF RAFF pulls the trigger, COLUMBIA dashes between them. She is killed instantly. RIFF RAFF fires again at FRANK. FRANK takes a leap fro the rope on the curtain. The entire proscenium crashes under the weight. And FRANK is crushed to death among the velvet and glittered facia. ROCKY breaks down completely. Although he despised FRANK, he was all he had in the world. He rushes to the body and cradles it in his arms. RIFF RAFF can stand no more. He fires a blast of laser beam at ROCKY who starts climbing the stairway towards the fox skyline. RIFF RAFF fires again and again. With the body of FRANK in his arms, ROCKY beats on his chest and lets out a wild sound like a giant beast of the jungle. RIFF RAFF fires a sustained beam. ROCKY climbs to the top of the Fox sculpture. RIFF RAFF fires again and again. They crash to their deaths. BRAD Good God. RIFF RAFF Yes. JANET You've killed them. MAGENTA has found the entire sequence of events quite distasteful. MAGENTA I thought you liked them. They liked you. RIFF RAFF They didn't like me. They never liked me. DR SCOTT (he tries a calming hand) You did right. RIFF RAFF A decision had to be made. DR SCOTT (the big sell-out) You're OK by me. RIFF RAFF Dr Scott I'm sorry about your nephew. DR SCOTT Yes, well perhaps it was for the best. RIFF RAFF You must leave now Dr Scott while it's still possible. We are about to beam the entire house back to the planet of transexual in the galaxy of Transylvania. Go now. The GUESTS flee down the ballroom and out the door. We see the laughing figures of RIFF RAFF and MAGENTA making a special sign to each other. CUT TO165 INT. CASTLE CORRIDORS NIGHT We see BRAD and JANET fleeing with DR SCOTT following behind.165A INT. BALLROOM NIGHT RIFF RAFF and MAGENTA's laughter has subsided. RIFF RAFF Our noble mission is almost completed my most beautiful sister, soon we will return to the moon-drenched shores of our "androgenous" planet. MAGENTA Ah - sweet Transexual - land of night - to sing and dance once more to your dark refrains. To take that step to the right... RIFF RAFF But it's the pelvic thrust that really drives you insane. MAGENTA And our World will do the Time Warp again.165B EXT. CASTLE DAWN There is a huge explosion.166 EXT. CASTLE DAWN We see the entire castle surrounded by a giant beam of light and then vanish into space. During the explosion sequence the film reverts optically to black and white. DISSOLVE TO167 EXT. THE CRATER DAY SONG: "SUPER-HEROES" BRAD, JANET, and DR SCOTT's bodies are scattered on three sides surrounding a crater where the castle once was. The scene is arid and deserted. There are remnants of DR SCOTT's wheelchair, EDDIE's coffin and broken objects from the laboratory. BRAD, tattered and bleeding, lifts himself up. BRAD I've done a lot God knows I've tried To find the truth I've even lied But all I know is down inside. DR SCOTT drags himself to his knees. BRAD & DR SCOTT I'm bleeding. JANET (revives) And super heroes Come to feast To taste the flesh Not yet deceased And al I know Is still the beast TRIO Is feeding. The three of them stand shakily on the perimeter of the crater. All that is left is dust and sand and wind and the sun. The CAMERA PANS from face to face in a circular movement getting faster and faster as the trio sing a chorale of hopelessness. DISSOLVE TO168 INT. STUDY NIGHT The CAMERA has spun into a blur but focusses on a spinning globe of the earth on the NARRATOR's desk. The NARRATOR puts his hand on the globe, stopping it. He is standing over his lectern reading from his book like a preacher in a pulpit. NARRATOR And crawling on the planet's face Some insects called the human race Lost in time, and lost in space And meaning. He turns and goes to the door of the study. He switches off the light. VOICES OFF Meaning. He leaves the study, shutting the door. It's almost dark in the study. Only a sinister glow inside the globe of the earth remains.169 CREDIT SEQUENCE SONG: "SCIENCE FICTION, DOUBLE-FEATURE" The cast credits roll up. VOICE OVER Science Fiction - double-feature Frank has built and lost his creature Darkness has conquered Brad and Janet The servants gone to a distant planet Oh - at the late night double-feature Picture Show - I want to go - Ohh - To the late night double-feature picture show. THE END --=={{****************************************************************}}==-- MICHAEL WHITE PRODUCTIONS LTD ----------------------------- THE ROCKY HORROR PICTURE SHOW ----------------------------- Script Amendments September 12, 1974 -----------------The following alterations involve discrepancies between the original screenplay and current script revisions and design decisions.1/2 The film will now commence in Black and White on "ACADEMY" format. It will extend to wide screen (1.1 - 85) at Sequence 41, while still remaining in black and white. At Sequence 54 the film changes to colour.15 Now read "Denton Episcopalian Church".23 Brad and Janet will arrive at the gate entrance to Oakley Court. This deletes a later reference to gates in 33. From hereon ignore all references to rock formations etc., as the grounds of Oakley Court are the only location involved in the approach to the house.25 Three motorbikes drive past Brad and disappear around the house.26 This window will be in turret in Oakley Court. Ignore all references to adjoining 'massive lighted window'.30 This shot will be of a Gryphem on the Oakley Court facade.32 This will be of some similar detail to the above.38 "Stairway" references now allude to the front entrance hall of Oakley Court.40 Delete references to "mirrors reflecting to infinity".47 Columbia now is astride a Juke Box. The band are cut.54a Red streamers and Black and White balloons fall. Not just streamers.69 All future references to the operating table in the Lab now should be applied either to the TANK or the vaulting horse (part of the gymnasium equipment) - whichever is applicable.75 Delete references to the Ice-block. Eddie now crashes through a wall of Coca Cola bottles and ice. He is also equipped with a saxaphone rather than a guitar.87a Rocky now escapes through the lift shaft. This may involve a shot from the vestibule showing Rocky climbing out of lift cage and running out of the house. It may also involve the double bed in the bridal suite collapsing during the escape sequence.91 It is still raining.92 Janet is now stumbling around the staircase in Oakley Court.103 This sequence may now also involve Riff-Raff, Magenta, Columbia, Frank, Brad and selected Transylvanians.106 Will now have Frank, Riff-Raff, and Brad entering the Lab in the lift cage.108 It is still raining.116 Dr Scott will now break through the tiled wall of the laboratory on the area of ramp above the control panel.117 Magenta will now appear through the broken tile area created by Dr Scott.122/140 This sequence will be altered to Dr Scott holding a photograph album containing a still photograph equivalent of the "flashbacks" referred to in this sequence.143/4 All entrances to the Lab will be via the broken tiled entrance. Delete all references to the floor lowering.147 The "secret passage" is now the broken tile entrance.164 Frank tries to scale up the silver drapes which descend on him with Tab tracks, rope supports, etc. --=={{****************************************************************}}==--MEMO: SCRIPT ALTERATIONSFROM: JIM SHARMAN 9.12.74TO: ALL CONCERNED.Sc. 148 INT. NARRATOR'S STUDY.N>As scripted up to; What further indignities were theyto be subjected to?Then please add: And what of the floor show that had beenspoken of? In an empty house? In the middle of the night.What diabolical plan had seized Frank's crazed imagination?What indeed? From what had gone before it was clear thatthis was to be no picnic.Sc. 97. INT. NARRATOR'S STUDY. N.Is replaced by the following:Emotion is a powerful and irrational master, and, from whatMagenta and Columbia eagerly viewed on their televisionmonitor there seemed little doubt that Janet was indeed it'sslave.SC. 77 pt.C.S. FRANK FRANK Oh no my baby - don't be upset - it was a mercy killing. He had a certain naive charm - but no muscle. \ No newline at end of file diff --git a/unformated_scripts/Script_Rocky.txt b/unformated_scripts/Script_Rocky.txt new file mode 100644 index 0000000000000000000000000000000000000000..924fbd827f25ab90672c470df0095fbb7f8d167c --- /dev/null +++ b/unformated_scripts/Script_Rocky.txt @@ -0,0 +1 @@ +"ROCKY" by Sylvester StalloneRING PRODUCTIONS, INC.MASTER SCRIPT: INCLUDES ALL REVISIONS AS OF 1/7/76 REVISED: INT. BLUE DOOR FIGHT CLUB - NIGHTSUPERIMPOSE OVER ACTION... "NOVEMBER 12, 1975 - PHILADELPHIA"... The club itself resembles a large unemptied trash-can.The boxing ring is extra small to insure constant battle.The lights overhead have barely enough wattage to see who isfighting.In the ring are two heavyweights, one white the other black.The white fighter is ROCKY BALBOA. He is thirty years old.His face is scarred and thick around the nose... His blackhair shines and hangs in his eyes. Rocky fights in aplodding, machine-like style. The BLACK FIGHTER dances andbangs combinations into Rocky's face with great accuracy.But the punches do not even cause Rocky to blink... He grinsat his opponent and keeps grinding ahead.The people at ringside sit on folding chairs and clamor forblood... They lean out of their seats and heckle the fighters.In the thick smoke they resemble spectres. Everyone ishustling bets... The action is even heavier in the balcony.A housewife yells for somebody to cover a two dollar bet.The BELL RINGS and the fighters return to their corner...Somebody heaves a beer can into the ring.The Black Fighter spits something red in a bucket and sneersacross the ring at Rocky. BLACK FIGHTER (to cornerman) ... I'm gonna bust his head wide open!In Rocky's corner he is being assisted by a shriveled,balding CORNERMAN, who is an employee of the club... Heworks on Rocky without any enthusiasm. CORNERMAN (lackluster) ... Ya waltzin' -- Give the suckers some action. ROCKY Hey -- CORNERMAN (overriding) Ya movin' like a bum -- Want some advice -- ROCKY ... Just gimme the water. 2.A FIGHT FAN rushes up to Rocky... He is sixty-five, withyellow teeth and wearing sunglasses. FAN Should I bet the fight don't go the distance -- Ya feel strong? ROCKY Absolutely. CORNERMAN ... Ya want some good advice? ROCKY ... I just want the mouthpiece.The BELL RINGS... Rocky makes the sign of the cross. Thefighters engage in battle. The other fighter grabs Rocky ina clinch and purposely butts him... The butt opens a bleedingcut on the corner of Rocky's eye.Rocky becomes furious over the foul and drives a flurry intothe man's body... Rocky slams the man on the jaw and thefighter is out for the night. The fans throw rubbish intothe ring. Rocky ignores it.The fans loudly go about collecting bets. The referee doesnot bother to even count the fighter out and drags him underthe ropes where he is placed on a stretcher. Two newfighters enter the ring. Rocky slips on a tattered robe.Embroidered clumsily on the back is, "The Italian Stallion." ANNOUNCER Winner, Rocky Balboa -- Next a six rounder between local lightweights.Without pomp Rocky climbs out of the ring and bums acigarette from a spectator... The fighter on the stretcherpasses behind him. He watches for a moment and continues upthe aisle... Before he even reaches the rear of the club theBELL RINGS and the next fight has already begun... Rockyfades into the darkness of the rear of the club.THE TITLE CREDITS END:INT. DRESSING ROOM - NIGHTRocky has nearly completed dressing and reaches into hislocker for his hat... Also in the dingy room are ten otherfighters... Two taped fighters talk shop in the corner. 3. FIGHTER #1 ... Tomorrow me an' my woman are gonna tip on down to Atlantic City, man. FIGHTER #2 ... It's cold, Bro'. FIGHTER #1 ... That's right, I got the city to myself...Another paces nervously... Two other fighters shadowbox andspit nervously on the floor.A young pug combs his hair and listens to a portable RADIOthat is BLASTING MUSIC.The fighter that Rocky has just defeated is drinking a beerand joking with three other fighters... Some of the fightersare smoking. The room is cloudy.A short man of fifty enters. He is dressed in a sweaterbuttoned over a t-shirt. PROMOTER ...Balboa!?Rocky raises his head. The promoter steps over. PROMOTER (continuing) ... Twenty bucks for the locker an' cornerman -- Two bucks for the towel an' shower, seven for tax -- The house owes ya, sixty-one dollars.The man peels off the money and departs... Rocky closes hislocker, nods to the defeated fighter, and leaves.INT. TROLLEY - NIGHTRocky is on the trolley heading to South Philly... Thetrolley is empty except for a thin old black WOMAN... Theblack Woman studies Rocky's bruised face... Rocky becomesself-conscious. ROCKY (almost apologetic) I'm a fighter. 4. WOMAN (tired) ... Yo' iz an accident.EXT. STREET - NIGHTRocky exits the trolley and walks down the block... He wavesat a pair of high-heeled hookers and they wave back.Rocky passes a sleeping wino curled in front of a dirtybookstore. Rocky drags the man into a protective passageway.Further down the street, Rocky pauses in front of the"ANIMAL TOWN PET SHOP"... He peers into the dark store andsees a sad, huge dog sitting in the window. He mumbles tothe dog and continues to the corner.EXT. ROCKY'S APARTMENT - NIGHTA short while later, Rocky approaches his apartment locatedin the most deprived section of South Philly. He kicks awaythe litter that has gathered against the apartment steps andenters.INT. ROCKY'S HALLWAY - NIGHTThe narrow hallway is painted olive brown. A single lightbulb illuminates the gloomy corridor.INT. ROCKY'S APARTMENT - NIGHTRocky enters. The one-room apartment is drab, with acurling boxing poster of Rocky Marciano tacked on the wall...Nailed against the far wall is a mattress. The mattress isused as a punching bag. Stuffing spills out of the center.Rocky drops his coat on the floor. He puts on a pair ofglasses. He crosses to a small turtle bowl... He lifts thecreatures. ROCKY ...Look who's home.Rocky starts to boil a pan of water on his hot plate, thenplaces an old 45 RPM record on a battered phonograph. Therecord is a tune, "ALL IN THE GAME."... As the CRACKLING MUSIC BEGINS, Rocky picks up hishairbrush. Using it like a microphone, he mimes to therecord. He assumes the posture of a famous singer crooningto thousands of adoring fans... He then switches into abullish fighting stance and throws several punches.The water boils. Rocky soaks his badly-swollen hands. 5.EXT. SUNRISE OF PHILADELPHIA SKYLINE - DAWNWe SEE the jagged skyline, highlighted by the toweringfigure of William Penn that rises above the dawn haze as itsits majestically above City Hall...EXT. DOCKS - EARLY MORNINGRocky is walking along the waterfront... He has a bandaidover one eye. He looks at the rugged stevedores going abouttheir business... He stuffs his hands in his cheap wooljacket and approaches a ship being unloaded.Rocky passes two thick Mafia types leaning against a parkedcar. These men look like blood drinkers. MAFIA #1 Yo, Rock -- How's your Boss? ROCKY Real good. MAFIA #2 Fightin' again? ROCKY Yeah, here an' there. MAFIA #1 Mebbe we make sum money togather soon... Give ya boss my best.Rocky shrugs and moves away... He nears a heavy man workingthe crane. The heavy man looks frightened... He stops thecrane and hurries into the ship's hole. Rocky dashes up thegangplank.INT. SHIP - DAYThe man enters the ship's hole and runs past tons of stackedcrates and coffee beans.Rocky sprints after him... He lunges and flings the man bythe neck against the wall of stacked cargo. FATS (terror-filled) Don't hit the face! Not the face!! ROCKY Mr. Gazzo wants the two hundred now! 6. FATS Honest to God I'm broke -- Gimme a break. ROCKY Mr. Gazzo says I should get two hundred or break the thumb. FATS Please, I need my hands to work -- Christ, don't bust my thumbs.At wits' end the man picks up a large metal hook used bystevedores. Rocky remains cool. ROCKY Goin' fishin'?The man drops the hook. ROCKY What's ya name again? FATS Bob. ROCKY Look, Bob, if ya wanna dance, ya gotta pay the band -- If ya borrow, ya gotta pay the man... Me, I ain't emotionally involved.Rocky's determined expression strikes home. The fat manquickly fumbles through his pockets and hands over a smallwad of bills. ROCKY (continuing; counting) A hundred an' thirty. FATS That's it, I'm broke. ROCKY That's it? -- Completely? FATS That's it. ROCKY What about for food an' stuff? 7. FATS You have my food in ya hand.Rocky looks almost sympathetically into the fat man'sflushed expression. ROCKY ... The juice is climbin' every week. FATS I know the juice is climbin' -- I been workin' six months just to pay the damn interest. ROCKY Ya still light seventy. FATS Waits! -- Be smart. Ya don't have to break nothin' -- Here, take my coat, it's worth fifty-sixty dollars. It's yours.The man quickly removes his coat and extends it... FATS (continuing) See, ya a smart guy, Gazzo's don't have to know nuthin'. I'll go tape up the hand like ya broke my thumb. Gazzo won't be wise to nothin' -- Be a smart guy, keep the coat, we'll fake like ya broke the hand.The man extends his coat again... Rocky suddenly grabs theman's thumb and bends him to his knees. FATS (almost a whisper) No - no - no - Please - Please - Please don't...Rocky releases the man who remains almost in shock. Thethumb is fine. ROCKY ...That's what coulda happened. (walks off.) 8.EXT. STREET - DAYLater that morning Rocky passes "Animal Town Pet Shop" inSouth Philly... The shop is not very prosperous looking. Inthe window hangs a sign reading "Today's special -- MixedKittens -- $1.50"... Rocky stops at this shop every morning.He stares at a litter of Lhasa Apsa puppies. He taps thewindow and whistles. He SEES a girl behind the counter andpresses his face against the window and does his impressionof the Hunchback of Notre Dame. The girl nervously looksaway.The girl behind the counter is ADRIAN KLEIN. She is notvery attractive, but pleasant-looking. Thirty years old.Brown hair pulled back. Light skinned. She wears glasses.Rocky really stops by to flirt with Adrian, but she is sopainfully shy nothing ever gets started... Rocky enters.INT. PET SHOP - DAY ADRIAN ... Could you take the puppy out -- CUSTOMER It can breathe. ADRIAN Please - CUSTOMER Please, nothin' - I paid for this dog and can do whatever I want with it - I can throw it through the window if I want - Now give me my two dollars back before I do throw it through the window.Rocky walks over to her, stares hard in her face and snatchesthe bag out of her hand. He removes the puppy and hands itto Adrian. CUSTOMER Get away from me - Give me that!Rocky takes a couple dollars out of his pocket and hands itto the lady... She nervously exits. ROCKY ... How's the turtle food this week? 9. ADRIAN ... Fine. ROCKY Me, I'm kinda aggravated. ADRIAN ... I'm sorry. ROCKY Ain't your fault - Here's the problem.Adrian nods... Though charmed, she is slightly intimidated. ROCKY The last food I got here had more moths than flies -- An' the moths get caught in my turtle's throat -- That makes them cough --The OWNER, a squat woman of forty, steps out of the back andwaves at Rocky. ROCKY (continuing) Yo, Gloria -- I was talkin' about the turtle food -- Like I was sayin', the moths get caught in the turtle's throat an' makes 'em cough... (coughs) A little cough an' I gotta smack 'em on the shell -- An' whatta think they get?Adrian shrugs. ROCKY (continuing) I smack 'em hard on the shell an' they get... What? ADRIAN ... I don't know. ROCKY Shell-shocked!Both the Owner and Adrian smile. 10. OWNER Startin' with the bad jokes early today, huh. ROCKY Inventin' jokes ain't easy.Rocky steps over to a large cage at the rear of the shop...Inside is a huge dog. ROCKY (continuing) How's Butkus this mornin'? OWNER Ain't had time to check 'em.Rocky opens the cage and the large dog jumps out and looksvery happy. ROCKY Yo, Butkus -- Dead. Play dead.The dog plays dead. ROCKY ...What kinda dog is this again? OWNER Bullmastiff. ROCKY The owner was suppose to pick him up three weeks ago. OWNER We're not responsible for animals left over thirty days - We board it ain't a animal shelter, Y'know. ...Adrian, I want you to clean all those cat cages downstairs, they're a mess. (Adrian nods.)Rocky waves goodbye to Adrian and exits the shop.EXT. LEHIGH ST. TRAIN TRESTLE - DAYGazzo picks up Rocky. 11.INT. GAZZO'S CAR - MOVING - DAYMR. GAZZO and his YOUNG BODY GUARD sit in the front seat...Rocky is in the back seat. ROCKY He only had a hundred an' thirty. -- I think he's good for the rest next week, Mr. Gazzo. GAZZO (patiently) Sure, Rocky, Bob's good for it...Gazzo hands Rocky a twenty. GAZZO Tomorrow collect from Del Rio -- He's late three weeks. How'd you do last night? ROCKY ... Fine.Gazzo's Bodyguard looks at Rocky's bruised face in themirror and smiles. BODYGUARD Did ya get the license number? ROCKY Of wa? BODYGUARD ... Of the truck that run over your face.Gazzo steps out of the car and beckons to Rocky. GAZZO Yo Rock. Did I give you a job this mornin? How come ya didn't break this guy's thumb like I asked ya? When ya don't do what ya are told, it makes me look bad, kid. ROCKY I figure if I break the thumb this guy gets thrown outta his job and can't pay nothin no more. 12. GAZZO It don't matter. It's my reputation. These guys think they can get off light. It's bad for my reputation -- It's bad for business. See ya killer.Gazzo gets into his car. GAZZO (to Bodyguard) ... The Rock's a good kid. BODYGUARD (emotionless) ... A meatbag.They pull away.EXT. GYM - DAYGazzo drives off and Rocky strolls across the street toGoldmill's Gym. On the way he passes several familiarpeople and exchanges waves... Out front is a young Irishmanwho runs a soft pretzel stand... His name is RUDY. It isapparent from his face he was a prize fighter... He is blindand mentally defective. RUDY ...See the fight last night? RUDY Nah, I was fightin' myself. RUDY Apollo Creed beat the bum to pieces.EXT./INT. GYM - DAYMickey's Gym is surrounded by bars and a couple of greasyspoons. Out front a crowd of young Blacks talk and jiveamong themselves. Two winos lean against the entrance.Rocky enters the gym... The place is nearly full. TheMEASURED BEAT of SKIP ROPES and THROBBING SPEED BAGS makesthe room come alive, like it was a mindless piece ofmachinery. Over the loudspeaker MUSIC by the Isley BrothersBLARES out... The music adds a background to the CLANG ofthe AUTOMATIC TIMERS, SNORTING SPARRING PARTNERS and theTHUDDING of HEAVY BAGS. 13.The room is divided -- Fifty percent Black -- thirty-fivepercent Latin -- ten percent white -- five percent other.As Rocky walks through the gym many of the FIGHTERS pause towave and yell greetings. FIGHTER #1 Hey, hear ya knocked Spider Rice out in the sixth? ROCKY The third -- Shoulda seen it.Rocky passes another FIGHTER punching the heavy bag. FIGHTER #2 (removes glove) Hey, Rock, touch my hand. ROCKY How come? FIGHTER #2 C'mon, it's important.Rocky touches the Fighter's bare hand. FIGHTER #2 (continuing) Can ya tell I just whacked-off?Rocky smiles and moves away.INT. DRESSING ROOM - DAYThe dressing room is lined with dented lockers. Woodenbenches stretch across the room. On the wall is a sign thatreads, "NO KISSING."Rocky goes to his locker. He tries to open it but fails.He leans his ear against the lock and rolls the tumblers.Still it does not open. He shakes the lock forcefully, noluck... Rocky is flustered and sits on a bench to ponder thesituation.After a moment of deep thought, Rocky stands, seizes thebench and smashes open the lock. Opening the door Rocky istaken aback when he sees a set of very flashy clothes. ROCKY (mumbling) ... These ain't my clothes. 14.He sees a picture of several black girls taped on the insideof the door. ROCKY (continuing) ... These ain't my pictures.A short powerful man of thirty-five enters. His hair lookslike it has been shaped with hedge clippers. His name isMIKE. ROCKY Yo, Mike -- What's happenin' here? MIKE It ain't your locker no more. ROCKY Whatta ya talkin' about it ain't my locker no more? MIKE Listen, I'm with you -- But ya gotta talk to Mickey -- I put ya stuff in the bag over there.Rocky looks at his belongings crammed in a wilted shoppingbag and follows Mike across the room... Mike leans his headinto the shower room. Two Latin fighters are lathering up. FIGHTER ...Hey, Peanut, gimme some soap, Man. MIKE (irate) Hey, Nobody -- Yeah, you, Nobody -- You don't call me Peanut. FIGHTER Peanut, gimme some soap.The fighters laugh. Inflamed, Mike removes a bar of soapfrom his pocket and hurls it at the insulting fighter. Ithits just above the man's head. The fighters are shockedinto silence.Mike turns and exits with Rocky... The fighters curse themloudly in Spanish. 15.INT. GYM - DAYRocky and Mike move past fighters going through theirtraining routines. ROCKY You were ready to bite that guy's face. MIKE Yeah -- See the fight last night? Apollo Creed beat that English guy bad. ROCKY Creed's great.Mike fakes a friendly punch at Rocky and hurries off toanother chore...INT. GYM - DAYThe Owner, MICKEY, sits on a stool near the entrance. Hewears a baggy suit... He is in his late seventies.Rocky approaches... Mickey is conversing with another fighter. MICKEY I don't care what nobody says, this bum Creed woulda never made it in the Thirties -- ROCKY Hey, how ya feelin', Mickey? MICKEY (monotoned) ... What? ROCKY I said, how ya feelin'? MICKEY (dryly) Do you see me talkin'? Huh? ROCKY (low) Yeah. 16. MICKEY (spitting) Then stand there an' wait till I'm done -- Creed's good, yeah, he's real fine but I gotta boy, y'know Big Dipper, who's got the stuff it takes to be a champ -- He's mean, quick, an' big -- What more d'ya need? Okay, go to work... (to Rocky) Hey -- Yeah -- Whatta ya want? ROCKY I was talkin' with ya man, Mike. -- Hey, how come I been put outta my locker? MICKEY Dipper needed it.Rocky turns and looks at DIPPER sparring... Dipper is ayoung, muscular heavyweight with a mean expression. MICKEY (continuing) Dipper's a climber -- You're a tomato. ROCKY ... Tomato? MICKEY Facts is facts. I run a business here -- I'm cleanin' house --Mickey pauses to watch a young middleweight time-skip as histrainer sings "FASCINATIN' RHYTHM." MICKEY (continuing) How old are ya? ROCKY ...What? MICKEY How old? ROCKY Come July, twenty-five. 17. MICKEY More like thirty. ROCKY Twenty-five, thirty -- What's the difference? -- It took me two months to learn the combination of that locker. MICKEY The legs must be goin'. ROCKY Yeah, they're goin', -- that's nature... That was my locker for six years. MICKEY ... Did ya fight last night? ROCKY Yeah -- MICKEY Did ya win? ROCKY Yeah, Kayo. MICKEY ... Who'd ya fight? ROCKY Spider Rice. MICKEY Rice is a bum. ROCKY You think everybody I fight is a bum. MICKEY Ain't they?Mickey shoots Rocky a quick, indifferent look and removes arosary from his pocket and idly rolls it around his fingers. 18. MICKEY (continuing) Ya want the truth -- Ya got heart, but ya fight like an ape -- The only thing special about you is ya never got ya nose broke -- keep ya nose pretty -- what's left of ya brain an' retire. ROCKY Listen, I'm gonna take a steam -- Did good last night -- Shoulda seen it. MICKEY Hey, ever think about retirin'? ROCKY ...No. MICKEY Think about it. ROCKY Yeah, sure.Shrugging, Rocky moves away. ROCKY (continuing) ...I think I'm gonna take a steam -- Shoulda seen me fight -- Did good, y'know.Mickey leans over to Mike who approaches with a mop and pail. MICKEY (gesturing towards Rocky) Known him since he was fifteen -- A waste of life.Dejected, Rocky travels to the locker room. He passes BigDipper sparring in a ring... Dipper spits a mouthful ofwater in a bucket and looks smugly at Rocky. DIPPER (to Rocky) ... I dig yo' locker, Man. TRAINER Time, Dipper. 19.Dipper smiles cruelly and begins sparring... Scene FADES onRocky's crestfallen expression. He moves off.EXT. PET SHOP - DUSKAt sunset Rocky comes down the street and pauses at the petshop... He is eating Colonel Sanders' fried chicken out of abag... He taps on the window with a chicken bone.INT. PET SHOP - DUSKInside Adrian is arranging pet toys on the counter... Shehears the tapping, sees Rocky, and tenses. Rocky enters. ROCKY ... Wow -- cold! Good night to catch pneumonia.Adrian smiles slightly and moves behind the counter. Rockyfumbles idly among the pet toys. ROCKY (continuing) Ah -- I came in here for somethin'... Oh, yeah, would ya like somebody to walk ya home?The girl wants to say yes but a tremendous inferioritycomplex will not permit it... Rocky understands. ROCKY (continuing) Hey, how's my buddy doin'? (looks into Butkus' cage) -- Nice dog -- Well, I'll see ya later. ADRIAN ... Goodnight, Rocky.Rocky exits. Adrian watches his departure with mixedemotions.EXT. ANDY'S BAR - NIGHTA short while later Rocky arrives at Andy's Bar... He throwsthe Colonel Sanders bag and bones in a large public littercan. The trash can has a bicentennial picture of GeorgeWashington pointing at a pile of garbage. The captionreads, "There was no litter at Valley Forge!" 20.INT. ANDY'S BAR - NIGHTRocky enters the bar. He sits the Drunk in a booth...Several drinkers wave at him. OLD ANDY sets a mug of beerin front of him... Rocky seems to be looking for someone. ROCKY Catch pneumonia out there -- Seen Paulie?Andy casually nods towards the men's room.Rocky traverses the room and passes TWO DRUNKS leaning onthe bar.INT. ANDY'S RESTROOM - NIGHTRocky enters the restroom... It is a vile stench hole withyears of the remnants of many sick drunks caked on the wall.PAULIE is presently trying to comb his hair in the onlyremaining piece of mirror in the room... Paulie is in hisearly thirties. He is medium height. Brown hair. Squareshouldered. He has a foul personality... A classicmisanthrope. ROCKY Yo, Paulie. PAULIE (very drunk) Yo, Rocky -- Look at this mirror. I'd like to kill the friggin' moron who broke this mirror. ROCKY Yo, Paulie. PAULIE What? ROCKY Your sister's givin' me the shoulder. PAULIE Forget her. You could do better than my sister. ROCKY Every mornin', every night I pass by -- I smile. (MORE) 21. ROCKY (CONT'D) I say jokes. Nothin'. She looks at me. PAULIE (annoyed) Looks, huh? ROCKY Yeah, like I was a plate of leftovers -- Somethin' wrong with my face -- Whatta I need, a Caddy to connect with ya sister? PAULIE My sister's a friggin' loser. ROCKY Hey -- PAULIE Sometimes she gets me so crazy, I'd like to split her head with a razor. ROCKY Don't get mental, man. PAULIE Ya caught me in a bad mood. ROCKY Ya always in a bad mood -- PAULIE ... Adrian ain't sharp.The restroom stench is overwhelming... Rocky covers his nosewith the neckline of his t-shirt. PAULIE (continuing) She's a loser -- She don't enjoy life -- She reads -- Brainy -- Pushin' thirty friggin' years old! She's gonna die alone if she don't wise up. ROCKY I'm thirty myself. 22. PAULIE An' you're dyin' alone, too. ROCKY I don't see no crowd around you, neither. PAULIE (pointing at the wall) I wanna kill the friggin' moron who broke the mirror. ROCKY Let's get outta this stink.INT. ANDY'S BAR - NIGHTThe restroom door opens. Rocky guides Paulie out. Thoughstumbling, Paulie talks as he walks. PAULIE The girl's dryin' up! She's gotta live a little before her body dries up!! You're a pal, Rock -- How 'bout yo' talk to her? Y'know, it's Thanksgivin' tomorrow. ROCKY ... Sure. PAULIE Tomorrow you come for some bird, right? ROCKY Absolutely...Paulie smiles and Rocky guides him to a booth... Rocky stepsto the bar. Andy leans over to him. ANDY That was alotta crap to go through for a dinner invite.Rocky shakes his head no and raises his eyes towards asuspended television... the nightly sports broadcast is on.The SPORTS COMMENTATOR is at the airport and about tointerview the heavyweight champion of the world, APOLLOCREED. Creed is twenty-eight years old. He is a tall,smooth-muscled Black with barely a scar on his light coffee-colored face... 23.He is followed by an entourage of mixed trainers andcornermen. Also tagging alone is a small group of hangers-on.The Commentator interviews Creed as he and his followersdisembark a private jet. COMMENTATOR How was the flight, Champ? APOLLO Very high an' very fast.Apollo's crowd smiles almost automatically at everything hesays. COMMENTATOR Apollo, how would you rate this last British challenger, Henry Wilcoxson? APOLLO He was big, an' very nasty so I destroyed him in a hurry -- Now I'm gettin' ready for Mac Lee Green next month. COMMENTATOR You're referring to the much publicized bicentennial fight? APOLLO That's right -- It's gonna be the greatest sportin' event in this country's history -- A gala occurrence! COMMENTATOR Still to be held in Philadelphia? APOLLO The Bicentennial Heavyweight Championship of the World is gonna be held in the only place it can be held -- Philadelphia! -- the nation's cradle -- January First -- the first major event of our two hundredth year. COMMENTATOR Where're you off to now?Apollo draws his wife close. 24. APOLLO Me an' my wife are goin' home 'cause we miss our children an' can't go no more time without seein' them. COMMENTATOR Any quick advice for young boxing hopefuls? APOLLO (looks straight into the camera) ... Stay in school an' use your brains, dig -- Be a lawyer, be a doctor, carry a leather briefcase an' forget about sports!! Sports can only make ya grunt an' smell -- Be a thinker not a stinker!!Apollo's entourage laughs and they move on... The Commentatorfaces the camera. COMMENTATOR Jerry Simpson at Kennedy Airport with the Champion, Apollo Creed.The sports show cuts away, but Rocky continues to look atthe television with a pensive stare... Andy has been speakingthe following dialogue over Apollo's broadcast. ANDY Nobody cares what's happenin' in the world of sports nomore -- Downhill. Baseball, downhill -- Basketball, downhill. Football's goin', too. Bank on it. Baseball use to be America's best sport... Sure -- Nuttin' like squattin' through a great double header, but now baseball's all business.The news report with Apollo ends. Andy drinks. ANDY (continuing) Where are the real fighters? The pros. Today we jig clowns. 25. ROCKY Clown. ANDY Yeah. ROCKY He took his best shot an' became champ -- What shot did you ever take? ANDY Yo, Rock, you ain't happy with yourself? Fine. But me, I gotta business here -- I don't need to take no shot.Becoming despondent, Rocky rises and crosses to Paulieslumped unconscious in the booth.Rocky exits the bar... Andy turns to his customers. ANDY (continuing; boldly) Take a shot, he says! -- Sure, I'll take a shot!Laughing, Andy pours himself a shot.EXT. ATOMIC HOAGIE SHOP - NIGHTRocky passes an all-night sandwich shop... In the windowhangs the sign "ATOMIC HOAGIE SHOP, INC." Out front areseveral YOUNG MEN and WOMEN. They are much too young to beout so late... A boy with a badly-chipped tooth beckons toRocky. CHIPPED TOOTH (aggressively) Yo, Rocks, buy us sum wine, man. ROCKY ... No wine -- Bad for ya' brain. CHIPPED TOOTH C'mon, man, it's cold, man. ROCKY No wine. CHIPPED TOOTH Yo, Rock, gimme a dollar. 26. ROCKY Why? CHIPPED TOOTH (sarcastically) 'Cause we dig ya, man -- Gimme a dollar. ROCKY No dollar. CHIPPED TOOTH Hey, give Rocky a dime. YOUNG MAN #2 ... How come? CHIPPED TOOTH So he can call all his friends. ROCKY (mildly embarrassed) ... That's an old one. CHIPPED TOOTH Buy us some Thunderbird, man.Rocky ignores the statement and faces a very young girl whois smoking and leaning whore-like against the wall. ROCKY Is that Marie? -- Marie, ya brother know you're hangin' out so late?The girl, MARIE, assumes an indifferent attitude, attemptingto impress her friends. MARIE ... Screw you. ROCKY (awed) What'd you say? MARIE ... Screw you, yoyo.The gang laughs. Angered and shocked, Rocky grabs her arm. ROCKY Did these guys teach you to talk dirty? Huh? 27. MARIE Hey -- ROCKY What? MARIE Stuff it, man! ROCKY (shakes her) Don't you never say that -- (to the gang) -- You guys talk like that in front of a little girl -- You guys are scum. CHIPPED TOOTH This is our place, dig!The gang reluctantly backs up a step. ROCKY Don't ya never come round this girl -- Go home. YOUNG MAN #2 This is our corner, man! You go, chump!Rocky moves forward and they scatter... They quickly move off. CHIPPED TOOTH (backpedaling) We'll kill you, man -- We gotta gun. ROCKY Pull heat on me? -- I'll dent ya face!Rocky leads the girl away.EXT. STREET - NIGHTRocky is walking the young girl home... They are presentlycutting through a dark public school yard. They passthrough the beams of light cast off by weak flood lightslocated at the top of the school building. The atmosphereis somewhat eerie. 28. ROCKY How come ya wanna hang out with those guys? They teach ya bad things. MARIE I like 'em. If you don't you can f-- ROCKY Hey! When I was your age, there was only one girl who talked like that in the whole neighborhood. MARIE (bored) ... Yeah.She attempts to light a cigarette... Rocky nonchalantlytosses it to the ground. ROCKY Make your teeth yella -- MARIE I like yella teeth. ROCKY Makes your breath like garbage. MARIE Maybe I like garbage.Rocky and Marie take a shortcut through a dark school yard. ROCKY Nobody likes garbage -- Anyway, this girl with the dirty mouth wasn't bad lookin', but the guys wouldn't take her out for any serious datin'. MARIE Why? ROCKY 'Cause that's the way guys are -- They laugh when ya talk dirty. They think ya cute for a while, but then ya getta reputation an' watch out. (MORE) 29. ROCKY (CONT'D) Nobody's ever gonna take ya serious. Ya get no respect... I gotta use a bad word -- Whore. You'll end up maybe becomin' a whore. MARIE C'mon, Rocky. I'm twelve. ROCKY That doesn't matter -- You don't really have to be a whore, just act like one an' that's it. MARIE What? ROCKY Yo, a bad reputation -- Twenty years from now people will say 'D'you remember Marie?' 'No, who was she?' 'She was that little whore who hung out at the Atomic Hoagie Shop.' 'Oh, now I remember!'... See, they don't remember you, they remember the rep.Rocky and Marie exit the dark school yard... Standing in theshadows of the building are three young muggers. The lightfrom their cigarettes flares red in their faces.The muggers pace Rocky across the street and follow themdown the block... Rocky sees them and stops and faces thethree. The muggers pause and study Rocky from a distance oftwenty yards. Rocky gives a loud boxer's snort, wipes hisnose with the side of his thumb and rolls his shoulders...The muggers are intimidated and slowly peel off the meanderaway.Rocky turns to Marie who has been standing behind him. ROCKY (points down the block) ... That's your house, ain't it?Marie nods. ROCKY (continuing) Listen, I hope ya don't -- 30. MARIE I won't. ROCKY What was I gonna say? MARIE Ya hope I don't keep acting like a whore or I'll turn into one, right? ROCKY Ya, somethin' like that.They exchange smiles and Marie moves away. Rocky has madean impact on her life. MARIE Goodnight, Rocky. ROCKY 'Night, Marie.She takes a few more steps and pauses again. MARIE ... Fuck you, Creepo!!!The girl runs to her house as Rocky looks on in dismay. ROCKY (walks off) ... Yeah, who're you to give advice, Creepo.INT. JERGENS' OFFICE - DAYAPOLLO CREED and his LAWYER and TRAINER are seated in theoffices of MILES JERGENS. Jergens, a successful promoterlooks unhappy as he looks into the scowling face of ApolloCreed. LAWYER Are the doctor's reports confirmed? JERGENS Definitely -- (reading) -- It says here, Mac Lee Green has suffered a seriously cracked third metacarpal in his left hand. 31. APOLLO Damn. JERGENS I suppose we could cancel the fight indefinitely if you are set on fighting Green. TRAINER It ain't just Green, what about the time Apollo's invested -- JERGENS I believe we can find a solution. APOLLO Solution, nothin' -- What about the Bicentennial fight. LAWYER Jergens, don't play games with my client! Apollo has already done nearly a million dollars worth of publicity -- TRAINER Ten million's worth! LAWYER -- And has made contractual obligations with over twenty different organizations -- He doesn't want to be embarrassed. APOLLO You best find me another ranked contender an' I mean in a flash, man! JERGENS (holding up some notes) I contacted Ernie Roman's manager, he's fighting in France the same week. APOLLO Then gimme Buddy Shaw -- He's ranked fifth. 32. JERGENS Shaw's fighting in South America -- Why not postpone the bout until July Fourth? LAWYER Hell with Fourth of July, man! Ten thousand things'll be goin' down on the Fourth of July! -- Apollo wants to be first! JERGENS That may not be possible, Jimmy. TRAINER This man here is the Star, dig -- Don't cause him to breathe heavy -- Now what 'bout that sucker, Billy Dukes? JERGENS Went to California and gained fifty pounds -- and I called every worthwhile contender, but they say five weeks isn't enough time to get in shape.Apollo stands beneath a new fight poster and points to it. APOLLO Shape, nothin' -- They're afraid. They know everybody in the world's gonna see this fight an' none of them gotta prayer of beating me so they're makin' excuses so they don't have to be the chump that's gonna be whipped in front of the whole civilized world!! JERGENS Apollo, I'm sure there's a way to salvage this. TRAINER Nobody wants to be dissected on the country's birthday. 33. JERGENS All I can counter with is that I'm a goddamn good promoter -- I've promoted in every country in the world -- and I've tried to the best of my abilities. Perhaps you're right, and no one wants to be beat on the country's birthday... I don't know what else to say -- APOLLO I do -- Maybe what this fight needs is something new -- a novelty. TRAINER You's the novelty, Champ! APOLLO Give my main man a raise!!Everyone laughs. APOLLO (continuing) Now here's what's goin' down. Listen, 'cause I'm gonna say this but one time. On January first, the first day of the Bicentennial I'm gonna fight me a local poor underdog, dig? A snow-white underdog. An' I'm gonna put his face on this poster with me, hear? An' I'll tell you why, 'cause I'm sentimental -- An' all the people in the country all sentimental, man, an' they'd like nothin' better than me, Apollo Creed, to let some unknown get a shot at the greatest title in the world on this country's biggest birthday. Now that's the way I see it an' that's the way I want it!! JERGENS ... It's very American. APOLLO No, man, it's very smart. 34.EXT. STREET - DAYLate that afternoon Mr. Gazzo's white 1970 Cadillac pulls upto Rocky's apartment... Rocky is in the back seat with theloan shark. Gazzo's bodyguard is driving.Gazzo flips through a small black notepad. ROCKY Next Wednesday I grab a grand from Snyder. An' Thursday two yards from Cappoli, okay? GAZZO No, two yards from Snyder, an' a grand from Cappoli. ROCKY Ya sure? GAZZO Hey, screw ya brain on right. Now, who's this girl you're going out with tonight? ROCKY How'd you know? GAZZO (smiles) You think I don't hear things? ROCKY Paulie's sister. BODYGUARD (abrasively) Hear she's retarded. ROCKY (dryly) She ain't retarded, she's shy. BODYGUARD Take 'er to the zoo -- Retards like the zoo. ROCKY Does that bum have to say that?The Bodyguard reddens... Gazzo motions to his Bodyguard torelax. 35. GAZZO Buddy's in a bad mood -- prostate problems. ROCKY He's always in a bad mood. (laughs) Count ya blessin's. Ya a healthy person -- ya legs work -- ya hands work --The Bodyguard has been looking at Rocky with murderous eyes. BODYGUARD I don't like ya face. ROCKY Don't like yours neither. BODYGUARD Kiss my ass. ROCKY Move your shoulders down.Mr. Gazzo is amused. He steps out of the car, followed byRocky. GAZZO (smiles) Buddy's got a thing against ya, Rock. Some people just hate for no reason, y'know. ROCKY Yeah. GAZZO Here's fifty bucks -- You an' the girl have a nice time. ROCKY Thanks, Mr. Gazzo.Rocky enters his apartment and Gazzo drives off.INT. JERGENS' OFFICE - DAYThe SCENE REVERTS BACK TO Miles Jergens' office. Apollopores over a large record book. APOLLO How 'bout this Billy Snow? 36. JERGENS Fouls. APOLLO How 'bout this Big Chuck Smith? TRAINER Too old, dull fighter. (points at a name) Bobby Judge is a good boy. APOLLO ... I don't feel heat from the name. JERGENS Joe Zack is a good prospect -- Exciting boy. APOLLO ... Still don't feel no heat. JERGENS (sighs) Exactly what are you looking for, Apollo? APOLLO ... This man.Everybody leans forward. APOLLO (continuing; much amused) 'The Italian Stallion' -- He's my man. JERGENS Rocky Balboa -- His record's poor -- APOLLO Don't matter -- That name. 'The Italian Stallion,' it's right on. (laughs) Who discovered America? An Italian, right? So, man, what could be better than to get it on with one of his ancestors -- TRAINER He won't last one round. 37. APOLLO Listen, I gonna carry this boy three rounds, then drop 'im like a bad habit. TRAINER I don't like you messin' with southpaws -- They do everything wrong. APOLLO Southpaw, nuthin' -- I'll drop 'im in three -- 'Apollo Creed meets the Italian Stallion.' Shhiii -- Sounds like a damn monster movie!!Everyone laughs. FADE OUT.FADE IN:EXT. STREET - DUSKRocky and Paulie walk towards his house... Even though it iscold and dark, a group of kids conduct an energetic game ofhalf-ball. (Half-ball is a variation of stick-ball.) ROCKY (mimes throwing) I usta be deadly at half-ball. PAULIE I hate the friggin' game... I'd like to talk some business. ROCKY What kinda business? PAULIE Look at my hands -- See how the joints are swollen.Paulie extends his thick hands and tries to make a fist. PAULIE (continuing) Inflamed joints -- Walkin' in an' out of a freezer carryin' meat plays hell on the joints. ROCKY Maybe ya should see a doctor. 38. PAULIE I don't need a doctor, I need a different job. ROCKY Maybe another job is the best thing. PAULIE Do me a favor -- Talk to Gazzo. Tell him I'm a friend an' would do a good job... Tell him I ain't bothered by nothin' an' would be a great collector... Bustin' bones don't bother me -- Tell him I'm a good worker. ROCKY Gazzo's gotta come to you. PAULIE I'm askin' ya to go to him -- As a favor. ROCKY Gazzo's gotta come to you -- Hey, Paulie, it's a bad job -- Do what you do now.EXT. ATOMIC HOAGIE SHOP - DUSKThey continue past the Atomic Hoagie Shoppe, Inc... A groupof young men pitch quarters on the sidewalk out front.Rocky pauses... He sees Marie, the little girl from thenight before, hanging around with the guys. She sees Rocky.Marie takes a deep drag on her cigarette and faces theopposite direction... The gang smiles and continues to pitchquarters.Anger and disappointment register across Rocky's face. PAULIE You know her?Rocky shrugs and the two men move off... Filling the nightair is the METALLIC SOUND of pitching QUARTERS.EXT. PAULIE'S APARTMENT - NIGHTThe men arrive at Paulie's home. It is at the top of adimly-lit four story walk-up. 39. ROCKY Ya sister knows I'm comin'? PAULIE Yeah, sure -- She's very excited.INT. PAULIE'S APARTMENT - NIGHTPaulie unlocks the apartment door and enters... Rockystiffly follows. Paulie's sister steps out of the kitchen.A large serving spoon is in her hand... The TV is on.She stops short and eyes Rocky... She is visibly unsettledby Rocky's unexpected presence. ADRIAN (weakly) Paulie, you're late.She looks at Rocky again. PAULIE Did you call the hospital? (to Rocky) If I'm ten minutes late, she calls the hospital.Adrian enters the bedroom and slams the door... Pauliefollows. An argument ensues and Rocky overhears.OVER the argument is HEARD a SPORTS BROADCAST rising fromthe TELEVISION. COMMENTATOR (V.O.) ... Unfortunate luck for fifth-ranked heavyweight, Mac Lee Green. The slugging fighter acquired a serious fracture in his left hand after an aggressive day of sparring -- Champion Apollo Creed says he'll be 'shopping for another victim,' to fill Green's vacancy for the Bicentennial Championship Fight to be held in Philly next month... By the way, rumor has it that this will be the most widely-viewed sporting event in the entire world -- and that includes the Super Bowl, folks... Today U.S. swimmers set a new... 40.Meanwhile, the argument between brother and sister continuesin the bedroom. ADRIAN ... Paulie, why didn't you tell me you were bringing him home?! Look at me, I'm not ready for this. PAULIE Like it would make a difference if you were, right? This guy's a friend and now he's takin' ya out. ADRIAN No... I can't! PAULIE Ya, ya goin' outta the bedroom an' I don't wanna know from nothin'. ADRIAN Paulie, please -- PAULIE Hey, I want ya out instamaticly. -- I'm sicka lookin' at ya hangin' around like a friggin' spider -- Go out -- Live! Do, enjoy life. ADRIAN ... Like you? PAULIE Don't get wise with me. I want ya to stop bein' a loser. ADRIAN I can't go out. PAULIE Why? ADRIAN Paulie, it's Thanksgiving. I've gotta turkey in the oven.Paulie turns and leaves the bedroom... He enters the kitchen.Grabbing a large fork, he opens the oven and spears theturkey... With the turkey suspended on the end of the fork,Paulie heaves the dripping bird out the window. 41.Adrian has seen this and is shattered. She runs back intothe bedroom and locks the door. PAULIE !! Ya want the bird, go out in the alley an' eat the bird -- I want ya outta the house -- Enjoy ya friggin' life... Ya hungry, Rock? ROCKY Maybe ya better forget it. PAULIE Forget nothin' -- Here, talk to my sister, tell 'er somethin' nice.Rocky walks over to Adrian's bedroom door and begins speakingto the enclosed girl. ROCKY ... Yo, Adrian, it's me, Rocky... Ah, ah -- Ah, it's kinda hard for me to think of somethin' to say, y'know -- 'Cause I never talked to a door before, I mean whatta ya say to a door.Rocky turns away and begins to walk off. ROCKY (continuing) ... Maybe I better forget it. PAULIE Try again, c'mon, try again.Rocky goes over to the door and begins speaking again. ROCKY Ah, Adrian, I know ya ain't too happy at this moment, but would ya do me a favor -- I ain't got nobody to spend Thanksgivin' with -- How 'bout you an' me goin' out -- Get somethin' to eat, maybe laugh a little, who knows... Would ya like, I dunno, go out together?Adrian opens the door... She already has her winter coat on. 42. ROCKY (continuing) We'll have a good time.Paulie opens the front door and gives Rocky an encouragingsmile... ROCKY (continuing) What's ya sister like to do? PAULIE Ice skate. ROCKY I didn't want no turkey anyway. ADRIAN It's Thanksgiving. ROCKY To you, to me it's Thursday.INT. ICE SKATING RINK - NIGHTRocky and Adrian enter a deserted skating rink. ROCKY Looks quiet, y'know. ADRIAN I think it's closed. ROCKY I think mebbe we're early or somethin' --From across the rink a CLEANING MAN yells at them. CLEANER Hey, whatta ya doin' here -- we're closed... Yo, we're closed! ROCKY (yells back) Are ya closed to the General Public or to just everybody. 43. CLEANER (starts to walk over) Hey, the rink is empty 'cause we're closed -- ya ain't allowed in here so do me a favor an' not stay here. ROCKY Wait here, gotta smooth this guy out. ADRIAN (softly) We could go somewhere else an' --Rocky approaches the Cleaner. CLEANER Yo, pal, what's with you -- The place ain't operatin'. ROCKY Listen, I gotta problem. This girl ain't feelin' well, y'know -- The doctor says she should exercise, y'know once in awhile an' ice skatin' is the best thing -- CLEANER This a con? ROCKY Look at her, ya can see she ain't feelin' good -- needs a few minutes exercise -- CLEANER Few minutes? ROCKY ... Ten minutes. CLEANER Ten minutes for ten dollars. ROCKY ... Yeah, give 'er the Blades.INT. ICE SKATING RINK - NIGHTAdrian has on skates. Rocky follows her onto the ice. Hewears street shoes. 44. ADRIAN ... Aren't you skating? ROCKY Ain't skated since I was fifteen -- That's when I started fightin' -- gotta watch the ankles. Yeah, fightin' use to be tops with me, but no more. All I wanted to prove was I weren't no bum -- That I had the stuff to make a good pro. ADRIAN And you never got the chance?The Cleaner yells from the sideline. CLEANER Nine minutes! ROCKY Hey, I ain't cryin'... I still fight. Kinda do it like a hobby. See I'm a natural southpaw an' most pugs won't fight a southpaw 'cause we mess up their timin' an' look awkward -- Southpaw means lefthanded... But I guess in the long run things probably worked out for the best, right? ADRIAN But you never had a chance to prove yourself. ROCKY Absolutely. CLEANER Eight minutes!Adrian slips and Rocky breaks her fall. ROCKY I just dislocated my finger. ADRIAN Ohh! CLEANER Seven minutes! 45. ROCKY It ain't your fault -- I originally done it in the Baby Crenshaw fight. (opens his wallet) That's me fightin' Big Baby Crenshaw -- Big Baby was the size of an airplane an' I broke my hands on his head -- I lost, but it's a nice picture, don't ya think? CLEANER Six! ROCKY How 'bout some Cokes? CLEANER Cost ya a buck. ROCKY This guy is beautiful -- get the Cokes.Adrian does a slight turn and Rocky has to speed up andnearly falls. ROCKY (continuing) See, I ain't graceful, y'know -- I don't move good -- Stink as a dancer too -- But I can really swat, I hit hard, real hard, but I'm a southpaw an' nobody wants to fight a southpaw! -- Havin' a good time?Adrian nods and is very nervous... The Cleaner movescarefully across the ice. ROCKY (continuing) Y'know how I got started in the fight racket? ADRIAN By accident? CLEANER Here -- Three minutes. 46. ROCKY Yeah -- My ol' man who was never the sharpest told me -- I weren't born with much brain so I better use my body.For the first time, Adrian laughs. ROCKY (continuing) What's funny? ADRIAN My mother told me just the opposite. She said, 'You weren't born with much of a body so you'd better develop your brain.' CLEANER Time!The Cleaner walks over as Rocky and Adrian get off the ice. CLEANER (continuing) That's ten bucks. ROCKY I must be goin' deaf 'cause I thought ya said, 'ten cents.'Rocky hands him a dime. CLEANER (weakly) ... How 'bout for the Cokes? ROCKY Charge it.Rocky and Adrian start to leave. Rocky pauses at the doorand fishes into his pocket and hands over eleven dollars. ROCKY (continuing) Had ya goin', didn't I, huh?He grins and leaves. 47.EXT. STREET - NIGHT ROCKY Some people are very shy by nature. ADRIAN ... I suppose. ROCKY I would say you're very shy bu nature. ADRIAN ... I suppose. ROCKY Some people think bein' shy is a disease, but it don't bother me. ADRIAN It doesn't bother me either. ROCKY Then why did I bother bringin' it up? 'Cause I'm dumb, that's why... Y'know, I think we make a real sharp coupla coconuts -- I'm dumb an' you're shy. ADRIAN ... It is just hard for me to understand why anybody wants to be a fighter. ROCKY Ya gotta be a little soft to wanna be a pug... It's a racket where ya' almost guaranteed to end up a bum. ADRIAN I don't think you're a bum. ROCKY ... I'm at least half a bum. Yeah, fightin' is a crazy racket. The roughest part is the mornin' after. ADRIAN Morning after? 48. ROCKY After a rough fight, ya' nothin' but a large wound. Sometimes I feel like callin' a taxi to drive me from my bed to the bathroom... Ya' eyes hurt, ya' ears hurt, ya' hair even hurts... But the thing I'm proud of is I been in over sixty fights an' never had a busted nose -- Bent an' twisted an' bitten but never broke... That's rare. ADRIAN Why do you do it if it hurts so bad? ROCKY ... Guess. ADRIAN (pause) 'Cause you can't sing or dance?Rocky smiles.INT. ROCKY'S APARTMENT - NIGHTRocky and Adrian enter his one-room apartment... She isnervous and taken aback by the bleakness of the room...Rocky goes to the icebox. ROCKY Would ya like a glass of water? ADRIAN ... No thanks.Adrian looks at the mirror above Rocky's dresser. She seesa high school photo of Rocky. He once was handsome andsmooth-faced... Rocky steps up behind her and his face isreflected in the mirror.He turns on his cheap RECORD PLAYER... He reaches into theturtle bowl. ROCKY Here's the guys I was tellin' ya about -- This is Cuff an' Link. ADRIAN I sold them to you. 49. ROCKY (very embarrassed) ... Oh, yeah, I bought the whole kit -- Yeah, ya sold me the turtles, the bowl, an' the mountain -- I had to get rid of the mountain 'cause they kept fallin' off. ADRIAN Do you have a phone? ROCKY I had it pulled. People callin' all the time. Who needs it -- Who'd you wanna call? ADRIAN I wanna let my brother know where I am. ROCKY D'you really wanna call? ADRIAN Yes, I do. ROCKY You sure? ADRIAN Yes. ROCKY Why? ADRIAN I think he might be worried. ROCKY I'll call your brother.Rocky flings open the window and bellows like a foghorn. ROCKY (continuing) !!Yo, Paulie -- Ya sister's with me! I'll call ya later.Rocky closes the window and faces the woman... She is notsmiling. She looks frightened. 50. ROCKY (continuing) What's the matter? Ya don't like the room? ADRIAN It's fine. ROCKY It's only temporary. ADRIAN It's not that -- ROCKY What's the problem? You don't like me -- Don't like the turtles -- What is it? ADRIAN I don't think I belong here. ROCKY It's okay. ADRIAN No, I don't belong here. ROCKY It's all right -- You're my guest. ADRIAN ... I've never been in a man's apartment before. ROCKY (gesturing) They're all the same. ADRIAN I'm not sure I know you well enough -- I don't think I'm comfortable. ROCKY Yo, I'm not comfortable either. ADRIAN (standing) I should leave. 51. ROCKY But I'm willin' to make the best of this uncomfortable situation.Adrian moves to the door... Rocky intercepts her. ROCKY (continuing; softly) Would ya take off your glasses? ADRIAN (dumbstruck) What? ROCKY The glasses... Please.Rocky removes her glasses and looks deeply into her eyes. ADRIAN (timidly) ... T-thank you. ROCKY Do me another favor? ADRIAN ... What? ROCKY Could ya take off that hat.After a moment, Adrian removes the hat... She is becomingrather pretty. ROCKY (continuing) I always knew you was pretty. ADRIAN Don't tease me.The woman melts into the corner and begins lightly sobbing...Rocky steps forward and fences her with his arms and body. ROCKY I wanna kiss ya -- Ya don't have to kiss me back if ya don't feel like it.Rocky softly kisses the woman... Her arms hang limp. Heputs more passion into the kiss and she starts to respond.Her hand glides like smoke up his back. 52.She embraces his neck. The dam of passion erupts. Shegives herself freely for the first time in thirty years.EXT. GOLDMILL'S GYM - DAYThe following day, Rocky strolls down the street toGoldmill's Gym... Out front a group of young blacks stoptalking and study Rocky as he passes. Rocky's eyebrows knitin confusion.INT. GOLDMILL'S GYM - DAYRocky climbs the stairs and enters the gym...... In a matter of seconds, his presence is known and theathletes stare in wonderment... The big black heavyweightcontender, Dipper, throws down his towel in disgust andturns away.Mike quietly approaches Rocky. MIKE Hey, Rock -- What happened? ROCKY 'Bout what?Mickey Goldmill steps out of his office... MICKEY Did ya get the message, kid? ROCKY Message -- What message?Mickey pulls out a card from his breast pocket... He handsit to Rocky. MICKEY A Rep from Miles Jergens' Promotions was lookin' for ya -- They need sparrin' partners for Creed. ROCKY Ya puttin' me on? MICKEY Here's the card? ROCKY When was they here? 53. MICKEY 'Bout an hour ago. ROCKY Probably lookin' for sparrin' partners. MICKEY ... I said that before.Rocky turns from Mickey and jogs out of the gym. Mickeyfumbles with his rosary beads. MICKEY (continuing) ... Waste of life.EXT. SKYSCRAPER - DAYRocky steps off a bus in mid-town Philadelphia. He hurriesdown Broad Street. Every few steps he breaks into a trot...He enters a skyscraper.INT. OFFICE BUILDING - HALL - DAYRocky exits the elevator and enters the office of MilesJergens' Productions.INT. JERGENS' PRODUCTIONS - DAYThe SECRETARY is slightly startled by Rocky's excitedexpression. SECRETARY May I help you?Rocky hands her the business card. SECRETARY (continuing) Your name, please? ROCKY Balboa, Rocky Balboa.The Secretary rises and enters Jergens' office... Rocky eyesthe multitude of sporting pictures hanging on all four walls.The Secretary returns. SECRETARY You may go in.Rocky collects himself and enters... 54.INT. JERGENS' OFFICE - DAYMiles Jergens warmly greets him. JERGENS Hello, Mr. Balboa -- I'm Miles Jergens -- Please, have a seat. ROCKY ... Thanks. JERGENS Mr. Balboa -- ROCKY (overriding) Rocky. JERGENS Rocky, do you have any representation? A manager? ROCKY No -- Just me. JERGENS Rocky, would you be interested in -- ROCKY Sparrin'? JERGENS Excuse me. ROCKY I know ya need sparrin' partners -- I'm very available. JERGENS I'm sure you are. ROCKY Absolutely -- Sparrin' with the Champ would be an honor -- y'know what? JERGENS What? ROCKY I wouldn't take no cheap shots. I'd be a good sparrin' partner. 55.Jergens seems very amused. He lights a cigar. JERGENS Rocky, would you be interested in fighting Apollo Creed for the Championship? ROCKY ... Like I said, I'd make a boss sparrin' mate. JERGENS Did you hear what I said? ROCKY Sure, an' I'm smart enough to know that no sparrin' partner should take cheap shots at the Champ. He's just there to help condition the man. JERGENS Not spar, I'm asking whether you would be interested in fighting Creed for the championship.The weight of the statement comes crashing down in Rocky.For a long moment he becomes nothing more than a basket caseas he ponders the statement... He half regains his senses. ROCKY ... Ah... Absolutely.The SCENE FADES and becomes a black and white television.INT. PAULIE'S APARTMENT - NIGHTRocky and Adrian are at her home watching an old black andwhite television... Rocky smiles... The film now cuts toApollo being interviewed. REPORTER #1 How'd you like the 'City of Brotherly Love?' APOLLO I like my Philadelphia Brothers. An' I'm patriotic!Apollo has to move to the side to avoid a thrustingmicrophone. 56. APOLLO (continuing; mock seriousness) If yo' don't back up I'm gonna send yo' home with a microphone in yo' nose!The Reporters laugh. REPORTER #2 Why did you agree to fight a man who has virtually no chance of winning? APOLLO If history proves one thing, everybody gotta chance -- Didn't yo' all ever hear of David an' Goliath? -- 'Course I woulda knocked out Goliath. REPORTER #3 It is a coincidence that you're fighting a white man on the most celebrated day in the country's history? APOLLO The same coincidence that he's fightin' a black man. REPORTER #1 What're your feelings about the challenger? APOLLO He's Italian. REPORTER #1 What does that mean? APOLLO It means if he can't fight, I bet he can cook!Rocky and Adrian laugh at the interview... Paulie, herbrother, takes offense. PAULIE Do me a favor -- His lungs, punch 'em out. ADRIAN Paul. 57.Rocky's interview now fills the screen. Rocky squints andlooks nervous under the hot lights. REPORTER #2 This is your largest payday ever -- How do you feel about it? ROCKY Feel? I dunno... Happy. REPORTER #2 How will you fight Apollo Creed? ROCKY (mind elsewhere) Creed's great, ain't he... I'll do what I can. REPORTER #1 Where did you get the name, 'Italian Stallion?' ROCKY I thought of it 'bout eight years ago, when I was eatin' dinner. REPORTER #2 Is it true the most you've ever made in a prizefight is five hundred dollars? ROCKY Four hundred -- But that was a long time ago. REPORTER #2 And now your payday will be one hundred and fifty thousand dollars. Any comment? ROCKY Listen, I wanna say hi to my girlfriend -- Yo, Adrian!Adrian blushes and laughs. ADRIAN Oh, Rocky! PAULIE (dry) Christ. 58. ADRIAN You didn't! ROCKY Sure I did. You heard.They continue to watch the remainder of the interview... Thehead COMMENTATOR is looking directly into the camera. COMMENTATOR A Bicentennial Fight -- January first. It will be the first sporting event on our two hundredth birthday and is already being called by many the greatest farce in sports history. If this man lasts more than a minute I would say he's on borrowed time. (sarcastically) It's matches like this with their exorbitant prices that give sports a bad name -- Not only is this match bad, people, it's sad! Why a Rocky Balboa? At the State Athletic Commission, Larry Duggan reporting. PAULIE (irate) The guy's a friggin' moron. ROCKY Why? PAULIE Don't it matter none he's makin' ya out a fool? -- I'd break his lips. ROCKY It don't matter. PAULIE He's takin' cheap shots. ROCKY It don't bother me none. PAULIE Yo, Rock -- now ya'll be lookin' for people to help, right? 59. ROCKY Help what? PAULIE Y'know, to help keep ya livin' clean. ROCKY I'll do okay. PAULIE Ya gotta have a guy help ya exercise, mebbe somebody to be standin' by with a towel or run errands, y'know. ROCKY Hey, who cared about me yesterday, huh? Nobody -- I think I'm gonna train myself. PAULIE Without havin' good people around, ya won't have such a good chance.Adrian is not happy with her brother's overbearing attitude.She faces him. ADRIAN Einstein flunked out of school... twice. PAULIE That so. ADRIAN Roosevelt finished last in his class -- Beethoven was deaf, an' Helen Keller was blind -- I think Rocky has a good chance.INT. HALLWAY OF PAULIE'S APARTMENT - NIGHTRocky stands in Adrian's doorway. He kisses her. ROCKY See ya tomorrow.Rocky moves down the stairway and continues to do so as heconverses with Adrian who remains upstairs. His VOICEECHOES up the stairwell. 60. ROCKY (continuing) How'd ya like hearin' ya name on TV? ADRIAN I don't know -- I was shocked. Why did you do that? ROCKY Ya puttin' me on, right? ADRIAN (smiles) Absolutely -- What time should I expect you? ROCKY 'Bout seven. ADRIAN I'll be waiting.Rocky is now on the ground floor yelling up to Adrian on thetop floor landing. ROCKY Y'know how I said that stuff on television didn't bother me? ADRIAN Yes. ROCKY It did.As Rocky completes the last word, he exits the building andslams the door which RESOUNDS throughout the apartment house.EXT. ATOMIC HOAGIE SHOP - NIGHTGazzo, the bodyguard, and Rocky are standing out front.They are eating hot sandwiches. ROCKY Y'know I won't be able to work for ya no more. GAZZO Hey -- if a good man can make a better life, let him make it. ROCKY I feel bad about walkin'. 61. GAZZO Take your shot, kid -- You got money for trainin' expenses? ROCKY A few bucks.Gazzo takes out a wad and peels off several bills. GAZZO Here's five hundred -- Put it in your glove. ROCKY Do I have to pay juice?Gazzo looks at the Bodyguard and shakes his head as if toimply, "Why's this guy asking such a foolish question?"Gazzo and the bodyguard step to the white Caddy parked atthe curb. They enter the cab. Rocky watches.INT. CAR - NIGHT GAZZO (smiles) Does Santa Claus charge juice? Merry Christmas -- Now, how's about my present, ya gonna win? ROCKY Gonna try. GAZZO Listen, kid, I'm with ya. Ya know, I'm with ya -- Italian, we're blood. You kill this rug -- We Guinneas gotta show these Afro-Americans where it's at. Give it your best shot cause I want ya to prove to these bums on the corner that my man can't be beat by this rug... Ya got any action on the side. ROCKY No action. GAZZO Ya gettin 150 grand killer. Ya got any plans for it? Whatta ya think? (MORE) 62. GAZZO (CONT'D) Ya like to put it on the street, make it work for ya? ROCKY I'm gonna do somethin with it. GAZZO Sure, you do what ya want. Stay away from the stock market. ROCKY Black market? GAZZO Same thing. Ya know, Rock, remember when we was kids, we fought together. An' I wasn't well an' ya had to beat up that Irish kid -- what's his name? -- Gallager -- I bought a suit and became a businessman. You put on gloves. An' I remember Mama almost cried, may she rest in peace -- an' our ol' man who said ya had no brains -- I'd like to lay hands on that bastard. You ain't never had any luck. Even when I owned you in '66 you never had luck. But now I think you might be gettin' some luck kid. Whatta you think?Rocky smiles and Gazzo gets into his car. Rocky follows himacross the street. ROCKY Yo, you gonna show, Tony? GAZZO Where else am I gonna go. (to Bodyguard) Bet three grand on Rocky. BODYGUARD He's a bum -- are you kiddin? GAZZO (slaps Bodyguard) No! I'm not kiddin!Rocky walks away. 63.INT. ROCKY'S APARTMENT - NIGHTRocky returns home and enters his apartment. After turningon the light, he flips on his RECORD PLAYER. He now feedsthe turtles. ROCKY Look who's home!Rocky notices two telegrams laying inside the threshold. Heapproaches them with a sense of awe. He opens and reads one.Settling on the bed, he reads the other.A KNOCK is HEARD. Rocky opens the door. Mickey Goldmill,the gym owner, stands framed in the doorway. MICKEY (stiffly) I seen the light. I figure somebody was home. ROCKY Hey, Mickey -- Whatta ya doin' here? Here, sit down.Rocky tosses soiled clothing off a mangled armchair. ROCKY (continuing) Best seat in the house -- Hey, Mick, this is too much. MICKEY How do you mean? ROCKY I'm usta seein' ya at the gym, but seein' ya here, in my house, it's kinda outta joint.By the manner in which Goldmill listens, it is obvioussomething important is preying on his mind.Rocky is slightly uncomfortable, almost embarrassed athaving outsiders see how he lives. MICKEY Listen, Rock, you're a very lucky guy. ROCKY Yeah. 64. MICKEY What's happened is freak luck. ROCKY Freak luck for sure. MICKEY Look at all them other fighters. Real good boys. Good records. Colorful. Fight their hearts out for peanuts -- But who cared? Nobody. They got it shoved in their back door. Nobody ever give them a shot at the title... ROCKY (uneasy) Freak luck is a strange thing.Mickey does not hear. His attention is drawn to the turtles. MICKEY Whatta' those? ROCKY Turtles -- domestic turtles. MICKEY (businesslike) I'm here tellin' ya to be very smart with this shot. Like the Bible sez, ya don't get no second chance.Mickey looks hard into Rocky's eyes. MICKEY (continuing) Ya need a manager. An advisor. I been in the racket fifty years. I done it all, there ain't nothin' about the world of pugilism that ain't livin' up here.He lights a half-smoked cigar. ROCKY (at a loss) Fifty years, huh. 65. MICKEY (stronger) Fifty years. The rep is known around Philly, an' a good rep can't be bought, but I don't have to tell you that. ROCKY How 'bout a glass of water? MICKEY Rocky, d'ya know what I done? ROCKY (uneasy) ... What? MICKEY (driving each word hard) I done it all. I've done an' seen everything'. Believe what I'm tellin' ya -- Ya shoulda seen the night in Brooklyn, I smacked 'Ginny' Russo outta the ring, September 14, 1923 -- same night Firpo knocked Dempsey outta the ring. But who got the Press? He did. He had a manager -- September 14, 1923. ROCKY (softly) Ya got a good mind for dates.Mickey deafly continues, becoming more engrossed every second. MICKEY Look at this face -- twenty- one stitches over the left eye, thirty-four over the right -- my nose was busted seventeen times, the last being the Sailor Mike fight New Year's Eve, 1940, in Camden, New Jersey -- What a professional pastin' I give him. Here, read about it. (MORE) 66. MICKEY (CONT'D) (shows a tiny press clipping; points to cauliflower ear) An' he give me the vegetable on the ear. I got pain an' experience... an' you got heart -- kinda remind me of Marciano, ya do.Rocky points to his most prized possession. ROCKY Nobody ever said that -- There's his picture. MICKEY Yeah, ya kinda remind me of the Rock. Ya move like 'im.Mickey has rung the bell. Nothing could please Rocky morethan being compared to his idol. ROCKY Really think so? MICKEY Ya got heart. ROCKY Heart, but I ain't got no Tocker.Rocky shifts against the wall and lowers himself into acrouch. MICKEY Christ, I know this business. Rocky, when I was fightin' it was the dirtiest racket goin', see. Pugs like me was treated like fightin' dogs -- throw ya in the pit an' for ten bucks ya try to kill each other. We had no management... (MORE) 67. MICKEY (CONT'D) fought in boxcars, in whorehouse basements, any joint with a floor -- October 1931 I fought a bum who put a tack in the thumb of his glove an' punched so many holes in my face I had spit shootin' outta my cheeks -- I never had no manager watchin' out for me -- See that picture outside the gym -- 'Mighty Mick,' that's me in my prime. I had all the tools. I coulda starched any lightweight husky on the East Coast -- But I had no management. Nobody ever got to know how slick I was, but I had a head for business an' stashed a few bucks an' opened the gym -- It's a dirt hole, I know it, but that an' a lotta scars is what I got to show for fifty years in the business, kid -- now you come along with this shot an' I feel like it's me gettin' the shot I never got... Yeah, we was treated like dogs -- like them Dago's, no offense, in the Colosseum in Rome there -- An' now I got all this knowledge, I wanna give it to ya so I can protect ya an' make sure ya get the best deal ya can!Rocky rises and opens a window. MICKEY (continuing) Respect, I always dished ya respect. ROCKY ... Ya gave Dipper my locker. MICKEY (almost begging) I'm sorry, I -- I made a mistake. Kid, I'm askin' man to man. I wanna be ya manager. 68. ROCKY The fight's set -- I don't need a manager. MICKEY Look, you can't buy what I know. Ya can't. I've seen it all! I got pain an' I got experience. ROCKY I got pain an' experience too. MICKEY Please, kid. ROCKY (tightly) Whatever I got, I always got on the slide. This shot's no different. I didn't earn nothin' -- I got it on the slide... I needed ya help about ten years ago when I was startin', but ya never helped me none.Mickey drops the ashtray and kneels to pick it up... Heremains on one knee. MICKEY If ya was wantin' my help, why didn't ya ask? Just ask. ROCKY I asked, but ya never helped nothin'! -- Like the Bible sez, ya don't get no second chance. MICKEY (yells) Rocky, I'm seventy-six years old. Maybe you can be the winner I never was -- your shot is my last shot!Rocky is choked and goes into the bathroom and closes thedoor.Mickey struggles to his feet and, like a beaten man, leaves.Several moments later Rocky steps out and lowers himselfinto bed. Springing up a second later, he runs outside. 69.EXT. STREET OF ROCKY'S APARTMENT - NIGHTRocky races up the block toward the shadowy and hunched formof Mickey. Way in the distance, we SEE Rocky stop the oldman beneath a street lamp. He places an arm around hisshoulder.INT. ROCKY'S APARTMENT - PRE-DAWNThe following morning, Rocky's ALARM CLOCK GOES OFF atexactly four A.M. Not accustomed to rising this early, withgreat difficulty Rocky staggers to his feet and wavers tothe bathroom. He turns the light on and roaches scatter.At the top of the mirror hang the telegrams. Rocky fillsthe basin and submerges his face in cold water.Rocky sways to the icebox and removes a dozen eggs. Hecracks five raw eggs into a glass and downs it in oneswill... his body quivers.EXT. STREET OF ROCKY'S APARTMENT - PRE-DAWNRocky steps outside. He is dressed in a well-worn sweatsuit with a hood, gloves and sneakers. It is pitch dark andhis steaming breath attests to the cold.He begins running down the center of the deserted street.He can only be clearly SEEN as his form passes beneath thestreet lamps.Two garbage men stop hoisting cans to watch him pass.EXT. ART MUSEUM STAIRS - DAWNRocky stands at the base of an overwhelmingly steep flightof stairs. He stares up at the stairs that nearly disappearinto the morning gray. Taking a deep breath, he starts up.From the start, he looks out of shape and halfway up hislegs give way. Standing, he brushes off and descends thestairs.EXT. CITY HALL - DAWNRocky passes City Hall and veers to the river. He pauses,heaving great gusts of exhausted breaths. He throws severallazy jabs in the air and walks awhile with hands on hisaching sides. Men delivering the morning papers observewith amusement.Rocky forces himself to begin running again. 70.EXT. ELEVATED TRAIN STATION - DAWNHeading along Spring Garden Street, Rocky passes beneath anelevated train station. The ROARING TRAIN overhead seems toblend perfectly with his muscular running style.EXT. DOCKS - DAWNThe sky is beginning to lighten. The fighter now runs alongthe piers and past anchored freighters.EXT. EASTERN PACKING COMPANY - DAWNIt is five-thirty and Rocky approaches the loading platformbelonging to Eastern Packing Company. Alongside the loadingplatform come several boxcars.Rocky mounts the ramp and knocks on the metal door. It soonopens and Paulie guides him inside. Paulie is drunk.INT. SHIPPING OFFICE - DAY PAULIE How ya feelin'? ROCKY (panting) ... Tight. PAULIE I got whiskey here. ROCKY ... No.Rocky notices TWO PUERTO RICANS lounging alongside theshipping office. PAULIE This is the guy who's fightin' Apollo Creed. JOSE (heavy accent) Good luck -- Kill him, man. PAULIE (as though rehearsed badly) Hip -- Hip -- Hooray! C'mon -- Hip -- Hip -- 71. JOSE (walks away) Hooray, man. PAULIE Rock'll be comin' by every mornin' to pick up some Prime -- can't train on that store crap.Rocky smiles and Paulie leads him out of the office and tothe large metal door of a walk-in refrigerator.INT. FREEZER - DAYThey enter. The freezer resembles a modern torture chamber...row after row of hanging slabs of beef stretch into thedarkness to the far end of the refrigerator. The bloweroverhead causes the men to speak loudly. PAULIE (teasing) If ya don't pay Gazzo, ya end up hangin' on the hook, right? ROCKY Gazzo's a good man. PAULIE How 'bout you talk to 'em about me? (tightly) Please do me that favor. ROCKY Keep this job, ya eat better.Paulie opens a jackknife and idly jabs the hanging meat. Heswills whiskey from a pint bottle. PAULIE Y'know, d'ya think you an' my sister -- Ah, doin' good together? ROCKY Whatta you think? PAULIE Ain't sure, what's the story? ROCKY What? 72. PAULIE The story -- what's happenin'?Paulie speaks like a man who has been mulling this over forquite a while. PAULIE (continuing) Ya really like her? ROCKY Sure I like her. PAULIE (nervous laughter) What's the attraction? I don't see it? ROCKY I dunno -- she fills gaps. PAULIE What gaps? ROCKY (shrugs and takes meat) She got gaps. I got gaps -- together we fill the gaps. PAULIE (sharply) You ballin' her? ROCKY (turns around) Don't talk dirty 'bout ya sister. PAULIE (tersely) C'mon, ya screwin' her?From across the room Rocky looks him hard in the eyes. ROCKY That's why I can't put ya together with Gazzo, cause ya talk too much -- big mouth.Paulie reddens. He steps forward and slams his fists in ahanging beef. 73.The punching of the beef is a muted challenge and Rockyresponds.Rocky walks up to a beef and slams his fist into the ribs.The grotesque object swings in a wide arc like a hangingcorpse. Rocky moves to the next one and hooks.Rocky's face reveals a never before seen concentration, asthough he were locked in total battle. PAULIE Hit the rump. The rump! Ya'll break the ribs!Rocky speeds up and continues pounding on the second row ofbeef. Paulie's eyes widen and his face grimaces with everypunch, like he were receiving it. Rocky moves into the darkrecess of the refrigerator. Only the dull SOUNDS of hisPOUNDING FISTS can be HEARD.Rocky works his way to Paulie again. Every hanging beefswings and appears surrealistically alive. PAULIE (continuing) We do that to Creed an' they'll take us to jail for murder.Rocky looks at his hands. They are drenched in red up tothe elbows with beef blood.Paulie hands him a package of beef. ROCKY Don't talk dirty 'bout ya sister.Rocky takes the package and runs out. Paulie's bleary eyesreveal a fearful respect and slight resentment.INT. GOLDMILL'S GYM - DAYThe gym is filled to capacity. The NOISE is DEAFENING.Rocky pounds a heavy bag.Mickey steps forward and removes a piece of string from hispocket. 74. MICKEY (passionate) Stop! Stop! I can't stand it! It's clumsy. You're off balance.He motions to his bullish helper, Mike. He hands him thestring. MICKEY (continuing) Tie it to both ankles -- Leave two feet slack. ROCKY I never had good footwork.Mike completes the task. MICKEY Forget the footwork -- You're off balance. The legs are sticking everywhere. Marciano had the same problem, an' the string cured it. When you can hit and move without breakin' the string you'll have balance. MIKE You'll be a very dangerous person.Two young boys in street clothes interrupt Mickey. BOY Rocky, could we have your autograph? ROCKY ... Sure. MICKEY (irate) Don't you boys ever interrupt when I'm conductin' business, or I'll kill you both -- Go away.The boys depart. 75. MICKEY (continuing) Autographs! Ya wanna be a writer or a fighter? Let's work.Mike looks off across the gym. MIKE ... we got visitors.Mickey strains his eyes to see a group of REPORTERS and NEWSCAMERAMEN entering his gym. MICKEY (approaching) Can I help you guys? REPORTER (to Cameraman) Set the camera up over there. (to Mickey) We're from Channel Seven -- Covering the pre-fight training. MICKEY I own the place.The Reporter has a hundred things on his mind... he turnsfrom Mickey and nods to his crew... the other televisioncrews rush to set up. CAMERAMAN Rolling here. SOUND MAN Speed here. REPORTER (to the camera) We're here at Goldmill's Gym -- A Philadelphia landmark of sorts since 1929 -- The stench of toil permeates every corner. The sweat a trademark of a unique profession... Yet, the most unique fixture is an unprecedented 50 to 1 underdog heavyweight named, Rocky Balboa.The camera turns to Rocky. 76. ROCKY (to Mickey) Should I do this?Mickey nods and Rocky faces the glaring lights. REPORTER So much has happened lately -- Has it changed your life style much? ROCKY ... People talk to me more. REPORTER How're you preparing for this Bicentennial bout?A young punchy fighter yells out: FIGHTER Readin' fuckin' history books, man!The gym explodes with laughter. REPORTER (flushed) We can cut that out later. Apollo Creed says he'll let you stay three rounds before he puts you away. ROCKY (honestly) Apollo's a great fighter. REPORTER Do you feel you have a chance? ROCKY Maybe --He faces Mickey. Mickey whispers in his ear. ROCKY (continuing) I'll tear his head off. REPORTER Do you have anything derogatory to say about the Champion? 77. ROCKY Derogatory? Yeah, he's great.Apollo Creed and his entourage enter the gym. APOLLO (bellowing) I am the Champion of the whole world!!!The gym freezes... everyone turns and stares in wonderment...Mickey Goldmill shakes his head in disbelief. He nowrealizes it is a publicity stunt. APOLLO (continuing) (approaching Rocky) Italian Stallion, I come over to tell you to be very smart an' after this fight donate what's gonna be left of your body to science, cause after this fight what's left won't fill a tuna fish can!... So beware, Mon Cher!!!Apollo turns to the cameras... Rocky is speechless. APOLLO (continuing) This classic fight -- Tha's right, this bicentennial fight's goin' down in the history books 'cause January first I'm gonna be the first man to bounce another man offa the planet Pluto!Dipper stands in the far ring... the attention Rocky isreceiving makes him a killer. APOLLO (continuing) Now I gots a special announcement, y'hear. For the first time in alotta years this championship fight is gonna be on your home T.V.! Free -- 'Course that's just for Philly -- My present to the city... (MORE) 78. APOLLO (CONT'D) Now some ya'll ain't much on likin' me, but ya gotta admit Apollo Creed is one DAMN generous, 100% pure, government inspected, Afro-American Folk Hero!!!Everyone laughs... Dipper moves across the room like a largesnake. He brushes people aside and steps behind Rocky. Henudges him... Rocky thinks it is an accident and ignores it.Dipper pushes harder and Rocky looks questioningly at him. DIPPER (loud) Ya nothin', Boy!Apollo stops his sales pitch in mid-sentence... Thetelevision crew faces Dipper. DIPPER (continuing) I say ya nothin'! MICKEY What's happenin' here? DIPPER I'm happenin'! This pig is takin' my shot -- I iz a contender. He's nothin'. ROCKY (dumbstruck) Yo', Dipper, why're ya -- DIPPER (shaking his fist) Spar me in front of these here TV dudes -- I knock ya ass to Jersey!Dipper's fat black trainer holds out his hands and Dipperslaps them soul style. MICKEY (to Dipper) You can forget about sparring, kid. DIPPER Yo' know I iz the best man here! Yo' said so yoself! 79. MICKEY (almost apologetically to the crew) Why let Rocky here take a chance on cuttin' or breakin' a hand? -- Take a shower, Dipper. DIPPER Don't mouth me, old man, I'll knock yo' out too. C'mon, wop, spar me, let everybody see who's got the heat around here.Silence looms over the gym... Apollo is apprehensive. Thescene is becoming too real. The frightened television crewslyly begins putting away their expensive equipment. DIPPER (continuing; insanely) Man, yo' best keep them cameras out! Fight me, boy! Let Creed here see the kind of punk he's fightin'!Mike forces his way through the crowd and stands behind Rocky. MIKE Don't chance it, man -- He's sick. MICKEY This is gettin' outta hand -- Rocky will fight in the ring January first, not here! DIPPER Yo' yellow, old man. MICKEY Not yellow, cautious. (to the crew) See, it's very easy for a fighter to accidentally hurt --Dipper suddenly steps forward and slaps Rocky very hardacross the side of the head... The gym becomes stone cold.Dipper is in total command and enjoying every moment of it. 80. DIPPER If yo're afraid to fight me, then get down an' kiss my feet, boy.Mickey looks nervously around and knows it's only secondsbefore the blood will run... Rocky stands motionless. MICKEY (softly) Let's take a walk, Rock. Please, don't take a chance. He wants to hurt you so you can't fight.Rocky swallows his pride. He still has the string aroundhis ankles. He starts to shuffle away with Mickey... Dippersteps forward and viciously slaps Rocky again.Mike jumps forward. MIKE Why you tryin' to cut 'im, man! Back off, scumbag, or I'll bite your face!Dipper cuts loose with a hook and knocks Mike flat. Theroom reeks of fear... Apollo's eyes flick back and forthbetween Rocky and Dipper. Apollo taps his bodyguards andthey begin to ease away. DIPPER ... Now, boy, kiss my feet.Rocky eyes his friend lying on the floor. He shufflesforward and stands before Dipper. DIPPER (continuing; almost in a whisper) ... Kiss 'em.Rocky looks at Mickey, then lowers his eyes to Dipper'sfeet... Dipper smiles. Rocky starts to bend towards theshoes. Without warning, he explodes with a pair ofcombinations into Dipper's exposed ribs. A CRACK is HEARDand Dipper sinks to the floor writhing in pain... The roomis silent except for Dipper's moaning.Apollo is stunned by the scene. The gym has become a verygloomy place. He eyes Rocky with admiration and a hint ofapprehension... He leaves. 81.Mickey is the first one to shake off the chill... He shakeshis fists at the Reporters, and puts his arm around Rocky. MICKEY The kid's got cannons -- Print that.The crowd disperses, leaving Dipper a pathetic and brokenfigure lying on a dirty gym floor.INT. ROCKY'S APARTMENT - NIGHTThey enter the dismal apartment... On the floor are at leastten telegrams. Rocky scoops them up and tosses them aside.Next to the door is a pile of over a hundred telegrams. ADRIAN Don't you open them anymore? ROCKY They either say, 'Kill the nigger' or 'Hope you die, Honky.' -- What ya got in the bag?Adrian steps to the window. She pulls a pair of short butlovely curtains from a shopping bag... The colorful curtainsglare in the dark room. ADRIAN Like? ROCKY Sharp -- Real nice. ADRIAN Really -- You don't think they're overly feminine? ROCKY No... Sharp -- You look great.Adrian smiles and pulls out a small Christmas wreath...Rocky smiles. His eyes show what he feels for this woman. ROCKY Adrian, you really look great, y'know -- But I can't fool around durin' trainin' -- makes the legs weak. ADRIAN Don't want weak legs. 82. ROCKY Can't fool around -- You look very great. ADRIAN -- The legs. ROCKY Yeah... But I think weak legs ain't bad sometimes, y'know.Rocky approaches in a seductive manner. Adrianuncharacteristically removes her sweater. Underneath is aT-shirt that reads "Win, Rocky, Win." ADRIAN I thought it might be cute. ROCKY Ya right -- (laughs) Mebbe we best just hold hands -- the shirt made me feel guilty, y'know.SCENE FADES.EXT. STREET - PRE-DAWNRocky is running... for extra weight he carries his hugedog, Butkus. After a half a block he sags under the weight,and laughing, begins to wrestle with the dog on thepavement... Rocky tries to sneak away from the dog, butafter a few steps the beast sees him and chases him down thestreet.EXT. EASTERN PACKING COMPANY - DAWNIt is early morning and as usual Rocky jogs to the meathouse.He is followed by his new dog, Butkus. He is stopped shortwhen he notices several television news vans parked out front.INT. EASTERN PACKING COMPANY - DAWNHe and the dog enter the freezer area and see severalreporters and men with mini-cameras milling around... Paulieis waiting for him -- Rocky is upset and goes outside.Paulie follows. 83.EXT. EASTERN PACKING COMPANY - DAWN PAULIE Yo, Rock. I made a few phone calls an' thanks to me ya goin' to be a big man -- Thatta dog? ROCKY Whatta these guys want? PAULIE To see ya train. ROCKY Yo, what's with you? -- It was suppose to be private. PAULIE I thought I was doin' ya a favor -- C'mon inside -- Y'know, my sister really likes ya.Rocky follows Paulie inside.INT. EASTERN PACKING COMPANY - DAYA REPORTER points in Rocky's direction and suddenly he issurrounded and led into the freezer area and positionedbeside a slab of hanging beef. The camera lights go on. COMMENTATOR Just relax, Mr. Balboa -- (to the camera) Today we're here with heavyweight challenger, Rocky Balboa. The reason we are standing in a refrigerated box is that Mr. Balboa has an unusual method of training and in a moment he is going to demonstrate it for our viewing audience -- But first, Rocky, how did you ever come to train in an icebox? ROCKY Ah -- My buddy Paulie let me in one day an' I hit the beef here an' liked it -- An' since I become a challenger, the owner don't mind neither. 84. COMMENTATOR Is this a common training method -- I mean do other fighters pound raw meat? ROCKY I think me and Paulie invented it. COMMENTATOR Would you give us a demonstration?Rocky steps over to a hanging beef and begins pounding withincredible intensity... Everyone present is taken aback.Rocky completes hitting the meat and stands there with hishands dripping beef blood.The Commentator is unnerved and Rocky looks straight intothe camera lens and holds up his bloody fists. COMMENTATOR ... Diane Lewis in the meathouse with the Southpaw, Rocky Balboa.INT. JERGENS' OFFICE - DAYApollo sits behind Jergens' desk. Jergens is not present.Four middle-aged and younger types and Creed's lawyer sitaround the desk. The desk is flowing with forms and charts. APOLLO How much is being channeled into West Coast closed-circuit advertising? LAWYER Three hundred thousand. APOLLO Make it four hundred an' fifty. (to younger man) Send two hundred roses to the mayor's wife from me, get a picture an' make sure it gets all the papers. BUSINESSMAN #3 Do ya want to run the fifteen radio spots in the mid-west? I think you could spend the money better in Canadian publicity. 85. APOLLO Yeah, I'd like to get Canada -- see, if we can get a tax break -- Gimme the figures on the Program Concession.Meanwhile, the trainer sits across the room in a darkenedcorner looking at a small television. He is watchingRocky's bloody exhibition on the news...He waves at Apollo. TRAINER (worried) Apollo, you oughta come see this boy you're gonna fight on TV -- looks like he means business.Apollo is still engrossed in his paperwork. APOLLO I mean business, too -- (to men) The gross rental of the arena is gonna include the four hundred ushers, right? -- Gimme some coffee.EXT. PAULIE'S STREET - NIGHTIt is a moonless night and Paulie staggers across the streetand enters his building... He staggers up the stairs.INT. PAULIE'S APARTMENT - NIGHTPaulie removes his coat and tosses it listlessly in achair... He rubs his red eyes and sways into the kitchen.He takes a bottle of wine out of the icebox. As he swillsthe wine he hears the SOUND of Rocky's and Adrian's VOICEStraveling from his sister's room. Paulie's face tightensand he staggers towards the bedroom.He stands outside the bedroom door and peers through acrack... Rocky, Adrian, and the dog are watching TV in theotherwise darkened room. ADRIAN ... And he called the reporters -- ROCKY Yeah... Threw my whole day off. 86. ADRIAN Don't be mad at him -- He just wants to help. ROCKY Yo -- I ain't mad. I'm just outta joint when reporters are around -- They take cheap shots an' Paulie knows it. ADRIAN ... Are you going to say anything to him? ROCKY ... What's to say? I dunno what he wants from me --Filled with uncontrollable anger, Paulie smashes into theroom. PAULIE Nothin'! I want nothin' from you!!! ADRIAN Paulie! PAULIE Shutup! I want nothin' -- I ain't no charity case! Get outta my house! ADRIAN It's not your house -- PAULIE You ain't no friend no more -- Go home! Outta my house I want ya! ADRIAN Don't talk like that to him! PAULIE Get outta my life both of ya's.Paulie kicks the door out of frustration and appears to bebordering on a nervous breakdown. PAULIE (continuing) Outta my house I want ya!! 87. ROCKY ... It's cold outside, Paulie.Paulie goes to the living room closet and removes a baseballbat... Rocky and Adrian quickly follow. PAULIE I don't want ya messin' up my sister no more -- He's scum from the corner, I don't raise ya to hang with no bum!Adrian is speechless... Rocky moves towards Paulie. PAULIE (continuing; raising the bat) ... Wanna hit on me? C'mon -- C'mon, I'll break both ya arms so's they never work...Rocky freezes... ADRIAN ... Paulie. Stop now! PAULIE I want 'im outta here -- (to Rocky) Don't think I'm good enough to work for Gazzo? (spits) That's what I think of bums like you an' Gazzo! (spits again) You're goin' up an' don't care enough to throw Paulie some crumbs! (spits) I give ya meat, an' I give ya my sister, too! ADRIAN Only a pig would say that!Paulie smashes a small table with the bat. PAULIE (to Adrian) You forget what I went through to give ya the best. 88. ADRIAN You gave me what?! Knots! You gave me knots in here every day -- you made me scared of everything! PAULIE I always seen ya had the best, but did ya ever think of puttin' in a good word for me with this scumbag!Paulie smashes a large lamp with the bat. ADRIAN Don't do that again! PAULIE Get away from me -- I could never even get married 'cause you couldn't live by yaself -- ya'd die by yaself! So instead I put you two together -- Did ya think of puttin' in a good word for me? -- You owe me! ADRIAN Owe you what? PAULIE You owe me an' are supposed to treat me good! ADRIAN Good? Good, Paulie?! I've been treatin' you like a baby. Since I can't remember it's so long -- I'm the only one who feeds you an' puts you in bed when ya can't stand up -- and it's you that made me feel like a loser -- That's what ya use to call me 'Loser' -- What kind of name is that? So can ya blame me for not remembering to talk about you when I'm with Rocky -- I don't owe you, Paulie, you owe me.The brother flares up and threatens Adrian with the bat. PAULIE You busted?! 89. ADRIAN What?! PAULIE You a virgin? -- Ya let 'im in ya pants, didn't ya! Ya pulled down ya pants an' let him have it, didn't ya!!Mortified, Adrian runs to her room... Rocky steps to Paulie. ROCKY (fuming) Hey --Paulie cocks the bat back and tenses... Rocky remains still. PAULIE (softly) ... I can't haul meat no more. ROCKY What can I do about it? PAULIE Christ, I been beggin' ya for a break until I'm sick inside. ROCKY What break? Huh? What break! Who am I to give breaks! I'm a fighter, you haul meat. You do what you do an' I do what I do best -- that's it -- that's life, man!Paulie looks ashamed... Rocky walks, then returns. ROCKY (continuing) ... An' what ya said to my girlfriend ain't right -- Do it again, I'll kill ya.Rocky goes into the bedroom... Adrian has buried her face ina pillow... She is rocking slightly. Rocky cradles her andkisses her cheek. ROCKY (continuing) Wanna hear a dirty joke? 90. ADRIAN (smiles) ... Yes --INT. MICKEY'S OFFICE - DAYMickey is in his cluttered office above the gym... the roomis dark. Blankets are tacked over the windows. Rocky iswatching 8 mm movies of Apollo Creed in action... Rockywatches with intense concentration as the fighter moves likea huge dancer around the ring. MICKEY His defense is great, can't lie 'bout that -- You have a rollin' style. Can't retreat as fast -- But your style ain't retreatin'.They both watch the flickering images. MICKEY (continuing) See how he plays sometimes -- Drives his cornermen nuts. Nobody knows his next move -- Him included.They watch more action... Creed has a fighter helplessagainst the ropes. MICKEY (continuing) Killer instinct -- Ya both got the killer touch. Interestin'. See that! -- Right-cross combination. Beautiful. But you got the power to rip the body.They watch more action. MICKEY (continuing) Rocky, when ya climb into the square, an' know ya' meetin' the best fighter in the world, ya' gonna be ready, ya' gonna be ready 'cause I been waitin' for fifty years -- Fifty years. When I'm done with you, you'll gonna be able to spit nails. (MORE) 91. MICKEY (CONT'D) You'll gonna be able to eat lightin' and crap thunder -- You'll be a very, very dangerous person...The SCENE FADES on Mickey's voice and Rocky staringtransfixed at the images projecting on the wall...INT. GOLDMILL'S GYM - DAYRocky is pounding the heavy bag with intense concentration.As he strikes from all angles, Mickey instructs.INT. GOLDMILL'S GYM - LATERRocky now works on the incline situp board... While doingsitups, he pounds himself in the stomach with a dumbbell.The pain is evident on his face.INT. GOLDMILL'S GYM - STILL LATERPushups between two chairs as Mike sits on his shoulders...Mickey coaching drives him on.INT. GOLDMILL'S GYM - STILL LATERMike has on a pair of target gloves and Rocky moves aroundthe ring swinging at them.INT. GOLDMILL'S GYM - STILL LATERDrenched in sweat, Rocky hums the speed bag. His expressionis hard and flushed. Mickey clicks a stopwatch and patsRocky's shoulder... He is very happy.INT. GOLDMILL'S GYM - STILL LATERRocky has just completed exercising with the medicine ball...Dino hands him a towel... Paulie crosses the gym as Rockyheads to the steam room... A thin man crosses the gym andMickey nods. MICKEY What cha say, Benny -- Meet 'The Rock.' This is our cutman, Benny Stein. ROCKY Yo, Benny. MICKEY Check the eyes, Ben. 92.Benny checks the skin around Rocky's eyes. BENNY Ain't bad. Seen worse -- Cover up an' things should be okay. MICKEY Take a shower.Heading towards the shower, Rocky is intercepted by Pauliewho traverses the gym. He stops Rocky at the shower roomentrance. PAULIE Yo, Rock, I think I found an angle to make some bread usin' ya name, ya mind?Exhausted, Rocky studies Paulie's face a moment and nods'yes.'... Rocky sways into the shower room and Pauliestrides off.EXT. STREET - DAYRunning... Rocky's crowd of trailing boys has tripled.Dashing through the streets, he resembles the Pied Piper.EXT. ART MUSEUM STAIRS - DAYIt is twilight and Rocky is alone at the very bottom of ahuge flight of steps that seem to stretch into the heavens...Rocky takes a deep breath and sprints up the never-endingstairs... Halfway up, his body shows the strain. Nearingthe top, Rocky pumps with all his strength and arrives atthe very top... He looks down the steep stairs and swellswith pride... He is ready.INT. MAYOR'S OFFICE - DAYRocky is led into Mayor Rizzo's office by an aide... Rockyis very nervous as he approaches the mayor, who is seatedbehind his wide desk. MAYOR Sit down, Rocky.Flips open a thick file that lays in front of him. 93. MAYOR (continuing) I've been going over your record -- You've been the busy type -- (reading) Nineteen arrests -- probation three times -- expelled from seven public schools in 1964 and '65.Rocky tries to sink into the chair. MAYOR (continuing) I'm a very busy man, but I just wanted to remind you that you'll be setting an example for thousands of guys like yourself and maybe start them off in a new direction and give our police force a break -- I also hope you try your very best and bring pride to Philadelphia. ROCKY ... I'll try.The mayor presses a button and a photographer enters. MAYOR Would you stand up, please.Rocky rises and the mayor shakes his hand... Their pictureis taken three times... The photographer exits. MAYOR (continuing) Thank you for coming by, Rocky -- good luck. ROCKY (turns) Any time. MAYOR (sitting) Wait... After the fight you'll have nearly a hundred and fifty thousand dollars -- What do you plan to do with it? 94. ROCKY (smiles) ... Run for mayor.The mayor is shocked at first but then breaks into a big,friendly laugh, and Rocky exits.INT. ROCKY'S APARTMENT - NIGHTAdrian and Rocky are at his apartment. They are looking atnew scrapbooks. Newsweek Magazine: Headline: "The ItalianStallion or Donkey?" -- Philadelphia Magazine -- Rockystands with the mayor. ADRIAN Rocky, do you realize everybody in this country knows your face, and after the fight everybody in the world is going to. ROCKY Yeah...She flips through Sports Illustrated, The American Sportsman,Ring Magazine, World Boxing, True, and a multitude of otherclippings.The TELEPHONE RINGS... Rocky rises and walks to the newwhite object hanging on the wall. ROCKY (continuing) My first call... Hello? Yeah, speakin' -- Who is this? Bruce? Bruce who? -- Yo, Bruce! How ya been? I ain't seen ya for nine or eight years -- Yeah, things is great, how's things with you upstate -- Ya sellin' real estate, hey, that's a good job... Yeah, I gotta advance, but I bought ringside seats for the guys at the gym. I get the hundred an' fifty grand after the fight...Adrian overhears the statement. 95. ROCKY (continuing) ... Yeah, I know it's a lotta money -- Condominiums? Nobody uses them anybody. Listen, I think a pet shop is a good investment, y'know -- I don't care 'bout long hours -- there's no depreciation -- that don't matter none to me -- Yeah, I like animals. Why don't ya give me ya number an' I'll call ya back? Lemme getta pencil --Rocky makes no motion to get a pencil. ROCKY (continuing) Okay, what is it -- four- twelve 659-2424. Yeah, yeah, thanks for callin' -- Sure I'll get back to ya, Bruce -- see ya.Rocky hangs up. ADRIAN What was that you said about a pet shop? ROCKY (distant) ... What? ADRIAN What did you say about a pet shop? ROCKY I don't want ya cleanin' nobody else's cages no more. ADRIAN Is everything all right? ROCKY I gotta go out for a while.Rocky grabs his coat and moves to the front door. ROCKY (continuing; to dog) ... Come. 96.INT. GOLDMILL'S GYM - NIGHTRocky arrives at Goldmill's Gym... He unlocks the gym's door.Rocky and the dog move through the eerie shadows of the gym.Rocky moves across the gym with his dog and moves up thesteps to Mickey's office... At the top of the stairs helooks down at the ring, reflects for a moment, then entersthe office.INT. MICKEY'S OFFICE - NIGHTAfter turning on the lights, he quickly cleans the cluttereddesk and sets up the projector... He goes to the cabinet andremoves a stack of 16 mm films. DISSOLVE TO:INT. MICKEY'S OFFICE - SEVERAL HOURS LATERThe office clock indicates it is several hours later. Rockyis engrossed in watching another Apollo Creed film. He sitsmotionless.Rocky sits upright. Something catches his eyes... Hesprings at the projector. He reruns the scene several times. DISSOLVE TO:INT. MICKEY'S OFFICE - SEVERAL HOURS LATERSeveral hours later Rocky is engrossed in watching anotherApollo Creed film... He sits motionless. Something catcheshis eye. Rocky stops the projector as Apollo is deliveringa knockout blow to an unfortunate opponent.Rocky moves right up to freeze frame and inspects it like itwas a priceless painting... He backs off and begins writingon a note pad. DISSOLVE TO:INT. MICKEY'S OFFICE - DAWNThe first light of dawn streams through Mickey's filthywindows... Rocky is slumped in a chair and it is apparent hehas lost interest in watching the movies.The film has completed its run through the projector andlazily flops around on the top reel... Listlessly Rocky rubshis reddened eyes. 97.The door opens and Mickey flips on the light... The two menstare at each other for a long moment. Mickey studiesRocky's despondent expression and knows what is on thefighter's mind. MICKEY ... I know what you're thinkin'm kid -- At least ya gotta shot -- All ya can do is try ya' best.Rocky stands and, with his dog, inches past Mickey and exitsthe room. Mickey walks over and turns off the projector.He idly pushes the machine with a lazy motion until itslides off the desk and crashes to the floor.EXT. STREET - DAWNAfter leaving Mickey's gym, Rocky and his dog listlesslymove down the street and head for home.INT. ROCKY'S APARTMENT - DAYRocky arrives at his apartment... Adrian is asleep on thecouch. He lowers himself beside her. Her eyes open. ROCKY ... Can't do it. ADRIAN ... What? ROCKY ... I can't beat him. ADRIAN Apollo? ROCKY Yeah, I can't beat him.Adrian touches his face. ROCKY I been watchin' the movies -- studyin' -- He ain't weak nowhere. ADRIAN What're we going to do? ROCKY ... I dunno. 98. ADRIAN Oh, Rocky -- you worked so hard. ROCKY It ain't so bad, 'cause I was a nothin' before -- ADRIAN Don't say that. ROCKY C'mon, it's true -- But that don't bother me -- I just wanna prove somethin' -- I ain't no bum... It don't matter if I lose... Don't matter if he opens my head... The only thing I wanna do is go the distance -- That's all. Nobody's ever gone fifteen rounds with Creed. If I go them fifteen rounds, an' that bell rings an' I'm still standin', I'm gonna know then I weren't just another bum from the neighborhood...Adrian touches Rocky's face... The fighter gently lowershimself beside his woman. ROCKY (continuing) ... No foolin' around.INT. ARENA - NIGHTIt is the night of the Bicentennial fight... The location isthe Philadelphia Spectrum.The Spectrum is filling to capacity... Grandly dressedcelebrities and wealthy fight fans lower themselves intotheir ringside seat. Nearly everyone is holding a red,white, and blue sweater...The arena is decorated in tons of patriotic red, white andblue. High above the ring are huge posters of GEORGEWASHINGTON - ABE LINCOLN - DR. MARTIN LUTHER KING, JR. - BENFRANKLIN - and APOLLO CREED.INT. APOLLO'S DRESSING ROOM - NIGHTApollo Creed sits in his dressing room... It is dead silentexcept for some NOISE that filters under the door from thearena. 99.It is a CLOSE-UP of Apollo's hand being taped... The RASPINGSOUND of the adhesive tape is very pronounced.INT. ROCKY'S DRESSING ROOM - NIGHTThe atmosphere is identical to Apollo's dressing room.Adrian watches in silence as Mike wraps Rocky's hand.Again, the most pronounced SOUND is the RASPING of theadhesive tape.INT. APOLLO'S DRESSING ROOM - NIGHTApollo's other hand is being wrapped. Dead silence exceptfor the TAPE and APOLLO'S BREATHING.INT. ROCKY'S DRESSING ROOM - NIGHTRocky's other hand is being wrapped in a CLOSE-UP. The onlySOUND is the TAPE and ROCKY'S mounting BREATHING PATTERN.INT. APOLLO'S DRESSING ROOM - NIGHTCLOSE-UP of drops being placed in his nose to help increasehis intake of oxygen. The tremendously magnified SOUND ofAPOLLO TAKING IN AIR.INT. ROCKY'S DRESSING ROOM - NIGHTCLOSE-UP of the drops being placed in Rocky's nose.INT. APOLLO'S DRESSING ROOM - NIGHTA heavy coating of vaseline is applied around the Champion'seyes... In an EXTREME CLOSE-UP, the eyes shine brightly withthe grease.INT. ROCKY'S DRESSING ROOM - NIGHTGrease is smeared around Rocky's eyes... In the EXTREMECLOSE-UP several deep scars are SEEN.INT. APOLLO'S DRESSING ROOM - NIGHTCLOSE-UP of Apollo's trainer digging his fingers deeply intothe thick neck muscles of Apollo's upper back and neck.INT. ROCKY'S DRESSING ROOM - NIGHTCLOSE-UP OF Mike's arms wrapped around Rocky's waist andlifting his diaphragm up... Magnified BREATHING ROARS fromthe screen. 100.INT. APOLLO'S DRESSING ROOM - NIGHTApollo's trainer slips a mouthpiece into Apollo's mouth.Apollo shakes his head and the trainer removes it and placesanother one in the champ's mouth... Creed nods yes.INT. ROCKY'S DRESSING ROOM - NIGHTEveryone present is motionless as Rocky is in the bathroom.Alone, Rocky is on his knee praying. Completing his silentprayer, he stands and looks at himself in the mirror.Suddenly a wave of emotion sweeps over him as he thinks thatin a few moments he will face the most overwhelming challengeof his life.Out in the dressing room, the door opens and a guard leansin and nods that it is time. He leaves... Rocky steps out. MICKEY ... It's time, kid.Rocky nods and moves toward Adrian. ADRIAN ... I'll wait for you here.Rocky nods and she kisses him. The fighter leaves with histrainers... Adrian is on the verge of tears.INT. HALLWAY - NIGHTRocky, Mickey and Mike start down the long hallway... Upahead are three security guards... Rocky rubs his bareshoulders. ROCKY Yo, Mick, can I have my rob?Rocky puts on the robe... Embroidered across the back inflaming letters is: "THE ITALIAN STALLION" *Pennzoil*Mike helps him into the robe... Mickey is not amused. MICKEY Don't you care what the people will say? ROCKY ... I'm doin' it for a friend. 101. MICKEY Whatta you get outta this? ROCKY I get the robe an' Paulie gets three grand. MICKEY ... Shrewd.INT. ARENA - NIGHTTWO RINGSIDE COMMENTATORS sit in front of a panel of closedcircuit televisions. COMMENTATOR #1 We would like to welcome our viewing audience to the Grand World Championship Bicentennial Heavyweight Fight -- the first major event of the Bicentennial Year... A point of interest is that the fight is being beamed to more than seven hundred and fifty million fans in theatres in nearly every corner of the world. I would like to welcome an old friend, and co- commentator for this evening's event -- Jimmy Michaels. COMMENTATOR #2 Thank you, Bob. The electricity is everywhere tonight. Rocky Balboa, a fifty-to-one underdog, is living a Cinderella story which has captured peoples' imaginations all over the world -- to quote a popular sports magazine, 'The fighting style should be 'The Caveman Against the Cavalier.' From the increase in sound it appears the challenger is now approaching the ring... His record is forty-four wins, twenty losses and thirty-eight knockouts. COMMENTATOR #1 I only wonder if this man has the skill to go past three rounds -- Vegas odds say, 'no.' 102.ANOTHER ANGLEA wedge of uniformed guards knife down the aisle to the ring.Many people wish Rocky well as he passes... people also hurlinsults. From the expression on Mickey's face it is alsothe greatest night of his life. In the audience are familiarfaces from the gym. From the back of the arena a ROAR goesup... Apollo Creed is in a mock boat dressed like GeorgeWashington. He throws silver dollars. The NOISE builds toDEAFENING proportions. Creed's trainer holds the rope andCreed bounds into the ring. He tears off the Washingtonoutfit and it is clearly SEEN that Apollo Creed is garbed inan outrageous Uncle Sam outfit... On his head is a red,white and blue sequined top hat. The robe is sequined red,white and blue. His boxing trunks are red, white and bluesilk with stars around the waistband. The boxing shoesmatch the trunks. On his chin is a pointed white Uncle Sambeard. COMMENTATOR #2 You could go deaf with the noise -- it undoubtedly means Champion Apollo Creed is heading towards the ring -- COMMENTATOR #1 Am I seeing right? Creed is approaching the ring in a boat. Is he supposed to be George Washington? Obviously so. COMMENTATOR #2 It's been confirmed that it is definitely an impersonation of George Washington -- a great way to start 1976 off. COMMENTATOR #1 I agree.Immediately Creed begins gracefully dancing in a wide circle.He passes within inches of Rocky in his Uncle Sam outfit. APOLLO I want you! I want you!The crowd loves the taunting. Apollo Creed floats back tohis corner. MICKEY Don't let 'im get you tight. 103. ROCKY Whatta ya think that outfit cost?ANOTHER ANGLEThe ANNOUNCER steps to the center of the ring... Several menin suits stand against the ropes... Paulie is dressed nicelyand sits at ringside with a pretty blonde escort. Rockywaves at him. Paulie waves back and secretly gestures athis date... Rocky smiles and gestures back. ANNOUNCER Ladies and gentlemen -- Welcome to the Bicentennial Heavyweight Championship Fight... We are very proud to have with us four former Great Champions... Ladies an' gents, 'The one and only 'Manassa Mauler' -- Jack Dempsey!'The CROWD ROARS and JACK DEMPSEY waves and goes to Creed'scorner, then Rocky's. DEMPSEY Good luck, kid.He moves off. ROCKY (to Mickey) Christ, Jack Dempsey.ANOTHER ANGLEThe Announcer points and the timekeeper RINGS the BELL. ANNOUNCER Former Middleweight Champion -- 'The Bronx Bull' -- Jake LaMotta!JAKE LA MOTTA raises his fist and gives best wishes to bothcontenders... Timekeeper RINGS the BELL.ANOTHER ANGLE ANNOUNCER (continuing) The man with the big punch -- Everybody's favorite, 'The Brown Bomber ' -- Joe Louis! 104.JOE LOUIS bows and steps to Creed's corner. Creed strikes aboxing pose and Louis tosses a playful punch. ROCKY They must be friends.ANOTHER ANGLE ANNOUNCER Now, last but certainly not least -- the former Heavyweight Champion, a son of Philly, Smoking Joe Frazier!FRAZIER rumbles to the center of the ring. The CROWD CHEERS.Apollo puts on a show... He grimaces and gestures like he'sgoing to attack Frazier. His cornermen hold him back. Theylaugh. Frazier goes to Rocky's corner. FRAZIER Save some of him for me.ANOTHER ANGLEThe Commentators beckon to Frazier as he exits the ring. COMMENTATOR #1 The former champ looks great -- Can we get Joe over here -- here he comes.Joe Frazier stands in front of the Commentators. COMMENTATOR #1 (continuing) Joe, what are your feelings about tonight's fight? FRAZIER Well, I think any man who works an' trains hard always gotta chance. COMMENTATOR #2 You look in great shape, Joe. FRAZIER I'm always in shape.Joe laughs and exits. The timekeeper RINGS the BELL. 105.ANOTHER ANGLE ANNOUNCER ... Now for the evening's main event -- In the corner to my right, The Challenger, wearing white trunks -- At one hundred an' ninety-one pounds, one of Philly's own sons -- 'The Italian Stallion,' Rocky Balboa!A good CROWD RESPONSE.ANOTHER ANGLE ANNOUNCER In the far corner, wearing red, white an' blue -- Weighing in at two hundred and ten pounds -- Undefeated in forty- six fights -- the Heavyweight Champion of the World -- 'The Master of Disaster' -- Apollo Creed!The arena EXPLODES and Creed puts on a display of hand speed.ANOTHER ANGLEThe REFEREE motions to both fighters... They step to thecenter of the ring. As the Referee explains the rulesApollo and Rocky stare hard into each other's eyes... TheReferee's voice fades and the fighters' expressions fill thescreen... Something soulful and frightening is beingcommunicated. REFEREE ... Now come out fighting.The fighters return to their corners. MICKEY God bless ya, Rock. ROCKY Thanks, Mick -- I'm gonna try.ANOTHER ANGLEThe BELL RINGS... Creed dances forward and boxes Rocky asthough he considers the man an amateur. 106.ANOTHER ANGLE COMMENTATOR #1 The Champ stings the slower challenger with jabs at will -- Balboa blocks eighty percent of the blows with his face -- Creed doesn't look the best he's ever been but is moving smoothly -- Creed snaps out a triple combination that backs Balboa into a corner -- oh, a solid hook by Creed, a master of fist-men. COMMENTATOR #2 The Champion is smiling and toying with the man -- trying to give the fans their money's worth and make a show of it with the badly out-classes challenger -- Another left to right combination. I feel sorry for -- COMMENTATOR #1 Creed is down!!!ANOTHER ANGLERocky suddenly explodes with an upswing hook to the jaw.Creed is dropped. The arena EXPLODES. Creed's eyes showdisbelief. So do Rocky's.Rocky backs into his corner... Mickey and Mike yell at him. MICKEY You can do it! Goddamnit, you got the power! The body, get the body!!! Ya got him goin'! REFEREE Six!... Seven!... Eight!...Creed is up... His playful attitude is gone... he is now allbusiness. His lightning jab stings Rocky's face repeatedly. APOLLO ... Come at me, sucker!Rocky charges and a terrific right crashes against Apollo'schin, followed by an uppercut to the liver that causes Creedto cringe... 107.Apollo counters with jabs and Rocky whips brutal combinationsto the body.The BELL RINGS.ROCKY'S CORNER ROCKY How am I doin'? MICKEY Real good. ROCKY See how fast he is -- damn! MICKEY Breathe deep -- Keep ya chin down!! Use the legs and drive through 'im. Attack -- Attack -- Attack!APOLLO'S CORNERApollo does not sit. He stands and clowns with thespectators to prove he is not hurt. APOLLO (to Trainer) ... That boy damn near broke my arm. TRAINER Sure -- He can hit -- Don't play no more -- Stick an' move, hear? APOLLO I'll carry him 'till the third. TRAINER Don't play with this man, he's fightin' hard -- Let 'em feel some real heat!ANOTHER ANGLEThe BELL for the second round RINGS... Rocky rushes out fastand furious. Apollo melts out a left hook that raises agoose egg over Rocky's eye... Apollo employs footwork thatdazzles Rocky. He has class. He studies Rocky and employshis lightning jab with cutting accuracy. Still Rocky shufflesahead, bombarding Creed's midsection with hooks. 108.ANOTHER ANGLEThe round ends with Apollo assaulting Rocky with blindingcombinations and delivering a stupendous right cross thatflings Rocky into the ropes and shatters his nose... Theround ends.ANOTHER ANGLEApollo stands in his corner and jokes with the fans, but heis beginning to show the strain from the body punches. APOLLO Man, I rearranged his face with that right -- The people love what's happenin' tonight. TRAINER People nothin', you in a fight, my man, -- ya best believe what you hear... Knock that boy out soon an' let's go home.ANOTHER ANGLERocky sits as Mickey and Benny try to reduce the swellingaround his eyes... The nose is shattered. MICKEY Ya nose is broke. ROCKY Damn! How's it look? MICKEY Can't hardly tell. Don't swallow the blood -- Go for his ribs. Don't let 'im breathe. ROCKY ... The guy's great. MICKEY Why don't ya tell 'im you're a fan!ANOTHER ANGLEThe Commentators are caught up in the action. They speakrapidly into their microphones. 109. COMMENTATOR #2 If you had asked anyone who knows boxing, they never would've predicted a first round knockdown and the second round punishment to the body of the Champion... Most fighters will tell you, receiving a good body punch is the next worst thing to dying. COMMENTATOR #1 Round three ready to start and should be interesting to see if Creed can put the challenger away -- there goes the bell.ANOTHER ANGLERound three... Apollo comes out dancing. He skips and side-steps Rocky's sledgehammer hooks. An expert ring general,Apollo uses the ring fully. Rocky keeps tearing in andCreed meets the bombing attack that cause thick swelling...Near the end of the round Rocky fires a penetrating punch tothe heart. COMMENTATOR #1 Apollo almost sprints out of his corner -- feints and throws a pair of left-right combinations. Balboa drops beneath a left upper cut and lands a very solid shot on Creed's temple -- not much movement from Balboa, duck a left, a right, another left and explodes with a right hook to the temple -- I mean explodes. The Champ backs off. COMMENTATOR #2 There's no way Apollo expected this kind of hitting power. COMMENTATOR #1 No way -- but the brilliant ability of the Champion to master situations like this is one of his most outstanding traits -- Creed tosses a perfect right hand that rocks Rocky. (MORE) 110. COMMENTATOR #1 (CONT'D) Creed on the offensive -- Balboa takes the punishment and counters with a left flush over the heart... that hurt.The wallop knocks Apollo off balance... The CAMERA GOES TO ASTEEP ANGLE SHOT from the floor, VERTICALLY UP Apollo's body.The SCENE GOES INTO SLOW MOTION... Rocky releases aterrifying uppercut that opens a gash under Creed's eye.Creed's face contorts with excruciation. TRAINER (yelling) Cover your face! Cover up! (to Assistant) My man's cut, my man's bleedin' -- Get ready!ANOTHER ANGLEThe BELL SOUNDS. Apollo's corner works frantically to closethe wound... The ring DOCTOR inspects the cut. TRAINER Bad? Talk to me, man! DOCTOR Deep, but passable. APOLLO (staring at Rocky) ... That man's takin' his job too serious. TRAINER He's movin' to your left -- don't let him no more -- dance and stick, hear? Don't play -- I know what ya feelin', but don't play. APOLLO He got lucky. TRAINER Luck! You fightin' a crazy man -- but you got him hurt bad. (to Assistant) More ice, now! 111.ANOTHER ANGLERocky's face is in very bad shape, not cut, but wretchedlyswollen around the eyes. MICKEY How you holdin' up, kid? ROCKY Fine... That guy's great. MICKEY Gimme the water! Ya getttin' tagged with his right. I think you should feint left and high hook 'im -- Benny, check the eyes! Can ya see? ROCKY (standing) See what? MIKE Ya sappin' his strength -- He's losin' steam. ROCKY He ain't losin' nothin'. MICKEY Keep on him -- You're doin' great.SERIES OF SHOTSIn the next ten rounds, Apollo cuts and slashes Rocky toribbons, but pays dearly... Both his eyes and lips are cut.Welts across his midsection attest to Rocky's body-battering.INT. ROCKY'S DRESSING ROOM - NIGHTAdrian is unable to remain alone... She is lured by theGROWING ROAR OF THE FANS... She exits the dressing room.INT. ARENA HALL - NIGHTStepping out of the dressing room she walks down the corridor.The MOUNTING CHEERS make her speed up. She opens the doorat the end of the corridor and is hit by a THUNDEROUS WAVEOF SOUND. The guard at the door inspects her and goes backto watching the fight. 112.INT. ARENA - NIGHTAdrian stands at the rear of the arena and watches thebattle. She is entranced by the power of it all.Back in the ring, Rocky keeps grinding ahead. He plants athumping left over the Champion's heart and Creed winces...Rocky is game but losing.At ringside Paulie is frantic... He is living the fight fromhis seat.Mr. Gazzo and his Bodyguard watch from the second row.Gazzo looks proud. The Bodyguard, impassive.INT. ANDY'S BAR - NIGHTA huge and lively crowd look up at the television over thebar... They see Rocky driving Creed against the ropes andcheer loudly. ANDY ... The Rock's got real stones.INT. ARENA - NIGHTThe men are fighting with appalling tenacity. Rocky ripsand tears into the body... Apollo counters with a ceaselessstream of rapier-like lefts... The Challenger is seriouslyoutclassed. APOLLO C'mon -- Lemme cut yo'!Rocky wades in and Creed employs incredible footwork. Hesets himself and cuts loose with a thunderbolt right crossto Rocky's already broken nose. Blood sprays from the woundand red droplets drip from his chin...Rocky takes a merciless beating and is staggered by atorrent of combinations. Rocky's eyes are closed. ButCreed cannot drop him... The BELL RINGS.ANOTHER ANGLEThe Commentators shift in their seats. COMMENTATOR #1 Without a doubt this is the most punishing brawl I have ever seen -- The ringside audience is spotted with blood. (MORE) 113. COMMENTATOR #1 (CONT'D) This fight should have been stopped rounds ago but Rocky Balboa refuses to fall -- COMMENTATOR #2 Not only has he refused to fall, but he has beaten the Champion's body without mercy and the bout has become a vicious slugfest.ANOTHER ANGLEApollo's corner is in turmoil... The Champion is definitelyhurt. APOLLO My side. TRAINER (to Assistant) Get that doctor. APOLLO No doctor! TRAINER You're hurtin', man! APOLLO No doctor!... I'm feelin' good, bro!ANOTHER ANGLEIn Rocky's corner, things are frantic. His eyes are swollenshut. MICKEY Wanna keep goin'? ROCKY Would you keep goin'? MICKEY ... Yeah. MIKE No more, ya wanna lose an eye? No more. 114. ROCKY Open my eyes -- Please, open my eyes!Mickey nods to Benny. He secretly places a small ring knifebetween his index and middle finger. In one smooth movementhe drags the razor over the blood welts and quickly coversthe draining wounds with gauze... It is done so quickly noone is ever aware of the operation.ANOTHER ANGLEAt the rear of the arena Adrian looks transfixed at the ring.She is caught up in the heat of the battle.ANOTHER ANGLEThe BELL RINGS for round fourteen. Rocky bores in close,but Apollo still has spring in his legs. He seems determinedto end it this round... Apollo catches Rocky flush on thejaw. Rocky is staggered. Like a wolf, Apollo cuts loosewith pure savagery. Rocky is driven against the ropes andreceives a devastating beating from the Champion... Rocky isdropped.Rocky sits stunned in the middle of the ring... Everythingis a distortion. He looks for familiar faces as though toask for help... Mickey and Mike scream frantically for himto stay down. REFEREE Six -- Seven -- Eight --Rocky gets to his feet and tenses with renewed energy. Heis like a wounded wild animal. The tide suddenly turns.Rocky drops low and catches Apollo with a pair of terrificbody punches that seem to drive Apollo's diaphragm up to histhroat... A CRACK is HEARD. A glaze of pain covers Apollo'seyes. It is only a supreme effort that keeps the Championupright... Apollo is badly hurt. He is bent over.Rocky moves towards Apollo. Apollo flicks dread jabs intoRocky's eyes... The Italian wades in with punches that seemto bulge out Apollo's back. Creed takes the punishment likea stoic.Blood is running from Apollo's mouth. In the clinch heleans over Rocky and it drips down the Italian's neck andshoulders. Apollo shields his wound from the ringsidejudges and continues to fight. 115.ANOTHER ANGLEThe BELL RINGS. Apollo's men rush out and guide him to hiscorner. APOLLO ... Ribs broke --Blood trickles from the corner of Apollo's mouth. TheTrainer feels the ribs. TRAINER Yo' bleedin' inside, man -- Get that doctor. APOLLO One more round. TRAINER Don't kill yourself, man -- Let the doctor stop the fight. APOLLO ... Stop jivin'! TRAINER Cover the ribs -- Look here, elbow down, tight -- Tight -- stand straight -- you're the best, you're the best! APOLLO ... Thanks.ANOTHER ANGLERocky no longer resembles himself... His face has completelybeen beaten to jelly, but his mood is buoyant. ROCKY How I look out there, Mick? MICKEY (truly worried) Great, kid, great.The ring Doctor leans over Rocky and checks the eyes. DOCTOR One more round -- How do you feel?Rocky is approaching the supreme moment of his life. Hecannot be bothered with pain or doctors. 116. ROCKY Fine -- Go away, I'm gonna make it -- I'm gonna make it!Everyone is distraught over Rocky's dangerous condition. MICKEY We gotta stop it, kid. MIKE Ya gave it ya best shot! MICKEY Nobody's gonna say ya didn't give ya all. I can't let ya go out.Rocky stands and eyes them all. ROCKY (impassioned and quietly) I'll kill ya all... Don't stop nothin' --ANOTHER ANGLEThe BELL RINGS... Apollo moves cautiously out of his cornerand circles to Rocky's right.ANOTHER ANGLEThe Commentators stare unansweringly at the fighters. COMMENTATOR #1 The fight has slowed down to a near stand-still -- Creed circles to Rocky's right... The spectrum is nearly silent -- Neither fighter has made a motion to throw... I've never seen anything like it in the last round of a championship fight... Apollo spits blood on the canvas. It appears he is protecting his right side. His ribs were probably injured at the end of round fourteen. (MORE) 117. COMMENTATOR #1 (CONT'D) It's confirmed, unofficially, Creed's ribs may be broken -- Apollo fakes a left and throws a big tired right -- Balboa's mouthpiece is out! Creed attacks with one hand!ANOTHER ANGLEApollo feints and Rocky falls for it. The Champion unleashesa lethal blow to the side of the head that jolts Rocky'smouthpiece into the second row... Rocky sags against theropes in a crucified position... The insane crowd leaps totheir feet.ANOTHER ANGLERocky's bloody teeth snarl at Apollo and he waves him tocome ahead and fight toe to toe... Apollo obliges with aweary but effective burst of rights and lefts that have K.O.written on every punch. Rocky counters the assault blow forblow. ROCKY Gimme ya best!!!!Mickey looks at the clock... TEN SECONDS TO GO. ROCKY (continuing) Gimme ya best!!!Blood sprays over the ropes and onto the ringsidephotographers... They are horrified and wipe away the blood.The fighters stand toe to toe and drag every remaining bitof strength from their souls and beat each other withoutmercy. They look hypnotized and have entered a dimensionfar beyond blood and pain. SIX FIVE FOUR THREE TWO ONE!ANOTHER ANGLEThe BELL RINGS... The arena EXPLODES with thunderous approval. 118.Their cornermen rush to their collapsed fighters... In themidst of all the confusion both fighters look at each otherwith unabashed respect -- They stand like blood-drenchedgladiators on the most dramatic night of their lives.As though reacting to some unspoken command, they both steptowards each other and embrace... Apollo whispers in Rocky'sear. APOLLO ... Ain't gonna be no rematch. ROCKY ... Don't want one.Mickey comes over and separates them and leads him back tohis corner... Mickey embraces him.ANOTHER ANGLEThe Announcer enters the ring with a microphone. ANNOUNCER Attention, please!! Attention!! Ladies and gentlemen, tonight we have had the rare privilege to have witnessed the greatest exhibitions of stamina and guts ever in the history of sports.The CROWD ROARS. ANNOUNCER (continuing) Ladies and gentlemen -- We have a split decision!ANOTHER ANGLEApollo did not expect this and tenses. His corner nervouslytries to reassure him. It does no good.ANOTHER ANGLERocky did not expect this either and looks in confusion atMickey, but Mickey is frozen with anticipation.ANOTHER ANGLE ANNOUNCER Judge Walker scores it eight- seven Creed... Judge Roseman scores it eight-seven Balboa. 119.ANOTHER ANGLEApollo is rigid. Fear radiates from his eyes. To lose thecrown on this night after the fight he fought would killhim... A silence has blanketed the arena.ANOTHER ANGLE ANNOUNCER Judge Conners scores it nine- six Creed... Winner and still Heavyweight Champion of the World, Apollo Creed!ANOTHER ANGLERocky sorely smiles and looks at the waves of CHEERING fansthat circle the ring and reach out towards him... Mickeygrabs Rocky's hand and raises it. The CROWD ROARS. MICKEY I don't care what they say, you're a winner. ROCKY Yo, can I have my locker back?Mickey and Rocky look at each other and grin. Mickey hugsRocky like a son. Mickey raises Rocky's hand again. Rockyturns away from Mickey and pats Benny the cut-man'sshoulder... Benny smiles wearily. Rocky stares across thering at Apollo Creed, who stands victorious, but his faceand body are badly distorted... The two men lock stares thatreflect admiration.ANOTHER ANGLEApollo climbs out of the ring and the fans crush forwardscreaming his name and waving red, white and blue banners.ANOTHER ANGLERocky also climbs out of the ring and waves of frantic well-wishing fans rumble forward... Mickey's eyes show mountingapprehension as the fans become abnormally active.ANOTHER ANGLEThey shove the police aside and clutch wildly at Creed.Creed's army of bodyguards swing angrily at the crowd butthey are soon engulfed by screaming waves of humanity.Apollo is suddenly hoisted into the air and is being carriedalong by a legion of fans. 120.ANOTHER ANGLEOn the opposite aisle Rocky is experiencing the sameoverwhelming adulation by his fans but does not seem to befrightened by it, like Apollo. Mickey tries his best tocontrol things but his voice is drowned out in the growingclamor. The fans shove the guards aside and hoist Rocky totheir shoulders.ANOTHER ANGLERocky's and Apollo's fans are aggressively competing againsteach other... chanting, 'Creed, Creed, Creed.'Rocky's fans counter by bellowing, 'Rocky, Rocky, Rocky.'ANOTHER ANGLEPaulie tries to get to Rocky but is shoved aside and hestarts swinging.ANOTHER ANGLEBoth Rocky and Apollo are completely at the mercy of thecrowd. They are being passed overhead and remain helplessas their bodies float up the aisle on the sea of hands...The CHANTING IS DEAFENING.ANOTHER ANGLEFearful that Rocky is in danger, Adrian tries to moveforward. Running headlong into the crowd, she anglesthrough the mass to get to Rocky.ANOTHER ANGLEShe is manhandled and shoved in a multitude of directions,but she keeps her feet... She sees him. In the distance,Rocky floats INTO VIEW and Adrian flattens against the walland waits for the procession to pass.The procession approaches and she clearly sees Rocky'sunbelievably battered but smiling face. He appears to beking of the world.The procession approaches and passes Adrian. She jumps onher toes and waves frantically but is not seen. She screamsRocky's name... Somehow the delicate voice knifes throughthe racket and reaches Rocky.Rocky frantically looks in all directions and barely managesto see Adrian jumping up and down waving. The crowd iscarrying him away. He attempts to lower himself but thecrowd won't permit it. 121.Rocky instead turns and begins climbing across people'sheads and shoulders. He resembles a man trying to go up adown escalator. People are jammed so tightly together Rockymanages to crawl across them to Adrian.Still suspended in air, Rocky leans down and Adrian jumps upand they lock in an embrace. ADRIAN I love you -- I love you -- I love you...The two are swept along into the greatest night anyone canremember... THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Romeo & Juliet.txt b/unformated_scripts/Script_Romeo & Juliet.txt new file mode 100644 index 0000000000000000000000000000000000000000..5da5eab0e6a4b378fa24d74a860fe2105a316c5b --- /dev/null +++ b/unformated_scripts/Script_Romeo & Juliet.txt @@ -0,0 +1 @@ + WILLIAM SHAKESPEARE'S ROMEO & JULIET Adapted by Craig Pearce & Baz Luhrmann Shooting script October 6, 1995 EXT. HIGHWAY. AFTERNOON. A ribbon of freeway stretching into a blue and pink late afternoon sky. A huge dark sedan, windows tinted gold, headlights blazing, powers directly for us. CUT TO: A heavy, low-slung, pickup truck traveling toward the sedan. WIDE SHOT: Sky, freeway, the cars closing. TIGHT ON: The sedan. TIGHT ON: The pickup. Like thunderous, jousting opponents, the cars pass in a deafening cacophony of noise. INT. TRUCK. AFTERNOON. TIGHT ON: The fat face of GREGORY, yelling at the disappearing sedan. GREGORY A dog of the house of Capulet moves me! He and the pimply-faced front-seat passenger, SAMPSON, explode with laughter. The red-haired driver BENVOLIO, keeps his eyes on the road. EXT. EXIT RAMP. AFTERNOON. The truck spirals down an exit ramp and screeches into busy driveway of a large gas station. EXT. GAS STATION. AFTERNOON. Attendants immediately run to the truck. Two clean windshields and duco, the third fills the gas tank. INT. TRUCK. AFTERNOON. Gregory in the back seat is boasting outrageously. GREGORY A dog of that house shall move me to stand. I will take the wall of any man or maid of Capulets. Sampson, sarcastically. SAMPSON That shows thee a weak slave. For the weakest goes to the wall. GREGORY 'Tis true; and therefore women, being the weaker vessels, are ever thrust to the wall. Therefore, I will push Capulet's men from the wall, and thrust his maids to the wall. Benvolio, disgusted, gets out of the car. BENVOLIO The quarrel is between our masters... GREGORY (yelling after him) ...and us their men. EXT. GAS STATION. AFTERNOON. FOLLOW: Benvolio as he heads for the bathroom. PICK UP: A mother wrangling three little boys out of a station wagon - the smallest kid carries a toy pistol. SUPER FAST SCAN TRACK: Past the mother to - the huge black sedan pulling up outside the gas station mini-mart. The front door of the sedan opens. Shiny black boots - decorated with tiny, silver, cat-shaped spurs - plant themselves on the ground. The boots are joined by two other pairs of well-shod feet. HOLD: The spurred boots move out of frame. CRANE UP: The other feet belong to a tough-looking Latin youth ABRA - and his goateed side-kick PETRUCHIO. Abra and Petruchio enter the mini-mart, as four white-clad girls exit. FOLLOW: The girls as they head for their car. SUPER FAST SCAN TRACK: Past the girls to: INT. TRUCK. AFTERNOON. Sampson is trying to out boast Gregory. SAMPSON I will show myself a tyrant. When I have fought with the men I will be civil with the maids, I will cut off their heads. Gregory; mock outrage. GREGORY The heads of the maids? Sampson leers lecherously at the girls. SAMPSON Ay, the heads of the maids, or their maiden heads, take it in what sense thou wilt. GREGORY They must take it in sense that feel it. Gregory and Sampson pump up the song on the sound system and sing out at the girls. GREGORY/SAMPSON (SINGING) I am a pretty piece of flesh! I am a pretty piece of flesh! Me, they shall feel while I am able to stand; I am a pretty piece of flesh! The girls, pretending not to notice, get into the car. EXT. GAS STATION - MINIMART. AFTERNOON. GREGORY'S P.O.V.: The car pulls away revealing... Abra and Petruchio exiting the mini-mart. INT. TRUCK. AFTERNOON. CLOSE ON: Gregory. CLOSE ON: Sampson - Their singing abruptly halts. SAMPSON Here comes of the House of Capulet. EXT. GAS STATION. AFTERNOON. Abra and Petruchio stare coldly toward the boys. INT. TRUCK. AFTERNOON. CLOSE ON: Sampson swallowing hard. CLOSE ON: Gregory; eyes locked to the Capulets. With fake bravado he nudges Sampson. GREGORY Quarrel I will back thee. CLOSE ON: Sampson trying to quell his rising panic. SAMPSON Let us take the law of our sides. Let them begin. SUDDENLY: BANG! Gregory and Sampson jump. WHIP PAN: It was the garage attendant slamming the hood. Gregory and Sampson are mortally embarrassed. EXT. MINI-MART. AFTERNOON. Abra and Petruchio laugh contemptuously and move to their CAR: FOLLOW: The mother and kids exiting the mini-mart. SUPER FAST SCAN TRACK: To... INT. TRUCK. AFTERNOON. Sampson furiously tries to save face. SAMPSON I will bite my thumb at them; which is a disgrace to them if they bear it. Sampson quickly bites his thumb toward Abra's back as he gets into the sedan. INT. SEDAN. AFTERNOON. Abra's eyes flick to the rear view mirror. E.C.U.: The rear view mirror; Sampson biting his thumb. EXT. GAS STATION. AFTERNOON. Suddenly, a blood curdling screech of tires - the sedan, rubber burning, reverses full speed toward Sampson and Gregory. The mother in the station wagon brakes to avoid collision - a sports car shunts into her vehicle. Mother and children scream. Attendants scatter. The Capulet car shudders to a halt inches from the truck, blocking its path. INT. BLACK SEDAN. AFTERNOON. CLOSE ON: A scurry of limbs scrabbling across seats and reaching for door handles; EXT. GAS STATION. AFTERNOON. Abra hauls Sampson from the truck. Gregory leaps out, Petruchio covers him. Abra slams Sampson against the side of the vehicle - then, goading him to go for his gun, screams: ABRA Do you bite your thumb at us, sir? Sampson's shaking hand hovers - ready to draw. SAMPSON I do bite my thumb, sir. INT. STATION WAGON. AFTERNOON. CUT TO: The panicked mother in the station wagon. She motions her children to the floor. EXT. GAS STATION. AFTERNOON. Customers run for cover. CLOSE ON: Abra: An hysterical rage; he shrieks: ABRA Do you bite you thumb at us, sir? SAMPSON (sweating, murmurs to Gregory) Is the law on our side if I say "Ay"? GREGORY No. INT. BATHROOM. AFTERNOON. CLOSE ON: The black cowboy boots, trousers down around them. The sound of a toilet flushing. PAN TO: The next cubicle, the door opens revealing Benvolio. EXT. GAS STATION. AFTERNOON. CLOSE ON: Sampson, still sweating. SAMPSON No, sir, I do not bite my thumb at you, sir - but I do bite my thumb, sir! CUT TO: Gregory; a ridiculous inquiry. GREGORY Do you quarrel, sir? CUT TO: Abra; a dangerous smile. ABRA Quarrel sir, no sir. CLOSE ON: Sampson; unconvincing bravado... SAMPSON But if you do, sir, I am for you. I serve as good a man as you. CLOSE ON: Abra; a lethal question. ABRA No better? CLOSE ON: Sampson, trapped. SAMPSON Well sir... INT. STATION WAGON. AFTERNOON. CUT TO: Inside the station wagon. The mother does not notice her five year old aiming a toy gun toward the boys. EXT. GAS STATION. AFTERNOON. CUT TO: Gregory's P.O.V.: Benvolio emerging from the bathroom - he whispers maniacally. GREGORY Here comes our kinsman. Say better! EXTREME CLOSE UP: Sampson; he screams: SAMPSON YES SIR, BETTER! EXTREME CLOSE UP: Abra demonically roars: ABRA THOU LIEST! CUT TO: Benvolio. Terror stricken, he sees the boys. DISTORTED OUT OF CONTROL CLOSE UP: Abra shrieks: ABRA DRAW IF YOU BE MEN! LIGHTNING CUT: Four hands reaching for guns. SLAM ZOOM: To Benvolio - weapon outstretched he screams: BENVOLIO Part, fools! You know not what you do! MUSIC STING; A SUPER MARCO SLAM ZOOM along the barrel of Benvolio's gun; the engraved gun type reads: 'Sword 9mm series S' CUT TO: Benvolio. He screams in desperation: BENVOLIO Put up your swords! Gregory, Sampson, Abra, and Petruchio freeze. A moment - then from behind, the unmistakable sound of a gun being cocked. EXTREME CLOSE UP: The black cowboy boots. CRANE UP: To find the dark cold eyes and feline smile, of the wearer of the boots. His name is TYBALT; a cigarette is clenched between his teeth and his gun is aimed at Benvolio's head. TYBALT What, art thou drawn amoung these heartless hinds? Turn thee Benvolio. Benvolio, a choked explanation: BENVOLIO I do but keep the peace. A mocking smile. TYBALT Peace? I hate the word As I hate hell, all Montagues, and... EXTREME CLOSE UP: Tybalt's finger squeezing the trigger... Suddenly we hear firing from Tybalt's blind side. Tybalt redirects his weapon, cracking off a single shot at the surprise attacker. EXT./INT. MINIMART. AFTERNOON. It is the five year old from the station wagon. The bullet smacks the toy gun from the child's hand, shattering the wagon's window. Mother and children scream. EXT. GAS STATION. AFTERNOON. A panicked Benvolio falls back, accidentally his gun fires - the bullet whistles past Tybalt's head. Tybalt combat rolls, and using a screaming car load of girls as cover, returns two quick shots, narrowly missing Benvolio. EXT. GAS STATION. AFTERNOON. The gas station attendant hits a button and heavy metal screens slam down. EXT. GAS STATION. AFTERNOON. CUT TO: Gregory firing - a bullet rips through Abra's arm. Petruchio dives for cover; Gregory and Sampson leap into Benvolio's truck. Rubber burns as they smash past the Capulet vehicle. CLOSE ON: Tybalt taking aim. EXT. HIGHWAY - SUPERMARKET. AFTERNOON. His first shot plugs the fuel tank, the second a tire. Out of control and spewing gasoline the Montague truck careens across the highway and through the glass front of a supermarket. Gregory and Sampson throw themselves from the truck moments before... EXT. SUPERMARKET. AFTERNOON. CLOSE ON: The gas tank erupts into an almighty fireball. The screen fills with flame: the following images combust in front of us: EXT. HIGHWAY - SUPERMARKET - FROM AIR. AFTERNOON. NEWS CHOPPER P.O.V.: Citizens run in the streets. Looters raid shops near the supermarket - security guards return fire. INT. RESTAURANT. NIGHT. A table of dark suited men and their wives. CLOSE ON: The powerful 60 year old face of FULGENCIO CAPULET. Seated next to him is his much younger wife GLORIA. SUDDENLY: Windows explode in a tidal wave of glass. Diners take cover. Capulet moves fearlessly toward the window. CAPULET (to a waiter) Give me my long sword! EXT. STREET. NIGHT. CLOSE ON: The word MONTAGUE fills the screen. PULL BACK: We see the word is the number plate of a large black limousine. The limousine is stuck in the traffic snarl - bullets bounce off its bullet proof windshield. INT. MONTAGUE'S LIMOUSINE. NIGHT. TED MONTAGUE, a 60 year old red-faced bulldog of a man, bursts from the back of the limousine. MONTAGUE What noise is this! As Ted draws an enormous pearl handed revolver, CAROLINE, his conservatively dressed wife, tries to restrain him. CAROLINE Thou shalt not stir one foot to seek a foe! MONTAGUE (shrugging her off) Hold me not, let me go! EXT. STREET. NIGHT. Crouched behind a truck, Benvolio shakily tries to re-load. CLOSE ON: The barrel of Tybalt's gun enters frame and presses into Benvolio's forehead. Tybalt whispers sweetly. TYBALT Look upon thy death, Benvolio. CLOSE ON: Tybalt's finger on the trigger. Benvolio screams a scream of mortal horror. SUDDENLY Tybalt is blinded by a burning shaft of light. A magnificently powerful helicopter gunship hovers above him. A command booms from the chopper's public address system. CAPTAIN PRINCE (over PA) Rebellious subjects, enemies to peace, Throw your mistempered weapons to the ground. INT. CHOPPER. NIGHT. CLOSE ON: The steely gray eyes of CAPTAIN PRINCE, chief of the Verona Beach Police Department. He lifts the microphone and repeats the command. CAPTAIN PRINCE Throw your mistempered weapons to the ground! EXT. VERONA BEACH. NIGHT. Tybalt looks up to the chopper. Patrol cars screech to a halt. An almighty orchestral chord. EXT. VERONA BEACH - MATTE SHOT. NIGHT. SUPER WIDE SHOT: A trail of devastation winds up through grid-locked traffic to the burning supermarket. In the distance looms an enormous statue of Christ flanked by two glass towers. We push toward the towers. One is neon-crowned MONTAGUE, the other, CAPULET. We hear: VOICE OVER Two households, both alike in dignity. In fair Verona, where we lay our SCENE From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star crossed lovers take their life. Whose misadventured piteous OVERTHROWS Doth with their death bury their parents strife. A dark chord. EXT. VERONA BEACH SKYLINE. NIGHT. A swarm of helicopters thunder into frame. We see compressed, time-lapsed, images of their journey. SLAM INTO: A coat of arms that labels a large tower - the emblem reads; "Verona Beach Police Department: In God We Trust". HOLD: INT. CAPTAIN PRINCE'S PRECINCT OFFICE. NIGHT. CLOSE ON: Captain Prince's grim features. He eyes Capulet and Montague. CAPTAIN PRINCE Three civil brawls, bred of an airy WORD By thee, old Capulet, and Montague, Have thrice disturbed the quiet of our streets. Capulet's lawyer tries to intervene. LAWYER My noble Prince I can... Captain Prince overriding, slams the desk. CAPTAIN PRINCE If ever you disturb our streets again, Your lives shall pay the forfeit of the peace. Hold on Captain Prince's determined gaze. EXT. VERONA STREET. DAWN. A majestic sunrise; Ted Montague's limousine sulks through deserted streets. In the distance, Jesus looks out over the now peaceful city. INT. MONTAGUE'S LIMOUSINE. DAWN. Ted Montague, his wife Caroline, and nephew Benvolio ride in uncomfortable silence. Caroline finally speaks her anger. CAROLINE O where is Romeo? Saw you him today? (pointedly to Montague) Right glad I am he was not at this fray. Montague snorts derisively and stares out the window. Embarrassed, Benvolio tries to be of assistance. BENVOLIO Madam, underneath The Grove of SYCAMORE So early walking did I see your son. Ted Montague speaks with contempt. MONTAGUE Many a morning hath he there been SEEN With tears augmenting the fresh morning's dew. Caroline struggles to contain her emotion. CAROLINE Away from light steals home my heavy son And private in his chamber pens himself, Shuts up his windows, locks fair daylight out And makes himself an artificial night. Montague barks into the car intercom. MONTAGUE Westward from this city side. EXT. STREET. DAWN. The limousine U-turns heading west. EXT. BEACH. DAWN. To the melancholic strains of Mozart's "Serenade for Winds", we see a blond nineteen year old boy sitting alone on an empty beach. CLOSE ON: The boy, ROMEO. Looking out over the ocean he sucks on the last of a cigarette and then writes intensely in a small worn note book. We hear his voice over. ROMEO (V/O) Love is a smoke made with the fume of sighs; Being purged, a fire sparkling in lovers' eyes; Being vexed, a sea nourished with lovers' tears. What is it else? A madness most discreet, A choking gall and a preserving sweet. INT. MONTAGUE'S LIMOUSINE. DAWN. The limo is parked in a cross street that runs down to the beach. Opposite the limo, young diehard clubbers, faded drag queens and street people, hang outside a dilapidated nightclub. A broken neon sign reads: "The Grove of Sick Amore." Ted, Caroline and Benvolio sit watching the silhouette of Romeo on the beach. MONTAGUE Black and portentous must this humour prove Unless good counsel may the cause remove. EXT. BEACH. DAWN. P.O.V.: From the limousine. Romeo rises and listlessly makes his way up the beach - seeing his father's car he turns and heads for the path that hugs the beach front. INT. MONTAGUE'S LIMOUSINE. DAWN. BENVOLIO So please you step aside. I'll know his grievance or be much denied. Benvolio clambers out of the limo. CLOSE ON: Montague, an encouraging smile. MONTAGUE Come Madam. Let's away. EXT. STREET. DAWN. The limousine pulls away and Benvolio heads after Romeo. He pauses. A deck at the rear of "Sick Amore" sprawls onto the beach. At the base of the deck, Benvolio can see Romeo squatting in discussion with an old drunk. Benvolio approaches with a not very convincing casualness. BENVOLIO Good morrow, cousin. Romeo turns. Sore, red, unfriendly eyes squint back at Benvolio. ROMEO Is the day so young? BENVOLIO But new struck, Coz. Romeo rises, Benvolio follows. ROMEO Ay me! Sad hours seem long. Romeo stops as if taking in Benvolio for the first time. ROMEO (CONT.) Was that my father that went hence so fast? BENVOLIO (GUILTY) It was. Benvolio chases Romeo down the path which divides the beach from a string of cheap souvenir shops and sleazy bars. BENVOLIO What sadness lengthens Romeo's hours? ROMEO Not having that which having makes them short. BENVOLIO In love? ROMEO Out. BENVOLIO Of love? ROMEO Out of her favor where I am in love. BENVOLIO Alas that love, so gentle in his view, Should be so tyrannical and rough in proof! ROMEO Alas that love, whose view... Romeo is halted by the sight of last night's disturbance displayed on a small TV screen in an outdoor bar. ROMEO (CONT.) What fray was here? Benvolio starts to reply. ROMEO (CONT.) (ANGRILY) Yet tell me not, for I have heard it all. Here's much to do with hate, but more with love. Romeo turns the corner away from the beach. He strides along the sidewalk raging. ROMEO (CONT.) Why then, O brawling love, O loving hate, O anything, of nothing first create! O heavy lightness, serious vanity, Misshapen chaos of well-seeming forms, Feather of lead, bright smoke, cold fire, sick health, Still-waking sleep, that is not what it is! Romeo screams at a huge bouncer who lounges in the doorway of a sex club. ROMEO (CONT.) This love feel I, that feel no love in this! The bouncer's hand moves to his gun. Romeo, ignoring him, turns on Benvolio. A mocking laughter through tears: ROMEO (CONT.) Dost thou not laugh? Benvolio, nervously eyeing the bouncer, shepherds Romeo out of danger. BENVOLIO No, coz, I rather weep. Romeo smiles. ROMEO Farewell, my coz. Romeo, breaking into a jog, leaves Benvolio behind. Benvolio pursues him down the street. EXT. ROMEO'S CAR. DAY. CLOSE ON: The sleeping face of a fourteen year old boy - BALTHASAR. PULL BACK: Balthasar sleeps on the hood of a magnificent silver car. Three or four kids doze on the sidewalk. As Romeo approaches, they jump up and begin vigorously polishing the already gleaming car. Balthasar wakes. He springs off the hood, chases the kids away, then, producing a huge bunch of keys, opens the car door for Romeo. Benvolio intercepts Romeo at the car. BENVOLIO Tell me in sadness, who is it that you love. ROMEO In sadness, cousin, I do love...a woman. BENVOLIO I aimed so near when I supposed you loved. Romeo leans against the car. ROMEO A right good marksman; and she's fair I love. Romeo pulls his shirt down to reveal a small shoulder tattoo. CLOSE ON: The tattooed word; ROSALINE. BENVOLIO Rosaline! (he is impressed) A right fair mark, fair coz, is soonest hit. ROMEO She'll not be hit with Cupid's arrow. She hath Dian's wit, And in strong proof of chastity lives well armed. Benvolio can't believe it. BENVOLIO Then she hath sworn that she will still live chaste? ROMEO She hath; and in that sparing makes huge waste. Benvolio - a plan. BENVOLIO Be ruled by me; forget to think of her. ROMEO O, teach me how I should forget to think! Benvolio indicates one of the working girls already strutting the foot path. BENVOLIO By giving liberty unto thine eyes. Examine other beauties. Romeo laughs dismissively. He throws the kids a few coins and slides into the drivers seat. Balthasar jumps in back. ROMEO Farewell. Thou canst not teach me to forget. BENVOLIO I'll pay that doctrine, or else die in debt. Benvolio leaps into the passenger seat of the moving vehicle. INT. CAPULET OFFICE. DAY. An orchestral fanfare. TRACK DOWN: Past monstrous letters that read CAPULET and in through a window to discover Fulgencio Capulet. He stares out the window toward the other tallest building in Verona; the one crested with the word MONTAGUE. CAPULET But Montague is bound as well as I, In penalty alike; Capulet turns: on the other side of his desk sits DAVID PARIS; a square-jawed young man in a red cashmere sweater. Tea has been served from an exquisite silver tea service. CAPULET (CONT.) And 'tis not hard, I think, for me so old as we to keep the peace. Dave smiles obligingly. DAVE Of honorable reckoning are you both, And pity 'tis you lived at odds so long. An awkward pause: Dave sips tea, then, with a deep breath... DAVE (CONT.) But now, my lord, what say you to my suit? Capulet considers the framed photograph on his desk. CAPULET But saying o'er what I have said BEFORE; My child is yet a stranger in the WORLD; Let two more summers wither in their pride, Ere we may think her ripe to be a bride. Dave is politely insistent. DAVE Younger than she are happy mothers made. CAPULET (checking him hard) And too soon marred are those so early made. Earth hath swallowed all my hopes but she; She is the hopeful lady of my earth. Capulet rounds the desk and places a fatherly hand on Dave's shoulder. CAPULET (CONT.) But woo her, gentle Paris, get her heart. My will to her consent is but a part, And she agreed, within her scope of CHOICE Lies my consent and fair according voice. This night I hold an old Accustomed feast. Capulet leans close. CAPULET (CONT.) At my poor house, look to behold this night, Fresh female buds that make dark heaven light. Hear all; all see, And like her most whose merit most shall be. Capulet smiles knowingly. Dave seems encouraged. CAPULET (CONT.) (a hearty slap) Come go with me! Capulet excitedly ushers Dave from the office. INT. POOL HALL. DAY. Dim, smoke filled. Benvolio and Romeo play pool. BENVOLIO (chalking his cue) Take thou some new infection to thy eye. He lines up the six ball top pocket. BENVOLIO (CONT.) And the rank poison of the old will die. A hopeless shot that slams the eight ball toward the side pocket. Romeo stops it with his hand and hurls it against the other balls. BENVOLIO Why, Romeo, art thou mad? Romeo sinks the other balls with his hands. ROMEO Not mad, but bound more than a madman is; Shut up in prison, kept without my food, Romeo stalks away from the table. ROMEO (CONT.) Whipped and tormented. He stops at the gun check, rummaging in his pocket. ROMEO Good day, good fellow. A crusty old man looks up from the small television. His entire face a tattooed shooting target, the bullseye between his eyes. The old man points to the sign that reads: "No ticket no gun." Romeo finally produces a ticket. Crusty the Target goes out back. Romeo's attention is caught by the television. INT. T.V. STUDIO SET. DAY CUT TO: TELEVISION. An ostentatious woman and her over groomed partner Rich, hosts what looks to be a kind of Entertainment Tonight show. The graphic behind them reads "Solemnity Nights" with Susan Santandiago and Rich Ranchidis. Susan speaks conspiratorially to camera. SUSAN Now I'll tell you without asking. The great Rich Capulet, holds an old accustomed feast; Rich chimes in: RICH A fair Assembly. SUSAN I Pray you sir can you read? A list of names begins to scroll across the screen. Rich reads them off. RICH Signor Placentio and his wife and daughters, Signor Martino, the Lady Widow Of Utruvio and her lovely nieces, Rosaline and Livia... INT. POOL HALL. DAY. CUT TO: Benvolio, he leans into Romeo. BENVOLIO At this same ancient feast of CAPULET'S Sups the fair Rosaline; whom thou so loves, With all the admired beauties of Verona. Go thither, and with unattained eye Compare her face with some that I shall show, And I will make thee think thy swan a crow. ROMEO One fairer than my love? Crusty returns. He hands the boys their guns. ROMEO (CONT.) The all-seeing sun Ne'er saw her match since first the world begun. CUT TO: TELEVISION. SUSAN If you be not of the house of Montagues, Come and crush a cup of wine! RICH Rest you merry! CUT TO: Romeo, he considers. ROMEO I'll go along, no such sight to be shown. But to rejoice in splendour of mine own. The boys move off. PUSH IN ON: THE TELEVISION. EXT. CAPULET STATE. DAY. An aerial shot of a magnificent island estate. An Italianate wonder of Florentine architecture. Armed guards patrol the grounds. The telecaption reads "Capulet Mansion." The file tape loses its television quality. We sweep down through manicured gardens, where workers prepare decorations for tonight's celebrations, and into the house. The music darkens and we hear the desperate calling of a girl's name. VOICE OVER J U L I E T ! INT. CAPULET MANSION - CORRIDOR. DAY. CUT TO: A long deserted corridor. VOICE OVER J U L I E T ! INT. CAPULET MANSION - DRAWING ROOM. DAY. CUT TO: An echoey Chinoiserie style drawing room. VOICE OVER J U L I E T ! INT. BATHROOM. DAY. CLOSE ON: The still, serene, submerged features of a beautiful young girl. Dark floating hair gently frames the face. Heavy liquid eyes stare up through the water. We hear, though faintly, the calling: VOICE OVER J U L I E T ! With a rush JULIET surfaces. As she gulps air, we realise that she is in fact, in a bath. We hear the calling loudly again. VOICE OVER J U L I E T ! Juliet listens. For a moment she is very still, then she closes her eyes and slides back beneath the surface of the water. INT. ENTRANCE HALL CAPULET MANSION. DAY. A Gothic, unfriendly environment heavy with religious iconography. The entrance hall is crowded with workers and servants preparing for tonight's party. Gloria Capulet fiddles with a short black wig in the hallway mirror. She is attired in full Cleopatra costume. Dissatisfied with the wig, she rips it from her head and calls maniacally. GLORIA J U L I E T ! Gloria is met by the NURSE, a fat, grandmotherly Hispanic woman. GLORIA (CONT.) Nurse, where's my daughter? Call her forth to me. NURSE I bade her come. God forbid! Where's this girl? Juliet! CUT TO: The top of the stairs. As if from nowhere, Juliet has appeared. She wears a bathrobe and her hair is wet. JULIET (COOLLY) Madam, I am here. What is you will. Gloria, startled, sweeps up the stairs and shuffles her daughter toward a doorway. GLORIA Nurse, give leave awhile, we must talk in secret. INT. GLORIA'S DRESSING ROOM. DAY. Gloria shepherds Juliet into her opulent dressing room and closes the door. She circles with nervous vexation searching for words, stops, then suddenly opens the door and yells out to the Nurse. GLORIA (CONT.) Nurse, come back again. I have remembered me, thou's hear our counsel. The Nurse enters. Gloria, still refusing eye contact, checks her appearance once more in the mirror. She takes a hairbrush and, feigning pleasantness, intensely brushes her hair. GLORIA (CONT.) Nurse, thou knowest my daughter's of a pretty age. NURSE (to Juliet) Thou wast the prettiest babe that e'er I nursed. The hair brush clatters onto the dresser. A moment of tense silence. Gloria grips herself and pours a sherry. Back still turned, she speaks to her daughter. GLORIA By my count, I was your mother much upon these years That you are now a maid. A nembutal twists like a pin in the corner of Gloria's mouth. She slugs it down with the sherry and turns abruptly to face Juliet. GLORIA (CONT.) Thus then in brief, the valiant Paris seeks you for his love. CUT TO: Juliet; an uncomprehending stare. The Nurse, caught off guard, tries to buoy the situation. NURSE A man, young lady! Lady, such a MAN As all the world - why, he's a man of wax. The medication takes immediate effect upon Gloria. She joins Juliet on the couch and coos in Paris's favour. GLORIA Verona's summer hath not such a flower. NURSE Nay, he's a flower; in faith, a very flower. GLORIA This night you shall behold him at our feast; Read o'er the volume of young Paris' face And find delight writ there with beauty's pen. This precious book of love, this unbound lover, To beautify him only lacks a cover. So shall you share all that he doth possess, By having him, making yourself no less. Gloria probes Juliet's thoughts. GLORIA Can you like of Paris' love? Juliet, adept at negotiating her mother's strange moods, chooses her words precisely. JULIET I'll look to like, if looking liking move, But no more deep will I endart mine eye, Than your consent gives strength to make it fly. PETER the chauffeur enters. PETER Madam. The guests are come. GLORIA (checks the mirror) We follow thee. She exits, Nurse in tow. CLOSE ON: Juliet stares out the windows and across the water. Suddenly the Nurse's face leers into shot. She whispers enthusiastically into Juliet's ear. NURSE Go girl, seek happy nights to happy days. CLOSE ON: Juliet's face. EXT. CAPULET MANSION. DAY/NIGHT. JUMP CUT: Aerial shot of Capulet Mansion. We time lapse from late afternoon to night; fairy lights illuminate, guests appear, music swells, and a single incandescent flare, explodes pink against the inky sky. EXT. BEACH. NIGHT. CLOSE ON: Romeo: his face glows pink. He is sitting on the grubby shoreline of Verona Bay dressed as a boy King Arthur, with fake chain mail and sword. Romeo watches the dying flare sink into the bay. The sound of the party drifts across the water. Balthasar, dressed as Frankenstein's monster, touches a lighter to a large bong and Romeo inhales smoke. Behind them, Benvolio, drunk and dressed as a pizza, is yelling at Gregory, who, dressed as a Viking, is trying to cut slices off his pizza costume. Sampson, also dressed as a Viking, sits in the back of a car. One arm is bandaged and he swigs from a bottle. Suddenly the darkness is slashed by headlights. A reckless sports car speeds toward the boys. Stereo screaming, the car skids to a halt. CLOSE ON: Music blares from the sound system. A silver stilettoed foot emerges from the car and plants itself firmly in the dirt. CUT TO: The boys, eyes wide with amazement. CUT TO: Another stiletto follows the first. Guitar groans. PAN: Slowly up a shapely pair of black stockinged legs, past a hint of garter belt to a black sequined mini-skirt and up over a muscular dark skinned stomach and tiny sequined bra top, to discover: the 21 year old male, African American face of MERCUTIO. CUT TO: The boys. Recovering from the initial shock, they laugh and cat-call raucously. CUT TO: Mercutio. He roughly jams a short black wig onto his head and yells above the music. MERCUTIO Strike drum! Mercutio magically produces invitations from somewhere within his mini-skirt and dances down the beach to the boys. Aggressively bumping and grinding, Mercutio distributes the invitations. Reaching Romeo, he declares: MERCUTIO We'll on without apology. Romeo lets the invitation fall to the sand. ROMEO I am not for this ambling. Being but heavy, I will bear the light. Romeo pulls on the bong once more. Suddenly, Mercutio is upon Romeo. Hauling him to his feet, he waltzes him through the sand. MERCUTIO Nay, gentle Romeo, we must have you dance. Romeo pushes Mercutio away. ROMEO Not I, believe me. You have dancing shoes With nimble soles. I have a soul of lead. Mercutio in mock sympathy. MERCUTIO Too great oppression for a tender thing. ROMEO Is love a tender thing? It is too rough, too rude, too boisterous, and it pricks like thorn. Romeo lies staring up at the stars. MERCUTIO If love be rough with you, be rough with love. Mercutio jumps on Romeo. MERCUTIO (CONT.) Prick love for pricking, and you beat love down. Romeo fights Mercutio off. ROMEO Under love's heavy burden do I sink! CUT TO: Benvolio, impatiently honking the horn. BENVOLIO Every man betake him to his legs! Mercutio heads Romeo toward the car. MERCUTIO Come, we burn daylight, ho! Romeo pulls away. ROMEO But 'tis no wit to go. Mercutio turns, exasperated. MERCUTIO Why, may one ask? ROMEO I dreamt a dream tonight. MERCUTIO And so did I. ROMEO Well, what was yours? MERCUTIO That dreamers often lie. ROMEO In bed asleep, while they do dream things true. Mercutio produces a tiny gold pill case. MERCUTIO O, then I see Queen Mab hath been with you. She is the fairies' midwife, and she comes In shape no bigger than an agate STONE On the forefinger of an alderman, Drawn with a team of little atomies Over men's noses as they lie asleep. Tantalisingly, he passes the case beneath Romeo's nose. MERCUTIO (CONT.) Her chariot is an empty hazelnut, Her wagoner a small gray-coated gnat. With a conjurer's dexterity Mercutio extracts a small, gray pill. MERCUTIO (CONT.) And in this state she gallops night by night Through lovers' brains, and then they dream of love; He palms the pills. It reappears from behind Romeo's ear. MERCUTIO (CONT.) O'er lawyers' fingers who straight dream on fees; O'er ladies' lips, who straight on kisses dream, Which oft the angry Mab with blisters plagues. Because their breaths with sweetmeats tainted are. The pill box glints in the moonlight. MERCUTIO (CONT.) Sometime she driveth o'er a soldier's neck; And then dreams he of cutting foreign throats. And being thus frighted, swears a prayer or two And sleeps again. Mercutio now intensely angry: MERCUTIO (CONT.) This is that very Mab That plaits the manes of horses in the night And bakes the elf-locks in foul sluttish hairs He screams into the night. MERCUTIO (CONT.) This is the hag, when maids lie on their backs, That presses them and learns them first to bear, Making them women of good carriage. This is she, this is she... CLOSE ON: Mercutio. He breaks off. There is a strange stillness amongst the group. Romeo goes to his friend. ROMEO Peace, peace, Mercutio, peace. Thou talkest of nothing. Mercutio meets Romeo's gaze. MERCUTIO True, I talk of dreams; Which are the children of an idle brain, Begot of nothing but vain fantasy. Which is as thin of substance as the air And more inconstant than the wind, who woos Even now the frozen bosom of the NORTH And, being angered, puffs away from THENCE Turning his attention to the dew- dropping south. CUT TO: Benvolio in the car. The alcohol has caught up with him and he looks a little queasy. BENVOLIO This wind you talk of blows us from OURSELVES: Supper is done and we shall come too late. Romeo looks toward the distant city. ROMEO I fear, too early, for my mind MISGIVES Some consequence yet hanging in the STARS Shall bitterly begin his fearful DATE With this night's revels, and expire the term Of a despised life closed in my breast, By some vile forfeit of untimely death. PAUSE: The water turns golden as fireworks explode across the bay. Romeo smiles. ROMEO (CONT.) But he that hath the steerage of my COURSE Direct my sail! He takes the pill and drops it into his mouth. ROMEO (CONT.) On, lusty gentlemen! With the rush of a mind altering cocktail, we ZOOM IN on Romeo's eyes; they shimmer with the shooting star reflection of exploding fireworks - a bending Eastern chord, we launch into Donna Summer's 'I Feel Love', sung by the vocalist from Soundgarden with orchestration by 'Deconstruction' and sitar by Ravi Shankar. EXT. MERCUTIO'S CAR - ON FREEWAY. NIGHT. PULL OUT: From Romeo's eyes. He is lying in the passenger seat of Mercutio's convertible as it rockets along the freeway. The camera is directly above Romeo. He stares up at the fireworks that reflect in the windshield. The car and freeway begin to rotate and the camera follows. We feel that the car is now travelling upside-down. The camera sways through a brilliant explosion of fireworks that fill the screen with a zillion pixilating, colored dots of fire. INT. CAPULET'S MANSION - BALLROOM. NIGHT. PULL OUT: To discover the glittering dots of fire refracting from the sparkling domed roof of the magnificently ornate Capulet Ballroom. The camera swoops down over bizarrely costumed revellers cavorting to a driving Latin big band. The camera partners with a drugged Mercutio and Benvolio who shamelessly caper with each other in a mock antic adagio. CUT TO: Romeo gazing blankly at the dance floor. CUT TO: Mercutio. He sweeps up a thirty-something sophisticate and twirls her in Romeo's direction. MERCUTIO Everyman betake him to his legs! Romeo moves off through the crowd. CUT TO: ROMEO'S P.O.V.: Contorted images of costumed guests eat, drink and laugh in a grotesque collision of Yves Saint Laurent cocktail party and Bacchanalian romp. Suddenly a large arm coils around Romeo's neck. DISTORTED EXTREME CLOSE UP: A seriously intoxicated Fulgencio Capulet; his puffy red face squeezes against Romeo's. CAPULET Ah, I have seen the day that I COULD Tell a whispering tale in a fair ladies ear. Such as would please. Capulet screams above the music: CAPULET (CONT.) Come musicians play! Blood drums in Romeo's ears. Breaking free from Capulet's grasp as he pushes through the crowd toward the bathroom. INT. BATHROOM. NIGHT. Silent, underwater shot. Romeo's tranquil features submerged in a basin of water. BEAT. With a gasp, Romeo rises. A moment. His breathing calms. Then, smoothing water into his hair, he gazes into the bathroom mirror. He turns: The entire wall opposite the mirror, is a magnificent salt- water fish tank. Romeo, drawn by it's submarine beauty, leans against the fish tank. Applause echoes faintly through the bathroom speakers. INT. BALLROOM. NIGHT. As the applause dies, a dark-haired Latina Diva takes the spotlight. The band ease into the opening bars of a love ballad. INT. BATHROOM. NIGHT. As the music swells, Romeo watches a moustached catfish glide past a medieval castle. Suddenly, Romeo pulls away. Peering back at him through the castle is a pair of exquisitely beautiful angelic eyes. The Diva's first pure, achingly beautiful notes soar. Confused, Romeo looks again. There is no mistake - it is a girl. Through a shimmering curtain of ribbon weed, two dark wide eyes, a childish nose and sumptuous full lips. Romeo pushes his face closer to the glass. The other face snaps abruptly away. INT. POWDER ROOM. NIGHT. CUT TO: Juliet, dressed as an angel, on the other side of the tank. We now realise that the girls' powder room and the boys' bathroom are divided by this watery wonder world. Juliet warily moves closer to the glass. INT. BATHROOM. NIGHT. Romeo leans his face against the glass. The love ballad builds. SLOW TRACK: From Romeo's profile, in through the water, and... INT. POWDER ROOM. NIGHT. ...out the other side, to find Juliet in profile, peering into the tank. INT. BATHROOM. NIGHT. Romeo presses his nose lightly against the glass. INT. POWDER ROOM. NIGHT. Juliet; a tiny smile. Suddenly, CRASH! The door slams open. Juliet turns, startled. It is the Nurse. NURSE Juliet, your mother calls. The Nurse bustles Juliet out the door. Juliet looks over her shoulder at the mystery boy. INT. BALLROOM. NIGHT. Romeo, now without his mask, slams out of the bathroom - Juliet and the Nurse have disappeared into the crowd. CUT TO: Juliet being dragged along by the Nurse. She glances back toward the mystery boy, but he is gone. Juliet and the Nurse rejoin Dave Paris, who is dressed as an astronaut, and Gloria, at the side of the dance floor. Dave, irresistible smile, extends his hand to Juliet. DAVE Will you now deny to dance? Juliet looks to Dave, desperately searching for a reason to decline. Gloria, brushing aside her silly daughter's protests, slugs the last of her champagne and corrals them onto the dance floor. GLORIA (whispering to Juliet) A man, young lady, such a man. As Juliet is dragged onto the floor her eyes furtively search for the boy. CUT TO: Romeo in the crowd. Desperate to find the girl, he roughly shunts aside a reveller dressed as Lucifer, Prince of Darkness. HOLD ON: Lucifer. He removes his mask: it is Tybalt. He turns to Abra, who's dressed as a demon. TYBALT What, dares the slave come hither to fleer and scorn at our solemnity? Now by the stock and honor of my KIN To strike him dead I hold it not a sin. Tybalt moves off aggressively, but is halted as Capulet slams a hand into his chest. CAPULET Why how now kinsman, wherefore storm you so? TYBALT Uncle, this is that villain Romeo. A Montague, our foe. Capulet peers across the ballroom. CAPULET Young Romeo is it? TYBALT 'Tis he. CAPULET Content thee gentle coz, let him alone. I would not for the wealth of all this town Here in my house do him disparagement. Therefore be patient; take no note of him. Tybalt can't believe it. TYBALT I'll not endure him. CLOSE ON: Capulet, exploding with rage. CAPULET He shall be endured! (slapping Tybalt viciously) What, goodman boy! I say he shall! Go to. Capulet violently shoves Tybalt to the ground. CAPULET You'll make a mutiny among my guests! A middle aged couple look on shocked - Capulet waves to them FESTIVELY: CAPULET What? Cheerly my hearts! Capulet snorts at Tybalt in disgust. CAPULET You'll not endure him! Am I the master here or you? Go to. Smoothing his hair into place, Capulet turns back into the ballroom. CLOSE ON: Tybalt choking back tears of rage. CUT TO: Romeo moving through the crowd. For a moment the crush clears and he spies the Angel on the dance floor. CLOSE ON: Romeo whispers: ROMEO Did my heart love till now? Forswear it, sight. For I ne'er saw true beauty till this night. Romeo begins to circumnavigate the dance floor in an attempt to get closer to Juliet. CUT TO: Dave slow dancing with Juliet. Juliet's eyes search the room for the boy. CLOSE ON: Romeo. CLOSE ON: Juliet. Their eyes connect. Juliet looks quickly back to Dave who, oblivious, returns his most devastating smile. CUT TO: The songstress, her voice soars. CUT TO: Juliet. Unable to look away from the boy, she stares over Dave's shoulder. CUT TO: Romeo. Ignoring the danger, he continues to move toward the Angel. With the Diva's spiralling final notes, the ballad concludes. A complete black out. As the crowd break into wild applause, Juliet's eyes search the darkness, but the boy is gone. The crowd cheers and screams its applause. An avalanche of balloons, tinsel and confetti rains down from the roof; swathes of red silk drop from the ceiling and the space is transformed. CLOSE ON: Juliet, searching for the boy. Suddenly: A gasp, Juliet's eyes widen, shocked. In the dark, a hand has shot out from the drape curtaining off the stage and clasped hers. Juliet barely dares breathe. She glances furtively to Dave Paris - he watches the stage. Slowly Juliet turns toward the hand; there through a break in the curtain she can see eye, cheek and lips of the mystery boy. As the Diva reprises the chorus, Romeo gently pulls Juliet behind the curtain. INT. BEHIND CURTAIN. NIGHT. Concealed from the party by the red velvet drape, hands still clasped, the teenagers are so close their bodies almost touch. ROMEO If I profane with my unworthiest HAND This holy shrine, the gentle sin is this. My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. Romeo moves his lips toward Juliet's. She stops him. JULIET Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this. For saints have hands that pilgrim's hands do touch, And palm to palm is holy palmers' kiss. ROMEO Have not saints lips, and holy palmers too? JULIET (a gentle scolding) Ay, pilgrim, lips that they must use in prayer. ROMEO O, then, dear saint, let lips do what hands do, They pray: grant thou, lest faith turn to despair. JULIET Saints do not move, though grant for prayer's sake. ROMEO Then move not while my prayer's effect I take. He kisses her. ROMEO (CONT.) Thus from my lips, by thine my sin is purged. JULIET Then have my lips the sin that they have took. ROMEO Sin from my lips? O trespass sweetly urged! Give me my sin again. He kisses her. JULIET You kiss by th' book. They kiss again. Suddenly a harsh light falls across the entwined couple. They break apart - Nurse has pulled open the curtain and stands eyeing them severely. NURSE Madam, your mother craves a word with you. We see that the party is breaking up. But for groups of die-hard revellers, the room is nearly empty. NURSE (CONT.) Come, let's away. She takes firm control of her charge. Juliet furtively motions for the startled Romeo not to follow as he trails them across the room. CUT TO: ROMEO'S P.O.V.: The Nurse and Juliet reach the door, but instead of leaving, they turn and ascend the staircase that arcs around to the mezzanine level. They join a vexed Gloria Capulet who clings to a patient Dave Paris. Inaudible words are exchanged. Juliet flickers her eyes nervously to Romeo. CUT TO: Romeo. He halts at the foot of the stairs unsure. CUT TO: Gloria. Catching Juliet's interest in the boy, she indicates to her daughter to 'COME ALONG'. CUT TO: Romeo; a dawning realisation. ROMEO (under his breath) Is she a Capulet? CUT TO: Juliet. She stops and turns back. CUT TO: Romeo, comprehending the reality of who she is. CUT TO: Juliet. The Nurse whispers in her ear. NURSE His name is Romeo, and a Montague, The only son of your great enemy. An orchestral treatment of Joy Division's "Love will tear us Apart" swells; HOLD ON: Juliet. Like a cloud passing across the sun, a dark coldness descends upon her. CUT TO: Mercutio. He throws himself upon the shell shocked Romeo. MERCUTIO Away, begone, the sport is at its best. Mercutio shuttles Romeo toward the door. ROMEO Ay so I fear, A covert glance over his shoulder. ROMEO (CONT.) The more is my unrest. EXT. CAPULET MANSION. NIGHT. Mercutio bundles Romeo through the front door and down the stairs to the waiting getaway car. INT. CAPULET MANSION - STAIRS ALCOVE WINDOW - NIGHT. CUT TO: Juliet. Manoeuvred by the Nurse up the stairs, she breaks away and rushes to a tiny, windowed alcove. EXT. CAPULET MANSION - MAIN ENTRANCE. NIGHT. CUT TO: Mercutio's convertible and its noisy confederacy joining the line of departing limos. A huge sign combusts into blinding fireworks that write in giant words "CAPULET." As the convertible passes beneath the blazing words, Romeo turns. Through a deluge of falling sparks, he glimpses the mystery girl high up in the tower. EXT. CAPULET MANSION - WINDOW. NIGHT. CLOSE ON: Juliet leaning out of the tower window. Brilliant sparkles light in her eyes. PUSH IN: We hear her secret whisper: JULIET My only love, sprung from my only hate. Too early seen unknown, and known too late. Prodigious birth of love it is to me EXT. CAPULET MANSION - MAIN ENTRANCE DRIVE. NIGHT. CUT TO: JULIET'S P.O.V.: In slow motion Romeo, through the falling curtain of fiery embers. JULIET (CONT.)(V/O) That I must love a loathed enemy. EXT. CAPULET MANSION - WINDOW. NIGHT. Warm wind blows the smoke from the expended fireworks. Juliet closes the window and leans against the glass. CRANE DOWN: The side of the building past revellers who don't know when to leave. Standing in the front doorway is someone else who cannot take their eyes off the departing Romeo. It is Tybalt. The music darkens as we push through the smoky wind. TYBALT I will withdraw. But this intrusion shall, Now seeming sweet, convert to bitterest gall. INT. MERCUTIO'S CAR. NIGHT. Caught in the jam of departing vehicles, Mercutio's car crawls along the bridge that links Capulet island with the mainland. The boys sing along raucously with the radio. BOYS "I am a pretty piece of flesh, I am a pretty piece of flesh..." PUSH IN: On Romeo, he whispers: ROMEO Can I go forward when my heart is here? Turn back, dull earth, and find thy centre out. Romeo leaps from the car. Benvolio yells after him. BENVOLIO Romeo! Cousin Romeo! Romeo! EXT. CAPULET BRIDGE. NIGHT. Romeo runs back along the bridge toward the estate. At the gates, armed guards supervise the exodus of vehicles. Romeo uses the traffic to shield himself from view. Romeo leaps from the bridge and into the shadows at the base of the high stone wall that borders the compound. EXT. CAPULET BRIDGE. NIGHT. Mercutio's car prowls back along the bridge. The last guests have departed and the gates are swinging shut. The convertible halts in front of them. BENVOLIO He ran this way. Call, good Mercutio. MERCUTIO Nay, I'll conjure too. Mercutio leaps from the car. He postures like a magician in a low-budget variety special. The boys cheer him on. MERCUTIO Romeo! Humours! Madman! Passion! Lover! I conjure thee by Rosaline's bright eyes, By her high forehead and her scarlet lip, By her fine foot, straight leg, and quivering thigh. And the demesnes that there adjacent lie, That in thy likeness thou appear to us! EXT. CAPULET WALL. NIGHT. CLOSE ON: Romeo's fake chain mail shirt tangled in the barbed wire at the top of the wall. PAN DOWN: Romeo, now on the other side of the wall, pulls up his undershirt and gingerly inspects the cuts inflicted by the wire. Mercutio's cavorting echoes from the bridge. Romeo smiles ironically. ROMEO He jests at scars that never felt a wound. Romeo moves off through the darkened grounds of Capulet estate. EXT. CAPULET BRIDGE. NIGHT. The boys laugh hysterically as Mercutio staggers around the bridge in imitation of a love sick fool. MERCUTIO O Romeo, that she were, O that she WERE An open-arse and thou a poperin pear! The hilarity is abruptly arrested as a security spotlight blazes to life, pinning Mercutio in its beam. The sound of automatic weapons cocking pierces the night. CLOSE ON: Mercutio. He's brave but not stupid. He gets back into the car. MERCUTIO (CONT.) Come, shall we go? EXT. THE BACK OF CAPULET MANSION. NIGHT. CLOSE ON: A pair of stone cherubs on top of the retaining wall of a terraced garden. Romeo's face appears between them. Romeo hauls himself up onto the wall. Below is a Greco- Roman style pool area. To the right the darkened rear wing of Capulet Mansion. Suddenly the back of the house explodes with light. Romeo takes cover. ROMEO But soft, what light through yonder window breaks? Romeo's question is answered as out onto the verandah comes Juliet. She is still clad in her angel robe, but without the halo and wings. She slowly descends to pool level. ROMEO It is the East, and Juliet is the sun! Arise, fair sun, and kill the envious moon, Who is already sick and pale with GRIEF That thou her maid art far more fair than she. Be not her maid, since she is envious. Her vestal livery is but sick and green, And none but fools do wear it. Juliet stands on the top step of the pool stairs. She is directly below Romeo as he whispers. ROMEO (CONT.) Cast it off! Juliet sits on the edge of the pool, her legs dangle in the water. ROMEO (CONT.) It is my lady. O, it is my love! O that she knew she were! Juliet sighs. JULIET Ay me! ROMEO (WHISPERS) She speaks. O, speak again, bright angel! Juliet looks longingly toward the stars. JULIET O Romeo, Romeo! - Whyfore art thou Romeo? Deny thy father and refuse thy name. Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet. CLOSE ON: Romeo. Incredulous. ROMEO Shall I hear more, or shall I speak at this? JULIET 'Tis but thy name that is my enemy. Thou are thyself, though not a Montague. What's Montague? It is not hand nor foot Nor arm nor face nor any other part Belonging to a man. O, be some other name! What's in a name? That which we call a rose By any other word would smell as sweet. So Romeo would, were he not Romeo called, Retain that dear perfection which he owes Without that title. Romeo, doff thy name, And for thy name, which is no part of thee, Take all myself. Romeo wildly calls: ROMEO I take thee at thy word! Call me but love, and I'll be new baptised. Henceforth I never will be Romeo. Romeo jumps down from the wall. Juliet screams, and turns, toppling backwards. Romeo grabs her hand but her momentum overbalances him and they both plunge headlong into the pool. EXT. CAPULET MANSION - POOL - UNDERWATER. NIGHT. Underwater shot: A slow motion phosphorescent tangle of arms, legs and bodies. EXT. CAPULET MANSION - BACK GARDEN. NIGHT. CUT TO: A security guard. Alerted by the noise he moves toward the pool area. EXT. CAPULET MANSION - POOL GARDEN - NIGHT. CUT TO: Above water, real time: Romeo and Juliet surface spluttering. Juliet thrashes the water in an attempt to get distance from her attacker. JULIET What man art thou that, thus bescreened in night, So stumblest on my counsel? Romeo: A calming gesture as he tries to tread water. ROMEO By a name I know not how to tell thee who I am: My name, dear saint, is hateful to MYSELF Because it is an enemy to thee. The ferocious barking of a guard dog arrests the teenagers attention. A moment, then they slide beneath the water. CUT TO: The security guard and dog appearing above the pool area. GUARD'S P.O.V.: The rippling surface of the water. CUT TO - UNDERWATER SHOT: Romeo and Juliet submerged, hair streaming, stare at each other like two beautiful fish. CUT TO: The guard. He can see noisy caterers cleaning up around the other side of the house. Frowning, he returns the way he came. CUT TO: Romeo and Juliet. Gasping for air, they cautiously surface. A moment - then Juliet, a small smile. JULIET Art thou not Romeo, and a Montague? ROMEO Neither, fair maid, if either thee dislike. Juliet looks nervously toward the house. She drags Romeo toward a small grotto at the end of the pool. JULIET How cam'st thou hither, tell me, and whyfore? The garden walls are high and hard to climb, And the place death, considering who thou art. ROMEO (with splashy bravado) With love's light wings did I o'er perch these walls. For stony limits cannot hold love out, And what love can do, that dares love attempt. Therefore thy kinsmen are no stop to me. Juliet drags Romeo firmly into the grotto. JULIET (a real fear) If they do see thee, they will murder thee. Romeo slowly pulls Juliet toward him. ROMEO I have night's cloak to hide me from their eyes. And but thou love me, let them find me here. My life were better ended by their HATE Than death prorogued, wanting of thy love. The lovers kiss long and deep. Then Juliet, suddenly fearful, pushes Romeo away. JULIET Thou knowest the mask of night is on my face, Else would a maiden blush bepaint my cheek, For that which thou hast heard me speak tonight. Fain would I dwell on form - fain, fain deny What I have spoke. But farewell compliment! Dost thou love me? Romeo tries to speak, Juliet silences him. JULIET (CONT.) I know thou wilt say 'Ay', and I will take thy word. Yet, if thou swearest, Thou mayst prove false. O gentle Romeo, If thou dost love, pronounce it faithfully. Or if thou think'st I am too quickly won, I'll frown, and be perverse, and say thee nay, So thou wilt woo. But else, not for the world. In truth, fair Montague, I am too fond, And therefore thou mayst think my 'haviour light. But trust me, gentleman, I'll prove more true Than those that have more cunning to be strange. ROMEO Lady, by yonder blessed moon I vow, That tips with silver all these fruit-tree tops - JULIET O, swear not by the moon, th' inconstant moon, That monthly changes in her circled orb, Lest that thy love prove likewise variable. ROMEO What shall I swear by? JULIET Do not swear at all. Or if thou wilt, swear by thy gracious self, Which is the god of my idolatry, And I'll believe thee. She touches his cheek. Romeo moves his lips close. ROMEO If my heart's dear love - Confused, Juliet breaks away. JULIET Well, do not swear. Although I joy in thee, I have no joy of this contract tonight. It is too rash, too unadvised, too SUDDEN; Too like the lightning, which doth cease to be Ere one can say 'it lightens.' Sweet, good night. This bud of love, by summer's ripening breath, May prove a beauteous flower when next we meet. Good night, good night. As sweet repose and rest Come to thy heart as that within my breast. She rushes up the stairs - Romeo follows desperately. ROMEO O, wilt thou leave me so unsatisfied? Juliet - a shocked look. JULIET What satisfaction canst thou have tonight? CLOSE ON: Romeo. ROMEO The exchange of thy love's faithful vow for mine. CLOSE ON: Juliet. She runs joyously to Romeo. JULIET I gave thee mind before thou didst request it! Kissing him passionately. JULIET (CONT.) And yet I would it were to give again. ROMEO Wouldst thou withdraw it? For what purpose love? JULIET But to be frank and give it thee again. They kiss again. The Nurse calls from inside. NURSE (O/S) Juliet! Juliet looks to the house. JULIET (BREATHLESSLY) Three words, dear Romeo, and good night indeed. If that thy bent of love be honourable. Thy purpose marriage, send me word tomorrow, By one that I'll procure to come to thee, Where and what time thou wilt perform the rite, And all my fortunes at thy foot I'll lay And follow thee my lord throughout the world. NURSE (O/S) Madam! JULIET I come, anon - But if thou meanest not well, I do beseech thee... NURSE (O/S) Madam! JULIET (to Nurse) By and by I come! To cease thy strife and leave me to my grief. Tomorrow will I send. Romeo holds Juliet's gaze. ROMEO So thrive my soul. NURSE (O/S) Madam! Juliet breaks away. JULIET A thousand times good night! With a final kiss, Juliet runs inside. ROMEO A thousand times the worse, to want thy light. Love goes toward love as schoolboys from their books; But love from love, toward school with heavy looks. Juliet re-appears at the upper balcony. JULIET Romeo! What o'clock tomorrow Shall I send to thee? ROMEO By the hour of nine. Juliet unclasps a delicate silver necklace from around her neck. JULIET I will not fail. 'Tis twenty year till then. Goodnight, goodnight! Parting is such sweet sorrow. That I shall say goodnight till it be morrow. She lets the necklace fall from her hand. Romeo catches it and she is gone. ROMEO Sleep dwell upon thine eyes, peace in thy breast, Would I were sleep and peace, so sweet to rest. INT. GREENHOUSE. DAWN. Morning sunlight filters through the lush foliage of a tropical rainforest. PAN DOWN: As we hear: FATHER LAURENCE (O/S) O mickle is the powerful grace that LIES In plants, herbs, stones, and their true qualities. We discover the intensely concentrating features of FATHER LAURENCE. Fifties, wiry and wearing a priest's collar, Laurence delicately makes an incision in the bulb of a small purple flowered plant. A pair of fresh faced ten year old boys look on in wonderment as a vivid blue sap oozes from the incision. FATHER LAURENCE (CONT.) Within the infant rind of this weak FLOWER Poison hath residence, and medicine power. PULL BACK: The Priest carefully gathers the sap into a beaker. We discover that we are in a small tropical greenhouse. FATHER LAURENCE (CONT.) (to the boys) For this, being smelt, with that part cheers each part; Being tasted, stays all senses with the heart. The boys follow the Father as he moves out of the greenhouse and into an adjoining work area. The walls are lined with bottles of herbs and dried plants and a television flickers in the corner. FATHER LAURENCE (CONT.) For naught so vile on the earth doth live, But to the earth some special good doth give; With the precision of a chemist, Father Laurence funnels the sap into a small bottle and places it in the refrigerator. From out of the refrigerator he produces a large jar of candy. He eyes the boys sternly. FATHER LAURENCE (CONT.) Nor aught so good but, strained from that fair use, Revolts from true birth, stumbling on abuse. The boys take their candy and scram. CUT TO: The muted television. A morning news program shows footage of a murder scene cordoned off with police tape. A distraught mother is being restrained. CLOSE ON: The priest contemplating the television. FATHER LAURENCE Two such opposed kings encamp them STILL In man as well as herbs: grace and rude will; And where the worser is predominant, Full soon the canker death eats up that plant. A feverish knocking breaks the priest's reverie. ROMEO (O/S) Good morrow, father! Father Laurence snaps off the television and exits the workroom. EXT. WALL. DAWN. Romeo, dressed in last night's chain mail, pounds desperately on a wooden door set into a high stone wall. ROMEO Good morrow, father! EXT. COURTYARD. DAWN. From the workroom, Father Laurence enters a courtyard which encloses a tranquil tropical garden. He opens a door in the wall of the courtyard and smiles as the costumed Romeo bursts in. FATHER LAURENCE Benedicite! What early tongue so sweet saluteth me? Without pausing, the priest continues through the courtyard and toward the church. FATHER LAURENCE (CONT.) Young son, it argues a distempered HEAD So soon to bid good morrow to thy bed. Or if not so, then here I hit it right - Our Romeo hath not been in bed tonight. The priest enters the back of the church. INT. SACRISTY. DAWN. Romeo, on fire to tell of his experience, follows the priest into the sacristy. ROMEO The last is true. The sweeter rest was mine. FATHER LAURENCE (he stops) God pardon sin! Wast thou with Rosaline? ROMEO With Rosaline, my ghostly father? No. I have forgot that name and that name's woe. The Father lays out the cut glass bottles and communion tray for mass. FATHER LAURENCE That's my good son! But where hast thou been then? Unconsciously, Romeo helps the priest prepare. It is clear he knows the routine by heart. ROMEO I have been feasting with mine enemy, Where on a sudden one hath wounded me. That's by me wounded. Both our REMEDIES Within they help and holy physic lies. FATHER LAURENCE (buttoning a long black cassock) Be plain, good son, and homely in thy drift. Riddling confession finds but riddling shrift. ROMEO Then plainly know my heart's dear love is set, On the fair daughter of rich Capulet. We met, we wooed, and made exchange of vow, I'll tell thee as we pass. But this I pray, That thou consent to marry us today. CUT TO: The Priest, thunderstruck. The two kids, now dressed in red altar-boy robes, enter. ALTAR BOYS Good morrow, Romeo. The apoplectic priest waves the boys away. They get the message and bolt. FATHER LAURENCE Holy Saint Francis! What a change is here! Is Rosaline, that thou didst love so dear, So soon foresaken? Young men's love then lies Not truly in their hearts, but in their eyes. ROMEO Thou chid'st me oft for loving Rosaline. FATHER LAURENCE (very angry) For doting, not for loving, pupil mine. ROMEO I pray thee chide me not. Her I love now Doth grace for grace and love for love allow. The other did not so. FATHER LAURENCE O, she knew well Thy love did read by rote, that could not spell. The Father falls into a chair and considers. He looks through the sacristy door to where a small children's choir has assembled. Their angelic voices soar into the purest of hymns. CHOIR How can you just leave me standing Alone in a world so cold, Maybe I'm just too demanding, Maybe I'm just like my father, too bold, Maybe you're just like my mother, She's never satisfied. Why do we scream at each other? This is what it sounds like when doves cry... We recognise the hymn as "When Doves Cry" by Prince. PUSH IN: On the Priest; moved, he looks to Romeo. FATHER LAURENCE But come, young waverer, come, go with me. In one respect I'll thy assistant be. For this alliance may so happy PROVE To turn your households' rancor to pure love. Romeo hurriedly assists the priest with his vestments. ROMEO O, let us hence! I stand on sudden haste. Father Laurence holds Romeo in his powerful gaze. FATHER LAURENCE Wisely and slow. They stumble that run fast. The procession is joined by the two little altar boys and the mass begins. EXT. VERONA BEACH. DAY. As the Angelic voices of the choir soar, we see a pay phone etched with hyper-real starkness against the white sand, green sea and blue sky. A single leaning palm tree frames the image like a ridiculous tourist postcard. Benvolio speaks on the pay phone. Mercutio, torso naked but for his holstered Sports Rapier 9mm, drums his fingers on the side of the booth. MERCUTIO Where the devil should this Romeo be? Came he not home tonight? BENVOLIO (slamming down the phone) Not to his father's. I spoke with his man. Mercutio storms off down the beach. MERCUTIO Why, that same pale hard-hearted wench, that Rosaline, Torments him so that he will sure run mad. BENVOLIO (running to keep up) Tybalt hath sent a letter to his father's house. MERCUTIO (halts abruptly) A challenge, on my life. CLOSE ON: Benvolio, unsure. BENVOLIO Romeo will answer it? MERCUTIO Any man that can write may answer a letter. BENVOLIO Nay, he will answer the letter's master, how he dares, being dared. Mercutio clamps Benvolio into a headlock. MERCUTIO Alas, poor Romeo, he is already dead! Stabbed with a white wench's black eye, He whispers into Benvolio's ear: MERCUTIO (CONT.) Run through the ear with a love song. (in disgust) And is he a man to encounter Tybalt? BENVOLIO (struggling to break free) Why, what is Tybalt? MERCUTIO (releasing him) More than Prince of Cats, I can tell you. O, he's the courageous captain of compliments. The very butcher of a silk button. Lightening fast, Mercutio draws his gun. He twirls it in an impressive display of gunmanship which ends with the barrel between the startled Benvolio's eyes. MERCUTIO (CONT.) A duellist, a duellist. Romeo's car pulls into the beach side parking lot. Benvolio heads toward it. BENVOLIO Here comes Romeo, here comes Romeo! EXT. BEACH - PARKING LOT. DAY. Romeo alights from his car and throws his keys to Balthasar who lounges outside the beach side hang. Mercutio saunters up the beach with mock nonchalance. MERCUTIO Signor Romeo, Bonjour. There's a French salutation to your French slop. You gave us the counterfeit fairly last night. ROMEO Good morrow to you both. What counterfeit did I give you? MERCUTIO The slip, sir, the slip. Can you not conceive? Romeo smiles smugly. ROMEO Pardon, good Mercutio. My business was great, and in such a case as mine a man may strain courtesy. MERCUTIO (SARCASTICALLY) A most courteous exposition. ROMEO Nay I am the very pink of courtesy. MERCUTIO (CAMPLY) Pink for flower? The boys laugh. Romeo feigns anger. ROMEO I will bite thee on the ear for that jest! Mercutio, goading Romeo to follow, backs off down the beach. MERCUTIO Come between us, good Benvolio! My wits faint. Mercutio flicks sand at Romeo, then sprints off down the beach. Romeo, laughing, gives chase. ROMEO Switch and spurs, switch and spurs, or I'll cry a match. EXT. BEACH - SHORELINE. DAY. Romeo is gaining on Mercutio, who runs headlong into the sea. With a yell, Romeo dives in after him. EXT. BEACH - AT SEA. DAY. Mercutio splashes the laughing Romeo. MERCUTIO Why, is not this better now than groaning for love? Romeo tries to dunk Mercutio. MERCUTIO (CONT.) Now art thou sociable. Mercutio, evading, heads for shore. MERCUTIO (CONT.) Now art thou Romeo. Now art thou... EXT. BEACH - SHORELINE. DAY. Romeo tackles Mercutio on the wet sand. Mercutio falls suddenly serious. MERCUTIO (CONT.) (QUIETLY) What thou art, by art as well as by nature. A moment between the boys. A shadow falls across them. Romeo looks up. ROMEO Here's goodly gear. Standing above the boys is the Nurse. She wears a ridiculous, all red, "Jackie O" style disguise of sunglasses, scarf and parasol. MERCUTIO (BEMUSED) God ye good e'en fair gentlewoman. The nurse, ignoring Mercutio, speaks dramatically to Romeo. NURSE I desire some confidence with you. She turns and walks back to the parking lot where Peter the chauffer waits beside the limousine. Benvolio and the other boys look on curiously. MERCUTIO A bawd, a bawd, a bawd! So ho! But Romeo rises and to the amazement of Mercutio actually follows this woman. Mercutio looks questioningly to Benvolio, who shrugs. BENVOLIO She will endite him to some supper? Even more strangely, Romeo gets into the limousine. MERCUTIO (taken by surprise) Romeo, will you come to your father's? We'll to dinner thither. ROMEO (as he closes the door) I will follow you. MERCUTIO Farewell, ancient lady. Farewell. The car pulls away. EXT. STREET. DAY. The limousine drives through Verona Beach. INT. MOVING LIMOUSINE. DAY. CLOSE ON: Romeo jammed into the corner of the seat. The Nurse's face is pressed alarmingly close to his. She speaks in cold deadly earnest. NURSE If ye should lead her in a fool's paradise, as they say, it were a very gross kind of behavior, as they say. For the gentlewoman is young; and therefore, if you should deal double with her, truly it were an ill thing and very weak dealing. BEAT: Romeo chooses his words carefully. ROMEO Bid her to come to confession this afternoon, And there she shall at Friar Laurence's cell Be shrived and (PUSH IN ON: Romeo) married. INT. JULIET'S BEDROOM. DAY. CLOSE ON: Juliet's face peering out her bedroom window. JULIET O God she comes! EXT. CAPULETS MANSION - DRIVEWAY. DAY. PULL BACK: JULIET'S P.O.V.: The limousine pulls up at the front door, the Nurse alights. Juliet bolts from the room. INT. LANDING. DAY. Juliet hurries down the stairs - the Nurse, a way ahead, disappears into a doorway. INT. STAIRWAY. DAY. Juliet races down a dark stairwell that leads to the bowels of the house. INT. KITCHEN. DAY. The kitchen, obviously the Nurse's domain, is decorated with a mixture of religious iconography and travel posters. Most of the posters depict a strange city of decadent, decaying, beauty. Juliet bursts breathlessly into the room. JULIET O honey nurse, what news? The Nurse, buried up to her ample hips inside the refrigerator, does not turn around. Juliet cries impatiently. JULIET Nurse! The nurse emerges from the ice box laden with food. Moving to the counter she starts to make a sandwich. NURSE I am aweary, give me leave awhile. Fie, how my bones ache. What a jaunce have I. Juliet under her breath. JULIET I would thou hadst my bones and I thy news. Juliet goes to the nurse. JULIET Nay come, I pray thee, speak: good; GOOD Nurse, speak. Sandwich made, the nurse shuffles over to a corner couch. NURSE Jesu, what haste. Can you not stay awhile? Can you not see I am out of breath? Juliet cannot stand the suspense any longer. JULIET How art thou out of breath when thou hast breath To say to me that thou art out of breath! Is the news good or bad? Answer to that. The Nurse takes a big bite from her sandwich and answers through thoughtful chews. NURSE Well, you have made a simple choice. You know not how to choose a man. Romeo? No, not he. Though his face be better than any man's, yet his leg excels all men's and for a hand and a foot and a body, though they be not to be talked on, yet they are past compare. He's not the flower of courtesy, but I'll warrant him as gentle as a lamb. Go thy ways, wench, serve God. What, have you dined at home? Juliet is flabbergasted. JULIET No, no. But all this I did know before. What says he of our marriage? What of that NURSE Lord how my head aches! What a head have I: My back - This is a game that Juliet knows well. She moves behind the Nurse and begins massaging her back. NURSE (CONT.) o' t'other side - ah, my back! Beshrew your heart for sending me ABOUT To catch my death with jauncing up and down. With sublime self control, Juliet coo's sweetly. JULIET I'faith I am sorry that thou art not well. Sweet, sweet, sweet Nurse, tell me, what says my love? NURSE Your love says like an honest gentleman, And a courteous, and a kind, and a handsome, And I warrant a virtuous - Where is your mother? Juliet cracks. JULIET Where is my mother? How oddly thou repliest! 'Your love says, like an honest gentleman, "Where is your mother"'! The nurse sulks. NURSE O God's lady dear are you so hot? Henceforth do your messages yourself. Juliet's frustration explodes. JULIET Here's such a coil! COME WHAT SAYS ROMEO? PAUSE: The Nurse considers Juliet. NURSE Have you got leave to go to confession today? JULIET I have. NURSE Then hie you hence to Father Laurence cell. There stays a husband to make you a wife! Juliet, with a scream of joy, hugs the Nurse to her. HOLD ON: Juliet's ecstatic features. INT. CHURCH. DAY. TIGHT ON: FATHER LAURENCE: FATHER LAURENCE These violent delights have violent ends! PULL BACK: Father Laurence is preaching energetically from the pulpit. Hidden from the congregation, Romeo waits in a small alcove chapel at the side of the altar. FATHER LAURENCE (CONT.) The sweetest honey Is loathsome in its own deliciousness, Therefore love moderately. The Father glances toward Romeo. FATHER LAURENCE (CONT.) Long love doth so. Too swift arrives as tardy as too slow. Juliet pushes through the double doors at the far end of the church. Father Laurence motions to the middle-aged choir master who leads the choir into a choral version of Led Zeppelin's "A Whole Lot of Love" with Latin lyrics. Father Laurence hurries from the altar over to Romeo. FATHER LAURENCE (CONT.) Here comes the lady. Juliet bursts into the tiny chapel. Trying to observe a vestige of decorum, she greets Father Laurence. JULIET Good afternoon to my ghostly confessor. But before the priest can reply, the two lovers embrace, kissing passionately. FATHER LAURENCE (DRYLY) Romeo shall thank thee, daughter, for us both. The choir completes the hymn and the priest, realising it is his cue, rushes back to the altar. He quickly delivers a prayer to the congregation while eyeing the increasingly amorous smooching of the young couple. The choir launch into a joyous chorus and the priest returns to Romeo and Juliet. He delicately parts the couple. FATHER LAURENCE (CONT.) Come, come, and we will make short work. For, by your leaves, you shall not stay alone Till Holy Church incorporate two in one. A young boy with a voice like Jamiroquai steps forward. He launches into a wailing solo. MACRO CLOSE UP: A simple silver ring. Engraved on the inside of the band are the words 'I love thee.' PULL BACK: Romeo slips the ring onto Juliet's finger as the priest executes the formal sacrament of marriage. INT./EXT. CHURCH. DAY. CRANE UP: Through the majestic patterning of stained glass, and out of the church to find Peter, the chauffeur, cradling a small camera as he waits nervously beside the limo. EXT. CHURCH. DAY. The music swells in celebration. Romeo and Juliet, now newly-wed, rush from the side door of the church. The priest follows, throwing handfuls of rice. Peter studiously takes a snap as the bride and groom kiss. Peter holds the door of the limousine open. Reluctantly Juliet gets into the car. As the car pulls out of the driveway, Romeo runs alongside. HOLD: On Romeo as he watches the big black car speed away. EXT. UNDERWATER. DAY. FISH-EYE VIEW: From the bottom of the ocean; Mercutio's distorted features. Gun aimed, he stares intently into the water. A muffled BANG! and a bullet whizzes past the camera. EXT. VERONA BEACH. DAY. We see that Mercutio - wading in knee deep water close to the beach - is hunting fish. Benvolio shelters in the shade of an unmanned life guard tower. A shimmering heat haze blankets the deserted beach and the horizon is stacked with purple storm clouds. BENVOLIO I pray thee, good Mercutio, let's retire. The day is hot, Mercutio, ignoring him, plugs away at another fish. Benvolio nervously looks to see if there is any reaction to the sound of the shot. BENVOLIO (CONT.) The Capels are abroad. And if we meet we shall not 'scape a brawl. Mercutio strides out of the water. MERCUTIO Thou art like one of these fellows that, when he enters the confines of a tavern, claps me his sword upon the table and says 'God send me no need of thee!' (he hands Benvolio his gun) and by the operation of the second cup draws him on the drawer, when indeed there is no need. Another incredible sleight of hand routine and Mercutio has managed to draw Benvolio's pistol, retrieve his own gun, and trap Benvolio with a barrel at each temple. The joke has worn thin for Benvolio; he pushes past Mercutio toward where Balthasar, Sampson and Gregory lounge in the shade of the beach-side hang. Suddenly he stops dead - a monstrous black sedan prowls into the beach side parking lot. BENVOLIO By my head, here comes the Capulets. MERCUTIO By my heel, I care not. EXT. BEACH - PARKING LOT. DAY. The sedan mounts the curb and slides to a halt only metres from Benvolio and Mercutio. Tybalt, Abra and Petruchio alight from the sedan and walk menacingly toward Mercutio and Benvolio. TYBALT Gentlemen, good day. A word with one of you. The boys from the hang, drawn the Capulet car, converge - eyes dart nervously, hands stray towards guns. Mercutio smiles mockingly. MERCUTIO And but one word with one of us? Couple it with something. Make it a word and a... Leaning close to Tybalt, he camps the implication. MERCUTIO (CONT.) ...blow. Mercutio scores. The boys laugh. TYBALT (FURIOUS) You shall find me apt enough to that, sir, (clutching at his side arm) And you will give me occasion. CLOSE ON: Mercutio. He stops, eyeing the hand on the gun. No one moves. MERCUTIO (a breathy, coquettish VOICE) Could you not take some occasion without giving? The boys fall about again. Tybalt cracks. TYBALT Mercutio, thou consortest with Romeo. The accusation stings - Mercutio's anger flares. MERCUTIO Consort? What, dost thou make us minstrels? And thou make minstrels of us look to hear nothing but discords. Here's my fiddlestick. Indicating his holstered gun. MERCUTIO (CONT.) Here's that shall make you dance. (barking at Tybalt) Zounds, (goading him to go for his gun) consort! CLOSE ON: Tybalt. CLOSE ON: Mercutio. He will not back down. Benvolio tries to diffuse things. BENVOLIO Either withdraw unto some private place. Or reason coldly of your grievances. Here all eyes gaze on us. MERCUTIO Men's eyes were made to look, and let them gaze. I will not budge for no man's pleasure, I. At that moment, Romeo's car pulls into the lot. Tybalt smiles. TYBALT Well sir, here comes my man. Tybalt moves toward Romeo who bounds from his car full of happy news. TYBALT Romeo, the love I bear thee can AFFORD No better term than this: CLOSE ON: Tybalt. He clears his jacket from his side arm and issues the challenge. TYBALT (CONT.) Thou art a villain! CLOSE ON: Mercutio. CLOSE ON: Benvolio. All eyes are on Romeo. Romeo calmly approaches his now cousin. ROMEO Tybalt, the reason that I have to love thee Doth much excuse the appertaining RAGE To such a greeting: villain am I none, Therefore farewell. I see thou knowest me not. Romeo turns, and to the amazement of all, walks back to his car. Tybalt, unable to shoot him in the back, is confused. He hurls himself into his sedan. Kicking it into a sand spraying U-turn, he careens the short distance to Romeo's car. Slamming into the back of it he blocks Romeo in. Tybalt leaps out, maniacally kicking at bumper, door and headlights. Romeo flicks the locks down. Tybalt shatters the side window and hauls Romeo through the door, slamming him against the savaged fuselage. TYBALT Boy, this shall not excuse the INJURIES That thou hast done me! He smashes Romeo across the face, Romeo crashes to the roadway. TYBALT (YELLING) Turn and draw. A cut has opened in the side of Romeo's mouth. He unsteadily lifts himself up, and meeting Tybalt's gaze, speaks through bloodied teeth. ROMEO I never injured thee, And so, good Capulet, which name I TENDER As dearly as mine own... Romeo cautiously extracts his gun... ROMEO (CONT.) ...be satisfied. ...and throws it at Tybalt's feet. Storm clouds obscure the sun as Romeo turns and walks from the parking lot. Mercutio, Benvolio and the others cannot believe their eyes. MERCUTIO O calm, dishonourable, vile submission! EXT. BEACH - VACANT LOT. DAY. Tybalt's anger must be answered. He ceremoniously disarms, gives his weapon to Abra, and sprints after Romeo who is now passing a beach side lot that houses an abandoned grand hotel. A bone-cracking kick sends Romeo crumbling into the vacant lot. The boys swarm toward the fray. Romeo, still refusing the fight, scrambles up the stairs of the deserted hotel. Tybalt trips him and Romeo careens into an ornamental wooden railing, smashing it to pieces. Tybalt kicks savagely at the helpless Romeo. Suddenly, Mercutio appears running full tilt down the concrete terrace. He plucks up one of the splintered wooden palings and yells... MERCUTIO (CONT.) Tybalt, you ratcatcher, ...as he bludgeons him across the face. Tybalt goes down. MERCUTIO (CONT.) Will you walk? Tybalt leaps to his feet grabbing a lump of wood. TYBALT What wouldst thou have with me? He swipes at Mercutio. MERCUTIO (AVOIDING) Good King of Cats, nothing but one of your nine lives. Mercutio jabs, Tybalt sidesteps. TYBALT I am for you. Tybalt aims a double-handed blow to Mercutio's head. Mercutio blocks, hooking Tybalt's stick away. Unarmed, Tybalt throws his full body weight upon Mercutio, slamming him against a window that shatters in a storm of glass. Lightning fast, Mercutio jackknifes to his feet. He raises his weapon to deliver a skull-crushing final blow to the trapped Tybalt. Romeo rushes between them. ROMEO Forbear this outrage, good Mercutio! Seizing the opportunity, Tybalt lunges at Romeo with a lethal triangle of broken glass. He misses, gouging instead a slash of flesh from Mercutio's stomach. A scream of excruciating pain as Mercutio grabs at his bloodied side. Everyone is still. In the abrupt silence, sirens are heard closing in the distance. Abra tugs at Tybalt. ABRA Away Tybalt! They bolt for their vehicle. Benvolio goes to Mercutio. BENVOLIO Art thou hurt? But Mercutio, covering his wound with his hand, laughs. MERCUTIO Ay, ay, a scratch. He turns to his assembled fans at the bottom of the stairs. With outrageous bravado he plays at being Caesar the conqueror. MERCUTIO (CONT.) A scratch! The boys cheer their conquering hero. Romeo helps Mercutio down the stairs. ROMEO Courage, man. The hurt cannot be much. Mercutio holding his bleeding side, jokes through the pain. MERCUTIO 'Twill serve. Ask for me tomorrow and you shall find me a grave man. He turns the next thought to the assembled audience. MERCUTIO (CONT.) (through crazy laughter) A plague o' both your houses! Mercutio turns from the cheering boys to Romeo who is struggling to support his weight. Mercutio - through weak and desperate breathing. MERCUTIO (CONT.) Why the devil came you between us? I was hurt under your arm. Romeo starts to register the panic in Mercutio's eyes. ROMEO I thought all for the best. Like an animal trying to break free from a mortal trap, Mercutio pushes Romeo away. He screams in horror, as if falling in the dark: MERCUTIO A plague o' both your houses! They have made worms' meat of me. Mercutio staggers down the stairs and collapses in the dirt. Romeo is there instantly, cradling his friend's head out of the dust. The dying boy stares back at Romeo, smiling through the chilling cold. MERCUTIO (CONT.) (a silent whisper) Your houses! Everything stands still, everything is quiet. The storm finally breaks. EXT. BEACH - RAIN. DAY. Tiny drops of water fall from the sky and bespeckle Mercutio's lifeless body. The droplets grow to a heavy rain. Romeo can hear the faint sound a thousand miles away of Benvolio whispering: BENVOLIO Mercutio is dead! Tears streak Romeo's face. He cries out. ROMEO Oh sweet Juliet, Thy beauty hath made me effeminate And in my temper softened valor's steel! The sound of Tybalt's vehicle starting brings back cold reality. Romeo's sorrow turns to uncontrollable rage. Shrugging aside Benvolio's attempts to restrain him, Romeo runs to his car. EXT. BEACH - PARKING LOT. DAY. Up ahead Tybalt's sedan screeches into a fishtailing U-turn and powers away. Romeo jumps into his vehicle. In an effort to head Tybalt off, he guns his damaged machine down a one way street. The rain is now blinding. Romeo stops for nothing; pedestrians flee, cars spin out of control. EXT. VERONA BEACH STREETS - FROM AIR. DAY. AERIAL SHOT: The two cars speed along parallel roads toward Plaza Jesu. Romeo is gaining. EXT. VERONA STREET - CHRIST ROUNDABOUT. DAY. CUT TO: Tybalt's car negotiating the immense roundabout at the foot of the statue of Jesus. EXT. CHRIST ROUNDABOUT. DAY. CUT TO: Romeo's car firing out of the one way street and slamming into Tybalt's car. Tybalt's car careens out of control up the stairs of the statue, clips the fountain, flips, and slides upside down onto the roadway. CUT TO: Tybalt scrambling from his upturned vehicle. CUT TO: Romeo running toward him. SUDDENLY Romeo is halted by Tybalt's drawn gun. Fearlessly marching toward it, he screams through tears. ROMEO Mercutio's soul Is but a little way above our heads, Romeo grabs the barrel of the gun; forcing it between his own eyes, he growls insanely at Tybalt. ROMEO (CONT.) Staying for thine to keep him company. Tybalt, unnerved, tries to back off. TYBALT Thou, wretched boy, shalt with him hence. Romeo, refusing to let go of the gun, forces Tybalt backward through the torrential rain. ROMEO (with frightening intensity) Either thou or I, or both, must go with him. Cars swerve, Romeo is relentless. He grips Tybalt's hand trying to force him to shoot. ROMEO (CONT.) Either thou or I, or both, must go with him. Panicked, Tybalt wrenches free and lurches onto the roadway. Blinded by the headlights of an oncoming car he thuds onto its hood as it skids to a halt. The impact catapults his gun high into the air. Romeo coldly follows its slow motion, spinning trajectory. Real time stretches as the gun dances high above his head. Police sirens, cars swerving, people screaming, and the yelling of panicked commands fade to a nothingness. Romeo stands calmly considering the gun in the air. A harrowing symphonic tone and the echo of Mercutio's voice can be heard. MERCUTIO (V/O) Why the devil came you between us? CUT TO: Patrol cars sliding to a halt. CUT TO: The spinning gun slowly falling to earth. CUT TO: Tybalt rising from the ground. CUT TO: Cops leaping from their cars. CUT TO: The gun landing in Romeo's hand. His eyes full of rage. CUT TO: Cops levelling their revolvers. COP (Romeo in his sights) Put up thy weapon. CUT TO: Real time - Romeo fires three deliberate shots. Tybalt's body convulses backwards against the car, hitting it with a thud, bloodying the shattered windscreen. The cop fires. A bullet grazes Romeo's arm - his gun drops as he screams. ROMEO O, I am fortune's fool! At that moment a roaring hurricane wind hits; blinding police. CLOSE ON: The scaffolding surrounding the Jesus statue. Part of it's canvas covering rips away. Scaffold rains down as the insanely flapping material tries to smash free from it's moorings. Through the mayhem, a rusty Ford driven by Balthasar, slides to a halt. Balthasar screams out at Romeo. BALTHASAR Romeo, away be gone! Stand not amazed! Romeo collapses into the front seat. The cops open fire as Balthasar speeds off into the storm. INT. BALTHASAR'S CAR. AFTERNOON. Romeo is bleeding from the bullet graze. EXT. CAUSEWAY. AFTERNOON. The gale-force winds throw waves across the causeway as the fugitives disappear into the black afternoon. CRANE UP: In the distance we see Montague and Capulet towers. Divided by the statue of Christ, they suffer the storm's rage. EXT. MONUMENT. AFTERNOON. Away, below the outstretched arms of Christ, lights from emergency vehicles pulse red through the downpour. THE CAMERA: Falls through heavy rain toward a woman crouched over the lifeless body of Tybalt. She cries: GLORIA Tybalt! Cops nervously eye Fulgencio Capulet and Ted Montague, who, both flanked by body guards, face each other across the crime scene. Medics stand by helplessly as Gloria clings to Tybalt's body. A handcuffed Benvolio looks on. GLORIA (CONT.) Tybalt, my cousin, O my brother's child! O, the blood is spilled of my dear kinsman. Police lines part as Captain Prince arrives. CAPTAIN PRINCE Where are the vile beginners of this fray? Benvolio struggles forward. BENVOLIO O noble Prince I can discover all The unlucky manage of this fatal brawl. Gloria appeals hysterically: GLORIA Prince as thou art true, For blood of ours shed blood of Montague! CAPTAIN PRINCE Benvolio, who began this bloody fray? BENVOLIO (pointing to Tybalt's corpse) There lies the man, slain by young Romeo, That slew thy kinsman brave Mercutio. Gloria interjects savagely. GLORIA He speaks not true! Affection makes him false! BENVOLIO Romeo, that spoke him fair, could not take Truce with the unruly spleen of TYBALT Deaf to peace! GLORIA He is a kinsman to the Montague! I beg for justice which thou Prince must give. Romeo slew Tybalt, Romeo must not live! Captain Prince turns to Gloria. CAPTAIN PRINCE Romeo slew him, he slew Mercutio. Who now the price of his dear blood doth owe? Ted Montague pleads: MONTAGUE Not Romeo, Prince, he was Mercutio's friend; His fault concludes but what the law should end, The life of Tybalt. Captain Prince eyes Montague coldly. CAPTAIN PRINCE And for that offence Immediately we do exile him. Montague, body guards in tow, surges forward. MONTAGUE Noble Prince...? Prince silences him. CAPTAIN PRINCE I will be deaf to pleading and EXCUSES; Nor tears nor prayers shall purchase out abuses. Therefore use none. The Captain turns and addresses his assembled officers. CAPTAIN PRINCE (CONT.) Let Romeo hence in haste, Else, when he is found that hour is his last. CLOSE ON: Captain Prince. CAPTAIN PRINCE (CONT.) Bear hence this body and attend our will. Mercy but murders, pardoning those that kill. INT. JULIET'S BEDROOM. AFTERNOON. An acoustic guitar version of Joy Division's 'Love Will Tear Us Apart.' Juliet traces the path of a raindrop on the window pane as she speaks her thoughts to the storm. JULIET Come gentle night, coming loving black browed night, Give me my Romeo. And when I shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night, And pay no worship to the garish sun. O, I have bought the mansion of a LOVE But not possessed it, and though I am sold, Not yet enjoyed. So tedious is this day As is the night before some festival To an impatient child that hath new ROBES And may not wear them. EXT. CAPULET'S MANSION - DRIVEWAY. AFTERNOON. Juliet's P.O.V.: The limousine pulls into the driveway. PULL OUT: Of the window and CRANE DOWN: Juliet runs from the room. EXT. CAPULET MANSION. AFTERNOON. Through the open doorway we see an excited Juliet meet the Nurse at the bottom of the stairs. The music surges. TRACK IN: The Nurse's words are lost in the storm. Juliet buckles. INT. CAPULET MANSION. AFTERNOON. We are close enough now to hear Juliet's words. JULIET Oh God! Did Romeo's hand shed Tybalt's blood? NURSE It did, it did! Alas the day, it did! JULIET Oh serpent heart, hid with a flowering face. Was ever book containing such vile MATTER So fairly bound? O, that deceit should dwell In such a gorgeous palace! NURSE There's no trust, No faith, no honesty in men. All perjured, All forsworn, all naught, all dissemblers. Shame come to Romeo. JULIET Blistered be thy tongue For such a wish! He was not born to shame. Upon his brow shame is ashamed to sit. NURSE Will you speak well of him that killed your cousin? JULIET Shall I speak ill of him that is my husband? Ah, poor my lord, what tongue shall smooth thy name When I, thy three-hours wife have mangled it? But whyfore, villain, didst thou kill my cousin? That villain cousin would have killed my husband. All this is comfort, wherefore weep I then? Some word there was worser than Tybalt's death: I would forget it fain - exiled. Tybalt is dead, and Romeo exiled. To speak that word is father, mother, Tybalt, Romeo, Juliet, all slain, All dead. Juliet sinks to the floor, overwhelmed by tears. JULIET (CONT.) Nurse, I'll to my wedding bed, And death, not Romeo, take my maidenhead. Nurse looks down at Juliet. She goes and comforts her. NURSE Hie to your chamber. I'll find ROMEO To comfort you. I know well where he is. Hark ye, your Romeo will be here at night. Juliet looks up through tears. JULIET O find him, give this ring to my true knight, And bid him come to take his last farewell. SLAM MACRO ZOOM: Into the ring. The screen fills with the words 'I love thee'. INT. PRESBYTERY BEDROOM. NIGHT. Romeo lies on the bed shirtless and crying. His wound has been bandaged and Balthasar crouches frightened in the corner. The priest leads the Nurse into the room. Romeo looks up. ROMEO Nurse! She goes to him. NURSE Ah sir! Ah sir! Death's the end of all. ROMEO Speakest thou of Juliet? Where is she? And how doth she? And what says My concealed lady to our cancelled love? NURSE O, she says nothing, sir, but weeps and weeps, And then on Romeo cries, and then falls down again. Romeo is wailing inconsolably. ROMEO As if that name, Shot from the deadly level of a gun, Did murder her, as that name's cursed hand murdered her kinsman! Father Laurence shakes the hysterical boy. FATHER LAURENCE I thought thy disposition better tempered! Thy Juliet is alive, There art thou happy. The law that threatened death becomes thy friend And turns it to exile. There art thou happy. A pack of blessings light upon thy back. Romeo calms. The Nurse gives him the ring. NURSE Here sir, a ring my lady bid me give you. Romeo enfolds the ring in his hand. ROMEO How well my comfort is revived by this. The priest goes to his wardrobe, removes a clean white shirt and helps Romeo put it on. FATHER LAURENCE Go, get thee to thy love, as was decreed. Ascend her chamber. Hence and comfort her. But look thou stay not till the Watch be set, For then thou canst not pass to Mantua where thou shalt live till we can find a time To blaze your marriage, reconcile your friends, Beg pardon of the Prince and call thee back, With twenty hundred thousand times more joy Than thou wentst forth in lamentation. Father Laurence ushers Romeo from the room. INT. HALLWAY. NIGHT. They hurry down the hallway. The priest opens the front door. FATHER LAURENCE Go hence. Be gone by the break of DAY Sojourn in Mantua. Give me thy hand. Romeo embraces him. ROMEO Farewell. The priest and Balthasar watch as Romeo and the Nurse sprint for the car. INT. CAPULET MANSION. NIGHT. Sobs echo through the house. Dave Paris stands in the entrance hallway clutching a huge bunch of flowers. Fulgencio Capulet stands beside him, whisky glass in hand. CUT TO: Gloria on the upper landing. There is a strange faraway quality about her as she descends to Dave and Capulet. GLORIA She'll not come down tonight. Dave, an understanding smile. DAVE These times of woe afford no times to woo. Capulet guides Dave into the house. CAPULET Look you, she loved her kinsman Tybalt dearly. GLORIA (JOINING) And so did I. CAPULET (a cold glance at Gloria) Well, we were born to die. Capulet takes a large slug of whisky. Gloria leans close to Dave. GLORIA I'll know her mind early tomorrow. Tonight she's mewed up to her heaviness. As Gloria, Dave and Capulet exit down the hallway we CRANE UP: toward Juliet's bedroom door. INT. JULIET'S BEDROOM. NIGHT. CLOSE ON: Juliet's face. Tears stream onto the pillow. Without warning a hand lightly touches her cheek. Juliet's eyes dart up to discover Romeo standing above her. A still moment of disbelief. Leaning down, Roemo kisses away the tears that fall from her dark, wide eyes. Juliet's lips find Romeo's and they gently sink back onto the bed. INT. SITTING ROOM. NIGHT. Capulet sits in an armchair drinking. Dave and Gloria sit opposite as Capulet whips himself into a frenzy of drunken excitement. CAPULET We'll keep no great ado - a friend or two. For, hark you, Tybalt being slain so late, It may be thought we held him carelessly, Being our kinsman if we revel much - But soft what day is this? DAVE Monday my lord. CAPULET Well Wednesday is too soon - what say you to Thursday? Gloria looks up alarmed; Dave is stunned. DAVE My lord I... CAPULET (leaning close) I will make a desperate tender of my child's love. (a drunken good humour) I think she will be ruled in all respects by me; (exploding with hearty laughter) Nay, more, I doubt it not! CUT TO: Gloria, her face hardens. CAPULET (to Dave) But what say you to Thursday? Dave is trying to catch up. DAVE My lord I... CUT TO: Capulet he eyes Dave intently. DAVE (CONT.) I would that Thursday were tomorrow. Delighted, Capulet jumps to his feet. CAPULET A Thursday let it be then! Capulet holds out his glass in toast. Dave and Gloria rise. CAPULET Wife, go you to Juliet ere you go to bed. Tell her, a Thursday she shall be MARRIED To this noble sir! CLOSE ON: The glasses clink. EXT. CAPULET ESTATE. DAWN. A pink and gold dawn breaks over Capulet Mansion. INT. JULIET'S BEDROOM. DAWN. A tangle of young limbs. Romeo and Juliet blissfully asleep. The dawn light creeps into the room. EXT. CAPULET ESTATE. DAWN. Balthasar's car covertly pulls into a side road near the estate. INT. JULIET'S BEDROOM. DAWN. Romeo and Juliet still asleep. CRANE DOWN: Toward the sleeping innocence of the faces. HOLD: A shadow of fear passes across Romeo's features. With a cry of panic, he sits bolt upright. Wide awake, but disorientated, Romeo stares around the room - as Juliet stirs, he remembers where he is. Slipping quietly from the bed, Romeo begins to dress. CLOSE ON: Romeo. A pair of lips enter frame and find his neck. It is Juliet. She hugs herself to him. JULIET Wilt thou be gone? It is not yet near day. Romeo turns - softly he strokes her cheek. ROMEO I must be gone and live, or stay and die. Juliet kisses his finger-tips. JULIET Yond light is not daylight, And then his cheek... JULIET (CONT.) I know it, I It is some meteor that the sun EXHALES To light thee on thy way to Mantua. Therefore stay yet. Thou needest not to be gone. Romeo, feverishly returning the kisses, throws himself on Juliet. ROMEO Let me be taken, let me be put to death. I have more care to stay than will to go. Come, death, and welcome! Juliet wills it so. Juliet is suddenly still. Romeo kisses her gently. ROMEO (CONT.) How is't, my soul? Let's talk. It is not day. Juliet pulls Romeo to his feet. JULIET It is, it is! Hie hence, be gone, away! O, now be gone! More light and light it grows. Frantically she helps him into his clothes. ROMEO More light and light: more dark and dark our woes. There is an urgent knocking on the door. They freeze. NURSE (O/S) Madam! JULIET Nurse! NURSE (O/S) Your lady mother is coming to your chamber. JULIET Then, window, let day in, and let life out. Desperately Juliet pulls Romeo out onto the balcony. EXT. BALCONY. DAWN. The storm, now past, has left a morning achingly pure. ROMEO Farewell, farewell. One kiss, and I'll descend. Romeo climbs down from the balcony and into the shadows. JULIET O, think'st thou we shall ever meet again? Romeo smiles up at her. ROMEO I doubt it not; Juliet's face darkens. JULIET O God, I have an ill-divining soul. Methinks I see thee, now thou art so low, As one dead in the bottom of a tomb. Romeo scrambles back up to the balcony. ROMEO Trust me, love, all these woes shall serve For sweet discourses in our times to come. From Juliet's bedroom comes the brittle sound of Gloria Capulet's voice. GLORIA Ho daughter! Are you up? Juliet spins around. Gloria has parted the curtains and is staring directly at her daughter. GLORIA Well, well. CUT TO: Romeo sheltered just below the lip of the balcony. FOLLOW: His hand, as it slowly reaches up and touches Juliet's fingers hidden behind her back. Gloria returns to the room. Juliet steals a glance toward Romeo as he silently mouths: ROMEO Adieu, adieu! As Romeo's face disappears into the shadows Juliet whispers a little prayer to herself. JULIET O Fortune, Fortune! Be fickle, Fortune, Fo then I hope thou wilt not keep him long But send him back. INT. JULIET'S BEDROOM. DAWN. Juliet is trying not to cry as she goes in to her mother. Gloria turns to her. GLORIA Thou hast a careful father, child: One who, to put thee from thy heaviness, Hath sorted out a sudden day of joy That thou expects not nor I looked not for. Juliet plays along. JULIET Madam, in happy time. What day is that? Gloria takes a deep breath. GLORIA Marry, my child, early next Thursday MORN The gallant, young, and noble gentleman, Sir Paris, at Saint Peter's Church, Shall happily make thee there a joyful bride. CLOSE ON: Juliet. She can barely speak. JULIET Now by Saint Peter's Church, and Peter too, He shall not make me there a joyful bride! Fear passes across Gloria's face. GLORIA Here comes your father. Tell him so yourself. Capulet - whisky glass in hand - ebulliently bursts into the room. CAPULET How now, wife? Have you delivered to her our decree? GLORIA Ay, sir. But she will none, she gives you thanks. I would the fool were married to her grave! Capulet - a dangerous calm. CAPULET How? Will she none? Is she not proud? Doth she not count her blest, Unworthy as she is, that we have WROUGHT So worthy a gentleman to be her bride? JULIET Not proud you have, but thankful that you have. Proud can I never be of what I hate. PAUSE: Capulet considers his daughter, then - BAM! He hurls his glass against the wall, shattering it into a thousand pieces. CAPULET Thank me no thankings, nor proud me no prouds, But fettle your fine joints 'gainst Thursday next ... Capulet advances. Juliet, terrified, retreats into the hallway. JULIET Hear me with patience but to speak a word... INT. LANDING. DAY. The Nurse appears as Capulet picks his daughter up and shakes her like a rag doll. CAPULET Speak not, reply not, do not answer me! He throws her to the floor. His fist thuds as it slams into her face. GLORIA (SCREAMING) Fie, fie! What are you mad? Gloria tries to restrain Capulet. He back-hands her, sending her flying against the wall - bellowing insanely, he advances on his cowering daughter. CAPULET Hang thee, young baggage! Disobedient wretch. The Nurse throws herself between Capulet and Juliet. NURSE God in heaven bless her! You are to blame, my lord, to rate her so. Furious, Capulet shunts her aside. CAPULET Peace, you mumbling fool! Capulet yanks his daughter's face close to his. CAPULET (CONT.) I tell thee what - get thee to church a Thursday Or never after look me in the face. And you be mine, I'll give you to my friend. And you be not, hang, beg, starve, die in the streets, Trust to it. Bethink you. I'll not be forsworn. Capulet storms off down the hall. CLOSE ON: Juliet. She huddles, shaking at the top of the stairs. JULIET O sweet my mother, cast me not away! Delay this marriage for a month, a week. Or if you do not, make the bridal BED In that dim monument where Tybalt lies. A trickle of blood issues from Gloria's cut lip. She checks her appearance in the hall mirror. GLORIA Talk not to me, for I'll not speak a word. Do as thou wilt, for I have done with thee. Gloria leaves. JULIET O God! - O Nurse, how shall this be prevented? The Nurse doesn't reply. JULIET (CONT.) What sayest thou? Hast thou not a word of joy? Some comfort, Nurse. A heavy silence. The Nurse goes to Juliet. NURSE Faith, here it is. I think it best you married with this Paris. O, he's a lovely gentleman! I think you are happy in this second match, For it excels your first; or if it did not, Your first is dead - or 'twere as good he were As living here and you no use of him. Juliet is very still. JULIET Speakest thou from thy heart? NURSE And from my soul too. Else beshrew them both. JULIET Amen. NURSE (UNSURE) What? Juliet is matter of fact. JULIET Well, thou hast comforted me marvellous much. Go in; and tell my lady I am gone, Having displeased my father, to Friar Laurence, To make confession and to be absolved. The old woman nods. She strokes Juliet's hair. NURSE This is wisely done. Juliet does not look up. A disturbing choral chant: DISSOLVE TO: INT. CHURCH. DAY. Sunlight pierces stained glass - the chant a sinister underscoring. We hear Dave Paris' voice: DAVE (O/S) Immoderately she weeps for Tybalt's death... CRANE DOWN: Father Laurence and Dave Paris stand at the front of the church. DAVE (CONT.) ...Now, sir, her father counts it DANGEROUS That she doth give her sorrow so much sway, And in his wisdom hastes our MARRIAGE To stop the inundation of her tears... Father Laurence turns. Juliet stands framed in the white glare of the doorway. Dave smiles. DAVE Happily met, my lady and my wife. CLOSE ON: Juliet's hand concealed beneath her coat - we can just see the handle of a gun. Juliet advances slowly, an icy calm: JULIET That may be, sir, when I may be a wife. DAVE That 'may be', must be, love, on Thursday next. Juliet stares past Dave. JULIET What must be, shall be. Father Laurence, a forced cheerfulness. FATHER LAURENCE That's a certain text. DAVE Come you to make confession? Juliet forces a smile. JULIET Are you at leisure, holy father, now? Or shall I come to you at evening mass? FATHER LAURENCE My leisure serves me, pensive daughter, now. (to Dave) We must entreat the time alone. DAVE God shield I should disturb devotion! - Juliet, on Thursday early will I rouse ye; Dave bends. CLOSE ON: Juliet; she stares stonily ahead as Dave kisses her cheek. DAVE (CONT.) Till then, adieu, and keep this holy kiss. Dave leaves. TRACK WITH: Juliet; she runs for the sacristy. The priest follows. INT. SACRISTY. DAY. Juliet, shaking with sobs takes refuge in the shadows of the small room. The priest goes to her. FATHER LAURENCE O Juliet, I already know thy grief. Juliet pulls away. JULIET Tell me not, Father, that thou hearest of this, Unless thou tell me how I may prevent it. FATHER LAURENCE It strains me past the compass of my wits. JULIET (DESPERATELY) If in thy wisdom thou canst give no HELP Do thou but call my resolution wise, And with this I'll help it presently! She pulls the gun, pointing it towards herself. Horrified, Father Laurence moves to her. Juliet, panicked, levels the gun at him. FATHER LAURENCE Hold daughter! JULIET (through tears) Be not so long to speak. I lone to die! Father Laurence holds out a soothing hand. FATHER LAURENCE I do spy a kind of hope, Which craves as desperate an EXECUTION As that is desperate which we would prevent. If, rather than marry Paris, Thou hast the strength of will to slay thyself, Then it is likely thou wilt UNDERTAKE A thing like death... We hear the distended chords of FaurÈ's Requiem. FATHER LAURENCE (CONT.) to chide away this shame... It continues throughout as; The entire screen fills with a glinting tear drop of blue liquid. Reflected in the fluid's convex surface, the face of Father Laurence. The face disappears as the tear drop falls and splashes into a clear water solution. Like a comet in slow motion, the drop stains the water a cobalt hue. INT. GREENHOUSE WORKROOM. DAY. PULL BACK: The blue liquid fills a tiny glass vial held by Father Laurence. FATHER LAURENCE (CONT.) No warmth, no breath shall testify thou livest. Each part, deprived of supple government, Shall stiff and stark and cold appear, like death. Now when the bridegroom in the MORNING Comes to rouse thee from thy bed, there art thou, dead. Thou shalt be borne to that same ancient vault Where all the kindred of the Capulets lie. In the meantime, against thou shalt awake, Shall Romeo by my letters know our drift, And hither shall he come. And that very Night shall Romeo bear thee hence to Mantua. The priest cautiously hands Juliet the vial. FATHER LAURENCE (CONT.) Take thou this vial, being then in bed, And this distilling liquor drink thou off. I'll send my letters to thy lord with speed to Mantua. EXT. CHURCH. DAY. As Father Laurence speaks, the screen fills with an express envelope addressed "Romeo - Mantua." The envelope pulls away from the camera and falls into a canvas bag brimming with hundreds of like envelopes. TRACK: With the canvas bag. It continues its journey into the back of an express delivery van. Heavy double doors slam shut, filling the screen with the slogan 'Speed Express.' The van pulls away. DISSOLVE TO: EXT. MANTUA. DAY. A burning red sun is setting over an endless vista of ragged wasteland. CRANE DOWN: A weathered sign reads - Mantua: Behind it a vast colony of permanent trailer homes stretches into the distance. The rap, rap, rap of knocking echoes through the park... CUT TO: The source of the knocking. An express delivery man, envelope in hand, raps vigorously on the door of an unremarkable trailer. INT. TRAILER. DAY. TOPOGRAPHICAL SHOT: Romeo lies flat on a single bed in the crampled trailer. The rap, rap, rap is very loud now. We move toward Romeo and realise he cannot hear the knocking because he has Walkman headphones on. EXT. TRAILER. DAY. Unsuccessful, the delivery man is filling out a "WE CALLED" card. He pushes it under the door. DISSOLVE TO: INT. CAPULET MANSION. NIGHT. The heraldic 'Wedding Chimes' by JS Bach. Juliet stands resplendent in a radiant bridal gown. The image floats ethereally in a towering slab of mirror. PULL OUT: From the mirror. The wedding dress is in fact being held in front of Juliet by two members of the house staff. Juliet is dressed in her night gown. The Nurse suggests various pairs of shoes. JULIET (DISINTERESTED) Ay, these attires are best. The fuss dispensed with, the staff leave. JULIET But, gentle Nurse, I pray thee leave me to myself tonight. NURSE Why Bride? Juliet navigates the Nurse toward the door. JULIET (almost in tears) To move the heavens to smile upon my state, Which, well thou knowest, is cross and full of sin. Juliet holds the Nurse in a pleading stare. She leaves. Alone now, Juliet hurries to her bedside drawer. She cautiously removes a rolled piece of cloth from which she produces the glass vial. JULIET (WHISPERS) What if this mixture do not work at all? Shall I be married then tomorrow morning? She cautiously begins to unscrew the tiny black lid. Suddenly, a knock at her door. Palming the vial, Juliet swings around to meet the arrival of her mother. Gloria probes her daughter's uneasiness. GLORIA What, are you busy, ho? Need you my help? JULIET (makes light of it) No, madam. We have culled such NECESSARIES As are behoveful for our state tomorrow. So please you, let me now be left alone, And let the Nurse this night sit up with you. Juliet begins to pull down the covers on her bed. JULIET (CONT.) For I am sure you have your hands full all In this so sudden business. Gloria, sensing Juliet's distress, moves cautiously toward her. Taking hold of the bed covers she helps her daughter into bed. GLORIA Good night. Juliet slides into bed. Gloria covers her with the blanket. GLORIA (CONT.) Get thee to bed, and rest, for thou hast need. A brief moment between mother and daughter. Gloria, unable to cross that final barrier, moves to the door; but she is stopped by the urgency in Juliet's voice. JULIET Farewell! Gloria turns to Juliet. JULIET (CONT.) God knows when we shall meet again. CLOSE ON: Gloria. A faint perplexity, and then with an almost warm smile she turns out the light and leaves. The room is in darkness but for patterns of moonlight through windows. TRACK: Toward Juliet. The sombre tones of FaurÈ's Requiem seep into our consciousness. JULIET I have a faint cold fear thrills through my veins That almost freezes up the heat of life. She brings the vial her mouth. JULIET (CONT.) Come, vial. Romeo, I drink to thee. Juliet drinks, a sudden violent convulsion, her face contorts in fear. DISSOLVE TO: EXT. CAPULET ESTATE. DAY. The sky is filled with green and grey clouds. A gusty rain blows the flower arrangements across the lawn. Large white wedding marquees flap in the wind. Through blurring rain, we see ambulances and police vehicles, lights flashing. Father Laurence, accompanied by a dour looking man in black, alights from his car. We follow their P.O.V.: We hear snatches of radio calls. MEDIC ONE (OVER RADIO) Mortal drugs? MEDIC TWO (OVER RADIO) Of lethal quantity as 'twould render death. INT. CAPULET MANSION - DINING ROOM. DAY. They enter the house and pass the vast dining room, bedecked with wedding decorations. Capulet sits at the large mahogany table. In the background Gloria stares vacantly. Moving swiftly toward a doorway, the music builds. INT. CAPULET MANSION - JULIET'S BEDROOM. DAY. The door opens. On the bed Juliet's still body. Father Laurence closes the door. The priest kneels and hastily examines Juliet's pupils. He looks to the man in black who retrieves the glass vial from the floor and pockets it. FATHER LAURENCE (to the man in black) As the custom is, In all her best array bear her to church. When the man in black allows two other dark suited men into the room, it becomes clear he is the undertaker. UNDERTAKER She shall be borne to that same ancient vault Where all the kindred of the Capulets lie. INT. MAUSOLEUM. DAY. A thousand voices proclaim the 'Song of Ascension.' PAN DOWN: From the vaulting glass ceiling of the Capulet mausoleum. On view, enshrined in literally thousands of lit candles, is Juliet's peaceful body. We move through lines of Capulet mourners. In the shadows of the front door a young man hides. CLOSE ON: The young man. We recognise the distressed face of Balthasar. PUSH IN: Balthasar rushes from the Mausoleum. EXT. MANTUA. DAY. We are high above Mantua. Beyond the trailer park stretches a long ribbon of black highway. As a Speed Express van turns off the highway and into the park, we hear Romeo's voice over: ROMEO (V/O) If I may trust the flattering truth of sleep My dreams presage some joyful news at hand... CRANE DOWN: The Express van pulls up at the front office. The driver alights and goes inside. INT. TRAILER. DAY. Romeo sits at the trailer's small kitchen table smoking and writing in his notebook. The "WE CALLED" card lies next to an overflowing ashtray. His voice over continues. ROMEO (V/O) And all this day an unaccustomed SPIRIT Lifts me above the ground with cheerful thoughts. I dreamt my lady came and found me DEAD And breathed such life with kisses in my lips That I revived and was an emperor. Ah me, how sweet is love itself POSSESSED When but love's shadows are so rich in joy. Stubbing out his cigarette, Romeo gazes through the trailer window to see Balthasar's speeding car turn off the highway and into the trailer park. ROMEO News from Verona! An excited Romeo rushes from the trailer. EXT. TRAILER PARK. DAY. CRANE HIGH: Romeo sprints across open ground to intercept Balthasar's car. We see, but Romeo cannot, the Express van approaching from the office. The car slews to a halt and Balthasar jumps out. Romeo yells joyously. ROMEO How now, Balthasar? Bathlasar cannot speak. ROMEO (CONT.) Dost thou not bring me letters from the Priest? How doth my lady? Is my father well? How doth my lady Juliet? That I ask again, For nothing can be ill if she be well. Balthasar does not know how to say what he has come to tell. He looks away. BALTHASAR Then she is well and nothing can be ill. Her body sleeps in Capels' monument, And her immortal part with angels lives. I saw her laid low in her kindred's vault. For a long moment Romeo is profoundly still. When he speaks, it is with a chilling calm. ROMEO Is it e'en so? Balthasar nods. Romeo turns and stares into the distant wasteland. CLOSE ON: He speaks with bitter determination. ROMEO Then I defy you stars. Romeo moves to the car. ROMEO I will hence tonight. Balthasar tries to restrain him. BALTHASAR Have patience... Exploding with fury, Romeo throws Balthasar against the vehicle. ROMEO Leave me! CUT TO: The Speed Express messenger. Returning to his truck, the priest's undelivered envelope in his hand, the messenger looks toward the two boys. CUT TO: The boys. Balthasar pleads with Romeo. BALTHASAR Your looks are pale and wild and do IMPORT Some misadventure. ROMEO (with cold serenity) Tush, thou art deceived. (a niggling thought) Hast thou no letters to me from the Priest? Balthasar shakes his head. Romeo smiles. ROMEO No matter - I will hence tonight. Romeo climbs into the passenger seat of the car. Balthasar reluctantly gets behind the wheel. As silent tears begin to flow, Romeo turns his face to the setting sun. PUSH IN: As he whispers: ROMEO Well Juliet, I will lie with thee tonight. Balthasar's car roars out of the park. CUT TO: The delivery man. He looks to the envelope in his hand, then gets back into his truck. EXT. HIGHWAY. NIGHT. Balthasar's car speeds along the night-time highway. CRANE UP: In the distance the glow of city lights. EXT. ALLEYWAY. NIGHT. Balthasar's car pulls into an alley and stops outside a decrepity apartment block. INT. APARTMENT BLOCK. NIGHT. CLOSE ON: A bespectacled eye peers through the crack of a partly open doorway. Below the face, the barrel of a shotgun protrudes menacingly. CUT TO: Romeo in the dark, paint peeling hallway. ROMEO Let me have A dram of poison, such soon- speeding gear As will disperse itself through all the veins That the life-weary taker may fall dead. The eye considers, a voice rasps back. APOTHECARY Such mortal drugs I have, but Verona's law Is death to any he that utters them. Romeo speaks with fury. ROMEO The world is not thy friend, nor the world's law. Then be not poor, but break it and take this. Romeo shoves a wad of money at THE APOTHECARY'S face. BEAT. The rattle of a latch chain and the door swings open. Standing in the doorway is The Apothecary. Sixty something, he has a face scarred with age and abuse. APOTHECARY My poverty, but not my will consents. CLOSE ON: Romeo. ROMEO I pay thy poverty and not thy will. INT. PRESBYTERY. NIGHT. CLOSE ON: Father Laurence. He speaks into the telephone with concern. FATHER LAURENCE Who bore my letter then to Romeo? INT. SPEED EXPRESS DEPOT. NIGHT. A bored clerk is on the other end of the line. The priest's letter is on the counter beside him. CLERK I could not sent it - here it is again. INT. PRESBYTERY. NIGHT. Father Laurence is worried. FATHER LAURENCE By my brotherhood, unhappy fortune! The letter was of dear import. (PAUSE: the priest listens) Adieu. He hangs up the receiver and looks at the wall clock. FATHER LAURENCE (CONT.) Now must I to the monument alone. Within this hour will fair Juliet awake. DISSOLVE FROM: The clock to... INT. APOTHECARY'S APARTMENT. NIGHT. CLOSE ON: A cat skitters across a stained formica table. PULL BACK: The Apothecary's apartment is filled with cats. Dozens of feline eyes glow in the dim room. Romeo stands nervously. The Apothecary extracts a small chemist's vial from inside a 'Statue of Our Lady' table lamp - he now speaks with cool professionalism. APOTHECARY Drink it off and if you had the strength of twenty men it would dispatch you straight. Romeo takes the vial and hands over the money. ROMEO There is my gold - worse poison to men's souls Than these poor compounds that thou mayst not sell. INT. BALTHASAR'S CAR. NIGHT. Motor running, Balthasar waits in the alley outside the apartment building. He checks the rear view mirror and freezes. At the end of the alleyway a police car crawls to a halt. EXT. ALLEYWAY. NIGHT. Romeo exits the building, and as he does so, the streetlight catches his face. The Cop's and Romeo's eyes meet. INT. POLICE CAR. NIGHT. CLOSE ON: The cop. COP This is that banished haughty Montague. INT. BALTHASAR'S CAR. Balthasar cracks; he guns the engine and the car lurches forward. EXT. ALLEYWAY. NIGHT. Tires screech as Romeo dives into the passenger seat of Balthasar's moving vehicle. Siren blaring, the police car gives chase. AERIAL SHOT. NIGHT. Balthasar's car winds through traffic - the patrol car gaining. EXT. ANOTHER PART OF TOWN. NIGHT. A police car U-turns over a median strip. EXT. BALTHASAR'S CAR. NIGHT. TIGHT ON: A rusted brown hood. The tortured engine screams as Balthasar negotiates the speeding car through city traffic. CRANE UP: Red and blue police light approach fast. INT. PRECINCT OFFICE. NIGHT. Captain Prince barrels through the corridors of police headquarters pulling on his flying jacket. EXT. STREET. NIGHT. TIGHT ON: A smoking tire as it lays rubber to the asphalt. Balthasar grits his teeth as he weaves the car through the impossibly tight space between a container truck and a bus. WHIP PAN: The patrol car is almost upon them when... in a seemingly suicidal manoeuvre Balthasar throws his car into a right-angle turn across four lanes of oncoming traffic. Horns blare. CUT TO: A skidding, squealing, out of control sedan, braking to avoid collision. Miraculously, Balthasar's vehicle shoots out of it its path and onto the other side of the roadway. The sedan slams into the following patrol car. EXT. DRIVEWAY. NIGHT. Balthasar's car speeds into the driveway of the Verona Beach Eternal Rest Cemetery. INT. CHOPPER. NIGHT. Captain Prince scans the night time city below. He speaks to the pilot and the chopper banks sharply. EXT. CEMETERY. NIGHT. CLOSE ON: A stone angel etched against the night sky. PAN DOWN: Romeo pulls a crowbar from the trunk of the parked car. Police sirens sound in the distance. Romeo eyes Balthasar intently. ROMEO Upon thy life, whatever thou HEAREST Or seest, stand all aloof. Give me the light - Balthasar stands motionless - Romeo rips the torch from his hands and strides into the cemetery. Balthasar follows. BALTHASAR I do beseech you... Romeo turns, punching Balthasar hard; he goes down, blood spurting from his nose. ROMEO Do not interrupt me in my course or By heaven I will tear thee joint by JOINT And strew this hungry churchyard with thy limbs! Balthasar slowly rises. Both boys are trying hard not to cry. ROMEO (CONT.) The time and my intents are savage wild, More fierce and more inexorable far Than empty tigers or the roaring sea. BALTHASAR I will be gone and not trouble ye. Romeo smiles. ROMEO So shalt thou show me friendship. They embrace as Romeo whispers. ROMEO (CONT.) Live, and be prosperous; and farewell, good fellow. EXT. MAUSOLEUM. NIGHT. CLOSE ON: A crowbar wrenches at ornate glass and iron doors. PULL BACK: The Gothic structure of the mausoleum rears against the night sky. Romeo frenziedly attacks the gates of the small side chapel. ROMEO Thou detestable maw, thou womb of death, Thus I enforce thy rotten jaws to open. With a final heave the doors scrape open. Silence. ROMEO'S P.O.V.: An endless marble corridor lit by hundreds of tiny flickering eternal flames. CLOSE ON: Romeo. He murmurs: ROMEO In despite I'll cram thee with more food. Suddenly a hurricane wind and whirr of machinery: like a huge black insect, Captain Prince's chopper swoops down over the mausoleum. Romeo is caught in the glare of the chopper's burning arc light. Sirens scream, police units race through the cemetery. Blinded, Romeo fires wildly toward the chopper. The police cars screech to a halt. CLOSE ON: A police marksman in the chopper. His finger squeezes the rifle trigger. BANG! A bullet slams into Romeo's shoulder. The other cops open fire and Romeo is sent reeling backwards into the mausoleum in a fusillade of bullets. INT. CHOPPER. NIGHT. An angry Captain Prince bellows into the radio. CAPTAIN PRINCE Hold! Hold! The police hold their fire. INT. MAUSOLEUM. NIGHT. Bleeding from the shoulder wound, Romeo drags shut the heavy double doors of the chapel. He bangs off three shots through a pane of broken glass and screams at the police. ROMEO Stand all aloof! EXT. MAUSOLEUM. NIGHT. Outside the chopper hovers. Police take up siege positions. Captain Prince's voice echoes through the bullhorn. CAPTAIN PRINCE Romeo, come forth, come forth. INT. MAUSOLEUM. NIGHT. Romeo uses the crowbar to wedge the doors shut. He bangs off another shot as he yells out at the Police. ROMEO Tempt not a desperate man! Romeo waits. There is no response from the cops. INT. CHOPPER. NIGHT. As the chopper settles to earth, Captain Prince speaks into the radio. CAPTAIN PRINCE Bring forth these enemies Montague and Capulet. INT. PRIEST'S CAR. NIGHT. Orange rescue lights reflect through the windshield of the priest's car as it crawls past the crashed sedan and police vehicle. Father Laurence thumps the steering wheel in frustration. FATHER LAURENCE Saint Francis be my speed tonight! Across the road Police swarm around the entrance to the cemetery. FATHER LAURENCE Fear comes upon me. O, much I fear some ill unthrifty thing. HOLD ON: The green glow of the car clock as the seconds pulse away. INT. MAUSOLEUM. NIGHT. TRACK: Down the marble corridor lit by the eternal flames. DISCOVER: Romeo. He weakly stands at the entrance to the viewing chapel. The chapel is dark. As Romeo's eyes adjust he can just see, picked out by a shaft of blue moonlight, the glowing figure of a sleeping girl. He moves down the aisle past the tombs of long-dead Capulets. Romeo is close now. He halts as if in the presence of an unbelievable vision. He lights a match and the room glows gold. The warm light reveals a Juliet even more beautiful in seeming death. Romeo lights some of the hundreds of candles that surround her. ROMEO O my love, my wife, Death, that hath sucked the honey of thy breath, Hath had no power yet upon thy beauty, Thou art not conquered. Beauty's ensign yet Is crimson in thy lips and in thy cheeks, And death's pale flag is not advanced there. Romeo kneels close, as if not wanting to wake a sleeping child. Unconscious tears fall from his eyes as he whispers. ROMEO (CONT.) Ah, dear Juliet, why art thou yet so fair? Shall I believe that unsubstantial DEATH Is amorous and keeps thee here in DARK To be his paramour? For fear of THAT I still will stay with thee. Here, oh here Will I set up my everlasting rest And shake the yoke of inauspicious STARS From this world-wearied flesh. He lays himself close. ROMEO (CONT.) Eyes, look your last. Arms, take your last embrace. And, lips, O you The doors of breath, seal with a righteous kiss... Gently Romeo kisses Juliet's lips. Ever so slightly, Juliet's hand moves - Romeo does not notice. ROMEO (CONT.) A dateless bargain to engrossing death. Romeo drinks from the vial; the power of the compound is immediate. He convulses and falls, his head resting on Juliet. ROMEO (CONT.) (fighting for breath) O true apothecary, thy drugs are quick. Behind Romeo's head we can see Juliet's eyes opening. Romeo sucks the last few breaths of life into his lungs. Through a blurry consciousness Juliet becomes aware of Romeo. JULIET Oh Romeo, what's here? Forcing herself up, she cradles his head in her arms. Romeo's clear wide eyes stare back, he is completely still but for the sound of weak breaths desperately drawn across motionless lips. Juliet finds the vial clenched in Romeo's hand. Tears slip from her eyes. JULIET (CONT.) Drunk all, and left No friendly drop to help me after. I will kiss thy lips. Haply some poison yet doth hang on THEM To make me die with a restorative. She delicately kisses Romeo's lips. JULIET (CONT.) (a heart-broken whisper) Thy lips are warm. Desperately the lovers cling to each other. With all his desire to stay alive, Romeo whispers: ROMEO Thus with a kiss I die. There is no breath. He is still. Silence. Sobbing, Juliet hugs the lifeless Romeo to her. JULIET Romeo. O' my true love Romeo. She looks to the gun in his hand. EXT. MAUSOLEUM. NIGHT. TRACK: Quickly past Captain Prince and the Capulets taking cover behind a patrol car. Two police officers urgently convey Montague and his wife toward them. Discover Father Laurence arriving. CUT TO: Father Laurence's P.O.V.: Patrol cars, lights flashing, surround the mausoleum. He sees, through the open door of a police car, a hand- cuffed youth. It is Balthasar. Father Laurence hurries to him. It is dawning on Father Laurence. FATHER LAURENCE Balthasar? BALTHASAR (DESPERATELY) I brought news of Juliet's death... And then in post came Romeo from MANTUA To this same place... to this same monument. CLOSE ON: Father Laurence. FATHER LAURENCE How long hath he been there? BALTHASAR Full half an hour. Father Laurence turns towards the mausoleum. FATHER LAURENCE Romeo. (a shock of realisation) The lady stirs... INT. MAUSOLEUM. NIGHT. TRACK SLOW TOWARD: Juliet: Sobbing uncontrollably she prises the gun from Romeo's hand. EXT. MAUSOLEUM. NIGHT. Father Laurence, desperate, breaks through the police line and runs toward the mausoleum. CUT TO: The parents and Captain Prince. CAPTAIN PRINCE Hold! Go not forth! INT. MAUSOLEUM. NIGHT. Juliet turns the gun on herself. EXT. MAUSOLEUM. NIGHT. CLOSE ON: Father Laurence, he screams as he mounts the mausoleum stairs. FATHER LAURENCE The lady stirs! CRACK! The sound of a single gun shot rips through the night. CUT TO: Captain Prince. CUT TO: The parents, a look of cold shock. CUT TO: The priest - his cry echoes through the night. INT. MAUSOLEUM. NIGHT. Juliet lies peacefully on Romeo's chest. Her eyes awake. A wash of deep red blood floods across them both. As we move away from the forms of the two young lovers lit by a ring of candles, the police burst in, guns ready to resolve what has already been resolved. Continuing up, we pass through the glass dome of the viewing chapel, and over the building. EXT. MAUSOLEUM. NIGHT. There, huddled at the base of the Mausoleum steps, are the Montague and Capulet parents and Father Laurence. From high up we see Captain Prince emerge from the Mausoleum and speak to the group. A moment, then their cries float gently up. EXT. SKY. NIGHT. We are travelling high into the sky now. The cries of the parents and the buzz of radio calls fade to nothing. EXT. VERONA BEACH STREET - CHRIST ROUNDABOUT-FROM AIR. DAWN. As the sun struggled to rise, we push toward the figure of Jesus silently surveying the city. EXT. VERONA BEACH - CHRIST ROUNDABOUT. DAWN. As Jesus' face fills the screen, droplets of water begin to streak his cheeks. HOLD: Music swells; the droplets grow to a torrent, and a heavy rain begins to fall. For a long beat, we stay with this image. CRANE DOWN: From the Jesus. A sea of black umbrellas stretches back from the steps of Freedom Tower. EXT. FREEDOM TOWER. DAY. At the top of the steps are a pair of flower strewn caskets. Before the caskets stand Fulgencia and Gloria Capulet, and Ted and Caroline Montague. They stare with blank, uncomprehending sorrow. Among the crowd we see the distraught faces of Benvolio, Balthasar, Father Laurence and the Nurse. The caskets are gently slid into a pair of long black cars. Montague and Capulet descend the stairs. Captain Prince blocks their path. He holds them in his gaze. CAPTAIN PRINCE See what a scourge is laid upon your hate, That heaven finds means to kill your joys with love; And I, for winking at your discords too, Have lost a brace of kinsmen. All are punished. The Prince steps aside. The procession moves off. Montague and Capulet look to one another, a moment, and then the two adversaries together follow the bodies of their dead children. AERIAL SHOT: The rain falls. Two black cars lead the people of Verona Beach in a sorrowful parade. As the cars pass beneath the towering effigy of Jesus, the image pixilates into a television picture. PULL OUT: A TV anchor woman watches the image on a studio monitor. She turns: ANCHOR WOMAN (to camera) A glooming peace this morning with it brings: The sun for sorrow will not show his head. Go hence, to have more talk of these sad things. Some shall be pardoned, and some punished, For never was a story of more woe Than this of Juliet and her Romeo. The anchor woman changes beat to the next story; but her dialogue fades, and her image gets smaller as the television recedes into a black distance. The music that reminds us most of these two lost lives swells. When the television is very small it is switched off. BLACK SCREEN. HOLD A BEAT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Ronin.txt b/unformated_scripts/Script_Ronin.txt new file mode 100644 index 0000000000000000000000000000000000000000..c7909990d195e8a0641f263a30bee52434be8994 --- /dev/null +++ b/unformated_scripts/Script_Ronin.txt @@ -0,0 +1 @@ +RONIN an original screenplay by J.D. Zeik DRAFT: May 20, 1997 A BLOOD RED SCREEN - A JAPANESE DRUM starts to play, softly, but tinged with a desperate edge, growing louder, joined by other DRUMS as a BLACK LEGEND scrolls up: In feudal Japan, the warrior class of Samurai were sworn to protect their liege lords with their lives. Those Samurai whose liege was killed suffered a great shame, and they were forced to wander the land, looking for work as hired swords or bandits. These masterless warriors were no longer referred to as Samurai, they were known by another name: Such men were called Ronin. The words hang on the screen and we hold for a BEAT, and then the DRUMS are cut off by - A SILENCED GUN SHOT: Thwpfft... FADE IN ON: INT. A MEDIEVAL CATHEDRAL - NIGHT It's dark, and so it takes us a minute to realize we're MOVING UP STONE SPIRALING STAIRS, up up up in what we now see is a medieval cathedral. And as we continue MOVING UP something TRICKLES DOWN INTO FRAME - BLOOD. Running thin, then thicker, as we CONTINUE TO MOVE UP the stairs and find - A BODY, sprawled awkwardly across the stones, arms and legs akimbo, not so much Christ-like as victim-like. In one hand the Body holds a GUN he never had a chance to use. In the other - A DARK SHAPE, we can't quite tell what it is. FOOTSTEPS sound from above and - THE KILLER walks into frame, silenced pistol dangling at his side. We don't know him, and it's going to be a while before we see him again, but mark his face because we'll see him again. The Killer now picks up the dark shape in the Body's hand, and we see it's - A BRIEFCASE. The Killer cuffs the Briefcase to his wrist and turns to - TWO MEN standing behind him: subordinates. The Killer shows them the Briefcase. KILLER God loves me. THE BODY suddenly twitches -- this guy is not quite dead. The Killer raises his silenced pistol. KILLER (to his victim) But I don't think he's too fond of you... SLAM CUT TO: EXT. A BACK STREET - PARIS - NIGHT A PHONE RINGS, replacing the sound of the silenced gun shot we expected to hear. Rain-slicked cobblestones gleam in a twinkling of streetlight. EXT. A PHONE BOOTH AT THE END OF THE STREET The source of the ringing. We start to PUSH SLOWLY IN one the phone booth, and as we do we hear the VOICE of an UGLY AMERICAN. UGLY AMERICAN (V.O.) What is this? CUT TO: INT. A DRIVE BAR IN PARIS - NIGHT A SOCCER MATCH is in progress on a TV which sits above the bar in this smokey, dim dive. UGLY AMERICAN (O.S.) This is not football... And now we're PULLING BACK DOWN THE LENGTH OF THE BAR. We see THREE MEN sitting seperately at the bar, paying no attention to each other. One of these men watches the game with real interest. The Ugly American talks on from off screen. UGLY AMERICAN (O.S.) (continuing) ...Football is three hundred pound guys, they run way too fucking fast, they got helmets made of kevlar they use to spear the quarterback into the next life. SLAM CUT TO: EXT. THE STREET OUTSIDE The phone is still ringing, louder now, and we're MOVING TOWARDS it while looking THROUGH AN UNSEEN PAIR OF EYES, and even as we drink this in we're back in - INT. THE BAR AT THE END OF THE BAR - LARRY, the Ugly American. He's got an obvious attitude, all of it bad. But there's something about the guy -- he's not all bluster, and he has the look of a seasoned tough guy who knows how to get rough and tumble. He's big, and yeah he's got a gut, but the rest of him looks solid. LARRY (talking to the air) You wanna know what football is? It's hitting the other guy dirty and then spitting in his face when he's down. Football is all things American, and American is A-Number-One the absolute fucking best there is. That's what football is... (he points to the TV) ...And that's not football. The one man at the bar who's been watching the gam turns slowly and gives Larry a long look. This is VINCENT: French, hard boiled and solid. Charming when he wants to be, which isn't all that often. He gives Larry a long look and then speaks - VINCENT (to Larry in perfect English) Football -- American football -- is a game for faggots. A BEAT. The other two men at the bar, who seem like tough customers themselves, pretend not to watch too closely, but they're interested: what's Larry going to say? For a moment it seems as if he's pissed, but then suddenly a smile breaks out on his face and he laughs heartily at Vincent's remark. Vincent joins in, as do the others. In particular - THE BARTENDER looks relieved -- he's tough enough to toss a bar drunk, but these guys are in a different league. The Bartender laughs with the others, happy to have avoided a confrontation as we go back to - EXT. THE STREET OUTSIDE We're almost ON TOP OF the phone booth, the phone is still ringing as a HAND reaches INTO FRAME and snatches the phone from its cradle. A WOMAN'S VOICE (V.O.) (a touch Irish accent) Yes? ANOTHER ANGLE - And we see a woman named DEIRDRE on the phone: striking, dark-haired, Irish. She carries herself with the same professional edge as the men inside the bar. Deirdre listens for a moment to the voice on the other end, and before she speaks she sense something - A SILHOUETTE stands in the shadows of the bar, watching Deirdre. She gives this silhouette a measure glance before speaking, her hand creeping ever so slightly towards her coat. DEIRDRE Can I help you? The silhouette steps into a POOL OF LIGHT. This is SAM. Tough, lean, enigmatic. Somebody you might trust, but whom you'd never cross. Sam returns her look before he speaks. SAM No... Sam moves towards the bar, and Deirdre returns to her phone conversation. DEIRDRE I'm here... (a beat, responding to a question) No, it was nothing. INT. THE BAR - A MINUTE LATER Sam enters and by now the men inside have all come together at the bar, talking casually, recognizing they're somehow all here for a reason. With Larry and Vincent we see - GREGOR, a man from Eastern Europe. His accent is hard to pin down, but he most definitely has one. Gregor has the air of an ex- spook, and that's exactly what he is. Lastly we see SWEDE -- blonde, muscular, and somehow blank in the face. No, he's not stupid -- he's a sociopath. Now - Sam looks at the group, which grows quiet as he enters. Finally, Sam speaks. SAM Sorry I'm late... VINCENT (a challenge) What makes you think we're here to meet you? SAM (meeting Vincent's gaze) Who else would you be? Vincent turns towards the others, including them in an expansive gesture. VINCENT Perhaps the police? SAM I know cops -- and you're no cop. Vincent smiles at Sam's answer, satisfied, and makes room for Sam to join them. Vincent takes a pack of cigarettes, shakes them so that one sticks out, and offers it to Sam. VINCENT Cigarette? SAM No thanks. Vincent looks a little disappointed at this as we go - EXT. BACK OUTSIDE - SAME TIME THE PAY PHONE makes a sharp noise as it's cracked back into the cradle. Deirdre stands at the phone booth, lost in thought. Then, without warning - Deirdre spins around, pulling TWO GUNS from inside her coat. The move is fast, performed with the grace of a professional killer, as Deridre scans the horizon, but nobody seems to be watching. Deirdre pockets her guns and steps into the shadows of the street, the better to watch - THE BAR - And as Deirdre watches the bar we watch her. PULLING BACK from Deirdre, UP INTO THE AIR and then MOVING THROUGH TO - INT. A CHEAP APARTMENT - SAME TIME LOOKING THROUGH A WINDOW, donw onto the street below. Barely visible we can see Deirdre. And staring at Deirdre - THE WATCHER. Somebody we're going to see periodically through the movie. Right now he's only a SILHOUETTE with a well- defined PAIR OF HANDS. And in those hands - A KNIFE. As the Watcher watches he slowly cleans his nail with the knife, methodically, perfectly. And he watches. First Deirdre, and then turning his attention to THE BAR. He's especially interested in the bar. A TIME CUT TO: INT. THE BAR - LATER The BARTENDER is wiping out a last glass. When this is finished he looks up at - A TABLE IN THE BACK - Where our five guys have relocated. Now the Bartender and Vincent exchange a look, and then the Bartender takes out a set of keys and tosses them - THROUGH THE AIR and they SMWACK into Vincent's hand. The Bartender and Vincent speak in rapid-fire French, and then the Bartender is gone. Sam turns to Vincent. SAM He trusts you to lock up? VINCENT Let's just say he knows who I am. Vincent takes out his pack of cigarettes and offer them around the table -- again, nobody takes on. Vincent seems really disappointed by this. LARRY Anybody wanna tell me what we're waiting for? VINCENT (lighting his cigarette) The question isn't what we're waiting for... it's who. LARRY And who the fuck is that? GREGOR Whoever hired us. SAM I got this gig through a contractor. And he most definitely didn't know who was doing the hiring, only that they were paying a lot of money... There's a kind of general look around the table -- a nod or grunt of acknowledgement, indicating that all of these men were hired the same way. SAM (continuing his thought) So none of us knows who's paying the freight, this is just some anonymous job. For all we know, we're working for different people. GREGOR Now that is an interesting proposition. SWEDE How so? GREGOR Because if there's more than one party involved, if we really are working for different people, then perhaps some of us are on different sides. (with great meaning) Your orders might be different from mine. LARRY What're you talking about, man? I don't understand. SWEDE (quietly, but loud enough to be heard) What a surprise... LARRY I got a surprise for you, blondie... GREGOR (sharply, as if he's used to giving orders) Why don't both of you shut up? LARRY & SWEDE (to Gregor at the same time) Fuck you! SAM Knock it off! There is a BEAT. Gregor, Swede and Larry look at Sam, who glares them all down. Lastly, Sam turns and looks at Vincent. The two men nod at one another, acknowledging a kind of mutual respect. SAM The point remains: we could be working for different people. There's a chance for one of us... (looks around the table) Maybe more than one of us -- has been paid to cross the others. I don't know about you guys, but I like to know who I'm working for. It can help prevent a great deal of... (finding the right word) ...unpleasantness. LARRY (patting the gun inside his cheap suit) Anybody tries to unpleasant me I'll put two between his eyes -- one to do the job and the other to make sure it takes. From OFF SCREEN we hear a new sound: LAUGHTER. ANOTHER ANGLE - Deirdre has entered the bar, and she's amused by this last exchange. DEIRDRE It's good to see you've all got such faith in our little undertaking. LARRY Who the fuck are you? DEIRDRE (staring at Larry) The name is Deirdre, and I'm running this show. GREGOR Who are you? IRA? DEIRDRE (with a brittle laugh) Not likely. Once, yeah, I was -- but there wasn't an inch of profit in it, and I'm a cash oriented girl, if you take my meaning. I'm a hired gun, same as the rest of you, and that's all any of us needs to know about the other. Deirdre hands out several thick envelopes. Larry and Swede open theirs and stare at the wads of Franc Notes stuffed inside. Even Gregor cracks his envelope and peaks at his money. But neither Vincent nor Sam takes a look. DEIRDRE From here on in you want something you pay cash for it: no credit cards, no bank accounts are in place: ten percent up front, the rest when the job is done. (a quick beat, then she looks at Gregor) You. What do you do and what should we call you? GREGOR These days they they call me Gregor -- and I'm a tech. I do electronic work, surveillance, computer runs. Deirdre turns to Sam. SAM Sam. I'm a weapons guy. DEIRDRE You were a soldier, were you? SAM Once. Deirdre gives Sam a look -- and he returns it. Finally, Deirdre turns to Larry. LARRY I drive -- and my name is Larry. Larry from the States. DEIRDRE (she turns to Vincent) And who are you? VINCENT I'm Vincent. And I coordinate. SAM (sharply) Coordinate what? VINCENT Things. This is my country, you know. The two men exchange another look. A pecking order is developing among the group: Vincent and Sam are both natural leaders, and now they're feeling one another out. DEIRDRE (to Vincent) Coordinate all you want, but make sure whatever you do gets cleared through me. (Vincent doesn't respond for a moment) Are we in sync on this, Vincent? VINCENT Of course. Deirdre waits a BEAT, letting Vincent know what she isn't any more intimidated by him than he is by her. Finally, she turns to Swede. SWEDE They call me Swede. LARRY Who's they? SWEDE Everybody. VINCENT And what is it you do? SWEDE Me? (with a smile) I kill. CUT TO: INT. A WAREHOUSE - DAY A PAPER TARGET, in the shape of a human being, dances in place as it is riddles with GUNSHOTS, each shot hitting the target in the belly, each shot fired by - Larry, whose been shooting a sleek automatic pistol from which he's just discharged an entire clip. The gun is empty, Larry turns to Sam, who stands next in line. SAM (looking at the target) You shoot alright. LARRY Gets the job done. SAM All in the stomach, though. Your man might live. LARRY Not for long. SAM Long enough to shoot back. LARRY Is that right? SAM It's been known to happen. LARRY (a challenge) Why don't you go do better, then... Without a word, Sam pops a new clip into the gun and SHOOTS THE LIGHTS out of several other human targets, hitting each target in a different place. One he clips between the eyes, the next in the heart, one in the groin, and then the last target - He SPLITS DOWN THE MIDDLE, firing shot after shot from the head to the groin until the target is sheared in half. Larry is impressed in spite of himself. LARRY Yeah, well... My way works too. SAM My way is better. IN A CORNER OF THE WAREHOUSE - Gregor has set up a table loaded with computers and electronic whizmos. Right now Gregor is holding a particularly high-tech type CELL PHONE in his hands, looking at it almost lovingly. DEIRDRE (O.S.) Is it alright? ANOTHER ANGLE - Deirdre sits nearby, looking at the cell phone. GREGOR It's quite satifactory. DEIRDRE Good, because it cost enough. There's cheaper phones by far than that one, man: you better fucking use it. GREGOR (almost caressing the phone) I intend to. This phone is wired like no other: it's got an encryption chip and instant sat-a-link recognition, it can talk to any computer in any language and make it understand. With my custom hardware and this phone I can trace the target's cell phone signature and follow him anywhere he goes... DEIRDRE You sure about this? GREGOR I'd stake my reputation. DEIRDRE But would you stake your life, that's the question... GREGOR In this business, your life and your reputation are more often than not one and the same. From off screen we hear MUNCHING. It's - Larry inhaling a sandwich. A malicious look comes over Swede's face, who's cleaning a pistol and sitting near Larry. SWEDE You should watch what you eat. LARRY Who the fuck died and appointed you food czar? SWEDE I'm just worried about your health, Larry. You could stand to shed a few pounds. LARRY (sensitive about his weight) And you could stand to get a little smarter, ain't that right you dumb blonde fuck? SWEDE (sensitive about the dumb blonde thing) Who you calling dumb, dickless? Both men eyeball one another, and then suddenly Larry reaches for his piece, and as soon as he does this Swede does the same thing, but before they can do anything - DEIRDRE'S GUN swings INTO FRAME, smashing Swede in the face and dropping him to the floor. Larry's mouth drops open in surprise, but it's too late: Deirdre kicks him in the stomach and then rabbit punches him in the back of the neck, driving him to the ground. DEIRDRE (standing above them) Next one of you fuckers plays this game I'm going to do for you myself. I won't say it again: we don't have time for this shit! There's a clock running on this job, gentlemen, and I mean to be on schedule. A TENSE MOMENT as Deirdre stares down at these tough guys -- letting them know who's in charge. A SOUND from OFF SCREEN interrupts this moment: a DOOR opening, as we see - Vincent, who stands in the door, wearing his coat and hat. He's been out somewhere, and he looks first at the squabbling men, and then at - Deirdre. She gives Vincent a little nod -- a silent command that makes Vincent turn to Sam. VINCENT Let's go for a ride. Vincent and Sam start off, moving towards the door, while Swede and larry slowly pick themselves up off the ground. SAM Where to? VINCENT To see a man about a thing. SAM I can do that. EXT. THE WAREHOUSE - SUNSET A DESOLATE URBAN LANDSCAPE - Sam and Vincent walking away from the warehouse, which is housed in what looks to be the toughest neighborhood in the city, filled with CHEAP CONCRETE PUBLIC HOUSING and INDUSTRIAL BUILDINGS. THE SETTING SUN throws a red glow on the street, giving the raw concrete buildings a blood-colored tint, as Sam and Vincent approach a FIAT, a car neither too old nor too new. Before they can reach the car, the two men are intercepted by FOUR TOUGHS, young guys in their early twenties. The LEADER of the Toughs apporaches Vincent. LEADER (subtitled French) Who gave you permission to park here? SAM (to Vincent) What's he saying? VINCENT Pretty much what you'd expect. SAM (with a sigh) That's what I thought. LEADER (in French) There's a charge for parking on our block. The other Toughs add lib a few tough guy remarks (in French, of course). VINCENT (to Sam) He says this is their block. SAM As in, they own it? VINCENT Something like that... SAM And I suppose he's saying that we oughta give them something for using it, huh? VINCENT I didn't know that you spoke French. SAM I don't. But the language he's speaking is universal. ANGLE ON THE LEADER - Who's smirking at Vincent and Sam. Sam's words make a great deal of sense: the Leader is speaking the universal language of "give me some money or I'll kick your ass." SAM (O.S.) I guess we oughta give them something... CUT BACK TO: Vincent and Sam. VINCENT If you think we should. Vincent backfists the Leader in the nose -- hitting him so hard that the Leader skitters back on unsteady feet and then sits down on his ass. This blow hurt, but the real damage is to the Leader's pride. Now - One of the Toughs rushes at Sam, only to have Sam perform what looks like a jujitsu throw which savagely jerks the Tough off his feet and flattens him. SAM (as if it were an accident) Oh man, I am sorry about that... (he sticks his hand out) Let me give you a hand. Sam reaches down as if to help the Tough, who ignores the hand and totters to his feet. As soon as he's up he turns and runs away, followed by the other Toughs. Now only the leader is left behind. He looks for a second at Vincent and Sam, and then turns and runs after his friends. Vincent calls after him in French, but whatever he says isn't translated. Vincent turns to unlock the car. SAM What'd you say to him? VINCENT I asked if we could give him anything else. By now the two men are in the car, which starts up and drives off, as it does we - CUT TO: INT. THE FIAT - SAME TIME VINCENT That was a nice move you did on our young friend. Judo? SAM Jujitsu. VINCENT Same thing, isn't it? SAM Not at all. Similar, but not the same. VINCENT What's the difference? SAM One's a lot more painful than the other. Vincent laughs, and Sam looks out the window at the city of Paris as we MOVE THROUGH to the outside world of - EXT. PARIS DRIVING MONTAGE - TWILIGHT A SERIES OF QUICK CUTS of the car driving through Paris at night. We don't see familiar sights like the Eiffel Tower or the Arc de Triomph, but instead - We travel through the LEFT BANK, down a series of Mazy Alleys which twist and turn, filled with bistros, bars and falafel joints. NEON SIGNS line the streets for as far as the eye can see. Near the end of this trip we hear the SOUND OF A MATCH FLARING, followed by - SAM (V.O.) Could I get one of those? INT. THE CAR - STILL DRIVING - SAME TIME Vincent is driving and smoking a cigarette. He tosses his pack to Sam, but he seems a little surprised at Sam's request. VINCENT Help yourself. (quick beat) Since when do you smoke? SAM (lighting up) I have, I don't know, maybe a cigarette a week. VINCENT A cigarette? As in one? (exasperated, almost to himself) One cigarette a week, who smokes like that? SAM I do. VINCENT Christ, I smoke a pack-and-a-half a day, and I tell myself I could be worse. (takes a satisfying drag) It's just so damned pleasurable. SAM (blowing a smoke ring with great skill) It has it's moments. (stubs out cigarette) Course, you get cancer and die, that's the down side. VINCENT (with a sigh) There is that. Vincent stamps his cigarette out, looking vaguely unhappy that Sam has spoiled his smoke. SAM So, Vincent: why bring me along for the ride? Job like this calls for a warm body, somebody who can stand around and look threatening. A tough guy. VINCENT Like Larry or Swede. SAM Exactly. Why not bring them? VINCENT Let's just say I thought the conversational possibilities were limited. Of course, I might have brought Gregor, but he didn't seem like the right candidate -- for this. SAM Watch that one, he's an ex-spook for sure, maybe Stasi, maybe KGB. He's smart, Gregor is. VINCENT So is the woman. SAM Deirdre? Smart, yeah, and seriously goddamned dangerous. VINCENT I wonder if she truly left the IRA. SAM I've wondered that myself. None of this answers my question, though... (suddenly direct) Why bring me? VINCENT I wanted to see who you were. SAM Who am I? Vincent, driving all the while, gives Sam a sideways glance before speaking. VINCENT You were once some kind of special forces. Airborne Ranger, maybe a Navy SEAL. After that you rode shotgun for the CIA in some place like El Salvador or Afghanistan, a real mercenary. (beat) Only now -- now you're like the rest of us, it's a very competitive market since the end of the cold war. There's a lot of hired guns out here, and not nearly enough work to go around. SAM That's right: there's not hardly enough work these days, nothing that pays the big money, anyhow. Then along comes this job, paying so much goddamned money I couldn't afford not to take it. Somebody's paying through the nose for this. VINCENT They certainly are. Whatever it is we're going to steal, it must be quite something. SAM Whatever it is it must be goddamned priceless. And on that thought we - CUT TO: EXT. A SIDE STREET - NIGHT The Fiat pulls up to the curb and Vincent and Sam get out. Vincent leads Sam around a corner and they come to - AN EXQUISITE PARK, a small, perfectly manicured place -- a kind of mini-Luxembourg Gardens in the middle of nowhere. When Sam sees the park, he draws an involuntary breath. VINCENT Lovely, isn't it? SAM They'd have to keep something like this under lock and key in New York, and it would still get fucked up. The two men enter the park, which is, indeed, open to the public. Inside, sitting on a bench in the back, almost invisible from the street, we see - FRANCOIS, a stubble-faced tough with a stained shirt and bad teeth. Vincent and Sam draw near. This next conversation between Francois and Vincent is in FRENCH WITH ENGLISH SUBTITLES. FRANCOIS That's good right where you are, Vincent. Vincent signals for Sam to stop. Both Vincent and Sam are still several feet away from Francois. VINCENT Do you have it? FRANCOIS Not so fast. (nods slightly to Sam) Who's that? VINCENT He's company. FRANCOIS (as if he recognizes Sam) Bad company... VINCENT What do you mean? FRANCOIS He's a cop, Vincent, he's French and he's a cop and you better shoot him in the fucking head right now! Sam hasn't said a word -- he doesn't seem to understand what's been said, but he has noted the urgency with which Francois spoke. Now - We HOLD FOR A BEAT. Neither Vincent nor Francois pulls out a piece to shoot Sam. Instead they wait to see if Sam will respond in any way to what Francois said. The conversation now switches to ENGLISH, which (it turns out) Francois speaks fairly well. SAM (to Vincent) What's going on? VINCENT I just wanted to see something. SAM (that edge creeping into his voice) See what? Vincent isn't going to answer, but the overbearing Francois chimes in. FRANCOIS He wanted to see how you reacted when I said that you were a cop. SAM (he can't believe this) You told him I was a cop? FRANCOIS He asked me to say it. SAM (looking at Vincent, truly pissed) He asked you to? VINCENT I needed to know. SAM You need to know a lot of shit, Vincent. FRANCOIS (to Vincent, in subtitled French) Are you ready? Francois's French words give Sam pause -- he's wondering what's being said, as - Vincent moves towards Francois, leaving Sam several steps away. The conversation is again in SUBTITLED FRENCH. VINCENT (taking out an envelope) Here's yours. FRANCOIS There's been a slight problem. VINCENT (immediately tensing) What's that? Francois gives the slightest of nods, indicating that Vincent should look towards a place perhaps thirty yards away - A COPSE OF TREES, where we see a SNIPER pointed a telescopic rifle at Vincent. FRANCOIS (still in subtitled French) If you say a word in English, Vincent, my friend with the high powered sporting rifle will shoot you in the throat. Sorry to screw you over like this, but the information you want might get me killed if I give it to you, and that's a price I'm not willing to pay. VINCENT (in French) I take it you still want the money... FRANCOIS (in English, with a grin) Of course. SAM'S POV: Looking at Vincent and Francois. The men are talking, and from here we can't really hear them speak. All Sam can see is an earnest Vincent listening to Francois talk, almost as if Francois is giving Vincent instructions. Now - Vincent reaches into his pocket, reaching for the envelope of cash he's carrying. As he hands the money to Francois, Vincent uses his free hand to pull out his gun while - Sam already has his gun out -- somehow he figured out what was going on -- and now Francois looks on in stunned disbelief as - Sam fires a single shot, hitting Francois in the shoulder, driving him away from - Vincent, who now squeezes off several rapid fire shots at the sniper, while - Francois, bleeding but still very much alive, now has his piece free just as - The Sniper, his gun firing wildly into the air, falls to the ground, shot dead by Vincent, and now - Francois is drawing a bead on Vincent when - Sam hits Francois with a fusillade of bullets in the chest and now - A SINGLE SPENT BULLED CASING flies through the air in SLOW MOTION and lands on the ground, spinning around until it comes to a halt and - A HEAVY SILENCE FALLS, as the last echo of the last gunshot finally dies. Vincent and Sam look at one another, see that they're still alive, and then look back at - The two men they've shot. Francois isn't quite dead. Blood bubbles from his lips as Vincent leans over him. Again, they speak in SUBTITLED FRENCH VINCENT Where's my information? FRANCOIS (with a grim smile, pointing to his head) In here... VINCENT Then you better find it in your heart to tell me, Francois, because while your death is inevitable, it still isn't decided how painful it's going to be. A LONG ANGLE - Vincent whispers in Francois's ear, whose grin blanches as he realizes Vincent means to hurt him. Francois whispers something back and then - BANG. Vincent shoots Francois in the head, killing him instantly. Then Vincent bends down and retrieves the envelope of money which Francois had tucked inside his shirt. As Vincent does this, Sam comes up from behind. SAM Now would be a good time to get the fuck out of here. INT. THE FIAT - LATER/NIGHT The two men drive in silence for a moment. Vincent lights a cigarette and offers one to Sam, who refuses. Finally, Sam speaks. SAM You know, what you pulled back there, that was bullshit. VINCENT I needed to see if you were a cop. (defensively) I'm a popular man with the police, Sam, and whenever they try to catch me they always do it with an inside guy -- some man on some job who seems more trustworthy than all the others put together. And that's the guy you have to watch out for. (beat) I hate cops... SAM (insulted that Vincent would even consider it) Well I ain't a cop. A BEAT, the two men driving in silence. VINCENT How did you know? SAM Know what? VINCENT That there was a gun pointed at me. SAM I saw you look off when Francois nodded his head. I figured he wasn't pointing out a particularly rare shrub, and the rest was easy. VINCENT But how did you know I would have the presence of mind to pull my weapon when I did? SAM (as if it's obvious) Because that's what I would have done... CUT TO: EXT. AN APARTMENT HOUSE - A LITTLE LATER/NIGHT Vincent's Fiat is parked at the curb in front of this apartment house. Vincent and Sam exit the car and move towards the house -- a silence hanging between them. Right before they go into the house, Vincent takes out the envelope full of cash that was supposed to have been for Francois. He thinks for a moment and then hands the whole envelope to Sam. VINCENT You saved my life back there in the park. I know this doesn't begin to make it right between us... Vincent's voice trails off -- he doesn't know what to say. Sam takes the money out of the envelope -- half he keeps for himself, the other he gives to Vincent. SAM What I did back in the park I did because we're working together -- we're on the same team. (holding up the money) This is business -- this is work. We did it together, we share the spoils, even split. Sam opens the door to the house, but Vincent has one last thing to say to him. VINCENT I owe you a heavy debt. Sam almost smiles cynically at this: debts of honor don't seem to be something he believes in. SAM Whatever you say. They enter the house and the door closes behind them. A second later we hear - DEIRDRE (V.O.) What'd you do with the money? INT. THE HOUSE - A LITTLE LATER Vincent and Sam sit with Deirdre in a room, alone. They've told her about the park, and she seems a little pissed about all of this. VINCENT We kept it... DEIRDRE (a little annoyed) Is that right? SAM Hazard pay... DEIRDRE (with an exhalation of disgust) The two of you were supposed to go to a simple meet and come back with a simple piece of information, and instead you went to fucking war... SAM We weren't real thrilled about it either... Deirdre shakes her head in disgust and rises. We FOLLOW HER INTO - AN ADJOINING ROOM - Where Larry, Swede and Gregor are waiting. They look up expectantly at Deirdre, who crosses through the room without stopping -- she's really pissed about this turn of events. LARRY So what's the deal? DEIRDRE (barely stopping, very snappish) The deal? The deal is we leave for Nice at first light. And she exits, leaving these three men behind along with Sam and Vincent, who have entered from the other room. larry looks at the two of them. LARRY What'd you guys do? EXT. OUTSIDE THE HOUSE - LATER THAT NIGHT A CAR sits, cloaked in shadows. Inside sits our friend, the WATCHER. Once again we see the Watcher's knife -- once again he manicures his nails with it, almost delicately, as he watches the House. It's dark -- a single light glows behind a window on the third floor. Sam's room. INT. SAM'S ROOM - SAME TIME Sam has pushed all the furniture aside to make enough room to do a martial arts form. Right now he's frozen, one leg extended in a kick, balancing on the other leg. Now - A KNOCK at his door -- seconds later, it opens. Deirdre stands there, watching as Sam holds his position for a BEAT more, and then retracts his leg. DEIRDRE I feel as if I've wandered onto the set of Enter The Dragon. Could you teach me to do that? SAM I didn't think to see you again tonight. You were pretty pissed. DEIRDRE I still am. SAM Is that right? DEIRDRE That's right. Deirdre spings at Sam, throwing martial arts combinations at him: punch followed by kick, elbow strike followed by palm thrust. Sam parries her blows as she drives him across the floor until he's got his back to the wall. Their movements are controlled, but powerful, and there's something almost flirtatious about the whole thing. Now - Deirdre throws one last punch which Sam ducks. He slips behind her and suddenly they square off in earnest. The previous martial arts stuff was a kind of choreographed exercise, but now - They spar for real -- they never hit one another, but they come awfully close, hands and feet whizzing through the air, throwing rapid-fire combinations and techniques. They're not angry, but they're not kidding, either. Finally - Deirdre feints a punch that distracts Sam's attention from - The KICK she throws right behind her punch, and she smiles as - WHUMP! Sam wasn't distracted at all -- he drops to the ground beneath her kick and catches her standing leg with a sweep which takes her to the ground and now - She's trapped beneath him. The two of them are breathing hard from the exertion, their faces close to one another, shining with sweat and excitement and - We've gone from flirting to an almost primal seduction, and with their faces only inches apart Deirdre leans in to kiss Sam, and he's about to meet her half way when he pulls back. SAM Part of me says I should just look at this as a perk. You know, a bonus. But then I remember you're you -- Deirdre who used to belong to the IRA -- and it occurs to me that deceit and subterfuge come very naturally to you. DEIRDRE (kissing him very lightly) Nobody's saying they don't. SAM (returning the kiss, just as lightly) And when I consider that, I have to wonder if you don't have some ulterior motive for being here, with me, right now. DEIRDRE I probably do. (pulling him close) But for the time being, I'm willing to forget about it... They finally kiss, slowly and then building in intensity, and as they start to make love the CAMERA MOVES UP - THROUGH THE BUILDING, floor by floor, until we've reached - EXT. A ROOFTOP GARDEN - MEANWHILE Deirdre and Sam are not the only ones indulging in extracurricular activities. Up here in this rooftop garden we find Swede and Gregor talking in hushed tones. GREGOR I would imagine that the great satisfaction in all of this will be killing the American. SWEDE (we know this isn't true) I hadn't thought about it. Understand me, Gregor -- I take no pleasure in killing. It doesn't bother me one bit, but I don't get off on it. GREGOR A means to an end, is that it? SWEDE That's it. GREGOR (he rises to leave) Then I guess we're set. SWEDE There is one other thing... GREGOR What's that? Suddenly Swede pulls Gregor down to the rooftop with a harsh THUD. Within seconds he has his gun pressed to Gregor's head. GREGOR What are you doing? SWEDE Don't cross me... GREGOR Nobody's going to do that! SWEDE Really? GREGOR (truly frightened) I need you, Swede, I can't do this without you! SWEDE (beat, then he puts his gun away) I just wanted to make sure you knew who you were dealing with. GREGOR I do, I do... Swede is now on his feet, walking away, back into the apartment house. SWEDE (this is almost to himself) Just remember it, then. And he's gone. And as soon as he is, we notice something strange about Gregor: he's not the least bit scared -- he laughs a little low laugh as we - DISSOLVE TO: EXT. THE HOUSE - DAWN GRAY LIGHT seeps in from the horizon, while inside in - INT. SAM'S ROOM - SAME TIME Deirdre is pulling her dress over her head. Sam seems to be sleeping in his bed as she moves like a cat towards the door when - Sam's HAND reaches out, gently yet firmly, and takes her by the arm. SAM (O.S.) No goodbye? ANOTHER ANGLE - Sam is somehow sitting up, wide awake -- looking at Deirdre with a penetrating glance. DEIRDRE Look, Sam, don't take it the wrong way when I tell you we won't be doing this again. SAM You don't have to explain yourself to me, Deirdre. DEIRDRE (almost surprised by this) I know I don't have to, Sam, it's just that, for once, I want to. when I was a - (almost with a sneer) Patriot, it was a given I'd sleep with any man it was deemed necessary for me to sleep with. You know: any man who needed setting up. Sometimes so we might blackmail him, sometimes so he could be killed. (a quick beat) Sometimes so I could kill him myself. IRA isn't exactly an enlightened feminist organization, Sam. To most of the men I with I was always the girl. "Send the girl to do it." "Tell The girl to take care of it." "Have the girl fuck him." (a quick beat) But I look at you and I get this feeling you take me for what I am: no more, no less. SAM You're a hired gun, Deirdre -- just like me. DEIRDRE Exactly. And last night I wanted to be with someone who was just like me. Somewhere in all of this Deirdre has sat back down on the bed, and somehow now she's only inches away from Sam. They're lips brush and - A MUTED PHONE RINGS in a nearby room, breaking the moment. A QUICK BEAT, then - DEIRDRE I better be getting that. SAM Duty calls? DEIRDRE (with a trace of a sigh) Just business. Deirdre gives Sam a light kiss on the lips and then she opens his door. The muted phone is a little louder now. Deirdre closes Sam's door as she exits, but - Sam reaches out a hand and catches the door right before it snaps shut. He watches THROUGH THE DOOR CRACK as - Deirdre cross the hall and opens the door to her room, and now the phone rings loudly until the door shuts, muting the sound once again, shutting Sam out. The phone stops ringing as Deirdre answers and as this happens Sam shuts his door and as the door closes we go to - BLACK. Just for a second. And then - BLINDING SUN hits us in the eyes as we find ourselves above - EXT. NICE - DAY A DAZZLING OVERHEAD MOVING SHOT, establishing that we've changed locales, moved to a place filled with sun and blue water and reflective surfaces: the Cote d'Azure. We start to MOVE DOWN TOWARDS - EXT. A PRIVATE BEACH - NICE - MEANWHILE A TOPLESS GRANDMA reclines on a beach chair, soaking up rays, sipping a drinnk just delivered by a young stud of a WAITER. Nearby - AT A ROUND TABLE - A nice distance from anyone who might try to listen in, we find our group: Deirdre, Sam, Vincent, Gregor, Swede, and Larry. Food and drink surround them. Larry is, of couse, still eating. DEIRDRE Now then, let's run through it one more time, shall we? (to Gregor) What's your job? GREGOR I use my cell phone to get computer access to the telecommunications satellite used by our target. I trace his cell phone signature and use it to pin point his location as he moves through Nice, relaying that information to you. DEIRDRE (to Larry) Next. LARRY (a sigh, he's done this too many times) You call me with the target's route, I follow along until we've reached the attack point and then I run his squag ass off the road. DEIRDRE (to Swede) Which leads us to... SWEDE I ride with fat-boy... LARRY (under his breath) Eat shit and die slowly... SWEDE After we stop the target car I get out and use the heavy artillery to kill the driver and his bodyguard. LARRY I blast the lead car into oblivion... VINCENT (picking up) While Sam and I take out the back two cars... DEIRDRE Leaving... SWEDE (picking it up) ...Leaving me to step in, drop the target in the back seat, and get the package... DEIRDRE (with a quick look at Sam) While... SAM (returning her look) ...While I back him up, making sure to get the package if something goes wrong and somebody takes Swede down. Nobody else seems to notice this look between them, but we should -- if only to note that there's something about the way Deirdre queries Sam about his role, and something about the way Sam answers her without overly reacting -- they're not flirting, but there's a kind of acknowledgment of the history they now have between them. But -- nobody else notices, and Swede's line follows Sam's without breaking the flow of the dialogue. SWEDE Nobody's taking me anywhere... DEIRDRE And then... LARRY Then Swede and I split with the package and meet you back at the rendezvous. DEIRDRE And then... VINCENT And then Sam, you and I clean up whatever's left to be cleaned. DEIRDRE Very good. Now all we have to do is live long enough to get paid. EXT. A POSH HOTEL - LATER - NIGHT A ROW OF ROOMS, each one with a light behind a shade. Even as we watch the light in each room goes off: one two three four five six lights -- one for each member of the team. The night before the big event nobody breaks curfew. ACROSS THE STREET - A BAR - Through the bar window we see the Watcher's silhouette. A match flares as the Watcher lights a cigarette, REVEALING his face for the first time: weathered, sharp, treacherous. THE MATCH goes out, and the Watcher's face FADES TO BLACK, and so do we. FADE IN ON: EXT. THE HILLS OF NICE - MORNING A PRIVATE ESTATE IN THE HILLS - A CARAVAN OF BLACK ARMOR PLATED CARS, all idling, ready to pull out, filled with muscular men in suits with bluges under their jackets, all of them waiting for - THE TARGET. Except we've seem him before and he wasn't called the Target: he was the Killer from the first scene of the film: the gunman in the cathedral who made off with - THE BRIEFCASE. Which the briefcase is still handcuffed to his side. Now the Target gets into his car, a BLACK MERCEDES, and as soon as he's in the caravan pulls out and - The Target takes out his cell phone, punches in a number and starts to talk, and as he does we - PULL BACK, INTO THE AIR, leaving the Caravan behind as we MOVE TOWARDS THE WATER and - THE PROMENADE DES ANGLAIS, the long roadway that runs the length of the town adjacent to the beach. It's a special place, a huge road for cars, along with a promenade for tourists. Here we come upon - AN OUTDOOR CAFE - Where we find Deirdre, a laptop in front of her, wearing a HEADSET. And, lest we think she looks out of place, we get a look at - THE REST OF THE CAFE - Where many of the other PATRONS are typing away on laptops, or chattering like crazy on their cell phone. She types a sentence on her keyboard, and as she types she says it out loud. DEIRDRE Alright, Gregor, I'm... CUT TO: INT. A CRAMPED COMPTUER CONTROL ROOM - SAME TIME GREGOR (finishing her sentence) Ready when you are... Gregor is sitting behind a console, looking at Deirdre's message, which we can read on his laptop. Gregor also has a much bigger COMPUTER with him as well, and on this screen we see - A COMPUTER GRAPHIC MAP OF NICE. This is a map of incredible detail, a high-tech graphic rendering of Nice. Now - THE MAP starts to shift, randomly moving about the city as it searches for the proper signal. The computer isolates an entire district of the city, enlarges a part of the district, and then locates and enlarges a single street. Now - On screen a FLASHING CURSOR appears on the map, the TARGET. The Cursor starts to move down one of the streets of Nice and as we follow the Curson it TURNS INTO - THE TARGET CAR, driving home the point that Gregor is now locked onto the Target. THE JAPANESE DRUMS we heard in the opening sequence start to play again -- softly, ominously, and we're on - EXT. A SIDE STREET Where VINCENT'S FIAT is parked at a curb, Sam and Vincent sitting inside. INT. THE FIAT Vincent sits behind the wheel, while Sam sits next to him, loading a small arsenal of weapons. The DRUMS grow, a little louder now, a little more urgent. EXT. ANOTHER STREET A VOLVO idles, waiting for something, Larry behind the wheel of this car, and sitting next to him Swede. The DRUMS continue to play, and their volume is still low, but they're jarring, setting our nerves on edge. INT. THE VOLVO LARRY Where is this broad? SWEDE You should learn a little patience. LARRY Is that right? SWEDE It's consider a virtue in some corners of the world. LARRY Not in mine. THE CAR PHONE rings, and Swede pushes a button. Deirdre's Voice is heard on the speaker phone. DEIRDRE (V.O.) Hello gentlemen, are we ready? EXT. THE CAFE Deirdre looks at her laptop and relays Gregor's instructions. She speaks over her headset as if she's conducting ordinary business -- as if she's giving someone traffic directs over the phone. The JAPANESE DRUMS continue, quiet and yet intense. DEIRDRE You want to take a left, then, so that you're going west. During this next sequence, the DRUMS will continue to play, building with the action as we do - THE CHASE MONTAGE: A SERIES OF CUTS AS - The Volvo takes a flying left turn - Gregor watches the Target on his computer as it moves towards the Promenade des Anglais, typing the results on his keyboard as - The Volvo careens down a steep hill, hits a bump, and flies through the air a good fifteen feet, even as - The Fiat follows close behind and hits the same bump, does the same flight through the air and lands with a thud - THE CARAVAN of cars - THE TARGET CAR - THE TARGET, still talking away on his cell phone - THE COMPUTER MAP tracking the Target's movements, as the Map shifts and moves as it keeps pace with the target, and now - The Promenade des Anglais is right ahead and the DRUMS build to a crescendo as - The Volvo SMASHES into the Target Car and they grind together, as - CARS 3 & 4 in the Caravan are cut off by Vincent's Fiat, which forces them to slam to a halt, as - Larry runs the Target Car to a halt and the JAPANESE DRUMS stop. Larry and Swede hop out of the Volvo, and Swede brandishes a MONSTER of a MACHINE GUN, with which he opens fire, a blast of huge guage shells spitting a trail of fire, smashing against THE WINDSHIELD of the Target Car, which is bullet- proof. The windshield doesn't break right away -- but the heavy blast of firepower causes the windsield to buckle. Sam and Vincent are now out of the Fiat, guns drawn, blazing away at BODYGUARDS, and Christ, there's an army of them, pouring out of Cars 3 & 4. These guys are armed and returning fire as - Larry gets out of the driver's seat of the Volvo, and he's got some kind of sumbitch weapons himself, a ROCKET LAUNCHER, which he points and fires - And now we TRACK THE MISSLE as it scorches the air, traveling towards - The LEAD CAR of the caravan which has only now realized what's going on behind it, and as frantic Bodyguards drive back towards the carnage - The Missle IMPACTS, blowing the Car sideways. Meanwhile - Sam and Vincent are taking out the Other Bodyguards, and these guys are warriors -- they moves as a team, each man with a gun in both hands, using a weapon until it's out of bullets and then discarding it in favor of a new one. And even as this is going on - Deirdre has joined the fray, firing both of her pistols, taking Sam's place at Vincent's side so that Sam can run towards - The Target Car, where the Target is seated in the backseat, pulling out his own piece, ready to fight to the death himself as - Swede continues blasting away at the windshield with his monster gun, and now - The Windshield has started to crack and splinter, and abruptly, it shatters, instantly bursting a bright red as Swede's bullets tear up the body of the Driver. Now Sam has reaches the Target Car, just as the Target, who is armed and, as we know, not exactly helpless, steps out of the car and sights in on Swede and - ZING! Sam fires, winging the Target, knocking the gun out of his hand and still the Target won't give up without a struggle, he hits Swede with the Briefcase. THE TARGET Fuck you! SWEDE Not today. BANG. Swede puts one shot between the Target's eyes, ending his life. Now - Swede takes out a DAI-SHO, the smaller of the two traditional Japanese Samurai swords. With one slashing blow he hacks off the Target's HAND AT THE WRIST and grabs the briefcase. The SEVERED HAND is still caught in the handcuffs, so that it is carried along for the ride. Now - DISTANT SIRENS sound from OFF SCREEN as Swede moves back towards Larry and the Volvo, and as he goes he raises the briefcase (with its severed hand) in a kind of mock salute to Sam, who starts to move back towards Deirdre and Vincent, who have taken care of the remaining Bodyguards, and now the SIRENS are growing closer as we - START TO MOVE IN SLOW MOTION as Swede approaches the Volvo and - Deirdre and Vincent are already at Vincent's Fiat, waiting for Sam, and so they don't notice that - A VAN has been parked nearby this entire time, and now the van's side door slides open, and unseen by any of the others - Gregor steps out of the Van, a gun at his side, and a predatory look on his face as - Swede reaches Larry and the Volvo just as - Sam has reaches the Fiat, and now he looks back and sees - Gregor, crossing the street, and now - Sam screams a warning to Larry, but it's way too late because - Swede shoots Larry in the neck, hitting him above the protective covering of his bullet proof vest. Now we're MOVING IN REAL TIME as - Larry manages to get his backup piece drawn, a snub-nosed .38, and he fires all six shots into - Swede, hitting him in the stomach -- it's the same way Larry shot the target in the warehouse. Swede is sent flying backwards, where he crashes to the pavement. For a second we think he's dead, but then he gets up, in pain but alive, just as Sam predicted. Swede claws at his shirt to reveal that he too wears a bullet proof vest. By now - Larry has rolled out of the Volvo, crawling away but too weak to go far, and now - Swede has Larry in his sights, he's going to kill him. SWEDE I don't particularly like killing, tubby, but I want you to know that this one I'm going to enjoy. LARRY (sees something over Swede's shoulder) I don't think so. Swede turns to follow Larry's gaze, and as he does - Gregor walks INTO FRAME and puts his gun right beneath Swede's chin. Before Swede can even compute this, Gregor pulls the trigger, firing straight up into Swede's brain. Then, without even looking at Larry, who is lying helpless on the ground - Gregor takes the briefcase and gets into the Volvo, driving off just as - Sam arrives, kneeling down by Larry. The SIRENS get louder. LARRY (in shock) He just...I don't believe that son-of- a... Vincent's Fiat comes peeling to a halt in front of them, Vincent and Deirdre inside it as Sam manages to get Larry into the back seat. Sam doesn't get in the car yet as Larry says - LARRY (still having trouble believing it) We've been crossed... The SIRENS reach a crescendo as a group of GENDARMES arrive, charging with automatic weapons drawn. Between the French cops and our heroes lies the shot up wreck of the Target Car, and now - Sam takes out a GRENADE, pulls the pin, and rolls it across the ground, beneath the Mercedes, which the cops have just reached. Seconds later - The Car EXPLODES, cutting off the cops, and as this happens, Vincents puts the pedal to the floor and gets the fuck out of Dodge. We start to SLOWLY PULL BACK on the remains of this battle: the dead bodies, the shot up cars, the broken glass, and that flaming, smoking hulk of a Mercedes in the middle of the street. DISSOLVE TO: EXT. THE OLD CITY/NICE - SUNSET The FIREBALL of the car turns into a BLOOD RED SUN as it sets in the Western sky, tinting the stone buildings of the Old City a coppery red. We're MOVING THROUGH the Old City, through the twists and turns of what an American would call back alleys but that pass for streets in this place. It is quiet almost deserted, then - A TESTOSTERONE CRAZED PLAYBOY whips his sports car through one of these streets, engine whining, as we - MOVE DOWN yet another side street, and this sucker really is a back alley, you couldn't get a car down here if you tried. Finally, we come to - A RAT TRAP OF AN OLD BUILDING, and we PUSH TIGHT on this building as we hear - LARRY (V.O.) What is this? INT. A BACK APARTMENT - SAME TIME A SYRINGE is plunged into Larry's arm. Sam is tending to Larry's wound. Sam seems to know what he's doing, as Larry is also hooked up to a bottle of plasma hanging on a make- shift stand. SAM (answering Larry's question) It's a cocktail. Mostly demerol, cut with a little crank because we might need you awake in the real near future. LARRY Fine with fucking me, we got work to do. I don't care what it takes, we are getting our property back and putting it into the hands of the people who are gonna pay us a great deal of money when we do. I don't know about the rest of you guys, but I'm not the kind of guy to just sit back and take it in the ass. (a quick beat) I don't mean that in, like, a literal way... DEIRDRE Of course. VINCENT Finding this package is a thing easier said than done. We don't even know what it is. (he looks at Deirdre, and suddenly he's deadly earnest) What did we steal? DEIRDRE (suddenly defensive) I don't know. VINCENT When this whole thing started you made it clear: you're running the show. And I don't believe you'd be running this show if you didn't know what was going on. DEIRDRE Well I don't! VINCENT And I don't believe you... Vincent's gun is out in the blink of an eye, at Deirdre's head, but she's as fast as he is and her gun is drawn as well, jammed into his stomach. DEIRDRE (suddenly feral) You go shoot me if you want, Vincent, but you'll be dead before I hit the ground. VINCENT (matching her intensity) I don't want you dead, woman, I want the the truth! SAM (O.S.) (with a dead cool in his voice) Both of you... ANOTHER ANGLE - Sam has the two of them covered with his gun - an interesting moment, because he can shoot either Deirdre or Vincent, but not both at the same time. The question is: whose side is he on? SAM (continuing without missing a beat) ...put your guns down and chill out. A BEAT. And then Vincent and Deirdre lower their weapons, followed by Sam. SAM Like it or now, we're on the same side: we're here and the package isn't. (looks at Deirdre) You're not the boss any more, you're our partner. So tell us what you know, so we can figure a way out of this mess. Sam's look isn't romantic, but it implies a level of trust based upon their physical intimacy. SAM Now, what did we steal? DEIRDRE (she hates to admit this) I don't know... (defensively, off Vincent's look) Well I don't! It's a goddamned mystery to me just like it is to you. (quick beat, then reluctantly continuing) But I do know who we're working for. My people, and the Russian mob. LARRY Your people? Who the fuck is your people? VINCENT Who do you think, Larry? The IRA. DEIRDRE And you believed me? (passionately) But it wasn't my people who did it. LARRY How do we know that? SAM Because if they had she'd be gone along with the package, instead of sitting here with us. DEIRDRE Exactly. Gregor, he was the Russian's man. It was my people came up with the idea for this run, but the Russians who had the capital to finance it. Gregor, he was their insurance, and I was ours. Everybody else was supposed to be neutral. Gregor must've got to Swede... LARRY I never did trust that blonde fuck... DEIRDRE That's why you were riding with him. VINCENT The question still remains: what do we do now? SAM (he figures something out) Gregor's cell phone... LARRY (to himself) What are you gonna do, call him up and ask him to give us back our shit? SAM (ignoring Larry, to Deirdre) Did he bring that with him? DEIRDRE I bought it for him -- all the stuff he was using, it was in his contract. Cost a nice penny, too, especially that goddamned phone: Gregor had expensive tastes. SAM Check this out. (he's thinking on his feet) Gregor's a spook, or he was one until recently. When he was a spy he lived the life -- you know, a prince in some Eastern Bloc country where nobody had shit and Gregor had everything. Then the wall goes down. No more Cold War. And Gregor is out of a job. No apartment, no special stores with Western food and video tapes. I would bet dollars against shit that Gregor liked that phone and he doesn't want to give it up. And I wouldn't be surprised if he's arrogant enough to think... DEIRDRE (finishing his sentence) That we're too stupid to trace his calls. Deirdre and Sam share the slightest of conspiratorial smiles as they realize they're both thinking the same thought: they might still win this one. EXT. AIX EN PROVENCE - TWILIGHT We're on perhaps the MOST BEAUTIFUL STREET in all of France: the Cours Mirabeau in the town of Aix. Outdoor cafes line the sides of the street, while a canopy of interlocking trees covers everything. Now we're - MOVING, DOWN THE STREET, towards a CAFE, where a DAPPER GENT sits, sipping a mineral water. The Gent has a SATCHEL at his feet. Now - A JEEP pulls up to a nearby corner and idles in neutral. The Dapper Gent throws some bills on the table and gets up, crossing to - The Jeep. A door opens, and the Dapper Gent, carrying his satchel, gets into the jeep, which drives off as we - CUT TO: INT. JEEP - SAME TIME Gregor and the Dapper Gent drive in silence for minute, down the length of the Cours Mirabeau. GREGOR (breaking the silence) It's a beautiful street, no? The Dapper Gent also has an accent, a much thicker one than Gregor's; it's an accent that places the Gent as a resident of what used to be called the Soviet Union. DAPPER GENT (he can't wait any longer) Do you have it? GREGOR Always in a rush, you are. All these years I've known you, you could never wait for anything. DAPPER GENT This is important. GREGOR Do you really think so? DAPPER GENT You know it is. Gregor, still driving, takes out a SILENCED PISTOL, and the Dapper Gent reaches for his own piece. GREGOR Relax! The Dapper Gent loweres his hand, leaving his gun in his coat. Gregor pulls the van to a curb. GREGOR Look over there. GREGOR & THE GENT'S POV: THROUGH THE WINDSHIELD - A GROUP OF CHILDREN are playing. GREGOR (O.S.) Do you see that one? The girl in the light blue dress? We find one particular LITTLE GIRL, around eight, holding the end of a jump rope, wearing a light blue dress. She's breathtakingly beautiful, and now - Gregor raises his silenced pistol, as if to shoot her. DAPPER GENT What are you doing, have you lost your mind?!? Gregor pulls the trigger, as he does so the Dapper Gent jogs his arm, and we hear the soft thwpfft of the silenced shot just as the shot goes off - Missing its mark, harmlessly shooting into a tree, causing a SINGLE LEAF to float to the ground behind the playing children. Nobody notices a thing. BEAT. The Dapper Gent is visibly shaken, because there is no doubt that Gregor would have killed the Girl if the Gent hadn't ruined his aim. DAPPER GENT Why did you do that? GREGOR To make a point. I don't know her, and I was ready to splatter her brains all over the sidewalk. (giving the Gent a look) I don't particularly like you, so imagine what I'll do if you try anything... Gregor leaves his gun dangling in the air a moment longer than necessary and then starts the jeep as we - CUT TO: EXT. A COUNTRY ROAD OUTSIDE OF AIX - NIGHT A FULL MOON casts a silver light over a field of wild grass. A soft wind blows, and the grass moves gently from side to side. Now - Gregor's JEEP glides down this road as we MOVE THROUGH TO - INT. THE JEEP - SAME TIME DAPPER GENT (squirming) Enough! We've been driving for an hour, where is my package? Gregor smiles -- he's been waiting for this. He pulls the jeep over and looks at the Dapper Gent. GREGOR It's under your seat. DAPPER GENT (incredulous) What? GREGOR As my American friend Larry would say: are you fucking deaf? It's under your seat. The Dapper Gent looks down, and sure enough, the edge of the Briefcase sticks out beneath the seat. DAPPER GENT I can't believe you'd do that, Gregor. I thought I trained you better than that. With a laugh the Dapper Gent hands his satchel to Gregor, whose eyes literally dance with the prospect of his reward. He can't help himself, he opens the satchel and there it is - COLD HARD CASH in large bills, enough for Gregor to live like a prince for quite some time. Gregor sucks in an involuntary breath and then looks back up to see - The Dapper Gent hasn't reached for the Briefcase. Instead he's taken out his gun, and it's only inches from Gregor's head. DAPPER GENT I've never particularly liked you either, Gregor. The Dapper Gent yanks out the Briefcase, and as he does - THE SEVERED HAND comes whipping out along with it, still attached by the handcuff chain. The Hand flies up in the Dapper Gent's face, and we notice that the Hand is starting to rot -- it's bloated and swelling and horrific and it scares the shit out of the Dapper Gent, who drops his gun and fumbles with the Briefcase as - THWPFFT...we hear the sound of another silenced shot as we - SMASH CUT TO: EXT. OUTSIDE THE JEEP - SAME TIME A DARK STAIN splashes against the passenger side window of the jeep. Seconds later - The door swings open, and the Dapper Gent's body plunks out onto the ground. A moment later, something wet and viscous plops down on the face of the Gent as the jeep drives off. Now - We HOLD FOR A BEAT on the Dapper Gent's dead body, which lies in the silver moonlight, blood running out from beneath him, while the Severed Hand palms the Gent's face, fingers splayed out around his head. Now - We HEAR the sound of PHONE TONES. And not just any phone... INT. THE JEEP - SAME TIME Gregor finishes punching a number into his CELL PHONE. We hear a single ring on the other end of the phone before it is picked up. PHONE VOICE (V.O.) (in Russian, English subtitles) Is it done? GREGOR (in English) It's done. BEAT. The Phone Voice doesn't respond for a moment -- whoever this is they didn't expect to hear from Gregor. The Voice switches to English. PHONE VOICE (V.O.) Gregor, is that you? GREGOR (with a low chuckle) Much to your disappointment, no doubt. PHONE VOICE (V.O.) It was a mistake, it shouldn't have happened. GREGOR (suddenly cold, furious) I'm in the middle of saving you people a great deal of money -- the least you could do is have the decency to pay me! BEAT. PHONE VOICE (V.O.) So what do we do? GREGOR What I do is none of your concern. What you should do is wait for my next phone call. I'm going to find a place where I can tilt the field in my favor. When I'm ready, I'll call you and tell you what I want you to do. The Phone Voice says something unintelligible in Russian, cut off by Gregor as he angrily snaps off his cell phone and we - CUT TO: INT. THE CHEAP APARTMENT - DAWN Larry snores on the couch, while Deirdre sleeps in a sleeping bag on the floor. Vincent sits in a ratty easy chair, feet propped on an overturned crate, dozing lightly. Suddenly - Vincent's eyes open, warily, as if something has changed in the room. He looks around - No Sam. Vincent gets up, takes out his gun, and silently gets to his feet. He moves down a long hall and - No Sam. Now, like a cat, Vincent moves into - THE BATHROOM: pitch black. He moves in, swipes the string of the overhead light and - nothing. Nobody's here. The only place left is the front door, and now Vincent approaches. He opens the door, gun still at ready, and moves out into - INT. THE LANDING OUTSIDE - SAME TIME This is a small building. There is no other apartment on the floor. At the far end of the landing, there is a small ladder which leads up to - THE ROOF. And the door which leads to the roof is flapping in a light wind. EXT. THE ROOF - SAME TIME Vincent bursts onto the roof, gun straight out, finger on the trigger, only to find - Sam is there, his gun pointed at Vincent. A BEAT, then both men give little laughs and put their weapons away, like Samurai so trained in combat that they know when it's safe to relax. SAM What's going on? VINCENT You weren't around when I woke up, I thought maybe something had happened. (off Sam's look) This has been one very fucked up job, Sam, and I'm not taking any more chances on anybody... (a quick beat) Including you... In answer Sam takes out Vincent's pack of cigarettes and tosses them back to him. Vincent looks almost delighted at this. SAM I came up here to sneak a smoke. VINCENT You were smoking? SAM I hope you don't mind I took your pack. It was on the table. VINCENT (very sincere, offering the pack) Please, help yourself. Smoke as many you'd like. Sam considers for a minute, and then takes one. Vincent does so as well, and he searches for his lighter, which he can't seem to find, because - Sam has it, and he lights their cigarettes, and then hands the lighter back to Vincent. SAM (a shrug of the shoulders) I borrowed that, too... VINCENT (puffing contentedly) Of course...whenever you feel like it just help yourself. SAM I have a feeling I'm about to start buying my own. BEAT. The two men smoke in silence, looking out at - THE CURVED SHORELINE OF NICE - Which glitters with thousands of lights from the apartment buildings, and a thousand more from the cars that travel on the road that leads into town: the Promenade des Anglais. VINCENT (O.S.) That was a bad bit of business, today. BACK ON Sam and Vincent. SAM It was at that. VINCENT A lot of people died. SAM I've seen a lot of people die before. VINCENT I haven't. Not like that. How do you get used to it? SAM You don't. You just learn to live with it. VINCENT I won't lie -- there have been times when I had to do it, times when the only way to get out alive was to see that the other man didn't. SAM We live in a singular world, my friend. VINCENT I never really thought I was part of the world you move in, Sam, to tell you the truth. (off his look) I'm a hood, a thief. Big time in a small time king of way. To the local police I'm a prize, to the local hoods I'm a legend. But to a guy like you I'm just another two bit hired gun. SAM You might be a hired gun, Vincent, but I got a feeling you cost more than two bits. This conversation might have gone further, but it is interrupted when Deirdre pokes her head up onto the roof. DEIRDRE Christ, I was starting to think that the two of you had thrown it in and walked away. (to Vincent) There's someone on the phone downstairs asking for you, and my somewhat limited French leads me to believe that he might have something to tell us about Gregor. EXT. THE HIGHWAY - LATER - NIGHT A car we haven't seen before, a CITROEN, hums up the French highway in the night, along on the road. It's a postcard moment, but only for a moment. LARRY (V.O.) I'm telling you... INT. THE CITROEN - SAME TIME LARRY (continuing) That I could be dead and I'd drive better than you. Deirdre is driving, and Larry -- much to his chagrin -- is in the passenger seat, watching her every move. DEIRDRE (very curt) Oh shut up... IN THE BACK SEAT - Sam and Vincent have a MAP spread out. Vincent is tracing Gregor's route so far, and we follow his RED MAGIC MARKER as it traces a line up the highway. VINCENT He's going north. (circles something on map) That's Aix en Provence, where he used the phone. Sam runs his finger along the length of the highway on the map. Destination: Paris. SAM (making up his mind) He's going back. VINCENT Not necessarily. He could go off road at any number of places. He might not even be in the country anymore. SAM It's Paris. The route's too indirect for anything else. A guy like Gregor, he doesn't waste time on this road unless he has to be on it in the first place. Otherwise, he'd be out of the country by now. He's going to Paris. (beat) Now I just hope we can find him before he gets there. DEIRDRE If somebody else doesn't find him first. EXT. THE TOWN OF ORANGE - DAY Orange, pronounced "Au-Ronge", is a mid-sized town of fifty thousand souls. It is small, charming, quaint, and it has one particular thing that no other town in France can claim - AN ANCIENT ROMAN THEATER that has been painstakingly restored. We see this Roman Theater from the outside, as we MOVE THROUGH the streets of the town, to the TOWN SQUARE. It's packed -- every seat in every outdoor cafe is filled with a tourist having breakfast. This normally quiet place explodes one month out of the year, when an internationally famous music festival is held in the Roman Theater. We come upon - A TABLE OF AMERICAN TOURISTS: a Family. Dad is angry at Mom. DAD Opera? This is an opera festival? MOM I told you that, Henry. DAD I thought you meant Phantom of the Opera. You know, Andrew Lloyd Weber, Cats, that kind of thing. Mom and Dad continue their discussion, but we've left them behind, MOVING THROUGH the seats and cafes until we get to a cafe on the outskirts of the Town Square. Here, in the most removed table in the entire Square, we find Gregor sitting in the shadow of the trellis. Unless you're on top of him you can't see him, but he can see everything perfectly. His cell phone sits on the table in front of him -- he picks it up and starts to punch in a number. CUT TO: EXT. A REST STOP ON THE HIGHWAY - MEANWHILE THE CITROEN is parked among a number of other cars. Sam is sleeping in the back seat, while Vincent is seen on an outdoor pay phone at the other end of the parking lot. Deirdre and Larry sit at a nearby picnic table, eating French fast food, which we get a good look at as we - PAN THE LENGTH OF THE TABLE, which is covered with pasta, grilled sausages with dijon mustard, really good fried potatoes. In fact, everything that's on this table is so far beyond the imagination of your average American truck driver that Larry can't contain himself. He's stuffing himself, washing everything down with the wine which is also sold at these road-side rest stops. Deirdre drinks coffee. LARRY (mouth full) This...this is incredible. Is the rest of Europe like this? DEIRDRE (with a laugh) Some places, not all. Italy, for instance, they're serious about their food. But try bloody Britain, anywhere in the U.K., you don't get much fancier than a deep-fried bar egg. Food's not our thing, you see. LARRY What is? DEIRDRE (everybody knows this) Best beer in the world known to man or God. LARRY (with a snort) Best beer in the world? Budweiser for me, thanks. DEIRDRE (with unconcealed scorn) Budweiser? You talk to me of beer and you've the unbridled gall to mention Budweiser in the same sentence? That's not beer! Christ, it's not even a poor excuse for rabbit piss. LARRY Oh yeah? Whatta you drink, then? DEIRDRE I drink what every civilized man, woman and child in the world drinks: Guinness. VINCENT (O.S.) I hate to interrupt a conversation of such cultural depth... CUT AWAY TO REVEAL: Vincent - Who has finished his phone call and returned to join them. VINCENT ...but we've got to get back on the road. Vincent raps lightly on the car window next to Sam's head -- Sam's eyes shoot open: a light sleeper. All eyes are on Vincent, who waits for a BEAT before he reveals his news. VINCENT We've got him. LARRY I'm driving. EXT. THE TOWN SQUARE - A LITTLE LATER - DAY Gregor is seated where we saw him last -- at the little table in the corner cafe. He's been here for hours, observing the Town Square, and now, he finally sees what he's been looking for - TWO MEN, definitely not tourists here for the music, have entered the Square -- everything about these guys screams GUNMEN. Now, as Gregor watches - A PUNKED-OUT TEEN comes up to the men and hands them a small envelope. The Gunmen look around the Square, trying to see where Gregor is, but he's too far back in the shadows. The Gunmen ask the Teen a question, to which the Teen can only shrug his shoulders. Now - The Teen walks away, leaving the Gunmen to open the envelope and look at its contents, which are quickly read. From OFF SCREEN we hear the sound of Gregor punching in a number on his cell phone. Simultaneously, the Gunmen finish reading the instructions Gregor has sent them, and turn around to face - A PAY PHONE. The phone rings, and one of the Gunmen goes to pick it up. EXT. ANOTHER STREET - MEANWHILE The Citroen pulls into town and slows to a crawl, cruising the streets, looking for Gregor. INT. THE CITROEN - SAME TIME Vincent stares out of the window and sees something that causes him to swear under his breath in French. It's - The Gunmen walking down the street. VINCENT I know those men. Sam frowns: he also seems to recognize at least one of the gunmen. None of the others in the car notice Sam's reaction, but we do. The Gunmen are heading straight for - EXT. THE ANCIENT ROMAN THEATER - MEANWHILE THE MID-AFTERNOON SUN shines down on the open air Roman Theater. The theater itself is almost two thousand year old. A semi-circle of seats surrounds a huge Stage Wall, a massive structure which is one of the best preserved of its kind in the world. THE GUNMEN enter at the bottom of the theater, holding ticket stubs. They are with a Tour Group led by an ANCIENT GEEZER who speaks in rapid-fire French. As the tour moves off to see the Stage Wall, the Gunmen hang back and then separate from the crowd. EXT. OUTSIDE THE THEATER - SAME TIME THE CITROEN sits at a curb. Larry sits behind the wheel of the car, the getaway driver with the motor running. Vincent and Deirdre are already walking towards the Theater. Sam stays behind for a second to say something to Larry. SAM Whatever you hear, whatever happens, when your partners come back out, you make sure you're here with the motor running. And on that note Sam follows after Vincent and Deirdre. Larry doesn't notice it, but - THE WATCHER has found them. He's a block or so away, wearing a two-day stubble of beard and hugging the shadows of back alley. Cradled in one hand, barely visible but ominously present: his knife, which for one moment catches a glint of sun that hits our eyes as we - CUT TO: EXT. INSIDE THE ROMAN THEATER - MEANWHILE The Gunmen have reached a point about midway up the coliseum- like staircase. Behind them we can see the Tour Group, standing on the stage, being lectured to by the Ancient Geezer. In front of them the Gunmen find - AN EXIT which leads to an interior hall. Inside the exit it's dark, while a bright sun falls down on the Gunmen. They look into the dark, unable to see a thing, while a voice come at them from out of the dark. GREGOR (V.O.) Thank you, gentleman, that will do nicely. IN THE HALL - ON GREGOR. It's dark in here. There are no lights, no torches. From the dark in here, he can look out and see - THE GUNMEN, who make plain targets, backlit as they are by the sun. Now we CUT BACK AND FORTH between these two ANGLES, and it becomes clear that Gregor has chosen wisely -- he can see his quarry, but they can't see him. GREGOR Edvard, is that you? EDVARD, the more dangerous looking of the two Gunmen responds. EDVARD Yes, Gregor, they sent me. GREGOR I'm touched, really, that they'd send someone of your caliber. It's nice to know that they didn't make the mistake of underestimating me twice. EDVARD That was a mistake, trying to kill you. Mikhi did it without consulting me, I'd have never allowed it. GREGOR I'm sure. But I'm sorry to say that it's too late for trust: we have a serious problem. EDVARD We'll double your price. GREGOR (now that's interesting) Really? Do you have the money with you? EDVARD Do you have the material? GREGOR You first, Edvard. EDVARD Perhaps we could both go at the same time... GREGOR (a short laugh) I think not. (with a flourish) After you... A GUN COMES INTO FRAME, trigger cocked, the barrel placed to Gregor's temple. SAM (O.S.) After you, asshole. Gregor stiffens, as we PULL BACK ON Sam, who has snuck up on Gregor and gotten the drop on him. SAM You might have been one mean technical spook, Gregor, but you wouldn't have lasted a week in the field. CUT TO THE GUNMEN'S POV: Looking into the Tunnel - It's dark, they can't see a thing, but they've heard Sam's voice and they know something's wrong. EDVARD Gregor, are you alright? DEIRDRE (O.S.) Gregor's fine... CUT AWAY TO REVEAL: Deirdre - She's snuck up on the Gunmen, weapon drawn. DEIDRE (continuing) ...but I think you're in a bit of trouble. The Gunmen reach for their pieces and as they do - VINCENT (O.S.) Don't even think it. CUT AWAY TO REVEAL: Vincent - And his piece is also out -- the Gunmen are trapped, and they know it. Now we notice that - The Ancient Geezer and his Tour Group are coming towards us. Meanwhile, back in - THE TUNNEL - Sam is grilling Gregor furiously, his gun still to Gregor's head. SAM Don't talk to me unless you tell me what I want to hear, understand?!? You have no choice in this, don't think about winning, think about staying alive. I want the item, and if you don't give it to me, I'm gonna kill you. GREGOR (a panicky hiss) I don't have it with me... SAM Bullshit! GREGOR I swear... SAM Then where is it? GREGOR I sent it to myself in Paris. SAM Sent it where? GREGOR A post office box. Suddenly Gregor runs forward, towards the exit. Sam runs after him, tackling him just as they reach - THE OUTSIDE, where the two men roll into plain sight of - The Gunmen, who are still covered by Vincent and Deirdre. Now we notice - That the Ancient Geezer and his Tour Group are really close, no more than ten yards away, as - Sam has Gregor pinned face first on the ancient stone of the theater. He looks up at the others, and that's when it happens - Edvard looks at Sam and recognizes him. EDVARD (stunned, announcing to the group) Do you know who he is? He's with Interpol, the Internation Police. He's a cop. A SLOW MOTION BEAT. Vincent and Deirdre don't know what to make of this, their heads turn to look at Sam, and in this instant - The Tour Group walks into their midst and - The 2nd Gunman reaches for his piece and - Sam FIRES his gun at the 2nd Gunman, and with the sharp report of the pistol we move back to REAL TIME, as - The Crowd panics, screaming, and now Edvard is reaching for his weapon, as - Sam shoots again, killing the 2nd Gunman, and now - The Crowd is still screaming and running as - Gregor shoves through the crowd into the exit, as - Deirdre pushes through the crowd, and now she's made it into the tunnel. Now we go - OUTSIDE THE THEATER - Where Larry has heard the shot -- his piece is drawn, but he's been ordered to stay in the car. In frustration he slams on the steering wheel, as we see that - Behind Larry, the Watcher is slowly closing in, knife poised to strike as we go back - INTO THE THEATER - Edvard tries to get to the exit, but there are too many Tourists in his way, and he proceeds to shoot several of them, including the Dad we saw earlier. Seconds later, Edvard has vanished into the tunnels, and now - Vincent and Sam meet in the middle of the crowd. There is time for a QUICK BEAT, while Vincent glares at Sam. VINCENT You're a cop...you're a fucking cop...I should kill you. SAM But you can't. And now Sam runs into the tunnel, after the others, leaving Vincent for a fraction of a second to sigh, and then follow Sam into - THE TUNNELS - It's like being in the tunnels and ramps of a sporting arena. Except that everything here is made of stone and the only light comes from the sun which streams in through the exit openings which are spaced far enough apart that they provide just barely enough light for us to see. Now we do a SERIES OF QUICK CUTS - Sam running, followed by - Vincent, while - Edvard takes a wrong turn down a dark hall and comes to a dead end. He turns around, looking for a way out as - Gregor sees the final exit ahead of him as we go - OUT IN THE STREET - Larry is still behind the wheel of the Citroen, anxiously looking at the exit, not realizing that - The Watches is almost on him, and now we're back - IN THE TUNNELS - Deirdre comes running around a corner, and now she's almost reached the exit as - OUT IN THE STREET - Gregor hits the street running. He doesn't notice the Citroen parked ahead, because he's never seen it before, but as he runs by - The car door swings open and Gregor runs straight into it. He smashes into the door and falls to the ground, injured. Strong Hands reach out of the car and pull him in. It's the Watcher, and let's give him a name now because he needs one: SEAMUS REILLY. Seated in the front seat is - A very dead Larry. Seamus has cut his throat from ear to ear. SEAMUS (to Gregor, with an Irish accent) If you want to live you'll do exactly as I tell you. THROUGH THE BACK WINDOW - Deirdre appears, exiting the theater and running towards the Citroen as we go back to - INT. THE TUNNELS - SAME TIME Vincent, gun drawn, moves warily down one of the tunnels. Outside we can hear the dim sound of an approaching siren. Vincent turns a corner and - A GUN jams itself into his face. It's Edvard. EDVARD Where do I know you from? VINCENT Vienna. EDVARD Of course...I remember. I quite liked you, I'm sorry to have to do this. Edvard's finger tightens around the trigger, when - SAM (O.S.) Hey... Edvard is startled by the sound of Sam's voice. Even as he squeezes off the shot, Edvard turns to look at Sam, and as he does so, Vincent strikes out at the gun, sending the shot awry, causing it to - RICOCHET wildly, whining around the room, until it - Rips through Sam's side, a nasty wound but not fatal, as - Edvard tries to fire another shot but it's too late, because - Vincent fires a single shot to the head that kills Edvard. EXT. OUTSIDE THE THEATER - MEANWHILE Deirdre has reached the Citroen. She looks in and sees Seamus and Gregor. Lastly she looks at the dead Larry. She sighs in disgust, but otherwise doesn't react as if surprised. DEIRDRE Cold cocking the poor son-of-a-bitch would have sufficed, Seamus, don't you think? SCANT SECOND LATER - Larry's body hits the street as the Citroen drives off, Deirdre behind the wheel just as - Sam and Vincent run out of the theater, with Vincent helping a wounded Sam who bleeds from the wound in his side. They arrive at the street only to see - Larry, lying dead in the street, even as the Citroen speeds away from them, turning the corner before they can even think to raise their guns. VINCENT That double-crossing bitch. Sam isn't even capable of saying that much -- he just stares after the departed Citroen with a look on his face unlike any we've seen in the film: "how the hell did that happen?" But there's no time to ponder this because they've been joined by - A COP. He's a local guy, he directs traffic and busts drunks in the town square -- and he's scared shitless, holding his gun in both hands, trying not to tremble, as he stares back at - TWO GUNS, Sam's and Vincent's, and they're both pointed at the Cop. LONG BEAT. In the way off distance, another siren can just be heard. Sam and Vincent glare at the Cop, who strains with all his might to control himself, but he can't because Sam and Vincent are death waiting to be served. The cop knows he has three seconds to make up his mind. Two. One. The Cop puts his gun on the ground and steps back, raising his hands in the air. Now - Sam and Vincent stumble into the street, and are instantly almost hit by - A CAR speeding around the corner, its Driver oblivious to what's going on. The car screeches to a halt, and the Driver curses loudly in French. And then the next thing the Driver knows - A Gun is in his face. The door is yanked open and the Driver is yanked out, as we - CUT TO: EXT. A BACK ROAD - LATER/EARLY EVENING The town of Orange is just visible below us as the commandeered Car drives up into the hills. Vincent is behind the wheel, while the wounded Sam sits in the passenger seat. Gritting his teeth, Sam peels back his shirt to get a look at - THE WOUND, and it's small but bad -- the ricochet ripped a small raw hole in Sam's side. The wound bleeds, but moderately so -- no major organs or arteries have been hit. VINCENT That makes twice now you've saved my life. SAM I didn't save your life back there. Risked it, maybe -- but I didn't save shit. VINCENT You see it your way, I'll see it mine. You need a doctor. SAM (hopeful) You know one around here? Somebody you trust? VINCENT No...I thought I'd take you to the hospital. SAM (sharply) No hospitals. I'll fix this myself if I have to. VINCENT (he can't believe this) Fix it yourself? (a thought comes to him) Why are we even doing this? There's no need to run, Christ... (he can't disguise his disgust) You're a cop. SAM Not exactly. VINCENT You're with Interpol -- you're a cop. SAM If I was a cop, a real cop, I'd have busted you a long time ago. This isn't about you, it's about the job I have to do. VINCENT And what job is that? SAM My job, Vincent, a job you don't need to know about. I can't go to the local cops -- they'd never be able to get close enough at this point. It's me or nobody, and I've been on this job too goddamned long not to finish. BEAT. Sam takes out his own pack of cigarettes, offers one to Vincent and takes another for himself. They smoke for a second, before Vincent speaks. VINCENT It looks to me like we're all that's left of our group. SAM We? There is no we in my world now, Vincent, just me. VINCENT I'm going with you. SAM This doesn't involve you, don't you understand? I can't even guarantee you any money out of all this. VINCENT It isn't about money for me, not anymore. SAM You don't have to do this. VINCENT (with great finality) Yes I do. Sam gives Vincent a look and shakes his head in disbelief -- Vincent's loyalty and sense of honor is something he's never seen before, and Sam can only smoke in silence and consider this as we - CUT TO: INT. A CHEAP BACK ROOM - NIGHT A PEEPHOLE slides open, and we look through it into - INT. AN ADJOINING ROOM where Gregor sits, bound and gagged in a chair, his eyes wide with fright. Now - The Peephole snicks shut, and Deirdre turns to face Seamus Reilly. DEIRDRE When we're done with this, I want to do for that one myself. SEAMUS Now there's the Deirdre I know. DEIRDRE And what's that supposed to mean, Seamus Reilly? SEAMUS It means I was worried that all the time you spent away from the fold might have affected you. You've been living the life of the hired gun -- the well paid hired gun, I might note. There's no glory to it, but there are those that like it. DEIRDRE So you thought that maybe I'd grown too attached to this charade I've been playing, is that it? SEAMUS It's been known to happen. DEIRDRE Not to me, you know that. SEAMUS (goading her) I thought I did. Seamus's taunt works: Deirdre whips out her gun and puts it to his head. DEIRDRE I guess you don't know me, then, if you think I won't kill you for an insult like that! Seamus glares at Deirdre for a moment, and she glares back at him until he starts to laugh. SEAMUS Just testing, lass. Forgive me, but I had to do it. Deirdre glares a moment more and then puts away her gun. DEIRDRE Remember what we agreed on, Seamus: when we get home, I don't play "the girl" again. Deirdre gives Seamus a look to make sure this last point is clear and we - CUT TO: EXT. A FARMHOUSE - THE COUNTRY - NIGHT The Stolen Car parks behind a BARN, and Sam and Vincent get out. Waiting for them is a friend of Vincent's - JEAN- PIERRE, a Frenchman in his forties, hearty, burly, friendly. VINCENT Hello, Jean-Pierre. JEAN-PIERRE Hello, my friend. (with a look at Sam) He doesn't look French to me, Vincent. SAM American. JEAN-PIERRE Well, Vincent's American friend, shall we see what we can do for you? INT. THE FARMHOUSE KITCHEN - LATER/NIGHT SURGICAL IMPLEMENTS - Are laid out on a clean cloth. Scalpel, forceps, a clamp, a sponge, medical thread and needles. We PULL BACK TO REVEAL: Sam, stretched out on the kitchen table. Around him we see - Vincent and Jean-Pierre, who are wearing rubber gloves and examining Sam's wound. Jean-Pierre holds a mirror up so that Sam can see what's going on. Sam, with his medical training, is treating himself. VINCENT (to Sam) It's right there, beneath the surface. I can just make it out. Sam is in terrible pain, but necessity dictates that he focus on what's going on so that he can talk Vincent through this next procedure. JEAN-PIERRE Are you sure you won't have a drink? SAM (sharply) No booze...Pain's in the mind, and the mind I can control. (quick beat) Alright, let's do it. During this next sequence, we CUT BACK AND FORTH between Sam's reactions to the surgery, and the mirror itself where he's watching. SAM Douse the wound with alcohol. Vincent pours a healthy splash of rubbing alcohol onto the wound and - Sam grits his teeth as the pain explodes up his central nervous system. SAM (to Jean-Pierre) Take that sponge and wipe away as much of the blood as you can, keep it clean so I can see. Jean-Pierre does as Sam says, wiping away the blood that keeps filling the wound. Throughout the procedure Jean- Pierre will do this; every time the sponge is saturated he squeezes the excess blood into - A BUCKET which sits on the floor, slowly filling up with drippings from the sponge. SAM (to Vincent) Take the clamp... Vincent picks up the clamp. SAM Peel back the skin and attach the clamp. Vincent attaches the clamp to Sam's wound. It takes perhaps fifteen seconds, and everyone of those seconds is agonizing for Sam. He sweats, he grits his teeth, he grunts the smallest of grunts. But he doesn't move. Finally Vincent is done. VINCENT Alright, it's done. SAM You see the bullet? VINCENT Clearly. SAM Good. Now take the forceps, and remember, Vincent, what we're doing here is routine. I've done stuff like this at least twenty times in the field. There are no vital organs where you're working, no major muscles or arteries -- you can't kill me. Just make sure you've got the bullet before you try to pull it out. Vincent probes the wound with the forceps. This takes probably thirty seconds, and it hurts even more then when the clamp was attached. Several times - Vincent seems to have the bullet in his grasp, but it slips, and each time it slips - Sam makes the smallest of noises, as if to indicate the level of the pain. Finally - The forceps firmly grasp the bullet, and with a single tug, Vincent extracts it. VINCENT (holding the bullet aloft) A souvenir... He tosses the bullet through the air, and we FOLLOW IT IN SLOW MOTION as it lands in - A SAUCER, which sits on the kitchen counter. We're back in REAL TIME, as the bullet rolls around the plate for a second before coming to a halt. Now - Sam breathes the hugest of sighs, and his face relaxes. Instantly, Vincent puts a lighted cigarette in Sam's mouth, and he drags deeply on it. SAM (to Vincent) You think you can stitch me up on you own? JEAN-PIERRE Don't worry, we'll take care of it. SAM Then if you don't mind... (he hands the cigarette back to Vincent) I'm gonna pass out. And that's exactly what he does. A TIME CUT TO: INT. FARMHOUSE LIVING ROOM - LATER THAT NIGHT Vincent and Jean-Pierre sit on easy chairs. An open bottle of wine sits between them, a FIRE burns in the fireplace, and they smoke in a contented silence for a moment. When they speak, it is in FRENCH, with ENGLISH SUBTITLES. JEAN-PIERRE He's tough, your American friend. VINCENT Yes, Sam's tough alright. JEAN-PIERRE And you respect him. VINCENT Of course. Don't you? JEAN-PIERRE I've never seen a man who could have taken what he just went through. (beat) He's a cop? VINCENT (beat, trying to find a way to say it) Not exactly. JEAN-PIERRE Not exactly? But close enough, eh? (beat) So he saved your life, then? VINCENT How did you know? JEAN-PIERRE If he hadn't you'd have put a bullet in his head a long time ago. Both men stare back into the fireplace and we HOLD FOR A BEAT before we - DISSOLVE TO: INT. THE FARM - KITCHEN - DAWN Sam is awake. Pale from the loss of blood, he moves softly around the kitchen, searching professionally for something, giving the moment a slightly dangerous feel because he seems so intent on what he's doing and then he finds it - THE COFFEE. TEN MINUTES LATER - A stream of Hot Coffee migles with a stream of Steamed Milk. EXT. THE FARMHOUSE PORCH - SUNRISE A STEAMING CUT OF COFFEE sits in Sam's hands as he lights a cigarette to go with the coffee. He sits on an ancient chair, smoking in silence, looking out at - THE WOODS around the house, and this place is postcard-beautiful, the French Farmhouse you see only in pictures. But Sam's mind is elsewhere, he's staring into space, lost in thought. JEAN-PIERRE (O.S.) You're feeling better? ANOTHER ANGLE - Jean-Pierre stands in the open front door of the farmhouse, with a cup of coffee. Now, Jean-Pierre moves out to join Sam, sitting down on another chair opposite him. SAM (responding to the question) Some, thanks. Enough to move on, for now. JEAN-PIERRE (pointing at Sam's wounded side) You should really let a doctor look at that. SAM Soon. JEAN-PIERRE But first you have something to take care of? SAM Yeah. JEAN-PIERRE Something important? A thing that cannot wait? SAM It gets done now or not at all. Another couple of days and the parties concerned are gone where I can't get them. JEAN-PIERRE Forgive my intrusion into your affairs, but I am the one who connected Vincent to this job, his agent, if you will. He is one of my oldest friends and I owe him a great debt, much like the debt I suspect he owes you. A QUICK CUT TO: INSIDE THE FARMHOUSE Where Vincent has just poured himself a cup of coffee and lit a very satisfying cigarette when he hears the voices from outside. SAM (O.S.) Vincent doesn't owe me a thing. Vincent looks up when he hears his name and he moves towards the sound of the voices. JEAN-PIERRE (O.S.) He sees this differently, as you well know. SAM (O.S.) I didn't expect that he would. BACK ON THE PORCH - JEAN-PIERRE You suffered through an agonizing pain last night, pain you could have avoided by declaring yourself an agent of the law. SAM Vincent told you that I'm a cop? JEAN-PIERRE Not a word. But no ordinary criminal would have the extensive military and medical expertise you do. And so I place the pieces of the puzzle together in a way that makes sense to me. You work for some government agency and you carry a gun, and in my world, that makes you a cop. And now Jean-Pierre produces a LONG BARRELED REVOLVER which he places loosely in his lap -- a gesture which seems to say, "you'd better explain things to my satifaction or we're gonna have a problem." Sam notices the weapon, but he doesn't react overtly. SAM So this is what, a test? JEAN-PIERRE Call it a reckoning of character. BEAT. Sam looks at the Revolver again. SAM If I was healthy, I could take that away from you. JEAN-PIERRE Perhaps. But you are not healthy, and if you try I'll kill you. QUICK CUT TO: Vincent - Who stands inside the house, out of sight, but not out of ear shot. He's listening to everything, and we notice that Vincent has taken out his own gun. BACK ON Jean-Pierre and Sam. By now Jean-Pierre has raised the pistol. He doesn't point it at Sam, but his finger cocks the hammer. SAM So what is it you want to know? JEAN-PIERRE I suppose I want to know how a man like you is created. SAM Created? JEAN-PIERRE Perhaps forged is a better word. Like steel. Like a sword. You're a modern Samurai. I've spent my life around extraordinary men -- men like Vincent. But I've never seen anyone like you. (beat) I'm afraid Vincent will die if he goes with you. SAM Vincent's life is his own burden; he'll have to carry it for himself. And I'm not any kind of Samurai. JEAN-PIERRE You seem one to me. SAM A Samurai has honor, a Samurai live by the code of Bushido, the way of the warrior. I'm just a killer for hire. (beat) The world isn't about honor, anymore. It's about survival. LONG BEAT. Something in Sam's speech touches Jean-Pierre. He relaxes his finger on the hammer. JEAN-PIERRE Survival. I suppose that's as good a cause as any. BACK ON Vincent - Who relaxes his grip on his gun. BACK ON Sam and Jean-Pierre - And we're PULLING BACK, AWAY from the Farmhouse, which glows in the morning sun as we - DISSOLVE TO: EXT. A PARIS STREET - DAY A BLACK COMPACT CAR sits in front of a Parisian Post Office. Inside the car, behind the wheel, we see Deirdre. Now, coming out of the Post Office, we see - Gregor and Seamus Reilly. Seamus has a coat slung over his arm, hiding the gun which he keeps pressed to Gregor's side. There's no sign of the Briefcase as Seamus and Gregor get into - INT. THE CAR - SAM TIME THUNK! The door slams shut. Gregor and Seamus are in the back seat. Almost instantly Seamus angrily snaps a pair of handcuffs on Gregor. Immediately, Deirdre pulls out. DEIRDRE Where's the case? GREGOR (nervous) There's a problem... SEAMUS (jumping all over him) Problem my ass! I think you're lying to me, and if you are you're a dead man! DEIRDRE Would somebody tell me what fucking well happened in there? SEAMUS (disgusted) Nothing. GREGOR (eager to explain) The package didn't come. I'm sure it will tomorrow. Suddenly Seamus seems to lose it. He grabs Gregor and slams a gun against his head. SEAMUS (he's almost foaming at the mouth) If you're lying to me you poor excuse for a human being, I'm gonna blow your brains all over this car. GREGOR (beyond desperate) I swear, it has to come here! It has to... BEAT. For one tension-filled moment, we think Seamus is going to splash Gregor's brains all over the place. But then he smiles, puts his weapon away, and pats Gregor gently on the face. SEAMUS Ease up, man...I'm just checking to make sure you're on the level. Gregor is beyond speech -- he can only whimper. SEAMUS And it seems to me I saw a sign in there that says they got a late afternoon delivery. Why don't we come back later today and do this all over again, huh? Seamus smiles a smile that is more than a little bit sadistic. Neither Gregor nor Deirdre smiles in return as we - CUT TO: EXT. ANOTHER STREET - PARIS - DAY THE EIFFEL TOWER fills our eyes. And then we PULL BACK TO REVEAL that it's a tacky, flyblown poster on a dingy street. And now we're - MOVING DOWN the Street, until we come to a store whose sign advertises in English - HONG KONG MOVIES. The windows of the store are filled with posters. We MOVE THROUGH TO INT. THE STORE - SAME TIME TONY SIMON, an expatriate black American, runs this place and lives above it. His shelves are lined with action films made in the Far East. Tony knows everything there is to know about the films he sells -- but he also knows quite a bit about what's going on in the Parisian Underworld. he's a professional information broker. Right now he's talking to a CUSTOMER in perfect French, with English Subtitles. TONY Hey, man, they're both great movies. One is more of a character study, the other is more of a straight action thing, but they're great movies, and he's an amazing fucking filmmaker. Tony looks up and sees something that catches his attention. TONY Excuse me... Vincent and Sam have entered the store. Sam's ability to be back on his feet in such a short time is amazing -- but we can see that he's not the same guy he was at the start of the film. what he does from here on in he does by sheer force of will. Now - Tony moves to join them, and the conversation immediately turns to English. TONY (to Vincent) My man, how you doing? VINCENT I'm alright. And you? TONY Doing well. (with a look at Sam) This is? VINCENT A friend. I was telling him about how you always have the latest tapes. TONY Why don't we step into my office... Tony's office, it turns out, is the area behind the COUNTER. Tony raises a section of the counter that allows him to get to the other side, and then he closes it behind him. TONY So what can I do for you? Vincent checks out the store before he starts speaking. The place is empty except for - The single Customer Tony was just talking to. The Customer is still considering the two films Tony was showing him. VINCENT I was wondering if you had any movies that were particularly new. TONY Matter of face there's this flick I've been hearing about. I haven't seen it, but from what I hear it's pretty cool. SAM What's the story? TONY It's an international thing. Several different peoples involved, criminals from all over the world, experts brought together to do a job. But maybe the most interesting thing about it is that preeminent in the plot we find the Russian Mob and the IRA in bed together. An unlikely group of partners. VINCENT Do you have the tape? TONY I might know where you could get a copy. The Customer approaches the counter. He has both tapes with him. TONY (to Vincent and Sam) Let me do some business with my boy here, and I'll meet you across the street in five. I gotta make homes here feel like he's getting a good deal while I give him the pleasure of overpaying me for a couple of second generation pirates. EXT. THE STREET OUTSIDE - A FEW MINUTES LATER The Customer exits, smiling and carrying his tapes -- what a great fucking deal he just got! A few seconds later, Tony comes out and locks up the store front. He crosses the street towards - INT. A FALAFEL JOINT - A FEW MINUTES AFTER THAT A HUGE FALAFEL drips lettuce and tahini sauce from its end. We PULL BACK ON - Tony, who's just taken a bite out of the falafel. He sits at a table in the back with Vincent and Sam. TONY (his mouth full) What I've heard so far, it's all a lot of talk. I wasn't so sure what to make of it at first, cause, like I said, the Irish and the Russians are an unlikely mix. VINCENT You said you might know where we can get a copy of this tape? TONY All depends on whether you want the Russian or the Gaelic language version. SAM (instantly) Gaelic. TONY You sure? SAM I'm sure. VINCENT (to Tony) Can you get it? TONY The Russian would be easier. SAM Why's that? TONY Cause the Russian production company would be easier to find. SAM It's the Irish tape we want. TONY (with a sigh) Gonna be tough. Tony scribbles something on a piece of paper. TONY Last I heard there was a film rep for the Irish players staying at this address, name of Seamus Reilly. SAM (repeating it, he knows this name) Seamus Reilly. VINCENT (to Sam) You know him? SAM I know of him. TONY Seamus Reilly, boy's a serious Irish Auteur -- a real firebrand. Thinks his more moderate filmmaking brethren have turned to making movies for peace-loving pussies, if you see what I'm saying. VINCENT I get the picture. Sam reaches for the piece of paper, but Vincent puts his hand on top of it. VINCENT Tony and I have to talk some business, first. TONY I gotta try and overcharge him, he has to moan about the price, we settle somewhere in the middle. VINCENT It's a matter of respect. (to Sam) Why don't you wait outside, this won't take long. Sam smiles slightly and rises from the table, moving towards the exit. Behind him in rapid-fire French, Tony and Vincent are now discussing the price of the information. They are both loud and abusive, and obviously they're enjoying themselves immensely. EXT. THE FALAFEL SHOP - A LITTLE LATER - DAY Vincent exits the shop and gets into - INT. THE PEUGEOT Where Sam sits in the passenger seat as Vincent slides behind the wheel. Vincent tosses Sam a piece of paper. SAM The Irish representative? VINCENT Yes. Vincent gives Sam another piece of paper. SAM What's this? VINCENT The address of the Russian production company. Just in case we need to find them. SAM Thorough man. Vincent starts the car and we - CUT TO: EXT. A PARIS STREET - LATER - AFTERNOON The Peugeot sits, parked at a cub, a discreet distance from - AN APARTMENT HOUSE: 35 Rue de Glacon. We PUSH IN on the - INT. THE PEUGEOT - LATE AFTERNOON A PIECE OF PAPER scarwled with the same address: 35 de Glacon. We PULL BACK TO REVEAL - Sam, holding this paper and looking out at the apartment complex. SAM You sure your friend got the right place? VINCENT If Tony says this is it, then it's it. BEAT. Vincent wants to know something important. VINCENT Tell me, Sam: why do you do this? SAM Do what? VINCENT Continue when it would be so much easier to give it up. SAM It's my job. VINCENT Then quit. (beat) You don't work for Interpol, Sam. SAM Sure I do. You heard him, you heard the guy -- that's what he said, what Edvard said. VINCENT It's a cover, then. A cover within a cover, a feint within a feint. (quick beat) You work for the CIA, it's the only possible answer. LONG BEAT. Sam considers what to say, and then decides he owes Vincent the truth. SAM I'm a field agent -- last of an already extinct breed. I do dark ops. VINCENT Dark ops? SAM Dark operations. Wet work. Kidnaping. Assassination. VINCENT Very ugly. SAM It is at that. VINCENT Not very zen of you, huh? Not so much the modern Samurai after all. SAM I never made that claim. VINCENT I know. Jean-Pierre did. SAM You were behind the door? VINCENT I was waiting to see what would happen. I didn't want to kill him if I didn't have to. SAM You would have done that? VINCENT I would have tried not to. But yes, if it would have kept him from shooting you, I would have. SAM (almost to himself) How could you have done that? VINCENT Because I owe you. (he sees something) Look at that... THEIR POV: Through the Windsheild - Deirdre exits the apartment building. SAM (O.S.) (quietly exultant) All things come to those who wait. Now Deirdre is followed by Seamus and Gregor. VINCENT (O.S.) (really surprised by this) He's not dead. BACK ON Sam and Vincent. SAM (figuring it out) They don't have the package. VINCENT You think? SAM You said it yourself: Gregor's not dead. If they had the package, they'd have killed him. Vincent and Sam exchange a look -- now they both figure it out. VINCENT & SAM (simultaneously) They're going to get it. CUT TO: INT. THE POST OFFICE - LATE AFTERNOON A HAND signs a receipt, and we PULL BACK TO REVEAL Gregor at a counter, signing for his package, which slides across the counter. It's the Briefcase, although it's been wrapped in BROWN PAPER for its journey through the French Postal System. Now we see that - Seamus is still right beside Gregor; is, in face, almost on top of him, with a hand in his coat pocket which lets us know where his gun is. Now - The two men start to move towards the exit as we - CUT TO: EXT. THE STREET OUTSIDE - A MINUTE LATER/LATE AFTERNOON The Black Compact Car idles at a nearby curb, with Deirdre behind the wheel. She's staring so intently at the front of the post office, that she's surprised when a SHADOW falls across her. She looks up to see - Sam, standing next to the car. Deirdre starts to reach for her weapon, but Sam cuts her off with a word. SAM Don't do it... Something in his voice conveys enough of a threat that she backs off. Now she and Sam exchange a long look. DEIRDRE Well, if it isn't Mr. Interpol himself. (she really sounds betrayed) I can't believe I misjudged you like I did. SAM Oh please..you're on some sort of holy mission? DEIRDRE I'm a patriate. SAM Don't even think that I'm buying that. DEIRDRE Where do you get off saying word one? All the time pretending to be one of us, it's the same thing we were doing, Seamus and myself. And here you are so high and mighty, like you're so different from the rest of us. SAM I didn't say I was. DEIRDRE (she sees something) Bloody fucking hell... CUT AWAY TO: Gregor and Seamus are leaving the post office. By now, Seamus has taken the package away from Gregor. Unseen by these two men - Vincent is approaching from the side, on an intercept course, his hand inside a bag which he carries with him. Now - Deirdre turns and shoots Sam a look. He's still watching her keenly, and we can see that she's aching to reach for her piece, but she can't because Sam is still on her like a hawk. SAM Don't even think it. He pulls back the folds of his suit jacket, revealing his gun, putting his hand comfortably on the pistol grip. SAM I'd kill you before you had it halfway out. Vincent is closing on Gregor and Seamus, another ten seconds and he'll have them. Now - Deirdre looks back at Sam, then back at the situation developing in front of her, and then suddenly - She slams the car into gear and drives off, tires squealing while - Sam pulls his piece, sighting down the barrel and - He can't do it, can't shoot Deirdre. Now - The sound of the car alerts Seamus, who turns in time to see - Vincent, who is raising the bag wrapped around his hand as - The car flies directly at - Vincent, who if forced to jump out of the way even as he pulls the trigger of the gun hidden within the bag. The end of the bag explodes in a burst of fire, but the shots are off the mark - Missing Seamus and Gregor as - Vincent rolls out of the way, just in time, while - Deirdre brakes the car to a screaming halt, as Seamus pushes Gregor in ahead of him and then gets in. Seconds later, the car pulls out, even as - Sam drives up in the Peugeot to Vincent, who picks himself up off the ground and leaps into the car. The last thing we hear is the sound of Sam's Voice as the Peugeot drives off. SAM (V.O.) Put your seatbelt on. CUT TO: INT./EXT. - CAR CHASE MONTAGE During this SEQUENCE, we'll JUMP CUT BETWEEN the two cars and the streets they travel through. Now - The Black Compact Car flies down a small street, followed closely by - The Peugeot, where Sam is driving as Vincent tries to steady his gun to get a clear shot at the other Car. INSIDE THE PEUGEOT - VINCENT What the fuck happened? SAM I don't know... VINCENT You don't know? Bullshit, you had her, there was no way out. IN THE COMPACT CAR - Where Deirdre is driving for dear life, while Seamus is freaking out. SEAMUS What in bloody hell is going on? DEIRDRE They're part of the team. One of them's the guy I told you about. SEAMUS From Interpol? DEIRDRE That's him. IN THE PEUGEOT - VINCENT Why didn't you kill her? IN THE COMPACT - SEAMUS Why didn't you kill him? OUT IN THE STREET - The two cars SLAM through the traffic, heading for a HIGHWAY RAMP which appears now perhaps two blocks away. IN THE PEUGEOT - VINCENT (figuring it out) You slept with her! IN THE COMPACT - SEAMUS How is it these fellahs managed to get the drop on us? DEIRDRE I told you: they're good... OUT IN THE STREET - THE TWO CARS have reached the highway ramp, and as first one, and then the other pulls onto the highway, we PULL BACK AND UP TO REVEAL: THE PERIFERIQUE - The massive and confusing highway system which encircles the city of Paris. Right away we notice that this entrance ramp leads to a traffic circle, filled with various off ramps which lead to no less than four different sections of the Periferique. IN THE PEUGEOT - VINCENT (slamming the dashboard in disgust) You slept with her! IN THE COMPACT - SEAMUS (lecturing Deridre) You should have kill him when you had the chance. But no... IN THE PEUGEOT - VINCENT You put everything on the line because you... IN THE COMPACT SEAMUS (as if finishing Vincent's sentence) You slept with the fucker!! ON THE PERIFERIQUE - THE PEUGEOT cruising on an upper part of the traffic circle, while down below them - THE COMPACT turns towards one of the roadways. VINCENT (O.S.) Fuck... IN THE PEUGEOT - VINCENT Left left left!!! Sam looks up and sees - Three possible ramps: one to the right, one to the center, and one to the - Left. At the last second he takes the left turn as we go back to - IN THE COMPACT CAR - Where Seamus has turned from lecturing Deirdre to threatening Gregor. Seamus holds the package in one hand and his gun in the other. SEAMUS (waving the package) This better be the real thing or you're a dead man! GREGOR It is, I'm telling you it is!! SEAMUS You've told me a lot of things, boyo... ZING-SHATTER! A BULLET blows a hole in their back windshield as - The Peugeot is catching up, and Vincent is leaning out of his window, firing away. Now - Seamus turns to Deirdre. SEAMUS Lose them! DEIRDRE You lose them! Deirdre swings the wheel wildly, and the Compact takes a screaming turn, followed by - The Peugeot, and now they're both speeding towards another junction, where several other roadways of the Periferique run together. Now we see that - Seamus is returning Vincent's fire, even as - The Junction approaches, and now - Seamus screams at Deirdre. SEAMUS To the right!!! Deirdre swerves to the right only to discover that she's now on an - EXIT RAMP, going against heavy traffic. Now - Deirdre swerves her car around, side-swiping several cars, but avoiding a major crash while - The Peugeot follows along, and now - One of the cars that Deirdre side-swiped careens wildly down the ramp, crashing into - The Peugeot, which grinds to a halt as Vincent and Sam bounce forward in their seats, restrained by their seatbelts. The car has stalled, and Sam has to start her up again and slam it into gear before following after - The Compact, which now has a lead of perhaps fifty yards -- but at least it's possible for the Peugeot to follow after the Compact, because it's the only car on the highway ahead of them that's GOING THE WRONG WAY, and now we - PULL BACK, LOOKING DOWN FROM ABOVE, and the two cars are flying through the rush-hour traffic, going the wrong way, and now - The Peugeot is gaining ground as Sam turns to Vincent. SAM Give me a cigarette. VINCENT Right now? SAM Gimme a goddamn cigarette!!!! VINCENT (fumbling with a cigarette) Why are you driving? (rapid fire) You're not French, you don't live here, you don't know these roads. Why are you driving? He puts the cigarette in Sam's mouth and as he does - The Peugeot weaves in and out of the traffic, gaining ground on the Compact, and now - SCREEEEECCHHH!!!! About fifteen cars pile up, crashing into one another, and yet somehow - The Compact Car emerges from the pile up unscathed, and Seamus breathes a hugh sigh of relief. SEAMUS About time! DEIRDRE (glancing in her mirror) Not yet... The Peugeot has also managed to avoid the pile-up, and it's back on their tail. SEAMUS (practically tearing his hair) Good Christ! Can't you lose these jokers? DEIRDRE (through clenched teeth) They're good! And now the Peugeot SLAMS into the side of the Compact Car, and as it does - Seamus opens fire with his gun, even as - Vincent unloads the better part of a clip as - Glass shatters in both cars, and now Deirdre looks up to see - A FORK IN THE ROAD, and the left side of the fork is closed off, blocked by - A SERIOUS CONCRETE BARRICADE, and the Compact Car is headed right for it, and now - Sam has the Peugeot pinned right to the side of the Compact Car, metal against metal, a scream of steel as the Barricade rushes straight at them and at the last second - Deirdre slams on the brakes as - Seamus fires one last shot that - blows out the window in front of Sam's eyes, causing Sam to - Jerk the wheel of the Peugeot wildly, spinning out of control onto the exit ramp as Gregor reaches over and unbuckles Seamus's seatbelt right as - The Compact Car slams into the Barricade and CRASHES, and we're in SLOW MOTION as - Deirdre is driven forward by the force of the impact, but there's a driver's side air bag, and it explodes, cushioning her, even as - Seamus is hurled form the car, crashing through the windshield and flying through the air as - The Compact Car flips over and over and over while - Gregor, who is wearing his seatbelt, hangs on for dear life to the Briefcase, which he grabbed back from Seamus before the crash, and now - Seamus hits the ground with a terrible thud, his face sliced to ribbons by the windshield, but somehow still alive as - Sam tries to control the Peugeot, which is in a spin on the exit ramp as - Gregor kicks open the back door and slides out of the Car, carrying the Briefcase with him, as - Deirdre struggles to free herself from the wreck, which is now - On fire, and now - Sam has managed to stop the Peugeot, but it's too late to go back, because - A VERITABLE FLEET OF COP CARS is now closing on the accident, and it's too late to turn around, and even as - Deirdre manages to pull herself out of the wreck, it - EXPLODES into a ball of fire, and the blast wave of fire - Hits Seamus, knocking him down, covering him for a second, even as - Deirdre hurls herself through the flames and comes out - Rolling away with Seamus, who is now not only cut to pieces, but his face is covered with some hideous burns. Now Deirdre pulls Seamus over the side of the embankment, right before the cops arrive, and the two of them roll/fall almost thirty down a steep incline, even as - Sam catches a quick glimpse of - Gregor, scurrying away from the highway, carrying the Briefcase, and now Sam has to gun his car and get gone, because the Cops have reached - The Wreck, which is quickly burning itself out, and as the Cops look into the debris they see that - THERE'S NOBODY LEFT. Everybody's gone. FADE OUT. VINCENT (V.O.) We don't have much time. FADE IN ON: INT. VINCENT'S APARTMENT - NIGHT A FRONT DOOR, guarded by about five heavy locks, opens and Vincent and Sam enter. Sam looks around and surveys the apartment. SAM Nice place. ANOTHER ANGLE - And we see the rest of the apartment: there's practically nothing here. A table with a couple of chairs, a fridge. An open door leads to a bedroom with a small, spare bed and a nightstand with a cheap lamp. VINCENT (by way of explaining) I'm not here very much. SAM Business keeps you on the road? VINCENT Something like that. The two men crass the room towards - A METAL CABINET which is tucked into a nook in the wall - VINCENT'S HAND turns a heavy- duty COMBINATION LOCK and then: Click, the cabinet opens and we see -- WEAPONS. An endless cache of guns, knives, explosives, surveillance devices, gun scopes -- you name it, it's here. Now Vincent's Hands reach into the cabinet and start taking out weapons. We PULL BACK ON - Vincent, who gives the weapons to Sam. Sam checks to make sure the weapons are loaded and/or ready for use, and then piles them, one on top of the other. SAM I know I don't need to say this to you, but I need to say it to you. (beat) This is my job, I have to do it. VINCENT So I do it. SAM No you don't, and you know it. VINCENT If our positions were reversed, would you leave me? SAM (he says this too quickly) In a minute. VINCENT I think not. BEAT. Sam can't say anything, because he knows that what Vincent is saying is true. VINCENT (considering the weapons) Do we need anything else? SAM Yeah. We need out fucking heads examined. Vincent thinks about this for a seoncd -- and then burst out laughing as we - CUT TO: INT. ANOTHER CAR - MEANWHILE/NIGHT Deirdre once behind the wheel. The passenger seat next to her is empty, but as she drives we can see her eyes as they flick from the road in front of her, to the rearview mirror, which reveals - A glimpse of the HIDEOUS FACE of Seamus Reilly. Crashing through the windshield and the blast of fire have forever changed the way he looks: his face is now a mass of oozing wounds and burn tissue. In his eyes we see the light of a sick, twisted man who's gone over the edge. DEIRDRE You better be careful, Seamus, before something happens a plastic surgeon can't fix. SEAMUS (a hideous laugh) Plastic fucking surgeon? (indicates his face) You think I'm going to fix this, Deirdre lass? It's the mark of the patriot, and I'll wear it like a badge. As for those who done it to me, I'll take my pound of flesh before this is all over. DEIRDRE You're thinking with your gun, Seamus, and not your head... SEAMUS (losing it) Shut up!!! (he puts a gun to her head) Shut up and drive! I'm your superior officer and you will do as I goddamn well say, is that understood?!? BEAT. Deirdre bristles at Seamus's words but says nothing. SEAMUS Do I need to repeat myself? DEIRDRE No, Seamus. I heard you the first time. EXT. OUTSIDE THE CAR - SAME TIME THE CAR zooms off into the night and as it does - A LIGHT RAIN starts to fall and we - DISSOLVE TO: EXT. A CHATEAU OUTSIDE OF PARIS - NIGHT THE SAME RAIN falls, more of a steady mist than a rain. The mist GLEAMS electrically in the THOUSAND WATT LIGHTS which shine from - THE CHATEAU. Hundreds of years old, it sits far back from its own MAIN GATE. In front of the Chateau - ARMED MEN. Lots of them. Whatever this place is, it's not one that invites company. Now we're - MOVING TOWARDS the Chateau, and as we MOVE we get a glimpse of the surrounding environment: ancient statues, sitting benches in private gardens, small pools of fish -- you name it, this place has it. We hear VOICES, and they're talking in - RUSSIAN. Heavy, thick Russian, punctuated with words like "Da!" and "Nyet!" -- making it clear that we've reached the address of the Russian Production Company. BEHIND THE CHATEAU - MORE GARDENS, more everything. It's well-patrolled, but there aren't quite as many guards back here as there are out front, because bordering the chateau is a natural fotress - A WOODS - A forest, really. Filled with ancient trees, almost mythic in appearance, and for all the light of the chateau this place is darkness visible -- light comes here and dies. And in this woods, looking out, we find - Vincent and Sam. Heavily armed, they've just humped God knows how many miles through the woods to get here. Both men exhausted from the walk -- Sam from his wound, Vincent from his smoking habit. They collapse and Vincent takes out his cigarettes. Even though they're screened from the chateau back here, Sam reaches over and takes the cigarettes out of Vincent's hands. SAM Not here. They might see it. VINCENT If I'm going to die for the CIA, I'm going to go out smoking. (takes the cigarettes back and lights one) Besides, there's half a forest between us and them, they can't see a goddamned thing. Vincent offers one to Sam, who declines with a shake of his head. SAM Time to quit. VINCENT Just like that? SAM Not just like that... Just before I turn around and it's six months from now and the first thing I do when I wake up in the morning is light a cigarette. VINCENT (obviously he does this) What of it? (almost to himself) Samurai pain in the ass. SAM (he hates this) Would you stop with that... VINCENT Why? You've got more force of will than anyone I've ever seen. You handle a gun like it's a part of you, you perform surgery on yourself without anesthesia... (quick beat) And most amazing of all, you quit smoking, just like that. SAM (qith a cynical laugh) The mark of a true Samurai. (seriously) What I do for the Company, Vincent, is no different than what you do. We're both hired guns, and this is a job -- like any other job. VINCENT Why then, Sam, don't you act like this is a job like any other? Surely, if you are a hired gun, you realize that some times you just have to walk away without getting what you came for. SAM Because I don't walk away. VINCENT Why not? SAM It's the one thing I've got left to hold onto. (beat) Jean-Pierre is one of your closest friends, is he not? VINCENT Closest and oldest. SAM And yet you would have killed him to save my life. (quick beat) You have a sense of honor, Vincent, that I can't even remember anymore. I don't know that I ever even had it to begin with. All I know to do, Vincent, is to finish my job. VINCENT And when you finish? What then? This package, whatever it is, do you give it to the CIA? Do you really think they deserve it? SAM That's a good question. VINCENT Do you have a good answer? SAM (he's really just considering this) No, I don't. INT. THE CHATEAU - MEANWHILE ARMED RUSSIAN MOBSTERS everywhere -- a convention of the goon squad. MOVING THROUGH the Chateau itself, and from in here we see the side of France we haven't yet seen in this film: culture. Each room could be a museum, as we move through - A GALLERY, filled with paintings by Renaissance Masters - A PARLOR, with antique furniture, the youngest piece of which is two hundred years old - A BALLROOM, empty and barren, but lit by the dazzling light of an exquisite chandelier - A KITCHEN, where a cigarette smoking CHEF is putting the finishing touches on what is perhaps the most amazing meal you've ever seen. Now - A SERVANT takes the tray and carries it out to - A DINING ROOM, and the table is set for a formal dinner for twenty, with crystal and china at every place setting, and yet the table is occupied by only one man - MIKHAEL RACHEV, Russian Gangster Supreme, called Mikhi. Now - The Servant sets the food down in front of Mikhi, and as this chief hood starts to eat a lonely and solitary dinner we PULL BACK, MOVING DOWN the length of the way-too-long table. EXT. THE CHATEAU WALLS - NIGHT A TAXI pulls up to the Main Gate and Gregor gets out. Attached to his wrist, by that same handcuff: the Briefcase. Gregor is admitted by a Guard as we - CUT TO: INT. THE DINING ROOM/CHATEAU - A LITTLE LATER Mikhi the Gangster is eating his dinner as Gregor is ushered into the room. THREE THUGS hang back behind Gregor, watching to see what Mikhi wants. Now - Mikhi waves the Thugs out of the room, leaving Gregor alone with the gangster. Mikhi takes a last few bites of dinner as he motions for Gregor to sit. MIKHI (in Russian, English subtitles) Sit, sit... (offering a cigarette) Would you like one? GREGOR (in English) No, Mikhi, I wouldn't. (letting that sink in for a minute) Since I won't speak your language, and you can't speak mine, English will do nicely. MIKHI (makes no never mind to him) Whatever you wish... (lights his own cigarette) This has all been a terrible mistake, Gregor. I wanted to play straight with you, but Edvard insisted we try and kill you. GREGOR Edvard said the same thing about you before he died. MIKHI I'm shocked, shocked to think that you'd believe him. GREGOR (suddenly sharp) Enough! Gregor raises the Briefcase which is still attached to his wrist via the handcuff. Gregor rests the Briefcase on the table. MIKHI Ahh... The moment of truth. Before this scene can develop any further, a VOICE comes from Off Screen, and as the Voice speaks, Gregor blanches. SEAMUS (O.S.) The moment of truth, is it? ANOTHER ANGLE - Deirdre and Seamus have entered the room. And we notice something unusual: nobody is alarmed (except for Gregor, that is). It's as if they were expected. GREGOR What is he doing here? As Seamus speaks he walks through the room, examining the valuable china and crystal, all the while moving inexorably closer to Gregor. His face is, if anything, even more horrific than it was a short while ago, as his formerly fresh wounds have started to scab over. SEAMUS What am I doing here? Why, I'm here to see my partners, Gregor, the boys in the Russian Mafia. See, your bosses had hoped to screw me by hiring you to pull your thieving double cross. But they only just found out that what's in the briefcase is completely useless without me. I can't fight them, and they can't kill me -- that means we're gonna have to do business together. GREGOR But you hate each other! SEAMUS What's a little hate between business partners? EXT. THE WOODS - MEANWHILE Vincent's CIGARETTE is stubbed into a rock and the two men rise with a slow purpose. They exchange a look and then Sam steps forward, leading the way SAM I'm on point, Vincent. A WIDE ANGLE - THE BACK LAWN OF THE CHATEAU - Pure Kurosawa. The JAPANESE DRUM we've heard before starts to play again as - THE LONG SHADOWS of Sam and Vincent come out of the woods and into the brilliant light of the back lawn. For one minute they stand still, and among the many weapons that Sam carries is a long automatic rifle, strung over his back, and in the SILHOUETTE for one minute it looks like a Samurai sword. Now the two men start to move across the lawn, hugging the shadows of the various statues and hedges, trying to keep from being discovered for as long as possible. BACK IN THE DINING ROOM - GREGOR (to Seamus) So, you've got it all figured, do you? SEAMUS Figured enough to know there's an odd man out and I'm looking at him. GREGOR I think not. (holds up the Briefcase) I have, of course, taken the precaution of wiring the briefcase to explode five seconds after it opens. Unless, of course, I deactivate it before it goes off. DEIRDRE (under her breath) That fucking figures... GREGOR Should any of you decide to rush me, I'll kill myself and whoever happens to be near me at the time. MIKHI And more importantly -- GREGOR I'll destroy whatever's in the case. BEAT. Nobody moves. Nobody speaks. Until finally - SEAMUS It looks, Gentlemen, as if we're gonna have to sit down to table and work out an agreement. Before this entirely too-weird scenario can play itself we go back to - THE BACK LAWN OF THE CHATEAU - Sam and Vincent are closer to the Chateau, moving in stealth, avoiding any entanglements and then Sam turns a corner and comes face to face with - A GUARD, and his gun is aimed at Sam's head: Sam's a dead man as we go - BACK TO THE DINING ROOM AUTOMATIC WEAPONS FIRE splits the night, and everyone in the room looks at one another, before Mikhi speaks. MIKHI What was that? BACK OUTSIDE THE CHATEAU - The Guard who had Sam in his sights falls down, dead, shot by - Vincent, whose smoking weapon is cradled in his arms. Vincent smiles at Sam. VINCENT That's one less I owe you... Sam smiles, but it's no time to get satisfied. their presence revealed, there's no point in moving quietly. Sam draws his weapons and as he and Vincent charge across the lawn towards the Chateau while - BACK IN THE DINING ROOM - MORE GUNSHOTS from outside -- not a war, but enough to cause serious alarm. Deirdre, ever the soldier, draws her two automatic pistols. DEIRDRE (to Seamus and Mikhi) You two stay here and watch our mutual interest. She nods at Gregor and his Briefcase, indicating what this mutual interest is. Then she turns and bolts the room, and as she does we're - BACK OUTSIDE THE CHATEAU - Sam and Vincent are running along, hugging the ground and whatever darkness they can find, while blind weapons fire rips into the ground around them, Russian thugs not even sure what they're shooting at, but shooting all the same as Sam and Vincent hurtle towards - A BACK ENTRANCE TO THE CHATEAU - Some kind of kitchen storage area, and as Sam and Vincent burst in from outside - FIVE RUSSIAN HOODS come flying in from an interior entrance, and this is it, Sam and Vincent are outnumbered, outgunned, they're going to die and then - They take out the entire room - Sam holds an automatic pistol in his left hand, and a submachine gun in his right, and when he fires, he does so in short controlled bursts, firing only when he has the target in his sights, while - Vincent fights with a kind of sheer force, a shotgun in one hand, an Uzi in the other, he fires at anything and everything that moves, and he hits almost all of it - And suddenly the room is quiet. Everybody's dead except for Sam and Vincent. They drop their spent weapons and take out fresh ones even as they move towards - THE DOOR - It leads to two passages, each one leading to a separate wing of the chateau. SAM Let's work our way through the building. I'll take one wing, you take the other. Vincent and Sam split up, moving into separate WINGS of the Chateau, and as they move off Sam speaks a word of warning. SAM Watch your back, Vincent. And then they're gone, and we're with - Deirdre, who's running through the house, going from room to room, and we're with her for a minute, the JAPANESE DRUM starts to play again, and now it's joined by more and more drums, and they continue for the test of this sequence and suddenly - A HUGE BURST OF GUNFIRE is heard, dragging Deirdre's attention towards - THE BALLROOM - And Sam's in the middle of a pitched battle with three Gunmen. He kills the first, and then the second, and then - No third. The Third Gunman rolls out of the way as Sam fires, the Third Gunman fires back and - Their shots go wide, ripping into mirrors and chandeliers, littering the floor with glass. And now we're - ON DEIRDRE - Running through the halls as we hear one last burst of gunfire: somebody in the ballroom is dead. Deirdre has almost reached the ballroom when - Sam comes flying out, and the two of them CRASH TOGETHER, sending the two of them sprawling into - The shot-up mess that used to be the Ballroom - And as they crash to the ground, Sam loses his weapon in the fall, but Deirdre manages to hold onto one of her two guns. Now the two of them roll to their feet, and as they do we're back in - THE DINING ROOM - Seamus the Madman is pacing the floor, his face even worse than before: with each minute the mask of flesh that is now his face is becoming more grotesque. Little pustules have started to form all over its surface, oozing a whitish viscous liquid. A NEW BURST OF FIGHTING SOUNDS can be heard, and Seamus, who is no longer capable of thinking straight, loses it. SEAMUS I can't take it anymore. (to Mikhi) Watch him, man, I'm going out and finish what needs finishing! And Seamus is gone, and so are we -- back to - THE BALLROOM - Where Deirdre has her two guns pointed at Sam and - Does nothing. BEAT. SAM Go on, them... But Deirdre can't do it. There's something between these two, and now - Sam looks around and sees Deirdre's other pistol lying on a broken chair, and now he - Kicks out with his foot and hits the chair leg, causing it to function as a lever, sending the gun - THROUGH THE AIR in a graceful SLOW-MO arc until it - THWACKS into Sam's Hand. Now he's armed and he looks back at - Deirdre. Her FINGER tightens on the trigger, she's almost ready to shoot -- if Sam raises his piece, he's a dead man. DEIRDRE Let it go, Sam, walk away. In response Sam stares at Deirdre for a BEAT and then he smiles an enigmatic smile and - He steps sideways, into a nearby corridor, vanishing. DEIRDRE God damn it! She runs after him but she's too late -- The corridor outside is empty. Now we're back in - THE DINING ROOM - With Gregor and Mikhi, and the tension is unbearable, because they can hear the sounds of the fighting as it starts and then stops, but they don't have the least idea of what's going on. Still, Mikhi won't let Gregor leave without giving up the Briefcase. Mikhi has a gun on Gregor, who in turn holds the Briefcase close, ready to open it and set off the 5 Second Timer that will blow it up. GREGOR (a feral hiss) We'll die if we stay here! MIKHI (threatening with the gun) You'll die if you leave here. Gregor sits back down, fairly close to Mikhi. Then, in a manner so deft that Mikhi never even notices, Gregor extracts a wickedly thin stiletto blade from the leather lining of the Briefcase. Before Mikhi can even react, Gregor stabs his arm forward in a savage arc - JAMMING THE BLADE into Mikhi's throat. Mikhi drops his gun and reaches for the blade, already gagging on the blood spray which shoots from the slashed artery. Within seconds - Mikhi falls to the ground, jerking viciously in his death throes as - Gregor picks up the pistol and runs to leave the room, and as he does we move to - THE GALLERY - Filled with Paintings and Sculptures, nothing less than 200 years old. This place is a maze, what with it's walls of paintings that jut out here and there, the various corridors which lead from room to room, and the sculptures which block sight lines. Now we find - Vincent, pressed against a wall, a gun in each hand, while - FIVE RUSSIAN MAFIA GUYS are hunting him down. We do a SERIES OF QUICK CUTS as the Five Guys split up and look for Vincent, all the while speaking in low Russian voices. Suddenly one of the Guys turns a corner and sees - Nothing. No Vincent. Now he turns back and - A FIST CRASHES through a painting which hangs on a makeshift wall. It's Vincent. His hand wraps around Mafia Guy's neck, pinning him in place. Seconds later - Two quick shots rip through the painting, hitting Mafia Guy in the head. Now - The other men are alerted by the shots, they come running and - Vincent steps out firing - And now it's a bullet-fest, as he gets the drop on them, using the maze of the Gallery to his fullest advantage, gunning them down - First one - Then two - Three, and then - No four. Vincent turns, surprised that his man wasn't where he expected him to be when - A SHOT RINGS OUT, hitting Vincent, a flesh wound that disarms him. The Last Guy has the drop on Vincent. Now - The Last Guy smiles a nasty little smile at Vincent and - A PISTOL spits fire and - A BULLET bursts out of the Last Guy's chest. It's Sam. Now Sam and Vincent exchange a look: Sam has, once again, saved Vincent's life. VINCENT You have to stop doing that! SAM I'll work on it... The two men don't have time for any more words, they move from the Gallery and find themselves in - THE DINING ROOM - Where they find nothing but the bloody remains of Mikhi the Gangster. Sam and Vincent are surveying the room when a VOICE comes from BEHIND them - SEAMUS (O.S.) Turn around real slow, and try hard not to breathe when you do it. ANOTHER ANGLE - Seamus Reilly has come in behind them, and he's got his gun pointed straight at Sam's heart. If Seamus is enraged at discovering Gregor's absence, he's overjoyed to find Sam in his place. SEAMUS It's you... (touches his face) You're the one did this to my face, are you? SAM That's me. SEAMUS Have a nice afterlife. Seamus pulls the trigger and his BULLET spins out towards Sam, ready to blow a hole through him except that - Vincent leaps forward and takes the bullet -- it rips into his side, a huge splash of red against his white shirt. He falls to the ground, horribly wounded, but he's given Sam enough time, and now - Sam and Seamus open fire on one another - BULLETS RIPPING into the table, chewing up the china and crystal, taking glass shattering bites out of the CHANDELIER above the table, turning the Dining Room from a primo Louis XIV showpiece into shit as the two men move about and then suddenly - They're face to face, each with a gun to the other - Mexican Standoff. Suddenly, from Off Screen - DEIRDRE (O.S.) Seamus! ANOTHER ANGLE - Deirdre has appeared, her gun leveled at the two men. SEAMUS Deirdre, do for him, woman, put a fucking bullet in his head! Deirdre hesitates, uncertain. SEAMUS Do it, for Christ's sake, do it so we can find that stinking Gregor, he's got the bloody package! For God's sake, you're a soldier... These last words sink into Deirdre: she is a soldier. Her gun swivels towards Sam. SEAMUS (sensing he's getting to her) You're one of us...You been born and bred with your own people, you can't go against your nature. C'mon, girl, I'm you're people. Deirdre makes up her mind. DEIRDRE I'm no girl, Seamus... She fires a shot - Blowing Seamus off his feet and through a huge PLATE GLASS WINDOW. DEIRDRE And you ain't nobody's people. She moves with Sam to Vincent, who is seriously wounded -- perhaps life-threateningly so. SAM (to Deirdre) Let's get him out of here... VINCENT Finish the job... SAM And now... VINCENT (a commanding whisper) Finish it! Sam considers, but before he can make up his mind, Deirdre sees something through the wreck of the Dining Room Window - OUT ON THE BACK LAWN - We've already seen that it's bordered on one side by the woods, for the first time we notice - A LAKE, which laps against a PRIVATE DOCK, where a row boat is tethered. Now - BENEATH A VERY FULL MOON, the stark figure of Gregor makes its way toward the Dock. DEIRDRE (calling out) Sam... Sam turns at the sound of her voice and sees Gregor making his escape. Sam looks back at Vincent, who is almost passed out from blood loss. VINCENT I'm really sick of you saving my life. Go out and get the bastard. Same makes up his mind, and as Vincent passes out, Sam runs out after Deirdre and towards - THE PRIVATE DOCK - And as the two of them run we MOVE WITH THEM. DEIRDRE He's got the briefcase rigged to explode five seconds after anybody other than himself tries to open it. And now they reach the Dock and they find - Nothing -- no Gregor. And the Boat is still there. Before Sam can restrain her - Deirdre stps out towards the Boat. SAM Deirdre, wait up -- But it's too late: Gregor steps out from behind - A BOATHOUSE, and before Deirdre can even figure out what happened, Gregor has her in an arm lock, a gun to her head. His free hand sticks out and we see the Briefcase, which is still handcuffed to his wrist. GREGOR You might have made a good field agent you arrogant American prick, but you're not smart enough to go up against me. Gregor and Deirdre are poised at the edge of the lake. This Private Dock is made completely of stone, and the drop to the water is nearly five feet. Sam has reached a position where there is no right answer. Still, he points his gun at Gregor, who in turn shields himself with Deirdre's body. GREGOR Go ahead, shoot... Shoot and kill the bitch, I don't care. (beat) And yet you don't shoot. Interesting. Put down your weapon and walk away. DEIRDRE Don't do it, Sam! GREGOR Shut up! DEIRDRE He'll kill me anway, Sam, shoot though me and kill this fucker. SEAMUS (O.S.) (a horrible croak) If you don't, I will... ANOTHER ANGLE - Seamus is somehow still barely alive -- he's not long for this world, but the will for revenge has driven him this far. SEAMUS (to Sam, in a cold pale rage) Shoot that traitorous bitch and I'll let you live. THE TOP OF SEAMUS'S HEAD explodes, finishing him off once and for all, killed by - Vincent, who has staggered out to make this one necessary shot. But he can go no further, and he collapses in his own blood, near death, just as - Gregor takes a step towards the boat and - Sam makes up his mind and shoots - THE BULLET FLIES ACROSS THE SCREEN - IMPACT - The Briefcase bursts, shot open by Sam and now we're in SLOW MOTION as - Gregor relaxes his grip on Deirdre as he struggles to close the case and - Deirdre takes the opportunity to dive the other, into the lake, while - BABOOM! The case EXPLODES, a flash of phosphorescent white light that incinerates Gregor and the case and whatever was inside it with an explosion that knocks Sam to the ground and when the light clears - Gregor and the case are gone, while - THE EXPLOSION ECHOES out over the lake, booming again and again until finally there is - SILENCE. Sam looks out over the lake for any sign of Deirdre - But there is none. And then, after we've held for a BEAT longer than it should be possible for her to have survived - her head splits the surface and she emerges, coughing. Sam reaches down to help her out. SAM Are you alright? DEIRDRE Alright? It's bloody fucking freezing in here! Sam pulls Deirdre out of the water and then the two of them immediately turn and move towards Vincent, and as they do we start to PULL BACK on them, and now the SOUNDS of SIRENS can be heard, one, then two more, and then a symphony of noise. And we're STILL PULLING BACK ON - THE CHATEAU - Or what's left of it, because it's started to burn, and quickly the flames start to rise into the night, like something out of medieval times as we - DISSOLVE TO: INT. A HOSPITAL WAITING AREA - NIGHT Sam waits outside a hospital room, inside of which we get a glimpse of - A DOCTOR tending to a heavily bandaged and sedated Vincent. As Sam waits - TWO GENDARMES and a PLAINCLOTHES DETECTIVE approach. The Detective looks at Sam for a BEAT, and then goes to push past him. Sam blocks his way. DETECTIVE I need to speak with that man. SAM I'm sorry, I can't allow that. Sam reaches into his coat, and for a moment everybody thinks he's going for his gun, but instead he comes out with - A PIECE OF PAPER. He hands it to the Detective. SAM Call that number and ask them what you should do. The Detective eyeballs the number suspiciously. FIVE MINUTES LATER - The Detective hangs up a nearby wall phone and then looks over at Sam in disgust. Without another word, the Detective signals to the two Gendarmes, and all three men exit. Now - The DOCTOR, a beautiful French Woman, comes up and speaks to him in FRENCH -- and the amazing thing is that Sam speaks back. Everything in SUBTITLED. DOCTOR You can see your friend, now. SAM Thank you very much. DOCTOR The field dressing you put on saved his life. (giving him a look) Where di you learn to do that? SAM Here and there, I guess. The Doctor isn't entirely satisfied with this answer, but it's the only one she's going to get, because Sam moves past into - INT. VINCENT'S ROOM He's barely alive -- but alive nonetheless. And he's heard Sam speak in French to the Doctor. VINCENT You son-of-a-bitch... SAM What? VINCENT You speak French. SAM What of it? VINCENT (in mock exasperation) Nothing... He lies back on his pillow, pissed and yet amused. VINCENT (repeating the Doctor's words in English) "Your field dressing saved his life." That's three I owe you. SAM You don't owe me a goddamned thing, Vincent, and you know it. You stepped in front of a bullet for me. (very seriously, he now believes this) I owe you a heavy debt. VINCENT (relishing this) I know. SAM (rising to leave) You better get some sleep, alright? VINCENT Tell me something first. (a quick beat) The package: what was it? SAM I don't know. Nobody knows, except a bunch of people who are too dead to tell us. There's probably a couple of guys back at the Company who know, but I don't think they plan to tell me anytime soon. VINCENT What happened to it? SAM Gone. Destroyed. VINCENT (sighs, then a beat) I guess that's for the best. Sam turns for the door but Vincent has one last thing to say. VINCENT Sam, when Gregor had Deirdre by the lake, you could have killed the two of them with one shot. You could have had the package, finished the job. But you didn't, you sacrificed the job to save her life. Why? Same has to think about this for a second, and his answer reveals just how full circle he's come. SAM It's what you would have done. And on that note Sam exits the room, leaving a bemused Vincent behind. EXT. THE BANK OF THE RIVER SEINE - EARLY MORNING A WISPY FOG atmospherically rises off the river -- not too thick, not too thin. A TITLE: One month later... We're MOVING along the cobble-stone walk next to the river as a VOICE cuts through the fog. VINCENT (V.O.) Would you just smoke already... A RIVERSIDE CAFE - Where Sam, Vincent and Deirdre are having morning coffee. A mostly-healed Vincent is smoking a cigarette, trying to get Sam to light up. SAM I told you, I quit. VINCENT Just to keep me company, Sam -- I hate smoking alone. (turning to Deirdre) How about you? I thought all you IRA types smoked. DEIRDRE Only the stupid ones. Cigarettes kill more patriots than bullets. (a quick beat) Besides, I'm not IRA no more. VINCENT So where do you go from here? DEIRDRE I don't know. I was thinking...Maybe the three of us might partner up -- guns for hire, that sort of thing. VINCENT I'm up for that... The two of them turn to Sam, but he shakes his head. SAM Not me. You work too often with the same people and you become friends -- clouds your judgement. DEIRDRE Come off it, Sam -- if we weren't friends already we wouldn't be here now, would we? VINCENT She's got a point. (playing a trump card) Besides, I know of a job that's available. Sam can't help it -- he's interested. SAM How much does it pay? SLAM CUT TO: EXT. OUT ON THE RIVER SEINE - MEANWHILE SILENCE AND FOG. A RIVER FERRY does a slow ghostly glide down the river, and in seconds it approaches - THE RIVERSIDE CAFE, which appears through the mist, looked at by -- A SLEEK PAIR OF SUN GLASSES attached to a young PUNK in a leather coat, and the Punk is looking at - Sam, Vincent, and especially: Deirdre. Sam looks up and shouts a warning as - The Punk pulls a shotgun from beneath his leather coat, pumps the gun and screams out at Deirdre with an Irish accent - PUNK This is for Seamus! BOOM! The Punk pulls the trigger, a blast of fire as - Sam's gun is already out, TWO QUICK SHOTS squeezed off and - The Punk is capped twice in the head, dead, sailing away on the Ferry which never stops as - THE CAFE goes wild, CUSTOMERS running, screaming, WAITERS dropping their trays. But - Sam doesn't run, and neither does Vincent. Sam stands, stunned by what he sees - Deirdre lies on the ground, hit full on in the chest: she's dead. A BEAT OF PURE SILENCE - Broken by SIRENS in the distance, but quickly growing closer. Now - Vincent looks at Deirdre's corpse, then at Sam, who is unable to move. For maybe the first time in his professional career, Sam is staggered by the loss of a life. Vincent gently takes Sam's arm. VINCENT (soft yet urgent) We have to go, Sam, we can't be here. Sam looks at Vincent, and for a moment Sam struggles to find something to say, but he can't find a goddamned thing. The SIRENS are getting louder - VINCENT (a little louder, bordering desperation) Let's go!! Vincent literally drags Sam away and now the SIRENS have arrived, followed quickly by - THE GENDARMES, who come running into the Cafe but - It's empty except for Deirdre's body. Now - THE STREET ABOVE THE RIVER - Sam and Vincent are running through patchy fog, Vincent leading the way, and now - We're CLOSER ON Vincent as he runs and runs and runs until he feels he's far enough away from the scene of the crime to relax. He collapses against a stone wall, chest heaving, shaking out two cigarettes, one for himself and one for Sam. VINCENT (thrusting the cigarettes out to Sam) Doctor's orders... But Sam isn't there to take the cigarette -- Vincent looks around, trying to see what happened to his friend, but the fog has covered any sign of Sam. Vincent stands there, stunned, alone, the cigarettes in an outstretched hand that slowly falls back to Vincent's side as he realizes that Sam has left him on purpose. Then - Vincent lights both cigarettes at the saem time and throws one of them over the stone wall - THE GLOWING CIGARETTE arcs through the air until it lands in the river where it extinguishes with a hiss. VINCENT (O.S.) Goodbye, Sam... BACK AT THE CAFE - The Gendarmes have secured the scene (there isn't much to secure since everyone has run away). A majority of cops surround Deirdre's dead body, but - One GENDARME wanders around the cafe, looking about, and then he sees something - ON THE STREET ABOVE - A SHAPE IN THE FOG. The wind blows and the fog clears for a second, and we see that it's - Sam. Getting one last look at Deirdre. Quickly - The Gendarme points Sam out but as he does the wind continues to blow and - THE FOG swallows Sam. Seconds later the fog clears again, and when it does - Sam is gone. FADE OUT. \ No newline at end of file diff --git a/unformated_scripts/Script_Roommate, The.txt b/unformated_scripts/Script_Roommate, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..54f765bf6470a43f3c603a22aa54a3d71bc98f3f --- /dev/null +++ b/unformated_scripts/Script_Roommate, The.txt @@ -0,0 +1 @@ + THE ROOMMATE Written by Sonny Mallhi Revision by Frank Baldwin April 9, 2009 INT. COLLEGE DORM ROOM - DAY Sunlight pours through the window of an empty, silent dorm room. The room seems alive, somehow. As if it's waiting patiently for this year's kids. A long beat. The room darkens for an instant. Just the sun, right, dipping behind a cloud? Maybe. INT. DORM HALLWAY - DAY OVER CREDITS, we PAN DOWN a hallway full of COLLEGE KIDS. They carry boxes, stereo speakers, stand around chatting. EXT. SIDEWALK - DAY SARA MATTHEWS, 18, gets out of a taxi in front of a dorm. She's pretty, with optimistic eyes and brown hair cut just above her shoulders. She's dressed casually, but still chic. No parents. She carries a backpack on one shoulder, a duffle bag on the other, and a huge suitcase in her hand. And she's staring through the building's window at... Newly-minted COLLEGE STUDENTS milling about inside. Their parents in tow, pride and sadness mingled in their faces. INT. DORM LOBBY - DAY Sara walks to the registration table. A RESIDENT ASSISTANT smiles up at her. SARA Hi. Sara Matthews. She looks her up in the computer. She plays with a simple silver chain around her neck. R.A. Des Moines, Iowa. Wow. Flyover country. She says it nicely, but it still stings. Sara smiles gamely. R.A. You're in room three-sixteen. Welcome. She hands Sara a room key. She fingers it, smiling. 2. INT. DORM HALLWAY - DAY ELEVATOR DOORS OPEN ON Sara as she... Pushes an ancient, flat-bed cart out of the elevator and down the hall, struggling to control its wobbly wheels. She bumps into other carts, but everyone just laughs it off. Sara stops in front of Room 316. INT. DORM DOORWAY - DAY She opens the door and looks in on: A run-of-the-mill freshman dorm room. Tiny; bathroom down the hall; twin beds. Heaven. Sara steps in. She looks at the two empty beds. Big choice here. She drops her stuff on the bed by the window. She sits down on it. A beat. I'm really here. First things first -- Sara takes a framed picture out of her duffle bag and sets it on the dresser. It's a picture of a YOUNG GIRL, maybe ten. She looks a little like Sara. Sara hauls a white, Styrofoam DESIGN MANNEQUIN off the cart. It's full of pin and chalk marks. She sets it by her bed. SARA Told you we'd make it. She steps back to the doorway. As she hauls her suitcase off the cart... BOOM! Another cart slams into hers. A box tumbles off the other cart. GIRL Sorry! Bad driver. Sara kneels to help the other girl -- cute, frizzy hair -- clean up the mess. A slew of clothes lie on the carpet. And peeking out from under them... a bottle of vodka. The girl smiles sheepishly. GIRL In case of emergency. (BEAT) I'm Tracy. SARA Sara. 3. Balancing boxes, they manage to shake hands. EXT. CAMPUS QUAD - DAY A gorgeous fall day. Sara strolls across the quad, taking it all in. Kids tossing frisbees... hacky-sacking... sunning on the grass. Music pours out of speakers mounted in dorm windows. EXT. CAMPUS COFFEE SHOP - DAY Sara's cell phone buzzes. She answers it. SARA Hey. Yeah, it's amazing here. I met this really cool biker? He's taking me to Mexico this weekend. (BEAT) Hello? (BEAT) Hi, Mom. Just tell him I'm kidding. Sara stops in front of the campus coffee shop. She eyes a work/study ad on the wall. SARA Everything's great. (BEAT) No, she's not here yet so I got to choose my side of the room. She tears a tab off the flyer. EXT. COLLEGE DORM - NIGHT Establishing shot of Carnegie, a solid red-brick dorm. INT. SARA'S ROOM - NIGHT Sara's half-settled in now. The wall beside her bed is peppered with fashion pages ripped out of Vogue and In Style. She sits in a lounge chair, paging through a Vanity Fair photo shoot. She spots a cool outfit and tears out the page. A KNOCK ON THE DOOR. Sara walks over. She opens it expectantly to see... 4. Tracy, Tracy's roommate KIM, and two other HALLMATES. All dressed to party. TRACY Psi U.'s throwing a bash. Let's go. SARA Psi U.? TRACY They're a frat. Beer... guys... SARA I don't know... I might just hang and wait for my roommate. Groans all around. "Come on"... "Lame-O"... Sara bites her lip, considering. She smiles. SARA Alright. Just let me change. The girls cheer. EXT. PSI U. FRATERNITY HOUSE - NIGHT Establishing shot of a proud frat house. Students piled on a giant porch and there's a long line going up the steps to the front door. Music blasts out of the windows. INT. PSI U. FRAT HOUSE - NIGHT Sara, Tracy, Kim and the others from the floor are at the head of the line, stepping into the house. They're met by a FRAT BOUNCER. BOUNCER (motions to a crowded keg) If you want beer, I'll need ID's. TRACY For a frat party?! Seriously? He holds up a handful of ugly lime-green wristbands. Kim steps around him. KIM I don't drink anyway. Tracy looks at her, mouth agape. 5. BOUNCER There's punch and non-alcoholic beer over there... He points to a table with a giant bowl and cups. No one is around it. Tracy tries to flirt with the bouncer. TRACY Come on, just us. We won't tell. The bouncer is tempted but not budging. BOUNCER Honestly, I'm just a pledge. They'll kick me out. She stomps by him. TRACY Wuss. Defeated, Tracy walks over to the table. Turns back to Sara. TRACY You want something to drink? SARA What's the point? Tracy huffs as Sara walks into A SEA OF KIDS. We're talking extreme fire hazard... extreme moral hazard. Sara moves through the crowd. Her clothes are low-wattage, but stylish. She's drawn to the music coming from a large room. A HIGH-ENERGY COLLEGE BAND on stage. They're not very good, but they don't care. Sara finds a spot along the wall and watches them. In particular -- THE DRUMMER. A cute goof, spastically whaling away. He's mouthing the lyrics, eyes closed. Really into it. Sara chuckles at the sight, not taking her eyes off him. He definitely stands out. Suddenly, a hand grabs her shoulder. Tracy pulls herself in with Kim close behind and they start dancing to the band. Juice spilling over the brim of her cup. Sara stays by the wall, afraid of getting any spilled on her. 6. TRACY (yells over the music) Why aren't you dancing? SARA To this? TRACY They're not that bad. Tracy pulls Sara deeper in the crowd. Now all three start jumping up and down to the music. Sara's getting into it as Tracy chugs her drink. INT. FRAT HOUSE - DANCE FLOOR - LATER A DJ rules the room now. Sara and Kim are dancing with others from the floor. Sara notices a speck of punch on her shirt. She stops dancing. Wets her fingers and tries to rub it out. SARA Crap. Kim still dances as Sara starts to look around. SARA Where's Tracy? KIM She was getting more punch. Sara then spots Tracy, with a full cup, precariously climbing onto the stage next to the DJ's table with a bunch of other girls already dancing. She starts dancing suggestively, egging on the crowd. SARA Uh oh. Guys yell out. "Show em." Several hands armed with camera phones stretch out above the crowd. SARA (SHOUTS) Tracy. Tracy can't hear her. Sara starts making her way to the stage. Tracy is dancing, getting into it. She grabs the bottom of her shirt. Teases the crowd. 7. SARA (LOUDER) Tracy. Don't. Sara slams into STEPHEN, 21, the DRUMMER from the band... who inadvertently dumps his whole beer down her shirt. Sara gasps. STEPHEN Damn! Sara's drenched as an enormous cheer erupts from the crowd. Camera phones clicking all at once. Sara looks up. STEPHEN Oh. Woops. SARA (ANNOYED) I have to go clean this up. She turns. STEPHEN Looks like my plan backfired. Sara turns back towards him. SARA What plan? STEPHEN To spill beer on you so I can start a conversation. SARA You spilled beer on me purposely? STEPHEN (NODS) You pissed? She looks at him. Pretty good looking. Goofy smile. It's hard to be mad at him. She then grabs a beer out of a dancing partier's hand and dumps it on Stephen. SARA I'll get over it. He laughs, making her smile. 8. SARA I'm not sure how she's so wasted. All she's had is punch. Stephen grins conspiratorially and grabs her hand. STEPHEN Come on. INT. FRAT HOUSE - BAR Stephen, now with a full beer watches as Sara sips some of the punch. SARA It's pretty good. She drinks some more. SARA It doesn't taste that strong. STEPHEN Exactly. He takes a drink of his beer as Sara takes a long chug of hers. STEPHEN Stephen. By the way. SARA Sara. INT. FRAT HOUSE - DANCE FLOOR: SOME TIME LATER Stephen and Sara are dancing. She's holding her cup. Drinking, bumping into a couple of people. Stephen laughs, grabs her hand, pulling her back towards him and TWIRLS her, bringing her close. She notices, for the first time, that he's not wearing a wristband and grabs his wrist with her other hand. SARA Hey, why do you get to drink beer? STEPHEN Twenty-one. SARA Old man. 9. STEPHEN Tell me about it. My back is killing me. They don't move for a moment, Sara's resting her back against his chest. STEPHEN Besides, frat brothers don't have to wear those ugly wristbands. SARA Ugh. You're in this frat? He jokingly untwirls her away and she bumps into people behind her. Sara laughs as she notices Kim, dancing, Holding up a cup of punch. KIM (SLURS) Did you try the punch? It's pretty good. SARA What happened to Tracy? Kim shrugs. KIM I'm the worst roommate ever. Kim goes back to dancing Sara looks a little worried which Stephen notices. STEPHEN Do you want to look for your friend? Sara looks at him sweetly. Nods. INT. STAIRCASE They spot Tracy propped up against the railing at the bottom of the stairs. Sara rushes over to her. A couple frat boys stand over her. Not sure what to do with her. SARA (BUTTS IN) I got her. 10. She struggles to hold Tracy up -- the girl's heavier than she looks and Sara's balance is not so great, herself. The frat boys notice her struggling. FRAT BOY #1 Who's got you? Tracy nearly brings Sara down to the floor... But Stephen's there to catch her. STEPHEN Guess that would be me. But then he stumbles, nearly dropping them both. SARA Who's got you? Stephen looks at Tracy in one arm. The other arm around Sara's waist. STEPHEN (SMIRKS) Apparently God. Sara rolls her eyes. INT. CARNEGIE DORM - NIGHT Sara, Stephen, and Tracy stumble into the dorm lobby. Sara wears a jacket Stephen gave her for the walk. Kim and ANOTHER GIRL step forward and grab Tracy. KIM Thanks Sara. SARA No problem. They linger, smiling, checking out Stephen... They step into the elevator. Holding it for Sara. KIM You want us to wait? Sara turns and glares at Kim. An obvious "NO!" Kim lets the doors close as Sara turns back to Stephen. 11. STEPHEN You know, I'm going to be pulling kitchen duty all week for helping girls leave a frat party. It's like opposite everything we stand for. Sara leans in and gives him a long kiss. Then separates, but her lips still very close to his. SAEA (low and romantic) Does that make it worth it? STEPHEN Honestly, no. She laughs out loud. SARA Do you want to come up? STEPHEN (DEEP BREATH) More than I can tell you, but that wouldn't be fair. Sara starts to take off Stephen's jacket. He stops her. STEPHEN Keep it... till next time. SARA Thanks again. For everything. (BEAT) And, sorry about kitchen duty. He smiles... and walks away into the night. Sara looks after him... and now it's her turn to take a deep breath which suddenly makes her a little more queasy. INT. DORM HALLWAY - NIGHT Sara heads for her room, holding onto the wall as she goes. She reaches her door. She takes one more deep breath, then opens it. 12. INT. ROOM 316 - NIGHT Sara closes the door behind her. Almost pitch black; just a little moonlight through the window. Sara knocks into her lounge chair. SARA Ow! She reaches her bed and plops down on her back. Breathing hard. Clenching her eyes shut. The room is spinning. She may puke at any second. She struggles to sit up. She fumbles for the lamp next to her bed, almost knocking it over. She hits the switch, revealing: The other bed. Sara screams. GIRL Hi. FLASH. The girl takes her picture, further blinding and disorienting Sara. SARA Who are you?! GIRL Rebecca. Your roommate. Sara calms, catching on. SARA What are you doing? REBECCA Taking your picture. SARA Why? Rebecca shrugs. Sara grabs her stomach. SARA Oh shit. Her cheeks chipmunk as she rushes out the door. Rebecca smiles. 13. INT. DORM HALLWAY - NIGHT: LATER Sara gingerly walks out of the bathroom back to her room, holding her head. The door is slightly open. INT. DORM ROOM - NIGHT It's dark. Rebecca's covers are pulled up to her neck. Her eyes are closed. SARA (WHISPERS) Rebecca? No answer. Sara makes it back to her bed. She falls onto it, and turns toward the wall. Rebecca's eyes open. And they stay open. She watches Sara go to sleep. EXT. CAMPUS QUAD - DAY It's the middle of the day and students carry their books everywhere. INT. DORM ROOM - DAY Sara wakes. Headache; dry mouth; the works. The sun through the window is way too bright. She slowly turns over to see... Rebecca, up and about, arranging her side of the room. In the light of day, we see that she's a knockout. Mellow music plays through top-of-the line speakers that flank an awesome stereo system. Rebecca sees that Sara's awake. REBECCA Hey Sara. Sara stares at her blankly. Who is this girl? What happened last night? Rebecca smiles. REBECCA We met last night. 14. SARA Right... (racking her brain) Starts with a... "T"? REBECCA Close. Rebecca. She hands Sara a glass of water and two aspirin. REBECCA Come on. It'll help, trust me. Sara washes down the aspirin. SARA Thanks. Rebecca smiles, genuinely touched. SARA (SUDDENLY PANICKED) I didn't throw up on you, did I? REBECCA (LAUGHS) No. You made it to the bathroom. Sara looks around the room. Her lounge chair has been moved to her side. Rebecca starts to tape drawings to the wall.. .They're various self-portraits of Rebecca. Sara looks at one where Rebecca is staring straight back at us. No smile. SARA Did you do those? Rebecca nods. SARA They're really cool. REBECCA I just like capturing my moods. A beat. Sara closes her eyes. Bits and pieces of the night before are coming back to her now. SARA Rebecca -- did you take my picture last night? 15. REBECCA (LAUGHING) Yeah. It's just something I do. For my drawings. (BEAT) C'mon, let's hit the bookstore. The walk will help your head. Sara rolls over, groaning. SARA It's too damn early for me. REBECCA It's three in the afternoon. Sara's eyes bug out. SARA Holy shit! INT. BOOKSTORE - DAY Sara walks along the back aisle, weighed down with textbooks. All look used and worn. Fashion Design. Psychology. Calculus. She spots the last book she needs and reaches for it just as another GIRL reaches too. They both pull back, neither sure who has claim to it. GIRL So what do we do? Sara looks her over. Checks out her outfit. SARA Nice bag. Dior? GIRL (FLATTERED) Yeah. Sara snatches the book. SARA I'm on financial aid. 16. INT. BOOKSTORE - LATER Sara finds Rebecca by the art supplies, she's picking up the stuff she needs. Sara scans Rebecca's books. They're all art books, shiny and new. Sara's phone rings. She looks at it: "JASON". She sighs. Her finger hovers over the "talk" button. A beat. She hits it right before it goes to voicemail. SARA (ANNOYED) Jason. What are you doing? JASON (O.S.) I just wanted to hear your voice. SARA I told you not to do this. JASON (O.S.) I need to talk to you. SARA You're just making it harder. JASON (O.S.) Sara, listen I... I want to come out there. SARA (SNAPS) But you didn't come out here, remember. That's the problem. She says it too loud. Other students in line are eyeing her. SARA (CONT'D) (QUIETER) I've gotta go. Sara hangs up. She exhales, flustered. REBECCA That didn't sound good. Boyfriend? SARA Ex. Off Rebecca's confused look. 17. SARA It's complicated. A beat. Rebecca's warm smile makes Sara want to open up. They walk along the stacks of books. SARA We dated since tenth grade and were supposed to go to college together. (BEAT) We both applied to Brown. I got in; he got wait-listed. I stuck to our agreement and we both committed here. Then two weeks ago...a spot opened up at Brown ...and.. REBECCA No?! He took it? (Sara nods glumly) What an asshole. SARA Yep. REBECCA Do you miss him? SARA Sometimes I think I do. REBECCA It's hard to let go. (SMILES) Believe me, I know. But, you're in college now. A girl's gotta move on. Sara smiles, glad to find a kindred spirit. She looks at her phone... and stuffs it into her pocket as they reach the register. INT. DORM ROOM - NIGHT Rebecca sits on her bed, drawing. Sara is putting her books away on a shelf. As she reaches the end of it, she notices something out of the corner of her eye. SARA Oh my God. REBECCA What? 18. Sara walks to the closet. Her modest clothes hang on one side. But the other side is now taken up by Rebecca's KILLER COLLECTION. SARA I am so jealous. REBECCA I know... I've got a lot of clothes. Mind if I put some on your side? SARA No problem. REBECCA Borrow anything you want. Really. I haven't worn half of them. Sara reverently fingers through them. Chloe. De La Renta. Alexander McQueen. Jimmy Choo shoes. A Miu Miu handbag. Some still carry their price tags. SARA Jesus, some of these I've only ever seen in Vogue. REBECCA My parents idea of bonding is to turn me loose in Beverly Hills with a Platinum card. SARA Oh, you here? REBECCA Pasadena. Off Sara's confused look. REBECCA (CONT'D) About 20 minutes away. SARA That's cool. You can go home on weekends. Free laundry. Free meals. REBECCA Not gonna happen. Sara gives her a puzzled stare. 19. REBECCA It's a long story.. .Let's just say nothing's free in my house. She wants to know more... but it's too soon to pry. She nods at Rebecca's drawing pad. SARA Can I take a look? She walks over. Rebecca clutches the pad to her chest. REBECCA No. Sara stops dead in her tracks. Rebecca realizes that came across pretty harsh. REBECCA Not till it's done. Nothing personal. It's just my... process. (SMILES) I wouldn't want to show you anything unless it was perfect. SARA (SMILES BACK) Sure. EXT. CAFETERIA - DUSK Establishing shot of a big college cafeteria. INT. CAFETERIA - DUSK Sara and Rebecca have just finished their dinner. REBECCA I thought you were a design major. Why are you taking Calc and psychology? The girls get up with their trays. SARA (with a smirk) I am. I want to be well-rounded. (off her look) And they're requirements. 20. TRACY (O.S.) Hey Sara. Sara sees Tracy sitting by the window with Kim. Sara walks over, but Rebecca doesn't follow. SARA Hey. Tracy... Kim... this is my roommate, Rebecca. She turns, but Rebecca is standing at a distance. Sara waves her over. Rebecca comes, reluctantly. She flashes a small wave. REBECCA Hi. TRACY RRRRRREBECCA. How formal. What can we call you? KIM How 'bout Reba? Tracy sticks her finger down her throat. Gag me. SARA I like Becca. Tracy's grimace vetoes that one, too. TRACY How 'bout Becky? SARA Becky's good. The girls all turn to Rebecca for approval. REBECCA I like Rebecca. Buzzkill. TRACY OOOKAAAY. Rebecca walks out. Sara shrugs at Tracy and Kim. 21. EXT. DESIGN BUILDING - DAY Sara enters the Design building. INT. HALLWAY - DAY Sara peeks in the open door of a classroom. Frustration in her eyes -- the class she couldn't get into. She watches PROFESSOR ROBERTS -- long-haired, dashing -- lecture his students. PROFESSOR ROBERTS So... here we are. Design 101. And each one of you is asking yourself the same question... (he taps his own chest) Who is this guy? Why should I turn off my Blackberry and pay attention to him? Mild laughter from the class. PROFESSOR ROBERTS I'll tell you why -- because I hold the keys to the kingdom. Think of your favorite designers. Marc Jacobs. Vera Wang. Rick Owens. Magicians, right? I've got news for you: All of their magic stems from the same source: the fundamental principles of design. (BEAT) I can teach you those principles. He lets the power of his words sink in. PROFESSOR ROBERTS The journey to the catwalks of New York... Paris... Tokyo... starts right here, in this room. And all you have to do is open your minds. Man, she wants in. DISSOLVE TO: 22. INT. SAME HALLWAY - LATER Sara stands by the door, watching the students file out. As the last one leaves, she screws up her courage and walks in. INT. CLASSROOM - DAY Professor Roberts is gathering up his papers. SARA Professor Roberts? He flashes a disarming smile. SARA I'm sorry to bother you, it's just... (BEAT) I absolutely must take this class. PROFESSOR ROBERTS I'm afraid we're full. But don't worry -- Intro Design has three other sections. SARA But you're not teaching them. I want to learn from the best. He smiles at her. PROFESSOR ROBERTS What's your name? SARA Sara Matthews. (BEAT) I brought a request form. She holds it out to him. He takes the form, but his eyes stay on Sara. Roaming over her. PROFESSOR ROBERTS Tell me, Sara -- why should I sign your request form when I've turned down a dozen others? Would that be fair? Sara's face falls. A long beat. 23. SARA No, I guess it wouldn't. Thanks anyway. She walks toward the door. Roberts' eyes go to her ass. PROFESSOR ROBERTS But... (SHE TURNS) Who said life was fair? You happen to have two things I can't teach... He walks to her... and hands her the signed form. PROFESSOR ROBERTS Style. And Desire. He smiles, signs the form and hands it to Sara. Sara clutches the form to her chest, smiling. INT. DORM ROOM - DAY Sara and Rebecca sit on their respective beds. Rebecca listens to her Walkman. Sara types on her laptop. SARA Hey. Rebecca removes her earbud. SARA What's your Facebook page? I'll add you as a friend. REBECCA I don't have a Facebook page. SARA Myspace? REBECCA Nope. I don't spend a lot of time ON-LINE Sara stares at Rebecca. No way. SARA Come here. Rebecca walks over and looks at the computer over Sara's shoulder. 24. ON COMPUTER SCREEN: Sara's Facebook Page. Her picture in the corner. Pictures and posts from a dozen friends. Among them: A STYLISH, ATTRACTIVE WOMAN in her 20s. REBECCA Who's she? SARA Irene. She graduated from the Art Institute out here last year. REBECCA (INTRIGUED) She's an artist? SARA A design apprentice for Marc Jacobs. Hey, check out these posts. Sara scrolls down Irene's recent posts: "Paris was amazing"... "Milan in the Fall"... "Off to Barcelona"... etc. SARA I mean.. .who doesn't have a Facebook page?! Rebecca laughs. REBECCA Okay, okay. I'll get one. Tracy knocks on the partially open front door... and marches right in. TRACY Cancel those library plans. Guess who made the guest list at Rebar? (BEAT) You guys in? I trust you have fake IDs? SARA Of course. REBECCA I don't. TRACY Yes you do. Thanks to my badass self. 25. Tracy pulls out a fake ID. She walks to Rebecca and holds it out to her. A peace offering. Rebecca stares at Tracy for a beat... then goes back to her sketchbook. REBECCA I'll pass. Clubs really aren't my scene. Tracy stands there, hung out to dry, the ID in her hand. INT. CLUB - NIGHT A posh Los Angeles bar. Loud and packed to the gills with mostly young students. Sara and Tracy stand at the bar, getting jostled, looking like... two naive college kids. As they try to get the bartender's attention, older guys check them out, smiling and mouthing "Hi." Sara tries to ignore them, but Tracy's in heaven. TRACY How great is this? No parents. No curfews. SARA No shit! They clink their empty glasses in a toast. SARA Can I? She puts her wallet and cell phone into Tracy's purse. TRACY Too bad Rebecca blew us off. Talk about the life of the party. SARA Don't be mean. TRACY I'm just saying. SARA She's just a little hard to get to know. TRACY Yeah right... 26. As Tracy rolls her eyes... The BARTENDER sets two drinks down in front of them. He nods down the bar at... TWO MIDDLE-AGED SUITS. Tracy flashes them a smile. Sara's not so sure about this. SARA What do you think? TRACY I think... Tracy raises her shot glass. She and Sara clink and drink. Tracy waves at the suits again. Thanks guys. TRACY We can do better. She takes Sara's hand and pulls her out onto the dance floor. INT. CLUB - DANCE FLOOR - LATER Sara and Tracy whirl in the hot mix of bodies. Having the time of their lives. A HANDSOME GUY moves in, his eyes on Tracy. Tracy loves it. They dance together as Sara watches, smiling. Tracy and the handsome guy drift further away from Sara. Sara is now dancing by herself. A GUY moves in on her, but she politely dances away. She scans the dance floor for Tracy. Where'd she go? She steps off the dance floor and scans the bar -- no sign of her. INT. CLUB - BATHROOM Sara walks into the crowded ladies' room. SARA Tracy? 27. EXT. CLUB - NIGHT A bummed Sara walks out of the club alone. She rubs her arms against the chill. She nervously tugs on her silver chain as she scans the STRAGGLERS loitering outside. SARA (LOUD) Tracy. She takes one last peek into the club doorway, hoping against hope that Tracy will magically appear. No luck. She starts walking down the street, away from the club. Weary and unnerved. INT. DORM ROOM - NIGHT Rebecca lies in bed, wide awake in the dark. Her cell phone rings. She stares at it. Two more rings. She picks it up. REBECCA Hello? OPERATOR (O.S.) Would you accept a collect call from... Sara Matthews? REBECCA Yes. She smiles. EXT. GAS STATION - NIGHT An old school gas station on a barren corner of the city. No cars in either direction. A lone white 328i BMW with a black soft top sits next to an ancient pump. Rebecca, half asleep, climbs out and grabs the nozzle, sticking it in the fuel tank. Starts pumping. MAN (0.S.) Can I help you out? She turns to see a 20-year-old, good-looking gas station attendant. His name tag: "Rick". Rebecca sizes him up. 28. REBECCA I'm fine. Just in a hurry. She keeps pumping. Speeding it up. Rick ambles up to her, treading beyond appropriate personal space. He points to the "Full Service" sign. RICK Just doing my job. She stands her ground as he places his hand over hers on the gas pump and squeezes. She looks down at his hand on top of hers. Then lets go of the pump, nudging his hand away. REBECCA All done. She pulls the nozzle out of the tank and tries to place it back at the pump. He stops her. Motions to her face. RICK You have a little something. No, she doesn't. He, ever so gently, rubs his index finger and thumb on her cheek to remove the imaginary smudge until he lurches back. RICK (CONT'D) The hell? His crotch is wet as gasoline drips from the nozzle. REBECCA Sorry. But she does it again, holding the lever down, dousing him head to toe. He scrambles backward out of range. REBECCA (CONT'D) Sorry again. Rick. The nozzle's still in her hand, pouring gas in every direction. She opens her car door, grabbing a lighter. Rick's pissed. Charges towards her. RICK You spoiled c--- He spots the lighter in her hand. Dead stop. She absentmindedly flicks it. It sparks but doesn't light. 29. The gas is now pouring towards him. The meter on the pump is still ticking up. He scrambles again as she casually flips the lighter at him and drops the still pouring nozzle. A hint of a grin and a pitying shake of her head as she pulls out a loose hundred dollar bill. Places it on top of the pump. REBECCA Pussy. She gets into her car and drives off. Leaving Rick soaked in gasoline. INT./EXT. DINER - NIGHT Sara sits by herself in a booth by the window. Hugging a cup of hot, sobering coffee. Rebecca's car pulls up into a parking spot. The headlights shine right in Sara's eyes... and now turn off. Sara's tired eyes light up as she sees Rebecca get out of the car. She waves. Rebecca doesn't wave back as she heads for the door. INT. DINER - NIGHT Rebecca walks up to Sara's booth. SARA Nice car. REBECCA Thanks. (BEAT) So, where's Tracy? SARA No idea, I couldn't find her. Rebecca sits down, dropping her purse and keys on the table. REBECCA As long as I'm here... you hungry? SARA Starved. Sara smiles gratefully. Rebecca opens the menu. 30. REBECCA I can't believe she ran out on you. SARA I know. Thanks for coming. Rebecca looks up from the menu. REBECCA Tracy had her shot tonight. Tomorrow you're all mine. I'll show you the big city.. .the right way. And I promise I won't abandon you. Deal? Sara smiles. SARA Deal. INT. MOCA - DAY Rebecca leads Sara through the sculpture room. REBECCA These are the modern pieces. A little wilder than the old stuff. She's a savvy tour guide, confident, at ease. She doesn't just walk past pieces -- she studies them. Sara's impressed. Sara's cell phone buzzes. She checks the display: "Jason". She tilts it so that Rebecca can see and rolls her eyes. She buries her cell phone in her purse. Sara spots a bizarre metal structure and walks over to it. SARA Okay, I have no idea what this is supposed to be. REBECCA (LAUGHING) Even I don't get that one. Come on, I want to show you something. INT. MOCA - LATER Rebecca shows Sara into a room full of paintings. In the background is a banner announcing an upcoming Richard Prince exhibition. 31. They stop in front of Richard Prince's "Nurse of Greenmeadow." It's a portrait of a woman in a nurse's mask. Her eyes peer directly at the viewer. Blood is smeared on her smock. REBECCA This is my favorite. Sara steps closer to examine it. Rebecca stays behind her. REBECCA I love how he captures her personality through her eyes. It's like she really wants to help you. Rebecca's hands tug anxiously at her shirt. She really wants Sara to like this painting. Sara moves even closer. She squints, trying to see what Rebecca sees. The woman's expression in the painting is actually pretty sinister. Sara's a little freaked out... but she turns to see Rebecca's hopeful expression. Sara brightens. SARA Amazing. I love it. EXT. SIDEWALK - DAY Sara and Rebecca window shop along a block of thrift stores. Sara spots a graffiti-laden wall next to a tattoo parlor. Some first-rate tagging here -- bright colors, funky shapes. SARA That is so cool. REBECCA No graffiti in Des Moines? SARA Sure. "Bobby loves Jenny. Chrissy loves Rick." Nothing like this. Rebecca pulls out her camera. REBECCA Hey, smile. Sara poses... but now grabs Rebecca and pulls her in. SARA Both of us. 32. They both hold the camera, extended at arm's length. Rebecca clicks. She looks at the picture. She can see the tattoo parlor in the background. REBECCA Now that's one "art form" I don't get. Needles into skin? No thanks. SARA I have a tattoo. Rebecca smiles. Yeah, right. But she can see in Sara's eyes that she's serious. REBECCA Really? Sara pulls down her shirt and sweater a bit to reveal, over her heart, a simple tattoo: "Emily". SARA My older sister. She died when I was nine. REBECCA Oh, I'm sorry. SARA (pats her heart) This keeps her with me. REBECCA I always wanted a sister. Sara smiles and interlocks her arm with Rebecca's as they walk down the street. INT. DORM ROOM - DAY Sara sits on her bed in sweats, typing on her laptop. Rebecca sits on her own bed, glancing over at Sara as she draws. SARA Guess who I'm listing as my favorite artist on my Facebook page? (BEAT) Richard Prince. Rebecca smiles, genuinely touched. She walks over to check out the rest of Sara's Facebook Favorites. Favorite book, favorite band, etc. 33. REBECCA (LAUGHING) Your favorite movie is "Coyote Ugly"? SARA Don't laugh. It's about a small town girl making it in the big city. REBECCA Isn't every movie?! They both laugh. EXT. CITY STREET - DUSK Sara, in shorts and warm-up jacket, runs down the sidewalk. Her head's on a swivel, taking in the city sights. INT. DORM ROOM - NIGHT Rebecca takes down a few of her drawings. In their place, she puts up a big "Coyote Ugly" poster. She straightens it out. Satisfied. She checks her watch and walks to the window. She looks out, anxious for Sara to come home. She looks over at Sara's side of the room. Curious, she starts perusing her things. Books... CDs... She walks to Sara's dresser and picks up the picture of Emily. She tenderly brushes Emily's face with her thumb. She spots Sara's silver chain. She picks it up and places it around her neck. She fingers it carefully and looks at herself in the mirror. She smiles. EXT. CARNEGIE DORM - NIGHT Sara finishes off her run strong, striding out the last ten yards to the dorm. She catches her breath and hears a kitten. Sara looks in-between the columns outside the dorm and finds a STRAY KITTEN. She's cute as they come, a black-and-white furball. SARA Hey there. 34. The kitten purrs. SARA Look at you. She kneels and pets it. The kitten purrs. SARA No collar, baby? Sara glances around to see if anyone is watching. CUT TO: INT. DORM ROOM - NIGHT Sara quickly walks in and closes the door. Rebecca sits in her windowsill, drawing. Sara sits down on her own bed. She notices the "Coyote Ugly" poster. SARA (TAKEN ABACK) Wow. REBECCA I thought you'd like it. Rebecca sees the moving bulge under Sara's jacket. She cuts Sara a look. Sara sighs. Apprehensively, she unzips her jacket and the kitten pops out. Rebecca sits up. The kitten jumps over to her bed. She pets it. REBECCA Sara... SARA I know, I know. It's stupid, and I've just broken about forty different dorm rules, and I should just take it to a shelter... REBECCA (BEAT) What do you want to name it? Sara's face lights up. She smiles gratefully. SARA Really? 35. REBECCA It'll be our secret. Just between us. Rebecca keeps petting the kitten. Getting more attached. SARA I named her in the elevator. Cuddles. She smiles and scoops her up. Suddenly, her smile vanishes. SARA Is that my necklace? Rebecca touches it. She'd forgotten she still had it on. REBECCA Sorry. I was just trying it on. Sara puts down the kitten and walks to Rebecca, who quickly takes it off. Sara takes it back, annoyed. She rubs it protectively. SARA This was my sister's. REBECCA Oh. Sara looks at it a moment longer. She looks at Rebecca. SARA You can borrow anything of mine. Except for this. Okay? It's the only thing I kept of hers. Rebecca nods. Sara sits down on the bed next to her. REBECCA I'm really sorry. SARA It's okay. You didn't know. REBECCA Were you two close? SARA Yeah. You're the first roommate I've had since she died. So, it feels a little odd. 36. REBECCA In a good way or a bad way? Sara smiles. SARA A good way. EXT. CAMPUS QUADS - MORNING Establishing of life at the quads. INT. CAMPUS COFFEE SHOP - DAY A cool college hangout lined with old wooden tables and comfy couches. More like a living room than a coffee shop. Lots of laid-back STUDENTS and... One stressed-out Sara, dropping drinks off at a table and now rushing back to the register for the next order. Her CO- WORKER, clearly stoned, moves in slow motion. Not a care in his world. SARA (TO CUSTOMER) You wanted a mocha smoothie, right? O.K. Do you know what's in that? The kid shrugs. Sara hops to the blender and guesses some ingredients. She starts it up. She takes her hand off the lid, and... THE BLENDER EXPLODES, splashing mocha smoothie all over her apron. She's frozen in shock. The co-worker casually hands her a towel. She snatches it. She turns to find... STEPHEN, standing at the front of the line. STEPHEN This seems like a pattern. Sara smiles. She's psyched to see him, in spite of the havoc. She leans in and speaks quietly. SARA Just because I kissed you doesn't mean I'll let you cut in line. STEPHEN So what does it mean? 37. She coyly shrugs. STEPHEN Hey, the gentlemen of Psi Upsilon are reviving a sacred tradition tonight. Sara stares at him blankly. He smiles. STEPHEN We're having another keg party. SARA I.. dunno. I'm still having flashbacks from the last one. Sara laughs. STEPHEN You know what? How about if I use you as my excuse not to go. Sara smiles, bits of smoothie dripping from her apron. INT. DORM HALLWAY - DAY Sara walks off the elevator, still sky-high. She walks through the lounge, where Tracy sits on the couch. A television plays in the background. TRACY Hey. Sara thinks about ignoring her but stops. Her tone is cold. SARA Hey. TRACY Psi U. tonight? SARA So you can ditch me again? TRACY Sara... the guy had a Porsche. And a hot tub. SARA That's your apology? Tracy jumps up and walks over. 38. TRACY What I meant to say is -- I'm sorry -- I totally screwed up. Down the hall, we see Rebecca open her door and peek out. She watches Tracy and Sara. Tracy gives Sara sad, puppy dog eyes. Sara laughs. SARA I forgive you. Tracy gives her a big, exaggerated hug. Over Sara's shoulder, she spots Rebecca looking at them. Tracy flashes a big smile. Relief at making up with Sara. But that's not how Rebecca takes it. SARA But you're on your own at Psi U. Because... (DRAMA BUILDING) Someone has a date. Rebecca hears this. She slips back into the room and closes the door. Sara turns and walks down the hallway. INT. DORM ROOM - DAY Sara walks in to find Rebecca slipping into a black dress. SARA You look... nice. REBECCA (EXCITED) Thanks. Richard Prince is having a showing. I bought two tickets. (BEAT) Since he's your favorite artist... SARA Actually, I... sort of have a date? REBECCA (DISAPPOINTED) Oh. Okay. Major downer. Rebecca goes back to getting dressed. Heavy silence in the room. Sara watches her. A beat. SARA You know, I could reschedule. 39. REBECCA (being a martyr) You don't have to. SARA I want to. On one condition... Sara pulls a cute jacket from her closet and puts it on Rebecca. They both look at Rebecca in the mirror. Wow. Rebecca smiles. REBECCA I love it, who's the designer? SARA What are you, a label whore?! Who cares ...I got it at a flea market and it looks great with the dress. Rebecca nods in agreement. SARA It just needs one last touch... She grabs a pair of small, gold hoop earrings from her dresser. She places them in Rebecca's hand. SARA I'm gonna jump in the shower, then we'll head out. She grabs her stuff and hurries out the door. Rebecca eyes the earrings in her palm. She turns towards the full-length mirror behind the door. As she leans into the mirror, we see that her ears aren't pierced. She takes one of the earrings and touches the pin against the skin of her right lobe. After a moment of hesitation... SHE PUSHES THE PIN IN HARD. A small pop. She flinches. Blood trickles down her ear onto her neck. She wipes it off with her thumb and touches the other hoop to her left ear. INT. ART GALLERY - DUSK Sara and Rebecca at the Richard Prince showing. The paintings are all similar to the one we saw in the museum. A series of women, peering at the viewer. 40. Rebecca wears her hair up, showing off her earrings. Every guy in the room is checking out these two babes. But Rebecca's into the art, and Sara is texting Stephen. ON CELL PHONE: "sorry. next time : (" Rebecca notices and frowns. Sara puts the phone away and starts studying the paintings. EXT. COLLEGE DORM - NIGHT It's night and there's not a soul in sight. INT. DORM HALLWAY - NIGHT We track slowly down the empty hallway, towards the door to the... INT. DORM ROOM - LATER Sara sleeps peacefully. Cuddles lies on top of her, awake. Her eyes glowing in the dark. Creepy. But not as creepy as... Rebecca in the other bed. She's staring back at the kitten. Envy in her eyes. Of Cuddles... or of Sara? Rebecca removes the covers and quietly gets out of bed. She walks over to Sara's bed... but not to pet Cuddles. She stands directly above Sara. Looking down at her. If Sara would simply open her eyes, she'd see her. INT. DORM ROOM - BARELY SUNRISE Tracy is passed out in her bed. She stirs as she wakes. She reaches around her, slapping her end table. TRACY Water. I need water. She stumbles to the mini-fridge and looks in: Empty. She groans. She grabs an empty cup... opens her door... And lets out a sharp little scream. INT. DORM - HALLWAY - SAME Rebecca sits right across from Tracy's door, her back against the wall. Staring at Tracy. 41. TRACY Rebecca? What are you doing? Rebecca cocks her head at Tracy, as if she's trying to comprehend her. A beat. She stands... and walks to her. Tracy takes a step back, shaken by Rebecca's calm, morose demeanor. Rebecca stares right into her eyes. She makes a slight move towards Tracy, who flinches. Rebecca turns and walks down to her room. At her door, she turns and smiles. She disappears into her room. Tracy stands there, spooked. EXT. QUADS - DAY AERIAL VIEW of Sara and Rebecca walking to class. Tracy walks ten yards behind them, waiting until... Rebecca and Sara wave "goodbye" to each other and head down different paths. Tracy hurries after Sara and catches up. SARA Hey. How was the party? Are you still the beer bong queen? But Tracy's in no mood to joke. She pulls Sara to a stop. TRACY Listen... something is up with your roommate. SARA What do you mean? TRACY She was outside my room this morning. SARA Doing what? TRACY Waiting for me. I opened my door... and there she was. Just sitting there, staring. Like some psycho. SARA Are you sure? 42. TRACY You don't believe me? SARA No, it's just... why would she do that? TRACY Why don't you ask her? I've gotta go...I'll see ya later. Tracy stops and watches Sara as she continues on. Tracy turns to go the other way, but before she leaves her eyes catch Rebecca standing in front of a nearby building. Rebecca stares at Tracy much like she did in the hallway. Tracy leaves in a hurry. INT. CLASSROOM / STUDIO Sara sits in her Design class. Professor Roberts stands at the podium. Three white design mannequins behind him, each sporting a different fashion style. PROFESSOR ROBERTS Contrary to popular opinion, beauty is not in the eye of the beholder. It's in the hands of the designer. Sara listens intently, soaking it all in. Her cell buzzes with a text message. She discreetly takes a look. PROFESSOR ROBERTS Who can tell me the difference between fashion and style? FROM IRENE: "4th & ford. be there now." Sara smiles at the message. Professor Roberts notices Sara looking at her cell phone and calls on her. PROFESSOR ROBERTS Miss Matthews? Without missing a beat, Sara replies. SARA Fashion's something you can buy, but style you either have or you don't. 43. PROFESSOR ROBERTS Exactly. All the money in the world can't buy you style. SARA But it can buy you a good stylist. The class chuckles. Professor Roberts smiles. EXT. BUILDING - DAY Sara comes out of the building, texting on her cell as she walks. Rebecca is waiting, holding two cups of coffee. SARA Hey. How'd you know when my class got out? Rebecca shrugs, playing it off. REBECCA I'm your roommate. Sara smiles and grabs a cup. SARA Thanks. CUT TO: EXT. QUADS - LATER They walk through the quads. Other students are around, some strolling leisurely, others rushing to get to class. SARA Listen... Tracy told me something kinda weird. She says you... scared her this morning. Rebecca stops and looks at Sara. She starts laughing. REBECCA What? SARA Yeah. 44. REBECCA It's more like she scared me. She was racing to the bathroom like she was gonna hurl. She almost knocked me over. A beat as Sara ponders it all. She smiles. SARA The girl does like to party. Anyway, I wouldn't worry about it. Rebecca takes a victory sip as Sara gets another text from Irene: "where r u?!?!?!" SARA I gotta go meet Irene. (raises her cup) Thanks for the coffee. Rebecca watches her walk off. She takes another sip. EXT. STREET CORNER - DAY Sara gets out of a cab. She looks up at a big building. INT. STUDIO - HALLWAY Sara walks through a design studio. Models and make-up artists are rushing around, dragging thousands of dollars worth of dresses. Sara loves the place's chaotic energy. She knocks on an open door and sees a YOUNG MODEL being worked on by a designer who isn't much older. IRENE, 28. IRENE (mouth full of pins) Finally. She gets up to hug Sara. Nearly tearing the dress. INT. STUDIO - BACKSTAGE - LATER Irene is putting a dress together on a MODEL. Sara watches in awe. An OLDER DESIGNER walks by... checks on Irene's work... nods his approval... and leaves. SARA I so want to be you when I grow up. 45. IRENE Hell, I wanna be me when I grow up. MAKE-UP GIRL (TO SARA) She's going to be a star. Irene rolls her eyes. IRENE You know, your dad left me four messages last week. Making sure I'm looking out for his baby. SARA Oh god. I hope you told him I'm closing down the library every night. IRENE I told him I haven't seen you. And that for all I know you're a crack ho by now. Even the model laughs. SARA Perfect. INT. LIBRARY - DUSK Sara walks along, looking for a table. She spots Stephen sitting by himself. Drumming on his leg with a pencil. Ignoring the open textbook in front of him. She sits down across from him. They both smile. STEPHEN I haven't seen you around too much since you blew me off for dinner. SARA Sorry again. Actually, how about dinner tonight? STEPHEN Hellllo. I'm studying. She takes his book. He's on page two. SARA Page two? Busted! 46. STEPHEN Yeah, but it's really dense. Off Sara's smile. STEPHEN (CONT'D) Okay. Let's go. INT. DORM HALLWAY - NIGHT Kim exits the bathroom and passes Tracy coming the other way. KIM How's it goin? TRACY Hey. Tracy, wearing just a towel, and brushing her teeth as she walks, steps into the bathroom. INT. DORM BATHROOM - NIGHT She hums to herself as she spits out the toothpaste. She removes the towel and steps into the shower, pulling the curtain closed. As she shampoos her hair... The lights go out. TRACY You have to be kidding me. Hey! The only light is some distorted moonlight through the window. Tracy steps out of the shower, grabbing her towel. Just as she starts to feel her way along the wall... The lights come back on. She sighs happily... sheds her towel... and steps back under the steaming water. A beat. The lights go off again. TRACY Goddammit ! She turns off the shower. A beat of silence, but now... one of the other showers turns on. What the hell? TRACY Hey, how about turning on the light? 47. No response. Yet another shower turns on. TRACY Who's out there? Tracy, back in her towel, nervous now, feels her way along the wall again. She turns on the lights. The curtains are drawn in front of both running showers. Tracy stares at them. A beat. TRACY I know it's you. She walks over to the shower. A beat. She rips away one curtain. Nothing behind it but the running shower. She turns it off. She stares at the other curtain. TRACY Sara thinks you're weird. She told me. She pulls back the other curtain... nothing. She turns off that shower, too. But she can still hear running water. She looks back. The curtain from her own shower is closed again. The sound of running water behind it. She walks over. TRACY Not funny, Rebecca. (under her breath) Bitch. She grips the curtain. She steels herself. She yanks the curtain open to see... Just running water. Tracy shakes her head. She looks around -- no one. She slips her towel off and slips back under the water. Screw Rebecca -- she's going to finish this shower. TRACY Freak. Just as the warm water starts to relax her... THE SHOWER CURTAIN CRASHES OVER HER, pile-driven by Rebecca. The curtain comes right off the rings. Tracy is slammed against the shower wall. She hits the floor hard, with Rebecca on top of her. Water pelting them both. 48. Rebecca clamps a hand over Tracy's mouth and pins her against the wall. The shower curtain covers her from the neck down. Tracy -- wide-eyed and terrified -- stares at Rebecca. REBECCA So Sara thinks I'm weird? Let me tell you what I think. I think you're a little whore, and a bad influence on her. And I think that if you tell anyone about... what I'm about to do... you'll regret it. Rebecca, one hand still on Tracy's mouth, slides her other hand beneath the shower curtain. Tracy's eyes widen further. Rebecca finds what she's looking for... gets the grip she needs... and violently jerks her hand out of the curtain. A muffled scream from Tracy. Tears stream down her face. Rebecca stands. As Tracy sobs quietly on the shower floor, Rebecca looks down at... The bloody ring in her hand. REBECCA Nice belly ring. She tosses it to Tracy... and walks away. INT. FRAT HOUSE LIVING ROOM - NIGHT Sara and Stephen are sitting on a couch. His arm around her shoulder, lightly playing with the ends of her hair. STEPHEN I'm going to flunk my test tomorrow, thanks to you. SARA Then let's make sure it was worth it. She gives him a slow, lingering kiss. STEPHEN Duh, joke's on you. I was going to flunk anyway. She smiles. 49. INT. DORM ROOM - NIGHT Rebecca sits on her bed, petting Cuddles, blood still on her fingers, humming the tune that Tracy was humming in the bathroom. She hears steps and voices in the hallway. She smiles -- must be Sara. She quickly turns off the light and pretends to sleep. But the steps pass her door and keep going. Not Sara. She turns on the light. Worry in her eyes. She picks up her cell phone and dials. INT. DORM LOUNGE - NIGHT Sara and Stephen step off the elevator. Time to say goodbye. STEPHEN Thanks for helping me... not study. SARA Anytime. He kisses her. Sweet and tender. Until... Sara sees Rebecca. Standing just five feet away. Staring at them. REBECCA Where were you? SARA Oh, hi. REBECCA I kept calling and calling. SARA Oh. I turned my cell off at the library and forgot to turn it back on. (FRAZZLED) Rebecca... this is Stephen. He flashes a smile. Rebecca doesn't even look at him. REBECCA I'm going to bed now. I'm glad you're okay. She walks out of the lounge. A beat. That was awkward. Sara bites her lip, as if to say: "What can you do?" 50. STEPHEN You got a curfew? SARA Well, she's right...I shoulda called. He smiles -- no big deal. He kisses her and steps into the elevator. They look at each other, waiting for the ancient doors to close. Stephen steps forward and sneaks in one more kiss. The doors close. Sara smiles; what a night. She glances down toward her door and sighs. EXT. QUADS - MORNING Sara and Rebecca walk in silence, sipping their coffees. Rebecca looks straight ahead, listening to her Walkman. As they reach the fork in the path... SARA I guess I'll see you later. REBECCA Sara... (SHE TURNS) Last night. I was just worried about you. SARA You don't need to worry about me. I can take care of myself. Okay? Rebecca slowly nods. REBECCA Sara. We're good, right? A beat. Sara nods and smiles. INT. LIBRARY - DAY Sara and Stephen at a table, books spread around them. Stephen is reading Rolling Stone. Sara's on her laptop, checking her Facebook page. She gets a message for adding a new friend... from Rebecca. She clicks to add her. 51. INT. LIBRARY Rebecca sits in a chair on the other side of the library. Unbeknownst to Sara and Stephen, Rebecca watches them through the glass. INT. LIBRARY Sara clicks onto Rebecca's Facebook page. She's listed only one friend: Sara. She's posted the picture of her and Sara in front of the graffiti wall. And some of her drawings. And a picture of a pretty brunette teenager, captioned "Maria." Sara looks at Rebecca's interests. Favorite Artist: Richard Prince. Favorite Passion: Drawing. Favorite movie: Coyote Ugly. Sara smiles. Best Friend: SARA. Her smile fades. SARA I'm already her best friend? STEPHEN That's a little sad. SARA Stop. But the look on her face says she agrees. STEPHEN Maybe she REALLY likes you...if you know what I mean. She looks at him quizzically. SARA I don't. He just looks at her, raising his eyebrows suggestively. SARA (CONT'D) You... are...a...moron. He grins. INT. LIBRARY - PERIODICAL RACKS Rebecca watches Stephen kiss Sara, her expression is tough to read. Is she jealous... or entranced? Sara gets up and leaves. Stephen goes to the stacks. 52. INT. LIBRARY - STACKS - LATER Stephen, alone, searches for a book among the remote stacks. The stacks are massive and endless -- row after row of them. Stephen thumbs through books, not finding the one he needs. He drops a book and bends down to pick it up. Over his shoulder, we see... REBECCA'S EYES in the space between the shelves. She's in the next aisle over. Stephen replaces the book. He walks down the aisle, looking at the numbers of the books. Rebecca mimics his pacing as she follows him down her aisle. Her hands gently brush against the books, her eyes on Stephen. He turns in her direction and stops in his tracks. So does Rebecca. She's completely still. Stephen walks over. He puts his hand on the book that covers Rebecca. He's about to pull it out and reveal her. But it's not the right one. He keeps walking. He reaches the end of his aisle... and Rebecca the end of hers. She's right around the corner from him. He reads the markers at the end of the aisle, trying to figure out which direction to go. Rebecca's hands are sweaty. She's nervous. Does she want to get caught? Stephen turns right, away from her, and starts down the next aisle. Rebecca softly exhales. And now whispers to herself. REBECCA Stephen. Stephen stops dead. Did he hear something? Guess not. He keeps going, scanning the book numbers again. STEPHEN Shit, wrong aisle. He doubles back, and turns into Rebecca's aisle. But it's... EMPTY. We hear a door close in the distance. 53. EXT. PARK - NIGHT Stephen and Sara walk on a tree-lined path. Holding hands. He checks his watch. STEPHEN Should we head back home? They walk by a small playground comprised of the slide, jungle gym, etc. SARA The question is "whose home?" STEPHEN Hmmm... SARA I'll make you a bet. I go back to your place or you take me home to my twin bed and roommate. STEPHEN What's the bet? She eyes the jungle gym. CUT TO: EXT. PARK - PLAYGROUND - NIGHT Sara and Stephen are each hanging from the jungle gym. This has been going on for a few minutes. Both straining. Stephen's worse off. STEPHEN This is kind of a stupid bet. SARA Why'd you agree? STEPHEN Apparently, I'm kind of a stupid guy. SARA Making me laugh isn't going to help you. They stare each other down. She's stifling a laugh, much more in control as Stephen is straining. 54. He tries to swing his legs and kick her. She avoids him. He catches a peek at her bare midriff. Finally, this makes him fall. She then lets go, victorious. SARA (CONT'D) I was a gymnast until I hit a growth spurt my freshman year. Stephen brushes himself off. Dejected that he was "this close". She walks up to him. Cocky. Gives him a playful shove. SARA (CONT'D) So I win. He gives her a playful shove back. STEPHEN So. She seductively walks back towards him. Takes his hand. SARA So...let's go back to your place. She gives him a seductive grin. INT. DORM ROOM - NIGHT Rebecca sketches in her bed. She looks at the clock: 1:00 a.m. And no Sara. History is repeating itself.. .and Rebecca's pissed. She rips out her sketch page and throws it away. She starts pacing the floor. She angrily moves Sara's chair back to her side. She whips out her phone and eyes the dial button. She starts to dial... but kills the call. She picks up her sketchpad again. Suddenly: A BUZZING SOUND from Sara's desk. Rebecca pulls out the desk drawer and finds Sara's cell phone. On the call screen: "JASON". A long beat. She pushes the talk button... but just listens. JASON (O.S.) Sara? REBECCA Mmmm? 55. JASON (O.S.) Sara, you answered. Thank you. Can we talk... about us? Rebecca's eyes clear. She's in control again. She sits down on Sara's bed, tossing Cuddles roughly to the floor. And now she lies down. REBECCA (WHISPERS) I miss you. She moves her hand across her stomach. JASON (O.S.) (RELIEVED) You do? REBECCA I want you, Jason. JASON (O.S.) I.. . want you, too. But... Rebecca's hand moves toward her panties. REBECCA I miss touching you. Do you miss touching me? JASON (O.S.) Like you wouldn't believe. REBECCA Prove it. INT. PSI U. FRAT HOUSE - HALLWAY - NIGHT Sara and Stephen slam along the walls, in a fever. Kissing madly, missing each other's mouths. At his door... he cracks it open and peeks inside. His room is a disaster. Definitely a new world record for empty beer cans, pizza boxes, and strewn clothes. STEPHEN Just give me thirty seconds. SARA You're kidding. 56. But he slips into the room and closes the door behind him. Sara leans back against the wall. Flushed, breathing hard. INT. FRAT HOUSE - ROOM - SAME Stephen is a whirlwind. He tosses everything -- beer cans, clothes, study papers -- into one big garbage bag. STEPHEN Almost there. SARA (O.S.) (through the door) I'm going to start taking my clothes off out here. STEPHEN Yeah, right. He's not quite buying it... but he's cleaning faster. SARA (O.S.) Oops! There goes my shirt... She's got his attention now. He speeds up. STEPHEN You know I don't believe you. (WORRIED) Wait, goddamnit, that's supposed to be my strip tease. SARA (O.S.) There go the jeans. He's popping breath mints... while clearing off his bed. STEPHEN I'm just going to put your clothes back on and make you strip again. SARA (O.S.) Hmmm. What's next? Top or bottom? Stephen stops and stares at the door. INT. FRAT HOUSE - HALLWAY - SAME Sara stands there, fully dressed. She looks down the empty hallway. 57. SARA Who do we have here? Hey guys! Let me ask you. Bra or panties? Bra? Okay, okay. Just calm down. The door swings open. Stephen stands in front of her, grinning. STEPHEN I knew you didn't have the guts. She flicks her bra at his face. He catches it, shocked. He tosses it aside and yanks her into the room. The door slams shut behind them. INT. DORM ROOM - SAME Rebecca is breathing harder and faster now. Still holding the phone, from which we hear Jason's moans. REBECCA Say my name, Jason. Until I tell you to stop. She puts the phone on speaker and lays it on the pillow beside her. Both her hands ease back under the covers. JASON (O.S.) Sara... Sara... Sara... Rebecca writhes, eyes closed. INT. FRAT HOUSE - ROOM Sara and Stephen make out in bed, half-naked. He lies on top of her. Looking into her eyes. Sweet and intimate. STEPHEN Sara... INT. DORM ROOM - SAME Rebecca writhes and moans. JASON (O.S.) Sara... Sara... They moan together. Louder and louder... and now they finish. A long beat. 58. JASON (O.S.) (catching his breath) Jesus, Sara. That was incredible. Rebecca smiles. JASON (O.S.) I miss you so much. Her smile dies. She picks up the phone. A cruel gleam in her eyes. REBECCA Don't ever call me again. She kills the call. And now deletes it from the phone log. EXT. CARNEGIE DORM - MORNING Carnegie Dorm on a bright, clear morning. INT. DORM ROOM - DAY Sara, hair mussed up but eyes shining. Sara opens her door and steps in. She's tentative, expecting Rebecca to jump down her throat. But Rebecca smiles. REBECCA Well, good morning. SARA Hey. Sorry I didn't call. I forgot my phone. REBECCA No problem. Sara opens her desk drawer and grabs her phone. She quickly checks. No calls. Rebecca looks Sara over and smiles. REBECCA Come on...don't I get any details?? SARA (SMILING) A nice girl doesn't kiss and tell. They laugh. A nice, easy vibe between them. 59. SARA You want to go get some breakfa-- Before she can finish, Cuddles bolts out the door and down the hallway. SARA Oh no. Sara chases after her as Rebecca gets up from her bed. INT. HALLWAY Sara turns the corner to see... The resident assistant, with Cuddles cradled in her arms. Sara apprehensively walks up to him. R.A. Is this your cat, Sara? SARA Maybe... R.A. She's cute... She nods as she gingerly takes Cuddles from his arms. She turns to walk back to the room. R.A. And if you keep her, I lose my job. Do we understand each other? She stops. Turns. Looks at him. SARA Yes. Sara walks back to her room. Rebecca stands in the doorway. They exchange despondent looks. Screwed. INT. IRENE'S APARTMENT - NIGHT Irene opens the door and Sara walks in. IRENE What took you so long? SARA I walked. 60. IRENE You didn't! SARA It's ten bucks for a cab and I'm a student. IRENE Sara! You can't just walk around downtown L.A. at night. This is not Des Moines. SARA Duh? IRENE Seriously, listen to me. That's why I own a gun. Sara's shocked. SARA What?! IRENE Absolutely! Big cities are crawling with crazies. Sara moves into the apartment. Her phone rings. She answers. SARA Hey. Oh, Hi. Yeah, I'm over at Irene's. I meant to leave you a note. Uh huh, uh huh, oh! That's a good idea. Let me check, hold on. Sara covers the phone and turns to Irene. SARA (TO IRENE) Do you like cats? IRENE Yeah, why? SARA We have to get rid of one. IRENE Can't. Travel too much. Poor thing would starve to death. 61. SARA You're right. (back into phone) No, she can't. Huh? Oh I don't know... whenever I get there. Bye. IRENE Who was that? SARA My roommate. More than a little overprotective. IRENE That's no fun. SARA So, where is it? IRENE What? SARA You said you had a surprise for me? IRENE Oh yeah. I went through my closet. There's nothing here I've worn in the past six months. Irene walks toward the couch where there's a pile of clothes. SARA You're kidding, all of these?! Oh no. IRENE What ...what? SARA We have no closet space at the dorms. Rebecca's already using half of mine. IRENE Oh my God, I just had the best idea. SARA What? IRENE Why don't you move in here with me? 62. SARA Seriously? IRENE Yeah, I'm never here. The place is huge. Ditch the roommate. And, the building allows pets. SARA Huh. Let me talk to Rebecca about it. IRENE Great. (BEAT) So, how's Jason? I really liked him. SARA We broke up. IRENE Yeah ...he sucked. INT. DORM ROOM - NIGHT - LATER Sara stuffs her new clothes into her tiny closet. The bags spill out into the room, taking up floor space. Rebecca sits on her bed, her laptop open. She's staring at Irene's Facebook Profile. There are some racy pictures of Irene and some girlfriends. REBECCA Hey. What're those? SARA Irene gave them to me. She had a lot more but we don't have the room. REBECCA Too bad she couldn't take Cuddles, huh? SARA Well, maybe that's not a problem. REBECCA Really? 63. SARA Yeah. She actually suggested that I move in with her. REBECCA What? (BEAT) You want to move? SARA No, of course not. I love living here... with you. Sara smiles as she sits down next to Rebecca, trying to put a bright spin on things. SARA Look, I'd still technically be living here. So you wouldn't have to get a new roommate. Her place is huge and it's not like you couldn't use the extra closet space. I'd just move some of my stuff over, and spend a few nights a week there. We'd both have a lot more space. REBECCA I don't want more space. I want... She checks herself. A beat of awkward silence. SARA Nothing's set in stone. It's just something to think about. Plus we'd be able to keep Cuddles. As Sara hangs more new clothes in her closet, Rebecca stares across the room at... Cuddles. EXT. QUADS - DAY As Sara crosses the quads, she spots Tracy up ahead, walking by herself. SARA Tracy! Tracy slows for a split-second, then keeps walking. As if she didn't hear anything. Sara hurries to catch up with her. 64. SARA Tracy... hey. TRACY Oh, hey. Tracy smiles, but weakly. The girl's lost all her sparkle. Her eyes dart around nervously, like a bird's. SARA I heard you changed dorms. TRACY Yeah, Conrad Hall. Seemed like a better vibe. SARA Well, we should get together. Like grab a bite or something. Right? REBECCA (O.S.) Sara! Sara turns and waves at Rebecca. SARA Hi. Rebecca starts to walk over to Tracy and Sara. TRACY (TO SARA) I'll call you. But she's already walking away. SARA Tracy?! REBECCA What was that about? SARA I don't know. She just walked away. REBECCA Well, she's always been a flake. 65. INT. CAMPUS COFFEE SHOP - LATER Sara whips up a latte for a customer, her cell phone to her ear. She's really got the hang of this job now. In charge, moving with a purpose. She snatches an issue of High Times from her co-worker's hand and points him toward the sink. He starts washing blenders. SARA (INTO PHONE) Hey. I do so call, Mom. Geez. Her latte customer rolls his eyes. Moms. He takes his drink and walks away. SARA Well, actually, I was thinking I'd do Thanksgiving here and see you guys for Christmas. She listens, her face telling us that she doesn't like what she's hearing. SARA Ya know what, I'm at work, and I'm really getting slammed... There isn't another customer in sight. SARA I'll call you later, okay? Tell Dad I said hello. Bye. She hangs up the phone and sighs. INT. DORM ROOM - DUSK Rebecca gathers her laundry into a giant duffle bag. As she carries it toward the door, she passes Cuddles, curled up on Sara's bed. She scoops her up. REBECCA Looks like it's just you and me tonight. INT. DORM BASEMENT HALLWAY - DUSK Rebecca walks downstairs, down the hallway to the laundry room. 66. INT. LAUNDRY ROOM - LATER Rebecca waits for her clothes to finish drying. Cuddles plays with a sock on top of a nearby washer. Rebecca checks on her clothes. They're dry, with two minutes still left on the timer. She stuffs the clothes into her duffle bag. She walks to the washers and picks up Cuddles. She pets her gently. She walks back to the dryer and places Cuddles inside. REBECCA (BABY TALK) See how nice and warm it is in there? Cuddles seems to enjoy the warmth. Rebecca closes the door and watches the confused kitten paw at the glass. She gently pushes the start button, just enough to get the dryer moving for a sec. Cuddles stumbles, falls over, and gets back up. Rebecca pushes the button again, a little longer this time. Cuddles stumbles. Flips over. The dryer beeps. OUT OF TIME. Cuddles meows at Rebecca, wanting out. She reaches into her pocket... and pulls out her last quarter. She gently places it in the slot. ON DRYER DISPLAY: 15 MINUTES. Rebecca stares through the glass at the kitten. She fingers the button. Before she pushes it -- CUT TO: INT. DORM ROOM - LATER Sara walks in to find Rebecca sprawled on her bed, crying. She rushes over. SARA Hey, what's wrong? Rebecca looks up at her, eyes red. Ashamed. REBECCA Cuddles got out. 67. SARA Oh no. In the dorm? REBECCA Outside. SARA What?! REBECCA I was doing laundry... I took her with me... She jumped out of the bag and ran outside. I went after her, but... (WHIMPERS) I'm so sorry. Sara stands, pissed. She wants to really go off on Rebecca... but the girl's so distraught, so fragile. SARA Maybe she'll come back. REBECCA (EMPHATIC) She won't. SARA I'm going to go find her. REBECCA Do you want me to help? But Sara's already gone, slamming the door behind her. INT. CAFETERIA - MORNING Sara and Rebecca sit alone at a table. Eating quietly. SARA Maybe it's... just karma or something. We weren't allowed to keep her anyway. REBECCA You're not mad at me? SARA It was an accident. (BEAT) It's just... stress after stress, you know? 68. REBECCA Is something else wrong? A beat as Sara decides whether to confide. SARA My parents really want me to come home for Thanksgiving. REBECCA You don't want to go? SARA It's not exactly the most festive holiday in the Matthews household. (BEAT) Emily died two days before Thanksgiving. A beat. Rebecca pats Sara's hand. SARA I know I should be there with them, but it's like there's a ghost at the table. REBECCA You can come with me. SARA (THROWN) What? Rebecca sits up, her excitement growing. REBECCA Yeah, spend Thanksgiving at my house. SARA Your folks wouldn't mind? REBECCA (LAUGHS) Please. Like they'd even notice. SARA Okay, we'll see. Thanks. 69. INT. CLASSROOM - DAY Professor Roberts stands at the blackboard, wrapping up a lecture. PROFESSOR ROBERTS Your midterm designs are due Friday. Remember, class: Simplicity. Who founded our industry? Eve -- when she handed Adam that fig leaf. Students laugh on their way out the door. As Sara walks past Roberts... PROFESSOR ROBERTS Sara. Could I see you in my office, please? SARA (SURPRISED) Sure. I've got a class right now. But I'll come right after it. INT. OFFICE - DAY Sara knocks on Professor Roberts' open door. She steps into his office. It's small and intimate, with books stacked along every wall. Scraps of fabric are pinned to cork boards. Roberts smiles at her from his chair. He walks to the door and closes it. He walks back, pulls a chair close to hers, and sits down. She crosses her legs, her knees accidentally brushing against his. PROFESSOR ROBERTS I don't think I need to tell you how impressed I've been with your work. (BEAT) Every year I go to Fashion Week in Paris. It's dazzling. The photo shoots... the parties... that incredible runway. When the first model bursts through the curtain and hits that catwalk? Sara, a roar goes up from that crowd that's like... nothing you've ever heard. (BEAT) The college allows me to take one student. All expenses paid. (MORE) 70. PROFESSOR ROBERTS (CONT-D) Full backstage access. Usually, it's a senior. (BEAT) But it doesn't have to be. Sara's pulse is racing. SARA I'm not sure I understand. Are you saying what I think you're saying? PROFESSOR ROBERTS I'm saying you have a shot. You'd have to earn it, Sara. SARA Of course. I'll do... anything. Roberts stands and walks to the window. He looks out at the quad... and now turns back to Sara. PROFESSOR ROBERTS I'd like to see more danger in your work. Your designs are always crisp; they're always clear. But they're a little... safe. That stung. Sara can't keep the red from rising in her face. Roberts walks over to her. PROFESSOR ROBERTS Don't be afraid to go to some of the... He delicately taps her temple. PROFESSOR ROBERTS (CONT'D) darker places in here. SARA Okay... He squats beside her, his hand on her shoulder now. He looks into her eyes. PROFESSOR ROBERTS The best designers push the boundaries of what's... acceptable. They take chances. Do you like to take chances, Sara? SARA Sometimes. 71. PROFESSOR ROBERTS So do I. He kisses her. Sara pushes him away, jumping out of her chair. She stands in front of him, shaking. SARA I can't believe you just did that. PROFESSOR ROBERTS I took a chance, that's all. With a student that I trust. SARA I better go. Sara grabs her books. As she heads for the door... PROFESSOR ROBERTS Paris, Sara. Fashion Week. Don't blow the chance of a lifetime. She hurries out of the office. INT. LIBRARY - DAY Rebecca sits alone at a study table. Sara walks up and drops down her books. THUD. Students look over from other tables. Sara doesn't care. She sits down and stares blankly into space, trying to forget what just happened. Rebecca leans over, concerned. REBECCA What's wrong? SARA My design professor just kissed me. Rebecca turns very serious. She gets up and sits down next to Sara. REBECCA Are you alright? Sara nods. SARA Yeah, it just really creeped me out. And I think the asshole's married. 72. Rebecca puts her hand on Sara's. INT. OFFICE - NIGHT Professor Roberts at his desk, set to call it a day. He tosses some design sheets into his briefcase. He opens a desk drawer... grabs his wedding ring... and slips it onto his finger. He hears FOOTSTEPS in the hallway. The sexy, unmistakable clicking of a woman's heels. They come closer... and now stop at his door. Roberts watches the door, waiting for a knock. Nothing. He walks to it. He can see the silhouette of two feet at the bottom of the door. He smiles -- Sara, coming back to him. He opens the door, revealing: Rebecca. She wears a snug v-neck cardigan, skin-tight black jeans, and silver stiletto heels. A small purse on her shoulder. Roberts swallows his surprise. REBECCA Professor Roberts? PROFESSOR ROBERTS That's right. REBECCA I'm glad I caught you. PROFESSOR ROBERTS Actually, I was just... But Rebecca steps past him into the office, her heels snapping on the worn hardwood floor. INT. OFFICE - NIGHT Roberts, a little annoyed but also intrigued, follows her back inside. They face each other. PROFESSOR ROBERTS You're not one of my students. REBECCA Not yet. That's why I'm here. 73. She steps to his desk and leans against it. Her cool manner is disarming. A beat. REBECCA I'm failing Intro Pysch. PROFESSOR ROBERTS And why is that? REBECCA Because I'm bored. I thought it would be all about Freud, and deep dark secrets. But it's brain chemistry. Synapses. I can't stay awake in class. PROFESSOR ROBERTS I'm sorry to hear that. But I'm not sure what I can do to help. REBECCA Tomorrow's the last day to drop a course without penalty. Unless I can add another one in its place, I'll fall way behind in credits. Daddy won't take that very well. He might even pull the plug. Which means... (BEAT) I'm pretty much at your mercy, Professor. Roberts smiles. This girl is a trip. Is she for real? She's so calm, so steady. Roberts can't get a handle on her. PROFESSOR ROBERTS Look, I've always made it a policy not to accept any students this late in the term. REBECCA Do I look like just any student to you? She smiles... and eases up onto his desk. Facing him. Pretty feet dangling, ankles locked. Jesus. She eases her purse off her shoulder and onto the desk. She sees the framed picture of a WOMAN AND TWO KIDS. She picks it up. REBECCA Your wife is very pretty. 74. PROFESSOR ROBERTS Ex-wife . The game is on now. Roberts slowly walks around the desk, until he's behind Rebecca. In the picture frame's reflection, Rebecca sees him slip off his wedding ring. He palms it. PROFESSOR ROBERTS A few things I'd need to know. REBECCA Ask me anything. He's circling the desk now. Predator and prey. PROFESSOR ROBERTS Do you have any design experience? REBECCA None. PROFESSOR ROBERTS What do you know about clothes? REBECCA Only one thing. PROFESSOR ROBERTS And what's that? REBECCA I definitely look better out of them than in them. What an answer. Roberts stops in front of her. He moves in close, between her parting legs. He looks into her eyes. Still steady. PROFESSOR ROBERTS I think we might be able to work something out. REBECCA Great. Just tell me and I'll do anything. PROFESSOR ROBERTS Kiss me. (BEAT) I'll take it from there. 75. He kisses her. She opens her lips for a tantalizing second, and now gently pushes him away. He holds his ground. He's had a taste -- he wants a lot more. Suddenly, Rebecca's face hardens. REBECCA Ow! You're hurting me! Professor, stop!... Roberts stares at her in shock. He's not even touching her. What's going on? Rebecca smiles again. This girl is whacked. But damn, Roberts wants her. And her eyes are inviting him back. As he presses in to kiss her again... She rockets a knee into his groin and he crumples to the floor, gasping for air. He drops his wedding ring, which rolls away across the floor. Rebecca steps to the desk, where her purse sits open. We can see the Walkman inside. She takes it out. Smiles at him. REBECCA Birthday gift. You should get one, they're great. She slips on the earbuds... plays with the Walkman for a few seconds... and now hits the play button. We hear their prior conversation, played back. WALKMAN Great. Just tell me and I'll do anything. (BEAT) Kiss me. I'll take it from there. (BEAT) Owl You're hurting me! Professor, stop!... Rage and betrayal in Roberts' eyes. PROFESSOR ROBERTS You bitch tease! REBECCA Oh, I'm not teasing. She starts to circle him now, as he writhes in pain on the floor. 76. REBECCA Do you see enough danger in me now, Professor? Did I go to a dark enough place for you? He recognizes his own words to Sara. PROFESSOR ROBERTS What? How did?... Who are you? He lunges at her ankle. She steps out of his grasp... and slams the sharp spike of her heel down on his hand. He yells again. REBECCA She trusted you. She walks toward the door. PROFESSOR ROBERTS Please don't do this. Twenty years. Everything I worked for. I'll pay for that tape. Rebecca stops at the door. She kneels, picks up his wedding ring, and rolls it across the floor to him. REBECCA Yes you will. She walks out the door. INT. FRAT HOUSE - ROOM Sara sits on Stephen's bed. She is looking out the window, holding a theory book in her hand. Stephen watches her from his side of the bed. STEPHEN Anything wrong? Sara is taken out of her own world SARA What? STEPHEN Are you ok? SARA Yeah, sure. 77. She smiles. Stephen smiles back. Sara looks down in her book again. EXT. QUADS - DAY Sara looks up at the building. She sighs before she enters. INT. HALLWAY She walks slowly toward the classroom, letting other students pass her. She steps into the doorway and sees... INT. CLASSROOM A WOMAN, standing at Professor Roberts' podium. She gestures for everyone to come in. Sara, like the rest, is confused. WOMAN Welcome. I'm Professor Jacobs. I'll be taking over the class for the rest of the semester. Sara can't believe it. She takes a seat and turns to the STUDENT next to her. SARA (WHISPERS) What happened? INT. CAFETERIA - DAY Sara walks in with a tray, still a bit dazed. She sees a half- dozen hallmates milling about and Rebecca sitting by herself in the corner, drawing. Sara joins her. SARA Remember what I told you about Professor Roberts? REBECCA Yeah? SARA He's gone. REBECCA What do you mean? 78. SARA Well, they're calling it a leave of absence. But what I heard... someone sent the dean an anonymous recording of him hitting on another student. REBECCA Oh My God. SARA I know. REBECCA That's called Karma. INT. CAMPUS COFFEE SHOP - NIGHT Sara serves up two fresh lattes... and now leans against the counter to watch the band. Stephen's band. He catches her looking at him. She smiles. Seriously smitten. INT. CAMPUS COFFEE SHOP - LATER Stephen, sweaty, is behind the counter helping Sara clean up. STEPHEN I've made a decision. You ready? SARA Lemme hear it. STEPHEN I'm gonna quit the band. SARA No. Really? Why? STEPHEN It's a waste of time-and we suck. SARA Why would you say that? STEPHEN Well, let me think about this. The only places we can get booked is at my own frat house and at my girlfriend's coffee shop. 79. SARA (SMIRKS) You're right. You guys do suck. A beat. SARA Hold it. Did you just say girlfriend? STEPHEN You heard me. SARA So you think it'll be fun to stay here during Thanksgiving? STEPHEN Dinner at the frat, the football games. Don't forget the always awkward, homoerotic humor. SARA Sounds like a blast. STEPHEN Oh. For sure. INT. DORM ROOM - DAY A somber Rebecca stares at herself in the full-length mirror on the back of the front door. A very strange expression in her eyes. She looks herself over, makes a fist, and now... Punches herself on the temple. Hard. She staggers, nearly knocked out. She straightens. Looks in the mirror. Her skin is already bruising. She punches herself again. Same spot. And again, with her other fist this time. And now a shot to her shoulder. And another. It's painful to watch. But she's getting more and more numb to the blows. She inspects herself closely... and now reaches down and grabs an artist's UTILITY KNIFE. It looks like a large, retractable box cutter. She extends the blade all the way out. She pulls up her shirt. Turns to the side a bit. Places the knife against her skin and... CUT TO: 80. INT. DORM ROOM - DAY Sara opens the door and finds Rebecca curled up in a fetal position in a corner of the room. Sobbing. Sara drops her things and runs over to her. SARA Oh my God. What happened? She cradles Rebecca, who buries her head in between her knees. Sara checks the bruises on her head and arms. SARA Rebecca. It's okay. You're safe now. Talk to me. REBECCA I was looking for Cuddles. A man... pulled me into an alley. He tried... Sara holds her. She can't finish. SARA It's okay. It's okay. Shhh. REBECCA I got away. SARA You're alright now. Sara notices a streak of blood against Rebecca's shirt. She pulls it up and sees a slash. Gasps. INT. DORM ROOM - DAY Rebecca, newly showered, hair still wet, sits on her bed in her underwear. Sara is tending to her wounds. Ice for the bruises. Disinfectant for the cut. Rebecca flinches. SARA It's not deep, thank God. But you should see a doctor. REBECCA No. SARA Rebecca, you need to. And then the police. 81. Rebecca pulls back on her bed, ruining the gauze job. REBECCA I don't want to. I can't. Sara pulls out her cell phone. SARA You're calling them, or I am. There's a psycho walking around this campus. REBECCA (CRYING AGAIN) Please. I didn't see him. She's so frazzled, she's undoing Sara's nursing efforts. SARA Okay, okay. I won't call. Just let me help you. Rebecca calms down. Let's Sara finish. Watching her intently as she works. EXT. STREET - DORM - DAY Sara's on the sidewalk in front of her dorm with Stephen. Inside, the lobby is busy with students getting ready to go home for the holiday. SARA Sorry about not staying. But, Rebecca... STEPHEN I get it. (KISSES HER) I'm going to make out with my pillow and pretend it's you. SARA Just say you'll miss me. STEPHEN I'll miss you. Rebecca pulls up in her car. Sara gets in. Rebecca gives Stephen an "I win" look as Sara closes the door. 82. INT. CAR - DRIVING: LATER Sara looks down at her phone. SARA I haven't heard from Jason in weeks. It's weird how he just stopped calling. REBECCA It's what you wanted, right? Sara nods, reassuring herself. SARA Yeah. Yeah it is. Sara looks out the window. Rebecca shows a hint of a smile. EXT. GATED MANSION - DUSK Rebecca's car pulls up to the iron gates of a huge mansion that could be straight out of Lifestyles of the Rich and Famous. EXT. SIDEWALK - DUSK Rebecca and Sara stand in the driveway, looking up at the mansion. Sara is in shock. SARA This is your home? REBECCA It's my parents house. It was never a home. INT. FOYER - DUSK Rebecca and Sara walk in. Rebecca's on edge, flinching as Sara closes the door. Rebecca's parents rush in from the living room. Her father gives her an awkward hug. DAD (SURPRISED) We didn't think you would make it. 83. Her mother sees the bruises on her face. MOM (ALARMED) What happened? REBECCA Nothing. DAD Nothing? This isn't nothing. REBECCA (SNAPS) Leave it alone. Sara is stunned. But Rebecca's parents cease. Her mom gives her a tender, protracted embrace. Rebecca endures it, barely raising her arms. DAD Hello. And you are? SARA I'm Sara. She puts out her hand, but cuts Rebecca a look. You didn't tell them? REBECCA Sara's my roommate. DAD (PLEASED) I'm Jeff. Rebecca's mother comes over and unexpectedly embraces Sara. MOM It's so great to meet you, Sara. I'm Alison. Rebecca grabs Sara by the arm. REBECCA Come on, let me show you my room. INT. REBECCA'S ROOM - DUSK Rebecca slams the door behind them, startling Sara. 84. SARA You didn't tell them we were coming? REBECCA They didn't need to know. Rebecca plops down on the bed. Sara looks around. It's a typical teenage girl's bedroom. Except, no posters. Just drawings covering the walls. The drawings are of teenage girls -- more precisely, they're different drawings of one teenage girl. They're odd, but compelling. SARA These are interesting. REBECCA Yeah, some of my high school work. I haven't gotten around to takin them down. INT. DINING ROOM - NIGHT Family and guest sit around a very nice, but not too large dining table. The contents of the house are expensive but not pretentious. Rebecca plays with her food, clearly not wanting to engage her parents, who are undaunted. All smiles and warmth. SARA Rebecca's a pretty great artist. JEFF Yeah, we think Rebecca is so talented. Rebecca shakes her head, uncomfortable with the flattery. SARA She's an awesome roommate, too. JEFF (looks at his daughter, POINTEDLY) That's nice to hear and I'm sure she likes you because she never brings anyone home before. Rebecca stares at her father. 85. REBECCA Dad! JEFF What? As a parent you worry. You protect your daughter all her life and then she goes off to college and she's on her own. I'm just relieved she got a good roommate. Sara cuts discreet looks around the table. Who are these people? ALISON Sara, I'll make up a room for you -- REBECCA She'll stay in my room. Sara turns to Rebecca, confused but willing to go along. INT. REBECCA'S ROOM - NIGHT Sara and Rebecca are getting ready to sleep. Sara has made a makeshift bed in the middle of the floor. REBECCA We can share the bed if you want. Sara looks down at her own "bed" and takes a glance at the walls. On the floor, she's going to be surrounded by the drawings of Rebecca looking at her. SARA Sure. Sara climbs into bed with Rebecca. They lay back to back. Rebecca turns the lamp off next to the bed. REBECCA Thanks for coming. SARA Next Thanksgiving, you can run interference with my family. REBECCA Done. Sara closes her eyes. It's silent. Rebecca turns over. A beat. She opens her eyes -- just inches from Sara. She ever so slowly raises her hand and gently strokes Sara's hair. 86. Sara opens her eyes for a second. Not sure if she felt something. She closes them again. INT. HOUSE - NIGHT Jeff walks from the stairs into the pitch black kitchen. He's lived here long enough to know his way in the dark. KITCHEN Jeff opens the fridge. The soft light barely illuminates Rebecca, sitting stoically at the table behind her father. Jeff jumps. He recovers, standing by the open fridge. JEFF Becs. You scared me. Rebecca, glass of milk in her hand, gives her father a dirty look. We know how much she hates nicknames. INT. REBECCA'S ROOM - NIGHT Sara wakes up alone in bed. She can hear soft voices from downstairs. She climbs out of bed and walks to the door. INT. STAIRCASE - NIGHT Sara stands at the top of the stairs. She walks down them and to the kitchen doorway. She peeks inside to see... INT. KITCHEN - NIGHT Rebecca and her father sitting at the table. Just the moonlight through the window falling over them. Spooky. JEFF How're you doing? REBECCA Fine. My grades are good. JEFF That's not what I meant. She looks down at the table. 87. REBECCA I'm making friends. Jeff, very subtly, cringes. A long beat. JEFF Rebecca, look at me for a second. Now she looks at him. JEFF Your mother and I are very fond of you. REBECCA I know. He doesn't know what else to say. Outside Sara sees the framed photos on the wall. Each features Rebecca's parents in some exotic locale: On the beach... on the ski slopes... on a cruise ship. They smile happily at the camera. Rebecca isn't in a single picture. JEFF I just wanted to make sure. Good night, I'm heading back to bed. He rises. Sara turns and walks up the stairs. INT. FRONT DOOR - DAY Sara waits by the front door. Alison walks in. ALISON Hi Sara. SARA Hi. Rebecca's going to show me some of her high school hangouts. ALISON Wonderful. Alison peers up the stairs. ALISON Rebecca seems to be doing well. SARA Uhhh, yeah. I think she is. 88. ALISON Is she taking her medication? SARA Medication? Alison turns to see... her daughter at the top of the stairs. Did she hear them? She walks down. ALISON Hey sweetheart. She kisses her on the cheek. Rebecca is annoyed. REBECCA (TO SARA) Ready? Sara nods, but she's still reeling from Alison's words. Medication? She looks back, but Alison waves cheerfully. ALISON Have a great time, you two. EXT. MAIN STREET - DAY It's an affluent but quaint little town's main street. Rebecca and Sara stroll down the sidewalk. Sara cuts discreet, sideways glances at Rebecca. REBECCA Is everything okay? SARA Yeah. It's just... She wants to ask her about that medication. SARA Nice to see where you come from. REBECCA (EMBARRASSED) Come on. INT. COFFEE SHOP DAY Sara and Rebecca are in line for their drinks. The TEENAGE CASHIER takes their money... but keeps staring at Rebecca. She doesn't pay any attention to him. Sara takes her coffee. 89. SARA Thanks. The cashier stares at her, as if trying to figure Sara out. What's she doing with Rebecca? The girls sit at a table. The cashier and BARISTA keep glancing over, whispering to each other. Rebecca shoots them a look. Like a warning. They quiet. Start doing busy work. REBECCA (TO SARA) I used to come here like every day after school. The door opens. THREE GIRLS walk in, laughing and chatting. One BRUNETTE spots Rebecca and stops dead in her tracks. Sara recognizes her. It's MARIA, the girl from Rebecca's Facebook, and the subject of all those wall sketches. The chatting girls all fall silent. SARA You know them? REBECCA They went to my high school. SARA Friends? Rebecca doesn't answer her. She's focused on making eye contact with the Brunette. The girls linger by the door, whispering among themselves. Finally, the Brunette sits down at a table by the entrance. As far away from Rebecca's and Sara's table as possible. The other two girls walk to the counter. They sneak glances at Rebecca as they order their drinks. Sara looks back and forth between Rebecca and the girls. Rebecca doesn't waver. She keeps staring at the Brunette. Suddenly, Rebecca gets up. REBECCA Let's leave. Rebecca walks towards the door. Sara, confused, gathers her things and gets up. Rebecca stops at the Brunette's table. The Brunette sits there, like a deer caught in headlights. 90. REBECCA Hello, Maria. MARIA (WARY) Hello. The other girls walk over. Rebecca, unfazed, looks them over, sending shivers down their spines. They want to back up their friend, but they look as scared as she does. Sara watches all this from a few feet away. Rebecca suddenly turns cheerful. REBECCA Oh, I wanted to introduce you to Sara. My roommate. Sara gives a small wave to Maria, who looks her over. Almost as if she feels sorry for her. MARIA Hi. Rebecca keeps eyeing Maria, a superior grin on her face. An awkward beat. Everyone's tense. Sara clears her throat. SARA Well, we better go. Rebecca snaps out of it. Nods. They start to walk out. But as they open the door... MARIA Rebecca. Everyone turns to Maria. She looks Rebecca in the eye. MARIA We were never friends. Rebecca stares at her, grinding her teeth. The tension building. Maria doesn't back down, though. She needed to say this. Sara grabs Rebecca's shoulder, gently. SARA Come on, let's go. INT. CAR - DAY: DRIVING Headed back to school. Sara looks out the window. Lost in thought. 91. SARA I guess college is a fresh start for both of us. Rebecca doesn't look at her. Just a hint of acknowledgement on her face. Sara's phone buzzes. This gets Rebecca's attention. Sara looks at the text message she just received from Irene: "back in LA. lemme know abt movin in." SARA Irene's back in town. Sara types and sends a text back. Rebecca watches her. EXT. CAMPUS QUAD - DAY Sara's running through the quad. EXT./INT. DORM - DAY Sara, coming in from a run, times it perfectly, sneaking in the front door as a student walks out. She bypasses the elevator, heading straight to the stairs. INT. DORM HALLWAY - DAY She bursts out the door and into the hallway. INT. DORM ROOM - DAY She walks in, still a bit out of breath. Rebecca is packing her back-pack. REBECCA (not looking up) Good run? SARA (between deep breaths) Great. You wanna go get dinner? REBECCA I'm going to the art studio. SARA Oh. Okay. Catch you later then. 92. REBECCA Don't wait up, Sara... (GRINS) I feel inspired. She's out the door. Sara notices that Rebecca left her sketchpad behind on her bed. She eyes it for a beat. Looks at the closed door. As she steps toward the sketchpad... Rebecca charges back in. REBECCA Forgot my pad. She snags it from her bed and leaves. Sara eyes Rebecca's dresser. But first... She walks to the door and opens it. INT. DORM HALLWAY Sara peeks her head out and looks down both sides of the empty hallway. She hears the elevator ding. INT. DORM ROOM Sara heads straight for Rebecca's dresser. A beat. Is she really going to do this? Yes. She slides open the top drawer: Supplies. The second drawer: sketchpads. She leafs through them: Empty. She searches the third drawer: Sweaters. She feels around beneath them. Wait a minute. She pulls out: Two bottles of prescription medicine. "LITHIUM... For APD." Both bottles are full of pills. As Sara stares at them... A HAND TAPS HER SHOULDER. She leaps out of her socks. But it's just Stephen. STEPHEN Your door was open. SARA Oh my God. STEPHEN Sorry. Sara grabs him and gives him a long hug. Stephen holds her tight and speaks, muffled by her neck. 93. STEPHEN What are those? A beat. Should she bring him into this? SARA That's what I intend to find out. INT. SUBWAY TRAIN - NIGHT Rebecca is standing up, back pack around her shoulder, her drawing pad in her other hand. Her arm is wrapped around a pole for balance. She stares out the window. No emotion. She looks like she's staring at her own reflection. The train comes to a halt. Riders shuffle around. Rebecca sees a seat open up and sits down. She opens her drawing pad and starts on a blank piece of paper. She looks up and we see what she's been staring at: Irene. INT. DORM ROOM - NIGHT Sara and Stephen stand at Sara's desk, over her computer. Sara googles "Lithium and APD", and clicks on an entry. SARA (READING) APD -- anti-social personality disorder. Also known as sociopathy. They look at each other. STEPHEN Jesus. I thought she was just weird. SARA It says lithium can control the condition. (nodding at the bottles) Maybe these are refills. Maybe she's been taking it all along. STEPHEN Certainly doesn't seem like she's been taking them. He's right and she knows it. A beat. 94. SARA I think it's time I moved in with Irene. INT. NIGHT CLUB - NIGHT A stylish, hip night club. A sophisticated crowd. Irene and three FRIENDS sit in the lounge section, sipping exotic martinis and watching the dance floor. And on that dance floor one particular woman dances by herself, lost in the music, oblivious to everything around her. She turns as she dances and we see that it's Rebecca. Irene gets up and heads towards the bathroom. As she winds her away around the borders of the dance floor, she notices Rebecca. She pauses to watch her. THEIR EYES MEET FOR MORE THAN AN INSTANT, IRENE SMILES AND WALKS AWAY. REBECCA CLOCKS IT, WHAT'S UP WITH THAT? INT. NIGHT CLUB - BATHROOM - NIGHT Irene stands at the mirror, fixing her make-up. The door opens and closes. She glances over to see Rebecca walking in. Rebecca steps to the sink, just a few feet down from Irene. She's out of breath, a sexy sheen of sweat on her arms. Irene breaks out a tube of lip gloss. Rebecca is watching her in the mirror, and Irene knows it. She applies the gloss and smiles at the little kick it gives her. Her eyes find Rebecca's in the mirror. IRENE I'm sorry to stare, but you are so beautiful. REBECCA SMILES REBECCA Thanks. So are you. Great lips. What kind is it? IRENE It's cinnamon. Caffeinated. A girl never knows how late she's gonna party. Rebecca smiles. A beat. 95. REBECCA Can I try it? Irene hands her the lip gloss... Rebecca takes her hand and pulls her close. She kisses Irene full on the lips. REBECCA You're right... cinnamon. Irene smiles. This room's heating up fast. Irene's eyes meet Rebecca's. REBECCA Why don't we get out of here. I'd invite you to my place, but I have a roommate. IRENE As luck would have it, I'm only two blocks away and...no roommate. REBECCA What are we waiting for? INT. IRENE'S BEDROOM - MORNING An alarm clock buzzes with no effect to Irene who is dead to the world. She grunts and finally opens her eyes. She wipes the sleep from her eyes, she looks around confused, looks to the empty side of her bed where someone had obviously spent the night. Irene sits up and turns off the alarm.. IRENE Shit. She looks at an empty glass on her bedside table. CUT TO: INT. IRENE'S BEDROOM - MORNING Irene get's up with the empty glass in her hand. She stumbles out into the... HALLWAY. She staggers to keep her balance on her way to the kitchen. We stay in the hallway as Irene enters in the kitchen and switches on the light. 96. We can see her shadow in the hallway and hear Irene fill her glass. It's quiet for a moment. She drinks. She fills the glass again. Irene comes back into the hallway with glass in hand. She switches off the light in the kitchen. But as she starts to go back to her room ...WHAM!! Rebecca charges out of nowhere and crashes into Irene. CLOSE UP: GLASS EXPLODES ON THE FLOOR EXT. CITY STREET - MORNING Sara is going for a run through the city. She stops at an old art deco apartment building. INT. LOBBY - MORNING Sara spots Irene's name on the buzzer and calls up. No answer. EXT. STREET - MORNING She walks out the door. Looks around. And takes off running again. CUT TO: INT. DORM HALLWAY - MORNING Sara, hands on hips, walks down the hallway and opens the door. INT. DORM ROOM - MORNING She finds Rebecca, sitting on her bed. Drawing. She lights up when she sees Sara. REBECCA Hey! SARA Hey yourself. Where were you all night? 97. REBECCA Oh, I got inspired. I just lost track of time. Sara pulls off her sweaty top and throws it in the hamper, grabbing a towel. She's wearing a sportsbra, revealing her tattoo. Sara grabs a robe. A beat. She's nervous, but she needs to do this. Time for the "big talk." She sits on her bed and faces Rebecca. SARA REBECCA -- REBECCA I want a tattoo. (SARA'S SHOCKED) Will you come with me? SARA Uhhh... REBECCA Please. It would mean a lot to me. I won't be able to do it without you. Sara looks into her plaintive eyes. So much want in them. SARA Um... sure. Okay. INT. TATTOO PARLOR - DAY The girls walk along the wall, checking out the samples. SARA You can't rush this, Rebecca. We can always come back. REBECCA I know what I want. SARA Okay. I'm out here if you need me. Sara sits down as the TATTOO ARTIST escorts Rebecca upstairs. She looks giddy and nervous. Sara waves. When she's gone, Sara takes out her phone and texts Irene. 98. INT. TATTOO PARLOR - LATER Sara, bored, leafs through a tattoo magazine for the 100th time. Her phone buzzes. A response from Irene: "outta town for a gig. will call when back ; )" Sara's relieved. STAIRS Rebecca walks slowly down the stairs. Wincing in pain. Sara puts the phone back in her pocket and stands up. SARA Let's see it. Rebecca pulls down the collar of her shirt to reveal, just under her collarbone: "EMILY" Sara, stunned speechless, starts backing away from her. REBECCA (SWEETLY) Think of me as your sister. Rebecca is oblivious to the rage building in Sara. REBECCA If you want... you can call me Emily. Sara clenches her fists. She's shaking with rage. She moves toward Rebecca, whose grin fades. REBECCA What's the matter? Sara steps up to her, inches away, ready to beat the shit out of her. And Rebecca can't believe it. She's that far gone. Her eyes search Sara's for an answer. Sara abruptly turns and walks out the door. Rebecca watches her leave through the front window. Sara never looks back. CUT TO: 99. INT. DORM LOBBY - DAY The elevator doors open. Sara, emotionally exhausted, steps out, carrying a box of her things. Stephen waits by the door. STEPHEN This is all you're taking? SARA I'll get the rest of my things when Irene comes back to town. He takes the box. Then notices -- STEPHEN Where's your necklace? She instinctively rubs the base of her neck. SARA I can't find it. It's okay. STEPHEN Sara... SARA I'm not going back up there. He hands her the box. Time to man up. STEPHEN Wait here. I'll go look for it. She kisses him tenderly, unbelievably appreciative. EXT. STREET - DAY Sara walks out to the cab. Pauses. She's tempted to look back at her dorm room window... but she doesn't. Good thing, too. Rebecca sits on the ledge, looking down. Her face is blank. Not hurt, not angry -- completely blank. INT. DORM ROOM - DAY Rebecca still sits at the window. She holds her camera up, taking a picture down below. She turns as Stephen enters. She puts the camera down. 100. STEPHEN Have you seen Sara's necklace? Rebecca solemnly shakes her head. He looks around the dresser. In the drawers. Flips over Sara's pillow. Rebecca watches him. REBECCA What did I do? He stops searching. Looks at her. STEPHEN She just needs to move on. REBECCA With you? He doesn't answer. He keeps searching... but he can feel Rebecca's eyes on him now. Creepy. He gives up. STEPHEN If you do find it, can you let me know? Instead of answering, Rebecca raises her camera and takes his picture. Stephen stares at her, unnerved. He finally snaps out of it and walks out the door. She watches him go. INT. FRAT HOUSE - ROOM - DAY Sara is cleaning, trying to make a dent in a world-class mess. She doesn't mind -- a big weight's off her shoulders. STEPHEN You should call someone. The dean's office. Or at least your R.A. She keeps cleaning. SARA And tell them what? What has she really done to me? No one can do anything. (BEAT) It's the weirdest thing, Stephen. The girl's own parents are afraid of her. 101. STEPHEN Well, she sure scared the shit out of me. Sara really wants to change the subject. She holds up two of his t-shirts. SARA Are these dirty or clean? Stephen sniffs the shirts. STEPHEN Somewhere in between. She throws the t-shirts at him. EXT. CAMPUS QUADS - DAY Sara heads to class, walking faster than usual. Bumping into people as she looks around, making sure she'll spot Rebecca before Rebecca spots her. She makes it to the front door of the building. She looks back at the quads. EXT. CAMPUS COFFEE SHOP - NIGHT Sara locks the front door and heads back home. She walks down an empty quad. She slows at the sight of... Rebecca. Walking directly towards her from the other end of the quad. No one else is in sight. Sara thinks about veering off to the side. No. She can do this. She walks straight ahead. Rebecca keeps her pace; hooded sweater up, looking down at the pavement, listening to her Walkman. Sara takes a deep breath as they get closer to each other, preparing herself for the confrontation. Ten feet away now. Five... But Rebecca passes her without looking. Sara walks a little further and turns around. Rebecca keeps walking. Did she even see her? 102. EXT. FRAT HOUSE - NIGHT Sara hurries up the stairs to the fraternity house. INT. FRAT HOUSE - ENTRANCE - NIGHT Sara reaches Psi U. and closes the door behind her. She looks around at the messy first floor. At the PACK OF GUYS in the living room, yelling at the hoops game on TV. Sara smiles. She's safe. INT. ART STUDIO - NIGHT Rebecca is alone, with just a crack of light coming from the open door to the hallway. She's sketching, still wearing her Walkman. Hundreds of sheets of paper are scattered around the floor, but we can't see what she's drawing. INT. FRAT HOUSE ROOM Sara is trying to study at a cramped desk but the music from outside the room is too loud. Stephen is on the bed, reading. He's used to it. She hears a loud commotion from the hallway. Frustrated, she gets up. INT. FRAT HOUSE - HALLWAY It's a couple of guys playing nerf basketball. SARA Seriously. Is it a game to be as loud as you possibly can? She waves her arms like a crazy person. SARA (CONT'D) How many walls can you possibly bump into!? They just return blank stares. She slams the door shut. INT. FRAT HOUSE - ROOM - NIGHT Sara tries to study while the fraternity brothers continue to shout down the hall. Stephen eyes her warily. Her cellphone rings. She pulls it out of the purse: Jason. 103. She hesitates... and now stuffs the phone back in her bag as she gets up from the table. SARA Hey, I'm going to hit the library. STEPHEN (GETTING UP) I can walk you there. SARA No, it's okay. STEPHEN Party starts at ten. Really cool band... SARA I hear the drummer's really hot. STEPHEN He may be, but I'm sleeping with his girlfriend... She kisses him. EXT. DORM - EVENING - NIGHT JASON, a handsome all-American Midwestern kid, stands in front of Sara's dorm. He's talking into his cell phone. JASON Sara. I'm actually... I'm in front of your dorm. I just flew in. I'm at the Roosevelt Hotel, room 210. Call me, okay? He hangs up. Some students leave the dorm and he grabs the door before it closes. INT. DORM ROOM - DUSK Rebecca kneels down in front of her dresser. Opens the bottom drawer. Her sweaters. She fishes underneath them. Pulls out her lithium pills. But just looks at them. Anger in her eyes. She puts the bottle back. 104. INT. DORM HALLWAY - NIGHT Jason walks through the hallway, checking the numbers on the doors. He stops in front of Sara's room. Knocks lightly on the door. No answer. Knocks again. INT. DORM ROOM - NIGHT Rebecca sits back into Sara's chair, staring at the door, ignoring the knocks. Almost catatonic. Her right hand slowly drags a utility knife over the armrest, shredding it to pieces. INT. DORM HALLWAY - NIGHT Jason writes a note. He folds it and slides it under the door. He hesitates for a second, hoping this is the right thing to do, then walks back down the hallway towards the elevator. INT. DORM ROOM - NIGHT Rebecca stares at the note for a moment. She walks to the door, picks it up and begins to read Jason's note. SARA - I know you won't take my calls, but I'm here and I just want to see you. I'm at The Roosevelt Hotel, Room 210, until... however long it takes. Please. Love, JASON Rebecca crumples up the paper and throws it in the trash. INT. DORM - SHOWER - NIGHT Rebecca lets the water soak her. Eyes open. She runs her fingers through her now long dark brown hair. Black water trickles down her legs and puddles near the drain. 105. INT. DORM BATHROOM - NIGHT Rebecca stands naked in front of the mirror, staring at her reflection. She then digs into her bag and pulls out a long pair of shears. Her "Emily" tattoo is starting to heal. She gently traces the letters with the sharp tips of the shears, still looking at it in the mirror. She lifts the shears and starts cutting her hair shorter. Just above her shoulders. INT. DORM ROOM - NIGHT Rebecca walks over to Sara's closet. She opens it and thumbs through some of the clothes that Sara left behind. She pulls out a dress. Holds it in front of herself as she stands in front of the mirror. Nice -- but something's missing. Rebecca goes to her drawer and pulls out Sara's silver chain. Which she caresses in her hand. INT. LIBRARY - NIGHT Sara's kicked her feet on the table, reading a book. Enjoying the silence. INT. FRAT HOUSE - NIGHT A raucous party in full swing. Stephen's band has just finished playing and he's walking off the cheap stage. A HOT GIRL smiles at him. GIRL Help me find the keg? STEPHEN Sure, I have to go look for my girlfriend anyway. She walks away. "Jerk". He grins... and now checks his watch. Where's Sara? INT. HOTEL - HALLWAY - NIGHT The elevator door opens, revealing Rebecca. Or is it Sara? The hair. The dress. The tattoo. Rebecca looks just like her. 106. As she steps into the hallway, she gently fingers the necklace. She walks along, looking at the room numbers. She stops in front of a room. She's about to knock... but she sees a housekeeping cart a few doors down, in front of an open room. She walks to the cart. She peeks inside the room... and now plucks the master key card off the cart. INT. HOTEL ROOM - NIGHT Jason, shirtless, sleeps on his stomach in bed. The front door clicks and slowly creaks open just enough for a silhouette of a woman to appear. She closes the door. Jason barely acknowledges the noise in his sleep. Rebecca walks to the bed in the soft moonlight. She stares down at Jason. She slips off her dress, which falls to the floor. She's in just bra and panties now. She climbs onto the bed beside Jason. He starts awake. JASON WHA-- REBECCA Shhhh. She crawls onto him, not letting him turn over. She starts kissing the back of his neck. JASON Sara? (BEAT) You got my voicemail. REBECCA Mm-hmmm. Kissing his back now, moving lower. JASON Oh, man, Sara. Oh, that feels good. She works her way back up to his ear. REBECCA (WHISPERING) Turn over. 107. Did that sound like Sara? But as Jason turns over, he sees... The hair. The necklace. That unmistakable "Emily" tattoo. REBECCA (WHISPERING) Close your eyes. He does. She reaches beneath the blanket, and does what she needs to. She settles onto him. And now starts to move. And as she moves we go behind her and see, shining in the low light, the utility knife beneath her bra strap. Flat against the skin of her back. Jason lies still, eyes clenched shut. JASON I love you, Sara. She lets him have one, two, three seconds of heaven. Her hands reach behind her and ease out the utility knife. REBECCA But she doesn't love you. Jason's eyes fly open. That wasn't Sara's voice. And those aren't Sara's eyes boring into his. Rebecca leans down, her face to his. Jason's eyes widen in shock, horror, and now pain as her unseen hands drive the knife deep into his gut. He gasps. REBECCA You hurt her. She kisses him -- the last thing he'll ever feel. He shudders, trembles, and lies still, eyes open. INT. LIBRARY - NIGHT Sara's still reading. A hand touches her shoulder. She jumps, but it's just the LIBRARIAN. LIBRARIAN We're about to close. Sara can't believe it's so late. She puts her things away. Grabs her phone to check the time, distracted by the "1 new voicemail" message. She's about to press the voicemail button... But a text comes in from Irene: 108. "Im back. Get your butt over here, I've got another surprise for you." INT. FRATHOUSE - NIGHT Stephen walks around, beer-less, searching the crowd for Sara. He checks his watch. Pats his pocket -- no cell phone. He heads up the stairs and into his room. INT. FRAT BEDROOM - NIGHT Stephen picks his phone off the dresser. Sees he has a new voicemail from Sara. He plays the message SARA (V.0.) Hi Stephen, it's me. I'm stopping by Irene's, come on by. I want you guys to meet ...it's on 524 South Grand, Apt. 708. Love you. He groans. A sharp knock, and the bedroom door opens. FRAT BOY All hands on deck -- the keg's still alive. EXT. IRENE'S APARTMENT - NIGHT Sara comes fast-paced down the sidewalk. She enters Irene's building. INT. IRENE'S ELEVATOR Sara rides up the elevator. INT. HALLWAY / DOORWAY Sara walks to the door of Irene's apartment. It's open but there's not a sound. No music, no cocktail chatter. She checks the apartment number again. It's the right one. She knocks lightly. No answer. SARA Irene? INT. IRENE'S APARTMENT - NIGHT Sara steps into the foyer. 109. She walks down the long entryway into a newly-renovated living room. Dark and empty. Sara's starting to feel uneasy. SARA Irene? There's a bedroom dead ahead. Warm light pours out. She slowly walks to the open door... looks in... and freezes. CLOSE ON SARA'S EYES. Horror-stricken by what she sees. The bedroom is dark, except for the single lamp, above... Irene. She lies on the bed, each of her wrists cuffed to a bedpost. A red Hermes scarf is stuffed in her mouth. Sara can't move. She stares at Irene in shock. SARA (WHISPERING) Irene. Irene mumbles, her eyes wide open in terror. As Sara starts toward Irene... REBECCA (O.S.) Some role model she turned out to be. Couldn't even take care of herself. Rebecca steps out of the darkness, a gun in her hand. Sara drops her phone on the floor. SARA Rebecca! Rebecca holds the gun steady on Sara. REBECCA Sit down and shut up. Sara lowers herself into a black chair, her eyes on Irene. Rebecca picks up Sara's cell phone. REBECCA Listen to me. All I ever wanted was to be your friend. A beat. Sara knows she has to play this just right. SARA Rebecca, you are my friend. 110. REBECCA No. Shut up. We're not friends. We're here because you betrayed me. SARA Rebecca, I'm sorry-- REBECCA Stop it. Stop saying things you don't mean. I protected you. From that whore Tracy and that nasty little kitten... and That scumbag of a professor... (BEAT) Even that loser ex-boyfriend of yours. SARA What're you talking about? What'd you do to them? What'd you do to Jason? REBECCA I got rid of them all. And how do you repay me? By leaving me. Sara sinks out of the chair onto her knees in astonishment. She looks at Irene. Sara digs deep... lifts up her face... and looks Rebecca in the eye. She puts everything she has into this. SARA Rebecca, please forgive me. A long beat. Rebecca's face lights up. REBECCA Now we can start all over again. Let's make things the way they were, Sara. That first day. Just the two of us. Sara sees Rebecca start to twist a garbage bag in her hands. SARA Rebecca... REBECCA After all... you can only have one best friend. SARA No! Don't! Rebecca whips the bag around Irene's head. Irene starts to buck and thrash. But it doesn't help her... REBECCA Lay still bitch. SARA Please. Don't do this... Sara stands. She stares at Irene. She can't watch her die. She walks toward the bed, ignoring Rebecca's gun. REBECCA Stop! I mean it. Rebecca raises the gun to Sara's face but Sara keeps coming. Rebecca realizes she can't stop Sara. She cracks Sara across the temple with the gun-butt, knocking her to the floor. She kneels down beside Sara. Worried... clearing the hair from Sara's face. REBECCA (GENTLE) Shh... I'm so sorry. Sara backhands her, knocking the gun out of her hand. It skitters across the floor and out the door into the living room. Sara stands up first and dives for the bed, but Rebecca grabs Sara by the neck and rips her off the bed. She puts her in a chokehold. Sara backs Rebecca into the wall, trying to loosen the chokehold. She slams her back against the wall. And again. Sara smashes her elbow into Rebecca's jaw, breaking her grip. She heads for the door, but Rebecca trips her. As Sara rises... Rebecca knees her in her stomach, knocking the wind out of her. As Sara gasps for breath... Rebecca races out into the living room for the gun. Sara gets up quickly and slams the door shut and locks it. Rebecca turns around and goes for the door. 112. Sara goes to the bed and rips open the garbage bag on Irene's head. IRENE'S EYES POP OPEN. Huge relief in Sara's face. But... Rebecca bangs the door. REBECCA (O.S.) Don't do this Sara! INT. BEDROOM Sara takes the scarf out of Irene's mouth and pulls against the steel handcuffs. Useless. INT. LIVING ROOM - NIGHT Rebecca wipes blood off her lip and leans up to the door. REBECCA Don't make me hurt you, Sara. I just want to be your friend. INT. BEDROOM Sara and Irene are frantic. IRENE My phone. My phone. She nods her head and Sara sees the phone on the bed table. She rushes for it. No good the wire is cut! SARA Shit! IRENE The window! There's a fire escape. You can reach it. INT. LIVING ROOM Rebecca looks around for the gun. Throwing chairs and furniture around. She finds it. Picks the gun off the floor. INT. BEDROOM - NIGHT Sara races to the window and throws it open. There's just an empty street below. She eyes the fire escape. A nearly impossible leap away. But Sara's out of options. 113. EXT. BUILDING LEDGE - NIGHT Sara takes a tentative step out onto the slim ledge. Her foot hits a flowerpot, which plummets ten stories... and smashes to pieces in the alley. Sara shuts her eyes. INT. LIVING ROOM - NIGHT Rebecca, back at the bedroom door, raises the gun and fires. BLAM! INT. BEDROOM The door shatters, and the bullet continues straight ahead and tears a pillow open, just beside Irene's head. Feathers go flying. Irene screams. Rebecca kicks the door open and steps in, gun in hand. REBECCA I know you're scared, Sara. But I promise, everything is gonna be okay. She stops short at the sight of...Sara on the ledge. Rebecca turns and stares at Irene. Fresh panic rising in Irene's eyes. REBECCA Sorry, Irene. But she's my friend, not yours. She raises the gun at the helpless Irene... But out of nowhere STEPHEN, RUSHING UP FROM BEHIND, knocks her arm. The gun fires wildly, one bullet... EXT. BUILDING LEDGE - NIGHT Exploding through the window, shattering it and startling Sara, who loses her balance and slips off the ledge. She grabs on by her fingertips, her face hitting the brick wall. SARA (CRYING) Ohgodohgodohgod. The more she screams, the more she loses her grip. 114. INT. BEDROOM - NIGHT Rebecca fires another shot, hitting a giant bedroom mirror, shattering it's reflection of Rebecca's struggle with Stephen. Rebecca slams her head into his lip, knocking him backward. He keeps hold of her, and they hit the floor, the gun flying out of Rebecca's hand. Stephen gets on top. He lifts his arm high and balls his fist before he puts it right in her face full throttle, knocking her out cold. He quickly takes the gun and puts it inside his belt as he races for the window. SARA (O.S.) (SCREAMING) Stephen! Help! IRENE Hurry!! He sees Sara dangling outside and reaches for her. EXT. BUILDING LEDGE - SAME Sara's crying, barely mouthing Stephen's name. He grabs her arms. Leaning halfway outside, he starts to pull her up. Part of the way up, he holds her against his chest and lets her cry. He smiles. STEPHEN Okay I've got you. Everything is gonna be okay! He pulls her halfway in the window... But a shadow rises behind him. IRENE STEPHEN!!!! A loud unpleasant sound. THUD! Irene screams. Then Stephen stiffens, his body straightening in shock. Something's wrong. And now Sara stares in horror as... Blood runs down his face. He looks into Sara's eyes... and lets go of her. 115. She falls, but manages to hook onto the ledge as Stephen disappears from the window frame. Using the brick wall for leverage, she arduously lifts herself up into the window in time to see... Stephen, glassy-eyed, backing away from the window. He slumps to the floor, revealing: Rebecca. She's a crazed mess, hair and eyes wild. Rebecca drops the bloody fireplace poker and rushes to the window. She helps Sara in. They tumble onto the floor. Sara tosses Rebecca to the side and rushes over to Stephen. SARA Stephen. Stephen is out. She sees the gun in his belt. She pulls it out, spins, and levels it at Rebecca. The gun shakes violently in her hand. Rebecca stands and walks calmly towards Sara, who is still on the floor. REBECCA You won't do it. We're fr-- Sara pulls the trigger. Click. Rebecca stares in shock. Click. Click. Click. Click. Sara closes her eyes in frustration. She drops the gun. Tears stream down Rebecca's face. She can't believe Sara pulled that trigger. But as if flipping a switch... Rebecca's sadness turns to rage. She balls her fists, her knuckles white, and... CHARGES at Sara full force, slamming her against the wall. She tosses her like a ragdoll across the room, where... Sara's head slams the nightstand, knocking the contents of Rebecca's purse everywhere. Rebecca wipes the tears from her eyes. It hurts her to hurt Sara. REBECCA Friends help each other. They take care of each other. Sara, dazed and weak, stares at Rebecca. 116. SARA Rebecca. We were never friends. That's the last straw. Rebecca comes hard, murder in her eyes. She grabs Sara around the throat, pulls her up from the floor, and slams her against the wall. She starts choking the life out of her. Sara's face turns red. Redder... But suddenly Rebecca's grip loosens. Her eyes stare in shock. Sara pulls Rebecca's hands off her neck with one hand. The utility knife is in her other hand... stuck between Rebecca's shoulder blades. Rebecca falls to the floor, bringing Sara down with her. She won't let go of Sara. As she gasps for air, she sees... Sara's tattoo, visible beneath her torn shirt. Sara self- consciously notices her looking at it. Rebecca reaches out and grabs Sara's hand. Sara lets go of her hand, and removes the necklace from around Rebecca's neck. Irene is trembling in the bed. Too shocked to say anything. STEPHEN (GROANING) Sara. She races over to him. He's barely alive. SARA Stephen. Hold on. She finds her phone on the floor. She steps back to Stephen and cradles his head in her lap as she dials 911. He looks into her eyes and smiles. She smiles through her tears, love in her eyes. EXT. BUILDING - DAY It's a warm, spring day. Sara, melancholy but looking in much better shape since the last time we saw her, stands in front of her dorm, looking to restart her college career. She plays with the silver chain once again around her neck. 117. She opens the front door and walks in. Students milling about look at her. Know who she is. We see Kim and Tracy. They don't say anything. Don't know what to say. INT. DORM ROOM Sara opens the door. The simple room is identical to her previous one. She hesitates at first but then walks in. There is a box marked "SARA" filled with the things she left behind in her old dorm. There's a knock on the open door. STEPHEN (O.S.) Welcome back. SARA Hey. How are you feeling? Stephen enters the room. STEPHEN Better now. You being here's gonna help. Sara smiles. STEPHEN (CONT'D) How's moving in going? SARA Just got here. STEPHEN Well let me give you some time to get settled in. SARA Actually, I need you right here, right now. Stephen grins. He likes where this is headed. STEPHEN Okay. CUT TO: INT. DORM HALLWAY Sara and Stephen push the twin bed into the hallway. 118. STEPHEN This isn't exactly what I had in mind. Sara grins. SARA Now I can get settled in. STEPHEN I'll be back to pick you up for dinner. You gonna be ready? SARA Absolutely. Stephen takes off down the hall. Sara follows him with her eyes before she goes back into her room. INT. DORM ROOM Sara sits down on her bed. She watches the empty space where the other bed used to be. She just stares at it. The camera slowly tracks sideways until we see the side of the bookshelf where unseen by Sara, there's a flyer hung with a picture of Richard Prince's Nurse of Greenmeadow announcing an upcoming gallery exhibition. CUT TO BLACK. \ No newline at end of file diff --git a/unformated_scripts/Script_Roughshod.txt b/unformated_scripts/Script_Roughshod.txt new file mode 100644 index 0000000000000000000000000000000000000000..bded4011fe105650a4db18fb2742c562e89b72c5 --- /dev/null +++ b/unformated_scripts/Script_Roughshod.txt @@ -0,0 +1 @@ + ROUGHSHOD Written by Hugo Butler & Geoffrey Homes Story by Peter Viertel EXT. DESERT - DAWN FULL SHOT. The sun, spinning up from behind the dark rim of eastern hills, is bleaching the cloudless, morning sky. This is volcanic country, barren, desolate, forbidding. There is no sign of life, no sound. Then on a distant hill, a man appears, to be followed by two others. They walk steadily forward. DISSOLVE EXT. NARROW CANYON - DAWN MED. SHOT. A dry watercourse threads its way through the cut in the treeless hills. The sun is not high enough as yet to drive night from the canyon. A man appears around a bend; another and still another. They are McCall, Peters and Lednov, clad in prison clothes, hatless, their heads closely cropped. As Lednov's face comes into a closeup, DISSOLVE EXT. HILL - DAWN LONG SHOT - DOWN ANGLE. A narrow valley lies below. Through it runs a cottonwood-bordered stream. Smoke curls up out of the trees. Horses graze in a small meadow near the creek. From O.O. comes the SOUND of heavy boots crunching across the dry, eroded earth. The three men file past camera to stop in the immediate F.g. and look down into the valley. They exchange glances and start down. DISSOLVE EXT. FORSTER CAMP - DAWN MED. SHOT - ANGLED THROUGH willows. A bearded man, Cal Forster, and two young fellows in their late teens squat beside a campfire eating breakfast. O.s. there is the SOUND of movement. Lednov moves cautiously into the scene. He has a revolver in his hand. Forster turns toward camera and fear comes into his expression. Lednov fires. Forster crumples near the fire. The two boys jump to their feet and reach for rifles. Lednov fires again and again. McCall and Peters come into the scene, both firing revolvers. DISSOLVE EXT. FORSTER CAMP - DAWN MED SHOT - ANGLED ACROSS campfire. On the fire smoulders the prison clothes the convicts had worn. Smoke spirals up. In the B.B. Lednov, Peters and McCall, now wearing the clothes of the three Forsters, saddle the horses. CAMERA PANS AROUND and ANGLES DOWN. The bodies of Forster and his sons, now clad in underwear are sprawled by the fire. Forster's arm lies close to the smouldering clothing. DISSOLVE EXT. CREEK - DAWN MED. LONG SHOT. Smoke climbs above the trees. Into the clearing ride the three convicts, to cross it and move westward. They disappear over the hill. A dust cloud marks their passage. CAMERA HOLDS ON the scene and over the shot comes the MAIN TITLE CARD: ROUGHSHOD EXT. DESERT ROAD - DAY LONG SHOT. A buckboard drawn by two horses comes along the road. Graham, a middle-aged rancher, is driving. As the horses trot forward and dust rises above the road, the NEXT TITLE CARD is shown. DISSOLVE EXT. CREEK - DAY LONG SHOT - DOWN ANGLE. Graham's buckboard moves down the road toward the clearing, as the TITLE CARDS follow and change. When the buckboard reaches the creek, the LAST TITLE CARD is ended. EXT. MEADOW - DAY MED. SHOT. Graham drives the horses through the creek and into the meadow. Through the trees the Forster camp can be seen. Graham glances over, then suddenly pulls on the reins. As the horses stop, he twists the reins around the whip stock, grabs his rifle from under the seat, leaps out and hurries forward toward the camp. EXT. FORSTER CAMP - DAY MED. SHOT. Graham hurries through the trees to stop in horror near the dead men. Then very slowly he moves forward to the smouldering fire. Stooping he lifts Forster's arm away from the fire, then picks up one of the prison coats and looks at it. DISSOLVE EXT. DESERT ROAD - DAY MED. LONG SHOT. The surrounding hills are covered with scrub pinon pine and mesquite. Graham's buckboard, moving slowly up a hill, passes camera, which PANS WITH it. In the bed, covered by a tarp, are the three bodies. The narrow, one-way road climbs easily up the gentle hill. Beyond, a dust cloud rises. As Graham's buckboard nears the crest, a surrey appears and starts down. Graham pulls his team into the bank, trying to make room for the surrey. MED. SHOT There are four women in the two-seated surrey, which is heavily loaded with trunks, hatboxes, etc. Mary Wells, the loveliest of the four, is driving. She is more poised, more self-assured than the others. Her clothes, though a trifle showy, are attractive. She wears a large spectacular hat. Helen Carter, showier, harder and more cynical, sits beside her. In the seat behind are Marcia Paine, placid, younger looking than her years, and Elaine Ross, a striking blonde with a pale haunted face. Elaine is obviously ill. Mary is riding the brake and holding the team back. ANOTHER ANGLE SHOOTING PAST Graham. GRAHAM (annoyed) What in thunderation -- (calling) Wait a minute -- stop -- He jerks on the reins and tries to make room for the surrey. A steep bank is on camera left. On camera right, the road drops off into a gulley. As the surrey comes up Mary reins the team in. The women all look frightened. Graham, trying to force his team to pull the vehicle up the bank, is too occupied to recognize the women at once. Having made just enough room for the surrey, he turns and looks at the women. GRAHAM All right -- (then surprised) What are you girls doin' way out here? Mary looks ahead at the narrow road and the canyon to her left. MARY Until you came along we were going to Sonora. GRAHAM What do you know about that. Did you sell your place? MARY (dryly) Not exactly. They decided gambling and dancing were bad for people. (pointing) Can I make it? GRAHAM Depends on how good you drive. HELEN She's a little out of practice. Graham jumps over the wheel. MED. CLOSE ON SURREY Graham reaches the surrey. GRAHAM (cheerfully) Slide over. HELEN (getting up) I'm slidin' all the way over. She climbs out. Marcia looks at the narrow space ahead. MARCIA (rising) So am I. Come on Elaine. Elaine leans back against the cushions and shakes her head. ELAINE (flat) What's the difference if we fall in the canyon. MARCIA Don't talk like that. Helen is out on the road now. Mary has moved over and Graham picks up the reins. Marcia gives up and jumps out. GRAHAM Nothin' to it -- He releases the brake. GRAHAM -- once you know how. Trouble is, never was a woman knew how to handle a team. Shouldn't let 'em loose on the roads. No disrespect meant, Miss Wells. Mary isn't listening. She is looking at the road. Elaine closes her eyes. Helen and Marcia scurry back out of the way. GRAHAM Get up. Adroitly he drives the surrey past. ANOTHER ANGLE featuring buckboard. Helen and Marcia start along the road past the buckboard. Helen stops and looks at its cargo in horror. She grabs Marcia's arm. The girls look at each other and hurry after the surrey which has stopped below the buckboard. MED. SHOT on surrey. Graham jumps out. GRAHAM There you are. Now take it easy and you'll be all right. MARY Thank you, Mr. Graham. Helen and Marcia hurry up. Marcia motions back. MARCIA (aghast) There's -- dead men -- in your wagon! GRAHAM That's right. You had me so busy I forgot -- (worried) Come to think of it you better turn around and drive right back to Aspen. The women exchange glances. Elaine is sitting up, her eyes open. GRAHAM They were murdered. I found the bodies on Alder Crick, northeast of here. Like I said if I was you, I'd go back, because the men who killed them might be on this road. ELAINE (bitterly) Back to what? GRAHAM Why, back to Aspen, where you came from. As Mary speaks, Helen pushes Marcia into the surrey and climbs up beside Mary. MARY Aspen doesn't want us Mr. Graham. They threw us out. GRAHAM (distressed) They shouldn't have done that. MARY We tried to point that out. But there were some pretty nosey citizens who wouldn't listen to reason. They said Aspen had outgrown us. It's all right to play poker in your own home but not in a saloon. GRAHAM (sadly) I knew something would happen when they started puttin' up fences and passin' laws. Mary unwraps the reins from the whipstock. MARY Goodbye and thanks. GRAHAM I don't like to see you go. Mary releases the brake and the surrey starts rolling forward. GRAHAM But that's the way it is. The live ones go out and the dead ones come in. The surrey starts down the hill. Graham looks after it, then turns to go back to the buckboard, CAMERA PANNING WITH him. DISSOLVE EXT. ASPEN - DAY - (MATTE SHOT) The town lies in a lush green valley. It is surrounded by meadowland and shaded by cottonwoods, alders and aspen. In the F.g. Graham's buckboard moves fast down hill. DISSOLVE OUT EXT. ASPEN STREET - DAY DISSOLVE IN FULL SHOT. In the F.g. a smallish crowd, mostly men and children idle in the street in front of Mary Wells' Gambling and Dance Hall. The wooden sidewalk is cluttered with those articles belonging to the women that were too bulky to get into the surrey. Several women stand on the porch supervising the locking up of the place and the removal of the sign of Mary Wells' name on it. Graham's buckboard rounds a corner at a fast trot. He slows the team to let the people get out of the way. MED. SHOT ON BUCKBOARD The team has slowed to a walk. The people give their attention to the buckboard. A boy clambers up over the tailboard, sees the cargo and jumps off with a frightened yell. The crowd turns from the dance hall and follows the buckboard leaving the women and their pious male assistants on the porch. EXT. SHERIFF'S OFFICE - DAY MED. FULL SHOT - ANGLED to include blacksmith shop across the street. Far down the street comes Graham's buckboard followed by the small crowd. The sheriff's office is a one- story wooden structure. Next to it is the general store. In front of the blacksmith shop stands a wagon with one wheel off. In the corral alongside are eleven blooded mares. Clay Phillips, his brother Steve and the blacksmith are inside the shop. Clay's saddle horse is tethered to the hitching rail beside two harnessed work horses. INT. BLACKSMITH SHOP - DAY ANGLED to include sheriff's office. The blacksmith, Sam Ellis, an elderly bent man in a leather apron stands at the forge in which he is heating the rim from the big wheel which lies on the table nearby. Clay, a long-legged wrangler in clean but faded work clothes stands near the forge pumping the bellows and watching his brother, a freckled kid of sixteen trying to roll a cigarette. Steve has progressed to the most difficult step, that of licking and sealing the paper. Clay reaches over and takes it from him. He puts the skinny cylinder in his mouth and Steve lights it for him. The first third of the cigarette burns with one quick flare. STEVE How does she draw? CLAY A little hot. Sam lifts the rim to the wheel. SAM You want to get out of here before noon, maybe you should lend me a hand. Clay, the cigarette dangling from his lips, moves over to the table, picks up a hammer and helps Sam hammer the rim on the wheel. Steve stands watching. CLAY Rate you're goin', we'll be here until winter. Together they lift the wheel and plunge it into the tub of water. Steam rises to fill the blackened shed. SAM (amiably grumbling) Account of you, I miss out on the only excitement Aspen's had for months. CLAY You're too old to watch such goin's on. STEVE And I'm too young. Clay and Sam spin the wheel in the tub. CLAY That's right. STEVE I don't see no sense to makin' people leave town if they don't want to leave. SAM I don't either -- when people are that good-lookin'. Maybe that's why -- they were too good-lookin'. (philosophically) But there'll be others along to take their place after a while when this quiets down. And everything will be fine until some busybody starts stirring up trouble. CLAY (mildly) Don't you ever run down? SAM (to Steve) Some people just have to run other people's lives. Now take Clay. You want to amble up the street and see the fun and what does he say? CLAY (good-natured) You stick to your blacksmithin' and let me take care of Steve. From O.s. comes the SOUND of the approaching buckboard and crowd. Steve hears the noise and moves to the front of the shed. EXT. SHERIFF'S OFFICE - DAY MED. FULL SHOT - Steve's angle. Graham pulls his buckboard up, jumps out and hurries into the sheriff's office. Some kids run up to stand on the porch chattering excitedly. Members of the crowd straggle up. INT. BLACKSMITH SHOP - DAY ANGLED PAST Steve. Clay comes up to stand beside Steve. Sam joins them. Steve looks up at Clay hopefully. CLAY We'll both take a look. Anything's better than listenin' to Sam. (to Sam) Don't forget to shoe the mule. Clay and Steve exit. Sam looks after them, shrugs disgustedly and goes back to the wheel. EXT. SHERIFF'S OFFICE - DAY MED. SHOT - featuring buckboard. The crowd around the wagon stands in shocked silence looking at the bodies under the tarp. Clay and steve come up, glance in the buckboard and then at each other. Clay speaks to a man near him. CLAY Who are they? MAN Don't know. Graham brought 'em in. The sheriff calls from O.s. GARDNER'S VOICE Clay, come up here a minute. ANOTHER ANGLE FEATURING PORCH Sheriff Gardner, who has seen Clay through the window, comes out of his office on to the porch followed by Jeb Graham and a young deputy. In his hand Gardner holds the burned prison jacket. Clay goes up the steps to the porch. Steve follows to the foot of the steps to stand watching. The crowd around the wagon gives its attention to the men on the porch. MED. SHOT Gardner is neatly dressed with his star hidden under his coat. His deputy wears jeans, shirt, and leather jacket. CLAY Hello Graham -- Joe -- Mr. Gardner. GARDNER Graham's got something to tell you might interest you. GRAHAM (motioning toward wagon) Cal Forster and his sons. Somebody killed 'em. He pauses to let that sink in. GRAHAM You know that cottonwood grove on Alder Crick? They must have been eatin' breakfast the way it looked, sittin' by the fire eatin' breakfast and when I got there nothin' but them lyin' dead in their underdrawers. No horses or guns or grub. CLAY (shocked) Forster never did anyone any harm. (puzzled) But what's that got to do with me? I came into town from the south. Gardner holds out the burned jacket. GARDNER This was smoulderin' on the fire. Clay moves over to glance down at the jacket. CLAY I still don't see. From his pocket, Gardner takes several communications, thumbs through them and passes one over. It is a telegram, of the period. GARDNER I got it day before yesterday. Clay reads it. INSERT TELEGRAM OF THE PERIOD: SHERIFF GARDNER: ASPEN, NEV. BE ADVISED OF ESCAPE OF LEDNOV, PETERS AND McCALL CONVICTED MURDERERS SERVING LIFE TERMS. BELIEVED HEADED FOR CALIFORNIA. L.B. GROVE, WARDEN STATE PENITENTIARY NORTON, NEV. BACK TO SCENE. Clay hands the telegram back. GARDNER Now are you interested? Clay nods. GARDNER You should be. Maybe Lednov heard about that Sonora ranch of yours. CLAY Maybe he did. GARDNER We're going to look for him. Want to come along? CLAY I've got eleven horses to get over the mountains before snow catches me and covers the feed. GARDNER (dryly) And that's more important than finding Lednov? CLAY Like you said, maybe he knows where my ranch is. If he does, he'll be waiting on the porch. He turns toward the steps. GARDNER (with irony) I'll drop the sheriff in Sonora a line to sort of look around for him. Clay speaks over his shoulder as he goes down. CLAY Thanks. ANOTHER ANGLE As Clay starts away, Steve follows him. Clay doesn't cross to the blacksmith shop. He goes along the sidewalk toward the general store. Steve hurries to catch up with him. EXT. STREET - DAY MOVING SHOT. Clay, deep in thought, seems unaware of his brother at his side. STEVE Who's Lednov? CLAY A man I used to know. They walk in silence to the General store and Clay goes up the steps and across the porch. Steve follows close behind. FULL SHOT The store is a typical general store of the period, selling everything from buggies to baby clothes. In one corner is the postoffice. The storekeeper, Hayes, is unpacking a case of canned goods, stacking the cans on the shelf. Clay, followed by Steve, enters. Hayes glances over. MED. SHOT Clay crosses to the shelf where the rifle and shotgun shells are kept and takes down a half dozen boxes of 30 30 cartridges. HAYES Forget somethin', Clay? CLAY Shells. How much for six boxes? HAYES Six times six bits. But wait until I finish this. Besides Clay, Steve is inspecting a rack of guns. STEVE You might tell a fellow things, 'specially if the fellow's your brother, seems to me. CLAY Like what? Steve picks up a rifle, puts it to his shoulder and squints along the barrel. STEVE Like why you're buyin' a whole slew of 30 30 shells all of a sudden. CLAY I don't want to run short. STEVE You never said this Lednov's name before, that I can remember. CLAY No call to. That jail looked pretty solid to me. (pointing to rifle) How's she feel? STEVE Nice. He pulls the hammer back and snaps the trigger. Hayes comes across and takes the gun from him. HAYES You know bettern' to do that, Steve. Unless you're figurin' on buyin' it. CLAY One he's got, more his size. STEVE But it's leaded up and anyway a 22's no good for real huntin'. You shoot a man with a 22 and where are you? CLAY The thing to do is stick to rabbits. He hands Hayes some money for the shells. Hayes crosses to another part of the store to get change. Clay and Steve, who has picked up the rifle again, move over to the counter. ANOTHER ANGLE STEVE What was he in jail for? CLAY You sure worry that bone. He killed a fellow. STEVE In a fight? CLAY The other fellow wasn't even lookin'. STEVE This is an awful nice gun. (sighting it) Certainly come in handy when there's men around who shoot people that aren't lookin'. Clay grins. Hayes comes up with the change. Clay takes out some bills and gives them to the storekeeper. CLAY (points to rifle) I may as well buy it for him. Otherwise he'll be crying all the way over the hill. Steve's expression shows his gratitude and delight. He covers up with banter. STEVE You must be plenty worried about Lednov sneakin' up on us. (hopefully) Think he will? CLAY Yes. STEVE At the ranch maybe? CLAY Maybe at the ranch. Maybe sooner than that. STEVE (annoyed) Do you have to be so close-mouthed? I'm your brother. And I'm ridin' with you. Remember? CLAY (smiling) All right. I'll tell you. He puts one of the boxes of shells on the end of the counter. MED. CLOSE - DOWN ANGLE CLAY Let's say this is the penitentiary. He reaches down into one of the barrels in front of the counter. The barrels are filled with beans, nails, dried apples, hardtack, etc. Clay takes a handful of beans and makes a trail ending in a little pile. CLAY Here's Alder Crick. He puts another box of shells on the other side of the counter. CLAY And here we are in Aspen. He runs a trail of beans away from "Aspen" toward the end of the counter. He runs another trail from "Alder Crick" to cross the Aspen trail. He puts another box of shells on the far end of the counter. CLAY That's Sonora. He reaches down without looking and brings up a hardtack. CLAY motioning) Lednov gets out of jail and comes along here to Alder Crick. Then goes along here toward the Sonora road. Clay drops the hardtack back from where the bean trails cross. CLAY That's Lednov! (tracing) We come along here. STEVE (pointing) And meet him there. CLAY Unless the sheriff gets too close and he holes up. He holds out his hand and Hayes hands him his change. CLAY So let's go. Steve tucks his gun under his arm. As he passes the counter, he picks up the hardtack and starts eating it. EXT. GENERAL STORE MED. SHOT - ANGLED TOWARD Sheriff's office. Up the street men are gathering around the sheriff's office. Some are mounted. Some are tightening their cinches. Clay and Steve come out of the store to look up the street. Steve munches the hardtack. STEVE (motioning) Sure a lot of guys lookin' for Lednov. CLAY Yeah -- and Lednov's only lookin' for one man. Me. STEVE Why? CLAY He doesn't like me. What you eatin'? STEVE Lednov. He glances at the remaining piece of hardtack and then pitches it away. STEVE I don't like him. Clay laughs. As they start up the street, the sheriff mounts his horse and, followed by his men, rides forward. DISSOLVE EXT. DESERT ROAD - DAY CLOSE SHOT. A woman's hat lies on the rocky earth. It is a big, elaborate affair. O.s. there is the SOUND of hoofbeats, the SQUEAL of a wagon brake and the JANGLE of harness. CAMERA PULLS BACK and ANGLE WIDENS to reveal Clay's wagon coming down a very steep hill. Steve is driving, holding tightly to the reins and riding the brake. Seeing the hat, he yells to Clay. STEVE Another one, Clay. Clay rides over and, swinging down, picks it up. MED. SHOT ANGLED DOWN hill. The road twists tortuously down. Near the bottom it swings sharply at right angles into a dry wash. The banks shut out further view of the road. Near where the road turns a trunk lies at the side. It has broken open and some of the contents are spilled out in the dust. Clay rides to it, reins in his horse and looks down. Steve, with difficulty, pulls the mules to a stop alongside. ANOTHER ANGLE featuring trunk and wagon. Clay swings out of his saddle, starts tossing the clothes back in the trunk. Steve jumps down. STEVE They sure must have been travelin'. This keeps up we can start a store. CLAY Things get tough next winter, you'll have somethin' to wear. Steve holds up a petticoat close to his body and grins. STEVE I'd look good doin' the ploughin' in this. Clay takes it from him, puts it in the trunk and shuts the lid. Steve helps him hoist the trunk into the wagon bed. Steve gets back in the seat. Just as Clay is about to mount, he stops and picks up a small folding daguerrotype case delicately ornamented. He lifts his eyebrow, tucks the case into his pocket, then mounts and starts ahead around the bend. MED. LONG SHOT Clay's ANGLE. Ahead, off the road in the wash is the surrey that passed Graham's buckboard at the fork. Clay spurs his horse forward. MED. SHOT on surrey. The back wheel is broken and the bed of the surrey rests on the ground. The horses have been taken from the traces and stand dejectedly in the hot sun. A blanket is spread in the scant shade thrown by the surrey. On it lies Elaine and, sitting beside her, is Marcia. A damp cloth is spread across Elaine's forehead. A water bag hangs from the surrey. Elaine's head is pillowed on a dainty satin cushion. Helen and Mary have risen at Clay's approach and now stand by the road. ANOTHER ANGLE Clay gallops forward to pull up near the surrey. In the b.g. Steve drives the wagon around the bend. Clay dismounts. MED. GROUP SHOT Clay drops his reins and hurries up. CLAY Anybody hurt? MARY No. We came down the hill a little fast and... (rueful) ...the wheel broke. (hopefully) Can you fix it for us? Clay bends over Elaine. CLAY What's the matter with her? MARY (dryly) Too much excitement. How about the surrey. Can you fix it? Clay turns from Elaine and gives his attention to the surrey. ANOTHER ANGLE on rear of surrey. In the B.g. Steve pulls the wagon to a stop, jumps off, and comes running over. STEVE Jimininy. You sure were lucky, just bustin' a wheel. Helen moves toward Clay. She miles without humor. HELEN (rubbing thigh) You think that'sall we busted -- You should see... Clay stops her with a look, goes around, and kicks the unbroken back wheel. The spokes rattle. CLAY This must have been in the family a long time. MARY (dryly) It was a gift from the citizens of Aspen. I'm Mary Wells. She looks at him to see if the name registers. MARY And this is Helen Carter. CLAY I'm Clay Phillips. (motioning) My brother Steve. Steve tugs at his battered hat. STEVE (shy) Pleased to meet you, ma'am. (brightly) We found your trunk. Were you doin' the driven'? MARY I was at first. Then I was hanging on. (to Clay) Are you going far? CLAY Yes, ma'am. MARY As far as -- Sonora? CLAY Just about. Mary and Helen exchange glances. MARY We're going to Sonora, too, so that solves everything. Clay takes the makings from his pocket, starts to roll a cigarette. MARY We can ride in your wagon. Steve looks at Clay hopefully. He likes the prospect of having these lovely women along. MARY We wouldn't think of asking you to take us for nothing. Clay finishes the cigarette, starts to put the makings back. Mary holds out her hand. Clay gives her the makings. Mary speaks as she casually rolls a cigarette. MARY There's only four of us. Clay motions to the remuda that grazes in the b.g. CLAY I've got eleven horses. STEVE (proudly) Morgan blood. The beat in Nevada. Clay and me have a place on the Toulomne River. We're going to raise horses like these. Mary has finished rolling her cigarette. She passes the bag to Helen, who starts rolling one. MARY They won't be riding in the wagon. CLAY (dryly) Did you ever try taking a bunch of horses over Sonora Pass? It's quite a job. MARY You can't leave us here. CLAY Course I can't. I'll give you a lift to the first ranch. Helen has finished her cigarette. She passes the makings to Steve. He hesitates, looks at his brother and, when he sees Clay is occupied with Mary, starts rolling one. MARY What good is it going to do us to go to some ranch? CLAY (amiably) You can stay here if you like. MARY We have to get to Sonora. There are jobs waiting for us there. We'll pay you for your trouble. CLAY I'm not running a stage line, ma'am, and I can't take a chance on losing the horses. Steve finishes his cigarette. Again he hesitates, then not wanting to seem young in front of these women he takes a bold step and lights it. Clay reaches over and takes it from him. Mary watches the byplay. CLAY When you're old enough to smoke, I'll tell you. (kind) Get the horses started on ahead, will you, Steve? Steve, embarrassed and hurt, turns quickly away. Helen looks after the boy. HELEN Afraid it will stop him growin'? CLAY (turning) Let's get your stuff in the wagon. Like I said, I'll take you to the first ranch. I wish I could carry you all the way, but I can't. It's a tough trip and women would be in the way. MARY (dryly) Our kind of women? CLAY (ignores that) You'll have to drive -- except down hill. He lifts some things out of the surrey and carries them toward the wagon. HELEN Maybe you're going about this all wrong. Why not try telling him we'll do the cookin' and mendin' and washin' for him. That usually works. (then shocked at the thought) Yeah, but suppose he took us up on it. Where would we be? MARY Maybe in Sonora. She starts around the surrey. Helen follows. Clay bends over Elaine. CLAY What's the matter with her? MARY (dryly) Too much excitement. Or maybe it's just the heat. How about the surrey. Can you fix it? As Clay turns from Elaine, Marcia joins the other two, their attention on Clay and the surrey. Left alone, Elaine is suddenly alert and no longer sick. She glances around, then unobserved slides out from under the shade of the surrey. ANOTHER ANGLE on rear of surrey. In the B.g. Steve pulls the wagon to a stop, jumps off, and comes running over. Elaine stands for a moment, searching the ground with her eyes. STEVE Jiminy. You sure were lucky, just bustin' a wheel. Helen moves toward Clay. She smiles without humor. With this new diversion, Elaine, still unnoticed, starts away -- back toward where they dropped the trunk. HELEN (rubbing thigh) You think that's all we busted -- You should see... MARY (sees Elaine) Now where's she goin'? -- ELAINE (half-turns without stopping) I -- lost something. CLAY It wouldn't happen to be this... Elaine stops now and turns as Clay takes the folding daguerrotype case from his pocket. Elaine, her eyes wide and frightened, starts back as Mary takes the case from Clay and opens it. MARY Who's the old folks? ELAINE (frantic) Give it to me! She jerks the case from Mary's hands, snaps it shut, and stands staring at Mary with a strange mixture of fright, anger and hysteria. Mary glances around as if to say what- did-I-do? To cover the embarrassed silence, Clay kicks the unbroken back wheel. The spokes rattle. CLAY This must have been in the family a long time. Elaine glances at him as though he had insulted her, turns and starts toward the blanket again. MARY (dryly) It was a gift from the citizens of Aspen. I'm Mary Wells. She looks at him to see if the name registers. At the surrey side, Elaine is abruptly weak again. She leans against it for support. Mareia moves to her as she slides back down on the blanket, clutching the case. MARY And this is Helen Carter. CLAY I'm Clay Phillips. (motioning) My brother Steve. Steve tugs at his battered hat. STEVE (shy) Pleased to meet you, ma'am. (brightly) We found your trunk. Were you doin' the drivin'? ANOTHER ANGLE Mary and Helen come around the end of the surrey to where Elaine lies. Mary bends beside the sick girl and lifts the cloth from the girl's forehead. MARY Come on, Honeybunch. We're changing trains. The sick girl sits up. She looks around her dully. MARY A nice, kind wrangler is letting us ride in his wagon... Assisted by Mary, Elaine gets to her feet. Mary puts her arm around her. MARY ...as far as the first ranch. From then on -- Elaine stops. She looks fearfully up at Helen. ELAINE What ranch? MARY What's the difference? She tries to lead the girl toward the wagon. ELAINE (fierce) Ask him what ranch -- MARY There's plenty of time for that. (sharp) Come on, now. You've got to lie down out of this sun. Stop worrying. I'll find out what ranch after a while. She pulls the girl with her toward the wagon. MED. SHOT on wagon. Clay, in the wagon bed, is stowing his gear in the back. Mary, supporting Elaine, reaches the wagon. Seeing the girls, Clay reaches down and gently lifts Elaine up. Mary climbs in beside him. MED. CLOSE wagon bed. Clay has unrolled a bedroll under the seat where there is a little shade. CLAY (kind) Stretch out under the seat, Miss. ELAINE (desperate) Which ranch? CLAY How's that? MARY She's worried about where you're taking us. As she speaks, Mary helps the girl down under the seat, then rises to face Clay. MARY (dryly) So am I. CLAY It's a nice place owned by an old couple named Wyatt. CLOSE SHOT Elaine as she hears the name. She is shocked. CLAY'S VOICE They'll take you in until you can make other arrangements. TWO SHOT Clay and Mary. Clay vaults out of the wagon, CAMERA ANGLE WIDENS, he looks up. CLAY So both of you stop worrying. He turns away and hurries back to the surrey. DISSOLVE EXT. DESERT ROAD - DAY FULL SHOT. Dust rises over the road as the cavalcade moves forward. Clay, rifle across his lap, rides in front. The wagon, with Mary driving and Helen beside her on the seat, follows. The two horses that pulled the surrey are tied to the tail gate. Then comes the remuda with Steve bringing up the rear. CLOSE SHOT Marcia and Elaine. PROCESS. Marcia sits in the bed of the wagon looking back. Elaine lies under the seat. CLOSE SHOT Steve. Steve proudly carries his new rifle across his lap. He whistles happily as he scans the desert country hopefully for the enemy. EXT. CAMP SITE - LATE AFTERNOON FULL SHOT. Long shadows of the hills lie on the grassy meadow along the stream that is bordered by cottonwoods and willows. A knoll overlooks the camp site. The caravan can be seen as it halts in the lush grass a few yards from the stream. The girls sit lifelessly on the wagon; they seem too tired to dismount. Then, finally, Marcia helps Elaine to climb stiffly down. With the exception of Mary they all let themselves down in the grass. Mary walks to the head of the team and starts fumbling with the harness. Steve comes into the scene, dismounts quickly and pulls the saddle off his horse. The remuda has fanned out, the horses moving toward the water. Steve crosses to Mary and takes over the job of unbuckling the harness. Mary smiles gratefully and rubs her hand across her face. CLAY'S VOICE Steve, see the horses don't drink too much -- Steve straightens, looks towards the horses and moves off. He speaks to Mary over his shoulder. STEVE Leave that unharnessing for me, Ma'am. Mary smiles after him, then moves across the grass, CAMERA DOLLYING AHEAD of her. She sinks to her knees in the patch of sand by the stream and leans down and puts her face under the water. Then, sitting up, she wipes the water and dust from her face with a handkerchief. Clay rides up from behind, dismounts, scoops up some water from the river in the brim of his hat and drinks it. For a second he watches Mary. CLAY There's a place down a ways, where you and the girls can wash some of that dust off. Mary's manner is business-like. She and the girls are along for the ride. She wants no favors -- wants to do her part. MARY Thanks. And isn't there something we can do about supper -- or making the beds? CLAY (half-smile) Steve and me, we use a saddle for a pillow and roll up in a tarp. MARY (curt) But you eat, don't you? CLAY Mostly, we open a can of beans and boil some coffee. MARY Where do you keep the can opener? CLAY In the grub box. (softening) Toward morning the dew gets kind of heavy so maybe you better fix up a bed under the wagon. Spread some bunch grass under the tarp and the ground won't be so hard. He turns and leads his horse back to the wagon, stands there unsaddling it. Mary rises. MARY Marcia -- all of you. Come on. She starts downstream. MED. SHOT ANGLED PAST wagon. Clay tosses the saddle into the wagon bed, slaps his mare on the rump. She trots off. Climbing up on the wheel, he gets the grub box under the seat and lifts it down. Steve comes from out of scene and starts unharnessing the team. STEVE (trying to be casual) Where'd they go? CLAY Swimming. Clay comes past him, carrying the grub box. He puts it down near where some stones make a crude firebox. STEVE It's sort of nice having company along. Not so lonesome. Clay squats by the stones and starts building a fire. CLAY When you get the team watered, rustle up some wood. He fans the small flame with his hat. Steve leads the mules down toward the stream. MED. SHOT ANGLED PAST Clay. In the B.g. Steve stands by the stream, letting the team drink. O.s. the women can be heard laughing and splashing. Steve gives all his attention to what is going on downstream. Clay puts wood on the fire, opens the grub box. He sees Steve, takes the coffee pot out of the box and heads for the stream. MED. LONG SHOT ANGLED PAST Steve downstream. Behind the willows the girls are bathing. However they are too far away to be seen clearly and the willows make a fairly effective screen. Clay walks upstream and fills the coffee pot, then comes back to stand for a moment beside Steve. Steve, who hadn't seen Clay until now, suddenly gets very busy giving all his attention to the mules. STEVE (to mules) You boys have had enough. He jerks them from the water and leads them away. Clay frowns after him, then goes back to the wagon. MED. SHOT on wagon and fire. As Clay passes the wagon, he reaches into the bed and gets a couple of strips of scrap iron. These he carries to the fire. He puts the iron strips across the blaze, sets the coffee pot on, feeds the fire with some more wood, then going back to the wagon, he takes his rifle out, throws a shell into the chamber and starts off up the knoll. DISSOLVE EXT. KNOLL - NIGHT MED. SHOT. It is a moonlight night. Clay squats on his heels, smoking. The rifle lies across his knees. Below can be seen the campfire, and the shadowy forms of the girls as with Steve's help they make up a bed under the wagon and cook the evening meal. Clay suddenly reacts as O.s. a horse whinnies. Standing he looks off into the darkness. LONG SHOT ANGLED PAST Clay. In the moonlight the trail stretches back over rolling hills. Faintly can be heard the SOUND of hoofbeats. Below, where the remuda grazes, a horse whinnies again. Clay moves down toward the camp. MED. SHOT the camp. As Clay approaches. Steve squats by the fire. He has spread out a tarp in the circle of firelight and Mary is setting the tin plates, cups, etc., out. Elaine, a blanket around her, sits near the fire. She looks tired and ill. Marcia and Helen are struggling with bed-making under the wagon. HELEN'S VOICE And I'm the girl who used to complain to my mother about helping with the wash. Steve and Mary look up as Clay strides up. Clay starts kicking dirt over the fire. CLAY Get your rifle. Steve jumps up and hurries to the wagon. Clay continues kicking dirt over the fire. EXT. CAMP - NIGHT - (MOONLIGHT) LONG SHOT - ANGLES PAST horseman. The horseman, who has been approaching from the east, tops a rise and looks off at the camp. He is a shadowy figure in the palo dark. For a moment, as the fire still blazes, figures are visible in the camp. Then the fire goes out. The horseman dismounts, pulling his rifle from his scabbard. Moving to his horse's head he puts a hand on the animal's nostrils. He looks toward the camp for a moment then starts cautiously along the road. EXT. ROAD - NIGHT - (MOONLIGHT) MED. SHOT - ANGLED THROUGH willows PAST Clay and Steve. The brothers have taken up a post overlooking the road. The horseman walks cautiously toward them. He stops, listening. Then he drops his reins and comes forward stealthily. The horse stands. MED. CLOSE SHOT Clay and Steve. Steve, finger on trigger gives Clay a questioning glance. Clay shakes his head. CLAY (calling) Hold it. ANOTHER ANGLE on road. The man, now seen clearly for the first time, stops. He is Jim Clayton, a man in his twenties, chunky, round-faced, stolid and not too imaginative. He wears the well-worn jeans and blue shirt of the farmer. Clay and Steve come out of the willows toward him. Both have their rifles ready. CLAY Drop your gun. Clayton hesitates, then lets his rifle butt drop to the road. CLAYTON (mildly) Drop yours. I'm gunshy. CLAY Then don't come sneakin' around a man's camp. CLAYTON A fellow sees a fire go out all of a sudden, he don't take chances. My name's Clayton and I'm looking for someone. Clay and Steve lower their rifles. CLAYTON I found their surrey -- CLAY So did I. They were in it. CLAYTON She's a friend -- took off this morning sort of sudden while I wasn't around. Clay moves closer and extends his hand. They shake. CLAY (very cordial) I'm glad you came along. (introducing) My brother, Steve. I'm Phillips. Steve shakes Jim's hand. CLAY I gave the girls a lift. Didn't know what else to do with them. Get your horse and come on. Clayton turns back toward his horse. Clay and Steve wait for him. EXT. CAMP - NIGHT - (MOONLIGHT) MED. SHOT - ANGLED BACK ALONG the trail. Mary and Helen, tense and worried, stand at the edge of the camp, looking off. Marcia is with Elaine under the wagon. From o.s. comes the SOUND of men's voices. Clay, Steve and Clayton, leading his horse, come into view. CLOSE SHOT ON WAGON Marcia kneeling on the tarp by Elaine, is staring ahead. Suddenly her face lights up. She springs to her feet. MARCIA'S ANGLE Clay, Steve and Jim are now close to Mary. CLAY (genial) Here's a man says he's looking for you girls. CLAYTON Hello, Miss Wells. Hearing his voice, Marcia runs toward them. GROUP SHOT Marcia throws herself into Jim's arms. MARCIA Jim. MED. CLOSE Clayton kisses her. CLAYTON I was roundin' up some stock. That's why I didn't come sooner. Marcia hugs him. In the B.g. Clay goes over to the fire, kicks the dirt off the embers and piles on wood. The fire flares up. CLAYTON What do you mean running off without a word. TWO SHOT Mary and Helen. MARCIA'S VOICE I didn't know who to tell, it all happened so sudden, those people comin' and throwin' us out on the street. JIM'S VOICE Don't you think about it, darlin'. Don't you think about anythin' but us. HELEN (quietly) Looks like we lose a good piano player. CAMERA ANGLE WIDENS as Marcia and Jim come forward. The fire now burns briskly. Clay rejoins the group. MARCIA (happily) Jim came after me, Mary. MARY (dryly) I see he did. HELEN With a milk pail in one hand and a marriage license in the other. MARY (sharp) Why didn't you say you wanted to get married back in Aspen. I told the man in Sonora there were four of us. If only three show up, he might call the whole deal off. We've got to stick together. Like we've always done. MARCIA I've got a chance to get married. MARY (quickly) That's what I'm gettin' at. It never works. Don't forget we were thrown out of Aspen. MARCIA Jim doesn't care, do you, Jim? Mary speaks before Jim can answer. MARY But Jim isn't the only one you're marrying. He has folks and friends. What are they going to say? And how're they going to feel? I tell you, it won't work. The joy goes out of Marcia's expression. She looks up at Jim, her eyes begging him to tell her it will work. Jim, a naturally shy man, loses his tongue momentarily. Clay jumps into the breach. CLAY Of course it'll work. You can get another girl to fill out the act. MARY (ignoring him) And look at it this way. How about Jim -- it puts him in a sort of tough spot. JIM I know what I'm doing. My folks got nothin' to do with it -- MARY You've talked this over with them? JIM They know about Marcia. MARY (quickly) And they don't like the idea! CLAY Suppose they don't. This is his problem. He's over twenty-one. He wants to marry Marcia and Marcia wants to marry him so let 'em alone. Mary turns on Clay. TWO SHOT Clay and Mary. The others in the b.g. MARY If you were in his shoes would you take one of us home? CLAY I'm not in his shoes, so leave me out of it. CAMERA ANGLE WIDENS as he turns back to the fire, embarrassed by the spot he's in, and throws wood on it, Mary watching him. Steve comes over to Mary. STEVE (friendly) I would! Clay swings around and comes back. CLAY (hurriedly; smiles) Steve maybe you better get some wood for the fire. MARY Would you, Mr. Phillips? CLAY (to Steve) Go on, there's a good boy. Clay gives Steve a gentle push. Steve exits. MARY (bitter) Don't you want him to hear your answer? Well, I know what it is. For the other fellow it's all right -- but not you. All you want is to get rid of one of us. JIM Wait a minute. Jim, his arm around Marcia, moves closer. Helen is in the B.g., watching. JIM No need of you two arguin' about this. We know what we want to do, and nothin' either of you says makes any difference. We want to go home -- tonight. (to Clay) Will you sell me one of your horses? CLAY I'm sorry. I can't do that. I went a long way to get those horses. JIM All right, we'll ride double. Come on, Marcia. Taking her arm he leads her to where the horse stands at the edge of the camp. ANOTHER ANGLE featuring Marcia and Jim. In the B.g. Mary comes after them. MARY No need to do that, Marcia. Jim and Marcia turn. MARY We've got two horses and they're four of us. So half of one of 'em is yours. (smiling) The other half's a wedding present. Marcia comes over to hug Mary. As Marcia and Jim leave, Mary moves to Clay. MARY Big-hearted fella. Can't see young love thwarted -- especially if it makes one less girl to worry about. That's all you really want, isn't it. DISSOLVE EXT. CAMP SITE - NIGHT MED. SHOT. Mary stands in the moonlight by the wagon, looking out across the meadow. Below, near the creek, the horses graze. There is the soft jangle of a bell as the bell mare moves her head. Clay comes walking up from the creek, rifle in hand. He passes without noticing Mary. Mary turns. REVERSE SHOT Mary in close F.g. The campfire burns low. Steve lies on his stomach close to it. Clay stops beside him to glance down, then moves on to sit on a rock above the fire. Mary starts toward the fire. MED. CLOSE Steve. Open in front of him is a copy of Leslie's Weekly, a woman's journal: pictures of baby basinettes, whale-bone corsets, fancy oil lamps, etc. Mary comes into scene to stand above him, looking down. Steve glances up and smiles. MARY Is that your kind of reading, Steve? STEVE I can't read, Ma'am. I just look at the pictures. MED. SHOT ANGLED DOWN PAST Clay. MARY You can't read? She glances up where Clay sits. MARY Your brother's always looked after you, hasn't he? STEVE Since I can remember, Ma'am. MARY But he just never troubled to have you get any schooling? CLOSE SHOT Clay. He listens, perturbed. MED. SHOT Mary and Steve. STEVE It wasn't Clay's fault. We've been moving around most all the time -- mebbe when we get the ranch and stay in one place I can learn my letters then -- MARY Don't you even know your letters? CLOSE SHOT Clay. He winces at! STEVE'S VOICE No, Ma'am. MED. SHOT Mary, Steve and Clay. Behind them, Clay rises and comes down nearer the fire. MARY Would you like to learn them? STEVE I sure would. MARY Maybe I could start you out. STEVE That'd be swell. (shyly) You know, you're an awful lot different than I thought you'd be. She gives him a quick look of inquiry. STEVE You're so nice. MARY Did someone say I wasn't nice? STEVE Oh no. Nobody said nothing to me. Only I got the idea that -- well Clay and me used to be walking through town and there was your place and through the window I could see you dancing, but Clay always took me over to the other side of the street. CLAY (interrupting) Time to go to bed, Steve. Steve looks up, then rises reluctantly. STEVE Good night, Miss Wells. MARY Good night, Steve. Steve exits. Mary looks after him, then up at Clay. MARY (soft) There's a nice boy. CLAY Yeah. MARY (sharp) That why you always took him on the other side of the street? Clay kicks loose embers into the fire. MARY (sharper) Maybe I don't make the grade in some ways, but I know enough to teach a kid his letters. Clay turns from the fire to stand above her. CLAY (quiet) He doesn't know his letters, no -- but he knows the names of animals... he knows what roots to eat when you're clear out of food... He knows the difference between a possum and a coon just by lookin' at the tracks... more than most trappers know... and he can tell whether she'll rain or shine tomorrow by smelling the air tonight. There's a lot of things he doesn't know, I hope he'll never learn. He pauses, looking down. MARY Like what? CLAY (turning away) Like sticking his nose into other people's business. Clay moves out of the circle of firelight to stop and pick up his rifle, tarp and blanket, then climbs the knoll. Mary stares into the fire, then rising she starts toward the wagon. EXT. KNOLL - NIGHT - MOONLIGHT MED. SHOT. Clay reaches the top of the knoll and stands looking off. Below him the campfire burns low. Mary reaches the wagon. EXT. WAGON - MOONLIGHT - NIGHT MED. SHOT ANGLED PAST Mary TOWARD Clay. Mary stops, looking up. A match flares as Clay lights a cigarette. O.s. there is the SOUND of the bell mare's bell, the SOUND of horses moving restlessly. Mary turns, looks under the wagon. MED. CLOSE DOWN ANGLE Elaine is gone. Helen is asleep. Mary drops to her knees on the tarp and shakes Helen in wakefulness. MARY Where's Elaine? Helen sits up and looks over at Elaine's side of the bed. HELEN She was here a while ago. Mary straightens, moves down past the wagon, CAMERA PANNING WITH her. She calls softly. MARY (softly) Elaine! MED. CLOSE Clay. He looks down toward the wagon as Mary calls Elaine's name again, this time louder. MARY'S VOICE Elaine. (then) Clay -- Elaine's gone. Clay frowns, pitches his cigarette away and starts down toward the wagon. MED. CLOSE Steve. He is sitting up, pulling on his boots. From under the bedclothes he takes his rifle and starts toward the wagon. MED. SHOT wagon. Clay stands with Mary at the wagon as Steve comes up. Helen is sitting up in bed, a comforter pulled around her. HELEN She can't have gone far. I wasn't asleep long. CLAY What would she run off for? MARY (excited) Because she's sick. She starts away into the darkness. CLAY (sharp) Stay here. One woman wanderin' off's enough. Mary turns back. STEVE Don't you worry, Miss Wells. We'll find her. Clay picks up his saddle and bridle. CLAY (to Mary) Build the fire up and stick close to it. Come on, Steve. He starts down toward the meadow. Steve follows. Helen scrambles out from under the wagon. EXT. CREEK - NIGHT - MOONLIGHT Clay stops by the creek. Behind him the fire smoulders near the wagon. Mary's shadowy figure can be seen climbing the knoll where Clay's bedroll is. Helen is near the fire. CLAY (annoyed) Look around. She can't have gone far. Steve nods and splashes across the creek to follow the road leading west. Clay starts toward the meadow where the horses graze. EXT. ROAD - NIGHT - (MOONLIGHT) MED. SHOT. Steve moves slowly along the road away from camp. He is scanning the dust for Elaine's footprints. EXT. KNOLL - NIGHT - (MOONLIGHT) LONG SHOT - ANGLED PAST Mary. Mary stands on the knoll looking off. Far below, in the meadow, Clay saddles his horse. MARY (calling) Elaine -- Elaine -- Elaine. EXT. MEADOW - NIGHT - MOONLIGHT MED. SHOT. Clay swings into the saddle, and rides east. O.s. Mary calls: MARY'S VOICE Elaine -- Elaine. As the call echoes across the hills. DISSOLVE EXT. DESERT - NIGHT - (MOONLIGHT) MED. SHOT. This is rough country, the rocky hills covered sparsely with scrub pinon pine and brush. Steve stands on a rise. He looks around for a moment, then turning starts back down the slope. Suddenly he stops and listens, as from O.s. comes the SOUND of distant sobbing. CLOSE SHOT Steve. He listens, trying to locate the sound then he hurries down into a dry wash. EXT. WASH Steve crashes through the brush into the wash, to stop beside Elaine who sits with her head buried in her arms, sobbing. MED. CLOSE Steve and Elaine. Steve drops on his knees beside her. Elaine doesn't look up. Steve shakes her. STEVE Ma'am -- you shouldn't have run off like that. Why I was just about to give up lookin'. Come on, now. Elaine doesn't move. STEVE You can't stay here. There's snakes and it's cold and you'll just get sicker. ELAINE I don't care. STEVE Suppose that Lednov was to have found you, instead of me. Why you wouldn't have had a chance. ELAINE (sharp) I said I didn't care. STEVE What's botherin' you, anyway? He pulls her up. STEVE Runnin' off and worryin' people. Makin' it tougher on Clay than it is already. ELAINE (hysterical) Don't ask me because I won't tell you! I won't tell anybody! Go away! STEVE Don't act so -- crazy. ELAINE (dully) I'm sorry. Let's go. STEVE (relieved) That's a good girl. CAMERA ANGLE WIDENS as he tucks her arm in the crook of his own and starts up the other side of the wash. ANOTHER ANGLE Steve, holding Elaine's arm, scrambles up the bank and through the brush. STEVE That's it. Watch out where you're steppin' -- He stops and looks off. Faintly O.s. is heard the SOUND of hoofbeats. STEVE That oughta be -- (then sharp) Down. He shoves the girl down. LONG SHOT their ANGLE. Over a hill comes a horseman to be followed by another and then a third. CLOSE SHOT Steve and Elaine. STEVE Lednov -- Excitedly he swings the rifle to his shoulder and fires. EXT. DESERT - NIGHT - MOONLIGHT FULL SHOT - Clay reins his horse in and turns to look off in the direction from which the shot came. Faintly o.s. another shot echoes across the hills, then another and another. Clay spurs his horse and gallops off. EXT. HILLTOP - NIGHT - MOONLIGHT Clay gallops up the hill to rein his horse in suddenly. MED. LONG SHOT his ANGLE. Riding toward him are several horsemen. The horses move at a walk. One carries a double burden. Steve walks along behind. Clay spurs his horse and rides down toward them. ANOTHER ANGLE Clay, in the B.g., comes down the hill. The horsemen, seven of them, with Sheriff Gardner in the lead, followed by a deputy, carrying Elaine in front of him, file past camera. Steve, hands in his pockets, walks dejectedly in the dust cloud kicked up by the horses. MED. SHOT featuring Clay and Gardner. Clay reins in his horse beside Gardner, who also stops. The others rein in. Steve stops a short distance away. GARDNER Want to take her off our hands? Clay rides closer. The deputy rides forward and lifts Elaine into his arms. Clay settles her in front of him. CLAY Who shot who? GARDNER Nobody. The light was bad. There are two rifles in his saddle holster. He pulls Steve's out, hands it over. GARDNER Steve's! Clay shoves it in his saddle holster. GARDNER What's she doin' runnin' around the country at night. CLAY I wouldn't know. Did you ask her? GARDNER All I can get out of her is she don't care about livin'. CLAY Look of things, she doesn't. GARDNER Yeah. Keep a closer eye on her -- (motioning to Steve) And him. Shootin' going on, we'll never find Lednov. He wheels his horse and rides off, followed by the others Clay watches him go. Reluctantly Steve moves slowly up to stand near Clay. STEVE There was only three of them at first. I guess I lost my head. CLAY (dryly) How'd you happen to miss? STEVE They were quite a ways off and the wind was blowin'. I didn't have them to aim. CLAY Good thing you didn't. He reins his horse around. STEVE Clay -- Clay looks back. STEVE A man can't help gettin' excited once in a while. CLAY That's right, Steve. STEVE Can I have my gun back? CLAY Sure. You'll find it under the wagon seat. Like I said before, a twenty- two's more your size. FADE OUT EXT. TRAIL - DAY FADE IN EXTREME LONG SHOT. West are the Sierras and clouds are piled in untidy heaps on the range. The dusty trail runs through rolling country. Pinon pine and brush clothe the slopes. The wagon and horses are the moving center of a white cloud of dust. FULL SHOT Clay's party. Clay rides in the lead. The wagon follows and Steve is riding beside the wagon. Behind is the remuda, and the horses are straying off the road in search of grass. MED. SHOT wagon - (MOVING). Featuring Steve and Mary. Elaine lies under the seat and Helen sits beside her. Steve is reciting the alphabet to a simple melody usually sung by children of six or seven. STEVE (stumbles embarrassedly) Gee, I can't. MARY Why not? You went farther than that last time. STEVE I'm too old for it, Miss Wells... That's for little kids. MARY Don't be silly... Nobody's too old to learn. STEVE (resolutely) Okay. A-B-C -- D-E-F -- G-H-I -- CLOSE SHOT Clay. He turns in his saddle where he rides ahead of the team. He notices Steve riding at Mary's side and reins in his horse. CLAY (mildly) Oh, Steve! MED. SHOT Steve and Mary. Steve stops his letters. looks off. The wagon moves up to Clay and stops. CLAY Get back to the horses. They're straggling. MARY He's learning his letters. CLAY Yeah. While the horses wander all over the country. Steve hesitates hoping he'll change his mind. CLAY (sternly) Do like I said. Steve wheels his horse and rides back. Mary looks over at Clay. MARY (dryly) Learnin' to read has nothing to do with the right or the wrong side of the street. CLAY (motioning) Are the horses stragglin' or aren't they? MARY (after a backward glance) They're stragglin'. CLAY His letters will keep. He wheels his horse and rides after Steve. ANOTHER ANGLE Steve is driving the horses back into the road. Clay rides up to help him. The horses fall in behind the wagon. Steve takes up his position in the rear. Clay rides over beside him. MED. SHOT CLAY AND STEVE. (MOVING) CLAY Steve -- I want you to learn to read. I meant to teach you but I never seemed to find time. I figured when we got settled on the ranch we'd get around to it. They ride in silence for a moment. CLAY It's all right with me if she teaches you, but I don't want you forgettin' your job. STEVE (flat) I won't again. ANOTHER ANGLE One of the horses strays out of line and Clay rides out and gets the animal back in the road. Then he returns to Steve. TWO SHOT - (MOVING) CLAY This isn't like other trips we've taken. For one thing, we've got a wagonload of women. For another there's a guy wanderin' around hopin' to put a bullet in my back. Steve looks over at his brother and finds a wry grin. STEVE Okeh, I was wrong. But you can't expect a fellow who never saw Lednov and never heard his name until a while ago to do too much worryin'. You've been sorta close mouthed about him. CLAY I guess I have. You were pretty little when they locked him up. I don't suppose you even remember that time I was gone two months. STEVE Sure I remember. You went to Mexico lookin' for cattle. CLAY (nods; then, after a moment) You remember Jeff Rawson? -- We used to go fishing and hunting with him when you were so high. STEVE (offended) Sure I do. Went off down to Mexico or something... CLAY That's what I told you then. Only he didn't. Lednov killed him. STEVE Oh... that's the time you went away. CLAY (nods) I caught up with Lednov in Nogales. He didn't like the idea of comin' back across the border but he came. I turned him over to the sheriff and -- that's the story. STEVE (looking off) Maybe you shoulda killed him. CLAY Maybe I should. But I was never much on killin'. Anyway, he moved too quick and I just got him through the shoulder. (glances off) Looks pretty peaceful up ahead. STEVE Yeah, it does. CLAY But you never can tell. Why don't you get that new rifle out of the wagon? Steve smiles warmly at him. CLAY And while you're there you might as well find out what comes after K. DISSOLVE EXTREME LONG SHOT Cavalcade. It moves through dry barren hills. Far off, the Sierras rise against the sky Thunder heads are piled in untidy heaps on the range. DISSOLVE OUT EFFECT SHOT DISSOLVE IN sky. Dark rain clouds blown by a high wind. SOUND of thunder. FULL SHOT rain -- the caravan. Clay leads it through a rain that has filled the ruts in the trail, soaked the horses to glistening black -- and obscures all view of the country through which they are passing. SOUND of rain falling is loud. Clay and Steve both wear slickers, gleaming from their shoulders to the rumps of their horses. Mary, a tarp around her shoulders, drives. Elaine and Helen huddle under a tarpaulin in the wagon bed. MED. CLOSE SHOT rain -- DOWN ANGLE -- wagon moving. Elaine sits up and, in her delirium, throws off the tarp. Helen tries to pull her down. HELEN (crying out) Elaine -- stop it -- CLOSE SHOT rain -- Clay. He wheels his horse at the SOUND of Helen's voice and rides back through the rain toward the wagon. MED. CLOSE SHOT rain -- wagon. Mary pulls on the reins and the mules stop. Twisting them around the whip-stock, she swings back into the wagon bed. She looks up at Clay. MARY She should be in bed where it's dry. In her anxiety, her tone is accusing. Clay drops the reins, climbs into the wagon and bends down beside Elaine. He puts his hand on her forehead. MED. CLOSE rain - DOWN ANGLE - featuring Clay and Mary. CLAY (dryly) Yes, Ma'am, she should... He starts fixing the tarp so it gives more protection to the sick girl. CLAY But the nearest shelter's the Wyatt ranch and that's maybe five hours away. MARY Can we get a doctor at that ranch? CLAY (straightening) No, Ma'am, we can't. We can get a roof and a fire and maybe Mrs. Wyatt knows something about taking care of sick people. ANOTHER ANGLE rain. Clay vaults out of the wagon and mounts his horse. Mary rises and climbs back into the seat. She lashes the mules with the reins. The wagon jolts forward. MED. CLOSE SHOT rain - ANGLED ACROSS seat - (MOVING). Clay rides alongside. Then, without a word, he strips off his slicker, tosses it on the seat and rides off. Mary looks after him, then at the slicker. She hesitates, not wanting to take favors from him. Then she pulls the slicker around her. Taking the whip, she hits the mules. CAMERA ANGLE WIDENS and CAMERA HOLDS. The team breaks into a trot. The cavalcade moves away from camera through drenching rain. DISSOLVE EXT. WYATT RANCH - DAY LONG SHOT - ANGLED THROUGH gate in barbed wire fence. The ranch is nestled in a valley at the base of the Sierras. Green meadowland surrounds the farm buildings which consist of a cabin, barn and sheds, all in good repair and white- washed, as are the corral fences and the picket fence around the house, which stands in a clump of trees. The wind has pushed the clouds back over the hills, but far off there is still thunder. The gate in front f.g. is of barbed wire. It is closed. On the fence post a board is tacked. Neatly lettered on the board is the name: ED WYATT From o.s. comes the SOUND of horses moving restlessly and the creaking of saddle leather, as a man swings out of the saddle. Footsteps approach. A man's head and shoulders, back to camera, comes into scene. He unloops the strand of bailing wire and lets the gate fall open, then turns and we see his face. He is Lednov. His cheek and jowls have a dark growth of beard. He wears a black leather jacket and a wrangler's grey hat. The clothes Forster was wearing. As he moves back to his horse, CAMERA PULLS BACK and PANS AROUND. His companions, McCall and Peters, also wear black leather jackets, sombre, dusty pants and hats. They are mounted on matched roans. The horses are winded, lathered and dirty. It is obvious they have ridden hard. Lednov strides forward and as he reaches for the reins the horse shies away. Brutally he jerks on the reins. The horse rears. He snatches his hat from his head and whacks the horse across the nose. McCall rides over and grabs the reins. Lednov scrambles into the saddle. MED. SHOT ANGLED TOWARD gate. Lednov rides forward through the gate. His horse is limping badly. The others follow. They do not stop to put the gate back up. DISSOLVE EXT. TRAIL - DAY LONG SHOT. Clay's cavalcade moves forward along the trail. There are cloud patches overhead and faintly in the back country thunder rumbles. The mules pull the jolting wagons forward in a slow trot. Clay rides ahead. Steve and the remuda follow. DISSOLVE EXT. WYATT RANCH - DAY FULL SHOT. Lednov, McCall and Peters ride into the yard and up to the horses' trough. The horses plunge their muzzles deep into the trough. As the men dismount, Wyatt, a sinewy little man, hurries from the direction of the barn. MED. SHOT at horse trough. Wyatt, smiling his pleasure, comes up as the three men dismount. WYATT (happily) My name's Wyatt. Certainly glad you boys dropped in. He extends his hand to Lednov. Lednov ignores it. The three men are looking around them. Two work horses, fat and elderly, amble across the corral to nuzzle the roans through the fence. LEDNOV Those the only horses you got? Wyatt is a little taken aback by Lednov's manner. WYATT Why, yes. They're all I need... LEDNOV Mine's gone lame. Take a look at him. Wyatt frowns up at Lednov, angered by the order. LEDNOV Go on, we haven't got all day. McCall and Peters move closer to Wyatt, who glances around worriedly. Realizing he better do as he's told, he goes to the roan and rubs his ears. WYATT Whoa, boy. Let's have a look. Bending, he lifts the horse's hoof. Lednov, McCall and Peters watch him. He drops the hoof, straightens. WYATT He dropped a shoe. You shouldn't be ridin' him. LEDNOV Put on another one. WYATT That won't help the stone bruise. You ain't been around horses much, looks like. LEDNOV Will you quit gabbin' and do what you're told. Wyatt hesitates. Lednov steps toward him. WYATT (frightened, bewildered) All right, but it won't do much good. He picks up the roan's reins and starts leading him into the corral. Lednov, with a jerk of his thumb, indicates that McCall is to go with him. McCall follows. Lednov and Peters turn toward the house. ANOTHER ANGLE As Lednov and Peters start for the house, Mrs. Wyatt, a woman of about fifty, small, plump, browned from the sun and hard from work, comes out on the porch. She has taken off her apron and holds it in her hand. She smiles at the two men. MED. SHOT ANGLED PAST Mrs. Wyatt. She starts down the steps as Lednov and Peters come up. MRS. WYATT I was up to my elbows in flour when you boys rode up, that's why I din't come out sooner. I hope Ed asked you to stay the night? LEDNOV All we want's supper. At his tone, the welcoming smile leaves her face. She looks from one to the other. Lednov pushes past her up the steps and into the house. Mrs. Wyatt follows him with her glance. McCall motions. MCCALL We're in a hurry. DISSOLVE EXT. TRAIL LONG SHOT. In the f.g. the cavalcade moves along the trail. Now the Sierras back of the Wyatt ranch are much closer. The sun has set but it is still light. DISSOLVE EXT. RANCH HOUSE - DAY MED. SHOT. Peters sprawls on the ground, smoking. He looks up as Wyatt and McCall cross from the direction of the barn. PETERS Take care of that horse? WYATT (gruffly) Yeah. The best I could. Wyatt goes on past and hurries up the steps. INT. RANCH HOUSE ANGLED PAST Wyatt. This is the main room of the house -- a living room and kitchen combined: wood-stove against one wall, a sink with a pump against another, a fireplace, some simple furniture and, hanging from one of the rough walls, a concertina. Through an open doorway can be seen the Wyatt's bedroom. Another door, closed, leads into the second bedroom. The house has a warm, well-scrubbed look. Wyatt enters. Mrs. Wyatt, stoking the stove, turns. She glances nervously in the direction of the bedroom. Wyatt shifts his glance to the fireplace -- there is no gun hanging from the hooks above the mantel. Lednov appears in the doorway of the bedroom. WYATT What are you doin' -- LEDNOV Lookin' around. He crosses to the fireplace. He is carrying Wyatt's rifle, gun belt and six gun. LEDNOV These all the shells you got? Wyatt has had as much of this as he can stand. He starts angrily across the room. WYATT Put my guns down and get out of here -- MRS. WYATT Ed -- no, Ed. She crosses to him and stands in his way. Wyatt pushes past her and grabs for the guns. Lednov gives him a swipe with the back of his hand, knocking him away easily. LEDNOV Your old woman's got sense -- you listen to her. Mrs. Wyatt helps Ed to his feet. She puts an arm around him. LEDNOV I asked you -- these all the shells you got? MRS. WYATT (quickly) They's a box in the cupboard over the sink. Lednov crosses to the cupboard and opens it. Finding the box of shells, he slips it in his pocket. LEDNOV (to Ed) Get on about your chores. (to Mrs. Wyatt) And hurry that grub up. Wyatt and his wife look at each other. Then meekly they obey. DISSOLVE OUT EXT. HILLTOP - NIGHT DISSOLVE IN MED. SHOT. Here the trail starts down into the valley. From o.s. comes the SOUND of the cavalcade approaching. Clay rides into the scene and stops on the hilltop to glance ahead. LONG SHOT Clay's ANGLE. A light can be seen ahead in the valley. REVERSE ANGLE Clay turns and rides back toward the wagon. The mules have slowed to a walk in the climb up the hill. MED. CLOSE SHOT on wagon - (MOVING). Clay rides up alongside. Mary is hunched forward on the seat. CLAY Only a little ways now -- maybe a mile. He glances down into the wagon bed where Helen is sitting by Elaine. CLAY How's she makin' out? HELEN (dryly) If she feels worse than I do, she's dyin'. Clay rides back toward the rear. CLAY (calling) Steve -- STEVE'S VOICE Yo -- MED. FULL SHOT The wagon reaches the crest of the hill. Mary hits the mules with the reins. The mules break into a trot. Behind, the remuda comes into view. Clay sits his horse by the side of the trail and watches. EXT. FARM HOUSE - NIGHT MED. SHOT. Mrs. Wyatt stands by the stove, watching the three men at the table. Wyatt sits in a chair by the stove. MCCALL I'll have some more of that coffee. Lednov pushes his chair back and rises. LEDNOV We got to get movin'. MCCALL What for? LEDNOV Because there's a man I want to see. MCCALL He can wait. Let's stay here until morning. Wyatt and his wife exchange frightened glances. That's the last thing they want. LEDNOV (rising) I said let's go. MCCALL (protesting) One night more won't matter. Your friend'll be there. Anyway I don't think so much of the idea of prowling around his ranch. He knows you're out so he ain't going to sit still for it. LEDNOV (fierce) I said I had a guy to see and I'm going to see him. With the fingers of his right hand he automatically rubs his shoulder just above the heart. LEDNOV He gave me something once so I wouldn't forget. PETERS (rising) He says go, we go. Grudgingly, McCall gives in. They exit. Wyatt stares after them raging at his impotence. WYATT If they'd only left me a gun, I'd fix 'em. MRS. WYATT Hush, Ed. Hush. They might come back. EXT. CORRAL - NIGHT MED. FULL SHOT. The three men mount their horse, dig their spurs in and ride away. As they ride toward the gate, Wyatt comes out on the steps. EXT. TRAIL - NIGHT LONG SHOT. Here the trail passes through a narrow draw, then climbs a small rise which overlooks the gate. Clay's caravan jogs along the trail. EXT. HILLTOP - NIGHT LONG SHOT - DOWN ANGLE. The caravan climbs toward camera. CAMERA PANS AROUND to SHOOT DOWN TOWARD the Wyatt ranch. Through the gate ride Lednov, McCall and Peters. They stop for a moment then turn right and trot along the fence line. As they disappear, the SOUND of the caravan's approach is heard o.s. DISSOLVE EXT. WYATT RANCH - NIGHT - (MOONLIGHT) MED. FULL SHOT. Clay gallops into the yard and swings out of the saddle. The farmhouse is dark. INT. FARMHOUSE - NIGHT ANGLED THROUGH window, PAST Wyatt. Clay opens the gate and hurries up the steps and across the porch. EXT. PORCH - NIGHT MED. SHOT. Clay raps on the door. CLAY Mr. Wyatt. WYATT'S VOICE Who is it? CLAY Clay Phillips. The door opens. Wyatt comes out. He pumps Clay's hand. WYATT (calling) You can light the lamp. (to Clay) I'm sure glad it's you. We were afraid those killers might come back. CLAY Three men on matched roans? In the kitchen a match flares as Mrs. Wyatt lights the lamp. WYATT Yeah, how did you know? CLAY The whole state's lookin' for 'em. (dryly) And they're lookin' for me. Mrs. Wyatt comes out to stand in the doorway. She shakes Clay's hand. MRS. WYATT You don't know how good it is to see you. CLAY Maybe you won't feel that way after I tell you what I stopped in for. He turns and motions off. LONG SHOT ANOTHER ANGLE. Clay, Wyatt and Mrs. Wyatt in f.g. The wagon is coming toward the yard followed by the remuda. CLAY I picked up some women on the road. THREE SHOT Clay, Mrs. Wyatt and Wyatt. O.s. the wagon and horses can he heard. MRS. WYATT Tell them to come on in. CLAY But I'm going to have to leave 'em here. They're --- well they're not the sort of people you're used to. MRS. WYATT (a reprimand) It doesn't matter who they are. CLAY (lamely) And one of 'em is sick. MRS. WYATT Why didn't you say so. Go right out and get her. Ed. build the fire up. She turns back into the kitchen. Clay looks after her, then hurries down the steps. Wyatt follows his wife inside. INT. KITCHEN - NIGHT Wyatt goes to the stove and starts stoking the fire. Mrs. Wyatt takes the lamp from the wall bracket and goes into the bedroom. INT. BEDROOM - NIGHT FULL SHOT. It is a pleasant room with a large, handmade, double bed, white flour sack curtains at wide windows. Mrs. Wyatt puts the lamp on the dresser. Going to the bed she pulls back the covers, feels the sheets. MRS. WYATT (calling) Wrap a stove lid in dish towels and bring it in here. This bed's like ice. MED. SHOT Turning from the bed, she crosses to the dresser. Beside the dresser is a camel-back trunk. She starts to open a dresser drawer, pauses and looks down at the trunk. Moving to the trunk, she hesitates. Then making up her mind, she bends down and throws open the trunk. MED. CLOSE SHOT DOWN ANGLE. A girl's clothing is neatly packed in the trunk. A framed picture is face down on top of the clothing. Mrs. Wyatt kneels by the trunk, pushes the dresses aside and finds a nightgown. CAMERA ANGLE WIDENS as she rises and shakes it out. It is frilly, dainty, very feminino; obviously the nightdress of a young girl. She closes the trunk, turns and as she goes to the bed, Wyatt comes through the door carrying the towel-wrapped stove lid. She lays the nightgown on the bed, takes the stove lid and puts it between the sheets. Wyatt is staring down at the garment. WYATT (cold) Put it back. They face each other. Wyatt reaches out and takes the nightgown. MRS. WYATT Someone might as well get some good out of it. Wyatt crosses to the trunk. MRS. WYATT It isn't as if she was dead. Wyatt opens the trunk, puts the nightgown in and closes the lid. WYATT (cold) It stays there, understand! The slamming of a door o.s. interrupts them. They turn and start for the door. MRS. WYATT (calling) Right in here, Mr. Phillips. She follows Wyatt to the doorway, CAMERA DOLLYING WITH her. She stops in the doorway. INT. KITCHEN - NIGHT ANGLED PAST Mrs. Wyatt. Clay, carrying Elaine, bundled in blankets, comes forward. Wyatt has stopped just inside the kitchen. Mary and Helen follow Clay through the door. MRS. WYATT The bed's all ready and warm -- She stops, staring at the girl. MED. CLOSE SHOT The Wyatts in the doorway. They recognize the girl. Wyatt's expression hardens. Clay, carrying Elaine, pushes between them into the bedroom. INT. BEDROOM - NIGHT MED. SHOT. Clay carries the girl to the bed and gently puts her down. Her eyes are closed. Slowly the Wyatts enter the room to stand close together staring at the girl on the bed. Clay suddenly realizes that something is wrong. He glances up. Elaine opens her eyes and looks up at her mother and father. MRS. WYATT (softly to Wyatt) Go out and make some coffee. Wyatt doesn't move. MRS. WYATT Go on. You too, Mr Phillips. As Clay waits, Wyatt moves through the door unable to argue back. INT. KITCHEN - NIGHT FULL SHOT. Mary and Helen stand close to the steve, looking anxiously toward the bedroom door as Clay and Wyatt come out. Clay closes the door. Wyatt, dazed by the shock of seeing his daughter again, stands momentarily staring at the closed door. Then very slowly he turns and looks at Helen and Mary. MED. SHOT his ANGLE. Mary and Helen, seeing the two men's expressions, look from one to the other, puzzled. MARY Is she very sick? WYATT (cold, flat) Get 'em out of here. I won't have 'em in this house. He crosses to the kitchen door, exits, slamming the door behind him. MARY (softly) So that was why she tried to run away. CLAY (sharp) Didn't you know she had a father and mother out here? MARY (hurt and angry) I didn't know anything about her except she wanted a job because some man had left her stranded. I couldn't leave her in the street. Let's go. CLAY Hold on. MARY We can't stay here! CLAY It's a long walk back to Aspen. Turning from them, he exits. Mary and Helen look at each other. Then Helen grins wryly and goes over to the cupboard. HELEN I don't know about you. But I'm not being thrown out on an empty stomach. EXT. CORRAL - NIGHT MED. SHOT. Wyatt in the f.g. stands by the horse trough. His face is set, his expression hard, unyielding. Clay comes across the yard past the wagon. Wyatt doesn't look at him as Clay comes up. TWO SHOT Clay and Wyatt. Clay takes the makings from his pocket, rolls a cigarette, lights it. CLAY I'm sorry about this, Mr. Wyatt. I didn't know who she was. WYATT (quiet) All right, you didn't know. CLAY I can't take her with me. WYATT Nobody asked you to. O.s. Steve whistles the tune of the A B C song as he comes out of the barn. WYATT Just get those two out of here. ANOTHER ANGLE Steve approaches from the barn. CLAY You're not bein' quite fair. WYATT What's there to be fair about? TWO SHOT Clay and Wyatt. Clay takes the making from his pocket, rolls a cigarette, lights it. CLAY I'm sorry about this, Mr. Wyatt. I didn't know you had a daughter. WYATT (quiet) All right, you didn't know. CLAY I can't take her with me. WYATT Nobody asked you to. O.s. Steve whistles the tune of the A B C song as he comes out of the barn. WYATT Just get these two out of here. ANOTHER ANGLE Steve approaches from the barn. CLAY You're not bein' quite fair. WYATT What's there to be fair about? Steve comes up. STEVE Hello, Mr. Wyatt. He starts whistling again as he continues toward the wagon. MED. SHOT wagon. Steve picks up a couple of valises and some blankets and heads for the house, still whistling. In the b.g. can be heard the mutter of voices as Clay and Wyatt talk. INT. KITCHEN - NIGHT Helen is sitting at the table, eating a piece of bread and drinking coffee. Mary stands at the window. Steve is heard coming up the steps and across the porch. He pushes the door open and enters. STEVE (cheerfully) Where do I put your things? Mary turns from the window. MARY Back in the wagon. Steve stands with his arms full, looking at Mary. STEVE Aren't we stayin'? MARY No. We're not stayin' -- She crosses to him and smiles wryly. MARY Everything's all mixed up, so don't ask questions. Steve hesitates. MARY (soft) Go on, Steve. Steve exits. EXT. PORCH - NIGHT MED. CLOSE. Steve stops on the porch. He is puzzled, worried. He glances back then over toward the fence where Wyatt and Clay are talking. He shrugs and starts off toward the wagon. INT. KITCHEN - NIGHT MED. SHOT. Mary crosses to the stove. HELEN Sit down and eat, why don't you? Mary lifts the stove lid and puts a stick in the firebox. HELEN It isn't like this was the first place we were ever thrown out of. MARY That's not what's worryin' me. Why didn't she tell us? Maybe we could have done somethin' -- gone somewhere else -- puttin' a poor sick kid through this -- HELEN Quit worryin' about Elaine. She motions to the bedroom door. HELEN She's home, isn't she? So worry about us. We want to get to Sonora. Footsteps across the porch. The two girls look toward the door. ANOTHER ANGLE - NIGHT SHOOTING PAST Mary. The door slowly opens. Wyatt enters. He crosses to the bedroom door, CAMERA PANNING WITH him. It is as though he doesn't see the two women. He stands in front of the door, staring at it. Then his hand moves to the knob. Slowly he turns the knob and opens the door. The two girls watch him as he hesitates on the threshold. Then he enters and closes the door softly. Helen looks over at Mary and smiles. INT. BEDROOM - NIGHT MED. SHOT as Wyatt stops, looking at Elaine, resting back against the pillow, seeming very young in the nightgown. For a moment it is difficult to know what is in Wyatt's mind. Then he sees the twin tintypes. CAMERA MOVES TOWARD Wyatt's face as tears come to his eyes. INT. KITCHEN - NIGHT MED. SHOT as footsteps cross the porch and the screen door creaks open. Clay enters the kitchen, carrying the girls' suitcases and some blankets. He nods to the girls, then goes to the door leading to the other bedroom. There he stops. CLAY This will be your room until Mr. Wyatt finds time to take you to the nearest stage station. As he carries their belongings in: DISSOLVE OUT INT. MARY'S AND HELEN'S BEDROOM - NIGHT DISSOLVE IN The room is lighted only by the moonlight. Mary and Helen are in the big four poster bed, close to the window. Clay's footsteps are heard on the porch. The kitchen door closes softly. There is the rattle of a stove lid being lifted. HELEN (whispering) That sounds like him. Mary slides out of bed and slips into a robe. HELEN This time don't talk about cooking! INT. KITCHEN - NIGHT Clay turns from the stove to the cupboard over the sink and takes down a coffee cup. The door into Elaine's bedroom is closed. The door into Mary's bedroom opens and Mary enters the kitchen. He turns back to the stove and fills his cup as Mary comes up. CLAY Coffee? MARY No, thanks. (indicating Elaine's bedroom) I hope we won't be a burden to them. CLAY I hope so, too. He picks up his coffee and goes out on the porch. Mary hesitates, then follows. EXT. PORCH - NIGHT ANGLED PAST Clay. Mary comes out. Clay sits on the bench by the door, drinking his coffee. CLAY (quiet) If you're figuring on asking me to take you, it's no use. Mary crosses to stand above him. MARY A time like this people ought to be alone. Having us around is going to make it sort of hard on 'em. Mary sighs, sits beside him. From the pocket of her robe she takes tobacco, rolls a cigarette and lights it. She passes the tobacco to Clay. He rolls one. CLAY (on the defensive) I'm sorry, but that's how it's got to be. MARY I suppose it is. CLAY And it's not only because the trip's a tough one -- Mary strikes a match and holds the flame to his cigarette. MARY (softly) You don't have to explain. Did I tell you how grateful I am for what you've done? CLAY I couldn't leave you sitting by the road. MARY You could have treated us like they did in Aspen. No. You wouldn't do a thing like that -- it isn't in you to be mean or cruel. Mary rises to move to the edge of the porch. MED. CLOSE Mary in f.g. MARY (softly) No man who brings up a kid like you've brought up Steve could ever be cruel to people. Turning, she leans against the post that supports the porch. MARY I hope you get everything you want out of life -- CLAY (wary) Thanks. MARY You've earned it -- the horse ranch on the Toulomoe -- the girl in the spotted gingham. CLAY The who? MARY You should know. She's in your dream. Clay puts his cup down, looks up. She is very lovely standing in the moonlight, her body arched back, the robe open a little. MARY Ever since you've looked after Steve you've had the dream -- a ranch on the river -- good grass, good water, barn corral and house --- that part you've shared with Steve. The girl in gingham you plan sneakin' in when he isn't looking. (she pauses) CLAY (enigmatic) Go on. Tell me more about her. MARY She wears this gingham dress -- cooks popovers -- makes jam in season -- makes her own soap from pig fat and wood ashes and has cheeks the color of red apples. CLAY (dryly) I'll make the soap myself. MARY But the rest is right. CLAY Will she be dark or fair? MARY Blonde as a new mop. And beautiful as the girl on a feed store calendar. Straightening, she crosses the porch to pause momentarily close to Clay. MARY (softly) I hope you find her -- because, like I said, you've earned your dream. Goodnight. She enters the house. Clay looks after her, smiling faintly. He knows she is up to something but not what. INT. SECOND BEDROOM - NIGHT MED. SHOT. Save for the moonlight coming through the window, the room is dark. Mary enters softly, throws off her robe and slips into bed beside Helen. MED. CLOSE on bed. Moonlight falls across the bed. Mary pulls the covers up. Helen turns her head. HELEN Did you make it interesting? Mary snuggles down on the pillow. MARY I tried my best, but these things take time. HELEN And we're running out of that. MARY There's still tomorrow morning. DISSOLVE INT. KITCHEN - MORNING MED. LONG SHOT - ANGLED THROUGH window PAST Mary. The early morning sun fills the yard. Steve is in the corral harnessing the mules. Clay and Wyatt are taking Mary's and Helen's trunks out of the wagon. HELEN'S VOICE Those trunks look like ours. Mary, who was in profile, turns. MARY They are. ANOTHER ANGLE Helen is seated at the table. Mary stands with her back to the window near the sink. HELEN How long do you think we'll have to stay here? MARY Until Pa gets around to driving us to Minden. HELEN We don't want to go there. MARY No we don't. But that's where we're going. From Minden we take a stage to Reno, then another one over to Auburn and another one to Placerville. Then it's a day's trip to Sonora. HELEN Clay could save us an awful lot of time. MARY He certainly could. About a month. HELEN What are you waiting for? Do something. Mary comes over to stand by the table. Her expression is thoughtful. HELEN (sharp) You're not giving up? MARY How many ways can a man say no. Helen rises. Her manner is determined. HELEN (crosses to door) Maybe I better start working on him. MARY You'd think he'd do it for Elaine's sake, at least... CLOSE SHOT as she stops, apparently inspired by Mary's last remark. She looks out into the yard where Clay is working on the wagon. ANOTHER ANGLE SHOOTING TOWARD Elaine's bedroom door. Helen crosses to Mary. HELEN (sweetly) If you can't bring him around, nobody can. She puts her arm around Mary's shoulder. HELEN Go on. Have another try at him. MARY What's the use. HELEN (cajoling) Please. Maybe he'll take a good look at you and stop thinking so much about his horses. As she speaks she edges Mary to the door leading outside. HELEN A man has only so many no's in him. Mary smiles at her, shrugs and exits. Helen looks after her. Mary's footsteps are heard going down the steps. Then Helen swings around and going to Elaine's door, opens it. INT. ELAINE'S BEDROOM MED. SHOT. Elaine is sitting up in bed. There is a small table by the bed and on it is a breakfast tray. Mrs. Wyatt sits by the bed. Elaine looks happy for the first time. Mrs. Wyatt is holding a cup to her lips. Helen enters and closes the door. HELEN Look at you, sitting up already. Crossing to the bed she takes the cup from Mrs. Wyatt. HELEN Let me do this while you get some breakfast. MRS. WYATT But I like to do it. HELEN You're worn out. As she pushes Mrs. Wyatt toward the door. HELEN Now don't argue. You've got two able- bodied girls to help you so take advantage of it. And don't let me catch you touching the dishes. She closes the door behind Mrs. Wyatt and comes back, sits on the edge of the bed and holds the cup to Elaine's lips. HELEN Well -- it's going to be good for all of us -- having a nice long rest here. After all -- Sonora will still be there next month. Maybe we can rehearse a new number -- try it out on your folks. Elaine tries not to show her panic at this suggestion. ELAINE Helen -- why don't you and Mary go on with Clay? HELEN He won't take us. (then, hurt) Don't you want us around? ELAINE Of course I do -- but it'd be better for you -- and the house is kind of small -- HELEN If you're worried about Mary and me talkin' too much, don't. No matter how many questions your old man asks. We know how to keep our mouths shut. ELAINE It isn't that -- HELEN Don't talk -- eat -- we want to get you well quick as we can so we can all get out of here. ELAINE But I want to stay. HELEN Drink this and stop being silly. Why would anyone want to live in this place. You might as well be dead and buried. Nothing to do but look at mountains. In a week you'd be talking to yourself. (then, brightly) Maybe that's what got you started in the first place. Elaine pushes the cup away, sits up straighter. ELAINE (distraught) I'm not going anywhere. I'm staying here where I belong. HELEN Not if I know Mary. When she rides into Sonora, you'll be with her. And mighty glad to be there after this. I don't see how you stood it as long as you did. ELAINE (sobbing) Stop it -- stop it. HELEN (contrite) Darling -- now I've got you all upset. Elaine buries her head in the pillow. ELAINE Go away -- please. HELEN That's right -- you go back to sleep. Tomorrow when you feel better things will look a whole lot different. Don't you worry about anything -- Mary's going to talk things over with your folks -- Elaine sits up and grabs Helen's arm. ELAINE (fiercely) She mustn't -- don't you let her -- HELEN There, there. Don't you upset yourself -- ELAINE (wildly) If she says anything to them I'll kill her. The door opens and Mrs. Wyatt enters. She hurries over to the bed, pushes Helen aside, and takes the sobbing girl in her arms. ELAINE (sobbing) I don't want to leave you, ever. Mrs. Wyatt flares at Helen. MRS. WYATT What did you do to her? HELEN Nothing. The poor child's worried about Mary -- Turning, she goes to the door. HELEN I won't let her say anything -- She exits. INT. KITCHEN MED. SHOT. Leaving the door open, Helen enters the kitchen. She glances back at the bedroom, half smiling, then crosses to the window and looks out. EXT. YARD ANGLED past Helen THROUGH window. Clay is crossing the yard toward the house. INT. KITCHEN MED. SHOT. Helen turns from the window and walks hurriedly to the second bedroom door. Clay's footsteps cross the porch. Helen enters the bedroom and closes the door as Clay comes in. Clay looks around, then seeing the open bedroom door, crosses to it. INT. ELAINE'S BEDROOM ANGLED PAST Clay in doorway. Mrs. Wyatt is holding the sobbing girl in her arms. She looks over at Clay. CLAY Well, I'm off -- Then realizing that something is wrong he steps into the bedroom. MED. SHOT CLAY (puzzled) What's the matter? Hearing his voice, Elaine lifts her head from her mother's shoulder. ELAINE Don't let them stay here, Mr. Phillips. They'll spoil everything. Clay looks from one to the other, frowning. Elaine tries to get out of bed. Her mother holds her. ELAINE (wildly) Take them with you -- Mary's going to talk to dad -- she's going to keep talking and talking to me until maybe I won't want to stay here -- MRS. WYATT Please take them. CLAY I can't -- ELAINE You've got to -- don't you understand -- they want me with them and they'll fix it so I have to go -- CLAY (sharp) No they won't. Turning, he exits. Mrs. Wyatt holds Elaine close. EXT. PORCH MED. SHOT. Helen stands on the porch in the sunlight. She glances back. Clay, his expression hard and angry comes out. He doesn't look at Helen but stalks down the steps toward the wagon. MED. SHOT ON WAGON STEVE What comes after Z? MARY That's the end of the line. STEVE (happily) Then I know my alphabet. MARY From A to Z. All you have to do now is figure out what they mean put together in words. ANOTHER ANGLE Clay comes toward the wagon. Helen stands on the porch. STEVE And that's tough, isn't it? MARY Without someone to teach you, it's tough. Clay appears behind her. Mary turns and smiles. MARY He knows his alphabet. CLAY That's fine. STEVE I'll bet I'd be reading in a week if -- He catches Clay's glance and his face falls. MARY Maybe Clay will take up where I left off. Steve gets some courage. He comes over to his brother and faces him. STEVE I don't think it's fair -- He pauses; Clay waits. STEVE Leaving them here when we could just as well take them. We got plenty of room in the wagon. And -- and -- they cook and drive the mules. They don't bother anybody. CLAY Finished, son? STEVE (weakly) There's only two of them now. Clay moves past them toward the corral. Mary looks after him, then turning, motions to Helen. Helen starts toward the wagon. ANOTHER ANGLE Clay's horse stands saddled at the fence. He vaults into the saddle, turns the horse. CLAY I'll round up the horses. Throw that junk in the wagon. He rides off. Steve, delighted, runs to start loading the girls' things. Helen hurries into the scene. MED. CLOSE Mary and Helen. Mary smiles at Helen. MARY (happily) You were right -- a man has only so many no's in him. But he had me worried -- that last one sounded so final. Helen nods, looking at Mary as though in admiration. DISSOLVE EXT. WYATT RANCH LONG SHOT - the wagon, followed by the remuda and with Clay riding ahead moves slowly up the canyon back of the ranch. FADE OUT EXT. FOREST TRAIL - DAY FADE IN LONG SHOT - ANGLED WEST. The forest is fairly open, yellow pine, lodgepole and fir. To the West can be seen the bald red granite domes of the higher range. O.s. there is the SOUND of the cavalcade approaching. CAMERA PANS AROUND and ANGLES PAST. Toward camera, comes the cavalcade, climbing slowly. Far in the distance and down can be seen the waste of desert and the barren hills of Nevada. Clay, a rifle across his legs, is riding on one side of the wagon. Steve rides beside Mary, who is driving. The remuda trails behind. Helen, lying in the wagon bed, cannot be seen. MED. TRUCKING SHOT ANGLED PAST Steve. Steve has a copy of Leslie's Weekly open on the pommel. Helen lies full length in the wagon bed, occupying herself by giving herself a manicure with an orange stick. STEVE It's a lot tougher than I figured. Knowin' my letters is one thing. But makin' sense out of words is harder'n trackin' weasel after rain. Clay glances over at his brother. Mary sees him watching. Their eyes meet. She smiles. He doesn't return the smile. STEVE -- and even if I do learn to read, what use'll it be? I'm goin' to live on a ranch! MARY There's plenty of use for reading -- you'll see. He sighs and scowls down at the page. He puts his finger on a word and starts to spell it out. STEVE U-n-i-c-o-r-n-... What in heck's that? MARY Unicorn -- a kind of animal -- STEVE What do they look like? MARY Hmmm... sort of like a horse -- with a horn in the center of its forehead. STEVE Horses with horns! Huh! Do we have 'em in Nevada? MARY No. STEVE How about California? MARY Would they be good to eat? MARY (not too sure) Kind of tough, I guess... But you're not liable to hunt them -- I don't think there's any alive now, anyways -- and I'm not sure but I don't think there ever were... STEVE Then if they wasn't alive, how can they be an animal?... Mary starts to protest -- Steve goes on. STEVE An' if you can't hunt 'em and even if you could they'd be tough, what's the use of knowin' how to spell them? MARY You don't read to fill your stomach... Poetry, for instance. All the poems in the world wouldn't fill you half as much as a bowl of eatmeal -- but they make you feel good. STEVE (stubbornly) I feel good anyways. REVERSE SHOT ANGLED PAST Clay. CLAY Don't go arguing with your teacher. STEVE I'm not, but there's some of it I don't see any sense to. CLAY There's a lot of things I don't see any sense to. But make up your mind. Learn to read or -- (motioning) -- go back and watch the horses. He touches his horse with his spurs and rides on ahead. MED. CLOSE ANGLED PAST Mary. Steve in the b.g. Mary looks after Clay, puzzled, wondering. Then she looks over at Steve. MARY Well, Steve? STEVE (grinning) Now I know what a unicorn is, what do we do next? EXT. FOREST TRAIL Here the forest has thinned out. The trail climbs a rise, then drops down. Clay jogs along the trail, his rifle across his knees. As he reaches the edge of the forest at the crest of the rise, he suddenly pulls his horse to a stop, swings around and rides back into the trees. Throwing the reins over the horse's head, he swings out of the saddle and moves cautiously to the crest of the hill. LONG SHOT Clay's ANGLE. The trail leads down through open country to a big meadow ringed with lodgepole pine, and across the meadow to start climbing toward another, higher range of hills. Three horsemen on roans, Lednov, Peters and McCall, are crossing the meadow slowly. MED. SHOT DOWN ANGLE. Lednov, Peters and McCall as they ride across the meadow. CLOSE SHOT Clay, as he peers down. He cocks his rifle. The voices of Mary and Steve and the SOUND of the approaching wagon can be heard o.s. Clay turns his head. FULL SHOT the cavalcade. Mary and Helen are in the seat of the wagon. Steve rides alongside. MED. CLOSE SHOT Clay. He lowers his rifle, waves at them to stop and be quiet, rises and hurries down the hill, CAMERA PANNING WITH him. EXT. MEADOW MED. SHOT of Lednov as he pulls in his limping horse, steps, looking back over his shoulder as though he sensed an unfamiliar presence. The other two watch him, frowning. Then he shrugs and glances down at the bad leg of his mount. LEDNOV We'll camp on up ahead away. That leg ain't good... As they start away, moving slowly toward the trees in the distance... MED. FULL SHOT Clay motions to Mary to stop as he hurries toward the wagon. Mary reins in the mules. CLAY We're staying here until dark. (motioning) Pull over to the woods. (to Steve) You put hobbles on the horses -- all of 'em. Get goin'. DISSOLVE OUT EXT. HILLTOP - DUSK DISSOLVE IN LONG SHOT. Clay, in close foreground, stands, leaning on his rifle. The sun has set and the valley below is in shadow. There is the silence of dusk. No wind stirs the trees. There is some light outlining the high mountains -- treeless crags and domes and spires. Clay turns. REVERSE SHOT Down the hill in the forest, is the wagon. Beyond it the horses stand. Steve is stretched out on his stomach studying his magazine. Helen is sitting on a tarp playing solitaire. Clay starts down the hill toward the camp. MED. SHOT - UP ANGLE Clay walks through the trees. As he comes around a big yellow pine, he stops suddenly and looks down. MED. CLOSE ANGLED DOWN PAST Clay. Mary lies on the carpet of pine needles, her head pillowed on her arms, her dress pulled taut across her chest. She is looking up through the trees at the fading sky. ANOTHER ANGLE Clay stares down at Mary. She does not look at him. She is aware of his presence, but she doesn't show it. In the soft light of dusk she is very lovely. Clay is conscious of her lovliness. He would like to drop down beside her. CLOSE SHOT Mary. She turns her face to look at him. CAMERA ANGLE WIDENS. Clay stands above her, looking down. For a moment their eyes meet. Clay starts away. CAMERA HOLDS ON Mary. MARY Where you goin'? Over to the other side of the street? MED. SHOT ANGLED PAST Mary, who rises slowly. Clay looks back, hesitates, then crosses to where the horses are tethered and starts saddling his mare. Mary moves down toward him through the trees. ANOTHER ANGLE Clay tightens the cinch. Mary moves up to stand beside him. MARY Are we leaving? CLAY It's too light yet. He swings into the saddle, pulls the rifle out of the scabbard and lays it across the pommel. CLAY Better go on back and get some more sleep. You'll need it later on. MARY (soberly) You're not going out to look for them? CLAY No, I'm not. All I want 'em to do is keep ahead of us -- a long way ahead. So I'm riding up the line aways to pick us out a new trail. He touches the mare with his spurs and trots down the hill. He disappears around a bend in the trail. ANOTHER ANGLE Mary, in the f.g., is staring after Clay. Helen is watching her. Steve has risen and walks up behind her. He smiles at her. STEVE Nobody's gonna catch him sleeping. Don't worry about him. MARY (turning) Oh, I wasn't worrying. (flustered) I saw him saddling up and thought he was ready to leave. She starts down toward the wagon, Steve walking beside her and CAMERA TRUCKING WITH them THROUGH the forest. STEVE (softly) You were worryin'. Mary glances over. STEVE Sometimes not knowin' how to read has its points. You can't read books so you look at people and figure 'em out. MARY And you've got me all figured out? STEVE Sure. They have passed Helen, playing solitaire on the canvas, and have reached the place where the grub box stands. Steve spreads a tarp for her. STEVE I'll fix us somethin' to eat. Mary sits down. Steve opens the grub box and takes out some plates, tinned food and hardtack. STEVE Like when you were standin' there looking after Clay. I knew right off what you were thinking. Because I've been watching you. MARY You were supposed to be reading words. STEVE I was doin' both. Here. He hands her a plate of food, takes another and goes over to Helen. ANOTHER ANGLE Helen looks up from her card game, takes the plate with a smile. HELEN Thanks, Steve. He grins at her, turns and comes back to Mary who is watching him. MARY Better not let Clay catch you waitin' on us. Steve sits on the edge of the grub box and picks up his plate. STEVE Don't pay any attention to him. That's his way and I've found he's sure easy to get along with. I don't recollect him havin' hit me more'n a couple of times and I guess I had it comin'. MARY But you're his brother. STEVE He'll treat his wife just as good. Maybe better. Ever see him use a bull snake on the mules like other wranglers? Mary shakes her head. STEVE Yes sir, Clay's nice to be around. (the clincher) He don't chew much and when he does he spits outside. HELEN (dryly) You make him sound wonderful... Go on. Tell Mary more about him. Steve looks over at her, embarrassed, a little hurt by her tone. He rises, takes Mary's empty plate and his own and goes over to the little spring to wash them. Mary looks sharply at Helen. Helen shrugs. Mary rises and follows Steve over to the spring. MED. CLOSE ON SPRING Steve kneels by the little pool, washing the plates in the run off. Mary stops above him. MARY She was only teasin'. STEVE (offhand) Oh, sure. MARY Let me do that. She kneels beside him. Steve looks over at her. STEVE I like to do things for you. Didn't you know? She looks down at the water bubbling up into the little moss lined pool. MARY (softly) I know now. DISSOLVE EXT. TRAIL - NIGHT CLOSE SHOT - DOWN ANGLE. O.s. there is the SOUND of the cavalcade moving. A wheel passes camera, then another. CAMERA PULLS BACK to reveal the wagon passing in the moonlit darkness. Mary is driving. ANOTHER ANGLE Clay rides into the shot, his rifle ready. The wagon follows. Then the remuda with Steve bringing up the rear. Steve also holds his rifle ready. Both men are wary, watchful, apprehensive. DISSOLVE EXT. FOREST - NIGHT FULL SHOT - DOWN ANGLE. SHOOTING DOWN THROUGH the leaves of a quaking aspen. The cavalcade moves on along the trail. DISSOLVE EXT. ROCKY HILLSIDE - DAWN FULL SHOT. The east is grey with the approaching dawn. The terrain is treeless, forbidding. Granite crags rise all around. The trail leads up through a canyon then narrows along the edge of a cliff. The cavalcade toils forward. Clay, in the lead, stops and waits for the wagon to come abreast. MED. SHOT As the wagon comes abreast, Clay dismounts, loops the reins over the tail gate, then swings up into the seat, motioning for Mary to move over. He takes the reins, puts his rifle down in front of him. MED. CLOSE - MOVING (PROCESS) Clay and Mary. Helen is sleeping in the bed of the wagon. MARY Don't you trust me? CLAY Not on this trail, I don't. I've been over it before. Anyway, you ought to be pretty sleepy. Why don't you climb in back. Mary glances ahead. MARY I like to see where I'm going. She picks up the rifle and holds it across her knees. CLAY (dryly) Did you ever care where you were goin' or where you'd been? Mary glances over at him wonderingly. MARY Maybe not! But I want to get there in one piece. They ride along in silence for a moment. The trail is rough. The jolting wagon throws them together. Their shoulders touch. MARY (softly) Why did you change your mind about bringing us along? CLAY Why do you think? MARY (soberly) I don't know. I thought I did. Now I'm not sure. I thought it had something to do with me. CLAY Oh, it did. It had a great deal to do with you. Mary studies him, trying to figure out what he means. MARY Just how do you mean that? Clay is busy with driving down the rough road. He speaks without looking at her. CLAY You know so much about me -- figure it out. MARY So that's it -- (he glances over) You think I was making fun of your girl in gingham. CLOSE SHOT Helen. She lies in the bed of the wagon, looking up. MARY'S VOICE I wasn't. And I wasn't making fun of you or your dream. She waits for an answer, but getting none, continues. MARY'S VOICE Of course, maybe I was trying to get you to do something you didn't want to do. MED. CLOSE SHOT - MOVING (PROCESS) Clay and Mary. Clay busies himself with the brake and the reins. CLAY You wouldn't do a thing like that, would you? MARY (softly) Yes. But -- that was the other night. Now -- I don't think I would. MED. LONG SHOT - ANGLED AHEAD Clay and Mary in f.g. The trail now goes down a slope to a river, which boils out of a narrow canyon, then follows the river through the canyon. Clay hands the reins to Mary, takes his rifle. CLAY That's the West Walker. Take it easy now. MED. SHOT Clay swings down. The wagon moves past him. He frees his horse, swings into the saddle and gallops down toward the canyon. CLOSE SHOT Mary. She looks after him. FULL SHOT The wagon moves down toward the river. Clay disappears into the canyon. Steve and the remuda follow the wagon. EXT. CANYON TRAIL ANGLED TOWARD mouth of canyon. Clay rides along the trail, his rifle at the ready. Now he moves warily, keeping a sharp lookout. The canyon is dark, sinister. REVERSE SHOT The cavalcade enters the canyon. ANOTHER ANGLE - SHOOTING DOWN Clay rides toward camera. The trail curves around a cliff. MED. SHOT Clay. He rides around the bend in the trail. He hears something. He reins the horse in. Some pebbles rattle down the cliff. He looks up. FROM CLAY'S ANGLE The muzzle of a rifle is visible. Clay starts to bring his gun up. FOWLER'S VOICE Hold it! DOWN ANGLE Clay lets his rifle rest across his knees. He looks up. Fowler, a well-set-up young man in jeans, blue shirt and worn jacket and wearing a battered hat, moves into scene. CLOSE SHOT Clay. He is wary, puzzled as to the man's identity. For all he knows it may be one of Lednov's men. MED. SHOT Clay and Fowler. FOWLER What are you doin' on this trail? CLAY Followin' it. Any reason I shouldn't? MED. LONG SHOT SHOOTING PAST Fowler. Into view comes the wagon and the remuda. Fowler lowers his rifle. He slides down the cliff to stand beside Clay. MED. CLOSE Clay and Fowler. FOWLER My name's Fowler. I'm camped up a ways. He extends his hand. Clay shakes it. CLAY Clay Phillips of Aspen. Been havin' trouble? FOWLER Nope. But I don't want any. CLAY Neither do we. That's why we took this trail instead of the main road, and drove all night. FOWLER You're welcome to use my camp. He motions ahead, starts walking. Clay rides beside him. DISSOLVE EXT. MEADOW FULL SHOT. The river is beyond the meadow. In the pine forest at the edge of the meadow is Fowler's camp. The cavalcade is driving up to the camp. There are two horses tethered in the meadow. EXT. FOWLER'S CAMP MED. FULL SHOT. A tarp is stretched over the camp. There is a crude stone fireplace, a rough table and two benches. Shelves are nailed between the trees. In a small lean-to there is a bunk with Fowler's bedroll on it. Fowler stands watching Mary and Holen as they get out of the wagon. The horses sproad out across the meadow. Steve and Clay dismount. Both unsaddle. Helen, Mary and Fowler exchange glances. Then the two women walk toward the camp, which is behind a screen of trees. MED. CLOSE ON CAMP Helen and Mary enter the camp. MARY We might as well start a fire. HELEN Go ahead. (nodding off) Get in training for the pioneer life. I'm finding the nearest body of water and climbing into it. She goes off and across the meadow. Mary looks after her, shrugs and going to the fireplace, takes moss and twigs from the pile and puts them in. Clay, carrying saddle bags and canteens, enters. MARY Got a light? He puts them down, goes over to the fireplace and kneels to light the moss. Mary has stepped back. CLOSE SHOT - LOW As he lights the fire, the lower portion of Mary's body comes into the shot. Clay becomes aware of her closeness. He rises slowly. CAMERA ANGLES UP. Mary is standing facing him, almost touching him. They stare at each other without speaking. Both suddenly move togother. They kiss. There is a SOUND over shot and they step apart, looking off. ANOTHER ANGLE Steve has come into scene and is looking at them. He smiles with pleasure and surprise. STEVE (innocently) Want the wagon unloaded, Clay? CLAY (upset) Just the grub box and bed rolls. Steve nods, smiles at both of them and goes out of scene. Clay and Mary face each other. Suddenly Clay swings around and goes out of shot after his brother. CLOSE SHOT - MARY She looks after him, clearly in love, disappointed that they were interrupted. Then she turns to the fire. MED. CLOSE SHOT Clay and Steve. CAMERA MOVES AHEAD of them as they walk toward the wagon. Steve has begun to whistle blithely. Clay looks sideways at him. Steve whistles even louder. They stop at the wagon. CAMERA HOLDS. Steve climbs inside and hands down the grub box. STEVE I -- I think it'll be swell. Clay puts the grub box on the ground. Steve tosses out the bed rolls, then jumps out. He grins up at Clay. MED. CLOSE Clay, embarrassed, puts his hand on the boy's shoulder. CLAY When you get older you'll understand things better. Like women and men. Just because a man kisses a woman, doesn't always mean -- well, he can kiss her and not want to -- have her around all the time. Steve watches him, puzzled. His exuberance has gone. CLAY We got a lot to do, you and I. Gettin' that ranch started and everything. We've been getting along fine, all these years. For a while I want to keep it the way it is. Abruptly Clay turns and indicates the grub box. Steve watches him. CLAY Take that in and help her get breakfast, will you? Steve nods and carries the grub box out of the scene. Clay stares after him. Then he picks up the bed roll and moves around the wagon. ANOTHER ANGLE Clay in the f.g. In front of Clay stretches the meadow with the river beyond. The horses are grazing in the meadow. Fowler can be seen hurrying toward the aspens and alders that screen the river. EXT. RIVER BANK MED. SHOT. Here the river moves quietly down. The bank is sandy. Alders and aspens screen it from the meadow. Helen sits on the sand taking off her shoes and stockings. Her toilet box is beside her. Something on the bank catches her attention, she rises and climbs the bank. Some branches of aspen cover an object. She pulls the branches away, revealing a crud, miner's cradle or rocker. MED. CLOSE Helen stares down at the cradle. She doesn't know what it is. FOWLER'S VOICE (sharp) What are you doing down here? Helen, startled, turns. ANOTHER ANGLE Fowler and Helen. They stare at each other. FOWLER (curt) You got no business snoopin' around -- HELEN (hard) Me snoopin'? I came down here to take a bath. She glances from Fowler to the cradle. HELEN That something I shouldn't see? FOWLER (flustered) No. But it's mine and I didn't want anyone foolin' with it. Hurriedly he covers it with branches again. Helen watches him, curious, interested. HELEN What is it? FOWLER Just a thing I was workin' on. HELEN The way you act, it must be something pretty secret. When Fowler doesn't explain she moves on down the bank and sits on the sand. FOWLER Go on. Take your bath. I'll beat it. HELEN You wouldn't have a smoke on you, would you? Fowler comes over and sits down beside her. He takes [a] sack of tobacco and papers from his pocket. She reaches for them. He watches her wide-eyed as she rolls a cigarette. He holds a match for her. HELEN Thanks. She turns to the toilet case on the sand beside her, takes out a comb. He glances at the box, then reaches over and from it takes her powder box. He sniffs it. Without irritation, as though borrowing a toy from a child, Helen takes the powder box from him. FOWLER That sure smells good. HELEN I like it. FOWLER Up here in the hills, a man gets a hankering to smell powder. HELEN Then why stay in the hills. She looks at him then up the bank where the cradle is. HELEN That why? Fowler hesitates. Helen hands him back the powder box as matter-of-factly as she took it. He accepts it gratefully, again putting it to his nose. Now he looks up at her, regarding her calculatingly for a moment or two. Their eyes meet. FOWLER I guess you can keep a secret. That's a gold rocker. I'm doin' a little placer mining in a place nobody ever thought to look for gold before. He reaches to his throat and lifts over his head a braided loop of rawhide. Attached to the loop is a small, plump, soft-leather poke. Still holding the powder box, he passes her the poke. She starts to work with the thong. FOWLER Look at her -- see her shine. One week's work. Helen still struggles with the thong. He takes the poke, pulls it open, pouring grains of gold into his palm. Helen looks at the shining heap in his hand. Then she takes the poke and pours some of the grains in her own palm. She looks down at it. Her expression is calculating. She looks up at Fowler and then the hard look goes away. She gives him a soft smile. DISSOLVE EXT. MEADOW CLOSE SHOT - DOWN ANGLE. Mary is asleep in the shade of a pine. She lies on a tarp using a folded blanket for a pillow. It is very quiet. She stirs, opens her eyes. Her expression changes. A soft smile plays around her lips as CAMERA ANGLE WIDENS and we see Clay sitting near her, leaning against the bole of a pine. He isn't looking at her. Mary watches him for a moment. MARY (softly) Roll me a cigarette, Clay. Clay looks over at her. Then rising he moves closer, squats and rolls a cigarette. He holds it out. She licks it, then puts it in her mouth. Clay lights a match, holds it out. She catches his hand and holds the flame to her cigarette. MARY Thanks. She still holds his hand. They look at each other. MARY Why didn't you wake me? Clay doesn't answer. MARY You should have. I don't like leaving things unfinished. CLAY (quiet) Maybe it's better that way. MARY (intense) You don't mean that Clay. She holds his hand, smiling up. Clay hesitates, then desire for her is more than he can bear, so he takes her in his arms. They kiss, holding the kiss for a long while. ANOTHER ANGLE They break. She lies looking up. He half lies, half sits beside her. MARY (a whisper) Tell me, darling. CLAY What? MARY What does a man usually tell a girl? For answer, Clay kisses her again -- hard, ruthlessly. His hands crush her shoulders. Mary holds the kiss for a moment, then draws back, waiting for him to say the words she wants to hear. His hands pull her toward him. Mary wants the kiss -- but she also wants a declaration of love. She makes one last try to get it. MARY Tell me -- please -- Clay's grip on her shoulders tightens. She searches his face with a glance -- stares into his eyes -- then pushes him away and sits up. CLOSE SHOT Mary. She is hurt by his silence. MARY All right you don't love me. So let it go at that. CAMERA ANGLE WIDENS. Clay's expression hardens. He drops his hands from her shoulders. CLAY What did you expect? Speeches I don't mean? MARY I don't expect anything. A minute ago I hadn't cuite waked up. She stands. He rises to face her. MARY I'm awake now. Go on. Say what you want to say. I'll listen. CLAY If it's pretty speeches you want, you won't be hearing them. Even when I mean 'em, they don't come easy. MARY Save 'em for the girl in gingham. Just tell me I'm not good enough for you. Go on. Say a woman like me can't change. CLAY All right -- it's said! MARY Then let's get started. The sooner I get to Sonora, the better I'll like it. Turning she starts down toward camp. MED. LONG SHOT ANGLED PAST Clay. Below is the camp. Beyond the camp, through the trees, stands the wagon and Steve is hitching up the mules. Clay hesitates, then follows. CLOSE TRUCKING SHOT Mary. Tears form in her eyes. She blinks them away, composing herself with an effort. EXT. CAMP MED. SHOT - Helen and Fowler in f.g. Helen sits at one side of the table, Fowler on the other. Helen holds the soft leather poke. In the b.g. Mary approaches. Behind her comes Clay. HELEN You're sure there's more where this came from? FOWLER Plenty more. (motioning) And somewhere up there's the lode, the rock rotten with it. Helen pours the gold out in her palm as Mary comes up. Mary stands looking down. HELEN Pretty, isn't it? And all you have to do is shovel sand into a thing and the river does the work. ANOTHER ANGLE Clay enters the scene and goes over to pick up his saddle bags. MARY (quiet) Give it back to him. We're leavin'. HELEN Maybe you are. I'm not. She reaches over and pats Fowler's hand. HELEN I'm stayin' here with Jed. Mary looks from Helen to Fowler. FOWLER (shyly) I figure we'll get along just fine. HELEN Well cheer, why don't you? No more responsibilities, Mary. Marcia -- Elaine -- me -- all taken care of. Down there feeding horses and raising kids, you won't have a thing to worry about. Mary stands looking down at Helen. Lovingly Helen pours the gold back in the poke. MARY I'm not raising horses or kids for anybody. I'm opening the slickest gambling house in California with a crystal chandelier, the biggest you ever saw -- Clay, saddle bags in hand, straightens. Mary directs the rest of the speech at him. MARY -- Gaslights and a dance floor and a big bar. Cash registers with bells and a couple of boys with armbands just to keep 'em ringing. What do you think of that? HELEN Sounds fine. Only that isn't how it's going to be. Helen juggles the poke in her hand. HELEN I'm sure of this. But not of you. (shakes head) You won't open any joint. I've been watching you change. You're mad now and you think you can change back. But you can't. You'll end up making beds in a boarding house. MARY (furious) That's it then. FOWLER (the master) That's it. She's staying with me -- for keeps. ANOTHER ANGLE Steve has entered the camp and is standing looking at them open-mouthed. Mary moves over to Fowler and holds out her hand. MARY If there were more men like you, there wouldn't be so many of us. FOWLER Thanks. MARY It's nice to meet a man who doesn't want to own a woman from the day she was born. I never had the luck. The only kind I've run into were tramps or dirty-minded hypocrites. Clay moves up beside Mary. MED. CLOSE Clay, Mary and Fowler. CLAY (to Fowler) She's aimin' at me, but her aim's bad. (to Mary) Want to know why I changed my mind about bringing you? Because I talked to Elaine -- because I was afraid to leave you with decent people, that's why. And you'll open your joint all right. You wouldn't fit anywhere else. He moves on past her, motions to Steve. CLAY Let's round up the horses. Steve hesitates. CLAY (sharp) Come on -- we don't want to keep the people in Sonora waiting. He stalks away, followed by Steve. Mary turns and looks after him. CLOSE SHOT Mary. She wants to break windows. MED. CLOSE SHOT Mary, Fowler and Helen. Helen is staring at Mary. She crosses to her and puts her arm around her shoulders. HELEN Mary, Honey. I talked too much, like always -- he thinks you told Elaine the things I told her. MARY (furious) I don't care what he thinks. Mary throws her arm off and moves after Clay and Steve. Helen looks at Fowler and shrugs. MED. SHOT the wagon. As Mary hurries up to stand by the tail gate, Clay and Steve, now mounted, spur their horses and start across the meadow. CLOSE SHOT Mary. She stares after them, raging. Then she glances at the wagon. ANOTHER ANGLE Mary in f.g. The mulos stand in their traces, waiting. Mary makes up her mind what to do. Climbing into the bed, she heaves out pack saddles, bed rolls, ropes, etc. Clay and Stove can be seen in b.g. riding down toward where the horses graze. MED. SHOT ANGLED TOWARD camp. Into the scene come pack saddles, bed rolls. Helen and Fowler, in b.g., walk toward the wagon. MED. CLOSE SHOT wagon. Mary straightens, looks off, then climbs into the seat and picks up the reins and the whip. She lashes the mules with the whip. CAMERA ANGLE WIDENS. The mules jump and gallop off. Fowler and Helen come into the scene. ANOTHER ANGLE the wagon, pulled by the galloping mules, is disappearing in a cloud of dust. MED. SHOT the meadow. Clay and Steve have almost reached the horses. Steve turns. STEVE Clay -- look! Clay swings around. LONG SHOT their ANGLE. Mary drives the wagon around a bend in the trail. MED. CLOSE SHOT ON Clay. He glances after Mary, then reins his horse around and gallops after her, CAMERA PANNING WITH him. EXT. TRAIL MOVING SHOT. Mary drives the wagon along the trail. Ahead beyond the river, the mountains rise. The river is running bank full. The trail leads down to a rocky, dangerous bank. Mary pulls the mules in at the bank. CLOSE SHOT Mary. She looks toward the river. She is frightened, about to abandon the whole foolish enterprise. She glances back. LONG SHOT FROM Mary's ANGLE. Clay gallops around a bend in the trail. CLOSE SHOT Mary. She looks in Clay's direction, then turns and stares at the river. MED. SHOT ANGLED PAST Mary. She makes up her mind to go through with it and lashes the mules with the whip. CAMERA ANGLE WIDENS. The mules balk when they reach the river. Mary lashes them again. They jump forward into the torrent. REVERSE SHOT Clay gallops toward the river. Steve comes around the bend in the trail. MED. FULL SHOT the river. The mules flounder, start swimming. The current catches the wagon. It starts drifting downstream. Mary whips the mules. They swim, the current pulls them. Then the wagon goes over. Mary is thrown into the water. The mules kick themselves free and swim to the other bank. Mary goes under, comes up and starts swimming desperately. Clay rides into the SHOT. His mare hesitates at the bank. Clay spurs her and she plunges in. Mary's belongings can be seen floating down the river. ANOTHER ANGLE Clay swims his horse toward Mary who is floundering in the stream. CLOSE SHOT Mary. The current sweeps her against a rock. Stunned -- she goes under. MED. SHOT Clay swims his horse to her, reaches down and lifts her up in front of him. ANOTHER ANGLE Clay's horse, with the double burden, fights her way out of the stream and scrambles up the bank to stop on level ground. MED. CLOSE Clay and Mary. Clay, his expression anxious, stares down at the stunned Mary. He swings out of the saddle, holding her tenderly to him. The brush with death has made him realize how much she means to him. Gently, he puts her down on the sand, stoops beside her. ANOTHER ANGLE Clay and Mary in f.g. Steve swims his horse across and rides up the bank to dismount near them. CLAY Mary -- MED. CLOSE - DOWN ANGLE Mary opens her eyes and sits up CLAY (anxiously) Are you all right? Mary is humiliated, bedraggled and wet, still angry and fighting back tears. MARY (sharp) No, I'm not all right. I'm soaked and I hit myself against that rock. CLAY (nettlod at her tone) I suppose that's my fault. Mary gets to her feet. CAMERA ANGLE WIDENS. Steve stands in the b.g. She looks out at the river. MARY (wailing) All my clothes -- CLAY That's right -- worry about your clothes -- ANOTHER ANGLE to include wagon in river. Clay, suddenly furious, points to the wagon. CLAY What about my wagon. Of all the crazy fool things to do. You lose a man's wagon because you're stupid and then yell about your clothes. This is the last straw. Mary turns her back, digs into her stocking and pulls out some bills. She hands them to him. MARY For the wagon. Clay looks at Mary, then down at the money. MARY Go on, take it. Then you can't spend the rest of the trip expecting to get paid. CLAY (furious) There won't be any rest of the trip. Over the hill is a stage road and when we hit it you get dumped into the first stage that comes along. So keep your money. You'll need it for the fare. I'm fed up with you. I was fed up with you before we started. He turns and sees Steve standing scowling at him. He takes the rest of his anger out on Steve. CLAY Don't just stand there. Go on back and get the packs on the horses. We've lost all the time we're going to because of a woman. Clay strides over to his horse and swings into the saddle. Steve stands looking at Mary. CLAY Come on. Didn't you hear me? As he plunges his horse into the stream: DISSOLVE EXT. RIVER FULL SHOT - the lower ford. Where the main road crosses the river, it flows gently, with sand banks on either side. Three horsemen appear around a bend in the trail and ride down to the riverbank. They are Lednov, McCall and Peters. Lednov's horse is limping badly. They ride into the river. REVERSE ANGLE The horses swim to shore and flounder up the bank, Lednov's horse last. As the horse starts up the bank Lednov sees something o.s. and reins the horse in. MED. SHOT FROM Lednov's ANGLE. A piece of clothing floats down the river. Lednov rides down the bank into the water. He reaches down awkwardly and gets the piece of clothing, then turns and rides back up the bank. ANOTHER ANGLE The two others have turned and are watching him. He rides up to them, holding out one of Mary's undergarments. MCCALL We got company. Female company. LEDNOV (looking at the garment) Yeah, we sure have. He turns to scan the river. ANGLED PAST THEM - AT RIVER Mary's trunk comes floating by. The three men look at each other, then Lednov turns his horse and starts up the bank of the river. The others follow. DISSOLVE EXT. PEAKS OF THE SIERRA NEVADA MOUNTAINS EXTREME LONG SHOT. The long pine-covered approaches, and the glistening summit; the early snow covering the rocks with a thin layer of white. CAMERA PANS DOWN FROM the heights of the mountains, TO the narrow trail that winds among the trees. Clay passes, and behind him the pack-horses and the romuda. Following the remuda comes Mary. She is dressed in a pair of Steve's pants and wears one of his shirts under her own coat. MED. SHOT Mary, as she swings with the movement of the horse. She is tired. She wears no makeup. But she looks as unaffectedly beautiful as we have ever seen her. MED. FULL SHOT the trail. It turns steeply, doubling back, and new Clay is directly above her. He looks down at her, but she disregards his glance. We feel that he might speak, but her cold restraint prevents him. The wind whistles through the trees. The slow plodding noise of the horses becomes more distant. DISSOLVE EXT. UPPER FORD - NIGHT - MOONLIGHT MED. FULL SHOT. Lednov, McCall and Peters ride slowly through the brush to where the trail enters the river. Downstream, wedged in the rocks is the wagon. The three men look at the wagon, then turn to look back along the trail. LONG SHOT their ANGLE. Fowler's campfire flickers through the trees. MED. CLOSE the three men. They look at each other. Lednov motions in the direction of Fowler's camp. They start back along the trail. EXT. MEADOW - NIGHT FULL SHOT. The three men ride along the trail toward the camp. Through the trees the campfire flickers. EXT. FOWLER'S CAMP - NIGHT MED. SHOT. Fowler is putting the supper dishes up on the shelves beside the fireplace. The camp is cleaner than it was earlier in the day. It is evident that he has gone to great pains to make his visitor comfortable. A mirror has been tacked up on a tree, and under it is a wash basin. Fowler's rifle and shotgun are in a rack near the fireplace. Helen's trunk stands open near the lean-to. Helen, wearing a robe, takes some clothing from it, closes the trunk. HELEN You can put this out of the way, Jed. It's empty. Fowler turns and smiles. Helen pushes through the curtains into the lean-to. Fowler puts the last of the dishes on the shelf, crosses to the trunk and moves it over to the side of the lean-to. Turning to go back to the fireplace, he stops. ANOTHER ANGLE Fowler in the f.g. Lednov, rifle in hand, stands just inside the camp on the meadow side. FOWLER (turning slowly) What do you want? Lednov moves slowly forward to stand near the table. He looks around him. Fowler starts slowly toward the fireplace. LEDNOV I saw your fire and dropped by to say hello. FOWLER Well, say it. Trying to be casual, Fowler moves closer to where the guns are racked. LEDNOV What's the matter -- restless? FOWLER Yes, people make me restless. LEDNOV Even women? FOWLER There aren't any women here. LEDNOV I suppose that's your wagon in the river. FOWLER Some people who went by this way lost it. (nervously) Two men and some women. They packed their stuff on horses and went on. LEDNOV And you're all alone. FOWLER Yeah. He has edged closer to the gun rack. Lednov seems unaware that he is near the guns. His interest is centered on the lean-to. He moves to the entrance, stands with his hand on the canvas. LEDNOV Suppose I take a look. FOWLER Go ahead. Lednov pulls back the flap. His back is to Fowler, who starts quickly for the tree, only to stop as McCall comes out from behind it. MCCALL Looking for something? Fowler drops his hands to his side. Lednov turns, grins at Fowler, and enters the lean-to. INT. LEAN-TO - NIGHT The shelter is dark. Lednov strikes a match and looks around. The place is empty. There is a bunk, made up. On the left hand wall a curtain of gunny sacks covers the clothes hanging there. The match burns down to Lednov's fingers. There is a SOUND of a scuffle outside a blow, and a groan. Lednov drops the match and hurries out. EXT. CAMP - NIGHT Lednov comes out of the lean-to. Fowler is sprawled by the table. McCall stands over him, rifle raised. LEDNOV Hold it, Mac. EXT. BACK OF LEAN-TO - NIGHT MED. CLOSE SHOT. Helen stands flattened against a tree. LEDNOV'S VOICE Get up. Cautiously Helen starts moving away. EXT. CAMP - NIGHT MED. SHOT. Fowler pulls himself to his feet. Mac stands near him. LEDNOV Come on. Where'd the women go? Fowler sinks on a bench, his head in his hands. Lednov moves closer. LEDNOV When I ask questions, I like to hear answers. FOWLER They went on like I told you. EXT. FOREST - MOONLIGHT MED. SHOT. Helen cautiously moves away from the camp. LEDNOV'S VOICE How long ago? FOWLER Five, six hours. A twig snaps underfoot. Helen freezes. EXT. CAMP - NIGHT MED. SHOT. Lednov is staring off in the direction of Helen. McCall moves to the edge of the lean-to, looking off. EXT. FOREST - NIGHT MED. CLOSE SHOT. Helen starts forward again, more cautiously than ever. She reaches a tree, turns to look back. ANOTHER ANGLE Helen, back to camera, is in immediate f.g. Through the trees can be seen the camp and the flickering fire. She turns, and then fright comes into her expression. REVERSE SHOT Peters stands in front of her. As he reaches out for her, she tries to get away. He grabs her, wrapping his arms around her. EXT. CAMP - NIGHT MED. SHOT. From o.s. comes the SOUND of Helen and Peters struggling. Fowler, hearing the SOUND, gets to his feet. Lednov and McCall turn on him. LEDNOV Sit down. (calling) All right, Peters, come on over here. EXT. FOREST - NIGHT MED. SHOT. Peters, carrying the struggling Helen, heads for the camp. EXT. CAMP - NIGHT ANOTHER ANGLE. Fowler makes a futile dive for Lednov. McCall swings his rifle. Fowler goes down. In the b.g. Peters drags the struggling Helen around the lean-to into the camp. LEDNOV (to Fowler) So you were all alone. He moves forward to meet Helen and Peters. Lednov reaches out for Helen. Peters pulls her away. PETERS (sharp) You keep your hands off. McCall has taken his attention from Fowler and gives it to Helen. Unnoticed now, Fowler is struggling back to consciousness. He tries to pull himself up. McCall turns back and kicks him again. HELEN (yelling) Let him alone! She rakes Peters' face with her fingernails, tries to fight free. Lednov reaches out and grabs her arm. Peters knocks his arm down. Free for the moment, Helen launches an attack on McCall, who is getting ready to boot Fowler again. She is on him like a cat, swarming all over him. He defends himself. Helen is yelling furiously as she fights McCall. HELEN Kick a guy, would you! You scum! You won't do any kickin' when they come back. Lednov has reached her now. He wraps his arms around her and pulls her away from McCall. Helen tries to fight him. HELEN You dirty murderers... killin' people when they're sleepin'... Lednov pinions her arms. LEDNOV How do you know who we are? HELEN Everybody knows -- LEDNOV (excited) Who brought you here? Helen doesn't answer. Lednov starts twisting her arms. LEDNOV You said somebody was comin' back -- who's comin' back? HELEN (moaning) Stop it -- As the pain increases she blurts out Clay's name. HELEN Clay Phillips. LEDNOV Where is he? HELEN Up the trail. In a fury, Lednov crushes her arm. LEDNOV How far up the trail? HELEN (moaning) I don't know -- I don't know. He hurls her from him. She goes back against the table. Fowler is trying to struggle to his feet. In blind rage, Lednov raises his gun and fires. Fowler crumples. Helen looks down, too horrified and terrified to scream. Lednov looks at her, then almost casually he shoots her. McCall and Peters stand watching as though frozen. PETERS (huskily) You didn't have to do that. LEDNOV (deadly) Why not? She might have got to Clay Phillips before I did. AS HE TURNS, FADE OUT EXT. OPEN RIDGE FADE IN MED. FULL SHOT - ANGLES east. Behind the ridge rises the range through which the pass to Nevada cuts its way. The trail which has dipped down into a canyon comes up to follow the ridge a ways and then drops down again. Lednov, McCall and Peters ride along the trail. Lednov, in the lead, stops suddenly and looks off. EXTREME LONG SHOT DOWN ANGLE from Lednov's point of view. Far below is a meadow and crossing it is a wagon road. This is the road from Yosemite to Sonora. The road comes down the hill to the south and, as the forest is open at this point, anything approaching along the road can be seen for some distance. It crosses the meadow and continues into the northwest. In the meadow is a snake-rail corral. Clay's pack train comes out of the woods above the meadow and starts down. MED. SHOT McCall, Lednov and Peters. Lednov motions to his men and they hurriedly ride forward into the shelter of some trees. MED. SHOT the pack train. Mary, half asleep, slumps forward. Her horse has stopped. Steve rides up alongside and looks over at her, anxiously. STEVE Are you all right? Mary starts into wakefulness. She smiles at Steve. MARY For the last ten miles I've been trying to figure out how to sleep sitting up. I'm getting to the point where I don't think there's any place named Sonora. STEVE It's a long ways yet. (arrogantly, to Clay) I figure we ought to camp. She's tired. CLAY So am I and so are the horses. He rides on ahead. Steve looks after him, annoyed, then follows with Mary. EXT. MEADOW Clay leads the pack train out into the clearing and toward the road. A small creek threads its way through the meadow. Clay rides up to the creek and swings out of the saddle. He is taking the saddle off as the others ride up. CLAY (to Steve) Take the packs off. And run the horses into the corral. He throws the saddle down, takes his rifle out of the scabbard. Steve doesn't move. CLAY I said take the packs off. He starts off past Mary, glances up. MED. CLOSE SHOT Mary leans wearily forward on the pommel, too tired to dismount. CLAY (gruffly) I figure we'll make better time, letting the horses rest for a spell. Mary looks down at him. She is hoping he will reach up and lift her down. CLAY So grab yourself some sleep while you have the chance. MARY If you want to go on, I can make it all right. CLAY Like I said, I was thinkin' of the horses. He turns a way abruptly and goes toward the road. Mary looks after him, disappointed. Steve comes over and helps her down. MED. SHOT Steve and Mary. Steve spreads a tarp on the grass. STEVE You stretch out. I'll fix something to eat. MARY (sitting) Thanks, Steve. Steve goes back and starts unpacking the horses. Mary looks off in Clay's direction, then stretches out and pillows her head on her arm. Now the sun is coming up and driving the darkness out of the meadow. In the distance Clay can be seen climbing up on a rise. MED. CLOSE SHOT Clay. He climbs up on an eminence and looks back toward the hills. LONG SHOT his ANGLE. The open ridge. There is no sign of Lednov. ANGLED PAST CLAY INTO the meadow. Steve has unpacked the horses. They graze inside the crude corral. Steve is collecting wood for a fire. Clay hurries down toward him. MED. SHOT Steve squats beside the pile of needles, twigs and pine cones. He strikes a match and sets the needles aflame. Clay hurries into the scene and roughly kicks the fire out. Steve rises. CLAY (angrily) If you want 'em to find us, why don't you go up on the hill and wave your shirt or fire your rifle. Steve is ashamed of his thoughtlessness and for a moment is apologetic. STEVE I didn't stop to think, Clay. CLAY (short) You better start. Clay turns and goes over to where the packs lie. He kneels beside the pack, rummages in them for hardtack and tinned food. Steve looks after him. CLOSE SHOT Steve. He is hurt and angry. Knowing he was in the wrong about the fire doesn't help matters. He'd like to go off in the woods and cry, but that's out of the question. Instead he follows Clay and stands above him. MED. CLOSE SHOT STEVE Maybe you and me better split up when we hit Sonora. Clay speaks without looking up. CLAY (mildly) All right, I hurt your feelings. But you know better than to go lightin' fires. STEVE That ain't why. I just figure it's about time to start runnin' my own life. Clay spreads the food on a tarp, sits down and starts eating a hardtack. CLAY Maybe you're not hungry, but I am. Steve stares down at him angrier, more hurt than ever. CLAY Come on. We got a couple hours to eat and get some sleep. STEVE I'll eat when I'm good and ready. CLAY Kind of feeling your oats this morning. I haven't laid a hand on you for quite a while, but that doesn't mean you're too old. STEVE What makes you think you're so almighty? Telling people what to do and how to act when you don't even know how yourself. [As this scene continues, there is heard, faintly o.s. the SOUND of little bells, the kind that teamsters put on the hames of their horses. Over the hill, in the direction of Yosemite, a stage is approaching. It is coming slowly uphill. Soon it will be visible on the rise about a mile south of the meadow.] ANOTHER ANGLE SHOOTING TOWARD Steve and Clay PAST Mary. She is asleep. STEVE You ain't even man enough to own up when you're wrong. Clay rises and stands facing Steve. STEVE Go on, hit me. CLAY Sit down and eat. Till I say the word, you're doing what you're told. STEVE You oughta say you're sorry -- that's what you oughta do. CLAY You keep your nose out of my life, young fella. STEVE Maybe I haven't lived as long as you have, but I know a sight more about people and I wouldn't talk to a mule like you talked to her and, if I did, I'd say how sorry I was. I'd be man enough to do that. Steve's voice rises during this speech. In f.g. Mary stirs and opens her eyes. Then she sits up. CLAY I said keep your nose out of my life. No kid is going to tell me how to run it. STEVE You think you're so slmighty -- smart -- Who are you to sit up there and say nobody's good enough for you, like you said yesterday -- just because a man kisses a woman -- Mary has risen. She is listening to Steve. She is also listening to the bells. LONG SHOT her ANGLE. Over the rise comes the stage. It is still a long way off. STEVE'S VOICE -- doesn't mean he wants to marry her. ANOTHER ANGLE to include all three. The brothers still don't see Mary. STEVE Well, if you didn't mean it, why did you kiss her? Clay is ashamed but won't show it. He puts his hand on Steve's shoulder and pushes him. CLAY Shut up and eat. Steve swings for his chin. Clay ducks the blow, grabs Steve's wrist. Steve swings with his left, hitting Clay ineffectually. Clay pins Steve's arms to his side. MARY (sharply) Stop it -- both of you. She walks toward them as Clay releases Steve and steps back. Steve puts his hands up, making ready for another round. MARY I won't have you fighting over me. CLAY (to Steve) I'm sorry. STEVE You don't know what it is to be sorry. MARY (sharp) Steve -- Steve turns abruptly and moves away. He is on the verge of tears. MARY (to Clay) Mind sortin' out my things -- I'm leaving. She motions off. Clay is suddenly aware of the approaching stage. He looks in that direction. LONG SHOT FROM his ANGLE. The stage drives along the road. MARY Maybe it isn't going to Sonora, but it's going somewhere, which is all right with me. CLAY It's going to Sonora. MARY Fine -- maybe I'll see you there sometime. She turns and starts going through the kyacks, looking for her things. Clay frowns down at her. MARY Because as you said, that's where I belong. Mary's attention is on the kyacks. From where Clay stands near her he can see the trail leading down through open country toward the meadow. CLAY I said a lot of things -- some of 'em -- Something o.s. catches his attention, then he pauses to look off. EXT. TRAIL LONG SHOT - his ANGLE. Up on the ridge there is the flash of sun on metal. EXT. RIDGE MED. SHOT. Lednov, McCall and Peters ride through the trees. CLOSE SHOT Clay. He looks up anxiously, then turns. CAMERA ANGLE WIDENS to include Mary and she straightens and faces him, her back to the trail. MARY Some of 'em you didn't mean but most of 'em you did. I don't blame you because I understand your way of thinking and why you think that way. You want your women on pedestals. But they have to be born on 'em -- they can fall off but they can't climb back up. CLAY (sharply) I can't help how I think. You're trained a certain way when you're a kid and you can't change. He bends down and picks up her things. CLAY If you're gonna catch this stage, come on. ANOTHER ANGLE The stage has speeded up and is coming fast down the road. Mary looks up at Clay hurt and shocked by his sudden sharpness. She had hoped he wouldn't let her go. MARY I can't change either. Not unless somebody wants me enough to give me a hand. CLAY Hurry up. He starts off, Mary following. MED. CLOSE TRUCKING SHOT Mary makes one last attempt to get him to change his mind. MARY (softly) I'm fool enough to believe that one of these days somebody will. Somebody who wants me as I am will maybe walk into the place where I'm working and take me out of there. CLAY Maybe they will. He waves for the stage to stop. ANGLED PAST STAGE The driver sees Clay waving and pulls the horses in. The stage moves down to the edge of the meadow. MED. SHOT The stage. It is a small one, a double-seated buckboard with one woman passenger and the driver an elderly man. On the side of the vehicle is painted: "Yosemite-Sonora Stage Line". The woman, middle-aged and rather drab, looks at Mary curiously. CLAY Mind giving a lady a lift into town? DRIVER (to Mary) Climb right in. He jumps out of the stage and follows Clay, carrying Mary's belongings, around back of the stage. Mary gets into the stage beside the woman who moves over for her. ANOTHER ANGLE on back of stage. The driver opens the boot and Clay hands him Mary's belongings. He starts stowing them in the boot. CLAY Will you be seeing the sheriff? DRIVER Depot's right next to his office. Clay starts scribbling a note. In the b.g. Steve has moved up beside the stage. He stands looking up at Mary. MED. CLOSE featuring Mary and Steve. STEVE (shyly) Goodbye, ma'am. Mary reaches down and takes his hand. MARY (quietly) Goodbye, Steve. Don't fight with him any more. Steve's expression hardens. He glances toward the back of the stage, then at Mary. MARY It's not his fault, just you remember that. It's mine. Don't ask me why because you couldn't understand now. Some day you will. Clay and the driver come around the stage. Steve steps back. The driver climbs into the seat. Clay and Mary look at each other. MARY Goodbye. Thanks for the lift. CLAY Goodbye, Mary. MARY By the way, if you ever go past the Wyatt ranch, have another talk with Elaine. Before Clay can speak, the driver snaps his whip and the stage jerks away down the road. Mary doesn't look back. Clay, in f.g., looks after it. Dust rises. It disappears around a bend in the road. Clay turns and starts across the meadow. Steve looks after Clay, hesitates, then follows. MED. CLOSE as Clay reaches the spot where the kyacks and saddles are thrown. Steve comes up to him. STEVE You know what she asked me? CLAY I don't care what she asked you. STEVE She told me not to fight with you anymore. She said it wasn't your fault, but -- I figure different... Clay is looking off, hardly listening. STEVE It is so your fault and... and I guess maybe when we hit the ranch... you andme better... CLAY (sharply) You want to split up? -- Clay's eyes are narrow, peering toward: EXT. ROCKY HILLSIDE - DAY LONG SHOT (Clay's ANGLE) of the shadowed slope. Something moves, indistinct, and then the sun catches a gun barrel as it disappears. MED. CLOSE Clay and Steve as Clay turns sharply. CLAY -- Why wait? Go on, saddle up now and beat it. Steve looks over toward the horses, stalling. STEVE Half of them are mine. CLAY (hard) You'll get your share. Go on. I don't want you around. Turning, he crosses to where Steve's horse stands. CAMERA ANGLE WIDENS. He loads the horse back, throws a blanket and saddle on and cinches up the saddle. Steve watches, angry and hurt. Clay steps back. CLAY There you are. MED. CLOSE the two brothers. They stare at each other. Steve is on the verge of tears. Hurriedly, he swings into the saddle. MED. SHOT He glances down to Clay and digs his spurs in and gallops after the stage. Clay's stern expression leaves his face. He looks after the boy, smiles softly and then starts carrying the pack-saddle into the shelter of the forest. EXT. ROAD MED. SHOT. Steve rides along the road. He pulls his horse in, then glances back. EXT. MEADOW LONG SHOT - Steve's ANGLE. Clay is carrying the belongings into the shelter of the forest. CAMERA PANS OVER and UP. Momentarily a horseman is seen riding into an open space. CLOSE SHOT Steve as he stares. Then understanding his brother's actions, he jerks the reins and swings the horse around and rides back toward the meadow. EXT. MEADOW MED. SHOT - Steve gallops across the meadow to the corral, swings off and starts unsaddling. Clay is inside the forest lighting the fire. MED. CLOSE Clay. He looks over toward Steve, then rises and hurries toward him. MED. CLOSE Clay and Steve. Steve takes down the bars and puts the horse in the corral. Clay comes up to him as he's putting the bars back up. CLAY What did you come back for? STEVE Like I told you, half those horses are mine. I'm makin' sure they get to the ranch safe. So let's quit arguing and do whatever you figure on doin'. The two brothers stare at each other. CLAY (softly) Is that the only reason you came back? STEVE (gruff) Sure. What other reason would there be? CLAY (smiling) I just wondered. Let's go. EXT. MEADOW LONG SHOT - DOWN ANGLE. Above the pines smoke rises. The horses graze inside the corral. In the shadowy forest by the creek, Clay's camp can be seen. A tarp has been stretched over the camp. Lednov moves into the right hand side of the frame and looks down. REVERSE SHOT Lednov stands on a rocky hill looking down in the meadow. Behind him are McCall and Peters. They are screened from the meadow by the rocks. Lednov turns and starts off through the rocks to circle above the camp. The two men follow. All are on foot. EXT. ROCK LONG SHOT SHOOTING PAST Clay and along his rifle. Clay, hidden behind a wall of rock, is watching the trail where it comes down into the meadow. Something moves on the rocky hill above and to his left. He looks up, waiting. The movement stops. Clay glances around. ANOTHER ANGLE Below Clay, Steve lies in a cut in the rocks, watching the camp. Clay motions toward the hill. Steve nods. EXT. ROCK PAN SHOT - FROM Clay's ANGLE. CAMERA, SHOOTING THROUGH the rifle sights, SEARCHES the forest and meadow. As a flight of birds suddenly rises above a section of the forest, the CAMERA HOLDS. EXT. ROCKY HILLTOP MED. SHOT. Lednov, McCall and Peters have stopped, halted by the sudden flight of the birds. ANOTHER ANGLE Below is the camp. Lednov motions. LEDNOV (to Peters) Go on down and have a look. PETERS (scoffing) And get my head blown off! Not me. Lednov looks at McCall. From his pocket, McCall takes a coin. MCCALL Call it. PETERS Heads. McCall flips the coin, shows it to Peters. Peters shrugs and starts moving cautiously down toward the camp. MED. CLOSE Lednov and McCall. LEDNOV And you! Get going. McCall moves off to circle around in back of where Clay and Steve wait. Lednov watches him go then, moving to the shelter of the rocks, waits. ANOTHER ANGLE His position commands the meadow, where the horses are corralled, and the camp. EXT. ROCK LONG SHOT - Clay's ANGLE. The forest is silent. Then, momentarily, Peters is in the open. Clay brings his rifle up, trying to get him in the sights. Wheeler disappears. EXT. PETERS' POSITION MED. SHOT. Stealthily, Peters makes his way down toward the camp. LONG SHOT ANGLED PAST Peters. Peters, sheltered by a tree trunk, raises his rifle, then his eye catches a movement. He fires. EXT. ROCK LONG SHOT - PAST Clay. Clay has Peters in his sights. He fires. MED. CLOSE Peters. Peters is stretched on the needle-covered earth, dead. EXT. ROCK MED. CLOSE - Clay. Clay throws the empty cartridge out and another in. O.s. there is a SHOT. A bullet hits near him. Clay looks off in the direction where Lednov is waiting on the hill west of the camp. Another SHOT is heard. A bullet smacks into the rock close to Clay. It comes from McCall's position southwest of the camp. Clay ducks. EXT. LEDNOV'S POSITION LONG SHOT - Lednov's ANGLE. Lednov is trying to get Clay in his sights. He fires as Clay is seen momentarily. EXT. MCCALL'S POSITION LONG SHOT - McCall's ANGLE. McCall fires at Clay. EXT. ROCK Clay and Steve crawl down and away from Lednov and McCall's positions. Steve grins at Clay. He is enjoying this. CLAY (quietly) Stick here. Moving cautiously he starts in McCall's direction. EXT. MCCALL'S POSITION MED. LONG SHOT. McCall, rifle ready looks down toward the base of the log where Steve now waits. A twig snaps below. He sights the rifle, waiting. EXT. CLAY'S POSITION MED. CLOSE. Clay stands still. The forest is silent again. EXT. LEDNOV'S POSITION MED. LONG SHOT. Lednov, sheltered by a tree, has his rifle trained on Clay's position. EXT. CLAY'S POSITION MOVING SHOT. Clay, walking cautiously, climbs toward McCall's position. Ahead is an open area. Stooping, Clay picks up a rock and draws back his arm to throw it. EXT. MCCALL'S POSITION MED. LONG SHOT - ANGLED TOWARD open area below. The stone thrown by Clay, crashes in the brush across the open area. McCall fires. EXT. CLAY'S POSITION UP ANGLE PAST Clay. The flash of sunlight on McCall's rifle attracts Clay's attention. He fires. From behind him, Steve fires. Clay runs across the open area. Steve fires again. EXT. MCCALL'S POSITION MED. SHOT. McCall tries to struggle to his feet. Failing, he brings his rifle up. Clay in b.g. runs to the shelter of a tree. McCall fires. Clay's rifle barrel emerges from behind tree. McCall tries to drag himself to safety. Clay fires. McCall goes down on his face. From Lednov's position comes the SOUND of a shot. LONG PAN SHOT Clay's ANGLE. CAMERA SEARCHES Lednov's position for some movement. There is none. EXT. LEDNOV'S POSITION DOWN ANGLE PAST Lednov. Below in the corral the horses are hunched together. Lednov looks down, then raising his rifle, he brings one of the horses into the beads of the sights. It is the bell mare. LEDNOV (calling) Come on out, Phillips. His voice echoes again and again. Clay's answer is a shot. It cuts the branches above Lednov's head. CLOSE SHOT Lednov. He ducks lower, steadies his rifle. LEDNOV (his voice echoing) Those horses down there -- they don't amount to much to me. Look at the one with the bell. LONG SHOT ANGLED THROUGH sights. The sights center on the bell mare. MED. CLOSE SHOT Steve. He is standing recklessly trying to find Lednov in the rocks above. MED. CLOSE SHOT Clay. He stares down at the horses. A shot is heard. EXT. CORRAL MED. SHOT. The bell mare rears as the bullet strikes the bell. The horses mill around the corral. EXT. LEDNOV'S POSITION MED. CLOSE SHOT. LEDNOV (calling; echoing) Next time I won't miss. CLOSE SHOT Clay. He starts forward, face set with rage. LEDNOV'S VOICE (echoing) Watch the one with the white face. Recklessly Clay raises his rifle and fires three shots at Lednov's position. EXT. ROCKS MED. FULL SHOT as Clay fires, Steve starts running down. He crosses the creek. EXT. LEDNOV'S POSITION LONG SHOT - DOWN. Lednov sees Steve running. He swings his rifle away from the horses and tries to get the boy in his sights. Clay fires again. A bullet smacks into the tree. Lednov flinches. Then again he tries to center on Steve. EXT. MEADOW MED. SHOT. Steve runs, bending low, toward the rail fence. A bullet kicks up dirt near him. EXT. LEDNOV'S POSITION LONG SHOT - DOWN. Steve has almost reached the fence. Lednov fires. Steve stumbles and goes down. MED. CLOSE Steve. He lies still a moment, then painfully he crawls to the rails and with a great effort tries to tear the rails down. Lednov fires. The bullet whistles past. Steve pulls the fence down, crawls away from the opening. The horses, milling around the corral break through. Steve lies still, face down. FULL SHOT The meadow, ANGLED PAST Clay. The horses scatter across the meadow. MED. SHOT Clay, now the hunter, moves toward Lednov's position. Lednov fires. Clay runs and jumps into the creek. Sheltered by the bank he makes his way up the creek. MED. CLOSE Lednov. He waits, his rifle ready. O.s. a twig snaps. Cautiously he looks ahead. There is silence. MED. SHOT his ANGLE. A light wind runs through the great trees. Shafts of light filter through the trees, making patterns on the forest floor. The light is dim, deceptive. Lednov, rifle ready, searches for some sign of Clay. Then from another direction comes the SOUND of movement. Lednov swings his rifle in that direction, waits. The SOUND has stopped. CLAY'S VOICE I'm here Lednov. His voice echoes across the hills. Lednov sights along his rifle at the direction from which the SOUND of Clay's voice came. Momentarily Clay is seen as he runs from one tree to another. Lednov fires. MED. CLOSE Clay. Clay cautiously edges around the base of a tree. He picks up a stick, stops. CLAY Come on out. His voice can be heard echoing across the hills. He tosses the stick. Lednov fires at the SOUND of the falling stick. LEDNOV'S VOICE Come and get me. As his voice echoes across the hills Clay quickly moves into the open and fires. ANOTHER ANGLE Lednov crumples forward as his echoing voice fades out. Clay moves over to him to stand looking down. DISSOLVE EXT. MEADOW MED. SHOT. Steve sits propped up against the fence rail. His shirt is off and his shoulder is crudely bandaged. Clay, who has been putting the bandage on, stands and takes a sack of tobacco from his pocket. CLAY (rolling cigarette) How's that? STEVE Kind of sore. CLAY You'll live. STEVE (shyly) Guess maybe I'm old enough to hold my own in a fight, huh? CLAY Yeah -- but don't make a habit of it. STEVE So -- maybe I'm old enough to tell you how to run your life? CLAY (stares down at him, then) I guess so -- but don't make a habit of it. STEVE Well, then, I know it takes three -- four weeks for you to come round to admit when you're wrong... But by that time she's liable to be in China... Clay looks at him for a moment, not angry, but not admitting he's wrong yet. DISSOLVE OUT EXT. SONORA - NIGHT (STOCK) EXT. SONORA STREET - NIGHT FULL SHOT - featuring hotel and doctor's office. The sheriff's posse, the bodies of Lednov, McCall and Wheeler slung across the backs of horses, and Clay's remuda, trot down the street. People come out of the hotel to watch the cavalcade pass. Clay and Steve are not with the posse. Clay's horse is tethered in front of the doctor's office which is next door to the hotel. EXT. DOCTOR'S OFFICE MED. SHOT - ANGLED THROUGH window. Clay, back to camera, is holding a kerosine lamp. The doctor, a lanky, middle-aged man, is working over Steve, who is stretched out on a table. INT. DOCTOR'S OFFICE MED. SHOT. Shelves filled with bottles line the room, for the doctor is also the druggist. There is a glass cabinet in which are the doctor's instruments. The room is cluttered. The lamp, held by Clay, throws a circle of pale light down on Steve. The doctor is working on Steve's shoulder and arm. MED. CLOSE - UP ANGLE featuring Clay. Clay suddenly averts his glance and winces as the doctor probes the wound in Steve's arm. Steve groans. The lamp wavers. DOCTOR (sharply) Hold her steady. I'm not hurting him. STEVE Maybe you're not, but I'll sure be glad when you stop pokin' me. Footsteps are HEARD approaching. Clay tries to steady his shaking hand. He is focusing his attention on a far wall. A woman's hand comes in the scene and takes the lamp from him. He reacts. CAMERA PULLS BACK to reveal Mary, who has moved in beside him. CLOSE SHOT Steve. He smiles up at Mary. MED. CLOSE SHOT ANGLES PAST doctor. MARY Is it very bad? DOCTOR (grumbling) Course not. A scratch. He suddenly realizes that a strange woman is in the room and reacts. DOCTOR What are you doin' here? MARY Holding the lamp. DOCTOR Then hold it a little lower. Mary lowers the lamp. CLOSE SHOT Clay and Mary. UP ANGLE PAST lamp. CLAY Thanks for taking over. MARY (softly) Thanks for loading me on the stage. I know now why you did it. CLAY Like I said, women get in the way sometimes. STEVE'S VOICE He tried to get rid of me, too, Miss Wells. DOCTOR Keep still, will you. He straightens into the shot. CAMERA PULLS BACK TO MED. SHOT. Steve is now bandaged. DOCTOR Put him over there on the cot. Goodnight... He'll be all right. As Clay lifts Steve to the cot the doctor exits. Mary watches Clay cover Steve. Then she goes to the door leading to the street, stops with her hand on the knob. MARY Goodnight. STEVE Goodnight, Miss Wells. MARY (looking back) If you need me, I'll be -- Clay straightens and turns. CLAY Where you going? MARY To the other side of the street. She opens the door and starts out. EXT. PORCH - DOCTOR'S OFFICE MED. SHOT. Mary starts to close the door behind her. Clay forces it open. Clay comes out. Mary starts toward the steps. CLAY Mary. Mary stops at the edge of the porch. Clay comes up beside her. CLOSE SHOT Mary waits, looking up at him. CLAY That job you were talkin' about, did you get it yet? MARY Why? CLAY (haltingly) Because... well, you said you wanted a man to think enough of you to walk in the place you were working and take you out of there... tonight I was sort of tied up with Steve... but tomorrow I figured on doing just that. MARY (softly) I haven't got the job yet. They look at each other. MARY But if you want to wait until tomorrow -- For answer, Clay takes her in his arms. INT. DOCTOR'S OFFICE ANGLED PAST Steve on cot. In the b.g. through the open doorway, Clay and Mary kiss. Steve watches a moment, then turns his head toward camera. He smiles and closes his eyes. EXT. PORCH TWO SHOT - Mary and Clay. They break from the kiss. Clay looks down at Mary. CLAY (softly) Is there any place in town a man could buy some gingham? FADE OUT THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Ruins, The.txt b/unformated_scripts/Script_Ruins, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..c3f8ae1f60d026d5caab713e657b95297def7a39 --- /dev/null +++ b/unformated_scripts/Script_Ruins, The.txt @@ -0,0 +1 @@ + THE RUINS Written by Scott Smith FADE IN ON: EXT. CANCUN HOTEL - SWIMMING POOL - DAY The hotel is six stories high, a wall of glass and stucco. Beach chairs are arrayed around the pool's edge; sunbathers lie sprawled across them. A short boardwalk leads toward the Gulf of Mexico: the white sand, the blue water. Four young Americans are encamped near the pool's edge; they're all in their early twenties. AMY lies face down on a chaise, eyes shut, a cooler beside her. She's petite, with short blond hair, her skin pinkly sunburned. ERIC sits in the chair beside her, studying the Cliff Notes for The Canterbury Tales. He's leanly muscular, with dark curly hair. Other Cliff Notes lie scattered beneath his chair: Antigone, A Separate Peace, Hea rt of Darkness, 1984. JEFF and STACY sit on the far side of the cooler; they're playing gin. Stacy, too, is petite, with short hair, though hers,. is dark. She's wearing a pale blue bikini, and has a beer bottle in her hand. She looks a little bored. Jeff is tall, scrawny. Like Eric, he has a pair of swim trunks on, and is deeply tanned. He's very focused, frowning down at his cards. STACY We should play War. It's more fun. Jeff takes a card from his hand, lays it down on the table. JEFF That's not even a game. STACY Sure it is. I'll teach you. She starts-to fold her hand,'but Jeff shakes his head. JEFF I know how to play. I mean it's just chance--there's no skill involved. Stacy frowns down at her hand, silenced. She picks a card from the deck, immediately discards it. Jeff snatches it up, lays down one of his own. Stacy stares at it in dismay. STACY But I keep losing. 2. JEFF 'Cause you're not concentrating. STACY I wouldn't have to concentrate if we played War. JEFF Exactly. So where's the fun? STACY I'd win sometimes. It's not fun if we both can't win. JEFF But it's not winning if it's just chance. STACY Of course it is. If we flipped a coin, and I called heads, and it-- ERIC Fuck..;this.. shit. Eric throws the Canterbury Tales to the ground. Then he rises, steps to the cooler, pulls out a beer, carries it back to his chair. Stacy watches as he takes a long swallow. STACY Maybe you should just be honest, sweetie. Eric doesn't even glance at her. He sips his beer again. STACY (cont'd) You could say: look, I don't know anything about these either, so now we're gonna read them together and sort of teach each other as we go. (turning to Jeff) Wouldn't you have loved that? To have a teacher who-- Amy speaks without opening her eyes, cutting Stacy off: AMY Why would they hire you if you haven't read the books? ERIC I said I had. 3. JEFF So maybe you should.. ERIC (appalled by the idea) The Canterbury Tales? You ever look at that shit? JEFF I've read it. ERIC Fuck off. It's not even English. Jeff watches Stacy take another card; she examines it, sets it on the discard pile. Then, RECITING: JEFF This world nys but a thurghfare ful of wo, and we been pilgrymes, passing to and fro. Deeth is an ende of every worldly soore. Eric and Stacy stare at Jeff in astonishment. Amy doesn't react. Jeff glances toward her. JEFF (cont'd) Sunscreen, Amy. AMY I'm fine. I've got a base. JEFF You're burning. I can see it. She finally opens her eyes, lifts her head, peers at her shoulders. She presses at the pink skin. ANY I'm just flushed. It's too hot. Stacy leans forward, picks a second card off the deck. Jeff is focused on Amy; he doesn't notice. JEFF You're hot because you're burning. AMY It's only been-- Stacy interrupts, speaking in a slightly SINGSONG fashion: 4. STACY So there was this king, who lived in a castle. Amy turns, gives her a pained look. AMY Please don't. ERIC But what he really wanted was a beach house. AMY Stop it. Both of you. Right now. They ignore her, ping-ponging quickly back and forth: STACY So he decided to move. ERIC But the Queen didn't want to. STACY So he left by himself. ERIC But he got lonely. Amy covers her ears with her hands, blocking out their voices, but then inmiediately reaches to feel for her earrings: one of them is missing. AMY Shit. STACY So he bought a dog. ERIC But it had fleas. AMY I lost my earring. STACY So he gave it a bath. ERIC But the dog caught. cold. Amy sits up, glancing about. Stacy and Eric keep going: 5. STACY So he gave it some medicine. ERIC But it was the wrong kind. STACY So the dog died. Amy rises, steps toward the pool. Jeff lays down his cards, joins her beside the water. They both peer into it. EXT. CANCUN HOTEL - BOARDWALK - DAY A young man is approaching down the boardwalk from the beach, carrying fins, a mask, a snorkel. He's in his early twenties: blond, crew-cut, very tall. His name is MATHIAS. As he nears the pool, he stops, staring. MATHIAS'S POV - THE POOL Eric and Stacy have risen to join Jeff and Amy; they're all peering into the water. Amy holds her remaining earring out to Eric and Stacy, showing them what it looks like. BACK TO SCENE - MATHIAS He stands there, hesitating. Then he starts forward. MATHIAS'S POV - THROUGH THE MASK - UNDERWATER - DAY We glide just above the pool's pale blue bottom. A silver earring comes into view. Mathias's hand reaches for it. EXT. CANCUN HOTEL - POOL - DAY The two couples have spread out around the pool's edge, searching for the earring. Mathias surfaces in front of Amy. He holds out his hand, with the earring-in it; she stares, startled, then crouches to take it. AMY Thank you so much. .Mathias nods. He starts to turn, as if to swim off, but Jeff stops him: 6. JEFF Wait. . .want a beer? He waves toward their chairs, the cooler beside them. EXT. CANCUN HOTEL - POOL - LATER Mathias and the two couples sit together, with their beers. Amy's skin has turned deep red; Stacy is behind her, applying lotion to her shoulders. Eric is talking to Mathias: ERIC We went sailing yesterday. Out toward Cozumel? And there were these seven foot fish, these huge-- JEFF Nurse sharks. ERIC (he nods) Like thirty of them. A whole, you know, flock. JEFF School. ERIC The water was, I don't know, ten feet deep? And they were lying on the bottom, just waiting for somebody to come swimming by-- JEFF They're not dangerous. Eric turns, stares at Jeff. ERIC You said they're sharks. JEFF But they're not dangerous. They eat lobsters. Sea urchins. That sort of thing. Eric considers this, frowning. Then he takes a sip of beer. He shrugs, turns back toward Mathias. ERIC I wouldn't be snorkeling on my own.' That's all I'm saying. 7. When Mathias speaks, it's with a SLIGHT GERMAN ACCENT: MATHIAS I wasn't on my own. I was with my brother. Jeff glances around the pool. JEFF He's here? Mathias shakes his head. MATHIAS He met a girl. They went away. JEFF To? MATHIAS It's a complicated story. They watch him, waiting for more, but nothing comes. Finally: ERIC You should hang with us, then. If you're on your own. (he glances at the others) Right? Everyone nods, smiling. Eric reaches into the cooler, pulls out another beer, holds it toward Mathias. EXT. CANCUN BEACH - NIGHT There's a DJ, a dozen beer kegs. A few young men and women are dancing beside a bonfire, but most of the crowd is scattered in small groups across the sand, TALKING, drinking, the firelight flickering off their faces. Stacy, Amy, Eric, Jeff and Mathias are sitting together; they all have cups of beer. Stacy is between Eric's legs, leaning against his chest. Amy, Jeff and Mathias sit cross-legged. Everyone but Jeff and Mathias is a little drunk, and you can hear it in their voices. Amy drains her cup, stands up, very unsteadily. She holds out her hand to Jeff. AMY Dance. Eric smiles, as if the idea of Jeff dancing were absurd. 8. ERIC Jeff doesn't dance, Amy--he has no rhythm. Of all his many gifts, rhythm is not one. AMY That's not true. He played the trombone in high school. He won a prize. Eric seems startled by this, amused. ERIC Seriously? Amy nods. She drains her beer, tosses the cup aside. AMY Jeff's won prizes for everything. His Mom has a whole room built just for them. Trophies and ribbons and plaques. He's a very accomplished young man. (she holds out her hand-to ERIC) You? ERIC (he shakes his head) I don't dance on sand. Stacy makes a SNORTING sound. STACY Or grass. Or cement. Or carpet. ERIC I dance on teak. AMY Teak? ERIC It's a type of wood. Very rare. Find me a teak floor and I'll be a dancing fool. Amy shifts toward Mathias, holds out her hand. He stares at it, then glances at Jeff. Before he can speak, Stacy pushes herself to her feet; she's almost as wobbly as Amy. STACY I'll dance. 9. They lurch off across the sand toward the bonfire. The boys watch them go. A beat, then Jeff glances at his watch. JEFF I'm gonna head back. Eric gives him a look of disappointment, ERIC You're kidding. Jeff seems STARTLED by this: JEFF What? ERIC How long is med school? Four years? Jeff nods. ERIC (cont'd) And then you got, whaddya call it, residency? Another nod. Eric turns toward Mathias. ERIC (cont'd) He's gonna be grinding away all that time. Sleepless. Fucking miserable. And know what? He's gonna look back on this night, us right here, and he's gonna say to himself, shit, I wish I'd-- JEFF Gone to bed earlier. Eric stares at him; this wasn't the direction he was heading. JEFF (cont'd) If I'm gonna be so short on sleep, I should get as.much as I can now, don't you think? He stands up, brushes the sand from his shorts. Eric shrugs, lifts his cup toward him. ERIC All work and no play-- 10. JEFF Makes a man healthy, wealthy, and wise. With that, Jeff nods good night to them, then starts off toward the hotel. Eric and Mathias turn back toward the bonfire. They sit in silence, watching the girls dance. After a moment, Amy staggers away from the other dancers, toward a group of young men, drinking together in the shadows. She reaches down, pulls one of them to his feet, starts to drag him back toward the bonfire. The young man is tall, with long blond hair. He LAUGHS, tries to free himself, but Amy is insistent; she keeps pulling at him, and finally he surrenders. They begin to dance. Stacy is dancing on her own, eyes shut, oblivious. Mathias glances toward Eric. Eric shrugs. ERIC Amy drifts sometimes, when she drinks. MATHIAS Drifts? ERIC Like a boat--she bumps into other boats. They continue to watch. Amy and her partner's dancing is becoming steadily more intimate, the gap between their bodies narrowing, then disappearing altogether. Finally, Eric pushes himself to his feet.' ERIC (cont'd) Come on. Let's save everyone some grief. He starts. forward, followed by Mathias. They join Stacy and Amy, and Eric subtly interrupts Amy's pas de deux. The blond- haired young man disengages, drifts back toward his friends. EXT. CANCUN BEACH - DAWN It's quiet, the sun just breaking the horizon; the beach is nearly empty. A handful of hotel employees are tidying up after the bonfire: carrying off the empty kegs, raking clean the rubbish-strewn sand. Gulls hover overhead, CAWING. 11. Jeff appears, running along the beach, his T-shirt soaked with sweat. He stops as he nears us, stands for a moment just above the line of surf, catching his breath, watching the sun rise. Then he turns, starts toward the hotel. EXT. CANCUN HOTEL - TERRACE - DAWN A breakfast buffet: trays of pancakes, eggs, fresh fruit. There are a dozen tables beneath brightly colored umbrellas. Mathias is the only diner at this hour; he's dressed in jeans and a T-shirt. He studies a piece of paper as he eats. JEFF (O.S.) You're up early. Mathias lifts his head: Jeff is standing there in his sweaty shirt, smiling down at him. MATHIAS I have to catch a bus. JEFF To? Mathias slides the sheet of paper toward him. Jeff bends to look. There's a paragraph in German scrawled above a hand- drawn map, with four place names: Cancun, Valladolid, Tizimin, Coba. A large X has been drawn to the west of Coba. MATHIAS The girl my brother met was on her way to this place, to work. (he waves at the map) It's a dig--an archaeological dig. And he went with her. He left the map, saying I could come, too, if I got bored on my own. A beat; he watches Jeff examine the map. Then: MATHIAS (cont'd) Our flight leaves the day after tomorrow. I can wait and hope he returns in time.. Or I can go get him. It's a question of trusting him to do the right thing. JEFF And you don't? 12. MATHIAS Henrich doesn't think things through. He runs at them. He's... (he searches, shakes his HEAD) There's a word in English, but I can't remember it. JEFF impetuous? MATHIAS (he nods) So I have to be-- JEFF Responsible. MATHIAS All our lives, the same story. Jeff.slides the map back toward him. JEFF It's what? One of those pyramids? MATHIAS (he shakes his head) An old mining camp. JEFF De oro? 0 plata? Mathias just stares at him. JEFF (cont'd) You don't speak Spanish? Mathias shakes his head. JEFF (cont'd) So how will you find this place? MATHIAS (he smiles, shrugs) Follow the m ap. Jeff frowns down at the map for a long beat. It seems as if he's going to question the feasibility of this, but. then he disengages instead, wiping at the sweat on his face. JEFF Well, good luck. 13. Mathias nods his thanks, and Jeff turns, starts away from the table. WE MOVE with him, across the terrace, into the: INT. CANCUN HOTEL - RESTAURANT It's completely empty at this hour, and eerily silent. Chairs are stacked on the tables. As Jeff enters, a waiter moves past ham, carrying a pitcher of orange juice. Jeff stops, turns to watch through the window beside the door. JEFF'S POV - THROUGH THE WINDOW The waiter refills Mathias's glass. Mathias smiles, nods. BACK TO SCENE Jeff hesitates, wavering. Then he pushes open the door again, steps outside. We watch-- THROUGH THE WINDOW --as he approaches Mathias. There's the sound of someone RETCHING, COUGHING. This carries over into: INT. CANCUN HOTEL - JEFF AND AMY'S BATHROOM - DAY A rack with towels on it, a sink, a tub. Amy is crouched over the toilet, in underwear and a T-shirt, VOMITING. Her skin is bright red. Jeff is standing in the tub, freshly showered, drying himself, watching. her. His running clothes hang from a hook beside the door. JEFF You okay? Amy doesn't answer. She COUGHS, spits. JEFF (cont'd) You don't have to come, you know. AMY I'm fine. JEFF You don't look fine. AMY Thank you. That's very helpful. 14. She pushes herself to her feet, flushes the toilet, steps to the sink, squeezes some toothpaste onto a toothbrush. JEFF We'll be back by nightfall. You can just-- Amy is raising the brush to her mouth, but she stops, gives Jeff a look in the mirror. AMY You don't want me to come? JEFF That's not what I'm saying. AMY So what're you saying? JEFF You're hungover, under slept, SUNBURNED-- AMY I'm not sunburned. Jeff stares at her, the deep red of her face. Then he shrugs, steps out of the tub, the towel around his waist. JEFF .All right. My mistake. Amy bends over the sink, starts to brush her teeth. INT. CANCUN HOTEL - JEFF AND AMY'S BEDROOM - DAY A king-sized bed, a bureau, two night tables, a mini-fridge. Jeff emerges from-the bathroom, steps toward the bureau, starts to dress: boxers, jeans, T-shirt. A beat, then Amy shuffles out of the bathroom. She sits on the edge of the bed, starts to pull on a pair of shorts. JEFF Pants. Amy stops, the shorts around her ankles. AMY I'll get too sweaty. 15. Jeff pulls a pair of khakis from the bureau, tosses them onto the bed beside her. JEFF There's gonna be mosquitoes. He picks up a knapsack, steps to the mini-fridge, opens its door. Amy stares down at the khakis for a beat, then drops back onto the bed. She lies there, looking up at the ceiling, her shorts still caught around her ankles. AMY We don't even know this guy. Jeff slides two bottles of iced tea into the knapsack. There's a plastic shopping bag beside the fridge, and he starts to dig through it. JEFF And? AMY I just don't see why we have to go with him. JEFF If you and I were traveling together, somewhere you didn't speak the language, and I'd vanished somehow, wouldn't you want someone to help find me? AMY Why would you vanish? Jeff turns, looks at her: this isn't the point. JEFF Aren't you getting bored? Honestly. The beach, the pool, the beach, the pool. This'll be fun. An adventure. Jeff pulls two protein bars from the bag, a box of raisins, a plastic bag full of grapes; he drops them into the knapsack. JEFF (cont'd) You said you wanted to go;hiking, didn't you? See the ruins. Amy is silent, unmoving, clearly not swayed. 16. JEFF (cont'd) Stay here, then. Seriously. There's no-- AMY Why do you keep saying that? JEFF BECAUSE-- AMY It's like you'd rather I didn't-- A KNOCKING at the door, and she falls silent. Jeff rises, zipping shut the knapsack. He steps to the door, opens it. Stacy and Eric are in the hall. ERIC Ready? The both answer at the same time: JEFF AMY Amy's having second thoughts. Jeff doesn't want me to go. Stacy and Eric are silent; neither wants to get involved in this. A beat, then Jeff SIGHS, glances at his watch. JEFF Now or never, Any. .We're gonna miss the bus. Amy gives a loud GROAN, sits up, reaches for her khakis. INT. TOUR BUS - DAY Only half the seats are occupied: tourists with their packs and cameras-and hats. Little TVs hang from the ceiling. We MOVE slowly down the aisle, passing Jeff and Amy first. Amy is sound asleep, a camera hanging from her neck, a Panama hat in her lap. Jeff is beside her, bent low over a tour book, comparing its much more detailed map with the one Mathias's brother left behind. Next come Eric and Stacy, hunched together in their seats, watching a Mexican soap opera on the little TV above them. Stacy mimics the actors' exaggerated gestures, GIGGLING. Eric has the Cliff Notes for Hamlet in his lap, unopened. Finally, there's Mathias. The seat beside him is empty. He's staring out the window, his expression perfectly blank. 17. EXT. COBA - DAY The town is very small: a dirt road lined with one- and two- story buildings, some with thatched roofs. There's a gravel turnaround, with a bus idling in it. Its door CREAKS open. A dozen tourists emerge from the bus, blinking in the sunlight. Jeff, Amy, Stacy, Eric, and Mathias are among them. The boys have the knapsacks; the girls are wearing matching hats. Amy rubs at her face, stretching, waking up.- There's a souvenir stand at the town's entrance, with brightly colored blankets hanging from its walls. The tourists start toward it, leaving Jeff and the others beside. the idling bus. They peer about, getting their bearings. ERIC Now what? Mathias has his brother's note. He holds it out, pointing, and they gather around him to look. MATHIAS We take a cab. To here. WE SEE the map: there's a line drawn from Cancun to Coba, where another, shorter line moves westward. Mathias's finger moves along this shorter line, toward the X on the map. ERIC How far? MATHIAS Eighteen kilometers. STACY How many miles is that? They all glance at Jeff. He shrugs. JEFF Eleven. A little more. MATHIAS Then there'll be a path. Which we hike--four kilometers. The others look to Jeff again. He slings his pack. JEFF Two and a half miles. 18. The tourists are vanishing into the town. The bus's door SQUEAKS shut. ANY I don't see any cabs. The bus eases into motion, CRUNCHING across the gravel, pulling out onto the road. Behind it, a yellow pickup truck is revealed. "TAXI" is hand-painted in black on its side. They start toward the truck. Its DRIVER is Mayan: short and heavy-set, with thick glasses. His eyes are shut; he's dozing behind the wheel. The truck's engine.is running, the windows shut tight against the heat. Jeff TAPS the window, and there's a burst of movement from the truck's rear, as a dog springs up, BARKING and GROWLING. They all leap back, the girls SHRIEKING. The dog is a mutt--small, but muscular. He's attached to a cinder block by a short chain, which he throws himself against, slobbering, snapping at the air. They all stare at the dog; the girls LAUGH nervously, clutching each other. The driver has roused himself; he leans forward, rolls down his window, stares out at them. JEFF Hola. The man gives him a somber nod; the dog keeps BARKING. Jeff takes the map from Mathias, then steps warily forward. JEFF (cont'd) Habla ingles usted? The man half-nods, half-shrugs. JEFF (cont'd) How much to drive us to here? He offers the map to the driver, who reaches to take it. The man frowns at it. Then, in HEAVILY ACCENTED ENGLISH: DRIVER Why you go this place? Jeff struggles for a simple way to explain their mission. in the back of the truck, the dog continues its frantic BARRING. JEFF There are these ruins. This old mining camp? (MORE) 19. JEFF (cont'd) (he points toward Mathias) And his brother--- DRIVER Fifteen dollar, I take you ruins. JEFF To here? Jeff points at the map. The driver shakes his head. DRIVER This place no good. He holds the map back out toward Jeff. Jeff takes it, gives the man a puzzled look. JEFF No good? DRIVER No good you go. Fifteen dollar I take you good place. You like, I promise. Jeff glances toward the others, as if for help. They all just stand there, watching. The dog won't stop BARRING. DRIVER (cont'd) I take you pyramid. Huy grande. Everyone happy. He smiles at Jeff; his teeth are large and thick-looking,. and black along the gums. Jeff pulls out his wallet. He removes a ten and a five, then points at the map. JEFF How about we pay you fifteen dollars to go here? He holds the money out. The man doesn't even look at it. DRIVER I tell you no good. Still you go? His smile has disappeared; he seems angry suddenly, as if Jeff has somehow insulted him. Jeff hesitates, glancing toward the others again. Then, in a CONCILIATORY TONE: JEFF We're looking for his brother. (he points toward Mathias) Su hermano? 20. The driver wrenches the door open, making Jeff and the others flinch. He climbs out, still with that angry expression on his face, then leans into the back of the truck, grabs the dog's chain, unhooks it from the cinder block. He lifts the dog from the truck by the chain. Even dangling by its neck, the mutt continues to SNARL and snap at Jeff and the others. They back away, and the man tosses the dog into the truck's cab, pushing the door shut. The dog throws its body against the window, slobbering and BARKING. The man turns toward Jeff, wiping his hands on his pants. Jeff tries again: JEFF (cont'd) I'm sure your ruins are better than these. It's just that we-- The driver cuts him off, holding out his hand, with that same air of enraged disgust. DRIVER El dinero. Jeff gives him the money. Then the driver SLAPS the side of the truck, gestures for them to climb into the back. EXT. YUCATAN ROAD - FROM HIGH ABOVE - DAY Below us, the yellow truck travels along a single-lane road. Jeff and the others are in its rear. There are fields on either side of the road, bordered by thick jungle. The truck reaches a fork in the road, bears left, angling toward the wall of jungle, into which it vanishes, the overhanging foliage blocking it from sight. EXT. YUCATAN ROAD - IN THE JUNGLE - DAY The road is dirt, heavily rutted. There's a small clearing beside it, with a path opening off it. The trees grow over the path, forming a shady tunnel. WE HEAR birds calling, a steady throb of insect life, but otherwise all is silent. A beat, then there's the sound of the TRUCK approaching, along with the dog's BARKING and GROWLING. The pickup appears, moving slowly, bouncing and swaying across the ruts. The truck pulls into the little clearing, stops. Jeff and the others clamber out over its tailgate. 21. The dog is still lunging at them from behind the truck's rear window. Jeff gives the driver a wave. JEFF Gracias, senor! The driver doesn't even look at him; he just pulls out onto the road, heading back in the direction from which they came. There are mosquitoes; Stacy starts to slap at herself. Jeff unslings his pack, pulls out a can of insect repellent. JEFF (cont'd) Here. He begins to spray her, then Eric. Amy is peering off after the truck. They can still hear the dog's BARKING, but very faintly now. Jeff finishes with Eric, starts in on Mathias. AMY How do we get back? She points back down the road, toward the vanished truck. Jeff pauses in his spraying, considers for a moment. Then: JEFF The guidebook said you can always flag down a passing bus. So I-- AMY There aren't going to be any buses on that road. Jeff nods; this seems obvious. He resumes spraying Mathias. Eric and Stacy stand there, watching. AMY (cont'd) A bus couldn't even fit. JEFF It also said you can hitch-- AMY See any cars pass, Jeff? Jeff doesn't answer. He steps toward her, starts to spray her, too. She holds out her arms. AMY (cont'd) The whole time we were driving, you see even one? STACY Eric has his phone. Can't we just call someone? 22. AMY He's not gonna get a signal. Not way out here. They all turn to watch as Eric reaches into. his pack, pulls out his cell phone, flips it open. He stares at it for a beat, then shakes his head, snaps it shut. Jeff finishes spraying Amy, starts in on himself. JEFF They must-have a way to get supplies in. AMY Who? JEFF The archaeologists. They must have a truck. Or access to a truck. When we find Mathias's brother, we can just ask them to take us all back to Coba. (turning to Mathias) Right? Mathias seems startled by the question. MATHIAS I guess ...I mean, I-- He shrugs; he has no idea. Amy is still focused on Jeff: AMY We're stranded, aren't we? That's, like, a twenty mile walk we're gonna have to do. Through the jungle. JEFF Eleven. AMY What? Jeff finishes with the insect repellent, crouches to slide the can back into his pack. JEFF It's eleven miles. AMY There's no way that was eleven miles. 23. Jeff rises, slings his pack. He gives Amy a tired look. JEFF Let's just find this place, okay? Then we can figure out how to get back. Amy is silent. Jeff turns to the others. JEFF (cont'd) Ready? Mathias and Eric nod, and the boys start down the path. Amy stands there, watching them go. Stacy steps toward her.' STACY Just go with it, honey. You'll see--it'll all work out. She hooks arms with her, pulls her into motion. EXT. JUNGLE TRAIL - MOVING - DAY They hike in single file: first Jeff, then Eric, Mathias, Stacy, and Amy. The path is six feet wide, hard-packed dirt. All around and above is the jungle: big-leafed plants, vines and creepers, immense trees. The path moves in snakelike curves; we can't see-very far in either direction. They're all sweating, their shirts clinging to their bodies. The bugs continue to harass them. STACY So-there was this girl who bought a piano. Amy gives a loud MOAN. ERIC But she didn't know how to play. STACY So she signed up for lessons. ERIC But she couldn't afford them. Stacy reaches, taps Mathias's shoulder. STACY You can play, too. If you want. 24. Mathias glances back at her. STACY (cont'd) It's easy. Someone says So, then you say But. It's like catch, only without a ball. (to Eric) So she got a job in a factory. ERIC But was fired for being late. Amy takes off her hat, wipes the sweat from her face. AMY It's annoying. STACY So she became a prostitute. AMY It's tedious and boring. And once they start, it's impossible to get them to stop. ERIC But she fell in love with her first client. Amy puts her hat back on. She looks hot, sweaty, tired. AMY How much farther? Mathias peers down at his brother's note. Stacy and Eric continue with their game. MATHIAS STACY We cross a stream. Then So she asked him to marry there'll be a path, branching her. off to our left. If we see a village, we've gone too far. AMY (cont'd) ERIC A village? But he was already married. MATHIAS STACY A Mayan village. So she begged him to get a divorce. AMY (cont'd) ERIC Will they have air But he was in love with his conditioning? wife. 25. Mathias shrugs, returns the note to his pocket. MATHIAS STACY It just says there's a So she decided to kill her. village. AMY (cont'd) I think we should go see it. STACY Me, too. AMY I think we should--- Jeff stops suddenly, pointing. JEFF The stream. Thirty feet in front of them, the trail dips toward a small stream, studded with boulders. It resumes on the far bank, rising gradually uphill in a long straightaway. The stream is slow moving, the water dark brown. Eric SNIFFS the air. ERIC Fucking smells. JEFF They must use it as a latrine. ERIC Who? JEFF The village. The Mayans. They start toward it, gingerly, the girls covering their noses. Jeff crosses the stream, hopping from boulder to boulder, and the others follow. Stacy almost falls in; she only catches her balance at the final instant, YELPING. Jeff is already starting up the trail, searching for the turnoff. There's no sign of it; the dense foliage extends unbroken as far as the eye can see. He turns to Mathias. JEFF (cont'd) How far past the stream?. MATHIAS Right after, it says. 26. They stand there in a loose group, staring at the trees. Eric pulls a bottle of water from his pack, takes a swallow, then passes it to Stacy. Amy lifts her arm, points. AMY Look. Up the trail, sixty feet away, stand two small Mayan boys; they seem to have materialized out of the air. They're ten years old, shirtless, scrawny, dark-haired. one of them is holding a bicycle by its handlebars; it doesn't have a seat. AMY (cont'd) Maybe they can guide us. Stacy smiles toward the boys; she waves, CALLS OUT: STACY HOLAL The boys just stand there, staring at them, silent, their expressions wary, even frightened. One of them leans to whisper something to the other, who nods. ERIC Why don't we-- He stops, noticing Mathias. The German is staring toward the edge of the trail, where a large bush sits. one of its fronds is very slowly dropping toward them, pulling itself free of the soil. Mathias steps forward, tugs at a second frond, which slips easily from the dirt. He tosses it aside, reaches for another frond: this, too, slips free. Someone has pushed them into the earth, arranging them to look like a bush. Mathias pulls a fourth frond free, then a fifth, and an opening is revealed in the brush, a narrow path winding its way off through the trees. They stand there a beat, staring at it. Then there's a SQUEAKING SOUND, and they all turn. AMY'S POV - UP THE TRAIL one of the boys is hurriedly pedaling off, bent low over the bicycle's handlebars. His companion remains behind, staring toward us with a look of obvious anxiety. BACK TO SCENE Amy turns to Jeff; so do the others. 27. AMY Why was it covered? Jeff lifts his hands: how should he know? STACY Maybe it's not the right path. NO one speaks. They keep staring from the boy to the newly revealed path, trying to make sense of it. WE can still HEAR the squeaking of the bicycle, growing steadily fainter. JEFF It's on the map. AMY It's a hand-drawn map, Jeff. STACY And it was hidden. Why would it be hidden? Jeff steps forward, shields his eyes, tries to peer into the dimness of the narrow path. Then he glances back toward the little boy, who continues to stand there, watching them. JEFF Maybe the archaeologists don't want people to find the mine. AMY Because? Jeff has to think. Finally: JEFF Maybe they've dug up something valuable. Emeralds or something. Or silver. Whatever they were mining in the first place. And they don't want anyone to come rob them. So they've asked the Mayans to help keep people away. He falls into silence, staring at the boy. No one appears very convinced by his theory, not even Jeff. He shrugs. JEFF (cont'd) How much farther is it? Mathias takes the map from his pocket again, glances at it. 28. MATHIAS Not far. JEFF Be silly to stop now, don't you think? No one answers; no one moves. ANY This just feels weird, Jeff. Jeff SIGHS, fighting to suppress his impatience with her. JEFF So we what? Turn around? Walk all the way back to Coba? Silence. They all turn to stare back down the trail, then toward the Mayan boy, who's still watching them. Stacy SLAPS a mosquito, leaving a bloody smear on her bare arm. Jeff lifts his hand, gestures at the path.leading into the trees. JEFF (cont'd) Come on. We're almost there. The others glance at one another, waiting for someone to argue; no one does. Finally, Mathias steps forward, slipping through the narrow opening. Eric follows him, and then, with just the slightest hesitation, so do Amy and Stacy. Jeff throws one last glance toward the boy--who's still standing there, sixty feet away, watching with his anxious expression--and then he, too, vanishes into the trees. EXT. NARROW PATH - MOVING - DAY They make their way along the winding path, one after another, all of them sweating, slapping at the mosquitoes. ERIC Maybe the ruins are sacred. You know? And they don't want people digging them up. He glances about, off into the trees, a little spooked. ERIC (cont'd) We could be walking through some sort of ancient graveyard right now. And they've-- 29. JEFF It's a mine. An old mining camp. ERIC So? JEFF There's nothing sacred about it. Eric considers this as they walk. The others are also quiet: too hot to speak. The sunlight falls through the trees in thin, shifting columns, hazed with mosquitoes. ERIC Maybe it leads to a marijuana field, then. Maybe the village is growing pot, and that boy rode off to get them, and they're gonna come with guns and-- AMY Eric. ERIC What? AMY Shut up, okay? Eric falls silent. They follow the path as it curves first right, then left, moving gradually uphill all the while, and suddenly there's sunlight in front of them, bright and intense: a clearing. They hesitate at its edge, staring. EXT. CLEARING/BASE OF THE HILL - DAY The clearing is twenty yards wide, and extends in either direction as far as the eye can see, finally curving out of sight. Its soil is a deep black, flecked with white, like frost rime. It's completely free of vegetation. The path resumes on the far side of the clearing, winding its way up asmall hill. The hill is rocky, oddly treeless, and covered with a vinelike growth--a vivid green, with hand- shaped leaves and tiny red flowers. Jeff and the others step warily out onto the cleared ground, peering about, squinting in the sudden sunlight. They stare up at the flower-covered-hill. 30. There are hints of ruins among the thick foliage: giant boulders with faint carvings etched onto their surfaces, the crumbling remains of a fallen pillar, everything half-buried beneath the vine. STACY It's beautiful. AMY So beautiful. STACY And the mosquitoes are gone. You realize that? They've stopped biting. She smiles at the others, delighted by this development. Amy removes the cap from her camera, starts to take pictures. AMY'S POV - THROUGH THE VIEWFINDER WE HEAR a click as she takes each photo, and the image freezes for an instant. There's the hillside, covered in its vine, its red flowers: CLICK. There's Eric pulling the water bottle from his pack: CLICK. There's Stacy smiling at us, waving: CLICK. There's Mathias shading his eyes, peering up the hill. AMY (O.S.} Smile, Mathias. MATHIAS Is that a tent? He points. BACK TO SCENE Amy lowers her camera, turns to look. AMY'S POV - UP THE HILL An orange square of fabric is just visible, at the very top of the hill, billowing, sail-like, in the breeze. From this distance, with the rise of the hill partly blocking the view, its hard to tell what it is. 31. BACK TO SCENE They all stand there, peering up the hill. Faintly, but growing steadily louder, a THUDDING noise comes from the jungle. The five of them turn, heads cocked, listening. JEFF A horse. It's true: HOOFBEATS are approaching at a gallop. Instinctively, Jeff and the others back a handful of steps toward the hill. A long. beat, then a horseman bursts into the clearing, rearing to a halt. Amy lifts her camera. AMY'S POV - THROUGH THE VIEWFINDER A bald Mayan man is on the horse; he's broad-shouldered, short, in his early forties, dressed in a white shirt and pants. The horse rears a second time, and the image FREEZES for an instant, with a CLICK, as Amy snaps another picture. BACK TO SCENE The bald man SHOUTS at them in UNSUBTITLED MAYAN. His horse is lathered, SNORTING, rolling its eyes. It rears yet again, and the man half-falls, half-jumps to-the ground. Jeff and the others back a few more steps into the clearing. AMY'S POV - THROUGH THE VIEWFINDER The bald man is still holding the reins; the horse is backing away from him, jerking its head, trying to break free, pulling him, step-by-step, back toward the trail. CLICK. BACK TO SCENE The man can't gain control of the horse. Finally, he drops the reins, and the horse gallops into the jungle, CRASHING through the trees, its hoofbeats gradually diminishing. The man turns toward them, starts YELLING in MAYAN again, pointing back down the trail. Sweat shines on his forehead. There's a gun on his belt, a black pistol in a brown holster. Stacy is clutching Eric's arm, looking frightened. STACY What's he saying? 32. ERIC Maybe he wants money? A toll or something? The Mayan continues SHOUTING, waving his arm. Jeff reaches into his pocket, pulls out his wallet, removes a twenty. JEFF Dinero? The man ignores the proffered bill, makes a shooing motion, waving them from the clearing. Mathias turns toward the hill, cups his hands around his mouth, SHOUTS: MATHIAS HENRICHI There's no response, just the orange fabric gently billowing. JEFF Why don't you hike up, see if you can find him? We'll try to sort this out. Mathias nods, starts across the clearing. The bald man SHOUTS at him in Mayan, and then, when Mathias doesn't stop, pulls his pistol from its holster, FIRES into the sky. Everyone flinches, half-ducking. Stacy SCREAMS. Mathias goes still. The man waves at him, YELLING in Mayan, and Mathias comes back, his hands raised, to join the others. HOOFBEATS are approaching from the jungle again. They come closer and closer, and suddenly two more horsemen burst into the clearing. They're younger than the bald mans in their twenties, dark-haired, muscular. One has a mustache. Their mounts are white-eyed, SNORTING, rearing, just like the bald man's. The two men jump to the ground, dropping their reins, and the horses immediately turn and gallop back into the jungle. Amy lifts her camera again. AMY'S POV - THROUGH THE VIEWFINDER The young men have bows slung across their chest, and quivers of thin, fragile-looking arrows. They question the bald man in MAYAN, very rapidly. He's still aiming his pistol at Mathias. A CLICK, and the image freezes for an instant. 33. BACK TO SCENE As they continue to interrogate the bald man in MAYAN, the young men unsling their bows, each of them nocking an arrow. Reflexively, Jeff and the others retreat another handful of steps into the clearing. Mathias still has his hands raised. ERIC What the fuck? JEFF Quiet. ERIC THEY'RE-- JEFF Wait. Wait and see. Amy is a bit farther into the clearing than Jeff and the others. She keeps swinging her camera from them to the Mayans, trying to capture the whole scene in one shot. She's too close, though,-and she retreats another handful of steps. AMY'S POV - THROUGH THE VIEWFINDER Still backing up toward the hill; all of them but Stacy and Eric are in the frame now. The bald Mayan is still answering the young men's questions. He turns toward us suddenly, points his pistol directly at us,.starts to SHOUT. BACK TO SCENE Jeff and the others turn, too, staring at Amy in surprise. She's nearly at the far edge of the clearing, peering through her camera; she retreats another step. The young Mayans raise their bows, drawing them; the bald man keeps YELLING. JEFF AMY-- She takes another step; she's right up against the vines. AMY'S POV - THROUGH THE VIEWFINDER Stacy is in the frame now. We retreat one more step, and so is Eric, and the Mayans with their raised weapons, the bald man still SHOUTING: everything FREEZES on the CLICK. 34. BACK TO SCENE Amy lowers her camera. The Mayan with the mustache turns to the other two, points toward her feet, SPEARING URGENTLY. The bald Mayan slowly lowers his pistol, looking dismayed. Amy glances down. AMY'S POV - HER FEET She's stepped out of the clearing, into the flowering vine. BACK TO SCENE Both of the younger Mayans are speaking now, their voices RISING. The bald Mayan is shaking his head, protesting, but they talk right over him. Amy steps clear of the vine, starts back toward Jeff, and the younger Mayans draw their bows taut again, aiming at her chest. She freezes. AMY JEFF--- Jeff lifts his hand, without looking, his eyes on the Mayans. JEFF Don't move. The bald man continues to frown and shake his head. He points to Amy, then the others; he waves toward the jungle. But the young men are implacable--they keep arguing, gesturing--and finally the bald man gives in, falls SILENT. A beat, then the bald man raises his pistol, aims it at Jeff's chest. He makes a shooing motion with his other hand, but now it's toward Amy, and the hill beyond her. He begins to SHOUT; the other men do, too. Then the bald man FIRES a bullet into the dirt at Jeff's feet. Everyone jumps, starts to retreat. The men with the bows are swinging them back and forth, herding them toward the hill. When Jeff and the others reach Amy, the bald man points toward the trail, waves them up it. He watches--his expression looking stricken, close to tears--as the five of them obediently begin to climb the vine-covered hill. EXT. HILLSIDE - DAY Midway up the hill, they pause to catch their breath. 35. JEFF Check your phone, Eric. Eric pulls out his phone, flips it open, stares at it. ERIC Nothing.. He snaps it shut. They stand there: sweating, scared looking. Mathias cups his hands to his mouth again, SHOUTS: MATHIAS Henrich...I They all peer up the hill, waiting for a response. ERIC'S POV -- UP THE HILL It is a tent: bright orange, looking a bit worse for wear. The vine is growing up its aluminum poles as if on a trellis. .The tent faces away from us; its doorway is hidden. There's no sign or sound of any people. BACK TO SCENE Eric turns, glances back down the hill, shielding his eyes. ERIC There's another one. He points toward the clearing below them. ERIC'S POV THE CLEARING A fourth man has arrived, on a bicycle. He's dressed in white, like the others, with a straw hat on his head. A beat, then two more Mayans appear, also on bicycles. They all have bows slung over their shoulders. The bald man addresses these newcomers. He waves in either direction, and the other men start off along the clearing, two one way, three the other, leaving him alone at the base of the hill. A beat, then a little boy appears from the jungle--the one who'd watched them discover the camouflaged path. He and the bald man stand there, peering up at us. 36. BACK TO SCENE Eric turns to the others, EXCITED: ERIC Let's run back down. Quick. While there's just him and the kid. We can rush them. STACY He's got a gun, Eric. This silences Eric--silences all of them. Mathias turns, SHOUTS toward the tent again. MATHIAS Henrich...1 There's no answer. They wait another beat, then Jeff waves them back into motion. EXT. HILLTOP - DAY The hill is flat on top, forming a wide plateau. Beyond the orange tent is a small clearing of rocky ground. A blue tent sits on the far side of the clearing, looking just as weathered as the orange one, the vine growing up its poles. The five of them pause, peering about. Jeff CALLS OUT: JEFF Hello...? SILENCE. The vine covers everything but the trail and the clearing. We glimpse more rubble beneath its greenery: time- worn stelae, a low stone wall. In some places the vine folds back upon itself, forming waist- high mounds, tangled knoll-like profusions of green. And everywhere, hanging off it, are those bright red flowers. Mathias moves toward the orange tent, and Jeff follows him. They UNZIP its flap, stoop to peer inside. JEFF'S POV - INSIDE-THE ORANGE TENT The vine has taken root in here, too, growing on some things, leaving others untouched. There are three sleeping bags unrolled on the floor. An oil lamp. Two backpacks. A roll of duct tape. A bottle of tequila. A metal canteen. 37. BACK TO SCENE Jeff and Mathias ZIP the flap back shut. Eric, Stacy and Amy are fifteen feet away, watching. ERIC What's inside? JEFF Nothing. Some camping supplies. Mathias starts across the clearing toward the blue tent, followed by Jeff and the others. He UNZIPS its flap, sticks his head inside. Jeff leans to look, too. JEFF'S POV - INSIDE THE BLUE TENT The same thing: sleeping bags, backpacks, camping supplies. The vine is growing on some things, but not on.others. BACK TO SCENE Ten yards beyond the tent, there's a hole cut into the dirt. Stacy, Amy, and Eric have gathered at its edge; Jeff and Mathias join them. The hole is rectangular--ten feet by six feet--and very deep; we can't see its bottom. A windlass has been constructed beside the hole, a horizontal barrel with a hand crank welded to its base. Rope is coiled around the barrel. From there, it passes over a small wheel, which hangs from a sawhorse straddling the hole's mouth. Then it drops straight into the earth. AMY The mine? Jeff nods. A draft is rising from the hole, and it lifts off Amy's hat. She tries to catch it, but fumbles: the hat falls away from her. They all watch it vanish into the dark. Eric pulls out his phone, flips it open, almost absentmindedly: a nervous gesture. There's still no signal. He closes it, turns to survey the clearing, the empty tents. ERIC Now what? Jeff shrugs, waves past the shaft. The clearing ends just a few yards from them; 38. then the vines resume, and in the midst of the vines is the path. It winds its way to the edge of the hilltop, vanishes over it. JEFF Keep going, I guess. Saying this, he slings his pack onto his shoulder. Then he starts forward, the others falling in behind him. EXT. HILLSIDE - DAY They pick their way down the trail. It's much steeper on this side; there are short stretches where they have to drop onto their rear ends and slide, one after another. It's after one of these that Jeff suddenly stops, staring. JEFF'S POV - THE BOTTOM OF THE HILL It looks as if the jungle has been chopped down all the way around the base of the hill, isolating it in a ring of barren soil. One of the Mayans has made his way along this cleared ground to the base of the trail. He's staring up at them. ERIC (O.S.) Fuck. The man slides his bow off his shoulder, nocks an arrow. He shakes his head at them, CALLS OUT in MAYAN, waves them away. BACK TO SCENE The five of them stand there, staring down at the man. STACY What do we do? Jeff shrugs, starts forward again. JEFF We'll see. The others hesitate, and then, one after another, resume their downward march. EXT. BASE OF THE HILL - DAY As they approach the clearing, the Mayan man YELLS what sounds like someone's name. 39. A beat, then another bowman comes jogging into view. Jeff and the others stop at the bottom of the trail. They stand there, staring. The vine has invaded the clearing here. Ten feet in front of the path is one of those odd, knoll-like growths, knee-high, thick with flowers. The two Mayans are another twenty feet beyond it, in the center of the clearing, bows drawn. AMY So. Her skin is slick with sweat, and she's winded from the hike down. A third Mayan comes jogging toward them. He stops beside the other two, draws his bow. ERIC We should rush them. All at once. STACY Shut Up, Eric. ERIC Or go make shields. If we had some shields, we could-- He falls silent as another Mayan comes running toward them. along the clearing. This one is bearded, heavier than the others. And he's carrying a rifle. ANY Oh my god. Jeff is staring at the little isolated island of vines, ten feet in front of them--peering intently at it. STACY Let's go back up. Jeff takes a step forward into the clearing--slowly, warily. STACY (cont'd) I wanna go back. Jeff takes another step, edging toward the mound, his eyes on the Mayans, their raised weapons. They just watch him. ANY JEFF-- He ignores her, takes a third step, then a forth, which brings him to the mound of vines. He crouches, reaches into the tendrils, parting them. He grasps a stalk, tugs, pulls it free. WE SEE a tennis shoe, a sock, a man's shin. 40. Jeff turns, stares at Mathias, who steps forward, crouches beside him, starts to pull at the vines, gently at first, then more aggressively, tearing them, the plant's sap shining on his skin, a low MOAN rising from his chest. Another shoe is revealed, another leg, a pair of jeans, a belt buckle, a black T-shirt. And then, finally: a young man's face, the flesh oddly eaten away, so that his cheekbone is visible, the white socket of his left eye. AMY (cont'd) Oh, no. Oh, Jesus. Jeff holds up his hand, silencing her. The Mayans stand there, in the center of the clearing, watching. Mathias has begun to rock slightly, that MOANING coming and going. Jeff touches his shoulder, WHISPERS: JEFF Easy. All right? Easy and slow. We'll stand up and we'll walk away. We'll walk back up the hill. The young man's T-shirt is stiff with dried blood. There are. three slender arrows impaled in his chest. MATHIAS It's my brother. JEFF I know. MATHIAS They killed him. Jeff nods, his hand still on Mathias's.shoulder; he squeezes. JEFF Shh. Not here. Up the hill, okay? Mathias is struggling to control his breathing; the MOANS keep coming. Finally, he manages a nod, and they both stand up. Stacy and Amy are holding hands, looking stricken. Stacy has started to CRY. Eric has his arm around her. The Mayans keep their weapons raised. They watch in silence as Jeff and the others turn to start back up the hill. EXT. HILLTOP - DAY Jeff and Mathias are at the top of the trail, staring down toward the clearing. 41. JEFF'S POV - THE BOTTOM OF THE BILL More Mayans are appearing from the jungle. They're all armed. The bald man sends them out along the clearing, some in one direction, some 'the other. BACK TO SCENE Jeff and Mathias stand there, grim-faced, watching. Mathias lifts his hands, stares at them. They've turned a deep, raw- meat red, as if scarred. He flexes his fingers, wincing. EXT. HILLTOP - THE CLEARING - DAY Amy, Stacy, and Eric sit in the clearing, beside the shaft, passing a bottle of water among themselves. Eric is struggling to calm the girls: ERIC We can sneak past once the sun...-' sets, I bet. You know? Just reep by them in the dark? Stacy and Amy hardly seem to hear him; they look dazed, distraught. Eric passes the bottle to Stacy. A beat, then: ERIC (cont'd) And then there's the girl. AMY The girl? ERIC The one his brother met. What happened to her? Amy and Stacy are silent. Stacy lifts the water bottle to her lips, but immediately lowers it, and starts to CRY again. Amy takes her hand. Eric watches them, silent. Then: ERIC (cont'd) And the archaeologists. You think-- Stacy's crying deepens toward a SOB. Amy gives Eric a look. AMY Stop it, Eric. ERIC What? 42. AMY Just stop, okay? Stop talking. Stacy struggles to collect herself, breathing deep. She wipes at her face. Amy keeps stroking her hand. Jeff and Mathias are approaching across the hilltop. Mathias holding his burned-looking hands out in front of him. He 9 a nd Jeff crouch beside the others. ERIC What happened? Jeff takes the bottle from Stacy. He pours a tiny bit of water on Mathias's hands. JEFF There's something in the plants. The sap--it burned his skin. Mathias rubs at his hands with his shirt, grimacing. Amy reaches to take the water back from Jeff. She starts to lift the bottle to her mouth, but..Teff leans forward, grabs it. JEFF (cont'd) Don't. We need to save it. AMY But I'm thirsty. JEFF We all are. AMY So let's drink. Jeff shakes his head, capping the bottle. JEFF We don't have that much. We need to ration it. (he glances up at the sky) We'll have to figure out a way to catch the rain. Everyone but Amy peers up at the sky: it's a perfect, cloudless blue. Amy remains focused on Jeff. AMY I'm hungover. I'm sunburned. I lost my hat. I need some water. 43. JEFF AMY-- AMY Why do you get to decide? Jeff stares at her, considering this. Then he shrugs. JEFF Fine. Let's vote. (he glances at the others) But first you should understand that each of us is gonna need half a gallon of water a day, at a minimum, to survive here. That's two and a half gallons total, every day. And right now, until it rains, we don't have it. Okay? Not even one day's worth. (a beat) Now who wants to give Amy more water? A long moment of silence. No one can meet Amy's eyes. Finally, VERY QUIETLY: STACY Maybe we should just wait, honey. ANY Till? Everyone looks toward Jeff. JEFF Another hour or so. Then we'll all have a sip. Okay? Amy can see that she has no choice. She gives a grudging nod, and Jeff slides the bottle into his knapsack. JEFF (cont'd) We have to get organized. Now. While we're still fresh. We'll have to stay out of the sun, spend as much time as possible in the tents. We'll have to-- STACY Can't we sneak away when it gets dark? Eric said we-- 44. Jeff shakes his head, cutting her off. He waves across the hilltop, toward where he and Mathias had been standing. JEFF They keep coming. More and more of them. They're all armed, and the bald one sends them out along the clearing. They're surrounding us. Amy, Stacy and Eric struggle to absorb this. Finally: ERIC Why don't they just kill us? JEFF It's got something to do with the hill, I think. Once you step on it, you're not allowed off. Something like that. They won't step on it themselves, but now that we're here, they won't let us leave. So we have to figure out a way to survive till someone comes and finds-us. AMY Who? Jeff lifts one hand, palm-up, half a shrug. JEFF People'll start to worry when we don't return home. Right? And THEY'LL-- AMY We're not supposed to leave till Friday. Jeff nods. AMY (cont'd) And they'll have to come searching. Again, he nods. AMY (cont'd) So you're talking--what, a week? .JEFF Something like that. Amy looks appalled; her voice JUMPS: 45. AMY We can't live here for a week, Jeff. JEFF If we try to leave, they'll shoot us. That's the one thing we know for certain. An electronic CHIRPING comes from the shaft: it sounds like a cell phone ringing. Mathias turns his head, listening. No one else notices it. AMY But what will we eat? How will we-- The RINGING comes again, silencing her. She glances toward the shaft, not quite believing what she's hearing. It comes a THIRD TIME, and they all stand up, step to the hole, peer into its darkness. The RINGING comes yet again. STACY A cell phone. AMY It can't be-- JEFF That's a cell phone, Amy. Definitely. .AMY But there's no signal out here. Eric can't get a signal. Reflexively, Eric pulls out his phone, checks again: nothing. There's another RING. JEFF It could be a different network. Something local. AMY Way down in that hole? How could it pick it up? Still another RING. ERIC What else can it be? 46. The RINGING falls SILENT. They all stand there, staring into the hole. A long beat, then it RESUMES. Eric CLAPS his hands, ecstatic. The others are starting to smile, too. Mathias moves to the windlass. He unrolls some of the rope, starts to wrap it around his chest. Jeff watches him. Another RING. The vine has taken root on the windlass:- the sawhorse, the barrel, the rope. Jeff steps forward, begins to yank it off, careful not to get the sap on his hands. He turns to Amy. JEFF There's a lamp in the orange tent. See if you can find some matches, too. Amy hurries off toward the orange tent, vanishing inside. There's a final RING, and then SILENCE again. Mathias is knotting the rope tightly around his chest. Amy returns, carrying an oil lamp, a box of matches. Everyone watches as Jeff crouches to light the lamp. Then he rises, turns toward Mathias, looks at him closely. JEFF (cont'd) You sure? Mathias nods, takes the lamp, steps to the edge of the hole. Jeff and Eric move to the windlass; they position themselves at the hand crank, leaning into it, so the rope goes taut. Mathias girds himself, steps out over the hole. He dangles there for a moment, hanging beneath the sawhorse, the windlass GROANING on its mount. Then Jeff and Eric begin to reverse the crank, letting the rope slowly spool out. Stacy and Amy stand beside the shaft, peering into it, watching as Mathias begins his descent--ten feet, twenty feet, thirty feet down, and still only darkness beneath him, with no sign of the shaft's bottom. The windlass CREAKS as it turns; Jeff and Eric strain against it, sweating, muscles taut. Amy has turned from the shaft, is watching: the rope as it slowly unspools from the barrel. AMY Jeff. He turns to look, and she points at the rope, where it comes off the windlass and angles up toward the little wheel hanging from the sawhorse. 47. AMY (cont'd) The sap... They'd cleared off most of the vine from the rope, but not all of it. Some of these remaining tendrils have been crushed as the windlass slowly unspools. Their sap is darkening the rope in spots, eating into it. AMY (cont'd) I think it's-- Jeff immediately turns back to the crank, his voice URGENT: JEFF Pull him up ! Eric hasn't grasped what's happening. He hesitates. JEFF (cont'd) NOWT Amy jumps forward to help, all three of them pushing at the crank, getting in each other's way, the windlass CREAKING as it begins to turn again, slowly reclaiming the rope. Stacy remains beside the shaft, peering anxiously into it. STACY'S POV - THE SHAFT Mathias is twenty-five feet beneath us, just beginning to bump his way upward, swaying back and forth. He stares up at us, CONFUSED: MATHIAS What is it? The rope beneath the sawhorse is being visibly eaten away, its hemp unraveling. BACK TO SCENE Stacy turns toward the others, pointing, terrified. STACY IT'S-- The rope SWAPS. Jeff, Eric and Amy fall forward, the windlass spinning wildly behind them, free'of its weight. A long beat, then there's a distant, hollow-sounding THUMP, followed instantly by the POP of the lamp shattering. Stacy leans to peer into the shaft, her hand over her mouth. 48. STACY'S POV - THE SHAFT Darkness. Silence. STACY (O.S.) Mathias...? Her voice ECHOES back at us. There's no response. BACK TO SCENE Jeff, Eric, and Amy join Stacy at the edge of the shaft, all of them staring down into the darkness, looking horrified. ERIC Oh, Jesus. Oh, fuck. AMY Is he-- There's a GROAN from below, very faint, almost inaudible. JEFF He's moaning. They listen for a beat, but there's only silence. JEFF (cont'd) I heard him moan. The others don't seem so certain; Jeff turns to the girls. JEFF (cont'd) One of you will have to go. AMY Go? Jeff nods, waving into the shaft. JEFF Down. We'll clear the vine off the rope. And you can-- AMY Why can't you? Or Eric? JEFF We have to work the crank. You won't be strong enough. 49. Amy and Stacy stare at each other; it's obvious neither of them wants to go. Stacy is the one who finally gives in. STACY I can do it. AMY (RELIEVED) You sure? Stacy nods, but she doesn't look sure. She's hugging herself; it seems as if she might start trembling. Before anyone can speak, that GROANING comes from the shaft again, louder this time, unmistakable. Jeff cups his hands, SHOUTS: JEFF Mathias...? More SILENCE. Jeff turns to the girls. JEFF (cont'd) See if you can find a knife. And another lamp.' He waves them toward the tents; then he and Eric begin to unspool the rope from the windlass, laying it out across the clearing in long, looping circles. EXT. CLEARING/BASE OF THE HILL - DAY The Mayans keep coming: women now, too, bearing bundles on their backs. They're setting up a campsite along the edge of the jungle. The bald man stands in their midst, his hands on his hips, staring silently up the hillside. CU - OIL LAMP The SCRATCH of a match being lit: Amy's hand comes into frame, lifts the lamp's glass chimney, fires the wick. JEFF (0.S.) Just help him into the sling. Then we'll pull him up. The chimney is carefully replaced, as WE PULL BACK TO REVEAL: EXT. HILLTOP - THE CLEARING - DAY Amy is crouched, adjusting the lamp's flame. Jeff and Eric have mended the rope. 50. WE SEE the excised lengths of spoiled hemp, and the ragged- looking knots on the rope itself, which has been spooled once more around the windlass. They've fashioned a sling at the rope's end. Jeff and Eric are helping Stacy into it, pulling it over her head, adjusting it under her armpits. JEFF Once we get him out, we'll drop the rope back down and pull you up, too. Amy offers Stacy the lamp. Stacy is scared, yet struggling not to show it. Her hands are trembling, and the lamp rattles as she takes it. The boys are stepping toward the windlass; Eric stops, glances back at her. ERIC You okay? Stacy nods, but without much conviction. Eric steps toward her, gives her a tight hug. He holds her eyes for a moment, kisses her. Then he joins Jeff at the hand crank. They lean against it, and the rope goes taut. Stacy steps out into the open air over the shaft, the lamp in her right hand. With her left hand, she lunges, grabs at the sawhorse, clings tightly to it. Jeff glances toward her from the hand crank. JEFF Ready? She nods, but doesn't relinquish her grip on the sawhorse. JEFF (cont'd) You have to let go, Stacy. For a moment, it doesn't seem like she'll be able to, but then--with a visible act of will--she does, and they slowly. begin to let the rope out, dropping her into the shaft. ON STACY - IN THE SLING She grips the sling with one hand, the lamp with the other. Wooden supports have been hammered into the walls of the shaft, buttressing the dirt. The vine clings to them, its leaves and flowers paler than on the hillside above. Stacy begins to swing, pendulum-like, as she descends. She tries unsuccessfully to steady herself, then glances up. 51. STACY'S POV - ABOVE HER We're steadily dropping: thirty feet down, then forty. Amy is at the edge of the shaft, peering in at us. She waves. BACK TO SCENE Stacy smiles up at her. She starts to wave back, but is too scared to let go of the sling. She glances down. STACY'S POV - BENEATH HER The light is swaying back and forth with Stacy, and it causes the shadows beneath us to jump and lurch. There's still no sign of the bottom; the windlass continues to CREAK. A beat, and then, very faintly, Mathias's dim shape starts to emerge: his white tennis shoes, his pale blue T-shirt. The lamp picks up bits of broken glass around his body. BACK TO SCENE Stacy lifts the lamp, peering downward, struggling to see more clearly, and the sling suddenly jerks to a halt, making her SQUAWK. She looks up. STACY'S POV - ABOVE HER The CREAKING has stopped. We're swinging slowly back and forth. WE SEE Amy peering down toward us: a long way up, almost seventy feet. A beat, then Jeff appears, too. JEFF Stacy? His voice has an ECHO to it. BACK TO SCENE - STACY Her face is slick with sweat; it shines-in the lamp light. STACY What? JEFF (O.S.). It's the end of the rope. 52. STACY I'm not at the bottom. JEFF (O.S.) Can you see him? Stacy looks down again, holding up the lamp, peering toward Mathias's motionless body. She lifts her head. STACY A little. JEFF (O.S.) Is he conscious? STACY I can't tell. I don't think so. JEFF (O.S.) How far are you above him? Stacy glances down once more, trying to quess,the distance. STACY Fifteen feet? (a beat) He's just lying there. She lifts her head again, peers upward. STACY'S POV - ABOVE HER The top of the shaft is empty. Very faintly, WE HEAR Jeff and the others talking, just their voices, not their words. STACY (O.S.) Jeff ... ? Jeff's head reappears. JEFF We have to figure out a way to lengthen the rope. We're gonna pull you up. He pulls his head away. BACK TO SCENE - STACY She's staring upward. 53. STACY Wait! The rope has almost stopped its swaying. EXT. HILLTOP - THE CLEARING Jeff steps back to the hole, peers into it. So does Amy. Eric waits by the windlass. The rope is completely played out. Stacy SHOUTS, her voice ECHOING slightly: STACY (O.S.) I want to stay with him. JEFF You can't. We have to-- STACY (O.S.) I'll jump. Jeff glances at the others. Eric shakes his head. Jeff CALLS down to her:. JEFF We might not be able to make it longer. You'll be trapped. STACY (O.S.) What about him? We can't just leave him. JEFF We'll pull you up. Then we'll see. He starts toward the windlass again. ON STACY - IN THE SLING The rope jerks, and she begins to rise. She kicks her legs, lifts her left arm over head, wrenches it free of the sling, so that only her right arm remains hooked. She switches the lamp from her right hand to her left, then slips completely free of,the sling, the lamp fluttering out as she drops. THE BOTTOM OF THE SHAFT Almost totally dark, just a faint fall of light from above. Mathias is a dim shape on the floor of the shaft. Stacy lands beside him--heavily, awkwardly--the glass from his shattered lamp CRUNCHING beneath her. 54. She loses her balance, pitches forward, onto his body. MATHIAS makes a terrible SHRIEKING sound, pure pain, flailing his arms. Stacy struggles to right herself. STACY I'm sorry. Oh, God. I'm so sorry. She pulls herself into a crouch, staring down at him through the dimness, his SHRIEK fading to a steady MOANING. EXT. HILLTOP - THE CLEARING Jeff, Amy, and Eric have rushed to the shaft; they're peering into it. There's only darkness beneath them. Eric SHOUTS: ERIC Stacy...? Stacy's voice rises toward them, sounding. very FAR AWAY: STACY (O.S.) I didn't want him to be alone. JEFF What happened to the lamp? STACY (O.S.) It blew out. Jeff turns from the shaft, picks up the box of matches. He yanks off his shirt, ties the box inside it, then steps back to the edge of the hole. He CALLS down to Stacy: JEFF I'm dropping the matches. Okay? STACY (O.S.) Okay. Jeff holds the knotted bundle over the shaft, lets it go. It falls into the darkness. A long beat, and then, very softly, WE HEAR the thump as it lands. STACY (O.S.) (cont'd) Got it. The three of them stare into the hole, waiting for the light. 55. THE BOTTOM OF THE SHAFT There's the RASP of a match, its flickering flame, then the stronger illumination of the lamp as Stacy lights its wick. Mathias lies on his back before her, silent now, motionless, his eyes shut. Stacy bends toward him, WHISPERS: STACY Mathias...? He doesn't respond; it's hard to tell if he's conscious. Stacy lifts the lamp, peers about the shaft. The vine has taken root even at this depth, its flowers and leaves pale to the point of translucence. Beyond Mathias, there's an opening in the dirt wall, another shaft cutting perpendicularly into the earth. Its roof is supported by a stone archway, intricately carved. Stacy rises, as if to investigate, but then winces, nearly falls. She peers down at her right leg. A large piece of glass is imbedded there, just beneath her knee. it's the size of a playing card, gently concave,'dark with her blood. She reaches and, grimacing, pulls it from her body. EXT. HILLTOP - THE CLEARING Jeff is at the windlass, hurriedly cranking the rope back up. Eric and Amy stand watching. JEFF We need fifteen feet. Twenty to be safe. No one speaks. The windlass turns with that steady CREAKING, but it's higher-pitched now, with no weight on the rope. JEFF (cont'd) Come on. Think. How can we-- ERIC The clothes? From the backpacks? We could knot them together? JEFF Would they hold? Eric frowns, uncertain. Jeff finishes with the rope, stands there, catching his breath. Stacy's,voice rises toward them from the shaft: 56. STACY (O.S.) I cut my knee. Eric hurries to the shaft, followed by Jeff and Amy. They peer over its edge, toward Stacy, so far beneath them, in her flickering circle of lamp light. ERIC Bad? STACY My shoe's full of blood. JEFF Put pressure on it. Use my shirt. They all stare down at her, waiting. TOE BOTTOM OF THE SHAFT Stacy is crouched beside Mathias, pressing Jeff's T-shirt to her wound. Her khakis and tennis shoe are dark with blood; there's a lot of it. She isn't watching Mathias; he startles her when he opens his eyes and speaks: MATHIAS My...legs... His voice is faint and RASPY; we can hear his pain in it. Stacy leans toward him, tries to smile reassuringly. STACY Hey... MATHIAS Can't... move ...my...legs... Stacy turns to look: his legs are lying at an odd angle, as if he were a doll that had been carelessly tossed there. EXT. HILLTOP - THE CLEARING Jeff, Eric and Amy, still watching; Jeff turns to the others. JEFF What about the tents? We could take one down, cut the nylon into strips. Eric and Amy glance toward the tents, debating. 57. ERIC Would it be strong enough? JEFF we can braid them--three strips for each section. Then knot the sections together, for strength. Before either of them can respond, Stacy's voice emerges from the shaft, sounding SCARED: STACY (O.S.) I think he broke his back. They fall silent, staring down at her. STACY (O.S.) (cont'd) He can't move his legs. And it smells. JEFF Smells? STACY (O.S.) Like he lost his bowels. His bladder. AMY (very quietly) Oh no. Please no. Jeff turns to her. JEFF How can we make a backboard? Amy starts to shake her head, looking horrified. AMY No, Jeff. No way. We can't move him. JEFF One of the frames from the backpacks? And the tent poles. There's tape in the orange tent. He doesn't wait for a response; he leans over the shaft, SHOUTS: JEFF (cont'd) We have to builda backboard, Stacy. It might take a while. 58. There's a long hesitation, as if Stacy is searching for some alternative. Then, still sounding FRIGHTENED and FARAWAY: STACY (O.S.) Okay. Amy is shaking her head, growing FRANTIC: AMY We'll make it worse. Well jostle him, and he'll-- Jeff turns toward her, with a hint of EXASPERATION: JEFF We can't just leave him down there. You know that, don't you? She starts to back away, toward the edge of the clearing. AMY we have to tell them. JEFF Who? AMY The Mayans. We have to tell them what's happened. Jeff gives her an incredulous look. She keeps retreating; she's almost at the path. AMY (cont'd) They can send for help. JEFF They're not gonna--- AMY We have to may. We have to-- She spins, starts off at a run, vanishing down the trail. Jeff calls after her, SHOUTING: JEFF Amy! But she's gone. Jeff turns to Eric. JEFF (cont'd) Stay here. 59. And then he, too, is running. EXT. CLEARING/BASE OF THE HILL - DAY The Mayans have established their campsite on the edge of the jungle. Two women are beside a campfire, plucking a pair of chickens. WE SEE other campsites in the distance, other campfires, hugging the jungle's margin, surrounding the hill. Three men sit in the center of the clearing, facing the hillside, their bows in their laps. They rise suddenly, peering up the trail. The women pause in their labor, also staring. The campsite goes QUIET. THE MAYANS' POV - UP THE HILL Amy is sprinting toward us down the trail. Jeff is ten yards behind her, also running. BACK TO SCENE The three Mayans nock arrows. Two other men step forward to join them. One has a bow; the other is the bald Mayan, with the pistol. He unholsters it, and--as Amy reaches the bottom of the trail--raises it, aiming at her chest. Amy stops just short of the clearing: sweating, breathless, scared-looking. She lifts her hands, palms-up, beseeching. AMY Help us. Please. Someone's been hurt. He-- Jeff comes to a halt, five feet behind her. JEFF They can't understand you. She turns, her voice quickened with PANIC: AMY Say it in Spanish. Tell them he-- JEFF They don't speak Spanish. AMY Try it. You have to try. 60. She spins back toward the Mayans, takes a step into the clearing. The bald man SHOUTS at her, a single short sentence in MAYAN. Amy holds out her hands to him. AMY (cont'd) Espanol? Habla Espanol? Jeff steps forward, grabs her elbow. JEFF They killed Henrich. Why would- Amy tries to tug free, but he won't let her. She starts to SHOUT at the Mayans: AMY Help usi We need help! The Mayans just stare at her, their weapons raised, their faces expressionless. one of them is much younger than the others, almost a boy. He says something in MAYAN to the bald man, and the bald man shakes his head. Amy begins to CRY. Jeff pulls at her elbow. JEFF We have to get back. Amy turns toward him, her face smeared with tears. AMY I didn't want to come. I told you we shouldn't. I said-- Jeff tightens his grip on her arm, gives her a little shake, as if to wake her up. JEFF Listen to me. Mathias needs our help. Right now. He-- AMY We shouldn't even be here. Why did you say we'd come? (she wipes at her tears) You have to do something. (rising toward a shout) You have to! It's your fault. It's all your-- Jeff shakes her again, more roughly, his voice like a slap: 61. JEFF YD-q stepped onto the hill. Amy stares at him, startled into silence. JEFF (cont'd) They wouldn't have forced us up it if you hadn't. He holds her eyes, making sure she understands. Then: JEFF (cont'd) Now let's go, okay? He starts to pull her back toward the trail. She allows herself to be led; she's begun to CRY again: AMY I didn't know. I just-- She's growing increasingly upset, almost SOBBING. She tries to turn back toward the Mayans again, but Jeff won't let her. AMY (cont'd) They have to help us. JEFF They're not going to. AMY They have to. She wrenches herself free, stumbles, falls into the vines beside the trail. Jeff reaches for her, but she kicks away from him, grabbing at the vines, scrambling to her feet. As she rises, she yanks up a tendril, a clot of earth hanging from its roots. She SCREAMS, spinning toward the clearing--- AMY (cont'd) WHY WON'T YOU FUCKING HELP US? --and throws the tendril at the Mayans. They scramble backward, with surprising panic, SHOUTING. The youngest of them is too slow: the length of vine hits him in the leg. He stares down at the tendril in shock. The others back hurriedly away from him. Two of them continue to point their weapons at Amy, but the bald man and one of the other bowmen are aiming at the young Mayan now. There's SHOUTING from the tree line. The entire campsite is on its feet; a woman begins to SCREAM. 62. She's in her,forties, short and stout, and she starts forward into the clearing, arms stretched toward the young Mayan. Two of the other women grab her, hold her back. The bald Mayan starts to ADDRESS the young man, pointing up the hillside. The short woman keeps SCREAMING, flailing, trying to break free. The young Mayan looks at her, then at the bald man. He speaks in MAYAN, a brief burst of words. The bald man shakes his head, points up the hill again, his pistol aimed at the young man's chest. The short woman is WAILING, eyes shut. The young Mayan takes a step toward her, CALLING what seems to be her name. The bald man SHOUTS at him, but the young Mayan ignores him, takes a second step, then a third. The bowmen are all aiming at him now, and suddenly, everyone seems to be YELLING. The young Mayan takes a fifth step, holding out his arms toward the WAILING woman, CALLING to her. The bald man FIRES, shooting him in the head. At the same instant, the bowmen let their arrows fly, the shafts THUMPING into the young man's chest, burying themselves to the fletches. The clearing goes still; the only sound is the woman's steady WAILING. Then the bald man swings his pistol toward Amy and Jeffs he SHOUTS in MAYAN at them. The other Mayans nock fresh arrows, draw their bows. Jeff takes a step backward, half-raising his hands. Amy just stands there, her eyes on the young Mayan's motionless body. JEFF AMY... (no reaction) AY. She turns, finally. She looks horrified, stupefied; her hands are burned a deep red from the vine's sap. Jeff waves her up the hill. She stares at him for another beat, and then, without a word, starts to climb the trail. Jeff hesitates, watching the Mayans: the bloodied corpse, the raised weapons, the KEENING woman. Then he, too, turns and hurries off up the trail. EXT. HILLTOP - THE CLEARING - DAY Amy, Jeff, and Eric have taken down the blue tent; its contents lie tumbled in a pile in the little clearing. All three of them look sun struck, sweat-stained, worn out. 63. Eric is using a knife to cut long strips from the blue nylon. Amy is braiding three of the strips together. Jeff has one of the backpack frames, the roll of duct tape, and some of the poles from the tent; he's making a backboard. ERIC Maybe we could use it as a weapon, you know? Wrap it around some stones or something. And throw them, like grenades. I mean, if they're that scared of it-- Jeff tears off a piece of tape with his teeth. JEFF They have guns, Eric. And bows. What do you think they'll do if we start throwing the vine at them? Eric is silenced by this. He cuts another long strip of nylon, passes it to Amy. But he can't seem to stop himself from talking: ERIC. So you figure it's, what? Sacred or something? Like, you touch it and you have to die? Amy begins to cry suddenly--a SOB, quickly suppressed. Jeff and Eric both turn to look at her. The vine's sap has scarred her hands and arms almost to the elbows. She wipes her eyes, takes a deep breath, shakes her head. AMY I'm okay. But she doesn't look it. Jeff removes his hat, holds it out. Amy just stares at it; he nods for her to take it. JEFF Come on. You're burning. She reaches for the hat, puts it on, then wipes at her eyes again. Jeff leans forward, touches her. JEFF (cont'd) We're gonna get through this. All right? We'll pull them up. And then ...I don't know--we'll figure things out. it has to rain at some point. And maybe we can snare some birds. Or-- 64. The electronic RINGING sounds once more from the bottom of the shaft. They all turn to stare. THE BOTTOM OF THE SHAFT The oil lamp has begun to smoke, adding a haze to the light. Stacy is beside Mathias, holding his hand. She's still pressing Jeff's shirt to her wound. The RING sounds again. Mathias turns his head, peers toward the shaft cut into the dirt wall to his left: that's where it's coming from. Stacy reaches to pick up the lamp, rises to her feet. Another RING. Jeff SHOUTS down from above: JEFF (O.S.) Stacy...? Stacy ignores him; she limps around Mathias, starts toward the opening. She hesitates at the mouth of the shaft, lifting her lamp to see better. There's another RING. -STACY'S POV -- INTO THE SHAFT The lamp's light doesn't penetrate very far, but WE can SEE that the vine has taken root here with great avidity: it grows thickly on the walls, floor and roof. There's a steady draft coming toward us, and the plant shifts in it, RUSTLING. BACK TO SCENE Stacy stands there, looking scared. There's another RING. JEFF (O.S.) Can you see it? Stacy lifts her head, SHOUTS: STACY No. She keeps peering into the shadows, not moving. The ringing falls SILENT. Stacy turns, hobbles back toward Mathias, and the light shudders, dims for a moment. She squints at it: the oil is nearly gone. She SHOUTS up to the others: STACY (cont'd) The lamp's almost out of oil. JEFF (O.S.) Then blow it out. 65. Stacy seems terrified by this. STACY Blow it out? JEFF (0.5.) We'll need it when we come down. To get him on the backboard. Stacy drops into a crouch beside Mathias, sets the lamp down before her, stares at it. She clearly doesn't want to blow it out. Mathias watches her, silent. JEFF (O.S.) (cont'd) All right? Stacy leans forward, lifts the lamp's glass chimney, blows out the flame, dropping the shaft into darkness. EXT. HILLTOP - THE CLEARING - DUSK The.sun is just touching the horizon, the sky turning red. Th ey've tied the braids of nylon onto the rope, attached the finished backboard to them. It rests beside the shaft, padded with one-of the archaeologist's sleeping bags. Jeff and Eric remove their belts, drop them onto the backboard. They step to the windlass, lean against its hand crank, the rope going taut. Amy stands by the shaft, gathering her courage. Then she reaches for the backboard. THE BOTTOM OF THE SHAFT Mathias and Stacy are two dim shapes in the darkness. The windlass begins its CREAKING. A long beat, and then: AMY (O.S.) Stacy? STACY What? AMY -(0.5.) Light the lamp! Stacy shifts; once again, there's the RASP of a match, then the stronger illumination of the lamp as she lights its wick. Mathias's eyes are shut; there's a deep RAGGEDNESS to his breathing. Stacy looks upward. 66. STACY'S POV - ABOVE HER The backboard is dropping toward us. Above it, the light is already fading from the sky. BACK TO SCENE Stacy rises to her feet, lifting the lamp. ON AMY - CROUCHING ON THE BACKBOARD She's dropping slowly down the shaft, clenching the nylon braids, her eyes tightly shut: terrified. The backboard sways, pendulum-like, as it descends, almost touching the vine-covered walls. THE BOTTOM OF THE SHAFT When the backboard comes within reach, Stacy grabs it, pulling it to the-right, so that it will come to rest at Mathias's side. But then, with three feet still to go, it jerks to a halt, almost toppling Amy from her perch. A beat, and Jeff's voice comes toward them from above: JEFF (O.S.) Have you reached them? AMY Almost. A few more feet. JEFF (O.S.} How many? Amy leans, peers down at Mathias's broken body. AMY I don't know. Three? JEFF (O.S.} we're out of rope. (a beat) Can you still do it? Amy looks at Stacy; neither speaks. Finally, QUIETLY: STACY We'll have to send it back up, I guess. 67. Amy doesn't answer. She shifts her weight, and the backboard starts to swing. Stacy reaches to steady it. STACY (cont'd) Blow out the lamp. Wait here in the dark. Amy is silent, staring down at Mathias's still form; it's obvious she doesn't want to do this. STACY (cont'd) Or we could try to lift him, maybe. More silence. Stacy persists: STACY (cont'd) One of us at his shoulders. The other his feet. AMY If he twists-- STACY It's only a few feet. /"- Once more, Amy is silent. Stacy lifts the lamp, examining it, the diminishing pool of oil. STACY (cont'.d) We have to decide. The light's not going to last. Jeff's voice comes toward them from above again: JEFF (O.S.) Amy...? They both look up; the sky has grown too dark to see him. Amy hesitates one beat more, then YELLS: AMY We're gonna try itt She climbs off the backboard, crouches beside Mathias. Stacy sets down the lamp. AMY (cont'd) Mathias...? She touches his shoulder, and he opens his eyes, stares at her. He looks haggard, ashen. 10111.. 68. AMY (cont'd) We're going to lift you, okay? We're going to hoist you up and out. Mathias stares from her to the backboard to Stacy. He shuts his eyes. Amy stands up, drags the belts off the backboard, drops them next to the lamp. She positions herself behind Mathias's head; Stacy hobbles to his feet, limping. AMY (cont'd) His hips. Stacy hesitates, looking doubtful. STACY You sure? AMY If you lift from his feet, he'll bend at the waist. STACY But if I lift at his hips, won't he arch his back? They both stare down at Mathis, imagining these two different scenarios. Amy glances toward the lamp, its dwindling oil. AMY His knees. Stacy crouches by Mathias's knees, a little off balance, favoring her wounded leg. Amy bends, sliding her hands under his shoulders. Mathias GROANS, and Stacy starts to pull away, but Amy shakes her head. AMY (cont'd) Quickly. On three. They count together: STACY AND AMY One ... two.-,.three. They lift, and Mathias immediately starts to SCREAM. His body sags at the waist; he begins to thrash his arms. Stacy starts to set him down, but Amy shakes her head, SHOUTS: AMY No! 69. Stacy's wounded leg is hindering her; she can't keep up with Amy. Mathias's shoulders are level with the backboard, but his knees are still a good foot beneath it. He keeps SCREAMING. The bend at his waist increases. AMY (cont'd) Lift I Stacy tries to hoist him higher, lunging, his torso twisting, his SCREAMS going LOUDER. His right arm, hits the backboard, sends it swinging. The girls toss him toward it. EXT. HILLTOP - THE CLEARING - NIGHT The sun has set. There's a half moon, giving us just enough light to dimly see Eric and Jeff peering into the shaft. Mathias's SCREAMS echo up toward them. THE BOTTOM OF THE SHAFT - NIGHT Mathias has fallen silent. He lies on the backboard, eyes clenched, sweat beading his forehead. Stacy is trying not to cry. She watches Amy buckle the two belts together, then drape them over Mathias's chest, knot them tight. Amy strips off her own belt, gestures for Stacy to do the same. She buckles these together, too. STACY I have to pee. She limps toward the wall, lowers her pants, gingerly crouches. She stares toward the other shaft as she pees: its stone archway, the shifting shadows, the vine rustling softly in the steady draught. Amy binds Mathias at his thighs. She WHISPERS to him: AMY You okay? She waits, but he doesn't respond. His eyes remain shut. Stacy rises, buttoning her pants, limps back toward Amy. She's on the edge of tears, is working hard to fight them off. Amy lifts her head, SHOUTS up to Jeff: AMY (cont'd) Pull him up! 70. A moment's pause, then the windlass begins to CREAK once more. The backboard slowly rises, swaying gently. They watch it climb away from them. Amy holds out her-hand. ANY (cont'd) Here. Stacy just stares at her, not understanding. Amy nods at the lamp: the oil is gone. AMY (cont'd) It's gonna go out. And it's true: as Stacy reaches for Amy's hand, the light suddenly flickers, dims, drops them into darkness. EXT. CLEARING/BASE OF THE HILL - NIGHT The Mayans are settling into sleep at their campsite. Three of the men remain on guard duty in the clearing, facing the hillside, their backs to the fire. The young Mayan's corpse still lies in the dirt, fifteen feet in front of them. The firelight throws shadows across his bloodied body. EXT. HILLTOP - THE CLEARING - NIGHT' The windlass CREAKS loudly as Eric and Jeff work to wind in the rope. Stacy has already been pulled up from the hole. She's sitting beside Mathias, who's lying on the backboard, on the edge of the clearing, by the orange tent. Amy emerges from the shaft, dangling beneath the sawhorse. Jeff holds the rope taut while Eric steps to the hole, pulls Amy toward him. Stacy watches from beside the backboard. Mathias's eyes are shut, his breathing ROUGH with phlegm. No one speaks. Once Amy is free of the sling, they all move to the backboard. Eric takes Stacy's-hand; Jeff crouches, starts to undo the belts. ERIC Shouldn't we carry him into the tent first? Jeff pulls free the first belt, shifts to the second one. JEFF We can't. ERIC Because? 71. JEFF He's gonna keep leaking urine. AMY But we can't just leave him out in the open. JEFF We'll rig a shelter. With what's left of the blue tent. Jeff pulls the second belt free. Mathias's eyes remain shut. JEFF (cont'd) One of us should stay on watch while the others sleep. Two hour shifts. He reaches for his knapsack, unzips it. He pulls out a liter bottle of water. JEFF (cont'd) .Once it's light, we'll figure out how much water we have, and how to ration it. Food, too. For now, I think we should each just take a single swig. He uncaps the bottle, hands it to Amy. He watches her drink from it. When she's done, she passes it to Stacy. JEFF (cont'd) Eric and I'll build the shelter,. then I'll take the first shift. You two should try to sleep. Stacy takes her single sip, passes the bottle to Eric. INT. ORANGE TENT - NIGHT Stacy and Amy have pushed the camping supplies into a pile along the tent's rear wall. Stacy pulls off her pants, bends to examine her wound in the darkness. Amy is beside her, lying on her side. A beat of silence. Then, WHISPERING: STACY Amy? what? 72. STACY We shouldn't have lifted him, should we? Amy reaches, pats Stacy's hand. AMY Shh. STACY He's never gonna walk again.. He's-- AMY Don't, Stacy. Don't talk. It'll only make things worse. Stacy falls silent. AMY (cont'd) Just go to sleep, okay? Let's try to go to sleep. Stacy lies down next to Amy, in her-underwear and T-shirt. They huddle close together in the darkness. EXT. HILLTOP - THE CLEARING - NIGHT Eric is building a tiny lean-to for Mathias, using the duct tape, the leftover nylon and poles from the blue tent. Jeff crouches over the backboard. He starts to cut Mathias's jeans off him with the knife. Mathias's eyes remain shut. ERIC What're you doing? JEFF We have to keep him clean. He slices the jeans, from ankle to hip, first one leg, then the other, struggling not to jostle Mathias's body. JEFF (cont'd) That's how it'll happen, I think. if it does. ERIC If what does? Jeff slides the soiled strips of-denim out from under Mathias's body, tosses them aside. He LOWERS his voice:. 73. JEFF If he dies here. infection. Blood poisoning--something like that. Eric seems startled by this. ERIC You think he's gonna die? JEFF (he shrugs) His back is broken. Who knows what else. Eric is silent, motionless, the tape in his hand. Mathias's BREATHING seems to be getting steadily worse. Jeff bends to cut off his boxers, first one leg, then the other. He tosses the soiled fabric aside. JEFF (cont'd) We should go back down in the morning. ERIC Down? JEFF Into the shaft. Try to find the phone again. ERIC There's no oil for the lamp. Jeff waves toward the orange tent. JEFF There's tequila. We could pour it on some of the clothes, tie them around one of these poles, make a torch. A sleeping bag is lying in the clearing among the strips of nylon and aluminum poles. Jeff steps over to pick it up. JEFF (cont'd) Without the phone, he's dead. If we have to wait for someone to come searching... He shakes his head. Then he leans forward and carefully drapes the sleeping bag across Mathias's broken body. 74. INT. ORANGE TENT - DAWN The orange nylon is just starting to glow with the sun's arrival. Stacy and Eric lie beneath one of the sleeping bags, Eric's head on her shoulder. Jeff lies curled on his side, a few feet away, still shirtless. Jeff's eyes open. He sits up, stares about, then reaches for one of the backpacks. He quietly digs through it till he finds a T-shirt. He sniffs at it, then pulls it on. EXT. HILLTOP - THE CLEARING - DAWN Mathias lies on his backboard, eyes shut, his breathing still sounding THICK WITH PHLEGM. Amy sits beside him, hunched into herself, half drowsing. She lifts her head as Jeff emerges from the tent, stares at him. JEFF How is he? AMY The same. JEFF And you? AMY (she shrugs) Tired. Thirsty. Hungry. JEFF Once the others are up, we'll have some water. His face is stubbled, sweat-stained. He looks ragged; they both do. He steps to the opposite side of the clearing, unzips, begins to urinate, with his back to Amy. JEFF'S POV - ACROSS THE HILLTOP The vine covers everything, tangled and matted, with those odd, knoll-like growths scattered among it. The nearest-is thirty feet away. its leaves are swaying slightly in a faint breeze, and WE SEE a flash of yellowish white beneath them. 75. BACK TO SCENE Jeff finishes, shakes, zips, then steps out into the vine, wading toward the tiny mound. Amy remains beside the backboard; she watches him crouch, part the tendrils, stare. ANY What is it? Jeff gestures for her to approach. When she reaches him, he leans forward, pulls aside the vines. WE SEE a man's skull, a loose tumble of bones. Amy INHALES sharply, recoiling. JEFF Bodies. All of them. He waves across the hilltop, at the other mounds: there are more than a dozen. Amy takes them in. The light is gaining strength, the green leaves seeming to shine in it, the red flowers to glow. Jeff's face assumes a puzzled expression. JEFF (cont'd) Where are the birds? AMY Birds? JEFF it's dawn--there should be birds. They both stare off across the hillside: so quiet, so still. INT. ORANGE TENT - DAY Stacy opens her eyes. She lies there, struggling to orient herself, with Eric on her shoulder. She starts to roll onto her side, then stops, looking confused. She reaches under the sleeping bag, toward her leg, her confusion changing to alarm. She site up, jarring Eric awake, and throws back the sleeping bag. ERIC (BEFUDDLED) What...? The vine has grown dramatically during the night, reaching out from the pile of supplies at the rear of the tent to spread across Stacy's right leg, almost to her waist. She sits up, tries to push it off her. 76. STACY Oh my god... The vine is clinging to her; she has to tear it, the sap shining slickly on her hands, visibly beginning to burn the skin. She yanks at the tendrils, tossing them aside. STACY (cont'd) Help me. Eric sits up, still only half-awake. He just stares. STACY (cont'd). It's inside me... It's true: one of the tendrils has pushed its way into the wound on her leg, widening it, thrusting itself a full three inches into her body, like a thick finger. STACY (cont.'d) Oh, Jesus--it's fucking inside me. She tries to pull the tendril out, but she's too panicky, too quick, and the vine breaks, leaving a piece of itself snagged under her skin. Stacy starts to SCREAM: STACY (cont'd) Get the knifes Eric is too shocked to stir. He's staring down at her leg, at the bulge beneath her skin: it looks as if it's moving. EXT. HILLTOP - THE CLEARING - DAY Stacy's SCREAMING continues. Jeff and Amy are on their feet, hurrying across the clearing. Mathias has opened his eyes. STACY (O.S.) Get the knife! Jeff bends, scoops up the knife, starts toward the tent. He waves toward Mathias. JEFF Stay with him. Then he ducks in through the tent's flap. 77. INT. ORANGE TENT - DAY Eric is beside Stacy, trying to calm her; she's started to CRY. Her hands and wrists have turned a dark red, and the tendril is inside her leg, just to the left of her shin, running parallel to it. Jeff steps. toward them. JEFF What is it? ERIC The vine. It's inside her. Stacy points to her wound, SOBBING now: STACY Cut it out. You gotta cut it out. JEFF The blade's dirty. We should-- Stacy starts shaking her head, FRANTIC: STACY It's moving! Can't you see? Jeff stares at the bulge, hesitating. Then it moves, unquestionably: contracting and expanding, like a worm. Stacy SHRIEKS: STACY (cont'd) Jeff! Be gives in, crouching over her leg. JEFF It's gonna hurt. STACY Please. Hurry. He leans forward, slices into the skin above the bulge. Stacy CRIES OUT, starts to jerk away, but Jeff presses down on her leg, holding her still. He reaches into her wound with his finger, digs out the piece of vine, tosses it aside. JEFF Get me a shirt or something. He gestures toward the backpacks, and Eric unzips one of them, starts to dig through it. 78. He pulls out a T-shirt, hands it to Jeff. Jeff wads it up, uses it to put pressure on the incision, staunching the flow of blood. EXT. HILLTOP - THE CLEARING - DAY Amy is crouched by the backboard, watching the tent, trying to grasp what's happening. Mathias startles her by speaking: MATHIAS Something's... wrong... His voice is thick-sounding, very faint. Amy tries to soothe him; she puts her hand on his shoulder. AMY It's okay. It's just-- MATHIAS my-legs... AMY I know. You're hurt. But we're., gonna get you-- MATHIAS Show ...me... He's struggling to rise, straining upward. Amy tries to stop him, pressing down on his shoulder. AMY Shh. But he fights her; he won't be quieted: MATHIAS. Show-me... So she leans, lifts the sleeping bag off him. His lower legs are completely covered by the flowering vine, from the knees down. Amy and Mathias both stare in surprise. Then Amy reaches, starts to yank the tendrils free. INT. ORANGE TENT - DAY Jeff is leaning forward, pressing the balled-up T-shirt against Stacy's wound, the blood darkening the fabric. Stacy is lying there, her eyes shut, fists clenched. STACY I can still feel it. 79. Jeff shakes his head. JEFF I got it out. STACY I can feel it moving. JEFF That's just your body. Your muscle twitching. STACY BUT¬Äî ERIC It's on our clothes. Stacy and Jeff both glance at him. There's a faint, almost fungus-like green growing on his shirt, an infantile version of the vine covering the hillside all around them. It's on all of them: their shirts, their pants, their shoes. Before any of them can respond to this development, Amy starts to CALL from the clearing, sounding SCARED: AMY (O.S.) Jeff...? They all turn toward the flap. Mathias begins to SCREAM. Amy's voice JUMPS in volume: AMY (O.S.) (cont'd) of .I Jeff rises, moves toward the flap. EXT. HILLTOP - THE CLEARING - DAY Amy is crouched over Mathias, frantically yanking the vines off him. Mathias is struggling impotently to sit up. He continues to SCREAM, staring down at his legs. Jeff emerges-from the tent, hurries to help Amy, both of them tearing at the vine, a flash of white appearing beneath the green, shiny and bright: bones. Mathias's legs have been stripped completely clean of flesh from the knee down. As they keep pulling the tendrils free, blood starts to drip from Mathias's knees, slowly at first, but then suddenly spurting, spraying them: their chests, their faces. Amy jerks backward, GAGGING, RETCHING. 80. She jumps up, takes three steps into the center of the clearing, and VOMITS, her hands on her knees. She wipes at the blood on her face, COUGHS, spits, then bends again, another long ribbon of puke slipping free of her. Mathias continues to SCREAM and thrash. Jeff reaches for the belts, lying in the dirt beside the backboard. He quickly ties first one then another around Mathias's legs, twisting them into tourniquets, cutting off the flow of blood. Stacy and Eric stoop out through the tent's flap: they stand there staring, struggling to grasp what's happened. Stacy is in her underwear and T-shirt, blood still seeping down her leg. Amy turns to face them. Mathias is WEEPING now, his eyes shut. The hemorrhaging has stopped; blood lies in puddles across the backboard. Jeff is covered with it. And then there are the bones: so white, so wet-looking, from the knees down, nothing but bone. Suddenly, Stacy starts to SCREAM, pointing past Amy, at the dirt beyond her. They all turn to look. The vine is in motion, a long tendril slipping into the clearing, moving snakelike toward the puddle of vomit at Amy's feet. Amy backs quickly away. A second tendril emerges from the low wall of green around the clearing, then a third. They move rapidly, as if racing each other; both of them slipping alongside the first into the little pool of vomit. The tendrils absorb the puke, draining it, until all that's left is a damp shadow on the rocky soil. Then they withdraw back across the clearing, silently retreating into the larger mass of green. Stacy keeps SCREAMING. EXT. CLEARING/BASE OF THE HILL - DAY Faintly, from up the hill, WE HEAR Stacy's screams. The Mayans are finishing their morning meal. They eat in silence, showing no reaction to the sound. In the clearing, the young Mayan's corpse is buried beneath a thick growth of vine. EXT.. HILLTOP - THE CLEARING - DAY The four of them are sitting by the orange tent. Jeff and Amy are still spattered and smeared with Mathias's blood; Stacy is still in her underwear. 81. e.- Jeff is inventorying their food and water. The others watch as he puts the perishables in a separate pile: two bananas, a plastic bag ofgrapes going brown, an orange, a soggy tuna fish sandwich. JEFF They must've dug it up. ANY Who? He arranges the rest of the food in a second pile: a bag of pretzels, a can of nuts, two protein bars, a box of raisins. JEFF The miners. He puts the liquids in a third pile: three bottles of water, two of iced tea, a can of Coke. That's all there is. JEFF (cont'd) And then the Mayans cleared the jungle around the hill, I guess. To keep it quarantined. That's why they won't let us leave, don't you think? They're afraid we'll spread it? The others are silent. Jeff reaches for the tuna fish sandwich. He carefully unwraps it. JEFF (cont'd) Or else...I don't know. Maybe it's something religious? And we're some sort of sacrifice? He glances at the others, but once again no one responds. They all look dazed: knocked back into themselves. Jeff picks up the knife, wipes it on his jeans. JEFF (cont'd) They must've done the same thing with the archaeologists. And Henrich. Trapped them here. Like us. He cuts the sandwich into four equal sections. JEFF (cont'd) And then somehow it killed them off. All of them. one by one. This is too much for Eric; he.leaps up, looking panicky. 82. J011 ERIC We have to find the phone. We have to go back down and-- Jeff makes a calming motion. JEFF We'll eat first. Drink some water. We have to stay calm. Not rush at things. He holds out one of the tiny squares of sandwich. Eric hesitates, then accepts it, dropping back into a crouch. Jeff hands Amy her square. AMY What about Mathias? She nods toward him, and they all turn to look. From his knees down, Mathias's legs are nothing but bone, tendon, and ropy clots of blackened blood. His face looks gray. His eyes are shut, and his breathing sounds terribly RAGGED. JEFF He wouldn't be able to stomach it. Jeff offers Stacy her ration. She takes it, but almost absentmindedly. She seems distracted; she keeps prodding at her wound with her fingertip. JEFF (cont'd) Stop it, Stacy. STACY It's still in there. I can feel it. She keeps probing. Jeff shakes his head, a little it' ATIENT: JEFF I told you. I got it out. Jeff pops his square of sandwich into his mouth; Eric and Amy eat theirs, too. Stacy's ration remains in her hand; she seems to have forgotten it. She's sunburned, sweat-stained, glassy-eyed. Eric leans toward her, looking worried. ERIC Eat, Stacy. You have to eat. She places the tiny sandwich into her mouth, chews, swallows, staring at her wound the whole time. Then: 83. STACY See? How puffy it is? ERIC That's just swelling. It's natural. (he turns toward Jeff) Right? JEFF (he nods) It's what happens when you get hurt. Jeff picks up one of the water bottles, twists off its-cap. He offers the bottle to Stacy. JEFF (cont'd) one swallow apiece. The bottle makes its way around their little circle. When it returns to Jeff, he takes his sip, caps the bottle. Eric is watching Stacy, her anxious probing; he looks increasingly distressed by it. He jumps up again. ERIC The phone. Let's find the phone. Jeff doesn't move. Stacy's bloodied khakis. are lying in the dirt beside him, and he reaches for them, starts to cut off their legs with the knife, just above the knee. JEFF We need to take care of Mathias, first. He won't last much longer like that. Amy looks appalled; she makes a shushing motion. ANY Shh. They all glance toward Mathias again. He lies there, eyes shut, breathing in and out with that fluid-filled RASP. He seems to be unconscious, but Jeff still LOWERS his voice: JEFF We have to cut them off. ERIC Cut what off? 84. JEFF His legs. He's finished with Stacy's khakis; they've been transformed into a pair of shorts. He tosses them toward her. Eric and Amy are staring at him, shocked into silence. Then: ERIC You're joking. JEFF He'll die if we don't. AMY Without anaesthesia? JEFF There won't be any pain. He has no feeling beneath his waist. ERIC He'll lose too much blood. JEFF The tourniquets are already in place. We'll cut below them. ERIC With what? Jeff holds up the knife. Eric SCOFFS at the idea: ERIC (cont'd) That wouldn't do a thing. You'd need a bone saw. JEFF We could break the bones. Then cut. Amy is shaking her head; she looks mortified. AMY No, Jeff. No way. ERIC What about infection? Cutting into him with a dirty knife? JEFF We'll sterilize it. Build a fire. Heat the blade in the flames. It'll cauterize as it cuts. 85. A AMY You'll kill him. JEFF Or save him. One or the other. We can't just-- STACY Cut me first. Right here. Stacy has stood up, pulled on the shorts Jeff has fashioned for her. She's bent over, pointing at a spot on her leg, a few inches below the last incision. STACY (cent'd) Sterilize the knife and-- Eric steps toward her, tries to soothe her. ERIC There's nothing there, Stacy. It's JUST-- She hardly seems to hear him. She's frightened, growing a little wild with it. Her voice comes FAST AND HIGH: STACY It's moving. I can feel it moving. ERIC You're imagining it. You're scared, and you-- STACY I gotta get out of here. I gotta get to a hospital. I gotta-- Eric takes her hand, squeezing it. Stacy blinks at him, close to tears. ERIC You have to calm down. Can you do that? Can you try to calm down? Stacy pulls free of him, drops into a crouch, hugging her knees to her chest, her eyes shut. STACY See if there's a signal. ERIC A what? 86. STACY Your phone. Check your phone. Eric doesn't move: he knows there's no point. STACY (cont'd) Check it. Eric SIGHS, steps to his pack, crouches to remove his phone. He flips it open, holds it out to Stacy. She stares down at it: there's no signal. Eric drops it back into his pack. Then he turns to Jeff. ERIC We go back down. We find the other phone. We call for help. That's how we get out of here. That's how we save him. JEFF It'11 take too long. ERIC One call, Jeff. They'll be here by sundown. JEFF And Mathias will already be dying. You understand? There's no flesh covering his bones. They're-- Mathias's voice interrupts him, from the backboard. Very HOARSE, barely audible: MATHIAS Do...it... They all turn, stare toward him. His eyes are open. MATHIAS (cont'd) Please... (a beat) Cut... them... off... He slowly, painfully, extends his left hand toward them, a beseeching gesture. CU - SMALL PILE OF CLOTHES A pair of shorts, a woman's blouse, two black socks. 87. JEFF (O.S.) I'll have to break the bones first. An amber liquid is being poured onto the clothes, very slowly. WE PULL BACK TO REVEAL: EXT. HILLTOP - THE CLEARING - DAY Eric is crouched, dribbling the tequila onto the clothes, pausing to let it soak in, saturating the fabric. Jeff is kneeling by the backboard, talking to Mathias. JEFF With the stone. Then I'll use the knife to cut. A large stone sits beside the pile of clothes, shaped like an ax head. There's the knife, too, and the metal canteen from the orange tent. JEFF (cont'd) We'll heat the canteen, and cauterize the wounds with it. To stop the bleeding. Eric strikes a match: the clothes catch instantly, burning with a low blue flame. He sets the knife in the fire, then the stone, and splashes more tequila on them. The girls stand in the center of the clearing, watching. JEFF (cont'd) You shouldn't be able to feel a thing. But you can bite this if you want. Just in case. He holds up one of the belts. Mathias hesitates, then opens his mouth, and Jeff sets it carefully inside. Mathias clamps down, gripping it between his teeth. Jeff glances at Eric. JEFF (cont'd) Ready? Eric nods.- The stone is making a cracking sound in the fire, glowing a.deep red. Jeff turns back to Mathias. JEFF (cont'd) You? Mathias also nods, shutting his eyes. There's a small towel in the dirt beside Jeff, and he. picks it up, wrapping it around his hand. He looks over his shoulder at the girls. They both seem terrified, shaky with it. 88. JEFF (cont'd) You should wait in the tent. Amy starts to shake her head, but then Stacy is in motion, grabbing her hand, pulling her across the clearing, and she lets herself be led. Jeff watches them vanish through the flap, then reaches toward the fire with his towel-swathed hand. He scoops up the stone, raises it over his head, SLAMS it down with all his strength against the exposed bones of Mathias's left leg. Mathias bucks, GROANING; his eyes jump open. Jeff drops the stone back into the fire,. snatches out the knife. Mathias is trying to rise onto his elbow, straining to see what's happening. JEFF (cont'd) Hold him. Eric sets the canteen into the flames, sloshes some tequila on it, then shifts.to the backboard. He presses down on Mathias''s shoulders. Mathias is WHIMPERING, twisting his head back and forth, gripping the belt tightly in his teeth. Jeff starts to saw with the knife, chopping and cutting the splintered bones. Bloody marrow spills wetly out, and then Mathias's.lower leg comes free of his body, the foot and ankle and shin bones completely separate now. Jeff lifts the bones away, drops them into the dirt beside the backboard. Then he turns, uses the towel to pluck the canteen out of the fire: it, too, is glowing red. He presses the canteen flat against Mathias's stump, the flesh SIZZLING and SPITTING. Mathias bucks even more forcefully; he spits out the belt, CRIES OUT: MATHIAS Stop...stop... Jeff ignores him, dropping the canteen back into the fire, lifting out the stone. Eric looks increasingly mortified; he seems close to tears. ERIC JEFF-- JEFF Reep him still. He turns, SMASHES the stone into Mathias's right leg. Mathias begins to SCREAM, bucking against Eric's grip. 89. INT. ORANGE TENT - DAY Mathias's SCREAMS fill the tent. Amy and Stacy are sitting together, clutching each other; Stacy is CRYING. Amy is staring toward the flap with a look of horror. EXT. HILLTOP - THE CLEARING - DAY Jeff saws and chops at the shattered bones with the knife. Mathias continues'to SCREAM. Eric is using all his weight to hold him still, his head averted, his eyes clenched shut. Jeff lifts the severed bones.away from the backboard, drops them at his side. Then he scoops up the canteen again. As he presses it to Mathias's stump, Mathias finally passes out, his body going slack, his screams falling SILENT. For a long beat, there's just the SPITTING, SNAPPING sound of Mathias's flesh being seared. Then Eric pulls back into a crouch, shaking his head, looking utterly depleted. ERIC Oh, Jesus. Jesus Christ. Amy emerges from the tent, then Stacy. They stand staring. AMY He felt it, didn't he? The whole thing. Jeff lifts the canteen away. JEFF He couldn't have. AMY He was screaming. Be was telling you to stop. JEPF It was just seeing it. Looking down, and-- Amy is shaking her head, staring at Mathias with that appalled expression: his slack face, his burned stumps. AMY This is bad, Jeff. So bad. Jeff leans to loosen first one tourniquet, then the other. 90. JEFF We've bought him some time. He wouldn't have-- AMY You cut off his legs! You-- Stacy SCREAMS, pointing toward Mathias's amputated limbs. They're lying in the dirt at the base of the backboard, the bloodstained bones held together with a few remaining cords of flesh. A vine has come snaking into the clearing: it's wrapping itself around one of the feet. As the tendril begins to drag. the bones away, a.second one slithers forward and lays claim to the other foot. Eric grabs the knife, jumps up, steps on the first tendril, bends to slash at it with the blade. He swoops toward the second one. Even as he does so, though, a third tendril slithers into the clearing, then a fourth. Stacy SCREAMS again, short and loud, and backs toward the tent; Eric bends and slashes, bends and slashes, and the'vine keeps coming, from all directions, reaching for the bones. JEFF Leave it. Eric ignores him, cutting and stomping and tearing at the tendrils, faster and faster, but still too slow, the vine fighting back, wrapping itself around his legs. JEFF (cont'd) Eric. He steps toward him, grabs his arm, pulls him away. They stand side by side, watching as the vine pulls the severed limbs into itself, the white of the bones vanishing into the larger mass of green. Stacy has begun to CRY again. There's a beat of stillness, and then, once more, echoing up toward them from the shaft, comes that faint electronic RINGING of the cell phone. CU - THE WINDLASS Spinning, the rope spooling quickly off the barrel. JEFF (O.S.) I don't know how long it'11 burn-- WE PULL BACK TO REVEAL: 91. EXT. HILLTOP - THE CLEARING - DAY Eric is pulling the rope off the windlass, laying it out in a long zigzag across the clearing. Jeff is crouched by the shaft, making a torch. The girls stand over him, watching. JEFF So you'll have to be quick. He has one of the aluminum poles from the blue tent. He's wrapped duct tape around its bottom for a grip, tied some of the archaeologists' clothes around the top. He's dribbling tequila on the knot of fabric, saturating it. JEFF (cont'd) Wait to light it till you're both down there. Then-- STACY Who? Jeff looks up at her, startled by the question. Eric is moving along the length of rope, bent low, checking its hemp for signs of weakness. JEFF Who what? STACY Who's going? JEFF You and Amy. They all look bad, but Stacy looks the worst: her wounded leg,, -her greasy hair, a panicky edge to every gesture. She shakes her head, with vehemence. STACY No, Jeff. No way. Not me. Jeff caps the tequila bottle, gives Stacy a tired look. JEFF We've already been through this. Eric and I need to work the winch. You're not strong enough. Eric has reached the end of the rope; he stands up, wiping his hands on his pants. 92. ERIC It's clear. He moves to the windlass, starts to wind the rope back onto the barrel. They've tied a sling on the rope's end again. Stacy is pressing her right hand against the bottom of her rib cage: massaging, probing STACY Why can't Amy go on her own? JEFF The torch won't last that long. We need you both there, searching. Stacy starts shaking her head again, TERRIFIED: STACY I'm not going. I can't. JEFF You don't have a choice, Stacy. Amy can see where this is headed; she tries to divert it. AMY It's okay. I'll go alone. Jeff ignores this. He rises to his feet, still focused on Stacy. WE can HEAR his growing anger in his voice: JEFF if we don't find the phone, Mathias will die. Understand? Stacy is silent, hugging herself, staring at the ground. Eric has finished winding the rope onto the windlass. He tries to intervene: ERIC JEFF-- Jeff ignores him, his gaze on Stacy. JEFF So that's what you're saying. Just to be clear. That you're not willing to help him live. ERIC Come on, man. She's too scared. 93. JEFF I don't give a fuck. I'm scared, too. We all are. ERIC it was inside her. JEFF And we got it out. Now she needs to stop being such a fucking baby, stop being so selfish, and-- Eric is stepping toward him suddenly, right up against him, forcing him back a step. ERIC ,hut Up. Okay? He's bigger than Jeff, stronger, and this is suddenly very palpable. Their faces are three inches apart. A tense beat, and then, more QUIETLY: ERIC (cont'd) You're being too hard. Jeff gives him a look of incredulity, almost disgust. JEFF Hard? ERIC Just leave her be. Jeff turns away from him, from all three of them. He stares off across the hill for a beat, then shakes his head. JEFF I'm the only one thinking. I'm carrying the whole fucking load. ERIC So stop. Lay it down. Jeff turns back to him, gives him a look of pure contempt; WE can HEAR his fury rising again as he speaks: JEFF This isn't just going to work out on its own, Eric. You know? Magically? ERIC I'm not saying-- 94. JEFF We could end up dead here. All of us. Is that what you want? ERIC Of course not. JEFF Then get the fuck out of my way, and start helping me. He holds Eric's eyes long enough to confirm that Eric isn't going to protest, then he glances past him at Stacy. JEFF (cont'd) You going or not? Stacy-is still staring at the ground, her hand probing at her chest. It's clear she doesn't want to go, but Jeff has shamed her into silence. Amy reaches, touches her arm. AMY .'-11 be right there. Okay? We'll be together the whole time. A long beat, then Stacy manages a nod. It's enough for Jeff; he pushes past Eric, moving toward the windlass. JEFF Get in the sling, Amy. Amy turns, reaching for the sling. EXT. BOTTOM OF THE SHAFT - DAY A faint fall of light from above. There's the CREAKING of the windlass: Amy is dropping slowly toward us. When her feet touch the bottom of the shaft, she scrambles out of the sling. Then she lifts her head, SHOUTS: AMY Pull it up! The CREAKING resumes. She stands there in the dimness, watching the sling rise away from her. She has the makeshift torch in one hand, the box of matches in the other. 95. EXT. HILLTOP - THE CLEARING Eric is helping Stacy into the sling, pulling it over her head; Stacy's hands are shaking badly. Eric hugs her, trying to calm her. Jeff waits beside the hand crank. THE BOTTOM OF THE SHAFT Amy is in a crouch. She keeps glancing toward the stone arch cut into the shaft's wall, and the passageway beyond it: the vine dangles from.the low ceiling, like streamers at a party. The CREAKING resumes, and Amy looks up. AMY'S POV - ABOVE HER Stacy is dropping slowly toward us. BACK TO SCENE Amy glances toward the arch again. A slight draft blows steadily from it, and the vine shifts and trembles in it. A beat, then the RINGING starts up once more. It's coming from within the shadowed passageway. Amy opens the box of matches, plucks one out. She's too jumpy, though; her hands are-trembling so much that she shakes the match out as soon as it's lit. There's a second RING. Stacy has nearly reached us. Amy digs another match from the box. Stacy's feet touch the bottom of the shaft; she yanks off the sling. There's a third RING. STACY Hurry. Amy strikes the match, holds it to the knot of clothing at the end of the aluminum pole. The alcohol catches with a FLUTTERING sound, a cloud of pale blue fire materializing around the torch. Amy lifts it, and they start into: THE UNDERGROUND PASSAGE Stacy is in front, with Amy right behind her. The torch shudders weakly in the steady draft; the shaft's ceiling is low enough that they have to crouch as they move forward. There's a fourth RING, drawing them deeper down the passage. 96. The tendrils hanging from the ceiling brush against them. The vine is growing on the floor, too--knee-deep--and from the walls on either side. Amy is moving cautiously, squinting into the darkness, and Stacy starts to pull ahead. AMY Wait... She pauses, lifting the torch, but Stacy keeps going. Amy peers at the vine hanging from the wall. There's a fifth RING, echoing eerily, and the flowers move in exact unison with the sound, their stamens vibrating, like so many miniature tuning forks: the plant is making the noise. AMY (cont'd) Stacy... The shaft dead-ends at a blank wall, which is just materializing out of the darkness, fifteen feet in front of them. There's a sixth RING. Stacy points at the wall, quickening her pace. STACY It's right here. I can-- Amy jumps forward, reaching for her. AMY DON'T-- But there's another RING, and Stacy keeps going: she's nearly at the wall. STACY IT'S-- Stop! Amy grabs her arm, hard, jerks her back a step, pulling her close, the torchlight flickering over them. She WHISPERS: AMY (cont'd) There's no phone. STACY What? A seventh RING sounds, seeming to come from beneath the vines on the floor of the shaft, directly in front of them. Stacy tries to pull free, to bend and reach toward the sound. 97. STACY (cont'd) I can-- Amy jerks her back again, WHISPERS straight into her ear: ANY It's the vine. The flowers. They're making the noise. STACY No. It's-- She pulls free, steps forward, and her foot seems to punch straight through the shaft's floor. She SCREAMS, losing her balances Amy throws down the torch, lunges for her. The torch flutters, pales, but remains lit. The vines growing across the floor fall away, revealing an opening, another shaft, dropping into the earth. Stacy is slowly sliding into it, scrambling to stop herself. Amy grabs Stacy arm. Stacy is dangling, from the waist down, over the hole's edge. There are vines in the hole, too, and. they begin to coil around her legs, pulling at her, dragging her downward. Stacy SCREAMS again, kicking to free herself, scrambling upward, monkey-like, while Amy pulls at her, and finally they manage to drag her to safety. A beat, then Amy retrieves the torch, holds it out over the hole. The bottom is twenty feet down, almost lost in shadow. Dimly, WE SEE a woman, lying curled against the wall--she has long dark hair. STACY (cont'd) Oh my God. The woman stirs, her body rolling, as if to turn and look at us, and WE SEE her face: she's a corpse. The vine has invaded her flesh--it's in her eye sockets, the hollow of her mouth, writhing and churning. Stacy and Amy SCREAM. There's a WHISTLING sound, like a whip, and a tendril lashes out from the shaft's wall, wraps itself around the torch's handle, yanks it from Amy's grip. The torch falls into the hole, still burning. When it hits bottom, a mass of vine surges across it, smothering its flame. It's very dark after this: Amy and Stacy are barely discernible. A beat of silence, then an odd, high-pitched CACKLING rises all around them; it sounds like laughter-- eerie, childlike, full of echoes. 98. As it steadily increases in volume, that WHISTLING comes once more: the vines SMACK at them from the floor, the ceiling, the walls, coiling around their bodies, pulling them toward the open shaft. They both SCREAM again, scrambling backward, while the vine keeps coming, more and more of it, grabbing at their arms, their legs, their necks. They stumble over each other, falling onto their hands and knees.amid the.tendrils. The vine catches at them, tries to hold them down. It's not strong enough, though; they yank it off, and thrash their way, foot by foot, back toward the sling, the vine lashing at them, grabbing, tearing, sap leaking onto their skin. The laughter grows still louder, the whole shaft ECHOING with it. Amy reaches the sling first, with Stacy right behind her. Even here, the vine continues to attack them, whipping and HISSING and LAUGHING. Amy holds the sling toward Stacy. AMY You. But Stacy is too hysterical: she just stands there, SOBBING, SCREAMING. Jeff's voice comes toward them from above, SHOUTING: JEFF (0.S.) Amoy...? Amy pulls the sling over her own head. YELLS: AMY Pull us up! JEFF (O.S.) Did you find it? AMY NMI She reaches out, grabs Stacy, wrapping her arms and legs around her. Stacy returns the embrace, both of them clutching at each other, as the windlass finally begins to CREAK, lifting the two of them into the air. ON AMY AND STACY - IN THE SLING The vines hanging from the shaft's walls whip at the girls as they rise, coiling around their bodies, pulling at them, that strange LAUGHTER growing ever louder, seeming to buffet their bodies. Stacy and Amy grip each other with all their strength, eyes shut tight. Stacy SCREAMS. 99. EXT. CLEARING/BASE OP. THE HILL - DAY The SCREAM comes faintly toward us. The Mayans are arrayed about their campsite, all of them motionless, silent, staring up the hill with their impassive expressions. EXT. HILLTOP - THE CLEARING - DUSK The weather has shifted; a wind has risen. The sun is setting, a red smudge behind a dark gray wall of clouds. Mathias lies.on his backboard, unconscious, his breathing coming in that ragged RASP, a thread of brown liquid leaking from the corner of his mouth. Amy is crouched beside him; she leans forward, wipes away the liquid. Stacy sits in the clearing behind her, leaning against Eric. They're both slick with sweat, but Stacy keeps shivering, as if cold. Eric's arms are around her, and her eyes are shut. Jeff is peeling the orange. Like Amy, he's still spattered and stained with Mathias's blood. The vine has continued to grow on everyone's clothes, weblike, eating away at the fabric. Jeff reaches, tugs free a strand of it, and a six- inch tear appears in his T-shirt. Stacy opens her eyes; she leans forward, peers down at the wounds on her leg, her right hand moving to her chest, probing at her rib cage. She turns to Eric: STACY Check your phone. Eric pushes himself to his feet, steps toward his pack. He pulls out his phone, flips it open. He shakes his head. STACY (cont'd) Let me see. Eric carries the phone to her, then stands over her while she opens it, stares down at it. She shuts it, opens it again. Then again, and again, and suddenly she's CRYING, bent into herself. Eric drops to a crouch, rests his hand on her knee. ERIC Shh. But her crying increases; she begins to SOB. Jeff is bent' over the orange, dividing it into four equal piles--its peel, too--concentrating. He lifts his head, stares. Amy stands up, hurries over., kneels in front of Stacy, takes her hand. 100. AMY It's okay, sweetie. You're okay. Stacy keeps WEEPING, uncontrollably, shaking her head. STACY I wanner go home. I wanna leave... ERIC Shh... She's WAILING, rocking back and forth; she can't seem to stop. Amy struggles to calm her. AMY Stacy... Stacy keeps WAILING, rocking, eyes shut. Amy leans in close. AMY (cont'd) Let's play the game...can you do that? Huh? Can you give me a "So"? Stacy continues to CRY. AMY (cont'd) Come on. Just try. Can you try? (a beat) So there was this girl who wanted to be a pilot. Stacy's tears keep coming. Amy looks at Eric, gives him a nod,'prodding him into speech. He hesitates, then: ERIC But she was scared of heights. AMY So she became a lifeguard instead. (she squeezes Stacy's HAND) Come on. Your turn. More SOBS. Amy glances across the clearing at Jeff, wanting him to join in, too. It seems as if he might refuse, but then her look hardens, and he relents. JEFF But she couldn't swim. 101. AMY So she wore a life vest. (she squeezes Stacy's hand AGAIN) Come on. Now you. A beat, then Stacy takes a deep, ragged breath. She wipes at her face, struggles for words. STACY But everyone... She trails off, CRYING again. Amy nods, encouraging her. AMY Yeah...? Everyone what? STACY They laughed at her. AMY Good. That's good. So she-- Very suddenly, it starts to rain--a dozen large, heavy drops. They all glance skyward. JEFF SHIT¬Ä¢ He springs to his feet. And then: a downpour, a deluge, as if a trap door has swung open in the clouds. The rain falls in a loud, drumming rush, turning the clearing to mud. Eric jumps up, too. He and Jeff start digging through the backpacks from the. blue tent, searching for something-- anything--in which to catch the water. They find a small plastic bag, a nylon toiletry kit, a Frisbee. Jeff sets these in a row on the ground, open to the rain. Eric rushes to the orange tent, vanishes inside. Amy tilts back her head, tries to catch the rain in her open mouth. Stacy just sits there, hugging herself, shivering, still half- crying. They're all drenched, back-spattered with mud. And then, as abruptly as it had begun, the rain starts to slacken. Eric reemerges from the orange tent, carrying a thermos, a plastic cup. He sets them next to the other containers, but it's pointless; the rain is already stopping. They all stare at these meager receptacles: they've managed to catch less than half an inch of muddy-looking water. Jeff. GROANS; he's FURIOUS with himself: 102. JEFF (cont'd) We should've been ready. We SHOULD'VE- He kicks the Frisbee across the clearing. Amy jumps up. AMY JEFFT She steps forward, as if to guard the other containers. JEFF It doesn't fucking matter. AMY There was water in it. He spins toward her, turning his fury with himself on her: JEFF How much, Amy? Two and a half gallons? 'Cause that's what we need. For today--just to make it through today. And then tomorrow the same all over again. And for how long? Another week before our parents start searching? And then what? How long till they track us to Coba? Or to this fucking hill? How long will it take, Amy? AMY You said-- JEFF It's not gonna happen. We're not gonna make it. The others stare at him in astonishment, too 'stunned to speak. He gives them all a look of disgust: JEFF (cont'd) And you're fucking playing games. (mimicking Amy's voice) So there were these people trapped in the jungle. AMY Don't, Jeff. JEFF But they didn't have any water. 103. Amy looks as if she might start crying. AMY Please, don't. JEFF So they're gonna die of thirst. Amy covers her ears with her hands. AMY Shut up! JEFF But this fucking vine might kill them first. AMY (SHOUTING) STOP IT! Jeff paces away, struggling to regain control of himself. A long beat, and then, very QUIETLY: JEFF I'm sorry ...I'm sorry. He steps back toward the dismembered orange, crouches over it. The fruit and peels are muddy now, spoiled looking. He waves for the others to approach. JEFF (cont'd) Come on. We need to eat. No one moves. They're all staring at him with their shocked expressions. He can't seem to meet their eyes. He gestures at the orange again. JEFF (cont'd) The peel, too. Everything. Abeat, then the others step forward to claim their portions: first Eric, then Stacy, then Amy. They eat without speaking. Finally, almost AS IF TALKING TO HIMSELF: JEFF (cont'd) It'll rain again. It has to. And we'll figure out a way to catch it. (he nods to himself) We'll be fine. We'll ration the -food. And then, you know, we'll just...we'll tough it out.. (MORE) 104. JEFF (cont'd) People have survived for weeks with nothing. Just water, a little bit of water. So why not us? No one responds. They continue to eat: the fruit, the peels. Their torn clothes cling wetly to them. Jeff uncaps the water bottle, offers it to Amy. She drinks, passes it on. It moves around the circle, back to Jeff. ERIC What about the vine? Jeff takes his sip, caps the bottle. He's reclaiming himself, his voice strengthening, his confidence returning. JEFF I don't think it can hurt us. Not directly. if it could, it already would've, wouldn't it? Why would it wait? The others are silent, considering this. Then: JEFF (cont'd) It's not strong enough to overpower us. And it-- Mathias GASPS suddenly, his entire body spasming for a moment, before the watery RASP of his breathing resumes. He doesn't regain consciousness; his eyes remain shut. Everyone watches him for a beat: he, also, is spattered with mud. AMY He's gonna die, isn't he? if there's no phone, then there's no-- STACY Me, too. They all turn to look at her. She's massaging that spot on her rib cage again, digging into it with her fingers. STACY (cont'd) It's eating me. Just like him. And her. She waves toward the shaft. Jeff gives her a weary look. JEFF Don't, Stacy. Don't start. She jumps up, begins to pace, agitated. 105. STACY It's inside me. In my leg. My chest. I can feel it. Right here.. She stops pacing, lifts her shirt. She points to the base of her rib cage. STACY (cont'd) See? Jeff stares; there's nothing there. He shakes his head. The knife is lying in the mud beside him, and Stacy steps forward, snatches it up. Jeff reaches to stop her, but he's too slow. She stands before him, hefting it. in her hand. JEFF Put it down. STACY I'll show you. She lifts her.shirt again, pressing at her rib cage with her .fingertips. Jeff stands up, holds out his hand. JEFF Give it to me. Right now. Amy and Eric stand, too. ERIC STACY-- But she's already cutting: a four inch slit along the base of her rib cage. Amy SCREAMS. A horizontal line of blood crests the wound, sweeps down across Stacy's stomach, soaking into the waistband of her shorts. She watches it, frowning. STACY I thought it would just come tumbling out. She probes at the cut with the point of the knife, prying it farther open, the bleeding increasing. Jeff reaches, grabs the knife from her. He looks furious: JEFF . Sit down. STACY It's hiding. It's right-- She pokes her finger into the wound, digging. Jeff slaps her hand away. He YELLS: 106. JEFF a il hÔøΩ f down i He shoves her down, onto her back, then picks up the towel he'd used to hold the heated stone. He balls it up, presses it to Stacy's wound. Eric retrieves the bottle of tequila from the mud, uncaps it. He crouches beside Stacy. ERIC Don't yell. she's just scared. SHE'S-- JEFF what're you doing? He's lifting the bottle toward Stacy's mouth, but he hesitates now, turning toward Jeff. ERIC Just a sip. To calm her. JEFF It'll dehydrate-her. ERIC A sip, Jeff. He starts to lift the bottle again. Jeff shoves it aside. JEFF I said Q. STACY Leave him alone. She tries to sit up, but Jeff pushes her back down, hard. JEFF You realize how stupid you're being? Sticking that dirty knife INTO-- STACY It's growing. JEFF of ina's.inside you. You're imagining it, and you just-- STACY I'm gonna end up like her. That girl. I'm gonna-- 107. r - JEFF Get infected. Understand? You're gonna get yourself killed. STACY You're not listening. JEFF BECAUSE-- STACY (shouting, very loud) YOU'RE NOT LISTENING! A beat of startled silence, and then her voice comes again, from across the hilltop, sounding exactly like her, only slightly fuzzed, a rasping quality just beneath the words: STACY'S VOICE YOU'RE NOT LISTENING! They all turn to look, but there's nothing there, just the vine, its green leaves, its bright red flowers. Stacy's voice comes once more, from the.opposite direction now: STACY'S VOICE (cont'd) YOU'RE NOT LISTENING! ERIC What the-- Stacy's voice keeps coming, switching locations, seeming to float across the hilltop; they turn, tracking it. STACY'S VOICE YOU'RE NOT LISTENING...! YOU'RE NOT LISTENING...! YOU'RE NOT LISTENING...! Amy steps toward Jeff, looking frightened. AMY The Mayans. JEFF (shaking his head) No--it's the vine. It's mimicking her. Stacy has started to CRY; she covers her ears with her hands. STACY Make it stop. 108. STACY'S VOICE YOU'RE NOT LISTENING...! YOU'RE NOT LISTENING...! YOU'RE NOT LISTENING...! STACY Please. Make it stop. STACY'S VOICE YOU'RE NOT LISTENING...! YOU'RE NOT LISTENING...! YOU'RE NOT LISTENING...! Stacy tries to sit up, but Jeff pushes her back down. Se's still crouched over her, pressing the towel to her wound; it's completely soaked through with blood now. Stacy YELLS: STACY Shut up...! Stacy's voice continues, but now that high-pitched LAUGHTER is coming, too, a chorus of it, growing in volume: STACY'S VOICE YOU'RE NOT LISTENING...! YOU'RE NOT LISTENING...! YOU'RE NOT LISTENING...! Stacy's weeping has deepened to SOBS. She keeps YELLING: STACY Shut up...! Shut up...! The LAUGHTER grows steadily LOUDER, obscuring Stacy's voice: WE SEE the flowers trembling, visibly vibrating as they sculpt the sound... EXT. CLEARING/BASE OF THE HILL - DUSK The light is fading fast. One of the Mayan women is cleaning a pot with a handful of leaves. Three of the men sit facing the hillside, their bows in their laps. The others are bedding down beneath the trees. The LAUGHTER echoes down the hill, eerie and ghoulish, yet the Mayans betray no reaction to it, as if it were no more worthy of note to them than the steady RASPING of the locusts in the jungle at their backs. 109. INT. ORANGE TENT - NIGHT Jeff, Stacy and Amy lie side-by-side in the darkness. The liquid RATTLE of Mathias's breathing comes from the clearing, sounding as if someone were sawing at a tin can. Jeff and Stacy are asleep; Amy is stirring restlessly, shifting first onto one side, then the other. Finally, she rises, moves toward the flap, slips quietly through it. EXT. HILLTOP - THE CLEARING - NIGHT The moon is out, dropping its faint light upon us. Mathias is on his backboard beneath the little lean-to, more audible than visible, with his PHLEGM-CLOTTED breathing. Eric is beside him. He looks up as Amy emerges from the tent. ANY Now is he? Eric shrugs, waves toward the backboard: it seems clear enough. Amy stares-for a moment, then sits beside him. AMY (cont'd) You can go lie down if you want. Eric lifts his hand, pushes a button on his watch, makes it glow. He squints at it. ERIC I still have forty minutes. AMY I don't mind. I can't sleep. Eric checks his watch again, its glow briefly illuminating his face. He gestures toward the tent. ERIC Is Stacy? AMY They both are. There's a slight breeze, and the tent makes a FLAPPING SOUND in it. They both turn to stare at it. Then: AMY (cont'd) Do you think it's inside her? 110. ERIC (he shakes his head) Jeff cut it out. I saw him. AMY But she says she can feel it. Moving. Shifting about. Eric waves this aside. ERIC You know how Stacy is. She's just scared. She gets things in her head, and--- Mathias makes a RETCHING sound--loud, wet, painful--and they both turn,‚Ä¢peering at his gaunt form through the darkness. He falls QUIET; his eyes don't open. A beat, then: ERIC (cont'd) I've been sitting here, you know, making all these deals in my head with God. You ever do that? Amy just stares at him. He has his arms wrapped around his knees, hugging them to his chest. ERIC (cont'd) Like I say, okay, you can fire me on the first day teaching if that's what you want--just let us make it home. But that doesn't mean shit, 'cause I don't even really want the job, and He has to know that, doesn't He? So I say, all right, Stacy can leave me, you know, or even, I don't know, I'll give up a finger, okay? Or two fingers. Or fuck it, take a hand, take my left hand, but let us just get home, all of us. (a beat) And then I look at him-- (he nods toward Mathias) --and I can't help it, I'm, like, take him if you need to, take Mathias, and let the rest of us go. That's fucking horrible, isn't it? And once I've said it, I feel like I can't take it back, you know? (MORE) ERIC (cont'd) Like the words have gone up into the sky and God's sort of thinking about them now, making his choice, and if Mathias dies and we don't, it'll be.like I killed him, won't it? Like I-- Amy starts to CRY; she covers her mouth with her hand. Eric stares at her in surprise. ERIC (cont'd) What? What is it? Amy shakes her head. She struggles to stop, but she can't. AMY I'm sorry ...I'm so sorry... (a beat) It's my fault. ERIC what is? AMY If I hadn't stepped onto the hill-- Her crying INCREASES. Eric leans, touches her hand. ERIC That's stupid, Amy. That's-- AMY Jeff said it. He said-- Eric reaches, puts his arm around her, trying to quiet her. ERIC He didn't mean it. There's no way. He was just-- AMY We might not have... ERIC Shh. Don't. She rests her head on his shoulder, WEEPING, her body shaking with it, while he pats her, stroking her hair. 112. INT. ORANGE TENT - NIGHT Stacy and Jeff, eyes shut, sleeping. Very SOFTLY, there comes a faint PANTING, rhythmic, furtive sounding. Stacy's eyes open; she lies there, listening. There's a MOAN, and the PANTING QUICKENS. Stacy rises to a sitting position. She listens for another beat, then leans, prods at Jeff. He awakes with a jerk, blinking up at her. JEFF Wh--? Stacy holds her finger to her lips, silencing him.. From outside, there's another MOAN. Jeff sits up, listening. The PANTING is BUILDING toward a climax. Jeff leans toward the pile of supplies at the tent's rear, squinting at the tangle of vine growing across it. He points, WHISPERING: JEFF (cont'd) It's the-- But Stacy is already pushing herself to her feet. She moves quickly to the tent's flap, UNZIPS it, crouches out into: EXT. HILLTOP - THE CLEARING - NIGHT Mathias's breathing continues its RAGGED course. Amy is still leaning into Eric, her head on his shoulder. He has his arm around her. He looks up, blinking, as Stacy emerges from the tent into the moonlight. . STACY What the fuck, Eric? Amy lifts her head, wipes at her face; Eric drops his arm from her shoulder. They both stare at Stacy, startled by her anger. Jeff appears behind her, stepping through the flap. ERIC What? STACY We heard you. ERIC Heard me what? STACY Fucking her. 113. Eric looks from Stacy to Jeff, completely perplexed. ERIC What're you talking about? JEFF The vine. it made it sound as if you two-- Stacy turns toward him, SNORTING, shaking her head. STACY You're so blind. JEFF I could hear it. At the back of the tent. It was-- STACY It doesn't make things up. It mimics things. Things it's heard. JEFF Then it's heard someone having sex at some point. Slowly, quietly, a tendril has begun to slither forward through the darkness, creeping in beneath the lean-to, snaking toward Mathias, toward his head. Jeff and the others are all too focused on one another to notice. STACY That was Ay, Jeff. Moaning. AMY What? Jeff reaches, touches Stacy's arm, struggling to calm her, but she flinches from him. JEFF it's doing this on purpose.' Can't you see? It thinks you're the weakest--because you're hurt. So it's trying to upset you. Trying TO-- STACY You're not upset? He had his arm around her. He-- Amy leans forward, hands out, BESEECHING: 114. AMY Nothing happened, Stacy. I was crying. And Eric-- STACY We he-ar you. The vine starts to push its way in between Mathias's lips, into his mouth. Mathias makes a GAGGING sound, but doesn't regain consciousness: once more, no one notices. JEFF We heard the vine. It-- STACY You're such a fool, Jeff. You think she's never cheated on you? Perfect little angelic Amy? AMY Stacy. STACY I could tell you secrets. I could open your eyes. AMY Shi i up. Right now. A second tendril has slithered under the lean-to. It covers Mathias's nose, drawing itself tight. The steady rasping of his breathing is CUT OFF. Yet again, no one notices. STACY Spring break? Senior year? AMY You bitch. You stupid cunt. Stacy spins on her, VENOMOUS: STACY Fuck you. Slut. (back to Jeff) Twice, Jeff. Two different guys. And one of them-- Jeff grabs her arm, grips it, silencing hers JEFF Enough, Stacy. Stoll. 115. Stacy falls SILENT; she seems as astonished by what she's said as everyone else. JEFF (cont'd) Where do you think you are? Huh? Why would you even care--at this point, if they were out here fucking? We're trapped. We don't have any food. Or water. And MATHIAS-- He turns, stares: sees. He darts forward, starts to yank away the tendrils. They resist him, writhing, clinging to Mathias's face. Eric and Amy both jump up. Stacy has started to CRY, shaking her head, MORTIFIED: STACY Oh, god...oh please no... Jeff bends close to Mathias's face, listening; he checks Mathias's neck for a pulse. A beat, then he turns toward the others, shakes his head. Stacy begins to SOB: STACY (cont'd) I'm sorry...I'm so sorry... Eric reaches, takes her into his arms, hugging her. EXT. CLEARING/BASE OF THE HILL -- FROM UP THE HILL - DAWN The hillside falls away from us, the narrow trail winding down its face to the clearing and the wall of jungle beyond. The sun is just rising, and the vine seems to shimmer in it. Three of the Mayan encampments are visible from here: one directly beneath us, one to the left, another to the right. Thin ribbons of smoke rise from their campfires. EXT. HILLTOP - TOP OF THE TRAIL - DAY Jeff stands there, staring down toward the jungle. Eric and Stacy are sitting together in the clearing behind him, holding hands; Stacy is still CRYING softly. Amy approaches across the hilltop, stops beside Jeff. JEFF They must've salted the soil. That's the only way I can think. He turns, glances at Amy. She has no idea what he's talking about. He waves down toward the Mayans. 116. JEFF (cont'd) To keep the ground clear. It grows so quickly... He gestures at their clothes, upon which that green webbing of vine continues to spread, eating away at the fabric. JEFF (cont'd) It's old, too--has to be. Really old. Because the birds, the insects... somehow they've evolved. They've learned not to land here. (he peers about them, at the vine-covered hill) And the horses. Remember? How frightened they were? They knew, too. They stand in silence for a beat, staring down the hill toward the Mayans. Then Amy reaches, touches Jeff's arm. AMY It didn't happen. Jeff turns, stares at her. she waves back toward the tent. AMY (cont'd) Eric and I, we were just--- JEFF I know. AMY And what she said. About spring break. I-- Jeff reaches, presses his finger to her lips. JEFF Shh. Amy falls silent, watching him. He lowers his finger. JEFF (cont'd) Have you made it up with her? Amy half-nods, half-shrugs. JEFF (cont'd) Good. AMY But I want to tell you-- 117. He presses his finger to her lips again, stopping her. He waits a beat, and then: JEFF I wish it mattered. Amy gives him a confused look. Jeff throws out his hand,. gesturing at the hilltop, the vine, their tattered clothes. JEFF (cont'd) Look at us. (a beat) Would it matter to you? Amy hesitates, considering. Then she shakes her head. And with that, Jeff turns, starts back toward the orange tent. WE HEAR a zipping sound, which carries over into: EXT. HILLTOP - THE CLEARING - DAY Jeff is crouched beside the backboard, UNZIPPING the sleeping bag. Eric tosses the flimsy lean-to aside, exposing Mathias's corpse-to the sun. Amy and Stacy stand watching. JEFF Head first? Eric considers this, staring down at Mathias's body. Mathias's face is burned red from the vine's sap; his legs are two blackened stumps. Eric shrugs. ERIC I guess. JEFF You'll have to lift him. Eric hesitates; he seems reluctant to touch the corpse. Finally, he girds himself, straddles the backboard, grabs Mathias under his armpits, lifting him. Jeff leans forward, starts to pull the sleeping bag over Mathias's head. The corpse seems intent upon resisting them; its arms keep getting tangled, catching and snagging. Jeff and Eric have to wrestle with it, both of them PANTING, sweating, before they manage to shove it into the bag. Jeff ZIPS the bag shut, and they stand over it, catching their breath, wiping the perspiration from their faces. ERIC Should we say something? 118. Jeff gives him a blank stare. ERIC (cont'd) Like, you know ...a prayer? Jeff frowns down at the bag, searching for words. Before he can find them, Stacy speaks: STACY Where's the knife? They all turn. Her hand is under her tattered shirt, pressing at her lower back. Jeff SIGHS: JEFF STACY-- She lifts her shirt, twisting to show him. it looks as if a large starfish has been implanted just beneath her skin. It's moving, too, inching slowly but visibly downward. They all stare in astonishment. Amy GASPS, points at Stacy's leg. Stacy bends to see: there's more vine here, a snakelike lump winding its way upward from the top of her shin to her inner thigh. CU - FIRE Another small pile of clothes, burning with that blue, alcohol-fueled flame. AMY (O.S.) Can I give her some? The knife is placed in the fire, and WE PULL BACK TO REVEAL: EXT. HILLTOP - THE CLEARING - DAY Amy holds up the bottle of tequila. Jeff is crouching over the fire, heating the knife's blade. Be glances toward her, nods. Stacy is sitting down, staring at the bulge in her leg with a dazed expression. Eric is beside her. Amy offers the bottle to Stacy;-they all watch as she takes a long swallow. Then she hands the bottle back to Amy, and Jeff pulls the knife from the fire, carries it toward her. He gestures to Eric and Amy. JEFF Hold her hands. 119. They each take one of her hands. Jeff crouches over her leg. JEFF (cont'd) You might want to shut your eyes. Stacy shakes her head. STACY I want to see. Jeff hesitates; for a moment it seems-as if he might argue. But then, very quickly, he leans forward and draws the knife in one smooth movement up and around Stacy's leg. Stacy MOANS, her body tensing, but she doesn't cry out. The incision reveals the vine, a foot long, its leaves and flowers clotted with Stacy's blood, which is oozing from the wound. Jeff reaches in, pries the tendril from her flesh. Stacy MOANS again, arching backward, as the vine emerges: writhing and twisting. The blood comes more thickly now, pumping from the wound, running down her leg. Jeff drops the tendril into the dirt, steps on it, grinding it into stillness. Stacy is breathing HARD, almost hyperventilating. She's shut her eyes. JEFF Should I stop? Stacy shakes her head, vehemently. Jeff glances at the others. Eric shakes his head, too. Amy's eyes, like Stacy's, are tightly shut. JEFF (cont'd) You'll have to roll over. Stacy lets go of the others' hands, rolls onto her stomach. She hitches up her shirt, revealing the small of her back, the starfish-shaped bulge. Jeff crouches at her side. JEFF (cont'd) Ready? She nods, and he leans, makes five quick incisions, in the shape of an asterisk, directly above the bulge. Stacy's body goes rigid, and Eric takes her hand again. Once more, we can see the tendril through the incision: dark with her blood. Jeff reaches in and slowly pulls the vine from her body. There's an astonishing amount of it; he has to drop the knife and use both hands to drag the slimy mass free. 120. As the plant emerges from her body--thrashing, coiling and uncoiling, covered in half-clotted blood, like a newborn-- Stacy starts to SCREAM. EXT. CLEARING/BASE OF THE HILL - DAY The Mayans at their campsite: three of them on guard duty, the others napping in the shade beneath the trees. Stacy's SCREAMING echoes down the hill toward us. EXT. HILLTOP - THE CLEARING - DAY They've pulled a shirt from one of the backpacks, torn it into strips, and used these to bandage Stacy's wounds, tying them around her leg and torso. She's lying on her side, eyes shut, her head in Eric's lap. He's stroking her hair. Jeff is counting the grapes into four separate piles. Amy sits watching him. When he finishes, he gestures for her to take a pile. Then he scoops Stacy and Eric's rations up, carries them over. JEFF Can you eat? Stacy sits up, wincing; her bandages are soaked through with blood. She takes the grapes from him; Eric does, too. They- all begin to eat, in silence. When they're done, Jeff passes the water bottle around their circle. Then: JEFF (cont'd) We should try to rest, I guess. (he waves toward the tent) Get out of the sun. We're losing moisture out-- STACY There's more of it. She leans forward, probes at her right thigh, prodding the skin. The others watch her; there's no bulge visible, no sign of the vine-at all. Eric gives her a pained look. ERIC There's nothing there, Stacy. STACY It's under the muscle. Down by the bone. 121. She keeps pushing at her leg. She glances from Eric to Amy to Jeff. No one says anything. STACY (cont'd) Cut me and see. Right here. She uses her finger to draw a line up her thigh. JEFF You're losing too much blood. And if any of these get infected--- STACY My calf, too. she lifts her right leg, turning it to show the others. Jeff bends to look. Again, there's no visible sign of the vine. He shakes his head. JEFF No more cutting. Not unless--- The knife is in the dirt beside him, and Stacy leans forward, tries to grab it. Jeff is too quick for her, though: he snatches it up, tucks it into his belt. Stacy is becoming more and more upset. She holds out her hands, BEGGING: STACY Please, Jeff. ERIC You can't. You can't keep-- Stacy is starting to CRY; her mouth is trembling. STACY It's everywhere. She's prodding at her body: her legs, her chest and stomach. Amy scoots toward her, grasps her hand. ANY STACY-- Stacy yanks her hand free, clutches her scalp, WEEPING: STACY It's in my head! I can feel it in my head! Amy takes Stacy in her arms, hugging her tight.. 122. AMY Shh. Stacy SOBS into Amy's shoulder, her body jumping. Amy strokes her. Eric steps across the clearing, picks up the bottle of tequila. He glances at Jeff, and Jeff nods. AMY (cont'd) You're scared, honey. You're just scared. You know? Stacy nods; she's still CRYING, but it's growing quieter. Eric crouches beside her, holds out the bottle of tequila. Stacy just stares at it. Amy encourages her: AMY (cont'd) It'll help. Stacy accepts the bottle, takes a long swallow. Then another. The others watch her in silence. Finally: AMY (cont'd) Can you rest some? In the tent? Stacy is silent. She wipes the tears from her face. STACY That girl-- (she waves at the shaft) I keep seeing her. When I shut my eyes. AMY (NODDING) I know...I know. (she stands up, holds out her hand) Let's just lie down for a bit. Okay? Stacy hesitates, staring up at Amy. Then she reaches, grasps her hand. Amy pulls her to her feet, helps her hobble across the clearing to the tent. Jeff and Eric sit-there, watching in silence as they vanish through the flap. INT. ORANGE TENT - DAY Sunlight filters through the orange nylon; all four of them lie sleeping in a row, sweating. The vine has shredded their clothes to tatters; they look like castaways. The tent's flap hangs open, billowing gently in a slight breeze. 123. Stacy open her eyes. She lies there, staring up toward the orange nylon above her. The blood on her bandages has dried to a dark red, bordering on black. She sits up, stares about the tent. Eric is on one side of her, then Amy, then Jeff. Jeff is on his back, the knife still tucked into his belt. Stacy rises quietly, steps over Amy, crouches above him, staring down at the knife. She reaches, tries to slip it free, but then jerks back when Jeff shifts in his sleep. She hesitates, watching him. She seems as if she's about to try again, but then the tent flap billows in the breeze, drawing her gaze. A beat, and she rises, steps carefully over Jeff, ducks outside into the clearing. EXT. HILLTOP - THE CLEARING - DAY Stacy stands just beyond the tent's.flap. All is still, quiet.- She moves to Eric's pack, crouches over it, pulls out his phone. She flips it open, stares down at its screen: there's still no signal. She drops it back into the pack. She turns-to examine the clearing, her eyes falling upon the two backpacks from the blue tent. Their pockets are zippered open: Jeff and Eric's hurried pillaging during the downpour has scattered their contents across the dirt. Stacy rises, steps toward this tangled mound. She starts to dig through it, casually at first, but then with growing intensity, throwing T-shirts and jeans and shorts aside, probing deeply into the pile. Suddenly she goes still. Staring. Amid the sodden mass of clothing sits a knife in a small scabbard. As Stacy crouches there, the vines start to RUSTLE, a rippling motion passing across them, as. if a wind were sweeping the hillside. Stacy watches with a look of horror: it looks like the pelt of some giant animal, shaking itself. When it finally stops, she bends, reaching for the knife. INT. ORANGE TENT - DAY Jeff, Eric, and Amy, still sleeping. The tent's flap continues to billow in the breeze. Very faintly, from the clearing, WE HEAR a moan. Then the sound of WHIMPERING. Eric opens his eyes, listening. An instant later, very abruptly, there comes a sharp, rending SCREAM of pure pain. Eric jumps up, starts for the flap; Jeff is right behind him. 124. EXT. HILLTOP - THE CLEARING - DAY Eric emerges from the tent, then Jeff, then Amy. They stand there, staring, too horrified to move. AMY Oh my God. Stacy is on the far side of the clearing. She's pulled off her shirt, her shorts, and has cut much of the skin from her body. She doesn't notice them. She's bent over, slicing into her left thigh, peeling the skin back from the muscle. ERIC STACY-- She turns, blood-streaked, wild-eyed, the knife in her hand; her skin is hanging from her in shreds. We can see her leg muscles, her abdominals, a glint of bone at her left elbow. Jeff starts forward, holding out his hand, very STERN: JEFF Give it. Now. Eric follows him. Amy stays by the tent; she's begun to CRY. AMY Please, honey. Just-- Stacy shakes her head; she's CRYING, too, her whole body shaking. Her hair is matted with blood; she looks terrified. STACY I have to get it out. It's-- Jeff darts forward, tries to grab the knife from her, and she slashes at him, SHOUTING: STACY (coat'd) Leave me alonel The blade slices into his palm. Jeff jumps back, cradling his hand at his chest. STACY (cont'd) I have to-- Eric steps toward her, from behind, reaching around her body for the knife, and she spins, reflexively, trying to fend him off. But the knife is in her hand, and it punches into his chest, just to the right of his sternum, sticking there. 125. Eric looks at the knife in surprise. It's twitching back and forth with the beating of his heart. He starts to reach for it, but then his legs give out. He collapses, dropping to the dirt, which has grown muddy with Stacy's blood. Amy SCREAMS. Stacy's CRYING deepens; she takes a step toward Eric, but then her own body fails her. She falls to her knees in the bloody puddle, reaching toward him. STACY (cont'd) Oh, no...no...no... I'm-- Eric is on his back; he struggles up onto one elbow. He tries to speak, but only a GAGGING sound emerges, blood frothing at his mouth. It's pumping thickly from his wound, too, saturating his shirt. STACY (cont'd) I didn't... Eric drops back again. He struggles RAGGEDLY for breath. Jeff lowers himself to his knees beside him, hesitating impotently over him, uncertain what to do. Stacy is SOBBING, shaking her head. There's blood everywhere. STACY (cont'd) Kill me... Jeff turns, stares at her. Amy steps forward, crouches beside her. She takes Stacy's hand. ANY Shh. STACY Please. Just-- ANY Shh. STACY It hurts. It hurts so much. Eric tries to rise again. The blood surges from his wound when he moves. Jeff presses him back down. JEFF Easy. Try to-- Stacy clutches at Amy, begging, her voice HOARSE with pain: 126. STACY Kill me. I can't She stops in mid-sentence, staring. Jeff and Amy follow her gaze. A half dozen tendrils are snaking into the clearing, reaching toward Eric's body. Jeff jumps to his feet. The tendrils begin to wrap themselves around Eric's limbs, and Jeff bends to tear them away. More and more keep coming, though. Eric has started to convulse, GAGGING, his head cocked back. Jeff keeps yanking the tendrils away, but there are far too many of them; they coil around Eric's legs, pulling at him. The blood has stopped pumping from his wound; his body has gone still. AMY Jeff I She points toward the tent. Jeff turns to see. JEFF'S POV - ACROSS THE CLEARING The sleeping bag in which they'd enshrouded Mathias is moving: he's thrashing about within it, struggling to sit up. And he's SHOUTING, too, his voice MUFFLED by the bag: MATHIAS'S VOICE HENRICH...! HENRICH...! He seems to be tearing at the bag with his arms. BACK TO SCENE Jeff hesitates just for an instant, staring in astonishment, then he's sprinting across the clearing. He bends, struggles for the zipper. JEFF It's okay. I'm right here. I'm-- He UNZIPS the bag, and an immense tangle of vine cascades out onto the dirt. Its flowers are a pale pink; they're opening and closing, still calling, louder now: MATHIAS' S VOICE HENRICH...! HENRICH...! The thick clot of tendrils writhes spasmodically, coiling and uncoiling. 127. Entwined within it are Mathias's bones, already stripped clean of flesh. The vine falls SILENT. A beat, then it starts to laugh, a low mocking CHUCKLE. On the opposite side of the little clearing, Stacy begins to SCREAM, shaking her head, SOBBING. STACY KILL ME...! KILL ME...! Jeff stands there, perfectly still. Amy is holding Stacy, struggling unsuccessfully to quiet her: AMY Shh. Shh. The vine's laughter grows steadily. LOUDER, punctuated by Stacy's SHOUTS: STACY KILL ME...! KILL ME...: Amy turns, stares at Jeff. Blood is running off Stacy's body in strings. The vine has dragged Eric to the edge of the clearing; only his head and torso are still visible. Jeff strides toward him. STACY (cont'd) KILL ME...! KILL ME...! Jeff bends, yanks the knife from Eric's chest. Then he starts across the clearing toward Stacy. EXT. CLEARING/BASE OF THE HILL - DAY The Mayans in their campsite. They're all staring up the hill, listening. Stacy's voice ECHOES toward us: STACY (O.S.) KILL ME...! KILL ME...I KILL-- And then, abruptly, it goes SILENT. EXT. HILLTOP - THE CLEARING - DAY Amy sits beside Stacy, who lies on her back in the puddle of blood, arms thrown out, the knife stuck hilt-deep in her chest. Eric's body is barely visible at the edge of the clearing; the vine RUSTLES softly as it consumes him. 128. Jeff is pulling their remaining supplies from his knapsack: the bananas, the raisins, the pretzels, the protein bars, the nuts, the water, iced tea, and Coke. He has a bloody strip of fabric tied around the wound on his hand. Amy watches as he arranges the food in front of her. She's CRYING silently, tears running down her dirt-smeared cheeks. Jeff peels one of the bananas: it's dark brown, far too ripe. He holds it out to her. She just stares at it. JEFF Come on. You'll need the energy. He reaches for her hand, puts the banana in it. She holds the fruit, but makes no move to eat. Finally, VERY QUIETLY: AMY I still think we should wait. Jeff SIGHS: it's clear they've already been through this. JEFF You'll only get weaker. AMY They'll come looking. You said THEY'LL-- JEFF Nobody's coming. AMY Our parents-- JEFF All they'll find are our bones. Amy is silent, staring down at the banana. JEFF (cont'd) We don't have time for this, Amy. You'll need as much daylight as possible. He waves upward, toward the sun, which has passed its peak, begun its slow slide westward. Amy squints toward it for a beat, and then, almost despite herself, lifts the banana to her mouth. She bites, chews, swallows, still mutely crying. Jeff peels the second banana; he hands it to her as soon as she finishes the first. Be watches her eat,.silent. He's tearing open the bag of pretzels when another tendril snakes into the clearing. 129. They both watch it, neither of them moving. It's joined by a second tendril, then a third, a fourth;.the vines coil around Stacy's body, begin to drag it from the clearing. Amy's CRYING grows more forceful, her body shaking. JEFF (cont'd) Shh. Jeff reaches, strokes her. The vine pulls Stacy's body into itself, burying it. Amy watches, struggling to control. herself. Her voice emerges as little more than a WHISPER: AMY I don't want to. I don't... She shakes her head, wipes at her face: the tears, the snot, the sweat, the dirt. Her clothes are falling off her body, eaten to shreds. Jeff's, too. AMY (cont'd) Why can't we both? Jeff hesitates a.beat. Then, clearly not believing it: JEFF We might. He hands her the pretzels; she takes them, watching his face. AMY How? JEFF It'll take them a moment to react. If I can make it to the trees... He trails off, shrugs. Amy keeps staring at him; she doesn't believe this either. He SIGHS again, holds up his hand, pulls the bandage from his wound: it's three inches long, a deep gash into his palm. JEFF (cont'd) How long till it's inside me? Amy is silent. He flexes his hand, and the wound opens, mouthlike, blood oozing thickly from it. JEFF (cont'd) It already is, probably. I'll be just like Stacy soon. He turns, glances toward the spot where her body has disappeared. Amy looks, too. 130. JEFF (cont'd) Then what? You, all alone on this hill... you know how that would end, don't you? Once more, Amy is silent. He waves for her to keep eating, and she starts in on the pretzels, mechanically. He opens the can of Coke, hands it to her; she takes a long sip. JEFF (cont'd) Once you're in the jungle, you drop and hide. Another tendril slithers forward. It slips into the immense puddle of blood beside Jeff and Amy, begins to drink it. JEFF (cont'd) They'll never find you--it's too thick in there. Just burrow down, and they'll run right past. Jeff opens the can of nuts, sets it in front of Amy. Then he gets up, crouches over the puddle of blood. He cups. his hands, dips them into the puddle. He steps toward Amy, smears the blood across her T-shirt. Amy keeps eating. JEFF (cont'd) It's sudden movements that'll get you caught. So take your time. You step, then listen. Then another step, and listen again. He moves back to the puddle, which the lone tendril continues' to drain. He cups his hands, scoops up more blood, smears it on her tattered khakis. Amy has finished the pretzels; she reaches for the nuts, looking numb.. JEFF (cont'd) East, always east--keep the sun at your back. He scoops up more blood from the puddle. JEFF (cont'd)' Arms. Amy holds out her arms, and he smears the blood on them. JEFF (cont'd) You'll hear me yell. I'll yell your name. 131. He returns yet again to the puddle, then stands over her, the blood cupped in his hands, dripping. JEFF (cont'd) And you can't hesitate. Understand? Not for an instant. Amy nods, and he uncups his hands over her head. She shuts her eyes as the blood runs into her hair, down her forehead, her neck, her face. EXT. CLEARING/BASE OF THE HILL - DAY Three of the Mayan men, as usual, sit in the clearing, bows in their laps, facing the hill. The others are sheltering from the sun in the line of shade along the jungle's margin, some sleeping, some talking quietly together. One of the men in the clearing suddenly rises to his feet, nocking an arrow. The other two also rise. The Mayans along the clearing fall silent, staring up the hill. THE MAYANS' POV - UP THE HILL Jeff is approaching down the trail, carrying Amy, pieta-like, in his arms. Her body is limp, apparently lifeless, and dripping with blood. BACK TO SCENE The bald Mayan emerges from the tree line, followed by yet another man with a bow. They join the other three Mayans in the center of the clearing. They all watch as Jeff reaches the base of the trail, where he carefully lays Amy down. Jeff crouches over Amy, laying her arms across her chest, pushing the hair from her face. He bends, kisses her blood- smeared forehead. Then he glances up at the Mayans. JEFF You don't even know her name. The Mayans just stare at him. He rises to his feet, pulling the knife from his belt: it's darkly stained with. blood. JEFF (cont'd) You should. You should know who you're killing. 132. He steps out into the clearing. The bald Mayan pulls his pistol from its holster, raises it, aiming at Jeff's chest. The others draw their bows. Jeff smiles, taps his sternum. JEFF (cont'd) Jeff. Understand? My name's Jeff. He edges along the clearing's margin, keeping close to the vines, moving away from Amy's body. The Mayans follow him, weapons raised. After a handful of steps, he stops again, turns toward them. JEFF (cont'd) Can you say it? Huh? Again, the Mayans just stare. He SLAPS at his chest. JEFF (cont'd) Jeff. A beat, then he suddenly YELLS, waving the knife at the men. JEFF (cont'd) SAY MY FUCKING NAME! Silence. The Mayans stand there with their weapons raised, waiting to see what he might do. A beat, then he starts walking once more, along the clearing's edge, away from Amy. Another ten yards and he stops again, waves up the hill. JEFF (cont'd) There's Stacy, too. And Eric. Mathias. And Henrich. You've killed them all. He steps toward them. The bald man raises his hand, holds it up, palm out, next to his pistol. Jeff smiles at him again. JEFF (cont'd) But not everyone. He LAUGHS, a little wildly, and shakes his head. JEFF (cont'd) Look at you, you stupid fucks. You have no idea what I'm saying, do you? He takes another step into the clearing. The bald man COCKS his pistol, loudly. Several of the other Mayans have emerged from the jungle; they stand there watching. 133. JEFF (cont'd) One of us is gonna survive. You should know that name, too. You fuckers. You bastards. He takes yet another step forward. The bald man speaks a string of words IN MAYAN, with an edge of warning. More Mayans emerge from-the jungle, shielding their eyes against the sun, staring. No one is looking in Amy's direction. JEFF (cont'd) It's not Jeff. He shakes his head, his voice dropping, almost to a WHISPER: JEFF .(cont'd) It's not me. He takes another step. And then, still QUIETLY: JEFF (cont'd) It's Amy. You hear? He takes a deep breath, gathering himself. Then he YELLS-- JEFF (cont'd) AMY; --and starts to run, straight at the Mayans. He only manages three steps before the bald man FIRES his pistol, and the others let their arrows fly. The bullet hits Jeff in the chest, just beneath his throat. One of the arrows misses; the other three strike his stomach, his left arm, his right thigh. Before he even hits the ground, there's a SHOUT from the Mayans along the treeline. The bald man turns. Amy is on her feet, sprinting for the jungle. The bald man raises. his pistol, FIRES, but the shot is too hurried; it goes wide. The others are still scrambling for fresh arrows as she vanishes into the trees. The bowmen sprint after her, disappearing into the jungle, leaving the bald man alone in the clearing with Jeff. The Mayan women stand motionless along the treeline, staring. after Amy: they look mortified, grief-stricken. Jeff is bleeding heavily from his wounds, struggling to crawl forward, his breath frothing pinkly at his lips. A half dozen tendrils slither into the clearing. They coil around his legs, start to drag him back toward the hill. Jeff fights them, kicking, MOANING, bleeding. 134. The bald man watches. He, too, looks grief-stricken. He steps forward, aims at Jeff's head. As he FIRES, WE: CUT TO A BLACK SCREEN WE HEAR footsteps, moving quickly down a tiled floor. DOCTOR (O.S.) (a slight Spanish accent) She flagged down a tour bus, just west of Coba-- The voice CARRIES OVER into: INT. HOSPITAL CORRIDOR - MOVING - NIGHT A Mexican DOCTOR, in his late fifties, balding, a little stooped, his white jacket buttoned over a shirt and tie, is hurrying down the corridor, accompanied by TERESA, a dark- haired woman in beige slacks, a blue blouse. Teresa has- a leather briefcase, a Blackberry on her belt. She's holding Amy's passport,. which she examines as they walk. It's smeared with dried blood. DOCTOR --and collapsed before the driver even managed to open the door. The corridor is brightly lit, very clean. Rooms open off it on either side, and we glimpse the still.forms of sleeping patients as we pass, IVs hanging from metal stands beside their beds. It's very quiet. DOCTOR (cont'd) She revived briefly, just after they brought her in. She was in bad shape--severely dehydrated, traumatized, in shock. And terribly frightened. It was impossible to make any sense of what she was saying. She was sobbing, hysterical. We had to sedate her. The doctor has a manila folder under his arm; he opens it, pulls out a piece of paper: a color printout of a digital photo. He hands it to Teresa. DOCTOR (cont'd) Her clothes were torn; she was covered in blood. But not her own. 135. Teresa stares down at the photo: it shows Amy on a gurney, unconscious, blood-smeared, corpse-like. TERESA Now do you know? DOCTOR She has no wounds. A uniformed policeman sits on a chair outside one of the rooms at the end of the corridor, reading a newspaper. He rises as they approach. Teresa hands the printout back to the doctor; she keeps the passport. TERESA That's it? That's all you have? DOCTOR I'm afraid so. Be nods to the policeman, and leads Teresa into: INT. HOSPITAL ROOM - NIGHT A bed, a night stand, a curtained window. Amy lies with a sheet pulled to her chin, unconscious, an IV dripping into her arm. They've cleaned the blood off her. A NURSE sits in a chair beside the bed. She's in her early twenties, with long dark hair tied in a bun. She stands up, stepping back from the bed, as the doctor and Teresa enter. The doctor addresses her in SUBTITLED SPANISH: DOCTOR Has she stirred? The nurse shakes her head. The doctor moves to the bed. He takes Amy's wrist, feeling for her-pulse. Amy's eyes open at his touch. She stares at him, her arm hanging limply in his grasp. He smiles down at her. DOCTOR (cont'd) There you are... Teresa steps forward, and Amy's gaze shifts to her. DOCTOR (cont'd) My name is Dr. Hernandez... Amy's eyes return to the doctor;. they fall on his face, then drift down to his chest. The doctor gestures toward Teresa: 136. DOCTOR (cont'd) And this is Ms. Bern, from the U.S. Consulate. Amy is staring at his white coat, her expression going slack, almost catatonic, all the life draining from it. DOCTOR (cont'd) we were hoping you might be able to shed a little light on what you've been through... Amy is silent, still staring with that dead look in her eyes at the doctor's coat: a faint green web of vine has taken root there, spreading across the white fabric. WE HOLD on it for a beat, and then: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Runaway Bride.txt b/unformated_scripts/Script_Runaway Bride.txt new file mode 100644 index 0000000000000000000000000000000000000000..13cdcbd8fde97825a2b19a3fab6d91ce57b9b57a --- /dev/null +++ b/unformated_scripts/Script_Runaway Bride.txt @@ -0,0 +1 @@ + R U N A W A Y B R I D E Screenplay by Sarah Parriott & Josann McGibbon -------------------------------------------------------------- FADE IN EXT. AN IMPOSSIBLE EXPANSE OF MARYLAND FARMLAND - DAY The wind rustles the endless field of corn, blows over the freshly mown meadow of soybeans, and magically sways a copse of trees. It's a Fall after-noon. A SUDDEN POUNDING OF GALLOPING HOOVES breaks the peace and... A HORSE and RIDER burst between the rows of corn into the meadow. They are running for their lives. CLOSE ON: The rider is a bride -- a beautiful woman dressed in a disheveled wedding gown, it's train tattered and flying like a knight's banner out behind her. This is MAGGIE CARPENTER. The horse is frothing and wild-eyed, like the bride, who turns to look behind her in terror. The horse's labored breathing mingles with Maggie's panicked gasps. We see a WEDDING BOUQUET fly into a ditch as the horse thunders on. Maggie clings to the reins. She looks as though she is running from the devil himself. FADE TO BLACK EXT. IKE'S APARTMENT BUILDING - DAY Establishing. CUT TO: EXT. IKE'S APARTMENT BUILDING - DAY - ESTABLISHING SHOT EXT. NEW YORK STREET - DAY IKE (V.O.) Hey, Fisher, pick up. I have some column ideas I want to bounce off you. Not there? Okay. Listen I'm thinking of writing about those mind-numbing informercials that are always on. Ike walks out of his apartment building talking on cell phone. IKE (cont'd) What do you think? Good idea, right? Boring, down to death, pointless -- It sucks. Ike yells at a CONSTRUCTION WORKER. IKE (cont'd) If you guys are here any longer, they're gonna make you sign a lease. CONSTRUCTION WORKER Your column should be so funny. Ike turns and walks down the street, talking into cell phone. IKE Okay, I was also thinking I might write about... He spots a RICH LADY with tons of diamonds getting out of a Limousine, talking to a CHAUFFEUR. He goes up to her. IKE (cont'd) Excuse me. I was thinking of doing an article on limousines. What would you say to people who never had a chance to drive in a limo? They walk up to her DOORMAN. LADY I'm sorry, I don't know any people like that. Ike walks off. They stare at him as he goes. EXT. ANOTHER NEW YORK STREET - DAY Ike's talking on the phone to his friend's machine again. IKE (into phone) Fisher? Come on -- I know you're sitting there laughing at me. Pick up. I want to run an idea past you. Ike continues walking now in the full panic of writer's block. He pleads into his friend's answering machine as he walks. IKE (cont'd) (into phone) I just could use someone to toss it back and forth with for a few minutes, get the juice flowing, help me. I have an hour and twenty-seven minutes and fifty-two seconds. Hello? He walks away from the t-shirt table towards the bar. The Vendor calls out to him. T-SHIRT VENDOR Hey, Ike, when are you going to put me in an article? IKE When your t-shirts stop shrinking. Ike enters the bar. The Woman drops the shirt she was holding and walks off with her children. The T-shirt Vendor goes back to selling his shirts. INT. NEW YORK BAR - LATE DAY Ike sits at the bar speaking to an attractive Woman nearby, a MAN puts is USA Today on the bar and addresses the BARTENDER. MAN I see photos of a lot of dead writers on these walls. Got any living ones? I have a story to tell that could win one of them a Pulitzer. (then, with enthusiasm) Picture this, if you will. A small town in Maryland, a sleepy little village, within that a hardware store... The Man continues speaking as Ike and the woman continue their conversation. WOMAN So what's in store for us in tomorrow's column? IKE I don't know yet. I'm kind of a last- minute man. Ideas don't flow until an hour or two before deadline. The Woman gets up and begins throwing darts. WOMAN (interrupting) This is very interesting. You get your ideas for your column from life. You start up a conversation with a woman in a bar, attack her choice of reading material, try and get a rise out of her while you contemplate whether or not she's worth hitting on. IKE No, I can't hit on you until I get an idea. She starts throwing darts. WOMAN That's flattering. IKE No, you don't understand. The Woman goes to her bar stool, gathering her bag and leaves a tip for the Bartender. WOMAN I think I do understand. So my not responding to your baiting me will inspire one of those potential bitter diatribes you love to write about women and all the things we do to drive men crazy? IKE (taken aback) I don't write bitter diatribes about women... very often. She whacks him with a newspaper, then shakes his hand. WOMAN Only when the ideas aren't flowing, huh? Well, it was very nice to meet you, one-minute man. The Woman leaves the bar. IKE (as she exits) That's last minute man. (then, louder) And it's the quality that counts. BARTENDER You know, for a good looking man, you strike out a lot. MAN I've seen much worse. The phone rings. Te Bartender answers it as Ike sits back on his bar stool. Ike grabs the woman's magazine that she left on the bar and starts glancing at it. The Man at the bar has heard the whole thing. MAN (cont'd) I said, I've seen much worse. Ike looks at the Man with reservation. The Man is George Swilling. IKE Excuse me? MAN The brush-off. Ike gets up and moves to the dart board. He removes the darts. MAN (cont'd) I've witnessed far more treacherous and nefarious exits than that. At least she castigated you in private. IKE Not as private as I thought. Ike turns slightly, giving the man his back. IKE (cont'd) Kevin, you've got some napkins? BARTENDER Writing or wiping? IKE Give me a pen. The Bartender gives him cocktail napkins and a pen. Ike starts making notes. Ike looks up from his writing. The Man gets up and starts throwing darts. MAN (throwing darts hard) Ah, come on. They deserve it. They love you, they hate you, they're hot, they're cold, they're high, they're low... IKE ... They're up, they're down. It's really fun making this list with you, but I've got a column to go write. BARTENDER Ike. MAN (undeterred) But you don't have a really superb idea! Well, there's a girl from my hometown you could write about. Ike moves to the Bartender and pays him. BARTENDER (to Man) Excuse me, we don't need any new ideas. MAN She likes to dump grooms right at the altar. They call her "The Runaway Bride". Both Ike and Bartender turn and stare. MAN She performed the travesty seven or eight times. Right at the altar she turns around and runs like hell. Bolts. Ike turns and heads for the door. The Man calls after him, getting up from his stool without stopping his enthusiastic story. MAN (cont'd) Adios. Plows down the aisle, knocking old ladies out of her way like the running of the bulls at Pamplona. And guess what? IKE I give up. MAN She has the next victim all lined up. She's twirling another body on the spit. Ike stops in his tracks. He turns back around in spite of himself. MAN (beginning his story) Imagine if you will, a small town in Maryland... CUT TO: INT. IKE'S APARTMENT - DUSK Ike sits at his computer, cassette player with Miles Davis PLAYS next to him as he types away reading his handiwork to himself. IKE (reading) "Today is a day of profound introspection, I have been accused of using this column to direct bitter diatribes at the opposite sex! This uncomfortable accusation has plunged me into at least fifteen minutes of serious reflection, from which I have emerged with the conclusion that, yes -- I traffic in female stereotypes." EXT. USA TODAY OFFICE - DAY FISHER walks through the main office reading the paper. FISHER "But how can one blame me when every time I step out my front door I meet fresh proof that the female archetypes are alive and well? Te mother, the virgin, the whore, the crone; they're elbowing you in the subway, stealing your cabs, and overwhelming you with perfume in elevators." INT. USA TODAY OFFICE - CONTINUOUS Elaine at her desk reads aloud to herself. ELAINE "But perhaps, in fairness to the fairer sex, I do need to broaden my horizon and add some new goddesses to the pantheon: I would like to nominate for deity..." Fisher hands a file to Elaine. FISHER "... The cheerleader, the coed, and the man-eater, the last of which concerns me most today." Fisher leaves and we hold a USA Today sign. CUT TO: INT. NEW YORK BAR - DAY The Man comes out of the men's room reading the USA Today, Kevin, the Bartender, stands on the bar reading the same article. MAN (reads) "To be fair, the man-eater isn't exactly new. In Ancient Greece, this fearsome female was known as Erinys, the devouring death goddess. In India, she is Kali, who likes to devour her boyfriend Shiva's entrails while her yoni devour his -- dot dot dot, never mind. In Indonesia, the bloody-jawed man-eater is called Ragma..." Te Man sits at the bar near to the Bartender. BARTENDER You noticed these are all countries without cable. (then, continues reading) "... And in Hale, Maryland where she helps run the family hardware store. She is known as Miss Maggie Carpenter ..." (mispronounces) ".... AKA, the Runaway Bride." CUT TO: EXT. USA TODAY LOADING DOCK - DAY WORKERS read the above article. INT./EXT. BEAUTY PARLOR / HALE, MARYLAND - DAY PEGGY and MRS. PRESSMAN exit the parlor and stroll down the street. (lowers her paper and reads.) PEGGY (cont'd) "... And in Hale, Maryland where she helps run the family hardware store." (to the Women) We have to go to Maggie. Cindy, mind the shop. (exits salon; continues reading) "... She is known as Miss Maggie Carpenter, AKA, the Runaway Bride." MRS. PRESSMAN Holy moly. The older one, Mrs. Pressman, listens with a pained expression as the younger one, Peggy, continues to read the column aloud. Neither one can believe what they're reading. PEGGY (reads) "What is unusual about Miss Carpenter is that she likes to dress her men up as grooms before she devours them. She has already disemboweled six in a row by leaving them at the altar."... I can't ready anymore. MRS. PRESSMAN (takes paper from her, reads) "And her ritual feast continues as she prepares to make a sacrifice out of the seventh fiance. So all bets are on and we hope that this boomerang bride isn't honeymooning with Las Vegas odds makers because many predict that this girl is out of there before the race... before the rice hits the ground" (then) Holy moly. Peggy and Mrs. Pressman step into a hardware store. INT. HARDWARE STORE - CONTINUOUS Peggy and Mrs. Pressman enter, worried. MRS. PRESSMAN You tell Maggie. PEGGY No, you tell her. MRS. PRESSMAN No, no. You're her best friend. PEGGY No. MRS. PRESSMAN (holding her newspaper) You know, it's just possible that she hasn't read this yet. PEGGY Yeah. MRS. PRESSMAN Maybe she hasn't read the paper... On the counter, they see a copy of USA Today opened to the article about Maggie. MRS. PRESSMAN (cont'd) ... Or not! We follow MAGGIE down the back stairs inside The Hale Hardware Store, the prettiest, most welcoming shop of its kind anywhere in small town USA. Somehow the place ha taken on the spirit of the owner's daughter; both stop and shop-girl radiate brightness, charm, and possibility. Maggie comes down steps with a faucet handle and goes to an elderly customer, MR. PAXTON. MAGGIE (bright) Here we go! One antique hot water handle with the "HOT" still on it, guaranteed to fit any American Standard cast iron tub with a four-inch center made between 1924 and 1938. In other words, I think you're out of the doghouse with Mrs. Paxton. MR. PAXTON (amazed) Hallelujah. MAGGIE Alright, Mr. Paxton, I'll put it on your account. Maggie rounds the bend, another customer, EARL, stands by the paint machine. EARL Maggie. MAGGIE (walking past customer) You don't need an air conditioner, Earl, you just need an attic fan -- There's more in the back. Maggie steps behind the front counter of the store and takes the account book out. Her voice trails off as she sees the dour expression on the faces of her friends. MAGGIE (cont'd) What? Peggy nervously mentions the newspaper. PEGGY (delicate) So -- Mag -- you've seen this, huh? MAGGIE (serious) Yes, I've seen it. And I have to say it's the rudest and most offensive... joke anybody's ever played on me! To their amazement, Maggie starts smiling. MAGGIE (cont'd) You guys! How long did this take you? Maggie stays amused. MAGGIE (cont'd) Where'd you get this done? (laughing) You creeps! I should disinvite you! And why did you say seven times? This is four. PEGGY Uh, Maggie, you told us to bachelorette jokes, so we didn't... Maggie looks at the stricken face of her friends. MRS. PRESSMAN Holy moly. Peggy looks like she is going to cry with sympathy for Maggie. Maggie is starting to feel uncomfortable. She looks down, dubiously, at the paper. MAGGIE Um, you know, now would be a good moment to tell me this is fake. (no response) It won't be funny if you drag it out. Okay? (no response) Okay, well... I mean, I can find out... Real newspapers smear. Phoney papers don't. She picks up the paper and brushes it against her apron, leaving an INK SMEAR!! She nearly kneels over. MAGGIE (cont'd) (sitting) Bag. Peggy and Mrs. Pressman immediately spring to her side. They give her a bag to breathe in. MRS. PRESSMAN Bag. CUT TO: INT. MAGGIE'S WORKOUT ROOM/GYM - NIGHT We see Maggie kickboxing in anger. The radio is on. She suddenly stops, yanks Ike's article off the wall, leaves her workout area and goes to her desk. ANGLE ON DESK AREA: She turns off the radio and begins to type her letter. MAGGIE (V.O.) "Dear Editor..." EXT. MANHATTAN - DAY - ESTABLISHING SHOT As Maggie's VOICE-OVER continues to read her letter, we take in a Manhattan busy day. It is big, loud, and anonymous. MAGGIE (V.O.; cont'd) "Greeting from the sticks! Perhaps you believe that a rural education is focused mainly on hog calling and tractor maintenance rather than reading. Why else would you print a piece of fiction about me and call it fact?" Te CAMERA FINDS Ike, striding across a busy street, dodging taxies. A WOMAN smacks him with a newspaper. He passes a WOMAN TRAFFIC OFFICER, then a hot dog stand. He greets and passes a FALAFEL VENDOR. THE CAMERA PANS to a USA Today Truck. MAGGIE (V.O.; cont'd) "I suppose Mr. Graham was too busy thinking us slanderous statements about how I dump men for kicks to bother with something silly like accuracy in reporting. Which is understandable, because with a "man-eater" like me on the loose, who has time to check facts?" EXT. USA TODAY LOADING DOCKS - CONTINUOUS He passes regular GUYS who cheer him. MAGGIE (V.O.; cont'd) "Still, we cannibalistic queens can get pretty cranky when we see things in print that hurt our feelings, like that we deliberately abandon fiances with malice aforethought." INT. USA TODAY LOADING DOCKS - CONTINUOUS He enters the newspaper building, going to Ellie's office. INT. USA TODAY OFFICE - CONTINUOUS He walks through the crowded city room. His arrival attracts a lot of attention from his CO-WORKERS. Ike seems a little surprised, but he's pleased. MAGGIE (V.O.; cont'd) "That's why I was surprised to find Mr. Graham's editor was a woman. Call me a sentimental fool, but I sort of hoped we man-eater could stick together." Ike works his way down the hall to the editor's office. CHUFFA Ike greets various workers. He steps up to the editor's secretary, ELAINE. She doesn't smile. IKE (to Elaine) I'll put in a good word for you. ELAINE No, no, don't mention my name in there. IKE Why? A buzz. ELAINE You can go in now. Ike goes into Ellie's office. Elaine picks up her phone. CUT TO: INT. ELLIE'S OFFICE - CONTINUOUS ELLIE is that editor. Stylish and successful looking, she's about Ike's age. Ellie sits behind a big desk with a scowl on her pretty face. Her casual-looking husband, Fisher, sits nonchalantly on the arm of the couch. Ike enters as Ellie reads Maggie's letter. ELLIE (reading letter) "Anyway, I'm just dropping you big city folk this little note to say that I have thought of a ritual sacrifice that would satisfy my current appetite: Ike Graham's column on a platter. Yours truly, Maggie Carpenter. P.S. -- I have inclosed a list of the gross factual misrepresentations in your article. There are fifteen." Ike sits as Ellie puts the letter down and takes off her glasses. IKE (chuckles as he sits) Fully. I like her. She has wit. ELLIE I left four messages. You don't return my calls. IKE So? I never returned your calls, even when we were married. And what's Fisher doing here anyway? Fisher gets and places a photo of the cat on a bookshelf on his way to the other side of the room. FISHER Ellie asked me to come down to offer moral support. IKE Since when does Ellie need moral supp-- ELLIE -- It's for you, Ike. IKE What? ELLIE Journalism lesson number one. If you fabricate your facts, you get fired. Ellie pushes USA Today lawyer's letter across the desk for him to read. Ike picks it up and skims the letter. His face is as impassive as stone. IKE Lesson number two. Never work for your former spouse. ELLIE That's not nothing to do with it. You cooked this story up and you know it. IKE I didn't cook up a story. I had a source. ELLIE Someone reliable, I'm sure. A booze- hound in a bar? FISHER In vino veritas. IKE Don't knock drunk guys in bars. Drunk guys in bars are good. It means they're not driving. Ike gets up and stands near Ellie, making his point. IKE (cont'd) Besides, I'm a columnist. This is what columnists are supposed to do. This is what you like. We push, we stretch, we go out on a limo. That's what makes me good! ELLIE No, that's what makes you unemployed. IKE I merely write the stuff. You're the one that serves it up. Ike puts down the letter and puts his glasses back into his pocket. ELLIE Not anymore. I have to draw the line. (pushing a piece of paper) She sent us this list. Our lawyers say it's actionable. Ellie hands Ike Maggie's list. IKE (scoffs) Lawyers. (glances at list) I don't know, Ellie -- Firing me is going to be very tough on you. It's going to be hard to get over. There will be therapy bills for you. ELLIE (shrugs) I already made an appointment for later today. IKE (putting the list down, standing) See? You want custody of my job? ... Why not just consider my wrist slapped and call me when you feel I've served my time? ELLIE I'm sorry, Ike. This is permanent. Fisher winces and looks away. Ike and Ellie look at each other for a sober moment. ELLIE (V.O.; cont'd) If you go quietly, I'll get you severance pay. Ellie fidgets with her toy rake, then Ike heads for the door. He laughs a little at the painful truth of her words and walks out. Ellie collapses back in her chair. Fisher goes to her and rubs her shoulders. EXT. USA TODAY LOADING DOCK - DAY Ike rides sadly on the back of a forklift, gets off and walks out. EXT. HALE RESIDENTIAL STREET - ANOTHER MORNING ANGLE ON MAGGIE'S HOUSE: A train goes by. A modest clapboard house with a porch. Two entrances. A PAPERBOY tosses a paper onto the lawn in front of the house. The front door opens and Maggie appears fresh out of bed, wearing only a jacket and panties. Heedless of being seen this way, she scampers out to the sidewalk to pick up her delivered paper: USA Today. She tears off the plastic bag and rips into it, looking for her letter. She finds it. A smile on her face, then she scampers back into the house. INT. MAGGIE'S HOUSE - THAT MOMENT Maggie skips back into her house which she shares with Father and Grandma. A cozy and eclectic place creatively furnished on a shoe-string. She rushes into: KITCHEN WHERE BOB KELLY, fiance #4, is packing cans into a backpack. Bob, 38, has a pleasant face and a body that is almost shockingly buff. He's wearing a T-shirt that reads: "Mountaineers Do It Against the Wall.", Maggie dances over, waving the paper and singing. MAGGIE She canned him, she canned him... Bob test the weight of the backpack adding dehydrate food. BOB Come here, Mag, and try this on. Maggie puts the paper on the kitchen counter and starts to read aloud, paying no mind to Bob, who is sticking her arms through the straps of the backpack. MAGGIE Listen: "Dear Ms. Carpenter, I apologize to you for this unfortunate matter. Ike Graham's column will no longer be appearing in this paper. Best of luck in you upcoming marriage!" Bob continues to hold up the weight of the backpack as he straps it onto Maggie's shoulders. BOB That-a-girl! You sacked him. (checking pack) This is the weight of the pack you're going to have to carry in the Himalayas. Tell me if it's too heavy. Bob lets go and Maggie FALLS BACKWARD, disappearing behind the counter, and hitting the floor, with a THUD. Bob looks down at her. Maggie's voice rises from the floor behind the counter. MAGGIE (o.s.) It's a little... It's a little heavy... Help me, baby. Bob has no answer. He reaches a hand down. He yelps as Maggie pulls him down on top of her, out of frame. We HEAR them giggle and kiss. INT. USA TODAY LOADING DOCK - ANOTHER DAY Fisher uses the dock for a photo shoot featuring men and women in evening and formal wear from Escada for G.Q. Fisher is not actually shooting the camera, but rather supervising it. Fisher claps his hands and calls the models to attention. Then he goes onto the stage and sets the models in their positions. FISHER (cont'd) Remember, we are putting the "fun" back into formal. (to Ike) I just say that for the agency guys. I don't even know what that means. Now follow me. INT. USA TODAY OBSERVATION ROOM - DAY Elevator doors open. Ike and Fisher exit and walk towards the coffee table. FISHER Ike, I really liked the Runaway Bride piece, and since I do freelance stuff for G.Q., I'm in a different position now... IKE What are you trying to say to me, Fish? They stop walking. FISHER Vindication. How would you like to get some? A chance to prove that, though your facts weren't entirely straight, your theory was correct. IKE (hiding his hope) The real story on Miss Carpenter. FISHER All the gory details. They start walking again. IKE (excited) The anatomy of the black widow spider of Maryland. FISHER It wouldn't be a bad way to get you back into writing feature pieces again. IKE (enthusiastically) This is good. It is a good story, Fish. They stop at the coffee table and grab something to eat. FISHER (nods) If she runs, then it's a cover story. All true. All accurate. IKE (confesses) Okay, you were right. I hated my column, but I can do this assignment. FISHER Then you've got it. If you leave tomorrow for the hinterlands, you'll have plenty of time before her next wedding trot. IKE "Paid vindication" That's what I call justice. FISHER Justice, yes. Paid, I don't know. They like the idea, but my hands are tied with budget restraints. IKE But I'll get my normal fee, right? He walks away. IKE You want me to do it on spec?! He follows him. CUT TO: EXT. MARYLAND HIGHWAY - DAY We see Ike driving down the highway. The car sputters a little as he and Fisher continue their conversation in voice-over. (If needed by the editor.) FISHER (V.O.) Don't say "spec" like it's a dirty word. Nobody ever paid Shakespeare to write a play! Plato never got a book advance... IKE (V.O.) Oh yeah! I happen to know from reliable sources that Nietzche got expenses and a rental car. We hear Fisher laugh. IKE (V.O.; cont'd) I'm going to make this work, Fish. I'm going to do it! Ike's car drives into Hale, passing a billboard reading, "Welcome to Hale." CUT TO: EXT. HALE STREET - DAY Ike drives down picturesque Main Street. He passes Hale Hardware. Sign says: "At Curl. Be back soon." EXT. ATLANTIC HOTEL - DAY A BARBERSHOP QUARTET is singing in front of the only hotel in town. Ike pulls up and goes inside. INT. LOBBY/ATLANTIC HOTEL - DAY Ike has checked into the Atlantic Hotel. The clerk, LEE, hands him his key. Ike asks about room service and the restaurant. An OLDER WOMAN asks him if he plays bridge as he goes up the stairs to his room. EXT. HALE MAIN STREET - DAY Ike exits his hotel as the Barber Shop Quartet finishes singing "Camptown Races." He now walks down the charming main artery of the town, looking exactly like what he is: a cynical New York out of his element on sunny Main Street, USA. KIDS ride by on bikes, streaming balloons behind them. A balloon hits Ike on the face. As he crosses the street, he mutters into his tape recorder: IKE I think I'm in Maryberry. Flags hang on all the storefronts and the place sparkles with wholesome attitudes as PEOPLE greet each other familiarly. Ike comes to beauty parlor called "Curl Up and Dye". The place is doing business and crowded with WOMEN. INT. BEAUTY PARLOR - DAY Cindy, the manicurist, does Mrs. Pressman's nails. Maggie sits on the floor next to Peggy's salon chair, fixing the base of a barber chair. She tightens a screw and looks up, satisfied. Cindy's dog is on the floor near Maggie. MAGGIE Cindy, you better 86 Sprout. He seems to be enjoying the petroleum distillates. Cindy rolls over in her chair, picks up her dog and rolls back to her station. CINDY That's it. Back to obedience school. MAGGIE (to Peggy) Okay -- have a seat... gently, carefully. Peggy sits in the chair. Maggie spins her around and around. PEGGY (delighted as she spins) You're a goddess! MAGGIE I didn't even need to change this gasket, just put in a little hydraulic fluid. PEGGY Stop it. When you talk like that, I get turned on and it frightens me. JUST THEN. Ike enters the salon, taking off his sunglasses. Peggy hops off the chair. IKE Hello. I'm looking for Maggie Carpenter. There was a sign at the hardware store across the street... PEGGY Are you a reporter? It's a little early in the game for Ike to be thrown off guard. IKE (shocked) What? PEGGY (eyeing his loafers) It's been our experience that anyone with some sort of gewgaw on his loafers ends up being another big city reporter wanting to interview Maggie. IKE About her upcoming wedding and all. PEGGY No, about her getting that asshole from New York fired. Ike smiles down at his loafers and shrugs. IKE I am just such a reporter. And you are? PEGGY Peggy Phleming. Not the ice skater. Peggy steps aside. Ike moves toward Cindy and Mrs. Pressman. IKE And who are these lovely ladies? Te ladies shake his hand and introduce themselves. CINDY Cindy. Maggie's unmarried cousin. MRS. PRESSMAN Mrs. Pressman. No relation. PEGGY And you are? IKE (turning toward her) Looking for Maggie. PEGGY Yep. Maggie -- Someone to see you. Maggie looks over from her sitting position on the floor. She gives Ike the once-over, focusing on the shoes. MAGGIE (yelling to Peggy) Reporter? PEGGY Yup! Ike crouches to see Maggie on the floor just as she rises to her feet. Ike straightens up. For a moment, he is thrown by her beauty and intelligent eyes. MAGGIE I hope you have a different angle. It's pretty much all been covered. IKE Originality is my speciality. MAGGIE Excellent. PEGGY Hold on -- Nobody interviews Maggie in here unless they're getting haircut. MAGGIE She's the boss. IKE Sorry, no. I just got one. MRS. PRESSMAN (to Ike) Excuse me, sir. I have an actual fact for you. IKE (steps to Mrs. Pressman) Yes, Mrs. Pressman. MRS. PRESSMAN It's her fourth time to the altar, you know. Not seven like they said. IKE I know. Tell me something. Do you think she's going to make it all the way this time? During the Ike/Mrs. Pressman exchange, Maggie looks at Ike. There's something familiar about him. She looks over at Peggy and beckons her to a copy of Ike's column affixed to a mirror. A goatee and horns, have been scrawled on Ike's byline picture. He's been "devilized". Peggy coughs as she recognizes Ike in the newspaper clipping. MAGGIE She swallowed her gun. Mrs. Pressman continues her story to Ike. MRS. PRESSMAN I'm not sure. Mr. Schullian runs the newsstand, he's our local bookie, you know, he's giving eight to one odds she won't. He says she's so famous now, maybe Vegas will give odds on her. I'm going to wait to hear what the pros say. IKE Good fact. Well, you let me know. MRS. PRESSMAN Oh, I will. ANGLE ON: Maggie indicates column to Peggy. She looks over at the part of the shop used to wash and dye hair. There's a sink, stool and a cabinet affixed to the wall above sink, which holds various shampoos and hair dyes. Maggie gets an idea. Maggie and Peggy step forward toward Ike. MAGGIE Well, instead of a haircut, how about a wash? You know, get all that city grit out of it. IKE You'll answer my questions? Maggie nods affirmatively. IKE (cont'd) (removing his jacket) Fine. You wash, I'll ask the questions. PEGGY Great. Ike hands Peggy his jacket. A mystified Peggy leads Ike to the sink. While she does this... MAGGIE Have a seat. Peggy, why don't you give him the special treatment that strengthens the follicles. Ike sits in the chair near the sink. Maggie shakes out a smock and puts it around Ike. MAGGIE (cont'd) So, what do you want to know? Ike leans and rests his head on the sink. Peggy bends over him and wets his hair. She grabs various hair coloring products. IKE Getting nervous? MAGGIE Nervous? Not at all! No. I've never been more certain in my life. Except -- I am having all kinds of weird dreams. Ike pulls the cloth down from over his face. IKE Weird dreams? You're going to tell me about them? MAGGIE Yes. PEGGY (calming) Let's just put this back here for the aromatherapy. Peggy recovers his face, then continues to fuss with the hair coloring products. Maggie helps. INT. BEAUTY PARLOR - LATER Ike sits with a towel over his head as Peggy blow-dries the back of his head. His back is to the mirror, his body faces Maggie. Cindy does her own nails as Mrs. Pressman scratches off lottery tickets. The dog, Sprout, sits in is basket. MAGGIE In another one... PETE, wearing a hat, comes in the front door of the salon. PEGGY Hey, Pete, I'll be right with you. Ike peeks out from under his towel as Maggie continues. MAGGIE I'm inside the church. Everyone I know is there, only they're not really them. They're like Frankenstein monsters, but without the bolts coming out of their necks. It's all very "Night of the Living Dead". And here's the creepiest part -- I look down at my dress and it's red. I mean, I have no idea what it means. Red's not my color! Ike listens intently and stares steadily into her eyes. Peggy removes the towel. His hair is divided into equal parts and dyed orange and red. MAGGIE (cont'd) So what do you think? Ike stares back at her, the tickle of suspicion creeping up his spine. IKE I think you'd look good in red. PEGGY No, she's talking about your hair. Maggie swivels his chair so that Ike faces the mirror. Ike looks at his brightly colored hair. MAGGIE You're all ready for football season, Mr. Graham. Ike stares at his hair in total confusion. With icy calm, Ike rises from his chair and primps the end of his hair as if giving it the finishing touches. Then he sees his defaced newspaper clipping and all becomes clear. He picks up the article and shows it to everyone. Ike does a slow burn. IKE Yes, I think I nailed the personality profile of the women of Hale. Ike turns and puts the clipping up on the mirror. IKE (cont'd) (to Peggy) My jacket, please. Peggy hands him his jacket. IKE (cont'd) (sarcastically) Thank you. Ike moves toward the door. He spots Pete. IKE (cont'd) (putting on jacket; to Pete) Excuse me, Pete, do you know a place that sells shampoo... Strong shampoo? PETE Doc's Pharmacy. Third and Elm. Tell him Pete sent you. Want my hat? IKE No thanks. Ike smiles at Maggie and exits. MAGGIE (to Peggy) He seems crabby. CUT TO: EXT. MAIN STREET - DAY In front of beauty salon, Maggie follows Ike out. MAGGIE If you're looking for Elm Street, it's that way. She puts on her sunglasses. IKE Thank you. He walks the other way. MAGGIE If you came down here in the pursuit of happiness, you might as well go back. Because you can't make me feel bad. She stops walking and turns to Ike. IKE I'm not here to make you feel bad. I'm here for vindication. In my heart... MAGGIE You have one? Ike walks back to Maggie. IKE I feel I'm right about you. You got me fired, lady. You destroyed my reputation and you screwed up my hair. You chew men up, spit them out and loved it. And I'm down here to satisfy myself on that point. PASSERSBY stare at Ike's hair and giggle. MAGGIE Did something happen to make you care about reality? IKE Yes. Conviction. Conviction that I'm onto the truth. You're going to do the same thing to "poor bastard number four" that you did to the last three. You're going to run again. And I'm not leaving until you do. MAGGIE You're going to be very disappointed. IKE We'll see. MAGGIE I'd love to stay and chat, but I've got to get back to work. I still have my job. He stares at her for a beat, stung by her words. MAGGIE I have nothing to hide, Mr. Graham. Talk to whoever you want. You might actually stumble upon a fact or two. Maggie walks away. Ike walks a few steps and stops at a KID on a bike. IKE Hey, kid, I'll give you ten bucks for your hat. Kid agrees. Ike puts the hat on and starts to cross the street. An OLD WOMAN walks by and hits him with a newspaper. Ike is stunned. EXT. MAGGIE'S HOUSE - DUSK Maggie pulls into the driveway in her truck. She's in a fine mood as she walks right in the house. INT. MAGGIE'S HOUSE - DUSK Bob, Walter, and Maggie's GRANDMOTHER JULIA sit in the living room. Grandma is sewing one of Maggie's wedding veils. Walter drinks wine, Ike wears a hat. WALTER You know, when I only see one dog, I know I've had too much to drink. Te family dog, Skipper, sits near a ceramic dog table. Maggie smiles as she walks in the front door and puts down her tool box and bag. MAGGIE You'll never guess who came crawling into town with his tail between his legs. IKE (o.s.) Who? Maggie enters the parlor to see Ike smiling evilly from his seat on the couch. IKE (cont'd) (innocently) Hello, Maggie. I just came by to apologize to your family. (looks to Walter) When I'm wrong, I'm wrong. I pushed a story. I made a mistake. WALTER In other words -- he's only human. An he brought us a bottle of wine. Raises the bottle to Maggie. IKE They made me put my hat back on. WALTER Oh, yeah. Scared the hell out of Skipper. MAGGIE You've got to be kidding me. Maggie stares at them both. BOB (enjoying the moment) No, no, you should have seen Skipper. (then, imitates growling) It wasn't that funny. Maggie gives him a look that says, "You are not absolved." She smiles stiffly, looking back at Ike. She then sits on the arm of Bob's chair and puts her arm on his shoulder. MAGGIE So, the forces of good and evil have already met. Maggie takes the wine bottle from the table next to Walter. She snaps a look to Bob, who follows her. BOB I'll help you take into the kitchen. GRANDMA JULIA Check on the crabs, Bob. We overhear them murmuring in annoyed tones about the wedding plans as they exit... Walter puts down his drink. IKE Gee, I hope they don't have a fight out there. You don't think they'll call it off...? WALTER Well, wedding cake freezes. This we know. IKE You know, your daughter seems... Ike notices that he's been sewn to the veil. GRANDMA JULIA Sorry. IKE That's okay, Grandma. Grandma cuts the thread and separates the veil from Ike's sleeve. IKE (cont'd) (continuing his thought) ... Like such a lovely girl. Walter points to a portrait painting on the wall. WALTER Like her mother. IKE (seeing the portrait) Ah, beautiful. (gets up to admire the portrait) I just can't see her leaving multiple grooms in the dust like that. GRANDMA JULIA Oh, yes, you can. She's has 'em all on tape. IKE She has a tape? WALTER (good-natured) Yeah. Lee at the hotel videos wedding. I mean Maggie didn't know she was going to make the hundred-yard dash. Walter gestures to a pile of video cassettes on the bookcase. Ike checks on the tapes. IKE Dad's fishing trip, Grandma's knee operation, Grandma's birthday... WALTER Gotta tell you this about my daughter. My daughter makes real good time, even in a long dress and heels. Maggie may not be Hale's longest running joke, but she certainly is the fastest. Walter cracks up. GRANDMA JULIA (sarcastically) Ha ha. CLOSE ON: A tape. It reads: "Maggie I, II, III." Ike's interest is more than piqued. Ike picks it up. They get up and go to the dining room. DISSOLVE TO: INT. DINNING ROOM/MAGGIE'S HOUSE - NIGHT The family dog, Skipper, steals food from the table. Walter scolds him. Walter whacks his crab with his hammer and Ike copies him. WALTER (cont'd) Emma and I were only blessed with one child, not for lacking of trying. MAGGIE This is good, Dad, don't leave anything out. Ike's hammer flies out of his hand. He goes to pick it up. WALTER So I've come to see it as a bonus, really, that we've been able to plan, and pay for, so many weddings. MAGGIE Not this one. This one's on me. Walter reacts. IKE That's fair. MAGGIE Despite what you think, I don't do it on purpose. And I have no intention of doing it again. BOB That's right, Maggie. Just keep your eye on the ball. Ike raises his eyebrows in question. Bob explains. BOB (cont'd) Sports psychology. It was my major in college. IKE Ahh. BOB (false modesty) I'm the town's unofficial fitness trainer. Big advocate of the mind and body combining for success. You could say or you can quote me, I'm a glass half full king of guy. MAGGIE (boasting) Bob's the head of the P.E. department at the high school. And he coaches the football team. And he's climbed Everest. To Maggie's satisfaction, Ike shoots Bob a look of begrudging respect. Nobody who's been up Everest is a total clown. IKE (impressed) Everest. Is that right? MAGGIE Twice... IKE Really? MAGGIE (sticking it to Ike) Without oxygen... BOB My girl likes to brag about me. Bob and Maggie kiss Ike two little love-birds. BOB (cont'd) I'm taking her trekking on Annapurna on our honeymoon. Ike is highly amused. IKE How romantic. MAGGIE (sharply) We think so. IKE Nothing like sharing your nuptial bed with two Sherpas and a yak. Walter cracks up, Maggie shoots Ike a look. He smiles back. CUT TO: INT. IKE'S HOTEL ROOM/INT. FISHER AND ELLIE'S BEDROOM (NYC) INTERCUT TELEPHONE CONVERSATION Fisher and Ellie are exercising. Fisher is on a cycle machine. Ellie does yoga stretches. Ike sits back on the couch, puts on his glasses and watches a video taped wedding playing on the TV screen. Superimposed titles read "Brian Norris wedding." IKE (to Fisher; into phone) You won't believe what I'm looking at, Fisher. A videotape of all three train wrecks. THE TV - CLOSE Two flower girls and Peggy enter a crowded church where the groom, Brian, and his best man wait at the altar. Now we see Maggie come down the aisle, then walk past the altar. We see Maggie move away another aisle and out of the church. SHOCKED WEDDING GUESTS rise in horror, as she runs from this first wedding. She drags the train boy up the second aisle as she leaves. Ike hangs up. He gets up to pick up the remote and then sits back down to watch. The tape fast-forwards to the next wedding. Now Ike is looking at a much more relaxed, hipper, backyard wedding. It says, "Gill Chavez Wedding". He hits the fast-forward button (sometimes slowing down). ON TV: We see the Carpenter's backyard. It is Gill and Maggie's wedding day. The yard is crowded with a MIXTURE of Hells Angels-types, Deadheads and townspeople. The "altar" is a band platform against the back fence. Gill is waiting on the platform with a rock combo playing Grateful Dead-type music. He makes an introductory speech. Maggie steps out onto the back porch. She's beautiful in a hippie-type wedding ensemble. She walks with her father to a trampoline. We can see her tattoo. She jumps on the trampoline, then dives into the crowd. They watch her and body surf her over their heads to the back fence. As she hits the stage, she looks at Peggy and Gill, then decides to go. She jumps off the stage and runs up to a passing GUY on a dirt bike. She jumps on and turns and waves as she rides away. During the video, Ike scribbles: "Gill Chavez". Maggie goes off on dirt bike. The tape fast-forwards to the last of Maggie's fiascoes. ON IKE'STV He now sees the third wedding. It's outdoors, in a tree lined area, MUSICIANS plays. Ike laughs as he discovers that Maggie approaches the altar on horseback, in a simple white dress, wearing a crown of flowers. The Maid Marian look. Ike slows the tape. ON TV: IT SAYS, "GEORGE SWILLING WEDDING". As Maggie rides down the aisle, suddenly the horse whinnies! Maggie has kicked it in the shins. It rears and bolts, galloping off with the bride. Ike FREEZE FRAMES the tape on an image of Maggie, hair blowing. Although she is panic-stricken, her soul seems to shine through in tat single frame. As Ike stares at her, the smirk fades from his face. He just looks at her, allowing himself to see her expression, her eyes. He can't help it. She gets to him. Ike gets a restless look on his face. He stares closely. The groom is George from the bar. IKE Kamikaze! CUT TO: EXT. TE TROUT BAKERY - THE NEXT DAY Establishing. High angle wide shot of a bakery in Hale. Ike exits a neighboring shop and walks down the block. He pauses in front of the bakery to take a look at Maggie's truck. As he does, a middle-aged Black WOMAN walks by and whacks him with a newspaper. Ike is stunned as she walks off. He turns to a MAN sitting on a bench. IKE Did you see that? CUT TO: INT. THE TROUT BAKERY - CONTINUOUS CLOSE ON a group of plastic grooms and brides on a counter top. MRS. TROUT is behind the counter helping Maggie with a selection of grooms for her wedding cake. The groom figures are spread out on the counter. All sizes and colors, some attached to brides, some solo, some tuxes, some in dinner jackets. MRS. TROUT This one's very popular, but oh, you've used this one before... Brian. But I like the white dinner jacket. MAGGIE No, he's no good. Too blond. MRS. TROUT (picks up another) We'll go with total traditional. MAGGIE Too dark. Then, Ike comes up behind her as she discards another groom. IKE But he's got the Bobster's eyes. Maggie cringes at the sound of Ike's voice. IKE (cont'd) No -- the Bobster's eyes are closer set. She ignores him and continues her search. IKE (cont'd) (to Mrs. Trout) Could I have two coffees, please? And what is that wonderful smell? (seeing the cinnamon rolls) I'll have two of those delicious looking cinnamon rolls. MRS. TROUT Sure. (picking up a miniature bride) Here, Maggie. I think this makes the best you. Mrs. Trout steps away to get his order. Ike moves to the other side of Maggie and picks up the bride and groom figure. IKE Let's see... Excuse me, isn't that cute? Ahh... He makes the bride figure repeatedly knock the groom figure in the head and run away screaming. IKE (cont'd) Bam, bam, bam, bam, bam! Oh, help me! Help me! Yup! That's her all right. Mrs. Trout just about bursts a gut laughing. Maggie takes the bride from Ike coldly. MRS. TROUT You must be that Mr. Graham fellow. Ike turns and goes to her. IKE Yes, I am. And who are you? MRS. TROUT Betty Trout. Five dollars. IKE (as he pays) Oh, Betty. I take it you're going to be making the wedding cake and they say you're throwing -- MRS. TROUT (interrupting) -- The luau for Maggie. She starts picking lint off his sleeve and buttons his cuff. MAGGIE (all smiles for Mrs. Trout) Grandma made me the cutest outfit. I can't wait to show it to you. IKE (cynical delight) A pre-wedding luau? MRS. TROUT Yes. My husband and I love luaus. It'll be fun. Mrs. Trout turns and grabs Ike's bag containing two coffees. IKE Fun? Fun isn't the word. Mrs. Trout beams. Maggie understands his answer a little better. Mrs. Trout hands Ike his items and he pays. MRS. TROUT If you're still in town, you should stop by. MAGGIE No, I'm sure he doesn't. IKE (to Mrs. Trout) Actually, I would love to come. (taps her service bell) Thank you. Thank you so much. Maggie steps over, carrying her bride and groom figure choices. MAGGIE (exasperated) Is that what you're going to do now? Follow me around everywhere I go? Ike smiles at Maggie enigmatically as he picks up his order and heads for the door. IKE No. He starts to leave with his bag. Mrs. Trout stops him. MRS. TROUT (handing him the other bag) Your two cinnamon rolls. IKE Bye, Betty. Thanks. He leaves. MAGGIE He's not a nice person. Maggie hands Mrs. Trout her bride and broom figures. Maggie looks at Mrs. Trout, suddenly nervous. She dashes out. Mrs. Trout imitates Ike bamming the bride and groom, laughing. CUT TO: EXT. HIGH SCHOOL FOOTBALL FIELD - DAY Various High School SPORTS TEAMS practice. Maggie strides across the football field, a scowl on her face. A few HIGH SCHOOL FOOTBALL PLAYERS job past Maggie, doing laps. A boy, KENDALL, calls out to her affectionately as she passes. One of them, DENNIS, slows his pace to run alongside Maggie. DENNIS (playful) Maggie, don't marry Coach! Marry me. I love you. MAGGIE You're jail bait, Dennis. Go away. Run your laps. Go. Go. Dennis runs on as Maggie continues toward her goal: Bob and Ike, standing together on the other side of the field. ANGLE ON BOB AND IKE They're both standing on the blocking sled. Wave after wave of VARSITY FOOTBALL PLAYERS ram into the sled and drive it across the field with both Ike and Bob on top of it. Ike is munching on one of the cinnamon rolls as Bob pushes the KIDS. BOB Drive! Drive! From your hips, get low, get low, get low. Next! Ike smiles broadly atop of the sled as he sees Maggie approaching, looking mighty peeved. He nudges Bob and points to Maggie. Bob lights up at the sight of her. BOB (cont'd) Good job, gentlemen... Special teams. The football players move away from the sled. Bob moves to Maggie, leaves Ike alone. BOB (cont'd) (to Maggie) Hey, honey! Bob kisses and embraces Maggie. She doesn't see Ike immediately, then: MAGGIE (indicating Ike) What is he up to now? BOB Ike just came by to check out the team. IKE And talk about you. Ike grins and shows Maggie the notes in his pocket. MAGGIE Bob -- are you making friends with this man? BOB I'm just bragging about how great you are. I'm the luckiest man alive. Bob grabs Maggie around the waist and smooches her adoringly. Maggie scowls at Ike. He nods, all charm. IKE Well -- I've got to get moving -- lot of work to do today! I'll see you two love-birds later. Ike leaves. Bob calls after him. BOB See you at the wedding. IKE You bet ya, Coach. Maggie is aghast. She stares at Bob. Ike joins in behind a line of peppy cheerleaders. MAGGIE At the wedding? You invite him? Bob, don't you realize he's writing another article about me? BOB Sure I do. But the bet defense is a good offense, right? You're not going to let your opponent throw you off your game. MAGGIE You don't understand this guy. BOB Let him come to the wedding. You're not running, right? Say it. "I'm not..." MAGGIE (irritably) I'm not running. BOB So if you're not running and Ike Graham is there to see it, then any article he writes has got to have a happy ending, right? All we're doing is turning lemon into lemonade. MAGGIE I've got news for you. No amount of sugar and water is going to turn like Graham into something you want to take on a picnic. Bob gives Maggie a big hug. BOB Where's that homemade sunshine? Bob blows his whistle, then puts Maggie on the football sled. BOB (cont'd) I want you boys to take my princess on the ride of her life... Honey, tell 'em where you parked your car. Maggie screams as the boys push her down the football field. INT. CONFESSIONAL BOOTH/CHURCH - DAY Maggie kneels, hands folded reverently. The booth's grate opens before her. MAGGIE Bless me, Father, for I have sinned. My last confession was... ahh... She tries to recall. MAGGIE (cont'd) ... Anyway, I have sort of a technical question here. I've been having -- bad thoughts. I mean, really bad thoughts ... PRIEST Of an impure nature? MAGGIE No -- like -- I'm having a problem with that whole turn-the-other-cheek concept. I want revenge. I want to destroy this guy's life, career, everything. On the sin scale, how big is that? I mean, can I "Hail Mary" my way out of it? PRIEST Child, any sin in one's heart is... MAGGIE (impatient) The name's Maggie. It wasn't this side of ten years ago that you had your tongue down my throat. So don't call me "child", Brian. It annoys me. PRIEST/ BRIAN Now don't get upset. Brian closes the confessional window and exits MAGGIE (still inside the booth) Brian, open up. Don't ignore me. Brian leans into her confessional. She steps out to join him. BRIAN You're not even Catholic, Maggie -- you really shouldn't come to confession. He's a nice looking and gentle man. They regard each other for a beat. MAGGIE I'm sorry. I'm just so stressed out about that slime-ball reporter being in town. I jus had to come warn you he might show up here and start asking you all kinds of ridiculous questions. Brian moves away. Maggie follows and sits in a nearby pew. BRIAN Actually, he only asked me one ridiculous question. The rest weren't so bad. MAGGIE (sliding along the pew) What? You talked to him! Did you tell him we dated before you were a priest? BRIAN Yes, yes, I'm sure I only did you good, Maggie. MAGGIE What did he ask? A woman, MRS. MURPHY, rushes in. MRS. MURPHY Father, am I too late? BRIAN No, no. MRS. MURPHY It won't take long. Jus two venials. The woman goes into the confessional booth to wait. BRIAN Only respectful things. What did we have in common back then... What kind of music did you like... Did you ruin my life when you left me standing at the altar... MAGGIE And what did you say? BRIAN How could I be angry at you when clearly what has happened to me is as God intended? MAGGIE (relieved) Good one! Thanks. BRIAN It happens to be how I feel. Brian sits next to Maggie. MAGGIE God... Of course. I'm sorry -- I mean, I'm... (sighs) Brian -- I've got to go. The man's a lunatic, but I know exactly where he's going next. BRIAN God bless you, Maggie. She turns to rush out, then stops herself. MAGGIE Oh, wait, my purse. She moves to the confessional, knocks, then speaks to Mrs. Murphy. MAGGIE (cont'd) Excuse me, sorry, forgot my purse. Good luck. Maggie closes the booth curtain and turns to Brian. MAGGIE (cont'd) Wait -- what was the ridiculous question he asked? Brian smiles mischievously. BRIAN He wanted to know how you used to like your eggs. MAGGIE Weird. Like after all those years you would remem-- She starts to go, then stops in her tracks as she hears: BRIAN (interrupting) -- Scrambled, with salt, pepper and dill. Same as me. Maggie looks at Brian. Suddenly, she remembers too. MAGGIE (tenderly) I'm really sorry that I hurt you, Brian. BRIAN I'm happy here, where I'm supposed to be. But if you ever become a Catholic, may I ask you a favor, Maggie? MAGGIE Of course. BRIAN Could your confess to Father Patrick from now on? MAGGIE Of course. And she scampers out. Brian goes back into the confessional. EXT. GILL'S GARAGE - DAY Maggie drives up to an old brick firehouse that is now an auto garage. The faded sign reads: "Gill's Garage". INT. GILL'S GARAGE - DAY Maggie rushes inside and looks around. No one is in sight. Several cars, including a yellow jeep-like car up on a hydraulic lift, are in the funky garage. MAGGIE Gill? Lydia? Gill? A CRASH, coming from the nearby back room, we hear loud muttering in Spanish, then out stumbles GILL CHAVEZ, 34, wearing a grease- stained Grateful Dead tie-dyed T-shirt. He grins triumphantly, worshipfully cradling a CASSETTE TAPE in his hands. GILL Hey -- I found it! Maggie regards her former fiance with patient warmth. MAGGIE Found what? Gill looks up and gives Maggie a fond, hazy smile. GILL Mags! Hey, look -- The tape from the Radio City Music Hall concert -- Remember that night I as trying to get Jerry to let me sit in on "Ripple"? He pulls out the cassette from its case. It's broken. The tape is dangling from the cassette. GILL (cont'd) (disappointed) Oh, I'll play it for you. Gill picks up an electric GUITAR and starts to play. MAGGIE (shouts over the music) Listen, Gill -- There's this reporter who's ben making my life a living hell ... If he comes by here, don't talk to him. And whatever yo do.... (crosses to Gill) ... Don't show him that picture of me at the concert in San Francisco -- Suddenly, a loud CHUCKLING emanates from the car overhead. MAGGIE (cont'd) What was that? Maggie stops Gill from playing. She shoots her ex an angry glare and moves a lever on the shop wall. With a HUM, the car descends. GILL We went to San Francisco twice. Remember one time we had a flat tire... Which picture? As the hydraulic lift slows, the car is lowered, revealing Ike sitting in the driver's seat. He has been enjoying the photograph he's holding. IKE (feigning shock) Imagine! Maggie Carpenter topless in a public arena. (checks photo again) And I see there was a chill in the air. Maggie swipes for the photo, but Ike is faster at pulling it away. MAGGIE Give me that! IKE But the most interesting thing here is that I don't see the rose tattoo that I've heard about on your back. Gill takes off his guitar and sets it down. GILL Ike bet me fifty bucks you don't still have it, Mags. I said "You're on, man! Maggie loved that thing!" And I could really use fifty bucks. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? MAGGIE I'm not gonna show you guys anything. I am a soon-to-be-married woman. Now give me that photograph. Maggie seethes. IKE Sure, I would love to give this to you. Just give us one quick gander at that rose, and, I'll gladly hand it over. She tries to grab the photo again. Ike pulls it away. MAGGIE Fine. Here. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? IKE Completely. Gill is still trying to grasp the meaning of this. GILL Maggie? You got it removed? IKE Gill, I'll go ya double or nothing if was a stick-on. GILL (dismayed) Maggie? MAGGIE (admitting) I'm really, really afraid of needles... It doesn't make me a bad person. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. GILL Look. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. IKE (sincerely) Look, look, man. I think the man is heartbroken. MAGGIE He is not! Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. GILL I think I am. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. IKE Jerry. He'd play. He'd play... Jerry would play his heart out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". CUT TO: EXT. HOTEL PORCH - NEXT DAY, SATURDAY MORNING As Maggie drives into town with Peggy, they see Ike on porch with SHERIFF, POLICE CHIEF and MAIL MAN, all playing instruments as a blues band. Ike is not bad on slide guitar. They all like Ike. Maggie "CHUFFAS" with Peggy and moves on. EXT. SOFTBALL FIELD - LATER THAT DAY CLOSE ON: The slow, loopy pitch of a softball. A bat connects. NEW ANGLE: A big wholesome man, CORY, runs for first base. He just beats out the throw. Bob, acting as umpire, yells, "Safe!" Happy, Cory turns to the stands and waves. ANGLE ON: Maggie and Peggy, cheering loudly. Peggy tries to whoop harder than Maggie, but that would be tough. From firs base, Cory waves back to them. The two women sit back down and Maggie takes back up with their conversation. Maggie is still al steamed up. MAGGIE Okay, he's on base. Can we talk about my life now? -- Ike's going to turn that tattoo stuff into a big deal -- that I was never serious about Gill, blah blah. He's totally out to get me. PEGGY For what reason? Some personal satisfaction? MAGGIE That's what he says, but if he thinks that I don't realize he's writing another article, then he's an idiot. PEGGY It's probably because you got him fired. MAGGIE (sarcastic) Ya think? PEGGY Not that he doesn't deserve to get fired... Look! Cory's going for second!... Sneaky! ANGLE ON: Cory as he runs for second base and with a slide beats the throw for the force out. The women jump and cheer -- Maggie, again, the most boisterous. ANGLE ON: Dennis recognizes Ike as he walks up. Dennis tells Ike that he is going to marry Maggie some day and shows Ike where Maggie is sitting. ANGLE ON: Maggie spots Ike as they sit back down. She groans. MAGGIE There he is. Snoop Doggy-Dogg. PEGGY Where? MAGGIE Over there. Ten o'clock. He's talking to our little Dennis. Dennis will turn into one of those "sources say" things. PEGGY He looks better with that stuff out of his hair. He's an attractive man. Ike finds Maggie in the crowd and leaves Dennis. MAGGIE I'd say you've been in the sun too long. You handle him, okay? I could use five minutes off from that creep. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. PEGGY Okay, that's fine. I can do that. Ike comes up to Peggy. IKE Hello, Peggy Phleming, "not the ice-skater". Ike indicates the seat next to Peggy. PEGGY (protesting weakly) That's Maggie's seat... Ike sits down comfortably. IKE ... And this is Maggie's beer. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. PEGGY Have you listened to his morning show, "Wake up with ballplayer"? IKE Not yet. I had a phlemless morning. I hear he's a pretty good ballplayer. PEGGY This game is pretty important to him. He made all-stars in high school, you know. IKE That must have made you proud. Peggy takes a small sip off her soda. PEGGY He was going with Maggie back then. (quickly) He was never one of her... I mean, they were never going to get... They just dated for a while. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) Good job, honey! But Maggie's whoop sails out above it all. Cory waves. But not at Peggy. He directs his delight at Maggie, who jumps up and down by the dugout. Ike looks between Cory, Maggie and finally, Peggy. Peggy jerks her waving hand back down to her side and sits down. Ike pretends not to have noticed. The two watch as Maggie and Cory smile at each other. IKE It's nice that they're still friends. PEGGY (looking at Maggie and Cory) Oh, sure. That was a long time ago. See, she's not a man-hater at all. She's very supportive of men... Next BATTER hits one to deep left field and it lands in the grave yard. Cory scores, greeted by Maggie. Ike and Peggy watch as Cory and Maggie belly-bump and high-five each other in celebration of Cory's play. No looks at Peggy. Ike keeps an empathetic silence, seeing that Peggy is truly hurt. PEGGY (cont'd) I'll be back in a second. Suddenly, Peggy stands, pushes past him and runs down the steps. Maggie looks up just in time to catch Peggy's exit. Ike pulls his tape recorder out of his pocket and starts speaking into it. Maggie shoots Ike an accusing look, walks up to him in the bleachers and sits next to him. MAGGIE You've been here for three minutes. What did you do to her? IKE You can turn that finger around. Ike does an on-the-button imitation of Maggie jumping excitedly at Cory. Now Maggie sees what he's getting at. MAGGIE (defensive) You misinterpret everything. We've all been friends our whole lives. But that's the types of relationship you wouldn't understand. IKE Obviously, I'm not the only one who doesn't understand it. The USS Maggie leaves quite a wake... Excuse me. Ike walks away. Alone, Maggie tries to seem enthused. MAGGIE See, I cheer good. What is he, a cheer critic? EXT./INT. STREET/BAR - LATER - DUSK Sitting in front of Inn Hale Bar, we see the BARTENDER pantomiming holding the reins of a wildly galloping horse. We've seen something like this before. Maggie's wild ride away from her last wedding. Ike laughs with Bartender just as Maggie drives by the bar and sees this. MAGGIE (to herself) This guy never stops. INT. ATLANTIC HOTEL - NIGHT Maggie walks up to the front desk of the hotel, where Lee is sleeping with his feet up. She knocks his feet off the counter. MAGGIE Lee, hey, wake up. Give me the key to the reporter's room. I want to snoop around. LEE (handing her the key) Okay. Second floor. MAGGIE Thanks. LEE Don't take anything big. Maggie moves up the stairs towards Ike's room. INT. ATLANTIC HOTEL - HALLWAY - MOMENTS LATER Maggie walks towards Ike's room, checks that no one sees her and enters. INT. IKE'S HOTEL ROOM - CONTINUOUS Maggie lets herself in the modest room and turns on the lights on. She spots on audio cassette on the desk near the door. She holds the cassette up to the light to read the hand-written label. It says "Miles Davis" on it. She pockets the tape. She walks to the living room. MAGGIE'S POV: Ike has placed post-its on a framed picture, using the frame as a bulletin board. Post-it notes lay out the information he has gathered under headings and subheadings. Parents "Mother" deceased, subheaded by "Walter" and there is one for "Brian", "Gill", and "Bob". Maggie smiles and shakes her head. She rips one post-it down and reads it to herself. MAGGIE (reads) "How does she get all these guys to propose? She's not that beautiful." (snorts) Bite me, paper boy. She begins ripping many of other post-it off the picture frame. MAGGIE (cont'd) (as she takes post-its) Rude... She's ripping them down, fast and furious, then shoves them in her shoulder bag. INT. ATLANTIC HOTEL HALLWAY - CONTINUING Ike comes down hallway as Harvey puts his shoes out to be shined. BACK INSIDE THE ROOM Maggie, looking around, discovers the wedding video on the coffee table and grabs that, too. MAGGIE (cont'd) Thief! THE SOUND OF A KEY IN THE DOOR makes Maggie jump. She flees to the bathroom, and shuts and locks the door. Just as Ike enters, he sniffs and looks around the room, instantly knowing something is up. He sees all his notes gone and a glimpse of Maggie as she closes the bathroom door. Ike is steaming. A BUMP sounds from the bathroom. He goes over to the door and tries the handle. It's locked. He starts to pound on the door. IKE All right, I know you're in there... You steal my research... You're messing with the first amendment now. Open up. Open up. You got no place to go. INT. IKE'S HOTEL BATHROOM - CONTINUING Ike's wrong. Maggie is already trying to open the first bathroom window. It's stuck. She climbs over the bathtub, opens that window and starts to climb out. IKE I want to have a very serious discussion with you as to why you're such a pain in the ass. We HEAR Ike slamming his body against the bathroom door. As Ike breaks in, he runs to the window and yells after her. EXT. IKE'S HOTEL WINDOW - CONTINUOUS IKE (cont'd) That's breaking and entering. I'll call the sheriff. MAGGIE You do that. And remind him he's bringing the wine to the luau. Thanks. She disappears around the ledge of the building and runs off. Ike's neighbor, Harvey, sits reading near his window. CUT TO: EXT. MAGGIE'S HOUSE - NIGHT Establishing. INT. MAGGIE'S HOUSE - NIGHT CLOSE ON: A CASSETTE PLAYER. We see the familiar handwritten label: "Miles Davis." "Kind of Blue" plays as Maggie listens in a chair, looking shell-shocked, surrounded by the post-its she stole from Ike's room. We see as she reads them: "Father, two- fisted drinker," "Peggy, best friend, but Peggy doesn't totally trust Maggie," "Bob" -- doesn't love him. Overwhelmed, she finishes reading the last note, leans back, puts her feet up on the table, deep in the mood of the melancholy music. The CAMERA MOVES on the last note on the floor next to her chair. It reads: "SHOWS NO REMORSE". FADE TO BLACK. FADE IN: EXT. MAIN STREET/BEAUTY PARLOR - NEXT DAY It's early morning. Mrs. Pressman hands Peggy a cup of coffee to go. Peggy walks to the beauty parlor, unlocks the front door and goes in. INT. BEAUTY PARLOR - DAY Peggy enters and starts about her opening duties. She turns on the lights and turns and sees her friend, Maggie. MAGGIE Do you think I flirt with Cory? Peggy stops in her track. Maggie is sitting curled up in a salon chair. She looks like she hasn't slept. PEGGY Good morning to you, too. You look good. MAGGIE Thank you. Do you think I flirt with Cory? PEGGY Yes. Maggie looks miserable. MAGGIE I don't mean it. Peggy moves to the salon mirror near Maggie with her cup of coffee. PEGGY I know. I think sometimes you just sort of spaz-out with random excess flirtation energy and it just lands on anything male that moves. MAGGIE On anything male that moves? As opposed to anything male that doesn't move? Peggy pours her coffee out of its Styrofoam cup into a ceramic mug. PEGGY Like certain kinds of coral. Peggy sits in the salon chair next to Maggie. MAGGIE I'm going to kill myself. PEGGY Why? MAGGIE Because you think I'm all like... "Hey man, check me out". PEGGY (friendly) No, I don't think you're like, "I'm charming and mysterious in a way that even I don't understand and something about me is crying out for protection from a big man like you". Very hard to compete with. Especially to us married women who have lost our mystery. MAGGIE But you haven't lost your mystery! You're very mysterious! PEGGY No. I'm weird. Weird and mysterious are two different things. MAGGIE But I'm weird. PEGGY No. You're quirky. Quirky and weird are two different things. MAGGIE Peggy, there's distinct possibility that I might be profoundly and irreversibly screwed up. Despite that, I love you and I can promise that I will no longer flirt with Cory, and I beg your forgiveness. Maggie looks ready to cry. PEGGY I'm not worried about you and Cory or Cory and me or even that you're irreversibly screwed up. But, Maggie, you've been like this since we were kids. And I think now that you are aware of it and that it hurts people's feelings, maybe it's time to move on with your life and commit to someone of your own, like Bob, if he's the one. MAGGIE I think you're right. (then) Is there anything I can do to make it up to you? PEGGY Something that brings warmth to my heart. (pause) Duckbill platypus. MAGGIE It's only funny at Camp Birchwood at three in the morning at a tick hunt. It's not anymore. Maggie makes her funny face. Peggy doesn't laugh. PEGGY You're right. It's not funny now. Maybe we both grew up. MAGGIE Thanks. Will you fix my hair? CUT TO: EXT. MAGGIE'S HOUSE - LATER THAT MORNING Maggie exits her house, gets on her bike and rides off towards town. INT. IKE'S HOTEL ROOM - LATER THAT MORNING Ike is still in bed. He slowly blinks awake, stretches, and is about to throw off the covers when Maggie's voice breaks the silence. MAGGIE Freeze. Hold on to those covers -- I didn't come here to see Ike Junior. Maggie smiles cheerfully at Ike from the foot of the bed. He narrows his eyes at her. IKE I take it the desk clerk is one of your many admirers. MAGGIE (deadpan) How do I do it? I'm not that beautiful. Ike notices Maggie is holding two coffees. IKE Coffee. Now. Maggie hands it to him. MAGGIE You're welcome. Your notes made interesting bedtime reading -- if you like trashy fiction. Your observations are distorted, ungrounded an incomplete. You must be very proud. IKE I'm not a boastful man. What's your point? Ike puts a shirt on as Maggie speaks. MAGGIE My point is that one again, you're getting it all wrong. That won't improve your reputation any, and it's not very flattering to me either. So, I'm going to give you a chance to write the truth. IKE Really. Maggie turns away from him as he dresses. MAGGIE I've decided to cooperate and let you interview me. (beat) For a thousand bucks. Ike clears his throat as he stands putting his pants on. MAGGIE (cont'd) I want a big wedding and a killer dress and for a grand I will answer all your questions and let you follow me around. Ike takes his coffee with him as he picks up his glasses, puts them on and crosses to the window. IKE My magazine doesn't pay because for stories. It's not what you call ethical. MAGGIE Oh, but making up the facts as you go along is ethical? Actually, I meant you. You probably got severance or expenses or both. I'll take your check. No credit cards. IKE (to Maggie) You've seen the post-its. I've already got more juicy material than I need. Why should I pay you dollar one? MAGGIE Because I think you're writing on spec and with a first person interview, you might actually sell that thing. Ike knows she's right. IKE Too much. MAGGIE Seven-fifty. IKE Five hundred. MAGGIE Six-fifty. IKE Done. Scowling, he writes out the check and hands it to her. Maggie looks at it and smile sweetly. CUT TO: EXT. MAGGIE'S HOUSE - DAY Ike jogs alongside of Maggie on her bike. Maggie parks her bike and they go inside her door to the house. INT. MAGGIE'S FOYER AND STAIRS - DAY Maggie leads Ike upstairs to her workroom. MAGGIE Pardon the mess. I haven't cleaned since the fifth grade. INT. MAGGIE'S WORKROOM - LATER Insert on a cappuccino machine. We PULL BACK and see Maggie and Ike standing at her work table. An automatic cappuccino maker stands on the table. Its base is made from a used paint mixing machine. It looks very shiny and futuristic. Maggie's logo "MAG" is on the side. The machine shakes as it steams the cappuccino. Ike notices another homemade machine on the table. IKE (cont'd) What's this over here? MAGGIE It's a birthday present for my cousin. Put your finger in. IKE Cindy the manicurist. He puts his finger in the wrong hole of the machine. MAGGIE No, the other one. He puts his finger in the correct hole. She turns it on. The brushes rotate. IKE (laughing) This is wonderful. You reconfigure all these industrial parts and you do something amazing with it. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? MAGGIE I think so. IKE I like it. This whole thing is pretty incredible. (studying a lamp) I think you could probably sell this lamp idea in New York. MAGGIE Maybe someday. IKE You afraid to try? MAGGIE (stares at him) No, I'm not afraid. Just... Maybe someday. IKE Well, I'm impressed. Absolutely incredible. (sitting) I didn't expect pink and lacy, but this isn't exactly a woman's room. MAGGIE What an incredible chauvinistic observation. INT. MAGGIE'S LIVING ROOM - A BIT LATER THAT DAY Maggie's showing Ike engagement rings. MAGGIE That's Brian's. He took me ut canoeing on the lake and gave me the ring in a velvet box. Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. IKE Always a mood killer. MAGGIE Still sweet. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. IKE (grimacing) It's a little "Silence of the Lambs" for me. I can't believe you waited for the wedding to run. MAGGIE He's an entomologist! I thought it was very unique. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. IKE Wait. Don't tell me. The scoreboard lit up with "Mary me, Maggie." Ike picks up his cup of cappuccino and moves behind the couch. MAGGIE It was one of the most wonderful moments of my life. Cal Ripken even applauded. IKE (stopping) Highly suspect. MAGGIE What do you mean? It was incredibly romantic! IKE Maybe it's just me, but -- if you got to dress it up, it doesn't ring true. Ike moves back to the couch. IKE (cont'd) I think the most anybody can honestly say is, "Look..." (sits on the arm of the couch) "I guarantee that we'll have tough times. I guarantee that at some point one or both of us will want to get out of this thing. But I also guarantee that if I don't ask you to be mine, I'll regret it for the rest of my life. Because I know in my heart -- you're the only one for me" Maggie stares at Ike for a beat. His words have taken a little bit of her breath away. She covers. MAGGIE I like it. She moves from the fireplace to a chair and sits. MAGGIE (cont'd) I'd like it better on a scoreboard. (lightly) Is that how you proposed when you asked your wife to marry you? Ike is taken aback. MAGGIE (cont'd) Don't look so surprised, you've got divorce written all over you. IKE I'm a work in progress. MAGGIE So? Is that what you said to her? IKE No. I think I said something eloquent like, "So, uh -- maybe we should, ya know. What do you think?" MAGGIE Now that's romantic. A proposal like that and you didn't find eternal bliss? What went wrong? Ike takes a swallow of cappuccino. IKE I don't know. MAGGIE You don't know. IKE No. MAGGIE Maybe you should ask her some time. Ever thought of that? Ike is restless. He stands up. IKE Call me crazy, but I believe that check I gave you entitles me to ask the questions for a while. Ike puts down his cup of coffee, gets his tape recorder and sits close to Maggie. MAGGIE Fair enough. (thinks a beat) Actually... Maggie move to TV. She picks up Ike's stolen post-it notes and her wedding video on top of the TV, and goes to the front door. MAGGIE (cont'd) I'll just need one more day to make sure your check clears. IKE Ow! DISSOLVE TO: EXT. HALE STREET - THE NEXT DAY Ike and Maggie drive in Maggie's truck. They pull up in front of a Bridal Shop. A spectacular dress fills the small window. It's beautiful, romantic, sexy. Maggie and Ike can be seen in the reflection. MAGGIE Even with everything that's happened I've still never been married and I still deserve a beautiful dress. IKE Agreed. Maggie gives Ike a smile that lights up the sky. They go inside. INT. BRIDAL SHOP - DAY The place is fairly large and prosperous, probably the place to go in the Tri-County area. A little FLOWER GIRL, 10, is being fitted on the pedestal in the middle of the room. A saleswoman, POLLY, has taken the flower girl under her wing. They are both under the expert eyes of a stern looking woman, MRS. WHITTENMEYER, the shop owner. Also, the girl's MOTHER is there watching. POLLY (to the mother) She'll be the prettiest little flower girl in your daughter's wedding. MAGGIE Mr. Whittenmeyer. Hi, Polly! The flower girl sees Maggie and runs and hides behind Polly. POLLY Hi, Maggie. You'll have to excuse her, Maggie. Some of the children are afraid of you since you dragged that little boy up the aisle. MAGGIE I didn't drag. (then to the girl) He tripped on his shoelaces. Mrs. Whittenmeyer comes forward to greet Maggie. MRS. WHITTENMEYER You've come for your dress. Good! I'll get it from the back. Maggie leads her to the front window. MAGGIE (happily) Actually, I would like to get this dress. She points to the dress. She smiles back to Mrs. Whittenmeyer, expecting her to share her joy. Mrs. Whittenmeyer darkens. MRS. WHITTENMEYER (to Polly) Polly, take Leslie into change. (then, to Maggie) But the one you have on hold is lovely. MAGGIE (pleasantly) Yes. But I've changed my mind. MRS. WHITTENMEYER It's one thousand dollars. Maggie is keenly aware of Ike listening in. MAGGIE I have one thousand dollars. MRS. WHITTENMEYER (firmly) The other one is only three hundred dollars. Maggie lowers her voice, hoping to lessen the humiliation of the moment. MAGGIE Is this dress for sale? MRS. WHITTENMEYER It just seems like an awful lot of money to spend on one of your dresses, Maggie... You only wear them for about ten minutes. Ike watches with regret as Maggie's child-like enthusiasm drains away, her happy mood crushed by the tactless assault of the shop owner. He's starting to see that it's no always easy being Maggie. There's a tremor in her voice. MAGGIE Yeah, that's a good point. (then, sitting) The other dress is nice. Ike calls out to Mrs. Whittenmeyer. IKE Mrs. Whittenmeyer. May I talk to you for a second? She walks over to him. IKE (cont'd) I don't know much about this kind of thing. I'm from out of town. You're a salesperson, right? You're here to sell wedding dresses. MRS. WHITTENMEYER (huffy) Yes. I've been here for thirty years. IKE Perfect. Because Miss Carpenter is here to buy one. But not just any one. She wants that one. MRS. WHITTENMEYER It's a thousand dollars! Ike goes over and takes the mannequin out of the window. Mrs. Whittenmeyer catches the wig as he puts the mannequin under his arm. IKE (cont'd) Look, Aunt Bea, we're buying this beautiful dress and anything else she wants or I'm coming back here with a squirt gun filled with India ink. Mrs. Whittenmeyer wilts under Ike's fierce gaze. She turns to Maggie. MRS. WHITTENMEYER Will he really do that? Maggie gives her a look. MR. WHITTENMEYER (cont'd) (to Maggie) Well, why don't you pick out some accessories while I get this ready, dear. Polly, will you come help me, please? Polly comes to help carry the mannequin away. ANGLE ON POLLY AND MRS. WHITTENMEYER: POLLY (whispering to Mrs. Whittenmeyer) It's a thousand dollars. MRS. WHITTENMEYER Shhhh! The man has ink! Maggie looks gratefully at Ike. IKE Tough to spend money in this town. TIME CUT: A FEW MINUTES LATER: Ike sits as he hears Maggie's voice behind him. MAGGIE (o.s.) What do you think? Ike turns around. Maggie is standing on the pedestal, wearing the dress and looking unbelievably gorgeous. She is overwhelming to behold and Ike has to struggle to keep his face under control. IKE (stammering) You look... uh... You look fine. MAGGIE Fine. The newspaper's upside down. That's better than fine. IKE Bob will be very happy. She glows. Then the moment between them is broken as she suddenly remembers something and grabs the veil off her head. MAGGIE Bob! I almost forgot! I have to meet Bob! INT. DINER - DAY This is a great place -- a major hub of social life in Hale. The food is greasy and good, Mrs. Pressman is the waitress, and the CROWD the essence of what is wonderful about a small town. Bob, Maggie and Ike sit on the counter. Mrs. Pressman CHUFFS about the luau, then moves around the corner. BOB Mrs. Pressman, I think we're ready to order. MRS. PRESSMAN We're out the special because somebody... (indicates COOK with head) ... didn't order enough sausage. BOB Let me have the garden omelette. Egg whites only. Ike looks at Maggie. He'd bet a thousand bucks on what she'd say next. MAGGIE I'll have the same. IKE (clears his throat) Of course. MAGGIE What was that? I can't order my eggs without sarcasm? BOB Neutral corners you two. You're on the same team now. Any more fighting and it's fifteen minutes in the penalty box. (gently, to Ike) Maggie's the nicest person you'll ever meet. But she's always focusing out there. She's got to start focusing more in here. (taps his chest) That's why she's had some -- whatever you want to call it -- problems in the past. (to Maggie) That's what we're working on -- focus. Right, Maggie? Focus on Maggie. Focus on Bob. As Bob has been talking, Ike has been watching Maggie's face. The joy seems to have drained out of her. MAGGIE (quietly) Right. BOB (to Ike) I lead Maggie through a visualization exercise. All the sports shrinks use this head stuff. Visualize the end zone, if you catch my drift. Bob takes out a notepad and hands it to Maggie. BOB (cont'd) Here's today's mantra: "It's an open field to Big Bob." IKE Tell me. When you get to the altar, will you spike the bouquet? MAGGIE You know, there's no... Before Maggie can finish, Ike intercepts her. IKE Well, I'm off. A reporter's work is never done. (heading to the door) Mrs. Pressman, thank you. MRS. PRESSMAN Tootaloo. INT. ATLANTIC HOTEL - MOMENTS LATER GRANDMA JULIA (V.O.) I'd like to explain about the weddings. There are reasons why they didn't come off. Three weddings, no "I do's". You can't believe how much cake we were left with. I should weigh three hundred pounds. I don't think her father minded spending so much money on booze that nobody drank. We hear Grandma as through the hotel doors, we see Maggie exit the diner. She gets a bag from inside the cab of her truck and comes inside the hotel where she finds Ike talking to Grandma, who is having tea with her friend, NETTA. MAGGIE Ike... Hi, Grandma. IKE Gram here was going to give me the skinny on why you run from marital bliss. GRANDMA JULIA Right, cover your ears, Netta. It's not that she's afraid of the wedding, she's afraid of the wedding night. Innocent girls are terrified of "the one-eyed snake". (getting into it) Why, when I was a virgin bride, I took a knitting needle with me into the bed... Ike winces. MAGGIE Actually, Grandma, I charmed the one- eyed snake awhile ago. GRANDMA JULIA Oh, yeah, I forgot. I'll tell you one thing, your grandpa didn't forget that wedding night. (no Netta) You can take your hands off your ears, Netta. Your tea's getting cold. MAGGIE Can you excuse us a minute? (then to Ike) May I have a word with you, please? Maggie moves toward door. IKE Bye, Netta... Bye, Grandam. He steps over to Maggie in the doorway. MAGGIE I found this and didn't know if it was something interesting. Maggie hands Ike a 30-year-old LP: Miles Davis' "Kind of Blue." IKE (excited) Oh, my God -- It's Miles Davis. This is "King of Blue"! This is the original recording. Hard to find in good condition. Where did you find this? MAGGIE (casual) It was in the attic. It was jus sitting there gathering dust. IKE It's valuable. Hang onto it. MAGGIE No. You take it. She steps outside, leaving Ike with the record. IKE Hmmm... Figuring out what kind of music I like and then finding me a rare album. You're not trying to soften me up, are you? MAGGIE No -- I'm cleaning an attic. I wouldn't attempt the impossible. She turns and walks back to the diner where Mrs. Pressman is outside watering plants. Ike looks after Maggie and then back down at the record in his hand. Somehow it makes him sad. CUT TO: INT. IKE'S CAR - LATER THAT DAY Ike drives through Hale gobbling french fries from the fast food bag in his lap. Ike passes THE INN HALE BAR, same dump of a tavern he talked to bartender at. ANGLE ON: MAGGIE'S CAR parked a few cars down. He pulls over and parks. He gets out and speaks into his tape recorder. INT./EXT. THE INN HALE BAR -- DAY Ike approaches the window of the bar. There's a DRUNK MAN and a DOG sitting outside. Inside, we see two figures from the back, arms around each other. One is definitely Maggie. The other is definitely not Bob. MAGGIE (coaxing) C'mon. Let's go. As Maggie helps the man get up, we see that it's Walter, Maggie's father -- dead drunk. WALTER (belligerently) I haven't had any fun since you got your driver's license... They stumble and lurch, exiting the bar toward Maggie's car. MAGGIE I'm not exactly having fun, either... Steady. WALTER (to Dog) Good boy, Port Hole. MAGGIE His name is Skipper, Dad... Steady. WALTER I changed it. (then to Drunk) See you later, Mr. Travis. (then to Maggie) That guy has a problem... Maggie, you can run everyone's life but your own. Maggie's having trouble keeping him steady as she opens the car door. Ike is there in a flash to help her pull Walter into the car. WALTER (cont'd) Good daughters let their fathers pass out. Walter passes out on the front seat. MAGGIE (without difficulty) Ike... Please don't write anything about this -- IKE No. Forget about it. Don't even think about it. Maggie looks at him with real gratitude. She swings the car door shut. MAGGIE Watch your leg, Dad. (then to Ike) I'm so tired of this. IKE Why don't you let him sleep it off in the trunk. I'll take you for a ride. Then we'll come back for him. (to Drunk on bench) Keep an eye on him. DRUNK MAN I'm too loaded. IKE I was talking to the dog. (turning to Maggie) All right? Maggie thinks about this for a moment. She takes a deep breath. MAGGIE Okay... I'll just grab my jacket. CUT TO: EXT. ROAD - LATE DUSK TO NIGHT Establishing of Ike's car driving. INT. IKE'S CAR - LATE DUSK TO NIGHT Maggie and Ike ride along. IKE My dad managed a business and two mistresses. He wanted me to be a novelist. More? Maggie nods, IKE (cont'd) My mother wanted me to become a musician. 0 for two. But at least I'm a journalist and we all know journalism is literature in a hurry. EXT. IKE'S CAR - COUNTRY ROAD - NIGHT Ike and Maggie stare forward. Both seem in melancholy moods. They're beginning to sense they're in trouble here. Suddenly, the car falters and jerks. It shows to a stop on the shoulder of the road. The car backfires and smokes. EXT. IKE'S CAR - COUNTRY ROAD - NIGHT Ike and Maggie sit in the steaming car for a moment. MAGGIE Your filter's clogged. This takes unleaded. IKE Can you fix it? MAGGIE First I have to find some tools. I need a half and a nine-six-tenth. IKE (removing his glasses) Of what? MAGGIE (in amazement) Wrenches. My dad's gonna love that one. Maggie slams the food closed. IKE Kind of isolated. MAGGIE Yeah. It's kind of nice. An uncomfortable silent pause. Ike breaks the moment. IKE There's one thing we New Yorkers know how to do is hail a cab. If there's no cab, we walk. Ike stares off down the road. Maggie indicates a building in the distance, then turns off the car lights. MAGGIE I can get some tools over there.... and save the battery... There's one thing we country girls know how to do is cut across a field. It's quicker. Maggie points diagonally across the field to where a gas station sign glows and the lights from the outer house twinkle. He smiles and follows her into the field. MAGGIE (cont'd) Be careful of snakes. IKE Snakes? Are you serious? I don't like snakes. I've never even seen a snake. He steps carefully into the field, then hops gingerly toward Maggie. MOMENTS LATER Maggie leads Ike through a cornfield. MAGGIE Do you think there's only one right person for everybody? Ike chooses his words carefully. IKE No. But I think attraction is too often mistaken for rightness. Attraction is very misleading. And if it's mutual, it's well, terribly distracting. MAGGIE Yes it is. And it doesn't mean anything. Ike nods as they come to a wooden fence. She puts her hand on his shoulder. Ike puts his hands around her waits to give her a boost over the top. We see the flicker of misunderstanding cross Maggie's face at the initial contact. Neither of them moves -- forward or back, but the electricity is obvious. ANGLE ON: Ike. His conflicted feelings are apparent. With difficulty, Maggie straightens up and they both quickly remove their hands. MAGGIE (cont'd) (lightly) I suddenly forgot how to climb a fence. They look at each other for a moment, then: MAGGIE AND IKE (breaking the moment jokingly) "Tools". She climbs over the fence on her own and Ike follows. They see an old guy, LIONEL, whittling on a porch. MAGGIE (cont'd) Lionel, can I borrow some tools? IKE Yeah, we need a half and nine- sixteenths. LIONEL Gonna bust out of another wedding? IKE You're sure well known around here. EXT. FISHER AND ELLIE'S BUILDING - THE NEXT DAY Establishing shot. INT. FISHER AND ELLIE'S KITCHEN (NYC) - DAY INT. IKE'S HOTEL ROOM - DAY INTERCUT BETWEEN TWO LOCATIONS: Ike sits on his bed, on the phone, working and eating his breakfast. He's watching Maggie's wedding tape again. Fisher is cooking an elaborate breakfast. Ellie rushes around getting ready for work. He is on the phone to Ike. FISHER (into phone) Yes, well, my theory was that she may be running because she gets attention... Negative attention is attention. Like when women whack you on the street because of your column, that's negative attention. IKE (V.O.) This is about her negative attention, not mine. Did you get the reimbursement for the dress yet? FISHER (into phone) No, I'm paying for the dress. Do you think she's still gonna run? IKE (V.O.) I don't know. Ellie enters the kitchen, hears the question and shakes her head to herself. If only these boys would give it up. INT. IKE'S HOTEL ROOM - CONTINUOUS He is finding it very hard to gloat. Fisher is annoying him. IKE (into phone) Look -- I'll be in there later today. I'll come by and tell you all about it. FISHER (V.O.) You're coming here? IKE (into phone) Yeah. FISHER (V.O.) Then come for dinner. IKE (into phone) Okay, we'll order out. FISHER (V.O.) Order out like a Philistine, when you got the Galloping Gourmet here?... Ike hangs up and watches more of the George Swilling wedding video. INT. NEW YORK BAR - DAY The bar from the opening scene. GEORGE SWILLING, the same man Ike talked to before, is sitting on a stool, nursing his drink. He looks better. Ike enters. George looks up and recognizes Ike, who takes the bar stool next to him. IKE Get this man a Kamikaze. GEORGE Splendid dissection of Maggie Carpenter, very professional job. Ike sits and leans over to George. IKE (whispers) You could have told me you were fiance number three. GEORGE And end up in the papers? I've been humiliated enough already to last a lifetime, thank you. I'm sorry she got you canned. IKE Thanks. GEORGE She's a cacophony of contradictions. IKE Well, I'm writing another article on the cacophony. GEORGE Ah, can't stay away from her, can you? Like a moth to a flame. IKE Guess you'd know about that. You're an entomologist, right? How's business? GEORGE (taking a sip of his drink) Not bad. I was traveling around studying the reproductive and migratory patterns of locusts when Maggie met me. IKE (sarcastic) Neuter a locust, feed the world. GORGE Not the world. Just Africa and China. Ike wipes the smirk off his face. Like Maggie's other men, this guy has a worthy accomplishment under his belt. GEORGE (cont'd) You know Maggie was the only girl I ever met who would hold my tarantula. On the first date. IKE (cont'd) So, tell me, George, why do you think she ran? GEORGE Same as you said. What did you call her? A "man-eater", "a devouring death goddess." IKE I don't think that's why she ran. GEORGE Why do YOU think she ran? Ike sips his drink before answering. IKE I don't know. I'm working on it. I was on the wrong track. GEORGE And you defending her? IKE No. I call it like I see it. I'm a journalist. I'm a truth teller. GEORGE Unbelievable, she got to you. IKE Oh, please! GORGE Join the club. (passing him his drink) Here, you need this more than me. George heads out. IKE (protecting, taking his tape recorder out of his pocket) I'm writing an article, I'm getting paid to do this, it's going to be a cover story, it's going to be published ... The facts will be read someday. As George pauses in the doorway, Ike holds up his tape recorder. IKE (cont'd) What kind of eggs did she like? GEORGE Poached, just like me. George exits. CUT TO: EXT. NEW YORK STREET/FISHER AND ELLIE'S BUILDING - DAY Ike walks down a street toward Ellie and Fisher. CUT TO: INT. FISHER AND ELLIE'S APARTMENT (NYC) - NIGHT Ellie is on the phone as Fisher enters with beer. Ike sits at the piano. FISHER (sarcastically) Overpriced nice apartment and Chinese takeout. That's New York living. ELLIE (into phone) ... Just call me when you have it. (hangs up, then to Fisher) Ike, how is the story coming? Is she a man-eater? FISHER Or a vegetarian? ELLIE Or does she pick "NGB'S" -- "Nice Guys, But..." Nice guys, but I'm cheap. Nice guys, but he lives with his mom... Nice guys, but he just out of prison. IKE No... They're interesting guys. Each one of these guys has something going for him. I mean, one's been up Everest. Another's become a priest. One's a pretty good guitar player. And this guy today tried to end world hunger, if you can believe that... FISHER Whoa, Ike. Getting a complex, buddy? ELLIE Fisher, let him talk. IKE (sits) But one of those guys -- not one of them -- knew her at all. Each one was convinced that she was perfect for them, but they didn't see her. And she never showed up so they couldn't see her. It's a very symbolic thing happening. She becomes what she thinks they wanted to be. Fisher doesn't like the sound of this. He glances at Ellie, who is looking very interested. FISHER (in shock) Ike is turning sensitive and I can't bear to watch. I'm going to make a fresh pot of tea. The phone rings as Fisher exits. Ike goes to the piano as Ellie picks up the phone. ELLIE (into phone) Yeah... Oh, Jay... Okay... Bye. (hangs up, then yells to Fisher) Fisher, don't forget the fortune cookies. She joins Ike at the piano. Ike gets serious. IKE Is that what I did to you? Is that what happened? Did I just not see you? ELLIE No. No, you didn't. He hugs her. IKE (heartfelt) Well -- I'm sorry, I'm really sorry, Ellie. ELLIE I'm sorry, too. (beat) Wow. That only took us between years to say. Ellie blinks back sentimental tears. CUT TO: EXT. TROUT'S BARN - THE NEXT NIGHT We hear Hawaiian music. We see a truck with GUESTS drive up and HULA DANCERS through barn slats. INT. TROUT'S BARN - NIGHT It's a small barn that's been converted into a luau with a bar. A BAND plays for two hula dancers. The Trouts had decorated it as a little slice of Hawaii. There are tiki lights, numerous rented plastic palm trees and fiberglass copies of Hawaiian statuary. Strings of colored lights crisscross the ceiling. It looks like a Hawaiian high school gym on prom night. Maggie's family, Mrs. Trout and people we've already met, and more, are here, milling around wit tropical drinks garnished with umbrellas. Plastic leis abound and most people have managed to find their old Hawaiian shirts. As we come in, the hula dancers finish their applause and Mrs. Trout announces. Hula dancers stop. LOU TROUT Welcome to our annual country luau. As you know, Betty and I got married on the rim of the crater, Diamond Head. MRS. TROUT (grabbing the microphone) This year, we're dedicating our first dance to the soon-to-be newlyweds, the King and Queen of Hawaii, Maggie and Bob. The couple enters. Bob is a goody bronzed god in his King Kamahamela outfit. Maggie is spectacular in her authentic looking Hawaiian Princess get-up. But her face reflects none of the festivities around her. Every now and then, she looks up and glances around for Ike, hating herself for it. MRS. TROUT (cont'd) King and Queen, dance. Maggie and Bob start to dance as the Quarter sings "Aloha Oe." MRS. TROUT (cont'd) Everybody dance. Everybody dances. TIMES OUT: Maggie and Bob pose for pictures with some of the guests. MRS. TROUT Pictures of the King and Queen. Dennis poses with Maggie. Cory poses with Bob. Mrs. Trout runs out of film and goes to get more, leaving Peggy and Maggie alone. Peggy whispers to Maggie. PEGGY Lighten up, wahine. MAGGIE Lighten up, what? PEGGY This party is for you and Bob. Get your mind off the reporter. MAGGIE I haven't seen him in twenty-four hours. It just gives me the creeps a little bit. I'd feel better if I knew where he was. PEGGY (nods to door) Would it? ANGLE ON: Ike just entering the party. At least he tried. He's got a tropical sheet wrapped around his pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? MAGGIE (after a beat) I'm going to go dance with Bob. Because he's the man. (referring to her headdress) I like those grapes. Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. LOU TROUT Hey, Mr. Graham, welcome to our luau. What can I get you? IKE You got something without a toy in it? TIME CUT: A LITTLE LATER - CLOSE ON A pair of expressive pantomime "A Little Grass Shack". PULL BACK TO REVEAL: Mrs. Trout is on stage, introducing hula contestants. Grandma judges the Hawaiian dancing. The party is at full tilt -- a little wild, a little goofy. Some guests (Bob, Cindy, Cory, Lee and Ted) do the limbo. Walter, Mrs. Pressman doesn't turn as she hears him. IKE Aloha. That's a very fetching headdress you're wearing. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. MAGGIE Where did you disappear to? IKE Missed me bad, huh? TIME CUT: All the guests start banding their pineapple cups. Walter rises unsteadily, lifting his pineapple. MRS. TROUT Attention. Listen to Walter. Listen close, he slurs. (then) Shut up, wahines! WALTER In the tradition that has grown through the years, it is now Toast Time! First up, our host, "A Honey of a Beekeeper", Lou Trout.. Lou Trout stands with his glass raised. LOUT TROUT May the groom's heart be filled with hopes and the bride's feet be filled with lead! There are shouts of "Hear hear!" Walter roars. MRS. TROUT May the pitter-patter of little feet not be Maggie's. MRS. PRESSMAN May the gifts be returned! TED May the back of the dress be as pretty as the front! The laughter swells and swells, led by Walter. ANGLE ON: Ike watches as Maggie takes the heat, raising her glass along with the others. Bob raises his glass like the good sport he is. Ike can't believe it. WALTER You know the old saying, "You're not losing a daughter..." Well, I'd like to! Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. WALTER AND MAGGIE -- But she's certainly the fastest. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? IKE I don't know, give me a minute. (to Maggie) Are you all right with this? MAGGIE Excuse me? IKE Are you all right with this? You think this is funny? MAGGIE Yes. IKE I don't and I don't think you should... BOB It's a joke. They're kidding. WALTER AND CROWD (yell) Come on and give us a toast. IKE You want me to make a toast? Okay... I'll give you a toast. To Maggie's family and friends. May you find yourselves the bull's eye of an easy target. May you be publicly flogged for all of your bad choices and may your noses to rubbed in all of your mistakes... Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. MRS. TROUT That was funny. (a pause) But enough toasts, let's hula. Let's start the music up. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. CORY Hey, Bob. I got twenty dollars bet on-- BOB Not now. Bob rushes after Maggie. PEGGY (calling after her) Maggie. Maggie. (to Ike, handing him a jacket) Here. She may need this. It's not really Hawaii. Ike exits. Then, Bob comes over. BOB Where'd Maggie go? PEGGY Oh, she just went to get me something from the car. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. EXT. TROUT'S BARN - NIGHT Ike runs after Maggie. He grabs her arm and turns her to him. IKE I'm the only goddamn person in there pulling for you. MAGGIE You humiliated me! IKE No, Maggie, I defended you. Humiliating you is what everyone else is doing. It's the theme of this party. MAGGIE I had it under control. Now they feel sorry for me. IKE Well, they should. Because they're about to watch you hang yourself again. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? MAGGIE It's fun! It's high. IKE Or the sexual habits of locusts? MAGGIE That was very interesting research George was doing! IKE What kind of Dead Head gets a temporary tattoo? MAGGIE I already explained about that. IKE And where you ever really going to run the leper colony in Molokai? MAGGIE (wincing) Brian told you that? IKE Or maybe you just wanted to wear the headdress. MAGGIE Every one of those times I was being supportive. Something you won't understand. IKE Supportive? You weren't being supportive. You were being scared. Just like now. You are the most lost woman I have ever laid eyes on. MAGGIE Lost! IKE That's right. You're so lost you don't even know how you like your eggs. MAGGIE What!? IKE With the priest, you liked them scrambled. With the Dead Head, fried. With the bug guy, poached. Now it's egg whites only, thank you very much. MAGGIE That's called changing your mind. IKE No, that's called not having a mind of your own. What are you doing, Maggie? You really want to let that man drag you up Annapuma on your honeymoon? You don't want to climb Annapuma. MAGGIE Yes I do! IKE No you don't. You want a man who will lead you down the beach with his head over your eyes just so you can discover the feel of the sand under your feet. You want a guy who will take you into a cave with a thousand candles just to read you a poem. You want a man to wake you up at dawn because he's burning to talk to you and he can't wait another minute to find out what you'll say. Am I right? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. MAGGIE Stop. Stop it! I'm getting married on Sunday, and you're just trying to make me run! Why? Because you're a cynical, exploitative, mean-hearted creep who wouldn't know real love if it bit him in the armpit! And all you do is tear other people down and-and-and laugh at them, and criticize what they do, because you're too afraid to do anything yourself! I read your column. You never wrote one about you. I'm not the only one who's lost and you know it! Am I right? Well? Am I right? ANGLE ON: Bob comes outside. BOB Mag. Help me out here. Green Bay. Right guard. Both Maggie and Ike are breathing hard. Bob comes up to Maggie and gives Ike a very hard look as he puts his arm around his fiancee. BOB (cont'd) You know... Blocked Bart Starr, crewcut ... Are you okay? Maggie adjusts her face as best she can. MAGGIE Yes. BOB Let me take you back inside, okay? She lets him lead her away. MAGGIE Jerry Kramer. Ike looks at her drooped shoulder and he shakes his head and walks to his car. EXT. HALE METHODIST CHURCH - THE NEXT DAY Peggy and Cindy arrive for the rehearsal. They leave Cindy's dog in Peggy's car and walk to the church. CINDY Tell me, why does Maggie need another wedding rehearsal and two days before the wedding? She's already done this. PEGGY Bob is making her visualize the ceremony. CUT TO: INT. HALE METHODIST CHURCH - NIGHT They are in the church proper now. Peggy waits in a pew as Bob leads Maggie and Ike up the back steps of the church. BOB (to Maggie) Okay, we're ready. Want me to have Ike leave now? Maggie turns on Ike with "cheerful" hostility. MAGGIE No. No -- Actually, let's make Ike the pastor. IKE I'd rather not. MAGGIE (sarcastically) Come on, it'll give you a great view. It's perfect. (seeing Peggy) Hey. Maggie smiles at Bob. Ike sighs and goes with it. Bob pulls Ike to the head of the aisle and places him. Peggy follows Maggie into the foyer to get ready. Cindy sits with Ted at the organ. BOB Team effort, Pastor Ike... Cindy, ready? (after no response) Cindy, come on. Cindy leaves to join the girls in the foyer. INT. CHURCH FOYER - THAT MOMENT Once in the privacy of the foyer, Peggy and Maggie talk. PEGGY He's going to be the pastor? MAGGIE Yep. I want him to be front and center and to watch everything. PEGGY What happened at the luau? MAGGIE (flustered) ... I don't even want to talk about the luau. (then seeing a hanging rope) What's this? PEGGY It's for the bell. Cindy joins them. CINDY Bob's in a hurry. PEGGY Don't be nervous, Maggie. Let us visualize. Remember what Bob said? "Be the ball." CINDY "Sink the putt." PEGGY "Make the shot." CINDY "Nothing but net." PEGGY "Never say die." Maggie puts her hands up. MAGGIE Go! Peggy and Cindy exit. Maggie pulls the bell rope and sways back and forth as she rings the bell. INT. CHAPEL - THAT MOMENT It is Maggie's turn to enter. They all turn expectantly. Too much time passes. Ted plays the organ, then stops. Maggie swings back and forth in the foyer doorway. BOB Honey, are you okay? Maggie stops ringing the bell and pulls herself together. She walks into the aisle looking a little shaky. She takes a few tremulous steps slowly with her eyes closed, peeking occasionally with one eye. IKE (taking off his jacket) At this pace, it could be an evening wedding. BOB Hold it! Hold it! I think we're taking this too fast. He begins to pace. BOB (cont'd) We need to limber you up a little. You're tensing. (thinks a moment; to Ike, moving him to groom's spot) You stand here and be me so she knows how far she'll have to go. (then to Maggie) I'm going to walk with you. Bob goes to Maggie and walks behind her. BOB (cont'd) Visualize! Visualize! It's game time. ANGLE ON: Maggie walking. BOB (cont'd) You are the football. You're spiraling through the air towards the hands of the groom. She proceeds down the aisle. Bob behind her. MAGGIE (eyes down) Yes, I'm spiraling through the air. ANGLE ON: Maggie raises her eyes and sees Ike in front of her as groom. Ike and Maggie lock gazes. If they had to, they couldn't look away. All the things unspoken are now communicated -- the love, the longing. MAGGIE (cont'd) I streak towards the goal line. Maggie's pace quickens. MAGGIE (cont'd) And I land on the goal line. ANGLE ON: Bob beams to see Maggie's eager arrival at Ike's side. He switches off the music and proceeds like a proud coach to be the pastor. BOB Okay, I'm the pastor. Dearly beloved, blah, blah, blah. So on and so forth. Ra ta ta ta. Yabada dabada. I now pronounce you man and wife. Kiss the bride, badum dum. (then moving toward Ted) We have the crescendo that leads to us right back down the aisle and out the... Ike kisses Maggie. It is a world class, Olympic kiss. It is a kiss that changes everything and can never be taken back. It is a kiss you only get once in your life. NEW ANGLE: Bob's smile dies. Cindy's mouth drops open as the kiss goes on and on. Peggy loses control and screams. BOB (cont'd) Maggie!!!!? Like a bucket of water thrown on two dogs, Ike and Maggie are startled out of their kiss. They pull apart and smile at each other. ANGLE ON: Bob. BOB (cont'd) (furious) If you were imagining me, you did great. (to Ike) What the hell were you doing? IKE (eyes on Maggie) I'm sorry, Bob. She kissed me back. MAGGIE (dazed but happy) I kissed him back. BOB Yeah, I caught that. Want to tell me how long this has been going on? Maggie looks at Ike, wondrous, confused. MAGGIE About a minute...? IKE A little longer for me. MAGGIE Really? BOB What do you expect me to say to this? IKE How about -- "I hope you'll be very happy together"? Bob hauls back and punches Ike in the face. Ike drops. BOB I hope you'll be very happy together. Bob storms down the aisle and out of the church. MAGGIE (to Peggy) Take care of him. Maggie leaves. CUT TO: EXT. CHURCH - THAT MOMENT Bob is halfway down the walk. Maggie appears at the church door and calls after him. MAGGIE Bob, I'm sorry! (half to herself) At least I backed out before the wedding. That's progress! He keeps marching. Now Peggy appears next to Maggie. Maggie calls again. MAGGIE (cont'd) Some woman is going to make you a lot happier than I ever could... The words are barely out of her mouth when Cindy comes out the door, racing after Bob at a full sprint. MAGGIE (cont'd) See? PEGGY Well, Maggie -- in the words of Mrs. Pressman: "Holy moly". Call me later. Peggy goes to her car. Cindy joins her as Bob speeds off in his car. Now Ike takes Peggy's place next to Maggie. Maggie turns to face Ike. They are both beet red, stammering and unable to look at each other, trying to act normal. MAGGIE Okay. So... what, uh... What just happened? Just now? Jus then? In there? IKE I don't know. I, uh -- I frankly don't even want to talk about it. MAGGIE Me, either. Ike GRABS Maggie and BOOM -- they are all over each other, kissing frantically, tongues, hands, hair, elbow, you name it. Blathering fools. IKE (blathering) I love you. I love you. MAGGIE (blathering) I love you, too. They come up for air. IKE Wait. We have to talk. We have to do some talking now. Pull up a railing. Maggie sits on the railing, then Ike backs up and sits on the opposite railing. IKE (cont'd) You have to go down an aisle and say "I do". You have to get married. MAGGIE To who? Are you asking me? IKE Me? Ike backs up to opposite railing and sits facing Maggie. MAGGIE Yes, you! IKE (thinks) Well, you do have the dress. MAGGIE And the church. IKE And the wedding date. There's the two of us. (beat) So, you think... maybe... You have to go down the aisle with somebody you love and who love you back. MAGGIE I'm okay with that. IKE So am I. MAGGIE So, we'll... They both nod and sit there smiling, sort of. The organist, Ted, closes the church door. TED Good night. Ike pulls his tape recorder out of his pocket and quietly speaks into it. IKE I'm getting married. WIDE SHOT: They smile at each other and remain sitting. Then, silence. CUT TO: EXT. STREET/HALE/ATLANTIC HOTEL - THAT NIGHT Ike drives up and parks in front of the hotel as he talks on his cell phone. INTERCUT WITH: INT. FISHER AND ELLIE'S BEDROOM (NYC) - NIGHT Ellie's on the phone. Fisher sits nearby. ELLIE Ike's going to get married. Fisher throws himself onto the carpet and rolls himself helpless with laughter. ELLIE (cont'd) (without turning to him) Fisher, if you pee on that Persian, I'll kill you. CUT TO: INT. BEAUTY SALON - NIGHT DAY Maggie talks to Peggy, Cindy and Grandma Julia. Grandma Julia sits under a hair dryer. Sprout, the dog, sits in his basket. CINDY I love his eyes. I just believe they're listening to you. PEGGY His hair... any color. GRANDMA JULIA I like his tight butt. Peggy laughs. MAGGIE Grandma! PEGGY (to Cindy) See, this is a mature relationship. She's really found it. CUT TO: LOVE MONTAGE SHOTS: EXT. OCEAN - DAY Ike and Maggie fishing. INT. MAGGIE'S WORKSHOP/HOME - DAY They play ping-pong. They laugh, enjoying the moment. INT. MAGGIE'S HOUSE - DAY Ike and Maggie have fun playing cards. The game is slapjack. EXT. FIELD - DAY Maggie and Ike horseback riding. They sit on their horses amongst trees, "nuzzling". Ike reads as he pushes Maggie in a tire swing. INT. MAGGIE'S ROOM - DAY Ike and Maggie open and close a Hoberman ball by holding its opposite ends in their teeth. Grandma looks in. INT. MAGGIE'S LIVING ROOM - NIGHT There is a fire in the fireplace. Maggie and Ike sit as Ike shows Maggie some passages from his favorite books. He's reading something from Yeats at the moment. They seem happy. EXT. CHURCH - THE DAY OF THE WEDDING It is a media circus including FOUR REPORTERS, Midday with Meredith and the T-shirt Vendor. Plus three other people the reporters are interviewing, a GERMAN LADY, BUTCH KENAN, a farmer and Grandma Julia. Reporter DINA NAPOLI walks down the church steps. DINA NAPOLI (OF WBAL) Wedding bells are ringing for the fourth time today in Hale, Maryland. Maggie Carpenter, "Always a Bride -- Never a Bridesmaid", will be attempting to complete her fourth wedding ceremony. We'll come back on the air when the results are in. Back to you, Jessica. Meredith, the low-end public access TV reporter, films himself pointing a cheap video camera himself. MEREDITH The turnout for this morning's wedding is usually reserved for royalty or Hollywood stars, but Maggie Carpenter is Hale, Maryland's special star and the citizens of Hale are out in full force today. The NY T-shirt Vendor pitches his wares. T-SHIRT VENDOR I got "Bye-bye Birdie". "What part of 'I do' don't you understand?"... Get your "Runaway Bride" T-shirts here... Reporter JULIE MURPHY stands near Grandma Julia and Mrs. Pressman. JULIE MURPHY (Channel 6) The bride's been here for almost an hour, but being around in the beginning was never her problem. We'll be here, showing you the full wedding ceremony, we hope. Reporter JACKI and TIFFANY stand at the edge of the CROWD reporting. JACKI/REPORTER #3 (WBOC TV16) Will she or won't she? That is on the minds of these several hundreds folks, who are standing here this morning. Not to mention on the mind of Groom Number #4, ex-USA Today columnist, Ike Graham, who is missing in action. EXT. WINDOW OF CHURCH/INT. SUNDAY SCHOOL ROOM - DAY INSERT window of church. Peggy peers out the window at the carnival scene. Cindy sits with Maggie as she leans forward, doubled over on a child's chair. Peggy moves from the window to sit with them. MAGGIE (moves to window) He's not coming. Watch. He's not coming. PEGGY No, no. I saw eight geese flying in a "V". MAGGIE You and your lucky geese. You always see geese. PEGGY Not eight... CINDY And in a "V". MAGGIE Eight is good... "V" could be Victory. They ad lib various words starting with the letter "V". Maggie is nervous. CINDY Rub your ears. PEGGY Yes, rubbing your ears is very soothing. Cory does that to me when I hyperventilate. Maggie rubs her ears. CINDY We do it to our dog. MAGGIE It's hurting. CINDY We'll rub. After they rub Maggie's ears a bit: PEGGY He's here! He's here! They all squeeze and peer out window. They scream in excitement. Cindy rushes to Maggie's wedding dress. CINDY I'll get the dress. MAGGIE He's here!... He's here! PEGGY Now's the time for calm... If you don't calm down, you won't get your dress on... (reassuringly) He's the one... He's the one. Peggy moves to help Cindy with the dress. Maggie stands alone at the window a moment. She picks up a toy horse. MAGGIE This is not a good sign. Maggie goes over to Peggy and Cindy, and starts to get into her bridal gown. They continue to ad lib words standing with the letter "V". CINDY We have to hurry. The Sunday School kids will be here soon. CUT TO: INT. IKE'S CAR - DAY Ike pulls up slowly. GUESTS peer through the his car window and wave. Ike rubs his headache. JULIE MURPHY Well, the groom just pulled up. There was talk of a "now show", but he is here. DINA NAPOLI Ike Graham is here! IKE'SPOV: He moves as he takes it all in: a FAMILY eats a fast food picnic on a neighbor's lawn, invited GUESTS flock by in their party best, and local NEWS TEAMS block the way. The STATE SENATOR is making a speech welcoming the press to Maryland. A large GROUP of reporters head up the church's stairs, hauling their equipment. They enter the flood of PEOPLE streaming inside the church. Ike snaps. EXT. IKE'S CAR - CONTINUING Ike stops the car where it is and jumps out, slamming the door in anger. The REPORTERS swarm around him as he gets out of the car. They continue to pound him with questions as he walks to church steps. An OLDER LADY smacks him on the shoulder with a newspaper. He turns in astonishment and continues up the steps. He charges up the stairs and grabs Lee. IKE Shoot ours so she has one with an ending. Mrs. Pressman stands, shooting Ike with her video camera. IKE (cont'd) (pleading) Mrs. Pressman, please. MRS. PRESSMAN It's okay. There's no microphone. You're no fun. IKE No, I'm not. Ike retreats into the church. Lee comes up to him again with his video camera: CHUFFA about Scorsese. INT. CHURCH - CONTINUING As Fisher and Ellie sign the guest book, a LOCAL LADY stares at Ellie. Ellie stares back at her until she leaves. Ike walks away from Lee and turns smack into Ellie and Fisher. Ike puts his arms around them and gives them a big hug. IKE Friends. Thank you. Thank you. Over Ellie's shoulder, Ike sees Fisher's grinning face. IKE (cont'd) We are friends, aren't we, Fisher? FISHER (grinning) Of course we are. Of course. IKE Then you'll be my best man. FISHER Well, I'm good, I don't know if I'm best. IKE Go talk to the pastor and he'll tell you what to do. And someone will tell me what to do. ELLIE You always looked great in that suit... And Ike? (emotional) I'm happy for you, honey. Ellie whispers in his ear. ELLIE (cont'd) I'll have a car around the back to whisk you out of here if she runs. Ellie kisses him on the cheek and walks away. ANGLE ON: Bob comes up to Ike. He looks like he's going to punch Ike, then abruptly holds out a rose boutonniere. BOB You look awful. IKE (sarcastically) Thank you. Bob hands the flower to Ike. Ike is shaking. Bob catches this and looks up to Ike. It is a moment of clean honesty between the men. BOB Ike. Need help? He takes the boutonniere and puts it on Ike's lapel. BOB (cont'd) I'm glad it's you. IKE Really? BOB I didn't want to find out I wasn't for her in the fourth quarter. IKE Got any last minute advice? BOB (motioning to their eyes) Maintain eye contact. Bob turns and leaves, going down a side staircase. IKE (to himself) Eye contact. Eye contact. Out of the corner of his eye, Ike sees a pictures of Christ on the wall. He leans into the picture and whispers. IKE (cont'd) Cover me. He walks into the chapel. INT. CHAPEL - CONTINUING Ike steps up and stands next to Fisher. FISHER (to Ike) I have no idea what I'm doing. IKE Your job is... the ring. (to Fisher) Do you have the ring?! FISHER I just found out I'm best man! I'm lucky I have a suit... What's wrong? Ike gives the ring to Fisher. The Pastor approaches Ike. Ike turns away and look out over the guests. IKE'SPOV: There are most of the TOWNSPEOPLE we've come to know, plus some NEW YORKERS for Ike, with little ponytails. Armani wire rims, Donna Karan bodysuits. There's a lot of smirking, checking out the hicks, forming their stories for cocktail hour. Elaine is in back all dressed in black, mourning Ike. Mrs. Trout approaches Ike. MRS. TROUT You should thank Lou and I for the wedding car -- a '63 Buick. IKE Thank you. MRS. TROUT Oh, come on. You're practically family. Mrs. Trout starts picking lint off Fisher's jacket. FISHER Hello. I'm Fisher. MRS. TROUT This doesn't want to come out. FISHER You just pull a hair from my neck. IKE Mrs. Trout, go back to your seat! INT. CHURCH FOYER - DAY Peggy joins Maggie, who is blowing bubblegum and swaying in front of an oscillating fan. Grandma and Walter come in. Grandma gives her a kiss on the cheek. GRANDMA JULIA Good luck, Maggie. MAGGIE Thank you, Grandma. Grandma leaves. Walter steps up. WALTER (quietly to Maggie) I'm really rooting for this one. MAGGIE Thank you, Dad. Peggy turns off the fan. Cindy takes the bag from Maggie. CINDY Spit. Maggie spits her bubblegum into the bag. Peggy hands Maggie her bouquet. PEGGY Let's go. MAGGIE No sauntering down the aisle. Just make time. Let's just get there. Cindy and Peggy nod and leave. The door closes. INT. CHAPEL - CONTINUING Both extends his hand to Elaine. ELAINE Hi, I'm Elaine from New York. BOB Hello. I'm Bob, Maggie's fourth attempt. ELAINE I'm sorry. BOB That's okay. There's a lid for every pot. Besides, I'm comfortable with Ike. I mean, Jack Dempsey lost his heavyweight title to a New Yorker. ELAINE I know. Gene Tunney. The organ begins to play. The organist is Ted. Grandma, Walter, Mrs. Pressman and the Trouts watch. Mrs. Trout picks lint off of her husband's jacket. ANGLE ON: Cindy and Peggy enter with the confident air of people who have done this before. They make it to the head of the aisle all too quickly. Peggy gives Ike a wink and an encouraging smile. INT. CHURCH FOYER - CONTINUING The door opens and Dennis sticks his head in. DENNIS They're ready, Maggie. MAGGIE Just a second. Dennis closes the door behind him as he goes back into the chapel. Maggie has a moment alone. She looks at back door as possible escape route, then changes her mind. She signals the start of the wedding by knocking on the door. INT. CHAPEL - CONTINUOUS Immediately, Cory and Dennis open the doors for her entrance. All the guests stand as Maggie enter the chapel smiling. MAGGIE'S POV: The aisle stretches before her into infinity. Faces goggle at her from every direction. The tiny figure of Ike stands like a beacon a long way off. NEW ANGLE: She plunges forward with a sped-up hesitation step. ANGLE ON: Ike rocks imperceptibly, urging her on. Peggy and Cindy make little "come on" motions. It seems to be working. Maggie approaches rapidly. The CROWD has turned from skepticism to looks and noises of encouragement. ANGLE ON: MAGGIE But then her feet gradually begin to slow. ANGLE ON: Fisher gives a little "darn, so close" look. ANGLE ON: But Ike is too busy maintaining eye contact. His eyes urge Maggie closer -- loving her, willing her on. CLOSE ON: Maggie stops her walk, gives Ike a teasing smile, and then resumes with her walk toward him. His face. Her face. His face. Her face. CLOSE ON: Her foot inches forward. The other follows. NEW ANGLE: A sigh now rises from the GUESTS as Maggie closes in on Ike. He smiles at her. She smiles at him. She is almost there... She's there, smiling at Ike. The Pastor gestures to the guests to sit down. They do. ANGLE ON: Ike sneezes. She looks down and imagines she sees the carpet splitting apart. And she bolts like a bat out of hell! In a flurry of white, she is halfway down the aisle before Ike knows what hits him. ANGLE ON: Ike stands there dazed. For a second. Then she springs into action, charging after her. IKE (yelling out) Block the doors! Like a general, he points to Dennis and Cory in the back and sends them into action. The doors shut in Maggie's face. But she's a wild animal cornered. She moves to the side. The TOWNSPEOPLE stand so Ike can hurry through the pew. Ike climbs on the pews towards her as GUEST crowd the aisle, blocking his path. Like a gazelle, she leaps to the side aisle and scampers down and away. Fisher gets on his cell phone. Ike charges from one of the full pews, crosses the aisle and leaps across the pews near the staircase to cut her off. He grabs her veil and it comes off in his hands. Maggie disappears down the steps of the church basement. Ike fumble with the veil and jumps over the railing, landing on Dennis' toe. He follows down the stairs after her. Mrs. Pressman and Walter exchange bet money. CUT TO: INT. CHURCH BASEMENT - CONTINUING Maggie comes down steps and enters the church children's Sunday school class. A lot of KIDS And TEACHERS are doing religious arts and crafts. As Maggie runs through: MAGGIE There's a man coming down those steps with lots of candy in his pockets. If you tickle him, he'll give candy. She gives her bouquet to a little GIRL as she goes by. Ike comes down stairs. IKE Maggie! The KIDS mob him, grabbing his pockets. Ike fights his way through KIDS. ANGLE ON: Maggie as she's in the church kitchen and hops on counter and heads out the window. The window is wide enough. ANGLE ON: Ike as he gets to the window, but Maggie is out in driveway. EXT. CHURCH DRIVEWAY - CONTINUING Maggie flies toward a FedEx truck at next house just leaving. ANOTHER ANGLE: She gathers her dress and jumps in as Ike yells from window, then, quickly climbs out onto the lawn as the truck starts to pull away. IKE Maggie! Maggie looks back once, tearful and regretful, and disappears inside the truck. The truck races off. The PHOTOGRAPHERS turn their cameras on Ike, en masse. He is enveloped by a barrage of bright lights. Ellie and Fisher, who have also stepped outside on chapel front steps, are looking around as Ike turns around the corner and past the church. ELLIE Look, he's running after her. FISHER Look, he's in pretty good shape. ELLIE Poor Ike. They look after the FedEx truck and watch Ike chasing the truck down the road away from the church. IKE (running; yells) Maggie! ELLIE Where do you think she's going? FISHER Wherever it is, she'll be there by ten- thirty tomorrow. Cindy, Cory, Peggy and Meredith also rush out of the church and comment on Maggie's runaway. Further down the road, Ike still chases the truck, yelling: IKE Maggie! As the truck rounds the bend in the road and disappears, Ike stops and stares alone after the disappearing truck. A swarm of REPORTERS catch up to him, flashing pictures and asking questions. Another camera flashes and we cut to: A NEWSPAPER PHOTO Of Ike's stunned face on the cover of the USA Today. The caption reads: "Hit and Run: Runaway Bride Strikes again". And we see headlines in other papers. "MAGGIE'S MAD DASH" "HARDWARE HONEY GOES NUTS AND BOLTS" "JOURNALIST WRITTEN OFF" "BRIDE TAKES HIKE...NOT IKE" "BRIDE TAKE RIDE" "MAGGIE SAYS I DON'T" NEWSPAPER MONTAGE: INT. NEW YORK BAR - DAY Kevin, the bartender, reads Jay's column, in the USA Today entitled "Maggie's Mad Dash". CUT TO: EXT. USA TODAY LOADING DOCK - DAY Various newspaper WORKERS also read Jay's column in the USA Today entitled "Maggie Mad Dash" and "Hardware Honey Goes Nuts and Bolts" in another newspaper. FADE IN EXT. MAIN STREET/HALE - NIGHT (1-5 MONTHS LATER) It's a night like any other in Hale -- the regular order of things has been restored on its quaint streets. Quartet sings in front of the hotel. LEE AND CORY CHUFFA: About where Peggy is. INT. HARDWARE STORE - NIGHT Maggie is sitting, end of a long day. Peggy sticks her head in entrance door. PEGGY You okay? I'm closing. MAGGIE I'm just finishing up, too. PEGGY Want to go to Butch's for a drink or something? MAGGIE (interrupting) No, I'm just going to head home. PEGGY Okay. Peggy starts to go, then moves close to Maggie. PEGGY (cont'd) (stepping closer and making a "V" with her fingers) You know, I was just thinking about that geese thing. I think the "V" was half of a "W". A "W" for... MAGGIE What are you talking about? PEGGY Wedding. Wedding. (holding Maggie's face) You just have to get the rest of your ducks in a row. MAGGIE Thank you. You still think that he was.... PEGGY Quick. Very quick. Peggy exits. Maggie stares, losing herself in thought. Then a VOICE startles her. VOICE (whispers) Marry me, Maggie. Maggie jumps and turns to see: DENNIS -- the kid from the high school football team, popping up from a low position near the counter. MAGGIE (softly) Hi, Dennis. DENNIS I am going to propose, you know. I mean, the right way. Soon as I turn eighteen. MAGGIE You're sweet, Dennis. But you've got to go. I'm closing up. Here's a candy bar and one for your brother. Dennis takes the candy and starts to go. DENNIS I'm not giving up. A person shouldn't give up. Dennis exits. Maggie is alone. She turns out the lamp she designed, then on again. She turns off the other lamp on the counter and exits. We hold on Maggie's designed lamp. CUT TO: INT. IKE'S HALLWAY AND APARTMENT - NIGHT Ike walks up to his door, carrying his mail and a bag of carryout. He opens the door and walks into his apartment. He pets Italics, who sits on his sofa bed. Without taking off his coat, he goes to his keyboard and plays music as he CHUFFAS to his cat about marriage and divorce. CUT TO: INT. MAGGIE'S HOUSE - DAY Dad and Grandma Julia are there. Grandma is making lunch. Walter is juggling oranges. There's glass of beer on the kitchen counter. WALTER That's Maggie. Home for lunch. GRANDMA JULIA She's been doing this since the last wedding. I don't think it's good. Maggie walks in and kisses Grandma on the cheek. MAGGIE Hey. Grandma, what's for lunch? GRANDMA JULIA Turkey and cheese. WALTER Honey, your grandmother and I were thinking about opening a wedding gift museum. Walter laughs. MAGGIE STOP! Walter looks at his daughter in surprise. He's never heard a tone like this in her voice before. WALTER What? MAGGIE (quiet fury) Just stop it. Don't say another word like that. WALTER (putting down the oranges) Maggie, it's just a joke... MAGGIE No. It's my life. WALTER A harmless joke. MAGGIE No, it's humiliating and you've been doing it since I was a kid. I don't like it. Stop. You may not like having a daughter with problems. But guess what? I don't like having a father who's drunk all the time. I'll eat in my room. Maggie takes a plate and exits. GRANDMA JULIA That needed to be said. You know -- you're always making jokes about her, so they won't make jokes about your drinking. Walter reacts. CUT TO: INT. IKE'S APARTMENT - DAY Ike goes out on his terrace. He bounces a basketball. It doesn't bounce. He sits on the steps of the patio an stares. CUT TO: INT. MAGGIE'S WORKROOM/GYM - DAY Maggie is kickboxing. CUT TO: INT. MAGGIE'S WORKROOM/GYM - ANOTHER DAY Maggie is a bit melancholy as she works on her lamps. CUT TO: INT. IKE'S APARTMENT - ANOTHER DAY Ike quietly sits in bed writing and staring into space thinking. His cat sits on the windowsill. CUT TO: INT. MAGGIE'S WORKROOM/GYM - NIGHT Maggie jumps rope barefooted late at night. MAGGIE I need a plan... A plan to life... What would Bruce Lee do? He'd kick some ass... CUT TO: INT. MAGGIE'S KITCHEN - DAY Maggie in front of plates full of all sorts of types of eggs -- scrambled, poached, sunny-side up, Benedict, soft boiled, etc -- sits on the kitchen counter. She ties them all. EXT. NEW YORK STREET - DAY Establishing shot. Two MEN try to fix the engine of a taxi outside the restaurant. CUT TO: EXT. NEW YORK STREET - DUSK Eke walks by the T-shirt Vendor, goes into a subway station. EXT. ANOTHER STREET - DUSK Ike crosses a busy street where a MAN is being arrested. Ike is passing the upscale "Millennium Hardware Store". He glances at the window, looks away, stops and looks again. The window display is made up of an assortment of Maggie's lamps. Logo "MAG" is on them. He smiles and walks on. EXT. CENTRAL PARK RESERVOIR - DUSK Ike stares out at water as he walks. EXT. IKE'S APARTMENT BUILDING - NIGHT Ike walks along sidewalk, crosses street, enters his building. INT. IKE'S APARTMENT - NIGHT Ike opens the door to his apartment and flicks on the lights. He crosses to hang his coat in the closet. In the closet mirror, he sees and is stunned to find: MAGGIE, sitting on the couch holding Italics, the cat. MAGGIE Hello, Ike. He closes the closet and crosses to his desk. IKE Don't tell me. My doorman is one of your many admires... I knew I should have given him a better Christmas gift. Maggie smiles tenuously. She's more than a little terrified. MAGGIE I've been making friends with your cat. (then) Is it okay that I'm here? IKE I don't have much choice in the matter now, do I? But I can't speak for Italics. (to Cat) Traitor! He moves to the kitchen. MAGGIE I don't blame you for being mad... Ike looks at her. Apparently the word "mad" is an understatement. MAGGIE (cont'd) ... Or... furious. Ike looks at her again. MAGGIE (cont'd) ... Irate? Livid? How's that? He starts putting cat food in a bowl. The cat leaves Maggie's side and starts to east. IKE Livid is good. So what is it, Maggie? You here on business? I saw your lamps. They're terrific. MAGGIE It's something I've always wanted to do. Ike leaves the kitchen, turns on the balcony lights and re-enters the living room from the balcony. IKE You actually could make breaking and entering into a new career. (after opening the glass doors) So, what are you doing here? MAGGIE I wanted to talk to you about why I run or ride away from things. Ike moves away from her and sits on the steps near the balcony window, listening. IKE (after sitting) Does it matter? MAGGIE I think so... When I was walking down the aisle? I was walking toward somebody who didn't have any idea who I really was. And it was only half the other person's fault, because I had done everything to convince him that I was exactly what he wanted. So it was good that I didn't go through with it because it would have been a lie, but you -- you knew the real me. IKE Yes, I did. MAGGIE I didn't. And you being the one at the end of the aisle didn't just fix that. Ike takes this in. She's reaching him -- but then the defenses go back up. He turns to her. IKE No, I couldn't fix anything... (as he gets up) But I still ended up chasing a truck. Ike moves out to the balcony. After a moment, Maggie follows him. EXT. BALCONY/IKE'SAPARTMENT - NIGHT The balcony overlooks Central Park. The twinkling lights of the city stretch out across the beautiful night. Ike looks out at the view with his back to Maggie as she speaks. MAGGIE I understand why you bring up the truck. Let me explain something. The fact is, you've seen me at my worst, most embarrassing, deviously plotting, potentially but not certifiably, psychotic state. And if you liked me then, I mean, now... I can't imagine... (crosses to him) Benedict. Ike has no response. MAGGIE (cont'd) I love eggs Benedict. I hate all the other kinds. She hesitates. MAGGIE (cont'd) ... I hate big weddings with everybody staring. I would like to get married on a weekday while everybody is at work. If I ride off into the sunset, I want my own horse. IKE Should I be writing this down? She returns to the balcony and hands him the box. IKE (cont'd) What's this? MAGGIE These are for you. He opens it. It's her running shoes. IKE Used? MAGGIE They're mine. I'm turning in my running shoes to you. IKE This is getting serious. Now she is glowing at him, shining with the full force of her. MAGGIE And one more thing. I know it's hard to believe there could be more. Um... Maggie glances around and spots a DECK CHAIR, which she turns so it is facing the city lights. Then she softly says: MAGGIE (cont'd) If you could have a seat, please. Ike sits. Maggie takes the box from him and puts it aide. And then she gets down on one knee. IKE (laughing) Oh my God. No. Maggie smiles up at him. Ike tips his head back and covers his eyes with his hand. MAGGIE No, no -- don't hide your face, this only happens once in a lifetime. It's definitely a first to me, and you're not going to want to miss it. He smiles as he looks at Maggie. MAGGIE (cont'd) I love you, Homer Eisenhower Graham. Will you marry me? Ike swallows, overwhelmed, overjoyed, and scared shitless. IKE Maggie, I gotta think about this a little bit. Maggie hops cheerfully back to her feet. MAGGIE (cheerful) Good. She gets off her knees and stands. MAGGIE (cont'd) I was hoping you'd say that. IKE (laughing) You were not. MAGGIE I was, because if you said "yes" right away, I wouldn't get to say this next part. And I've been practicing it. (pulling up a chair and sitting) Ready? IKE I'm listening. MAGGIE (tenderly) "I guarantee that we'll have tough times. I guarantee that at some point one or both oof us will want to get out. But I also guarantee that if I don't ask you to be mine, I'll regret it for the rest of my life. Because I know in my heart -- you're the only one for me". Ike takes her hands affectionately. IKE Pretty good speech, Maggie. MAGGIE I borrowed it from this guy I know. So? Ike looks into Maggie's shining face and pauses. He gets up and motions with his hand for her to stay seated. He goes inside and turns on some music. The cat is sitting by the radio. He returns to the balcony and takes Maggie's hand. IKE Dance with me. They start to dance a slow dance. DISSOLVE TO: EXT. LARGE GREEN FIELD - DAY We see a hill and on top of it is a Pastor marrying Maggie and Ike, in beautiful wedding attire. We see Maggie walk down a leaf-lined aisle to a waiting Ike. They kiss as we hear the vows and hear them each say "I do". They kiss a twirling, whirling kiss, a circular kiss. We hear the applause of about twenty people. Slowly, we see the twenty people come over the crest of the hill. They are all Maggie's family and friends, plus the old grooms. They are all paired in twos, like a love Noah's ark. We see others get the news. INT. CHURCH - DAY Priest Brian hears about Maggie's wedding. INT. BAKERY - DAY Mrs. Trout hears about Maggie's wedding. INT. NEW YORK BAR - DAY George, Groom #3, hears about Maggie's wedding. INT. ELLIE'S OFFICE OR APARTMENT - DAY Ellie and Fisher hear about Maggie's wedding. EXT. FIELD - DAY ANOTHER ANGLE: Maggie and Ike finally break the kiss. Ike takes her hand and walks her to two horses. Ike and Maggie, on the two horses, ride off happily in their wedding clothes. As the group cheers, Maggie throws bouquet. We see it float in the air. FADE TO BLACK. THE END -------------------------------------------------------------- \ No newline at end of file diff --git a/unformated_scripts/Script_Rush Hour 2.txt b/unformated_scripts/Script_Rush Hour 2.txt new file mode 100644 index 0000000000000000000000000000000000000000..cb65603d3fdc9a4270a5fe1349baee3dd101caf6 --- /dev/null +++ b/unformated_scripts/Script_Rush Hour 2.txt @@ -0,0 +1 @@ +RUSH HOUR 2 BY Jeff Nathanson EXT. HONG KONG SKYLINE - ESTABLISHING A smoky haze dims the blazing sun. Skyscrapers sit like watchtowers over the city, where East meets West for five and a half million people a day. EXT. AMERICAN CONSULATE - HONG KONG - DAY THE AMERICAN EMBASSY - U.S. and Chinese flags side by side. HU LI, dark glasses, EXITS and slowly moves toward a STREET VENDOR across the street. She pays for an order of pork bao; as she takes her first bite we see: THE EXPLOSION BEHIND HER TWO OFFICES ON THE SIXTH FLOOR BLOWN OUT - a huge fireball erupting over one side of the embassy. People panic and run. Hu Li doesn't even flinch. She takes a bite of her pork bao as she casually turns to the stunned street vendor. HU LI (Chinese, subtitled) Someone better call the police. EXT./INT. LEE'S CAR - CONTINUOUS The passenger window rolls down and we see Carter, styling in a Chinese-cut suit. He's holding a Chinese-English dictionary, leaning out the window - giving his best "do me" look to two girls in a convertible. CARTER (int Chinese) Deng wa lu yun cai-shen wu. The HORRIFIED GIRLS speed off, and Carter turns to Lee, who is driving and singing to his radio. LEE (singing) ...wish they all could be California... wish they all could be California girls... Carter ejects the BEACH BOYS CD from the stereo and TOSSES it out of the SUNROOF. CARTER I warned you about playing that shit when I'm in the car. LEE That was my CD. Don't you ever touch a Chinese man's CD. CARTER Did you see the way those girls drove off? I did you a favor. LEE Those girls drove off because of you. CARTER All I did was invite them for a drink. LEE You invited them to get naked and sacrifice a small goat. CARTER (checking Chinese-English dictionary) I said that? Which word was "goat?" Lee picks up his CD case. LEE You owe me a copy of the Beach Boys Greatest Hits, Volume Two. CARTER Don't be giving me attitude, Lee. I've been here three days and we haven't done shit. We haven't been to a club, haven't even talked to a girl. I'm on vacation, and I want some mu-shu. LEE Mu-shu? You're hungry? CARTER Not Mu-shu. Mu-shu. I want to see some women. Now stop playing dumb and show me the shu! Carter flips through the dictionary. A CALL COMES in over LEE'S CELL PHONE. INTERCUT INT. SUPERINDENDENT CHIN'S OFFICE - NIGHT The following conversation is in Chinese, English subtitles. SUPERINDENDENT CHIN Lee, there was a bombing at the American Embassy. Two American translators were killed. LEE Any leads? SUPERINDENDENT CHIN (beat) We think it's Ricky Tan. If you don't want to take the case, I'll understand. LEE It's my responsibility. Lee hangs up the cell phone. CARTER What was that? Did you just pick up a case? Did we just take another damn case on my vacation? Lee smiles at Carter. LEE Of course not. My Superindendent invited us to a club tonight. Big party. CARTER Don't be messing with me, Lee. I will kick your ass. I'll hit you so hard you'll end up in the Ming Dynasty. LEE Carter, would I lie to you? EXT. RAVEN CLUB - NIGHT Carter follows Lee out of the car, the two men making their way to the door of the Raven Club. Carter is combing his hair, getting himself ready for a night on the town, stopping when he spots two hot WOMEN walking into the club. CARTER That's what I'm talking about. A real Hong Kong night club. You want an Altoid? LEE No. CARTER You better take one. Your breath has been a little funky all day. Let me look at you. Carter looks at Lee. Fixes his collar. CARTER (CONT'D) Just relax and don't worry about a thing. I'll hook you up in there. You got condoms? LEE No. CARTER Take this. It's a Magnum. You can fold it in half. Carter dances through the door, Lee follows. INT. RAVEN CLUB - NIGHT A dark, upscale club that is packed with GANGSTERS, BEAUTIFUL GIRLS and CIVILIANS. Lee and Carter walk in. Lee is trying to keep a low profile as Carter stares up at the stage, where a man sings Karaoke -- the most painful rendition of Michael Jackson's "DON'T STOP 'TILL YOU GET ENOUGH." LEE I'll meet you at the bar in ten minutes. They don't like tourists in here, so try to blend in. CARTER Blend in? I'm two feet taller than everyone here. Where you going? LEE Bathroom. Lee walks off, trying not to be seen as Carter steps up to the bar, takes a seat next to TWO CHINESE THUGS. CARTER How you boys doing tonight? The thugs ignore Carter as he motions to the stage, where the OLD MAN continues to sing. CARTER (CONT'D) That is the worst singing I've ever heard. That sounds like something you'd hear in prison after lights out. The thugs continue to ignore Carter. INT. RAVEN CLUB - BACK HALL - NIGHT Lee makes his way down a hallway -- looks through an open door - sees a private room. Several TRIADS are using hi-tech MACHINES to count stacks of AMERICAN HUNDRED DOLLAR BILLS. CARTER (V.O.) Get closer to my body now. And just love me, till you don't know how... Lee steps back into shadow -- does a double take as he realizes he's hearing Carter belting out "DON'T STOP 'TILL YOU GET ENOUGH." INT. RAVEN CLUB - CONTINUOUS A room full of Chinese sitting with their mouths open, watching Carter on the Karaoke stage doing a dead-on Michael Jackson, singing his heart out. Dancing and making eyes at a few of the smitten women who are watching him. LEE (whispering from side of stage) Carter, get off that stage! CARTER Are you kidding, they love me. I'm a star, Lee. A god to these people! Carter resumes singing, really getting down. Moonwalking to the EDGE of the STATE where Lee PULLS HIM OFF. LEE This is a gangster bar, we're here undercover. CARTER I knew you were lying. LEE I'm sorry. CARTER Damn it, why are you ruining my night? I'm just starting to have fun. (beat) Well fine then, go ahead, pull your badge and do your thing. LEE No, we're here for information, to find out where a man named Ricky Tan is. We must tread softly and keep our ears open. CARTER Tread softly? Who taught you how to roost a bar? LEE Carter, you don't understand. These men are Fu-Cang-Long Triads. Part of the most deadly gang in China. CARTER Man, are you crazy? You think that scares me? I'm from L.A. We invented gangs. We were having gang wars before anybody even thought about it. We get royalties from other gangs. Now gimme your badge and gun and I'll show you how it's done. LEE No. You are a civilian. In China, I am Michael Jackson, and you are Toto. CARTER You mean Tito. We had Toto for dinner last night. Before Lee can react, Carter has lifted Lee's badge and gun. Carter bounds back on stage, pulls the plug on the music and fires three SHOTS into the ceiling, silencing the bar. CARTER (CONT'D) (Chinese) Deng wa lu yun, shen wu wattu masu wang lui. Nobody moves. Strange looks from the crowd. Carter turns to Lee. CARTER (CONT'D) (whispering) What'd I say? LEE You just said you're their worst nightmare - and to line their mothers up for a milking. CARTER Shit. C'mon, get up here and help me out. Reluctantly, Lee gets on stage. More looks from the Chinese as Carter speaks, Lee translating. CARTER (CONT'D) Okay, all the Triads and ugly women go to that side, all fine ass women on this side. Nobody moves. Carter fires two more shots in the ceiling. CARTER (CONT'D) Let's try this again. Who here knows Ricky Tan, raise your hand. Nobody moves. CARTER (CONT'D) Who here is named Lee? Raise your hand. Nobody moves. CARTER (CONT'D) Now I know you're lying. The crowd still hasn't moved. Except in the back, where Lee spots several GANGSTERS leaving. As Lee runs off stage -- CARTER (CONT'D) (as they run out) I come back and catch y'all singing Michael Jackson and you're all going to jail. EXT. RAVEN CLUB - NIGHT Lee and Carter run into the street, just in time to see HU LI and several gangsters round a corner. CARTER Stop! LAPD! Lee takes off and chases them on foot. EXT. HONG KONG STREET - NIGHT EXT. HONG KONG STREET - NIGHT The far end of the street is BLOCKED BY MARKET STALLS. The GANGSTERS look around frantically. An apartment building is under CONSTRUCTION, massive BAMBOO SCAFFOLDING top to bottom. Their only way out is UP. Lee and Carter dash around the corner to see the gangsters SWARMING UP THE SCAFFOLDING. Lee wastes no time going after them. With a running start, he JAMS A FOOT on the wall and VAULTS to the BOTTOM RUNG, GRABS HOLD AND SWINGS UP. CARTER Hang on, Lee. I'm coming. Carter jumps to grab hold of the scaffolding. NOT EVEN CLOSE. He backs up -- he's gonna take a running start! ABOVE - LEE REACHES 4 GANGSTERS. They all tear off the LENGTHS OF BAMBOO and square off. The clatter of wood against wood as they beat at each other. Wrestling over his pole, Lee FLINGS TWO of the GANGSTERS over the edge. BELOW, Carter has hold of the bottom rung, STRAINING MIGHTILY to pull himself up. Just as he gets his chin above the bar... snap! It BREAKS and he drops. Then... WHAM! WHAM! The two gangsters CRASH LAND ON EITHER side of CARTER. HE takes one look at their pain. CARTER (CONT'D) Forget this... He dashes into the stairwell. ABOVE, the last two GANGSTERS come at Lee. He stomps down, levering up floor boards, which SEE-SAWS them off-balance. With the advantage, he BATTERS them with his bamboo pole and knocks them off. He climbs after the GANGSTER LEADER. ON HU LI and the GANGSTERS Coming over the crest of the hill, seeing Carter climbing up the hill. EXT. ROOF - CONTINUOUS Lee pulls himself up onto the roof, takes a few steps when WHAM! He is clocked by a 16-foot BAMBOO POLE. Lee TOPPLES OVER THE EDGE! We see his adversary for the first time. HU LI - AGILE, GORGEOUS...DANGEROUS As she steps to the edge... BOOM! The STAIRWELL DOOR FLIES OPEN and CARTER EMERGES. Gun low and ready. Hu Li is gone. CARTER (out of breath) Freeze! Nobody move! Carter goes to the edge and sees Lee hanging on a pole below. Carter is blind-sided by Hu Li. She takes one sultry step towards him, then twists her heel and WINDMILLS a HARD KICK that sends Carter FLYING OFF THE ROOF! He falls along the side of the building. He manages to grab the end of a BAMBOO POLE that juts out from the scaffolding. LEE IS RIGHT THERE NEXT TO HIM! They're hanging side-by-side, holding on for their lives. Hu Li looks down at them. She has no weapon to finish them off. She turns and runs, disappearing in the night. CARTER AND LEE holding on with all their strength. The bamboo is starting to bend. CARTER (CONT'D) All I wanted was a little mu-shu. LEE Try to land on your feet. Carter looks down at a rancid dumpster below them. CARTER I can't believe I flew ten-thousand miles for this shit. The POLE BREAKS SUPER THE TITLE: RUSH HOUR 2: REMEMBER THE DRAGON INT. LEE'S UNMARKED POLICE CAR - LATER THAT NIGHT Carter and Lee drive through Hong Kong, the two men riding in silence, bruised and covered in garbage. CARTER You lied to me. LEE I'm sorry. CARTER You're sorry. I got somebody's old chopsticks stuck in my ass, so don't tell me you're sorry. Just take me home. LEE No time. There was an explosion at the American Embassy today -- two American translators were killed. Carter takes this in. Can't believe his own bad luck. CARTER So that Ricky Tan, he's the one who blew up the Embassy? EXT. MONASTERY SCHOOL - EARLY MORNING Lee and Carter walk into a massive COURTYARD, where thirty 12 year olds are going through their warm up routines. MASTER FU, 60's, wears a BLACK ROBE as he teaches his kids. CARTER I'm telling you right now, I'm tired of this shit. There's two billion Chinese - let one of them be your partner. LEE This won't take long. Master Fu barks out a barrage of SHAOLIN FIGHTING STANCES. MASTER FU Dragon kick! Like well-trained army, the students YELL AND KICK HARD. MASTER FU (CONT'D) Lotus block! The students YELL and form an "X" with their arms. Master Fu notices Carter and Lee watching from the back. MASTER FU (CONT'D) Twisting Tiger! No response. The students exchange baffled looks. MASTER FU (CONT'D (CONT'D) (staring straight at Lee) Twisting Tiger! Lee may be a big rusty, but he puts on a shit-kicking move that leaves the students blown away. Lee smiles, basking in the glow... ...until he sees Master Fu's disappointment. MASTER FU (CONT'D) Didn't I teach you to always arch your back? LEE (bowing, humbled) Yes, Master. While Lee follows Master Fu, Carter stands in front of the 12 YEAR OLDS, who sit motionless around a fighting circle. Carter starts stretching his legs, warming up. CARTER I was watching you kids. My name is Carter, LAPD, and I'm a third degree black belt. At least that's what I tell the girls at the Holiday Health Spa where I work out. Carter throws a series of QUICK PUNCHES, but the kids have no reaction. CARTER (CONT'D) Let me give you kids some tips. The key to Kung Fu is the follow through. Why don't you stand up. THE KIDS DON'T MOVE, no reaction. Carter continues to throw punches. CARTER (CONT'D) Go ahead, kick me, hit me. I'll show you how to block. Come on, stand up, give me your best shot -- try to kick right to my head. The kids still don't move. Carter, working up a sweat from shadow fighting, takes off his JACKET, DRAPING IT over the HOLY BUDDHA behind him -- a mistake. He swings back around to face the kids and NEVER SEES THE KICK that sends him flying back onto the mat. He looks around and sees ALL of the kids STANDING, in FIGHTING POSITION. CARTER (CONT'D) That's pretty good. Which one of you kids did that? INT. COURTYARD PATHWAY - CONTINUOUS Lee and Master Fu walking. LEE I need your help, Master. I'm seeking a man who used to train with you. He's become a killer - the worst kind of animal. MASTER FU Animals kill only from hunger or fear. The man you seek is lower than a serpent. (faces Lee) ...he kills for money. In the b.g., we see the kids leaping acrobatically over Carter from all sides. Carter, frustrated, tries to grab the kids out of the air as they fly by, but they elude him. They disappear O.S. Lee and Master Fu walk another moment, Master Fu lost in thought. MASTER FU (CONT'D) He was the best I ever trained, you know. LEE Ricky Tan? MASTER FU No. Your father. (Lee reacts) Your father and Ricky Tan were my favorite students... and for such awful things to happen as they did -- Lee cuts off Master Fu's reminisces -- he's obviously uncomfortable. LEE How do I find Ricky Tan? AGAIN IN THE B.G., Carter and the flying kids go zipping by in the other direction, disappear O.S. Master Fu pats the SOIL around a struggling plant. MASTER FU A seeding spends its entire life reaching towards Heaven. LEE I know, Master, but... MASTER FU The answers you seek can be found in Heaven on Earth. LEE Heaven on Earth? Master, I don't understand. (working it) A temple, where Heaven is on Earth? A mountain, where Earth reaches for the -- MASTER FU It's a massage parlor downtown. "Heaven on Earth." You will find your answers there. Lee bows to Master Fu, slowly turns to walk back down the pathway. MASTER FU (CONT'D) Wait! Put a c-note in the jar. Lee puts a few bills in the jar, heads down a pathway. Master Fu walks over and takes the cash. MASTER FU (CONT'D) Cheap bastard... EXT. MONASTERY SCHOOL - CONTINUOUS Lee emerges from the path, stops when he sees Carter -- two students headlocked under each arm, another two scissor locked between his legs, holding another two down with his hands, and sitting on the last one. CARTER And that's how you use the LAPD choke hold. Now start practicing and don't make me come back here! LEE Carter...you ready to have some fun!? EXT. HEAVEN ON EARTH MASSAGE PARLOR - DAY A neon light hangs above the upscale massage parlor. LEE Just follow my lead and act like a tourist. CARTER I am a tourist. INT. HEAVEN ON EARTH MASSAGE PARLOR - CONTINUOUS Lee and Carter walk into an upscale MASSAGE PARLOR and stand in a lobby. SOFT MUSIC is playing. HOSTESS Good afternoon, gentlemen. Lee bows, followed by Carter. LEE (in Chinese) Hello. CARTER How you doin'? LEE My friend is on vacation, from America. I want to show him a good time. HOSTESS Oh, you American? CARTER That's right. HOSTESS You bring American money? CARTER (holding up a Platinum AmEx) Never leave home without it. (to Lee) Lee, this one's on me. You save your money. The Hostess takes Carter by the arm, walks over to a HIDDEN SLIDING DOOR - slides it open to reveal TWENTY BEAUTIFUL WOMEN. Carter truly is in Heaven. HOSTESS You get massage from Chinese girl before? CARTER No. It's my first time. HOSTESS You pick any girl for you and your friend. Carter looks like a kid in a candy store. CARTER Any girl? Okay. Let's start with that one. HOSTESS Oh yes, she's very nice. CARTER She is nice. But I am very tense. I'm gonna need a lot of massages. I'll take that one, too. How you doin', baby? And...that one in pink. She can do my feet. Lee elbows Carter. LEE What are you doing? CARTER She said I could pick any girl I want. LEE Well, hurry up. CARTER Hey! You don't break in front of a black man in a buffet line. HOSTESS (to Lee) Your friend have big appetite. (handing ROBES to Lee and Carter) Please put these on and wait upstairs in the quiet room. INT. QUIET ROOM MASSAGE PARLOR - DAY TWENTY MEN in SILK ROBES lie in reclining chairs, women massaging their feet and hands. There are BIG SCREEN TV's showing nature films, relaxation music playing in the background. Lee and Carter sit in the quiet room dressed in MATCHING PURPLE ROBES. Lee wears SLIPPERS, Carter wears his HIGH TOPS. Carter is enjoying a hand and neck massage at the same time. A WOMAN walks over and hands them each a drink. CARTER Now I'm on vacation. I knew you'd come through, Lee. LEE doesn't respond. LEE IS STARING AT SOMEONE ON THE FAR SIDE OF THE ROOM. A man who radiates a unique blend of sophistication and brutality. CARTER (CONT'D) What's wrong? LEE Over there -- that's Ricky Tan. CARTER That's Ricky Tan? He's four feet tall. I'll go over with you right now, shake him down. LEE This is a very dangerous man. CARTER I'm a dangerous man. You're not gonna ruin my massage because of some midget in a house coat. LEE I'm calling for back up! Lee gets up from a chair, hurriedly exits. Carter looks at RICKY TAN -- sitting quietly in his chair with his LAPTOP COMPUTER on his knees. Carter makes a decision, gets up and walks towards him. CARTER Ricky Tan, I've been looking all over for you. Get up. Tan looks up for a moment, a smile. RICKY TAN I'm busy at the moment. CARTER I said get on your feet! RICKY TAN I know you, Detective Carter, right? You're Lee's American friend. Enjoying your visit? CARTER I'm Lee's new muscle, his right arm -- and don't let the robe fool you. This is the only color they had left. Now get up! Tan laughs, goes back to his laptop. CARTER GRABS THE LAPTOP from Ricky and throws it across the room - SHATTERING IT against the wall. Ricky glances at his men who are seated around the room waiting to move. CARTER (CONT'D) I told you to get on your feet! Having heard the commotion, Lee arrives by Carter's side, breathless, as Tan looks up, surprised. RICKY TAN Lee, I've missed you, brother. (getting up, giving Lee a hug) I heard about the two Americans, I'm so sorry, you must be under great pressure. LEE You must come with me for questioning. CARTER Let's go. I've got girls and chicken and hot oil waiting for me. RICKY TAN I don't think so... A nod of Ricky Tan's head, and TEN LARGE MEN in robes and towels spring out of reclining chairs -- menacingly facing Lee and Carter. A beat... CARTER I'd like to pay you for that laptop. RICKY TAN It's no problem. But I must excuse myself, inspector. CARTER That's Chief Inspector, he got promoted. Tan bows to Lee and Carter. RICKY TAN Congratulations. And good day. As Tan starts to exit, Lee and Carter move to intercept him. But they are blocked by TAN'S MEN. Lee grabs one of the men's towels and pulls it off. The man covers his naked body. Lee is grabbed by one of the other henchmen, but he escapes and begins kicking ass, using the towel and his own robe to block and wrap another man's arms -- blocking, kicking, and punching everything in sight -- all the while managing to keep his privates covered with a towel, his robe, or some other found object. Carter, meanwhile, uses his quick hands to send several men flying back -- grabbing a towel of one of them. CARTER (ref: his privates) Damn! No wonder you're pissed off. Carter uses the towel like Lee did to block and trap one of the men's punches. In the middle of fighting, Lee is suddenly exposed -- he flinches to cover himself and is punched from behind. Momentarily stunned, he's lifted from behind -- two men throwing him out the front door. Carter is also overpowered by two men, who lift him over their shoulders. EXT. HONG KONG HIGHWAY - DAY Ricky Tan's black limo SCREECHES to a stop. The door flies open and Lee and Carter are TOSSED out onto the highway. Both men are completely naked. EXT. HONG KONG POLICE STATION - DAY A packed street - Lee and Carter dodging in and out of people. The CAMERA PANS and we see Lee and Carter from behind. CARTER Goddamn you got a small ass. LEE Don't look at my ass! INT. HONG KONG POLICE STATION - BULLPEN - DAY PANDEMONIUM The station is packed with Americans -- FBI AGENTS, SECRET SERVICE... they've set up shop right in the middle of the bullpen. SUPERINDENDENT CHIN is arguing with SPECIAL AGENT STERLING, a 50-year old hard ass who is in charge of this circus. SPECIAL AGENT STERLING Chin, you have been ordered by the Ministry of Public Security to assist the FBI and Secret Service with our investigation, to provide us with whatever we need. If you have information, it belongs to us. SUPERINDENDENT CHIN This is still Hong Kong. SPECIAL AGENT STERLING Two Americans have been killed on United States Government property -- this is our investigation. SUPERINDENDENT CHIN Chief Inspector Lee will brief your people... SPECIAL AGENT STERLING No. He will report to me. Do we understand each other? SUDDENLY ALL EYES turn as Carter and Lee enter the bullpen. Out of breath, still robed: Lee covering himself with a trash can lid, Carter using a red construction cone. SPECIAL AGENT STERLING (CONT'D) Who the hell is that? SUPERINDENDENT CHIN (humiliated) That is...Chief Inspector Lee. The detective in charge of our investigation. SPECIAL AGENT STERLING Put a diaper on him, Chin. I want to talk to the great Inspector Lee. INT. LEE'S OFFICE - DAY The shades are down as Lee frantically gets dressed, putting on a suit and fixing his tie. Carter finishes putting on a BLACK CHINESE STYLE SUIT from Lee's closet, then moves for the door. LEE Where are you going? CARTER Back to Heaven on Earth. I need my damn passport back. I'm going home. LEE Fine. Go home. Who needs you. CARTER Why you mad at me? You needed back-up, so I backed you up. I was about to take out Ricky Tan and those bodyguards. LEE Stop! I'm sick of your bullshit! CARTER My bullshit? I'm not the one who goes to a karaoke bar filled with gangsters! I'm not the one who goes to massage parlors to bust crime lords! LEE It's my job! CARTER You're pathetic, man. When's the last time you had some fun? When's the last time you took a night off, had a date? LEE I have plenty of dates. CARTER Really? When's the last time you had some Mu-shu Let's hear it, Lee, when was it? Year of the rat? LEE You would never understand my life. You're not Chinese. CARTER And you ain't black! The two men look at each other for a long BEAT. Lee quickly walks out, slamming the door behind him, leaving Carter half dressed. INT. SUPERINDENDENT CHIN'S OFFICE - DAY Lee walks in, sees Sterling sitting at Chin's desk. Chin stands in the back. SUPERINDENDENT CHIN Lee, this is Special Agent Sterling from the United States Secret Service. LEE The Secret Service? Why? STERLING What I'm about to tell you cannot leave this room. The men who were killed yesterday were not American translators. They were undercover U.S. customs agents trying to break a Triad smuggling ring. We don't know what they're transporting out of Hong Kong, but whatever it is, it got the agents killed. LEE How can we help? STERLING Stay the hell out of our way. LEE I can get to Ricky Tan. STERLING We know all about Tan. That's why we're leaving him out there as bait. We think this is a lot bigger than just Ricky Tan and his Fu-Cang-Long Triads. INT. LEE'S OFFICE - CONTINUOUS Carter is on the phone, his feet on Lee's desk. As he talks he opens a drawer, pulls out a wad of cash and pockets it. CARTER Captain, you're gonna have to speak up. I'm on a car phone! INT. CAPTAIN DIEL'S OFFICE - LAPD HEADQUARTERS - DAY CAPTAIN DIEL sits behind his desk talking on the phone. CAPTAIN DIEL Is it true, Carter? Are you in Hong Kong right now? CARTER Hong Kong? I'm not in Hong Kong. I'm in Hollywood -- right at Sunset and Vine, two minutes from the station. How about I pick you up right now and take you to dinner? CAPTAIN DIEL It's nine-thirty in the morning. CARTER Did I say dinner? I meant diner. Biscuits and gravy, you love that shit. CAPTAIN DIEL Do you know what happened yesterday, Carter? I was officially nominated for the Commissioner's post for the LAPD. There was a dinner last night, two hundred LAPD officers were there. CARTER Two hundred cops? Was Mario Sanchez there? He owes me money. CAPTAIN DIEL I've waited my whole life for this job, but I don't have a shot in hell of getting it. Do you know why? CARTER Is it because of the hookers, sir? You tell them there's no crime in being lonely. CAPTAIN DIEL No, Carter. The reason I'm screwed is because the entire department is about to find out the stolen credit cards we impounded were used to buy two first class upgrades to Hong Kong. And what the hell is Heaven on Earth? CARTER Sir, I'm working on a big case over here -- and by the time I get back they're gonna make you Governor. Captain, you there? Hello? Shit! As Carter walks out the DOOR, he brushes past HU LI, who is standing in the hallway disguised as a FED EX DELIVERY PERSON. Carter checks her out as he exits. EXT. STREET - DAY CARTER starts walking down the street, making his way past an outdoor BUTCHER MARKET, getting strange looks from locals and tourists alike. He motions to an OLD WOMAN who is selling LIVE DUCKS, PIGEONS AND CHICKENS CARTER How you doing? Can you direct me to the Heaven on Earth massage parlor? The OLD WOMAN stares at Carter, starts motioning to her CAGES filled with birds. CARTER (CONT'D) No, I don't eat live birds. I like my birds dead and deep fried. You ever been to Popeyes? The Woman takes out a bird, holds up a HATCHET. CARTER (CONT'D) No, don't do that, I had a big lunch. I'm warning you, I'm a police officer -- just put the blade down and let the bird go. INT. HONG KONG POLICE STATION - BULLPEN/LEE'S OFFICE - DAY Lee walks out of the Captain's office, heads for his own office - but never gets there. AN EXPLOSION rips through the second floor of the station. Lee diving for safety as glass and debris shoot over his head. Sheer pandemonium as Lee quickly looks up at his destroyed office, tries to get to his feet. STUNNED POLICE OFFICERS and DETECTIVES are crowded around Lee's office, looking at the rubble. Lee pushes through the crowd -- it's all smoke and fire. Now way anyone held back by the heat. LEE Carter! CARTER! EXT. HONG KONG STREET - DAY Carter walks down the street holding a CAGE WITH A LIVE RED BIRD inside. He stops a MAN who is sweeping in front of his store. CARTER How you doing? I'm looking for Heaven on Earth. The man stares at Carter, watches as he pulls out his: ENGLISH/CHINESE DICTIONARY CARTER (CONT'D) Shan-shui cao guo-jiu, pao gai niu tao zi. MAN You wish to spank my sister with a ping pong paddle? CARTER No man, I was just asking... MAN Wait here. I'll go see if she's awake. As the man walks into his store, Carter runs off. Pause. Carter strolls back INTO FRAME, peering into the store to see if it's worth staying... INT. HONG KONG POLICE STATION - BULL PEN - DAY Lee sits by himself in shock. Superindendent Chin approaches. LEE All he wanted was some mu-shu. SUPERINDENDENT CHIN Are you okay, Lee? Beat. LEE I'm sorry, I have to go. EXT. HEAVEN ON EARTH MASSAGE PARLOR - AFTERNOON Carter finally makes his way to the massage parlor, moving for the FRONT DOOR when he sees RICKY TAN EXIT. Carter ducks to the side and watches as Ricky climbs into the back of a waiting Daimler. The Daimler drives off. Carter rushes to the middle of the street with a determined look on his face. CARTER I'm gonna solve this case myself. Taxi! Carter flags down a CAB, jumps in the back seat. INT. TAXI - EVENING The CAB DRIVER turns to Carter, who motions to the limo. CARTER (loud) Follow that limo. The Cab Driver continues to stare at Carter. CARTER (CONT'D) You understand what I'm saying? Follow that car! Where it goes, you go! This is a chase -- we are chasing that limo! (beat) We are still parked -- we're not moving! This is the opposite of chasing -- drive the car or I will kill you! The driver slowly turns, holding out his hand. Carter fishes in his pocket hands the cab driver a wad of cash. CAB DRIVER Now you speak my language. INT. LEE'S CAR - DAY Lee drives, misty-eyed. RAP MUSIC playing over the stereo. Lee turns it up, slowly moving his head to the music, in tribute to Carter. His CELL PHONE rings, he turns down the music. INTERCUT -- INT. CHIN'S OFFICE - CONTINUOUS SUPERINDENDENT CHIN Lee, we just got a call from the harbor patrol. Ricky Tan is throwing a little party on his boat tonight. Victoria harbor. If you don't want to... LEE Did you tell Sterling? SUPERINDENDENT CHIN Let him find out on his own. I want the Hong Kong police handling this. LEE Thank you. Lee hangs up. A look of intensity. He CRANKS the RAP MUSIC up, a man on a mission. EXT. YACHT - HARBOR - NIGHT A 190-FOOT YACHT is anchored in Victoria Harbor. Ricky Tan walks along the top deck with HU LI, disappearing into a crowd of people who are partying on the ship. Carter steps out of the cab. CARTER Stay here. I'll be right back. You understand? CAB DRIVER Yes. I understand. Carter steps out of the cab, which immediately drives off, leaving him alone on the docks. Carter looks around the dock -- a pull up valet station parking fancy cars, RICH PEOPLE getting on the boat as their names are checked off a list by two DOORMEN. INT. YACHT - NIGHT A huge PARTY, a live band plays for a crowd of business men, politicians and beautiful women - a who's who of Hong Kong. CARTER walks up to the front of the boat -- TWO DOORMEN HOLDING clipboards immediately stop him. DOORMAN #1 Invitation, please. CARTER I'm with the band. I'm the lead singer. DOORMAN #1 The band has been playing over an hour. CARTER I got held up at a wedding in Tai Koo. Ricky here yet, I need to get his requests. As Carter walks past the doorman -- DOORMAN #1 Wait. CARTER Last party all he wanted was Sting -- not one person danced. Tonight I'm doing Superfreak, I don't care what he says. Where is he? DOORMAN #1 Mr. Tan is not to be disturbed by the help. Carter turns back to the doorman, grabs him by the collar. CARTER Help? I'm not the help, man -- I'm the star. That's my band up there -- I control the mood, the groove, the atmosphere. Carter cuts a smoking DANCE MOVE. CARTER (CONT'D) Can you do that? (man shakes head "no") That's why you're down here and I'm up there. Now this is my party -- don't forget it! Carter walks onto the ship, starts singing to himself. EXT. YACHT - HARBOR - CONTINUOUS The SHIP'S HORN SOUNDS, the yacht starts to head out to sea. Lee steps out of his car, sees the yacht is pulling out of the slip. He runs along the side of the boat, has no choice but to jump from the end of the pier, landing hard on the side of the ship, somehow holding onto a PORTHOLE WINDOW. He clings to the yacht, then throws himself toward a hanging LIFEBOAT, climbs up the side and jumps toward the TOP RAIL -- EXT. YACHT - CONTINUOUS As Carter walks through the ship, he grabs a handful of food from a waiter, his eyes searching the crowd, rounds a corner - almost stepping right into HU LI, who's approaching STEVEN REIGN. Steven Reign is in his 50's -- perfectly groomed, impeccably dressed - his looks and bearing say one thing -- money. He's got the big party smile on, but as Hu Li arrives, Reign's face shifts and his eyes go dead -- the billionaire as sociopath. Carter steps back, but sees Reign Whisper to Hu Li. Carter hides and turns away as Hu Li instinctively scans the room for signs of trouble. He heads into the main party. Carter stops walking when he comes upon ISABELLA MOLINA, a stunning brunette, sitting at the bar drinking a glass of champagne. Carter lights her cigarette for her. CARTER How you doing, baby? My name is Prince Mubutu from Nigeria. ISABELLA Isabella Molina, from San Juan. That seat is taken. CARTER (in mangled Spanish) San Juan! You must know my good friend Pedro Martinez Hernandez Hector Elizondo. ISABELLA (in English) I don't think so. CARTER I'm sorry, you looked like you traveled in the best circles. But hey, I understand. Make yourself at home, Isabella. Champagne, caviar, whatever you want. My ship is your ship. ISABELLA This is your ship? CARTER That's right. I'm the owner, the Captain -- you can call me El Capitan. ISABELLA El Capitan? CARTER I don't want to play games with you, Isabella. I like you. I can see myself with you -- in one of those bathrooms over there in about five minutes. ISABELLA Well, I'm very tempted. It's such a beautiful yacht. What's it called? CARTER Called? What's my ship called? (he has no idea) Well...it's called the S.S. Minnow Johnson. ISABELLA The S.S. Minow Johnson. Funny, the name on the back was "Red Dragon." CARTER Red Dragon? You sure about that? ISABELLA I'm sure, because this is my friend's yacht. And it's his party. CARTER Your friend's ship? (looking around) Oh, man. I must've walked onto the wrong yacht. I knew there was a reason my keys didn't work. STEVEN REIGN (taking seat next to Isabella) Who's your friend? ISABELLA Somebody who got on the wrong yacht. CARTER Wait a second. You're Steven Reign? You're big time. You own all them big hotels. What are you doing in Hong Kong? STEVEN REIGN (ushering away Isabella) I'm just in town for the weekend, taking in the sights. ISABELLA Enjoy the party, Mr. Carter. Carter nods, waves. Steven Reign and Isabella walk away. Carter's watching. INT. SHIP'S HALLWAY - NIGHT Lee makes his way toward a STAIRCASE that is blocked by a BODYGUARD. He quickly disarms the guard and grabs him by the throat, pushing him against the wall. LEE Ricky Tan. Where is he? BODYGUARD #1 Who's asking? LEE The Hong Kong Police. He killed a detective today and he's not getting away with it. Now where is he? CARTER Yeah. Tell us! And don't play games or we'll kick your lying ass! Lee slowly turns around and looks at Carter, who is standing right behind him. LEE Carter? CARTER Who died? LEE You. CARTER Detective Yu? Never met him. LEE Not Yu. You! CARTER Who? LEE Do you understand the words that are coming out of my mouth? CARTER Nobody understands the words that are coming out of your mouth. BODYGUARD #1 Get your hands in the air. Lee and Carter turn to see FOUR BODYGUARDS standing in front of them with GUNS in hand. BODYGUARD #1 (CONT'D) Ricky Tan is expecting you. INT. RICKY TAN'S YACHT - MAIN CABIN - NIGHT It looks like HUGH HEFNER'S BEDROOM complete with ROUND BED and SUNKEN BAR. Ricky Tan sits in front of a big screen satellite TV screaming at the Lakers. Hu Li opens the door and the bodyguards lead Lee into the bedroom. RICKY TAN Come on, Shaq, hit a damn free-throw! You can do it, big guy. ON TV We see Shaq miss his free throw. RICKY TAN (CONT'D) Shit! He still doesn't follow through. I just lost five grand. Tan turns off the TV, turns to Lee. RICKY TAN (CONT'D) Why don't we go on the deck, get some air...and some privacy. (to Hu Li) Leave us alone. Hu Li hesitates, upset at being dismissed. RICKY TAN (CONT'D) (to Lee) Could you have your partner wait for us outside? CARTER I ain't his partner, I'm a tourist. I got proof. See, I got a mini-bar key. LEE (to Carter) I'll meet you on the main deck in ten minutes. Carter pulls Lee aside. CARTER What, leave you alone so he can cap you? LEE I'm okay, you go. CARTER Why the hell should you believe him? He had us beat up. Naked. That's nasty shit. LEE Remember I told you my father was a policeman? (beat) Ricky Tan was his partner for ten years. CARTER (pause) What the hell is going on here? No answer. Carter holds Lee's glance for a beat, then turns and walks the other way. EXT. RICKY TAN'S YACHT - UPPER DECK - NIGHT Tan and Lee reach the upper deck, where they are alone. RICKY TAN Despite what people suspect...what you suspect -- LEE Don't. Ricky Tan hears the steel in Lee's voice, acknowledges it. RICKY TAN ... if your father were alive, I would be turning to him now. (beat) I didn't blow up the American Embassy, but I believe some of my people did. My enemies are trying to frame me. (beat) There is a war going on within the Triads -- and I am going to lose. My name has been written into the book of death. LEE The police can protect you. RICKY TAN Nobody can protect me. I'll make a deal with you, Lee. But only iff you'll get me out of Hong Kong. LEE Tell me why they killed the customs agents. RICKY TAN There is a ship, in the Hong Kong Harbor... Hu Li BURSTS onto the deck, flanked by FOUR BODYGUARDS. Ricky Tan screams something at Hu Li in Chinese. Hu Li screams back as SHE EMPTIES HER GUN INTO RICKY'S CHEST. Tan falls back, over the rail, and into the water. Lee MOVES TOWARDS HU LI, but the four bodyguards are on Lee, attacking from all sides. Hu Li exits as Lee tries to fight off the bodyguards. INT. RICKY TAN'S YACHT - MAIN CABIN - NIGHT Reactions from the crowd as GUNSHOTS echo from the deck above. INT. SHIP'S HALLWAY - CONTINUOUS Hu Li moves quickly down the hallway, rounding a corner and suddenly goes FLYING, landing flat on her face. It's Carter, who ran to the sound of the gunshot, and TRIPPED Hu Li with his leg. CARTER All right, get your hands up. Hu Li backflips up -- kicking Carter in the head. EXT. UPPER DECK - CONTINUOUS Lee takes down Bodyguard #1, but is still fighting three on one. A furious exchange of acrobatic blows between Lee and Bodyguard #2. INT. SHIP'S HALLWAY - CONTINUOUS Carter and Hu Li face off. CARTER You wanna piece of me? C'mon, I'll give you a little LAPD ass kickin'. Hu Li savages Carter with a series of punishing blows. INT. UPPER DECK - CONTINUOUS Lee manages to defeat Bodyguards #3 and #4. As he catches his breath the sound of a SPEED BOAT starting its engines. LEE Hu Li! Lee runs to the rail -- looks down to see a SPEEDBOAT starting to pull away from the ship. Hu Li jumps onboard the moving boat. Lee starts to turn for the stairs, running down towards the stern. EXT. YACHT - STERN - CONTINUOUS Lee and Carter run up to the stern at the same time -- watching helplessly as Hu Li gets away in the speed boat. Carter turns his head, sees -- -- STEVEN REIGN at the other end of the boat, watching Hu Li escape, not at all behaving like a panicky billionaire should during a gangland shooting. Wordlessly, Reign disappears back into the shadows. EXT. DOCK - NIGHT The yacht is anchored. A few TRIADS led away in handcuffs. Thrown into PATROL CARS that have surrounded the docks. Sterling, Chin, Lee and Carter on the dock. SPECIAL AGENT STERLING Quite a night, Inspector. Ricky Tan was our only bait, and now he's gone. You finally got your revenge - at the expense of a U.S. Government investigation. CARTER What "revenge" is he talking about? SPECIAL AGENT STERLING I don't know if the Fu-Cang-Long paid you to get rid of Tan, or whether it was a pure vendetta killing -- but you're off this case. I don't ever want to see you again, you got that? CARTER Hey, you, Secret Service Man, what are you -- SPECIAL AGENT STERLING Stay out of it, Carter. You're going back to L.A. CARTER Fine with me. Sterling walks away disgusted. SUPERINDENDENT CHIN I'm sorry Lee, but my orders are to fully cooperate with the Secret Service. Lee nods a respectful but bitter acknowledgment. Chin motions for two uniformed Hong Kong police officers to approach. SUPERINDENDENT CHIN (CONT'D) (to police officers) Escort Detective Carter to the airport -- LEE I'll take him. CARTER Hell no. The Hong Kong police officers produce HANDCUFFS. Beat. CARTER (CONT'D) (to Lee) Fine. But don't expect me to talk to you. Carter stalks off. LEE Don't push me, Carter. I'm in no mood for your bullshit. Carter gets in Lee's face. The two men look like they're about to come to blows. CARTER What are you gonna do about it, grasshopper? LEE I'll bitch slap you into Bangkok. CARTER Give me your best shot, you flat assed mama's boy. LEE Don't be talking about my mama. Or my ass! CARTER I heard your mama pulls a rickshaw. LEE No. She's a school teacher. CARTER You're not very good at this, are you? LEE Good at what? CARTER Forget it. A long beat while Lee considers what to say. LEE Five years ago, my father was Chief Inspector working a big international smuggling case. CARTER Ask me if I give a shit. Lee waits a beat, then drops the bombshell. LEE Ricky Tan killed my father. Carter is suddenly all ears, listening intently now to Lee. LEE (CONT'D) He found out his partner, Tan, had been working for the Triads all along. (beat) Before my father could prove it, he was killed in the line of duty. CARTER How the hell did Tan get away with it? LEE All the evidence against him disappeared, the smuggling case was unsolved. Tan resigned and went over to the Triads openly. CARTER (pause) This is about your Daddy's death? Hell, Lee, you know my father died on the job. You could have told me... (realizing) This is about more than all that, isn't it? This is about your Daddy's last case, right? Lee's caught, fibs badly. LEE No, no, that would be crazy -- CARTER You thought the "Customs Agents get blown up" and "smuggling" and "Ricky Tan" and you put it all together and came up with a five year old case. That's why you didn't tell me what we were doing... LEE I thought you'd think it was crazy. CARTER IT IS CRAZY! LEE I know. I know. I am sorry. Lee inclines his head, stiffly, turns and walks toward his car. Carter watches him. Finally he rolls his eyes and yells. CARTER So are you getting on the plane or not?! LEE What? CARTER Come on, we still got time to order the Kosher meal. Always get the kosher meal, they bring it first. LEE I cannot go to LA... Carter steps close, and for a second we see the man and the cop beneath the attitude. CARTER It sounds impossible -- LEE You said -- CARTER -- but if somebody gave me the chance to square up my father's death, I'd go to hell to do it. Carter turns, walks away without looking back. CARTER (CONT'D) You want to figure out why they killed your Daddy, get on the plane. LEE Why LA? CARTER (still not turning) I guess you're going to have to trust me on this one. INT. 747 PASSENGER COMPARTMENT Carter and Lee are getting comfortable among all the other passengers, preparing to take off. Lee has a moment of doubt. LEE I should go back. Ricky Tan mentioned a boat in Hong Kong Harbor... CARTER Lee, let me introduce you to the Carter Theory of Criminal Investigation: Follow the Rich White Man. LEE Follow the Rich White Man? CARTER Almost, but you've got to say "Rich White Man" all run together like it's one word. LEE Follow the RichWhiteMan... CARTER Not bad. Now every crime, somewhere, has a rich white man taking his cut. Every single one. Now in our case, we know the rich white man is Steven Reign. LEE Who? CARTER Big hotel billionaire. He was on Ricky Tan's boat ordering Hu Li around just before Ricky got smoked. LEE How do you know he's our man? CARTER Because when the shooting started he was way too cool. See most white people, when there's shooting, they either hide in a toilet or start screaming high pitched like "Aaaahhh!!! Aaaahh!!!! LEE You sound like that all the time. CARTER Black people keep their cool when the shit goes down. LEE Maybe. But not like Asians. We never panic. CARTER Yeah, what about when Godzilla was coming? You people were screaming your asses off. LEE Just tell me where I can find this Steven Reign. CARTER The same place you find all RichWhiteMen. (a tray arrives) Gefilte Fish. Lox and bagel. I love this stuff. Here, try it with a smear. BINOCULARS P.O.V. THE REIGN TOWERS HOTEL CUT TO REVEAL -- Carter standing at a window holding high-powered binoculars. Lee standing next to him. WE ARE: INT. CHEAP HOTEL ROOM - DOWNTOWN LA - NIGHT Cartons of Chinese food are all over the sleazy, run down hotel room. The LIGHTS LOW, the curtains open a crack. BINOCULARS P.O.V. - THE REIGN HOTEL Traveling up the side of the Reign Hotel. Stopping at the penthouse floor - where we see ISABELLA talking with Steven Reign in a hotel room. After a BEAT, Reign walks to the door. Carter flips the binoculars to Lee, who starts watching. CARTER Yeah, that's definitely the woman from Ricky Tan's boat, and she's staying in his suite at his hotel, I told you this would work out. They still just talking? LEE He just left. Kissed her on the cheek. CARTER He'll be back soon. LEE How do you know? CARTER Look at her. Now, wake me in an hour, I'll take over. Lee lowers the binoculars, turns to Carter, who is trying to sleep on the bed. LEE Carter, there's something I have to tell you. You were right about what you said in Hong Kong. All I do is work. Never take a day off. It's all I have right now. CARTER Hey, I didn't mean to call you pathetic. LEE The truth is, I haven't had any mu-shu in six months. CARTER You pull a muscle or something? LEE My fiancee left me over the summer -- a month before our wedding. CARTER I'm sorry, Lee. Why did she leave you? LEE It's a long story. CARTER Let me guess, she couldn't handle the cop thing -- never knowing if you were dead or alive. I've seen it a million times. LEE No. It was my singing. CARTER Excuse me? LEE She hated my voice. Said it drove her crazy. I sang to her all the time - in bed - in the shower - I thought she liked it. She finally told me it was driving her crazy. Carter stares at Lee for a long BEAT. CARTER Lee, maybe it's best if we don't discuss our personal lives. Let's die curious. LEE LIFTS THE BINOCULARS - turns back to the building. CARTER (CONT'D) What's she doing? BINOCULARS P.O.V. - ON ISABELLA She walks to the bedroom, where we see her through SHEER CURTAINS. Slowly taking off her coat. CARTER (CONT'D) Lee? You okay? Lee's eyes go wide as Isabella drops her coat and starts to unbutton her blouse. LEE She's just standing around -- not doing much. CARTER Just don't fall asleep. Sooner or later something's gonna happen. LEE I'll try to stay awake. It's so boring. Isabella starts to remove her blouse. Lee starting to sweat as he watches her undress. LEE (CONT'D) Slow down, baby. CARTER What did you say? LEE Nothing. I said nothing. Lee lowers his binoculars, steps away from the window. LEE (CONT'D) Is it hot in here? CARTER Hot? I'm freezing my ass off. LEE I'm gonna go in the hall and get a bucket of ice. You want some ice? CARTER What's going on? Lee stares at Carter, looks dazed. LEE She's getting undressed. CARTER Gimme the binoculars. LEE No. It's not right. CARTER Gimme the binoculars or I will shoot you. Lee hands Carter the binoculars, then turns his back as Carter watches to the window. LEE What's she doing? CARTER Oh, sweet glory hallelujah... LEE I don't want to hear this. CARTER Skirt just came off. She's in black bra and panties -- Victoria Secret Spring Catalogue, page 27 -- wait a sec - there's a tattoo on her left thigh... it looks like Snoopy. LEE Snoopy? I love Snoopy. CARTER She just took her hair down. Now she's going for the bra -- the clasp is in front -- she's using both hands. (to Lee) You better get that ice. Lee steps in front of Carter, blocking his view. LEE That's enough. We shouldn't be doing this! Isabella suddenly drops undressing and walks back to the living room to pick up the PHONE. We see her clearly now in bra and panties. CARTER This is our job. We took an oath as police officers. If we don't do this, who will? Firemen? Lee backs off, and Carter steps back to the window. He sees Isabella hang up the phone. CARTER (CONT'D) Wait a sec - what the hell is that between her legs? LEE What? CARTER She's reaching into her panties -- something is strapped to her leg. Oh, God...please don't let it be a dick. LEE What is it? CARTER No, I don't believe this shit -- it's a microphone. Lee, she's wired... CLOSE ON ISABELLA As she turns to the window. A TAPE RECORDER in hand. She puts the recording device away, walks back into the bedroom and puts on a robe. LEE I don't understand? CARTER She's walking back towards the door. BINOCULARS P.O.V. We see Isabella wearing a robe - standing at the door of her hotel room talking with someone. CARTER (CONT'D) She opened the door. Someone is delivering a package. BINOCULARS P.O.V. Inside the hotel room WE SEE HU LI handing her a package. CARTER (CONT'D) Lee...it's the girl who delivered the package to your office. It's a bomb! Lee and Carter bolt on the move - sprinting out of the room. INT. REIGN TOWERS HOTEL - PENTHOUSE SUITE - NIGHT Isabella closes the door. She BRINGS THE BOMB WITH HER as she walks into the bedroom -- EXT. REIGN TOWERS HOTEL - CONTINUOUS Carter and Lee run across the street, heading towards the entrance of the hotel. INT. REIGN TOWERS HOTEL - HALLWAY - CONTINUOUS Lee and Carter sprint out the Penthouse Elevators, running down the hallway. INT. REIGN TOWERS HOTEL - PENTHOUSE SUITE - CONTINUOUS Isabella takes her robe off, glances at the package, picks it up and starts to open it as Lee and Carter come BURSTING THROUGH the BEDROOM DOOR. LEE/CARTER NO! Carter and Lee stare at Isabella, who stands in bra and panties. CARTER Damn girl, you fine. Lee lowers his eyes as Isabella looks at him, grabbing the BOMB, Carter following him as they sprint out the bedroom. INT. REIGN TOWERS HOTEL - CONTINUOUS Lee and Carter run out the suite - Lee throwing the BOMB toward the END OF THE HALL as he and Carter dive to the floor. Nothing happens. Lee looks up, SEES a HOTEL EMPLOYEE pushing a room service CART, about to walk right past the package -- LEE GET DOWN!! Lee and Carter run back to the bomb. CARTER Pick it up! LEE It's your turn! CARTER I don't need a turn! Carter picks it up, starts running with it through the hall, heading for the elevator. LEE Throw it! Carter is about to throw it in, when HE SEES AN OLDER COUPLE STANDING INSIDE. HOTEL GUESTS Do you want us to hold the elevator? CARTER Get the hell away from here! Carter is still holding the bomb, doesn't know what to do with it -- LEE Stairs! Carter throws him the bomb, and Lee runs to the stairs -- INT. STAIRWELL - NIGHT Lee is about to throw the bomb down the stairwell -- when he sees TWO MAIDS WALKING toward him. CARTER Get out of the building! Lee looks horrified as he hangs onto the package, has no choice but to throw it back to Carter. LEE Roof! EXT. REIGN TOWERS HOTEL - ROOF - NIGHT Lee and Carter burst through the roof door - Carter trying to hold the bomb as far away from himself as possible. He looks over the side for a place to dump it - the streets are filled with PEOPLE AND CARS. LEE Wait! There's people down there! CARTER There's people up here! LEE Get it out of here! CARTER Take it! Lee takes the bomb, quickly ROLLS IT across the roof -- Lee and Carter diving to the ground once again as the bomb slides to the center of the roof - COMING TO A STOP RIGHT IN FRONT OF ISABELLA. She's wearing a bathrobe now, clearly pissed off as she slowly bends down and picks up the package. ISABELLA Get on your feet. Lee and Carter stand and face Isabella - watch as Isabella begins to open the package. CARTER I wouldn't do that!!! LEE It's a bomb. Isabella opens the package, removing a stack of a HUNDRED DOLLAR BILLS. ISABELLA You see, no bomb. Now stay away before I throw you both in jail for obstruction. CARTER Throw us in jail? I'm about to bust you right now. ISABELLA I'm an undercover agent for the United States Secret Service. CARTER How do we know you're not lying? Let me see your badge. Isabella opens her bathrobe -- WE SEE a small BADGE pinned to her bra. CARTER (CONT'D) Let me see it again? LEE We can help you. I'm a detective in Hong Kong. ISABELLA I know who you are, Inspector Lee. LEE Then you know I'm not walking away from this case. CARTER Yeah, that's right. ISABELLA We need to get out of sight. Come down to my suite. INT. ISABELLA'S SUITE - LATER ISABELLA (she locks the door) Look, I've been working this case for months now... CARTER So what's your story? ISABELLA They think I'm a crooked customs agent. Lee examines the stack of HUNDRED DOLLAR BILLS from Hu Li's package. Carter checks out the suite, pocketing some of the food from the mini fridge. LEE Is this a payoff? ISABELLA No. It's a sample. You guys ever heard of the Superbill? CARTER It's a myth. Some kind of counterfeit. ISABELLA It's much more than a counterfeit. 14 out of 15 world banks can't tell the difference. The paper is Crane linen blend -- and the bills are printed on U.S. Intaglio presses. CARTER How're they getting into the U.S. Mint to use the presses? ISABELLA In 1959, the United States was very friendly with the Shah of Iran. We wanted his oil, so for the Shah's birthday, the government gave him a gift -- a U.S. Treasury Intaglio press. The only one to ever leave the country. Five years ago Ricky Tan bought that press on the black market. LEE Five years ago?! (beat) That's right before he left the force. Lee and Carter exchange looks. ISABELLA It wasn't hard to spot the fakes until this past year. Then Tan got hold of one of a kind Swiss made hundred dollar plates -- and started making superbills. LEE (understanding) And Hu Li killed him for the plates. ISABELLA Yes. They've printed and shipped one hundred million dollars, and there's only one way to spot a fake. Isabella lights a HUNDRED DOLLAR BILL on fire, and it burns RED. ISABELLA (CONT'D) They use an optical transfer ink from India that burns red -- the real ink burns black. CARTER What the hell are they going to do with a hundred million dollars in funny money? ISABELLA The real question is, where are the plates? If we can find the plates, we can stop the whole operation. Isabella thinks for a beat. ISABELLA (CONT'D) Maybe that's where you can help us. Carter, this is your city, right? Carter nods. ISABELLA (CONT'D) And Lee, you know Hu Li and the Triads? Lee nods. ISABELLA (CONT'D) Okay, find out where Hu Li's keeping the plates. (hands Lee a card with a phone number) Welcome aboard, gentlemen. From this moment on, you're working for the United States Secret Service. Isabella opens the door to let Lee and Carter out. They exit quickly, trying to hide their excitement. CAMERA STAYS on Isabella as she takes out her CELL PHONE, punches in a number. STERLING (O.S.) Sterling. ISABELLA Lee and Carter are officially out of the Secret Service's way... EXT. REIGN TOWERS HOTEL - CONTINUOUS Lee and Carter, both wearing dark sunglasses, walk through the street trying their best to look like Secret Service Agents. They approach Carter's parked VETTE. CARTER Secret Service Agent Carter. This is my calling, Lee. Give me six months and I'll be in Washington protecting a white guy. LEE We both know you would never take a bullet for someone else. CARTER They don't know that. What are they gonna do, try and shoot the President during the interview? I'll bet Isabella can pull some strings. You saw the way she was staring at me. LEE She never even looked at you. CARTER You're just jealous 'cos the girl picked me. I'm tall, dark and handsome, you're third world ugly. LEE I am not third world ugly. Women like me, they think I'm cute. Like Snoopy. CARTER Snoopy is about six inches taller than you. I'm sorry, Lee, you never had a chance. Carter's had the last word, he gets into the Vette. Lee reluctantly gets in, too. EXT. CRENSHAW KITCHEN - CHINESE SOUL FOOD RESTAURANT - NIGHT Carter's Vette pulls up in front of a hole in the wall. INT. CRENSHAW KITCHEN - CONTINUOUS Carter and Lee pass through the restaurant, only two tables are occupied. INT. KITCHEN Carter and Lee enter the busy kitchen where the OWNER, a BLACK MAN named KENNY, is yelling in Chinese to an over worked waiter. Kenny's wife, a spectacular looking Chinese woman, works the stove. A couple of cute half-black, half Asian kids run around the kitchen. CARTER Kenny! How you doin'? Kenny looks up at Carter. A cool, appraising glance. CARTER (CONT'D) How's the action tonight? The house making out okay? Kenny follows as Carter opens a door to -- INT. BACK ROOM - CONTINUOUS MEN seated around several card tables, playing MAH-JONGG for big money. Lee and Kenny follow Carter inside. It's very smokey and very crowded. CARTER (to Kenny) This is where I say I'm LAPD in a loud voice, they all scream and run and shit. Watch. It's real funny. Kenny grabs Carter's shoulder, pulling him aside. KENNY Come with me. INT. KITCHEN - CONTINUOUS Kenny leads Carter and Lee in, closes the door. KENNY Hear you got your ass kicked in Hong Kong, James. CARTER What?? Where'd you hear that? KENNY I got my sources. CARTER And I got mine, meaning you. Nice how that works out. (beat) I'm serious this time, I'm closing this place down. KENNY James, you see my kids back there? You know how much I'm paying for private school? How can you come in here with this attitude, you being little Chang's godfather? CARTER Little Chang is gonna have to go visit his daddy in jail if you don't cooperate. KENNY Jail!? James, you better back off. Badge or no badge, I'll kick your ass. CARTER I'd like to see you try. Kenny takes a step back and throws a lightning fast martial arts move. Lee gets in front of Carter to protect him -- countering Kenny's move. KENNY (to Lee) We're on, then. Kenny throws out another precision martial arts sequence -- Lee BLOCKS -- Kenny ends in an advanced fighting stance. LEE (impressed) That's a good Twisting Tiger -- where did you learn that? They switch to Chinese. KENNY Master Ching taught me. LEE The Praying Mantis school, in Bejing? KENNY No. Freddy Ching's, in Crenshaw. Lee smiles, Carter looks back and forth from Lee to Kenny. KENNY (CONT'D) What are you doing hanging out with Baby Duck? LEE Baby Duck? KENNY That's what we all used to call him when he was a kid -- cause he was always quacking. Never shut up. CARTER I heard that. Lee and Kenny laugh. CARTER (CONT'D) Look, I need some info and I don't have time to play around. KENNY Is this about the funny money? CARTER How'd you know? KENNY You've been asking loud questions in all the wrong places all morning. How come you always save me for last, James? When are you gonna learn. Shit don't happen I don't know about. CARTER So tell me what you know. KENNY I know Teddy Wu is cranking out a pretty good double sawbuck -- but you knew that too, didn't you? CARTER Yeah. We already been there. This is big, Kenny. Benjamins. Secret Service calls 'em superbills. Banks can't even tell the difference. Kenny considers this for a moment. CARTER (CONT'D) What? KENNY One of my regulars lost fifty thousand dollars at the table here last week. I was about to send my boys down to tune his ass up, when the guy comes in and pays off the whole thing. Including the vig -- brand new sequential hundred dollar bills. I knew something was wrong. Cause this guy's got a regular job, no way he comes up with fifty grand in cash. But I tested the bills, infrared. The whole thing. And they checked out. 100%. LEE Do you still have the bills? KENNY I still have my lunch money from third grade. CARTER Lemme see 'em. Kenny pushes a Chinese painting aside to reveal a WALL SAFE. He opens the safe and hands Carter a $100 bill. Carter checks it out. KENNY See. It's perfect. Carter takes out a LIGHTER and holds the flame to it. KENNY (CONT'D) Whoa, what are you doing? Kenny's question is answered as the BILL BURNS BRIGHT RED. KENNY (CONT'D) (pissed off) I knew it. The guy's name is Zing. He works at the kitchen at Reign Plaza. CARTER All right, Kenny. Thanks. You're off the hook. For now. Carter and Lee move for the door. KENNY You sure you guys don't want to stay and have a bite? My wife's got the best mu shu this side of Compton. Carter and Lee exchange a look as we CUT TO: EXT. REIGN PLAZA - DAY Establishing. Carter and Lee park their car and walk inside. EXT. REIGN SHIPPING ROOM - CONTINUOUS Carter and Lee enter. CARTER (to a worker) We're looking for a guy named Zing. Is he here? Zing hears Carter, turns and sees them. Then RUNS. Carter and Lee exchange looks and run after him. INT. HALLWAY - CONTINUOUS Zing sprints down an employee hallway, through a doorway and down some stairs. Carter and Lee in pursuit. EXT. LOADING DOCK PLATFORM - REIGN PLAZA - CONTINUOUS Carter and Lee burst out the door at the bottom of the stairway -- coming almost face to face with -- HU LI Who has her gun out. Waiting for them. ISABELLA is standing near by, and ZING is visible off to the side. An 18-WHEELER in the loading bay is just being shut and locked. A LIMO is parked beside it. Lee and Carter both assume fighting positions. When most of the other WORKERS pull guns; other TRIAD SOLDIERS step out, putting their guns close on Lee and Carter. They can't blink without getting mowed down. HU LI (in Chinese) The great Chief Inspector Lee -- I will be remembered for ridding the Triads of your petulance. Hu Li savors the moment. CARTER I hope you just said I have no business being here, 'cos I was just leaving. Carter starts to leave, and Hu Li trains her gun on him, freezing him in his tracks. Isabella slowly walks several feet, ending up behind Lee as she speaks. ISABELLA Hu Li, I think there's someone who will want to talk to them first. Hu Li looks at Isabella, nods an acknowledgement. BANG! Lee falls. Isabella's knocked him out from behind with the butt of her gun. BANG! Carter drops to one knee as Hu Li POUNDS him across the jaw with her fist. CARTER ...oh, that's a filling right there. That's gonna cost you. Hu Li lunges forward and KICKS Carter, sending him backwards. HU LI Put them in the truck. The WORKERS pick up Lee, bring him to the back of the truck. CARTER I should kill you right now, but I'm gonna let you live, 'cause you're fine, and maybe you can be reformed. The WORKERS start towards Carter. He holds up his hands. CARTER (CONT'D) No more hitting. I'll get in the truck myself. As Carter walks towards the truck by Hu Li, they exchange a look of sheer hatred. As soon as he passes by her, Hu Li COLDCOCKS Carter with her gun. EXT. LOADING DOCK PLATFORM - DAY The eighteen wheeler, the limo and the black Lincoln Town car pull out of the loading dock, headed for the highway. EXT. EIGHTEEN WHEELER - DAY The truck pulls onto a HIGHWAY, the LIMO close behind it. INT. EIGHTEEN WHEELER - TRUCK BED - DAY LEE and CARTER are in the back with crates filled with MONEY. They're both in pain, trying to recover from the head blows. Carter is flexing his battered body. LEE Are you okay? CARTER What's the first thing I told you -- never trust nobody. How could you fall for that shit? I knew she was dirty. LEE She saved our lives. CARTER For how long? Face it, Lee, she's playing both sides. Lee looks disappointed. CARTER (CONT'D) Look, man I'm sorry. I know you got a thing for her. LEE Shhh, my head hurts. CARTER I'm about to be killed and you "Shhh" me! This wasn't my case, Lee. Ricky Tan didn't kill my father, the Fu-Cang Long are not in South Central. I didn't have to help you. LEE Why did you help me? CARTER It doesn't matter. Lee thinks about this for a BEAT. LEE I'm not used to having a partner. CARTER We are not partners. Between your daddy, my daddy, and the beating I just took, as far as I can tell all partners get you is dead. LEE Well we're not friends. CARTER You got that right. And we ain't brothers. Maybe we should just end this right here. LEE Fine with me. CARTER I won't talk to you, you don't talk to me. We'll die in peace. LEE See you in the next world. A BEAT OF SILENCE CARTER I don't believe in reincarnation. So I won't see you in the next world. LEE Fine. CARTER I believe in heaven. You people believe in heaven? LEE Yes. We have heaven. CARTER Is it the same heaven, or is it a Chinese heaven? LEE What's a Chinese heaven? CARTER I thought it might be like those five foot and under basketball leagues. They don't let everybody in. LEE I think we should stop talking. CARTER Fine by me. ANOTHER BEAT OF SILENCE CARTER (CONT'D) You thinking about that girl that dumped you? LEE No. CARTER If she was the right girl, you'd be thinking about her. LEE Mind your own business. CARTER How was the sex? LEE There was no sex. She was very traditional. We were waiting until we were married. CARTER You're kidding. No sex? Nothing? No mu-shu? LEE No mu-shu. CARTER What about a little king pao chicken? LEE No kung pao chicken. Never. CARTER Steamed dumplings? LEE Once in a while, steamed dumplings. But only when she was drunk. CARTER That's rough, man. If I don't get steamed dumplings once a week, I go crazy. LEE Tell me the truth, Carter. Do you think I have a good voice? CARTER Are you serious? LEE Forget it. It doesn't matter. Lee turns away from Carter. CARTER As long as you're asking...I think you have a pretty good voice. LEE I knew it. What does she know. You want me to sing something? CARTER That depends. How do the Fu-Cang-Long usually kill their victims? LEE They'll probably torture us first, shock our privates, then put two bullets in our eyes and one in the back of the head. CARTER Go ahead. Sing your ass off. Lee clears his voice. LEE Did you happen to see the most beautiful girl in the world...and if you did, was she crying, crying...hey! EXT. DESERT HIGHWAY - DAY The 18-WHEELER drives by followed by the LIMO. INT. LIMOUSINE - DAY Hu Li and Isabella sit in the back of one of the limos that is driving behind the truck. Hu Li is on the car phone. HU LI Don't worry, the plates are safe. Yes, the dragon's been fed. She HANGS UP and glances at Isabella, who is doing her best to appear completely uninterested. EXT. HIGHWAY - DAY The LIMO splits off from the 18-WHEELER. INT. 18-WHEELER - TRUCK BED - CONTINUOUS Carter works at opening one of the crates. Lee steps up, takes a deep breath, searches the crate looking for the sweet spot, and PUNCHES a hole in one of the thick boards. They start prying the crate open. CARTER Very nice. LEE It's focus. Every opponent has a weak spot. You ignore everything around you, and put all your energy into one perfect strike. CARTER I'll remember that next time I'm fighting a box. Carter opens the crate -- it's filled with SUPERBILLS, about $1,000,000 worth. He tosses a stack to Lee. CARTER (CONT'D) Hello, Benjamin. LEE Who's Benjamin? CARTER Benjamin Franklin, he discovered electricity. LEE A Chinese man discovered electricity. CARTER No Chinese man discovered electricity. LEE Yes he did. He also invented the bicycle. CARTER Now that I believe. Carter pockets two stacks of superbills. Lee looks at him. CARTER (CONT'D) You never know. Besides, I always wanted to die rich. The truck lurches. LEE We're slowing down. This must be it. CARTER End of the line. LEE You've been a good friend, James Carter. CARTER Oh no you don't. Don't you be getting corny on me, Lee. I'll kick your ass from here to Compton. LEE You could never kick my ass. You mama's boy. CARTER Don't you talk about my mama. (winks at Lee) That's more like it. EXT. 18-WHEELER - CONTINUOUS The truck is parked in the underground loading docks. It's approached by FOUR TRIAD SOLDIERS. Soldier #1 opens the TRUCK'S DOUBLE DOORS to find. Lee and Carter are gone. Except for boxes of money, the truck bed is EMPTY. Two soldiers enter the truck bed. ANGLE UP TO REVEAL Lee and Carter WEDGED up against the CEILING of the truck bed. Above the doors and over the soldiers. Lee and Carter SWING DOWN in unison -- knocking both soldiers to the ground. In the next instant: ON LEE still holding on to the door frame -- swings and backflips onto the roof of the truck. ON CARTER who swings onto the ground -- grabbing one of the guards to use a shield as gunfire erupts. Lee jumps off the truck, knocking the last guard to the ground. He then grabs the guard Carter is using as a shield and together THEY SWING him into the truck -- KNOCKING DOWN the first two guards. Carter and Lee slam the back doors SHUT -- bolting them CLOSED and run like hell - scrambling into what looks like the closest way out: A LARGE OPEN PIPE on the side of the tunnel. INT. SEWER TUNNEL - CONTINUOUS Lee and Carter run through - it extends out from the underground loading docks. LEE This way. I see some lights. Lee and Carter spot a tiny sliver of light coming through a MANHOLE COVER. They start climbing up the metal stairs that lead up to the street. EXT. LAS VEGAS BLVD. - DUSK The blvd.'s packed with PEOPLE and CARS. CLOSE ON Lee and Carter coming up from the manhole -- standing together in stunned disbelief as they look out at the LAS VEGAS STRIP. They cover their eyes, blinded by the greatest light show in the world. LEE Vegas... CARTER Lee. I just got an idea how someone could launder a hundred million dollars in cash. They both turn around and come FACE TO FACE WITH: A TEN-STORY DRAGON. Fire shoots from its nostrils every 60 SECONDS. EXT. RED DRAGON HOTEL AND CASINO - NIGHT FIRE BALLS BLOW out over the strip as Lee and Carter look up at the RED DRAGON. The HUGE NEON SIGN READS: GRAND OPENING - EVERYBODY'S A WINNER! Lee and Carter come out of the sewer. LEE Red Dragon. CARTER That was the name of Ricky Tan's boat. Lee and Carter watch as limos pull up to the front of the hotel -- it's like a HOLLYWOOD PREMIERE. The richest of the rich are making their way inside. LEE Let's go. CARTER Wait a second. We can't go in like this. Look at this place, we gotta look fly. We gotta Mac out. LEE What is Mac out? CARTER Follow me my Asian brother. Carter and Lee start to walk away. CARTER (CONT'D) Just stay down wind, because I think you stepped in some serious rat shit down there. EXT. VERSACE BOUTIQUE - NIGHT Lee and Carter are walking into the upscale clothing store. INT. VERSACE BOUTIQUE - CONTINUOUS As they enter, a SALESMAN approaches them. SALESMAN May I help you gentlemen? Carter flashes his biggest smile as he pulls out a stack of superbills. CARTER Black. 42-long. Nothing touches this body but pure silk. And get my partner something from the children's department. Carter puts his hand on Lee's shoulder. SALESMAN Would your partner like silk as well? I personally like it when a couple matches. Carter takes his hand off Lee's shoulder. CARTER Couple? No, you got it wrong, there's no couple here. Just two single police officers working a very dangerous case. LEE Yes. We have lots of big men chasing us. SALESMAN I'm sure all the boys are chasing you two. Don't worry, I'll make you guys the bell of the ball. He WINKS as he walks off, and Carter looks at Lee. CARTER This is the last time I go shopping with you. EXT. RED DRAGON - NIGHT Lee and Carter enter frame, dressed to kill - perfectly tailored couture Versace suits, gold watches, the whole bit. Le is awkward in "player" guise. CARTER (whispering) Remember, Lee, you're a player now. You own the place. Carter pulls out his ALTOIDS, and he and Lee each take one as they walk through the doors. LEE I own the place. INT. RED DRAGON - CONTINUOUS Carter STRUTS through the lobby, Lee doing his best to imitate Carter's pimp and roll. THEY WALK PAST THE GIANT BUDDHA -- CARTER That looks exactly like my Uncle Darrell. LEE Buddha is the symbol of luck and good fortune. CARTER Buddha is the symbol for fat and lazy. The man has the biggest tits in Asia. They are moving through the MAIN ENTRY HALL lined with TERRA COTTA CHINESE SOLDIERS - posed and dressed for battle. RICKSHAWS and BICYCLES take people through the hotel. The MAIN CASINO is roped off and empty. People crowded around the perimeter - a sign reads: SIGN $50,000 buy in -- EVERYBODY'S A WINNER! The LIGHTS DIM - a spotlight comes on and finds STEVEN REIGN on the balcony overlooking the ENTRANCE. STEVEN REIGN A thousand years ago, a small, wealthy village in China hired a young Dragon to guard their treasure in a cave, hoping to scare off potential bandits. Their plan worked quite well, until the people of the village started sneaking the Dragon extra food -- hoping to make him bigger and stronger. The Dragon ate so much and grew so big -- that he eventually got stuck inside the cave -- and the treasure was stuck behind him for all eternity. (beat) Ladies and gentlemen, I have found that lost treasure. It is here, inside the greatest casino in the world! Welcome to the Red Dragon, where everybody is a winner! Reign smiles, flips a switch -- the CASINO COMES TO LIFE. Fireworks, bright lights, endless rows of tables, dealers waiting. A BAND PLAYS on a stage in the casino lounge. Chinese ACROBATS perform suspended from the ceiling and on the balconies above. Applause all around as the FLAME shoots out of the dragon's nostrils and the acrobats perform. Carter and Lee walk down the red carpet. CARTER (to waitress) Bring us some twelve-year old scotch... (to a cigarette girl) Get us a box of your finest cigars. (to a change girl) Give me ten dollars in nickels. INT. CASINO - NIGHT CLOSE ON Dice ROLLING on a craps table. CRAPS DEALER Winner! Seven! We see BLACKJACK DEALERS BUSTING - paying out CUSTOMERS. Hundred dollar slot machines paying out jackpots. GAMBLERS winning all over the casino. Then going to the main cage and exchanging their chips for SUPERBILLS. CARTER Look at this place, Lee. The biggest front in the world. As people pour into the casino, Steven Reign is making his way through the crowd, shaking hands and posing for pictures. LEE Carter...here comes the rich white man. CARTER Wait here. I'll handle this. As Carter walks off, a WOMAN grabs Lee and pulls him onto the dance floor. INT. LOUNGE - CONTINUOUS The woman spins to face Lee, her face half-hidden under the dance floor lights. ISABELLA Put your arms around me. LEE Excuse me? Isabella grabs him around the waist, pulls him close. ISABELLA Hold me close. There's cameras everywhere. An ASIAN BAND sings STRANGERS IN THE NIGHT as Lee tries his best to slow dance. An intimate moment between Isabella and Lee, her face nestled in the crook of his neck, hiding her face. LEE What's going on? ISABELLA I need your help. LEE Last time you needed my help I ended up in the back of a truck. ISABELLA I'm undercover. I had no choice. You have to trust me. Lee starts to get into the music, moving his hips in a slow, sensual rhythm. ISABELLA (CONT'D) You move well. LEE Just trying to make it look real. ISABELLA Look over there. That's the eye in the sky room. Lee looks over her shoulder. ISABELLA (CONT'D) Behind me is the soft count room. We're pretty sure the plates are back there. LEE Why don't you go get them? ISABELLA If I'm wrong then my cover is blown. INT. CASINO - NIGHT As Steven Reign makes his way through the casino, Carter steps right in front of him, giving him a big hug. CARTER Stevie, how's it going my man? Somebody get a picture, we can use it for a mug shot. STEVEN REIGN Detective Carter, you always seem to show up where you don't belong. CARTER Lemme ask you something, Steven. And I want the truth. Is there any way I can date your daughter? Just dinner and a movie, maybe go listen to some jazz... STEVEN REIGN Vegas has been my town for 30 years. I crawled out from under the first rock. Do you really think you can intimidate me here? CARTER You're right, you're a smart guy. Most counterfeiters only get ten cents on the dollar. But this is an even swap. Pure genius. STEVEN REIGN You play games with me, Detective, and you'll lose every time. Don't forget. The odds are always in favor of the house. Reign walks off with his men. Carter watches him leave. INT. DANCE FLOOR - NIGHT Lee is dancing close with Isabella. ISABELLA The Secret Service almost busted Reign at his casino in Macao, but the place burned down before we could move in. LEE How do I know I can trust you? ISABELLA Dip me! Lee dips her, holds her in his arms for a long BEAT. ISABELLA (CONT'D) I'm asking for real now -- will you help the Secret Service? LEE No. (beat) But I'll help you. Lee holds her for a long BEAT, their lips almost touching. He finally lets her go, and she disappears into the crowd. Carter walks up, sees Lee standing alone on the dance floor. CARTER Lee, what the hell are you doing? LEE Dancing? CARTER Dancing? I'm out here trying to strong arm Steven Reign, putting my life on the line, and you're up here dancing with some bimbo. Did she have a friend? LEE It was Isabella. She says the plates are in the soft count room. Lee motions to the room, where WE SEE a SECURITY GUARD standing in front of a small door. CARTER Isabella? Are you crazy, man? She almost got us killed. She's setting you up again! LEE No. I'm going to find out. CARTER Wait a second. There's guards all over the place. You'll need a distraction. Carter looks around the casino. CARTER (CONT'D) I'll go to the craps table, make a big scene. When security comes over, you make your move. LEE Try to keep them busy for five minutes. CARTER I'll give it my best shot. INT. CASINO - CONTINUOUS Carter walks up to a CRAPS TABLE, everyone turning to stare. CRAPS DEALER Sir, you're aware that we require a fifty-thousand dollar buy in to gamble here this weekend? Carter throws a HUNDRED THOUSAND in $100 BILLS onto the table. CARTER I saw the sign, I can read. Now gimme a hundred-thousand in chips. And a Diet Coke and some wash-n-dries. Let's move, people, I came to play. The DEALER pushes 100K worth of CHIPS in front of Carter. CARTER (CONT'D) What the hell is that? CRAPS DEALER Those are five hundred dollar chips. CARTER Did you give me five-hundred dollar chips because I'm black? CRAPS DEALER No, I just assumed... CARTER You assumed a brother coming in here can only afford five-hundred dollars a roll, is that right? Are you a racist? CRAPS DEALER No, sir. CARTER (starting to scream) Everyone else at the table has thousand dollar chips, but the black man gets the nickel, is that it? Did my people survive two-hundred years of slavery so you could send us back to the cotton fields with five-hundred dollar chips? Do I look like Chicken George to you? The PIT BOSS gets on his walkie-talkie. PIT BOSS Floor security, we have a problem at table nine. EXT. SOFT COUNT ROOM - NIGHT The SECURITY GUARD lowers his walkie-talkie, starts moving towards Carter's table. INT. CRAPS TABLE - NIGHT TWO SECURITY GUARDS approach Carter's table. CARTER Answer me one question. How come Ben Vereen isn't performing here at the hotel? Is Ben Vereen not good enough for you people? PIT BOSS Lionel Ritchie is performing here tonight. CARTER Lionel Ritchie hasn't been black since the Commodores. PIT BOSS Sir, you're going to have to calm down. Carter watches as Lee moves past the guard and makes his way into the soft count room. CARTER I have a dream, where black people and white people can gamble together without getting different chips! A BIG CROWD has gathered as the Security Guards try and push their way through. The pit boss picks up the phone, calls upstairs. CARTER (CONT'D) Sing with me! "We shall overcome!" Carter starts clapping, and the confused crowd joins in as the Security Guards move in. CARTER (CONT'D) Thank you. Now in the spirit of brotherhood, let's play craps! INT. HALLWAY - NIGHT Lee walks into the hallway, moving like a cat as he hugs the walls and tries to make his way to the soft count room. He hears noise, TWO SECURITY GUARDS coming behind him through the casino door. He has no choice but to crawl over the back of a money cart and hug the top. He lies as still as he can, trying not to be seen -- until he realizes he's staring directly into the EYE IN THE SKY cameras that are in the ceiling. WE SEE LEE'S FACE as he passes directly under the camera, clearly mouthing the words "oh shit" as he rolls by. Lee looks to his left, sees the SOFT COUNT ROOM -- a mountain of COUNTERFEIT SUPERBILLS that are waiting to be paid out. On the opposite side, the REAL MONEY is being WHEELED OUT toward a waiting TRUCK that is parked at the back door. Lee sees two more cameras in the ceiling, knows his cover is blown. He jumps down off the cart, is standing in front of the locked vault. There's no way to get the plates. Isabella has set him up again. He turns and smiles at the confused SECURITY GUARDS. LEE Hi. How's it going? You guys have change for a twenty? The GUARDS make their move. And Lee starts to fight them down the hall, using the cart as a shield as he RAMS into TWO MORE GUARDS, fights them off as he turns the corner toward the casino door -- but he gets slammed to the ground by a right cross. Hu Li threw the punch, a roll of quarters in her hand as she stands over him with FIVE TRIAD SOLDIERS. She holds a knife to Lee's throat. HU LI (in Chinese) Open your mouth. She puts the small grenade in Lee's mouth, tapes it shut. She holds the detonator in her hand. HU LI (CONT'D) (continuing in Chinese) That's a ying-tao grenade, Inspector. Please follow me or I'll blow 32 teeth into your brain. INT. CASINO - CONTINUOUS A crowd has gathered behind Carter who is at the table rolling dice, a huge stack of chips in front of him. CRAPS DEALER Winner six! CARTER How much is that? CRAPS DEALER Two-hundred thousand! CARTER Two-hundred thousand dollars? Who wants a hundred dollars? Carter turns to the MAN next to him, who wears a traditional AFRICAN ROBE and is standing with a giant blonde escort. CARTER (CONT'D) Here, your highness, have a hundred dollars. The Viagra is on me tonight! GAMBLER (South African accent) I am not royalty, sir. CARTER Don't say that, we're all royalty. My great grandmammy was Queen Nephertit -- we probably cousins, man. How much you got on the table? GAMBLER One million. CARTER Yeah, we definitely cousins now. Who wants to blow on my hand for luck? Carter turns to a BIG TEXAN who is standing with a GORGEOUS YOUNG GIRL who is falling out of her dress. CARTER (CONT'D) Hey, Marlboro man, you mind if your lady blows on my hand for luck? TEXAN (embarrassed) She's not my lady. She's my niece. CARTER Can I come over for Thanksgiving? Come on, baby, give me some luck. The GIRL blows on the dice, and Carter stares down at her. CARTER (CONT'D) Nice blowing. When's your next birthday, I'll be the cake. TEXAN Hey, buddy, watch yourself. CARTER Don't threaten me. I got friends in this town that will bite off your ears. Just sit tight, because I've got the dice and I am on fire! Carter throws the dice. CRAPS DEALER Winner, seven! The table erupts as Carter grabs the dice. CARTER Let it ride! INT. UPSTAIRS HALLWAY - NIGHT The elevator doors OPEN and Lee is led toward the eye in the sky room by Hu Li and the three Triads. As they walk into the room, the Triads remain outside guarding the room. INT. EYE IN THE SKY ROOM - CONTINUOUS FORTY VIDEO MONITORS show every inch of the hotel. A MAN stands in front of the two-way mirror looking down at the casino, the reflection off the glass obscuring his features. Lee has the tape around his mouth and his hands tied behind his back as he's led into the room by Hu Li. RICKY TAN Imagine a business where people hand you money. And you hand them back absolutely nothing. Ricky Tan - alive and well, turns around and stares at Lee. Isabella is standing next to him. Lee is shocked at the sight of Ricky Tan alive. RICKY TAN (CONT'D) Now that's a true American dream. Thanks to a few pieces of metal and a very greed driven US Customs agent. Ricky Tan walks toward Lee, starts to smile. RICKY TAN (CONT'D) Look at you, you're ridiculous. You know it didn't have to be like this. But it's too bad! Like father, like son. Lee stares at Isabella for a BEAT. Hu Li motions to one of the monitors. HU LI (in Chinese) He's going for the plates. Ricky Tan looks at one of the MONITORS, sees Steven Reign walking down a hallway, about to walk into the PENTHOUSE SUITE. RICKY TAN Look at this old fool, what does he think he's doing? Ricky Tan shifts his attention back to Lee. RICKY TAN (CONT'D) It's almost impossible to find a partner that's trustworthy and loyal. Wouldn't you agree, Lee? ON ANOTHER SCREEN We see Carter at the craps table having the time of his life. Ricky Tan turns to walk out of the room, motioning to Isabella as he goes. RICKY TAN (CONT'D) Well, at least you will die with honor. But choy Gien. SUBTITLES: "Won't see you again." INT. CASINO - CONTINUOUS Carter has two racks of chips in front of him, a huge crowd surrounding him. CRAPS DEALER Winner! Four, winner! CARTER I'm up a hundred and fifty-grand. That's a Ferrari. Do they sell those here in the gift shop? Somebody cash me out! Several TRIAD SOLDIERS dressed like SECURITY GUARDS approach Carter's table. PIT BOSS Sir, we'd like to escort you to the cashier. CARTER That would be great. Don't want any of these rich white people to jump me. As they walk toward the door marked "VIP ROOM", Carter glances at the MEN, knows he's in deep shit. INT. EYE IN THE SKY ROOM - NIGHT Ricky Tan turns to Hu Li. RICKY TAN Chai Hu Li. ("Little Fox") Have fun. Ricky Tan walks out. Hu Li holds the detonator up to Lee, plays with the button. HU LI (in Chinese) In a few minutes...you'll beg me to push this button. Hu Li pulls her KNIFE, moves towards Lee. She holds the blade to his face. About to cut him. When Isabella pulls her gun. Isabella walks toward Lee, whose hands are still tied behind his back. Hu Li clutches the detonator in one hand, her knife in the other. She takes a step toward Isabella. ISABELLA It's time to end this, Inspector. Isabella cocks the gun, spins back and kicks the detonator from Hu Li's hand -- slamming her against the wall and sticking the gun under her chin. ISABELLA (CONT'D) Don't move! United States Secret Service. Hu Li WHIPS her KNIFE around, catches Isabella across the hand -- the GUN SLIDING across the room near the detonator -- the TWO WOMEN fight around it. Lee watches them almost step on it - dives to the floor and rolls toward the detonator. He's about to grab it when: THE TRIADS OPEN THE DOOR They're about to move in. HU LI Get the detonator! The Triads go for the detonator -- as Lee gets to his feet, KICKS Hu Li's legs out from under her. One of the Triads about to pick up the detonator - but Lee gets to him first. He fights with one hand tied behind his back. Hu Li and Isabella fight it out in the EYE IN THE SKY ROOM. Lee gets kicked towards the Eye In The Sky WINDOW. INT. CASINO - CASHIER Two security guards lead Carter away from the table when: CRASH! An AIRBORNE Lee rockets through the EYE IN THE SKY WINDOW. In a rain of glass, he lands HARD on the casino floor. The NOISE grabs everyone's attention, including: CARTER Lee!! The guards restrain him. CARTER (CONT'D) Lemme ask you something. Any of you ever felt $500,000 before? He SLAMS THE RACK OF CHIPS ACROSS THEIR FACES -- chips flying as the GUARDS hit the floor. CARTER (CONT'D) Doesn't feel so good, does it? INT. EYE IN THE SKY ROOM - CONTINUOUS Hu Li picks up the detonator. WHACK! A heeled foot kicks it from her grasp. Isabella has recovered! The detonator FLIES OUT THE BROKEN WINDOW. INT. CASINO - CONTINUOUS On his back, Lee watches the detonator SAIL OVER HIS HEAD AND DISAPPEAR into the crowd. It lands on a DRINK CART. Before Lee can get there, a WAITRESS changes trays and carries the detonator on her rounds. Panicked, Lee searches for the detonator. He JUMPS atop a BLACKJACK TABLE to get a better vantage. He can't see it, but he does see: ACROSS THE CASINO Carter on top of a CRAPS TABLE, keeping security guards at bay with a croupier stick. CARTER Black man gets on a hot streak and you're all trippin'? Carter and Lee see each other. They have the same simultaneous though: CARTER (CONT'D) (help!) Lee! LEE (help!) MMMMMM!!!! Carter is Lee's only hope to get the bomb out of his mouth. But from here to there, a MASS OF PEOPLE. The quickest way is the HIGH WAY. Lee leaps from TABLE to TABLE. Scattering playing cards. Reaching the carpeted divide...Lee doesn't stop. He launches off the bent-over back of a high roller -- landing on a RICKSHAW, SURFING IT to the tables on the other side. Carter looks around for Lee, catches a glimpse of the Eye in the Sky Room. He grins. CARTER Check it out. Catfight! POW! He socks a GUARD in the face. INT. EYE IN THE SKY ROOM - CONTINUOUS Isabella and Hu Li are locked in battle. Rolling to the floor, they both see the gun. They scramble over each other to get to it first. INT. CASINO - CONTINUOUS A security guard CLIMBS on the table to level Carter when Lee arrives. He kicks the guard off and turns to Carter, his plea MUFFLED. CARTER What the HELL are you doing with tape on your face? No time to explain -- two more security guards arrive. Kicks and punches fly, but Lee CAN'T GET HIT IN THE MOUTH! He bobs and weaves, holding his hands to Carter to untie them in between swings. Suddenly: BLAM! BLAM! BLAM! GUNSHOTS from the Eye In The Sky Room. Everyone HITS THE DECK. Carter and Lee dive on to the floor as panic ripples through the Casino. People FLEE for the EXITS. THE WAITRESS DESERTS HER TRAY. It gets knocked over and TIPS on the floor. The DETONATOR LANDS feet away from Carter. CARTER (CONT'D) This can't be good. Lee's eyes BUG - he sees it too, feet STAMPEDING past it! A high heel misses it by a fraction of an inch. He LUNGES for it, manages to CRADLE it in his taped hands when -- WHAM! He is BUMPED and it FLIES AWAY. The second it hits the floor, it is KICKED, skittering down the red carpet. ABOVE...the victor emerges in the Eye in the Sky Room. Hu Li STEPS OUT on the PAGODA ROOF and JUMPS DOWN. The DETONATOR ROLLS right past Hu Li. As she bends to PICK up the detonator, Lee knows he won't get there in time. Horrified, he SCREAMS at CARTER through the tape. Hu Li lifts the detonator. Carter finally pulls the TAPE OFF Lee's face. Lee SPITS the grenade into the air. LEE (diving on Carter) Bomb!!! Hu Li HITS the TRIGGER just as it lands on a roulette table. KABOOM! The table is BLOWN OFF IT'S FOUNDATION. Chips and cash volcano. Hu Li is blown backwards by the force of the blast. SHEER PANDEMONIUM grips the casino. AS THE SMOKE CLEARS Carter and Lee peer out from behind a row of slot machines. The place is deserted. CARTER Why didn't you tell me you had a bomb in your mouth? LEE I did! CARTER No you didn't! LEE Yes I did. I said MMMMMM! A hand on Carter's arm. THIS IS SERIOUS. LEE (CONT'D) Ricky Tan is alive. CARTER What?!?! LEE We have to get to the Penthouse. Lee jumps up, SPRINTS toward the elevators at the dragon end of the casino. CARTER Hold on! Carter stuffs his pockets with chips, then races after Lee. But halfway up the carpet. Carter stops. Lee turns to see what is holding him up. Hu Li SURVIVED the blast and Carter has turned to face her. CARTER (CONT'D) You go after Ricky. I got this. LEE Carter... CARTER Just GO! Lee turns and runs off past the dragon. Unfortunately, FIVE TRIADS block his path. In a flurry of PUNCHES, Lee makes short work of them, and races toward the elevators. DEAD CENTER ON THE RED CARPET - HU LI AND CARTER FACE OFF! Each readying in their own manner. Hu Li carefully wraps her long hair into a bun on top of her head. Carter stretches, flexes, ready to sting like a bee. CARTER (CONT'D) I'm not gonna hold you back this time just because you're a woman. I'm gonna pretend you're a man. She pulls off her jacket, prepares to fight him in her undershirt. CARTER (CONT'D) A very beautiful man with a perfect body who I'd like to take to the movies. She takes a sword from a Terra Cotta statue, SWINGS IT AROUND like a master. CARTER (CONT'D) I may have been absent the day we went over this in karate class. Quick, Carter reaches for a fighting stick off a Terra Cotta soldier. WHOOSH! She SLICES IT IN HALF. Carter reaches for another. SLICE! She's toying with him. INT. ELEVATOR BANK - NIGHT Lee's in the elevator as the doors close. SUDDENLY, a HAND cuts through, parting the doors. It's ISABELLA! A wound on her shoulder. LEE Are you okay? ISABELLA I'm fine. She steps in, too weak and starts to fall. Lee grabs her and holds her in his arms. HE gently helps her down. LEE I didn't know which side you were on. ISABELLA Now you know. DING! The elevator doors open. Isabella holds up a ROOM KEY - the key to the SUITE. Lee takes the key, backs away and steps into the elevator. ISABELLA (CONT'D) I'll try to get backup. Be careful. The elevator doors close. INT. PENTHOUSE SUITE - CONTINUOUS Steven Reign is closing the safe. There are stacks of HUNDRED DOLLAR BILLS on his desk, which he's putting in a black bag along with the plates. As he turns around, he comes face-to-face with Ricky Tan. RICKY TAN American's love to gamble. Don't they, Mr. Reign? STEVEN REIGN I'm cutting our deal short. I'm leaving. RICKY TAN And my plates? STEVEN REIGN They stay with me. I'm sure you won't have a problem with that. Reign shows Tan the gun in his belt. Grabs the bag and starts to walk toward the door. RICKY TAN I enjoyed that little story you told about the Dragon and the treasure. My mother used to tell it to me all the time. Do you know the moral of that story, Mr. Reign? STEVEN REIGN Greed will imprison us all. Tan grabs Reign from behind and stabs him with a knife. RICKY TAN I hate that fortune cookie shit. Lee BURSTS through the suite door - watches as Reign falls dead to the floor. Ricky takes the black bag off the desk. LEE Put the plates down. Ricky Tan looks down at the gun in Reign's belt. INT. CASINO - NIGHT WHOOSH! Another Terra Cotta fighting stick is in half in Carter's hands. CARTER Will you STOP?!?! (picks up cocktail umbrella) What am I supposed to fight you with? No more toying. Hu Li CHARGES Carter, who GRABS a ROULETTE WHEEL as a MAKESHIFT SHIELD. She SLICES it in HALF! He's got nowhere to hide. She JABS him with the sword. Carter SCREAMS. Falls back against the table, clutching his chest. Hu Li WINDMILLS, kicking a Terra Cotta soldier on top of Carter, but -- THWACK! The DOUBLE-BLADED BAMBOO POLE in its hand ricochets back and she is PIERCED THROUGH THE SHOULDER with the blade. Staring at Carter in stunned disbelief, she drops to her knees. Carter walks toward her, considers his options, then KICKS HER IN THE HEAD, knocking her out. CARTER (CONT'D) When are you people gonna learn? Don't mess with the brothas! WEAK in the KNEES, Carter looks to the SOUND ON HIS CHEST. He reaches through the slice in his jacket. Instead of a hand covered in blood, it comes out with a THICK WAD OF CASH! CARTER (CONT'D) Thank you, Benjamin! Carter runs for the elevator. INT. PENTHOUSE SUITE - CONTINUOUS Lee is walking toward Ricky Tan, the two men circling Reign's body. RICKY TAN You're just like your father, Lee. All these years hiding behind his badge. I wanted to help him, to share with him, but he was too afraid of change. When you think about it, I didn't really kill him. I just put him out of his misery. LEE Put the plates down. It's over. RICKY TAN I don't think it's over. There are casinos all over this country. Let me make you a rich man, Lee. Don't make the same mistake he did. Ricky glances at the gun in Reign's belt. LEE If you reach for that gun, I'm going to kill you. RICKY TAN Don't you remember? I'm already dead. Ricky makes a play for the gun, but Lee is much too fast, taking the gun and pushing Ricky against the wall just as Carter bursts in the room. CARTER Hey, Ricky, how's it going man? What's up, Lee? Lee has the gun pressed to Tan's head. We've never seen him like this before. RICKY TAN Would you like me to tell you how your father died? CARTER Lee, you okay? Lee doesn't respond. He keeps an eye on Ricky. RICKY TAN He never begged for his life. Or tried to make a deal. All that he asked me, just seconds before I pulled the trigger, was that I promise not to kill you. Lee's finger is on the trigger -- he wants to pull the trigger but can't. CARTER Lee, wait a second. It's not worth it, man. He's making you do this. LEE It's worth it to me. RICKY TAN Do you have it in you, Lee? Or are you gonna spend the rest of your life hiding like your father? CARTER C'mon, Lee. He's going to jail. You won, now just put the gun down. Lee is trying to pull the trigger, but he can't. RICKY TAN That's what I thought. Tan takes the black bag and swings it toward Lee -- the plates hit him across the face and knock him down. THE GUN IS LOOSE Tan reaches for it and is about to pull the trigger when: Lee and Carter come flying at him TOGETHER. Both KICKING HIM SQUARE IN THE CHEST. Tan falls back, SMASHING THROUGH THE WINDOW. Lee tries to grab Tan's hand, their fingers touch for a split second. But Tan pulls his hand away and falls 20 STORIES to the street below. EXT. STREET - NIGHT A TAXI is parked out front. Tan's BODY SLAMS on the roof. SMASHING THROUGH A SIGN ON TOP THAT READS: "EVERYBODY'S A WINNER!" INT. PENTHOUSE SUITE - NIGHT Lee and Carter are looking down at the street, both relieved it's finally over. Carter puts his hand on Lee's shoulder. CARTER I don't know about you, but I need a wine cooler. As they turn to the door -- Hu Li is walking toward them, bleeding and half-dead. She has ANOTHER BOMB IN HER HAND. This one twice the size of the one from earlier. HU LI (in Chinese) We'll go together, Inspector. CARTER Please tell me she just asked for a ride to the airport. Hu Li hits the switch - starts to smile. Lee and Carter turn and RUN for the OPEN WINDOW. EXT. BUILDING - NIGHT Lee and Carter DIVE OUT THE WINDOW, grab a cable just as the PENTHOUSE BLOWS! The FIREBALL SHOOTS out as they start to slide down the side of the hotel. THEY SCREAM AS THE CABLE BREAKS. Lee and Carter SWING toward a HUGE "GRAND OPENING" BANNER. They flip under it, do a loop before they SLAM AGAINST THE SIGN. It's KNOCKED LOOSE and they fall with it toward VEGAS BLVD. Lee and Carter hang on as they drop to the street. A HUGE TRUCK speeds toward them as they hold on for their lives. The entire STRIP SPEEDING toward them. LEE I can't believe I flew ten-thousand miles for this shit!! They lift their feet just as the TRUCK PASSES. The sign dips and they fall straight down into the open sunroof of a LARGE STRETCH LIMO. INT. LIMOUSINE - CONTINUOUS Lee and Carter land in the back. Slam into their seats and try to catch their breath. The TWO MEN STARTING TO LAUGH when they realize they're alive! CARTER We made it, man. LEE No problem. Lee and Carter look up to see the VERSACE SALESMAN and FOUR OF HIS FRIENDS sitting in the back of the limo staring at them. The BOYS are all drinking champagne and dressed for a night on the town. VERSACE SALESMAN Well, there is a God after all. Lee and Carter exchange looks as the limo stops in front of the hotel. LIMO DRIVER Here we are. The Red Dragon hotel. In front of the hotel WE SEE FIRE TRUCKS, AMBULANCE, POLICE CARS and Isabella and Sterling arresting TWENTY TRIADS. VERSACE SALESMAN We're all going gambling and then to see Siegried and Roy. I hope you two are feeling lucky! INT. LAS VEGAS AIRPORT - NIGHT Lee is talking with a bandaged Isabella, who is standing with Sterling and several other SECRET SERVICE AGENTS. Lee and Isabella hug goodbye. As she walks off to board her plane, Lee slowly walks back to Carter who is smiling. CARTER I saw that. She kissed you, didn't she? You played it cool, though. Walking away, never looking back. LEE She's going home to New York. I need some ice. Lee and Carter watch as she gets on the plane. CARTER That your gate down there? LEE Yes. CARTER I'm this way. I guess this is goodbye. LEE I guess so. Thank you, Carter. CARTER You take care of yourself, Lee. Carter steps back, BOWS TO LEE. Lee SHAKES CARTER'S HAND like a brother. The two men smile. Turn to walk away. LEE Carter, wait. There's something I want you to have. Lee pulls a BADGE from his pocket. Hands it to Carter. CARTER Your father's badge? No way, man. I can't take this. LEE It's okay. I can finally let it go. Carter takes the badge. Smiles. CARTER In that case, I got something for you. I picked it up at the hotel. Carter pulls out a WAD OF CASH. LEE What is this? CARTER About fifty grand. I won it at the tables. LEE No, Carter. I can't take this. CARTER It's okay, I got lots more. Carter pulls out another wad of cash. CARTER (CONT'D) They owe us, man. That's the least they can do. LEE This money is evidence. CARTER Come on, Lee. Stop being a cop for five minutes and live it up. There must be something you want. Lee looks back toward Isabella. LEE I always wanted to go to Madison Square Garden. See the Knicks play. CARTER New York City? LEE First class. CARTER The Plaza Hotel? LEE A little Mu-shu. CARTER Some Kung-Pao? They look at each other, smile. CARTER (CONT'D) I could use a little vacation. LEE Amen to that, brother. As Lee and Carter start to walk away together, the MUSIC SWELLS. "WAR" starts to PLAY. They dance their way through a crowd of people, their arms raised as the two friends make their way through the airport. END CREDITS \ No newline at end of file diff --git a/unformated_scripts/Script_Rush Hour.txt b/unformated_scripts/Script_Rush Hour.txt new file mode 100644 index 0000000000000000000000000000000000000000..f4127f049f8fdf2e9cb7c3b916f78b1e7305822a --- /dev/null +++ b/unformated_scripts/Script_Rush Hour.txt @@ -0,0 +1 @@ +RUSH HOUR Original Screenplay by Ross LaMannaFADE IN:EXT. LOS ANGELES - DAYThe whole dysfunctional megalopolis, beige and blurry in thesummer smog. If this is the American Dream, do me a favor andwake me up.EXT. LAX - DAYThe traffic loop outside the terminals is gridlocked -- mostlywith stretch limousines.INT. LAX - (INCLUDE NEWS REPORT MONTAGE) - DAYInside, the airport is done up with festive posters, streamersand banners: Welcome - Pacific Partners SummitA planeload of cheerful CHINESE DELEGATES come into thecrowded terminal. Some sport red T-shirts with a picture ofMao wearing Mickey Mouse ears.They get onto the people mover, passing by a TV REPORTER: REPORTER (to TV CAMERA) Eager to mend its tarnished image, Los Angeles has really put out the welcome mat for tomorrow's summit. The city promises quite a party as leaders from Japan, China, South Korea, Australia, the U.S. and others begin talks for the largest free-trade treaty in history.The SCENE changes to TAPE of DELEGATES from other countriesarriving.Then, we see massive SECURITY PREPARATIONS all around the city. REPORTER (VO) (continuing) The one sour note is North Korea, the only Pacific Rim country not participating. There are rumors of secret meetings with North Korean representatives, but U.S. officials insist the North must first hold democratic elections, and halt its nuclear weapons program -- as they claimed to have done back in 1995.We CUT TO a heated debate in the UN SECURITY COUNCIL.Then ARTILLERY FIRE over the Korean DMZ.The SCENE returns to LAX. REPORTER (VO) (continuing) Tensions remain high since last year's skirmishes between North Korea and the U.S. So any chance of the communist North joining the Pacific Partners seems highly unlikely. DISSOLVE TO:EXT. FREMONT PLACE - DAYAn exclusive, walled-off section of Hancock Park. There's onlyone route in and out, past a manned guardhouse on Wilshire.EXT. NORTH KOREAN CONSULATE - DAYA Colonial-style mansion, surrounded by an imposing, wrought-iron fence. There is a bronze plaque, in English and Korean,next to the entranceway: Consulate of the Democratic People's Republic of KoreaThe driveway gate opens and a long, black Mercedes with tintedwindows and diplomatic license plates glides out.INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYAn alert North Korean CORPORAL watches the perimeter MONITORS.He pushes a switch to close the gate behind the Mercedes.EXT. UTILITY POLE - OLYMPIC BLVD - DAYFrom atop a pole outside the south wall, a man with binocularsoverlooks the private streets of Fremont Place.HIS POV - THROUGH BINOCULARSas the Mercedes cruises through the quiet neighborhood.BACK TO SCENEThe man, PAUL JAVAL, is thirtyish, nervous; with short, sandyhair. He takes the binoculars away from his face and we seehis eyes -- they're a strange, unnaturally light gray.Javal takes an ORANGE PILL from an unlabeled prescriptionbottle and pops it into his mouth. He climbs down the pole toa van with a phone company logo on it.EXT. WILSHIRE BLVD - DAYThe Mercedes comes out of the Fremont Place gate, and turnsinto the heavy morning traffic.INT. MERCEDES - (MOVING SHOT) - DAYIt is extremely quiet, due to inch-thick glass on the windowsand 4,000 pounds of armor plating on the car's chassis.The DRIVER is a North Korean Army Major. On the seat besidehim is an AMD-74, a 5.45x39mm-caliber machine gun.A HAND from the back seat darts between the front seats andturns on the RADIO to a ROCK station. The Driver turns it off.NEW ANGLEThe hand belongs to 10-year-old SAM KE HAN. Sam sits back andsighs to his sister, JOY (15). Between them sits a middle-agedScandinavian GOVERNESS. SAM I can't stand it -- half an hour to get to the stupid school every morning... with no music... (Korean; subtitled) [Just our damn Nanny...]EXT. CRENSHAW BLVD - DAYJaval's van, also with tinted windows, turns onto Crenshaw. Itfollows the Mercedes, several cars behind it.INT. JAVAL'S VAN - (MOVING SHOT) - DAYJaval, wired, drums on the steering wheel while driving. Heglances at some expertly constructed, radio-control REMOTEUNITS sitting on the seat next to him.EXT. SANTA MONICA FREEWAY - DAYTraffic is moving at about 35 MPH. The Mercedes merges ontothe freeway, heading west. Javal's van follows.The thumping of a RAP SONG rattles the other drivers' fillingsas a LOWRIDER with its stereo turned up to "11" cruises by.INT. MERCEDES - (MOVING SHOT) - DAYEven 500 watts of bass cannot penetrate the armored silence.The Driver scans the road, wary but sensing no danger. He putson his blinker to take the 405 South exit.EXT. SANTA MONICA FREEWAY - DAYThe van follows, now directly behind the Mercedes, in aprocession of vehicles going up the long, curved overpassarcing 100 feet above the 10, toward the 405.INT. JAVAL'S VAN - (MOVING SHOT) - DAYAs they approach the crest of the overpass, Javal flips aswitch on his radio-control unit...CLOSE - ROAD SURFACE OF OVERPASSSix small SEMICIRCLES, exact replicas of the stay-alert bumpson the white lines of the overpass, EXPLODE. They spew hundredsof sharp, triangular nails across the roadway. Immediately,scores of tires on passing cars BLOW OUT...WIDERCausing, 50 yards ahead of the Mercedes and van, the mosthellacious, gut-wrenching, piss-your-pants, chain-reactionPILE-UP you can imagine.Dozens of drivers LOSE CONTROL of their vehicles... sideswipetheir neighbors... grind against the guard rails. Somefishtail into 180's, smashing headlong into the traffic stillcoming onto the overpass.Brakes squeal, people scream, metal crumples, airbags deploy,glass shatters.And then it gets really nasty...A Honda gets jammed under a truck hauling cinder blocks. Thetruck JACKKNIFES, tipping over like a drunken giant.It SMASHES through the concrete wall and guard rail...Along with several cars and their SCREAMING OCCUPANTS, sweptover the edge by the truck like discarded soda cans.They plummet through space, CRASHING onto the freeway below.INT. MERCEDES - (MOVING SHOT) - DAYSam, Joy, and the Governess brace themselves as the Driverslams on the brakes. He barely avoids hitting anything. DRIVER (Korean) [Stay in the car.]EXT. FREEWAY OVERPASS - DAYA nightmare scene of smoke, twisted wrecks, dazed victims. TheMercedes and van sit motionless in the backed-up traffic.INT./EXT. JAVAL'S VAN & ROADWAY - DAYJaval slides open a TRAP DOOR on the floor of the van. Heslips a wheeled, mechanic's repair platform through it.ANGLE WITH JAVALas, unnoticed amid the chaos, he lies on the platform androlls under the Mercedes.The undercarriage of the Mercedes is armored with steel. Javalstops at a patch of perforations -- an air exchange vent. Heattaches a slim DEVICE over the vent, flips a switch on it,then rolls back toward the van.INT. MERCEDES - DAYOblivious to Javal's actions below them, everyone watches aspolice and news helicopters circle above. Then, some CHPmotorcycles straddle the lanes and zoom by.INT. JAVAL'S VAN - DAYSweating, Javal sits back in the driver's seat and checksanother radio unit. Working.EXT. FREEWAY OVERPASS - DAYThe CHP has cleared a path through the devastation, andtraffic trickles through. As the Mercedes and the van pass by,Javal looks proudly at the misery he's wrought. He follows theMercedes onto the 405 south.INT. JAVAL'S VAN - (MOVING SHOT) - DAYJaval drives behind the Mercedes, with one hand on the radiounit. The Mercedes signals to take the Venice exit.Javal fingers the radio unit, itching to use it...But he PASSES by the Mercedes as it gets off the freeway.INSERT ANGLE - UNDER THE MERCEDESJaval's device is armed, and waiting... FADE TO:EXT. SIERRA BONITA AVENUE - CARSON'S HOUSE - NIGHTA pretty street in the Miracle Mile, lined with neat, single-family homes. Timed SPRINKLER systems water some of the yards.Every house on the block except the one we're in front of hasa "For Sale" sign on the lawn. From the weathered looks of thesigns, they've been there for quite a while.INT. CARSON'S HOUSE - BEDROOM - NIGHTIt's a hot night. The ceiling fan above the bed spins slowly.PETE CARSON tosses restlessly in bed, the sheets half-coveringhim. Next to him his wife, MIRANDA KNOLL, snores contentedly.Carson is in his late thirties, outdoorsy, with a tight,muscular build. Emotionally he's tightly-wound as well.Miranda is 35, raven-haired, sensible, pretty. She believesabove all else that one should never raise one's voice.Carson groans... he's DREAMING... CUT TO:EXT. BEVERLY DRIVE - (CARSON'S DREAM) - DAYQuick, SILENT IMAGES: A street cordoned off with police tape.Cops, SWAT teams, FBI surround BEVERLY THRIFT, a bank.Carson, younger, hair shorter, sits in an FBI COMMAND TRUCKacross from the bank. Covering the mouthpiece of the phone inhis hand, he's arguing with the OTHER AGENTS in the truck.Suddenly, a huge, fiery EXPLOSION blows out the front of thebank building. Horrified, Carson runs toward it... CUT TO:INT. CARSON'S HOUSE - BEDROOM AND HALLWAY - NIGHTCarson is snapped awake by a CAR ALARM going off outside. CARSON Son of a bitch!He bolts out of bed, wearing nothing but a pair of stripedbikini briefs. Miranda rolls over, sleepy, unconcerned... MIRANDA Pete... please... we have to be up early tomorrow. Call the police. CARSON Yeah, right.He races down the hall -- right past the house alarm keypad,its LCD reading "ARMED."He grabs an aluminum baseball bat from the umbrella stand.Forgetting to disarm the house alarm, he yanks the front dooropen. The house alarm begins SHRIEKING. CARSON (continuing) Shit!MIRANDApulls the pillows over her head and sighs. MIRANDA Not again...EXT. CARSON'S HOUSE - NIGHTCarson comes around to the driveway, which is illuminated bythe streetlight --Where two 20-ish ASSHOLES are sitting in his 1965 Mustangconvertible, their presence courtesy of a huge cut they'vemade in the otherwise-perfect ragtop.Car-theft tools in a leather case between them, they're pryingthe ignition switch out of the dashboard.Asshole #1 spots Carson. He gets out of the car, wielding acrowbar. His partner keeps working.NEW ANGLEAsshole #1 lunges viciously, swiping at Carson with thecrowbar, taking a piece out of his side. Carson startsBLEEDING profusely, but he's too pissed to notice.Carson uses his bat to take the offensive. They go at eachother like combatants in a swordfight, the CLANKING of metalechoing through the neighborhood along with the screaminghouse and car ALARMS, and frantic neighborhood DOGS.Surprised at Carson's fury and strength, Asshole #1 backs ontothe lawn, oblivious to the running SPRINKLERS.As he backs away, his shoe catches on one of the sprinklerheads. It breaks off, and a huge GEYSER of water sprays out.Carson holds his bat in both hands and jams the front of itinto Asshole #1's breadbasket. He doubles over.Carson grabs Asshole #1's arm, and pulls it quickly againsthis raised knee. There is a SNAP and a loud howl as the armbreaks, and Carson tosses him aside.Seeing this, Asshole #2 gives up on the car. He takes offtoward the street. Carson runs to head him off, but he's a lotfaster in his Air Jordans than Carson is in his bare feet.WIDERCarson grabs the metal lid from a garbage can at the curb andFLINGS it like a huge Frisbee. It sails across the street --And NAILS Asshole #2's head. He kisses the pavement, stunned.Carson runs up and grabs him, but he pulls out a long, sharpscrewdriver and jabs at Carson with it.Then, blue flashing lights appear from around the corner: AWESTEC Chevy Blazer. Two uniformed GUARDS get out, and fumblewith their sidearms. WESTEC GUARD Everybody... chill! Bikini boy! On the ground!Asshole #2 is still trying to gouge Carson with thescrewdriver. Carson glares at the dopey Guards. CARSON Asshole was trying to boost my car!ANGLE ACROSS STREETCarson's fiftyish, black, next-door NEIGHBOR, wearing pajamasand a robe, comes out of his house. Carson sees him. CARSON Mike -- call 911! NEIGHBOR Been trying... (has a cordless phone) It's busy. (to Guards; re Carson) He's the good guy, you schumcks.The Guards seem to get it. Without warning, one takes out aTASER and ZAPS Asshole #2. Carson lets go just in time.CLOSERHolding his bleeding side, Carson walks back to his house. Henotices the "Neighborhood Watch" sign has graffiti spray-painted on it. He touches it -- the paint is still wet. HisNeighbor shrugs -- whatta ya gonna do?The PAPER GUY drives by... and tosses Carson's newspaper rightunder the gushing SPRINKLER. CARSON I hate this fuckin' town.EXT. NORTH KOREAN CONSULATE - ESTABLISHING - DAYINT. NORTH KOREAN CONSULATE - UPSTAIRS BATHROOM - DAYJoy is standing on the toilet, blowing cigarette smoke intothe exhaust fan. Someone KNOCKS on the door. She flicks thecigarette into the toilet, puts a ZIPPO LIGHTER in her pocket.INT. NORTH KOREAN CONSULATE - HALLWAY - DAYJoy opens the bathroom door. Sam is standing there, grinning. JOY There are six bathrooms in this house, Sam. SAM (fanning the air) But only one with a smoking section.She quickly closes the door behind her. Sam laughs.INT. NORTH KOREAN CONSULATE - DINING ROOM - DAYSam and Joy sit at the table. AMBASSADOR HAN and MRS. HAN arehaving breakfast: radish soup, kimchi and grilled fish.Ambassador Han reads through the morning's faxed communiquÈs.He's 43, rarely smiles, and hates living in the U.S. He'sdressed in an impeccably-tailored, Valentino two-piece suit.Mrs. Han is slender, soft-spoken, but as iron-willed as herhusband. She, however, is quick to smile. She's wearing asummery dress with a white sweater over her shoulders.Ambassador Han pulls the front of Sam's shirt to reveal the"Nirvana" logo on his T-shirt. AMBASSADOR HAN (Korean) [Go change.]Ambassador Han's X-ray stare turns to Joy. AMBASSADOR HAN (continuing) [You smell like a fireplace.]A BUTLER appears with a phone. He WHISPERS to Mrs. Han. MRS. HAN It's the Governess... (into phone) Hello, Hilda...CUTAWAY - CLOSE ON GOVERNESSas she speaks into a cellular phone. She's extremely nervous.We cannot see her surroundings. GOVERNESS (thru phone) Mrs. Han... I am very sick today...INT. NORTH KOREAN CONSULATE - DINING ROOM - DAY MRS. HAN (into phone) We will see you next week... (hangs up; smiles to kids) It appears I'll be taking you to school.INT. JAVAL'S VAN - DAYIn the back of his van, Javal pats the Governess' hand. JAVAL Very good. You may go now...He speaks with a slight accent, French, perhaps. He pops anorange pill, then unlatches the rear doors of the van. With aquick glance back at him, she goes to open the doors.Javal grabs a plastic tarp and throws it over the Governess'upper body. He puts his arm across her neck, flicks open agravity knife and PLUNGES it through the tarp, into her chest.He drops her on the floor of the van and fastidiously wipes asmall smudge of blood from his hand with a handkerchief.INT. CARSON'S HOUSE - BATHROOM AND BEDROOM - DAYCarson steps out of the shower. He looks exhausted. Towelingoff, he goes into the bedroom, where Miranda is riding anexercise bike, listening to music on headphones and readingthe sprinkler-soaked newspaper, all while watching the TV.ANGLE ON TVA perky blonde traffic reporter, BOBBI MARCHFELDER, talks tous from a local NEWS COPTER. BOBBI (on TV) ...Good morning, Summit Day! It's gonna be the Super Bowl, the 4th of July, the Olympics and Woodstock all rolled into one! All over town there'll be parades, concerts, rallies, festivals... So get out there everyone, but plan your drive- time accordingly! This is Bobbi Marchfelder, your Eye in the Sky...We CUT TO the White House lawn, where the PRESIDENT is aboutto board a helicopter. MORNING ANCHOR (VO) (on TV) The President is on his way... PRESIDENT (on TV) ...It's an honor hosting my fellow leaders in Los Angeles, the capitol city of the Pacific Rim...We CUT BACK to the studio and the MORNING ANCHOR. MORNING ANCHOR (on TV) We'll see the menu for Mayor Simpson's Brentwood barbecue, right after this...We CUT TO a MUSICAL MONTAGE of preparations for the eventsaround town.BACK TO SCENEAs the MUSIC swells, Carson turns the TV off. MIRANDA I was watching that. CARSON If I hear one more Beach Boys song, I'll shoot myself.Miranda points at the headphones -- she can't hear him. CARSON (continuing; while smiling) I said, if we were having sex once in a while, you wouldn't need to ride that fucking bike every morning. MIRANDA (hasn't heard a thing) Be right with you...As Carson dresses, we get a LOOK at their bedroom -- Miranda'snightstand has two neat stacks of periodicals on it, with LosAngeles magazine and Psychology Today on the top of them.Carson's nightstand is overflowing with books and magazinesabout other cities and states: Wonderland Washington;Magnificent Oregon; Welcome to North Carolina."INT./EXT. CARSON'S HOUSE - PATIO & KITCHEN - DAYMiranda, dressed in a conservative skirt, jacket, black shoes,is out on the patio. Her breakfast -- a bowl of fruit andwheat germ -- sits on the patio table while she waters somesickly-looking ROSE BUSHES in a planter.Carson, dressed in shirt and tie, looking beat, fries a steakand three eggs in butter. He comes outside with his breakfastand a magazine article: "American Expatriates in New Zealand." MIRANDA (looks him over) Have you gotten any sleep lately? CARSON (ignores the question) Shop's gonna tow the car in -- goddamn ignition's trashed. MIRANDA Take mine. I'll ride in with Diane.Carson watches as she carefully picks the dead leaves off therose bushes. CARSON You ask me, those suckers are a lost cause.She continues, then glances at the article Carson is reading. MIRANDA It's not for you. CARSON You mean it's not for you. MIRANDA I don't chase car thieves in my underwear. C'mon, you'd die of boredom if we ever sold this house and moved. CARSON I'd die of shock, from finding anyone dumb enough to buy the place. Even for what it's worth now. MIRANDA Lots of people bought at the top of the market... CARSON That sure cheers me right up. MIRANDA I don't know why we even talk about it. The city's not the problem. So we move. It wouldn't matter. What's that saying: "Wherever you go, there you are."Carson just looks at her. Reaching for the salt, he wincesfrom the cut in his side. MIRANDA (continuing) I hope you're current on your tetanus booster. Was it worth it? CARSON One cut... two assholes in the hospital... Yep.Carson glances at his watch and gets up. CARSON (continuing) Well, another day of baby-sitting my favorite bunch of people...He grabs a Bianchi shoulder holster with a Sig-Sauer P-229,9mm pistol, straps it on, then pulls on a blue windbreaker.Emblazoned on the back are large yellow letters: FBI. MIRANDA Ask for a transfer. CARSON They're not gonna transfer me. You know damn well why I was bumped down to guard duty... (as he's leaving) My outstanding people skills.Miranda tries to return to tending her roses. But instead, shesadly watches him go.EXT. CARSON'S HOUSE - DAYA look of sorrow crosses Carson's face as he watches someYOUNG KIDS laugh and shove, getting onto a school bus.He then glances at his wounded Mustang, parked in the street.He spots something on the windshield: A pink parking ticket.The parking sign above the graffiti-stained Neighborhood Watchsign reads: Street Cleaning - Friday 8-10 AM. CARSON I hate this fuckin' town.Carson CHIRPS open Miranda's car: a red Volvo 960.As he pulls away, we SEE a bumper sticker on the car: a circleand slash through cartoon weapons on one side, cartoon teddybears on the other, and "Arms Are For Hugging" in between.EXT. NORTH KOREAN CONSULATE - DAYThe Driver backs the Mercedes out of the garage behind theConsulate. We notice there is ANOTHER MERCEDES parked inside.Mrs. Han, Sam and Joy come outside. They hear some heartfeltSWEARING: ANGRY VOICE (OS) Goddamn Limey overpriced piece a shit...THEIR POVIn the driveway across the street, a man in a business suithas his head under the hood of a brand-new Jaguar convertible.The JAG OWNER's 15-year-old, blonde daughter, LISA, sits inthe car with her schoolbooks in her lap.JOYturns to Mrs. Han: JOY Can we give Lisa a ride?INT./EXT. MERCEDES - DAYIt pulls into the driveway across the street. The Jag Owner isstill SWEARING mightily. Lisa climbs into the Mercedes. LISA Hey, Joy... Sam...Joy rolls the window up and the SOUND of cursing disappears. LISA (continuing) Excellent -- I can't hear him! SAM (raps on window) The glass is an inch thick. (points to doors, roof) Armor-plated. Bulletproof. Bomb- proof. LISA Perfect car for L.A. (looks back at her Dad) Starts, too.EXT. CRENSHAW BLVD - DAYAs the Mercedes travels its usual route down Crenshaw, Javal'svan begins following it.INSERT ANGLE - UNDER THE MERCEDESwhere Javal's DEVICE is attached, still waiting...EXT. NORTH KOREAN CONSULATE - DAYA dark-green government Dodge pulls up and parks behind onejust like it on a paved area near the Consulate gate.DAVE JUAREZ, (chubby, 40, Mexican-American, a desk jockey) getsout of the Dodge and hangs an FBI shield over his top pocket.He glances over at North Korean Security Chief COLONEL LEE,(45), who has paused inside the gate to regard Dave, and theoutside world, with profound contempt.Dave, attachÈ case in one hand and notebook computer in theother, walks to a 10-by-15 detached guardhouse on the farcorner of the property, just outside the high fence.INT. FBI GUARDHOUSE - NORTH KOREAN CONSULATE - DAYInside are two desks and four chairs, a console ofcommunication equipment, a microwave and a Mr. Coffee.Dave enters. Two FBI agents, finishing their shift, gathertheir belongings: ROBBINS (late 20's; male; thinning hair) andSABATINI, (early 30's; cute; dark, bobbed hair; female).They wear blue FBI blazers and have standard-FBI-issue 10mmHeckler & Koch MP-5 machine pistols in oversized shoulderrigs. Dave is in civilian clothes, and is not armed. ROBBINS Yo, Dave the Computer Man! Actually escaped the office! DAVE I'm doin' field upgrades. Gives 'em a chance to hose out my cage.He glances through the window at Colonel Lee. DAVE (continuing) Who's the fuckin' gargoyle? ROBBINS Their Chief of Security, Colonel Lee.Sabatini makes the jerk-off sign with her hand. SABATINI "Chuckles," as we're inclined to call him. (yawns; flops in a chair) Friggin' graveyard shift... ROBBINS Love to know what dope made it the Bureau's job to give full-time protection to foreign consulates. (offers coffee to Dave) Cup a mud? DAVE Not if you made it. Why don't you get Sabatini to brew the java? She's the alleged chick. SABATINI Blow me. DAVE Where's Carson? SABATINI On his way. Some creeps tried to rip off his Mustang last night. (beat; solemnly) They cut the ragtop. DAVE Motherfuckers...Dave takes three PCMCIA computer cards from his attachÈ case. DAVE (continuing) Latest and greatest. Wireless network link-ups. SABATINI Whoa, slow down, I'm gonna pee. ROBBINS Me, too. DAVE Ingrates.EXT. CRENSHAW BLVD - DAYThe van drives in the lane alongside the Mercedes.INT. JAVAL'S VAN - (MOVING SHOT) - DAYHUMMING, Javal drives with one hand, while tapping with hisother on the top of the radio-controlled remote box.EXT. CRENSHAW BLVD - DAYAs they approach the light at Washington Blvd, just turningyellow, Javal's van gets in front of the Mercedes.Their lanes stop for the red light. A FRUIT VENDOR holding abag of oranges walks from car to car.Javal slips the van into neutral and lets it roll back untilhis rear bumper taps gently against the Mercedes' front bumper.INT. MERCEDES - INCLUDE POV THROUGH REAR VIEW MIRROR - DAYThe Driver hits the HORN. The van doesn't move. The Driverglances in the rear-view:There's a Jeep Cherokee tight on his tail, and the BLACK LADYin it is busy dealing with a carpool full of 8-year-old KIDS.The Driver looks at Mrs. Han, who's peering out the sidewindow, fascinated by the African-American-themed storefronts.They're all festooned with Summit-related banners, and SHOPOWNERS are preparing for a community sidewalk bazaar.Sam, bored, stuffs several pieces of GUM into his mouth.INT. JAVAL'S VAN - SAMEJaval flips the switch on his radio-controlled remote.INSERTUnder the Mercedes, the device Javal planted there begins toemit thick, white CS TEAR GAS.INT. MERCEDES - DAYThe GAS pours in through the ventilation system. Everyoneinside starts coughing and choking uncontrollably. The Drivergrabs his AMD-74 machine gun and pops the door locks.EXT. CRENSHAW BLVD - DAYThe Driver, Mrs. Han, Joy, Sam and Lisa pile out of the car.Jittering with excitement, fear and speed, Javal hops out ofhis van, holding a Benelli M-1, a semi-automatic shotgun.He SHOOTS the Driver in the chest. The BLAST from the shotgunmuzzle, however, is unlike anything we've ever seen before: itis blindingly BRIGHT, even in broad daylight, belching a hugecluster of glowing, white-hot magnesium.The Driver flies back against the Mercedes, EMPTYING hismachine gun into the air. The wound in his chest is full ofBURNING magnesium shrapnel.WIDERThe other drivers in the intersection see this and gocompletely nuts. Some duck for cover under their dashboards.Others peel away. A few COLLIDE with oncoming traffic.The Carpool Lady in the Cherokee pushes the kids down on thefloor. The Fruit Vendor hides by rolling under a car.Sam and Joy are incapacitated by tear-gas coughing fits. Mrs.Han stumbles toward them, trying to get them to run away.Javal PUNCHES her, knocking her down.He turns to Lisa, surprised to see her. Sweating, he pointsthe shotgun at her... almost pulls the trigger... then noticesMrs. Han's expression of horror and thinks the better of it.He spots a MOTORIST in a Ford Escort, peering cautiously overhis dashboard to get a look at the action.Javal SHOOTS the Motorist through the windshield with anotherbright, searing blast of magnesium. The Motorist and theentire front of his car burst into FLAMES.Mrs. Han is on her knees, sobbing. Javal grabs her by the armand pulls her to the back of the van. He opens the doors. JAVAL You see that I'm serious in my intention, yes? (she nods) If you cooperate, you and your children will be home for dinner tonight.He tightens his grip on her. She nods again, then looks at thekids. Javal shoves her, Sam, Joy and Lisa into the van.INT. JAVAL'S VAN - DAYHe grabs three pairs of handcuffs off a C-shaped bar welded onboth ends to the inside of the van. He handcuffs one of Mrs.Han's arms, passes the chain through the bar, then handcuffsthe other. He does the same with Sam; then handcuffs one ofJoy's arms, passes the chain through and attaches the otherhandcuff to Lisa.Javal hops in his seat and drives away on Washington.EXT. CRENSHAW BLVD - DAYSeveral people, including the Carpool Lady, rush over to theDriver, who lies DEAD and SMOLDERING on the ground.His hand is halfway inside his bloody pants pocket, holding asmall plastic card with the Consulate's phone number on it.EXT. NORTH KOREAN CONSULATE - DAYColonel Lee and a North Korean Army OFFICER come running out.ANOTHER OFFICER starts up a car in the back of the house.INT. FBI GUARDHOUSE - NORTH KOREAN CONSULATE - DAYRobbins and Sabatini see the commotion and go to investigate.Dave follows.EXT. NORTH KOREAN CONSULATE - DAYAmbassador Han runs out. He has a stricken look on his face. COLONEL LEE (Korean; to Ambassador Han) [You must stay here.]Ambassador Han nods. The FBI agents run up. To them: AMBASSADOR HAN Someone took my family!The agents look at each other -- holy shit! Colonel Lee's carSCREECHES to a stop. Sabatini stands in front of it. SABATINI You got no jurisdiction outside this property!Colonel Lee shoves a big, ugly Tokorev 7.62x25mm-caliberpistol in her face as he's opening the car door. SABATINI (continuing) Shit! (to Ambassador Han) Yank his fuckin' leash! AMBASSADOR HAN My men are going!Colonel Lee jumps into the car and it screeches away, almostrunning Sabatini over. AMBASSADOR HAN (continuing; to Sabatini) It's a white telephone van, driving west on Washington Boulevard.The agents rush back to their guardhouse. Dave's governmentDodge is blocking theirs. ROBBINS Keys!Dave tosses them to Robbins. Sabatini shoves Dave into theback seat. He looks at her, dumbfounded. SABATINI You're ridin' shotgun.INT. DAVE'S DODGE - (MOVING SHOT) - DAYDave is thrown against the back of the seat by the ACCELERATION. ROBBINS Cherry? DAVE Under the seat.Sabatini grabs the red flashing light, puts it on the dashboard. ROBBINS Siren? DAVE I don't know! I'm never in a fuckin' hurry..!EXT. FREMONT PLACE - DAYJust as they race out of Fremont Place past the guard gate,Carson, in Miranda's Volvo, comes in on the other side.INT. CARSON'S VOLVO - (MOVING SHOT) - DAYCarson sees the agents in the Dodge and floors the Volvo. Hefishtails, making a U-turn.He straddles the lanes on Wilshire to pull up next to them.All the cars in front of them swerve to clear out of the way.He rolls down his window. Sabatini shouts over to him: SABATINI Someone snatched Han's family! White phone van, westbound on Washington!Carson looks like he's been punched in the stomach. CARSON Give me a secure radio!Sabatini takes a small two-way MOTOROLA RADIO out of herpocket and throws it through her window to Carson. Dropping itin his lap, he punches the gas. Robbins floors Dave's piece-of-shit Dodge, trying to keep up.EXT. FEDERAL BUILDING, WESTWOOD - ESTABLISHING - DAYINT. FEDERAL BUILDING - STATE DEPARTMENT OFFICES - DAYDiplomatic Liaison EARL WALTHER is using the reflection in hisoffice window to adjust his necktie. Walther is 30, good-looking, black; a GS lifer working his way up the ranks byvirtue of his quiet competence.A CO-WORKER sticks his head into the office, then shields hiseyes from the sight of Walther's sharp new suit. CO-WORKER Someone's been to Nordstroms, big time. WALTHER Clothes make the man. CO-WORKER But does the man make enough for the clothes? WALTHER (smiles) The man makes payments on his Visa.Walther's SECRETARY rushes in. SECRETARY Mr. Walther... priority line! WALTHER (into phone) This is Diplomatic Liaison Earl Walther... What's the nature of your emer -- (grimaces) Aw, Jesus... not today... (beat) I'll inform channels and get a copter in the air. For God's sake, keep it quiet. Do what you can, but don't endanger civilians or the family!INT. CARSON'S VOLVO - (MOVING SHOT) - DAYCarson drives with one hand, while holding the radio. CARSON (into radio) You bet -- nice and easy.Real easy, until he narrowly MISSES a bunch of cars whenSCREECHING around a corner.INT. FEDERAL BUILDING - STATE DEPARTMENT OFFICES - DAYWalther presses the intercom button on the phone. WALTHER (into phone) Get the Secretary of State on the horn. (listens) I know he left already. I'm familiar with the concept of time zones. Find his ass.INT. CARSON'S VOLVO - (MOVING SHOT) - DAYCarson turns the frequency on his two-way. CARSON (into radio) Robbins, Sabatini... Chopper's on its way.EXT. WASHINGTON BLVD - DAYDriving skillfully, Carson edges past the North Koreans.INT. CARSON'S VOLVO - (MOVING SHOT) - DAYAnd then, Carson can't believe it: he spots Javal's van, acouple blocks ahead, driving at normal speed. CARSON (into radio) Check it out! Ahead, on the right! SABATINI (VO) (thru radio) Think it's them? CARSON (into radio) Yeah... but it seems too easy... I'll move up; he won't suspect a civilian car. Stay back, then get on his ass when I signal. We'll box him in.He looks over at Colonel Lee, whose car is pacing his. CARSON (continuing; into radio) If the Mod Squad gets in your way, don't be shy about getting 'em out. SABATINI (VO) (thru radio) Copy that one.INT. COLONEL LEE'S CAR - (MOVING SHOT) - DAYGlaring, Colonel Lee looks over at the FBI cars as they pass.INT. DAVE'S DODGE - (MOVING SHOT) - DAYSabatini pulls out her machine pistol, and tosses the two-wayto Dave. He looks scared, and carsick. SABATINI Don't puke... I hate when guys puke!EXT. WASHINGTON BLVD - DAYCarson tries to approach Javal without drawing his attention.INT. JAVAL'S VAN - (MOVING SHOT) - DAYHe still drives at the same speed as the surrounding traffic.HIS POVAs Carson nonchalantly passes, Javal NOTICES the government-issue two-way radio sitting on the seat of Carson's Volvo.JAVALgrins... it's show-time. He STOMPS on the gas.INT. CARSON'S VOLVO - (MOVING SHOT) - DAYPissed that he's been made, Carson speeds up.INT. JAVAL'S VAN - (MOVING SHOT) - DAYDriving fast, Javal makes a hard right. As the van leans withthe turn, something rolls out from under a sheet of canvas onthe floor -- the Governess' BODY, bloodied and grotesque underthe plastic tarp it's wrapped in.Joy starts SCREAMING, as does everyone else when they see it.Javal pulls out a Beretta Centurion 9mm pistol and FIRES adeafening round through the roof of the van. JAVAL I need to concentrate!EXT. WASHINGTON BLVD - DAYDuring a lull in traffic, a WELL-DRESSED WOMAN jaywalks acrossthe street. An LAPD black-and-white changes lanes and puts onits flashing lights. As two COPS write her a ticket...Around the corner TWO MEN make a quick exchange of money and avial of crack.NEW ANGLEThe Cops do notice Javal speeding by, with Carson's Volvo, theFBI Dodge and Colonel Lee's car in hot pursuit. They shove theticket in the Well-Dressed Woman's hand and hop in their car.EXT. LA CIENEGA BLVD / SIDE STREETS - DAYJaval turns onto the side streets -- rows of run-downapartment buildings. He takes a circuitous route, gaining aone-block lead on Carson and the others.Then, he makes a sudden turn into a one-way alley.INT. JAVAL'S VAN - (MOVING SHOT) - DAYJaval hits a remote garage door opener. Ahead, rickety doorson one of a line of detached garages facing the alley OPEN up.Across from the garage, parked parallel against the back of anempty building, we notice a duplicate van. It's facing thesame direction as Javal is driving.Javal slams on the brakes, stopping just past the garage, andthen quickly backs up into the garage.INT. ALLEYWAY GARAGE / JAVAL'S VAN - DAYAs he pulls in, we catch GLIMPSES of the van slipping backwardsinto a FIBERGLASS SUPERSTRUCTURE that fits tightly around therear two-thirds of it. As the van comes to a stop, several snap-buckles on the edge of the superstructure spring closed.Javal reaches out the van window and pulls on a rope hangingfrom the ceiling of the garage. The rope releases the doorfrom the opening mechanism, so it immediately falls CLOSED.Then, Javal turns several switches on another of his neatly-constructed remotes:INT. DUPLICATE VAN - SERIES OF SHOTS - DAYSteel straps are holding the steering wheel rigid.A set of relays, triggered remotely, start the engine;Engage the transmission;And supply fuel to the carburetor.EXT. ALLEYWAYSThe duplicate van takes off down the alley. Just as it gets upto speed, Carson and the others round the corner into the alleybehind it. As far as they know, they're still chasing Javal.The alley is several blocks long, running parallel to the mainroad, separated at each block by perpendicular streets. Theduplicate van races along, scraping against parked cars andthe rear walls of buildings...INT. CARSON'S VOLVO - (MOVING SHOT) - DAY CARSON (into radio) He's gonna wrap it around something!EXT. ALLEYWAYS - DAYIndeed, as the duplicate van crosses a street, cars swerve toavoid hitting it. It continues into the next alley.Up ahead, a garbage truck lumbers into the far end of thealley, its metal lift-rods extended to pick up a dumpster. CARSON (OS) Oh, shit...The duplicate van CRASHES into the garbage truck and EXPLODES.NEW ANGLECarson, horrified, jumps out of his car. Robbins and Sabatinirun up. They have to hold Carson away from the burning van.Dave hurries to the back of a building and gets sick.Colonel Lee, wide-eyed with anger, gets in Carson's face. COLONEL LEE You should not have interfered!Carson shoves Colonel Lee out of his way, hard. CARSON I'm in no mood...Colonel Lee comes back, ready for a fight. Carson is happy tooblige, but Robbins grabs Carson's arm. ROBBINS Forget about him!By now, ONLOOKERS have begun to gather, as LAPD black-andwhites and helicopters converge on the area.EXT. ALLEYWAY GARAGE - DAYA block away, the garage door opens, and we hear somethingeerie and unexpected: a scratchy, music-box kids' SONG, comingfrom a loudspeaker.Javal's van pulls out and we see its TRANSFORMATION: Thesuperstructure surrounding the body of the van makes it looklike a graffiti-covered, unlicensed ice cream vendor.EXT. ALLEYWAYS - DAYThe entrance of the alley is blocked by a black-and-white. So,accompanied by the SONG, Javal drives along the one-way alleyin his camouflaged van, passing unnoticed by the authorities.Anguished, Carson is staring at the BURNING duplicate van... CUT TO:EXT. BEVERLY DRIVE - (FLASHBACK) - DAYBeverly Thrift EXPLODES and BURNS... CUT TO:EXT. ALLEYWAYS - DAYCarson tries to shake the memory away. He looks around, sensingthat something isn't right, then turns to the other agents. CARSON Let's get back to the Consulate.Off their perplexed looks, we DISSOLVE TO:INT. BACHELOR APARTMENT - DAYOne room, bathroom and kitchenette. A laptop computer andperipherals are on a table, along with some cell phones, atoolbox, and some jumbles of electronic circuitry.In the main room, there are three large Lazy-Boy easy chairs,side by side, facing a 27-inch TV on a stand. A cloth coverstwo OBJECTS sitting atop the TV.The door opens. Mrs. Han, Joy, Sam, and Lisa walk in, rigidwith fear. Javal, Beretta 9mm in hand, comes in behind themand closes the door. Javal strips off his sweat-soaked shirtand wipes his face with it. Mrs. Han realizes he's wired tothe moon... and it terrifies her. JAVAL Does anyone need to use the rest room? This will be your last opportunity for a few hours. (no takers) Very well. Mrs. Han, Sam, Joy, please sit here. (indicates the Lazy Boys; then turns to Lisa) And you... what is your name? LISA (after a beat) Lisa...Still holding the Beretta, he grabs a polo shirt from thecloset and pulls it on. As the family sits in the chairs: JAVAL No, Mrs. Han, this one. Thank you.He takes a pair of handcuffs out of his pants pocket. He triesto handcuff Lisa, hands behind her back, but she resists. JAVAL (continuing; sotto) You afford me some additional bargaining power. But not much.She wilts. Javal cuffs her to the handles of the refrigerator.He puts a strip of duct tape from his tool box across her mouth.He uncovers one of the items atop the TV: An electronic box withthree pairs of oversized, LED VU meters on the front of it.We NOTICE neat lines of wires running from each of the chairsup into it. Javal flips one of a row of switches on it; agreen light and the meters come to life. JAVAL (continuing) There. No taping your mouths, no restraints. Please remain still while I explain. The meters on the left indicate sound pressure -- Decibels. There are microphones on your chair backs. If you raise your voices above certain level, putting your meter in the red zone for more than one sustained second, the circuit will be closed. (beat) The right meters indicate motion. There are pressure sensors inside the armrests and seats. The sensors don't like to get wet, so I hope you were honest about not needing to use the loo. If you make any excess movements, or try to leave your chair, the circuit will be closed. MRS. HAN I don't understand...She looks at her sound meter, which jumped close to the red. MRS. HAN (continuing; softly) What happens if the circuit closes? JAVAL Kaboom...He uncovers the other item atop the TV -- a one-pound brick ofC-4 high explosive with the detonation mechanism jammed intoit. Mrs. Han gasps and begins to PANIC. JAVAL (continuing) Easy... deep breath... (to the kids) Do each of you understand?They nod. Tears roll down Joy's face. JAVAL (continuing) Keep your wits, and all will be fine.He flips another switch and the green light turns yellow. Hethen turns on the TV. COVERAGE of the Summit is everywhere. COMMENTATOR #1 (on TV) ...Not since the '84 Olympics has the whole city had an such an opportunity --Javal turns the channel to a SOAP, and MUTES it. He startspacing, and glances at his watch. It's 9:15 AM.INT. GOVERNMENT HELICOPTER - (AERIAL SHOT) - DAYEarl Walther looks through the window as his copter lands onthe lawn behind the North Korean Consulate.EXT. NORTH KOREAN CONSULATE - DAYAs the copter lands, Carson comes out to meet Walther. WALTHER Carson? (Carson nods) Walther. Who told the Ambassador? CARSON His Security Chief. (beat) There was a civilian with them -- fifteen-year-old girl from across the street. We're trying to reach the parents. WALTHER Goddamn it... (sotto) Look, Mrs. Han was the North Korean Premier's niece! We're hearing rumors they're gonna make a major issue out of what happened here...INT. NORTH KOREAN CONSULATE - HALLWAY - DAYCarson and Walther come into the house. We hear only theTICKING of the grandfather clock in the foyer.Colonel Lee and his Officers stand by the stairs; Robbins,Sabatini and Dave stand together near the front door. CARSON I'm not so sure what happened here. Something smells. Asshole was acting like he wanted us to spot him... WALTHER What the hell are you talking about? AMBASSADOR HAN (OS) Mr. Walther?Ambassador Han comes down the stairs, his face tight withrepressed emotion. WALTHER Ambassador Han... my deepest -- AMBASSADOR HAN -- I have no wish for condolences. Just answers. WALTHER As soon as we have any to give...Suddenly, the Butler sprints across the foyer. He shoves thecordless phone into Ambassador Han's hands.Ambassador Han listens to the phone, then takes in a sharpbreath and sits on the steps. AMBASSADOR HAN (into phone) Yoon..?! CARSON (to FBI agents) Start a trace!Carson is elated. Robbins, Sabatini and Dave rush out. Waltherpulls out a cell phone and hits a speed-dial key. WALTHER (into phone) Mr. Secretary... they're alive! COLONEL LEE (to Carson; incensed) You are tapping our phones?! CARSON (while crossing to Ambassador Han) Yeah, you didn't know. And I'm Meryl Streep.INT. BACHELOR APARTMENT - DAYJaval is holding his cell phone next to Mrs. Han's face. MRS. HAN (into phone) We are not hurt. But this man is very serious --He pulls the phone from her, takes a breath to compose himself. JAVAL (into phone) I want you to remember the feeling you had when you thought your family was dead, and use it to inform the choices you're about to make.INT. NORTH KOREAN CONSULATE - HALLWAY - DAY CARSON Say you want to talk to the kids... AMBASSADOR HAN (into phone) I need to know my children are all right. JAVAL (VO) (thru phone) Be in front of a television in two minutes. Tune it to channel four. You'll get the picture.Javal hangs up. Stunned, Ambassador Han stands up. AMBASSADOR HAN There is a television in my office.As Carson, Ambassador Han, Colonel Lee and Walther hurry tothe office in the back of the house, Carson's radio crackles: ROBBINS (VO) (thru radio) We're screwed on the trace -- he's on a cell phone.INT. FBI GUARDHOUSE - NORTH KOREAN CONSULATE - DAYDave and Robbins watch Sabatini work the comm console. DAVE Play the tape back. I might be able to pull the electronic serial number out of the subcarrier. CARSON (VO) (thru radio) Ask Dave if he knows how to find the phone's serial number. ROBBINS (smiles; into radio) Hey, great idea...INT. NORTH KOREAN CONSULATE - AMBASSADOR HAN'S OFFICE - DAYAmbassador Han turns on the TV to channel 4.ANGLE ON TVIt's the same medical SOAP that's on at the apartment -- aDOCTOR and NURSE are screwing in a deserted operating room.INT. BACHELOR APARTMENT - DAYJaval is standing in the kitchenette, pointing a DIGITAL STILLCAMERA at the family. It FLASHES as he takes a picture.CLOSERThere is a cable running from Javal's computer to his cellphone. He hooks another cable to the digital camera, and anIMAGE appears on the screen of his laptop. He clicks on "SEND."INT. NORTH KOREAN CONSULATE - AMBASSADOR HAN'S OFFICE - DAYEveryone stares expectantly at the TV. They turn as the faxmachine on the credenza RINGS. An IMAGE begins to emerge fromthe machine: the picture from Javal's digital camera.CLOSE ON FAXED PICTUREIt shows the Han family sitting in their booby-trapped chairsin front of the TV. The explosives and the electronics areclearly visible atop the set, as is the program on the TV. CARSON (OS) Oh, Jesus, those're explosives! (beat) Look at the TV -- this was just taken.BACK TO SCENEA second page on the fax begins to come through. As it does,the telephone RINGS. Carson and Colonel Lee both go for theextension near the sofa; Carson grabs it first. Ambassador Hanpicks up the phone on his desk. JAVAL (VO) (thru phone) There must surely be several people in the room; you may put me on the speakerbox if you wish.Ambassador Han clicks on the SPEAKERBOX. Carson and the otherslook at the second faxed page: a list of instructions. JAVAL (VO) (continuing; thru speakerbox) I am not a terrorist. Your countries' political posturing means nothing to me. So do not waste time trying to negotiate. (beat) The Federal Reserve Bank of Los Angeles can furnish ten million dollars U.S. by 2:00 PM. The required denominations are in the instructions, as is the method of packaging. Be in your car at 3:00 PM, and drive north on Highland Avenue. I will call with where to leave the money, which you will do at 3:30. If I am unmolested, I will call again at 4:00 with the family's location and the method for removing them from their... predicament. Could you please refer to page one? (they look at the photo) Any deviation from these instructions and my device will fulfill its function at exactly 5:00 PM.CLICK. Ambassador Han looks around, feeling totally helpless.Carson says nothing, trying not to show how uneasy he feels. AMBASSADOR HAN (to Walther) P'yÚngyang must approve the ransom... WALTHER Of course. The FBI's top Hostage Negotiator is on the way -- CARSON -- Goddamn Negotiator's the last thing we need! This asshole sound like he was interested in bargaining?Walther glares at Carson, then continues to Ambassador Han: WALTHER We have people who are experts in these situations. We really feel it would be best if you let them coordinate everything...Numb, Ambassador Han nods. WALTHER (continuing; to Carson) Let's get on it...INT. FBI GUARDHOUSE - NORTH KOREAN CONSULATE - DAYRobbins, Sabatini and Dave look up as Carson and Walther enter. CARSON ...You're gonna just pay up, count on his good nature to return the family?! WALTHER It's the President's intention to keep this quiet, move forward with the Summit, and work with the North Koreans. Jesus, you've already embarrassed the shit out of us over the phone surveillance -- CARSON -- They know their phones are tapped! They tap our fucking phones! WALTHER That's not the point! The point is not acknowledging it! (beat) We got an international incident brewing, with a country we were practically at war with last year! Our best Negotiator is gonna run point. If you got a problem, you can take the goddamn rest of the day off. CARSON This Consulate is my responsibility. WALTHER Not any more.Carson is stunned. (OS), we hear a CHOPPER approaching. WALTHER (continuing) That's the Negotiator. You do the briefing.Carson shoots a disgusted look at the others, then leaves. CUT TO:INT. NORTH KOREAN CONSULATE - AMBASSADOR HAN'S OFFICE - DAYCarson turns off the Beach Boys SONG on the TV behind him.Holding Javal's faxes, he's facing Ambassador Han, Colonel Leeand the Hostage Negotiator (whom we don't yet see.) CARSON ...Our worst enemy'll be the city. There are events gearing up all around town, and a dozen world leaders arriving. Add the Friday rush hour and usual L.A. bad behavior and it'll be a nightmare out there by 3 PM. It all works to the advantage of the kidnapper, hinders our pursuit efforts... (frowns) You don't agree?WIDERThe Negotiator stands and takes the faxes from Carson.It's Miranda, his wife. Her FBI shield-holder is folded overthe breast pocket of her jacket. MIRANDA I'm wondering whether to believe him when he says he's strictly motivated by money. CARSON (grabs faxes back) You see one word of Peoples'- Liberation, Holy-Jihad, Revolutionary whatever-it-is-we're-pissed-off-about- this-week bullshit in this entire letter? MIRANDA I still want to check the MO against known politicals, terrorists -- CARSON -- Already doing it. We're coordinating with the Secret Service, the NSA and the CIA. MIRANDA Have someone talk to the LAPD, give them a cover story for the media about the crash on La Cienega.Walther comes in and looks at Carson. WALTHER Why didn't you tell me Doctor Knoll is your wife?!This surprises Ambassador Han and Colonel Lee. CARSON (while looking at Miranda) If she'd changed her name when we got married, I wouldn't have to. MIRANDA (to Carson) I'm so enjoying this opportunity to finally work together... WALTHER Jesus, forget I asked. (beat) The cash will be here in an hour. (to Miranda) Any thoughts on the kidnapper's thoughts? MIRANDA Everything indicates he's working alone. And his concerns do seem to be solely about the money... so I agree that he's only using the Summit and the tension with North Korea to create extreme motivation to pay the ransom. COLONEL LEE I will bring the money to him. CARSON My ass. COLONEL LEE The hostages are citizens of the People's Republic of Korea -- CARSON -- Hey, do I go to the torture chambers in your prisons, tell you how to do your job? WALTHER All right, you're outta here! Is this the same insubordinate crap you pulled at Beverly Thrift?Carson glares coldly at Walther. CARSON I'll coordinate the drop. AMBASSADOR HAN Perhaps that is better. Inspector Carson knows the terrain -- COLONEL LEE -- Then he can come with me.Walther looks at Miranda. She nods her assent. WALTHER (firm; to Carson) It's settled. CARSON It sucks. MIRANDA But it means we can get on with it.The Americans leave the room.INT. NORTH KOREAN CONSULATE - HALLWAY - DAYStill fuming, Carson walks ahead. Miranda pulls Walther aside. MIRANDA (sotto) Get one thing straight, Mr. Walther. If the Bureau had listened to Pete, Beverly Thrift never would've happened.INT. BACHELOR APARTMENT - DAYHands shaking with nerve- and speed-induced jitters, Javalturns two switches on the unit atop the TV. Two LED readoutslight up: one shows the current time -- 2:30 PM -- the otheris fixed at 5:00 PM. Below, the TV is still on.Javal flips the channels, stopping at a rerun of "Lifestylesof the Rich and Famous." He suppresses a gleeful giggle. JAVAL That's more like it...He checks the contents of his prescription bottle. Two pills.He takes one, stuffs the bottle in his pocket, and leaves.EXT. PíY³NGYANG, NORTH KOREA - DAYSUPER: PíyÚngyang. Capitol of North Korea.Poster city for the charms of Communism: dreary, crumbling,gray, stifling, hopeless.INT. WORKERS' PARADISE HALL - CONFERENCE CHAMBER - DAYIn the main government offices, a meeting of ten overly-decorated MILITARY MEN and their SUPPORT STAFFS.Sour GENERAL KAI (50's) is ARGUING heatedly in KOREAN with anaged MODERATE GENERAL. The weak-willed PREMIER OF NORTH KOREAsits up front and listens passively.An ARMY MAJOR sitting behind General Kai stands and slips outthe door.EXT. WORKERS' PARADISE HALL - ROOFTOP - DAYCrouched behind an air-conditioning unit, the Major, anAmerican Operative, speaks in UNACCENTED ENGLISH into a smallUPLINK DEVICE, disguised to look like a palmtop computer. OPERATIVE (into uplink device) ...They've got the Premier agreeing to the hard-line position --He hears footsteps approaching (OS). OPERATIVE (continuing; sotto) More to follow...He angles skyward a tiny dish-shaped antenna on the Device. Onits screen it says COMPRESSING... SCRAMBLING... UPLINKING...After it's finished, the Operative snaps it closed and puts itinto a false bottom in his attachÈ case. He disappears justbefore a GUARD rounds the corner.EXT. STREETS OF LOS ANGELES - VARIOUS ANGLES - DAY"Welcome Pacific Partners" banners hang everywhere.WORKERS and CATERERS prepare for the various parties andevents around town. COPS and PRIVATE SECURITY do their best tokeep traffic moving, but it's already getting congested.INT. FBI GUARDHOUSE - NORTH KOREAN CONSULATE - DAYDave stares at his computer, looking through a DATABASE ofkidnappers and their modus operandi. He rubs his eyes. DAVE I wanted to be home by now, take the kids to the rally in Boyle Heights. SABATINI We got a cabin in Big Bear. By now, L.A. was supposed to be a brown blotch in the rear-view mirror.She's helping Walther stack packs of THOUSAND-DOLLAR-BILLSinto a series of small plastic bags, tying each one off whenit's the size of a brick. They then put the individual bagsinto two larger bags.Robbins rubber-bands a matchbook-sized HOMING TRANSMITTER inbetween two packs of cash. He then hollows out a dime-sizedspace inside a different pack of money with a razor knife.He puts a tiny, SECOND homing transmitter in the space. Carsonchecks some hand-held receivers. Miranda crosses to him. MIRANDA He'll expect a homing device -- CARSON -- I expect him to expect it. He'll check the cash with an RF detector... (re larger transmitter) Meaning he'll find this one. (re smaller transmitter) This only has a quarter-mile range, but on a frequency too low to detect. (turns off receiver) And I doubt the asshole will have an X-ray machine or a metal detector. MIRANDA Why must you always refer generically to criminals as "assholes?" CARSON Gosh, you're right. It could undermine their self-esteem and spoil their chances for rehabilitation. MIRANDA You been reading my magazines in the bathroom again?She returns to listening to an AUDIO TAPE: JAVAL (VO) (thru recorder) "And my device will fulfill its function at exactly 5:00 PM..." MIRANDA He's really exhibiting pressured speech... big effort here to sound calm. Same with his vocabulary... if he were in control, he wouldn't feel such a need to sound that way. CARSON Just tell me if we can use it. MIRANDA If we needle him he could get sloppy and give us an opening, but I'm not going to risk it. This is the worst kind of perpetrator: anything makes him deviate from his carefully- scripted plan, he could become extremely volatile.INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYDuring this, Colonel Lee stands in a window on the top floor,pointing a LASER EAVESDROPPING UNIT at the FBI guardhouse. MIRANDA (VO) (thru headphones) Do we have back-up if the bleeper fails? CARSON (VO) (thru headphones) Nothing but physical surveillance.INT. FBI GUARDHOUSE - NORTH KOREAN CONSULATE - DAY MIRANDA It's real important we don't lose him. He didn't go through all the trouble of designing that bomb not to use it.Carson looks at her as the thought of it hits him. CARSON Well, it ain't gonna happen. (beat; sotto) Not again...EXT. WHITE HOUSE, WASHINGTON, DC - ESTABLISHING - DAYINT. WHITE HOUSE - CONFERENCE ROOM - DAYThe National Security Council: VICE PRESIDENT, SECRETARIES OFDEFENSE, STATE, CHIEFS of the FBI, CIA and NSA -- sitnervously around a table, facing a video conferencing setup.The President, in Air Force One, APPEARS on it. PRESIDENT (thru video link) What the hell is the big crisis? SECRETARY OF STATE We just received a missive from the North Korean attachÈ. They say the kidnapping is a U.S. plot to provoke and humiliate them during the Summit. PRESIDENT (thru video link) Bullshit. They're just ticked because we don't want the Chinese dragging their asses into the treaty talks.The SENIOR INTELLIGENCE OFFICER refers to his notes. INTELLIGENCE OFFICER We have a covert operative in place. He reports the hard-liners and moderates in the High Command are arguing about how to respond, should the Premier's niece and her children should be killed. PRESIDENT (scowls; thru video link) Respond?! Christ. What about the damn Premier? SECRETARY OF STATE He's weak. He has to look tough to save face, keep control of hard- liners... otherwise he risks a coup. CIA CHIEF Which is a real possibility. Most of those old-fart Generals don't want to -more- CIA CHIEF (Cont'd) be part of the Summit any more than we want them to. They're mad as hell he even talked to the Chinese. PRESIDENT (thru video link) I don't want to deal with this right now! Get our diplomats on it. Tell the North we'll pay the ransom for 'em... Placate 'em! And make damn sure we get that family back in one piece. Who's in charge in L.A.? FBI CHIEF The Bureau, Sir. We have a crack team in place. SECRETARY OF STATE There's a Diplomatic Liaison from State, too. CIA CHIEF (to FBI Chief) What about your man stationed at the Consulate... (refers to notes) Carson? He was demoted from the FBI Hostage Program, couple years back. And this did happen on his watch... FBI CHIEF (irritated) There's no way he could've prevented this abduction! Besides, I've got one of my top Negotiators in charge -- PRESIDENT (thru video link) -- Whatever. I want a total news blackout and I want this over with, quickly! Without giving those Commie little bastards any excuse to shit all over my Summit!EXT. NORTH KOREAN CONSULATE - DAYInside, the grandfather clock in the foyer CHIMES THREE TIMES.Colonel Lee, carrying an AMD-74 machine gun, goes to get in thedriver's side of the second armored Mercedes, but Carson isalready there. Grumbling, he crosses to the passenger's side.Carson drives off just a moment before Colonel Lee iscompletely in the car.EXT. HIGHLAND AVENUE - DAYThe Mercedes crosses Melrose, going into Hollywood. The townis all done up with posters and banners.Robbins and Walther follow a block behind the Mercedes in anunmarked car; Sabatini and Dave drive ahead in Dave's Dodge.INT. NORTH KOREAN CONSULATE - AMBASSADOR HAN'S OFFICE - DAYMiranda, Ambassador Han, and Lisa's father (the cussing JagOwner) wait by the phone. Miranda smiles reassuringly at thetwo nervous fathers. The phone RINGS; she picks it up. MIRANDA (into phone) Yes, please go ahead... JAVAL (VO) (long beat; thru phone) Ah... this must be one of those professionals -- MIRANDA (into phone) -- I'm only here to see that everyone gets what they want -- JAVAL (VO) (thru phone) -- I've got my shotgun in little Lisa's mouth, and I will pull the trigger in five seconds unless you put the Ambassador on the phone.Miranda hands the phone to Ambassador Han.INT. MERCEDES - (MOVING SHOT) - DAYFrom the two-way radio in Carson's pocket: MIRANDA (VO) (thru radio) The drop is at the DeMille barn, across from the Hollywood Bowl. You're to leave the money in the center of the parking lot. CARSON (into radio) Shit... no way we can set up a stake- out in... -more- CARSON (Cont'd) (checks watch) Four minutes. Call the Park Rangers at the Bowl. Have them clear the area of civilians. MIRANDA (VO) (thru radio) Remember, Pete... we're dealing with a customer with a lot of rage. CARSON (to himself) Must've bought a house same time we did.EXT. HIGHLAND AVENUE - VARIOUS ANGLES - DAYRobbins and Walther are inching along in traffic on Highlandnear Hollywood Blvd.Elsewhere, we see unmarked police and government cars cruisingaround, dropping off disguised FOOT-SURVEILLANCE OFFICERS, etc.A BIKER CLUBof twenty aging, weekend-warriors, all on custom Harleys, turnfrom the Boulevard onto Highland.EXT. DEMILLE BARN - DAYCarson drives the Mercedes into the entrance of the HollywoodMuseum Park. Carson stops in front of a yellow barn with asign atop it: "Jesse Lasky Famous Players."INT./EXT. JAVAL'S VAN - DAYStill disguised as an ice-cream truck, the van is parkedacross Highland by the entrance to the Hollywood Bowl, where aSummit-related concert is being readied.Javal watches the Mercedes, and takes his last pill. He's flying.INT. MERCEDES - DAYColonel Lee grabs the two large plastic bags full of moneyfrom the back seat, opens his door, and drops them onto thepavement. Carson looks around. CARSON (into radio) There's about a hundred ways he can scurry off like a cockroach from here... So spread out.Colonel Lee checks their BEEPING homing receiver. Carson hangsa left onto Highland, going back the way he came.INT. DAVE'S DODGE - (MOVING SHOT) - DAYDave holds their homing receiver. Sabatini, behind the wheel,smacks his arm and points ahead:EXT. DEMILLE BARN - DAYJaval's van drives into the parking lot, and stops right abovethe bags of money. DAVE (into radio) Our boy's in a fuckin' ice cream truck!EXT. ODIN STREET - DAYSabatini and Dave watch Javal's van through the trees.INT. JAVAL'S VAN - DAYJaval, sweating and shaking, quickly runs a metal-detectorwand over each of the individual bags of money. One of themmakes the speaker in the wand handle WHINE.INT. DAVE'S DODGE - INCLUDE POV OF DEMILLE BARN - DAYThe van pulls away.Dave glances at the homing receiver. The signal isn't moving.He looks up...Two of the small bags of money are sitting on the pavement. DAVE Son of a bitch! (into radio) He found the bleepers -- both of them!INT. MERCEDES - (MOVING SHOT) - DAY CARSON (into radio) Fuck! Okay, stay back. It's not like he'll be hard to see in that truck. Which way's he heading? DAVE (VO) (thru radio) Toward the freeway.Carson hangs a U-turn.EXT. HIGHLAND AVENUE - DAYAt the complex intersection where Highland ends at the 101,Javal bears to the right, toward the South on-ramp.Sabatini and Dave follow a few cars behind as he gets on it.Suddenly, he scoots over to the shoulder and slams the vaninto REVERSE. He backs off the on-ramp, past a row of angrydrivers, passing by Sabatini and Dave.Peeling in reverse onto Highland, Javal stomps on the brakes.The snap buckles holding the ice-cream-truck superstructurearound his van BREAK APART, and the whole thing slides off...blocking Sabatini's way.Javal drives forward again, this time getting onto the 101North on-ramp.INT. NORTH KOREAN CONSULATE - AMBASSADOR HAN'S OFFICE - DAYMiranda looks at Ambassador Han and Lisa's father whileanxiously clutching her two-way radio. MIRANDA (into radio) What happened? CARSON (VO) (thru radio) We're made! Gotta grab him! MIRANDA (beat; into radio) All right... Carefully...INT. MERCEDES - (MOVING SHOT) - DAYCarson follows Javal onto the freeway. Colonel Lee grabs hisAMD-74 machine gun. CARSON Watch it! We need him alive!EXT. HOLLYWOOD FREEWAY - DAYColonel Lee leans out and SHOOTS Javal's rear tires out.The van drives erratically, held in its lane by bumpingagainst the cars around it.Carson pulls up closer...Suddenly, the rear doors of the van burst open...And Javal flies out, riding a motorcycle. He's got the moneystuffed into two big, chaps-sized SADDLEBAGS slung over theback of the machine.He straddles the lanes, going against traffic, riding like amaniac back the way he came.Carson watches him in the rear-view... and speeds up, drivingaway from him. COLONEL LEE Turn around!But Carson hugs the shoulder, moving through the heavytraffic, until he spots what he was looking for:The Biker Club, riding in formation up ahead.Carson cuts in front of them and slams on the brakes. He jumpsout and grabs one of the Biker's machines by the handlebars,wrestling it to a stop. While pulling its BURLY OWNER off it: CARSON FBI. Call our office, they'll take care of you.Meanwhile, the other BIKERS have come to help their friend.They pull guns, knives, chains...They're stopped by Sabatini, who appears holding her MP-5machine pistol. The Biker yells at Carson as he drives way: BIKER I'm a taxpayer! I'm a goddamn dentist!COLONEL LEEgets in the driver's seat of the Mercedes and turns it around.JAVALcontinues down the freeway on his bike, straddling lanes,driving the wrong way, retracing his route back to Highland,leaving CAR HORNS, CURSING, and COLLISIONS in his wake.WIDERWhen everyone thinks they've seen it all, here comes anothermad biker -- Carson -- riding against traffic in pursuit.EXT. HIGHLAND AVENUE - DAYJaval rides against traffic down the Cahuenga on-ramp, thenjumps the divider, runs the light crossing Highland, and getsinto the southbound lanes.He just misses a BUS, nearly wiping out. CARSON Just don't kill yourself, you piece of shit...Carson fishes out his two-way. CARSON (continuing; into radio) Helicopter or two would be nice!INT. NORTH KOREAN CONSULATE - AMBASSADOR HAN'S OFFICE - DAYListening to the two-way, Miranda tries to follow the action. MIRANDA (into radio) Love to be in the loop on this...EXT. HIGHLAND AVENUE - DAYSpeeding up, Carson precariously cuts in between traffic. CARSON (to himself) Not just now, dear...Seeing Carson approaching on his right, Javal pulls his Benellishotgun from one of the saddlebags. He rests the barrel on hisarm and FIRES a blinding-white load of magnesium at Carson.Carson grabs the brake handles to slow down, and the BLASTcrosses just in front of him. A few BURNING pieces pepper thefront fender of the bike, but the bulk HITS the concrete art-deco statue in the entrance to the Hollywood Bowl. The statueshatters into a million FLAMING fragments. CARSON (continuing; grumbling) I coulda had a ranch... maybe some horses... but no, we moved to L.A.JAVALspeeds up. A car passing on the right BUMPS him. Javal grabsfor the handlebar to stabilize himself, DROPPING the shotgun.A HELICOPTER appears, and flies just above him.Then, spotting some police cars ahead, he quickly hangs aright, ducking onto Alta Loma Terrace.EXT. ALTA LOMA TERRACE - DAYCarson stops at the entrance to the winding, hillsideneighborhood, accessible only by footpaths. The area iscovered by thick foliage, hiding Javal from the helicopter.Carson revs down so he can listen for Javal's machine. HeHEARS it up above and takes off, up a steep flight of stairs.NEW ANGLEJaval has reached the summit, only to find he's boxed in. Hecan either turn around, or take the neighborhood's unique,outdoor elevator, housed in a free-standing, three-storyconcrete tower.He jumps off his bike. Carrying the saddlebags, he runs intothe elevator -- but it needs a key to operate.Javal comes back out, panicking. He HEARS Carson coming upthe hill. He spots a GARDENER watering nearby with a hose.ANGLE WITH CARSONas he reaches the summit. He sees Javal's motorcycle,abandoned, lying on its side...And then he sees the Gardener, sprawled on the ground, aBULLET HOLE in the center of his forehead.Carson turns off his motorcycle and pulls out his Sig 9mm. Hemoves slowly toward the elevator tower and looks inside.HIS POVThe casement window in the back of the tower is broken. One endof the gardener's hose is tied to a grate, and the hose ishanging through the broken window.Carson looks out the window as Javal climbs down the outside ofthe tower on the hose to High Tower Drive, the street below. CARSON (into radio) He's on foot, at the base of the elevator tower!But just as Carson is about to climb down the hose...EXT. HIGH TOWER DRIVE - DAYJaval spots a COLLEGE GIRL backing a tiny Geo out of hergarage. He rips her out of the car, jumps in and tears away.EXT. ALTA LOMA TERRACE - DAYCarson jumps back on his motorcycle and starts it up. CARSON (into radio) Goddammit! He's in a blue Geo!EXT. HIGHLAND AVENUE - DAYIn the Geo, Javal drives out onto Highland. He muscles his waythrough traffic, then cuts across to Franklin.Behind him, Robbins and Walther drive along the divider lane.On the bike, Carson emerges from Alta Loma, joining Sabatiniand Dave in Dave's Dodge and Colonel Lee in the Mercedes asthey all try to catch up to Javal.The helicopter flies ahead, then disappears past the hillbelow Franklin.EXT. VINE STREET - DAYJaval hangs a hard right off of Franklin onto Vine, puttinghim on top of a hill that drops down to Sunset.Carson and Colonel Lee close in on the Geo.Suddenly, the helicopter RISES UP from the bottom of the hill.It's less than fifty feet in front of Javal, at eye level.Javal FIRES at the copter with his Beretta.Colonel Lee indiscriminately FIRES his machine gun at the Geo.Carson SHOUTS at Colonel Lee, furious at his carelessness!INT. PURSUIT COPTER - (AERIAL SHOT) - DAYColonel Lee's BULLETS trace across the cockpit of thehelicopter; one hits the PILOT in the neck. Clutching it withone hand, the Pilot loses control of the copter.EXT. VINE STREET - DAYEveryone on the road scatters to get out of the copter's way.It appears as though it's going to crash onto the street, thenit gains altitude, GYRATING wildly just above the Geo.Javal tries to move away, but one of its landing runnersSMASHES through the top of the windshield, WEDGING itselfagainst the inside of the Geo's roof.Snared, the little Geo is LIFTED off the ground -- instantlytoo high for a terrified Javal to escape from it.INT. PURSUIT COPTER - (AERIAL SHOT) - DAYThe wounded Pilot, barely conscious, searches for safe area toset down -- but there are cars and people everywhere.The Pilot wrestles his stick; his copter is almost impossibleto control with the car hanging from it. He's fading...EXT. VINE STREET - DAYThe copter and Geo lurch over and past the round CapitolRecords building, KNOCKING the spindle off the top of it.The impact further destabilizes the copter's flight. It'sheading right toward the 20-story Sunset Vine Tower, at thebottom of the hill.INT. JAVAL'S GEO - (AERIAL SHOT) - DAYJaval, trapped inside, looks through the windshield as theglass and steel side of the tower looms closer. He SCREAMS.EXT. SUNSET VINE TOWER - DAYThe copter and the Geo CRASH into the side of the Tower, 12floors up. Glass blows out in all directions; the rotorshatters; office furnishings are blown through the hole likebackwash.The Geo hangs passenger's side down from the runner.CLOSERFrom the series of jerking, slipping MOVEMENTS, it is clearthe copter is not going to stay where it is for long.The Geo's passenger side door pops open. Javal, panting withfear, jimmies his foot against the dashboard and holds thesteering wheel to keep from falling out.ANGLE ON VEHICLES BELOWIn the clog of traffic, cars swerve away, rapidly reverse...anything to get away from the area below the impact.JAVALreacts to another SLIP. The big saddlebags of money on theseat start to slide toward the open door.He gingerly reaches over to grab them... the copter SHIFTSagain... he loses his grip...And, clutching the saddlebags, he TOPPLES out of the car.We stay with him as he FALLS 12 stories, SCREAMING...Then LANDING on top of a parking meter. It RIPS though hischest and he hits the sidewalk with a wet THUD.EXT. VINE AND SUNSET - DAYCarson rushes across the street to Javal's body. The teeteringcopter and Geo are right above it.Grimacing, Carson tries to lift Javal's body up off theparking meter, but it's messy, slippery work...Unable to move the body, Carson quickly searches its pockets.All he finds is the now-empty prescription bottle.Above, the copter GROANS... it's about to come loose...Carson pulls out his Sig 9mm and FIRES several times atJaval's right wrist, then TEARS the HAND off the body.With a loud WRENCHING of metal, the copter and Geo break awayfrom the building.Carson grabs the saddlebags and runs like hell across thestreet, diving for cover behind a car.BEHIND CARSONthe copter and Geo crash to the sidewalk and EXPLODE.NEW ANGLESooty, covered in Javal's blood, Carson crosses to the others.He throws Walther the saddlebags and Sabatini the severed hand. CARSON Fingerprint it. (to Walther) He's not gonna tell us where to find the hostages... -more- CARSON (Cont'd) (looks at watch) Meaning we got exactly 80 minutes to figure it out for ourselves. WALTHER Figure it out?! With what?! CARSON (ignores him; into radio) Miranda! We need a copter, pronto! (to Robbins) Get back to his van. There were no plates, but check the VIN, look it over, then meet us at the Consulate.Robbins is still trying to process what just happened. CARSON (continuing) Go! CUT TO:INT. NORTH KOREAN CONSULATE - AMBASSADOR HAN'S OFFICE - DAYThe clock reads 3:50 PM. Carson, Miranda, Robbins, Sabatini,Ambassador Han and Colonel Lee are all TALKING at once. CARSON (to Walther) ...Scrounge us some bodies: National Guard, State Troopers, CHPs, local PD's, meter maids -- WALTHER -- They're gonna search the whole city in a goddamn hour..?! CARSON Look, I don't need you to tell me how fucked we are! WALTHER Fuck you!! Every time you're on a case something explodes!Carson looks like he's going to explode. Before he can reply: MIRANDA Stop! The clock's running! Arguing is a luxury we can't afford! -more- MIRANDA (Cont'd) (looks at Carson) What's done is done. There'll be plenty of time to point fingers later.Carson would love to get into it, but he lets it slide. Helooks Sabatini, wandering aimlessly with Javal's severed hand. SABATINI I need some fuckin' ink!!Carson grabs one of the expensive pens from Ambassador Han'sdesk, SNAPS it in half, and hands it to her.In the b.g. she stands at the credenza, inks the hand's fingersand thumb and rolls them onto a piece of letterhead paper. AMBASSADOR HAN This is impossible! How can you even begin to find them?Good question. All eyes go to Miranda. MIRANDA Well, the normal procedure is to negotiate with the perpetrator...Her head is spinning. She looks at Carson. CARSON Let's take stock. We've got a picture of where he hid the family, and recordings of his calls -- MIRANDA -- That's right! We can send them to our experts for analysis... CARSON (to Ambassador Han) Same with his fingerprints. But that means we need high-quality image and data transmission. We can piss away ten minutes coptering this shit to our offices in Westwood, or we can use your surveillance equipment. COLONEL LEE There is no surveillance equipment. This is a diplomatic facility -- CARSON -- You want to play games, fine.He turns to go. Ambassador Han turns to Colonel Lee. AMBASSADOR HAN Take them upstairs.INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYIn the converted attic, several North Korean ESPIONAGE AGENTSmonitor military and police frequencies, downlinks from remotewiretaps and surveillance units; short-wave, cellular, etc.Their equipment, being of Chinese and Iranian manufacture, ishardly cutting-edge technology.Colonel Lee and Ambassador Han enter. The Espionage Agents aresurprised when Carson, Miranda, Walther and Sabatini follow.Walther looks around, amazed. Carson grabs a pair of headphones. CARSON South Korean Consulate's just down the street -- want to take a listen?Colonel Lee pulls the phones away from him.Carson takes the page with the fingerprints from Sabatini. TheEspionage Agents back away from her and Javal's hand. CARSON (continuing; re hand) Shitcan that thing, will you?!She looks around. Then, shrugging, she tosses it into awastepaper basket. CARSON (continuing; to Colonel Lee) Got a digital scanner? COLONEL LEE Analog. CARSON (looks equipment over) You might want to drop a few bucks at Radio Shack and get with the decade. (into radio) Dave -- get in here. Bring your computer, a city map, and the tapes of the ransom calls. DAVE (VO) (thru radio) On my way...He's also HEARD, faintly, through the laser eavesdropping unitby the window. Carson notices, but doesn't comment. MIRANDA (to Colonel Lee) Colonel, you saw the perp. Describe him to the Ambassador, see if it's anyone he knows.Colonel Lee begrudgingly obliges. Carson dials a phone. CARSON (into phone) This is Carson in L.A. There's a set of prints coming over. Narrow the search criteria: Male, thirties, Caucasian... French, Belgian, Swiss, maybe Canadian. Try kidnappers and bombers first. We need an answer in fifteen minutes.EXT. HOOVER BUILDING, WASHINGTON, DC - DAYFBI headquarters, with the Washington Monument in the b.g.INT. HOOVER BUILDING - FINGERPRINT LAB - DAYA TECHNICIAN, wearing thick glasses, sits in front of a high-resolution computer monitor. FINGERPRINT TECH (into phone) That yellow air out there finally rot your brain?! It's impossible! CARSON (VO) (thru phone) Dazzle me.INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYCarson clicks off the phone, then, as he dials another number: CARSON (to Walther) We got one of the best sound guys right here in town... (into phone) Newman in Audio Analysis... DAVE (OS) Newman's gone.WIDERDave comes into the room. DAVE He quit, couple weeks ago. Opened a bed and breakfast in Wyoming.Carson looks at Miranda and hangs up the phone. DAVE (continuing; looks around) Damn... they get HBO? I'd sure like to see the fight tonight. CARSON Get those tapes transferred to a sound guy. We need ambient and background analysis, the whole enchilada. DAVE Enchilada -- you saying that because I'm Mexican? CARSON No... 'cause you're fat. MIRANDA (picks up Javal's fax) Photo enhancement... Isn't there some amazing tech with the LAPD -- DAVE -- Bronsky. Transferred to Seattle PD a month ago. CARSON Jesus H. Christ... SABATINI I'd send it to Langley. Let the CIA earn their keep. CARSON Do it.Carson tosses Javal's bloody, unlabeled prescription bottle toMiranda. She looks it over, runs her finger inside, tastes thedust on her fingertip. MIRANDA Given his behavior, this orange residue... I'd say Desoxyn, 25 mg. Amphetamines. CARSON Any significance? MIRANDA It's consistent with the lone wolf scenario: A handful of these is pure bravery-in-a-bottle, 'til the psychosis and paranoia kick in. (beat) We could check pharmacy records, on the remote chance he got them legally... if we had a couple of weeks, that is. CARSON (to Sabatini) Get the Bureau on it. MIRANDA Forget it. It's a waste of manpower. CARSON Look, goddammit, you start skipping no-chance-in-hell leads, we can all quit and go to the beach right now.Sabatini looks at them -- which will it be? Miranda frowns andnods her okay, then spreads the L.A. map out on the table. CARSON (continuing) He grabbed the family at 8:30. The last certain visual we had was just before his van went into the alley on La Cienega at 8:42. He called the Consulate at 9:30. MIRANDA That gives him about fifty minutes to get to his location, move and secure the hostages, and activate his time bomb. CARSON He probably waited a while to pad the time -- he wanted us know the family was still alive... (sotto; re Koreans) ...So these crazy bastards wouldn't throw a premature shit hemorrhage, but he didn't want to call too soon, either. I say they're within 15 to 20 minutes, via surface streets, of where we last saw them.He draws a circle on the city map: Beverly Hills to downtown,Hollywood to Inglewood. MIRANDA The most densely-populated part of the L.A. basin. This narrows it down to about 200,000 dwellings.A beat while this sinks in. MIRANDA (continuing) He was traveling west -- CARSON -- Bet he doubled back. MIRANDA C'mon, that's total conjecture -- SABATINI (re Carson) -- I'd trust his instincts when dealing with maniacs. He is deeply disturbed. MIRANDA You're telling me?INT. WHITE HOUSE - CONFERENCE ROOM - DAYEveryone is smoking. Their tension has increased tenfold sincewe last saw them. The President, SEEN through the video setup,is pacing on Air Force One. SECRETARY OF STATE ...North Koreans have gone ballistic, accusing us of botching the ransom drop on purpose. SECRETARY OF DEFENSE They're still harping on that "American plot" nonsense. PRESIDENT (thru video link) Meaning? SECRETARY OF DEFENSE They say the death of the Premier's niece and her family would justify immediate retaliation. PRESIDENT (thru video link) Are they out of their fuckin' minds?! What kind of retaliation?Everyone in the room looks at one another. CIA CHIEF They're threatening to pull a Saddam Hussein: remember the Scuds he lobbed at Jerusalem during Desert Storm? (beat) They're talking about firing a missile into Los Angeles -- PRESIDENT (thru video link) -- A goddamn WHAT?? INTELLIGENCE OFFICER Best guess is an AS-15, medium-range cruise -- their version of our Tomahawk, launched from offshore. SECRETARY OF DEFENSE The AS-15 is gyro-guided. It will find the city, but it's not too accurate beyond that. VICE PRESIDENT Still, for their purposes it's perfect: Hit somewhere in L.A., take out a city block or two... SECRETARY OF STATE To the eyes of the world it's a measured response -- like what Reagan did to Qaddafi. But actually striking at an American city would be a huge psychological victory for them. PRESIDENT (thru video link) I don't believe I'm hearing this! (beat) So if we know it's coming, we can knock it out of the fuckin' sky! SECRETARY OF DEFENSE These weapons fly subsonically, below radar... we don't have the defenses in place... If we'd had the time to deploy a string of Patriot anti- missile batteries across the coast -- PRESIDENT (thru video link) -- You're saying we got all this lousy hardware and can't stop one goddamn missile??Everyone's silence answers his question. PRESIDENT (continuing; thru video link) I want an immediate search for all ships within range. FBI CHIEF We better inform the other leaders, stall on the Summit -- PRESIDENT (thru video link) There's no reason to panic yet -- they can't launch until after the family's confirmed dead! CIA CHIEF Afraid that's not the case...The Intelligence Officer illustrates his explanation withFOOTAGE and DIAGRAMS on a nearby COMPUTER SCREEN: INTELLIGENCE OFFICER The North Korean Premier holds what we call a "Brinksman Switch." He's able to destroy a missile in flight, right up to the moment before it achieves its target. CIA CHIEF Our Op says they've timed their retaliation to hit right after 5:00. FBI CHIEF And if the family turns up okay, they'll just make it self-destruct. PRESIDENT (thru video link) Shit! I really don't need this today! VICE PRESIDENT We're forgetting one thing here: the family. Intelligence is sure the North will abort their attack if Mrs. Han and her kids are safely returned? CIA CHIEF Absolutely. Their whole game depends on claiming a legitimate provocation. SECRETARY OF DEFENSE Still, we should let them know there'd be a response... if it comes to it. PRESIDENT (thru video link) I'd like to turn 'em into a radioactive parking lot. SECRETARY OF STATE That's the problem: we can't. We're the last superpower. Our hands are tied by politics, alliances, goddamn stacks of treaties... most we could do is give 'em a "measured response" back again, or everyone starts crying that we're the bullies. SECRETARY OF DEFENSE Damn, I miss the Cold War. Russians wouldn't have dreamt of pulling a stunt like this. PRESIDENT (thru video link) Believe me, the North drops one in my fuckin' city, I'm dropping ten in theirs. Get some bombers in the air. And don't tell me any more bad news!EXT. HOLLYWOOD FREEWAY - DAYRobbins stands by Javal's van, on the shoulder of the freeway. ROBBINS (into radio) ...Phone company decal's a fake. DMV says the van was purchased a week ago from a private party in Santa Monica. I called 'em; they said the guy paid cash, and he fits our boy's description. Signed the name "Douglas McArthur" to the Transfer of Title.INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAY CARSON (into radio) Cute. (to Miranda) He signed the name of the Allied Commander during the Korean War. Maybe he was a political. MIRANDA No. The phony ice cream truck, the booby-trapped chairs... he could've -more- MIRANDA (Cont'd) done it without half that stuff. But this was going to be the score of a lifetime... he was showing off. CARSON (to Dave) Who's got those kinds of skills: Electronics, vehicle customizing, computers, explosives? DAVE Military. Cop, maybe. Shit, your average high-school student if they're so inclined. My guess is our perp used off-the-shelf equipment for everything except the C-4, and that's only slightly harder to get than crack or heroin, if you know who to ask.EXT. PARKER CENTER - DOWNTOWN LOS ANGELES - DAYLAPD headquarters.INT. PARKER CENTER - VARIOUS ANGLES - DAYEveryone who can be spared, even moth-eaten SUPPORT PERSONNEL,hustle through the maze of hallways and get into waiting cars.EXT. STREETS OF LOS ANGELES - VARIOUS ANGLES - DAYFrom up here, it looks like the city is one big block party.Accordingly, traffic is heavy and unpleasant. BOBBI (VO) Please, L.A., I know we're about to have quite a party out there, but don't forget the Golden Rule on the roadways... News time is 3:59...INT. NEWS COPTER - (AERIAL SHOT) - DAYBobbi looks into the TV camera, dripping with sincerity. BOBBI This is Bobbi Marchfelder, your Eye in the Sky... back to you, Brent...The red light on the camera goes off. Bobbi turns to the Pilot. BOBBI (continuing; furious) Hey, dickhead... I was backlit that entire segment! (as if to a child) Keep... the sun... to my left!!The Cameraman and the Pilot sigh at each other. BOBBI (continuing) What's new on the kidnapping rumor? CAMERAMAN Nada. Total news blackout. BOBBI Go back over the hill. NEWS PILOT We got the valley traffic report in fifteen -- BOBBI -- "Stalled vehicle! One lane closed! Sig alert..!" I'll improvise!She takes an industrial-sized bottle of Mylanta out of herpurse. It's fitted with a water-bottle DRINKING SPOUT. Shetakes a huge swig and grimaces. BOBBI (continuing; to Cameraman) What are you lookin' at? I was the morning anchor in Houston! And I'm one break away from getting out of this stupid fuckin' whirlybird!INT. BACHELOR APARTMENT - LOS ANGELES - DAYThe Han family sits in their booby-trapped chairs. Joycarefully turns to her mother. JOY Why us? MRS. HAN You heard him -- for money. JOY What if something goes wrong? MRS. HAN (firmly) It won't.INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYCarson grabs his FBI blazer off the back of a chair. CARSON I'm going to the kidnapping site. MIRANDA I want to talk to the witnesses.Colonel Lee also heads for the door. Carson looks at him. CARSON Great, we'll hire a bus.They leave. Dave, meanwhile, paces, phone in hand. DAVE (into phone) ...I know it's privileged information, goddammit! Lemme talk to a supervisor... You are a supervisor... Lemme talk to your goddamn supervisor... I told you, I'm with the FBI... (to Sabatini) Cellular company says he was using a phone with a cloned number. SABATINI Big surprise. Have 'em send a list of the numbers called on the account. DAVE That's what I'm trying to get. They're saying I need a subpoena. (into phone) Don't put me on hold... Don't... (pulls phone from his ear) I'm listening to Michael fuckin' Bolton! SABATINI Walther! Get on the horn to Justice and deal with this!EXT. PACIFIC OCEAN - ANGLE ON FISHING TRAWLER - DAYSUPER: Pacific Ocean. 500 miles west-northwest of Los Angeles.We FIND a nondescript commercial fishing vessel. Up top, someAsian "FISHERMEN" crank in and stow their nets.INT./EXT. FISHING TRAWLER - DAYComing closer, we see it's actually a disguised North KoreanSPY VESSEL. Several MEN, working under hanging tarps, securea 20-foot-long missile launching track to the bow.Two MISSILE EXPERTS install a green, cone-shaped WARHEAD ofhigh explosives onto the nose of a 23-foot-long, short-wingedCRUISE MISSILE. They wait for the CAPTAIN's orders...EXT. HOLLYWOOD FREEWAY - DAYRobbins is in Javal's van, examining the innards of the remote-control boxes. He picks up his radio. ROBBINS (into radio) A lot of the components are made by the same manufacturer -- a car security company. CARSON (VO) (thru radio) Jump a copter to the Consulate. See if the manufacturer sells to the public. Find out what shops use their stuff; put people on the phones with a description of the perp.EXT. CRENSHAW BLVD - DAYAt the kidnapping site, the intersection is blocked off withyellow police tape. Several LAPD cruisers are parked nearby.Some COPS are interviewing the Carpool Lady.Despite this, the neighborhood's bazaar -- a sidewalk salewith MUSIC, food vendors, etc. -- has half-heartedly begun.The government helicopter HOVERS and Carson helps Miranda climbdown a long chain ladder. Colonel Lee follows impatiently.NEW ANGLECarson uncovers the bodies of the Driver and the Motorist,lying on the sidewalk. He grimaces. Colonel Lee does not.Miranda wants to look, but Carson drops the cover. She picksit up, then turns away in horror.A young BLACK COP crosses to them. He's holding a plastic bagwith a spent shotgun shell in it. YOUNG COP Inspector! Look at this... (reads from shell) "Dragon's Breath..?" CARSON Twelve-gauge shell filled with magnesium and ignition powder. Shit's worse than napalm -- Geneva Convention outlawed it for warfare. MIRANDA Then how did he get it? CARSON Easy -- you can buy 'em mail order. (looks around) Where's the Consulate's car? YOUNG COP (beat) Uh... apparently it was stolen... COLONEL LEE Stolen!? What is it with you people -- YOUNG COP (angry) -- What's this "you people" shit? CARSON (to Colonel Lee) Shut up! MIRANDA (aside; to Young Cop) He means all of us "you people." CARSON (to Young Cop) Find it! How many bulletproof Mercedes could be cruising around Crenshaw? YOUNG COP You'd be surprised... CARSON I hate this fuckin' town.INT./EXT. FISHING TRAWLER - PACIFIC OCEAN - DAYThe North Korean COMMUNICATIONS OFFICER puts down hisheadphones and hurries on deck to the Captain. It's time.Suddenly, a BEARDED CREWMAN crosses to the Captain. He calmlySHOOTS him and the FIRST MATE.The rest of the Crew is shocked. Holding his pistol on theCrew, the Bearded Crewman nods at the Missile Experts.Saluting, they remove the green warhead from the missile.Two OTHER CONSPIRATORS, carrying a metal locker, appear frombelow deck. The Crew murmurs nervously as they remove from thelocker a red warhead and attach it to the missile.Finishing, one of the Experts pushes the firing trigger andthe missile WHOOSHES from its launching pad.EXT. NORTH KOREAN CONSULATE - DAYThe government helicopter touches down behind the Consulate.INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYAmbassador Han, Walther and Sabatini are looking at a seriesof high-definition faxes spread out on a table.Carson, Miranda and Colonel Lee hurry back in. Disgusted,Carson throws his jacket on a chair. CARSON Wasted trip: Witnesses say he was working alone, and he was a vicious son of a bitch. Old news. COLONEL LEE (to Ambassador Han) And our car was stolen. AMBASSADOR HAN I felt safer when I was the Ambassador to Libya. SABATINI Image enhancements came back.POV OF PICTURESThe CIA technicians have enlarged and enhanced every part ofthe fax deemed significant, in individual blowups.BACK TO SCENEColonel Lee is standing right beside Carson, leaning over tolook at the pictures. Carson looks at him, irritated. CARSON We going steady? SABATINI The sun position tells us the windows are facing northeast. (beat) Here's the best -- look at the glass on the prints hanging in the background. There's a reflection of a reflection, out on the street: the corner of a billboard. CARSON Looks like the wheel of a car. MIRANDA We talked about these billboards, when we were car shopping! Four- door... they make a wagon, too. (beat) Something Japanese... God, what was it? Toyota... Mazda... Honda... You thought it had no character. CARSON I thought that about all of them. C'mon, think, dammit!! MIRANDA You think!! You were there, too!They're stumped, and bitterly frustrated. To Sabatini: CARSON Call the outdoor advertising companies. Get the location of all the billboards for Japanese cars within our search parameters.Meanwhile, Dave and Robbins are calling car alarm shops: DAVE (into phone) ...Peerless Auto Security. We need to know whether you've sold a large quantity of these components to any one customer, or whether you'd had any stolen recently...EXT. PíY³NGYANG, NORTH KOREA - ESTABLISHING - DAYINT. WORKERS' PARADISE HALL - GENERAL KAI'S OFFICE - DAYGeneral Kai stands in hushed conversation with the Army MajorOperative and another trusted AIDE. The PHONE buzzes; theothers leave the room before General Kai picks it up.INT. WORKERS' PARADISE HALL - OPERATIVE'S OFFICE - DAYBehind closed doors, the Operative LISTENS to the phone callwith an EAVESDROPPING RECEIVER. What he hears stuns him. CUT TO:EXT. WORKERS' PARADISE HALL - ROOFTOP - DAYThe Operative is in his hiding spot with his uplink device. OPERATIVE (urgently; into device) ...Missile heading to L.A. has a Kipchak Warhead! Repeat: missile is Kipchak equipped! It was switched by order of --A GUNSHOT rings out (OS), and the Operative's chest EXPLODESin blood. He pitches forward... but presses the "transmit"button on the uplink device before dying.On screen it says UPLINKING... (without scrambling)... thenanother GUNSHOT destroys it.Angry, General Kai steps INTO FRAME and kicks the Operativeover with his foot.INT. BACHELOR APARTMENT - LOS ANGELES - DAYMrs. Han and Joy sit motionless. Sam, on the other hand, istrying not to squirm. Mrs. Han looks at him, angry. MRS. HAN He asked you if you had to go...The family becomes aware of a shrill SOUND, (OS), distant atfirst, but growing increasingly louder... The sound-levelmeters all begin to creep upward...EXT. APARTMENT BUILDING - CLOSE - DAYA team of GARDENERS has arrived on the property for theirweekly mow, blow, and go. They have lawnmowers, edgers, blowers-- it's as NOISY as an aircraft carrier during takeoffs.INT. BACHELOR APARTMENT - DAYThe SOUND is getting louder, and louder... JOY Oh, my God...The meters are hovering just below the red...SAMpivots his head and looks at the tiny microphone, no biggerthan a pencil eraser, attached neatly to the headrest.He begins chewing his wad of GUM... leans in toward themicrophone, his head obscuring what he's doing...He moves back and we see he's SEALED the front of the mic witha small piece of the gum.And his meter drops to zero.WIDERSam tilts his head forward and bends his wrist upward so hecan get the rest of the gum out of his mouth. Then, whilekeeping pressure on the armrest with his elbow, he moves hishand over to Mrs. Han. They can't quite reach each other...He FLICKS the piece of gum and she catches it.Meanwhile, the NOISE increases. The two meters peak into thered... the yellow WARNING LIGHT begins to flash...Mrs. Han quickly puts the gum in her mouth, bites it in half,and cautiously passes the remainder over to Joy.Joy puts the gum in her mouth. She tries to push it over hermic, but her hair is in the way. She shakes her head; somehair strands remain, but she covers the mic just as theGardeners' noise reaches a CRESCENDO...All three sound meters sit pinned to zero. The yellow lightstops flashing.Sam, sweating, looks at his mother and sister... and startslaughing. They join him: a celebration for a small victory.INT. WHITE HOUSE - CONFERENCE ROOM - DUSKThe clock on the wall reads 7:13, eastern time. The President,still on Air Force One, APPEARS on the VIDEO LINK. Cut thetension in the room with a knife? You'd need a chainsaw. PRESIDENT (thru video link) So what the hell does "Kipchak" mean? INTELLIGENCE OFFICER Uh, it's a code name... for weapons using the Yersinia Pestis bacillus...He really doesn't want to be the one telling the Presidentabout this. INTELLIGENCE OFFICER (continuing) Kipchaks were Asian nomads. In 1347 they attacked a Genoese fort, and catapulted infected corpses over the walls. The Genoese who survived carried the disease back to Europe... and it killed half the population. PRESIDENT (thru video link) Get to the goddamn point, Major.The Intelligence Officer looks at the CIA Chief. CIA CHIEF Seems the missile is armed with a warhead carrying the Pneumonic Plague.The President goes nuts. PRESIDENT (thru video link) The Black Plague?! Every time I talk to you fuckin' guys it gets worse! What happened to this "limited retaliation" shit? SECRETARY OF STATE The North Koreans insist the missile carries a conventional payload. They say we're trying to trick them into aborting the attack. SECRETARY OF DEFENSE Especially since the uplink from our Op in P'yÚngyang was unencrypted. CIA CHIEF We think one of the Hard-liners switched the warhead without the Premier's knowledge. But he's not about to take our word for it, and he's too weak to risk the humiliation of backing down. PRESIDENT (incredulous; thru video link) They use a biological weapon on American soil, they have to know we'll respond! SECRETARY OF STATE Maybe they don't think we got the guts. Maybe they want a war, 'cause they think they can whip us, like what happened in 'Nam. Look who we're dealing with: a teetering, outlaw regime, and inside it, some wild-ass renegades working their screwy agenda! PRESIDENT (thru video link) What the hell are we doing in L.A.? SECRETARY OF DEFENSE We've deployed Marines from Pendleton and Twenty-Nine Palms, Army from Ft. Irwin, put 'em in protective suits, but it's 40 minutes before they're on the ground. PRESIDENT (thru video link) All right. Assuming the worst... What'll happen?The Intelligence Officer demonstrates with another of hisCOMPUTER GRAPHICS. INTELLIGENCE OFFICER The warhead vents the plague bacteria above the target area, infecting about 50,000 people. First symptoms are vomiting, lymph nodes become swollen; temperature rises to 105ƒ. Victims turn deep purple from lung hemorrhaging, usually die the same day. (beat) There are treatments -- streptomycin and tetracyclines -- but we'd be overwhelmed by the numbers and its extreme contagiousness. CIA CHIEF We could have 500,000 infected in a week, who knows how many after that.Long beat as everyone tries to contemplate the unthinkable. PRESIDENT (thru video link) I'm gonna toast those fuckers! Have the Summit leaders been warned? FBI CHIEF Yes, sir... no one's landing in L.A. 'til we give the all-clear. PRESIDENT (thru video link) And you're sure it's safe if we can get 'em to destroy the missile in flight? INTELLIGENCE OFFICER The bacteria can't survive the heat of an explosion. CIA CHIEF I suggest none of this go any further -- not even to the agents working to find the family. Word leaks out to a city of 12 million people there's rocket full of the Plague coming at 'em, you'll create a panic of biblical proportions.INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYEveryone is painfully on edge. Ambassador Han paces. The FBIagents are on a phone or a radio, working leads.Colonel Lee mutters something to Ambassador Han in Korean. CARSON Say what? COLONEL LEE Perhaps someone will decide it is foolish to incur the wrath of North Korea. CARSON (crosses to Colonel Lee) Yeah, the U.S. is behind the whole thing. And we're knocking our heads, trying to find your people, just for show. WALTHER Carson... CARSON Let's grab a few beers, kick back 'til five o'clock rolls by. Then maybe we can have a war over it. I think that's a great idea, seeing as how you fuckers have needed your clocks cleaned for fifty years now! COLONEL LEE (gets up) Why wait until five?Ambassador Han and Walther keep Carson and Colonel Lee fromgoing at each other. MIRANDA Pete! (sotto) Christ, you're self-indulgent! There's nothing but anger and cynicism left inside you, so they're all you can express any more. No wonder everyone in the Bureau thinks you're such a nutcase! CARSON Hey, I'm not the only one with a rep around the office... "Dr. Knoll-It- All." MIRANDA (hurt) You've been dying to tell me that...She walks away. Carson immediately regrets saying it. CARSON Miranda... (to himself) Shit.EXT. STREETS OF LOS ANGELES - VARIOUS ANGLES - DAYLAPD cruisers squeeze through the crowded streets, fanning outthrough the various parties around town. COPS walk through thecrowds with copies of the picture Javal faxed, and photos ofthe Han family and Lisa.EXT. SKY OVER PACIFIC OCEAN - DAYThe red-tipped cruise missile, flying at 550 MPH, 400 feetabove the water, streaks toward its distant target.INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYRobbins is still working the phone. ROBBINS (into phone) ...Yeah, Peerless Auto Security... fine... get your manager...He puts the receiver down, hits the speakerbox button and themute button. He crosses to Dave's desk to grab some papers.We can hear the CONVERSATION at the alarm shop: INSTALLER #1 (VO) (thru speakerbox; muffled) Tell Jerry, pick up line one!INT. AUTO SECURITY SHOP - DAYA group of young INSTALLERS horse around as they outfit luxurycars with security systems, high-end audio components, etc. INSTALLER #2 Jerry's outta here! INSTALLER #1 Some cop's asking if we sold a bunch of Peerless parts. INSTALLER #2 Talk to Javal! INSTALLER #1 Javal's off today. INSTALLER #3 Dude's off a lot.INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAY INSTALLER #4 (VO) (thru speakerbox) He's used to it -- fuckin' Frenchies get the whole summer off. INSTALLER #2 (VO) (thru speakerbox) Man's Canadian, dickweeds! INSTALLER #1 (VO) (thru speakerbox) You're gonna have to call back on Monday...Carson rushes over to the phone. To the others in the room: CARSON Everyone shut up! (into phone) Guy on vacation, the Canadian -- INSTALLER #1 (VO) (thru speakerbox) -- Yeah, Javal... CARSON (into phone) Six foot, sandy hair, spooky eyes? INSTALLER #1 (VO) (thru speakerbox; laughs) Zombie Eyes! You know the man?Carson and Miranda look at each other. Bingo! CARSON (into phone) I need a full name, address, anything you got! INSTALLER #1 (VO) (thru speakerbox) Paul Javal... hang on, we'll look it up... This an immigration thing? Shit, he's our best installer.NEW ANGLEOne of the Korean Espionage Agents answers a RINGING phone onColonel Lee's desk, listens, then hits the hold button. ESPIONAGE AGENT Inspector Carson, extension 666... CARSON That's appropriate... (to Dave) In 30 seconds you're gonna give me Paul Javal's shoe size.Carson hurries over, grabs the phone. We SEE him punch thebutton for x666. CARSON (continuing; into phone) Carson...EXT. FEDERAL BUILDING, WESTWOOD - ESTABLISHING - DAY EDWARDS (VO) Edwards, Sound Lab...INT. FBI SOUND LAB - DAYEDWARDS, headphones around his neck, sits in front of a wallof audio analysis equipment. CARSON (VO) (thru phone) Whatta you got? EDWARDS (into phone) Ambient background sound is normal city stuff, but there's a distinct echo pattern. Your people are in or near a high-rise that's at least eight floors tall. And there are other high-rises nearby. CARSON (VO) (thru phone) How high up are they? EDWARDS (into phone) No way to extrapolate that from the sample you gave us. (refers to notes) One more thing: There's an emergency siren approaching at 17 seconds into the second call, passing the location at 33.5 seconds.INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYCarson hangs up the phone. CARSON Okay -- high-rises in our search area. Eight stories or higher. MIRANDA Downtown, Century City, Westwood corridor, Museum Row, Mid- Wilshire... North of Sunset Strip there's a few... CARSON Sabatini! What about that billboard? SABATINI Nothing yet! Everyone's left their goddamn offices already! CARSON (to Robbins) LAPD will have a record of all emergency vehicles running Code 3 at 9:32 AM. Get their starting point and their destination. MIRANDA And have them narrow their foot- searches to areas around high-rises. CARSON (to Dave) Where's that fuckin' address?! DAVE I'm still holdin'!Meanwhile, we hear the high-pitched whine as Dave's MODEMconnects with another computer. Dave's fingers fly across thekeyboard, and in a moment, a PICTURE of Javal appears: hairlonger, bearded... but the eyes are unmistakable. DAVE (continuing) He's on our hit parade. Interpol passed us his records when he entered the country. (reads) French by birth... looks like a total scumbag. SABATINI Isn't that redundant? DAVE (reads from computer) Raised in Quebec. Moved to Europe; served some short stretches, petty shit... arrested for kidnapping, no conviction. Did four years in France for blowing bank vaults. Moved to U.S. last year. Clean since then. CARSON Get his Driver's License number; Social; bank accounts; charge cards; club memberships... find out what movies he rented. Get whoever's closest to the Auto Shop to get in there, interview everybody. MIRANDA This sure was a ballsy move for a car-alarm installer. CARSON Hey, he watched the news... Everyone knows the U.S. will do anything to avoid trouble with a mad-dog country.They turn, noticing that Ambassador Han has overheard. MIRANDA Ambassador -- CARSON -- Quit apologizing for me! MIRANDA Quit giving me reasons to! AMBASSADOR HAN (to Carson) On occasion, my wife has been known to kick my ankle under the table.Miranda gives Carson a "your turn to be gracious" look. CARSON Sounds like her aim's a little low.Not exactly what Miranda was hoping for. Dave hands Carson apiece of paper. DAVE Address, according to the Auto Shop. CARSON (looks at paper) Apartment 1060! He's in a high-rise! Sabatini -- you're with us. (off Robbins' disappointed look) She's got the field experience.Carson and Miranda grab their jackets, then she stops. MIRANDA There still could be accomplices. If there are, they'll hear us in the helicopter.Carson looks again at the address... CARSON There's a TV station a couple blocks away. We'll land on their pad. (to Robbins) K-EYE. Clear it with 'em. Have a SWAT team assemble, but tell 'em to hang back unless we need 'em.EXT. OSAKA, JAPAN - ESTABLISHING - DAYSUPER: Osaka. Western Japan.INT. OSAKA APARTMENT - DAYIn the tiny bedroom of a wheelchair-bound JAPANESE TEENAGER,computers and HAM RADIO equipment are stacked everywhere.He turns on a tape recorder. We hear a faint, crackling VOICE: OPERATIVE'S VOICE (VO) (on recorder) ...Missile heading to L.A. has a Kipchak Warhead! Repeat: missile is Kipchak equipped!The Teenager rolls to a computer running CompuServe. He clicksthe CHAT icon, types: "Anyone up on their spy terminology?"INT. BACHELOR APARTMENT - LOS ANGELES - DAYWith the gardeners gone, and their sound sensors disabled,Mrs. Han, Joy and Sam are SHOUTING for help.They listen for a response; it is completely quiet.EXT. K-EYE STUDIOS - LANDING PAD - LOS ANGELES - DAYJust as the government helicopter lands, Bobbi's news copterlands right next to it.Bobbi intercepts Carson, Sabatini, Miranda and Colonel Lee onthe pad. Her Cameraman follows, ENG camera on his shoulder,videotaping everything. CARSON Oh, great, the media... (realizing) It's the goddamn traffic girl! MIRANDA Traffic person. BOBBI Where are you going? CARSON We can't get into that right now... BOBBI Hey, you expect to use my station's facilities and not even tell us --Carson grabs the ENG camera, pops the videotape out of it andcrushes the tape. MIRANDA (to Bobbi) Sorry... BOBBI (looks Miranda over) What the fuck are you, the Barbie Corporate Ass-Lick model?Miranda is utterly aghast. She reaches under Carson's jacketand takes the handcuffs off his shoulder rig. She grabs Bobbiby the arm and gets her in a half-Nelson. MIRANDA Guess what, Sister... you're about to spend the next five years in a penitentiary for interfering with a federal investigation.The STATION MANAGER comes running out of the building. STATION MANAGER Bobbi! I promised we'd respect their news blackout! BOBBI (to herself) Figures... you dickless wonder.Bobbi wriggles out of Miranda's grasp. Carson looks at hiswife, who's still fuming, and smiles to himself.The Station Manager hands Carson the keys to his Lexus. STATION MANAGER I get an exclusive later, right? CARSON This works out, I'll play the fuckin' banjo for you.EXT. SKY OVER PACIFIC OCEAN - DAYThe cruise missile makes a slight course adjustment.EXT. STREETS OF LOS ANGELES - VARIOUS ANGLES - DAYPeople begin to arrive at the events. BOOSTERS pass out food,wine and beer... and crank up the Beach Boys TUNES.Meanwhile, law enforcement cars move into the areas with highrises -- Century City, Westwood, downtown, etc.EXT. U.S. AIR BASE - VARIOUS ANGLES - DAYA sign on the control tower reads: U.S. Air Force, Okinawa.Flight Crews direct a squadron of planes out onto the flightline: F-16 fighter bombers, along with F-15 fighter escorts.They begin to TAKE OFF...EXT. FOUNTAIN AVENUE - DAYThe Lexus is stuck in a dense knot of traffic.Carson gets out and walks across the hoods of the stoppedvehicles around him -- to much COMPLAINING by their owners --until he finds the reason for the jam-up:Along the shoulder of the road, a long line of equipmenttrailers and motor homes, cables, lights, rent-a-cops andgawkers. A MOVIE SHOOT. Carson groans.He hurries back to the Lexus. Miranda rolls her window down. CARSON We're hoofing it.Miranda and Colonel Lee immediately get out of the car and runoff, leaving Sabatini to contend with it. SABATINI (pissed) 'She's got the field experience'... To park the fuckin' car!EXT. MIMOSA APARTMENTS - DAYA boxy, ten-story complex built in the sixties.INT. MIMOSA APARTMENTS - DAYCarson, (FBI jacket folded over his arm) Miranda, and ColonelLee rush into the lobby.Carson is about to show the CONCIERGE behind the desk his i.d,but the Concierge is nervous and sweating. Carson pulls outhis Sig 9mm, approaches the door behind the desk, which isajar... He pushes it open...And finds himself staring at the muzzles of three M-16 rifles.Three SWAT TEAM members are standing there in full body armor. CARSON (pulls out his i.d.) Whoa... FBI..!They lower their weapons. CARSON (continuing) How the hell you get here so fast? SWAT TEAM #1 They're shootin' a cop movie down the street. We're workin' as extras. CARSON Terrific. Who else is here? SWAT TEAM #1 Three officers on the roof, next building over, and two in the tenth- floor hallway. CARSON Tell 'em to be cool. We're going up. (to Concierge) Give me your master key.EXT. ADJACENT APARTMENTS - DAYThe SWAT team SHARPSHOOTERS crouch on the roof. SWAT TEAM #1 (thru radio) Feds going up -- Anglo male and female; Asian male.INT. MIMOSA APARTMENTS - UNDERGROUND PARKING LOT - DAYSabatini drives the Lexus in and parks it in the fire lane.INT. MIMOSA APARTMENTS - HALLWAY - DAYThe fire door opens next to an elevator with the number "10"on it, and Carson, Miranda and Colonel Lee come out.Carson and Miranda creep quietly along the hallway, towardapartment 1060. Carson listens at the door, hears nothing.He moves to the next door down, apartment 1058, and quietlyunlocks the door.INT. MIMOSA APARTMENTS - #1058 - DAYThe shades are drawn, and the apartment is dark.As Carson and Miranda cut through the apartment, they realizethere's a WOMAN lying in the bed. She's naked, and she's notalone. Someone is under the sheets. ANOTHER WOMAN.The first Woman opens her eyes, sees the intruders, and grabsfor a Colt Gold Cup .45 auto in the dresser drawer. WOMAN What the fuck..!Her friend sits up. Miranda holds her finger to her lips andshows them her FBI shield. MIRANDA Sorry...Carson cranks open their window and steps out onto the foot-wide, ornamental balcony. CARSON (to Miranda) Wait here.She begins to protest. He shoots her a look that silences her.EXT. MIMOSA APARTMENTS - DAYThe SWAT sharpshooters watch from the next building over asCarson, ten floors up, peers through the slit in between thecurtains into the window of Javal's apartment.He swings his legs over onto Javal's ornamental balcony... thebolts holding the rail onto the wall are loose and rusty...the balcony SLIPS a little...He leans on the crank-operated window until it SNAPS open.INT. MIMOSA APARTMENTS - JAVAL'S APARTMENT - DAYCarson steps inside. He looks around the bedroom -- it'sempty. No furnishings, the closet shelves are bare, even thepictures on the walls are gone, leaving only their outline.Carson cautiously goes into the living room --It's also empty. All that remains are a few cardboard boxes,and three flower pots in macramÈ ceiling hangers by the livingroom window. Some dead leaves lie on the floor beneath them. CARSON (into radio) I'm in. It's empty, but sit tight while I look around.Carson cautiously approaches the cardboard boxes.INT. MIMOSA APARTMENTS - #1058 - DAYThe clock on the bedstand reads 4:25. Miranda smilesuncomfortably at the two naked women together in bed. MIRANDA I like what you've done with the place...INT. MIMOSA APARTMENTS - HALLWAY - DAYThe elevator DINGS. Sabatini comes out, H&K MP-5 in hand.SWAT Team #2, standing on the far side of the hallway withColonel Lee, sees her machine pistol and takes aim. COLONEL LEE Wait!Colonel Lee walks over to Sabatini. SABATINI Where's Carson? COLONEL LEE Inside.Sabatini starts down the hall. Colonel Lee stays where he is.INT. MIMOSA APARTMENTS - JAVAL'S APARTMENT - DAYCarson cautiously peers in the moving boxes. They're empty.He crosses to the front door, looks it over, unlocks thedeadbolt. He turns the knob, the button POPS open...He stops, noticing a HAIRLINE SEAM in the doorjamb where apiece was cut, then neatly replaced.Then, he's startled as he hears a strange, mechanical whiningNOISE coming from the kitchen.He goes to investigate -- it's an almost-dead, avocado-greenrefrigerator straining to start its compressor. He looks forbooby-traps, opens it, and looks inside. Empty.Looking down, he notices he's got a dead leaf stuck to thebottom of his shoe.Glancing in the living room, he sees the dead leaves on thefloor below the three hanging plants. He looks at the plants:two are dead. The one in the middle is not. It's plastic.We HEAR the jiggle of the front doorknob. CARSON NO! --Too late... The front door opens....Carson crouches behind the big, heavy refrigerator door...As the middle flower pot EXPLODES. It's a shrapnel bomb: itspews thousands of tiny carpet tacks 360 degrees around room.Sabatini is HIT full on -- she falls backwards into the hall.INT. MIMOSA APARTMENTS - #1058 - DAYMiranda and the women in the darkened bedroom SCREAM as thetacks tear hundreds of HOLES through sections of the wall.Tiny shafts of LIGHT appear in the wall, except where it iscovered by furniture (keeping them from being shredded.)INT. MIMOSA APARTMENTS - HALLWAY - DAYSWAT Team #2 and Colonel Lee come running, as does Miranda.Carson is kneeling next to Sabatini. She looks up at him andtries to say something, but a only long, mournful, finalBREATH escapes her. Agonized, Carson looks around...And sees Colonel Lee. He lunges for him. CARSON I said keep everyone back!!He punches Colonel Lee in the jaw. Colonel Lee slams againstthe wall, then comes back at Carson, hitting him in the throat. MIRANDA Stop it!Miranda and SWAT Team #2 pull them apart. CARSON (to Colonel Lee) Get out of my sight.He kneels next to Sabatini, and closes her eyes.INT. NEWS COPTER - (AERIAL SHOT) - DAYIt's in between reports. The Cameraman listens to the GratefulDead on a BOOM BOX. Bobbi answers her ringing CELL PHONE. BOBBI (into phone) Marchfelder. STATION MANAGER (VO) (thru phone) You dated the Mayor, right? BOBBI (sighs; into phone) You need a traffic ticket fixed? STATION MANAGER (VO) (excited; thru phone) Try to confirm something for us. There's an incredible buzz on the Internet -- someone picked up a classified message on a U.S. Intelligence frequency. We think it's authentic!EXT. STREETS OF LOS ANGELES - VARIOUS ANGLES - DAYThe streets of Hollywood are even more congested than before,as the festivities really start rockin'.INT. GOVERNMENT HELICOPTER - (AERIAL SHOT) - DAYCarson and Miranda sit together in the back and Colonel Leesits next to the Pilot as they fly back to the Consulate.Miranda looks at Carson, who's trying real hard not to letSabatini's death slow him down. CARSON (into radio) What's the status? ROBBINS (VO) (thru radio) Wilshire and West PD Divisions had seven vehicles running with sirens at 9:32. They're getting the routes from the officers now. CARSON (into radio) Hurry it the hell up.He glances over at Miranda. After a beat: CARSON (continuing) I should've known she'd come up. MIRANDA Pete -- CARSON -- "Should've." Shit, there's a familiar word. (long beat) That day... I was there soon enough. We should've rushed 'em, before they could finish setting up... MIRANDA The Bureau never would've let you. They want it by the book: talk them out.Carson looks out the window, not hearing a word she says... DISSOLVE TO:INT./EXT. BEVERLY THRIFT - (FLASHBACK) - DAYCarson is in the FBI command truck, talking on the phone to:A BANK ROBBER, barricaded inside the bank. Phone in hand, heholds a shotgun on a dozen hostages: BANK EMPLOYEES andCUSTOMERS -- including a couple of YOUNG KIDS. One is holdinga soccer-sized, rainbow-colored rubber ball.The OTHER BANK ROBBER wires up a series of explosive charges.Both Robbers rush inside the vault, and pull the door closedto protect themselves...The front of the building, where the hostages are, EXPLODES.Carson runs to the bank. He spots the kid's ball, rolling inthe street... BURNING. He turns away, horrified, devastated... DISSOLVE TO:INT. GOVERNMENT HELICOPTER - (AERIAL SHOT) - DAY CARSON Twelve bodies -- only the hostages. MIRANDA You were a greenhorn. It wasn't your decision. You can't keep living as such a raw nerve, never sleeping -- CARSON -- Those kids were ten years old! (sotto) Same age as the Han boy...He turns away. She takes his hand.INT. BACHELOR APARTMENT - DAYThe family continues to call for HELP. As they do, we CUT TO:INT. HALLWAY JUST OUTSIDE APARTMENT - DAYTheir CRIES echo faintly through a deserted tangle of ladders,construction equipment, sheets of drywall, etc.A warning sign taped to the wall near the elevator reads: This Floor Has Been Temporarily Vacated For Minor Earthquake Retrofitting.INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYThe mood is glum. Carson looks at Robbins, Dave and Walther,then at the empty chair where Sabatini had been sitting. CARSON C'mon! Who's pulling Javal's bank records? What about cross-referencing possible aliases? We got 33 minutes!Hearing Beach Boys MUSIC on the TV's and radios on thesurveillance console, Carson angrily punches them all off.Suddenly, Miranda looks at him: MIRANDA Camry! The billboard! Toyota Camry! (reaches for phone) Where are the numbers for the outdoor ad companies? ROBBINS Parker Center's making those calls.INT. NEWS COPTER - (AERIAL SHOT) - DAYBobbi and the News Cameraman are arguing bitterly: BOBBI Turn the fuckin' camera on! DO IT!! CAMERAMAN Maybe it's true... probably is true. That's why they got a news blackout! BOBBI I'll rip your miserable eyeballs out! NEWS IS OUR FUCKIN' JOB!!He sighs and turns the CAMERA on.INT. BACHELOR APARTMENT - INCLUDE ANGLE ON TV - DAYThe Han family listens to Bobbi, amazed, horrified... BOBBI (on TV) ...A warning was radioed to U.S. Intelligence that a biological weapon, allegedly containing the deadly Pneumonic Plague, is approaching Los Angeles. While unconfirmed, the President and other leaders are all late in arriving...INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYThe TV's are off -- so they see none of Bobbi's report.Carson crosses to Dave. He's at his computer, looking at along column of telephone numbers. DAVE Finally got the call list from Javal's phone. Most aren't his; they're from the legit user who didn't know his number was cloned. CARSON Go to the bottom of the list, work back through the last 12 hours.Dave jumps to the bottom, points at a number. DAVE Here's the call to the Consulate -- 965-5000. (while scrolling) The rest are dupes... all from the other guy... CARSON Wait... go back... the one at seven this morning...Dave highlights a number: 213-965-5666.WIDERCarson glances over at the telephone on Colonel Lee's desk.(FLASHBACK) - CLOSE ON PHONEfrom when Carson took a call there, pushing the mute button.(FLASHBACK) - EXTREME CLOSE UPon the label showing the phone's extension number: "x666."BACK TO SCENEAcross the room, Colonel Lee is watching Carson intently.Carson turns to look at him. They make eye contact.Time stands still.Realization.Feeling like he's moving in SLOW MOTION, Carson reaches forthe Sig 9mm in his shoulder holster.Colonel Lee grabs the AMD-74 machine gun on the desk. CARSON Get down!Colonel Lee STRAFES the room and backs toward the door.The BULLETS trace a line across the room. One of the NorthKorean Espionage Agents is HIT. He slams against the console.Carson tackles Ambassador Han and shoves him onto the floor,while popping off several ROUNDS in Colonel Lee's direction.Robbins also dives for cover, pushing Walther down first.Robbins takes a BULLET in the shoulder.Miranda is HIT. The impact tumbles her over the desk. CARSON (continuing) MIRANDA!Colonel Lee, still FIRING, slips out the door.Gunsmoke hangs in the air as Carson scrambles to Miranda.Several PHONES have begun ringing. No one notices them.Dave never moved -- he sits hunched over, clutching hisnotebook computer, muttering the HAIL MARY.Carson rolls Miranda over. She's got a large, scorched bullethole in the front of her blouse. Carson tears her blouse open.She's wearing a kelvar vest under it, and the slug ismushroomed against the vest.She awakens, GASPS and starts swinging her fists at him.Carson is overwhelmed with relief.Then he notices Robbins, bleeding profusely, propped againstthe wall next to Walther. Walther is dead -- shot in the head.OS, we hear several SPURTS of machine gun fire, and a carENGINE roaring to life. Miranda looks at Carson... MIRANDA Go..!EXT. WILSHIRE BLVD - DAYThe city's reaction to Bobbi's announcement is immediate andsevere. It makes the panic during the '92 riots look like adrive in the country.EXT. NORTH KOREAN CONSULATE - DAYCarson bursts through the door just as the second armoredMercedes CRASHES through the wrought-iron entry gates. Carsonfires several SHOTS, which ping harmlessly off the Mercedes.Carson sprints for a car. Miranda's Volvo is the closest one.INT. CARSON'S VOLVO - DAYAs Carson is starting it, the passenger door opens andAmbassador Han gets in. CARSON Get the fuck out of here!Ambassador Han responds by putting on his seat belt. Carsonsighs and tears out of the driveway.EXT. FREMONT PLACE - DAYColonel Lee crashes through the Fremont Place guard gate, thenhangs a right on Wilshire. He drives the center turn lane,zooming past the snarl of cars.EXT. NORTH KOREAN CONSULATE - DAYIn the back of the Consulate, Miranda, sore as hell, climbsinto the government copter. It WHINES to life and TAKES OFF.INT. CARSON'S VOLVO - (MOVING SHOT) - DAYCarson looks around at the chaos around them. CARSON Shit, it's like a Godzilla movie out here!Then he HEARS, on a nearby car's FM RADIO: FM NEWSCASTER (VO) (thru car radio) ...These words, which have terrified the city: RECORDING OF BOBBI (VO) (thru car radio) ...A biological weapon, allegedly containing the deadly Pneumonic Plague, is approaching Los Angeles...Stunned, Carson looks over at Ambassador Han, who buries hisface in his hands. CARSON (into radio) Miranda..! MIRANDA (VO) (thru radio) I heard. I'm in the copter. CARSON (into radio) I want you to get out of here...INT. GOVERNMENT HELICOPTER - (AERIAL SHOT) - DAYMiranda is flying just behind Carson's Volvo. The TRAFFIC isbeyond nightmarish. She smiles at his concern for her. MIRANDA (into radio) Shut up and keep your eyes on the road. That's my goddamn car. (beat; into radio) Dave? You staying on top of the research?INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYSweating, Dave is watching the ACTION outside on a TV whilehurriedly bandaging Robbins' shoulder with some torn cloth. Hegrabs for the two-way and we realize he's panicking. DAVE (into radio) I can't... My kids... MIRANDA (VO) (thru radio; calmly) Listen: the best way to help them is to stay at your computer. If any information comes in, holler. Okay?He squeezes his eyes shut... After a long beat: DAVE (into radio) Okay...EXT. SKY OVER LOS ANGELES - (AERIAL SHOT) - DAYSeveral large military helicopters approach -- troopcontingents from Pendleton and Ft. Irwin.The big CH-54 dual-rotor copters set down and offload MARINESand ARMY INFANTRY.Others, like Apache Gunship combat copters and Hueys, begin tofollow the pursuit. They join the police and TV copters, andit looks like the Ride of the Valkyries.EXT. STREETS OF LOS ANGELES - VARIOUS ANGLES - DAYPeople flee from the festivities in droves. Seeing thehelicopters and TROOPS in bio suits only fuels the hysteria.We hear news REPORTS coming from car radios, boom boxes, TV's.Reporters chatter urgently in English, Spanish, Japanese,Korean, Farsi, their voices mixing with the shouts ofpedestrians, the rumbling and horn-blowing of the traffic...Everyone, everywhere is getting into their cars in a mad dashto get out of town or rendezvous with loved ones.This is the mother of all rush hours.EXT. WESTERN AVENUE - DAYColonel Lee's car turns right onto Western Avenue. He's in theheart of Koreatown -- hardly any of the signs are in English.He swerves through the panicked drivers jamming the roads --in the center lane, or into the oncoming traffic. The cars heHITS crumple against the Mercedes without slowing it down.Carson's Volvo follows, squeezing through traffic in its wake.INT. NEWS COPTER - (AERIAL SHOT) DAYBobbi is salivating with excitement (and antacid.) She snapsoff her mic and yells at her Cameraman: BOBBI Don't lose the Benz, moron... pull back... show the other copters around us... this is fuckin' great...INT. CARSON'S VOLVO - (MOVING SHOT) - DAYAmbassador Han looks glumly at the chaos in the streets. CARSON ...The Colonel hired Javal, made it look like he was working alone. Then he made sure Javal got killed, so we'd never find your family -- and they'd have an excuse to drop their bomb. But what's in it for 'em? AMBASSADOR HAN There are men in my government whose power depends on North Korea staying as it is: Socialist, repressive, isolated from the world. They'll resort to anything, even war, to keep it that way. They have the Hitler Syndrome: if their country cannot exist the way they want it, they would rather see it destroyed.EXT. WESTERN AVENUE - DAYColonel Lee gets stuck in a line of cars trying to get ontothe 10 East. Above, a swarm of HELICOPTERS circle him.INT. APACHE HELICOPTER - (AERIAL SHOT) - DAYMarine MAJOR VREELAND and his PILOT sit in the leadhelicopter, an Apache Gunship.INT. CARSON'S VOLVO - (MOVING SHOT) - DAYCarson leans on the HORN and tries to push through traffic. VREELAND (VO) (thru radio) FBI, this is Major Vreeland. Discontinue your pursuit, we're gonna box his ears from up here. CARSON (into radio) Negative -- his car's armored! And we need the bastard alive!! VREELAND (VO) (thru radio) We've got the situation in hand.INT. COLONEL LEE'S MERCEDES - DAYColonel Lee sees the Apache helicopter approach. He leans intothe back seat, knocking the top off a long, plastic crate.INT. APACHE HELICOPTER - (AERIAL SHOT) - DAYThe SUNROOF on the Mercedes slides open. Colonel Lee's upperbody pokes through the sunroof. He's holding a manportableS.A.M. -- a 3-foot-long, fiberglass rocket launcher.Vreeland tries to bring his machine guns to bear on ColonelLee, but there's no time... VREELAND (to Pilot) Shit! Pull back!EXT. COLONEL LEE'S MERCEDES - DAYColonel Lee depresses the trigger on the launcher and arolling-pin-sized rocket is EXPELLED.EXT. SKY ABOVE WESTERN AVENUE - DAYThe rocket SLAMS into a police helicopter just in front of theApache, creating a huge FIREBALL, turning the copter into twotons of red-hot shrapnel.INT. CARSON'S VOLVO - DAYCarson and Ambassador Han watch with horror.INT. NEWS COPTER - (AERIAL SHOT) - DAYA hundred yards away, they're BUFFETED by the explosion. BOBBI (to TV camera) Jesus fuckin' God!!! (beat; smiles) Uh, I think we're gonna set down now. Back to you, Brent.EXT. WESTERN AVENUE - VARIOUS ANGLES - DAYThe burning hull of the police copter CRASHES into a mini-mall, causing a FIRE and EXPLOSION.Hot metal and debris PINGS and POPS as it rains over theneighborhood, sending cars and pedestrians rushing for cover.EXT. HELICOPTERS - DAYVreeland's Apache and the remaining helicopters scramble away. VREELAND (into radio) Out of the air, or retreat 7,000 meters from target vehicle!The copters set down in parking lots, rooftops, wherever.Armed troops climb out to keep PANICKED MOBS from swarmingthem in an attempt to leave the city.INT. BACHELOR APARTMENT - INCLUDE ANGLE ON TV - DAYThe Han family watches the TV, amazed, as Colonel Lee ducksback down into the Mercedes and closes the sunroof. JOY I always hated that guy...EXT. SANTA MONICA FREEWAY - DAYOther drivers, not knowing whether Colonel Lee's rocket is thebiological missile, scatter away from him. Colonel Leesqueezes onto the freeway on-ramp.INT. CARSON'S VOLVO - (MOVING SHOT) - DAYPieces of burning DEBRIS are still landing nearby. Carsonlooks at Ambassador Han: CARSON One of yours? (Han nods) What the hell do you need heat- seeking rockets for in L.A.? AMBASSADOR HAN There could be another riot... CARSON (shakes his head) And they call me Mr. Overkill. (into radio) Dave, what do you know about...He looks at Han. AMBASSADOR HAN Strela-2... CARSON (into radio) Strela-2 anti-aircraft rockets?INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYDave, calmer but still sweating, taps at his computer. Aschematic of Colonel Lee's rocket launcher appears on it. DAVE (into radio) I'm with ya... Strela-2. Perenosniy zenitniy raketniy kompleks. Russian factory index 9K-32-M2 -- CARSON (VO) (thru radio) -- Skip the goddamn trivia! I need range, guidance, arming method, anything we can work with... MIRANDA (VO) (thru radio) -- You don't "work with" rockets, Peter!INT. POLICE CRUISER - (MOVING SHOT) - DAYMiranda has hitched a ride in a black-and-white. MIRANDA (into radio) Stay back. LAPD's putting up a roadblock.EXT. SANTA MONICA FREEWAY - DAYSeveral police cars clear a path for two huge, yellow DWPBULLDOZERS borrowed from a construction cite.They rumble up onto the eastbound freeway, turn, and thenstop, side by side, facing oncoming traffic. They lower theirhuge front shovels to create a roadblock.INT. NEWS COPTER - CLOSE - DAYBobbi sits impatiently, microphone in hand...WIDERThe copter has landed behind an AM-PM Minimart/gas station.Bobbi, her Pilot and her Cameraman turn when they hear aKNOCKING on the windshield of their copter...Oblivious to the panic on the streets, a raggedy HOMELESS GUYstands with a spray bottle, wanting to wash the windows on thecopter. Bobbi gulps some Mylanta and waves him away: BOBBI Save it for someone who gives a shit!EXT. STREETS OF LOS ANGELES - VARIOUS ANGLES - DAYAll of the celebration locales are trampled, abandoned messes.So much for "Fun Fun Fun" and L.A. putting on its best.MOBS make panicked runs on the stock in grocery, drug andhardware stores. Violence breaks out in the aisles and parkinglots.PEOPLE in their homes work feverishly to seal their doors andwindows against the plague with tape, towels, plastic.INT. COLONEL LEE'S MERCEDES - (MOVING SHOT) - DAYColonel Lee screeches to a stop 500 feet from the bulldozers,angling the Mercedes so the driver's door is facing them.EXT. SANTA MONICA FREEWAY - DAYThe windows on the Mercedes glide open....Carson hurries to catch up to it...Colonel Lee FIRES a rocket at the bulldozers through thedriver's side window. The BACKBLAST from the launcher ventsthrough the passenger's side.The ROCKET impacts the bulldozer on the left; the EXPLOSIONactually FLIPS the huge machine head over tail into the air.The bulldozer lands upside down on the lane divider, crushinga portion of it.Colonel Lee rolls up his windows and drives around the burningwreckage.The other drivers really give him wide berth now...EXT. HARBOR FREEWAY - DAYApproaching downtown, Colonel Lee turns onto the 110 north.INT. CARSON'S VOLVO - (MOVING SHOT) - DAYTraffic moves aside for Colonel Lee's notorious Mercedes.Carson catches up to it. DAVE (VO) (thru radio) ...The Strela-2 needs 45 meters to arm, so stay tight on his ass.Carson SLAMS his Volvo into the Mercedes. Ambassador Hanbraces himself on the dashboard. Carson looks over at him. CARSON That Kraut-mobile have any weaknesses you'd like to tell me about? AMBASSADOR HAN I don't think so -- they said it was solid as a rock. CARSON (looks at his crumpled car) No shit...As Carson moves forward, Colonel Lee's window opens enough toallow the barrel of his AMD-74 machine gun to poke through.Carson shoves Ambassador Han's head down and ducks. ColonelLee STRAFES the Volvo.Carson looks up just in time to see...A pickup truck, ahead, stalled on the shoulder.Carson slams on the brakes, but it's too late... The VolvoCRASHES headfirst into the back of the truck.The Volvo's AIRBAGS deploy, stopping Carson and Ambassador Hanfrom plowing into the dashboard. After a beat: AMBASSADOR HAN (dazed) I can't believe I'm still alive... CARSON This were a Hyundai you wouldn't be.Ambassador Han looks at Carson, wondering if he's putting himon. The car is a twisted mess. Carson can't get the door open.EXT. HARBOR FREEWAY - DAYA red and white LAFD paramedic's ambulance puts on its SIRENand hurries to the Volvo. Two PARAMEDICS jump out. CARSON Get me out of here...They pry his door open with a crowbar. Carson climbs onto theroof of his car. Grimacing from pain, he looks around. CARSON (continuing; into radio) Anybody see him? MIRANDA (VO) (thru radio) Still heading north on the 110.The Paramedics pry the passenger door open and help AmbassadorHan out. Carson looks at the ambulance. He's getting an idea... CARSON (into radio) Dave... You're sure those rockets are heat-seeking? DAVE (VO) (thru radio) Classic IR, reflective optical system. How come? CARSON (into radio) Just keep working your leads...Carson climbs into the back of the ambulance.INT. AMBULANCE - DAYCarson rummages through the supplies, finds what he's lookingfor, and (BELOW FRAME) starts stuffing them into a canvas bag.EXT. SANTA MONICA FREEWAY - DAYCarson climbs onto the roof of the ambulance. CARSON (into radio) This is Carson. I need a copter.EXT. HELICOPTERS - (VARIOUS ANGLES) - DAYEveryone in the grounded helicopters -- LAPD, National Guard,Marines, media -- react to Carson's request as if he's crazy. CARSON (VO) (thru radio) Something small and nimble. Anybody... come in low, from the south... I'm on an ambulance by the 9th Street exit. MIRANDA (VO) (thru radio) Are you out of your mind?INT. NEWS COPTER - DAYBobbi is standing next to her copter in the back of theminimart, listening to this exchange on a POLICE SCANNER. HerCameraman is eating a microwave burrito. Bobbi jumps in, grabsthe ENG camera, and yells at her Pilot: BOBBI Get this fuckin' thing in the air! (to Cameraman) Out! Not enough room for four. CAMERAMAN (as they TAKE OFF) What am I supposed to do when the plague comes, hold my breath?INT. POLICE CRUISER - (MOVING SHOT) - DAYThey rapidly cut through the traffic. MIRANDA (into radio) Switch to a secure channel. (flips a switch) What on earth are you thinking? CARSON (VO) (thru radio) I'll make him open the sunroof. Someone can shoot tear gas or a percussion grenade inside. MIRANDA (into radio) Pete, you haven't gone... suicidal or anything on me, have you? CARSON (VO) (thru radio) No way. I couldn't stand making so many people happy.EXT. HARBOR FREEWAY - DAYCarson waves his arms as he sees a helicopter approaching.The glare from the sun masks the copter's markings. It HOVERSabove him. With the canvas bag slung over his shoulder, Carsonjumps up onto the runner, then climbs up inside the cockpit.INT. NEWS COPTER - (AERIAL SHOT) - DAYCarson closes the door, then sees Bobbi. CARSON You?! I wanted a police copter! PILOT Just tell me what to do. I flew two tours in 'Nam. BOBBI And he doesn't go unless I go! CARSON Wrong-o... CUT TO:EXT. NEWS COPTER - (AERIAL SHOT) - DAYThe door opens and Bobbi comes TUMBLING out of it!WIDERThey're hovering above the roof of a high-rise hotel downtown.Bobbi lands with a huge SPLASH in the rooftop swimming pool.BOBBIsurfaces, sputtering and screaming: BOBBI I'm a respected electronic journalist, you fuckin' prick!!Carson replies by tossing her industrial-sized bottle ofMylanta out after her.EXT. SKY ABOVE OCEAN - FOLLOW CRUISE MISSILE - DAYIn the distance, there is smog on the horizon.INT. NEWS COPTER - (AERIAL SHOT) - DAYThey follow the 110 north. Ahead, Carson sees the Mercedescutting across lanes. CARSON (into radio) Got 'im -- looks like he's headed for the 101.INT. NEWS COPTER - (AERIAL SHOT) - DAYCarson has the Pilot hover just above and behind the Mercedes.It comes to a stop and the sunroof opens up.Carson lashes himself to the copter's center post with a pieceof the seat harness, then slides the door open.He reaches into the canvas bag and takes out a road flare. Hebreaks the flare open, IGNITING it. CARSON (to Pilot) Pull hard to the left, on my signal...He braces himself on door jamb...Below, Colonel Lee's head pokes up from the sunroof.EXT. COLONEL LEE'S MERCEDES - DAYColonel Lee calmly aims the rocket launcher and FIRES.INT. NEWS COPTER - (AERIAL SHOT) - DAYCarson tosses the lit flare, hard, away from the helicopter. CARSON Now!The Pilot swings the helicopter in the other direction, andthe rocket FOLLOWS the flare, streaking past the helicopter.A few seconds later, the rocket EXPLODES in midair behind them.INT. POLICE CRUISER - (MOVING SHOT) - DAYMiranda sees what Carson is doing. MIRANDA You fucking lunatic!!INT. NEWS COPTER - (AERIAL SHOT) - DAYThe News Pilot looks over at Carson. PILOT Hope you got more flares than he's got rockets.EXT. HARBOR FREEWAY - DAYMiranda and the L.A. Cop, both holding small tear gas pistols,split up. Crouching behind the cars on the freeway, they sneakup on the stopped Mercedes.INT. NEWS COPTER - (AERIAL SHOT) - DAYCarson takes another flare out of the canvas bag. He breaksthe top off... and it doesn't ignite.Below, Colonel Lee loads another rocket into the launcher...EXT. HARBOR FREEWAY - DAYMiranda is climbing the metal stairs leading to a graffiti-covered freeway sign.INT. NEWS COPTER - (AERIAL SHOT) - DAYCarson fumbles to pull another flare out of the canvas bag.EXT. HARBOR FREEWAY - DAYAvoiding coils of razor-sharp concertina wire around the sign,Miranda FIRES a tear gas canister at the Mercedes' sunroof.It misses, bouncing off the windshield, filling the area withwhite smoke. Colonel Lee keeps his eye on the copter...INT. NEWS COPTER - (AERIAL SHOT) - DAYCarson gets the new flare lit and throws it away from thecopter just as Colonel Lee FIRES another rocket.The rocket EXPLODES a few dozen yards away. Shrapnel PEPPERSthe copter, DAMAGING the rear rotor.Struggling to maintain control, the Pilot heads for the SixthStreet on-ramp, below the freeway, out of the line of fire.EXT. HARBOR FREEWAY - DAYColonel Lee spots Miranda, up on the freeway sign, loadinganother tear gas canister. He STRAFES the sign.She flattens; the BULLETS tear through the sign above her.The L.A. Cop rushes the Mercedes. Colonel Lee FIRES at him,hitting him across the legs.Colonel Lee ducks back into the Mercedes and drives away.VARIOUS ANGLESAs Miranda comes down from the sign...Carson climbs up the embankment from Sixth Street to the 101...The downed L.A. Cop waves as a pair of ambulances drive up,lights flashing and sirens WAILING.Carson runs alongside one of the ambulances, pulling thedriver's door open before it's stopped.The Paramedic is the one who helped him and Ambassador Han outof the Volvo. Carson yanks him out of his ambulance. MIRANDA Sorry...INT. AMBULANCE - (MOVING SHOT) - DAYCarson jumps in. Miranda climbs in the passenger's side. As hepeels away, Miranda smacks Carson on the head. MIRANDA You're completely deranged! Playing chicken with rockets! CARSON Well, what the hell were you doing out there? AMBASSADOR HAN (OS) What are both of you doing?Carson turns, surprised and annoyed to see Ambassador Han, hisarm bandaged, lying in the cot in the back. CARSON Oh, for Christ's sake... Hold on!Lights and SIRENS going, they rush into the 110/101 interchange.Ahead, Colonel Lee's Mercedes is driving through the cars thatare parting like the Red Sea for him. MIRANDA Even if we can pry him out with... (looks at her watch) Twelve minutes to go, I doubt he'll be very cooperative. CARSON I'll just use my outstanding people skills.Carson glances up at the sign showing the upcoming exit:Glendale Blvd - Echo Park. A thought is forming... CARSON (continuing; to Ambassador Han) That car's like a rock, right?EXT. HOLLYWOOD FREEWAY - DAYCarson suddenly cuts to the left. When they reach the GlendaleBlvd exit, he SLAMS the ambulance into the side of theMercedes, forcing it onto the freeway off-ramp.INT. COLONEL LEE'S MERCEDES - (MOVING SHOT) - DAYCarson pushes the Mercedes across Bellevue Avenue, toward thepark surrounding Echo Lake. Colonel Lee STRAFES the ambulance.EXT. GLENDALE BLVD - DAYCarson keeps BUMPING the Mercedes as they reach Glendale Blvd,running right alongside the lake.With a hard shove, Carson sends the Mercedes SKIDDING off theroad, through the small guardrail, and INTO the lake.Carson slams on the brakes, fishtailing the ambulance into thegrass surrounding the lake. Sig 9mm in hand, he hops out.The Mercedes is so heavy that it's already half-submerged.INT./EXT. COLONEL LEE'S MERCEDES - DAYWATER pours in from the floorboards, the air vents...Colonel Lee climbs out through the sunroof and FIRES at Carsonwith his AMD-74.EXT. ECHO LAKE - DAYCarson ducks behind the ambulance, takes careful aim...And SHOOTS Colonel Lee, WINGING him in the shoulder. ColonelLee's machine gun goes flying, and he tumbles into the water.Meanwhile, Cops, Army, Marines, etc. arrive via helicopter andcar. Major Vreeland is among them. The news media, ENG camerasbouncing on their shoulders, run alongside them.CLOSERCarson races over to grab Colonel Lee, who is slogging out ofthe lake. There is a glint of bright steel... and Colonel LeeSLASHES at Carson with a knife.Carson moves aside... but the knife SLICES across his upperarm. Carson falls backwards.Colonel Lee, on hands and knees, tries to crawl away. Suddenly,someone KICKS him in face, flipping him over.It's Miranda. Colonel Lee's knife goes flying.Carson, bleeding, piles onto Colonel Lee. Vreeland assists.Colonel Lee fights like mad to break free...Until Miranda JAMS her heel into his groin. He cries out. MIRANDA Ever hear of "fuck-me" pumps? Well, these are fuck you pumps! (pushes harder) Where's the family?Surprised at his wife's new negotiating technique, Carsonshoots a look at Vreeland. Vreeland grimaces.INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYDave sits in front of his computer, phone receiver resting onhis shoulder, riveted by the ACTION on the TV. DAVE Holy shit -- Knoll-It-All's turned into Dirty Harriet!He turns as his MODEM squawks and another download comes in. DAVE (continuing; into phone) You're sure there were no accounts in the other names I gave you?EXT. ECHO LAKE - DAYWhile Miranda continues to apply encouragement to ColonelLee's gonads, Ambassador Han limps over. He yells some ORDERSat Colonel Lee. After a moment, Colonel Lee sags. AMBASSADOR HAN Let him up.Carson's not so sure, but they're completely surrounded bymilitary and law enforcement personnel. He releases his grasp.Miranda removes her heel.Then, with lightning reflexes, Colonel Lee grabs Vreeland'sRock Island Arsenal Colt .45 Auto from its snap-holster. COLONEL LEE Victory!Carson dives back onto him. But he twists his arm around andPULLS the trigger -- with the muzzle underneath his own chin.Carson, Miranda and Ambassador Han are SPRAYED with his blood.WIDERDumbfounded everybody looks at each other...Carson, dogged, kneels next to Colonel Lee's body and searchesthrough his pockets, looking for something, anything.EXT. SKY ABOVE OCEAN - FOLLOW CRUISE MISSILE - DAYAhead, in the distance, the coastline comes into view.INT. BACHELOR APARTMENT - DAYThe family stares at the TV. Mrs. Han purses her lips...fighting it... a tear rolls down her face. The time: 4:51.EXT. ECHO LAKE - DAYCarson reaches for his two-way radio. CARSON (into radio) Dave...INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYDave is looking at the TV, paying no attention to hiscomputer.INCLUDE COMPUTERas some bank records are being downloaded: faxed IMAGES ofprocessed checks SCROLL down the screen. CARSON (VO) (thru radio) Anything else come through? DAVE (numb; into radio) Take a hint. We're screwed. CARSON (VO) (thru radio) Not yet...Shaking his head, Dave glances at his computer...CLOSERJust in time to glimpse the words "First & Last + Deposit" onone of the checks as it scrolls off the screen.DAVEfumbles to scroll back to the check. DAVE (into radio) Wait! One of Javal's alias accounts: check for an apartment rental! CARSON (VO) (thru radio) You're shittin'... Where?! CUT TO:EXT. BACHELOR APARTMENT - ANGLE ON WINDOW - DAYThrough the sheer curtains over the window we can SEE the Hanfamily sitting in their booby-trapped chairs. DAVE (VO) Park La Brea!We PULL BACK... they're way up in a high-rise building... TheCAMERA continues to PULL BACK, farther and farther......REVEALING 4,222 apartment units, on 168 acres. The buildingin which the apartment is located is one of 18 identical, 13-story towers standing side-by-side in a series of hexagons.EXT. ECHO LAKE - DAYVreeland's Apache helicopter LIFTS OFF.INT. APACHE HELICOPTER - (AERIAL SHOT) - DAYMiranda looks at Carson, then checks her watch. 4:52. CARSON (into radio) ...Have the Manager evacuate the complex. Find out which unit the family's in, but don't let anyone go in 'til we get there.INT. NORTH KOREAN CONSULATE - SURVEILLANCE ROOM - DAYDave, re-energized, is juggling the phone and the radio. DAVE (into radio) Private security's going around with PA's, and they set off the fire alarm. (into phone) Well, try callin' him again! (into radio) Manager's gone, and the Assistant can't find the key to get to the rental manifest. (into phone) Then kick the fuckin' door down!INT. PARK LA BREA OFFICE - DAYThe dense Assistant Manager, MILTON, stands in the outeroffice, staring at the inner office's closed door. MILTON (into phone) I'll try him in his car again...During this, outside: WESTEC GUARDS (OS) (thru car-mounted PA) Tenants -- leave your apartments at once... Take the stairs...INT. APACHE HELICOPTER - (AERIAL SHOT) - DAYCarson sticks the radio in his pocket and looks at Miranda. CARSON "Fuck-you" pumps??INT. BACHELOR APARTMENT - DAYThe hostages can hear the WHOOPING fire alarms and the (OS)ANNOUNCEMENT. Joy looks at Mrs. Han, hopeful. JOY They must know we're here... ALL Help!No answer.EXT. PARK LA BREA - DAYPolice cars, military vehicles, fire trucks, etc. converge onthe complex from all directions.Several helicopters circle the complex. One has a PA in it: VOICE THRU PA Han family. Show us your location...INT. BACHELOR APARTMENT - DAYThe family listens, frustrated, as the HELICOPTERS circle (OS).Joy carefully slides her arm along the arm rest, then tries tocoax something out of her pocket -- her Zippo lighter. JOY Mother... Sam...They look over at her as she lights it. After a beat, Mrs. Hanunderstands... She hesitates, then: MRS. HAN Do it.Joy drops the lighter to the floor, then swats it with herfoot to Mrs. Han. She does the same, passing it to Sam, who'ssitting closest to the window.With one eye on the VU movement meter, Sam kicks the lighter,sliding it across the carpet toward the curtains.INT. PARK LA BREA OFFICE - DAYSeveral COPS and MARINES burst into the office. Milton, theAssistant Manager, cowers as they SHOOT the lock off the doorto the inner office and rush in. MILTON It's a brown binder... Says "Rental Manifest." You can't miss it...They literally tear the office apart.INT. BACHELOR APARTMENT - DAYThe FIRE is consuming the curtains. Thick, toxic SMOKE beginsto fill the tiny apartment, and everyone starts coughing.INT. APACHE HELICOPTER - (AERIAL SHOT) - DAYThey circle, overwhelmed by the sheer number of apartments. CARSON (into radio) Apartment number would be real helpful, gang...Miranda points to a wisp of SMOKE above one of the towers. MIRANDA There!They come around, and spot the FIRE in the apartment's window.It is nine stories up, four stories below the top floor.EXT. SKY ABOVE OCEAN - FOLLOW CRUISE MISSILE - DAYThe coast looms closer.EXT. PARK LA BREA - INCLUDE APACHE HELICOPTER - DAYThe Apache hovers parallel to the apartment, 20 feet away.Carson feeds out a steel cable from a winch...Then throws a spring-loaded grappling hook onto the thick,iron balcony railing.Hanging onto a webbed rescue harness, Carson slides quicklyacross the line, onto the balcony. Using the butt of his Sig9mm, he BREAKS a hole in the glass on the locked sliding glassdoor. He reaches through and unlatches it.INT. BACHELOR APARTMENT - DAYThe FLAMES have engulfed both sets of curtains and have begunto creep across the floor and the ceiling.Carson glances over at the electronics on the TV: 4:55 PM.The family is coughing from the smoke, trying not to panic.In the kitchen, Lisa can't cough through the tape on hermouth. She's freaking out.Seeing this, Carson runs over to her and pulls the tape off.She starts SCREAMING, so he grabs her face. CARSON Okay... work with me here!He grabs one of the refrigerator handles and pulls, but itwon't come loose. Lisa cries out in frustration. LISA Hurry, please hurry...Carson spots Javal's toolbox. In it, he finds a socket sethandle, which he levers in between the refrigerator handle andthe door. He rips one handle loose, then the other.Carson turns his attention to the booby-trapped chairs.Lisa sits on the floor, frantically pulling her handcuffedhands around her feet so they're in front of her, then runsfor the front door. Just as she reaches it: CARSON DON'T!He grabs her before she opens the door. There's a smallmagnetic sensor at the top of the door jamb. CARSON (continuing) We have to go out the window. MRS. HAN Can't you disarm the bomb? CARSON Too risky. Let's concentrate on getting you out of here.He looks at the meters on the electronic units. CARSON (continuing) Sound detectors? MRS. HAN Sam covered them with chewing gum. SAM High-tech problem, low-tech solution.Carson looks at Sam, impressed, then peers under the chairs. CARSON Pressure sensors. Use 'em in convertibles: Bad guy sits on your seat, he sets the alarm off. These are rigged backwards -- get up, you set 'em off. SAM You a bomb expert? CARSON Nope. But I've had some car alarms in my day. (to himself) For all the goddamn good they do...Carson looks around, thinking. He spots the roll of duct tapeon the table, grabs it and unrolls a long piece. CARSON (continuing; to Mrs. Han) Slide your arm forward... Watch the meter... Keep the pressure on the armrest with your elbow...He wraps the armrest with tape, cinching it tight. CARSON (continuing) It'll squeeze the sensor, duplicate the weight of your arm... Okay... pick it up.They look at each other, scared... After a beat, she does.The meter JIGGLES... but stays in the black! Everyone sighswith relief. Carson repeats the process on her other armrest. CARSON (continuing; to Sam) Low-tech solution... (to Mrs. Han) Lean back... Carefully.Carson feels for the sensor in the seat, finding it buriedunder Mrs. Han's thighs. He runs a long piece of tape aroundthe seat and wraps it tightly.He tries to lift Mrs. Han, but the meter moves to the red. MIRANDA (VO) (thru radio in his pocket) How's it going in there? CARSON (to himself) Nag, nag, nag...He wraps another piece of tape around the seat, and triesagain to lift her. This time it works!EXT. SKY ABOVE OCEAN - FOLLOW CRUISE MISSILE - DAYThe missile has almost reached land.EXT. U.S. FIGHTER BOMBERS - SKY OVER SEA OF JAPAN - DAYTraveling toward the Korean DMZ.INT./EXT. BACHELOR APARTMENT - INCLUDE APACHE HELICOPTER -DAYTime: 4:58. The Apache helicopter HOVERING outside is makingan incredible racket.Carson is helping Joy get free of her chair. As she stands,the pieces of her hair stuck to the gum over the microphonehead begin to PULL the gum away!Mrs. Han sees the meter heading for the red, and the yellowwarning light flashing... She grabs Carson's arm.Carson quickly covers the mic... The meter drops to zero.WIDERThe FIRE is spreading across the carpet and walls. Carson ishurrying everyone out onto the small balcony. He helps Lisainto the rescue harness. She's terrified. CARSON You'll be over in five seconds...She nods. Miranda pulls her across the cable and send theharness back. Carson turns next to Sam, but he stands back sohis sister can go.ANGLE ON BOMBOne minute... fifty-nine seconds...CARSONsends Sam across... the harness comes back... he straps Mrs.Han into it... CARSON Tell 'em I'm gonna release the hook and ride down on the line.He pushes her across. As soon as she's there, he gestures tothe Apache Pilot to move closer so he can release the hook.ANGLE ON BOMBThirty seconds... twenty-nine...THE HARNESSslides back across to him; Carson grabs it with one hand andtries to undo the hook buckle with the other...But the cable is crooked, and the buckle is JAMMED -- if hecan't release it, he's stuck there! Carson tries to free thehook, but it's dug in between the concrete and the railing.Fifteen seconds to go...Carson looks over at the helicopter and waves them away. CARSON (shouts) Release the cable from your side! Get out of here! MIRANDA (shouts back) Come over the railing! Grab onto the harness!INT. APACHE HELICOPTER - (AERIAL SHOT) - DAYMiranda turns to the Pilot. MIRANDA Tear the hook loose! PILOT It'll pop the winch buckle! MIRANDA Try it anyway!INT./EXT. BACHELOR APARTMENT - INCLUDE APACHE HELICOPTER -DAYFive seconds to go...The Apache helicopter backs away from the high-rise...The cable pulls taut...Carson wraps the webbing of the harness around his wrist...The Apache STRAINS against the resistance of the cable...The entire railing around the balcony BREAKS away, with CarsonHANGING on the harness next to it...The helicopter turns and flies away...EXT. PARK LA BREA - DAYThe bomb EXPLODES, blasting a huge hole in the tower.All the windows in the nearby towers and apartments IMPLODE.CARSONis engulfed in the FIREBALL... We can't tell if he's alive.INT./EXT. APACHE HELICOPTER - (AERIAL SHOT) - DAYThe force of the blast HITS them like a tidal wave. The Pilotfights to keep control while looking for a place to set down.BELOWHuge chunks of debris, glass, furniture, etc. rain down.Carson and the section of railing underneath the helicopterswing like a pendulum from the force of the blast.Groggy, he loosens his grasp on the harness, and jumps clearas the helicopter lands.Miranda leaps out of the Apache and runs to him...WIDERDust and debris from the explosion hang in the air;helicopters crisscross the scene.Everyone turns their eyes skyward, looking for the missile...INT. WORKERS' PARADISE HALL - P'YÚNGYANG - (INCLUDE TV) -DAYThe Premier and the High Command are watching the action atPark LaBrea on CNN Live......As Ambassador Han embraces his family.Furious, General Kai gets up and leaves the conference room.The others look at the Premier. After a beat, he crosses to aPANEL OF ELECTRONICS and SLAPS a large red button on it...EXT. SKY ABOVE SANTA MONICA - DAYThe cruise missile EXPLODES, completely obliterating it.EXT. U.S. FIGHTER BOMBERS - SKY OVER SEA OF JAPAN - DAYThe lead jet cuts away, turning around. The others follow.EXT. PARK LA BREA - DAYThe Han family crosses to Carson, blackened and bloody,sitting on the curb next to Miranda. Ambassador Han shakeshis hand. Mrs. Han and Miranda cry. Joy and Sam grin at him.After a beat, Carson gathers the kids up in his arms. It is aprofound catharsis for him...EXT. WORKERS' PARADISE HALL - P'YÚNGYANG - DAYGeneral Kai is getting into his car. He look up as an ARMYOFFICER approaches... and SHOOTS him! The Officer pushes hisbody into the passenger's seat, gets in, and drives off. FADE THRU TO:DARKNESSand the sound of RUNNING WATER.EXT. PASTORAL SCENE - DAYA beautiful ranch house and horse barn, sitting on a meadowbeside a brook, overlooking an unspoiled pine forest.INT. CARSON'S HOUSE - BEDROOM - NIGHTThe pastoral scene is a COMMERCIAL on the TV.Carson, wrapped in a towel, holds the phone and paces. CARSON (into phone) ...I'll call you next week.Carson hangs up, and CLICKS off the TV as he leaves the room.The sound of RUNNING WATER continues (OS)...EXT. CARSON'S HOUSE - PATIO - NIGHTMiranda, wearing a bathrobe, is WATERING her sickly roses.Carson comes outside. MIRANDA Who was that on the phone? CARSON The Bureau. (beat) They want me back on the hostage team. MIRANDA What did you say? CARSON Told 'em I'd sleep on it...Miranda smiles, then looks at him, surprised, as he crouchesdown and helps her turn the soil around the rose bushes. Theywork in silence. Then, tentatively, she leans over and kisseshim. Soon they're in each other's arms, holding tight...INT. CARSON'S HOUSE - BEDROOM - NIGHTStill entwined, Carson and Miranda stumble in. While kissing: MIRANDA Working with you today was certainly... interesting, Inspector. CARSON It's my outstanding people skills.He slips her out of her robe and they fall onto the bed. It isa tender, romantic moment...Until, (OS), a CAR ALARM goes off. Miranda bolts up. MIRANDA I hate this fucking town...Carson ignores the ALARM -- and Miranda's comment. He pushesher back onto the bed and turns off the bedside lamp.All of the books and magazines about other places to livespill from his nightstand, onto the floor... FADE OUT. \ No newline at end of file diff --git a/unformated_scripts/Script_Rush.txt b/unformated_scripts/Script_Rush.txt new file mode 100644 index 0000000000000000000000000000000000000000..208f6e281a17e8650a454f90f4bc7536be0db63c --- /dev/null +++ b/unformated_scripts/Script_Rush.txt @@ -0,0 +1 @@ + RUSH Written by Peter Morgan December 6th, 20111 EXT. CLOUDY SKY - GERMANY - DAY 1 Dark clouds passing overhead. The bad weather that has hovered over the Eifel mountains, (in Germany), the past three days is on it's way out..2 AN EYE FLICKERS - WIDE OPEN - STARING INTENTLY 2 A pupil dilates and contracts in the light. The eye stares. Blinks. Thinks. Making evaluations..3 EXT. CLOUDY SKY - GERMANY - DAY 3 The first rays of sunshine break through. The voices of international TV commentators in different languages. COMMENTATORS ...in places the track is still dangerously wet, but following a drivers meeting the decision has been taken. The race is going ahead...4 INT. FERRARI - DAY 4 The eye belongs to a 27 year old Formula 1 RACING DRIVER wearing a fireproof balaclava... Highly intelligent, he also happens to be World Champion. His name is painted on the side of his Ferrari. NIKI LAUDA. NIKI (V/O) My grandfather always said history is cruel and reductive and no matter how long we live, or how much we achieve - we are remembered for very little. So make sure it's the right things. NIKI stares up at the clouds. His eyelids flicker. Thinking. Agonizing. Wrestling with an all important decision... Is it going to carry on raining? Or become dry? Should he be using slicks or wets?5 EXT. STARTING GRID - DAY 5 We widen to find ourselves on the starting grid of a major Grand Prix. All around us... (CONTINUED) 25 CONTINUED: 5 Engines scream into life as DRIVERS start their cars. An OFFICIAL walks through the cars holding aloft a sign, "One Minute"... Deafening, angry thunder as engines rev impatiently. NIKI This is bullshit. We have no control over our legacy. We cannot choose what we are remembered for... A Ferrari MECHANIC rushes towards NIKI, and shouts in Italian above the noise, (we see sub-titles)... MECHANIC Mass usa slicks. Le vuoi cambiare anche tu? (Mass is going on slicks. You want to change?) NIKI looks in his wing-mirror back to see a red McLaren, white helmet, number 12, several rows behind him. A team of MECHANICS hastily changing the tyres to dry tyres. NIKI Otherwise I wouldn't be remembered for my rivalry with this asshole. And the 1976 season. NIKI then looks over at the car in pole position beside him. Another McLaren, but with number 11, and a Union Jack... NIKI What about Hunt? Has he changed? MECHANIC No, he's going on wets. The car in pole position: JAMES HUNT, surrounded by TV crews, mechanics, girlfriends, hangers-on.. The Maclaren team is less than half the size of Ferrari's, but HUNT makes up for this with magnetism. The rock star of F1. NIKI's face: a stab of envy seeing a flash of his rival's glamorous long blonde hair disappearing into his balaclava, flirting with several hot-looking GIRLS.. NIKI I don't know why it became such a big thing. We were just drivers. Busting each other's balls. To me this is perfectly normal. But other people saw it differently. (MORE) (CONTINUED) 35 CONTINUED: (2) 5 NIKI (contÌd) That whatever it was between us went deeper. And changed us both somehow. Forever. NIKI stares, then... NIKI Be, allora usiamo anche noi quells da bagnato. (Then we go on wets, too.) The ten-second board is held up. NIKI pulls down his visor...as he and HUNT's eyes meet for a split-second, eyes staring... NIKI selects second gear for the wet track and revs the engine. The dashboard needle climbs through 8000, 9000, 10000 RPM. NIKI Maybe that explains the state of mind I was in. And why it happened. The other thing I'm remembered for. (a beat) On August 1st, that same year... CAPTION: "AUGUST 1st, 1976". The STARTER waves the flag. NIKI's foot hits the floor - his engine screams that deafening, stomach rearranging high-pitch scream, drowning out the roar of the 180,000 crowd. NIKI's car is catapaulted forward violently, the wheel-spin leaving livid black scars on the asphalt.. NIKI gets away first. A good start! But within seconds there's a McLaren car right behind him, breathing down his neck. His arch-rival. HUNT. But as the McLaren roars past, NIKI sees a white helmet. Number 12. It's not Hunt. It's MASS. On his bald, slick tyres. NIKI curses under his breath. He screwed up. Made the wrong decision. Should have gone on slicks. He urgently needs to change tyres... NIKI swerves angrily into the pits. Ferrari's pit is right at one end... 46 INT. PITS - DAY 6 Commentary from all the world's TV stations explaining the crazy, panicked situation as all the DRIVERS come into the pits to change to dry tyres. It's chaos. A traffic jam of Formula 1 cars... The Ferrari team frantically work. Changing NIKI's tyres. Four men with air guns, two men with rapid-duty jacks. The same Italian MECHANIC appears, `plugs in' his headset to the car.. MECHANIC Hair visto? Ti aveto detto di usare le slicks! (See? I told you to go on slicks!!) NIKI Bullshit. Where's Hunt? MECHANIC There! NIKI looks up to see the name JAMES HUNT written on the black helmet roar out of the pits ahead, with new tyres on... NIKI C'mon...!! NIKI screams at the MECHANICS, who are struggling. The airguns make a high-pitched noise...something's not right. NIKI What's GOING ON??? "Thump", new (slick) tyres hit the tarmac, engines scream, and NIKI exit the pits in pursuit of HUNT. But the delay has cost him dear...7 EXT. NUBURGRING - DAY 7 Archive TV commentary from the world's race COMMENTATORS stations informs us of the positions. MASS leading, HUNT in 3rd, LAUDA in 20th...8 INT. NIKI'S CAR - DAY 8 NIKI gives it everything he's got. Tearing through the gears, trying to catch JAMES HUNT, breaking as late as he can, engine screaming. (CONTINUED) 58 CONTINUED: 8 He flies over the take-off hump between Pflanzgarten and Swallowtail - passes one car after another. Into 13th place now. Pulling off outrageous manoeuvres. NIKI's P.O.V: the world flies past in a blur. The steering wheel shakes. The car is right on the edge. Cannot be driven any harder. NIKI approaches the Streckenteil Adenauer-Brucke section of the course...turns left at the Bergwerk corner. Crazy speed. And tight. Too tight. A mistake... "Thump", his wheels come into contact with the kerb on the inside. NIKI tries to counter-steer, but is travelling at 155 mph. The car jerks horribly to the right.. "Crunch", hits the embankment, then "Bang", hits the barrier, and is thrown across the track.. Fire breaks out in the engine. NIKI's eyes widen in horror, with another car bearing down upon him... NIKI No...! The oncoming car crashes head-on into our car, "Crash", a sickening, terrifying impact. The car explodes. Seventy litres of burning high-octane gasoline, with NIKI strapped inside, unable to undo his seatbelt. Locked in a blast furnace. NIKI screams as the flames engulf him. 800 degrees temperature. Trapped inside his car. Burning smoke fills his helmet, scarring his lungs... Pandemonium: commentary in different languages as panicked TV commentators helplessly describe what's happening.. NIKI's POV: he can just make out the barely recognizable figures of the other DRIVERS rushing towards NIKI.. Their hands get burnt in the flames as they try unsuccessfully to undo NIKI's seatbelt.. Fire extinguishers blast at the car. Dry powder extinguishers. Covering NIKI's helmet. Blurring his vision, as he cries out in agony, inhaling the powder.. Screaming voices. Panicked reactions. On the side of the car, the painted name `Niki Lauda' blisters and melts. (CONTINUED) 68 CONTINUED: (2) 8 Then sound fades. As NIKI blacks out - losing consciousness. FADE TO BLACK: Over this: the sound of a ringing phone...9 INT. HOSPITAL A&E UNIT - (ACCIDENT AND EMERGENCY) - DAY 9 We're in a busy hospital A&E unit. Noise. Crowds. A regular Saturday late afternoon. The phone continues to ring.. Finally, an attractive station NURSE in her 20's, run-off-her- feet, breathlessly picks up the phone. NURSE Emergency... She covers her ears, straining to hear, listening to what is being said. Then her expression changes... NURSE Okay...standing by! The NURSE hangs up...then calls out to her NURSE and DOCTOR colleagues... NURSE That was the race-track..! There's been an accident..! A driver's been injured and is on his way in..! Instantly the atmosphere changes. A hive of activity as DOCTORS and NURSES prepare themselves for a major trauma... All PATIENTS with minor injuries are cleared out of the way. The NURSE rings upstairs to the operating theatres and consultant surgeons, telling them to stand by... CAPTION: "EIGHTY-EIGHT RACES EARLIER" Swing doors open, and a pair of shoeless, BARE FEET walks through and into the accident and emergency unit. Camera tilts up a pair of long legs in white racing overalls...to reveal a tall, good-looking driver, JAMES HUNT, (mid 20's), tanned, athletic, surfer long blonde hair... A man about whom a word comes to mind one would rarely use to describe an Englishman. SEXY. Blood trickles from his nose, there is bruising to his lip and the formation (already) of a nasty black eye, but make no mistake. He rocks. Drop-dead gorgeous.. (CONTINUED) 79 CONTINUED: 9 JAMES I think the racetrack telephoned ahead that I was coming? Hunt? James Hunt..? JAMES notices all the NURSES staring.. JAMES What's the matter? No one seen a spot of blood before? NURSE Are you all right? JAMES Absolutely fine.10 INT. A&E UNIT - DAY 10 The attractive NURSE is examining JAMES, opening his overalls, checking for wounds, cuts and bruises... NURSE We all thought you'd been in an accident. JAMES I have. If you call a friendly disagreement with another driver an accident. NURSE What did you disagree about? JAMES None of your business. Ouch. NURSE Sorry. JAMES His wife. NURSE That's going to need a couple of stitches. It's a nasty cut. JAMES It was a nasty blow. Done with a bloody spanner. NURSE Why? What did you do? (CONTINUED) 810 CONTINUED: 10 JAMES Nothing! Only what she begged me to do. The NURSE notices bruising on JAMES's chest... NURSE Which was..? She examines him, testing his ribs for fractures, his chest.. JAMES looks up. Their eyes meet.. JAMES Be happy to show you if you like.11 INT. JAMES'S APARTMENT - NIGHT 11 `Crash', the door flies open as JAMES and the NURSE stumble through, mid-embrace, tearing at one another's clothes... The apartment is basic. Cramped. Messy. Like that of a poor student. Ashtrays filled with half-smoked joints. Empty beer cans. A toaster. A kettle. A stereo. A cage containing two budgerigars. A mattress on the floor. Newspapers with headlines about the Dockers Strike, England's crumbling economy, Rolls Royce being bailed out by the government - subtle reminders of Britain in transition, leaving behind its strong, imperial past. JAMES and the NURSE stand against the wall, still half- dressed, but already passionately making love... JAMES (V/O) I have a theory why women like racing drivers. It's not because they respect what we do...driving round and round in circles. Mostly they think that's pathetic. And they're probably right.. (a beat) It's our closeness to death. JAMES and the NURSE continue noisily, tirelessly making love in the shower... JAMES (V/O) The closer you are to death, the more alive you FEEL...the more alive you ARE. And they can see that in you. FEEL that in you. The way you live. Willing to risk everything. (MORE) (CONTINUED) 911 CONTINUED: 11 JAMES (V/O) (contÌd) With no thought for tomorrow...as if each day is your last. It's a wonderful way to live...and the ONLY way to drive. The only way to get that tenth of a second on everyone else... The lovemaking becomes more intense... JAMES (V/O) To dare to be one step bolder...one step faster... JAMES is covered in perspiration, out on the edge... JAMES (V/O) Sure one step closer to death... JAMES and the NURSE, both screaming as they approach orgasm... JAMES (V/O) But one step closer to victory, too... JAMES and the NURSE both climax together...and collapse on the bed. Exhausted.12 EXT. CRYSTAL PALACE RACE TRACK - DAY 12 A grotty old race track in South London. JAMES and the NURSE arrive at Crystal Palace race track in his battered old mini. They get out. She looks up, seeing the mechanics, the racing teams, the cars.. NURSE I've never been to a Grand Prix before. JAMES You still haven't. This is Formula 3. NURSE What's that? JAMES A lower division. Where people like me mess about in the hope of finding sponsors or being talent-spotted to race in Formula 1. JAMES leads the NURSE into... 1013 THE PADDOCK - CRYSTAL PALACE - DAY 13 The pits where JAMES introduces her to his team... JAMES Everyone, this is Nursie. NURSIE (correcting) Gemma... JAMES Nursie, this is Doc our designer... DOC How do you do? JAMES Bubbles, our chief mechanic. BUBBLES How do you do? JAMES Le Patron - Alexander, Lord Hesketh. HESKETH How do you do? NURSE Fine, thanks. Blimey...is everyone in Formula 3 this posh? HESKETH Glass of champagne, Nursie? NURSE It's Gemma. No, thanks. HESKETH You sure? It's Krug. Clos de Mesnil. NURSE It's also ten in the morning. HESKETH Oh, dear. Superstar? You haven't brought us a bore, have you? JAMES strips off, changing into his racing overalls. JAMES Trust me. Nursie's anything BUT a bore.. (CONTINUED) 1113 CONTINUED: 13 The NURSE, meanwhile, drifts over to look at the car where BUBBLES is making last minute checks... NURSE That's the car? BUBBLES That's her. The Dastle Mk 9...with the Lotus twin-cam sixteen hundred engine. She's no beauty. But goes like the clappers. An odd-looking car. A bit like a giant Go-kart, blue with yellow strips along the side and James's name in small letters. It looks small, dangerously fragile. JAMES Uuuurrrrrkkkkkkggghghhhh. The NURSE is shocked to hear a dreadful watery vomiting sound. She sees JAMES bent over behind the truck... HESKETH Nothing to be worried about! Does it before every race! Good sign, actually. Means he's stoked!14 EXT. PADDOCK - SAME TIME 14 JAMES continues vomiting... JAMES (V/O) There's a lie that all drivers tell themselves. "Death is something that happens to other people." That's how you find the courage to get in the car in the first place... JAMES emerges, wiping his mouth... HESKETH All right, Superstar? JAMES Never better, Patron. JAMES (V/O) Because bad things only happen to others, right? HESKETH Have a gargle with this. (CONTINUED) 1214 CONTINUED: 14 JAMES takes a quick swig of the champagne...gargles, then swallows, puts on his balaclava... JAMES (V/O) Problem is deep down you know that's a lie. That it could happen to you at any moment. HESKETH Quick toke of this... HESKETH passes over a joint, which JAMES inhales, taking a huge lungful from.... JAMES (V/O) So how do you make that terror go away? Well, booze is good for that. And wacky baccy. But better than everything else is...sex. JAMES goes to the NURSE...and kisses her full on the lips, then puts on his helmet, and athletically vaults into the car. JAMES hits the ignition, and a deafening high-pitched SCREAM as the engine starts... HESKETH Ahhhh! What music! They could never have predicted it, those pioneers that invented the automobile that it would possess us like this, in our imaginations, our dreams. Nursie, men love women...but even more than that, men love CARS...15 EXT. PADDOCK - CRYSTAL PALACE - DAY 15 JAMES notices another driver (NIKI LAUDA), his car already unloaded, (number 35) and mechanics working on it.. JAMES Who's that? DOC He's new. Some German. BUBBLES (corrects) Austrian. JAMES Is there a difference? (CONTINUED) 1315 CONTINUED: 15 JAMES looks over. On the side of the car, painted markings, in the form of a signature, "Niki Lauda". JAMES All bloody Goosesteppers.16 EXT. RACE TRACK - CRYSTAL PALACE - DAY 16 JAMES is neck and neck with NIKI. They go into a corner. NIKI gets there first. Up ahead though, approaching the second bend...JAMES sees the tiniest, slimmest crack to overtake. No right-minded driver would risk it. Only a suicidal maniac. Which just happens to describe JAMES perfectly.. JAMES goes for it. Daringly. Brilliantly. And forces NIKI to slam on his brakes to prevent a certain crash...17 EXT. PITS - SAME TIME 17 HESKETH, BUBBLES, DOC and the NURSE watch from the sidelines... BUBBLES That move was suicide! HESKETH It was also quite brilliant!! God he's got balls!!18 EXT. RACE TRACK - DAY 18 JAMES carries on driving. Flat out. But on the flat, NIKI suddenly comes out of nowhere. As if his car has 50 bhp more. And overtakes JAMES. NIKI begins to pull away. And has the Englishman beaten.. JAMES sees red mist...and in an act of do-or-die vengeful madness, JAMES goes into a corner far too fast... ...yanks his steering wheel. And outrageously shunts NIKI's car. An unforgivable act of unsportsmanlike vindictiveness. NIKI and JAMES's cars both veer off...go into wild, lethal spins..but luckily for JAMES he ends up facing the right way... (CONTINUED) 1418 CONTINUED: 18 ...and despite being badly shaken, dizzy, JAMES is able to change gears, and continue driving... NIKI's car, by contrast, has stalled...and now ends up facing THE WRONG WAY on the track... NIKI's eyes look up to see all the cars coming over a brow, like a herd of Wildebeest, heading towards him... NIKI Umgotteswillen... NIKI rips open his seat-belt, is about to get out of his car, when one car shoots straight over the nose of his car. NIKI ducks, then bravely leaps for cover, as.... "SMASH", one of the oncoming cars shunts into his car, (it would have killed him instantly). "WHAM", another car narrowly misses him... "CRASH", another car forces NIKI into an evasive dive... Cars scream past him on all sides as the race continues... NIKI, battered, shaken, has had an unbelievably close escape. He rips off his helmet, furious... And now we see NIKI LAUDA's face for the first time. Sharp- featured. Intelligent eyes. Dark hair. Protruding teeth. Something unmistakably rat-like about him.19 EXT. CRYSTAL PALACE RACE TRACK - LATE AFTERNOON 19 JAMES is on the podium, having won. He's with the NURSE, and HESKETH and BUBBLES and his team, spraying them with champagne.. NIKI walks past the podium, holding his blue helmet, and shouts out, still incandescent... NIKI Hey...asshole! That was my line! I had that corner... JAMES You mean the one you spun out of? And finished facing the other way? I think that corner had you. Laughter. (CONTINUED) 1519 CONTINUED: 19 NIKI That move was total suicide. What if I hadn't braked? We'd have crashed..!! JAMES But we didn't, did we? Thanks to your impeccable `survival' instincts... JAMES makes chicken noises... NIKI Fuck you! What's your name? HESKETH James Simon Wallis Hunt. Remember it, my little Jerry friend. Because one day he will be World Champion. JAMES Jawohl. Remember ze name. Very simple. "Hunt". It rhymes with.... "BEEEEP", a car horn hoots nearby, blocking out JAMES's c-word insult... JAMES ...a word that happens to describe you perfectly. Laughter. NIKI gives JAMES the finger, "Screw you, asshole". The NURSE watches NIKI go.. NURSE Who was that? JAMES No one. Chippy little Kraut. Bad loser. Forget him. NIKI continues to walk off, middle finger raised..20 EXT. VIENNA SKYLINE - DAY 20 To establish: the Austrian capital. OVER THIS: the sound of NIKI's voice... NIKI (V/O) In my home town, Vienna, my family is famous for one thing. Business. My grandfather was a businessman, my father, too... 1621 INT. NIKI'S APARTMENT - DAY 21 NIKI is in front of a mirror, and dresses smartly in a jacket, and open necked shirt, evidently a little nervous... NIKI (V/O) So when they heard I wanted to race cars for a living, they had a few things to say...22 INT. LAUDA GRANDFATHER HOUSE - NIGHT 22 A large, forbidding dining room. NIKI's FATHER and terrifying GRANDFATHER, are eating supper. GRANDFATHER shakes his head, clearly disapproves and barks in German...(we see subtitles) GRANDFATHER Never! Racing is for playboys and dilettantes. Frivolous amateurs with nothing in their heads. The name `Lauda' appears on the front pages, with politicians and economists, not on the back pages with... (gestures in contempt) ...footballers and skiers. If you want my money, you do as I say and follow me into my business.. NIKI stares at his GRANDFATHER.. NIKI (V/O) It's in moments like this that you discover who you really are.. ...and in a move that he knows will rupture the family for ever, NIKI gets to his feet.. NIKI Fine. Keep your money. Don't invest in me. But when I'm World Champion, and I have the trophy, and my name is not just on the back pages, but on the front too, you will regret it. NIKI walks out, the old man's insults ringing in his ears... GRANDFATHER You dare sit at my table and lecture me on what I will or won't regret? Get out! Impertinent wretch! Consider yourself disowned! 1723 INT. RAIFEISENKASSE - BANK - DAY 23 NIKI is in a meeting with visibly concerned BANKERS and LAWYERS. They speak in German... BANKER Another loan? Herr Lauda, you still haven't repaid the other... BANKER 2 Three.. BANKER Totalling millions of Schillings. Plus your Grandfather called to inform us he will no longer be offering security. NIKI I know. There is no room for failure. I understand that. NIKI (V/O) But I was still a Lauda...24 INT. NIKI'S CAR/ ROAD TO VIENNA AIRPORT - DAY 24 NIKI is driving his car. Beside him, is the attache case on his lap. His car passes under a motorway sign reading "Flughafen". (Airport)... NIKI (V/O) ...which meant I was still a businessman above everything else.25 EXT. VIENNA AIRPORT - DAY 25 A private jet. A balding, blazered Englishman in late middle- age (LOUIS STANLEY), owner of BRM racing, disembarks onto the tarmac... NIKI (V/O) It just so happens that the business I deal in is speed.26 INT. VIENNA AIRPORT - CAFE 26 NIKI sits with LOUIS STANLEY in an airport cafe. Contracts are open on the table. NIKI is signing. LOUIS STANLEY is counter-signing... (CONTINUED) 1826 CONTINUED: 26 STANLEY In return for your money you get a car, mechanics and a place on the team. Plus fifty per cent of starting fees and bonuses for podium finishes. NIKI Who's the number one driver? STANLEY Clay Regazzoni and you will defer to him at all times. NIKI takes out his cheque book and pen. He looks up... NIKI Why would I defer to him if I am paying his wages? NIKI writes the cheque. STANLEY's smile fades.. STANLEY Because he's a proven winner at the highest level, a good guy, and someone who quite frankly, could teach you a thing or two. NIKI ignores this, continues scrutinizing the contract... NIKI OK. There is one clause missing. STANLEY The one about mechanics' exclusivity? Sorry. We have a cardinal rule at BRM. All information is shared between ALL our drivers.. NIKI And I made it perfectly clear that my mechanics work for me. No one else. This is something I cannot sign. NIKI takes back the cheque. STANLEY stares... STANLEY All right. I'll have the lawyers amend it. NIKI While you're at it you can tell them to amend the clause for podium finishes. Podium is first THREE places, not just wins. (CONTINUED) 1926 CONTINUED: (2) 26 NIKI puts the cheque in his attache case. Snaps it shut, taking it with him.. NIKI You'll get the money on signature, as agreed. See you at winter testing. NIKI gets to his feet, and leaves. STANLEY watches the attache case disappear. STANLEY If that little git drives half as well as he negotiates, we're going to be fine. CUT TO:27 OMITTED 2728 INT. AWARD CEREMONY - NIGHT 28 An awards ceremony is in progress. The room is thick with cigar and cigarette smoke. A presenter on stage, wearing black tie... PRESENTER I'm delighted to say the winner of the British Guild of Motoring Writers award for the `Most Promising Driver of the Year' is James Hunt... A loud, boisterous cheer goes up at the Hesketh Racing table. JAMES turns to a (new/different) girlfriend beside him, gives her a lingering kiss on the lips, then gets to his feet, shakes hands with HESKETH, and BUBBLES and skips up to the podium... JAMES Thank you. My parents always wanted me to be a doctor, or stockbroker, and gave me a first class education...but to no avail. My brothers are the success stories. I get bored easily. I have a hot head, an inability to tolerate discipline. I fall out with people left and right. I'm quick to settle matters with my fists. The only creatures I've ever loved and treated well, are budgerigars. In any normal area of life, I'd be...or AM...a total liability. All I've got going for me is I'm quick in a car. (CONTINUED) 2028 CONTINUED: 28 A good-looking woman calls out.. WOMAN That's not all! Laughter. JAMES So thank you for acknowledging that. And giving me this... (indicating trophy) I'm going to give it to my Dad, and tell him to put it on the mantle-piece and imagine it's a first class degree in medicine.29 INT. AWARDS CEREMONY - LATER 29 Afterwards: everyone is celebrating. Thanks to JAMES, every pretty woman in the club is around. The trophy is perched beside bottles of champagne... HESKETH Well done, Superstar. One more season in F2 then I'll move you up. To the big time. JAMES You don't think I'm ready now? HESKETH You are! I'm not! I've got to find you a car first. And the money. The economics of Formula 1 are terrifying. BUBBLES Hurry up. You don't want him to do what Lauda did. `Pop', HESKETH opens a bottle of champagne... BUBBLES (contÌd) The Goosestepper. Remember him? JAMES makes the chicken noises again.. BUBBLES Said he no longer wanted to risk his life with "a bunch of crazy amateurs and losers..." JAMES Is that what he called us? (CONTINUED) 2129 CONTINUED: 29 DOC Charming! HESKETH Nothing wrong with being an amateur! BUBBLES Said if he was going to risk his life, he would only do so on the big roulette table. Formula 1. So he got himself a drive with BRM. JAMES What? How? He never won a thing! Not a single bloody race. HESKETH Amateurs are what made this country great. BUBBLES Took out a loan, apparently. Paid for it himself. HESKETH "In war, as in lovemaking, amateurs are invariably better than professionals." Napoleon Bonaparte. BUBBLES A hundred and fifty grand! JAMES A hundred and fifty grand? JAMES stares. Already sick with envy. JAMES That's either an act of utter lunacy, or the ballsiest thing I ever heard. CUT TO:30 INT/EXT. RECEPTION PAUL RICARD CIRCUIT - FRANCE - DAY 30 The PAUL RICARD circuit near Marseilles in the South of France. Where all winter training and testing is done. NIKI arrives. An attractive woman (AGNES) greets him... NIKI Niki Lauda. Here for pre-season testing. BRM? (CONTINUED) 2230 CONTINUED: 30 AGNES Take a seat, please. I'll get someone to come and collect you... NIKI watches as she telephones the BRM workshops... AGNES Hi. There's someone here for you? NIKI (prompting) Lauda. AGNES (misunderstanding, speaking louder) SOMEONE HERE TO SEE YOU. She hangs up. NIKI decides against pointing out her mistake. AGNES They'll be right here. NIKI Thank you. A silence. The RECEPTIONIST continues with her work. NIKI watches her, unsure what to say, (small-talk not his forte)... NIKI Worked here long? AGNES Excuse me? NIKI Just wondered if you've worked here long? AGNES Almost eight years. NIKI That long? And they didn't promote you yet? AGNES Yes, several times. I am the AGNES. Agnes Bonnet. If you're looking for the receptionist, she's on her lunch. NIKI is thrown. Feels humiliated. A total jerk. He is about to say something when the door opens, and... Two other F1 DRIVERS walk in.. (CONTINUED) 2330 CONTINUED: (2) 30 Glamorous, long-haired, tanned, fashionable - like rock stars, they talk effortlessly and flirt confidently with AGNES. What are you doing answering the phones? New haircut! Like it. What have you done to the weather? They make her laugh. And smile. NIKI feels invisible. Embarrassed. Awkward. Inadequate. He gets to his feet. And goes to the car that has come to collect him. As he goes, (unseen by NIKI), AGNES watches him. Ignoring the other DRIVERS. Intrigued. He's different. Interesting. Intense. Intelligent eyes.31 EXT. BRM WORKSHOPS - DAY 31 The car pulls up outside the workshops. NIKI gets out of the car, and is greeted by LOUIS STANLEY, and the BRM team... STANLEY Niki, let me introduce you to our number 1 driver, Clay Regazzoni..and our number 2, Jean Pierre Beltoise.. The intimidating, muscular, moustachioed figure of CLAY REGAZZONI, the Swiss driver. NIKI and CLAY shake hands. STANLEY And these are your mechanics, reporting exclusively to you. As per contract... REGAZZONI, BELTOISE and STANLEY exchange looks as NIKI shakes hands, ad-libbed greetings with his MECHANICS. MECHANIC You want to see the car?32 INT/EXT. BRM WORKSHOPS - DAY 32 NIKI is led into the workshop to see a red and white Marlboro sponsored car, number 21, with a tall air-intake duct just above the driver's helmet... MECHANIC There she is. The P160.. NIKI Same as Regazzoni's? (CONTINUED) 2432 CONTINUED: 32 MECHANIC Identical in every detail. NIKI scrutinizes the car... NIKI She looks heavy. How much does she weigh? MECHANIC 540 kilos. NIKI That's crazy. Why so heavy..? MECHANIC It's a 3 litre, V12 engine, that thing weighs 190k alone. NIKI What horsepower are you getting out of it? MECHANIC 450. NIKI Not enough. Needs to be 500 and the engine needs to be 20k lighter. MECHANIC We already tried... NIKI Did you use magnesium parts? The MECHANICS look at one another skeptically...33 INT. BRM WORKSHOPS - NIGHT 33 Shooting from above: The entire car has been stripped to a thousand pieces. Now spread all over the workshop floor. NIKI's team of mechanics reluctantly work through the night making the adjustments which NIKI is suggesting... NIKI Any solid plate, strip it out... More disbelieving, skeptical looks. The car is in pieces on the floor. NIKI brews coffee to keep people alert. Focused. (CONTINUED) 2533 CONTINUED: 33 NIKI And when we've done that, we need to look at the aerodynamics. Front and rear wing.. More mutinous looks. "Who is this asshole?"34 EXT. BRM WORKSHOPS - FIRST LIGHT 34 Daylight breaks over the race-track. The doors to the workshop open, and the MECHANICS and NIKI emerge - their work done. NIKI goes to shake hands with the MECHANICS... NIKI OK. Thank you. Good night.. But they're exhausted. Refuse to shake hands with this nut.35 EXT. PAUL RICARD CIRCUIT - DAY 35 LATER: one of the BRM cars screams round the race-track... NIKI watches on the sidelines as CLAY REGAZZONI is time- testing his car. He walks over to where LOUIS STANLEY and several MECHANICS are doing the timings... NIKI What was his time? STANLEY Two minutes six seconds. NIKI OK. Now put him in my car, and he'll go round under two minutes. STANLEY Six seconds faster? Impossible. NIKI looks up to see AGNES, the attractive TRACK MANAGER again on the other side of the track. NIKI waves hi. AGNES waves back. Smiles. NIKI raises his eyebrow. Surprised.36 EXT. PAUL RICARD CIRCUIT - DAY 36 REGAZZONI gets into NIKI's car. 2637 EXT. PAUL RICARD CIRCUIT - DAY 37 REGAZZONI races round the track at full speed. REGAZZONI roars past the finishing line in NIKI's car. LOUIS STANLEY looks at the stop watch.. His expression changes.38 INT. PAUL RICARD CIRCUIT - DAY 38 STANLEY comes into the workshop where NIKI and his MECHANICS are in conversation, getting changed... STANLEY All right. What did you do to the car? NIKI That's information I will share with you under certain conditions only. STANLEY stares, bracing himself.. STANLEY Go on... NIKI A guaranteed place in the team, and a paid contract on equal terms with Regazzoni for two years. STANLEY Are you crazy? Clay's a senior figure in Formula One...you're a rookie. The only reason we took you ON was because you were paying us. NIKI Well, as of now, if you want me to stay, we rip up the contract. I don't pay you a cent. STANLEY It's outrageous. NIKI Was he quicker in my car? He was, wasn't he? STANLEY stares... NIKI Did he go under two minutes? (CONTINUED) 2738 CONTINUED: 38 STANLEY (quiet) One fifty-six. NIKI So have a think, work out your priorities, and get back to me. NIKI turns, and goes. STANLEY stares... STANLEY Not even my WIFE speaks to me like that.39 EXT. PAUL RICARD CIRCUIT - DAY 39 CLAY REGAZZONI emerges from testing his car. Still amazed by the improved performance. Talking to his MECHANICS. In awe. He removes his helmet, then stops. In the distance he sees NIKI talking to AGNES the attractive TRACK MANAGER. They are clearly hitting it off..40 INT. PAUL RICARD CIRCUIT - WORKSHOPS - LOCKER-ROOM - DAY 40 NIKI is in the showers, then getting changed for his date with AGNES. He is about to go, when he stops, and sees... CLAY REGAZZONI getting undressed, looking at NIKI. CLAY speaks English with an Italian accent.. REGAZZONI I know what you're going to say. That it's none of my business... NIKI What? REGAZZONI If it's the Track Manager you're taking on your date tonight? NIKI immediately becomes defensive... NIKI It's none of your business. REGAZZONI Okay, but if you want my advice...I'd let this one go. I'm not questioning your taste. She's a great girl. (MORE) (CONTINUED) 2840 CONTINUED: 40 REGAZZONI (contÌd) But Agnes's last boyfriend was a British Formula 2 driver, who has a reputation for two things. For being a suicidal jerk on the track, and for going all night, and all day afterwards...and all night again in bed. He's an OK driver, but an IMMORTAL fuck, apparently. I don't know about you, but that's not an act I'd like to follow. (shrugs) But if that doesn't bother you... NIKI What's his name? The driver? REGAZZONI Hunt. James Hunt. NIKI stares. Can hardly believe it. REGAZZONI See? You share information, I share information. CLAY slaps NIKI on his back, and goes into the showers.. REGAZZONI That's what team-mates are for. NIKI (quiet/defeated) Thanks.41 EXT. RESTAURANT - NIGHT 41 A restaurant in Marseilles. Through the window we can see AGNES, the attractive TRACK MANAGER sitting at a table alone. Waiting for NIKI. Reverse angle to reveal:42 INT. NIKI'S CAR/ MARSEILLES STREET - SAME TIME 42 NIKI is sitting in a car across the street. He stares at AGNES in the restaurant. Then starts his car, and drives off. FADE TO BLACK: 2943 EXT. EASTON NESTON - HESKETH RACING HQ - DAY 43 Easton Neston. Set in 3,300 acres, one of England's great country houses. Home to the Fermor-Hesketh family since 1700. JAMES and a new GIRLFRIEND drive up the gravel drive in his anything but grandiose Mini. It splutters to a stop, just in time. They are greeted by uniformed STAFF who take his tatty bags from his filthy car.44 INT. HESKETH RACING WORKSHOPS - EASTON NESTON - DAY 44 The Hesketh Racing workshops, situated in the converted stables on the estate. HESKETH leads a blindfolded JAMES in... HESKETH Keep them closed...! Wait for it, wait for it... HESKETH removes JAMES's blindfold... HESKETH There! What do you say? JAMES opens his eyes to see a gorgeous F1 racing car, plain white, no stickers... HESKETH Isn't she a beauty? The March 731. Converted by the brilliant Doc..! DOC POSTLETHWAITE takes a modest bow. JAMES shakes hands with everyone, including his brother, (and manager), PETER.. JAMES She is a beauty. But...haven't you made a mistake? HESKETH What? JAMES That's not a Formula 2 car. She's F1. HESKETH She is, Superstar. Why? Because I got together with the beancounters, and it turns out that the economics of F1 are not so significantly different to the economics of Formula 2... BUBBLES clears his throat, dutifully bites his tongue.. (CONTINUED) 3044 CONTINUED: 44 HESKETH So we thought if we were going to be messing about losing money we might as well be doing it with the big boys. JAMES Are you serious? HESKETH Never been more serious in my life! JAMES embraces HESKETH in excitement, kisses him... HESKETH Actually, I got the idea after what you said about the Austrian chap who bought his way in rather than waste his time in the lower divisions. I thought, "Bloody hell, he's right!" JAMES slips into the cockpit... JAMES Well done the Goosestepper!! HESKETH (indicates car) No sponsorship, Superstar! I hope you approve. JAMES I do, Patron. HESKETH No vulgar logos for cigarettes, or condoms. Just plain white. With the Union Jack. And racing overalls which read... HESKETH indicates JAMES's hanging racing overalls... HESKETH "Sex. Breakfast of Champions." Unless it's me, of course, in which case it's two kippers, porridge, boiled eggs, and half a dozen slices of toast... Laughter. JAMES So when do we start? HESKETH Soon as you're ready. (CONTINUED) 3144 CONTINUED: (2) 44 JAMES I'm ready now. HESKETH That's my boy! HESKETH pops champagne... HESKETH They won't know what's hit them!45 EXT. SPANISH GP - RACE TRACK -27 APRIL 1975- DAY 45 To establish: a Formula 1 race track on Grand Prix week-end.. A helicopter comes in to land. The Hesketh Racing Team makes a grand entrance with a retinue of BUTLERS, GIRLS, ROLLS' ROYCE's, oysters, champagne... A famous ex-champion TV REPORTER is there (Stirling Moss) providing skeptical commentary about Hesketh's debut... STIRLING MOSS ...hard to tell whether Lord Hesketh and his team of upper class enthusiasts is bringing glamour to the racing community, or just comedy... They walk around in their own branded clothing. Alexander's jacket reads, "Le Patron". He speaks to MOSS. Rolled eyes among other racing teams who express surprise, curiosity (and frequently disapproval) at these new arrivals.. STIRLING MOSS It's certainly the first time I can remember seeing a butler serving caviar and oysters in the pits... Suddenly pandemonium breaks out. Screams. Something has happened. A bad accident on the track. During testing... STIRLING MOSS (holding ear-piece) ...reports are reaching me of a serious accident that has just taken place in qualifying.... All smiles fade. The party atmosphere changes in a flash. Panic breaks out. The sound of sirens. Ambulances rushing to the scene of the accident. All the JOURNALISTS and TV CREWS rush off, too. (CONTINUED) 3245 CONTINUED: 45 HESKETH, BUBBLES and JAMES look at one another, put down their champagne glasses, and follow...46 EXT. RACE TRACK - SPAIN - DAY 46 Mangled wreckage. A car has crashed into (badly installed) Armco guard rails, splitting the railing in two... The DRIVER has been decapitated. His helmeted HEAD lies cleanly severed on the ground... A goldfish-bowl of blood. It's a horrific accident. People SCREAM and look away. Even hardened medical professionals... JAMES, HESKETH, BUBBLES arrive on the scene of the accident. But they are kept away, at a distance... STIRLING MOSS ...it seems the driver...just twenty- six years old....was killed on impact...and the death toll in Formula 1 shows no sign of slowing down...47 INT. HESKETH PITS - SPANISH GRAND PRIX - DAY 47 JAMES, dressed in his overalls, is violently retching. Sick with nerves. A TV plays in the pits... COMMENTATOR ...in the last five years alone Formula 1 has lost Piers Courage, Jo Siffert, Peter Revson, Jochen Rindt, Francois Cevert, Roger Williamson... ON TV: quickfire clips of the terrible, violent deaths. BUBBLES hastily switches off the TV as JAMES walks past...48 EXT. PADDOCK - DAY 48 JAMES walks out of the paddock, towards his car. Other DRIVERS gathered in concerned groups, talking... DRIVER (O.S.) It's terrible. JAMES They should cancel the race. Then, a distinctive Austrian accent.. (CONTINUED) 3348 CONTINUED: 48 NIKI Why? No one came to see him anyway. He made a mistake. Went into the corner too fast. JAMES Is that right? So says the nobody who had to pay for his own drive. How's that working out, by the way? NIKI Fine. How's it at the back? JAMES Not planning on being there for long. NIKI Good. Look forward to you showing me the way today. JAMES `Be happy to. I'll have you inside lap one. NIKI Yeah right. JAMES walks off to his car, shaking his head.. JAMES Asshole. NIKI walks to his car, putting on his helmet. NIKI Asshole.49 OMITTED 4950 OMITTED 5051 OMITTED 5152 OMITTED 5253 OMITTED 5354 OMITTED 5455 OMITTED 5556 OMITTED 5657 OMITTED 57 (CONTINUED) 3448 CONTINUED: (2) 4858 OMITTED 5859 EXT. SPANISH GRAND PRIX PADDOCK/ PODIUM - DAY 59 NIKI is on the podium, spraying champagne. He is wearing the victor's garland... Meanwhile: JAMES's car is embarrassingly being brought back by a tow-truck. NIKI watches from the podium.. His eyes meet JAMES's..60 INT. BAR - HOTEL - NIGHT 60 JAMES and BUBBLES and PETER HUNT (JAMES's blazer-wearing manager and elder brother), sit together at a table in the corner. It's late. A frank post-mortem. Drinking and talking.. JAMES Niki humiliated me today. He lapped me three times. BUBBLES He lapped Carlos Pace six times. JAMES That's supposed to console me? What do I need to do? PETER Grow up. JAMES Shut up, Moneyman. `Didn't ask you.. BUBBLES Your brother's right. You've got to change your attitude. We all do. And match it with a whole different mental approach. Professionalism. Maturity. Like Niki. PETER Bet he doesn't go out every night, drink and screw himself stupid. JAMES So speaks the jealous married man.. PETER No. So speaks the manager who's wasting his time, making ten per cent of absolutely nothing. (CONTINUED) 3560 CONTINUED: 60 BUBBLES You've just got to take it more seriously. Yourself more seriously. PETER Something he's never done. JAMES Don`t patronize me, Pete... BUBBLES We need you to spend less time in bars and nightclubs... PETER Make that NO time... BUBBLES And more time with the mechanics, setting up the car. That's what Lauda does. 24 hours a day. JAMES rolls his eyes... BUBBLES God knows there's nothing wrong with your talent. Or courage. It's purely a character issue right now. JAMES And the good news is I've got Sigmund Freud Horsely, failed driver par excellence, and a washed-up accountant to lecture me on it. PETER (closes eyes) Jesus, James... BUBBLES walks off. PETER HUNT walks off. JAMES calls out.. JAMES Bubbles? I'm sorry..! I didn't mean that! Come back..!61 OMITTED 6162 OMITTED 6263 OMITTED 6364 OMITTED 6465 OMITTED 65 (CONTINUED) 3660 CONTINUED: (2) 6066 OMITTED 6667 EXT. EASTON NESTON - DAY 67 The grand Hesketh estate in the Northamptonshire countryside.68 INT. HESKETH RACING WORKSHOPS - EASTON NESTON - DAY 68 JAMES is in the workshops, his hands and arms filthy, he's been working on the car - but now his eyes are closed. Memorizing tracks. Around him people are working on the car.. JAMES ....along the Beau Rivage, long left into Massenet, into the short right of Casino. Sharp right into Mirabeau, then sharp left into Loews, mind the guard rails... VOICE Is Alexander around..? JAMES opens his eyes to see an endless pair of legs, a drop- dead gorgeous figure, and the beautiful smiling face of SUZY MILLER, the most successful model of the day. JAMES He was. Then went to the house to take a call. He'll be back shortly. SUZY Only he wanted to show off his pride and joy... SUZY indicates the car... SUZY ...rhymes with `boy' if you ask me. And `toy'. I can't believe what I'm seeing. JAMES Why? SUZY It's just so small! For something that costs so much. And so flimsy. There's no comfort. No protection. Nothing. JAMES No. Just a little coffin, surrounded by high-octane fuel, being driven round at 170 miles per hour.. (MORE) (CONTINUED) 3768 CONTINUED: 68 JAMES (contÌd) (becoming grave) To all intents and purposes a bomb. On wheels. SUZY Why don't they make it safer? JAMES No one wants it to be. It's like saying why not make bullfighting safer? It's a blood sport. The risk of death turns people on. Without it, I guess, it'd be half the fun. Which is fine for the voyeurs, fine for TV, fine for everyone.. (a beat) ...except us drivers. SUZY looks JAMES up and down. Sees the bare feet, the rock star good looks... SUZY You're James, aren't you? JAMES Yes. SUZY Thought so. You fit the description. (shaking hands) Suzy. Friend of Alex's. JAMES I know exactly. In the background: one of the MECHANICS shows DOC a picture of SUZY from a tabloid newspaper. She's clearly the most famous model in Britain, and a star in her own right... JAMES What was the description? SUZY Mostly positive in terms of appearance. Negative only in terms of character. I've been told to avoid you. JAMES By whom? SUZY Alex. He says you're a bad boy. (CONTINUED) 3868 CONTINUED: (2) 68 JAMES Was. Not any more. New me very professional. Early to bed. Early to rise. All very dull. SUZY Really? JAMES Round-the-clock work, practise and focus. Tedious, but apparently the only way to vin against ze Goosestepper.. SUZY Is that what you were doing when you came in? JAMES Visualization techniques. Memorizing the circuit, in this case Monaco, which is next up. Eyes closed, know your way round in your sleep... (a beat) I know...I've always been a great believer in getting there on the day, putting the old foot down and playing chicken with everyone else. SUZY laughs.. JAMES But they don't want me to do that anymore...they want my body like a temple. My mind like Monk. SUZY And your soul? Your heart? JAMES What does that mean? SUZY You can't be so disciplined in all areas of your life, can you..? JAMES They want me to stop messing around, get married and settle down with the next nice girl I meet. They think it would be good for me. SUZY What do you think? (CONTINUED) 3968 CONTINUED: (3) 68 JAMES Sounds bloody awful. SUZY laughs again... JAMES But since they're right about most things, they're probably right about that, too. JAMES looks SUZY up and down... JAMES You don't fancy getting married, do you?69 EXT. BROMPTON ORATORY CHURCH - LONDON - DAY 69 The sound of ringing bells. London's grandest Catholic church in the heart of Knightsbridge..70 OMITTED 7071 EXT. BROMPTON ORATORY CHURCH - DAY 71 JAMES and SUZY, top hat and tails, flowing white wedding dress, looking ravishing, emerge from the church. JAMES and SUZY fall into a passionate, sexy embrace for the paparazzi cameras. Loud cheers go up, led by HESKETH and BUBBLES. They make their way to the waiting convoy of cars... On his way: JAMES spots a serious-faced HESKETH and DOC POSTLETHWAITE in conversation with some Formula 1 types in the crowd.. SUZY is pulled away for photos. Clearly a bigger star even than JAMES. JAMES turns to BUBBLES, indicates HESKETH... JAMES What's up? BUBBLES Nothing. I don't want to ruin your day. BUBBLES stares, then reluctantly... (CONTINUED) 4071 CONTINUED: 71 BUBBLES It seems your revenge against the Goosestepper might have to wait a little longer than you'd hoped. (a beat) He's just been signed by Ferrari. JAMES WHAT??? But that's the best team in the world. They could have ANYONE. Did he pay his way in there, too? BUBBLES Apparently they took back Regazzoni and he insisted they give Lauda a trial. Thinks he's a genius. Setting up the cars... JAMES stares...then is pulled away to pose in photographs with SUZY and her FAMILY.72 EXT. FIORANO - NORTHERN ITALY - DAY 72 FERRARI's state-of-the-art practise facilities and private test-track in Northern Italy.72A INT. FERRARI CONTROL ROOM 72A Closed circuit television, with 10 cameras and a complex track timing system and computers....72B EXT. FIORANO - TRACK SIDE 72B ENZO FERRARI himself, the Commendatore, a formidable white- haired patriarch in Onassis dark glasses, reads newspapers, sitting by the race tracks, barely looking up as two red Ferrari's roar round the track... LUCA DI MONTEZEMOLO, the young, dynamic, aristocratic manager of the Scuderia, by contrast, watches eagle-eyed..72C EXT. FIORANO - TRACKSIDE - LATER 72C The two cars stop, and NIKI and CLAY REGAZZONI gets out. NIKI talks (in a mix of Italian and English) to his MECHANIC, giving them typically blunt feedback... NIKI It's terrible! Drives like a pig! (CONTINUED) 4172C CONTINUED: 72C MECHANIC Sssshhh! You can't say that! NIKI Why not? MECHANIC It's a Ferrari! NIKI I've driven better milk floats. It understeers like crazy and the weight distribution is a disaster... The MECHANIC gulps, then walks over to where the terrifying COMMENDATORE and LUCA DI MONTEZEMOLO are sitting, and passes on the information... MECHANIC He says the car is magnificent, a masterpiece, but he has suggestions for one or two minor refinements...73 INT. FERRARI PRESS CONFERENCE - DAY 73 A large press conference, with motoring JOURNALISTS and television CREWS from all over the world attending... ENZO FERRARI and LUCA DI MONTEZEMOLO addresses the conference (in Italian) which is translated by a translator... ENZO We are happy to welcome back to the Ferrari family our good friend, Clay Regazzoni...and also to introduce, from Austria Niki Lauda.. A burst of flash photography. NIKI and REGAZZONI sit side by side.74 EXT. ITALIAN COUNTRY ROADS - DAY 74 A car drives fast on country roads in Northern Italy...75 INT. CAR - SAME TIME 75 CLAY REGAZZONI is driving, NIKI is in the passenger seat... REGAZZONI "Ferrari Family". "Our good friend, Clay Regazzoni". (MORE) (CONTINUED) 4275 CONTINUED: 75 REGAZZONI (contÌd) You're friend and family to the Commendatore as long as you win. The minute you don't.. (mimes execution) NIKI I understand. It's business. I would be the same. REGAZZONI But it isn't just business, is it? What we do? It's passion. Love. Which is why we're prepared to risk our lives for it. NIKI Not me. If I thought I had more talent and could earn better money doing something else, I would. REGAZZONI But how do you know you will make money here? You haven't yet. NIKI Not yet. But I will. (smiles) If you can, I can. REGAZZONI shakes his head, can't help smiling... REGAZZONI You know, are you ever NOT an asshole? NIKI laughs... NIKI Why am I an asshole? You know by now I'm both quicker than you and better at setting up the car. You can't deal with that, then you're the asshole. REGAZZONI Screw you. REGAZZONI pulls up outside the house... REGAZZONI (contÌd) I brought you along today because you seem like a lonely kind of guy. I thought if I introduce you to some nice people, it'd be good for you. Forget it. Make your own friends. (CONTINUED) 4375 CONTINUED: (2) 75 REGAZZONI walks ahead, disappears through the front door, where he is warmly welcomed, and invited into a party. NIKI calls after him... NIKI I'm sorry. C'mon, Clay...76 EXT. COUNTRY HOUSE - NORTHERN ITALY - DAY 76 NIKI stares through the window. Inside: a very appealing looking bunch - young, good-looking, cool, sexy GUESTS - all having a good time.. By contrast: NIKI catches his own reflection in the glass reflection. Pale. Intense. The outsider. Inside: REGAZZONI is surrounded by friends, telling a story. Everyone laughs. NIKI watches. Then turns to walk away. As he goes, the front door opens... And a beautiful dark-haired woman (MARLENE) emerges loading several BAGS into a car. Brunette, tan. Wearing a white dress. NIKI Are you leaving? MARLENE Yes. NIKI Can you give me a lift to the nearest town? Anywhere with a train station. MARLENE Sure. Nearest town is half an hour's drive. Get in.77 OMITTED 7778 EXT. ROAD - DAY 78 The car drives. The radio plays. Marlene sings along. NIKI can't help noticing something. He turns down the music. MARLENE's smile fades.. MARLENE What are you doing? (CONTINUED) 4478 CONTINUED: 78 NIKI You hear that noise when you accelerate? MARLENE No. NIKI Your drive belt is loose. MARLENE My what? NIKI Alternator. And when you brake, your foot goes all the way down. Means there's air in the system. MARLENE Anything else? NIKI No. Apart from the rear brakes are imbalanced. The front right wheel is flat, and it feels like a crack in the engine block...which explains why you're drifting so much. MARLENE How can you tell? NIKI My ass. MARLENE What? NIKI God gave me an OK mind, but a really good ass, which can feel everything in a car. MARLENE You don't know what you're talking about. The car is fine. And it just had a service a week ago. NIKI Not a good one. MARLENE A very good one. From a proper garage. It cost a fortune. This car is good as new. Relax. 4579 EXT. MOTORWAY - HARD SHOULDER - DAY 79 White smoke pours from the engine. The car has broken down. Bonnet up. NIKI has tried fixing it, but to no avail. NIKI has a fan belt in his hand, but it's all but disintegrated under the heat of the over-worked engine. NIKI's hands are covered in oil. He is pushing a pen into a large crack in the engine, slick with oil and grease. NIKI Nothing I can do here. The car needs a garage. MARLENE I'm sorry. You're not in a hurry, are you? NIKI No. As long as I'm back in Maranello by Monday morning. NIKI walks out into the road. Sticks out his thumb... MARLENE So who are you anyway? MARLENE breaks into GERMAN...(we see sub-titles)... MARLENE You're from Vienna, aren't you. We can speak German. How do you know Curd? NIKI Who's Curd? MARLENE Curd Jurgens. The actor. It's his house. He is, or was until yesterday, my boyfriend. I must have been mad! There is something very attractive about an older man when they behave like one. But when they behave like a frightened child.. MARLENE gets to her feet... MARLENE C'mon, let me do this. Otherwise we'll never get out of here. We're in Italy, after all. MARLENE indicates that NIKI should take a back seat, hitches up her skirt, showing long, tanned legs.. (CONTINUED) 4679 CONTINUED: 79 SSSCCCREEEEEEEEECCCCCHHHHHHH!!!!! Immediately a passing car screeches to a halt, then reverses noisily to pull level. MARLENE smiles at NIKI... MARLENE Not bad, eh? Three seconds. Admit it, you're impressed..! MARLENE smiles flirtatiously at the handsome, young Italian MEN driving the open-topped sports car.. MARLENE Ciao, Regazzi...! But the Italian MEN walk right past her, not seeing her, as if she's invisible, and stare at NIKI... ITALIAN MAN (in Italian) Excuse me...are you Niki Lauda? NIKI Yes. ITALIAN MAN (in Italian) Oh, my God...!!! I told you it was him..!!! (blown away) Do you need a ride? NIKI Yes, we do... The ITALIAN MAN gestures to his car, as his friend loads MARLENE's luggage inside... ITALIAN MAN An honour, please!!! But on one condition.. The ITALIAN MAN whisper in NIKI's ear. MARLENE stares, not understanding, as NIKI protests, but then slowly, reluctantly gets into the car. He starts the engine. MARLENE watches as the ITALIAN MEN strap themselves in with the seat-belts, tightening them...giggling like schoolboys.. MARLENE Will someone please tell me what's going on? MARLENE turns to NIKI... (CONTINUED) 4779 CONTINUED: (2) 79 MARLENE Who are you, anyway? What do you DO? ITALIAN MAN You don't know? He's a Formula I driver. Who just signed for Ferrari! MARLENE Him? Never. Impossible! ITALIAN MAN Why? MARLENE Formula 1 drivers have long hair, are sexy, have shirts open to here.. MARLENE indicates... MARLENE Anyway, look at the way he's driving!! Like an old man!! It's true. NIKI is driving in the slow lane. Like a pensioner. NIKI No need to drive fast. It only increases the percentage of risk. We're not in a hurry. No one is paying me. Right now, with zero incentive or reward, why would I drive fast? MARLENE looks at him with her dark green eyes... MARLENE (in German) Because I'm asking you to. NIKI (in German) And do you always get what you want? MARLENE (in German) Usually. NIKI stares, trying to resist...but cannot. He does a lightning double-declutch... "SLAM", NIKI's foot hits the floor, the engine screams, the rev counter flies to the right... And the open-topped sports car lurches into warp-drive... (CONTINUED) 4879 CONTINUED: (3) 79 MARLENE is thrown back hard in her seat, "Jesus", her eyes widen in terror and amazement.. MARLENE Oh, my God...!! The ITALIAN MEN scream in excitement, holding on for dear life as NIKI, his heart not a beat over 60, takes the car to breaking point, in a way it's never been driven before... NIKI overtakes everyone on the motorway, fearlessly weaving between cars at twice their speed.. We CLOSE on NIKI's eyes, remaining dead calm as his passengers scream all around him, as he accelerates through the other cars on the motorway... His EYES remain calm, his WHEELS a blur of speed, and we... MATCH CUT TO:80 EXT. USA GP - WATKINS GLEN - 5TH OCTOBER 1975 - TRACK - DAY 80 Calm EYES, and WHEELS moving in a blur of speed. We're in the middle of a Grand Prix, and NIKI is driving at the limit... CAPTION: "1975". Ahead of him: a familiar sight. The back of JAMES HUNT's Hesketh..81 EXT. PITS - DAY 81 MARLENE watches on TV in the pits as NIKI is engaged in an epic tussle with JAMES... Commentators note the improvement in JAMES's technique, maturity and performance. But then, "Puff", a plume of smoke comes out of JAMES's engine. The engine has blown... Immediately JAMES loses speed, and NIKI sails past, overtaking effortlessly. Taking the chequered flag. Television commentary in various languages tells us: NIKI LAUDA has become world champion...82 EXT. FERRARI PITS/USA GP TRACK SIDE - DAY 82 NIKI's car pulls in, to be mobbed by jubilant MECHANICS as he gets out of his car, removing his helmet, embraced by a delighted LUCA DI MONTEZEMOLO... (CONTINUED) 4982 CONTINUED: 82 ...then falling into a passionate kiss with MARLENE... Champion of the World, he is immediately swallowed up by REPORTERS who are demanding interviews in Italian, German, English...83 EXT. USA GP/PADDOCK - DAY 83 An impromptu party in the paddock area. The victor's garland still round his neck, proudly holding the FIA World Champion trophy, his hair matted with champagne, NIKI passes through the crowds, accepting everyone's congratulations.. He runs into JAMES, who's in bare feet as usual. MARLENE is pulled away to talk to someone else.. JAMES Congratulations. NIKI Thank you. JAMES Though with a car like that, the rest of us never stood a chance... NIKI Maybe the fact the car is so good might have something to do with me. JAMES You're still in a Ferrari. And I'm still in a Hesketh. On equal terms, the way it was in Formula 3, I'd beat you, and you know it. NIKI Never. You might get lucky and win one race. Maybe two. Because you're aggressive. But in the long run, over the course of a season, no chance. JAMES Why's that? NIKI Because you're not serious. You're just a party guy. Which is why everyone likes you. JAMES Now try saying that and tell me you're not jealous. (CONTINUED) 5083 CONTINUED: 83 NIKI But all that affection, all those smiles is also a sign of their disrespect! They don't fear you. Whereas compare that to me... JAMES Whom no one likes... NIKI Right.. JAMES Not even his own team-mates.. NIKI Right! Because I'm relentless. I don't screw up. I go to bed early. I look after myself, look after my car. And then, soon as the race is finished, I go home. You should go home more often, too. I heard you got married. JAMES I did. NIKI So where is she? JAMES In New York. Working. NIKI You know I've never seen you with her, once... NIKI turns to MARLENE, "Let's go"..84 EXT. EASTON NESTON - DAY 84 JAMES's Mini roars furiously up the long gravel driveway towards Easton Neston. Screeches to a halt. JAMES gets out of the car. Is greeted by staff, whom he uncharacteristically ignores, storming past...85 INT. EASTON NESTON - WORKSHOP - DAY 85 JAMES walks into the workshops where BUBBLES HORSLEY is busy doing something... (CONTINUED) 5185 CONTINUED: 85 JAMES Right, whatever it takes to beat Lauda, just say it, your word is my command. I'll do it. There are no lengths to which I will not go. And I mean it this time... JAMES stops, noticing BUBBLES's expression... JAMES What's the matter? Then JAMES notices what BUBBLES is doing. He's packing. JAMES What are you doing? Then JAMES notices the lack of activity in the workshops. None of the usual mechanics, or engineers.. JAMES Where is everyone? BUBBLES looks up. Unsure how to break it to him.86 INT. DRAWING-ROOM - EASTON NESTON - DAY 86 An old drawing-room. The open fire roars. But HESKETH is uncharacteristically quiet. Defeated.. HESKETH Do you know what the date is today? JAMES November 14th. HESKETH Do you have any idea of the significance of that date? JAMES I'm assuming it refers to some animal you are allowed or no longer allowed to slaughter on your estate. HESKETH Actually it's the deadline for securing sponsorship for the forthcoming Formula 1 season. (a beat) Which elapsed at midnight last night. And we didn't attract any. (CONTINUED) 5286 CONTINUED: 86 JAMES So? We aren't looking for sponsorship. Condoms and cigarettes. Vulgar, right? HESKETH Right. Except we are. Or were. I've made something of a miscalculation. The economics. Formula 1. Reality thereof. Turns out not like the lower divisions at all. JAMES What are you saying? HESKETH I'm saying it's over, Superstar. The banks have stepped in. Read me the riot act. Started laying everyone off. Probably have to sell this place. Fun while it lasted, would do it all again and all that... (ashen) I daren't tell you the actual figures. JAMES stares at a devastated HESKETH... JAMES Christ.87 INT. JAMES'S FLAT - LONDON - NIGHT 87 JAMES is on the phone to his brother PETER, while playing Scale-electrix cars on a track alone, barefoot... JAMES I need a drive, Pete. Need you to find me a drive. (listens) What does that mean? "My reputation precedes me?" "Crash", the electric toy car crashes... JAMES (listens) Really? Is that what they said? (a beat) Did they at least say a "Quick arsehole?" (listens) Bollocks to Lotus. Find me someone else. I'll go mad otherwise. "Click", JAMES hangs up. SUZY walks in. Sees his mood.. (CONTINUED) 5387 CONTINUED: 87 SUZY Don't worry. Something will turn up. JAMES opens a bottle of Scotch, pours himself a drink... SUZY But I doubt that will help in the meantime. JAMES knocks back the drink... SUZY Why don't we go away for the week-end? Before I leave again for New York? JAMES carries on drinking.. SUZY Talk to me, James. Don't make a stranger of me. JAMES doesn't react... SUZY I can't watch this. SUZY picks up her coat, and bag.. JAMES What were you hoping for? A well- adjusted knight in shining armour? SUZY No danger of that.... JAMES Let me give you some advice. SUZY I'm all ears... JAMES Don't go to men who are willing to kill themselves driving in circles looking for normality. SUZY Well, I certainly didn't get that... JAMES Should have gone for one of my brothers. (CONTINUED) 5487 CONTINUED: (2) 87 SUZY There goes that self-pity again. How striking it is - JAMES What's that? Tell me.. SUZY The gulf between appearance and reality. Look at you, all sunshine blonde beauty and smiles...yet the reality is...a frightened, immature, depressed, self-pitying child... JAMES At least there's SOMETHING behind the facade. SUZY With a nasty temper.. JAMES Fuck off to New York, dear. There must be a moisturizer or eye shadow somewhere that needs your vapid mush to flog it. SUZY How quickly beauty can turn ugly. JAMES Agreed. Repellent. SUZY stares...and goes. JAMES carries on drinking.88 OMITTED 8889 OMITTED 8990 INT. JAMES'S FLAT - FOLLOWING MORNING 90 The following morning. The phone rings. Piercing the darkness. JAMES, clearly the worse for wear, is talking to his beloved budgies... JAMES Good girl... A surprising vulnerability, and childlike innocence about JAMES. He strokes the birds with real tenderness.. The phone continues ringing. JAMES picks it up... (CONTINUED) 5590 CONTINUED: 90 JAMES (INTO PHONE) Hello? JAMES listens, then hears something on the phone that makes him sit up... JAMES (INTO PHONE) Who? McLaren? JAMES is waking rapidly now.. JAMES (INTO PHONE) Just get me in a room with them, Pete. Say anything. Today? Yes, I can do today. (checks watch) I can be there in an hour. JAMES starts scribbling down the address.91 EXT. MCLAREN HQ - TO ESTABLISH 91 The headquarters of McLaren Racing in Colnbrook, Bucks. A small, unassuming building on the Poyle Trading Estate. Bare brickwork surrounds a brash yellow facade, with the words `MCLAREN RACING' in large white letters.92 INT. MCLAREN HQ - BOARDROOM - DAY 92 A large boardroom. Team Director TEDDY MAYER (American, from Pennsylvania, short, lawyerly, 50's - hair turning grey) sits at the head of the table. Next to him is Aussie Marlboro spokesman JOHN HOGAN and McLaren Team Manager and chief mechanic ALASTAIR CALDWELL. The atmosphere is tense, uncomfortable... MAYER I'll come straight to the point. Our esteemed lead driver... CALDWELL Fitti-fucking-paldi.. MAYER Has ditched us for another team at the last minute.. CALDWELL In November. Fucking outrageous. (CONTINUED) 5692 CONTINUED: 92 MAYER And we need a replacement. Asap. Thankfully a few hands have already gone up. Good people... CALDWELL Like Jackie Ickx. JAMES I'm quicker than Jackie. MAYER But he's consistent, dependable. Sponsor friendly. He'll dress up nice. Say the right things. JAMES What do you want? A driver or a brushes salesman? MAYER We want to be successful. JAMES So do I. But I measure that in podium finishes and beating Niki Lauda not being a show pony for sponsors. MAYER I've heard about this thing with Lauda. CALDWELL (rolls eyes) Everyone has.. MAYER You really think you can beat him? He's World Champion. JAMES I beat him in Formula 3. CALDWELL This season alone he's had eight podiums, five wins, you've had what? HOGAN One. JAMES Only because I've been in the wrong car. I beat him when the playing field was level. I'd beat him again in a McLaren. (MORE) (CONTINUED) 5792 CONTINUED: (2) 92 JAMES (contÌd) It's the only car out there as good as the Ferrari. Which is why I'm here, begging. JAMES stares imploringly.. JAMES I'll do whatever you ask. Even put on a suit, talk to sponsors and say the right thing. I promise. (a beat) Just give me the drive... CALDWELL, HOGAN and MAYER look at one another...93 OMITTED 9394 OMITTED 9495 OMITTED 9596 OMITTED 9697 OMITTED 9798 EXT. SOUTH AFRICA GRAND PRIX - KYALAMI - 6TH MARCH 1976- DAY 98 Various shots, to establish. South Africa in the apartheid era. We notice black race FANS unable to get into the track.. CAPTION: "THE 1976 FORMULA 1 SEASON" COMMENTATOR ...welcome to the Kyalami Racetrack where the big news is..99 EXT. SOUTH AFRICA - KYALAMI RACE TRACK - DAY 99 Crowds flood to the spectator stands. The pit lane stretches into the distance, filled with cars, drivers and mechanics... COMMENTATOR ...that Britain's James Hunt in his first race for Mclaren has qualified fastest, beating Niki Lauda's Ferrari to pole by two hundredths of a second. In the crowds to watch the race none other than movie stars Richard Burton and Liz Taylor... We pick out RICHARD BURTON and LIZ TAYLOR waving to screaming FANS. 58100 EXT. STARTING GRID - KYALAMI - DAY 100 NIKI and JAMES's cars lined up in positions 1 and 2 on the starting grid. JAMES proudly indicates to NIKI... JAMES New car. NIKI I noticed. JAMES Pole position. NIKI I noticed that, too. JAMES Level playing field now, my ratty little friend. NIKI Let's see where we are at the end of lap one. NIKI calls after JAMES as he walks to his car... NIKI Let's see where we are in six races time!! JAMES turns, makes a ratty face at NIKI. Protruding teeth.101 EXT. VIP GRANDSTAND - DAY 101 RICHARD BURTON and LIZ TAYLOR are shown into the VIP area of the paddock. They take their seats. LIZ TAYLOR (bored already) Will this take very long? An OFFICIAL introduces BURTON to various people - among them SUZY HUNT... OFFICIAL Richard Burton...Suzy Miller, also known as Mrs. James Hunt. BURTON Who? There it is. The deep, dark, sonorous Welsh baritone voice...scarred by alcohol and cigarettes... (CONTINUED) 59101 CONTINUED: 101 SUZY James Hunt. One of the racers. BURTON Forgive me. Richard. (extending hand) Also known as Mr. Elizabeth Taylor. He indicates LIZ who is deeply bored.. LIZ TAYLOR What does a girl have to do to get a drink around here? SUZY smiles. Their eyes meet. And no eyes are more beautiful than SUZY's. An immediate connection between them. Their hands hold a fraction too long as they shake...102 OMITTED 102103 OMITTED 103104 EXT. RACE TRACK - DAY 104 NIKI's car roars past the finishing line first. JAMES closely behind... CAPTION: "SOUTH AFRICA. LAUDA WINS. HUNT SECOND."104AEXT. PODIUM - KYALAMI - DAY 104A JAMES and NIKI are on the podium together... JAMES My car wasn't right today. Next time I'll have you.. NIKI Yeah, yeah...105 OMITTED 105106 OMITTED 106107 OMITTED 107108 EXT. SPANISH GRAND PRIX - JARAMA, 2ND MAY 1976- DAY 108 JAMES's car takes the chequered flag, finishing first!!! 60108AINT/EXT. MCLAREN PITS 108A In the pits: TEDDY MAYER, ALASTAIR CALDWELL and JOHN HOGAN leap to their feet in delight. Punching the air. Victory.. CAPTION: "RACE 3. SPAIN. HUNT WINS..."108BEXT. SPANISH GRAND PRIX PODIUM/ PITLANE 108B Afterwards: JAMES and NIKI are on the podium together... JAMES What did I tell you? Car fixed. Equal terms. You'd better get used to this. JAMES walks off, to celebrate with the McLaren team... NIKI stares darkly - threatened - watching JAMES go.. ...then goes to talk to LUCA DE MONTEZEMOLO and the FERRARI team. CAPTION: "...BUT IS THEN DISQUALIFIED".109 EXT. SPANISH GP PADDOCK/ PARC FERME- DAY 109 A huge furore as several OFFICIALS and FERRARI TEAM MEMBERS, and TV CREWS surround JAMES's car... Raised voices debating the width of the car, HUNT furious, people almost coming to blows... OFFICIAL The car is too wide.. JAMES Five eighths of an inch..! OFFICIAL Which makes it illegal! If you want to compete, you have to change it. JAMES What? You can't just `change it'. That means rebuilding the car. Who lodged the complaint? It was Ferrari, wasn't it? The two rival PIT CREWS, (McLaren and Ferrari), scream abuse at one another in Italian and English - a highly charged and explosive atmosphere.... CAPTION: "LAUDA GETS MAXIMUM POINTS" (CONTINUED) 61109 CONTINUED: 109 NIKI watches from the inside of the FERRARI TRAILER.110 INT. MCLAREN WORKSHOP - NIGHT 110 The McLaren MECHANICS, supervised by Alastair Caldwell, are making adjustments to the car to make it `legal'.. MAYER ...we have to move the wing forward. To make it legal... CALDWELL But that'll have a knock-on effect on the oil coolers.. JAMES watches - already fearing the worst - as the car is stripped down, effectively being rebuilt...111 OMITTED 111111AEXT. WATKINS GLEN 1976 - DAY 111A "BANG", JAMES's car shudders violently, the wheels shake as the drive shaft snaps... CAPTION: "RACE 4. LAUDA WINS. HUNT RETIRES."111BEXT. MONACO GRAND PRIX 1976- DAY 111B "BOOM", a loud explosion. A thick plume of black smoke billows from the engine... JAMES No! No! No! CAPTION: "RACE 5. LAUDA WINS AGAIN. HUNT RETIRES."111CEXT. BELGIUM GP 1976 - ZOLDER - DAY 111C "CRASH" - JAMES spins out...and a tyre bounces along the track...JAMES's car has crashed into a wall... JAMES I can't stand it... The tyre continues bouncing, people diving out of it's path, before the tyre finally smashes into a hot-dog stand... CAPTION: "RACE 6. LAUDA WINS AGAIN. HUNT RETIRES." (CONTINUED) 62111CCONTINUED: 111C112 OMITTED 112113 EXT. BELGIUM GRAND PRIX - ZOLDER - PITLANE - DAY 113 JAMES storms back into the pits, screaming at MAYER, CALDWELL and the MECHANICS... JAMES What's happened? What have you DONE?? The car's evil! It's undriveable..! CAPTION: "LAUDA 56 POINTS, HUNT 6"113AINT. PADDOCK/PRESS TENT - DAY 113A Later: the victorious NIKI, wearing the garland, is all smiles, giving `winner' interviews, surrounded by MARLENE and a delighted LUCA DI MONTEZEMOLO. JAMES is also giving interviews, but in a total fury. Vibrating with anger. Still complaining about the disqualification. Complaining about a conspiracy. Complaining. NIKI finishes talking to JOURNALISTS, and walks off, through crowds, and bumps into JAMES.. NIKI So...six races in. How's it going so far? JAMES Fine! Just got a little problem with a bad loser rat and his team of Italian saboteurs who've destroyed my car. NIKI What are you talking about? JAMES I won that race in Spain. And you know it. NIKI In an illegal car. JAMES The aerofoil was five eighths of an inch too long!! Something that doesn't have the slightest effect on car speed. You complained. Now we've had to totally rebuild the car and it's become a monster. (CONTINUED) 63113ACONTINUED: 113A NIKI At least it's a LEGAL monster. JAMES A car that was beating you week in week out, so you have to resort to this. Cheating. NIKI He drives in an illegal car and he calls ME the cheat? Let me tell you: two weeks before that race in Spain, we put 20-inch rims on the rear wheels. We get an extra half second speed on each lap!! But the Old Man tells me we can't use those rims, they make the car too wide. Against the rules. So we go back to 19-inch rims making the car slower again. Rules are rules. For all of us. You're just a bad loser who can't accept that. (tapping head, to MARLENE) Komm, he's crazy. Sick in the head. NIKI turns to MARLENE, speaks in German... NIKI Den Trottel lassen wir alleine.. (Let's go. Leave this jerk alone.) No wonder she left him... NIKI and MARLENE go. JAMES is left staring. Not understanding.114 INT/EXT. ZOLDER PADDOCK/ MCLAREN TRUCK - DAY 114 JAMES walks into the crowded MCLAREN pits. Sees TEDDY MAYER and ALASTAIR CALDWELL... JAMES Is there something I should know about Suzy? Where is she? Wasn't she supposed to be here today? CALDWELL nervously indicates the Sunday newspapers... CALDWELL We kept it from you. Didn't want to tell you before the race... JAMES looks at the newspapers, then his expression changes. (CONTINUED) 64114 CONTINUED: 114 Lurid headlines about SUZY HUNT in New York with RICHARD BURTON. Pictures all over the front pages of RICHARD BURTON, ELIZABETH TAYLOR, SUZY and JAMES. JAMES's face falls.. JAMES Jesus.115 EXT. RUNWAY - DAY 115 A jumbo jet roars down the runway and takes off...116 OMITTED 116117 EXT. MANHATTAN - DAY 117 The unmistakable skyline. Among the ten thousand craggy rooftops and skyscrapers... A grand, five-star hotel overlooking Central Park in Manhattan's mid-town district...118 EXT. HOTEL - MANHATTAN - DAY 118 A huge collection of paparazzi SNAPPERS and Journalist HACKS is camped outside the hotel. Immediately a surge of activity, "Here he is"... A burst of flashlights and a volley of questions from the JOURNALISTS as JAMES - gets out of the taxi and runs the gauntlet of humiliation... ...into the hotel..119 OMITTED 119120 OMITTED 120121 INT. HOTEL SUITE - DAY 121 A large hotel suite. There are flowers everywhere. Newspapers are all over the table. JAMES sits opposite SUZY. He sees an expensive gift; recently opened. A diamond necklace.. JAMES That from him? SUZY nods. Even the uninitiated eye can tell: it's worth a fortune. (CONTINUED) 65121 CONTINUED: 121 SUZY Why have you come here, James? JAMES To get you back. SUZY You don't want me back...you never wanted to be married in the first place. You did it because you hoped it might change you...settle you down... help with the racing. Not because you loved me. And who knows, if it had been just the drinking, or the dope, or the infidelity, or the moods...it might even have worked...but when it's all of them? JAMES I know. I'm terrible. SUZY No, you're not terrible. You're just...who you are...at this point in your life. And God help anyone that wants more. JAMES Will he be able to give you more? He has quite the bad boy reputation himself. SUZY What's important is how it feels to me. And it feels like he adores me. A flicker behind JAMES's eyes. Failure. JAMES Right. SUZY He's aware of the delicacy of the situation, and how it looks. Having raided your larder. Plundered your safe. Smash and grab, and so forth. So he's assured me he'll take care of the financial side. And will be very generous. JAMES manages a brave smile. JAMES Fine. I'll give him a call. (CONTINUED) 66121 CONTINUED: (2) 121 SUZY No. His lawyers will contact you. JAMES notices the vast unmade bed. Where, until recently, two people had slept.121AEXT. HOTEL - MANHATTAN - DAY 121A JAMES emerges from the hotel - into the storm of paparazzi again. He manages a brave smile... JAMES It's all very amicable. My wife has found herself a new backer...I mean lover...which makes her happy.. (laughter) Mr. Burton has found a way of feeling young again...let's hope his pockets are deep...they'll need to be... (laughter) And I've found a way to be single again without it costing me a penny, which has to go down as the biggest win of my career. Laughter from the JOURNALISTS who are hungrily writing down the copy. But JAMES's hollow smile fools no one...122 INT. JUMBO JET - FIRST CLASS - DAY 122 JAMES sits alone in the first class section. A loser on the track, and a loser in love, too. Being played out in the full glare of publicity. On the front pages. Being read by everyone on the plane. A STEWARDESS looks over, catches his eye. Smiles.123 INT. JUMBO JET - WC - DAY 123 JAMES and the STEWARDESS fucking. Hard. Nothing to do with pleasure. An analgesic - a way of blocking out the pain. JAMES catches his own reflection in the mirror. Teeth clenched. Eyes burning with anger and self-loathing... OVER THIS: we fade in the ROAR of car engines...123AINT. FRENCH GP 1976 - PAUL RICARD - 4TH JULY 1976 123A JAMES's teeth still clenched. Eyes still burning with anger. Driving flat out. At the limit. (CONTINUED) 67123ACONTINUED: 123A Suzy's words still ringing in his ears. Make that beyond the limit. At the point of no return. The car shaking. Weaving recklessly through other cars... Where death has become a real option. Because he doesn't care anymore. Because it's all he deserves anyway... And in that moment, in reaching his lowest point, JAMES has unwittingly stumbled on the one thing that gives him an advantage over everyone else... The fact that he doesn't care. The fact that death has become an option. The fact that there is no risk he is not prepared to take... So every corner is tighter, every braking point later, every gap is an opening, no matter how tiny...124 EXT. FRENCH GRAND PRIX 1976 - PAUL RICARD - DAY 124 The chequered flag waves as JAMES's car roars across the finish line... JAMES screams with released rage.... CAPTION: "RACE 7. HUNT WINS. LAUDA's ENGINE BLOWS UP"125 INT. MCLAREN PITS - PAUL RICARD - DAY 125 Afterwards: TEDDY MAYER, ALASTAIR CALDWELL and JOHN HOGAN celebrate in delight...cheering...126 OMITTED 126126AEXT. BRITISH GRAND PRIX - 18TH JULY 1976- DAY 126A NIKI's car is pursued by JAMES's. They disappear behind a copse of trees. Out of sight. When they re-emerge, JAMES is ahead of NIKI, having overtaken him - to the delight of the partisan crowd. The chequered flag waves again as JAMES's car roars across the finish line... CAPTION: "RACE 8. HUNT WINS. LAUDA 2nd." JAMES screams in catharsis and triumph. Teeth clenched. Eyes wide and staring with concentration. (CONTINUED) 68126ACONTINUED: 126A We notice SCREAMING GIRL FANS cheering him now.127 OMITTED 127128 EXT. FIA HEADQUARTERS - DAY 128 A blazer-wearing FIA OFFICIAL addresses a room full of sports and motoring JOURNALISTS, TV CREWS, etc... FIA OFFICIAL Following an inquiry into the disqualification of driver James Hunt from the Spanish Grand Prix, it has been decided to overturn this disqualification...and to restore his victory, and reinstate his points..129 INT. MCLAREN HQ - BRANDS HATCH -DAY 129 JAMES, TEDDY MAYER, ALASTAIR CALDWELL, and all the MECHANICS are watching on TV... Huge celebrations. Cheering and whooping. SCREAMING GIRLS.130 OMITTED 130131 EXT. BRAND'S HATCH - PRESS TENT - DAY 131 A crowded PRESS room. In opposite corners of the room, JAMES and NIKI are giving interviews to different PRESS and TV journalists. Stirling Moss is talking to JAMES... STIRLING MOSS ...James, a few weeks ago, you were out of the running for this season completely, now you're right back in it. What's changed...? Screaming GIRLS in the background, shouting "James, we love you." JAMES stares across the room at NIKI... JAMES A combination of factors, not all of which I'm prepared to discuss here. Justice being done re: the disqualification in Spain helps, and having my old car back of course... In the other corner: NIKI is doing his interviews in German, (we see sub-titles)... (CONTINUED) 69131 CONTINUED: 131 JOURNALIST Mathematically in theory it's now possible for Hunt to catch you. Are you worried? NIKI Not at all. For him to catch me, he'd have to win all the remaining races, and I'd have to lose them. And pigs would have to fly. Laughter among the confident GERMANS. NIKI Now if you'll excuse me, I have a private family matter to attend to. NIKI takes MARLENE's hand, and leads her away.132 EXT. VIENNESE REGISTRY OFFICE - DAY 132 To establish: the Viennese skyline.133 INT. REGISTRY OFFICE - DAY 133 NIKI and MARLENE get married. In stark contrast to JAMES's wedding...it's a small, intimate affair. Modest. Not showy. Away from the cameras. Just them. And a witness from the pub.134 EXT. AIRFIELD - DAY 134 A small aeroplane takes off...135 INT. AEROPLANE - DAY 135 NIKI and an INSTRUCTOR are in the plane. In the cockpit. With MARLENE, who watches... NIKI is learning to fly. MARLENE watches as NIKI soaks up the instruction, asking questions, happy. It's another side to him, completely.136 EXT. IBIZA - NIGHT 136 NIKI and MARLENE in a pool. In Ibiza. Playing. Laughing. Honeymooning. Then NIKI's expression changes. His smile fades. 70137 INT. BEDROOM - HOUSE - IBIZA - NIGHT 137 MARLENE is fast asleep. She wakes, to discover the bed is empty beside her..138 INT. HOUSE - IBIZA - NIGHT 138 MARLENE walks through the house, looking for NIKI. Then finds him on a balcony...alone.. MARLENE Come to bed. MARLENE notices his mood. It's different. MARLENE What's the matter? NIKI It's the enemy, you know. Happiness. NIKI looks up at MARLENE... NIKI It weakens you. Puts doubt in your mind. Because all of a sudden you have something to lose.. MARLENE stares at him. MARLENE When you call happiness an enemy, then it's too late. (a beat) Then you have lost already. MARLENE turns, and goes.. NIKI is left alone. We can tell from his expression, he is struggling with something for the first time. Fear.139 EXT. NURBURGRING - DAY 139 The notoriously difficult and treacherous German race track. Testing is underway. A CAR (from one of the other teams) skids, and crashes violently. 71139AEXT. NURBURGRING - CRASH SITE - DAY 139A AMBULANCES arrive. The Driver is badly hurt. Screaming in pain. His leg is crushed. Bone is sticking out. A brutal compound fracture. He is taken away.139BINT/EXT. NURBURGRING PITLANE - DAY 139B In the pits, everyone is shaken. JAMES, REGAZZONI, and other DRIVERS nervously talk among themselves as the Ambulance races past. NIKI's face: visibly pale. More frightened than ever.140 EXT. NURBURGRING - DAY 140 Race-day. Huge crowds arrive at the Nurburgring. And rain. Heavy rain falling. Television commentary informs us about the Nurburgring's terrible reputation as a `graveyard' track.141 EXT. NURBURGRING - DAY 141 JAMES arrives at the race track, to find ALASTAIR CALDWELL waiting for him, a concerned look on his face... CALDWELL We've just been told, a driver's meeting has been called. JAMES Who by? CALDWELL Niki. JAMES's face. Instantly suspicious.142 INT. MEETING ROOM - NURBURGRING RACE TRACK - DAY 142 About sixty people, (26 DRIVERS and all the different team REPRESENTATIVES), are assembled in the room, where a blazered FIA OFFICIAL and a member of the DRIVERS SAFETY COMMITTEE are sitting behind a table... A buzz of anticipation and curiosity. What's going on? What is all this about? NIKI gets to his feet, raises his hands calling for silence... (CONTINUED) 72142 CONTINUED: 142 NIKI Thank you. I called this meeting because as all drivers know the Nurburgring is a race track from the Stone Ages. The most stupid, barbaric, outdated, dangerous, track in the world. You've all seen the rain which has been falling this morning. Those of you with experience know the Ring needs perfect conditions to be even remotely acceptable in terms of risk. As you can see today is anything BUT perfect, so I called this meeting to take a vote to cancel the race. A ripple of astonished reactions among the drivers.. NIKI There would be no change to the situation as far as points is concerned. The race would simply be cancelled. TEDDY MAYER looks over at FERRARI representatives.... MAYER This is bullshit... Another DRIVER (GUY EDWARDS) gets to his feet... EDWARDS If the race is cancelled, none of us get our race fees... NIKI It's true. You leave without your fee, but you might leave with your LIFE. Another voice pierces the controversy... VOICE It also means you would effectively win the championship. It's JAMES HUNT, who is standing up... JAMES So I can see why this suits you just fine. NIKI Why? There would be no points for me either... (CONTINUED) 73142 CONTINUED: (2) 142 JAMES But there would be one race less where I, or anyone else, could catch you. Uproar in the room... BRETT LUNGER James is right! This is just tactics! ARTURO MERZARIO Ferrari's dirty tricks! We've seen it before! HARALD ERTL Maybe it's just that he's frightened? Laughter among the DRIVERS... NIKI Which asshole said this? Silence. No hand goes up. No one has the courage to own up. NIKI Yes, I am frightened. Always a little bit when I race. I accept every time I get in my car there is 20% chance that I could die. But not one per cent more. And today, with the rain the risk IS more. How dare you accuse me of lack of courage? Let me remind you. I have the track record here. I am the only person in history to do the Ring in under 7 minutes. So actually it's to my ADVANTAGE to race here today. Because I'm quicker than all of you. A stunned silence. One voice pierces the room... JAMES Fine. Then let's race! It's JAMES who stares at NIKI: a ripple of excitement and enthusiasm among the other drivers... JAMES There's a hundred thousand fans out there who would never forgive us if we didn't. MERZARIO And some of us need our race fees!! (CONTINUED) 74142 CONTINUED: (3) 142 FIA OFFICIAL All those in favour of cancelling the race? NIKI puts his hand up. One or two other racers, too... FIA OFFICIAL All those in favour of racing? JAMES puts his hand up. Clearly the more popular, charismatic figure among the DRIVERS, everyone else follows. FIA OFFICIAL Gentlemen, start your engines!! A clear victory for JAMES. He has swung the room. Everyone leaves the room. JAMES and TEDDY MAYER give one another a discreet hi-five... But we rack focus through the crowd to see NIKI staring at JAMES accusingly...holding his gaze.143 EXT. STARTING GRID - DAY 143 "RRRROAAAR", an explosion of noise, as we widen and find ourselves on the starting grid of the German Grand Prix. An OFFICIAL walks through the cars holding aloft a sign, "One Minute"... Deafening, angry thunder, as cars rev their engines.143AAN EYE FLICKERS - WIDE OPEN - STARING INTENTLY 143A A pupil dilates and contracts in the light. The eye stares. Blinks. Thinks. Making evaluations..144 EXT. CLOUDY SKY - GERMANY - DAY 144 This time the eye belongs to JAMES. He stares up at the clouds. His eyelids flicker. Thinking. Agonizing. Wrestling with an all important decision... Is it going to carry on raining? Or become dry? ALASTAIR CALDWELL comes up to JAMES, and shouts above the noise - no time to plug his headset in... (CONTINUED) 75144 CONTINUED: 144 CALDWELL Jochen's going on slicks. You want to change? JAMES looks in his wing-mirror back to his colleague, JOCHEN MASS's car, number 12, several rows behind him. White helmet. A team of Mclaren MECHANICS hastily changing the tyres to bald, dry tyres - ('slicks'). Then JAMES looks over at the car beside him... JAMES Has Niki changed? CALDWELL No. He's going on wets. NIKI's car: surrounded by Italian Ferrari MECHANICS. JAMES Then we go on wets, too. JAMES pulls down his visor...as he and NIKI's eyes meet for a split-second, then... The STARTER waves the flag. They're off! JAMES's foot hits the floor - his engine screams at almost 9,000 rpms, drowning out the roar of the 180,000 crowd. The car is catapaulted forward, the wheel-spin leaving livid black scars on the asphalt.. JAMES and NIKI both make good starts, and are neck and neck, but within seconds there's a McLaren right behind them, gaining fast. JAMES realizes it's his team-mate, JOCHEN MASS in a white helmet. Number 12. On his slick tyres. MASS was right to gamble on the track drying out. JAMES curses under his breath... JAMES Shit...! JAMES screwed up. Made the wrong decision. He urgently needs to change tyres. With barely one lap completed... He swerves angrily into the pits.. 76145 INT. PITS - DAY 145 Commentary from all the world's TV stations explaining the crazy, panicked situation as JAMES comes into the pits to change to dry tyres. The McLaren team frantically changes the tyres. Four men with air guns, two men with rapid-duty jacks. ALASTAIR CALDWELL appears, talks to JAMES.. CALDWELL See? I told you to go on slicks!! You didn't take my advice... JAMES Shut up! Where's Niki? CALDWELL Behind you! He made the same mistake! JAMES looks in his mirror to see NIKI's red helmet behind him in the pits, then... "Thump", new (slick) tyres hit the tarmac. JAMES gets the signal, `Clear!' CALDWELL Go! Go!! Go!! JAMES's foot hits the floor. He roars out, with new tyres, leaving NIKI behind him in the pits...146 EXT. NUBURGRING - DAY 146 Archive commentary: from the world's TV stations informs us that JAMES roars up into 3rd position..147 INT. JAMES'S CAR - DAY 147 JAMES gives it everything he's got. Tearing through the gears, breaking as late as he can, engine screaming. The world flies past in a blur. The steering wheel shakes. The car cannot be driven any harder. No thought for safety. No thought of failure.. Failure is unimaginable. Unconscionable. He turns into the final straight, then stops when he sees something ahead. (CONTINUED) 77147 CONTINUED: 147 Flags. Red flags. RACE MARSHALLS. Something has clearly happened. An accident.. The race is being stopped. JAMES brakes, slowing down. He pulls level with a uniformed MARSHALL.. JAMES What's up? MARSHALL Accident. Bad one. JAMES Who? MARSHALL We don't know yet.148 INT. NIKI'S CAR - SAME TIME 148 NIKI's POV: a continuation of the opening scene. Burning smoke fills NIKI's helmet, burning his lungs. He cries out in agony. NIKI AAAAARRRRGHGHGGHGH!!!! We can just make out the barely recognizable figures of the other DRIVERS rushing towards him, as their hands get burnt in the flames as they try unsuccessfully to undo his seatbelt... We notice it is the same DRIVERS that were critical of NIKI in the driver's meeting. HARALD ERTL, BRETT LUNGER, ARTURO MERZARIO, GUY EDWARDS... Fire extinguishers blast at the car. Covering NIKI's helmet. Filling his lungs with chemicals, along with the smoke and fumes, blurring his vision, as he screams horribly.. The sound of panicked TV COMMENTARY in different languages. Screaming voices. Panicked reactions. Then sound fades. As NIKI blacks out - losing consciousness. FADE TO BLACK: OVER THIS: the hypnotic sound of helicopter blades... NIKI (V/O) August 1st, 1976, I discovered comas exist for a reason. 78149 EXT. MANNHEIM UNIVERSITY HOSPITAL - DAY 149 NIKI's POV: the door to a helicopter opens, as it arrives at Mannheim University Hospital... The sound of shouting voices. Hospital STAFF pull reach towards NIKI, pull his stretcher out. NIKI's internal voice groans: cries out at the pain. NIKI (V/O) Some things are better not remembered.150 INT. MANNHEIM UNIVERSITY HOSPITAL - DAY 150 "Crash", doors burst open and NIKI is rushed into emergency. Neon ceiling lights pass overhead... The sound of difficult breathing. His stretcher is surrounded by DOCTORS, talking urgently, making quick assessments.. NIKI's POV: fading in and out of consciousness. Bursts of concerned, urgent, overlapping dialogue among the German DOCTORS which NIKI can barely make out..151 INT. INTENSIVE CARE UNIT - MANNHEIM HOSPITAL - DAY 151 Two narrow, barely open slits of light. NIKI's swollen eye- lids. NIKI's POV: barely making out MARLENE standing beside the senior burns specialist DOCTOR. NIKI hears voices... DOCTOR It's not the burns to his face that are the danger. It's the burns to his lungs. His blood oxygen level is currently... NURSE 6.8. DOCTOR Which is not enough to maintain life... NIKI slips out of consciousness again. MARLENE is distraught, in tears.152 OMITTED 152153 OMITTED 153 79154 TELEVISION NEWS - FULL-FRAME 154 TV news: giving the latest information on NIKI's condition.155 INT. JAMES'S APARTMENT - LONDON - NIGHT 155 JAMES sits watching the news on TV in his apartment, while feeding his budgerigars, (the collection has grown).. He feels terrible. He goes to his desk, pulls out paper and pen... JAMES tries to find the right words, tries to write, tries to put his feelings on paper, but words in general, and letters in particular have never been his thing... JAMES scrunches up the pieces of paper, throws it away. The budgerigars, sensing his distress, flutter and peep..156 INT. INTENSIVE CARE UNIT - DAY 156 NIKI's P.O.V: feels someone touching his forehead and his hands with oil...and the sound of a WOMAN weeping... PRIEST ...durch diese heilige Salbung helfe dir der Herr in seinem reichen Erbarmen, er stehe dir bei mit der Kraft des Heiligen Geistes... NIKI's eyes barely crack open, barely manage to focus to see an ELDERLY PRIEST is giving him the last rites in German.. The sound of MARLENE crying somewhere in the room. PRIEST Der Herr der dich von Sunden befreit, rette dich in seiner Gnade richte er dich auf... NIKI strains to move. A sense of excruciating pain. He fights to open his eyes, give an indication...ANY indication of the fact that he is hearing this, and is alive and able to fight for life... But to no avail. The PRIEST continues giving last rites. MARLENE continues to cry. The PRIEST touches NIKI's shoulder... NIKI (V/O) I'm here! Can't you tell? I'm here! (CONTINUED) 80156 CONTINUED: 156 NIKI screams inside. Wanting to be heard. Wanting to give them a sign. He's OK. He's still there. But it's no use. NIKI blacks out again. The pain is too great. FADE TO BLACK:157 INT. CORRIDOR - HOSPITAL - DAY 157 Sunrise: MARLENE has been sitting in the hospital all night supported by members of FAMILY and several FRIENDS. Niki's MOTHER and FATHER. CLAY REGAZZONI. Presently: the door to the intensive care unit opens and a DOCTOR comes out, beckoning her... DOCTOR Frau Lauda? Bitte kommen Sie! He's awake! And just spoke! MARLENE scrambles to her feet... MARLENE What did he say? DOCTOR "Tell the Priest to fuck off! I'm still alive!!" MARLENE covers her mouth, laughs nervously, already in tears. She and the DOCTOR rush into the intensive care unit.158 EXT. INTENSIVE CARE UNIT - DAY 158 Shooting through the window we see MARLENE approach NIKI's bed. She sees NIKI.. And gasps. Trying to control her expression. Not give away to him how horrified she is. NIKI's face: is grotesque. His head has swollen to double it's size. The skin has burned off on his head, his eyes. MARLENE bravely composes herself. Then, without displaying the shock she feels - she goes over and kisses him.159 OMITTED 159 81160 INT. NIKI'S HOSPITAL ROOM/TELEVISION COVERAGE FULL FRAME -DAY 160 The starter's flag drops. On television we see the Austrian Grand Prix start. NIKI watches the race on television, while beginning his rehab in bed, in pain as bandages are changed.. ON TV: JAMES narrowly misses out on a podium, but still gains on NIKI in his points total... CAPTION: "RACE 11. HUNT FINISHES 4th"161 INT. HOSPITAL - DAY - (A WEEK LATER) 161 NIKI continues his rehab in the hospital, now out of bed... ON TV: the starter's flag drops. Another Grand Prix starts. This time at Zandvoort, in the Netherlands.. NIKI watches the race on television as DOCTORS put a vacuuum pump into his lungs. It's AGONY. JAMES leads, driving the perfect race... YOUNG GERMAN DOCTOR We need to vacuum the lungs. Without this, they can't heal. But it will hurt. An unimaginably painful pump is forced down his burned lungs, to try to hoover out the impurities.. COMMENTATORS ON TV: talk about how HUNT is catching up with LAUDA on points. It spurs NIKI on, through gritted teeth. NIKI Aaarrrggghhhh... The chequered flag. JAMES crosses the line in first position. CAPTION: "RACE 12. HUNT WINS." The DOCTORS tell NIKI he's had enough vacuum treatment. He's had more than enough pain. But NIKI waves them aside... NIKI Again!! The DOCTOR nods. The vacuum is turned on again. NIKI screams in agony. Eyes bulging. MARLENE and NIKI's family cannot bear to watch... (CONTINUED) 82161 CONTINUED: 161 He watches as ON TV: JAMES is on the victory podium spraying champagne.162 INT. HOSPITAL - DAY 162 NIKI continues screaming in pain, watching the Canadian GP on TV as.. CAPTION: "RACE 13 CANADIAN GRAND PRIX. HUNT WINS AGAIN" For the first time, JAMES has taken the lead in points. NIKI stares at the TV: his expression changes.163 OMITTED 163164 INT. HOSPITAL - DAY 164 NIKI screams again. MARLENE, NIKI's family and the DOCTORS are deeply distressed, cannot bring themselves to watch, as... NIKI Aaaaarrrrggghghhhhhh!! We WIDEN to reveal what NIKI is doing. What has caused these unbearable, bloodcurdling screams of agony.. NIKI I know what you're all thinking... Now we see. With great difficulty NIKI has put his racing helmet on for the first time. Pressing into his open burn wounds... NIKI But if you love me - all of you - you won't say a word. He is almost unconscious with pain. His legs are weak. But he has done it...165 EXT. ITALIAN GRAND PRIX - MONZA - 12TH SEPT 1976 -DAY 165 The Italian Grand Prix. TELEVISION COMMENTARY sets the scene. JAMES and the MCLAREN TEAM arrive in the pits to see a vast commotion going on elsewhere... JAMES What's going on? CALDWELL Jesus. It's Niki. (CONTINUED) 83165 CONTINUED: 165 JAMES What about him? CALDWELL He's here! He's racing! JAMES What?? They said he was half-dead. JAMES stares. Shaken.166 EXT. MONZA PITLANE/ FERRARI PITS - DAY 166 JAMES pushes through the pitlanes, until he reaches the crowded FERRARI pits. He sees a racer in the background. The name LAUDA on his overalls... JAMES Niki? NIKI turns round. JAMES sets eyes on him for the first time. JAMES reels, visibly horrified by his appearance. His bandages are blood stained. He has no hair. Looks grotesque.. NIKI sees the horror in JAMES's face. Sees the shock. The horror. And recognizes in that moment, this is how it's going to be - this is how people will respond to him - forever. NIKI Wow. It's that bad, huh? JAMES opens his mouth. Tries to say something. NIKI In the hospital I told them to tell me straight, no bullshit - how bad it would be. My appearance. They said with time it'd be fine. But it won't. I can tell, seeing your reaction. I am going to spend the rest of my life with a face that frightens people. NIKI stares at JAMES, at his rival's beauty, his blonde, tanned perfection. His matinee idol, movie star looks... NIKI That's a tough one to get used to. JAMES I wrote you a letter at the time. To apologize. (a beat) (MORE) (CONTINUED) 84166 CONTINUED: 166 JAMES (contÌd) The driver's meeting in Germany? Before the race? I swayed the room. NIKI Yes. You did. JAMES That race should never have gone ahead. NIKI No. JAMES So in some ways...I feel responsible for what happened. I'm sorry. NIKI Trust me, watching you win those points and all those races while I was in hospital fighting for my life...you were equally responsible for getting me better. Ouch. That could have been meant generously. But in this case it wasn't. It was a cold slap in the face. NIKI turns and goes.167 INT. MONZA GRAND PRIX - PRESS CONFERENCE - DAY 167 A packed press conference. The world's media. NIKI's accident and recovery (as a story) has reached way beyond F1 race fans. This is front page news around the globe.. NIKI walks out onto the podium - all eyes staring at him - the sense of a ghoulish, voyeuristic freak show.... NIKI sits on the podium, in front of microphones, flanked on both sides by FERRARI drivers and top brass. But no one wants to talk to them. Everyone's here to talk to NIKI.. JAPANESE JOURNALIST How are you feeling, Niki? NIKI Fine. AMERICAN JOURNALIST Can you confirm for us exactly which procedures you have had? And the expectations for your recovery? (CONTINUED) 85167 CONTINUED: 167 NIKI Sure. I had a skin graft operation where they put half my right thigh in my face. It doesn't look too good but one unexpected advantage is it's impossible to perspire through a skin graft, so sweat will never run in my eyes again - which is good for a driver. Laughter. At the back of the hall, JAMES HUNT creeps in, (unseen by anyone, disguised in a hat), to listen. BRAZILIAN JOURNALIST When they heard about your condition, Ferrari immediately hired another driver, Carlos Reutemann. NIKI Ja. Before even my first operation. JAPANESE JOURNALIST Is he your replacement now? NIKI No. Just another team-mate. Keen to make an impression. So let's see where Mr. Reutemann finishes today. Laughter. JAPANESE JOURNALIST James Hunt and McLaren have caught up a lot while you were away. NIKI Yes. (a beat) Is there a question now? Or are you just trying to piss me off? Laughter. JAPANESE JOURNALIST You think you can still win? NIKI Of course. I have the better car. I'm the better driver. But he's a clever guy and has used the time well while I was lying half-dead in hospital to win some points.. Laughter. (CONTINUED) 86167 CONTINUED: (2) 167 BRITISH JOURNALIST What did your wife say when she saw your face? NIKI She said, "Sweetie, you don't need a face to drive. Only a right foot." Laughter. BRITISH JOURNALIST I'm being serious. Do you really think your marriage can survive? With the way you look now? Silence. NIKI squints into the lights.. NIKI And I'm being serious, too. Which asshole said this? Jesus.. No one moves. NIKI, disgusted, rips off his microphone.. NIKI Fuck you. Press conference over. NIKI walks out. The Press Conference breaks up... JAMES sees the REPORTER who asked the question, laughing with his friends. JAMES watches as the REPORTER leaves...168 INT. CORRIDOR OUTSIDE PRESS CONFERENCE - SAME TIME 168 JAMES goes after the REPORTER, and calls him.. JAMES Hey..! The REPORTER turns, recognizes JAMES.. JAMES I've got something for you on that last question... The BRITISH JOURNALIST smiles, "Great, thanks James!" Pulls out a tape recorder. JAMES takes him to one side, then... "WHACK, WHACK, WHACK" - JAMES punches his lights out, then takes the tape recorder, stuffs it into the JOURNALISTS mouth. JAMES Now go home to your wife and ask her how YOU look!! (CONTINUED) 87168 CONTINUED: 168 "CRASH" a final, sickening blow splits the REPORTER's nose.. JAMES Prick!169 EXT. STARTING GRID - MONZA - DAY 169 JAMES walks out to his car. TV CREWS. Banks of PHOTOGRAPHERS. Commentators talk in different languages. Everyone talking about NIKI's comeback. NIKI is in his car. The MECHANICS are talking to him in Italian... But NIKI hears nothing. He looks at the steering wheel, the shell of the car, the gear stick. And then we see.. His hands are shaking violently. He's utterly terrified. The light turns green. They're off! Other cars (including JAMES's), roar forward. But NIKI is frozen.170 EXT. TRACK - DAY 170 NIKI's mind is a mess - terrified - he starts slowly...finding his courage.. COMMENTATORS point out it's madness. It was clearly too soon. Ferrari were right to hire a replacement. NIKI is a wreck.. NIKI suffers terrible flashbacks from his accident... NIKI shakes himself out...gradually building up speed - ignoring the cars overtaking him all around him... NIKI begins to accelerate. Gently at first. Then a bit more. Trusting himself. Gaining confidence.. Blocking out further flashbacks...170AINT. HOSPITAL - DAY 170A Watching NIKI from the hospital where he had his treatment is the DOCTOR who treated him... 88170BEXT. TRACK - DAY 170B COMMENTATORS look up. Notice NIKI's slow increase in speed. What's this? Maybe there's life in him yet... NIKI changes gears smoothly. He begins to overtake. The old feelings come back..170CEXT. PADDOCK/PITS - SAME TIME 170C MARLENE watches from the pits. Can hardly bring herself to look...170DEXT. TRACK - DAY 170D COMMENTATORS begin to get excited. LAUDA has started to overtake the back-markers... An incredible sequence. As NIKI gains more confidence, more speed, and begins to work his way through the field.. COMMENTATORS now buzzing with excitement. This is incredible, as NIKI overtakes first CARLOS REUTEMANN, the driver hired to replace him, then others, working his way through the field...170EINT. JAMES'S CAR - SAME TIME 170E JAMES sees NIKI coming up behind him. Cannot believe his eyes. JAMES move to block NIKI's path... NIKI attacks fearlessly. Despite terrible pain. NIKI moves to overtake JAMES. Utterly intimidated by NIKI's bravery, JAMES panics, and loses control of the car. He spins out.. COMMENTATORS cannot believe their eyes. HUNT's blown it! LAUDA's overtaken him! It's a miracle. It defies belief. As NIKI crosses the line.... CAPTION: "RACE 15. NIKI 4th. JAMES RETIRED."171 OMITTED 171172 EXT. MONZA - DAY 172 The Italian crowds are ecstatic. Delirious. NIKI is a national hero. Lazarus back from the dead. Superhuman. (CONTINUED) 89172 CONTINUED: 172 TV commentary in different languages elaborates on what an extraordinary, superhuman achievement they have just seen... CAPTION: "LAUDA 68 POINTS. HUNT 65 POINTS." STIRLING MOSS What a race! What a man! What a season! Now it all boils down to the final race in Japan! Hunt walks past, staring at a triumphant Niki.172AINT. HOSPITAL - SAME TIME 172A The DOCTOR in the hospital shakes his head, cannot believe what he has just witnessed...172BEXT. PITS - SAME TIME 172B The Ferrari Mechanics that had initially so disliked NIKI, are overwhelmed by what he has achieved...172CEXT. TRACK - DAY 172C A reluctant, modest NIKI carried on shoulders, surrounded by LUCA DI MONTEZEMOLO, MARLENE and the PRESS... CUT TO:173 EXT. FUJI SPEEDWAY - JAPAN - DAY 173 Mount Fuji towers imperiously, dramatically above the Japanese race track, dominating the skyline on a clear day.. Television cameras and press photographers assemble at the race track for the biggest sporting event of the year...174 INT. JAMES'S HOTEL ROOM - NIGHT 174 JAMES sits alone in his hotel suite. Speaking to an old, trusted friend at the other end... JAMES (ON PHONE) The man was in a coma. His doctors pronounced him dead!! Then he comes back and does THAT??? 90174AINT. BUBBLES HORSELY HOME - MORNING 174A BUBBLES HORSLEY back at home in England. At a breakfast table.. BUBBLES (ON PHONE) What did you expect? That Niki would give you the championship lying down? Of course not. He's a fighter. He's going to come at you with everything he's got. But you can do this. As a driver, you're his equal - better, maybe. And God knows you're quick and brave enough. You just.. JAMES (ON PHONE) What? BUBBLES (ON PHONE) Need to find the respect for yourself to close out when it really matters. You don't much like yourself, James - that's the problem, therefore don't believe you deserve it.174BINT. JAMES'S HOTEL ROOM - NIGHT 174B A knock at JAMES's hotel room door.. JAMES I've got to go. JAMES hangs up, and goes to the door. He snaps it open to reveal.. Two gorgeous-looking BOAC Stewardesses standing outside. Smart blue blazers, short skirts, white gloves, blue caps.. STEWARDESS Hi. We've come for the party? JAMES What party? STEWARDESS The party we were told was going on in room 2109. Sure enough: on JAMES's door, the number 2109. JAMES Who sent you here? (CONTINUED) 91174BCONTINUED: 174B STEWARDESS A man. On the phone. He didn't give his name. JAMES This man. Did he speak with an accent? STEWARDESS Yes. German accent. JAMES can't believe it. NIKI. JAMES I'm afraid it was a joke.. STEWARDESS (liking the look of JAMES) Awwww. Pity. JAMES Sorry, ladies. Any other time. Not tonight. JAMES closes the door. Goes back into his hotel room. Then, after a moment... He snaps open the door. The STEWARDESSES are about to disappear into the elevator... JAMES Wait..!175 EXT. TOKYO SKYLINE - DAWN 175 The following morning, day barely breaks. The skies are ominously dark over Tokyo. Thick, black clouds. It's raining heavily...176 INT. NIKI'S BEDROOM - HOTEL - DAY 176 NIKI wakes up and looks out of the window. Sees the heavy rain which is falling outside... His expression changes.177 INT. JAMES'S BEDROOM - HOTEL - DAY 177 JAMES wakes up. Flinches. JAMES looks around, bleary-eyed. Hungover. He's in a room that looks like a bomb has hit it. (CONTINUED) 92177 CONTINUED: 177 The two STEWARDESSES are still asleep in the bed beside him. Uniforms discarded on the floor. Memories are now flooding back. Jesus, what was he THINKING? JAMES leaps out of bed.178 INT. NIKI'S ROOM - HOTEL - DAY 178 NIKI is being massaged by WILLI DUNGL in his hotel room in preparation for the race. NIKI continues to stare out of the window. They speak in German. We see sub-titles.. NIKI Can't see the mountain. DUNGL So? NIKI The locals here believe if you can see the mountain in the morning, it brings good luck. NIKI's POV: the view. Nothing but mist, dark skies and rain.179 OMITTED 179180 EXT. JAPANESE GRAND PRIX - FUJI SPEEDWAY - 24TH OCT 1976 -DAY 180 Inside the race track: puddles everywhere. The rain continues to fall. The circuit is covered in water... DRIVERS and the TEAMS arrive at the race track. JAMES and TEDDY MAYER and ALASTAIR CALDWELL among them... SPECTATORS are huddled under umbrellas. TV CREWS struggle to keep expensive equipment dry... An American VOICE comes over the tannoy... TANNOY All drivers to the control tower, please. Immediately. JAMES looks at CALDWELL... 93181 INT. CONTROL TOWER - MEETING ROOM - DAY 181 A driver's meeting has been called. All the DRIVERS are in a small room, arguing and remonstrating with FIA OFFICIALS and blazer-wearing POWERS THAT BE... A Japanese official, (AKIYAMA), is trying to keep the peace... AKIYAMA One at a time! Gentlemen, please! Local JAPANESE DRIVERS are complaining in Japanese, (we see sub-titles)... TAKAHARA You can't send us out in that! It's a death sentence! HASEMI You have to postpone the race!181AINT. CONTROL TOWER - CORRIDOR OUTSIDE - SAME TIME 181A JAMES, MAYER and CALDWELL arrive in a corridor outside the meeting room... MAYER Niki's talking to them about cancelling the race. JAMES's POV: he can see NIKI, his wounds horribly visible, remonstrating with the JAPANESE OFFICIAL about the dangerous track conditions... JAMES turns to TEDDY and ALASTAIR... JAMES I don't want any part of this. I'm not going to be responsible for turning the room again. CALDWELL But you have no option. You HAVE to race, James. It's your only shot. If you don't, Niki wins.. JAMES I'm not voting against Niki again....or forcing fellow drivers to risk their lives. Sorry. World Championship or not... JAMES raises his hands and walks off. CALDWELL shouts after him, "James, wait..!" Then MAYER reassures CALDWELL... (CONTINUED) 94181ACONTINUED: 181A MAYER Don't worry, this race is going ahead. The TV rights have been sold all around the world. MAYER can see that a vote is taking place in the room. Many of the drivers have their hands in the air, voting... The JAPANESE OFFICIAL is struggling to keep order in the room. MAYER The drivers can vote all they like. A round of applause in the room, as the DRIVERS vote to cancel the race. But unseen by the DRIVERS.. The FIA OFFICIALS, TV NETWORK EXECUTIVES, and the blazered POWERS THAT BE are in dark, conspiratorial discussion.. ...making the decision that the race goes ahead.182 ARCHIVE TELEVISION FOOTAGE 182 NEWSCASTERS from all over the world, in several different languages, announce that a decision has been made.. The JAPANESE Grand Prix is definitely going ahead. The drivers have been called to the starting grid...183 OMITTED 183184 INT. PITS - VARIOUS - DAY 184 In the pits alongside JAMES... A series of shots of the other DRIVERS...being sent out like lambs to the slaughter... Visibly terrified, mouthing prayers, smoking last cigarettes, meditating, crossing themselves, hands shaking.. Among them the JAPANESE DRIVERS. All laughter gone now. Realizing what they've got into. Risking their lives. Finally we come to rest on NIKI. Strangely calm. NIKI puts on his balaclava over his still-raw wounds, wincing with pain as he puts on his helmet.. 95185 EXT. JAPANESE GP - STARTING GRID - DAY 185 JAMES is piggy-backed to his car by MECHANICS so his feet don't get soaked in the water pooling deep on the track.186 EXT. JAPANESE GP - STARTING GRID - DAY 186 JAMES lowers himself into a car with puddles on the seat. He straps himself in. ALISTAIR CALDWELL approaches with a power-drill. Leans towards JAMES, with the screaming drill... CALDWELL Keep still... JAMES What are you doing??? `ZZZZ", "ZZZZ", "ZZZZ", CALDWELL drill holes in JAMES's visor. CALDWELL To let the condensation out. JAMES But it will also let the water in. CALDWELL Not if you're leading. CALDWELL stares at JAMES... CALDWELL Trust me. This race is all about the start. Whoever's in front will see everything. Whoever's second... CALDWELL gestures, "Nothing".. CALDWELL Good luck. They shake hands. JAMES starts the engine with a roar.187 EXT. STARTING GRID - DAY 187 NIKI's engine replies with a loud roar. He looks over at JAMES. JAMES turns to face NIKI.. ALL SOUND GOES SILENT... ...as JAMES and NIKI stare at one another. All around them, the world slows down. Comes to a standstill. (CONTINUED) 96187 CONTINUED: 187 THEIR EYES MEET... A connection between them. Unspoken realization of where they have both got to. What this moment means. For them both.. It's what they have been waiting for. Working towards. All this time. NIKI raises his hand. In a gesture only JAMES sees. JAMES raises his in return. A private salute. Chivalric. From a bygone era. And in that moment, enemies become brothers. Two men. Risking their lives. THE TEN SECOND FLAG IS RAISED.. The moment's truce is broken. They return to the task at hand. THE FLAG DROPS. THEY'RE OFF.188 EXT. RACE - JAPANESE GRAND PRIX - DAY 188 HUNT's foot hits the floor. NIKI's foot hits the floor... JAMES gets the better start. His car aquaplanes like crazy, skating over the water, totally out of control...189 EXT. FUJI PIT WALL - DAY 189 CALDWELL and MAYER watch from the pit wall... CALDWELL Hold onto it, James..!190 EXT. RACE - JAPANESE GRAND PRIX - DAY 190 Miraculously JAMES steadies the car... The spray from his wheels creates a curtain of mist. The other cars are wrapped inside it... But JAMES has a clear view ahead. He slams his foot down.. COMMENTATOR (V/O) It's the perfect start for Hunt!191 INT. NIKI'S CAR - SAME TIME 191 NIKI can see nothing. Surrounded by spray, water, noise. (CONTINUED) 97191 CONTINUED: 191 Other cars are spinning all around him. It's chaos. NIKI bravely accelerates into blindness... COMMENTATOR (V/O) But Lauda's car is right on his tail! Barely visible in the spray..!192 EXT. RACE - JAPANESE GRAND PRIX - DAY 192 JAMES goes to a corner, then his car twitches, aquaplanes again...badly...almost losing it completely... COMMENTATOR (V/O) Hunt turns too tightly! He almost lost his car right there...!193 INT. EASTON NESTON - DAY 193 BUBBLES HORSLEY, ALEXANDER HESKETH and a number of the characters from the Hesketh Racing days are all watching... HESKETH Concentrate, Superstar!194 INT. JAMES'S CAR - DAY 194 JAMES struggles to hold onto his car. He steadies it, maintaining the lead.194AINT. NIKI'S CAR - SAME TIME 194A JAMES's spray makes it impossible for NIKI to see. NIKI can't blink his eyes...it's agony. Half-blind, NIKI tries to overtake. Gives it everything he's got, breaking as late as he can, tearing through the gears... For NIKI the world flies past in a near-blind blur. The steering wheel shakes. The car cannot be driven any harder. But the visibility is terrible. The spray tears into his scarred eyes. He is unable to see anything but... MARLENE's beautiful face: staring at him. Smiling tenderly. Kissing him tenderly.195 OMITTED 195196 OMITTED 196 98197 EXT. RACE TRACK - JAPAN - SAME TIME 197 JAMES continues to race flat out. Engine screaming. Foot to the floor. His car aquaplanes again...almost skidding out...198 INT. HOTEL - MANHATTAN - SAME TIME 198 SUZY HUNT is watching on television as RICHARD BURTON talks in the background on the telephone... SUZY (urging him on) Come on, James...199 EXT. PITS - RACE TRACK - JAPAN - DAY 199 A sign is held up as JAMES races. Lap 39. But there are problems with the car. One of the tyres... CALDWELL God! His front tyre! Look! It's completely frayed! CALDWELL and TEDDY MAYER watch in horror from the pits and on TV. They can see the shaking car.. COMMENTATOR Hunt's car has problems...it's shaking...the Englishman is definitely getting slower...199AEXT. PITS - RACE TRACK - JAPAN - DAY 199A ALASTAIR CALDWELL holds up a sign.... CHANGE TYRE COMMENTATOR ...with just a few laps to go, McLaren are calling for Hunt to come into the pits to change tyres... JAMES's car roars past the pits, refusing to stop... COMMENTATOR But Hunt is refusing! Simply ignoring his team's orders...! He's made the calculation that he can still hold onto the lead...! 99199BINT. EASTON NESTON - SAME TIME 199B HESKETH and BUBBLES cover their eyes. Can't look... BUBBLES James!! What are you doing??? HESKETH I can't bear it!199CINT. JAMES'S CAR - JAPAN GRAND PRIX - SAME TIME 199C Suddenly, a Ferrari in JAMES's wing mirror. Unmistakably, even in the spray, he can see the distinctive RED HELMET... It's NIKI. JAMES's blood runs cold... JAMES No! No! NO!!!! JAMES tries to fend NIKI off. Swerves this way and that. But his wounded car is now running at seventy per cent at best... ...and disaster!!! NIKI OVERTAKES HIM... JAMES screams in agony and frustration. He's lost it! And has no one to blame but himself! His own arrogance. And stubbornness. NIKI's overtaken him! THE CHEQUERED FLAG. JAMES roars past. Has finished in third place. But that is no consolation. NIKI has beaten him. As far as he's concerned.. JAMES has lost. Lost everything.200 EXT. PITS - DAY 200 JAMES's car arrives in the pits. In a fury. At himself. For refusing to listen. What a disgrace. What shame. What a fool. But he is engulfed. JAMES gets out of his car, raging... JAMES I'm sorry! But TEDDY MAYER is celebrating wildly. ALASTAIR CALDWELL, too. The world's media descends on JAMES... MAYER Sorry?? What are you talking about?? You did it! (CONTINUED) 100200 CONTINUED: 200 JAMES What? MAYER You WON!! JAMES Rubbish!! What about Niki?? He overtook me!! I saw it!! A Ferrari with a red helmet.. MAYER That wasn't Niki. That was Regazzoni. JAMES What??? MAYER Niki withdrew. Said it was too dangerous, refused to drive!! (gestures) You're Champion of the World, kiddo! TEDDY MAYER takes JAMES's number `11' from the side of his car, and tears it in two, leaving number `1'. JAMES's face: as he realizes. Then explodes with happiness.200AINT. EASTON NESTON - DAY 200A HESKETH and BUBBLES cheer in celebration... HESKETH He did it! He bloody well did it!200BINT. HOSPITAL - NIGHT 200B A television plays in the Emergency Ward of the hospital. NURSIE catches sight of the victory, patients cheering and applauding... NURSIE allows herself a smile.200CINT. HOTEL - MANHATTAN - SAME TIME 200C BURTON is at the door in tuxedo, waiting to go. SUZY, dressed glamorously, smiles. SUZY Well done, James.. Then turns the TV off. And follows BURTON out. 101200DEXT. JAPAN GRAND PRIX - DAY 200D JAMES is embraced by CALDWELL and MAYER.201 EXT. FUJI PADDOCK - HELICOPTER - SAME TIME 201 Across the race-track, the sound of helicopter blades turning. JAMES looks over to see... NIKI in the helicopter with MARLENE and a PILOT. NIKI, now the ex-World Champion, looks over to see a triumphant JAMES surrounded by press, McLaren colleagues, etc MARLENE Are you OK? NIKI turns, takes MARLENE's hand as he answers. NIKI Fine. It's just one race. The helicopter lifts into the air, and flies off...202 EXT. PADDOCK - SAME TIME 202 JAMES watches as the helicopter carrying NIKI flies away, then turns to see... ...the world's press begins to descend on him, and the biggest party of JAMES HUNT's life is about to begin.. In the background, the two JAPANESE DRIVERS are giving interviews again. They didn't just survive, MASAHIRO HASEMI got the fastest lap of the race, and NORITAKE TAKAHARA came 9th... And at that moment, magically, the sun breaks through, and the snowy peak of Mount Fuji is finally revealed.203 A QUICKFIRE MONTAGE 203 Of newspaper headlines, television talk shows, lucrative endorsements, TV commercials, sponsorship, public billboards. JAMES's world championship victory has made him a rich man. His movie star looks make him an international STAR and marketing man's dream. Girls, more girls, and even more girls. (CONTINUED) 102203 CONTINUED: 203 JAMES, dashing in a white suit, plays trumpet on the UK's most famous talk show... FADE TO BLACK:204 EXT. RUNWAY - DAY 204 We're on the runway of an airport in Northern Italy. CAPTION: "THREE MONTHS LATER" A stretch limousine pulls up on the tarmac. A still-drunk JAMES HUNT and several good-looking WOMEN, rowdy FRIENDS (and hangers-on) spill out of the limo... They cross the tarmac towards their waiting private jet, passing other jets, when JAMES stops. He's seen something that has caught his eye. JAMES sends his FRIENDS on ahead to their waiting jet, and walks over to a small private jet, (a Learjet 35)... JAMES I heard you were spending more and more time in one of these... A hunched PILOT doing final checks. The figure turns. It's NIKI. His wounds have healed a little, but it's still a painful sight... NIKI Do you fly? JAMES No. NIKI You should try it. If something goes wrong up there, you're on the edge, but have to stay within the rules. Stick to regulations. Suppress the ego. It's good discipline for the racing. JAMES And there I was thinking you were about to wax lyrical about the romance of flight. I should have known better. NIKI What brings you here? (CONTINUED) 103204 CONTINUED: 204 JAMES indicates his rowdy, cool-looking friends.. JAMES A friend's wedding. At least I think it was a wedding. Might have been a birthday. All a bit of a blur. How about you? Been at Fiorano? NIKI Pre-season testing. JAMES Already? In February? You're relentless. NIKI Thank you. JAMES I'm not sure I meant it as a compliment. NIKI But it is one. Relentlessness is good. Means you're a fighter. That you never give up. Behind my back I know some of you guys call me `The Rat.' Because I look like one. It's meant as an insult. But I don't mind it. Rats are ugly, sure. And no one likes them. But they're intelligent. With a strong survival instinct. JAMES can't help smiling. That's NIKI. NIKI So when do you start testing? Next week? JAMES Are you mad? I didn't just win the biggest thing of my life so I could get right back to work. NIKI Why? You need to. To prove to all the people who will always say you only won it because... JAMES Because what...? Because of your accident? Is that other people, Niki? Or you? I won. On the all important day when it came down to it, we raced on equal terms in equally good cars. (MORE) (CONTINUED) 104204 CONTINUED: (2) 204 JAMES (contÌd) You bottled and I had the guts to see it through. NIKI It's true. You won that race. And believe me if I had to lose that title to anyone, I'm happy it was you. But that doesn't change the fact you have to win again. JAMES Why? NIKI Because that's what it means to be a winner, no? It's a permanent condition. Never stops or goes away. It stays with you always. JAMES That's winning? Sounds like losing to me. Some of life needs to be for pleasure, Niki. What's the use of having a million cups and medals if you never have any fun? How is that winning? The plane load of JAMES's friends call out..."C'mon, James!" NIKI You're right. I could learn from you. In hospital the toughest part of my treatment was the vacuum. Pumping the shit out of my lungs. It was agony. While doing it, I was watching television...you winning all those races...and I was cursing you.. "That bastard, Hunt", I would shout, "I hate that guy." one day the doctor said, "Mr. Lauda, may I offer one piece of advice? Stop thinking of it as a curse to have been given an enemy in life. It can be a blessing, too." I said, "Who are you, Confucius?" He said, "A wise man gets more from his enemies than a fool from his friends." And you know, he's right. Look at us. We were a pair of kids when we first met. Hotheaded jerks in Formula 3. Headed nowhere. Now we're both Champions of the world. Not bad. JAMES No, not bad. (CONTINUED) 105204 CONTINUED: (3) 204 NIKI So don't let me down now. I need you busting my balls. Get back to work. JAMES I will, Niki. But I intend to enjoy myself first. And so should you. You think you can? NIKI stares. A blank look.. JAMES See you on race day, Champ. NIKI You will. Champ. JAMES goes. NIKI watches him, pulled into his plane by his laughing, cool FRIENDS. An unmistakable flicker of envy in his eyes. Then NIKI turns, alone, and resumes his safety checks.205 EXT. RUNWAY - AIRFIELD - DAY 205 JAMES's plane roars down the runway and takes off into the azure blue sky... FADE TO BLACK: CAPTION: "JAMES RETURNED THE FOLLOWING SEASON, BUT WAS NEVER A CHALLENGER AGAIN. HE RETIRED IN 1979. AFTER SHORT CAREERS IN BROADCASTING AND BUDGIE BREEDING HE DIED OF A HEART ATTACK. AGED 45." CAPTION: "NIKI LAUDA WENT ON TO BECOME WORLD CHAMPION IN 1977. AND AGAIN IN 1984. HE NOW RUNS A SUCCESSFUL COMMERCIAL AIRLINE. HE STILL CLAIMS TO HAVE NO FRIENDS." The End \ No newline at end of file diff --git a/unformated_scripts/Script_Rushmore.txt b/unformated_scripts/Script_Rushmore.txt new file mode 100644 index 0000000000000000000000000000000000000000..09afd24b5a418396e0eab91c17abfb98fc2e0f83 --- /dev/null +++ b/unformated_scripts/Script_Rushmore.txt @@ -0,0 +1,5817 @@ + + +R U S H M O R E + +anderson/wilson + +12.may.97 + +INT. CLASSROOM DAY + +A private day school. Twenty 10th grade boys are sitting in desks in geometry class. They are dressed in school uniform, light blue shirts and khakis. The boys look dazed and sleepy. + +The teacher, MR. ADAMS, is at the front of the room, finishing a complicated equation on the chalkboard. + +MR. ADAMS + +Except when the value of the x coordinate is less than or equal to the value of the -- Yes, Isaac? + +A boy named ISAAC has raised his hand + +ISAAC + +What about that problem? + +Isaac points to a startling and intricate arrangement of huge numbers and strange symbols filling up a forgotten corner of the chalkboard. The heading above it says Extra Credit. + +MR. ADAMS + +Oh, I really just put that up there as a joke. That's probably the hardest geometry problem in the world. + +ISAAC + +How much extra credit is it worth? + +MR. ADAMS + +Well, I've never seen anyone get it right before, including my mentor, Dr. Leaky at MIT. So I guess if anyone here can do it, + +(pause) + +I'd see to it that none of you ever have to open another math book again for the rest of your lives. + +There is some quite murmuring. The name Fischer is repeated over and over. The boys begin to look to a student in the back row. + +Unlike his classmates, he wears the Rushmore school blazer with insignia on the breast pocket and a Rushmore rep tie knotted tightly. His hair is smartly parted and swept back. He is extremely skinny and pale. He is MAX FISCHER. + +Max has a cup of coffee on his desk and he is reading the Wall Street Journal. + +MR. ADAMS + +Max ? You want to try it ? + +Max looks up. + +MAX + +I'm sorry. Did someone say my name? + +Everyone laughs. Max smiles slightly. He buttons his blazer and straightens his tie. He picks up his cup of coffee and takes a sip. He goes to the chalkboard and sets to work. + +The boys watch with nervous anticipation. Mr. Adams compares Max's progress with e notes in his book. Max's equations quickly fills up most of the chalkboard. He finishes it with a flourish, throws his piece of chalk in the trash, and turns to face the + +class. + +Everyone looks to Mr. Adams. Mr. Adams raises an eyebrow. He nods. + +The classroom erupts into wild, ecstatic applause. Everyone surrounds Max, cheering, as he walks calmly back to his desk. They hoist him into the air. + +CUT TO: + +Max with his eyes closed, smiling serenely, listening to the applause. He mutters: + +MAX + +Gentlemen, gentlemen, please. + +A little hand grabs Max's arm and shakes him. Max opens his eyes. The person shaking him is his chapel partner, DIRK CALLOWAY, a fourth grader with neatly white hair. Max looks around. + +They are in chapel, surrounded by rows of boys in school uniforms. Dirk puts his finger to his lips. + +DIRK + +Shh. + +Max rubs his eyes and sits up in the pew. The applause dies down and Max looks to the pulpit as the guest chapel speaker, HERMAN BLUME, steps up to the microphone. + +Mr. Blume is a tough looking guy about fifty years old in a black suit. He begins his chapel speech. + +MR. BLUME + +You guys have it real easy. I never had it like this where I grew up. But I send my kids here. Because, the fact is, whether you deserve it or not: you go to one of the best schools in the country. + +Max's eyes light's up. + +MR. BLUME + +Rushmore. You lucked out. + +Max leans forward to the railing and begins to listen intently. + +MR. BLUME + +Now, for some of you it doesn't matter. You were born rich, and you're going to stay rich. But here's my advice to the rest of you: take dead aim on the rich boys. Get them in the crosshairs. And take them down. + +Some of the students and faculty begin to look at each other with puzzled expressions. Max is nodding and taking notes on the flypage of a hymnal. + +INSERT HYMNAL: + +Rushmore -- best school in country. + +rich kids -- bad? + +MR. BLUME + +Just remember: they can buy anything. But they can't buy backbone. Don't let them forget that. Thank you. + +Mr. Blume leaves the podium. Max leaps to his feet and leads the applause. The organ starts and everyone stands up. + +EXT. QUADRANGLE DAY + +Mr. Blume and the headmaster, DR. GUGGENHEIM, come out of the chapel among the throng of students. + +Dr. Guggenheim wears a wool coat and smokes a pipe. He is very dashing with silver hair and a warmly patronizing manner. He walks with his hands clasped behind his back. + +Two Jack Russell terriers follow quickly at his heels. + +DR. GUGGENHEIM + +Are you free for graduation, Herman? Maybe you could give us an encore. (whistles to the dogs) Nicholas! Copernicus! + +MR. BLUME + +(lighting a cigarette) + +I don't give a shit. I paid for the whole damn natatorium. The least these little pricks can do is hear me out. + +MAX + +Mr. Blume. + +Max has appeared beside them. Dirk tags along behind him. + +MAX + +My name's Max Fischer. I just wanted to tell you, I strongly agree with your views concerning Rushmore. + +MR. BLUME + +You don't say. Tell me something. How long have you gone here? + +MAX + +Ten years. + +MR. BLUME + +Then you've been living in a dreamworld for ten years. + +MAX + +I know it, sir. + +Max smiles broadly. They each notice that their haircuts are identical, neatly parted on the side. + +MAX + +Your speech was excellent. Except I disagree with your ideas about rich kids. Because. After all, we don't choose who our fathers are. But that's really my only criticism. + +MR. BLUME + +(hesitates) + +Thank you. + +Mr. Blume looks at Dirk staring up at him. Dirk says softly: + +DIRK + +Hello. + +MAX + +This is my chapel partner, Dirk Calloway. + +MR. BLUME + +(shakes Dirk's hand) + +Nice to meet you, Dirk. + +MAX + +Thank you for coming today, sir. + +Max shakes Mr. Blume's hand. Mr. Blume smiles. But Max doesn't go. He just stands there. Searching for the words. + +MAX + +I really. I think it is. You're right about Rushmore. Look around. It truly is a great school. + +Mr. Blume nods. A little uneasy. + +MAX + +Anyway, nice to have met you. + +Max goes. Mr. Blume and Dr. Guggenheim watch him walk away with Dirk. + +MR. BLUME + +What's his name again? + +DR. GUGGENHEIM + +Max Fischer. + +MR. BLUME + +He's a sharp little guy. + +Dr. Guggenheim looks across the lawn at Max and his chapel partner. He says wistfully: + +DR. GUGGENHEIM + +He's one of the worst students we've got. + +INSERT COVER OF THE RUSHMORE YEARBOOK: + +It is called the Rushmore Yankee. The masthead says Max is editor-in-chief. There is a photograph of him laughing, surrounded by his staff. + +We cut to a series of pictures of: + +The French Club, Debate Team, lacrosse, golf, drama, Astronomy Society, Glee Club, student council, Model United Nations, Stamp & Coin Club, Gun Club, Bombardment Society, calligraphy, fencing kung fu, beekeeping, and J.V. water polo. + +Max is president or captain of virtually every one of these. + +Other photographs show Max pole-vaulting, dancing at the Christmas ball, and giving a thumbs up from the cockpit of a Piper Club. + +TITLE: + +September + +INT. DR. GUGGENHEIM'S OFFICE DAY + +A paneled room with wooden floors, an old electric fan in the windowsill, and paintings of ducks and geese on the walls. Dr. Guggenheim is seated at his little oak desk. Max sits across from him and in an antique leather armchair. + +DR. GUGGENHEIM + +We're putting you on what we call sudden death academic probation. + +MAX + +(pause) + +And what does that entail ? + +DR. GUGGENHEIM + +It entails that if you fail another class, you are going to be asked to leave Rushmore. + +MAX + +I see. + +(raises an eyebrow) + +In other words, I'll be expelled. + +DR. GUGGENHEIM + +Right. + +Silence. + +MAX + +Dr. Guggenheim. I don't want to tell you how to do your job. But the fact is no matter how hard I try, I still might flunk another class. And if that means I have to stay on for a post-graduate year, then so be it. But if -- + +DR. GUGGENHEIM + +We don't offer a postgraduate year. + +MAX + +Well. We don't offer it yet. + +(pause) + +And what about the fact that I'm probably dyslexic? + +DR. GUGGENHEIM + +You're not dyslexic. + +MAX + +Well, I'm a terrible speller. + +DR. GUGGENHEIM + +Just bring up the grades. + +Max sighs. He looks out the window and says quietly: + +MAX + +Do you remember how I got into this school? + +DR. GUGGENHEIM + +Yeah, I do. You wrote a play. + +MAX + +That's right. A little one act. And my mother read it and felt I should go to Rushmore. And you read it, and you gave me a scholarship, didn't you ? + +Dr. Guggenheim nods. + +MAX + +Do you regret it? + +DR. GUGGENHEIM + +No, I don't regret it. But I still might have to expel you. + +Max nods. He smiles sadly and whispers: + +MAX + +Couldn't we just let me float by? For old times' sake? + +DR. GUGGENHEIM + +(grimly) + +Can't do it, Max. + +EXT. QUADRANGLE. DAY + +Max and Dirk come out the door into the cold. They head across the grass. + +MAX + +They want to kick me out, Dirk. + +DIRK + +(concerned) + +Oh, no. Not again. What are you going to do? + +MAX + +The only thing I can do. Try and pull some strings with the administration, I guess. + +DIRK + +(pause) + +Maybe you ought to get a tutor. + +MAX + +I don't have time for a goddamn tutor. You know my schedule. + +INSERT SIGN WRITTEN IN CALLIGRAPHY: + +BACKGAMMON CLUB. + +Founder: Max Fischer. + +INT. LIBRARY DAY + +A long table in the Rushmore library. Max is reading a library copy of a book about Jacques Cousteau. He is also playing backgammon with a freshman named ALEX. + +ALEX + +Did you hear they're teaching Japanese next year? + +MAX + +That's the rumor. + +ALEX + +And they're canceling Latin. + +MAX + +What? I tried to get Latin canceled for five years. "It's a dead language," I'd always say. + +ALEX + +Well, I guess they finally heard you. + +Max shakes his head as this sinks in. + +MAX + +At least I saved Dirk from the horror. + +Max turns the page of his book. There is a little note written in the margin in pencil with an arrow pointing to the text. Max frowns. He turns the book sideways to read it. + +INSERT FRAGMENT OF NOTE IN BOOK: + +which reminds me of a quote from Henry James: Try to be one of the people whom nothing is lost. + +Max's frown disappears. A change comes over his face. His eyes glaze over dreamily. He looks to Alex. + +MAX + +Who's Henry James? + +ALEX + +I don't know. + +Max looks back at the book. He studies the quote. He gets up and goes to the check-out counter. He shows the book to the LIBRARIAN. + +MAX + +What does this mean? + +The librarian reads the Henry James quote. + +LIBRARIAN + +It means try to be worldly. + +MAX + +You mean like smart. + +LIBRARIAN + +More or less. Yeah. + +MAX + +I'd like to see a list of all the people who've checked out this book in the past year. + +The librarian goes through the cards in a little wooden box. + +INSERT SCRAP OF PAPER: + +Miss. Cross, 1st grade, room 121 + +INT. HALLWAY. DAY + +Max walks down a hallway in the lower school. He is carrying the little scrap of paper, checking room numbers as he walks. + +He looks in some of the rooms. He sees kids sitting at tables with scissors and paste. Kids watching a movie on science. Kids curled up on mats during naptime. + +And then he sees room 121. He goes up to the door and looks through the window. + +A class of first graders is sitting Indian-style in a little circle on the floor. The teacher is in a tiny little kids' chair, reading aloud from Kidnapped. She is twenty-eight. She wears a cardigan sweater and her hair pulled back like a ballet dancer. She is MISS CROSS. + +Max's eyes are glued to the glass. He cracks open the door an inch to listen to her voice. + +MISS CROSS + +I have seen wicked men and fools, a great many of both; and I believe they both get paid in the end. + +(darkly:) + +But the fools first. + +She looks up mysteriously. She turns the page and continues: + +MISS CROSS + +Chapter fifteen. The Lad with the Silver Button. + +INT. BLUME INTERNATIONAL CONCRETE. DAY + +Mr. Blume has a gigantic office with paintings of battle scenes and Viking ships, a coat of armor and a statue of a discus thrower. The concrete plant is outside the window. + +A portrait of the Blume family hangs on the wall behind Mr. Blume's desk. His wife and twin sons are all fair-skinned redheads. Mr. Blume is dark and sullen. He is smoking a cigarette in the painting. + +Mr. Blume sits at his desk with a silver military issue. 45 automatic disassembled in front of him. He is cleaning it and drinking a Bloody Mary. His SECRETARY buzzes him on the speakerphone. Mr. Blume pushes a button on it. + +MR. BLUME + +Yeah? + +SECRETARY + +Mrs. Blume wants you to pick up the twins from school at -- + +MR. BLUME + +Tell them to take the fucking bus. + +SECRETARY + +OK. + +INT. CAR. DAY + +Max is sitting in a parked Jaguar with Dirk's mother, MRS. CALLOWAY. She is beautiful. She is dressed in tennis clothes and wears a terrycloth visor. + +Max is wearing a fluorescent orange crossing guard's belt with a badge at the shoulder that says Patrol Chief. He hands Mrs. Calloway his phone number. + +MRS. CALLOWAY + +Thank you, Max. I told Mr. Calloway the other day how fortunate we are to have someone like you looking out for Dirk. + +MAX + +My pleasure. I'm just trying to impart some of the experiences I've accrued to help Dirk. There he is now. Nice talking with you, Mrs. Calloway. + +They shake hands. Max gets out of the car and puts his hand on Dirk's shoulder. + +MAX + +How'd the math test go? + +DIRK + +What math test? + +MAX + +I thought you had a math test today. + +DIRK + +No. Did you turn in your paper on the Berlin Airlift ? + +MAX + +Yeah, I got an extension. + +Dirk gets in the car and drives off. A seventh grader named BOBBY goes over to Max. + +BOBBY + +How'd it go? + +MAX + +I shook hands with her. + +BOBBY + +Big deal. + +MAX + +And I gave her my phone number. + +BOBBY + +Buchan said he'd have already banged her by now. + +MAX + +He said that? + +Max looks across he yard at MAGNUS BUCHAN, the burly foreign exchange student from Scotland. He is seventeen. He has a straw in his mouth and he shoots a little blowdart at a little kid's neck. + +Half of Buchan's ear was blown-off in a hunting accident. + +MAX + +That's a really crude thing to say. That's Dirk's mother. + +BOBBY + +But I thought that's why you picked Dirk as your chapel partner. + +MAX + +(looks at Bobby, pause) + +What are you, a lawyer? All I'm saying is that gorilla is a guest at our school for the year, so respect our women the say way we would in his jerkwater country. + +Mr. Blume pulls up in a brand new black Bentley. + +MAX + +Mr. Blume! + +Max goes over to Mr. Blume's car. + +MAX + +It's Max Fischer. + +MR. BLUME + +(weary) + +Hi, Max. + +They shake hands through the open car window. + +MAX + +How's the concrete business? + +MR. BLUME + +Oh, I don't know. By the time you hit 45 you're been fucked over so many times you don't really care anymore. + +MAX + +I'm sorry to hear that. + +Mr. Blume sighs deeply. He stares out the windshield. + +MR. BLUME + +What's the secret, Max? + +MAX + +The secret? + +MR. BLUME + +Yeah. You look like you've got it all figured out. + +MAX + +(pause) + +I don't know. I think you just gotta find something you love to do, then do it for the rest of your life. + +(shrugs) + +For me, it's going to Rushmore. + +Max looks very serious. Mr. Blume smiles and nods. + +MAX + +Hey, Ronny. Hey, Donny. + +Mr. Blume's red-headed twins RONNY and DONNY come over to the car. They're Max's age but much more thick and solid. + +RONNY + +Shotgun. + +Donny gets in the front seat anyway. Ronny hollers: + +RONNY + +I said shotgun, Donny! + +MR. BLUME + +Get in the back, Ronny. + +RONNY + +I said, "Shotgun." Get in the back, Donny. + +Donny punches three different buttons on the dash that crank up the AC full blast. Mr. Blume's hair dances in the cold burst of air. He shuts off the AC. + +MAX + +See you tomorrow, Mr. Blume. + +(looks off) + +Mrs. Reynolds! + +Max goes over to shake hands with somebody else's parents. Mr. Blume looks at Max fondly. + +MR. BLUME + +Did you invite that kid to your party? + +DONNY + +(shocked) + +Max Fischer? + +RONNY + +Come on, Dad. There's gonna be girls there. + +DONNY + +I'd rather die. Pull your head out of your ass. + +Mr. Blume turns Donny quickly like he is going to attack him. Donny cowers grinning in the backseat with his fists up. Ronny pipes in: + +RONNY + +Remember what Mom said. Hugs not hits. + +INT. AUDITORIUM. DAY + +The school auditorium. The stage is bare except for two folding chairs. A tall senior plays FRANK. He is wearing a stocking cap and sunglasses. A fat kid plays WILLIE. + +FRANK + +Wait a second. What time did the old lady place the 911 call? + +WILLIE + +Ten-fifteen. + +FRANK + +(snaps his fingers) + +That's it. + +Frank jumps out of his seat. + +FRANK + +Meet me on the corner in ten minutes. + +WILLIE + +Where are you going? + +FRANK + +I'll tell you in the squad car. + +He heads towards the wings, then stops. + +FRANK + +Oh, and, Willie. You were wrong about Enrique Sanchez. He died in his sleep. + +He exits. + +MAX + +Excellent! + +Willie looks into the darkness beyond the stage. Max emerges and quickly climbs the steps onto the stage. He is followed by Dirk who is holding a script. + +MAX + +Excellent. Irving? + +The stage manager is a wavy-haired sophomore named IRVING. He comes out from the backstage. Max pulls some money out of his pocket and hands it to him. + +MAX + +Get some rootbeers for anybody who wants one. I don't want one. OK. Next scene. (looks at Dirk's script) Frank, you enter stage right with a bag of cocaine. + +INT. BARBERSHOP. DAY + +A small, clean barbershop. MR. FISCHER is a white-haired man of sixty-five in a white a white barber's shirt. He has finished giving a buzzcut to a twelve year-old boy named GORDON. + +GORDON + +May I see the back, please? + +Mr. Fischer holds up a hand mirror so Gordon can see the back. Gordon nods. Max comes in rolling a Japanese ten-speed at his side. + +MR. FISCHER + +Hey, Max. How was your day? + +MAX + +Hm. I'd say + +(thinks for a second) + +98% good, 2% not so good. I need a signature on this geometry test, by the way. + +Max leaves his test on the counter and rolls his bike into the back room. Gordon gives Mr. Fischer ten dollars. + +GORDON + +Thank you very much. + +Gordon goes out the door. Mr. Fischer looks at the geometry test. Max comes out of the back room drinking a glass of chocolate milk with a straw. + +MR. FISCHER + +Hm. + +MAX + +I know. + +MR. FISCHER + +A 37. + +MAX + +Pathetic. Just pathetic. + +MR. FISCHER + +Well. It could have been worse. You were right more than a third of the time. + +MAX + +(exploding) + +Come on, Dad! That stinks! I can do better than that! + +MR. FISCHER + +Of course, you can. + +MAX + +For once, will you please try not to look on the bright side? + +MR. FISCHER + +Sit down and let me give you a trim. + +Max sighs deeply. He sits down. Mr. Fischer signs the geometry test. He puts a pale blue smoke over Max and gives him a haircut. + +MAX + +Do you think I'm stupid? + +MR. FISCHER + +No! You're just not very good at math. + +MAX + +But I'm failing English and History, too. + +MR. FISCHER + +(pause) + +Well. Maybe you'd be better off at a school where there's not so much emphasis on academics. + +MAX + +What, like barber college? + +Mr. Fischer is stricken. Max says quietly: + +MAX + +No, I love Rushmore. I don't want to go someplace second rate. Besides, it would ruin my chances of getting into Oxford. + +Silence. Mr. Fischer looks very sad. + +MR. FISCHER + +I wish I knew how to help you. But I just don't. I'm sorry, Max. + +Max looks at his dad. Mr. Fischer looks down at the floor. + +MR. FISCHER + +You want to see the back? + +MAX + +No, thanks. You know how I like it. + +INT. THE FISCHER'S HOUSE. NIGHT + +An Archie Bunker-type house. Max and Mr. Fischer sit on the sofa in front of the TV having TV dinners. + +MAX + +You think I'm spending too much of my time starting up clubs and putting on plays? + +MR. FISCHER + +I don't know. It's possible. + +MAX + +I should probably be trying harder to score chicks. That's the only thing anybody really cares about. (sighs deeply) But it's not my forte, unfortunately. + +MR. FISCHER + +It'll happen, Max. It's just. You're like one of those clipper ship captains. You're married to the sea. + +MAX + +Yes, that's true. + +(pause) + +But I've been out to sea for a long time. + +EXT. SOCCER FIELD. DAY + +Miss Cross is sitting on the bleachers watching her class play Capture-the-Flag. She opens a book. It is 20,000 Leagues under the Sea. She puts a cigarette in her mouth and searches in her pocket for a lighter. + +A lit match appears in front of her. Max is holding it. He is wearing a maroon beret, Miss Cross looks at him curiously. + +MAX + +Hello. + +MISS CROSS + +Hi. + +Miss Cross lights her cigarette on Max's match. + +MISS CROSS + +I like your hat. + +MAX + +Thank you. You're a teacher here, aren't you? + +MISS CROSS + +Uh-huh. + +MAX + +What subject do you teach? + +MISS CROSS + +Well, I teach first grade, so I do all the subjects. Except music. + +MAX + +And this is your first year at Rushmore, I take it. + +Miss Cross nods. + +MAX + +I see. How long have you been a smoker, if you don't mind me asking? + +MISS CROSS + +(surprised) + +Hm. Let's see. How old are you? + +MAX + +Fifteen. + +MISS CROSS + +Since I was your age. + +MAX + +(shocked) + +You're kidding. + +Miss Cross shakes her head. Max can't believe this. + +MAX + +You should quit. + +MISS CROSS + +You're right. + +MAX + +(going back to his book) + +And I should mind my own business. + +Miss Cross laughs. Max looks back up. + +MAX + +Where'd you go to school, by the way? + +MISS CROSS + +Harvard. + +MAX + +Really? That's a coincidence. My top schools where I want to apply to are Oxford and The Sorbonne. But my safety is Harvard. + +MISS CROSS + +(smiles) + +That's very ambitious. + +MAX + +Thank you. + +MISS CROSS + +What are you going to major in? + +MAX + +Well. I haven't decided for sure. But probably a double major in Mathematics and Pre-Med. What was your major? + +MISS CROSS + +Latin-American studies. + +MAX + +Ah, that's interesting. Did you hear they're not going to teach Latin here anymore? + +MISS CROSS + +This was more like Central America. + +MAX + +(pause) + +Sure. Central America and whatnot. But moving on: they're gonna cancel Latin. They've got to make room for Japanese. + +MISS CROSS + +Really? That's too bad. All the Romance Languages come from Latin. + +MAX + +They do, don't they? + +(pause) + +Like French, probably. + +She nods. She smiles. + +MISS CROSS + +Nihilo sanctum estne? + +MAX + +That's Latin, isn't it? + +MISS CROSS + +Yeah. + +MAX + +What does it mean? + +MISS CROSS + +Is nothing sacred? + +Long pause. Looking right at her. + +MAX + +Sic transit gloria. Glory fades. I'm Max Fischer. + +Max slides down the bench and puts out his hand. + +MISS CROSS + +Hi. + +They shake hands. + +INT. LUNCHROOM. DAY + +A crowd of MIDDLE SCHOOLERS has gathered around Max. He is holding a clipboard. One of the kids finishes signing a piece of paper on it. + +MAX + +Good. Now you. + +(points to the next kid) + +Sign here. + +The kid signs. + +INSERT PIECE OF PAPER: + +A long list of signatures. Many of them are written in little kid's handwriting. Some are neater. Across the top, it says PETITION. This is written in calligraphy. + +CUT TO: + +The administration conference room. TEN TEACHERS sit in chairs around a long table. Max stands before them finishing a speech. The petition is tacked-up on the wall behind him. + +MAX + +In summation, I have only one question: is Latin dead? Nisilum sacnus (pause, looks at his notecards) estne? Only you can say. Thank you for your time. + +Applause. + +INSERT ANNOUCEMENT: + +Thanks to part of the efforts of 10th class member Max Fischer, Latin will now be a required course for grades 7 through + +INT. HALLWAY. DAY + +Max and a bunch of other kids are reading this announcement on the bulletin board. Max is smiling serenely. The others are cursing and looking at Max with angry faces. Magnus Buchan is one of them. He has a strong Scottish accent. + +MAGNUS + +Bugger off, Fischer. Ya bleedin' little bollocks. + +MAX + +Is that Latin? + +Not bad, Buchan. Maybe you'll place out of your first year. + +INT. GYM. DAY + +Mr. Blume's son Ronny is in a wrestling mach. He has his opponent in a chokehold and is slowly strangling him. Mr. Blume looks on distastefully from the stands. Max is at his side. + +MR. BLUME + +What does your dad do, Max? + +MAX + +(frankly) + +He's a neurosurgeon. Over at St. Joseph's. Personally, I could never see myself cutting open somebody's brain. But he seems to enjoy it. + +Max shrugs. Mr. Blume nods. + +MAX + +You were in Vietnam, if I'm not mistaken, weren't you? + +Mr. Blume nods. Max thinks for a minute. + +MAX + +Were you in the shit? + +MR. BLUME + +Yeah. I was in the shit. + +They look back out at the wrestling match. Ronny is crushing his opponent's face into the mat with his fist. Mr. Blume shakes his head. + +MR. BLUME + +Tell me something, Max. What do you think of Ronny and Donny? + +MAX + +(automatically) + +I like them. + +MR. BLUME + +(surprised) + +Really? + +MAX + +Sure. + +Ronny flips his opponent on the mat and flattens him with his body. Donny screams encouragement. + +MR. BLUME + +No. You're right. They're good kids. + +Max nods solemnly. + +WRESTLER + +See you Sunday, Mr. Blume. + +A stocky Wrestler with an ice pack on his arm walks by on his way to the showers. Mr. Blume nods to him without looking up. + +MAX + +What's Sunday? + +Mr. Blume looks to Max. Silence. + +MR. BLUME + +The twins are having a birthday party. And I'd love it if - + +MAX + +Oh, that's right. Yeah. I'm not going to be able to make it to that one. + +Max smiles very sincerely. Silence. + +MR. BLUME + +Come work for me. + +MAX + +(stiffens) + +What do you mean? + +MR. BLUME + +I mean, I could use somebody like you. I could - + +MAX + +I may not be rich, Mr. Blume. And my father may only be a doctor. But we manage. + +MR. BLUME + +(hesitates) + +I didn't mean it like that. I just - + +MAX + +No, thank you. I mean, I appreciate the offer. But I've got everything I need right here at Rushmore. Besides, it wouldn't be fair. + +REFEREE + +110s! + +MAX + +Excuse me, Mr. Blume. Nice talking with you. + +Max pulls off his blazer. He is wearing wrestling tights underneath. Mr. Blume looks surprised. + +MR. BLUME + +You're on the team? + +MAX + +(shrugs) + +I'm an alternate. + +Max heads out to the mat, pulling on his headgear. Mr. Blume calls after him: + +MR. BLUME + +What wouldn't be fair, Max? + +MAX + +(smiles crookedly) + +We'd make way too much money working on the same team. + +Mr. Blume smiles faintly. He watches as Max begins his match. Max is outclassed and quickly gets pinned. + +INT. HALLWAY - DAY + +Miss Cross is shepherding her class into her classroom. They are singing a song as they walk down the corridor. Across the hall, a fourth-grade teacher, Mrs. Guggenheim, comes out of her classroom. She is a handsome woman in her late sixties with black and silver hair. + +MISS CROSS + +Hello, Mrs. Guggenheim. + +MRS GUGGENHEIM + +Hi, Rosemary. Did you find a place? + +MISS CROSS + +Well, I'm just staying over at Edward's parents' house for now. They're out of town. + +MRS GUGGENEHIM + +Oh. That's good. + +(pause) + +Edward was one of my students, you know. + +Miss Cross smiles and nods. Silence. Miss Cross points to a photograph in a collage on a wall. + +MISS CROSS + +I think I met that boy yesterday. + +Mrs. Guggenheim looks at the picture. + +INSERT PHOTOGRAPH: + +It is black and white of Max in fifth grade singing a show tune. His arms are opened wide and he has a top hat in one hand and cane in the other. + +MRS GUGGENHEIM + +(frowns) + +That's Max Fischer. How'd you get mixed up with him? + +MISS CROSS + +He introduced himself to me. I liked him, actually. + +MRS GUGGENHEIM + +(resigned) + +Yeah, I know. So do I. + +EXT. COUNTRY CLUB - DAY + +Ronny and Donny set upon a pile of birthday presents at a table by the pool. They are surrounded by kids in swimsuits. + +Mr. Blume sits alone at the next table drinking a whiskey in front of the demolished birthday cake. He has a tattoo on his shoulder that says Semper Fi. There is a bucket of golf balls in front of him and he absently tosses them into the pool one at a time. + +He looks over at Mrs. Blume. She has red hair just like the twins. She is flirting with a pretty boy Tennis Pro. She looks back to Mr. Blume coldly. + +Mr. Blume gets up and walks around the pool. He pauses to shake hands with a Big Man drinking a glass of Scotch. The big man gives Mr. Blume a sudden shove toward the pool, but hangs on to him so he doesn't fall in. The big man laughs. + +Mr. Blume climbs up the ladder to the high dive. He sets down his cocktail. He slips and falls and bangs his knee hard on the edge of the board. He gets up quickly. There is a bad cut on his knee and he is bleeding. He looks out at the birthday party down below. + +People begin to notice him up there. + +He sprints down the board, bounces once as high as he can, and sails out long through the air. He tucks into a cannon ball. He nails the water with a huge splash. + +Mrs. Blume gets up with a bitter look on her face and heads for the ladies' room. + +Kids gather at the edge of the pool to look down at Mr. Blume playing dead at the bottom with golf balls all around him. A little boy in a Speedo underwear swims to examine Mr. Blume. Their eyes meet. The boy turns and swims away. + +INT. CLASSROOM - DAY + +Miss Cross' classroom. The walls are lined with fish tanks that glow blue and make bubbling sounds. There are maps and pictures everywhere. A model of a 747 hangs from the ceiling. A record player plays the Vienna Boys' Choir at a low volume. + +There is only one Kid in the room. He is taking a test. Miss Cross sits at her desk grading papers. + +Max cracks open the door. + +MAX + +Miss Cross? + +Miss Cross and the kid look back at Max. Miss Cross holds her finger to her lips and gets up. As she walks past the kid, she puts her hand on the top of his head. She goes to Max at the door. She whispers: + +MISS CROSS + +He's taking a make-up test. + +MAX + +These guys have tests? + +MISS CROSS + +Of course. + +MAX + +I thought they just did coloring and stuff. + +MISS CROSS + +Oh, no. They're good readers. + +MAX + +I'm Max Fischer. We met the other day. + +MISS CROSS + +I know who you are. How are you? + +MAX + +Fine, thank you. + +Max just stands there. + +MISS CROSS + +You want to help me feed the fish? + +MAX + +Yes, please. + +Max follows her from tank to tank as she shakes out fish food. They continue to whisper to each other: + +MAX + +I thought I would just let you know, as per our conversation the other day - + +MISS CROSS + +Latin? + +MAX + +Right. The Romance Languages. I gave a little speech - + +MISS CROSS + +I heard about this. + +MAX + +You did? + +MISS CROSS + +Uh-huh. I understand you made a very convincing argument. + +MAX + +I thought you'd be pleased to hear they're going to continue the Latin program. + +She looks at Max. She sets down the fish food and shakes his hand. + +MISS CROSS + +I'm very impressed. + +MAX + +Thank you very much. + +Max picks up the can of fish food and shakes some into one of the aquariums. + +MAX + +You need an assistant? + +MISS CROSS + +(smiles) + +Do we get to have assistants around here? + +MAX + +I doubt it. I'm on scholarship, though. Academic scholarship. So sometimes, I get to do odd jobs. + +(pause) + +How did you decide to teach at Rushmore? + +MISS CROSS + +My husband went here. + +Max drops the can of fish food into the tank. He quickly fishes it out. + +He picks some little bits of fish food out of the water and throws them away. Pause. + +MAX + +I didn't know you were married. + +MISS CROSS + +Well, he's dead now. So I'm not actually married. + +MAX + +When did he die? + +MISS CROSS + +Last year. + +Max nods. Silence. + +MAX + +My mother's dead. + +MISS CROSS + +Oh. I'm sorry to hear that. + +MAX + +She died when I was seven. (raising an eyebrow) + +So we both have dead people in our families. + +They look at each other for a minute. + +MAX + +Now what's going on in here? + +Max kneels down and looks into one of the fish tanks. There are a hundred little seahorses swimming around in it. + +MISS CROSS + +Those were just born. + +A look of wonder comes across Max's face. He stares into the blue water. + +MAX + +You really love fish, don't you? + +Miss Cross nods. Max puts his fingers to the glass. + +MAX + +How much do these cost? + +INT. BLUME INTERNATIONAL CONCRETE - DAY + +Mr. Blume's office. HE is talking on the telephone. Max sits in a chair across from him. + +MR. BLUME + +I don't want any alloys. I want steel. + +(pause) + +I don't give a rat's ass if he did. (pause) Steel, Harry. + +He hangs up. + +MR. BLUME + +You change your mind? You want the job? + +MAX + +No. But I've got an idea. And need some money. + +Mr. Blume's secretary buzzes him on the speakerphone. + +SECRETARY + +Mr. Blume, they're ready for you in Hydraulics. + +MR. BLUME + +Come with me. Let's hear your idea. + +INT. FACTORY - DAY + +Max, Mr. Blume, and a big foreman named Ernie race across the factory in a souped-up golf cart. They're squeezed together with Max in the middle. + +MAX + +Rushmore deserves an aquarium. A first class aquarium where scientists can lecture, and students can study marine life in their natural - + +MR. BLUME + +I don't know. What do you think, Ernie? + +ERNIE + +(skeptical) + +An aquarium? + +MAX + +A huge aquarium. An entire building. + +MR. BLUME + +What kind of fish? + +INT. FACTORY - DAY + +Mr. Blume and Max, wearing hard hats, stand on a scaffolding overlooking a huge cat of bubbling concrete. + +MAX + +(shouting) + +Electric eels. Barracudas. Stingrays. Hammerheads. Piranhas. + +MR. BLUME + +Piranhas? + +MAX + +That's right. Piranhas. I talked to a man in South America. + +MR. BLUME + +Really. So you might have piranhas. + +MAX + +We will have piranhas. + +INT. MR BLUME'S OFFICE - DAY + +Back in Mr. Blume's office. They're seated as before. Max is still wearing his hard hat. + +MR. BLUME + +What does Guggenheim say? + +MAX + +Nothing. I felt I should go to you first. + +MR. BLUME + +Why? + +MAX + +Because at this moment I feel our best strategy is to keep a low profile. The more preparation I can do, the stronger our case will be when we go to the administration. + +Long pause. + +MR. BLUME + +How much do you want? + +MAX + +$35.000 for the initial plans. + +Max holds Mr. Blume's gaze. Mr. Blume picks up a pen. + +MR. BLUME + +I'll give you $2500. + +Max nods. Mr. Blume writes out a check, tears it off, and hands it to Max. Max sticks it in his pocket like it is a five-dollar bill. + +RESEARCH MONTAGE: + +All of the following events occur during school hours. + +Max strides across the quadrangle with a determined expression. He's got an armload of books on marine life. + +Max watches a Jacques Cousteau film on 16mm in an empty classroom. Dirk runs the projector. + +Max visits a marine research facility and talks with a Scientist. Max holds up a fish at the edge of a pool. A killer whale jumps out of the water and takes it in its teeth. + +Max flies over Rushmore in a chopper with Mr. Blume. He shouts out details of the landscape and Mr. Blume nods enthusiastically. They are both eating sandwiches. + +They set down on the soccer field. Kids come running out to meet them. Max waves to them as he jumps out of the chopper. He looks back to Mr. Blume and gives him a thumbs-up. Mr. Blume smiles and waves as the chopper takes off. + +Max walks with a young Architect among the trees between the gym and the baseball diamond. They look at some blueprints. Max pulls up third base and slides it over a few feet. + +Max points to some beautiful fish in an aquarium in a pet shop. The pet shop Owner reaches in with a little net. + +Max pokes his head into Miss Cross's classroom. He holds up two plastic baggies full of water with tropical fish swimming around inside them. + +Kids gather all around them as they put the new fish into the aquariums. Max smiles mysteriously. + +MAX + +You need any help grading papers or anything? + +INSERT BOOK REPORT: + +The title is 'Young Ben Franklin'. Miss Cross writes Magnificent! Keep up the good work! And draws two stars across the top of the page with a red pen. + +INT. MISS CROSS'S CLASSROOM - DAY + +Max is staring at Miss Cross in a strange from a desk opposite hers in the empty classroom. She looks up at him. He continues to stare at her as if she were a statue. + +Miss Cross rubs her eyes and sighs. She sets down her red pen. She looks back at Max. He is still staring at her. + +MISS CROSS + +Max? + +Max looks quickly down to his papers. + +MAX + +Uh-huh? + +MISS CROSS + +Can I ask you something? + +MAX + +Sure. + +MISS CROSS + +Has it ever crossed your mind that you're way too young for me? + +Max looks up. Miss Cross smiles faintly. Silence. + +MAX + +It's crossed by mind that you might consider that a possibility, yes. + +MISS CROSS + +Not to mention that you're a student - + +MAX + +And you're a teacher. And never the twain shall meet. I know, I'm not trying to pressure you into anything, Miss Cross. I'm surprised you brought it up so bluntly. + +MISS CROSS + +I just want to make sure - + +MAX + +We've become friends, haven't we? + +MISS CROSS + +Yes. + +MAX + +Good. That's all that matters to me. + +Max thinks for a second, then presses on: + +MAX + +And the truth is neither one of us has the slightest idea where this relationships is going. We can't predict the future. + +MISS CROSS + +We don't have a relationship, Max. + +MAX + +But we're friends. + +MISS CROSS + +Yes. And that's all we're going to be. + +MAX + +That's what I meant by relationship. You want me to grab a dictionary? + +MISS CROSS + +I just want to make sure we understand each other. + +MAX + +I understand. You're not attracted to me. C'est la vie. I'm a big boy. + +MISS CROSS + +Max. You're fifteen. Attraction doesn't enter into it. + +MAX + +If you say so. All I'm getting at is I've never met anyone like you. Take that for whatever it's worth. + +She thinks about this for a minute. + +MISS CROSS + +I think I can safely say I've never met anyone like you, either. + +MAX + +You haven't, have you? + +Miss Cross shakes her head. Max says quietly: + +MAX + +You want to shake hands? + +She puts out her hand and they shake hands across the desk. But they don't let go. They just look at each other. + +MAX + +I'm glad we had this conversation. + +MISS CROSS + +Me too. + +They finally let go of each other's hands. Miss Cross looks away. She's not exactly sure what they just decided. + +MAX + +By the way. Are you free? Thursday night? + +MISS CROSS + +Free for what? + +MAX + +Dinner. + +She looks at Max strangely. + +MAX + +We're getting a group together after the play. + +INSERT PLAYBILL: + +SERPICO + +A new play by Max Fischer. + +INT. AUDITORIUM - NIGHT + +A very realistic set for a New York tenement apartment. + +Four men sit at a table. Three wear dark suits: O'Reilly, Burnum and Fields. One has long hair, a beard, leather pants and a big silver crucifix around his neck. This is Frank Serpico. They are all played by high schoolers. + +FRANK + +I can't wear a wire! They're feeling me up every day! + +O'REILLY + +Come on, Frank. You'll have complete protection. + +FRANK + +(walking off) + +I've heard that one before. I got to go put a dime in the meter. + +BURNUM + +Look, Officer Serpico. If you agree to testify in open court - + +Frank wheels around and knocks the clipboard out of O'Reilly's hands. He grabs O'Reilly by both arms. Fields instinctively draws his firearm. + +FRANK + +Promise me one thing, O'Reilly. You're going to follow this all the way. To the end (snaps) Of the line, (snaps) where I got to be. + +O'REILLY + +(looking Frank right in the eye) + +So help me, God. + +The audience is deeply engrossed. A row of small kids are sitting on the floor very front. + +Max watches from the wings. He looks out at the audience. + +He sees Mr. Blume smiling proudly in the third row. + +He sees Miss Cross sitting next to a big, curly-haired Medical Student in surgical scrubs. She leans close to him and whispers something in his ear. He smiles and nods and whispers something back. + +Max stares at them blankly as a shoot-out erupts onstage. + +INT. BACKSTAGE - NIGHT + +Frank comes offstage with a bandage of his cheek and a cane in his hand. Max is waiting for him backstage. Max has on a headset and carries a clipboard. He is extremely keyed-up. + +MAX + +What happened to the cannoli line? + +Max follows Frank as Frank walks quietly toward the dressing room. + +MAX + +You're supposed to say, "Forget about it, Sanchez -" + +FRANK + +(very angry) + +I made a mistake, all right? It doesn't make any difference, anyway. + +MAX + +Hey, I'm letting it go. But don't tell me it doesn't matter. Every line matters. + +FRANK + +(yelling) + +Get off my back! + +MAX + +Don't fuck with my play! + +Frank turns around and punches Max in the nose. Max takes a swing and misses and they wrestle as people try to break it up. + +INT. AUDITORIUM - NIGHT + +The whole cast is onstage bowing as the audience applauds. Some of the actors motion to the wings. + +Max walks out on the stage. He has a bloody Kleenex in each nostril. He waves to the audience. The applause roars. + +INT. BACKSTAGE - NIGHT + +The crowded dressing rooms. Actors are taking off their make- up. Max is drinking a champagne cocktail and talking with his father and an elderly Woman. + +WOMAN + +I thought the acting tonight was excellent. + +MAX + +It was better in rehearsals. + +(to his father) + +I'll catch up with you later, Dad. I've got a dinner to go to. + +MR FISCHER + +(interested) + +Oh, yeah? + +MAX + +(pause) + +Yeah. Cast and crew only. + +Mr. Fischer feels left out but tries not to show it. + +MR FISCHER + +OK. Well, have a good time. + +Miss Cross walks over to Max through the crowd. Her friend the medical student follows behind her. Max's expression is polite but inscrutable. + +MISS CROSS + +That was great, Max. + +MAX + +I'm so glad you could come. + +MISS CROSS + +I want you to meet a friend of mine. John Coats. Max Fischer. + +MAX + +(not looking at him) + +Who's this guy? + +MISS CROSS + +(pause) + +John. + +Max looks at John. John smiles. Pause. + +JOHN + +I really liked your play, man. It was really cool. + +Max nods. He drinks a long sip of his champagne cocktail. + +MISS CROSS + +What happened to your nose? + +MAX + +I got punched in the face. + +(to John) + +What's your excuse? + +Mr. Blume comes over to them. + +MR. BLUME + +Am I going to get to meet your dad tonight, Max? + +MAX + +Nah. The old man's on call tonight. Mr. Blume, I'd like you to meet Miss Cross, and I didn't catch this young gentleman's name. + +INT. RESTAURANT - NIGHT + +A fancy restaurant. Max is having dinner with Mr. Blume, Miss Cross and John. Max is drunk. + +MAX + +I like your nurse's uniform, guy. + +JOHN + +They're OR scrubs. + +MAX + +(pause) + +OR they? + +Mr. Blume laughs suddenly and wine goes up his nose. Max glances to him slyly, then looks back at John. + +MAX + +Well, they're totally inappropriate for the occasion. + +JOHN + +Well, I didn't know we were going to dinner. + +MAX + +That's because you weren't invited. + +MR. BLUME + +Take it easy, Max. + +MISS CROSS + +(angry) + +You're the one who ordered him a Scotch and soda. + +MAX + +What's wrong with that? I can write a hit play. Why can't I have a drink when I want to unwind a little? So tell me, Curly. How do you know Miss Cross? + +JOHN + +We went to Harvard together. + +MAX + +(shrugs) + +And I wrote a hit play. And directed it. So I'm not sweating it, either. + +MR. BLUME + +(signaling the waiter) + +I'm going to get the check. + +MAX + +What do you think you're doing? + +MR. BLUME + +I'm getting the - + +MAX + +No, you're not. + +The Waiter comes over. Max intercepts him: + +MAX + +I just wanted to thank you again for accommodating us. We only expected to be a party of three, but somebody invited himself along. I apologize. + +WAITER + +That's perfectly all right. + +The waiter walks away. Miss Cross frowns. + +MISS CROSS + +You're being rude, Max. + +MAX + +No I'm not. I'm just trying to figure out why you brought this gentleman to my play. And my dinner, which was invitation only. + +John reaches in front of Max for the butter. Max grabs his spoon and swats John on the back of the hand. + +MAX + +Would you like me to pass you the butter? + +Max hands John the butter. + +MISS CROSS + +What's wrong with you? + +MAX + +(raising his voice) + +What's wrong with YOU? + +Max is making a scene. People all over the restaurant are watching. Max stares at Miss Cross. + +MAX + +You hurt my feelings. This night was important to me. + +MISS CROSS + +How did I hurt your feelings? + +MAX + +I wrote a hit play! + +(pause) + +And I'm in love with you. + +John looks to Miss Cross. She doesn't know what to say. Max looks drunk and dejected. + +MAX + +How do you like that, Curly? + +EXT. PLAYGROUND - DAY + +Miss Cross and her pupils are out on the playground painting pictures. Each kid has an easel. + +Miss Cross sees Mr. Blume standing under a tree at the edge of the playground. He is wearing sunglasses and smoking a cigarette. He moves slightly behind the tree. She stares at him. + +He waves. She waves back. He comes over. + +MR. BLUME + +Hi. + +MISS CROSS + +Were you hiding over there? + +Mr. Blume shrugs. He points at one of the paintings. + +MR. BLUME + +What's that? + +The artist looks up at Mr. Blume. He is a small boy with jet- black curly hair and piercing eyes. + +ARTIST + +(makes a swimming gesture) + +It's a little swimming snake. + +Mr. Blume nods. + +MISS CROSS + +What can I do for you, Mr. Blume? + +Mr. Blume turns to Miss Cross and takes off his sunglasses. Silence. + +MR. BLUME + +Max wants to see you. + +MISS CROSS + +What for? + +MR. BLUME + +To apologize, I guess. + +MISS CROSS + +He sent you here? + +MR. BLUME + +Yeah. + +She frowns and studies Mr. Blume for a minute. + +MISS CROSS + +Are you his messenger? + +MR. BLUME + +No. He's my friend. + +(pause) + +You were right. I shouldn't have let him drink. + +Miss Cross nods. Silence. + +MISS CROSS + +I don't think I should see Max anymore. + +MR. BLUME + +He's not going to like the sound of that. + +MISS CROSS + +I know. But I think I let him get too attached. + +Mr. Blume nods. Miss Cross looks uncertain. + +MISS CROSS + +Don't you think? + +MR. BLUME + +(shrugs) + +I don't know. You did your best. + +Miss Cross smiles sadly to Mr. Blume. He puts his hands in his pockets. + +MISS CROSS + +Tell him I'm sorry. + +MR. BLUME + +OK. + +They look at each other for a long minute. Miss Cross tucks a strand of hair behind her ear. Mr. Blume says quietly: + +MR. BLUME + +What's your first name? + +MISS CROSS + +Rosemary. What's yours? + +MR. BLUME + +Herman. + +Silence. + +MR. BLUME + +Oh, yeah. He wrote you a letter. + +He hands her a letter in a sealed envelope. She takes it. + +MISS CROSS + +Thanks. + +They stand there in silence for another minute. + +MR. BLUME + +OK. So long, Rosemary. + +MISS CROSS + +(smiles) + +Bye, Herman. + +Mr. Blume starts to go. He stops He looks back to Miss Cross. + +MR. BLUME + +Should we meet somewhere? + +She hesitates. + +MR. BLUME + +To talk about Max. + +MISS CROSS + +Yeah. I don't know. + +(pause) + +Maybe. + +Mr. Blume nods. He turns away and walks off. She watches him go. She looks at the envelope. + +INSERT LETTER WRITTEN IN CALLIGRAPHY ON CRISP STATIONERY: + +Max reads in voice-over. + +Dear Miss Cross, + +I would like to take this opportunity to formally apologize for the events of the night of the twenty-third. I am not accustomed to drinking alcohol. Please do me the service of coming to the unveiling of a new venture I have undertaken. I hope you will attend, if possible. I remain, your friend, + +Max Fischer. + +EXT. VACANT LOT - DAY + +A crowd of fifty Kids in uniform has gathered around the vacant lot beside the baseball field. Max stands with his architect, smiling for the yearbook photographer. They are holding a banner that says 'Cousteau-Blume Marine Observatory Fund-raiser'. Max has on a hard hat. There are two pick-up trucks and a porta-can at the back of the vacant lot. + +Max digs into the ground with a gold shovel. The shovel has a ribbon around it. Flashbulbs go off. Everyone claps. Max waves Dirk over. + +MAX + +Did you see her? + +DIRK + +She's not here. + +MAX + +Well, see if she's in her classroom. + +The Contractor walks over to Max. + +CONTRACTOR + +Should we go ahead and take care of this tree? + +MAX + +Let's wait a few minutes. + +Coach Beck goes over to Max. He is six four and wears a John Newcombe mustache and an Adidas warm-up. He is frowning. + +COACH BECK + +What's going on here, Maxie? + +MAX + +Coach Beck. Good to see you. This is where they're building the new aquarium. I'm in charge of the committee, if you can believe it. + +COACH BECK + +This is the baseball diamond. + +MAX + +I believe it's being relocated a few feet over. + +COACH BECK + +(frowns) + +I should've been informed about that. + +Coach Beck walks off. Max answers some questions for the School Reporters. + +REPORTER + +Is it true the aquarium will have piranhas? + +MAX + +(smiles) + +Where'd you hear that? + +REPORTER + +My source indicated that it was a possibility. + +MAX + +Yes, it's true. Excuse me, George. + +Dirk has returned. + +MAX + +What's the story? + +DIRK + +(a little wary) + +She has a substitute teacher today. + +MAX + +Why? + +DIRK + +She probably got sick. + +MAX + +(looks away) + +You know she's not sick. Give me the phone. + +Max dials on a cellular phone. + +MAX + +Hi, Janet. It's Max Fischer. + +Is Mr. Blume there? + +(pause) + +Well, where is he? + +(pause) + +Goddammit, he's supposed to be here. + +Let me know if you find him, please. + +Max hangs up. He looks off and says in a steely voice: + +MAX + +I'm going anyway. + +Max goes over to the contractor. + +MAX + +Chop it down, Mr. Chandler! We've got an aquarium to build. + +Max talks to another reporter. + +MAX + +I don't give a shit about barracudas. But fuck it. I'm building it anyway. + +The sound of power saws fills the air as Dr. Guggenheim appears at the edge of the lot with Coach Beck and a Security Guard with a walkie-talkie. DR Guggenheim screams: + +DR. GUGGENHEIM + +Max! + +DR. Guggenheim sees the chopped-down trees and mangles baseball field as he strides on to the lot. + +MAX + +Nice to see you, Dr. Gugg- + +DR. GUGGENHEIM + +Max! + +(seizing Max by the arm) + +What do you think you're doing? + +MAX + +(pause) + +We're having a fund-raiser for- + +DR. GUGGENHEIM + +Shut those damn things off! + +They turn off the power saws. + +DR. GUGGENHEIM + +Tell me this isn't happening. + +MAX + +Dr. Guggenheim, I'd rather not have this conversation in front of the crew. + +EXT. QUADRANGLE - DAY + +Dirk waits nervously on the steps in front of DR. Guggenheim's office. He holds a hamster in his hands. + +He gets up and goes to the windows. He looks inside. + +Max is sitting in a little chair in the middle of the room with his hard hat on. DR. Guggenheim and several other faculty members sit around him. DR. Guggenheim is screaming at him across his desk. Max is crying. + +Dirk looks scared. + +INT. HALLWAY - DAY + +Max kneels on the floor in the hallway, emptying out his locker. Papers and trash are scattered all around him. There is a trashcan beside him. He is throwing away his books, one at a time. + +Mr. Blume opens the door at the end of the hallway. Max looks up at him. Silence. Max looks up back to his locker and starts throwing his books in the trash again. + +Mr. Blume walks over to Max. He looks very sad. He kneels down beside Max. He starts helping him pick up the trash off the floor and put it in the trashcan. + +TITLE: + +October. + +INT. GROVER CLEVELAND HIGH SCHOOL - DAY + +Grover Cleveland is a public high school with two thousand five hundred students. + +Max sits in a front row of a math classroom. He is dressed in his Rushmore uniform, with coat and tie, but his clothes are wrinkled and his head has been shaved like a marine's. His eyes have dark circles around them. He has a little stack of index cards in his hand. + +The teacher, Mrs. Whitney, stands at the front of the room. She is about fifty with a horn-rimmed glasses and a slight English accent. She has a bemused expression on her face. + +MRS WHITNEY + +We have a new student with us today. His name's Max Fischer and he's actually asked to say a few words to the class. Max? You want to take it away? + +MAX + +(standing up) + +Sure. Thanks very much. I just wanted to introduce myself. + +Max looks quickly at his notecards. + +MAX + +I'm Max Fischer. I'm a former student of Rushmore Academy, which I recently got expelled from. + +Max flips to the next notecard. + +MAX + +This is my first time in a public school. And I know you probably think I was born with a silverspoon in my mouth. But I'm no elitist. I think you've got some great facilities, and I'm really looking forward to making the best of it over here at Grover Cleveland. + +Max sighs deeply. He rubs his eyes. His Classmates have no idea what to make of him. However, one Asian girl in the back row is smiling faintly. She has short-cropped hair. The spine of one of her book covers says Margaret Yang. + +MAX + +One footnote: I noticed you don't have a fencing team. I'm going to start one up. Let me know if you'd like to join. Thanks. + +INT. GROVER CLEVELAND HIGH SCHOOL - DAY + +The wide halls of Grover Cleveland High School are lined with orange lockers. A banner stretched down the wall says 'Murder the Mustangs'. A bustling throng of high schoolers rush to class. + +Max walks slowly, alone, down the middle of the hall. A blonde cheerleader-type Girl asks him: + +GIRL + +Why are you so dressed up? + +Max looks down at his clothes. Max looks back to the girl. + +MAX + +Are you insane? + +The girl walks off. Margaret Yang catches up to Max. + +MARGARET + +Max? + +MAX + +Yes? + +MARGARET + +Hi. I'm Margaret Yang. I'm in Mrs. Whitney's class. I just wanted to tell you I liked your speech. I don't think I've ever heard of anyone asking to give a speech in class before. + +MAX + +How unfortunate. + +MARGARET + +The silver spoon remark might rub some people the wrong way. But I think I know how you meant it. + +MAX + +Glad to hear it. Goodbye, Miss Chang. + +Max ducks into the men's room. Margaret walks quietly away. + +INT. GYMNASIUM - DAY + +A tiny figure dressed all in white stands alone at the far end of the huge gymnasium with a fencing oil. He lunges, parries, and thrusts. + +The basketball team suddenly floods dribbling into the gymnasium, throwing passes and taking free throws. Max stops fencing as they take over the room. He watches them in silence. He shakes his head. He walks off the court. + +INT. HALLWAY - DAY + +Max puts a quarter in a pay phone. He is still wearing his fencing costume. + +MAX + +Janet. Max Fischer. Is he in? + +EXT. RUSHMORE - DAY + +Mr. Blume answers on his cellular phone as he gets out of his car and walks across the lawn at Rushmore. + +We intercut the two of them. + +MR. BLUME + +Hey, Max. How's it going over there? + +MAX + +Terrible. Tell me something. When you talk to Miss Cross the other + +day, did you get the feeling- + +The hall monitor Mr. Holstead comes down the hall toward Max. He is a big, sturdy man about fifty years old. He wears a striped tie and his sleeves rolled up. + +MR HOLSTEAD + +(loudly) + +Do you have a telephone pass? + +Max holds up his hand for Mr. Holstead to wait a minute. He covers his ear so he can hear Mr. Blume. + +Mr. Blume is looking in the windows of different classrooms. Kids look out at him curiously. + +MR. BLUME + +I got to tell you, Max. I don't know what you see in her. I don't think she's right for you. + +MAX + +What's that supposed to mean? + +Mr. Blume sees Miss Cross inside teaching her class. He stares at her in a glance. He whispers: + +MR. BLUME + +Well, she's not that beautiful. She's not that interesting. I mean, sure, there's something about her. But I see you with someone- + +MAX + +Look, Mr. Blume. Your comments are valuable, but let's get to the point. Will she see me again? Yes or no? + +MR. BLUME + +(pause) + +No. + +MAX + +I'm going to go see her. Hang on. + +Max looks to Mr. Holstead. + +MAX + +I'm talking on the telephone. + +Mr. Holstead reaches over and hangs up the phone. + +MAX + +Come on, man. That's rude. + +INT. GROVER CLEVELAND HIGH SCHOOL - DAY + +Mrs. Whitney watches from her classroom window at: + +Max opens a red metal door on to the empty concrete courtyard. He looks left and right. He sneaks across the courtyard to the bike racks, quickly unlocks his bike, and rides away. + +EXT. RUSHMORE - DAY + +Max rides full speed through the gates on to the Rushmore campus. He flips one leg off his bike and glides in toward the bike racks standing on one pedal. + +Max locks up his bike and walks across the lawn. + +MAGNUS + +You better beat it, laddie. + +Max looks up at Magnus Buchan sitting in a tree smoking a cigarette, hacking at a branch with a pocketknife. + +MAX + +I hope you fall out of that tree and get stick in the ass, Buchan. + +MAGNUS + +You know, I've watched you, Fischer. Showboat, always talking, picking a kid like Dirk cause his mother's a great piece and then getting nowhere. Like everything you do. Big show. No results. + +MAX + +And what do you call getting a hand job from Mrs. Calloway in her Jaguar? + +MAGNUS + +A bloody lie. + +MAX + +You think I got kicked out for just the aquarium? Nah. That ain't it. It was the hand job. And I'll tell you another thing. It was worth it. So eat your heard out, mick. I got business to attend to. + +EXT. PARKING LOT - DAY + +Miss Cross comes out the door of the lower school with a basket of books and papers. She stops in front of her wagon and digs in her bag for the keys. + +MAX + +Or do you want me to go? + +MISS CROSS + +(looks around, sighs) + +You can talk to me. + +Miss Cross goes over to him. She stops a few feet away and they stand there in silence. + +MAX + +I'm sorry I embarrassed you at dinner. + +MISS CROSS + +That's OK. + +MAX + +No, it's not. And please apologize to what's his name for me. + +MISS CROSS + +I will. Are you OK? + +MAX + +I'm fine. But I miss Rushmore. I miss the seasons. And watching the leaves change. + +MISS CROSS + +But it's only three blocks away. + +MAX + +I know. I miss seeing you. + +MISS CROSS + +(pause) + +I miss you, too. + +Max looks off into the trees. A squirrel leaps from one branch to another. Max smiles and shakes his head. A crashing noise is heard from the roof of the planetarium. Someone ducks for cover, but Max and Miss Cross don't see him. + +Max reaches into his backpack and says mysteriously: + +MAX + +By the way, what time does the library close? I got an overdue book to turn in. + +Max takes out the Jacques Cousteau library book and hands it to Miss Cross. She looks at it and starts to say something but she stops. She opens the book and looks at it in silence. + +MAX + +That's your handwriting, isn't it? + +Max shows her the Henry James quote. Miss Cross nods. + +MAX + +Not bad. Except it's probably bad form for a teacher to write in a library book. + +MISS CROSS + +It wasn't a library book when I wrote in it. + +MAX + +What do you mean? + +MISS CROSS + +I gave this book to Rushmore. + +Max looks puzzled. Miss Cross shows him a little card inside the front cover of the book. + +INSERT LIBRARY BOOK: + +In Memory of EDWARD APPLEBY + +Class of '87 + +MISS CROSS + +My husband gave me this book in the seventh grade. And he went to Rushmore. So when he died I put it in the library here. + +MAX + +So that's who that is. Edward Appleby. + +(looks to Miss Cross) + +You already knew him in the seventh grade? + +MISS CROSS + +I knew him all my life. + +(looks to Max) + +You remind me of him, you know? + +MAX + +I do? How? + +MISS CROSS + +Well. Weren't you in the Rushmore Beekeepers? + +MAX + +(frowns) + +Yeah. I was President of them. + +MISS CROSS + +He founded that club. + +MAX + +(pause) + +I get your meaning. I founded a few clubs myself in my day. + +An acorn falls on Max's head. He looks up. There is no one there, but a scurrying sound is heard. Max frowns. + +MAX + +What was that? A squirrel? + +Mr. Blume is crouched just out of view on the roof. He looks back over his shoulder and sees a small, white-haired, Indian GROUNDSKEEPER looking at him. The groundskeeper is holding a rake. Mr. Blume rises slowly. He whispers: + +MR. BLUME + +Is this the natatorium? + +The groundskeeper frowns and shakes his head. + +MAX + +Do you think we can be friends again, Miss Cross? In a strictly platonic way? + +MISS CROSS + +Of course, I do. Do you think you can make a go of it and settle down at Grover Cleveland? + +MAX + +Yeah. But I need a tutor. + +MISS CROSS + +I'll be your tutor. + +MAX + +(looking into her eyes) + +You will? + +Miss Cross smiles and nods. + +MAX + +Thank you. + +(pause) + +What are you doing tomorrow? + +CUT TO: + +Mr. Blume sitting at the desk in his office. Max yells at him over the speakerphone: + +MAX + +She's taking me to a field trip! + +MR. BLUME + +(hesitates) + +Great! You need anybody to chaperone? + +MAX + +You'd take time out of your business to do that? + +MR. BLUME + +Business schmizness. + +OCTOBER MONTAGE: + +Max and Miss Cross ride in the backseat of a van full of first graders. Max is telling a story and everyone is laughing. Mr. Blume is up front quietly driving the van. One of the first graders sits in the passenger seat staring at him. They go through the front gates of the zoo. + +Miss Cross stands at the front of her classroom drawing a complicated geometric proof on the chalkboard. Max sits alone across from her nodding earnestly and taking notes. + +Max and Miss Cross play doubles against Mr. Blume and Dirk on the court in the Blume's backyard. Max coaches Miss Cross on her backhand. Mr. Blume watches her from across the net. Mrs. Blume watches all of them from an upstairs window. + +The Grover Cleveland Science Fair. Max sits proudly in front of his project. It is a paper mache tidal wave looming over a little coastal village with screaming peasants. + +Margaret Yang is across the aisle being photographed with a trophy for Best of Show. Her project is called Light, Color, Sound and Magnetism. She is staring at Max, but he doesn't notice her. + +Mrs. Whitney hands Max a geometry test. It has a C+ on it. Max looks quickly to Mrs. Whitney, surprised. She smiles and shakes his hand. + +A huge banner for the Grover Cleveland Owls is stretched across the endzone of the football field. Max, dressed in a shiny blue and grey jumpsuit, bursts through the banner and onto the field doing cartwheels and flips. The football teams scrambles out behind him. + +Max points out to different parts of the crows and yells football cheers. Dirk is sitting in between Mr. Blume and Miss Cross in the stands. Mr. Blume stares at Miss Cross. Miss Cross looks back and Mr. Blume and smiles. Dirk says significantly: + +DIRK + +Where's Mrs. Blume tonight, Mr. Blume? + +And your sons Ronny and Donny? + +MR. BLUME + +I haven't the slightest idea, Dirk. + +INT. GROVER CLEVELAND HIGH SCHOOL. DAY + +Max burst through a doorway followed by a little ENTOURAGE of underclassmen that includes a sophomore named WOODY. Woody has long hair and a Led-Zepplin shirt. He is carrying a clipboard. + +They go down the hallway and quickly pass Margaret Yang. She is very nicely dressed in a grey turtleneck. + +MARGARET + +Hi, Max. + +MAX + +Hi. + +Max keeps walking. + +He stops. He turns back to Margaret Yang. He looks her up and down. She is slightly uneasy. Max looks to Woody. Woody shrugs. Max looks back to Margaret. + +MAX + +What was your name again? + +MARGARET + +Margaret Yang. + +MAX + +Are you free seventh period? + +MARGARET + +Well, I'm supposed to have guitar lessons. + +MAX + +(pause) + +Classical? + +MARGARET + +Rock. + +MAX + +You can get out of it. + +(to Woody) + +put Margaret down for 3:30 in the auditorium, Woody. + +Max turns away and walks briskly down the hall with his entourage. He calls back to Margaret: + +MAX + +And bring a headshot. + +EXT. MISS CROSS' HOUSE. DAY + +A nice two story house with a wide lawn and lots of trees. Mr. Blume knocks on the front door and waits nervously. He looks around the yard with his hands in his pockets. + +The door opens. Miss Cross is holding a plate of sliced carrots. She looks at Mr. Blume curiously and smiles. + +MISS CROSS + +Hi, Herman. + +MR. BLUME + +How are you, Rosemary? + +MISS CROSS + +Fine, thanks. I just got home and I'm having a little snack. + +MR. BLUME + +Having some carrots. + +Miss Cross nods. Mr. Blume looks up at the house. + +MR. BLUME + +Nice house. + +MISS CROSS + +Yeah, This isn't mine. I'm' just kind of housesitting. + +(pause) + +Were you in the neighborhood? + +Mr. Blume nods. There is an awkward silence. + +MR. BLUME + +Didn't Max have anything planned for us today? A trip to the museum or something? + +MISS CROSS + +Did he? I thought he was rehearsing this evening. + +MR. BLUME + +Oh. That's right. His new play. He's going to be in this one, isn't he? + +Miss Cross nods. Mr. Blume shakes his head. + +MR. BLUME + +He's really making a go of it over at Grover Cleveland. + +MISS CROSS + +I think he's on track. It's nice, isn't it? + +Mr. Blume nods. Silence. + +MISS CROSS + +You want a carrot? + +MR. BLUME + +Yeah. I'll have one of those. + +Mr. Blume takes one of the carrots and has a bite of it. Miss Cross watches him chewing. She smiles slightly. + +MR. BLUME + +Well. Max had said something about us all going to the horseraces, so I'm sure I'll see you soon. + +Miss Cross nods. Mr. Blume takes another bite of his carrot and throws the rest of it into the yard. Miss Cross laughs. Mr. Blume smiles and shrugs. He starts to go. + +MISS CROSS + +Or we could go for a walk, if you want. + +Mr. Blume stops and turns around quickly. + +MR. BLUME + +Sure. + +MISS CROSS + +It's nice out, don't you think? + +Kind of brisk. + +Mr. Blume nods. + +MISS CROSS + +Let me get a sweater. I'll be right back. + +She goes inside. Mr. Blume stands alone on the doorstep. He rubs his hands together to warm-up. + +INT. MUSEUM. DAY + +A class of Rushmore FOURTH GRADERS file past a big painting of a ship caught in a storm and disappear into the next room. One of them immediately comes back and looks around the corner. It is Dirk. He has seen something: + +Miss Cross and Mr. Blume are sitting on a bench in front of a Rembrandt. They are holding hands. + +Dirk narrows his eyes. + +EXT. RUSHMORE. DAY + +Mr. Blume is parked at the curb, staring off into space. Ronny and Donny jump into the car and slam the doors. + +RONNY + +Let's go. + +Mr. Blume automatically puts the car in gear. He slams on the brakes. Dirk is standing in front of the car, blocking them. He stares at Mr. Blume. Mr. Blume rolls down his window. + +MR. BLUME + +Dirk? + +Dirk does not budge. Mr. Blume gets out of the car and leaves it idling. He closes the door. + +MR. BLUME + +Dirk? What's wrong? + +DIRK + +I know about you and the teacher. + +Silence. Mr. Blume looks very worried. + +MR. BLUME + +Does Max know? + +DIRK + +No. And I don't want him to know. I just want it to stop. Right now. + +They stare at each other. + +DIRK + +You're a married man, Blume. And you're supposed to be his friend. + +MR. BLUME + +Look, Dirk. I am his friend - + +DIRK + +Yeah. And with friends like you, who needs friends? + +Dirk turns and walks off. Mr. Blume looks puzzled. + +MR. BLUME + +Jesus Christ. + +Mr. Blume sighs. He turns around and tries to open the car door. Ronny and Donny have locked him out of the car. He can see them inside laughing. He says fiercely: + +MR. BLUME + +Unlock it! + +CUT TO: + +Dirk walking across the lawn with a hard look on his face. He walks past Magnus Buchan. Magnus is throwing Chinese throwing stars at a tree trunk. + +MAGNUS + +Little Calloway + +Dirk stops and looks to Magnus. + +MAGNUS + +You're standing up for the wrong bloke. Fischer ain't your mate. + +DIRK + +(angry) + +What are you talking about, Buchan? + +MAGNUS + +(shrugs) + +He thinks your mum's good for a bonk. That's why he picked you as his chapel partner. + +Dirk looks deeply wounded. But he doesn't want to believe it: + +DIRK + +Who sold you that crock? + +MAGNUS + +He told me himself. He says she gave him a hand job in the backseat of her bloody Jaguar. + +DIRK + +Max would never say that. + +MAGNUS + +(smiles) + +Yeah. You're probably right. After all, the son of a brain doctor doesn't need to impress anybody. + +Buchan laughs wickedly and fires off another throwing star. + +INT. GROVE CLEVELAND HIGH SCHOOL. NIGHT + +The school auditorium . Max is onstage dressed as a South Central lowrider called Little Juan. He is opposite a senior named 40 OUNCE and Margaret Yang, who plays Blue Eyes. While they are rehearsing the scene a MESSENGER comes in with an envelope for Max. + +LITTLE JUAN + +The killing has got to stop, esse. It's getting too loco. No more gats. + +40 OUNCE + +Nigger, you're the crazy one. Motherfuckers be wanting to kill you. Are you talking about getting rid of your gun? + +LITTLE JUAN + +It's time, homey. + +BLUE EYES + +Kiss me, Little Juan. + +MAX + +(suddenly out of character) + +Then he kisses her and we're out. OK. + +(pointing to the messenger) + +Is that for me? + +The messenger gives Max the envelope. Max opens it. + +INSERT LETTER: + +Written neatly in blue crayon on paper torn from a spiral notebook. Dirk reads in VOICEOVER dripping with sarcasm. + +Dear Max, + +I'm sorry to say that I have secretly found out that Mr. Blume is having an affair with Miss Cross. My first suspicions came when I saw them frenching at the museum, and then I knew for sure when they went skinny dipping in Mr. Blume's swimming pool, giving each other hand jobs while you were taking a nap on the front porch. Why am I telling you this now? Because you're such a good friend. Take care, pal. + +Fondly, + +Dirk Calloway + +EXT. MISS CROSS' HOUSE. NIGHT + +Mr. Blume puts on his jacket as he walks down the front path from Miss Cross' house. He gets in his Bentley and starts the engine. He looks in the rearview mirror and sees the glowing red tip of a cigarette. He wheels around fast. + +Max is sitting in the backseat smoking a cigarette. + +BLUME + +Max! + +MAX + +How was she, Herman? + +BLUME + +Jesus Christ! + +MAX + +Was she good? I bet she was. Although I wouldn't know cause I never screwed her. + +Blume flicks on the lights. Max has tears all over his face. + +MAX + +(with bitter contempt) + +Going skinny-dipping while I took a nap. Are you comfortable, Max? I'll just be out nude getting hand jobs from the woman you love. + +MR. BLUME + +(frowns) + +We never went skipping dipping. + +MAX + +Sure, you didn't. And next you're going to tell me you didn't just walk out of her house at two o'clock in the morning. + +MR. BLUME + +(pause) + +I'm in love with her. + +MAX + +Well, I was in love with her first. And all that crap about, I don't think she's that great, I don't think she's right for you, Max. That was all bullshit, wasn't it? + +Silence. + +MAX + +Do you think she's in love with you? + +MR. BLUME + +I don't know. + +MAX + +Well, I guarantee you she's not. + +And she never will be. + +MR. BLUME + +Look, Max - + +MAX + +I saved Latin! + +Max glares at Mr. Blume. He shakes his head. + +MAX + +What'd you ever do? + +INT. CLASSROOM. DAY + +Miss Cross' class. A little boy named BENJAMIN reads his story in front of the class. Miss Cross sits in a chair at the back. Max appears in the doorway. + +BENJAMIN + +On the planet I'm from the sun only comes out once a year. That is - + +Max coughs loudly. Miss Cross turns around. Max motions to her. She holds up her index finger for him to wait. + +BENJAMIN + +That is why my skin is the color of a cloud, said the old - + +MAX + +(loudly) + +I just came by to thank you for wrecking my life. + +Max slams the door. + +Max stands alone smoking a cigarette in front of a pile of leaves. A LAWN CREW is raking in the background. + +Max strikes a match, throws it on the leaves, and watches sadly as the leaves burn and smoke rises black into the crisp autumn air. He takes off his Rushmore blazer and throws it on the fire. He looks up at the sky and says quietly: + +MAX + +Sic transit gloria, Mr. Blume. + +Sic transit gloria. + +EXT. PARK. DAY + +A cold day. Dry leaves fall from the trees in the park. + +Mr. Blume comes down the path to Max sitting alone on a bench. Max is dressed in blue jeans, a plaid shirt, a ski cap, and huge down parka. Mrs. Blume is wearing a topcoat and gloves. Max stands up to shake hands with her. + +MAX + +Thank you for meeting me. + +MRS. BLUME + +(coldly) + +You're welcome. + +MAX + +Would you like a sandwich? + +Silence. Mrs. Blume looks around the park. + +MRS. BLUME + +All right. + +She sits down. Max takes two sandwiches out of his backpack. + +MAX + +I have tuna fish and I have peanut butter and jelly. I'm sorry it's not something more exotic. + +MRS. BLUME + +I'll take the tuna fish. + +Max gives her the tuna fish sandwich. + +MAX + +Milk or apple juice? + +Max holds out the two drinks. Mrs. Blume just stares at him. + +MAX + +You want me to cut to the chase? + +Silence. Max puts down his sandwich and gathers his thoughts. + +MAX + +OK. As you know, Mr. Blume and I used to be friends. + +MRS. BLUME + +I have no idea what the relationship is between you and Herman. Honestly, I find it very bizarre. + +MAX + +(taken aback) + +What do you mean to imply? + +MRS. BLUME + +I'm not implying anything. You make a very strange couple. It's too bad Herman doesn't have that kind of affection for his own children. + +MAX + +Well, I'm sure he does. + +MRS. BLUME + +No, he doesn't. + +MAX + +I know you don't really mean that. + +MRS. BLUME + +(angry) + +Of course, I do. + +MAX + +From his perspective it's - + +MRS. BLUME + +Why did you call me? + +MAX + +That's what I'm trying to tell you. + +MRS. BLUME + +(icily) + +Please. Get to the point. + +MAX + +Gladly. Your husband's fucking a schoolteacher, pardon my French. I thought you should know. + +Silence. + +MRS. BLUME + +Why are you telling me this? Are you trying to hurt Mr. Blume? Or are you trying to hurt me? + +MAX + +I have no reason to want to hurt you. + +MRS. BLUME + +Then you're trying to hurt Herman. + +MAX + +That's correct. + +INT. THE BILBY-FLICKENGER HOTEL. NIGHT + +The vast lobby of the Bilby-Flickenger. Mr. Blume is leaning against the counter at the front desk. His luggage fills up two carts behind him. A faint smile plays across his lips as he stares off into space. The CONCIERGE is checking him in. + +CONCIERGE + +And how long will you be staying with us, Mr. Blume? + +MR. BLUME + +Indefinitely. I'm getting a divorce. + +CONCIERGE + +(typing away) + +Very good, sir. + +Mr. Blume yells to the BELLMAN. + +MR. BLUME + +Yo! + +The bellman looks up. Mr. Blume waves. The bellman waves back. The concierge gives Mr. Blume his room key. + +CONCIERGE + +Here you are Mr. Blume. Charles will show you to your room. + +MR. BLUME + +Wonderful. Where's the pool, by the way? I might want to take a dip before dinner. + +CONCIERGE + +It's on the roof, sir. + +MR. BLUME + +Terrific! + +Mr. Blume gets on the elevator with the bellman. The bellman looks at him and smiles. + +BELLMAN + +You certainly seem happy today, sir. + +MR. BLUME + +You bet your little ass I am, shorty. I lost my family. But I gained a woman I love. + +BELLMAN + +Not a bad tradeoff. + +INT. HOTEL ROOM. DAY + +The living room of Mr. Blume's suite. Mr. Blume is dressed in a bathrobe with the Bilbly-Flickenger stitched on the pocket. He sits at his table having breakfast and reading the newspaper. There is a little basket in front of him with a jar of hone in it. A note attached to the jar says, "Enjoy your stay." + +A little bug flies around Mr. Blume's head. He swats it away and keeps reading. + +Two more bugs come buzzing around him. Mr. Blume looks up and frowns. They're bees. Mr. Blume slaps at his neck and jumps to his feet as he gets stung. + +MR. BLUME + +Shit! + +Bees are circling all over the room. Mr. Blume looks around frantically. He sees something at the bottom of the front door. It is a little plastic tube with bees crawling out of it and taking off. + +INT. BASEMENT. DAY + +Max comes out of the freight elevator wearing a red room service jacket with the Bilby-Flickenger stitched on the pocket. He has a wooden box with Rushmore Beekeepers stenciled on it. Max throws the jacket in a laundry cart and goes out the back door. + +EXT. GROVER CLEVELAND HIGH SCHOOL. DAY + +Mr. Blume gets out of his car in the driveway at Grover Cleveland. He opens the trunk and takes out a set of steel cable cutters. He goes over to the bike racks and cuts the lock off Max's ten-speed. + +Mr. Blume lays the bicycle on the ground in front of his car and runs over it. Then he throws the car in reverse and goes over it again. He picks up the destroyed bicycle and takes it back to the bike racks and wraps the lock back around it. + +The small Indian groundskeeper we saw earlier on the roof is driving by in a Volkswagen Beetle. He frowns at Mr. Blume. Mr. Blume hurries back to his car. + +EXT. BLUME INTERNATIONAL CONCRETE. DAY + +The front gates of the concrete plant. Max rides up on an old grandmothers' bicycle with fenders and a handlebar basket. He's got a black duffel bag strapped to his back. + +Max waves to the SECURITY GUARD. The guard waves back: + +Max rides onto the lot and pulls over next to Mr. Blume's Bentley. He leans his bike against the car door. He unzips his duffel bag and slides underneath the car. + +EXT. RUSHMORE. DAY + +Mr. Blume pulls into the driveway to pick-up the twins from school. There is a lot of traffic and kids are running around everywhere. Mr. Blume taps the brakes. Nothing happens. He flies toward the back of a parked station wagon. + +He jerks the steering wheel and bounces up onto the sidewalk. The car pops through a wooden fence and rolls across the grass into the quadrangle. + +The Indian groundskeeper is raking leaves as the car goes past him. He watches as it crunches over some bushes and scrapes against a stone wall. It rolls to a stop in the middle of the quad. + +Mr. Blume gets out of the car and looks at the damage. He looks over at the white-haired Indian groundskeeper. + +The groundskeeper goes back to raking. + +EXT. PARKING LOT. DAY + +Kids watch from classrooms up and down the hall as Max is escorted away in handcuffs by the POLICE. Max has a hardened expression on his face. + +INT. POLICE STATION. DAY + +The county lock-up. Mr. Fischer watches through bulletproof glass as Max walks down a long, lonely corridor. + +The door buzzes open. Max comes into the waiting room. + +MAX + +Thanks for bailing me out, Dad. Can you drop me off at Rushmore? I got to go settle a score. + +MR. FISCHER + +(hesitates) + +You think that's wise, Max? + +MAX + +(angry) + +Dad. Please. Stay out of it. + +EXT. RUSHMORE. DAY + +Max walks into the quadrangle with cold expression on his face. It is Halloween and there is a jack-o-lantern on the steps. Lots of kids are dressed in costumes. + +Suddenly, Max is being pelted with rocks. He looks around frantically and sees Dirk and a longhaired kid named TOMMY STALLINGS as they set upon him. + +Dirk is dressed as a sorcerer. Tommy has on a karate outfit with a black belt. Max runs for cover behind some bushes. + +MAX + +What are you doing? Are you crazy? + +DIRK + +You're trespassing! This is private property! + +More rocks sail past Max. A pinecone hits him on the head. + +MAX + +Wait a minute! Stop! + +Max raises his hands in the air. Dirk motions for Tommy to hold his fire. Max slowly stands up. + +MAX + +Let's have a truce for a second. I want to talk. + +They meet out in the open. Tommy follows with a rock in each hand. Silence. + +MAX + +What's this all about? + +Dirk stares at Max or along minute. + +DIRK + +Did you say my mother gave you a hand job? + +MAX + +(shocked) + +What? + +DIRK + +(steely) + +Did you say it? + +MAX + +Who told you that goddamn lie? + +Silence. + +MAX + +Never mind. I know who said it. And I'm going to stick a knife in his heart. And I'm going to send him back to Ireland in a bodybag. + +TOMMY + +He's from Scotland. + +MAX + +Well, tell that stupid mick he just made my list of things to do today. I'm going to pop a cap in his ass. + +INT. TEAROOM. DAY + +A little salon with Persian rugs. There is a fire in the fireplace and a harpsichord plays softly on the radio. Dr. Guggenheim is sitting at a little table having tea with Max. + +Dr. Guggenheim has several bottles of prescription medicine in front of him and a blanket wrapped around him like a shawl. He stares at Max stonily. There is a manila envelope on the table in between them. + +MAX + +Did you receive the package? + +Dr. Guggenheim motions to the envelope. Max nods. + +MAX + +Good. I just wanted to inform you about what's going on. + +Dr. Guggenheim stares at Max with contempt. + +DR. GUGGENHEIM + +I never took you for an informer, Max. + +MAX + +(frowns) + +What's that suppose to mean? + +Silence. Max reaches out to take the envelope. Dr. Guggenheim slams his hand on it and leans across the table at Max. + +DR. GUGGENHEIM + +(fiercely) + +She resigned this morning. + +Before I even got your little snapshots. So your latest attempt at sabotage has backfired. + +MAX + +(pause) + +But she's one of the best teachers you've got. + +(yelling) + +How could you let her resign? + +DR. GUGGENHEIM + +Why are you trying to get her fired? + +MAX + +You stupid old fool! I'm trying to win her back! + +Dr. Guggenheim starts coughing and turning red. He knocks the envelope off the table and the pictures spill out all over the floor. + +INSERT PHOTOGRAPHS ON THE FLOOR: + +They're of Mr. Blume and Miss Cross kissing in the window of a Chinese restaurant. + +INT. MISS CROSS' CLASSROOM. DAY + +A crew of MOVERS is rolling one of Miss Cross' aquarium out of the classroom on a dolly as Max comes to the door. Miss Cross is on the other side of the classroom taking down a map from the wall. Her books and papers are stacked in boxes. + +Max watches her in silence for a minute before saying: + +MAX + +Miss Cross? + +She turns around to look at Max. Silence. + +MISS CROSS + +Hi, Max. + +MAX + +You need any help? + +MISS CROSS + +No. I have it. + +She pricks her finger and holds it to her mouth. + +MISS CROSS + +Dammit. + +Max starts to go in the room to help her. + +MAX + +Here. Let me see. + +MISS CROSS + +No. Please, don't come in here. Look. I'm sorry I hurt you. I'm sorry I love your friend instead of you. But just. Please, Max. + +Miss Cross has tears in her eyes. Max goes slowly toward her. + +MAX + +You honestly believe you love Blume instead of me? + +MISS CROSS + +Yes. + +MAX + +You'll forgive me if I won't take your word for that. + +MISS CROSS + +Stop. If you don't stop with that ping-pong talk, I'm going to lose it. Do you understand me? + +Max takes Miss Cross' hand and kisses it. She pulls her and away. Max tries to embrace her. They struggle and Miss Cross overpowers Max. She holds his arms behind his back. + +MAX + +Let me go! + +Max struggles some more. Miss Cross pushes him hard across the room. Max smashes into some chairs and knocks over a desk. He yells at her: + +MAX + +I got kicked out because of you! + +MISS CROSS + +You got kicked out because - + +MAX + +Rushmore was my life. Now you are! + +MISS CROSS + +That's bullshit! + +Silence. + +MISS CROSS + +What do you really think is going to happen between us? You think we're going to have sex? + +Max looks shocked. + +MAX + +That's kind of a cheap way to put it, don't you think? + +MISS CROSS + +(pause) + +Not if you've never fucked before, it isn't. + +MAX + +(stunned) + +Oh, my God. + +MISS CROSS + +How would you put it to your friends? Do you want to finger me? Or maybe I could give you a hand job in the back of a Jaguar. Would that put an end to all of this? + +Miss Cross moves towards Max with her hand outstretched. Max retreats backwards, banging into desks and chairs. Miss Cross stops. + +MISS CROSS + +Please. Get out of my room. + +Max walks out of the room and stands in the doorway. + +Miss Cross turns away and goes back to taking down her maps from the wall. Max watches her for a minute. + +Max leaves. + +EXT. QUADRANLGE. DAY + +Max comes out the door of the lower school in a daze. Magnus Buchan is sitting on a bench eating some candy. He is wearing the uniform of the Green Beret. He sees Max and laughs. + +MAGNUS + +Fischer, ya spotty fucker! + +MAX + +Hello, Magnus. + +MAGNUS + +Got any hand jobs lately? + +MAX + +No, I haven't. + +Dirk appears with some of his friends. + +MAGNUS + +Hey, Dirk! Look who's here. Your stepfather! Waitin' for your mum so he can get a piece. + +Dirk is very embarrassed. He frowns and looks at the ground. Max stares at Magnus with bitter contempt. + +MAX + +Your mind is as warped as your ear, Buchan. + +MAGNUS + +(standing up) + +Don't get nasty, brother. + +Max breaks into a sprint straight at Magnus. + +Magnus draws back and nails Max in the cheek. Max goes down but gets right back up. They throw a flurry of punches at each other's faces. Some kids come running over to watch. + +Max tackles Magnus around the legs. Magnus throws a hard punch straight down at the top of Max's head. Max goes limp and collapses to the ground. + +CUT TO: + +Max's eyes opening. He is lying his back in a pile of leaves. A bunch of little kids have circled around him. + +Max's nose bleeds profusely. One of his eyes is swollen shut. He's got several smaller cuts all over his face. His shirt is torn more or less in half. He looks up at Dirk standing over him. He lifts up his hand to Dirk. + +MAX + +We got him, Dirk. We got him. + +But Dirk does not take Max's hand. He turns away. + +EXT. CEMENTARY. DAY + +Mr. Blume spots Max sitting Indian-style at the foot of his mother's grave on a cold grey day. The simple epitaph reads: Eloise Fischer, beloved wife of Bert and mother of Max. Written below it says: the paths of glory lead but to the grave. Mr. Blume approaches warily. + +MR. BLUME + +Max? + +Max looks up. There is quite a sadness about him and his voice has lost all feeling of possibility. + +MAX + +Hi, Mr. Blume. + +Mr. Blume stands there in silence. + +MR. BLUME + +You wanted to meet? + +MAX + +When? + +MR. BLUME + +Right now. You said you wanted to meet to put an end to this nonsense. + +MAX + +Oh. Yeah. I was going to try and have that oak tree fall on you. + +Max jerks him thumb over his shoulder. Mr. Blume looks at a massive oak tree hanging precariously by the roots. + +MR. BLUME + +That big one? That would have really pancaked me. + +(pause) + +What stopped you? + +MAX + +(shrugs) + +What's the use? She loves you. + +Max gets up. They look at each other in silence. + +MAX + +So long Mr. Blume. + +Max starts to walk away. Mr. Blume calls after him. + +MR. BLUME + +She's my Rushmore, Max. + +MAX + +(without stopping) + +Yeah, I know. She was mine, too. + +Max leaves the cemetery. Mr. Blume stands alone. He goes over to the tree and taps it. It comes crashing down. + +TITLE: + +November. + +THANKSGIVING MONTAGE: + +Max walks down the street with his lunch in a brown paper bag. He goes into the barbershop. He nods hello to his father and puts on a white barber's jacket. He has a blank, hollow expression on his face. + +Max gives an old man a haircut while the old man reads the paper. Max gives another old man a shave. Man combs another old man's hair and holds up a mirror so he can see the back. + +Dirk rides past the barbershop on his little French three-speed. He circles back and looks at Max take the trash out to the dumpster. Max doesn't see him. Dirk pedals away. + +Margaret knocks on the front door of the Fischers' house. Mr. Fischer opens the door. He and Margaret talk for a minute. Mr. Fischer shakes his sadly. Margaret nods. + +Mr. Fischer closes the door as Margaret walks out to the sidewalk. She looks back at the house. Max is sitting on the window, staring off into space. Margaret hesitates. She goes across the yard to the window. + +She taps on the glass. Max looks out to her. She waves to him. Max closes the curtains. + +Margaret turns away sadly and walks off down the sidewalk. + +Max and Mr. Fischer sit in front of the TV having TV Thanksgiving dinners as they watch a football game. Mr. Fischer looks at Max. Max stares at the television set. + +TITLE: + +December. + +INT. BARBERSHOP. EVENING + +There is a wreath on the door and some blinking lights are strung-up. The last customer of the day comes out and walks away through the snow. Mr. Fischer is putting on his sweater while Max washes some combs and scissors in the sink. + +MR. FISCHER + +It's been nice having your company here at the shop, Max. + +Max nods. + +MR. FISCHER + +Have you put anymore thought into giving school another shot? + +Max shakes his head. Mr. Fischer puts on a hunting cap with earflaps and a down parka. He zips it up. Pause. + +MR. FISCHER + +Max, I like being a barber. I'm good at it and I enjoy it. But I always thought you'd try a different line of work. + +MAX + +Like what? + +MR. FISCHER + +I don't know. You talked about being a diplomat. Or a senator. + +MAX + +Pipe dreams Dad. Nothing but pipe dreams. I'm a barber's son. + +Max turns on the radio and goes back into washing the combs and scissors. Mr. Fischer sighs. He puts on his gloves. He goes out the door. + +Max flips the sign on the door from open to closed. He takes off his barber's jacket and hangs it on the coatrack. He goes into the back room. + +He comes back into the room carrying a broom. He stops. + +Dirk is sitting in one of the barber's chairs across the room. Silence. Max starts sweeping the floor. + +MAX + +(not looking at him) + +Hello, Dirk. + +DIRK + +Hi, Max. + +MAX + +What can I do for you? + +DIRK + +I thought I might get a haircut. + +MAX + +We're closed. + +Dirk nods. Max keeps sweeping. + +DIRK + +Well, I just wanted to tell you I'm sorry I threw rocks at you the other day. + +(getting up) + +But I guess I'll go now. + +Dirk sets a little gift-wrapped present on the counter. + +DIRK + +Merry Christmas. + +MAX + +Max stops sweeping and looks over at Dirk. + +MAX + +What in the hell is that? + +Dirk shrugs. Max goes over to the counter and picks up the present. He unwraps it. It is a Swiss Army Knife with an inscription on it. + +INSERT SWISS ARMY KNIFE: + +Max Fischer + +Rushmore Yankee + +1985-1997 + +Max looks at the knife for a minute. He says wearily: + +MAX + +OK. Sit down. + +Dirk sits back down in the barber's chair. Max puts his white jacket back on and starts giving Dirk a haircut. There is just a sound of scissors snipping for a minute. + +DIRK + +Have you heard the news? + +MAX + +I doubt it. I don't really follow the news anymore. + +DIRK + +Dr. Guggenheim had a stroke. + +MAX + +I'll send him a box of candy. + +DIRK + +Maybe you ought to go visit him. + +Max stops snipping. Pause. + +MAX + +No, thanks. + +Max starts snipping again. + +EXT. BARBERSHOP. EVENING + +Dirk comes out of the barbershop in a terrible haircut. He waves to Max and rides off in his three-speed. + +INT. BARBERSHOP. EVENING + +Max waves back to Dirk. He reaches into the cooler and takes out a bottle of Schlitz. He pops it open with the bottle opener on the Swiss Army Knife. He drinks a sip and looks out into the lightly falling snow. He says quietly to himself: + +MAX + +I always thought I'd be the one to give him a stroke. + +INT. HOSPITAL ROOM. NIGHT + +Dr. Guggenheim is in his hospital bed with his eyes half-shut and a bunch of plastic tubes sticking out of him. Mrs. Guggenheim sits in a chair at the foot of the bed reading a biography on Churchill. She looks exhausted. + +Max appears in the open doorway. He has a bouquet of violets in his hand. He knocks. + +MAX + +Mrs. Guggenheim? + +Mrs. Guggenheim looks up. Her face brightens and she goes to greet Max. + +MRS. GUGGENHEIM + +Hello, Max. How are you? + +MAX + +(desolate) + +Fine, thanks. + +Max starts to shake hands, but Mrs. Guggenheim hugs him and kisses him on the cheek. Max is caught a little offguard by this. There is lipstick on his cheek. + +MRS. GUGGENHEIM + +These are glorious. Let me put them in some water. Sit down. + +She takes the flowers and points to a chair beside the bed. Max sits down and stares at Dr. Guggenheim while Mrs. Guggenheim puts the violets in a vase. + +MAX + +Should I say hello to Dr. Guggenheim? Or can he not hear anything? + +MRS. GUGGENHEIM + +Oh, no. He can hear you. + +MAX + +OK. + +(sadly) + +Hello, old timer. It's Max Fischer. I was just thing about you the other day. And Rushmore. And I - + +Dr. Guggenheim's eyes suddenly open. Max is taken aback. Dr. Guggenheim looks at Max suspiciously and whispers: + +DR. GUGGENHEIM + +What do you want? + +Mrs. Guggenheim looks up quickly. Max hesitates. + +MAX + +I just came to pay my respects. + +DR. GUGGENHEIM + +(frowns) + +No, you didn't. You don't respect anybody. + +Dr. Guggenheim tries to spit at Max, but his mouth is too dry. Mrs. Guggenheim comes over to him. + +MRS. GUGGENHEIM + +Nelson? + +Dr. Guggenheim mutters deliriously. + +DR. GUGGENHEIM + +Dammit. Goddammit. + +Mrs. Guggenheim takes Dr. Guggenheim's hand and holds it. He calms down. His eyes close and he relaxes. Silence. + +Mrs. Guggenheim looks to Max. + +MRS. GUGGENHEIM + +That's the first thing he's said in ten days. + +MAX + +You think he recognized me? + +MRS. GUGGENHEIM + +I'm not sure. + +CUT TO: + +Dirk hidden in the bushes across the street from the hospital. He checks his watch. He raises his binoculars to his eyes and looks on mysteriously as: + +Mr. Blume pulls into the parking lot in his Bentley. + +INSERT NOTEBOOK: + +5:25 Fischer arrives via old woman's bicycle. + +5:47 Blume arrives via black Bentley. + +INT. ELEVATOR. NIGHT + +Max rides down in the elevator with a NURSE and a wheezing OLD WOMAN in a wheelchair. The doors open in the lobby and Max waits while the nurse wheels out the old woman. + +Then he sees Mr. Blume in front of him, waiting for the elevator. He has a bouquet of carnations in one hand and a diet Coke in the other. He has a black eye under his sunglasses. He is very disheveled. + +MR. BLUME + +Hey, amigo. + +MAX + +You look horrible. + +MR. BLUME + +You don't look too great yourself. Good to see you. + +MAX + +You here to see Guggenheim? + +MR. BLUME + +Yeah. Your partner told me he was under the weather. + +MAX + +(frowns) + +What partner? + +Silence. Mr. Blume shrugs. + +MR. BLUME + +OK. If you want to play it that way. You getting off? + +MAX + +I'll ride up with you. + +MR. BLUME + +(getting on) + +Suit yourself. + +Mr. Blume presses the button for the 14th floor. The doors close and they go up. Mr. Blume takes out the little airline bottle of vodka and pours some into his diet Coke. He swirls it around and drinks a sip. + +MAX + +Who gave you the shiner? + +MR. BLUME + +Honestly? I don't actually know. It was either Ronny or Donny. But I can't tell the difference anymore. + +MAX + +Well, he really clocked you. + +MR. BLUME + +Yeah? Well, kids don't like their parents to get divorced. + +MAX + +I don't blame them. + +MR. BLUME + +Me, either. + +Silence. + +MAX + +How is she? + +MR. BLUME + +I wouldn't know. + +MAX + +Why not? + +MR. BLUME + +Because I haven't seen her in six weeks. + +MAX + +(frowns) + +What happened? + +Mr. Blume shrugs. + +MAX + +She left you? + +Mr. Blume nods. + +MAX + +How come? I thought she loved you. + +MR. BLUME + +So did I. I guess maybe I am too old for her after all. + +MAX + +(sadly) + +Maybe so. Maybe so. + +MR. BLUME + +She's still in love with the dead guy, anyway. + +MAX + +You mean Edward Appleby. + +MR. BLUME + +Oh, yeah. She's fucked up. + +Mr. Blume lights a new cigarette. Max points to Mr. Blume's first cigarette, balanced on the handrail. + +MAX + +You've already got one going, Mr. Blume. + +Mr. Blume picks up his first cigarette and puts it in the opposite corner of his mouth from the second. He smiles at Max through the smoke. They get off to the 14th floor and the doors open. + +MR. BLUME + +Adios, amigo. + +Max waves good-bye. But Mr. Blume does not get off the elevator. He bends over and puts his hands on his knees and takes a series of deep breaths. The door starts to close. He reaches out and holds them open. Max looks concerned. + +MAX + +Are you OK? + +Mr. Blume looks up at Max. He laughs and shakes his head. + +MR. BLUME + +I'm kind of lonely these days. + +Mr. Blume sighs. He gets off the elevator. The doors close behind him as Max watches him walk down the hall. + +CUT TO DIRK'S BINOCULARS: + +Max comes out of the hospital and stands quietly in the cold for a minute. He gets on his mother's old bicycle. He rides off down the street. + +EXT. THE FISCHERS' HOUSE. DAY + +Max opens the Fischer's garage door. His smashed-up ten-speed hangs from a peg on the wall. He takes is down and carries it out off the garage. + +INT. MISS CROSS' HOUSE. NIGHT + +Miss Cross is sitting up in her bed reading Treasure Island and listening to the radio. She is wearing pale blue pajamas. There is a knock on her windowpane. She looks up. + +She hears someone trying to open the window. She gets up and pulls open the blinds. Max is outside on the roof wearing his parka and ski cap in the falling snow. He waves. + +MISS CROSS + +Max! + +Miss Cross opens the window. + +MISS CROSS + +What are you doing here? + +MAX + +(dazed) + +I don't know. Jesus. They came at me out of no where. It was - + +MISS CROSS + +What? + +MAX + +So sudden. I just - + +(pause) + +I'm sorry. Can I use your phone? I just got hit by a car. + +Max points down at his destroyed ten-speed in the street under a street lamp. Parts are scattered all around it. + +MISS CROSS + +Oh, my God. Are you OK? + +MAX + +(disoriented) + +What? + +Miss Cross notices a little cut over Max's eye. She lifts up the front of Max's ski cap. There is blood all over his forehead. She looks shocked. + +MISS CROSS + +Come inside. + +MAX + +(climbing in) + +Thank you. + +Max goes to Miss Cross' bed. He lies down and stares at the ceiling. + +Miss Cross goes into the bathroom. She puts on a white bathrobe and gets some cotton balls and hydrogen peroxide out of the medicine cabinet. + +Max looks around the room. + +MAX + +So this is where it all happens? + +MISS CROSS + +(from the bathroom) + +All what happens? + +MAX + +I wouldn't know. + +Miss Cross comes back into the bedroom. + +MAX + +Why'd you dump Blume? + +Miss Cross stops. Pause. + +MISS CROSS + +That's none of your business. + +MAX + +I know it's not. But I'm a little confused right now. I mean. I thought you dumped me for Blume. Then I hear - + +MISS CROSS + +I never dumped you because we were never going out. + +MAX + +But it doesn't make any sense. I - + +MISS CROSS + +Well, I am confused, too. But why don't we just deal with getting you - + +MAX + +Because it would help me if you would talk to me for a minute. And tell me what happened. + +Silence. + +MISS CROSS + +OK. + +(pause) + +Well. A. He's a married man. + +And B. He hates himself. + +I mean. He smashed your bicycle, didn't he? + +MAX + +(pause) + +My previous bicycle. Yes. + +MISS CROSS + +Well, what kind of person does something like that? + +MAX + +I don't know. + +(pause) + +War does funny things to men. + +Silence. Miss Cross sits down in a rocking chair beside the bed. She opens the bottle of hydrogen peroxide. + +MAX + +He thinks you dumped him because of Edward Appleby. + +MISS CROSS + +What does that mean? + +MAX + +I don't know. I mean. You live in this room. + +Max looks around the room. There are trophies and ribbons, a chemistry set, a poster from the Olympics, three large fish tanks, a picture of Jacques Cousteau, and some model planes in dogfights hanging from the ceiling. + +MAX + +With all his stuff. It's kind of -- + +MISS CROSS + +I was married to him. + +MAX + +(pause) + +I know you were. + +Silence. + +MISS CROSS + +Although I will say Edward has more spark and character and imagination in one fingernail than Herman Blume has in his entire body. + +MAX + +One dead fingernail. + +Miss Cross fixes Max with a hard stare. + +MISS CROSS + +Right. One dead fingernail. + +Silence. + +MAX + +How'd he die? + +MISS CROSS + +He drowned. + +(pause) + +How'd your mother die? + +MAX + +She got cancer. + +Miss Cross nods. She sighs. + +MISS CROSS + +Lie still for a minute, OK? + +MAX + +OK. + +Miss Cross pushes Max's hair back with her hand. She looks at him for a minute. She touches the blood on his forehead with a cotton ball. She stops. + +MISS CROSS + +Is this fake blood? + +MAX + +(pause) + +Yes, it is. + +MISS CROSS + +You know, you and Herman deserve each other. You're little children. Let me show you to the door. + +Max gets up and goes over to the window. He climbs out onto the roof. He looks back to Miss Cross. + +MAX + +That wasn't a very satisfying conversation. + +Miss Cross shrugs. Silence. + +MAX + +All right. Goodbye, Miss Cross. + +MISS CROSS + +Goodbye, Max. + +Max disappears into the darkness. + +EXT. FROZEN POND. DAY + +A few ICE SKATERS race around and do figure-8's on the little frozen pond at the edge of town. Dirk is sitting on his tackle box, fishing from a hole in the ice. He stomps his feet, and even with his mittens on he has to blow into his hands to keep warm. + +Max sits with his bare hands resting on the ice. + +MAX + +People hate me. + +DIRK + +That's not true. + +MAX + +Guggenheim tried to spit on me. + +Poor old guy couldn't even spit. + +And Blume and Cross? + +(shakes his head) + +They can't stand me. + +I ruined their whole relationship. + +Dirk looks down at Max's red hands. + +DIRK + +You should put your mittens on. + +MAX + +(absently) + +Oh. They're already numb. I'm surprised you don't spit on me, Dirk. + +DIRK + +You're my friend, Max. + +Tear's starts streaming down Max's face. Dirk looks worried. + +MAX + +I'm sorry about what I said about your mother giving me a hand job. I just -- + +DIRK + +I know, Max. Listen. I'm sorry I didn't take your hand when Buchan kicked your ass. + +MAX + +(pause) + +I got a few licks in. At the very least, he'll think twice about spreading that kind of garbage. + +DIRK + +You should stand up. + +MAX + +I'm awfully comfortable. + +Silence. One of the skaters begins to circle around Max and Dirk closer and closer. She suddenly scratches to a halt right in front of them. + +The skater is a girl in white skates and grey tights and a short camel's hair coat. She has a scarf over the lower half of her face. She says to Max: + +SKATER + +Is this your handwriting? + +She holds out a little piece of paper torn out from a spiral notebook. Max stands up and takes it. There is a note written on it in blue crayon. + +INSERT PIECE OF PAPER: + +Please come to the frozen pond at 3:30 PM this afternoon. Thank you very much. + +Max looks to Dirk. Dirk is putting a new worm on his hook. + +MAX + +No. But it looks familiar. + +Max gives the piece of paper back to the girl. She lowers her scarf and we see she is Margaret Yang. + +MAX + +Do you know Dirk Calloway? + +MARGARET + +I don't think so. + +MAX + +Dirk, this is Margaret Yang. + +Dirk nods. Margaret waves to him. Silence. + +MAX + +I heard about your science fair project on Action 13 the other day. They said the Navy was going to buy it from you. + +Margaret is polite but cold. + +MARGARET + +Not anymore. + +MAX + +Why not? + +MARGARET + +Because it was fake. + +MAX + +What do you mean? + +MARGARET + +(sighs) + +I faked all the results. + +MAX + +Why? + +MARGARET + +Because it didn't work. I thought it would but it didn't. + +MAX + +(in disbelief) + +You mean it was all bullshit? + +MARGARET + +Not all of it. Just the parts I didn't get right. + +Max stares at her. It is as if he is seeing her for the first time. He says quietly: + +MAX + +That's exactly the way I would have handled that situation. + +MARGARET + +Well. It's nothing to be proud of. + +MAX + +But it's true. + +Max is completely hypnotized by her. + +MARGARET + +You were a real jerk to me. + +MAX + +(pause) + +I know. I'm sorry, Margaret. + +Silence. + +MARGARET + +Well. Anyway. Nice to see you. + +MAX + +Yeah. Nice to see you, too. + +Margaret starts skating slowly away backwards. Max waves to her. She spins and skates off full-speed. Max watches her go. Silence. + +MAX + +You set me up. + +Dirk nods. Max says wistfully: + +MAX + +Not bad, not bad. The child has become the father of the man. + +Max looks out across the frozen pond. He pulls off his ski cap and feels the cold air against his cheeks. Snowflakes catch in his eyelashes. + +MAX + +We might have to get some hockey skates, Dirk. + +DIRK + +I already got you some. + +Dirk reaches into his backpack and takes out a pair of skates. He hands them to Max. Max looks at them for a minute. He nods slowly. Something begins to change in his face. He says with quiet intensity: + +MAX + +Do me a favor, will you? + +DIRK + +Sure. What? + +MAX + +(pause) + +Pack up your goddamn tackle box. + +Dirk smiles. Max grabs Dirk's fig pole and starts walking. Dirk calls after him: + +DIRK + +You sure you don't want to stay here and feel sorry for yourself? + +MAX + +I'll take a rain check. + +Dirk grabs his tackle box and follows Max briskly off the ice. + +EXT. BARBERSHOP. DAY + +Mr. Blume stands on the sidewalk in front of the barbershop. He stares off into the distance. He has his hands in his pockets and his hair is blowing in the wind. + +Mr. Fischer is inside reading the sports page. + +A cab pulls up and splashes water on Mr. Blume, but he does not appear to notice. Max gets out of the cab. He is dressed in a beautiful green velvet suit and bow tie. He smiles. + +MAX + +Thanks for meeting me, Mr. Blume. + +MR. BLUME + +What can I do for you? + +Max hands Mr. Blume a little white cardboard box. Mr. Blume frowns. + +MR. BLUME + +What's this? + +Max shrugs. Mr. Blume starts to open the box. Max flinches away like the box is going to explode. Mr. Blume stops. Max smiles and motions for Mr. Blume to go ahead. Mr. Blume opens the box. There are two little pins inside. + +MAX + +That's the Perfect Attendance awards and the Punctuality Award. I got those at Rushmore. I thought you could choose which one you like more, and you could wear that one and I could wear the other. + +Mr. Blume's face softens. He nods slowly. He studies the pins and says quietly: + +MR. BLUME + +I'll take punctuality. + +MAX + +OK. + +They put their pins in their lapels. + +MR. BLUME + +Thank you. + +Max nods. He smiles. + +MAX + +Come on. Let's go inside. + +Max motions to the barbershop. Mr. Blume looks confused. + +INT. BARBERSHOP. DAY + +Mr. Blume follows Max into the barbershop. Mr. Fischer looks up from his newspaper. + +MR. FISCHER + +Well, looks what the cat dragged in. + +MAX + +Sorry, I'm late. I want you to meet somebody. + +(looks to Mr. Blume) + +Mr. Blume, this is my father, Bert Fischer. + +Silence. Mr. Blume nods slowly. + +MR. BLUME + +Nice to meet you, Mr. Fischer. + +MR. FISCHER + +(smiles) + +Mr. Fischer's my father's name. Call me Bert. + +MR. BLUME + +(pause) + +OK, Bert. + +MR. FISCHER + +Max tells me you could use a haircut. + +Mr. Blume hesitates. + +MR. FISCHER + +Let's have a look at you. + +Mr. Blume sits down in one of the barber's chairs and looks in the mirror. Max and Mr. Fischer stand on either side of him. Mr. Blume looks terrible. He sighs deeply. + +MR. BLUME + +I don't know, Bert. + +MR. FISCHER + +Don't worry. We might have to throw in a shave, too. Max? Why don't you get Mr. Blume a cup of coffee? + +EXT. BARBERSHOP. DAY + +Max and Mr. Blume come out of the barbershop and walk quickly down the sidewalk. Mr. Blume's hair is crisply cut and neatly combed, but his clothes still look very disheveled. + +MAX + +How much are you worth, by the way? + +MR. BLUME + +I don't know. + +MAX + +Over ten million? + +MR. BLUME + +Yeah. I guess so. + +MAX + +Good, good. + +MR. BLUME + +Why? + +MAX + +Cause we're going to need all of it. + +DECEMBER MONTAGE: + +Christmas decorations are evident throughout the following scenes. + +Max and Mr. Blume watch a Jacques Cousteau film on 16mm in Mr. Blume's office. Ernie runs the projector. + +Max and Mr. Blume visit a marine research facility. Mr. Blume holds up a fish at the edge of a pool. A killer whale jumps out of the water and takes it in its teeth. + +Max and Mr. Blume sprint down the street and through the park in warm-up suits. They hurdle bushes and dodge traffic. They run into an empty football stadium and race up the bleachers. + +Max's young architect shows Max and Mr. Blume a miniature baseball diamond field. The architect slides over the diamond an inch and puts model of a building labeled The Cousteau-Blume Marine Observatory in its place. + +Max and Dirk skate around on the frozen pond during complicated tricks and jumps. + +EXT. VACANT LOT. DAY + +A large crowd of Rushmore student, parents and faculty has gathered around the vacant lot beside the baseball field. A huge banner says The Cousteau-Blume Marine Observatory. There is a huge bulldozer and a cement truck at the back of the lot. + +Max and Mr. Blume shake hands for the yearbook photographer. Mr. Blume is holding a gold shovel with a ribbon around it. + +MR. BLUME + +She's not coming, is she? + +MAX + +(pause) + +It doesn't look good. + +MR. BLUME + +Ah, shit, man. What the hell am I doing here? + +Mr. Blume throws down his shovel and starts to walk off. Max yells at him: + +MAX + +Dammit, Blume! How the hell did you ever get so rich? You're a quitter! + +Mr. Blume looks at Max in shock. + +MR. BLUME + +This cost me eight million dollars! + +MAX + +(hesitates) + +And that's all you're prepared to spend? + +Silence. + +EXT. THE FISCHER'S HOUSE. DAY + +Max carries as old leather typewriter case in the backyard. He sets it down on a picnic table. The case has an inscription on it in gold letters. + +INSERT TYPEWRITER CASE: + +Bravo, Max! Love, Mom. + +Max unzips the case. There is an old portable manual typewriter inside. Max rolls a piece of paper into it and starts typing furiously. He pauses to drink a sip of hot chocolate. He starts typing again. + +TITLE: + +January. + +EXT. WEBSTER SMALLEY SCHOOL FOR GIRLS. DAY + +Webster Smalley is Rushmore's sister school. The doors to the lower school burst open and twenty-five first-grade girls in plaid jumpers run yelling onto the playground. + +Miss Cross comes out of the building after the girls. She sees Max coming down the hill in his green suit. + +MISS CROSS + +I like your suit. + +MAX + +Thanks. + +MISS CROSS + +Is that velvet? + +Max nods. Miss Cross feels his lapel. It has a Perfect Attendance Award pin in it. + +MAX + +Sorry you couldn't make it to our little groundbreaking the other day. It's kind of a shame, since he's building it for you. + +MISS CROSS + +Well, you know, I never asked anybody to build me an aquarium. I'm not sure how that rumor got started. + +MAX + +Hm. Me, neither. You think Edward Appleby would've built you one? + +Miss Cross thinks for a minute. She sounds surprised at her on response. + +MISS CROSS + +Yeah. He probably would've. If he had the money. + +MAX + +(smiles) + +That's what I thought. Blume's got a little more spark and vitality than you expected, doesn't he? + +MISS CROSS + +But the aquarium was your idea. + +Max smiles and shrugs his shoulder. + +MAX + +Well, I gave it to my friend. + +Max turns and starts walking away. He looks back over his shoulder and says: + +MAX + +By the way, I still haven't fucked anybody yet. But I guess that's just the way it goes. + +Miss Cross smiles sadly. + +INSERT TEACHER' MAILBOXES: + +A cabinet of little slots where teachers get their mail and memos. Someone puts a little envelope into the slot marked Rosemary Cross. + +INT. WAREHOUSE. DAY + +Max stands at the counter in a huge construction supply warehouse. A SALESMAN says: + +SALESMAN + +Fifteen sticks? + +MAX + +Yes, please. And make the order out to Ready Demolition, Tuscon. + +Max holds up a driver's license. The salesman looks at it and writes something on a clipboard. Max walks out of the warehouse with several large boxes over his shoulder. The boxes say DYNAMITE on them in large red letters. + +EXT. STREET. DAY + +Dirk comes out of a hiding place in the bushes as Max walks over with the dynamite. Dirk is holding a pellet gun. + +MAX + +Make sure these don't get wet. + +Max hands Dirk the boxes and takes the pellet gun. + +MAX + +I'll see you at 3:15. + +Max starts walking away down the sidewalk. + +DIRK + +Where you going? + +MAX + +9without stopping) + +Rushmore. I got one last piece of unfinished business I got to attend to. + +EXT. RUSHMORE. DAY + +Max pumps his pellet gun shot about twenty times. He raises the stock to his shoulder as Magnus Buchan walks onto the quadrangle. He draws a bead on him and follows him in his sight as he passes be. He fires. + +Magnus screams and grabs his only good ear. He spins around and sees Max cocking a pellet gun. + +MAGNUS + +Fischer! Ya fuck! + +MAX + +Hello, Magnus. I'd have shot you in the other ear, but it got blown off a long time ago. + +Magnus starts to come at Max. Max points his weapon at him. + +MAX + +Not so fast. + +Magnus stops. + +MAX + +I owed you that one. Now we're even. + +MAGNUS + +(smiles crookedly) + +Not for long, kemosabe. + +MAX + +(shrugs) + +We'll see. + +Silence. Max holds Magnus at gunpoint. + +MAX + +I got a proposition for you. + +MAGNUS + +Shove it up your mother's arse, ya little prick. + +MAX + +I've got to hand it to you, Magnus. You've got a way with words. You want to be in a play? + +MAGNUS + +(puzzled) + +Don't piss with me, Fischer. + +MAX + +I'm not pissing with you. + +(reaching in his backpack) + +I brought you a script. + +Max hands Magnus a script with a red cover. + +MAGNUS + +What's all this shite? + +MAX + +Nothing. I just think you're right for the part. + +Magnus stares at Max. He says quietly: + +MAGNUS + +I always wanted to be in one of those frickin' plays of yours. + +MAX + +I know you did, mate. + +Magnus looks at the script. + +INSERT COVER OF PLAY: + +HEAVEN AND HELL + +a new play by Max Fischer + +revised draft + +Dramatists Guild registered + +INT. GROVER CLEVELAND HIGH SCHOOL. NIGHT + +The school auditorium. + +We see many familiar faces in the audience: Mr. Fischer, Dr. Guggenheim in his wheelchair, Mrs. Guggenheim, Mrs. Calloway, Mrs. Whitney, the Indian groundskeeper, the yearbook photographer, Coach Beck, Ernie, Mr. Holstead, Mr. Adams, the police who arrested Max, some old men from the barbershop. They are all dressed nicely in evening clothes. + +Miss Cross' friend John, whom Max humiliated at dinner after the Serpico play, is seated in the third row. He is dressed in a coat and tie. + +An USHER directs Miss cross to her seat. She is surprised to see that it is right nest to Mr. Blume's. She reluctantly sits down beside him. Mr. Blume sees her. + +MISS CROSS + +Hi, Herman. + +Mr. Blume nods. He pulls his ticket out of his inside pocket and checks the seat number. He looks to Miss Cross. Miss Cross smiles. + +MISS CROSS + +Looks like Max pulled a fast one on us. + +Mr. Blume nods. + +MISS CROSS + +How's your aquarium coming along? + +MR. BLUME + +Not too bad. It should be finished in October. + +Miss Cross nods. + +MR. BLUME + +I just made a deal with a guy in Singapore for half a dozen electric eels. + +MISS CROSS + +That sounds good. + +The lights go down. A spotlight appears and Max walks onstage in a tuxedo. He goes to a microphone in the middle of the stage. + +MAX + +I don't usually do this, but this play means a lot to me, and I wanted to make a dedication. So I'll just say that this play is dedicated to the memory of my mother, Eloise Fischer. And to Edward Appleby. A friend of a friend. + +Neither Mr. Fischer nor Miss Cross were expecting this announcement, and they are moved by it. + +MAX + +Also you'll find a pair of safety glasses and some earplugs underneath your seats. Please feel free to use them. Thank you very much. + +Max exits the stage and the audience applauds. There is a moment of rustling and whispering in the dark theater. + +The curtain opens on: + +Vietnam. Napalm smolders in the sky above the jungle. + +Dirk runs onstage dressed in a Green Beret uniform and sunglasses. He has an M-16. He yells to Max as Max shimmies down out of a palm tree: + +DIRK + +Let's rock, Esposito! + +MAX + +Lock and load, Surf Boy! + +There is an explosion and Max and Dirk run through the smoke. Suddenly the stage is swarmed by VC regulars. Everyone starts shooting at once. + +Bursts of gunfire light-up the audience's faces and smoke floats over their heads as we hear the sounds of jets flying over, bombs exploding, choppers taking off, and a SOLDIER'S voice screaming into his radio: + +SOLDIER + +Mayday! Mayday! Seven niner Almighty! Adjust your coordinates! + +Some members of the audience put on their safety glasses and earplugs. Woody stands nervously in the wings with a fire extinguisher. + +One of the extras accidentally clubs Max in the temple with the butt of his rifle. Max's eyes close. He crumples to the floor. The fighting stops. The audience begins to murmur. + +Max opens his eyes. He sees the frightened soldiers looking down at him. + +He grabs his M-16 and opens fire. The battle resumes. + +INSERT SIGN WRITTEN IN CALLIGRAPHY: + +Intermission. + +The sign is leaning on an easel in front of the curtain. Little roses and tulips are painted around its edges. + +INT. DRESSING ROOM. NIGHT + +Actors run around frantically backstage. Max has a band-aid on his forehead. He is touching-up a gory makeup effect over Dirk's eye. He turns to Woody. + +MAX + +How much time we got, Wood? + +WODDY + +(checks his watch) + +Two minutes. + +MAX + +Bring me some more ketchup. + +(points to the band-aid on his head) + +And make this look real. + +EXT. AUDITORIUM. NIGHT + +The lobby of the auditorium is buzzing with people talking about the play and having drinks. + +Mr. Blume is standing alone outside, smoking a cigarette. It is snowing softly. Miss Cross comes out with a cup of coffee in each hand. Mr. Blume turns around and looks at her. + +She goes over to him and hands him one of the coffees. + +MR. BLUME + +(sadly) + +Thank you. + +MISS CROSS + +Hold this one, too, Herman. + +He holds both coffees while Miss Cross pours some little containers of cream into then and stirs them with a plastic straw. She takes back her cup of coffee. + +MISS CROSS + +So what do you think of Max's latest opus? + +Mr. Blume gives a thumbs up and stares out into the snow. + +MR. BLUME + +Let's just hope it's got a happy ending. + +Miss Cross smiles. She smoothes her hand across Mr. Blume's hair. He looks into her eyes. She links arms wit him gently and they drink their coffees together. + +INT. AUDITORIUM. NIGHT + +Max and Magnus Buchan, with a three-day beard and a cigar, stand together among the fallen bodies and smoldering trees. + +MAX + +I want you to have something, Sarge. + +Max hands Magnus Mr. Blume's silver .45 automatic. + +MAX + +I won't be needing this anymore. + +MAGNUS + +Semper fi, Esposito. Semper fi. + +MAX + +Sic transit gloria, sir. + +Max looks out to Mr. Blume. Mr. Blume looks back at him. + +MAX + +Say a prayer for Surf Boy. Wherever he is. + +MAGNUS + +Good luck, soldier. + +Magnus salutes Max and walks off. We hear his voice as he goes into the wings: + +MAGNUS + +Tag 'em and bag 'em, cherries! We're moving out! Let's DD! + +Max throws down his rifle into a foxhole and begins to cry quietly. Someone moves slowly toward him out of the settling smoke. Max wheels around and whips out his Swiss Army knife. + +But then he sees it is Margaret Yang as a Vietnamese villager. She has been through hell. + +MARGARET + +Hello, Esposito. + +Max drops his knife and it stabs into the floor. He puts out his hand. Margaret takes it. He pulls her in and hugs her. + +Miss Cross smiles sadly. + +Max looks into Margaret Yang's eyes. + +MAX + +Will you marry me, Le-Chahn? + +MARGARET + +(instantly) + +You bet I will. + +Wagner's Flight of the Walkyries begins to play loudly from behind the stage as Max kisses Margaret and the curtain drops to wild applause. + +Mrs. Guggenheim looks on in amazement as Dr. Guggenheim stands up out of his wheelchair and leads the ovation. The rest of the audience quickly follows suit. + +The Indian groundskeeper is laughing hysterically. + +INT. GYMNASIUM. NIGHT + +The gymnasium has been filled with palm trees and decorated like an Army barracks. Flares burn in circles around the tables. A banner at the entrance says The Heaven and Hell Cotillion. + +Dirk and a couple of his CLASSMATES are looking at some vintage Playboy centerfolds taped-up on the wall as part of the Army barracks motif. + +Miss Cross and John are talking at the punchbowl. + +MISS CROSS + +Max sent you an invitation? + +JOHN + +Yeah. And he told me to wear a tie. + +Max and Margaret are drinking ginger ales and chatting with Mr. Fischer and MR. and MRS. YANG. + +MAX + +Thank you, Mrs. Yang. I actually wrote a different version of the play two years ago. But I couldn't get it done over at Rushmore. + +MRS. YANG + +Why? Too political? + +MAX + +No. A kid got his finger blown off during rehearsals. + +Max sees Mr. Blume and Miss Cross approaching. + +MAX + +Miss Cross, this is my father Bert Fischer. He's a barber. + +(to Mr. Fischer) + +This is my friend Rosemary Cross. + +Mr. Fischer smiles as they shake hands. + +MR. FISCHER + +Hi, Rosemary. + +MISS CROSS + +Nice to finally meet you, Bert. + +MAX + +And, of course, you know Mr. Blume. I also want everyone to meet Mr. and Mrs. Yang. And this is Margaret. + +Miss Cross and Margaret smile at each other. + +MISS CROSS + +Hello, Margaret. + +MARGARET + +Hello, Miss Cross. + +The Indian groundskeeper is talking with Coach Beck and Mr. Blume's foreman, Ernie. + +COACH BECK + +I'm surprised they let him build a real campfire onstage. That's a safety hazard. + +ERNIE + +Well, last year he tried to raise piranhas. + +COACH BECK + +What'd you think of the play, Mr. Littlejeans? + +GROUNDSKEEPER + +Best play all year, man. + +Mr. Blume, Magnus Buchan, and the Rushmore yearbook photographer are having a conversation. + +MAGNUS + +Well, Fischer stepped on half of my bleedin' lines. + +MR. BLUME + +Really? I didn't notice. + +PHOTOGRAPHER + +Are Ronny and Donny having a good time at military school? + +MR. BLUME + +(instantly) + +They love it. + +MAGNUS + +Lucky bastards. + +Mr. Fischer is talking with John. + +JOHN + +I understand you're a neurosurgeon. + +MR. FISCHER + +No. I'm a barber. But a lot of people make that mistake. + +Mr. Fischer laughs. + +Dirk and Dr. Guggenheim watch Max laughing and dancing with Margaret Yang. Max points to Dr. Guggenheim. Dr. Guggenheim smiles and points back to him. He says in a hoarse whisper: + +DR. GUGGENHEIM + +Who's the Chinaman with Fisher? + +DIRK + +That's Margaret Yang. She's actually Korean. + +DR. GUGGENHEIM + +(pleasantly surprised) + +I know the Koreans. They're good people. + +Max and Margaret are talking as they dance: + +MAX + +You were incredible tonight, Margaret. You were that poor girl. + +MARGARET + +Thank you. I loved it when you grabbed onto the bottom of the chopper as it was taking off. + +MAX + +That was totally improvised. + +Margaret nods. They look at each other smiling. + +MAX + +Can I ask you a question? + +MARGARET + +Of course. + +MAX + +Can you do an Australian accent? + +Margaret looks puzzled. Max smiles. + +MAX + +I'm working on something that's set in the outback. + +Mr. Fischer is sitting at a table having a glass of champagne with Max's math teacher, Mrs. Whitney. She has a slight English accent. Mr. Fischer wears a sky blue blazer. + +MR. FISCHER + +That's a beautiful dress, by the way. + +MRS. WHITNEY + +Why, thank you, Bert. That sportscoat is rather smashing in its own right. + +MR. FISCHER + +I know it's a little loud. But I feel like celebrating. + +MRS. WHITNEY + +Would you care to dance? + +MR. FISCHER + +(surprised) + +I'd love to. + +Mr. Blume brings Miss Cross a glass of champagne as Max and Margaret dance by. + +MARGARET + +Hello, Mr. Blume! + +MR. BLUME + +Hi, Margaret! + +(to Max) + +May I cut in? I haven't had a change to cut a rug with your new girlfriend yet. + +MAX + +(embarrassed) + +New girlfriend. + +MARGARET + +Yes, I am. And find your own partner, Mr. Blume. No offense, but I'm spoken for. + +MAX + +No, it's OK. He's my friend. + +Margaret and Mr. Blume dance off together. Max and Miss Cross are left alone. + +MISS CROSS + +Well, you pulled it off. + +MAX + +(shrugs) + +It went OK. At least nobody got hurt. + +MISS CROSS + +Except for you. + +MAX + +(smiles sadly) + +Nah. I didn't get hurt that bad. + +Max looks to Miss Cross. Miss Cross sips her champagne. She looks back at Max for a minute. She smiles. Mr. Fischer calls out to them as he dances by with Mrs. Whitney: + +MR. FISHCER + +Come on, you two! Shake a leg! + +They wave to Mr. Fischer. Miss Cross looks to Max. + +MISS CROSS + +You want to dance? + +MAX + +Certainly. But let's see if we can get the DJ to play something with a lithe --- + +Max snaps his fingers. He turns to the DJ and yells: + +MAX + +Rueben! + +The DJ looks to Max. Max makes a little gesture that seems to say, This is the one. The DJ nods. + +The music cuts off in the middle of the song. Everyone stops dancing. They look around wondering what's going on. + +A new song starts up. It is the saddest song of the night. + +Max looks to Miss Cross. Miss Cross puts out her hand. Max takes it and walks with her onto the dance floor, into the crowd, as everyone slowly begins to dance. \ No newline at end of file diff --git a/unformated_scripts/Script_Rust and Bone.txt b/unformated_scripts/Script_Rust and Bone.txt new file mode 100644 index 0000000000000000000000000000000000000000..e1c890c44d0232a4d265d2da08b99302ba77186a --- /dev/null +++ b/unformated_scripts/Script_Rust and Bone.txt @@ -0,0 +1 @@ + RUST AND BONE Written by Jacques Audiard & Thomas Bidegain Based on Craig Davidson's short story collection 16TH August 2011 1. THE CHILD Gradually more and more visible in the darkness, the face of a child, Sam. He is 6 years old, blond, pale and miserably thin. As we move in on his eyes, we see his lids quickly contracting. Under his eyelids: vestiges of the day's lights and shadows, of the day's noise. 2. EXT. - NORTHWEST LANDSCAPES. DAY A grim region where the sky hangs low and the wind can knock a man off his feet. On the side of the highway, a large, muscular man with spiked blond hair: Ali Van Versh, 25. He has a big bag in one hand and a cell phone in the other. He talks on the phone as he continues walking: ALI It's me. It's Ali... I left. I took the kid with me. She can't take care of him anymore. I got into a fight with the guy she's with. I don't know where to go. What do I do with the kid? I can't talk. I don't have any more credit... Call me back! He hangs up quickly and turns to Sam. ALI Move it! His phone rings. He immediately answers. ALI Yeah! Where is it? Shit! It's so far! How do I get there? I don't know. Today or tomorrow. Yeah... Ali lifts Sam onto his shoulders with one arm. Sam is tiny, he looks like a squirrel on his father's back. 2 3. INT. TRAIN.DAY There is a map of the French rail system near the toilets in a regional train. While Sam pees, Ali examines it. He follows the lines to plot out their trip. He arrives where France ends, at the Mediterranean. Sam comes out of the bathroom, straightening his pants. SAM I'm thirsty. ALI We don't have any money. SAM I'm thirsty! 4. INT. TGV. DAY A different speed, different countryside. Ali notices a half-empty bottle of Evian water left on a tray. He takes it. He searches through the garbage under other empty seats. Ali and Sam eat leftover sandwiches and fruit, and finish off abandoned bottles of water. 5. INT. TGV. DAY Another TGV. Rain evaporates off the windows. Ali has fallen asleep. He's too big for his seat. Sam watches the landscape go by and bangs his feet against his seat. Ali opens one eye. ALI Stop it. Sam's Mickey Mouse sandals pause, then go back to their banging. ALI I said to stop it. The sandals freeze. Cut. 3 6. THE CHILD All of a sudden, Sam is asleep, his eyelids blinking quickly. 7. EXT. CANNES STREET. DAY Ali's face is turned toward the orange heat of an afternoon sun. Ali and Sam look at the sea, the beaches and hotels. It's hot and beautiful. They walk by tanned people in shorts, short skirts, sandals... In their shapeless grey track pants, they look like hoboes. Ali drags his sport bag with one hand and Sam with the other. Ali is on the phone: ALI I don't know. A big street that started at the station. Yeah, by the beach. Behind? We just came from there! Ali pulls Sam away from one of the stairways that lead to the beach... SAM I'm tired. ALI So am I. He's coming to pick us up. Come on! Sam is extenuated. Ali has to heave him up onto a shoulder. 8. EXT. CANNES STREET. DAY A four-lane avenue near the outskirts of town. Ali is walking on the shoulder of the road, with Sam piggy- back. A horn beeps. A refrigerated truck, blinking to get to the side of the road. The window rolls down to reveal a moustache and a cap: Richard. 4 9. INT. RICHARD'S TRUCK. DAY While driving... RICHARD (Southern accent)... A couple miles back I saw a blond guy. (Imitates screeching brakes) I stop short! "You Ali?" I ask. He says "No, me Kurt". Another few hundred feet, another big blond guy! (Screech) I ask "You Ali?" again. This time I didn't even understand what he answered. Another few hundred feet... Ten of them! Ten! Every Kraut and Flemish guy on the coast! So I go call your sister... Ali is thrown for a loop. ALI (uncertain) You kidding? RICHARD A little. SAM (to Ali) Is he a little crazy? RICHARD (to Sam) What? You don't like my truck? SAM Yeah I do. RICHARD (pretending to be shocked) He doesn't like my truck! SAM I do too like it! Worked up, Sam shrieks, holding his hands over his ears: SAM (screaming) I like your truck! The road hugs the seashore. Ali watches beaches, homes, a railway line pass by... Voice over, we hear Richard's 5 distant voice. 10. EXT. SUBURBAN KITCHEN. DAY A kitchen with mismatched furnishings. China and cheesy wallpaper. Sam devours the cookies and Coke that Richard gives him. RICHARD We all got fired after some Spanish guy bought out the trucking company... Eight truckers. I thought it over, discussed it with your sister and figured I could do it on my own. So I bought this truck with my severance pay... Ali has finished his cream cheese sandwiches. He gets up and opens the old fridge. RICHARD Oops, poor man, not those! She'll kill you! Start with the expired ones, on the top shelf! They're organized by date. First the top shelf, then move down.... Anna brings it home from the supermarket where she works. As soon as they reach their expiration date, those idiots throw it all away, even if you can still eat it for a week! (to Sam) You want some more? 11. INT. SUBURBAN HOME. DAY Anna empties Sam's Spiderman bag onto the table, spilling out old, dirty, crumpled clothes. ANNA (with a hint of Southern accent) Is this all you have for him? Anna Van Versh, Ali's sister, is in her thirties. She is a huge woman, very tall with a pretty face. She wears leggings that make her ass look like a workhorse's and a pair of flip flops. At the bottom of the bag, Anna finds a passport and opens it. It is Sam's. 6 ANNA She remembered his passport! ALI She didn't remember anything. It was already in there. She forgot about it, that's all. When they went to Amsterdam, they'd use the kid to smuggle dope... ANNA You got to be kidding! ALI That's what she told me. Anna shakes her head in disbelief. A beat. ANNA How will you tend to the kid? I won't be able to all the time. I work, and so does Richard... Was he in school there? ALI I don't know. ANNA You don't know if your kid's in school? ALI Um, no. (turns to Sam) You in school? No answer. Sam is watching TV. ANNA Back at your mom's place, did you go to school? SAM Yes. ANNA I can try to enroll him at the school. I'll see... We also need to get him some clothes. He can't go like that... I'll ask the neighbors. (gives the child her hand) Come with me to 7 the backyard. I have to feed my babies. 12. EXT. GARDEN. EVENING Evening is falling. At the back of the garden are a home- made pen and doghouse. Four puppies come running. Sam touches them through the chicken wire. ANNA You want to pet them? She lifts Sam up over the wire mesh. ANNA Careful. Don't step on their tiny paws. They're just babies. Anna shows him how to feed puppies, then stands back up. ANNA (to Ali) The breeder's picking them up next month. Brings in some money. Otherwise, Richard and I were thinking 300 a month for you and the kid... That okay? ALI Yeah. ANNA "Yeah" what? Is that too much? ALI It's not too much, but I don't have it. I had to pay for the train... ANNA So what are you going to do? ALI I don't know. Find a job. Whatever. ANNA Yeah, whatever... You think there's any work around here? You think there's any more here than there? Where has that ever been the case? When you told me you were coming down, 8 I said we couldn't afford houseguests! ALI What should I have done with the kid? Where should I have gone? ANNA I have no idea, but if you stay here you have to pay your share, or else go somewhere else. As far as we're concerned, it's easy: we can't! How long were you thinking of staying? ALI I don't know. She makes a tired gesture and goes back toward the house, calling Richard on the way. Ali hears Sam in the kennel, giggling in delight. He looks around: the seedy garden, a metal shed leaning to one side, what's left of an engine, an old, orange Special 50 moped, plastic junk, etc. Overhead, a plane descends on Nice, its landing lights shining. 13. INT. BASEMENT. NIGHT In the cluttered basement, Sam is rolled up in a sleeping bag arranged on a pallet and watches his father repair the antique Special 50 moped by the light of a flashlight. 14. INT. ELECTRONIC GOODS SHOP. DAY Ali wanders through an electronic goods shop, pretending to be interested in cameras. Through the shop window, he can see Sam waiting outside in the sun. 15. EXT. ANTIBES STREETS. DAY Suddenly, Sam sees his father run out of the shop, trying to shake a security guard hot on his tail. Sam watches them disappear into a tiny lane. Sam looks around a bit frightened. 9 Farther off, in a busy shopping district‚Ķ Ali forces his way through hordes of tourists. The security guard grabs him by the hood and forces him up against a wall. They are both dripping with sweat and out of breath. SECURITY GUARD Unzip your jacket! Empty your pockets! Ali keeps his cool. ALI Unzip it yourself! Ali struggles free and smiles at the guy invitingly. The guard tries to punch him. Ali dodges: The guard hesitates a moment, until Ali lets fly a right hook. The guard stumbles. A kick in the face sends him flying into a stall. Ali lifts his arms in victory for the benefit of the few, stunned passersby. He kisses his own biceps, does three steps of a moonwalk and saunters off. 16. EXT. ANTIBES STREETS. DAY Sam is walking along the street by the beach amid the terraces and ice-cream stores, looking for his father. Then he sees the moped at the far side of the parking lot where they had left it chained up. He walks toward it. A voice calls out. ALI Hey! Here I am! Ali crosses the street and kneels down in front of Sam who is sniffling, tears in his eyes. ALI No need to cry. I wouldn't have left you all alone. Ali unlocks the moped. 10 17. EXT. ALLEYWAY. DAY In a small side street, Sam watches Ali sell a camera for a few 20 Euro notes. 18. EXT. ANTIBES - BEACH. DAY On the beach, Ali and Sam eat some McDonald's. ALI Are you happy here? Sam nods. SAM Mm. ALI What do you like the most at Auntie's? SAM The dogs. ALI Is that all? Nothing else besides the dogs? SAM The truck. ALI The dogs and the truck. The house? Auntie? The ocean? SAM The dogs and the truck. Ali nods. Sam watches his Dad's fat fingers assemble the plastic toy from his Happy Meal. ALI We have it good here... Ali's fingers stop. Sam looks up to find his father watching some girls in swimsuits go by. They go for a swim, horsing around and making noise. 11 19. INT. OFFICE - THE ALTA SECU COMPANY. DAY The logo is in the shape of a sheriff's badge and hangs over some filing cabinets on the wall of a modest office: "ALTA Securite". OWNER No criminal record? You never fucked up? ALI No. The boss is in his fifties. He sits behind some files. His hair is short and white, it looks like he's wearing a helmet. He is squeezed into a cheap suit and wearing a tie. He stares at Ali. OWNER Is that the truth? We'll be checking anyway... Ali nods. The owner reaches out. OWNER Your papers... Ali hands him his tattered paper ID. The owner writes down the number. Ali is 13-14 on the picture. OWNER What was your last job? ALI I worked in a slaughterhouse. Not for long. It closed. OWNER Ever work in security? ALI Yeah. I was a night watchman in a stadium for 6 months. Working for the city. In a parking lot too. I did replacements. 12 OWNER Ever do any combat sports? ALI Karate, for 6 years. I even won Junior Division. And two years of boxing. Thai. OWNER You gave it up? ALI It was my trainer who gave up. OWNER Why? ALI He died. A beat. OWNER And how are you physically? You stay in shape? ALI Yeah. OWNER You don't smoke? ALI No. OWNER Drink? He shakes his head "no". The boss notes something in a file. 20. INT. ALTA SECURITY OFFICE. DAY. Anna and Sam are waiting outside the office. The owner kisses Anna on the cheek. He asks how Richard is doing, then shows them to the door. Anna looks proud to know him. 13 21. EXT. FEVER RAY. NIGHT Saturday evening. The door to the Fever Ray night club. Patrons wait, bouncers pick and choose. An imposing Caucasian maneuvers the red rope. Behind him, Ali Van Versch and Foued Latahoui, who looks like a lightweight boxer, guard the door. Ali wears a faded blue "ALTA Secu" jacket and stiff, matching pants. Looking well-groomed, Foued is wearing a white shirt and tie. Well-groomed. A group of girls passes through the security barrier. Foued acts like he's hesitating: FOUED Okay, I'll let you through because I'm outnumbered. Four against one, I don't stand a chance! The girls smile and disappear inside. Ali watches them vanish. FOUED You say something nice, anything. That way, when they leave, they remember you and you can hit on them. If they're a little plastered, if things didn't go too well for them, you're there with a nice thing to say... ALI And it works? FOUED Sometimes. But you can't be dressed like that. Like a parking lot attendant... They are interrupted by the bouncer. THE CAUCASIAN (pointing) Fight! They go running. Three guys are fighting like savages. Ali and Foued clean house. Foued gets rid of gawkers. Ali delivers a few random punches, lifts one of the guys off 14 his feet and grabs another by the collar. While Foued chases the rowdy men toward the parking lot, Ali helps a girl back to her feet. She's a pretty blond, must be about 27 or 28, who has taken a punch in the face. It is Stephanie. ALI Are you okay? Breathe out of your mouth. In and out. Put your head back. Walk a little. Walk and breathe... He demonstrates how and takes her by the arm, forcing her to walk. She looks groggy. STEPHANIE I have to go home... ALI You have friends here? STEPHANIE No, I came alone. I have my car in the lot. I'll be fine. ALI You can't drive like that. STEPHANIE I'm fine. I'm fine, I said. Thanks. ALI You can't drive like that. I'll call you a cab. STEPHANIE How do I get my car afterwards? Seriously, I'll be fine. Trust me! We hear a voice from the parking lot. ANGRY MAN Bitch! Stephanie looks back. 15 ANGRY MAN Yeah... you, you cunt. Bitch! She ignores him, pretending not to see him. She then notices the blood stains on her T-shirt. STEPHANIE Shit. ALI Where's your car? 22. INT. STEPHANIE'S CAR. NIGHT Ali drives. His head seems to touch the roof of the little Fiat and his thighs are too thick for the seat. He glances over at Stephanie. ALI Still bleeding? Keep your head back. Wait... He manipulates the knob to push her seat back. He grimaces in pain. ALI Shit! STEPHANIE Did you hurt yourself? He shows her his right wrist. STEPHANIE It's swelling up. He rests his hand on the wheel. After a beat: ALI You often go to the Fever? STEPHANIE No. ALI Why do you go alone? No answer. 16 ALI To dance? STEPHANIE Yes. ALI To find a guy? She turns and looks down her nose at him: STEPHANIE Oh yeah? ALI You're dressed like that just for dancing? STEPHANIE How am I dressed? ALI I don't know... Look. He points to her skirt, riding up her thighs. STEPHANIE Yeah, so what? ALI You look like a hooker. STEPHANIE Excuse me? ALI How would you call it? STEPHANIE I don't believe this. Pull over here! ALI What? STEPHANIE Stop this car on the double! 17 No reaction. STEPHANIE It's MY car! If I tell you to stop, you stop! Still no reaction, as if she hadn't said a thing. She is about to scream again, but remains silent, although open- mouthed. She finally settles back down on the back of her seat and looks elsewhere. A beat. ALI Dressed like that, it's no surprise that... STEPHANIE That's enough now! They ride in silence. 23. EXT. SIMON & STEPHANIE'S BUILDING. NIGHT The Fiat stops in front of a small building in a flowery residential neighborhood. They climb out. STEPHANIE How will you get back? ALI I don't know. She takes out her wallet. ALI No, stop! STEPHANIE For a taxi. ALI Don't worry. Got any ice at your place? He shows her his wrist. ALI Ice cubes. 18 STEPHANIE Wait, I'll go check. ALI I can come up. STEPHANIE No! Even she is surprised by the brusqueness of her response. STEPHANIE (embarrassed) Someone's up there. ALI So what? STEPHANIE Wait here. I'll be right back. She takes a few steps, fumbling for her keys. She hesitates, then looks back. STEPHANIE Okay, come on up. 24. INT. SIMON & STEPHANIE'S APARTMENT. NIGHT They enter the apartment. The light is on. Simon comes out of the bedroom in his boxer shorts and a T-shirt. He's thirty, blond, and there is something commanding about his look that could be thought to resemble Stephanie's. He discovers Ali and the blood stains on Stephanie's T- SHIRT: SIMON What the hell? What's going on? STEPHANIE Nothing. A fight... SIMON Are you okay? 19 STEPHANIE Yeah, I'm fine. SIMON (pointing to Ali) Who's he? STEPHANIE The bouncer from the Fever. He drove me home. ALI (introducing himself)... Ali. SIMON The Fever? What the hell were you doing there? Ali opens the refrigerator. SIMON What are you looking for? ALI Ice cubes. STEPHANIE He hurt his hand... Simon pulls Stephanie into the bedroom. Ice cubes in a Plexiglas salad bowl. Ali's hand in the bowl. He looks around. There are photos on the wall: Stephanie surfing on the back of a killer whale, Stephanie posing with a group of young people in diving suits in front of the Marineland logo, Stephanie rising out of the water on Niska's rostrum, etc. From the nearby bedroom, he hears snatches of Simon's REPROACHES: SIMON (OFF) If you decide to go out, call me. That's all! Who were you with there? STEPHANIE (OFF) Philippe and Christine. 20 SIMON (OFF) I thought you went out to dinner. STEPHANIE (OFF) We decided to go out for a drink after. SIMON (OFF) You get my text messages? Why didn't you answer me? Stephanie comes back into the kitchen. She has changed her T-shirt. She seems tense. STEPHANIE Feeling better? ALI Is that you in the picture with the orcas? STEPHANIE Not orcas. Just one orca. Her name is Niska. ALI Is that your job? STEPHANIE Yep... Ali nods vaguely admiringly. ALI Fuck... I didn't think that... STEPHANIE That what? A whore could train whales? Well, you see... Simon is at the door. He is wearing a jean. SIMON (To Ali) Okay, are you done now? Can you leave us alone? Ali stares him down. 21 ALI You talking to me? It's as if Ali's calm, peremptory tone suddenly let Simon know who he was dealing with. SIMON Yes, but... ALI But what? SIMON Nothing, forget it... In one second, Stephanie sees Simon's face undergo a metamorphosis, his nervous authority suddenly disappear. She glances at Ali as if to say ‚ÄòPlease go now.' He gets up and wipes his hands on a dish rag. ALI Okay, I'm going. So long. (pointing to a piece of paper on the table) I left you my number if ever you need it... 25. INT. SIMON & STEPHANIE'S APARTMENT - BATHROOM - NIGHT She dissolves an aspirin in a toothbrush glass. She checks her lip in the medicine chest mirror. She notices Simon watching her from the bathroom doorway. SIMON Are you okay? Are you upset? STEPHANIE No, I'm not upset. She drinks the aspirin. STEPHANIE I saw your face before... SIMON Before? 22 STEPHANIE With that guy who dropped me off. I saw your face. I saw how you piped down. SIMON I piped down? Me? STEPHANIE Yes, you piped down... (pause) Don't tell me what I should do, how I should live my life. Don't give me any more orders, Simon. SIMON What does that mean? STEPHANIE Don't give me any more orders, that's all. She turns on the faucet and runs her lips under the water. CUT TO: 26. INT. MARINELAND. TRAINERS' OFFICE. DAY Two rooms adjoining the locker room. Two desks, and on the walls pictures of the trainers with their orcas, laminated posters of various training methods, files for each animal. Stephanie is in her diving suit, sitting in front of Louise, a 23-year-old woman who is reading a document about her internship. A trainer leaves the locker room, his backpack slung over his shoulder. TRAINER Coming? No answer. Tension. He leaves without a word. Louise looks up. She has been crying. Stephanie looks at her, impassive. Louise swallows her tears. LOUISE Really... this isn't fair. 23 STEPHANIE No, Louise, there are lots of things you can say but not that. The pools are my responsibility and all I care about are the animals. I have to see to their environment and that starts with their trainers. Do you understand? LOUISE What are you trying to make me believe, that I wasn't up to par? STEPHANIE No, listen. LOUISE Lacking in maturity? Skills? STEPHANIE You're not consistent. We've already discussed that. The foundation of the relationship with the orcas is stability. During your internship you've had your ups and downs. It's not your competence that... LOUISE You know this has nothing to do with my internship. You couldn't care less if I was competent or not! It has to do with that I fucked Michael. Just say so. STEPHANIE Oh, please... LOUISE And in fact what really bothers you is not that we fucked, but that he told me about you. How you think you're so... How you've become such a bitch. That's why you're firing me. That's what you should write in your report. STEPHANIE Okay, are you done? We can stop here. No need to spoil the rest of your internship. Louise stands up. 24 27. EXT. MARINELAND. POOL - DAY The empty stadium above the pool. The trainers walk along the gangplanks busily. In her diving suit, Stephanie leans over the "beach" of pool 3. She taps on the surface of the water. A wave forms, whirling around the pool. The whale washes up on the "beach" beside her. She performs what looks like a daily ritual. She examines the whale, caresses it. The whale responds with uncanny gurgles. 28. EXT. MARINELAND. DAY Stock shots of a show at Marineland, or images which we will film to resemble stock shots: wide-angle shots from the stadium. The sound equipment blares "Jump" by Van Halen, orcas shoot out of the water, the audience applauds‚Ķ Little kids clutch electric-blue dolphin balloons, getting splashed by the orcas‚Ķ Images of the show are relayed on giant video screens, orcas shoot by like torpedoes behind the plastic protective wall in front of the main pool, etc‚Ķ CUT TO: 29. INT. MARINELAND POOL. DAY All at once, silence. Then surface noise, but muted by the cubic meters of water‚Ķ Underwater shots from pool number 3. Overhead, the surface shines like a mirror. In pool number 3, a five-ton black shadow bides its time: it is Niska. Behind the grate in pool number 3, Niska watches her mates diving and surfacing in a spray of bubbles. A mechanical creak, then the grate slowly begins to lift. It's about to be her turn. 25 Niska swims into the big pool, slowly at first, but then picks up speed. She surfaces, disappears for a long beat, then again reappears, churning up a whirlpool of bubbles. On the other side of the mirror, the music blares and the crowd cheers. What looks like a small black and white arrow dives into the pool. We recognize Stephanie. She caresses Niska's rostrum, then kisses it, hanging onto her fins, waltzing with her up to the surface. Her hands look ridiculously tiny on the huge black fins. We see her face mirrored in one of the orca's huge black, gentle eyes. A liquid world of greens and blues whirls around them. Now, with her legs slightly arched on the rostrum, Stephanie has Niska swim around the pool, accelerating the water pressure and speed. The plastic wall rushes by, a rush of adrenaline‚Ķ clouds of sediment are lifted as if by a gust of wind. A young male, Tom, joins Niska in pool number 1. Niska immediately rushes him, as if riled by the intrusion, and flattens him against the plastic wall. In the shifting reflections at the water's surface, we can make out Stephanie and two other trainers' faces on the ‚Äòbeach'. Their palms beat on the water, summoning the orcas for their next number. Tom gathers some momentum, then shoots around Niska to jump into first place. He disappears a moment, then is back into the water after a dozen meters of aquaplaning. Niska then gets into place and takes a running start, but just as she is about to shoot out of the water, Tom appears out of nowhere and forces the huge female to leap over him. We sense chaos up above. Then we see Niska crash back into the water, with, one after the other, a piece of the huge video screen that towered over the stage, bits of scenery, and all kinds of random objects, as if Niska had carried away half the platform in her wake‚Ķ It all seems to fall in slow motion, like flecks of snow in a snow globe. Something sinks toward us‚Ķ a body, floating weightless and disjointed in a cloud of red. 26 30. EXT. MARINELAND - WHALE POOL. DAY Stephanie is on the rim of the pool. All around her: the audience panics, a loudspeaker orders evacuation, Louise leans over her. STEPHANIE What... What happened? LOUISE Tom and Niska... They got in each other's way. Then Louise sees blood spurting from the rips in her diving suit. She tries to find a pressure point. Stephanie sees Louise's face wet with tears: STEPHANIE Stop it, calm down. I'm fine! Her hand searches for something at thigh level, without finding it. She faints. 31. EXT. ROAD TO THE BEACH. DAY Ali is wearing his MP3 headset. He runs down the road to the beach, sweat dripping into his eyes. 32. EXT. ANNA'S HOUSE. DAY Sam's toys are lying scattered in the garden, his half- eaten snack is on the table. Ali takes off his headset. ALI Sam! No answer. There is some noise over at the kennel. He goes and finds Sam in the kennel, talking to the puppies. ALI What are you doing here? 27 Sam jumps and scuttles to the back of the kennel, but Ali reaches in and grabs him by the arm. Sam is covered in mud, straw and dog shit. ALI You're gross! You stink! Who's taking care of you? Ali drags him over to the garage to hose him down. The water is freezing cold. Sam hops from one foot to the other and screams. SAM Stop it, Dad! It's cold. Stop! Sam shrieks. An 18 year old tomboy wearing a skimpy tee- shirt comes out of a neighboring house: Joelle, the neighbors' daughter. ALI Aren't you supposed to be taking care of him? What the fuck are you up to? JOELLE I was next doing the laundry. ALI Take a look at him! JOELLE I'll put him in the shower. ALI (to Sam, crying) Don't go in there. It's disgusting. You hear? Joelle takes Sam and disappears inside. Ali is drawn to the living room, when through the half-open door he notices the flat screen turned onto a news channel. Onscreen and behind the anchorwoman, he recognizes an inset photo of Stephanie, the same he saw at her place, riding on the back of a killer whale. ÔÄÅÔÄÇÔÄÉÔÄÉÔÄÑÔÄÖÔÄÜÔÄáÔÄàÔÄâÔÄÑÔÄäÔÄãÔÄåÔÄçÔÄéÔÄèÔÄèÔÄàÔÄêÔÄÑÔÄëÔÄíÔÄäÔÄìÔÄä Il manque une phrase 28 JOELLE There was an accident at Marineland. Ali answers without taking his eyes off the screen. ALI I know her. Sam pulls off his towel. He watches his father who is riveted to the screen, glued to the looping footage of the accident. 33. INT. HOSPITAL - NURSES' LOUNGE. NIGHT Silence. The silence of an on-duty nurses' lounge: a table, a microwave on a mini-fridge, and Louise, standing by the window sipping coffee. She is wearing a fleece jacket, her hair messily pulled back. She hasn't had any sleep. She hears a scream. She rushes into the corridor. 34. INT. HOSPITAL ROOM. NIGHT Chaos. Louise rushes into the room. She finds Stephanie crawling on the floor, dragging her IVs. She hesitates, overwhelmed, then calls for help. LOUISE Help! Help! Please! On the linoleum, two stumps stick out of Stephanie's nightshirt: two thick bandages surround her thighs that look like two wrapped hams. STEPHANIE My legs! What did you do with my legs? Two nurses arrive. Stephanie is back in bed, the IVs in her arms. Louise rocks her gently. Stephanie's eyes struggle against sleep. She wants to scream again, but doesn't have the strength. She 29 falls asleep in Louise's arms. She feels eight years old. Black. 35. INT. HOSPITAL ROOM. DAY/NIGHT A series of scenes, day and night, fade into one another, always from the same POV. In the foreground, looking our way, is Stephanie's face and, behind, the visitors who succeed one another. Stephanie's eyes are shut. She opens them: - The other trainers from Marineland, holding bouquets. They are silent and look devastated. They occasionally speak to each other in whispers. Stephanie closes her eyes. Black. Stephanie opens her eyes: - Louise is seated nearby LOUISE I stopped by your place. I saw the cleaning woman. She didn't want me to pay her. She was... in shock. She's scared to come here. She sends her regards. She closes her eyes. Black. She opens them. - A blonde, pretty woman in her fifties is sitting behind Stephanie, her face is close to hers. It is her mother. She speaks with a slight accent. MOTHER I spoke to your brothers. They wanted to talk to you but I didn't think it was the right time. We'll all come with Hugo during the next school break... I was afraid I might lose you. I don't know what I'd have 30 done... It may seem selfish. In any case, you've always done whatever you wanted. But this time I was so scared that I don't think I'll ever be scared again. Her eyes close. Black. Her eyes reopen. The surgeon and his assistants. The orthopedist and his assistants. Her eyes close. Black. Her eyes open. - Simon is there, looking stiff and ill at ease. He tries not to make any noise as he puts a bunch of keys on the night stand. He leans over and kisses her hair. Her eyes close. Black. It's her mother again, but this time accompanied by a tall, uncomfortable looking blond teenage boy. She leans over to kiss her. MOTHER (in German) Hugo wanted to say goodbye to you. We're leaving tomorrow but we'll pray for you, honey. Her eyes remain open. Black. 36. EXT. MARINELAND. NIGHT The bluish light at the bottom the main pool at Marineland. A diver is raking its bottom, wiping away sludge composed of micro algae, paint chips and fish bones. He examines the replacement mud and then, inside the drain, the mud being replaced. He digs his hand into the sediment and feels something there. He surfaces and deposits his find on the rim of the pool: It is one of Stephanie's diving flippers, with her foot cut off at the ankle. 31 CUT TO: 37. INT. STEPHANIE'S NEW APARTMENT - BATHROOM. NIGHT Stephanie wakes up with a start in her handicapped bathtub. She tries to grab the bars but can't find them. She rolls over on herself like a floating log. She panics. CUT TO: 38. INT. HOSPITAL - PHYSICAL THERAPY ROOM - EVENING There are several rows of parallel bars, with amputees hanging on to them as they relearn to walk with their prosthetics. Most of them are old. Nurses help them along. From her wheelchair, Stephanie watches, looking glum and as if at a great distance. Her hair is greasy and her face swollen by her medication and induced sleep. She looks through the big window that opens onto the exterior. Outside, amputees smoke and chat. She notices one group, livelier than the rest. At its center, a guy is smoking a cigarette he holds in a pincer in the place of his hand. His name is Gilles. 39. INT. GILLES' CAR. EVENING Four of them are smoking a joint in Gilles' Megane. Outside, evening is falling over the convalescent center's parking lot. Stephanie is sitting up front. She passes the joint to Gilles, who takes it in his chrome pincer. She notices the scar that deforms his face and one side of his mouth. There is a couple in the backseat, making out: Raphael (his arms are missing and his sleeves are pinned up at his shoulders) and Julia. GILLES (to Stephanie) Want me to tell you something? 32 STEPHANIE ¬Ä¶ GILLES You haven't finished mourning, that's all! STEPHANIE Really? Mourning who? GILLES Your legs. STEPHANIE Mourning my legs? GILLES Yes. He sounds as serious as a civics teacher. She looks at him, incredulous. Raphael sticks his head up front. RAPHAEL Pass me the joint... Gilles' pincer and joint go for Raphael's lips. He takes a long hit. GILLES They were a part of you. When a man dies, he gets buried. There's a ceremony, a prayer... Now a piece of you ended up in a hospital trashcan without a prayer, without any time for meditation. A beat. She is dumbstruck. She cannot believe what she's hearing. In the backseat, Raphael exhales some smoke into Julia's open mouth. GILLES (cont'd) You have to think about it symbolically... STEPHANIE Yeah, it's really symbolic... 33 GILLES I know where my arm is. We buried it under a nice oak tree behind my house in the scrubland. My wife and kids came and we sang... Stephanie has a fit of the giggles. GILLES (a bit vexed) You think I'm kidding? STEPHANIE No, it's the grass. I'll stop... She laughs so hard she cries. RAPHAEL Shit, it's a laugh riot up there. (to Gilles) Can you take us home? She looks back and, between the seats, notices the girl toying with Raphael's fly. GILLES I'm too beat. I'll take a nap, then go. (to Stephanie) How are you getting home? 40. EXT/INT. HYPERBRICO. NIGHT A HyperBrico DIY store in an industrial zone in Cannes. Its windows shine in the night like an aquarium. 41. INT. HYPERBRICO. NIGHT Ali and Kadhi, a huge guard accompanied by a dog, make their rounds. They open doors with a magnetic key, each time recording their passage on electronic terminals. A bit before midnight, someone knocks at the main entrance. Ali goes to look. It's a guy in a leather jacket and baseball cap, with a backpack and a shoulder bag. ALI What do you want? 34 MARTIAL To come in. The guy takes out a card and presses it against the glass door: it's the business card of ALTA SECU, the security agency. ALI Hey, Kadhi, come here! Kadhi comes over and looks at the guy. KADHI Okay, okay... Are you Martial? MARTIAL Yeah. KADHI Give me your keys. ALI Who's he? KADHI It's fine. The boss told me he was coming. He works for the company. Ali hands him the bunch of keys. 42. INT. HYPERBRICO - AISLES. NIGHT Ali goes down an aisle looking for something and finally finds what he was looking for: a folding ladder. 43. INT. HYPERBRICO - STOCK ROOM. NIGHT Martial has spread out his material in a stock room at the back of the store at the end of a corridor formed by palettes: precision tools, drills, electronic mini-cameras still in their wrapping, cases equipped with antennae, packs of batteries... A small radio is playing a night program on Radio Monte Carlo. Equipped with a small headlamp, Martial carefully cuts a hole in a cardboard box with his Leatherman scissors. He conceals a tiny camera inside. 35 Ali arrives with the ladder over his shoulder. ALI Will this do? MARTIAL Perfect. Put it down there. Martial climbs the ladder to place the box high on a shelf. MARTIAL Imagine you're the manager of a big store like this and the union reps have been busting your balls. What do you do? ALI Fire them. MARTIAL You think that's how it works? What do you do before you fire them? He checks to make sure the lens is aligned with the hole, then checks the screen and reception on a small pocket monitor. MARTIAL Well, beforehand you try to see how long they spend in the restroom, if they take extra-long coffee breaks, smoke on the premises, steal from the stockroom, rip customers off with the sales receipts... When you know all that, you put the pressure on them and you fire the ones who don't leave. Can you give me a stroll down the aisle? ALI A stroll? MARTIAL Walk down the aisle. No, further down, like you came out of that door there. Good, perfect... Ali twice passes within the camera's field of vision. Martial climbs down his ladder. 36 MARTIAL That's it. ALI Okay, then I'll be getting back. MARTIAL Hold on! Martial pulls a 10 Euro bill from a jacket pocket. ALI It's fine. MARTIAL Take it. Angle on the bill in Ali's hand. 44. INT. SUPERMARKET - SECURITY ROOM. NIGHT Ali is in the security room reading a kickboxing magazine. A small radio is playing a late evening program. Outside in the parking lot, Kadhi smokes while walking his dog. The dog takes its time. Ali watches Kadhi pull on the leash. Ali's cell phone rings. The screen reads ‚Äòunknown'. ALI Hello? STEPHANIE (OFF) It's Stephanie. Remember me? We met at the Fever. Ali is taken by surprise. ALI Yeah... How are you doing? She sniggers. Her speech sounds slow and thick. STEPHANIE (OFF) You know what happened to me? 37 ALI Yeah... I saw the papers‚Ķ the news on TV‚Ķ How are you? STEPHANIE (sniggering) How do you think I am? A beat. Ali is at a loss to answer. STEPHANIE How are you? ALI Okay... normal. STEPHANIE Still a bouncer? ALI No, not really. STEPHANIE You want to get together? ALI Yeah, but nights are tough. I'm a security guard now. Three nights a week. STEPHANIE I'm... crazy busy too. Every day and every night. I don't know how to manage... A beat. STEPHANIE Now. ALI Huh? STEPHANIE Come now. 45. EXT. ANTIBES - INDUSTRIAL ZONE AND STREETS - DAWN The Speciale 50 putt-putts in the early morning light. Ali drives through a neighborhood of chain stores, Conforama, 38 Courtepaille, Leroy-Merlin... 46. EXT. STEPHANIE'S RESIDENCE - DAY A gated community made up of four story buildings, lawns, bougainvillea and lavender. It looks pretty as a picture and squeaky clean. 47. INT. STEPHANIE'S APARTMENT. DAY The door opens automatically. He is surprised. He hears a tired voice from inside. STEPHANIE (OFF) Come in. She is waiting in her wheelchair, holding the remote control. She activates it and the door closes behind Ali. Her hair is mid-length, her face has thickened and there are bags under her eyes. She is wearing a baggy Nike T- shirt with burn marks here and there and a pajama bottom whose legs hang limp. STEPHANIE Have you been waiting long? ALI No... I just got here. STEPHANIE Was that you who rang before? She looks exhausted but feverish. ALI No. STEPHANIE Come in. Sit down. He sits down on a small couch. STEPHANIE Want something to drink? A coffee? 39 ALI Yes. STEPHANIE I only have instant. ALI That's fine. It takes two tries to activate the wheels on her wheelchair. ALI Need any help? She answers with a growl, as much for him as for her wheelchair, then goes into the kitchen. He sees her pajama legs flap like rags, he hears the noise of the tap. ALI Have you been living here long? STEPHANIE I don't know... Three or four months. ALI (looking around)... It's nice. She comes back. ALI Are you alone? You got no one to help you? STEPHANIE Help me what? Walk? ALI No, for the cleaning and everything... STEPHANIE Yeah there are people. They come and go. Hold on. She manages to navigate from the living room into her bedroom. He stays in the living room. He hears a kettle whistle in the kitchen. He goes into the kitchen and pours water into the glass/mug. He finds her hunched over in her 40 wheelchair. She is nodding off, high on her medication. ALI Hey, are you okay? STEPHANIE I'm fine. He opens the window. STEPHANIE Does it stink here? ALI Yeah, a little. STEPHANIE It's me. He opens the curtains and looks outside. It is getting hot out. The automatic sprinklers have gone on. ALI Let's go out. (No answer) Hey, you hear me? STEPHANIE Yes. ALI Let's go out. STEPHANIE No. ALI Get dressed. STEPHANIE Leave me alone. ALI Where are your clothes? He opens the closet. 41 48. EXT. STEPHANIE'S RESIDENCE - DAY When they come out of the building's lobby, the sun hits him on the head like a bad hangover. ALI Here. Ali hands her a pair of sunglasses. ALI Where should we go? STEPHANIE I don't know. You're the one who wanted to go out... ALI Should we go to the ocean? STEPHANIE I don't care. He tries to push the wheelchair, but she stops him: STEPHANIE Stop it. I want to puke. He notices that his moped is attached in the middle of a sprinkler area. He goes to free it and gets splashed... Heavy chain, padlock... he comes back with soiled hands. When he comes back, she's gone. He sees the wheelchair moving toward the seafront avenue. He goes to join her. 49. EXT. SIDEWALK CAFE - DAY They are sitting at a table on a terrace facing the beach. They remain silent. She looks at his huge fists, black with axle grease. ALI I want to go in. STEPHANIE ‚Ķ ? 42 ALI I feel like swimming! STEPHANIE Go ahead. ALI You don't want to? STEPHANIE Huh? ALI You don't feel like swimming? She looks daggers at him. ALI You don't have a bathing suit? STEPHANIE Do you realize what you're saying? ALI Who the fuck cares? There's no one here! STEPHANIE Forget it. He wavers a moment, then finally crosses the seafront avenue. 50. EXT. PRIVATE BEACH. DAY Stephanie is at the top of the steps in her wheelchair. Ali is talking with the beach boy when he notices her. Ali and the beach boy carry her to the deck chair area. Ali rents the whole shebang: parasol, beach towel, deck chair and a small tube of sunscreen 50. Sheltered under a parasol, she pancakes her face with cream and watches him dive in, wearing his boxers, and noisily and clumsily crawl some laps. His body is pink and white. Huge and buff. Then she looks out to sea, the listless waves washing in and out. The fresh feel of it all makes 43 her want to drink it all in. He comes back, enthusiastic and dripping wet. She looks around. The beach is deserted, other than for a far off, elderly couple broiling in the sun. STEPHANIE Actually I think I will go in. He looks at her. She covers herself with a towel and wiggles out of her pants, revealing what remains of her legs. Her stumps are white, with terrible scars at their extremities. STEPHANIE You have to carry me. Help me... ALI (makes a gesture)... How, like this? STEPHANIE Yes. He lifts her up and carries her to the water. He takes her far enough in until she begins to float. ALI You okay? STEPHANIE Don't let me go! Not right away... Do it gently. She feels unsure of herself. He lets go of her gradually. She starts to sink, then crawls forward, with power and grace. She stops but has to paddle like a dog to tread water. He joins her. She grabs onto him. ALI So? STEPHANIE I can't stop. If I do, I sink. Wait... She gesticulates... 44 STEPHANIE This is bothering me! She takes off her T-shirt and hands it to him. Her breasts press against Ali's chest. STEPHANIE Okay, you can let go. She lets herself go and crawls like a pro. He stays put, holding her t-shirt. Twenty-five meters later, her head emerges. He hears a burst of laughter. Half asleep in a deck chair, he looks up from time to time to see how she's doing. She calls out to him. She is sitting in the water. She motions for him to come and get her. He helps her out and takes her into his arms. She hangs on to him, still out of breath. ALI You swim like a real pro!... She shuts her eyes. STEPHANIE Fuck that's good! The beach is crowded now. Ali carries her back to the deck chairs. Some bathers watch them go by, others look away. They are stretched out in their chairs. She has wrapped her lower body in a beach towel. They sunbathe. STEPHANIE Thanks. ALI Huh? STEPHANIE Thanks. 45 She rolls onto her back. He sees her breasts pointed heavenward. 51. INT. GYM. DAY A decrepit, simple, functional, but reasonably clean workout room. Guys of every color work the punching bags, lift weights, do chin-ups... From the gym next door, we hear the booming music of an aerobics class. In a small ring at floor level, Ali and Foued, loaded down with protective gear, pound each other. Each of their blows lands right on target. They repeat the same series of moves several times at varying speeds. 52. INT. GYM - CORRIDOR. DAY Ali and Foued are dripping wet. They have towels around their necks. They fill their small plastic bottles at a faucet in the workout room. Through a large window in the corridor, Ali watches the aerobic class going on in the gym: legs and feet moving in rhythm, red faces, sweaty underarms, butts, boobs and the braid of the instructor, who uses it to beat the measure, as she swings it from one shoulder to the other. FOUED I have to get back. I need to train. Ali nods, without actually looking at him. 53. EXT. GYM - STREET. DAY Outside, Ali has unwrapped the sandwich his sister had prepared for him. A bit farther off, the aerobics instructor is smoking in the sun. She has a short, buff body. She smokes her cigarette like someone who counts them out sparingly. They remain like that a while, he chewing ands she smoking. CUT TO 46 54. INT. GYM - EQUIPMENT ROOM. DAY A cell phone vibrates. Through a narrow transom, a ray of sun slices through the dark equipment room. They haven't bothered undressing. Ali and the aerobics instructor are making love on a pile of workout mats. Ali's cell phone continues to vibrate, goes silent, vibrates again. He answers. We hear a crackling voice. ALI I'm still at the gym. I'm leaving... I said I'm leaving! He hangs up. They continue. 55. EXT. NUSERY SCHOOL - SCHOOLYARD. DAY Sam is playing alone, perched up on monkey bars in the schoolyard. Through a wide window, he sees his father racing down a corridor that runs alongside the schoolyard. The principal is waiting for him at the door. Ali spurts out some quick apologies. Sam slowly slides off the structure. We hear the noise of his hands skidding on metal. 56. EXT ANTIBES EVENING The moped wheezes and sputters. Ali and Sam are heading back home along the beach. Ali is so big, the moped looks like a kid's bike. Behind him on the luggage rack, he can feel Sam leaning into him. Sam's hand rummages in his coat pocket for a box of Choco-BN cookies. Ali takes one too. To their left, a train noisily speeds by. 57. INT. STEPHANIE'S APARTMENT. DAY Louise has a set of keys. She enters Stephanie's apartment with the mail. 47 LOUISE Steph! Made up and well-groomed, she looks older than she actually is. Stephanie answers from the bathroom. STEPHANIE (OFF) I'm in here! Louise puts the mail on the living room table and enters the bedroom. Stephanie wheels herself out of the bathroom, her hair wet and her body wrapped in a towel. LOUISE Shit, you're not ready! The appointment is in a half hour! STEPHANIE It's fine! LOUISE What do you mean? You're a freaking pain! I have to get back to work. Come on, let me help you. She grabs the arms of the wheelchair and pushes Stephanie toward the closet. STEPHANIE Let go of me! Stop, I can manage alone. LOUISE Oh yeah? Okay, so manage then! She lets go of the wheelchair and leaves the bedroom. 58. EXT. ST√âPHANIE'S RESIDENCE. DAY Louise briskly pushes Stephanie's wheelchair across the residence garden. The warning lights on her 205 are blinking in front of the gate. Stephanie hangs onto Louise's neck. Louise lifts her out of her wheelchair as best she can and into the passenger seat. 48 Louise bends down to buckle Stephanie's seat belt. STEPHANIE (annoyed) I can do the seat belt! In front of the open trunk, Louise struggles to fold the wheelchair. LOUISE Can't you call them to tell them we're going to be late? 59. INT. PROSTHESIST'S OFFICE. DAY In CU: the brochures of prosthetic manufacturers‚Ķ we see pictures of the various models go by. Stephanie is in the doctor's office with Doctor Vitias. He is in his fifties and is wearing a white jacket. VITIAS We'll order two pairs of prosthetic devices, one for everyday life and one for the sport you do. Stephanie pages through the various brochures. STEPHANIE Don't you have something simpler, classier? VITIAS What do you mean by classier? STEPHANIE I don't know... like a wooden leg with a piece of rubber at the end? VITIAS (smiling) No, sorry. We don't make those models anymore. Louise shuts her eyes, visibly exasperated. STEPHANIE Or just a plank. A plank with wheels and straps. And irons to move forward with. 49 LOUISE (furious) Can you cut it out? STEPHANIE What? If I want... LOUISE I've had enough of your schtick, you hear me? STEPHANIE Come on... LOUISE Shut up! Stephanie shuts up. Vitias still looks patient as Job. 60. INT. PROSTHESIST'S OFFICE. DAY Sitting on an examination table, Stephanie waits for the resin bands wrapped around her stumps to dry. Louise is sitting on a stool across from Stephanie. Their eyes meet. STEPHANIE Go if you want‚Ķ I'll take a taxi. LOUISE I told them I was with you. STEPHANIE And that works? If you tell them you're with me, do they let you do what you want? LOUISE Well... STEPHANIE Cool. If ever you want a day off, just tell me. I'll write you a note. Louise looks at her. She's not going to let her get on her nerves. There is a knock at the door. A nurse enters. She checks the resin bands, looks at her watch. 50 NURSE 10 more minutes, just to make sure. Then Doctor Vitias will come for you. She smiles and closes the door. The two young women are again left alone. Stephanie stretches out her hand. Louise takes it. And they remain like that. 61. INT. HYPERBRICO - SECURITY ROOM - NIGHT In close up on the screen of a small DVD player: amateur images of two bare-chested guys fighting in the garden of a suburban house. It looks like a wild boxing match, free- for-all vale tudo in which anything goes. In the Bricorama security room, Ali, Kadhi and Martial, excited, are bent over the screen. A few blows to the face have one of the combatants KO on the lawn. KADHI Look at the next one! Watch how he whacks him. A change of scene on the small screen: a courtyard between two tower blocks, with new combatants, but with the same amateur images and the same violence. KADHI (pointing to the screen)... I know him. I fought him twice in Nationals. He's not bad. He was at the boxing club in Marseille. Martial watches Ali, fascinated by the images, as if he were sizing him up. 62. INT. PROJECTS. DAY An apartment in a Golfe Juan housing project. After-dinner time. Kids are playing, women doing the dishes. On the living room couch, under a tapestry of a lion hunt in Technicolor, Martial blows on his glass of tea. His 51 cousin is sitting across from him. Ali is on a stool at the end of the table. MARTIAL He says he's done Thai boxing. He can fight. He's enormous. He's not afraid of taking punches, and he's white. COUSIN I see. The cousin turns to Ali. He takes his time sizing him up. COUSIN Is that true? You like to fight? ALI Yeah. COUSIN Okay, so I organize the fights. I pick the fighters. I see if the money's there. I ref. I collect the dough... I take a third of the bets. The rest goes to the winner... MARTIAL A third of how much? COUSIN We don't fight for less than 800. Ali does the division in his head. MARTIAL So? Ali hesitates. ALI (to Martial) There's something I don't get: how much do you take? MARTIAL I don't know. You tell me. How much do you need? I'll take 20% of what you win. How's that? 52 ALI And how much does your cousin give you? MARTIAL Oh, I introduced you to him, didn't I? How's that? ALI Okay. The cousin stands up. They all shake on it. 63. INT. LIVING ROOM. DAY Ali is in a corner of the living room, sitting in front of Anna's old PC and watching some fight videos he's found. Anna rushes into the room. ANNA Keep Sam with you for 5 minutes! She hurries to find some papers in the drawer of a commode. Ali hasn't budged. ANNA Oh! Hear me? I don't want your son in the garden. ALI Yeah, I heard. He gets up and goes to get Sam who is playing behind the house. Anna finds her papers and leaves in another direction. ALI Sam! Come here! I want to show you some stuff! He lifts Sam up with one arm and goes back to the computer. ALI Look how they fight... He clicks on an image and the fight continues... the audience's noise as well. Sam watches, intrigued. Ali 53 commentates, pointing to guys onscreen. ALI Look at him, in red. See how strong he is? SAM Is he the good guy? ALI No, he's the bad guy. Look how he tries to grab his legs. Wait. His phone vibrates. He takes it from his pocket. It's Martial. He answers. ALI Hello? Yeah... SAM Why is the red one the bad guy? Daddy? ALI I don't know. Look and tell me who wins. He turns down the sound, settles Sam on the stool and gets up to go speak. ALI (into the phone) So? What did he say? Which others? How many? Sam watches the fight in silence. Dogs bark in the garden. Sam feels something coming. He looks out the window, then goes running. Ali hasn't noticed a thing and continues his phone conversation. ALI What is this bullshit? What do you mean, a tournament? 64. INT. ARAB CAF√â. DAY Martial is leaning on the bar of a noisy Arab cafe/betting office, talking into his phone. 54 MARTIAL Last one standing gets the money. I know, but he says it's better that way. Do you think you're in a position to negotiate a percentage? Where did you get that idea from? He gave me a website if you want to see the others. He takes out a small spiral notebook. 65. INT. LIVING ROOM. DAY From the living room, Ali hears Sam screaming in the garden. ALI Tell him to give the website to his mother. All I see is me doing more fights and him making more dough. Ali goes to the window. Outside, near the kennel, Sam has lunged at a guy in a jumpsuit who is helping Anna get the puppies into a metal cage. Sam is screaming. Anna tries to take him into her arms. Sam clutches the bars of the cage. The puppies bark. Anna finally manages to rip Sam free and drag him back into the house. ALI (into the phone) He's changing the rules and so am I... I couldn't care less. Anna storms into the living room. Sam is shrieking, having a tantrum. He kicks and bites. ALI I'm on the phone! ANNA What the hell? I asked you to watch him for 5 minutes! ALI (into the phone) I'll call you back. Ali hangs up. 55 Outside, the kennel keeper rolls the cage across the garden. Anna hugs Sam in her arms. ANNA (to Sam) He's taking them to the country. They'll be so happy there. SAM Leave me alone. They're my babies! Sam refuses to calm down. Anna looks at her brother. ANNA What are you doing? Are you his father or not? ALI You're such a pain in the ass. ANNA Don't talk to me like that! Ali rips the child from his sister's grip. Sam struggles. ALI Stop it now! I said stop! Calm the fuck down! SAM Let go of me! Let go! Sam kicks out. Ali shakes him. ALI Cut it out, dammit! You're such a pain! He flings the child away. Sam's head hits the coffee table. Silence. Anna rushes over and picks up Sam, who has stopped crying. He's been knocked out. Anna is frightened. She examines his scalp, she strokes his head. She trembles. A cut on his head begins to bleed. She kisses the wound. Ali comes over, upset. 56 ANNA Don't touch him! Don't touch him I said! You know what? You're... you're a bad person. Huddled against Anna's breasts, Sam opens his eyes. 66. EXT. BEACH. DAY The day is over. The beach boy has already packed away most of his paraphernalia. In the water, Ali and Stephanie are out with some of the last swimmers. Faithful to what by now seems to have become a habit, he carries her piggyback to their lounge chairs. They come out of the water in the middle of a discussion. STEPHANIE What kind of boxing? Thai? Do you use your feet? ALI No, just fists I think. We bash each other's faces and whoever's still standing at the end wins. Hey, you're strangling me! He puts her down on her chair. STEPHANIE Is it the first time you're doing this? ALI Yeah. STEPHANIE And you're not scared? ALI Of what? STEPHANIE How much do they pay you for this? ALI I don't know. About 500, 1000 maybe. 57 STEPHANIE You're doing that for 500 euros? ALI Um, yeah. STEPHANIE You're going to get whacked on the face and risk your health for 500 euros? ALI Risk my health? What are you talking about? Why are you getting so worked up? STEPHANIE I'll give you the 500! Cancel it and I'll give it to you tomorrow. ALI You can give it to me if you have too much money, but I said I was doing it and I am. That's all. STEPHANIE If it's not for money, why then? ALI I didn't say it's not for the money! STEPHANIE Why are you doing it? ALI Oh, stop driving me crazy! I'm doing it to fight. For fun. Why did you clown around on your fish? For the fun of it, right? She grins. STEPHANIE Yeah and look how I ended up. ALI Spare me. You turn on the waterworks when you feel like it. 58 She dries her eyes. He begins to pack things up. STEPHANIE Your fight, if you do it... ALI Mm? STEPHANIE You think I can come along? 67. EXT/INT. MARTIAL'S MERCEDES. DAY A narrow road. Down below, a town. The Mercedes Vito with the tinted windows lifts a cloud of dust. Stephanie is in the back seat and has to hold on to the overhead strap to avoid hurting herself. At the end of the road is a gate guarded by two huge homies. They signal Martial to over. He rolls down his window and the two homies peer inside. They see Ali and Stephanie in the back. HOMEBOY 1 Who's she? MARTIAL His girlfriend. Surprised, Stephanie looks at Ali, watching for his reaction. He looks elsewhere. The gate opens. Martial drives in. 68. EXT / INT. MARTIAL'S MERCEDES. DAY Ali and Stephanie are alone in the car. Through the tinted windows, they can see a concrete yard with boats dry-docked around it and buildings with satellite dishes studding every balcony. Some men are over in one corner, discussing: Martial, his cousin and some other mean looking guys. In the shade, a bit to one side and surrounded by his fans, is a bare-chested, muscle-bound North African. He warms up, 59 wagging his head from left to right. ALI (under his breath) Motherfucker's acting like he's on Canal Plus. STEPHANIE Who are the other guys? ALI I don't know. Guys with money. Dealers. A beat. STEPHANIE You okay? ALI Great. Martial comes back with a wad of banknotes and slides into the passenger seat. MARTIAL It's okay. Let's go. Fall against the big one in black shorts. I told you. They're big guys. ALI Okay. And the bets? How much is there? MARTIAL A little over 2000 for the time being. But it'll go up during the final match. STEPHANIE What do I do? MARTIAL No girls. Stay in the car. (To Ali) You ready? Ali nods. 60 69. EXT. PROJECTS COURTYARD. DAY The blazing sun is melting the asphalt. A coin bounces between pairs of basketball shoes. The cousin picks it up. He points to Ali and the guy in the black shorts. COUSIN You and you. Ali pulls off his T-shirt, staring down his adversary. Martial takes the T shirt and leans over to Ali. MARTIAL If you get into trouble, don't insist, just fall. Ali doesn't flinch. The cousin, the bettors and the other fighters move away. 70. INT. MARTIAL'S MERCEDES. DAY Stephanie watches the faces leaning over the balconies overhead. She hears the spectators' hostility and cheers. A circle has formed around the fighters. She sees the shadow, and only the shadow, of his opponent's fist barely miss Ali's face. Then things speed up. Ali uses his feet, knees and fists. When his opponent begins to totter to one side, Ali hangs onto him like a pit bull. When he falls, Ali pounds on his face with his fists and elbows. The ‚Äòref' has to enlist Cousin's help to pull Ali away. Ali returns to his place in the car. Stephanie looks at him: he can't sit still. ALI I have to go. Another combat begins, while Ali jogs around the hangar. Stephanie watches other combats, whether featuring Ali or not. 61 She sees feet dancing on the concrete. She sees the banknotes in people's hands. She sees heads leaning over balconies. She sees an opponent's fist hit Ali behind the ear. She sees another of Ali's opponents get back to his feet, and Ali's fist split open his nose like a ripe fig. She sees another opponent's head bounce off the concrete. She sees a tooth roll across the concrete, like dice in a crap game. She sees Ali perform three steps of a moonwalk and kiss his own biceps. 71. EXT. ROAD. DAY A cloud of dust, a narrow, bumpy road. Martial's car is headed for the town below. 72. INT. MARTIAL'S MERCEDES. DAY CU on a long cut behind Ali's ear. Stephanie's fingers use a Kleenex instead of cotton. Bare-chested with a towel around his neck, Ali leans forward to make his wound more easily accessible. STEPHANIE It's nothing, just a cut. (to Martial) Got anything to disinfect it with? MARTIAL (driving) No. STEPHANIE (to Ali) Keep this on it. It's the only one I have. Ali looks up at her. ALI You liked it. 62 STEPHANIE Yes. ALI Me too. He again lowers his head. STEPHANIE Put this on it. It's the only one I have. Ali straightens up, covers himself with the towel and remains like that: invisible, out of breath, clearing his throat and spitting out the window... Stephanie observes the welts on his body. A big service station appears a bit farther down the road. Ali sits back up. ALI Pull over here. I'll go rinse off my face. (puts out his hand) Give me 50. Martial uses his turn signal. 73. INT. MARTIAL'S MERCEDES. DAY Behind the wheel of his stopped car, Martial counts the bills spread out on his lap. MARTIAL Have you known him for long? STEPHANIE No, not very. Alone in the back seat, Stephanie looks out at the service station. STEPHANIE What do you want to know? If I knew him before the accident? Martial looks back. 63 MARTIAL What? STEPHANIE You find it weird that we're together? You wonder what he's doing with me? MARTIAL No, since you know him, I just wanted to know if you've seen him like that before? STEPHANIE No. Martial finishes counting the bills. MARTIAL He freaks me out. He takes his share and hands Stephanie the envelope. MARTIAL 1200 for him. She looks at the envelope without taking it. STEPHANIE Why are you giving me that? MARTIAL It's for Ali. STEPHANIE Exactly. So why give it to me? He looks at her, suddenly surprised. MARTIAL Hey, you make it complicated. Either you take it or you don't. And either I talk or I keep my mouth shut. He tosses the envelope at her. She looks away. Ali finally gets back into the car with a big box. It's a toy: a green John Deere tractor with all the accessories. 64 ALI For my kid. STEPHANIE You have a kid? ALI Yep. 74. EXT. BEACH - ROAD. DAY The afternoon sun has the entire coast sparkling. Ali is on his moped, with the box between his knees, driving up the coastal road. He looks splendid, wearing new clothes. He finally sees what he was looking for: a group on the beach, Anna, Richard and their neighbors, having a picnic. CUT TO: 75. EXT. BEACH. DAY CU Ali and Anna are off to one side, talking. ANNA You see what you're like with him? You're not around and when you are, you scream at him. Damn, you hit him! Why did you take him along if you act like that? You should have left him. ALI Cut the shit. He's not dead. I didn't do it on purpose. I'm sorry about it. Anna avoids his glance. He rummages in his pocket, pulls out the envelope of money and hands it to her. ALI Here. ANNA What's that? ALI Money. What I owe you plus the next few 65 months. You can count it. She looks at the bills. ANNA Where did you get this? (pointing to his new clothes) Same place? ALI I won a fight. ANNA A fight? What kind of fight? Is that the only job you could find? Is that why you have marks on your face? ALI Hey, will you take the money or not? Why are you looking at me that way? ANNA Nothing. He leaves her with the envelope and trots over to the rest of the group. They are packing away ice chests and folding things up. Sam and his little friends are playing in the sand with the John Deere tractor. Sam has a bandage on his forehead. Ali sits down in the sand next to him. ALI (pointing to the tractor) You like it? Sam continues to play, ignoring him. Behind them, Richard is folding up parasols with the help of Che, a bearded neighbor who is also there with all his family. RICHARD Have you eaten? ALI Yeah, yeah, I'm fine. CH√â You don't want to drink something before I 66 pack up? Ali shakes his head ‚Äòno'. He looks at Joelle, Che's daughter: a tomboy with boobs. ALI (to Sam) You want to go for a swim? 76. EXT. BEACH. DAY Ali and Jo√´lle take turns tossing Sam into the waves. The child laughs so hard, he swallows water. Ali takes Sam into his arms. ALI Give me a kiss. SAM I don't want to. ALI Give Daddy a kiss! SAM No. ALI (using a deep voice) Give Daddy a kiss! SAM (deep voice too)... No! Ali kisses him and hugs him tight. 77. INT. JOELLE'S ROOM. EVENING A nearby house. Evening is falling. Ali and Jo√´lle make love in her bedroom. His cell phone rings. The screen reads: "Stef". He doesn't answer. Jo√´lle comes noisily. Ali puts his hand over her mouth. Through the window, we see Sam in Anna's garden, playing with his new tractor. Richard is hanging towels and swim suits on the line to dry. 67 78. INT. STEPHANIE'S APARTMENT. EVENING Sitting on the couch in a T-shirt and boxers, Stephanie finishes her dinner, watching TV distractedly. Balancing on her stumps, she puts her plate in the dishwasher. Then, supporting herself on her hands, she leaves the kitchen, wiggling her way into the bedroom. She lifts herself into bed as best she can. Evening falls over the bougainvilleas. Stephanie watches old people coming home in their wheelchairs or hanging on to their Zimmer frames. 79. INT. FORMULE 1 - HOTEL ROOM. DAY Ali walks up a long standard hotel corridor lined with numbered doors. He stops and knocks at room 429. No answer. He knocks again. Finally, room 431 opens behind him. Martial looks out. MARTIAL Hey! I'm here. ALI They told me 429. Martial motions him in. MARTIAL Normal. This one is for the equipment. Boxes of equipment are piled up under the window and the small table has been converted into a work surface. A camera is plugged into the TV set. It shows a still picture: an empty location, one sector of an industrial site filmed from above. MARTIAL I have to watch this. Have a seat. You wanted to see me. Ali sits on the edge of the bed. Martial watches the screen out of the corner of his eye. 68 ALI I need to find a coach. A real one. Someone who has me work on my takedowns. MARTIAL Foued? ALI Foued doesn't know jackshit. Just jiu-jitsu and rap stuff. You need to ask Cousin. His guys must train somewhere. MARTIAL Think so? ALI Yeah. And I'll need some time to train. MARTIAL I'll talk with Alta Secu. We'll be able to work something out. ALI Work it out how? MARTIAL I'll have my company pay you and I'll bill them what you cost me. They'll keep paying you but now you'll work directly for me. You won't have to spend your nights there. There is some movement on the screen. He interrupts himself. Gray silhouettes cross the screen, open a door and disappear before coming back to cross the screen once again. ALI Where's that? MARTIAL At the Mousquetaires. Martial rewinds and zooms in on some faces. MARTIAL I'll make a copy and you'll take it to the 69 owner. Ask for Steve at Security. He'll tell you what to do. 80. INT. RICHARD'S TRUCK. DAY Sam is on Richard's lap, ‚Äòdriving' the truck. He is in seventh heaven. In front of them, a man is running down the shoulder of the road. RICHARD Look who it is! Go on, honk! 81. EXT. ROAD. DAY The horn beeps. Out of breath, in a sweat, Ali looks back and sees Richard and Sam in the truck. They slow down and pull up to him. Richard lowers his window. RICHARD We're going to school. Want to come along? Ali shakes his head and continues jogging. The truck disappears. 82. INT. NEW GYM. DAY This new gym is large, clean and light. In one corner there is a genuine ring, and on the other side, a piece of tatami. Ali is working out with Joao, a Brazilian in a kimono. They try out some foot-fist series. On the mat, Ali shadows and deconstructs Joao's gestures. 83. EXT. ANTIBES. STREET. DAY A street near the beach. The weekend is beginning. The streets are crowded. Ali is on the phone. ALI Where are you? I can't see you. Where? He looks every which way until he sees her, a few feet away. She is standing upright, in a light pair of pants, with her canes hidden behind her back. It takes some time to register. She smiles at him. 70 ALI That's fucking amazing! I was looking for a wheelchair... STEPHANIE Stop looking. No more wheelchairs! ALI Since when? STEPHANIE Two days. ALI You could have told me! STEPHANIE Why? Is it a problem? ALI No, I don't know. You're like before. STEPHANIE Well, not exactly. ALI Go on, let's see. She takes a few steps forward, leaning on her canes. He whistles in admiration. STEPHANIE I need to get my balance but supposedly that doesn't take long. ALI It must be like walking on stilts... STEPHANIE I don't know. I've never walked on stilts before. ALI You look taller. Does it hurt? 71 STEPHANIE A little, but it feels good too. ALI Want to go for a swim? She stops. STEPHANIE The beach... pff, I don't know... It's different today... I don't think I want to get undressed. 84. INT. STEPHANIE'S APARTMENT - KITCHEN. DAY They are at the kitchen table, eating salad. Stephanie is in her wheelchair. Ali has finished his plate. ALI Is this all you have? STEPHANIE Look in the fridge. There must be some cheese left. ALI You don't have any pate? STEPHANIE No, I don't have any pate. He gets up and opens the fridge. He takes the cheese, sniffs it, then takes some yoghurt too. He notices a box of cereal on a shelf and takes it. He returns to the fridge for some milk. She watches, her mouth open in suspense. STEPHANIE You're a good eater, aren't you? ALI I'm hungry. He begins with the cheese. ALI No bread? 72 She shakes her head "no" and points to a box of biscuits on the shelf. STEPHANIE There are crackers up there. Do you have a girlfriend? He shakes his head. STEPHANIE You don't have anyone? ALI Yes, but they're not girlfriends. STEPHANIE What are they? Quick fucks? ALI Yeah. She hesitates. STEPHANIE A lot? He looks at her. STEPHANIE You mind talking about this? ALI No, I don't care. (pause) How about you? Did you have a lot of boyfriends? STEPHANIE When, before? ALI Yeah. STEPHANIE I was with Simon... ALI That's all? 73 STEPHANIE No, there were others. But not a lot either. I... I wasn't very... In fact, I liked it when guys looked at me... I liked to feel that I turned them on... Afterwards, I don't know... they bored me. Ali looks at her, strangely attentive, as if he didn't understand, or didn't believe her. ALI And now? STEPHANIE Um, nothing. I don't even know what it looks like anymore... I don't even know if it still works... ALI You don't want to? STEPHANIE Did I say I didn't want to anymore? Of course I still want to... ALI How do you go about it? STEPHANIE How do you think I go about it? If I were a guy I'd say I jerk off to a porn video... I'm a girl. Ali is dumbstruck. STEPHANIE Okay, let's change the subject... She begins piling up plates and silverware. ALI You want to fuck? She is thrown for a loop. STEPHANIE Huh? 74 ALI You want to know if it still works, so let's fuck and that way you'll know. He looks at her, simply, naturally. She has a nervous laugh. STEPHANIE Just like that? ALI Um, yeah. Give me that. He takes the plates, gets up and puts them in the dishwasher. STEPHANIE I... I don't know if I can like that... ALI Whatever you want... You tell me... She hesitates. STEPHANIE Wait. She wheels herself away from the table and into the bedroom. He remains alone, quickly cleaning the table. ALI What do I do? STEPHANIE (OFF) Wait! He waits. Then: STEPHANIE (OFF) Come here. 85. INT. STEPHANIE'S APARTMENT - BEDROOM. DAY He enters the room. The shutters are closed. She is in bed, under the covers. She watches him sit down on the bed, undo 75 his pants and turn toward her. ALI Okay? Ready? Unsure of herself, she pulls a face. STEPHANIE Let's try. He slips under the covers, spontaneously tries to kiss her, but she pushes him away gently. STEPHANIE (a little nervous) Do you mind if we don't kiss? ALI No. Your breasts... can I? STEPHANIE Yes. He licks her breasts, then lies on top of her, covering her. She tries to wriggle herself free. STEPHANIE You're crushing me! ALI Maybe you should stop talking now... STEPHANIE Okay, I'll stop. His hands caress her, they grab onto what remains of her thighs. He enters her. She is about to scream, but lets herself go. She grabs hold of him. STEPHANIE Gently! 76 86. INT. STEPHANIE'S APARTMENT - KITCHEN. DAY Ali opens the fridge. He is dressed again. Stephanie appears in a robe, sitting in her wheelchair. We can tell she feels too shy to look at him. ALI Are you okay? How was it? She blushes. ALI Is it still working? STEPHANIE Um, yes... no... I don't really know. It's different... It's hard to tell after just one try... ALI Yeah but I don't have time right now. I have to go! STEPHANIE (blushing) No, no! That's not what I meant... I just meant that it's too soon to tell... like too many things are happening at once... Ali doesn't understand. ALI But did you enjoy it or not? STEPHANIE I did. A beat. ALI When you're up for it and you can't find anyone, ask me. If I'm oper, we'll do it. STEPHANIE What's "oper"? 77 ALI Operational... If I'm available. If I can, I mean! STEPHANIE If you're "oper" we... ALI Yeah. She sketches a vague gesture. ALI What? Her throat is constricted, she is unable to answer. STEPHANIE Nothing. Great. 87. EXT. MARINELAND - STAFFROOM. DAY Stephanie uses one of her canes to push open the door to the staff room. The room is apparently empty. STEPHANIE Louise? Louise, are you here? Is anyone here? No answer. She looks over the office she once knew so well and that hasn't seen again since her accident: the photos on the wall, the diagrams, the case histories, the animals' names, etc... 88. EXT. MARINELAND - BLEACHERS. DAY Up in the bleachers, Stephanie looks over all the pools, the big one as well as the others... suddenly, in n¬∞ 3, a huge but limp black dorsal fin appears. 89. EXT. POOL N3. DAY Weighed down by her prostheses, Stephanie has to lie down on the rim of pool n¬∞ 3 to reach the water. She reaches out and slaps the water with the palm of her hand. Nothing 78 really happens, a black mass just keeps circling at the bottom of the pool... She slaps again and the black mass swims faster and faster... a wave is formed around the sides of the pool, a wave that swells higher and higher... Stephanie's hand again slaps the water and, suddenly, Niska emerges. CUT TO: 90. EXT. POOL N3 - DAY Niska washes up. Stephanie caresses her and weeps softly, like someone caught unawares. LOUISE (OFF) (gently) Stephanie? Stephanie looks back to discover Louise and three other ex- colleagues. They have been there a moment, surprised, unsettled and ill at ease. STEPHANIE I stopped by the office but there wasn't anyone. Stephanie stands up with the help of her canes. The guys rush over to help her. They hug and kiss. All four remain like that for a moment. 91. EXT. MARINELAND - CAFETERIA. DAY Sun and music. The public is beginning to invade the lanes and paths. Stephanie, Louise and the other keepers are on the terrace of the employees' cafeteria. They are thrilled and reassured to see her again. At times a hand touches her arm or shoulder. Sometimes an acquaintance comes over and kisses her. Under the table, Stephanie types ‚Äòoper?' into her cell phone, then looks up and returns to her surroundings. We can imagine the "How are you?" "And you?" "Great". The "Let me get a look at you... You look wonderful!"...all a 79 bit strained, but friendly. Louise, who is sitting next to her, leans over to her: LOUISE (softly) See? It wasn't hard! They smile at each other and return to the conversation in progress. Stephanie's cell phone vibrates on the table. She discreetly checks the answer, and when she looks up, exchanges a glance with Louise. From that glance, we cut to: 92. INT. SUPERMARKET. DAY Stephanie and Louise are out shopping. Stephanie holds herself up thanks to the shopping cart she is pushing. We join their conversation already in progress. STEPHANIE When I feel like it, I send him a text message and ask if he's oper. If he is, we hook up. Louise reacts. LOUISE What's oper? STEPHANIE If he's up for it. If he's free. If he is, we fuck. LOUISE Is that all? STEPHANIE Yes, that's all. What else do you want? LOUISE I don't know. Is that enough? STEPHANIE For me it is. 80 LOUISE What does he do? Stephanie hesitates a moment, as if worried about how Louise will react. STEPHANIE He fights. LOUISE What kind? MMA? STEPHANIE No. Illicit fights in the projects. Louise reacts. STEPHANIE Whatever I say, you make a face. LOUISE Just give me a second to react... Are you in love? She hesitates. STEPHANIE He does me good. 93. EXT. PARKING LOT. MARINELAND. DAY The group of trainers has accompanied Stephanie to a taxi. 94. INT. TAXI/PARKING LOT - MARINELAND. DAY Stephanie waves good-bye. They return her wave. The taxi drives away. The group scatters. CUT TO: 95. INT. BASEMENT. DAY A dark cellar. We hear Ali and Stephanie labor and sigh. A door suddenly opens above and we hear voices. 81 ALI Shit! STEPHANIE Who is it? He looks for his clothes... 96. EXT. GARDEN. DAY ... then goes to the garden where he startles Anna: ANNA I didn't know you were here. You scared me. What were you up to? ALI I was talking? ANNA You're not alone? ALI I'm with a friend. ANNA You bring girls back to my place now? ALI She's a friend, I said. Just then, the basement door opens and Stephanie appears on her crutches. Anna is dismayed. Ali motions to Stephanie: ALI (to Stephanie) Let me introduce you to my sister! (to Anna) This is Stephanie. You know the girl from Marineland. Stephanie offers her hand to Anna who takes it, then realizing what she's doing, puts the other to her mouth: ANNA Oh, my God. Poor thing! 82 Sam arrives with his snack. Stephanie looks at him. STEPHANIE So that's him? They are sitting around the garden table. Anna comes carrying a tray. ANNA They were out of grapefruit. I took tropical fruit. She puts some glasses and two tetra packs of fruit juice on the table. Through a hole in the oilcloth, Stephanie can watch Sam playing under the table. ANNA I'll make tea. I have some cookies. You drink tea, don't you? STEPHANIE Don't bother. This is perfect, I swear. Thanks. Before Stephanie can even finish, Anna is already on the way back to the kitchen. ALI You don't want to get going? STEPH Wait, your sister... ALI You freak her out. Can't you see? She feels like a cashier with you. Pathetic with her tea and cookies. It's a pain. Stephanie leans on a cane to stand up. ALI What are you doing? STEPH I'm going to help her. 83 ALI No need to overdo it. 97. INT. ANNA'S HOUSE. DAY Later, Sam guides Stephanie up the narrow stairs of the house. She has a hard time with her ‚Äòlegs' and canes. 98. INT. SAM'S ROOM. DAY A child's room with cheap wall paper depicting dolphins. Stephanie is sitting on the edge of the bed. STEPHANIE So this is where you sleep? It's a nice room. Sam nods in agreement. He gives her a strange look. STEPHANIE Why are you looking at me like that? Does it scare you? You want to see them, is that it? He nods. She lifts one of her pant legs to show the prosthesis underneath. Sam looks attentively, stretches out his hand, touches it carefully. SAM Does it hurt? Stephanie smiles at him. STEPHANIE No... Want to touch it? Sam reaches out his hand. 99. INT. MARTIAL'S CAR. DAY In CU through the tinted windows of Martial's Mercedes Vito: the face of a boxer who is lying on the ground and being pummeled. Ali is sitting bare-chested in the back seat, a towel around his neck and a bottle of water between his knees. 84 Ali watches the fight. Sitting next to him, Stephanie fills a plastic bag with ice cubes. She hands it to him. STEPHANIE Here. He applies it to his eyebrow. She displaces a bloody strand of hair and replaces it with another. We see Martial return to the car and open the front door. MARTIAL You okay? He puts a wad of money in the glove compartment. MARTIAL You ready? Ali nods ‚Äòyes'. He opens his door, gets half out and empties the bottle of water over his head. Stephanie is left alone in the car. She hears the spectators' cheers. She closes the window and turns on the air conditioning full blast. 100. EXT. PROJECTS - COURTYARD. DAY His opponent's guard is up, closed tighter than a safe. Behind his fists, Ali can see the guy's frozen stare. And then suddenly he breaks loose: a series of feints and a kick behind the ear. He hears himself growl, the light becomes electrifying. He is on the ground, protecting himself as best he can. He tries to block his opponent's arm. He hears himself wheezing and panting like a pair of bellows. He sees his blood splatter his opponent. ALI (OFF) ... All of a sudden, in your mouth, it's like it tasted like bone. A taste of rust and bone. STEPHANIE (OFF) Because you think bone has a taste? 85 ALI (OFF) Yeah, there I did. Then, through the spectators' legs, he sees something: sunlight reflected off the Mercedes door that has just opened on a pair of shoes attached to two prostheses, a pair of shorts‚Ķ He also sees the heads of the tough guys who turn back to look. He breaks free, struggles to his feet, spits up a clot of blood and returns to the task at hand. His opponent tries to get up. Ali jumps on him to finish HIM OFF¬Ä¶ 101. INT. MARTIAL'S CAR. DAY The car is driving back into town. Martial is driving. The windows are open. Ali holds a bag of ice against his cheek bone, while Stephanie applies her Band-Aids to a cut over his eyebrows. They are talking, but we can not hear what they say. All we hear is the noise of the wind against the open windows. Ali suddenly breaks out laughing. Martial does too in the rear view mirror. Stephanie follows suit‚Ķ 102. INT. MOUSQUETAIRES. DAY Muzak. Ali and Martial follow the head of security into the store. Some of the personnel are near the cash registers, silent, hostile and immobile. The morning customers wonder what's happening. The head of security elbows his way through. HEAD OF SECURITY Let them through, please! The personnel reluctantly make way. 103. INT. MOUSQUETAIRES - STOCKROOM. DAY Red graffiti on the wall: "A SPYING BOSS IS A CRIMINAL BOSS!" 86 Ali recognizes the place with the palettes up to the ceiling. In the back, he also recognizes the manager, protected by two guards and being harangued by union representatives. MARTIAL (to Ali, pointing to the manager) Go get the equipment. I need to see him. Ali obeys. UNION REP Don't bother. We're the ones who will call the police. The police and the press. That way they'll know you spy on your workers! The manager looks away, accompanied by his two guards. UNION REP At least have the courage to look at me when I talk to you! CUT TO: The cameras, the ripped out cables, the phony boxes have been piled up on the floor. It looks more like the crime squad has been at work. Ali opens a garbage bag and bends over to retrieve the equipment. WOMAN (OFF) What are you doing there? She's a young employee in the store uniform. ALI (suspicious) Packing up. WOMAN Is it your stuff? ALI No. He notices that she's taken out her cell phone to take a picture. 87 ALI Don't you take a picture! WOMAN You work for them? She continues to manipulate her phone. ALI I said no picture! WOMAN Why shouldn't I? You film us! He straightens up menacingly. ALI I'm going to slap you! A hand grabs his arm. It's Martial. MARTIAL Forget it. Let's get out of here! ALI And the equipment? MARTIAL Forget about it. We're fucked here. The cops are going to question the managers and the managers will turn us in. They leave. 104. INT. MARTIAL'S FORMULE 1 ROOM. NIGHT Martial's fingers slowly play with the hair on his chest. He is lying nude on the bed of his Formule 1 hotel room. He smokes and stares at the ceiling. His suitcases and bags are packed, all he has to do is close them. He hears knocks next door. He gets up with a sigh, pulls on his pants and opens the door. Stephanie is waiting in front of room 429. 88 MARTIAL In here. Stephanie looks back, surprised. Martial motions her in. MARTIAL I have to go away for work. 3 or 4 months, I don't know yet... Since Ali wants to keep fighting, I thought maybe you tend to that while I'm not here... She is thunderstruck. STEPHANIE Is he okay with that? MARTIAL He's the one who asked me to call you. STEPHANIE Why me? MARTIAL I guess he trusts you. STEPHANIE (laughs, thrown for a loop) Yes, sure but.... I don't know anything about that scene... I don't know those guys! He hands her an old spiral notebook. MARTIAL I wrote it all down here. As for the rest, ask me your questions and I'll answer them. STEPHANIE How do I do the bets? MARTIAL You can count on your fingers, can't you? STEPHANIE Honestly, can you see me dealing with those beasts? 89 MARTIAL Yeah. A beat. MARTIAL And you need money to cover the bets, and you have money. She looks at him. MARTIAL What? You're not rich? What did the insurance company give you for your legs? 200,000? 300,000? Those jobs must have good health plans. Am I wrong? STEPHANIE No. A shadow crosses Stephanie's mind. She looks at the open bags and suitcases, without really seeing them. The place looks like it's expecting a police raid. STEPHANIE Where are you going? MARTIAL Grenoble, then Vienne. STEPHANIE Austria? MARTIAL No, in the Is√®re. STEPHANIE Was the insurance money your idea? MARTIAL Yes. A beat. He gives her time to wrap her head around that one. Then, since she still looks troubled, he taps her on the hand. 90 MARTIAL It's me, I said. Don't worry. I'm the bad guy. 105. EXT. FEVER RAY. NIGHT Through the door of the club, we hear snatches of the introduction to Thunderstruck. People are sweating and trying to get into the Fever. Foued lets Martial, Ali, Stephanie and Khadi through. Virile bear hugs and handshakes. FOUED The Cousin's waiting for you inside. Table to the left of the bar. Ali knows and greets everyone. Stephanie is in the middle of the group. She holds herself up on the shoulders of these big, caring guys and lets herself be carried along. She feels good 106. INT. FEVER RAY. NIGHT The club is hot as a steam bath. Loud music blares out of loudspeakers. Bodies dance and eyes shine bright. At the table "left of the bar": Cousin and three friends who are with him. Another round of bear hugs and handshakes. Martial, Stephanie and Cousin regroup face to face. Martial speaks, Cousin listens and at times looks over at Stephanie, who looks at him too. She notices one of the tattoos on his arm: a green and red snake that seems to be slithering out his sleeve. The barman brings two bottles of champagne. Ali leans toward her: ALI Want to boogie? She doesn't understand. ALI (loud) You want to dance? 91 She looks frightened, but then smiles when she sees what he's up to. ALI Come on! STEPHANIE No, no! ALI Whatever you say. He goes to the dance floor and begins to rock. He dances badly, clumsily. Martial pours champagne. 107. EXT. FEVER RAY. NIGHT The smoking area is located outside, and a bit farther off, the dope smoking area. Behind the smokers, we hear noise from the club. Cousin is puffing on a spliff. Stephanie watches, holding her champagne goblet. He offers it to her. She accepts and takes a drag. COUSIN Can I talk to you? She nods "yes". COUSIN There's something I'd like to know... The fish that ate your legs... She wasn't expecting that. STEPHANIE Yes? COUSIN Is it true it's still there? STEPHANIE Yeah... where else would it be? COUSIN They didn't shoot it? Or put it down, whatever? 92 STEPHANIE Why would they do that? COUSIN I don't know... when a dog attacks you, they kill it. And the fish gets off. Don't you mind that the thing that ate your legs is living it up in its shitty fucking aquarium? STEPHANIE No. And I don't want anything to happen to it. Now more than ever! He looks at her, incredulous, but with admiration. COUSIN (imitating her) "Now more than ever". Listen to you! He takes another drag. COUSIN (imitating her) Tututu-tu-tutu... They laugh. STEPHANIE Do I sound like that? COUSIN Tututu... 108. INT. FEVER RAY. NIGHT We are back inside. Ali is working on a girl a bit farther off on the dance floor. Stephanie follows Cousin through the noise and sticky heat. When she next looks at the dance floor, Ali is no longer there. Ali and the girl are on their way to the exit. Ali looks for a friendly face, meets Stephanie's glance and motions that he's leaving. She waves: "Yeah, ok, I get it." Ali disappears with the girl. Stephanie is at the bar, drinking. She types an SMS into her cell phone: "operational?" She hesitates, then puts 93 away her cell phone. She hadn't noticed a guy sitting next to her. She also failed to notice that he's been speaking to her for a while now. STEPHANIE (loud) Huh? I can't hear you... GUY (loud) No problem. What are you drinking? STEPHANIE (loud) Champagne? The guy orders. He is blond, lean and athletic-looking. He might be thought to resemble Simon. GUY What's your name? I'm Pierre. STEPHANIE Hey there. I'm Marie. GUY Come here often? Stephanie is on automatic pilot. When she turns to the room, she feels the blond guy's eyes locked onto her. She can pretty much tell what he's thinking about the breasts under her T-shirt. She answers his questions, she returns his smiles. When she finishes her glass and puts it down on the counter, he kisses her. She doesn't push him away immediately, like a frightened virgin, she takes the time to put a good face on it. STEPHANIE No... No, please. I don't feel like it. Not tonight. I can't... The guy looks disappointed, then manages a ‚Äògood loser's' smile. GUY Okay, no problem... STEPHANIE It's best I go. Good night and thanks. 94 He sees her lean over to retrieve her canes and then hobble away. GUY Sorry. I couldn't know. Stephanie freezes. STEPHANIE You couldn't know what? GUY Huh? STEPHANIE You couldn't know what, asshole? Foued runs to warn Martial, Khadi and Cousin that something is wrong. When Martial arrives, he sees Stephanie collared by a bouncer three times her size. She lashes out with one of her canes, while under the bar, another bouncer tries to help the blond guy back to his feet. There's a deep gash on his skull. Cousin comes to give the bouncer a hand. 109. EXT. ANTIBES - BEACH -CAF√â. DAY Early morning. The shrill screech of the sea gulls and the milky light of a day that looks like it's going to be sunless. Stephanie drinks her coffee at the only table on the terrace. Behind her, chairs are still piled up and the waiter is slowly getting to work. A silhouette appears on the sidewalk. It's Ali, in the same clothes as last night. He joins her and takes a seat. ALI You okay? STEPHANIE Fine. 95 ALI Did you stay late? STEPHANIE I can't remember. Afterwards the cousin took us to a club at la Colle sur Loup... It sucked and it was 5 a.m. And you? ALI Normal. (to the waiter) A large coffee with milk and bread with butter! A beat. STEPHANIE You think it's good that we're having this conversation? ALI What conversation? STEPHANIE That I ask how it was with the girl last night and you answer normal. ALI What do you want me to say? STEPHANIE Nothing. He grimaces at her mood. ALI Oh la! STEPHANIE "Oh la" what? You think it's normal leaving with that bimbo in front of me? What would you say if I did the same thing? ALI Nothing. STEPHANIE Oh yeah? You wouldn't care? 96 ALI You're pissing me off. What's your problem? STEPHANIE Wait, let me put it differently. What I am for you? A friend? A pal? Sort of a buddy, like Foued and the others? ALI STEPHANIE Tell me something: do you and your buddies fuck every now and then? He snickers. STEPHANIE No? Really? Never? That's the difference. Her looks at her. STEPHANIE Dammit, stop looking at me that way! ALI How am I looking at you? The waiter arrives with Ali's order. She tones her voice down a notch. STEPHANIE You wanted us to continue... Isn't that what you told Martial? ALI What are you talking about, fucking or fighting? STEPHANIE Well, we have to go about it well. We have to show each other manners, and consideration... ALI Manners? 97 STEPHANIE Hey! Stop acting like an idiot. Do the words bother you? You know what I mean.... Tact... You've never stopped being tactful with me. A beat. He looks away. STEPHANIE So... is that a plan? She waits for his mind to come back before continuing. STEPHANIE We'll continue... but not like animals. He smirks, with a flick of the chin. STEPHANIE Cat got your tongue? Ali stirs his cup without answering. He feels her eyes on him. He smiles. ALI I'm oper now. STEPHANIE What? ALI You made me oper. It's you! It's because it's all you're talking about! STEPHANIE (softly) You are really a dog. He stands up. STEPHANIE What are you doing? ALI I'm getting out of here. STEPHANIE Why? 98 ALI I'm fed up. STEPHANIE You're bored? ALI Yeah. STEPHANIE What I'm saying bores you? ALI Yeah. STEPHANIE Are you acting like a jackass on purpose? ALI Aren't you being an ass by putting words everywhere? He sits back down. She watches him eat his sandwiches. STEPHANIE I'm the one who's leaving. She gets up. Ali finishes his coffee. 110. INT. TATTOO PARLOR. DAY The buzz of a small electric compressor. In extreme close up: the needle of a tattoo machine pricking skin. Ink flows, a cotton swab wipes... a tattoo slowly appears. Lying on a table, Stephanie is having what remains of her legs tattooed. CUT TO: 99 111. EXT/INT. BANK. DAY Stephanie is at a teller's window, withdrawing a rather large amount of cash. A machine counts out the bills, while the employee stuffs wads of them into an envelope. 112. EXT/INT USED CAR DEALERSHIP. DAY Pennants flap in the wind, the pennants of a used car dealership. CU: car doors opening, automatic gearboxes, Stephanie's "feet" testing pedals, bucket seats, backseats, tinted windows opening and closing, etc. 113. INT. PROJECTS - APARTMENT. DAY A painting of a lion hunt and, under it, Stephanie and Cousin on a couch, talking shop. Leaning over a computer and a cell phone, they go over potential adversaries. Some kids stick their heads in to see what Stephanie looks like. 114. INT. NEW GYM. DAY Foued, wearing protective gear, spars with a black cruiserweight. The fight is close, the sound of flesh on flesh resounds. Outside the ring, Ali cheers Foued on. He notices on the other side of the ring a young thin, bearded guy in a Lacoste polo shirt buttoned up to his neck - Leonardini - who is following the fight with the eye of a pro. When Ali and Joao are later working out on their bit of tatami, Ali sees Foued sitting on a bench, with a towel around his neck and talking with Leonardini. FOUED He saw me at la Ciotat. We spoke a few times on the phone. When he has it in for you, he never lets up. Leonardini is well-known. 100 He was a club in Strasbourg with a training center. He's taking me on a trial basis for three months. If it works out, he'll make challenger in the nationals. 115. INT. LOCKER ROOM - NEW GYM. DAY Ali and Foued are off to one side in the locker room. ALI So are you going to Strasbourg? FOUED What do you think? I'd be an idiot... ALI And when are you leaving? Leonardini enters the locker room. FOUED Mr. Leonardini, this is my buddy Ali. Ali Van Versh. Leonardini shakes his hand. ALI Pleased to meet you. 116. EXT. PROJECTS - COURTYARD. DAY Through the tinted windshield of a Nissan Pathfinder SUV, Ali watches Stephanie, wearing a tight T shirt and leaning on her cane, talking with Cousin and some bettors. The discussion looks intense. Stephanie returns to the car. Below her pedal pushers, her prostheses sparkle in the sunlight. We hear salacious jibes from the surrounding buildings. She opens the car door. ALI How much is there? 101 STEPHANIE 3400. Are you ready? Walking with a slow, deliberate sway - aware of the effect she's having - she ceremonially opens the passenger door. The remarks cease. 117. INT. STEPHANIE'S APARTMENT. NIGHT / DAWN CU: a black and red arrow with, in industrial characters: "RIGHT". It's the tattoo on Stephanie's right thigh. Ali's hand grips and squeezes the thigh. They are making love. The room is half-lit. Ali growls and grinds his teeth in his sleep. Stephanie slowly and noiselessly rolls over to her side of the bed. She gets up and, using her hands, drags herself toward the bathroom. Suddenly, feeling like he's suffocating, Ali awakens. It takes a few seconds for him to realize where he is. His hand sweeps across the bed. ALI Where are you? STEPHANIE (OFF) Here. He sits up. She is embarrassed. STEPHANIE No, don't look! ALI What are you doing? STEPHANIE I'm going to pee. ALI Is it early? STEPHANIE Five. 102 ALI Shit, I collapsed... Ali slips out of bed, naked, yawning and groggy. He comes and leans over her... STEPHANIE I don't like it when you see me like this... ALI Hold on. She hangs onto his neck. He lifts her up and, both naked, he carries her into the bathroom. 118. INT. STEPHANIE'S APARTMENT - BATHROOM. DAWN Stephanie is sitting on the toilet, while Ali pees in the shower. STEPHANIE I called the numbers they gave me at the gym. I spoke to an organizer, G√ºnther Bower. She yawns. STEPHANIE There's a gala in Turin next week. He told me that we'd have time to meet there. I'm going to go. ALI Yeah. And when do I see him? STEPHANIE Later, in his gym in Dortmund. He wants to organize a test match, to see what you're worth. To see if you've got the "G√∂ttlicher Zorn""... Ali comes out of the shower. STEPHANIE Turn on the water. 103 ALI Huh? STEPHANIE Turn on the water when you pee. It's disgusting. He runs some water. 119. INT. STEPHANIE'S APARTMENT. DAWN He carries her back into the bedroom. She looks at his face, the scar on his forehead, the scar over his nose. STEPHANIE How's your nose? ALI Mm. STEPHANIE It doesn't seem broken. ALI No. They look at each other. He puts her down on the bed and lies down next to her. Stephanie slides over to him. He lifts her up and places her on her stomach. They remain like that, without moving. She looks like a mermaid lolling on a rock. She leans over and kisses him on the mouth. He pulls away, surprised. ALI Now we're allowed? No answer. They make love. In CU: the tattoo on Stephanie's left thigh. A red and black arrow with, in industrial characters: "LEFT". 120. EXT/INT. NISSAN SUV. DAY Music. 104 The road speeds by. Sun. Road signs with the names of Italian cities. The landscape has changed. Wearing her baseball cap and sunglasses, Stephanie drives with her elbow out the window. On the radio, we hear the voice of an Italian DJ. 121. EXT. COASTAL ROAD. DAY Ali jogs along the sea shore. He sweats, huffing and puffing. He stops, takes a few steps, then continues, but soon stops again. It looks as if his feet are weighing him down. Traffic speeds by. He stands still and stares into the near distance. Nothing. 122. INT. TURIN - HOTEL. EVENING A standard hotel lobby. Curious, Stephanie looks at the crowd of fighters the day before the ‚ÄòUltimate' tournament: muscle-bound giants squeezed into tight jackets, with bashed in eyebrows, collapsed nostrils, cauliflower ears... Every language can be heard, some greet each other, some hug, they all size each other up... CUT TO: Propped up on her cane, she heads for a table in a corner of the bar where a man is consulting his cell phone. STEPHANIE (in German) Mr. Bower? G√åNTHER (in German) Yes? STEPHANIE (in German) I'm Stephanie Granget. G√ºnther looks about fifty and has obviously spent many of those years in the ring. CUT TO: 105 Settled in a corner in front of their open PCs, Stephanie and G√ºnther talk shop. CUT TO: They are about to separate. STEPHANIE (in German) Can you get me a ticket for tonight? G√åNTHER (in German) I don't know. I'll see what I can do. (pointing to her legs) What happened to your legs? STEPHANIE An accident. In another life. I was an animal trainer. I worked with orcas... The show took a turn for the worse. G√åNTHER (it dawns on him) Oh, of course! In France! The accident! It was you?! I'm talking to a star! Stephanie makes a face. G√åNTHER Yes, I am... Amazing. What courage! Bravo! I'm very honored, really. I was an idiot before! STEPHANIE Why? G√åNTHER I acted like an arrogant business man. I'm so ashamed. Will you forgive me? STEPHANIE Of course, Mr. Bower. G√åNTHER Call me G√ºnther. Of course you can come tonight. As my guest! 106 123. INT. TURIN - GYM. NIGHT Bleachers have been set up in a gym, surrounding a cage- like, fenced-in ring. Inside, combatants fight, no rules, no holds barred. On the floor, two wrestlers clasp and elbow each other. One is bleeding from the forehead. Below the ring, Stephanie is mesmerized by this carnival of violence. G√ºnther leans toward her: G√åNTHER (in German) Funny, huh? STEPHANIE (in German) What? That? G√åNTHER That... and you! 124. INT. HOTEL CORRIDOR. NIGHT Stephanie walks down a corridor. She stops in front of a door and knocks. G√ºnther opens. He looks surprised. He is barefoot, in a pair of trousers and an unbuttoned shirt. He looks at her inquisitively, and when she still doesn't SAY ANYTHING: G√úNTHER (in German) Are you okay? Do you need anything? She hesitates. STEPHANIE (in German) I... I came to see if I got it wrong, or not. He knits his brow. G√úNTHER (in German) Got what wrong? STEPHANIE (in German) You don't understand? 107 G√úNTHER (in German) Excuse me? STEPHANIE (in German) I got the impression, the way you were looking at me before... Try to understand because this is getting hard for me... G√úNTHER (in German) No, you didn't get it wrong. He smiles and opens the door. G√úNTHER (in German) I have someone in my life, you know. STEPHANIE So do I. He draws her inside. The door closes. 125. INT. SUPERMARKET. DAY Anna is about to open her cash register, when a West Indian in a security uniform whispers into her ear, apparently asking her to follow him. Another cashier is already waiting to take her place. Anna joins three other employees waiting in a corridor. They exchange a few words under their breath. 126. INT. SUPERMARKET - CORRIDOR - ADMINISTRATION. DAY Anna comes out of an office, looking distraught. She has to lean against the wall to hold herself up. A colleague comes to help. COLLEAGUE So? ANNA I got fired. COLLEAGUE Come on. There's something we want to show you. 108 In the locker room, we recognize the girl who had photographed Ali while he was trying to reclaim Martial's camera equipment. The girl says something to Anna. When it seems that Anna can not believe her ears, the girl takes out her cell phone and confronts her with the evidence. Anna needs to sit down. 127. EXT. HOUSE. DAY Out of breath, Ali pushes open the gate and climbs the stairs. 128. INT. KITCHEN. DAY In the kitchen, Anna and Richard are sitting at the table in front of a meal they haven't had the appetite to start. ALI You okay? No answer. ALI You don't seem it. He goes to open the fridge. ANNA What are you doing? ALI I'm hungry. ANNA Close it! Don't eat here. Ali stares at her, stunned. ANNA Don't eat here. ALI What the hell is going on? ANNA I was fired this morning. I'm unemployed. 109 ALI Shit... But what's the problem if I eat here? Anna stands up. ANNA They had cameras in the storeroom... They filmed us when we took the expired food. They fired us. Ali's head spins. ANNA You had your sister fired. How does it feel? How much did you get for that? You get paid per person or a flat rate? Nothing to say? I take you in, I take care of your son and you have nothing to say? ALI I couldn't know... ANNA You couldn't know? You couldn't know what? That you were screwing us out of jobs? That you were hurting people? Ali tries to find something to say, but his sister's hand delivers a resounding slap. He takes it like a man. A moment passes. Ali is red from the slap, red with shame‚Ķ until he suddenly straightens up and knocks over the table. RICHARD Calm down. Calm down, I said! Ali looks back. He sees Richard's grim face at the other end of a hunting rifle. RICHARD Take your stuff and get out of here. We don't want to see you around here anymore. 110 A sudden noise draws their attention: Sam is watching from the top of the stairs. ANNA Go to your room. Go upstairs immediately. 129. INT. ANNA'S HOUSE - BASEMENT. DAY An SMS arrives from Stephanie: ‚ÄúAlmost there. I miss you.‚Äù Ali is lying on his mattress. He puts down the phone. He hears Anna and Richard's voices upstairs. He sits up and begins to stuff things into a bag. A new message arrives: ‚ÄúI'm home. Oper?‚Äù Ali hesitates, then turns off his phone and clicks his bag closed. 130. INT. ANNA'S HOUSE - SAM'S ROOM. EVENING Night has fallen. Sam's nose is stuck to his bedroom window. He sees his aunt sitting at the plastic table in the garden downstairs with her face in her hands. A door slams. Sam rushes to the bathroom window. He sees his father stomp down the street, never once looking back. Sam remains glued to the window pane. Ali's silhouette moves through the halo of a streetlight before again disappearing into the dark. Sam watches him for as far as he can. Fade to black. 131. INT/ EXT. BASEMENT. DAY In the half-light of the basement, a rectangle of light has formed where the door opens onto the street. Stephanie looks over Ali's mess: his magazines, body building equipment, dirty T-shirts, track suits hanging over a trestle... Anna is standing against the light at the door and, a bit farther off, Sam is sitting on the stairs watching them. ANNA In his message he said he was in Strasbourg. No news since. I don't know what he's doing 111 there, or even if he's still there. Has he called you? She shakes her head "no". ANNA Did you try the gym? STEPHANIE Yeah. They don't know. ANNA If I had an address or a number, I'd give it to you... Even if I think it's dumb. Do you believe me? STEPHANIE Yes. ANNA After what he did to me... Sam sees Stephanie join Anna near the door. She's about to leave. ANNA He abandoned his kid. He doesn't give a fuck about anything. All he ever cared about was himself. He's totally selfish. Sam watches the two women swallowed up by the light. STEPHANIE (OFF) You don't know him. ANNA (OFF) Me? What did you expect with him? STEPHANIE (OFF) I don't know. Not this. Fade to black. Black. 112 132. EXT. ALSATIAN COUNTRYSIDE. MORNING A frosty landscape with trees that look like they've been engraved in ink... A group of twelve joggers in blue track suits run across a landscape of gray sky and snow. Some shadowbox while running. Ali is wearing a wool cap pulled down around his ears. He runs alongside Foued. 133. INT. HOLIDAY VILLAGE. GYM. DAY A ring has been set up in the middle of the gym. A few guys have gathered round to watch Ali rhythmically pound on his trainer's bear-like paws. Leonardini sets the pace. LEONARDINI 1,2... 1,2,3,4... Faster! 1,2,3. Yes. Faster! Move! You're stepping back! Ali pounds harder and harder. He times his respiration to match the movement of his fists. 134. INT. HOLIDAY VILLAGE REC ROOM. EVENING Young athletes, some tall, some short, some heavyset, some not, are sitting on refectory chairs to watch TV. Ali does too. His hair is cut short and his face is closely shaven. He looks younger. He could be a student. 135. EXT. RICHARD'S TRUCK. NIGHT/DAY A truck rushes headlong through the countryside. First it is day, then night. 136. INT. HOLIDAY VILLAGE. DAY Through the window, Ali sees a twelve-ton Scania pull to a stop at the entrance to the parking lot and beep its horn. Ali runs out to meet it. 137. EXT. HOLIDAY VILLAGE - PARKING LOT. DAY Richard lowers his window. 113 RICHARD I can't come in any further or I won't be able to get back out! Ali checks out the huge semi. ALI Looks like you changed trucks! RICHARD Bosses, in fact. I'm back to being exploited. Ali doesn't insist. Richard opens his door to let out Sam who is already trampling him, trying to get out. RICHARD (to Sam) Got everything? Your bag, your coat, your hat, your mittens? You haven't forgotten anything? Now give me a kiss. Sam gives him a kiss. Richard slips him out and into Ali's arms. ALI How are things there? RICHARD They're okay. ALI My sister? RICHARD She found a job at a school cafeteria. She seems to enjoy it. ALI Does she know about today? RICHARD Yes. She says it's good for the kid. ALI Tell her I can't help out for the time being but that as soon as I have a little money... 114 RICHARD Don't worry. When's your fight? ALI Next month. On the 9th. Richard smiles admiringly. RICHARD Keep us posted if you win. ALI Sure I will. RICHARD Yeah, right... Okay, I'm off. I'll deliver my load in Colmar and pick up the kid at around 7, okay? ALI Okay. RICHARD No later, because I have to be back tomorrow at 11. The two men say good-bye. Sam waves good-bye. 138. EXT. ALSATIAN COUNTRYSIDE. DAY A path runs through fields and into a clump of fir trees. Ali pulls a plastic sled with Sam on top. Whenever there is a slope, he lets Sam glide down it and runs after him. Snow falls from the trees. He looks up and sees a couple of squirrels jump from branch to branch. Sam has never seen any before. Ali neither. Sunlight filters through the branches. A group of cross- country skiers trudges by. SAM I want to skate too! 115 ALI They're not skating. They're skiing. SAM No, they're skating. ALI They're skiing, I said! SAM Skating. A few steps on: ALI Skiing. SAM You're annoying me. They take a break at a picnic area, where they eat some sandwiches and drink orange soda. ALI (his mouth full) Does Auntie still have dogs? SAM No, now it's chickens. ALI In the garden? SAM Yeah, in the cage. They lay eggs. ALI That's good. SAM But Auntie doesn't want me to take the chicks in my room. ALI She's right. They're disgusting. (pointing to his sandwich) Finished? You want some 116 applesauce? Afternoon. On the way back, they find a frozen pond. Ali carefully advances on the ice. He tests it. Jumps on it. Then he lets himself go and glides across the ice. ALI You can go. But not too far! Sam starts slipping and sliding. He falls down. He lies on the sled and lets it glide. Ali pees behind a tree. Sam is far away. ALI Come on, we have to head back! SAM 5 minutes. ALI Now! SAM (showing his fingers) 5 minutes! ALI 5 minutes. And then suddenly, instead of gliding, the child sinks. He tries to climb out and sinks again. A thin layer of ice is forming over him. SAM Daddy! Daddy! ALI Shit! Ali rushes to the pond, but Sam is already iced over. He kneels down and then crawls on his stomach toward the hole. Sam has disappeared. Ali shoves aside snow. He looks everywhere, but sees nothing. And then he hears a noise, blows like signals coming from under the ice. Ali crawls 117 over and clears away snow as best he can. Under the ice, he sees Sam's face, staring wide-eyed. Ali begins to pound both his fists on the ice, like pistons or pestles... As if pounding on his punching bag. 139. UNDER THE ICE. DAY Underwater, we hear the sound of dull thuds. Sam sees his father's fists pound on the ice. He sees bloodstains. The ice cracks, a bloody fist searches the water for him. Sam closes his eyes. 140. EXT. POND. EVENING Evening is falling. Ali has stretched Sam out on the rim of the pond. The child has turned blue. He tries mouth-to- mouth resuscitation, he massages his heart and rubs him down. 141. EXT. COUNTRY ROAD. EVENING Ali's respiration has become a grunt, then a groan. He runs. He has stowed Sam behind the front of his parka and runs as fast as he can. He slips, gets back up and runs again... he again breathes into Sam's mouth... while still running... 142. INT. STRASBOURG - HOSPITAL - ICU. DAY Leaning against the window of the Intensive Care Unit, Ali sees Sam's nude, tiny body being worked on by doctors... his skin is blue from the cold... there is a tube in his mouth... his ribs rise and fall to the rhythm of a respirator... his mouth spits out brackish water brutally... A door opens and a nurse appears. Ali straightens up. NURSE We'll take care of you. Come with me. He doesn't understand. Then he notices the blood prints his hands have left on the ICU window. He looks at his scarred fingers, his broken, bloodied hands. 118 143. INT. SAM'S HOSPITAL ROOM. EVENING Sam is lying in a hospital bed. His eyes are closed and coils of tubes attach him to control apparatus. Ali is at his side. His hands are now wrapped in thick bandages. The disinfectant makes him look like he is wearing yellow gloves halfway up his arms. Richard is standing behind him, near the window. Ali takes Sam's fingers, places them in the palm of his bandaged hand and looks at them. Sam's eyes begin to dart wildly under his eyelids... his fingers quiver... his eyes open. 144. INT. HOSPITAL - CORRIDOR. NIGHT There are not many people in the corridor at this late hour. Richard is bent over a coffee machine. A cup slowly fills up. Farther off, Ali is KO, leaning against a wall. Richard brings him a coffee. Ali takes it clumsily into his damaged hands. Richard's cell phone rings. He moves away to answer and speaks into it softly. A few moments later, he returns to Ali and hands him the phone. RICHARD Here. She wants to talk to you. ALI Anna? Richard shakes his head. ALI Hello? STEPHANIE (OFF) It's me. (pause) Do you mind? ALI No. 119 STEPHANIE How is he? ALI Okay. He woke up an hour ago. STEPHANIE Is he injured? ALI No, I don't think so. STEPHANIE And how are you? ALI I fucked up my hands on the ice. STEPHANIE Is it serious? ALI They're broken. A beat. ALI How are you? STEPHANIE I'm okay. ALI What are you up to? STEPHANIE You mean in general? In my life? ALI I wanted to say that... STEPHANIE I'm not asking for anything. I'll be going. I'll call you back to see how Sam's doing. Give him a kiss him from me... 120 ALI Don't hang up. STEPHANIE ALI Don't hang up! STEPHANIE I won't hang up... ALI He was in a coma for 3 hours... Three hours... For three hours he was dead... I was scared to lose him. His eyes well with tears. ALI Don't leave me. STEPHANIE I won't leave you. Black. ALI I love you. 145. INT. POLAND. HOTEL ROOM. DAY A child sleeps. His eyes are darting under his eyelids: vestiges of light and shadow, of noise. Sam opens his eyes: he is in a hotel room. At the foot of the bed, a TV with the sound turned down low is broadcasting a cartoon of mice fighting in Polish. Stephanie comes and goes, picking up things littering the floor and packing their bags. Over these images, we hear Ali's voice: The human hand contains 27 bones. Some monkeys have more: gorillas have 32, five in 121 each thumb. For humans, it's 27. If you break an arm or a leg, after a while calcium gathers around the bone and joins it together. In the end, it's stronger than before. But if you break a bone in your hand, you know it'll never fully heal. You'll think about it before every fight. You'll pay attention... And even if you pay attention, the pain will come back... like needles, like broken glass... Ali is wearing a T-shirt. He still bears the marks of yesterday's fight. His eyebrows and hands are bandaged. ALI Wake up, kiddo. It's over. We're going home. SAM Did you win? He smiles and kisses his biceps. 146. INT. POLAND. HOTEL - LOBBY. DAY The lobby of a Holiday Inn, the day after an Ultimate tournament... (much the same ambience as in Turin) The fighters, winners and losers, are about to leave. They greet each other, pose for photographers, answer interviewers, sign autographs... Ali's hands are still bandaged. He is being interviewed along with a kind of Viking with a closed eye and broken arm. Ali goes to join Stephanie and Sam outside the hotel, where a taxi driver is loading their luggage. A young Polish fan calls out: "Ali! Ali!" He wants a photo. Ali lifts Sam into his arms and pulls Stephanie closer. They pose. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_S. Darko.txt b/unformated_scripts/Script_S. Darko.txt new file mode 100644 index 0000000000000000000000000000000000000000..6e52a1f6a7e37b37efa5331ff435fb931955bdcc --- /dev/null +++ b/unformated_scripts/Script_S. Darko.txt @@ -0,0 +1 @@ + S. DARKO Written by Nathan Atkins Second draft EXT. WHEAT FIELD - MORNING SAMANTHA DARKO (18) opens her eyes. She squints as the summer sun shrinks her pupils to pinhole size. She sits up slowly, looks around... and finds herself in midst of an endless wheat field. Sam is pretty and demure. Her coppery hair flows past her shoulders. Disoriented, she stands and gazes at the infinite golden shimmer. Amber waves of grain. Patches of forest in the distance. It's quiet. Serene. Beautiful... She smiles, and starts walking. EXT. ARKANSAS HIGHWAY 40 - MORNING She emerges at the shoulder of a rural stretch of highway in Arkansas. Adjacent to her position, on the other side of the deserted lanes, is a TRUCK STOP. EXT. TRUCK STOP - MORNING Amongst the TRACTOR-TRAILERS parked in the back lot is a white, late-80s model CHEVROLET CELEBRITY. Sam makes her way across the asphalt toward the vehicle... INT. COREY'S CHEVROLET - MORNING COREY RICHARDSON (18) is asleep, curled up in the reclined driver's seat of the car. She awakens when Sam gets in on the passenger side and slams the door shut. Corey has the look of a typical rebellious teen: dyed hair, piercings, a little grungy. She rubs the sleep from her eyes, greeting the new day with something less than enthusiasm. She finds a soft pack of CIGARETTES and lights one. COREY What time is it? SAM Early... Corey adjusts her seat. She takes a long drag and chokes, then spits out the window. She starts the car... 2. I/E. COREY'S CHEVROLET/HIGHWAY 40, VARIOUS - DAY Corey's car cruises along the flat, open road. She cranks up the VOLUME on the car's CASSETTE DECK, nodding her head to early-90s ALT. ROCK (suggestion: Into Dust, by Mazzy Star)... Sam looks out the window at the passing scenery: FARMERS at work in the fields; a BILLBOARD advertising a local restaurant; ROADSIDE DITCHES filled with trash... She fixates on a MINIVAN travelling in the slow lane. It contains the all-American NUCLEAR FAMILY: MOTHER, FATHER and three SIBLINGS, one of them being a YOUNGSTER. The Youngster makes a face at Sam as they pass by... INT. COREY'S CHEVROLET - LATER - DAY Corey glances at the CONTROL PANEL when she HEARS the engine start to RATTLE. She sees that the TEMPERATURE GAUGE has hit the red and her CHECK ENGINE LIGHT is on. COREY Shit... EXT. OKLAHOMA HIGHWAY 40/COREY'S CHEVROLET - DAY By the time they pull over on the side of the empty highway, steam billows out from under the hood. Sam gets out of the car to check on it while Corey remains behind the wheel. Sam peeks under the hood, trying to clear the air of the steam. It sounds like someone is rhythmically TAPPING the inside of the engine with a hammer. SAM Turn it off. COREY (poking her head out the WINDOW) What? SAM Turn off the car. Corey does so. SAM (CONT'D) Doesn't look too good... COREY How do you know? 3. SAM It smells funny. Sam looks up when she HEARS a PICK-UP TRUCK coming toward them. Corey watches as she steps out to wave it down... The pick-up pulls over ahead of them. CHRIS HOLT (24), a brawny, attractive young man, gets out. When Corey sees him she gets out too. SAM (CONT'D) Thanks for stopping. Our car's messed up. CHRIS What happened? COREY My check engine light came on, then it just started smoking, and ticking and shit. As Chris pokes around under the hood, Sam and Corey exchange looks. Chris pops opens the COOLANT CAP and burns his hand on the steam explosion. CHRIS (shaking it off) Blew your water pump. Can't drive it. COREY Fuck me... CHRIS El Reno's just a couple miles up ahead. Can call for a tow there. C'mon, I'll give you a lift. I/E. CHRIS' TRUCK/EL RENO, VARIOUS - DAY All three crammed into the cab of the pick-up, they drive through the center of El Reno, Oklahoma (population 16,000) and see some of the locals out and about [MUSIC MONTAGE fueled by early- to mid-90s era GRUNGE ROCK (suggestion: Come As You Are, by Nirvana) -- reminiscent of the `Middlesex Middle School Montage' in DONNIE DARKO]: AGATHA DOWDY (54), an employee of the local DINER, sits on a bench in front of the establishment smoking a cigarette. The manager, TED MONCTON (50), calls her back inside... 4. RANDY EVANS (21), RUTH GIBBENS (18) and JEFF (21) and MIKE JIMENEZ (20) loiter in the parking lot of a LIQUOR STORE... TRUDY POTTER (39) flirts with FATHER HOMEIJER (54), a Catholic priest, outside the BANK. A BANK SIGN shows the TIME -- 12:00 PM -- then flashes to the DATE -- JUNE 18, 1995... OFFICER RYAN O'DELL (31) has pulled over a PRETTY LADY and uses his uniform to impress more than intimidate... They come up on VIETNAM TOM (48), who ambles along the side of the road against traffic, and he waves to them as they pass. He wears old, weather beaten clothes and a multi- colored SKI MASK over his head and face... [END MONTAGE] Sam swivels her head to watch Tom. ANOTHER CAR passes and he waves to it as well. Chris picks up on her curiosity. CHRIS He waves to everybody... Just kinda walks up and down. COREY Resident nutcase? CHRIS People call him Vietnam Tom. SAM He was in the war? CHRIS He thinks he was... kind of a joke, ya know? Sam continues to stare until he disappears out of sight... PAN DOWN to a PUDDLE by the side of the road. As a CAR TIRE splashes through it, PAN UP TO FIND: I/E. DUSTY'S GARAGE/HOUSE - AFTERNOON Dusty's auto repair shop, which is nothing more than a big garage attached to his old two-story house. Corey's car has been towed there, and DUSTY GIBBENS (37; father of Ruth Gibbens), the lone mechanic, tinkers around under the hood. Sam and Corey sit on the front steps of the house waiting, bored as hell. A PIT BULL laps at a nameless treat wedged into a crack in the walkway. The girls are forced to get up when Ruth (from outside the liquor store) comes to the door. 5. RUTH Can I get out? Sam and Corey move so that she can exit the house. Ruth's look is hardened, rough around the edges -- she appears older than her 18 years. The girls watch as she enters the garage to see her father. She whispers something in his ear, and Dusty hands her some CASH, which she pockets then kisses him on the cheek. After this, Dusty wipes his hands on his greasy jeans and comes outside to address Corey and Sam. DUSTY Yeah... it's the water pump. COREY So what do we do? DUSTY I can order you up a new one. Probably be a couple days. COREY Great. This the only show in town? DUSTY Cheapest and the best. But you want me to call the tow guy back here, no problem. Probably charge you another hundred bucks, but he'll get ya wherever you wanna go. COREY Just go ahead and fix it. INT. MOTEL LOBBY - AFTERNOON Phil Coulter (48), the proprietor of a dingy little roadside motel, looks up from a hardcover copy of Stephen King's GERALD'S GAME when the girls enter. They each have a SMALL SUITCASE and a BACKPACK in tow. PHIL What can I do for you? COREY We need a room. He gets out a notebook and lays it out on the counter. Corey finds a pen and starts to fill out a registration form... A NEWS BULLETIN about the O.J. SIMPSON TRIAL plays at a LOW VOLUME on a TELEVISION in the b.g. 6. SAM How much is it? PHIL $39 a night. How many you stayin'? COREY Just a couple, we hope. He takes the KEY to ROOM 15 off the rack. PHIL Well... welcome to El Reno. EXT. LIQUOR STORE - NIGHT Sam and Corey arrive at the liquor store, which is down the street from the motel. Ruth, Randy Evans, and Jeff and Mike Jimenez are loitering in the parking lot in a similar fashion to how they were earlier in the day. RUTH You get checked into the motel alright? COREY Yep. Randy seems surprised that Ruth has already made their acquaintance. He wastes no time in introducing himself. RANDY My name's Randy. This is Mike and Jeff. Guess you already know Ruth. COREY Corey. SAM I'm Samantha. They shake, and Corey seems at ease mingling with the strangers. Sam hangs back a little. COREY One of you guys mind pickin' us up a bottle of something? RANDY I think I can manage that. What do you want? 7. COREY I don't know. Vodka, whiskey, whatever. Corey looks to Sam, who produces some cash. Randy takes the money and heads for the store. RANDY Be right back... After he's gone, there's an uncomfortable moment of silence in which Mike and Jeff ogle the girls mischievously. Ruth stares at them in a different way. She seems somewhat resentful of their presence. RUTH From Virginia, huh? COREY Yep. RUTH I saw your plates... Corey and Sam both nod in mundane acknowledgment. Another beat of uncomfortable silence. RUTH (CONT'D) Where to? COREY What? RUTH Your obviously just passin' through here. SAM We're on the way to Vegas. Ruth snickers. RUTH Well... you need anything besides booze, you just lemme know. Randy comes out of the store with a bottle in a brown bag. He passes it off to Corey, along with some change. COREY Thanks a lot, man. 8. RANDY No problem. You guys wanna come back to my place for bit? Bring your bottle, we got some weed... Corey looks like she's considering it, but -- SAM I'm really tired. She takes Sam's signal. COREY Yeah, I think we'll just head back. Been a long day, ya know? RANDY That's cool. EXT. BANK - LATER - NIGHT The clock on the BANK SIGN shows 3:30 AM -- then flashes to -- JUNE 19, 1995... It changes again, this time to a countdown to the JULY 4TH FIREWORKS CELEBRATION: 15 DAYS, 17 HOURS, 29 MINUTES, 57 SECONDS... 56 SECONDS... 55 SECONDS... INT. MOTEL ROOM 15 - NIGHT Sam awakens suddenly from a nightmare. She lies atop the blankets wearing a T-SHIRT and BOXER SHORTS. She looks over and sees Corey passed out on the other full-size bed. TWO PLASTIC CUPS, EMPTY SODA CANS, and the BOTTLE are on the nightstand between them, the liquor partially consumed. There's a digital CLOCK/RADIO that reads 3:30 AM. The TV is on, and a late night INFOMERCIAL for the GEORGE FOREMAN GRILL plays. Sam stares at the screen as the images WARP and RIPPLE in a way that coincides with an increasingly loud, rumbling TREMOR from outside... In a daze, she gets up and slowly walks closer to the television. She reaches out with her RIGHT HAND, about to touch it... A strange, abrupt HARD CUT TO: EXT. GRASSY FIELD BEHIND MOTEL - NIGHT Sam is in a grassy field behind the motel, moving away from the building. She wears a HOODED SWEATSHIRT, JEANS, and her RIGHT HAND is wrapped in some sort of MAKESHIFT BANDAGE. 9. There's a GASH in the side of her forehead by her temple, with what looks to be a SHARD OF METAL partially embedded under the skin and protruding from the wound. She is without expression, and her movements are rhythmic and fluid. A tall AERMOTOR WINDMILL towers in the distance... SAM'S LUMINOUS POV - THE GRASSY FIELD A glimpse of the field through Sam's eyes shows a phosphorescent PLANE OF DESTINY -- an intricate grid in which objects organic and inorganic dwell in assigned positions, and move according to a framework of set paths. A JACKRABBIT follows a silvery VECTOR SPEAR like prophetic life-gel to its burrow... COSMIC ENERGY burns around a CLUSTER OF STONES... Miniature VECTOR SPEARS lead a SWARM OF INSECTS around in a circle and then BUZZING right past Sam's field of vision... It's infinitely complex, but Sam sees through it clearly. She has no vector spear of her own to guide her, but she is cognizant of her path... She moves toward the WINDMILL. EXT. WINDMILL - NIGHT Sam appears at the foot of the windmill tower. A giant WATER TANK squats beside it. Remaining stoic, she looks up and sees Vietnam Tom sitting atop the windmill platform, more than 30 feet up, staring back down at her through the eyes holes of his ski mask... ANGLE: WINDMILL PLATFORM Tom peers over the edge of the small platform, the surface of which is littered with TATTERED CLOTHING, a WATER BOTTLE, CANS OF FOOD and SCRAPS OF A TARP. He cradles a RIFLE in his arms... His focus shifts from what is at the foot of the windmill to what is sitting right beside him -- REVEAL Sam. Her legs dangle over the side of the platform, and she stares off into distance. SAM The sky's so beautiful here... Tom looks in the direction that she stares and then back at her. Sam turns to meet his gaze... 10. SAM (CONT'D) But we can't stay. SAM'S LUMINOUS POV - VIETNAM TOM Sam sees through to the core of his physical being, the DYNAMIC CENTER of which lingers pulsating in a translucent circle around his chest. Magnified NEURONS in TOM'S BRAIN send ELECTRIC IMPULSES that release NEUROTRANSMITTERS, which excite OTHER NEURONS... Tom slowly reaches out to touch Sam, but an invisible FORCE FIELD makes contact impossible. RIPPLES swell throughout the clear plasma-like barrier from where he touched it, and his hand remains glued to the spot. Sam extends her bandaged right hand, and presses it to Vietnam Tom's as if she were touching a mirrored image of herself. The contact generates more RIPPLES, and as TREMORS begin to shake the windmill a DISTORTED VOICE echoes throughout the COSMOS: DISTORTED VOICE (V.O.) 15 days... 18 hours... 45 minutes... 6 seconds. That is when the world will end. A CYLINDRICAL PORTAL opens up below them, gaping and swirling like God's eye on the mouth of a liquid tornado. As Sam and Tom stand in unison to peer into it, a HEXAGONAL PLATE OF WHITE LIGHT emanates from within -- EXT. BELOW WINDMILL - NIGHT They appear near the foot of the windmill, sprinting away from it together. Tom has his rifle, and he looks up to the sky as he runs... ...there's a brilliant flash of GREEN LIGHT -- deafening THUNDER -- a blinding EXPLOSION -- EXT. BUS STOP - MORNING Sam awakens to the morning sun blinding her. She struggles to peer through the harsh whiteness at a looming figure that stands over her. Her eyes adjust to discover that it's a policeman -- Officer O'Dell. 11. OFFICER O'DELL `Fraid you can't sleep here, miss. Sam sits up and realizes she's on a bench at a bus stop near the side of the road. O'Dell's tone is innocuous, and when she looks up at him again she sees that he's grinning. OFFICER O'DELL (CONT'D) Got anyplace to be? Sam manages to find her voice. SAM The motel. She takes his hand and rises. I/E. O'DELL'S CRUISER/MOTEL - MORNING O'Dell's cruiser pulls into the motel parking lot, which is uncharacteristically full. A FIRE TRUCK is parked by the side of the road. Just then, a call comes in on the POLICE RADIO: DISPATCH (V.O.) We got some kinda situation at Frank Haley's farm... OFFICER O'DELL Copy that. I'm here now... EXT. GRASSY FIELD BEHIND MOTEL - MORNING Where the towering windmill once stood is now only a CRATER about 5 feet deep and 10 feet in diameter, with charred bits of wood and metal strewn everywhere. GROUND WATER spurts from the broken WELL SEAL... And a cantaloupe-sized METEORITE sits in the center of the crater. Two FIREMEN haul out the meteorite with gloved hands as Sam and O'Dell arrive on the scene. Corey is already there looking on, as well as Chris Holt, who gave them a ride into town, Phil Coulter from the motel, and other local CITIZENS. FRANK HALEY (54), the farmer who owns the land, is fuming. FRANK Un-fuckin'-believable... The Firemen drop the porous, misshapen clod by his feet. 12. FIREMAN #1 It's still warm. FRANK You know how much it's gonna cost me to replace this goddamn windmill? Officer O'Dell steps up beside him and kicks the meteorite with his boot. OFFICER O'DELL Sell this thing off to some meteorologist nerd club, I bet you could do okay. FRANK Ya think? Sam looks down at a CAN OF FOOD on the ground amidst some scorched CLOTHING. O'Dell takes note of some other CANNED GOODS and SCRAPS OF TARP. OFFICER O'DELL What's all that stuff, Frank? FRANK That whack job Tom's been squattin' up there the last couple a' months. Thinks he's the goddamn town watchman... (BEAT) You think he got blown up? Everyone scans the ground for signs of human remains until Phil pipes up: PHIL I saw him out in front of the motel early this morning, alive and well. FRANK (SARCASTIC) Oh, well, thank heavens... Sam turns and peers up at the WATER TANK. It's marred by BURN MARKS and DENTS from the explosion. As she tilts her head and looks closer, she can almost pick out a shape created by the damage -- a negative image like the Shroud of Turin... ...in the form of a bizarre, toothy-grinned FACE OF A GIANT MONSTER BUNNY. 13. EXT. MOTEL - MORNING Sam and Corey are on their way back to the motel room when they turn and see that Chris has followed them. CHRIS Hey... SAM Hey. CHRIS So you guys stayed here last night? COREY One of us did. Sam gives Corey a look. Chris decides to ignore the comment. CHRIS What's up with your car? COREY It's gonna take a couple days. CHRIS For a water pump? Sam and Corey shrug. CHRIS (CONT'D) None of my business, but... He's distracted when a brand new `95 BMW pulls up and parks nearby. JEREMY FRAME (25), a thin, pale young man hops out and hustles into the field toward the crash site. SAM What? Chris regains his train of thought: CHRIS I was just gonna say, if you wanted, I could give you a ride back. He looks right at Sam when he says this. He then glances over at Corey, as if just remembering she was there. CHRIS (CONT'D) You too. I mean, I could give you both a ride. 14. COREY To Middlesex, Virginia? Do you have any clue how far that is? CHRIS (SHEEPISH) I got some time... Sam looks as though she's about to say something but Corey overpowers her. COREY We're not goin' back. Even El Reno's better than there. Chris makes eye contact with Sam again. She maintains it for a moment and then looks away. EXT. JUNKYARD - DAY Vietnam Tom explores a cluttered junkyard, gathering materials. He scours amongst the PILES OF REFUSE, RUSTY MACHINES and crumbling STORAGE SHACKS. He bends to pick up a SCRAP OF METAL and adds it to a collection he's making in a worn SATCHEL... EXT. DINER - DAY As Sam and Corey are about to enter the diner, Trudy Potter, a bank teller, is on her way out. The girls move to the side so she can exit, and take notice of a MISSING PERSONS SIGN posted next to the door -- BILLY MOORCROFT'S (10) dark, empty eyes stare at them from the BLACK & WHITE PHOTOGRAPH. TRUDY (O.S.) Isn't that just awful? Trudy has stopped and is looking over their shoulders. TRUDY (CONT'D) His poor mother... INT. DINER - DAY The girls sit at a booth, sipping Cokes. COREY How much money do we have left? 15. SAM Not a whole lot. COREY I can't believe your fucking parents wouldn't give you anything. SAM They totally flipped out that I was even going. They weren't about to give me money for the big trip. COREY We should've waited till the end of the month when my mom gets her check. SAM She wouldn't have given you anything. COREY I know where she keeps her cash. What's she gonna do, send her boyfriend after me? Corey pokes at the crushed ice in her glass with her straw. COREY (CONT'D) Doesn't matter. As soon as we get to Vegas, we'll be set. My cousin said sometimes she makes two grand in a week. SAM Jesus. Sam is impressed, but something about her subdued reaction exhibits reservations... Just then, Agatha Dowdy arrives with plates of BURGERS AND FRIES. AGATHA Here you go. Where'd you two say you were from again? SAM Virginia. AGATHA You hear that, Ted? She calls to Ted Moncton, who is busy behind the counter. 16. TED What? AGATHA These girls are from Virginia. TED I'll be damned. I'm from Reedville, if you know where abouts that is... Neither Sam nor Corey give much of a hint as to a yes or no. TED (CONT'D) Well, have yourself some ice cream when you're done, on the house. COREY SAM Okay. Thank you. AGATHA Anything else you need, give a holler. Agatha moves off, and Sam and Corey start to dig into their food... Momentarily, someone else enters and takes a seat at the counter by their booth. It's Jeremy Frame, the driver of the BMW. He raises a finger to alert Ted of his presence. JEREMY Just a coffee, please. Ted nods and pours him a cup... After he receives his coffee, Jeremy turns and stares at the girls. They both notice him doing it, but Corey is the first to speak. COREY Can we help you? JEREMY No, no... it's just that I recognize you. I saw you by the motel. Pretty amazing, huh? COREY I guess. JEREMY I just made a deal with Frank Haley to buy it for seven-hundred fifty dollars. 17. COREY Whoop-dee-doo. What the hell are you gonna do with a friggin' meteor? JEREMY Meteorite, actually... Corey rolls her eyes at being corrected. Sam smirks and munches on a french fry -- she's enjoying their conversation. JEREMY (CONT'D) I'm gonna study it. I'm a grad student at Redlands... we've actually got a pretty cool geology lab there. Corey focuses on her lunch, ignoring him, but Jeremy goes on. JEREMY (CONT'D) I've gotta do some tests, but if I had to guess, I'd say it's a siderite. They're composed primarily of iron and nickel. COREY Have fun. JEREMY My name's Jeremy. COREY That's nice. Sam glances up at Jeremy, expecting him to be hurt or embarrassed by Corey's snub. But he's not. He's smiling at her, and she can't help but smile back. EXT. FATHER HOMEIJER'S HOUSE/CHURCH - AFTERNOON Each licking an ICE CREAM CONE, Corey and Sam walk past the home of Father Homeijer. The priest is outside working in his flower garden, wearing his CLERICAL COLLAR. An old CATHOLIC CHURCH rests on the same lot as his house, looming behind it. When Father Homeijer sees the girls walking by, he rises from his work, takes off his gloves and wipes sweat from his forehead. Sam and Corey both notice him eyeballing them. COREY What's his problem? 18. SAM Just keep walking. Corey waves to him in a sarcastic, exaggerated manner... The priest doesn't wave back, but continues to gawk at them until they go around the corner. COREY Freak... EXT. JUNKYARD, STORAGE SHACK - AFTERNOON Vietnam Tom crouches in a decrepit SHACK covered by a piece of CORRUGATED ROOFING. He works with great focus, arranging VARIOUS BITS OF METAL into some sort of small SCULPTURE... EXT. LIQUOR STORE - LATER - AFTERNOON Having finished their ice creams, the girls pass the liquor store on the way back to the motel. They find Randy, Ruth, Jeff and Mike at their usual post. RANDY Hey, what's up? COREY Not much... just getting stared down by creepy priest boy back there. JEFF Father Homeijer? MIKE Don't worry, you're a little old for his taste. JEFF Yeah, he's a fuckin' perv. COREY (to Randy) You got an extra cigarette? Randy takes a pack from his pocket and offers her one. RANDY I'm throwin' a big party at my house tonight, you guys should come by. No excuses this time... Sam and Corey look at each other, considering. 19. RANDY (CONT'D) You're gonna be stuck in El Reno, you might as well have some fun, right? EXT. RANDY'S HOUSE, BACKYARD - NIGHT The party at Randy's teems with LOCALS, ages ranging from early teens to late-20s. On the back deck is a KEG OF BEER and a BOOMBOX blasting MUSIC. There's a slimy-looking POOL, and a few people swim in the greenish water. Randy and Ruth make their rounds as a pair. They stop off so Ruth can sell a BAG OF WEED to some eager KIDS. Corey and Sam hang with Mike and Jeff, drinking beer. COREY You guys gotta come visit the club when we get all set up. We'll give you the VIP treatment, man... Mike and Jeff are both excited about this proposition. MIKE Sounds good to me. COREY Give us a little time, me and Sam'll be runnin' that place, no doubt... right? SAM Yeah. Definitely. Corey is relaxed, enjoying their newfound friends, while Sam appears more out of place. She drains the better part of her cup for some liquid courage. Randy and Ruth converge back on the group just as Officer O'Dell creeps into the backyard wearing plainclothes. Ruth notices him first. RUTH Fuck. RANDY What? RUTH That pig, O'Dell. 20. RANDY Don't worry about Ryan. He might be a cop, but he still likes to party. Randy's theory is proven when O'Dell takes a FLASK from his pocket and has a snort before approaching a pair of TEENAGE GIRLS... But Ruth is still not satisfied. RUTH I think that asshole knows I deal. You know how fucked that is? RANDY From what I hear he's got a little somethin' goin' on the side himself. RUTH Fucking pig's a pig. They're all distracted when somebody does a cannonball into the pool and splashes them. MIKE JEFF Fuck! Bastard! SAM What the hell... Sam bends to wipe some of the water from her pants. Ruth watches her, smirking. RANDY We might as well all go in now, we're already wet. RUTH Good idea... Without warning, Ruth shoves Sam backwards into the pool -- ANGLE: BENEATH THE WATER She sinks into the murky water in SLOW-MOTION. All SOUNDS are DROWNED OUT and everything is tranquil, completely detached. Through her blurred vision, Sam can see Randy's PORCH LIGHTS glimmering beyond the surface of the water... TRANSITION TO: 21. INT. AUDITORIUM - NIGHT The SPOT LIGHTS are blinding from the perspective of the STAGE. Through the WHITE BLUR an auditorium full of PEOPLE can been seen... In SLOW-MOTION and perfect synchronicity, YOUNG SAMANTHA (11) and the "SPARKLE MOTION" GIRLS are in the midst of their dance performance... BACK TO: EXT. RANDY'S HOUSE, BACKYARD - NIGHT A HAND reaches into the pool, grabs onto Sam's arm and pulls her up -- She breaches the surface of the water, gasping for breath -- back to reality. She sees that Randy is the one responsible for pulling her out. RANDY You fall asleep down there? He, Ruth and the others are looking down at her, laughing. Sam is lost in thought, struck by her vision... She snaps out of it when she sees Corey tear off her top and jump into the pool beside her. Many of the PARTYGOERS hoot in approval, and Randy, Mike and Jeff strip down and leap in right behind her. Sam swims toward the far side of the pool where the steps are, and fewer people. When she arrives there, she's surprised to find Chris Holt waiting for her with a towel. CHRIS Thought you could maybe use this. As Chris hands her the towel, he notices a wide SCAR on the inside of Sam's RIGHT WRIST... but doesn't mention it. Sam wraps the towel around her sopping wet body. Corey looks over and sees her getting out... EXT. RANDY'S HOUSE, PORCH - MOMENTS LATER - NIGHT Chris and Sam stand by the keg with fresh beers. CHRIS So what's so wrong at home that you had to take off? The question takes Sam by surprise. 22. CHRIS (CONT'D) I'd love to get outta here someday too... just don't know quite where I'd go. Sam decides to open up a little. SAM I hate it there. It's like everyone knows everything about me, but I'm invisible at the same time. It's like the worst of both worlds. CHRIS Small towns. How `bout your family? SAM They didn't want me to leave... well, they did, but they wanted me to go away to Harvard or something like that, like my sister. Sam takes a big sip of her beer, showing signs of tipsiness. SAM (CONT'D) Sometimes I think it would've been easier if... I just, after my BROTHER- Sam stops herself. CHRIS What? SAM (changing gears) That's why I love Corey, she just doesn't give a shit. She does what she wants and she doesn't care what people think. CHRIS You just gotta be yourself, that's all. What is it you wanna do exactly? SAM I always thought I'd be a dancer, like in a troupe or something... Sam is self-conscious after admitting this. SAM (CONT'D) That sounds kinda stupid probably. 23. CHRIS No... SAM When I was younger, my dance team was on Star Search. CHRIS Really? SAM Yeah... but I didn't go. CHRIS Why not? SAM I didn't end up dancing in the talent show where they got discovered... I didn't really feel like it at the time anyway. CHRIS Huh... SAM But that's why we're going to Vegas. There's lots of opportunities there. Chris glances over to the pool where Corey is topless, splashing and goofing around with some BOYS. CHRIS (SMIRKING) Yeah, good place for it. Gettin' some practice on the way, too. Sam takes offense, getting drunk and sensitive. SAM Is that supposed to be like some kind of judgement or something? CHRIS No, I was just- She takes her beer and storms away from him. CHRIS (CONT'D) Sam, wait... hey, come on... 24. EXT. RANDY'S HOUSE, SIDE ENTRANCE - NIGHT Sam finds a STOOP at the side of the house where she can be alone. She can HEAR the PARTY going on in the backyard, but no one else is in sight. Still soaking wet, she plants herself on the stoop and starts to pound the rest of her drink... A strange, abrupt HARD CUT TO: EXT. STREET IN FRONT OF RANDY'S HOUSE - NIGHT Sam lies in the middle of the street in front of Randy's. A lone, flickering STREET LIGHT intermittently bathes her in an orange glow. She is completely dry, wearing her HOODED SWEATSHIRT and JEANS, with the MAKESHIFT BANDAGE wrapped around her right hand. The SHARD OF METAL protrudes from the GASH in her forehead... A CAR suddenly screams right past her prostrate form, missing her by inches. She sits up slowly and looks toward the front of Randy's house, which is about 20 yards away. SAM'S LUMINOUS POV - DRUNK GUYS Two DRUNK GUYS exit the house and enter the complex, phosphorescent grid that is Sam's field of vision. VECTOR SPEARS jut from their chests and precede all their movements as they open the gas tank of a PARKED CAR, insert a SIPHON, and begin to drain the gas into ANOTHER VEHICLE. DRUNK GUY #1 Hurry up... Although she is close by, they take no notice of Sam whatsoever. ANOTHER CAR speeds by, again nearly crushing her, but she doesn't flinch... She stands, and turns deliberately to face the opposite side of the road where, unlike the Drunk Guys, there is someone who is completely focused on her -- Vietnam Tom crouches in a DITCH near a CULVERT -- ANGLE: CULVERT Sam appears with him in the tenebrous ditch. Tom stares at her wide-eyed through the eyeholes of his ski mask. 25. From one end of the broad, open culvert they can see straight through to the other side... A PORTAL starts to take shape within, swirling around the circumference. Soft, BLUE LIGHT touches their faces from the phosphorescent glow, and a gust of WIND is nearly strong enough to make them falter. On the opposite end of the culvert, a PLATE OF WHITE LIGHT flashes for an instant then transforms into an image of FATHER HOMEIJER'S CHURCH -- EXT. CHURCH - NIGHT Tom and Sam stand outside the church. The STEEPLE reigns over them. Sam is stoic as she watches Tom climb the STONE STEPS and approach the great WOOD DOORS... INT. CHURCH - NIGHT Sam sits like a statue in one of the PEWS. Tom strides past her in a daze, moving toward the PULPIT... Beside the ALTAR stand THREE BARE CROSSES in imitation of Calvary, each standing over 4 feet tall. Sam looks up to a HIGH CORNER, above the pulpit to the right, where two walls and the ceiling meet... SAM'S LUMINOUS POV - CONVERGENCE POINT The three planes come together at an irregular angle, with the WALL ON THE RIGHT SIDE SLANTING INWARD, and the CEILING SLOPING SLIGHTLY DOWNWARD. PHOSPHORESCENCE burns in the three queerly pitches lines, with a concentration of heightened energy at the juncture. A VECTOR SPEAR bulges from Vietnam Tom's chest where he stands below it, reaching higher and higher... As Tom's SPEAR gets closer to the convergence point, the BIZARRE ANGLING becomes more exaggerated because the planes start to DIP and SWELL with impossible elasticity -- ANGLE: BETWEEN THE WALLS Sam and Tom find themselves squeezed between the inner and outer walls. Claustrophobic, dusty and obscure. 26. Dilapidated WIRING snakes around them, and Tom barely has enough space to reach forth and touch it with his finger... COSMIC ENERGY jolts through the WIRE. A SPARK. A BLUE FLAME... Heat and pressure build. The old dry wood begins to CREAK and SNAP -- FADE TO WHITE. OVER WHITE... The SHARP SOUNDS echo and fade away... then become present again. Louder now, and different. A BANGING... INT. MOTEL ROOM 15 - THE NEXT DAY Sam pulls back the CURTAIN OF WHITE -- a SHEET over her face. She's lying on the floor of the motel room in between the beds. She's alone, and naked except for the sheet. Her WET CLOTHES are in a heap beside her. Her head is throbbing... BANG! BANG! BANG! BANG! BANG! She scrambles to put something on so she can get the DOOR... I/E. MOTEL ROOM 15 - MOMENTS LATER - DAY Having thrown on some wrinkled clothes, Sam opens the door to find Phil, the motel owner. He does not look pleased. PHIL You plannin' on checkin' out today? SAM (GROGGY) Uh... I, I don't know yet. PHIL Well, it's already way past checkout time, so you'd better figure it out quick. SAM I've just gotta find Corey... and check on the car. 27. PHIL You do whatever you have to, but if you're stayin' another night I wanna see some money up front. EXT. BANK - DAY Sam approaches the bank, and when she sees the tall SIGN with the digital clock, she stops and stares up at it. It strikes a chord but she doesn't know why... The sign reads 12:48 PM -- and then -- JUNE 20, 1995. It changes to the FIREWORKS COUNTDOWN: 14 DAYS, 8 HOURS, 11 MINUTES, 22 SECONDS... 21 SECONDS... INT. BANK - DAY Sam enters the small bank, and as she approaches the counter she sees that Trudy Potter is in tears. Some of her FEMALE CO- WORKERS are consoling her. TRUDY I don't believe it... I still just don't believe it. FEMALE CO-WORKER It's gonna be alright. You'll see. Trudy looks up and sees Sam waiting uncomfortably. TRUDY (dabbing at her eyes with a tissue) Can I help you? SAM Is everything okay? TRUDY No, it's not... Mount Calvary burned to the ground last night. SAM Mount Calvary? TRUDY Father Homeijer's church. SAM Oh... How did it happen? 28. TRUDY The police are looking into it, but... I know it was arson. Trudy leans in to talk quietly to Sam. TRUDY (CONT'D) It's no secret to me how people in this town feel about Father Homeijer. The horrible accusations that have been made against him... But it's just a lot of nonsense. El Reno's changed so much since I was a kid growing up here. The young people nowadays... (BEAT) No offense. She places her hand on top of Sam's. TRUDY (CONT'D) But with all the drugs and the crime... I just don't know what this world's coming to anymore. Sam tries to redirect her focus. SAM Are you able to get money wired here from my bank back home? TRUDY We don't usually work with other banks like that. SAM I need to check my balance and get my money out. How do I do that? TRUDY You'll have to call and arrange it. You could always use Western Union. Where's your bank? SAM Virginia. TRUDY Oh... `cause they're gonna need to have a signature. Disappointed, Sam turns to leave... 29. ANGLE: NEAR EXIT As she's on her way out, she notices a BULLETIN BOARD with another MISSING PERSONS SIGN for BILLY MOORCROFT. She stands before the picture, staring into the young boy's dark, empty eyes. Though it's just a low quality black & white photo, Billy's face emotes profound hopelessness and despair. EXT. BANK - DAY As Sam comes out of the bank Jeremy rolls up in his BMW and parks in the lot. He gets out and approaches her. JEREMY Hi there. SAM Hey. JEREMY I didn't get your name at the diner. SAM I'm Sam. JEREMY Jeremy. They shake, and Jeremy holds her hand for a little longer than what is generally comfortable. JEREMY (CONT'D) So what are you up to? SAM Trying to get money... not very successfully. JEREMY I've gotta pick up some cash too. Need some supplies for the lab. I don't think I've even slept since I got my hands on that meteorite. You should come by the lab with me and check it out. SAM I can't... Sam starts to walk away from him. 30. JEREMY I could let you borrow some money... if you need some. SAM I don't even know you. JEREMY That's okay. I trust you. SAM Thanks anyway. JEREMY You're sure you don't want to check out the lab? SAM Sorry... I've gotta find Corey. Sam turns to leave. JEREMY Maybe some other time. I/E. RANDY'S CAR - AFTERNOON Corey rides shotgun in Randy's car, chewing on some greasy FAST FOOD, looking quite content. Randy is behind the wheel with a BEER in his hand, and Mike, Jeff and Ruth are packed into the back, passing around a JOINT. MIKE How many cheeseburgers did we get? RUTH Like eight. Mike passes the joint up to Corey and she takes a big hit, chases it with some beer... JEFF Wait, did we get smokes? Everyone in the car is stunned into momentary silence when they turn a corner and see what's left of the church. MIKE RANDY Whoa! Jesus Christ... 31. POV FROM THE CAR - THE CHURCH RUINS POLICE and FIREMEN swarm. Father Homeijer stands with Officer O'Dell, gazing at the soggy ruins. The only things standing amid the charred mess are the THREE BARE CROSSES of Mount Calvary. But they aren't completely intact -- EXT. CHURCH RUINS - CONTINUOUS - ANGLE ON - DEFORMED CROSSES All three are bent drastically forward, sagging down toward the murky ground... OFFICER O'DELL (O.S.) Musta' melted from the heat. Father Homeijer looks down at the metamorphosis, beside himself with bitterness and sorrow. FATHER HOMEIJER They're made of silver-plated steel. A simple fire couldn't do that. OFFICER O'DELL What are you sayin'? FATHER HOMEIJER This is an extension of Satan's own hand... I've seen it coming. Rolling his eyes, O'Dell walks away, leaving the priest to grieve for his church in private. EXT. JUNKYARD, STORAGE SHACK - AFTERNOON Vietnam Tom continues to toil over his SCULPTURE, but progress has been made... It has begun to take on a recognizable form: a GROTESQUE COUNTENANCE with TWO LONG EARS, BULGING EYES and a devilish, TOOTHY GRIN... EXT. RANDY'S CAR/STREET IN FRONT OF DEPARTMENT STORE - AFTERNOON Sam is walking in front of a DEPARTMENT STORE when Randy's car pulls up beside her. Corey sticks her head out the passenger side window. COREY What happened to you? 32. SAM What happened to me...? Where the hell've you been? COREY I crashed at Randy's. We just got food. Want a burger? SAM My stomach's fucked up. JEFF MIKE Awww... Poor tummy... Jeff and Mike taunt her from the back. Ruth leers. SAM (CONT'D) We gotta talk about what we're gonna do. COREY Don't worry about it so much. SAM The motel guy came to the room this morning all pissed off. We're probably not even gonna have enough money to pay for the car. Corey sighs, debating weather or not to get out. Before she can reach a decision, something in the department store's parking lot catches her eye: a LITTLE BOY with dark hair, wearing a BIRTHDAY HAT... But she blinks and he's gone, having disappeared between two parked vehicles. Confused, Corey rubs her eyes and gets out of the car. RANDY Should I wait a minute? JEFF We gotta get some smokes... COREY Just go ahead. I'll catch up with you later on. RANDY Alright. Later. Corey gets out and shuts the door. Randy speeds off toward an intersection about 20 yards ahead... 33. INT. DEPARTMENT STORE - AFTERNOON Chris is at work, stocking shelves inside the department store... He checks his watch, stops what he's doing and grabs a PACK OF CIGARETTES from his breast pocket -- time for a smoke break. EXT. INTERSECTION NEAR DEPARTMENT STORE - AFTERNOON Sam and Corey meander toward the intersection where Randy's car is stopped at a red light. SAM We just gotta figure out what we're gonna do. I don't think- COREY (ABRUPT) Lemme guess, you wanna go home. SAM What? COREY You wanna run back to mommy and daddy and say sorry so they can put you through college. Well that's real big of you, Sam, but I don't have that option. SAM (taken aback) What are you talking about? COREY I'll go home and get the shit kicked out of me, and get my ass grabbed by my mom's boyfriend... They're almost to the light, which is still red, and coming up on Randy's car. Jeff, Mike and Ruth stare out at them from the backseat, smelling the drama. COREY (CONT'D) I knew you'd bail on me eventually, but not this quick. SAM I'm not bailing on you. Would you JUST- 34. COREY You can fucking sleepwalk back to Middlesex for all I care. I'm not driving you... you're a fucking drag. The light turns green, and Randy's car peels across the intersection, making a left... SAM Fuck you, Corey. Sam wheels on her and steps out into the street, storming straight across. Corey starts to follow... but something stops her in her tracks: BILLY MOORCROFT. He stands on the opposite side of the intersection, in the trajectory that Sam is walking -- but Sam doesn't see him. Billy wears a BIRTHDAY HAT, SLACKS and COLLARED SHIRT. He looks pale and weak, and is covered with BRUISES. He stares right back at Corey, as transfixed as she is... TIME SLOWS DOWN. [Note: Sam's position is in the middle of the road. Randy's car has made the left but is still in the vicinity of the intersection.] Bewildered, Corey tries to step out into the street but something blocks her -- an invisible FORCE FIELD makes forward progress impossible. RIPPLES swell like waves throughout the barrier where she hit it. She looks up, following the ripples with her eyes, and watches as they disappear beyond her realm of vision, into infinite space. She reaches forth with her hand, wanting to feel the barrier once again... Just as she touches it... REAL TIME RESUMES -- KA-BOOM! FROM OUT OF NOWHERE AN OLD JALOPY SAILS RIGHT IN FRONT RANDY'S CAR! He jerks the wheel -- and the JALOPY hits on the front passenger side -- completely smashing it in -- Sam spins when she HEARS the deafening CRUNCH... Randy careens into the opposite lane, and an ONCOMING CAR smacks him dead on. The inertia from the oncoming vehicle plows his car into a FIRE HYDRANT by the side of the road. The hydrant goes flying through the air like a bullet -- -- AND STRIKES SAM RIGHT IN THE HEAD! 35. The world goes SILENT. CHRIS RUNS TOWARD THE DESTRUCTION, DROPPING HIS CIGARETTE... WATER ERUPTS LIKE A GEYSER FROM THE PIPE WHERE THE HYDRANT USED TO BE... SAM'S BODY IS CRUMPLED IN THE STREET, MOTIONLESS... BILLY MOORCROFT IS GONE. THE FORCE FIELD IS GONE. COREY STANDS FROZEN, HORRIFIED... IN UTTER SHOCK. INT. POLICE STATION - AFTERNOON Corey signs her STATEMENT on Officer O'Dell's desk, the expression of shock still glued to her face. O'Dell sits facing her. OFFICER O'DELL You're sure you didn't see a driver? COREY No... He takes the statement from her. OFFICER O'DELL Well, you're one lucky girl to have gotten outta the car when you did. Front passenger side was wiped right out. Coulda' been two dead girls today instead of one. Corey nods, taking this in. OFFICER O'DELL (CONT'D) I talked to Randy and sent him home a little while ago. He's pretty shook up. Corey doesn't respond. O'Dell leans in to speak to her in confidence. OFFICER O'DELL (CONT'D) Both of us know he'd been doin' some drinkin' today. But we also know he's not at fault here. That old beater cut right in front him. COREY Can't you just look up the license plates? 36. OFFICER O'DELL No plates on the vehicle. We're investigating the VIN, but that could take a little more time, depending on the history of ownership. We'll find him. Corey seems somewhat hesitant to bring up the next subject: COREY What about the missing boy? O'Dell shifts in his chair. OFFICER O'DELL You really think it was him, huh? COREY He was on the side of the road right before the accident. OFFICER O'DELL I'm no psychiatrist, but I do know sometimes shock does funny things... COREY You think I was hallucinating? OFFICER O'DELL We were on the scene five minutes after the accident. I think somebody woulda noticed a little boy wandering around. He sees how troubled Corey is. OFFICER O'DELL (CONT'D) Why don't you stop in and see Dr. Peters on your way out... right down the hall there. She'll give you somethin' to make you feel better. Corey nods and gets up to leave. As she's on her way out, O'Dell's voice stops her. OFFICER O'DELL (CONT'D) Oh, uh... is there anything you wanted to say to Samantha's parents? Corey's expression is blank. 37. COREY Like what? EXT. POLICE STATION, BACK PARKING LOT - AFTERNOON Corey walks out of the police station and finds herself in a secluded back parking lot. She holds a PRESCRIPTION for anti- depressants. She is frightened when she notices a PAIR OF EYES staring at her from the bushes close by -- it's Vietnam Tom. He's wearing his ski mask and he's got his rifle. Corey backs away as Tom slowly creeps toward her... She's about to scream for help when Chris Holt comes out of the police station behind her. CHRIS Get the hell outta here. Grateful for his presence, Corey moves to stand behind Chris. Tom shuffles away. CHRIS (CONT'D) Should know better than to be carrying his rifle around town like that... Corey takes a breath, recovering from her scare. CHRIS (CONT'D) You okay? COREY What're you doing here? CHRIS I had to put in a statement too. Can I give you a lift? I/E. CHRIS' TRUCK/MOTEL - EVENING Chris and Corey pull up to the motel in his pick-up. They've gotten Corey's prescription filled, and she has the BOTTLE OF PILLS in her hand. CHRIS I'm real sorry about Sam. Corey nods. 38. CHRIS (CONT'D) It's such a waste. Just a horrible, freak thing. COREY I said some pretty shitty things to her right before it happened. CHRIS I'm sure she knew you didn't mean it. Corey gets out of the car and walks toward the motel room. INT. MOTEL ROOM 15 - EVENING Corey swallows two of her PILLS with some liquor from a plastic cup. She sits down on one of the full-size beds where Sam's belongings are spread out. She opens Sam's backpack and discovers THE PHILOSOPHY OF TIME TRAVEL book, by Roberta Sparrow... As Corey studies the cover, her image is reflected by the CLOSET DOOR MIRRORS. The angle of the mirrors creates double image reflections for other objects in the room. Strangely, Corey's reflection is only present in one of the panes. The digital CLOCK/RADIO shows 6:30 PM... There are PICTURES of Sam's family tucked away inside the book, between the pages: Sam with her mother and father, ROSE and EDDIE DARKO; YOUNG SAM with ELIZABETH and DONNIE; an old photo of the whole Darko family together -- Young Sam holds ARIEL, a STUFFED TOY UNICORN. Corey removes the pictures and sets them on the nightstand... She then looks down and notices that the book is open to: CHAPTER THREE - THE FRAGMENTARY UNIVERSE. COREY Fragmentary Universe... She pours over the text, some of which reads: When the fabric of the fourth dimension within a Tangent Universe becomes corrupted, a highly unstable and volatile Fragmentary Universe can occur, sustaining itself for no longer than several days... FADE TO BLACK. 39. INT. MOTEL ROOM 15 - LATER - NIGHT Corey awakens to the sound of a little boy CRYING. She sits up in bed. The clock/radio reads 3:30 AM. The CRYING is faint but steady and sorrowful, and sounds as though it's coming from outside... EXT. MOTEL - NIGHT Corey follows the distinctive CRYING toward the VENDING MACHINES on the side of the building... ...until Billy Moorcroft emerges from behind them. Corey freezes a few feet away from the boy, who wears the BIRTHDAY HAT, SLACKS and COLLARED SHIRT. He is pale and bruised. Corey sees that he is not crying -- it's coming from elsewhere in the cosmos, far away. The WAILS taper off to a faint, DISTORTED WHISPER as Billy speaks: BILLY MOORCROFT You need to save me, Corey. Corey stares at him in disbelief. BILLY MOORCROFT (CONT'D) You need to save me... and save the world. COREY Why can't anyone see you? BILLY MOORCROFT If you tell them about me they'll think you're a dummy. COREY Why me? BILLY MOORCROFT I didn't pick you. Just like you didn't pick me either. Corey stands before him in awe, transfixed. BILLY MOORCROFT (CONT'D) We shouldn't even be here. Nobody should... Corey takes notice of the vending machines behind him. Where the prices should be, NUMBERS flash in a rhythm that seems to coincide with the ululations of the distant CRYING: 2... 10... 16... 44... -end-... 2... 10... 16... 44... -end-... 40. BILLY MOORCROFT (CONT'D) You don't have much time. Corey is about to respond when the sound of a DOOR OPENING stops her. The FLASHING NUMBERS on the vending machines go back to normal PRICES, the CRYING SOUND CEASES, and Billy disappears. PHIL (O.S.) What's goin' on out here? Corey looks over and sees Phil dressed in nightclothes, having come out of a room near the lobby. She's dumbstruck. COREY Nothing... I-I don't know. PHIL Go back to your room and get some sleep. You've had a tough day. Phil goes back inside, leaving her alone. INT. DEPARTMENT STORE - DAY Corey wanders through the aisles of the department store, looking peaked and jittery. She comes upon Chris stocking some shelves near the back of the store. CHRIS Hey... how ya feelin'? COREY Not so good. CHRIS Is there anything I can do? COREY I need some cigarettes... and maybe some food. But I don't really have any money right now. CHRIS I'm off at 3:30. Meet me out behind the store. EXT. BEHIND THE DEPARTMENT STORE - LATER - AFTERNOON Corey waits on the cement steps by the loading dock. She shoots up when Chris comes out the back entrance with a PLASTIC BAG... 41. Corey takes it from him and looks inside: CANDY BARS, a BAG OF CHIPS, some PEANUTS, a pack of CIGARETTES. COREY Thanks. She tears open the cigarettes and lights one. Chris lights up one of his own, and notices Corey's hands are shaking. CHRIS Shouldn't you go back home? COREY There's nothing for me to go home to. Trust me. CHRIS What about Sam's funeral? Corey looks conflicted, but she takes a harsh stance: COREY What's the point? She's gone, that's it. Nothing's gonna change that... Chris lets it go. COREY (CONT'D) Is there a library around here? CHRIS (PUZZLED) Yeah... you need a book? COREY Is it walking distance? CHRIS I can take you. COREY I think I'd rather walk. EXT. STREET - AFTERNOON Corey and Chris stroll together along a quiet street. CHRIS So you guys were real close, huh. 42. COREY When I moved to Virginia Sam was like the only person I could even stand to talk to. CHRIS How long had you been plannin' your trip together? COREY Not too long... kind of a last minute thing. It was good timing, `cause I don't like to stay in one place for too long, ya know? CHRIS Huh... COREY I was really surprised when Sam wanted to come, actually. I just kinda brought it up one day, and she was down... Corey reflects for a beat. COREY (CONT'D) If it wasn't for me, she'd still be alive right now. CHRIS You can't think like that. COREY It's true, isn't it? Chris doesn't respond. INT. LIBRARY, MICROFICHE RESEARCH BOOTH - AFTERNOON Corey and Chris sit before a screen in a cramped, dim booth near the back of the library. They stare at a MICROFILM ARTICLE from 1988 about DONNIE DARKO'S DEATH. CHRIS That was Sam's brother? COREY Yeah. On the screen is a PHOTOGRAPH of the DARKO HOUSE with many PEOPLE gathered in front of it. A JET ENGINE is being lifted away by a CRANE. 43. CHRIS Her parents must be going through hell. COREY Sam said once she wished it landed on her room instead of Donnie's. Chris thinks on this. CHRIS I saw something on Sam's wrist the other night... it looked like a scar. COREY She told me it was from some accident. Put her hand through a window or something. CHRIS Did you believe her? Corey doesn't answer. She pulls up ANOTHER ARTICLE, one that chronicles a MAN who was IMPALED BY A METAL PIPE with no known origin... A THIRD ARTICLE is about a LITTLE GIRL who was DECAPITATED BY A MANHOLE COVER that was inexplicably flying through the air... CHRIS (CONT'D) God... Chris is horrified. Corey is totally engrossed. She brings up a FINAL ARTICLE that tells the story of a BOY who was CRUSHED BY A DUMPSTER that fell from the sky. A PICTURE shows his legs sticking out from under it like the Wicked Witch of the East when Dorothy's house fell on her in Munchkinland. CHRIS (CONT'D) I don't understand why we're lookin' at this stuff. COREY They still never found a driver to that car that hit Randy... I was standing right there. I didn't see anyone. 44. CHRIS I was pretty close too, but everything was all crazy. Whoever it was must've jumped out and took off. COREY I found this book in Sam's backpack last night. There's a chapter where it talks about stuff like this happening. Like a guy being killed by an arrow that nobody shot, and a swordsmith getting killed by a sword he hadn't made yet. Unexplainable things, but it says there's a reason why they happen. CHRIS A book...? I don't get what your talkin' about. What was the reason? COREY It didn't say. Corey thinks, trying to figure out the right way to express something... COREY (CONT'D) Last night, and right before the accident, I saw... CHRIS What? COREY Nothing. Corey sighs and turns back to the screen. COREY (CONT'D) You already think I'm a freak show. INT. LIBRARY, FRONT DESK - AFTERNOON As Chris and Corey are on the way out, they notice Jeremy Frame at the counter checking out a STACK OF BOOKS. In putting them down, he accidentally drops half of them onto the floor. He looks frazzled as he begins to pick them up, and he scratches compulsively at his LEFT FOREARM... 45. I/E. DUSTY'S GARAGE/HOUSE - AFTERNOON Chris and Corey pull up to Dusty's auto repair shop in Chris' truck. They get out and start to walk up to the garage, but they're cut off by the unchained PIT BULL -- it's growling and barking in a frenzy -- RUTH (O.S.) Darielle! The dog heels at the sound of the voice, and Ruth bolts out of the house and takes her by the collar. She's got a bandage over a cut on her forehead. RUTH (CONT'D) Come to check on your car? COREY Yeah... Hearts still thumping in their chests, they follow Ruth into the garage... COREY'S CHEVROLET is parked in the same spot it was when she left it the other day. The hood is propped open. RUTH Randy's been a wreck since the accident. CHRIS He should be. He was driving around shit-faced and somebody got killed. RUTH You can just fuck off... She gets right up in his face with such intensity that Chris retreats a step or two. RUTH (CONT'D) Prima donna motherfucker think your shit don't stink? Corey steps in: COREY She's right... Chris gives her a look. COREY (CONT'D) I mean, there's nothing Randy could've done. 46. Ruth turns and goes into the house through a GARAGE ENTRANCE. RUTH I'll get my dad. The door slams shut behind her, and Corey and Chris glance at each other... Momentarily, Dusty comes out, a partially eaten SANDWICH in hand. DUSTY Got some bad news for you... He walks them over to the car, finishing off his sandwich and wiping his hands on his greasy jeans. DUSTY (CONT'D) Your engine seized up when your water pump blew. COREY I need a new engine now? DUSTY I can get one in there for you. Cost you about fifteen hundred. Corey's face drops. COREY I don't have anywhere near that much money. CHRIS That's probably as much as the car's worth. DUSTY I understand. But, I already ordered the water pump, and I'll have to get paid for my time. That comes to about three-hundred total. COREY I don't have that much either. Dusty is perturbed. DUSTY You think I do this for charity? 47. CHRIS You didn't do anything. What's she want a water pump for if she doesn't have an engine? DUSTY I see how it is... couple a' punks. You don't plan to pay what you owe, you can get the hell off my property right now. Corey glares at him, furious, but Chris takes her by the arm. COREY (under her breath) Asshole. CHRIS Let's go... I/E. CHRIS' TRUCK/MOTEL - AFTERNOON Chris' truck pulls up in front of the motel and parks. At the same time, Father Homeijer and Trudy come out of the FRONT OFFICE carrying a COLLECTIONS JAR. As they approach the truck Chris slowly rolls down the window. FATHER HOMEIJER Good afternoon. TRUDY We're taking collections to help rebuild Mount Calvary after the tragic fire. FATHER HOMEIJER Any small amount you could manage would really help. CHRIS Sorry. Father Homeijer and Trudy look over to Corey in the passenger seat but she just stares back at them. FATHER HOMEIJER God bless you. They turn and walk away, and Chris rolls his window back up. 48. CHRIS Everybody wants somethin'... COREY What about you? CHRIS What do you mean? COREY You wouldn't give me stuff and drive me around if you didn't want something in return. CHRIS Why not? COREY `Cause that's just not how it works. CHRIS Maybe you're wrong about that. Corey nods, but still doesn't believe him. COREY See ya. She gets out, and Chris eyes her as she walks to her room. INT. MOTEL ROOM 15 - NIGHT Corey lays on her stomach in bed, her head buried in The Philosophy of Time Travel book. The TELEVISION is on in the b.g. (out of focus), playing a repeat of the FOREMAN GRILL INFOMERCIAL... Suddenly, there is a slight TREMOR from outside and RIPPLE runs over the TV screen. Corey looks around, taking no notice of the odd change on the television -- instead of GEORGE FOREMAN'S VOICE, HULK HOGAN is HEARD promoting the brand new HULKSTER GRILL... Just then, there is a KNOCK at the door. She gets up to answer it and finds Randy -- he looks distraught. RANDY Do you hate me? COREY Huh? 49. RANDY You think it's my fault she's dead. COREY No... RANDY You mean it? COREY Yeah... it wasn't your fault. Randy sighs as if a big weight has been lifted. RANDY What's that? Corey looks down and realizes that she's still holding The Philosophy of Time Travel book in her hand. COREY Oh, it's just... something of Sam's. Randy nods. Corey tosses the book onto the bed. RANDY You wanna get outta here for a while? I got my dad's car. I/E. RANDY'S DAD'S CAR/LOOKOUT - NIGHT RANDY'S DAD'S CAR navigates a DIRT ROAD up a WOODED HILL to a VANTAGE POINT where the whole of El Reno can be seen. SPARSE LIGHTS flicker over about 80 square miles of civilization. There are a few OTHER VEHICLES parked at the lookout, most containing COUPLES with MUSIC playing low. Randy pulls into a more SECLUDED CLEARING, away from the other cars but still with a nice view. RANDY I've been comin' up here since I was a kid. Good place when you wanna just get away from everything. Randy pushes in a TAPE (suggestion: River of Deceit, by Mad Season), then takes a JOINT from his pocket and sparks it up. COREY Is Ruth your girlfriend? 50. Randy passes the joint to Corey and she hits it. RANDY Naw, we're just friends. She's pretty weird sometimes. Too like... intense, or something. COREY Seems like you guys are pretty close. RANDY Yeah... don't worry about Ruth. Randy takes another hit and holds it in. COREY Do you ever have a hard time telling what's real and what's not real? Randy exhales and looks over at her, perplexed. RANDY Sometimes... sometimes something can feel really real, but it's just your mind playing tricks on you. COREY I've got so much shit in my head right now... I've never felt so outta control. I think I'm really goin' psycho. He passes her the joint. RANDY I got some acid from my buddy one time... this like flying eagle pyramid shit. I took two hits, and man... next thing I knew I was on the floor, curled up in ball, and Mike and Jeff were just standing there lookin' down at me. I could see this like glowing grid cutting through my brain, and I knew when it got all the way through I'd be this sketched out vegetable. I could picture my dad staring down at me in the hospital in my straightjacket, crying and shit... Corey blows out a hit, captivated... 51. RANDY (CONT'D) The whole time my esophagus was like twisting and turning in my throat and cutting off my air supply... it was terrible. COREY Jesus. RANDY I can still slip back into it sometimes, but I know now that my brain is what's making it real... and that's like a blessing and a curse, man, `cause that means you have to decide what's real and what's not. COREY The things that feel the most real right now are... impossible. More like a dream. Corey passes him the joint and he stamps out the roach in the car's ashtray. RANDY I know what you mean. The scariest part is thinking you're not the same person anymore. Something's changed... like your identity. COREY What if the change is for the better? Randy finds an INHALER in his pocket and takes a puff. RANDY That's fucked up. COREY I don't think I even care if I'm crazy. Corey turns and looks into his eyes. Randy leans forward... They're about to kiss, when -- COREY (CONT'D) What the fuck? A DARK SHAPE scurries to an enclosed area at the edge of the forest where there's a TARP, some WATER BOTTLES, CANS OF FOOD and a RIFLE... 52. It's Vietnam Tom, and he's brought some supplies to his NEW SQUATTING GROUND. COREY (CONT'D) That fucking guy again... Randy and Corey both laugh, relieving the tension. But Tom's proximity has spoiled the mood. RANDY Let's get outta here. INT. RANDY'S HOUSE, LIVING ROOM - NIGHT Mike, Jeff and Ruth sit on a ratty couch in Randy's living room, watching BEAVIS AND BUTT-HEAD on MTV. Some EMPTY BEER CANS and a HOMEADE BONG litter a coffee table. When the FRONT DOOR OPENS and Corey and Randy enter, none of them budge. As Corey and Randy walk to Randy's bedroom, Ruth follows them with her eyes... INT. RANDY'S HOUSE, BEDROOM - CONTINUOUS Randy shuts the door to his messy room. A TAPESTRY hangs from the ceiling. Corey is drawn to a DESK next to the bed. Above it is a DEATH SHRINE to KURT COBAIN -- MAGAZINE CUTOUTS, POSTERS and TICKET STUBS arranged decoratively. A large BLACK & WHITE POSTER showing a CLOSE UP of COBAIN'S FACE is the centerpiece, and a sloppy BULLET HOLE drawn in RED MARKER marks the center of his forehead. The words `I'M NOT AFRAID OF DYING' are scrawled across the bottom of the poster in the same BRIGHT RED. COREY This is cool. RANDY Thanks. Randy puts his hands on her hips, running them up her torso. Corey turns to face him... They kiss... ...and fall back onto the bed... 53. INT. RANDY'S HOUSE, BEDROOM - LATER - NIGHT A DIGITAL CLOCK on Randy's DESK shows 3:30 AM. There's a SLIGHT TREMOR and the numbers shift, changing briefly to 01:10:23:08, then back again to 3:30. Corey wakes suddenly from a nightmare. She sits up and looks around, remembering where she is. She discovers Randy asleep by her side. She finds a pile of clothes on the floor beside the bed and grabs her shirt... ...after she pulls it on over her head, she freezes -- because Billy Moorcroft is standing right there in his BIRTHDAY HAT, staring at her. BILLY MOORCROFT Only one day left. Corey turns and looks down to Randy. He's still fast asleep. COREY What am I supposed to do? As soon as she utters her question she notices a silvery, liquid VECTOR SPEAR protruding from the center of her chest. Billy is now gone, but her SPEAR beckons her out of the room, elongating to illustrate her path. Corey is in awe... INT. RANDY'S HOUSE, LIVING ROOM - NIGHT Her SPEAR leads her through the living room, and past the sleeping bodies of Mike, Jeff and Ruth. Following her path leads her to step on RUTH'S FOOT as she goes by... Corey doesn't even notice, but one of Ruth's eyes pop open as she treads out the door... EXT. STREET - NIGHT Corey follows Billy, who walks in the middle of the road about 15 yards ahead of her. The residential street is guarded by great, OLD TREES on either side. The dark sky above starts to BEND and WARP, and a BUCKLE in space-time materializes. There's a simultaneous flash of LIGHTING and sharp CRACK OF THUNDER, and Corey looks up to the VORTEX -- a massive, swirling MAELSTROM gapes open like a tunnel to the inter- dimensional realm of darkest night. 54. The VOID brightens, and ominous STORM CLOUDS and TORRENTIAL RAINS are visible within... Corey peers up into the MOUTH of it and sees DUSTY'S HOUSE AND AUTO REPAIR SHOP being doused and beaten by the STORM -- INT. DUSTY'S GARAGE - NIGHT In contrast to the street, all is nearly SILENT in Dusty's garage. Corey watches as Billy moves along the perimeter WITHOUT SOUND, ghostly... JUMP CUTS and TIME CUTS. Her CHEVROLET sits in the bay. Some of the PARTS have already been harvested -- the CATALYTIC CONVERTER sits next to it on the floor. Corey approaches a UTILITY SINK next to a SHOWER in the corner... BILLY MOORCROFT You can do it. COREY How? BILLY MOORCROFT It's easy. Corey focuses on the sink, and it begins to tremble. The pipes beneath it CREAK and MOAN. WATER starts to bubble up from the sink drain, also in the shower... Billy stands atop her car, watching her. His perpetually morose expression transforms into a smile. The SINK BASIN suddenly cracks from pressure. As Corey stares into the drain... WE PLUNGE DOWN INTO THE PIPE -- POV OF TELEKINETIC ENERGY - INSIDE THE PIPE We travel through meters and meters of DANK PIPING until we hit the WATER MAIN. There's a sound like a TIDAL WAVE CRASHING -- EXT. STREET/DUSTY'S GARAGE/HOUSE - LATER - DAWN -- WATER POURS out from under the garage door down to the street. PULL BACK TO REVEAL -- 55. The entire driveway and the street in front of the house are covered with water. FIRE TRUCKS, POLICE CARS and an AMBULANCE are gathered in front of the property. ANGLE: DOWN THE STREET Ruth runs toward her house. When she turns a corner and it comes into view, she stops dead in her tracks. Her face shows sheer terror -- Because her father Dusty is handcuffed and being loaded into the back of a cruiser by Officer O'Dell and another policeman, OFFICER HINES... ...the PIT BULL struggles against it's CHAIN, growling and barking frantically. ...and Billy Moorcroft, half-naked, soaking wet and shivering, is wrapped in a blanket and being tended to by PARAMEDICS. FIREMAN #2 Lucky I heard him screamin', else he woulda drowned down there. Ruth keeps to the shadows and slinks toward a BACK DOOR... INT. DUSTY'S HOUSE, FOOT OF THE STAIRS - DAWN She sloshes through four inches of water and skips up the stairs... INT. DUSTY'S HOUSE, RUTH'S BEDROOM - DAWN Without turning on the lights, Ruth desperately rifles through her closet until she finds a SHOEBOX. Inside it are several PLASTIC BAGS -- some filled with MARIJUANA, others with COCAINE... INT. DUSTY'S HOUSE, UPSTAIRS BATHROOM - DAWN Hands shaking, Ruth dumps a bag of coke into the toilet and flushes it. The WHITE POWDER disappears down the swirling SPIRAL OF CLOUDY LIQUID... But the bowl doesn't refill. RUTH Shit! 56. She begins to stuff the other bags down her pants... EXT. DUSTY'S GARAGE/HOUSE - DAWN Having deposited Dusty in the back of the cruiser and shut the door, O'Dell's attention turns to an upstairs window of the house when he sees MOVEMENT. INT. RANDY'S HOUSE, BEDROOM - MORNING Randy rolls over in bed, opening his eyes to the new day. He looks around for Corey, disappointed to find her gone. INT. DEPARTMENT STORE - DAY Corey walks down an aisle of the department store. She finds Chris assisting a CUSTOMER. CUSTOMER I just checked aisle three. CHRIS They're there. At the front, by the Trapper Keepers. The Customer moves off and Chris turns to find Corey standing beside him. COREY I'm outta cigarettes. EXT. BEHIND THE DEPARTMENT STORE - DAY Corey waits behind the store until Chris comes out. She eagerly accepts TWO PACKS. CHRIS D'ya hear the news? COREY What? CHRIS They found that Billy Moorcroft kid. He was at Dusty's house... Corey is floored. 57. CHRIS (CONT'D) Sick bastard had him locked up in the basement. I can't believe we were just over there yesterday. Corey can't help it... A grin spreads across her face. CHRIS (CONT'D) I guess he's gonna be okay- COREY Everything's gonna be okay. Corey cuts him off, and Chris looks at her strangely. COREY (CONT'D) I'm not crazy. I think everything's gonna be okay. INT. MOTEL ROOM 15 - NIGHT Corey lays on her stomach in bed, studying The Philosophy of Time Travel. The book is open to: CHAPTER SIX - THE LIVING RECEIVER... The Living Receiver is chosen to guide the Artifact into position for its journey back to the Primary Universe. No one knows how or why a Receiver will be chosen... She flips through the onion skin pages to: CHAPTER TEN - THE MANIPULATED DEAD... The Manipulated Dead are more powerful than the Living Receiver. If a person dies within the Tangent Dimension, they are able to contact the Living Receiver through the Fourth Dimensional Construct... Corey glances over at the CLOSET MIRROR and sees Billy's image reflected. She flips over and finds him standing at the foot of the bed, clad in the same garb as all her visions. COREY I already saved you. BILLY MOORCROFT It's not over. He points to the CLOSET MIRROR... She stares into her own reflection as BILLY'S DISAPPEARS. HER IMAGE starts to FADE as well, and then the SURFACE OF THE MIRROR TRANSFORMS into a three-dimensional vision of a PARK. The focus is a SWING SET... and one of the SWINGS in particular, which rocks slowly back and forth. Empty. Void of life. 58. COREY (CONFUSED) Why? INT. BILLY MOORCROFT'S HOUSE, DINING ROOM/DEN - DAY Inside Billy Moorcroft's quaint, sanitary-looking home is a small gathering to celebrate his return. STREAMERS hang over a table supporting a partially eaten CAKE. A BANNER that reads `WELCOME HOME BILLY!' is draped across the archway connecting the DINING ROOM to the DEN. BILLY'S MOTHER (32), with her fair complexion and dark hair, is an older female version of Billy himself. As she brings a POT OF COFFEE and a STACK OF CUPS into BILLY'S FATHER (35), BILLY'S AUNT and UNCLE, and a CHILD PSYCHOLOGIST who is moderating (50s; male) in the den, she looks as though she's barely keeping it together. CHILD PSYCHOLOGIST (between bites of cake) The place for Billy to be right now is at home with his family... Billy's Mother interrupts as she sets the coffee down. BILLY'S MOTHER Excuse me. CHILD PSYCHOLOGIST Oh, thank you. The Psychologist accepts a cup. CHILD PSYCHOLOGIST (CONT'D) It'll take years for him to work through what happened, but the best way to open those doors is to surround him with things that are familiar... Billy's Mother passes her husband a cup, and they hold a long, painful moment of eye contact. INT. BILLY MOORCROFT'S HOUSE, BREAKFAST NOOK - MOMENTS LATER - DAY Billy sits at a table in the sunny, HEXAGONAL ROOM. He wears the BIRTHDAY HAT, SLACKS and COLLARED SHIRT. 59. He appears clean and groomed, but his face and neck are marred by BRUISES and other ABRASIONS. Before him is a packet of COLORED PENCILS and some sheets of PAPER. His Mother walks up behind him, and peeks over his shoulder at the DRAWING that he's working on. BILLY'S MOTHER Are you sure you don't want some more cake? Billy nods. His mother caresses his head as she watches him color. After a moment she sits down in a chair beside him and tries to get his attention. BILLY'S MOTHER (CONT'D) Billy... I- Before she can go on, she's interrupted by the DOORBELL. Billy never looks up. I/E. BILLY MOORCROFT'S HOUSE, FRONT DOOR - DAY Billy's Father answers the door and finds Corey. BILLY'S FATHER Only family and close friends are welcome here today. Billy's Mother hovers behind her husband, curious about and wary of the stranger. COREY I understand... I just wanted to say that I'm sorry about everything that happened to Billy. And I know it doesn't seem like it, but everything happens for a reason... and it'll all work out in the end. Billy's Father stares her down until she turns to leave uncomfortably. Billy's Mother starts to cry... CUT BACK TO: INT. BILLY MOORCROFT'S HOUSE, BREAKFAST NOOK - DAY ...the breakfast nook. Billy is gone. Left on the table is his completed DRAWING. It's a neatly executed rendition of a SWING SET -- identical to the one from Corey's vision in the closet door mirror. 60. EXT. PARK - DAY Billy walks through the empty park, still wearing his birthday hat. He makes his way past a SAND PIT with a JUNGLE GYM. Balanced on one of the jungle gym's bars is a PRESCRIPTION BOTTLE... Billy picks it up. The name on the prescription is COREY RICHARDSON. JUMP CUT TO: The SWING SET. Billy leans back as far as he can as momentum propels his body forward and back through space. He looks up to the sky where SUPERNATURAL BLACK CLOUDS are forming... He swings back and forth... back and forth... ANGLE: PARK BENCH Corey sits nearby on a park bench, watching Billy. He looks back at her, showing no signs of recognition... JUMP CUT TO: The SWING. No longer a little boy sitting in it. It dangles erratically from the ropes, still gripped by inertia... PAN DOWN to the sandy ground below -- FIND the bottle of pills, now empty. Billy's unmoving, OPEN HAND... EXT. OKLAHOMA HIGHWAY 40/EL RENO EXIT - AFTERNOON A TRACTOR-TRAILER TRUCK gets off the highway and heads into El Reno. It's load is a batch of beat up, OLD CARS. The JALOPY is on the TOP RACK, CLOSEST TO THE END... EXT. MOTEL ROOM 15 - AFTERNOON Randy peeks in the window of Corey's motel room but sees nothing. He pounds on the door and calls for her: RANDY Corey... EXT. INTERSECTION NEAR DEPARTMENT STORE - AFTERNOON Corey arrives near the intersection where the accident took place. The BLACK CLOUDS overhead have become more vast and oppressive. A cold WIND blows... 61. The TRACTOR-TRAILER TRUCK breaches the crest of a hill and comes into view, descending on the intersection. Above it the CLOUDS begin to transform and take the shape of an ASTRONOMICAL WORMHOLE that reaches down toward the earth... EXT. DEPARTMENT STORE - AFTERNOON Chris comes outside and gazes up at the foreboding sky... EXT. INTERSECTION NEAR DEPARTMENT STORE - AFTERNOON As the TRACTOR-TRAILER TRUCK approaches the intersection, Corey fixates on the JALOPY on the back... CLOSE ANGLE: JALOPY The CHAINS that hold the junker in place SHAKE and RATTLE... EXT. THE ETHER - AFTERNOON - POV INSIDE PORTAL We plunge through the PORTAL as it twists through the ether... EXT. INTERSECTION NEAR DEPARTMENT STORE - AFTERNOON The WORMHOLE extends down to the JALOPY. Gracefully. Like an eel moving through water, confidently pursuing it's prey... mouth widening to swallow... Corey is riveted. As it passes through the intersection, the TRACTOR-TRAILER hits a POTHOLE -- CUT TO: KEY SCENES IN REVERSE PILLS COME OUT OF BILLY'S MOUTH AND INTO HIS HAND -- HIS DRAWING OF THE SWING SET STARTS TO DECONSTRUCT -- RUTH'S COCAINE FLIES OUT OF THE SWIRLING TOILET WATER -- DUSTY STEPS BACKWARDS OUT OF THE POLICE CRUISER -- RUTH'S EYE CLOSES BEFORE COREY'S FOOT STEPS OFF OF HERS -- 62. COREY STEPS AWAY FROM THE KURT COBAIN POSTER WITH `I'M NOT AFRAID OF DYING' SCRAWLED ON IT -- MICROFILM PAGES FLIP BACKWARDS -- PICTURES OF THE DARKO FAMILY ARE PUT BACK INTO THE PHILOSOPHY OF TIME TRAVEL BOOK -- TRANSITION TO: EXT. RANDY'S CAR/STREET IN FRONT OF DEPARTMENT STORE - AFTERNOON Sam is walking in front of the department store when Randy's car pulls up beside her. Corey sticks her head out the passenger side window. COREY What happened to you? SAM What happened to me...? Where the hell've you been? COREY I crashed at Randy's. We just got food. Want a burger? SAM My stomach's fucked up. JEFF MIKE Awww... Poor tummy... Jeff and Mike taunt her from the back. Ruth leers. SAM (CONT'D) We gotta talk about what we're gonna do. COREY Don't worry about it so much. SAM The motel guy came to the room this MORNING- COREY (INTERRUPTING) I don't give a fuck. SAM Excuse me? 63. COREY I said, I. Don't. Give. A. Fuck... She annunciates every word like a true bitch. COREY (CONT'D) I'm tired of listening to you whine about everything. Giggles from the peanut gallery in the car. SAM Corey, you're still drunk. Don't be a fuck-ass. JEFF Did she just call her a fuck-ass? MIKE What's a fuck-ass? Everyone cracks up, including Corey. Sam is humiliated. She backs away from the car, anger burning in her eyes. Randy revs the engine, expressing his will to take off. COREY See ya later, Sam. Sam says nothing, but watches as Randy's car peels off toward the intersection. She's confused and hurt, frozen to the spot where she's standing. As Corey stares back at Sam from the car, her smile fades... INT. RANDY'S CAR - CONTINUOUS Corey turns to face the approaching intersection. Resolute. INT. DEPARTMENT STORE - AFTERNOON Chris is at work, stocking shelves inside the department store... He checks his watch, stops what he's doing and grabs a PACK OF CIGARETTES from his breast pocket -- time for a smoke break. 64. EXT. INTERSECTION NEAR DEPARTMENT STORE - AFTERNOON Randy's car is stopped at the red light. Sam strolls toward it ever so slowly. Jeff, Mike and Ruth gawk at her from the backseat. She slows down even more, having no interest in subjecting herself to any more of their mockery... The light turns green, and Randy's car peels across the intersection, making a left. Sam's still 10 or 15 feet away from stepping into the street... She quickens her pace, almost there when -- KA-BOOM! FROM OUT OF NOWHERE AN OLD JALOPY SAILS RIGHT IN FRONT RANDY'S CAR! He jerks the wheel -- and the jalopy hits on the front passenger side -- completely smashing it in -- Sam spins when she HEARS the deafening CRUNCH... Randy careens into the opposite lane, and an ONCOMING CAR smacks him dead on. The inertia from the oncoming vehicle plows his car into a FIRE HYDRANT by the side of the road. The hydrant goes flying through the air like a bullet and skitters harmlessly across the intersection -- The world goes SILENT. CHRIS RUNS TOWARD THE DESTRUCTION, DROPPING HIS CIGARETTE... WATER ERUPTS LIKE A GEYSER FROM THE PIPE WHERE THE HYDRANT USED TO BE... THE JALOPY IS FLIPPED OVER ONTO ITS SIDE... SAM STANDS PEERING AT THE WRECKAGE... THE AREA OF THE CAR WHERE COREY WAS SITTING IS VIRTUALLY NONEXISTENT. SHE DROPS TO HER KNEES. INT. POLICE STATION - AFTERNOON Sam signs her STATEMENT on Officer O'Dell's desk, her eyes red and puffy from crying. O'Dell sits facing her. OFFICER O'DELL I just gotta ask you one more time... you're sure you didn't see a driver? 65. Sam shakes her head no, and he takes the statement from her. OFFICER O'DELL (CONT'D) Well, we'll find him, one way or another. Sam nods in acknowledgement. O'Dell sees how much this has traumatized her. OFFICER O'DELL (CONT'D) Why don't you stop in and see Dr. Peters on your way out... right down the hall there. She'll give you somethin' to make you feel better. EXT. POLICE STATION, BACK PARKING LOT - AFTERNOON Sam walks out of the police station and finds herself in the secluded back parking lot. She holds a PRESCRIPTION for anti- depressants... A pair of eyes peek out of the bushes close by -- it's Vietnam Tom. He's wearing his ski mask and he's got his rifle. He sees Sam, but she doesn't see him. Sam wells up with emotion, about to breakdown, and Tom watches her with empathy. It looks as though he's about to go to her when something stops him -- Chris comes out the door. CHRIS You okay? Sam is still too choked up to speak. Tom sneaks away unnoticed... INT. CHRIS' TRUCK - AFTERNOON Sam sits in the passenger side of Chris' truck and cries and cries. Major emotional release. Chris looks like he wants to say something, but doesn't have the words. I/E. CHRIS' TRUCK/MOTEL - EVENING Chris and Sam pull up to the motel in his pick-up. They've gone to get her prescription filled, and Sam has the BOTTLE OF PILLS in her hand. 66. CHRIS I'm really sorry, Sam. She doesn't respond. CHRIS (CONT'D) It's horrible... but sometimes these things can happen for a reason. Sometimes good can come of it... growth, ya know? SAM What the fuck are you talking about? Sam's benumbed expression doesn't change, but her tone is caustic. CHRIS All I meant was, sometimes- SAM I know what you meant, and it's bullshit. When someone dies for no reason you can't just make one up to fill the void and make yourself feel better. It sucks, and it fucks everything up, but it doesn't mean shit beyond that. CHRIS I'm sorry, I- SAM You've obviously never lost anybody like I have, `cause if you did you'd already know that. Chris doesn't try anymore. Sam immediately feels bad. SAM (CONT'D) Thanks for the ride. She gets out of the car and slogs toward her room. INT. MOTEL ROOM 15 - EVENING Sam swallows her PILLS with some water, and sits down on one of the full-size beds by her BACKPACK... She reaches inside and pulls out THE PHILOSOPHY OF TIME TRAVEL book, by Roberta Sparrow. As she studies the cover, her image is reflected by the CLOSET DOOR MIRRORS. 67. The angle of the mirrors creates double image reflections for other objects in the room... and Sam's reflection is present in both of the panes. The digital CLOCK/RADIO shows 6:30 PM... She looks at the PICTURES OF HER FAMILY tucked away inside the book: Sam with her mother and father; Sam as a child with her sister and brother; an old photo of the whole Darko family together... Tears come to her eyes as she focuses on an image of Donnie, and she puts them all down. She touches the SCAR on the inner part of her right wrist... She then glances down and notices that the book is open to: CHAPTER NINE - REMNANTS. SAM Remnants... A portion of the text includes: Like Dreams that the Manipulated can have after journeys into Tangent or Fragmentary Universes, sounds and images may be transferred from one Tangent or Fragmentary Universe to another, as all corruptions exist on relative cosmic planes... EXT. JUNKYARD - NIGHT Sam wanders through the junkyard clad in her HOODED SWEATSHIRT and JEANS, with the MAKESHIFT BANDAGE wrapped around her right hand. The SHARD OF METAL protrudes from the GASH by her temple. SAM'S LUMINOUS POV - THE JUNKYARD She sees the junkyard as the phosphorescent DESTINY PLANE. DEAD CARS, MACHINERY and piles of SCRAP METAL glow as stationary objects within the complex grid. A PAIR OF RATS follow their VECTOR SPEARS as they shimmy up the side of a RUSTY TRACTOR... Sam treads effortlessly through the darkness, past the heaps of junk toward the decrepit STORAGE SHACK marked by the CORRUGATED ROOFING... ANGLE: STORAGE SHACK She stands before the shack, having discovered Vietnam Tom. He squats in the darkened corner of the scrappy shelter, and looks back at her through the eyeholes of a new mask -- 68. He wears on his face the SCULPTURE made of SCRAP METAL, which has been formed into the COUNTENANCE OF THE MONSTER BUNNY. SAM Hi, Tom. I like your new mask. Tom trembles like the frightened animal he personifies as Sam runs her fingers down one of the LONG, METALLIC EARS, down to one of the SHARPENED INCISORS of the EVIL-LOOKING GRIN... SAM (CONT'D) Are you scared? As this contact is made the tarnished metal becomes transparent, and the NEURONS in TOM'S BRAIN can be seen sending ELECTRIC IMPULSES, in turn RELEASING NEUROTRANSMITTERS and exciting OTHER NEURONS... SAM (CONT'D) I know you can hear me... A PORTAL forms around the shelter like a giant cylinder, enclosing them. Tom rises, afraid... Sam takes his hand... The PORTAL shrinks and squeezes the walls until they bend inward, then begin to CREAK and RUMBLE -- EXT. BENEATH OVERPASS - THE NEXT MORNING Sam awakens to a fierce RUMBLING overhead. It happens again, and when she looks around she realizes that she's underneath a highway overpass in BOXER SHORTS and a T- SHIRT, barefoot, lying on a FLAT AREA atop the CEMENT SLOPE that leads down to the road below. Alarmed by both the height and sanitation of her current position, she shifts her body and starts to slide down the SLOPE... Once on even ground, she notices a brand new `95 BMW coming toward her. SAM Perfect... Jeremy pulls up next to her and rolls down his window. JEREMY Sam? Are you okay? What are doing? SAM I'm... yeah, I'm okay. 69. Jeremy gets out of the car and puts his hand on her shoulder. JEREMY You shouldn't be out here like this. C'mon, get in. She allows herself to be led to the passenger side... INT. JEREMY'S BMW - MORNING Sam leans her head back against the headrest as Jeremy drives. JEREMY You do that a lot? SAM I think it's genetic or something. JEREMY That's interesting... I've never heard of a specific genetic marker for sleepwalking. SAM It's just that my brother used to do it too. JEREMY He doesn't anymore? SAM No. JEREMY I think it's more common in children. When did your brother stop? SAM When he died. EXT. FIELD BEHIND MOTEL - MORNING Some WORKERS are in the process of rebuilding the WINDMILL. A MAN WITH A HOSE sprays the side of the WATER TANK in an attempt to wash off the burn marks resembling the nearly imperceptible image of the MONSTER BUNNY'S FACE... 70. I/E. JEREMY'S BMW/MOTEL - MORNING Jeremy pulls into the motel parking lot. Sam hesitates for a moment before getting out. JEREMY I heard about your friend... Sam doesn't say anything, so he goes on. JEREMY (CONT'D) I wasn't gonna say anything... but then I thought I probably should, because if I didn't, it might be inconsiderate. SAM Well... okay. Thanks. A beat. JEREMY So... what are you gonna do? SAM I don't know yet. Sam brushes her mussed hair out of her face, still not wanting to go inside the motel room. SAM (CONT'D) Do you believe that everything happens for a reason? JEREMY I know that for every action there's an equal and opposite reaction. SAM Yeah... I learned that in science. JEREMY And everything in the universe is in constant motion, as the universe is constantly expanding... SAM Yeah, but do you believe that everything happens for a reason, like in life? JEREMY You mean like destiny? 71. Jeremy thinks on this for a moment. JEREMY (CONT'D) I think everyone has a purpose. Something they're meant to do. Like potential, but more clear-cut. For instance, I was destined to get my hands on the meteorite. SAM Really. JEREMY I'm making amazing discoveries every day, practically sleeping at the lab... While he talks and becomes more excited he scratches nervously at his left forearm. It draws Sam's attention away from what he's saying. JEREMY (CONT'D) I'm still doing some tests, but there's a metallic substance that's not showing up on the elemental CHARTS- SAM What happened to your arm? Jeremy stops scratching. A small area on the inner part of his wrist is RAW and RED, partially SCABBED OVER. JEREMY It's just a rash. Sam starts to get out of the car. JEREMY (CONT'D) Sam, wait. Here... He offers her a wad of cash. Sam hesitates. SAM BUT- JEREMY I know you need it. It's no big deal. She accepts the money. SAM Thank you. 72. INT. LAUNDROMAT - DAY Sam shoves a load of her wet clothes into an industrial DRYER. She plugs in some quarters, presses the button, and sits back in a chair in front of the machine. As she stares into the whirling cylinder, her eyes defocus and she goes into a daze... TRANSITION TO: INT. BEDROOM - NIGHT - CLOSE UP - TOY UNICORN ARIEL, the STUFFED TOY UNICORN spins on a ROTATING CHAIR... YOUNG SAMANTHA (V.O.) Donnie! DONNIE DARKO (V.O.) (MOCKING) The Last Unicorn, by Samantha Darko! YOUNG SAMANTHA (V.O.) Give it back! DONNIE DARKO (V.O.) There was once a unicorn named Ariel... The SOUND of CRINKLING PAPER. YOUNG SAMANTHA (V.O.) Donnie! You wrinkled it. DONNIE DARKO (V.O.) It's not wrinkled Sam. Just, ya know, flatten it in a book or something... The chair is re-spun by an O.S. hand... and the UNICORN topples off onto the floor. BACK TO: INT. LAUNDROMAT - DAY Sam snaps out of her vision when she hears Trudy and Father Homeijer going around, asking for change. FATHER HOMEIJER Any small amount you could manage would really help. They hover over a FAT MAN, holding out the COLLECTIONS JAR. 73. FAT MAN Piss off... FATHER HOMEIJER God bless you. As they move down the line and approach Sam, she tenses up. Trudy is about to go into her spiel when she recognizes her. TRUDY Oh... hello. She smiles at Sam politely, trying not to be too awkward. It doesn't work. Aware of Sam's financial situation, she gives Father Homeijer the hint to move on. He follows her lead. FATHER HOMEIJER (to Sam) God bless you. Sam watches as they move on to the next person, suddenly filled with sadness... EXT. PAYPHONE OUTSIDE BUILDING - AFTERNOON Sam stands outside at a payphone, listening to it RING... Someone on the other end finally picks up: ROSE DARKO (V.O.) Hello? When Sam HEARS her MOTHER'S VOICE, it brings tears to her eyes. As if feeling her emotion over the phone line, Rose can be HEARD starting to WHIMPER. ROSE DARKO (V.O.) (CONT'D) Samantha? EDDIE DARKO (V.O.) (in the background) Who is it, Rose? ROSE DARKO (V.O.) (CRYING) Is that you?... if it's you, please come home. EDDIE DARKO (V.O.) Rose? Although it looks like she wants to, Sam doesn't speak. 74. EXT. LOOKOUT, VIETNAM TOM'S SQUATTING GROUND - NIGHT Vietnam Tom sits at his new squatting ground, looking out over all of El Reno. He peers at the twinkling lights through his scrap metal BUNNY MASK, and cradles his RIFLE in his arms like a soldier at rest. He slowly turns and sees that Sam is sitting right next to him, facing the landscape. She wears her HOODED SWEATSHIRT, JEANS and the BANDAGE. The SHARD OF METAL is lodged in her forehead. SAM You wanna know what happens when you die? Tom shakes his head no. SAM (CONT'D) I wish it was me. She looks at Tom. SAM (CONT'D) I really want... to die. Tom aims his gun at her face... He realizes that a FORCE FIELD has formed in between them, because when the barrel of the gun touches it, the barrier bends and becomes slightly opaque. Sam is expressionless. Tom's finger trembles as he places it on the trigger. He aims down the gun's sights, directly at Sam's RIGHT EYE, and sees a PHOSPHORESCENT GRID take shape like a coordinate system on the force field. Sam's eye is in the CENTRAL QUADRANT... Tom pulls the trigger. TIME SLOWS DOWN. A liquid VECTOR SPEAR shoots out of the gun barrel. Immediately after, a BULLET is discharged and follows it... The VECTOR SPEAR passes cleanly through the grid, but when the BULLET reaches it, the entire force field curves to accommodate the penetrating force... The spear juts out until it nearly touches Sam's eye... but then it stops. The bullet catches up and freezes at the same spot, centimeters from her face -- 75. SAM (CONT'D) (DISAPPOINTED) Not today. I/E. MOTEL ROOM 15 - DAY A HAND bangs on the door to room 15... After a beat, Sam opens it. She's got some makeup on, and has spent more time on her hair than usual. SAM (SURPRISED) Hi. Chris lingers in front of the door, looking slightly uncomfortable. CHRIS I just stopped by to see how you were holdin' up. SAM I'm okay. CHRIS Sorry about the other night... I DIDN'T- SAM I was just upset. I shouldn't have snapped at you like that. Chris nods, grateful for her forgiveness. CHRIS So what are you still doin' here? I figured you woulda hopped on a bus by now. SAM I'm gonna be taking off soon, I think. I just gotta figure some stuff out. It's quiet here. CHRIS I don't know if you're doin' anything later on, but... He trails off when he HEARS a CAR pull up and park by his truck. He turns and sees that it's Jeremy in his BMW. 76. SAM I was just on my way out. What were you gonna say? CHRIS Nothin'. SAM Okay, well... I'll see you later? CHRIS Yeah, sure. He steps out of the way so Sam can shut and lock the door. SAM Bye. CHRIS Bye. Chris stares down Jeremy as Sam gets into his car and they drive off together. INT. LAB - DAY Jeremy turns on the overhead florescent lights in the lab. There are ROWS OF DESKS with MICROSCOPES and some PRECISION ROCK SLICING EQUIPMENT. As he walks to a desk near the back, he can barely contain his excitement. Sam follows, taking note of a LARGE RABBIT in an extremely SMALL CAGE... JEREMY Here's my station. He unlocks a drawer in the lower portion of the desk and retrieves a BOX containing a tiny SLICE OF ROCK with a grid- like PATTERN OF METALLIC CRYSTALS embedded in it. SAM That's it? JEREMY The rest is locked away somewhere else... somewhere safe. Everyone's gonna want a piece of this thing pretty soon. He takes it over to an SCANNING ELECTRON MICROSCOPE and turns it on. He places the meteorite slice in the microscope's VACUUM COLUMN through an AIRTIGHT DOOR. 77. JEREMY (CONT'D) You ever seen one of these? SAM No. JEREMY It's a scanning electron microscope. It uses electrons instead of light to scan the image. A BLACK & WHITE IMAGE appears on the microscope's MONITOR -- it's a geometric collage of all shapes and shades. JEREMY (CONT'D) At first I thought it was a siderite, but then I saw it was more than that. Much more. It does have a percentage of nickel and iron in it as I first suspected. But it also has something else. He waits for Sam to take the bait. SAM And what's that? He points to cluster of BRIGHT WHITES on the monitor. Their shapes are strangely different than the others surrounding them. JEREMY An unrecognizable element. I've done all the tests. It doesn't exist on the periodic table. Jeremy is practically beaming. SAM So this is pretty major. JEREMY This is history. I'm thinking of calling it framium. SAM Framium? JEREMY For my last name... Frame. 78. SAM What if it's like... proof of some alien life-form from another galaxy or something. Jeremy's tone becomes serious, and he starts to scratch at his left forearm as he talks. JEREMY It's very important you promise me you won't tell anyone else what I've showed you. I have to wait till just the right moment. NASA, or some secret government organization could come in here and take it away from me... As Jeremy gets more worked up, he scratches harder... JEREMY (CONT'D) And then later on, years from now, take credit for the discovery themselves. SAM I won't say anything. JEREMY Good. Sam stares at him for a long beat, as if examining him. SAM There's this book I think you'd like... I got it from my physics teacher in high school. JEREMY The study of physics has unraveled some of the most profound mysteries of the universe. SAM It's called The Philosophy of Time Travel. JEREMY Time travel? SAM Yeah, but it's not really that. It's more like one scenario, or one type of scenario. I don't completely understand it... 79. Sam gazes at the cluster of white shapes on the monitor. SAM (CONT'D) Another mystery. JEREMY What do you mean? SAM My life seems to be full of them. JEREMY Mysteries are what make life interesting... Sam doesn't agree or disagree. She's become tense, because Jeremy's face is now in close proximity to hers. JEREMY (CONT'D) You're a mystery to me, Samantha. He goes in for a kiss, but Sam gently pushes him away. JEREMY (CONT'D) Ow... Jeremy retreats, shielding his left arm. Sam looks down and sees that the red, raw area has turned into a much bigger RASH, covering a large part of his wrist and extending onto his forearm. SAM That doesn't look good. JEREMY I should get some Hydrocortisone. He looks pathetic, and Sam feels sorry for him. SAM (regarding the attempted KISS) Sorry about that. JEREMY I'm sorry. I should've know better. You barely know me, right? SAM And nobody really calls my Samantha. Just my mom and dad. Jeremy manages a smile, and Sam smiles back. 80. INT. DEPARTMENT STORE - AFTERNOON Chris is at work, stocking shelves inside the department store... He checks his watch, stops what he's doing and grabs a PACK OF CIGARETTES from his breast pocket -- time for a smoke break. EXT. INTERSECTION NEAR DEPARTMENT STORE - AFTERNOON The TRACTOR-TRAILER TRUCK carrying the JALOPY breaches the crest of the hill, descending on the intersection... EXT. DEPARTMENT STORE - CONTINUOUS Chris lights up a cigarette... CHRIS' POV - TRACTOR-TRAILER TRUCK He watches as the TRACTOR-TRAILER hits the pothole, but passes safely through the intersection, making a right. Something about the sight of this strikes Chris so much that his cigarette falls out of his mouth. EXT. NEIGHBORHOOD - DAY Father Homeijer and Trudy stroll down a quiet street with their COLLECTIONS JAR, and arrive at a fork in the road. FATHER HOMEIJER You take this street, I'll take that one? Without warning, Trudy kisses him on the cheek. TRUDY Good luck. Father Homeijer blushes, but Trudy smiles at him in a friendly manner. They move off in separate directions... EXT. DUSTY'S GARAGE/HOUSE - DAY Father Homeijer raps on the door of Dusty's house. No answer. 81. INT. DUSTY'S GARAGE - MOMENTS LATER - DAY The priest lets himself into the garage, which is open but deserted. He notices COREY'S CHEVROLET. He steps up to the GARAGE ENTRANCE and knocks... No one comes to the door, but he notices that it's slightly ajar. FATHER HOMEIJER Dusty? He can hear COUNTRY MUSIC playing low within. FATHER HOMEIJER (CONT'D) Are you home, son? He lets himself inside... INT. DUSTY'S HOUSE, KITCHEN - DAY Father Homeijer walks into the dingy kitchen. The SINK is full of DIRTY DISHES. A coating of GRIME over everything. INT. DUSTY'S HOUSE, LIVING - CONTINUOUS - ANGLE ON - PIT BULL The sleeping PIT BULL stirs... INT. DUSTY'S HOUSE, KITCHEN - CONTINUOUS The priest sees that the COUNTRY SONG is coming from a STEREO that sits on the kitchen counter. FATHER HOMEIJER (calling out) Dusty? I'd like to trouble you for a small donation... The COUNTRY SONG comes to a close, and the tape runs out. With the music gone, the priest cocks his head to a new sound -- soft, distant CRYING. He looks curiously toward the CELLAR DOOR... [Note: The CRYING SOUND should be identical to the one that drew Corey out of the motel room.] 82. INT. DUSTY'S HOUSE, BASEMENT - DAY Father Homeijer slowly descends the rickety BASEMENT STEPS. At the bottom, he finds a STRING that connects to a bare overhead BULB... He creeps along the dusty cement floor, past an old WASHER/DRYER, continuing toward the source of the CRYING, which has become more pronounced. He wrinkles his nose at a foul smell... FATHER HOMEIJER Who's there? He rounds a corner, and when he sees Billy Moorcroft he's nearly frozen in shock -- The boy is locked inside a large, METAL DOG'S CAGE. He sits on the floor of the cage, rocking back and forth. He is pale, bruised and slick with sweat, clothed only in a pair of SOILED BRIEFS. Beside him is an aluminum WATER BOWL and some scraps of WHITE BREAD. The floor beneath him is soaked with URINE and scattered FECES. Father Homeijer makes the sign of the cross. EXT. DUSTY'S GARAGE/HOUSE - LATER - DAY Dusty's place is surrounded by FIRE TRUCKS, POLICE CARS and an AMBULANCE. Billy Moorcroft is wrapped in a blanket and being tended to by PARAMEDICS. Father Homeijer stands near the boy, being interviewed by a DETECTIVE. Dusty is handcuffed and being loaded into the back of a cruiser by Officer O'Dell and another policeman, OFFICER HINES (28). OFFICER O'DELL Get in there, you sick fuck... Dusty says nothing as O'Dell shoves him in and slams the door... The two officers turn when they see RANDY'S DAD'S CAR pull up next to the property. Randy is in the driver's seat, looking confused. Ruth hops out of the passenger seat and darts toward the house -- -- but she is cut off and grabbed by a POLICEMAN. ANOTHER OFFICER goes to talk to Randy in the car. 83. Wheels turning, O'Dell addresses Hines: OFFICER O'DELL (CONT'D) (regarding Dusty) Let him rot in there for a few minutes, maybe till the news guys show up... I'm gonna go finish checkin' upstairs. INT. DUSTY'S HOUSE, RUTH'S BEDROOM - DAY O'Dell lets himself into Ruth's bedroom. It's a mess -- her CLOTHES are all over the floor, and crinkled ROCK POSTERS litter the walls. Next to her bed is a FRAMED PICTURE of she and Randy. O'Dell starts to rifle through her desk drawers, one after another -- He tosses the closet, throwing out clothes and shoes... until he finds the SHOEBOX. He opens it up, satisfied... ANGLE: OUTSIDE THE BEDROOM DOOR Officer Hines stands by the door, looking in at O'Dell covertly. INT. MOTEL ROOM 15 - MORNING Sam lies in bed in front of the television. A NEWS BULLETIN comes on about Billy's Moorcroft's rescue: TELEVISION ANCHOR We have an update this morning on our breaking news of Billy Moorcroft, the El Reno youth who was kidnapped over 15 months ago, and rescued yesterday afternoon by Father Homeijer of Mount Calvary Church. Billy's condition at this time is considered stable... Sam stares at the television, dumbfounded. The news cuts to the scene of the rescue, where Father Homeijer is being INTERVIEWED: FIELD REPORTER Father, what led you to this particular house on this particular day? 84. FATHER HOMEIJER I was out collecting donations in order to help rebuild my church, Mount Calvary, which recently burned down. Clearly the Lord works in mysterious ways. This is nothing less than divine intervention... EXT. MOTEL - MORNING As Sam's walking away from the motel, she looks up to the sky at a PASSING JET... AGATHA (V.O.) No matter how well you think you know somebody, you just never really know... INT. DINER - MORNING Sam sits at the booth where she and Corey sat before, and Agatha sets down a glass of ORANGE JUICE. AGATHA Dusty Gibbens has been comin' in here for coffee ever since I can remember... gives me the shivers. Ted pipes up from behind the counter: TED They should hang guys like that. Only thing bothers me is how many of `em are still out there... Chris enters the diner and catches the end of Ted's rant. TED (CONT'D) Hang `em all. AGATHA (to Sam) I'll be right back with your breakfast. As Agatha moves off, Chris sees Sam and approaches her table. CHRIS May I? SAM Sure. 85. CHRIS I guess you heard. SAM Yeah. CHRIS It's so messed up... I feel bad that I recommended him now. Agatha notices that Chris has sat down with Sam. AGATHA What can I get you, honey? CHRIS Uh... sausage, eggs, coffee, please. AGATHA White or wheat? CHRIS Wheat toast, please... He refocuses his attention back on Sam. CHRIS (CONT'D) If I had kids, I'd be worried sick about `em in a world like this. I'm sure your parents must be. SAM Hey, you could've been some crazy rapist serial killer. Agatha is there with his coffee just in time to hear this last part. She gives Chris and Sam each an odd look before setting the coffee down and leaving. SAM (CONT'D) You turned out okay. CHRIS Yeah, but everybody doesn't. SAM I can take care of myself. CHRIS I'm sure you can... but I wouldn't feel right if I didn't tell you about Jeremy. 86. SAM What about him? CHRIS I don't know what you have goin' with him... but you shouldn't be hangin' around him. Let's just leave it at that. SAM What makes you think you can tell me who I can and can't hang around with? CHRIS It's just that I know him better than you do. He lived in my neighborhood when we were kids. SAM So? CHRIS So he used to do weird stuff... to animals. Sam waits for him to go on. CHRIS (CONT'D) My sister lost her pet rabbit once, and we went all over the neighborhood lookin' for it. We were just about to call it quits when we heard something comin' from Jeremy's garage. He'd stuck it in a trash can and put the lid on. Sam looks shocked and a little disgusted. CHRIS (CONT'D) It was half starved by the time we got it home. Died just a few days later. SAM How old was he? CHRIS I don't know, just a couple years. Cute little black and white- SAM No. Jeremy. 87. CHRIS He was like nine, probably. SAM He was just a kid, he didn't know what he was doing. CHRIS When you were nine years old did you know it was wrong to put a living creature in the trash can and leave it there? Sam's had enough. SAM Chris... you're a nice guy, but you don't have to be looking out for me. You're not my dad, you're not my big brother... Chris hangs his head, frustrated. INT. JAIL CELL - AFTERNOON O'Dell stands at the bars of Dusty's jail cell. Dusty lies on his cot and stares up at the ceiling. OFFICER O'DELL You know what they do to faggot-ass perverts like you in maximum security, dontcha? O'Dell chuckles, enjoying this immensely. OFFICER O'DELL (CONT'D) Disgusting fuckin' piece a' shit like you... EXT. POLICE STATION, BACK PARKING LOT - EVENING O'Dell, now dressed in plainclothes, is on the way to his CAR in the far corner of the back lot. He HEARS someone come out the door behind him, but doesn't turn until he HEARS his VOICE. OFFICER HINES Hey, O'Dell... OFFICER O'DELL I'm on my way out... what do you need? 88. Hines catches up with him and they walk and talk. OFFICER HINES I'm not gonna bullshit ya. OFFICER O'DELL Okay... OFFICER HINES I saw you snatch the drugs outta that house. O'Dell's face grows cold but he doesn't slow his pace. OFFICER O'DELL I don't think I know what the hell you're talkin' about. OFFICER HINES Don't bullshit me either... Hines grabs his shoulder to stop him. O'Dell eyes his hand. OFFICER HINES (CONT'D) I don't wanna turn you in. OFFICER O'DELL Then what do you want? OFFICER HINES How much you think you'll get when you unload it? O'Dell keeps cool, but resents being muscled. OFFICER O'DELL Depends. OFFICER HINES I'll take forty percent this time, but from now on it's fifty-fifty. OFFICER O'DELL What do you mean from now on? OFFICER HINES I got a pretty good idea this ain't the first time you done this. Won't be the last, will it? Hines extends his hand and smiles. O'Dell shakes it. Grudgingly... 89. After Hines turns on him and jogs back to the station house, O'Dell kicks the ground angrily. OFFICER O'DELL Shit! When he looks up, he's startled by a pair of eyes that peer from the bushes nearby. Upon closer inspection, he sees that it's Vietnam Tom in his SKI MASK. Nervous about how much he's heard, O'Dell takes an aggressive stance. OFFICER O'DELL (CONT'D) Come on outta there. Now! He becomes tense when Tom emerges, because he sees that he's got his RIFLE. OFFICER O'DELL (CONT'D) What the fuck you doin' carryin' that around in the town proper? O'Dell realizes that he's not holding it in a threatening manner, but cradling it in his arms. OFFICER O'DELL (CONT'D) Hand it over. Right now! Tom steps toward him ever so slowly. O'Dell reaches out and Tom hands him the gun, stock first. OFFICER O'DELL (CONT'D) I should arrest you and throw you in jail, you know that? Crazy sonofabitch... Tom looks at the ground, hunched over meekly. OFFICER O'DELL (CONT'D) Get the fuck outta my sight. O'Dell looks around as Tom shuffles off, making sure no one witnessed the transaction. EXT. LOOKOUT - SUNSET Sam trudges up the wooded hill to the vantage point, carrying The Philosophy of Time Travel book. It's quiet and peaceful, and everything's bathed in golden light. 90. EXT. LOOKOUT, VIETNAM TOM'S SQUATTING GROUND - SUNSET She comes upon Tom's new squatting ground in a secluded area near the lookout, and looks around before approaching. When she sees the handmade BUNNY MASK lying among his things, she puts the book under her arm and reaches down to pick it up. She runs her fingers down the long, shiny ears, nose, and jagged teeth... She doesn't realize that Tom is standing close behind her. When she senses his presence she's startled. SAM Sorry... She sets the BUNNY MASK down where she found it. Tom says nothing. He seems neither surprised nor irritated to find her there. He walks up beside her and sits, facing the view. After a long beat, Sam sits down beside him. To her surprise, Tom begins to speak: VIETNAM TOM My mom told me someday everybody would understand. She said it was my job to look out for the town... so that's what I do. That's what I always do. Sam listens to him intently. VIETNAM TOM (CONT'D) They don't know why. They don't even want me here, but I still have to protect them. SAM They're lucky to have someone to protect them. VIETNAM TOM I'm used to it... I'm lucky to have a job to do. Some people don't have any reason to be here at all. SAM I know what you mean... Tom turns and looks at her strangely. 91. VIETNAM TOM You're more important than all of us. Sam peers into Tom's pale blue eyes through his ski mask. Without knowing why, she reaches out and touches the mask... When she starts to pull it off Tom grabs her hand, stopping her -- not too rough, but forceful. Sam's scared for a moment, but Tom lets her go. His eyes drift down to The Philosophy of Time Travel book by her side. Sam sees him staring, so she picks it up and hands it to him. When Tom sees the cover, his cold eyes are filled with emotion. Sam sees how struck he is, but doesn't understand. SAM Do you like to read? Tom says nothing. SAM (CONT'D) You can borrow it... Again, Tom does not speak. After a beat, Sam gets up slowly and walks away, leaving Tom with the book. INT. DEPARTMENT STORE - DAY Jeremy is at the department store in the FIRST AID SECTION, picking out some GAUZE and DISINFECTANT. When he looks down the aisle and sees Sam, he moves toward her quickly... He disturbs her while she's looking at some FEMININE HYGIENE PRODUCTS. JEREMY Sam... When he sees the items that she's shopping for, he seems much more embarrassed than she does. SAM Oh, hi Jeremy. JEREMY Hi... sorry. SAM That's okay, what's up? 92. JEREMY Nothing... just that I haven't see you around for the past few days. I was worried. I thought you might've taken off. SAM No... I've been around. Going for lots of walks. JEREMY I stopped by the motel. Sam finds his manner a bit odd. SAM Like I said, I've been in and out. JEREMY Well, there's something I wanted to ask you. You know that book you mentioned? SAM Yeah... JEREMY I'd really love to check it out. SAM Oh... Sam's face darkens, and Jeremy picks up on it. JEREMY You said you'd show it to me sometime, and I've got a hunch it could really help me in some of my studies related to- SAM I don't have it anymore. JEREMY What? SAM I kind of... gave it to someone. JEREMY To who? Why? 93. SAM I'm sorry. I just... forgot that I said you could borrow it, and this GUY- JEREMY What guy? SAM Well... that Vietnam Tom guy. Jeremy is furious. JEREMY Vietnam Tom!? You gave away the book to Vietnam Tom!? Sam backs away from him. He's getting louder and out of control. JEREMY (CONT'D) I don't fucking believe what you're telling me! SAM It's just a book... JEREMY He's a fucking bum! And you chose him over me!? SAM No... I just- Suddenly, a hand comes down on Jeremy's shoulder. He turns and finds Chris standing behind him. CHRIS That's enough. Sam is relieved. Jeremy glares at Chris. JEREMY This is none of your business. CHRIS It is, actually. You're disturbing my customers. Get out. Jeremy brushes past Sam as he leaves, and she and Chris are left alone. There's a definite "I told you so" aura. 94. SAM (MUTTERING) You didn't have to do that. CHRIS Just doin' my job. Sam starts to walk away, at first forgetting the products she needed. She comes back to get them, slightly flustered. Chris turns and leaves her in peace. CHRIS (CONT'D) (as he's walking away) You're welcome. INT. FATHER HOMEIJER'S HOUSE, LIVING ROOM - AFTERNOON Father Homeijer and Trudy are sitting on the couch in the living room of his quaint house, sharing a BOTTLE OF CHAMPAGNE. TRUDY I never had any doubts in you, or in the Lord. FATHER HOMEIJER I know that. And we both truly appreciate all your faith and hard work... They sip their champagne. Trudy glows. FATHER HOMEIJER (CONT'D) We needed a miracle, but we got two instead. Trudy grabs the bottle and tries to refill his glass, but the priest puts his hand over it. FATHER HOMEIJER (CONT'D) I think I've had enough. TRUDY One more glass won't hurt you. You deserve it, Father... I/E. O'DELL'S CAR/ABANDONED WAREHOUSE - NIGHT O'DELL'S CAR pulls up to an old warehouse and parks. OFFICER HINES Where the hell are they? 95. Hines is nervous. He lights a cigarette. OFFICER O'DELL They'll be here. Just take it easy. EXT. DEPARTMENT STORE - LATE NIGHT Tom wears his metal BUNNY MASK. Sam wears her HOODED SWEATSHIRT and JEANS, and her right hand is BANDAGED. The METAL SHARD is embedded under the skin of her forehead... They move slowly and methodically until they reach the center of the empty lot. There are lights on in the closed department store, but the parking lot is mostly dark. VIETNAM TOM Why do you talk to me? TOM'S VOICE is MUFFLED behind his mask. SAM Same reason you talk to me... Tom cocks his head, unsure of the answer. SAM (CONT'D) Because I can see how special you are. VIETNAM TOM Why can't other people? SAM They will. Only one day left. They both turn toward an area in the lot where the SHOPPING CARTS are stored. The METAL STORAGE RACK starts to tremble and burn with COSMIC ENERGY... INT. FATHER HOMEIJER'S HOUSE, LIVING ROOM - AFTERNOON Father Homeijer finishes his glass of champagne. Trudy is already done with hers, and she takes his glass and sets it on the coffee table. She moves closer to him on the couch... FATHER HOMEIJER Trudy... She puts her hand on his leg. 96. TRUDY I see the way you look at me, Father... She moves in closer... He looks uncomfortable. TRUDY (CONT'D) I want you too. She's about to kiss him, but Father Homeijer stops her. TRUDY (CONT'D) I can't do this. I'm a man of the cloth... and you'd regret it. He takes her by the hand, reminding her of the WEDDING BAND on her finger. EXT. DEPARTMENT STORE - LATE NIGHT SHOPPING CARTS start to roll out of the RACK by themselves, following their own liquid VECTOR SPEARS. Tom stands staring at them. He is flanked by Sam... EXT. ABANDONED WAREHOUSE - NIGHT Officer Hines walks to the edge of the woods beside the warehouse and unzips his pants... ANGLE: O'DELL'S CAR With GLOVED HANDS, O'Dell grabs VIETNAM TOM'S RIFLE out of the trunk... INT. FATHER HOMEIJER'S HOUSE, LIVING ROOM - AFTERNOON Trudy's head is buried in her hands and she bawls. TRUDY I feel like such an idiot... Father Homeijer doesn't know what to say. EXT. ABANDONED WAREHOUSE - NIGHT Hines finishes relieving himself and comes out into the open from the side of the building. O'Dell is waiting for him. 97. OFFICER HINES What the fuck- BOOM! O'Dell shoots him in the chest. He is cool and calm. He throws the rifle down on the ground... EXT. DEPARTMENT STORE - LATE NIGHT The SHOPPING CARTS whirl in an circle of ever-increasing speed around Vietnam Tom and Sam. The RUBBER WHEELS squeal on the cement until they start to melt... The VECTOR SPEARS lead the carts in a spiral that hones in closer and closer to the two of them. Sam is stoic. Tom is in awe... EXT. THE ETHER - NIGHT - POV INSIDE PORTAL We travel at breath-taking speed through a PORTAL as it weaves through millions of STARS, then an ATMOSPHERIC BARRIER... EXT. DEPARTMENT STORE - LATE NIGHT When it looks like they'll be crushed by the scudding metal, or combusted by the cosmic energy, the WORM-LIKE PORTAL from the sky reaches down and encloses Tom and Sam like a vacuum. There's a brilliant FLASH OF LIGHT -- TRANSITION TO: EXT. DEPARTMENT STORE - THE NEXT MORNING CHRIS' TRUCK pulls into the lot early in the morning, and he gets out wearing his work uniform. Still groggy, he's about to walk into the store when something catches his eye... CRANE UP to FIND a STRUCTURE made of all the SHOPPING CARTS, as chilling and impressive as a crop circle, in the shape of an immense FIBONACCI SPIRAL. The metal of the carts has been fused together, and they're stacked in an ascending manner that reaches an apex in the center, like a cone. Chris is mystified... CUT TO: EXT. STREET - DAY Two POLICE CRUISERS speed down a street in town... 98. EXT. PARK - AFTERNOON COPS, including Officer O'Dell, converge on Vietnam Tom in the park, where he sits on the SWING in his ski mask... COP #1 Get down on the ground! Tom looks up at them calmly, without fear. COP #1 (CONT'D) Get down on the ground, now! He obeys them and two Cops jump on him and put him in cuffs. One of them pulls up his head and rips off his ski mask -- Tom's face is a mass of SCARS. Both his cheeks, forehead and chin are marred by scar tissue born from long, deep gashes. O'Dell looks into his sad, blue eyes... INT. POLICE STATION, VARIOUS - AFTERNOON Tom is slammed against a table. An OFFICER takes his hand roughly and sticks his fingers into some ink to take his prints -- JUMP CUT TO: POLICEMAN (V.O.) Name? Tom stands for his booking photos -- JUMP CUT TO: POLICEMAN (CONT'D) (getting angry) What's your name? The POLICEMAN stands over Vietnam Tom, who sits defeated in a chair. A YOUNG OFFICER approaches. YOUNG OFFICER We found this on him... He passes the Policeman a set of DOG TAGS on a CHAIN. The name on the tags is: THOMAS WARD SPARROW. EXT. MOTEL - EVENING Sam walks toward the motel, wearing JEANS and a T-SHIRT... When she sees JEREMY'S BMW parked in the lot she stops short. But it's too late -- he's already seen her and is getting out of the car. He's got a bouquet of FLOWERS. 99. JEREMY Hi, Sam... He passes her the flowers. JEREMY (CONT'D) I hope you can forgive the way I acted. SAM That was pretty weird. JEREMY I know. I just... Jeremy is awkward and shy. JEREMY (CONT'D) I've been so wrapped up with the meteorite. I haven't been eating or sleeping much. I think I'm just drained... but that's no excuse. SAM It's alright. JEREMY I was wondering if you'd let me make it up to you. SAM You don't need to- JEREMY Please... let me take you to watch the fireworks tonight. SAM I don't think so. JEREMY It's gonna be spectacular. There's gonna be a meteor shower that coincides with the show... I mean, how often does that happen? Sam still isn't sure. JEREMY (CONT'D) I just wanna be your friend. SAM I was supposed to see `em with Chris, but... he's stuck at work. 100. JEREMY So, what do you say? Will you go with me? SAM Gimme a sec. Lemme grab my sweatshirt... Jeremy beams. EXT. DEPARTMENT STORE - EVENING Chris is in the department store parking lot with a crew of EMPLOYEES. They work together to pry apart the numerous SHOPPING CARTS with CROWBARS. They've made some progress, but still a long way to go. Chris is distracted by JEREMY'S BMW as it cruises through the nearby intersection... After it passes, Chris looks up at some OMINOUS CLOUDS congregating in the darkening sky. From the CLOUDS above the store -- PAN DOWN TO FIND: EXT. LOOKOUT - EVENING The lookout, and Jeremy's car riding up the hill. There are OTHER CARS parked to watch the upcoming display, but Jeremy drives to a more SECLUDED AREA... (Music suggestion: 4th of July, by Soundgarden.) EXT. WOODED GROVE NEARBY - EVENING Jeremy spreads a blanket on the ground of a private grove. He wears a LIGHT JACKET, and sets down a GROCERY BAG. Sam has her HOODED SWEATSHIRT tied around her waist. SAM Shouldn't we go back out there where we can see? JEREMY No, this'll be perfect. See right there? He points to an area near the tops of the trees. JEREMY (CONT'D) That's right where the fireworks'll come up. (MORE) 101. JEREMY (CONT'D) And we can see the meteors better without all the lights from the town. Sam sits down on the blanket and checks her watch. Jeremy pokes around in the grocery bag. SAM So what's in the bag? JEREMY You'll see... Sam takes her HOODED SWEATSHIRT from around her waist and puts it on to fight the cold... JEREMY (CONT'D) There's one! Sam spots a METEOR as it streaks across the sky -- EXT. WOODED GROVE NEARBY - LATER - NIGHT JEREMY'S HAND holds a flaring ROMAN CANDLE -- JEREMY (O.S.) Here it goes! A SPARKLING GREEN BALL shoots out of the stick into the air. Sam looks up at it and smiles. Jeremy shoots off colorful ball after ball, aiming in different directions. SAM They're pretty. After his stick fizzles out: JEREMY You wanna try one? Sam shrugs... He grabs another out of the grocery bag, and Sam gets up slowly. He passes her the ROMAN CANDLE, and she accepts it with her RIGHT HAND... JEREMY (CONT'D) Just hold it straight up. Sam holds it and Jeremy flicks his LIGHTER. The WICK catches... JEREMY (CONT'D) It's goin'! 102. Sam smiles and holds the stick as far away from her face as possible. She closes her eyes... But the wick burns down extremely fast. The FIRST BALL gets stuck at the top and implodes, causing the whole thing to catch fire. SAM Ow! JEREMY Drop it! He runs over and stamps it out as quickly as he can... JEREMY (CONT'D) Fucking faulty one... Sam nurses her burned hand. JEREMY (CONT'D) Are you okay? SAM I think so... Jeremy inspects her hand -- there's a large BLISTER. JEREMY You need to get that covered... Jeremy takes off his jacket. He then removes his T-shirt and starts to tear off a piece. SAM What are you doing? JEREMY It's okay... EXT. BANK - NIGHT The bank sign shows 8:59 PM. The display flashes to: JULY 4, 1995... It changes to the countdown: 00 DAYS, 00 HOURS, 00 MINUTES, 03 SECONDS... 02 SECONDS... 01 SECONDS... EXT. WOODED GROVE NEARBY - NIGHT Jeremy finishes wrapping the piece of his T-shirt around Sam's hand, creating the MAKESHIFT BANDAGE. 103. JEREMY How's it feel? SAM A little better... The FIREWORKS suddenly begin, and fill the sky above the grove with bursts of bright, multi-colored lights. Sporadic METEORS rain down at the same time. It's magnificent. After a beat, Sam looks over at Jeremy... The fireworks illuminate his torso, and she is appalled to see that the raw, reddish RASH has spread to cover the greater part of it. SAM (CONT'D) Good God... Jeremy looks down as if he'd forgotten, then quickly picks up his jacket and puts it back on. SAM (CONT'D) (ALARMED) Is that from the meteorite? JEREMY I barely even notice it anymore. I'm sure it'll go away soon. He zips up his jacket tight. SAM Are you fucking kidding me? JEREMY Do you think I'm disgusting? The question takes Sam by surprise. SAM No... I just think you should get it looked at- Before Sam can finish, Jeremy crams his mouth into hers for a forceful kiss... Sam shoves him away sharply. SAM (CONT'D) What the hell are you doing? 104. JEREMY So you do find me disgusting. Which is it, Sam, I can't take much more of this shit! SAM Jesus Christ... He tries to grab her, but Sam turns and runs -- JEREMY Come here! EXT. WOODS - NIGHT Sam tears through the woods, Jeremy close behind her. The FIREWORKS CRACK and POP in the sky above... JEREMY Sam! Stop! Sam jumps over a fallen log in the dark... Jeremy hits it dead on with his shins and goes head over heels -- JEREMY (CONT'D) FUCK! He picks himself up and charges even faster -- INT. JAIL CELL - NIGHT Tom sits alone in his jail cell, morose, staring at the floor. He looks up when he senses someone approaching... EXT. LOOKOUT, VIETNAM TOM'S SQUATTING GROUND - NIGHT Sam sprints by the area of Vietnam Tom's squatting ground. FIREWORKS continue to EXPLODE and shower overhead, and some PEOPLE can be HEARD LAUGHING and SHOUTING from the main parking area, not far away... Sam runs toward the VOICES -- But Jeremy grabs her from behind and spins her around! SAM Why are you doing this? JEREMY I just wanna talk to you! 105. She struggles against his grip. The EXPLOSIONS and the RUCKUS from CROWD mask their noise. JEREMY (CONT'D) Stop it! Sam raises her knee and connects hard with his groin. He starts to double over, but recovers quickly and smacks her across the face -- JEREMY (CONT'D) Fucking bitch! Sam is stunned, and Jeremy takes her by the shoulders and shoves her hard -- Sam stumbles backwards and falls, cracking her head on the metal BUNNY MASK. She rolls over onto her back, REVEALING the SHARD OF METAL that protrudes from the GASH by her temple... She struggles no more. INT. JAIL CELL - NIGHT Tom stands in his cell to meet the entity that approaches... EXT. DEPARTMENT STORE - NIGHT Chris and the other Employees stop working and look up at the sky, now roiling with sinister, SUPERNATURAL CLOUDS... EXT. LOOKOUT, VIETNAM TOM'S SQUATTING GROUND - NIGHT Jeremy slowly creeps to where Sam lies... Her eyes are open and she is completely still. JEREMY Sam?... Jeremy crouches beside her, and when he puts two fingers to her neck to feel for a pulse, he starts to tremble... The raining METEORS and FIREWORKS illuminate the SMOKE and the BLACK CLOUDS overhead... INT. JAIL CELL - NIGHT Vietnam Tom walks up to the CELL BARS... He comes face to face with Sam. 106. She stares back at him through the bars from the other side. She wears her HOODED SWEATSHIRT and the BANDAGE. Light glints off the METAL lodged in her HEAD WOUND. I/E. JEREMY'S BMW/LOOKOUT - NIGHT Jeremy speeds frantically down the hill, away from the parking area and the continuing fireworks display. Tears stream down his cheeks... He cuts the wheel when a pair of HEADLIGHTS blind him and a vehicle cuts him off. His car skids out, and he sees it's CHRIS' TRUCK that has almost hit him. Chris jumps out, yanks open Jeremy's door and grabs him by the shirt collar. He yells over the FIREWORKS: CHRIS Where the hell is Sam? JEREMY (FRANTIC) I don't know... I don't know... Jeremy stomps on the gas pedal, and Chris is forced to unhand him as his BMW navigates around the truck and barrels down the hill... EXT. LOOKOUT, VIETNAM TOM'S SQUATTING GROUND - LATER - NIGHT As Chris approaches Vietnam Tom's squatting ground, the FIREWORKS DISPLAY is in the midst of the GRANDE FINALE. Showers of light BURST and CRACKLE in steady succession. PEOPLE SCREAM in approval from the parking area nearby... Chris comes upon Sam's lifeless form. CHRIS No... He stoops by her, picks her up and hugs her limp body close... As he does this, Vietnam Tom approaches from behind him. Chris turns to face him but says nothing, still holding Sam. The WIND picks up and blows in gusts around them... Tom looks down at the two of them for a moment, then reaches down and picks up his BUNNY MASK. The EVIL GRIN is red with SAM'S BLOOD, and one of the teeth is missing... 107. The last of the fireworks display occurs, leaving the night full of SMOKE, HELLISH CLOUDS and an increasing number of bright-tailed METEORS -- the APOCALYPSE. Amongst the churning clouds, a tornado-like PORTAL cuts through the sky and touches down somewhere in the town. It's swirling and vast, stretching down from limitless space... SAM (V.O.) 15 days... 18 hours... Tom puts on the BUNNY MASK... SAM (V.O.) (CONT'D) VIETNAM TOM 45 minutes... 6 seconds... 45 minutes... 6 seconds... And focuses on a single METEOR that plummets toward the yawning VORTEX, using telekinetic power to guide it... EXT. THE ETHER - NIGHT - POV INSIDE PORTAL The METEOR blazes through the WORMHOLE -- KEY SCENES IN REVERSE THE BARS TO THE JAIL CELL STRAIGHTEN -- THE WORDS `THOMAS WARD SPARROW' ARE LIFTED FROM THE BOOKING SLIP -- SHOPPING CARTS SWIRL IN A DECONSTRUCTING SPIRAL -- O'DELL GIVES TOM BACK HIS RIFLE -- FATHER HOMEIJER PLACES BILLY MOORCROFT BACK IN HIS CAGE -- SAM PICKS UP THE PAYPHONE -- THE CHURCH REBUILDS ITSELF OUT OF FLAMES -- THE THREE CROSSES IN IMITATION OF CALVARY RIGHT THEMSELVES -- SAM'S FACE DIPS BENEATH THE SURFACE OF RANDY'S POOL -- TRANSITION TO: EXT. BANK - NIGHT The clock on the BANK SIGN shows 3:30 AM -- then flashes to -- JUNE 19, 1995... It changes again, this time to a countdown to the JULY 4TH FIREWORKS CELEBRATION: 15 DAYS, 17 HOURS, 29 MINUTES, 57 SECONDS... 56 SECONDS... 55 SECONDS... 108. INT. MOTEL ROOM 15 - NIGHT Sam awakens suddenly from a nightmare. She lies atop the blankets wearing a T-SHIRT and BOXER SHORTS. She looks over and sees Corey passed out on the other full-size bed. TWO PLASTIC CUPS, EMPTY SODA CANS, and the BOTTLE are on the nightstand between them, the liquor partially consumed. The CLOCK/RADIO reads 3:30 AM. EXT. WINDMILL PLATFORM - NIGHT Vietnam Tom sits atop the platform, more than 30 feet up, wearing his ski mask and holding his rifle. The surface of the platform is littered with TATTERED CLOTHING, a WATER BOTTLE, CANS OF FOOD and SCRAPS OF A TARP. Relaxed and at peace, Tom looks up to the clear night sky. As a TREMOR starts to build, he takes off his ski mask and gazes out over his town... He smiles. Suddenly, there's a brilliant flash of GREEN LIGHT -- deafening THUNDER -- a blinding EXPLOSION -- CUT TO: CHARACTER MONTAGE Dusty sits and stares at his CELLAR DOOR... Trudy holds a PICTURE OF FATHER HOMEIJER and cries... Ruth snorts some COKE in her room... Jeremy scratches his LEFT FOREARM in his sleep... Billy Moorcroft shivers from the chill in his CAGE... Officer O'Dell sits alone in his patrol car, fingering the trigger of his PISTOL... TRANSITION TO: EXT. FIELD BEHIND MOTEL - THE NEXT MORNING Where the towering windmill once stood is now only a CRATER about 5 feet deep and 10 feet in diameter, with charred bits of wood and metal strewn everywhere. Ground water spurts from the broken well seal. A cantaloupe-sized METEORITE sits in the center of the crater... Two FIREMEN haul out the meteorite as Sam and O'Dell arrive on the scene. There are PARAMEDICS, a CORONER and other POLICEMEN there as well, and a large area has been cordoned off with POLICE TAPE. 109. Corey is there looking on, as well as Chris Holt, Phil Coulter, and other local CITIZENS. TOM'S REMAINS are carried off in a BLACK BAG... SAM Oh my God... Sam moves to stand by Corey. The overall mood is grim, and Frank stands peering at the wreckage with a long face. FRANK I don't believe it... The Firemen drop the porous, misshapen clod by his feet. FRANK (CONT'D) This is just a tragedy. Officer O'Dell steps up beside him and kicks the meteorite with his boot. OFFICER O'DELL Sell that thing off to some meteorologist nerd club, I bet you could do okay. FRANK Do I look like the type of guy that's gonna try and profit off another man's death? You should be ashamed of yourself. OFFICER O'DELL (EMBARRASSED) I was just sayin'... Sam looks down on the ground and sees Tom's multi-colored SKI MASK... She picks it up. COREY What are you doing? As she caresses the fibers with her fingers, she is filled with unwarranted emotion... EXT. MOTEL - MORNING Sam and Corey are on their way back to the motel room when they turn and see that Chris has followed them. 110. CHRIS Hey... SAM Hey. CHRIS So you guys stayed here last night? COREY One of us did. Sam gives Corey a look. Chris decides to ignore the comment. CHRIS What's up with your car? COREY It's gonna take a couple days. CHRIS For a water pump? Sam and Corey shrug. CHRIS (CONT'D) It's none of my business, but... He's distracted when JEREMY'S BMW pulls up and parks. He hops out and hustles across the field toward the crash site... SAM What? Chris regains his train of thought: CHRIS I was just gonna say, if you wanted, I could give you a ride back. He looks right at Sam when he says this. He then glances over at Corey, as if just remembering that she were there. CHRIS (CONT'D) You too. I mean, I could give you both a ride. COREY To Middlesex, Virginia? Do you- SAM (INTERRUPTING) I'll go. 111. COREY (PISSED) What? SAM I think I wanna go. COREY Things get a little tough, you're just gonna give up? SAM It's not like that... You should come too. COREY Fuck that. I'll wait for my car and stick to the plan. Do whatever the fuck you want. Corey turns and goes inside the room. SAM Corey... Sam looks back to Chris, who is uncomfortable for causing the conflict. CHRIS Sorry to screw you guys up. SAM It's alright. She can take care of herself... she's good at it. I've gotta go home. INT. FRANK'S BARN - DAY The METEORITE sits in a dark corner of the barn, collecting dust... INT. CHRIS' TRUCK - DAY Sam leans her head against the window of Chris' truck as they cruise along the highway... She gazes up at the bright, open sky. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Salton Sea, The.txt b/unformated_scripts/Script_Salton Sea, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..171c5b09cab5b5afff8b35e90120ef29e7e8fadf --- /dev/null +++ b/unformated_scripts/Script_Salton Sea, The.txt @@ -0,0 +1 @@ +THE SALTON SEA by Tony Gayton FADE IN:INT. RESIDENTIAL HOTEL ROOM - NIGHTA MAN recumbent on the bed, playing a TRUMPET, his white dress shirt defaced by a flower of blood. The room is ON FIRE all around him.He is playing Miles Davis' moody, Spanish-influenced SAETA, a haunting and lonely piece. DANNY (V.O.) My name is Tom Van Allen ... (beat) or Danny Flynne ...A DUFFLE BAG FULL OF MONEY ON THE BED. The money burning, tiny flaming pieces floating around the room. DANNY (cont'd) ... I don't know anymore. (beat) Maybe I'll let you decide. Maybe you can help me, friend. As you can see, I don't have a hell of a lot of time left.A PHOTOGRAPH of a woman taped to the inside of a trumpet case. The photo is on fire. Only her smile remains. DANNY (cont'd) Avenging angel ... Judas Iscariot ... Loving husband ... Prodigal Son ... The prince of Denmark ...?A GREETING CARD on the floor, a teddy bear and the word, CONGRATULATIONS! on the front. The wind from the fire blows the card open. Inside, a BLACKENED BLOOD STAIN. DANNY (cont'd) All of these? None of these? You decide, friend. You decide. Trumpet player? Speed freak? (beat) Speed freak. (beat) That's as good a place as any. (beat) But first, a little background on the mad world of the tweaker .. FADE OUT. FADE IN.INT. LABORATORY - DAYEXTREME CLOSE-UP of a glass pipette dripping a clear liquid into a glass beaker. DANNY (V.O.) Methedrene was first distilled by a Japanese scientist before WWII. Hand it to the Japanese, they knew a good thing when they saw it.INT. JAPANESE ZERO - DAYA wide-eyed, jaw-grinding KAMIKAZE PILOT with a death-grip on the controls. DANNY (V.O.) This guy's so tweaked, he probably thinks he can survive this without a scratch.STOCK BATTLE FOOTAGE - a Japanese Zero crashes into a battleship, bursting into a ball of flames. DANNY (V.O.) Maybe not. (beat) By some estimates, 2% of the Japanese population had a meth problem after the war: factory workers, soldiers, pilots. Maybe that's why it took two bombs to get 'em to surrender. A nuclear blast is just a minor nuisance to a determined tweaker.INT. HOUSE - DAYA wide-eyed, June Cleaveresque housewife in a picture-perfect white dress vacuums the floor of a picture-perfect house. DANNY (V.O) In the fifties, the housewives got ahold of it. Dexedrine. Benzedrine. Methedrene ...She attacks the same spot over and over again, one hand clutching the vacuum, the other stiffly holding a cigarette. DANNY (cont'd) Now that's a classic speed freak for you, skinny and cleaning the house. I'll bet her poor husband never knew what hit him in the sack either.INT. BEDROOM - NIGHTTHE LEG OF THE BED rattling and bouncing loudly off the floor.STOCK FOOTAGE - J.F.K. pumping the hand of NIKITA KRUSCHEV. DANNY (V.O.) There were even rumors that one of our presidents dabbled with mysterious "energy shots". Imagine that: a slammer in the White House.Kennedy talking animatedly. DANNY (cont'd) If it's true, I'll bet ol' Krushchev never got a word in edgewise.EXT. TRUCK STOP PARKING LOT - NIGHTA sleepy-eyed TRUCKER emerges from his tractor-trailer and approaches a loitering HELL'S ANGELS-type. DANNY (V.O.) By the late 60's the government finally cracked down and sent the whole thing underground. Bikers controlled the market for a while.INT. TRACTOR-TRAILER - NIGHTThe trucker gripping the wheel with the same death-grip as the Kamikaze. DANNY (V.O.) But now anyone with a basic chemistry kit and the right ingredients can cook it up at home.INT. PHARMACY - NIGHTA CASHIER scanning container after container of COLD MEDICATION. DANNY (V.O.) Ever see a long-haired tattooed freak buying up all the cold medicine he can lay his hands on at three in the morning.The cashier looks up at the aforementioned FREAK, a frozen grin plastered on his face. DANNY (cont'd) Take it from me, he ain't got no cold. He's a cook. Look in his kitchen and you'll find a whole grocery list of unsavory ingredients.INT. KITCHEN - NIGHTTRACK DOWN the kitchen counter on various containers. DANNY (V.O.) Drain cleaner, hydrochloric acid, match heads for red phosphorus, ether and of course the cold medicine .. that's for Ephedrene, soon to become MethedreneCONTINUE TRACKING to a series of BURNERS, BEAKERS and TUBING DANNY (cont'd) This guy's a regular Julia Child. Problem is, I'll be even Miss Julia fucks up the bouillabaisse from time to time.The freaky cook sees something he doesn't like. His eyes widen. DANNY (cont'd) Oh-oh.EXT. TRAILER - NIGHTAs the structure explodes.INT. PARTY HOUSE - UNKNOWNThick blankets and tinfoil taped over the windows.A huge container of empty beer cans, washed and neatly arranged.Lines of crystal meth on a mirror as precisely arranged as Nails as the Nuremberg rally.A GROUP OF TWEAKERS in the middle of a binge.Two skinny women, NANCY and Teresa bent over a drawer-full of neatly folded socks on the living room floor. They stare at the drawer as if they were pondering a Rembrandt. NANCY It ain't right TERESA You think? NANCY Something's off. TERESA We can do better.They take the socks out and being rearranging them again.Three guys squeezed onto a couch together: KUJO, JIMMY THE FINN and CREEPER. Kujo is talking a blue-streak. He makes Dennis Leary took mealy-mouthed.Creeper and Jimmy stare straight ahead, clearly bugging. KUJO So the alphabet, I mean look at it, there's 26 letters. Why not 27 or 28 or 106? And the vowels: a, e, i, o, u. What the hell is up with that? CREEPER And sometimes y. KUJO What I'm saying is that I love it! It's great. I could go on all night about it.And he does. KUJO (cont'd) Let's take every letter individually. I mean, let's really break the mother's down.DANNY is sitting in an armchair. He is the only one who looks tired. He sits there, taking the scene in.ALL SOUNDS FADE OUT DANNY (V.O.) And so this is where I find myself. No. I should choose my words more wisely: this is the world I sought out. The land of the perpetual night- party. Day swallowing night and night swallowing day. The crank compressing time like some divine piston on its awesome downstroke.DANNY'S P.O.V. - SCANNING THE ROOM. NO SOUND. The girl's folding the socks ... Kujo ranting on ... Creeper and Jimmy the Finn grinding their jaws ... the BLANKETS AND TINFOIL ON THE WINDOWS. DANNY (cont'd) We've been at this for three days ... or is it four? Tweakerrs, lokers, slammers coming and going, swearing eternal allegiance and undying love for one another, only to wake up after the binge and realize you wouldn't walk across the street to piss on one of 'em if their head was on fire. (beat) Is it three days or is it four?BACK ON DANNY. He blinks lethargically. DANNY (cont'd) I know what you're thinking. But don't give up on me just yet. And for God's sake, don't pity me. Don't make any judgments until you've seen my whole story. (beat) And keep your eyes open. (beat) Nothing is what it seems.Suddenly ... KUJO (O.S.) OH SHIT! WE'RE OUT OF DRUGS!INT. PARTY HOUSE - NIGHT Danny and Jimmy the Finn walking towards the front door. DANNY How the hell did we get this detail? JIMMY Guess it's our turn.Danny nods. DANNY What time is it? JIMMY Twelve DANNY Midnight?EXT. PARTY HOUSE - DAY As the door opens, Danny discovers that it is TWELVE NOON and the sun is blazing.The party house is revealed as a cheap stucco apartment building crammed in the middle of BUSY BUSINESS DISTRICT at a major intersection.Jimmy and Danny slip on sunglasses and brave the light. DANNY Where to? JIMMY I know a guy. DANNY Lead the way.They slink along like two albino rat vampires with sunglasses. JIMMY Nice day DANNY I hadn't noticed. (beat) I've seen you around. What's your name? JIMMY Jimmy. Everyone calls me Jimmy the Finn. DANNY Why's that? JIMMY My features. They're Finnish. DANNY You don't say. JIMMY Finland is a country. DANNY Well, Jimmy the Finn, let's go score some gack.INT. CHEAP MOTEL ROOM - DAYDanny and Jimmy standing there looking at something OFF SCREEN. Danny and Jimmy looking at one another, then back at what they were looking at.A GUY sitting on the bed in his underwear, looking down at his left arm and holding a can of BUG SPRAY at the ready in his right hand.He is completely motionless, studying his arm with hypnotic intensity. JIMMY Bobby? BOBBY Shhh.Bobby never takes his eyes off his arm. BOBBY (cont'd) (whispering) They're coming. JIMMY (likewise whispering) What? BOBBY The spiders.Bobby readies the can of bug spray, his eyes widening. BOBBY (cont'd) (sing-song) I'm ready for you this time.Bobby lets loose with the spray, dousing his arm. BOBBY Aha! Yeah! (super rapid-fire) You thought you could fuck with Bobby, you thought you could fuck with Bobby, you thought you could fuck with Bobby!Bobby's mouth wide with stupid joy and continues to cloud the air with bug spray. BOBBY (cont'd) With Bobby you thought you could fuck?Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied he has killed the imaginary spiders.He looks up at Jimmy and Danny, his eyes swimming with stupid, drug-addled confusion. BOBBY (cont'd) Who the fuck are you? JIMMY It's me ... JimmyBobby squints. BOBBY Jimmy, Jimmy, Jimmy, Jimmy. Rhymes with Simmy. JIMMY Yeah. BOBBY What can I do for you? JIMMY Um, coupla' eight balls oughta do us.Danny and Jimmy notice something simultaneously.There is something under the mattress - A HUGE BULGE. BOBBY Don't pay her no mind.A MUFFLED MOAN from under Bobby. She is between the mattress and the box springs. BOBBY (cont'd) Shut the hell up, goddamit!Bobby starts slapping the top of the mattress with his hand. New MUFFLED SCREAMS from underneath. BOBBY (cont'd) I got no vocation skills! What the fuck you want from me? (keeps slapping) I got no vocation skills! JIMMY Hey man, take it easy.Bobby immediately stops. Looks at Jimmy with incredulity. BOBBY What? JIMMY Come on. Ease off the girl.Bobby springs from the bed, grabbing something as he rises.Danny and Jimmy suddenly staring at a SPEARGUN which is loaded with two stainless steel spears.Bobby stands there alternately pointing the speargun at Jimmy, then Danny. BOBBY Did you bring the plastic men?Bobby nods towards something behind Danny. Danny and Jimmy don't move or speak. BOBBY (cont'd) Did you bring the plastic men? (beat) Did you bring the plastic men?Bobby rubs his nose. BOBBY Did ... you ... bring ... the ... plastic ... men? DANNY Nah, we didn't bring 'em. That's just your good crank talking, brother.Bobby tilts his head. DANNY (cont'd) We were hoping to catch a few ourselves if you'll hook us up. BOBBY (calmer) You bring the plastic men? DANNY Like I said. JIMMY Fuck man. Come on, Bobby. BOBBY Bobby, Bobby, Bobby. Rhymes with ... (he draws a blank) DANNY Hobby?Bobby twists a smile, revealing speed-blackened teeth. BOBBY That's a good man. I like that. DANNY (calmly) Hey, Bobby, look .. What you got going with your old lay, it's none of our business. We're just a couple of dope fiends trying to score.Bobby lowers his speargun. BOBBY Two eight balls?Jimmy breaths a sigh of relief.EXT. CHEAP MOTEL ROOM - DAYDanny and Jimmy exit the room, closing the door behind them. Danny looks at Jimmy. DANNY Nice dealer you got there, Jimmy. JIMMY Oh ... that. Ah, he was just juiced. He wouldn't have did nothin'WHAP, WHAP! Two spears plunge through the cheap door, stopping inches from Danny's head.They run like hell.EXT. SKY - DAYTIME LAPSE. The sun plunges down. The sky turns black. The moon races up and down. The sky lightens. The sun races up and down. Night comes again.INT. PARTY HOUSE - NIGHTEveryone crashing. Jonestown, post Kool-Aid. It looks like they have all simultaneously fallen asleep where they were standing or sitting.Danny stirs awake. Looks around. He stretches. KNOCKING OVER A BOTTLE OF BEER.ALL OTHER SOUND FADES OUT AS the beer SPLATTER to the floor. IT IS UNNATURALLY LOUD.DANNY staring intently at the spilling liquid.The beer pools up on the floor.Danny transfixed by the image.The last few drops of beer LOUDLY splashing down.EXT PAYPHONE - NIGHTDanny on the phone. DANNY C.I. number 678-43K-107 (beat) Tanner and GarcettiHe hangs up.EXT. ALLEY - NIGHTDanny waiting in the shadows.A car, sans headlights, pulls into the alley and stops.Danny emerges from the shadows, opens the back door and lays on the back seat.INT. CAR - SAMETwo guys in suits in the front, TANNER and GARCETTI. Tanner. blue eyes and SHAVED HEAD, an air of ex-military around him. Garcetti: swarthly and serious, a MIASMA OF BAD-ASS ATTITUDE. DANNY (lying on the back seat) I've got a hot one. TANNER You go, boy. DANNY If it's all the same to you, I'd rather not dish right here in the middle of Crankville.Tanner drives out of the alley. TANNER Feeling the paranoia tonight, are we? DANNY Well, you know what they say, just because you're paranoid, doesn't mean everyone's not out to slice your balls off and shove 'em down your throat.EXT. PART - NIGHTDanny, Tanner and Garcetti outside the car in a deserted park. Danny pacing. TANNER You got a name? DANNY Bobby, rhymes with hobby. TANNER What? DANNY Never mind. Dude had a backfull of jailhouse tatts.QUICK FLASHES OF BOBBY'S TATTOOS. TANNER No last name? DANNY It was all pretty informal. Didn't have a lot of time to exchange pleasantries.Garcetti produces something from the front seat of the car and trudges over. GARCETTI This the guy? DANNY It speaks!The humorless Garcetti hands Danny a "WANTED POSTER". Bobby's mug shot glaring. DANNY That's him. He's a lot prettier in person though. GARCETTI Cut to the fucking chase, Flynne. DANNY Dude is bugging. Transparent spiders, plastic men - the whole nine yards. GARCETTI What's he holding?FLASHBACK - INT. CHEAP MOTEL ROOM - DAY Bobby's hand extracting the eightballs from a nylon bag full of meth. DANNY (O.S.) Couple of eightballs, maybe more.QUICK SHOT of an open drawer. A GUN can be glimpsed inside. DANNY (cont'd) Cheap ass techno knockoff in the drawer with extra mags.ANOTHER QUICK GLIMPSE of the closet. A shotgun butt visable DANNY (cont'd) 12 gauge in the closet. TANNER (O.S.) Any company?The WOMAN'S HAND protruding from underneath the mattress. DANNY (O.S.) Alas, the lovely Mrs. Bobby was playing the bologna in a Posturpedic sandwich (beat) And there was a kid.A SILHOUETTE visible through a crack in the BATHROOM DOOR. TANNER (O.S.) A kid? Are you sure?A BEAT-UP ELMO DOLL and SOME COLORING BOOKS on top of the dresser.EXT. PARK - NIGHTBack on Danny. DANNY Yeah. Pretty sure. (beat) Oh yeah ... he had a spear gun, too. TANNER God damn, Flynne, you are one observant tweaker. DANNY Somebody has to help you lazy bastards.Garcetti looks at Danny with contempt. They head back to the car. DANNY (cont'd) Hey Tanner ... you be careful, okay? TANNER Danny, I'm touched. DANNY Don't be. I'm worried about the kid. GARCETTI Then why didn't you help the kid when you were there? DANNY Hey, you want me to do all your work for you, numbnuts?Garcetti throws Danny up against the car. Nose-to-nose. GARCETTI I'll tell you why you didn't help - because you're a chickenshit tweaking snitch. You're a bottom feader, Flynne. DANNY Garcetti, you're teeth, they're fucking perfect.Garcetti lets Danny go. Stomps off. DANNY You're welcome.EXT. CHEAP MOTEL ROOM - DAYA GAGGLE OF ONLOOKERS, including a NEWS CREW, watching from the parking lot.BOBBY'S WOMAN screaming at the top of her lungs as she tries to get a Bobby's sheet-covered body.A SWAT TEAM packing up nearby. One of them suddenly does a graceful little Tai-Chi gesture.A LITTLE GIRL clutches at the screaming woman's legs.REVEAL DANNY, amongst the onlookers. His expression gives nothing away.A ribbon of blood snakes from Bobby's body, over the parking lot curb and runs into a storm drain.As the blood SPLATTERS to the bottom, mixing with a pool of filthy water. THE SOUND IS UNNATURALLY LOUD.INT. RESIDENTIAL HOTEL - GARDENA - NIGHT.The place cries out "YOU HAVE FINALLY HIT THE ABSOLUTE BOTTOM!"Danny exist the stairwell and approaches his door.A WOMAN ONE DOOR DOWN FROM DANNY'S ROOM struggles with her groceries. When she goes to open the door, one of the bags breaks, spilling its contents onto the floor.Danny walks over. DANNY (approaching) Let me help you with those.She scoops up the groceries and hurries into her room. Slamming the door behind her. DANNY (cont'd) (loud through the door) And to think Miss Manner was living down the hall from me and I didn't even know it!There is a can on the floor. Danny bends down to pick it up. DANNY (cont'd) Hey, you left a can of ...He looks at the can.INSERT - CAN The label is in CHINESE. DANNY (cont'd) ... some Chinese looking shit out here.No reaction. DANNY (cont'd) I'll just leave it by the door here. (beat) I'm going now!After a moment, the door swings open. Danny is holding the can out with a big smile on his face. DANNY (cont'd) You really oughta be more careful. This is not a good neighborhood.The woman smiles. A pretty smile. Sad too. WOMAN I was rude. I'm sorry. I'm kinda new around here. DANNY You did the right thing. (handing the can over) What is this stuff anyway? WOMAN Fermented soybean curd. DANNY Yummy.She smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad and sexy. DANNY (cont'd) My name is Danny Flynne. (off her silence) And you are? WOMAN Colette Aragon. Thank you, Danny.She closes the door abruptly.INT. RESIDENTAL HOTEL ROOM - NIGHTThe burning room from the opening scene. Danny's dirty clothes on the bed.He emerges from the shower, a towel wrapped around his waist. There is a BIG STAR-SHAPED SCAR on Danny's shoulder.He walks over to the closet, takes a METAL LOCKBOX from the top shelf and puts it on the bed.Pulls a key from his pocket and unlocks the box. He sits there staring at the contents for a moment, then gingerly takes them out ...... CLOTHES. A white dress shirt, black slacks and wingtips.INT. RESIDENTIAL HOTEL ROOM - NIGHTDanny dresses in his clothes, combing his hair. He goes back in the lock box and pulls something else out ...... A TRUMPET CASE. He walks over to the cheap vanity and sits down in front of the mirror and stars for a very long time. DANNY My name is Tom Van Allen (beat) I play the trumpet.He slowly opens the trumpet case revealing a GLEAMING HORN inside. Runs his fingers along the length of it and up to ...... A PHOTO OF A WOMAN taped to the inside of the lid. A self-conscious smile on her face like she's uncomfortable with having her picture taken. DANNY (cont'd) (distant) My name is Tom Van Allen. I play the trumpet.He takes the trumpet from the case - A CHECK from a LIFE INSURANCE COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM VAN ALLEN. DANNY (cont'd) My name is Tom Van Allen and I play the trumpet.He starts to play. "Saeta" again.AN IMAGE appears on THE BLANK WALL BESIDE HIM. MOVE OFF DANNY AND UP TO THE IMAGE.IN THE IMAGE - A HUGE LAKE in the middle of the DESERT. CONTINUE MOVING IN ON IMAGE AS WE CUT TO ...EXT. SALTON SEA - SUNSET (FLASHBACK)Danny and THE WOMAN FROM THE PHOTOGRAPH sitting on the shore. Watching the sunset. She is his wife, LIZ.Danny playing "SAETA" on his trumpet.Danny and Liz are alone, except for the myriad birds, silhouetted by the falling sun.A gust of wind rushes across the lake, blowing Liz's hair all around her face.A dying fish on the waterline, gills pumping for oxygen.Danny finishes playing.Silence.IMPORTANT: DANNY WILL BE KNOWN AS TOM IN THIS SCENE. LIZ That's so ... (not finishing the word) DANNY / TOM Melancholy? LIZ Yes, it hurts my heart. What a beautiful composition. DANNY/TOM And the performance? LIZ (goofing) A virtuoso rendition. TOM VAN ALLEN is nothing short of dazzling in his interpretation of Miles Davis' haunting, moody piece. DANNY/TOM Thank you. Thank you very much. LIZ And he has a really hot ass with hardly any hair on it. DANNY/TOM Again, I thank you. LIZ I was talking about Miles.Danny playfully tackles her to the ground. DANNY/TOM You, madam, are a heartless wench. LIZ And you've got wiener breath. DANNY/TOM Really? LIZ It's that disgusting hot dog you had for lunch.Danny starts kissing her over and over again. LIZ (laughing) Tom! Gross!She finally pushes him off. He rolls off of her and snuggles up next to her, spooning her in the sand. DANNY/TOM You know how I make that song melancholy when I play it? I think of what my life would be like without you.Liz smiles, snuggles closer to Danny. LIZ Tom, let's spend the night here. DANNY/TOM There's no motels around here. LIZ No. Right here on the beach. Come on. Let's do it.INT. RESIDENTIAL HOTEL ROOM - NIGHTDanny sitting at the vanity holding the trumpet. THE IMAGE IS STILL PROJECTED ON THE WALL BEHIND HIM. DANNY (at the vanity, whispering) Okay, we'll stay. We'll stay.NOW THE DANNY IN THE IMAGE ANSWERS .... DANNY/TOM (on the beach) Come on, Liz. We'll get eaten alive. DANNY (at the vanity, softly) No ... We'll stay.BACK ON THE IMAGE as Danny and Liz walk away from the shore.The sun sinks completely below the horizon.A long fish hawk floats on the last of the thermals.The dying fish breaths its last.Danny (at the vanity) closes his eyes.SERIES OF QUICK CUTSThe trumpet goes back in the case.The lid is closed.The case goes back in the box.The neatly folded clothes are laid on top.The box goes back to the shelf.The light in the closet is turned off. FADE OUT. FADE IN.EXT. DESERTED PARK - NIGHTDanny and Tanner sitting across from one another at a picnic table.Tanner writing serial numbers down as he counts out SEVERAL HUNDRED DOLLAR BILLS.Danny watching silently.Tanner puts the bills in an envelope, licks the flap, seals it and slides it over to Danny, who doesn't touch it.The envelope lays there between them for the following conversation. DANNY You think I'm a Judas? TANNER Hard to compare the people you're taking down with the Lord. DANNY Garcetti thinks I'm a pile of shit. TANNER Garcetti thinks everything is shit. He doesn't even like dolphins.Danny smiles. TANNER (cont'd) I'm serious. He hates 'em. You ever hear of anyone who didn't like dolphins?Tanner shakes his head and smiles. DANNY Thanks for not judging me. TANNER It's not my place. DANNY Don't you wonder why I do it? TANNER The money? The drugs? Keeping yourself out of jail? I know the drill. DANNY You don't find that repugnant? TANNER Just the way the world works. Look, as far as tweakers go, you aren't a bad guy. You never hurt anyone but yourself as far as I know. DANNY Tell that to Bobby ... and his wife and kid. TANNER Bobby laid his own tracks. He could have gone quietly but he played the hard-ass con till the end. And as far as I'm concerned, he wife and kid are a hell of a lot better off without him. (beat) Now take the money.Danny stuffs the money into his jacket. TANNER (cont'd) One think I do want to know is how the hell did you get yourself into this position to start with? You seem like a smart enough guy. DANNY It's a long story. Maybe I'll tell you all about it some day.Garcetti emerges from the men's room, zipping up. DANNY (cont'd) Hey, Garcetti ... You ever get confused and try to flush yourself? Garcetti (all business) You tell him? TANNER I was getting to it. DANNY (to Tanner) Tell me what? GARCETTI I'll tell him. DANNY (worried) Tell me what?Garcetti sits down next to Danny. Sighs. GARCETTI (mock concern) Danny, it's really pains me to have to tell you this, but do you remember DOMINGO, that wetback you helped us put away for trafficking a few months back? DANNY Yeah. What about him? GARCETTI Turns out he's connected. DANNY To who? GARCETTI The Mexicali Boys DANNY And what does this have to do with me?Garcetti puts his hand on Danny's shoulder, really playing it up. GARCETTI He knows somebody ratted him. DANNY What?! GARCETTI And he's making a lot of noise about having his homies hang a Colombian necktie on whoever it was.Garcetti leans in close GARCETTI (cont'd) You know that thing where they slit your throat and pull your tongue out of the hole.Danny knocks Garcetti's hand away and stands up. Garcetti stalks him. GARCETTI (cont'd) Apparently they call it a necktie because it hangs down about yay long and looks very similar to a tie. Isn't that weird, Danny? Isn't that weird? DANNY Shut up, Garcetti!Danny turns to Tanner DANNY If he finds out it's me, I'm a dead man. TANNER Danny, he isn't gonna find out it's you. Domingo was a slinger, he must have sold to hundreds of different people.Danny paces back and forth. TANNER (cont'd) And if you're that worried about it, maybe you ought to get out of town. DANNY How the hell am I gonna do that? You guys are still stringing me a long on that possession charge. GARCETTI (mock surprise) You mean that hasn't been cleared up yet?Garcetti chuckles at Danny's fear DANNY Fuck you, Garcetti. I been at this for almost a year. I've done everything you guys have asked of me. GARCETTI Anyone ever ask you to be such a disrespectful smart-ass all the time? TANNER Look, we'll talk to the A.D.A. DANNY When? TANNER Soon. I promise. We'll get the charges dropped and you can disappear. In the mean time, trust me, he has no idea that you ratted him out.EXT. CEMETERY - NIGHTDanny sitting cross-legged in front of a gravestone.A PICKUP TRUCK slowly winds its way up the access road towards Danny.Danny stands up. Dusts his pants off.The truck stops nearby. The strains of GARTH BROOKS from inside.Danny approaches. The passenger's side window rolls down revealing ...... A BAD-ASSED ASIAN DUDE behind the wheel. He wears a cowboy hat and a rodeo belt. He looks like the Chinese Marlboro man. This is BUBBA.An AIRBRUSH painting on the door panel - a bad likeness of Bubba astride a horse, dressed as a cowboy with a huge-breasted Pamela Anderson-type on the saddle behind him. DANNY (checking out the painting) Ride 'em cowboy) BUBBA (southern twang) You like that? DANNY Who wouldn't? BUBBA First rate, ain't it? DANNY It's downright classy is what it is.Bubba fires up a cigarette, revealing a pock-marked face. He carries a gun in a tooled leather shoulder holster. DANNY (cont'd) You consider my presentation? BUBBA Get in, hoss. We'll talk it over.Danny climbs in. The window goes back up. As the care pulls away, we ...... MOVE back over to the gravestone.The stone reads: "ELIZABETH VAN ALLEN. BELOVED WIFE"EXT. THE CINDER BLOCK BAR - NIGHTA non-descript. cinder block bar. No windows. No frills.INT. CINDER BLOCK BAR - SAMEDanny sitting at the bar, nursing a drink. He looks nervous, eyes darting around for potential assassins.He has nothing to worry about with this crowd, harmless alcoholics all.Jimmy The Finn enters and approaches Danny. Danny signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. DANNY Jimmy, you don't look so hot.Jimmy has dark circles under his eyes. JIMMY I'm hurting. DANNY You on a roll? JIMMY Was. I'm on the fucking ghost train right now, man. You got anything for me? DANNY Sorry. JIMMY Why does it have to feel so bad? DANNY You're brain is in reverse mode ... cutting off your supply of dopamine. Here. Have a beer.Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? JIMMY Oh yeah. (guzzles some beer) Man, Danny, how do you keep your shit together so tight?Danny chuckles. DANNY That's a good one. JIMMY I'm serious, dude. You always seem to be on top of things, even when you're tweakin'. DANNY I guess there's just no substitute for good genes.Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? JIMMY Yeah, it's a pity. Truly a pity.Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? DANNY I kind of doubt it, Jimmy.The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. JIMMY So, why'd you want to see me? DANNY Business. I need to leave town and I find myself in dire need of some cash. JIMMY See that? That's just what I'm talking about. DANNY What? JIMMY You. You're smooth. You use words like dire and shit. You got language skills, man. DANNY Don't get carried away. JIMMY I find myself in dire need of some cash.Jimmy shakes his head in wonder. DANNY You remember that guy you told me about ... said he could handle a big hook-up? JIMMY Yeah, Pooh-Bear. Dude is a big-time cook. I'm talking dire. DANNY I know a buyer. Guy's looking for a quarter's worth.Jimmy frowns. JIMMY A quarter? Danny that ain't even worth ... DANNY A quarter of a million, Jimmy.Jimmy's a drug-addled eyes catch a glimmer. JIMMY Fuuuuuck DANNY Can your man handle that? JIMMY I think so. I mean, we'd have to talk to him. DANNY Can you set that up? JIMMY Sure.Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? DANNY I'm getting a 10% finder's fee from my man if I can get the right price. JIMMY 10%. That's ...Jimmy becomes paralyzed by the math. DANNY 25 grand. You introduce me to your boy, I'll cut you five grand out of my take. That's all you gotta do, just get me in the door.EXT. STREET - NIGHTDanny walking home. Sparse traffic on the street. He walks with his head down and his hands thrust in his pockets.A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny.Danny looks over.The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny.Danny plays it cool. Keeps walking.The red car pulls a SLOW U-TURN.Danny hauls ass.The red car catching up.7Danny runs down a service street which runs through the back of a series of apartment complexes.The red car follows, slowly prowling the street.Danny squeezed behind a dumpster, watching.It is now too dark to see the driver. The car comes to a stop.Danny hugging the dumpster tight.Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off.Danny walks quickly the other way.INT. BARE APARTMENT - NIGHTA WAY-TOO-YOUNG BLACK KID stares DIRECTLY AT CAMERA, an ARRAY OF HANDGUNS, KNIVES, RIFLES AND SECURITY EQUIPMENT spread out on the dining room table before him.He is squeezed into a terry-cloth jumpsuit, his body festooned with gold jewelry, his hair all wet jerry-curl.He looks like Barry White, Jr. KID Mister, I only deal in high-end weapons. All guaranteed stolen and traceable only to their original owners. All sales are final and all prices are negotiable.The kid speaks in a HUSKY MONOTONE, completely FLAT and HUMORLESS. He sounds like one of those kids selling candy door-to-door with a memorized pitch told by rote. KID (cont'd) (rapid fire delivery) Glock semi-automatic 9 mm. Tenifer matte finish, Polymer grip, fixed sights, 4 and 1/2 inch barrel, 22 ounces, double action and a 10 round magazine. Mister, I could hook you up with this gun for the low price of three hundred and "fitty" dollars - well below market value. (next gun, no pause) Tangfolio semi-automatic. This a 9mm too - seems to be the weapon of choice - try one and you'll understand why. Rubber grips, adjustable 3 dot sights, 4 and 1/2 inch barrel, 33 ounces. Check out the eye-catching extended beaver tail just above the grip. Got mad-ass double action and a surprising 16 round magazine. Mister, I want to sell you this gun and I can hook you up for the low price of 200 dollars. (next gun, breakneck pace) Maybe you looking for something in a chrome finish. Something to impress the ladies. This right here is a Llama Mini-Max .38 Super Auto. semi-automatic. Fresh satin chrome, black rubber grip, 3 dot fixed sights, 3 and 1/2 inch barrel, skeletonized hammer with an extended slide release, eight capacity magazine and single action. Mister, I won't lie to you, this gun is not the bomb - it'll do the job, KID (cont'd) but it ain't all that. That's why you can walk out of here with this gun for the incredible low price of one hundred and "fitty" dollar. (next one) Maybe you looking for power, mister. This gun got mad power, mad kick and mad reputation. That's right, it's the Colt .357 Magnum revolver. Rubber combat-style grip, fixed rear, ramp front sights, 2 inch barrel. Weighs in at a feather-like 21 ounces. 6 shot capacity with double action. Mister, if you're looking for impact, the Magnum will satisfy all of your needs. (the last gun) I don't know you, mister, but you look like a man of style so maybe you in the market for a custom piece. Mister, it's your lucky day 'cause this gun got style to burn. You lookin' at the Les Baer Custom Premier Tactical 45. Fresh blue finish, deluxe grips, 5 inch barrel, 37 ounces, guaranteed to shoot 1 1/2 groups at a distance of 50 yards. Aluminum speed trigger, throated barrel, single action with 12 shot capacity magazine. I could see you with this gun, mister. And I can give it to you for the low price of seven hundred and ninety-five dollars. Mister, these are my guns. All sales are final, and all prices are negotiable.He finishes .... staring at ...Danny and Jimmy, standing there, wide-eyed and amazed by the incredible sales pitch.EXT. BAD NEIGHBORHOOD - NIGHTRows of decaying stucco apartment buildings. Danny and Jimmy walking away from one of the structures.Danny pockets the GLOCK he just purchased. He also carries a BULLET-PROOF VEST over this shoulder. DANNY Jimmy, where do you find these people? JIMMY The Del Ammo Mall mostly.They walk along. JIMMY You wanna score some go-fast? DANNY Not tonight.They continue on. Jimmy looks at the vest. JIMMY Hey, why do you need a gun and a vest anyway? DANNY Personal protection. It's a dangerous world we live in, Jimmy, a very dangerous world.INT. RESIDENTIAL HOTEL - NIGHTA TRASHY LOOKING DUDE banging on Colette's door.Danny at his door, fumbling with his keys, watching the dude. DUDE (sees Danny eyeballing him) You mad dogging me, Bitch? DANNY Heavens no. I was just admiring your boots.The dude looks down at this beat-up motorcycle boots. DANNY Did you purchase them locally?The dude ignores Danny and keeps pounding on the door. DANNY (cont'd) Goodbye now. Nice meeting you.INT. RESIDENTIAL HOTEL ROOM - NIGHTDanny enters. AN ARGUMENT ENSUES NEXT DOOR between the dude and Colette.The sounds of a struggle. Colette screams. The dude yelling at the top of his lungs. A LOUD SMACK. SILENCE.Colette sobbing. The dude talking in hushed tones, contrite.EXT. FREEWAY - DAYA spray painted rusty Chevy Vega belching black smoke. All of the lights are broken.INT. VERA - SAMEJimmy driving. Danny in the passenger's seat, looking down at ...... the floorboard, or lack thereof. It is completely rusted out. The freeway rushes by underneath. DANNY You know, Jimmy, you might as well put a sign on the back of this thing asking the cops to pull you over. JIMMY You mean, like to throw 'em off? DANNY Yeah, that's what I mean. (beat) Where the hell does this guy live anyway? JIMMY Palmdale DANNY Why do they call him Pooh-Bear? JIMMY I think on account of his nose. DANNY You're going to have to explain that one. JIMMY He doesn't have one. DANNY You're going to have to give me a little more than that, Jimmy. JIMMY Well, you know how Winnie the Pooh always got his nose stuck in the honey jar? Well, Pooh-Bear snorted so much crank, they had to cut his nose off. He's got a plastic one though.Danny wonders what he's getting himself into. JIMMY (cont'd) You know, they say he hasn't slept in over a year. DANNY You ever see Queen Elizabeth sleep? JIMMY No (beat) You think she's a tweaker?EXT. POOH-BEAR'S COMPOUND - DAYA sprawling old ranch house tucked into the remote hills of the desert.A GUY passes out in the front yard. A DOG sniffs at him, then starts pissing on him. He never moves.A PILE OF DEAD PIGEONS near the driveway.CLOSE ON POOH-BEAR - he does indeed have a prosthetic nose. It almost blends in with his face but not quite, making it that much more disconcerting.He takes a huge hit of crystal meth from a pipe, holds it, then blows a long exhale. POOH-BEAR Okay, here we go gentlemen ...A REMOTE CONTROLLED CAR trundles out of the garage and along the driveway. Inside the car, FOUR PIEGEONS, their bodies wrapped in tape.Pooh-Bear working the remote control device. POOH-BEAR (cont'd) Zapruder?A GUY filming the whole thing with a super-8 camera.GRAINY SUPER 8 FOOTAGE: the pigeons continue along, their stupid eyes glazed with confusion. ZAPRUDER Ready. POOH-BEAR Oswald?ANOTHER GUY sighting a scoped pellet gun. OSWALD Roger that. POOH-BEAR Grassy knoll?A THIRD GUY aiming a pellet gun further down and to the right of "Oswald". GRASSY KNOLL Ready POOH-BEAR Third shooter?THE THIRD SHOOTER is also armed with a pellet gunTHIRD SHOOTERIt's a go.Pooh-Bear watches anxiously. POOH-BEAR President Kennedy waving to the crowd, his lovely wife looking radiant beside him as they turn into Dealey Plaza ...GRAINY FOOTAGE: the car making a turn, the pigeons oblivious. POOH-BEAR (cont'd) Stand by, gentlemen. Stand by ... (beat, eyes widening) Steady .... steady ... FIRE!The three men open up simultaneously.GRAINY FOOTAGE: a mass of feathers flying as the pigeons are hit.Pooh-Bear pumps his fist. POOH-BEAR (cont'd) Yes! Yes! (beat) Out! That's a wrap. Good job, boys. Good job.The car continues rolling past the feet of ...... Danny and Jimmy, who have been watching the whole thing from the periphery POOH-BEAR (cont'd) (to Danny and Jimmy) So? What do you think? DANNY/JIMMY (ad-libbing) - Cool. - Yeah. Interesting.Pooh-Bear takes the camera from "Zapruder". POOH-BEAR (holding up the camera) I'm gonna get this developed and send it to the Warren Commission. DANNY Um, I think the Warren Commission has been closed for a while. POOH-BEAR No shit? (thinking) Fuck it. I'll send it to Oliver Stone then. He'll get them to reopen the bastard. OSWALD (O.S.) Pooh-Bear! We got a problem.Oswald is standing over the car, prodding one of the pigeons with his pellet gun. OSWALD (cont'd) J.F.K.'s still alive. (beat) Should I finish him off?INT. POOH-BEARS HOUSE - DAYPooh-Bear and Danny alone in the kitchen. POOH-BEAR So, Danny, Jimmy tells me you have a proposition for me.Pooh-Bear picks at a plate of SCRAMBLED EGGS on his lap. DANNY Yeah, I uh, have a buyer who's looking for about a quarter's worth. POOH-BEAR Crank or glass? DANNY The good stuff. Can you handle that?Pooh-Bear chews his food and nods. POOH-BEAR I'm sorry. Would you like a taste? DANNY No, I'm good. POOH-BEAR I insist. It's delicious. Just a taste.Not wanting to offend him, Danny concedes. Pooh-Bear shovels some eggs into Danny's mouth. DANNY Not bad. POOH-BEAR Secret recipe.Pooh-Bear winks and shovels some more down. DANNY Can we talk price? POOH-BEAR Make me an offer. DANNY I don't know, 14,000 a kilo? POOH-BEAR I deal in U.S. pounds, friend. None of that faggot metric crap for me. DANNY Okay ... How about um .. 6,000 a ounce. POOH-BEAR (enthusiastic) Hey, okay.Danny looks surprised. It was too easy. DANNY You're serious? POOH-BEAR Anything for a dear friend. DANNY But I just met you. POOH-BEAR But you're a friend of Jimmy's. I think of you as a brother already.Pooh-Bear takes another bite of eggs. DANNY So that's 40 lbs. at 6 a pound then? POOH-BEAR If you say so. DANNY Pooh-Bear, I don't mean to be rude, but I get the feeling you aren't taking me seriously.Pooh-Bear puts the plate down. POOH-BEAR Maybe you're the one who isn't taking me seriously. DANNY Why do you say that? POOH-BEAR I welcome you here with open arms and you got the nerve to low-ball me like some slick used car salesman. DANNY Hey, I was just trying to ... POOH-BEAR (never losing his smile) I want to tell you about the last guy who tried to jam me up on a deal. DANNY Hey, I don't play that. POOH-BEAR I'm sure you don't. At least I'm sure you think you don't. Anyway, I want to tell you. It's a good story, guaranteed to break the ice at a party.Pooh-Bear leans back, grinning broadly POOH-BEAR (cont'd) Dude shorted me eleven dollar ... thought I wouldn't count it till I got home. Wrong. (beat) You know what I did? (beat) I clamped his head in a vice.QUICK FLASH BACK: LOW ANGLE SLOW-MOTION CLOSE-UP of Pooh-Bear staring down at something OFFSCREEN, a menacing look on his face. POOH-BEAR (V.O.) You should have heard him howling.BACK TO PRESENT: Pooh-Bear lights a cigarette POOH-BEAR Then I took a Saws All and I cut His skull openQUICK FLASH: CONTINUE SLOW MOTION CLOSE UP. Pooh-Bear reaching for something OFFSCREEN. POOH-BEAR (V.O.) (calmly) You know, those Saws All really do cut through everything.BACK TO PRESENT: Danny getting nervous. DANNY Look, you don't have to ... POOH-BEAR (cont'd) So I'm standing there looking at this dude's brain and I'm thinking to myself, you know, this guy doesn't really need this thing. I mean, anyone stupid enough to jam me up doesn't really use their brain to begin with. You know what I'm saying? (beat, dead serious) So I took it.Pooh-Bear makes a POPPING SOUND as he illustrates with his hands.QUICK FLASH BACK: Pooh-Bear looking down at SOMETHING in his hand, his face blossoming into a sick smile.BACK TO PRESENT: Danny listens somberly. POOH-BEAR (cont'd) Hell, I make better use out of it than he ever did. Got it up in my freezer. I take it out from time-to- time, mix a little of it up in my dinner .... (looks at the plate of eggs) ... of breakfast.ON THE PLATE - little chunks of gray matter mixed in with the eggs.Pooh-Bear smiles knowingly. Danny turns pale. POOH-BEAR 10,000 a poundDanny decides to nerve it out DANNY Now you're insulting me. Nice talking business with you.Danny gets up to leave. One of his hands shaking uncontrollably. He steadies it with the other hand. POOH-BEAR 9,000. Take it or leave it.Danny stops. DANNY I'll leave it. Eight is as high as I'll go. See ya'.Danny goes to leave again. POOH-BEAR All right, all right. Don't get your knickers in a knot. I can live with eight.Pooh-Bear stands up. POOH-BEAR (cont'd) You got a deal.They shake hands. POOH-BEAR God damn, Danny, you got some nerve. Pooh-Bear respects that. (beat) Oh, by the way ...Pooh-Bear takes something from the kitchen counter and tosses it on the table ...... a store-bought package of COW BRAINS.QUICK FLASH BACK: REVEAL that Pooh-Bear has been standing at the meat section in a GROCERY STORE. He is looking down at the package of COW BRAINS in his hand. POOH-BEAR (in the grocery store) Hmm. Good price.Pooh-Bear tosses the package in his cart and walks away, whistling.BACK TO PRESENT: POOH-BEAR (cont'd) You want to stay for lunch?Danny has been had. Pooh-Bear laughs uproariously.INT. VEGA - DAYDanny slouched in the passenger's seat.Jimmy holds out a bullet dispenser of crank. JIMMY You want a hit? DANNY No. I'm good.Jimmy pockets the drugs. JIMMY Can I ask you something? DANNY Sure, Jimmy. JIMMY What does J.F.K. stand for? DANNY John Fitzgerald Kennedy. JIMMY Was he the president? DANNY Yes, JimmyJimmy drives for a while, then ... JIMMY Danny? DANNY Yes, Jimmy. JIMMY Thanks for not laughing at me.INT. CINDER BLOCK BAR - NIGHTA DAPPER OLD MAN in a wheelchair crooning a Muzak-like version of Lou Reed's WALK ON THE WILD SIDE on a cheapo Karaoke set-up in the back of the bar. OLD MAN (softly, a la Perry Como) Sugar Plum Fairy never once gave it away. Everybody had to pay and pay ...Danny, Jimmy, Kujo and Creeper sitting in a booth.Jimmy and Creeper are amped, jaws grinding, eyes bugging.Kujo rambles on but Danny isn't listening. He looks exhausted, his face is pinched, there are bags under his eyes. He scans the bar, stopping on ...... Colette AND HER TRASHY DUDE BOYFRIENDColette sees Danny looking. Smiles at him. Danny returns the smile until the trashy dude looks over. Danny looks away. KUJO Danny, listen up. Here's the deal ... my wife's pimp knows a guy who works at Cedars Sinai medical lab. They're getting a very special delivery a week from this Friday. JIMMY What is it, drugs? KUJO Better than drugs.Kujo leans in and lowers his voice KUJO Bob Hope's stool specimen (beat) We're gonna boost it. DANNY Why in God's name would we want to do that? KUJO So we can sell it. DANNY To who? KUJO I don't know. A collector. Fuck Danny, it's Bob Hope. CREEPER He is a national treasure.Danny shakes his head in amazement, then looks back at Colette again. She sneaks another look at him.ON THE TABLE - Kujo slides a drink glass in front of him. KUJO Check it out. This is the lab.INT. HALLWAY - DAY (FLASH FORWARD)A stark hospital hallway. A placard on one of the doors - MEDICAL LAB.A TITLE APPEARS - "KUJO'S BIG HEIST"INT. CINDER BLOCK BAR - NIGHTCreeper points at the glass. CREEPER What is that? KUJO It's the lab. CREEPER I mean what kind of drink? KUJO Cuba Libre JIMMY What is that? Rum and coke? KUJO Don't worry about it. JIMMY I just want to be straight on the details. Can I taste it? KUJO No, you can't taste it. It's the fucking lab! Now shut up.Danny amused by the conversation. He sees something out of the corner of his eye ...The boyfriend kissing Colette roughly. She obviously isn't enjoying it.Danny watching intently. KUJO (cont'd) Danny, come on. If I'm gonna let you in on the opportunity of a lifetime, the least you can do is pay attention.Danny turns back to the table. Kujo slides another glass over. KUJO (cont'd) This is the courier CREEPER You should use something smaller. He's the same size as the office. It doesn't ring true.Kujo rolls his eyes. He uses a peanut instead. OLD MAN (O.S.) And the colored girls sing doot-de-doot ....INT. HALLWAY - DAY (FLASH FORWARD)A courier exits from the elevator carrying a medical sample case. KUJO (O.S.) He delivers at four o'clock on the nose every Friday. Alpha team will be in the elevator with the courier. That'll be Danny and Creeper.MOVE INTO THE ELEVATOR - Creeper standing in the corner alone, asleep on his feet, drool trickling down his mouth. KUJO (cont'd) Every member of the team will be equipped with night vision goggles, a police scanner and two-way radios.The elevator door closes on the dosing Creeper.INT. CINDER BLOCK BAR - NIGHTHe slides over two peanuts behind the courier peanut. KUJO (cont'd) ... number two team, which will be me and Jimmy, will be positioned in the stairwell at the other end of the hall.Kujo slides over two more peanuts.The trashy dude heads into the bathroom. Danny sneaks another look at Colette. This time, she gives him a big smile.INT. HALLWAY - DAY (FLASH FORWARD)Kujo emerges from the stairwell, also alone, approaching the courier.He is wearing shorts, a tank top and after-ski boots. He has a big powdery crank donut around his nostrils. KUJO (cont'd) With alpha team following from the elevator, number two team will approach from the stairwell, cutting the courier off before he reaches the lab.Creeper still fast asleep inside the elevator. He wakes with a start, breaking down into a karate stance.INT. CINDER BLOCK BAR - NIGHTThe courier peanut is now surrounded by the other peanuts and the cashew. KUJO (cont'd) Facing superior numbers and an array of high-tech weapons, the courier will have no choice but to comply with our demands.INT. HALLWAY - DAY (FLASH FORWARD)Kujo and the courier playing tug-of-war with the case. Kujo points a dustbuster vacuum at the courier like it was a gun.INT. CINDER BLOCK BAR - NIGHTJimmy listening intently, takes some of the peanuts. KUJO Jesus Jimmy, you at the alpha team. JIMMY I thought you were done.Jimmy pulls peanut paste from his mouth and mounds them up on the table. OLD MAN I said hey sugar, take a walk on the wild side ... KUJO (cont'd) Now here's the beautiful part. The getaway. Both teams will rappel right down the center of the stairwell, change clothes and walk right out the front door like nothing happened.INT. HOSPITAL - DAY (FLASH FORWARD)Kujo tumbling head-over-heals down the metal steps. He gets to his feet, a bloody mess.The kit has sprung open, sending shit samples everywhere.Kujo quickly scrapes as much as he can back into a container and runs off.EXT. CEDARS SINAI - DAY (FLASH FORWARD)Kujo bolts out the front door, into the street and directly into the path of ...... an ONCOMING AMBULANCE, which drags him underneath for a good fifty feet.INT. CINDER BLOCK BAR - NIGHTDanny watches as the trashy dude exits the bathroom. KUJO So what's it gonna be, Danny boy? You in or out?Trashy dude goes to Colette. It looks like he wants to leave and she doesn't. KUJO (cont'd) Danny!Trashy dude grabs her by the back of the neck, lifts her off the stool and pushes her out the front door. DANNY (watching Colette) I'm afraid I'm gonna have to pass on this one, boys.Danny watches her exit.INT. RESIDENTIAL HOTEL - NIGHT (LATER)Danny approaches his door. Stops. Colette is sitting in the hall, head in hands, sobbing. Danny starts to say something. Stops. Goes to this door. Stops again. DANNY You okay? She nods. DANNY (cont'd) Well...good night then.Danny starts to enter again. Stops again. DANNY (cont'd) Why are you out here? COLETTE Quincey, my boyfriend... he kicked me out.Danny isn't quite sure what to do. He takes a half-step towards her. DANNY Look...I'd like to help you out ... but I really don't want to get involved. COLETTE I understand. Thanks anyway.She looks up. That face. Those eyes. Everything about her says "Get involved."INT. COFFEE SHOP - NIGHTDanny and Colette in a near-deserted retro coffee shop.A LONE WAITRESS AND COOK mull behind the counter.Colette's mascara is running. Danny hands her a napkin. COLETTE Thanks.She dabs at her eyes. COLETTE (cont'd) I'm so embarrassed. DANNY Don't be.She looks at herself in a compact mirror. COLETTE Jesus, I look like a raccoon. DANNY I was thinking Alice Cooper.She puts her head in her hands. Sighs. COLETTE Oh God. DANNY Come on, cheer up. It could be worse.She looks up. COLETTE How? DANNY I don't know .... you could be staking your financial future on stealing Bob Hope's stool specimen.She laughs DANNY (cont'd) See. No matter how bad things are, there's always someone a little worse off. COLETTE What about the guy on the very bottom? DANNY Leave me out of this. COLETTE That bad, huh?Danny holds up his water glass. DANNY Nevertheless, I still try to see the glass as half-full.He takes a sip. DANNY (cont'd) Problem is, it's usually half-full of something that tastes a lot like urine.He pulls a face. Sets the glass down. COLETTE Could be worse. (beat) Oh sorry, forgot who I was talking to. DANNY Ouch.Colette sips her coffee. Danny looks around nervously. DANNY (cont'd) Hey, did I mention that I was a coward?Colette frowns, not sure what he means. DANNY (cont'd) Quincey. You sure he isn't gonna come looking for you? COLETTE Don't worry, he's probably passed out with his head in the toilet by now. DANNY This man sounds like a real catch. COLETTE Oh, he's a keeper all right. DANNY Colette ...He stops. COLETTE What? DANNY Nothing. COLETTE Go ahead. DANNY Look, it's really none of my business but why don't you just dump this guy? COLETTE It's not that easy. DANNY Don't tell me, down deep he's really not a bad person and you don't want to see him get hurt. COLETTE Who the fuck are you, Dr. Joyce Brothers? (beat) I hate the son-of-a-bitch. DANNY Then leave. COLETTE I can't. DANNY Why not? COLETTE You don't understand. DANNY There's nothing to understand. The guy is a pig. COLETTE I can't leave. DANNY You get off on abuse or something? COLETTE Fuck you. DANNY Then why don't you leave? (beat) Just give me one good reason. COLETTE Because he'll kill me.The waitress and cook look up. COLETTE (cont'd) Is that simple enough for you? DANNY Why don't you call the cops? COLETTE Why? They don't hold him for more than a day or two. DANNY That's long enough to get out of town. COLETTE I can't. I've got a kid. She lives with my parents. Quincey knows where they live.Danny chews it over for a second then ... DANNY Then make sure he gets put away for longer. COLETTE How?Danny hesitates, not sure of how much he wants to get involved. COLETTE (cont'd) Tell me how. DANNY I don't know. (beat) Let me think about it.EXT. STREET - NIGHTUrban blight aboundsINT. BURNED OUT BUILDING - NIGHTThe grafitti-filled, cluttered shell of what used to be some sort of offices.BUBBA THE ASIAN COWBOY sitting on a desk. Danny pacing back and forth in front of him. BUBBA (Texas drawl) I wanna do a small buy first. Ten thousand. We'll see how it goes. DANNY Why? The guys is ready to deal now. BUBBA Because I don't know him and I don't really know you, partner. DANNY Now that's down-right insulting. BUBBA I'll have to live with that. My money my risk, my rules.Bubba takes a plastic-wrapped bundle of money from his pocket. Tosses it on the table.EXT. ALLEY - SAMETanner and Garcetti ensconced in an alley diagonally across the street.Garcetti pointing a LONG-RANGE PARABOLIC MICROPHONE at the burned out building. He and Tanner wear earpieces, which are attached to the mike. DANNY (O.S.) (filtered, broken) I guess I don't have a hell of a lot of choice. BUBBA (O.S.) (filtered) Get used to it. You're in a very tenuous position on the food chain, hoss.Garcetti removes his earpiece and turns to Tanner. GARCETTI You thinking what I'm thinking? TANNER Yeah. This could be the one we're looking for.EXT. BURNED OUT BUILDING - SAMEBubba exits the building and disappears around the corner.INT. BURNED OUT BUILDING - SAMEDanny now alone. He picks up the bundle of cash. Turns to leave when ...... Tanner and Garcetti enter the building. Danny turns and runs the other way. TANNER Hold it right there, Flynne.Danny stops. DANNY Jesus, you almost gave me a heart attack!Danny secretly pockets the bundle of cash. DANNY What the hell are you doing here? TANNER Question is, what are you doing here? DANNY I was trying to score some dope. TANNER Cut the shit, Flynne. DANNY Someone want to tell me what the hell is going on here? TANNER Okay, asshole, you wanna play, we'll play.Tanner takes out a pair of black leather gloves. DANNY (serious) What did I do?!Tanner approaches him. Danny backs into a corner. DANNY (cont'd) This is a joke, right? You put him up to this, Garcetti?Garcetti is mum. Tanner raises his fists. Danny covers his face. DANNY (cont'd) Come on Tanner ... don't ...Tanner starts swinging but SOMETHING UNEXPECTED ...TANNER HITS LIKE A WIMP.The punches have absolutely no effect.Danny can't help it. HE STARTS LAUGHING. Tanner throws some more creampuffs.Garcetti shakes his head with shame. TANNER (shrieking, failing) You think this is funny motherfucker? DANNY (still laughing and covering up) I can't help it, Tanner, you hit like a fucking girl.This makes Tanner even madder. His punches become wilder and even less effective. DANNY Garcetti, do something.Garcetti tires of the whole show. He pulls a small SHOCK GUN from his pocket, switches it on and sticks Danny behind the neck with it.Danny crumples to the floor. Tanner kicks him in the face.Garecetti squats down next to Danny. GARCETTI We know what's going on. DANNY (in pain) I still don't know what you're talking about.Garcetti jams the stun-gun into Danny's crotch. DANNY HOWLS. Garcetti lays off. Danny lays there whimpering. GARCETTI Okay, let me help you. You're setting up a deal with a Chinese redneck. Quarter of a million.Garcetti holds up a tap. GARCETTI (cont'd) We just listened to the whole thing.Danny gaped-mouthed. He can't believe it. GARCETTI (cont'd) Somebody tipped up, dipshit. DANNY Jimmy? GARCETTI Who the hell is Jimmy? DANNY He's the only one I told. GARCETTI And he probably only told two people and they probably only told four people and on and one. You know better than to tell a secret to a tweaker, Flynne. Might just as well broadcast it on the evening news.INT. BURNED OUT BUILDING - NIGHT (LATER)Danny sitting on a crate. He is sporting a BLACK EYE from where Tanner kicked him.Garcetti at the desk dusting the plastic wrapper on the bundle of cash for prints. Tanner paces back and forth in front of Danny. DANNY I met the guy at a party. He said he wanted to do a biggie. He's new in town so I offered my services. TANNER This chink have a name? DANNY Bubba.Tanner rolls his eyes. DANNY (cont'd) I swear. That's all he gave me. Hell, I didn't give him my real name either (off their skeptical looks) He figured the less we know about each other, the better. TANNER You better not be blowing smoke up My ass, Flynne. DANNY After that ass-whipping you gave me?Garcetti suppresses a smile. GARCETTI (finishing up with the bundle) What's on the other end of this thing? DANNY Now that I can help you with. Nasty boy ... goes by the name of Pooh-Bear. He's a chef. Check with Palmdale P.D. I'm sure they're keeping box scores on the guy. GARCETTI Sounds like you hooked up with some fine citizens, Flynne. DANNY Oh they're all that and the proverbial bag of chips. TANNER What're your taking down? DANNY Standard vig. Minus five for a certain blabber-mouth moron by the name of Jimmy the Finn, who's living proof that natural selection is a flawed theory.Tanner looks at Danny quizzically. TANNER Did you really think you were slick enough to pull this off? DANNY Look man, I just wanted to make some dough and disappear. I didn't want to wait around for Domingo to figure out who doubled back on him.Danny holds his hands up DANNY (cont'd) But now I've seen the error of my ways. I'll just walk away ... call the whole deal off. GARCETTI Wrong.He tosses the bundle of cash to Danny. DANNY You mean you want me to roll on these guys?Their silence is answer enough. DANNY (cont'd) No. No way. These guys catch a whiff and I'm a fucking bag of Bandini. TANNER You've got no choice. DANNY Whata you mean I've got no choice? TANNER Well, if you'd rather do a stretch in la casa grande ... DANNY For that old possession charge? Gimme a break. TANNER No. You just handed us a new one. We can go Federal on your ass right now: ongoing criminal conspiracy. Intent to buy and distribute $250,000 worth of crank. What's the mandatory on that, Al? GARCETTI Dime, minimum.MOVE OFF GARCETTI and over to a wall mounted heating vent. MOVE INTO THE VENT, then ...... OUT OF A VENT in another room.BUBBA lurking in the shadows. Listening to the conversation through the wall vent in the other room. TANNER (O.S.) And believe me, word will get out that you're a pro rat. GARCETTI (O.S.) That's not good in prison. It's just not good.Bubba listens intently.INT. CAR - NIGHTDanny hunkered down in the back sea. Garcetti sniffing the air. GARCETTI What's that smell? DANNY That would be me. GARCETTI What'd you do, piss your pants? DANNY Hell, yes! What the hell do you expect zapping Mr. Johnson with that crackler?Garcetti looks back at Danny with a twisted smile. GARCETTI Who'd have thought it? Danny "Chickenshit" Flynne trying to go large right under our noses. DANNY Lay off, Garcetti. I'm not in the mood. GARCETTI No. You've got me all wrong. I mean, in you own pussified way, you actually got some nuts in your little sack. TANNER Bullshit. He's a liar. DANNY News-flash, Tanner. I'm a fucking rat. TANNER You think you're so god damned smart, don't you?The dynamic has suddenly changed in the trio's relationship. Tanner is now the bad cop. TANNER (cont'd) Well, you played the wrong mark this time, asshole.EXT. RESIDENTIAL HOTEL - NIGHTDanny approaching the building, we hear shots ...... THE RED CAR from earlier, prowling the streets. Danny ducks into a liquor store and watches from the window.The red car cruises slowly past.Danny squinting, trying to make out ...... THE LICENSE PLATE NUMBER. A street light illuminates the tag momentarily. A VANITY PLATE: IFORGIV.Danny frowns, not sure that to make of it.INT. COLETTE'S ROOM - NIGHTColette and Quincey lying in bed. THE LILTING SOUND of Danny's trumpet wafting in the air.Quincey is fast asleep. Colette lays there, eyes open, listening to the coolly hypnotic strains of Miles Davis' "Generique."INT. RESIDENTIAL HOTEL ROOM - SAMEDanny in his good clothes, sitting in front of the mirror, playing his trumpet, staring at the photos of his wife.INT. COLETTE'S ROOM - SAMEColette now sitting on the floor of the adjoining wall with her arms around her knees. She closes her eyes and leans her head against the wall, soaking in the music.INT. RESIDENTIAL HOTEL ROOM - SAMEDanny continues playing. He sneaks down a look at ...... A GREETING CARD on the vanity in front of him. The word, "CONGRATULATIONS" printed on the front.THE FLASHBACK IMGERY appears on the wall behind him again. MOVE from Danny to the image as we ... CUT TO:EXT. DIRT ROAD - THE HIGH DESERT (FLASHBACK)The car jolting slowly back and forth over the bumpy road.INT. CAR - SAMEDanny driving. Liz in the passenger seat looking pissed.The Salton Sea can be seen far below in the distance shimmering under a full moon.AGAIN. REMEMBER, DANNY IS KNOWN AS TOM IN THIS SCENE. LIZ Why didn't you just ask for directions back there? DANNY/TOM Come on, where's your pioneer spirit? LIZ You mean like the Donner Party? DANNY/TOM Hey, do you think you could eat me if you had to? And if so, which part do you think you would find the most delicious? LIZ Tom, quit fucking around. DANNY/TOM Okay, okay. (peering through the windshield) There's a house up there. I'll go ask for directions.EXT. ROAD - SAMEA dilapidated house further up in the hills, lights glowing.INT. CAR - SAMELiz sees the run-down old house. LIZ You think that's a good idea? DANNY/TOM What do you mean? LIZ Look at that place. It's creepy.Danny steers the car onto the narrow dirt approach to the house. DANNY/TOM First you want me to ask for directions, then you don't. Which is it? LIZ I wanted you to ask back there. You know, before you got us lost. DANNY/TOM Just no pleasing you, is there? LIZ Just admit you're wrong. DANNY/TOM We all know how much you like hearing that. Okay, Liz, I was wrong. There. You happy? LIZ Quit feeling sorry for yourself, Tom. It gets old. DANNY/TOM No. You know what gets old? Being reminded what a loser you are every time you screw up. LIZ Here it comes, poor Tom. DANNY/TOM But that's okay, Liz, you're the one with the steady job, you pay all the bills. I'm just an unemployed musician. You have every right. LIZ That is so unfair.Danny stares straight ahead, steering the car towards the house. DANNY/TOM My sentiments exactly. LIZ Why are you doing this?Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me.Danny continues to ignore her. LIZ ... Tom ... screw it. Tell me when you're ready to apologize.INT. RESIDENTIAL HOTEL ROOM - NIGHTDANNY lying on the bed, reliving the moment. THE IMAGE STILL PROJECTED ON THE WALL. DANNY (on the bed, whispering) I'm sorry, Liz. I love you and I'm sorry.But the DANNY IN THE IMAGE never answers.INT. RESIDENTIAL HOTEL ROOM - DAYIt is raining buckets outside. Danny sleeping soundly.The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS BED.Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER.ALL OTHER SOUND FADES OUT AS THE WATER PATTERS AND PUDDLE ON THE FLOOR. IT IS UNNATURALLY LOUD.INT. CINDER BLOCK BAR - NIGHTThe bar is almost empty.Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." COLETTE (O.S.) This seat taken?Danny looks up. DANNY Oh. Hi. COLETTE What happened to your eye? DANNY Turns out I'm allergic to steel-toed boots. Go figure. (beat) By the way, I'm not looking for a matching set. (off her puzzled look) Where's Quincey? COLETTE Don't worry. He's out of town. DANNY How far out of town? COLETTE Trust me. We're safe.Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing.He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? DANNY Miles Davis. "All Blues." COLETTE Never heard of him. DANNY Just a fucked-up guy who played beautiful music. COLETTE Like you? DANNY Nah. I'm strictly minor league... except for the fucked-up part.Danny continues to play. DANNY Dude played his soul right out the end of the horn. No false notes. Always honest. COLETTE And you admire that? DANNY It's the only way to play.Colette slides closer. COLETTE Is that how you play? DANNY I try. COLETTE No false notes?She pulls even closer. COLETTE No deep dark secrets?She goes to kiss him. Danny stops playing. Pulls away from her. DANNY (cold and abrupt): What are you up to? COLETTE Nothing. DANNY What do you want from me, Colette? COLETTE I don't want anything. Why are you so suspicious? DANNY It gets me through the day. COLETTE You really need to lighten up.She puts her hand on his leg. COLETTE (cont'd) Just relax.He moves his leg away. DANNY Look, I can't help you with Quincey if that's what you're after. COLETTE This has nothing to do with him. DANNY So you're just attracted to me, is that it? COLETTE Yes. Why do you find that so hard to believe? DANNY How much time do you have? COLETTE What is wrong with you? DANNY How much time do you have? COLETTE You've got a comeback for everything, don't you, Danny? You use 'em like some sort of shield. DANNY Who the fuck are you? Dr. Joyce Brothers? COLETTE There you go again. You're nothing but false notes. DANNY You don't like the tune, find another station. COLETTE What are you hiding, Danny? DANNY Therapy session is over.He closes the keyboard cover. COLETTE You think you're the only one down here with a sad story? DANNY No. But I'm the only one with my sad story. (beat) And that's how it's gonna stay.INT. CAR - DAYStill raining. Tanner negotiates the slow traffic.Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. DANNY Excuse me? GARCETTI Several possession charges, but nothing major. DANNY Why doesn't Palmdale P.D. just raid the guy? GARCETTI They have. But they never found a lab. TANNER That's because he doesn't have one. DANNY Whata you mean? He told me - TANNER Guy scores dope and dollar from ripping off other drug dealers. As least that's what the word is. DANNY What's to stop him from just ripping me off then? TANNER That's probably what he would have done if we hadn't found out about your get-rich-quick scheme. GARCETTI You're lucky, Flynne. DANNY Funny, I don't feel lucky. GARCETTI We're coordinating with Palmdale P.D.. We'll have your sorry ass covered. DANNY What if he caps me before you can make a move? TANNER Golly, I hadn't thought of that. GARCETTI Don't we always take good care of you?Danny doesn't look reassured. DANNY Speaking of which ... you run that license plate for me? GARCETTI You mean the menacing red car?Garcetti and Tanner exchange a smile. DANNY What? Is it bad? TANNER I'm afraid so, Danny. DANNY Who is it? GARCETTI Brace yourself.Danny's eyes dart back and forth between Garcetti and Tanner. DANNY Come on! Who is it? Domingo's boys? GARCETTI Worse. Much worse. (beat) A teacher.Garcetti and Tanner break out laughing. TANNER Car is registered to a Mrs. Nancy Plummer.Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. GARCETTI She's 57 and she's been teaching third grade for the last 33 years. TANNER Now that's scary!Danny lost in thought. GARCETTI You're paranoid, Flynne. I think that crank is finally starting to get the best of you.EXT. STREET - NIGHTDanny waiting on the corner. GARCETTI (V.O.) When is the deal going down? DANNY (V.O.) I'm making the small buy tonight ... if I don't get beaten to death with a wheelchair or something. If everyone is happy, we'll do the big deal later in the week.Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys.ON THE BUMPTER, a hand-made sign. It reads: PULL ME OVER. I DARE YOU!Danny sighs. Walks to the back, rips the sign off and gets in the car, leaving Jimmy with the sign. JIMMY You sure you don't want me to go with you?Danny burns rubber.EXT. POOH-BEAR'S COMPOUND - NIGHTDanny being led towards a trailer by TWO OF POOH-BEAR'S MEN. LITTLE BILL AND BIG BILL. Little Bill is big and Big Bill is little.INT. HOUSE - SAMEPooh-Bear sitting in a recliner, obscured by shadows when Danny and his escorts enter.A WIRE CAGE IN THE CORNER, SOMETHING MOVING AROUND INSIDE. It too is obscured by shadows.Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. DANNY Pooh-Bear, my man. What's up?Pooh-Bear doesn't respond. Continues brushing. LITTLE BILL He's blue. BIG BILL Comin' down from a 10 day ride.Danny closes his eyes. Not what he wanted to hear. DANNY You want to do this some other time? POOH-BEAR (gloomy and tired) Pull your pants down. DANNY I'm sorry? POOH-BEAR Pull your motherfucking pants down.Danny looks to the two Bills for help. DANNY (laughing nervously) Come on, guys ... POOH-BEAR Big Bill.Big Bill pulls a 19th century double-barreled FLINTLOCK PISTOL from his jacket and points it at Danny's head. BIG BILL Argh, matie. I'm a pirate. POOH-BEAR Little BillLittle Bill drops Danny's trousers. Danny about to object when he is started into silence.The saturnine Pooh-Bear raises his head, illuminating his face. He isn't wearing his prosthetic nose. A GAPING HOLE WHERE HIS NOSE SHOULD BE. He looks like some obscene human bat.Pooh-Bear holds up the plastic nose he has been cleaning, inspecting it under the light. POOH-BEAR (cont'd) Introduce him to Captain Steubing.He pops his nose back into place, but it goes on crooked.The Bills escort Danny over to the cage. There is A GIGANTIC CRAZED WEASEL INSIDE.The cage is divided by a large piece of Plexiglas. POOH-BEAR (cont'd) You'll have to excuse him, he ain't ate for over a week.The weasel is foaming at the mouth. POOH-BEAR (cont'd) That and the rabies. Don't make for a happy weasel. DANNY (trying to stay calm) Pooh-Bear. come on, man. What is this? (off Pooh-Bear's silence) It's me, Danny. I thought we had a deal. POOH-BEAR Big Bill Big Bill pushes Danny up to the cage, which comes up to about waist level. POOH-BEAR Captain Steubing thinks you might work for the police. DANNY What?!Pooh-Bear holds up his hand. POOH-BEAR Don't address me. I didn't make the accusation. DANNY Please .. I don't know what you're ... POOH-BEAR Uh-uh-uh ...He points to the cage. Danny looks down at the weasel, which is trying to gnaw through the Plexiglas. DANNY Jesus Christ. (to the weasel) Um ... I'm not .. Captain Steubing. I'm not working for the cops.The weasel continues to gnaw. POOH-BEAR He don't believe you. Big Bill. BIG BILL Drop your package in the cage. DANNY My what? BIG BILL Put your pee-pee through the hole.There is a hole in the top of the cage on the opposite side of the Plexiglas from Captain Steubing. DANNY This is fucking crazy!Big Bill pulls back the hammer on the gun. BIG BILL Yo-ho-ho and a bottle of rum. DANNY Oh fuck ... oh Jesus ...Danny's eyes dart quickly over to Little Bill, who like everyone else, is watching the weasel.Little Bill is wearing a big, filthy pea coat with A LARGE TEAR on the side.Danny still hasn't complied with Pooh-Bear's order. POOH-BEAR Shoot him. DANNY Okay! Okay!From behind, we see Danny bend slightly, dropping his privates into the cage. DANNY (cont'd) (eyeing the wild rodent) Oh my God ... oh-my-fucking-God ...Danny tries to stay calm, shoots another look at Little Bill who is standing right next to him. POOH-BEAR Now get talkin' DANNY I didn't fucking do anything! I swear to God!Pooh-Bear leans forward and opens the Plexiglas partition about half an inch.THE WEASEL bolts for the opening, gnashing its teeth, trying to squirm through. POOH-BEAR You got something to tell Captain Steubing, you'd better do it now.The weasel squirms and squeals and bangs against the Plexiglas.Danny uses the diversion. He quickly TAKES SOMETHING from him own jacket pocket and SLIPS IT IN THE HOLE IN LITTLE BILL'S JACKET between the coat and the lining.No one notices.Pooh-Bear opens the Plexiglas even more. The weasel is able to get his head through the hole. He bares his filthy teeth. DANNY (rapid-fire) Captain Steubing, listen to me. You're after the wrong guy. This is the fuck you should be talking to.He nods towards Little Bill. Pooh-Bear cocks his head. DANNY (cont'd) Jimmy told me that Little Bill's been shorting Pooh-Bear ... settin' up his own stuff on the side. LITTLE BILL That's a pack of discharge.Danny now makes eye contact with Pooh-Bear, who listens intently. DANNY It's true. Jimmy saw him flashing a pimp role at a bar the other night ... said he was dissin' your ass in front of one of your customers.Pooh-Bear rises slowly. Approaches the triumvirate.Danny keeps one eye on ...... the weasel as it continues its assault on the opening. POOH-BEAR Man'll say a lot of thing when he's sporting weasel food for a pecker. LITTLE BILL Damn straight. POOH-BEAR Least I can do is check it out though.Pooh-Bear pulls a chrome .45 from his waistband. DANNY Can I pull my dick out now?Pooh-Bear limply aims the .45 at Little Bill. POOH-BEAR (cont'd) Big Bill Big Bill pats Little Bill down. LITTLE BILL (holding up his arms) Go ahead. I got nothing to hide.Big Bill checks all of Little Bill's pockets, coming up empty.The weasel has squeezed about a third of the way through the hole. DANNY Can I pull my dick out?Danny, panicked, eyes the hole in the pea coat. BIG BILL He's clean.Danny can't believe it. But when Little Bill lowers his arms, a big roll of cash protrudes from the hole.Pooh-Bear and Big Bill see it immediately. LITTLE BILL What?He follows their gaze to the cash. DANNY CAN I PULL MY FUCKING DICK OUT?! POOH-BEAR (eyes on Little Bill) Yeah.Danny extracts himself from the cage just as ...... the weasel bolts through the opening and springs for the hold in the cage.INT. POOH-BEAR'S KITCHEN - NIGHT (LATER)Danny sitting at the kitchen table. THE SCREAMS OF LITTLE BILL AUDIBLE FROM THE OTHER ROOM.Danny is FIDDLING WITH SOMETHING UNDER THE TABLE when he HEARS POOH-BEAR APPROACHING.Danny finishes up, stuffing a roll of DUCT TAPE into his pocket.Pooh-Bear drops a zip-lock bag of METH on the table. DANNY I ought to just call this whole thing off right now. POOH-BEAR Don't do that. Please. Or I'll kill you. Please, Danny. DANNY What the hell was that? Who told you I was five-0? POOH-BEAR No one. It was just a test. I need to be sure of who I'm dealing with from time-to-time.Pooh-Bear nudges the baggie towards Danny. POOH-BEAR (cont'd) Take it easy. You passed.Danny hands over the bundle of cash. Pockets the dope. DANNY Did it ever occur to you that someone might cop to something they didn't do rather than have their balls chewed off by a rabid weasel? POOH-BEAR I'll keep that in mind.MOVE UNDER THE TABLE - Danny's Glock taped to the underside, out of sight.EXT. DESERTED PARK - NIGHTDanny, Garcetti and Tanner. Tanner doing a chemical test on the meth with a field kit. The tester turns a tell-tale blue. TANNER We're in business. GARCETTI Good work, Flynne. You're a first-rate rat. DANNY That's real sweet, Garcetti. Thanks. TANNER We got the 411 on your good old boy.Tanner produces a print out from an F.B.I criminal computer file. A MUG SHOT OF BUBBA. The name BUFORD "BUBBA" NGUYEN underneath. TANNER (cont'd) Nothing local so we ran his prints through the F.B.I. Believed to be a major supplier in Texas. Jumped bail on a murder rap last April. DANNY Murder. Beautiful. TANNER Pumped fifty-seven bullets into a police informant.Danny heaves a sign and plops down on a bench. DANNY You know, I'm starting to think I'd rather take my chances with Domingo than go through any more of this shit. GARCETTI Didn't you hear? Domingo's dead.Danny looks up. TANNER Took a pig-slicker to the heart. DANNY Jesus. TANNER I thought you'd be happy. DANNY Yeah.He doesn't look happy.INT. PRISON - NIGHTDomingo sprawled face-down on the tile floor of the shower room. Blood leaking from underneath him.WATER PATTERS DOWN FROM THE SHOWER HEAD. DILUTING THE POOL OF BLOOD. THE SOUND IS UNNATURALLY LOUD.EXT. PALOS VERDES - NIGHTThe red car with "IFORGIV" plates parked in the driveway of a modest Spanish-style house.INT. PALSO VERDES - NIGHTNANCY AND VERNE PLUMMER watching TV.Photos of Liz on top of a baby grand piano. A SHRINE OF SORTS.CATHOLIC ICONS ABOUND: crucifixes, Virgin Mary's, needle point prayers.A KNOCK ON THE DOOR. Nancy gets up to answer. NANCY Who is it? DANNY (O.S.) It's Tom.Nancy and Verne look at one another.INT. PALOS VERDES HOUSE - NIGHTDanny and Verne sitting at the dining room table. Nancy brings in a pot of coffee. Verne eyes Danny silently. Danny won't look him in the eye. DANNY All right, Nancy, how'd you track me down? NANCY Billy Sutcliffe said he saw you at a bar down in Gardena a few weeks ago. Said you looked so bad, he barely recognized you.Nancy pours the coffee. NANCY (cont'd) Billy's a cop now, you know. VERNE Highway Patrol. NANCY He said you were ... the people you Were with ... well ... VERNE Said you were a drug addict. DANNY Maybe I should just go.Danny pushes away from the table. Nancy grabs Danny's wrist. NANCY No. We want to help you, Tom.Danny stays put. NANCY (cont'd) I know everyone deals with grief in their own way. I know how hard it is to find closure. DANNY Closure? How do you find closure when her killers are still running around out there? NANCY I found forgiveness in my heart for the people who killed my daughter. I gave my grief to Jesus Christ. DANNY Is that what you want me to do? Put it all on Jesus? Let him sort it out in the afterlife? NANCY You've got to deal with this sooner or later, Tom. You can't keep hiding. DANNY Maybe I am dealing with it. NANCY I know it's not my place to pass judgement on you but ...Danny looks at the shrine to Liz on top of the piano. DANNY Then why don't I see any pictures Of me up there? VERNE That was my idea. DANNY You never did like me much, did you Verne? (beat) And you can't stand it that I walked out of there alive and Liz didn't. You think I'm a coward, don't you?Verne's silence is answer enough. DANNY (cont'd) I don't blame you for hating me. At least I understand that. (back to Nancy) But forgiving the butchers who killed Liz well I'm having some trouble with that one. NANCY Love your enemies, bless them that curse you, do good to them that hate you, and pray for them which despitefully use you, a persecute you.Danny touches Nancy's hand tenderly. DANNY I'm genuinely happy that you found some peace, Nancy. But you can't forgive for Liz. No one can. And you can't forgive for me. NANCY Your hatred makes them stronger and you weaker. DANNY I don't buy that. There's a place for hatred. (beat) Did you know that Liz and I got into an argument the night she was killed? I acted like an ass and I never had a chance to apologize to her. Do you know what that feels like? NANCY It's not too late to show her you're sorry. DANNY How?Verne slams his hand down on the table. VERNE By not disgracing her memory! DANNY What does that mean? VERNE You might as well be spitting on her grave every time you put drugs up your nose. Or did you just conveniently forget that it was drug dealers who killed my daughter?Verne glares at Danny. No forgiveness in his heart. VERNE (cont'd) You ever think you might be buying drugs from the very people who took her life? DANNY You don't understand. VERNE Understand what?Danny starts to say something. Stops. DANNY Nothing. It's ... it's complicated. I just want you to know ... I'm not what you think I am.INT. RESIDENTIAL HOTEL ROOM - NIGHTDanny sitting at a table, the lockbox open in front of him.He is endorsing the back of a life insurance check. His Tom Van Allen driver's license laying next to it.A KNOCK AT THE DOOR DANNY Who is it? COLETTE (O.S.) It's me. DANNY I'm kind of busy. COLETTE (O.S.) Please open the door, Danny.He pockets the check and the license, closes the lockbox and goes over to the door.Colette standing on the other side. Her FACE AND ARMS ARE BLACK AND BLUE WITH BRUISES. DANNY Oh Jesus.He lets her come in. Colette looks away. DANNY (cont'd) Colette ... You've gotta leave. COLETTE We been through that. DANNY What about a battered woman's shelter? You can move you kid in with you. COLETTE I need my paycheck. DANNY You can still work. COLETTE He knows where I work. DANNY Find a new job. COLETTE It's not that easy. I just got a raise. I need the money. DANNY You always been this stubborn?Colette cracks a crooked smile. COLETTE From day one. (beat) I was a breach birth. They tried for hours to turn my little butt around. But I wouldn't let 'em. DANNY Ass first into the world. COLETTE I been that way ever since.Danny smiles. He gently touches her eye. Colette reaches up and touches Danny's bruised eye. COLETTE (cont'd) Look at us. What a pair.Colette leans in to kiss him, but they bump bad eyes. COLETTE/DANNY Ouch. They laugh. COLETTE Can we try that again?They kiss again. Deep and long. Danny suddenly pulls back mid-kiss. DANNY I can't.Colette goes to touch him. He pulls away. DANNY (cont'd) I can't. COLETTE Why not? DANNY I just can't. Okay?Danny paces uncomfortably. COLETTE What's wrong, Danny? DANNY Look, maybe you oughta' leave. COLETTE No. I want to know what the hell is going on. DANNY I can't tell you.Colette comes to a slow realization. COLETTE There's someone else, isn't there?THE FLASHBACK IMAGERY suddenly FLICKERS TO LIFE on the wall behind Danny - THE MOONLIGH SALTON SEA.Danny freezes. Looks up at Colette. DANNY Yes.Colette waits a beat, then turns to leave. DANNY (cont'd) Don't go. (beat) Please, Colette. (she stops) Stay and talk to me, please.Something about Danny's voice - a raw vulnerability - which we haven't seen in him before. MOVE OFF of Danny and ONTO THE FLASHBACK IMAGE. DANNY (O.S.) I'm so tired of lying. CUT TO:EXT. CREPPY HOUSE - SALTON SEA - NIGHT (FLASHBACK)Danny's car parked out front.INT. CREEPY HOUSE - SALTON SEA - NIGHTA CHUBBY GUY sitting on the couch in his underwear, watching A MEXICAN WESTERN. He sits there with wide eyes, GRINDING HIS JAWS.Danny, Liz AND BO, the affable owner of the house, looking at a map on the kitchen table. BO What you want to do is go back the way you came and make a left at the bottom. It'll take you right to the highway. DANNY/TOM That's it? BO Are you Australian? DANNY/TOM No. BO Good. I fucking hate Australians.Danny and Liz share a look. DANNY/TOM You got a bathroom I can use before we hit the road? BO Yeah? First door on the right. It ain't that dirty. Just kinda' filthy is all. DANNY/TOM (to Liz) You mind? BO No, I don't mind. That's how come I told you about it. DANNY/TOM I was talking to my wife. LIZ Try to make it fast.Danny heads down the hallway, Liz looks a little uncomfortable. LIZ (cont'd) (trying to make small talk) So. What do you do for a living around here? BO You know. This and that.ON THE SHELVES, SUNDRY ITEMS USED TO DISTILL METH.Bo scratching his arms.Liz notices TRACK MARKS ALL OVER BO'S ARMS. He sees her looking. BO Skeeters. They're bad up here.INT. BATHROOM - SAMEDanny peeing WHEN HE HEARS ANOTHER CAR PULL UP OUTSIDE. CAR DOORS OPEN AND CLOSE. HUSHED VOICES OUTSIDE THE BATHROOM WINDOW.Danny finishes up. He steps up onto the tub and peaks out the bathroom window.THROUGH THE WINDOW - TWO FIGURES CROSS IN FRONT OF THE HEADLIGHTS OF THE CAR. THE ENGINE REMAINS RUNNING.Danny frowns, not sure what to make of it. He steps down from the tub and is just about to exit when THE FRONT DOORS IS KICKED OPEN AND SHOTS ARE FIRED.VOICES SHOUTING.Danny freezes, not sure what to do. His eyes dart around for a weapon.He picks up a large plumber's wrench and goes to the bathroom door.MORE SHOTS. SEMI-AUTOMATIC FIRE.SEVERAL BULLETS slam through the bathroom wall, one striking Danny in the shoulder.He slumps to the floor.THE PANDEMONIUM continues in the front room.There is a BULLET HOLE about the size of a fifty cent piece in the wall next to Danny's head. He puts his eye to the hole and looks out.DANNY'S P.O.V. THROUGH THE HOLE - scanning the room. Stopping on ...... LIZ. In the confusion, she has managed to hide from the intruders. She is squeezed into a tiny space between the sofa and the wall. She clings tightly to the curtains, her hands shaking violently.ONE THE CURTAIN RINGS - pulled taught by Liz's grip.Danny adjusts his gaze through the hole.THROUGH THE HOLE - scanning to the other side of the room. Bo and the other guy sprawled on the floor. INTRUDER ONE stands over them, only his legs visible.BACK ON LIZ - scared to death, clinging to the curtains.The curtain rings are pulled to the breaking point.INTRUDER ONELet's go!INTRUDER TWO emerges from the back carrying a small nylon bag. They start to head out the front door when ...... one of the curtain rings breaks with a METALLIC "TING".ON DANNY - freaking. His eyes shooting back to Liz.SILENCE.Listening.Then the CREAKING FOOTSTEPS of Intruder One approaching. It takes an eternity.Liz can't possibly see Danny through the hole but it looks like she is staring directly at him, her body rigid with fear.Danny grabs the wrench again. Tries to get to his feet but slips back down, either too weak from loss of blood or just plain scared. His hand is shaking violently.He looks through the hole again.THROUGH THE HOLE - Liz still staring at Danny. THE FOOTSTEPS CONTENCE at a agonizing slow pace, then stop.A GUN, ever so slowly, enters FRAME. EXTREME CLOSE UP on Liz's eyes as they widen.EXTREME CLOSE UP on Danny's eye peering through the hole. A SHOT IS FIRED. His eye closes.ON DANNY-his mouth opens to scream BUT NOTHING COMES OUT.And with that it is all over.Danny tries to get to his feet again. Fails, His eyes flutter. All is silent except for A FAINT LIQUID SPATTERING.LONG SHOT-Back on the Salton Sea, placid and silvered with moonlight.INT RESIDENTIAL HOTEL ROOM- NIGHT (LATER)Danny and Colette face-to face- in profile, silhouetted by the IMAGE of the sea. DANNY She died knowing that I was a coward... that I didn't lift a finger to help her. COLLETTE There was nothing you could have done.She is inches closer to him. DANNY No, you're wrong, I tried to tell myself the same thing but I could have gotten up. I could have done something. COLETTE They would have killed you too. DANNY (finally looks her in the eye) Nothing could be worse then this slow death I'm living now.Colette puts her arms around him and hugs him tight. The IMAGE OF THE SEA FLICKERS AND FADES behind them.CLOSE ON DANNY-holding Colette. DANNY (looking up) Colette...I want to help you, with Quincey.Colette pulls back. COLETTE No Danny, Don't- DANNY (cont'd) But you gotta be serious about it. COLETTE Really, I don't want to. DANNY I want to do this for you. I want to do something good for a change.Danny goes over to the dresser. Takes out a baggie of meth. DANNY (cont'd) I want you to hide this somewhere where Quincy won't find it. COLETTE What is it? DANNY Never mind. Just do what I say. He holds out the baggie. Colette backs away. COLETTE I don't want to.Danny stalks her. DANNY I'm offering you the chance to take care of your problems. Take it. (she still hesitates) Don't make the same mistake I did, Colette. Do something while you have a chance. Do it for your daughter before something happens. (beat) Believe me, you don't want to live with this burden. (firm) He helds the baggie out again. Colette reluctantly takes it from him. DANNY (cont'd) Tommorrow night, when he is asleep. I want you to beep me at this number. He writes the number down on a dollar bill. DANNY Will you do that? (off her nod) Then I want you to get out of the room. COLETTE Why? DANNY Don't worry about it. Just go across the street and watch. You'll know when it's safe to go back.Colette goes to protest. Danny puts his hand to her mouth the same way she did to him earlier. DANNY Just do it. All your problems with Quincey will be taken care of.INT. CINDER BLOCK BAR - DAYEmpty except for Danny and Jimmy in a back booth. Danny slides an envelope over to Jimmy. JIMMY What's this? DANNY Tem thousand dollars. Everything I could spare. (beat) It's for you. JIMMY But why? You only owe me five. And that's not till after we close the deal tonight. DANNY You aren't coming with me.Jimmy looks hurt. DANNY (cont'd) I need you to do me a favor instead. JIMMY Okay DANNY Wait till I tell you what it is. JIMMY It don't matter. I'll do it. And you sure as hell don't have to pay me.Jimmy slides the money back over. DANNY Why? JIMMY You're my best friend, man. I'd do anything for you.Danny smiles, genuinely touched. DANNY Jimmy, look, there's something I have to tell you. JIMMY Hey, check it out...Jimmy rolls his sleeve up, revealing a tattoo. DANNY What the hell is that?ON THE TATTOO: CRUDLEY DRAWN FACE. JIMMY (Proudly) It's you! I didn't have a picture or nothin' so I had to describe you to the guy. Not bad though, huh?Jimmy sits there, admiring the tattoo.Danny stares at Jimmy with pity. DANNY (cont'd) I really have to tell you something. It's important. JIMMY What? DANNY I'm not a tweaker. (beat) I don't use drugs. I never had.Danny is deadpan. Jimmy starts laughing DANNY (cont'd) I'm not joking.Jimmy keeps laughing. Danny staring, deadpan, Jimmy slowly stops laughing. JIMMY But...I've seen you. DANNY When? When did you ever see me use? JIMMY This isn't like that Queen Elizabeth question, is it? DANNY You ever notice how I always showed up, in the middle of a binge? Left before it was over? How I sneak away for cap-naps? How when the crank came around to me, I always said I'd just done one?Jimmy slack-jawed. DANNY (cont'd) You asked me how I always keep my shit together. Well, that's how. JIMMY No one ever noticed? DANNY Are you kidding me? A bunch of amped -out tweakers? It was easy.Jimmy is agitated and confused. JIMMY But... why? Why would you pretend? DANNY I can't tell you. JIMMY You don't trust me? DANNY I don't trust anybody. JIMMY And you want me to do you some big favor? DANNY (cont'd) It's cool. I understand Danny gets up to leave. JIMMY Wait (beat) If you don't trust me, why did you tell me that stuff about not using drugs? DANNY Because I don't want to see you end up like Kujo and those other losers. (beat) I thought that maybe if you knew that I didn't use, you might see it in yourself to go clear.EXT. BACK OF CINDERBLOCK BAR- DAY (LATER)Jimmy and Danny squinting in the mid-morning sun. They stand face-to-face. DANNY You mad at me, Jimmy?Jimmy shrugs. JIMMY I don't know... a little. I wish you would have let me in on it from the beginning. DANNY I'm sorry. I couldn't.Danny taps Jimmy's arm. DANNY You know you can get that tattoo removed, don't you.Jimmy rubs his arm where the tattoo is. JIMMY Nah... I want to keep it. (beat) Maybe I can use it for like, inspiration ...you know...like when I detox? DANNY Good for you Jimmy.Danny takes the envelope from his pocket. DANNY I really want you to take this.Danny tries to hive Jimmy the envelope. Jimmy pushes it away. JIMMY Wouldn't be a favor if you were paying me. I'll just take my five when the deal is done. DANNY You're a good man. Jimmy the Finn.EXT. PARK-DAYTanner and Garcetti's car parked on the periphery.INT. CAR-SAMEDanny in the back seat dialing a CELL PHONE. A MICRORECEIVER ATTACHED TO THE PHONE.Tanner and Garcetti listening through earpieces.INT. UNKNOWN-SAMEBUBBA answers a cell phone on the other end. BUBBA Yeah.CONVERSATION WILL INTERCUT BETWEEN TWO LOCATIONS DANNY Everything go? BUBBA Yeah. DANNY Just make sure you come alone. This guy won't like any surprises BUBBA I ain't a idiot, asshole. DANNY I'll see you tonight.Bubba hangs up.Danny turns the phone off. TANNER Man of few words.Danny hands the phone back to Garcetti GARCETTI Nervous? DANNY With you clowns watching my back? What do you think?Danny opens the back door. GARCETTI Just make sure you hit the floor when we come in. It could get ugly in there. TANNER Yeah, I'd hate to shoot you by accident.Danny gets out of the car. Shuts the door.EXT. CAR-SAMEDanny watches them drive away. When he is sure that they are gone, he looks around. Sees......A PLUMBER'S TRUCK parked on the other side of the park.INT. PLUMBER'S TRUCK-SAMEAN HISPANIC GUY behind the wheel.HISPANIC GUYHe's coming in.As Danny approaches the truck, the door slides open. He piles in. VOICES (O.S.) How'd it go? DANNY You tell me.Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to......Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. BUBBA You ready to go meet the team?EXT. FEDERAL BUILDING - WESTWOOD - DAYThe PLUMBER'S TRUCK enters the underground parking lot.INT. F.B.I. OFFICES-DAYTEN F.B.I. AGENTS in a small conference room, looking at......Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group.And he really does have a SOUTHERN ACCENT. TRAHN For those of you who don't know this is Tom Van Allen... a.k.a. Danny Flynne.Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety.One of the agents pipes up... AGENT ONE He's a civilian? (off Trahn's nod) How the hell did you pull this off?Trahn turns to Danny. DANNY I played the long shot. Just got lucky.INT. SALTON SEA SHERIFF'S STATION (FLASHBACK) - DAYDanny and DETECTIVE BOOKMAN, a homicide detective, sitting at a table. BOOKMAN How about the car? The model?Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? DANNY All I saw was the headlights. The high beams were on. BOOKMAN Not even a guess? DANNY (pissed off0 How many times do we have to go through this?ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... DANNY Yeah, but he was in silhouette. BOOKMAN How about in the house? DANNY They were wearing ski masks. I told you all of this. BOOKMAN Did you see his hair color? DANNY No, Why?Bookman holds up a small plastic evidence baggie. BOOKMAN Forensics found this on your wife.Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR.ON DANNY staring at the hair, remembering something...EXT. SALTON SEA GAS STATION - DAY (FLASHBACK WITHIN THE FLASHBACK)Danny putting gas in his car, Liz in the passenger's seat reading.On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE RUNNING THROUGH IT.His back is TURNED. We can't see his face.His arm and hands resting on top of the pump.Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL CAMINO COLLEGE, CLASS OF '84.INT. SALTON SEA SHERIFF'S STATION - DAYDanny staring absently at the red hair in the baggie. BOOKMAN What is it? DANNY Nothing, I'm trying to remember...Danny feigns frustration. DANNY (cont'd) I'm sorry... I didn't see his hair color... I'm sure of it.INT. F.B.I. OFFICES-NIGHT AGENT ONE Why didn't you tell him?Danny looks up. DANNY Because I wanted to find them myself (beat) I wanted to kill them.INT. EL CAMINO COLLEGE LIBRARY-DAYDanny sitting at a table, poring over a YEARBOOK for the class of'84.VARIOUS SHOTS OF REDHEADS along with their majors.Danny continues thumbing through the book. Stops. A LOOK OF RECOGNITION ON HIS FACE.DETAIL OF A PHOTO: a balding red head with a streak of white running through it.Danny staring intently.REVEAL REST OF PHOTO: It is TANNER. Underneath the photo, his major: criminology.INT. EL CAMINO COLLEGE LIBRARY - DAY (LATER)Danny at a library computer.ON THE COMPUTER SCREEN. DANNY SCROLLING THROUGH an alumni listing, STOPPING ON......TANNER, GUS, CLASS OF 1984. DETECTIVE, GARDENA police Department.EXT. GARDENA POLICE DEPARTMENT-DAYDanny sitting on a bus bench across from the parking lot.TANNER AND GARCETTI exit the building and head over to their car.Danny watches from behind a magazine as they drive past him. DANNY (V.O.) I swear to God I would have done 'em right then and there...but I had to be positive. And even if Tanner was involved, I had to be sure about Garcetti EXT. D.M.V-DAYDanny talking to a MEXICAN DUDE on the corner.Danny slips the guy some money. DANNY (V.O.) So I became Danny Flynne.EXT. D.M.V.- DAY (LATER)The Mexican dude holds up something for Danny to see......A DRIVER'S LICENSE. It is him on the photo, but the name reads, DANIEL FLYNNE.EXT. STREET - NIGHTOn Danny's last line, we see TWO CAR BUMPERS COLLIDING AT LOW SPEED.Tanner and Garcetti in the car that has been rear-ended.Danny in the offending car, empty beer cans scattered on the front seat.EXT. STREET-NIGHT (LATER)Danny spread-eagle over the hood with Garcetti roughly searching him. DANNY (V.O.) I dropped myself right in their laps. Garcetti pulls a baggie of meth from Danny's pocket.EXT. DESERTED PARK-NIGHTDanny, Garcetti and Tanner at the picnic table, talking. DANNY (V.O.) I gave up whoever they asked for, whenever they wanted. I was a fucking dream rat. But the whole time I was sizing them up, looking for any evidence that they were the guys who killed my wife.EXT. APARTMENT BUILDING-NIGHTDanny watching from the shadows as Tanner and Garcetti haul a DOPE DEALER away in cuffs. DANNY (V.O.) But they did everything by the book.F.B.I. OFFICES-DAY DANNY I knew that if these were the guys I was looking for, I'd have to set up a deal so sweet, they wouldn't be able to walk away from it. TRAHN That's when he called me. He told me his story and he pitched me a plan. DANNY These guys are smart. I knew they wouldn't hit a deal unless they knew all the players. I needed a big buyer.EXT. ROOFTOP-NIGHTTanner and Garcetti watching Battle enter the building. TRAHN (V.O.) We had one of our C.I.'s call Tanner and Garcetti with an "anonymous" tip about the deal. TANNER (the line takes on a whole new meaning) This could be the one we're looking for.INT. POLICE STATION - DAYGarcetti scanning the print he took from the plastic wrapper.A COMPUTER SCREEN - the F.B.I. fingerprinting database. A MATCH IS MADE. BUBBA/ TRAHN'S PHOTO appears, along with the pertinent information.BATTLE (V.O.)...I dumped a dummy file into the system. They took the bait and we were off to the races.INT. F.B.I. OFFICES-DAYAnother agent kicks in. AGENT TWO How sure are you that you're not chasing two good cops? I mean all you've really got is one red hair. That's still your only evidence. TRAHN Not anymore. We tapped these guys' phones and computers at Gardena P.D. Tanner and Garcetti didn't report on this deal. Not a peep. They haven't coordinated with Palmdale P.D. They're keeping it off the books. It looks like we've got the right guys. (beat) We'll find out for sure tonight.INT. F.B.I. OFFICES-DAY (LATER)The meeting breaking up. Trahn walks Danny away from the conference room. TRAHN How you holding up? DANNY I'm fine. Little nervous...little disappointed that I didn't finish this myself. TRAHN Hey, you did the right thing. You wouldn't have stood a chance against these boys by yourself. They have eaten your ass alive.Danny's PAGER STARTS BEEPING. He checks the readouts. DANNY Oh shit TRAHN What? DANNY Can you do me a favor? This girl I know, her boyfriend's a real piece of shit-dude's really jamming her up. I promised her I'd try to help.Danny pockets the pager. DANNY (cont'd) Could you call Gardena P.D. tell 'em you got a tip that the guy's holding? Maybe have 'em send out a patrol car? TRAHN I'll see what I can do.INT. BANK-DAYDanny at the counter with a big gym bag.A TELLER COUNTS out stacks of money.THE LIFE INSURANCE CHECK lays on the counter in front of her. We see the amount -- $250,000.00EXT. RESIDENTIAL HOTEL ROOM-NIGHTColette standing across the street, looking at......TWO COPS exiting a patrol car.Colette is crying her eyes out. She is HOLDING the BAGGIE OF METH that Danny gave her.The cops enter the building just as...... Danny drives by in Jimmy's car, followed by...... TWO OF THE AGENTS from the conference room. They remain a good half-block behind him.INT. JIMMY'S CAR-NIGHTDanny at the wheel. He is wearing a black baseball cap pulled down low on his head. DANNY Hey guys...INT. F.B.I. CAR-SAMEDanny is wired for sound. The agents monitor him on a receiver. DANNY (O.S.) (filtered) I need to stop for some cigarettes.EXT. MINI-MARKET-SAMEDanny pulls into the market.The agents pull over to the curb, watching.Danny is in and out in no time. He hustles back into his car and drives away.EXT. REMOTE LOCATION-SAMETanner and Garcetti outside of a car we have never seen before. The truck is open.Garcetti putting a phony license plate. Tanner sifting through the trunk.IN THE TRUNK - A sawed off SHOTGUN, TWO SEMI-AUTOMATIC HANGUNS, TWO KNIVES, GLOVES AND SKI -MASKS.INT. POOH-BEAR'S COMPOUND - NIGHTPooh-Bear loading a chrome .45, Big Bill his Flintlock.INT. TRAHN'S CAR-SAMETrahn driving on the freeway. he opens a briefcase on the passenger's seat. Inside, his F.B.I. BADGE, TWO BARETTA 9mm and TWO PAIRS OF HANCUFFS.EXT. BLUFF-NIGHTTanner and Garcetti negotiating a washboard dirt road in the hills.EXT. DESERT MOTEL - NIGHTThe Vega pulls into the lot of a tumbleweed motel in the middle of nowhere.INT. F.B.I. CAR - SAMEThe car passes the motel. AGENT ONE (into min-mike) All right people, heads up. Blue team?EXT. DESERT MOTEL - SAMETWO MOTEL MAIDS pushing a cleaning cart. They are wearing small ear piece receivers.Danny in the motel office, checking in. MAID ONE I've got a visual. AGENT ONE (filtered) Red team?TWO WORKMEN, repairing the motel sign out front. WORKMAN ONE He's heading to his room.The workman watch Danny head into a room at the far end of the facility. As he enters the room ... AGENT ONE (filtered) Black team?INT. ADJACENT ROOM - SAMETWO AGENTS on the other side of the wall from Danny's room. MONITORING WITH A FIBER-OPTIC CAMERA.ON THE MONITOR. DANNY enters and sits on the bed, his back to the camera.INT. F.B.I. CAR - SAMEThey continue down the road, away from the motel. AGENT ONE Okay. It's all yours.EXT. BLUFF - NIGHTTanner pulls the car in behind a rock formation on the bluff.INT. CAR - SAMETanner kills the engine. Garcetti checks his watch. GARCETTI Half an hour to kickoff.Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat.EXT. DESERT MOTEL - NIGHTTrahn pulls into the lot. He emerges from the car with his briefcase, looks around, then heads down to the room.Trahn checks his watch, then KNOCKS ON THE DOOR. DANNY (O.S.) It's open.INT. DESERT MOTEL ROOM - NIGHTTrahn enters. Danny sitting with his back to Trahn.ON THE BLACK AND WHITE SURVEILLANCE MONITOR NEXT DOOR. TRAHN You alone?Danny nods. TRAHN (cont'd) Any word from Pooh-Bear?Danny shakes his head. TRAHN (cont'd) You okay, hoss?BACK INSIDE THE ROOMTrahn walks over to Danny, who sits there with his head down, his face obscured by a baseball cap. Slowly, he looks up.IT IS JIMMY. TRAHN (cont'd) What the hell? JIMMY Danny told me to tell you that he was sorry. (beat) He said he had to take care of this himself.EXT. BLUFF - NIGHTTanner scanning with the night vision glasses. TANNER Here he comes.REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND.Danny pulls up in a rental car.INT. DANNY'S CAR - SAMEDanny's hand is shaking uncontrollably. DANNY Easy, boy.He looks at his hand again. It continues to shake. He takes a deep breath.TANNER'S P.O.V.As Danny gets out of the car and goes to the trunk.Tanner watching. TANNER Where's Bubba? GARCETTI Maybe he isn't showing.Danny takes a gym bag out of the trunk and approaches Pooh-Bear's house. TANNER Looks like Flynne's handling the cash. Let's get into position.They get out of the car and trek down the bluff towards the house.INT. POOH-BEAR'S HOUSE - NIGHTBig Bill lets Danny in, then pats him down for weapons. Satisfied, he leads Danny to the kitchen.IN THE KITCHEN - Danny enters and stops. A worried look.Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex-cons. DANNY What the hell is this? POOH-BEAR Just some buddies. DANNY This is bullshit. You didn't say anything about anybody else being here. POOH-BEAR What the fuck are you gonna do about it, dickhead?The other guys snicker, one of them almost spitting his beer out.Danny smiles good-naturedly. Shoots a look over at ...... one of the guys sitting where he taped his gun earlier. DANNY Come on, man, let's deal.He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. POOH-BEAR Cool it. We got business. DANNY Yeah, dickhead.Danny moves over and plops down in the guys seat.UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious.Pooh-Bear unzips the bag. Inside, a lot of cash. POOH-BEAR Oh my, oh my. (beat) Big Bill, come take a look at this.Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over.Danny continues trying to get the gun loose. Something catches his eye ...... the MICROWAVE OVEN DOOR is open, casting a reflection of the room behind him. Big Bill approaches Danny, pointing the gun at Danny's head.The other men ease back from the table a little.UNDER THE TABLE - Danny still can't get the gun loose.ON THE REFLECTION - Big Bill right behind Danny. He raises the flintlock.Danny bugging. He rips at the gun. Too late.Big Bill goes to fire. Using the reflection, Danny ducks at the last instant.Big Bill FIRES.The guy across the table takes the mini-ball in the chest.ALL IN AN INSTANT - Danny extricates the gun. Turns on Big Bill, who sees the gun and holds his hands up.Danny SHOOTS TWICE, the bullets blowing through Big Bill's hands and thumping into his chest. Big Bill crumples.When Pooh-Bear goes to pull his gun from his waist-band, it discharges, shooting him in the thigh.The muzzle flash ignites his pants leg. POOH-BEAR HITS THE FLOOR, SCREAMING, slapping at the fire on his leg.Danny wheels on the other two guys at the table, who are going for their guns. Danny opens up on them with the Glock, flooring them before they can get a shot off.OUTSIDE - still descending the bluff, Tanner and Garcetti hear the gunfire.INSIDE - Danny turns on Pooh-Bear, who sits there staring at his injured leg.Danny puts the gun to Pooh-Bear's head, closes his eyes and starts to pull the trigger.Pooh-Bear lifts his gun and SHOOTS DANNY IN THE TORSO THREE TIMES. Danny collapses.Pooh-Bear gets to his feet. POOH-BEAR Oh lordy, oh lordy, oh lordy. Pooh- Bear done shot himself.He's in shock. He grabs the duffle bag from the table and staggers down the hallway, into the living room.OUTSIDE - Tanner and Garcetti at the front door, listening. They pull their ski-masks on, take out their guns, then silently enter.INSIDE - gunsmoke abounds. One of the guys MOANS on the floor.Tanner and Garcetti enter the kitchen, guns drawn and ready. They survey the scene.Bodies everywhere.Big Bill lays there dying, staring with confusion at the stigmata in his hands.Danny lying in a heap, next to Big Bill.Suddenly, they hear POOH-BEAR MUMBLING from somewhere in the house.Tanner signals for Garcetti to take point. They head down the long hallway, slowly and silently. When they are gone ...... Danny stirs on the floor. His eyes open. He opens his shirt and checks his torso REVEALING THAT HE IS WEARING HIS BULLET-PROOF VEST.He struggles to a sitting position, in great pain from the impact bruises left by the bullets.He picks up his gun, gets up on wobbly legs and follows Tanner and Garcetti down the hall.ON DANNY as he creeps down the hall.INT. CREEPY HOUSE - SALTON SEA - NIGHTExiting the bathroom and creeping towards the front room. DANNY Anybody there?ONLY THE SPLATTERING LIQUID SOUND.Danny continues.He stops at the end of the hall. His eyes go wide with fear and revulsion.THE LIQUID SOUND BECOMES LOUDER AND LOUDER UNTIL IT IS ALL THAT CAN BE HEARD.Liz is still in her hiding place behind the end of the couch. Her head is resting comfortably on the arm of the couch. She looks fine. There is even a slight smile on her lips. DANNY (cont'd) Liz?Then he notices it ...... a widening pool of BLOOD seeps from under the couch like some living thing. More blood patters down from some UNSEEN WOUND on the side of her head.Danny staggers towards her.Her eyes flutter slightly.Danny sits next to her. Holds her hand. There is nothing he can do.Liz tries to speak. Can't. DANNY I'm here, Liz. I'm here.She squeezes his hand. Then goes limp.INT. POOH-BEAR'S HOUSE - NIGHTDanny continues down the hall, remembering.INT. CREEPY HOUSE - SALTON SEA - NIGHT (FLASHBACK)Danny sitting there with Liz in a pool of blood. He notices something on the floor ...... LIZ'S PURSE, the contents spilled on the floor. A GREETING CAR with a teddy bear and the word "CONGRATUALTIONS" on the front.Danny goes over and picks up the card.INSERT - CARDHe opens it ... "YOU'RE A DADDY!" A home pregnancy test taped inside, the reading is POSITIVE.Danny drops the card. Stares down at it as ...... the blood from the floor pools out and engulfs the card.EXT. SALTON SEA - NIGHTOn the placid sea as DANNY'S HORRIFIC SCREAM resounds from the house in the distance.INT. POOH-BEAR'S HOUSE - NIGHTON DANNY standing in the hallway, staring, his face a blank.ON POOH-BEAR - cooking up a huge dose of meth with a lighted hundred dollar bill.He draws the meth into a syringe then turns on the stereo with a remote.A YODELING INSTRUCTION TAPE BLASTS FROM THE SPEAKERS.Pooh-Bear prepares to dose, looking for a vein in his neck, never noticing ...... Garcetti's gun moving to the back of Pooh-Bear's head.Pooh-Bear about to plunge the drugs when GARCETTI FIRES.Pooh-Bear pitches forward, dead. The syringe falls to the floor.Tanner and Garcetti standing over him. They pull their ski masks off. GARCETTI Get the bag.Garcetti holsters his weapon and picks up the bag of money from the floor. GARCETTI (cont'd) Let's get out of here.A GUNSHOT. Garcetti goes down where he stands. He lays there twitching like a rabbit.Tanner staring down the sucker's end of Danny's gun. TANNER Danny? DANNY My name is Tom.Tanner frowns. DANNY (cont'd) Tom Van AllenDanny raises his gun. TANNER Whatever you say, man. Look ... can we talk about this? DANNY Yeah. Okay. Listen carefully ... (beat) You're in the bathroom. You've been shot in the shoulder ...Danny shoots Tanner in the shoulder. He collapses to the floor.ON GARCETTI - his eyes flutter and open.Danny walks over to Tanner and stands above him. DANNY (cont'd) ... there's two guys with masks and guns in the other room about to kill your wife.Tanner looks at Danny, confused. DANNY (cont'd) But you know if you go out there, they'll kill you, too. You'll both die. What do you do?Tanner realizes what Danny is talking about. DANNY (cont'd) Do you go out there and die like a man or do you live to fight another day?Tanner doesn't answer. Danny (cont'd) What do you do?Still no answer. DANNY (cont'd) Answer the question!Tanner is ghost white, loosing blood quickly. Danny (cont'd) What do you do! TANNER Please ... don't do this ... DANNY Answer the fucking question!When Danny goes to shoot Tanner again ...... Tanner pulls a K-BAR KNIFE from the back of his belt and plunges it into the back of Danny's gun hand. The gun discharges, missing Tanner.Danny drops the gun. Tanner snatches it up.Tanner immediately has the gun inches from Danny's head. Danny freezes ... TANNER Does that answer your question? (beat) I fight. I fight and I die like a man. (beat) You're a fucking coward, Flynne. You lived like one and now you're gonna die like one.Danny looks up at the gun, his face a blank. DANNY (mumbling) Glock semi-automatic 9 mm ...CLOSE ON THE BARREL OF THE GUN. ALL SOUND FADES OUT.MOVE INTO THE BARREL OF THE GUN. THE BLACK KID'S FACE APPEARS INSIDE. KID Tenifer matte finish, Polymer grip, fixed sights, 4 and 1/2 inch barrel, 22 ounces, double action and a ...QUICK FLASHES of all the shots Danny fired with the Glock.- TWO at Big Bill- FOUR at the guys at the table- ONE at Garcetti- THREE at TannerTHE KID AGAIN. KID ... and a TEN ROUND magazine ...ON DANNY. Still staring at the gun. He knows the gun is empty. He notices something on the floor ...... THE LOADED SYRINGE. KID (cont'd) Or did I say ELEVEN?Danny trying to remember. KID (cont'd) Which was it, mister? Was it ten or was it eleven? (beat) Pretty big fucking difference if you ask me.DANNY starts chuckling. Looks up at Tanner. DANNY It doesn't matter.Danny looks down at the syringe again. Tanner sees it too. TANNER Too late to be a hero.Danny picks up the syringe.Tanner pulls the trigger.INSIDE THE GUN - MOVING SLOWLY towards the firing pin as it springs forward toward CAMERA with a LOUD CLICK.THE GUN IS EMPTY. DANNY Ten it is.Danny jams the SYRINGE INTO TANNER'S THROAT all the way down to the plunger, dosing him with the meth.Tanner goes down, blood bubbling from his throat around the syringe. His eyes roll back as he convulses from the drugs.Danny struggles to his feet.Tanner quivers from head to toe like some freaked-out Pentecostal in the throws of a holy possession.Danny pulls the syringe from Tanner's throat. A LONG WET WEEZE ESCAPES.Suddenly, A NOISE BEHIND DANNY.Garcetti standing there pointing his gun at Danny, rocking slightly back and forth, a bullet hole in his cheekbone. He looks brain dead.Danny doesn't move. TANNER STILL WHEEZING.Garcetti looks like he wants to shoot his gun, but can't. He keeps looking down at his hand, trying to get it to obey.Danny calmly walks over and takes the gun from Garcetti.Garcetti puts his hand to his nose and blows out a clot of blood. He looks down at his hand.He has hacked up the bullet he was shot with.Garcetti smiles an embarrassed smile at Danny. TANNER'S WHEEZING CONTINUES. DANNY (softly) You're dead.Garcetti nods slightly. He goes to a kneeling position, then curls up on the floor like he is taking a nap and dies.Danny goes over to the couch and sits down.Danny with his head in his hands, emotionally and physically exhausted. TANNER WHEEZING LOUDER AND LOUDER.CLOSE ON DANNY'S FACE. Blank. Devoid of anything. He stuffs Garcetti's gun into his own mouth, hand shaking.He takes the gun out.Stuffs it back in again, shoving it way down, almost gagging on it. The barrel clatters against his teeth. He takes it out again. THE WHEEZING CONTINUES.Danny starts crying. Lifts the gun halfway again, then drops it.He jumps up. Goes over to the still-wheezing Tanner and empties his clip into him. When the clip is spent, Danny keeps pulling the trigger ... over and over again.He stands there pulling the trigger again and again and again and again. FADE OUT. FADE IN:INT. RESIDENTIAL HOTEL ROOM - NIGHTDanny dressed in his "Tom" clothes. He limps over to the bed and picks up the trumpet case. Carries it over to the mirror.Danny staring at his reflection. He lights a cigarette. DANNY My name is Tom Van Allen. I'm a trumpet player.Danny smiles. VOICE (O.S.) Nah, you're Danny Flynne.He turns.COLETTE and QUINCEY standing there. Quincey holds a nine millimeter with a muzzle suppressor. QUINCEY You're a motherfucking rat.He shoots Danny in the stomach. Danny slumps to the floor. His cigarette falls out of his mouth and rolls under the bed.Colette freaks. COLETTE You said you wouldn't kill him!She tries to go to Danny but Quincey stops her. COLETTE You lied to me! QUINCEY Oops. My bad.Danny looks at them, confused, a blood stain blossoming on his white shirt. DANNY Colette, what happened? Didn't the cops ... QUINCEY The cops came. But they didn't find nothing. Turns out their C.I. game 'em some bad information.Quincey holds up the baggie of drugs.Danny looks from Quincey to Colette. Colette looks away. QUINCEY (cont'd) You fuck with the Mexicali Boys, this is what you get, homes.UNDER THE BED - the cigarette smoldering on the carpet. QUINCEY (cont'd) Domingo thought you might be the one who went rat on him.Quincey looks at Colette QUINCEY (cont'd) So I brought in a rat of my own.Danny looks at Colette, dumbfounded. DANNY You set me up? QUINCEY Bitch played you like a squeezebox, Romeo.Danny can't help from laughing at the irony. Beads of sweat are forming on his blanched face. He looks at Colette with a wry smile. DANNY You're good, princess. I'll give you that. COLETTE Danny, it's not what you think.Danny looks down at his bloody stomach. COLETTE I owed them money ... a lot of money ... they didn't give me a choice. You know how it works. When I got to know you, I tried to back out ... that's when they did this ... (she indicates the bruises) But I told them I wouldn't do it .. I didn't want to see you get hurt.Danny stares at her, not sure what to believe. He looks over at Quincey. DANNY She selling me a bill, home boy?Quincey shakes his head. QUINCEY Nah, she ain't lying. She took a pretty good beating from you, ace. I seen grown men crack after a lot less. But not this bitch. (beat) It was very touching. DANNY Then why are we here? COLETTE They threatened to kill my daughter. (beat) I had no choice. (beat) I'm sorry, Danny.Danny looks at Colette, imagining the awful beating she must have taken. DANNY It's okay. It's okay. (Danny touches her face.) (beat) God damn, you're beautiful.UNDER THE BED - THE CARPET IGNITES. The fire spreads quickly. QUINCEY Jesus.Quincey grabs her arm. QUINCEY (cont'd) Let's go. COLETTE No!The drapes go up in flames. Quincey puts the gun to the back of her head. QUINCEY You wanna die here with him or come with me? DANNY Colette, go. COLETTE I don't want to leave you. DANNY Your daughter needs you. Go.The fire continues to spread. Colette kisses Danny on the lips. Quincey pulls her away.Collette looks back one last time just as the flames reach the door, cutting off any escape.Danny breathing hard. He gets up. Staggers over to the mirror where his trumpet is.He opens the case and takes the trumpet out.He plops down on the bed and BLOWS A FEW NOTES. He stops for a second, a smile on his lips.He starts to play SAETA. DISSOLVE TO:INT. BURNING ROOM - NIGHTBack to the opening scene. The whole room ablaze. Danny lying on the bed, playing the horn. DANNY (V.O.) So what is it? Who am I after it's all said and done?Pieces of the roof start falling in. DANNY (cont'd) Tom Van Allen or Danny Flynne? (beat) Avenging angel or plain old Judas?He stops playing. DANNY (cont'd) (weakly) You decide, friend. You decide.He closes his eyes. DANNY (cont'd) I'm too tired ... so you decide.He drops his trumpet and lays his head back. CUT TO:BLACK SCREENTHEN BLURRY, VAGUE SLOW MOTION - moving through the flames.CLOSE ON DANNY'S HEAD - seemingly floating through the fiery room. DANNY (V.O.) Oh shit. What is this?Emerging from the flames into a dark hallway.Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead?A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell.Danny head sags, finds himself staring at ...... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. TATTO (warped, distorted) Hang in there buddy.Stairs rush by underneath. Then another hallway.DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché.On Danny's face, floating through the hall. His eyes fluttering.MOVING TOWARDS the light. Closer. Closer.Danny's eyes close, his head droops. FADE TO WHITE:CLOSE ON DANNY as his eyes flutter and open.DANNY'S P.O.V. - an image slowly coming into focus ...... JIMMY staring down at him with concern.Danny blinks his eyes again. Looks up at ...... A PARAMEDIC working on him.Danny smiles a weak smile at Jimmy.Jimmy just sits there, nodding his head, a big shit-eating grin on his face.The paramedic continues to work on Danny. His eyes slowly close. FADE OUT. FADE IN:EXT. THE CITY - DAYDanny exits a cab and heads towards a coffee shop. He looks like a new man. DANNY (V.O.) Well, I've had some time to think about it and it's pretty simple after all. I guess it's like the man said - "Man is the measure of all things." I should know. I ran the gamut. Avenging Angel, Judas, loving husband, prodigal son, prince of Denmark. I was all of those things. (beat) Tom Van Allen got his revenge. Good for Tom. And Danny Flynne? He got gut-shot for being the low-life rat that he was. Sucks for him. (beat) But as far as I'm concerned, they're both dead.Danny looks through the window of the shop.Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he?Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet.INT. COFFE SHOP - SAMEDanny takes a seat at the counter. Colette turns and sees him. DANNY (cont'd) But I like his chances.They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances.They strike up a conversation as we ... FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Sandlot Kids, The.txt b/unformated_scripts/Script_Sandlot Kids, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..2529da6805036ef91083d6728544fa38b3357999 --- /dev/null +++ b/unformated_scripts/Script_Sandlot Kids, The.txt @@ -0,0 +1 @@ + THE SANDLOT KIDS Written by David Mickey Evans & Robert Gunter June 10 th, 1992 A FADED KODACHROME PHOTO Of the 9 best (11-year-old) buddies that ever lived. On a makeshift baseball diamond - a sandlot... circa 1962: SCOTTY SMALLS, studious-looking; ALAN "YEAH-YEAH" McCLENNAN, little, hyper; HAMILTON "HAM" PORTER, tubby with a huge smile; KENNY DeNUNEZ, handsome bean pole; TOMMY "REPEAT" TIMMONS and his brother TIMMY; BERTRAM GROVER WEEKS, wearing inch- thick horn rims; JEFF "SQUINTS" PALLEDOROUS, a transistor radio plug wedged in his ear; and BENNY RODRIGUEZ, leaning on Scotty's shoulder, sporting the world's all-time hottest sneakers... P.F. Flyers. One palm up, together like the 9 musketeers they're holding forward a baseball... with a mysterious smudge. NARRATOR Everyone's got that one summer when they were a kid... a summer so perfect, that it stays with them forever. It stays caught in time, like Camelot. pause That summer is like a book with a million blank pages that you get to fill with the greatest story you could ever dream up. (BEAT) This is a story about a legend. And for us, that summer was the one when the legend got made. WE CLOSE IN TIGHT on the black smudge, which becomes: A SERIES OF B&W PHOTOS & STOCK FOOTAGE GEORGE WASHINGTON crossing the Delaware. DANIEL BOONE in frontier buckskins. ABE LINCOLN giving the Gettysburg address. FREDERICK DOUGLAS orating from a podium. SITTING BULL in his splendor. THE WRIGHT BROTHERS at Kitty Hawk - this photo blends to news reel stock footage of the actual launch. The following also blend to stock: JOE LOUIS clobbering MAX SCHMELLING. JESSE OWENS in the '32 olympics. ALBERT EINSTEIN scrawling on a chalkboard. CHARLES LINDBERG and his Spirit of St. Louis land in Paris. As the waiting throngs cheer WILDLY: NARRATOR (CONT'D) Everybody sometime in their life has met a real live hero. (MORE) 2 NARRATOR (CONT'D) They're not exactly a dime a dozen, but there's plenty of people who've done real great things. But hardly anyone has ever met a certified Legend, because most of them are dead before they get voted one. CHUCK YEAGER in the X-1 breaking the sound barrier. MACARTHUR stepping ashore, pipe clenched. JIM THORPE playing football. ELVIS PRESELY on stage in hep-cat duds. NEIL ARMSTRONG setting foot on the moon. NARRATOR (CONT'D) So, to actually be there at the moment one gets made... well, forget about it. It never happens. Almost never... To understand how it all got started, you have to go back... WE PULL BACK FROM THE MOON - like a baseball in the sky. NARRATOR (CONT'D) ...to the all-time, hands down, complete and undisputed Legend that ever lived. A BASEBALL in someone's hand. WE PULL BACK FROM IT. NARRATOR (CONT'D) In any language, in any country, in any world. The Sultan of Swat. The King of Clout. The Great Bambino. You have to go back to... BABE RUTH is holding the baseball. NARRATOR (CONT'D) ...The Babe. (BEAT) There's never been anyone greater than The Babe. And when he called his famous full count homerun in the 1932 world series, he made sure he'd live forever. THE BABE hits a homerun. Settles into his signature, locomotive basepath chug. NARRATOR (CONT'D) And it's a good thing he became immortal, because without him, what happened that summer, absolutely never (MORE) 3 NARRATOR (CONT'D) would've happened. Weird thing was, before I moved to the neighborhood, I had no idea who he was. And he played a game I knew nothing about. SLO-MO - THE BABE'S CLEATS send up chalky dust at each STEP. His foot hits home plate - taking us 30 years into the future. The Babe's antiquated leather cleat becomes... EXT. DODGER STADIUM - 1962 - DAY - STOCK ...the cleat of basepath speedster MAURY WILLS. NARRATOR Fourteen years later, after The Babe was gone, there was another guy who had something to do with the legend getting made too. A guy who set a record that summer that was so awesome, some people still don't believe it. WILLS TAKES OFF, STEALING 3RD so fast that no one knows he's gone. The Pitcher fires to rd. The 3rd BASEMAN gloves the dirt. The UMPIRE wings the air. UMPIRE Safe! WILLS' CLEAT becomes THE P.F. FLYER SNEAKER of... EXT. ELEMENTARY SCHOOL - PLAYGROUND - 1962 - DAY ...BENNY RODRIGUEZ, as he steps up to the plate. THE PITCHER fires. BENNY cranks one deep to right. He tears around the bases like lightning (this kid is real fast). He rounds 3rd. The ball comes in home - cutting him off. He's caught in a pickle. FROM 4 BEHIND THE CHAIN-LINK BACKSTOP YEAH-YEAH, HAM, DeNUNEZ, REPEAT, TIMMY, BERTRAM and SQUINTS come unglued and crowd the basepath. HAM PICKLE! BENNY pickles the CATCHER and 3RD BASEMAN. He feints n' rubba-legs them out of position. He sprints for home. Safe! Just as he crosses home plate SQUINTS pulls his transistor radio ear plug out. SQUINTS Thirty-one! Maury Wills just stole number thirty-one! THE ON-FIELD TEAM throws their gloves 9 different ways in disgust. OTHER TEAM (ABOUT BENNY) Crap! Can't beat that guy! Ya dufuses, why'd ya get him in a pickle for?! Ya know he's the damn pickle king! Rubba legs for sure! Truly rubba legs. BENNY JOINS THE GANG They imitate the big leaguers; skinning five, spittin' 'zooka chaw-juice. Yeah-Yeah hands Benny his glove. Squints jots the stats in his pee-chee folder. SQUINTS Game over. Sixteen zip. Murderers' Row remains undefeated. OPPONENT Hey! We never got our ups! The lunch bell RINGS. The gang heads across the playground back to the bungalows. OPPONENT (CONT'D) All your moms wear boxers! Without looking back, eight "birds" hit the air. Nervous, NEW- KID 5 SCOTTY SMALLS has been watching nearby. EXT. ELEMENTARY SCHOOL - DRINKING FOUNTAIN - DAY Just as Ham, Squints and Benny go for the 3 spigots, Yeah- Yeah taps each rapidfire: YEAH-YEAH Milk-milk-pee. HAM Great, I'm dyin' a thirst and you pee me out! BENNY Ham, it ain't really. HAM Then switch with me. BENNY Do I look stupid? Everyone drinks from the 2 "un-cursed" spigots. Ham last. As they turn to leave, Scotty goes for the fountain. The guys hang - waiting for doom. Scotty drinks from the pee spigot! The guys GAG and FAUX-BARF. Scotty has no idea why they're laughing at him. NARRATOR I moved to the neighborhood about a month before school let out. I was from another state, and didn't have a single friend in a thousand miles. INT. CLASSROOM - DAY Benny, Ham, Scotty (sitting by himself) and the other STUDENTS are clock watching. The BELL RINGS. Summer vacation! The classroom empties... papers circle to the floor from 35 departing cyclones. INT. ELEMENTARY SCHOOL - HALLWAYS / ENTRANCE - DAY Streams of excited KIDS spill into the corridors - a river of scrambling tennis shoes and clashing lunch boxes at the entrance gate. SCOTTY'S caught in the mayhem. 6 HE SPIES the 8 guys forging ahead. He follows them. NARRATOR It was a lousy way to end up the 5th grade, 'cause I had zip time to make friends before summer. And that's about where it all started... EXT. OLD REDWOOD FENCE - FOILAGE - DAY Scotty sneaks close around some dense bushes, clutching books and "John Glenn - Freedom 7" lunchbox. He steps through the barrier (a secret doorway in the fence) onto the distant OUTFIELD OF EXT. THE SANDLOT - DAY The gang's homemade baseball diamond. They're: CLEANING THE BLEACHERS with broken brooms. RAKING THE INFIELD with halves of tools. LAYING NEW CHALK LINES with a holed box of detergent powder. CLEARING THE OUTFIELD of leaves, trash and sticks. RE-ERECTING A PIECE OF RAGGED PLYWOOD in left field - painted green and lettered "The Green Monster." SCOTTY maintains cover and PERUSES THE LAYOUT a row of houses, whose backyards are all chain link fenced. The fencing is trimmed individually in wood, bamboo etc... One has the world's coolest treehouse. Next to it... is the last house. This owner has cordoned his backyard - tall panels of that green "tropical-look" privacy fiberglass lashed to the fence. 7 SCOTTY remains undercover, but he's bustin' to join in. THE GANG never notices him. As they work: HAM Fifth grade's history, man. A hundred days, man. A Hundred days of baseball. All Day, everyday, as much as we can. That's the best. TIMMY We got all summer. REPEAT We got all summer. BENNY Let's play. YEAH-YEAH Yeah-Yeah... let's play. The guys round up in the infield. As they play catch, they spread farther and farther apart... until they've each taken up the position they most like to play. They fit the paltry little diamond; scrappy, happy kids. EXT. THE BLOCK - DUSK Tract homes - everybody's got a different thing going in the front yard. The guys (sans Timmons') split up toward their homes - slappin' gloves, "so-longing" for the night. NARRATOR Everyone but the Timmons twins lived on my new block. FROM HIS DRIVEWAY Scotty, shuttling moving boxes to his garage, watches them go. NARRATOR (CONT'D) They lived in a house by the sandlot and had the world's greatest tree house, because their dad was a contractor. 8 FROM BENNY'S PORCH Benny is the last to go in. He sees Scotty watching. So, he nods... just a little. THE BLOCK clears to empty. The street lamps arc on, drawing soft white circles on the sidewalks. FROM THIS HEIGHT, they look like baseballs dotting the neighborhood. NARRATOR (CONT'D) Even before I knew any of them I envied that tree house... INT. BENNY'S ROOM - NIGHT A shrine to the pastime. Pennants, magazine pictures, game programs, baseball cards, a whole section of Maury Wills, radiating from a picture of Wills caught in a pickle. NARRATOR ...later, it would become second only to Cape Canaveral as a command post for history. (BEAT) When I moved in that summer, I'd never played baseball, but it wasn't too tough figuring out who these guys' heroes were. So, after a week of watching... I figured baseball seemed like the best way to get in with them. BENNY'S in bed, oiling his glove, staring out his window at Scotty's house. Taped to his footboard is the most important picture of all... a picture of The Babe. INT. SCOTTY'S ROOM - NIGHT Jr. Chemistry set. Heath Kit gadgets. An unbelievable Erector Set contraption with little motors and stuff. An autographed picture of Mr. Wizard. Scotty's pj'd at his erector set table, bothered and unhappy. This stuff is too damn easy for him. He whips on a last bolt and connects the itty-bitty motor. SWITCHES ON THE CONTRAPTION a tiny scoopelvator snatches up a white marble. Drops it on a roller coaster track. The marble whips around corners and 9 loop-da-loops... lands in a mini-catapult. Another motor draws it back via a winding string. Boy Scout camping-knife scissors ratchet in - snip the string - the catapult fires. THE MARBLE leaps a little green fence and WONK! Ouuuhhh! beans HIS MOTHER (HAVING JUST COME IN) right in the forehead. BEDROOM Scotty winces at the shot. SCOTTY Sorry, Mom. MOM I thought we agreed we'd take this apart... and not spend so much time in here. SCOTTY (FEELING LOW) I know - but it's just nighttime. MOM Scotty, have you made any friends yet? SCOTTY No. MOM Why not, honey? SCOTTY 'Cause I'm still "new." MOM Honey, I don't want you sitting in here all summer fiddling with this stuff, like you did last summer... and the one before that. (BEAT) Scotty, look at me. I know you're smart, and I'm proud of you. But you have to get outside, you have to... play. She sits across from him, trying to get through. 10 MOM (CONT'D) I want you to get out in the fresh air and make friends. Run around and scrape your knees. Get dirty. Climb trees and hop fences. Get in trouble for crying out loud. (BEAT) Not too much, but some. You have my permission. Now how many mothers do you think say that to their sons? SCOTTY None mothers I guess. MOM I want you to make friends this summer, Scotty. Lots of them. SCOTTY I know, but I don't - I'm no good at anything. Face it, Mom, I'm just an EGGHEAD - MOM - and you'll always be just an egghead with an attitude like that. So promise me, alright? SCOTTY 'Kay. MOM Maybe tomorrow you'll make some friends. SCOTTY Yeah, maybe tomorrow. (BEAT) Mom? Do you think Bill - I mean Dad - will teach me to play catch? MOM Are you kidding, he'd love it, you know what an athlete he wasIn high school. (ALTERMNATE LINE) You know what a pitcher he was in high college. INT. SCOTTY'S HOUSE - KITCHEN - NIGHT Scotty slurps a glass of chocolate Quick. Rinses the glass too carefully. Gathers courage for something. Breathes deep - starts across the house. 11 INT. SCOTTY'S HOUSE - HALLWAY - NIGHT Scotty peeks through a slightly open door. BILL moves around inside, unpacking boxes. Scotty reaches to knock. Stops. Almost walks away. Then musters the gumption. KNOCKS. BILL (O.S.) Yeah... Scotty takes a few cautious steps into... INT. BILL'S DEN - NIGHT ...a trophy room. Ribbons, plaques, trophies. Bill must've been some athlete; but he limps now. Scotty lingers... gathering more courage. NARRATOR My real dad died when I was just a little kid. My mom married Bill a year before we moved to the neighborhood. (BEAT) At the time, he and I were still getting used to each other. SCOTTY Um, Dad - sorry, I mean Bill, remember you promised you'd teach me to play catch? BILL Um hum... He dusts a batting trophy. SCOTTY Well, could you teach me? BILL Sure. He places a pitching plaque. Scotty waits awkwardly. Waits for more words. They don't come. SCOTTY Okay. Great. Thanks. BILL Um hum. Scotty leaves, bringing the door with him on his way out. Through the cracked portal he sees Bill set a silver pedestal on the main shelf. On this he sets a baseball... 12 just a baseball. INT. SCOTTY'S ROOM - THE NEXT MORNING Scotty wakes up. Checks his (Theme) clock. 8:30. He bolts out of bed. Dashes through the house to the front door. Throws it open and runs down to... EXT. SCOTTY'S HOUSE - DAY ...the sidewalk. Fan sprinklers water all the lawns. Way far down the block HE GLIMPSES Ham, at the HELMS BAKERY TRUCK, buying a donut, then scrambling around the far corner. HAM Hey-hey, come on! Wait up - wait up! SCOTTY panics. Runs back inside and... INT. SCOTTY'S ROOM - DAY ...strips off his cowboy pj's. Redresses. Digs through his CLOSET finding a vinyl, "toy" baseball glove. It's still in the package, with a note attached: "To Scotty Boy - Love, Grandma!" It's all he's got. He shovels through a pair of Mickey Mouse ears - a cowboy hat - finds the closest thing he's got to a baseball cap... a long, duck-billed fishing cap with a big embroidered trout. EXT. ENROUTE TO THE SANDLOT - DAY Scotty runs by (soon familiar places): A 5 & DIME A BOYS CLUB A LITTLE LEAGUE FIELD, where he slows momentarily, envious of the crisply uniformed kids... wow. Moving on down EXT. THE BLOCK OF SANDLOT COMMON HOUSES - DAY whose backyards we already know. Scotty flat out stops at 13 THE HOUSE with the fiberglass panels out back. Scary place. EXT. THE SANDLOT - DAY Scotty slips quietly through the secret fence doorway, emerging IN DEEP LEFT FIELD where he hugs the perimeter, moving slowly toward the sandlot common houses. Winded, Scotty finds THE GANG'S already playing "over the line." NARRATOR They never kept score. They never chose sides. They never even really stopped playing the game... it just went on forever. Everyday they picked up right where they left off the day before. It was an endless "dream game." (BEAT) There was only 8 of them, so they didn't have a whole team. It didn't matter though... Benny was so good he took everyone's position when it was there ups. (BEAT) I didn't know any of that then... I just knew they were having the time of their lives and I wanted to be a part of it. SCOTTY watches and listens (as he goes) to the SHARP, satisfying sound of the hardball, SNAPPING CLEANLY in the oily leather of their gloves. HE LOOKS AT his own toy glove... how embarrassing. SCOTTY continues around the perimeter, trying to be seen and become invisible. He goes unwittingly CLOSER TO those green fiberglass panels. 14 DENUNEZ winds up and pitches to BENNY who connects big. CRACK! SCOTTY'S come too close to the green fence. Something has overcome him... fear! He stares with serious woollies at A HOLE IN THE FIBERGLASS and sees only dust rising in time with some great, SOUNDS OF EXHALATION. And then, before he can draw any conclusions... disaster. GANG (O.S.) Hey! Look out! SCOTTY whips a look up and sees THE FLY BALL coming right at him. SCOTTY tracks it, frozen stiff. Scared shitless. At the past possible moment, he throws his arms over his face and ducks... social suicide. THE BALL beans him at the glove covering his noggin. SCOTTY hits his butt. The ball rolls a bit. Comes to an "I-dare- you" stop: right up against the diseased fiberglass panels of that preternatural fence. Scotty pulls his arms away from his face. THE GANG LAUGHS uproariously. TIMMY Nice catch! 15 REPEAT Nice catch! HAM Hey! Throw the ball back! YEAH-YEAH Yeah-yeah, hurry up! BERTRAM We gotta a game here, man! SCOTTY moves for the ball. As he goes, he sweats: SCOTTY 'Kay, I'll get it! (TO HIMSELF) Don't be a goofus - don't be a goofus - don't be a goofus. He reaches the fence and the ball and stops. It's hard to move. The force emanating from the backyard has got him: DUST THROUGH THE HOLE IN THE FIBERGLASS keeps perfect time with the monster-breathing. AN OLENADER BUSH moves. It scares the living kapok out of SCOTTY who snatches up the ball and back-pedals 10 feet. SQUINTS WE'RE WAITING... He throws back the ball. And his chances of getting in with these guys are over. Because Scotty... throws like a girl! THE BALL droops forward in the air. Lands 6 feet from him. Rolls slowly up to the gang, finally coming to a dainty stop at DeNunez' feet. THE GANG looks from the ball to Scotty... they CRACK UP! 16 SCOTTY walks away... crying. SCOTTY (TO HIMSELF) My life is over. BENNY is the only one that isn't laughing. He stares the others down. DENUNEZ Come on, Benny-man, didn't you see that throw? He imitates it, "flipping" his glove to Ham. The gang BUSTS UP again. HAM (TRULY STUNNED) That kid's got the gaw'damn panty- waistiest arm I ever saw in my whole life. SQUINTS I seen a guy once that threw like that. I mean not that bad, but at least so bad that he hadda move in the fourth grade 'cause they nicknamed him "Bloomers." Benny's look stifles the bunch. BENNY I bet not one of you knows how The Babe got his nickname. HAM Easy, 'cause of the way he looked like a little kid face. BERTRAM Bull, it's just 'cause he liked kids and stuff. SQUINTS Wrong. The Babe was called The Babe, because he was like the child of Yankee Stadium. 17 BENNY I knew it. You're all full of crap. George Herman Ruth got his nickname because his mom died when he was just a little kid, and he hadda go live in an orphanage. Silence. None of the other guys has heard this before. BENNY (CONT'D) Nobody liked him there. The bigger guys picked on him all the time. And when they messed with him he couldn't fight back, 'cause he was just... like scared. So when they messed with him, he cried about it. (BEAT) He cried... so they called him The Babe. This hits home real good. BENNY (CONT'D) How ya think that kid just felt? Benny exits the sandlot, leaving the others with a lesson learned. NARRATOR Everyone knew Benny was different. Nobody ever voted or anything, but he was the leader. EXT. THE BLOCK - DUSK As Benny goes into his house, the other's round the corner far behind him. THE MOON is up. Full. Like a big baseball. NARRATOR Even though he seemed like a regular guy, he wasn't. Benny was special, and he was loyal. (BEAT) When they'd all tried out for youth league, they'd all made it. But when they found out they'd have to play on different teams, Benny told 'em that if they couldn't play together, they shouldn't play at all. So, they stayed together. 18 EXT./INT. BENNY'S ROOM - NIGHT Benny's at the window, clutching a baseball, staring over at Scotty's house. NARRATOR So, the only person that ever felt sorry for me 'cause I was such a weenie was Benjamin Franklin Rodriguez. (BEAT) Even though neither of us knew it at the time, we were connected. Like I had been born for just that one moment, when I would perform the world's all- time boner, and Benny would bail me out. (BEAT) Connected as friends... born to meet for just that one moment. We DRIFT OFF Benny to his PICTURE OF MAURY WILLS in a pickle. INT. SCOTTY'S HOUSE - DINING ROOM - DAY A PICTURE OF MAURY WILLS on a Post Super Sugar Crisp box. BILL & SCOTTY at the table. Bill sifting through mounds of paperwork. Scotty eating breakfast. Scotty's spoon CLANGS one too many times. Bill looks up at him. SCOTTY Sorry... Scotty picks up his bowl and cereal, goes into INT. SCOTTY'S HOUSE - THE KITCHEN - DAY where his mom is making coffee. MOM (QUIETLY) Well?... SCOTTY He's too busy, Mom. MOM (ENCOURAGING) Go back in there and ask. He'll take the time. Go on. 19 INT. SCOTTY'S HOUSE - DINING ROOM - DAY Scotty comes back in. Stops mutely near Bill. Long, agonizing seconds pass. Finally: SCOTTY Um, Da - Quick look toward the kitchen, then: SCOTTY (CONT'D) (so Mom won't hear) - I mean, Bill. Could we... I mean could you, like you said - teach me to catch today? BILL Um, yeah, but later, okay? I gotta get this done. It ain't much, but it's something. SCOTTY Okay, thanks. Mom comes in behind Scotty. MOM Bill, can't you take a break and teach him now? SCOTTY Mom, it's okay - (NOBODY'S LISTENING) BILL Honey, I said I would and I will. I'm just under the gun here, ya know? SCOTTY Mom, really - MOM - How long could it take? You can't spare a half hour to show him? Bill drops his pen. Checks his watch. A lost battle here. BILL (ANNOYED) Fine. Alright. I'll get my glove. Come on. 20 Bill exits past them. Scotty's been "Mom-embarrassed." She looks at him: MOM (CLUELESS) There. See. Told you so. Scotty shuffles out back, shaking his head. EXT. SCOTTY'S HOUSE - BACKYARD - DAY Bill slides his hand into his glove. He warms up the cradle, POPPING the "hardball" into the palm. SCOTTY stands ready to "learn" on the other side of the yard. Appropriately pitiful in "trout" cap and toy glove. BACKYARD BILL Keep your eye on the ball. Put the glove up where it goes. Okay? SCOTTY Yeah, okay, I think so. Bill throws one to Scotty. The toy glove goes up to the right. The ball sails by to the left. SCOTTY (CONT'D) Darn. Sorry. Bill's a little amazed at that one. He checks his watch. BILL That's alright, just throw it back. Scotty eagerly retrieves it. Turns to throw - deja vu - he runs over, hands Bill the ball. SCOTTY Here. He runs back across the yard. Turns 'round again. Holds his glove up stiffly. SCOTTY (CONT'D) Okay. I'm ready. Bill cannot believe this. Checks his watch again. 21 BILL Keep your eye on the ball. Put the glove up where the ball goes. He throws again. The ball bounces off the toy glove - breaks the webbing. SCOTTY Darn. My glove got - BILL - not bad. Right side at least. Now, just throw it back this time. SCOTTY But my glove - Bill's looking at his watch again. Scotty fetches the ball - gulps - "flips" it back. BILL (DISBELIEF) Oh, my God. EXT. THE BLOCK - SCOTTY'S HOUSE - DAY Benny comes out of his house. From the sidewalk BENNY'S POV up the side of Scotty's house into the backyard. He can see Scotty. Only Scotty. Standing there game as hell, trying to catch balls that seem to be coming too fast. The ball comes. Scotty ducks. The ball hits the block wall behind him, caroming back toward where we assume Bill is throwing from. BENNY'S drawing the wrong conclusion. EXT. SCOTTY'S HOUSE - BACKYARD - DAY Scotty's still game. Bill's at ropes end. Check his watch again. BILL Alright, Scott, listen, this one's gonna come right at you, easy, okay? SCOTTY 'Kay. 22 BILL Just keep your eye on the ball and put your glove up. You'll catch it. SCOTTY Okay. BILL throws. THE BALL comes slowly forward. SCOTTY sticks his glove up. SCOTTY'S EYES widen. THE BALL hits dead center glove. Rips the "toy" webbing. Flies through AND CLOUTS SCOTTY right in the eye. BILL BILL Oh my - EXT. THE BLOCK - SCOTTY'S HOUSE - DAY BENNY - God, whadda jerk! INT. SCOTTY'S HOUSE - KITCHEN - DAY Scotty's mom comes unglued. MOM Bill! What happened?! BILL Well, he - 23 SCOTTY (PRIDE'S SAKE) - just took my eye off the ball, Mom. Scotty's mom pulls his hand away from his eye. Great shiner. Bill grabs a steak from the fridge, FLOPS it over Scotty's eye. BILL There. Keep that on for an hour. It'll still be black, but it won't swell. (BEAT) Sorry. We'll try again soon. EXT. SCOTTY'S HOUSE - DAY Scotty emerges. Sits on the porch. Pitiful and forlorn. Chin in his hands, he looks across the street. He starts. His hand moves to cover his black eye... but he thinks the better of it. BENNY'S on the curb across the street. A moment goes by. Benny raises a hand. SCOTTY slowly waves back. BOTH Benny comes over to Scotty's sidewalk. BENNY Gonna go play some ball. Need a extra guy. Wanna go? SCOTTY Naw. Thanks. BENNY Why not? Doncha like baseball? SCOTTY Oh. Yeah. But, ah... BENNY But what? Scotty searches for a quick way out of this. Gets it: 24 SCOTTY But my glove's busted. So, ya know, I can't go. Thanks, though. Benny reaches behind his back. Takes something out of his jeans - like he's going for a gun. Smiles a little. BENNY That's okay. He offers it to Scotty... a "real" glove. BENNY (CONT'D) I got a extra one. Scotty SHOUTS over his shoulder: SCOTTY Mom! I'm gonna go play some ball! As they move away down the block. SCOTTY (CONT'D) Thanks. Cool glove. BENNY Yeah. Cool shiner. We gotta stop by the 5 & 10 first. Need a new ball. And chaw and stuff, ya know? SCOTTY Yeah. BENNY You dip chaw? SCOTTY (COMPLETELY CLUELESS) Sure. A'course. EXT. FIVE & DIME - DAY Benny & Scotty go inside. INT. FIVE & DIME - DAY Benny grabs a new baseball on the stride, and handful of bazooka from a jar on the soda fountain counter. He leaves the money and exits. Scotty follows. 25 EXT. REAR OF FIVE & DIME - DAY Benny and Scotty come upon the gang (all their mouths are full a' bazooka) as Ham's chompin' on a candy cigar doing a BABE IMITATION: HAM Hey! Check me out! I'm the Great Bambino! The gang laughs. SCOTTY (OVER EAGER) Who's that? The gang stifles. They're none-to-pleased. Ham sees why. The new kid... "flipper." Eight pairs of eyes burn holes in his little soul. HAM What?... (BEYOND HIM) What did he say? BERTRAM Were you born in a barn, man? YEAH-YEAH Yeah-yeah, what planet are you from? SQUINTS You never heard of The Sultan of Swat?! DENUNEZ The Titan of Terror! TIMMY The Colossus of Clout! REPEAT The Colossus of Clout! BENNY (even he's amazed) The King of Krash! NARRATOR I had no idea who they were talking about. But there was no way I could let them know that... so, I lied. 26 SCOTTY Oh! The Great Bambino! Of course. I thought you said The Great Bambi. HAM (SHIVERING) That wimpy deer? SCOTTY Ah, yeah - I guess. Sorry. The gang goes SILENT. They spit - they're tough. Scotty dribbles - he's wimpy. BENNY (W/MOUHTFUL) So, Scott, this is Ken DeNunez; Alan McClennan, we call him Yeah-Yeah; Hamilton Porter, we call him Ham; Tommy and Timmy Timmons, Bertram Grover Weeks, and Mike "Squints" Palledorus. (TO GANG) He's Scott Smalls. SCOTTY Hi. The gang just stares. BENNY He's gonna play with us. He makes nine. Now we got a team. EXT. SANDLOT - DAY The pack follows Benny onto the diamond. Scotty trails after them. BERTRAM Why'd you bring him for, Benny? BENNY 'Cause there's eight of us, and he makes nine. BERTRAM Yeah, so would my sister, but I didn't bring her! BENNY With nine Guys we got a whole team. 27 HAM No, with Elswenger we had a whole team, and Elswenger could throw! DENUNEZ He ain't game, Benny. He can't throw for nothin'. Scotty drifts off by himself. He can hear what's exchanged. TIMMY Benny, you already play all the empty positions since Elswenger moved to Arizona. BENNY And now I get to rotate 8 positions instead of 7. I need the practice. SQUINTS No you don't. It's stupid, Benny. The kid's an L-7 weenie. YEAH-YEAH Yeah-yeah, Oscar Mayer even. BENNY Oh yeah, Squints, and you're Willie freakin' Mays. You catch like a dork - anybody ever bust your chops about that? SQUINTS (PALTRY EXCUSE) No, but I'm - ya know, I'm - BENNY - and you run like a duck, Yeah- Yeah. YEAH-YEAH (IT'S TRUE) 'Kay-'kay... But I'm - BENNY - part-a the game. SQUINTS (DEFENSIVE) Right. YEAH-YEAH Yeah-yeah. 28 BENNY How come he don't get to be? Nobody's got an answer for that one. Base up you blockheads.) THE GANG hits the field. Their suspicious glares aren't lost on SCOTTY standing off by himself, kinda lost. Benny comes over. BENNY (CONT'D) You take right field, Smalls. SCOTTY (EAGER) Right. Okay. Ah... where exactly is that? BENNY (SURPRISED) Uh, over there. Scotty runs "over there" anxiously. BENNY takes home plate worried: "Maybe the kid is a weenie." INFIELD DeNunez at the mound. Benny's up. BENNY (CONT'D) Get two. Repeat at 3rd, stabs it effortlessly and fires to 2nd. Timmy snatches it down and drag-tags the invisible base runner, then fires to Bertram at 1st. SNAP! Outta there. Bertram throws back to DeNunez. Benny's ready: BENNY (CONT'D) Smalls! Get one! CRACK! THE BALL arcs up... comes down right at SCOTTY who raises the glove, and skippers around, as if he were tracking a falling leaf. The ball lands 5 feet behind him. 29 THE GANG shakes its collective head, exasperated. SCOTTY runs to the ball, is about to throw... runs it in to DeNunez instead. SCOTTY Here. Sorry, sorry. THE GANG is stunned. SCOTTY runs back to right field. Ready again - a game kid. BENNY trots out after him. BENNY Hey, you can throw it ya know. SCOTTY No, I can't... I don't know how. (LUMPY THROAT) Um, thanks for taking me here... but I think better go. Scotty turns to leave. Benny grabs his arm. BENNY You think too much. I bet you get straight A's and shit, huh? SCOTTY No, I got a B once. Actually it was an A minus. (QUICK) But it shoulda been a B. BENNY This is baseball, you're not supposed to think, you're just supposed to play. (BEAT) You ever have a paper route? SCOTTY Uh, I helped a guy one time. 30 BENNY Throw it like you chuck a paper. When your arm gets here... just let go of it. (PAUSE) Just let go. Scotty nods. Benny starts back. SCOTTY Wait - how do I catch it? BENNY Don't worry. Just stand there and stick your glove in the air. I'll take care of it. HOME PLATE Benny mentally calculates the distance. Puts a little rub on the ball. Flips it into the air... BENNY (CONT'D) Smalls, get one! ...and swings through deliberately. CRACK! SCOTTY sees it coming. Stands there stiffly. Sticks his glove up, closes his eyes. SCOTTY Please, catch it. Please, catch it. Please, ca - SNAP! His glove swings down. He opens his eyes. Looks into his glove. The ball is there. He takes it out and chucks the ball like a folded paper. BERTRAM catches it good and solid at 1st. BERTRAM Okay! Hey, let's play ball! SCOTTY loosens up. From home plate 31 BENNY gives him a "Thumbs Up." The significance of this is only outweighed by his sudden fear, when... SCOTTY glimpses something. SCOTTY'S POV of some great, lumbering thing moving past a crack in those green fiberglass panels. EXT. THE BLOCK - DUSK In good spirits, the guys break off to their houses. SCOTTY & BENNY split up in the middle of the street between their homes. SCOTTY Thanks. Already at his door, Benny just raises his glove in answer. SCOTTY (CONT'D) Wait, here - your glove. BENNY Keep it. INT. SCOTTY'S ROOM - NIGHT Scotty opens a new writing tablet, and titles the page: "Baseball Stuff to Remember." He writes: "1. The Great Bambino?" He hasn't got a clue. EXT. VACANT LOT - DAY Benny coaches Scotty. Correct batting stance and swing. Benny thumb-flicks bottle caps at Scotty from a coffee can full. They're tough to hit. But soon Scotty's tagging every one of them. THE SUN SETS. EXT. SANDLOT - DAY DeNunez fires - fastball. CRUNCH! 32 SCOTTY tags it. The ball sails over SQUINTS' Head in center. From left field BENNY gives Scotty another "Thumbs Up." The kid's in. EXT. SANDLOT - DAY - LATER Squints arrives with a box of baseball cards. NARRATOR Everyday, first thing, we'd all pick a card from what we called "The Dugout." Squints shakes it up. Everybody picks one. NARRATOR (CONT'D) It was just a shoe box, but whoever we picked, we got to be when it was our ups. One day, when Ham took his pick a little too seriously, the guys let me in on the world's most terrifying secret... BENNY Bingo! Maury Wills! SCOTTY Mickey Mou - ah, Mantle. YEAH-YEAH Say hey, Willie Mays. DENUNEZ Stan Musial. TIMMY Lou Brock. REPEAT Lou Brock - I mean, Luis Aparicio. BERTRAM Frank Robinson. SQUINTS Oh... Bob Uecker. 33 HAM Hank Aaron. I'm up. EXT. SANDLOT - DAY - MINUTES LATER The gang "peppers" HAM (at home plate) mercilessly. DENUNEZ pitches - strike. Pitches again - strike. Delivers and HAM takes a Ruthian cut at it. CONNECTS to deep right. SCOTTY tracks it. THE BALL comes down. SCOTTY runs beneath it - glove up. THE BALL drops into a backyard. The one with the green fiberglass panels. SCOTTY stops short. Looks back to THE GANG who're already packing up in slumped dejection. SCOTTY makes a decision. Swallows against fear of the fence. He takes one step toward that fence. SCOTTY Wait a sec, I'll get it! 34 THE GANG comes unglued. GANG NOOOOOOOOOO! STOPPPPPP! They rush over - grab Scotty - pull him back 10 feet into the "Fear-Free" zone. SQUINTS Holy crap, you coulda been killed! YEAH-YEAH Yeah-yeah - truly! Whadda you doin'?! SCOTTY Well, you were all leavin', so I thought I'd just - SQUINTS - if you were thinkin' you wouldn't a thought that! BENNY You can't go back there, Smalls. SCOTTY Then how do we get the ball? TIMMY We don't. REPEAT We don't. BERTRAM It's gone. HAM Forever even. DENUNEZ Forget it, it's a memory. BENNY Game's over. We'll get a new one tomorrow. Just forget it. We'll never see it again. SCOTTY Why not? 35 GANG (HUSHED) The Beast. Scotty stares at them; all heads hung. BENNY Go over there, real slow, and be quiet. Don't touch the fence, just peek through that hole in the green stuff... go on. As Scotty goes forward, the gang steps back. SCOTTY draws his eye close to the hole in the fence. WE SEE EXT. MR. MERTLE'S BACKYARD - DAY A LIMITED VIEW of 3 feet square. WE SEE nothing but the ball... in the small crater it's made in the dirt. There are oddly similar craters in the immediate vicinity. Those craters are empty. A MAMMOTH, HAIRY PAW comes down from out of nowhere. As it CLEARS FRAME, the baseball is gone. Only the crater remains. EXT. SANDLOT - DAY Scotty snaps his head away from the hole - runs over to THE GANG: SCOTTY Something got the ball! (UNNERVED) What was that thing?! Considered looks are exchanged, then, in unison: GANG Campout. EXT. TIMMONS' BACKYARD - NIGHT Aglow. (NOTE: Same as Sc. 80) INT. TREE HOUSE - NIGHT A Boy Scout lantern. Professionally built structure. The gang's got sleeping bags. They're roasting marshmallows over a Cub Scout camping stove. 36 Ham's brought personal s'mores supplies. HAM Wanna s'more? SCOTTY Some more of what? HAM No. You wanna s'more? SCOTTY I haven't had anything yet, so how can I have any more of nothing? HAM You kill me Smalls. Look, these are s'mores stuff. Pay attention: (CONCOCTING) First you take the graham - you put the chocolate on the graham, Hershey's of course - you hold the chocolate on the graham while you roast the mallow- He does. The mallow flames to life. HAM (CONT'D) -then when the mallow's flamin', ya stuff it on the chocolate and cover it with the other end. (BEAT) Then, you scarf. Ham does. The junk squirts half way down his shirt. HAM (CONT'D) (BARELY INTELLIGIBLE) Kinda messy... Good though. Squints turns the lantern down low... SQUINTS Alright, listen up. (TO SCOTTY) First time DeNunez heard this story he FAINTED - DENUNEZ - Bull, Squints! BENNY You did, man. DeNunez shuts up. It's true. 37 SQUINTS When Yeah-Yeah heard it he peed his pants. YEAH-YEAH Shut up, Squints - did not! HAM You did, man. SQUINTS And when The Ham heard it he barfed up two bags of marshmallows. HAM Liar! It was only one. SQUINTS So stay away from the door... you might fall out. And don't sit on your sleeping bag... you could shit your pants. (SOLEMN) Now, quiet... Absolute silence. Kid-reverence equals fright. SQUINTS (CONT'D) The legend of The Beast goes back a long time... before any of us could pick up a baseball. Back to a place called Mertle's Acres. DREAMY DISSOLVE TO: THE STORY OF THE BEAST: EXT. "MERTLE'S ACRES" - DAY A legendary place... benefitting from years of kid- embellishment: a gothic, scrapyard fortress oddly designed to keep something in not out. SQUINTS (V.O.) The Beast belongs to Mr. Mertle, the guy that used to own Mertle's Acres Junkyard. And nobody's ever seen him since the day it happened... INT. MERTLE'S ACRES - DAY Blurbling pockets of super-heated muck. 38 BURNED-OUT SHELLS of twisted vehicles - strewn carcasses. A battlefield. OLD APPLIANCES that form tortured faces in the shadowy recesses. SQUINTS (V.O.) Mertle's Acres was a bitchin' place, that had everything you could ever imagine. OTHER STUFF like savaged shopping carts. A school bus graveyard. Scrap motorbikes. Cargo ship buoy balls. The gutted shell of a fighter plane. SQUINTS (V.O.) (CONT'D) And the stuff was worth a fortune. So, one day Mr. Mertle got him this new pup from the pound. They were glad to get rid of him, on account of while he'd been there, he'd killed three dogs bigger than he was. (BEAT) That was exactly what Mr. Mertle figured he needed to protect his junkyard, 'cause people kept stealing stuff at night, when he wasn't around. WE DRIFT THROUGH a maze of dark, grimy junk-passageways. SQUINTS (V.O.) (CONT'D) So he bought The Beast, and set him loose in Mertle's Acres. SOMETHING LOPES BY at the end of a passage. (NOTE: We never fully see The Beast.) SQUINTS (V.O.) (CONT'D) The Beast was still just a pup of six months, but he already weighed a 150 pounds... and he kept gettin' bigger. A TRASH BAG full of meat hits the ground - disappears. SLIFFTHT! It spits back INTO FRAME... empty and tattered. 39 SQUINTS (V.O.) (CONT'D) He threw The Beast a trash bag full of meat every night, and just left him alone. All alone in the whole place by himself... to grow. AN EYEBALL among a pile of broken headlights. As big as the headlights. FLEETING GLIMPSES OF MORE STUFF like Mannequins, with bite-chunks missing. Plastic flamingoes, brutally mangled. A decapitated "lawn jockey." A plastic cow, legs gnawed off. And BREATHING... amongst the artificial "life" forms. A GARGANTUAN FOOTPRINT in the center of an old truck tire. THE BEAST'S SHOULDERS moving powerfully - as tall as a burned-out VW. SQUINTS (V.O.) (CONT'D) And so, in a few months, the pup grew into The Beast. And he grew big as a car. And he grew mean, 'cause nobody liked him, and he didn't like nobody either. (BEAT) And so he only had one thing on his mind... to kill. INT. MERTLE'S ACRES - NIGHT TWO THIEVES in ski-masks. Suddenly, a HEATED WIND strips their masks. Two elephantine feet come down on their faces. They SCREAM. SQUINTS (V.O.) And he did. And he liked it. ANOTHER THIEF suddenly enveloped by a shadow. He's dragged into darkness... he SCREAMS. TWO OTHER THIEVES load their van and take off. They skid. CRUNCH! The van caves in. The Thieves are dragged out, BLATHERING in horror. 40 FROM HIGH ABOVE MERTLE'S ACRES The Beast moves like a murderous phantom. WE HEAR ROARING, and primordial bloodlust. VARIOUS OTHER THEIVES are tossed hither and yon... mixed in with fake flamingoes, and a flying plastic cow. EXT. MERTLE'S ACRES - DAY Police cars. DETECTIVES speak with MR. MERTLE; his shoulders slumped, his eyes moist. They show him file photos of (THEIVES in ski masks.) SQUINTS (V.O.) The Beast was the most perfect junkyard dog that ever lived... a true killing machine. (BEAT) After awhile, the police started getting phone calls from people, reporting all the missing thieves. The ones The Beast had killed... it added up to about 37 guys. Mr. Mertle solemnly heads inside the junkyard. SQUINTS (V.O.) (CONT'D) But they never found a single body... not one. Some people say they all got away, and were just so scared that they ended up in insane asylums and stuff. (BEAT) But we know what really happened. Mr. Mertle emerges from the junkyard. Cops take cover behind their cars. Guns are leveled toward Mr. Mertle and what follows him at the end of a rusty tow chain. SQUINTS (V.O.) (CONT'D) The Beast... ate them. (BEAT) He ate them bones and all. EXT. THE BLOCK OF SANDLOT COMMON HOUSES - DAY PEOPLE slam their windows - draw their curtains. LITTLE KIDS are snatched up by PARENTS, who run inside and lock their doors. 41 MR. MERTLE leads the The Beast on a huge chain. (NOTE: We only see bits of The Beast.) SQUINTS (V.O.) The Beast was good at his guarddog job. Too good. So the cops said he had to be retired. But he didn't have to be killed or nothin', on account of there was no evidence... no bones... no teeth for dental records. EXT. MR. MERTLE'S BACKYARD - DAY The green fiberglass panels are brand new here in the past. SQUINTS (V.O.) The police told Mr. Mertle that if wanted to keep The Beast, he hadda lock him in his backyard, so he could never get out. A CRANE lowers a giant bathtub into the backyard. FIREMEN fill it with water. SQUINTS (V.O.) (CONT'D) And that he hadda chain him up, so's in case he tried to get out to eat children and stuff, he couldn't. CONSTRUCTION WORKERS sink an I-Beam girder. Cement fills the chasm. MR. MERTLE contructs a huge lean-to from old bullet-holed, tin-ad signs. A WELDER Braises chain to the girder. MR. MERTLE "collars" The Beast with the other end. THE BEAST disappears beneath the lean-to. DUST EXPLODES from underneath as he lies down. 42 SQUINTS (V.O.) (CONT'D) Mr. Mertle asked the cops how long he had to keep his pup chained up like a slave. EXT. MR. MERTLE'S FRONT PORCH - DAY A POLICEMAN "mouths" the word, "F-O-R-E-V-E-R." SQUINTS (V.O.) They said... until forever. DREAMY DISSOLVE TO: INT. TREE HOUSE - NIGHT Ham drools mallow goop. His hands are fisted tight... 'mallows squirt out twixt his clenched fingers. REPEAT & TIMMY have their pillows 'round their heads like bonnets. DENUNEZ & YEAH-YEAH stare and shake. BERTRAM'S eyes are shut tight, his bottom lip shudders. BENNY gulps. SCOTTY'S sitting shattered. He checks his pants to see if he's peed them. His mallow's a briquette. It SPUTTERS and flames out. SQUINTS is proud of his story prowess. SQUINTS And so... The Beast sits there under that lean-to, dreaming about the time when he can break the chain and get out... dreaming of the time when he can chase and kill again. 43 THE GANG BERTRAM See, man. That's why you can't go over there. Nobody ever has. Nobody ever will. HAM One kid did, but nobody ever seen him again. DENUNEZ That ain't true - HAM - yeah it is! He got eaten! YEAH-YEAH Yeah-yeah - that kid who went to get his kite... what was his name? DENUNEZ "Boogers" Fleming? TIMMY No. It was that guy with the warts on his face. REPEAT Davy "The Toad." TIMMY That's what I said. Solemnity spreads among them. Kid-reverence. SQUINTS Davy "The Toad" Stodenrous. BERTRAM Yeah, The Toad... YEAH-YEAH Yeah-yeah, poor Toad. SCOTTY (WEAK) Nuh-uh... none of that's true. You guys are just - SQUINTS - oh, yeah?... Come here. Stick your head out the window and look down. 44 Scotty goes slowly... He sticks his head out guillotinely, through the small square opening. EXT. TREE HOUSE - NIGHT Scotty's head comes out turtle-like. The tree house overhangs the common wall. HE LOOKS DOWN INTO Mr. Mertle's backyard and SEES an old footed bathtub filled with murky water. A steel pole, cemented into the center of the yard. A tow chain, snaking away from the pole and vanishing under the lean-to. Dust rises and falls from 'neath the lean-to. SCOTTY hears the ORGANIC EXHAUST that accompanies the dust... rising and falling... in POWERFUL EXHALATIONS. INT. TREE HOUSE - NIGHT Scotty pulls his head back, scared shitless. SCOTTY (HUSHED) He's down there! SQUINTS You bet he is. HAM Whatever goes over that fence... stays there. SQUINTS It becomes the property of The Beast... Forever. EXT. TREE HOUSE - NIGHT (NOTE: Same as Sc. 54) FROM THE SANDLOT... a FULL MOON hangs ominously over the tree house; a glowing little box of debate in the scary night. NARRATOR I learned that more than a 150 baseballs had gone over that fence... and not one of them was ever seen again. Even when some brave kid worked up enough courage to peek over the fence. (MORE) 45 NARRATOR (CONT'D) (BEAT) Because, when they went over, they vanished. (BEAT) I knew it was true, because when I looked down in there, I didn't see a single... solitary... one. EXT. FIVE & DIME - MORNING Squints and Yeah-Yeah come out of the store in a big hurry, with a new baseball in a box. They stop momentarily - open it and chuck the box. Yeah-Yeah rams his mouth full of 'zooka WHILE SQUINTS spits into his palm and rubs the ball to get the shine off. His eyes go suddenly wide and he stares, and oggles, and gawks: SLO-MO - A BEAUTIFUL BLONDE GIRL about 19-years-old walks by into the store. She smiles at Squints. SQUINTS can only manage a totally embarrassing goofy grin. EXT. THE SANDLOT - MORNING The guys are waiting anxiously as Yeah-Yeah and Squints run over. Yeah-Yeah tosses Benny the ball. He rubs it up. Passes it along. They all take a turn. BENNY What took you so long?! We been here forever already! YEAH-YEAH Squints was pervin' a dish. SQUINTS Shut up, I wasn't! YEAH-YEAH Yeah-Yeah you were! Yer tongue was hangin' outta yer head and you was swoonin'! (SWOONIN') Oh-oh Wendy Peffercorn my darling lover girl... 46 Squints goes for Yeah-Yeah. Ham holds him back. SQUINTS Hold me back! Hold me back! HAM I am holdin' you back Squints. SQUINTS Oh, yeah. Well, lemme go then. (CALMS) DENUNEZ So, where'd you get the money this time Yeah-Yeah? YEAH-YEAH Oh, yeah-yeah! It was great! So I went around pretended like I was selling perscriptions to magazines. And the people asked if they should pay me now. So I said yeah-yeah, pay me now! And they did! The guys are astonished. HAM Sonavabitch! YEAH-YEAH What-what?! I'll take it back. I know it was crappy, but I didn't have no money, I - BENNY - naw, don't, man. He's just mad he didn't think of it. HAM Yeah, you know how many lawns I hadda mow when it was my turn?! Geez. Let's play. THE SUN crests the sandlot... it's gonna be a hot one. EXT. SANDLOT - LATER A real hot one. Ham sweats uncontrollably. His lunch bag drips PB&J. 47 DENUNEZ spits a 'zooka sploink that SIZZLES when it hits. THE GANG simultaneously heads for the bleachers. Everybody but Benny. FINALLY: HAM I can't take it no more, Benny. I'm bakin' like a toasted cheeser! TIMMY It's hotter than the fires of hell. REPEAT It's hotter than a fish in a fryin' pan. The brothers "look" at each other on the miscue. BENNY Come on, don't be wimpy. SQUINTS Face it, Benny. It's not a fit day out for man nor beast. We gotta call it for the day. BENNY Vote then. Everyone that wants to be a can't-hack-it panty waist, and wear their momma's bra, raise your hand. They all raise their hands. Grinning. BENNY (CONT'D) Fine. Be like that. So what're we gonna do then? They look at each other, as if Benny's gone quite mad... it's SO OBVIOUS: GANG Scam Pool Honeys! EXT. PUBLIC POOL - DAY TEENAGE POOL HONEYS arranged particularly on their beach towels along the deck, soak up the rays in their polka-dot bikinis. 48 THE GANG rushes out in cut-off shorts, and banzais the shallow end. Ham leaps over the water like a graceful Manatee. HAM Hamonball! KERSPLASH! A Ham-tsunami SLOSHES the Coppertone'd bods of POOL HONEYS They're up and SCREAMING at him. NARRATOR Benny would've played ball all day and all night... rain shine, tidal wave, whatever, it didn't matter. Baseball was the only thing he cared about and everything else was just a waste of time. (BEAT) But, of all the things we ever did besides baseball, goin' to the pool was what he tolerated best. Even though none of us had ever seen a Playboy magazine - which we constantly lied about - we figured the pool was the next best thing to being there. THE GANG dunks each other, play "attack-sub," etc... NARRATOR (CONT'D) It wasn't the Pool Honeys like we said, 'cause if any one of them had come up to any one of us, we'd of peed our pants. (BEAT) We went for... the Lifeguard. THE LIFEGUARD is unbelievable. In fact, it's WENDY PEFFERCORN. She slides Coppertone up and down her legs. THE GANG one by one, stop foolin' around. Chest deep in the shallow end, they're a detached and frozen pocket of leering dopes. The OTHER 80 KIDS in the pool play on around them. 49 SQUINTS is suddenly afflicted. NARRATOR (CONT'D) And one day, it became too much for Michael "Squints" Palledorous. And he did the most desperate thing any of us had ever seen. THE LIFEGUARD oils up and down. THE GANG gawks on. (Cool Hand Luke scene): BENNY Oh, man... YEAH-YEAH Yeah-yeah, too cruel. TIMMY She don't know what she's doing. REPEAT She don't know what she's doing. BENNY Yeah she does. She knows exactly what she's doing. SQUINTS I've swum here every summer of my adult life... and every summer there she is. (LOSING IT) Lotioning... oiling... smiling. (TEETH CLENCHED) I - can't - take - this - no - more! THE GANG WATCHES AS SQUINTS pushes through the water, pulls himself out, and walks really fast to the diving board (taking off his glasses to impress her as he passes.) SCOTTY What's wrong with him? 50 YEAH-YEAH (WORRIED) Don't-know, but that's the deep end, and Squints can't swim! SQUINTS walks the plank to the end. Looks wantingly toward THE LIFEGUARD who smiles back at him. SQUINTS holds his nose. Takes the deep leap. Hits the water and... UNDERWATER ...sinks like a stone. Squints grins as he founders. THE GANG lines the edge of the deep section. BERTRAM Squints! HAM Oh my God! He's drowning! THE LIFEGUARD to the rescue. Seconds pass... she surfaces and lays a limp SQUINTS ON THE DECK Everybody at the pool gathers 'round. The Lifeguard lays Squints flat. She administers mouth-to-mouth. The gang watches on tense as hell. Squints peeks at them through a secretly opened eye. As the Lifeguard is "saving" his sneaky life, Squints can no longer restrain himself, he grabs her - gives her a sloppy SMOOCH! She tears away. Stands up over his wimpy little form: LIFEGUARD You little pervert! She grabs Squints by the scruff of the neck. Run-walks him toward the exit, and... 51 EXT. PUBLIC POOL - DAY ...chucks his boney butt into the hedges. The guys scramble out, dragging their clothes after them. They help Squints up. HAM Did you plan that?! SQUINTS A'course I did. Been plannin' it for years. They let Squints walk out front: NARRATOR Michael "Squints" Palledorous walked a little taller that day. And we had to tip our hats to him. He was lucky she hadn't beat the crap out of him. We wouldn't have blamed her. What he'd done was sneaky, rotten and low. (BEAT) And cool. (BEAT) Not another one among us would've ever, even for a million dollars, had the guts to put the move on the Lifeguard. He did. He had kissed a woman. And he kissed her long and good. (BEAT) We got banned from the pool forever that day... but every time we walked by after that, the Lifeguard looked down from her watchtower, right over at Squints... and smiled. INT. SCOTTY'S ROOM - NIGHT Scotty pours over his "Baseball Stuff To Remember" list: 2. Maury Wills, 3. Mickey Mantle, 4. Willie Mays, 5. Hank Aaron, 6. Stan Musial, 7. Lou Brock, 8. Luis Aparicio, 9. Brooks Robinson, 10. Frank Robinson, 11. Bob Uecker. Right Field is near the green fence. Left Field is in the left. Double play gets two outs. Triple play is impossible. Single is good. Double is better. Home run is best. And, ominously, "Don't get in a pickle or you're dead!" And one entry that's double question marked: 1. The Great Bambino?? EXT. SANDLOT - SUNSET The Guys play in magic hour. CRACK! 52 BENNY jolts a high fly to SCOTTY in right field. No problem now. He backpedals, judging. CLOSER TO MR. MERTLE'S FENCE then, SNATCH! Scotty makes a clean catch. BENNY gives Scotty "Thumbs Up." Just as SCOTTY'S gonna throw the ball back, he shivers, noticing that the sun has fallen to a precise declination; its rays focused behind the glowing green fiberglass of MR. MERTLE'S FENCE against which a hulking black form rises in the backyard... blocking out the sun against the panels. A gargantuan shadow. THE SUN GOES DOWN The shadow vanishes. TRIBAL DRUMS SOUND far in the distance. The oleander bushes rustle menacingly, like... MATCH DISSOLVE TO: EXT. JUNGLE - B&W - NIGHT - (ORIGINAL "KING KONG," 1932 - STOCK) ...a wall of tropical foliage. Frightening. Primordial. (NOTE: the scene with NATIVES atop the wall when Kong grabs Fay Wray.) INT. BOYS CLUB AUDITORIUM - NIGHT ON THE PROJECTOR SCREEN King Kong rips through the jungle. THE GANG'S here with 100 OTHER BOYS at the afternoon show. EXT. BOYS CLUB AUDITORIUM - NIGHT The gang gathers. Ham bursts out behind the gang as Kong! 53 HAM Eee! Eee! Eee! Oh! Oh! Oh! The guys SCREAM - spin to face the Ham. He BUSTS UP. HAM (CONT'D) Hey, check me out! I'm the mighty King Kong! (DODGING BLOWS) Hey! C'mon! It was a joke, ya dopes! Do I _look_ like a monkey?! A GROUP of other kids comes out behind them. LITTLE LEAGUERS. Matching caps and shirts. The gang straightens up. LEAGUER PUNK 1 Yeah. Ya smell like one too. Hey guys, it's the sandlot babies! LEAGUER PUNK 2 Skin yer knees lately sliding on rocks?! HAM Shut up, blockhead. LEAGUER PUNK 2 What're you gonna do, Porter, sit on me?! LEAGUER PUNK 1 Rodriquez, why do hang around with these rejects, man? You could be playin' with us on a official American Youth League certified big time diamond. You'd make the Allstar team easy. BENNY Play us and you'll find out why, Phillips. LEAGUER PUNK 1 Forget it, we play real ball, not with toy bats and sneakers! The punks head off, LAUGHING as they go. Benny glares at them. SQUINTS Benny, man, are we gonna let 'em get away with that?! 54 BENNY Yeah. For now. Let's go. EXT. NEIGHBORHOOD SIDEWALK - NIGHT The guys 'round a corner and continue on. They fall serious. SCOTTY You think he really died in the end? BENNY Who? SCOTTY King Kong... SQUINTS Not possible. He's so big that fallin' off the Empire State's just like us fallin' off a roof... he's alive. SCOTTY So whadda you think happened to him? Heads are scratched. Chins are rubbed. Thoughts are thunk. TIMMY Most likely. SCOTTY Hey, guys? Has anyone ever really seen The Beast? THE GANG STOPS except Scotty, he goes forward - turns back. SQUINTS Look, Smalls. You ever seen King Kong for real? In person, I mean? SCOTTY No. But - SQUINTS - well, he's real right? SCOTTY Yeah, a'course. SQUINTS And he's still out there somewhere right? 55 SCOTTY Yeah. SQUINTS See, there's just somethings that are. Ya know, stuff that it's better not to talk about... 'cause thinkin' about it just makes it worse. (BEAT) Nobody has to see The Beast to know he's there. SCOTTY (HORRIFIED THOUGHT) You don't think that The Beast is really... Motionless silence. No one's ever considered this. They suddenly realize where they are: EXT. MR. MERTLE'S HOUSE - DAY Denial kicks in as they carry on: GANG King Kong? Naw! God is that stupid! No stinkin' way! Oh boy, had me feelin' like a douf there for a minute! Whew, what a relief! EXT. THE SANDLOT ALLEYWAY - NIGHT FROM THIS HEIGHT WE SEE them round the corner, and carry on past the sandlot. Little debating specks, far away from us, and the cares of the world. HAM Hey, who d'ya think'd win in a fight, King Kong or Godzilla? GANG Godzilla. King Kong. 'Zilla! Kong! 'ZILLA! KONG! YEAH-YEAH Yeah-yeah, wait a sec, maybe they'll do a movie someday and we'll find out. GANG Yeah. That would be cool. I'd see that. Kong would kick his ass. No way, 'Zilla's got that fire breath stuff, he'd fry the monkey! 56 EXT. DODGER STADIUM - ESTABLISHING - 1962 - DAY The gang heads toward hallowed halls. INT. DODGER STADIUM - TUNNEL - DAY Footsteps echo as the gang walks along, alone, in awe. EXT. DODGER STADIUM - INFIELD - DAY The '62 DODGERS (and our gang's Home Team) are taking batting practice. THE GANG and a bunch of kids at the infield railing. Autograph signing. Benny sticks his glove through the crowd up to a certain player. NARRATOR Besides The Great Bambino, who I still had no clue about, Benny had one living hero. MAURY WILLS autographs Benny's glove. Hands it back to... INT. BENNY'S HOUSE - LIVING ROOM - DAY ...Benny who's suddenly here watching a baseball game. The gang's with him. YEAH-YEAH Yeah-yeah, here he comes. He's gonna steal second. BENNY Naw he ain't, not yet. TELEVISION - STOCK '62 DODGER GAME Maury Wills on 1st. Taunting the pitcher. Big lead off. NARRATOR A guy that would break the stolen bases record that year that had stood for as many years as there were baseball's lost to The Beast. THE GANG can't wait for Wills to go. 57 GANG He's gonna go, Benny. Here he goes, man. Right now, watch, watch. There, there! BENNY leans forward seriously. BENNY No... not yet. TELEVISION - STOCK '62 DODGER GAME Maury Wills gets ready to steal. NARRATOR Maury Wills became a hero for what he did. BENNY watches intensely. BENNY He's... gonna... go... riiiight... now. TELEVISION - STOCK '62 DODGER GAME Maury Wills steals second. BENNY smiles to himself. GANG (CLUELESS) How'd you know that? How'd you guess? How'd ya know? NARRATOR Benny... would become a Legend. INT. SCOTTY'S HOUSE - DUSK Scotty opens the front door, BENNY'S THERE. 4th of July party inside. All ADULTS. BENNY (URGENT) Get your glove, c'mon. 58 SCOTTY What's the big deal? BENNY Nightgame! EXT. NEIGHBORHOOD HORIZON - DUSK The sun is setting. EXT. NEIGHBORHOOD STREET ON WAY TO SANDLOT - DUSK THE GANG hurries along with their ball gear, through a Block party of bubble-topped BBQ's attended by APRONED DADS grillin' dogs n' burgers. KIDS clutching "Red Devil" fireworks, timing the sinking sun. MOMS pouring iced tea. HAM pilfers dog makin's from various Q's. Concocts a two-fisted doglog! He catches up to THE GANG marching away into the SETTING SUN. A LONG LINE OF FIREWORKS in the street. MATCH HEADS are lit. YELLOW MATCH FLAMES The SAME SIZE IN FRAME as our guys at the end of the block, are set to fuses. DADS AND KIDS rush for the curbs... and 59 THE FIRECONES FLOW INTO THE SKY in kaleidoscopic columns of star-hot colors. MATCH DISSOLVE TO: EXT. SANDLOT - NIGHT BURSTING FIREWORKS IN THE SKY down from which WE TILT TO THE GANG playing hard beneath them. Snap throws. Basket catches. Snatching grounders. NARRATOR There was only one nightgame a year. On the Fourth of July, the whole sky would brighten up with fireworks, giving us just enough light for a game. (BEAT) We played better then too. Because I guess, we all felt like Big Leaguers under the lights at some great stadium. (BEAT) Benny felt like that all the time. BENNY Knocks dirt from his p.f. flyers. Twirls the bat. Cocks it back. Coils up 'round his back leg. DENUNEZ delivers. Fastball. CRUNCH! Ash meets cowhide. FIREWORKS EXPLODE high above them. THE GANG stops play and marvels up at the colors. SCOTTY'S a little kid with a too-big mitt and floppy cap, goggling up at the fireworks. The ball lands by him. He retrieves it. Is about to throw - stops. 60 EVERYONE'S staring at Benny up at HOME PLATE bat slung second-naturedly over his shoulder... a real ball player. NARRATOR (CONT'D) We all knew Benny was different. We knew that he was gonna go on to bigger and better games. (BEAT) Because everytime we stopped to watch the sky that night like regular kids, Benny was there to call us back. DENUNEZ pitches. BENNY cranks one to kingdom come. NARRATOR (CONT'D) For him, baseball wasn't just a game. For Benjamin Franklin Rodriguez... A FINAL FIREWORK EXPLODES in a beautiful burst above them. NARRATOR (CONT'D) ...baseball was life. MATCH DISSOLVE TO: EXT. THE SANDLOT - DAY The gang is still in the same positions. As if having never left. HAM fires to 3rd from home. INFIELD Ham and Repeat catch Benny in a pickle. Benny feints, dodges and rubba-legs them. He crosses home easily. 61 TIMMY Truly rubba legs. REPEAT Truly rubba legs. THE LITTLE LEAGUERS show up on their bikes. LEAGUER PUNK 2 It's easy when you play with rejects and fat kids, Rodriquez. BENNY marches over. The gang follows. BENNY What'id you say, crapface? LEAGUER PUNK 1 He said, they shouldn't be allowed to even touch a baseball. They're an insult to the game. That did it! Ham rushes the punk. The gang holds him back. HAM Come on! We'll take you on right here, right now! Come on! Right now! LEAGUER PUNK 1 We play on a real diamond, Porter. And you ain't good enough to lick the dirt off our cleats. HAM Watch yer mouth, jerk! LEAGUER PUNK 1 Shut up, dipshit! HAM Asshole! LEAGUER PUNK 1 Scab eater! HAM Butt sniffer! LEAGUER PUNK 1 Pus licker! 62 HAM Fart smeller! LEAGUER PUNK 1 Dog crap for breakfast eatin' geek! HAM You mix yer Wheaties with your momma's toe jam! LEAGUER PUNK 1 You bob for apples in your toilet, and you like it! The teams GASP. Then: HAM YOU PLAY BALL LIKE A GIRL! THUNDERING SILENCE. The ultimate baseball insult. LEAGUER PUNK 1 What did you say? HAM You heard me. LEAGUER PUNK 1 Tomorrow. Sun-up. At our field. Be there, buffalo-butt breath. HAM Count on it, pee drinkin' craphead. EXT. LITTLE LEAGUE FIELD - DAWN Ham raises his catcher's mask: HAM PLAAAAAAAY BALLLLLLLL! DENUNEZ STRIKES OUT BATTER 1 Whif. Whif. Whif. BATTER 2 GROUNDS TO 63 YEAH-YEAH at short. He stabs it. Fires to FIRST BASE outta there. BATTER 3 hits a lazy fly ball to RIGHT CENTER FIELD where Scotty and Bertram run for it - watching the ball, not EACH OTHER: SCOTTY/BERTRAM I got it. I got it. They stop - the ball drops between them. SCOTTY/BERTRAM (CONT'D) I thought you had it. BATTER 3 rounds 2nd base. BENNY Somebody get it! SCOTTY picks it up and fires for home for all he's worth. BATTER 3 rounds 3rd. THE BALL rockets toward Home. BATTER 3 slides in a cloud of dust. THE BALL BLASTS INTO 64 HAM'S MITT and Ham drags the baseline. THE DUST CLEARS Ham's got him tagged. Ham goes Jackie Gleasonaic: HAM You - are - out - of - here! Out! Gone! Dead! To the moon! Roger, Wilco, Over and OUT! Ham abruptly stops Cramdoning because EVERYBODY'S LOOKING at him. HAM (CONT'D) Ah, you're out. DISSOLVE TO: EXT. LITTLE LEAGUE FIELD - DAY Benny's at bat. BANG! Single to left. Throw to 1st - too late. Throw to 2nd - too late. Throw to 3rd - he's on his way home. Throw to home - safe! THE LEAGUERS gawk; an inside the park home run. BENNY (TO CATCHER) That's one. Get used to it. HIGH ABOVE FIELD, A SERIES OF ECU'S OF the gang belting shot after shot. Rounding base after base. Crossing home. EXT. VACANT LOT - DAY (Bob B. Soxx & The Blue Jeans "Zip-A-Dee-Do-Dah" scene.) The guys strut along, air-batting, mime-catching. Benny RIPS a momentous victory slide. EXT. CARNIVAL - NIGHT The gang comes down the midway and stops at a ticket booth for a ride we don't yet see. As they buy their tickets: 65 BENNY Crack! Boom! Outta here! You see the looks on their faces? Did ya? It was like, "Duh... so that's how you play baseball." BERTRAM Crap! I almost forgot. Chaw! He holds up a pounch of chewin' 'baccy. THE GANG gathers 'round. BERTRAM (CONT'D) I was savin' it for a good time. SCOTTY What is it? HAM Geez, Smalls... I s'pose you don't who The Babe is either. It's chaw. Plug. Wad. Chewing Tobacco! Bertram passes it around. Everybody sniffs. SCOTTY Whadda you do with it? HAM You're killin' me, Smalls. You chew it, of course. DENUNEZ All the pros do. YEAH-YEAH Yeah-yeah, gives ya tons of energy. TIMMY Let's dip. REPEAT Let's dip. Bertram pinches a too-huge wad. Stuffs it in his mouth. The bag goes around. All cud up. BENNY Smooth. 66 HAM Juicy. SQUINTS Tangy. SCOTTY Kinda tastes like an ashtray smells. DENUNEZ Supposed to. SQUINTS Let's ride. The gang gets on the ride: THE ANTI-GRAV! EXT. CARNIVAL - ABOARD ANTI-GRAV - NIGHT As they ride, and spin round and round and round... the brown glop falls from their mouths. They all watch BERTRAM who turns salmon... yellow... green. Then, presumably EXT. ANTI-GRAV - NIGHT yawns breakfast, lunch, and dinner like a firehose. At least that's what WE HEAR as the ride spins vertical - that, and a host of blood curddling SCREAMS from vom-victims. As the RIDERS DISEMBARK A BARF CHAIN REACTION ensues. They all running SCREAMING from the ride and lose it. EXT. THE SANDLOT ALLEYWAY - NIGHT The gang wobbles, MOANING as they go. Ham is strangely unaffected he unpockets a fistful of some digusting glorp: The guys lose it. WE DRIFT off them and their predicament to THE HOLE in the green fiberglass fence. An EYEBALL - big, bloodshot and amused. GUTTURAL PANTING... The Beast is LAUGHING at them. 67 EXT. SCOTTY'S HOUSE - DAY Scotty's cod belly white and jelly fish limp, from a long bout of the chuckies. Bill tosses his luggage in the car trunk. Scotty's mom leans out the driver's window. MOM I'll be back in an hour, Scotty, I'm taking Dad to the airport. SCOTTY (STILL WOOZY) 'Kay. Where you goin'? BILL Chicago, on business for a week. Listen, Scott, while I'm gone, you're the man of the house. Understand? SCOTTY Yeah, I guess so. BILL We'll take another stab at catch when I get back, okay? So, take care of things while I'm gone. I'm counting on you. He offers his hand to Scotty. They shake. SCOTTY (PERKING UP) Okay. I will. EXT. FIVE & DIME - DAY The gang comes out with a new boxed baseball. Each has a pack of Topps. A bag of Bazooka. NARRATOR Once we got over trying to be big shots, we just stuck to what we could handle, and swore off the hard stuff forever. When we finally got back together for some baseball, something amazing happened. (BEAT) It was an omen... one that was meant just for Benjamin Franklin Rodriguez. 68 EXT. THE SANDLOT - DAY They tear open their packs of baseball cards. First things first - they eat the gum sticks. Then, shuffle through the cards looking for gold. SQUINTS Whad'ya get, Ham? HAM A Mickey Mantle and 7 guys I never heard of. How 'bout you? SQUINTS A Brooks Robinson and a Koufax. Pretty good. BERTRAM I got junk. DENUNEZ One Drysdale, a bunch a duds. YEAH-YEAH Yeah-yeah, me too. Four bombs, but one Whitey Ford. SQUINTS Benny, whad - The guys notice BENNY staring down at the cards in his hands. He slowly shuffles them top to bottom... top to bottom. THE GANG moves over, concerned. HAM Hey, Benny, whatsa matter? BERTRAM You okay, man? Benny slowly raises his eyes. Slowly holds the cards out to Squints, who takes them cautiously. Squints shuffles them forwards and backwards. He passes the eight cards amongst them all. SQUINTS Oh, my God... 69 TIMMY Imfuckingpossible. (ALTERNATE LINE, same BELOW) Unstinkinbelievable! REPEAT Imfuckingpossible. Don't tell mom I said that tim. TIMMY I won't. HAM This can't happen... can it? BERTRAM It just did. YEAH-YEAH Yeah-yeah, it's an omen. Squints hands the cards back to the Benny, who takes home plate alone. EIGHT IDENTICAL MAURY WILLS CARDS THE GANG can only stare at him. Suddenly, Squints clutches his ear PLUG: SQUINTS Oh geez... Oh geez. I - I don't believe it. Maury Wills just stole 80 bases! The guys are boggled. BENNY picks up a bat. BENNY We gotta play. I gotta play right now, guys. Right now. THE GANG obeys. They hurry into the field. As they go: SCOTTY What's it mean? 70 SQUINTS It's a miracle, Smalls. A damn miracle. NARRATOR We all expected something to happen right then... during that game. What we had just witnessed was bordering on the supernatural... we knew that greater hands than ours were at work. (BEAT) And it happened alright. (BEAT) It happened right in front of our noses... and we didn't even know it. DENUNEZ delivers. CRACK! Magic dust EXPLODES from Benny's bat. The red lacing BURSTS! THE BASEBALL dermis flays. The string-wound innards fly into YEAH-YEAH'S GLOVE in left field. The cowhide "figure 8's" lay there in THE INFIELD like huge swatted moths. The guys gather 'round. BERTRAM Bitchin'. BENNY Naw, it ain't. SQUINTS C'mon, Benny, maybe two, three guys in history have ever busted the guts out of a ball. That's what the omen was. GANG Truly. Sure. Absolutely. Yeah-yeah, Benny. It must be so. BENNY All's it means is that we can't play no more. It's only noon, and I just blew the whole day for us. 71 DENUNEZ No, you didn't. It's the most amazing thing I ever seen. BENNY Anybody got any money? (NO ANSWER) Then it ain't okay, 'cause now we can't play no more. SCOTTY Yeah, we can. BENNY What, you got 98 extra cents just layin' around at home, Smalls? SCOTTY No, but I got a ball. CUT TO: INT. BILL'S DEN - DAY A BASEBALL on a silver pedestal (Bill's baseball). Scotty's HAND ENTERS FRAME. His indecisive FINGERS almost touch the ball... then, SNATCH! EXT. THE SANDLOT - DAY Scotty dashes across the schoolyard. SCOTTY (out of breath) I got it! Let's play! He tosses the ball to BENNY who catches it. BENNY Bitchin'. Your ball, your ups. Benny hands Scotty the bat, heads to right field, leaving SCOTTY alone at home plate with Ham (the catcher). BENNY tosses DeNunez the ball on his way by. 72 DENUNEZ almost misses it. He rounds up, throws to BERTRAM at 1st. Bertram throws to TIMMY at 2nd. Timmy almost drops it. There's a smudge on the ball. Timmy tosses to REPEAT at 3rd. Repeat fires to YEAH-YEAH in left. The ball caroms off Yeah-Yeah's glove, comes down fast! Yeah-Yeah barehands it. Safe. He launches to SQUINTS in center. It's gonna be short! Squints sprints - Willy Mays basket catch. He throws to DeNunez. SCOTTY digs in. HAM Batter up! DENUNEZ fires. Scotty swings - WHIFF. Again - whif. Once more... BOOM! Goodnight, Irene! Scotty drops the bat. Trots for first base in "home run" fashion. BENNY backpeddles. SCOTTY watches him, slowing, worrying. THE BALL drops over the green fiberglass fence. 73 SCOTTY stops dead in the base path. THE GANG CHEERS: TIMMY Nice crank, Smalls. DENUNEZ Decent cut. BENNY It's outta here! Who's got the big bat now, boys! GANG Smalls. Smalls. Smalls. Smalls. SCOTTY is drawn to the fence with mounting terror. THE GANG starts over. HAM What the hell's he doing? BERTRAM Maybe the shock of his first homer was just too much for him. AT THE GREEN FIBERGLASS FENCE Scotty runs right up to it - clutches desperately. Panting. Trembling. The guys arrive. Scotty turns back to them... he has aged 25 years. SCOTTY We gotta get that ball back. HAM Right! Good one, Smalls. SQUINTS Sure. We'll just hop over and say, excuse me Mr. Beast sir, could we have our ball back, oh, and please don't kill us while we're here! 74 BENNY It was a great shot, but forget about it... game's over. We'll get another ball. SCOTTY You don't understand! BENNY Sure we do. You feel bad 'cause you belted a homer, and now we can't play no more. SCOTTY No! You don't understand! THAT WASN'T MY BALL! THE GANG'S POV of something moving in the backyard. Just a rippling shadow and trailing dust accompanying it over the fence top. THE GANG'S eyes go to Scotty. SQUINTS Whadda you mean it wasn't your ball? SCOTTY It's my stepdad's. I stole it from his trophy room. It was a present or soemthing - somebody gave it to him. We have to get it back. He's gonna kill me! SQUINTS Smalls... listen to me. This is a matter of life and death. (THINKS) Where did your old man get that ball? SCOTTY I dunno... I think some lady gave it to him. SQUINTS Some lady?... SCOTTY Yeah, she even signed her name on it. (THE END) Some lady named Ruth... Baby Ruth. 75 EYEBALLS pop from their sockets. GANG BAAAYYYBE RUUUUUTH?! THE GANG sprints for the fence. Scramble up it. Just their eyes peer over the top. WHAT THEY SEE a baseball in a little impact crater. A ball that has most clearly been autographed by... BABE RUTH. A long, hideous forelimb thrusts from 'neath the lean-to. A massive paw-thing comes down on the ball. Drags it slowly away... leaving a baseball-deep furrow in the dirt. The CANINE "LAUGHTER" comes again... THE GANG drops from the fence - turn to face Scotty. DENUNEZ The Beast got it. TIMMY You're dead as a doornail, Smalls. REPEAT You're dead as a doornail, Smalls. TIMMY Nice knowing you. REPEAT Nice knowing - TIMMY - shut up, Tommy. (STUNNED) Smalls, you mean to tell me you went home and swiped a ball that was signed by Babe Ruth, and brought it out here and actually played with it? REPEAT And actually played with it?! 76 SCOTTY Yeah, but I was gonna put it back. SQUINTS But it was signed by Babe Ruth! SCOTTY Well, who is she?! HAM What?! What?! (OVERCOME) What did he say?! DENUNEZ The Sultan of Swat! BERTRAM The King of Krash! REPEAT/TIMMY The Colossus of Clout! GANG BABE RUTH! HAM (for good measure) The Great Bambino! SCOTTY (that did it) OH, MY GOD! THAT'S THE SAME GUY?! BENNY Yeah. Smalls, Babe Ruth is the greatest baseball player that ever lived. People say he was less than a God, but more than a man. Ya know... like Hercules or somethin'. (BEAT) The ball that you just aced to The Beast is worth... well, more than your whole life. Scotty falls to his knees. Grabs his stomach. SCOTTY I don't feel so good. They all step back, expecting the worst. Then, they fan him with their baseball caps. 77 SCOTTY (CONT'D) (HEARTFELT) We gotta get that ball back. BENNY When does your old man get home from work? SCOTTY He's gone on business for a week. BENNY Okay, we need 98 cents. So, everybody spread out and find some soda bottles and cash 'em in. We need a new baseball. CUT TO: A BRAND NEW BASEBALL Benny's hand signs B A B E R U T H across the leather in ridiculous chicken scrawl. EXT. FIVE & DIME - DAY Forgery in progress. Benny does the honors. DENUNEZ I dunno, Benny-man. YEAH-YEAH Yeah-yeah, it's pretty crappy. SQUINTS He ain't gonna buy that, Benny. It doesn't look anything like the Babe's signature. BENNY It doesn't matter what it looks like. His mom's never gonna know the difference. This'll just buy us some time, ya dorks. CUT TO: INT. BILL'S DEN - DAY Scotty's HAND ENTERS FRAME. Little anxious FINGERS wrapped around the phony "Babe Ruth" baseball. The second the ball is back on its pedestal: 78 MOM (O.S.) Scotty? DEN Scotty whips 'round like he's been slapped by a wet mackerel - Mom's in the doorway. SCOTTY Huh?! MOM Honey, what are you doing in here? SCOTTY Ah... just looking at Bill's - I mean Dad's baseball. Scotty hurries away from the "autographed" ball. MOM You know he doesn't like you touching his things. SCOTTY Yeah, I know. Sorry, Mom. MOM Has he ever told you about that ball? SCOTTY Uh - no, not really, I don't think so - no, he hasn't at all - I don't know _anything_ about it. MOM It's signed by Babe Ruth... Sweet mother of - Mom knows! Scotty may collapse. MOM (CONT'D) ...the greatest baseball player that ever lived. SCOTTY Um... really? MOM It sure is. Dad's father gave it to him. Maybe someday, he'll give it to you. 79 SCOTTY (DAZED) Uh... neat. NARRATOR It was salt in an open wound. Even my own mom, who was only a grown-up girl, knew who Babe Ruth was. INT. TREE HOUSE - DAY The gang's all here. Big plans. War conference. SCOTTY So, how do we get it back? SQUINTS I have no idea. NARRATOR I was dead meat. I knew it. They knew it. We had thought that those cards Benny had gotten meant that something great was going to happen. Now I figured that they'd just meant my life was over. SCOTTY Can't we just hop the fence and get it? HAM Remember Davy Stodenrous. TIMMY/REPEAT Poor Toad. SCOTTY Oh, yeah. I forgot. (A THOUGHT) Hey? Why don't we just go over there and knock on the door, and ask Mr. Mertle to get it for us? Everyone looks at Scotty - the kid just sprouted a dunce cap. SQUINTS Are you outta your mind?! Mr. Mertle is the meanest old man that ever lived! He's the one that sicked The Beast on The Toad! (BEAT) That's not an option, Smalls. Forget about it. 80 SCOTTY Oh. Okay. I will. Silent moments... not a single blinking idea between them. Then, suddenly: SQUINTS We need to assess the situation! GANG (better than nothing) Of course! Right! Good one, Squints! Access (sic) the situation! Okay! BERTRAM Um, Squints? How do we do that? SQUINTS First we survey the enemy's environment, then we make note of the surrounding terrain. HAM What?... SQUINTS (COPPING) I heard that on "Combat." Let's just look out the window. EXT. TREE HOUSE - DAY The gang pokes their heads-only through the window. They look down into: EXT. THE BADLANDS (MR. MERTLE'S BACKYARD) - DAY The house is a godforsaken stucco'd corpse. THE YARD is the final resting place for: melted frisbees, withered kickballs, skeletons of heat-crumbled paper kites, an airforce of exposure-splintered balsa wood gliders, and a fleet of model rockets - their drag-chutes turning to dust. And hundreds of little empty craters - that used to cradle baseballs. THE RUSTY TOW CHAIN snakes through the dirt - buried then exposed. It terminates 'NEATH 81 THE LEAN-TO from under which rises hazy twirls of dust. The dust is kept from ever settling by some enormous ORGANIC EXHAUST. A GIANT PAW-THING emerges from under the lean-to, pushing the Babe Ruth autographed cowhide into full view - "I dare you..." INT. TREE HOUSE - DAY The guys jerk their heads back inside. TIMMY He's darin' us! REPEAT He's darin' us! DENUNEZ He's waitin' for us, man. Just like he did with The Toad. GANG (REVERENT) Poor Toad. HAM We're on his territory now. BERTRAM Think he's pissed? BENNY Is Doby Gillis a dork? Anybody got any bright ideas? THE BIG MONTAGE STARTS WITH: A tree house debate. Much shouting. Much disagreement. Many hands miming mechanical contraptions. NARRATOR We had absolutely no idea what the hell we were gonna do. So things started primitively. EXT. THE SANDLOT - MR. MERTLE'S FENCE - DAY The gang hurries out from the Timmons' yard carrying a broom stick. They wriggle it under the fiberglass fence. Squints peers through the peep hole motioning directions to Ham. Suddenly - SNAP! Ham pulls the stick back. 'Tis toothpick'd. 82 EXT. TIMMONS' BACKYARD - DAY The guys fell the clothes line pole with a hack saw. 6 feet of inch thick pipe. They heft it up - go out to EXT. THE SANDLOT - MR. MERTLE'S FENCE - DAY and shove the pipe under the green fiberglass. HORRIBLE SOUNDS ERUPT from the Badlands. Dust mushrooms over the fence. The pipe draws under in FEROCIOUS JERKS. Gone. Moments. The pole sails back over the fence - bounces on the asphalt with ANGRY CLANGS. 'Tis pretzel'd. INT. TREE HOUSE - DAY Bertram arrives. Hands "it" over. How embarrassing: BERTRAM It ain't mine. I told you, it's my little sister's! A Cootie Toy. They ASSEMBLE THE INSECT putting a hunk of chewed 'zooka on each Cootie foot. Attach it to a plastic parachute - ah-ha! Genius. An airborne assault! EXT. THE SANDLOT - MR. MERTLE'S FENCE - DAY Squints indicates "go." INT./EXT. TREE HOUSE - THE BADLANDS - DAY THE GANG DRIFTS THE COOTIE N' CHUTE out the tree house window. It floats silently toward the baseball. The Cootie lands right on the Babe Ruth. The gum sticks. THE GANG hauls it in. THE BALL slowly rises. Suddenly 83 THE BEAST'S JAWS erupt from 'neath the lean-to and CHOMP the Cootie whole. The string snaps. THE GANG pulls up the frayed end. INT. TREE HOUSE - NIGHT Now a War Room. Map of the Badlands: crazed trajectories, distances to The Beast, etc. Coffee can PBX system. Cardboard periscope. X's on a calendar counting down "Bill's Return." The new retreival system: THREE EUREKA CANISTER VACS all connected. Ham's catcher's mask bolted to the end pipe for ball securing. EXT. TREE HOUSE - OVER THE BADLANDS - NIGHT Toy flashlights and BSOA lanterns hang from the structure, semi-illuminating the Badlands. OUT THE WINDOW goes the vacuumtraption, 30 feet of wobbly pipe. EXT. THE SANDLOT - MR. MERTLE'S FENCE - NIGHT Squints directs the operation, looking THROUGH THE CARDBOARD PERISCOPE WE SEE the vacupipe-mask... 12 inches from the baseball. SQUINTS (O.S.) (coffee can muffled) A-okay. Roger, affirmative. Initiate retreival suction. INT. TREE HOUSE - DAY They throw eureka switch one. WEOHH! EXT. THE BADLANDS - NIGHT The baseball moves itty-bittily. INT. TREE HOUSE - NIGHT They throw eureka switch two. WEEOOOHHH! 84 EXT. BADLANDS - NIGHT THE BASEBALL moves a lot! INT. TREE HOUSE - NIGHT They throw eureka switch three! RRRWWEEEOOOHHH! EXT. THE BADLANDS - NIGHT The baseball leaps from the ground - sticks in the catcher's mask collection basket. EXT. THE SANDLOT - MR. MERTLE'S FENCE - NIGHT SQUINTS (O.S.) We have suction! Pull it up! PULL IT UP! INT. TREE HOUSE - NIGHT The gang reels it in. Suddenly, the whole apparatus JOLTS. EXT. THE BADLANDS - NIGHT A great beef-paw yanks the end pipe under the tree. STEEL TEETH pinch the metal tube shut. INT./EXT. TREE HOUSE - NIGHT The vacuums build pressure fast. WHINE crazily. THE GANG leaps from tree house. SQUINTS lingers in the trap doorway a second too long: EXT. TREEHOUSE - NIGHT The gang (minus Squints) is face down in the dirt - arms over heads. The vacuums explode. Foggy clouds of dust pour out of the treehouse. Squints appears. He's battleship grey. Takes his glasses off. Only his eyes show white. SQUINTS We've been going about this all wrong. I blame myself. We need total surprise. (MORE) 85 SQUINTS (CONT'D) Therefore, we tunnel. The Beast will never expect it. EXT. TIMMONS' BACKYARD - DAY The guys all wield a shovel, and have flashlights taped to their baseball caps like coal miners. INT. UNDERGROUND TUNNEL - DAY (DARK) Flashlight beam at the fore, Scotty crawls with a safety rope 'round his waist. He pokes the cardboard periscope up through the dirt. THROUGH THE PERISCOPE the Badlands from ULTRA LOW ground level. WE SCAN 360 degrees. Suddenly, the scan stops. The name B A B E R U T H, FILLS the periscope's lens. EXT. THE BADLANDS - DAY Scotty's hand feels for the Babe Ruth. He grabs it. It's slimey. SCOTTY (O.S.) (SUBTERRANEAN) I got it! I got it! The ball SQUIRTS out of his fingers. THE BALL ROLLS beneath the lean-to. It hits THE BEAST in the nose. With a SEISMIC ROAR The Beast leaps out. WE DON'T SEE MUCH. He's too big. We're too close. EXT. TREE HOUSE - DAY Yeah-Yeah SHOUTS to Ham at the tunnel entrance. YEAH-YEAH It's huge - oh, my God! It's huge - pull him out! It's huge! PULL HIM OUT! EXT. BADLANDS - DAY THE BEAST'S JAWS dive toward Scotty's hand. They get within an inch of Scotty's hand, and his fingers vanish - THWOOOP! 86 EXT. TIMMONS' BACKYARD - DAY The gang pulls Scotty out of the hole. Yeah-Yeah is unconscious on the grass. The guys turn a hose on him. He comes 'round SCREAMING: YEAH-YEAH It's huge - pull him out! Oh God, it's like a dinosaur! Wh - Wh - Where am I?! SQUINTS Yeah-Yeah! Get hold of yourself! What'd you see?! YEAH-YEAH (accelerating to lunacy) Oh-oh, it was like hugeness and darkness and like the world was ending and the devil came up through the ground and the - and the - and the - HAM - somebody slap him quick! We're losin' him! WHAP-WHAP! Squints administers. Yeah-Yeah snaps out of it. YEAH-YEAH Thanks. I needed that. EXT. TIMMONS' BACKYARD - DAY Construction completes. A kid crane. A tricycle, block 'n tackle, fishing-pole n' body harness. In a line, the guys step on and off a scale. Everybody stares at Yeah-Yeah. YEAH-YEAH Yeah-yeah, I know - I'm lightest. But I ain't goin' over there! NO WAY! All eyes to the ground. BENNY Sorry, Smalls. It was a good idea anyway. DENUNEZ Yeah, tough luck, Smalls. HAM It won't be that bad, Smalls. Your dad'll probably only shoot you or something. 87 YEAH-YEAH Hey-hey, don't blame me! I didn't hit the ball over there, man! Silence. Yeah-Yeah considers. YEAH-YEAH (CONT'D) Yeah-yeah, okay. But if I say pull me up, you guys better PULL ME UP! Benny takes Yeah-Yeah aside. Hands him all over Ham's catcher's gear. BENNY Here. Put these on. YEAH-YEAH Wha -? Why? Whadda I need All this stuff for Benny? I mean, why a mask and a gonad Protector? BENNY Oh, ah, nuthin', ya know, just For, ah... Altitude leveling And stuff. Put it on. Benny hurries off as Timmy and Repeat approach with a frightening looking harnass assembly. Yeah-Yeah backs away: TIMMY Don't worry. We're professionals. REPEAT Our Dad's a contractor. EXT./INT. OVER THE BADLANDS - INSIDE THE TREE HOUSE - DAY HAM'S strapped in at the tricycle winch. YEAH-YEAH'S dangling over the lean-to. YEAH-YEAH (into can phone) Okay-okay, I'm right over it. Let me down - slow! HAM lets go. Oops. WHIZZZZ! 88 YEAH-YEAH plummets. YEAH-YEAH (CONT'D) Ahhhh! Stop! STOP! HAM back-cranks. YEAH-YEAH comes to a twirling halt four feet off the ground. YEAH-YEAH'S POV into the lean-to. Blackness and dust. YEAH-YEAH (CONT'D) 'Kay-'kay, tip me, hurry up. I'm gettin' the woollies. Yeah-Yeah reaches... Gets it! YEAH-YEAH (CONT'D) Okay get me outta here! HAM struggles. HAM HELP! I'M LOSIN' HIM! YEAH-YEAH looks down from the guys on the tree house - back to level - "4 foot" eye-level with: THE BEAST'S MOUTH! YEAH-YEAH (QUAKING) H - h - help! Help! HELP-HELP- HELP! (TRYING ANYTHING) Hail Mary Father who art star light twinkle twinkle hey diddle diddle - INSIDE THE TREE HOUSE hands crank the trike wheel. Yeah-Yeah's to window level in seconds. He's got the ball! 89 THE BEAST'S JAWS leap into view. THE TOW CHAIN goes taut. The jaws abruptly disappear. EXT. THE BADLANDS - DAY The Beast's shadowy form RUSTLES contentedly under the lean- to. Yeah-Yeah dropped the ball. EXT. TIMMONS' BACKYARD - DAY Yeah-Yeah's shattered. Balling. The guys sniff. Oh no, bad news. He shoves them away: YEAH-YEAH Yeah-yeah, I did it! SO WHAT?! You jerks, I told you to pull me back faster! (starin' them down) You - you penises. Yeah-Yeah waddles away. The guys rush to hold the fence door up for him. He goes through stiff-legged (can't bend over). EXT. THE SANDLOT - DAY Yeah-Yeah heads across the field... waddle-waddle. NARRATOR Yeah-Yeah grew two feet in our eyes after that. There was no stinkin' way any of us would've showed back up, if we'd loaded our drawers. (BEAT) Yeah-Yeah did. He showed back up and got right to work, like nothing ever happened. MATCH DISSOLVE TO: EXT. THE SANDLOT/TREEHOUSE - MORNING (LOCK OFF. Same as Sc. 157) - Yeah-Yeah returns across the sandlot and goes up into the treehouse. INT. TREE HOUSE - DAY 158 According to the calendar - 1 day till Bill's back. Scotty's got the conch. 90 SCOTTY I think I know how to get it. (they're all ears) Anybody got an Erector Set? Eyes dart. Brows feint. SQUINTS That thing with the nuts and bolts and tiny wrenches that you can build junk out of? SCOTTY Exactly. SQUINTS Never heard of it. HAM I used to have one when I was like I dunno, a little kid. GANG (LIARS) Might have some pieces. Gee, I don't think so. I'd have to look. Maybe in the attic. Not in our room though. INT. TREE HOUSE - DAY - 20 MINUTES LATER The guys re-arrive. Each holding huge arm loads of Erector Set stuff. GANG (CONT'D) Guess I had more than I thought. Forgot my grandma got me some for my birthday. It's my little brother's. Scotty's brought his "Set." A footlocker full of neatly arranged pieces. Nut and bolt compartments. Electric motor sections. BERTRAM Bitchin'. SCOTTY I really like Erector Set. GANG (ATTITUDINAL 360'S) Me too. I was just thinkin' the same thing. Couldn't agree more, Smalls. I play with mine all the time. 91 SCOTTY Let's get to work. Here's the plans - FURLSNAP! Holy cow! Scotty unfolds them - amazing crayola blueprints drawn on taped-together grocery bags. INT./EXT. TREE HOUSE - DAY The guys swarm the tree house. Scotty supervises from the backyard, wearing a plastic hardhat. They build. Scotty hooks up electric motors. Throws one toggle, and... EXT. TREE HOUSE - DAY ...it comes to life. A 35 foot hollow erector-beam and electric catapult-car assembly. They tilt-n'-tip it over the fence. Scotty pilots the little car from the treehouse deck. EXT. THE SANDLOT - DAY Benny's got his glove - waiting. EXT. TREE HOUSE - TIMMON'S BACKYARD - THE SANDLOT - THE BADLANDS - DAY Scotty on controls. Squints on periscope, with Bertram on the Yuban-comm for him. Others at support points. THE CAR drives down. THE BEAST strirs. THE CAR rolls out the end. THE CATAPULT BUCKET scoops the ball. SQUINTS (CLEANLY) Fire! GIANT SLEEPY EYEBALLS roll open. A THUNDERROAR! SCOTTY flips the toggle. THE "RAT-TRAP" CATAPULT fires. 92 THE BASEBALL is airborne. BENNY runs for it. BENNY I got it! I got it! THE AIRBORNE BEAST blocks out the sun. CLUNCHEENK! The Beast's FRONT TEETH SNATCH the Babe Ruth ball delicately out of the air. THE UNSEEN BEAST crash lands beyond the fiberglass paneling, right on top of THE ERECTOR CONTRAPTION wrenching it viciously. THE STRUCTURE comes tumbling down - bending into flimsy knots as it CRASHES! EXT. TIMMONS' BACKYARD - DAY Scotty stands alone on the tree house roof... staring down into the Badlands. A little, wrecked shell of a kid, who is now dead meat. The guys look up at him sorrowfully. NARRATOR My life was over. Just as Bill had finally warmed up to me, and asked me to be the man of the house, I had to knock a priceless chunk of history into the clutches of a monster. Great. END THE BIG MONTAGE. EXT. THE BLOCK - DUSK The gang, minus Timmy and Repeat, shuffle along home without a word exchanged. FROM HIS PORCH Benny watches a dejected Scotty slowly head inside across the street. 93 INT. SCOTTY'S ROOM - NIGHT Scotty stares up at the ceiling in oceans of worry. INT. BENNY'S ROOM - NIGHT The room is dark. Benny's in bed. He clicks on a "baseball- bat" flashlight. Shines the beam toward his footboard... illuminating the photo of The Babe. BENNY We can't get it back, Babe. (BEAT) I'm sorry. Suddenly, a RACKET from inside Benny's closet. A bright LIGHT GOES ON in there. Then, smoke comes out. Benny jumps up on his bed - flattens against the wall. Hasn't done this in years: BENNY (CONT'D) M - M - Mom?... The closet door CREAKS open... by itself. Everything inside is oddly devoid of color. BENNY (CONT'D) Who's there?! BABE RUTH steps out of the closet. He exists in the only way any kid from 1962 has ever seen him: BLACK & WHITE. THE BABE Now don't go peeing your pants or nuthin', I'm just here to give ya a hand. The Great Bambino PUFFS on a massive stogie... the source of all the smoke. BENNY B - B - But, you're... THE BABE ...dead? Legends never die, kid. Benny comes off the wall. The enormous Ruth towers over him. BENNY You're really him. You're The Babe. The Sultan of Swat. The King - 94 THE BABE - of Krash and a hundred other dopey names. Forget about that, we ain't got much time. I'm here 'cause you're in some kinda pickle, right? BENNY Yeah. THE BABE A baseball with my John Hancock on it went over a fence, and you can't get it back. Right? BENNY Yeah, right. THE BABE (clear and simple) Then just hop over there and get it. There ya go. Problem solved. (tips his cap) See ya, kid. The Babe turns to go back to wherever he came from. Benny grabs his arm - shocked that he actually feels something "real." BENNY Wait! I can't. THE BABE Can't what? BENNY Go into that backyard. THE BABE Why not? BENNY There's a Beast back there. THE BABE What kind? BENNY A giant gorilla-dog-thing that ate one kid already. THE BABE Is that a fact? Listen to me, kid. (MORE) 95 THE BABE (CONT'D) Everybody gets one chance to do something great. Most people either never take the chance 'cause they're too scared, or they don't recognize it when it spits on their shoes. (BEAT) This is your "big chance," and ya shouldn't let it go by. (PAUSE) Remember those cards you got the other day? BENNY Sure, yeah, five Maury Wills all in the same pack. THE BABE What're the odds on that? BENNY About a zillion to one. THE BABE More even. Someone's tellin' you somethin', kid. And if I was you... I'd listen. BENNY Yeah, but what? THE BABE You're the one with the rubba legs. Figure it out. (BEAT) You gotta do what your heart tells you, else you'll spend the rest of your life wishin' you had. BENNY You mean, I should hop that fence - and pickle with THE BEAST?! THE BABE Lemme tell you something... you remember that called shot homer I hit? BENNY Sure, the greatest most famous and legendary home run of all time. THE BABE Yeah, right, well said. (MORE) 96 THE BABE (CONT'D) (BEAT) Well, you think I knew I was gonna swat that? BENNY Sure ya did, Babe. THE BABE Not a chance. Matter of fact, all the way down to first I kept sayin' to myself, "you lucky bum." (BEAT) Think about that, kid. I'll see ya later. The Babe disappears back into the closet, then: THE BABE'S VOICE Remember, kid. There's heroes and there's Legends. Heroes get remembered... but Legends never die. (BEAT) Follow your heart, kid, and you'll never go wrong. A RACKET in the closet matching: INT. SCOTTY'S ROOM - DAY KNUCKLES on glass. Scotty hurries sleepy-eyed to the window and opens it. Benny stands outside, holding a shoe box. BENNY (WITH PURPOSE) I had a dream. Get dressed. We're goin' to the sandlot. EXT. THE SANDLOT - DAY The guys march toward the rising sun - across the sandlot behind Benny. Toward destiny. THE GREEN FIBERGLASS FENCE They stop here. Benny steps forward. He opens the shoe box. Laces on brand new P.F. Flyers. Moves for the fence. Scotty grabs his arm. SCOTTY Benny - wait. It's okay, it was my fault. I'll just take whatever I get. You don't have to do this. 97 A look in Benny's eyes. Kismet. BENNY (PREDESTINED) Yeah I do, Smalls. I have to. Benny turns from him - swallows hard. Swings himself onto THE TOP OF THE FENCE and balances - deciding. THE BABE'S VOICE (in Benny's head) ...Follow your heart, kid, and you'll never go wrong. Benny turns back one last time. Gives Scotty "Thumbs Up." With a pearl diver's breath - he plunges into... EXT. BADLANDS - DAY ...here. He stands fixed, staring hard 'neath the lean-to. DUST RISES from thereunder. ORGANIC EXHAUST. The LAZY CLINKS of heavy chain links... The Beast is rising to its feet. IT MATERIALIZES piece by piece: fore feet the size of a catcher's mitt, bulking head and shoulders, hulking flank and haunches. BENNY'S mouth hangs open. He's frozen, staring at THE BEAST and it's worse than Squints recounted... because it's real. This is the biggest dog that ever lived! 300 lbs. 4 1/2 feet tall. And ugly. This was a bad idea. The Beast lingers 8 feet away with slack in the chain. THWOOOP! It spits something out, which rolls in the dirt... STOPS EXACTLY BETWEEN THEM A goo-slobbered ball. Dirty Beast-foam drips off, revealing the smeared signature, B A B E R U T H. "G'head kid, I dare you!" 98 A PICKLE Benny measures The Beast. Times its ballooning chest. The Beast's eyes glue to Benny. Flopping, hot-water-bottle tongue PANTS. Licks chops. Leather'd nose twitches - smelling for movement. THE TOE of Benny's P.F. Flyer digs into the cracked earth. CLINK the Beast leans forward - one chain link lifts from the ground. SHTHUFT! Benny spits, blowing his tanks. THE BEAST bristles. BENNY'S EYES widen, focusing. WAR BREAKS OUT! Benny goes for the ball. THE BEAST'S knotted muscles quaver and UNCOIL. BENNY'S P.F. Flyers leave behind tiny dust roosters. THE BEAST'S claws dig deep furrows. FOG BANKS of dust spread out behind it. Forelegs gallop at flared, over-anxious angles. BENNY leaves scrambling footprints. He slides - grabs the ball - "Pops-Up" Maury Wills fashion - heads back for the fence. The ball slips from Benny's fingers. Re-grabs it - shoves the ball in his teeth, freeing his hands for the leap up the fence. 99 THE BEAST gains. SHNAPP! Jaws SHUT like a tripped bear trap. BENNY springs off the ground. He's on the fence. THE BEAST reaches chain's end - it goes taught. Breaks! The two foot length still attached to The Beast's neck bullwhips - the chain catches Benny in the butt. BENNY YOWWWWW! He vaults over the fence. EXT. SANDLOT - DAY The gang looks up. A great shadow envelopes them. THE BEAST IS LOOSE! The guys turn to stone. Benny takes off. BENNY OOOOH SSSSHIT! The Beast tears by the guys after Benny. The two vanish out of the sandlot. SCOTTY What're we waitin' for?! Let's go after 'em! EXT. SIDEWALK - NEIGHBORHOOD - DAY Benny runs. The Beast is gaining. In its wake: dichondra lawns RIPPED to shreds. Scotty and the guys make tracks a block behind. EXT. FIVE & DIME - DAY On display: Pinwheels, Mailbox Propellers and Puddle-Jumpers. Benny flies by. The Beast follows. As they pass, contact: the whirly-gigs take off! INT. CAR - TRAVELING - DAY A MOTHER drives. In the passenger seat, her TODDLER fingers a "scooter-pie" in marshmallowy strings. 100 TODDLER (BEAMING) Mommy, mommy - wook! Ah, ah - goggy! (BEAT) Big goggy. The Mother looks out the passenger window. ON THE SIDEWALK Benny and The Beast run even. Then pull ahead. EXT. "SNELGROVE'S" ICE CREAM - DAY Gag per storyboards - t.b.d. EXT. ALLEYWAY - DAY Benny's cookin'. The Beast follows - TRASHCANS SCATTER like bowling pins. Scotty and the guys follow. All slow to check out the garbage bins... so many crushed beer cans. Benny darts in the rear entrance to a "random" building. The Beast tears after him - KNOCKING the door off its hinges. INT. BOYS CLUB AUDITORIUM - DAY ON THE MOVIE SCREEN Kong does battle with T Rex. BENNY comes sliding AT US across the waxed stage floor - from under the movie screen. He slides off the stage - into midair - lands on his feet. Splits up the aisle between the rows of folding chairs and blasts out the door. KIDS' HEADS turn to watch him. KONG ROARS! They look back at THE MOVIE SCREEN where, just as Kong proclaims himself king over the dead T Rex, THE BEAST Leaps through the center of the silver screen - leaves a 6 foot hole - lands 20 feet down the aisle - CRASHES through the doors and disappears. Moments pass. Our guys follow. 101 EXT. SIDEWALK - DAY Hot-rubber SQUEAKS from Benny's P.F. Flyers. The Beast's claws leave jagged scars in the concrete. CATS HISS in terror and faint. EXT. PUBLIC POOL DECK - DAY POOL HONEYS lounge, all bedecked with rock-hard, Annette Funicello hairdo's. Benny blasts out of the pool building, "tire stepping" over the Honeys. They're up and RANTING at him. Until, The Beast comes... ...sliding across the water-slippy deck like an out-of-control anvil. He "bowling pins" the Pool Honeys. The Honeys HIT THE WATER. Benny cuts back through the pool building. The Beast follows - parting our guys and the other Kids. EXT. LITTLE LEAGUE FIELD - DAY Game in progress. From outta nowhere, Benny jams across the diamond. The game stops... EVERYONE gapes at: Some huge dog-beast charging after a kid. EXT. CITY PARK - PICNIC AREA - DAY Big banner: "FOUNDER'S DAY!" Perfectly arranged picnic blankets covered with wonderful spreads of goodies. BENNY zips under the banner - runs through - grabs a Coke like a long distance runner. THE BEAST rages after him, through: A DEADEND! MIDWAY of neatly arranged display booths. (This is pie n' cake booth gag per storyboards - allow 2 pages.) EXT. TOWN SQUARE - NEARBY - DAY 102 Founder's Day parade (et al). BENNY rips into the square. He rubba-leg zigzags, nimbly avoiding everything and everyone. THE BEAST Is a runaway freight train. He PLOWS through CLOWNS. CHILDREN are snatched from the dog's path by terrified parents. The Beast tears through the concession stands: VATS & DISPENSERS EXPLODE! The VOLUNTEERS dash out SCREAMING - "tar n' featherd" with baked beans and potato chips. BENNY zips through the MARCHING BAND - ducking trombone slides - leaping glockenspiels. THE BEAST ain't so graceful. He "barn-doors" the band. CRASH! An instrument tangled heap. THE ONLOOKERS pour into the street, knocking the MAYOR from his convertible, and the FOUNDER'S DAY QUEEN from her float. FROM THIS HEIGHT this all looks like the end of a "Dr. Suess" book! SCOTTY AND THE GANG search through the confusion. _They've lost Benny_! Suddenly, doubling back on them BENNY SHOOTS BY: BENNY Sandlot! Benny's gone. Seconds later - The Beast follows. SQUINTS This way! Shortcut! 103 THE GANG forges through the disaster. EXT. THE SANDLOT - MR. MERTLE'S FENCE - DAY The gang's GASPING for BREATH. And then, unbelievably BENNY & THE BEAST Are coming right at them! They race across the sandlot. Kill- anxious beast-drool splashes the seat of Benny's pants. THE BEAST'S muscles flex. BENNY just runs. He runs as if a big dog was chasing him. He lurches a step - RIP! A pants pocket flaps from an incisor. BENNY LOOK OUT! He lays down the world's all-time most perfect SLIDE. He careens toward the bottom of MR. MERTLE'S FENCE hits it and, defying gravity, RUNS STRAIGHT UP THE GREEN FIBERGLASS PANELS! BENNY jets upward, leaving smashed green fiberglass footsteps - standing out from the fence 90 degrees - the Donald O'Connor "Singin' In The Rain" trick! THE BEAST sucks air - ROARS - EXPLODES from the ground - soars, gaping maw first, right for BENNY who pushes off the top of the fence. THE BEAST GNASHES up at Benny's heels - misses by an inch. He plummets toward the Badlands. Then, the unspeakable happens, 104 BENNY DROPS THE BABE RUTH AUTOGRAPH and comes tumbling down after the ball. BENNY (CONT'D) Oh noooooo! EXT. THE BADLANDS - DAY Benny HITS the dirt with a gut twisting THUD! Dust everywhere. EXT. THE SANDLOT - DAY The gang climbs the fence. They look down into EXT. THE BADLANDS - DAY where, when the dust clears, they see BENNY holding the Babe Ruth Autograph up high like a trophy. BENNY I GOT IT! THE GANG hops down and races over. Suddenly, from the FENCETOP His shirt snagged: SCOTTY Help him! I'm stuck! I'm stuck! Help him! THE BEAST is hanging from the fence. His chain has caught. He struggles - choking to death - right below Scotty. THE GANG petrifies where they stand. 105 SCOTTY tears his shirt loose. Scrambles to where The Beast hangs. Tries to lift the tow chain free - too heavy! He'll die in seconds. SCOTTY Pick him up! Scoot him up so I can let him off! (DESPERATE) COME ON! NOBODY moves. They wanna but they can't! SCOTTY goes for broke. He reaches out and puts his hand on The Beast's head. SCOTTY (CONT'D) (CONTACT) Easy. Easy, boy. THE BEAST whimpers. Scotty balances atop the fence. Grabs the tow chain. Lifts with all his might... his fingers bleed. The Beast goes limp. An inch. That did it! The beast falls. SCOTTY goes with him - 8 feet to the dirt. The FENCE COMES DOWN - breaking the barrier to the sandlot. He lands on the ground NOSE TO NOSE with The Beast. SCOTTY leaps to his feet. THE BEAST rises with him. SCOTTY freezes solid. 106 THE GANG watches in horror. THE BEAST scans them instinctively - He might kill them all where they stand. SCOTTY'S about to load up his fruit o' da looms. THE BEAST sticks his mammoth head right in Scotty's face. SNIFFS. That's it! The kid is lunch! His jowls part - hot BEAST-BREATH BLOWS Scotty's hair back. SCOTTY closes his eyes. THE GANG SLAP their hands to their eyesockets. THE BEAST leans closer. Mouth opens. Cold-leather nose presses against Scotty's forehead. Then... He licks Scotty's face. SCOTTY wipes away the Beast slob. He doesn't even have to kneel down to read the name on The Beast's "doggy tag." It says... ...Hercules. This time Scotty gives Benny "Thumbs Up." UNDER THE LEAN-TO Hercules digs, then stands away. THE GANG steps closer. Look into the hole. Their faces light up with wonder. In THE HOLE Are 150 baseballs. 107 THE GANG'S BLOWN AWAY BENNY We can play forever now. SCOTTY takes The Beast by the collar. He and Benny go to MR. MERTLE'S BACK DOOR Scotty KNOCKS. MR. MERTLE answers the door. An old man with dark glasses. He comes out on the porch. MR. MERTLE Hello?... SCOTTY Um, we brought your dog home. MR. MERTLE Hercules? How'd he get out? SCOTTY Well, sir... um, we kind of, well, what happened was - BENNY - we hit a baseball into your yard. Then we tried to get it and - MR. MERTLE - why didn't you just come to the door... I'd have gotten it for you. Squints, Yeah-Yeah, Ham, DeNunez, Repeat, Timmy and Bertram faint. MR. MERTLE (CONT'D) Well, thanks for bringin' him back. (BEAT) Why don't you boys come in... we can talk about baseball. INT. MR. MERTLE'S HOUSE - DAY Fairly spartan, except for one room, where it seems that Mr. Mertle spends most of his time. He leads Benny and Scotty INTO THE BASEBALL ROOM Mr. Mertle sits at a table. Benny and Scotty stare at the tabletop. 108 It holds a scale model Baseball Diamond: green felt field and little bases, outfield wall and miniature player figures. A picture on the wall of Mr. Mertle and Babe Ruth. SCOTTY You knew Babe Ruth? MR. MERTLE Yeah. And he knew me too. (BEAT) They never let us play together, but we were friends. Good friends. He was almost as great a hitter as I was. But, he'd of told you he was better. The picture is signed: "To Thelonius Johnson Mertle, the second greatest slugger I ever saw... Babe Ruth." A baseball game on the RADIO. As each play is CALLED, Mr. Mertle's hands deftly put his tiny players in the correct positions. Mr. Mertle is blind. MR. MERTLE (CONT'D) (HOLDING BALL) This the one that went over my fence? BENNY Yeah. Mr. Mertle brushes his fingers over the leather. MR. MERTLE This is an old ball, boys. Really old. (BEAT) Hercules gave it a good chewing, didn't he? SCOTTY (WEAK) Yes, sir. MR. MERTLE You sound upset, son - what's wrong? SCOTTY Well, you see... that ball belongs to my stepdad... and, uh - it was signed by Babe Ruth. Mr. Mertle shakes his head... hands the ball to Scotty. 109 MR. MERTLE Hmm. Well, I'm sure your dad will understand. SCOTTY I don't think so. On the RADIO, Wills steals second. MR. MERTLE (TO BENNY) Son, move Maury Wills to second base for me, will ya? Benny moves the little figure to second base. MR. MERTLE (CONT'D) If he steals third that'll be number 100. (TO SCOTTY) Helluva pickle you're in, boy. SCOTTY Yes, sir... Mr. Mertle retrieves something from a glass case. A baseball. MR. MERTLE I'll make you a deal. If you boys come over once a week and talk baseball with me, I'll trade you balls. BENNY Well, that's really nice of you... but this ball really is signed by The Babe. MR. MERTLE (CHUCKLES) This one really is too... and all the rest of the '27 Yankees. He hands his baseball to Scotty... Benny stares at it in disbelief. BENNY Oh my God - Murderers' Row. As they ogle the ball: BENNY (CONT'D) (AWED) Lou Gehrig... 110 SCOTTY Babe Ruth. MR. MERTLE (SMILING) They're all there. Scotty hands Mr. Mertle the chewed up Babe Ruth ball. Shakes his hand. SCOTTY Deal. On the RADIO, Maury Wills steals 3rd for his 100th stolen base. Scotty notices the wall clock: EXT. SCOTTY'S HOUSE - DAY Mom's car is in the driveway. Scotty goes up the walkway slowly. Benny just behind him. The gang lingers at the sidewalk. Scotty sets one foot on the PORCH and Bill comes out. He looks none-too-pleased. He towers over Scotty. The gang hangs their heads. BILL This better be good. Benny unpockets a little felt bag. Hands it to Scotty. He holds the bag up to a perplexed Bill, who opens it. He looks from Scotty to Benny and back again. Then... ...stares down at the "Murderers' Row" ball. CUT TO: EXT. SCOTTY'S HOUSE - BACKYARD - DAY A BASEBALL sailing through the air. SMACK! it's caught in a brand new glove. Scotty's new glove. Scotty snap throws the ball back to Bill. He and Scotty are having a great game of catch. NARRATOR It was weird that Benny said Babe Ruth was like the Hercules of baseball, and then The Beast's name turned out to be Hercules. (BEAT) It was also strange that Mr. Mertle had a Murderers' Row ball to replace the one signed by The Babe. 111 Bill and Scotty smile as they fire the cowhide back and forth. NARRATOR (CONT'D) Some people might say that it was all a coincidence... but looking back at it now, it seems like everything was connected, just like me and Benny. (BEAT) It was like we were a part of the same myth as The Babe... the Myth of Baseball. Scotty's mom sticks her head out the back door. She smiles, watching her "two boys" toss the ball around. MOM Guys, supper's ready. DAD (FORMERLY BILL) Give us another ten minutes. I'm helpin' my boy break in his new glove. INT. MR. MERTLE'S BASEBALL ROOM - DAY Mr. Mertle sits contentedly behind his little "diamond." The RADIO ANNOUNCER calls Maury Wills' 104th steal of 1962. MR. MERTLE'S DIAMOND HIS HAND moves a wooden figure from 1st to 2nd. This tactile "playing field" becomes... EXT. THE SANDLOT - DAY ...this one, where the guys are playing ball. There's a new addition to their team. A mascot. A big mascot. HERCULES in a t-shirt and cap. THE GUYS all play as if, somehow, this may be the last time they ever get to be a team. As they play, they're "sponged" from the PICTURE in this order: Yeah-Yeah, Repeat and Timmy, Ham, DeNunez, Bertram, Squints, Hercules, Scotty, Benny. NARRATOR That was the last summer that we all got to play together. (MORE) 112 NARRATOR (CONT'D) But it would stay with us forever. (as they all dissolve:) Yeah-Yeah's parents shipped him off to military school. Timmy and Tommy grew up to build skyscrapers. Ham went to college and became a pediatrician. DeNunez played triple A ball and never got to the majors. Bertram got really into the sixities and no one ever saw him again. Squints grew up and married Wendy Peffercorn; they bought the Five & Dime and they still own it to this day. Hercules lived to be 199 years old... in human years. Everyone but Benny has vanished from the Sandlot. NARRATOR (CONT'D) After Benny pickled the Beast, his reputation spread all over town. From then on he was known as Benny "The Juet" Rodriguez. BENNY'S P.F. FLYER comes down on home plate and vanishes, leaving THE SANDLOT empty. NARRATOR (CONT'D) The nickname stuck with him the rest of his life. EXT. CHAVEZ RAVINE - PRESENT - DAY Dodger stadium. A ROAR goes up inside the ballpark. ANNOUNCER (V.O.) (FAMILIAR) That's a triple, and that'll put the winning run on third, with two out in the bottom of the ninth. What a shot! EXT. DODGER STADIUM - INFIELD - DAY From the dugout, TOMMY LASORDA calls for a pinch runner. A PLAYER comes out of the dugout, stripping off his warm-up jacket. 113 ANNOUNCER (V.O.) Lasorda's sending in a pinch runner - and it'll be... (DRAMATIC PAUSE) I don't believe it! Lasorda's calling up the "Old Man" to pinch-run in the biggest clutch situation this season! They say the veteran's lost a step or two. But if I were you, I'd get ready for some fireworks. THE CROWD is on its feet as 40-year-old BENNY "THE JET" RODRIGUEZ takes over third base from the PLAYER already there. They shake hands on the exchange. The 3rd base COACH walks over to The Jet. Pats him on the back. COACH (GRINNING) Give 'em hell, Jet. THE JET I'll do my best, Maury. The Coach moves into the coaching box... turning his back to us. Emblazoned across his jersey, is the name W I L L S. THE PITCHER takes the signal. THE JET leads off 3rd base - ten steps! The Pitcher fires to 3rd. The Jet hand tags. THE PITCHER settles. THE JET leads off. Eleven steps. THE PITCHER fires to 3rd again. The Jet gets back. THE JET leads off again. Twelve steps. The pitch - strike. The CATCHER tosses it back. Just then... 114 ...The Jet moves. So fast that no one knows he's gone till it's too damn late. The Pitcher awkwardly throws home. The Catcher wipes the baseline. Too late... ...the dust clears. The UMPIRE eagle-wings the air. UMPIRE SAFE! SAFE! SAFE! The tag missed by two feet. It's all over. The Crowd jumps to its feet. The Dodger dugout is all over The Jet. ANNOUNCER (V.O.) The Dodgers win the pennant! The Dodgers win the pennant! The Jet breaks through his adoring teammates just long enough to give "Thumbs Up" to... ANNOUNCER (V.O.) (CONT'D) I don't believe it, the Old Man stole home! The Old Man - INT. ANNOUNCER'S BOX - DAY ...39-year-old SCOTT SMALLS - The Announcer - who returns "Thumbs Up." SCOTT (after a pause) The Jet stole home! The Jet stole home!! EXT. DODGER STADIUM - INFIELD - DAY The Jet signs autographs for swarming KIDS. As the CROWD'S CHEERING CONTINUES and ECHOES into the past, we CUT TO: A FADED KODACHROME PHOTO of the 9 best (11-year-old) buddies that ever lived. On a makeshit baseball diamond - a sandlot... circa 1962. They're all holding something forward - displaying - one palm up, hand beneath another - together like the nine musketeers: A baseball. A baseball with a familiar smudge. END TITLES. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Saving Mr. Banks.txt b/unformated_scripts/Script_Saving Mr. Banks.txt new file mode 100644 index 0000000000000000000000000000000000000000..55f051cdc88078c44cd7375ff1356554dfdbbe37 --- /dev/null +++ b/unformated_scripts/Script_Saving Mr. Banks.txt @@ -0,0 +1 @@ + SAVING MR. BANKS Written by Kelly Marcel & Sue Smith EXT. MARYBOROUGH PARK - AUSTRALIA - DAY (1906) OVER BLACK: MUSIC - string violins treat us to a familiar song opening and then a voice - male. TRAVERS (V.O.) (SINGING) Winds in the East Mist coming in-- FADE IN: A whoosh of wind spins us around in a blue sky, spinning, spinning until we slow to a stop and find ourselves amongst white fluffy clouds. A shadow (oddly shaped like an umbrella) dances amongst the nimbus. TRAVERS (V.O.) --Like something is brewing, about to begin-- The shadow's direction becomes purposeful - taking us down through the clouds, whipping us on the wind towards a small town in the distance. TRAVERS (V.O.) --Can't put me finger on what lies IN STORE-- Downwards and downwards until it skittishly circles a large, bustling park and then swoops us into the lavish gardens. There, a ten-year-old girl plays in the lush grass; she puts the finishing touches to a miniature version of the large park she sits in - benches made from twigs, trees from flowers, picnic cups from acorns - and gives a satisfied nod. She wraps her arms tightly around her chest, lifts her face to the sky, a half-smile threatening to break across her concentrated face. This is the young P.L. TRAVERS (whom we will also know as GINTY.) TRAVERS (V.O.) --But I feel what's to happen, all HAPPENED BEFORE-- Her little brow is furrowed with imagination and then, all of a sudden, the smile breaks free as something in her mind becomes real. INT. SHAWFIELD ST - PAMELA'S OFFICE - LONDON - MORNING (1961) P.L. TRAVERS sits in her rocking chair (in the same position as above) arms clasped tightly around her body, face to the sky. Older, beautiful; striking blue eyes aid her air of stiff and steely determination. Her office is a canvas of a life well travelled. Buddha smiles from every corner, framed poetry and letters adorn the walls alongside pictures of Pamela throughout the years with men we will not come to know and everywhere, china hens sit on shelves, their wings clasped to their chests, brooding. Despite the multitude of objects, the room is peaceful, white. Downstairs the doorbell rings. Pamela closes her eyes, breathes. It rings again, Pamela shakes her head, tuts. She stands up, smooths down her skirt with flat palms. Breathes. INT. SHAWFIELD ST - DOWNSTAIRS HALLWAY - MORNING Pamela opens the front door and squints as a flood of sunlight and cherry blossom petals float over the threshold. DIARMUID RUSSELL (45) - bright, youthful - waits to be asked inside. Pamela is not pleased to see him. DIARMUID Mrs Travers. INT. PAMELA'S LIVING ROOM - MORNING Pamela and Diarmuid sit in silence. Diarmuid looks at her, she looks out of the window. DIARMUID PAMELA You're ready to--? Like pink clouds on sticks. DIARMUID Excuse me? PAMELA The cherry blossoms (BEAT) I was trying to think of what they-- Diarmuid looks at his watch. DIARMUID The car should be here, may I use-- (THE PHONE) PAMELA (OVER) I cancelled it. DIARMUID You--? (PANICKED) What? Pamela! PAMELA Mrs Travers. DIARMUID Mrs Travers, please, why-- (sugaring his tone) Why would you cancel the car? PAMELA I shan't be going. Diarmuid buries his face in his hands. DIARMUID We've been through this-- PAMELA I've changed my mind. DIARMUID You can't. PAMELA With all due respect Mr Russell I am on very good terms with my own faculty and exceedingly confident in its decision making capabilities. Diarmuid's shoulders visibly sag, he lets out a long frustrated breath. DIARMUID You made an agreement. Do you understand? A verbal agreement. PAMELA Why in the world are you speaking to me as if I am a neonate? DIARMUID HE'LL-- PAMELA He'll what? Sue? He is most welcome to every penny I don't have. DIARMUID LOOK-- (HE SIGHS) --I've represented you for a long time. I like to think of you as a FRIEND-- Pamela snorts. DIARMUID (CONT'D) I like to think of it, believe me I know it's not reciprocated. (BEAT) I would never suggest you do something that would cause you anguish but there's no more money Pamela-- Mrs Travers. Simply no more. Sales have dried up, no more royalties. You refuse to write further books so-- (BEAT) Do you understand? I'm frightened that you don't understand what that means. Pamela looks out of the window, the cherry blossom her focus. PAMELA I know what he's going to do to her- - she'll be cavorting and twinkling! Careening towards a happy ending like a kamikaze-- DIARMUID --We've been trying to do this deal for twenty years! He's agreed to both your stipulations. No animation, script approval-- I-- PAMELA Use her to pay my bills? If I believed in a hell I'd be sitting in its waiting room-- DIARMUID (OVER) --script approval! He's never granted anything like that before! I don't know what else to-- He looks around. DIARMUID (CONT'D) Where is Polly? PAMELA I fired her. Diarmuid shakes his head, sighs. PAMELA (CONT'D) It's just as well. It seems I can't afford her anymore anyway! Pamela looks to the ceiling, breathes. PAMELA (CONT'D) (MOMENTARILY SOFT) You don't know how much she means to me. DIARMUID Polly? PAMELA Of course not Polly! Pamela huffs, digs her heel into the rug. PAMELA (CONT'D) (it's a filthy word) Los Angeles. DIARMUID You have only to go there and work for two weeks. Collaborate. That's it. You haven't signed the rights over, yet. PAMELA Yet! DIARMUID You must make it work Mrs Travers-- PAMELA Oh I must, must I? DIARMUID You need the money. I don't want you to see you-- (broke). PAMELA (OVER) Stop saying money! It's a filthy, disgusting word! DIARMUID I am picking up the telephone Mrs TRAVERS-- Diarmuid gets up. PAMELA I have final say? DIARMUID You do. PAMELA (TO HERSELF) I have final say. (TO DIARMUID) (MORE) PAMELA (CONT'D) And if I don't like what they are doing to her? DIARMUID You don't sign the papers. He cannot make the film unless you grant the rights. (BEAT) It's an exploratory trip-- Pamela looks at the cherry blossom again, a piece floats away from the tree and sticks to her living room window. DIARMUID (CONT'D) What do you say? PAMELA (TO HERSELF) I want to keep my house. EXT. MARYBOROUGH PARK - DAY A large hand taps Ginty on the shoulder, she looks up and smiles. TRAVERS GOFF (35) is handsome and rugged, a wild poetic look, like Ted Hughes or Dylan Thomas. TRAVERS Excuse me ma'am, have you seen my daughter? I was quite sure I had left her around here somewhere! Ginty giggles. TRAVERS (CONT'D) Her name is Helen, no, Shirley, erm- - goodness! I've quite forgotten! Could it be Prunella? GINTY No! TRAVERS Pamela? GINTY No. TRAVERS You're right still doesn't sound quite-- I'm sure I have a special name for her-- GINTY Ginty! TRAVERS Why, thank you ma'am! Ginty it is of course! (BEAT) Now, have you seen her? GINTY It's me! Travers puts his nose right up to hers, peering into her face. TRAVERS Gosh! So it is! Well, thank goodness for that! I was positive I was going to be beheaded for losing Her Highness The Royal Princess Ginty Mc Featherfluffy! GINTY You can't lose me! TRAVERS Never. I promise. I will never lose you! He swings her up onto his shoulders and gallops off through the park, neighing like a horse. TRAVERS (CONT'D) Hurry now! We mustn't be late! The adventure is about to begin! INT. PLANE - DAY Pamela is hot and bothered trying to wrestle a bulging carpet bag into an overhead locker. FLIGHT ATTENDANT Can I help you? PAMELA I'm perfectly capable thank you. The flight attendant tries to help anyway. PAMELA (CONT'D) They've used all the space; so greedy. She glares at the people around her. FLIGHT ATTENDANT I'll take it Madam. I can put it up here - PAMELA I don't want it up there. I want it here, in the corresponding holding area for my assigned seat! FLIGHT ATTENDANT The flight's closing in just a few moments Ma'am. I'll have to take it. Pamela narrows her eyes at the attendant as if to say `I dare you.' A woman, with an infant, stands up. WOMAN (TO ATTENDANT) You can put my bag up front instead. The flight attendant smiles thankfully and replaces the woman's bag with Pamela's. PAMELA (TO WOMAN) Will the child be a nuisance? It's an eleven hour flight. WOMAN (TAKEN ABACK) Er-- no, I-- PAMELA Jolly good. Pamela gives her a watery smile and takes the seat next to the window, she looks out at the tarmac. She closes her eyes, takes a deep breath, opens her eyes again and tucks her feet tidily together. She folds her hands neatly into her lap and looks straight ahead. PAMELA (CONT'D) (TO HERSELF) I hope we crash. The passenger across the aisle hears her, horrified! EXT. GOFF RESIDENCE - MARYBOROUGH - DAY (1906) BIDDY (3) and MARGARET - the girls mother, delicate, weak - stand outside of their lavish red-bricked home. Suitcases bulge at their feet. Margaret breathes a sigh of relief as she sees Travers hurrying towards them, he swings Ginty from his shoulders and plops her on the ground. MARGARET The carriage? TRAVERS Who needs a carriage my love? A stroll is a gift! (beat, excited) Everybody ready? GINTY & BIDDY Yes. Yep! Margaret takes her youngest child MOYA (1) from the nanny. TRAVERS Come along my team! We mustn't miss the train. MARGARET (to her staff) Thank you so much. For everything. GINTY (TO NANNY) See you soon Katie Nanna! She picks up her own case; Katie Nanna turns away, heartbroken. TRAVERS Walking bus! The family get into line, one behind the other, Travers in the lead. TRAVERS (CONT'D) Don't forget Andrew! Ginty takes Andrew's leash, her own case and somehow helps her sister too. TRAVERS (CONT'D) Ready? And off we go! Passersby tut and shake their heads at the noisy display as Travers and the girls march down the street. TRAVERS (CONT'D) Left, right, left, right! Coming through! Margaret stays for a beat, longingly taking in and storing a picture of the home she leaves behind. EXT. DOWNTOWN MARYBOROUGH - DAY The procession continues into the bustling downtown. EXT. TRAIN STATION - DAY It's hectic as tickets are purchased and a CLERK marks a chalkboard with destinations and mileage. Ginty stops, looks at the list. The last city is-- GINTY ALLORA-- EXT. COUNTRYSIDE - DAY The Great Western Queensland train chugs its way Westward from the verdant green of Maryborough toward the brown cake of Allora. EXT. ANGLE ON MARYBOROUGH - DAY As it disappears. Ginty stands on the last train platform, watching her home, her past, fade into the distance. Ginty's face speaks resignation as it, and the train, recede as billowing white smoke and dust fill the frame. INT. PLANE - DAY Pamela jolts in her seat, her eyes flit open. She's disturbed by her dreams, she flicks her hand in front of her face as if somehow batting the memories away. She sighs loudly and digs her heel into the carpet of the plane. INT. LAX - ARRIVALS - DAY A bleary eyed Pamela carries her two bags into the arrivals area. She's immediately hit by dazzling sunlight and a sea of signs bearing the names of various passengers and companies: she scans Paramount, Warner Brothers, MGM, finally falling upon her own name - P.L. Travers - underneath "Walt Disney Presents". PAMELA Oh does he indeed? She approaches the uniformed driver (RALPH - Mickey Mouse on his lapel) who bursts into a beaming smile. RALPH Travers? P.L. Travers? PAMELA Mrs. RALPH Welcome, Mrs P.L. Travers! Welcome to the City of Angels. Pamela sneers. He grabs her bags. RALPH (CONT'D) Let me take those. PAMELA I'm perfectly capable of-- Oh, nevermind. Ralph ushers Pamela through the doors-- EXT. LAX - DAY --and into the sunlight. RALPH Sun came out to say hello just to you. PAMELA Don't be preposterous. Pamela sniffs the air. PAMELA (CONT'D) It smells. Like-- RALPH Jasmine. PAMELA --chlorine and sweat. Ralph chuckles. PAMELA (CONT'D) It's dreadful. EXT. LIMOSINE - DAY The shiny black, tinted windowed limo cruises up La Cienega Blvd, passing all kinds of monstrous architecture and garish billboard advertising. INT. LIMOSINE - DAY Pamela is diminutive on the back seat of the sprawling car. She eyes the champagne on ice, the flutes clinking in the in- car bar. PAMELA (TO HERSELF) Absurd. Ralph looks at her in the rearview. RALPH You okay back there Mrs P.L. Travers? PAMELA It's not Mrs P.L. It's just Mrs-- Oh, it's so hot. RALPH No problemo! We got a brand new air conditioning system, Missus; cool you right down in no time. Just about make you feel like you're in good old Engerland again! Things they can put in cars these days-- (he shakes his head in AMAZEMENT) Gosh almighty. Pamela presses her fingers to her temples. She looks around, finds a button, pushes it and the screen rises between passenger and driver miraculously relieving her of Ralph's natter. RALPH (CONT'D) (happy as a clam) No problemo. EXT. BEVERLY HILLS HOTEL - DAY With its pink facade and flag flying turrets the hotel resembles a candy castle simmering under a midday sun. The limo glides into the forecourt. INT. SUITE - BEVERLY HILLS HOTEL - DAY A porter opens the door to Pamela's suite and places her belongings on a luggage stand in the hallway. PORTER Would you like me to unpack for you ma'am? PAMELA Unpack? PORTER To take your items from their cases and hang them in the wardrobe ma'am. PAMELA Young man, if it is your wish to handle ladies garments I suggest you take employment in a launderette. The porter has no idea what to say, he hovers at the door. PAMELA (CONT'D) Yes? His eyes flick to his empty palm and back to Pamela. She closes the door on him. PAMELA (CONT'D) Odd. She turns and for the first time takes in-- PAMELA (CONT'D) Oh my. --The LUDICROUS suite she has been assigned; it is opulent beyond imagine but it's classy decor has been rather diminished by the array of Disney gifts splattered across every surface of the room. PAMELA (CONT'D) Oh no, no, no. Disney Flowers, Disney champagne, Disney exotic fruit baskets, Disney chocolates, Disney posters, cuddly Donald, Pluto and Minnie toys and - taking up the entire bed - the BIGGEST stuffed Mickey Mouse imaginable. Imagine it. Nope. BIGGER! Pamela cannot contain her horror. She stares at it in disgust for a moment, and then her eyes fall upon three pears in the fruit basket. She stops still for a second before rushing over and picking them out. She turns them over in her hands before an enormous wave of panic washes over her. PAMELA (CONT'D) (muttering to the pears) This won't do. She throws open the balcony doors for fresh air and is greeted with dry arid heat, dust, dazzling sunlight-- EXT. GOFF HOUSE - ALLORA - DAY --Arid heat, dazzling sunlight. Travers, Margaret and the children climb stand in a line at the top of a pathway. From their perspective all there is to see is a cloud of swirling red dust; it obscures and then gradually reveals her new home. The surrounding land yellow and burnt - unlike the lush greens of Maryborough. The house is ramshackle and meagre. A swayback white nag wanders near a solitary tree and a few skinny chickens strut about the porch. TRAVERS A palace! Complete with mighty steed. GINTY And chickens. MARGARET OH-- Travers puts an arm around her shoulder. TRAVERS We'll build beautiful memories here my angel. Margaret offers him a trusting smile. MARGARET Yes. Travers takes Ginty and Biddy's hands and they run towards their new home. The chickens scatter. TRAVERS (in the distance) --in this house you get to share a bedroom! Margaret looks at the surrounding area, there's simply nothing but barren land and red dust for miles. EXT. BEVERLY HILLS HOTEL - POOL - DAY UNDERWATER SPLOSH! A green bomb disturbs the tranquil surface and then another SPLOSH! We rise through the water to see Pamela on her balcony throwing the pears, one by one, into the swimmer-free swimming pool. INT. BEVERLY HILLS HOTEL - SUITE - CONTINUOUS PAMELA Good riddance. She breathes a sigh of relief and closes the balcony doors. PAMELA (CONT'D) (TO HERSELF) Well, first things first. She gathers up the Disney paraphernalia and shoves it all in a closet. She picks up her bags and goes through to the bedroom where the BIGGEST stuffed Mickey Mouse imaginable takes up the entire bed. Imagine it. Nope. BIGGER! PAMELA (CONT'D) Good Lord. Pamela drops her bags, grabs Mickey and places him on the floor, facing the wall. PAMELA (CONT'D) (TO MICKEY) And you can stay there until you learn the art of subtlety. Pamela opens her carpetbag and begins to unpack. She takes from it a bottle of pills, which she places on her night stand, followed by another bottle and another and another. The potions keep coming, as do creams and books and make-up, the bag is endless. Things, things and more things come streaming out of it and once the night stand is full she uses windowsills and any other available surface for her miniature Buddhas. Finally she takes out an impossibly large framed picture of herself. She holds it up, admires it, takes down an existing painting and replaces it with her own image. PAMELA (CONT'D) There. Pamela is restless, she looks around the room, stands in front of a full length mirror, admiring herself. She turns her face slightly to catch it at its best angle. She leans forward and explores the contours of her face, surprisingly unlined for a woman of her years. She smiles, full of vanity. PAMELA (CONT'D) (SATISFIED) Yes. (answering an imaginary QUESTION) Well, no, I don't suppose I do mind. She laughs, but Pamela finds joy difficult so it comes out as an ugly snort. PAMELA (CONT'D) Now, really! Flatterer! (then scolding herself) Silly girl. She turns her attention away from the mirror and picks up a remote control staring at it with bemusement. She points it at the television hitting random buttons until suddenly the TV bursts into life. PAMELA (CONT'D) Oh! She clicks again, the TV goes off, again and it's on. A housewife advertises dish soap with glee, as if dish soap is the greatest thing ever invented. PAMELA (CONT'D) Soap for the brains. She changes the channel and stares blankly at a man on a black and white screen. It takes a moment before she realizes that staring back at her is the charming, moustached, kindly face of WALTER ELIAS DISNEY (58) on The Wonderful World of Disney Show. Pamela raises an eyebrow-- PAMELA (CONT'D) Well, well-- There you are. CU: TV SCREEN Walt is ringing a little bell but no sound comes out. WALT Don't worry! There's nothing wrong with your television set. This is a pixie bell, the sound is much too high for human ears. Tinkerbell flies into shot. WALT (CONT'D) Oh there you are Tink! She covers Walt in fairy dust. WALT (CONT'D) (LAUGHING) Hey! Get that stuff off of me! (TO AUDIENCE) You know, a little sprinkling of fairy dust can make you fly! Pamela can't help but be drawn in for a tiny moment and then just as quickly, narrows her mistrusting eyes at Walt and switches him off. PAMELA Off! That's how we deal with you. EXT. SUITE - BEVERLY HILLS HOTEL A tray of untouched dinner sits outside the door. INT. SUITE - BEVERLY HILLS HOTEL - NIGHT Pamela lies in bed awake, staring at the ceiling, she shakes her head - trying to free it of whatever is trapped in there. The moonlight casts a shadow of Mickey on the wall beside her bed. EXT. BEVERLY HILLS HOTEL - MORNING Pamela waits under the hotel awning, dressed immaculately, not a hair out of place. The limo pulls up to the curb and Pamela groans as she sees Ralph jovially jump out of the car and rush round to open the passenger door. RALPH Good morning Mrs! PAMELA It's not Mrs, it's-- Oh, why do I bother? We're just not going to get it right are we? RALPH Hm? PAMELA Will it be the same driver every day? RALPH (oblivious to her tone) Yes ma'am! I'm all yours. (BEAT) Sun came out again! PAMELA You say it like you're surprised. Like the sun is particular about whom it appears for. It seems you think that I am responsible for it's miraculous dawning every day. For goodness sake, it's California! RALPH It certainly is! He gestures for her to get in. RALPH (CONT'D) (trying a British accent) Madame. Pamela grimaces. INT. LIMOSINE - CONTINUOUS Pamela tucks her legs in and folds her hands into her lap. Ralph climbs into the driver's seat. PAMELA (as much to herself as RALPH) I would so much rather be accountable for the rain. RALPH Oh, that's sad. PAMELA Sad is entirely the wrong emotion. I shan't bother explaining why; IT'LL SIMPLY (she makes gesture for flying over his head) Zip! RALPH Okey dokey. PAMELA The rain brings life! RALPH So does the sun. PAMELA Be quiet! RALPH Yes ma'am. Ralph starts the engine and drives away. EXT. DISNEY STUDIOS - BURBANK - DAY THREE MEN in suits wave at the limo as it drives through the enormous gates of Disney's Burbank Studio and pulls up in a very twee forecourt. They are: DON DAGRADI (45) and the SHERMAN BROTHERS, ROBERT (34), he leans on an old worn cane and RICHARD (31), who has a bright, sunny, almost cartoon-ish face. Don opens the car door for Pamela and puts out a hand to help her from the vehicle but she pushes it away. DON Pamela! Good morning! PAMELA It is so discomfiting to hear a perfect stranger use my first name. Mrs Travers. Please. The Sherman's look at each other. Uh oh. DON I do apologize, Mrs Travers. (BEAT) I am Don DaGradi, the script writer. PAMELA Co-script-writer. I shall certainly be having my say Mr. DiGraydi. DON Gradi. Wonderful! I welcome it. PAMELA If indeed we ever sign off on a script. Bob and Dick flash each other a look. What the fu ? DON Uh. Okay, so this is the rest of your team, Dick and Bob Sherman! Music and lyrics. (TO SHERMANS) Boys, this is the one and only Mrs P.L. Travers, creator of our beloved Mary. PAMELA Poppins. DON Who else? PAMELA Mary Poppins. Never ever just Mary. (to Dick and Bob) A pleasure to meet you, though I fear we shan't be acquainted for too long. BOB Excuse me? PAMELA These books simply do not lend themselves to chirping and prancing. No. Certainly not a musical. Now, where is Mister Disney? I'd very much like to get this started and finished as briskly as is humanly possible. BOB Don? DICK PAMELA Not a music--? If you'll point me in his direction? DON Uh-- erm. Ha! We had planned a little tour of the studio for you MRS TRAVERS-- PAMELA No thank you. DON --Wanted to show the place off. PAMELA No one likes a show off. Pamela takes herself off in the direction of a building. DON Mrs Trav-- it's a long way to-- Don hurries behind her, Bob looks like he is about to murder the woman and Dick is finding the whole thing incredibly amusing. EXT. DISNEY STUDIOS - BURBANK - DAY The Shermans, Don and Pamela are riding through the studios on a golf buggy. PAMELA I am perfectly capable of walking. A couple of Disney characters (Donald and Goofy) bounce up to the golf cart, waving brightly. Goofy opens his arms to Pamela for a hug and she recoils in horror. PAMELA (CONT'D) Shoo! Go away! The characters stop bouncing and Di Gradi gives them a nod meaning `beat it'. PAMELA (CONT'D) Ghastly. Bob and Dick Sherman are in shock. INT. DISNEY - EXTERIOR OFFICE - DAY Don leads Pamela into the plushly appointed outer office, where DOLLY - a young, perky secretary - smiles brightly at her. DON (TO DOLLY) Could you let-- PAMELA (over, to Dolly) Would you let Mister Disney know I have arrived please? Dolly loses her smile at the terse tone, nods curtly and picks up the phone. DOLLY (whispering into phone) She's here! DON A word of advice Mrs Travers, if I may. PAMELA You may. Whether I heed it or not will be another matter entirely. DON Wow. Uhm. It's just that he can't stand being called Mr Disney. We are all on a first name basis here. (TO DOLLY) Dolly! Is he--? We hear a man's cough before a beaming Walt Disney, in the flesh, appears at the end of the corridor, his arms outstretched. WALT Well, there ya are at last! Pamela gets up, smooths down her skirt, and makes her way serenely towards the man, who rushes down the corridor to greet her. WALT (CONT'D) Oh my dear gal! Pamela is open mouthed. WALT (CONT'D) You can't imagine how excited I am to finally meet you! Pamela doesn't know what to do with this amount of enthusiasm. She extends a formal hand before he manages to get her in an embrace. PAMELA Oh! He squeezes her tight and then lets go. Pamela struggles to compose herself, she hasn't been that close to a man in decades! PAMELA (CONT'D) Hum-- ah. It's an honour, Mister Disney. Disney winces. WALT Walt, you gotta call me Walt, ya know. `Mister Disney' was my old man. There's a hint of something mournful in the way he says `old man.' WALT (CONT'D) Come here! Come here! He links his arm through hers, much to her chagrin, and leads her into his interior office past an imposing floor to ceiling cabinet bursting with Academy Awards. INT. DISNEY - INTERIOR OFFICE - DAY He smiles at TOMMIE - who mans the second desk. WALT Tommie, say hi to the one and only P L Travers! TOMMIE Hi there! It's so nice to-- But Pamela has already been whisked through to Disney's personal office. INT. DISNEY'S OFFICE - DAY Disney's office is tastefully furnished and filled with pictures of his daughters and wife. Framed posters of his films provide splashes of color to the cream walls. WALT Have a seat, sit down. He gestures to a comfy couch in the corner but Pamela takes a seat in front of Walt's desk instead, glancing at the sign above it: We Can Make Them Live. Walt perches on the edge of the desk, close to her, gazing at her. WALT (CONT'D) Ya know, I can't believe it. P.L. Travers, right here, in my office, after all these years-- almost twenty of `em. (shakes his head) Twenty. Long. Years. Pamela narrows her eyes. WALT (CONT'D) Wish ya coulda' seen me then Pam! As lean as a whippet I was! A race horse! Interestingly, she doesn't pull him up on using her first name and shortening it too! WALT (CONT'D) But now, here you are. Look at you! I could eat you up! PAMELA That wouldn't be appropriate. He turns a photo of his daughters - Diane and Sharon - to face Pamela. WALT When Diane here was seven years old I-- can I get you a drink? Coffee? Soda? PAMELA A pot of tea would be most welc-- WALT (OVER) She was seven years old and I was walking past her bedroom and there she was on her bed reading to Sharon, and well, they were just giggling their little socks off! (he picks up the phone, presses a button) Tommie, pot of tea please dear-- You're a doll. (he puts the phone down) She's a doll. Anyways I asked them "Girls, what's so funny?" And Diane said to me, "Mary Poppins daddy!" Well, I had no idea what a Mary Poppins was! And then she gave me your book. And by gosh! He stands up and throws his arms in the air to emphasise his point. WALT (CONT'D) My imagination was caught on fire! And I mean ON FIRE! And those embers have burned ever since-- as you know. PAMELA WALT I do. Twenty years! PAMELA WALT Yes. Twenty. So you keep I've been asking, asking, SAYING-- ASKING-- Pamela stops talking and waits for Disney to calm down. WALT (CONT'D) I got old asking. He sits back down on his desk. PAMELA What a charming story. WALT About my getting old? PAMELA About your daughters. WALT Yeah I suppose it is. (he looks at the picture) They're both women now. Gosh! Can you believe it? PAMELA Children grow up. WALT Now Pam, a man can't break a promise to his kids. No matter how long it takes to keep. No matter how long! You might've kept me dangling all this time but now we gotcha! PAMELA Gotcha indeed! Mister Disney, if you have dangled then it is at the end of a rope you have fashioned for yourself. WALT PAMELA-- PAMELA I was quite clear when you approached me the first time that she wasn't for sale and clear again when you approached me a year later and clear again when you approached me every annum for the subsequent 18 years. Honestly, I feel corralled, ensnared-- WALT Pam, Pam, the last thing I want is to make you feel-- PAMELA My name, if you please, is MRS Travers. WALT You see, I promised them. That's a fact. You got kids? PAMELA NOT-- WALT (OVER) I have never, I swear, never broken a promise to either one of my Disney girls. PAMELA Well, that's very honourable of you BUT-- WALT That's what being a daddy is all about right? PAMELA (DEEP BREATH) Is it? WALT This movie isn't just going to make my kids happy. It's going to make ALL kids happy! You see my guys are gonna do things with it that are, well, are revolutionary. He's up again. WALT (CONT'D) REVOLUTIONARY,Pam! PAMELA OH DEAR-- Pamela rubs her temples as she watches him fly about the room. WALT Mary Poppins will literally fly off the pages of your books! The door opens and Tommie comes in with the tea, Walt gestures for her to bring it to him. WALT (CONT'D) Now imagine! This magical woman who has only lived in your head, you'll be able to meet her, speak to her, hear her sing. Tommie places the tray on Walt's desk and leaves the room. Walt picks up the tea pot. PAMELA Yes, this singing, I am glad you've come to that. (addressing his tea MAKING) Milk first! Walt puts the pot down immediately like a scolded child and picks up the milk jug, he pours. PAMELA (CONT'D) That's right. Now the tea-- He picks up the pot again and pours the tea. PAMELA (CONT'D) And a spoonful of sugar. He stirs. PAMELA (CONT'D) You don't mean for this film to be a musical? WALT (TAKEN ABACK) I absolutely do! He presents her with the cup. PAMELA No. WALT No? PAMELA No. She takes a sip, he waits anxiously to see if his tea is any good. PAMELA (CONT'D) Not bad. No, Mister Disney, Mary Poppins does not sing. WALT Oh yes she does! PAMELA When? WALT In your books! PAMELA Those aren't songs! They're recitations. She is not a giddy woman, she does not jig! Singing is frivolous and wholly unnecessary for a governess, an educatress. No. It would just ruin it. Walt is baffled. He takes a sip of tea, it's disgusting, he spits it back into his cup surreptitiously, then coughs loudly. Pamela's jaw drops. PAMELA (CONT'D) I won't have her turned into one of your silly cartoons. Walt takes a sharp breath on `silly' and then plasters the smile back on. WALT Tell ya what. You just listen to what my Sherman boys have come up with and if they don't knock your socks off then I'm the King of England. Pamela rolls her eyes. PAMELA If you're the King of England then you shan't exist and knowing the little of you I do; I shouldn't think you would like that very much. WALT Bet you would. She smirks, as does he. PAMELA (BEAT) I do quite like Greensleeves. WALT Greensleeves huh? PAMELA Come to think of it. That's a song I wouldn't object to. WALT Greensleeves. PAMELA Yes. He's not sure if she's playing with him. WALT Pam, I want you to know that the last thing I would do, the very last thing, is tarnish a story I have cherished. He moves closer to her, takes her hand, she needs it for her teacup, it's awkward. WALT (CONT'D) (gazing into her eyes) The pages are worn down to tissue, dog eared and falling out. I have poured over them gripped, tormented. Because I love Mary Poppins, you got to share her with me. Pamela is torn between finding Disney captivating and totally barking. WALT (CONT'D) A course nothing happens without your say so. Absolutely Nothing. PAMELA Quite right. She extricates her hand. WALT It's all in the rights agreement. As approved by your agent, Dermot. PAMELA Diarmuid. WALT Darmitt. Disney hands the rights agreement and a pen to her, Pamela takes it without looking and folds it up. PAMELA (waving the agreement) A live action film. No animation. WALT Live action. PAMELA I'd like that on tape. WALT Hm? PAMELA Your promise-- and all the discussions we have here-- on tape. WALT Tape you say. She pops the rights document in her bag. Walt's joviality, his bright demeanour, vanishes in a split second. PAMELA Ah there you are. (BEAT) Mary Poppins and the Banks's, they're family to me. WALT I understand. I do. PAMELA Well then! She stands up and smooths down her skirt. PAMELA (CONT'D) Shall we begin? He holds out his hand for her to shake. WALT Let's make something wonderful. She leaves his hand hanging in mid air. PAMELA Let's see if that's at all possible. Pamela gets up, smooths down her skirt, snorts at a picture of Disney in a silly hat astride a model train and purposefully strides out of the room, a smile across her face that Disney does not see. WALT (PERPLEXED) Woah. (BEAT) Damn. EXT. VERANDAH - DUSK Travers sits, looking out at the dimming sky, playing a mournful air on his tin whistle, Ginty curled up in his lap, Andrew the dog asleep beside him. Margaret steps out onto the veranda an almost imperceptible glance at the half-empty bottle at his feet. MARGARET It's rather late-- Travers continues to play. MARGARET (CONT'D) Biddy and Moya are already asleep. Travers takes the pipe from his lips and sighs. TRAVERS Ginty. He kisses her cheek and gently lifts her from his lap. GINTY Good night father. (BEAT) `night mother. MARGARET Good night dear. Margaret strokes her hand over Ginty's hair as the little girl slips into the house but hovers unseen by the door, watching her parents. Travers pats his knee and Margaret perches on it. TRAVERS I'll make us a good life. (BEAT) I promise. (BEAT) I'll make you proud again. Margaret strokes Travers face and turns her face to the sky. MARGARET Look at the stars. INT. REHEARSAL ROOM - DAY Pamela sits at a large meeting table as Dolly bustles around her placing refreshments. Pamela lays out her pencils one by one, makes sure her notebook is `just so.' A bowl of fruit is set down upon her notebook and she snatches it away, glaring at the table which is now laden with every type of snack and beverage imaginable from bagels to candy, coffee to soda, there are exotic fruits, enormous bouquets of flowers. PAMELA (peering around a vase at DAGRADI) What is all this jollification? DON We have a whole script to get through. It's gonna be a long day Mrs T. She shoots him dead with a killer stare. DON (CONT'D) --ravers. PAMELA We could save a starving country with benefaction from this room alone! Ugh, It's so vulgar. She gets up and moves the giant bouquet of flowers off the table and plops it on top of Dick's piano. Bob moves it from the piano to the floor. BOB (SEETHING) That is a very expensive piano. PAMELA And these are beautiful blooms butchered for our visual and nasal enjoyment when we could have just as easily gone to the window, looked out and gazed upon them happily minding their own business and very much still alive. Bob hasn't a clue what to say. Pamela smoothes down her skirt and re-takes her seat. Everybody waits. Pamela flicks her eyes at the tape recorder which Don duly turns on. PAMELA (CONT'D) Let us begin. She perches her glasses on her nose and raises an eyebrow at the cover of her script - "Walt Disney's Mary Poppins." PAMELA (CONT'D) Hm. A rustling of papers and one or two uneasy glances as the men, too, open their scripts. DON DAGRADI PAMELA (READING) (READING) Scene one. Exterior Cherry Scene one. Ext. Ext? What's Tree Lane. London. Day. Bert-- Ext? Dick and Bob cover their faces with the embarrassment of it all. DON Exterior. It means the scene is taking place outside. PAMELA Ah, I see, an abbreviation. (BEAT) Scene One. Exterior-- (BEAT) Oh, I'm sorry Mr DaGradi, did you feel you should--? DON No, No, Mrs Travers please go ahead. PAMELA Yes, I do think it's best. I've the most practise. Readings of my books you know? Anyway-- (BEAT) Scene one. Exterior. 17 Cherry Tree Lane, London. Day. She nods. PAMELA (CONT'D) Yes. That's good, that can stay. DICK (LAUGHING) That's just the scene heading! PAMELA --Though I do think we should say number 17, instead of just 17, yes? It's proper. BOB & DICK No one's going to see it. PAMELA I will see it. She makes a note in her script and looks to the others who are dumbstruck. PAMELA (CONT'D) Write it down, write it down, chop chop. Don makes the note and is ready to move on but Pamela is staring at Dick and Bob. They dutifully pick up their pencils and note their scripts too. PAMELA (CONT'D) Is that on the tape? Don glances towards the swirling tape recorder and nods. DON Yes. PAMELA Good-- onwards. They are interrupted by DOLLY carrying a new tray of refreshments. DOLLY I'm sorry to interrupt. PAMELA Is this a joke? DOLLY Excuse me? PAMELA Do you think you are a comedienne? DOLLY I'm sorry I don't understand. Dolly gingerly places the tray on the table and hovers, distributing fruit and biscuits within reachable distance. PAMELA Unbelievable. Pamela shakes her head but decides to ignore Dolly and carry on. PAMELA (CONT'D) Scene One. Exterior. Number 17 Cherry Tree Lane. London. Day. (MORE) PAMELA (CONT'D) Bert, a one-man band-- (she looks up) The rumour is that this is to be your Mister Van Dyke is it? DICK We do hope so! PAMELA Hmmm, we'll see about that. He's totally wrong, totally and utterly. BOB Dick is one of the greats! PAMELA Dick Van Dyke? Robert, my dear, Olivier is one of the greats, Burton, Guinness - greats without question. (speaking loudly into the TAPE RECORDER) I can assure you Dick Van Dyke is not. (back to script) Bert, a one-man band plays to a small gathering outside the gates to the park. (BEAT) BERT SAYS-- (she looks to Don) You can do Bert. DON (through gritted teeth) Thank you. (BEING BERT) Alright Ladies and gents, comical poem, suitable for the occasion-- Dick jumps up and sits at the piano. DON (CONT'D) --extemporized and thought up before your very eyes! Alright, here we go-- Dick begins to play and sing, he pounds the keys with gusto, smiling away, acting it out with all his heart and soul, almost unable to contain himself with glee. Bob occasionally joins in for a word or two but is much more serious, eyeing Travers for her every reaction. DICK (SINGING) Room here for everyone gather around, THE CONSTABLE'S BOB/DICK "responstable." DICK Now, how does that sound? PAMELA No no no no no no no. Dolly winces on everyone's behalf and leaves the room. PAMELA (CONT'D) Responstable is not a word. DICK (EXCITED) We made it up! PAMELA Well, un-make it up. Dick quickly hides the next set of sheet music entitled: SUPERCALIFRAGILISTICEXPIALIDOCIOUS. PAMELA (CONT'D) I've a thought! I've always liked Ta Ra Ra Boom De Ay. Now, that would be a wonderful song for the film! Oh! And Admiral Boom could sing it! Do you see? Dick's fingers crunch the piano keys. EXT. SUITE - BEVERLY HILLS HOTEL - EVENING Pamela's door opens a crack and another half-eaten room service meal appears as she kicks it into the hallway. She shuts the door quickly behind her. INT. SUITE - BEVERLY HILLS HOTEL Pamela lies awake staring at the ceiling. PAMELA Irresponstable. EXT. FIELD - NEAR GOFF HOUSE - DAY CLOSE ON: A tiny park, about half a metre square - it has grass, tiny trees made from flowers, a small hole filled with water for a pond, park benches made with twigs and miniature wooden clothes-peg people. Ginty puts the finishing touches to the bandstand and sits back, staring in wonder. The moment is broken with the sound of hooves as her father appears, atop his horse. TRAVERS Ahhh, there's my girl. The horse moves up to her. TRAVERS (CONT'D) That's it Albert. Give Ginty a smooch. There's a good boy, give her a little smooch. The velvety muzzle of the horse "smooches" Ginty's neck and ear as Travers climbs down from the nag. TRAVERS (CONT'D) Poor old Albert; he's your secret uncle you know? But a miserable, horrid witch turned him into a nag. GINTY Why did she do that?! TRAVERS Because she hated the sound of his laugh. GINTY Poor Uncle Albert! How can we fix him? TRAVERS We have to teach the witch how to be happy again. GINTY How? TRAVERS I'm not quite sure darling. (BEAT) Your mother's been calling you for a good hour. I shouldn't go if I were you, she's after little slaves for housework! (RECITING YEATS) Ah, I must scrub and bake and sweep Till stars are beginning to blink AND PEEP; And the young lie long and dream in THEIR BED Of the matching of ribbons for bosom and head. Travers sighs, let's the words ring in his ears, touches the end of daughter's nose. TRAVERS (CONT'D) Do you want to know what it feels like to fly Ginty? She nods. He hauls himself onto Albert, leans down and swings Ginty up so she is facing him. TRAVERS (CONT'D) You trust me? She nods and wraps her arms around him looking backwards over his shoulder. He grips her firmly around the waist and she spreads her arms. TRAVERS (CONT'D) Gee up, Albert. Yah! Travers kicks the horse into a trot, then into a canter, he points a finger in the air as if shooting for the stars. TRAVERS (CONT'D) Yah! Ginty squeals with delight. INT. LIMOSINE - MORNING Pamela looks out of the window at the palm trees, the empty sidewalks. She looks dazed, extremely tired-- PAMELA Nobody walks. RALPH (SADLY) Leisurely stroll's a gift. EXT. LAUREL CANYON - MORNING The limo floats along the windy canyon roads, cresting the top of the hill and revealing an awe inspiring vista. RALPH Beautiful ain't it? PAMELA (refusing him the SATISFACTION) If you like that sort of thing. RALPH I do. EXT. FIELD - ALLORA - DAY Travers and Ginty gallop at great speed. The horse kicking up great clods of earth as they hurtle away into the distance. INT. REHEARSAL ROOM - DAY Don DaGradi and the Shermans are escorting Pamela along a row of storyboard illustrations for the film. Dolly trundles along behind, carrying a tray with a cup of tea on it which Pamela occasionally picks up and takes a sip from. DON We do find it helps to have a visual. It's fun! She stops in front of a sketch of the Banks house. PAMELA No, no, no. Goodness no. DICK No? PAMELA The Banks house doesn't look like that! My house is a terraced house with a pink door, white bricked with a crack in the gable. The window frames are lead-lined and the flower boxes grow pink nasturtiums to go with the pink DOOR AND-- (gesturing to the tape RECORDER) Did we get that? (to herself, slightly HYSTERICAL) Oh dear, it's all a big mistake. It's all wrong. DON It's all wrong? PAMELA It's too grand! The Banks family - they're normal, everyday sort of people. This isn't normal. It isn't everyday! They're not aristocrats! DICK Interesting. Don allows a tiny smile. She is right. Pamela lingers over a picture of the parrot head umbrella, a split second of something like recognition on her face and then she simply moves on. PAMELA (TO HERSELF) Okay. She stops again in front of a sketch of Mrs Banks wearing a suffragette ribbon. PAMELA (CONT'D) (SIGHING) Do I even have to say it? DON Um-- yeah? PAMELA Why in the world have you made Mrs Banks a silly suffragette? BOB I wonder if Emmeline P would agree with that adjective-- PAMELA Quite possibly, looking back. Dick mouths `oh my god!' DON It does seem strange that Mrs Banks allows her children to spend all of their time with the nanny when she has no job to speak of-- PAMELA Are you calling Mrs Banks neglectful? BOB Yep. DON No! Of course not! We just felt that if she had a job it would go some way to explaining-- PAMELA Being a mother is a job. A very difficult job and one that not everybody is up to, that not everybody should have taken on in the first place! The boys see that Pamela is talking about something meaningful to her and they begin to soften for a brief moment, until-- PAMELA (CONT'D) I will NOT have her called Cynthia! Absolutely not. It feels unlucky. Dick makes a curly wurly cuckoo sign at Bob. PAMELA (CONT'D) No it should be something warm, a bit sexy. They all nearly choke at the word `sexy' coming out of her mouth. PAMELA (CONT'D) How about Mavis? DON Sybil? BOB Sure. PAMELA Prudence? DICK Gwendolyn? BOB Great. PAMELA Winifred! DON I could go with Winifred. PAMELA Yes, that's because it's very good. She comes to the next sketch and stops abruptly in front of it, a split second of utter confusion crosses her face. PAMELA (CONT'D) This isn't Mr Banks? She turns to face Don and the boys. PAMELA (CONT'D) This isn't him. DON Ahm, yeah, that's him-- PAMELA He has a set of moustaches! DON In the books he-- PAMELA I told the illustrator I didn't like the facial hair but she chose to ignore me. This is MY film and this time around I shall have MY way. DOLLY (clearing her throat) Mrs Travers, it was a specific request, from Walt. Pamela doesn't acknowledge that Dolly has spoken; Dolly flushes. PAMELA (to the boys) Why? Everyone shrugs, they don't know why. PAMELA (CONT'D) He didn't, he doesn't, Mr Banks is clean shaven! Bob buries his face in his hands and let's out a long, loud, unashamed moan. BOB Does it mattterrrrrrr?! DON Bob, Bob, Bob-- Pamela stares at Bob. PAMELA You can wait outside! She points at the door, ordering him out with her finger. Bob is literally stunned. Dick stifles a laugh. PAMELA (CONT'D) I shan't say it again Robert. Bob storms out of the room (as fast as his limp and cane will allow him) slamming the door and from behind it we hear: BOB (O.S.) KILL ME! KILL ME NOW! PAMELA (TO DICK) What is wrong with his leg? DICK He got shot. PAMELA Hardly surprising. Pamela smiles sweetly. PAMELA (CONT'D) Can I expect anymore drama from anyone else? INT. BAR/LOBBY - BEVERLY HILLS HOTEL - LATE AFTERNOON Pamela enters the lobby and heads for the elevator. She spies the bar, full of people laughing, exclaiming, enjoying one another's company. She takes it in melancholically for a second and then jabs the elevator button repeatedly, relieved when the doors finally slide open. INT. GOFF HOUSE - WASHROOM - ALLORA - MORNING Travers faces his reflection in the mirror as Ginty looks on from the doorway. He picks up his razor and begins to scrape away the stubble. GINTY Why do you do that? TRAVERS For you my dear! (he flicks the blade in the air like a swordsman) Swish! Which kind of kisses do you prefer Gintamina? Swoosh! Scratchy ones or silky ones? GINTY (THINKS) Silky ones. A man must shave for to spare his daughter's cheeks! Swish! INT. BEVERLY HILLS HOTEL - SUITE - MORNING Pamela stares at herself in the clouded bathroom mirror. She runs a finger through the steam on the glass. PAMELA Swish. And again. PAMELA (CONT'D) Swoosh. INT. DISNEY STUDIOS - CORRIDOR - DAY Dolly, carrying a tray of cakes, stops at the rehearsal room door where fractious voices ring out. PAMELA (O.S.) Stop! Stop! Stop! What on earth are you talking about? Supercali--? Supercali-- or whatever the infernal thing is! DICK It's something to say when you don't know what to say! PAMELA Well I always know what to say. The slamming of a piano lid. Dolly pushes the door open with her foot. PAMELA (O.S.) (CONT'D) If you so much as step one foot in here with that tray I shall scream! One cannot live on cake alone! INT. DISNEY OFFICE - DAY Dolly stands in Disney's office. DISNEY Hit me with it. DOLLY She has a lot of-- ideas. DISNEY Ya? What kind of ideas? DOLLY About how she, uh, sees things. DISNEY And just how does she `see' things? Dolly sighs and pulls out a note pad. DOLLY (READING) The name Cynthia has been changed to Winifred. WALT Okay that'll work. DOLLY She won't approve Dick Van Dyke. Walt laughs, Dolly allows herself a little giggle too. DOLLY (CONT'D) The sketches of the Banks house make it look too opulent, there must be no hint of romance between Mary Poppins and Bert, she wants to know why Mr Banks has been given a moustache, the-- WALT I asked for that. DOLLY Yes. They did tell her but she wants to know why. WALT Because I asked for it. DOLLY Right. Of course. Uh-- the tape measure Mary Poppins uses to record Jane and Micheal's height must be a roll tape, not a ruler, we must add gravi-- gravitas, she says. DISNEY Gahd! Anything else? DOLLY She only wants green vegetables and broth, I don't know what that is but she wants it in the room from now on and oh! She doesn't want the colour red in the film-- at all. INT. REHEARSAL ROOM - DAY Dick, Don and Pamela sit around the meeting table. Bob hovers by the door in a right humph. Disney prefers to stand, grazing occasionally from a bowl of candy. PAMELA I've simply gone off the colour. Their mouths are agape. PAMELA (CONT'D) You did say I was to have final say did you not? DISNEY We can't make the film without the colour red! It's set in London for pete's sake. PAMELA And? DISNEY There's buses and mail boxes and guards uniforms-- heck! The British flag! Pamela, I'm not sure why YOU'RE-- PAMELA I understand your predicament Mr Disney, I do. I just-- hm-- I don't know what it is, I'm just suddenly very anti-red. I shan't be wearing it ever again. Disney comes and sits on the table in front of Pam and locks eyes with her. DISNEY Is this a test Pam? Are you requiring proof of how badly I wanna make you happy so that we can create this beautiful thing together? Pamela averts her eyes for a split second, embarrassed about `creating something beautiful' with Walt, but quickly recovers and eyeballs him right back. PAMELA I took you at your word Mr Disney and it seems my first stipulation has been denied. There will be many more, so-- perhaps we should just call it quits and I should hand you back these? She takes the rights agreement out of her bag and offers it to him. Disney smiles at Pamela. DISNEY Alright. No red in the film. Pamela glances at the tape recorder. DON What?! DICK Walt? Don and the Shermans can't believe he has given in! Disney strides out of the room. INT. DISNEY STUDIOS - CORRIDOR - CONTINUOUS Disney marches down the corridor away from the rehearsal room. He stops, turns, goes back to the door, puts his hand on the handle, stops himself and moves on. INT. REHEARSAL ROOM - CONTINUOUS Dick, Don and Bob are left astounded. They look at one another. BOB He doesn't have the rights-- All three turn their heads to turn to her. PAMELA Quite. Pamela smiles a broad satisfied smile at the boys, smooths down her skirt and opens the script. PAMELA (CONT'D) Now, If you're insisting upon this musicality you feel is SO important for my film then I suggest I hear one of your ditties. No one is in the mood to sing for her. PAMELA (CONT'D) I shall keep an open mind! DICK Nanny? DON Yeah, do nanny. Dick begins to play-- BOB (SPOKEN) Wanted a nanny for two adorable children. Pamela sighs, so do Don and Bob. DICK (CONT'D) PAMELA If you want this choice (expecting Dick to stop) position, No no! They can't make deman-- have a cheery disposition-- But Dick ignores her and carries on. DICK ROSY CHEEKS-- BOB PAMELA No warts! Who in the world put that in?! DICK (CONT'D) PAMELA Play games, all sorts! Hm. DICK (CONT'D) PAMELA You must be kind, you must be Well of all the ridiculous--! WITTY very sweet and fairly pretty DICK (CONT'D) PAMELA Take us on outings, give us Completely defeats the-- TREATS Bob and Don are trying to stop themselves from laughing as Dick barrels right over everything Pamela says, almost as if the two of them are doing a duet. DICK (CONT'D) PAMELA Sing songs, bring sweets No sweets! DICK (CONT'D) PAMELA Never be cross or cruel Who would give a child cast-- Never give us castor oil or ? GRUEL Dick grimaces (a la Michael Banks.) DICK (CONT'D) Love us as a son and daughter BOB PAMELA And never smell of barley What in the world does water smelling of barley water have to do with anything? BOB You wrote that in your book! She wrote that in her--! DON Yeah, I think-- DICK PAMELA (over) You can't say that-- If you won't scold and DOMINATE US DICK (CONT'D) PAMELA We will never give you cause Hate is too strong a wor-- to hate us-- DICK PAMELA We won't hide your spectacles (into tape recorder) so you cant see Nobody's listening to me! DICK PAMELA Put toads in your bed-- Ridiculous! DICK (CONT'D) PAMELA Or pepper in your tea No. DICK Hurry, Nanny! MANY THANKS Sincerely, Jane and Michael Banks: Jane and Michael Banks. PAMELA Well I simply don't know what to say. That's the worst song I've ever heard. (BEAT) Ever. DICK Alright. INT. DISNEY'S OFFICE - LATE AFTERNOON Walt stands looking out of his window. DISNEY POV: Pamela sits on a bench, her feet tucked together, her arms clasped around her body, her face to the sky. She sits perfectly still until the limo pulls up and Ralph gets out, patiently waiting beside the car so as not to disturb her. Pamela, opens her eyes and Ralph nods hello. He opens the back door for her and she climbs in. WALT Tommie! Tommie appears in his office with a glass and hands it to Walt. TOMMIE Scotch Mist. WALT What do you think? TOMMIE What do I think I-- what? WALT You're a woman. TOMMIE That's a canny observation Walt. WALT What am I missing? TOMMIE You think the female of the species has some kind of psychic insight when it comes to others of her kind? Walt continues to stare out of the window. TOMMIE (CONT'D) We don't. (BEAT) You'll get yourself an ulcer with all that unriddling. Give it up. Tommie waits for a response but he's still window bound, filled with intrigue as he watches the car disappear. WALT (UNDER) That woman. INT. BAR/LOBBY - BEVERLY HILLS HOTEL - LATE AFTERNOON Pamela enters the lobby and heads for the elevator. She spies the bar again, a few people chatting over cocktails. The elevator doors open but she chooses to go and sit at the bar instead. BARMAN Good afternoon Ma'am. What can I fix you? PAMELA A pot of tea. BARMAN Sure thing. Pamela looks around at the other women in the bar, all glamorous, coiffured, very different to the practical Mrs Travers. The tea pot arrives. PAMELA Thank you. Tea is a balm for the soul don't you agree? But the barman has already moved on to another patron. Time moves swiftly, the teapot is drained, the customers come and go. The barman talks with another customer further along the bar. Nobody notices Pamela. In this setting she looks like a little old lady, awkwardly perched on a stool, staring into her empty cup. EXT. BELHATCHETT BANK OF AUSTRALIA - ALLORA - DAY Ginty - in a rather tattered school uniform - is diminutive in front of the huge double doors to the bank. An upright, top hatted gentleman holds the door of the bank open chivalrously for her. INT. BELHATCHETT BANK OF AUSTRALIA - ALLORA - CONTINUOUS Ginty and the man enter the bank. GINTY Thank you. A bank worker tips his hat to the gentleman. BANK WORKER Good afternoon Mr Belhatchett. Cashiers look up from their posts and nod courteously. Ginty and RANDOLPH BELHATCHETT are startled for a second by a loud crash. Their eyes flit to the glass door of Travers' office. The etching on the glass reads: TRAVERS GOFF - BANK MANAGER INT. TRAVERS OFFICE - DAY Travers has just dropped (purposefully) a tray of coins on the floor. He has a wild edge to him, he may well have been drinking. TRAVERS (TO CLERK) Belhatchett. Bell. Hatchett. Ha! It's a ridiculous moniker! CLERK SIR-- TRAVERS And Mr Belhatchett has complained that I opened his stupid bank five minutes late has he? Hahaaa! (in a comedy voice) Time's Money, Goff, y'know! Time's money my man! The clerk laughs nervously. TRAVERS (CONT'D) Bell Hatchett! Beautiful hatchet. That's what it means. And I suppose if the poor dumb lambs on his downs, are five minutes late with their calving, or they don't drop dead on schedule when he wants a roast, he takes to them with the business end of his beautiful hatchet. Travers wields a glinting letter opener in the air, stabbing piles of papers, filing cabinets, desks. TRAVERS (CONT'D) There, whack! That'll teach you for not dropping your bairns on schedule. Whack! Whack! Whack! Travers looks at the figure standing outside his door and his eyes widen. TRAVERS (CONT'D) Whack. Whoops! (through the door) Mr Belhatchett! Allow me to-- Travers pushes the door open to reveal Ginty at his side and is felled. TRAVERS (CONT'D) Ginty! RANDOLPH I want you gone. All eyes fall upon the little girl whom everyone seems to have forgotten. Travers is overcome with embarrassment and guilt. TRAVERS Sweet thing! What are you doing here? Ginty looks up at Belhatchett and the manager. GINTY You said today was-- TRAVERS Ice cream day! Yes! I did! What kind of father am I? GINTY (SCARED) Are you fired again? TRAVERS Ah, yes it does seem that-- RANDOLPH (TO GINTY) No. No sweetheart-- he isn't. TRAVERS (TO GINTY) Just wait in my office for a second darling. Randolph walks away, stopping to whisper in Travers ear. RANDOLPH If you can't straighten up for your own sake. Do it for your daughter. (muttering to himself) Irresponsible. Travers holds out his arms to Ginty and she runs into them. TRAVERS Ice cream is so rare because it only comes from Siberian cows. Did you know that?! (BEAT) Brrrrrrrr! EXT. RIVER - ALLORA - DAY Ginty and Travers sit by the river. Ginty eats an enormous ice cream and Travers sips continuously from his hip flask. TRAVERS We share a Celtic soul, you and I. This world is just an illusion, Ginty old girl. As long as we hold that thought dear, they can't break us. Money, money, money. Don't you buy into it Ginty! It'll bite you on the bot! How did we end up here eh? Look at it. Barren. Breathless. Get as far away from this place as possible my love. Find yourself a patch of green. (HE SIGHS) It's a chimera you know? The world, the bank, you and I, Mr Randolph- whackety-whack-Belhatchett. All an illusion. He stares across the river, experiencing a wave of deep melancholy. Ginty looks up at him, aware of his profound unhappiness, but unable to understand its source. EXT. SUITE - BEVERLY HILLS HOTEL - NIGHT Another untouched meal in the hallway. INT. SUITE - BEVERLY HILLS HOTEL - NIGHT Pamela lies in the dark, the phone pressed to her ear. PAMELA (INTO PHONE) I loathe this place, Mr Russell. How can a place so sunny be so cold? We don't hear what Diarmuid says. PAMELA (CONT'D) I meant heartless. I'm afraid a jumper wouldn't suffice. It's bringing up these-- it's so hot and stuffy I feel like I am being attacked. These odd dreams, like my subconscious is after me. Punishing me for entertaining the idea that I might hand her over. I am at war with myself Mr Russell. (BEAT) The script is ghastly, exactly as I EXPECTED-- (BEAT) Yes, a few more days and then I'll DECIDE-- (BEAT) I know, I know I need the money. The money. The money. (TO HERSELF) Money. It'll bite you on the-- (INTO PHONE) It's all an illusion you know Mr Russell? All an illusion. (BEAT) Very well. Good morning and goodnight. She hangs up the phone, and continues sitting upright. Wide awake. Staring into the darkness. Pamela checks through her multitude of pill bottles for something to help her. Nothing. She groans as she drags herself out of bed, pacing the room, counting steps. PAMELA (CONT'D) Serves me right. Money, money, money. Bit me on the bot. Her eyes stray to the big Mickey Mouse. She drags it onto the bed with her and climbs back under the covers, clinging onto the stuffed toy for comfort. INT. REHEARSAL ROOM - MORNING The room is decidedly more lively, with sketches of the cast and models of the sets all about the place. And of course, the requisite abundance of brightly coloured food now accompanied by some healthier options - vegetables and a fluorescent looking soup. Bob and Dick are at the piano. Don sits in the corner, sketching energetically on his notepad what seems to be a cartoon sketch of Pamela Travers. DICK It's gotta be like a slogan! BOB Her prescription for life. DICK Yeah! Yes! A stitch in time! BOB An apple a day. DON (from across the room) Time and tide wait for-- BOB Sugar! DICK Sugar? DICK (CONT'D) What? That's not-- BOB Jeff had vaccination day at school yesterday. DICK Ouch. BOB No ouch. DICK No ouch? BOB Sugar. They put it in a cube. DICK Medicine in sugar? BOB Cube's an odd word. BOB (CONT'D) Spoonful? Dick throws his hands and legs in the air almost falling off his stool! DON (UNDER) Yeah, we have sugar. EXT. DISNEY STUDIOS - BURBANK - MORNING Pamela steps from the car and Walt is there to greet her. WALT May I walk with you? PAMELA I'm sure your country doesn't have any laws about sharing a pavement. As they walk the sound of the piano filters out of the rehearsal room window and down onto the lot. INT. REHEARSAL ROOM - MORNING Dick is playing about with a verse. BOB Go back to the chorus. DICK & BOB (singing it incorrectly) Just a spoonful of sugar helps the medicine go down! BOB Wait! WAIT! She always does what's unexpected. She goes UP the bannisters. Dick is confused. BOB (CONT'D) So go up. Dick plays a high note. BOB (CONT'D) Try B. He takes a pencil from behind his ear and marks Dick's sheet music. Dick immediately begins finding the tune on the piano DICK & BOB (singing `down' in an up KEY) Just a spoonful of sugar helps the medicine go down. Don looks up from his sketching. DICK Yes! The sound of Walt's cough signals his imminent arrival. DON Man is in the forest. Pamela and Walt enter the room. DON (CONT'D) (TO WALT) I want you to hear this. (to the boys) Play him what you got. Walt takes a seat beside the piano. Pamela folds her arms across her chest defiantly. DICK It's just a chorus-- BOB Tell us what you think. He knows dum dum Will help dum dum dum duuuum! Bob whistles what will end up being the Robin's part of the song. DICK (SINGING) Just a spoonful of sugar helps the medicine go down-- the medicine go do-own, medicine go down Just a spoonful of sugar helps the medicine go down In a most de da dee daaa! BOB We'll work out the other lyrics. DICK You see how it goes up on the word down? BOB On the word down it goes up! PAMELA (UNHAPPY) Up. DON It's ironic. PAMELA Is it? WALT Forget ironic, it's iconic. Pamela rolls her eyes. PAMELA (SARCASTIC) Bravo. WALT I won't be able to stop singing that for weeks! PAMELA It seems enormously patronising to me. The very sort of annoying tune you would have playing in your themed park I daresay. All giddy and carefree, encouraging children to face the world unarmed. All they need is a spoon and some sugar and a brain full of fluff and they're equipped with life's tools. Wonderful! Dick is completely deflated. WALT What's your point Pam? PAMELA MRS Travers! My point is that, unlike yourself, Mary Poppins is the very enemy of sentiment and whimsy. She is truthful, she doesn't sugar coat the darkness in the world that these children will eventually come to know. She prepares them for it, she deals in honesty. One must clean one's room; it won't magically do it itself! She waves the script in the air. PAMELA (CONT'D) This whole script is flim flam! Where is its reality? Where is its heart, where is the gravitas? She opens a window and flings the script out. PAMELA (CONT'D) No weight Mister Disney! See? Dick, Don and Bob look out of the window as the pages flutter downwards and spread themselves over the Disney lot. WALT No whimsy or sentiment says the woman who sends a flying nanny with a talking umbrella to save the children. PAMELA You think Mary Poppins is saving the children Mr Disney? Pamela sighs, shakes her head. PAMELA (CONT'D) Oh dear. EXT. DISNEY STUDIOS - LATE AFTERNOON Pamela makes her way to the bench she waits on for Ralph. She sits down, wraps her arms around herself, closes her eyes. PAMELA (TO HERSELF) It goes up. EXT. BACK PADDOCK - ALLORA - DAY Margaret sweats as she hangs out laundry whilst desperately shushing her screaming infant. MARGARET There there. Shush shush now-- Ginty and Biddy run in and out of the sheets, chasing a large hen that squawks and flaps its wings trying to escape the girls. MARGARET (CONT'D) (to the girls) If you could just-- TRAVERS (CALLING) Ahoy Goffs! The girls and Margaret look up, surprised to see Travers so early. GINTY Father! She runs at him and swings her high into the air with one arm, catching Biddy with the other. MARGARET What a lovely surprise! Did you finish early? TRAVERS I couldn't stop thinking about my beautiful girls on this beautiful day in this beautiful place and I thought to hell with it! (to Ginty and Biddy) And what do we say about beauty ladies? GINTY/BIDDY/TRAVERS A thing of beauty is a joy forever! MARGARET BUT-- TRAVERS Buts are for goats my love! He dips her and smooches her. GINTY & BIDDY Urgh! TRAVERS (whispering to Margaret) I'll put in extra hours tomorrow. (TO GINTY) What are we playing? GINTY The hen got out and we've been trying to catch her! Travers spies the clucking demon. TRAVERS That's no hen! That's Aunt Ellie, your mother's horrendiferous sister! GINTY (LAUGHING) That's a made up word! BIDDY Really?! GINTY Not the aunt! (BEAT) Quick! Catch her before she flies away on the-- TRAVERS/GINTY East Wind! Travers throws his jacket to the ground and begins to chase the hen, tearing through the clean sheets and treading them into the ground. MARGARET Oh! TRAVERS I'll wash them again my love! Margaret look at the dirty sheets and shrugs. The kids run after their father squealing and giggling as the poor little hen runs for its life. Even the dog joins in, Margaret goes to retrieve the discarded jacket and sees a whisky bottle protruding from the inside pocket, she slips it back inside - out of sight, out of mind. TRAVERS (CONT'D) Go Sergeant Ginty! Fell the beast! Ginty dives on the hapless bird, who pecks her soundly and scarpers. It's chaos. Travers, the girls, the dog and the evasive hen running into each other, falling over each other, cursing and laughing. GINTY Aunt Ellie! TRAVERS Oh she's a foul fowl! INT. TRAVER'S BEDROOM/CHILDREN'S BEDROOM - EVENING Biddy and Moya sleep but Ginty is awake, the hen snuggled firmly under her arm. She can hear the tense voices of her parents. MARGARET --darling, it's just that um-- a LITTLE CONCERNED-- TRAVERS --Meg sweet, I had a throat scratch- - MARGARET --the bank is getting you down again? Perhaps my sister-- TRAVERS God no! No. I can endure. I will endure. For the girl's sake-- Just, please-- not Ellie. MARGARET Oh my dear-- Travers weeps and Ginty closes her eyes, buries her little face in the hens feathers. GINTY (WHISPERING) Foul fowl. INT. SUITE - BEVERLY HILLS HOTEL - NIGHT Pamela sits up in bed - leaning back into the open arms of Mickey Mouse - applying face cream, then hand cream, her face is screwed into a twist of unhappiness. EXT. DISNEY STUDIOS - BURBANK - NIGHT Disney sits on Pamela's bench, deep in contemplation. Piano music tinkles from somewhere in the building and then a VOICE-- DICK All around the cathedral the saints and apostles look down as she sells her wares Walt is dragged from his thoughts and gets up to follow the sound. DICK (CONT'D) Although you can't see it you know they are smiling Each time someone shows that he CARES-- INT. DISNEY STUDIOS - BURBANK Walt walks towards the music room, visibly moved by the song, a cough rattling in his throat. INT. REHEARSAL ROOM - NIGHT Also in lamplight, Dick Sherman sits at his piano. Bob asleep on a couch in the corner. Walt pushes the door open, Dick knows he's there but keeps tinkling away. DICK Though her words are simple and few listen, listen, she's calling to YOU-- "Feed the birds, tuppence a bag tuppence, tuppence, tuppence a bag." WALT That'll work. Dick nods, still playing. Walt makes his way to the piano, sighs, sits next to Dick on the stool. WALT (CONT'D) She's going to say no isn't she? (BEAT) Woman's a conundrum. Dick stops playing and flicks to a new page of sheet music. DICK A man has dreams of walking with GIANTS To carve his niche in the edifice OF TIME (SINGING) Before the mortar of his zeal Has a chance to congeal The cup is dashed from his lips The flame is snuffed aborning He's brought to rack and ruin in HIS PRIME-- Walt laughs out loud, he sings with Dick reading the lyrics from the music sheet. WALT & DICK My world was calm, well ordered, EXEMPLARY Then came this person, with chaos in her wake And now my life's ambitions go with one fell blow It's quite a bitter pill to take. WALT Inspired by someone we know? DICK (FEIGNING INNOCENCE) You'd have to ask Bob. The men smile, bittersweet. DICK (CONT'D) She might surprise us all. WALT She won't. DICK You don't know that. WALT I do. I know it, I know it only too well. (BEAT) I've fought this battle from her side. Pat Powers, he wanted the mouse and I didn't have a bean back then. Dick raises his eyebrows. WALT (CONT'D) He was this big terrifying New York producer and I was just a kid from Missouri with a sketch of Mickey but-- it woulda' killed me to give him up. Walt peers down at the sleeping Bob. WALT (CONT'D) Honest to god killed me. That mouse, he's family. (BEAT) Go home. Walt leaves the room. EXT. BEVERLY HILLS HOTEL - POOL - NIGHT Pamela sits by the pool, arms clasped around her, looking at the stars. The pink and green of the hotel shimmers in the water making it look like a chalk painting. TRAVERS (V.O.) The world is an illusion Ginty. EXT. GOFF HOUSE - ALLORA - LATE AFTERNOON Ginty sits on the front step of the porch, arms clasped around her body, face to the sky. The sounds of the evening closes in - crickets, the last deafening chorus of the birds. Travers walks up the path to their home, trailing his suit jacket over his shoulder, his shirt and tie loosened. His shirtsleeves are marked with sweat. His face is a study of something close to despair. He looks up to see Pamela sitting on the front step and immediately arranges his features into a bright smile of greeting. TRAVERS Ahh the Countess Mary Sparklestick! Pray tell me, what are you concentrating so hard on? GINTY I am laying eggs! TRAVERS Really!? Fabulous! GINTY Today I am a hen. TRAVERS Indeed! I can see the feathers sprouting as we speak! Margaret steps out onto the veranda, takes one look at her husband and knows he is drunk. MARGARET Helen Goff, would you lay the table for supper please? GINTY I'm not Helen! TRAVERS (OVER) She can't possibly lay a table; she's busy laying eggs! MARGARET I need-- (help.) TRAVERS She's laying! MARGARET (her face contorts in PAIN) I'm sorry! She goes back indoors and slams the door behind her. Ginty gets up to go indoors and Travers catches her by the arm. He swallows hard, eyes welling. TRAVERS (urgent, his voice BREAKING) Don't you ever stop dreaming Ginty my love. You can be anyone you want to be. Anyone. GINTY I want to be like you. TRAVERS Don't. (HE CHOKES) Don't leave yourself always searching for-- something-- He coughs to stop a crying jag and leaves her alone on the porch. Ginty is unnerved by her Travers' demeanor, she creeps around to the side of the house where she watches her father appears in the window of the washroom. She doesn't know what to do as he leans his head against the wall and breaks down sobbing. OMITTED INT. LIMO - MORNING Ralph looks at Pamela in his rear-view, she seems weak, the steely fight flown away on the East wind. Her arms wrapped around her chest, her face turned to the window. RALPH Ya alright Mrs? Pamela doesn't even hear him. INT. ALLORA SCHOOL - AFTERNOON Ginty stares out of the window, in a daydream, a paintbrush in her hand, dripping colour down her arm. She is nudged to the present by her teacher, MRS CORRY. MRS CORRY Helen Goff? Wake up dear. You want your banner to be ready for the fair don't you? Ginty turns back to her painting - her banner reads: ALLORA FAIR Around the words Ginty is painting a gorgeous carousel with stunning horses, one of which is white with roses on its bridal. INT. FAIRGROUND - ALLORA - DAY Margaret, Biddy and Ginty walk into the fairground. Tents are erected, farmers show off their sheep, children clutch sticks of cotton candy and a carousel spins with one stunning white horse amongst the drearier others, roses upon its bridal. BIDDY Mrs Brill said Father's presenting the medals. MARGARET (a flutter of pride) He is indeed! On behalf of the bank. INT. REHEARSAL ROOM - MORNING Pamela stares out of the window, not really concentrating on what's going on in the room. DON Mrs Travers? Again, she doesn't hear. DON (CONT'D) Mrs Travers? Pamela looks at Don. DON (CONT'D) We were just saying that we'd like to play you the song in the bank. (BEAT) Would that be good? Pamela nods, noncommittal. DON (CONT'D) (as Dawes Snr) So you have tuppence? May I be permitted to see it? (changing voice to Michael BANKS) No, I want it to feed the birds! (back to Dawes Snr) Fiddlesticks boy! Feed the birds and what've you got? DON/DICK/BOB Fat birds! DICK (singing more sotto than USUAL) But! If you invest your tuppence wisely in the bank EXT. FAIRGROUND - ALLORA - DAY DICK (V.O.) Safe and sound-- A small stage and dais stand central of the event over which a large sign reads: SPONSORED BY THE BELHATCHETT BANK OF AUSTRALIA DICK (V.O.) Soon that tuppence safely invested in the bank will compound-- The Allora townsfolk are out in force. Ginty walks with her family. Her father attempting to memorise speech notes as they pass through the crowds. DICK (V.O.) And you'll achieve that sense of CONQUEST-- Margaret nudges him as Randolph Belhatchett and his family walk past. TRAVERS (clears his throat) Mr Belhatchett. Randolph looks at Travers, then at Travers shaking hands, his family nod and move on. Margaret looks upset by this. DICK (V.O.) As your affluence expands-- Travers buys two immense sticks of fairy floss and hands them to Ginty and Biddy. MARGARET Travers, Biddy's stomach-- TRAVERS Oh, for Gods' sake, Meg, stop whinnying like an old nag will you? Margaret is aghast at being spoken to like that in public but she keep her mouth shut. Ginty notices Travers eyes stray towards the refreshments tent. GINTY (PANICKED) Father-- will you ride the carousel with me!? But the refreshment tent has Travers in its grip. TRAVERS Meet you there in a blink of an eye! INT. REHEARSAL ROOM - DAY As before. DICK (SINGING) In the hands of the directors who invest as propriety demands. EXT. FAIRGROUND - ALLORA - DAY Ginty stands with her family at the carousel, eyeing the refreshment tent. MARGARET (TO GINTY) I'll take Biddy to get ready for her dance. (BEAT) Where's your father? Margaret sees the direction of Ginty's gaze. Her face falls but she takes Biddy by the hand and heads for the stage. MARGARET (CONT'D) Come on Biddy. INT. REFRESHMENT TENT - DAY Ginty appears in the tent's entrance. On first glance she sees only an unidentified group of local drinkers. Relief begins to dawn and she turns away. It is then that she hears Travers laugh, and turns back to see the group part, revealing Travers at its centre. TRAVERS Indeed, a published poet-- She takes a deep breath and moves forward, grabs Travers hand. GINTY Father, come and look. Biddy's dancing. TRAVERS In a moment, my princess. I'm talking. (BEAT) Back in Ireland, I miss her green HILLS SO-- GINTY But she's-- she really wants you to watch, Dad. You'll miss it. TRAVERS Not now Biddy! GINTY I'm Ginty. TRAVERS Ginty! Shoo! Devastated, Ginty doesn't know what to do, she pulls at his shirt sleeve again. GINTY You said don't give up. A waiter approaches and takes her by the arm, leading her away. WAITER Excuse me, Miss. It's gentlemen only in this section of the tent. I think you'll be more comfortable at the far end. (BEAT) Are you alright sweetheart? GINTY (TO WAITER) I'm scared my father is-- Despairing she looks up and sees her mother, carrying Moya, in the entrance. Her mother's face falls and crumples. EXT. FAIRGROUND - ALLORA - CONTINUOUS Travers steps heavily, one at a time, up the steps onto the dais, and finds his way to the speaker's podium. Margaret and Ginty watch, hearts in mouths, Biddy blissfully unaware. TRAVERS Good afternoon, distinguished guests, our biggest supporter Mr Randolph Belhatchett and his lovely wife, ladies and gentlemen, boys and girls! Randolph looks at Travers with displeasure and then at one of the bank staff. RANDOLPH Why is he speaking for the bank? BANK WORKER He's the manager. TRAVERS I'm honoured to be here on behalf of the Belhatchett Bank of Australia. Shortly, it will be my very pleasant duty to present the awards to our young performers. But before I begin, I'd like to say a very few words to our very youngest citizens about the role of the - er, the Bank in our community. Ginty allows herself to breathe. So far, so good. MARGARET He's using too many `verys'. He always says `very' too much when HE'S-- She can't say it. Ginty takes her mother's hand but Margaret pushes the hand away. INT. REHEARSAL ROOM - CONTINUOUS Pamela turns away from Don and the Shermans and takes herself to look at a sketch of Mr Banks, pinned to the wall, he still has a moustache. DON (as Dawes Snr) Very well, my boy, give me the MONEY (AS MICHAEL) No I won't I want it to feed the birds! (as Dawes Snr) Banks! (AS BANKS) Yes sir. Now Micheal... DICK When you deposit tuppence in a bank account, (MORE) DICK (CONT'D) Soon you'll see that it blooms into credit of a generous amount SEMIANNUALLY EXT. FAIRGROUND - ALLORA - CONTINUOUS Travers is now in lip synch with Dick Sherman. TRAVERS DICK (V.O.) And you'll achieve that sense And you'll achieve that sense of stature of stature As your influence expands as your influence expands To the high financial strata To the high financial strata That established credit now That established credit now COMMANDS-- COMMANDS-- INT. REHEARSAL ROOM - CONTINUOUS Don is up and singing with the boys. They are enjoying themselves so much that they don't notice Pamela's eyes well slightly. DON/DICK/BOB You can purchase first and second TRUST DEEDS Think of the foreclosures! Bonds! Chattels! Dividends! Shares! EXT. FAIRGROUND - ALLORA - CONTINUOUS As before. TRAVERS Bankruptcies! Debtor sales! Opportunities! All manner of private enterprise! Shipyards! The Mercantile! Collieries! Tanneries! Incorporations! Amalgamations! Banks! INT. REHEARSAL ROOM - CONTINUOUS As before. DON (as Dawes Snr) While stand the banks of England. England stands! EXT. FAIRGROUND - ALLORA - CONTINUOUS There's a smattering of applause, Travers is encouraged, Margaret and Ginty look relieved, even hopeful. But then Travers momentarily looks lost, a slight breeze tugs the speech notes from his hand and they float down in front of the dais. TRAVERS Uhmm. Thank you kindly. Thanking you. Now-- what, what am I doing next? Oh! It's a marvellous idea to encourage children to open accounts. My daughter, the Princess Ginty-- she's-- uh. (looks at Ginty) How old are you? Come up here. Ginty - what? Me? Ginty glances to her mother and then, on trembling legs, makes her way forward and up the stairs onto the dais. Margaret watches, growing uneasy. TRAVERS (CONT'D) Ginty has a bank account-- and that's good. Give her a drink! The audience is shocked. TRAVERS (CONT'D) (MUMBLING) I mean give her a hand. Everyone is beginning to look uncomfortable. TRAVERS (CONT'D) I shall return in just a moment to present the awards. But right now I must-- relieve myself. Gasps from the audience. Margaret - dying. TRAVERS (CONT'D) Give us your shoulder, Ginty, will you? I'm busting. There's a good girl. Father and daughter walk towards the edge of the stage, Travers leaning on Ginty's shoulder. The shameful glare of Allora burning into them. DON (O.S.) When fall the banks of England, England falls! Travers somehow loses his footing before reaching the steps and topples off the stage. There's an audible, horrible snap as he lands in an undignified pile. But, despite his ugly injury, Travers cannot stop laughing. INT. REHEARSAL ROOM - CONTINUOUS The boys are laughing, congratulating one another. DON I love it! DICK You think Walt's gonna like it? Pamela takes a last look at the Mr Banks picture and spins around viciously. PAMELA Why did you have to make him so cruel? The boys jubilance is halted immediately. PAMELA (CONT'D) He was not a monster! DON Who are we talking about? I'm confused. PAMELA You all have children yes? DON Yes. DICK BOB Yep. Yes. PAMELA And do those children write you letters, make drawings for you? DON Of course. DICK Mine like to make folded paper-- PAMELA (cutting him off) And would you tear up those gifts? In front of them?! Silence. They know where this is going. PAMELA (CONT'D) It's a dreadful thing to do! I don't understand! Why must father tear up the advertisement his children have written and throw it in the fireplace!? Why won't he mend their kite? Why have you made him so unspeakably awful? (BEAT) For all the world to see, in glorious technicolor? You claim to make them live-- if that happens can't he? Can't they at least live well? Pamela chokes back a sudden rush of distress. PAMELA (CONT'D) I can't bear it. (SOFTLY) PLEASE DON'T-- The boys are shocked at the level of upset. PAMELA (CONT'D) Please don't-- I'll feel like I let him down again-- She leaves the room, head hung. INT. TRAVERS BEDROOM - GOFF HOUSE - DAY Travers is in bed, his leg elevated and set with plaster. He is shaking badly with DT's, his mood is poisonous. Ginty sits on the edge of the bed as the DOCTOR packs up his bag. TRAVERS I don't suppose there's any more you can give me for the pain? The doctor shakes his head at Travers wanton greed for more. DOCTOR (leaving the room) When will enough be enough Travers? GINTY I've brought you something father. TRAVERS Be a darling Ginty my old pal! Help father out won't you? Ginty is wary. TRAVERS (CONT'D) In my washroom-- there's a bottle of medicine that father needs-- GINTY Mother took it away. Travers slams his fist on the bed, scaring Ginty. TRAVERS Godammit! Nervous, hopeful, Ginty withdraws a folded sheet of paper from her pocket. GINTY I wrote a poem for you. It - it won first prize, at school. Travers takes the page, tries to hold it steady in his shaking hand. GINTY (CONT'D) Would you like me to read it to you? The agony as Ginty watches the shaking hand. Finally, the humiliation is too much for Travers. He scans the page rapidly and lowers his hand. TRAVERS It's hardly Yeats, is it? Ginty is devastated. But more than this there's a hardening in her small face, a sense of disillusionment that so far she's held in check. Here are the first signs of the Pamela to come. INT. DISNEY STUDIOS - BURBANK - DAY Pamela rushes from the rehearsal room, down the corridor, her face twisted, desperately trying to maintain composure. Don rushes out after her. DON Mrs Travers! He stops, recognizing she doesn't need to be followed. INT. KITCHEN - GOFF HOUSE - DAY Ginty rummages through kitchen cabinets, drawers, the trash but doesn't find what she's looking for. EXT. DISNEY STUDIOS - BURBANK - DAY Pamela rushes past Minnie Mouse and Daisy Duck, through the lot, past Ralph - who's taking his lunch at the cafeteria - and towards a patch of green, a communal lawn at the back of a soundstage. EXT. GOFF HOUSE - DAY Ginty fights the smell of the warm rubbish in the midday sun as she ransacks the outdoor trash cans, finally finding what it is she's looking for. EXT. GRASS AREA - DISNEY STUDIOS - BURBANK - DAY Pamela flops down onto the ground, digging her fingers into the dirt and lawn. INT. TRAVERS BEDROOM - GOFF HOUSE - DAY Ginty creeps into her father's room, he sleeps fitfully, and presses the half-full bottle into his hand. Covering both hand and bottle with his bed covers before leaving the room. EXT. GRASS AREA - DISNEY STUDIOS - BURBANK - DAY Pamela picks a daisy, finds a stray twig and arranges them in the grass. RALPH Mrs? Pamela looks up, her eyes are red rimmed but she's not crying. RALPH (CONT'D) I, uh, brought you a tea. He hands her the tea in a takeaway cup. PAMELA It's blasphemy to drink tea from a paper cup. Ralph, shifts nervously from foot to foot. He's not quite sure what to say to her or why he brought the tea. Pamela puts the tea down and continues to fiddle with bits and pieces of twig and bloom that she's plucking from the area around her. RALPH Everything okay Ma'am? Would you like me to drive you home? PAMELA All the way to England? Yes, please. Ralph lowers himself onto his haunches. RALPH You got family back there Mrs? PAMELA You're an impertinent man you know? You ask an awful lot of questions that have no relevance to you being able to carry out your duties. RALPH (LAUGHING) I know! I do, do that. Yes! PAMELA And you have no barometer. Ralph is confused. PAMELA (CONT'D) Let us say that I haven't family who'd notice whether I was halfway across the world or sitting in my living room. She pulls a thread from the hem of her skirt, ties two twigs together. RALPH MA'AM; I-- Ralph sees that she has a little collection of things, he looks around for some more. Pamela takes a stick and digs a small line through the grass then hands it to him. PAMELA Make a little furrow, there. Ralph dutifully does as he's told, looking over his shoulder for fear of being caught digging holes in Disney soil. Ralph pokes the ground, thinking. RALPH I gotta kid. PAMELA Well, most people do. RALPH Jane-- she's got all kinds of troubles. Pamela raises an eyebrow. RALPH (CONT'D) Handicapped you know? Myelitis-- transverse. (BEAT) She's in a wheelchair see? That's why I concern myself with the weather-- sunny day she can sit out in the garden. Rainy day I have to leave her cooped up inside. (BEAT) Worry `bout the future, but then I stop cuz you can't do that. Only today. Pamela takes the plastic lid off the paper cup and pokes holes in it. PAMELA Now look. She takes the lid, twigs now sticking out of the poked holes and places it in the centre of what we now see is one of Pamela's tiny parks, she gently rest a leaf on the twig struts forming a roof. PAMELA (CONT'D) It's a band stand. She takes the cup of tea and gently pours the steaming liquid into Ralph's trench, which runs all the way around the park. RALPH A river! PAMELA (CORRECTING HIM) Lake. RALPH Lake. (BEAT) Hey! I wish I could take her there! He points at the miniature park. PAMELA Wouldn't that be nice? INT. GINTY BIDDY & MOYA'S BEDROOM - NIGHT Ginty, Biddy and Moya sleep soundly, Ginty clutching the poem to her chest. The door creeps open and Margaret stands in the shadows looking at her children, tears stream down her face but she seems calm, something has crossed over in her eyes. There's just nothing there-- MARGARET (WHISPERING) I know you gave it to him. (squeezing Ginty's hand) All the hope is in the bottom of that bottle, Helen. GINTY Mother? MARGARET I want you to take care of the children. Ginty is groggy, she doesn't understand. MARGARET (CONT'D) Watch over them. Ginty sits up. MARGARET (CONT'D) I know you love your father more. But one day you'll understand. GINTY What? Margaret leaves the room and Ginty is straight out of bed following her. Behind, in the room, Moya has awoken and is crying. EXT. GOFF HOUSE - ALLORA - NIGHT Ginty runs out onto the porch where she sees her mother in her white nightdress striding purposefully through the garden like some ethereal ghost. GINTY Mother! She runs out into the yard but stops as she hears Biddy. BIDDY (O.S.) Ginty! Ginty turns back to the house and then back towards her mother but Margaret has disappeared into the darkness. GINTY (CALLING) Mother! Mother! The baby is screaming now. INT. GINTY BIDDY & MOYA'S BEDROOM - NIGHT Ginty wrenches the eiderdown off the bed and wraps Biddy in it, she scoops Moya up from the crib. BIDDY Where's ma? GINTY Once upon a time there were three little girls alone in a house. They were frightened of the big wide world just outside the door. She takes them through the hallway, stopping momentarily outside the door to her fathers bedroom. It is slightly ajar and he looks incredibly frail and delirious. GINTY (CONT'D) They were so afraid. She moves forward, her eyes flit to the front door, expecting her mother to be standing there any minute but there is nothing. EXT. CREEK - NIGHT The mud-stained hem of Margaret's nightdress sweeps along the ground, as her feet move towards, and then into, the water of the creek. One step, two, three, the water coming up over her ankles, soaking the nightgown. GINTY (V.O.) But the stars were guarding them, they glittered as they spoke "We shall send a guide to show them the way to the magical ladder which will bring them all the way up to SEE US" EXT. LIVING ROOM - GOFF HOUSE - NIGHT Biddy and Moya are calming as Ginty places the girls in front of the fireplace. GINTY And who do you think those sparkling messengers sent? Who was it that came flying through the starry, starry sky to carry us up to see them? Ginty wraps Moya in a blanket and puts her in Biddy's arms. BIDDY An elf? EXT. PORCH - GOFF HOUSE - NIGHT Ginty begins to untie Albert from the fence still speaking to the girls through the window. GINTY Their old Uncle Albert of course! (beat, to Biddy) Stay right here, be good-- Ginty climbs atop the horse. BIDDY Are you going to the sky? GINTY I'm going to find the end of the story so I can bring it back for you! BIDDY Is it happy? EXT. PADDOCK - NIGHT Ginty rides fast, desperately searching the darkness for her mother and turning back frequently to check that the lamp still burns on the porch. EXT. CREEK - NIGHT Margaret is up to her neck in the freezing water of the creek. Shivering cold. She wills herself forward into the water. She wants to sink down and simply float away. From behind her comes the clip clopping of hooves. Margaret turns her head and there, atop the horse, is Ginty. Margaret begins to weep. Ginty jumps down from the horse and rushes to her mother, wading into the water to grab hold of her. Ginty bobs up and down in front of her mother in the deep water. MARGARET Sometimes a person we love, through no fault of his own, can't see past the end of his nose. GINTY It's time to go home, ma. She reaches out her hand-- OMITTED INT. SUITE - EVENING Pamela looks through a stack of books intently, jotting something down on a piece Beverly Hills Hotel stationery every now and then. Presently, the phone rings. Pamela almost jumps out of her skin. She rushes to grab it. PAMELA (INTO PHONE) Mrs Travers! Hello! INT. DISNEY'S OFFICE - BURBANK - EVENING. Walt sits at his desk, flicking through cartoon drawings of penguins. WALT (coughs into phone) Pam! INTERCUT BETWEEN PHONE CALLS AS NECESSARY. PAMELA (DISAPPOINTED) Mr Disney. WALT Callin' to check up on you. PAMELA Are you a doctor? WALT Hm? PAMELA Check ups are for medical practitioners no? WALT Pam, are you always so battle ready? P.L. Travers in her breast plate and chain mail, sword up in the air and off with your head! PAMELA What can I do for you Mister Disney? WALT Please, I beg of you, please please call me Walt. PAMELA Walt-- er. WALT I heard things didn't go so well today. PAMELA They went as well as they've gone every other day that I've been here. I don't recall `special' phone calls from you on any of those other evenings. WALT What's this all about Pam? Really? Silence. WALT (CONT'D) I'm wondering what I have to do to make you happy. PAMELA Ha! WALT Aren't you wondering that too? Silence. WALT (CONT'D) (he has an idea) You know, you've never been to Disneyland! It's the happiest place on Earth! (shouting away from the PHONE) Tommie! Cancel my morning tomorrow. I'm taking a ride with my favorite author! (INTO PHONE) Any excuse. PAMELA I cannot tell you how uninterested, no, positively sickened I am at the thought of going to see your dollar printing machine Mr-- Walter. She notices Mickey's innocent eyes staring at her and gently turns his face away. WALT Oh come on! When does anybody get to go to Disneyland with Walt Disney himself?! PAMELA Disappointments are to the soul what the thunderstorm is to the air. Walt slams the phone down. Pamela stares at it in shock! PAMELA (CONT'D) Hello? Hello? He hung up! I'm! I! I can't believe he hung up! Walt leans back in his chair and grins, Tommie enters. WALT I'm not a violent man Tommie but if Mrs P.L. Travers were to get hit by a large truck I-- (he doesn't allow himself TO FINISH) INT. REHEARSAL ROOM - DAY Dick, Bob and Don are drained. They stare at each other in silence. Just the look tells us how much this all means to them. It's desperate. Walt flings the door to the room open. WALT Okay boys. We gotta fix this. INT. GOFF HOUSE - TRAVERS BEDROOM - ALLORA - MORNING Ginty sits beside her father, he is restless and sweating in his sleep as she wipes his face with a damp sponge. The sound of a buggy pulling up outside breaks the silence. MARGARET (O.S.) Oh my! And then a new voice, clear as a crystal bell. AUNT ELLIE (O.S.) Margaret, my poor child. I simply had to come. We must fix this. Travers eyes spring wide open in horror. TRAVERS The Aunt. INT. GOFF HOUSE - ALLORA - MORNING A parrot headed umbrella hangs from the back of a chair. An enormous carpetbag - similar to the one Pamela carries - plonked on the living room table and there beside it, upright, imposing and matronly is AUNT ELLIE herself. Hair scraped back, hands neatly perched inside her apron pocket - a very different version but Mary Poppins all the same. Ginty looks on in awed silence as Ellie begins to remove an endless supply of belongings from her bag. ELLIE Now, I've brought every new fangled treatment available in Sydney. Biddy is open mouthed. ELLIE (CONT'D) Close your mouth please Biddy, we are not a codfish. (to both girls) I spy a multitude of jobs to be done! MARGARET They've been so worried-- I've-- ELLIE Do stop babbling nonsense! I'm here now and I shall fix everything. (BEAT) Girls! (BEAT) Feverfew and camomile to lower his body temperature. Garlic, sorrel, sage. Deadly nightshade. And if those don't work-- well I shouldn't like to say. Young Pamela and Biddy look on in a kind of bewildered trance as item after item emerges from the carpetbag. ELLIE (CONT'D) --tincture of horseradish-- LAUDANUM-- (to Ginty and Biddy) (MORE) ELLIE (CONT'D) I thought I had made it quite clear you were to begin helping. Ellie claps her hands together. ELLIE (CONT'D) Spit spot! INT. LIMOSINE - MORNING Ralph drives along solemnly. Pamela looks out of the window, confused. PAMELA Where are we--? This isn't the way. RALPH Change of venue this morning apparently. PAMELA (realizing where she's BEING TAKEN) Ugh. RALPH I was thinking about our-- tea party? PAMELA I'm sure I don't know what you're-- RALPH (OVER) Yesterday, the little park. PAMELA Little park? I haven't a clue what you're talking about. RALPH BUT-- PAMELA Concentrate on the road. Always chitter chattering! EXT. DISNEYLAND ENTRANCE - DAY Ralph drives Pamela up to the entrance to the park. Two security guards stop the car briefly and then the gates pull open to reveal Walt Disney waiting for Pamela. INT. CAR - CONTINUOUS Ralph is goggle-eyed at seeing Walt. RALPH Oh! Isn't that nice? Holy mackerel! Wowzers. Never met him myself but there he is! Right there. Real. Living, breathing. Oh boy! EXT. DISNEYLAND - DAY Ralph jump out of the car to let his passenger out but Disney is there first. WALT Welcome to the Magic Kingdom! Pamela steps out of the car and her eyes nearly pop out of her head with brightness of the place, unbelievable colour and excitement. PAMELA Is it all like this? Pamela pops a headache pill. WALT Yup! Isn't it wonderful? Ralph hovers at the car, filling his eyeballs with as much Walt Disney as he can get before he has to drive away. PAMELA Do you always get everything you want Walter? WALT Pretty much! PAMELA With the exception to the rights to my books of course! WALT War ain't over yet Pam! Walt takes Pamela by the arm and leads her through the gates and a murmur goes through the crowds as they gawp. A YOUNG WOMAN breaks free and rushes up to Walt. YOUNG WOMAN I love you so much! Can I--? She proffers a pen and paper but Walt is prepared, he takes a signed postcard with his face on it from his top pocket and hands it to the woman. PAMELA (DISGUSTED) Pre-signed? WALT (TO WOMAN) You should get hers too. (gesturing to Pamela) This woman's a bona fide genius! The woman looks expectantly at Pamela who just snorts. she realizes she's getting nothing and, clutching her precious postcard to her chest, melts back into the crowd who part like the red sea for Walt and his guest. EXT. MAIN STREET - DISNEYLAND - CONTINUOUS Walt and Pamela make their way down Main Street. Walt stops anyone from getting too close by immediately handing out postcards to anyone who gets near. WALT In Adventureland there is a tree-- this is a fun fact. A titbit. PAMELA Tidbit. WALT (OVER) It has three million leaves, four million flowers. PAMELA Gosh. WALT And they said only God could make a tree! Pamela rolls her eyes. There is a protracted silence as they walk, both encompassed by their own thoughts. The sunshine, the joyful crowds just background colour. They pass by a store front and Walt glances up at the window. It reads: Elias Disney Contractor Est. 1895. Pamela notices the look but doesn't say anything. WALT (CONT'D) Where did she come from? PAMELA Who? WALT I think you know who. PAMELA She flew in through the window one day. WALT Through the window huh? Pamela nods curtly. WALT (CONT'D) It's just that easy isn't it Mrs Travers? He sees right through her. WALT (CONT'D) I know you don't wanna be here so I'm gonna take you to one ride-- my favourite amusement and then I'll set you free. Way ahead of them the carousel spins in the distance. EXT. KING ARTHUR'S CAROUSEL - DISNEYLAND - DAY The carousel slows to a halt and a herd of excited children climb down from the horses and disappear into the park. WALT Mrs Travers, I would be honoured if you would ride Jingles. She's Mrs Disney's favourite horse. He escorts Pamela to a beautiful white horse, roses on it's bridal. PAMELA No thank you. I'm happy to watch. WALT No greater joy than that seen through the eyes of a child. Pamela looks at the children climbing onto the carousel. WALT (CONT'D) There's a child in us all. PAMELA Maybe in you Mister Disney, but certainly not I. WALT Get on the horse Pamela! Pamela sighs and allows Walt to help her onto the horse. WALT (CONT'D) When we first met, you said to me `they're family.' PAMELA I said what? WALT Mary Poppins, the Banks's, they're family. (BEAT) The boys have had an idea for your Mister Banks. I think it'll make you happy. PAMELA You brought me all the way out here to tell me that? WALT No. I brought you all the way out here for monetary gain. Had a wager with the boys that I couldn't get you on a ride. I win! He clambers onto his own horse, gestures to the ride controller and off they go! Pamela gently bobs up and down, Walt waves to her and she sees the unbridled thrill from the child in Mister Disney spilling out. The tiniest, tiniest of smiles threatens to surface on her lips as he points a finger in the air as if shooting for the stars. WALT (CONT'D) Yah! INT. TRAVER'S BEDROOM - ALLORA - DAY Travers has a violent coughing fit, he looks to his hand, disturbed to see blood there. He grimaces at Ellie who has her back to him as she folds clothes, a look of deep satisfaction on her face. ELLIE Well begun, is half done! His face softens as his hazy gaze falls upon Ginty, outside the window, sweeping. Their eyes meet for a brief moment, an unspoken understanding of what is to come, before his close with tiredness. INT. REHEARSAL ROOM - DAY All the tables have been pushed to the walls, Don is just pushing the last one away as Pamela comes in, followed by Dolly with the tray carrying Pamela's tea. DON Good morning Mrs Travers! She looks at the new arrangement of the room. PAMELA What horrors have you in store for my beautiful characters today, hm? Bob clenches a fist but Dick gives him a look that says: keep calm. DON Now, Mrs Travers you sit here. He ushers her to a chair facing the centre of the room. He hands pages to Bob and pages to Dolly. Don and Dolly drop to their knees so that they are half the height of Bob. Pamela raises an eyebrow. DON (CONT'D) We thought about what you said Mrs Travers and Mr Banks isn't cruel. He isn't. We've got a new ending for the film. Oh god, I hope you like it. Bob pulls a kite out from behind his back. DON (CONT'D) (AS MICHAEL) Michael says, "He mended it! It's wonderful!" DOLLY (AS JANE) However did you manage it? PAMELA (TO HERSELF) He mended it? Dick strikes a chord on the piano. DICK (SINGING) With tuppence for paper and strings You can have your own set of wings With your feet on the ground You're a bird in flight with your fist holding tight To the string of your kite Oh oh oh oh Bob takes the hands of Don and Dolly and he dances around with them (awkwardly as they are still on their knees and Bob has a limp.) Pamela's eyes on the fixed kite. DICK & BOB Let's go fly a kite Up to the highest height Let's go fly a kite and send it SOARING Up through the atmosphere Up where the air is clear Oh let's go fly a kite Don notices Pamela's foot tapping, he stands up. DON And then Mrs Banks goes to fetch her suffragettes ribbon. DOLLY (as Mrs Banks) "A proper kite needs a proper tail don't you think?!" Don drops to his knees again. BOB/DICK/DON/DOLLY Let's go fly a kite Up to the highest height Is Pamela humming too?! BOB/DICK/DON/DOLLY (CONT'D) Let's go fly a kite and send it SOARING Don bows to Pamela puts his hand out to her and to his surprise, she accepts and they begin to waltz. Pamela is surprisingly elegant and accomplished. BOB/DICK/DON/DOLLY/PAMELA Up through the atmosphere Up where the air is clear Oh let's go fly a kite Everybody is up and dancing, it's like something out of a Disney movie! DICK When you send it flying up there All at once you're lighter than air Dolly breaks away and rushes from the room. DICK (CONT'D) You can dance on the breeze over houses and trees-- INT. DISNEY OUTER OFFICE - DAY Dolly pants her way to the top of the stairs, and sees Walt just about to enter his office. DOLLY Mr Disney! Walt! Walt spins around. DOLLY (CONT'D) I'm sorry to interrupt. It's just she-- she's dancing! Mrs Travers. She's dancing with Don! He cracks a great big smile. DICK (V.O.) With your fist holding tight To the string of your kite INT. REHEARSAL ROOM - DAY As before. BOB/DICK/DON/PAMELA Oh Oh Oh Oh Let's go fly a kite Up to the highest height Let's go fly a kite and send it SOARING Up through the atmosphere Up where the air is clear Oh let's go fly a kite! They all collapse in a heap, exhausted and thrilled. PAMELA Well. BOB Well? PAMELA Yes! He fixes the kite! Oh, I love it! Dick punches the air. PAMELA (CONT'D) Though proper English would be `Let us go and fly a kite.' Bob glares at her. PAMELA (CONT'D) But I might be willing to overlook that. BOB Did we get that on tape? Everybody sighs with relief and Pamela looks to the caricature of Mr Banks with deep warmth. INT. TRAVERS BEDROOM - GOFF HOUSE - EVENING Ginty sits with her father, he's a shadow of his former self, extremely ill. The shaking has stopped, his lips are parched and blueish. TRAVERS Look at you-- all ship shape. Travers reaches up a shaking hand and musses up Ginty's perfectly plaited hair. GINTY I re-wrote the poem father. Travers doesn't respond. Ginty reaches into her pocket, takes out tuppence. GINTY (CONT'D) The aunt gave me tuppence. She shows it to him in her open palm. GINTY (CONT'D) Shall I buy you something father? TRAVERS (BARELY AUDIBLE) PEARS-- INT. SUITE - BEVERLY HILLS HOTEL - NIGHT Pamela sits bolt upright in bed, panicked. PAMELA Father? EXT. GOFF HOUSE - ALLORA - DAY Ginty skips off the porch, clutching her tuppence. Chattering to herself about pears. EXT. LAUREL CANYON - MORNING The limo crests the top of the hill. INT. LIMO - MORNING Ralph admires the view as he always does. PAMELA Do you know you're quite right? It is beautiful. Exquisite. RALPH It's always new. INT. REHEARSAL ROOM - DAY Pamela leans on the piano peering at her script. The boys are dotted about the room; all are mid-work. DON (TO PAMELA) So Jolly Holiday's in? PAMELA As you wish. Pamela is genuinely curious. PAMELA (CONT'D) Now, how in the world does Mister Disney propose to train penguins to dance?! BOB Are you serious? PAMELA I've heard about his implausibly leaved trees so I assume he does have some insane penguin wrangling scheme but it does seem rather far fetched. Can you train penguins? DON (LAUGHING) No I don't think you can train an ACTUAL-- DICK (OVER) They're animated. Pamela is confounded. PAMELA Sorry? DON Dick. DICK Cartoons. He draws a little squiggle in the air to illustrate his point. DON Dick. Pamela's face turns beetroot red, she pushes herself away from the table and storms out of the room, slamming the door behind her. DON (CONT'D) Crap. DICK What? Are we getting real penguins? INT. DISNEY - OUTER OFFICE - DAY Pamela comes storming into the offices suite. Dolly smiles up from her desk. DOLLY Good afternoon Mrs Travers! PAMELA Where is Mister Disney? DOLLY If you'd like to take a seat-- PAMELA I would not like to take a seat thank you. I would like to-- She heads for Disney's office and Dolly is up and running after her down the corridor. DOLLY Mrs Travers, please! Pamela blows past Tommie's desk. PAMELA DISNEY! INT. WALT'S OFFICE - DAY Pamela pushes open Walt's doors, catching him in the midst of signing a stack of postcards of his grinning face, an unlit cigarette in his pen hand. TOMMIE Walt, I'm so sorry. WALT Don't worry Tommie, please close the door. Disney gestures to his cigarette. WALT (CONT'D) Never let anybody see me smoking. I'd hate to encourage bad habits. Please, sit down. PAMELA I shall not sit in the seat of a trickster! A fraudster! A sneak! WALT PAMELA-- PAMELA MRS TRAVERS. PLEASE! WALT Mrs Travers, what in the world has upset you so? PAMELA Penguins! Walt is confused. PAMELA (CONT'D) Penguins have very much upset me Mister Disney! Animated, dancing penguins! Now, you have seduced me with the music Mr Disney, yes you have. Those Sherman boys have quite turned my head but I shall not be moved on the matter of cartoons. Not one inch sir! WALT It's a sequence-- PAMELA You promised me. You promised me that this film would not be an animation! WALT And it isn't! PAMELA So they're real penguins? WALT No they're animated. PAMELA (SUDDEN REALIZATION) Oh. (to herself, smiling RUEFULLY) You foolish old woman. Pamela reaches into her purse and pulls out the assignment of rights papers and leaves them on the table. PAMELA (CONT'D) Good day Mister Disney. She turns on her heel and leaves. Disney stares at the pages aghast. WALT Pam! Pamela! Mrs Travers! Wait! INT. DISNEY - OUTER OFFICE - DAY Pamela flies past Dolly's desk. PAMELA Please call my driver and have him pick me up. DOLLY Yes ma'am, when? PAMELA NOW! EXT. DISNEY STUDIOS - DAY Pamela flees to her bench, wrapping her arms around herself. Disney comes after her. WALT Please Mrs Travers-- You must listen. PAMELA You shouldn't make promises you can't keep, especially to children, they hold on to them you see? And those promises they just sit there inside of them, like little doses of poison, all those broken promises, eating away forever. WALT Pamela? I don't understand why this is so hard for you. Please, make me UNDERSTAND-- PAMELA The books weren't written for the children. They were written for the promise breakers. WALT The promise breakers? Mrs Travers I- - But she's gone, face to the sky, eyes closed, breathing. WALT (CONT'D) Mrs Travers? Ralph pulls up and gets out of the car. RALPH Woah! Mister Disney! WALT Hi. RALPH Hi! I'm such a huge fan. It's such an honour to-- He suddenly sees that Pamela is more deeply entrenched in herself than usual and his priority becomes her. RALPH (CONT'D) (TO WALT) Excuse me. Ralph moves past Walt and gently taps Pamela on the shoulder, she opens her eyes, relieved to see him. RALPH (CONT'D) You ready to go Mrs? PAMELA Yes. Thank you. WALT PAMELA-- PAMELA (TEARING UP) I'm so sorry Mister Disney. To have put everyone to so much trouble. WALT You must reconsider. You must. PAMELA I simply can't give her up. Not yet. Perhaps not ever. I don't know WHY DISNEY You do know why! PAMELA I can't, he's-- DISNEY He's? PAMELA I just-- Goodbye Mr Disney. She goes to get in the car and Disney puts a hand to stop her but Ralph blocks it. RALPH The lady's ready to go now sir. Walt steps away and Ralph closes the door to the car. WALT He's? Walt watches the car disappear, wracked with frustration and confusion. He takes a seat on Pamela's bench and wraps his arms around himself and looks to the sky. EXT. LAX - DAY Ralph climbs out of the limo and opens the back door for Pamela. He gestures for a valet to come and take her bags and opens the trunk of the car. RALPH It's been a pleasure driving you Mrs. PAMELA No one likes a fibber. RALPH (CHUCKLES) I really have enjoyed it. Didn't know who you were at first and then guess what? PAMELA You found out? RALPH I was telling my daughter all about my day and how I was driving this nice writer lady, Mrs Travers for Mr Disney and-- PAMELA AND-- RALPH AND-- (he leans into the PASSENGER WINDOW) And she makes me go to her bedroom and get this! (he pulls out a Mary POPPINS BOOK) Can't stop reading it. I'm very slow mind you. Pamela smiles. PAMELA Would you like me to sign it? RALPH (DELIGHTED) Would you?! PAMELA I'd be honoured. Ralph hands her his pen and she begins to write. PAMELA (CONT'D) Your daughters name? RALPH Jane. PAMELA Really? RALPH Uh huh. Like the girl in the book. PAMELA (reading as she writes) To Jane and her dearest father-- (she looks at him) I've just this instant realized I don't know your name. RALPH Ralph. She shakes his hand. PAMELA Pamela. RALPH Pamela. PAMELA You're the only American I have ever liked, Ralph. Ralph is chuffed to bits. RALPH May I ask why? PAMELA No. Now take this-- She hands him the piece of Beverly Hills Hotel stationery with her notes on. RALPH (READING) Albert Einstein, Van Gogh, Roosevelt, Frida Kahlo-- (BEAT) What is this? PAMELA They all had difficulties. Jane can do anything that anyone else can do, do you understand? Ralph looks at her in awe. PAMELA (CONT'D) Look at the bottom. RALPH Walt Disney! PAMELA Deficiencies in concentration and hyperactive behavior. Explains everything! Pamela turns to leave. RALPH Thank you Mrs. Pamela doesn't look back. INT. DISNEY - OUTER OFFICE - LATE AFTERNOON Tommie and Dolly silence their gossiping as a tired and broken Walt Disney appears in front of them. WALT She's gone? Tommie looks down at her paperwork and nods at Walt apologetically. TOMMIE Flight left 10 minutes ago. Tommie hands him the itinerary, he glares at it. WALT (expecting to read her NAME) PAMELA TRA-- (BEAT) Goff? Who's Helen Goff? TOMMIE Her. That's her real name. Walt is confused. DOLLY Yuh, didn't you know? She's all hoity toity. British this and British that and she's really an Aussie called Helen Goff. Stuck up-- WALT Then who's Travers? Tommie and Dolly look at each other and shrug. WALT (CONT'D) (smiles to himself) I've been talking to the wrong person. EXT. GOFF HOUSE - DAY Ginty skips up the path, clutching a brown paper bag. She ruffles Andrew's fur before entering the house. INT. GOFF HOUSE - DAY Ginty senses something wrong, she hears hushed, urgent and emotional voices in the hall. She pokes her head into the hallway. There, huddled together, whispering are her mother, the doctor and Aunt Ellie. Ellie is holding a pile of blood stained sheets. Ginty stands frozen, trying to still the panicked beating of her heart. Margaret spies Ginty and moves towards her as if in slo-mo. There are flecks of blood on her dress. She is ashen, shattered. She comes down to Ginty's level. MARGARET DADDY-- Ginty cannot react. Margaret sweeps her into her arms and Ginty drops the brown paper bag; it tears and scatters pears all over the floor. Ginty's eyes fix on Aunt Ellie's umbrella on the back of the chair, drawn into its beady black eyes. GINTY I want to see my father. MARGARET No, you mustn't. GINTY I want to see him! Suddenly she turns into a wildcat - lashing, thrashing, biting, screaming. Nothing will stop her seeing Travers. AUNT ELLIE Let her go Margaret. Margaret is forced to let go and Ginty runs for her father's bedroom. INT. TRAVERS' BEDROOM - DAY Ginty stands in the bedroom, a long way from the bed. She stands there, it seems, for an eternity. Then, finally, step by step she draws closer. The empty bottle on the floor. The sheets twisted, still wet with sweat, flecked and spotted with blood. The front of her father's nightdress is also bloodstained. Ginty's eyes reach his face. Travers lies, eyes open, mouth open, teeth slightly red-stained, neither peaceful nor distressed. Just-- nothing. GINTY I dropped the pears. She perches on the edge of the bed and takes his hand. GINTY (CONT'D) I'm sorry daddy. Ellie appears in the doorway, Ginty addresses her without turning around. GINTY (CONT'D) You promised you would fix everything. EXT. SHAWFIELD STREET - LONDON - DAY A black London Taxi pulls up outside the house. Pamela climbs out of the car, struggling to pull her huge Mickey Mouse out too. INT. SHAWFIELD STREET - LONDON - DAY Pamela moves through the vestibule, lugging her suitcase. PAMELA Hello house. INT. PAMELA'S LIVING ROOM - NIGHT Pamela sits in a chair in the living room watching in darkness. She gently closes her eyes, ringed with sadness and a lifetime's despair. There's a knock at the door and she jolts awake, she doesn't know how long she's been asleep but it's black outside. She gets up and rushes to the door as quickly as her feet will take her. She swings it open. PAMELA Oh dear god! Standing on the doorstep is Walt Disney. Pamela is, quite literally, speechless. WALT It was one heck of a job getting a seat on the very next flight, let me tell you. PAMELA But, you always get what you want eventually. Isn't that right Walter? He looks down at her hand clenched into a fist and shaking. WALT How about you show me how to make one of those nice English pots of tea? INT. PAMELA'S DRAWING ROOM - NIGHT Pamela sits at the table, as Disney carries in a tray with a teapot, a milk jug, a sugar bowl and two cups. These he places on the table and proceeds to pour tea. PAMELA Milk. The milk goes in first. He attends to it. WALT I remember. PAMELA And whiskey. I'll have whiskey in mine. Disney follows her gesture to the whiskey decanter. She takes it from him and pours a generous slug into her teacup. WALT (SURPRISED) Oh. (BEAT) Oh well, when in Rome! He pours a slug into his tea too. PAMELA You've come to change my mind. To beat me into submission. WALT No, I've come because you misjudge me. PAMELA How do I misjudge you? WALT You look at me and you see some kind of Hollywood King Midas. (MORE) WALT (CONT'D) You think I've built an empire and that I want to use your Mary Poppins as just another brick in my kingdom. You think I see her with a carpetbag full of greenbacks. PAMELA And don't you? WALT If that was all it was would I have pursued an cranky, stubborn dame like you for twenty years? I'd've have saved myself an ulcer! (BEAT) No, you expected me to disappoint you and so you made sure I did. You see, I think life disappoints you, Mrs Travers. I think it's done that a lot. Maybe Mary Poppins is the only person in your life who hasn't. PAMELA Mary Poppins isn't real. WALT Oh, no, that's not true. She's real as can be to my daughter's and to thousands of other children-- adults too. She's been there as a nighttime comfort to a heck of a lot of people. PAMELA Well, Where is she when I need her? Hm? I open the door to Mary Poppins and who should be standing there but Walt Disney! He laughs. WALT Mrs Travers, I am so sorry. I hoped this would be a magical experience for you, for all of us. But I let you down-- and in doing so, I've broken a twenty year old promise to my girls. (BEAT) I've been wracking my brains, trying to figure out why this has been so hard for you and I-- (BEAT) You see, I have my own Mr Banks. Mine had a moustache. PAMELA Ah! Not true then that Disney created man in his own image? WALT But it is true that you created yourself in someone else's yes? She doesn't answer. Walt takes mouthful of laced tea and coughs a little. WALT (CONT'D) Ever been to Kansas City, Mrs Travers? Do you know Missouri at all? PAMELA Can't say I do and as I have no plans to ever set foot on American soil again I'm afraid I never will. WALT It's mighty cold there in the winters. Bitter. Walt stops talking, catches himself, looks away and then gives in. His enthusiasm completely disappears and he's suddenly as ragged and as weary as Pamela. WALT (CONT'D) (it pours out) My dad, Elias Disney, he owned a newspaper delivery route there. Thousand papers. Twice daily. Morning and evening edition. Elias, he was a tough businessman. A save- a-penny anywhere you can type of fella so he wouldn't employ any delivery boys, he just used me and my big brother Roy. I was eight then-- eight years old. (BEAT) Like I said, those winters were harsh and old Elias didn't believe in new shoes until the old ones were worn right through so-- (BEAT) Honestly, Mrs Travers, the snow would be up to here-- He gestures to his knees. WALT (CONT'D) You'd push through it like wading through molasses. (MORE) WALT (CONT'D) And the cold and the wet would be seeping through the shoes and the skin would be raw and peeling from our faces-- and sometimes I'd find myself sunk down in the snow, waking up, cuz I must've passed out for a moment-- I dunno. Then school, too cold to figure out an equation. And back into the snow so by the time we got home it'd be just getting dark, and every part of you would sting like crazy as it slowly came back to life in the warmth. My mother would feed us dinner and then it'd be time to go out again for the evening edition. (BEAT) Best be quick Walt, best be quick or poppa's gonna show you the buckle end again boy. Walt smiles at Pamela, sips his tea. WALT (CONT'D) Now, I don't tell you all this to make you sad Mrs Travers, I don't. I love my life - it's a miracle. And I loved my daddy, boy I loved him. But, there isn't a day goes by where I don't think of that little boy in the snow and old Elias with his fist and strap and I'm just so tired-- I'm tired of remembering it that way. Aren't you tired Mrs Travers? We all have our tales but don't you want to find a way to finish the story? Let it all go and have a life that isn't dictated by a past? (BEAT) It's not the children she comes to save. It's their father. (BEAT) It's your father--? (BEAT) Travers Goff. PAMELA I don't know what you think you know about me Walter-- WALT You must've loved and admired him a lot to take his name-- PAMELA I-- WALT Mrs. Travers. It's all about him isn't it? All of this. Everything. Pamela looks at her hands, they're shaking. WALT (CONT'D) Forgiveness. It's what I learned from your books. PAMELA I don't need to forgive my father. He was a wonderful man. WALT No, you need to forgive Helen Goff. Life is a harsh sentence to lay down for yourself. Pamela looks down at the table top. WALT (CONT'D) Give her to me, Mrs Travers. Trust me with your precious Mary Poppins. I won't disappoint you. I swear that every time a person goes into a movie house - from Leicester to St Louis, they will see George Banks being saved. They will love him and his kids, they will weep for his cares, and wring their hands when he loses his job. And when he flies that kite, oh! They will rejoice, they will sing. In every movie house, all over the world, in the eyes and the hearts of my kids, and other kids and their mothers and fathers for generations to come, George Banks will be honoured. George Banks will be redeemed. George Banks and all he stands for will be saved. Maybe not in life, but in imagination. Because that's what we storytellers do. We restore order with imagination. We instill hope again and again and again. Trust me, Mrs Travers. Let me prove it to you. I give you my word. INT. PAMELA'S KITCHEN - NIGHT Pamela is alone. The unsigned rights papers in front of her on the table. She looks at Mickey who occupies the chair opposite her, her face softens under his gaze. PAMELA Enough. EXT. ANIMATION BUILDING - THREE YEARS LATER - DAY Disney employees pass by a giant movie poster which reads: MARY POPPINS - OPENING SOON! Walt exits the building. He's but a few steps out of the door when Tommie appears behind him. TOMMIE Walt. She hands him a sheet of paper. TOMMIE (CONT'D) Invitation list for the premiere. WALT Is that everyone? TOMMIE Not everyone. She looks at Walt questioningly. WALT (SIGHS) We'll premiere in London as well. It'll be more convenient for her. Tommie holds his look. WALT (CONT'D) There'll be cameras, press, interviews-- I have to protect the picture. TOMMIE Okay. Walt walks away, he's lost a bit of steam. Tommy watches him go. OMITTED INT. PAMELA'S OFFICE - DAY. Pamela taps away on her typewriter with gusto. She pings the return and breathes, satisfied. PAMELA I should say so too. The doorbell sounds, voices. Pamela begins to tap again. POLLY (O.S.) Mrs Travers! Pamela tuts, tries to carry on with her work. POLLY (O.S.) (CONT'D) Mrs Travers! Pamela rises from her chair, smoothes down her skirt. PAMELA For goodness sake! She rises from her chair, smoothes down her skirt and makes her way to the front door. PAMELA (CONT'D) Please don't screech like an alleycat! INT. PAMELA'S LIVING ROOM - DAY Pamela and Diarmuid sit together. Pamela is quite changed, she looks younger, radiant, worry free. DIARMUID I am so pleased to hear that Mrs Travers. PAMELA I should think you'll have a draft very soon. (CALLING OUT) Polly! Where's that tea? (TO DIARMUID) It's coming along marvelously! Polly kicks the door open with her foot and plonks the tea down in front of Pamela and Diarmuid. She sneezes twice, doesn't bother to pour and turns to leave. PAMELA (CONT'D) (TO POLLY) Would you pour please? POLLY You're perfectly capable of doing it yourself. Polly leaves, Pamela rolls her eyes. PAMELA She's quite the worst maid I've ever had! DIARMUID So why do you keep her? PAMELA I don't know-- she reminds me of me. Diarmuid laughs. DIARMUID Do you have a title? PAMELA Mary Poppins in the Kitchen. DIARMUID Wonderful. Should we start talking about the film rights? Pamela narrows her eyes at him. PAMELA NEVER again. DIARMUID Okay. (BEAT) Now, tell me, Have you got your tiara for the premiere? PAMELA Oh, I'm not going. DIARMUID Why not? PAMELA Hollywood premieres are not for old trout like me. Anyway, it's not CONVENIENT-- DIARMUID He hasn't invited you, has he? Pamela doesn't reply. DIARMUID (CONT'D) Mary Poppins wouldn't stand for that. INT. PLANE - DAY Pamela is hot and bothered trying to wrestle her cabin baggage into an overhead locker. The same flight attendant from the top of the film appears. FLIGHT ATTENDANT Can I help you? PAMELA I'm perfectly capable thank you. The flight attendant recognizes her with something akin to horror. FLIGHT ATTENDANT Suit yourself-- ma'am. PAMELA (CHEERY) I shall! CAPTAIN (O.S.) Ladies and gentlemen, good afternoon and welcome aboard this flight to Los Angeles. Just a few announcements before we begin our taxi for takeoff-- Pamela takes the seat next to the window, she looks out at the tarmac. She closes her eyes, takes a deep breath, opens her eyes again and tucks her feet tidily together. She folds her hands neatly into her lap and looks straight ahead. INT. DISNEY STUDIOS - OUTER OFFICE - DAY Walt enters the outer office walking briskly towards his own office. WALT Morning Dolly. Dolly opens her mouth to speak but he's already past and APPROACHING-- TOMMIE'S DESK Tommie sits, arms crossed and stares, half bemused at Walt. WALT (CONT'D) What? Tommie nods toward his office. Pamela is sitting in a chair, back to them. PAMELA Me again! INT. DISNEY OFFICE - DAY Walt semi-recovers as quickly as possible and enters his office. WALT Mrs Travers! How wonderful to see you. What brings you to-- PAMELA I'm here for my premiere. WALT Great! PAMELA I didn't receive my invitation, but I just assumed the American postal service had fallen down on the job as per usual. She smiles sweetly. WALT I'll have a-- uh, replacement sent to your hotel right away. PAMELA That's very kind, Mr Disney. I knew you wouldn't have forgotten me. WALT Pam, how could I? PAMELA How indeed? You did, after all, assure me that I wouldn't be disappointed. INT. SUITE - BEVERLY HILLS HOTEL - DAY The porter lets Pamela into her room, and doesn't even bother hovering for a tip. Pamela turns and it's like deju vu - the flowers, the chocolates, the champagne, a VIP invitation to the premiere of Walt Disney's Mary Poppins. And, of course, the ubiquitous stuffed Mickey Mouse. PAMELA (TO MICKEY) I thought I left you in London. EXT. BEVERLY HILLS HOTEL - FORECOURT - NIGHT Pamela looks wonderful in a long white gown with turquoise silk gloves to her elbows and matching wrap falling from her shoulders. PAMELA (TO DOORMAN) Would you call me a taxi please? DOORMAN Absolutely. The doorman goes to find her a cab and in his absence a limo pulls up to the kerb. Pamela doesn't dare get her hopes up but the door swings open and there he is, her favorite person in America. RALPH Had a feeling a certain friend of mine might be needing me tonight. PAMELA Ralph! She rushes to him and they give each other a friendly hug. RALPH You look like a million bucks! Let's get you to the ball. He opens the back door for her and she climbs in. EXT. GRAUMAN'S CHINESE THEATER - HOLLYWOOD - NIGHT It's spectacular! Disney's biggest Hollywood opening. Bulbs flash continuously as limo after limo pulls up at the red carpet. Ushers are dressed as English bobbies. Reporters stand on podiums in colourful suits, Penguins dance their hearts out in front of the theater. Pearly Kings and Queens play for the onlookers. Crowds and crowds of fans scream every time a bulb flashes, waving their autograph books and posters in the air. Every Disney character imaginable bounces up and down the lines of well-wishers, hugging them, dancing for them, signing their booklets. Hollywood Blvd is completely shut down and the atmosphere is like the happiest party you could ever go to. INT. LIMO - NIGHT Ralph takes the car slowly through the crowds. Onlookers press their faces against the windows trying to make out who is inside. Pamela is nervous, everyone else has someone with them but Pamela must brave the crowd alone. EXT. GRAUMAN'S CHINESE THEATER - HOLLYWOOD -NIGHT The limo stops at the edge of the carpet and Ralph jumps out. He rushes round to Pamela's side and helps her from the car. Immediately a round of flashes go off and Pamela puts her arm up to shield her eyes. It's too much. RALPH (in her ear) This is your night. None of this would be possible without you. She brings her arm down, straightens her dress and breaks into a smile, making her way down the carpet to frantic whispers amongst the press and autograph hunters of: "Who is that?" "Is that anyone?" Pamela spots Walt, Dick Van Dyke and Julie Andrews being interviewed together up ahead. Mickey Mouse bounces down the carpet and slows-- he and Pamela lock eyes for a brief moment. He holds out his gloved hand, she takes it and together they watch as a huge toy train chugs to a halt on the blvd and hundreds upon hundreds of coloured balloons fly out of it's roof and into the air. EXT. GRAUMAN'S CHINESE THEATRE - NIGHT Pamela moves through the spangling, glittering, perfect toothed Hollywood crowd and no-one pays any attention to her. INT. GRAUMAN'S CHINESE THEATRE - AUDITORIUM - NIGHT The auditorium is jam packed. Pamela is seated in front of Walt Disney. Don, the Shermans and their families are in the same row as her - Bob Sherman next to her. The lights begin to dim. The overture begins-- We stay close on Pamela as the sounds of the overture fade and the melody of a single tin whistle playing one of Travers old melody's rings in her ears. We hear snippets of the film in the background but we remain with Pamela. She looks around at the faces in the audience - laughing, humming, sad, happy, joyous. Intercut with images from Pamela's childhood and the voices of Bert and Jane - Ellie's parrot head umbrella-- BERT You know, begging your pardon, but the one my heart goes out to is your father. The carousel horses at the Allora fair-- BERT (CONT'D) There he is in that cold, heartless bank day after day, hemmed in by mounds of cold, heartless money. The tuppence and rolling pears-- BERT (CONT'D) I don't like to see any living thing caged up. Uncle Albert with Ginty on his back, carrying her river soaked mother back to the house-- JANE Father in a cage? Ginty pressing the final bottle into her father's hand-- BERT They makes cages in all sizes and shapes, you know. The image of the dead Travers in his bloodstained bed-- BERT (CONT'D) Bank-shaped some of 'em, carpets and all. DISSOLVE TO: Children in the audience, their little faces tilted upwards. Rapt. MICHEAL You won't ever leave us will you? JANE Whatever would we do without you? MARY POPPINS I shall stay until the wind changes. And then an image from the film: George Banks walks away from us down the misty tree-lined London street, on his way to be fired from the bank. Walt Disney watches with quiet satisfaction. Pamela however has tears coursing down her face. Her shoulders heave as she tries desperately not to sob out loud but people are noticing, looking at her. Disney leans forward, placing a hand on her shoulder. She reaches up and grips it tightly, unable to speak. WALT It's all right, Mrs Travers. It's alright. Mr Banks is going to be all right. I promise. Pamela nods in gratitude, but cannot contain her sobs. It's all pouring from her now, in one immense catharsis. PAMELA No, no. It's just that-- I can't, I can't abide cartoons! We stay on her face as we bring up the final song of the film: Let's Go Fly A Kite. The audience around her are smiling, laughing, singing along. Pamela, the tears, silent now, still pouring down her cheeks as she slowly begins to mouth along with the lyrics. And in her head one final image appears. Travers gaze falls upon Ginty, outside his bedroom window, sweeping. Their eyes meet for a brief moment, an unspoken understanding of what is to come, before his close with tiredness. TRAVERS (V.O.) Never. I promise. I will never lose you. DISSOLVE TO: EXT. MARYBOROUGH PARK - DAY The shadow of an umbrella leaves the ten-year-old Ginty sitting in the lush grass, arms wrapped tightly around her chest, face to the sky as a smile breaks free across her face. TRAVERS (V.O.) (SINGING) Winds in the East Mist coming in-- The shadow of an umbrella, floats higher and higher-- TRAVERS --Like something is brewing, about to begin-- And further and further-- TRAVERS (CONT'D) Can't put me finger on what lies in STORE-- We give chase but cannot catch up-- TRAVERS (CONT'D) But I feel what's to happen, all HAPPENED BEFORE-- And the umbrella floats up, up, up into the atmosphere and AWAY-- FADE OUT: END \ No newline at end of file diff --git a/unformated_scripts/Script_Saving Private Ryan.txt b/unformated_scripts/Script_Saving Private Ryan.txt new file mode 100644 index 0000000000000000000000000000000000000000..1554340e9d5256f04c84b3889b8c7965b0dab17b --- /dev/null +++ b/unformated_scripts/Script_Saving Private Ryan.txt @@ -0,0 +1 @@ +S A V I N G P R I V A T E R Y A N by Robert Roday (Early Draft) Typed for the Internet by: David Pritchett screenwryter@hotmail.com -------------------------------------------------------------- FADE IN: CREDITS: White lettering over a back background. The THUNDEROUS SOUNDS OF A MASSIVE NAVAL BARRAGE are heard. The power is astonishing. It roars through the body, blows back the hair and rattles the ears. FADE IN: EXT. OMAHA BEACH - NORMANDY - DAWN The ROAR OF NAVAL GUNS continues but now WE SEE THEM FIRING. Huge fifteen inch guns. SWARM OF LANDING CRAFT Heads directly into a nightmare. MASSIVE EXPLOSIONS from German artillery shells and mined obstacles tear apart the beach. Hundreds of German machine guns, loaded with tracers, pour out a red snowstorm of bullets. OFFSHORE SUPERIMPOSITION: OMAHA BEACH, NORMANDY June 6, 1944 0600 HOURS HUNDREDS OF LANDING CRAFT Each holding thirty men, near the beaches. THE CLIFFS At the far end of the beach, a ninety- foot cliff. Topped by bunkers. Ringed by fortified machine gun nests. A clear line-of-fire down the entire beach. TEN LANDING CRAFT Make their way toward the base of the cliffs. Running a gauntlet of explosions. SUPERIMPOSITION: THE FOLLOWING IS BASED ON A TRUE STORY THE LEAD LANDING CRAFT Plows through the waves. THE CAMERA MOVES PAST THE FACES OF THE MEN Boys. Most are eighteen or nineteen years old. Tough. Well-trained. Trying to block out the fury around them. A DIRECT HIT ON A NEARBY LANDING CRAFT A huge EXPLOSION of fuel, fire, metal and flesh. THE LEAD LANDING CRAFT The Motorman holds his course. Shells EXPLODE around them. FLAMING OIL BURNS on the water. CANNON FIRE SMASHES into the bow. THE MOTORAMAN IS RIPPED TO BITS BLOOD AND FLESH shower the men behind him. The mate takes the controls. A YOUNG SOLDIER His face covered with the remains of the motorman. Starts to lose it. Begins to shudder and weep. His name is DeLancey. THE BOYS AROUND HIM Do their best to stare straight ahead. But the fear infects them. It starts to spread. A FIGURE Pushes through the men. Puts himself in front of DeLancey. The figure is CAPTAIN JOHN MILLER. Early thirties. By far the oldest man on the craft. Relaxed, battle-hardened, powerful, ignoring the hell around them. He smiles, puts a cigar in his mouth, strikes a match on the front of DeLancey's helmet and lights the cigar. DeLancey tries to look away but Miller grips him by the jaw and forces him to lock eyes. Miller smiles. DeLancey is terrified. Delancey Captain, are we all gonna die? Miller Hell no, two-thirds, tops. Delancey Oh, Jesus... Miller I want every one of you to look at the man on your left. Now look at the man on your right. Feel sorry for those to sons-of-bitches, they're going to get it, you're not going to get a scratch. A few, including DeLancey, manage thin smiles. Miller releases his grip on DeLancey who moves his jaw as if to see if it's broken. Miller pats him on the cheek and moves on to the bow. MILLER Looks over the gunwale at THE HELL IN FRONT OF THEM. PAN DOWN TO MILLER'S HAND It quivers in fear. Miller glances around, sees that none of the men have noticed. He stares at his hand as if it belongs to someone else. It stops shaking. He turns his eyes back to the objective. THE LEAD LANDING CRAFT HITS THE BEACH The six surviving boats alongside. EXPLOSIVE PROPELLED GRAPPLING HOOKS FIRE From the landing crafts. Arc toward the top of the cliffs. THE LEAD CRAFT RAMP GOES DOWN A river of MACHINE GUN FIRE pours into the craft. A dozen men are INSTANTLY KILLED. Among them, DeLancey. MILLER Somehow survives. Jumps into the breakers. MILLER MOVE, GODDAMN IT! GO! GO! GO! EXPLOSIONS EVERYWHERE THE GERMANS On the edge of the cliff. Rain down MACHINE GUN FIRE and GRENADES. THE AMERICANS Struggle through the surf. FIRING up as best they can. Making for the base of the cliffs. INCENDIARY GRENADES, HURLED FROM ABOVE, EXPLODE, SPREADING FIRE MILLER Ignores the EXPLOSIONS and BULLETS. Uses hand signals and curt orders. MILLER THERE! THERE! HOOKS THERE! FIRE SQUAD, THOSE ROCKS! THE MEN Obey instantly. Set the grappling hooks. Take position. Return fire. THE SOUNDS OF BATTLE Drown out most voices. Except the SCREAMS OF THE WOUNDED AND DYING. THE MEN Know what they have to do. Start up the ropes. Into the teeth of the German defenders. MILLER Back-straps his Thompson sub-machine gun. Starts climbing with the first group. THE CLIFF FACE The Americans swarm up the ropes. Taking turns firing up at the Germans. MILLER SEES A STALLED CLIMBER A soft-faced boy. Grabs him by the back of his collar. Roughly yanks him up. Nearly choking him. They boy climbs on. HALF-WAY An American private is HIT. FALLS, taking two others with him. All three land on the rocks below. Another way to die. NEAR THE TOP Less steep. They leave the ropes. Free climb, scrambling up the rocks. MILLER Joins half-a-dozen pinned down men. Others bottleneck behind them. Miller scans the route and the defenders. Sees an open gap. Deadly. Beyond is a protective overhang. With a clear line to the top. MILLER That's the route. Miller motions to six men huddled near him. MILLER Go! THE SIX MEN Take an instant to get ready. Then SCRAMBLE into the gap. MILLER AND THE OTHERS Do their best to cover them. POUR FIRE up at the Germans. Bad angle. No Germans are hit. THE SIX MEN Are CUT TO RIBBONS by MACHINE GUN FIRE. All KILLED. They fall to the rocks below. SARGE, mid-twenties, experienced, Miller's right arm and best friend, dives into the rocks next to Miller. Sarge That's a goddamned shooting gallery, Captain. MILLER It's the only way. MILLER Turns to the next half-dozen men. MILLER YOU'RE NEXT! THE SECOND SIX Move to the head of the gap. Miller moves for a better angle against the machine guns. Calls to JACKSON, a tall, gangly Southern country boy, sharp-shooter. MILLER JACKSON, PICK OFF A FEW OF THEM, WILL YOU? JACKSON (heavy Southern accent) You betcha, Captain. Miller signals others where to direct their cover fire. Turns to the second six. MILLER GO! THE SECOND SIX Take deep breaths. Head into the gap. MILLER AND OTHERS BLAST SURPRISING FIRE JACKSON, NAILS a pair of Germans. MILLER CUTS DOWN two more. SARGE gets one. Not enough. THE SECOND SIX Are RAKED BY MACHINE GUNS. All are KILLED. MILLER Turns, looking for the next six. His eyes fall on Sarge and REIBEN who is a cynical, sharp, New Yorker. Reiben smiles. REIBEN (heavy Brooklyn accent) Captain, can I put in for a transfer? MILLER Sure, meet me at the top, we'll start the paperwork. THE THIRD SIX Moves into place. Sarge and Miller exchange a look. They both see the madness of what they're doing. MILLER AND THE OTHERS OPEN UP on the Germans. MILLER GO! SARGE Rolls his eyes, takes a breath. Scrambles into the gap. The other five right behind. IN THE GAP BULLETS EVERYWHERE. Three are HIT. Then another. POTATO MASHER GRENADES bounce down. EXPLODE below. THE GERMAN MACHINE GUN swings toward Sarge and Reiben. Miller sees them about to get it... MILLER STEPS OUT INTO THE OPEN. A perfect target. Captain's bars glinting. FIRING. TRYING TO DRAW THE GERMAN FIRE. THE GERMAN MACHINE GUNNER SEES MILLER STANDING IN THE OPEN. Too much to pass up. He swings the machine gun away from Sarge and Reiben, toward Miller. A ROW OF GERMAN BULLETS approaches Miller...he's an instant from death. SARGE AND REIBEN DIVE Under the overhang to safety. MILLER DIVES BACK TO COVER, BARELY MAKES IT, HIS BOOT HEAL IS BLOWN OFF. UNDER THE OVERHANG Sarge and Reiben untangle themselves. REIBEN I'll be Goddamned! I'm not dead! Sarge hollers back to Miller. SARGE CAPTAIN, IF YOUR MOTHER SAW YOU DO THAT, SHE'D BE VERY UPSET! MILLER I THOUGHT YOU WERE MY MOTHER. Quick smiles. MILLER AND HIS RANGERS lean out and FIRE. HIT more Germans. SARGE AND REIBEN run up the path, under the overhang. Stop near the top. Pull pins on grenades. Count. Both throw long, arcing over the crest, perfectly aimed. THE TWO GRENADES EXPLODE. Putt out the two worst machine gun nests. MILLER Crosses the gap. His men follow. AT THE CREST The Americans swarm over the top. FIRING. TWO DOZEN GERMANS FIRE BACK as they retreat. Abandoning the perimeter defense of the bunkers. The Germans are CUT DOWN. MILLER motions to WADE, a small, wide-eyed, demolition man who's struggling under the weight of half-a dozen satchel charges. MILLER Okay, Wade, your turn. Wade Captain, I love it when you say that. Miller, Sarge, Reiben and Jackson cover Wade as he races to the first of three bunkers. Dodging bullets from inside. Wade tosses a SATCHEL CHARGE into a gun port. A HUGE, MUFFLED EXPLOSION, rocks the bunker. MILLER AND SARGE Survey the field. SARGE What the hell were you doing? Drawing fire! MILLER Worked, didn't it? SARGE You tryin' to get yourself killed? MILLER Don't need to, the Krauts go that covered. Sarge shakes his head at Miller, then he looks over the cliff at the scores of men, their shattered, burning bodies covering the rocks and the beach below. He's clearly affected. Miller coldly glances at the dead and wounded. Then he moves on, leading his surviving men toward the two remaining German bunkers. The SOUNDS OF BIG GUNS and MACHINE GUNS FIRE surround him. DISSOLVE TO: EXT. WAR DEPARTMENT BUILDING - DAY The SOUND OF CLATTERING MACHINE GUN FIRE SEGUES TO that of CLATTERING TYPEWRITERS. A huge government building stands in the heart of Washington, D.C. SUPERIMPOSITION: WAR DEPARTMENT WASHINGTON, D.C. JUNE 8, 1944 INT. COMMUNICATIONS OFFICE - WAR DEPT. - DAY Very busy. A dozen, somber military clerks work behind desks, quickly and efficiently. No small talk. A CLERK Older than the others, sad-eyed, adds a sheet of paper to a large pile in his out-box. CLOSE SHOT An outgoing telegram. It reads: "We regret to inform you...killed in action...heroic service..." This is the paperwork of death. THE CLERK Pulls out a file. Reads. Finds something troubling. Quickly shuffles through some other papers. Finds what he's looking for. Rises from his desk and hurries out of the office. INT. LIEUTENANT'S OFFICE - WAR DEPT. - DAY Seen through the glass wall. The clerk speaks to a YOUNG LIEUTENANT who is visibly shaken by what he is being told. He motions to the clerk to follow and he strides out of the office with the clerk on his heels. INT. CAPTAIN'S OFFICE - WAR DEPT. - DAY Again, seen through a glass wall. The Young Lieutenant speaks to a YOUNG CAPTAIN who, like the Lieutenant is clearly bothered by what he's being told. The Captain takes the papers from the Young Lieutenant and strides out. INT. COLONEL'S OFFICE - WAR DEPT. - DAY A busy office. Aides and secretaries scurry about. The walls and tables are covered with maps of Normandy and complex deployment charts. A ONE-ARMED COLONEL with a chest full of ribbons pours himself another cup of coffee. He clearly hasn't slept in a long time. The Young Captain, his staff officer, walks in. Young captain Colonel, I've got something you should know about. One-armed colonel Yes? Young captain Two brothers died in Normandy. One at Omaha Beach, the other at Utah. Last week in Guam a third brother was killed in action. All three telegrams went out this morning. Their mother in Iowa is getting all three telegrams this afternoon. The life drains from the Colonel. Others in the room hear and freeze. One-armed colonel Oh, Jesus. Young captain There's more. There's a fourth brother. The youngest. He parachuted in with the Hundred-and-First Airborne the night before the invasion. He's on the front. One-armed colonel Is he alive? Young captain We don't know. The Colonel regains his bearings. Stands and motions curtly to the Captain. One-armed colonel Come with me. The Colonel regains his bearings. Stands and motions curtly to the Captain. One-armed colonel Come with me. The Colonel strides from the room with the Captain on his heels. The aides and secretaries watch them go. EXT. FARM ROAD - IOWA - DAY A black car drives along a dirt road, a cloud of dust rising behind. Passing through an endless expanse of ripening corn. EXT. RYAN FARM - IOWA - DAY A whit farmhouse. A barn. A stand of trees. Cornfields as far as the eye can see. IN THE YARD A tire swing. A bushel basket nailed to the barn over a dirt basketball court. A PORCH SWING Sits empty. Moves slightly. ON THE GLASS OF THE FRONT DOOR Four American flag decals. Each one, a man in service. MARGARET RYAN Steps out. Around sixty. Her face shows the lines of a life of hard work and mother hood. A good woman. She wipes her hands on her apron and looks out across the fields. Far in the distance she sees the dust rising behind the black car. She watches the car get closer, then sees it turn toward her house. She starts to grow uneasy. As the black car approaches, her breath comes hard. She reaches out and steadies herself on the porch post. The car pulls up to the house. She sees three men get out, one wearing a clerical collar. The first of her tears come. INT. GENERAL MARSHALL'S OFFICE - WAR DEPARTMENT - DAY Another busy office filled with aides and secretaries. GENERAL GEORGE MARSHALL, Army Chief of Staff, stands next to his conference table, reading the Ryan brother' files. Half- a-dozen subordinates, among them the one-armed Colonel and the Young Captain, wait. General Marshall puts down the file. GENERAL MARSHALL (softly) Goddamn it. One-armed colonel All four of them were in the same company in the 29th Infantry but we split them up after the Sullivan brothers died on the Juneau. GENERAL MARSHALL Any contact with the fourth brother, James? One-armed colonel No, sir. He was dropped about thirty miles inland, near Ramelle. That's still deep behind German lines. General Marshall hardens. GENERAL MARSHALL Well, if he's alive, we're going to send someone to get him the hell out of there. That's just what the General's staff wanted to hear. EXT. NORMANDY - CRATER FIELD - DAY NEAR CONSTANT MORTAR EXPLOSIONS. HEAVY MACHINE GUN FIRE. Miller's Ranger company is pinned down by a superior force of German troops. The Americans hug the bottoms of the craters, FIRING BACK as best they can. BIG GUNS THUNDER in the distance. SUPERIMPOSITION: Normandy 1300 hours June 9 MILLER Trailed by a RADIOMAN, dashes through the fire and dives into a sludge- filled crater. He surfaces, sees Sarge and Reiben, and reels from a horrific smell. Their conversation is repeatedly broken by FIRING And DUCKING GERMAN FIRE. MILLER Jesus Christ! What the hell are we swimming in? REIBEN Shit, sir. SARGE Fertilizer, Captain, I think we're in a cranberry bog. REIBEN Out of the frying pan, into the fucking latrine. MILLER Look at the bright side, the Krauts sure as hell don't want to advance and hold this cesspool. Miller barks to his RADIOMAN. MILLER Get Fire Control, we need some artillery... Radioman Trying, sir. MORE EXPLOSIONS. They all duck. Reiben's worried. REIBEN Sir, what if they send some other company into Caen ahead of us while we're pinned down here? MILLER Don't worry, we're the only Rangers this side of the continent, we've got to be first into Caen. SARGE Who cares? REIBEN I care. Don't you know what Caen's famous for, Sarge? SARGE Frogs? REIBEN Lingerie. SARGE Yeah? So? THE GERMAN FIRE diminishes for an instant. Miller, Sarge and Reiben immediately rise and POUR FIRE at the German positions. GERMAN MACHINE GUN FIRE RESPONDS and they duck down again. REIBEN So, you ever heard of employee discounts? My uncle sells shoes, gets twenty-five percent off everything in the line, got a closet filled with the best looking shoes you ever seen. MORE MORTAR EXPLOSIONS. REIBEN Just picture some French number been spending all day, every day, making cream-colored, shear-body negligees with gentle-lift silk cups and gathered empire waists, what the hell you think she wears at night? MILLER Reiben, how the hell do you know so much about lingerie? REIBEN Lingerie is my life, sir. My mother's got a shop in Brooklyn, I grew up in it, from the time I could crawl, we carry Caen lingerie, it's the best there is, it's all I been thinking about since the invasion. Another pause in the German shelling. Reiben rises and BLASTS HIS B.A.R, then ducks as the GERMANS RETURN FIRE. MILLER There's a war on, good chance they're not still making lingerie in Caen. REIBEN Oh, Captain, they'll always make lingerie, it's one of the three basic needs of man -- food, shelter, silk teddies. Miller Dream on, private. REIBEN Happy to, sir. Radioman Captain, I've got Command, they want you back at H.Q., right away. MILLER Maybe the war's over. A MORTAR SHELL EXPLODES VERY CLOSE. After the debris stops falling, Sarge and Reiben rise, spitting out sludge. Reiben looks dubiously at Miller. REIBEN I don't think so, Captain. MILLER (to Radioman) Stay at it until you get fire control. (to Sarge) Keep 'em down, wait for the navy. SARGE Yes, sir. Miller waits for a pause in the MORTAR BARRAGE, then scrambles out of the crater and takes off in a crouch-run. EXT. NORMANDY - FIELD H.Q. - 19TH INFANTRY - DAY Chaos. Under fire. INTERMITTENT MORTARS, SOME BIG GERMAN SHELLS and fairly close SMALL ARMS FIRE. MILLER Runs over the broken ground and makes it to the sandbagged H.Q. He stumbles down the make-shift stairs. INT. H.Q. SANDBAGGED BUNKER - DAY Sand and dirt falls with the closest of the EXPLOSIONS which continue through the scene. Miller salutes a Major. MILLER Miller, Company B, Second Rangers. Major Go on in. Miller goes deeper into the H.Q. bunker where he finds a dozen officers with as many aides, runners and radiomen. Very busy. A field map dominates the center of the small space. The men in the room note Miller, a few nod to him respectfully. He's clearly someone special. COLONEL SAM ANDERSON is in command, talking on a field-phone. He's about fifty, firm and steady, the calm at the eye of the storm. He sees Miller and motions for him to wait. COLONEL ANDERSON (into field-phone) ...I understand your problem, but if we don't get those tanks off-loaded by 0600, we're going to have an entire division up at Caen with its ass hanging out of its pants... A LIEUTENANT steps up to Miller and hands him a sheet of paper. Lieutenant Captain, here's your company address list. MILLER My what? Lieutenant For letters to the families of your killed-in- action. Miller hands the list back to the Lieutenant. MILLER Find a chaplain. COLONEL ANDERSON (into field-phone) ...alright, let me know when. Anderson hangs up, speaks to an AIDE. COLONEL ANDERSON Have the Second and Third Regiments hold at St. Michel until we get those tanks. Aide Yes, sir. Colonel Anderson turns to Miller. COLONEL ANDERSON Report. MILLER Sector four is secured, we put out the last three German one-fifty-fives, found them about two miles in from Ponte du Hoc. COLONEL ANDERSON Resistance? MILLER A company, Wehrmacht, no artillery, we took twenty-three prisoners, turned them over to intelligence. COLONEL ANDERSON Casualties? MILLER Fourty-four, twenty one dead. An instant of SILENCE, all hear, none look. MILLER They didn't want to give up those one-fifty-fives, sir. COLONEL ANDERSON It was a hard assignment, that's why you got it. MILLER Yes, sir. COLONEL ANDERSON Where are your men now? MILLER Pinned down, a mile east of here, waiting for some help from the navy guns. COLONEL ANDERSON I'm sending Simpson to take over for you, the division is going to Caen, you're not coming with us, I have something else for you. MILLER Sir? COLONEL ANDERSON There's a Private James Ryan who parachuted in with the Hundred-and- First near Ramelle. I want you to take a squad up there. If he's alive, bring him back to the beach for debarkation. Take whoever you need, you've got your pick of the company. MILLER A private, sir? COLONEL ANDERSON He's the last of four brothers, the other three were killed in action. This is straight from the Chief of Staff. MILLER But, sir...I...I... COLONEL ANDERSON Spit it out, Captain. MILLER HESITATES, THEN: MILLER Respectfully, sir, sending men all the way up to Ramelle to save one private doesn't make a fucking, goddamned bit of sense. (beat) Sir. The other officers freeze, listening without turning. Colonel Anderson glares at Miller. COLONEL ANDERSON You think just because you hold the Congressional Medal of Honor, you can say any damn thing you please to your superior officers? Miller considers the question, then smiles. MILLER Yes, sir, more or less. Colonel Anderson looks as if he's about to bit Miller's head off, then he smiles, too. COLONEL ANDERSON Alright, I'll give you that. Continue. MILLER The numbers don't make sense, sir. His brothers are dead, that's too bad, but they're out of the equation. Sending men up there is bleeding heart crapola from three thousand miles away. One private is simply not worth a squad. Colonel anderson This one is. He's worth a lot more than that. Which is why I'm sending you, you're the best field officer there is. Miller Shrugs. MILLER Yes and no, sir, what about Morgan? Fine officer, regular church goer, writes poetry, he might like a mission like this. (beat) And he's taller than me. Colonel Anderson listens with amused tolerance, but it's time to get back to business. COLONEL ANDERSON That's enough, Captain, you have your orders. Major Thomas will fill you in. Miller knows when to back off. He salutes. MILLER Yes, sir. Miller and Colonel Anderson exchange a private look. COLONEL ANDERSON Good luck, John. MILLER Thank you, sir. Miller joins Major Thomas at one of the smaller map tables. Colonel Anderson watches Miller for an instant, then notices the other officers in the tent watching. A glare and they go back to work. EXT. BATTLESHIP - DAY A MASSIVE BARRAGE of fifteen-inch shells BLASTS from the deck of the enormous ship. EXT. CRATER FIELD - CRANBERRY BOG - DAY HUGE EXPLOSIONS. The big naval shells SLAM into the German position on the far side of the cranberry bog crater field. IN THE CRATERS Miller's Ranger company ducks and covers. The BARRAGE SUBSIDES. The Rangers rise, FIRING, leap-frogging from crater to crater, advancing against the remaining Germans who return SMALL ARMS FIRE. MILLER Crouch-runs and dives into a crater with Sarge. MILLER Put on your traveling shoes, Sarge, we're heading out. SARGE Caen? MILLER I wish. You and I are taking a squad up to Ramelle on a public relations mission. SARGE You? Leading a squad? MILLER Some private up there lost three brothers, got a ticket home. SARGE What about the company? MILLER Simpson. SARGE Simpson? Jesus Christ on a fucking pogo stick! MILLER I want Reiben on B.A.R; Jackson with his sniper rifle; Beasley, demolition. SARGE Beasley's dead. MILLER Okay, Wade. Translators? SARGE Fresh out. MILLER What about Talbot? SARGE Twenty minutes ago. Miller Damn, I'll go see if I can find another one. You get Reiben, Jackson and Wade, meet me at transport. SARGE Yes, sir. They wait for a lull in the firing, then scramble out of the crater and crouch-run in opposite directions. EXT. TRANSPORT H.Q. - NINETEENTH INFANTRY - DAY Just in from the beaches. DISTANT ARTILLERY AND EXPLOSIONS. Nothing close. Dust. Confusion. Vehicles of every sort moving out. Tanks, half-tracks, troop trucks. In the middle of the mess, a cigar-chewing SUPPLY SERGEANT works at a make- shift desk made out of crate. He yells at a PRIVATE. SUPPLY SERGEANT GET THOSE GODDAMNED HALF-TRACKS OUT OF THERE! Private They're blocked in! SERGEANT THEN UNBLOCK 'EM! SARGE< REIBEN, JACKSON AND WADE Wait nearby. Reiben is beside himself, pacing, muttering. The others are relaxed. MILLER Strides through the chaos, avoiding the passing vehicles. He sees his men and walks toward them. Reiben hurries up to Miller, pleading. REIBEN Please, sir, you can't take me to Ramelle, I gotta go to Caen, sir, please, I told you, they make Caen lingerie there, it's beautiful, it's the best there is, it's...oh, please, sir... MILLER Sorry, I need a B.A.R. man, you're the best. REIBEN (desperate) No, I'm not, Kaback is, honest. Or what about Faulkner? Or that little guy with the glasses? MILLER Trust me, you're the best. REIBEN (whimpering) But, sir... Miller jerks his head for his men to follow and he strides off toward the Supply Sergeant's table. Sarge falls in next to Miller. SARGE You get a translator, Captain? MILLER I've got a line on one. TRANSPORT OPERATIONS TABLE Chaos. Vehicles THUNDERING by. The Supply Sergeant juggles runners and paperwork. Miller steps up to him. MILLER Sergeant, I need a truck. SUPPLY SERGEANT Sorry, sir, fresh out of trucks, how 'bout a '38 Ford Roadster, hard-top, red with black interior. MILLER White-walls? SUPPLY SERGEANT No white-walls, sir, there's a war on. (to the Private) NOT THERE, YOU GODDAMNED IDIOT, OVER THERE! (to Miller) I can't help you, sir. MILLER A half-track, anything. SUPPLY SERGEANT Sorry, sir. Division is using everything on wheels to get up to Caen. (notices Miller's shoulder patch) How come you guys aren't going? Miller ignores the question. He spies a jeep. MILLER How about that jeep? SUPPLY SERGEANT That's General Gavin's. His lap dog told me if anyone breathes on it, I'll get busted and if anyone so much as touches it with their little finger, I'll get court marshaled. If you were to take it, they'd shoot me. JACKSON Cap'n, does that mean we got to walk all the way up to Ramelle? SUPPLY SERGEANT What's at Ramelle beside a lot of Germans. MILLER A paratrooper named Ryan. He's going home, if he's alive. SUPPLY SERGEANT Senator's son? MILLER No, three brothers of his were killed in action. Command wants him out of there. The Supply Sergeant grunts as if punched in the belly. SUPPLY SERGEANT Damn...I got a couple brothers... Miller looks at him, noting his reaction coldly. The Supply Sergeant shifts his eyes toward General Gavin's jeep. EXT. ROAD LEADING FROM TRANSPORT - DAY Miller and his men drive off, fast, in General Gavin's jeep. Sarge is at the wheel, weaving and bouncing through the bedlam of men and vehicles. Miller rides shotgun. Reiben, Jackson and Wade are crammed in the back. The SUPPLY SERGEANT Watches them go. Behind him, GENERAL GAVIN, pure piss and vinegar, strides up, trailed by his huge staff. He looks around for his jeep, comes up empty. GENERAL GAVIN SERGEANT, WHERE THE HELL IS MY GODDAMNED JEEP!? The Supply Sergeant puffs his cigar with a smile and turns to take his lumps. EXT. ROAD - DAY Miller and his men weave through the chaos of the American staging area. MILLER We've got to make one stop. Miller points the way for Sarge. EXT. INTELLIGENCE TENT - DAY Miller and his men skid to a stop in front of a perfectly white, taut-lined tent. A steady stream of ROARING vehicles and CHATTERING men move out around them. DISTANT GUNS RUMBLE. SPORADIC MEDIUM-DISTANCE EXPLOSIONS BOOM. Miller hops out. MILLER Wait here. He strides into the tent. INT. INTELLIGENCE TENT - DAY Three bookish corporals hover over map tables like studious nerds the day before finals. They're breaking down and gridding field maps and covering them in plasticine. Tedious, detailed work. One of them is TIM UPHAM, a thin, twenty-four year old, patrician with gentle, thoughtful eyes behind his thick glasses. He nervously jumps at the sound of a VERY DISTANT EXPLOSION, then he forces himself to concentrate on his work. Miller strides in. Miller I'm looking for Corporal Upham. Upham raises his eyes from his map and re-focuses. Upham Sir, I'm Upham. MILLER I understand you speak French and German. Upham Yes, sir. MILLER Do you have an accent? Upham A slight one in French. My German is clean. It has a touch of the Bavarian. MILLER Good, you've been re-assigned to me, we're going to Ramelle. Upham knows enough geography to know what that means. Upham Uh, sir, there are Germans up at Ramelle. MILLER That's my understanding. Upham Lots of them. MILLER Do you have a problem with that, Corporal? Upham Sir, I've never been in combat. I make maps. I translate. MILLER I need a translator, all mine have been killed. Upham But, sir, I haven't held a gun since basic training. MILLER It'll come back to you. Get your gear. Upham hesitates. Upham Sir, may I bring my typewriter? Miller looks at him closely, not sure if he's joking. Upham I'm writing a book and I... Miller's expression gives him his answer. Upham Uh, how about a pencil? MILLER A small one. Miller shoos him off. MILLER Go, go... Upham scurries away. Miller sighs. EXT. ROAD LEADING FROM INTELLIGENCE TENT - DAY Miller and his men peel out, now with Upham crammed with the others in the back of the jeep. As they drive off, the CAMERA CRANES UP to reveal the vast tableau of the biggest invasion in military history. The scope of the operation is stunning. The beach is covered with mountains of supplies. A steady stream of vehicles winds up the dunes. Hundreds of barrage balloons, anchored by heavy steel cables, hover over the entire scene. Off- shore, a massive Mulberry port is under construction, workers swarming over it like ants. Beyond that, thousands of ships and boats of every type and description. The smoke of hundreds of fires rises on the horizon. EXPLOSIONS, some distant, some close, BOOM and RUMBLE. It's an awesome, breathtaking sight. Miller and his tiny band of men, weave their way through the middle of it, speeding away from the beach, heading inland, leaving the bulk of the American Army behind. Ext. french road - day Miller and his men drive fast passing American vehicles and infantrymen moving forward. The sides of the road are littered with the debris of burning German vehicles, abandoned equipment, bodies. Sarge drives. Miller reads a map. Upham, cradling a pristine M-1 rifle, is all eyes and ears. Jackson and Wade calmly take in the view. Reiben checks out the close quarters in the back of the jeep. REIBEN Captain, can I ask you a question? MILLER Sure, Reiben. REIBEN Where are you planning on putting Private Ryan, sir? Miller doesn't raise his eyes from the map. REIBEN (continuing) It's just that it's kind of crowded back here, I was wondering if you're expecting to have more room on the way back? Miller points out a turn to Sarge. MILLER Left. Sarge makes the turn. Miller folds up the map and pockets it. MILLER Now we've got a straight shot, due north, to Ramelle, twenty-six miles, two villages between here and there, St. Mere, then Bernay. We'll take the jeep as far as we can, then go on on foot. SARGE We in radio contact with anybody up there? MILLER Somebody put the wrong crystals in every one of the Hundred-and-First's radios the night before the drop, not one of them works. We're going in blind. REIBEN I usually like surprises. SARGE What are we likely to run into? MILLER A fucking mess, two maybe three Kraut divisions, no fronts, no lines, the drops were completely fouled up, we've got little pockets of paratroopers all over the place, trying to hang on. Command says we hold St. Mere, but north of that, it's all Krauts. Even if Ryan's where he's supposed to be, he's more than likely dead. SARGE Hell of a mission. MILLER Yep, hell of a mission. IN THE BACK OF THE JEEP Upham avidly takes in everything. He notices Reiben staring at him, grows nervous under his look and offers a hopeful smile. Upham Hi. So, uh, you're all Rangers? Reiben, Jackson and Wade look at Upham as if he were an insect. Upham I'm Upham. (pointing at his corporal's stripes) Ignore these, please, I know all that breaks down in combat. Their jaws drop. REIBEN (to Wade) You want to shoot him, or should I? Wade It's not my turn. REIBEN (politely) Jackson? JACKSON Hell, no, last time I shot a corporal, Cap'n Miller near bit my head off. Upham reacts to the metion of Miller's name. Upham Miller? MILLER I don't want anybody to shoot him, that's an order. He speaks French and his German has a touch of the Bavarian. Upham Sir, are you Captain John Miller? Miller sighs, he knows what's coming. UPHAM (continuing) ...who won the Congressional Medal of Hon...? Upham's words are frozen in his throat by the warning glances of Miller's men. Miller himself remains relaxed but stone- faced. No one speaks for a few seconds, then the moment passes as if it had never happened. REIBEN Captain, I gotta tell you, the irony of this mission is fucking killing me. MILLER Yeah, how so? REIBEN I should be on my way to Caen, sir. It's like Beethoven, the guy's one of the greatest composers ever lived and he goes deaf. Go figure, I mean, who'd he piss off? And here I am, the Beethoven of ladies foundation garments, one step away from Caen, the center of the known lingerie universe and instead, I'm going to Ramelle to save some fucking private who's probably already dead. MILLER There's to be a bright side, look for it. REIBEN Sir, you know what Ramelle is famous for? Cheese. The rest of the company is going to Caen and we're going to the goddamned cheese capital of France. There is no bright side. MILLER There's always a bright side. REIBEN I'm listening, sir. MILLER Well, I, for one, like cheese. Wade pipes up cheerfully. Wade Hell, I don't mind going to Ramelle, as long as there's something up there for me to blow up. REIBEN Well, you're a happy idiot. THEY ROUND A TURN SKID TO A STOP AT A: BOTTLENECK OF AMERICAN VEHICLES A LIEUTENANT is roadmaster. Miller calls to him. MILLER How's the road up to St. Mere? Lieutenant Bad, sir. There're some eighty-eights hiding somewhere, knocking the hell out of our traffic. MILLER Anybody getting through? Lieutenant The lucky ones. Miller nods to Sarge who floors it. They take off, spraying gravel behind them. Ext. St. Mere Road - day The jeep barrels down the road, fast. The road is pock-marked with craters. They pass the wreckage of a pair of American jeeps. Direct hits. Sarge swerves around them without slowing. AN AMERICAN TROOP TRUCK SMOLDERS On the side of the road, surrounded by the charred bodies of a dozen American troops. It's a nightmare vision. Upham grows weak at the sight. Miller takes note of Upham's reaction. IN THE BACK The men bounce up and down like stuffed animals, doing their best to not be thrown out. REIBEN Hell, this is better than Coney Island! A HUGE BUMP Bounces Reiben up and slams his back down on his shovel. He HOLLERS IN PAIN. MILLER Just trying to make room for Ryan. Reiben shoots Miller a smile and shifts his belt, moving his shovel from under his bruised ass. THEY ROUND A BEND See a long, straight stretch of road. Half-a-dozen burning, obliterated American vehicles. A gauntlet to run. AN EIGHTY-EIGHT SHELL SCREAMS IN Lands right behind them. BLOWS A NEW CRATER MILLER (sweetly) Sarge? SARGE FLOORS IT. Everyone hangs on. ANOTHER SHELL EXPLODES Thirty yards ahead of them. MILLER Directs Sarge off the road. MILLER They've got the road zeroed. SARGE Yanks the wheel, driving the jeep off the road. THE JEEP BOUNCES Off the shoulder. Nearly throwing everyone out. Somehow they hang on. The jeep tears along the rutted field. ANOTHER EXPLOSION Just behind them. SARGE DRIVES MADLY Not slowing down. Trying to avoid the biggest ruts and bumps. ANOTHER EXPLOSION Close on their side. Showers them with debris. SARGE Jesus Christ! MILLER SCANS THE TERRAIN Sees a cluster of buildings about half-a-mile ahead. MILLER They've got a hell of a spotter somewhere. ANOTHER EXPLOSION Even closer. The jeep's PEPPERED WITH SHRAPNEL. They BARREL THROUGH the smoke. MILLER S-curves, Sarge. SARGE Turns shallow curves without slowing down. SUDDENLY SEES A CRATER Tries to avoid it. Too late. Brakes. PLOWS into overturned earth. STOPS SHORT. REIBEN, UPHAM, WADE AND JACKSON THROWN from the jeep. TUMBLE into the dirt. Not hurt. SARGE AND MILLER Hang on. Stay in the jeep but are battered. All stunned. MILLER Is first to regain his bearings. Jumps up. Checks out the jeep. Undamaged. Deep in the soft dirt. AN EIGHTY-EIGHT SHELL SCREAMS IN EXPLODES THIRTY YARDS LEFT MILLER Sarge! Reverse! Sarge puts his head back on and throws the jeep into gear. The wheels spin. Miller throws his shoulder into the jeep. Yells to the others. MILLER COME ON! YOU WANNA WALK? STILL DAZED Reiben, Wade, Jackson, Upham screw their heads back on. Shoulder into the jeep. Push for all they're worth. The WHEELS STILL SPIN. ANOTHER EIGHTY-EIGHT SHELL LANDS EXPLODES THIRTY YARDS RIGHT MILLER IGNORES IT He's the only one who does. SARGE Captain, they got us zeroed. Upham is very nervous. UPHAM That's bracketing, right? They all ignore him. UPHAM I know about bracketing. I read about it. The next one is going to land right on us. MILLER FORWARD! FORWARD! (beat) NOW REVERSE! Sarge SLAMS THE JEEP INTO REVERSE. Rocks it. SLAMS IT BACK INTO FORWARD. Makes progress. ALL THE MEN PUSH, ALL EYES UP. WAITING FOR THE NEXT SHELL. SARGE Uh, Captain... MILLER PUSH! SARGE Uh, Captain... THE TIRES SCREAM A bit more progress. It's almost out. THEY ALL PUSH LIKE MANIACS Knowing the shell is coming any second. Upham is beside himself. SARGE (sweetly) Oh, Captain... ONE MORE PUSH The jeep rocks back in, deeper. MILLER SHIT! THEY HEAR THE SCREAM OF THE SHELL MILLER BARKS TO HIS MEN MILLER GO! THE MEN Instantly take off. Away from the jeep. As fast as they can. THE SHELL SCREAMS IN The men hit the dirt. DIRECT HIT OBLITERATING THE JEEP THE MEN Barely out of the BLAST PERIMETER. STUNNED by the concussion. SHOWERED with dirt, rock and debris. MILLER Is first up. Sarge and the men struggle to their feet. Hear MORE INCOMING. Miller grabs Upham by the collar and pulls him up. MILLER HERE COME THE MORTARS! THEY ALL TAKE OFF Running as fast as they can. THE FIRST OF THE MORTAR SHELLS COME IN The eighty-eight is big, with pauses spaces between. But there must be a dozen mortars firing. The shells are almost constant. THE FIELD The six Americans run madly, in zig- zag patterns through the gauntlet of MORTAR EXPLOSIONS. BOOM RUNNING, STUMBLING BOOM, BOOM, BOOM UPHAM IS THROWN TO THE GROUND Miller yanks him up. Half-drags him to the edge of the field. THEY MAKE IT TO THE TREES Keep running. Through the bushes and brambles. Thirty yards in. THE EXPLOSIONS STOP THE MEN ALL STOP Panting. Struggling to catch their breath. Check their body parts. Everything's there. They have their weapons, most of their gear. Reiben looks back through the trees at THE JEEP, which is nothing more than a burning carcass. He shakes his head. REIBEN General Gavin is going to be very irritated at you, Captain. MILLER Stands on the edge of the woods, almost in a trance. UPHAM Captain, I... SARGE Sssssh! Miller, far away, quickly shifts his eyes and ears from position to position. MILLER Sarge, maps. Sarge quickly opens up the map case. The men are dead silent, frozen in place. MILLER Two eighty-eights, just under two- and-a-half miles, that way, vector from the jeep, through those two trees at the base of the hill. The mortars came from behind that rise, there, four of them. Sarge quickly starts vectoring on the map. Miller snaps out of it. MILLER Wade, the radio. Wade instantly starts cranking it up. Upham is amazed. UPHAM You can tell all that, just by the sound, sire? MILLER That's not all. There were nine gunners on the eighty-eights, one had a broken heel on his boot, two had bratwurst for supper last night, one of them is named Fritz, the other, Hans, maybe, I don't know, it's hard to tell. JACKSON Corporal, you have just seen one of Captain Miller's many God-given talents. If, by some miracle, you survive, you will witness many more of them. Sarge finished vectoring. SARGE Got it, sir. We gonna go take care of those eighty-eights? MILLER That's not what we're here for. WADE (re. radio) I've got command, Captain. Miller takes the handset from Wade and the map from Sarge. MILLER (into radio) This is Baker Charley One, fire mark, sector three, foxtrot quadrant, four- three by baker-three. Two eighty- eights. Tell our boys to come in low from the east in case the Krauts have ack-ack. Good hunting. Over. A VOICE ON THE RADIO SIGNS OFF through the static. Wade packs up the radio. Miller folds up the map. Jackson Sir, wouldn't take us but a minute to put out them eighty-eights. SARGE He's right, Captain, it might be kind of dangerous for those flyboys. MILLER Tell that to Private James Ryan. We've got our orders. Let's go. Miller heads off without pausing or looking back. The rest of the men don't like it, but they follow. Upham trails, amazed at Miller. EXT. WOODS - DAY Miller walks point. His men follow warily. Upham falls in alongside Reiben. UPHAM So, where are you from? REIBEN Get lost. Upham smiles lamely and moves on to Jackson. UPHAM So, where are you from? JACKSON You writin' a book or somethin'? UPHAM As a matter of fact, I am. JACKSON Figured. Wade overhears and smiles at Upham. WADE I'm Wade, that's spelled, W-A-D-E, I'm small but wiry, with piercing, steel-gray eyes, and a rough-hewn but handsome face, I'm from Colorado, my father's a mining engineer, don't you take notes? Upham shakes his head. UPHAM Demolition, right? WADE Since I was nine years old. They got a lot of explosives around mines. Me and my little brother could get into any warehouse you ever saw. Damn, we had fun! Jackson shrugs. JACKSON I'm Jackson. I'm from West Fork, Tennessee. My pappy's a preacher. Him and his two brothers got a ministry, The Blessed Church of the Wandering Gospel. UPHAM In West Fork? JACKSON In the back of a nineteen and thirty- one stretch Hudson with a big ole' trailer. UPHAM No kidding. JACKSON I don't make jokes about things of, or related to, the preaching of the Holy Gospel, including the ministerial calling of my family. UPHAM So they travel around from place to place and preach? JACKSON We got us a tent, forty-two feet across, eighteen feet at center, hundred-and-ten foldin' chairs. Circuit's eleven towns, covers all 'a Hasset County and most 'a Weller County. I expect that upon completion of my military service I will be joinin' said ministry. UPHAM What about the Captain? Where's he from? They all shake their heads. Miller's out of earshot. JACKSON You figure that out, you got yourself one nice prize. SARGE Over three hundred bucks, last I heard. Wade Company's got a pool, five bucks gets you in, whoever guesses where the Captain's from and what he did as a civilian gets it all. JACKSON The whole kit and caboodle. UPHAM But everybody's heard of him, he won the Congressional Medal of Honor, he saved a dozen men. REIBEN We know. UPHAM Somebody must know where he's from, what he did for a living. SARGE Somebody probably does. UPHAM Why don't you just ask him? JACKSON The Captain prefers not to discuss certain aspects of his life, in particular, everything up to and including his enlistment in the United States Army. SARGE I've been with him since Anzio. I'm closer to him that I am to my own brother but I don't even know what state he's from. Somewhere in the Northeast as near as I can figure. I don't even have a clue what he did for a living as civilian. Reiben shakes his head. REIBEN No one's gonna win the money for the simple reason that the Captain never was a civilian. They assembled him at O.C.S. out of spare body parts from dead G.I.'s. I know this for a fact. JACKSON (defensively) You got somethin' against the Cap'n? REIBEN Hell, no. I think he's the best officer in the whole goddamned army, bar none. They all nod in assent, no argument there. JACKSON You got that right. Miller walks on ahead, unaware of their conversation. Upham watches Miller, with even more curiosity. EXT. HEDGEROW FIELD - DAY Miller and his men walk along a hedgerow that parallels a country cow path. They're staying close to the cover of the brush. Miller walks tall now. JACKSON Captain, my feet are most uncomfortable. If I'd 'a known we was gonna have to walk all the way to Ramelle, I never would 'a volunteered for this here mission. MILLER You didn't volunteer, Jackson. JACKSON I most likely would have, sir, had I been given the opportunity. REIBEN If we find Ryan and he's still alive, that son-of-a-bitch is gonna carry this goddamned B.A.R. back to the beach for me. JACKSON Army life is too dang easy, my feet have gone soft. Back home, we go out squirrel huntin', I walk forever and a day and then some, don't even raise a blister. REIBEN You know what a B.A.R. weighs? Nineteen and a half pounds, not counting ammo. (re. ammo bandoleers) And you think these things are comfortable? They may look good but they weigh twelve pounds each, that's thirty-six pounds, right there. WADE So what? I've got three satchel charges, six gammon grenades, a dozen- and-a-half pineapples, and all my regular gear. You don't hear me complaining. REIBEN That's because, as I have pointed out on numerous occasions, you are a happy idiot. WADE No, I just happen to take the Captain's advice and look at the bright side of things. UPHAM How do you do it? WADE It's easy, it runs in my family, take my grandfather, for example... REIBEN Oh, Christ, now we gotta listen to that grandfather thing again. WADE As I was saying, before I was so rudely interrupted, my grandfather got old, as grandfathers tend to do. He needed someone to take care of him. We move around all the time, going from one mine to another, so we had to put him in a home. Nice enough place but kind of depressing. But not for Granddad. He just convinced himself he was on a cruise ship, going to Tahiti, he had his own cabin, first class, with room service. It just so happened that the weather was always lousy, so he never bothered to go up on deck. Happiest guy you ever saw until the day he died. UPHAM You think he really believed it? WADE Who knows? It worked. REIBEN Fine, you convince yourself you got a pack full of feathers and goddamned Private James Ryan can carry my fucking gear. WADE Reiben, you can be very unpleasant to be around sometimes. REIBEN You want unpleasant? Just wait, I can do much better than this. WADE Look at Upham, you don't hear him complaining. Upham, feeling bold and a bit naughty, decides to give it a shot. UPHAM Well, as a matter of fact, I was just thinking... The men roll their eyes, expecting the worst. UPHAM (continuing) That I'm so fucking tired of this goddamned walking, I'd pay a thousand dollars to see that bastard Ryan crawl on his belly over an acre of broken glass to hear my great-aunt Martha fart through a field-phone. The men are stunned. REIBEN Jesus Christ, he's a natural! MILLER Upham, are you sure you've never been in combat? Upham wiggles with pride. Upham Positive, sir, I'm certain I'd remember. Miller eyes Upham respectfully and nods to the men. MILLER He's good. They walk on. JACKSON Cap'n, my feet are most uncomfortable. Miller smiles, situation normal. EXT. ST. MERE - LATE AFTERNOON A small town has been reduced to rubble and is still an active battlefield. HEAVY SMALL ARMS FIRE. GRENADE AND MORTAR EXPLOSIONS. MEDIUM ARTILLERY BEYOND. American soldiers crouch in doorways, FIRING at well-placed Germans. Some French civilians dash across a street. A man and a couple of women, one carrying a child. They make it across and disappear into the remains of a building. Miller runs up and flattens himself against a wall at a corner. Sarge and the other men follow in leap-frog, spread out down the block behind him. Miller glances around the corner, taking a quick mental picture of a GATHERING OF G.I.'s crouching in the cover of an alley across the street and down the block. They are CAPTAIN HAMILL, about Miller's age, and HIS MEN. As Miller ducks back behind the corner, A GERMAN BULLET SMASHES into the bricks where his head was an instant before. Miller motions Jackson across first. MILLER Stay low. Jackson gathers himself, takes off. GERMAN BULLETS BLAST, kicking up the cobblestone behind him. Jackson zig-zags and makes it to the cover of the far side. JACKSON Dang! That was close! Miller nods to Upham. MILLER Your turn. Upham, scared shitless, doesn't move. Miller speaks to him very gently. MILLER Zig-zag, change your pace a couple times, you'll be alright. Upham's frozen. He can barely breathe. Miller sighs. MILLER Okay, I'm going to draw fire for you. (sternly) But if I do, you goddamned well better go. Upham nods. Miller gathers himself, takes a deep breath. CLOSE SHOT: MILLER'S HAND quivers. MILLER Looks to Upham MILLER Ready? Upham nods, still terrified. MILLER STEPS INTO THE OPEN Stands motionless, presenting himself to the German snipers. MILLER Go. Upham runs. A GERMAN BULLET HITS THE BRICKS NEAR MILLER. He doesn't budge. UPHAM TEARS ACROSS THE STREET very, very fast. REIBEN watches Upham run. REIBEN Hey, that guy can move. A GERMAN BULLET WHIZZES PAST Miller's ear. UPHAM gets to the far side. MILLER DUCKS BACK around the corner. Reiben and Wade don't even react to what Miller has just done. Sarge is pissed. He shakes his head at Miller, like an irritated parent. SARGE (under his breath so only Miller can hear) Damn fool. (beat) Sir. REIBEN Captain, he's fast! MILLER (glances at Sarge, speaks to Reiben) Glad of it. UPHAM On the other side of the street, crouches in a doorway with Jackson. Upham is a bit in shock, less from the nearness of the bullets than from what Miller just did for him. MILLER DASHES across the street. GERMAN BULLETS TRAIL HIM, shattering the cobblestones, inches behind him. HE MAKES IT across. Calls back to Sarge. MILLER Bring 'em over. UPHAM, tries to thank Miller. UPHAM Captain, I... Miller ignores him, motions to Sarge, Reiben and Wade. MILLER One at a time. MILLER Ducks out of the doorway and crouch- runs down the block. He passes a: BOMBED OUT BUILDING Out of the line of fire. A dozen dead American soldiers lined up on the ground. The battered, bloody bodies, only partially covered by ponchos. Some badly wounded G.I.'s are being treated next to the dead. Blood puddles have spread out onto the sidewalk. MILLER Sees the dead and wounded, shows no reaction. Runs to: AN ALLEY Captain Hamill and his men are bunched there, out of the line of fire. He's sending off a squad to continue their door-to-door. Captain hamill Fundamentals, short runs, double up at the corners, one man close, one man wide. Be careful. Go. The squad takes off. Captain Hamill sees Miller. The two captains glance at the bars on their shoulders, then speak familiarly. Captain hamill How was the road in? MILLER We had a jeep until a few hours ago, a nice one, it had a cute little flag with a couple of stars on it. Captain hamill Oh, what a shame. One by one, Miller's men join them in the alley. MILLER We called in a strike on the eighty- eights that took it out, but it's the Kraut spotter that counts, wherever the hell that bastard is. Captain Hamill points across a wide field toward a distant chateau that has a private chapel with a fifty-foot steeple. Captain hamill That's where your boy is. We've been trying to get him since this morning. He killed two of my men trying to get close enough for a shot. Miller eyes the distant steeple. MILLER Jackson. Jackson steps up. Miller points to the steeple. Jackson knows what he's supposed to do. He puts down his M-1 and takes off the long, zippered, leather sheath, strapped to his back. He spits a massive bullet of tobacco juice, then calmly and methodically unzips his leather case and pulls out a very unusual, long-barrel, rifle. Miller and his men give him some room. Hamill and his men, along with Upham, watch curiously. Jackson opens a two-foot tripod with a flick of his wrist, sits down and carefully attaches the rifle to it. Then he takes a scope from a narrow wooden box and mounts it. He adjusts the eye-piece and clicks in the bolt-action. Upham is fascinated. UPHAM What is that? Jackson pulls back the bolt and loads a single, over-sized shell. JACKSON Thirty-ought-six, Norton long-barrel with dual-groove, parallel rifling, elevated three-glass scope and a single-throw hammer. UPHAM The Army gave you that? JACKSON Yep. UPHAM You must be a hell a shot. JACKSON Not where I come from. Jackson sights on a tree about a thousand yards away and FIRES. Evaluates. Calibrates the scope. He re-loads. Jackson FIRES AGAIN. Evaluates. Perfect. He wipes the dirt and sweat from his forehead, puts his eye to the sight and waits, absolutely motionless. UPHAM That must be four thousand yards. JACKSON (without taking his eye from the scope) Forty-two-hundred, I figure. UPHAM You take account of the wind? Jackson doesn't dignify that with an answer but he looks back with an expression that clearly says, "What are you, some kind of fucking idiot?" Reiben puts himself between Upham and Jackson. REIBEN (put-on Southern accent) Dang right, he take 'count of the wind, ain't ya'll ever heard a Kentucky windage? Jackson keeps his eye to the scope and his finger on the trigger. JACKSON Reiben, how many time I got to tell you, I'm from Tennessee. REIBEN They got squirrels there, too, right? Jackson FIRES. Waits. A tiny smile. He starts taking apart the rifle. A very impressed Captain Hamill barks to his radioman. Captain Hamill Get a hold of Command, tell them the St. Mere road is open. The Radioman cranks up his radio. Captain Hamill turns to Miller. Captain Hamill How far back is the rest of division? MILLER Very far, they're not coming this way, they're going to take Caen first. Captain Hamill Goddamn it, I was afraid of that. We're in a lot of trouble up here, and it's gonna get worse before it gets better. How many men did you bring? MILLER Five, but we not staying, we're on our way to Ramelle. Captain hamill Shit, are you the guys going up to find Private Ryan? MILLER Yeah, you know about that? Captain hamill Command radioed, wanted to know if he came in with the early wounded or dead. Several of CAPTAIN HAMILL'S MEN, among them a GENTLE-FACED PRIVATE, prick up their ears at the mention of Private Ryan. Captain hamill We're supposed to tell you, they intercepted a German transmission after you left. The Krauts have two companies on their way to Ramelle to take back that bridge, they'll be there sometime late tomorrow. MILLER Wonderful. Captain Hamill If Ryan's alive, you'd better get him the hell out of there before those Krauts show up. MILLER How do we get out of here? Captain hamill You don't, until tonight, we're hemmed in real tight. After dark you try to slip out to the east. If you tip-toe, stay off the main roads and roll a few sevens, you've got a fair chance of making it up to Ramelle by tomorrow night. Miller processes the information. Captain Hamill shakes his head. Captain hamill Tough, huh? Three brothers? Miller shrugs. Captain hamill We sure as hell could use your help here, but I understand what you're doing? MILLER Yeah? Captain hamill Good luck. MILLER Thanks. Captain hamill I mean it. Find him. Get him home. Miller is a bit taken aback by Captain Hamill's forceful sincerity. Then he shakes it off and motions to his men. MILLER Let's find someplace to hole up. Miller nods to Captain Hamill, then, as he moves to the head of the alley, Miller passes Upham. UPHAM Sir, I'm sorry about what happened, I... MILLER (interrupting) It was nothing. UPHAM But you could have gotten killed and I... MILLER (interrupting) Like I said, it was nothing. (to the men) Don't bunch up. He takes off, crouch-running back down the block. Upham watches him go. UPHAM Did you see what he did, back there? He stepped right into the open, so I could get across. JACKSON Shit, that was no big deal. WADE They can't kill him. SARGE Like hell they can't. REIBEN Wade's right, it's some kind of scientific, magnetic thing, I can't explain it, but I've seen it. WADE We all have, he's got nine lives, or he's bulletproof, or some damn thing. The men are equal parts joking and admiring. Sarge is neither. SARGE No one's bulletproof. No one. (beat) C'mon, stay low. Sarge takes off after Miller. EXT. ST. MERE CATHEDRAL - DUSK Miller and his men are bivouaced in the middle of the ruins of a medieval church. Miller, settled into a comfortable spot in the debris, eating his K-rations, looks very relaxed. Reiben paces. REIBEN Captain, could you please explain the math of this mission to me? MILLER Sure, what do you want to know? REIBEN Well, sir, in purely arithmetic terms, since when does six equal one? What's the sense in risking six guys to save one? MILLER Ours is not to reason why. REIBEN Huh? MILLER Never mind, don't worry, we'll pick up this kid, high-tail it back to division, everything'll work out fine. REIBEN I'd much rather die in Caen than Ramelle, sir. It's a personal thing. MILLER Reiben, there's a fairly good chance you're not going to die at all. REIBEN Easy for you to say, sir. (beat) Fucking James Ryan, I'd like to wring his fucking neck. SARGE Jesus, Reiben, think of the poor bastard's mother. REIBEN Hey, I got a mother. Jackson, you got a mother? JACKSON Last I knew. REIBEN Wade, Sarge, Corporal Insect, all of us, hell, I'll bet even the Captain has a mother. Miller smiles. Reiben eyes him and reconsiders. REIBEN Well, maybe not the Captain, but the rest of us have mothers. MILLER You have orders, too. JACKSON Sir, I have an opinion on this matter. MILLER I'd love to hear it. JACKSON Seems to me, Cap'n, this mission is a serious misallocation of valuable military resources. Miller Go on. JACKSON Well, sir, by my way a thinkin' I am a finely made instrument of warfare. What I mean by that is, if you was to put me with this here sniper rifle anywhere up to and includin' one mile from Adolf Hitler, with a clear line of sight, war's over. Miller nods. MILLER Reiben, I want you to listen closely to Jackson. This is the way to gripe. Jackson, continue. JACKSON Yes, sir. It seems to me, sir, that the entire resources of the United States Army oughta be dedicated to one thing and one thing only, and that is to put me and this here weapon on a rooftop, smack-dab in the middle of Berlin, Germany. Now I ain't one to question decisions made up on high, sir, but it seems to me that saving one private, no matter how grievous the losses of his family, is a waste of my God-given talent. MILLER Wade? WADE Hell, I don't mind this mission, sir, as long as there's something up at Ramelle for... REIBEN (finishing Wade's sentence) ...for you to blow up, yeah, yeah, we heard that. MILLER Upham? UPHAM Pass. MILLER Sarge? SARGE I'm just here to keep a bunch of numb-nuts, including one certain, frequently suicidal, tempter-of-fate, from getting themselves killed. Reiben eyes Miller. REIBEN And what about you, Captain? Miller looks at Reiben, shocked. MILLER Reiben, what's the matter with you? I don't gripe to you. I'm a captain. There's a chain of command. Griping goes one way, up, only up, never down. You gripe to me, I gripe to my superior officers. Up, get it? I don't gripe to you, I don't gripe in front of you. How long you been in the army? REIBEN I'm sorry, sir, I apologize. (beat) But if you weren't a captain, or if I were a major, what would you say? Miller considers his response. MILLER In that case, I would say this is an excellent mission, with an extremely valuable objective, worthy of my best efforts. Reiben rolls his eyes. Miller plays it straight, with no obvious sarcasm. MILLER (continuing) In addition, as I pointed out earlier, I have a fondness for cheese and I hope to have the opportunity to sample some of the Ramelle products, when we arrive there, to see if they live up to their excellent reputation. Moreover, I feel heartfelt sorrow for the mother of Private James Ryan and I'm more than willing to lay down my life, and the lives of my men, especially you, Reiben, to help relieve her suffering. The men thoroughly enjoy the performance. REIBEN Sir, if you were not a captain, I would compliment you, now, for being an excellent liar. MILLER But I am a captain. If I were not a captain, I would thank you for the compliment and tell you that the ability to lie comes from being a top-notch poker player, which I am, having learned at the side of my mother who is, by popular acclaim, the best poker player in... The men all learn forward expectantly, believing they're about to find out Miller's home town. Miller smiles. MILLER (continuing) ...my home town, which shall remain un-named. The men ease back, disappointed. MILLER Any further thoughts on the subject? REIBEN Yes, sir, as a final note, I'd like to say, fuck our orders, fuck Ramelle, fuck the cheese capital of France and while we're at it, fuck Private James Ryan. MILLER I'll make a note of your suggestions but I'll leave that last one to you, especially if he's already dead. The men wince and laugh. Miller checks his watch and gets serious. MILLER We move out in two hours, try and get some sleep. The men know when to can it. Without another word, they all settle down into the debris, close their eyes and try to follow Miller's order. Upham looks around at these strange men, then, a simple, hard glare from Miller makes him follow suit. Miller looks at his men, then pulls out his map case and his flashlight. He turns it on, in the dim glow of the light, he studies his maps while his men rest. EXT. ST. MERE CATHEDRAL - NIGHT (LATER) Dark. ARTILLERY RUMBLES IN THE DISTANCE. Reiben, Jackson, Wade and Upham sleep. Miller still sits in the glow of his flashlight, studying his maps. Sarge lies near him, awake, watching him. Sarge notices some unopened envelopes in Miller's map case and speaks quietly to him. SARGE You ever going to open those letters? Miller keeps his eyes on the maps. MILLER Maybe. SARGE It's not normal, not reading letters from home. MILLER Since when have things been normal? SARGE You got me. Afraid of bad news? MILLER Nope. SARGE Good news? Miller looks at Sarge. A moment passes between the two of them, then miller takes refuge in the maps. Sarge looks at the men. SARGE You think they'll be alright? MILLER They're fine. As long as they can gripe, they'll be alright. SARGE And what about you? Miller considers the question, doesn't answer. MILLER They guys here aren't going to be able to hold out until battalion shows up. SARGE Nope. MILLER Command isn't going to let them withdraw and the Germans sure as hell aren't going to let them surrender. SARGE Three for three. MILLER If we stayed, we could make a difference. SARGE You're kidding yourself. MILLER You never know. They sit in silence for a moment. SARGE I hope this boy Ryan is worth it. MILLER Now you're the one kidding yourself. (beat) Hell of a mission. SARGE Yup, hell of a mission. Miller looks at his watch, rises and barks at the men. MILLER Rise and shine, boys. Let's go. Grumbling, the men get up and start shouldering up their gear. EXT. ST. MERE STREET - NIGHT SMALL ARMS FIRE ECHOES through the village. DISTANT ARTILLERY BOOMS. Miller leads his men from the ruins of the cathedral toward the outskirts of town. They're just a small squad, but these six, heavily-armed men, in full battle gear, are very formidable-looking. EXT. ST. MERE - OUTSKIRTS - NIGHT Miller's men are getting ready to move out. Captain Hamill and a few of his men are there to see them off. Suddenly: A FLASH OF LIGHT APPEARS ON THE HORIZON Then REPEATED FLASHES OF LIGHT. The sky is on fire. The AIR TREMBLES. A FAR OFF RUMBLING THUNDER ROLLS over the countryside like a tidal wave. Then, THE OPPOSITE HORIZON LIGHTS UP AS WELL. IT'S A MASSIVE ARTILLERY BATTLE. The MAGNITUDE OF THE FURY is incredible, strange, other-worldly. EVERY MAN THERE IS TRANSFIXED. Frozen in place. The lights play on their faces. MILLER looks down and sees his hand quivering. SARGE notices, says nothing. MILLER stares at his hand, forcing it to stop. Their eyes go back to the BLAZING SKY. SARGE (awe-struck) Makes you feel small, doesn't it? MILLER It doesn't take this. Upham's face shows more fear than awe. UPHAM I wasn't made for this. MILLER (bitterly) You think the rest of us were? Upham recoils. Miller instantly regrets his words. He turns to Upham and sees that he's really scared. Miller get a hold of himself and speaks gently. MILLER Don't worry, Upham, God'll protect you, this shit's gonna keep him up all night, anyway. Upham manages a slight smile. Miller watches the lights for a moment more, then he pretends to shrug it off. MILLER Let's go, this ain't what they pay us for. Captain Hamill is next to snap himself out of it. He points the way. Captain hamill Along the wall, about thirty yards, there's a gate, on the other side, a drainage ditch, stay low until you clear the second field, then you'll hit the woods. As Miller and his men shoulder their gear and prepare to move out, on of Captain Hamill's men, the Gentle-Faced Private who was so interested in the talk of Private Ryan, steps up with a couple bandoleers of B.A.R. ammo. He offers them to Reiben. Gentle-faced private Here. Reiben looks at the bandoleers and is about to give a smart- ass response, when a look at the Gentle-Faced Private's vulnerable expression stops the comment dead. Gentle-faced private My older brother was killed at Guadalcanal...these might come in handy. Reiben takes the ammo. REIBEN (gently) Just what I need. Miller steps over, takes the bandoleers from Reiben and hands them back to the Gentle-Faced Private. MILLER Thanks, but you may need these more than us, or Ryan. Captain Hamill nods to the Gentle-Faced Private who takes the ammo back. MILLER Let's move out. Miller and his men head off along the wall into the darkness, lit intermittently by the distant flashes. Captain Hamill and his beleaguered men, watch them go with dread and a strange bit of hope. EXT. FRENCH COUNTRY SIDE - NIGHT The FINAL RUMBLES of the DISTANT ARTILLERY fade away. The night is dark. The band of six Americans makes their way warily along a French cart path. Sarge eases up alongside Miller and speaks quietly to him. The others don't overhear. Sarge How long's your hand been shaking? MILLER A couple of weeks. It started in Portsmouth when they brought us down for loading. SARGE Is it getting worse? MILLER No. It comes and goes. It stops when I look at it. SARGE You may have to find yourself a new line of work, this one doesn't seem to agree with you anymore. MILLER I'll be alright. Sarge looks at Miller, closely, evaluating him, they walk on. EXT. FRENCH CART PATH - NIGHT (LATER) Farther along. The men are tired but alert. Jackson is at point. Miller behind him. The others at intervals. Sarge brings up the rear. A SOUND. Jackson stops. No one speaks, they communicate only with hand signals. JACKSON SIGNALS to Miller, ten, twenty, thirty men coming. MILLER SIGNALS for the men to get off the path. They ease into the brush. An instant later, a PAIR WARY GERMAN INFANTRY MEN appear. REIBEN grips his B.A.R. and looks to Miller for permission to open up. Miller shakes his head and signals, "let them go." A moment later AN ENTIRE PLATOON OF GERMANS rounds the bend. Fifty men. Heavily armed. REIBEN breathes a sigh of relief and lowers hi B.A.R. THE GERMAN PLATOON passes, their boots no more than two feet from the faces of the hidden Americans. Upham is wide-eyed with fear. The others are stone-faced. THE GERMANS PASS. MILLER MOTIONS for his men to hold their positions. UPHAM doesn't see the signal. He stands, breathing a sigh of relief, just as a GERMAN WHIP-TAIL SQUAD appears, trailing the platoon by thirty meters, protecting their rear. UPHAM FREEZES. He's standing, barely in the shadows, nearly exposed. Shitting bricks. Pissed, MILLER prepares to fire. The Whip-tail squad approaches. Then, the GERMANS PASS, miraculously, not seeing Upham in the shadows. They walk on and disappear. Upham is weak- kneed, amazed that he's still alive. MILLER shoots a devastating glare at him, then signals the rest of the men to follow him into the woods. Upham scurries after Miller, staying close on his heels. EXT. FIELD - NIGHT The little band of Americans walks along the edge of a field, parallel to a cart path. Wary. Miller notices Jackson and Wade drifting too close to each other. He SNAPS HIS FINGERS, getting their attention, and motions curtly for them to open it up a bit. They do so. EXT. CROSSROADS - NIGHT Dark. FAINT DISTANT ARTILLERY. Miller checks the map as Sarge shines a red flashlight on an array of directional signs. One of them reads: "Ramelle 16 Km." Miller puts away the map. Checks the horizon. The first glow of dawn is visible. MILLER It'll be light, soon. Let's pick it up. EXT. FRENCH COUNTRYSIDE - DAWN First light. The SOUND OF DISTANT GUNS has been replaced by the CHIRPING OF BIRDS. The Americans are taking five. Miller stands, a bit apart from the others, looking out at the view. It's lovely. Dew shimmers on the long grass. The war is far away. Upham walks next to him. They look out at the view together without speaking for a moment. MILLER It looks like a Renoir. UPHAM Yes. Do you know Sibelius' Fourth Symphony, The Normandy? MILLER I've been humming it. UPHAM I heard. MILLER It seemed appropriate. UPHAM You know classical music? MILLER Some. UPHAM Where are you from, Captain? Miller smiles. MILLER What's the pool up to? Upham smiles, caught. UPHAM Over three-hundred. MILLER I'll tell you what, if I'm still alive when it hits five-hundred, I'll let you know and we'll split the money. UPHAM If that's the way you feel, why don't we wait until it's up to a thousand. MILLER I don't expect to live that long. Upham looks closely at Miller and sees that he means it. UPHAM Five hundred, then. Miller takes a last look at the view and allows himself to feel an overwhelming wave of sadness. Then he turns himself back into a commander and barks at Upham. MILLER Let's go, private. Miller strides away. Upham watches him, trying to figure him out, then he simply follows him. EXT. HEDGEROW LANE - DAWN The seven Americans walk along a hedgerow lane, untouched by war. Spreading trees arch gently over the lane which is lined with hedgerows, thick, rooted masses, impenetrable, hundred of years old. Miller sees SMOKE AHEAD. He motions to the men. They advance. Ext. french farm - day A burning house and barn. An old FRENCH FARMER kneels on the ground, weeping, next to this SLAUGHTERED FAMILY, two adult women, an adult male and a boy, no more than ten. His animals, a pair of cows and a draft horse and some pigs are dead as well, shot to pieces. A DEAD AMERICAN PARATROOPER lies sprawled in the dirt with empty shell casings around his body. Miller and his men approach carefully. Miller motions to Upham who squats down next to the French Farmer and speaks gently to him in French. The FARMER SPEAKS SOFTLY as if in a trance. Upham stands and translates. UPHAM Five nights ago, he found this paratrooper caught in a tree with a broken leg. The leg got infected. Last night he went to Ville Cholet to get a doctor. The doctor refused to come and when he got back, this is what he found. The Krauts must have shown up while he was gone. MILLER Did he see any sign of them? Upham gently asks. The FARMER ANSWERS. UPHAM No, but he heard firing, just east, less that a kilometer. MILLER Thank him and tell him we're sorry about his loss. Miller heads off without glancing back. The men hesitate. Sarge jerks his head for them to move out. They do so. Upham squats down and speaks softly to the Farmer, puts his hand on the man's shoulder, then rises and follows the others. EXT. HEDGEROW FIELD - DAY A beautiful, hedgerow-lined field of tall grass. The last of the dew and morning mist is just burning off. The six Americans walk carefully through the woods to the edge of the field. Miller notices something. He silently signals stop, crouches and scans the field and the hedgerow on the far side. Sarge and Jackson ease up next to him. Jackson points to some trees nearby, freshly shattered and pock-marked with bullets. Wade calls quietly from a tangle of roots and brush. WADE Captain. Staying low, they join Wade who has found: TWO DEAD AMERICAN PARATROOPERS A trail of blood and flattened grass leads from the field. MILLER, SARGE AND JACKSON Crawl to the edge of the field, scan the far hedgerow. The others crawl up behind them. MILLER Where? JACKSON In the shadow by those two trees. MILLER My guess, too. UPHAM What is it? MILLER A machine gun. Miller eases back from the edge of the field into the cover of the brush. He stands and takes off his pack. REIBEN Sir, I've got an idea, let's go around. MILLER We can't leave it here. JACKSON We left them eighty-eights. MILLER They don't send planes to put out machine guns. (beat) Two flank runners with surpressing fire. I'm going right, whoever goes left has to be fast. Upham steels himself and steps forward. UPHAM Sir, I ran the 220 in high school. REIBEN He's fast, Captain, I saw him. Miller takes Upham's measure. Wade laughs with a sneer. WADE How fast? UPHAM Twenty-four-five. WADE Shit, that's nothing, I ran twenty- two flat. MILLER Wade goes left. Wade joins Miller in peeling off his extra gear. Upham is impressed. UPHAM Twenty-two flat? Wade takes a grenade from Upham's chest strap. WADE I would have won the states if some bastard hadn't tripped me in the finals. Miller points the others to their firing positions. MILLER Sarge, Upham, here. Jackson, Reiben, ten yards, either side. As they take their positions, Miller and Sarge speak quietly, out of earshot of the men. SARGE Rule of thumb, Captain, says you ought to detail this one, instead of going yourself. Miller looks at the two dead paratroopers. MILLER Yeah? What rule of thumb is that? SARGE How about I go right, sir? MILLER How about you take your position? Sarge hesitates. SARGE How about...? MILLER (interrupting) How about you shut up and take your position? Sarge nods. SARGE Yes, sir. Sarge finds a spot. Miller joins Wade. Miller waits near Upham as the other men settle into their firing positions. UPHAM Good luck, Captain. MILLER Don't need it, I'm a cat, I've got five lives. UPHAM The men said, nine. MILLER What do they know? (beat) I had nine, but I feel through the ice when I was seven, my brother pulled me out. Then I used one when a grenade landed in my foxhole in Sicily, it was a dud. I figure one on the beaches, one on the cliffs and two getting here. UPHAM That only leaves three. MILLER Plenty. Miller sees that the men are in position. He nods to Wade. MILLER Ready? WADE Yes, sir. Miller and Wade take deep breaths. Miller Now. MILLER AND WADE TAKE OFF AT FULL RUNS. Onto opposite sides of the field. Nothing happens for a moment. Then: A HEAVY GERMAN MACHINE GUN OPENS UP. MURDEROUSLY LOUD. SHATTERING THE QUIET. IN THE NEST A squad of Germans, dug deep, BLASTING THE MACHINE GUN, a BIG SCHWARZLOSE 8MM, a stunningly powerful weapon. Four Germans in the nest, four more outlying riflemen. MILLER Takes the FIRST FIRE. He HITS THE DIRT. The BULLETS SCREAM just over him. THE MACHINE GUN SWINGS TOWARD WADE MILLER JUMPS UP AND SPRINTS WADE HITS THE DIRT The BULLETS GRAZE the back of his helmet. SARGE, REIBEN, JACKSON, UPHAM Zero the machine gun. FIRE fast as they can. Their BULLETS THUD INEFFECTUALLY into the hedgerow. THE MACHINE GUN SWINGS BACK TOWARD MILLER WADE JUMPS UP AND SPRINTS MILLER HITS THE DIRT Bullets SMASH into the ground all around Miller. SARGE FIRES A LONG BURST from his Thompson. No effect. Pissed. POPS THE CLIP. SLAMS in another. FIRES. THE MACHINE GUN SWINGS FROM MILLER He rises and runs. Fast. Almost to the far hedgerow. WADE Ten more yards. Too slow. A deadly row of BULLETS KICK UP DIRT toward him. MILLER Makes it to the far side. Scrambles up the roots. Dives through the brush. WADE On a slight rise. Can't hit the dirt. A line of bullets. Desperately sprints. WADE IS HIT. HEAVY BULLETS RIP APART HIS BELLY. He spins. Goes down. SARGE, UPHAM AND THE OTHERS are horrified. FIRE at the nest. MILLER STRUGGLES through the hedgerow. Stumbles onto the path. Rolls to his feet, running. Swings his Thompson into firing position. Racing toward the nest. SARGE AND THE OTHERS POUR FIRE at the nest. MILLER Tearing along the path. Sees a German rifleman. FIRES A BURST. CUTS HIM DOWN. Runs over the body without breaking stride. SARGE STEPS INTO THE OPEN, INTENTIONALLY DRAWING THE GERMAN FIRE from Miller. The GERMANS ZERO SARGE. BULLETS THUD all around him. Somehow he's not hit. MILLER TEARS THROUGH THE TREES. BLASTS his Thompson. CUTS DOWN two more German riflemen. Grabs a grenade. Pulls the pin. THE NEST The Germans see Miller coming. Wheel from Sarge. Too late. MILLER THROWS the grenade, VEERS and DIVES. THE GRENADE EXPLODES. The four Germans in the nest are KILLED. SARGE hollers to the others. SARGE HOLD YOUR FIRE! MILLER Rolls to his feet. FIRE another BURST. KILLS the last of the German riflemen. Doesn't pause. RUNS onto the field. SARGE AND THE OTHERS See Miller running toward Wade. They instantly RACE onto the field. WADE Lies in the grass. Holding his belly. Astonished by the pain. ALL THE AMERICANS RUN Converging on Wade. Miller points, and yells, without slowing down. MILLER REIBEN, UPHAM, PERIMETER! COVER! REIBEN AND UPHAM Stop instantly. Turn toward the perimeter of the field. SARGE Roots through his medical kit as he runs. Dropping and scattering inessentials behind him. WADE Wide-eyed. Not even writhing. Too much pain. MILLER AND SARGE GET TO WADE Throw themselves onto the ground next to him. They both tear out sulfa-packs. Sarge frantically fumbles. Ripping one open. Powder spills. REIBEN AND UPHAM repeatedly glance back at Wade. SARGE Pulls Wade's hands from the wound. Pours sulfa powder. MILLER About to pour his sulfa. Sees the wound. Stops. Knows it's fatal. MILLER Damn it! Throws the sulfa aside. Quickly pulls out a morphine pack. SARGE Fumbles with a second sulfa bag. SARGE Sulfa, more sulfa... WADE Frozen in agony. Looks at Miller. Sees him preparing the morphine shot. They both know. WADE Yeah...morphine...make it a double...huh...Captain...? MILLER SHOVES THE NEEDLE into Wade's neck. Thick vein. Pumps the morphine straight to Wade's brain. Motions impatiently to Sarge. MILLER More morphine, hurry up, come on, come on... SARGE Hesitates. Then drops his sulfa. Fumbles in his pack. Finds the morphine. MILLER Snatches the morphine from Sarge. Quickly and efficiently prepares a second shot. He's done this before. REIBEN On guard, glancing back. Pissed off. REIBEN Goddamn it...Goddamn it...Goddamn it... UPHAM Freaked out. Trying to keep his eyes on the perimeter. Can't. JACKSON Watching. MILLER Gives Wade the second shot. WADE Feels the effects of the first shot. He sees Upham and manages a pained smile. WADE LOCKS EYES WITH MILLER. Looking at him without blame, without forgiveness. Drifts with the morphine. Then: WADE DIES ALL ARE FROZEN IN PLACE UPHAM begins to weep. REIBEN FURIOUSLY MUTTERS: REIBEN Goddamn it...Goddamn it...Goddamn it... MILLER Is silent. Motionless. He gently closes Wade's eyes. His hand quivers slightly as he unclips one of Wades dogtags. He fumbles and drops it. Sarge notices. Miller stares at his hand and steadies it before the men see. He picks up the dogtag and pockets it. Then Miller carefully re-packs the un-used morphine and sulfa, rises and picks up his Thompson. Upham shakes his head. UPHAM That was no twenty-two flat. Miller SLAMS A FRESH CLIP into his Thompson. MILLER He lied. Let's move out. Miller turns and walks away without looking back. The men hesitate, then slowly follow him. EXT. FRENCH COUNTRY COW PATH - DAY A narrow footpath, arched over by trees, almost a tunnel. The five G.I.'s walk, spread out. REIBEN Fuck Private James Ryan, fuck him, just fuck the goddamned son-of-a- bitch. JACKSON Shut up, will you? REIBEN You shut up, this is the most fucked up mission I ever heard of. Goddamned Ryan, fuck the little bastard. JACKSON Just shut up, Ryan didn't kill Wade. REIBEN The hell he didn't. Miller motions to them curtly. MILLER Keep it down. They shut up. Miller falls in step to Sarge. Speaks quietly, the men don't hear. MILLER We've got to find someplace to hole up for a bit. Sarge looks at Miller closely. SARGE You alright? MILLER Let's just find someplace. EXT. NARROW GULLY - DAY Miller leads the men into a heavily overgrown gully. A good hiding place. MILLER Rest. One hour. Jackson, Reiben, perimeter. Keep your eyes open. I'm going to re-con. Miller speaks authoritatively and says the right things, but there's something missing. It's subtle. Only Sarge notices. He watches Miller head off into the brush alone. EXT. SMALL CLEARING - DAY Miller walks into a small clearing, slows then stops. The life drains from him. He stands there, looking at the dirt, tilting his head, this way and that, as if listening for faint, distant voices. His face shows a battle raging within, as he fights to keep from losing it entirely. Behind him, Sarge steps to the edge of the clearing and watches. Miller senses his presence, turns and looks at him if he were a thousand miles away. Sarge sits down on a log and waits. MILLER What was the name of that kid at Anzio, the one who got his face burned off? SARGE Vecchio. MILLER Yeah, Vecchio, I couldn't remember his name, he was a good kid, remember how he used to walk on his hands and sing that song about the man on flying trapeze? SARGE Yeah. MILLER You know why I'm such a good officer? Because of my mother. Have I ever told you about her? SARGE Bits and pieces. MILLER She's the best poker player you ever saw. My father used to go to these Saturday night games and lose his shirt. Finally, my mother gave him an ultimatum, either she gets a regular seat at the table or she locks him in every Saturday night. He squawked and so did his buddies but after a while they gave in and from the first night she sat down, she never lost. She could read those cocky bastards like they were playing open hands. And he bluffs? He had sixteen levels of bullshit. Her eyes, the tone of her voice, her bets, her jokes, the way she sipped her coffee, she was a master. She won more money on shit hands than anyone in the history of the game. Every Saturday night, my father would lose two, three hundred bucks and she'd win it all back and then some. And I'd stand there, glued to her shoulder, from the time I was five years old, watching every hand, every move, studying how she did it. (beat) That's why I'm such a good officer, I can look at a man's face and tell you exactly what he's holding, and if it's a shit hand, I know just what cards to deal him. SARGE And what about your own hand? MILLER No problem. A pair of deuces? Less? So what? I bluff. It used to tear me apart when I'd get one of my men killed, but what was I supposed to do? Break down in front of the ones who were standing there waiting for me to tell them what to do? Of course not, so I bluffed, and after a while, I started to fall for my own bluff. It was great, it made everything so much easier. Sarge Is that why your hand's been shaking? MILLER It could be worse. You know the first thing they teach you at O.C.S.? Lie to your men. SARGE Oh, yeah? MILLER Not in so many words, but they tell you you can have all the firepower in the world and if your men don't have good morale, it's not worth a damn. So if you're scared or empty or half-a-step from a Section Eight, do you tell your men? Of course not. You bluff, you lie. SARGE And how do you bluff yourself? MILLER Simple, numbers. Every time you kill one of your men, you tell yourself you just saved the lives of two, three, ten, a hundred others. We lost, what, thirty-one on the cliffs? I'll bet we saved ten times that number by putting out those guns. That's over three hundred men. Maybe five hundred. A thousand. Then thousand. Any number you want. See? It's simple. It lets you always choose mission over men. SARGE Except this time, the mission IS a man. MILLER That's the rub. I liked Wade. Who's Ryan? If they're both standing in front of me and I have to shoot one or the other, how do I choose? Look at my hand, there it goes again. SARGE John, I've got to tell you, I think you're about used up. MILLER I think you're right, Keith. SARGE You want me to take over? The question helps Miller pull himself back together. He looks at his hand and forces it to stop shaking again. MILLER No, but if I get any worse, you'll have to relieve me. SARGE (sighs) Just what I want to do. They share a smile. MILLER You know Wade was the eleventh of the twelve, you're the last one still alive. SARGE I know. MILLER Don't let yourself get killed, if you do, they might make me give back the medal and then I won't be able to lip off to colonels anymore. SARGE I'll do my best. They shake their heads at the madness of it all. Miller Hell of a... (BEAT) Ah, forget it. Miller picks up his Thompson and looks around, re-orienting himself. He's about ninety-five percent there. MILLER Thanks for drawing that machine gun off me. SARGE You're welcome, John. MILLER But, that's my personal brand of stupidity, I feel kind of proprietary about it, if you do it again, you're busted. Sarge allows himself a slight smile. SARGE Yes, sir. Miller jerks his head for Sarge to follow. They head back to the men. EXT. CLEARING - DAY The men are all in their private worlds, thinking of Wade. No talk. Miller and Sarge walk back into the clearing. Miller barks at the men. MILLER Up. We're moving out. REIBEN I thought you said we had an hour, sir? MILLER Well now I'm saying we're moving out. Get off your ass. The men get up. Jackson is a bit slow. MILLER What the hell's the matter with you, Jackson? JACKSON Sir, I ain't feeling so chipper on account of Wade. MILLER Who's Wade? No one responds. MILLER I said, who the hell is Wade? The men exchange looks. Jackson speaks for them. JACKSON Sir, I understand what you're doin', but I respectfully request permission to grieve in my own manner. MILLER You'll grieve the way I tell you to goddamned grieve. There is no Wade, there was one, but he died a long time ago, he's been dead for so long you can hardly remember his name, you understand? JACKSON Sir, I understand. I don't like it, but I understand. MILLER Good, now get your goddamned gear. The men pick up their equipment and prepare to move out. Sarge and Miller exchange a silent look. Miller shakes his head to himself, amazed that the men still allow this shit to work. He knows they have no choice. EXT. FRENCH ROAD - DAY Miller and his men walk along the road. The men are silent, grim. EXT. FRENCH PATH - DAY Miller checks his map. figures out where they are. Folds up the map, points the way and they move out. EXT. FRENCH FIELD - DAY More progress. The men are still grim. REIBEN You know what the best possible thing that could happen is? JACKSON Yep, you step on a rusty nail, get lockjaw, never say another word as long as you live. Miller laughs. Miller I'll bite, Reiben. REIBEN I've given this a lot of thought, sir. The best thing that could happen is, we find Ryan and he's dead. MILLER Why's that? REIBEN Well, sir, consider the possibilities. A: Ryan is alive. We have to take him back to the beach. Knowing you, you don't let him carry my gear, even though he really should, and we all get killed, trying to keep him alive. MILLER Except for the last part, that one's not bad. REIBEN B: Ryan is dead. He's been blown up by the German equivalent of Wade, whose name I know you don't want me to mention. There's nothing to find. The biggest piece is the size of a pea. We wander around, looking for him until the Germans pick us off, one after another. MILLER I don't like that one. REIBEN Neither do I, sir. C: And this is the worst one, we find Ryan and he's wounded. Not only does he not carry my gear, we have to carry his gear. And him. MILLER But we accomplish the mission. REIBEN Maybe. But what if he dies on the way back? you see what I'm saying, sir? The best possible situation is, he's dead, we find his body, more or less intact, we grab one of his dog-tags and high-tail it back to the beach, or better yet, we head over to Caen and catch up with division. MILLER Has anyone ever told you, you're officer material? REIBEN No, sir. MILLER That's a mystery to me. No one smiles, but they trudge a bit less. EXT. CROSSROADS - DAY The SOUND OF HEAVY FIRING. Miller checks a map in the brush near the crossroads. A sign reads: "Ramelle 3 Km." Miller folds up the map. SARGE Looks like we're going to beat those Kraut companies to Ramelle. Suddenly Miller stops dead. He listens, hearing something the others don't hear. He motions for them to freeze, they do. The SOUND grows louder. It's an OMINOUS RUMBLE. MILLER I don't think so. EXT. FRENCH ROAD - DAY THE RUMBLE turns into the ROAR OF A BIG GERMAN CONVOY. Troop trucks, armored personnel carriers, a regiment of crack Wehrmacht troops. Heavily armed. Imposing. Crossing a bridge. CAMERA PANS DOWN TO REVEAL Miller and his men crowded into a culvert under the bridge. Brush and debris partially shield the ends of the culvert. GERMAN FLANK SQUADS Hurry along the fields on either side of the road, trying to keep up with the vehicles. MILLER AND HIS MEN Catch a glimpse of an approaching German Flank Squad. They flatten themselves into the mucky water. Ready their weapons. Prepare to fire. THE GERMAN SQUAD Approaches the bridge. PAIR OF GERMAN PRIVATES See the culvert obscured by brush. Move to check it out. MILLER Is just about to open up on them. THE GERMAN SERGEANT Sees his Flank Squad lagging behind and CALLS to them. THE GERMAN PRIVATES Obey. Hurry after the rest of the convoy. IN THE CULVERT The Americans breathe again. UPHAM I wonder where they're going. MILLER Same place we are. Jackson, at the mouth of the culvert, motions that the coast is clear. They head out. EXT. OUTSKIRTS OF RAMELLE - DAY A gently-sloped valley with scattered farm cottages and small, cultivated fields, bordered by ancient, moss-covered stone walls. The twos is visible beyond. Miller and his men crouch-run to the cover of one of the stone walls. Miller pulls out his binoculars. ON THE FAR SIDE OF THE FIELD There's a large gathering of German troops and vehicles. MILLER Scans the Germans with his binoculars. REIBEN Looks like tea time, maybe they're Brits. UPHAM I sure hope so. SARGE What do you think they're waiting for, Captain? Just then they hear an OMINOUS RUMBLE, deeper and more threatening that that of the convoy. The sound gets LOUDER and LOUDER. Miller and his men exchange looks. They know that sound, they don't like it. FOUR MASSIVE GERMAN TANKS Appear down the road, heading for the German soldiers who greet them enthusiastically. The tanks are tigers, huge, far bigger than an American Sherman. Each one, sixty-two tons, with a big 88-mm gun, four heavy machine guns and impregnable armor. Each one, an infantryman's nightmare. There are four of them. MILLER Puts away the binoculars and jerks his head for his men to follow, low, along the wall. The men are happy to do so, looking back nervously at the German tanks. EXT. TOWN SQUARE - RAMELLE - DAY The SOUNDS OF SPORADIC SMALL ARMS FIRE. The town square is a deserted battlefield, littered with burning debris, shell casings and bodies, German and American and a few French civilians. Miller and his men enter the square, weapons ready, leap-frogging from doorway to doorway. Miller and Sarge crouch-run to the cover of some overhanging debris. They listen, trying to pinpoint the exact source of the firing. Sarge motions his guess. Miller nods in agreement. He signals for the men to follow him around, not toward, the firing. They move on, dashing from cover to cover. EXT. BRIDGE - RAMELLE - DAY A dozen AMERICAN PARATROOPERS on the bridge exchange SPORADIC FIRE with a few German snipers hidden in the buildings near the bridgehead. The bridge has clearly been the scene of heavy fighting. Craters, burning debris and shell casings are everywhere. The bridge is intact, only slightly damaged. There are dozens of German bodies along the riverbank on both sides of the bridge. MILLER AND HIS MEN Crouch-run and take cover as they get within sight of the bridge. REIBEN Looks like they've been having a hell of a party, here, Captain. MILLER ON THE BRIDGE! WE'RE COMING IN. A YOUNG BUT GRIZZLED VOICE calls back. VOICE FROM BRIDGE KISS MY ASS, FRITZ. MILLER YOU FIRE AT US AND I'LL DO A HELL OF A LOT MORE THAN THAT. VOICE FROM BRIDGE WHO WON THE '38 ARMY-NAVY GAME? Miller turns to his men. They all come up empty. MILLER I HAVE NO FUCKING IDEA. HERE WE COME. (to his men) Cover me. REIBEN What if our guys open up, sir? MILLER You're only allowed to shoot at Germans, that's one of the rules. REIBEN Have it your way, Captain. Miller takes a breath, then DASHES out into the open, toward the bridge. THE GERMAN SNIPERS OPEN UP Bullets SMASH INTO THE GROUND around Miller. MILLER'S MEN POUR FIRE at the German positions, SURPRESSING THE GERMAN FIRE. ON THE BRIDGE The Paratroopers pour a HEAVY STREAM OF BULLETS at the German positions. Miller makes it to the bridge and DIVES over a defensive jumble of crates, sandbags and bodies. He finds himself next to SERGEANT BILL FORREST who was the young but grizzled voice that called out. With Forrest are some very worn-out, young AMERICAN PARATROOPERS. Miller catches his breath. Forrest Navy, sir, twenty-one to nineteen. They won on a field goal in overtime. MILLER I'll keep it in mind. (calls to Sarge) OKAY, SARGE, ONE AT A TIME. Miller and the paratroopers FIRE COVER for Miller's men as they come in. Miller and Forrest alternately take and FIRE. Forrest Are we glad to see you, sir, we were supposed to hold this bridge for twenty-four hours, it's been six days. MILLER Things are tough all over. We're looking for a Private James Ryan. Forrest Ryan? MILLER Is he here? Forrest motions to one of the paratroopers. Forrest Go get Ryan. (TO MILLER) What do you want him for, sir? Miller doesn't answer. Jackson leaps over the barricade and scrambles to them. MILLER Jackson, get a hold of command. Jackson cranks up the five-thirty-five. Miller turns to Forrest. MILLER How many men do you have? They pause to FIRE, covering Sarge, the last of Miller's men to leap over the barricade. Forrest Eleven, sir. We started with thirty-six. The bridge was easy to take but the Krauts have been coming back at us ever since. They must want it intact or we'd be long gone. Jackson speaks into the radio handset, repeating Miller's hailing I.D. No response. JACKSON Not yet. MILLER Keep trying. Forrest Sir, what do you want with Ryan? Miller doesn't answer, he looks past Forrest and sees: PRIVATE JAMES RYAN Dashing from cover to cover, making his way toward them. Ryan is an American classic, nineteen years old, earthy, handsome, sharp, cocky. Though he's exhausted, unshaven, and smeared with dirt and blood, he's very alive. His eyes shine, his face has a spark. You can't help but love this kid. MILLER'S MEN All watch Ryan run toward them. JACKSON So, that's Ryan. REIBEN Looks like a flaming asshole to me. Their eyes remain glued to Ryan as he makes it to the barricade. He salutes Miller. REIBEN I'm Ryan, sir. You wanted to see me? Miller looks at Ryan for a moment, amazed that he's finally face-to-face with him. Ryan waits. Miller hesitates, searching for words. Then he speaks gently but clearly. Miller Private, I've got some bad news for you. Your brothers have been killed in action. The life instantly drains from Ryan. His breath comes hard. Somehow he remains upright. Ryan All three? MILLER Yes. Ryan sways. Miller grabs him and eases him back, leaning him against some sandbags. THE PARATROOPERS Are stunned at the news. They look at Ryan, there's nothing else they can do. MILLER'S MEN Also look at Ryan, but then, one after another, they turn away, adverting their eyes, looking a their own boots, the debris on the bridge, the sky, anything other than Ryan. MILLER We've been sent to get you out of here. You're going home. Ryan weakly waves Miller off. Miller motions to his men and the paratroopers to move away. They do so, giving Ryan a little room. Forrest Three brothers, the poor son-of-a-bitch. MILLER Sergeant, we're moving out and I'm taking you and your men with me. Forrest But, sir, our orders are clear, we're to hold this bridge until we're relieved by forward elements of the Twenty- ninth Division. MILLER I'm giving you new orders, Sergeant. Forrest Sir, you can't do that, these orders are from command. MILLER I'm not going to leave you and your men here to get killed. Get them together, we're moving out. A VOICE from behind them speaks simply, clearly, firmly. RYAN (O.S.) No, sir. They all turn and see Ryan standing there. Miller is about to automatically rip Ryan a new asshole for contradicting him, but he quickly calms himself, gently touches Ryan on the arm and speaks softly to him. MILLER Come on, Private, you're going home. Ryan jerks away from Miller. RYAN No, sir. All eyes are on Miller and Ryan. Miller remains patient. MILLER Private. I'm sorry about your brothers but staying here and getting yourself killed isn't going to help. RYAN Sir, if the Krauts are holding this bridge when division shows up, our guys are going to be sitting ducks. MILLER This bridge cannot be held. The Germans have two companies less than three miles from here. They have tanks. That news clearly affects Ryan and the other paratroopers, but Ryan holds his ground. Ryan Sir, I'm still not going. Miller speaks with restrained, but growing, anger. MILLER Private, if you want to commit suicide, that's your choice, but you're going to have to wait until after I get you back to the beach. And you're not going to take these men with you. Ryan stands eye-to-eye with Miller. RYAN I'm not leaving, sir. Miller starts to boil over. MILLER The hell you aren't, you're comin' with me if I have to drag you every inch of the way. You hear me, Private? RYAN I hear you sir, but I'm not leaving. Miller grabs Ryan by the lapels and shakes him. Ryan doesn't resist. MILLER Listen you little son-of-a-bitch you're coming with me or I'll...I'll... Ryan speaks softly. RYAN What are you going to do, sir, shoot me? Miller considers it. Then REIBEN SPEAKS UP from behind Miller. REIBEN (politely) Uh, excuse me, Captain. Miller slowly turns and glares. REIBEN (continuing) So, what are a few tanks, sir? Miller's more amazed than pissed off. Reiben smiles. REIBEN (continuing) He's right, we can't shoot him...well, we could but we'd get in an enormous amount of trouble. And he's right about the bridge, it's a hell of a lot more important than he is. JACKSON STEPS FORWARD. JACKSON Cap'n...? Miller turns his glare on Jackson. JACKSON (continuing) Seems to me, we got us a opportunity, here, to kill two birds with one stone. Command seems to think keepin' this boy alive is worth somethin'. If we was to do that and hold this bridge, good chance we'd get us a bucket full of medals. I might even get me one 'a them big, fancy ones like you got, so's I could sass any officer in the whole dang army, you included. Miller does a slow burn. UPHAM STEPS FORWARD UPHAM I'd like to stay, too, Captain. MILLER You don't count. SARGE STEPS UP SARGE I do and personally, I'd rather get the hell out of here, but somebody's got to stay and take care of you and these pin-head privates of yours. Miller looks at FORREST AND THE PARATROOPERS. Forrest We weren't planning on going anywhere, sir. Reiben smiles. REIBEN See, Captain? The vote's unanimous. Miller's eyes almost pop out of his head. Miller The vote? What the hell are you talking about? We don't vote. This isn't a democracy. This is the army, I give orders, you follow them. We don't vote! REIBEN Yes, sir, of course, sir, I was merely speaking hypothetically. IF this was a voting situation, then the vote would have been unanimous. But of course, it's not a voting situation, you're the captain, and you give the orders, sir. MILLER You're goddamned right, I give the order. Vote! Jesus Christ! Listen to me, you little pissant pieces of shit, I am the ranking officer here and what I say goes, is that clear? They all quickly nod. JACKSON Yes, sir. REIBEN Of course, sir. All the others Yes, sir. Yes, sir. Miller looks from face to face. MILLER In that case... (beat) I vote we stay. That's what they wanted to hear. Miller doesn't give them time to enjoy it, he immediately starts barking orders. MILLER Reiben, the B.A.R., there. Jackson, get up on the bridgekeepers hut with your sniper rifle. Sarge, you and Upham move that machine gun so it can cover the left flank, it's worthless where it is. Forrest, I want a full inventory of all your weapons, ammo and ordnance. Go. They all hurry off, except for Ryan who locks eyes with Miller for a moment. RYAN Thank you, sir. MILLER (gruffly gentle) Yeah, yeah. I want you right next to me, no matter where I go, you understand? Ryan salutes. RYAN Yes, sir. MILLER Alright, come with me. Miller shakes his head at himself and strides off to check the defensive perimeter with Ryan at his side. EXT. BRIDGE - DAY Miller and Reiben watch as Forrest, Ryan and a couple other paratroopers lay out their weapons and ammo inventory. Forrest Two machine guns, twenty-two grenades, two Gammon grenades, six satchel charges, twenty-six M-1's, eight Tommy guns and about sixty rounds per man. MILLER That's it? Reiben looks at the sparse array of weaponry. REIBEN Sir, can I change my vote? Miller sighs, worried. EXT. BRIDGEKEEPER'S HUT - DAY Jackson, perched on the bridgekeepers hut, protected by a crescent of sandbags. His eye is at his scope. He FIRES. A GERMAN SNIPER Falls from a window on the edge of town, dead. UPHAM Sits beside Jackson with a pair of binoculars, searching for another target. The German sniper fire has subsided for now. Ext. bridge - day Miller watches as Ryan and several other paratroopers dig a series of trenches across the street, leading to the bridge. Reiben, Jackson and Upham, stone-faced, watch Ryan. Miller eyes the buildings near the bridge head. He speaks to Sarge who holds several satchel charges. MILLER Sarge, see what you can do to make those buildings inhospitable. SARGE Yes, sir. Just then they hear the sound of A BIG GUN FIRING IN THE DISTANCE. They all turn at the sound. UPHAM Eighty-eights, right? Miller nods. UPHAM I can tell what the gunners had for dinner. MILLER Those guns are close. Forrest Just south of town. The Krauts have a two gun emplacement, we saw it on the way in. That's how we knew they wanted the bridge intact, they didn't blow the crap out of us. MILLER Let's hope they don't change their mind. Upham listens to the eighty-eights with particular interest. INT. BUILDING - DAY Within sight of the bridge. Sarge carefully plants a wire- triggered satchel charge at the door of the building. He sets the wire, then carefully backs away. EXT. BRIDGE - EVENING Reiben and Ryan pile sandbags, finishing a forward machine gun nest. Miller looks around, evaluating, Sarge and Upham at his side. SARGE What do you think? MILLER Well, if we had ten times the men and a lot more ammo, we might stand a chance, but not against those tanks. SARGE What are we going to do? MILLER We're going to hope like hell the tanks were on their way somewhere else. REIBEN Maybe Caen. MILLER Let's hope, because we're sure as hell not going to do any damage to them with what we have here. UPHAM What about our grenades? MILLER Those are Tigers, they have six-inch armor, they don't even notice grenades. UPHAM Would they notice and eighty-eight? MILLER Sure, you got one? UPHAM The Germans do. Miller is stone-faced, then he smiles. MILLER Upham, go find Jackson, he and I are going hunting. Upham runs off. Sarge shakes his head. SARGE Uh, oh. MILLER Out of the mouth of babes. EXT. BRIDGEHEAD - NIGHT Dark. Miller, Jackson and Forrest darken their faces with blackening soot. The rest of Miller's men and several paratroopers, including Ryan, look on. Upham is distressed. Upham It was my idea, sir, you've got to let me go. MILLER Upham, you've got to learn the difference between whining and griping. You can't just rely on natural ability, you've got to study and practice. UPHAM But, sir... MILLER There you go again, that's whining, that's not okay. UPHAM Goddamn it, sir... MILLER That's better, but you've still got a long way to go. Talk to Reiben, he's a natural and works at it, he'll give you some pointers. REIBEN Leave him to me, Captain, I'll have him pissing and moaning with the best of us. MILLER See to it. RYAN Steps up to Miller. RYAN I'd like to go, sir. MILLER No, private, I want you to stay here, keep your head down, don't do anything brave or stupid. REIBEN Aren't they the same thing, sir? Miller smiles. MILLER Reiben, I don't know what I'd do without you. Sarge, keep Ryan close to you and alive. SARGE Yes, sir. Miller checks Jackson and Forrest. MILLER You ready? Forrest Yes, sir. JACKSON You betcha, sir. Miller, Forrest and Jackson prepare to move out. REIBEN (southern accent) Y'all come back. JACKSON Reiben, are you makin' fun 'a the way I talk? REIBEN (heavy southern accent) Hell, no! Jackson shoots him a glare, then he follows Miller and Forrest into the darkness. Sarge, Ryan and the other watch them go. EXT. GERMAN EIGHTY-EIGHT EMPLACEMENT - NIGHT A German eighty-eight FIRES, sending its big shell into the night. It's eight-man crew re-loads. IN THE DARKNESS A slight movement. It's Miller. He crawls to the edge of the emplacement and freezes in the shadows. A moment later he's joined by Forrest. A moment after that, Jackson silently crawls up to them. MILLER Eyes the emplacement. Looks for a weakness. There is none. He motions to Forrest and Jackson to wait. The three of them settle into the darkness. EXT. MACHINE GUN NEST - BRIDGE - NIGHT Sarge, Upham and Reiben sit with Ryan in the darkness. Ryan is lost in thought, far away. One after another, Miller's men eye him. SARGE Private, I'm sorry about your brothers. Ryan nods. Then, with some difficulty, he makes the trip from Iowa back to France. He turns to Sarge. Ryan What was the name of the guy who got killed coming up here? SARGE Wade. RYAN Wade. Huh, he died coming up here to keep me alive...I never met him...he didn't know me from Adam, strange. What was he like? SARGE A good man, kind of cheerful, Reiben, here, used to call him a happy idiot. REIBEN Like hell, I did. RYAN My brothers would be mighty pissed off at me, if they knew I let some guy get killed trying to keep me alive. SARGE You didn't let anybody get killed, you didn't even know we were coming up here. RYAN Sure, I know, but... (sighs) Goddamn it all... The others nod in agreement. They look closely at Ryan. EXT. GERMAN EIGHTY-EIGHT EMPLACEMENT - NIGHT Dark. No firing. Two German soldiers on watch. A SHADOW It's Miller. Easing through the darkness. Closer to one of the sentries. Miller sees Jackson easing up behind another sentry. Miller nods to Jackson. They move at the same moment. Behind the sentries. SLIT THEIR THROATS. BEHIND THE EIGHTY-EIGHT Forrest removes the wheel-blocks. A GERMAN SENTRY Approaches. He sees Forrest. Just as he's about to open up with his sub-machine gun, Miller grabs him from behind, STABS him, eases the body silently to the ground. MILLER AND JACKSON Join Forrest at the eighty-eight. Together they attach the eighty-eight's carriage to the German's truck. ANOTHER GERMAN SENTRY Rounds a corner. Sees them. OPENS UP WITH HIS SUB-MACHINE GUN. Forrest DIVES, FIRES BACK. OTHER GERMANS Race over, FIRING. JACKSON Covering them, OPENS UP. Kills the advancing Germans. MILLER frantically attaches the eighty-eight to the truck. FORREST CUTS DOWN, several more Germans. JACKSON TAKES A GRAZING SHOT IN THE SHOULDER. Spins. Still FIRING. Giving Miller cover. MILLER LEAPS into the cab of the truck. JACKSON AND FORREST LEAP into the back. JACKSON FIRES into the approaching Germans. THE WINDSHIELD Is shattered by bullets. Glass flies everywhere, cutting Miller on the face and hands. FORREST In the back of the truck. Spraying the Germans with his Thompson. MILLER FLOORS IT. The truck DRIVES through the Germans. The Germans FIRE at the truck and trailing eighty-eight. MILLER, JACKSON AND FORREST Drive into the night. The Germans FIRING after them. EXT. ROAD LEADING TO THE BRIDGE - NIGHT Miller, Jackson and Forrest barrel down the road through a gauntlet of Germans. As they approach the bridge, the other American's FIRE COVER for them. Miller drives the truck onto the bridge. SMASHES INTO THE SANDBAGS THE OTHER AMERICANS, with Ryan in the lead, leap over the barricade and drag the captured eighty-eight onto the bridge. MILLER RYAN! GET BACK THERE! Ryan ignores him. They get the eighty-eight safely behind the barricade. Miller grabs Ryan. RYAN Sorry, sir. Miller fumes. he sees Reiben, Sarge and Upham, shrugging, clearly not pissed at Ryan. MILLER Don't do that again. RYAN I won't need to sir, it's already here, behind the barricade so... Miller GROWLS. RYAN Yes, sir. Miller glares at Ryan, then strides off. EXT. FIELD - NIGHT Miller and Upham carefully dig up a German mine. Very gingerly they place it on a growing pile of other mines. EXT. ROAD LEADING TO BRIDGE - NIGHT Miller and Ryan lay a mine into the dirt. They cover it and step back carefully. Then they proceed with the next. Upham is covering their tracks while Jackson is digging the holes in which they'll place the rest of the mines. EXT. BRIDGE - NIGHT Quiet. Dark. Everything is ready. There's nothing to do now but wait. ON THE BRIDGEKEEPERS HUT Reiben and Jackson sit behind the sandbags. They can see Ryan sitting in the moonlight about twenty yards away, manning the rear machine gun nest with Sarge. REIBEN What do you think? JACKSON I think I'm we got that eighty-eight. REIBEN I mean, Ryan, what do you think of him? Jackson shrugs. JACKSON He ain't half-bad, I guess. REIBEN I guess. They're quiet for a moment. JACKSON He ain't Wade. REIBEN Nope, he ain't Wade. Their eyes keep coming back to Ryan. MILLER Crouch-runs through the shadows and stops at the bridgekeepers hut. MILLER Reiben... Miller points, directing Reiben to the forward machine gun nest. REIBEN Yes, sir. REIBEN jumps down and moves forward. MILLER runs across the bridge and joins Sarge and Ryan in the rear machine gun nest. MILLER You set? Sarge nods. RYAN Yes, sir. Miller and Sarge exchange a look. Then Miller slips off to check the others. EXT. BRIDGE - DAWN First light. The Americans are ready for battle. WE SEE them in their positions: REIBEN AND UPHAM Manning the forward machine gun nest. JACKSON Behind the sandbags, on top of the bridgekeeper's hut. FORREST AND THE PARATROOPERS Behind the second of two barricades set up between the forward and the rear machine gun nests. RYAN AND SARGE Manning rear machine gun. MILLER At the bridgehead, waiting. SOUND FROM DOWN THE ROAD All eyes turn. SINGLE GERMAN SOLDIER Dashes across the street. Exposed only for an instant. Then another. And another. MILLER Cocks his Thompson. Settles down behind some sandbags. MILLER HERE THEY COME! A RUSH OF GERMANS ADVANCE, BLASTING AT THE BRIDGE. THE AMERICANS RETURN FIRE REIBEN OPENS UP with the MACHINE GUN. THE GERMANS At least fifty of them, advancing on the bridge. Running from cover to cover. A squad pushing a French truck, using it as a shield. JACKSON Calmly picking off the attacking Germans. THE GERMAN INFANTRYMEN Make their way down the streets. Along the riverbank. Through the houses. There are GERMANS FIRING from all directions. REIBEN FIRES IN ARCS. MILLER Sees Reiben and Upham being cut off. Grabs the B.A.R., stands and fires. REIBEN AND UPHAM Running out of ammo. See that there's nothing else they can do. REIBEN Time to go. Reiben rolls out of the nest, carrying the fifty caliber. Upham follows, carrying the ammo boxes. They run as fast as they can. THE OTHER AMERICANS FIRE COVER REIBEN takes a glancing slug. Falls. Rolls and gets up. Bleeding from the side, but not mortal. Upham helps him. They MAKE IT TO THE SANDBAGS of the first barricade. DIVE OVER. The Germans are almost on them. RYAN IS FIRING With the rear MACHINE GUN. Drops several Germans. GERMANS EVERYWHERE They swarm over the first barricade. MILLER FIRES A BURST into a German's belly. HITS another with the stock of his Thompson. HAND-TO-HAND. FORREST AND THE OTHER PARATROOPERS FIRING COVER for Miller, Reiben and Upham, don't see a flanking Germans squad easing along the riverbanks. Two of the Germans LOB POTATO MASHERS among the paratroopers. THE PARATROOPERS see the grenades. Too late. THE POTATO MASHERS EXPLODE KILLING FORREST AND THE OTHER PARATROOPERS RYAN SEES FORREST AND THE OTHERS DIE No time to react. HAND-TO-HAND FIGHTING Half a dozen Germans break through. Miller KILLS TWO MORE WITH A BURST. RYAN Is jumped on by one. Upham FIRES. KILLS the German. MILLER Struggling with a pair of Germans. JACKSON FIRES. Drops one of the Germans on Miller with a head shot. Cuts open Miller's face with bits of skull. RYAN Leaps onto the final German attacking Miller. That German raises his rifle on Ryan. UPHAM AND REIBEN AND JACKSON All see it. SIMULTANEOUSLY SHOOT the German. THE STUNNED GERMAN About to kill Ryan. Torn apart by bullets from three directions. UPHAM I got him. REIBEN Like hell you did, I got him. JACKSON SMILES He got him. MILLER SLAMS in a fresh clip. FIRES an arc. DROPS four Germans. Sees an oncoming RUSH OF GERMANS. BARKS to Reiben and Upham: MILLER BACK! LET'S GO! They retreat, firing back as best they can, trying to make it to the barricade. SARGE Sees them in deep trouble. Leaves Ryan firing the rear machine gun. Grabs the B.A.R. ADVANCES, FIRING COVER. Exposed. BULLETS EVERYWHERE MILLER, REIBEN, UPHAM make it to the barricade. Dive over. SARGE Sees they've made it. FIRES A FINAL BURST. Races for cover. A trail of bullets right behind him. THE OTHER AMERICANS FIRE for all they're worth. Trying to cover Sarge. Too many Germans. SARGE TAKES A SHOT IN THE BACK. FALLS. MILLER AND THE OTHERS continue to fire, horrified. SARGE STRUGGLES TO HIS FEET Cradling the B.A.R. Stumbling toward cover. Slowing. Bleeding. THE AMERICANS Desperately trying to cover him. THE GERMANS Open up with a volley. SARGE Is almost there. ALL THE AMERICANS STAND AND FIRE As best they can. Right past Sarge. It's not enough. SARGE Five feet from the sandbags, his back is TORN APART by Germans fire. He looks down, stunned at his chest. Amazed to see GAPING HOLES. An instant of surprise, more than fear. He looks to Miller. Takes two more stumbling steps. Falls onto the sandbags. Dropping the B.A.R. over the edge. Dies. THE AMERICANS FIRE MADLY, CONTINUOUSLY THE GERMANS Who killed Sarge are killed. The others back off for now. REIBEN, UPHAM, JACKSON, RYAN fire at the retreating Germans. MILLER Grabs Sarge and pulls him over the barricade. Sees that he's dead. THE GERMANS RETREAT. Around the corner. MILLER Stunned, lays Sarge down, kneeling next to him. THE OTHERS Watch, start to gather. REIBEN Goddamn it...Goddamn it...Goddamn it... MILLER Get back to your positions! They hesitate. MILLER Go! They follow the order. All except Ryan, who doesn't move. He can't take his eyes off Sarge. MILLER Doesn't move. He just stares at Sarge's body. RYAN Looks at Miller, sees him growing weak, starting to sway. He gently tries to move Miller aside. RYAN I'll take care of Sarge... Miller looks up at Ryan, then back at Sarge's body. Miller grows cold, making the same startling transformation he made as he kneeled over Wade's body. MILLER Sarge? Who's Sarge? But this time it doesn't work. He can't make it stick. The hard expression, disappears. He drifts, utterly lost. He's called his own bluff. EXT. BRIDGE - NIGHT Dark. Quiet. The distant guns are silent for once. Waiting. Reiben, Upham, Jackson, Ryan and Miller have tightened their perimeter. Miller is in a trance. The others glance at him nervously. They eat in silence. K-rations. Some bread. A last supper. Then, from out of nowhere, Miller speaks: MILLER English teacher, Addley, Pennsylvania. Slowly, Miller's men turn to him. UPHAM What'd you say, Captain? MILLER I teach English at Addley High School in Addley, Pennsylvania. REIBEN Well, I'll be goddamned, I knew it. JACKSON Like hell, you did. UPHAM Captain, what about our deal? MILLER I changed my mind. REIBEN What deal? MILLER I coach the baseball team, too. JACKSON No kiddin'? REIBEN What deal? UPHAM Forget it. They all sit in silence. MILLER You know that cruise ship Wade's grandfather was on? They all nod, except Ryan who doesn't know what Miller's talking about. MILLER (continuing) I wonder if his cabin is still available? REIBEN That's not where I am. Miller No? Where are you? REIBEN I'm in a dressing room with Mrs. Rachel Troubowitz, our super's wife. She's an easy forty-four, double E, but I've convinced her she's a thirty- eight D and I'm watching her try and squeeze herself into a side-stay, silk-ribboned, three-panel girdle with s Helf-lift brassiere. (smiles) She's having a devil of a time, getting into that thing. They all share Reiben's dream for a moment. Then Jackson smiles. JACKSON Me? I'm walking with my hound, Lucy, it's about an hour 'fore sunrise and we're out huntin' coon. I got me a flask of pure Kentucky mash whiskey... REIBEN Jackson, how many times I got to tell you, you're from Tennessee. JACKSON I am, but I like imported whiskey. So there I am and I hear the biggest ole' coon you ever did hear, 'a rustlin' right there in front of me. That ole' boy comes right out of the brush, I got a clear shot and he knows he's 'bout to meet his maker. I aim, I got my finger tight on the trigger and then I just smile and say to that ole' coon, go on, now, you get out 'a here. Then I sit down on a hollow log and take me a right long pull a' that mash whiskey. Upham smiles. UPHAM I don't know, I kind of like Wade's idea about the cruise ship. I've never been to Tahiti. REIBEN What about you, Captain? Miller smiles. He knows exactly where he is. MILLER I'm in my backyard, lying in my hammock, with my arm around my wife, listening for the sound of breaking glass. JACKSON Say what, Cap'n? MILLER You see, I've got the best house in all of Addley. It's not the biggest house, but it's got the best location, right next to the junior high baseball field. The garage windows face left field. The guy who owned the house before me had these heavy screen S put over them. The first thing I did when I bought the place was take off those screens. Two-hundred-twenty- two yards from home plate to my garage windows. It takes a hell of a junior high kid to hit a ball that far. I look at my garage windows as a Motivator and a way to scout the kids coming up, the ones who are going to give us a shot at the state championship. I lay there in my hammock and every time I hear the sound of breaking glass, I know we're one step closer to winning it all. JACKSON Don't that get kind of expensive, Cap'n? MILLER It's worth it. JACKSON To each, his own. They're all silent for a moment. Then Miller turns to Ryan. MILLER How about you, James? Ryan sighs. RYAN I'm home, playing basketball with my brothers, it's evenin' time, we're trying' to get in a few more points before it's too dark to see the ball. That's where I am. They all nod. Miller tears off a piece of bread and passes it to Ryan who tears off a bit and passes it on. They all eat in silence. EXT. OUTSKIRTS OF RAMELLE - DAWN First light. Lovely. Dew shimmers. A ground fog drifts. A SOUND. Louder. And louder. A GERMAN TIGER TANK RUMBLES toward the village. EXT. BRIDGE - RAMELLE - DAWN All are awake. At their positions. Waiting. MILLER Hears the FAINT DISTANT RUMBLE OF THE TANK. Barely has time to react. Sees: THE GERMANS ADVANCING AGAIN MILLER Here they come. REIBEN FIRES a burst. Germans drops. MILLER FIRES a burst. More Germans drop. THE GERMANS KEEP COMING Lots of them. Moving from cover to cover. FIRING. MILLER Manning the forward machine gun. Way out front. Sees that he's going to be cut off. He grabs the hot gun. The barrel burns into his flesh. He ignores the pain and RUNS BACK toward the bridge. HE DIVES over the sandbags. barely makes it. TRAILED BY BULLETS. THE GERMANS Take positions near the bridge. Moving in. FIRING. Overwhelming. They're everywhere. THREE GERMANS Break through the perimeter. RYAN SHOOTS one. GRAPPLES with the other two. REIBEN Sees Ryan. Races over. SHOOTS one German. STABS the other. RYAN FALLS BACK. Stunned, unhurt. REIBEN only gives him a quick look. Gets to the MACHINE GUN. OPENS UP against the Germans who are still coming. FIRES A LONG BURST. Germans drop. MILLER FIRES again. More Germans drop. THE GERMANS Take positions in the building near the bridge. They start working their way to the tops of the nearby buildings. Making their way along the riverbanks. REIBEN AND RYAN Forward. Reiben FIRING. Ryan feeding the ammo belt. REIBEN MORE AMMO! UPHAM Hears that. Doesn't hesitate. He grabs a pair of ammo boxes. RUNS toward Reiben and Ryan. SEVERAL GERMANS ZERO UPHAM OPEN UP on him. BULLETS TRAIL UPHAM. He's outrunning them. Almost there. UPHAM TAKES HALF-A-DOZEN SLUGS. Torn apart. Stumbles the final few steps to the machine gun nest. Falls on the sandbags, giving Reiben and Ryan the ammo. UPHAM'S DEAD. RYAN STUNNED. For just a micro-second. No time. Grabs the ammo. REIBEN FIRING. Ryan clips the new ammo belt onto the tail of the one almost out. REIBEN Continues FIRING. CUTTING DOWN the advancing Germans. THE GERMANS START TO FALL BACK MILLER Knows what that means. He hears the RUMBLE OF THE TANKS. MILLER TIGHTEN IT UP! HERE THEY COME! RYAN AND REIBEN Immediately grab the machine gun and ammo and race back to the rear nest. Then RYAN AND MILLER converge at the eighty-eight. THE FIRST TANK APPEARS Huge. Terrifying. Clanking. Trailed by two German infantry platoons. JACKSON On the bridgekeeper's hut. Picking off German soldiers who follow the tank. A GERMAN INFANTRYMAN SPOTS JACKSON. Hollers into the tanks voice-tube. THE TANK Stops. Grinds its gears. Turning it's turret towards the bridgekeepers hut. MILLER JACKSON! JACKSON Knows what's coming but he holds his position, continuing to pick off German soldiers. THE TANK BLASTS THE BRIDGEKEEPER'S HUT AND JACKSON ARE OBLITERATED IN THE EXPLOSION. MILLER AND RYAN SEE JACKSON DIE. A bare moment to react. Then, they turn their attention back to the eighty-eight. Frantically turning the aiming cranks. Lowering the barrel to point blank. TANK AGAINST EIGHTY-EIGHT. Which can fire first. MILLER AND RYAN Win the race. FIRE THE EIGHTY-EIGHT BLAST THE LEAD TANK DESTROY IT IN A SHOWER OF METAL AND FLAMES MILLER AND RYAN Quickly reload the eighty-eight. FIRE AGAIN. DESTROY THE SECOND TANK. MILLER Shoves the FINAL SHELL into the breech of the eighty-eight. Pats Ryan on the back. Grabs a SATCHEL CHARGE. RUNS down the bridge. Right toward the two advancing tanks. RYAN FIRES THE EIGHTY-EIGHT. DESTROYING THE THIRD TANK. MILLER Races through the debris. Trailed by BULLETS. REIBEN With the machine gun. Covers Miller. Keeping most of the German infantry down. RYAN jumps behind the second machine gun. Opens up. Helping to cover Miller. THE LAST GERMAN TANK Turret spins. Turning toward the fast approaching Miller. Ready to blow him to bits. MILLER Is almost there. He arms the satchel charge. THE TIGER'S MACHINE GUNS OPENS UP ON HIM. BLASTS A TRAIL OF BULLETS MILLER Throws the satchel charge under the tank. Rolls off the edge of the bridge. Lands on the embankment below. THE LAST TIGER TANK EXPLODES MILLER, RYAN, REIBEN continue FIRING. Almost out of ammo. MILLER SCRAMBLING UP THE EMBANKMENT, back onto the bridge, hears something over the SOUNDS OF FIRING. MILLER HOLD IT! HOLD IT! Ryan and Reiben cease firing. Now they hear it, too. A RUMBLE, DEEPER AND MORE OMINOUS than any they've heard yet. MILLER Goddamn it! REIBEN More tanks... Ryan Lot's of them The fear on their faces turns to resignation. They know that they are dead men. They settle into their positions, and prepare to fire and die. They wait. The RUMBLE GETS LOUDER AND LOUDER. THEN MILLER'S FACE STARTS TO CHANGE...a hint...of a smile...then a real smile... AN AMERICAN SHERMAN TANK APPEARS from over the rise. Then ANOTHER...AND ANOTHER...AND ANOTHER... MILLER, REIBEN AND RYAN Stand there, stunned, watching tank after tank appear, along with scores of heavily-armed American soldiers. They keep coming and coming. American tanks, with wave after wave of U.S. infantrymen, looking for targets. They find a few among the departing Germans. THE ADVANCING TROOPS Run onto the bridge and start to secure the position. A SERGEANT and a few of HIS MEN look around, curiously eyeing Miller, Reiben and Ryan, battered and bloody, standing among the bodies. A MAJOR strides up. Major Report, Captain. MILLER Miller, Company B, Second Rangers, that's Private Richard Reiben and that's Private James Ryan, Hundred- and-First Airborne. The Sergeant and several other soldiers overhear. SERGEANT Ryan? One of the soldiers speaks quietly to another. Soldier That's him, that's Ryan. The Major puts his hand on Ryan's shoulder. Major Command is looking for you, son. You're going home. Ryan looks up, tired. He nods. EXT. RAMELLE BRIDGE HEAD - DAY American tanks and hundreds of fresh troops stream down the road and over the bridge. MILLER, RYAN AND REIBEN Watch. In a small area, cleared of the debris, the bodies of Jackson, Upham, Sarge, Forrest and the other paratroopers are laid out, neatly, respectfully, covered. Miller and Reiben stay protectively close to Ryan, as if they don't want to risk him being bumped into or run over by any of the advancing troops or vehicles. MILLER Walks to the bodies. He kneels down next to Sarge and looks at him for a long moment. Then, with a steady hand, he takes one of Sarge's two dog-tags. Then he does the same to Jackson and Upham. REIBEN AND RYAN watch silently. MILLER Stands and walks back to Reiben and Ryan. He hands the dog-tags to Ryan who grips them tightly and nods in thanks. Miller takes a last look at the bridge and the bodies, then he shoulders his gear. Miller Let's move out. Reiben and Ryan gather up their gear. They walk with Miller down the road, away from the bridge. CAMERA CRANES UP The three dirty, bloodied, tired men walk down the road, ignored by the fresh troops marching in the opposite direction. RYAN Captain? MILLER Yes, Private. RYAN Upham and Jackson, what were they like? MILLER Upham? Good kid, smart, he was writing a book. RYAN Yeah? REIBEN Yeah, and he was fast, too, ran the 220 in twenty-four-five. RYAN No kidding. MILLER Jackson was from West Fork, Tennessee, he was going to be a preacher, his father and uncles have a traveling ministry out of the back of a stretch Hudson. RYAN And Sarge? MILLER Sarge? (beat) He was the best friend I ever had. (smiles) Lemme tell you about Sarge... They walk on, disappearing in the distance among the hundreds and hundreds of American soldiers who are marching down the road and over the bridge. Fade out. THE END - -------------------------------------------------------------- \ No newline at end of file diff --git a/unformated_scripts/Script_Saw.txt b/unformated_scripts/Script_Saw.txt new file mode 100644 index 0000000000000000000000000000000000000000..95a315394cc5804b0a9d688fb46cf56997a9f6a5 --- /dev/null +++ b/unformated_scripts/Script_Saw.txt @@ -0,0 +1 @@ + SAW Written by James Wan & Leigh Whannell Darkness. The soft sound of moving water can be heard in the background. From the top of the screen a tiny, floating light moves its way downwards across the screen. As it passes, we see just under the water part of a young manís face. His eyes are closed. The light disappears, and across the darkness appears the title S A W. The title fades away. The tiny light appears again, this time floating down at the end of a tub of water, just near someoneís bare foot. The camera cuts again to the face of the young man underwater. This is ADAM. Suddenly, his eyes fly open and he comes to life, opening his mouth and gasping for air. As he wakes up and struggles within the bathtub, we see his foot catch on a drain plug, unplugging it. The water starts to drain, and we see go with the water the tiny light, which we can also see has some kind of key attached to it. The room itself is pitch black, but we can still just barely make him out in the dark. Adam lifts himself out of the tub and falls onto the floor, coughing and gasping from the shock. He manages to get to his feet, but as he moves forward he realizes that his ankle is chained to something. He feels his way over to a pipe in the corner, reaching down and pulling at his chain that is attached to it. He cries out, his voice frantic, frightened, and a bit hysterical. ADAM Help! Someone help me! (He stops when he hears a loud dragging sound somewhere in the room. He looks out into the darkness and calls out.) Is someone there? Hey! (He turns back to the corner to which he is chained, says in a slightly softer but still panicked voice) Shit, Iím probably dead. Suddenly, from out within the darkness comes a manís low, raspy voice. It startles Adam. The voice, we will soon learn, belongs to LAWRENCE. LAWRENCE Youíre not dead. Adam quickly turns in the direction of the voice. Holding his arms out for balance, he tries to look across the room to whoever is speaking, but still cannot see a thing. ADAM Whoís that? Whoís that?! LAWRENCE (his voice strangely a bit on the calm side, and almost irritated with Adamís reaction to the situation. This shall be his tone for many scenes to come.) Thereís no point in yelling, I already tried it. ADAM Turn on the lights! LAWRENCE Would if I could. ADAM What the fuck is going on? Where am I? (He turns into his corner, touching the wall.) LAWRENCE I donít know yet. ADAM (smelling something; in disgust) What is that smell? LAWRENCE Shh! Hang on a second, I think I found something. With a loud click and an even louder buzzing sound, the very bright fluorescent lights come to life, lighting up in rows, starting from Lawrenceís end and moving towards Adam. As they come on, Adam is nearly blinded by the sudden change from pitch black to bright white and squints in pain, holding up his arms to cover his face. In the light we now see that he is in his mid-twenties, with short brown hair, wearing a dark blue striped shirt over a white tee shirt and jeans, looking like a drowned rat from the tub. It takes him a moment but his eyes finally start to adjust, and he looks around the room. He and we see Lawrence, who also winces from the glare of the lights, standing by the light switch and the door. He is on the opposite end of the room, also chained to a pipe in the corner by his foot. He wears a blue button-down dress shirt, now soaked with sweat stains. He is middle aged, mid to late forties, with pale blonde hair and even paler skin. Dark circles are under his eyes. Both men are barefoot. Lawrenceís eyes adjust to the light and he sees across the room. Then, his gaze starts towards the center of the room, as does Adamís, who steps forward as much as he can, a look of horror on his face. We see lying face down the body of a man who has blown his brains out, lying in a pool of blood, clad in only boxer shorts and a tee shirt. In his left hand is a gun, in his right hand is a micro cassette recorder. A gunshot and a scream are heard as the camera moves up and in a fast 360∞ angle above and circling the man, ending in a full overhead view of him. The shot cuts to Adam, who reels in shock and disgust. ADAM Holy shit! He turns towards the tub and leans over, gagging and coughing. Lawrence in the meantime hops forward the best he can, studying the body with a look of fear and concern. Adam stops coughing and turns back around, takes another look at the body and around the room. He looks down at his chain then starts to completely freak out, grabbing and pulling at his chain. ADAM (screaming) HELP!!! (He falls back onto his bottom on the floor as he yanks at the chain as hard as he can.) HELP!!! Help! Lawrence just stands and watches him with an almost embarrassed, appalled look at his behaviour. It seems that Lawrence, despite being in the situation heís in, is above that kind of uncontrolled reaction. He speaks a bit coldly. LAWRENCE No one can hear you. Adam stops pulling at the chain, stands up and looks to Lawrence, his breathing fast and heavy. His voice is not yelling anymore but still just as hysterical. ADAM What the fuck is this? LAWRENCE Calm down, just calm down. (He knows that to remain calm is to remain in control, something he must be no matter what the situation.) Are you hurt? Adam looks down at himself, shrugging slightly. ADAM I donít know...yeah! Lawrence moves over to the pipe in the corner, leaning against it for support. LAWRENCE (calmly) Whatís your name? ADAM (sarcastic) My name is Very Fucking Confused! (demanding) Whatís your name? Whatís going on here? LAWRENCE (internal eye roll; heís getting more and more aggravated with Adamís behaviour) My name is Lawrence Gordon, Iím a doctor. I just woke up here, just like you. (He reaches up, wipes his face with his sleeve) Adam kneels back down facing the pipe, pulling at his chains once more, but not with his prior panic. He winces at the metal biting into his skin. ADAM (in pain) Ah! Lawrence looks at Adam with a look that seems to say Iím stuck in here with THIS guy? He then glances down at the body. LAWRENCE Recognize him? Adam continues to pull at his chains, does not and will not look at the body, just shakes his head. ADAM (sharply) No. LAWRENCE (trying to get SOMETHING out of this kid) Well, do you have any idea how you got here? ADAM No. LAWRENCE Whatís the last thing you remember? ADAM Nothing. (he sits back onto the floor, stops pulling at his chains for a moment.) I went to bed in my shithole apartment, and woke up in an actual shithole. (He raises his left leg slightly, starts trying to pull his foot out of the iron cuff. He glances to Lawrence, who has moved over to the wall to his left, bent over slightly and resting a hand against a pipe.) So what about you, huh? LAWRENCE (He shrugs slightly, shaking his head.) Well thereís...thereís not much to tell, really. (Across the room, Adam gives up with the chain for the time being but remains sitting on the floor.) I was on my way home from work and uh, I donít remember anything else. Adam just sits there, glancing over to the body and then focusing on it much more. The initial panic has worn off for now, replaced simply with fear and shock. His voice is a bit softer. ADAM First dead body Iíve ever seen. Look different in real life. They donít move. Lawrence slowly lowers himself into a sitting position against the wall. He pokes slightly at the iron cuff around his foot. LAWRENCE From the looks of these chains, someone didnít want us to go very far either. Suddenly, Adam leaps up, lifting up his shirt and exposing his abdomen. His panic is back, but not at full force like before. He studies himself then glances to Lawrence. ADAM Can you see any scars? LAWRENCE (looking at him strangely) What? ADAM Huh? This is what they do man, (he gestures to his stomach, where there are in fact no scars.) They kidnap you and drug you and before you know it, youíre in a bathtub and your kidneys are on eBay. (A ridiculous theory to us and to Lawrence, but Adam states it with conviction.) LAWRENCE (a scoffing tone in his voice) No one has taken your kidneys. ADAM (disbelief) How can you tell from way over there? LAWRENCE (matter of fact) Because youíd either be in terrible agony, or youíd be dead by now. Trust me. ADAM What are you, a surgeon? (He lowers his shirt and turns and bends down to prod at the chain around the pipe again.) LAWRENCE Yeah. (He sighs. Heís getting tired of Adam already. He speaks sharply.) So, you gonna tell me your name, or what? Adam stands back up, turns to Lawrence, his voice once again calm. ADAM Adam. LAWRENCE (getting to his feet, his voice a bit calmer) Well Adam, what we need to do (he leans with one hand outstretched against the pipe to his right. Adam watches him, scared but calm) is start thinking about why weíre here. Whoever brought us there couldíve killed us by now. But they didnít. They must want something from us. (He looks up and around the room) Question is what. (He sees something up on the wall, moves forwards a bit towards it. We see that it is a brand new clock on the wall, ticking away. It reads currently at 10:22.) That clock. ADAM What about it? LAWRENCE Itís brand new. (squints, studying it) ADAM (not getting what heís implying) So? LAWRENCE (sighs; itís quite simple, why canít Adam see it?) So, someone obviously wanted us to know the time. (Adam looks a bit confused still, mulls over that information. Lawrence thinks for a moment.) Wait, I think I may be able to reach that door. Lawrence moves over as far as the chain will allow him to the giant, wooden sliding door, pushing against it as hard as he can. In the meantime, we see Adam thinking. He pauses, then reaches down and starts going through his pockets. There is nothing in the front two, but in his back left pocket he pulls out a plastic baggie with a white envelope in it. He unfolds the baggie; the envelope says ADAM. He stares at it in his hands, wondering what it is. Lawrence continues struggling with the door, quickly glances over his shoulder to see what Adam is doing. He sees Adam holding the baggie. Adam reaches into the envelope, pulls out a micro cassette tape. A close up shows the words Play Me written on the tape label. Adam holds it in his hand, studying it. Lawrence turns away from the door, looking over and trying to see what Adam has in his hand. LAWRENCE What is that? (Adam doesnít answer, continues looking at the tape. Lawrenceís voice grows impatient.) Excuse me. ADAM (glances up briefly at Lawrence, then back down at the tape. His voice sounds slightly surprised.) Itís a tape. LAWRENCE Where did you find it? ADAM It was in my pocket. Lawrence thinks about that briefly then starts digging through his own pockets, finds within them a white envelope with LAWRENCE written across it in the same black lettering as Adamís. ADAM (regarding his tape) It says Play me. Lawrence tears into his envelope, empties the contents into the palm of his hand. First, he holds up a similar tape to Adamís. It also says Play Me. Then he holds up a single bullet, studying it, not sure what itís there for yet. Then, he holds up a tiny key. He bends over, gets down on the floor and starts to try to unlock his chains with the key. It doesnít seem to be working. LAWRENCE (frustrated, mumbling to himself and to the key) Come on, come on, come on.... ADAM (seeing that it doesnít seem to be working on Lawrenceís lock) Throw it over here. Lawrence gives him a slightly mistrustful look, but then holds up the key and throws it. Adam misses the key at first as it hitís the floor in front of the dirty toilet near his corner. ADAM Fuck. (He leans over and picks up the key, then bends down and tries the key on the lock on his ankle, which doesnít work. He tries the lock on the chains around the pipe. It isnít working there either.) LAWRENCE (watching him) No? Adam gives up, drops the key onto the floor frustratedly, shaking his head. Thatís when he looks over to the body again, and the shot closes up on the hand holding the tape recorder. A small loop handle juts out of the handís grip. Adam stands up, then bends down and picks up the tape on the floor, looking at it. He puts it back down then stretches himself flat out on the floor, trying to reach. Unfortunately, there is still a good three to four feet between him and the body. LAWRENCE Use your shirt. ADAM (gets back up to his knees) What? LAWRENCE Your shirt. Adam looks down at himself, then takes off the long sleeved blue shirt. He lays back down, holding the shirt by the ends of each sleeve, and throws it, trying to catch it on the tape recorder. It misses. He tries a second time; same result. LAWRENCE Come on... Adam tries again; it misses. It is just barely reaching. He pulls the shirt back, gets back up on his knees, aggravated. ADAM It wonít work. LAWRENCE (trying to get him to not give up yet) Well, look around, there must be something else you can use. ADAM (stands, ready to give up, skeptical) Thereís nothing. LAWRENCE (insistent) Well there must be something! Adam looks around his area, then into the bathtub. He sees something, bends over, takes out the tub plug, which is attached to a long cord. He ties the cord around the sleeve of his shirt. He kneels down, holding out the shirt, aiming. LAWRENCE Come on, you can do it. Adam throws it, attempting to get the plug through the loop at the end of the tape recorder. He misses. LAWRENCE Come on, come on, again. He tries again and misses. On the third try, however, he gets the plug right through the loop. Lawrence smiles in relief. Adam very slowly pulls it back, dragging the tape recorder along the floor towards him. He picks it up, getting rid of the plug and dropping it and the shirt on the floor. He picks up the tape, pops it in and presses play, holding the tape recorder out a bit so that they can both hear, but keeping his head tilted so he can hear better. A chilling deep, raspy, sinister male voice The Jigsaw Killer comes from the tape. As it speaks, Adamís expression is fearful, but the thought How does he know? can be detected. JIGSAW (on tape) Rise and shine, Adam. Youíre probably wondering where you are. Iíll tell you where you might be. You might be in the room that you die in. Up until now, you simply sat in the shadows, watching others live out their lives. But what do voyeurs see when they look into the mirror? Now, I see you as a strange mix of someone angry and yet apathetic. But mostly just pathetic. So are you going to watch yourself die today, Adam? Or do something about it? (end) Adam looks frightened but not sure of the entire meaning of the message. ADAM I donít get it. (He presses the stop button on the tape.) LAWRENCE (eagerly, gestures.) Throw me the player. ADAM (pauses, thinks) No, you throw me your tape. LAWRENCE (a heavy sigh. He looks at Adam as a slow-minded fool who simply doesnít understand the full capacity of the situation that theyíre in, and speaks to him as such.) Look, weíre going to have to work together if we want to get out of here. Now just throw it to me. ADAM (picks up on the tone, speaks defensively) Iím not going to risk breaking it! You throw me your tape! Lawrence pauses, looking at Adam as though heíd like to smack him, then holds up and tosses the tape. It hits the floor behind Adam, who kneels down and picks it up, pops it in, presses play. Itís the same chilling voice as on Adamís tape. As the tape plays, Adam stares at Lawrence, and Lawrence at the tape recorder. JIGSAW (on tape) Dr. Gordon, this is your wake up call. Every day of your working life, you have given people the news that they are going to die soon. Now you will be the cause of death. Your aim in this game is to kill Adam. (Adam glances down at the tape recorder wide-eyed, then back up at Lawrence) You have until six on the clock to do it. Thereí sa man in the room with you. When thereís that much poison in your blood (another view of the body from Lawrenceís POV), the only thing left to do is shoot yourself. (Jigsaw coughs) There are ways to win this hidden all around you. Just remember: X marks the spot for the treasure. If you do not kill Adam by 6:00, then Alison and Diana will die, Dr. Gordon. And Iíll leave you in this room to rot. Let the game begin. (end) The looks on each manís face clearly say Oh Shit. The tape ends. Lawrence stands up. LAWRENCE (firmly) Give me that. Now. (Adam tosses him the tape. He catches it, rewinds, plays back. Adam stands up from his spot on the floor.) JIGSAW (on tape)...then Alison and Diana will die, Dr. Gordon. And Iíll leave you in this room to rot. ADAM (thinking, trying to figure this out) Any idea who that is? JIGSAW (on tape) Let the game begin. ADAM He knows us. LAWRENCE Wait a minute. (rewinds more) ADAM (false hope) What do you think? Probably a joke, right? LAWRENCE Shh, shh! (presses play) JIGSAW (on tape) Let the game begin. LAWRENCE (softly) Listen... JIGSAW (on tape, in a VERY hushed tone after a brief silence)...Follow your heart. Lawrence stops the tape. ADAM What the hell does Follow your heart mean? Lawrence is looking around, on the walls and everywhere else in the bathroom for a heart. He spots a small one drawn in brown on the toilet next to Adam and points. LAWRENCE There! Right next to you, on the toilet. Adam looks, sees the toilet. Slowly, he bends down, resting his hands on the seat, looking down into the bowl of liquid shit, not really sure what heís looking for. LAWRENCE (impatient, gesturing) Come on, come on. Adam glances up at Lawrence with a look of Youíve got to be kidding me, but Lawrence watches him expectantly. Adam sighs, then reaches in with his right hand, fishing around in the mess. ADAM Oh man...(he gasps, making gagging sounds, his face turned away from the bowl. He coughs, fishes around for another brief moment, then quickly pulls back, trying to shake some of the shit off of his hand, spitting. LAWRENCE (expectantly) Anything? ADAM (disgusted) No solids. LAWRENCE Take off the lid. (He points to the lid. Adam looks to it, slowly stands up, reaches for it. Lawrence has no patience.) Come on! Adam takes off the lid, places it down on the toilet seat. The water is clearer inside, and he reaches in and pulls out something wrapped up in a black garbage bag. He holds it up for Lawrence to see, turns to him. ADAM I really wish I had checked in there first. LAWRENCE Huh. (he smiles slightly) What is it? Adam tears into the bag, reaches in and pulls out two hacksaws. He drops the bag on the floor, bends down and takes up his chain, holding one of the hacksaws and beginning to saw at the chain with it. Lawrence watches him for a moment. LAWRENCE Hey! (Adam turns and looks. Lawrence speaks in an irritated voice) Mind passing me the other one? Adam reaches over and picks up the other hacksaw, then carefully throws it across the room. It hits the pipe to Lawrenceís left. Lawrence reaches down and picks it up, then sits down on the floor. Quick shot back to Adam, who, while Lawrence is preoccupied with picking up the hacksaw, quickly picks up the garbage bag and tosses it into the bathtub. Both men start to saw away at their chains furiously, but neither are making any progress. Suddenly, Adamís saw snaps in the middle, and his temper flares. ADAM (enraged) Fuck! Fuck! (He reacts violently, hitting the broken saw twice against the iron pipe then turns and hums it across the room, right into a mirror. A small piece of the mirror breaks off and flies to the floor.) Lawrence glances over at what Adam has done, then goes back to sawing for another moment. Adam sits back down, breathing heavily, leaning against the pipe in his corner. Finally, Lawrence gives up, turning and sitting with his back against the pipe, also breathing heavily for a moment. He sits there, when a look of realization comes across his face. He holds up the saw, looking at it, understanding. He lowers it to the floor, shaking his head slightly. LAWRENCE (everything is becoming more clear now) He doesnít want us to cut through our chains. He wants us to cut through our feet. (Adam looks up at him, eyebrows raised.) I think I may know whoís done this to us. ADAM What did you say? (he stands up; is Lawrence hiding something from him?) LAWRENCE Itís not someone I know personally. Itís...just someone I know of. ADAM (getting slightly frantic again) Jesus Christ! Tell me, who is it?! The camera closes up on Lawrenceís face. To the right of it, the screen is fading into a flashback of a crime scene. As Lawrence speaks, his face fades and the flashback scene grows clearer, until it is only the crime scene, with three detectives walking down a flight of stairs. LAWRENCE The last I heard...the police still hadnít caught him. We now see the three figures descending through a trap door down a flight of stairs. The lighting is a bright lime green that is strangely dark at the same time. The trio enters a small, cell like room with a low ceiling. They are TAPP, SING, and KERRY. Tapp is a tall black man in his late forties-early fifties. Sing is an Asian man in his mid to late thirties, and Kerry is a Caucasian woman in her mid to late thirties with long, curly brown hair that is tied back in a ponytail. All are well dressed, Sing and Tapp in suits, the woman in a jacket and dress slacks. They are the detectives working on this case. As they move into the room, Sing sees something that brings a look of shock to his face, shining a flashlight on it. We cannot see it yet. LAWRENCE (VO) And the only reason I know that is because I was a suspect. Tapp comes into the room last, ducking slightly from his height, and comes up alongside Sing, looking at the same thing. LAWRENCE (VO) Iíll start from the beginning. KERRY This oneís not fresh anymore. At least three weeks out. (Detective Tapp squints as he peers in and studies the body) Victimís a 46-year old male. (Quick flash of a crime scene photo, a closeup of behind the manís head and upper back. There are deep cuts all over. The camera cuts upwards to the detectives.) Died of massive blood loss. Mostly through the femoral artery. (The camera pans around to Detective Tapp, who moves around the side fo the cage to get a better look inside, shining his flashlight in.) He started at the back of the cage and tunneled his way through the razor wire so fast itís amazing he got as far as he did. Cut himself so deep, we found traces of stomach acid on the floor. (Another more gruesome crime scene photo shot of the body from the side; we can see the razor wire digging in under his arm. Also, a close-up shot of some of his wounds; long, deep cuts.) We also found this. (She holds up an evidence baggie with a micro cassette tape recorder, just like the one Adam and Lawrence found in their cell. She presses the play button, and Tapp and Sing listen. Itís the same chilling voice from Adam and Lawrenceís tapes.) JIGSAW (on tape) Hello Paul. You are a perfectly healthy, sane, middle-class male. Yet last month, you ran a straight razor across your wrists. Did you cut yourself because you truly wanted to die, or did you just want some attention? Tonight, youíll show me. The irony is that if you want to die, you just have to stay where you are. But if you want to live, youíll have to cut yourself again. (Flashback shot of Paul waking up in the cage, looking around, scared and confused. The shots go back and forth between the detectives and the Paul flashback, with him grabbing and shaking the razor wire, screaming. His screams sound distant under Jigsawís voice.) Find the path through the razor wire to the door. But hurry. At 3:00 that door will lock and then this room becomes your tomb. How much blood will you shed to stay alive, Paul? (end) KERRY (stopping the tape) The door was on a timer. It was unlocked until 3:00. Then it slammed shut. He was given two hours. Cut back to Detective Tapp, who notices something and shines his light on it. We see a strange wound on Paulís body, a piece of flesh carved out into the shape of a jigsaw piece. TAPP Jigsaw piece. (Sing looks in as well, see it. There is a quick flash of crime scene photos showing a close up of the wound. Tapp sighs.) I think weíre gonna be here for a while, Sing. (Sing looks to him. We get another quick crime scene shot of Paul.) LAWRENCE (VO) The newspapers started calling him the Jigsaw Killer. Cut back to Lawrence in the bathroom. For his next two spoken lines, the shot switches back and forth between him and the detectives in the razor wire room. LAWRENCE Actually, technically speaking, heís not really a murderer. He never killed anyone. Sing, wearing gloves, gets in the cage and examines Paulís body a bit. A flash of another crime scene photo of the wound with a ruler held up to it is shown. More gruesome crime scene photos of that and other wounds are flashed across the screen. LAWRENCE (VO) He finds ways for his victims to kill themselves. Cut to Sing kneeled down over a charred corpse, completely blackened, at another crime scene. We hear Jigsawís voice from a tape recorder play over the scene as the detectives look around, and over the flashback shots. JIGSAW (VO, on tape) Hello Mark. If youíre so sick, then why do I have so many photos of you up and about? (there is a quick montage of a camera snapping several black and white shots of Mark up and about, looking around and getting into a car.) Letís put your so-called illness to the test. (Flashback image of Mark waking up. He is a younger man in his mid to late twenties, with dark brown hair. He is completely nude, smeared in some kind of Vaseline-like ointment. In front of him is a small, square glass plate held up by some chains. On the plate is a micro cassette player, a lit votive candle, and a box of matches. He gets up, looking around confusedly and scared.) Right now, there is a slow-acting poison in your veins. The antidote is in the safe. (Black and white crime scene shot of the safe, then a shot of Mark standing over it, screaming, his screams distant under Jigsawís voice, as with Paul.) The combination to the safe (quick montage of several black and white crime-scene photos of numbers written all over the walls) is written on the wall. Hurry up and program it in. But watch your step (Markís bare foot steps on the broken glass scattered all across the floor). And by the way, thatís a flammable substance smeared on your body (shot of Mark looking at the ointment on his hand, up his arm, everywhere), so I would be careful with that candle, if I were you... MARK (huddled over the safe; screams, but it is still distant sounding) Help!!!!! JIGSAW (VO ctíd)....or all the people youíve burned with your act (Mark starts to turn the lock on the safe) just might have their revenge. We see Mark desperately going around the room, holding the candle, looking at the walls, trying to find a combination. The camera goes back and forth a few times in a sped-up shot to him doing this and turning a the lock on the safe, trying to program the combination into the safe. He moves in a circle, clockwise to us. When he gets to facing right in front of us, the flame from the candle flares up and engulfs the shot, flaring into a close-up crime scene photo of Markís charred face. The shot moves back to the trio of detectives, with Sing holding the tape recorder. KERRY I found something else. Well, two things, actually. (She moves past them and we go with her over to a wall where there is a small hole cut, about an inch or two in diameter. The light from the outside shines in.) There was someone standing outside here watching through this peephole. Looks like our friend Jigsaw likes to book himself front row seats to his own sick little games. He was there at the last one as well. (She walks over to Sing and Tapp) Only this time, he left us his penlight. (She holds up the penlight in an evidence baggie, clicking it twice then handing it to Tapp.) TAPP (taking the baggie, studying it) Get a rush on the prints. (He hands it back to her.) KERRY (taking the baggie, moving out of the room) Copy that. CUT TO Hospital room. Lawrence in his white doctorës coat along with three blue-scrub clad medical students. A nurse in white stands off to the side. Lawrence is going over the patientís charts. He goes over to the x-ray display, pushing the light on to view two x-rays of someoneís skull. He points to it with his pen as he speaks. LAWRENCE Okay. This patient has an inoperable frontal lobe tumor extending across the midline. Started as colon cancer. (He turns back to the three young medical students. One of them, a pretty Asian girl named CARLA, smiles at Lawrence as he speaks, seems particularly infatuated with him.) The patient has come in for a standard checkup by which we are able to monitor the rate at which his condition is declining. In the doorway, an orderly pushing a cart of cleaning supplies is passing by and stops when he sees Lawrence and the medical students in the room, listening to what Lawrence is saying. This is Zep. Heís a man in his early to late forties dressed in orderly whites with short brown hair and large blue eyes that show a kindness that the others in the room seem to be lacking. Kindness, and something else below the surface. He glances down at John sleeping, then up at Lawrence. LAWRENCE The patient had... ZEP (cutting him off) His name is John, Dr. Gordon. (He looks down at the patient, who we see is a man in his late forties-early fifties, hairless except for a small white goatee. His head is to the side and he is sleeping. On the tray table in front of him is a notebook and some colored pencils. As Zep looks at him and speaks of him, there is caring in his voice, something Dr. Gordon has yet to display regarding this patient.) Heís a very interesting person. Lawrence looks almost slightly embarrassed, not for himself but maybe for Zep. A condescending, smug smile plays across his face and he nods. His tone matches his look. LAWRENCE Thank you for that information, Zep. (he looks to the students, who all share his smug smile) As you can see, our orderlies form very special bonds with the patients. (Zep just stares at Lawrence, his expression mostly blank but with pure loathing just underneath the surface. The look seems to say Fuck you, Dr. Gordon. He stares at him for a moment, then turns away, and continues down the hall with his cart.) Continuing on, the patient.... But he is cut off by a voice on the intercom. INTERCOM Dr. Gordon, Dr. Lawrence Gordon, please page the operator. LAWRENCE (a smug but annoyed smirk) Obviously someone doesnít want me to tell you what the patient has. Excuse me. (He steps around the students, leaves the room. The three students watch after him with great admiration.) Cut to Lawrenceís office at the hospital . Inside, Tapp is leaning against Dr. Gordonís chair, studying the various framed degrees on the wall. Sing is sitting in one of the two chairs across from the desk, twisted around in his seat to look at a couple of small picture frames on the bookshelf behind him. Lawrence opens the door and enters, and the two detectives turn to look at him. He removes his white coat and hangs it on a rack by the door. Tapp speaks first, his tone is friendly, but searching. TAPP Dr. Gordon, Iím Detective Tapp, this is Detective Sing, City Homicide. (he gestures to the degrees on the wall.) Very impressive. Lawrence smiles, pretending to care about what they think, truly just wanting to get this over with so as to not waste any more of his time. As he speaks, he walks over to the chair behind his desk. LAWRENCE Oh. Thank you, I do my best. (He sits in his chair. Tapp takes the seat next to Sing across from him. Sing studies him silently, chewing gum.) TAPP Sorry to interrupt you while youíre working. LAWRENCE Thatís fine. Now, how can I help you gentlemen? Tappís tone turns a bit more serious, but still amiable enough. TAPP Are you able to tell us where you were between the hours of 11:00 p.m. and 1:00 a.m. last night, Doctor? LAWRENCE (his tone just barely masking his concern) Why is it that youíre interested? TAPP Weíd like to ask you a few questions about it. For your sake, I think itís best if we do it down at the station. Would you like to follow us there? LAWRENCE (Shaking his head, this is unbelievable) No, Iím afraid thatís...thatís quite out of the question. I canít just leave, I have work to do. Plus, my wife has the car today, so... SING (amiable but hinting that he knows something) Oh, thatís okay, you can ride with us. Doc. LAWRENCE (chuckles uncomfortably) Iím sorry, youíll have to tell me again. What is this all about? Tapp produces the penlight from his pocket, holds it up for Dr. Gordon. TAPP Is this yours, Doctor? He puts the penlight down on the desk. Lawrence picks it up, a brief oh shit look flashing across his face only to be quickly covered up. He looks at the pen strangely. The two detectives carefully study his reaction. Lawrence looks back up at them. Cut to the Police Station. In an interrogation room, Lawrence paces back and forth nervously, now wearing his suit jacket. His lawyer sits at the table, taking notes. LAWYER So you have no idea how your penlight showed up at the murder scene? LAWRENCE Of course not! LAWYER I have to ask. What were you doing last night. LAWRENCE (a slight hesitation, a bit of guilt in his voice. As much as he would allow.) I was seeing someone. LAWYER (a slight pause) Who? (Lawrence doesnít answer, just continues his pacing. The lawyer gets frustrated, noisily puts down his pen.) Look, if you canít be honest with me... LAWRENCE (His tone quick, almost blurting) I was visiting someone. It wasnít a patient. Alright? (He sighs, shakes his head. Heís fucked, either way.) What am I gonna do? LAWYER Well, as your lawyer and your friend, my advice to you is to bite the bullet and give them your alibi now. Because no one is going to believe you later. Cut back to the Bathroom. Lawrence, still sitting against the wall, throws down his hacksaw next to him, resting his hand against his knee. LAWRENCE (sighs) That was five months ago. He tried to set me up for murder. Cut back to the Interrogation room, some time Later. Lawrence is sitting alone at the table. Sing comes through the door, shuts it behind him. SING Okay. We checked your alibi. It holds up. (His voice indicates that he still believes thereís more to it; he does not and will not trust Lawrence.) LAWRENCE Good! Can I go home now? SING (continuing) We have one of the victims who managed to escape. (As he speaks, we see a young woman with brown hair in a ponytail wearing a visitors pass being led carefully into the room next to them and sat at a table. This is AMANDA. Lawrence and Sing can see her clearly; she cannot see them.) Want to know if you wouldnít mind sticking around and listening to her testimony? Maybe itíll trigger something. (Tapp and an unidentified bald black man in a suit enter the room. The man guides Amanda into her chair, stands behind her against the wall. Tapp sits in a chair to her left.) LAWRENCE (doesnít really care) Iíd like to help, really, but... SING (cutting him off quickly, wonít let him out of this that easily) Well, weíd really appreciate it. Sheís the only one who made it. LAWRENCE (quietly, giving in.) Okay. Camera moves into the Interrogation room with Amanda, Tapp, and the unidentified man. As Tapp speaks, the camera slowly moves closer over his shoulder and towards Amanda. As we get closer to her, we see long, strange, scar-like markings along each side of her mouth. She is shaken, her eyes distant, never looking anyone, including Tapp, in the eye. It is clear that her mind is still lost somewhere within her nightmare. TAPP (speaking slowly, gently) Amanda...in your own time, tell me the first thing you remember. We move closer and closer to Amanda, then suddenly the camera spins round quickly and snaps into an alternate view of her, her flashback. The room she is in has the same lime-green lighting as Paulís cell. Amanda sits in a chair wearing a strange iron contraption around her head, a bear-trap like device covering her mouth. We can see her eyes, surrounded with black eyeliner, as they slowly open, groggy, just waking up. AMANDA (VO) I woke up. All I could taste was blood. (The camera moves back quickly, and we see her tied to the chair, her wrists bound to the arms of the chair. She pulls against her bonds, moaning loudly, trying to speak or cry out but cannot.) And metal. She continues to struggle against her bonds some more. The camera circles around her, and we get a better view of the strange device on her head, and the padlock and timer on the back of it. A long wire hangs down from the timer and below the screen. The view switches to the side of her and we see next to her an old television set, which suddenly switches on, startling her. After a brief moment of static, the frightening image of a demented clown-like doll its face white with red spirals on its cheeks, its red eyes leering at Amanda from the screen. She stares at it, her moans a bit softer to match her fear and utter confusion. The doll speaks, the jaw moving; it is the voice of Jigsaw. JIGSAW (from the TV) Hello Amanda. You donít know me, but I know you. I want to play a game. Hereís what happens if you lose. (The video moves next to the doll, to a device like the one sheís wearing attached to a mannequin head. As he continues, explaining what it is, her breathing grows faster and heavier, and her moans pick up more.) The device youíre wearing is hooked into your upper and lower jaws. When the timer at the back goes off, your mouth will be permanently ripped open. Think of it like a reverse bear trap. Here, Iíll show you. The video pans back to a view of the doll and the device. The dollís head moves and looks down at the device, and the camera zooms in on it. A timer ticks away. A few seconds later, SNAP! The device springs and the fake head is crushed and explodes. Amanda shrieks, her eyes widening. The video switches back to a close up of the doll. JIGSAW (from the TV) There is only one key to open the device. Itís in the stomach of your dead cellmate. Look around, Amanda. Know that Iím not lying. You better hurry up. Live or die. Make your choice. The video goes to white and gray static, then switches off. Amanda begins to struggle like a madwoman against her bonds and the chair. The camera swings around her, circling, making her movements fast and jerky. Amanda manages to pull one arm free, then the other and stands up quickly. Thatís when the cord in the back of the device is pulled out, and the timer starts. She freezes, her eyes widening. We see a close-up of the timer, and it begins its sixty second countdown. She reaches behind her head, pulling at the lock and the timer, trying to pull it off, but it is stuck there. She starts freaking out, pulling at it as much as she can, the camera movements once again fast and jerky around her. The camera spins back to Amanda sitting still in her chair in the interrogation room, sniffling. We see a brief shot of Lawrence, who watches and listens to her with grim amazement. Back to Amanda. AMANDA And then I saw the body. We switch back into Amandaís cell. Over her shoulder, we see near the corner the body of a man lying on the floor on his back. Amanda cautiously approaches it, the timer still ticking away, her hands still at the device. She kneels down cautiously next to him. She reaches down and with a shaking hand lifts up his shirt, revealing a large, black question mark drawn on his abdomen. She sobs harder, hunched over him. Quick cut to the interrogation room, Amanda in the center of the shot. AMANDA There was a knife. Back to the cell. Amanda, still leaning over, picks up a small knife next to the body. She slowly brings it up in both of her shaking hands, clutching it. She looks closer at it. A quick shot of the timer shows it to be at 25 seconds now, almost halfway. The camera moves to a shot of the manís face, when... HE OPENS HIS EYES AND STARTS TO WAKE UP. He moans, unable to speak or move. His eyes slowly, groggily look around a bit. He cannot even open his mouth; someone has very heavily drugged him. He sees Amanda over him with a knife and his eyes widen; he tries to moan at her to stop, to not do what sheís about to do, but she turns the knife upside down in both hands and quickly stabs down. He moans in agony in the background as she stabs down again, and again, and again. Blood splashes on her hands. A quick shot back of Lawrence as he listens, his mouth open slightly, eyes wide, staring at her. Cut back to Amanda in the cell as she stabs down a few more times. Then back again to the table in Lawrenceís interrogation room. Sing throws down an evidence baggie with a used syringe in it. SING (VO as camera pans up to Lawrence) Heíd been injected with an opiate overdose. He couldnít move or feel much of anything. LAWRENCE You mean....he was alive? SING (staring, nods slightly) Was. Back to Amandaís Interrogation room, her head still hung, still sniffling. A view of Tapp as he asks TAPP What happened after you took it off? Cut back to the cell, her bloody hands sifting through intestines for a key. Cut back to interrogation room Amanda, then cut back again to her holding up a liver or some other organ. Back to interrogation room Amanda, the horror on her face growing, then back to the cell. Amandaí s hand pulls a small key from inside the organ sheís holding. She reaches around the back of her head, quickly trying to unlock the padlock. The timer ticks away, faster and faster. She gets it, pulls off the padlock and opens the device in the back, ripping it away from her head and throwing it down as it snaps open. She lets out the most terrible, agonized, heart-wrenching scream, sobbing loudly, her hands held out in front of her, rocking back and forth. Suddenly from another corner of the room, a light comes on, revealing the puppet from the video in the corner. Amanda sees it, staring at it wide eyed, her sobs softening for a moment as she stares at it. Slowly, it wheels towards her on a tricycle. She can only stare and cry, not sure what to do or expect. It stops, leering at her, then speaks. JIGSAW Congratulations. You are still alive. Most people are so ungrateful to be alive. But not you. Not anymore. Cut back into a close up of Amanda in the interrogation room, her head still shaking a bit, almost like a series of slight spasms. She continues to sniffle, her eyes far off. Cut to Tapp. TAPP You are, in fact, a drug addict. Isnít that right, Mandy? (she nods, but doesnít look up.) Do you think that is why he picked you? (She lets out a sob, briefly nodding once.) Are you grateful, Mandy? She finally raises her head, looking into his eyes for the first time. AMANDA (softly) He...helped me. As she starts sniffling and breathing more heavily, Tapp looks over his shoulder into Lawrenceís room, right in his direction. He may not see him, but he knows heís there. The camera then cuts back to Amanda, who starts sobbing more heavily again. Slowly, the camera moves down into and under the table, fading back into an overhead view of the bathroom where Lawrence and Adam are. Adam sits in his corner, staring down at the floor as he has been listening to Lawrenceís story. He looks up across to Lawrence. ADAM (softly) Are you sure itís him? LAWRENCE (nods slightly) Yeah, Iím sure. ADAM (becoming a little hysterical again. He speaks accusingly) How do I know youíre telling the truth? You can be the one who put me in this room! (he gesticulates as he speaks, pointing to Lawrence and himself.) LAWRENCE (internal eye roll, speaks slowly, as to a simpleton) Iím in exactly the same situation youíre in. ADAM Wrong. (he stands up, kicking his chained foot out. Shouts.) Wrong! Youíve got one thing I donít: Information! (He hovers as close as he can in a threatening pose, pointing) You know who did this! (He picks up a glass shard that fell when he broke the mirror, holds it up threateningly to Lawrence) Now you either tell me what is really going on (Lawrence rolls his eyes, turns his head over to his left, away from Adam) or Iíll cut you with this, you hear me? Iíll cut- (But he stops short as he sees something in the glass. He flips it over, studying it, flips it back. He looks over to the mirror on the wall, studying it, thinking.) Lawrence notices that Adamís ranting has ended, glances over at him. LAWRENCE What? ADAM (looks over at Lawrence, then back at the mirror.) Itís a two-way mirror. Adam drops the shard down on the floor carefully, then reaches over to the corner behind him, leaning down and picking up a loose padlock. He lifts it up and throws it as hard as he can against the mirror, shattering most of the glass. Lawrence briefly startles at the sound and force of the glass shattering. Adam reaches back down, finds another piece of debris and throws that at the mirror with just as much force. The rest of the glass breaks away, and a camera with a red light can bee seen behind a clear glass. Lawrence stands up to get a better look at it. We movie in closer to the camera, getting a better look at it as well. Suddenly there is a flash of static and we find ourselves looking at a fuzzy, black and white surveillance video of Lawrence and Adam in the bathroom, staring right at us into the camera. The shot pulls back a bit and we see that the video is on a silver surveillance monitor. A partial view of other recording-type equipment can be seen on either side of the monitor. A manís voice speaks, though it doesnít sound quite the same as on the Jigsaw tapes. As he speaks, a hand wearing a black leather glove raises up slightly and waves its fingers at the screen. MAN (OS, Taunting) I can see you... ADAM (from on video) So thatís what this is. Reality TV. MAN (OS. Still taunting, sounds as though on a power trip) Donít look at me. I canít help you. The shot transitions from the video view of Adam back into regular view in the bathroom. Adam stands in a threatening pose to the camera, speaks angrily, loudly to it, his voice dripping with sarcasm. ADAM Can you hear me in there? Huh? Iím having a blast. (he bends down and picks up another piece of debris from the floor) This is the most fun Iíve had without lubricant. (Hums the piece of debris at the window. It makes a thwacking sound, but doesnít break. Not even a crack.) Make sure youíre getting everything. (Bends down, throws picks up and throws another piece of debris. It hits, but no breakage. Leans down for another piece.) LAWRENCE (Scoffing tone as he watches Adam trying to break the glass) Thatís not going to do anything. ADAM (pauses, looks to Lawrence) You just want to leave it running on us? (the shot switches to surveillance view) LAWRENCE (very matter-of-fact) Well, you wonít stop it. (shot switches to regular view) Thatís why we canít cut through these chains. Itís why you wonít break that glass. (he gestures to the pipe then the glass) Every possible angle has been pre-thought out by him. (He appears deep in thought, starting to understand the set-up more so, figuring out the way this guy thinks. Almost admiring him. The situation may be bad, but itís a brilliant design.) ADAM You sound like you admire this prick. LAWRENCE (explaining) To overcome something, you have to understand what a perfect engine it is. Thatís how you fight disease. (He looks up at the ceiling, at the walls, around the room) Now the tape told us to find an X. That X has to be somewhere in this room. (determined) Help me find it. Adam does not help him look. He simply cannot believe Lawrenceís calm demeanor in this situation anymore. It seems that he is almost becoming as sick of Lawrenceís attitude as Lawrence is of his. He speaks a with a bit of a hyper tone again, accusingly. ADAM How can you be the calm Doctor Guy when your wife and kid are out there. (Shot of Lawrence looking around the room) Heís got them, too. (Shot of the clock; itís now 12:05.) He could be doing anything to them right now. Are you thinking about that? LAWRENCE (Suddenly looks right at him, snaps angrily) I AM thinking about that. (Adam backs off a bit. Lawrence pauses a moment, his voice changes to calm but sad.) Iíve been the last thing I said to my daughter. Lawrence turns away from Adam, placing his hand on the pipe behind him, and the shot moves up into blackness, then up at the foot of a little girlís bed in a darkened bedroom. The little girl is Diana. Sheís about 5 or 6 years old, with long, wavy light brown hair. She lays tucked in with her eyes closed, her favourite teddy bear wrapped in her left arm. The camera moves up and over her a bit, moving in closer to her. Chimes can be heard tinkling very faintly against a soft breeze. As the shot pauses just above her, her eyes suddenly open, blinking away sleepiness. She sits up, pulling away the covers, still holding her teddy bear. She remains sitting in her bed, staring over into the dark corner to her right. The chimes jingle away. We move in closer to her face; something has her spooked. A clock ticking is suddenly heard as the image fades from Diana getting out of bed into a strange, mechanical-looking clock on the living room wall of the Gordon Household. The shot lowers and we see the nicely furnished living room of the Gordon home. The walls are a dark, crimson red, the furniture in tones of red and brown. It definitely is the living room of a well-off family. Not too cold, but not as warm and homey as it could be. Diana slowly makes her way across the living room towards her parents bedroom, moving almost dream-like, her teddy bear hanging limply from her right hand. She moves to the frosted glass double doors of her parents room, opening them both into the bedroom, where we see her mother, Alison, laying on her side, fast asleep. Alison is in her early to mid thirties with long blond hair going just past her shoulders and very pretty despite her sleepiness and messy hair in this scene. Diana moves into the room, standing next to the bed, saying nothing, just watching her mother sleeping. Alisonís eyes slowly open; the feeling of being watched plus the instincts of a mother have awoken her. She reaches over and turns on the light, looking upon her daughter with concern. ALISON Diana, Honey, are you okay? (she pushes back the covers and gets up, crouching down in front of her daughter. Looking up at her, she places her hands on her daughterís arms.) Diana, Honey, can you hear me? DIANA (very softly, but showing almost no fear) Mommy? Alison reaches up and touches Dianaís hair, bringing her hand down in a soft caress on Dianaís cheek. ALISON Oh, what is it, sweet pea? DIANA (very calmly) Thereís a man in my room. ALISON (sighing, but not rudely. This is not the first time this has happened) Oh Honey, are you sure heís not just hiding in your imagination? DIANA He talked to me. ALISON (sighs) Okay, Iíll come and check your room. (She smiles a small, assuring smile) DIANA I want Daddy. Heíll get the scary man. ALISON (her smile fading a bit) Alright, if you want. Come on. She stands and leads Diana out of the room. Cut to Lawrenceís office. Lawrence sits hunched slightly over his laptop computer, focused on some paper heís writing. Diana and Alison appear in the doorway to his left. He doesnít even look up, just keeps typing. Alisonís tone when she speaks indicates that she knows heíll probably say no, or put it off on her. ALISON Larry, sorry to bother you, but your daughter had a bad dream again. LAWRENCE (his eyes never leaving the screen; raises his finger to pause them) Just a minute. ALISON She wants you to check her room. LAWRENCE (keeps typing, never looks up) Mmm hmm, mmm hmm, just gotta finish this paragraph. Alison waits a moment, then turns to Diana. ALISON (softly) You know what sweetie? Iíll go check with you. They turn, slowly start to walk away as Lawrence quickly finishes typing, then closes the laptop. LAWRENCE Nope! Iím done. (he smiles, turning to look at them.) Cut to Dianaís room. Lawrence reaches over and turns on the lamp on Dianaís side table. Diana lies in bed, slightly propped up against her pillows and stuffed animals. Lawrence sits on the side of her bed. LAWRENCE (very reassuringly) See? (he pulls the covers up over her, up to her chest.) Thereís no one in your room. Thereís no such thing as the bad man. Now can you go to sleep? DIANA Iím still scared. LAWRENCE You are? Give me your tootsie. (He pulls back the covers and she pulls out her foot. He takes it in his hand.) Oh, what a big tootsie. (He turns to her, raising his eyebrows up) Remember this one? (He counts on her toes as he says the following) This little piggy went to market, this little piggy stayed home, this little piggy had roast beef, this little piggy had none, and this little piggy went ëWeeee!í (he tickles up her leg to her tummy and she giggles) all the way home! Just then, Lawrenceís beeper goes off. He leans back, takes it out and looks at it. DIANA I hate that thing. LAWRENCE Well I have to go to work, sweetheart. You know what Daddyís job is like. Now, come on. (he re-tucks her in, she smiles at him.) Letís see. Try and get some sleep now, okay? (He gives her a kiss, smiles, stands up and goes to the door.) DIANA Youíre not going to leave us, are you, Daddy? LAWRENCE (suddenly concerned) What? (He stops at the door, turns, goes back over to her bed, sits down next to her and leans over. This was the last thing heíd expected her to say) What are you talking about? You mean, leave you and Mommy? (She nods; he reaches up and gently brushes her hair away from her face.) No, no sweetheart, I would never do that. Who gave you that idea? DIANA No one. LAWRENCE Well itís not true, okay? DIANA (very softly) Okay. LAWRENCE How much do I love you? He moves his face closer to her and together they say LAWRENCE & DIANA Love you very much LAWRENCE Thatís right, thatís right! (He gives her a kiss, pulls back.) Good night, sweetie. DIANA Good night, Daddy. Lawrence gets up and goes to the door, flipping the lights off. He pauses before he steps out. LAWRENCE Tomorrow, Iíll read you your favourite story. DIANA (with a small smile) Okay. LAWRENCE Okay. (he goes out.) Quick cut to the Entrance Hall of the Gordon Residence. Lawrence walks towards the door, Alison behind him. Alisonís voice starts to cut over the scene. Her tone is very pissed off. ALISON I donít know how much longer I can do this, Larry. LAWRENCE (sounds as though he has no idea what she means) What, what are you talking about? ALISON (pissed, in disbelief) How can you walk through life pretending that youíre happy? LAWRENCE I am happy. ALISON (confrontational) That is complete bullshit. (cut to a shot of Diana, laying on her side in her darkened room, clutching her teddy bear to her chest. Her eyes are open, she can hear everything. We stay with her for the rest of Alisonís line, her voice now off a bit in the distance but still very audible) Iíd rather you break down and tell me that you hated me. At least thereíd be some passion in it. LAWRENCE Would you like to see her? (He reaches into his pocket and takes out his wallet, throws it across the room to Adam, who is sitting with his back against the wall, facing Lawrence. Adam picks up the wallet and opens it. He sees two pictures of Diana, side by side. The one on the left is Diana hugging a dog. The one on the right is a smiling portrait outside somewhere. ADAM Sheís beautiful. LAWRENCE Thank you. ADAM (sighs, then looks up at Lawrence) You gonna have any more kids? LAWRENCE (a bit wearily, but not snobby) Weíve talked about it, but uh, with our schedules, itís difficult enough to concentrate on one. (The tone of his voice indicates that maybe heís starting to realize that he shouldíve spent more time and attention to his daughter.) ADAM (referring to the wallet) So whereís the lucky wife? (a small smile) LAWRENCE Thereís another picture behind the one youíre looking at. (Adam reaches behind the photo on the right and pulls another photograph out. Lawrence smiles slightly as he speaks) Itís my favourite one because weíre all in it together. Someone, usually me, has to hold the camera, which means Iím always missing from the photos. Cut to Adam, looking at the picture he pulled out. His face is blank, but you can sense great disturbance behind it. Cut to a shot of the photo he is holding. It is not the one Lawrence described, but a Polaroid of Alison and Diana bound and gagged, and the message Regards with a jigsaw piece drawn next to it. He turns the photo over, and there is a message. As he reads it, Jigsaw reads it aloud in a voiceover. JIGSAW (VO) X Marks the spot. Sometimes you see more with your eyes shut. Adam does his best to hide what he has seen, looks up to Lawrence. ADAM Itís uh, itís not here. LAWRENCE (a slight disturbance from his momentary nostalgic bliss) What? ADAM Uh, this photo youíre talking about...itís not here. LAWRENCE (slightly surprised, reaching out his hand for Adam to toss the wallet.) Really? Are you sure? ADAM Yeah. (Tucking the picture in his right hand, he shifts slightly by lifting himself a bit with his right hand, sneakily putting the photograph down and tossing the wallet with his left hand. Lawrence picks up the wallet and starts looking for it, creasing his brow in concern, while Adam backs up against his wall, holding the photograph out of Lawrenceís sight against a pipe he rests his arm on as he looks at the photograph.) LAWRENCE (disbelief, shaking his head) He...he mustíve taken it. I... Alisonís voice over is heard as he says this and continues to look through the wallet, and we hear Alisonís voiceover from the scene in the main hall. ALISON (VO) How can you walk through life pretending that youíre happy? CUT TO the Main Hall of the Gordon Residence, back to the earlier flashback of Lawrence and Alison. This time, we stay with them. LAWRENCE I am happy. (He walks over to a chair, leaning over it as he puts something down, gets his briefcase ready to go to work. Alison stands a few feet behind him, trying her best to get him to react, to stop the bullshit and end the masquerade.) ALISON (pissed) That is complete bullshit. Iíd rather you break down and tell me that you hated me. At least thereíd be some passion in it. LAWRENCE (tired of this, brushing it off as not that important, like there really is nothing wrong) We can talk about this alter, okay? (He leans in to kiss her, but she shakes her head. He pauses there.) ALISON (firmly) Just leave. He looks at her for a moment, searching, then slowly turns away and heads out the door. VOICE Goodnight, little girl. (camera pans up closer into the closet, and we a widened blue eye and part of a face (yet unidentifiable) watching her.) The closet doors burst open and Diana screams. Cut back to the main hall where Alison stands alone, her head lowered slightly. As soon as she hears the scream she turns and bolts towards her daughterís room. ALISON Diana!? Alison gets to just outside the door to her bedroom. ALISON Diana! (opens the door and flips on the light, gasps when she sees a figure covered by a blanket looming over Dianaís bed. The figure suddenly grabs Diana and she screams, struggling against him. Alison goes for them. Quick cut to NOW, in Alison and Lawrenceís bedroom. Waistline shot of a figure wearing a black coat, black leather gloves and blue jeans, holding a stethoscope. A gun is tucked into his belt and Dianaís teddy bear tucked under his arm. He saunters over to the gagged and bound Diana and Alison, on the floor and tied to a corner end of the bed. Alison, her eyes streaming tears, struggles and pulls against her bonds to try to get at him but fails. Diana keeps crying Mommy! over and over again and sobbing. The figure crouches down beside Diana, dropping the teddy bear behind her, his face still unseen. He takes the stethoscope and holds the end to Dianaís chest. The sound of a loud, steady heartbeat is heard. Alison screams at him through her gag. ALISON Donít do that! Leave her! Get away from her! He pulls away the stethoscope and the heartbeat halts. He reaches with his right hand and pulls from his belt the gun. Dianaís screams become more desperate, Alisonís more frantic, more angry. He puts the stethoscope back against Dianaís chest and moves the gun up and down in front of her, then bringing it up to her motherís head. We hear the heartbeat again, doubled in speed. ALISON (through her gag) Keep your motherfucking hands off of my daughter! He pulls away the gun and the stethoscope, tucking the gun back into his belt. He reaches down behind Diana and picks up the teddy bear. As he does, we catch a brief glimpse of the lower half of his face, but not enough for a clear identification yet. He holds the teddy bear out in front of Diana for a moment then tucks it in front of her. He pats her on the head and stands up, moving over to the window. He parts the curtains slightly and leans forward a bit, and we see his face more clearly. It is Zep, the orderly from the hospital. Cut to static, and then a surveillance video view of the exterior of the Gordon home, of the window where Zep is standing. The camera zooms in on him and we hear a raspy, male voice speaking. VOICE (VO as we view shot of Zep) Who are you little man...I see you...(cut to a television screen with the video of Zep in the window. Fade back and to the right as we get a view of someoneís apartment. Plastered on the walls are various photographs, which we can barely make out, and a desk in the corner with some recording equipment. As we move further right and hit the window we see Detective Tapp, leaning over the camera shooting the Gordonís window, adjusting the view. Something about him seems just not right. We cut back to his view from the camera.) Does Dr. Gordon know youíre at home with his wife? I know you know something. (his voice goes up a bit louder) What are you doing in there? Waiting for the doctor? Iím waiting for the doctor, too. Hmm. Cut to a view over Tappís couch of the television with Zep on video on the screen. Tapp walks over and sits down in front of the television, his back to us. TAPP I never should have let you go... Camera pans up to a wall of articles, all about the Jigsaw killings. It moves quickly and zooms in on each headline we see. Jigsaw hunt brings D.A. before Judge, Missing Man discovered at Bizarre Crime Scene screaming is heard then a quick flashback shot of Paul in his cage, first struggling against the wire then hanging dead in his cage Killer ëPreachingí Says Top Cop, Psychopath Teaches Sick Life Lessons, quick shot of Mark going around looking for the code on the walls, with the sound of his screaming over the shot, Escape, Victim Survives Maniacís Game quick flashback footage of Amanda in the interrogation room, then fighting with her mask, and a shot of Lawrence watching and listening to her testimony, Doctor Questioned in Case flash of shots of Lawrence being questioned by the Tapp and Sing and then his Lawyer. It ends on the flashback shot of Tapp looking back at Lawrence through the two-way glass after Amanda tells her story, and the shot slides into a shot of a car pulling up alongside a building. TAPP (VO, fading, hushed against soundtrack) I never shouldíve let you go... The car pulls up alongside a building, with Lawrence in the passenger seat, and Tapp driving. Lawrenceís awkwardness, Tappís distrust, and general uncomfortable tension can be easily detected between them. LAWRENCE (Pretending like heís trying to be helpful, really just glad to be out of Tappís company) Here we are. That was uh, quite an amazing story that poor woman told. (Tapp just nods, says nothing. Lawrence smiles very uncomfortably, gets out of the car.) LAWRENCE (leaning down and looking back into the car window.) Look, Iím sorry I canít be of more help to your investigation. TAPP (nods very slightly) You know, we arrested a dentist last week who like to play with kids a bit too much. He lived two blocks from here. The sewer lines run under this neighborhood too, Doctor. (hint hint) Lawrence stands straight up, walks away. Tapp waitís a moment, then drives off. BAM into static and then the video from Amandaís cell. We are not at Tappís desk in the police station, watching him obsessively watch the video, staring at the screen, remote control in hand. As he watches, the camera circles around behind the television to give us a better view of our obsessed detective. JIGSAW (from the video) Hello Amanda. You donít know me, but I know you. I want to play a game. Hereís what happens if you lose. Thereís a timer at the back of the device youíre wearing. When the timer goes off, your mouth will be permanently ripped open. In the background of the station we hear a couple of detectives talking, then Sing walks in behind Tapp, over to his own desk. He turns, watching Tapp watch the screen. Tapp stops and rewinds the tape. SING (to the other detectives leaving) Iíll catch you guys down there. (he reaches over and gets something off of his desk) JIGSAW (from video) Think of it like a reverse bear trap. Tapp fast forwards a bit, hits play. JIGSAW (from video) Iíll show you... Tapp watches closely the demonstration of the timer then the device going off and exploding. Sing watches too, not paying as close attention. As soon as it explodes, Sing speaks. The look on his face and the tone of his voice indicates his growing concern for his partnerís obsession over this case. SING Hey Tapp? Tapp doesnít look up, resembles Lawrence in the earlier scene when Alison and Diana came to him to check her room while he was working on his paper. TAPP Mmm? SING Weíre gonna go down to the Grill, go get a beer. You wanna come? TAPP I donít think so. Thanks anyway. SING (Figured he might answer as such) You know I always ask. (He puts on his jacket) JIGSAW (on video) There is only one key... SING Iíll leave you to have fun up here. (He puts his hands on his hips, watching some more of the video.) JIGSAW (on video) Itís in the stomach of your dead cellmate. SING (still trying to reach him, break him from his obsession groove) Hey Tapp? I donít mean for this to be disrespectful...(pause) Maybe you should find yourself a girlfriend. Sing chuckles, hits Tapp playfully on the arm, tapp laughs a bit too, but doesnít look up. Sing remains grinning a bit. But then Tapp continues and rewinds the video a bit. JIGSAW (on video) Itís in the stomach of your dead cellmate. Tapp fast forwards. JIGSAW (on video) Look around, Amanda. Know that Iím not lying. (Sing steps off to the right) You better hurry up. (Tapp rewinds again, suddenly pauses) TAPP Wait wait wait, Sing! Sing stops, turns. TAPP Get back here! SING What? TAPP Mmm! (he gestures franticly for him to come over.) SING (sighs then comes over) What? Tapp rewinds one second then pauses, holds pencil to the screen to a grafittied wall on the video. TAPP Remember 118th Street? SING (looks at the screen, thinks a minute) Ah...K2K. That gangís territory was only about four blocks. TAPP Now listen to this. They listen with the volume up high. Over the static, the sound of a fire alarm can just barely be heard in the background. They look at each other. Tapp hits stop. TAPP (looking up at Sing) We gotta check the records from all the fire emergencies that occurred there in the last two weeks. Go, right now! Mmm! Sing turns and quickly walks off. CUT TO Close up of a map, with Sing speaking in a voiceover. As he speaks, thereís a brief shot of the two of them sitting over the map, then quick shots of a few black and white photographs of a warehouse, including a close up of a street sign Stygian St. SING (VO) On the night of Tuesday, the 17th, we got a fire alarm going off in the rear wing of 213 Stygian Street. Itís an old listing. Used to be a mannequin factory. (cut back to view of the two detectives) You think we have enough for a warrant, though? TAPP Who said anything about a warrant? (He grins, gets up and grabs his jacket.) SING (are you serious?) Right now? TAPP Why not? SING Yeah, why not? (He grabs his gun, snaps a cartridge into it, grabsup his coat, and quickly follows Tapp. Brief shot of K2K graffiti on the video and then loud static, which snaps into an exterior nighttime view of an old warehouse building and a car speeding by. Our view is from inside the car as it pulls up alongside the building. A police radio can be heard in the background. So can the sound of a gun being loaded and cocked. TAPP (VO) At least weíll have the cover of darkness. SING (VO) Yeah, well, so will anybody else. A shot of inside the factory, various clutter and tables piled up on one another. No signs of life...yet. A bang from the outside of the door is heard. A couple more bangs and a shot of the giant, sliding wooden door as it slides open, and Sing steps in, holding out his shotgun, ready for anything waiting for them. Cut up to a staircase, lit by eerie green light, the same as from Paulës razor wire room, as the detectives make their way up cautiously, Tapp in front, Sing covering behind them. They come up another level, one that has been recently used we see as Tapp points over to a desk with a computer, a radio, and some other miscellaneous items. Then, right next to the desk, we see the K2K graffiti from the video. TAPP I got you... They continue on, moving into a room separated with a chain link fence. There is a slightly raised platform, going along part of the wall, with a few steps leading up on either side. Tapp goes up the steps. On the raised area are some tables covered in heavy red cloth. Tapp points to one, reaches down, and pulls back the covering. He reveals a small diorama of the bathroom scene where Adam and Lawrence dolls, complete with the body, dolls representing each of them. TAPP What the hell is this?.......(his voice almost a whisper) Oh shit... They move onto the next table, and Tapp pulls back the cloth covering that one, revealing the leering Puppet from Amandaís video. Tapp stares at it wide-eyed. Next to the puppet is a strange, boar-like mask with long dark hair. The camera pans back so we have the view of another large object covered in red cloth that Tapp and Sing had passed by. Tapp leans in closer to look at the puppet, when suddenly the still-covered form starts to move and muffled moaning sounds are heard. It startles the detectives. SING Oh fuck! They both go over and stand on either side of it, taking one end of the red cloth whipping it off. Underneath is a man tied to a chair with duct tape over his mouth, held in place by a manacle around his neck. A contraption on the chair holds two power drills about six inches from either side of his head, pointed directly at his temples. His eyes wide, he moans through his tape at the detectives. Suddenly, a door is heard clanging open on the other side of the building, and the detectives spin to face the sound, guns ready. TAPP (looks to Sing, says softly) Wait Sing! SING (trying to keep his voice low but coming off a bit loudly) What? TAPP (eager) Letís see what heís gonna do. SING Why? Weíve fucking got him. Tapp however, having studied this guy for so long, wants to get a good look at him before heís captured, see him in his element. TAPP We donít know what he looks like. Letís see what heís gonna do. SING (rather loudly, again) No fucking way! As the two argue, the man in the chair continues to protest his position. TAPP Sing, Sing! (he moves in front of the man a bit, holding up his hand to try to halt Sing, trying to convince him to go along with him.) SING (isnít buying into it) Fuck that. Iím gonna take him. TAPP Sing! SING What the fuck? Shit! TAPP Wait Sing, listen. Whoever it is is moving closer, so they quickly cover up the man and the other things they uncovered. The man in the chair protests loudly through his gag and struggles as much as he can in his chair. Sing and Tapp go and hide behind a tarp covering the entryway to another room while a figure in a black robe lined in red comes up on the elevator. The elevator stops, and the figure moves forward, slowly and carefully. He goes up the steps to the man in the chair. The figureís hood is up; we do not see his face. As he walks, he seems like he might be having a somewhat difficult time with it. He reaches and uncovers the man, who begs in muffled tones through the gag. When the figure speaks, we instantly know it is Jigsaw; it is the unmistakable voice from the tapes and the video. JIGSAW Awake already, Jeff? I need more powerful tranquilizers next time. (Jeff continues his cries, sheds a few tears. Jigsaw reaches over and touches his shoulder) Donít cry. Iíve given your life a purpose. Youíre a test subject for something greater than yourself. Thatís when Sing cocks the shotgun and the two detectives move out of their hiding spot, aiming their weapons at Jigsaw. SING Freeze! Police! TAPP Hold it right there! Donít move! SING Put your fucking hands in the air! Jigsaw slowly raises his hands, starts to turn to face them but then quickly steps down hard on a red button on the floor, and the drill trap on Jeffís chair comes to life. He remains with his back mostly to them, hands still raised. JIGSAW Now youíll make a choice. (Sing runs up the steps to try to where Jigsaw is, gun aimed at him. Tapp remains where he stands.) In 20 seconds, the life of this man will be ended. TAPP Shut up and get down here! SING (keeping his gun steadily aimed) What did you do? Turn it off! Jeff in the meantime is struggling in his seat as the drills come closer. TAPP Sing, stop that thing! Iím taking this bastard down. (Sing tosses Tapp the shotgun.) Move! SING (to Jigsaw) How do you turn it off?! TAPP Tell him how to stop it! Jigsaw backs up a bit towards the stairs. JIGSAW One key will unlock it. SING (frantic) Where is it?! JIGSAW Itís in the box. SING Box! (He sees a box on the side of the chair and opens it. Inside he pulls out a ring of at least 30 keys, and goes over to behind Jeff to try to unlock the device. He tries a couple of keys, none working.) Fuck! Which key, which key?! TAPP Tell him which key it is! JIGSAW (now facing Tapp, moving closer to him. His back is to us, we still donít see his face.) Time is running out. TAPP Shut up and get down here right now, asshole! Jigsaw slowly moves down towards him more. JIGSAW Whatís more important to you Officer, arresting me or the life of another human being? Sing keeps trying various keys. Tapp goes up Jigsaw and grabs him, pushing him down to his knees. Jigsaw keeps his arms slightly raised. TAPP Get down on your knees! SING Jesus! Tapp! Tapp! TAPP (gun aimed at the back of Jigsawís head) Hands behind your head! (Jigsaw obliges) Sick bastard. JIGSAW Yes, I am sick, Officer. SING (still trying various keys, none working. Heís in a full-fledged panic. Jeff closes his eyes, crying, as the drills are only 2 inches away) Tapp! Itís like, thereís a hundred keys in here! JIGSAW Sick from the disease eating away at me inside. Sick of people who donít appreciate their blessings. Sick of those who scoff at the suffering of others. Sing finally whips out his gun and shoots each drill, breaking and stopping them. Tapp glances up at him, briefly distracted by the gunfire. JIGSAW (as he pops a blade out of a wristband hidden up his right sleeve) Sick of it all! (He lashes upwards, slashing Tappís throat) SING (seeing the throat slash) Tapp!!! (runs down from Jeff towards them. Tapp clutches his throat, completely surprised, gurgling.) Jigsaw RUNS, fast as he can, out of the room. Sing takes a couple of shots at him and misses. He stops when he reaches Tapp, who is slumped against the fence/wall and bends down next to him. SING (desperate, a trace of despair) No, no! Tapp! Shit! Tapp gurgles at him, hands him the shotgun. SING (standing, touching Tapp on the shoulder then head) Iíll be back, okay? Iíll be back. Tapp just kind of nods, gurgling and holding his throat. Sing spins around and then starts chasing Jigsaw through the warehouse, out of the room and down a flight of stairs. He moves down a long, misty corridor, gun up, moving quickly but still cautiously. He takes a right, goes down another flight of stairs then takes another right, stopping and looking down a short flight of stairs. Quick cut to Tapp starting to try to get up, holding his throat. He drags himself along the floor. Back to Sing, who cocks his shotgun, then moves down the stairs very cautiously. He takes a left around the corner, finds himself facing down another corridor, where he sees Jigsaw trying to get away. He takes aim. SING (shouting) Freeze or Iíll shoot! Jigsaw continues moving, so Sing fires. He hits, and Jigsaw goes down. Sing pauses, waiting to see if he gets back up. Jigsaw doesnít move, so Sing cocks the gun again and starts to slowly move forward towards him. Cut to a shot of Tapp as he struggles to his feet and starts towards the stairs to follow Sing. Back to Sing, moving further down the hall. He gets about halfway down it when we see a shot of his feet just at a trip-wire. Over it are some cobwebs hanging down. He reaches to part them, and steps forward into the wire. As he steps we see a shot of a shotgun with wire slowly pulling down on the trigger. Sing looks up, and the trigger of that gun and six other shotguns pointing down directly at him fire. Sing is hit, blood splattering against him and the wall. We see only from his shoulders down. He spasms for a moment, then falls forward to his knees. Cut to Tapp, who is making strange vowel sounds, moving down the flight of stairs just before the hallway where Sing now is. On his knees, Sing remains upright for a moment, spasming more. We go to a shot of Jigsaw on the floor. Jigsaw starts moving and gets himself up to his feet, and starts hobbling further down the hall. Singís body finally falls forward onto the floor, spasming still. Tapp continues down the stairs, falling against the wall a couple of times. We see Jigsaw as he gets to the end of the hall and starts sliding a large door open. At that moment, Tapp reaches the bottom of the stairs and turns into the hallway, collapsing back into a sitting position on the stairs. Jigsaw hobbles through the door and starts to go left. Tapp sits up a bit and looks down the hall, where he sees Sing, who has stopped spasming. His eyes widening, Tapp removes the hand from his throat and reaches forward towards Sing, his mouth opening and moving but no sound other than some gasping coming out. The shot fades to a slow-paced black and white, and then snaps into a few crime scene photos of Singís body, including a nice gory one of the top of his head, part of which is now missing. At the last photoflash, we cut back to a shot of Tapp presently, sitting on his couch. The shot shows a good view of the scar across his neck. TAPP (weak, desperate) Had you...had you on your knees. (He sits forward, getting some things off the coffee table) Youíre running. Youíre running...(He gets up and goes over to the desk in the corner with the audio recording device and dozens of photos pinned to the wall, takes a seat) Youíre running scared because we had you. Iím going to close this case. Ram close it. (He picks up a small framed photograph, which we canít see, but likely, itís of Sing.) Right, Sing? Right? Weíre gonna close it, Sing. LAWRENCE X Marks the spot...(He stands, touching the pipe and looking up and around a bit.) X marks the spot...we need to search this room again. (He turns and looks over at Adam.) What are you doing over there? Cut back into regular view in the bathroom, with a shot of Adam sitting on the tub, holding the photograph of Alison and Diana just beneath the edge of the inside of the tub, looking down at it. He ignores Lawrence, flipping the photo over. LAWRENCE (irritated) Excuse me? ADAM (glancing up; calm irritation) Just because Iím stuck in this room with you doesnít mean I have to report to you every ten seconds. LAWRENCE (sighs) I really donít see the point in us not helping one another. ADAM well what do you want me to do? Iím on a leash. LAWRENCE Thatís exactly why we need to talk. We need to think! ADAM I am thinking! LAWRENCE (snapping at him) Well then donít keep me in the dark about what youíre thinking! There is a pause as something about that statement strikes Adam. ADAM Turn off the lights. LAWRENCE What? ADAM (letting the photo fall into the tub as he stands) Turn them off now, please! LAWRENCE (doesnít get it) Why? ADAM (impatiently) Just turn them off for a second! Lawrence stares at him oddly but moves backwards, reaching over and flipping off the lights. Adam looks around. Lawrence looks around too, but he sees nothing. He doesnít seem to think this is going to help any. Then we see on the wall next to him a glow in the dark X painted on the tiles. He doesnít see it and shrugs, but Adam spots it. ADAM Jesus, behind you! LAWRENCE (turns and sees it, is surprised) How come we didnít see that before? ADAM The lights in here hadnít charged it. It must be glow in the dark paint or something. Lawrence turns and flips the lights back on, both of them wincing slightly at the sudden transition from dark to bright white, though not as much as before. Lawrence leans over and picks up his hacksaw, going over to the tiles where the X is and starts hitting the tiles with the handle of the hacksaw. He breaks through, reaching into a small cavity in the wall and pulling out a small brown box with a hinged lid. He canít believe it. He looks to Adam, a small grin on his face. He places it on the floor and sits down behind it. ADAM (excitedly) Open it! LAWRENCE (turns it around so we and Adam can see the small lock on it.) Itís locked. (He pauses, thinking, then realizes something) The key, the one from my envelope. Where is it? Adam looks around him, then leans down, looking on the floor for the key. ADAM (soft, hushed tone as he looks) Where the fuck...Here. (He finds it, picks it up and tosses it over.) Lawrence picks up the key, tries it on the lock. It works. He takes the lock off, opens the box. He holds up a cell phone, smiling in relief. ADAM (big smile) Cell phone. The most beautiful invention on this planet! Lawrence takes out and holds up one of two cigarettes. Adam lets out a joyful laugh. ADAM Make that second most beautiful invention! (He reaches out his hand for Lawrence to toss it.) Give me that. LAWRENCE Are you joking? Youíre gonna put something we found in this room in your mouth? ADAM (pause, then) Yes, Iím willing to risk it! Give me that sweet cancer. (Lawrence ignores his request, tosses out the other cigarette and a lighter. He finds lastly a small folded up note with the words Shh, Doctor, written on it.) I donít care, I really donít. Give me one of those. Jigsawís voiceover reads whatís written on the note as Lawrence opens the paper and reads it, keeping it low in the box where Adam canít see it. JIGSAW (VO) The cigarettes are harmless, I promise. Smoking is only poisonous when it ends in bloodshed. Think about this - you donít need a gun to kill Adam. ADAM (growing impatient) May I please have a cigarette? LAWRENCE (ignoring his plea) Iím trying the police. (He flips open and dials on the cell phone, but a weird beeping noise indicating the call canít go through comes from the phone. He dials again, same result.) Shit. (Pause, thinks.) This was meant to receive calls, not make them. (A moment; he realizes something.) Wait a minute...this has happened before. Cut back to an overhead descending view inside a parking garage. LAWRENCE (VO) Last night, after I finished at the hospital. (fade into another closer shot of the cars, and Lawrence walking down the corridor, carrying his briefcase.) I was walking back to my car. (He stops a moment) I thought I was alone, but Iím sure someone else was there. (He squints, bringing his hand up over his eyes. There is a flash from the side. He looks up, startled, looking in the direction in which he thinks it came from, but sees nothing. He looks around him for another moment, then continues forward to his car.) Cut to a shot within a circular overhead mirror of Lawrenceís car pulling up to an abandoned security gate station. He gets out of the car, shutting the door and going over to a phone on the wall to dial security to let him out. When he dials, though, it gives him a busy signal. As it beeps, we cut to another shot of his car in the mirror. The back door on the passenger side starts to slowly open. Back to Lawrence, who hangs up the phone, aggravated, and reaches into his pocket for his cell phone. He opens it and dials. Back in the mirror, we see something get out of the car on its hands and knees. It is in a red robe and has a strangely shaped head with long, tangly dark hair. Lawrence finishes dialing, holds the phone to his ear but receives the same beeping tone as the phone in the bathroom, indicating that he cannot make outgoing calls. Perplexed, he holds up the phone, trying to get a better signal. Alongside the car, the thing moves even closer now. It gets up slowly. We see that it is wearing the strange boar mask previously seen in the flashback of Jigsawís workshop. It suddenly rushes upon him as heís distracted with his phone and grabs him. Cut back to Lawrence sitting on the floor in the bathroom, still holding the phone. LAWRENCE (His eyes distant, off in his memory) That...thing. It was waiting for me. (He exhales sharply, then looks back up at Adam. Adam is just standing there, staring at him. Something seems a bit...off. With a suspicious tone, Lawrence addresses him.) How did you know to turn off the lights? ADAM Who cares? It worked. LAWRENCE Yeah, but how did you know? ADAM (a slight pause) Instinct. (His tone is far from believable.) LAWRENCE (doesnít believe a word of it) Instinct? ADAM Yeah. LAWRENCE You know what? (he looks down, then back up at Adam.) Youíre a terrible liar. ADAM (quiet offense) You say that like you know me. LAWRENCE (speaks calmly, but anger lies underneath the surface) What else arenít you telling me? ADAM (cocky and sarcastic) Well, um, letís see. On my sixth birthday, my best friend at that time, Scott Tibbs, stabbed me with a rusty nail. I didnít tell you about that. I didnítí tell you that my last girlfriend, (Lawrence lowers his head into his hands. Un-FUCKING-believable) who was a feminist vegan punk, broke up with me because she thought I was too angry. Uh, I havenít told you that one of my toenails is slightly... LAWRENCE (snaps at him, fed up) Just stop it. You knew to turn off these lights. ADAM (turning away from Lawrence) What-ever. LAWRENCE (stands up, frustrated.) Iím dealing with a juvenile. ADAM (has had it, looks right at him) You wanna know? LAWRENCE (exasperated) Yeah! Adam leans down and reaches into the bathtub, pulls out and holds up the picture of Alison and Diana. ADAM (with a somewhat aggressive attitude) Here it is. (He throws it towards Lawrence, who looks down at it, then back up at Adam before getting down on the floor and pulling it towards him with the hinged box. He picks it up, sitting up as he looks upon it with shock. ) LAWRENCE (very softly, shakily) Oh God...(he turns it over, then back. Adam casts his eyes downwards, still standing but cooling off, feeling bad for Lawrence) W...where did you get this? ADAM (softly) It was in your wallet, behind the photo of your daughter. LAWRENCE W...why didnít you show me this before? ADAM I couldnít. (Lawrence begins to shakily sob, touching the photo.) Iím sorry. (Adam goes over and sits against a pipe in his corner, lowering his head and upper body forward, holding his head in his hands.) Lawrence sniffles, shaking, then looks right to the surveillance camera behind the glass and screams. LAWRENCE What are you doing to them you bastard?! (He goes back to huddling over the photograph, sniffling and crying for a moment. Then, he sits up, trying to pull himself together) Okay...okay..(he looks around a bit) Okay, Iíve got to think now...(He looks down, sees the note again in the box.) JIGSAW (VO) Think about this...you donít need a gun to kill Adam. When thereís that much poison in your blood (a slow shot moving to the pool of blood from the body in front of Lawrence), the only thing left to do is shoot yourself. Lawrence looks at the body, then down. Heís getting an idea. He takes a cigarette, glances over at Adam, who still has his head down in his hands. He dips the end of the cigarette in the blood, then puts it back in the box. He starts to get up. Adam looks up, sees him standing. ADAM What are you doing? Lawrence goes to the light, looks at the camera, suddenly flips off the lights. We see a shot of Zep startling when the lights go out on the monitor, then we go back to the darkened bathroom. ADAM Hey! What the hell are you doing? LAWRENCE (whispering so the surveillance camera will not pick him up) Adam, listen to me. I want you to play along with me on this. Zep leans in, trying to hear whatís being said, but the static of the video is too loud. He tries to adjust the sound, but to no avail. Shot goes back into the bathroom, where Lawrence is finishing saying something to Adam. LAWRENCE You got that? (he turns the lights back on, both of them again wincing at the bright light. Lawrence glances at the surveillance camera, then looks to Adam. LAWRENCE (trying to be nonchalant) So you uh, still want that cigarette? ADAM Um...yeah, sure. Lawrence makes a show of reaching into the box where the poisoned cigarette is, but takes the other un-dipped one instead. He throws it to Adam, who reaches down and picks it up from where it lands. Lawrence throws the lighter as well. Adam puts the cigarette between his lips and reaches down, picking up the lighter. He glances over at Lawrence, who watches him intently. Adam just shrugs then lights up. He takes a long drag, then exhales in a sigh of relief and with a smile. He takes another drag then suddenly freezes, his head jerking and a strange gurgling sound coming from his throat. His head jerks more then the rest of his body, his eyes widening. His hand drops the cigarette and goes to his throat as he turns, still jerky and making a strange, almost squeaky choking sound in his throat. The sound grows louder as he falls to his knees, then back a bit, his left arm held out in front of him dramatically. He falls backwards onto the floor, twitching some more, still choking. He lets out a long cough, suddenly stops jerking, and closes his eyes. The death in its entirety is very, very fake. LAWRENCE (watches Adam, then turns to the surveillance camera, speaks with angry finality) There! Iíve done it! Iíve killed him with the poison, just like you wanted. (shouting) Now whereís my family?! Where are they?! Suddenly, we go to a shot of Adam lying there and a loud, electrical buzzing sound is heard as his body jerks to life and he cries out. He spasms and jerks around as he is electrocuted, and Lawrence looks upon him in shock. Finally, the electrocution stops, and Adam sits up slightly, gasping, eyes wide. ADAM (he shrieks in pain and shock) Jesus Christ!! Lawrenceís reaction is not one of concern; he simply canít believe that Adam just screwed up the plan. LAWRENCE (disbelief) What? ADAM (wide eyed) I just got electrocuted! LAWRENCE What? (he rolls his eyes. Unbelievable. He speaks in a hushed tone.) That was our way out! Adam looks at him in shock, cannot believe Lawrence would think heíd make something like that up. ADAM (yelling at him) Did you hear what I said? (he desperately grabs at the manacle around his ankle, pulling at it and shrieking) Get this thing off me! Get it off! LAWRENCE (pissed off) Stop acting! ADAM (stops pulling at the manacle and chains; now heís pissed at Lawrence for his disbelief) You think I would make that up just to mess up your stupid fucking charade? LAWRENCE (gives up on Adam, frustrated once more) All right, thatís it! (He leans over and picks up his saw, sits down and starts trying to saw through his chains again, grunting. Adam, in the meantime, just sits back against the wall, breathing heavily, looking dazed. Lawrence continues to franticly saw, but it doesnít work. He gets pissed off and throws the blade down.) Ah, Damn it!! Back to Adam, still looking dazed. Suddenly, a look of realization dawns upon his face. The electrocution has jogged his memory. ADAM (wide-eyed) I remember everything now. (Lawrence glances over at him.) I remember how I got here. Flashback to Adam walking up the stairs in his apartment building, a camera around his neck, smoking a cigarette and listening to music on his headphones. He walks with an uncaring, slow swagger. He gets to the top of the stairs and walks down a red-lit hallway to his apartment. He goes inside, closing the door behind him then moving into the kitchen area, throwing his keys onto the table and opening the fridge. The entire apartment is very rundown, decrepit, dingy and old; truly a shithole apartment as Adam described it earlier. There is graffiti on the door and walls, the wallpaper is fading and peeling, the refrigerator is dirty. Adam opens the fridge and looks inside for a moment. He sighs, then closes the door. He heads over to his darkroom, closing the door behind him. The lighting is dark red. He puts the camera down on the table, taking the strap off from around his neck, takes off his headphones and cd player, presses stop and puts them down off to the side. He sighs tiredly and goes over to a tray where a photo is developing and picks it up with his fingers, ganging it with a closepin on a hanging line with other photos. It is a picture of a man wearing sunglasses. The man is in fact Lawrence. To the left of that one is a shot of Lawrence in the parking garage with his hand over his eyes. The camera cuts to a shot of the newest photo through a peephole in the darkroom door as the camera fades out and back, viewing the grafittied door of the darkroom before the shot fades to black, industrial music playing over the shot. Cut to Adam sleeping in the now pitch-black darkroom, his head down on the table. He wakes up abruptly, as though he hadnít meant to fall asleep. He looks around, confused, wondering why all the lights out. He gives a Great, another problem type of sigh. He stands and yawns, reaching over for the lightswitch. He moves it up and down a few times, but nothing happens. Another aggravated sigh. He reaches down and finds a flashlight on the counter, presses the on button but it doesnít work. Pissed, he shakes it hard, trying to get it to come on, but that doesnít work. He looks at it, scoffs. ADAM Great. Suddenly, he hears something move outside the door, somewhere in his apartment. On alert, he listens. He looks down and picks up his camera, slinging it around his neck and holding it out in front of him. He opens the creaky door into his also pitch-black apartment. He takes a few steps forward, speaks nervously, but trying to be brave. ADAM Is someone there? (he takes a picture, the flash lighting up the area in front of him.) I can hear you. (He takes another picture, the flash lighting up a living room area. Nothing yet. He moves forward more, into the kitchen entryway, snapping away for light.) Suddenly, from behind him, an EVIL DOLL LAUGH is heard. He startles, spinning around. ADAM (his voice alarmed but confused at the same time) What the...? (He snaps a picture in its direction and sees the Puppet from Jigsawís workshop and video sitting in an armchair, continuing its evil laugh.) Christ! (He reaches down and finds a baseball bat on the floor, and starts hitting the doll as hard as he can until the laugh starts to fade and then just dies out. ) What the... He hears the sound of movement again, coming from just behind him in a closet. He goes on alert again, holding up the baseball bat and the camera. ADAM Who is that?! Whoís in there?! (he moves towards the door, shaking but trying to be a tough guy) Come on out! Iíll kill you, you motherfucker! (He opens the door, holds the camera and takes a picture. As soon as the flash goes off we see the red-robed pig thing that originally grabbed Lawrence quickly move forward and grab Adam.) Suddenly, the cell phone rings. Lawrence looks down at it in slight surprise. Adam snaps out of his daze to look at it as well. Lawrence glances over at Adam and then carefully reaches down, picks it up and answers it. The scene will cut back and forth to Diana and Alison in the room and Lawrence on the phone for the duration of the conversation. LAWRENCE (not sure what to expect) Who is this? DIANA (on the phone, sobbing) Daddy? LAWRENCE Diana? (he stands) DIANA Daddy, is that you? (cut to a shot of her being held by Zep, the phone to her ear.) LAWRENCE (getting sniffly) Yeah baby, itís me. Iím here. (Adam watches him intently) DIANA (sobbing) Iím scared, Daddy. LAWRENCE (trying his best to reassure her) Donít worry honey, everythingís going to be okay. Whereís Mommy? DIANA Sheís here with me. LAWRENCE (Staying as calm and collected as he can for his daughter) Let me talk to her sweetie, okay? Put Mommy on. DIANA The bad man from my room is here. He has us tied up and he has a gun. LAWRENCE W...what man? DIANA Please come home Daddy! (Zep kisses her on the top of her head and takes the phone away to give to Alison.) LAWRENCE Hello? Hello? Diana? Zep pushes some of Alisonís hair behind her ear with the barrel of the gun. LAWRENCE (desperate) Diana! Diana! Zep puts the phone up to Alisonís ear. ALISON Larry? LAWRENCE Ally? Is that you? (We see a shot of Alison giving a threatening look through her tears to Zep.) ALISON Is Adam there? LAWRENCE (surprised, looks to Adam, who continues to watch him worriedly) How do you know? Ally, what is going on? ALISON (through her sobs, trying to calm them and get this message to him) Donít believe Adamís lies. He knows you. He knew all about you before today. (Zep quickly takes the phone away, hangs up. Cut back to the bathroom, Lawrence on the phone.) LAWRENCE (a dial tone is heard from the other end hanging up. Lawrence is desperate) Hello? Ally? Ally? (No answer, just the dial tone. He stands up.) Hello? (He looks to the surveillance camera, screaming) God damn you! If you so much as lay a finger on them, Iíll kill you! You hear me? You son of a bitch! Iíll kill you! (He sits down, leaning forward over the floor, crying a bit. He slams his fist fiercely against the floor.) ADAM (quietly, as though cautiously approaching a dangerous animal) Are they okay? LAWRENCE (sits up. His voice is calmer, but rage is clearly underneath the surface) My wife, she uh, she mentioned your name. ADAM (a brief Oh shit look appears in his eyes, but he acts surprised) What did she say? LAWRENCE (not looking at him yet. Speaks very firmly, trying to suppress his rage.) She told me...not to believe you. ADAM (cannot even look at Lawrence.) Believe me about what? (There is no doubt heís hiding something) LAWRENCE (Finally turns to look at him, the look of 1000 deaths) She told me you knew me. (He stands, looming menacingly, the look stronger on his face) Who are you? ADAM (still trying to cover up and losing, still not making eye contact) You know who I am. LAWRENCE (snaps, shouting at him) Stop the lies! Youíre a liar! I need to know the truth! ADAM (His tone changes, heís had it with hiding, had it with Lawrence) Iím a liar? (Finally, he looks up, right at Lawrence. His voice is firm and accusing.) What did you do last night, Lawrence? Work at a hospital? Saving sick children? You told me that after you left your house last night, you went to work at a hospital. LAWRENCE (defensively) Thatís because itís the truth. ADAM (almost deadly) No itís not. Your wife is right, Larry. (Lawrence is now the one wearing the Oh shit look.) You donít recall getting your picture taken in that parking lot? Brief flashback shot of Lawrence in the parking garage, pausing and covering his eyes for a moment when the camera flashed. We see a shot of Adam holding the camera and taking the shot from around a corner, ducking back behind the column. Lawrence looks up at the flash, startled. Cut back to the bathroom. Adam stands up, his stance and body language accusing of Lawrence. He speaks fiercely, disgusted with Lawrenceís two-faced bullshit. ADAM I can prove that you didnít go anywhere near a hospital last night. (He leans over and pulls out the garbage bag from the tub. Lawrence stands, staring at him in near disbelief. He has been caught. Adam takes a handful of photos from the baggie heíd kept hidden inside the garbage bag, holds them up and throws them down, scattering them.) Itís not the first time Iíve done it either, Larry. (Lawrence leans over to look at the photos on the floor in front of him with complete and utter disbelief, picking one up and looking down at it) Iíve been taking pictures of you for a few days now. (Shots of some of Adamís pictures. Lawrence going into a building, Lawrence at an outdoor cafÈ eating lunch.) LAWRENCE (still holding the photograph) But...why? ADAM You wanna know what I do? I get paid to take pictures of rich guys like you who go to seedy, out-of-the-way motels to fuck their secretaries. (we start seeing more shots Adam took while following Lawrence) Last night I went to your house. (Flashback of Adam holding his camera, then cut to several photographs of Lawrence leaving his house, glancing over his shoulder and moving down the sidewalk) I watched you leave. I followed you (Lawrence in the parking garage, photographs of the exterior of the Hotel Barfly. Lawrence inside the hotel, knocking on the door to one of the rooms while Adam hides around the corner with his camera) all the way to that shitbag hotel. (Photographs of Lawrence standing outside then going into the room.) LAWRENCE (calm with rage just beneath the surface) Youíve uh, had these with you the whole time? ADAM I found them, in there (points to the toilet; quick flashback of Adam pulling the bag out of the top of the toilet, then Adam opening the bag and seeing the hacksaws and a glimpse of something else in the bag.) with the hacksaws. (Flashback of Adam tossing the bag into the bathtub while Lawrence isnít looking.) I donít know how they got there. LAWRENCE (angry) Yeah, right. Youíre so full of it! (He angrily crumples up and throws the photo he was holding at Adam) ADAM (scoffing tone) Aww, face it, Larry, weíre both bulls hitters. But my camera isnít. It doesnít know how to lie. It only shows you whatís put right in front of it. Just out of curiosity, what did you do in that motel room? You got out of there pretty fast. Cut to a flashback, the hotel room. Carla, the pretty Asian girl from the hospital, is inside the room, now in a black lacy top and a gray/blue skirt, waiting for him. She opens the door, taking a step back as he enters. He looks unsure of the whole situation, a changed attitude this evening from all the others. He shuts the door behind him, and Carla smiles at him. Lawrenceís tone when he speaks is unhappy. Not enraged, just somewhat disapproving. LAWRENCE Why did you um, deem it necessary to page me when you knew I was at home? CARLA I didnít know if you were going to make it. (turns, goes and sits on the bed.) LAWRENCE (sounding very business-like) But I gave you a precise time at which to page me. (He puts the briefcase on a chair by the door then goes over and sits down next to her on the bed.) You canít do that. CARLA Itís not like I know the rules for this sort of stuff. (She starts unbuttoning her shirt. Lawrence holds out his hand and stops her. She looks up at him, concerned.) Whatís wrong, Dr. Gordon? LAWRENCE (a sigh in his voice) Look, it was wrong for me to makes you come here. CARLA (confused, hurt) But I thought we- LAWRENCE -Please. (very softly) Iím sorry. (He stands and heads over to the door. Carla remains sitting on the bed. She sniffles slightly but doesnít cry.) Suddenly, the hotel room phone rings. Carla and Lawrence both look at it, unsure, startled. Carla looks to Lawrence. LAWRENCE You tell anyone you were here? CARLA No. (She stands, goes over to the phone and answers it.) Hello? (She listens, turns to Lawrence) Itís for you. (She holds out the phone.) LAWRENCE For me? (He walks over, takes the phone.) Hello? The voice on the other end is male, slightly raspy. It is unidentifiable; it could be either Tapp or Zep, or someone else. It is very accusing. VOICE I know what youíre doing...Doctor. LAWRENCE I- (but the other person hangs up, and a dial tone is heard) Lawrence hangs up the phone, turns and moves to the door. Carla moves with him, watching, waiting for him to say who it was. LAWRENCE (nervous) I have to go. CARLA What happened? LAWRENCE Iíve got to go. (He picks up his briefcase from the chair, and heads out the door. Cut to the underground parking lot, the same shot as where Adam took Lawrenceís picture. He walks along, pauses to wince and cover his eyes, then the flash. He looks up startled. The shot cuts back to Lawrence leaning forward against the wall in his corner, hand against a pipe. He slowly looks up at Adam, thinking of something. LAWRENCE Who was it? ADAM Who was what? LAWRENCE The person who paid you to follow me, who was it? ADAM (internal shrug) He calls himself Bob and he gives me the money up front. Two hundred bucks a night. If Iíd have known I was gonna end up here, I wouldíve asked for a hell of a lot more. LAWRENCE (pissy) What does that mean? Does that mean you saw what happened to me? ADAM (internal eye roll; speaks as though heís been over this 100 times before) What I saw was you get into your car. Thatís it. I didnít ask your name. I didnít know who you were. I donít know how I got here, I donít know how you got here. I just took the shots (As he speaks, a quick flashback of Adam taking a picture, going up apartment stairs, then in the darkroom) and went straight home to develop the. Next thing I know Iím chained to a pipe in some prehistoric bathroom, staring at the guy Iíve been taking shots of all night. LAWRENCE (seeing a major break in this mystery) Clearly, whoever paid you to take the pictures of me is the one who put is in here. ADAM (they donít know that for sure) Maybe. LAWRENCE Maybe? What do you mean maybe? Of course it is! What did he look like? ADAM (internal shrug) I donít know, he was just a guy. (Shot of inside Adamís apartment and an unidentifiable figure towards the back of the room, the image darkened so we canít make him out. The figure slowly takes a step towards us/Adam) LAWRENCE Was he tall, was he skinny, obese, what? ADAM I donít take notes about his appearance. (Shot inside apartment, the figure moves closer) LAWRENCE (aggravated, how can he not remember anything?) You must remember something about him. ADAM I canít. (Shot of inside the apartment, the figure moves closer) LAWRENCE Youíre telling me you donít remember a thing about the guy? ADAM I told you, I- (inside apartment, the figure moves closer, just about close enough for identification) LAWRENCE (enraged, throwing his hands up) Oh for fuckís sake! I give up! ADAM (gives up his playing dumb tone, gives in due to irritation with Lawrence) Heís a tall black guy, heís got a scar around his neck, okay? (Shot of inside the apartment, the figure moves into a viewable light; It is Tapp.) Lawrence is leaning against the wall facing away from Adam. At hearing Adamís description, he slowly moves back, turns around to face Adam. LAWRENCE Tapp! (shot of inside Adamís apartment, Tapp handing us/Adam money. Adamís/our hand reaches out and takes it quickly. Then, back to Lawrence) Detective Tapp! ADAM Whoa, the guy who paid me to take these photos was not a cop. LAWRENCE No, no, he was discharged from the police force. (Shot of Tapp at his desk with the Amanda video, looking at notes.) He broke down after his partner was killed (Tapp and Sing sitting next to each other in Lawrenceís office), but that didnít stop him from harassing me. (Lawrence sitting in the car next to Tapp) The guy became obsessed. (Tapp in his current apartment adjusting the camera in the window, then a shot of him leaning over a notebook, going over notes.) Heís convinced himself that I must have somehow been involved with the murders. Heís...heís crazy. (Tapp at the corner desk in his apartment, giving a crazy-sounding Heh heh heh laugh. The shot cuts back to Lawrence, who points accusingly at Adam.) And you helped him. (disgusted) You took money from him to invade my privacy. How could you do that? ADAM (bite me tone) Call it my need to eat. LAWRENCE (sarcastic) Right, right. You know what Adam? Youíre not a victim of this game, youíre a part of it. (Points accusingly at him as he says this.) ADAM Oh really? Obviously this cop thinks youíre the one behind it all. LAWRENCE (Facing into the corner of his cell, turning around slightly, internal eye roll.) I told you, heís not a cop. Heís a bottom feeder, just like you. (A slight sneer from Lawrence at Adam. Lawrence turns back into his corner) ADAM (getting REALLY pissed at Lawrenceís attitude towards him) What are you more pissed off about? The fact that I took some shots of you or the fact that I took some shots of you while you were cheating on your wife? Lawrence spins out of his corner, screaming in rage. LAWRENCE I did not cheat on her!!! ADAM What do you care what I think anyway? I donít give a crap if you covered yourself in peanut butter and had a 15-hooker gang bang! A pause, then Lawrence collapses onto the floor. Heís lost the last of any strength, level headedness or control he had before. LAWRENCE (weakly) How did I get here? (Adam sits down on the pipe in his corner, leaning forward a bit.) I had...I had everything in order. (he lays down on his side, facing Adam, who watches him with sympathy) My whole life was in perfect order. (He holds up and looks at the picture of Alison and Diana gagged.) Cut to the Gordonsí Bedroom. Zep puts Alisonís gag back on her, then leaves the room. Alison moves her head around to loosen the gag then spits it out. She tries to fight her sobs as she speaks softly to Diana. ALISON Sweetheart, are you okay? (Diana shakes her head no) Mommy just needs you to be really, really, really strong right now. Iím not gonna let anybody hurt you. You got that? (Diana nods) Okay, thatís my good girl. (She starts crying as her hands work behind her to loosen the rope around them.) Cut back to Adam in the bathroom, looking up slightly from his position. He glances back down at the photographs on the floor, notices something odd about one of them. He furrows his brow and gets down on his hands and knees, reaching over and picking it up, leaning back and looking at it, studying it. Camera cuts to a shot of Lawrence through the black and white surveillance camera, sitting on the floor. Adamís next line is a voice over over this shot. ADAM Hey, was there someone else at your house last night besides your wife and daughter? LAWRENCE (on camera) No. ADAM (still on camera) Well, thereís someone here. (He tosses the photo to Lawrence, whosits up, picks it up and looks at it. After a moment, the shot cuts back to a regular view of them, in the room.) LAWRENCE (realization) I know him. (We see the photo as well. It is a shot looking up into Lawrenceís window, with Zep standing there, looking out, completely unaware of his picture being taken.) Zep! (Cut to a shot of Zep listening. The shot goes back and forth between him as his eyes widen while Lawrence makes his threats.) His name is Zep. Heís an orderly at my hospital. (his voice becomes a growl, furious) Zep. You perverted little psychopath. Iím gonna take great pleasure in seeing you pay for this! You bastard fuck! Suddenly the shot cuts to Adam, who looks up at the clock with a very worried look. He points up to it. ADAM Look. (Lawrence momentarily breaks from his Zep rage, looks up. The clock reads at 6:00.) Weíre out of time. DIANA (crying) Mommy help me! Alison continues to untie her. Cut to Zep, getting up from his chair, turning to go into the bedroom. Alison hears him moving near, sees his form through the frosted glass doors. She quickly replaces Dianaís gag and then her own, and resumes her position with her hands behind her back just as the doors open and Zep steps into the room. He looks down at them, raises his eyebrows slightly. He seems to have gotten himself together, ready to just do what has to be done. He takes the gun from his belt and leans down next to Alison. He looks at her with wide eyes, shakes his head sadly. He speaks calmly. ZEP Dr. Gordonís time is up. Now Iíve gotta do what Iíve gotta do, and...Iím afraid it has to be you that tells him he failed. (He undoes her gag, holds the phone to her head and his gun in front of her chest.) Quick cut to the bathroom, where Lawrence is still looking at the slightly crumpled picture of Zep in the window. The phone rings, startling them both. Lawrence quickly answers it. LAWRENCE (speaking quickly, the growling voice) Is that you Zep, you bastard!? (Adam gets up from his corner, moves forward slightly) I know its you, you son of a bitch! ALISON Larry? LAWRENCE (his eyes widen, his fierce tone replaced with worry) Ally? Cut into the bedroom. ALISON (looking right at Zep, firmly) You failed. Quickly, she grabs Zepís gun and pushes him hard over to her left. He is taken by surprise and goes down easily. LAWRENCE (who can only hear the sound of a struggle) Hello? Hello? Alison rips the gun right from his hand, quickly backs up an stands. She keeps the gun aimed right at Zep. He sits up slightly, trying to slowly get up, but she keeps the gun fiercely aimed at him, keeping him there. His eyes are wide, likely his one thought right now is Fuck. ALISON Donít move, stay on the ground. Give me the phone. Give it to me! (He sits up a bit, carefully slides it to her. He is watching her, looking for an opportunity to overcome her once again. She picks the phone up, still keeping her eyes and her gun at him.) Larry? LAWRENCE Ally! Honey, are you all right? ALISON No! No weíre not...(Zep starts to move up a bit more, his right hand out, leaning against the edge of the bed. Ally threatens him more fiercely with the gun.) Get down! Larry, where are you? LAWRENCE (unsure himself) I donít know. Iím being held captive in a room somewhere. ALISON (disbelief; she sniffles a bit) What? What are you talking about? LAWRENCE (starting to cry) Iím so sorry, Ally. ALISON (desperate) Honey, we need you here. (Zep slowly readies himself to move forward, wide eyes still staring at Alison.) LAWRENCE (crying, apologizing) Iím sorry for everything. Itís my fault. Please forgive me. Iíve always been happy with you. DIANA (cries out) Mommy! Alison turns to look at Diana when she calls her, and Zep seizes the moment. He leaps up and grabs the gun from her hand, and they start struggling with it. Diana starts screaming. Lawrence, on his end, hears the screaming and sounds of a struggle. In wrestling for the gun a shot is let off, and Diana continues to scream. LAWRENCE (panicked) Ally! Cut to a shot of static on Tappís TV set, then Tapp waking up to the sound of gunfire. He quickly looks over to the window. Back to Zep and Alison, who are still fighting for the gun. Zep manages to spin her around and into a leaning forward position, but she still holds on tight. Another shot goes off. Cut to a shot of Tapp, who hears it, then looks at the TV. He sees the flash from the window on the television. He picks up his handgun and loads it quickly, gets up and heads out. Back in the apartment, we see Diana cowering, still tied, holding her teddy bear. Zep gets behind Diana, tries to grab her but she keeps her arms and the gun upwards. Another shot is fired off. LAWRENCE (screams) Ally! (Adam watches him with wide eyes.) The shot cuts back into the bedroom. DIANA Mommy, help me! The struggle moves over and into the dresser. Zep gets the gun in his right hand and wraps his left arm around Alison, who quickly pulls open and takes out of the top drawer a pair of scissors. She spins around and with a scream stabs Zep in his left leg. He screams in pain and goes down, falling onto his side, clutching his leg by a wooden column, moaning in pain. Alison quickly goes over and finishes untying Diana. Cut to the Main Hall of the residence, where we see Tapp enter and move down the hall with his gun ready. He moves cautiously but quickly. He sees Zep on the floor squirming around and aims at him, screaming. TAPP Freeze! Zep turns and sees him, fires a shot in his direction but doesnít hit. Tapp fires back and skims the top of Zepís head. Zep clutches the surface wound, fires back. Cut back to Lawrence on the phone, hearing only his daughter screaming and gunshots. He sobs, collapsing forward onto the floor, crying out Oh no. Adam watches him, can only imagine what heís hearing. Back to the bedroom, Tapp stands next to another wooden column and fires at Zep again, missing. Alison finishes untying Diana and the book from the room. Zep fires at Tapp again and misses. Tapp fires back, but his gun jams. Zep sees Alison and Diana run from the room, and his attention goes to them once more. TAPP (trying to fix his gun) What the fuck? Zep gets up off the floor more, but just then Tapp gives up on his gun and charges at Zep, screaming. He tackles Zep, knocking him flat on his back. Zep pushes his way up but Tapp grabs him from behind, pulling him towards him. Cut back to Lawrence, still on the floor, sobbing with the phone clutched in his hand. Back to Tapp and Zep, who get up to their feet. Zep grabs a vase on the floor and turns, smashing it over Tappís head. The blow stuns Tapp and sends him down. Zep kneels down and picks up his gun, then gets back up and starts hobbling after Alison and Diana. He reaches the living room, but they are no where to be seen. ZEP Mrs. Gordon? (drops old cartridge out of his gun, pops in a new one) Diana?! (His breathing is fast, desperate. He clutches the wound on his leg.) Iím gonna kill your husband now, Mrs. Gordon. (He stands up a bit straighter and hobbles over to the computer station, taking keys from the desk and then hobbling down the hall and out the door. We see Tapp groaning, starting to get up. Zep glances over and sees Tapp get to his feet, but quickly hobbles to the doorway and out the door. Tapp starts to follow, just a we bit dazed from the hit. He empties his gun cartridge and replaces it, then runs towards the door, screaming. Back to Lawrence crying on the floor of the bathroom. Heís just a complete wreck, making low moaning sounds. Suddenly, there is a loud buzzing sound his body is jerked up and he is flung onto his back as he is electrocuted. Adamís eyes widen and he starts to panic. ADAM Lawrence! (A bit of foamy spittle comes out of Lawrenceís mouth as the electrocution continues, and then a moment later stops. Adam watches, frightened, unsure. Lawrence is out.) Lawrence, get up! CUT TO Car Chase! Zep is in the lead, with Tapp in hot pursuit behind him. They race through the streets as fast as they can. Cut back to the bathroom. Adam looks around him, not sure what to do, panicking. Lawrence canít be dead, he canít be alone in here. He canít handle this alone. He needs his calm, collected Doctor, no matter how badly Lawrence has treated him. ADAM (crying out, close to tears) Lawrence! Get up! I need you! (He leans down and finds a piece of debris on the floor, throws it at Lawrence. It doesnít hit him. He leans down, picks up another, throws it. This one bounces onto the floor but ricochets and hits Lawrence, who begins to stir. A moment, and Lawrence starts to move more, reaching for his head and sitting up. Adam cries out in relief.) Oh, thank God! I thought you were dead! LAWRENCE (sits up, dazed and confused) He...he electrocuted me... ADAM I told you! The same thing happened to me, see? I wasnít lying, see? Lawrence leans over and grabs his chain, the source of the electrocution. Suddenly, he snaps. LAWRENCE (screaming) FUCK THIS SHIT!! Back in the bathroom, Lawrence continues to grunt and struggle with his chain. Suddenly the phone rings and he turns. He quickly moves to get it, but it is out of reach. He lays flat on the floor, just a foot away from it, trying desperately to grab it. In the hallway, Tapp enters, keeping his gun aimed out in front of him. He looks down the hallway, sees nothing. Cut to Zep climbing down a ladder into another level, grunting in pain. Tapp hears him and follows the sound down the hall. In the bathroom, the phone keeps ringing. Lawrence grabs the hinged box, turns it upside down and tries to catch the phone with it. He cannot reach, and starts to cry loudly again. He tosses the box away, crying/screaming as he tries to reach the box with his arms. Adam watches with a terrified look, not knowing what to do. Zep reaches the bottom of the ladder, leaning against it, moaning from the pain of his leg. He hears Tapp above him, hobbles off further down the hallway. Tapp climbs down the ladder, moving in the same direction as Zep. As Tapp can move faster than Zep, he rounds the corner and catches Zep hobbling down the hallway. Zep turns and sees him, firing a few shots but missing. Tapp ducks behind a large stone column jutting out of the wall. He leans out and fires at Zep. Zep falls back slightly but remains standing. If he got hit, it isnít clear where. Zep then turns and quickly hobbles further down the hall. Cut back to Lawrence still crying and trying to get the phone as it keeps ringing. LAWRENCE No!!!! (He lowers his head and cries loudly.) ADAM (Frightened but trying to stay calm for Lawrence.) Lawrence, calm down. There must be a way out of this! (It seems to be a complete role reversal for the two of them from the beginning, where Adam was the one freaking out and Lawrence was calm. Here, Adam is terrified but still calmer than Lawrence, who has just lost it.) LAWRENCE (screaming) I canít be calm! My family needs me! No, God! (He cries and screams, still canít get the phone. He quickly turns and sits up, grabbing the chain and pulling it as he lets out a terrible scream of rage. Adamís hands are up clutching his head, trying to keep his cool but having a very hard time.) ADAM (Loudly trying to speak over Lawrenceís continued loud, primal screams.) Lawrence, I have a family too! I donít see them, thatís my mistake. Itís a mistake Iíd like to fix! Cut to Zep hobbling down the hall. Tapp is there running after him. Zep turns a corner, and Tapp runs to try to keep up. TAPP Iím gonna kill you you sick asshole! Back in the bathroom, Lawrence continues to freak out as he mentally breaks down, clutching the chain and screaming more. ADAM (desperate, losing his attempted calm stance) Lawrence, stop it! Lawrence sits up, stops pulling at his chain but continues screaming. He starts to unbutton his blue button-down shirt. That is too slow, however, so he starts to rip it open. ADAM (sobs in his voice) Lawrence, please calm down! Thereís a way out of here, thereís a way out! Lawrence gets his shirt off, down to a plain white tee shirt underneath. He starts to wrap one end around his manacled foot and ties it off. Adam realizes what he is preparing to do, completely loses it and freaks out, screaming. ADAM Lawrence! No! Oh my God! What are you doing?! Lawrence holds the other end of the shirt in his mouth, biting it for a brace. The look in his eyes is one of complete madness and desperation. He takes up the hacksaw in his right hand, puts it against his ankle and starts to saw into his foot while Adam begins to scream in complete horror. Lawrence screams through the cloth between his teeth. The blood squirts up onto Lawrenceís shirt and neck. Adam collapses to the floor in his corner, screaming and wincing. Back to Zep rounding another corner in the hallway. He moves into an old break room and Tapp runs in after him, finally catching up. Tapp tackles him, tripping him backwards and causing Zep to hit his head against and old mini-refrigerator. Tapp grabs him and brings him up, throwing him hard against the stone wall. Zep falls down to his side. Tapp grabs him up and throws him forward against a cage wall. Back to Lawrence, still sawing away, blood on his face, neck and shirt. Back to Tapp pummeling Zep from behind in the back. A look of twisted glee is upon Tappís face as he hits Zep. Zep falls to the floor, gun beside him. He looks like he just wants to curl up and die. Tapp goes down for the gun but Zep reacts, grabbing it. Tapp grabs his hand, and Zep pushes himself up into a standing position, the wall in front of him, Tapp pushing up behind him, trying to take the gun. Back in the bathroom, Adam is on his hands and knees, screaming and crying as he begs Lawrence to stop. Lawrence does stop, sits up and tosses the saw of to the side. Adam collapses forward a bit. Back to Zep and Tapp, who continue struggling from the gun. Zep squeezes his way down, groaning as he suddenly drops down between Tapp and the wall, his gun aimed up at Tapp. He pulls the trigger and the shot hits Tapp in the chest, a loud surprise to the former detective. Back in the bathroom, Lawrence crawls along the floor, moaning. He finds and picks up the single bullet from his envelope, looks at it. Adam watches him in terror. ADAM (screaming/crying) What are you doing?! (Lawrence crawls on farther, towards the body.) Cut back to a close up of the bloody hole in Tappís chest. Tapp remains standing a moment, in shock, gasping, then falls down backwards onto the floor. Zep is still on his knees, holding the gun up at a diagonal. Tappís eyes flutter, then finally close. Zep turns and gets up, limping in pain out of the room and down another hall. Back in the bathroom, Lawrence reaches the body. He takes the gun, opens the chamber. ADAM What are you...(He suddenly realizes Lawrenceís intentions. His eyes go wide, and he starts to cry out and beg.) ADAM Oh my God! Oh my God! Lawrence donít! (Lawrence puts the bullet in, then closes the chamber) No! Lawrence, please, Iím begging you! (Lawrence aims the gun at Adam) Lawrence, itís not me who did this to you! LAWRENCE (looking like Death, his voice hoarse) You have to die. ADAM (His hands up in front of him defensively, moving side to side to try to throw off Lawrenceís aim) No, I want to live! LAWRENCE (moving the gun along with Adamís movements) Iím sorry... ADAM I want to live! LAWRENCE My family...(he aims and pulls the trigger, hitting Adam in the upper chest area. Adam falls down forward onto the floor, his screams stop.) Lawrence collapses, sobbing. Then he sits up a bit, turning to the surveillance camera and screaming. LAWRENCE Iíve done it! Now show them to me! (he continues to cry, dropping the gun next to him, collapsing back down with his forehead to the floor.) Cut to the Gordonís neighborsí living room. Alison paces back and forth, holding a cell phone to her ear. Two neighbors sit off to the side on a couch with Diana. NEIGHBOR (OS, on phone) Thank you very much, Officer. ALISON (on cell phone) Larry? NEIGHBOR (hanging up the phone and going over to Alison) Did you get through to him? ALISON Thereís still no answer. NEIGHBOR (reassuringly) Itís all right. Iíve called the police. Everythingís okay. Alison goes and sits on the couch. Diana comes up to her, and Alison embraces her daughter. Cut back to the bathroom, with a shot of the sliding door. The sound of a lock being undone and a bang is heard. Lawrence pushes himself up into a kneeling position, a look of shock on his face. The door slides open and there stands Zep, green mist behind him in the hallway. Lawrence turns and sees him. Zepís eyes dart around the room, seeming to say What the fuck happened in here? He sees Lawrence on the floor, and an eager look comes into his eyes. He walks in, and Lawrence starts to yell at him. LAWRENCE You bastard! Iíll fucking kill you! (Lawrence grabs Zepís leg as he passes but is too weak and Zep pulls away, looking down at him, moving over to the other side of the body) Iíll fucking kill you! You fucking bastard! (Lawrence quickly cralws forwarrd and takes up the gun, pulling the trigger several times, but there are no more bullets. It just clicks.) Iíll fucking kill you! You fucking bastard! Iíll fucking kill you! Iíll fucking kill you! Zep goes over to Adam, pushing his side with his foot a couple of times, but to no reaction. He then looks to Lawrence and aims his gun at him, shaking his head. ZEP Youíre too late. LAWRENCE (weakly) Why? ZEP Itís the rules. Zep is about to pull the trigger when suddenly Adam comes to and grabs his ankle, pulling him down. The back of Zepís head hits the floor hard. Adam pulls him towards him, struggles to get the gun from Zepís hand, screaming. The gun goes off once off to the side. Adam moves Zepís arm back and forth, and it goes off again. Finally, Adam slams Zepís arm down and gets the gun away from him, tossing it away. He slugs Zep hard across the face, stunning him. Lawrence starts crawling towards them. Screaming like a madman, Adam sits up and grabs the toilet seat lid from the toilet, and slams it down onto Zepís head as hard as he can. He repeats this seven times before the lid snaps in half. Lawrence reaches the two and reaches up for Adamís arm as Adam brings the broken lid down again. Lawrence grabs his arm and Adam drops the lid, falling forward a bit and clutching his shoulder wound with his free hand, crying hard. Lawrence moves in, touching his head to Adamís. LAWRENCE (his voice very weak and shaky) Youíre going to be all right. (Adam stops sobbing for a moment) Youíre just wounded in the shoulder. I have to go and get help. ADAM (grasping Lawrenceís shirt, begging.) Donít leave me! No! Lawrence nods, pulling away from him and starts to crawl off. Adam reaches for him as he turns himself around and away. ADAM No!! (he keeps crying) No! No! (Lawrence crawls towards the door.) Lawrence! Lawrence! LAWRENCE (he pauses, turns to look back at Adam) Donít...Donít worry, Iíll bring someone back, I promise. (He continues crawling on, out the door while Adam watches him pathetically, still crying and reaching out for him.) Lawrence makes it out the door, and starts dragging himself down the hall. Adam is now alone in the room with two corpses. Adam looks to the door one more time then turns to Zepís body. He pulls himself on top of him, wincing at his shoulder pain. ADAM (thinking) Key...key... He starts going through Zepís pockets, patting him down. He finds Zepís wallet, opens it and feels through it; thereí s nothing of value to him right now. He tosses it down. He continues feeling for something, suddenly feels something in Zerpís coat pocket. His eyes widen as he reaches in, wincing from the pain in his shoulder. He pulls out a tape recorder. He stares at it, his eyes and mouth starting to widen. He glances down at Zep, then at the tape recorder. Sitting up a bit more, he presses play. It is Jigsawís voice. JIGSAW (VO) Hello Mr. Hindle. Or as they called you around the hospital: (shot of Zep in the hospital with his cleaning cart, stopping at Johnís room) Zep. I want you to make a choice. (Shot of the closet doors in Dianaís room flying open, Diana screaming, Alison coming in and seeing him looming over her. Shot of him tying and gagging Alison and Diana. Shot of the photo of Diana and Alison tied and gagged.) Thereís a slow-acting poison coursing through your system (shot of Zep watching the monitor, holding his hand to his mouth. He actually looks rather ill) which only I have the antidote for. Will you murder and mother and her child (Zep rocking aback and forth, getting ready to kill Alison and Diana) to save yourself? (Shot of Zep next to Alison, saying Dr. Gordonís time is up; holds the phone to her ear. Shot of Zep in the living room, screaming Mrs. Gordon! Shot of Zep on the floor firing up at Tapp.) Listen carefully, if you will. There are rules. (Lawrence on the floor looking up at Zep, asks Why? to which Zep says Itís the rules.) JOHN The key to that chain is in the bathtub. FLASHBACK MONTAGE Zepís voiceover of Heís a very interesting person, with a shot of John in his hospital bed with Dr. Gordon and the med students. His name is John. Shot of Lawrence pointing at the chart, He has an inoperable frontal lobe tumor. Close up shot of John in his bed, eyes flickering open slightly. Shot of Tapp in the workshop, holding a gun to Johnís head. Sick from the disease eating away at me inside. Shot of the detectives at Paulís cage, shot of the jigsaw puzzle piece wound on Paul, Kerry saying Sounds like our friend Jigsaw. JOHNíS VOICE Sick of people who donít appreciate their blessings. Shot of Lawrence with Diana, checking his beeper, on his computer ignoring Diana and Alison, trying to kiss Alison as she pulls away. Frontal shot of John in his robe in the workshop with the detectives, his arms raised, his face clearly visible. Cut to Kerry at the peephole in Markís room, saying Looks like he likes to book himself a front row seat to his own sick little games, with overlapping footage of John on the floor in the bathroom, eyes open slightly, then a shot of the pig creature crawling out of Lawrenceís car. JOHN (VO) Hello Mark, Paul, Amanda, Zep, Adam, Dr. Gordon. (As he says each name, the following image of them appears: A shot of Mark screaming with the safe, Paul in his cage while still alive, Amanda in her mask in the chair, Zep watching on the monitor, Adam holding the tape recorder to his ear, Lawrence holding the tape recorder to his ear. Then, a shot of the Puppet on the video as he says) I want to play a game. Back to the shot of Adam staring at him, shocked. Suddenly, Adam looks down, grabs Zepís gun and aims for John. But before he can pull the trigger John holds out the remote for the electricity and starts to electrocute Adam, who starts jerking around and drops the gun. As he spasms, a very, very fast montage of images from the entire film from beginning to the end, starting with a shot of Adam being electrocuted after his fake death, then Lawrence, then going back to the beginning, all the way up and ending with Adam stretched out on top of Zep, spasming still from the electrocution. Suddenly the electricity stops and he gasps, raspy loud breathing. John turns away, starts towards the door. Adam can only watch after him. JOHN (VO) Most people are so ungrateful to be alive. (John turns off the lights at the door, only the green lighting from the hallway illuminating him and then Adam just barely. John moves out the door, slowly.) But not you. (Adam reaches out for him and screams. John turns around and takes the door handle, starting to slide it shut.) Not anymore. Adam SCREAMS as loud as he can in terror and despair as John pauses for a moment with the door halfway shut, and says JOHN GAME OVER. John slams the door shut the rest of the way, and we are left in darkness with the sound of Adam screaming No! Donít!!! over and over and crying. The screams fade out, and is replaced by the ending titles and instrumental music. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Scarface.txt b/unformated_scripts/Script_Scarface.txt new file mode 100644 index 0000000000000000000000000000000000000000..2907c9bb9054d701243762fc5c3c7346639f610a --- /dev/null +++ b/unformated_scripts/Script_Scarface.txt @@ -0,0 +1 @@ +#00766 "Enjoy yourself -- every day above ground is a good day." ANONYMOUS, MIAMI 1981 1 A PROLOGUE 1 crawls up the screen -- with Narrator. NARRATOR In May 1900, Fidel Castro -- in an effort to normalize relations with the Carter Administration -- opened the harbor at Mariel, Cuba with the apparent intention of letting some of his people join their relatives in the United States. Within seventy- two hours, 3,000 U.S. boats were headed for Cuba. In the next few weeks, it became evident that Castro was forcing the boat owners to carry back with them not only their relatives but the dregs of his jail population. 3y the time the port was closed 125,000 'Marielitos' had landed in Florida. An estimated 25,000 had criminal records. This is the story of that minority -- those they call 'Los Bandidos.' The prologue is shredded diagonally by the blade of a stilleto and in the empty black void we: CUT TO Opening Montage - Documentary Footage: 2 THE DISEMBARKATION 2 from the harbor in Mariel, Cuba. Vessels of every nature, waving masses, demonstrations....;I THE CROSSING 3I . 3i7 Sun and storm. , 1 4 THE LANDING - KEY WEST 4 The flag of the United States. Choppers swooping over the ragged coastline of the Keys. Emerald waters dotted with fishing trawlers and pleasure craft, an "America the Beautiful" -type Immigration theme surging over 'this. #02154 2 Rev. 11/22/825 THE PROCESSING 5 Long lines. Immigration and Nationalization Officials, customs, Public Health, FBI, Church and Relief Organizations. Babies bawling, arguments over paperwork, refugees being interviewed by TV news, people crying, people eating, families huddled on floors...chaos. The music theme continuing in stately calm as we: CUT TO6 INT. OFFICE - PROCESSING HALL - AFTERNOON - A FULL 6and CLOSEUP OF TONY MONTANA ant7 7 the scar-faced one, in the young angry prime of his life. We dwell first on the scar which he likes to scratch now and then. We move to the eyes, pure in their fury. Finally we encompass the face -- the face of a man about to explode -- muscle, tissue, brain -- a man willing to live or die and on the increment of a moment, inflict or receive either one. He is clothed in rags crossed with holes, his shoes broken cardboard, his hair unkempt, his complexion sallow from prison. Over this: VOICE #1 (0.8.) Okay so what do you call yourself? VOICE #2 (0.6.) Corn0 se llama? MONTANA (X) Tony Montana...you? VOICE #1 Where'd you learn to speak the English, Tony? MONTANA (Xl Sailor. My old man -- he was American. I always know, y'know, one day I Bum. I see all the gonna come to America. movies.... VOICE #l So where's your old man now? MONTANA He's dead. He died. Somewhere.... VOICE #1 Mother? TONY She's dead too. CONTINUED . #02154 3 Rev. 11/22/826 CONTINUED 6and ant7 7 VOICE #2 What kind of work you do in Cuba, Tony? TONY This. That. The Army. Some con- struction work.... VOICE #2 Unhunh. Got any family in the States, Tony? Cousins, brother-in-law? TONY (a beat) Nobody. Everybody's dead. NO. MAN #I Y'ever been in jail, Tony? TONY Me jail? No way. We now reveal three men in civilian clothing in the dark afternoon light of the little room. Actually it's a plywood office somewhere in the processing hall and we hear the din from the hall over the question and answer. Two of the men sit around a desk, the Third Man stands in a corner, staring at Tony, the most authoritative-looking of the three. MAN #l (checking off a list) You been in a mental hospital, Tony? TONY (grinning) Yeah, in the boat coming over. MAN #1 How 'bout homosexuality, Tony? You. like men, y'like to dress up like a woman? TONY (to Man #2) Never tried it. What the (X) fuck's wrong with this guy, what's he think I am? MAN #2 Just answer the questions, Tony. The voices of the men remain cool and collected throughout. CONTINUED #02154 4 (Xl Rev. 11/22/82 6 CONTINUED - 2 6 and ant 7 7 TONY (to Man #l) Fuck no. MAN #1 Arrested? Vagrancy? Marijuana? TONY . Never. Nothing. NO ..NO.i His eye movements are rapid (over shoulders, sides, doors) and he does a lot of touching -- objects -- lightly with the tips of the fingers. Man #3 is stepping forward out of the shadows. MAN #3 So where'd you get the beauty scar? TONY ?' This?.. (scratching the scar, shrugs) I was a kid. You should see the other kid. (a grim chuckle) MAN #3 And this? He holds up Tony's hand and indicates the tattoo between the thumb and second finger -- a heart with the word "Madre" scaled through it. TONY Oh that was for my sweetheart. MAN #3 Sweetheart? (to the other men) We been seeing more and more of these. It's some kinda code these guys used in the can. Pitchfork means an assassin or something. This one's new...You want to tell us, Montana or you want to take a little trip to the detention center? TONY Hey, so I was in the can once for buying dollars. Big deal. CONTnmED #02154 5 Rev. 11/22/82 6 CONTINUED - 3-- 6 and am 7 7 MAN.#3 That's pretty funny, Tony. TONY Some Canadian tourist.... MAN #3 What'd you mug him first? Get him outta here! (starts to walk out) TONY so I fuck Castro, what's it to Hey, you? You a Communist or something? How would you like it they tell you all the time what to think, what to do, you wanna be like a sheep, like everybody else. Baa baa? Puta! You want a stoolie on every block? You wanna work eight hours a day and you never own nothing? I ate octopus three times a day, fucking octopus is coming out my ears, fuckin' Russian shoes are eating through my feet. Whaddaya want? You want me to stay there? Hey, I'm no little whore, I'm no stinking thief! I'm Tony Montana and I'm a political prisoner here from Cuba and I want my fucking 'Human Rights' just like President Jimmy Carter says, okay?... Silence. 7- There's a certain eloquence to the man`s plea but it falls on disbelieving ears. One of them chuckles. MAN #l Carter should see this human right. He's good. He's very good. What do ix: you say Harry? MAN #3 (walking out) I.. 'Freedomtown.' Let them take a look at him. A long look. CONTINUED #02154 6 Rev. 12/16/82 6 -4 CONTINUED 6P- and ant 7 7 TONY Hey, that's okay, too, Harry. No hard feelings. Man #3 at the door stops, looks back. TONY Send me here, send me there. This. That. Nothing you can do to me Harry, Castro didn't do -- nothing.... That taunting smile on Tony's lips as, to the music of the immigration theme, we: DISSOLVE TO 7-A WT. FEDERAL BUS - HOUR LATER 7-P The bus is packed with the harder-looking refugee-types. The noise The windows are caged and we see INS guards. level is high, like a sack of monkeys. Manny (Manolo) Ribera's got his feet up on an empty seat. (X) He's big, strong, handsome, with dashing darkly feminine eyes -- younger than Tony, and dapper in his cheap clothing. He's eating a Baby Ruth candy bar. Seat's taken. TONY So I'll sit in your lap. Tony pushes his feet off, sits. He takes the Baby Ruth out of Manny's hand, peels out the bar of chocolate, then returns the empty wrapper to Manny, TONY So what'd you tell them? I told them what you told me to tell them. I told them I was in sani- tation in Cuba. .TONY I told I didn't tell you sanitation. you to tell them you was in a sani- tarium, not sanitation. The bus pulling out now. CONTINUED #02154 6-A Rev. 12/g/82 (Xl7-A CONTINUED 7-A Is that what you told me?..You didn't tell me that. TONY You know if you hadn't opened your mouth, they woulda thought you were a horse. I told you to tell them you was cured. had TB and Fuck you Tony.... TONY You did nothing right. I shoulda left you in Cuba.7-B EXT. MIAMI FROM BUS - ESTABLISHING SHOT 7-B of Miami as, to the music of the Immigration theme, we: DISSOLVE TO8 INT. TONY'S TENT - FREEDOMTOWN - NIGHT (SIX MONTHS LATER) 8 A movie projector... We're watching . . . the face of Bogart -- unshaven, paranoid. a badly damaged 16 mm print of The Treasure of the Sierra - Madre. It's near the end of the film and he's alone, talking to himself just before the bandits get him.... The rag-tag audience is noisily yammering back at the screen, the camera moving past Manny Ray, chewing gum, hair slicked, eyes in cat-like repose...to Tony, enrapt, eyes like an eleven year old, mouth hanging open. BOGART What a thing. Conscience. Conscience. Xf you believe you've got a conscience, 'it`ll pester you to death. But if you don't believe you've got one, what can it do to you? Makes me sick so much talking and fussing about nonsense. Time to go to sleep. (closes his eyes but not for long) CUT TO 6-B #02154 Rev. 12/9/829 INT. TENT - LATER THATNIGHT 9 Tony is moving down 23rd Street, the walk proud and jungle in the rock of the hips and the cast of the shoulders -- now accompanied by his handsome compadre, Manny TONY That Bogart, Chico, hunh? CONTINUED #00766 7 9__ CONTINUED 9 Fucking crazy, hunh! TONY That gold dust blowing in the wind. Y'see Manny, he's always looking over his shoulder. Hunh? Like me.... He hunches, darting exaggerated looks over his shoulder, imitating Bogart. Manny laughs. In his black shirt with zig-zag dots and colors and the baggy pants and sunglasses, Tony's starting to look American. He's even got himself a pop button pinned to his shirt that says "Fuck Off and Die." And hi6 English rolls faster off his tongue, his confidence more pronounced. TONY I . . don't trust nobody. Yeah all that gold, hunh -- I guess you get 60 crazy you never trust no- body no more. TONY Never happen to me, Chico. That's one thing I never gonna be. I never gonna be crazy like that. Yeah, how do you know.... TONY I know. I don't know. Sometime6 you crazy, too, Tony. TONY Assholes, I go crazy. You Manny, I never go crazy with you. You're like my brother, I love you! Yeah, sure. TONY c'mon. Hey, playfully punches Manny and they walk on into the Tony humid night, intersecting a young punk, Chi-Chi. CONTINUED #00766 8s 9 CONTINUED - 2 9 CHI-CHI (to Manny; Spanish) Hey Manny. Oye Chi-Chi, what's going down. CHI-CHf Usual shit. Want some peanuts? Pago's carrying tonight. I don't know, I get all fucked up on it.... CHI-CHI Want some new snatch? A pussycat name of Yolanda just rolled onto the Boulevard --- Oh yeah, what she look like? CHI-CHI She look like you 'cept she got a snatch. A real snatch? CHI-CHI You're not kidding. It talks. As they chatter, Tony moves on with a movement of the head for Manny. "Later." He's in the middle of the "Boulevard" where a bustling black market in toiletries, clothing, cigarettes, and transves- tites is conducted nightly in the harsh glare of barrack neon. He ambles past a bunch of young guys throwing a Frisbee, past a "Viva Carter!" proclamation in graffiti.... TRANSVESTITE (passing) What about you sugar -- you wanna party? TONY (passing her) Yeah with whose cock, honey? CUT TO #02154 9 2nd Rev. 11/22/82 (X) 10 EXT. FREEDOMTOWN GROUNDS - NIGHT,-- 10 Tony, five minutes later, in a phone booth, in the middle of ._ a bank of them, dozens of Marielietos pressing to get in, trying still to contact somebody -- anybody -- on the outside. Tony is dialing, his eyes shifting down to the telephone number written in pencil on the back of a snapshot- As he finishes the number, he flips the snapshot over and we see a young girl, about thirteen years old, dark, tiny, fiery, standing together with a dog and Tony, early twenties, in shadow, the fringes of the photo heavily tattered with handling. Tony stares at it, his mind drifting as the phone rings in a distant place. A brief moment of repose we have not yet seen in Tony. Someone picks up the phone. An older woman's Voice. His expression alters to uncertainty. VOICE Yes? ..Hello?..Who is this? Tony changes his mind, hangs up. Pause. The faces of those in line peer in, the next party raps on the door, but Tony ignores it, slips the snapshot back into the wallet in his pants, then at his own pace, exits the phone booth. He walks a few beats, his eyes pensive. Then recognizes somebody in another phone booth and goes over. Angel Frenandez has got the face of one, as he argues on the phone, then hangs up, a desolate look on his face, a worn phone book in his hand. TONY Angel, how ya doin'? ANGEL You know how many goddamn Fernandezes are living in fucking Union City? And I gotta call every fucking one of 'em to find my brother! TONY passing) (in Don't waste your dime, Chico. You know your brother hates you. ANGEL Go fuck yourself, Tony. Manny catches up to Tony. CONTINUED #02154 10 2nd Rev. 11/22/82 (Xl10 c0NT1NUED 10 TONY Whatcha hanging around with that hustler for? Hey Chi-Chi's okay, he hears things, TONY What's he hear I don't hear. comes Angel over, listens. He hears we got problems. Im- migration is having these hearings, y ' know? And they're saying nine out of ten of us is gonna get back! shipped TONY Oh yeah? Yeah. And a lotta shit just went down at Indiantown Gap. In Pennsylvania. Riots, fires, broken heads.. -things are gonna pop here. TONY Shit, I coulda told you that. Yeah, so what do you think the immigration's gonna do when we riot? You think they're gonna let us out? They're gonna throw away the key, that's what. ANGEL Oh shit! What's I say. This is gonna end bad, muchachos.... TONY Hey, I tell youguys this isn't Cuba here, this is the United States. They got nothing but lawyers here. We're on the television. We're in the newspapers. Whatta they gonna do -- ship us back to Cuba? Castro -- he don't want us. Nobody no place wants us so whatta they gonna do -- put us in a gas chamber so all the people can see? They're stuck with us, Chico -- they gotta let us go! CONTINUED #02154 11 and 11-A 2nd Rev. 11/22/8210 c0NT1NuED -2 10 (Xl Yeah, well, what if we gotta sit here another six months, hunh? TONY You worry too much, mi hermano. Like the man says, 'when you got 'em by the balls, their hearts and minds gonna follow' --hunh? Tony winks and walks off. The radio is playing hard rock, something like Blondie or Benatar from the stoop of a nearby barrack. Tony loves the sound and swings into it, snapping his fingers and rolling his hips like Presley. He back-peddles, smiling at Manny and Angel. TONY (in awful imitation) 'Oh yeah America! Love-to love you baby, oh yeah!' CUTTO #00766 12 EXT. PLAYING FIELD - DAY - TWO WEEKS LATER11 Camera on Tony shuffling and feinting a soccer ball in al impromtu game; he's covered with sweat, tires a fancy mo\ around a younger kid who not only steals the ball away fl him but manages to lay him flat on his face. TONY (lying there) Aw fuck.... The game, leaving him behind, shifts downfield. Qye ! Tony! C'mon! Mamy, just arrived at the edge of the field, waves him o Tony, getting up, brushing himself off, walks off the fie towards him. ANGEL (at a distance) Hey Tony where ya going? TONY I got better-things to do. ANGEL Chicken liver, hunh? TONY (to Manny) Yeah? (looking zd) Let's walk. They walk. You ready for the good news, cone? TONY Yeah. MANNY We can be outta here in thirty days. Not only that. We got a green card and a job in Miami! Hunh? We're made, Chico, we're made? TONY Yeah, whadda we gotta do, go to Cuba and hit the Beard or what? c0NT1NuED #00766 14 CONTINUED12 12 Angel is walking towards them. Tony signals him. (shakes his head) Forget it. Oh yeah -- there's a hundred greenbacks in it, For both of us. TONY (enthusiastic) Hey you're kidding, that's great! But Manny, you tell your guys Angel gets out with us. As Rebenga, in long-lensed closeup, nervously smokes a cigarette, eyes roving as the guard examines his papers. CUT TO MONTAGE - THE RIOT - FREEDOMTOWN - DAY 1313 The visuals are swift, dispassionate and documentary-like. The refugees storm the barbed wire at the main gate, carrying bricks and wooden slats. ALL (in unison) Libertad! Libertad! NATIONAL GUARDSMEN AND STATE POLICE 1414 form ranks outside. 15 REFUGEES15 flee through a hole in the fence. GUARDS16 move on them, wielding clubs. 17 SEVERAL REFUGEES17 are scooting down a highway. 18 POLICE DOGS on chains are glimpsed. #00766 15,.-- 19 REFUGEES 15 throw stones and debris from the rooftop of a barrack. 20 REBENGA 2C nervously hurries a cigarette in his mouth, into a barrack. 21 ANGEL 21 tracks him, signals.... INSIDE - REFUGEES 22 22 are pulling apart their beds, going for the wooden slats. Others set fire to their mattresses. 23 THE POLICE AND GUARDS 23 are moving through the gates, restoring order. Loudspeakers blast. Injured refugees lie bleeding on the grounds. 24 AN ENTIREBARRACK 24 now goes up in flames. 25 INSIDE THE BARRACK 25 A bewildered Emilio Rebenga grabs his papers and valuables. Manny runs up on him. Rebenga sees him, senses danger, flees down the aisle with his satchel, intersecting other panicked refugees. Manny follows. Rebenga stumbles into a bed frame, shatters his glasses, then runs on. Into the smoke and flame. Out of which Scarface now appears -- in his killing wrath. TONY Rebenga! of the voice. Rebenga snaps to the sound TONY (Spanish) From the friends you fucked! CONTINUED #02154 16 Rev. l/18/83 (Xl 25 CONTINUED_,.- 25 The work is fast. The stiletto punches nine quick holes in , -~- his lungs and his heart.. .And the figure of death is gone. . . .And Emilio Rebenga staggers wildly in the smoke, uncompre- hending eyes encased in broken glasses Sinking out of frame. 26 EXT. FREEDOMTOWN - DAY 26 The riot is over. The grounds are still, smoke and debris the aftermath. DISSOLVE TO 2.7 INT. PROCESSXNG ROOM - DAY - A MONTH LATER 27 An Immigration Officer passes a sheaf of documents across a desk into a pair of hands. The camera gliding along a Green Card pinned to the top of the stack. It says "ANTHONY MONTANA" and it has picture and stamps. It's official, as the camera moves with triumphant immigration theme music.to the face of Mr. Montana examining quite contentedly the rewards of his efforts. End of montage. Music continues. DISSOLVE To 27-A EXT. DOWNTOWN MIAMI - SUNNY DAY 27-A The new Miami is rising UbiqUitOUSly above Biscayne Bay, the camera moving past blossoming skyscrapers, workmen, huge cranes, glass, mirrors booming upwards into a beautiful blue Florida sky, fleeced with perfectly white clouds.. .past a giant billboard: HOW ABOUT A MILLION DOLLAR LOAN? COME TALK TO US... AT THE BANCO DE MIAMI... TODAY! Past banks of glass (Caribank, Banco de Venezuela, Amerifirst).... Insert a car sticker going by with the image of the American flag and the reminder: "WilI. the last American leaving Miami please bring flag?" Tony and MaMy bop al.oig the street in their hand-me-down clothes, oogling the chicas and the bodegas (in a plush modern area of Miami). Boats. Buildings. Cars. CONTINIJEID #02154 16-A Rev. l/18/83 (Xl 27-A?' CONTINUED 27-A TONY (looking around) J3oy -- can you believe this place .' Chico? (Spanish) Man, they weren't kidding around. TONY (pointing to a little old man walking towards them) See that old guy over there? Yeah. TONY Millionaire. How do you know? TONY Go over there. Ask him gimme some money. He'll give you the silver right outta his pants -- that's America man, that's what they do here. (almost believing) Yeah? Hey Tony catch this tomato. (adjusting his pants) Ooooh baby doll...(*SEE NOTE) A hot Cuban girl in heels comes down the sidewalk towards them with a female friend. NOTE) (*SEE TONY Hey baby what you say? (*SEE NOTE) She looks at him like he was the last thing in the world she'd say anything to. CONTINUED #02154 16-B Rev. l/18/83 (Xl27-A c0NT1NmD - 2 27-A Tony waves her off, then changes his mind and runs up behind her and throws up her skirt and peeks at her ass. Before she can react, he hops away laughing as the two Cuban girls ad-lib Spanish expletives at him. Bey that's not cool, man. You wanna score one of these chicks, watch me. Mira! He wiggles his tongue up and down, fast like a small whirring motor part, then slips it back into his mouth in the flick of an eye. TONY ...the fuck was #at? You didn't see it? You weren't looking. Hey you gotta watch for it. Does it again, quickly; it looks like a baby robin's head peeking out of a nest iin his teeth, then it's gone. TONY What the hell's that for -- eating bugs? That's disgustin'. You think so hunh? Well you don't When know shit 'bout chicks Chico. they see this, they know. They go crazy. They don't resist me. Does it again. Tony tries but lacks the speed and agility, provoking Manny's laughter. Many double checks himself in a shop window. (doing it again) Takes practice, mi sangre, but they just love it when you flop that pussy with it.... TONY Oooh...cono! How 'bout that one? Pointing to a tall, cool blonde across the avenue. No problem. #02154 16-C (Xl Rev. l/18/8327-B EXT. MIAMI SHOPPING STREET - DAY 27-B Tony walks right out into the avenue, sticking .out his arm and stopping traffic. Cars honk angrily but he couldn't give a shit. TONY Come on? Manny follows as Tony now moves across the opposite lane, a car screeching to a halt in front of him. TONY (points) Okay Rober Retfor, strut your stuff. The blonde has paused to look in a shop window. Manny stops alongside, pretends to look. When he catches her eyes, he flicks his tongue. She looks at him, confused, then back into the window. Manny look back at Tony, winks, sidles closer to her. Tony, waiting off to the side, catches the gaze of a somber child, four, toddling along with it's'mom. Be makes his own version of a funny face at the kid who looks back at him puzzled. Tony produces another face. The kid now smiles. The mother looks over. Tony shrugs. She smiles and moves along. Meanwhile, Manny has moved close to the blonde and suggests something, his eyebrows raising, the smile crooked. It takes a moment, then the blonde smacks him across the face and walks away. Tony walks over to him, mocking. TONY Pobre hijo de puta -- you got it all mixed up. This country first you gotta get the money, then you get the power and when you got the power, then you get the women -- and then, Chico, you got the world by the balls. Por 10s conjones. There you go talking bit again man. You don't know shit about the world. Who was it got us the green card, who got us the friends with the connections, hunh -- who's getting CONTINUED #02154 16-D . Rev. l/18/83: 27-B c0NT1NuED 27-B MANNY (Cont'd) us a job? You or me? Not you man. You lucky you have any friends. You lucky to have me as a friend.... they walk off, back As to camera. (Xl TONY (X) Yeah, so where's this job? (Xl Don't push men, my friends gonna take care of everything. CUT TO (Xl 28 LITTLE HAVANA RESTAURANT - LITTLEHAVANA - NIGHT 28 on Southwest 8th Street. nCalle Ocho".... The parking lot is crammed with Moby Dick-size cars and casual Cubans in sports clothes bunched in conversations around their wheels or at the ice cream stand. The inside is a brightly lit glitterdome with fancy mirrors and chandelier effects, Spanish in influence, and every It combines the social functions of a table is taken. family restaurant, cafe, tourist haunt and late-night watering hole for various beasts of prey. The waitresses move like well-oiled troops along the paths to the kitchen, turning the tables at a speedy rate. The camera following past the pots and the pans and the steam and the yelling cooks -- to the deepest, darkest recess of this dungeon.... . . . To reveal Tony Montana stubbing grease off the pots and Manny Ray washing a stack of dishes. They're filthy and exhausted. A dish slips through Manny's fingers and crashes to the floor. A look between them suffices to tell us all. CONTINUED #02154 17 Rev. 11/12/82 28 CONTINUED.-- 28 TONY Your big shot friend better come up with something soon. I didn't come to America to break my fucking back, querido. (equally xated) Hey he's coming okay! What do you want? CUT TO 29 INT./EXT. LITTLE HAVANA RESTAURANT - NIGHT - HOURS LATER we are looking through a cubbyhole at the diners. Young Cuban guys with chiquitas drift in with their fancy clothes, diamonds and -- the mark of status -- large bodyguards. They're out front with the flash, shaking hands with friends, kissing, talking loud, familiar with the waitresses. Staring through the smeared window enrapt are Tony and M--q, wiping the sweat off their faces with towels. Look at that chick man, wow! Look at them knockers. TONY Yeah, look at the punk with her. What's he got that I don't got? He's good-looking that's what, look at his clothes, flash Chico, pizzaz!.. a litte coke money don't hurt nobody.... (Xl TONY Junkie! -- They got no fuckin' character. (looks at his hands) Look at these...fucking Cono! onions! They outta be picking gold (Xl off the streets. His hands are shriveled white from dishwater. COOK (Spanish) Hey you two, outside! You got company. . CONTINWED #Oil54 10 Rev. 11/12/8229 CONTINUED 29 That's him -- El Mono's here! TONY (contemptuous of the name) El Mono? Shit.... CUT TO30 EXT. PARKING LOT OUTSIDE LITTLE HAVANA RESTAURANT - NIGHT 30' Omar Suarez (El Mono -- "The Monkey") is so named 'cause he looks like one. Nervous, crooked, darting eyes, feverish intelligence, constantly smoking a cigarette and coughing between words, his face pock-marked and pitted like the moon from an old acne scars, he cuts a skinny figure at the wheel of a big beige Coupe De Ville, idling the motor...with him is Waldo Rojas eating a large foot and a half banana. In contrast he's amiable, heavyset with a receding hairline, flashing a lot of gold when he smiles. (leaning in the window) Hey Omar, Waldo, coma esta...my friend I told you about. Tony Montana.. .Omar Suarez, Waldo Rojas.... Waldo mumbles something indistinct, Omar just stares briefly as Tony hangs back, nodding arrogantly. Omar's eyes move back to Manny. OMAR I got something for you. That's great...What do we Oh yeah! gotta do? (X) We gotta unload a boat -- grass, twenty- five tons -- that's what we gotta do. You get five hundred each. Okay! (to Tony) what'd I tell you. See, TONY You gotta be kidding! Whaddayou think we are -- baggage handlers? CONTINUED #cl2154 19 Rev. 11/2/82 30 CONTINUED-- 30 Omar looks at him somehwat incredulously as Tony wipes his hands on his greasy apron as he talks. TONY ...five hundred dollars -- shit! What'd I do for you guys in the slammer, hunh? What was the Rebenga hit -- game of dominoes or somethin'? You're talkin' to important guys here. (shocked) Hey Tony, c'mon, it's okay Omar, we.... TONY Shaddup! Omar sniggers, his eyes shifting to Waldo who shakes his head and laughs. (to Manny'Zy) So what's it with.this dishwasher, Chico? Don't he think we coulda gotten some other space cadet to do Rebenga -- cheaper maybe. Fifty bucks? TONY (shrugs) So why didn't you? And who the fuck you calling a dishwasher, I'll wipe your monekyshit ass all up and down this Boulevard. Steps forward. Manny grabs him. Bey! -- Tony, Tony.... In the car, Omar looks over at Waldo. OMAR Guy's a lunatic, let's go. WALDO What about them Indians --- (Xl He buys it, somewhat amused. The idea crosses Omar's mind, OMAR Yeah.. . . (Xl CONTINUED #02154 20 Rev. U/12/8230 coNTINuEa -2 30 (back to i?y) All right, smart ass, you wanna make some big bucks? You know anything about cocaine? TONY You kidding. OMAR ...There's a bunch of Columbians. (Xl Flying in Friday. New guys. They say they got two keys for us for openers. Pure coke. In a motel over in Miami Beach. I want you to go over there, and if it's what they say it is, pay 'em and bring it back. You do that, you'll make five grand. (to Tony-) Hey, that sounds great, Tony.... Tony says nothing. OMAR You know how to handle a machine gun? Sure we was in the Amy together. OMAR You're gonna need a couple other guys.... No problem. OMAR Meet me at Hector's bodega Friday at noon. You get the money then. Some- (Xl thing happens to the money, pobrecito, and my boss' gonna stick your head up your asses faster'n a rabbit gets fucked. Throws the remains of his cigarette at their.feet and pulls the Coupe De Ville out of the lot. CONTINUED #02154 20-A Rev. 11/Z/8230 CONTINUED - 3 30 TONY I'm scared. (relieved) Tony you're pushin' your luck. c0NT1NuED #00766 2130 CONTINUED - 3 30 TONY (walking away) You worry too much Manny -- you' re gonna get yourself a heart attack one of these days. (catching7 Yeah, so who are these Columbians? TONY So what does it matter? So whatcha have that look on for when Omar bring it up? Tony strips off his greasy apron. TONY So nothin'. I just don't like fuckin' Columbians that's what. They're animals! COOK (intersecting, Spanish) Where you greasers going, hunh, I got plenty of plates here. TONY Wash yourself. I just retired. `em Throws the Cook his apron. COOK (Spanish) What the fuck you gonna do! TONY Look after my investments. CUT TO EXT. MIAMI 3EACH - DAY - MOVING SHOT31 31 The somewhat run-down, art-deco cheaper hotels of South Miami Beach. The porches are filled with senior citizens playing cards, reading papers, staring, slowly walking the street. The ramshackle sedan, jammed with Tony and his gang, rattles past. It's a beaten-up black and blue Monte Carlo, jacked up on its springs with dune buggy threads and needing paint. You'd arrest these guys on sight. #02154 22 Rev- 11/22/82-- . INT./EXT. TONY'S CADILLAC - MI-1 32 BEACH - DAY 32 seen from the inside of the sedan. Tony turns down the salsa beat on the radio, smoking a cigarette tensely. Driving is Manny. In the delapidated backseat are Angel, the baby-faced punk, and Chi-Chi, both from Freedomtown. reflecting the tension, whistles a vapid series of Manw, notes under his breath as he waits for a light to change. Hey look at that chick, hunh? Lookit those tits man, she's begging for it! At the curb, an old crone hunchbacks her way in front of the teenage chick, who is coming off the beach in a bikini, blocking her off. CHI-C?XI (looking over) Whatta you crazy? She's 103 year6 old. Not her stupido! Her.... Camera revealing the teenager. TONY (the light changing) Drive, willya. (mocking) Sure, sure. Not to worry, Tony -- You get a heart attack. (looking in the rearview mirror) &gel, whatcha wearing the face for? ANGEL (tense, making light of it) Ah, it's okay. I just y'know forgot to make an offering. I was supposed to go by the madrina today. You still going to that cuncha? `(Xl CONTINUED #02154 23 Rev. 11/22/8232 CONTINUED 32 ANGEL She knows her shit. She talks to Yemaya and Chango like nobody y'ever heard. As he talks Angel fingers a Negrita charm hanging around (Xl I his neck -- Chango, Cod of Fire and Thunder, his black face tilted at a carnal angle. Sharp teeth glinting, his eyes rolling in orgasmic imagery, his head crowned with gold. Many of the Marielitos in the film will be wearing this, also pendants with an eye to ward off the evil spirits, red and white beads, red kerchiefs, black hand charms silver- bangled bracelets, etc., all relating to their Afko-Catholic spiritualism. (making fun) Yeah, Chango looking out for us, . Angel? ANCEL Chango looking out for all the 'bandidos' everywhere. But you gotta pay him his dues, y'know. You gotta let him know you respect him. You don't, Chango -- he gets pissed an'.... TONY (angry) shaddup -- all of ya! I told (Xl Hey, you before I don't go for that mystical voodoo shit. That's for the old cunchas waving their rooster cocks in some dark alley, There's no gods, there's no Chango -- nowhere! You make your own luck. So shaddup and act like you're in the United States here. Silence. Through the windshield, the sign of a motel -- TBE SUN RAY -- is coming closer. (X) TONY Okay, this is it. Pull over across the street. The motel is coming closer in silence. TONY (to Manny) Money stays in the trunk till I come out and get it. Me. Nobody else. If I'm not out in fifteen minutes, some- I'm in Room 9. You thing's wrong. ready, Angelito? CONTINUED 23-A #02154 Rev. 11/22/82 32 coNTmuED -2 3:,_.-- ANGEL Sure thing. . As Manny pulls the car up, they pull out Ingram Model-10 machine pistol with folding butt and suppressor, ten inches of kill power capable of firing 1100 rounds a minute -- it into a man's purse, it's in vogue. Tony can be slipped gettting out, to Angel: TONY Let's go.... CUT TO #02154 24 Rev. 11/2/82 EXT. SUN-RAY MOTEL - DAY33 33 Tony and Angel come slowly, gingerly down an exterior corridor to a room marked "9". Nodding to Angel who (Xl remains in the stairwell with the Ingram machine pistol, Tony knocks. Pause.34 EXT. TOAD'S MOTEL ROOM - DAY 34 The door's opened casually by an ugly, squat five-foot-four- inch Columbian, "The Toad". He's in his forties, sports shirt hanging over his polyester pants, old acne scars on his face, like Omar; he's good-natured, a nice guy, he smiles. TOAD Hey, oye amigo.... Spreading his arms in such a fashion to indicate he's clean.35 INT. TOAD'S MOTEL ROOM - DAY 35 Tony, stepping into the conventionally tasteless orange and blue motel room (with heavy blue drapes blocking the windows), spreads his hands in a similar posture inducating he too is not carrying; but this is only symbolic, it's not meant to be a body search. TONY (as he steps in) How you doing amigo...? The other person in the room is a tough-looking little dark Columbian chick with expressionless eyes, red fingernails, and short boy-cut hair, "The Lizard"; she's tinier than the Toad, about five-two. The Toad looks around the corridor, eases the door closed. TONY (checking out the room) Mind leaving the door open so my brothers know everything's okay... okay? Toad shrugs and readjusts, leaving it open a few inches, the conversation clipped and nervous throughout the scene. `TO@ problem... This is Marta. Sure, no CONTINUED #00766 253s CONTINUED 35 TONY Hello, Marta. She nods woodenly, stays across the room. Behind her, the television set is on to the Cable Newswatch. The protagonists intermittently flick their eyes to it, soothing the tension. TOAD I'm Hector.... Pause. TONY Yeah. I'm Tony. So Omar says you're okay. TOAD Yeah, Omar's okay. TONY You know Omar. TOAD Omar, yeah, I talk to him on the phone. TONY Okay.... TOAD Okay... so you got the money? TONY Yeah, you got the stuff? TOAD Sure I got the stuff, but I don't got it right here with me. I got it close by. TONY Yeah well I don't got it either, I got it close by, too. TOAD Where, in the parking lot? TONY How far's your stuff? No. Tony paces back towards, the door casually, $0 check Angel out.. .The Lizard staring at him. .. CONTINUED #00766 2635 CONTINUED - 2 35 TOAD Not far. Pause. Everthing seems okay. TONY So what do we do, walk in and start over? TOAD (change6 subject} Where you from? Tony's eyes check out the bathroom. TONY What fuckin' difference does it make where I'm from? TOAD I like to get to know who I do business with. It's like he's stalling for time. The Lizard has made a move somewhere off-center andis now sitting on the bed, coiled and always watching. TONY You get to know me when you start doing business and not fucking around, Hector. TOAD Hey I'm just a friendly guy, maybe you don't.... TONY Okay, what's the stall here? Your guy late or something?36 INT. TOAD'S MOTEL ROOM - DAY 36 There's suddenly a door slamming somewhere outside, then commotion. ANGEL Tony! Tony goes for his cheap handgun when he hears a frightening female shriek, like a bird. CONTINUED #02154 27 Rev. 11/2/823 6 CONTINUED 36 LIZARD (slang Spanish) Don't! Get up! Now shithead! She's standing there with a .32 pointed steady at him, the eyes like angry steel. There's no mistaking her ability to Shoot. The Toad pulls a 9mm out of the small of his back, approaches Tony. Angel is shoved into the room, followed by two more Columbians, "The Kids". They slam the door, both carrying Uzis with silencers, neither of them higher than five-four (Xl or older than twenty, with their straight black Indian hair cut across their blank eyes, they look like hungry little pirranha careless about killing, muttering with the Lizard in fast Columbese slang. As Toad strips the handgun from Tony: TONY Frog face, you just fucked up. You steal from me, you're dead. Toad shrugs, he couldn't care less. TOAD Yeah, okay, you gonna give me the cash or am I gonna kill your brother first? 'Fore I kill you? TONY Try sticking your head up your ass. See if it fits. Toad, completing the body search, rips out the stiletto taped to the small of Tony's back. As he mutters something in hard Columbian slang to the two kids who shove Angel into the bathroom, producing strands of thick rope. Even more worrisome is the chainsaw that the Lizard now pull6 out of the suitcase under the bed. Toad begin6 assembling it as Lizard, still covering Tonywith her gun, completes the deadpan process by turning up the volume on the television set. The news, not 50 ironically in Miami, is about a drug-related triple-homicide. CUT TO: EXT. SUN-RRY MOTEL - DAY37 37 Chi-Chi sitting at the wheel of the sedan, parked across the street. Manny paces outside the car, glances. #00766 2838 EXT. SUN-RAY MOTEL - DAY 38 A small woman -- the Lizard -- steps out in shadow in the parking lot of the Sun-Ray across the street, looks around, sees nothing, casually goes back in.39 EXT. SUN-RAY MOTEL - DAY 39 Manny looks at his watch. CUT TO40 INT. TOAD'S MOTEL ROOM - DAY 40 Angel hangs suspended on the ropes from the top of the shower curtain bar, his legs straddling the edge of the bathtub. Toad slaps a tape over his mouth. Tony, coverd by the two kids, watches from the lip of the bathroom. He bucks angrily but the two kids ram their pistols up against his temple and pin him to the door. Angel looks at Tony; the eyes between them steady. They're dead and they know it. Toad, well-prepared, connects a voltage adapter and extension cord. TOAD (to Tony) You watch what happens to your friend okay? If you don't want this to happen to you, you get the money. Lizard reenters the room, shakes her head at the Toad who nods and turns on the whirring machine. The Toad smiles amiably and angles the chainsaw slowly towards Angel. The two kids press tight against Tony, guns pointed at his brains...o.c. we know what's happening as we hear the chainsaw and we watch Tony's shock and rage. no expression Lizard has on her face. The machine cuts off. The Toad steps back from the tub, blood splattered on his shirt, examjning his first cut like a butcher. He glances at Tony. TOAD Now the leg, hunh? CONTINUED #00766 2940 CONTINUED 40 A brief glimpse of Angel slumped by one arm like a cow on a strap, streaming blood, eyes conscious and horrified; a terrifying sight. The chainsaw whirrs once more. CUT TO41 EXT. SUN-RAY MOTEL - DAY 41 Manny, definitely suspecting something now, moves with Chi-Chi across the parking lot of the Sun-Ray Motel. They signal and separate. CUT TO42 INT. TOAD'S MOTEL ROOM - DAY 42 The Toad turns off the chainsaw and steps back, now drenched with Angel's blood, totally unaffected. He looks at Tony. Tony glances back at him with fury, tears involuntarily dotting his eyes. TOAD Okay, my 'caracortada', you can die too. Makes no difference to me. He nods. The kids shove Tony forward and we glimpse Angel lying hunkered at his feet in the bathtub, in the steam of his blood, piss dead. CUT TO43 EXT. SUN-RAY MOTEL - DAY 43 Manny moves crouched down the exterior corridor, Ingram pistol in hand, past an older couple who pretend not to notice. At the door of Room 9, Manny waits, listens.... CUT TO44 INT. TOAD'S MOTEL ROOM - 'DAY 44 The kids are starting to strap Tony up to the top of the shower. The Lizard watches from the lip of the bathroom, impassively. TOAD Last chance, carajo? CONTINUED #00766 3044 CONTINUED Tony, devastated, spits in his face. TONY Go fuck yourself. Toad's eyes narrow meanly. Kid one slaps the tape across Tony's mouth. Kid two reaches up to tighten the overhead strap to Tony's wrist. The Toad turns on his chainsaw when suddenly there's a gunshot from the hall.45 INT./EXT. TOAD'S MOTEL ROOM - DAY and the door smashes open and Manny barrels through and shoots a surprised Lizard as she raises her pistol. She crashes backwards into the room, wounded. Everything happens very fast now. Manny is at the lip of the bathroom, he fires and hits kid one, who is turning, in the neck. Tony, not tied up yet, spins on kid two and smashes the unloosened strap across his face, sending him reeling across the bathroom. The Toad, chainsaw in hand, slashes at Manny. Manny fires a burst into him and the Toad crashes backwards. Manny now spins into a wall, hit in the side. The Lizard, wounded on her knees, is firing her .32 at him. In b-g., the window simultaneously blows out as Chi-Chi appears firing a burst with his Ingram. In sharp f-g., the Lizard crumples forward on her knees, foaming blood. Tony, with the tape still stuck across his mouth, smashes kid two, pinned against the blood-stained sink, with the stock of his own Ingram. In the midst of this, the Toad jumps up, wounded but with strength, he tears out the motel room door hysterical gripping the whirring chainsaw in a reflex action. c0NT1NuED #00766 3145 CONTINUED 45 Chi-Chi climbing through the window fires at him. Meanwhile, kid two, with a rattlesnake life in him, produces a knife out of nowhere, just missing Tony's gut by a half- second as Tony dances back, getting a grip on the machine pistol. He blows kid two away point-blank, putting another ten craters in the mirror of the now-wrecked motel room. Tony, yelling, whirls after the Toad. TONY I got him! Manny, holding his side, empties his pistol on kid one who is still twitching. Chi-Chi sees Angel, gags. CUT TO46 EXT. SUN-RAY MOTEL - DAY 46 The senior citizens, playing Mah-Jorigg on the porch, mutter in astonishment. As the Toad staggers out into the parking lot, blood flying, chainsaw in hand, moving like a jerky chicken. Their eyes follow. As Tony comes out, walking after him deliberately, eyes set in cold fury, machine gun swinging loosely at his side. There's no rush, no fear of the police, getting even is all that counts. He stands behind the Toad. TONY (Spanish) Your'turn, cabron!... The Toad whips around to the voice, eyes stark with terror. Tony empties the clip into the Toad, blowing hiin apart. The bystanders just stare, stunned by the ferocity. Then an old lady faints. The Toad's body lying awkwardly arched in the gutter, Tony turns and with a passing disinterested glimpse at his audience, calmly walks back into the motel; the distance and the light sufficient to conceal Tony's possible identi- fication. CUT TO ' #02154 32 Rev. U/16/8247 SUN-RAY MOTEL - DAY EXT. 47 Tony intersects holding side, Manny, his with Chi-Chi. TONY Manny, you okay? Manny nods. TONY Chi-Chi, get the car. Fast! CHI-CHI Si! (Xl48 INT. TOAD'S MOTEL ROOM 48 Tony strides into the shambles of Room 9, past the bodies and busted furniture to the suitcase on the bed from which the Lizard pulled the chainsaw. The TV news still plays in the corner. stacks of.cocaine. Inside are several kilo-sized He shuts the suitcase, exits, stops, looks in the bathroom at the corpse of Angel O.C. He goes, stoops, brings Angel's Change charm into our view, fingers it, tosses it back in the tub. He goes. CUT TO49 EXT. SUN-RAY MOTEL - DAY 49 Chi-Chi has the sedan waiting in the parking lot. Tony hurries out, jumps in, the car speeding off. (Pisalo hasta (XI la tabla -- Step on it.) Past the senior citizens who are retreating inside their rooms. The camera swinging to hold on the blue and black Monte Carlo disappearing into the traffic of the Strip as twb cop cars come screaming past them from the opposite direction. CUT TO50 EXT. LITTLE HAVANA RESTAUWWT - PHONE BOOTH - DUSK 50 The booth is in the busy parking lot, Tony on the phone, Chi-Chi and Manny wait in the sedan. TONY Yeah, bunch of cowboys!..somebody fucked up Omar. CONTINUED #02154 33 Rev. 11/22/82 (Xl - 50 CONTINUED 50 OMAR' s VOICE (shaken) Look, let me check it out right away! TONY YOU do that, Omar, you do that. OMAR'S VOICE You got the money? TONYi Yeah -- - I got the yeyo. and OMAR'S VOICE You got the yeyo? Bring it here. TONY E'uck you. I'm taking it to the boss myself. Not you. Me. - OMAR s VOICE Okay, okay. All right. Frank's gonna wanna see you anyway. Look, meet me tonight at Hector's at eight. TONY Hey Omar.... OMAR'S VOICE Yeah? TONY That was some pick up you sent us on. Pause. OMAR'S VOICE What's that mean? Tony hangs up, walks back to the sedan. CUT TO 51 51 EXT. LOPEZ CONDO - SOUTH MIAMI - NIGHT on Bricknell Avenue in a swank high-rise district adjacent Coconut Grove and Coral Gables, the hub of South Miami.... The doorman shows Omar, Manny, his. side bandaged, and Tony, carrying the suitcase, through giant glass portals, past seriously armed security cops in the lobby. #02154 34 Rev. l/18/83 INT. LOPEZ CONDO - NIGHT52 52 A deluxe apartment with the latest in electronic security and surveillance, and a profusion of mirrors and luxury items... and a hefty, Indian-looking bodyguard (Ernie), eyes quietly trained like a Doberman pinscher. The boss, Frank Lopez, comes down a carpeted corridor, dressed for dinner in an expensive suit and shoes, somewhat preoccupied as he greets Tony, then Max-my with a phony effusion of warmth. He's of Cuban-Jewish extraction, now Americanized in a rough and handsome sort of way, on the heavy side, the face going slightly soft, but the eyes and bulk carrying an odor of danger about him. LOPEZ How ya doing, Tony? Glad to meet you. How 'bout a drink? TONY Mr. Lopez... real pleasure. LOPEZ Call me Frank, Tony. Everybody calls me Frank. My Little League team, even the prosecutors 'round town, they all call me Frank. TONY Okay Frank. Frank shakes hands with Manny. LOPEZ Howya doing? (awed) ..Fine yeah. TONY Ray, he was with us on the Manny job. LOPEZ (to Manny) (Xl I hear you caught one? Manny shrugs, works his arm, showing us the wound doesn't (Xl bother him too much. CONTINUED #02154 34-A Rev. l/38/8352 c0NT1NuED 52 (Xl Just the flesh. Went right through. LOPEZ (Xl (heading for the bar) Yeah, Omar here tells me good thing about you boys. CONTINUED #02154 35 2nd Rev. 11/22/82 52 CONTINUED 52.- TONY (glances at Omar) Yeah. Omar's terrific. LOPEZ Not to mention of course the nice job you guys did for me on that Commie sonufabitch Emilio Rebenga. TONY You don't have to mention it. That was fun. LOPEZ (smiles, likes the kid's balls) Scotch? Gin? Rum? TONY Gin's fine. LOPEZ (pouring) Yeah, .I need a guy with steel in his balls. I need him close to,me, a guy like you Tony -- and your compadre here. TONY Yeah.. .well. Still a little overwhelmed by the opulence of the place, his clothes feeling narrow and cheap on him, Tony steps forward and puts the suitcase up on the bar with the gin, which Lopez passes to him, eyeing the suitcase. TONY two keys. .that's i t . That' s the Angel died `cause of this shit. And here's the money. (produces the money) It's my gift to you -- from me. (Xl Pause. Lopez shakes his head, sighs. LOPEZ It's too bad about your friend, Tony, if people'd do business the right way, there'd be no fuckups like this.... He glances hard at Omar who squirms. CONTINUED #02154 36 Rev. l/18/8352 CONTINUED - 2 52 Without opening it, Lopez signals the bodyguard who takes the suitcase and the money from under Tony's nose. LOPEZ Don't think I don't appreciate this gesture, Tony. You find in this business, you stay loyal you move up and you move up fast. Salud! They drink the toast. With their eyes. LOPEZ Then you find out your biggest head- ache's not bringing in the stuff but figuring out what to do with all the goddamn cash. (drinks) TONY Yeah, I hope I have that,problem some day. Lopez looks, distracted., down the corridor from which he came, to Ernie, the bodyguard. LOPEZ Where the hell's Elirira? Go get her, will you, Ernie? The big bodyguard exits smoothly. LOPEZ (to the others) The broad spends half her life dressing, the other half undressing. TONY I guess you gotta catch her in the middle, hunh? / Lopez laughs. LOPEZ Yeah. When she's not looking.- What do you say guys, to a little food? (finishes his drink at his impatient pace) TONY Yeah sure, I could eat a horse. ERNIE Here she comes, Mr. Lopez. #02154 37 1x1 Rev. I/10/8353 TONY 53 looks up, his eyes tumbling on the most beautiful blonde he's ever seen. The lady, is coming down the glassed-in elevator, adjusting her $10,000 Yves St. Laurent burgundy dinner dress. ALTERNATIVE LOPEZ LOPEZ Oooh sweetheart, you look Where you been baby, it's like a millions bucks. ten o'clock, I'm hungry. She doesn't answer, her eyes ELVIRA flicking disinterestedly You're always hungry, you over Tony and Manny, knowing should try starving. what the evening's going to be and not too happy about Lopez laughs. it. LOPEZ - I want you to meet a friend of mine. Tony Montana...Elvira...Manny Ribera. ELVIRA Hello. TONY Uh...hi. (equally impressed) Yeah, hi. ELVIRA I assume we're going to be a fivesome. Where are we having dinner? FRANK Oh, I thought we'd eat at the Babylon. - 1 ELVIRA Again? If anyone wanted to assassinate you, you wouldn't be too hard to find. (coming toward her, laughing) Me? Who'd want to kill me? I got nothing but friends. CONTINUED #02154 38 Rev. l/18/83 53 CONTINUED_- 53 ELVIRA You never know, do you? Maybe the catcher on your Little League team. Neatly avoiding his intended smooch, she slips by him (Xl towards the door, her throat flashing a $20,000 strip of jewelry. ELVIRA Come on, Frank, let's go. Tracking a cool, polished hauteur, she exits the apartment. a Lopez, after pause, snaps at his men. LOPEZ let's go. Okay, CUT TO 54 EXT. THE BABYLON CLUB - NIGXT 54 .We know this is no workingman's dive when Lopez piles them out of his Rolls, and the carhops are moving Bugattis, Lamberghinis and Corniches in a long snaking line down the driveway. Single girls in high-collared silver lame jumpsuits with cinched waists, prowl like big glistening tents back and forth across the entry doors, rich young coiffed playboys in their Porsches honking their horns in appreciation. Brain drain. 55 INT. BABYLON CLUB - NIGHT 55 The interior is built like three or four plush apartments that run together on three separate levels with imaginative angles, mirrors, swimming pool, bars, twenty-piece band, hundreds of tropical plants, dance floor, video games, computers and a restaurant. Itrs a lavish fun spot that will play a central role in the film, a drug dealer haven and nighttime capital of South America. The crowd, a combination of Caucasian and Latin, is mostly young, rich and happy and a lot of them coked; the girls, upperclass in sleek dresses, trim figures, heels, hats, sensuous bodies, yell as they dance to a black American "Partying Down Tonight".... music beat, "Celebrating" or CONTINUED #00766 3955 CONTINUED 55 The waitresses, mostly blondes, wear little coca channel hats pinned to their heads and the barest pants with hose and high heels. Rich young guys with a lot of gold and diamonds on their necks and hands huddle briefly in groups or chat. Down at the vid games are younger chicks in jeans and tough-looking tank tops with "Motherfuckah" and "Fuck Me" written on them. Manny's coming from the toilets, tries to pick one of them up. .lYANNY So whaddaya say, hunh? He flashes his tongue. She looks at him, amused. CHICK You got a buck? Sure I got a buck, whaddaya think I am, poor? CHICK (indicates the machine) Put it in, let's play. I-had other things in mind. CHICK You check out on this and we'll talk about other things. (looks off, concerned, then confronts the complex machine} Puck, how do you play this thing? CUT TO56 56 INT. BABYLON CLUB Frank Lopez, intoxicated, takes his heart pill with a slug of champagne. He sits next to Tony, who is agog at all this wealth. Elvira is in con- Omar and Ernie look on. They' re versation with a girl friend who has stopped by. sitting at the best table in the place, finishing up a giant meal. The empty spot belongs to Manny. CONTINUED #02154 40 Rev. (Xl 12/9/82 56 CONTINUED 56r- LOPEZ (to Tony) -- . * -Over there that's Ronnie Echeverria. Him and his brother Miguel they got a big distribution set-up here to Houston and Tucson.... Their point of view -- Ronnie Echevarria, powerful, competent- looking man in conversation with a party of people. LOPEZ That guy there, in the purple shirt -- Gaspar Gomez. Bad news. Stone killer there ever was one. Stay away. Their point of view -- Gaspar Gomez at a table with another guy and gorgeous woman. LOPEZ ...the fat guy, with the chicas is Nacho Contreras -- El Gordo. Wouldn't know it to look at him but he's got more cash than anybody in here. A real haza.... Their point of view -- El Gordo is fat, dressed like a cheap slob and playing up to a bunch of chicas. LOPEZ . ..you know what a haza is, Tony? TONY 'Haza'? No Frank, what's a haza? LOPEZ It's Yiddish for pig. It's a guy he's got more'n what he needs, so he don't fly straight anymore, y'know. That's the problem in this business, Tony, there's too many 'hazas' and they're the ones you got to watch out for. If they can fuck you outta an extra dime, they'll rip you and flip you and then fuck you with a stick for the pure pleasure of it. See it all comes down to one thing, Tony boy, never forget it! Lesson number one -- don't under- estimate the other guy's greed. ELVIRA Lesson number two -- don't get high on your own supply. CONTINuEiD #02154 40-A Rev. 12/9/8256 coNTmuED'- 2 56 The girl friend has departed and Elvira turns her attention '\ back to them, bored. LOPEZ That's right. Course not everybody follows the rules. (eyeing Elvira) HEAD WAITER There you go, Mr. Lopez. He's popped the champagne cork and pours Dom Perignon for Lopez. LOPEZ Head Waiter nods. LOPEZ Give it to everybody and bring another, willya Jack? (to Tony) Five hundred fifty dollars for this bottle Tony, what do you think of that, hunh? For a bunch of fucking grapes -- isn't that something? CONTINUED #00766 4156 CONTINUED - 2 56 ELVIA (to Tony) In France, it cost $100 but don't tell anybody in Miami. Tony catches her eye. She looks interested. away, INT. BABYLON CLUB - NIGHT57 57 A Man passes the table. Lopez calls out. LOPEZ Hey, George -- buddy. Hey, Frank.. -how's the case coming? The Man's eyes thread the table. He looks sharp, heavy- lidded, cigarette-eyed, his voice a hoarse croak, a cigar- ette dangling from his mouth, his manner cool but amicable with Lopez. This is George Sheffield, Miami lawyer. LOPEZ OY, I shoulda come to you 'stead of that putz, Neufeld. SHEFFIELD Jack's a good lawyer. I taught him everything he knows. LOPEZ Yeah, almost everything. SHEFFIELD (to Elvira) Elvira, you look terrific... (to all) Enjoy .yourselves. He ambles off. LOPEZ I . . best goddamn lawyer in Miami. Cost a brick to pick up a phone. Tony looking off at him, remembering it. LOPEZ his. (raising champagne glass) so.. .here's to old friends...and new friends. CONTINUED . #02154 42 Rev. 11/22/8257 CONTINUED 57 They toast, Tony tasting it like it was Holy Water. LOPEZ Well, Tony? TONY Hey, yeah, you're not kidding, this is good stuff, Frank. check. Lopez laughs, likes the kid, tweaks him on the LOPEZ (checking Tony'6 threads) Yeah, get you some new clothes, some $500 suits, you'll look real sharp. I'd like you and your boys to handle some stuff for me, Tony, work with Omar here. We're doing something big next month. Running a string of mules out of Columbia. You do good on that, there'll be other things. away. Omar doesn't like it but glances TONY Hey, that sounds like fun, Frank. Thanks. The music shifts to slow dancing. ELVIRA away (waving cigar smoke) SO, you want to dance, Frank or you want to sit here and have a heart attack? LOPEZ I'd rather have a heart He- dance? attack. CONTINUED #00766 43 57 CONTINUED - 2 57 ELVIRA (rising) Don't foam into the Dom Perignon. Glancing at Omar, sitting there obediently. Her eyes say forget it. ELVIRA (to Tony) How about you? nods sure, looks Tony at his boss. LOPEZ (waves) Go on! They go. 58 INT. BABYLON CLUB - NIGHT 58 It's interesting to watch Tony walk to the floor, leading Elvira. It's not so much an act of walking as it is an act of war, a tank bouncing anything or anybody off that gets in the way. Be just proceeds in a straight dead line, eyes forward. It's not that he doesn't see the people he bumps off, it's that he couldn't care less.-: LOPEZ (to Omar) What do you think? OMAR I think he's a fucking peasant. LOPEZ Yeah -- but you get guys like that on your side, they break their backs for you. CUT TO 59 INT. BABYLON CLUB DANCE FLOOR - NIGHT 59 Tony and Elvira are dancing semiclose to a slow Billy Joel dance tune. Be's no great shakes as a dancer, leaden in the legs and shoulders. TONY ...so what's your name, Elvira what? CUNTINuE33 #02154 44 2nd Rev. 11/22/82 (Xl59 CONTINUED 59 ELVIm St. James. TONY Elvira St. James. Sounds like a nun or something. So where you from? He bumps into an elderly couple dancing, ignores them. ELVIRA Baltimore.... TONY Baltimore? Where's that? ELVIRA Look, it doesn't really matter. I'm getting a headache. TONY Just trying to be friendly. ELVIRA I've got enough friends -- and I don't need another one, 'specially one who just got off the banana boat. He makes a point of looking at her. TONY Hey, I didn't come over on no banana boat. I'm a political refugee here. ELVIRA Oh, part of the Cuban crime wave? Tony, pissed, bangs once more into the elderly couple. The man stops dancing, looks at him exasperated but Tony doesn't see. TONY Whatta you talking crazy for, whatsa matter with.you? ELVIRA (interrupting) .. .I'm sorry. I didn't know you were so sensitive about your diplo- matic status. CONTINUED #02154 45 and 46 2nd Rev. 11/22/82 (X)59 CONTINUED - 2 59 TONY ...Why you got this beef against the world? You got a nice face, you got great legs, you got the fancy clothes and you got this look in your eyes like you haven't been fucked good in a year. What's the problem, baby? Elvira laughs at him, furious. ELVIRA You know you're even stupider than you look. Let me give you a crash course, Jose whatever your name is, so you know what you're doing around here. TONY (interrupting) Now you're talking to me, baby! ELVIRA First who, where, why and how I fuck is none of your business, second don't call me 'baby,' I'm not your baby and last, even if I was blind, desperate, starved and begging for it on a desert island, you'd be the last thing I'd ever fuck. You got the picture now -- so fuck off. . TONY thataway. Hey, She whips off the floor, pissed. He watches her, amused. CUT TO60 60thru OMITTED thm62 62 #02154 47 thru 51 Rev. l/18/83 63 I&IT. CAR-DAWN 63 (X) Tony and Manny drive home in the broken down Monte Carlo-- sedan through the streets of Little Havana. They've'been partying all night, clothes rumpled, Tony (X) smoking his cigar, feeling good. TONY That chick he's with...she loves me. (driving) Oh yeah, how you know that? TONY The eyes, Manny -- they don't lie. You're serious? Tony, that's Lopez '6 lady. He'll kill us. TONY What are you kidding -- he's soft. I seen it in his face -- booze and a cuncha tells him what to do. Pause..~ 63-A 63-A and OMITTED and 64 64 (Xl CUT TO 65 EXT. TONY'S MOTHER'S HOUSE - SOUTHWEST MIAMI - LATE DAY 65 The house, bathed by a torpid setting sun amicable to lizards and Spanish moss, sits undistinguished and without shielding trees in the midst of a lower middle class neighborhood with look-alike yards and streets without people. . 66 INT. TONY'S CADILLAC SEDAN - SIMULTANEOUS DAY 66 From his battered Monte Carlo across the curb, Tony, spruced up and nervous in a new suit, gets out carrying a bag of gifts. Manny is at the wheel, curious. TONY Be back in an hour okay. CONTINUED64 -$ The new Miami is rising ubiquitously-above Siscayne Say, the camera moving ?ast blossomina SkpCra~rS, workzen, huge cranes, glass, mLrrcrs boo&q unwards into a beautiful blue Florida sky, fleeced-&th wrfectly white - clouds...past a giant billboard:--- f.- .a .* .--A - -. COPS TALK TO us... AT THE l3AXCO DE xL%xI.. . TODAY! Past banks of glass (Caribank, Ranco de Venezuela, Amerifirst).., Insert a car sticker ,-oincr by with the image of the American flag and the rem&&x: *@Will the last Amrican leaving Miami please bring the fLag?'* Tony and Z-lanny,' on a shoppirg szree, Sop along an incredibly Wxurious shopping mall lined with the latest stores, fashions, escalators, music, tropical plants, etc -- a w3rm womb-like plastic heaven. . TONY . . ..I. shoulda been here IO vears ace man. This town's like a fig pussy dyin' to $5 fucked, ParaBise, rr.an, saradisef I: coulda been a millionaire now. Get xy 3wn golf COXSP, a boat... mhi I want 2 line of bluejeans vith .?ry name on the - chicks* asses. TONY . ..yeah ve gotta make sore moves on our own Xanny, we never gcnna score the i3ig Xoney vorking for Frank. Frankvs okay. TONY Yeah -- cause he buys you a suit? You thinkin' like a chicker,h,ead again - - A -- mNNY Frank*= got a.n organization TOW Organizaticn? I got more brains than Omar and he's bigger than ~TC, That's not an organization. That`s a disorganization. pihat do you do for a brain man? Piss in it?' ' ,.. . 48. . . Fuck you, somebody oughta shoot YOUi Fut YOU outta, your misery . .(seeing something) ;c Hey catch this tomato :Z .l . . .. ,a Catching the eye of one of two young Girls passing, Manny primps for them. . Ooooh baby doll * (SEE NOTES) TONY Yeah, what do you girls say? you manna have some ice cream with us somewhere? . They glance at Tony and Nanny and hti&ry on, . Tony waves her off, thenchanges his mind and runs up behind her and throws up her skirt and peeks at her ass. Before she can react, he hops away laughing as the two Cuban girls ad-lib Spanish expletives at him. . Hey that's not cool, man. You war-ma score one of these chicks, watch XW=. Nira!\ :- He wiggles his tongue up and down, fast like a small whirring motor part, then slips it back into his mouth in the -- flick of an eye. TONY !..the fuck was that? I . MAW You didn't see it? You weren't looking. Key you gotta watch for it. . Does it again , quickly; it looks like a baby robin's head peeking out of a nest in his teeth, then it's gone. . TONY What the hell's that for -- eating bugs? That's disgustin', You think so hunh? Xell you did know shit *bout chicks Chico. When . They go they see this, they kno?~. . . They don't resist me. crazy. 49. - . . Does it again. Tony tries but lacks the speed and agility,f _~ provoking Na~y*s laughter. Manny double checks himself in _ ..rJr a shop window. -l. - *&am .l e . - it again) Takes practice, mi sengre, but they - just love it when you flop that pussy with it.... . TONY' Oooh . ..com! How *bout that one? . Pointing to a tall, cool blonde across the avenue. MANNY No problem. . EXT.. KIA,?-c SHOPFIISG STREET - DAY. Tony vales right out into the- aitenucs, a+.